Chandralekha

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

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2 nAma saTTakam tacca saMskRtacchAyA - AMglaprastAvanA- pAThAntarAdibhiH saha DaoN0 AdinAtha neminAtha upAdhye, em. e., DI. liT. bhAratIya vidyA granthAvalI, granthAGka 6 rudradAsa - viracitaM candra le khA viduSA saMpAditam / bhAratIya vidyA bhavana, muMbaI dvArA prakAzitam A. D. 1945 ] vidyA apane duvi 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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bhAratIya vidyA granthAvalI - [granthAGka 6]> rudradAsa-viracitaM candra le khA nAma saTTakam tacca saMskRtacchAyA-AMglaprastAvanA - pAThAntarAdibhiH saha DaoN0 AdinAtha neminAtha upAdhye, em. e., DI. liT. viduSA saMpAditam / muMbaI - sthita bhAratIya vidyA bhavana dvArA prakAzitam vikramAnda 200.] [mUlyaM rU. 6-0-.

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BHARATIYA VIDYA SERIES [ Critical editions of rare and important texts, treatises and translations on Indological subjects ] FOUNDER SHRI K. M. MUNSHI GENERAL EDITORS ACHARYA JINA VIJAYA MUNI DR. A. D. PUSALKER POT a bhAratIya SS amUrta na vidyA vom BAY BHARATIYA VIDYA BHAVAN VOLUME SIX * First Edition 19 * All Rights Reserved * [ Price Rs. 6

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RUDRADASA'S CANDRALEKHA (A Drama in Prakrit) 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 Chaya 3. Candralekha: A Critical Study i) Dramatis Personae ii) Story of the Play iii) Synoptic Analysis of the Play iv) Prakrit Drama : Sattaka a) Early Indian Drama 6) Rupakag and Uparupakas c) Natika and Sattaka d) Prakrits in the Drama e) Sattaka in the Evolution of Drama f) Sattakas known so far Rajasekhara and his Karpuramanjari Nayacandra and his Rambhamanjari Markandeya and his Vilasavati Vigvesvara and his Srngaramanjari Ghanasyama and his Anandasundari g) Candralekha: A Sattaka v) Karpuramanjari and Candralekha vi) Candralekha, as a Literary Piece vii) Prakrit in the Candralekha viii) Metres in the Candralekha 4. Rudradasa : the Author Camdaleba: Text with Sanskrit Chaya and Variants Siloa-sus Notes Appendix Saddasui Corrigenda 31-52 32 9-16

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Preface by the General Editor EXCEP'TING the Karpura-manjari of Rajas'ekhara and the Rambhamanjari of Nayacandra, no other plays of the Sattaka type were published so far. This edition of Camdaleha, 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 Rupaka literature. So far, very few Prakrit 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 Prakrit 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 Prakrit 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 Prakrit 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 Prakrit 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 Prakrits like Dr. A. N. Upadhye. It is mainly through Dr. Upadhye's efforts and researches that we have become lately acquainted with many Prakrit 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 Prakrit 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 Bharatiya Vidya 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 Vidya 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 Sattaka type which has been all along illustrated only by the Karpuramanjari. 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 Rudradasa, the author, is added at the end. The Sattaka, 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 Sattakas most of which were mere names to us so far. The entire art gallery of Sattaka 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 akarana-vatsalya 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 Candralekha. 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. karmanyevadhikaras te: Kolhapur: 1 25th March, 1945) A. N. UPADHYE

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INTRODUCTION 1. CRITICAL APPARATUS The Prakrit text and the Sanskrit chaya of the Camdaleha (Sk. Candralekha), presented in this edition, are based on the material from the following Mss.: This stands for a Devanagari 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 Devanagari 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) Candralekha 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 Prakrit text and Sanskrit chaya, 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 Prakrit text) and ends with ill arbeter Fri Fa: Arar 11 (at the close of the chaya). @-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 chaya. 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 Candralekha, 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 ms. 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: mAnavedacaritam, and ends thus : iti caturthaM yavanikAntaram / samApto'yaM granthaH // 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 Samskrta-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 dava maharao 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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3 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 ms. 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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CANDALEHA and long vowels are not rightly distinguished, for instance, niara for niara, paara for paara, turiam for turiam; a short vowel with anusvara and a long vowel are often mutually confused, for instance, dani for dani, ki for kim; a duplicate consonant is not properly distinguished from a consonant preceded by an anusvara, as in, samimdha for samiddha, tassa for tamsa, vinkhambha 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 t and th stand for l and ah, 1 for i, ph for bh, k for t, d for dh, nn for nh, mm for moh; sometimes l is used for 2 (also in the chaya, 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 Prakrit text in a bewildering quantity. Some of these, no doubt, have arisen out of the peculiarities of the Malayalam and Grantha characters and the mode of writing Prakrits adopted therein. Copyists, who were not quite well-versed with Prakrit phonology, have not been able to read correctly the adarsa 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 Prakrit 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, bhanjia rather than as in bhimgi, bhamjia; 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, lilam etc. It is true that in many respects the dramatic Prakrits, as contrasted with Ardhamagadhi and even Jaina Maharastri. are moulded after the model of classical Sanskrit from which later on even ready-made forms were subjected to phonetic corruption and imported into Prakrit. 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 chaya with the Prakrit text, the neglect of Prakrit passages in preference to the chaya in studying the drama, constant checking and correcting of the Prakrit text with the aid of the chaya, and lastly, the confirmed habit of copyists to write Sanskrit works usually and Prakrit 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 Usaniruddhas which have been already edited by me. As in them, the Prakrit 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 Camdaleha is a late work, to be assigned to the closing period of Prakrit literature; so the grammatical standards, elaborated in earlier Prakrit 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 Prakrits and to the rules laid down by Prakrit 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 chaya, 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 Kappuramamjari which has served as a model for the Camdaleha. Utmost fidelity to the ms. is my guiding principle, 1 Kassavaho, Hindi Grantha Ratnakara Karyalaya, Bombay 1940; Usaniruddham: A Prakrit Kavya, 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 Prakrit-Sprachen, Strassburg 1900; a complete Index of the Prakrit words in it is prepared by Wickremasinghe and published in the Indian Antiquary. 3 Harvard Oriental Series, IV, Cambridge, Mass. 1901. The Prakrit 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 Kappuramamjari and Camdaleha are Sattakas. 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 (SS 12) that Maharastri, 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 Visvanatha (14th century A. D.), women not of lowly origin should speak Sauraseni in drama, but in their songs (asam eva tu gathasu) they should use Maharastri (Sahityadarpana VI. 159). This application of Maharastri', 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 (SS 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 Karpuramanjari; 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 Karpuramanjari (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 Maharastri 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 Prakrits of the plays exists, and it was my hope that the Karpuramanjari 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 Mudraraksasam (Breslau 1912): "In plays Maharastri is restricted to songs: this in an old rule the correction of which I see no reason of doubting; but the restriction of Sauraseni 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 Karpuramanjari.? 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 Camdaleha, 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 Camdaleha 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 Prakrit text I have followed nearly the same principles adopted in the Kamsavabo and Usaniruddham. . 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 kii vi; some variant readings are ki vi; and as far as I remember, only once the reading is kin pi. ki for kim is only a misreading belonging to the category that a long vowel often ensates a short vowel with a anusvara 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 anusvara as a mistake; and his view is backed by the authority of Markandeya (Praksta-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 Camdaleha is a late work in which the author used the Prakrit 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 Mudraraksasam, both from the South and North, collated by Hillebrandt do show vi after an anusvara (see the readings on pp. 12, 17, 38, 66, 109, 132 etc.). In the mss. of the Mahavira-caritam (London 1928), as observed by Todar Mall (Intro., p. XXXIX), the word api always appears as vi, even after an anusvara. 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 anusvara because of its enclitic nature. So I have retained the substitutes of api as they are given in the ms. I have retained the Dandas almost as they are found in the Prakrit text, at times checking them with the help of the chaya. 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 chaya is shown by the referential Roman figures I, II etc. The prose lines of the Prakrit text between two verses ( which are separately numbered in each Yavanikantara) are numbered by threes. The letters a, b, c and d stand for the padas of a verse. Thus I. 17. 22 means First Yavanika.

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ntara, prose line 22 after the verse No. 17; and I. 206 means the second pada of verse No. 20 of the First Yavanikantara. 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 chaya is based on two Mss. ka and ma, and only genuine and significant variants are noted just below it. If the chaya 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 chaya 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 Vidusaka. Camara-grahini, a female Door-keeper who carries a chowrie in her hand. Candanika, a maid-servant. 3 caM. le.

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10 CAMDALENA Candralekha, see Nayika. Candrika, a maid-servant, attending on Candralekha. Ceti, a maid-servant, Candanika by name. Cintamani-devata, the Deity presiding over the jewel Cintamani which was presented to Manaveda by Sindhunatha through his minister Susruta. Devi, the Queen, the first wife of the King, Manaveda. Gosamjna, see Vidusaka. Kalabhasini, a female Door-keeper. Manaveda, see Rajan. Manjubhasini, a female Door-keeper. Naktamalika, a maid-servant. Nayika, Candralekha, the Heroine. She is introduced on the stage first as Adbhuta-kanyaka, Cintamani- or Ratna-sabhava, because she was brought forth miraculously by the jewel Cintamani. 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. Cintamani-devata brought her to the palace of king Manaveda to whom she was married at last with Queen's consent. Pariparsvaka, the Assistant of the Director (sutradhara). Pratihari, a female Door-keeper, Manjubhasini. Rajan, the King, Manaveda, the Hero, who marries Candralekha and acquires universal sovereignty. Sumati, a Minister of king Manaveda. Susruta, the Minister of Sindhunatha. He brings the jewel Cintamani as a present from his master to king Manaveda. Sutradhara, the Director of the play. Tamalika, a maid-servant, attending the Queen. Vaitalika (I and II), Bards, Manjukantha and Madhurakaatha by name. Vidusaka, the Jester, a Companion of the King, also called Cakoraka, Gosamjna.

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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, Vidusaka entreated the jewel Cintamani to bring before them the most lovely girl on the earth. That day Candralekha was sporting in the park at Campa. 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 Campa was a matter of great concern to the family. Her brother Candraketu came to the court of Manaveda for Visuvotsava. 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 Candralekha. It was a surprise and joy for all. The goddess told the Queen that Candralekha was destined to be the wife of a Cakravartin and that, therefore, she should consent to her being married to Manaveda. She assented to it. Manaveda and Candralekha 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 Natyasala attached to the palace of king Manaveda, the audience consisting of the learned people in the royal court at whose instance it was being performed. Manager's Prelude (sthapana) Scene 1 (I.1). Recitation of the benediction (nandi). Scene 2 (I. 1. 1-). Enters the Director (sutradhara), salutes Parvati and Siva, and hears the commencement of the play. Scene 3 (I. 4. 7-). Enters the Assistant (pariparsvaka); both of them discuss the nature of Sattaka, its author Rudradasa of the Parasava family (described), his teachers Rudra and Srikantha (described), the flavour of Prakrit, enactment of the Sattaka at the instance of the learned assembly of king Manaveda (described elaborately) and the gist of the plot that in this play Manaveda marries Candralekha, 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 Vaisakha. There is a reference to breezes of Caitra at I. 24; and Visuvotsava, at the beginning of the year, is being celebrated (IV. 1.1 etc.). ] Yavanikantara 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. Vidusaka also joins them with his florid description. Candanika draws their attention to the hospitable invitation of Emerald Park (marakatarama); she almost competes with Vidusaka in offering a beautiful description; and both want to win royal approbation. Vidusaka proposes a visit to the Emerald Park. King's right eye is throbbing, and Vidusaka 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, Manjukantha and Madhurakantha, glorify and greet the King drawing his attention to the charms of the Park.-At Vidusaka'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.- Vidusaka says that he forgot his learning at home; and when he demands something on loan, Candanika is ready to give it. He feels offended. She sings a fine verse fulfilling his conditions and to the approval of the King. Vidusaka quietly transfers his own defeat to the King, and announces the arrival of minister Sumati. Scene 3 (I. 27. 5-). Enters Sumati with Susruta, the minister of Sindhunatha. After mutual welfare-inquiry, Susruta requests the King to accept Sindhunatha's pleasure-gift, namely, the jewel Cintamani, 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-). Vidusaka removes the silk cover, and the King praises the lustre and power of that Cintamani. Finding Vidusaka 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 kanyaka, Cintamani-, or Ratna-sambhava, later on as

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CANDALENA Candralekha). The King admires her beauty in rapturous stanzas. She also feels regard for him. The Queen recognises her as noble-born. Vidusaka 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 Manaveda 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 Vidusaka tells him that it may by thrown away now because it has already served its purpose. Exeunt All. Yavanikantara 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 snana-vela, and midday is announced by the bard. ] Scene 1 (II. 0. 1-). Asthana-mandapa 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 Vidusaka to find the King pining with passion for the Heroine. The King assures him that his partiality for the Queen continues. Vidusaka 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 Tamalika, 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

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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 Vidusaka 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 (padmaragarama) nearby so that the King might not know it, and how the King (and Vidusaka, 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. Vidusaka appreciates her specialised skill, and the King is simply amazed at it. Vidusaka 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 Vidusaka stop for a while to hear what Naktamalika and Tamalika, the latter with a statue (salabhanjika) 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 Sarika bird, Bandhumati by name, of retentive Sarada of Kasmira. from memory She placed the bird within the throat of a statue which was trickily put in the assembly hall where the King and Viduaska conversed. The bird has heard all that the King queen

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16 CANDALERA spoke, and now Tamalika 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 Sarika episode which might enrage the Queen; but Vidusaka assures him that his (i. e., King's) generosity would soon bring her round. Both go to the harem. Exeunt All. Yavanikantara 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 Vidusaka. The King feels dejected because the fate is not favourable. Vidusaka tries to divert his attention, but the King feels quite helpless. Vidusaka holds some hope for him, because he learnt from Candanika 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 Vidusaka, both of them start towards the Plantain Arbour: it is late in the evening and the Queen is away to salute Sthalisvara. 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 Vilusaka) approaches the Heroine, lying on bed of leaves and attended by Candanika and Candrika 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

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INTRODUCTION 17 welcomes the rising moon.-Behind the stage, the two Bards, Manjukantha 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 Sthalisvara, the noise of the retinue was heard; Candanika requests the King to see that this meeting is not disclosed to the Queen; he consents. Exeunt All. Yavanikantara IV [The action here begins in the morning, and we have clear references to prabhata or prabhata-vela, IV. 1. 3, IV. 2. 1, IV.5. 3.] Scene 1 (IV, 0.1-). The hall of audience (asthana-mand apa): Enter the King (dressed for the occasion), retinue and two female Door-keepers, Manjubhasini and Kalabhasini. The King is feeling sorry that his contact with the Heroine was shortlived and unfruitful. The Pratiharis congratulate him on the occasion of the Visuvotsava.-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 Kalabhasini and Manjubhasini alternatively announce the kings of Vidarbha, Ujjayani, Manalura, Cola, Anga, Magadha and Karnata, and the rulers of Nepala, Kamboja, Pancala, Turuska, Cedi, Nisadha, Varanasi, Parasika, Maharastra, Vanga, Madra, Mathura, Matsya, Kasmira, Kanci 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 Vidusaka from the harem. Enters Vidusaka. 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 .

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18 CANDALEHA Scene 4 (IV. 26. 31-). The King feels sorry that the Queen is very angry. But Vidusaka tells him how her anger would disappear on account of her fresh sorrow. Vidusaka 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 Candralekha, her aunt's daughter, while she was playing in the park, has disappeared from Campa; and as yet she has not been traced. Candralekha has been betrothed to the King (viz., Manaveda) knowing from an interpreter of marks on the body that she would make her husband a universal monarch. And all this, added Vidusaka, has made the Queen sorrowful.- The King became enraged and passed orders to investigate from the kings, gathered there, as to who had kidnapped Candralekha. -Enters the Queen shedding tears, with Tamalika, and requests the King to search out her sister Candralekha. All the kings solemnly declare their innocence. The King appeals to the presiding Deity of the jewel Cintamani to bring back Candralekha. Scene 5 (IV. 27. 23-). Enters Cintamani-devata. She presents the Heroine, hereafter called Candralekha. All are surprised. The Queen meets her bashful sister with joy. Cintamanidevata 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. Candralekha is decorated for the occasion. All the kings, who had assembled for the Visuvotsava, are asked to stay for the wedding festival. The King and Candralekha are wedded to the joy of all, especially of Vidusaka 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 Bhasa, Sudraka and Kalidasa, 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. Asvaghosa'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 Samaveda. Ethnologically music, dance and drama have developed together among many peoples. The rituals of the Mahavrata 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 Mahabharata and Ramayana. Panini (c. 4th century B. c.) speaks of natas and nceta-sutras, i. e., dancers and their hand-books. The Mahabhasya of Patanjali (c. 140 B. c.) refers to a dramatic performance of some kind connected with the legends of Krsna, 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 Levi: Le Theatre 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 Vidusaka, 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 UPARUPAKAS 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 nrtta stands for mere dance, nrtya 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 nrtya 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, Nataka, Prakarana, Bhana, Vyayoga, Samavakara, Dima, Thamrga, Anka, Vithi and Prahasana." Hemacandra classifies pathya-kavya into twelve types which are the same as ten Rupakas with the addition of Natika and Sattaka; and Ramacandra recognises twelve, i. e., ten Rupakas plus Natika and Prakarani, 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-prakasana, 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 Uparupakas comes to about twentyfive. About these Keith remarks thus:1 "The later theory as seen in Visvanatha adds descriptions of eighteen minor forms of drama, Uparupakas, 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 Purana 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 Bhana. The age of these divisions is, therefore, uncertain; the Dasarupa condescends to mention only the Natika, but obviously knows of the existence of others, confining its scope to the main forms, as its title indicates." The four types Nati or Natika, Prakarani or Prakaranika, Trotaka and Sattaka are treated by some as derivatives from or as allied to Rupaka types and by others as Uparupakas. The names of the first two are closely akin to Nataka and Prakarana, and the definition of Sattaka is made very much dependent on that of Natika. The Natyasastra describes Natika as a mixture of Nataka and Prakarana; Dasarupaka includes it under Nataka; Hemacandra and Ramacandra treat it on par with ten Rupakas; Bhavaprakasana follows the Natyasastra; and the Sahitya-darpana includes it under Uparupakas. The Sattaka is not mentioned by the Natyasastra and Dasarupaka, which, however, mention Natika.; Hemacandra mentions Natika and Sattaka separately. Abhinavagupta, Saradatanaya, Sagaranandin etc. mention and define Sattaka. Visvanatha calls Sattaka an Uparupaka. Almost everywhere the tendency is to define Sattaka in terms of the description of Natika. 21 c) NATIKA AND SATTAKA In order to understand what Sattaka is, we must first note the salient traits of Natika. According to the Natyasastra (XVIII. 1 The Sanskrit Drama, p. 349. 2 Dafarupaka i. 8.

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22 CAMDALEHA 58-61)," Natika is a variety of Nataka-Prakarana; its subject-matter is invented; the hero is a king; the heroine is either a girl from the harem or the samgita-sala, and an object of attainment; it has many females, four acts, graceful histrionics (lalitabhinayatmika), well-arranged angas, royal (or love) affairs, conciliation, anger and trickery (dambha). It has a hero (nayaka), a queen (devi). a go-between (duti) and attendants (parijana). The Dasarupaka, however, adds that there is an endless variety of the forms of the Natika; 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 Prakarana, and its hero, a self-controlled and light-hearted (dhira-lalita) king, from the Nataka. 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-darpana practically covers all that is said in the Natyasastra and amplified by the Dasarupaka. It is silent about the endless variety of Natika and varying number of acts, but plainly calls it catur ankika. The additional points of Bhavaprakasana are that a Natika can have a Vidusaka but not Vita and Pithamarda. The Natyasastra and Dasarupaka do not mention Sattaka.? It is but an accident that Rajasekhara's Karpura-manjari 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 Natika; but it does not possess Pravesakas, Viskambhakas and Ankas. It is a composition in Prakrit (pauda-bamdha) and it is a representation to be danced (sattaan naccidavvam). Let us see what the subsequent authors have to say in addition to and amplifying Rajasekhara's remarks. Abhinavagupta says that Sattaka is like Natika; 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-bhasaya) which is a-Prakrta-Samskrta. It is a knotty term to explain; but I think, it implies that in a Sattaka both Sanskrit and Prakrit are not used as in a Natika. Ramacandra-Gunacandra quote the same; they spell it Sataka, and attribute its definition to Kohala. Kohala is an ancient celebrity connected with dramatic theory. Markandeya mentions him along with Sakalya, Bharata, Vararuci, Bhamaha, Vasantaraja etc. in the opening verses of his Prakrit grammar: thus his name is associated with Prakrits as well. It is but natural, therefore, that he is credited to have recognised and defined Sattaka, which was entirely in Prakrit. According to the Bhavaprakasana, Sattaka is a variety of Natika based on nrtya. It possesses Kaisiki and Bharati Vitti, i. e., Gay and Eloquent styles, and has no raudra, furious sentiment. There are no samdhis; and corresponding to the division of Ankas, there are Yavanikantaras. There are no chadana, skhalana, bhranti and nihnava. It uses Sauraseni and Maharastri languages: elsewhere he describes it as prakrsta-Prakrtamayt. Some opine that the king should not speak in Prakrit, while others hold that he might speak Magadhi or Sauraseni. According to some authors, Sattaka is a variety of Rupaka, similar to Natika, but its language is Prakrit. Sagaranandin states that Sattaka avoids the vira heroic, Thayanaka terrible, bibhatsa odious sentiments, besides the raudra furious. It has Sauraseni, Pracya and Maharastri. The king, like women, is to speak Prakrit. Though Badarayana and others prescribe for the king usually Sanskrit and occasionally Prakrit, still the king is to speak Prakrit. The Sahitya-darpana states that the Sattaka is to be entirely in Prakrit ( Prakrtasesa-pathyam) and to possess plenty of adbhuta, marvellous sentiment. Rudradasa makes it clear that it is in Prakrit and it is to be danced. Ghanasyama remarks that the whole of it is in Prakrit, and therefore it is called Sattaka. Whenever an illustration is noted in the above sources, it is that of Karpura-manjari. 1 It may be noted here that Vasudeva notes sandhyangas like karana, avamaria, vidhana in his commentary on the Karpuramanjari, pp. 27, 55, Nirnayasagar ed., Bombay 1900.

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24 CAMDALERA d) PRAKRITS 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 Prakrta which have constantly influenced each other at different stages. The term Prakrta (spelt as Prakrit) meaning, natural' .common' etc. primarily indicates uncultured popular dialects, existing side by side with Samskrta (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 Prakrits 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 Prakrit 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, Natakas, 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 caM. le.

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26 CANDALENA are judged in the light of subsequent practices in dramas and grammatical description of Prakrits. Bharata's details (XVII. 26-64) may be interesting for their own sake, but later writers on dramaturgy have become more concise. The Dasarupaka? 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 (krtatmanam), and in some cases by female ascetics, by the chief queen, by daughters of ministers and by courtezans. Prakrit is generally [to be the language ] of women, and Sauraseni in the case of male characters of low rank. In like manner Pisacas, very low person, and the like are to speak Paisaci and Magadhi. 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 Bhiksu and Sramana are to speak Prakrit, that a Srotriya is to use Sanskrit and that Candali 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 Prakrit, and so also Vidusaka, a Brahmana, of high social rank. The actresses who played the female role perhaps came from the lower strata of society, and naturally it is befitting for them that they spoke in Prakrit, or Sauraseni, the normal 1 Dasarupakam, Gujarati Printing Press, Bombay 1927, II. 63-66; The Dasarupa, 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 Vidusaka 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, Vidusaka 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 Vidusaka claims that he is a learned Brahmana. This claim is confirmed by his name also. The name Vidusakah is just a hyper-Sanskritic back-formation of Prakrit 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 Prakritic basis of his name ; and it is in the fitness of things that he speaks in Prakrit. We need not hesitate to believe that the origin of the mixed usage of Sanskrit and Prakrit in the drama might have started as a reflection of the actual practice in real life. Conversations in simple Sanskrit and Prakrits 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 Kalidasa, Bana and Bhavabhuti. This style was first evolved in epics, lyrics, Kavyas and prose romances; and side by side with them it cannot but affect the drama too. Even by the time of Bharata's Natyasastra the use of Prakrits 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 Prakrit. The Sanskrit plays like the Dutavakya of Bhasa and some of the early Bhanas have come down t but natural that the early specimens of entirely Prakrit plays have not survived: they were popular creations of unlettered masses; Prakrit compositions have been uniformly neglected all along, and even some of the best Prakrit 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 ajjuka, dauvarika, bhattidarika, marsa or marisa eto, definitely possess a Prakrit tinge; and ama is a Desi word of Tamil origin.

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28 QANDALEHA e) BATTAKA IN THE EVOLUTION OF DRAMA The treatises on dramaturgy elaborately describe Nataka 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 Nataka. 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 Rupakas by theorists indicates that these were standardised types worthy of the attention of cultured classes and court circles. Later theorists do recognise certain Uparupakas. 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 Uparupakas. It is one thing to trace the early prototypes of dramatic conversation, recitation and action in the Kgvedic 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) tandava (uddhata)>nrtya>Bhana>Uparupakas like Preksanaka, Ullopyaka, Sallapaka, Silpaka>Rupaka types : Vyayoga>Samavakara, Thamrga, Dima; 2) lasya ( masrna)>nrtya> Bhanika> Uparupakas like Bhana, Dombi, Nartanaka, Prasthanaka, 1 The Types of Sanskrit Drama, pp. 147 etc.

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INTRODUCTION 29 Hallisaka, Kavya, Gosthi, Kalpavalli, Srigadita, Durbhallika, Mallika, Vibasika>Rupaka types: Bhana>Vithi>Prahasana, Anka; and both these currents once more conflow to produce the finished types, Nataka and Prakarana. In his opinion (p. 164) Bhana 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, notya and natya types outlined by him, Prof. D. R. Mankad distinguishes between certain stages of growth or periods in the natya types themselves (p. 165): 1) The natya, 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 Nataka and Prakarana types, which, when fully developed, gradually sent the other lesser types into oblivion. The problem of ascertaining the position of Sattaka in the evolution of drama is faced with many a difficulty; still an attempt is worth making. The term sattaka itself is a riddle; variants of spelling like sataka, sataka, salika are known, but they do not improve the situation. The word is undoubtedly un-S in-Sanskritic in etymology like some other names of Uparupakas such as Dombi. Hallisaka, Sidgaka. Perhaps it is to be traced back to a Desi word possibly of Dravidian origin. Stripped of its k-suffix, it shows elements like sa+atta or ata; and perhaps it stood originally as an adjective of a surpressed term. There is a Dravidian word atta or attam, dance, play, from the root atu or adu meaning to dance, gesticulate, to act a part or play. If the basic meaning was dance', the suppressed term may be rupaka: one can postulate a phrase sattaan ruvaan= a dramatic representation accompanied by dance. Or if the basic meaning was 'play', the suppressed term may be nartana: one can postulate a phrase sattaan attanan (or naccanam or naccidavvam) = 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 sodika occurs in the record below a bas-relief of the dancing scene; and the theorist Saradatanaya describes Sattaka as nrtya-bhedatmaka. Turning 1 See the extract in the Appendix.

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30 CAMDALEHA to the prologues of Sattakas, Rajasekhara uses the expression sattaan naccidavvam; Nayacandra remarks aho prakrantameva nartakaih; and Rudradasa 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 bharati) styles. It is preeminently associated with dance. It does not possess the orthodox, standardised divisions of anka, introductory scenes like pravesaka and viskambhaka and various technical junctures seen in Nataka etc. The whole action is divided into four pauses indicated by the intervention of curtain (yavanikantara or java"). It is replete with Marvellous (adbhuta) sentiment. It is agreed that it was composed entirely in Prakrit: Badarayana, 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 Prakrit. 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 Karpuramanjari of Rajasekhara, that recognises it on par with other Rupakas. All others would include it among the related or subordinate types. Though Bharata silently passes over Sattaka, other earlier authors like Kohala, whose works have not come down to us, did give due recognition to it. Bharata's Natyasastra represents only one of the many schools of dramaturgy; and if Bharata does not mention Sattaka, 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 Prakrit 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 sadika, a form of dance, which appears to be a forerunner of sattaka. Being popular in vogue and language, earlier specimens have not come down to us. In all probability Rajasekhara 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 Natika, and later theorists define Sattaka in the back-ground of Natika. This does not mean that Sattaka is a popular and subsequent remodelling of Natika. 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 Prakrit, 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 Natika which is duly described by Bharata and others. Thus Natika is an orthodox edition of the popular Sattaka. The variety of the forms of Natika, as suggested by the Dasarupaka, perhaps indicates different attempts to raise the popular Sattaka to a status acceptable to a court audience. Once Natika was evolved and defined by an authority like Bharata, subsequent authors simply followed him; and Sattaka was, for a while, say during the period between Kohala and Rajasekhara, superseded by Natika. Under such circumstances Badarayana 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 Prakrit. f) SATTAKAS KNOWN SO FAR Ancient specimens of Sattaka have not come down to us. Prior to Rajasekhara, 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 Karpura-manjari that became a classical example of Sattaka. The Prakrit had assumed a static form by Rajasekhara's time; and a play entirely in Prakrit 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 Sattaka form of Drama', Indian Historical Quarterly, VII, pp. 169-73. For the extracts about Natika and Sattaka, see the Appendix. 2

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32 OAUDALEHA 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) Karpuramanjari of Rajasekhara; 2) Rambha-manjari of Nayacandra; 3) Candralekha of Rudradasa; 4) Vilasavati of Markandeya; 5) Stngaramanjari of Visvesvara; and 6) Ananda-sundari of Ghanasyama". The analysis etc. of Candralekha 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 Prakrit. Rajas'ekhara and his Karpura-manjari Rajasekhara belonged to the Yayavara family. Akalajalada of great virtues was his grandfather, styled as maharastra-cudamani; his father was Darduka or Duhika, a great minister; and his mother was Silayati. He had married Avanti-sundari of the Cahuana family. He reached eminence as a spiritual teacher or upadhyaya of Mahendrapala or Nirbhara-raja, through the stages of bala-kavi and kavi-raja: he was thus connected with the court of Kanauj at the time of both Mahendrapala and his son Mahipala. The dates available for these kings from epigraphic sources range from 903 to 917 A. D.; so it is evident that Rajasekhara lived about A. D. 900. It is probable that he wrote some poems like the Haravilasa. 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) Bala ramayana, 2) Bala-bharata, 3) Karpura-manjari, 4) Viddha-salabhanjika, and 5) Kavga-mimamsa. The Karpuramanjari is a Sattaka, entirely in Prakrit and in four Javanikantaras; and it was brought on the stage at the desire of the author's wife, Avanti-sundari. I. In this excellent Sattaka, which is a stream of poetic flavours, king Candapala, which name reminds one of Mahendrapala, takes to wife the Kuntala princess, Karpura-manjari, really a cousin of queen Vibhramalekha, in order to achieve the rank of an emperor. After the Nandi and the Prastavana 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 Karpuramanjari 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. Vidusaka and the maid-servant Vicaksana dwell on the same theme; they fall out in their poetic competition and begin abusing each other; her superiority being recognised by the king, Vidusaka is about to quit the royal company. But he gets a pretext to come back with a magician, Bhairavananda, who praises the Kaula religion and parades his miraculous ability to achieve any feat. At the king's suggestion and Vidusaka'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 Vallabharaja and Sasiprabha of Kuntala country; the queen finds that she was her cousin sister Karpuramanjari, 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. Vidusaka enters with Vicaksana with whom he has a truce and who has brought from Karpuramanjari a love-letter describing her passion for the king: therein a stanza depicting heroine's pangs has been added by her friend. Vicaksana 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 Vicaksana's hint, the king accompanied by Vidusaka sees the heroine gracefully playing on the swing. Vidusaka 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 Asoka 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 Vidusaka a dream in which he met the heroine; Vidusaka mocks him by narrating a fantastic counterdream. Both of them have a discussion about the philosophy of love. Karpuramanjari is suffering excessively, and she discloses her pangs to her companion Kurangika. The king, with Vidusaka, hears it, approaches her to her pleasant surprise, and leads her to the pleasure 5 . .

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34 CAMDALENA 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 Vidusaka describe the summer and its effect on love-stricken persons. Vidusaka 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 vata-savitri festival. After Gauri is worshipped, the magician demands from the queen by way of daksina that Ghanasara-manjari, a daughter of Candasena of Lata, 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 Ghanasaramanjari on the scene. The marriage function goes on merrily; but soon the queen, to her regret, is made to realize that Ghanasaramanjari was only another name of Karpuramanjari. The king thanks Bhairavananda for fulfilling all his desires. We do not possess today earlier definitions and specimens of Sattaka in the light of which Rajasekhara's performance could be judged. Rajasekhara defines Sattaka as analogous to Natika with certain reservations, and there is nothing in this play which is contradictory to Bharata's definition of Natika which perhaps he had in view. He has not specified the number of Javanikantaras, but he has four; there are no Pravesaka and Viskambhaka: and excepting the stage-directions and names of characters, everything is in Prakrit. 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. Rajasekhara is more a poet than a playwright; and like those of some of his predecessors his play Karpura-manjari 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 Rambha-manjari Looking at the common verses of biographical interest in the Hammira Mahakavga' (XIV. 46, 46* 1, 46* 3, 46* 4) and the Rambha-manjari (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 Krsnagaccha, there was one Jayasimhasuri who defeated in dispute Saranga, an outstanding poet among those who composed in six languages and a great logician (pramanika), and who wrote three works: Nyayasara-tika, a new grammar, and a kavya of Kumaranrpati. Saranga's identity is uncertain. Of the three works, the first is a commentary on Bhasarvajna's Nyayasara (c. 900); and the third is the Kumara pala-carita, in ten cantos, finished in Samyat 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, Sriharsa (the author of Naisadhiya), Vatsayana, (Venikspana-) Amara i. e., Amaracandra. He styles himself a second Amaracandra in poetry. This Amaracandra* is the author of Padmananda Mahakavya (following which the Hammira-kavya also is viranka) and flourished about the middle of the 13th century A. D. The Hammira-kavya is a poem of great historical interest, and 1 Ed. Kirtane, Bombay 1879. 2 Ed. Ramacandra Dinanatha, Bombay 1889. There is a fine ms. (dated Sathvat 1535) of Rambha-manjari, 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: Nataka, 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 Jinaratnakosa by H. D. Velankar, Poona 1944, 4 M. D. Desai: Jaina Sahityano Samksipta Itihasa, Bombay 1933, pp. 378-81; M. B. Jhavery: Comparative and Critical Study of Mantrasastra, Intro. p. 222-23, Ahmedabad 1944.

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36 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 Kavyaprakasa 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 vakrima of Sriharsa. As to Nayacandra's age, he must have flourished between A. D. 1365, the date of Kumarapalacarita of his grand teacher Jayasimhasuri, and A. D. 1478, the date of the Poona Ms. of Rambha-manjari. 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-manjari invokes Visnu as Varaha. The Rambha-manjari of Nayacandra is a Sattaka; 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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INTRODUCTION 37 gathering of good people assembled at Benares for the yatra (or annual festivity) of Visvanatha 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, Rambha-manjari by name, which is in a way superior to the Karpura-manjari of Rajasekhara; 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 Rambha as the eighth with a view to become the lord of earth. The king Jaitracandra, praised by bards in Sanskrit, Prakrit and Marathi, 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 Vidusaka and Karpurika; 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. Karpurika proves superior; Vidusaka feels insulted and bids good bye to the palace. The queen describes moon-rise etc., and the king is anxious about Narayanadasa who was to bring some news about Rambha. Narayanadasa accompanied by Rambha in her wedding dress is brought in by Vidusaka. The king received the name Jaitracandra, because, on the day of his birth, his grandfather defeated the Kharpara army which came to the Dasarna country? Narayanadasa has some happy news to convey : it is announced to the king from behind the curtain that Rambha, born in the Kimmira varsa, the grand-daughter of Devaraja and the daughter of king Madanavarman of Lata, who is as beautiful as Parvati, 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; Vidusaka and Narayanadasa 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; Vidusaka declares that the king Jaitra and Rambha are duly 1 The relevant lines stand thus: 4 afin qurta T8 #Carojas, fogo FATHEUT TEV S a ata 1 I. 43,

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38 CANDALEHA married; and there are jubilations for the occasion. Morning is announced by the bard; along with other queens Rambha is sent to the harem by the king who retires for his morning duties. II. Being separated from Rambha, 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 Karpurika informs him that Rambha is quite happy in the sisterly company of the harem where she is personally taken care of by the queen Rajimati; and by assuring him of Rambha's deep attachment, she reads to the king her love-letter, despatched secretly, which only heightens his assion. Vidusaka 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 Rambha's breast, and pressed by king's embrace he woke up. He interprets it that the king would soon meet Rambha. The king is nervously anxious to meet her immediately. Karpurika, taking support of an Asoka branch, manages to bring down Rambha through the window. Both king and Rambha 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 Rambha like this to which she consents and happily retires to bed. Rambha 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. Rambha 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 Rastrakuta Jaitracandra, son of Vijayacandra, ruled at Benares in the country of Kanyakubja. He had a queen Karpuradevi; and he married also Subagadevi, the daughter of a salapati. He overpowered Laksmanasena of Bengal and Paramarddi of Kalyanakataka. He was highly praised by the poet Canda. He refused to give his kingdom to Suhagadevi's son; 1 Puratana-prabandha-sangraha, ed. by Jinavijayaji, Singhi Jaina Grantha mala 2, Calcutta 1936, pp. 88-90.

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INTRODUCTION 39 so she invoked the aid of Suratrana Sahabadina who was faced by Prthviraja and halted at Yoginipura. Jaitra-candra felt happy when his adversary, viz. Prthviraja, was defeated, but his minister realized the danger to his kingdom. In his second campaign, the Suratrana entered Benares in Samvat 1248, Caitra su, 10, and was victorious against Jaitracandra who died in the river Yamuna and whose eldest son, in the battle. That Suratrana treated Suhagadevi with disrespect for her treachery against her husband and her son was converted into a Turuska. According to the Prabandha-cintamani of Merutunga', the great monarch (prajya-samrajya-laksmir palauan) Jayacandra of Kasi had a title Pangu; he married Suhava, the wife of a Salapati; he refused to recognise her son as the heir-apparent; she invited the Mlecchas or Turuskas to attack Varanasi; when it was beseiged, the king put her son on his elephant and plunged himself in the stream of Yamuna. In the prabandha about Sriharsa, the author of Naisadhiya, the Prabandha-kosa of Rajasekhara' 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, Suhavadevi, the wife of a Salapati from Anahilla-pattana on which Kumarapala was ruling. To the displeasure of Suhavadevi, he decided to give the kingdom to prince Meghacandra and not to her son. She managed to invite the Suratrana of Taksasila 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 Prapandhakosa has either confused Jaya- and Vijaya-candra or more probably the name of the latter is skipped over in the text; and according to Rambhamanjari 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 Granthamala 1, santiniketan 1933, pp. 113-14. Edited by Jinavijayaji, Singhi Jaina Granthamala 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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40 CANDALERA wives and to the eighth wife Rambha noted by Nayacandra. In one Prabandha, Karpuradevi figures as a queen, but in our play there is a maid-servant Karpurika 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 Karpura-manjari. Our hero, then, as already hinted above, is the same as Raja Jaichand, almost the last king of the Gahadavala dynasty, who had made Benares his principal residence and who was overthrown by Muhammad of Ghor (Shihabu-ddin). It is not clear who this Madanavarman of Lata 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 Karpura-manjari (Km.) of Rajasekhara, and he claims that his Rambha-manjari (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 Prakrit verses are not as fluent as those of Rajasekhara. 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 Viddhasalabhanjika.

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41 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 ms. and, perhaps following it, the printed text of the Rambha-manjari call it a Natika: samapta Rambhamanjari nama natika, Nayacandra has plainly called Rm. a Satta or Sattaka (I. 19). The play comes to a close within only three Javanikantaras, 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 Yavanikantara 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 Javanikantaras 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, Pratihari, Vidusaka and Ceti speak Prakrit, and their verses also are in Prakrit excepting one (II. 14) in the mouth of Ceti (with the phrase samskrtam asritya) which is in Sanskrit. The Sutradhara, king, Narayanadasa 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 Natika which has been a model for later Sattaka; but whenever the number of Javanikantaras is specified, it is necessarily four; and in this respect, the Rambha-manjari, as a Sattaka, does not conform to its description. Further in the use of languages too, it does not satisfy the accepted condition of Sattaka: it is not 1 ikkhAgUNa naresavaMsatilao so jeta ( 0.8. jayata ) caMdappahU, juttIe pariNIya satta ghariNI rUveNa jA accharA / eyANi bhavituM jahuttavihiNA bhUmaMDalAkhaMDalo, raMbhaM taM pariNedi aTThamatiyaM eyammi saTTe vare // 1-19 // 6 caM. le.

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42 CAMDALEHA entirely in Prakrit. The Bhava-prakasana and Nataka-laksana-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 Prakrit. When a Prakritspeaking character, the Ceti, utters a Sanskrit verse, the apologetic samskrtam asritya is there. Unless some more Sattakas of the type of Rm. come to light, the promiscuous use of Sanskrit and Prakrit 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, Prakrit and Marathi; the Marathi passage deserves our special attention. I am reproducing it below from the Poona ms. (folio No. 3a) without any corrections: jari pekhilA mastakAvarI keshklaapu| tari pariskhalilA mayUrAMce picchapratApu // jari nayanaviSayu kelA veNIdaMDu / tari sAkSAjAlA bhramarazreNIdaMDa // jari dRgocarI AlA visAla bhAlu / tari arddhacaMdramaMDalu bhailA urNAyujAlu // bhrUjugala jANu / dvaidhiikRtkNdrpcaapu| nayananirjitu jAlA SaMjanu niHpratApu // mukhamaMDalu jANu zazAMkadevatAce maMDalu // savvAMgasuMdaratAmUrtimaMtu kaamu| kalpadruma jaise sarvvalokaAzAvizrAmu // This is a specimen of literary Marathi of the age of Nayacandra or, to be more definite, of the period of the ms., Samyat 1535 (A. D. 1477-78). Perhaps a line rhyming with the ninth is missing. The passage is certainly in Marathi 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 IndoAryan stage and which cannot be traced to the Middle Indo-Aryan, for instance, the formation of the past tense in -1 : pekhila, pariskhalila, kela, jala, ala and bhaila, with its agreement with the subject; secondly, the formation of the Genetive in mayuramce and devatace, both sing. and pl.; and lastly, the form jala, 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 Markandeya and his Vilasavati Markandeya is the author of the Praksta-sarvasva' which occupies an important position among Prakrit 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): kvacina tAdarthe / tAdarthe vihitAyAH caturthyAH SaSThI na syAt / 'pANAa gao bhamaro labbhai dukkhaM gaiMdesu // ' 'suhAa raja kira hoi raNNo / ' iti mama vilAsavatIsaTTake // The remark is quite plain, and we learn that Markandega composed a Sattaka, Vilasavati by name, Visvanatha (c. 14th century A. D.) mentions in his Sahityadarpana (VI. 277-79, prose remark) one Vilasavati, a Natya-rasaka, which obviously must be an earlier and different work. The name of Vilasavati as a heroine is pretty old and figures in the stories composed by Haribhadra (8th century A. D.), Sadharana (11th century A. D.) etc. If we can discover a Ms. of the Vilasavati Sattaka, composed as it is by an eminent Prakrit grammarian like Markandeya, it would be of great value to assess the nature of Prakrit in a Sattaka. Vis'ves'vara and his S'rngara-manjari Visvesvara, the son of Laksmidhara, belonged to Almodha or Almora, and flourished during the first quarter of the 18th century A. D. The editors of Kavyamala have recorded that his eighth descendent, Devesvara (Cunilala) by name, lived some time earlier than 1910 at Anupasahara on the Ganges. It is said that Visvesvara 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 Navamalika is a Natika and Sungara-manjari is 1 2 3 Edited by S. P. V. Bhattanatha Swami, Vizaga patam 1927; L. NittiDolci: Les Grammairiens Prakrits, Paris 1938, pp. 89 etc. Jinaratnakosa by H. D. Velankar, Poona 1944, p. 358. Kavyamala VIII, pp. 51-52; M. Krishnamachariar: History of Classical Sanskrit Literature, p. 355.

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44 CAMDALEHA a Sattaka. 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 Sattaka, 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 Sattaka to be staged is the Simgara-mamjari (Sk. Srngara-manjari) 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 Visvesvara, the son and disciple of Laksmidhara 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 Vidusaka 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 Vidusaka 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. Vasantatilaka comes there; the king suspects whether she overheard his talk; Vidusaka 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 ms, reads sataka. 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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INTRODUCTION 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 Srngara-manjari; she requests him to paint her portrait; and from that she discloses that it was that of her friend S.-manjari. 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 S.-manjari's beauty and poetic skill, Now and then Vidusaka is adding his comments. Both of them discuss how queen Rupalekha is jealously guarding the heroine, S.-manjari, whom, consequently, they are not able to see. The king tells Vidusaka that a woman is always unhappy at the presence of a co-wife. While the king is conveying his plan to Vidusaka, he receives an invitation from the queen, through Madhavika, to attend the worship of Madana in the park; he goes thither immediately, being led by Vidasaka; 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 Vidusaka 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 daksina, because his merits are not recognised. At queen's request, he stays there; and with great reluctance, she had to call S.-manjari to act as a judge, expert in sentiments, to settle the dispute between the Jester and maid-servant. Madhavika brings S.-manjari who is quite happy at the opportunity of seeing the king. The queen does not want King and S.-manjari 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 Vidusaka begin their dispute about srngara in the presence of the judge; Vidusaka 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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46 CAMDALEHA 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, Vidusaka 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 Vidusaka 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, Vidusaka 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 Srngaramanjari with a blue veil and accompanied by Vasantatilaka: 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 Vidusaka and Vasantatilaka and kept S.-manjari in a guarded dark room, under solitary confinement. Vidusaka 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 Parvati; 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.-manjari and the king; and she

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INTRODUCTION 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 Sangaramanjari 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 Vidusaka. Vidusaka is going home but returns with minister Carubhuti who greets the king as a Cakravartin and discloses the following details : Srngara-manjari is the daughter of Jataketu, the king of Avanti; her husband would become a Cakravartin; she was being carried away by Manimalin 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.-manjari was the daughter of her brother-in-law (avutta), 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 Natika with certain reservations, both Karpura-manjari and Sengara-manjari have much in common; and they inherit good many motifs, with or without minor changes, from the earlier plays' of Bhasa, Kalidasa, Harsa 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 Visvesvara 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 Rajasekhara'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-salabhanjika of Rajasekhara and the development of love-relation between Usa and Aniruddha, and between Kandarpaketu and Vasavadatta. The idea of bringing the heroine as an arbitrator is well conceived and managed with dignity: thus she is proved to be a veritable srngara-manjari, as her name connotes. Visvesvara shows a good deal of poetic 1 Especially Svapnavasavadatta, Malavikagnimitra, Ratnavali, Priyada rsika.

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48 CAMDALEHA talent, smooth and flavoury presentation of details, and lucidity of expression. Some of his discussions are stiff. All his characters speak Prakrit, and there are four Yavanikantaras. 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 Karpura-manjari, though some theorists explicitly prohibit them. Ghanas'yama and his Ananda-sundari The poet Ghanasyama', who calls himself mahurastra-culamani and who possessed epithets like Kanthirava, was the son of Mahadeva and Kasi, and a grandson of Caundaji Balaji. Isa was his elder brother; Sakambari, his sister; Sundari and Kamala, 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 Prakrit 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, Campus, commentaries and treatises on technical subjects like grammar, rhetoric, philosophy, etc. Ghanasyama 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-bhasa-kavi, with a mastery over seven or eight languages and scripts. He feels himself quite competent, almost equal, if not superior, to Rajasekhara, in composing a Sattaka which is entirely in Prakrit. His attitude towards Prakrit is well expressed in the conversation between Vidusaka and Sutradhara. In his opinion, an eminent poet need not be ashamed of composing works in Prakrit. 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, Ghanasyama appears to 1 For the life and works of this poet, see Prof. J. B. Chaudhuri's paper Sanskrit Poet Ghanasyama', Indian H. Quarterly, vol. XIX, 3, pp. 237-51.

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INTRODUCTION 49 have composed three Sattakas: 1) Vaikuntha-carita, 2) Anandasundari, and 3) an anonymous one. Two Mss.of A.-sundari have been accessible to me; and its contents are summarised below. 1. After benedictory verses invoking Visnu-Laksmi etc., Sthapaka or Sutradhara and Vidusaka discuss a letter from an Association (samajika-lekhah) for staging an interesting play; and it is decided to enact a Sattaka, the Ananda-sundari, composed, at the age of 22, by Ghanasyama (described ) who is as competent as Rajasekhara, who has won a title Kanthirava, and who can compose works in various languages. Sutradhara, who is wishing for a son, suggests the plot by a simile: Sikhandacandra marries the daughter of Candavega; he has a son from her; and he becomes a universal monarch. The king reflects on his fortune and discloses certain details : The minister Dindiraka has been sent out to subdue Vibhandaka 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 Anandasundari 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 Mandaraka; and as foretold by an astrologer, she might have a son. Bards greet the king with morning prayers by describing the advancing day. Vidusaka has offended unwittingly another Brahmana Manduraka; and the king settles the quarrel by a present to the latter. The king wishes to see a nataka staging how Anandasundari was brought etc. composed by Parijata-kavi. Pingalaka and Mandaraka are also invited, and a garbha-nasaka 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 Nataka (The Sanskrit Drama, p. 345), is described by M. Krishnamachariar (History of Classical Sanskrit Literature, p. 248) as Sattaka in Prakrit. It is necessary that MSS. of Vaikunthacarita and Navagrahacarita should be inspected and seen whether they are Sattakas. One complete ms. containing Prakrit text and Bhattanatha'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 Mahal Library, Tanjore. The latter is wanting in some portion at the beginning. 7 * .

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50 CAMDALENA A.-sundari was dressed as a man and brought to the harem. As the characters of the spectators are there in the garbhanataka, a good deal of fun is created by Vidusaka 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 Vidusaka that Hemavati divulged their secret to the queen with the result that Mandaraka has been chained and Anandasundari 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. Vidusaka blesses him with good luck. Then to divert king's mind, there enters the poet Parijata, alias Kankhirava, vaunting his poetic abilities. In a high-flown style, full of long compounds, subtle allusions and mythological references, he praises the metropolis Srakhalavati 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. maha-samrajya. To divert himself the king proposes to Vidusaka that they should describe the various limbs of the heroine A.-sundari; 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 Vidusaka 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 Anandasundari. 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 Vidusaka exchanges a few bitter jokes with maid-servants. The king, heroine, Vidusaka, etc. come to the Sungara-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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93921 IV. Vidusaka 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. Vidusaka 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 Dindiraka arrives. A garbha-nataka composed by Parijata-kavi is staged. It is shown how Dindiraka leads a fleet, how the demon Vibhandaka 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-vakya. INTRODUCTION 14 $42000 Ghanasyama almost vies with Rajasekhara in composing a Sattaka; 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 Karpuramanjari. The introduction of two garbha-natakas 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 Vidusaka that Ghanasyama believed that a Sattaka 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 Ghanasyama. 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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CAMDALEHA light humour with which many of the conversations and remarks, especially of Vidusaka, 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. Ghanasyama is well-known for his pride and show of learning; and it is not surprising that the poet Parijata, alias Kanthirava, is only his own replica. The entire play in four Javanikantaras 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 Yavanikantara, he sings a verse in Sanskrit (Samskrtam 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) CANDRALEKHA: A SATTAKA It is but inevitable that a late author like Rudradasa has in view the earlier definitions1 of Natika and Sattaka, 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 Sattaka. The principal sentiment in the Candralekha is erotic or srngara presented in its various aspects and through suitable styles or vrtti. The marvellous sentiment, as stated in the Sahityadarpana, 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 Pariparavaka. There are no Pravesaka 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 Sattakas has reverted to the practice seen in Asvaghosa's plays. The adjective bamdhuramgo 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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INTRODUCTION 53 Candralekha fulfils the essentials of a Sattaka; and most of the motifs on which its plot is built are found in the Karpura-manjari as well as in some Natikas. v) KARPURAMANJARI AND CANDRALEKHA Reading side by side the two Sattakas, Karpura-manjari and Candralekha, 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 Prastavana of Km. and Sthapana of Cl.; the king, queen and Vidusaka 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 Vidusaka 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 Parvati, quarrelling in love, are referred to; Sattaka 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); Vilusaka 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 Vidusaka. He has recorded some mss. which put one line in the mouth of the king and the other in that of Vidusaka. Rudradasa appears to have had before him such mss. of Km.

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54 CAMDALEHA (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.) Rudradasa, 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 Candralekha, which in the case of Natika and Sattaka should be the same as the name of the heroine, has suggested itself to Rudradasa from the title of the Mrgankalekha Katha of Aparajita to which Rajasekhara 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 Natikas and Sattakas. 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 Ceti; King's dream and Vidusaka'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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INTRODUCTION 55 Cintamani presided over by a patronising and benevolent deity; the swing and Asoka scenes have their purpose served by a singing entertainment. Rajasekhara, as a young court-poet and having his play staged at the instance of his cultured wife Avantisundari, shows a youthful buoyancy in depicting the amorous sentiment; his descriptions of womanly beauty are frank, and pining plaints of separated lovers are outspoken. Rudradasa, 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. Rudradasa has his innovations and improvements. The episode of the Sarika 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 Rajasekhara in his Balaramayana (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 Manaveda 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 Rajasekhara, through the mouth of Bhairavananda, to give non-factual or imaginary names of the parents of Ghanasaramanjari which is only another name of Karpuramanjari whose parents are already once mentioned, and also to introduce that hide-and-seek scene so hard to manage on a simple stage. Rudradasa 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. Rudradasa makes no reference whatsoever either to Rajasekhara or to his Karpura-manjari 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 Candralekha, 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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56 CAMDALEHA vi) CANDRALEKHA, 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 Vidusaka 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 Natika, and consequently for a Sattaka. In working out the development of the intrigue and some of the details of the plot (for instance, the Sarika episode, Vidusaka talking in dream, keeping the heroine unrecognised almost upto the end, etc.) Rudradasa 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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61 INTRODUCTION 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. Rudradasa's depiction of love or amorous sentiment lacks buoyancy and is presented under much restraint. Apart from the artificiality of his Prakrit dialect, Rudradasa'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 Bhavabhuti and Rajasekhara; the latter, of course, is his immediate model. Though he does not possess much case of Prakrit.expression, he can nearly rank with Rajasekhara in his love for long metres and his mastery over Prakrit versification. Some of his gatha varieties are quite happy in their sound and sense; and here and there, though to a less extent when compared with Rajasekhara, 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 Manaveda. Rudradasa 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 Prakrit; but the result has fallen short of what a drama should really be. vii) PRAKRIT 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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58 CANDALEHA 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 Gujarat and round about writing in Prakrit shows sufficient mastery over Hemacandra's Prakrit grammar. His language shows that he is acquainted with Ardhamagadhi canon, post-canonical treatises and Prakrit (or, as we call it to-day, Jaina Maharastri) works of authors like Haribhadra. The Sanskrit language in which he is normally adept, the popular Apabhrmsa 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 Prakrit authors from the North not only show, like earlier authors, traces of popular Apabhramsa in their language but also add, without any hesitation, their songs and specific descriptions in Apabhraisa almost in continuation of their Prakrit composition. For us, from a distance, this is rather strange; but for them, and really speaking, composition in Prakrit and Apabhraiia, side by side, was but natural and inevitable in the North in post-medieval times. The South Indian authors like Lilasuka, Srikantha, Rudradasa and Rama Panivada, who come from the extreme South, have contributed their mite to Prakrit literature under great handicaps which we may try to appreciate. They belong to the decadent period of Prakrit literature; Prakrit 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 Prakrit; 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 Candralekha shows certain facts. Rudradasa is following the Prakrit grammar of Vararuci, the first nine chapters, as available in southern Mss. About the Prakrit literature which he had studied there is very little direct evidence in his style and language. He does not appear to have studied any Prakrit and Apabhramsa works of Jaina authors from the North : their influence is not seen at all. The Karpuramanjari of Rajasekhara, 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 Prakrit

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INTRODUCTION 59 portions of plays, gathas from Hala's Kosa and poems like Ravanavaho. His strength as a Prakrit poet is mainly based on his thorough grounding in Sanskrit language and literature, his ability to corrupt Sanskrit words into Prakrit, 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 gatha. It is but natural that the Prakrit of Candralekha sounds artificial, much different from the lively expression in genuine Prakrit literature. Minor dialectal differences apart, the classical Prakrit 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 anusvara 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 Prakrit in its wide sense or Middle Indo-Aryan can be split into various consecutive sub-stages : Old or Early Middle Indo-Aryan (Early Prakrit Stage ), Transitional Middle Indo-Aryan, Second Middle Indo-Aryan (Prakrit Proper), and Third or Late Middle Indo-Aryan (Apabhramsa). The first stage keeps the intervocal single stops intact; during the transitional period they get voiced or spirantised; and in the Prakrit Proper they drop off from the speech. Apabhramsa presupposes almost entirely the Prakritic 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 Prakrit dialects : Inscriptional Prakrit, Pali, Paisaci; Sauraseni, Magadhi; Maharastri; and Apabhramsa. This marking of sub-stages is true so far as theoretical evolution in concerned; but once these stages are given a 1 H. Jacobi: Ansgewahlte Erzalungen in Maharastri, Intro., p. XII, Leipzig 1886. S. K. Chatterji : Indo-Aryan and Hindi, p. 84, Ahmedabad 1942. 2

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CAMDALEHA 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 gathas attributed to Hala does presuppose a large body of lyrical songs. In general these gathas 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 Maharastra, with its area round about Pratisthana and under the Andhrabhrtyas, 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 Vasudevahindi; but even that (which we call Jaina Maharastri), in the works of Haribhadra etc., began to approach very near the dialect of lyrical gathas. 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. Dandin (earlier than 700 a. D.) compliments it as being written in the best Prakrit current in Maharastra. This Prakrit has been called by the name Maharastri. The artistic poems like the Gaudavaho, Lilavati etc. in gatha metre, are also written in the same. Its popularity can be guaged by

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INTRODUCTION 61 some more facts.: Prakrit 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 Kavyas, 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 Maharastri, that the Sanskrit poetry of the Renaissance' also gained those qualities of freshness and naturalness which are praised in the case of Vaidarbhi." The Prakrit metre Gatha appears as Arya in Sanskrit; and Somadeva in his Yasastilaka and Jayadeva in his Gitagovinda imitated some popular Apabhramsa metres. According to early dramatic theory, to a very great extent confirmed by the Prakrit speeches in plays, Sauraseni was put in the mouth of ladies etc. Sauraseni is mentioned by Bharata (c. 3rd century A. D.) who does not mention the name of Maharastri. The dramatic tradition of Bharata gives a place of recognition to Sauraseni. Phonetically it belongs to the transitional stage in the evolution of Middle Indo-Aryan; but with the gradual popularity of Maharastri, it was sure to be affected by it as a literary language. Jacobi has already detected a Pre-classical Prakrit, which was used in place of Maharastri in early days, in the Dhruvas of the Natyasastra. In some respects it is akin to Sauraseni,a name already given to it by Bharata himself. It possesses many a trait of transitional character. The dialect of the sutras of Dhavala etc., the Prakrit prose commentaries therein, and of the Pro-canonical texts of Digambaras is more akin to Sauraseni than to classical Maharastri. Any way Sauraseni, possibly a literary language based on the popular speech of Surasena country, has to be accepted as an eminent Prakrit of the plays. The Indian dramas, almost from the beginning, contain both 1 Ausgewahlte Erzalungen in Maharastri, Intro. p. XVII. 2 See Jacobi's discussion in his Essay on the Younger Literary Prakrit, Bhavigattakaha (Munchen 1918), Intro. pp. 81-89. M. Ghosh : Prakrta Verses of the Bharata-Natya-sastra, section 4, Indian H. Q., vol. VIII, 1932; The Date of the Bharata-Natyasastra, p. 29, Journal of the Department of Letters, vol XXV, Calcutta 1934. 4 A. N. Upadhye: Pravacanasara (Bombay 1935 ) Intro. p. 124 f.

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62 CAMDALEHA Sanskrit and Prakrit,' and are written in prose and verse. The dialect of the Prakrit prose can be Sauraseni, or Magadhi 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 Natyasastra. But with the rise of lyrical gathas in Maharastri, the preeminent Prakrit 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 Bhasa, their traces appear in the Mrcchakatikam and Sakuntalam. The Prakrit language of the plays in general and of the verses in particular was bound to be influenced by Maharastri tendencies. It is in this back-ground that we have to understand the remark of Visvanatha in his Sahityadarpana (VI. 159): (that women not of lowly origin should speak Sauraseni in drama, but in their songs they should use Maharastri. The verses used in plays could not escape the influence of that elastic dialect so happily perpetuated in the gathas of Hala etc. Sauraseni and Maharastri 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 Prakrit grammar, almost all our Prakrit 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 Maharastri as described by different Prakrit grammarians. In the plays some influence is weilded by Sanskrit also on the Prakrit passages, because the passages in both of them are preserved side by side. Pischel, it is true, has attempted a comprehensive Prakrit 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 Prakrit Sprachen, Strassburg 1900.

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INTRODUCTION 63 is seen in Pischel's 2nd edition of Sakuntala brought out by Cappaller. Without important new ms. material, dialectal changes in Prakrit 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 Maharastri in the Karpura-manjari. 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 Karpura-manjari Konow has put all the verses in Maharastri and prose in Sauraseni, following the definitions of these dialects mainly as given by Pischel. But in this edition of Candralekha, 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 Candralekha. 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. Rudradasa writes both his verses and prose in the same language; the terms Sauraseni and Maharastri as defined by Hemacandra, Markandeya or Pischel need not be applied to it; it should be called Prakrta 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 Karpura-manjari. viii) METRES IN THE CANDRALEKHA The Candralekha contains (41+34+24+30=) 129 verses, in different metres, distributed over four Yavanikantaras. They are arranged below according to Devanagari alphabets, with necessary references to Yava. and verse-number. Arya (2): II. 32, III. 22. Udgiti (1): II. 26. Upagiti (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. Puspitagra (3): I. 2, III. 2 and 13. 1 Kalidasa's Sakuntala, Harvard Oriental Series, 16, Harvard University Press 1922, Preface p. 15 f., and also p. 250 etc.

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4 CAUDALER Psthvi ( 10 ): I. 17, 21 and 30, II. 23, III. 17 and 18, IV. 7, 25, 26 and 30. Mandakranta (2): II. 8 and 13. Malini (4): II. 5 and 9, III. 4 and 5. Rathoddhata (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. Sardulavikridita (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. sikharini (3): I. 4 and 41, II. 15. Sragdhara (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. Harini (2): II. 19, 20. It is in the fitness of things that our author has included many Gitis etc. which are the verieties of Arya, the same as Gatha, the preeminent Prakrit metre. One Giti is short by two matras in the 3rd pada (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. RUDRADASA: THE AUTHOR The information which the author of Candralekha gives about himself in the Sthapana (1. 5. 4 etc.) of the play is quite meagre. His name is Rudradasa; he belonged to the Parasava community (vamsa) the members of which took pride in their devotion to the feet of Brahmanas, were far famed, and diverted themselves by literary compositions; and he was a disciple (sisya) of Rudra and Srikantha 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), Parasava is an issue of a Brahmana from a Sudra lady. Yajnavalkya 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 purasava (parayann eva savah). Kulluka allows sraddha etc. for him. The Parasavas have a pretty

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INTRODUCTION high antiquity.1 "An inscription from Bengal, belonging to the seventh century, describes a certain individual as 'parasava' and makes him the issue of a Brahmin father and a Sudra mother, which is in conformity with rules of the sacred laws. Banna, in his Harshacharita, also tells us that his father, a Brahmin, had a Sudra wife besides a Brahmin one, and describes her issue as his 'parasava brothers'." In the Kerala province Parasavas 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 Namputiri (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 Narayaniyam (A. D. 1585) of Narayana Bhattatiri (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 Rudradasa, 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 caM. le.

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66 CAMDALEHA 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 Brahmanas but also on Variyars or Parasavas. In fact the hereditary tutor of the family was the Variyar of Desamangalam. It is on account of his commentary on the Narayaniyam that Rudra became a special favourite of the Zamorin Manaveda (A. D. 1655-58 ), the author of Krsna-nataka. Manaveda I showed great regard for Rudra by putting in his charge the education of his nephew and successor, Manaveda II, known as Asvati Tirunal from the asterism under which he was born. Manaveda 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 Laksmi-Manavedam. In all probability it is Manaveda II who was the patron of our author Rudradasa and who figures as the hero in the Candralekha. Thus possibly Rudradasa wrote the Candralekha some time about 1660 A, D, No other work of his has come to light so far.

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ruddadAsa - viraiA caM da le hA

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[1] "bhaI deu gaANaNo bhagavaI bhAsA muhe bhAu sA bhUdevA kusalaM kuNaMtu kaiiNo sa pasIdaMtu No / ANaMdAula - mANasA sahiaA sajjaMtu NimmaccharaM acche parikIliDaM rasa - suhA- sottesu sutesu No // 1 // (nAndyante, tataH pravizati sUtradhAraH / ) sUtradhAraH - avi a / "paNamaha sui-rAa-haMsaesuM hara - NaaNesu muhaMbuUsuesuM / paa-kamala- pahAviaM umAe paDhama-immi avaMga bhiMga-mAlaM // 2 // deve caMda-sihAmaNimmi paNae salloa - kalloliNi cUDA maMDaNaM- lAliaM Nia - pahA -rattaMsuaggeNa je / sigdhaM chAdia hoMti pemma- kalaha-cchede duve dakkhiNA pAA a kaNNaAeN pauraM lacchi acchaMtu vo // 3 // avi a / 1 x opens thus : zrIH candralekhAsaTTakam // . 2 Kh bhaavaI. 3 kulaNo 4 K suttaMsu. 5 K sula6 x paThamaNaiddiapAGgabhiGgimAlam. 7 x sikhAma 8 xh maNDala. 9 Kh girikaNNaAa. 10 K paacchedu, but Kh paacchantu. [ saMskRtacchAyA ] *3 I) bhadraM dadAtu gajAnano bhagavatI bhASA mukhe bhAtu sA, bhUdevAH kuzalaM kurvantu kavayaH sarve prasIdatu te / AnandAkulamAnasAH sahRdayAH sajantu nirmatsaraM, accheSu parikrIDituM rasasudhAsrotassu sUkteSu naH // 1 // II) praNamata zucirAjahaMsakeSu, ha~ranayaneSu mukhAmbujotsukeSu / padakamalapradhAvitAmumAyAH, prathamanatAvapAGgabhRGgamAlAm // 2 // api c| deve candrazikhAmaNau praNate svarlokakallolinIM, cUDAmaNDarna lAlitAM nijaprabhAraktAMzukAgreNa / zIghraM chAdayitvA bhavataH premakalahacchede dvau dakSiNau, pAdau parvatakanyakAyAH 1t has the opening title mAnavedacaritam. 2 M * bhUdevaH kuzalaM karotu *. 3 se, but corrected as te. 4 x nirmatsarA. 5 DM sUkSmeSu. 6 M sucirAya haMsa 7 haravaidaneSu. 8 KM maNDalalA. SM yena. 10 bhagavataH 11 x pAdau tau girikanyakAyAH.

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caMdalehAe dara-mhere yere ' gahia - bahumANe mahumahe suNAsIre dhIre sura-aNa- muhe patta-vaDaNe / ghaNANaMde khaMde paNai- samae bhUda-paiNA khaNaM diNNe puNNe paNamaha kaMDakkhe bahuvihe // 4 // (nepathye karNa dattva ) kaha ADhato eva saNNahijjaMta murava - ravammaMsalo kaMsattAla* sajjana jaNi jhaNajhaNArAva picaro oaraNa-paaTTa NaTTaI-karAmuzcaMta maNi kaMkaNa jhaMkaraNa-saMkulo * 9 patta-visesa - viNiujnaMta sajjaMta kusala - kusIlava- kalakala bahalo NaTTaNa-kolAhalo / tA pucchissaM dAva 6 * kiM divaM ti / (parikramya nepathyAbhimukhamavalokya) mArisa, ido dAva / ( pravizya pAripArzvakaH ) pAripArzvakaH - "ANavedu bhAvo / II) sUtradhAraH - "kassa NaTTaNaM ADhappara tumhahiM / pAripArzvakaH sadRo paTTidavvo / [ I.40 sUtradhAraH - ( saharSam )aaM avasaroM amhANaM paoa - viNNANaM daMsiduM / Nihaso khu saTTao NaTTaANaM kaINaM ca viaDDhadAe~ / (vicintya ) 12 1 daranyere nyare. 2 K kande paNada, but Kh khande paNai 3K kaTakkhe. 4 Instead of this stage direction, which is found in Kh, we have parikramya nepathyAbhimukhamavalokya in K. 5 x gives this direction above, but Kh adds it at this place. 6K ayaM. 7 x Niao. 8 K viadAe. pracurAM lakSmIM prayacchatAM vaH // 3 // api ca / ISat - smerAn brahmaNi gRhItabahumAnAn madhumathe, zunAsIre dhIrAn suragaNamukhe prAptapatanAn / ghanAnandAn skande praNatisamaye bhUtapatinA, kSaNaM dattAn pUrNAn praNamata kaTAkSAn bahuvidhAn // 4 // ( ... ) kathamArabdha eva sannahyamAnamurajaravamAMsalaH kAMsyatAlasajjanajanitajhaNajhaNArAvapIvaraH apakaraNapravRttanartakIkarAmucyamAnamaNikaGkaNajhaGkaraNasaMkulaH pAtra vizeSaviniyujyamAna sajjatkuzalakuzIlavakalakalabahulaH nartanakolAhalaH / tat prakSyAmi tAvat kiM nartitavyam iti / (--) mAriSa, itastAvat / I ) AjJApayatu bhAvaiH / II) kasya nartanamArabhyate yuSmAbhiH / III) saTTakaH nartitavyaiH / IV) ayaM avasaraH asmAkaM prayogavijJAnaM darzayitum / nikaSaH 1 ISad brahmaNi smerAm, M daraM sthadvare svarAnmAgRhIta 2 muravarava, M muraparava. 3 M khaNakhaNArAva 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. 4 bhavAn, M bhAva: 5 Komits this sentence,

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paDhamaM jayaNiaMtaraM so saTTao sahaaro kila NADiAe tAe caujjavaNiaMtara- baMdhuraMgo / cittatya - suttia - raso parameka-bhAso vikkhaMbhaAdi-rahio kahio buhehiM // 5 // mArisa, kassa uNa sarassaI-NIsaMdo saTTao NaTTidavvo / pAripArzvakaH-"kiM vi acchariaM suNAdu bhAvo / vAasa-vaaNAdo paMcama-rAo udaMcai, bi-viDavAdo moaM uppajjai, kArakkharaphalAdo pIUsa - raso pasarai, jaM deva maMdira - bAhirAliMda-saMmajjaNAdi-vAvAra-matta-parAaNAhiMto pArasava-pasUhiMto saMjhA-samaa-saMphulamaliA - mahura-maaraMda-NIsaMda-ganbho saMdabho pahavadi / -1.6d] sUtradhAraH - mArisa, mA evvaM / Na khu NiMdaNijjA tattha bhavaMto pArasavA / jado jANaM bamhaNa loa-pAda-jualI sussUsaNaM bhUsaNaM jANaM Nimmala - kavva - cavvaNa-kahA- saMsIlaNaM kIlaNaM / vaMse jANa asuddha - vutta-suhao so rudda muttA - maNI jAo tANa thuIsu kassa bhuvaNe jIhA NirIhA bhave // 6 // 1 x tANiM carajjavaNi, but Kh tAe. 2K suttita, but Kh suttia. but Kh gives it. 4 K viTapAdo. 5 x pApariNAhiMto. 6 pavahRdi. but xh has it. 8 tattabhavanto. 9 K pAdu* 10 K thANa. khalu saTTako nartakAnAM kavInAM ca vidagdhatAyAH / (...) sa saTTakaH sahacaraH kila nATikAyAH, tasyAzcaturyavanikAntarabandhurAGgaH / citrArthasUtritarasaH paramekabhASaH, viSkambhakAdirahitaH kathito budhaiH // 5 // mAriSa, kasya punaH sarasvatI niSyandaH saTTako nartitavyaH / I) kimapi Azcarya zRNotu bhAvaH / vAyasavadanAt paJcamarAga udaJcati, nimbaviTai pAnmocamutpadyate, kAraskaraphalAt pIyUSarasaH prasarati, yaddeva mandirabAhyAlindAdisaMmArjanAdivyApAramAtraparAyaNAt pArazavapazoH saMdhyAsamayasaMphulla mallikA madhura makarandaniSyandagarbhaH saMdarbhaH prabhavati / II) mAriSa, maivaM / na khalu nindanIyAstatrabhavantaH [pArazavAH] / yataH yeSAM brAhmaNalokapAdayugalI zuzrUSaNaM bhUSaNaM yeSAM nirmalakAvyacarvaNakathAsaMzIlanaM krIDanam / vaMze yeSAM ca zuddhavRttasubhagaH sa rudramuktAmaNirjAtasteSAM stutiSu kasya bhuvane jihvA nirIhA 1 M bandhurAnaM. 2 M sUktikarasaH 3 x omits mAriSa given by M. saMmArja ( mAtra )nAdi 6 garbhAH sandarbhAH prabhavanti 7 x omits mAriSa. 3x omits mArisa, 7 x omits mArisa, 4 M viTapAnmauktikamu . 5 K 8 K zuddhavRtte subhagaH.

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caMdalehAe [I.6.1___ pAripArzvakaH -"tassa rudassa siriaMThassa asisso ruddadAsa-NAmaheo kila tassa kii| / sUtradhAraH-"taM uvavajjaI / taraNi-kiraNa-jAla-Nirattha-taMdAdo evva araviMdAdo mahuarANaMda-kaMdo pasarai mrNd-nniisNdo| pAripArzvakaH - kiM tAriso tANaM rudda-siriaMThANaM sikkhaa-viseso| 6 sUtradhAraH-IV kiM bhnnnnii| vaDa-dala-gao vi ruddo vakkhANaM jANa suNia sir-apN| maMdaMdolia-caMdaM phaMdaMta-phaNiMda-kuMDalaM dei // 7 // pAripArzvakaH- Namo mahappANaM / teNaM AvajjiA sjjnnaa| sUtradhAraH- "khN| pAripArzvakaHVI"paJcuvvajjai pulao hia uvaNei AsaNaM suhaN| uvaharai agghamacchI sajjaNa-kaNNAdihINa suttINaM // 8 // kiM ca / kavva-NibaMdhe kaiNo dhamma-alaM oharaMti muha-laggaM / ANaMda-bAha-sisirA sira-aMpa-samIraNA khu sUrINaM // 9 // 1 K tA upapajaI. 2 : kiM phaNai. 3 xh vaDaalagao. 4 rh bhAva teNa. 5 : kalaNo. 65 vibuhANam, but Kh has sUrINam. bhavet // 6 // I) tasya rudrasya zrIkaNThasya ca ziSyo rudradAsanAmadheyaH kila tasya kaviH / II) tadupapadyate / taraNikiraNajAlanirastatandrAdevAravindAnmadhukarAnandakandaH prasarati mkrndnissyndH| III) kiM tAdRzastayoH rudrazrIkaNThayoH shikssaavishessH| IV) kiM bhaNyate / vaTatalagato'pi rudro vyAkhyAnaM yayoH zrutvA ziraHkampam / mandAndolitacandraM spandamAnaphaNIndrakuNDalaM dadAti // 7 // V) namo mahadbhyAm / tena Ava. rjitAH sjjnaaH| VI) katham / VII) pratyudvajati pulakA hRdayamupanayatyAsanaM subhagam / upaharatyaya'makSi sajanakarNAtithInAM sUktInAm // 8 // kiM ca / kAvyanibandhe kaveH dharmajalamapaharanti mukhalagnam / AnandavASpazizirAH zira kampasamIraNAH khalu sUrI 1 pUriNAm for sUrINAm.

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-I.12.6] paDhamaM javaNiaMtaraM abbhatthiaM ca Na / jaha agaNia NavaM ti dosaM aNirUvia NiaDadA-kaaM 'NidaM / pamhusia taM asUaM rasiA odaMsaaMtu kidimeaM // 10 // sUtradhAraH-"kiM aNNaM / pAaDa-baMdho evva rasiANaM ANaMda kaMdalei / jado jaha hoI avara-mAlA mAlai-mAlA a mhuaannN| taha hoi aNNa-bhAsA pAaDa-bhAsA a rasiANaM // 11 // pAripArzvakaH - INaM teNa cia bhnni| bhAsA khu pAaDamaI visao sirimaannvea-cria-sirii| rasa-gabbho saMdabho sajjaNa-pIdINa jovvaNaM eaM // 12 // sUtradhAraH --keNa NijutA puNa paaTTaha sadRa-NaNe / pAripArzvakaH-1 tassa evva NiraMtaroNamaMta-sirimaMta-sAmaMta-viaDamauDaMta-NivaDaMta-mANika-maNi-samaha-moha-lehA-pallavia-pAapIDhassa khaMDa-parasu-sihaMDa-sasi-khaMDa-paMDura-mahamahaMta-mahia-jasa-pUra-kappUra-Niara-pavvaAaMta-bhuvaNaMtarAlassa adi-dhavala-hiaa-phaliha-paDiphalaMta-paramesara-paa-palavassa samara-muha-balAmoDi-gahia-jalacchI-6 ___ 15 didam. 2 pammusia. 3 K yaMsUaM. 4 K hola, but xh hoi. 5 x 'mANacariasirI, but Kh has mANaveacaria. 65 sajjapIdINaM, but rh has sajaNa. 7 K jokhkhaNaM. 8 K sAmanta. viamauDanta. 9 5 NipaDanta, 10K paNDaramahAmahanta. 11 K omits pUra. 126 NIara13 KjayalacchI. NAm // 9 // abhyarthitaM cAnena / yathA, agaNayitvA navamiti doSamanirUpya nikaTatAkRtAM nindAm / prasmRtya tAmasUyAM rasikA avataMsayantu kRtimetAm // 10 // I) kimanyat / prAkRtabandha eva rasikAnAmAnandaM kandi)layati / yataH, yathA bhavati avaramAlA mAlatImAlA ca madhupAnAm / tathA bhavati anyabhASA prAkRtabhASA ca rasikAnAm // 11 // II) nanu tenaiva bhaNitam / bhASA khalu prAkRtamayI viSayaH shriimaanvedcritshriiH| rasagarbha: saMdarbhaH sajanaprItInAM yauvanametat // 12 // III) kena niyuktAH punaH praivartadhve saTTakanartane / IV) tasyaiva nirantarAvanamacchrImatsAmantavikeMTamakuTAntanipatanmANikyamaNisamUhamayUkhalekhApallavitapAdapIThasya khaNDaparazuzikhaNDazazikhaNDapANDurasarvataHprasaranmahitayazaHpUrakapUranikaraparvatAyamAnabhuvanAntarAlasya atidhavalahRdayasphaTikapratiphalitaparamezvarapadapallavasya samaramukhabalAtkAragRhItajayalakSmImAlyadhammillaparyastamallikAmAlya 1M pramuSya; it has minor gapg in this speech. 2 ra 'mAnavetacarita'. 3 // pravartadhvaM sabhikanartane. 4 M nirantaropana. 5Komits vikaTa. |

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vaMdalehAe [I.12.7malla-dhammilla-pallantha-maliA-malla-bahala-parimalAsaMga-saMgaa-bhiMgaricholi-saMsaia-loludaMDa-maMDalagga-maMDia-paaMDa-bhuadaMDassa riu. , bala-salaha-lehi-caDula-jAlA-jAla-jajjalaMtaa-paAva-pAvaa-pAAra-parirakkhia-saala-bhuvaNaalassa acchiNNa-diNNa-suvaNNa-raaNa sAmiddhi-samiddha-maNi-maMdira-valahI-jAla-kIlaMta-saala-daridda-loa. 12 ssa savva-bhadANukaMpiNo saMpaaMkaa-karaNijjadAe jovvaNa-suhaM aNaMhotassa rAAhirAa-paramesarassa sirimANaveassa asthANa-maMDavamaMDaNeNa paMDia-maMDaleNa / kiM ca / assi khu saTTaa-vare NioM-bhatuassa cakesarataNa-karANa guNANa ThANaM / cAruM samuvvahai taM kila caMdalehaM aMgesarassa taNa sirimANaveo // 13 // sUtradhAraH- aho, AadA evva javaNiaMtare mahArAa-devINaM kAdUNa bhUmi ayyo ayyavallahA a / tA amhahiM avasesa-karaNijjaM sajjIadu / ( iti parikramya niSkAntau / ) 1 K pallantha. 2 Komits bahala. 3 5 ruccholisaMsalaa. 4 K pAvapAapAra. 5 K daaNa, but Kh raaNa. 6 K tataakaraNijadAe. 7 KdeghoMtassa rANanakRtvA rAAhi. 8 K maNTapa. 95 kIca. 10 K Nijabhattaasakesara', but xh Niabhattuassa cakkesara. 11 K sirimANameo. 12 F avisesa. 13 K saMjIvaadu. bahalaparimalAsaMgasaMgatabhRGgazreNIsaMzritaloloddaNDamaNDalAmamaNDitapracaNDabhujadaNDasya ripubalazalabhalehicaTulajvAlAjAlajAjvalyamAnapratApapAvakaprAkAraparirakSitasakalabhuva. natalasya acchinnadattasuvarNaratnasamRddhisamRddhamaNimandiravalabhIjAlAkrIDatsakaladaridralokasya sarvabhUtAnukampina: sAMprataM kRtakaraNIyatayA yauvanasukhamanubhavato rAjAdhirAjaparamezvarasya zrImAnavedasya AsthAnamaNDapamaNDanena paNDitamaNDalena / kiM ca / asmin khalu saTTakavare nijabhartuzcakrezvaratvakarANAM guNAnAM sthAnam / cAruM samudvahati tAM kila candralekhAmaGgezvarasya tanayAM shriimaanvedH||13|| I) aho AgatA eva yavanikAntare mahArAjadevyoH kRtvA bhUmikAmAryaH AryavallabhA c| tadasmAbhiH avazeSakaraNIyaM sajya. 1 M has a long lacuna here upto the beginning of verse No. 17. 2 iSu for ripu. 3 mAnavetasya. 4 maNTapa. 5E omits khalu. 6K mAnavetaH. 7 ra avizeSa, lacuna.

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-1.15.2] paDhamaM javaNi aMtaraM ( sthApanA ) ( tataH pravizati rAjA devI vidUSako vibhavatazca parivAraH / ) rAjA - (svagatam ) "aho kia-karaNijjANaM pi AsAe aNavasA * * dA / jado savve sAhu paTTidA khu paMurA saMtosiA bamhaNA vittehiM kaMu-saMcaehi vihiA devA pasAdummuhA / pattA cea caussamudda rasaNAlaMkAriNI mediNI dANiM satta samuha - muddiamimaM patthei me mANasaM // 14 // ( prakAzaM samantAdavalokya saharSam ) devi, imassi surahi- samae samAraMbhasaMbharijjata - siri-maNahara dharaNi-kamaliNI - kamalAaMtammi amhANaM mahANaarammi maaraMda-gaMDUsaNaM saMpAdehi hicchamuccalaMta - chappaa - riM choli-laMbhiNaM acchINaM / eaM khu 3 lolaMtANaMga-tuMgaM-ia-vaDa-pavaNaMdoliAAsa gaMga khelaMtuddAma-rAmA calaiNa-haa - suhAaMta-kaMkeli jAlaM / kIlaMtAsesa-loaM-ppaaDia - muravADaMbaraM taMba cUDakoDa-ggholaMta - kolAhala- muhala- disA - aMkkamekaM vibhAi // 15 // devI - ( sarvato vilokya saharSam ) ayyautta, kiM vaNNIadi imAe NaarIe surahi- samaa-samAraMbha - jaNiaM sohaggaM / esA khu 1 x omits sthApanA, but xh gives it. 2 x kiMaraNijANaM. 3 K pavurA. 4 x kabhisaJca ehi 0 5 x pethei. 6 rh samaasamArambha.. 7 a amhANaM for amhANaM. 8 K dahicchamuccalatataccavvaa rittacchAlilaM bhiNaM aMhacchINaM. 9K tuggaDuMevadhavavaNaMlo liAAsa. 10 x gelaMduddAma 11 x calaNaaM - suhAataM. 12 K loaMpaDia 13 x taMmacUDaM koDabolata. 14 x aMkamekkaM. tAm // I) aho kRtakaraNIyAnAmapi AzAyA anavasAnatA / yataH sarve sAdhu pravartitAH khalu paurAH saMtoSitAH brAhmaNAH, vittaiH RtusaMcayaiH vihitAH devAH prasAdonmukhAH / prAptA caiva catussamudrarazanAlaMkAriNI medinI, idAnIM saptasamudramudritAmimAM prArthayate me mAnasam ||14|| (...) devi, amuSmin surabhisaMmaye samArambhasaMdhriyamANazrImanoharadharaNikamalinIkamalAyamAne asmAkaM mahAnagare makarandagaNDUSaNaM saMpAdaya yathecchamuzcalacchaTpadazreNirlakSyaiH akSNoH / etat khalu, loladanaGgatuGgadhvajapaTapavanAndolitAkAzagaGgaM, kheladuddAmarAmAcaraNahata sukhAya mAnakaGkelijAlam / krIDadazeSalokaM prakaTitamurajADambaraM tAmracUDakorDe ghUrNamAnakolAhalamukharadikcakramekaM vibhAti // 15 // II) Aryaputra, 1 sRSTisamayasamArambha for surabhi otc, M lacuna, 2 K lokaM for loka. 3 muravADambaraM. 4] kroDhaM ghUrNamAna.

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caMhalehAe [I.164tAruNNaeNa ramaNi vva surUva-rammA joNhA-raseNa raaNi vva phuraMta-caMdA / phulluggaMmeNa ladia vva pavAla-puNNA rehei haMta NaarI mahu-saMgameNaM // 16 // rAjA - aho savvado ramaNIataNaM NaarIe / taha a| bhamaMta-bhamara-cchaDA-kala-virAviA vAviA phuraMta-maaNacaNA-vihava-NaMdiraM mNdirN| lasaMta-Nava-NaTTaI-lalia-NadRNaM paTTaNaM valaMta-malaANilAama-silAhiNo sAhiNo // 17 // vidUSakaH- "bho vaassa, pekkha / maMda-maMda-phaMdaMta-malaANila-keligholiruppaDia-visaraMta-bisiNI-dhUli-pAlI-viula-kaMcaNa-viANasohiNI bhuaMga-loa-kara-kamala-saMgaa-gaMgea-siMga-muha-saMgalaMta-saMtada-kuMkuma-vAri-dhArA-siJcaMta-saaeNla-pahia-loA va'mmaha-karapphAlia-dhaNuhaa-kolAhala-muhala-kauhA-muhA disa-virAa-vega-mujhaMtasaMcaraMta-muddhAhisAriA-calaNa-jhaNajhaNAaMta-Neura-virAva-muhurAvia 1K surUpa.. 2K puranta. 3 'ggameNa idi eca, but Kh anva for evva. 4 K ramaNIyattaNaM. 5 5 DumaMtabhamara for bhamaMta etc. 6 K pharantamaaNacchaNA. '7 K ilaa for lalia given by Kh. 8K phaMdamalaANila. 9 K visaMta, but rh visaraMta. 10 raviulla. 11K lolakarakamaLasaGgaaMgageasIga-, but kh loya for lola. 12 xh ciriciriAsiMcaMta for ghArAsiMcaMta. 13 r omits saala,' but rh has sayalaloyA. 14 K pammaha. 15 5 divavirAa. 16 K jhaNajhaNAyanta.. kiM varNyate amuSyA nagaryAH surabhisamayasamArambhajanitaM saubhAgyam / eSA khalu,tAruNyena ramaNIva surUparamyA, jyotsanArasena rajanIva sphurccndraa| phullodgamena latikeva pravAlapUrNA, rAjate hanta nagarI madhusaMgamena // 16 // I) aho sarvato ramaNIyatvaM ngryaaH| tathA ca / bhramadbhamaracchaTAkala virAvitAH vApikAH, sphuranmadanArcanAvibhavanandanazIlaM mandiram / lasannavanartakIlalitanartanaM pattanaM, valanmalayAnilAgamazlAdhinaH shaakhinH|| 17 // II) bho vayasya, paizya / mandamandaspandamAnamalayAnilake lighUrNanazIlotpatitavisaradvisinIdhUlipAlIvipulakAJcanavitAnazobhinI bhujaGgalokakarakamalasaMgatagAGgeyaGgamukhasaMgalatsaMtatakuGkumavAridhArAsicyamAnasakalapathikalokA manmathakarAsphAlitadhanuHkolAhalamukharakakunmukhA dizAvirAva vega]muhyatsaMcaranmugdhAbhisArikAcaraNajhaNajhaNAyamAna 1 K omits madhu. 2 M bhramatpravaracchaTA'. 3 // pazya pazya. 4 : mukharakuGku...khAdilAvirAgamu', M kakanmukhAdisavirAgavegabhajyamAnasaM . 5 // caraNanthaNanthaNAyamAna. |

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-I.17.21] paDhamaM javaNiaMtaraM mAra-vIra-vijaa-bherI-maNaharA ma vimaedi raI vi rameedi AgaMdaM vi ANaMdei dappaM vi dappei I mhaannarii| ceTI-"idaM vi pekkhadu mhaaraao| eso khu maMda-maruaMdolia-pa., latha-pallava-hattha-saNNA-missehiM mahura-mahu-rasa-mahamahaMta-parimalaMdhamadhuara-mAlA-maMju-siMjiArAvehiM maragaArAmo mahArAassa mahumAsodAra-vaDDiaM ataNo samiddhiM odaMseduM via AAraM krei| // rAjA -(vilokya ) "sAhu bhaNi cNdnniaae| vidUSakaH -"bho vaassa, jaha dAsIe dhIdAe vaaNaM tujha silAhaNijjaM taha maha vi caoraassa bamhaNasta jai silAhIadi vaaNaM / / tA khemi| rAjA-vaassa, ko saMdeho / kahehi / vidUSakaH-'suNAdu vaasso / eso jahAmiTTha- jNt-bmhnn-loa-|| kolAhalo via koila-kolAhalo pamodaM uppAdei / mahANasa-dhUmappasaro vva kusumuppaDaMta-mahuara-gago aNa-pIdiM karei / bahalajjabhajata-sarisava-gaMdho via {ppha-gaMdho ghAgaM ANaMdei / ___1K viramaedi for ramaedi. 2K ANantaM vi. 3 5 laI for ia, but xh iyaM. 4 pekkha, but xh pekkhadu. 5 K padallAstha for pallastha. 6 : saNNomissehi. 7 5 parimalaMdhamadhUdhamadhuara. 8 maJjarI for maMja. 9 samindha for samiddhi. 10 osedavia. ll K omits tujjha. 12 K caorassa, but rh caoraassa. 13 K khehi|. 14 K bho vaassa. 15 ra kusumappaDaMta. 16 K NayaNa. 17 K puSpagandho. napuravirAvamukharIkRtamAravIravijayabherImanoharA madamapi madayati ratimapi ramayati AnandamapyAnandayati darpamapi darpayati iyaM mhaangrii|| I) idamapi pazyatu mahArAjaH / eSa khalu mandamArutAndolitaparyastapallavahastasaMzAmithaiH madhuramadhurasasarvataHprasaratparimalAndhamadhukaramAlAmaJjaziJjitArAvaiH marakatArAmo mahArAjasya madhumAsodAravardhitA. mAtmanaH samRddhi darzayitumiva AkAraM karoti / II) sAdhu bhaNitaM candanikayA / III) bho vayasya, yathA dAsyAH putryAH vacanaM tava zlAghanIyaM tathA [mamApi cakorasya brAhmaNasya yadi zlAghyate vacanaM tat kathayAmi / IV) vayasya, kaH sandehaH / kathaya / V) zRNotu vysyH| eSa yathAmRSTabhujAnabrAhmaNalokakolAhala iva kokila kolAhalaH pramodamutpAdayati / mahAnasadhUmaprasara iva kusumotpatanmadhukaragaNo nayanaprItiM karoti / bahalAjya 1KM omit paryasta. 2K maratakArAmI. 3 ra 'mAsodAravattitA, mAsodArapravadhitA. 4 // AkAraNa karoti. 5 ra candrikayA. 6 eSa khalu yathA . 7 // pramodamupapAdayati. CK mahulAjya. 2caMda.

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caMdalehAe [I.17.22rAjA-(sasmitam ) "saccaM edN| vidUSakaH -dAsIe dhIde, ucchiha-bhakkhiNi, Na tujjha evva aNaM "ahiNaMdagijaM maha vi vaaNaM ahiNaMdIadi vaasseNa / ceTo -(sAvajhaM hasati / ) vidUSakaH - bho vaassa, gacchamha maragaujjANaM / (iti sarve parikAmanti / ) rAjA-(dakSiNAkSispandanaM sUcayan ) devi, phaMdae paala-pamha-mAliaM dAhiNaM mahamidaM viloaNaM / kiM phalaM aha vitakkiehi kiM keNa deva-saraNI muNIadi // 14 // devI-(saharSam ) ajjauta, devveNa cia jANIadi / vidUSakaH-"kiM ca mae vi ekeNa bamhaNeNa / devI-VI"ayya caoraa, kiM tue jaanniiadi| vidUSakaH-VII"hodi, puvvaM evva vaassassa caussidhu-baMdha-baMdhuraM vasuMdharaM deUNa vi aparinuDheNa vihiNA puNo sata-samudda-muddi eaM * vaassassa bhumaaMcale baMdhiuM aaM AraMbho kIrai ti| wwwmarwa lrh uccharaNa for ucchidra. 2K valaaNaM, but rh vaaNaM. 3rh candanikA for ceTI. 4 K padma for pamha. 5 6 maha mitaM. 6 par3ha for phalaM. 7 vicintiehi kI, Kh vitaGkiehi kiM. 8 devasaraNimmuNIadi. 95 caurassindhu. 10 K dAUNa, but Kh deUNa vi. 11 kh aki. dastheNa for aparitudeNa. 12 The following speech, which is put in the mouth of devI by Kh, is just added here by K. bhaya'mAnasarSapagandha iva puSpagandhaH brANamAnandayati / I) satyametat / II) dAsyAH putri, ucchiSTabhakSiNi, na tavaiva vacanamabhinandanIyaM mamApi vacanamabhinandyate vayasyena / III) bho vayasya, gacchAmo mairakatodyAnam / IV) devi, spandate pracalapadmamAlikaM, dakSiNaM mama idaM vilocanam / kiM phailaM atha vitarkitaiH kiM, kena daivasaraNiyite // 18 // V) Aryaputra, devenaiva jJAyate / VI) kiM ca meyApyekena brAhmaNena / VII) Arya cakoraka, kiM tvayA jJAyate / VIII) bhavati, pUrva evaM vayasyasya catussindhubandhabandhurAM vasuMdharAM dattvApi akRtArthena vidhinA punaH saptasamudramudritAmenAM vayasyasya dhruvAMcale 1M vacanamabhinandayati / mamApi etc. 2 ra maratakodyAnam. 3 M chalaM. 4 ra athavA vitarkitaiH, M athavA takIyate. 5 // mayApyetena. 6 Ki omit eva. 7 M After writing pUrva va there is a long lacuna in upto bhaAdo (I. 26. 3); and this is indicated by the transeript with a remark: (atra patratrayaparimino manthapAnaH). 8 Ka omit bandha.

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-I. 206] paDhamaM javaNiaMtaraM devI - "bho' bhaavaM vihe, puNo vi evvaM eva hohI / beTI' - "eso maragaArAmo / pavisadu mhaaraao| (sarve udyAnapravezaM nATayanti / ) ( nepathye vaitAlikayorekaH ) III) vaitAlika:-jaa jaa mahArAja, rAAhirAa paramesara, pAapArijAa-pallava-cchAA Nicca-vihAra-niratya saMdAva, paMaMDa -paAva, 12 paMDia jaNa kappa- pAdava, vammaha-maNaharaMga lAvaNNa-guNa- Nigaliasaala-mahilA- mANasa, sirimANavea, suha-dAiNI hou mahArAassa ArAma-lacchI / taha pekkhadu dAva mahArAo / attANaM vittharaMto maiMhu NaravaiNo pANa-goDI- Nieo lolaMbANaM viDANaM saala pia-mahelANa saMgIa-sAlA / kIlA - ThANaM paDIrAala-pavaNa-kisorANa seNA - Niveso eso tellokka vIrassa hu~ ra i- vaiNo bhAi ArAma - deso // 19 // dvitIyaH kiM ca / ettha saNihide mahArAe IV - paJcuvvajjai caMcalIa - Nivaho phuluppaDato javA kUaMtA a kuNaMti koila-ulA sottAmiaM sAadaM / 11 1 K bhe, but Kh omits it. 2 hohi 3 Kh candanikA for ceTI. 4 xh rUpayanti. 5 x naipathye. 6 K pAapArijaa 7 K vaaMDapaAva 8 x vAdapa, Kh vAapa for pAdava 9 x athathANaM viththarantaM. 10 mahuravaaNo, but Kh mahaNAvaddaNo. 11 Kh lolaMbAlIviDAnaM. 12 a for hu. 13 x omits dvitIya:, but it is added by Kh. -14 K phulaMphaDato. 15 buddhamayamArambhaH kriyate iti / I) bhI bhagavan vidhe, punarapi evameva bhavati / II ) eSa katArAmaH / pravizatu mahArAjaH / III ) jaya jaya mahArAja, rAjAdhirAjaparamezvara, pAdapArijAtapallavacchAyA nitya vihAra nirasta saMtApa, pracaNDapratApa, paNDitajanakalpapAdapa, manmathamanoharAGgalAvaNyaguNanigaDitasakalamahilA mAnasa, zrImAnaveda, sukhadAyinI bhavatu mahArAjasya ArAmalakSmIH / tathA pazyatu tAvanmahArAjaH / AtmAnaM vistRNan madhunarapateH pAnagoSThIniketaH, lolambAnAM viTAnAM sakalapika mahilAnAM saMgItazAlA / krIDAsthAnaM paTIrAcalapavana kizorANAM senAnivezaH, eSa trailokyavIrasya khalu ratipaterbhAti ArAmadezaH // 19 // IV) kiM ca / atra saMnihite mahArAje, pratyudvrajati caJcarIkanivahaH phullotpataJjavAt, kUjantazca kurvanti kokilAH zrotrAmRtaM svAgatam / zIghraM 1 K uta for iti. 2 Komits bho. 3 K maratakArAmaH. 4 K zrI zrImAnaveta. 5 Komits tathA. 6 x omits saGgIta... kizorANAM, but this is supplied by Kh. 7 K caJcalIka'.

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caMdalehAe [I.20csigcha agdhamuvAharaMti maaraMduggAriNo pAavA dANi pallava-cAmalehi ladiA vIaMti vAAhaA // 20 // vidUSakaH-"sAhu gIaM maMjuaMTha-mahurakaMThahiM bNdiihiN| pekkhadu dAva vaasso mahu-samaa-visthAriaM maragaArAma-samiDDhei / , rAjA - (samantAdavalokya )"vaassa, sAhu nue bhaNidaM / iha hi vibhAi mahilaMgulI-kisala-pADalaM pADalaM samullasai phaliA pavaNa-NoliA mliaa| disAoM surahei NaM dara-viAsaraM kesaraM samuvvahai saMpa pahia-kaMpaaM caMpa // 21 // avi a| pakkhaMdolaNa-mArueNa bhasalo ANaMdaaMto mahuM pallAthA kusumAu pAsa-gamiaM pAei paannesriN| uggAuM mahuraM ca mAhava-mahA-baMdI jaisaM koilo mAaMdANa maraMda-sAra-laharI-sArassaaM sevae~ // 22 // vidUSakaH-"'bho vaassa, AmUla-puSphiassa bAla-ratAsoassa mairagaa-vediA javavisia malaa-mahIharAdo uvAgaassa mahu. ___ 15 agdhaM upAharanti. 2 F vAavA. 3 5 dANI. 4 5 vandehi. 5 F samaya. 6 xh maharaso. lliA for pavaNaNolliA. 7 K vahi akaMpaaM. 8 K vAsagamiaM. 9 vAei vANesarI. 10 K uggalaM. 115 vasaMkolalo, Kh jasaMkoilo. 1:2 K sevahi, but rh sevae. 13 maaragavediAaM. 14 K malaya'. arghyamupAharanti makarandodgAriNaH pAdapAH, idAnIM pallavacAmarairlatikA vIjayanti vAtAhatAH // 20 // I) sAdhu gItaM majhukaNThamadhurakaNThAbhyAM bandibhyAm / pazyatu tAvadvayasyaH madhusamayavistAritAM marakatArAmasamRddhim / II) vayasya, sAdhu tvayA bhaNitam / iha hi, vibhAti mahilAGgulIkisalayapATalaM pATalaM, samullasati phullitA pavananunnA mallikA / dizaH surabhayati etat daravikasvaraM kesaraM, samudvahati saMpadaM pathikakampadaM campakam // 21 // api ca / pakSAndolanamArutena bhramaraH Anandayan madhu, paryastAt kusumAt pArzvagamitAM pAyayAta prANezvarIm / udgAtuM madhuraM ca mAdhavamahAbandI yazaH kokilA mAkandAnAM marandasAralaharI sArasvata sevate // 22 // III) bho vayasya, AmUlapuSpitasya bAlaraktAzokasya marakatavedikAyAM upavizya malayamahIdharAdupAgatasya madhusamayasphuTa 1 karakendArgAbhiNaH for makarandodgAriNaH. 2 ra vIjanti. 3 ra maratakArAma'. 4 ra phullatA. 5 ra bahala: for bhramaraH 6 paryastAn kusumAn pArzvagatAn pAya. 7 ra marataka. 8 ra mahIdharamupA.

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-I.250] paDhamaM javaNiaMtaraM samaa-phuDaMta-Nava-kusuma-parimala-pAhuDa ghetUNa parisare Thiassa: malaANilassa de parisaraM patassa sevAvasaraM dehiM / pekkhamha mrgaaraam-lcchi| rAjA -"taha / ( iti sarve yathocitamupavizanti / ) devI-"dANiM ahaM vaDDhAvaissaM ayyautaM / ede cUsia-cola-bAla-mahilA-bhAliMdu-seAamA pijaMtA jaNa-NAsiAhi nnlinnii-nnaaliia-kelii-araa| lIlA-lAlia-keralI-cihuraA-ANaMda-NIsaMdiNo romaMcuggamaNANumea-calaNA kIlaMti vAaMkurA // 23 // rAjA-ahaM vi numaM vaDDhAvaissaM / atANaM vi bubhukkhidANa puDhamaM dAUNa pAANa to tuMgA maMgala-caMdaNaddi-bhiuNo kAdUNa pAaM khaNA / ehi gaNhia sorahekka-NilaaM kaMdappa-mitaMtaraM taM AliMgiumUsuA parisaraM patA a cetANilA // 24 // devI-IV pekkhadu dAva ajautto sohaggaM kAlassa / jao kisalaidAsoa-ladA kiir-muhaabhoa-kiisua-cchaaaa| kIlaMti ke vi diahA kesara-khalamANa-bAla-pavamANA // 25 // 1K bAhulas for pAhaDaaM. 2 Kh desu. 3 r omits dANiM which is given by Kh. 4K phAlinda. 5 caMdaNandi. 6 K eNNI gaNia.7_K omits this word, but Kh has jato. 86 ke'pi divasA, but kh has diyAhA for divasA of K. navakusumaparimalaprAbhRtaM gRhItvA parisare sthitasya malayAnilasya taMva parisaraM prAptasya sevA : dehi / pazyAmaH merakatArAmalakSmIm / I) tathA / II) idAnImahaM vardhayipyAmi aaryptrm| ete caSitacolabAlamahilAbhAlenduskhedAgamAH, pIyamAnA jananAsikAbhiH nalinInAlIkakelIkarAH / lIlAlAlitakeralIcikurAH AnandaniSyandinaH, romAJcodgamanAnumeyagamanAH krIDanti vAtAGkurAH // 23 // III) ahamapi tvAM vrdhyidhyaami| AtmAnamapi bubhukSitAnAM prathamaM dattvA nAgAnAM tataH, tuGgAnmaGgalacandanAdibhUgoH kRtvA pAtaM kSaNAt / idAnIM gRhItvA soramakAnalayaM kadamitrAntaraM, tvAmAliGgitumutsukAH parisaraM prAptAzca caitrAnilAH // 24 // IV) pakSya tAvadAryaputraH saubhAgyaM kAlasya / yataH, kisalayitAzokalatAH kiirmukhaabhogkiNshukcchaayaaH| krIDanti ke'pi 1 K omits tava parisaraM prAptasya. 2 maratakArAma'. 3 5 kelIkaram. 4 K tuGgAmaGgala. 5 ra bhRGgA for bhRgoH .

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3 9 14 rAjA - "devi, kiM bhaNNai / mahuara - kalakala- muhale malaANila-bhaMgi- saMgaa-taraMge / mahumAsa I-sote maaraMdamae nimajjae bhuvaNaM // 26 // vidUSakaH-vaassa, kiM vaMcido mhi / jado puruvaM evva amhANaM gharaie paraMparAe samAgaaM paMDiattaNaM karttaNaM ca pahisu paDirohaabhaAdo amha-bamhaNI-saaNijjekka-pAsa saMThaviAaM maMjUsiAaM NihAvir loha- sAlAe gADhaM baMdhina mudde vi dAUNa sADammiM samadde saMgahi Audo / tA ajja tuvaM tujjha kaittaNassa addhaM me dehi * jeNa ahaM vi tumhANaM kaNNa-puDassa pIUsa- gaMDUsaNaM karistaM / ( hastau prasArayati / ) 12 caMdalehAe ceTI' - ayya, paDigaNha / ahaM de demi / IV) vidUSakaH - A dAsIe dhIde, ko uNa paMDio pAriAaM ujjhia eraMDAdo ahilasidaM kAmeI / ahava tumaM tujjha kattaNaM daMsehi / tado paDigahissaM / 1 devI - caMdaNieM, daMsehi attaNo ilaNaM / kiM ca / sA paDihA jA ThANe pasarai / sA NIdI jA kAle ujjalai / sA itthiA jA bhaTTamaNorahe vai / sA metI jA aNatthe olaMbai / [I. 25. 1 1 omits devi 2 K phaNai. 3 K malayANila 4 K nimajjahi, but Kh Nimajae. 5 x kharae. 6 K kalattaNaM. 7 K pAvasaTTavijaaM. 8 K sADaM vi. 9 Kh candanikA for ceTI. 10 K kAmijjadi, but Kh kAmei. 11 K kalattaNaM. 12 K candiNie. 13 K cchauttaNaM. 145 kI ca paDihA. divasAH kesara skhaladvAlapavamAnAH // 25 // I ) devi, kiM bhaNyate / maidhukarakalakalamukhare malayAnilabhaGgisaMgatataraGge / madhumAsanadIsrotasi makarandamaye nimajjati bhuvanam // 26 // II) vayasya, kiMcidvaiJcito'smi / yataH pUrvameva asmAkaM gRhe paramparayA samAgataM paNDitatvaM kavitvaM ca pathiSu pratirodhakabhaiyAdasmadbrAhmaNIzayanI yaikapArzvasaMsthApitAyAM ma SikAyAM nidhAya lohasAlayA gADhaM baddhvA mudrAmapi dattvA zATake samudre saMgRhyAgataH / tadadya tvaM tava kavitvasyArdhaM me dehi yenAhamapi yuSmAkaM karNapuTasya pIyUSagaNDUSaNaM kariSyAmi / III) Arya, pratigRhANa | ahaM te dadAmi / IV) AH dAsyAH putri, kaH punaH paNDitaH pArijAtamujjhitvA eraNDAdabhilaSitaM kAmayate / athavA tvaM tava kavitvaM darzaya / tataH pretahISyAmi | V) dainike, darzayAtmano vaidagdhyam / kiM ca / sA pratibhA yA sthAne prasarate / sA nItiH yA kAle ujvalati / sA strI yA bhartRmanorathe 1 K manyate for bhaNyate. 2 madhurakala 3 K saGgataraGge. 4 K bhayAdanyasmin brahmaNi zaya, M bhayAdasmadbrAhmaNyAzaya 5 K vATAmapi, M sATAmapi. 6 x saGgatyAgataH 7 tadanyatvaM 8 x kariSye 9 x kAmayati, 10 x pratigRhNAmi 11 K ha candinike.

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-I. 27.9] paDhama javaNiaMtaraM ceTI -"jaM bhaTTiNI aannvedi| vidUSakaH- "jai ataNo chailaNaM daMsetuM vavasidA si tA jamaaM kAdavvaM, malaANilo vaNNidavvo, saddharA a vutaM / ceTI -"taha / suNAhi nuvaM / bAlA vAlAli-taNhA-pasamaNa-kusalA caMdaNadissa tuMgA siMgA siMgAra-vidA-viaraNa-guruNo maMtharaM vipphurNto| lolaM lolaMbaAlaM parimala-aralaM bhAmaaMtA haraMtA mANaM mANaMsiNINaM Nava-surahi-sirI-baMdhavA gaMdhavAhA // 27 // rAjA-"sAhu caMdaNie saahu| jado jamae vi suhao saddo suamo atyo| vidUSakaH -'jai evvaM jiaM devIe parAjiaM vaasseNa / (puro: vilokya ) aho amacco sumaI duvAre / rAjA -"kiM sumaI / pavesehi NaM / vidUSakaH-(parikramya, sumatinA saha pravizya ) VI'eso sumii| [sumatiH] - VIIIjedu devo| rAjA-sumade kiN| sumatiH-deva, siMdhuNAhAmacco sussudo dabukAmo citttti| , ____1_kh candanikA for ceTI. 2 K cchaittaNaM / . 3 Kh candanikA- taha paThati / , but x has jaha for taha. 4 K sIgA sIgAravindA 5K lolambaolaM. 6 K adds vidUSakaH- again before this sentence. 7 Kputs this speech in the mouth of Vidusaka. vartate / sA maitrI yA anartha avalambyate / I) yad bhaTTinI AjJApayati / II) yadi Atmano vaidagdhyaM darzayituM vyavasitAsi tad yamakaM kartavyaM, malayAnilo varNayitavyaH, sragdharA ca vRttam / III) tthaa| zRNu tvam / bAlA vyAlAlitRSNAprazamanakuzalAH candanAdrestuGgAt, zRGgAt zRGgAravidyAvitaraNaguravaH mantharaM vistRNanti / lolaM lolambajAlaM parimala taralaM bhrAmayanto harentaH, mAnaM manasvinInAM navasurabhizrIbAndhavAH gandhavAhAH // 27 // IV) sAdhu candanike sAdhu / yataH yamake'pi subhagaH zabdaH sugamaH arthH| V) yadyevaM jitaM devyA parAjitaM vayasyena / (...) aho amAtyaH sumatirei / VI) kiM sumtiH| pravezaya eNnam / VII) eSa sumatiH / VIII) jayatu devaH / IX) sumate kim / X) deva, 1 // bhI for bhaTTinI. 2K vyAlAlitRSNAH, M vyALALikRSNa'. 3 ra candanAdressatuGgAH zRGgAH, M malabAstagAta, 4 . vistaranti. 5 ra vamanto for harantaH. 6 // zrIbandhavo ga. 7 M omits enam.

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caMhalehAe [I. 27.10rAjA-"tA avilaMbiaM ANehi NaM / sumatiH-I) devo ANavedi / (iti niSkramya suzrutena saha pravizya) [suzrutaH] -'jedu devo| rAjA - sussuda, avi kusalaM siNdhunnaahss| suzrutaH-saMpadaM devassa kusalANajoeNa / kiM ca mahArAa, devassa siMdhuNAhassa cira-sevA-pasAdieNa samuddeNa diNNo ciMtAmaNi-jAI o ko vi mahAmanI / taM ca saala-jaNa-ciMtiattha-dANa-kusalaM mahA-raaNaM mahArAa-ppasAda-titaraNa siMdhuNAheNa mahArAassa si"rimANaveassa pAhudIkarehi ti dAUNa pesio ahaM / tA jiNau vaMso ciMtAmaNINaM mahArAa-saNNihi-lAheNa / hou a mahArAappasAda-ggahaNeNa siMdhuNAho sal-mhivaal-mNddl-silaahnnijjo| 21 ( iti cInAMzukaniculitacintAmaNi kAJcanabhAjane nikSipati / ) __ rAjA-"sumade, nuvaM evva tujjha sahi sussudaM jahoidaM saMbhAvidUNa pesehi siNdhunnaah-saasN| 5 sumati: - VIjaM devo aannvedi| rAjA - VII"sussuda, evaM karehi / __puts this speech in the mouth of Sumati. kh mahAmaNi for ciMtAmaNi. 3K jAtIo. 4 K vitta eNa. 5 eso for vaMso. 6 Rh mahAmaNi for cintAmaNINa. 7 K mahArAassa Nihi 8 maMsala for maMDala.9 K sahI. 10 K sahAa for saAsaM. ll r adds (iti niSkrAntI) 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 jaM devo etc., and puts the next speech in Susruta's mouth. sindhunAthAmAtyaH stuzruto draSTukAmastiSThati / I) tadavilambitamAnayainam / II) yaddeva AjJApayati / III) jayatu devaH / IV) suzruta, api kuzalaM sindhunAthasya / V) sAMprataM devasya kuzalAnuyogena / kiM ca mahArAja, devasya sindhunAthasya cirasevAprasAditena samuNa dattaH cintAmaNijAtIyaH ko'pi mhaamnniH| taM ca sakalajanacintitArthadAnakuzalaM mahAratnaM mahArAjaprasAdatRptena sindhunAthena mahArAjasya zrImAnavedasya prAbhRtIkuru iti dattvA preSito'ham / tajjayatu vaMzaH cintAmaNInAM mahArAjasannidhilAbhena / bhavatu ca mahArAjaprasAdagrahaNena sindhunAthaH sakalamahIpAlamaNDalaslAghanIyaH / VI) sumate, tvameva tava sakhAyaM suzrutaM yathocitaM saMbhAvya preSaya sindhunAthasakAzam | VII) yaddeva AjJApayati / VIII) suzruta, evaM kuru / 1 ra kuzalAnuvAdena. 2 mahArAjasya devasya, / kiJca devamahAdevasya. 3M lacuna, K prasAdavittena. 4 ra mAnavetasya, M mAnavedasya. 5 ra eSa cintAmaNiH for vaMzaH cintAmaNInAM found in M. 6 u assigns this sentence to the king and the next to Susruta ; but they are not found in K,

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-I. 296] paDhamaM javaNi aMtaraM suzrutaH - "jaM devo ANavedi / ( iti niSkrAntau / vidUSakaH - bho vaassa, ANavehi assa mahAmaNiNo NiulaM " avaNeduM / rAjA assa, jaM de roei / III) ( vidUSako mudrAmavamucya niculamapanayati / ) rAjA - ( sakautukam ) aho pahA-pasaro / ajja hi accheraM amuassa accha maNiNo dIhehiM mohehi NaM telokaM Nava- pomarAa-raaNukkiNNaM va lakkhijjae / aiso vAsara- dIva- dhUsara-chaI sUro vidUrosio saMjhA kavalI-kido vva sahasA gaTTho aaM Adavo // 28 // vidUSakaH - bho vaassa, agaNiehiM aNagghehiM ummIlaMta - bahaladIha- moha- lehujjoa - khajjoAvia sahassarassIhiM mahA-raaNa-sahasehiM pUriaM khude kosa-gharaaM / kiM tANaM pi ahio se pahAo ' jeNa accharIaM karesi / 17 VI) rAjA - vaassa, eso khu ciMtAmaNi tti pasiddho asAhAraNo evva / jado patthei jaM jaM saalo jaNo vi hatthe aaM tassa khu dei taM taM / maMdAra kappahuma-kAmaheNU-saMtANaANaM gaNio a majjhe // 29 // 30 1 Breads vidUSakaH- and puts the stage-direction ( in round brackets) in his mouth. 2 x dehehi 3 xh interchanges the places of the last two lines. 4 K sandhAe. 5 x ahidevahAo, but Kh ahio se pahAo 6K huma AmaheNa. " I) yaddeva AjJApayati / II ) bho vayasya, AjJApaya asya mahAmaNerniculamapanetum / III) vayasya, yatte rocate / IV) aho prabhAprasaraH / adya khalu, Azcarya amuSyAcchemaNedIdhairmayUkhairetat trailokyaM navapadmarAgaratnotkIrNamiva lakSyate / eSa vAsaradIpadhUsaracchaviH sUryo'pi dUrApasRtaH, saMdhyayA kavalIkRta iva sahasA naSTaH ayamAtapaH // 28 // V) bho vayasya, agaNitairanayairunmIladvahaladIrghamayUkhare khodyatakhadyotIkRtasahasrarazmibhiH mahAratnasahasraiH pUritaM khalu te kozagRham / kiM teSAmapyadhikaH asya prabhAvaH yezcarya karoSi / VI) vayasya, eSa khalu cintAmaNiriti prasiddhaH asAdhAraNa eva / yataH, prArthayati yadyat sakalo jano'pi haste ayaM tasya khalu dadAti tat tat / mandAra 1 K atha khalu, M asya hi. 2 yAcchimAdIptairmayU 3 K sUryo vidUrApasRtaH, M sUryo vi lacuna. 4 K agaNaNIyaira, M aguNitairodhairu 4 K *dhika: arghyaprabhAvaH, M degdhiko'sya prabhAvaH . 6 M yena tvamapyAzvaryaM. 7 prArthayate; and some lacuna in this passage. 3 caMda* 6

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caMdalehAe [I.29.1vidUSakaH-"aho paMDiANaM vi buddhI aMdha-paraMparaM aNuvaTTai, jado tue edAe silAe dANa-viaDaA vnnnniiadi| paramatthado uNa * sasassa visANubbhavo, AAsassa pasUNuggamo, miatiNhiAe salila-rUvataNaM, edassa silA-visesassa abhimada-dANa-paMDiccaM ca anntyNtrN| * rAjA-"mA mA evvaM bhnn| aciMtaNijjo khu maNi-maMtosahINaM phaavo| __ vidUSakaH-"bho vaassa, jai evvaM idaM meM kahehi / kahaM puNa edassa , acedaNassa uvala-visesassa dANaM saMbhavai / rAjA-vaassa, eArisANaM appaJcakkha-cAriNIo ahidevaAo vijaMti / // vidUSakaH-jujjai / tA ahaM kiM vi patthemi NaM mahAraaNaM / (vicintya, apavArya ) bho vaassa, eNhi iha mahiale jA kaNNaANaM raaNa-bhUA~ kaNNaA taM purado daMsehi ti patthemi / // rAjA-"jaM ahiruidaM vaassassa / (vidUSakaH prArthanAmIlitalocanastiSThati / tataH pravizatyapaTIkSepeNa nAyikA / sarve sakautukamavalokayanti / ) 18 rAjA-(savismayam )II)ahaha / 1K omits aho. 2 buddhIe aMdha. 3 edAhi. 4K viadvabhA. 5 K pasUNubbhavogamo. 6_K omits one mA. 7 r omits me. 8 acedaNaM uvala. 9 K bhUtA. 10 r writes these stage-directions as if they form a speech of Vidusaka. kalpadrumakAmadhenusantAnakAnAM gaNitazca madhye // 29 // I) aho paNDitAnAmapi buddhirandhaparaMparAmanuvartate, yataH tvayA etasyAH zilAyAH dAna vidagdhatA varNyate / para. mArthataH punaH zazasya viSANodbhavaH, AkAzasya prasUnodgamaH, mRgatRSNikAyAH salilarUpatvam , etasya zilAvizeSasya abhimatadAnapANDityaM ca anarthAntaram / II) mA mA evaM bhaNa / acintanIyaH khalu maNimantrauSadhInAM prbhaavH| III) bho vayasya, yadyevamidaM me kathaya / kathaM punaretasyAcetanasyopalavizeSasya dAnaM saMbhavati / IV) vayasya, etAdRzAnAmapratyakSacAriNyaH adhidevatA vidyante / V) yujyate / tadahaM kimapi prArthayAmi etanmahAratnam / (...) bho vayasya, idAnI miha mahItale yA kanyakAnAM ratnabhUtA kanyakA tAM puro darzayeti prArthayAmi / VI) yadabhirucitaM vayasyasya / VII) ahaha / 1 x laouna here. 2 // saMbhavaH for 'rUpatvam . 3 . hi for khalu. 4 bho vayasya. 5 6 api devatA for adhi', / 'cAribhyo'dhidevatA.

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-I. 336] paDhamaM javaNiaMtaraM aho mahiale kahaM aviralujjalA vijjulA tahiM phurai puNNimA kahamaho vahaMtI kahu~ / aho kaNaa - kuMbhae avi kahaM dariddattaNaM ghaNe puliNa-maMDale kaha gaI Na saMdIsai // 30 // avi a / suha-gaMdho tama-baMdho savilAsA NIla-NIraa-valAsA / aalaMko hariNako adiTTha-puvvaM khu dIsae savvaM // 31 // kuha vi aho pallavio koraio kuha vi kuha vi maMjario / ko esa saMpadAo kusumAuha - viaa - siddha-vijjAe // 32 // nAyikA - (svagatam ) "aho, vammaha-loaM Arovida mhi kA vi devaAe / eso khu bhaavaM vmmho| esA a devI raI / eso a pariaNo / 19 devI - abhijAa-kula- saMbhavA kI vi kaNNaA / vidUSakaH - ( sAvadhAnaM nirUpya ) bho vaassa, pekkha pekkha cakkavaTTi - mahisI pada-lAha- iMdha-baMdhurAi imAe abbhuda kaNNaAe aMgAi / rAjA - ( apavArya) vaassa, NaM evvaM bhaNa / 6 ahamahamiA - gaehiM pemmAu~liehi lakkhaNehiM vi / jaha-ThANa - saMThiehiM AliMgiamaMgaaM kisaMgIe // 33 // 1 K aviralajjulA. 2 K NIraNIlaavilAsA. 3 K mujjavio. 4 K lohaM for loaM. 5 x mammaho. 6 x kApi for kA vi. 7 K labbha for iMdha. 8 K pemmaulAehi. 9 K saMdaThiehiM. aho mahItale kathamaviralojjvalA vidyut, tasyAM sphurati pUrNimA kathamaho vahantI kuhum / aho kanakakumbhayorapi kathaM daridratvaM, ghane pulinamaNDale kathaM nadI na saMdRzyate // 30 // api ca / sukhagandhastamobandhaH savilAsA nIlanIrajapalAzAH, akalaGko hariNAGkaH ahaTapUrva khalu dRzyate sarvam // 31 // kApyaho pallavitaH korakitaH kvApi kApi maJjaritaH, ka eSa saMpradAyaH kusumAyudhavijaya siddhvidyaayaaH|| 32 // I) aho manmathaloka mAropitAsmi kayApi devatayA / eSa khalu bhagavAn manmathaH / eSA ca devI ratiH / eSa ca parijanaH / II) abhijAtakulasaMbhavA kApi kanyakA / III) bho vayasya, pazya pazya cakravartimahiSIpadalAbha cihnabandhurANi amuSyA adbhutakanyAyA aGgAni / IV) vayasya, nainvevaM bhaNa / ahamahamikAgataiH premAkulitairlakSaNairapi / yathAsthAna saMsthitairAliGgitamaGga kRzAGgyAH // 33 // 1 M kumbham for kuhUm. 2 M kutrApi for kApi in this line 3 // aho abhijate kula 4 M pazya is not repeated. 5 M enadeva for nanvevaM; some lacuna in the following verse, 3

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caMdalehAe [1.33.1 nAyikA - ( rAjAnamavalokya svagatam ) kiM Nu khu edaM pekkhia adiTThapuruvassa avatthaMtarassa pattaM hoi me cittaM / 3 rAjA - vaassa, 3 20 taMdolaNa gholido va galio IsIsi kaNNeuro lAvaNNa-ddama-maMjari vva lasio seo piMDAlaMtare / sohA - saMgahaNosuAi va kare laggIi puraphAi se taM maNNe kusuma - ggahammi maNiNA NIdA iaM ediNA // 34 // ( svagatam ) aho iha dvidAeM vi se ADhatta- NivvahaNe ahiNiveso / jado puNe pasUNa- Niarehi tahiM luehiM khioNe sirIsaa - sirI hasire karammi / NetreNa kiMci parikuMcia - caMcaleNaM Adei majjha maNa phulamiaM rasolaM // 35 // (iti saspRhamavalokayati / ) III). nAyikA - ( adhomukhI ) kIsa uNa aaMDe UrU me vevaMti / rAjA - (svagatam) "pattesu majjha NaaNesu muhaM aM se pAaMbuaM parigaA khu avaMga - mAlA / 1 x gholida vva. 2 K maJjariMgva. 3 K lalADaMtare. 4K saMgaha Asu 5 x laggAla, but laggAi. 6 K pupphAla. 7K iyaM. 8 K die. 9K aDhatta. 10 K veSanti. kh I) kiM nu khalvetaM prekSya aSTapUrvasyAvasthAntarasya pAtraM bhavati me cittam / II ) vaiyasya, netrAndolanacAlita iva galita ISadISat karNapUraH, lAvaNyadrumamaiJjarIva lasitaH svedo lalATAntare zobhA saMgrahaNotsukAnIva kare lagnAni puSpANyasyAH, tanmanye kusumagrahe maNinA nItA iyametena // 34 // ( - ) aho iha sthitAyA api asyA ArabdhavyApAre abhinivezaH / yataH, pUrNe prasUnanikaraiH tasmin lUnaiH, khinne zirISaka zrIhasanazIle kare / netreNa kiMcitparikuJcitacaJcalena, AdadAti mama manaH phullumiyaM rasArdram // 35 // III) kasmAt punarakANDe UrU me vepete / IV) prAptayormama nayanayormukhAmbujamasyAH, pAdAmbujaM pratigatA khalu kaTAkSamAlA | haMsAkulAt kamalAt kamalAntare, bhRGgaccha Teva 1K ananubhUta for adRSTa given by M; M some lacuna. 2 K vayasya pazya, M a short 3 x maJjarIvilasitaH, M maJjarIva laLitarasvado niTAlAntare. 4 K ihAgatAyA. 5K pUrNaiH, 6 nikarairasmin, M prasUnakaraiH tasmin 7 zirISazrI, zirISaka zrI bhAsure kare. 8 rasAnam 9 lacuna. M pUrNe. vepate,

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-I.37. 10] paDhamaM javaNiaMtaraM haMsAulAu kamalA kamalaMtarammi bhiMga-cchaDA va parirehai dhAvamANA // 36 // vidUSakaH-(rAjAnaM nirIkSya, nirvarNya, apavArya)'bho vaassa, Na kevalaM lakkhaNAi nujjha NaaNAI vi kiM vi pemma-paravasAi se aMgaM aaliNgNti| rAjA-(apavArya)vaassa, kevalaM imAe jovaNubbheda-taraMgiNaM puloemi / pekkhadu daav| udaMsia-yaNa-kuMbhaM ummajateNa jovvaNa-gaeNaM / kUlaMkasa-rasa-bhariA sarasi vva taraMgiA pavAlaMgI // 37 // nAyikA-(saviSAdam ,svagatam)"kiM kromi| Na sakuNomi ettha tthaauN| devI-(nirvarNya, svagatam) adiha-puruva-jaNa-daMsaNeNa imAe visAdo via lakkhIadi / tA evvaM dAva / (prakAzam) bhadde ehi, ettha uva-' visa (iti nAyikA haste gRhItvA svAsanArdhe upavezayati / ) __nAyikA-(upavizya) aNuggahIda mhi devIe riie| (svagatam) aho, suhao edANaM smvaao| _(nepathye) vaitAlika:-"jaa jaa tibhuvaNeka-NAha, loa-loaNa-caMda, suMderaMmaMdAvia-kaMdappa-mANa, mANavea, suhAa sAyaMtaNa-saMjhA hou| devassa / ajja khu 1 R bhiMgajhaDA. 2 - NaaNAluM vi. 3 5 jovvarNabhedataraGgaNaM puNeemi. 4 gaINam. 5 The stage-direction (svagatama), which I have put at the beginning of the next sentence, is put by K immediately after (upavizya). 6 sundara. 7K omits mANa. 85 samchA hoi. parirAjate dhAvamAnA // 36 // I) bho vayasya, na kevalaM lakSaNAni tava nayane api kimapi premavaze asyA anggmaulinggtH| II) vayasya, kevalamamuSyAH yauvanodbhedataraGgiNaM pralokayAmi / pazya tAvat, aeNdarzitastanakumbhamunmajatA yauvanagajena / kUlaMkaSarasabharitA sarasIva taraGgitA pravAlAGgI // 37 // III) kiM karomi / na zaknomi atra sthAtum / IV) adRSTapUrvajanadarzanenAsyA viSAda iva lakSyate / tadevaM tAvat / (...) bhadre ehi, atra upaviza / V) anugRhItAsmi devyA ratyA / (...) aho subhaga eteSAM smvaayH| VI) jaya jaya tribhuvanaikanAtha, lokalocanacandra, saundaryamandIkRtakandarpamAna, mAnaveda, 1. parirAjati. 2 ra 'mAliGgitaH, M 'mAliGgati. 3M 'taraGgaNaM. 4 // avalokayAmi. 5 AstAM for tadevaM found in . 6 bhadramukhi for bhadre. 7 mAnaveta, 4 mAnaveda.

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3 6 22 caMdalehAe esA baMdhura-baMdhujIa - kaliA sohA NidAhaMsuNo riMcholI paDiviMbaANa laharI - buMdesu saMdIsae / sigdhaM odariuM hAu dina lacchIe samuddodae mANikkehi maNoharehi raiA soANa-vIhi vva se // 34 // kiM ca / seraM seraMdhi- satyo vilihaMDa sihiNe cittalaM patra-lehaM rAmANaM Netta - lacchI - kasaNia-ramaNAANa maggaMtarANaM / AlakkhijjaMta-kAlAaru- bahalaaruddAma - dhUmaMdhaAro gehesuM dei metiM raaNi muha-mahaMtuggamANaM tamANaM // 39 // nAyikA - ( sAnandaM svagatam ) "aho, so evva eso jassa jasaM savvadA tAdo vaNNedi / ( saspRhamavalokya) sarisaM khu tAdassa vaNNaNaM / [ I. 38 devI -"ayyautta, imAaM abbhuda-kaNNaAaM bahiNiAaM miva me hiaaM siNijjhai / kiM ca, abhijAo khu esA, tA aMteure evva ThAuM uidA | aNujANAdu ayyautto aMteuraM duM / 1 rAjA - devi, ettha kiM ahaM pucchidavvo / jaM ahiruidaM devIe / 1 K odarauM. 2K vilahala for vilihai. 3 x damANaM for tamANaM. 4 K tado. 5 B saridu for sarisaM 6K ahiruhidaM. sukhAya sAyaMtanasaMdhyA bhavatu devasya / adya khalu, aiSA bandhurabandhujIvakalikAzobhA nidAghAMzoH, zreNI pratibimbAnAM laharIvRndeSu saMdRzyate / zIghramavatarituM nabhasaH dinelakSmyAH samudrodake, mANikyairmanoharaiH racitA sopAnavIthI vAsyAH // 38 // kiM ca / svairaM sairandhrIsArthaH vilikhati stane citravatpatralekhAM, rAmANAM netralakSmI kRSNIkRtaramaNAyAnamArgAntarANAm / aulakSyamAnakAlA garubahalataroddAmadhUmAndhakAraH, geheSu dadAti maitrIM rajanImukhamahadudgamAnAM tamasAm // 39 // I) aho sa eva eSa yasya yazaH sarvadA tAtaH varNayati / ("") sadRzaM khalu tAtasya varNanam / II) Aryaputra, amuSyAmadbhutakanyakAyAM bhaginyAmiva me hRdayaM strihyati / kiM ca, abhijAtA khalu eSA, tadantaHpura eva sthAtumucitA / anujAnAtu AryaputraH antaHpuraM netum / III) devi, aeNtra kimahaM praSTavyaH / 1 K eSo. 2 M riccholI for zreNI 3 x dhana for dina. 4 x rucirA for racitA. 5K vIthIva yasyAH 6 sArtha. 7 K dahya for AlakSya 8 K tamoddAma. 9 x mukhe mahadumAnandamAsAm 10 K athavA for aho. 11 x asyA' for amuSyA. 12 K kanyAyAM 13 M anujJApayatu. 14 Komits atra, M kimahamatra for atra kimahaM .

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-1.41.3] paDhamaM javaNi aMtaraM devI - (utthAya ) "ehi bhaddamuhi, aMteuraM pavisamha / nAyikA - Arma / ( ityutthAya AtmagataM nAyakaM sAnurAgaM tiryak pazyantI sapa rivArayA devyA saha niSkrAntA / ) rAjA - ( sanirvedam ) (III) "majjhammi haMta paDiUNa pamoa-vaMjhA saMjhA karAla- muha-bhIsaNa-saNNivAA / devANa dANava-gheDa vva disANa majjhaM pIUsa-pANa-vihadiM sahasA karedi // 40 // ( samantAdvalokya) ahavI / muhe rAunbheo aNa-suhao dIsai phuDa NiDAlagge lagge aNusarai see uDugaNo / saroNaM dANiM aNukuNai kose sihiaM pio-sAriNaM maha phurai saMjhA suhaarI // 41 // 23 vidUSakaH-(nirUpya ) bho vaassa, aito khu amhANaM tibhuvaNa-lohaNijjA rUviNI abbhuda - kaNNaA samAsAdiA / puNo kiM NissAreNa imiNA maNiNA kajjaM / gahiesa taMDulesuM kiM tusehi karaNijjaM / 9 1 omits Ama and adds (utthAya ) etc., while rh reads AM (ityutthAya etc.) 2 K ghaTaM padisANa maMjha 3 x omits ahavA. 4K saroANi 5 x mANi, but Kh dANiM. 6 x sihiNiaM. 7K viA 8K puThai. 9 K suhaharI 10 K ettA. 11 x puNo kI NissAraNa, Kh puNo ci kiM. 12 K taMsulesu. yadabhirucitaM devyAH | I) ehi bhadramukhi, antaHpuraM pravizAvaH / II ) Ama / III) madhye hanta patitvA pramodavandhyA, saMdhyA kraalmukhbhiissnnsNnipaataa| devAnAM dAnavaghaTeva dRzormama, pIyUSapAnavihati sahasA karoti // 40 // ( - ) athavA | mukhe rAgodbhedaH nayanasubhagaH dRzyate sphuTaM, lailATAgre lagnAnanusarati svedAnuDugaNaH / sarojAnAmidAnImanukaroti kozAn stanaM, priyAsAdRzyena mama sphurati saMdhyA sukhakarI // 41 // IV) bho etasmAt khalu asmAkaM tribhuvanalobhanIyA rUpiNI adbhutakanyakA samAsAditA punaH kiM nissAraNImunA maNinA kAryam / gRhIteSu taNDuleSu kiM tuSaiH karaNIyam / vayasya, 1 K pravizAmaH 2 omits Ama. 3 K zrImoda for pramoda. 4 M niTAlA for lalATAgre. 5 4 kozastanam, M kozasUnaM. 6 K zriyA for priyA. 7 K sukhaharI 8 K ita: for etasmAt 9 M lAghanIyA for lobhanIyA. 10 M 'NAnena for NAmunA.

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24 caMdalehAe [I. 41.4__rAjA-"gosaNNa, mA mA evvaM / kiM iMdirA gahiA muuMdeNa NAhiNaMdIadi duddh-vaarihii| tA uddharehi nnN| maNirAaM puNo vi 'amhANaM aNagahiuM devArAhaNa-maMdire accaNatthaM ThAvijaNa gacchamha saMjhaM vNdir| (niSkrAntAH sarve / ) // iaM caMdalehAaM paDhamaM jvnniaNtrN|| 1xNandiadi. 2 K i. 3 5 paThama. I) gosaMza, mA mA evaM / kimindirAyAM gRhItAyAM mukundena nAbhinandyate dugdhvaaridhiH| taduddhara enam / maNirAja punarapi asmAkamanugrahItuM devArAdhanamandire arcanArtha sthApayitvA gacchAvaH saMdhyAM vanditum // // iti candralekhAyAM prathamaM yavanikAntaram // 1 KM put the Dapda after maNirAja.

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[IT] (tataH pravizati rAjA cAmaragrAhiNI ca / ) rAjA -(nizvasya sAzaMsam) lajjA-jaMtaNa-laMchiA vi sahasA taMsAMvalojasuA taM desaM Nava-puMDarIa-Niara-cchaNNaM kuNaMtA khaNaM / saMcArA cauraM bhamaMta-bhumaMA muddhA siNiddhA a maM ANaMdaMtu puNo vi keaa-sihA-lacchINamacchINa se // 1 // cAmaragrAhiNI-(svagatam)"aho, ajja vi mahArAo taM maragaaujjANa-vutaMtaM evva cavvaMto pavvAyaMta-vaaNa-paMkao rua-ruiacchiteNa citeNa kiM vi kiM vi jaMpaMto ullihio via cihai / / tA vasaMta-vaNNaNeNa aNNassi Nemi se mANasaM / (prakAzaM) pekkhadu dAva mhaaraao| sUNAhiMto pibaMto bhamai mahuaro maMdamaMdaM maraMdaM cUAhiMto paDato mahamahai sa-bhaMgANubaMdho suaNdho| malAhiMto hasaMto vilasai pahiukkera-soo asoo siMgAhiMto valaMto malaa-sihariNo vAi sIo a vAo // 2 // ___1_r begins this Scene with this sentence: atha candralekhAyAM dvitIyaM yavanikAntaram / 3 KlacchiA. 3K tassAva. 4K bhamaA for bhamaA. 5 : siNiddhAamAmaNDaMdantu. 66 vakuo for paMkao. 7 5 jappaMto ullikhito. 8 K dumai mahuraro. 9 F cUDAhito, 10 K sogAhito, but Kh siMgAhiMto. [saMskRtacchAyA] I) lajjAyantraNalAJchitA api sahasA tryasAvalokotsukAH, taM dezaM navapuNDarIkanikaracchannaM kurvantaH kSaNam / saMcArAzcaturaM bhramabhruvaH mugdhAH snigdhAzca mAm, Anandayantu punarapi ketakazikhAlazmiNoH akSNoH asyAH // 1 // II) aho, adyApi mahA. rAjaH taM marakatodyAnavRttAntameva carcayan zuSyadvadanapaGkajo raNaraNikAkSiptena cittena kimapi kimapi jalpana ullikhita iva tiSThati / tadvasantavarNanena anyasmin nayAmyasya mAnasam / (...) pazyatu taavnmhaaraajH| sUnebhyaH piban bhramati madhukaro mandamandaM makaranda, cUtebhyaH patan sarvataH prasarati saMbhRGgAnubandhaH sugandhaH / mUlAt hasan vilasati paithikotkarazokaH azokaH, zRGgebhyaH valamAnaH malayazikhariNaH vAti zItaca 1 . lakSitA for lAJchitA. 2 ra snigdhAgamA for snigdhAzca mA. 3 ra 'zikhAlakSmyA . 4 Komits asyAH. 5 Komits zuSyad.6 kimapi only once. 7K prasaGgAnubandhAn gandhamUlAt, M bhRGgAnubandhessugadhairmUlAisan for samRGgA' etc. 8 ra pathikorakazokaH zRGgAda. 9 ra mAtarizvavAtaH for vAti etc. 4 caMda.

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26 caMdahAra rAjA - ( anAkarNya ) "aho rUva-sirI / taha a / NettaM kaMdoTTa - mittaM ahera - maNi- sirI baMdhujIekka-baMdhU vAMNI pIUsa-veNI Nava- puliNa-ala-tyora biMbo nniaNbo| gataM lAaNNa-sottraM ghaNa- sihiNa-bharaccaMta mujjhata-majjhaM uttehiM kiM bahUhiM jiNaMi maha cirA jamma phulaM phalilaM // 3 // ehi ca / * sAmaMto so vasaMto lasai pia vaha kAhalehiM kailehi AsaNNo evva puNNA uNa saia varo NaDa-taMdo a caMdo / NAsIro so samIro calai malaado Netta koNo a bANo saNaso so siNiDo jiNau tihuvaNaM tA asaMgo aNaMgo // 4 // ( vicintya ) ahava jiaM evva aNeNa amhArisa-maiMmmahaNaNummuheNa vammaNa tihuvaNaM / jado [II.2.1 mahura-mahuramede haMta gAaMti kitti disi disi kalaaMThA "baMdiNo NaMdiNo se / avi a gahia-gavvaM savva tellokka-helAviaa a - vaDAaMdoliA bAliA sA // 5 // 1 aharasirI. 2K pANI. 3 x bharaMcanta. 4 x jaNai for jiNai. 5K halIlam for phalillaM. 6 x omits kalehiM. 7 x saiaNahRdanto a. 8 K so jaau tihuvaNaM, but rh so siNindho jiNau tihuvaNaM. 9 x va but xh evva. 10 x sammaheNaNaM muheNaM mammaheNa 11 x gAyanti 12 x vandiNe se. 13 K asia 14 x kelokka. 15 K Daa for dhaa. vAtaH H // 2 // I) aho rUpazrIH / tathA ca / netraM nIlotpalamitram adharamaNizrIrbandhujIvaikabandhuH, vANI pIyUSaveNI navapulina tailasthUlabimbo nitambaH / gAtraM lAvaNyasrotaH ghanastana bhairAtyantamuhyanmadhyam, uktaiH kiM bahubhiH jayati mama cirAt janmaphulaM phalavat // 3 // idAnIM ca / sAmantaH sa vasanto lasati pikavaidhUkAhalaiH kalaiH, Asanna eva puNyAt punaH sacivaparo naSTatandrazca candraH / nAsIraH sa samIrazcalati malayato netrakoNazca vANaH sannaddhaH sa snigdho jayatu tribhuvanaM tadasaMgo anaGgaH // 4 // ( --- ) athavA jitamevAnena asmAdazAM marmahananonmukhena manmathena tribhuvanam / yataH, madhuramadhuramete hanta gAyanti kIrti, dizi dizi kalakaNThAH bandino nandino'sya / api caM gRhItagarva sarva 1 M vAyuH for vAtaH 2 K pulinasthUla 3 M 'bhArAtyanto mu N. 4 M bahunA 5 vadhUhAhAkalaiH kAlaiH. 6 K Asanne and lucuna upto punaH, M "sanna and lacuna upto naH saciva 7 K tadaGgasaGgam, M dezame - ko'naGgaH for tadasaMgo eto. 8 x madhurameke. 9 ca nigRhIta . .

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-II. 8. 1 ] dudiaM javaNiaMtaraM cAmaragrAhiNI - ( svagatam ) "aho, Nia - sAsaNekka- vasaMvadAvia-saala-mahialo havia appaNA kusumasarAsaNassa sAsaNaM aNuvaTTamANo Na kiM vi jANAdi mahArAo / savvahA hari-hara- sarasiruhA saNa - harihaya pamuhA muhA kahinaMti / NAho khu Navara ekko maaNo bhuvaNANa codahANaM vi // 6 // rAjA - accheraM / II ) jaM jehiM NaaNaMcalehi taMiA maMdANilaMdolie piUsaNNava-sIalaMbu -laharI - majjhammi Nimmajji / tehiM mahamehimuha - visame kappaMta vAdAhae ghora - kheDa a-pUra - pUria-I-sottammi chitaM maNaM // 7 // kiM ca / jAlA helA - vihasia -raI loaNAgoare sA bAlA tAlA - paMhudi parusA caMdiA - maMda-vAA / jAlA - mAlA pailaa sihiNo palavAlI muNAlImAlA hAlAhalamavi a kolAhalo koIlANaM // 4 // ( vicintya ) kiM Nu khu vaasso meM cirAadi / 27 1K mahiale, but rh 'lo. 2 x vaTTamANeNa kI vi jANAdi. 3 cha suravaNa ekko for khu etc. 4 AA mandA. 5 x tantehI mahamehiM 6 K vAdAhate. 7 K cchattaM. 8K bahudivarucA for pahudi parusA. 9 x valaya. 10 x koidANam 11 x omits me which is given by Kh trailokyahelA, vijayadhvajapatAkAndolitA bAlikA sA // 5 // I) aho, nijazAsanaikavaizaMvadIkRta sakalamahItalo bhUtvAtmanA kusumazarAsanasya zAsanamanuvartamAno na kimapi jAnAti mahArAjaH / sarvathA, hariharasarasIruhAsanaharihayapramukhA mudhA kathyante / nAthaH khalu parameko madano bhuvanAnAM caturdazAnAmapi // 6 // II) Azcaryam / yadyaiH nayanAJcalaiH tadA mandAnilAndolite, pIyUSArNavazItalAmbulaharImadhye nimajjitam / tat taiH mama idAnImuSNaviSame kalpAntavAtAhate, ghorakSveDakapUrapUritanadI srotasi kSiptaM manaH // 7 // kiM ca / yadA helAviddesi tara tirloca nAgocare sA, bAlA tadAprabhRti paruSAzcandrikAmandavAtAH / jvAlAmAlAH pralayazikhinaH pallavAlI mRNAlI, mAlA hAlAhalamapi ca kolA M vazapadIkRta 5 x kimapi vijAnAti 6 x varameko for tadA. 8 pIyUpaM nava 9 K viSamekAntavAntavAtA jaLe jhaTityava kSiptaM manaH / 11 vilasitA rati lacuna, 1 M vibhi for vijaya. 2 x lolitA lAlikA sA for 'dolitA etc. 3 M bAlakA. 4 " vazaMvandIkRta, 7K yadyAbhyAM nayanAJcalAbhyAM mandA, M lacuna 10 K gherakSyelapUrita, M ghorakSveDa lacuna tArNava

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2 caMdalehAe [II, 8.2(tataH pravizati viduusskH|) / vidUSakaH-(saharSam )"haMta sAhi kajaM / taM vaassassa Nivedemi / (parikramya, puro'valokya) eso vaasso ahiNava-piaMgu-sAmalaMgo vi paccUsa-sasi-maMDala-paMDura-mahurohiM avaavehiM NidAha-gaMgA-pavAho * via kameNa vimukka-gabhIrataNo bahula-pakkha-caMdo via diNe diNe vimuccaMta-kalA-samudao tuhiNAalo vva vijaMbhaMta-maaNo taM evva abbhuda-kaNNasaM jhAaMto thimio ciTThai / (vicintya) aho eAri, sANaM vi mahApurusANaM mANasaM maaNeNa kIlAmio kIrai / savvahA maaNa-mArua-viloliassa mANasassa Na ko vi paMDiAraM karei / tA kusuma-sarAsaNa-sarAsAra-jharaMta-hiaaM vaassaM sUra-iraNa-visU"raMta-kumuva kumuAaraM saradiMdu-suMdara-muhIe vuttaMta-caMdiA-NIsaMdeNa ANaMdemi / (upasRtya) jiNau~ bhavaM / rAjA-vaassa, kiM dihA devii| 15 vidUSakaH -IIkiM damilamaMDaAe pavaTTo si / ujjuaM evva puccha / kiM dihA tatthahodI maNisaMbhaveti / kimiNaM mUlaM muNaMtassa mama pataM 1 FtA for taM. 2 5 NivAha, but Kh NidAha. 3 5 lovaMbhaMtamaaNo. 4 5 abbhudaMNa, but Kh abbhudakaNNa. 5 r omits aho. 6 6 kilAmio.7 pariAraM. 8 jaNau bhavvaM. 9 F ujaNIevva. 10 K tattahodI. 11 K mUNaM mUlattassa. halaH kokilAnAm // 8 // (...) kiM nu khalu vayasyo me cirAyati / I) hanta sAdhitaM kAryam / tad vayasyAya nivedayAmi / (...) eSa vayasyaH abhinavapriyaGguzyAmalAGgo'pi pratyUSazazimaNDalapANDuramadhuraiH avayavaiH nidAghagaGgApravAha iva krameNa vimuktagambhIratvo bahulapakSacandra iva dine dine vimucyamAnakalAsamudayaH tuhinAcala iva vijRmbhamANamadanaH tAmevAdbhutakanyakAM dhyAyan stimitastiSThati / (...) aho etAdRzAnAmapi mahApuruSANAM mAnasaM madanena krIDAmRgaH kriyate / sarvathA madanamArutavilolitasya mAnasasya na ko'pi pratIkAraM karoti / tat kusumazarAsanazarAsArasaMtapyamAnahRdayaM vayasyaM sUryakiraNavizuSyatkumudamiva kumudAkaraM zaradindusundaramukhyAH vRttAntacandrikAniSyandena AnandayAmi / (...) jayatu bhavAn / II) vayasya, kiM dRSTA devii| III) kiM milamaNDakayA pravRtto'si / jukameva pRccha / kiM dRSTA tatrabhavatI maNisaMbhaveti / kimidaM mUlaM 1 M vayasyasya. 2 'yAmi iti. 3 r omits priyaGga, priya tu. 4 ra vadanaH for madanaH. 5K omits vayastha, M laonna. 6 ( kiM candramilamaNDakayA, M lacuna jayA pravRtto'si. 7 bajye papraccha for jukameva etc. CM atra bhavatI.

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-II. 9.] dudiaM javaNiaMtaraM daMsIadi, raaNa-vediNo maMdire mANika-maNi ti kA vikkiNIadi, aNubhUda-bamhANaMdassa puraMdo iMdaAla-paramatthadA smtthiiadi| kiM mae Na muNi maragaArAmAdo evva tue devI-pakkhavAdassa satilA salilaMjalI diNNa ti / rAjA-'mA mA evvaM / jai vi maNamimassi kaNNaANibaddhaM taha vi galai devI-pakkhavAdo kahaM me / sa-rai kamaliNIaM diNNa-kelI-paAro visumarai khu No so mANasaM rAahaMso // 9 // tA Adido pahudi kahehiM / / __ vidUSakaH -"suNAdu vasso| eso ahaM aMteura-vutaMtaM jANa ti tue pesido gosammi evva patthido phalihaMkaNeNaM gaMtuM pvutto| / rAjA-tado tdo| vidUSakaH -- tado dUrAdo evva dihA mae ke vi kIlA-sAlabhaMjiaM gaNhioM AacchaMtI tmaaliaa| rAjA-tado tdo| vidUSakaH- "tado sA maM apekkhaMtI via aNNeNa maggeNa gaa| rAjA-(svagatam )kiMNimitaM / (prakAzaM) tado tdo| __ 11 vittINiadi. 2 ghurado. 3 K satilo. 4 K pakhkhapAdo. 5 x kahedi. 6 x phalihaGkareNa. 7_K kiM vi. 8 x 'bhaJjiAM gRhnia AacchitI. jAnataH mama patraM dayate, ratnavedino mandire mANikyamaNiriti kAco vikrIyate, anubhU. tabrahmAnandasya purataH indrajAlaparamArthatA samarthyate / kiM mayA na jJAtaM marakatArAmAdeva tvayA devIpakSapAtasya satilaH salilAJjalidatta iti / I) mA mA evam / yadyapi mana amupyAM kanyakAyAM nibaddhaM, tathApi galati devIpakSapAtaH kathaM me| sarati kamalinyAM dattakelIpracAraH, vismarati khalu no sa mAnasaM raajhNsH||9|| tadAditaH prabhRti kathaya / II) zRNotu vayasyaH / eSo'haM antaHpuravRttAntaM jAnIhIti tvayA preSitaH prabhAte eva prasthitaH sphaTikAGgaNena gantuM prvRttH| III) ttsttH| IV) tato dUrAdeva dRSTA mayA kAmapi krIDAzAlabhaJjikAM gRhItvA AgacchantI tmaalikaa| V) ttsttH| VI) tataH sA mAmapazyantIva anyena mArgeNa gatA / VII) kinimittam / (...) ttsttH| 1r omits mama, M perhaps lacuna. 2 ra dRzyate. 3 KM maratakArA . 4 nRtta for datta. 5 mano bandho for nosa.6K omits prabhAte. 7 // sphaTikAGkaNeNa.8 K pazyantIva bhanyenaiva mAgeMNa, 'pazyantI cAnyena mA.

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caMdalehAe [II.9. 10__ vidUSakaH-"majjha adaMsaNaM ahilasaMtIe kiM dasaNeNaM ti ahaM vi nuNhi evva gNnumaaddhto| // rAjA-"tado tdo| vidUSakaH -tado tahiM saMmajjaNAdi-vAvAra-keli-laggeNa dAseraIvaggeNa Nava-NihuvaNa-keli-siDhila-baMdha-vigaliaMsa-gholaMta-pajjusi15 a-mAlaI-mAlA-mahamahaMta-bahala-parimala-bhara-bhamaMta-bhasala-maMDalehiM dhammillehiM suraa-bhara-kilammata-caMcalehiM NaaNaMcalehiM thoAvasiha-purANa-kattharI-pata-bhaMga-lehAhiM gaMDa-lehAhiM rmnn-diddh-dinnnn-biN| du-maNaharehiM aharehiM maMDala-kia-mANika-maNi-saala-viNNAsasaMkA-ara-taMbarAarmANa-maNi-mAlA-diNNa-ukaMThehiM kaMThehiM vallahaNava-Naha-dala-vilihia-caMdalehA-maNoharohiM paoharehiM mohnn-vea| khaMDia-kaMcI-guNa-siDhila-NiasaNehiM jahaNehiM nuria-viNNAsamahura-jhaNajhaNAaMta-Neura-kalakala-suhaa-saMcalaNehiM calaNehiM Aa. cchioM pADikaM evva maragaujjANa-vuttaMtaM ahaM pucchido| 2. rAjA-IVtado kiM tue paDivaNNaM / vidUSakaH - imiNA atyANa-raaNa-khaMbheNa kiM paDivaNNaM / kiM ___ 1 siDila. 2K bhamala. 3 dhammallehi. 4 K toyAvasida5 'rAamaNNamaNi. 6 F ukaNThehiM. 7 K turiya. 8 K Ayacchia. 9 5 attANaraaNabheNa. I) mamAdarzanamabhilaSantyAH kiM darzaneneti ahamapi tUSNImeva gntumaarbdhH| II) ttsttH| III) tatastatra saMmArjanAdivyApArakelIlagnena dAseraikIvargeNa navanidhuvanakelIzithilavandhavigalitAMsaghUrNamAnaparyuSitamAlatImAlAsarvataHprasaradvahalaparimalabharabhramardai bhramaramaNDalairmallaidhummillaiH suratabharathamaklAmyaccaJcalainayanAJcalaiH stokAvaziSTapurANakastUrIpatrabhaGgalekhAbhirgaNDarekhAbhiH ramaNadRDhadattavindumanoharaiH adharaiH maNDalIkRtamANikyamaNizakalavinyAsazaGkAkaratAmrAyamANamaNimAlAdattotkaNThaiH kaNThaiH vallabhanavanakhadalavilikhitacandralekhAmanoharaiH payodharaiH mohanavegakhaNDitakAJcIguNazithilanivasanaiH jaghanaiH tvaritavinyAsamadhurajhaNajhaNAyamAnanUpurakalakalasubhagasaMcaraNaizcaraNairAgatya pratyekameva marakatodyAnavRttAntamahaM pRssttH| IV) tataH kiM tvayA pratipannam / V) anena AsthAnaratnastambhena kiM pratipannam / kiM kastUrI paMkaNe vikrIyate / kiM puroDAzaM zabarINAM dIyate / kiM 1K mama darzana. 2 KM tatastasmin. 3 ra dAsIvargeNa. 4 M bhramadbhasaLama. 5 . "yanAnilaiH. 6 // omits purANa. 7 ra lekhAbhiH for rekhAbhiH. 8K omits dala. 9 // tatastvayA kiM pra. 10 ra vakraNe, A paTTaNe for pakaNe. 11 K samarANAM for zabarANAM, u lacuna.

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-IT.9. 42] dudiaM javaNiaMtaraM kattharI pakkaNe vikinniiadi| kiM purolAsaM samarANaM dijji| kiM paMcagavvaM vAasANaM pddivjjiiadi| rAjA-(sasmitam )aho viaDDadAe vilaaso| vidUSakaH-"kiM ettha acchriiaN| ko uNa vAsassa livi-viNNAse citIadi / ko vammIiNo pada-baMdhe koduaM karedi / ko buhappaiNo" chagguNNa-daMsaNe vimhaaMgaNhai / rAjA -"saccaM / tado tdo| vidUSakaH-Vtado tANaM IsA-rajju-bhamADijjaMta-bhumaA-kavaNucchi-" tehiM caDula-caDulehiM karDakkha-maragaa-pAsANehiM taalio| kahaM kahaM vi tado saMkaDAdo Nikamia padumarAa-sajja-vaNa-pariaMteNa gadua palita-phalia-maNi-silAliMda-bahala-joNhA-jAla-dhavalAaMta-dasa- 6 disA-muhaM mANika-maNi-maMdirollasia-maMsala-maUha-mAlA-bAlaudavapallavia-NahaMtaraM viviha-vAvAra-nuvaraMta-vilAsiNI-mahurAlAva-kolAhala-maNaharaM aMteuraM paviTTho mhi / rAjA-tado tdo| vidUSakaH- "tado viddama-maNi-maMDia-maMDava-majjhe pomarAAsaNaNisaNNA devI, aNaMtara-Nihitte phaliha-maNi-silAsaNe caMdAdevammi 15 paGkaNe. 2K deahRdAe for viaDhadAe. 3 K vvAsassa. 4 K thagguNa. 5K kakavaNu. 6 KkhaDakhkha. 7K saMkaTAdo. 8 parataMteNa.9 K omits maNi. 10 maUlaha. 11 ra pAlAdava. 12 omits maMDia. 13 ( candAdipammi. paJcagavyaM vAyasAnAM pratipAdyate / I) aho vidagdhatAyAH vilaasH| II) kimatrAzcaryam / kA punarvyAsasya lipivinyAse citrIyate / ko vAlmIkeH padabandhe kautukaM karoti / ko bRhaspateH SADguNyadarzane vismayaM gRhAti / III) satyam / ttsttH| IV) tatastAsAmIArajjUbhrAmyamANabhrUkavaNotkSiptaH caTulacaTulaiH kaTAkSamarakatapASANaistADitaH / kathaMkathamapi tataH saGkaTAnniSkramya padmarAgasarjavanaparyantena gatvA pradIptasphaTikamaNizilAlindabahalajyotsnAjIladhavalAyamAnadazadiGmukhaM mANikyamaNimandirollAsimAMsalamayUkhamAlAbAlAtapapallavitanabho'ntaraM vividhavyApAratvaramANavilAsinImadhurAlApa kolAhalamanoharamantaHpuraM praviSTo'smi / V) ttsttH| VI) tato vidrumaimaNimaNDi. tamaNDapamadhye padmarAgAsananiSaNNA devI, anantaranihite sphaTikamaNizilAsane candrA 1M lacuna he te vidagdhatAyA. 2 lipijJAne ni', 4 ki lacuna vijJAnena ci'. 3 ra karoti for gRhNAti. 4 M has a long lacuna after tatastAsAM upto hArItapakSa etc. (p. 32,149). 5 ra 'rajvA for rajjU'. 6 Komits jAla. 7 Komits maNi'.

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32 caMdalehAe [II. 9. 43 bAlAdava lacchi vva samAsINA sA abbhuda kaNNaA, tANaM taMboladANaM kuNaMtIo caMdaNiA - caMdiAo mae diTThAo / rAjA - "tado tado / 45 48 vidUSakaH -"tado dUrAdo evva maM daddUNa caorao Acchaditi devIe kaMcaNAsaNaM uvaNAiaM / tahiM ca suhaM pisaNNo ahaM devIe " viaMbhaMta cAru-tAruNNa saNNAha suhaa Nava bhUsaNa-vahU- kavola pAlIkomalehiM taMbolehiM hArIda - pakkha-haria - NimmalehiM pophalehiM maNahara-vAehiM pasuvai jaDA-caMda - khaMDa - dhavalehiM kappUra - saalehiM ca " saMbhAvio / 51 rAjA - kiM bhaNNai saMbhAvaNA NivaNattaNaM devIe / IV) vidUSakaH - ( serghyam ) " kiM evvaM bhaNasi / kiM NArade saMpatte mahoNa"hisI Na bahu maNNai / kiM vasiTTe paviTThe mahumaha mahilA Na silAhei / kiM araviMda-maMdire abbhAgae caMda- sehara - suMdarI NAhiNaMdeza | 1 57 rAjA - juttaM evva / tado tado / VI). vidUSakaH- do tAe anbhuda kaNNaAe caMdiA dhavalaM maMda - hasia- caMdaNa cacci dAUNa NIsaMdaMta- bahumANa-maaraMda-sottehiM NettehiM kaMdoTTa-mAliA - maMDaNaM laMbhio / - 1 AdiTThA, but rh mae diTThAo. 2 K saNa. 3 K phophalehI. 4 x vAhI, but rh 'vAhiM uvAeA pasu 5 K uvalehiM. 6 K mihisI. 7 K NI santabahu. tape bAlAtapalakSmIriva samAsInA sA adbhutakanyakA, tayostAmbUladAnaM kurvantyo candanakAcandrike mayA dRSTAH / I ) tatastataH / II) tato dUrAdeva mAM dRSTvA cakoraka AgacchatIti devyA kAJcanAsanamupAnItam / tasmiMzca sukhaM niSaNNaH ahaM devyA vijRmbhamANacArutAruNyasaMnAha subhaganavabhUSaNavadhUkapolapAli komalaiH tAmbUlaiH hArItapakSaharita nirmalaiH pUgaphelaiH manoharapAkaiH pazupatijaTAcandrakhaNDa dhavalaiH karpUrazakalaizca saMbhAvitaH / III) kiM bhaNyate saMbhAvanA nipuNatvaM devyAH / IV) kimevaM bhaNasi / kiM nArade saMprApte maghavanmahiSI na bahu manyate / kiM vasiSThe praviSTe madhumaithamahilA nazlAghate / kimaravindamandire abhyAgate candrazekharasundarI nAbhinandati / V ) yuktameva / tatastataH / VI ) tatastayA adbhutakanyakayA candrikAdhavalAM mandahasitacandanacarcikAM dattvA niSyandamAnabahumAna 1 Komits] pUgaphalaiH and 'candrakhaNDa' which are given by M. 2 M maghono mahiSI. 3 M mAdhava for madhumatha 4 cAdbhuta for adbhuta'.

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-II. 10.13] rAjA - ( tAmanusaMdhAya ) taM taM taha dIharaM jaha bhave aNNo Na kaNNeuro biMbodvANa pahA tahA jaha thaNA DhillIarA kuMkume / vacchoe taha paMDimA jaha puro suNNappaNo dapaNo lAaNNaM taha aMgaammi jaha jo gajjhaM NiolaMsuaM // 10 // ayi puNo vidiTTha- goare bhave / vidUSakaH - "bho vaassa, jAvaM Na pamhusimi tAva savvaM vRttaMta- sesaM suNia pacchA jahicchaM cavvehi / rAjA-nado tado / IV) vidUSakaH - do takkAloidehiM [AlAvehiM ] kaMpi kAlaM viNodiUrNa devIe aNumado patthido mhi / rAjA - (svagatam ) Na laDo ko vi daMsaNoMvAo / VII) rAjA vidUSakaH - kiM tado tado triNa pucchIadi / "vaassa, ciMtemi Natthi daMsaNovAo ti / vidUSakaH puNo vi kiMci suNia NirAso hohi / rAjA [[X] kahehi | VIII) - dudiaM javaNiaMtaraM - dayitvA 33 X) vidUSakaH -- tado mama NiggamAdo puruvaM evva caMdaNiA jaM kiMciM " bhaNia Niggamia magge phaliha-paDoharuppara - agge laggA Asi / 1 K lIlAdarau for zithilAdarau. 2 5 M kimapi for kiMcit 6 5 cada0 1K aNNa kaNNe. 2 K DillAarA 3 K sukhappaNI, Kh sunadhpaNo. 4 K gajhaNNiolo suNam. 5 x paMmusimi 6 viNodaUNa 7 dasNovAo. SK ci. 9 x palihapaDoharappara. makarandasrotobhyAM netrAbhyAM nIlotpalamAlikAmaNDanaM lambhitaH / I) tannetraM tathA dIrgha yathA bhavet anyanna karNapUra, vimboSThayoH prabhA tathA yathA stanau zithilAdarau kuGkume / vakSoje tathA pANDutA yathA puraH zUnyArpaNo darpaNaH, lAvaNyaM tathA aGgake yathA no grAhyaM nicolAMzukam // 10 // ayi, punarapi dRSTigocare bhavet / II) bho vayasya, yAvanna prasmarAmi tAvat sarva vRttAntazeSaM zrutvA pazcAt yathecchaM carvaya / III ) tatastataH / IV) tatastatkAlocitaiH AlApaiH kamapi kAlaM vinodyaM devyAnumataH prasthito'smi / V) na labdhaH ko'pi darzanopAyaH / VI ) kiM tatastata iti na pRcchayate / VII) vayasya, cintayAmi nAsti darzanopAya iti / VIII) punarapi kiMcit zrutvA nirAzo bhava / IX) kathaya / X) tato mama nirgamAt pUrvameva cadainikA yatkicit tathA reNuke yathAgreNa grAhyaM. 3 x 'locitairdevyA AlApaiH 4 K vinocandanikayA ya

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34 15 3 caMdalehAe rAjA - ( sapratyAzam ) " tado nado | vidUSakaH- do mae saha kida saMdhI gaA sA / III) rAjA - ( sasmitam ) kerisa sa saMdhI | IV vidUSakaH - eriso / ( iti patrikAM darzayitvA ) eso tatthahodIeM a"bbhuda kaNNaAe sarassaI- vilAso akkhara - viNNAso a / rAjA - ( saharSamAdAya vAcayati / ) ko uNa kuNai NirohaM avagAhi jhati pakkhavAda - dhuaM / iha ko virAjahaMso ukkaliaM mANasammi vaDDeI // 11 // ( saromAJcam ) savaNa- uDa- goro viM a phAsa- suhAi vva jhatti maha daMto / uppuMlaiamaMgaM uppala-NaaNAa kuNai saMdeso // 12 // ( punarapi dvicayati / ) vidUSakaH - bho vaassa, kiM cavvia cavvaNeNa / puNo vi pekkha / caMdaNiAe vi ettha evva duve siloA kaTua lihiA / rAjA - ( vAcayati / ) VII)_ tAsoaM vahai surahiM sA vi taM dakkhiUNaM caMdo mohaM vahai bhuvaNe sA viM teNaM NaaMgI / 1 K tattahodIe. 2 K vaTTei. 3 x viaSasasuhAi 4K uppulaamaMgaM. 5 x candiNiAe. 6 soyaM. 7 K surahI. 8 K viyoNaM for vi teNaM. [II. 10.14 bhaNitvA nirgamya mArge sphaTikapazcAdbhAgagRhAye lagnA AsIt / I ) tatastataH / II) tato mayA saha kRtasaMdhirgatA sA / III) kIdRzaH sa saMdhiH / IV) IdRzaH / (..) eSa tatrabhavatyA adbhutakanyakAyAH sarasvatIvilAso akSaravinyAsazca / V) kaH punaH karoti nirodhaM avagAhya jhaTiti pakSepAtadhutam, iha ko'pi rAjahaMsaH utkalikAM mAnase vardhayati // 11 // ( N) zravaNapuTagocaro'pi ca sparzasukhAnIva jhaTiti mama dardet / utpulakitamaGgamutpalanayanAyAH karoti saMdezaH // 12 // VI) bho vayasya, kiM carvitacarvaNena / punarapi pazya / candanikayApi atraiva dvau zlokau kRtvA likhitau / VII) raktAzokaM bibharti surabhi sApi taM dRSTvA candro mayUkhaM vahati bhuvane sApi tena natAGgI / 1 K kanyAyAH 2 pakSavAte dhute, M pakSapAta lacuna 3 vardhayati // iti. 4 5 raktAzlokaM vibhaktaH 6 K surabhitaM, M surabhiH 7 mayUkhaM mohamiti ca vahati 8 dambham for dadat. sApi natAGgI.

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-II. 15. 2] dudilaM javaNiaMtaraM so jIAdo NivaDai saA paMcabANassa bANo pacchA teNaM dalia-taNuA sA vi bAlA khaNeNaM // 13 // avi a| caMDA te sAsa-daMDA taha jaha suhaA gimha-vAdANa vAdA bAhA tivva-ppavAhA taha jaha saalA diNNa-muddA samuddA / deho vaDhaMta-dAho taha jaha palaudaMDa-sUro u mAro kAmo kiM kAdukAmo Na a uNa muNimo dUmiAe imaae||14|| ko uNa apphaMdai caMdaNi saMdabha-saraNIe / vidUSakaH-"caMdiau apphaMdai / tisse vi silo pekkha / rAjA-(vAcayati / ) "Na caMdo ANaMdaM kuNai Na a kaMdoTTa-kaliA Na mAaMda-ssaMda-ppaalia-maraMdo vi pavaNo / Na saMdo NIsaMdo" malaaa-rasANaM vi visamaM vasaMtIe tIe kimiha muNimo kiM ca bhaNimo // 15 // aho suhao saMdabbho cNdiaae| (vicintya ) vaassa, kahaM puNa adiDa-puruvAsuM caMdaNiA-caMdiAsuM se caMdamuhIe vissNbho| - 1 K paJcau. 2 KgISavAdA, but xh gihma. 3 K pAdA for bAhA. 4 K valau'. 5_kh suro tusAro. 6 5 apphundai. 7 - candaNiA. 8 : kisse. 9 K mAaMdaMSada. 10 KNIsaMde. 11k malaasarasANaM. 12 K candaNiAe. 13 5 candiNiA. sa jIvAtaH nipatati sadA paJcabANasya bANaH, pazcAt tena dalitatanuH sApi bAlA kSaNena // 13 // api ca / caNDAste zvAsadaNDAstathA yathA subhagA grISmavAtAnAM pAH tIvrapravAhAstathA yathA sakalA dattamadrAH smdraaH| deho vardhamAnadAhaH tathA yathA pralayoddaNDasUryastu mAraH, kAmaH kiM kartukAmaH na ca punarjAnImaH dUnAyA: amussyaaH||14|| kaH punarAkAmati candanikAM saMdarbhasaraNyAm / I) candrikA AkrAmati / tasyA api zlokaM pazya / II) na candra AnandaM karoti na ca nIlotpalakalikA, na mAkandaspandapragalitamarando'pi pvnH| na sAndro niSyando malayajarasAnAmapi viSamaM, vasantyAstasyAH kimiha jAnImaH kiM ca bhaNAmaH // 15 // aho subhagaH saMdarbhazcandrikAyAH / (...) vayasya, kathaM punaradRSTapUrvayoH canda nikAcandrika 1K sApi jIvAtaH jIvAditi ca niyatati, / sabhyAtaH for sa jIvAtaH. 2 ra pazcAt tau dalita'. 3 ra 'vAtA na vAtA. 4 & sUryastudhAraH, 5 . dunayAnayA. 6 ra nikAsandarbhasaraNyAH. 7 candanikAmAkA'. 8 ra 'spandaH praga. 9 ra rbhazcandanikAyA. Awaren

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caMdalehAe [II. 15.3, vidUSakaH-"caMdaNiA bhnnaadi| bhaTTiNIe tassi evva diahe maha bahiNiA caMdiA tAe raaNasaMbhavAe sahitaNe nniutaa| tado taM evva savvadA aNuvaDhetI caMdiA tAe appaNo hiaaM via vissaM'bhadaihANaM AsI / ahaM ca tisse bhaiNi ti siNeha-pataM jAa ti / raajaa-''jujji| vidUSakaH - IT'puNo vi tAe kiM vi patthiaM ca / ajja khu caMdiA* muhAdo adisaida-sura-suMdarI-gIaM raaNasaMbhavAe gIaM ti surNi kodueNa vaTTamANAe bhaTTiNIe mahArAaM saMkia NAdidUraM pomarAArAmaM gamiUNa gIaM sodavvaM ti samao kido| // rAjA -IVtado tdo| _ vidUSakaH-'tado dANiM bhaTTiNI raaNasaMbhavA a padumarAArAma gamissaMti / tahiM ca tumhehiM peraMta-Thiassa bAla-tamAlassa pasaraMta" hariNIla-silA-vediA-majaha-mAlaMdhaAra-majjhe ThAavvaM ti / rAjA - (sapramodam)"amhANaM IMaM abhatthaNA / vidUSakaH-(karNa dattvA ) jeNa NUura-NiNAdo suNIadi teNa patthiA 1 devI raaNasaMbhavA a pomarAArAmaM / tA gacchamha / ____ 1 5 NivuttA. 2 K saMvadA. 3 5 degdaThANaM. 4 5 kisse. 5 K omits ca. 6 K suNua.7K kao, but kh kido. 8 vAma for bAla. 9 5 maUhavAlaMDaAra. 10 K iyaM. 11 K suNIhadi. yorasyAzcandramukhyAH vishrmbhH| I) candanikA bhaNati / bhaTTinyA tasminneva divase mama bhaginI candrikA tasyA ratnasaMbhavAyAH sakhitve niyuktA / tatastAmeva sarvadA anuvartamAnA candrikA tasyA Atmano hRdayamiva vinambhasthAnamAsIt / ahaM ca tasyA bhaginIti snehapAtraM jAtA iti / II) yujyate / III) punarapi tayA kimapi prArthita ca / adya khalu candrikAsukhAt alizayitasurasundarIgItaM ratnasaMbhavAyA gItamiti zrutvA kautukena vartamAnayA bhahinyA mahArAja zaGkitvA nAtidUraM padmarAgArAmaM gatvA geyaM zrotavyamiti samayaH kRtH| IV) ttsttH||) tata idAnIM bhaMTTinI ratnasaMbhavA ca padmarAgArAmaM gmissytH| tasmiMzca yuvAbhyAM paryantasthitasya vAlatamAlasya prasaraddhari* nIlazilAvedikAmayUkhamAlAndhakAramadhye sthAtavyamiti / VI) asmAkamiyamabhyarthanA / VII) yena nUpuraninAdaH zrUyate tena prasthitA devI ratnasaMbhavA ca padmarAgArAmam / 1 // bhaginikA ca. 2 ra hRdayamivAtmano for Atmano hRdayamiva. 3 vartamAnAyAH. 4 Komits bhaTrinI. 5 gamaSmati. 6sAla for bAla. 7 ra lekhAlekha for vedikAmayUkha.

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-II. 17.1] dudizaM javaNiaMtaraM rAjA-"tahA / (ubhAvutthAya prikraamtH|) rAjA-(nUpurazravaNamabhinIya saharSam ) "sodUNa Neura-ravaM daiAa pANA ujjIviA maha maNobhava-bANa-khiNNA / ArAvamaMbua-kulANa NidAha-dAha jUrAviA via majara-gaNA kuNaMti // 16 // vidUSakaH - bho vaassa, imAe vilulia-muula-kula-parimala-bharataralaara-bhasala-paDala-kalakala-suhaAe bAla-baula-vADiAe gacchamha pomarAArAma-peraMtaM / ( ubhau parikrAmataH / ) vidUSakaH- 'pata mha padumarAa-ujjANaM / eso tamAlo, esA iMdaNIla-vediA, majaha-mAlaMdhaAre tA ettha urvavisia tthaamo| . rAjA-tahA / (tathA kurutaH / ) (tataH pravizati devI nAyikA vibhavatazca privaarH|) devI-bhaddamuhi, pavisamha paumarAa-ujjANaM / nAyikA-(saniHzvAsaM svagatam) VIvisamo mAhava-mAso vilakkhaNo evva visamavANo so| adi-dulahe apemma ahaha paraM majjha IrisaM deg kammaM // 17 // (prakAzam ) taha / (sarvA udyAnapravezaM nATayanti / ) 15 sedaNa. 2K uggIviraM maha. 3 3 pANa for bANa. 4 jharAviA. 5 K padhala. 6K mAlaMdhAro. 7K upavi.8 Kadds no consent of the king, but puts the stage direction tathA kurutaH at the close of Vidusaka's speech. 9 : vilaNe. 10 IsisaM. 11 K kamma. 12 Rh rUpayanti for nATayanti. tad gcchaavH| I) tathA / II) zrutvA nUpuraravaM dayitAyAH prANAH, ujjIvitA mama manobhavabANakhinnAH / ArAvamambudakulAnAM nidAghadAha-, saMtaptIkRtA iva mayUragaNAH kurvanti // 16 // III) bho vayasya, amuyA vilulitamukulakulaparimalabharataralatarabhramarapaTalakalakalasubhagayA bAlavakula vATikayA gacchAvaH pArAgArAmaparyantam / IV) prAptau svaH padmarAgodyAnam / eSa tamAlaH, eSA indranIlavedikA, mayUkhamAlAndhakAre tadatropavizya tisstthaavH| V) tathA / VI) bhadramukhi, pravizAvaH panarAgodyAnan / VII) viSamo mAdhavamAsaH vilakSaNa evaM viSamabANaH saH / atidurlabhe ca prema ahaha paraM mama IdRzaM karma // 17 // 1 M dayitayo. 2 ra ujjIvitaM, M udrIvatAM. 3 M cUrNI for saMtaptI'. 4 anayA. 5 ra bharaNa or bhara. 6 Kii bhasala for bhramara. 7 M eSa. 8 KM vedikAmayUkhamAlAndhakAra: 9 tatropavizya, M tadatra pravizya. 10 F omits tathA. 11 ra iva for eva.

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38 3 caMdalehAe rAjA - ( Alokya saharSam ) "haMta / puNNa hariNaMka- vaaNA phuDaMta - Nava puMDarIa-dala-NaaNA / phurai maha ettha purado pupphA uha - purusaAra - sAmaggI // 14 // nAyikA - ( apavArya)halA caMdie, maragaArAmo maNojjo / abhaM / tahiM khu bhasala-mAlA loaNa- rasAaNaM uvaNei, koila* jAlaM kaNNAmiaM NIsaMdei, malaANila paripphaMdaNaM caMdaNa-caccaM dukkha 3 karei / ettha uNa asala-paDalaM uppAdariMga paacchA loaNe garala-kavalaM kaNNANaM me kuNaMti a koilA / disai visamaM dehe dAhaM calo malaANilo piasahi NataM ekaM jaM me Na bhiMdai jIviaM // 19 // candanikA - ( apavArya)vihiNo aNukUlattaNe savvaM mamANuUlaM, vivarIataNe savvaM vivarIaM / rAjA - ( sAvadhAnaM nirUpya ) va assa, pekkha / dalia - NaliNI-kaMdAbhoA kavolaa-vAliA thimia- bhumaA-lehaM taM pasutta - kaNINiaM / kimiha bahuNA tisse lolaM milANa- muNAliAlulia - luliaM gataM NettUsavaM paiMsavei me // 20 // [ II. 17.2 ettha uNa. 9K lulululu gettaM. 1K hariNapaGkaavaaNA. 2K maNajo 3K 'aro khu tarhi khu. 4K rasAyaNaM. 5 x nAyikA6K hasala for bhasala. 7 K uppAdaGgI. 8 K lettaM for NetaM. 10 K vasavei. ( - ) tathA / I) hanta / pUrNahariNAGkavadanA sphuTannavapuNDarIkadalanayanA / sphurati mamAtra purataH puSpAyudhapuruSakArasAmagrI // 18 // II) halA candrike, marakatArAmo manojJaH / ayaM duHkhakaraH / taMtra khalu bhramaramAlA locanarasAyanamupanayati kokilajAlaM karNAmRtaM niSyandayati, malayAnilaiparispandanaM candanacarcA karoti / atra punaH bhramaraipaTalamutpAtAnaM prayacchati locane, garalakavalaM karNayoH me kurvanti ca kokilAH / dizati viSamaM dehe dAhaM calo malayAnilaH, priyasakhi na tadekaM yanme na bhinatti jIvitam // 19 // III ) vidhenukUlatve sarva mamAnukUlaM, viparItatve sarva viparItam / IV) vayasya, pazya / dalitanalinIkandAbhogA kapolakapAlikA, stimitabhUlekhaM netraM prasuptakanInikam / kimiha bahunA tasyAH 'lolaM mlAnamRNAlikA, lulitalulitaM gAtraM netrotsavaM prasUte me // 20 // 1 K duHkhataraH 2 Komits tatra, M kasmin for it. 3 bhasala, M bhasaLa for bhramara. 4 K 'nilasparzapari. 5 KEM bhasala for bhramara. 6 K kalyANaM for karNayoH 7 M puts this sontence in the mouth of Candrika. CM pazya pazya for vayasya pazya 9 tasyApi for tasyAH 10 M mugdha for lolaM. 11 x vardhate for prasUte.

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-II. 22.2] dudiaM javaNiaMtaraM devI-bhaddamuhi, assa bAla-baulassa veluria-maNi-vediAaM upavisamha / (sarvA upavizanti / ) devI-"haMje caMdaNie, vivaMciM uvaNehi / candanikA -II)jaM bhaTTiNI aannvedi| (vipaJcImupanayati / ) nAyikA-(AdadAti / ) vidUSakaH-"'bho vaassa, pekkha / vivaMci-ggahaNaM evva kahei gIe / priaa-nnivunntnnN| potthoM-kavaliA-pariggaho evva pisuNei gurukul-vaasN| asi-lehuddharaNaM evva sUei khurlii-sikkhaa-visesN| (nAyikA vipaJcI yathAsthAnaM vinyasya tantrI tADayati / ) nAyakaH-(avalokya) "taMtINaM haNaNeNa pANi-kamalaM lolaMgulI-pallavaM heluNNAmia-komaleka-bhumaA-leha muhaMbhoruhaM / thoro vAma-thaNo vipaMci-taiAlAvutaNaM pAvio maNNe paMcasarassa paMcama-saro edaM khu se AsiaM // 21 // nAyikA-(gAyati / ) V"kusala-vasaMta-sahAo kuNddliudNdd-kusum-kodNddo| kuNai Nia-vikkameNaM kusumasaro eka-sAsaNaM bhuvaNaM // 22 // nAyakaH-(savismayam )VIaho gAmANaM vivitadA / aho sarANaM visuddhaa| aho sudINaM vinnioaN-kmo| kiM ca / kadivaa-guNa___1 KNipuNa'. 2 R potta. 3 khurulI'. 4 K dolaMgulI'. 5 K komalaka'. 6 x vAmathaNe. 7 K visuddhatA. 8 K ojakkamo. 9 kadipaa. I) bhadramukhi, asya bAlabakulasya vaidUryamaNivedikAyAM upvishaamH| II) ha~le candanike, vipaJcImupanaya / III) yad bhaTTinI AjJApayati / IV) bho vayasya, pazya / vipaJcIgrahaNa. meva kathayati gIte paricayanipuNatvam / pustakakavalikAparigraha eva pizunayati gurukula. vAsam / asilekhoddharaNameva sUcayati khuralIzikSAvizeSam / V) tantrINAM hananena pANikamalaM lolAGgulIpallavaM, helonAmitakomalaikadhUrekhaM mukhAmbhoruham / sthUlo vAmastano vipaJcItRtIyAlAbutvaM prApitaH, manye paJcazarasya paJcamazaraH etat khalvasyA Asitam // 21 // VI) kuzalavasantasahAyaH kuNDalitoddaNDakusumakodaNDaH / karoti nijavikrameNa kusumazaraH ekazAsanaM bhuvanam // 22 // VII) aho grAmANAM viviktatA / aho 1 sAla for bAla . 2 // vaiDUrya. 3 M haNDe for haje. 4K bhartRNI. 5 khalUrI for kharalI. 6 // bhralekha. 7 ra 'stanaM...prApitaM. 8 ra sanAtha: for sahAyaH. 9 M vikramaiH for vikrameNa.

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caMdalehAe [II. 22. 3 * gahaNa-gavva-vaMcide vipaMcie, agaNija-guNaM amia-guNAaM imAe aNurAaMtI kahaM Na lajjasi ta / ahava parivAdiNINaM avaAso Nasthi saMkAe / (nirvarNya ) ahaha imAe kaMcaNa-kamaNIaMgIe calaMta-kara-pallavaM kala-raNaMta-naMtI-guNaM valaMta-NaaNaMcalaM muha-galaMta-daMta-ppahaM / lalaMta-maNi-kuMDalaM parilulaMta-laMbAlaaM maNaM harai mAma mahura-gIa-lIlAidaM // 23 // vidUSakaH-(nirvarNya )"bho vaassa, accharIaM imAe caMpaa-dala-komalaMgIe ekamekaM vi aMgaM loaNa-pIjasa-pUraNaM / taha a| parilasia-ciura-mAlA tisse nnv-phull-mlliaa-salaa| rAjA I"lAvaNNa-Ni-sirIe rehai pacchA sa-tAraA raaNI // 24 // vidUSakaH "kuDilA akurala-mAlA parilolai salaliaMNaaMgIe / rAjAI'maaNeNa taruNa-mANasa-baMdhaNa-hariNIla-siMkhalA caliA // 25 // ____1K gaNija for agaNija. 2 K omits taM given by Kh. 3 K pariluThanta. 4 K pAraNam for pUraNaM. 55 kisse. 6 K sila for diNa. 7 K kuTilA. 8 K baNDaNa. 9 K sIkhalA. kharANAM vizuddhatA / aho zrutInAM viniyogakramaH / kiM ca / katipayaguNagrahaNagarvavaJcite vipazcike, aMgaNanIyaguNAmenAmanugAyantI kathaM na lajase tvam / athavA parivAdinInAmavakAzo nAsti shaayaaH| (...) ahaha amuSyAH kAJcanakamanIyAjhyAH, calakarapallavaM kalaraNatantrIguNaM, valamAnanayanAJcalaM mukhagaladdantaprabham / lalanmaNikuNDalaM parilulallambAlakaM, mano harati mAmakaM madhuragItalIlAyitam // 23 // I) bho vayasya, Azcarya asyAzcampakadalakomalAGgyAH ekaikamapyaGgaM locanapIyUSapUraNam / tathA ca / parilasitacikuramAlA tasyA navaphullamallikAzavaMlA / II) lAvaNyadinazriyo rAjate pazcAt satArakA rajanI // 24 // III) kuTilA ca kurulamAlA parilolati salalitaM natAjhyAH / IV) madanena taruNamAnasabandhanaharinIlazRGkhalA calitA // 25 // 15 kiM ca ayi kati. 2 ra agaNitaguNAmetAM anuguNA anmanayantI kathaM, for agaNanIya etc.given by M. 3 MdegvAdInAM for vAdinInAm. 4 // lasannayanA for valamAnanayanA. 5 ra uptalan for lalan. 6 ra parisTa for parilala'. 7 M pazya for Azcarya. 8 ra ekameka'. 9K zakalA. 10 M kuTilA bakulamAlA. 11 / parimalati, / parilolakisalayitaM.

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-II. 306] vidUSakaH sarasia -dala-NaaNAe salaliamuNNAmiA bhumaA / rAjA - kAliMdI - laharINaM kaMdalio evva paribhavaMkUro // 26 // vidUSakaH - III) "odaMsa- kuvalaaM se avagaliaM kiM vi gaMDa-phalaammi / rAjA - VI). rAjA - IV) " tarala-NaaNaMcaleNaM tarjiamea khu hoi heTTha muhaM // 27 // vidUSakaH - V) kisalaa - midulaMgIe gIeNa vi loaNaM kilammadi se / vidUSakaH - VII. dudi javaNi aMtaraM kaNNaMta dIha-attaM khaNeNa kADhUNa dUmiaM eaM // 24 // "uppala-vilobhaNAe ummisiaM sama- alaM kavolesuM / ujjala pIUsa kaNA udaMciA kiMciM paMcamI caMde // 29 // parimalaaMti disAo pallava-gattI surahi-NIsAsA / rAjA - X) " tAruNNa- surahi samae tA pattA malaa - sela - pavamANA // 30 // rAjA - vidUSakaH IX) - kara 1 K tajhia. 2K bhUmiaM for dUmiaM. 3 x ummisabhaM. 4 x saalaM for samaalaM. 5 x kaJci. 6K malayanti 7 K malaya. I) sarasijadlanayanAyAH salalitamunnAmitA bhrUH / II) kAlindIlaharINAM kandalita eva paribhavAGkuraH // 26 // III) avataMsakuvalayamasyA avagalitaM kimapi gaNDaphalake / IV) taralanayanAJcalena tarjitametat khalu bhavati adhomukham // 27 // V) kisalayamRdulAGgyAH gItenApi locanaM klAmyati asyAH / VI) karNAntadIrghayAtrAM kSaNena kRtvA dUnametat // 28 // VII) utpalavilocanAyAH unmiSitaM zramajalaM kapolayoH | VIII) ujavalapIyUSakaNAH udazcitAH kiMcit paJcamIcandre // 29 // IX) parimalayanti dizaH pallavagAtryAH surabhinizvAsAH | X ) tAruNyasurabhisamaye tatprAptAH malayazailapavamAnAH // 30 // munnAvamitabhrUH . 2 K parimalAGkuraH for paribhavAGkuraH of M. Rs K' nayanAM cAlana, M nayanAJcalaistajita 4 x omits asyAH 5 kRlA etat 6 x omits amajalaM. 7 M viparila 8 tasmAtprAptA. 1 6 caMda 0

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caMdalehAe [II. 31avidUSakaH "taralohara-vivarAdo galaMti daMtANa cNdiaa-lesaa| "gIa-suhaMbuhi-laharI-sIara-NiarA s-helmullsiaa||31|| vidUSakaH_Imaha Na Nivai dihI maNahara-vaaNaMbuA kisNgiie| rAjA IV)ko uNa harei NetaM saceaNo puNNimA-caMdA // 32 // devI-bhaddamuhi, kilammae de vadaNaM, tA viramehi / nAyikA- "tahA~ / (viramati / ) rAjA-(saviSAdam )VI"haMta, avaggaho savaNa-pIjasa-varisANaM kido| devI - VII bhaddamuhi, uThehi gacchamha / nAyikA-'taha / (utthAya niSkrAntA devI parijanazca / ) rAjA -haMta, kido Neta-pIjasa-varisANaM ca / vaassa pekkha / paduma-vadaNAa dANiM parirahio pdumraaa-aaraamo| atthamia-caMdaleho gaaNAbhoo vva hoi NaTTa-paho // 33 // vidUSakaH- "bho vaassa, uddharia-NihANaM mahiM va imaM ujjhia ___1 K haravivarAo for taralA etc., but Kh taralAharavivarAdo. 2K suhambulaharI. 3 diTTI. 4 K vidUSakaH- for devI. 5 K omits tahA given by Kh. 6. parisANaM. 7 K parisANaM. 8 F has no ca. 9K uddhAri. 10 mahI imaM ujhia. I) taralAdharavivarAdgalanti dantAnAM cndrikaaleshaaH| II) gItasudhAmbudhilaharIzIkaranikarAH sahelamullasitAH // 31 // III) mama na nivartate dRSTiH manoharavadanAmbujAt kRshaangyaaH| IV) kaH punarharati netraM sacetanaH pUrNimAcandrAt // 32 // V) bhadramukhi, klAmyati te vadanaM, tasmAd virama / VI) tathA / VII) hanta, avagrahaH zravaNapIyUSavarSANAM kRtH| VIII) bhadramukhi, uttiSTha gcchaavH| IX) tthaa| X) hanta, tathA netrapIyUSavarSANAM ca / vayasya, pazya / padmavadanayA idAnI parirahitaH padmarAgArAmaH / astamitacandralekhaH gaganAbhogo bhavati naSTaprabhaH // 33 // XI) bho vayasya, uddhRtanidhAnAM mahI. 1k keeps blank space for this line. 2 ( sudhAmbulaharI. 3 ra candra: for candrAta. 4 M 'naM tadvirama. 5 K omits tathA. 6 antarapagraha for hanta avagrahaH. 7 . jAtaH for kRtaH. 8 K gacchAmaH. 9 // omits tathA. 1. K sahImiva ujjhitvA, M nidhAnamimamujjhitvA.

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-II. 33.18] dudiaM javaNiaMtaraM gamissAma / ( vilokya) vaassa, edAo NattamAliA sAlabhaMjiA- hatthA tamAliA a kiM vi sallavaMtIo ido evva AacchaMti / tA ettha vi muhuttaM NilukkA ThAUNa suNamha imANaM AlAvaM / rAjA - "taha | ( tataH pravizatazceTyau / ) II ). ekA "tamAlie, kimatthA esA sAlabhaMjiA / dvitIyA-sahi NattamAlie, suNAhi Adido evva / nakamAlikA - tamAlie, avahida mhi / V) tamAlikA - " NattamAlie, puruvaM maragaArAme ciMtAmaNi saMbhavAaM kaNNaaM kiM visiNiddhaM pekkhia mahArAassa diTThi jaM kiM vi AkamANA bhaTTiNIe ajja pahAde pesida mhi | vidUSakaH-''vaassa, pahAde diTThassa suttassa vivaraNaM hoi / VII) rAjA - avahidA suNamha / naktamAlikA - VIII) kahaM / tamAlikA -haMje NattamAlie, imaM kassIra - NAha vallahAe maha pahuDIkidaM tatthabhavaMdIe sAraAe pasAdeNa samAsAdiU~ dhAraNAvavahAra- paMDicaM buddhimadiM NAma amhAaM kIlA - sAriaM imAe sAla 19 1 M bho mayasya. 2 omits ca. 3 M tadatra. 4 K eva mUkA 6 x kimeSA for kimarthA eSA found in M. 7 Momits kanyakAyAM. bhaviSyati found in M. 10 zRNumaH 11 43 1 K tamAliA hariNantamAliA a. 2K salapaMtIo. 3 K Aacchadi. 4 K kiM esA, but Kh kimatthA esA. 5 x NattamAlie sahi for sahi otc. 6 x saMbhavAkaNNaAaM. 7 K suNasuNA. 4 K pAlaDI, but Kh pAhuDI. 9 x tattabhavadIe. 10 x samAsAdiA dhA. 11 K pANDicaM. 12 K buddhimadINAma. mitra imamujjhitvA gamiSyAvaH / (..) vayasya, ete naktamAlikA zAlabhaJjikAhastA tamAlikA caM kimapi saMlapantyau ita evAgacchataH / tasmAdatra api muhUrta nirlakSyaM sthitvA zRNuvaH anayorAlApam / I ) tathA / II ) tamAlike, kimarthA eSA zAlabhaJjikA / III ) sakhi naktamAlike, zRNu Adita eva / IV) tamAlike, avahitAsmi / V) naktamAlike, pUrva maratArAme cintAmaNisaMbhavAyAM kanyakAyAM kimapi snigdhAM [prekSya ] mahArAjasya dRSTi yatkimapi AzaGkamAnayA bhaTTinyAdya prabhAte preSitAsmi / VI) vayastha, prabhAte dRSTasya sUtrasya vivaraNaM bhaviSyati / VII) avahitau zRNuvaH / VIII ) katham / IX) haje nakta mAlike, imAM kAzmIranAthavellabhayA me prAbhRtIkRtAM kathamaMtrabhavatyAH zAradAyAH prasAdena samAsAditadhAraNAvyavahArapANDityAM buddhimatIM nAma asmAkaM krIDAzArikAM asyAH zAla sthitvA for muhUrta etc. 54 zRNumaH. 8 M bho vayasya. 9 K vadiSyati for vallabhAyAH 12 buddhimatInAmasmAkaM. 12 15

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caMdalehAe [II. 38.19bhaMjiAe kaMTha-vivarammi ThAvijaNa caoraeNa saha sallavaMtassa ayyauttassa atthANa-maMDave saNNihimmi jaha kuha vi chaleNa ThAvehi ti / // naktamAlikA-"tado tdo| tamAlikA -"tado mae jAva bhaTTA devArAhaNa-maMdirAdo Na Niggao tAva cia esA sAlabhaMjiA tahiM evva asthANa-maMDave saNNi24 haaviaa| rAjA-"vaassa, vaMcida mha / vidUSakaH-IV kiM etienn| 7 naktamAlikA-''tado tdo| tamAlikA-Vtado dANiM mahArAaM tattha asaNNihidaM jANia sAlabhaMjiaM ghetUNa Aada mhi / 7 naktamAlikA-VkiM sudaM avahAriaM vA mahArAassa vaaNaM buddhimadIe saalbhNjiaae| tamAlikA -VII'savvaM sudamavahAriaM c| (ubhau hstH|) vidUSakaH -IX)A dAsIe dhIde buddhimadi, tuha kaMThaM bhiMda / tamAlikA-NatamAlie, tumaM puNa kahiM pavutA / naktamAlikA-bhaTTiNIe NhANa-velA Aada ti patthida mhi / tamAlikA-XI"tA gacchamha / (iti niSkrAnte / ) 1K sapiNahammi. 2K cchaleNa. 3K mandirAho. 4 K tAvacchia. 5K maNTape. 6 sAlabhafe37.7 K does not present this as the speech of Tamalika, but adds it to that of Naktamalika above. 8KhchIda for bhiMda. 9 KsaMvattA for pavattA. bhaJjikAyAH kaNThavivare sthApayitvA cakorakeNa saha saMlapataH Aryaputrasya AsthAnamaNDape saMnidhau yatra kutrApi cchalena sthApaya iti / I) ttsttH| II) tato mayA yAvat bhartA devArAdhanamandirAta na nirgataH tAvadeya zAlabhaJjikA tasminnevAsthAnamaNDape sNnidhaapitaa| III) vayasya, vaJcitAH smH| IV) kimetaavtaa| V) ttsttH| VI) tata idAnIM mahArAja tatrAsaMnihitaM jJAtvA zAlabhaJjikAM gRhItvA AgatAsmi / VII) kiM zrutamavadhAritaM vA mahArAjasya vacanaM buddhimatyA shaalbhjikyaa| VIII) sarva zrutamavadhAritaM ca / IX) AH dAsyAH putri buddhimati, tava kaNThaM bhindai / X) naktamAlike, tvaM punaH kasmin prvRttaa| XI) bhaTTinyAH snAnavelA AgatA iti prasthitAsmi / XII) tad 1M kaNThasikha lacuna ; some lacuna in this passage. 2K tAvat, M lacuna. 3 tAvadevaiSA sAla'. 4 // vaJcito'smi. 5 // ahametAvatA for kimetA'. 6 ra ca for vA. 7 M puts this speech in the mouth of zArikA. 8 // bindhi for bhinda. 9 M a short lacuna. 36 -

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-II. 34. 9] dudiaM javaNiaMtaraM (nepathye) vaitAlikaH-"muhA majjhama-saMjhA hoi devassa / aja hi lolehiM uppalehiM hima-jala-miliaM caMdaNaM maMdamaMge pAvaMtIo suvaMte maNivara-raie maMdire suNdriio| tivvehiM AdavehiM vihuria-hiao saMsa rAahaMso udaMDANaM phuDANaM pavisai saNi puMDarIANa mUlaM // 34 // vidUSakaH - bho vaassa, kiM ciMti majjhaNhe vtttti| rAjA-vaassa, NaM imaM evva sAriA-vRttaMtaM ciMtemi / vidUSakaH- ettha kA ciMtA / Nisaggado evva dummaiNI hu devii| ajja uNa sAriA-vaaNaM suNia ahiaaraM kiM vi paNaa-kalahaM karei / sA anuha dakkhiNadAe mihira-pahIe timira-paDala-paNAsaM paavihii| rAjA-savvahA aMteuraM evva gacchamha / (iti niSkrAntau / ) // ia caMdalehAaM dudiaM javaNiaMtaraM // _1K suhAya. 2 lolohiM. 3 pAvantIe, but Kh saMdaMtIo. 4 saMsi soahaMso. 55 cintIa. 6 K omits f given by Kh. 7 K dummaiNi u devI. 8 K tuTha. 9 dakhkhiNadAe. 10 K vahAe for pahAe. 11 bhaNAsaM for paNAsaM. 12 K judiaM, rh dvidIyaM. gcchaavH| I) sukhAya madhyamasaMdhyA bhavatu, devasya / adya hi, lolairutpalaihimajalamilitaM candanaM mandamaGge, prApayantyaH svapanti maNivararacite mandire sundryH| tIvairAtapairvidhuritahRdayaH saMzrayaM rAjahaMsaH, uddaNDAnAM sphuTAnAM pravizati zanaiH puNDarIkANAM mUlam // 34 // II) bho vayasya, kiM cintayitvA madhyAhne vrtse| III) vayasya, imameva zArikAvRttAntaM cintayAmi / IV) atra kA cintA / nisargata eva durmatiH khalu devii| adya punaH zArikAvacanaM zrutvA adhikataraM kimapi praNayakalahaM karoti / sA ca tava dAkSiNyatayA mihiraprabhayA timirapaMTalapraNAzaM prApayiSyate / V) sarvathA antaHpurameva gcchaavH| // iti candralekhAyAM dvitIyaM yavanikAntaram // 1M has good many gaps upto the close of this scene. 2 . khalu for hi. 3 ra pAtaM. lyayantyaH, M lacuna. 4 KM sundaryAH. 5 ra puTAnAM. 6 // cintyate ma. 7 Komits adhikataraM kimapi, u lacuna 'tarAM kalahakoTiM karoti. 8 paTailIva nAzaM.

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[ III' ] ( tataH pravizati rAjA vidUSakazca / ) rAjA - (svagatam) "maha khaNa-saMThavio so devI- diDha - ko seu - baMdheNaM / 1 ukaMThA-i-soto bhiNNe tassi sudUsaho vahai // 1 // ( nizvasya ) haMta paDiUlattaNaM bhaavado devassa / jado ubhaamiNamaho samaM khu jAaM maha viraho a jaNeNa valaheNaM / madakala-kalakaMTha - kAmiNINaM kalakala-hAlahalAulo a kAlo // 2 // vidUSakaH - bho vaassa, kiM vi UsasiaM hou de hiaaM / aivAhio khu so kahaM kahaM vi paDidisa - palitta-ratta-kamala-palaA* Nala- jAlA - jAla-durAloo jua-sahassa- dIhaaro vAsaro, patto a papphulla- vimala-maliA - phula- dhavalo viaMbhaNAraMbha-NIsaraMta sarasesIalAmoda- suhaa - kumua - koso paoso / 3 bho pekkha saccha - mahuro dara mullasaMto phulluma aha-pallava-maliANaM / 1 x begins the Scene with this sentence : atha tRtIyaM yavanikAntaram 1. 25 ghaNasaTTavio. 3x ends the first line thus : kopaseubandhaukkaNThA / . 4 K tassI. 5 x avahamiNa 6 K vallaheNa. 7K sArasiaM, but Kh UsasiaM. 8K ativAhito. 9 K palaANila. 10 K 'valo. 11 K sarasI. 12 K phulaGgamoaNapaallamalliNaM. [ saMskRtacchAyA ] (I) mama kSaNasaMsthApitaM tat devIdRDhako setubandhena / utkaNThAnadIsrotaH bhinne tasmin sudussaho vahati // 1 // ( ) hanta, pratikUlatvaM bhagavato daivasya / yataH, ubharyemi - damaho samaM khalu jAtaM, mama virahazca janena vallabhena / madakalakalakaNThakAminInAM, kalakalaha lahalAkulazca kAlaH // 2 // II) bho vayasya, kimapi ucchresitaM bhavatu te hRdayam / ativAhitaH khalu sa kathaM kathamapi pratidizApradIpta rakta kamala ya~layAnalajvAlAjAladurAlokaH yugasahasradIrghataro vAsaraH, prAptaJca praphulla vimalamallikA phulladhavalaH vijRmbhamANArambhanissaratsarasazItalAmodasubhagaGkumudakozaH pradoSaH / bhoH paraya svacchamadhuro darola 1 kSaNaM for kSaNa. 2 8 kopabandhanotkaNThA nadIsrotasaH vibhinna tasmin 3 KM devasya 4 M udaya for ubhayauM N. 5 x hRla' for hAla 6 K AzvAsitaM for ucchasitaM. 7 K pralayAnila. 8 M dIrgho vAsaraH 9 4 protphula. 10 kumudAzokaH. 11 pazya sakalAsu, so it has a lacuna ; M 'phulotkaraLapracalati mallikAnAm

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47 -III. 4.8] tai javaNiaMtaraM diNNo disAsu saalAsu bhavissa-joNhA saNNAha-bIa-Niaro vva paosaeNaM // 3 // rAjA-(sodvegaM) kiM evvaM bhaNAsi / paakhaMta-maa-rosa-dUsaha-duhadugghuTTa-visANa-koNAdo kahaM vi moidassa karAla-diDha-dADhA-veDhasaMkaMDa-visaMkaDa-sIha-muha-kuhara-vivara-ppaveso kiM paann-rkkhnnovaao| pekkha daav| kumua-Niara-gholaMtAli-riMcholi-pAso dalia-dhavala-mallI-phulla-sohaTTahAso / ahisarai purillo maM paosAhidhANo ghaNatama-tama-kAlo haMta kAlo karAlo // 4 // kiM me srnnN| vidUSakaH-"vaassa, caMdaNiAe vaaNaM saraNaM / rAjA-(sapratyAzam)"vaassa, kiM taM caMdaNiAe vaaNaM / vidUSakaH-suNAdu vasso| ahaM khu eNhi nue pasAdiAe devIe sevaNaM kAdUNa NivaTTamANo magge tatthahodIe raaNasaMbhavAe maaNa-veaNA-viNoaNatthaM caMdaNAraviMda-kaMdoTTa-caMdojaa-caMdamaNi-. motioM-muNAla-valaa-kaalI-kappUra-purassaraM sisirovaAra-sAmagi saMpAdaaMtIe caMdaNiAe ghaDido mhi / 1 R josalAha. 2 F piaTTata. 3 : dubbaTTa, 4 K saMkaThavisakada. 5 F phurilo. 6 r often reads candiNiA for candaNiA. 75 pasAdiAhi. 8 tattahodIe. 9 LviNoaNavartha. 106 candajoacandamoNimokhkhia. 11'ropasArasAmaggI. san ,phullodgamo anaghapallavamallikAnAm / dattaH dizAsu sakalAsu dizAsu bhaviSyajyotsnA-, sannAha bIjanikara iva pradoSakenaM // 3 // I) kimevaM bhaNasi / pravardhamAnamadaroSadussahadazavAraNaviSANakoNAtkathamapi mocitasya karAlaDhadaMSTAvesaMkaTavizaMkaTAsiMhamakhakaharavivarapravezaH kiM prANarakSaNopAyaH / pazya tAvat / kumudanikaraghUrNamAnAlizreNipAzaH, dlitdhvlmlliiphullshobhaatttthaasH| abhisarati purato mAM pradoSAbhidhAno, ghanatamatama:kAlaHhanta kAla: kraalH||4|| kiM meM zaraNam / II) vayasya, candanika Nam / III) vayasya, kiM tat candanikAyA vacanam / IV) zRNotu vysyH| ahaM khalvi. dAnIM tvayA prasAditAyAH devyAH sevanaM kRtvA nivartamAno mArge tatrabhavatyA ratnasaMbhavAyA madanavedanAvinodanArtha candanAravindanIlotpalakumudacandramaNimauktikamRNAlavalayakadalIkapUrapurassarAM ziziropacArasAmagrI saMpAdayantyA candanikayA ghaTito'smi / 1. pradoSa enam. 2 ra vayasya kimevaM. 3 // gaja for vAraNa. 4 / kathaM kathamapi for kathamapi. 5 vajra for veSTa. 6 // purastAnmAM. 7 KM bho vayasya, 8 ra candi nikA'. 9 Momits zaraNam, 10 vadanam.11 vinodArtha. |

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caMdalehAe [III.4.9rAjA-"tado tdo| vidUSakaH-"tado sA maM daTUNa dIha-dIha-NIsAsa-dhUsarAviAharauDA pala-pamha-jAlagga-lagga-NivaData-bAha-biMdu-saMdoha-saMdANiA"puvva-hAra-lahi-maMDia-sihiNa-maMDalA tattha evva tthiaa| rAjA-tado tdo| vidUSakaH-'tado caMdaNie, kIsa paruNNA si ti mae pucchidAe tAe bhNnni| rAjA- kiM vi| vidUSakaH-VayaM caoraa, Na-ANAmi kiM bhaNAmi tassi adi"-puruvAaM diddh-brddh-sinnehaa| puruvaM evva muNi khu tue piasahIe raaNasaMbhavAe diNe diNe vibhaMta-maaNAesa-dUsahattaNaM / ajja uNa sA dUsaMhAAsa-dUmiA Nisagga-dubbalA bAlA annnnubhuua|| puruvaM avatthaMtaraM aNuhoMtI maaNa-saMtAva-viNodaNatthaM amhohiM avirala-motia-jAla-vAluoM-sIala-suhaa-tIrAe tuhiNa-jala-dIhi Ae pacchima-tIra-parisara-bAlujjANa-kadalI-vaNaM pAvidA / tahiM ca "palaa-samudia-caMDa-mataMDa-kiraNa-dUsaha-saMdAva-bAhiAe tisse Nava 1KdhUnA for dhUsa. 2 x omits some portion here, paala etc. to kiM bhaNAmi (line17); but it is given by Kh rather in such a corrupt form that only important variants aro noted. 3 Kh paMma for pamha. 4 Kh kiM sa varuNNA. 5 Kh phaNiam. 6 Kh aa caora Na. 7 tasiM , but kh tassi. 8 K baMdha. K reads thus : dUsahAmaJjaesamaccho kalaede kAssiraM kacIdamilapaimuhA bhUmipaAsadUmiA. 10 K omits vAlu in vAluA. 11K tudiNajatudI. 12 ca kisse palaa. 13 K kisse. I) ttsttH| II) tataH sA mAM dRSTvA dIrghadIrghaniHzvAsadhUsarIkRtAdharapuTA pracalapakSmajAlAgralagnanipatadvAppabindusaMdohasaMdAnitApUrvahArayaSTimaNDitastanamaNDalA tatraiva sthitA / III) tatastataH / IV) tatazcandanike, kasmAt praruditAsIti mayA pRSTayA tayA bhaNitam / v) kimiva / VI) Arya cakoraka, na jAnAmi kiM bhaNAmi tasyAmadRSTapUrvAyAM dRDhabaddha hAt / pUrvameva jJAtaM khalu tvayA priyasakhyA ratnasaMbhavAyA dine dine vijRmbhamANamadanAyAsaidussahatvam / adya punaH sA dussahAyAsadUnA nisargadurvalA bAlA ananubhUtapUrvamavasthAntaramanubhavantI madanasaMtApavinodanArthamasmAbhiraviralamauktikajAlavAlukAzItalasubhagatIrAyAH tuhinajaladIrghikAyAH pazcimatIraparisarabAlodyAnakadalIvanaM prApitA / tasmiMcaM pralayasamuditacaNDamArtaNDakiraNadussahasaMtApabAdhitAyAH tasyAH navanavapallava 1dhUsarAyitAdhara'. 2 ra 'snehA for lehAta. 3 madanayAdussahaM. 4 x nissahatvam for dussahatvam / 54 anya lacuna puna'.6 uomits pUrva. 7 santApino vinoM. 8 ra tasmiMzca tasyAH pralaya. 9K omits tasyAH

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-III. 4. 39 ] tai javaNiaMtaraM Nava-pallava-palaMka-NimmANehiM [pAlea-salila-NIsaMdaNahiM caMdaNacaccA-dANehiM] caMdamaNi-cuNNuccharaNehiM kappUra-reNu-pADaNehiM kadalIdala-vIaNehiM ca dUmiauo saMtada-paruNNa-muhIo sahIo kilammati / daMDa-sesa-bisiNI-saMDa-NaTTha-bhamara-saMcAra-NilukAi dukkhAulAi va saala-sarasi-jalAi, lUNa-saala-kisalaa-galia-sohANi saMdAva-jaNia-vivaNNataNAI va pamada-vaNAI, ucchiNNa-pavAla- 30 dala-muMDAi kadalI-kANaNa-saMDAi hoti / taha vi NiraNukkoso evva mahumAso, NikkaruNo evva NisANAho, NigghiNo evva malaANilo, NiraNukaMpo evva vammaho, jaM edAe bAliAe bNdhv-virhidaae| videsa-dvidAe tavassiNIe kaNNaAe dIha-veraM kuNaMto jIvia-haraNe pavada'ti / tahA~ dUsahehiM tehiM vammaha-visihahiM bAhiANaM sahassaitaM ADhata-NiggamANaM tisse pANANaM AsAsaNa-kAraNeNa teNa vaaNo-36 vaNNAseNa kaha kaha vi NivAraNaM [kuNaMtIhiM amhahiM aivAhio divaso / ao paraM Na sakaM amhANaM / tA sA] bAlA jaha Na mari. hiI taha uvAo ciMtIadu ti| ww ___ 1K cuNNacchu. 2 K omits ca. 3 K dUmiAeo. 4 K omits sahIo. 5 saMcAri. 6K duHkhAutAeva. 7 K jalAla for jalAi. 8 KlUa for lUNa. 9 K dalamaNDAladalakadalI. 10 x pAliAe. 11 vaira. 12 K dharaNe. 13 K tata for tahA. 14 K vAhiANaM. 15 K NivAraNaM kuNaMti bAlA. 16 K marIhii. paryaGkanirmANaiH prAleyasalilaniSyandanaiH candanacadiAnaH candramaNicUrNocchuraNaiH karpUrareNupAtanaiH kadalIdalavIjanaiH ca dUnAH saMtatapraruditamukhyaH sakhyaH klAmyanti / daNDazeSabisinISaNDanaSTabhramarasaMcAramUkAni duHkhAkulAni iva sakalasarasIjalAni, lUnasakalakisalayagalitazobhAni saMtApajanitavivarNatvAnIva pramadavanAni, ucchinnamavAladalamuNDAni kadalIkAnanaSaNDAni bhavanti / tathApi niranukroza eva madhumAsaH, niSkaruNa eva nizAnAthaH, nighRNa eva malayAnilaH, niranukampa eva manmathaH, yadetasyAH bAlikAyAH bAndhavavirahitAyAH videzasthitAyAH tapasvinyAH kanyakAyAH dIrghavairaM kurvanto jIvitaharaNe pravartante / tathA dussahaizca tairmanmathavizikhairbAdhitAnAM sahasrakRtvaH Arabdha. nirgamAnAM tasyAH prANAnAmAzvAsanakAraNena tena tena vacanopanyAsena kathaM kathamapi nivAraNaM kurvantIbhirasmAbhirativAhito divsH| ataH paraM na zakyamasmAkam / tasmAt 1 valamaNicUrNacchuraNaiH for candra oto. PF "SitAyAH sa'. 3 yAsakA'. 4 // tat for tasmAt.

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caMdalehAe [III. 4. 40rAjA-(sakaruNam)"bhaavaM tibhuvaNa-mahaNijja-sAsaNa kusuma-sarAsaNa, gahia-calaNameaM kaM vi patthemi atthaM parusaara-muhahiM maggaNehiM imahi / kisala-miulamaMgaM chiMda mA suMdarIeM Navara maha pahAraM evva tehiM padehi // 5 // vidUSakaH-'bho vaassa, uvahide pAasa-bhoaNammi kiM taM idaM palavia kAlaM khiMvasi / gacchamha nuriaM tuhinn-jl-diihiaa-pri| saraM / adikkAmiA a sNjhaa| rAjA-(samantAdavalokya)'sAhu didaM vaasseNa / taha a / ratIa NAha-viraheNa sudUsaheNaM uttammirI a uDu-motia-cuNNa-puNNA / bAla-ppavAla-saaNijja-NihA khu saMjhA dehumhaeNa via sA miulA milAi // 6 // kiM c| rAI-vAsaraehiM ADhatAaM diDhaMkapAlIaM / kuMkuma-raso vva galio saMjhA-rAo pohraalggo|| 7 // 1 F kisalaami. 25 chiMdamANA suM. 3 eNaparamaapahAra. 4 K bho vaassa evaM gae kajje puNo vi kiM palavasi gacchamha, but the reading of Kh is adopted. 5 Kh vivasi. 6 saMjJA. 7 K dehammaeNa. sA bAlA yathA na mariSyati tathA upAyazcintyatAmiti / I) bhagavan tribhuvanamahanIyazAsana kusumazarAsana, gRhItacaraNametaM kimapi prArthayAmyartha, paruSataramukhairmArgaNairebhiH / kisalayamRdulamaGgaM chinddhi mA sundAH , navaraM mama prahArameva tairapi dehi // 5 // II) bho vayasya, upasthite pAyasabhojane kiM tvamidaM pralapya kAlaM kSipasi / gacchAvastvaritaM tuhinajaladIrghikAparisaram / atikrAntA ca saMdhyA / III) sAdhu dRSTaM vayasyena / tathA ca / rAtrau nAthaviraheNa sudussahena uttamanazIlA ca uDumauktikacUrNapUrNA / vAlapravAlazayanIyanibhA khalu saMdhyA dehoSmaNA iva sA mRdulA mlAyati // 6 // kiM ca / rAtrivAsarAbhyAmArabdhAyAM dRDhAkapAlyAm / kuGkumarasa iva galitaH saMdhyArAgaH pyodhraalgnH||7|| 1K caraNamekamapi. 2 // 'mukhaistAdRzaiH zaraiH. 3 racchindamAnA sundaryAH. 4 // parideg for ati'. 5 6 rAvyA. 6 KmanaHzilAcA, A uttamanazIlAyAH mauktika. 7 maNAlamA mR. 8r omits kiM ca. 9 'dhare lanA,

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-III. 9.7] taiaM javaNiaMtaraM vidUSakaH-'bho vaassa, pekkha / tellokassa karAla-kAla-phaNiNA dahassa NahamhaNo mucchaMtassa muhutaeNa a puNo miilNt-suurcchinno| saMjhA-soNima-soNi pasariaM aMgammi kAlappahaM kAolaM va tamissa-maMDaNamiNaM NipphaMdamapphudae~ // 7 // rAjA-"vaassa, saccaM evva / katthUrI-paMka-diNNo Naha-siri-vaaNe bhaMguro patta-bhaMgo visthArillaM varilaM jalahara-paDalI-meDhuMraM meINIe / olaMbaMto purato pia-viraha-dasA-dukkha-heTAgaANaM AsANaM veNi-baMdho pasarai NibiDo esa kaalNdhaaro||9|| vidUSakaH -II"tA gacchamha imiNA phaliha-maNi-sauha-dAhiNa-bhAabAla-baulArAma-peraMteNa tuhiNa-jala-dIhiau-parisaraM / ehi ca gaA devI bhaavaMtaM thalIsaraM dd| rAjA-IVvaassa, Adesehi tuhiNa-jala-dIhiA-parisarassa mggN| vidUSakaH - bho vaassa, ido ido edu bhavaM / (ubhau parikrAmataH / ) rAjA-(svagatam) accheraM, apuvva-vallahA-dasaNatthaM patthidassa me * apuvo parivAro apuvvaM vAhaNaM ca / taha a| 1 KNadRhmaNo. 2K mujhantassa. 3 ( sUrambhiNo. 4 K pasaraaM. 5 FNippandamaphundae. 6 K mehuraM. 7K mebhuNIe. 85 lambanto purato viAvi. 95 hehANasANaM veNIbandho pasarai. 10K kAlandharAo. 11 ra dIsiA. 12 K thalIsaraoTTam , but Kh degsaraM daTTam / 13 K Adehi. I) bho vayasya, pazya / trailokyasya karAlakAlaphaNinA daSTasya naSToSmaNaH, mUrcchato muhUrtena punarmIlatsUryAkSasya / saMdhyAzoNimazoNitaM prasRtamaGge kAlaprabhaM, kApolamiva tamisramaNDalamidaM niSpandamAkAmati // 8 // II) vayasya, satyametat / kastUrIpaiGkadatto nabhaHzrIva. dane citrakaH patrabhaGgaH, vistAravanicolaH jaladharapaiTalImeduro medinyaaH| avalambamAnaH purataH priyavirahadazArduHkhAdhogatAnAM, AzAnAM veNIvandhaH prasarati nibiDaH eSa kaalaandhkaarH||9|| III) tad gacchAvaH anene sphaTikamaNisaudhadakSiNabhAgavAlabakulArAmaparyantena tuhinajaladIrghikAparisaram / idAnIM ca gatA devI bhagavantaM sthalIzvaraM draSTum / IV) vayasya, Adezaya tuhinajaladIrghikAparisarasya mArgam / V) bho vayasya, ita ita etu bhavAn / VI) Azcaryam , bhapUrvavallabhAdarzanArtha prasthitasya me apUrvaH parivAraH apUrva 1 // pazya pazya for pazya. 2 kokokalamiva, M kAkolamiva. 3 ( satyametat. 4 ra pako datto, 4 paDUdattanabha'. 5 ra citrabhakura: for citrakaH of M, 6 ra dharapaTalaM meduraM. 7 // purastAt priya. 8 ra duHkhAdhogatAnanAM veNIbandhaH, M duHkhAya AnanAnAmAzAnAM. 9 Komits anena. 10 M tadAdezaya for vayasya Adezaya. 11 Momits mo vayasya.

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caMdalehAe savvehiM iMdiehiM saha calai maNaM aggado magga - dese saMgo aNaMgo aNusarai karAsajja - kodaMDa-daMDo / vAhijjaMtIa tIe gahia - raamaNappehi saMkappaehiM ukkaMTaMdoliAe pia jaNa saMvihe esa gacchAmi dANiM // 10 // vidUSakaH - "vaassa, adUre dANiM tuhiNa -jala-dIhiA / ( nepathye ) kappUrehimalaM nusAra- salilAsArehi siMcehi mA dUre kIrau dUsahaM sarasiaM ghoreNa hAreNa kiM I dANiM hohiM deha- dAha- cauro caMdo khu majjhe pahaM tA ghetu niraMtarAi bhisiNI - pattAdavattAi me // 11 // vidUSakaH - ( AkarNya ) bho vaassa, kiM gaMDUsiaM savaNehiM pIUsaM, tA dANiM NaaNANaM vi kuNau suhA - karvala-ggahaM / rAjAmA jaMpa, jaM puNo vi kiMci suNIadi / vidUSakaH - eso tumhIo mhi / (nepathye ) kiM karamha / 52 pheNAaMta-muhA suNAla-ladio pattA milANattaNaM senA - palava-saMcao vi sahasA saMkoIdo dIsai / 1K bandhAsaGgo 2 K karAsaMjJako 3 vAhijakIa. 4 x savie esa. 5 K dohii. 6 K ghapaMtu. 7 K kabala. 8. 9 kiMpi a suNI 10 K idiA for ladiA. 11 " sejjo. 12 K saGkoidaM. [III. 100 vAhanaM ca / tathA ca / sarvairindriyaiH saha calati manaH agrato mArgadeze, baddhAsaMgaH anaGgaH anusarati karAsaktakodaNDadaNDaH / udyamAnayA tathA gRhItarayamanalpaiH saMkalpaiH, utkaThAndoliyA priyajana savidhameSa gacchAmIdAnIm // 10 // I) vayasya, adUre idAnIM tuhina jaladIrghikA / (...) karpUrairalaM tuSArasalilAsAraiH siJca mAM, dUre kriyatAM duHsahaM sarasija ghoreNa hAreNa kim / idAnIM bhaviSyati dehadAhacaturazcandraH khalu madhye nabhaH, tasmAd gRhyantAM nirantarANi bisinI patrAtapatrANi me // 11 // II) bho vayasya, kiM gaNDU - SitaM zravaNAbhyAM pIyUSaM, tasmAd idAnIM nayanayorapi kuru sudhAkavalagraham / III) mA jalpa, yat punarapi kiMcit zrUyate / IV) eSa tUSNIko'smi / (...) kiM kurmaH / phenAyamAnamukhyaH mRNAlalatikAH prAptAH mlAnatvaM zayyApallavasaMcayo'pi sahasA saMkocito 1ndolikAyAM priya. 2 bho vayasya 3 K silletha mAM. 4 K idAnIM tu bhavi 5 tad Mlacuna 7 x kimapi for kiMcit of M. for tasmAda.

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-III. 12.15] taiaM javaNiaMtaraM lAjAi vva phuDaMti motia-gaNA dehassa dAhaggiNA / etthANastha-bharo imAa saraNaM kiM vA Na jANijae // 12 // rAjA-"aaM avasaro uvasappiduM / ( ubhaavupsrptH|) vidUSakaH -"kiM saala-bhuvaNekaNAhe mahArAAhirAe dharaNialaM parirakkhamANe mANavee ki saraNaM ti ciNtiiadi| (tataH pravizati pallavazayanazAyinI nAyikA ziziroSacAravyApRte candanikAcandrike c|) nAyikA-kapparehimalaM [III. 11 ] ityAdi paThati / candanikAcandrike-kiM karamha [III. 12 ] ityAdi paThataH / vidUSakaH-piasahi, abbhuhANeNa saMbhAvehi bhaTTAraM / nAyikA -IVta hai / (avalokya svagatam) hiaAdo Niggao loaNaMpahe tthio| (utthAtumicchati / ) rAjA-(haste gRhItvA sahopavizya) pie caMdamuhi, mA karehi nuha mAradUmiaMtaNumimaM puNo vi taM, tujjha erisa-dasAvaloaNaM majjha jutmuvaaraaddNbrN| nAyikA-(svagatam)"accharIaM, kahaM eso ekko evva hiaAvahAraNe palaANila-jAlaMtare maM bharjia saMpa sarIra-phaMse uNa amia-samudda-majjhammi mjjaave| 1K dAhaggiNo. 2K puts this in the mouth of the king after (ubhAvapasarpataH), but Kh assigns it to Vidusaka. 3r puts taha after the stage-direction. 4 K loaNapage Thio. 5F upavizya for sahopa. 6 5 dasovaloaNaM. ?r 'mupahAraMDaMbaram. 8 K bhajhia. 9 5 mazAvei. dRzyate / lAjAnIva sphuTanti mauktikagaNAH dehasya dAhAgninA, atrAnarthapairo'syAH zaraNaM kiM vA na jJAyate // 12 // I) ayamavasara upasarpitum / II) kiM sakalabhuvanaikanAthe mahArAjAdhirAje dharaNItalaM parirakSati mAnavede kiM zaraNamiti cintyate / III) priyasakhi, abhyutthAnena saMbhAvaya bhartAram / IV) tthaa| (...) hRdayAnirgatya locanapathe sthitH| V) priye candramukhi, mA kuruta tavaM mAradUnAM tanumimAM punarapi tvam , tava IdRzadazAvalokarna mama yuktamupacarAvaDambaram / VI) Azcarya, kathameSa eka eva hRdayAvasthAne pralayA. nalajvAlAntare mAM bharjayitvA sAMprataM zarIrasparze punar amRtasamudramadhye majjayati / .1 . maukti a long lacuna upto "zokAnandakAriNA otc. on the next page. 2 ra mAnavete, . laouna. 3 Komits tava. 4 ra pralayAntarajvAlA.

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54 caMdalehAe [III.12.16rAjA-(sparzasukhamabhinIya svagatam) "mama vahai viloLa-loaNAe karaala-phaMsa-suhA-raseNamaMgaM / Nava-jalahara-toa-biMdu-viMda ppasaraNa-nuha-kaaMba-laTi-sohaM // 13 // nAyikA -'sahi caMdaNie, kiM vasaMtaM aikkamia pato gimho jeNa sijjati gtaaii| / candanikA -(saparihAsam )piasahi, NaM kAlovagaeNa samIve vasaMteNa rAaMhaMsa-tilaeNa asoANaMda-kAriNA kaMdapa-miteNa NeNaM cia de aMgAi sijjaMti / (nAyikA lajAM nATayati / ) * rAjA-(saspRham ) haMho hariNa-laMchaNa, / mA puvadi-sire tirohia-taNU ciDhehi uddhehi taM amhANaM aNugahiuM kuNa khaNaM joNhA-paAsuggamaM / dINi jeNa piAa se pia-sahi-ccheuti-saMsUaNe saMlaikkhijjau NaM vilakkha-hasia-cchAA-valakkhaM muhaM 14 (nepathye) vaitAlikaH-suha-dAiNI hou~ devassa caMdujjoa-lacchI / ajja khu eaM aMjaNa-puMja-paMjara-darI-lINaM va lakkhijjae tellokaM Na khu jAva dAva kiraNaMkUro tusaarNsunno| ___1K bindubindu'. 2 yadi for laTri. 3 K atikkamia. 4 K samIpe. 5 K rAjasa'. 6 x kadambamittaNa. 7 K sijhanti. 8KlaMjhaNa. 9K'taA for taNU. 10K dANI. 11K sallakhkhi. 12 hoi. 13 K darINIlaM va. 14 K bhusAraMsuNo. I) mama vahati vilolalocanAyAH, karatalasparzasudhArasena aGgam / navajaladharatoyabinduvRnda-, prasaraNatuSTakadambayaSTizobhAm // 13 // II) sakhi candanike, kiM vasantamatikramya prApto grISmaH yena vidyanti gAtrANi / III) priyasakhi, nanu kAlopagatena samIpe vasatA rAjahaMsatilakena azokAnandakAriNA kandarpamitreNAnenaiva te aGgAni vidyanti / IV) haMho hariNalAJchana, mA pUrvAdrizirasi tirohitatanustiSTha uttiSTha tvaM, asmAnanugrahItuM kuru kSaNaM jyotsnAprakAzodgamam / idAnIM yena priyAyAH asyAH priyasakhIccheko ktisaMsUcane, saMlakSyatAmidaM vilakSahasitacchAyAvalakSaM mukham // 14 // V) sukhadAyinI bhavatu devasya candrodyotalakSmIH / adya khalu, etadaJjanapuapaJjaradarIlInamiva lakSyate, 1 : gAtrANi for aGgAni. 2 . uttiSThata for uttiSTha tvaM. 3 asmAkamanu. 4 : 'zodhamam. 5 ra priyAyAM. 6 // kasyAH for asyAH, 7 saMlakSyate idaM. 8 pacarazAlIna,

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-III. 186] tai javaNiaMtaraM mucchaM ujjhia uDiAhi kumua-cchAAhi paJcuggao siMgAraggima-pallavo uvagao siMgammi puvvddinno|| 15 // avi a| kaMdappojala-kiti-kaMdala-dalA caMdoja-jIAduNo rAI-hAsa-lavA puraMdara-disA-mallI-pasaNuggamA / uvvelaMta-tamassamudda-laharI-lINaccha-pheNa-cchaDA puvvadimmi kameNa muddha-dhavalA vaDaMti joNhaMkurA // 16 // rAjA-"saala-jaNa-kaNNa-uDa-maaraMda-NIsaMda-vAhiNA subhAsiakIlA-sua-paMjareNa maMjukaMTheNa baMdiNA uvasiloidA caMdujjoalacchI / saMpa puNa sarassaI-calaNa-sarasia-mahu-salila-pUria-, hiaAlavAla-varlData-bAla-paDihA-vallI-pallavAaMta-suti-rata-kaMThassa mhurkNtthssaavsro| (nepathye) vipaMDura-muha-cchaI gahia-gabbha-puNNoarI puraMdara-disA khaNaM bhavia loaNANaMdiNI / tado puNa jaNei NaM hariNa-laMchaNaM NaMdaNaM asaM kuNai takkhaNaM ahiNahaMkaNaM riMkhaNaM // 17 // avi a| disA-ciura-cUliA dhavala-mAlaI-mAliA NiraMtara-vilaMbiA nnh-viaann-sutii-laa| 1 . uDiAi. 2 pasUNaggamA. 3 5 ubvelanta. 4 sudha. 5 x 'siloladA. 6K pratihA' for paDihA. TK kaNThaMsa sAvasAro. 8 K vipaNDara. 9 vilaMkhiA. 10 K muttAliA. trailokyaM na khalu yAvat tAvat kirnnaangkrstussaaraaNshoH| mU mujjhitvA utthitAbhiH kumudacchAyAbhiH pratyudgataH, zRGgArAgrimapallavaH upagataH zRGge puurvaadreH||15|| api ca / kandapojavalakIrtikandaladalAH kumudajIvAtavaH, rAtrIhAsalavAH purndrdishaamlliiprsuunogmaaH| udvelattamassamudralaharIlInAcchaphenacchaTAH, pUrvAdrI krameNa mugdhadhavalAH vardhante jyotsnaakuraaH|| 16 // I) sakalajanakarNapuTamakarandaniSyandavAhinA subhASitakrIDAzukapAreNa maJjakaNThena bandinA uparalokitA candrodyotalakSmIH / sAMprataM punaH sarasvatIcaraNasarasijamadhusalilapUritahRdayAlavAlavardhamAnavAlapratibhAvallIpallavAyamAnasUktiraktakaNThasya mdhurknntthsyaavsrH| (...) vipANDuramukhacchaviH gRhItagarbhapUrNodarI, purandaradizA kSaNaM bhUtvA locnaanndinii| tato punarjanayati imaM hariNalAJchanaM nandanaM, ayaM 1 dimajhI. 2k omits vardhamAnavAla. 3 // garuka for gRhIta. 4 ra punarjayati.

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56 caMdalehAe pivAsia caoriA vaaNa- duddha-dhArA karA galaMti raaNI-vahU - tilaa-biMduNo iMduNo // 14 // candanikA - taha paaTTA evva caMda iraNA / taha a / jA puvvaddisa siMge kaha vi pasariA tinha tinhAulANaM caMcUrNa pUraNesuM pi Na cavala-caorANa pAredi puvvaM / vive patthehi mejjA parilasai muNAlaMtarAlehi pejjA hajjA hatthaMjalIhiM bharia - tihuvaNA sA khu joNhA su-sanhA 19 nAyikA - piasahi caMdie, tumaM vi vaNNehi caMdimA - ujjoaM / candrikA-jaha ANavedi piasahI / II) caMdAdo kiraNakurA aliA caMDaM caora chaDAcaMcU- saMcaavea- khaMDia muhA muMDaNaM pAviA / saM dhavalA amANa- kumua cchAAhi saMvaDiA ehi ullaMsiadda-pallava- sahassuvvelliggA iva // 20 // rAjA - ''aho ahamahamiAe patto kaitaNa- kalaho / - 1 vipAsia 2K bandhUNaM for caMcUrNa 3 K candimadujAam 4 K dIsande. 5 K oyulasiadaballava 6K "aGgA for "aggA. [ III. 18c karoti tatkSaNamabhibho'GgaNaM riMkSaNam // 17 // api ca | dizAcikuracUlikA dhavalamAlatImAlikAH, nirantaravilambitA nabhovitAnamuktAlatA / pipAsitaca korikAvadanadugdhadhArAH karAH, galantiM rajanIvadhUtilaikavindoH indoH // 18 // I ) tathA pravRttA eva candrakiraNAH / tathA ca / yA pUrvAdreH zRGge kathamapi prasRtI tIkSNa tRSNAkulAnAM, caJcanAM pUraNeSu api na capalacakorANAM pArayati pUrvam / idAnIM prasthairmeyA parilasati mRNAlAntarAlaiH peyA, hAryA hastAJjalibhiH bharitaM tribhuvanA sA khalu jyotsnA sulakSaNA // 19 // II) priyasakhi candrike, tvamapi varNaya candrikodyotam / III ) yathA AjJApayati priyasakhI / candrAt kiraNAGkurAH pragalitIzcaNDaM cakoracchaTA-, caJcasaMcayavegakhaNDitamukhAH khairvatvaM prApitAH / dRzyante dhavalAyamAnakumudacchAyAbhiH saMvedhitAH, idAnImullasitArdrapallavasahasrodvellitAgrA iva // 20 // IV) aho ahamahamikayA pravRttaH kavitvaka laiMhaH / 1 K "madhinabho'GgaNaM. 2 M vilulitA for vilambitA. 3 K mugdha for dugdha. 4 K lasanti for galanti 5 KM tilakavindorindoH 6 ma prasmRtA. 7 tIkSNatIkSNAku 8 bandhUnAM for cakSUnAM SM bhRta for bharita. 10 x pragalitAsyaM pracalitA. 11 saMmelitA. 12 pravRttA. 13 nipuNatA for kalaha:. of M.

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-III. 23.2] tai javaNiaMtaraM _ vidUSakaH-"ahaM vi maha kaitaNaM paaDIkarissaM / suNaha majjha sunnisohggN| caMdaNa-caccia-savva-disaMto cAru-caora-suhAi kunnNto| dIha-pasAria-dIhiMi-buMdo dIsai diNNa-raso Nava-caMdo // 21 // candrikA -"mahArAa, caMdujoe piasahIe kido siloo| rAjA-IIIcaMdie, varisehi savaNa-pIjasaM / candrikA -IV piasahi, kiM paDhissaM / (nAyikA lajate / ) candrikA-(paThati / ) ''vahai kalaMka-miseNaM kAla-bhuaMgaM sasI nniucchNge| kiraNAlI-NAlehiM kirai kahaM aNNahA garalaM // 22 // rAjA - aho saMdabbha-cAurI rasa-NIsaMdo a| pie, ANaNeNa tuha Nijjio sasI loaNeNa puNa tajio mio| tANa jujjai duvANa saMgamo aggado vicaraNaM alajjadA // 23 // (candraM prati) haMho hariNa-laMchaNa, tumaM khu imAe Nia-rUva-NijjialacchIe komalacchIe . 1K suhaNa majha. 2 dIhivundo. 3 K mahArAa (hijo) caMdu. 4 K paThissam. B F aNeNa. 65 nijao. I) ahamapi mama kavitvaM prakaTIkariSye / zRNuta mama sUktisaubhAgyam / candanacarcitasarvadigantaH, cArucakorasukhAni kurvan / dIrghaprasAritadIdhitivRndaH, dRzyate dattaraso navacandraH // 21 // II) mahArAja, candrodyote priyasakhyA kRtaH shlokH| III) candrike, varSaya zravaNapIyUSam / IV) priyasakhi, kiM paThiSyAmi / V) vahati kalaGkamiSeNa kAlabhujaGgaM zazI nijotsaGge / kiraNAlInAlaiH kirati kathamanyathA garalam // 22 // VI) aho saMdarbhacAturI rasaniSyandazca / priye, Ananena tava nirjitaH zazI, locanena punastarjito mRgaH / tayoH yujyate dvayoH saMgamaH, agrato'pi caraNamalajjatA // 23 // (...) haMho hariNa 1M varSa zrava. 2 M vakSyAmi for paThiSyAmi. 3 ra nijakarotsajhe 4 ra anena for Ananena. 5 Klocanena mRgo'pi tarjitaH, M locanena ca mRdo vinirjitaH. 6 tasmAt na for tayoH 7 ra lajjatAm / 8 caMda.

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caMdalehAe [III. 24cuMbato biMbaeNaM ramasi bisa-laA-paMDuraM gaMDa-rehaM diNNANaMdo kuNaMto viharasi sihiNe takkhaNaM aNkpaaliN| AlolehiM karohiM kuNasi araMsaNA-phaMsaNaM saMsa NaM me kiM NaM puvvaM khu puNNaM kidamahaha nue jeNamemea homi // 24 // (nepathye kalakalaH, sarve sasaMbhramamAkarNayanti / ) vidUSakaH-"hodi candaNie, jANa ko eso kalakalo ti| / candanikA-(utthAyAvalokya sasaMbhramam)"esA khu devI thalIsaraM daTTaNa ido evva Aacchadi ti se aMteura-cAriNo kujja-kirAa-varisa vara-vAmaNa-purassarassa parivAra-jaNassa eso kalakalo / tA jaha * devIe Na jANijjai eso vutaMto taha kareu mhaaraao| amhe vi aMteuraM evva turiaM gmissaamo| rAjA -"taha / (iti sarve nisskraantaaH|) // ia caMdalehAaM taiaM javaNiaMtaraM // 1 K bimbaNeNaM. 3 6 diNNANanto. 3 5 aMkapAlIm. 4 K raaNAsaNaM. 5 puNNaM puvvaM khu for kiMNaM etc. 6 K parisavara. 7 jAhijae. lAJchana, tvaM khalvasyAH nijarUpanirjitalakSmyAH komalAkSyAH, cumbana bimbena ramase bisalatApANDurAM gaNDarekhAM, dattAnandaH kurvan viharasi stane tatkSaNamaGkapAlIm / AlolaiH karaiH karoSi ca razanAsparzanaM zaMsa nanu me, kiM pUrva bhUri puNyaM kRtamahaha khalu tvayA yena evameva bhavAmi // 24 // I) bhavati candanike, jAnIhi ka eSa kalakala iti / II) eSA khalu devI sthalIzvaraM dRSTvA ita evAgacchati / tasyAntaHpuracAriNaH kujakirAtavarSavaravAmanapurassarasya parivArajanasyaiSa klklH| tasmAt yathA devyA na jJAyate eSa vRttAntaH tathA karotu mahArAjaH / vayamapyantaHpurameva tvaritaM gmissyaamH| III) tathA / // iti candralekhAyAM tRtIyaM yavanikAntaram // 1 K omits komalAkSyAH . 2 . cumba bi. 3 // gandharekhAM. 4 // visarasi. 5 // stanena for stane. 6K sparza for sparzanaM. 7 / sijanme. 8K ki pUrva puNyaM kRta, 9 parivArasyaiSa. 10 tada for tasmAta. 11 ra gamiSyAvaH.

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[IV] (tataH pravizatyalaMkRto rAjA vibhavatazca parivAra H pratIhAryau ca / ) - rAjA - (sAnuzayaM svagatam ) " haMta, kahaM vi saMpAdie muhuttaM daAluNA devveNa cirAbhilasie caMpaa-dala- komalaMgIe khaNa-saMNihANe imiNA avissaMbha-bhaa- kAriNA dakkhiNNa hadaeNa vaMcido mhi | jado tuMgANaM sihiNANa tANa khu amIaMtANa vaccha-tthale dUre ciTTha aMkapAli-kahaNaM phaMso vi NAsAdio / ottIsa sahIe kiM vi NamiaM muddhaM muhaM bhoruhaM taM uNNAmi dakkhiaM vi Na mae kA vA kahA cuMbaNe // 1 // pratIhArI -( anyAM prati )''maMjubhAsiNi, ehi visuvosave saalaloa-loaNANaMda - puNNimA-caMdaM mahI- mahiMdaM mANavedaM pekkhia saMvaccharaM suppabhAdaM karehi / eso khu mahArAo padIva - maNi dappaNa-sA-1 akuMbha- puNNakuMbha-pahudIhiM maMgalehiM alaMkide mahatthANa-maMDave chatteNaM Nava- puMDarIa-ruiNA DiMDIriA paMDure pallekammi palitta-bhUsaNa pahA piMgehi aMgehi a / - 1 x saMpAdae vi muhutta haA 2 K komalaMgAe. 3 K ayamAaMtANa. 4 K ccheottosu. 5x often maJjubhASiNi 6 K mahIndaM 7 K karedi. [ saMskRtacchAyA ] I) hanta, kathamapi saMpAdite muhUrta dayAlunA daivena cirAbhilaSite campakadalakoma - lAyAH kSaNasaMnidhAne anenAvisrambhabhayakAriNA dAkSiNyahata kena vaJcito'smi / yataH, tuGgayoH stanayostayoH khalu amAtoH vakSaHsthale, dUre tiSThatvaGkapAlIkathanaM sparzo'pi nAsAditaH / chekoktiSu sakhyAH kimapi namitaM mugdhaM mukhAmbhoruhaM, tadunnamayya dRSTamapi na mayA kA vA kathA cumbane // 1 // II) maJjubhASiNi, idAnIM viSuvotsave sakalalokalocanAnanda pUrNimAcandraM mahImahendra mAnavedaM prekSya saMvatsaraM suprabhAtaM kuru / eSa khalu mahArAjaH pradIpamaNidarpaNazAtakumbhapUrNakumbhaprabhRtibhiH maGgalairalaMkRte mahAsthAnamaNTape, chatreNa navapuNDarIka rucinA DiNDIrikIpANDure, paryaGke pradIptabhUSaNaprabhApiGgaiH aGgaizca / saMbhAvite'pi mu. 2 KM muhUrtadayAlunA. 3 lAgayAstasyAH kSa. 4K amunA for anenA. 5 x ayamAtmani for amAto: of N. 6 M tadunnAmya. 7K mAnavetaM, M mAnaveda. 8 K kurute 9 K cchatre, M citreNa. 10 M DiNDIrApANDure. 1

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60 caMdalehAe Nite Nava bhamma- paMkaa - muhArAo anaMtAsaNe chattAaMta-visala- majjhama-phaNe NArAaNo va dvio // 2 // maJjubhASiNI - ( sAnandam )"avvo suppahAaM idaM / ajja suppahArda saMvacharaM / ( vilokya) aho visuvosava- visesAlaMkidassa anyANassa sirI / ettha hi 3 NIlaMsu ulloa - vilaMbiANaM muttA-ladANaM NiviDaMtarANaM / rehati mAlA Nava - pAvasammi jImUa laMbA iva vAri-dhArA // 3 // kalabhASiNI - "maMjubhAsiNi pekkha / patte kaMcaNesuM iha kuha vi ime pomarAANa puMjA ede muttAphalANaM puNa taha a ime iMdaNIloppalANaM / saMke bAlAdavANaM avi gahia - rasaM caMdiANaM tamANaM saMghA sevedumedaM tihuvaNa-suhaaM AUMdA NivvirohaM // 4 // maJjubhASiNI-kalabhAsiNi, imaM vi pekkha / vIaMtINa vahUNa kaMkaNa - jhaNakkArila - do- vallarImaMdaMdolia - cAmalANila-kalA-vicchoiaggI ime / [ IV. 20 1K NavasambupaGkaa 2 K fa for a. 3 aMbo. 4 ihaM. 5 K saMvvaharaM. 7K pAvusaMmI. 8K lampAlaavAri 9 AadANaM viroham. 10 K viccholiaMgA. nidrAnte navastrarNapaGkajamukhArAgaH anantAsane, cchatrAyamANavizAlamadhyamapaNe nArAyaNa iva sthitaH // 2 // I) avo suprabhAtamidam / adya suprabhAtaM saMvatsaram | ( ... ) aho viSuvotsava vizeSAlaMkRtasyAsthAnasya zrIH / atra hi, nIlAMzu kollocavilambitAnAM, muktAlatAnAM niviDAntarANAm / rAjanti mAlA navaprAvRSi, jImUtalambA iva vAridhArAH // 3 // II) maJjubhASiNi prekSaM / pAtreSu kAJcaneSu iha kApi ime padmarAgANAM puJjAH, ete muktAphalAnAM punaH tathA ceme indranIlopaeNlAnAm / zaGke bAlAtapAnAM api gRhItarasaM candrakANAM tamasAM, saGghAH sevitumetat tribhuvanazaraNaM AgatA nirvirodham ||4|| III ) kalabhASiNi, idamapi pazya / vIjantInAM vadhUnAM kaGkaNajhaMNatkAravaddorvallarI, mandAndolitacAmarA 1. nidrAntena prasannacAruvadanAmbhojaH anantAsane. 2 K ambo, N aho. 3 K nIlAMzukAlola vi. 4K lambA lakavAridhArA: 5r omits prekSa. 6kkAsi ime ca padma, M kacit for kvApi 7 K 'nIlotpalAnAm8 K AhatA nitinirodhaH 9 tvamapi for idamapi 10 jhaNatkAraTTadAvarI, kaGkaNakaNatkAra.. 6K ullea .

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-IV. 70] cautthaM javaNiaMtaraM dIvA dIha-sihA mahiMda-paiNo asthANa-ritthANa se sAmaggIeN silAhaNaM khu parido rehati daMtA via // 5 // (nepathye) sotthi, jaa jaa mahArAa parama-mAhesara siri-mANavea, suhaM deu pahAda-velA mahArAassa / ajja hi AAse paMcasAI pariNamia-palaMDu-cchaDA-paMDurAI tArAI caMcalIA kumua-mahu-suhA-pANa-matA psutaa| jAo NIsAsa-kaNhAvia-muura-samo maMdimo cNdiaae| puvvAsA-soa-sAhA lahai kusumiA pAa-saMgaM usaae||6|| kalabhASiNI-"mahArAa, saMNivaDiA a saalA causidhu-rasaNA-baMdha-baMdhurAaM vasuMdharA rAANo, uvahidA a duvAruddesaM, mahArAassa pasAdaM paDipAlaMtA ciTThati / rAjA-"kalabhAsiNi, teNa khaM pavesijjau / maJjubhASiNI- eso puDhama uvAgao vcchom-nnaaho| jahiM kila sarassaI lasai sAhu-rIdiM gaA jahiM kuNai appaNo bhuvaNameka-rajjaM sro| ___ 1 K rehaGkidaMtA. 3 - naipathye. 3 K AeseppaJca. 4 K cchaTApANDurAiM. 5 R kANAviamuuratamo. 6 K ciTThadi. 7 . hi for khu given by Kh. 8 K upAgao. 9 rIdI for rIdi. nilakalAvikSobhitAnA ime| dIpAH dIrghazikhA mahIndrapateH AsthAnadInAmasyAH,sAmayyAH zlAghanaM khalu parito rAjanti dadata iva // 5 // (...) khasti, jaya jaya mahArAja parama. mAhezvara zrImAnavedai, sukhaM dadAtu prabhAtavelA mahArAjasya / adya khalu, AkAze paJcaSANi pariNatapalANDucchaTApANDurANi, tArANi caJcalIkAH kumumadhusudhApAnamattAH prsuptaaH| jAtaH nizvAsakRSNitamukurasamaH mandimA candrikAyAH, pUrvAzAzokazAkhA labhate kusumitA pAdasaMgaM ussaayaaH||6|| I) mahArAja, saMnipatitAzca sakalAzcatussindhurazanAbandhabandhurAyAM vasuMdharAyAM rAjAnaH, upasthitAzca dvAroddeza, mahArAjasya prasAdaM pratipAlayantastiSThanti / II) kalabhASiNi, tena khalu pravezyantAm / III) eSa prathamamupAgato vaidrbhnaathH| yasmin kila sarakhatI lasati sAdhurItiM gatA, yasmin karoti Atmano 1 kSobhitAGgA ime. 2 M AsthAnandhInAma'. 3 'mAnaveta. 4 // pariNamanti for pariNata. 5 omits labhate, 4 zAkhAlubdhA lacuna pAda'. 6 M dvArodeze.

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caMdalehAe jahiM ca puDhamo raso jaai de pasAdeNa NaM aaM avai meINI- juvai - maMDaNaM kuMDiNaM // 7 // eso a gaMbhIra - mahurehiM caraNa- saMcaraNehiM uvagamia, accholaMbata- cUDA-mauDaa - ghaDa mANekka- mANikka chAAricholIhiM ghaNAhiM tuha uvaMri guruM uvvamaMto va rAaM / vicchohijjata-hAra cchai-kula- dhavalA aMta - sacchoha-vaccho vedavbhANaM ahIso paNamai NihuaM tujha pAvITa- mUle // 8 // kalabhASiNI - " eso khu ujjaiaNI valaho / aaM khu - heDalA aMta-saggANa khu sai vi mahA-kAla-cUleMdu - lehAjohAhiM anta kittIhi vi taha dhavalAaMta-racchA muhANaM / sippA - vAdaMkurAcuMvia - suraa kilammaMta rAmANaNANaM dANaM sAsaNeNaM tuha Navara avaMtINa rakkhaM karedi // 9 // eso a 62 aurakha- pAa- NamaNo savaNovvalaMtakaNNeuraM tuha puro Naha- dappaNammi / oloiUNa galiaM jaha-ThANameaM ThAve saMpai karedi a de paNAmaM // 10 // 4 K upari 1 x meiNijuvaI 2K baramANeka 3 K riccholIhiM. 5 K viccholijanta. 6 Kh vacchobhANaM for vedavbhANaM. 7 pAvIDa. SK ujhaaNI. 19 K heTTINAaMta, but Kh heTIlA. 10 K sudhApAdaMkurA. 11 AraNDapAja. 12 K Novalanta. [ IV. 7c bhuvana me rAjyaM smaraiH / yasmiMzca prathamo raso jayati te prasAdena nanu, ayamavati medinI - yuvatimaNDanaM kuNDinam // 7 // eSa ca gambhIramadhuraizvaraNasaMcaraNairupagamya, acchAvalambamAnacUDAmakuTaka ghaTamAnai kamANikyacchAyA, zreNibhiH ghanAbhiH tava upari gurumudramanniva rAgam / vikSobhyamANahAracchavibahudhavalAyamAna sacchobhavakSAH, vaidarbhANAmadhIzaH praNamati nibhRtaM tava pAdapIThamUle // 8 // I) eSa khalujjayinIvallabhaH / ayaM khalu, adhobhavatsvargANAM khalu sadApi mahAkAlacU DendulekhA, jyotsnAbhirAtmakIrtibhirapi tathA dhavalAyamAnarathyAmukhAnAm / siprA vAtAGkurAcumbitasurataklAmyadrAmAnanAnAM, eteSAM zAsanena tava navamavantInAM rakSAM karoti // 9 // eSa ca, ArabdhapAdanamanaH zravaNoparibhavat, karNapUraM tava puro narkhadarpaNe / avalokya galitaM yathAsthAnametaM, sthApayati saMprati karoti ca te 1 K surazca for smaraH. 2 x prasAdena nanu (tad), M prasAdena tadapatimedinI 3M richolIbhi: for zreNibhiH 4 8 ujjayinIvallabho'yaM salu for eSa etc. khalu. 5 M rathyAmukhAM. 6 KM suprA. 7 naparama lacuna ramavantInAM. 8 K darpaNe.

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-IV. 130] cautthaM javaNiaMtaraM maJjubhASiNI-"eso rivu-maMDala-khaMDaNa-ppaaMDo paMDo, kahamassa suha. ataNaM vaNNidavvaM / lovAmuddA-sahAo sa hi muNi-pavaro asthi se sosthivAI maMdahiM mAruehiM kuNai a malao cAmala-ggAhi-lIleM / koso sA taMbapaNNI maNi-gaNa-jaNaNI kiM va ehiM bahUhiM NaNaM aMsaMsa-mateNa vi Na khu sarisA assa bhUvAla-loA // 11 // tAriso vi eso| cUlaMta-sata-Nava-motia-sAra-jAlagholaMta-dIhiMi-miseNa palita-rUvaM / kitiM Ni savadi pAhuDiUNa tujjha pAaMbuaM paNamae maNalUra-NAho // 12 // kalabhASiNI-"eso mahilA-bAla-Naha-lehA-phAlijjata-bahala-kappUra-khaMDa-paMDura-jasa-maMDala-diNNa-telloka-saalaMgia-dhavala-duUla-Niolo colo / jo Alolijjata-Nicca-kadu-dahaNa-sihuddAma-dhUma-cchaDAhiM gholaMtIhiM kuNaMte mia-maa-maaaM patta-bhaMgaM disANaM / 1 K so for se. 2K 'lIlAm. 3 sottamba for sA taMba. 4 K kiM vayehiM. 5 viseso for vi eso. GK dIhihi. 7 sapadi. 8 pAlijanta. 9 degcchaTAhiM. praNAmam // 10 // I) eSa ripumaNDalakhaNDanapracaNDaH pANDyaH, kathamasya tu subhagatvaM varNayitavyam / lopAmudrAsahAyaH sa hi muniprevaraH asti asya svastivAdI, mandaiH mArutaiH karoti ca malayaH cAmaragrAhilIlAm / kozaH sA tAmraparNI maNigaNajananI kiMvA ebhiH bahubhiH, nUnamaMzAMzamAtreNApi na khalu sadRzA asya bhUpAlalokAH // 11 // tAdRzo'pyeSaH, cUDAntasaktanavamauktikasArajAla-, ghUrNamAnadIdhiti miSeNa pradIptarUpAm / kIrti nijAM sapadi prAbhRtIkRtya tava, pAdAmbujaM praNamati maNalUranAthaH // 12 // II) eSa mahilAbAlanakhalekhApATyamAnabahalakarpUrakhaNDapANDurayazomaNDaladattatrailokyasakailAbhikadhavaladukUlanicolezcolaH / yaH, aulolyamAnanityakratudahanazikhodAmadhUmacchaTAbhiH, ghUrNamAnAbhiH 1K pramANam. 2 ra pravaraH agastyo'sya. 3 ra vAtaiH for mArutaiH. 4 . kiMbahubhirebhiH. 5 sadazaH ...' loka. 6 ramaNalUrunAthaH. 7 M sAla for bAla. 8K pAlyamAna. 9K a short lacuna after bahala. 10 // sarvAGgINa for sakalAGgika. 11 M dukalaM. 12 ra niculazcola:. 13 ra AlokyamAnaM.

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64 caMdalehAe [IV. 13colaMbaMtagga-taMbolaa-dala-kasaNAaMta-diccakavAle cole pAlei helA-vihuNia-NivaI nujjha kAruNNaeNaM // 13 // so eso mANikka-moliM-maNi-moha-paroha-lehApaMja-cchaleNa jaliaMNiaaM paavN| daMto vva nujjha calaNaM saraNaM jaNANaM NaM oNamei NaravAla-maNe khaNaNaM // 14 // maJjubhASiNI-"eso palita-paAva-pAvaa-jjAlA-diNNa-disaMgaNAkuMkumaMgarAo / jo khu japaMto baMdhavANaM abhaamahima maggaNANaM kuNaMto kaMpato duha-loaM avi saala-chaillANa pIdi disNto| lupaMto sattu-rAmA-sihiNa-malaa pata-numhANukaMpaM caMpaM saMpaNNa-riddhi Nia-bhua-sihare rakkhae cuka-hINaM // 15 // pAvIDhaassa savihe paDiassa tassa sohaMta-sAra-maNi-papphurio kiriiddo| laMbehi palaMva-Nihehi karaMcalehiM saMvAhaNaM kuNai de paa-paMkaANaM // 16 // ____1K dasa for dala. 2 dikcaGkavAle. 3 F rivaI for NivaI. 4K mauli. 5 jANA diNNa. 6 KjappaMto. 7 api. 8 K cchalaMlANa. 9 7 lampanto. 10 cuMkhahINam. 11 F pAvIDaassa. 12 K phaMphurio. 13 K vaNNava but rh pallava. karoti mRgamadamayaM patrabhaGgaM dizAm / avalambamAnAgratAmbUlakadalakRSNAyamAnadikcakrapAlAn , colAn pAlayati helAvidhUtanRpatiH tava kAruNyena // 13 // sa eSaH, mANikyamaulimaNimayUkhapraroharekhA-, puacchalena jvalitaM nijakaM pratApam / dadadiva tava caraNaM zaraNaM janAnAM, nanvavanamati narapAlamaNe kSaNena // 14 // I) eSa pradIptapratApapAvakajvAlAdattadigaGganAkuGkumAGgarAgo'GgarAjaH / yaH khalu, jalpan bAndhavAnAmabhayamabhimataM mArgaNAnAM kurvan , kampayan duSTalokamapi sakalavidagdhAnAM prItiM darzayan / lumpan zatrurAmAstanamalayajaM prAptayuSmadanukampAM, campAM saMpannaI nijabhujazikhare rakSati pramAdahInam // 15 // pAdapIThasya savidhe patitasya tasya, zobhamAnasAramaNiprasphuritaH kirITaH / lolaiH pallavanibhaiH karAJcalaiH, saMvAhanaM karoti te padapaGkajayoH // 16 // 1 AlambamAnAgra. 2 M haritAyamAna for kRSNAyamAna. 3 K omits colAn. 4 ra helAvidhRtaM. 5 // lekhA for rekhA. 6 ra vidaNDAnAM. 7 prIti diza lacuna. 8 // saMpannadhiH. 9M kirITalampaiH pallava'

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-IV. 19d] cautthaM javaNiaMtaraM kalabhASiNI-"eso saala-jaNa-vallaho maaha-vallaho / jo khu lAhillo rivuNo sirI-karagharI-kesa-ggahesuM balA chA~illo pura-suMdarINamudio ghetUNaM mutiM sro| ekallo saalammi bhUmi-valae vIrANa dhIrANa vA takillo tui esa pupphaNaaraM rakkhei sokkhAaraM // 17 // puloadu mhaaraao| eso paDaMta-mauData-samappiehiM mutAhalehi dhavalehi NiraMtarohiM / tArAvarohaNa-vahU-NibiDaMkapAliM kAredi pAda-Naha-biMba-NisesaraM te // 17 // maJjubhASiNI-"eso samara-muha-muhuta-diNNa-puNNamaMta-vallahaMkapAlItUsiaccharA-caMcalacchi-koNa-lacchI-riMcholi-viccharaNa-sAmalaMgo kliNgo| ehi edassa vIsaikara-siramaNiNo kiti-joNhAhi tAhiM thorAArA caorA sasahara-maNiNo nnicc-nniisNdmNtii| ujvellA siMdhu-velA sai kumua-gaNA hoti NiddA-daliddA therAdo Naha-lajjA viharai hariNA caMcalacchI a lacchI // 19 // 1 K sakala. 2 K karamarI. 3 K cchAlallo. 4 K pattaNa muttI. 5 K phuppha. 6 K rakhkhAi, but Rh rakhkhei. 7K samaMpiohiM. 8 NibiDantapAlI. 9 K pAdaNabIba, but kh Nahabiha. 105 diNNamantavallahaMka'. 11 K tUsiJciaccharA. 12 K omits koNalacchI. 13 vIruMkarasiramahiNo. 14 K NIsantamantA. 15 K hAnti, but rh honti. 16 K NintAdalindA for NiddA etc... I) eSa sakalajanavallabho magadhavallabhaH / yaH khalu, lAbhavAn ripoH zrIvandikacagraheSu balAt, chAyAvAn mRgalocanAnAmuditaH gRhItvA mUrti smrH| ekAkI sakale bhUmivalaye vIrANAM dhIrANAM vA, tAtparyavAn tvayi eSa puSpanagaraM rakSati saukhyAkaram // 17 // pralokayatu mhaaraajH| eSa patanmakuTAntasamarpitaiH, muktAphalairdhavalairnirantaraiH / tArAvarodhanavadhUnibiDAGkapAlI, kArayati pAdanakhavimba zezvaraM te // 18 // II) eSa samaramukhamu. hUrtadattapuNyavadvallabhAGkapAlItoSitApsarazcaJcalAkSikoNalakSmIzreNivicchuraNazyAmalAGgaH kaliGgaH / idAnImetasya vIrotkaraziromaNeH kIrtijyotsnAbhistAbhiH, sthUlAkArAzcakorAH zazadharamaNayaH nityaniSyandavantaH / udvelAH sindhuvelAH sadA kumudgaNAH bhavanti nidrAdaridrAH, sthavirAt naSTalajA viharati hariNAM caJcalAkSI ca lakSmIH // 19 // 1K bhavo for ripoH. 2 M zrIkezagrahaNepu. 3K omits balAt. 4 ekaH for ekAkI. 5 ra tva lacuna hRSTanagaraM. 6 // vilokayatu. 7F 'mukulAntaHsamutthitaH. 8 // rijchoLI for zreNi. 9 ra brahmaNaH for sthavirAt..10 hariNAH. 9caMda.

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caMdalehAe [IV. 200eso a tujjha karuNA-rasa-lAlaseNa citeNa citta-raaNaM Nava-pAda-vIDhaM / olIkarei Nai-gholira-moli-mAlA NIsaMdamANa-maaraMdaa-sAraNIhiM // 20 // kalabhASiNI-"asaM saala-rivu-kula-vilAsiNI-loa-kAlamegha-jala-varisaM-pAusa-saNNAho knnnnaadd-nnaaho| ucchaNNe satu-seNNe savadi Nia-ghare jassa soUNa NAmaM caMDAsi-cchiNNa-vIra-tiaMsa-paa-karaM saMgaraM aMtareNaM / juttANaM saMbhameNaM para-varaNa-samAraMbha-jaMbhAlaeNaM aMgAlaMkAra-lacchI kila salila-livI hoi saggaMgaNANaM // 21 // (sakautukaM nirvarNya ) Nakkhesu nujjha saalesu phuDaM imassa cUDAmaNIsu vi a cholnn-nnimmlesuN| biMbA duvANa vi nuhANa bahutaNeNa sohaMti joggadara-ThANa-paDiTThiaMgA // 22 // maJjubhASiNI "eso hepAla-pAlo paNamai calaNe nujjha kAruNNa-lolo kalabhASiNI kaMboeso vi eso paNivaDai sihaa-liiddh-paaviiddh-paaso| - 1 K eso tujha. 2K pAdapITham. 3 KghUrai for gholira. 4 K Nissanda but rh NIsanda. 5 K dhoraNIhiM, but rh sAraNIhiM. 6 parisa'. 7 ujhaMNe. 8 ttisaapa. 9 K varavaraNa. 10 K saladalidi hoi saMgaMgaNANam. 11K maNissuDiacchoM. 12 5 joggadaThANa, but Kh jogadara'. 13 K omits kaMbo. 14 K pAvidya. eSa ca tava karuNArasalAlasena, cittena citraratnaM navapAdapITham / ArdIkaroti natigharNanazIlamaulimAlA-, niSyandamAnamakarandasAraNIbhiH // 20 // I) ayaM sakalaripukulavilA. sinIlokakAlameghajalavarSaprAvRTsannAhaH krnnaattnaathH| utsanne zatrusainye sapadi nijagRhe yasya zrutvA nAma, caNDAsicchinnavIratridazapadakaraM sagaramantareNa / yuktAnAM saMbhrameNa paravaraNasamArambhajRmbhitena, aGgAlaGkAralakSmIH kila salilalipiH bhavati svargAGganAnAm // 21 // (...) nakheSu tava sakaleSu sphuTamasya, cUDAmaNiSvapi ce zodhananirmaleSu / bimbo dvayorapi yuvayobahutvena, zobhete yogyatarasthAnapratiSThitAGgau // 22 // II) eSa nepAlapAla: praNamati caraNau tava kAruNyalolA, III) kAmbojezo'pi eSa praNipatati zikhAlIDha. 1M kaNa for rasa. 2 M locana for loka. 3 M salilalavirbhavati. 4 ( degmamuSya for degmasya. 5 K omits ca. 6 gopana for zodhana. 7 / pratiSThitAGgena. 8 ra eSa vizeSaH praNipatati zikhA eSaH for kAmboja etc.

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67 -IV.24d] cautthaM javaNiaMtaraM maJjubhASiNI "eso accedi cUDAmaNi-kiraNa-pasUNehi paMcAla-NAho kalabhASiNI I"eso bhUmi pavaNNo vilasai vihiAmita-dukkho turukkho|| maJjubhASiNI___"eso cedi-ppavIro kalabhASiNI I'aamiha NisaDho maJjabhASiNI "esa vArANasIso kalabhASiNI VI'eso so pArasIo maJjubhASiNI VII'aamavi maharahesaro kalabhASiNI VIII esa vNgo| maJjubhASiNI IX eso maddAhirAo kalabhASiNI aamiha mahurA-vallaho majubhASiNI XI'esa maccho kalabhASiNI XII ede kassIra-kaMcI-damila-pai-muhA bhUmipAlA NamaMti // 24 // TRATHmm paadpiitthpaarshvH| I) eSo'rcayati cUDAmaNi kiraNaprasUnaiH pAJcAlanAthaH, II) eSa bhUmi prapanno vilasati vihitAmitraduHkhasturuSkaH // 23 // III) eSa cedipravIraH, IV) ayamiha niSadhaH, V) eSa vArANasIzaH, VI) eSa sa pArasIkaH, VII) ayamapi mahArASTrezvaraH, VIII) eSa vaGgaH, IX) eSa madrAdhirAjaH, X) ayamiha mathurAvallabhaH, XI) eSa matsyaH, XII) ete kAzmIrakAJcIdramilapatimukhA bhUmipAlA namanti // 24 // 1K madhurA.

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68 caMdalehAe [IV. 24.1maJjubhASiNI- kalabhAsiNi, pekkha / galaMta-kaNaaMgado gala-dalaMta-hAra-cchaDo calaMta-maNi-kaMkaNo clnn-guNji-mNjiiro| valaMta-mauDaMtaro NaravaINa dANiM asaM ahaM-puDhamiA-kao NamaNa-saMbhamo jiMbhae // 25 // kalabhASiNI--"aho NamaNANaMtaraM evva mahArAeNa jahoidaM saMbhAviA jaMbhAaMta-Nibbhara-harisa-vallarI-pallavAaMta-dhavala-hAsa-paMDu3 ria-gaMDa-rehA-rehaMta-muha-puMDarIA mahArAa-ppasAda-lAha-kidatthA Niva-satthA patthAeM evva aaddhtaa| rAjA -(svagatam )III avi NAma puNo vi bhave tisse hariNaMka-vaa6 NAe daMsaNaM / (vicintya) kiM Nu hu hijjo evva devIe aMteuraM NAido vaasso vilNbi| (tataH pravizati viduusskH|) , vidUSakaH-(sarabhasamupasRtya) 'bho vaassa, dihiA vaDDasi imiNA visuvUsaveNa / rAjA-(dIrgha niHzvasya) ''dahaMti malaANilA paritavaMti maM koilA aaM harai jIviaM paharaNummuho vammaho / __ 1K puThamiA. 2 K Davala. 3 ijjo. 4 K NAlado. br tapanti. 6 R baharaNaMmuho. I) kalabhASiNi, pazya / galatkanakAGgadaH galadaladdhAracchaTaH, calanmaNikaGkaNaH caraNaguJjimaJjIrakaH / valanmakuTAntaraH narapatInAmidAnImayaM, ahaM-prathamikAkRtaH namanasaMbhramo jRmbhate // 25 // II) aho namanAnantarameva mahArAjena yathocitaM saMbhAvitAH jRmbhamANanirbharaharSavallarIpallavAyamAnadhavalahAsapANDuritagaNDarekhArAjanmukhapuNDarIkAH mahArAjaprasAdalAbhakRtArthAH nRpsaarthaaHprsthaatumevaarbdhaaH| III) api nAma punarapi bhavet tasyA hariNAGkavadanAyA darzanam / (...) kiM nu khalu hyaH eva devyA antaHpuramAnAyito vayasyo vilambate / IV) bho vayasya, diSTyA vardhase anena viSuvotsavena / V) dahanti malayAnilAH paritapanti mAM kokilAH, ayaM harati jIvitaM praharaNonmukho manmathaH / 1 galagalahAra. 2 K omits idAnIM. 3 r omits ahaM. 4 // rekhAH rAja'. 5 ra omits mahArAja. 6 // nivAsArtha for nRpasArthAH, 7K omits punarapi. 8Kkhalu antaHpura'. 9M vardhasva for vardhase. 10 amunA for anena of M.

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- IV. 26. 15. ] cautthaM javaNiaMtaraM hA kaha visA khaNaM hiaa vallahA dulahA kahaM Nu puNa diTThi kahehi dAva taggaaM kaM vivRttaM / vidUSakaH - "bho vaassa, sA kila devIe aMteura - ganbha-gharaammi aur - siMkhalehiM baMdhia ThAviA / rAjA - "aho NikkaruNattaNaM devIe / vidUSakaH- puNo vi suNa devIe NikkaruNattaNaM / rAjA-kahi / _IV vidUSakaH - vihaMgiMA kuraMgiA taraMgiA sAraMgiA padaMgiA a paMca cAmala -ggAhiNIo puvva duvArammi tisse rakkhaM kAduM ThAviAo / maMdAriA mAaMdiA madaaMtiA araviMdiA siMdUriA ' a paMca saMvANa-kAriNIo dAhiNa - duvArammi NioidAo / tamAliA NattamAliA NomAliA taraliA kadaliA a paMca NhANovaaraNa- saMpAdiNIo pacchima duvArammi peridAo / kalahaMsiA 12 kadarliMA kamaliA kadaMbiA kalapiMgiA a paMca seraMdhIo uttaraduvArammi pesidAo / pattalehA cittalehA maaNalehA vilAsalehA maalehA a paMca taMbola- dAiNIo sarIra rakkhAaM saMThIviAo / s bhaNa vaassa vaDDAmi hA // 26 // 1 x omits dAva given by Kh. 2 x vihiGgiA. 3K duvvAramitisso. 4 K khAdu 5 K dAhiNi for dAhiNa. 6K NattatamAliA dantamAliA NomAliA. 7 x pazcima. 8 K omits kadaliA and adds kAdambiA after kadambiA 9 K kalapittiA. 10 K saTTAviAo. 69 hA kathamapi sA kSaNaM hRdayavallabhA durlabhA, kathaM nu punardiSTyA bhaNa vayasya vadhe tat // 26 // kaithaya tAvattadgataM kamapi vRttAntam / I) bho vayasya, sA kila devyAH antaHpuragarbhagRhe kanakazRGkhalAbhiH baddhA sthApitA / II) aho niSkaruNatvaM devyAH / III ) punarapi zRNu devyA niSkaruNatvam | IV) kathaya | V ) vihaGgikA kuraGgikA taraGgikA sAraGgikA pataGgikA ca paJca cAmaragrAhiNyaH pUrvadvAre tasyAH rakSAM kartuM sthApitAH / mandArikA maukandikA madayantikA aravindakA sindUrikA ca paJca saMvAhanakAriNyaH dakSiNadvAre niyojitAH / tamAlikA naktamAlikA navamAlikA taralikA kadalikA ca paJca snAnopakaraNasaMpAdinyaH pazcimadvAre preritAH / kalahaMsikA kalikA karmalikA kadambikA kalapiGgakA ca paJca sairandhrayaH uttaradvAre preSitAH / patralekhA citralekhA madanalekhA vilAsalekhA mada1 K hAhA. 2 K varSAmi tava 3 K omits this remark. 4 K makaranikA 5 K tamAlikA naktanamAlikA nava, tamAlikA nava 7 K kalahaMsikA kamalinIkA kada . kamalikA kalavaGgikA kAdambikA ca. 6 M kadalikA naktamAlikA ca. < M 3

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caMdalehAe [IV. 26. 16rAjA-"kIsa uNa devIe aaM sNrNbho| vidUSakaH-bho vaassa, jai Na ko karesi tA kahemi / 18 rAjA-I"ko ettha kovaavsro| vidUSakaH -"'suNAdu vasso| eaM khu jANi evva vaassassa jaM hijjo evva NisIhiNIaM devIe ANAido mhi ti / // rAjA-taM jaanniaN| puNo khehi|| vidUSakaH -I'puNo aMteuraM gao ahaM ahiaM kaMcaNAsaNa-dANAdiNA devIe sNbhaavio| tahiM ADhate savvAhiM pura-saMdarIhiM mahaMte aMte5 ura-saMgIa-kolAhale viramie tattha evva tamAliAe pattharie paTTa-pallaMka-ale gambha-gharae a panbhAre vallahI-muhammi jahicchaM pAsuto mhi| 1 rAjA-VI"tado tdo| ___ vidUSakaH-VIItado mae siviNae palaviaM kila / rAjA - kiM plvi| 38 viduusskH-tuhinn-diihiaa-prisr-vutNto| rAjA-aho pmaado| (vicintya) puNo vi gahio evva rosarAhuNA devIe hiaa-cNdo| tado evva eso sNrNbho| ____ 1 r kopaM for kovaM. 2 paTTavalaMkasale. 3 : pasutto, but rh pAsutto. lekhA ca paJca tAmbUladAyinyaH zarIrarakSAyAM sNsthaapitaaH| I) kasmAt punardevyA ayaM sNrmbhH| II) bho vayasya, yadi na kopaM karoSi tatkathayAmi / III) ko'tra kopaavsrH| IV) zRNotu vayasyaH / etat khalu jJAtameva vayasyasya yat hyaH eva nizIthinyAM devyA aunaayito'smiiti| V) tat jJAtam / punaH kathaya / VI) punarantaHpuraM gato'hamadhikaM kAJcanAsanadAnAdinA devyA sNbhaavitH| tasmin Arabdhe sarvAbhiH purasundarIbhiH mahatyantaHpurasaMgItakolAhale viramite tatraiva tamAlikayA prastute paTTaparyaGkatale garbhagRhe ca progbhAre valabhImukhe yathecchaM prasupto'smi / VII) ttsttH| VIII) tato mayA svapne pralapitaM kila / IX) kiM prlpitm| X) tuhindiirghikaaprisrvRttaantH| XI) aho pramAdaH / (...) punarapi gRhIta eva roSarAhuNA devyAH hRdycndrH| tata evaiSa sNrmbhH| 1 vayasya kalAt. 2 . AzApito for AnAyito. 3 M adds sabahumAnaM before prastRte. 4 ra omits prastute paTTaparyaGkatale. 5 ra prAradvAre, M prAgbhAravalabhImukhe. 6 ra yatheSTaM pra. 7 M tuhinajaladI.

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-IV. 26. 49 ] cautthaM javaNiaMtaraM 71 vidUSakaH - bho vaassa, mA uttmm| saMpa amhANaM aNuUla-devataNeNa devIe Na kovaavsro| rAjA-"vaassa, kIsa uNa taM / vidUSakaH-"dUsaheNa dukkhAveeNa parAata-citA khu devii| rAjA-(sasaMbhramam )" kahaM kaha devIe dukkhovnnivaao| vidUSakaH-'aja khu visuvUsave numaM parNamiUNa devIe mAusiAvaiNo aMgesarassa caMdavammaNo putto kumAra-caMdakedU aMteuraM paviTTho / rAjA-sigdhaM khehi| vidUSakaH-VI"do devIe jahoidaM saMbhAvio pucchido ataNo pariaNassa a kuslN| rAjA-VIT'tado tdo| . vidUSakaH-'tado deNa caMdakeduMNA devIe appa-mauusIA-pUAe caMdalehA-NAmaheAe kusalaM pucchideNa bhnniaN| jaha / sA khu caMdalehA caMda-lehA-maNaharaMgI saala-kaNNaA-kula-tilaa-bhUdA me vacchA tattha caMpA-NaarIaM kadAi kIlA-rasiA aNNAhiM aNurUvAhiM kumArIhiM saha bAlujANaM gaA Na diTThA, Na jANAmo kassi gaA keNa vA NIda ti| sA amhahiM esA khu kumArI Nia-pANiggAhiNo 1K kopAvasaro. 2 K has only one kahaM. 3 5 duHkhAvaNivAo. 4K visusUsave. 5K paNimiUNa. 6 K omits tado given by Kh. 7 K ketuNA. 8K mAlasIA. 9 jaNa for kala. 10 kadANi. 11K diNNe, but rh diTrA. I) bho vayasya, mA uttAmya / sAMpratamasmAkamanukUladaivatvena devyAH na kopaavsrH| II) vayasya kasmAt punaH tat / III) duHsahena duHkhAvegena parAyattacittA khalu devii| IV) kathaM kathaM devyA duHkhopnipaatH| V) adya khalu viSuvotsave tvAM praNamya devyAH mAtRSvasRpateH aGgezvarasya candravarmaNaH putraH kumAracandraketuH antaHpuraM praviSTaH / VI) zIghraM kathaya / VII) tato devyA yathocitaM saMbhAvitaH pRSTazcAtmanaH parijanasya ca kuzalam / VIII) ttsttH| IX) tatastena candraketunA devyAH AtmamAtRSvasRsutAyAH candralekhAnAmadheyAyAH kuzalaM pRSTena bhaNitam / yathA / sA khalu candralekhA candralekhAmanoharAGgI sakalakanyakAkuMlatilakabhUtA me vatsA tatra campAnagayoM kadAcit krIDArasikA anyAbhiranurUpAbhiH kumArIbhiH saha bAlodyAnaM gatA na dRSTA, na jAnImaca kasmin gatA kena vA nItA iti / sI cAsmAbhiH eSA khalu kumArI nijapANigrAhiNaH - 1K omits tat. 2 // suduHsahena. 3 // bhavati for khalu. 4 K omits one kathaM. 5 du:khAvanipAta:. 6 kumArazcanda. 7 K omits tato. 8K omits sA. 9 K reads jana for kula. 10 ra tasmAdasmAbhiH for sA otc.

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72 caMdalehAe [IV. 26 50satta-samudda-muddia-mahialeka-NAhataNaM karissidi ti lkkhnn|| vediNo jaNAdo jANia mahArAassa vaaNeNa diNNa ti| rAjA-(sasaMbhramaM khaDgamAdAya) "motUNaM jo khu saMkaM haria kumari majjha diNNaM NivAlo bAlo bhU-loa-gole Nivasai NibhiraM tassa veennmeso| satUNaM Nihurahi-kkhuDaNa-caDacaDArAva-vAAla-hAro khaggo rAvei NaNaM raNa-siri-calaNaM soNiAlataehiM // 27 // kalabhAsiNi, gaccha / NivArijaMtu NivAlA savve, pucchijjaMtu a keNa coriA sA kaNNa ti / 3 kalabhASiNI- devo ANavedi / ( iti niSkrAntA / ) vidUSakaH -"devI ataM avatthaM soUNa hA bahiNie caMdalehe kahiM gaA si dehi paDivaaNaM ti palavaMtI avirala-paDatehiM bAha-ppavAhehi * aMteure mahaNNavaM viraIjaNa vaassassa NivedaiuM aaamissidi| (tataH pravizati muditA devI tamAlikA ca / ) devI-(savASpam ) hA tavassiNi caMdalehe, kahiM gaAsi / puvvaM vi , sA bAlA maMdabhAiNIe mae Na diTThA / 1K mudi. 2 F mekAtUf for mottaNaM. 3 K saknuariza. 4 ajha. 5 K bhRantassa veoNa'. 6 R nUNaM. 7 K pulliMjantue keNaM, but Kh pucchi. 8 K antaapaththa so. 9 bhihiNie. 10 F viralaUNa. ll KNivedaauM. 12 K omits bAlA. saptasamudramudritamahItalaikanAthatvaM kariSyatIti lakSaNavedino janAt jJAtvA mahArAjasya vacanena dattA iti / I) muktvA yaH khalu zaGkAM hatvA kumArikAM mama dattAM nRpAlaH, vAlo bhUlokagole nivasati nibhRtaM tasya vegena essH| zatrUNAM niSThurAsthitruTanacaTacaTArAvavA. cauTadhAraH, khaDgaH raJjayati nUnaM raNazrIcaraNaM zoNitAlaktakaiH // 27 // kalabhASiNi, gaccha / nivAryantAM nRpAlAH sarve, pRcchayantAM ca kena coritA kanyakA iti / II) yad deva AjJApayati / III) devI ca tAmavasthAM zrutvA hA bhaginike candralekhe kutra gatAsi dehi prativacanam iti pralapantI aviralapatadbhiH bASpapravAhaiH antaHpure mahArNavaM viracayya vayasyasya nivedayitumAgamiSyati / IV) hA tapakhini candralekhe, kutra gatAsi / 1. cchitvA (mama) for hRtvA. 2 ra bhUgola' for bhUloka. 3 M vAcAladhAraH. 4 ragayati, M rAjayati. 5 ra raNaziraH zrI. 6 M lohitA' for zoNitA. 7 // nivAryatAm. 8M bhagini. 9M vilapantI. 10 M antaHpuraM. |

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73 -IV. 27.25.] cautthaM javaNiaMtaraM tamAlikA-bhaTTiNi, jAva ede visUsava-saMgamiA Naravai-loA NaM gacchati tAva gadua bhaTTiNo Niveda'mha / devI-"taha / (ubhe prikraamtH|) tamAlikA -bhaTTiNi, eso bhaTTA / tA uvasappamha / devI-(upasRtya)'jedu ajutto| ajjautta, majjha bahiNiA caMdalehA NAma kIlA-NimitaM saha sahIhiM lIluMjANaM gaA Na jANI-15 adi keNa NIda ti| (pravizya kalabhASiNI) kalabhASiNI- jedu mhaaraao| mahArAa, savve vi NivA mahA-16 rAa-pAANaM saMvaMti amhahiM Na jANijjai ti| rAjA-(vicintya) bhaavadI ciMtAmaNi-devadA evva ettha saraNaM / (aJjaliM bavA) bhaavadi ciMtAmaNi-devade, eso aMjalI / sNnnihiN| dehi / uddhara imAdo anntthaado"| (tataH pravizatyapaTIkSepeNa cintAmaNidevatA / ) cintAmaNidevatA-VI"alaM sNbhmenn| mae NIdA entha evvaanniidaa| esA asaa| (iti nAyikAM darzayati / ) 1 KNarapai. 2 KNAacchaMti. 3 K Nivedami. 4 bhahiNIA. 5 K ilajjANaM. 6 K samvanti. 7 K jAhijai. 8 K puts this speech in the mouth of Kalabhasini in continuation, but Kh assigns it to the king. 95 devatA. 10 uDara, but Kh omits it. 11 K has a stage direction : (iti nimIlitalocanA tiSThati), but it is not given by Kh. 12 evaNIdA. pUrvamapi sA bAlA mandAginyA mayA na dRssttaa| I) bhaTTini, yAvadete viSuvotsavasaMgatA narapatilokA na gacchanti tAvad gatvA bharnurnivedayAvahe / II) tthaa| III) bhaTTini, eSa bhartA / tdupsrpaavH| IV) jytvaaryputrH| Aryaputra, mama bhaginI candralekhA nAma krIDAnimittaM saha sakhIbhiH lIlodyAnaM gatA na jJAyate kena niiteti| V) jayatu mahA. raajH| mahArAja, sarve'pi nRpA mahArAjapAdAn zapanti asmAbhirna jJAyate iti / VI) bhagavatI cintAmaNidevatA evAtra zaraNam / (...) bhagavati cintAmaNidevate, eSo. 'aliH| saMnidhiM dehi / uddhara asmAd anarthAt / VII) alaM saMbhrameNa / mayA nItA 1 ra mandabhAgyayA mayA. 2 // nivedayAmaH. 3 K bhartRdArike for bhaTTini. 4 ( pAdAt zAntiramA 5 // bhagavati cintAmaNidevadatte paatrrtnm| 6K mAmamuSmAdU for asmAdU. 10caMda.

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caMdalehAe [IV. 27. 26(sarve sasaMbhramamavalokayanti / ) _n devI-(savismayamaJjaliM baddhavA) ayyautta, ki eaN| rAjA - devi, dhammillo iMdaNIlaM phaliha-maragaaM loaNaM lola-tAraM mANikaM oha-biMbaM Nava-DasaMNa-gaNe saMpao motiANaM / soAI pomarAaM kara-caraNa-alaM savvamaMgaM pavAlaM tA maNNe haMta ciMtAmaNi-samahikidA devadA NUNamesA // 27 // tA paNamamha / (sarve praNamanti / ) cintAmaNidevatA-III) uccidy| (sarve uttiSThanti / ) devI-(baddhAJjaliH nAyikAmavalokya saharSam )bhaavadi, NaM esA sA maha bahiNiA cNdlehaa| * cintAmaNidevatA-''esA saa| devI-V"vacche caMdalehe, Accha AliMgehi maM / (candralekhA rAjAnaM tiryakpazyantI lajAnatamukhI tiSThati / ) cintAmaNidevatA -VI"vacche, gaccha / tuha jeha-bhaiNI dukkhaM vai / devI-(bAhU prasArya)VIadi-NigghiNe, ehi aaliNgehi| (kaNThe gRhItvA saharSam ) haMta, jIvaMta-vacchA me maausiaa| vacche caMdalehe, sahasu maha avraah-svvssN| ___1_r omits devi, but xh has it. 2 Kdhammallo. 35 puliha for phaliha. 4 K saDaNa for DasaNa. 5 Kh saJcao. 6 K somAI. 7 samakidA. 8 KANamesA for NUNa. 9 K Ayaccha. 10 K lajjAnamita. atraivaaniitaa| eSA ca saa| I) Aryaputra, kimetat / II) devi, dhammilla indranIlaM sphaTikamarakataM locanaM lolatAraM, mANikyaM oSThavimvaM navadazanagaNaH saMcayo mauktikAnAm / saumyaM vA padmarAgaM karacaraNatalaM sarvamaGgaM pravAlaM, tanmanye hanta cintAmaNisamadhikRtA devatA nUnameSA // 28 // tat prnnmaamH| III) uttiSTha / IV) bhagavati, nanveSA sA mama bhaginI cndrlekhaa| V) eSA saa| VI) vatse candralekhe, Agaccha AliGga mAm / VII) vatse, gacchaM / tava jyeSThabhaginI duHkhaM vartate / VIII) atinighRNe, ehyAliGga / (...) hanta, jIvadvatlA me mAtRSvasA / vatse candralekhe, sahasva mamAparAdhasarvasvam / 1 M nItA ca. 2 K omits ca. 3 // dhammalla. 4 M omits vA. 5 ra praNamAvaH. 6 sA (bhagavatI) candralekhA. 7 pazya for gaccha. 8K AliGga mAM for eTAliGga.

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-IV. 28. 27 ] cautthaM javaNiaMtaraM 75 nAyikA - (svagatam ) "kahaM ahaM evvaM siNiDDAe jeI bhaiNIe vi ettiaM kAlaM rosa pattaM kida mhi maMda-bhAiNI devveNa / cintAmaNidevatA - "mahArAa-mahisi, suNesu dANiM / esA khu caMda 15 lehA Nia-pANi-ggAhiNo satta-sAarAlaMkaraNaM meINiM kare samapei / tA aNumaNNa bhaTTAraM se pANiggahaNatthaM / devIjaM bhaavadI ANavedi / tamAlie gaccha, aMteurAdo " caMdalehoidAi ahiNavAharaNAi uvaNehi / tamAlikA - jaM bhaTTiNI ANavedi / ( iti niSkrAntA / ) vidUSakaH - ( saharSam ) "suhu saMjAaM / devI - "kalabhAsiNi gaccha, visUsava-samArgaA aMgesara- pamuhA rAANo hijjaMtu vivAha-maMgala-diahe adivAhia gaMtavvaM ti / kalabhASiNI -jaM bhaTTiNI ANavedi / ( iti niSkrAntA / ) VII) 24 VIII). cintAmaNidevatA - IIT kevalaM ime Na gacchati kiMtu satta-dIva - vAsiNo vi savve saMpaaM ettha saMNivaDihiMti / rAjA - kiM kiM Na phalai bhaavadIe pasAdo / IX) 1 K jaTTa for jeTU. 2 K dabveNa 3K mahisI. 4 Rh suNAdu 5 R meiNIM. 6K samAga Aeo aGge. 7K kahijjatu 8 saNipahanti. 9 x kiM kiM Na bhaNai bhaa, Kh kiM Na bhalai bhaa. 1 bhAgyA daivena. 2 x mahArAjamahiSI, M mahArAja ! kare. 5 K AbharaNAni for abhinavAbharaNAni 6 K upanaya. omit kiMtu. 10 M sarve'tra sAM. 11 K bhaNati for na phalati. 21 I) kathamahamevaM snigdhAyA jyeSThabhaginyAH apyetAvantaM kAlaM ropapAtraM kRtAsmi mandabhAginI daivena / II ) mahArAjaimahiSi, zRNu idAnIm / eSA khalu candralekhA nijapANigrAhiNaH saptasAgarAlaMkAriNIM medinIM kaire samarpayati / tasmAdanumanyasva bharttAramasyAH pANigrahaNArtham / III) yad bhagavatyAjJApayati / tamAlike gaccha, antaHpurAt candralekhocitAni abhinavAbharaNAni upAnaya / IV) yad bhaTTinyAjJApayati / V) suSThu saMjAtam | VI) kalabhASiNi gaccha, viSuvotsavasamAgatAH aGgezvarapramukhA rAjAnaH kathyantAM vivAhamaGgaladivasAnativAhya gantavyamiti / VII) yad bhaTTinyAjJApayati / VIII ) na kevalaM ime naM gacchanti kiMtu saptadvIpavAsino'pi sarve sAMpratamatra saMnipatiSyanti / IX) kiM kiM ne mahiSi ! 3 K zRNotvidAnIM. 4K omits 7 M suSThu jAtaM. 8 KM omit na. 9 KM 27

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caMdalehAe [IV. 28.28(pravizya tamAlikA) tamAlikA-"imAi aabhrnnaai| // devI-(AbharaNAnyAdAya candralekhAmalaMkRtya)"ayyautta, parigheppau esA maha bahiNiA caMdalehA / rAjA -kassa vA devIe pasAdo nnaahinnNdnnijo| 33 devI-IV'ayyauta, jaha esA baMdhavANaM Na soaNijjA taha karehi / rAjA-'jaM devI bhaNAdi / devI-(upasRtya candralekhAM samarpayati / ) 6 rAjA-(sAraM pratigRhNAti / ) vidUSakaH-(saharSamutthAya) 'haMta saphalo me mrga-ujjaann-ptthnnaaprismo| tA sosthi hou vaassassa, sivaM hou devIe, suhaM hou " devIe cNdlehaae| kiM c| maha vibhavaM hou, kallANaM hou vammahassa, bhadaM hou mahumAsassa, kusalaM hou malaANilassa, maMgalaM hou hariNalaMchaNo, jaau puDhamo raso, vaDDau vammaha-parakama"siddhI / (iti nRtyti|) cintAmaNidevatA-VI"ciMtAmaNi-saMbhavAaM kimaNNaM puNa devIaM sNpaadnnijjN| 1K pariSvau, xh paripabvau. 2 : bhahiNIA. 3 Rh ANavedi. 4 K parimmotto sotthi, but xh parisamo tA. 5 hoi. 6 lanchaNo maGgalaM jaau. 7 K mammahaparikama. phalati bhagavatyAH prsaadH| I) imAnyAbharaNAni / II) Aryaputra, parigRhyatAmeSA mama bhaginI cndrlekhaa| III) kasya vA devyAH prasAdo naabhinndniiyH| IV) Aryaputra, yathaiSA bAndhavAnAM na zocanIyA tathA kuru / V) yad devI bhnnti| VI) hanta, saphalo me mrktodyaanpraarthnaaprishrmH| tet svasti bhavatu vayasyasya, zivaM bhavatu devyAH, sukhaM bhavatu devyaashcndrlekhaayaaH| kiM ca / mama vibhavaM bhavatu, kalyANaM bhavatu manmathasya, bhadraM bhavatu madhumAsasya, kuzalaM bhavatu malayAnilasya, maGgalaM bhavatu hariNalakSmaNo, jayatu prathamo rasaH, vardhatAM mnmthpraakrmsiddhiH| VII) cintAmaNisaMbhavAyAH kimanyat 1M bhaTTiNi imA. 2 // asyA for kasya vA. 3 ra bandhUnAM for bAndhavAnAM. 4 ra maratakodyAna', M maratakodyAne. 5 ra tasmAt for tat. 6 ra mamApi bhavatu kalyANaM, M mamApi bhAvya bhavatu. 7 kuzalaM for bhadraM. 8M bhadraM for kuzalaM. 9 ra lakSmaNo maGgalaM jayatu. 10 ra devyAH kimanyat for kima' to 'devyAH, M omits cintAmaNisaMbhavAyAH and reads this remark thus: *kimanyatpunaste priyaM saMpAdanIyaM /

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-IV. 30. 2] cautthaM javaNiaMtaraM rAjA-(abhinandya )adovaraM kiM me piaN| ANaMdaM caMdavammA kaha vi a gamio NaMdaNA-daMsaNeNaM pattA cite pasAdaM Niaa-bahiNiA-saMgameNaM ca devii| laddhA muddhA a sataNNava-lasia-mahI-pati-saMpatti-mUlaM hatthe me caMdalehA bhaavadi tumae taM Na jaMsi cchuhA me // 29 // taha eti hou| kuNaMtu kumua-ppahaM tihuvaNammi kitiM NivA muNaMtu iarearaM uvakidiM ghaNA maannusaa| suNaMtu gaa-maccharaM sahiaA kaINaM kidiM jiNaMtu kaiNo ciraM vahau bhAraI-maMgalaM // 30 // ' (niSkrAntAH sarve / ) [ // ia caMdalehAaM cautthaM jvnniaNtrN||] 1 KNaMdaNaM daMsaNeNaM. 2 hiaabahiNiA. 3 atthoM for ettisaM. 4 K puNantu gaamajharaM. 5 < omits this stage-direction given by kh. 6 K has a Sanskrit colophon: gfa q . lekhAyAM caturtha yavanikAntaram // punardevyAH saMpAdanIyam / I) ataH paraM kiM me priyam / AnandaM candravarmA kathamapi ca gato nandanAdarzanena, prAptA cittaprasAdaM nijabhaginikAsaMgamena ca devI / labdhA mugdhA ca saptArNavalasitamahIprAptisaMpattimUlaM, haste me candralekhA bhagavati tvayA tanna yasmin spRhA me // 29 // tathApyetAvad bhavatu / kurvantu kumudaprabhA tribhuvane kIrtiM nRpAH, jAnantu itaretaramupati ghanA mAnuSAH / zRNvantu gatamatsaraM sahRdyAH kavInAM kRti, jayantu kavayazciraM bhavatu bhAratImaGgalam // 30 // // iti candralekhAyAM caturtha yavanikAntaram // // candralekhA nAmeyaM kRtiH samAptA // 1 many gaps in this and the next verse. yavanikAntaram / 4 M concludes thus : samApto'yaM granthaH. 2 ( saMprApti, M saMpatti. 3 iti caturtha

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78 caMdalehAe 'aNudiahaM viphuraMto mnniisi-jnn-sal-gunn-vinnaasaro| ritataNa-dAvaggI viramau kamalA-kaDakkha-variseNa // ' kappUramaMjarI, 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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agaNia NavaM ti accheraM amuassa accholaMbaMtacUDA attANaM vittharaMto attANaM vi bubhukkhidANa assi khu saTTa ahamahamiAgaehiM aho mahiale kaha AAse paMcasAI ANaNeNa tuha Nijio ANaMdaM caMdavammA AraddhapAaNamaNo AlolijaMtaNica ucchaNNe sattuseNNe uiMsiathaNakuMbhaM uppalaviloaNAe ubhayamiNamaho samaM eaM aMjaNapuMjapaMjara emhi edassa vIrukkara ede cUsiacola eso atujjha eso cedippavIro eso pAlapAlo eso paDatamauDaMta esA baMdhurabaMdhujI odaMsakuvala se katthUrIpaMkadiNNo kappUrahimalaM tusAra kavvaNibaMdhe kaiNo kaMdappojalakitti kisalaamidulaMgIe kisalaidAsoaladA kuDilA a kuralamAlA kuNaMtu kumuappara kumuaNiaragholaMtAli kusalavasaMtasahAo kuha vi aho pallavio siloasUI I. 10 ko uNa kuNai I. 28 galaMtakaNaaMgado IV. 8 gahiacalaNameaM I. 19 calaMtakarapallavaM I. 24 caMDA te sAsadaMDA I. 13 caMdaNacacciasavva I. 33 caMdAdo kiraNaMkurA I. 30 cuMbaMto biMbaeNaM IV. 6 cUlaMtasattaNava III. 23 chattaNaM NavapuMDarI IV. 29 jai vi maNamimassi IV. 10 jai hoi avaramAlA IV. 13 jahiM kila sarassaI IV. 21 jaM jehiM NaaNaMcalehi I. 37 jaMpato baMdhavANaM II. 29 jANaM bamhaNaloa III. 2 jA puvadissa siMge III. 15 jAlA helAvihasi IV. 19 Nakkhesu tujjha I. 23 Na caMdo ANaMdaM IV. 20 NIlaMsuulloa IV. 24 NettaM kaMdomittaM IV. 23 NettaMdolaNagholido IV. 18 taralAharavivarAdo I. 38 taM NettaM taha dIharaM II. 27 taMtINaM haNaNeNa III. 9 tAruNNaeNa ramaNi III. 11 tuMgANaM sihiNANa I. 9 tellokassa karAlakAla III. 16 daramhere there II. 28 daliaNaliNIkaMdA I. 25 dahaMti malaNANilA II. 25 disAciuracUliA IV. 30 deve caMdasihAmaNimmi III. 4 dhammillo iMdaNIlaM II. 22 pakkhaMdolaNamArueNa I. 32 | paJcuvvajai caMcalI 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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paJcuvvajai pulao paNamaha suirAa pattesu majjha NaaNesu pattesu kaMcaNesuM patthei jaM jaM padumavadaNAa dANi parimalaaMti disAo parilasiaciuramAlA pAvIDhaassa savihe puNNaharizaMkavaaNA puNNe pasUNaNiarehi phaMdae paalapamha pheNAaMtamuhA muNAla bAlA vAlAlitaNhA bhaI deu gaANaNo bhamaMtabhamaracchaDA bhasalapaDalaM uppAda bhAsA khu pAaDamaI bho pekkha sacchamahuro majjhammi hata mama vahai vilola maha khaNasaMThavio maha Na NivaTTA diTTI mahuarakalakalamuhale mahuramahuramede haMta mANikamoli mA puvaddisire muhe rAunbheo caMdalehAe 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 mottUNaM jo khusaMkaM rattAsoaM vahai surahiM rattIa NAhaviraheNa rAIvAsaraehiM lajjAjaMtaNalaMchiA lAhillo rivuNo lolaMtANaMgatuMga lolehiM uppalehi lovAmuddAsahAo vaDadalagao vi ruddo vahai kalaMkamiseNaM vipaMDuramuhacchaI vibhAi mahilaMgulI visamo mAhavamAso vIaMtINa vahUNa sarasiadalaNaaNAe savaNauDagoaro savve sAhu paTTidA savvehiM iMdiehiM sAmaMto so vasaMto suhagaMdho tamabaMdho sUNAhiMto pibaMto se seraMdhisattho sodUNa NeuraravaM so saTTao sahaaro hariharasarasi heTThillAaMtasaggANa 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 Yavanikantara I 4) 6 Looking now at the reading of o(i. e., the Calcutta ed. of a portion of Candralekha. published in the saMskRtasAhityapariSat patram , February and March 1932 ) and in the light of the chaya of K, we can even read daratdhere mhere = daraM sthavire smerAn ; see the corrupt chaya of M. daraM or dara = ISat is not unknown to Sanskrit, dara being usually used in a compound : darasmitasamullasaddhanakAntipUrAmRtaiH etc. in the gaGgAlaharI 49. In d puNNe may be better rendered as puNyAn holy.-l. 2 ravammaMsalo, kasattAla show spontaneous doubling of ma and ta.-l. 3 oaraNa = avataraNa, waving of light?l. 4 bahalo= bahalaH, copious, thick.-1. 6 nRt and naT are treated as synonyms by the chAyAkAra. 5). 3 Here the figure of speech is nidarzanA.-. 6 The manusmRti explains the term pArazava thus : yaM brAhmaNastu zUdrAyAM kAmAdutpAdayetsutam / sa pArayanneva zavastasmAt pArazavaH smRtaH // 9-178. Kulluka's commentary on it runs thus : 'vipannastveSa vidhiH smRtaH' iti yAjJavalkyadarzanAtpariNItAyAmeva zUdrAyAM brAhmaNaH kAmArthaM putraM janayet sa jIvanneva zavatulya iti pArazavaH smRtaH / yadyapyayaM pitrupakArArthaM zrAddhAdi karotyeva tathApyasaMpUrNopakAratvAcchavavyapadezaH // . 6) A pun on the word vaMza is implied ; cf. tuhinakiraNavaMzasthUlamuktAphalAnAM etc. campUbhArata I. 2; and thereon the commentary remarks : veNuSu mauktikotpattirlokaprasiddhA / .--.2 Can we have a danda. after kila, and take tassa kaI = tasya kRtiH? 7). 1 mahappANaM = mahAtmabhyAm. 8) b suharaM = subhagam, even sukhadam. 10) a Better read Nava tti = navA (kRtiH) iti.- pamhusia = vismRtya, cf. Hema. VIII. iv. 75 : vismuH pamhusa-vimhara-vIsarAH / . 11) a Or even aparamAlA, a garland made of any other flower. 12) 8. 4 khaMDaparasu = degparazu, an epithet of Siva.-mahamahaMta, cf. Hema. VIII. iv. 77-8 : prasareH payallovelau / mahamaho gandhe / .-.. 8 Rather saMsaia = saMzayita; the idea is that the sword (maNDalAya) in his hand created the illusion of a row of bees. 13) 1. 1 javanikAntara is quite usual in Sanskrit: yavanikAntara looks like hyperSanskritisation.-.. 6 Here is perhaps the only pi after an anusAra, otherwise we have vi. 14) 6 Can it be that vittehiM = vRttaiH = vartitaH, performed ?-l. 1. Looking at 15. 2, here also we may read surahisamaa-samAraMbha etc.--. 3 Rather read chappaa-riMcholi-lacchINaM acchINaM = SaTpadazreNilakSmIkayoH akSNoH ; and thus we have alliteration too. 15) c taMbacUDa-koDa, bosom or the chest of the cock from which starts its shrill note; o reads tammacUDakoDaM gholanta etc. 16) e phulla = puSpa, see verse I. 35 also. 17) 1.6 0 reads muharAvia.-~-0. 7-8 The text uses both the terminations, i and di, quite indiscriminately.-l. 11 The chaya is not quite 11 caM. .

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82 CAMDALEHA satisfactory; it may be read thus : marakatArAmaH mahArAjasya madhumAsAvatAravardhitAm AtmanaH samRddhim avataMsayitumiva AcAraM karoti / , i. e., the marakatArAma is observing hospitality (Bar) towards your Majesty as if in order to crown (avataMsayitumiva) its glory which is enhanced by the advent (avatAra) 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 jahAmiTTha = jahA+iTTha = yatheSTa may be an illustration of Samdhi-consonant, see Pischel $ 353. 18) 4 pamha-mAliaM= pakSmamAlikam , pakSman an eyelash; it also means a filament of flower.-l. 6 bhumaaMcale = bhrukuvyaJcale or bhruvaJcale. 19) There is yatimA in the last line. 21) b Nolla is connected with nud by Vararuci VIII. 7, but with kSip by Hemacandra VIII. iv. 143. 22) d Perhaps there is a pun on the word sArakhata meaning a stream, or the sArakhata grammar, or even the worship of sarakhatI. 23) b Should we read nAlIa kelIarA? 24) : sorahekkaNilaaM= sauhRdaikanilayam? 26) 1. 4 NihAvitra etc. = nidhApya lohazalAkayA etc.-]. 12 olaMbai = avalambate, supports. 27) 1. 16 taM = tat ?-7. 2 The figure of speech is nidarzanA.-29) 1. 6 This appears to be a well-known saying; compare Dasakumara-carita, p. 76, 1. 9 (Agashe's ed., B. S. S.): acintyo hi maNimantrauSadhInAM prabhAvaH, iti prasUteSu lokapravAdeSu etc.; also samarAiccakahA, p. 413 (Jacobi's ed., B. I.): sacco khu esa loyavAo, jaM aciMto hi maNimaMtosahINa pabhAvo tti|.-1. 12 = patthemi = prArthaye. 30) The figure of speech seems to be atizayokti. 35) d Adeha = Adatte. 36) 8. 4 For taraMgiNaM are we to read taraMge NaM = taraGgAn nanu. 39) d mahaMtuggamANaM - mahodgamAnAM.-1. 6 devIe = devyai. 41) Rather koso for kose, and then construe: sarojAnAM kozaH stanam anukaroti / .-1.6 amhANaM = asmAn ; gacchamha, pavisamha etc. appear to be used with the sense of Imperative. Yavanikantara II 1) taMsAvaloa = vyAvaloka means looking horizontally, with side-glances'; cf. Km. II. 1 d: i godtar #l. c reads afir233155HBTT = tasyAvalokotsukAH.-. 2 cavvaMto = carvan ; pavvAyaMta = mlAna, cf. Hema. VIII. iv. 18 : 'mlervA-pavvAyau'1. 3) d Also jaNai = janayati, 'makes the flower of my life fruitful'. 4) d asaMgo = azaGkaH, fearless? 8) l. 7 vijaMbhaMta-maaNo has a double meaning ; ha is a kind of plant when construed with Himalaya.-1.9 kIlAmia = krIDAmRga is an animal kept for pleasure.-l. 15 damilamaMDaA apparently means 'roundabout way', though the etymology is not clear. It indicates the way of putting things in the fashion of a draviDa ; cf. drAviDIprANAyAma in marAThI. 9) sa-rai = sarati, ratyA saha yathA syAt tathA, sarati = saharSam , sAnandam.-1. 14 vigaliaMsa = aMsavigalia?-l. 25 Perhaps he wants to suggest that he remained silent like a jewelled pillar in the palace-hall.-0.26 pakkaNa, a house of a low-born person, a. village

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NOTES 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 Kapalas 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 chagguNNa = pAhuNya, 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 saMzraya, seeking shelter; 6 dvaidha or dvaidhIbhAva duplicity; see manusmRti 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 chaya 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 pada; perhaps a word like me or maha is required between aMgaM and uppala. 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 ari 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 moha = mayUkha as well as moha.-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 vissaMbhadA = vizrambhatA 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 fagfaerg? Shayaran STRATAE 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 facge has in view for

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84 CAMDALEHA 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 Aferong = 3578112117.-I. 35 kahiM = kutra.-. 39 hou or hodu 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. Yavanikantara, III 4) l. 35 Rather WERTEH. 5) I. 3 Rather BERTRAEBTT = of Aar. 6) The verse may be construed thus: 9E: Ha aret (i. e., moon)viraheNa uttamanazIlAyAH rAtrayAH dehoSmaNA iva uDumauktikacUrNapUrNA bAlapravAlazayanIyanibhA mRdulA 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 pracalitAH. 23) d Read vicaraNa = saMcAraH; 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: tanme brUhi kuraGga kutra bhavatA kiM nAma as 49:1. Yavanikantara 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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NOTES 85 something like a Durbar and the feudatories pay respects to him. 2) 0 muhArAo== mukharAgaH, and the lengthening of the vowel is metris causa? 4) d edaM tihuvaNa-suhaaM = etaM tribhuvanasukhadaM ? 6) c ef. niHzvAsAndha ivAdarzazcandramA na virAjate / Ramayana.-d Read [lahia] for [lahai]; 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 : pAdAghAtAt strINAm azokaH vikasati / . 8) acchAvalambamAnA cUDA yasya tAdRzaH mukuTakaH / . 9) There is yatibhaGga in the first three lines.- hechillAaMta = adhastanIbhavatsvargANAM.- Should we read va for vi?--bc Compare bAhyodyAnasthitaharazirazcandrikAdhautahA, and yatra strINAM harati surataglAnimAnukUlaH siprAvAtaH priyatama iva prArthanAcATukAraH / megha0 7, 31; also raghu0 VI. 32-34. 10) a The chaya zravaNoparibhavat presumes a reading like savaNovarillaM ; savaNovvalaMta = zravaNodvalat ; or it is a wrong reading for savaNojalaMta = zravaNojvalat. 11) a Compare saunAtiko yasya bhavatyagastyaH / raghu. VI. 61.-d Note the usual yati is violated. 12) d. maNalUranAtha is apparently the pANDya king, of. campUbhArata III. 38-9 and the remarks of the commentary of rAmacandra. 13) a AloijaMta-?-d Should we read vivaI for NivaI?-1.2 We want kuMkumaMgarAo aMgarAo. 17) d Read better tattillo for takillo, and it stands for tatparaH. 20) 6 citraratnaM or citraracanam. 21) 0 varavaraNa = choosing of husband'? Construe : nijagRhe yasya nAma zrutvA caNDAsi......karaM saMgaraM vinA eva zatrusainye utsanne (sati) varavaraNasamArambhajRmbhitena saMbhrameNa yuktAnAM svargAGganAnAM salilalipiH (khedakaNamAlA eva) aGgAlaMkAralakSmIH bhavati kil|. 25) 8. 6 aMteuraM NAido = antaHpuraM nAyitaH. 27) 1.7 Context requires ruditA for muditA.8. 10 saMgamiA = saMgamitA; rather bhaa for bhartuH in the chaya.-. 19 Rather degpAdaiH zapanti is the chaya. 28) b gaNo saMcao, that would correspond to other Nominatives in that verse.-- soAI = zrotre-8. 16 degsAgarAlaGkaraNAM in the chaya?-l. 43 Read the chaya degsaMbhavAyAM kimanyat punardevyAM. 29) 8. 1. The chaya presupposes taha vi etti hou / . 29) d spRhA of the chaya presupposes cchihA in Prakrit. 30) d Either ciraM vahau bhAraI-maMgalaM = ciraM vahatu bhAratI-maGgalam , i. e, Let or may the blessings of Sarasvati flow for ever.'; or ciraM havau bhAraI maMgalaM = ciraM bhavatu bhAratI maGgalam , i. e., 'Let or may the Speech fare well for long'.

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APPENDIX REMARKS AND EXTRACTS ON SATTAKA AND NATIKA The nATyazAstra of Bharata (XVIII. 2-3) does not mention saTTaka, nor is it specified in describing the Natika. (XVIII. 58-60). -The agnipurANa, of uncertain date, mentions saTTaka (338. 2) as one of the various types of drama.-Neither the dazarUpaka of dhanaMjaya (10th century A. D.) nor its commentary by his contemporary fat makes any reference to saTTaka. ___ abhinavagupta (close of the 10th century A. D.) refers, in his commentary on the nATyazAstra of bharata, to saTTaka more than once : uktavyAkhyAne tu kohalAdilakSitatoTakasaTTakarAsakAdisaMgrahaH phalaM nATikAyAH udAharaNatvAditi / (nATyazAstra Vol. II, p. 407, G. O. S., LXVIII, Baroda 1934); and ata eva na dazasaMkhyAvibhAgArtho yena saTTakAdInAM tyAgaH syAt / (Ibid. p. 408). The description of nATikA is given by him on p. 435, and is quoted below. hemacandra (1089-1172 A. D.) refers to sahaka in his kAvyAnuzAsanam thus : pAThyaM naattkprkrnnnaattikaasmvkaarehaamRgddimvyaayogotsRssttikaangkprhsnbhaannviithiiskaadi| (8-3) tathA ca nATakAdIni vIthyantAni vAkyArthAbhinayakhabhAvAni bharatamuninopadarzitAni, saTTakazca kaizcit (p. 432, ed. R. C. Parikh, Bombay 1938); further on p. 444 we have a quotation : viSkambhakapravezakarahito yastvekabhASayA bhvti| aprAkRtasaMskRtayA sa saTTako nATikA. pratimaH // iti, and the viveka commentary runs thus : sahake ca nATikAyAmiva ratiphalaM vRttaM vyutpaadyte| evaM nATakAdInAM svarUpaM tatphalaM ca darzitam / taccharIrabhUtasaMdhisaMdhyaGgAdilakSaNavistarastu bharatAdevAvaseyaH / . rAmacandra and guNacandra (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 : kiyato'pi lakSaNa vidhAvabhipretasya, tena kohalapraNItalakSmANaH sATakAdayo na lakSyante / lakSaNIyabAhulye'pi hi yAvatyeva bhAge lakSayituH zraddhA tAvAneva lkssyte|. Specifying other rUpakas, there is a quotation like this on p. 213: viSkambhakapravezakarahito yastvekabhASayA bhavati / aprAkRtasaMskRtayA sa saTTako nATikApratimaH // (nATyadarpaNam I, pp. 25-26,G.O.S.XLVIII, Baroda 1929). The bhAvaprakAzanam (G. O. S., XLV, Baroda. 1930) of Saradatanaya (c. 1175-1250 A. D.) refers to saTTaka which is considered to be one of the so-called uparUpakas. It is interesting to note that in some

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APPENDIX 87 places the reading sadRka shows variant readings toTaka and nATaka ( 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 Bhavaprakasana. The list of seventeen Uparupakas, as supplied by the Agnipurana, cannot be considered as very early as the Purana itself contains quotations from the Dhvanyaloka and displays remarkable similarity with the Bhoja's theory of Srngararasa. Considering all these facts we can conclude for the present that these Uparupakas were unknown when the Natyasastra was composed, but originated before the time of Dhanika, and probably Kohala was responsible for inventing these Uparupakas. Among the lists of Uparupakas supplied by several writers beginning from Dhanika to Visvanatha 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 Sattaka has an independent place while Bhana is omitted and in the second list which seems to be more accurate Bhana is mentioned instead of Sattaka as the latter is included in the Natika." "Sattaka also is mentioned here as a different form of Natika (p. 244, 15 ), but once again this subject is brought for discussion at the end of the section dealing with the Uparupakas ( p. 269, 1). Here following Bhoja Saradatanaya gives the Sattaka an independent place thereby increasing the number of Uparupakas." The relevant passages may be given here. After the description of the nATikA, we have the following lines on p. 244 : saiva praveza kenApi viSkambhena vinA kRtA / aGkasthAnIyavinyasta caturyavanikAntarA / prakRSTa-prAkRtamayI saTTakaM nAmato bhavet / . In another context, after a remark te nRtyabhedAH prAyeNa saMkhyayA viMzatirmatA (p. 255 ), the saTTaka is thus described on p. 269 : sadRkaM nATikAbhedo nRtyabhedAtmakaM bhavet / kaizikI bhAratIyuktahIna raudrarasAdikam // sarvasaMdhivihInaM ca nATikApratirUpakam / zUrasenamahArASTravAcyabhASAdikalpitam // aGkasthAnIyavicchedacaturyavanikAntaram / chAdanaskhalana bhrAntinihnavAderasaMbhavAt // na vadetprAkRta bhASAM rAjeti katicijjaguH / mAgadhyA zaurasenyA vA vadedrAjeti kecana // nATikApratirUpaM yadvizeSo rUpakasya tat / saTTakaM tena tasyAhurbhASAM tAM prAkRtIM pare // rAjazekharakRtaM tadyathA karpUramaJjarI / . The nATaka lakSaNaratnakoza (ed. Dillon, London 1937 ) of Sagara - nandin (c. 13th centerry A. D. ) describes saTTaka thus on p. 133 : atha saTTakam / tacca nATikA - [ pp. 113-4] pratirUpakam / kaizikI-bhAratIpradhAnam / raudravIrabhayAnakabIbhatsamavamarza saMdhizUnyam / yathA karpUramaJjarI / antaryamanikAntam / yathA yamanikayAvacchedA bhavanti tathAtrApi / zaurasenIprAcyAmahArASTrIyuktam / strIvadrAjJo'pi prAkRtapAThaH / yadyapi bAdarAyaNaprabhRtibhiruktaM rAjJaH saMskRtapAThaH kAryAt prAkRtapAThaH / tatra rUpakamevedaM kAryamiti rAjJApi prAkRtapAThaH kartavyaH / In another context (p. 90), about the language of the , there is a remark: saTTake strI pradhAnatvAdrUpakasyAnurodhataH / nRpaH strIvatpaThedeSa pAThasya niyato vidhiH //

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88 CAMDALEHA The pratAparudrayazobhUSaNa (ed. K. P. Trivedi, Bombay 1909) of vidyAnAtha (1st quarter of the 14th century A. D.) mentions ten rUpakas in which is not given any place; so the commentary Tancut remarks thus on p. 101 : daza rUpakANIti / nATikAsaTTakAdInAmatraivAntarbhAvAditi bhAvaH / tatprakArastu dazarUpake drssttvyH| ___The sAhityadarpaNa (ed. P. V. Kane, Bombay 1923) of Visvanatha (between 1300-1384 A. D.) includes saTTaka in the list of 18 uparUpakA (VI. 4-6); and it is described thus (VI. 276-7): atha saTTakam / saTTakaM prAkRtAzeSapAThyaM syAdapravezakam / na ca viSkambhako'tra pracurazcAdbhuto rasaH // aMkA javanikAkhyAH syuH syAdanyanATikAsamam / yathA karpUramaJjarI // . The definition of nATikA is thus given by the nATyazAstra (XVIII. 58-61): prakaraNanATakamedAdutpAdyaM vastu nAyakaM nRpatim / antaHpurasaMgItakakanyAmadhikRtya kartavyA // strIprAyA caturaGkA lalitAbhinayAtmikA suvihitAGgI / bahunRttagItapAThyA ratisaMbhogAtmikA caiva // rAjopacAra(7. 8. kAmopacAra-) yuktA / prasAdanakrodhadambha-(5. 8. zRGgArAbhinayabhAva-) saMyuktA / nAyakadevIdUtIsaparijanA nATikA jnyeyaa||[antrbhaavgtaa hyeSA bhAvayorubhayoryataH / ata eva dazaitAni rUpANItyuditAni vai||]. The commentary of Abhinavagupta is interesting and deserves to be noted; it runs thus : prakaraNanATakAbhyAM bhedAt lakSaNAnyatvAnnATikA jJeyeti dUreNa saMbandhaH / utpAyaM vastu caritaM ca nAyakaM ca nRpatim antaHpurakanyAM saMgItazAlAkanyAM vAdhikRtya prApyatvena abhisaMdhAya krtvyaa| striyaH prAyeNa bAhulyena yatra / catvAro'GkAH / yasyAH kasyAzcidavasthAyAH saraso'vasthAsamAvApaH kArya iti yAvat / lalitAbhinayAtmiketi kaizikIyaM baddhetyarthaH / suSTha pUrNatayA vihitAni catvAryapi kaizikyaGgAni yatra / 'aGgagAtrakaNThebhya' ityatra svAGgavizeSaNAbhAvAt chISU prayogaH / etadapi na munitrayamatamityanAdRtyamiti tvanye / ratipurassaraH saMbhogo rAjyaprAptyAdilakSaNa AtmA pradhAnabhUtaM phalaM yasyAm / ata evAha rAjagatairupacAraiH vyavahArairyuktA, anyAM ceduddizya tatra vyavahAraH, tatpUrvanAyikAgataiH krodhaprasAdavaJcanairavazyaM bhAvyamiti darzayati prasAdaneti, AryAnurodhAtkrodhasya pazcAtpAThaH // nanu yasyAH krodho bhavati sA na kAciduktetyAzaMkyAha nAyaketi / nAyakasya yeyaM devyAdyA nAyikA tathAbhilaSitanAyikAntaraviSaye dUtIkRtaM saparijanaM parijanasamRddhiryasyAm / etadubhayapradhAnaM sarvaM tatretyarthaH / anyatsaMdhyaGgAdi sarva tatretyarthaH / anyatsaMdhyaGgAdi sarva pUrvavadeva / tatraikAnAyikA tAvad vyAkhyAtA bhavati / SaTpadeyaM nATiketi saMgrahANusAriNo bhaTTalollaTAdyAH / zrIzakastu ayuktametadityAbhidhAyASTadheti vyAcaSTe / tathA hi devI kanyA ca khyAtAkhyAtAbhedena dvidheti / ghaNTakAdayastvAhuHnAyako nRpatirityetAvanmAnaM nATakAdAvupajIvitaH na tu prakhyAtatvamapi tadbhedadvayAdanye'STAviti SoDazabhedA iti| nAyako nRpatiriti ye prathamAM paThanti tairyatretyAdhyAhRtyaikavAkyatAyAM tUbhayasya kAryam / anye prathamamAryAdhU pRthageva ca vAkyaM yojayanti prakaraNabhedAtprakaraNalakSaNAMzAt utpAdya vastu nATakalakSaNAMzAcya nRpatirnAyakaH sthite yatretyabhiprAye nATikaivaMbhUteti // anye tu prakaraNanATakabhedAt nATikA bhidyate nATakazabdenAbhineyaM rUpakamAtraM tasyAM saukumAryapradarzanAya strItvena nirdeza iti prakaraNikApi sArthavAhAdinAyakayogena kaizikIpradhAnA labhyata ityAhuH // . The dazarUpaka (III. 43-48) defines Natika thus : lakSyate nATikApyatra saMkIrNAnyanivRttaye / tatra vastu prakaraNAnnATakAnAyako nRpaH // prakhyAto dhIralalitaH zRGgAro'zI salakSaNaH / strIprAyacaturaGkAdibhedakaM yadi ceSyate // ekadvivyaGkapAtrAdibhedenAnantarUpatA / devI tatra bhavejyeSThA pragalbhA nRpavaMzajA // gambhIrA mAninI kRcchAttadvazAnnetRsaMgamaH / nAyikA tAdRzI mugdhA divyA cAtimanoharA // antaHpurAdisaMbandhAdAsannA zrutidarzanaiH / anurAgo navAvastho netustasyAM yathottaram // netA tatra pravarteta devI

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APPENDIX 89 trAsena zakSitaH / kaizikyaGgaizcaturbhizca yuktAGkariva nATikA // . My friend Dr. A. M. Ghatage expects the reading ekadvitryaGgapAtrAdi etc.; and thus he would remove the possibility of variation in the number of the acts of a Natika. The sAhityadarpaNa describes nATikA thus (VI. 269-72): nATikA kluptavRttA syAtstrIprAyA caturakikA / prakhyAto dhIralalitastatra syAnnAyako nRpaH // syAdantaHpurasaMbaddhA saMgItavyAmRtAthavA / navAnurAgA kanyAtra nAyikA nRpavaMzajA // saMpravarteta netAsyAM devyAstrAsena shNkitH| devI punarbhavejyeSThA pragalbhA nRpavaMzajA // pade pade mAnavatI tadvazaH saMgamo dvayoH / vRttiH syAtkaizikI svalpavimarzAH saMdhayaH punaH // . Turning to Satlakas themselves, Rajasekhara (c. 900 A. D.) uses the term more than once in his karpUramaJjarI (ed. Konow, Cambridge, Mass. 1901): saTTa NaccidavvaM / (p. 4); kadhidaM jeva chaillehiM / so saTTao tti bhaNNai dUraM jo NADiAi annuhri| kiM uNa pavesavikkhabhaMkAI kevalaM Na dIsaMti // (vicintya) tA kiM ti sakkadaM pariharia pAudabaMdhe pautto kii| (p. p.4-5); caMDavAladharaNIhariNako cakkavaTTipaalAhaNimittaM / ettha saTTaavare rasasotte kuMtalAhivasuaM pariNei // . The chaya gives sATaka as its Sanskrit equivalent and even zATaka is used by the Ms. of zRGgAramaJjarI. The commentators quote a definition of Sudhakara : saiva pravezakenApi viSkambheNa vinA kRtaa| aGkasthAnIyavinyastacaturjavanikAntarA // prakRSTaprAkRtamayI saTTakaM nAmato bhavet / . The following casual references to sahaka in the rambhAmaJjarI ( Bombay 1889), besides the verse quoted in the Intro., may be noted here: tadartha saTTakamAzritya (p. 8); naTaH-tA kiM payojaNavisesaM paDivajjiya esa sttttyppbNdhbNdhppaarNbho| (p. 10); the word is used in two more places where the passages require slight emendation as shown in square brackets : zArdUlavikrIDita [vikrIDitaM] saTTaka (7. 8. zATA)-bandhamadhikRtya / (p. 7), and saMdezasaTTayaM [saMdesa-paTTayaM] dAiya etc. (p. 33). What Rudradasa has to say about Sattaka, we get at caMdalehA I. 4. 10-5. 1. Further I could spot some remarks about Sattaka in the AnandasundarI of ghanazyAma (middle of the 18th century A. D.): atthi ettha ANaMdasuMdarINAmaheaM tArikkhaM saTTaaM taM jevva imassi mahAsamAe joggaM / vi0-pAuDaM khu taM savvaM / sU0- ado jevva saTTaaM ti bhaNijai / vi0-ko Nu khu tassa kaI / sU0-ko aNNo purAaNakaINaM vi dukkarammi sarassaIbhAsANibaMdhaNammi rAaseharakaiNo paraM NiuNo / vi0-avi so maharaTThacUDAmaNI ghaNassAmakaI / (B.0. R. I., Ms. p. 2). On this passage the commentator Bhattanatha. remarks thus : anena sarvaprAkRtaM saTTakamiti spaSTamuktaM bhavati / tathA caahuraacaaryaaH| saiva prabezena vinA viSkambheNa vinA kRtA / aGkasthAnIyavinyastacaturyavanikAntarA // prakRSTaprAkRtamayI saTTakaM nAmanAmataH / saiva nATikevetyarthaH iti / . Turning to epigraphic records, the Barhut Inscriptions (c. 200 B. C.) have a line like this : sADika-saMmadaM turaM devAnaM / and it accompanies bas-relief which represents a dancing scene. Some read it sadika, 12 .le.

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90 CAMDALEHA sadikasa. 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. Satika, a kind of dramatic performance, applicable to the dancing of apsarasas. Sk. Sarika means gambling with dice (Tawney). Sammada is both an adjective 'gay' and a substantive gaity'. Here it forms a compound with sadika. Turam=turyam, musical instrument, music. It is also likely that the three words sadika, 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.' Sasaka, a nataka-bheda (Bharata-Natya-Sastra)". (See Barhut Inscriptions, p. 48, Calcutta 1926).

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sadasUI 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. accharIaM I. 28. 4 accheraM II. 6.1 ajautta ( Aryaputra) I. 24. 1 adihi (atithi ) I. 8d. adoparaM ( ataH param ) IV. 28.45 apuNva III. 4. 12 ayya (Arya ) I. 13. 2 ayyautta ( Aryaputra) I. 22. 6 avaggaha, draught, II. 32. 3 ahava II. 4. 1 aMkaNa II. 9. 3 aMkapAlI, embrace, III. 7b ADhata (Arabdha ) I. 34.1, IV. 25. 4 Arada IV. 10a AliMda m, a raised place or terrace for sleeping upon, I. 5. 4 itti II. 816 ithikSA I. 26 13 ujjuaM II. 8. 15 odAra (avatAra) I. 17. 12 kIsubha (kiMzuka) I. 256 kujja III. 24, 4 kute IV. 136 kuha (kutra) II. 33. 20 kuhU, the new moon, I. 306 ( grAhmam) II. 10d gahi I. 240 kaNera (karNapUra) II. 100 kadubha II. 12. 3 kavaNa, sling, II. 9. 33 kaMsattAla (kAMsyatAla), a cymbal, I. 4. 2 kArakkhara (kAraskara m ), name of a poiso- | nous medical plant, I. 5. 3. kisala ( kisalaya ) I. 21a, III. 50 kIsa III. 4. 14 gadua II. 9. 35 gaMgea ( gAGgeya), gold, I. 173. caMcalIa IV. 66 caMdimA (candrikA) III. 19. 1 caMdiA (candrikA) IV. 4c caMdojjaa, a kind of lotus that blooms at moon-rise, III. 4. 6, III. 16a cAmala (cAmara ), I. 20d, IV. 56 cukka (for pramAda ) IV. 15d coha II. 6d chailaNaM I. 26. 12, 16 chitta (kSipta ) II. 7d chuhA IV. 29d cholaNa (takSaNa), trimming, IV. 226 jAlA II. 8a jahA ( jihvA) Iod NiDAla I. 416 Nihitta II. 942 tassi (for tasyAm) III. 4. 17 taMbola ( tAmbUla ) IV. 26.15 tAlA II. 86 tuhi II. 9. 11 dhera ( sthavira ), Brahman, I. 4a; IV. 19d thora (sthUla) IV. 196 dakkhiUNaM II. 13a damila IV. 24 dalidda ( daridra ) IV. 19 daMtA ( = dadata: ) IV. 5d, also IV. 14e daMto ( dadat) II. 126 khuralI, military exercise, practising | diha I. 250 archery, II. 22, 8 dIra (dIrgha) II, 10

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92 CANDALERA dugghuTTa, an elephant, III. 3.2 | maraMda (makaranda) I. 6. 4, I. 22d, II. 2a deva (deva), fate, I. 18d. miva I. 39. 3 dhIdA (duhita) I. 17. 14 murava (muraja), a drum, I. 4.2 paDIra (paTIra), sandal, I. 190 muhala (mukhara), noisy, I. 15d. padumarAa II.9.35 moa (moca n), a plantain, banana pallattha (paryasta) I. 17. 10 fruit, 1. 5. 3 paMcamarAa, one of the Ragas or musi-moha (mayakha) I. 28c cal modes, I. 5.3 * pAaDa (prAkRta) I. 11d, also 12a vacchoma (vaidarbha) IV.6. 5 pADikaM II. 9. 24 valakkha, white, III. 14d. pAdavIDhaM IV.20b vallahI (valabhI) IV. 26. 25 pArasava (pArazava) I. 5. bf., see Notes viAsara (vikasvara), blooming, I. 21c pAvIDha (pAdapITha) IV. 8d, IV. 16a viddA [vijA] (vidyA) I. 270, I. 32d pAhuDa II. 33. 17 visaMkaDa, dreadful, III. 3. 3 visuvosava IV. 1.1 pAhuda (prAbhUta) I. 27. 18 pivvara (pIvara), abounding with, I. 4.3 visUsava IV. 27. 10, IV. 28. 222 veluribha II. 20. 1 puDhama (prathama) I. 24aa sai (sadA) IV. 19c puratto III. 90 purilo (for purato) III. 4c saia (saciva) II 4b sahaa I. 5, see Appendix and Intro. puruva II. 15. 2. puruvaM (pUrvam) I. 26. 1, I. 33. 2, | samara (zabara) II. 9. 26 I.37.2 | sara (sara) IV. 7b, 176 purusa II. 8.9 saradiMdu II. 8. 12 puvvaM I. 31d. sahassaittaM (sahasrakRtvaH) III. 4. 35 pUA (putrI) IV.26.44 saMke (zaGke) IV. 40 pekkhaMtI II.9.8 saMdabbha (saMdarbha m), a literary or muperaMta II. 15. 13 sical composition, I. 5. 6, pomarAbha I.286, II.9.41. I. 120 phaMsa III. 12. 14, III. 130 saMdANia, bound together, tied, III. phAsa II. 126 4. 12 balAmoDi D, force, I. 12. 6. | saMdAva (saMtApa) III. 4. 30 buhappai II. 9. 30 sAriccha I. 41d. bhaTTA (bhA) IV. 27. 13 sAlA (zalAkA) I. 26. 4 bhasala (bhramara) I. 22a sihiNa I. 41e, II. 30 bhiu (bhRgu), the level summit of a siMkhala (zRGkhalA) IV. 26.3 of a mountain, I. 246 suppahA (also deghAdaM) IV.2.1 bhumaA II. 10 sevedaM IV. 4d. maUha II.9.37 sotta (srotas) I. 260. maNoja II. 18.1 hajja (hArya) III. 19d. matta (mAtra) I. 5.5 hijo (hyaH) 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 Yavanikantaras 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 saMgahi 54 bAhyAlindAdi ; 12. 4 khaMDaparasu; 12. 9 jAlakrIDadeg ; 13. 3 sajyatAm ; 150 taMbacUDa - Page 8, head line caMdalehAe; 17 5 kakunmukhA; 18 6 banduma'; 230 cihuA da; 27. 19 saMNihi ; Page 16 head line caMdalehAe; 36. 2 prema [para]vaze; 38d vIthIvAsyAH ; 39c AlakSyamANakA; 406 saMNivAA; aNusaraha; 41.6 aNugahiuM 416 II. 46 sacivavaro; 4d saMNaddho ; 4d saMnaddhaH; 933 raja; 9 48 saMNAha; 116 pakSapAtadhutAm; 156 mAkandasyanda' ; 15 4 sakhItve; 33d bhogo [iva] bhavati; 33. 20 saMNihimmi; 33.23 saMNihAviA; 33. 28 asaMNihida ; 33 34 bhinddhi; Page 44, foot-note 8 chaya, 8 M bindhi, K bhinda. III. 3 kalAsu bhaviSya; 3d saMNAha... paosaeNaM; 3d pradoSakeNa ; 4.35 dussahaiH tai'; 5a degcaraNamekaM kamapi ; 66 uttammirIa; 8d kAkolamiva ( and omit the . 8. of M) ; 96 vistAravAnni; 9. 5 aitu; 10La aggado ; 110 majjheNahaM; 110 madhyenabhaH; 12.8 hRdayAnnirgatyai; 12. 12. yuktamupacArAdeg ; 12. 14. palaANala; 130 vilola ; 14. 2 candroddyota ; 16c ; udvellatta'; 16. 2 candroddyota ; 19 1 candrikAyotam; 21 1 candroddyote ; 23d vicaraNaM. IV. 5a vIjayantInAM ; 56 viccholiaggA; 6d puvvAsAsoa; 90 mahAkAla - ; 10. 1 taiM; 11. 1 Remove Danda after eso; 130 dikcakravAlAn; 20. 2 saMNAho ; 25. 6 mAnAyito ; 27. 10 saMgatA.

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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 Amrtacandra and Jayasena, Hindi exposition by Pande Hemaraja: Edited with an English Translation and a critical elaborate Introduction etc. New Edition, Published in the Rayachandra Jaina S'astramala 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 Tika 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'astramala 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 Manikachandra D. Jaina Granthamala No. 40, Crown pp. 16+88+396, Bombay 1938. 5. Kamsavaho of Rama Panivada. 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 Panivada), 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 Samskrti Samraksaka Samgha, Sholapur 1943, Double Crown pp. 8+38+532. 8. Brhat Kathakosa 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 Dhurtakhyana: A Critical Study. This is a critical essay on the Dhurtakhyana (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 Rudradasa: A Drama in Prakrit. The Prakrit Text and Sanskrit chaya authentically edited with a critical Introduction, Notes etc. It is an important Sattaka resembling Karpuramanjari 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 Sattakas, 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 Harisena (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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tathA bhavana bhAratIya abuna zrIkalAsasAgarasUri jJAnamanchi zrImahAvIra jana ArAdhanA ken| kovA (gAdhInagara, pi, 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