Gahakoso Part 2

Author(s): Madhav Vasudev Patvardhan, Dalsukh Malvania, H C Bhayani
Publisher: B L Institute of Indology
Catalog link: https://jainqq.org/explore/001372/1

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THE GAHAKOSA of Hala (Satavahana) PART II Edited by Prof. M. V. Patwardhan, M.A. REVER SO 110 INOLOGY LE SA BHOGILAL LEHERCHAND INSTITUTE OF INDOLOGY (a Project of Sharee Valiabh Smarak) DELFI (Extension Ceatre, Patan) Jala Education laternational For Private & Personal use only wwwainelibrary.org

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B. L. Series No. 5 General Editor: V. M. Kulkarni The Gahakosa of Hala, Part II Edited With an Introduction, Translation, Index of Stanzas, Glossary and Notes . by Prof. M. V. Patwardhan M. A., Retired life-member, D. E. Society, Poona, Formerly Professor of Sanskrit and Prakrit, Willingdon College, Sangli and Fergusson College, Poona. lAyA 422 BHOGIC INOOLOGY B. L. INSTITUTE OF INDOLOGY Delhi (Extension Centre, Patan) LEHERCH AND INS INSTITUTE

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Published by Pratap Bhogilal, Chairman, Governing Council, B. L. Institute of Indology, (a Project of Shree Vallabh'Smarak), C/o Shree Atma Vallabh Jain Smarak Shikshana Nidhi. 22nd Km. from G. T. Karnal Road, P. O. Alipur, Delhi 110 036. First Edition : 1988. 750 Copies Price Rs. 250/ Printed by Mrs. Shailaja G. Barve, Ved Vidya Mudranalaya, 41, Budhwar Peth, Jogeshwari Lane, Pune 411 002. Tel. 445983

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Publisher's Note INI It gives us great pleasure in placing in the hands of Oriental Scholars, Gahakosa Part II as the fifth volume in the B. L. Series. We sincerely thank Professor M. V. Patwardhan, M. A., a renowned Sanskrit and Prakrit Scholar, for his learned edition of the Jain version of Hala's Ga thasaptasati, which he has meticulously prepared in spite of his indifferent health. Our thanks are due to Shri. G. G. Barve, Manager, Ved Vidya Mudranalaya, Pune, for the neat printing and attractive get-up. This volume, it is sincerely hoped, will be warmly received by scholars in Prakrit and Sanskrit poetry, as an excellent companion volume to this famous treasure of the best lyric poetry in Prakrit. Pratap Bhogilal Chairman, Governing Council, B. L. Institute of Indology, Delhi. Bombay, February 1988,

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jJAna-kriyAbhyAM mokSaH / tajjJAnameva na bhavati yasminnudite vibhAti rAgagaNaH / tamasaH kuto'sti zakti dinakara-kiraNAgrataH sthAtum // rucInAM vaicitryAdRjukuTilanAnApathajuSAM nRNAmeko gamyastvamasi payasAmarNava iva //

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SETH BHOGILAL LEHERCHAND Born: 9th April, 1883 Died: 7th December, 1979 MOTTO IN LIFE Simple living -- High thinking'

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General Editor's Preface In Indian literature Hala's Gatha kosa, popularly known as Sattasai (Saptasati or Sapta-Satakam) or Gathasaptasati, is the oldest and most important among the Kosas (C. first or second century A. D.). It is the most famous and best known of Maharastri Kavyus (poetic works). Its value as an anthology is high and it also bears evidence that Maharastri literature was once very extensive. Its popularity is attested by the large number of commentaries on it, by its translations in various modern Indian languages, by its use made by Prakrit grammarians and by a large number of quotations from it by theorists in their works on Sanskrit poetics. It deserves a special mention that Bhoja in his two works, Smigaraprakasa and Sarasvatikanthabharana reproduces almost the whole of Gathasaptasati to illustrate the various points of poetics. The Gathasaptasari is almost a unique anthology in so far as it has a spirit of closeness to life and common realities which is hardly to be noticed in any other Indian anthology, Although in its present form it is not folk-poetry, it is the work of poets who wished really to express the emotions and feelings as well as to describe happenings in the lives of the people of the land or the lower strata of humanity, the cowherd and cowherdess, the girl who tends the field or grinds corn at the mill, the hunter and his family, the farmer and the daughter of the village-chief, the wayfarer and the water-maid, travellers and their young women longing for their husband's return home. Although we have frequent and charming pictures of nature, pithy sayings (subha sitas) about women, the conduct of life, practical wisdom, moral maxims, seasons, etc., it is predominantly love poetry. The varied forms of love are here brilliantly portrayed. It frankly describes young maidens' beauty, their buxom breasts, their voluptuous buttocks, the three folds of skin above their navel and so on. It describes the joys and sorrows of wedded life as well as secret or clandestine love; love of women in their period, inverted coitus too are described without any inhibition by the gatha poets. The songs are highly erotic but certainly not obscene. In his introductory verses to Harsa-carita the great poet Bana showers praise on Satavahana's treasure of songs (Ga thakosa) in these glowing terms: "Satavahana made a treasure with fine sayings as with jewels, that was immortal inexhaustible), not vulgar or indecent i. e., refined (not produced in villages, for jewels are found in the sea or mines) of pure jati [(in faultless arya or gatha metre, of pure species")]." Who will disagree with this judgement of Bana ? Uddyotanasuri, an eminent Prakrit poet thus pays tribute to Haja : (1) Cf. : T&T HITS #59750 #isti #FATEH Etator farcar HIFTTT TIETO II --GS I. 2 (2) Read : farf a ttar a : 1 fata ufafa: fleira Afga: 11 -1.3

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"When Hala who has by his poetry made even the farmers recite the Gathas ( lit. eloquent because of their mastery of sportfulness of utterances) (and who used to appreciate Prakrit poetry by generous gifts), is dead and gone to heaven, what is the use of our composing poems ? When the intoxicating effect of wine is gone, of what use is the meat"? This is a rich tribute paid by a later poet of eminence to his worthy predecessor. A. Weber's critical edition of this text with an invaluable Introduction discussing various aspects of the work is indeed a standard or model one. This edition. Das Saptasatakum of Hala, however, being in German is not easily accessible and further, not intelligible to Indian scholars who are not acquainted with the German language. A critically presented text in Devanagari script, accompanied by its study in detail in English was a long-felt need. The Prakrit Text Society, Ahmedabad had entrusted the work of editing Hala's Gahakosa with the hitherto unpublished commentary of Bhuvanapala to Prof. M. V. Patwardhan. Part I of this edition containing the text and the commentary was published by the Society in 1980. On account of his indifferent health Prof. Patwardhan could not then prepare Part II. Now this part, containing Introduction, Translation, Alphabetical Index of the Gathas, Glossary of select words and Explanatory Notes, is being published as No. 5 in the B. L. Series. Prof. M. V. Patwardhan, an eminent scholar of Sanskrit and Prakrit, has made a modest attempt to meet the long-felt need. We are thankful to him for completing his work as per schedule. We are sure it will be warmly welcomed by all scholars who are interested in Indian poetry, more especially Prakrit poetry. V. M. Kulkarni (3) bhaNiivilAsavaittaNavollikke jo karei halie vi / kavveNa ki pautthe hAle hAlAviyAre vva / / --Kuvalayamala p. 3

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Foreword by the Editor The present volume (B.L. Series, No. 5) is part II of the edition of the Gabakosa of Hala, of which Part I (containing the Prakrit text and Bhuvanapala's Sanskrit commentary) was published in 1980 (Prakrit Text Series No.21), by the Prakrit Text Society, Ahmedabad. Because of my indifferent health, my work on Part II was suspended and postponed for a good many years, and hence the Prakrit Text Society could not publish Part II. In 1986 however Dr. V. M. Kulkarni introduced me to Shri Pratap Bhogilal, who kindly agreed to publish Part II in the B. L. Series with the permission of Prof. D. D. Malvania, Secretary, Prakrit Text Society. The present volume contains the English translation of the Prakrit text. index of stanzas in the text, glossary of words, explanatory notes and introduction. I consider it to be my pleasant duty to express here my heart-felt thanks to Dr. A. Weber for the inspiration and invaluable help that I derived from his monumental and pioneering work on Hala's (Gatha-) sapta-sataka in German (1881), and on the version of Bhuvanapala (published by Dr. Weber in Indische Studien, Vol. 16, 1883 ); to Shri Pratap Bhogilal, who kindly agreed to publish Part II in the B. L. Series; to Prof. D.D. Malvania for agreeing to the publication of Part II in the B. L. Series, and to Dr. V. M. Kulkarni for the keen interest he took in the publication of Part II. My thanks are also due to Bhandarkar Oriental Research Institute, Poona; to L. D. Institute, Ahmedabad; to Oriental Institute, Baroda; to Fergusson College, Poona and to Willingdon College, Sangli, for allowing me to make use of relevant manuscripts and reference books in their libraries. Finally I am happy to record my thanks to G. G. Barve and his sons (of the Ved Vidya Mudranalaya, Poona), for the decent printing and get-up of the book and uniform courtesy during the process of printing. M. V. Patwardhan Poona - 411004, February, 1988

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CONTENTS Publisher's Note Pratap Bhogilal General Editor's Preface : V. M. Kulkarni Foreword by the Editor : M. V. Patwardhan Contents Introduction : I- General Remarks: II- Author-cum-Compiler of Gahakosa : III- Language of Gahakosa : IV- Brief Survey of the contents of Gahakosa V- Mythological, historical, geographical and other allusions in Gahakosa : (xii) VI- The Commentator Bhuvanapala : (xiii) Gahakosa English Translation Index to the First Lines of Stanzas : Glossary of Select Words 103 Gahakosa : Notes 130 Frrata and improvements 247

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Introduction I. General Remarks : Gabakosa is the name of the version of Hala's Gathasaptasati (Gahasatta sai or Saptasatakam) as presented by Bhuvanapala (B), a Jaina commentator belonging to a period after that of Kuntaka (author of Vakroktijivita) (11th century A. D. ), whom he quotes frequently in his commentary. The word kosa (=kosa) means an anthology or collection of stanzas unconnected with one another so far as their subject matter is concerned. Visvanatha (Sahityadarpana, VI, 329-330) defines kosa as a collection of stray stanzas'. Such mutually unconnected stanzas are called muktaka (isolates). If the stanzas are arranged in the form of subject-wise groups, the groups are called Vajja ( = Vrajya). Jayavallabha, the compiler of Vajjalagga, says that vajja means paddhati, a particular way of stanza-arrangement in which the stanzas are grouped subjectwise. Several anthologies in Sanskrit are found arranged in the Vrajya or Paddhati form, e. g, the Subhasitavali of Vallabhadeva, the Sarngadharapaddhati of Sarngadhara, the Subhasitaratnakosa of Vidyakara, etc. The Nitisataka of Bharthari also is arranged in the paddhati form. The Dhvanyaloka III (p. 323) and the Locana III (p.326) use the word paryayabandha in the sense of vrajyabandha. Hemacandra (Kavyanusasana Alamkaracuda mani, p. 466, Bombay edition, 1964) uses the word parya in the sense of vrajya. The traditional form of the Gathasaptasari (barring a few exceptions) is not arranged in the vrajya form. It was Sadharanadeva who subseqnently appears to have given this form to it. (See foot-note 4). The Ga hakosa too is not altogether free from occasional small topic-wise groupings of stanzas. The Aryasaptasati of Govardhana ( 11th century A. D. ) is an anthology of 700 Sanskrit stanzas in the Arya metre, the stanzas being arranged not in the form of subjectwise groups, but in the order of the Devanagari alphabet, each group containing stanzas beginning with a prticular letter from a to hand called akaravrajya, akaravrajya, ikaravrajya, (1) 1T: TREFL FUTEFUTFUTTAT : 1 (2) See Abhinavagupta, Locana III, pp. 323, 326, Kashi Sanskrit Series, Varanasi, 1940. (3) See Vajjalagga, st. 4, Prakrit Text Series Edition Ahmedabad, 1969. (4) See Vajjalagga, Introduction, pp. x-xi ; also Sahityadarpana, VI. 330, Vstti : ATH 77 at UT I TETT H autfa: 1 Muktavali is the name of Sadharanadeva's version of Gathasaptasati, in which the stanzas are grouped subject-wise. This version is not however available in printed form, so far as I know. (5) E. g. Abhisarika, st. 18-19; Vindhya, st. 126-128; Sujana, st. 258-260; Kamabana, st. 264-266; Stana, st. 426-428; Nakhapada, st. 434-436; Reva (Narmada), st. 566-567, Varsa, st. 601-605; Sarad, st. 610-615; Gaja, st. 664-666, etc.

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etc. Govardhana has obviously composed his work to enulate Hala's Prakrit anthology. The text of the Gabakosa as printed in Part I ( Prakrit Text Society, Ahmedabad, 1980 ) contains not exactly 700 stanzas as one expects from st. 2, but only 694 stanzas. The stanzas corresponding to serial numbers 588, 596, 597, 638, 639 and 640 are missing in all the manuscripts cousulted for constituting and editing the text.? Further, the commentary of Bhuvanapala is available only for the first six centos (i. e. st. 1-600) in the Bhandarkar Institute manuscript and the L. D. Institute (Ahmedabad) manuscript. For the seventh cento, we have only the commentary of Ajada (st. 601-637) and an anonymous commentary (st. 641-700), the intervening three stanzas (638-640) being absent in both these commentaries. As against this we have four additional stanzas at the end of the sixth cento in the Bhandarkar Institute manuscript of Ajada's commentary. These four stanzas with the commentary of Ajada are printed on pp. 294-296 of Part I and their English translation appears on p. 90 of Part II. II. Author-cum-compiler of Gahakosa : In st. 2 of the Gahakosa, Hala is said to have composed (i. e. compiled and edited ) seven hundred stanzas out of a fabulous crore (i. e. ten million)of stanzas. The word (6) See Aryasaptasati, introductory stanza 52 : vANI prAkRtasamucitarasA baleneva saMskRtaM niitaa| nimnAnukalanIrA kalindakanyeva gaganatalam // " As (formerly) Balarama reversed the current of Kalinda's daughter (i, e. Yamuna) naturally flowing from high to low regions, so have I perforce mad@ the muse of poetry, naturally prone to find its emotional expression through Prakrit to put on the garb of Sanskrit." (7) See Part I, Preface pp. 7-8; note on pp. 258-259 and foot-note on p. 254 and foot note 6 on p. 270. (8) The date of Hala is generally believed to be the 1st or 2nd Century A. D., since according to the tradition preserved in the Hindu Puranas, he was the 17th in the list of nearly thirty Andhra or Andhrabhrtya kings all of whom were known by the dynastic name Satavahana ( or Salivahana) and who ruled over the Deccan for about six hundred years from the 3rd century B. C. to the 3rd Century A. D. (See Winternitz, History of Indian Literature (in German), Vol. III, pp. 102-103) ]. The reference to Vikramaditya in st. 465 of the Gahakosa must therefore be taken to be to King Vikramaditya I, founder of the Vikrama Samvat era (56 years before the Christian era), and the referenee to Salahana in st. 468 must be understood to be not to Hala himself, but to some illustrious and munificent ancestor of his. The occasional echoes in Gahakosa of ideas in Kalidasa's poems and dramas (e. g. st. 14, 44, 47, 232, 251, etc.) would lead to the conclusion that Kalidasa belonged to the 1st century B. C. and enjoyed the patronege of king Vikramaditya I. According to Weber (Winternitz, Vol. III, p. 102 foot-note 5), the name Hala means a ploughman or peasant (from hala =a plough) and was assumed by the compiler of the anthology as pen-name, as it was in consonance with the predominantly pastoral nature of the themes in the anthology.

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viraiyaim ( = viracitani) used in this stanza does not mean "composed " (by Hala), but compiled, edited and arranged in the form of an anthology divided into seven groups of one hundred stanzas each. Bana also speaks of Satavahana (i. e. Hala) as the compiler of the kosa ( (i. e. Gatha saptasati ) in one of the introductory stanzas of his historical romance, Harsacarita. Here the words Kosam akarot correspond to viraiya im of Garakosa, st. 2. It is true that Hala is traditionally credited with the authorship of about 55 stanzas in the Gahakosa according to the commentaries of Bhuvanapala, Ajada and of the anonymous commentator printed in Part I. But so far as the remaining nearly 650 stanzas go, Hala has played the role of only a compiler of the stanzas composed by other poets and poetesses, and perhaps the role of a revisor or redactor. Amongst the authors mentioned in the commentaries, there are about twelve women.10 Among men poets we have qffe (or gifce), 9149faTIF, gay, 99777, ara, hifzo, fa faca, TTIGT, 75EUR, gaga and TETS. It must be remembered however that these and other author-names are handed down by tradition and the statements of the commentators are often at variance with one another. Except in the case of gatha, TE, TUZU, arafatis and acan we have no knowledge of their being authors of literary works in Prakrit. III. Language of the Gahakosa : The language used in the text of the Gahakosa as printed in Part I is what Prof. H. Jacobi called by the name Jaina Maharastri a dialectal variation of the Maharastri Prakrit, i. e, the Middle Indian language used in the geographical region called Maharastra (corresponding roughly to the present Indian province of Maharastra). Dandin (6th century) speaks of the language spoken in Maharastra as Prakrit par excellence" (i. e. standard or basic Prakrit ) and says that epics like Setubandha (of Pravarasena) " which are oceans of the (9) St. 14: 3faalfaati4Hala Flaniga: fagufaf#: FIST ofta #tufa: 1 " Satavahana made a collection of stanzas faultlessly constructed in the Jati (i. e. Arya (metre) - a collection imperishable and characterised by suggestivity (agramya), just as the ocean makes ( i. e. contains ) (in its abysmal depths ) a collection of pure and genuine gems (i. e. pearls) - a collection that is imperishable (i. e, inexhaustible) and suited to the sophisticated taste of urban people (agramya). (10) tar and gaat (one stanza each), Tigt (4 stanzas), TurfFT (2) fetit (1), 397748 (1), iar (2), TUATEIT, forfraar, atraat, parint, ETTANT, TESTA (one stanza each). (11) See Vajjalagga, Introduction, p. xxxiii. (12) Kavyadarsa, I, 34 : mahArASTrAzrayAM bhASAM prakRSTaM prAkRtaM viduH / sAgaraH sUktiratnAnAM setubandhAdi yanmayam / /

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(iv) gems of beautiful stanzas", are composed in that language. The Maharastri Prakrit is the standard Prakrit" dealt with in a detailed manner by Hemacandra and other grammarians in their works on Prakrit grammar, the other middle Indian Prakrits, such as Sauraseni, Magadhi, Paisaci and Apabhransa being only dialectal variations of the basic Marahastri, deviating from it in small or large measure. Now Jaina Maharastri (not specifically dealt with by any of the Prakrit grammarians) is the form of Maharastri used by Svetambara Jaina authors of non-canonical works such as Paumacariya (of Vimalasuri), Samaraicchakaha (of Haribhadra), Vasudevabindi (of Sanghadasa) and Prakrit stories preserved in Santyacarya's and Devendra's Sanskrit commentaries on the Jaina canonical work Uttaradhyayana Sutra. It is essentially Maharastri Prakrit itself, with a mixture of some phonetic and grammatical peculiarities. Here are some peculiarities which distinguish Jaina Maharastri. from Maharastri:-(i) Preponderance of Yasruti,(see Hemacandra, 1, 180: zauf tafa:).14 Thevowels a and A remaining behind after the elision of postvocalic medial ka,ga,ca, jatd ,pAya, and a (in the case of sanskrit words in their passage from Sanskrit to Prakrit) attract all as a hiatus-filler. Yasruti occurs mostly after a preceding 3 or at, but sometimes also after a preceding , S. 3, 5, T or 31.15 For example : 1 (st. 1), 5U (st. 5), T T (st. 2), es a giftat 71, 575, 582, the elision of (13) See Hemacandra, Praket Grammar, 1, 1 : 377 974; 4, 286 : 0 ST TIT; 4, 323 : To acaat; 4, 446 : Taaraa. (14) This rule, though given by Hemacandra in the context of Prakst in general ( i. e. Mabarastri ) is more applicable to Jaina Maharastri than to Maharastri proper. (15) We however come across some exceptions to the rule about Yasruti given above. In the case of the phrases 7 alfat (= HTA:), NE (= FT FTIT), etuifa ( Tiafia) (occurring in st. 297, 404, 471, 575, 582, 598, 652 of Gahakosa and in other works in Jaina Maharastri), there is no reason for the elision of the consonant as it is initial, and also for Yasruti. It must therefore be assumed that these three phrases were regarded as compounds, thereby making it possible to look upon as a noninitial, medial consonant. See Pischel, Prakrit Grammar (German) 170, p. 127. As a matter of fact in some printe 1 Jaina Maharastri texts these phrases are printed with a hyphen between 1 and the following verbal forms to indicate that they are compound expressions. This explanation does not, however, hold good in the case of the phrase ar fari (st. 358), which Bhuvanapala para phrases as eft Phonetically it stands for Sanskrit cAcalacitta. cAcala being an adjective from the intensive base cAcala from the root (= to move, be unsteady) and having the same sense as 75. In st. 561, (afta r ) we have Yasruti in the case of F, even in the absence of the elision of a consonant, unless 377580 is regarded as a causal form used in a noncausal sense. The cumulative particle is almost always represented by T although the consonant is not medial butinitia I, and hence not liable to elision, and so there is no reason for yasruti in the case of the residual vowel 3. Yasruti has the advantage of making the residual gaseous, amorphous and faceless vowels 37 and ar put on a liquid and tangible appearance.

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bhAyaNaM (st. 3), gahiya (st. 15), viraiyAiM (st. 2), ruyasu (st. 8), suyai (st. 31), bhUyaM (st. 7), eyANa (st. 9) veyaNaM (st. 24), omoyaMtI (st. 29), loyassa (st. 32). The phenomenon of Yasruti is generally absent in Maharastri works like Gathasaptasati, Setubandha (of Pravarasena) and Gaudavaha (of Vakpatiraja). (ii) Change of medial na to N ( cerebralisation) is universal in both Maharastri and Jaina Maharastri, e. g. hAleNa, gAhANaM (st. 2), bhAyaNaM (st. 3), nayaNAI (st. 4). But whereas an initial a also is changed to o in Maharastri, it is never changed to up in Jaina Maharastri, but remains unchanged, e. g. namaha (st. 1), nizcala, nimmala (st. 3), nayaNAiM (st, 4). (iii) The medial Sanskrit conjuncts ja (ja+1), Na, nn, nya na and nv are mostly represented n Jaina Maharastri by nna, e.g. vinnatti (=vijJapti) (st. 111), vinnANa ( =vijJAna ) (st. 196), hiyayannu (=hRdayajJa) (st. 63), jannavADa (yajJavATa) (st. 173), khunna (=kSaNNa) (st. 441), Asanna (=Asanna) (st. 96), anna ( anya ) (st. 334, 471), ghana (=dhanya) (st. 311), dunnikkhavaya (= dunikSepaka) (st. 355) anirI (=anviSyantI ) (st. 275). The sanskrit conjunct huna is represented by nhU, e. g. majjhanha (madhyAhuna) (st. 51). Sanskrit Sya, Na, SNa and gNa are represented respectively by vNa, paNa, hU and Nha, e. g. dakkhiNNa (st, 87, 304), lAyaNNa (st. 208), taNNaya (st. 17), kaNNa (st. 17), suNNAra (st. 104), kaNha (st. 122, 125 etc.), taNhA (st. 95), uNha (st. 33), tuhikkA (st. 695), avaraha (st. 622), Sanskrit sn is represented by nha, e. g. nhANa (st. 81, 82 etc.), junhA (st. 411, 524 ), panhayai, panhuiriM ( st. 463), sunhA (st. 114, 187, 199 etc. ). Sanskrit datta (=given) becomes dinna (st. 25, 30 etc.), sthANuka tecomes khannuya (st. 66), idAnIm becomes inhi (st. 94, 118, 246 etc.) and ruditam, ruditA, praruditA and avaruditam become runnaM. runnA, parunnA and orunnaM (st. 16. 62, 305, ile agt, at (or a) and for become afg and fafa (st. 25, 363, 367, 520, 573 ), although there is no conjunct in the original Sanskrit words. Considering the general preference for na in conjuncts in Jaina Maharastri, one would expect dakkhinna, lAyanna, tannaya (Marathi tAnhA), kanna (Marathi kAna),sunnAra (Marathi sonAra), kanha (Marathi kAnhA), tanhA (Marathi tahAna) and unha (Marathi Unha), instead of dakkhiNNa, lAyaNNa, taNNaya, kaNNa, suNNAra, kaNha, taNhA and uNha respectively. (iv) Some other grammatical and syntactical peculiarities of the language of Gahakosa are enlisted below : (1) Shortening of long vowels before conjuncts (see H. 1, 84) is very common, e. g. sayfa vva (st. 3), chittesu (st. 8), naDa vva (st. 8), pimmANaM (st. 9), asamattamaMDaNa cciya (st. 19), u8 (st. 20), sa tti (st. 21), ditI (st. 21), ikko (st. 23), dunhaM (st. 21), etc. (2) Occasional Apabhramsa traits, e.g. phalaDya (st. 94) (see H. 4,429-430, Nominative sing ulars of masculine nouns sometimes end in a instead of o ,e.g. kuNaMta (st. 24), naMta (st. 52), taMga (st. 233), dosaMta (st. 422), unless dIsaMta is regarded as forming a Karmadharaya compound with a (Na) yaNasahao (see H. 4, 330); the instrumental singular of a-ending stems once ends in e (e~) as in Apabhramsa : piyayame (meM) = piyayameNa (st. 449) (See H.

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(vi) 4, 342), unless forth is regarded as a case of the locative case used for the instrumenta! case. (See H. 3, 135). (3) Softening or elision of final anusvaras for metre, e. g. quifgo (st. 23), vata (st. 307), TEA (st. 510), 79TTIS (=n97 TOTI) (st. 516). (4) Deinflection, e. g. q&h fat (st. 155), au foat (st. 192), arraa ja (st, 352). (5) Deponentia (use of passive voice forms of verbs in active sense), e. g. fenfeff (st. 489). (See H. 4, 249). (6) Anti-deponentia (use of active voice forms in passive sense), e. g. atas (st. 70), qe (st. 97), 1975 (st. 311), fatassfer (st. 480). (7) Deaspiration, e. g. 5 (-) (st. 234, 323, 532, 645), orf (=eret) (st. 35). (8) Use of causal forms in non-causal sense, e. g. atatlan (st. 19), fafur faul (st. 181, 357), for arfaut (st. 455), 5 olfat (st. 121, 578), 3corado (st, 493). (9) Use of non-causal forms in causal sense, e. g. antefog (st. 70), 46ar (st. 305). aafe (st. 486), 55fsu ( st. 664). (10) Use of concrete for abstract, e. g. afama (st. 156), por (st. 298), Ate (st. 354), 7 (st. 391), 960 (st. 557), feu (st. 558). (11) Irregular duplication of initial consonant (for metre), even in the absence of a com pound, e. g. & TIH (st. 470, 657). (12) Elongation of short vowels for metre, Toast (st. 254), fazifa (st. 556); #15 (st. 578), FISTT (st. 579), JETTE (st. 584), 31** (st. 618), TESTTTT (st. 679). (13) Future tense or Present tense used for Imperative mood, e. g. artref (st. 430); af so far (st. 92), 31C TEFETs (st. 517); Present tense used for Future tense, e. g. faeaf (st. 417) as (st. 573), T5 (st. 674). (See H. 4, 447). (14) Genitive absolute used for Locative absolute, e. g. st. 299, 56), 603, 634, 642. This is allowed even in Sanskrit and is covered by H. 4, 447. (15) Inversion of rational sequence of words in compounds, e. g. st. 29, 106, 167, 199, 224, 310, 331, 353, 373, 447, 488. (16) Inflection of indeclinables. A single example, st. 315 ( fefe = fecs or ). (17) Radical bases used as past participles, e. g. 23, 333, fura35 st. 38, 77 st. 257, 456, ffe st. 96 ; see also st. 51, 64, 188, 292, 370, 399, 581, 654, 674, Add. 2.

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(vii) (18) Potential participles used as nouns, e. g. iqroars st. 188, troq st. 298, fufcituo st. 407, q7fqualo st. 452, 44 st. 462, fara st. 466, f arz st. 467, fafotiaans st. 546. (19) Past participles used as radical bases, e. g. TTEET st. 116, T st. 160, Ego st. 263, 34TTF st. 392, xezal st. 627, at st. 649. fqz st. 188, (20) Past participles used as nouns, e. g. TFT ( = stica ) st. 187, 97, fora st. 189, 453. See also st. 203, 255, 303, 407, 443, 505. (21) Pleonastic use of possessive suffixes, e. g. ef st. 116, Fuf st. 118, 97** st. 129, 535|guit st. 138, see also st. 155, 164, 185, 252, 417, 538, 587, 679, 687. (22) Vicarious use of the Genitive and Locatlve cases instead of other normal cases, namely the Accusative, Instrumental, Dative, Ablative and Locative. See st. 202, 308, 375, 433. 466, 514; st. 61, 279, 406, 570. (23) Lexical : FTTT = qey, st. 182, 214, 283, 306 etc; TUTTU st. 368; Tot st. 350; FEET st. 363; efter st. 263; atga st. 407; TT st. 121, etc.; faftu st. 334; qoutaf3T st. 480; 4 st. 558; faca st. 174; Teff st. 172; 27 st. 251; fatis st. 299; #ifta st. 458; 3=otay st. 606; fant st. 621; *** st. 684; T34 st. 662; TEUTT st. 268, 562, 621. All these words are included in the Glossary. (24) Occasional use of long compounds, coextensive with the entire half of a stanza or with a major part thereof, e. g. st. 64, 96, 110, 116, 166, 168, 190, 200, 224 etc. in all about 30 cases). (25) Occasional use of sophisticated bisemi (90), e. g. st. 314, 334, 335, 422, 425, 426, 427, 428, 565, 574, 610, 612, etc. St. 468 is a case o triple sense (trisemi). (26) Epigrammatic generalisations, ses st. 74, 129, 185, 530, Add. st. 1. (27) Similarities of ideas with Sanskrit or Prakrit poems. In the Gahakosa (GK) we come across several stanzas similar in thought and expression with stanzas in Sanskrit and Prakrit literature. E.g. [Abreviations: AS=Amarusataka, BG=Bhagavadgita,GA=Govadhana's Aryasaptasati, KM=Karpuramanjari, KS=Kumarasambhava,KUM=Kuttanimata, MK = Mrcchakatika, Me = Meghaduta, MM = Malatimadhava, NC =Naisadhi yacarita, NS = Nitisataka, R = Ramayana, RV = Raghuvamsa, Sak = Sakuntala, Sis = Sisupa lavadha, SS =Srgarasataka, URC=Uttraramacarita, Vik=Vikramorvasiya]. GK 1 = KM I, 4; GA 6,7 (introductory stanzas); GK 14 = Me 113, MM I. 39; GK 18 = A$ 37, 82; GK 21 = Sis. II 44, GA 76; GK 25 = A$ 77; GK 44 = Me 9; GK 47 = RV IX 47; GK 77 = Sis. VI 53; GK 78, 467 = MK I. 12; GK 94 = Sak V 1; GK 149 = R III, 16, 13; GK 154= NC III 32; GK 195 = NS 8, GK 231= Sak V 12; GK 251. = Me 68; GK 289 = URC IL 27; GK 329 = BG VIII 6; GK

Page #19
(viii) 338 = GA 137; GK 352 = GA 12; GK 379 = GA 374; GK 394 = A$ 13, 54; GK 397 = AS 57; GK 410 = Sak Vi 32, Vik II 10; G. K 446 = URC VI 12, MM I 24; GK 456 = KS VIII 7; GK 460 = Sis X 42; GK 461 = Sak VI 16, KS III. 36; GK 464 = KUM 402; GK 466 = AS 95; GK 485 = AS 102; GK 497 = Sak III 12, Me 2; GK 540 = KS VIII 12; GK 548 = A$ 45; GK 554 = KM II 28; GK 578 = AS 17; GK 583 = SS 46; GK 671 = RV IX 58, 67. (28) Similes used in the Gahakosa : In addition to stereotyped and conventional similes consisting in the comparison of the hands, feet and faces of beautiful women with the moon, lotuses etc., we have in the Gahakosa several nonconventional and refreshingly original similes: e. g. the comparison of a white female crane perching on a green lotus-leaf with a white Oyster-shell placed on a tray of emerald (st. 3); of the crooked nature of love with the winding tendrils of a Cucumber creeper (st. 9); of a young tawny bull with the first sprout protruding from a germinating mango-stone (st. 17 ); of the thunder of the first rainclouds with the sound of drums beaten at the time of taking a convicted criminal to the place of execution (st. 24); of the first reddish sprout of a germinating mango-stone with the tail of a house-lizard lurking in an opening oyster (st. 64); of reddish Palasa flowers fallen on the ground with the beaks of parrots and with saffron-robed Buddhist monks bowing down to the Buddha's feet (st. 247); of a lightning-flash with the dangling intestines of the cloud-buffalo pierced with the tip of the rain-bow (st. 570); of buzzing gnats with the clanging sound of the wires of a lute struck with a plectrum (st. 602); of a Jasmine- bud with the slightly protruding tooth of a tiger (st. 580); of the winding, zigzag lane in a village with a snake wriggling with pain on being struck on its head (st. 699). In contrast with these unconventional similes, we come across several unrealistic artificial and deceptive similes based on the use of bisemic words (Slesa). E. G. : illiterate men compared with the weighing balance of a gold-smith(st. 104); a wicked person compared with a tambourine (st. 198); reddish Palasa flowers compared with Raksasas(st. 250); a wicked peison compared with a lamp (st. 335); the breasts of a woman compared with God Visnu (t, 426), with two brave warriors (st. 427) and with recitations of poetry (st. 428); the little son of a farmer compared with his paddy-field (st.431); a lonely wayfarer compared with the Kaurava chief Duryodhana (st. 433); the foot of the beloved wife with king Vikramaditya (st. 465); king Salahana(i, e. Satavahana) compared with God Siva (st. 468) (an example of triple Slesa or trisemi). These similes are in fact no similes at all, but illusive similes amounting to sophistry. We also come across illusive examples of other figures of speech based on Slesa, such a Virodha (paradox) (st. 490), Dipaka(zeugma) (st. 500), Arthapatti (presumption) (st. 587). Sanskrit writers like Subandhu (author of Va savadatta), and Bana (author of Kadumbari) are notorious for their passion for indulging in the use of such deceptive and unrealistic figures of speech based on verbal quibbling.

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(ix) IV. Brief survey of the contents of Gahakosa : St. 2 of the Gathasaptasati (absent in the Gaha kosa) speaks of Prakrit poetry as "nectar" (i. e. extremely delectable) and says that those who are unable to read and hear (i. e, understand) it are not competent to speak about erotic matters. 16 This is a clear indi. cation from the compiler-cum-author himself to show that the thousands of Prakrit stanzas current among people at the time of the compilation of the anthology had an erotic pur openly or covertly. This appears to be the reason why the ancient commentators on this anthology were at pains to explain the erotic background and purport of most of the stanzas. But this attempt of the commentators often appears to be futile, especially in the case of stanzas which are obviously of the nature of subhasitas, i.e. epigrammatic and gnomic stanzas with a moral or didactic purport, or which contain descriptions of scenes in nature or situations in ordinary life.1? This is not to deny that a large majority of the stanzas contain overtor veiled descriptions of love in mutual physical association and separation or mental estrangement (sambhoga and vipralambha srngara) of married and unmarried persons, the former category containing cases of premarital and post-marital love, lawful or otherwise. 18 There are some stanzas containing indirect or direct references to the physical poses assumed by couples in love-making (sambhoga-asanas as described in works on erotics), such as dhainuka and purusayita;'references to intimate physical contact (short of coitus) between men and their spouses in menstruation; 20 references to the antecedents (fore-play) and concomitants of sexual enjoyment, like kissing, embracing, infliction of tooth-bites and fingernail-scratches on various parts of the female partner's body such as breasts, arm-pits, hips and thighs, and to the eonsequents of love-play, such as perspiration, fast respiration and physical exhaustion; ? references to the miserable life and sufferings of loving men and women in separa (16) 3f43f 9153a faz 5 a BOT turfa kAmassa tatataMti kuNaMti te kaha Na lajjati // (17) See e.g. st. 43, 64, 65, 65, 71, 72, 83, 84, 96, 102, 104, 124, 126, 127,128, 163, 189,192, 193-196, 198, 200, 258, etc. The compiler of Vajjalagga (st. 1) says that his collection contains stanzas dealing with dharma (morality or righteousness), artha (worldly success) and kama (pursuit of material pleasures). This description should apply to Hala's anthology also. (18) See e. g. st. 58, 67, 68, 164, 183, 356, 458, 462, 690, 691. (19) See st. 10 (suggested dhainuka), 31, 54, 138, 239, 352 and 636 (suggested purusayita); st. 141, 406, 448, 509 and 583 (direct reference to purusayita). (20) See st. 20, 483, 484, 508, 526, 532, 553. In st. 508, the word dat (sight) is a euphe mism for close physical contact. (21) See st. 58, 179, 272, 293, 302, 322, 345, 415, 435, 435, 450, 539, 540, 694.

Page #21
(x) tion from one another; a references to the writing of love-letters; 23 references to the longings of pregnant women; 24 references to the physical debilitation of men due to over--indulgence in sex; as references to the righteousness, modesty, loyalty and devotion of married women (pativrata or gphini); * references to unchaste women and prostitutes and their male patrons; "7 references to the trysting of women (married and unmarried) with their lovers under umbrageous trees or dense arbours of shrubs and creepers on river--banks. 23 Several other stanzas are concerned with incidents in rural life, such as the sowing or harvesting of farms, the fetching of water from rivers by women climbing up or down on steep river-banks, the bathing of women in rivers, the celebrations of festivals like the Phalguna festival or Madano. tsava (festival of Cupid), accompanied by the lusty beating of drums and blowing of trumpets. 29 A good many stanzas speak of the love-affairs of village-girls and village-youths nd of the strict village-chief descending with a heavy hand on couples found trysting under a hady trees and punishing them with fines for their misbehaviour. 39 Some other stanzas speak of the illicit love between married women and their brothers-in-law who some times sndulge in the flagellation of their brothers' wives (to arouse their passion).31 Some times, however, the illicit love of the brother-in-law is said to fail to evoke a favourable response from his virtuous sister-in-law. 32 Quite a few of the stanzas in this anthology may smack of indecency and sometimes even obscenity to readers of refined, cultured and puritanic taste. But apparently they did not do so to readers of Sanskrit and Prakrit poetry in ancient and mediaeval India. We find even eminent poets like Kalidasa, Kumaradasa, Bharavi, Magha and Sriharsa depicting highly erotic scenes and situations in their epic poems. One of the reasons why such descrip. tions di I not offend the taste of readers and literary critics was the artistic and many times (22) See st. 151, 153, 155, 168, 191, 204, 210, 232, 245, 251, 251, 257, 258, 280, 284, 286, 288, 291, 294, 297, 298, 299, 307, 313, 318, 321, 323, 325, 328, 331, 337, 338, 341, 342, 370, 394, 399, 407 etc. (fazfart aftFl); 181, 291, 327, 359, 382, 384, 389, 394, 396, 411, 429, 430, 433 etc. (fata ath). (23) See st. 199, 437. (24) See st. 13, 274, 473. (25) st. 130, 131, 373, 672. (26) st. 37, 39, 172, 277, 443, 473, 496, 510, 545. (27) st. 178, 186, 278, 279, 315, 326, 357, 474, 551. (28) st. 111, 112, 366, 357, 36, 377, 567, 600, 631, 662. (29) st, 114, 123 (fetching of water); 60, 191 (bathing); 231, 339 (Phalg ina festival); 504 (Madanotsava); 309,366 (sowing); 310, 629 (harvesting); 431,630 (irrigation of fields); 689, 691, 692 (wedding ceremony); 634 (bon-fire); 492 (festival in general). (30) st. 28, 86, 114, 123, 256, 442, 470, 527, 600, 662. (31) st. 26, 457, 628, 635, 645. (32) st. 36, 61.

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suggestive manner of their presentation, as Anandavardhana has observed. 33 In this anthology we also come across vivid descriptions of scenes and situations in nature and in human and animal life in the midst of rural surroundings. These descriptions sometimes afford to us examples of the stylistic figure called Jati or Svabhavokti with the added charm of poetical similes, fancies and metaphors. For example the description of the Vindhya mountain; 34 of a flock of parrots with verdant wings and red beaks descending from the sky in a curvaceous formation on to the ground and poetically fancied as a necklace inlaid with emeralds and rubies dropping down from the neck of the sky-lady (st. 77); of a woman who, while counting with the fingers of her hands and the toes of her feet, the days elapsed since her husband's departure on a long journey, begins to weep naively as there are no more fingers and toes for counting the days in excess of the twenty already counted by her (st. 246, compare st. 226); of a peasant's attachment to his cultivated paddyfield, compared in a punning manner with a father's affection for his little son (st. 431); of a wife showing to her husband a plum nibbled at by their little son with his recently grown tiny teeth (st. 145) (through this stanza, according to the commentator, the mother cleverly suggests to her husband that they can now safely resume their normal sexual relations suspended during her pre- and post-parturition period !); of a villager who was so fond of his cow-buffalo (now dead) that he tried for a long time to find out another cow-buffalo worthy of wearing the bell-string of his pet dead buffalo and, not finding a suitable recepient, finally dedicates it to the shrine of the Goddess Arya ( i. e. Durga or Candi) (st. 372); of a young cow trying to coax and court a ferocious bull by gently rubbing her closed eye against his horn (st. 461); of the mute love of a stag for his mate, each of them abstaining, though thirsty, from drinking water and waiting for the other to quench thirst first (st. 591); of a male elephant who sadly recollects the pleasures formerly enjoyed in the company of his now dead mate, while the morsel of lotus-stalks held on the tip of his trunk prior to inserting it in his hungry mouth withers, as he is lost in the sad memories of his dear mate (st. 396); of a female elephant, circling round her mate stuck in the mud of a pond, and stretching out her trunk in a vain attempt to lift him up (st. 455). The charming pen-pictures of which only a few have been cited above at random can be multiplied almost endlessly.35 Intelligent readers can note them for themselves by examining the text printed in Part I with the help of the English translation and notes included in the present volume. Within the limits of the four short quarters of the Arya metre the authors of the gathis show marvellous skill in conjuring up the various scenes and (33) See Dhvanyaloka, III, pp. 317-318, Kashi Sanskrit Series edition, Varanasi 1940. Also Dandin, Kavyadarsa, I, 62-65. (34) See st. 72, 126-128, 565. (35) Prof. M. Winternitz has cited in translation in German) a good many other charming pen-pictures from the Gathasaptasati in Vol. III of his History of Indian Literature (in German), pp. 98-108.

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(xii) situations in a life-like manner, a skill comparable with that of the great lyrical poet Amaru in his century of love-lyrics. The literary style of the Gathas is lucid and simple except in a few cases where long compounds with occasionally inverted sequence of the constituent words are used and where the authors show a penchant for using bisemic phrases (both these tendencies being a legacy from classical Sanskrit poetry), when the style becomes a bit, laboured and difficult, The figures of speech used in the Gathas are quite numerous and the Gathas are often cited in works on Sanskrit poetics both for the figures of speech and for the various forms of Dhvani poetry. Almost all these stylistic figures have been identified and mentioned by name by Bhuvanapala in his commentary (printed in Part I along with the Gathas), where he cites relevant definitions from, or refers to, writers on Sanskrit poetics. Among the authors of extant works on Sanskrit poetics, it was Anandavardhana (author of Dhvanyaloka, 9th Century A. D.) who appears to have initiated the practice of citing stanzas from Prakrit poetry to illustrate his doctrine of Dhvani (suggestion). No other work on Sanskrit poetics prior to Dhvanyaloka gives citations from Prakrit poetry to illustrate the figures of speech. The credit therefore goes to Anandavardhana for invoking the aid of Prakrit poetry to illustrate various points in Sanskrit poetics. It was he who first discovered the suggestive power of Prakrit poetry. In Dhvanyaloka he has cited about 41 Prakrit stanzas, out of which 14 are from Gathasaptasatii and 11 from Gahakosa. V. Mythological, historical, geographical and other allusions in the Gahakosa: (a) Gods etc. (1) Pasupati, Rudra, Hara, st. 1, 70, 456, 593. (2) Parvati, Gauri, Arya Aparna, st. 1, 70, 456, 468. (3) Rama and Laksmana, st. 36. (4) Krsna, and, Radha, st. 89. (5) Krsna, Gopis and Yasoda, st. 122. 125. (6) Madhava (ie. Krsna ), st. 433. (7) Madhu - mathana (i. e. Visnu) st. 128. (8) Laksmi emerging from the milk-ocean, st. 401. (9) Visnu (suggested) and Laksmi, st. 352. (10) Madhumatha (i. e. Visnu) and Bali (by slesa), st. 426. (11) Agni and Varuna, st. 158. (12) Madana, st. 107, 593. (13) Madhava, Kurunatha (i.e. Duryodhana) and Bhima, st. 433. (14) Vata-Yaksa, st. 326. (15) Vidyadhari, st. 448. (16) Tridasa (Gods) and samudramanthana st. 585. (17) Gods know the thoughts of mortals, st. 375. (18) The eyes of Gods do not wink or close, st. 586, (19) The banner on the Sun's chariot does not cast any shadow, st. 35. (20) The Buddha and Bhiksusamgha, st. 247. (21) Hermits dwelling in monasteries, st. 295. (36) E. g. st. 104, 198, 250, 335, 426, 427, 428, 431, 433, 465, 468, 587. (37) E. g. simile (a), metaphor (), poetical fancy (err), apparent and real negation (AkSepa), zeugma (tulyayogitA, dIpaka, sahokti), nidarzanA, samAsokti, illustration ( dRSTAnta), generalisation ( arthAntaranyAsa) poetical inference (anumiti or anumAna) poetical presumption (arthApatti), vivid description svabhAvokti or jAti, vastudhvani, alaMkAradhvani, and zerfacefa.

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(xiii) b) Rivers : (i) Goda or Gylivari, st. 31, 6), 111, 114, 123, 171, 375, 371. (2) Capi, st. 186. (3) Reva or Narmada, st. 566, 567. [We do not come across any references to the rivers Gainga, Sindhu and Sarasvati, in the Gaha kosa.(Yamuna is mentioned only once in the Gathasaptasati, st. 669) ] c) Mountains :(1) Vindhya, st. 72, 126, 127, 128, 555, 674. (2) Malaya, st. 450, 501. (3) Mandara, st. 476. (Neither the Himalaya nor the Sahya mountain is mentioned in the Gahakosa. The non-mention of certain rivers and mountains in the Gabakosa does not necessarily mean that they were not known in the region where or the period in which the anthology was compiled). d) Oceans : (1) st. 507 mentions the ocean into which the river Narmada flows (i. e. the Western or Arabian Ocean). (2) The mythical milk-ocean is referred to in st. 128, 401, 476 and 585. e) Historical persona lities etc. : (1) Hala (the compiler-cum-author of the anthology), st. 2. (2) Salahana (Satavahana), st. 468. (3) Vikramaditya st. 465. St. 472 and Add. 3 probably refer to Vikramaditya without mentioning his name. Temples of Arya (i. e. Durga) and Aparna (i. e. Parvati) are referred to in st. 372 and 472 respectively. There is a reference to a statue or idol of Yaksa in st. 326 and to a sacrificial enclosure in st. 173. 38 VI. The Commentator Bhuvanapala : The commentator Bhuvana pala whoje commentary on the first six centos [and probably on the seventh cento (st. 641-700) also 39 ] is printed in Part I of the Gahakosa, was a Jaina (Svetambara) as is evident from the salutation to, or mention of, Jina in various parts of the commentary, 49 to Gautama and Mahavira Vitaraga, 41 and to Jina and Sri Gautama. 4a About his date we can only say that he wrote his commentary after the Ilth and 12th century A. D. , since he frequently makes citations from Kuntaka's Vakrokti--jivita 43 (38) Quite a lot of information regarding the social, cultural, mythological, geographical, botanical and zoological references in the Gatha sap-tasati, which have been examined and classified under suitable headings, is contained in the extensive introduction (covering 440 pages) to the Marathi edition of the anthology by Mr. S. A. Jogalekar (Poona, 1956). A similar survey of the contents of the Gahikosa is obviously beyond the scope of the present introduction. (39) See pp. 258-259 of Part I. (40) See commentary on st. 1, 101, 201, 301 introductory phrases), and the colophon of cento 3 (p. 135). (41) See colophon of cento 4 (p. 179). (42) See st. 501 (introductory phrase). (43) See his commentary on st. 109, 115, 205, 541, 569.

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( xiv) (11th century A.D. See Kane's History of Sanskrit Poetics, pp. 235, 243), and cites sutra 2, 217 from the Prakrit Grammar of Hemacandra (12 the century A. D., See Kane, ibid p. 290). We cannot say anything about the date before which Bhuvanpala wrote his commen tary. Bhuvanapala names his commentary as Chekoktivicaralila" i. e." elegant reflection on, and exposition of the clever utterances (in the Gahakosa)." The chaya (Sanskrit paraphrase) of each stanza appearing at the beginning of the commentary on it (and enclosed in rectangular brackets) in Part I does not form part of the commentary, but has been reconstructed with the help of Bhuvanapala's paraphrase of the individual words of that stanza while commenting on it. 46 In the case of most of the stanzas he mentions the name of the poet or poetess (mostly in Sanskrit, but at times in Prakrit) with whom the stanza is associtated by tradition as known to him. He also explains the contextual background in the case of a large majority of the stanzas and then starts his explanation of them word by word. At the end of his commentary on several stanzas, he explains the grammatical peculiarities of important words, citing relevant sutras from Vararuci's Prakyta-Prakasa and in a very few cases from Hemacandra's Sabdanusasana (chapter 8 dealing with Prakrit grammar) without mentioning the name of either. In a number of cases, grammatical rules are cited (many times in a corrupt form) which cannot be traced to either Vararuci's or Hemacandra's Prakrit Grammer. Sometimes sutras are cited from some work on Sanskrit grammar (Hemacandra's Sabdanusasana? or Devanandin's Jinendravyakaraan? or Sakatayana's Sabdanugasana?). In the case of a few stanzas he makes no comments at all,saying merely gatartha gatha or nigadavyakhyata gatha. He generally identifies the stylistie figures in the stanzas, citing their definitions. from Dandin's Kavyadarsa, Rudrata's Kavyalahkara, Bhoja's Sarsvatikanthabharana and in a few cases from Kuntaka's Vakroktijlvita [but never from the works of Bhama ha, Vamana,Udbhata, Mammata and Hemacandra (Kavyanusasana)]. He occasionlly mentions the views of Anandavardhana (author of Dhvanyaloka,9th century A.D.)on the kind of the suggested sense (factual,imaginative and emotional) conveyed by the stanzas, contrasting his views with those of Alamkara writers like Dandin and others. He also identifies and exlpains the Nayakas (such dhira, daksina, satha) and of the Nayikas (such as virahini, pativrata,mugdha, praudha, sviya, parakiya, abhisarika, asati), citing definitions from Bharata's Natyasastra and from Rudrata's Kavalamkara as also from some untraced works on Dramaturgy. While explaining the stable and transitory emotional moods reflected in the stanzas and their physical manifestations, he cites from Bharata's Natyastra and also from some untraced works. (44) See commentary on st 557. The sutra cited there does not occur in Vararuci's Prakrita prakasa and must be presumed to be cited from Hemacandra. (45) See colophons of Cento I (p. 46), Cento III (p. 135), Cento IV (p. 179), Cento V (p. 220) and Cento (VI) (p. 258). (46) Bhuvanapala follows the method called Khandanvaya (repeating the individual Prakrit words in each stanza one by one according to their prose-order and explaining them in Sanskrit, and not the method known as dandanvaya (giving the Sanskrit explanation of cach stanza as a whole, without breaking it up in suitable units).

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( xv ) The text of the first six centos of the Ga hakosa (597 stanzas ) (see footnote on pages 254 and 256, Part I), commented on by Bhuvanapala, differs from the first six centos of the Saptasatakam of Hala as commented on by Gangadhara (vulgate) and presented by Prof. Weber in his comprehensive German edition (1881), in the following three respects : (i) (1) Omission of about 40 stanzas from the vulgate. (2) Inclusion of about 27 stanzas outside the vulgate, but presenced by Prof. Weber in his edition. Total of (1) and (2): 67 stanzas. [ The number of stanzas common to the first six centos of the Gahakosa and the vuigate is therefore about 530 (597-67) ]. The seventh cento of the Gahakosa, reconstructed from the version of Ajada ( 37 stanza ) and the Baroda manuscript (60 stanzas) (see note on pp. 258-259, Part I) (total : 97 stanzas), contains 52 stanzas from the vulgate and 45 stanzas outside the vulgate, but included by Prof. Weber in his edition, (ii) In a good many cases, the Gahakosa shows readings different from those in the vulgate. The variant readings are recorded in the foot-notes to the text printed in Part I, preceded by the letter W (=Weber). (ii) Even in the case of stanzas common to the Gahakosa and the vulgate, the sequence of stanzas is often slightly or moderately or considerably different in the two versions. This will be clear from the Arabic numbers to the left of the text of the stanzas in Part I and preceded by the letter W, supplying a sort of concordance of the two versions. Here are a few other interesting points about Bhuvanapala's commentary :1) While commenting on st. 103, he says that slaying of animals as victims in sacrifices (to please the gods), though causing pain to the victims, does not retributively harm the sacrificer. This cannot of course be the view of Bhuvanapala himself (as he was a devout Jaina), but must be regarded as the view of the advocates of the Vedic cult of animal sacrifice. T, TETA, au and 2) On st. 11', he mentions the four classes of words in Prakrit, viz., a ATATF101974. See notes on st. 112. 3) While commenting on st. 180, he waxes poetically eloquent in describing the various parts of a beautiful woman's body, from head to foot. 4) On stanzas 198, and 394, he mentions a few technical terms in musicology, viz., the three mAnA s, the twenty-two zruti s, the seven svara s, the fourteen murchanA s, and thirtytwo 3717 s, citing some untraced work on musicology. 5) On st. 207, he sets forth some ideas concerned with embryology. and gynaecology.

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( xvi) 6) While commenting on the word Tot in st. 268 (and 621), he says that it corresponds to the word gut in the contemporary regional language (19fha). This perhaps shows that Bhuvanapala belonged to the Gurjaradesa (i. e. Gujarat). 7) Commenting on st. 329, he refers to the story of Hiranyakasipu reborn as Ravana and then as Sisupala (see Magha, Sisupalavadha, I, 42-72 and XX, 79). 8) On st. 334, he refers to the popular belief that a crow lives for a very long time (one hundred years). 9) On st. 337, he says that according to the science of prognostics (375tfar), the throb birg of the left eye, arm etc. in the case of women is indicative of good luck in the near future. 10) On st. 397 (a duet- anataray - between an angry woman and her indifferent and men tally estranged husband), he speaks of the affalfa (simple, transparent style) of that stanza. 11) Commenting on st. 485, he makes mention of stagefnar (power of mental communion through meditation), a Buddhistic term. 12) On st. 665, it is said by the anonymous commentator, citing an obscure stanza, that there are eight forest-regions where elephants abound and thrive. 13) On st. 666, the same anonymous commentator speaks of eight pedigrces and four classes of elephants. 14) On st. 689, it is said by the same commentator that songs (or stanzas) with the bride groom's name mentioned in them (along with the bride's name also ?) are sung by young girls on the occasion of wedding ceremonies. 15) Bhuvanapala's version of the Gahakosa omits the three well-known stanzas from the Gathasaptasati, viz. st. 2 (see footnote 16 above) about the greatness of Prakrit poetry; st. 175 (9479 EF#37 art etc.) and st. 669 ( ru FUTUTE THT etc. ), the last two of which are frequently quoted in Sanskrit works on poetics for their factual suggestions (qarqara) that are opposed to their literal senses (asure).

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GAHAKOso ENGLISH TRANSLATION

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CENTO I 1. Salutation to Siva : Pay homage to the hands of Pasupati (Siva ), joined together and filled with water in honour of the (Goddess of the ) Evening twilight, wherein the moon-like face of Gauri (Parvati) (standing nearby), crimson with jealous anger, is reflected in the form of an image and which (joined hands) ( therefore ) appear as if holding a red lotus as a votive offering to the Goddess of Evening Twilight ). 2. Compiler of the Collection : Seven hundred stanzas rich in poetic charm were composed (i.e. compiled) and arranged in the form of an anthology) by Hala, the lover (i.e. admiring friend) of poets, from out of a crore (ten millions, i.e. countless number). 3. Ideal Tryst : Look (here). The female crane appears so lovely, poised steady and motionless on the (green) leaf of the lotus-plant, resembling an oyster-shell resting on a tray of pure emerald. 4. Complete exhaustion : The flirting blandishments of women look charming during amorous dalliance, only so long as their eyes, resembling the petals of blue lotuses (i.e. their dark eyes), do not close (in utter exhaustion). 5. Neglect not your wife : "Why do you not seek (the emergence of) a new fruit (for your self) (by embracing me), but instead seek it for the Kurabaka (by urging me to embrace if ?" Thus, indeed, oh charming one, your wife turns her lotus-like face away (from you) and laughs (at this behaviour of yours). 6. Retaliation : Beautiful women are tormented, during separation from their dear consorts, by the (blossoming of the) Asoka trees. Does (ever) any one tolerate a kick given by any body, if he is strong enough (to retaliate)? 7. Cancellation of the tryst : Oh aunt, the extremely charming bed of lotus plants, the glory and ornament of the village, has been made by the winter (frost) to be like a plucked (i.e. harvested) sesamum-field. 8. Don't worry, here is another trysting place : Do not weep with downcast face because the rice-fields have turned white (due to ripeness ) (and would therefore be soon harvested). Here are now the hemp-gardens that have become (yellow) like actors whose faces are decked with yellow paint.

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9. Crooked Love : Friend, just such is the tragic way of these feelings of love which are crooked like the tendrils of young cucumber plants. Do not (therefore) weep with your moon-like face slanted away. 10. Extremely funny situation : As the little) son climbed on the back of the spouse who had bent his head at the feet (of his wife) (by way of apology), there escaped a smile from the housewife, although she was tormented by intense anger (at the lapse on the part of her consort). 11. Clever pleading : She really knows how to see (and decide correctly). (For) love directed towards a worthy person (like yourself) is (only) proper. Let her die (if she fails to evoke responsive love in you). I shall not say anything to you (i. e. I shall not plead her case before you). Even death (resulting from her failure to evoke love in you and to secure you) is laudable for her, (i.e. is deserved by her). 12. Even fire covets to inhale your sweet breath : Oh you, skilled in the art of cooking, do not feel sorry. The fire in the oven does not blaze, but (only) smoulders, while imbibing the breath from your mouth, which (breath) is fragrant like the red Patala flowers. 13. Her only longing : When the simple-minded young woman suffering from the ailments of her first pregnancy was questioned by her female friends about her cravings, hef glance turned only towards her dear consort. 14. Prayer to the moon : Oh moon, consisting of nectar, the ornament of the sky, the ornamental mark on the face of the night, touch me too with the same rays with which you have already) touched my dear consort. 15. Vain dreams : "He (my consort), having been absent from home (for long) will now retorn, I shall vent my anger on him (for his prolonged absence) and he will then conciliate me"; such a series of desires cherished about one's dear consort, fructifies in the case of (only) some (fortunate) person (and not of me). 16. Stark poverty : "How possibly can I, (recently) washed (vigorously), stand (again) the wear and tear of the people belonging to an indigent family ?" Thus did the cloth (rag) (already worn threadbare) weep as it were, with drops of water trickling from its fringes.

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17. Blessing on a young calf : Oh young calf, having the tawny complexion of tender leaves protruding from a sprouting mango-stone and proceeding with pricked up ears to the house dear to your heart, may you (eventually) attain to the status of an eminent steer. 18. Apology : Oh charming one, who are simulating sleep and are (merely) closing your eyes, give me (sleeping) place (near you, on your bed). Oh you whose cilia are standing on their ends as I imprint a kiss on your cheek, I shall never again be late (in coming to you). 19. Hasten to your lover before his interest in you flags : Go to his house, just without finishing your personal decoration, while yet he is taking keen interest in you (and is yearning for you). If you allow his interest in you to flag, you will not obtain, oh dear girl, a footing in his mind. 20. The forbidden hasty kiss : I remember (still) her (hurried) kiss as her face was smeared with (yellow) coloured ghee (because she was in her menses), the kiss in which she lowered her lip to me solicitously and in which her nose did not touch mine nor did her forehead come into contact with mine. 21. Double personality : During amorous dalliance (at night) she gives hundreds of commands (to me), her cheeks blooming with joy (all the while); and at day-break she bends down her face in bashfulness. I cannot believe that she is the self-same beloved (that she was at night). 22. False politeness : (My) sal utation to your nobility of birth, which urges you to bear both these heavy sorrows, viz. separation from the object of your real love and seeing the object of your hatred. 23. Irresistible appeal : Even a single dark, spotted deer turning (from the left hand side) to the right hand side (of the road) (while being pursued by a hunter) stops a traveller from proceeding (with his intended journey). How much more so, when both the tearful (dark and white coloured) eyes of the beloved one (meet the prospective traveller on the eve of his departure)? 24. You have been untrue to me, I have never been to you: You would certainly not have assumed stiffness (haughtiness) F(towards me) :(when I scolded you for your infidelity), if you had known (by personal experience) the agony (of others) on slightly waking up in the midst of their sleep and on feeling (with their hands) the portion of the bed (near them) vacated (by their consorts).

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25. Endurance-test : When the two, both angered in love, pretend to be asleep, being too haughty to appear to yield, and attentively listen motionless to each other's restrained breaths, which of them would be victorious (over the other) ? 26. Unholy passion : On whichever part of the body, the brother-in-law desires to give a blow (or tap) with a blue lotus, on that limb of the young married lady, there appears a stiff line of horripiation (indicative of her joy and bashfulness). 27. Absence of the dear consort when the rains set in, is death itself : As I was recollecting in his absence the delights enjoyed in his company), I heard the rumbling of the (rainy season's) first clouds, which appeared to me like the sound of the drum beaten when a criminal sentenced to death is led to the place of execution. 28. All the village ladies are pining for you : Oh unkind one, oh you who are afraid of your wife, oh you, whose sight is (very) difficult to have, oh you, who are like an insect in a Nimbajberry, oh you, son of the villagechief, the entire village (i. e. all the women in the village) is growing lean because of you. 29. Reconciliation after apology: The very moment she disentangles the hair of her dear consort prostrating at her feet, from the protruding points of her anklets in which it had become entangled, she proclaims (to him) thereby that her jealous anger has disappeared from her heart. 30. Memento of love : Oh charming one, even now she wears (on her head) the crumpled withered wreath of flowers formerly given by you with your own hands, although it has now lost its fragrance, like the image of the guardian goddess of some house in a deserted city, (which too carries the wreath of flowers formerly offered by votaries and since then become stale, faded and bereft of fragrance). 31. Mighty protector-guarantee of security : The wife of the son of the village-chief sleeps with difficulty (i. e. does not get restful sleep while reclining) on his chest, rugged with the scars of wounds caused by blows (with the weapons of his adversaries, while fighting with them.). The entire) village, however, sleeps comfortably (because of the sense of security under his leadership). 32. Veiled taunt : Oh charming one, it is you alone who have followed this natural (straightforward, honest) course (of addressing me by the name of your sweet-heart whom you have enshrined in your mind); for now-a-days there is one thing in the heart (mind) and quite a different thing in the speech of people.

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33. Doubly scorched : Setting on fire my heart with anger (aroused by your attachment to your sweet-heart), why are you now scorching my back also by giving out warm sighs (due to remorse) as I am lying on a portion of the bed, my face turned away from you ?. 34. Doting attachment : The delicate dark-complexioned damsel bathed herself for quite a long time on the river Goda, with (the coarse) Jambu-powder (or Jambu-extract) left over (after having been used by you for your bath). 35. Loss of the glow of health : Oh you who have been delaying in your return home) (and staying out for too long), her face, soiled with tears streaming down in your separation, has been deprived of its lustre (or healthy glow), just like the banner on the top of the sun's chariot (which too is deprived of its shadow because of its extreme proximity to the sun). 36. Veiled remonstrance : To the brother-in-law whose mind is not pure (i. e. who harbours immoral passion for her), the young wife narrates during day-time (or for the whole day) the episodes in the life of Sumitra's son i. e. Laksmana), close and faithful follower of Rama, which (episodes) were pictorially represented on the walls of her apartment, 37. Virtue in the face of temptations : She stays in a house standing on the fringe of a public square, she is lovely in her appearance, she is in the prime of life, her consort is absent from home (on a long journey), she has an unchaste woman as her neighbour and (on the top of all that) she is (herself) poverty-striken, and yet her vitrue has remained inviolate. 38. Steady attachment : The Kadamba flower is being swept away by the flood of the mountain-stream, while its filaments are torn away by the whirling motion of the vortex, and the bee clinging to it becomes sometimes slightly drowned (submerged), sometimes rises to the surface (and floats) and then again becomes drowned (but does not forsake the Kadamba flower). 39. For safeguarding ber consort's self-respect : Striving to save the face of her consort, who (though) poverty-stricken is born in a noble family and) prides himself on his noble birth, the house-wife gets annoyed (or feels distressed) even when her relatives come to her with rich presents (in order to help her out of her difficulties) (and refuses to accept the presents). 40. Consideration for her poor neighbour : Though her dear consort is only too eager to do as she likes (i. e. has given her the costly clothes and ornaments desired by her) and though the festival has come (i. e. has

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started), she has not adorned herself, in order to prop up (bolster up) the drooping spirits of her indigent neighbour whose husband is still away from home (on a journey). 41. She loves herself only bacause of you : Her heart is highly esteemed by her because you are enshrined in it. Her eyes are dear to her because you were seen by them. She loves her limbs too because they have become emaciated in your absence. 42. Bilateral and unilatenal love : That one should feel attached to a loving person who is full of genuine tenderness is (certainly) proper. But if the heart is given to one who is devoid of love, people laugh at that. 43. No success without initiative and endeavour : A man who undertakes something (difficult to achieve) certainly gets success or meets death. Death is certain even if he does not undertake (the difficult task), but success is never attainablc (if he does not undertake the difficult task). 44. Mental estrangement is worse than physical separation : (It is said correctly that) the consuming sorrow ef separation from one's beloved person becomes bearable because of the bond of hope (of eventual reunion). But, oh friend, when the beloved one lives in the self-same village but is mentally estranged, that surpasses death itself (i. e. is more agonising than death itself). 45. In his absence eyerything is desolate : Just today he has departed and just today (i. e. immediately) the faces (i.e. surfaces) of streets, city-squares, temples and our hearts too have become empty (i. e. desolate, bleak, blank). 46. Memories of the earlier beloved persist : The dear one (1. e. the beloved) glides (or creeps) into a man's heart while he is making love with another woman, whether he observes or does not observe similar qualities in the latter. 47. Gather the flowers while you can: Since youthful age ebbs away (i. e. is unsteady) like the flood of a river, since the days are continuously fleeting and since the nights too are evanescent (and never return), what is the good, my dear girl, of this (your) accursed haughtiness (stiffness, sulkiness) (against your consort)? 48. Ingenuous prayer to the night : Tomorrow morning my hard-hearted dear consort will depart on a journey, that is what they say. Oh venerable night do you please lengthen yourself out so much that there will be no tomorrow morning at all for him (and he will permanently stay with me.)

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49. Crucial moment of leave-taking: The wife of a prospective traveller (i. e, a person who is about to start on a journey) wanders from house to house asking other women, who have already endured the agony of separation from their dear consorts, about the secret remedy of sustaining one's life at the (critical) moment of the (consort's) leavetaking (bidding farewell). 50. Strange request : Oh fate, I pray, make my dear consort attached to other women (also). Surely, men who exclusively enjoy the love of a single woman, cannot understand the merits of that woman and the demerits of other women. 51. Clever invitation : Look here, oh traveller, at midday the shadow does not move out even slightly, but holds on (or clings) to just below the Sirisa tree, through fear of the (scorching) heat (of the sun). Therefore why do you not rest awhile (in our or my house) ? 52. Kind, obliging fever : Oh you obliging (good, kind) fever, since you have brought to me, from afar, the person so difficult to meet (or secure), at least in order to inquire about my condition, even if you take away my life, you will not be doing any wrong to me. 53. Jealous refusal : Surely, whether my fever is slight or not slight, how is that a concern of others (i,e. of you; why should you bother about that)? Oh charming one inquiring about the condition of my health, oh you (still) redolent with the excellent fragrance (of love-making elsewhere), pray, do not touch me, smelling of fever that I am. 54. Judge the exhaustion of men by your own experience : Oh you whose tresses are dishevelled (and spread out) like the plumage of a peacock, oh you whose thighs are trembling, oh you whose eyes are half closed, oh you who are greatly exhausted after having only slightly played the masculine role (in amorous dalliance), learn to know (by your own experience), the sorrows (exertions) that men have to undergo. 55. Infidelity damages love beyond repair : Love which is first snapped (estranged) and then patched up, but which has (later on) directly witnessed lapses (on the part of either of the two parties), develops a bad taste (i.e. becomes insipid) like water first heated and then cooled. 56. Certainty of imminent liberation : As the captive lady heard the twang of the bowstring made by her husband, which sounded more harsh than (even the sound accompanying the fall of a thunder-bolt, she wiped the tears in the eyes of her fellow captive ladies.

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57. Vain hope : Oh captive lady, this is (only) the reverberation (echo) of a lightning-crash from a cloud thundering unseasonably. Oh you who are expecting to hear the twang of your husband's bow, why are you unjustifiably displaying horripilation on your body? 58. Pitiless : "She endures, she endures", thinking thus that fellow, unskilled in the art of sexual dalliance, so completely exhausted her in making love), that her limbs became like withered Sirisa flowers. 59. All this for you : Disregarding other young men, oh boy, and transgressing the commonly accepted) norms of decorum, she now wanders about straining her eyes towards (all) the quarters (i.e. scanning the surrounding regions of space for your sake (i.e. in the hope of seeing you some where). 60. Mighty protector of the village and charmer of ladies : Just to day he has departed and just from today (onwards) the people (in the neighbourhood) will have to observe a vigil at night (for fear of robbers who would be emboldened to attack the village in his absence). Just to-day the banks of the river Goda will become yellow with turmeric powder (washed away by women from their bodies, as they do not see any purpose in having their bodies decorated with turmeric powder in his absence). 61. Anxious to avert discord in the family : Though the brother-in-law harbours sinful thoughts about her in his mind, the pure-minded young lady refrains from complaining about her brother-in-law) to her dear consort who is furious by nature, for fear of destroying the peace of the family, but simply languishes away. 62. Pathetic and not ludicrous : When, during the meeting with her beloved consort conjured up by her in her mind, she remembered the earlier lapses committed by him and began to quarrel (with him) in the void, she was pitied by her female friends and not jeered at by them. 63. Sympathy of collaborators reassures even under failure : Tasks undertaken in cooperation with those who have a sympathetic understanding, even if not successfully accomplished (or completed), are, I think, far more successfully accomplished than those undertaken in cooperation with others (devoid of sympathetic understanding), even if successfully achieved. 64. Advent of the spring : Look here, the tender mango sprout protruding from the stone of the ripe mangofruit looks like the tip of the tail of a lizard which has lodged itself in the slightly bursting shell of an oyster.

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9 65. Spider hanging from its filament: Look here, the spider clinging with upturned legs to its own filament hanging down from the inside surface of the thatched roof, appears like a single Bakula flower woven on a hardly visible (i.e. extremely fine) thread. 66. Cooing of the doves : Because of the screaming (cooing) of the pigeons which are resting round about the slightly visible metallic pin (or peg) (supporting the tapering wooden dome on the top of the temple-turret), the temple is sighing (shrieking) with pain, as if because it has been. pierced with a pale. 67. Speak out frankly: If you are not his sweet-heart, why do you then sleep the day out, with your limbs. wearied, like a calf intoxicated by drinking the first milk of a cow (or buffalo) that has given birth to it only recently? 68. Suspicious : In the very long winter nights you must be getting ample sleep, as your husband has gone away on a journey since quite long. It is (therefore) not good (i.e. it arouses suspicion about your virtue) that you sleep by day too. 69. Horripilation due to fear and not roused up passion : If, oh charming one, I set down on your foot this tired foot of mine lifted up through fear of the mud, why do you then laugh at my body covered with horripilation (due to nervous fear)? Siva's profound regard for Parvati: Just at the moment of Parvati's wedding (with Siva), her friends were convinced of her conjugal bliss (in the form of Siva's profound regard and love for her), when Siva discarded the bracelet made of the coils of the snake Vasuki. 71. Loss of charmingness: A festival which has actually arrived (i.e. already commenced); the moon lingering till late in the morning; love which eventually becomes insipid (or embittered); and jubilation not accompanied by (generous) gifts - all these do not look charming (i.e. lose all their charm). 72. Cheer up; he will come back before the rains : Oh lady whose husband has gone away on a journey, be of good cheer (do not despair). These are the peaks of the Vindhya mountain (in summer), appearing dark because of the black ashes left behind by the forestfire and not the first clouds of the rainy season.

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10 73. Humble prayer : Give me only so much love as you can (always) confer on me (and practise honestly). Not every one is able to endure the grief caused by an offence (outrage) to one's selfrespect given by one's dear consort. 74. Consolation : How can she, who somehow for five days manages to become the sweet-heart of a man with many loves, aspire to (or demand) the sixth day ? Daintiness (sweetness) and abundance do not go together, 75. Contradiction : Whichever part of my body he stares at with unwinking eyes, I cover it up and yet wish it to be seen by him. 76. In spite of herself : Look here, although she is tormented i.e. overpowered) by intense anger, the sulkiness assumed by her towards her beloved consort dwindles, softly (or imperceptibly) gliding away like sand slipping down from the interior of the fist. 77. Sky-lady's necklace : Look, there comes down from the surface of the sky a line of parrots (a flock of parrots in linear formation), looking as if it were a necklace interspersed with rubies and emeralds dropped down from the neck of the lady in the form of the sky. 78. Agonising sight of disappointed supplicants : Even (enforced) stay in a far-off land (i. e. banishment from my native country) and even stark poverty do not afflict me so much as the sight of supplicants going back having failed to get (from me) their desired objects. 79. Revenge : In the forests the traveller is protected (from cold) by fire made from big logs (or branches) and in the village he is protected by grass (used as bed to sleep on and as a quilt to cover his body). If however he stays (overnight) in a city he is tormented by the cold as if through anger (at its erstwhile frustration). 80. Sweet memory : I still remember her face, perplexed by the locks of hair dangling about because of the shaking of the head as I caught with my mouth her lower lip, resembling a lotus made unsteady by a (perching) (dark) swarm of bees enticed by its fragrance. 81. Self-confidence : The adult lady as it were proclaimed her good fortune (sexual appeal) by her disregard for ablution on the day of festivity, even when her co-wives had adorned themselves with great enthusiasm (or solicitude).

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82. Post-menstruation bath : Oh you, who are cleansing with a pointed wooden splinter the etched holes on your reticulated bangle clogged with turmeric powder used at the time of your (post-mensturation) bath, whom are you going to make happy (tonight)? 83. Why love dwindles (or ebbs away) : Love disappears by (altogether) not seeing (the object of love). It also dwindles by seeing (the object of love) too much (or too frequently). It disappears also because of the idle talk (tale-bearing or scandal-mongering) of malicious people. And it also vanishes just so (i. e. without any particular reason). 84. In whose case does love dwindle in this way? : By not seeing, in the case of women; by seeing too much, in the case of low-minded (ignoble) people; by the idle talk of malicious people, in the case of thoughtless fools; and just so (i. e. without any particular reason) in the case of the wicked. 85. Worried about the future : "In the case of those who were once high, it is very distressing (painful) for them when they subsequently fall down on the abdomen" -- thinking thus, meseems, her breasts have developed dark nipples (a pexes) (through chagrin as it were). 86. Will you still not have mercy on him? Oh fair lady, although he has already a beautiful wife, that son of the farmer has become so (awfully) emaciated on account of you, that even his jealous wife has undertaken to play the role of a mediator (messenger) (in order to plead to you on his behalf). 87. Veiled reproach : Oh charming one, even when you visit me as a matter of courtesy (and not out of the genuine feeling of love), you delight my limbs. How great must be the joy of those whom you love with guileless (genuine) attachment ? 88. Making amends : As he was fanning (i.e. cooling), with the breath from his mouth, my hand aching because of the blow (that I had given to him), I smilingly clapsed him round the neck with the other hand, i.e. arm). 89. Killing two birds with a single stone : Oh Krsna, while you are removing with the breath from your mouth, the dust-particle in the eye of Radhika, you are at the same time) taking away (ie, taming or humbling) the vanity (self-esteem) of these other cowherd ladies (cowherdesses) also. 90. The body turns away, but the mind does not : Oh haughty (angry, sulking) lady, the emergence of horripilation on your back, at the approach of your dear consort, (even) when you are standing with face turned away from

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him out of anger assumed by you (against him), proclaims to him that your heart (mind) is leaning towards him. 91. Not yet completely appeased : She knows how to intimate to him that a portion of her anger (though mostly) banished by him with conciliation, is still lingering (in her mind), by behaving towards him with restraint (reserve), even in privacy. 92. Incorrigible sinner : Oh charming one, oh shameless one, tell me which of your lapses are to be pardoned by me, those that you have committed in the past), or those that you are committing (at present) or those that you will be committing (hereafter)? 93. Key to success with women : Those who do not make a show of their authority, those who placate their angry beloveds as slaves (placate their masters), they alone are dear to women; the rest are only miserable masters (and not darlings of women), 94. Treacherous bee : Oh ungratful bee, formerly you were not delighted with other flowers (save the Malati-Jasmine). But now you have forsaken the Malati (creeper), because it has begun to bear fruit. 95. Insatiable longing : Oh friend (or aunt), when at that moment I saw him, who was worthy of being gazed at with unquenched longing, my ardent desire to see him was not at all satisfied,"any more than the thirst of a person is quenched by water drunk in the course of a dream. 96. Desolation : Whichever place a good man adorns (for sometime) (by his stay), that very place, he, by his departure, makes similar to a locality, where a stately Vata (banian) tree in the vicinity of a village has been uprooted. 97. You always stand before my mind's eye : He alone is indeed remembered who is effaced from the heart for a moment at least. Love which has got to be remembered is already gone, having lost its foot-hold. 98. Love's memento: The miserable damsel even to this day preserves on her cheek the circular mark of your (biting) teeth, surrounded by the encircling hedge of her bursting horripilation, as if it were a treasure (to be guarded for all time).

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99. Love's mania : Let alone the heart-ravishing and extremely invaluable glimpse of the face of the beloved (sweet-heart). Even the outskirts of the site of her native village immediately enrapture, as soon as they are beheld (by the lover). 100. Unromantic : My consort (while abroad on a journey) must have witnessed the mango trees (sprouting and blossoming); he must have inhaled the fragrance of wine; he must have (also) endured the exciting) southern breeze. But to him only the tasks undertaken by him are of paramount importance. Oh friend, who in this world sincerely loves whom ? CENTO II 101. Even a moment's separation appears endless like an eon : After enjoying my intimate company he walked away only a foot-step and then returned and embraced me. During that short moment's interval I felt like a woman whose eonsort has gone away on a (distant) journey and he himself) appeared to me like a traveller gone abroad on a (long) journey. 102. True love, the result of past religious merit : It is (only) in consequence of abundant earlier religious merit that one becomes privileged to secure (the love of) a person who is so handsome as to be worthy of being gazed at with insatiable longing; whose joys and sorrows are identical with one's own; who bestows his or her genuine love on one; and with whom one has a reciprocal bond of emotional attachment. 103. Love transforms pain into pleasure : A person who is dear to one, though he may be causing suffering, does really make one (supremely) happy. The breasts of a woman though tormented by the scratching nails of her dear consort (during amorous play) experience a thrill of ecstasy. 8 104. Unworthy people are highly honoured : Even illiterate persons who do not know how to move their lips correctly (while speaking) are held in high esteem by people as if they were possessed of real greatness and are carried by them on their shoulders, like the weighing balances of goldsmiths which though not marked with figures (to indicate the weight of the valuable things weighed with them) are yet carried on the shoulders (i.e. are handled with care and caution) (by the goldsmiths).

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14 105. The enraged sweet-heart : I remember (still), how my sweet-heart departed angrily with reddening (flushed) cheeks, stuttering out with throbbing lips : " for heaven's sake, don't touch me". 106. Clandestine carnal enjoyment has its charms : Clandestine amorous dalliance, in which the lamp is put out by blowing air on it with the mouth, in which the speech proceeds in the form of whispers) with restrained respiration and is full of apprehension (about being overheard by others), and in which the lips are saved (from love-bites) with hundreds of conjurations is delightful (indeed). 107. Bewitchingly beautiful tresses : The beautiful damsel wears her fragrant copious tressess, as if they were a column of smoke rising from the fire of love (smouldering in her heart), as if they were a magic feather-brush (broom) for infatuating (or blinding) the eyes of people, and as if they were the banner (proclaiming the triumph or climax) of her youthful age. 108. Radiant moon-like face : Oh daughter (or young girl), just go on (cleansing and) whitening (the walls of you house). Do not desist from whitening them, thinking that they have been already whitened (by some one else). Do you not see that the walls are irradiated by the splendour of your moon-like face? 109. Heart punctured with Cupid's arrows : The advice to assume a stiff, unyielding attitude towards her beloved) offered to her by her friends, which (advice) is (of course) every time received and treasured up by her (in her heart), slips away from her heart, riddled with the blows of Cupid's arrows. 110. Mother's love for her progeny : The mother-crow drifts away on the surface of the flooded river, being exclusively intent on saving her young ones, which had ventured out of the nest that was standing supported in that manner (i. e. standing supported on a tree on the bank of the river in spate), regardless of the peril of her own death in trying to save her progeny). 111. Prayer to the Madhuka tree to shed its leaves and flowers slowly : Oh Madhuka tree, forming a dense thicket on the bank of the river Goda, oh you who are bending under the burden of countless flowers and whose branches are reaching as far as the ground below, please listen to my prayer : you should shed (your leaves and flowers) rather slowly. 112. Impending termination of trysts und er the Madhuka tree : The unchaste woman picks up the Madhuka flowers- the last of the season - which are difficult to find (i. e. which are becoming rare day by day as the flowering season is drawing to an end), and weeps while picking them up, as if they were the (charred) bones on the funeral pile of some (dead) relative.

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15 113. Beware, oh my heart : Oh heart, clinging to just every place (i.e. person), you will be burnt (i.e. brought into trouble or betrayed) by some (unworthy) person, just as a long (i.e. big) log of wood which is being carried by the velocity of the water of a small river clings to every place (on the bank) and is (eventually) burnt (as fuel) by some one. 114. Calculated venture : As the daughter-in-law of the farmer saw the son of the householder (or land-lord) standing on the bank of the river Goda, she began to climb up (from the bed of the river) by a path difficult to negotiate, (so that he may climb down and give her a helping hand). 115. Transference : That lip-rouge which overnight was rubbed away by her beloved (with his own lip, while kissing her), that same lip-rouge is seen in the morning transferred to the faces of her cowives in the form of the flush of jealous anger). 116. Apology : I still remember the pleasure which I experienced when I dragged him forcibly by his hair wound round the big toe of my foot, as he was silently lying prostate at my feet (in apology). 117. Wayfarer on a wintry night : Look here, the wayfarer in the winter, rips open (i,e. rakes up) the straw-fire dying out at the entrance of the temple in the wretched village, and looking like a bear ripped open. 118. Too late a warning: It is (only) now when the feeling of the love has like poison begun to convulse my entire body, that people are restraining (me from the love-affair). But then i.e. earlier) they were silent and had gone away, no one knows where. 119. Riddle : The lotus-beds have not been crumpled (or crushed). Nor have the flamingos been scared away, oh aunt. (And yet, it appears that) some one has (from high up) thrown into the village-pond the sky with its face (surface) turned up. 120. You do not know the real situation : How is it that you do not realise that she, being eager to have a glimpse of you, put up a (lofty) pile of several cushions (or reed.chairs) and (while climbing up) tumbled (without seeing you)? 121. Unbearable separation : . Oh friend, who was that accursed fellow that uttered the word "journey" (i.e. who said that her consort intended to depart on a journey), as a result of which the limbs of the young wife began (at once) to languish as if they were poisoned ?

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16 122. They know the "child" only too well : "Damodara (i.e. Krsna) is still (only) a child". As Yasoda said so, the young women of Vraja (Gokula) smiled covertly, directing their glances at the face of Krsna. 123. Excellent excuse : Under the pretext of (being unable to negotiate) the (steep and) difficult descent to the river Goda, she threw herself on to his chest. And he too closely embraced her, without (fear of) incurring any reproach for this compassionate assistance. 124. Inherited affection : Very rare are those good men, whose affection marked by unchanging cheerfulness (facial glow), and waxing from day to day passes on to their sons like an ancestral debt. 125. Ingenious excuse : The clever cowherdess, while standing near the chief cowherdess, under the pretext of complimenting her on her (exquisite) dancing, kisses Krsna reflected in the form of an image in her (shining, glossy) cheek. 126. End of the rainy season : The Vindhya mountain as it were sheds off its skin, because of the clouds (first) clinging to its (numerous) precipices and (then) moving away and spreading all round as far as the outskirts of the sky (lit. as far as the regions of the various quarters). 127. Commencement of the rainy season : The pulindas (sabaras) standing on the peaks of the (Vindhya) mountain and leaning on their bows look (with curiosity) at the Vindhya as it is assailed by the new dark clouds as by elephant-herds. 128. End of the rainy season : The Vindhya (mountain) darkened by the (black) ashes of (i.e. left behind by) the forest-fires, looks charming because of the white (waterless) clouds, like Visnu (Madhumathana) sprinkled with the milk squirted (splashed) at the time of the churning of the milk-ocean. 129. Admiration for even one's enemy's sterling merit : Although the captive woman was distressed at the murder of her relatives (by the robber), she looked at the youthful robber amorously (i.e. with loving admiration), because he impressed her as a mighty hero. Who will ever harbour malice against (real, sterling) merit? 130. Her conjugal happiness : Since quite a few days, the young wife of the hunts-man, proud of her loveliness and youthful age, has been scattering (publicising) on the streets her sexual attractiveness, under the guise of the parings (thin shreds) of the bow-staff (belonging to her husband).

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131. Consideration for the senior wife : Emaciated by his intense) love (over-attachment) for his new young wife, the huntsman, in order to preserve intact his first wife's love for him, carries to the forest his bow though it is difficult to (wield and) stretch, as it has not been scraped (or pared). 132. Enough of husband-mania : As the beautiful young lady said again and again during (the pangs of her first child-bed (parturition), "I have had now enough of my husband-delirium (or mania)", she caused the (women) folk round about to smile. 133. All love is full of of deceit : Oh friend, there is in this mortal world no love at all that is divorced from deceit. If there were such (guileless love), there would be no separation of any person (from the object of his or her love) (i. e. there would be no such thing as separation from one's beloved, which is always the result of deceit or perfidy), and if there were such separation, no one would continue to live in spite of it. 134. Rapture on seeing a naked beauty : Like a wonder, like a treasure (suddenly discovered), like rapturous joy, like the attainment of heaven (itself), like the drinking of ambrosia-such was that moment (or short space of time) for me, when I saw her without any clothing on her body i.e. divested of all clothing). 135. Unpredictable nature of love : She is dear to you (i.e. you love her) and you too are dear to me (i.e. I love you); but you are odious to her (i. e. she hates you because she loves some one else) ,and I am odious to you (i. e. you hate me, because you love some one else). Oh boy (i.e. young man inexperienced in the ways of love), I shall frankly say (to you) that love is subject to many vicissitudes (i.e. the way of love is unpredictably uncertain and crooked). 136. Well-deserved : Indulging in jealous anger (too much) (and turning a deaf ear to his entreaties), she has nursed her sulkiness without any (good) reason to such an extent, that her darling (lover), although staying in the same village, is as good as gone abroad (for she is not able to see him any longer because of his estrangement from her). 137. Infatuating song : In the forest full of the humming of the bees struck (i.e. inspired) by the breezes of the vernal month (or season), the cowherdess sings a song dealing with the theme of separation and infatuating the minds of travellers.

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18 138. Embarrassment of the young wife : (To herself): I am bashful (by nature ), while his love is wild (unrestrained, exuberant). My (female) friends are (very) shrewd. (To her female friend): Please forbear; where is the need to apply red paint to my feet? 139. Lest he wander away in the dark night : While yet the sun is shining (i.e. has not yet set), the clever house-wife holds (with her hands) the feet of the master of the house (i.e. of her husband) and smilingly washes them although he is reluctant (to have them washed), so that he himself begins to smile. 140. Irresistible fascination : Even in fun I am not able to get angry with him, oh mother, although he sets aside all norms of decent behaviour, because these limbs of mine are no longer under my control. 141. Preparation for the task ahead : Let her play the game called phuddilliya. Do not stop her. Let her become proficient in it. Let her not (when she grows up) become distressed (or handicapped) because of the heaviness of her hips, while practising inverted coitus (or while assuming the masculine pose in coitus). 142. Too many temptations : The village is full of young men; the spring month (or vernal season) is on i.e. in full swing); she is in the prime of life; her husband is an old fellow; there is old wine in the house) at her disposal. If (in the midst of these circumstances) she should not become lecherous, should she then die ? (i.e. there is no alternative for her except to die or end her life ). 143. Eagerness to hear the lovers's message again and again : Howsoever often I may utter (before her) your message entrusted to me, the adult lady says "I could not hear (what you said)" and thus hears it (from me again and again. 144. Clever dissimulation : Just as she looked at me (coquettishly) in such a way as to display her affection (for me) and her gracefulness, in the same way she looked at others also, in a bid to hide (from others) (her love for me). 145. Their son's first teeth : "Oh, (just) have a look at this" with these words the housewife, with dilated eyes, hands over to her husband the jujube berry (plum), marked with the first two milk-teeth which have appeared in the mouth of their (little) son.

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146. Beyond rebuke : Let alone what people are talking about the dilution of your love for me). Your own heart itself can bear testimony (to it). Your love for me has become so feeble that you are no longer worthy of rebuke. 147. Beware, oh my heart : Oh my heart, you who are running (here and there, just) according to your sweet will, are longing for a person difficult to secure and are wandering on the aerial paths, you will, some time or other, be broken to pieces (i.e. you will break yourself on account of despair). 148. Reasons of the consort's (or lover's) indifference : Either my good qualities are (after all) inferior (poor) (in their appeal); or that person (i.e. my consort or lover) does not know how to admire them; or I am devoid of all good qualities; or he has some person (ie, a sweetheart) who is more copiously endowed with good qualities. 149. Impervious mind : Oh my friend, even though my heart is bursting (with lovelonging), how can I reveal that (i.e. my suffering) to that person in whom the sorrow (of others) does not enter, just as the image does not enter a mirror (soiled with dust or water--vapour) ? 150. Cupid's bullets : Oh my friend, none of the other flowers torment me as much as the Kadamba flowers. Surely Cupid carries during these days (of the rainy season) his bow charged with bullets (in the form of the spherical Kadamba buds). 151. Emaciation due to separation : The crow suspecting (or dreading) that a noose has been laid to catch it, does not desire (to eat) the morsel (or lump) of food though offered by the wife of the traveller, because the morsel (or lump) of food stands in the midst of her bracelet which has slipped down the inclined (down-ward turned) palm of her hand. 152. Speechless testimony: His handsomeness was undoubtedly proclaimed by her teardrenched face, with its eyes turned away from (all) other men, although she did not say a single word with her mouth. 153. Well-meant fraud : Her friends, apprehending the approach of the stipulated day (of her husband's return home), secretly erase two or three of the (vertical) lines, while she was engaged in etching them (on the wall of her apartment) (in order to keep a count of the days passed by her in his absence)

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20 154. Why the moon wanes and eventually disappears : The creator, seeing that the moon, though full-orbed, does not attain to similarity with your face, takes it to pieces (causes it to disappear completely), in order as it were to fashion it (afresh) in a different (i.e. more flawless) manner. 155. A legion of days packed into one : Just in the first fore-noon (of her consort's departure) she while saying (to herself): "to-day (i.e. this one day) is gone", today (i.e. a second day) is over", "to-day (a third day) is past" (etc.), covered the wall (of her apartment) with countless vertical) lines (or strokes). 156. Charming bashfulness : Not even when the rapturous joy of coitus at the firstever meeting (with his sweetheart) is obtained, does a man at all get such delight (satisfaction), as when he sees on the next day the bashful, lotus-like face of his beloved. 157. Lethal glances : The glances which the dear one sent in my direction, turning round after having approached me and passed by me, are for me the arrows of Cupid. To others they (i.e. Cupid's arrows) may well be any thing else. 158. Enviable lot : Let the golden girdle, which has secured its eminence by the grace of Agni and Varuna (i.e. by braving the ordeal of fire and water) (be priveleged to enjoy the ecstatic delight of mounting (i.e. lying) on your hips-the delight which is denied to others (who have never secured the grace of Agni and Varuna i.e. who have never undergone the ordeal of fire and water). 159. Wonderful : If a person gives (to another) out of the excellent wealth (actually) possessed by him, what cause for surprise is there ? You (however) have given to your co-wives unhappiness (wretchedness), although you do not have it at all. 160. Incomparable pleasure : Her face resembles the moon; the juice (sweetness) of her mouth is like nectar. But with what can be compared the pleasure derived from kissing her after catching her by the tresses and impetuously pulling her (towards me) ? 161. Be kind to me for preserving my life : Oh young boy, my own life itself is more valuable and dear to me than yourself. It will not continue to exist without you, and hence (just to preserve it) I am praying to you for mercy when you have got angry with me.

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162. Sure indication of sincere love : (The lover :) "Believe me (when I say that I sincerely love you)". (The beloved :) "I would never have believed you, if while I am weeping, my tears, falling on your back (while you are bending at my feet), had not been shattered (or pierced), because of the outburst of horripilation (on your back)". 163. True friend : endship should be made (only) with a person, who in places and times of calamity, does not turn away his face in aversion) (i.e. remains constant) like a figure painted on a wall. 164. Horrifying : Embarrassed by the first-ever violation of chastity on the part of the young married woman in the thicket (underwood) on the river-bank, the flock of birds flies up crying out as it were with the (sound of their) (flapping) wings, "how shameful, how shameful !". 165. Maddening fragrance : Oh young boy, I tell you the truth. Nothing is impossible for the spring-season to accomplish. By the exciting) fragrance of the Kurabaka flowers I have in my mind become a lecherous woman. 166. Like a bird in a cage : Oh young boy, as you were going away, she, directing her quivering eyes through one aperture after another in the encircling hedge, behaved like a bird in a cage. 167. Helpless : What could she do (i.e. how could she help it) if she could not see you even though her breasts were pressing against the (tall) enclosing hedge (of her residence) and even though she had raised her languid body on the tips of the toes of her feet (in her attempt to have a look at you)? 168. Painful recollection; The wife of the traveller, fearing that the stream of tears, welling up at the recollection of her dear consort, would fall on the lamp (and put it out), places the lighted lamp (on the ground) (at the time of the festival of lights), deflecting her neck i.e. head) to one side. 169. Painful parting : Oh young boy, as you were going away, her limbs (i.e. her neck and head) turned indeed through such a wide angle, that streams of tears were seen falling down right on the middle or her back.

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TI 170. Laudable mediocrity : Therefore the mediocre alone are preferable. I shall have nothing to do with both the wicked and the good. (For) just as a wicked man distresses when he is seen, so too a good man distresses when he is not seen (any longer). 171. Salutary advice : 1 . Do not look at him with half-closed eyes (i.e. do not cast side-long glaness at him). Look at him in a natural way. (For one thing) you will be able to see him quite well (i.e. far better than if you partially close your eyes), and moreover you will be regarded by people to be an innocent (naive) girl, 172. Meek devotion even in anger : I remember how she, sulking the whole day, attended to the (routine) household chores and (then) fell asleep (at night) at my feet, although she was greatly distressed at my lapse (or misbehaviour). 173. Do not be too fastidious : (Even) after having first blazed in the hut of a candala (pariah), fire blazes (also) in sacrificial halls (or enclosures). Surely men should not be shunned (even) when they have fallen on bad times. 174. The real reason : If your wife is a model of virtue and if we are, oh charming one, unchaste, may I reveal the secret reason behind it? There is no young man who is comparable to you (in sexual attractivenes, in the whole world). 17:. Solace in misfortune : Although all my belongings were burnt in the course of the village-fire, still my heart is quite happy, because he (my beloved lover) took the jar of water directly from my hand in order to extinguish the fire). 176 The philanthropist's prayer : I would prefer to be born in a forest-region even as a dwarfish (stunted) tree-stump with all its leaves shattered. But never would I like to be born in this mortal world as a sensitive (kind-hearted or compassionate) person eager to help others but not having the means to do so. 177. Sexual charm leading to rashness : (It is only) the flood of the river God, and the midnight in the rainy season that know your sexual attractiveness and my fool-hardiness unbecoming (or unusual) in the case of women, (in trying to swim across the flooded river).

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178. Elegy : Gone are those friends (whom we used to love so fervently); the thickets (bowers) (where we used to tryst with them) are now reduced to (withered, dried up) stumps; we too have survived our youthful age (i.e. our youthful age too has departed); the feeling of love (itself) (in our mind) has been exterminated. 179. Ruins : On the breasts, faces and hips of women whose youthful age has left them already, there still appear the tooth-marks (made by their consorts), as if they were the foundation-pits of the delapidated residence of Cupid. 180. Captivatingly beautiful : On whichever part of her body the glance of the onlooker fell first, just there it remained pinned down. (Hence) nobody was able to see (the beauty of) her entire body (in a single glance and all at once). 181, Fusion of poison and nectar : Dangerous like poison in separation, she is very much like nectar in union. Has (then) the creator fashioned the dearest one out of both these simultaneously ? 182. Estrangement results from suspension of mutual visits : Oh young girl (or daughter), by not seeing (the object of one's love), love vanishes by the passage of time, even in the case of those whose hearts were (once) joined together by (the bonds of) affection, just like water held in the two hands joined together (so as to form a bowl). 183. Cunning device : Right in the presence of her husband, the young lady is taken to the house of her paramour who is a physician (by profession) under the pretext of having been stung by a scorpion, languid (drooping) and tossing about her hands, while she is supported on the hands of her (clever) female friends. 184. Practical-minded : The farmer barters away his gown in exchange for a bull in the cold) month of Magha (January-February), on seeing (or realising) that the breasts of his beautiful young wife are warm like a smokeless fire of chaff. 185. Preposterous : Oh mother, they rob me of my husband (i.e. seduce my husband) like a bowl containing jujube berries in the hands of a blind person, and yet they harbour jealousy just towards me. (It looks as if) a snake's hood has grown from its tail (or the snake's tail has developed fangs).

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186. Sad recollections : I tell the truth : I am (indeed) standing on the brink of death on the holy bank of the river Tapi. But even now my eyes turn towards the bower of creepers just in the same way (as they did formerly when I was eager to meet my lover secretly in the delirium of youthful passion). 187. Elation with joy : See how the farmer's daughter-in-law, having put on a new saffron-coloured (or gaudy-coloured) garment (saree), the like of which she had never got before, is not, though slender-bodied, contained in the village-streets though wide enough. 188. You have wonderful presence of mind : Oh dear, if their is sufficient time (at one's disposal) every body can find pleasing words which give delight to the heart of one's beloved. But very rare are the persons who know how to speak the right thing on the spur of the moment. 189. Propriety : Gaiety (free indulgence in one's desires) behoves a master; jealous anger (sulkiness) behoves a woman who is dear to her lover; forbearance lends charm to one who is mighty (enough to do harm); discourse (conversation) behoves a wise person; and silence (reserve) is proper for one who is ignorant. 190. First love-letter: Even the opening word of the proposed letter, viz). svasti (God bless you or my greetings to you) cannot be completed i.e. written), because the line drawn with the pen wobbles as the pen is held between trembling and perspiring fingers. Dear friend, (tell me) what can I write in the body of the letter itself? 191. At the bathing place : Oh friend, that young man while drinking the water flowing down-stream and aromatic because of the turmeric powder used (by me for decoration of my body and washed away) in bathing, as it were drank up my heart (i.e, completely ravished me) as I was taking a plunge in the water (of the same stream). 192. Adverse fate : When fate is adverse, know that even that which has been carefully planned and commenced comes to nought (fails). The task undertaken does not in any way get consolidated (i.e. does not take shape as expected) like a sand-wall (i.e. bund made of sand). 193. Why are you so unkind to me? Life is of course transitory. When youthful age has gone it does not return. The days (of man's life) do not resemble one another (i.e. if some days bring happiness, others bring misery). Why (then) are people hard-hearted ?

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25 194. The wealth of the wicked benefits only other wicked people : Who is the beneficiary of the wicked even if they have amassed riches ? Only wicked persons (of course). The (bitter) nimba berries, even if they are ripe, are eaten only by crows. 195. Good-natured man: A good man does not (ordinarily) lose his temper at all. (Even) if he loses his temper (once in a while), he does not harbour malice (towards others). (Even) if he harbours malice (towards others), he does not speak out. (Even) if he speaks out, he feels ashamed about it. 196. Essence of wealth, friendship, beauty and wisdom : That is (real) wealth which one has in one's own hand (i.e. completely at one's disposal); that is a (true) friend who continuously stands by one's side in calamity; that is (real) beauty where there are virtues (i.e. which is attended by virtues); that is (true) knowledge (or wisdom) which is marked (i.e. accompanied) by righteousness. 197. Endlessly long night : Oh you with a moon-like (charming) face and large eyes, the long night bright with moon-light, with its four watches (i.e. three hour divisions), some-how (i.e. with great difficulty) came to an end, as if it had a hundred watches (three-hour divisions), in your separation. 198. Behaviour of the wicked compared with that of a tabour : A wicked person, two-faced and born in a low family is pleasing (in his speech) (only) so long as the food given to him (still) lingers in his mouth. But as soon as the food is digested in his stomach) he begins to speak harshly, just as a muraja (a longish tabour played at once on both its ends) possessed of two faces and never resting on the ground (but suspended from the neck of the player), produces sweet sounds only so long as lumps of moistened wheat-flour continue to remain intact on its faces. But as soon as the lumps of wheat-flour are worn off (or peel off) it begins to produce bad (jarring) sounds. 199. In response to the girl's bewitching glance : The daughter-in-law looked in such a way (i.e. so seductively or bewitchingly) at the traveller, with the pupils slightly turned towards the corners of her eyes, that although he was repulsed (i. e. not admitted into the house) by the master of the house, he still sojourned (overnight) in an unsheltered part of the court-yard, away from the eaves of the house. 200. Girdle of Vernal Beauty : The swarm of bees, enraptured by the boney in the fully expanded lotuses which are like spacious apartments (or chambers), hums, as if it were a girdle (waist-band) of dark-coloured sapphires on the waist of the Goddess of the spring season.

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26 CENTO III 201. Lucky fellow : Who will be that person, whose hand, a veritable unique tree bearing the fruits of many good deeds (done formerly), will (be privileged to) rest on your expansive breasts, treasure-jars of the God of love, resembling thereby a spray of tender leaves [placed on a treasure-bowl (to identify the place where the treasure-bowl has been buried underground)? 202. Preparation : "I have to go tonight to the house of that charming lover of mine in dense darkness". (thinking thus) the young lady practises walking with closed eyes in her house. 203. Damaging to one's prestige: Two things at once! (or quickly) lower a person's prestige, even though he may be as great as a mountain: speaking about one's sufferings to a person who is not tried (or tested) and not speaking about one's sufferings to a person who is tried (or tested). 204. Auspicious jar with a lotus placed on it: Oh girl, for whom are you looking out, standing at the door, with your face lifted (or pushed) up by your protuberent breasts and hence resembling a sacramental lotus'placed on an uplifted (auspicious) jar? 205. Symbolic : The Eranda (castor) plant, whose leaves have protruded through the openings in the hedge, proclaims to the young lads: "Here in this house lives a farmer's wife with so large (expansive) breasts". 206. Handicapped by her breasts: Because of these accursed breasts (of mine), comparable (in their size) with the temples a young elephant, compact (firm), full, closely pressing against each other and protuberent, it is not possible (for me) even to breathe (without effort), much less to walk (all the way to my dear lover's residence). 207. Easy to win over : Dear boy, turn your lustful desire on a woman, who has been delivered (of a child) since a month, or who has been pregnant for six months, or who has had fever for one day, or who has just left the stage (after a dance or drama). 208. No cause for groaning when the burden is shared by so many : Why are you groaning (or breathing hard) because of your breasts, which are the (visible) heaps of the jealous anger of your rivals (cowives) (ie. which excite the jealous

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27 anger of your rivals), which are jars packed with loveliness, which are the temples (frontal globes) of the elephant in the form of Cupid (God of love) and which are borne (i.e. doted on) by hundreds of men in their minds? 209. Convenient excuse for cancelling the journey: In the case of a man who is going to start on a journey and who is immersed in the pleasure of pressing (or being pressed by) the firm (compact) breasts of his wife, (even) evil omens, the day of Mars and the Visti-day (Bhadra) are a cause of jubilation. 210. All this for meeting and greeting you: For your sake, oh young boy, that poor girl sits the whole day under the arch on the entrance of the house and unceasingly languishes like the garland of flowers hung (by her) across the arch (for welcoming you). 211. Disillusionment : As the itinerants drew near the dried up banian tree, they laughed and clapped their hands (in wonder and amusement), when a flock of parrots resembling the green leaves and red fruits (of a banian tree) flew up (from the tree being scared by the approaching itinerants). 212. To enable him to see her reaction better: Oh friend, today I was forced to laugh, when I saw him fall at her feet in that manner (i.e. addressing her by the name of her rival in love), and also when I saw her raising and inciting the (already) burning wick of the lamp (to show to him that she was her own self and not his sweetheart as he must have taken her to be). 213. Inherent nobility: A good man, striving to accommodate others, maintains an unchanged (ie, cheerful) countenance even while dealing with (his) enemies, and though he is (entirely) his own master, he submits to others because of his (intrinsic) nobility. 214. Clever dissimulation : Oh young girl even if a man born in a noble family, whose eminence is the result of his wisdom and his (estimable) qualities which lead to his daily growing respectability, becomes estranged (from his beloved), he does not allow it to be noticed by others (but cleverly conceals it). 215. Better hated by the good than loved by the wicked: Even if one becomes the object of hatred to a person who is eminent because of his wisdom and (estimable) qualities, that is a source of happiness. But even if one becomes. the object of love to a person despised by people, that is something to be ashamed of.

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216. Fickleness of women's hearts : How indeed was it, that her heavy breasts, though once so full by nature collapsed (or became shrunken)? Or rather (that is not surprising at all). Who ever holds fa place for long on the bosoms (in the hearts) of women ? 217. Compliment : Oh fair one, do not ward off, with the parasol of peacock plumes, the sun who is touching your face (with his rays). Let him (for once) find out which of the two- this face of yours and the lotus-is more pleasant to the touch. 218. Unfailing remedy : : The sulking (haughty) sweetheart, her face turned upwards having been lifted up by her lover with both his hands, drinks a mouthful of wine (transferred to her mouth by her lover directly from his mouth), as if it were a medicament (cure) for her sulkiness. 219. Unnatural : Oh friend, the nature of the accursed fire of love is something very strange (or unusual): It becomes extinguished in the hearts of those who are devoid of moisture (love) and burns fiercely in the hearts of those who are full of moisture (love). 220. Eye-captivating loveliness of each limb : How can she be described in her entirety) when from any one of her limbs as one looks at it, the eyes cannot extricate themselves any more than a helpless cow sunk (or stuck) in mud? 221. Friendship with the good and the wicked : Friendship with a malicious person perishes even while it is being made, like a line drawn on the surface of water. But friendship formed with a good person remains unscathed like a line drawn on a rock. 222. Just returned from abroad and yet wishing to depart: What a pity ! Oh you who are given to doing things difficult for me to bear, you are already planning to start on a (fresh) journey. The curly tresses of my braid (only recently tied up after your return from abroad) have not yet become straight (even or smooth). 223. Nature superior to art : Even technically perfect (sophisticated) carnal enjoyments, full of rapture because of repeated excitement of passion, do not charm the mind as much as those (casually) secured in any place and at any time, but full of genuine feeling,

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29 224. Too tight and close embrace : With great difficulty he loosened (disengaged) my arms (tightly clasped round his neck) like a knot tied up firmly by an ignorant person, and I too pulled out my breasts, as if immersed in his bosom. diseng med andre societatii a celupes breuses his 225. Doubly loaded and hence emaciated : You are borne (carried) by me in my heart) along with your sweetheart (enshrined in your mind), and yet, oh wicked one, you ask me why I am emaciated. Oh igno (you do not know that) even a bull droops (languishes) under a burden on his back. 226. Bad job of counting : As she, appeased by your entreaties, counted for long your lapses (against her), the poor lady began to weep because the fingers of both her hands did not suffice (for the counting). 227. Efflux of loveliness : Look, loveliness, not finding (any longer) room in her slender body, is flowing out, under the guise of perspiration, over the step-ladder of the three folds of skin (on her belly). 228. Incomparable beauty of Asoka leaves : Since fruition depends on fate, what can be be done about it (i.e. how can it be helped)? But I shall say this much): "There are no other leaves (in this world) comparable with those of the Asoka tree". 229. Vain effort : See how that damsel there is as it were washing away the deer-spot of the moon imaged on her cheek, with the pitchers of her eyes filled incessantly with streaming tears. 230. Difficult time ahead for lovers in separation : The extraordinary, indescribable and massive exhalation of fragrance from the accursed) Jasmine plant, which is pervaded by its fragrance in every one of its parts) will now burst (all round) (and add to the torment of lovers in separation like myself). 231. Noble men aud great trees : The minds of noble men are like the tops of lofty (or big) trees, bending down under success (fruition) and lifted up under failure (end of the fruiting season). 232. Reassuring jingle of the bracelets : The jingling sound of the bracelets of the traveller's wife, which becomes garrulous (i.e. particularly audible) as her feeble hands are tossed about during her turnings over (in the bed) reassures the attendants (that she is still alive).

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30 233. Noble even in misfortune : The mind of a proud-spirited person, just continues to remain exalted even in the last stages of his life (i.e. even when he is on the point of dying). The rays of the sun flash upwards even when he is setting. 234. Nobility consists in beneficence and not in mere self-sufficiency : Oh mother, even a bird fills its belly (i.e. feeds itself ). It is, however, only noble persons, if at all, who are able to bear fearless (undaunted), the burden of lifting up those that are plunged in distress. 235. Wordly-wise people : People who know the truth (of things) are not won over except by sincerity. Who can deceive an old cat with rice-gruel (as a substitute for milk) ? 236. Spontaneous love is not based on mutual obligations : All the grass and water (needed by them) is obtained by the deer and does by each one's own (individual) and unaided effort from the forest. And yet they love each other (unchangingly) till the last moment of their life. 237. Indiscretion or overfondness : Even to him who does not ask her (about it), she says "he has smashed my bangless". Either the poor woman is too simple-minded (foolish), or he is (extremely) dear to her. 238. Vain denial : "Give her to him who is ardently desired by her heart. Oh aunt, do you not see that she is wasting away in her body)"? "How possibly can there be any one desired by the heart in our case (i.e. in the case of virgins like myself)"? Saying thus, the maiden fainted away. 239. For cooling off the summer-heat and for removing fatigue : On the chest of her fatigued husband, who has already had amorous dalliance with her on a summer afternoon, she (i.e. his wife) places her moist luxuriant tresses from which flowers are dropping and which are still fragrant because of the cosmetics used in bathing (prior to the amorous dalliance). 240. Fresh tooth-marks on the glossy cheek : This moon here, as it rests in the form of a reflected image on this fawn-eyed lady's (glossy) cheek accompanied by the ring of the still moist (fresh) tooth-marks (made by her consort), resembles a small plate carved out of a conch-shell and reddened with vermilion-powder.

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241. Error: The dear consorts wiped off on the faces of their sulking ladies the rays of the moon, which were blended with the rays of sapphires in their necklaces, in the mistaken) belief that they were their (sparkling) tears mixed with the collyrium in their eyes. 242. Incomparably beautiful : In this world although it is so extensive, and although it is full of thousands of lovely women, her left side resembles only her right side (i.e. no other woman in the world can equal her in beauty). 243. Adjustment and compromise : As my dear lover plays (on the flute) I dance to his tune, because his love is changeful (or inconstant). A creeper winds its body round a tree though it is firm (steady) by nature. 244. Love's difficult course : It is with great difficulty that one gets a dear lover. When one gets him it is difficult to have control over him (i.e. to command his unswerving devotion). (For) even if he is obtained, he is as good as not obtained if he is not as one's heart wishes him to be. 245. Dangerous play: Oh what a pity! She, while longing for the pleasure of (apologetic) appeasement (by her lover) and ascribing to him some imaginary lapse when really there was none, has perforcc led her naturally straightforward lover to the path of wanton (unruly) behaviour. 246. Embarrassed : "Counting off with the fingers and toes on my hands and feet, (twenty) days have now (already) elapsed since your departure. But now with what shall I count off (the days in excess of twenty) (since no finger or toe is any longer available for counting) ?" Saying thus the simple-minded lady begins to weep. 247. Vernal garment of the earth : The earth shines (now in spring) with its Palasa flowers looking (red) like the beaks of parrots, as if it were covered) with hosts of (red-robed) monks prostrating for paying homage at the feet of the Buddha. 248. Dangerous emaciation : Oh you slender one, every full (rounded) limb of yours has already) become emaciated and every thin limb has reached the utmost degree of emaciation. What indeed is the use of continued) sulkiness (against your consort)?

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32 249. First impressions count: It is not (merely) by (a cool reflection on) the good qualities (in others) that people are attracted (towards them), but by whatever they are haunted with (at first sight). The Pulindas do not desire to have pearls, but clutch at the (gaudy-coloured) Gunja berries. 250. Palasa-flowers and Raksasas: Oh young boy, people dread the sight of the yellowish (-red) Palasa flowers which make their appearance in the spring-month and which grow on the branches, just as they dread the blood-drinking Raksasas, who go out in search of fat, intestines and flesh (in order to feast on them) and live in Lanka. 251. Thwarted joke : As she, beaming with a broad smile (or thrilled with joy) and trembling (with excitement), took a handful of (camphor-or sandal-) powder, with the intention of besmearing (or besprinkling) her beloved consort (with it), it turned in her hand into scented water (because of perspiration due to surging emotion). 252. Warning: Oh slender one, wipe off your back which has become soiled (or tinged) with the (crushed) leaves of the Ankotha tree in the back-yard of the house (during your tryst with your paramour) so that, oh simple one, you may not be detected (and branded as an unchaste woman) by the shrewd wives of your brothers-in-law. 253. Betrayal : Well may I cover my eyes with both my hands on seeing him. But how can I conceal my (entire) body, when its cilia become ruffled up (with ecstasy) like a Kadamba flower? 254. Miserable plight : The lightning flashes of the clouds light up (or illumine) as it were the poor woman, whose husband has departed on a journey and who is sitting, exhausted by weeping, in her house, whose grass roof has been blown away by the strong wind. 255. Meretritious beauty lacks real love : Enjoy whatever is within (your) easy reach. How indeed can there be meretritious beauty in a thing brought up in a village? Oh charming one, what is the use of even that dazzling beauty, which is devoid of (genuine) love? (Also: What is the use of that salted. dish which is not seasoned with cooking oil?) 256. Sweetened medicine : The farmer quaffs the medicine (decoction) though by nature bitter (in its taste) in such a way that nothing of it remains behind, because it has been cooled by the fragrant breath from the lotus-like mouth of the damsel, who was inquiring about his health (or well-being).

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33 257. The poor lady: That damsel, who has missed (i.e. failed to fulfil) the tryst with you, searches here and there, in the thicket of reeds, for your sight as for the forgotten place of a (buried) treasure. 258. Good-natured man : How can unpleasant words issue (or escape) from the mouth of a good-natured man even though clouded (agitated) with violent anger? The rays of the moon distil only nectar even when it is being swallowed by Rahu. 259. High-mindedness: A noble-minded person, devoid of wealth (or power and authority), is not pained so much even when insulted (by others), as when he is honoured by others, but is not able to requite (the goodness shown by them in honouring him). 260. Closely guarded secrets: A noble-minded person does not allow the secrets (of others) heard by him, to escape (from his mouth) even in the course of a quarrel. They age with him in his heart and at the end of his life (i.e. when he dies) they are burnt down (for good) by the (funeral) fire. 261. Hard luck : The clusters (of leaves and flowers) on the Madhavi (Jasmine) creepers in the courtyards have become hurdles for the entrances of houses (i.e. they have become so dense that they are blocking the entrances of houses and are screening things outside). Even the comfort of looking at the (homeward) way (of their home-bound consorts) is denied to women whose consorts have gone abroad (on distant journeys). 262. Blue eyes : If her eyes had not closed because of the rapturous delight of looking at her beloved lover, who could have noticed (i.e. detected) the (blue) lotus placed on her ear? 263. Bad time for the farmer's wife when the field is being ploughed : As her husband sleeps (at night) (like a log) exhausted by the pulling of the ploughshare stuck up in the wet mud, the poor wife of the farmer, who is denied the pleasure of love-making, curses the rainy season. 264. Versatility of Cupid's arrows: Salutation again and again to the arrows of Cupid, the arrows which are the friends of both misery and happiness (i.e. which cause misery in separation from one's beloved and give happiness in union with him or her), and which agonise, bring happiness, create wretchedness and again yield delight.

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34 265. Cupid's arrows : They pierce the body, bring torment (to their victims) (and) there are no visible wounds caused by them. Alas, the power of the arrows of Cupid is such that the like of it has not been seen (or experienced) before. 266. Cupid's arrows : The arrows of Cupid are manifold (or diverse) in their effect (or working) : Although they consist of flowers they are very sharp; although they do not (directly) touch (the body of their victim) they are unbearably fiery i.e. they cause unbearable pain); and although they pierce (or split up) (their victim) they give delight. 267. Versatility of the lover's amiable qualities : They excite jealousy, intensify passion, make one endure (even) what is disagreeable (and) they do not allow one to die in separation (because of the hope of eventual union). Oh, his virtues (enviable qualities) are diverse (in their operation) (i.e. they are versatile). 268. Hoping to see you by chance : Oh merciless one, today the poor woman, wearing a new coloured garment (saree), carried about (here and there), from house to house, the presents (of fruits and sweets) in the hope of catching a glimpse of you. 269. Poverty : In winter a poverty-stricken person is tormented by his old garment, which smells of dung-fire, which has turned brown because of smoke (issuing from the dung-fire) and whose threads are very sparse (because of long use and consequent decay). 270. Hardships of a journey in winter : In the morning in winter, the wandering traveller finds his limbs bruised by the sharp points of the blades of the grass (straw) (used at night by him as his bed) and he smoothens them by (gently) rubbing them with his hand moist with the water to be used for rinsing his mouth, 271. Captive woman's rescuers : The mango-blossom, plucked with the finger-nails and carried (worn) by a farmer on his head, like a captive woman, is being pursued by bees, comparable to young men (wishing to rescue a captive woman). 272. Proved remedy against summer-heat : Even sandal-paste does not soothe the burning sensation of loving couples so much as the pleasure of mutual embraces even in the unbearably hot summer.

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35 273. Good reason : "Why are you standing (or sitting) with your tresses anointed with ghee ?" Questioned thus (by the dear consort), the young wife smiled, bending down her face bashfully and doubly wrapped up the region of her hips. 274. Considerate : Since she knew the (poor) economic condition of her family, the wife of the poor man suppressed her pregnancy-longing just in her heart and did not divulge it, like the harsh words uttered by the (unsympathetic) relatives (of her husband). 275. Charming sight : The mother runs (about) to search out (or to pursue) the small boy absconding through fear of the barber, while her fingers are engaged in tucking (or tying) up her dishevelled tresses and holding up her slipping garment (saree). 27. Inverse proportion : As the young married girl begins to (gradually) unfold (or develop) her limbs, heartravishing because of her fresh youthfulness, her waist, her consort and her rival wives begin to grow emaciated. 277. Inverse ratio : As the husband becomes more and more enfeebled by old age, more and more sickly and ugly (loathsome), he becomes more and more dear to his noble-born wife. 278. Terribly rare : This is the young man, oh friend (or aunt), whom wanton women secure by turns (or again and again) with great difficulty, like the water of an only well in summer in a village. 279. No more any trysts here : From the (huge) banian tree in the village, oh aunt, the pale-coloured leaves struck (i.e. rudely shaken) by the wind drop down, and along with them the hearts of the palefaced wanton women. 280. Love-sick : Since she looks out aimlessly, gives out protracted sighs, smiles vacantly, and speaks unintelligible words, there must be something in her heart i.e. her heart must be set on some young man). 281. Prompt excuse : "Oh master of the house, this one here has sought our shelter, so protect (or save) him," saying thus the wanton woman hands over her paramour forthwith just to her husband, who has returned (home) all of a sudden. mauti

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36 282. Presence of mind : "This one here has come just now (i.e. only shortly before your arrival) from (my) father's house", saying thus the wanton woman throws her paramour (as a near relative of hers), on to the neck of her husband, who has returned (home) all of a sudden. 283. Hypocrisy : Oh daughter (or young girl), for whom are you offering your joined hands (i.e. to whom are you doing homage), under the pretext of salutation to the Sun ? Homages to gods are (certainly) not mixed with (i.e. accompanied by) smiles and side-glances. 284. Sad memories : Who is that person, on remembering whom you are, under the guise of singing a song, weeping with deep longing, in such a way that the faltering utterance of the letters is (only) half escaping (gliding) from your throat choked with grief? 285. Covert invitation : The night is full of dense darkness. My husband has gone away (on a journey) (just) today. My house is vacant (i.e. has no other inmate except myself). Oh neighbour, keep awake (throughout the night), so that I am not robbed (by thieves). 286. Potent medicine : The mother-in-law tends, without engaging herself in anything else, her daughter-inlaw, whose life (already) stands in her throat (i.e. who is in a 'precarious condition) on seeing the first clouds (of the rainy season), as if she (i.e. the daughter-in-law) were a (potent) medicine for giving her son a new lease of life (i.e. for preserving the life of her son who is on a journey abroad and must be in a similar precarious condition). 287. Heart-enshrined wife of the heart-enshriend paramour : Surely, you reside in my heart together with your wife enshrined (by you) in your heart. Otherwise, tell me, oh charming one, how could she divine (my) wishes (regarding the infliction of love-bites and scratches on your body)? 288. Despair : Oh charming one, when you passed beyond the range of her sight, her eyes (strained and) reaching as far as her ears and with tears welling up and streaming down), as it were offered a libation of water to (i.e. abandoned all hope of) the delights of looking at you. 289. Melancholy sight : Oh young girl, whom do you, whose beauty and youthful age have (almost) passed away and are (only) slightly perceptible, not make sad, like one's native place seen (after a long time), with its (familiar) land-marks (all) effaced (by the hand of time) ?

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37 290. Silent dialogue: He spoke (to me) in the presence of (other) people, by means of his eyes dilated (sparkling) with joy. I (too) of course (just) consented (or responded) to him by means of my limbs drenched with continuous and profuse perspiration. 291. Unfulfilled desires : (Loving) couples remain plunged in (or undergo) sorrow, their yearnings intensified because of the affection revealed by the reciprocal messages (sent through messengers), but their desires unfulfilled. 292. Your face betrays you : If, oh friend, he is not your darling, why is it that when his name is uttered, your face becomes dilated like a lotus blooming because of contact with the rays of the Sun ? 293. Love-embrace : Hail, oh friend, to the act of love-embrace, which like a stormy wind demolishes the tree of sulkiness, which sends a thrill of pleasure through the entire body and which is the prelude to the drama of carnal enjoyment. 294. Self-admonition : Oh my heart, you who are reassured (fearless) because of inferring (the mental condition of others) from your own, have mercy on me now and forbear. Oh you who are attached to a person who does not know the true condition (of others) (i.e. who cannot understand the pangs of separation suffered by others), why do you degrade (humiliate) me (by making me dote on him)? 295. Disillusionment : Your husband, complimenting (you) (on the loveliness of your face), laughed for quite a long time at the ascetics who had offered to your face (in the evening) a votive handful of flowers mistaking it to be the moon, and then felt embarrassed (on hearing the compliment paid by your husband to your lovely face). 296. Unable to hold out any longer : Oh friend, as their glances sent out under some pretext, after their quarrel, by chance met each other, both of them began to laugh simultaneously. 297. You know best the reason: Oh young man, when I am questioned (by my friends or relatives) about my daily shrinking limbs, even though you are within the range of my eyes, I do not know what and to whom I shall say (i.c. I do not know what reply to give to any body), (because of your misdeeds which are the real cause of my emaciation).

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38 298. Earnest prayer : Oh you who have caused my limbs to shrink, who have taught me to weep (endlessly) long, who have made me transgress the rules of respectful behaviour (towards my parents), do not forget me (now at least, when I am on my last legs). 299. The ultimate solvent of grief: The sorrow caused by separation (from the dear one), while impetuous love (still) waxes (continuously), cannot at all be endured, except by one's expulsion (from this world) by death (i.e. except through death). 300. My own fault : Oh young man, when I (myself), by frequently extolling your (amiable) qualities in the presence of the wanton woman, have made you difficult to secure (i.e. have lost you to her), with whom shall I be angry? CENTO IV 301. Critical moment : He (i.e, my dear lover) too became embajrassed as he was (vainly) searching for (i.e. trying to find out) the knot of my saree which was already slipping down (of its own accord) and then I too tightly embraced him smilingly. 302. Hindrance : Oh friend, today I could not help laughing when his hand vainly wandered about as it could not find the way to (the knot of) my fine-textured garment (saree), which was sticking tightly to my hips drenched with perspiration. 303. Gullible : Today that credulous (or simpleminded) poor woman has, in the course of a (single) day, been taught langour, and vacant (unmotivated) yawning, by you, who had offended against her. 304. Insincere courtesy : Believe me, oh charming one, you distress me not so much even by your lapses, as by these courteous utterances (of yours) divorced from sincerity.

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39 305. Blame yourself : Oh haughty lady, do not get angry with your arms which are moving about in empty space for embracing your dear beloved (who has already left you). You have been made to weep silently today by your mouth (which has by its angry, harsh words driven away your consort. So get angry rather with your own mouth). 306. Godavari's seductive banks : Do not go out, oh daughter, in order to pluck flowers. The gods are pleased (even) with a handful of water (offered with sincere devotion). The banks of the river Godavari uproot the character (of people) (by their seductive atmosphere). 307. Restrained sorrow: Oh friend, why do you torment us, shaking your head and answering all our queries with an inattentive "hum" in the intervals of your sighs ? 308. Mere negation without swearing : Oh young man, as she asked me about the truth (of your rumoured breach of fidelity towards her), I moved your dear beloved to tears when I could only say to her smilingly "not at all", without swearing for it. 309. Impediment : As the farmer thinks in his mind, where I shall be able to make love with her", the grains of tuvari (Cajanus Indicus), which are being sown (by him in the field) and which have become wet because of perspiration (remain clinging to his hand and) do not fall down (on to the furrows in the field). 310. Vain effort : Although the son of the farmer (or house-holder) has already picked up the cottonpods, still, behold, the hand of his young (newly married) wife is moving about unprofitably (on the field), displaying a rapturous ruffling of the cilia and having its fingers dripping with perspiration. 311. Self-oblivion : Fortunate (indeed) are they, who know how to look at their dear lovers with sighs, tremors and rapturous horripilation. Women like me (however) forget even their own selves, when they just see their beloved consorts. 312. Puzzling : Oh beautiful one, how does it happen that you forcibly (or violently) make your cowives so lean and emaciated by your waist, although it is by itself lean and emaciated and occupies a middle (also, impartial) place in your body?

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313. Unbearable separation : Like a disease without a physician (to treat it), like a person reduced sto poverty and staying with his friends and relatives), like the sight of the prosperity of one's enemy, separation from you is difficult to endure (for me). 314. Breasts and clouds : Oh king, none else except the breasts (of your beloved queen) can cover (i.e. occupy or fascinate) your heart which is large (generous), spotless (pure) and lofty (noble), just as none else except the clouds is able to encompass the wide, spotless (clear) and lofty sky. 315. Approaching paramour : The wanton woman, who had fixed up a secret meeting (with her paramour) uuder a thicket of shrubs, listens to the rustling sound of the old (withered) leaves (fallen on the ground), as they are pressed down by the ends of the feet (i.e. by the soles) (of the gently approaching paramour). 316. Lucky ear-ornament: The ear-ornament of the dark-coloured beautiful damsel, with its tip slanting downwards, as it were drinks the loveliness in the region of the root (i.e. upper part) of her cheek prominenlty bulging out (i.e. rounded) because of her fully developed youthful age. 317. Lotus-face : Because of the sweet fragrance emanating from her face, the bees (also, gallants), forming themselves into a circle, rush towards it-a wonderful lotus, which has never known (i.e. sustained) defeat from the moon (as ordinary lotuses do). 318. Heroic effort to suppress tears : Although she made a supreme effort to control herself, when her dear lover departed on a journey in the midst (presence of the elders (in the family, there escaped from her, as she closed her eyes, a tear which was (till then) clinging to her eye-lashes. 319. Absent-minded : All her limbs became moist with perspiration on (merely) uttering the name of her charming beloved, while she was briefing the messenger (with a message to be delivered to him), (and leaving her house along with the messenger) she reached the precincts of his residence (along with the messenger, without being aware of it). 320. Painful nonchalance : The sulking damsel does not distress my heart so much, even when she does not at all speak anything (ie, by her absolute silence), as when she utters indifferent (nonchalant) remarks due to her greatly heightened (massive) anger.

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321. Appeal to Cupid : I shall worship your feet with my life, oh Cupid, for the duration of the next) twenty lives, if you just now) pierce him (whom I love) with the self-same arrow with which I have been struck by you. 322. Reconciliation : I (still) remember the pleasurable sensation that I got from the pressure of her plump breasts, when she, though at first lying on the bed with her face turned away in anger), had her sulkiness (gradually) vanishing, and changed her sides (on the bed) in the course of her feigned sleep. 323. Challenge : Having forcibly pressed (or twisted) my hand, you have gone away, oh way-farer. If you now can get away from my heart, then I would know (i.e. acknowledge) your power. 324. Eloquent glances : Oh young boy, what (possibly) did the daughter of the village-chief not convey to you (even) in the presence of the elders, by means of her glances channeled through half-closed (or partially open) eyes, while she turned her face every now and then (in order to steal a look at you)? 325. Eloquent glances : Oh young boy, what (possibly) did she, looking at you again and again, not convey to you, by means of her glances heavy (dull) with the burden of tears which were welling up from the interior of her eyes ? 326. Nemesis : The Yaksa image under the banian tree, which used to be formerly placed as a cushion under my head by young men-to that very Yaksa image I am now paying my homage. Oh accursed old age, be contented now (at the revenge you have taken on me). 327. Lost happiness : The farmer's son is internally (i.e. in his mind) consumed (by grief), in his house, which is devoid of his wife, when he looks at the places where he had carnal enjoyment (with her), as at a place from which a buried treasure has been exhumed (and taken away by some one other than the owner). 328. Sulkiness is simply impossible : What sort of sulkiness can there be vis-a-vis a person, in whose absence (or separation) sleeplessness (or restless sleep), paleness and protracted sighs fall to one's lot?

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329. Lest I fall in love with you in my next life : Only for this reason I do not die (i.e, end my life), filled as I am with grief (or anger), namely that, if I were to die, oh charming one, with my (irate) mind (or thoughts) fixed on you, I would once again become attached to you (in my next life). 330. Blind love : Commit (all sorts of) transgressions (against me) without hesitation. I am, oh charming one, ready to put up with all that from you. In my heart filled with (admiration for) your virtues, your lapses, believe me, do not find any room (or footing). 331. Relief through streaming tears : In the case of the poor woman, the tears, welling up from and gathering in the eyes, spreading down and betraying her recollection of her dear beloved, stream down, as if they were the overflow (catharsis) of her grief, 332. Her only diversion : While striving to imitate whatever you do, whatever you say and whatever you wear (on your body), the entire) day does not become long enough) for her. 333. Hopeful resignation : My friends, let him call me by her name. What is the use of saying anything (to him, by way of reproaching him)? Let his love become fixed on some woman or another. Do not ever get angry with him. 334. Procuress i Because of this (my) long-living accursed body (also, crow), which though treated with contempt, always visits the houses of others in order to accomplish the missions (tasks) of others (also, in order to secure food), I have become disgusted (or sorely distressed). 335. Ingratitude : A wicked man before long tarnishes the very place were he dwells while being treated affectionately (by his benefactor), just as a lamp before long soils (with its soot) the very place where it has been put up, fed with oil (by the owner of the place). 336. Futile : In the case of a miserly person, the abundance of wealth, though in his possession, is of no use (to him), just as in the case of a tree oppressed by summer-heat, its own (abundance of) shade is of no use to it. 337. Adequate recompense : Oh left eye, if on your throbbing (i.e. if as indicated by your throbbing), my dear consort comes (back home), then I shall, closing the right eye, look at him insatiably (eagerly) and for a long time, with you (alone).

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338. Peril : That damsel, wandering for your sake (i.e. in order to find you out and meet you) in the village abounding in dogs, (also, ruffians), will certainly) be (some time) bitten (devoured) as she moves from house to house, like a wooden piece moving from one square to another on the dice-board in dice-play). 339. Mud-decoration : Why are you (still) washing away this decoration of mud) given to you by him (i.e. by your lover) and quite unobjectionable in the (current) Phalguna festival, although it has been (already) washed by the profuse perspiration gushing out from your jar-like breasts? 340. The bee's fastidiousness : If the bee, greedy for drinking (the nectar of flowers), desires to imbibe a different floral juice every time, that is the fault of the juice-less flowers and not at all of the bee. 341. Magnificent reception : Oh young man, scattering (the glances from) her lotus-like eyes on to the street, she looks out for you as you are approaching, and while doing so she leans with her breasts against the door-frame (of her residence) in such a way that her breasts appear like two auspicious (water-filled) jars placed at the entrance (of the residence) (to welcome you). . 342. Have mercy on her: She has wept as long and as one (possibly) can; she is as much emaciated as it is possible for the body to be emaciated; the poor damsel has sighed until her sighs have come to an end. 343. Real life and real death : When out of a (loving) couple, who have grown up (i.e. who have spent their days) in the midst of commonly shared joys and sorrows and whose flove has become deep-rooted over a long time, one dies, that one (really) lives, while the other (who survives) is (really) dead. 344. Deterrent : Do not weep, young girl. The first spray of mango-leaves, adorned with the first buds of the season, and placed on the mouth (top) of the (auspicious water-filled) jar at the time of your dear one's departure, will restrain him from undertaking the intended journey. 345. His mere sight dissolves my anger : The jealous anger, which my female friends had somehow smuggled into my heart getting a suitable opportunity, vanished at the (mere) sight of my dear consort, like a a clandestine paramour.

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44 346. Innocence : When the female friends of the young (married) damsel said to her "A Kusumbhablossom (crocus flower) is sticking to your breast", the simple-minded damsel began to remove briskly the nailmarks (or her breasts) and her friends smiled at her innocence ). 347. Scornful glances : Oh wicked one, these glances of yours, directed from your half-open, unsteady eyes turning away from me (or turning towards me) in scorn, since you are now no longer interested in me, as it were uproot my heart. 348. Blessed are they who do not love you : They do not (or need not) give out protracted sighs, they do not (or need not) Weep, they do not (or need not) become emaciated because of separation (from you) - very lucky (indeed) are those women, to whom, oh charming one, you are not dear (i.e. who do not love you) 349. Love-inspiring glances : The glances of the moon-faced damsel, which are lit up by her partially visible (sparkling) pupils, rolling about sluggishly because of drowsiness and turning obliquely, would be difficult to endure (i.e. to withstand) even for Cupid. 350. Good resolution : Having had a narrow escape with my life, I have some how put an end to the sin of love. Oh my accursed (heart, desist now and do not become attached to any man (here-after). 351. Adoration : As the young lady was looking at the fresh (i.e. newly made) nail-marks (on her breasts), her expansive bosom swelling with youthful age became adored (or worshipped) with the (two) blue lotuses of her eyes imaged (on the smooth and shining surface of her bosom). 352. Sun and moon, confrontation and coalescence : Pay homage to him (i.e. Visnu), on whose chest the (moon-like) face of Laksmi, imaged in the Kaustubha gem, appears like the orb of the Moon divested of its dark spot (deer) and reflected in the orb of the Sun. 353. Warning: Do not minister to the joy of your co-wives, conciliate your dear consort who is so eager for your favour. If you indulge in excessive jealous anger (sulkiness) (against your consort), you will grow emaciated like a heap (of grains) when measured out with a large-size measure.

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354. Saw of separation splits the heart : While her heart is being torn asunder by the saw in the form of unbearable separation, a line of tears mixed with the collyrium (in her eyes) is falling (on her heart, i.e. bosom) as if it were a (dark-coloured) guide-line (for the saw). 355. Bad investment : Oh young girl, this would be a bad investment. Do not act rashly. Oh my friend, hearts deposited here are never recovered. 356. Innocence : Even when the climax of carnal enjoyment has been reached, the young wife ignorant about the termination of the sexual act and with her carnal desire still far from being satisfied, thinks in her mind "there is some thing yet to follow". 357. Rewarding love : May the hearts (i.e. amours or love-makings) of prostitutes be happy (i.e. lead to the happiness of their patrons)-the hearts (i.e. love-makings) which create (i.e. give rise to and abound in) manifold amorous (or coquettish) acts (such as kissing, embracing, smiling, sulking etc.) and which quench the thirst of all people (i.e. their patrons) for impetuous carnal enjoyment. 358. Pangs of jealousy: Oh you, who have never (so far) experienced the sorrow arising from jealous anger (against your partner in love, i.e. against myself), why do you smilingly ask me about the cause of my emaciated condition? If you get a fickleminded partner in love (and become emaciated), then I shall put to you a similar question and you will know the correct answer). 359. Unheeded warnings : Those pleasures for whose sake I had sexual relations with you, disregarding the warnings of my friends, it is those very pleasures that (because of your alienation from me) are now threatening to endanger my life (itself). 360. Jealous husband : Her jealous husband does not allow her to gather the Madhuka flowers at night. But, oh mother, he goes out to gather them himself, extremely simple-minded that he is. 361. Warning: Oh my darling lady, you who are departing (in a rage), dragging a portion of your garment (which was caught by me to stop you), go slowly. You are not heeding that the middle portion of your body i.e. your waist), distressed by the heavy burden of your breasts will break (if you move away so violently).

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362. Mutual accommodation : As the wayfarer with eyes turned up (towards the damsel), drinks for long (i.e. slowly), with fingers loosely held together the water (poured into the hollow of his hands), the girl attendant of the wayside) water-fountain, (absorbed in looking at him and knowing his mind) makes the (already) slender stream of water still more slender. 363. Lost in looking at each other : She looks (intently) at his face and the mendicant (too) looks (intently) at her grand (or lovely) navel, and (in the meantime) the crows rob them of the begging bowl and the ladle (for doling out the alms). 364. Indispensable : He without whom one cannot carry on (even for a moment) is conciliated even though he may have been guilty of serious lapses. Even when a city is burnt down (by fire), to whom, say, is fire not dear (i.e, welcome) (for domestic use). 365. Unromantic, sordid village : In this wretched village abounding in churlish fellows, on whom, can one cast stealthy side-glances ? To whom can one speak about one's joys and sorrows? With whom can one have a hearty laugh (or joke)? 366. Prospective tryst: As the wanton woman performs the consecration-rite on the occasion of the auspicious ceremony (of sowing the cotton seeds) in the cotton-field, her hands tremble, because her mind is full of (lecherous) desires. 367. Preservation of the trysting place : Oh pious man, although you are plucking the twigs of the Karanja tree standing on the river-bank with the intention of attaining to heaven, both of your feet are still touching the earth, 368. Preservation of the trysting place : The wanton woman secretly sprinkled, with a solution of turmeric powder, the leaves of the banian tree which cast a dense shade (i.e. the fallen leaves of the umbrageous banian tree), apprehending that it would (otherwise) be denuded of its leaves by the travellers. 369. Vacant household : Although there is no work to do on the field, the poor farmer does not go back to his residence (in the adjoining village), in order to spare himself the grief arising from the dwelling place which has (now) become lonely because of the death of his dear wife.

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47 370. Difficult task: The simple-minded wife preserves, with her hands, the days of the termination (of the absence of her husband from home) (i.e. the days yet to pass before his return), marked on the wall (with lines), from (being washed out by) the water-streams which have forced their way through the openings (in the thatch) of the house, whose, grass-roof has been displaced by the stormy wind. 371. Monkey's reaction to pungent taste : On the bank of the river Goda, the monkey, while feasting on (or tasting) the pungent leaves of mustard of plants, springs up, growls and beats its belly. 372. Dedication: The farmer having for a long time carried about (here and there) the bell-string of his dead she-buffalo and having examined hundreds of buffalo-herds (and having failed to find any buffalo worthy of wearing it), suspended it (finally) in the temple of Arya (i.e. Goddess Candi). 373. Peacock-feathers and pearls: Wearing the plumes of peacocks as ear-ornaments, the young wife of the huntsman struts about proudly (i.e. with a haughty bearing) among her (senior) cowives, who have put on ornaments made of pearls obtained from the heads of (slaughtered) elephants. 374. Affected charm: Oh young boy, it is only through virtue practised in former lives, that a man wins. the love of (beautiful) women, who cast their glances in a crooked (rougish) manner, who speak in a crooked (indirect) way, who strut about in a sly fashion and who smile. rougishly. 375. Divination : Oh you who are kissing my eye, filled with the irritating pollen of lotuses wafted by the breeze, and which has been already cleansed of it by you with a mere puff of air (from your mouth), which of the Gods are you (since you have divined my heart's real desire)? 376. Flagrant proof of infidelity: Transferred from her face (i.e. forehead) (which you had kissed) to your face (i.e. lips) and from there to my feet (when you prostrated at my feet), thus moving from hand to hand (i.e. from place to place), the ornamental mark (on her forehead) has accomplished a very difficult task (indeed). 377. Embarrassment: The colour (complexion) of the face of the beautiful damsel, looking with half-open eyes, becomes darkish as the farmer's son (her lover) moves in front of her (or comes along towards her), his ear adorned with Jambu leaves.

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378. Diplomacy : Oh (female) messenger, you alone are clever in your business). You alone know how (and when) to speak harsh and gentle words (as demanded by the occasion). You should (therefore) deal with him in such a way that the scratched skin does not become white (i.e. you should scold him for his indifference or infidelity towards me, but take care that he does not become alienated from me). 379, Growing emaciation : Oh charming one, unable to get a place in your heart, (already) crowded with a thousand (other) women, she for the whole day occupies herself with nothing else (but doting on you), and emaciates (still more) her already emaciated body. 380. Continuous agony : Even for a moment, that beautiful young damsel does not slip down from my heart, having planted severe agony into it (by her separation from me), like the (harrowing) apprehension (or sense of guiltiness) caused by a crime secretly committed. 381. Good-bye to my sulkiness : Rise up; I am not at all angry (with you). Embrace (me). Why are you in vain appeasing me? I shall have nothing to do with sulkiness ( jealous anger), which causes grief (or embarrassment) to you. 382. Spot-tarnished moon : When the housewife touched her face with her hand soiled with kitchen-soot (i.e. with soot transferred to it while she was doing the work of cooking in the kitchen), her face began to look like the (spotted) moon, and then her spouse could not help smiling (as he was amused at the soiling of her naturally spotless bright face). 383. Sure evidence : Affected (scorched) by protracted, warm and copious (massive and frequent) sighs and (then) sprinkled with the water of her tears, her lower lip, darkened (by the scorching effect of the sighs) and with pale white spots (here and there due to the cooling effect of the tears), proclaims that she is separated from you. 384. Nostalgia : At the commencement of the rainy season, it seems to the wayfarer whose mind is turned homewards, that his (homeward) way is as if shortened, as if cut up into pieces and as if drunk up by him. 385. Lingering memories : This (or that) young woman sleeps (soundly) with her fatigued limbs, plunged in abounding happiness due to the lingering memories of the enjoyment of sexual dalliance (overnight), thereby giving (i.e. causing) mental agony to her rivals in love.

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49 1. 386. Warm on the surface, but cool inside : In the autumn, the waters of large lakes have become internally cool and externally warm (because the Sun directly strikes on them), like the hearts of good-natured people (which though seemingly ruffled maintain their coolness and placidity inside). 387. First venture : "What shall I do about the ignominy (arising from this illicit love-affair of mine )? What shall I say (on being questioned about it)? And how possibly will this (affair) end (or shape itself out)?" While speculating in this way, the heart of the woman who is for the first time venturing on the bold undertaking (of the tryst) trembles furiously. 388. Treacherous : Get away; do not wipe (the tears from my accursed eyes, which have been created (by Providence) only for weeping and which, becoming infatuated by your mere sight, could not perceive your (real) character i.e. your fickleness and infidelity). 389. Absent-minded : His heart vacant (or blank) because of anxiety (or sadness), thinking (only) of his wife languishing in separation, he passed right through the middle of the village, though he had planned to pass the night in the village (i.e. to stop overnight in the village, on his way home). 390. The root of the mischief : That the entire) village, though having many young men at it its disposal (to help in case of emergency), was burnt down as if it had nobody to save it- that was the mischief of your (uncovered) breasts, heaving with excitement (or panic). 391. In the name of drunkenness : That youth is inclined to be haughtly and you also, oh young girl, cannot brook haughtiness on his part. Under the pretext of drunkenness you should call on him and wash your hands clean on wine (which will not have been actually drunk by you, but which you will be only pretending to have drunk). 392. Sad memories of love : The straw-blades which the young lady had given to the wayfarer (in the evening) for his nocturnal bed, scolding him (while doing so), those very straw-blades she collected (or swept together) in the morning, weeping (all along), (after the wayfarer's departure). 393. Strong-minded men : Unalarmed in adversity, free from arrogance in prosperity, unperturbed in danger, strong-minded men display a nature that is uniform (both) in favourable and unfavourable circumstances.

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394. Agonising song : Oh friend, who was it that sang today early in the morning, a song, remembering in his mind, perhaps, some sweetheart of his, a song which lacerated (or tore up) the wounds of my heart struck by the shafts of Cupid ? 395. Back number : Seeing the protruding and huge (prominent) breasts of the beautiful young (junior) wife, the first (senior) spouse heaved a sigh, with her cheeks bathed in perspiration (caused by the fever of jealousy). 396. Sad memories of bygone pleasures : Though tormented with severe hunger, the elephant, remembering the pleasure enjoyed (formerly) in the company of his beloved mate, allowed the juicy morsel of lotusstalks to wither on the tip of his trunk (i.e. did not swallow it, being lost in thoughts about his mate). 397. Duet : "Oh my darling, be gracious to me". "(But) who is angry with you ?" "Oh fair one, why, you yourself!" "How can one get angry with a stranger?" "(But) who, pray, is the stranger?" "Why, my lord, you yourself!" "But how (or why) (am I a stranger)?" "That is the consequence of my (erstwhile) evil deeds." 398. Frustrated hope : Keeping awake in the expectation that you would come, I passed the first half of the night (tediously long) like an year. (But when you did not turn up), the rest of the night) dragged on (endlessly) like an aeon, while I was plunged in grief. 399. Frightened and upset : Restrain her (or hold her back), do not be afraid of her. It is not that she is possessed by an evil spirit, if she is thus roaming about (aimlessly). She is the wife of a wayfarer (who is absent from home) and her heart has been upset (or disturbed) and frightened by the sudden thunder of clouds. 400. Vaio toil : Oh bee, if you could find elsewhere too, as much (abundant) honey as you find in the lotus with its profusion of filaments and pollen, then you will be acting properly in roaming about here and there in search of honey, as you are doing).

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CENTO V 401. Lovely though soiled with meal : The way-farers look with unwinking eyes at the farmer's daughter (emerging) from her house and dusted white with meal (while grinding corn), as did the Gods (of yore) at Laksmi emerging from the milk-ocean (her erstwhile residence). 402. Commiseration : When she was questioned . Whom are you remembering (or thinking of )?" she replied "Who is there in the world) for me to remember?" And then she burst into tears in your separation and made us also weep (by her distress). 403. Ultimate limit of high-pitched love : Oh unfortunate woman, why do you now not raise up (i.e. help to rise) your consort, who has fallen at your feet? Just in this way even high-soaring love (i.e. love which has reached a high pitch) terminates (in abject prostration on the part of the consort at his beloved's feet). 404. Tutorial : I have a keen desire to become your beloved (i.e. to be loved by you); but I do not know that i.e. how to win your love). Be pleased to teach it to me yourself, so that I may be dear to you. 405. Self-defeating sulkiness : When he fell at your feet, you did not heed him. When he spoke endearingly, he got (from you) (only) an unfriendly retort. When he left, you did not stop him. Say, what did you gain by your sulkiness (or haughtiness) (against him)? 406. Frog heaving up and down : The female frog with her fingers placed (i.e. anchored) on the bank of the lake) and with her shanks (thighs) moving up and down because of the ripples of the water, appears as if practising inverted coitus on her own image (reflected in the water). 407. Preceptor : Through your favour, oh Kusumbhi plant, may young girls learn how to make inarticulate hissing sounds, murmuring sounds, slight tremblings of the body and shakings of the hands so briskly as to cause the body to perspire (during love-play). 408. Ob for a broad hip : Oh my hip, why did you not grow as large as the street (or lane), so that I could (easily) touch that charming (young) man, bashfully slinking away from the elderly people (and walking along the extreme edge of the street or lane)?

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52 409. Peacock : The peacock drinks, during the rains, with its long-stretched neck, the water-drop clinging to the tip of a grass-blade and looking like a pearl pierced with an emerald needle. 410. No sleep, no dream: Lucky are those women who see their dear lovers at least only in a dream. But if sleep does not come to one at all, in the absence of the dear lover, how can any one have a dream? 411. Moon-light at noon : In summer, in the case of a way-farer, even when he has set out (or is travelling abroad) at midday, the heat is banished (or allayed) by the (cool) stream of the liquid. (i.e. flowing) moon-light emanating from the face-moon of his wife enshrined in his heart. 412. Inopportune : Say, who would not get wild when entreated (for something) at the wrong place and time? When the mother is occupied with the enjoyment of carnal pleasure, she curses even. her crying son, howsoever dear to her (otherwise). 413. Restless and sleepless : "Sleep (now). Even the third quarter of the night is (already) over". Oh friends why do you say so to me? The fragrance of the Sephalika flowers does not allow me (i.e. makes it impossible for me) to sleep. Do you please sleep, all of you (now)! 414. Whispering campaign: As if it were a matter repugnant to (and forbidden by) the king, one wayfarer whispers hesitantly (or apprehensively) to another "From the point where the mango fruit will grow, something (i.e. a shoot of mango-blossom) has come out slightly". 415. Insatiable: How (possibly) shall I not remember him, who, even when sexual dalliance is over, still continues looking intently at my limbs in that condition (i.e. naked, and languid because of exhaustion), as if he were intensely interested in (i.e. eager for) sexual play (once again)? 416. Dried up lake: The bottom of the lake was exposed to view in course of time, presenting a sight never seen before, with its profuse sludge drying up and the tortoises and fish sorely distressed by the heat (of the Sun).

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417. Radiant beauty : Oh young girl, having a keen desire for clandestine love-making (or carnal enjoyment), you must not wander about at midnight, for (if you do so) you will be detected (or discovered) (by people all the more easily (because of your radiant complexion), like the flame of a lamp in the midst of dense darkness. 418. Destruction of the trysting place : Though accosted, the young lady, for no apparent reason, gives no reply and gets angry with every body, when the shrubbery (undergrowth) on the bank of the river catches fire and blazes up. 419. Retort with added sting: "Yes, we are of course unchaste (licentious). Desist from associating with us. Even (so-called) devoted and chaste wives behave in such a way as to tarnish the fair names of their families. But we do not at least long for intimacy with a barber as does the wife of a certain person (viz. yourself)". 420. Embarrassment : Oh young man, wearing on her ear the pair of jujube berries given by you, the young woman went from the village-street (straight) to her house, because she was overpowered by bashfulness. 421. Malicious : Have you then, dancing (with joy) at the difficulties (or troubles) of others, ignored him as he left with a sad heart, when unfortunately I had rejected his appeasements ? 422. Delightful, but unattainable : My dear lover is like the moon, delighting the eyes when seen, pleasing even when merely touching with the hands (also, rays), possessing all the fine arts (also, all the digits) and unattainable (even) when sought after (also, because of his being in the sky). 423. Obliging horripilation : The ruffling of the cilia (on her cheek) as it were quickly pushes up the lotus on her ear, in order to ensure that the lotus does not (by screening her ear) cause any hindrance to her hearing of the message delivered by your female messenger. 424. Transient love : Oh mother, we are (i.e. I am) now (severely) distressed by (this) love which perishes in a moment i.e. which is transitory) and which shows itself only to vanish (soon), like the acquisition of a treasure in a dream.

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54 425. The crooked and the straight-forward : The arrow forsakes the (curved) bow although it is pure (i.e. made out of a strong, elastic and perfectly flawless bamboo) and although it is furnished with the bow-string (also, excellent qualities or sterling merit). Does it ever happen that the crooked and the straight (also, upright) remain associated for a long time? 426. Growing breasts and waxing Vamana : At first, (only) dwarfish (undersized), then growing in size and height), her breasts have (finally now) produced the three (adipose) folds on the abdomen, just as Madhumatha (i.e. Visnu), at first only dwarfish, then growing in size and height), (finally) threw Bali into bondage (i.e. subdued Bali) for the good of the middle world (i.e. the world of mortal beings). 427. Majestic unto the last : Although they are now fallen (collapsed), her breasts, which were (formerly) high (lofty), closely pressing against one another, adorned with fresh (moist) nail-scratches and which have already fulfilled their mission of fascinating the minds of young men), are still charming to behold, like two (valiant) warriors, lofty-minded, extremely invulenerable, adorned with fresh (bleeding) wounds (received in the course of fighting), who have achieved their task of fighting with the enemy and are charming to behold, even when they have dropped down (dead) (on the battle-field). 428. The poetry of her breasts : Whose heart is not captivated by her breasts, which, like poems, yield happinesss on being squeezed (also, on being pondered over), which are large-sized (also, weighty with sense), which are joined together (also, free from literary blemishes) and which are adorned with nail-marks and ornaments (also, grammatical purity and literary embellishmentsfigures of speech). 429. Counsel of hope : Oh young way-farer whose eyes are filled with tears on smelling the aroma of the flowers of the Kadamba trees on the way, be hopeful (i.e. cheer up). You will certainly see (again) the face of your wife. 430. I can endure it, but she cannot: Thunder, oh cloud with all your might, just over me, the avarcious-minded (also, steel-hearted). But (for God's sake) do not slay (with your thunder) my miserable wife (in separation from me), with tresses hanging down loosely (on her face). 431. Son and rice-field : Because of the paddy-field, which is darkish with mud, which continuously absorbs (i.e., is saturated with water and water alone, and which is fed with water upto a considerable height, the farmer is delighted as because of his (little) son soiled with dirt (or mud), exclusively drinking mllk (i.e nourished on milk alone) and conferring a high status (on him).

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SS 432. Dewdrops : "Oh what a pity! At the time of my maturity (ripeness) (also, old age) I shall be thrown into contact with the thrashing floor (also, with wicked people)"- thinking thus the paddy-plant with developed arista (also, beard) and with its head lowered, seems to weep because of the dew-drops (trickling down). 433. Southern wind : The wayfarer is tormented when touched freely by the terrible southern breeze conspiring with the spring season, just as the Kuru-king (i.e. Duryodhana) was tormented when freely (i.e. unscrupulously) touched (i.e. kicked) by Bhima allied with Madhava (i.e. Kssna). 434. Evening scene : The lunar crescent on the first day of the bright half of the lunar month) and covered by the glow of the evening twilight in the sky, looks as if it were!a nail-mark (on the breast) of the sky-lady glistening through a red silken fabric. 435. Tell-tale nail-marks: The inexperienced young wife now rubs (or wipes), now washes and immediately thereafter whisks off the (tell-tale) nail-mark on her bosom, not knowing that it has been made by her dear consort (himself). 436. Multiple lunar crescents : Oh brother-in-law, do you not notice the series of lovely lunar crescents (i.e. lunar crescent-like nail-marks) in the armpit of your wife? Why are you in vain looking at the (lunar crescent in the sky ? 437. The unwritten letter : How possibly can (my suffering) be conveyed by words ? And how much (of it) can be writtan in a letter? What suffering I have to endure in your separation, you yourself know (by your experience of your own condition). 438. Clever reproach : Oh merciless one, how can she share equally with me the good luck (i.e. privilege) of being the object of your love, since you rob her (even) of her name and then give it to me? 439. Gentle manipulation : Supporting (or balancing) skilfully the weight of his body on his (vibrating) wings, the bee drinks (i.e. sucks) the Kunda-bud, obtaining its juice, and while doing so, causes it to bloom.

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56 440. Impatience : Even when the Malati-bud has not yet attained to even slight development (i.e. unfolding) of its calyx, you, oh bee, who are eager to mount it and to drink its juice, are seeking to rub (i.e. molest) it. 441. Vivid memories : Oh ungrateful, shameless one, I still today see before me (i.e. I still vividly remember) the village-sludge through which I waded for your sake (i.e. in order to meet you secretly) in the rainy nights. 442. Disillusionment : Oh friend, blinded (or infatuated) by love (or passion), I embraced what I thought to be the farmer's son. (But) as I touched him, he turned out to be a rough (rugged) straw-man (set up as a scare-crow) on the village-boundary. 443. Noble-born modesty : Smiling indicated by (the slight dilation of the cheeks, movements (inside the house) without stepping on (or crossing) the threshold (of the main front entrance of the house, and eyes invariably fixed on the (toes of the) feet-that is the way of noble-born women, 444. Only two alternatives : Oh proud (or haughty) lady, there are (only) two courses, on this earth, for men who are elevated (or exalted) because of self-respect : either they attain to prosperity (i.e. fortune or riches) or they perish while wandering (in search of prosperity). 445. Morning-scene : At the end of the night, the beauty of the (day-blooming) lotuses spreads out (with its fragrance) in the mortal world, while their petals begin to open out on being touched (or kissed) by the mass of the rays of the morning Sun. 446. Love is not impaired by physical distance : Where (i.e. how immensely remote) is the sun in relation to the day-blooming lotuses, and where (i.e. how immensely remote) in relation to the night-blooming lotuses is the moon, their (obliging or loving) companion ? (And yet there is a bond of love between them). Similarly the affection of good-natured people does not waver (or flag) even if they are separated by a long distance. 447. Midday in summer : Look here, at midday in the summer, the trees heated (or tormented) by the fierce rays of the Sun, are as it were shrieking (with pain) in the forest, because (i.e. under the guise) of the high-pitched (i.e. shrill) sounds of the crickets.

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448. Inverted coitus : The young girl, practising inverted coitus (on her consort) with her breast-garment slipping down, her luxuriant tresses hanging loose and her earrings and slender necklace dangling to and fro (or this way and that), looks like a fairy (Vidyadhari) who is slightly soaring up (in the sky). 449. Decoration of a victim : Oh friend, ever since she heard to-day, on the festive occasion, the mistake committed by her most beloved consort in addressing her by the name of some girl-friend of his, ornamentation of the body has become hateful to her, like a garland (of flowers) to a buffalo intended to be killed as a victim in some religious rite). 450. Southern breeze : Oh aunt, the southern breeze is advancing with its fragrance. Stop her from leaving the house and going out. One who threatens to die even because of the fragrance of the Ankotha tree-in the back-yard of the house) would certainly die (when exposed to the fragrance of the sandal trees wafted by the southern breeze). 451. On the death-bed: Although all the beloveds (i.e. beloved wives) of the village-chief had decorated themselves for following him in death (i. e. for self-cremation along with him on his death), still his glance fell (i.e. rested) (only) on his most favoured beloved, in spite of the excruciating pangs of death. 452. Different imports of identical utterances : Oh friend, (even) identically worded utterances convey very different imports. Those full of affection (or tenderness) convey one kind of import, while those full of sarcasm convey altogether a different import. 453. Lip-service: Quite different are the words which go out straight from the heart. Stop. What is the use of these your utterances which are projected only from between your lips and not from your heart)? 454. Loose armbands : Oh friend, say to me honestly, I ask you : Do the arm-bands (arm-lets or bracelets) of all women become bigger, while still on their arms. When the dear consort is away (on a journey)? 455. Loving concern : The female elephant, enchained by the bonds of) (i.e. prompted by) her love for her mate, immersed in the sludge, moves about (in circles) around him, feels deeply distressed and stretches out towards him her trunk (as if) to lift him up.

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58 456. Modesty and tactfulness : Victorious is the third eye of Rudra (i.e. Siva), which was sealed with a kiss by Gauri (i.e. Parvati), while his remaining two eyes were covered by her with her sproutlike (delicate) hands, when her garment (clothing) was stripped off (by Rudra) in the course of amorous dalliance. 457. Illicit amour : Afraid of the stroke with the new (i.e. freshly plucked) creeper, she runs ahead, (and yet) struts (lingers) on both the sides, (but) (always) remains within the range of the sight of her brother-in-law and hangs on (i.e. keeps close to) him. 458. Eyewash : As the faked (or counterfeit) petticoat (or under-wear) of the young wife is taken round (or publicly displayed) by her relatives, the (erstwhile, premarital) paramour looks on with (slyly) smiling eyes. 459. Emollient cream : (In winter) the young lady very cautiously puts with her finger dipped in bees wax, as it were a white bandage (or dressing) on her lower lip wounded in love, under the guise of spreading a film of bees wax (on it) (as an emollient pomade to counteract the effects of cold). 460 Quick decision: Modest (or noble-born) wives, bashful at the end of sexual dalliance, when they cannot reach their hands as far as their under-garments (kept away from the bed) screen. their pudenda hastily by embracing their beloved consorts. 461 His only favourite: The young cow (clearly) demonstrated her unique status as a favourite amongst all the cows in the cow-stall, by rubbing her eyelid (or socket of the eye) on the horn of the vicious (ferocious) bull. 462. Banner of immodesty : Behold, the daughter-in-law, in her eagerness for sexual dalliance (with her paramour) has hastily thrown away on the shrubbery (or bower of creepers), her new gaudy-coloured under garment, which (there) appears as if it were a banner proclaiming her lewdness. 463. The melting liquefying touch and glance: Even an aged cow yields milk at the touch of the hand because of the dexterity of the milkman (milker). But oh young boy, it would be only with difficulty that you will secure a cow who yields milk (or liquefies) at your (mere) glance.

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464. Facial distortions : Why does she at every step distort her face while moving along slowly (or gently) ? Why, her girdle touches (and irritates) the nail-scratches on her (thighs and) loins (made by her beloved consort during love-play)! 465. Munificence : While her foot, delighted with the feeling of rapture, on being massaged (or rubbed) by you, left behind in your hand the lac-paint (as reward for your labours), it imitated the noble deed of king Vikramaditya (viz. placing a hundred thousand gold coins in the hands of his army-generals), when he was delighted by the overthrow of the enemy (by them). 466. Forfeiture : Oh foolish lady, by becoming favourably disposed (towards your consort) simply on seeing him, you have missed (or forfeited) many a delight such as that arising from prostrations at your feet and impetuous and forced kissings (by him). 467. Moon-lit night : Oh fair one, please be now favourably disposed (towards your consort). You can have quarrels (with him) easily and often (at other times). Oh gazelle-eyed girl, this gala night (festive night), illumined by the moon will slip away. (So please be gracious towards your consort). 468. Rehabilitation : Only two know how to exalt the family of Aparna (i.e. Parvati) [ also, how to reconstruct temples dedicated to Aparna (i.e. Parvati) and how to raise up again to prosperity (i.e. rehabilitate) families plunged in distress ]- the beloved consort of Gauri (i.e. Siva) and King Salahana, (Satavahana, i.e. Hala). 46? Slippery : Oh young man, do not climb this Patali tree, which is difficult to climb because of the absence of notches (on its stem). How many has it (ie. the Patali tree) not already ca used in this village to fall down after they had mounted it ? 470. Objectionable : Oh aunt, in the house of the village-chief, there is the only Patala tree in this village. The brother-in-law, however, has on his head many a Patala flower. This is not at all) good (or proper). 471. Bewitching side-long glances : Other beautiful women too have, on their faces, eyes with long eye-lashes, white, long-extending and dark, but they do not know how to look (i.e. how to make use of them by casting side-long glances).

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60 472. Panic : Your enemies, whose frightened (or nervous) allies have run away through fear of the charming rainy season and who have given up all hope of saving their wealth, behave (now) according to your will, just as flamingoes, whose enfeebled wings flutter through fear of the charming rainy season (which, however, is not agreeable to their health), go away to the Manasa lake, giving up their food in the form of lotuses. 473. Considerate : In the house of a poor man, the (pregnant) house-wife, when questioned (by her friends and relatives) (repeatedly) about her longings (during pregnancy), asks for mere. water again and again, in order to avoid embarrassment to her husband. 474. Account : "Who are they that have been uprooted (by us), who are they that have been led to their ruin (by us), who are they that have been robbed of their abundant riches (by us)?" In the nail-marks (made by their paramours), lewd women carry (on their bodies) lines (strokes) to keep a count of all that. 475. Conspiracy: For the sake (or benefit) of reddish-eyed ladies, whose loins (or hips) and thighs stand out prominently visible because of their drenched garments after their bath in the afternoon, Cupid wields his bow. 476. Separation: Alas, separation, having violently convulsed my heart, has uprooted (i.e. ruined) all my joys (happiness), just as the mount Mandara, having churned the milk-ocean, uplifted (i.e. extracted) the (fourteen) jewels (from out of it). 477. Dilemma : He gets angry with unrefined (unsophisticated) love-making (on my part). He suspects (my) intimacy with some gallant in case I practise artful (sophisticated) love. these circumstances how possibly can unlucky I deal with my beloved consort so as to please him? 478. Self-immolation : Alas, alas! what is this that that bee has done, oh daughter, on being separated from the Malati (flower or creeper)? It has thrown itself on to a bunch of Asoka flowers thinking it to be a mass of lurid flames of fire. 479. Tutor : Who (possibly) is the tutor of women in carnal enjoyment abounding in manifold blandishments? It is the bond of affection because of which everybody learns even (previously) untaught things.

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480. Stay-at-home liar : Oh you who stay at home (and never move out), you are seen by me (i.e. I have seen through your untrue statement that you have seen him). As a matter of fact you have never seen him. For had you really seen him, your limbs would no longer have continued to be so healthy in their condition. 481. Appearance does not count: Although he is soiled with dust and besmeared (stained) with mud, and although his bed is made of grass (i.e. although he lies on a bed of grass), still only a mighty elephant is privileged to carry the kettle-drum (on his back) because of his huge body. 482. Confidence : "Oh captive lady, why do you not move (quickly) ? On what do you rely, so that you are walking (SO) smoothly (i.e. so slowly)?" Thereupon she smiled without displaying her teeth and said. "On robber, you will know it (soon)". 483. The favourite : The cowives of the (favourite) woman, who was in her menses wept with big tears when they saw the region of the top of their consort's shoulder besmeared with (yellowcoloured) ghee (from the fare of the favourtite woman). 484. Irresistible temptation : If people are annoyed at it, let them be annoyed; if it is censurable, let it be; what does it matter? (i.e. I do not mind). Come along, oh you in your monthly period, and nestle close to my side. I cannot get any sleep (without you by my side). 485. All-pervading presenee : In whatever direction I look (even) there I see you in front of me as if painted (on a canvass). The entire circle of the quarters brings (or presents) before me a series of your images. 486. Sweet, bitter sight : Oh charming one, so long as my glance spreads out i.e. reaches out) to you, you give me delight. But when you pass beyond the range of my sight, you torment me in such a way that I begin to wish that I had never seen you before. 487. Once bitten, twice shy : The monkey, already once stung (by a bee), retreats (slinks away), shakes (from a distance) the branch of the Jambu tree), again draws near it (i.e. the Jambu tree) growling (or snarling), but does not take (i.e. pluck) the Jambu fruit, thinking it to be a bumble-bee.

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62 488. Once bitten, twice shy : Through fear of getting a burning itch, the monkey in the leafy shrubbery, does not touch with his hand the hand of his mate because it resembles a slightly pendulous cluster of a stinging nettle. 489. Camouflage : You will (indeed) get near him, oh fair one. Do not (however, make such haste. Let the moon wax still further (i.e. rise higher up in the sky). Who can discern your face in the moon-light, any more than milk poured into milk? 490, In spite of that, or rather just because of that : On being separated from you the poor damsel has dried up (i.e. withered) although so full of sap (i.e. youthful vigour) (also, because she is full of affection); she has undergone sufferings although her heart has become insensitive (also, because she is innocent in her heart); she has become white (also, pale) though she is red (also, because she is full of love). 491. Fragrant autumn and wine : Behold, it is the fault of the autumn pervaded by the fragrance of blue lotuses, if the cucumber (gherkin) creeper climbs up any tree (that comes its way) whether fresh or withered. [Side meaning: Behold, it is the fault of wine (saraya-saraka) pervaded by the fragrance of blue lotuses, if a drunkan woman encircles (embraces, literally mounts) any man, whether young or old ). 492. Agonising absence : Indeed, without him (i.e. in his absence) the (spring) festival, wherein gay people are running about at random even over trackless regions (because of eagerness to participate in the public festival), wherein there is all around) the uproar of the jubilant crowds) constantly on the increase and wherein the musical instruments (drums etc.) are being lustily played upon, has become for us i.e. for me) agonising like a village-drum, which (when beaten to alert the people in case of calamities like outbreak of fire, assault by bandits etc.), sends people running pell-mell even over trackless regions in a bid to escape), which is accompanied by the ever-growing uproar (of the panic-stricken people) and by lustily blown musical instruments (like bugles, horns, trumpets etc.), 493. Frightful : Who is not frightened by the speech (harangue) of an obstinate miscreant, (suddenly) appearing by one's side, as by a thief hanged by the neck, stiff and stark, by means of a noose, on a tree in a cemetery ? 494. Ridicule by the rainy season : Oh aunt, on seeing the way-farers coming home without having accomplished their important tasks, the newly commenced rainy season as it were laughs with its (white) Kutaja flowers (at their failure to accomplish the tasks uudertaken by them).

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63 495. Gratitude for past obligations : Although the branch of the Malati creeper had been reduced to the condition of a stick shorn of flowers and leaves, it was not deserted by the bees, remembering the (erstwhile) abundance of the fragrance of its slightly opened buds. 496. Fortunate coincidence : Seeing the clouds rising high (i.e. piling up in the sky) the wife of the wayfarer, who had already given up all hope of living any longer (in his absence) and had hung down her tearful face (in despair), (unexpectedly) saw her husband (come back home). 497. Emaciation : The (entire) band of her female friends, again and again taking back to its proper place (on the upper arm) the sulking woman's armlet, the (auspicious) mark of her not. being a widow (i.e. of her conjugal happiness), every time it slipped down (her arm) (because of her emaciation), has actually become a group of makers of armlets (i.e. their sole. business now is to put up the armlet on her arm again and again). 498. Stroke of good luck : That the rumbling sound of the clouds was not heard by her as she had been rendered unconscious by the fragrance of the Kadamba flowers, was indeed all to the good (i.e. was indeed a stroke of good luck). Otherwise it (i.e. rumbling of the clouds) would not have. passed away (i.e. retreated) without (ending) her life. 499. Leaky roof and weeping eyes: The wife of the way-farer, in her house (already) wet with the water dribbling through clefts in the thatched roof, drenches with the incessant stream of tears (trickling from her eyes), even the region still remaining dry. 500. Sugar-canes and noble-born people : Sugar-canes and noble-born men give delight to the tongue (of others) (also, give delight by means of their tongues), are able to provide satisfaction (also, delight) to the heart, and even when crushed (also, tormented) they yield juice (also, affection). CENTO VI 501. Deep longing: The mango-buds are not visible, oh friend; the Malaya breeze too has not yet begun to blow. But the deep longing in my heart itself announces the advent of the spring-month.

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502. Mango-blossoms : The swarm of bees cannot be hovering about with yearning in the mango-grove without reason (i. e. the mango blossoms must have already appeared on the mango trees, causing the bees to hover in the mango-grove). How can curls of smoke show themselves in the absence of fire ? 503. Proper adornment in love-making : The braided hair dishevelled by reason of being seized (or pulled) by the beloved consort with his hand and the mouth scented with wine-this much alone is enough adornment in the case of young ladies while sleeping (with their consorts). 504, Natural adornment : Village-maidens with their full (swelling) breasts and having the only adornment of a shiny (flashing) bodice, coloured with madder, ravish the hearts of (even) grown up men, at the time of Cupid's festival. 505. Wayfarer's plight : Oh wayfarer, you who are (anxiously) looking all round at the surrounding) quarters, breathing hard (nervously), yawning, singing, crying, making inquiries, falling down and smiling, why are you undertaking this journey and going abroad away from your home and wife)? 506. Poisonous plant : Just now, the charming girl (by her loveliness) creates infatuation in young men, although she is yet in her childhood. Growing up she will cause disaster (or will work havoc), like a poisonous creeper. 507. New fascination : When the days of the wedding are near at hand, carnal enjoyment with the first wife has no more any place in the heart of the bridegroom, whose mind yearns for the love of the new bride (whom he is about to marry). 508. Forbidden delight : Although it is censured by people, although it is harmful and although it violates the bounds of morality, still (intimate) association (or contact) with a woman (i.e. one's wife) in her monthly course affords rapturous delight to the heart. 509. Accursed pregnancy : The daughter-in-law does not feel sad, in her heart, so much even on account of the burden of the foetus though very heavy, as on account of the fact that she is no longer able to have inverted coitus with her dear consort (because of her advanced pregnancy).

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65 510, Household-burden: The young married damsel first bade farewell to unrestrained laughter and (carefree) sauntering about, and then she took upon herself the crushing burden of the house-hold. 511. Irresistible attraction : If people, who make a fetish of the other world (and of life after death), get angry, let them do so, oh aunt (or oh friend). But in spite of that my glance finds itself forcibly. dragged towards the lotus-like face of the village-chief's son. 512. Separation : Like a painting that has been washed out (and has consequently lost its colours), like the trough of a water-fall which is devoid of water, like a cattle-stall without cattle-so is her separation from you. 513. Accursed street : Even when you approached her and passed by her, she, having failed to have your body come into contact with hers, reproached (or cursed) the width of the street and also the slenderness of her own body. 514. Sore disappointment : Oh fickle-minded one, desires clinging to you (as their object) every day crowd together in her heart, retreat from her heart and spreading out (again) towards you, make her feel restless (or agonise her). 515. Sore disappointment: Not heeding the reproaches of people and setting aside (the exhortations of) the elders, that poor damsel wept for long with protracted wailings, when the hope of seeing you (again) disappeared. 510. Love-letter: (My) heart rests in (your) heart, (my mental) glance (or sight) is turned towards you and fixed steadily on your face as if it were painted in a picture. But (my) limbs, which have become miserable being deprived of your embrace, have grown feeble (or pale) 517. Precarious : I am (extremely) emaciated because of separation. The fire of loneliness (separation) is difficult to endure. My life is in a precarious condition (or is hanging in the balance). What message shall I send (to him), oh friend (with you)? You yourself know what is fit (to be done).

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66 518. Unfortunate : Sleeplessness in your absence (separation) does not allow me to have the delights (or satisfaction) of seeing you even in a dream. Because of the tears (streaming down from my eyes), I have been robbed of even the diversion of looking out on the way of your coming back home. 519. Miserable : Oh you, who are attained (by me) only in imagination, how long a time shall I pass plunged in suffering, when my hope of continuing to live is sustained (only) by (the prospect of) seeing (again) your face? 520. Gratification : He cast a glance at her in such a way and she (too) darted at him glance, that both of them experienced sexual gratification simultaneously. such a loving) 521. Thrice blessed couple : Her husband (always) keeps on looking at her face and she too is altogether maddened by his sight. (And hence) both of them (alone) are spoken of (by people) as man and woman pleased with one another (or as a thrice blessed couple) on the earth, 522. Aversion : If you are provoked to anger because of some other offence (of mine) you become pacified somehow with the passage of time. But oh you, who are angry with me because I am odious to you, how (possibly) can I conciliate you? 523. All formality and no sincerity : You just put in an appearance (once in a while) (at my place) and speak pleasing words; just that much, oh charming one, constitutes sincerity (or real love) (according to you and I must accept that). Tell me, who ever tears open his heart and shows it to whom? 524. Inexhaustible fiood of moon-light : What is the quantum of the liquid (or water) in the form of moon-light in the lake of the sky, which flowing down in (countless) streams through the tubes in the form of the rays of the moon and ruining the prospect of my meeting with my beloved lover, never comes to an end (i.e. appears to be inexhaustible)? 525. Her eyes are there only for seeing you : Although this place is full of charming young men, the tearful glance of the poor girl wanders about here and there), as in a (tenantless) forest, (vainly) looking for your glimpse (or sight).

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526. Irresistible temptation : If you do not want to touch a woman i.e. me) while in the menses, why do you then remain (standing in front, though forbidden? (Look here), we i.e.I) have (now) touched you (already) with our (i.e. my) extended itching hands. 527. Precarious condition : Her eyes reddish and heavy (i.e. swollen) because of keeping awake (for long at night), and embarrassed because she has put on ornaments in vain, the daughter of the villagechief is on the point of dying. To whom shall we speak (about this) in this place, where there is no physician at all? 528. Emaciation : Even the extremely harsh mother-in-law was moved to tears by her daughter-in-law, whose husband had gone away (on a long journey), when both her armlets slipped down her hands as she bent down in order to offer homage at her feet. 529. Insuperable barrier : When the (prospective) traveller saw the face of his wife, drooping and enfeebled, at the time of bidding farewell to her, he, fettered immobilised) by sorrow, was not at all able to depart. 530. Scandal-mongering : Because of the accursed (mischievous people, who insert a pestle into every needlestich, I have not been able to look at my beloved lover though living in the same village (as I), even with ordinary (normal) eyes (i.e. glances) (much less with amorous glances). 531. Orly death will end my tears : Dear friend, do not prevent me from weeping at least today for a (single) day. Tomorrow morning, when he will have departed, I shall not weep any more, if I am not (already) dead (by that time). 532. Subtle refusal : As the dear consort said to his wife in her menses "Now come along", she lowered her face and doubly wrapped up her hips. 533. Deadly shaft : Oh charming damsel, whom do you not kill with this shaft in the form of your sidelong glance, emanating from the bow of your creeper-like eye-brows and red at its corner, sharp and lethal ?

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534. Eloquent indifference : That she did not (even) look at him with a straight glance, that she though openhearted (frank-natured) did not even) speak to him, that she did not (even) greet him (i.e, did not observe even the ordinary courtesies due to a visitor)-just from all that clever observers drew their own conclusions (about her vanishing love for him). 535. Paralysed by grief : As many steps as she went out, thirsting for your sight on hearing your voice, she had to be (physically) carried back those same steps, after you had gone away (beyond the range of her eyes). 536. No confrontation : I shall look at him with a frown, scold him, turn my face away from him. I shall do anything that you ask me to do, oh friends, provided I do not actually) see him. 537. Apathy : He looks at me now with eyes devoid of jealousy and anger, and dispassionate, just in the way one person looks (with unconcern) at another (with whom he is not in any way connected and who is a complete stranger). How is it then possible for me to help dwindling in my body? 538. Love stifled by coynees : The love induced (in her) by your sight comes to an end, just in her heart, because of her coyness, like the desire cherished by an indigent person. 539. All-too-fond husband : The wind is blowing (or lifting) up your saree. Cover up your thighs which have the circular tooth-marks clearly visible on them. Oh daughter (or young girl), do not make your all-too--fond consort an object of derision for people. 540. Unmistakable evidence of doting love : As the mother of the young wife sees the tooth-marks on her thighs, when her under garment is lifted up by the wind, she is very happy, as if it were the exposed) lid (or cover) of a buried treasure-trough. 541. Forest-fire : After burning down the entire forest, the fire fatigued by jumping over even and uneven places, goes down to the river catching hold of the grass hanging (or dangling) from the slope of the bank), as if it were thirsty (and wanted to drink the water of the river).

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69 542. Triangle of love: Oh foolish heart, you will have to face (or endure) even some other (worse) thing (or suffering) (i. e. even death). Do not despair because of the present (minor) sorrow. Oh you, aspiring to get the love of a person who is attached to another (woman), of what moment is the present sorrow (of mere separation) to you? 543. Strange logic: "Oh miscreant (or villain), she to whom you are hateful is extremely dear (to you)", thinking thus the wanton woman does not trust her wicked heart (to entertain hatred for her beloved as it is full of love for him). 544. Right to live: Granted, oh charming one, that she shines because of her amiable qualities and her beauty. Granted that I am devoid of all good qualities. Should (then) every one who is not similar to her (straight away) die (ie. court death)? 545. Housewife : Only those are (real) housewives, who know (i.e. constantly keep before their eyes) what is there and what is not there in the house (or what is beneficial and what is not beneficial to the family) and what conduces to the sorrows and joys of the family. The others only lead men to ruin and decay. 546. Housewife : To meet reproaches with (friendly or genial) smiles, insulting (annoying) remarks with kindly (or polite) service and wranglings with (silent) tears, that is the way of noble women (or good housewives.) 547. Elementary courtesy: Well may one not exchange words (with another man's wife like me) considering that that would be disapproved (or resented) by people. Who, however, would not cast a (mere) glance on (even) an enemy appearing in front of him? 548. Hypocrisy : "Do you think that every woman who dwindles in her body does so because of you, since you are asking me smilingly (about the cause of my emaciation, though you know it very well)? That is quite normal in my case in summer". Saying so she began straight away to weep violently. 549. Love alone makes one happy : He whose beloved is entirely submissive to his will (or dedicated to him), considers himself to be fortunate even in adverse circumstances. But he who is forsaken by his beloved is unfortunate, even if he is the master of the world.

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70 550. Love is irresistible and full of contradictions : Why do you weep and why do you become emaciated ? Oh fair one, why do you get angry with all and sundry ? Love is full of strange contradictions. Tell me, who can stop it (i.e. cure its nature)? 551. Ancient legend : Those young men, that rural grandeur (or splendour), that youthful age of ours (i.e. of mine)-people talk of them all like an anecdote (belonging to the remote past), and we too (i.e. I too) listen (approvingly) to what they say. 552. Too late now to get angry with him: While her cheeks were drenched with tears and her lower lip was throbbing, she said smiling with embarrassment "Why should I get angry (with my consort) even now when (his, love (for me) has already attained to the state of an oath (i.e. when his love for me is no longer a reality and is no longer directly experienced by me, but has got to be asserted by him on oath)?" 553. Contrast : He who (formerly) used to kiss me eagerly even when my face was anointed with yellow-coloured ghee (and when I was unapprogchable, being in my menses), he is now tardy in touching me even when I am adorned with ornaments (i.e. out of the menses). 554. Do not go by external appearances : Oh mother, do not reject her simply because her body is covered with a thick (roughtextured) garment. Even the pair of garments used (normally) for covering the body, is of course removed at the time of amorous enjoyment. 555. Self-defeating sulkiness : It is quite true that after every quarrel the delights of carnal enjoyment are ever new (i.e. are indulged in afresh). But oh sulking damsel, (prolonged and frequent) sulkiness destroys even intense love. 556. Belated regret : Intoxicated with haughtiness (or pride), I picked up a quarrel (with my beloved) without any (apparent)reason, and by abstaining from meeting him (.e. by avoiding him) I destroyed our mutual love by my defiant and arrogant attitude (or speech). 557. Beau ideal : Let people learn from you how to speak pleasing things, and also show to give (i.e. make a show of) excessive love even to persons whom they hate and how to appease those who are angry.

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558. Cling to her and leave me alone : Let her, who is skilled in all enticing blandishments divorced from genuine feeling, alone make love with you, who regard yourself to be very clever. Enough of our (i.e. my) making love (with you). 559. Ungrateful : He for whose sake, oh dear friend, I set aside modesty, transgressed the bounds of morality and caused defamatory remarks to be made (about me), that dear one has now become indifferent towards me. 560. Love-hungry glances : How long and in what measure will my conjugal happiness last, while it is being openly before my eyes) robbed (or plundered) by (other) women's side-long glances, hungry with sexual desire, my dear consort being fickle-hearted (or unsteady in his love) ? 561. Once in a blue moon in his wife's arms : Do you embrace me closely, suddenly awakened by the cry of the cock in the early morning) that you are. Do not be nervous in your own house, thinking (or suspecting) that you are sojourning in the residence of some other woman (than your wife). 562. Excellent opportunity : Who (possibly) will tell him (i.e. my paramour) that the vicious dog is already) dead, that the mother-in-law is intoxicated with festival-wine (i.e. wine prepared for the festival by the neighbours and presented to her) and that the wooden barricade (of the compoundwall) of the house has been smashed by the buffalo ? .563. Alluring but dangerous : The robbers cast again and again their nervous and covetuous glances at the lofty breasts of the hero's wife (abducted by them), as at a treasure-bowl guarded by a snake. 564. Healing medicine : The sulking lady drinks (or sips) drop by drop the wine transferred by her beloved consort to her mouth from his own, grasping her tresses and forcibly raising her mouth, as if it were a healing medicine against her sulkiness. 565. Close embrace : The Vindhya mountain, being pressed (or nudged) by the beauty of the rainy season with her breasts in the form of the clouds, has his limbs adorned with the rapturous ruffling of the cilia in the form of the new grass-shoots.

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566. Unique among rivers : Granted that other rivers too have dense and extensive stretches of woods (on their banks), garrulous water-fowls and cool (refreshing) water. The river Reva (Narmada), however, has some unique qualities (peculiar to it and not shared by other rivers). 567. Complaint : Oh Narmada, I shall tell (i.e. complain) to the ocean (your consort), that today you have, setting aside all civility (or good manners), damaged with your swirling flood the reed-bower in your vicinity (the bower which was to serve as a trysting place for me and my lover). 568. Lofty breasts : Come on, just have a look at her lofty (protruding) breasts, resembling ripe Malura (Bilva) fruits, which (lofty breasts) find no place on (i.e. cannot be contained on her bosom and are therefore like the soaring desires of noble-minded ambitious) persons, which cannot be contained in their bosoms (i.e. hearts). 569. Storm-scene : The heart of the dark cloud having its body split up (shattered) by reason of being seized and pushed (or driven) by the strong gale and by reason of its crashing (or colliding) on the mountain-peak, is as it were palpitating (or fluttering) under the guise of the (vibrant) lightning flashes. 570. Storm-scene : On the belly of the cloud-buffalo, howling with pain as it has been split asunder by the pointed tip (extremity) of the rainbow, the lightning-flashes appear like (its) entrails (breaking through and dangling). 571. Cupid's javelin : The perplexed (bewildered) way-farers behold the fresh shoot (or sprout) on the top of the mango-tree, as if it were a javelin of Cupid reddened with a mass of blood (of his victims). 572. Radical fault of Woburneys). It is the fault of women themselves, if their consorts are proud (enthusiastic about going abroad con distant journeys). Unless two or three (women) die (during their consorts' absence from home), separations will not come to an end (in the case of other women). 573. Precarious condition : Oh young man, I pray, go quickly. The poor girl is (almost) dying; (so) enongh of (further) delay. She will continue to live (or she will be saved) by your (mere) sight. There is no doubt about this.

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73 574. United for ever : Even an out-line picture, in which the use of colours has been dispensed with, has this only advantage that the dear person shown as tightly embraced (in it) is not released even for a moment. [Side-meaning: In the case of the mind-born God of love (i.e. the feeling of love) although it has no regard for the class (or social status) (of the persons loving one another), there is this advantage that the dear person (once) closely embraced is not released even for a moment (thereafter) ]. 575. Violence : Greedy for drinking the first out-pouring of the juice (nectar) in the flower-bud), the bee does not know how to unfold the bud whose ligaments (i.e. over-lapping petals) still remain unparted, but spoils (da mages) its tip (or apex) (by biting at it). 576. Ravaging hand of time : The Vanjula plants on the slope of the river-bank, whose flower-clusters broke (or snapped) under the burden of the bees perching on them, have, oh dear friend, now, with the passage of time, been reduced to mere stumps (or stubs). 577. Foolish deer : Although the forest-region has been kindled by the masses of the flames of the uninterruptedly spreading fire, the simple-minded deer does not rush out, thinking that it is a forest of Kiinsuka trees (covered with red flowers). 578. Embarrassing revelation : The Sarika (starling or female parrot) blurted out in the presence of my elders my adroitness in carnal enjoyment in such a manner, that at that moment, oh mother, I did not know where I should go (and hide myself) (because of shame). 579. Embarrassing revelation : Oh mother, (please) take away the Sarika in the cage out of the bed-chamber. It divulges to the world the confidential remarks (uttered in the privacy of the bed-chamber, during amorous enjoyment). 580. Gentle manipulation : Thinking of nothing else, the bee carefully (sedulously) guards (i.e. manipulates gently) the Malati-bud resembling a slightly protruding tooth-point of a panther, as if it were his life itself. 581. No end to his endearments : There is (in fact) nothing which the bee does not wish to do to the Kunda creeper, which is so pleasing (or delightful) to it because of the fragrance of the nectar gushing out from the recently unfolded petals (of its buds).

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74 582. Completely enraptured : Oh friend, I do not (at all) know what are those special (extraordinary) charming qualities possessed by the Kunda creeper, in consequence of which the bees swarm (or speed) towards it to drink it just with their eyes (forgetting to drink it with their mouths). 583. Cupid's armoury : The God of love (i.e. Cupid) dwells with his entire) weapons in perfect fighting trim, in beloved women, when, at the time of practising inverted coitus, their thighs tremble slightly, their eyes are closed and their tresses dangle (or flutter) about in disarray. 584. Eye-sore : Whatever is not agreeable to you, all that I refrain from doing, because it is in my hands (not to do it). But, oh charming one, if I myself am not agreeable to you (i.e. if I am an eye-sore to you), is it in my hands (to avoid it ) ? 585. Nectar of the lower lip : I think, the gods did not at all know (or taste) the nectar of the lower lip of my dearest beloved, and therefore they took the trouble of lifting up (or churning out) the nectar from the (milk-) ocean. 586. Beauty queen : Let the daughter of the farmer alone be entitled to the status (or distinction) of a beautiful woman, because she has turned all people in the village into gods looking at her with winkless eyes. . 587. Ingratitute : If in the case of lamps (paiva-pradipa), their faces (i.e. the tips of their wicks) become darkened (because of the formation of soot), even though they are (richly) fed with oil and are made privy to all undertakings (carried out at night), what can one say then about hostile people (paiva-pratipa), if their faces become darkened (with malice), even though they are extremely fondled with affection and taken into confidence (or consulted in all undertakings? 588. Missing in the manuscripts. 589. Love versus pragmatism: Why do you say to me, oh friends "Do not court death. You will see him if you continue to live"? That is the voice (or counsel) of business-instinct (i.e. of cool calculating pragmatism) and not at all the way of (emotion-packed) love.

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590. Commiseration : The lonely (or helpless) deer was fondled (or caressed) by the tame female deer full of deep longing, in such a (tender) manner, that the bow dropped down from the hand of the hunts-man who was fond of his wife. 591. Tender love : The female deer thinks that the male deer (her consort) is thirsty, and the male deer too thinks that the female deer is thirsty - thus both of them (i.e. the couple of the male and female deer) do not think of drinking any water at all out of (mutual) affection.. 592. Retribution: Why do you say (to me), oh pious man (or monk), that you do not get any alms in such a large village (as this one)? Oh you destroyer of the Karanja tree (my usual trysting place), I am surprised to find that you still continue to live (whereas you should have died long ago, because of your sinful act of destroying the trysting place of lovers). 593. Fresh challenge : Oh dark-coloured damsel, because of your bright (i.e. flashing), tremulous, sharppointed (i.e. piercing) glances channeled through the corners of your eyes, Cupid wishes (i.e. aspires) once again to wage a war with Hara (i.e. God Siva) (and defeat him). 594. Short-lived pleasure : The tresses of the dark-complexioned girl, which had (during the bath) obtained the pleasure of (close) contact with her hips, are as it were weeping (now), when she has stood up after the bath, under the guise of the water-drops (falling down from them), through fear that they would now be tied up into a knot) (and thus be deprived of the pleasure of touching her hips). 595. Sugar-cane crusher : Oh machinist (operator of the sugar-cane press), you are seeking to obtain sugar, but you are not operating the machine according to my desire. Oh foolish one, do you not know that sugar cannot come into existence without the juice (of the sugarcane) ? (Side-meaning. Oh you operator of the sexual apparatus, you seek pleasure, but you do not operate the sexual machine according to my desire. Oh foolish one, do you not know that pleasure cannot result without moisture (i.e. liquefaction of the vaginal passage) ? 596. Missing in the manuscripts. 599. Missing in the manuscripts.

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598. Cure for inconstancy : The accursed bee (now) roams in the midst of lotuses, (now) (lightly) presses (or squeezes) the Jasmine (flowers) and (then) does not leave the Malati (flowers) (too) (untouched). The Patala (flowers) will (if at all) cure him of his inconstancy (or fickleness). 599. Sample-survey : The young damsel whose blue-(or dark-) coloured bodice is fastened in such a way as to leave an uncovered space two fingers in width (in the central part of the bosom) and has therefore a speciality about it (namely that it easily affords a glimpse of the central part of the bosom), shows to young men a sample as it were (of the loveliness of the entire bosom). 600. Protection : Oh banian tree, who (by your dense shade) intern in the village-yard the dark half of the month, the village (i.e. the young lovers in the village), clinging to you far and wide (i.e. straggling all around you over a long distance), is (are), in spite of the fact that it has (they have) a diligent and intolerant chief, not in the least) worried about the divulgement of their clandestine amours). CENTO VII 601. Torrential rain : Look here, the cloud is as it were howling, because it cannot lift up the earth by means of the binding ropes consisting in the streams of water incessantly pouring down with great speed. 602. Lute-like sound of buzzing bees : The swarm of gnats (flies), clinging to the shoulders of the buffalo, hovers round about being struck by the horns (of the buffalo, through a movement of its head), humming with a garrulous noise similar to the clanging sound of a lute whose wires have been struck (or plucked). 603. Desecration: Inside the house where fire is tended (or worshipped) for the entertainment (edification) of people, the dog sleeps quite comfortably with its tail coiled up, unmoistened by the pouring rains), after the young boy (appointed to tend the sacred fire) has gone out.

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27 604. Warning: Oh young man, do not put trust in her, a harlot). These people (who speak admiringly about her) are (mere) flatterers. Look here (and say), is the (mere) perforation (of the ear-lobes) acknowledged as evidence (of a person's being a Hindu)? 605. Crows percbing on the hedge : The crows perching on the enclosing hedge and having their beaks washed down by the streams of rain, their wings hanging down and their necks curved (or contracted), look as if they were impaled. 606. Leaky roof and weeping eyes : The wife of the wayfarer ( travelling abroad) shields her little son, receiving on her own head the water dripping from the (leaky) roof, but she does not notice (in her grief over separation from her consort) that her son is being drenched by her (own) tears. 607. Dangerously absent-minded : Oh you absent-minded one, while stretching out your hand towards the hand of your teloved lover conjured up in your mind, you will fall down on the way, muddy because of the rains. 608. Waterless wash : As the consort places her on his lap, perspiration (gushing out because of emotion aroused in her) washes, like a servant in constant attendance, her feet whose borders (i.e. soles) are (still) soiled with mud sticking to them in the course of her movement to his residence (from her father's house). 609. Lingering pockets of darkness : The intoxicated swarms of bees, resting motionless on (white) lotus petals, look like (lingering) pockets of darkness (elsewhere) completely dispersed by the rays of the moon. 610. Earth-lady's grey hair : When the rainy season with its high (soaring) clouds is over like the bloom of a woman's youthful age (with its swelling breasts), the first solitary (white) Kasa flower makes its appearance (on the earth) like a (stray) grey hair (on the head). 611. Green parrots with red beaks : Just look here : from the hollow of (yonder) tree a swarm of (green) parrots (with red beaks) rushes away speedily. The tree is as it were discharging bile mixed with blood like a person suffering from fever in autumn.

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612. Sad pleasure : In the autumn the way-farers greedily drink the sparkling and clear waters in the lake, redolent of lotuses (growing in it) and (hence) comparable to the faces of their beloved wives, having sparkling eyes, and fragrant like lotuses. 613. End of the rainy season : Still wet inside but having layers of dried-up mud formed on the surface, the streets as it were breathe out (as they extrude wet mud through the crevices), when people walk on them to and fro. 614. Autumn : In autumn, the white clouds which have already discharged their water and hence) shine like hills of white (rock-) salt and resemble heaps of washed cotton, become as it were dried up. 615. Village-street : The surface of the village-street, having sparse (dried up) mud in its middle portion (which is frequently trodden by pedestrians) and having wet mud on both its sides (where it is not trodden by pedestrians) has become (i.e. looks) like the line of the partition of the hair (on the head of woman). 616. Culpable : Since you leap (or jump) over to another hedge, forsaking your own hedge although it can bear your burden, therefore I think, oh gourd-plant (or creeper), you will today or to-morrow (i.e. very soon) begin to blossom. [ Side-meaning : Since you reach out to the consort of another woman, having transgressed your own consort, although he is capable of sustaining you, therefore, oh you prompted by an unholy interest (or curiosity) (for other men), you will today or tomorrow (i.e. very soon) be exposed ). 617. Farewell : The buffaloes, while being taken by the slaughterers (to the slaughter-house), take leave as it were of their families with their bellowing sounds and with their glances turned towards their families for the last time in their lives). 618. Delusion: Oh simple-minded girl, why are you, incredulous about the real situation, again (and again) washing your hands, (naturally) red like a coral shoot (or like a tender leaf), from which you have already washed off the red mineral paint (clinging to them from your toilet rouge)?

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619. Lovely though soiled : "Oh daughter, first wipe your face on which tears are descending (i.e. which is soiled with tears) and which is (yet) extremely charming. Oh dear one, let him (i.e. your consort) not do so again (i.e. offend against you again), thinking that just jealous anger lends adornment (i.e. charm) to your face. 620. Way of love : Oh young man, this is (now) just the nature of love, namely to get angry all of a sudden, to become propitiated (i.e. friendly and favourable) in a moment, to adhere to untrue statements (once made) (and to be unwilling to withdraw them), and finally) to become a prey to excessive mental agony. 621. Farmer's pampered son: Pampered by tasting (i.e. eating) the sweet cakes (pastries) given to him by the wife of the village-chief, the farmer's son now says "fie," to (all) other cakes (given to him by other women). 622. Tinkling sound of bangles : The longing for amorous dalliance on the part of the son-in-law, who has come (to the house of his father-in-law) in the afternoon, is augmented by the garrulous clanging sound of the bangles of the young wife, produced as she is cleansing her bangles (while having her bath) in the back-yard (of the house). 623. Flamingos : The slender damsel bas both her breasts whitened with the fine particles thrown up due to the pounding of the grains (of corn) into flour for the impending) festival, (and looking as if they were two flamingos resting in the shade of the lotus (in the form) of her face. 624. Veteran wrestler : When the old (i.e. seasoned or veteran) wrestler, who in his peak-days) smashad other) wrestlers by pounding them with slaps and blows in the course of wrestling-bouts, merely girds up his loins (i.e. tightens up the belt round his waist), he (as it were) pulls out the hearts of his faint-hearted adversaries (from their roots). 625. Unlucky wife : Oh wife of the wrestler, are you not ashamed (of yourself) but on the contrary) are dancing (with joy), as the banner of victory of your husband is brought (to you) with beat of drums, when (as a matter of fact) your misfortune is being (thereby) proclaimed ?

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80 626. Wicked men and dogs : Do not put any trust in these wicked men, who are intent on excessive flattery (but) who turn their faces away (in indifference) as soon as their (selfish) object is achieved and who are (therefore) comparable to dogs turning their faces in the opposite direction as soon as they have achieved their object (viz. coitus). 627. Houri : May my (pet) bitch, who when she departs for another village draws after herta whole pack of hounds, live for a hundred years in unimpaired charm (i.e. sexual attractiveness). 628. Dog's tutor : Oh brother-in-law, tell me the truth. From where has the dog who (formerly) flattered (coaxed) (his mate) in that manner (i.e. abundantly), (now) learnt that (wellknown) (art of) turning away his face, the moment his object (viz. coitus) is achieved? 629. The joy of excellent harvest : Proud of the abundance of corn (or abundant crop) harvested (in the field), the farmer sings (with joy) in the autumn, in the nights in which the moon looks white like unhusked (pounded and polished) grains of new rice. 630. Lotus-like foot : The foot of the female warden of the paddy-crop, placed obliquely (across the waterchannel) and motionless, while she is blocking the water channel in the field, is (eagerly) sought by a swarm of bees greedy for tasting lotuses. 631. Apprehension: With every passing day, the female warden of the paddy-field, her pale face hanging down (or lowered) and her anxiety at the (eventual) termination of her trysts growing, dries up (i.c. languishes) along with the paddy-stems (which too have become pale due to ripening, have their tops hanging down because of the weight of the grains and are drying up). 632. Farmer's enragement (or sorrow): On seeing in the morning in autumn, the green and long-extending thousand-fold (i.c, numerous) tracks of the dwarfish bulls in the sesamum field whitened by hoar-frost, the farmer becomes enraged (or afflicted with sorrow) (at the damage done to the sesamum crop). 633. Wild rats: The farmer's wife mourns the seasmum-stems uprooted by the teeth of the wild mice (rats) (and laid waste) and fallen on the ground in a disorderly manner and appearing enfeebled and pale-white by exposure to the rays of the sun.

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634. Smouldering bon-fire : While the boys (urchins), vying with one another in the matter of bringing grass and twigs of trees, are running towards the root of the enclosing hedge and are occupied with collecting splinters of wood, the bon-fire (kindled by them already on the occasion of some festival) keeps on burning idly (i.e. keeps on smouldering, without blazing). 635. Shelter her from the sun's heat with your body's shade : Forbear, forbear, give up jesting, oh brother-in-law of the Nayika). This (or that) poor lady (the Nayika) is without any cover (to shelter her body from the heat of the sun). She perspires even in the cool (shadow of your body) (when you are standing near her). (How much more then, when you go away and she is directly exposed to the heat of sun ?) Therefore you should again make shade for her (by standing near her). 636. Built-in warmth : What need has that man for a garment (or clothes), for fire and for a sheltered residence, on whose bosom his wife with warm (or warming) breasts is resting ? 637. Cold heat : For the lotus-beds the winter is hot (i.e. causes them to wither), while it is cold to people (in general). Who here in this world knows the essentially diverse nature of things? 638. Missing in the manuscript. 639. Missing in the manuscript. 640. Missing in the manuscript. 641. Cold heat : People though concealing themselves (i.e. their real intentions) are known (revealed) by their actions. The winter is established as hot by its burning effect on the lotuses (i.e. by its causing the lotuses to wither). 642. Winter-nights : Who would not have a craving for ihe greatness consisting in (i.e. indicated by) the (apologetic) conciliation (made by one's dear consort, if (only) there were not the winter-nights which strike at the root of one's haughtiness? 643. Internal heating 1 In the winter, the way-farer, who is (wandering abroad) homeless and is whitened (or dusky) with the fine particles of snow, begins to perspire on recollecting the face of and his wife, and his cold vanishes altogether.

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82 644. Reflected images of flames: Oh girl, why indeed do you move away hastily after enkindling the fire (by blowing air on it with your mouth)? It is (only) the flames (of the fire) imaged on your jar-like breasts that are quivering and it is not at all the case that the flames (themselves) are touching (licking) your bosom. 645. Futile labour : Oh (girl), how will stimulation of the fire succeed (i.e. how will you achieve the desired result of making it blaze forth) in the midst of the darkness of the smoke, while your brother-in-law, greedy for kissing your lotus-like face, is standing nearby? 646. Reflected image: Oh girl, while you are stimulating the fire (by blowing air on it with your mouth), the flame (of the fire) imaged in your check, assumes the grace of a fresh, moist, tender (reddish) leaf placed as an ornament on your ear. 647. Let it go on endlessly to delight my eyes : Let this your stimulation of the fire, which has caused your eyes to become reddish, which makes them shed tears (due to irritation) and which causes your swelling bosom to heave (with exhaustion), just remain incomplete (i.e. let it go on endlessly so that my eyes may be able to watch you for a long time in this charming situation). 648. Genuine and counterfeit : The delicious juice which is found in the Pundra sugar-canes even when they are completely crushed, how can that delicious juice be ever found in the accursed stems of Bhamasa reeds? 649. Sugar-cane press and youthful age: The nature (or behaviour) of the sugar-press and of youthful age is found to be one and the same (i.e. very similar). The former impels (or prompts) the action (of crushing) on the staff (i.e. on the sugar-cane, and the latter the activity of the membrum virile), they extract the fluid (i.e. the sugar-cane juice and the semen); they do not allow people to sleep (at night) (as the sugar-cane press has to be operated throughout the night and as the sexual act takes place frequently throughout the night). 650. Old hag: Many an operator of the sugar-cane-press (also, of the sexual machine) has told us on oath that the wife of the village-chief has only a sweet voice, but there is no juice in her machine (also, no liquefaction or moisture in her sexual apparatus). 651. Firmly established: Why indeed do you designate her, whose nature it is to have sexual relations (with the host of the house), as a temporary guest? Thanks to the weakness of our (my) house-master (i.e. of my consort), she has already become the mistress of the house.

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83 652. Painter : You do not know the (proper) sequence of the different colours (to be spread on the canvass with the brush) (i.e. you are ignorant of the proper blending of the various colours). Nor have you got the correct sense of perspective (i.e. the knowledge of how to create the illusion of depth, distance, height, curves ctc.). And yet, oh painter, you seek to draw pictures on the wall of the residence of the wife of the village-chief! (Side-meaning: you are ignorant of the sexual characteristics of the different classes (of women), nor have you any correct knowledge of the various physical poses in sexual intercourse. And yet you have set your mind on and aspire to scratch the wall (i.e. the wall of the vaginal passage of the village chief's wife i.e., to have sexual intercourse with her!)) 653. Advent of Spring : The southern breeze has begun to move over the streets of the village, carrying (along with it) the first leaf of the Ankotha tree (blown away from it), as if it were the first intimation of the arrival of Madhava (i.e. the Spring Season). 654. Blooming buds : How possibly can that sulkiness (or haughtiness) be maintained firmly at the sight of the moon-like face of the dear one (i.e. the dear lover), when it fights shy of even the sight of the blooming buds of the Ankotha tree? 655. Blossoming Ankotha : If my entirely justified sulkiness has vanished without any ado (or has just vanished), the blame for that is to be placed at your door, oh Ankotha tree, who have blossomed all of a sudden (literally : let the blame for that rest (or descend) on your head, oh Ankotha tree, who have blossomed all of a sudden). 656. Advent of Spring : Put everything in order, sound the trumpets, arrange the flowers into garlands), carry out decorations (of houses and streets). Even in the case of the visit of) an emperor there is not that excitement which is noticed on the eve of the advent of Spring. 657. Mango-blossom: How and whence can there be well-being ? From the top of that self-same stunted (dwarfish) mango-tree, which stands in this village, there has emerged something disastrous (i.e, a spray of blossom). 658. Palasa leaves and Mongoose-ears : The leaves of the Palasa tree, which (leaves) had been burnt down by the forest fire in the cold season and which have again emerged in the Spring, look like the ears of a mongoose (ich neumon).

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84 659. Cupid's present to Vernal Beauty : Cupid has as it were presented to the Goddess of Spring a garment (cloak or mantle) of lovely flowers with leaves (also a garment with a terminal gorgeously embroidered skirt) and spreading its fragrance far and wide, after taking it away from his (own) body. 660. Dissipation of sulkiness : The fresh (new) spray of mango-blossoms here, placed on the ear, dissipates the justifiable (well-grounded) sulkiness of angry women, like a dear friend creeping close to the ear (to whisper words of consolation and salutary advice). 661. Consolation : "Oh girl, just today when there is a festival, your dear consort will certainly) come, (make no doubt about that). Do not (therefore) shed tears". (Thus) comforting the daughter-in-law, the mother-in-law (herself) begins to weep, with her face turned away. 662. Village-chief's earnings : Oh aunt, under the crooked (arched or stunted) mango-tree, day after day there pours down, in the guise of the farmer's daugther, a regular stream of wealth, for the benefit of the village-chief who is famous for collecting fines (from offenders caught red-handed in love-affairs with the farmer's daughter). 663. Binding chains : When the slender arms of the young (married) damsel are with-drawn from the neck (of her consort) at the end a farewell embrace, her bracelets slip down from her emaciated arms), like binding chains, on the foot of her consort intending to leave her and go away on a journey. 664. Dangerous trap : Oh lord of the elepbant-herd, refrain from visiting the paddy-field over there), which is pleasing only on the surface, but has snares spread out (or laid) (in order to catch you), and has pits covered with grass, while the guards are standing hidden (to pounce on you). 665. Leadership of the elephant-herd : How can the status of the lord of an elephant-herd come to an elephant though he might be looking grand in the excellent) (Vindhya) forest (in which he has been born and has grown up), if he leaves the Vindhya mountain out of greed for mouthfuls of new paddycrop (growing on the plains)? 666. Crooked fate : Oh young boy, even an elephant born in the first and foremost family (of Airavata, the divine elephant), though pure by birth (i.e. though possessed of excellent pedigree) and though belonging to the bhadra class, falls into bondage in a moment, because of crooked (i.e. adverse) fate.

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85 667. Leader of the elephant-herd : It is only the leader (or lord) of an elephant-herd that knows how to conduct to safety the elephant-herd, bewildered because of encirclement by fire started on all the four sides (of the forest by the elephant-catchers) and because of the drums beaten in a shrill, frightening manner. EUR68. Leadership of the elephant-herd : Oh lord of elephants, although your cheeks are emaciated, your inchor has disappeared, and although you have reached the last stage of your life (i.e. have become old), still even today, because you are alive, the entire herd of elephants has an able protector (or guardian) in you. 669. His greatest anxiety : Not even confinement, nor even separation from the female, pains the mind of the elephant so much as the swarm of bees turning away (from him) and hovering about here and there (aimlessly) because of the cessation (or depletion) of rut. 670. Great hero: The son of the village-chief defended the village so valiantly (by inflicting horrible punishment on the assaulting enemy), that his own people (friends, relatives and followers) were greatly concerned (about his safe return from battle) and the enemy was full of apprehension (about his own safety or escape from the battle). 671. Scarcity of deer-skins : Oh way-farer, inquire in other huntsmen's families about the skins of spotted deer. Our young huntsman (i.e. my young son or husband) does not bend (literally, direct or aim) his bow against deer. 672. Mother's complaint: My son, who (formerly) conferred the state of widowhood on female elephants, laying low (their mates) with a single arrow in each case), has now been reduced by my accursed daughter-in-law to such a condition that he has to carry a whole bundle of arrows (for killing a single elephant). 673. Deterrent name : In the village, the herds of cattle were (closely) inspected by thieves by shaking their bodies (in order to find out whether or not they had the name of their master, the villagechief, marked on them (and the cattle branded with the name of the village-chief were left alone, while others were carried away). Thereafter other people in the village) branded even their own cattle with the name of the village-chief.

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674. On the death-bed : Let not the hamlet talk of ascending the heights of the Vindhya mountain (for safety). The village-chief is still breathing. If he, on regaining consciousness, were somehow to hear about it (i.e. his people's retreat into the Vindhya mountain), he would (perbaps) die (out of shame). 675. The last message: While on his death-bed the village-chief gives his (last) message to his son with great effort: Behave in such a manner that you do not become known (to people) by my name (i. e. as being my son), (but earn name and fame for yourself by your sterling merit and solid achievements), 676. Superficial and sincere love : People caring only for external appearance and greedy for flesh took (i.e. purchased) (only) the limbs (such as legs of the slaughtered animal). But the hutsman's wife was not ready to part with the portion of the heart, except to a person who had a genuine desire and admiration for it. She therefore wandered (for long) in the market-place (in search of the wished for customer). [ Side-meaning: People, greedy for carnal gratification seized only the limbs (such as the breasts, lips etc.). But the woman (i.e. courtesan) was not ready to give her heart to any man, unless she was sure that he too would give his heart to her and therefore she wandered in the market-place in search of such a man.) 1 677. Wrong suspicion : Seeing the mouth of her consort bitten (or stung) by a bee and having its lip swollen, the Pulinda woman possessed by jealousy went away into the shade of another tree. 678. Reward of faithful love : As she started to follow (her dearest consort) in death he revived from his prolonged unconsciousness and the decoration of widowhood in the case of the noble-born lady was turned into a decoration of supreme good luck (in the form of the revival of her consort). 679. Pastoral mountain-resort : Blessed are they who live in a mountain-village, where they can give themselves up to carnal enjoyment, without fear (of being disturbed by any body), where the houses are surrounded by hedges with luxuriant foliage and where the thickets of bamboo-reeds swing this way and that being rocked by breezes. 680. Pastoral mountain-resort : The mountain-villages here have Kadamba trees planted in the yards of houses in full bloom, clean-washed stone-platforms in house-yards), and peacocks dancing with joy, and are lovely with the murmuring sound of the running (mountain-) streams.

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87 681. The tamed shrew : That cow, who (formerly) did not (even) moisten the hand (of the milker) (with a drop of milk), that same milk-withholding cow was so (skilfully or effectively) stroked (patted) by that cowherd, that she now yields, just see the fun, a bucket-ful of milk! 682, For the benefit of all : The steer lives (only) for you, the heifers live only for the steer. cow, for the sake of our lives. The entire cow-stall depends on you. Live for long, oh 683. Effective remedy : See, as the cowherd was having a joke with the dairy-maid, the newly married damsel (i.e, wife of the cowherd) let loose all the calves in jealous anger. 684. Following in the footsteps of pioneers is easy and safe : Even inferior oxen move without any trouble on a path that has been already trodder without difficulty by a superior bull in such a way that sparks of fire issue from the stones breaking (or crushed) under the furious stamping of his hoofs. 685. Bewildered bees : For a moment on to the rays of her nails, for a moment on to the flowers, for a moment on to the tender leaves and for a moment on to her hands, thus did the girl engagec in plucking flowers cause the bees to swing to and fro. 686. Reminiscence : The wayfarer smells, caresses, kisses and presses against his bosom, which becomes ruffled up (at the contact), the Madhuka-flower, because of its similarity with the cheeks of his wife. 687. Stupid elephant : Just see, how the wild elephant (over there) vainly moistens his head with the serpent's slough hanging from the mountain-precipice (i.e. rubs his head against it), taking it to be the (frothy) stream of a water-fall. 688. Disillusionment : Oh bee, you, who have forsaken the lotus flower out of your greed for the fragrance of the ripe Kapittha fruit (wood-apple), you will come to know the truth (i.e. you will be disillusioned before long), when you touch it, like a simple-minded rustic when he touches what is only a picture (of a beautiful woman) 689. Horripilation of joy : Look here, when the woman singer of auspicious blessings sang, there appeared on the body of the prospective bride, as she listened to the name of the bridegroom (uttered by

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88 the woman singer), horripilation, as if (the horripilation itself) wanted to hear the (bridegroom's) name. 690. Premarital love rewarded : It is reported that my father is going to give me (in marriage) to him, who made (premarital) love with me in a field. If he (my lover) were to hear about this, his heart would burst with joy. 691. Witnesses of premarital love-making : I think, the reed-copses are laughing at me along with those young men (with whom I had amorous dalliance there), as they (the copses) hear the auspicious songs sung on the eve of my impending marriage. 692. Tears of separation : As separation after the auspicious ceremony on the fourth day of the marriage) was near at hand, her hand and that of the bridegroom, which were tightly interlocked prior to the bridegroom's departure, wept as it were with the tears of perspiration. 693. Prudish and yet charming : They do not cast a glance, they do not allow their mouths to be touched, nor say any thing at all and yet it is a mystery, how loveable newly married damsels are. 694. Double protection : While the young husband, pretending to be asleep, turns sides on the bed, the trembling hands of the young, new-wed wife move towards the knot of her garment, held fast between her thighs tightly pressed against one another. 695. Persistent sulkiness : Questioned by the consort, who has offended against her, the young wife gives no reply, quivers convulsively when seized by him, weeps when kissed by him and remains still (unresponsive) when embraced by him. 696. Centre of attraction : Just from him start all stories, just into him they develop (i.e. all stories converge on him) and just in him they terminate. Must I then supposc, oh aunt, that there is in this village only a single (handsome) young man ? 697. Contrast : But when he utters them, Those very words that we speak are uttered by others also. they enrapture my heart.

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89 698. Love alone makes for happiness : With utmost solicitude strive to search out some one whom you can love, if you eare for your happiness. There is no happiness in this world) which one cannot find in the company of a person who is dear to one's heart. 699. Frustration : Although she rushed hastily out of the house), she was not able to see you to her (heart's) desire, in this accursed village in which the streets are meandering like a snake struck on the head and wriggling (with pain). 700. Iridescent tears The consort saw for long the downward streaming tears of his sulking wife blended with the flashing lustre of her (dark) eyes, of her (fair) cheeks and of her (red) lips, which (tears) (consequently) looked like a straight rain-bow (since the tears were streaming down her cheeks in straight lines).

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90 FOUR ADDITIONAL STANZAS FOUND IN THE BORI MS OF THE GAHAKOSA WITH AJADA'S COMMENTARY AND BEARING THE NUMBERS 597, 598, 599 and 600 597. All in vain : The winnowing basket was burnt; the grams were not fried; that young boy went away; the mother-in-law got wild (with me) at home. It was like playing on a flute in front of stark deaf persons. 598. Tell-tale eyes and horripilation: The faces of (lovely) women with bristling cheeks and with dilated, motionless eyes, reveal the pleasure (experienced by them) on account of the (close) embrace by their lovers concealed in water (during water-sport in swimming pools). 599. Intriguing: Your heart is as though full of (or fashioned out of) nectar (and) your hands remove (i.e. fulfil) the longings of those who are full of longings. Oh you with a moon-like face, where (then) does your enemy-scorching prowess abide? 600. Dance of peacocks: During the dark rainy days, accompanied by the rumbling sound of new clouds, the dancing of the flocks of peacocks, who are as if seized with deep longing (for their friends, the clouds), appears so charming. -X-

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91 Index to the Fisst Lines of Stanzas. Ms. with Ajadas commeutary (Add. = Four additional stanzas found in the BORI and printed on pages 294-295 of Part I). N. B. The figures to the right-hand side denote the continuous serial numbers of the stanzas. 528 436 214 441 in wr war 213 46 515 na 83 646 686 146 . aikovaNA ai diyara akayannuya akulINo akkhaDA agaNiyajaNA agaNiyasesa aggi abbhuttI agghAi chivai acchau tA acchau tAva acchINi tA accheraM va acchoDiya ajja kaimo ajja mae gaMtavvaM ajja mae teNa ajja mhi ajja vi ajjaMgautti ajjaM ciya ajjaM ceya ajjaM ceva ajja pi tAva ajjhAe~ nava aNuUlaM vattuM aNuNaya 253 134 361 130 202 lywm lm aNudiyaha aNumaraNa aNuvattaNaM aNusoya aNuhavau attA taha atthakka ahaMsageNa pimma aiMsaNeNa puttaya . asaNeNa mahilA addhacchi annaggAma annacchaleNa annannaM annamahilA annaha na annaM pi ki pi annANa vi annAvarAha annesu pahiya anno ko i appacchaMda appattapattayaM appattamannu appAhei abhitara amayamaya 84 171 627 296 340 50 299 542 471 522 lm 212 122 w is 155 661 45 60 531 351 orar m GG 358 675 w 226

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amayamayaM ayasassa aliyapasuttaya aliya suttavalaMta avamANio avarajjhasu avaraNhAgaya avarAhehi avalaMbaha avalaMbiya avaloyaMta avasara ruttuM avasahi avahasthiUNa aviyahapicchaNijjeNa aviyahapicchaNijjaM avirayapaData avirayapasariya avittasaMdhi avihavalakkhaNa avvo aNuNaya anvo dukkara asamattagaruya asamattamaMDaNa asarisacitte aha amha ayaM lajjA ahayaM vioya ahava guNa sambhAviya aha aha sarasa aha sA aha suyai aha so Add. 3 387 18 694 259 330 622 304 399 90 505 388 295 359 95 102 601 577 575 497 245 222 494 19 61 282 138 517 148 32 240 257 385 421 92 ahiNava ahi ahilijjai ahilati aMgANaM taNu aMtotaM aMdhalayabora aMbavaNe AucchaNaNitthAmaM AucchavaNoUhaNa AucchaMti ANAsayAi~ ANijaMtIeN Ama asai mha Ama jaro me Ama bahalA AmoDeUNa AyaNNes Ayara AyaMbacchaM AyaMbaloyaNANaM AyavaMta kavolaM AraMbhaMtassa AloyaMti ANNAi~ Asanna AsAsei ikka cciya ikkaM paharuvA sferraas stoore masaMdesA ikko vi kAla ittAhi cciya ittha mae Add. 4 39 630 317 298 327 185 502 529 663 617 21 625 419 53 566 323 315 20 647 475 105 43 127 468 507 232 586 88 166 291 23 506 309

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590 278 568 398 668 487 634 153 133 684 303 446 688 637 119 598 iddahamitte gAme iddahamitta vi inhi vArei IsaM jaNaMti IsAmacchara IsAluo ucchaMgiyAe~ ujjaggiraya ujjuyaraeNa uTheMtamahA uDiyapAsaM uNhAi~ nIsasaMto uddhaccho piyai unnama nAha uppahapahAviya uppAiyadavvANa uppikkhAgaya ummUlaMti va uya ullijjai uya koDarAu uya niccala uya pommarAya uya saMbhama uyaha paDalaMtaro ullAvaMteNa ullAvo mA uvaisai laTThi uvagayacautthi uvaridaradiTTa uvahAriyAe~ unvahai nava uvvahai bahU eihii so e ehi 592 ekkallamao 242 eso mAmi 118 eha imIeN 267 ehisi tuma olagga osaraha 608 ohAraya ___ ohidiyahA 477 kaiyavarahiyaM 395 __ kaDhiNakhura 664 kaNNujjuyA 33 katto kamalANa 362 kamalaM muyaMta 381 kamalAyarANa 492 kamalAyarAna kamale ya bhama 519 karamari ayAla 347 karamari kIsa 687 karikalaha 611 kalahaMtare vi kallaM kira kassa karo 462 kassa na saddhA kassa bharasi 493 kaha e dhUmaMdhAre kaha taM pi tai ___ kaha nAma tIeN 692 kaha me pariNA 66 kaha sA nivvaNNi 683 kaha sA sohagga 565 kaha so na 276 kaM tuMgathaNa 15 kAraNagahio 532 kAraNagahiyaM 482 206 260 48 645 0 0 0 0 0 0 0 MNuror 00 Nurur mm Nm - 05 urn0Vs 120

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458 560 230 470 451 636 872 92 279 600 689 72 324 589 550 221 247 433 26 266 474 121 140 284 449 114 123 kArimamANaMda kittiyamittaM ki ki te paDi ki tassa pAraeNaM ki tAva kayA kina bhaNio kiM bhaNaha sahIo ki ruyasi kI raMti cciya koramuha kuruNAho viya kuvalayapaharaM kusumamayA vi ke uddhariyA keNa vaNe kelIi vi kesararaya ko taraha kosaMbakisala khaNabhaMgureNa khaNamittaM pi kharapavaNa kharasippIra khaMdhaggiNA khinnassa khamaM katto gajja mahaM gammihisi gayavahu garuyachuhA gahavaiNA maya gahavaisuu gahiyAi~ aMgayAI gaMdhaM agdhAyaMtaya gaMdheNa appaNo gAmaNigharammi gAmaNiNo savvAsu gAmataruNIoM gAmammi gohaNAI gAmavaDammi gAmaMgaNaM gijjaMte maMgala gimhe davaggi gIyacchaleNa guttakkhalaNaM golANaIe~ golAyaDaTTiyaM golAvisamo gharavai gau mha ghariNighaNatthaNa ghariNIeN mahA cittUNa cuNNa cauvAsadinna caccaradhariNI cariehiM najjai calaNovAsa caMdamuhi caMdasarisaM cAvaM jai vi cikkhillakhutta ciriDi pi citANiya corA samaya coriyaraya chajjai pahussa chaNapAhuNiya tti chittammi jeNa jai cikkhilla 281 209 382 251 667 424 380 569 270 79 239 657 425 263 104 563 430 489 672 396 372 310 676 429 651 690

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jadda jUrai jai tassa jai na jai loya jai so na jamaMta rAi~ jasa ja jaha ciMtes jaha jaha jarA jaha jaha vAei jaha laMghei jaM asaraNo jaM jassa jaM jaM karesi jaM jaM te na jaM jaM pihulaM jaM jaM pulami jaM jaM so jaMtiya gulaM tujha saI jaM mucchiyAe~ jAijja va se jAi~ vayaNAi~ jAo so vi jANai jANA jA taNuyAai jAva na kosa jittiyamittaM jittiyamittA jIyaM asAsayaM jIviyasesAi jIse veso jIhAeN kuti jujjhacaveDA 511 67 526 508 292 321 180 670 277 243 616 390 159 332 584 248 485 75 595 174 498 176 697 301 91 548 440 73 408 193 350 543 500 624 95 je loNabhamara jeNa viNA na je samuhAgaya jo kaha vi jI tIi ahara joyaMti aNimisa jo vi na pucchai jo hoi jhaMjhAvAuttiNie jhaMjhAvAuttiNiya jhijjate hi~ seUNa sala DhaMkharaseso taiyA kayaggha tai volaMte tai suhaya taDaviNihiya taNueNa vi tatto cciya taha teNaM sA taha neha taha pari taha mANo tahasaMThiya taha sunhA eN taM namaha taM mittaM tAki kareja tA majjhimu tA runnaM jA tAlUrabhamA tAva cciya aranas tAvijjaMti 576 364 157 345 115 401 237 648 254 370 297 541 495 94 169 288 406 312 696 520 587 681 136 110 199 352 163 167 170 342 38 4 272 6

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96 486 591 376 177 172 662 631 192 228 34 273 538 535 423 154 501 523 422 518 383 103 244 593 233 427 473 355 329 tisio mayau tIeN muhAu tujjha ya tujjha vasahi tujhaMgarAya tuppAlayA tuha saNasaMjaNio tuha saNasattaNhA tuha dUikahA tuha muhasAricchaM tuha virahe cira tuha virahe jaggirao tuha sAmali tuMga cciya hoi tuMgANa visesa teNa na marAmi te ya juvANA te viralA te voliyA thakke piyAe~ thaNavayaNa thoyaM pina thoraMsuehi~ daiyakara dakkhiNNaNa daLUNa unnamaMte vaThUNa hariya daDhamannudUmiyA daDhamaDhabaddha daDharosa daraphuDiya daraveviroru diTThA cUyA diTThIeN jaM 551 124 178 188 179 diTThIeN jAva diyarassa diyahaM diyahe diyahe niva diyahe diyahe sUsa divvammi parA divvAyattammi dosai na cUa dIsasi piyAI dIsaMta nayaNa dohunhapaura dukkhaM dito dukkhehi labbhai duggayakuDuMba duggayaharammi dunnikkhevaya dUi tumaM dUmaMti diti dUmijjai dUrapaiNNa de yA dumasu de suyaNu doaMgulaya dhaNiyamuvaUha dhannA tA dhannA vasaMti dhario dhario dhavalo jiyai. dhArAdhuvvaMta dhAvai purao dhAvai viDiya dhIramavalaMbirI dhuyai vva maya dhulimailo vi 378 264 269 m s 483 503 108 467 599 561 410 679 s ) 496 632 224 258 682 605 457 275 318 229 481 583 100 534

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dhoyaM va citta naipU ra saccha na kuNaMta cciya nakkhana Uhesu nakkhu kkhuDiyaM guNehi hIra naccaNa salAhaNA na chivai nayaNabhaMtara na yadi navapallavaM navavahupimma na viNA sambhAve na vi taha ai na vi taha aNA na vi taha cheya na vi taha dUmei na vi taha paDhama na vi taha viesa naMdaMtu suraya nAsaM va sA nikammAhi vi nikkiva jAyA nakadurArohaM niddAbhaMgo niddAlasapari nippacchimAi~ nippanna sassa niyapakkhAroviya niyayANumANa nirvADihisi nivvattarayA niyasippa 512 47 24 685 271 249 125 488 348 325 693 571 131 235 509 320 223 669 156 78 357 98 369 28 469 328 349 112 629 439 294 607 356 578 97 nIyAi~ ajja nIluppalapari nIsasiukkaMpa nUNaM hiyaya maMti neurakoDi necchai pAsA nohaliyamappaNo nhANa haddI paipurau cciya juvANo paccagguvvilla paccU hamaUhA pajjA liUNa pasiakkha paDhamaM ciya paDhamaM vAmaNa paNa kuviyA pattaNiyaMba pattiya na patto chaNo papphullaghara pariosa paribhU eNa parimaliya pariya pie pasuvaNo paharavaNa pahiullUraNa pahiyavahU paMkamaileNa paMjarayasAriyaM pANauDIe pANiggahaNi 268 491 311 287 93 29 151 5 82 183 142 581 445 644 208 653 426 25 594 162 71 680 290 334 428 397 31 368 499 431 579 173 70

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98 144 be maggA 420 161 573 552 444 524 412 455 331 55 322 168 255 pAyaDiyaNeha pAyaDiyaM pAyavaDaNANa pAyavaDio na pAyavaDiyassa pAyavaDiyaM picchai aladdha pimmassa virohiya pimmummaiyAi piyadasaNasuha piyaviraho piyasaMbharaNa pisuNaMti pucchijjaMtI puTTava Diehi~ puTu bharei puTTi pusasu pusai khaNaM pusasu muhaM pusiyA kaMThA phaggucchaNa phalasaMpattIe~ phalahIvADaya phAlei accha phuTTateNa vi phuDDalliyAe~ phurie vAmacchi bahalatamAhaya bahuehi~ jaMti bahupRSphabharo bahuvallahassa bahuvihavilAsa bahuso vi baMdIeN nihaya bAlaya tumAi bAlaya tumAhi 466 bAlaya de 405 bAhullaphuriya 10 403 bhaggapiya 280 bhaNa ko na bhamai paritto 442 bhariuccaraMta 262 bharimo te gahiyA 22 bharimo se sayaNa bhaMjaMtassa Add. 2 bhaMDatAe~ 695 bhiuDIeN pulo 85 bhuMjasu jaM 234 bhoiNidinna 252 majjhanhapatthiya 435 majjhe payarNaya manne AyaNNatA 241 manne sAu cciya 339 mayaNaggiNu vva 231 maragayasUI 366 masiNaM caMkammaMtI 117 mahamahai malaya 149 mahilANaM ciya 141 mahilAsahassa 337 mahisakkhaMdha 285 mahumacchiyAe~ 650 mahumAsa 111 mA kuNa paDivakkha mA jUra piyA 479 mANadumapharusa mANaMsiNIe~ 129 mANummattAe~ 615 691 585 oow & 450 572 379 602 677 74 305 293

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218 604 250 261 484 205 452 533 306 626 207 618 521 623 laMkAlayANa luMbIo aMgaNa loo jUrai vaivivara vajjavaDaNA vaDajakkho jo vaNayavamasi vaNasAliyo vaSNakkamarahiya vaNNakkama na vaNNagghaya vaNNavasie vaNNaMtIhi~ vayaNe vayaNammi vasai hiM vasaNammi vahuyAe~ vaMkacchipicchirI 326 128 665 574 652 553 mANosar3ha va mA baMdhasu mA mA muya mAmi sarisa mAmi hiyayaM mA ruyasu mAresi kaM mA vacca puppha mA vaccaha vIsaMbha mAsapasUyaM muddhe apattiyaMtI muhapicchao muhapuMDarIya muhamArueNa muhavijjhaviya mehama hisassa raikelihiya raivirama rakvai aNanna rakkhei puttayaM racchApaiNNa raNaraNayasunna raNNAu taNaM ramiUNa payaM rayaNAyarassa raMdhaNakamma rAyaviruddhaM va raMdAraviMda rUyaM siTTha rehai viyalaM rehati kumuya royaMti va lajjA cattA lahuyaMti mmmm 0 0 1M 393 164 374 vaka ko pula 365 540 539 375 416 106 570 456 460 580 606 341 389 236 101 567 12 414 200 152 448 609 447 559 203 vAuddhaya vAuvvilliya vAeriyassa vAyaMtabahala vAyAe~ ki va vAsAratte vAharau maM vAhittA paDi vAhi vva vijja vikkei mAha vinnANaguNa virahakaravatta virahANalo viraheNa virahe visaM 437 610 333 418 313 184 215 354 44 476 181

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100 150 346 666 674 265 510 225 190 562 289 564 454 384 286 434 545 465 544 165 186 628 558 656 459 363 210 135 554 316 vihiNA aNu vijhAruhaNA vidhati taj vIsatthahasiya bujjhasi piyAi vevirasinna voDasuNayaM voloNAlakkhiya sakayaggaha saccaM kalahe saccaM jANai saccaM bhaNAmi bAlaya saccaM bhaNAmi maraNa saccaM sAhasu sacciya rAmeu sajjeha deha saNiyaM saNiyaM satta sayAI saddhA me tujjha sambhAvaNeha sabbhAvaM pucchaMtI samadukkha samaicchaMti samuhAgaya sarae maha sarae sarammi sarasA vi sarahasaviNiggayA savvatta disA sadhvassammi vi sambAyareNa sahai sahai sahi erisi sahi keNa sahi maMti sahiyAhi~ sahi sAhasu saMkeliu vva saMjIvaNosahaM saMjhArAya saMtamasaMtaM saMvAhaNasuha sA Ama suhaya sA tai sahattha sA tassa picchai sA tujjha kae sA tujjha vallahA sA nibiDa sAmAeN garuya sAmAe~ sAmalIe sAloicciya sAhINapiya sAhINe vi piya sikkariyamaNiya siyasiMdhava sisire vaNa sihipiccha sihipehuNA suNayapaurammi suppau taio suppaM daDDhe suyai suhaM suyaNu vayaNaM suyaNo jaM suyaNo na suhaucchayaM suhaucchiyAe~ suMdarajuvANa 549 404 308 407 614 658 54 343 514 513 386 612 490 699 373 338 413 Add. 1 603 126 175 698 58 9 256 525

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101 443 211 145 sUIvehe musalaM sUracchaleNa seullaNiyaMbA seulliya seyacchaleNa so attho jo so ko vi guNA so tuha kaeNa so nAma saMbhari so mANo piya so vi juvA hatthapphaMseNa hatthesu ya harihii hallapphala hasiehi~ 472 132 478 274 238 hasiyaM kavola 283 hasiya sahattha 302 haMta puloesu haMsehi va maNa 227 hAsAvio 196 hA hA ki hiyaicceya 86 hiyaicchiyassa hiyayannuehi 654 hiyayaM hiyaya 391 hiyayAhito 463 huMtapahiyassa 246 hutI vi 344 hemaMtiyAsu hemaMte himaraya 546 he hihaya 516 49 336 9 643 --X--

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Page #132
Glossary of Select Words Abbreviations : tb = tadbhava, derived from Sanskrit. ts = tatsama, same as in Sanskrit. d = desya or desi, borrowed from regional language. Add = Additional stanza (pp. 294-295; Part I) &#a tb (= OFERTATE) 603, not being moistened or made wet. affects tb (sifer+fattars) ( =*f**e), 567, adjoining, adjacent, being near. 317&# tb (=374TH, 2 CH), 327, (adverb), internally, in the mind, mentally. zjafs tb (=27=TIFT), 64, mango-stone. are tb (= TET), 46, to glide in, to slip in, to creep in. apie tb (=ET), 321, to worship, to adore. a tb (=80), 104, to honour; to hold in high esteem. #655 tb ( =*# #), 117, a bear. afosfarale tb (=afafana), 157, tossing of a glance. R (=21f279), 361, to drag, to pull. BUAT, tb (=raf) (ster ufara, sout, spazyat), 81, 143, 183, 202, 392, an adult, grown up lady, the daughter of a rich man; 372, the Goddess Durga (or Parvati). BH d. (= 7afara), 558, enticing blandishment, coquetry. TETUT d (=Het), 278, 281, 315, an unchaste or wanton woman. atfe tb (#foe), 16, wear and tear, strain and stress. auretag d. (=3fe), 264, wretchedness, misery.

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( 104) aNahoraNa d. (=anAvaraNa), 635, without any cover or shelter (horaNa). aNulagga tb (=anulagna), 294, 600, attached, clinging, straggling or scattered all round. aNuvvAya tb. (=anudvAna, sarasa, bASpApluta), 525, flooded or overflowing with tears, tearful. aNusaya tb (=manyu, krodha, pazcAttApa, duHkha), 33, 79, anger, repentance, sorrow. atthakka d. (=anavarata, Akasmika), 399, 620, 655, incessant, unceasing, sudden, out of season. atyaMta tb (=astAyamAna), 233, setting (sun). addAa d. (=Adarza), 149, a mirror. ananna tb (=anyAnya), 340, different (every time). annamayaM tb (=anyamayam, anyathA), 154, differently, once again. annirI d. (annasirI, anveSaNazIlA), 275, trying to find out. apahutta tb (=aprabhUta), 226, inadequate, insufficient. apaDiya tb (apatita, aprApta), 513, not obtained, (compare na vaDai, 592). appattapattaya tb (=aprAptaprAptika), 187, very difficult to get, never obtained before. appAha d. (=saMdira), 319, 517, 675, to give or send a message, to brief, to advise. abhiDa d. (=utpat, ullal), 371, to jump up, to spring up. abbhuttaNa d (pradIpaya, unnamaya), 212, to prime (a lamp) (by raising the wick). abbhuttaNa d. (=abhyuttejana, pradIpana,), 645, 647, stimulation, raking or stoking of fire. alAhi d. (=alam), 138, away (with), enough (of). alihiya tb (=alikhita), 131, unscraped, unpared, unchiselled. alliya d. (=AlIya), 634, to approach. avaUDha, uvagUDha tb (=avagUDha, upagUDha), 442, 695, embraced. avaUha, avagRha tb (=avagUha., upagUha), 101, 123, 293, 381, 663 to embrace. avasahia tb (=Avasathika), 295, an ascetic dwelling in a monastery. avahattha tb (=apahastaya), 304, 359, to disregard, to ingore, to throw away. avaheri tb (=avadhIraNa), 347, contempt, scorn, disdain, hatred. avahoyAsa tb (= ubhayapArzva or ubhayAvakAza), 615, both the sides. asuNI d. (=anAzrava). 136, perverse, obstinate, turning a deaf ear. aha d. (=asau), 21, 32, 240, 282, 385, 543 etc., this. ahiyAya tb (=abhijAta), 39, 214, born in a noble family. ahilI tb (= abhilI), 317, 630, to swarm or rush towards.

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( Pow) 371931 tb (= atua), 211, come, arrived. Hua tb (297748), 52, bringing near. BT1Cq5 tb (=31176540), 458, a woman's petticoat, skirt or underwear stained with blood at the first coitus. tuqur d. (=&ftate or gueofgozta), 368, solution of turmeric powder or rice flour. Atam d. (=3140), 160, act of dragging or pulling. arere tb (=174), 664, a guard. 3rftu tb ( =373ff8u = grafa = Afaa, mut). 684, trodden, traversed. BET d. (=menq, 797), 630, 645, greedy, avaricious, see me. atas tb (=39197), 547, to appear, to come up. 20 tb (=37rqui), 468, 8) built in honour of Aparpa (Parvati), (2) (397), 468, distressed, miserable, poverty-stricken. ATTEPE d. (=31e), 78, 389, to hope for, to expect, to desire. Birgis tb (=fETCT), 22, 213, nobility of birth, good breeding, good manners. 599f444 tb (=5#), 418, 550, one after another, each and every one, all and sundry. 579173 tb (=#1777), 50, attached by love to a single woman. ****** tb (=944), 166, one after another; 291, mutually, reciprocally. sfees tb (=safat), 295, for so long a time. 37 tb (=faa, fafca), 558, 662, famous, well-known. FAITE d (=arta, ca:), 92, now, hereafter. GAME d. (=ge1A), 294, 506, 532, now, at present. sa tb (=ga=3146), 39, 87, 90, 494, coming, visiting. sic d. (=99), 663, a mouse, a rat. 54four tb (=3#for il, 37907), 501, deep longing, yearning. 3442 tb (=31), 110, come out. sfare our tb (=gestof, urata), 327, dug up, exhumed. goaia tb (=39977), 331, excessive, overflowing, abundant. . gogea tb (=3f4879), 423, to push up, to heave up. 3097 d. (=2497, fa), 443 given up, abandoned. Foglau d. (=qman), 606, water dripping from a leaky roof.

Page #135
( 208 ) goufmza tb (=JWTTT), 60, 527, vigil, sleeplessness, wakefulness. Jefera tb (=ggetfuer), 664, tossed up, spread out. refafs d. (=39ef9f4791977), 120, pile formed by placing several things on one another, (Marathi 393). JANIT, JEITUTA, Inforu tb (=31119, 371 , mifera), 119, 218, 564, turned up, lifted up, raised up. sfafora, afer foute tb (=3efua), 254, 370, whose grassroof has been blown off. goca d. (=76), 571, heap, mass, collection. gohi tb (=FETE), 188, without premeditation, off hand. afgemot tb (=36918a) (FATU), 322, pressing, pushing, nudging. juga tb (=faqa), 69, uplifted, lifted up. gota d. (=37#7a), 38, risen up, emerged. 3787 d. (=fint), 138, 620, violent, impetuous, unrestrained, wild. SFETT tb (=JHTT), 636, to be or become warm. 309 tb (=559), 493, 578, to speak in a pompous, loud, ranting manner, to blurt out. Semra tb (=Jeesia), 547, exchange of words. Sem d. (=fgc), 368, to cut, to pluck, gagifear d. (=2167811#), 683, a dairy-maid. goaza d. (=aaferos, afa5), 290, left over, excessive, profuse, abundant. Joala d. (=alfa), 88, afflicted, aching; (=f , SIT), 541, tired, wearied. fea ( ), 575, to unfold, to open out, 539, to ruffle, to displace, to lift up. sfog (=eafoza), 581, unfolded, opened. Fefesa tb (=geefesa), 251, expanding, beaming; (=goffa), thrilled (with joy). Fete tb (=378109, 59877), 326, a pillow or head-rest. 54900 tb (=saerft), 590, lonely. a tb (=Taha), 83, 84, 136, a, 655, just so, without any reason, without much ado. Stoia tb ( =* ), 151, sloping, inclined, turned downwards, stiforca tb (=396 ), 199, a place away from the eaves of a house. after four tb (=aHfsi), 30, withered garland. B Testo tb (=200m). EUR65, emaciated.

Page #136
(107) olugga tb (=avarugNa), 516, 633, enfeebled, sickly, pale. ovAsa tb (=avakAza), 18, 75, 116, 305, 615, room, place, space, region. osinna tb (utsvinna or avasvinna), 395, profusely perspiring. ohAraya tb (upahAraka, upaharaNa), 634, act of bringing near. kaThiyA tb (=kaNThikA), 77, necklace consisting of a single row of pearls or jewels. kaMDUyaa tb (=kaNDUyaka, kaNDUkRt), 375, irritating. kajja tb (=kArya), 418, 502, purpose, intention, cause. kaNayadora (=kanakakAJcIguNa), 158, golden girdle (waist-band). kaNNujjuya tb (=karNarjuka), 303, credulous, gullible. kayamannuya tb (=kRtamanyuka), 62, offence committed already. karaNI ts (=karaNI), 240, action, manner, behaviour, similarity (sAdRzya). karaMka ts (=karaGaka, bhikSApAtra), 363, a begging bowl or mug. karamarI d. (=bandinI), 56, 57, 482, a captive woman. kalama ts (=kalama), 631, paddy plant. kalamagovI (=kalamagopI), 630, a female guarding a paddy field. kavADaya tb (=kapATaka), 599, door, opening, uncovered space. kaviccha tb (=kapikacchu), 488, stinging nettle. kasara d. (=nikRSTavRSabha), 644, an inferior bull. kasAya tb (=kaSAya), 34, sharp, pungent solution or decoction. kArima d. (=kRtrima), 458, faked, counterfeit. kAleyaka d. (=ghAtaka), 617, a slaughterer (agent of death). kikilli, kaMkilli d. (azoka), 228, 478, Asoka tree. kicciramittaM tb (=kiyacciramAtram), 519, how long ? kiNo, kiNNo tb (=kiMnu, kasmAt), 69, 644, 651, why? kilaMghaya, kiliMbaya d. (=laghukASTha), 82, 634, wooden splinter. kuDa d. (=ghaTa), 175, 681, jar, pitcher, bowl. kuDaMga d. (=nikuJja), 111, 178, 186, 315, 462, 691, a bower of creepers, a thicket. kuDDa tb (=kuDya), 36, 108, 155, 652, a wall or partition. kosaMba tb (=kozAmra), 17, a sprouting mango-stone.

Page #137
(806) httb (DI), 616, kusmandi-gourd creeper; also kutUhalinI, a woman prompted by immoral passion for men. khaMdhafgga tb ( = skandhAgni, sthUlakASThAgni), 79, fire made by burning logs of wood. ), 681, a milk-withholding cow. d. (=gar khaNNuya or khannuya tb ( sthANuka ), (=, causal sense) tb (=), 312, to make emaciated. mtb (=), 265, the scar of a healed wound. khala ts (=), 432, (1) threshing floor, (2) a wicked person. afaa tb (=afaa), 334, disgusted, fed up, sorely distressed. fafa tb (f), 546, offensive, annoying remark. d. (=), 371, to growl, to make a coughing sound, to snarl. d. (=), 224, 263, 455, sunk, plunged, immersed. tb (=), 441, trodden, trampled, waded. Tg tb (=fa), 574, way, manner, pecularity, speciailty. gaMta (=gAyaMta) tb ( = gAyat ), 505, singing. 66, wooden peg or metalic pin supporting the tapering cone on a temple turret; 176, 178, 576, a tree-stump or stub, a leafless tree. ifa tb (=gia), 53, foul-smelling, stinking. ftb (=), 366, full, filled. TET tb (=), 481, heaviness, hugeness, greatness, bigness, bulkiness. galatthallaNa ( = galahastana, preraNa ), 569, act of grasping by the neck. gahavai tb ( = gRhapati), 310, 372, 586, 662, gharavai ( = gRhapati), 281, householder, master of the house, farmer, villager. d. (=), 220, a cow. zarafaa tb (=nafaa), 104, honoured by showing respect. fifa tb (ft), 682, young cow, heifer. 1 tb (=), 461, 512, 682, cattle-pen, cow-stall, enclosure for cattle. gutthad. ( = grathita, gumphita ), 65, woven. tb (), 595, (1) raw sugar, jaggery, (2) pleasure. offauigg tb (=yfe), 150, a bow shooting round pellets, a catapult.

Page #138
nhau tb (TTT), 89, (1) dust-particle, (2) (= ta), pride, vanity. 57107987 tb (=Tiaratt), 306, the river Godavari. sitest tb (=Tat), 34, 60, 114, 123, 177, 371, the river Godavari. TTA d. (=), 21, 115, 394, 632, morning, day-break. iala, TTTT tb (=IETET, TE TE), 49, 338 from one house to another, ( 2 ) from one square (on the chessboard) to another. aptarT tb (=TEATE), 274, (poor) economic condition of the house-hold. Tafur d. (=h t), 172, sulking, muted with anger. alfesa d. (=quarto), 288, welling up and streaming down (tears); 302, moving or wandering about. afts tb (=agefakte), 692, auspicious ceremony, preceding consummation of marriage, on the fourth night after wedding. 999 tb (=5, ara), 371, to chew, to lick, to taste. afaray tb (=HTT, TEATT), 621, act of eating or tasting. TIFF tb (BFT), 464, 613, to move about, to walk laboriously, to move with unsteady, wobbling gait. TEET d. (=cat), 363, a ladle for serving alms to beggars. ferencias, fefqerces d. (= ), 263, 441, 615, mud, sludge, mire. f m tb (=f473H), 574, (1) Cupid, (2) (=f**), picture, painting. fagfee (=fafta), 155, 252, covered with lines or marks, soiled, tinged. fafefs d. (=3OFF TOT), 104, throbbing or movement of the lips. at tb (=fal), 112, funeral pyre. 7 d. (= T), 380, to slip away, to drop down. ** d. (=fafu=1769, sqa, afsaa), 466, fallen down, missed. 17 d. (=Fyra, ), 526, to have an itching sensation, to twitch, to throb, to ache. 7 d. (= ), 534, a wise (shrewd, clever) person. 38097EURforar tb (eruataforaer), 651, a temporary, casual guest. Best d. (= ), 126, skio, slough. 81% tb (=ET&T=974T), 35, (1) lustre, healthy glow; (2) shadow. greu d. (=877), 654, a bud. BTT tb (=8141), 51, shade, shadow.

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(880) foged, (=weat), 282, 300, an unchaste, wanton woman. fo* d. (=pE), 382, 526, touched. for tb (= ), 99, 690, a region, a field. foca d. (passive base of fya), 408, 433, to be touched. feroa tb (=5165, ETC), 185, a tail. feralfomu d. (=fera ), 621, censure, condemnation. fesa d. (=Fast), 14, 105, 217, 464, 526, to touch. 37 d. (fe ), 119, thrown down. 3434 tb (=968), 223, technically perfect, sophisticated carnal enjoyment. gia tb (=ura), 421, going away, departing, leaving. ga tb (=17), 595, (1) sugar-cane crusher, (2) sexual apparatus or machine. Fifat tb (=qTf74), 595, operator of a sugar-cane press, machinist. fingu tb (=177), 518, sleeplessness, wakefulness, vigil. See JufrTT. Amare tb (= TATE), 173, sacrificial enclosure or hall. mie d. (=f fert), 566, water-fowl, aquatic bird. FT547 tb (=r7*), 140, begged for; (51784), become. GOTT ts (=uWTU). 82, a bracelet with etched holes or designs. Fly tb (=erta), 254, to illumine, to light up, to show, to reveal, to search out; (=954), 401, to see, to look at. 1981T tb (59*17), 283, homage, salutation, greeting. afsu d. (=afaa, toa), 176, fallen, dropped, withered, decayed. fyrst tb (=17), 297, 342, 353, 537, to waste away, to dwindle, to shrink. aftur tb (=etot), 86, 342, emaciated, reduced physically. E d. (=front), 447, a cricket. (or ) d. (=faq), 12, 39, 455, 632, to be dejected, to feel distressed, (=79), 305, 484, 511, to get angry, to lose one's temper. GTO tb (=FTA), 652, (1) perspective ( in painting or drawing ) a picture, (2) physical posture in coitus ( TTTTT) stara tb (=alesa), 685, to cause to move to and fro, to swing. 27 tb (=FQTT), 253, 460, to cover up, to conceal.

Page #140
( 111) DhaMkhara d. (=patrapuSpAdirahitazAkhA), 495, a branch (of a tree) shorn of leaves and flowers. gaMta (or naMta) tb (=Neta = nayat), 52, taking away, ANaMta (-ANeta Anayat), 52, bringing near, avaNita (=avaNeta-apanayata). 89, taking away. NAyai (or nAyai) tb (=jJAyate), 70, is known (passive), NiDDa tb (=nIDa), 110, a nest. Nita (or nita) tb (=niryat), 284, 450, 580, escaping, going out, coming out, protruding. NibuDDa d. (=NibuDDiya = nimagna), 38, drowned, submerged. Nimiya tb (=nimita), 341, set up, put up. Nimmahiya tb (=nirmathita, niSkrAnta, prasRta), 317, spreading out, emanating. Niya d. (=pazya), 494, to see. Niyaccha d. (or niyaccha) (=pazya), 184, 351, 529, to see. NiyalAviya tb (=nigaDita), 455, enchained, shackled. Niyaliya tb (=nigaDita), 529, fettered, immobilised. NilINa tb (=nilIna), 66, resting, perched. Nilukka d. (=Nilukkiya=nilIna), 64, lying, lodged. Ninvava tb. (=nirvApaya), 256, to cool. Niha tb (=nibha), 459, pretext, excuse, guise, pretence. NihAya tb (=nighAta), 609, a swarm. NI (or nI) d. (=nirgaccha), 51, 696, to go, to leave, to emanate, to move out, to start. NIha (nIha), d. (=nirgaccha), 323, to get away, to escape [ extended form of NI ( or nI) ] NUma (or nUma) d. (=chAdaya, gopaya), 93, to conceal, to hide. NohaliyA (or nohaliyA) tb (-navaphalikA), 5, fertility, emergence of fruit, fruition. taMbA tb (=tAmrA), 461, 682 a young cow. taMsaM tb (=jyasram, tiryak, adverb), 9, 324, 349, obliquely. taNua tb (=tanaya), 312, 362, 379, to make thin or slender, to make emaciated. taNuA, taNumAa, taNuyAya tb (=tanukAya), 28, 61, 238, 542, to grow lean, to waste away, to be emaciated. taNNaya tb (=tarNaka, taruNaka), 17, a young bull or calf. tatti d. (cintA), 53, 222, concern anxiety, plan.

Page #141
(112) tattilla d. (cintApara, tatpara), 600, vigilant, watchful, diligent, circumspect. tadiyaha tb (tadivasam, anudivasam, sarvadivasam), 514, day after day, every day, the whole day. See diyasiyaM. tamma tb (=tAmya), 542, to despair, to despond, to pine. : taraliya tb (=taralita), 80, made unsteady, allured, enticed. tAlUra d. (=jalAvarta), . 38, whirl-pool, eddy (in a river). tuppa d. (lipta, snigdha), 20, 273, 553, besmeared, anointed. tuppaiya d. (=snigdha, makSita), 483, besmeared. tulagga tb (=tulAgra), 296, (daivayoga, kAkatAlIya), chance, accident. tuvarI ts (=tuvarI, ADhakI), 309, a kind of bean (Marathi tUra). tUha d. (tIrtha), 34, 60, river-bank, bathing ghat. thaa tb (=sthagaya), 253, 434, 539, to cover up, to close, to screen. thakka d. (=vilamba), 188, halt. rest, leisure, respite. See atthakka. thaNa tb (stana), 208, to groan, to sigh. tharahara d. (=kamp), 366, 387, to tremble, to shudder. thAma tb (=sthAman), 430, 482, strength, stamina, might, power. See nitthAma. dava d. (=narma, parihAsa), 683, joking, jesting, chat, gossip. dasi tb (=dazA), 16, fringe, loose end of a piece of cloth. daMtamagga tb (=dantamArga, dantakSata), 540, tooth-mark, tooth-bite. See khayamagga. diyasiyaM tb (=devasikam, sadA), 334, always, every day. See taddiyaha. dIvi tb (=dvIpin), 580, a leopard, panther, tiger. dIviyamaI d. (=krIDAmagI), 590, a pet or tame female deer, (dvIpikamagI), a female dear spotted like a leopard duggacca tb (=daurgatya), 72, stark poverty, misery, indigence. ducca tb (=dautya), 86, the function or role of a messenger, mediation. duddolI d. (=duvinayadazA), 350, undisciplined, unruly, sinful conduct. dunnikkhevaya tb (dunipaka), 355, an irrecoverable deposit, a bad investment. duppariyalla tb (=duSparikarSa, durAkarSa), 131, difficult to stretch, too ponderous to stretch and string. duma d. (=dhavalaya), 108, to whiten, to cleanse. duMdumadAma tb (=ghaNTAdAman), 372, a necklace of small bells (for cows, buffaloes and bulls).

Page #142
(887) gfH d. (=safar), 108, wbite-washed, cleansed, whitened. gfore tb (=gfarewer), 58, unskilled (in love-making). gfrafrau tb (=g:fafara), 621, pampered, overfondled. greu tb (=ffea, g:fega), 516, distressed (because of the absence of something). A d. (=9157), 259, 264, 269, 289, 304, 307, 320, 669, to distress, to torment. gfaz d. (=97, fifeer), 10, 76, 109, 150, 424, distressed, tormented, afflicted. a d. (sreia), 467 etc., I pray to you, please. ud. (=37E), 108, oh (used in addressing a person). 257 d. (=a7), 457, a brother-in-law. atest ts (=demt), 443, threshold of the main entrance of a house, porch, portico. afuri d. (=687, ), 301, 561, tightly, closely. quan (=976), 130, a thin slice peeled off from the surface of a bow-staff, paring, shaving. afin d. !(=FTTT, mart), 503, braided hair, hair dressed in the form of a knot or plaits. 97 tb (=a), 668, to be alive, to continue to live. ya8 ts (= ), 17, 682, 684, an excellent bull, a steer. ga, eta, qe tb (=aa), 139, 229, 339, 435, 512, 605, to wash, cleanse, to purify. 24 d. ($a 10), 569, to palpitate, to flutter, to pound, to throb furiously. $tb ( - 8), 418, a thicket on a river-bank. Foute tb (=se), 675, you are known. See oprac. 73 d. (=faeri). 79, to torment, to afflict (ara). Houd tb (=#971) 533, half open, half closed eye, a side-long glance. TUTT tb (= 97&T*), 187, 268, 462, a new saffron-coloured or gaudy-coloured saree. faoet tb (=ffenfu), 75, to look intently at, to stare at. facda tb (faces), 469, without any notches or cuts in the trunk (of a tree) to serve as foot-rests while climbing. faco tb (=l9:41), 248, to be in the utmost or last stage of emaciation; 256, to be left over, to remain behind (af); 524, to come to an end, to be depleted. facra, forcat tb (FT:ETTA), 529, weak, feeble.

Page #143
( 114) nippacchima tb (=niSpazcima), 112, 617, last, final. from tb (=fawful), 510, to fall or descendfor devolve on a person, as a responsibility. niyaMsaNa (or NiyaMsaNa) tb (=nivasana), 134, 301, 456, 460, a garment or saree worn by a woman. nirakkhara tb (=nirakSara), 104, (1) illiterate, ignorant, (2) without figures to indicate the weight. nivvaDiya tb (=niSpatita, niSpanna), 652, achieved, realised. nivvariya (or Nivvariya) d. (=kathita), 203, proclaimed, revealed, announced. nivvaMtara tb (nIbAntara), paTalAntara), 499, a hole or cleft in a thatched roof. nimbUDha tb (=niyUMDha), 203, accomplished, carried out, demonstrated. nisamma tb (nizrAmya, vizrAmya), 636, to rest, to repose. nIsaha (or NIsaha) tb (=niHsaha, durbala), 67, 167, 254, fatigued, languid, drooping, weakened. numajja tb (=niSId or nimajja), 484, to lie down, to sleep. paiNNa tb (=prakIrNa or pradatta), 341, directed, cast. pairikka tb (=pratirikta) (vivikta), 91, solitude, privacy. pauttha tb (=proSita), 136, estranged, mentally separated, alienated; 505, undertaking a journey and going abroad. pakkavaiyA tb (pakvapatikA), 563, wife of a mighty hero. pakkala tb (=pakva, samartha, pravIra), 129, a mighty hero. paccujjIva tb (=pratyujjIvita), 674, revived, one who has regained consciousness. paccuvayAra tb (=pratyupakAra), 546, kindly service, doing a good turn, obligation. pacca ha tb (=pratyUSa), 445, the sun, dawn, day-break. pacchANa tb (=pracchAdana), 554, garment, clothing. paTTaya tb (=paTTaka), 653, document containing an announcement, notification. paTThI, piTThI tb (=pRSTha), 10, 90, back. pdd| (or vaDa) tb (=pat), 592, to be available, to come one's way. paDala tb (=paTala), 65, thatched roof. paMDiyaitta tb (=pANDityavidita) (=paNDitamanya), (or pANDityavat) 558, one who considers himself very clever. paMsula tb(=pAMsula), 543, a libertine, a rake. paDikuNa (paDikA), tb (=pratikR), 259, to requite a good turn by another good turn, to oblige. paDiruddha tb (=pratiruddha), 219, stopped, restrained, sustained, supported.

Page #144
(884) aferca tb (=sfagter), 141, skilled, proficient. gfagt tb (= f ), 449, to appeal to, to fascinate. TfEEte tb (=ufane), 13, to be liked or desired. TEST tb (= H), 164, 337, first, first ever. qura tb (FUTAT, 27), 20, 283, to give, to offer. afera tb (=sfa+s), 162, 192, 304, 330, to believe. Taat tb (==t, 977), 185, a bowl, a vessel. E tb (=alfauft), 463, spotaneously oozing milk, liquefying. 90978 tb ( =EHICU), 346, 435, to whisk off with a jerk, to remove briskly. 947 tb (=HTT), 595, to seek to obtain, to ask for. TATUTUa tb (=HITEC), 354, coloured guide line for operating a saw on a log of wood of plank. 944174 tb (=8412*, Deaf), 678, serious illness leading to death, prolonged unconsci ousness, coma. qe tb (=HT, passive sense), 97, to be effaced, erased or wiped out, to be removed, to slip; to escape (TTT) (Bhuvana pala). 909fa1st tb (=9a9fqet), 202, placing the feet on the ground alternately one after the other, walking. qafesa tb (=#fesa, pifca), 383, seized, grasped, affected, troubled, tormented. q7rE# tb (=91797, 971540), 33, 192, turned away, averse, adverse, hostile, unfavourable. afPage #145
palahI.d. (=kAsa), 310, cotton-plant. palippa tb (=pradIpya), 418, to be set on fire (passive). paluTTa d. (=pravRtta), 168, 339, to start, to well up, to gush out; 370 (=paluTTiya=pravRtta), welling up, gushing out. pallavaccha tb (=pallavekSu), 648, very sweet sugar-cane. pallI ts (=pallI , grAma), 168, 339, a village. pavAsa tb (=pravAsa), 44, estrangement, alienation, physical separation. pavvAya tb (=pravANa, pramlAna, zuSka), 58, 613, withered, dried up. pasAhirI tb (=pasAdhayitrI), 81, adorning. pasiDhila tb (=prazithila), 385, exhausted, fatigued. pasUya tb (=prasU), 132, to give birth to a child; (=prasUta), 207, delivered of a child. pahalla d. (pracala), 80, tremulous, unsteady. pahiya tb (pathika, gatvara), 47, fleeting, evanescent. pahutta tb (prabhUta), 226, sufficient, adequate. pahuppa d. (=prabhava), 6, to be able or strong enough (to avenge). paheNaya tb (=praphenaka), 268, 621, foamy sweet cake, pastry ( lAhANaka, Bhuvanapala ) offered to a deity on a festive occasion and then given to friends and relatives. paheNayasurA sb (=praphenakasurA, utsavasurA), 562, wine purchased and used at a festival, (pahaNeya utsava). paholira (=praghUrNaka), 118, causing the body to shake or shudder, convulsing the body. pADalI, pADalA tb (=pATalI, pATalA), 459, 598, a kind of tree. pADI d. (=mahiSIpota or dhenupota), 67, the suckling calf of a cow or buffalo, a female suckling. pADhINa tb (=pAThIna), 416, a kind of fish. pANauDI tb (=cANDAlakuTI): 173, the hut of a candala. pAmara ts (=pAmara, grAmINa, kRSIvala), 184, 309, 369, a rustic or farmer. pAraya tb (=prAvAraka), 184, 636, a gown, mantle, cloak. pAvAliyA tb (=prapApAlikA), 362, a female attendant at a road-side water-well. pAsayasAri tb (=pAzakazAri', 338, wooden piece used in dice-play. pAsijja tb (=prasvidya), 635, to perspire. piTTa d. (=tADaya), 371, to beat, to strike.

Page #146
fareas, tens tb (=924 orq/39), 209, 315, 322, 565, to squeeze, to press, to nudge, to push. fores d. (=sta, fert), 110, young one, youngling, progeny. fuera d. (=1794 ), 683, a cowherd. LE, TE d. (=57), 85, 234. 371, abdomen, belly, stomach. geafsu (=3979faa), 85, (1) hanging loosely on the belly, sagging; (2) one who has to toil hard to earn a livelihood. quan tb (=97678), 223, 325, repeated, repeatedly, again and again. ET tb (=9f79), 182, 214, 283, 306, 355, 644, oh daughter or young girl! 999 $ tb ( =qouerat), 306, a damsel who plucks flowers. gfansat, gftarziat tb (=984974410T), 448, 141, 406, practising inverted coitus. gas su tb (=yelfara orecz), 129, 199, seen (from gaat, to see). qe (or ) d. (=47), 56, 153, 241, 252, to efface, to wipe off. JA, TTT tb (=qTF), 211, 611, a parrot. ge, tb (797), 671, a spotted deer. 25 tb (=atge), 67, milk of a cow or buffalo during the first seven days of calving. DEUT d. (=fqog), 373, feather; 603, tail (979). 978913 tb (=sl&ara), 556, defiant (arrogant) speech. 6 +7=330 tb (=enau), 339, festival held in the month of Phalguna (= March), round about the full moon day and marked by gaiety, splashing of mud, coloured water etc. 973 tb (=*), 94, fruit. Et d. (7972), 366, cotton-plant. feur d. (=alfana), 562, door-plank or wooden gate of a compound-wall. $d. (=faret), 251, to besmear. e tb (=ET), 442, to touch. 91 tb (9172), 117, 354, to cut, to split open. fre d. (=fafcu=168, 767), 95, perished, quenched. $arr d. (=#lofa)269, fire made by burning dry cow-dung, dung-fire. gefefeesat d. (=isfakia), 141, a game in which the hips are moved up and down. qfher tb (=5*TCH17), 375, a mere puff of breath from the mouth. sfare d. (Hift, 762), 56, wiped off.

Page #147
(886) a 6760 tb (=F12A), 394, tearing up, lacerating. a5cm d. (=aac), 184, 225, an ox. Teratfe d. (=T91617), 466, use of violence or force. affese ts (=afs ), 495, abundance. A tb (=a&#r), 267, diverse in operation, working in diverse ways, versatile. a ts (=arat), 56, 129, a captive woman. a137T d. (=9541f #1), 163, a figure or portrait (painted on a wall). fae d. (=TEFT). 174, a secret, a secret reason. afra d. (= 1). . 250, to fear, to dread, to be afraid. aga d. (=refsr=#817), 38, submerged, drowned. s tb (=aaT4h), 420, a pair of plums (jujube berries) growing on a single stem. *3 d. (=*ETT), 392, to quarrel, to wrangle, to scold, to chide, to remonstrate. *EUT d. (=ee), 296, 546, a quarrel, a dispute. #50 tb (=#FC, site), 624, capable of being broken or defeated easily, timid, faint-hearted. #e tb (=#7), 666, one of the four classes of elephants. HT50 tb (=79777, 941), 38, whirling motion. WT d. (=afasta). 648, a kind of reed looking like sugar-cane. 7 d. (=FAT), 62, 284, 394, to remember. #7 ts (=#7), 234, to fill. 9 d. (977), 685, a bee. Higunt tb (=wifelat, splorat), 621, 650, 652, wife of a village-chief. 37792 tb (=#ff57, wifi?), 600, chief of village. 1941 tb = a), 198, (1) food, nourishment, (2) lump of moistened wheat flour applied to the two faces of a tambourine to make it produce a musical sound. #7 d. (= ), 335, to soil, to tarnish. H3* tb (= ), 4, to become closed, to close. #*64 d. (=301718), 65, a spider. Amst tb (amarcroft), 275, searching for the where-abouts (of her son). HEGTU tb (=HJA, Aria), 81, bathing, decoration, toilet.

Page #148
( 119 ) tb (=), 426, (1) abdominal region of the body, (2) middle world, world of mortals. (*), 113, small, tiny, shallow. aufe tb (=aafea), 233, a proud-spirited, noble-minded person. maNiya tb (= maNita, ratikUjita ), 407, murmuring sound in coitus. A tb (), 63, I think. ts (, ), 391, intoxication, drunkenness. #mtb (=), 234, 381, sorrow, grief; 208, jealous anger; 62, 76, 172, 329, 358, lapse, misconduct. mannuya tb ( = manyuka), 621, offence, lapse ( aparAdha ). tb (=), 459, bee's wax (used as an emolient in winter). tb (=), 459, a thin layer of bee's wax. tb(), 440, to rub, to crush, to molest, see fm. fU tb (=Iafaa), 119, crushed, bruised, smashed, crumpled, see qfi$?fe". ts (==), 25, victorious, triumphant; [624, a wrestler. af tb (#), 270, smooth; 482, slow, gentle. #fIa tb (=), 464, slowly, softly, gently. d. (=), 26, 542, to desire, to wish, to aspire. d. (=), 445, 450, to spread out or pervade with fragrance. #fts (=fg), 379, 545, 572, a woman, a virtuous wife. mahumaha tb (= madhumatha, madhumathana ), 426, Visnu. g d. (=), 658, a mongoose, ichneumon. d. (1), 195, sinful, evil, malicious thought. maMDala d. (=zunaka), 627, a dog. Ats (=), 635, don't, forbear, away with. ATT tb (TA), 353, (1) jealous anger, (2) a measure of corn. Atb (=), 25, haughty, full of jealous anger, sulky, of qfegu. mANasiNI tb ( = manasvinI, mAnavatI, mAninI), 218, 305, 497, 700, a sulking, haughty woman, a sensible woman, an angry woman. #fotb (=f, fafia), 230, embraced, pervaded through and through. mAlUra d. ( = bilvaphala ), 568, bilva fruit.

Page #149
(870) Areca tb ( = EFFE), 158, 214, greatness, eminence. forg tb (=false), 74, sweet, palatable, delicious. Har tb (=#va), 171, 466, an artless, naive woman or girl, an ignorant, foolish girl. FPT tb (=T&T, gaifa), 184, chaff-fire. HECT8f tb (=4 ), 124, 213, facial glow, cheerful facial expression. parerea tb (=#F), 118, dumb, mute, silent. #estor d. (=fafea, #tha) 296, met, united. Afsu tb (=alfea), 562, damaged, smashed, demolished. HTETTFS tb (EF T ), 302, vainly moving about, groping. HTET Tb (= 169, 17a), 263, 622, 679, sexual intercourse. Hagfase tb (=aafq=%), 107, magician's broom of peacock's feathers used for infatua ting the eyes of spectators. 477 tb (==3717% or 717, 7577), 358, fickle, changeful. 470 tb (=F =T), 297, 404, 471, 578, 582, to know. teror tb (=T97), 12, cooking (food). TUTTU tb (==EUTETTU), 200, to make a humming, droning sound; 514, (=TUTUR ), to cause uneasineess or restlessness. TUTTUTT tb (=TOTT014), 389, concern, anxiety, sadness, uneasiness. te tb (=T), 255, cooked food. TH, TTH tb (=T ), 101, 239, 359, 558, 690, to have sexual intercourse; 58, to exhaust by sexual intercourse. Thts (ET), 595, (1) sugarcane juice, (2) vaginal moisture. fay tb (=fa), 176, sympathetic, kind-hearted, compassionate; 415, intensely interested, eager. 27991 tb (=27f37#), 371, mustard plant (1999). zifau d. (=isa), 571, reddened. fret d. (=afa), 77, 200, 436, 611, 627, a swarm of bees), flock (of birds), a series or line, a pack (of dogs). 557 tb (=stanite), 112, 162, weeping. EUR57, ita tb (ra), 9, 594, to weep. 59 d. (=caa), 130, thin slice or shred removed from a log of wood while planing or smoothening it.

Page #150
(878) sa d. (=fatis, qT, TE), 187, 200, wide, broad. FH tb (=ra) 550, to stop or impede. gtara tb (=etat), 308, to cause to weep, to move to tears. T15422 tb (=zifaston, TTCT), 298, weeping, shedding tears. TEUT US (=ziew=itqor), 457, application, spreading a thin layer. mu tb (=afia=TA), 262, 646, worn, placed. Cu tb ( TT), 428, (1) nail-mark, tooth-mark, (2) grammatical purity (correctness ), literary excellence. A tb (= ), 428, to appeal, to ravish, to captivate. SPOTY3TT tb (=fitaftar), 538, bashful, shy. Fulgoft tb (= ister), 138, 420, bashful, shy. HE7 d. (= ), 6, beautiful. afeca tb (=fa), 189, gaiety, sportiveness. Set d. (= 5), 646, grace, charm. 64 tb (=*), 203, 244, to degrade, to lower one's position or prestige. #Tts (=7541), 250, (1) branch of a tree, (2) capital city of Ravana. T2T tb (=* ), 282, to cause to cling, to push on to. fra d. (=fosfatid= 1). Add. 2, concealed, hidden. 2 d. (=f94 ), 51, clinging, or holding on (to). foy tb (=ofsa, ulota), 54, 583, disshevelled, fanned out, unbraided and hanging loosely, dangling. at d. (=mat), 261, a creeper, or a bunch of flowers (Fran). u tb (= ), 7, plucked, lopped, cut, harvested. anae d. (=3F97, 8), 120, greedy, eager, see taas. estur tb (=maut, sau), 255, (1) dazzling beauty, (2) salt, saltiness. Filfs tb (= an), 340, 353, 440, 575, 665, greedy, eager, covetuous. ag tb (=afa), 616, hedge. atda, Tedda tb (=afador, qfaracz*), 98, 166, 167, 605, encircling hedge. qram tb (=arf, qtay), 375, a herd of cattle or buffaloes. 7677tb (=2072), 326, a Yaksa idol under a banian tree.

Page #151
(887) afsmrt, (=qfset) tb (=gface), 600, harsh, strict, intolerant. qurhat tb (=quati), 31, scar left behind by a wound. aut d. (= afe), 121, 295, 355, oh friend! quum tb (=a07A), 574, (1) use of colours, (2), social status based on caste; 652, (1) proper sequence and proportion of colours, (2) peculiarities of various classes of men and women. aoutetu, quopatu tb (=aurqa), 20, 523, ghee coloured with turmeric powder. qourafat d. (=Faderafat), 430, a woman always staying in her own locality and never moving out. afouter td (=afuat), 599, a sample or specimen. aveit tb (=Queet), 576, a female friend. afida (=aar, afara). 426, (1) formation of three folds of skin on the abdomen of a young woman, (2) subjugation or chastisement of Bali, (the king of the demons.) Tootb (= a), 557, love, affection. apparat tb (=enara or a ng ), 132, (1) husband delirium, mania or craze for the husband, (2) uttering the name of one's dear husband. 99 tb (= 75T), 457, to hang on, to linger in front of. aga d. (RTC), 614, to become dried up. ag d. (=Q9), 632, a bull. at (= ), 416, to become dried up. ar54 tb (=a1qa, urauft), 662, a village-chief. ais, atst tb (rare, 91#); 7, 8, a garden, field, plantation. ariant ts (=qyti, ariarte), by turns, successively, again and again. atatit ts (=arat, Piet, 7991), 9, cucumber creeper. aiaTTa tb (=a9f2ra, aqfet), 177, 610, rainy season. are ts (=916), 595, to operate or ply (a machine). arfer tb (UET), 418, addressed, accosted, spoken to. fare tb (=fara), 480, to be seen, to be detected (passive sense). farum tb (=fara, iar), 448, slipping or dropping down. faza, fagom tb (=ozle, starat, f), 571, 667 perplexed, bewildered, dismayed.

Page #152
( 123 ) fa tb (=fa), 184, to sell, to barter. fafaz tb (=fafia), 130, to scatter, spread. fad. (E), 400, collection, profusion, abundance. fafsofa ts (=fafeof), 656, decoration. fage d. (=fafer), 425, to abandon, to eject, to send out; 530, to thrust, to push, to insert. fate d. (=fa), act of sending out, darting out. fasa, fara tb (fas), fa tb (=fa+), 12, 117, 219, to be extinguished (passive sense), to go out. fara (fa+), 106, to put out, to extinguish. 265, 321, to pierce, to strike, to hit, to wound. fafgfang tb (=fafafaaa), 209, Visti-day called Bhadra, occurring four times in every lunar fort-night and supposed to be inauspicious for any new undertaking. fas tb (=fa), 477, learning from a paramour, intimacy with a paramour, visit of a paramour. viNiyaMsaNa tb ( = vinivasana), 134, unclothed, naked. See niyaMsaNa. fa foara tb (=fafara), 110, falling down, death. faufgu tb (=fanfara), 669, made to retreat or go back, retreating, going back. fart d. (=), 299, to wait, to endure, to bear. fazer d. (=fata), 274, dissolved, sunk, disappeared. fama tb (=fame), 421, embarrassed, abashed, bewildered; (e); 156, 552, embarrassment. fafou tb (=), 58, lapse, offence, breach of conjugal fidelity or loyalty. fama tb (=fan), 518, past-time, amusement, diversion. faa ts (=faa), 428, interstice, intervening space, (2) literary blemish. faug d, (=faufga) (=fanfaa, facfoa), 292, opened, expanded, blooming, faut tb (=faqft), 61, rough-tempered, wild, violent, harsh, furious by nature. faafaz tb (=fa), 54, desiring to rest, badly in need of rest, tired, exhausted. faantar tb (faq), 123, steep descent leading to a river, which is difficult to negotiate. farge tb (=fa), 347, 390, unsteady, agitated, heaving, undulating.

Page #153
(878) fayt d. (=fee), 416, to be distressed, tormented, afflicted. Tagaforcat tb (=falsafisat), 427, (1) closely pressing against one another (breasts), (2) extremely invulnerable or closely associated with one another (warriors). faksu tb (=faqe), 61, disintergration, destruction of peaceful relations, discord disharmony. fakes tb (fargaos), 234, distressed, overwhelmed by calamities. atarei tb (=fapateau), 330, confidently, fearlessly, unhesitatingly. tb (=ase, acea), 330, wrapping, covering. See agda. af**i3 d. (Testfa), 617, bellowing, grunting sound. aare tb (=fawrth), 235, to deceive, to mislead. af tb (=e60), 135, 213, 215, 522, 543, 557, disliked, hateful, odious. agu tb (=a64ca), 522, the state of being an object of hatred. atspur (=ger7*), 562, a vicious, ferocious dog. ate d. (=57), 310, a pod (of cotton). TTEET d. (=T8071), 407, a young woman. T aT d. (=37faft ), 19, allowed to flag or vanish, vanished, gone away. atas d. (=zfa#4, 31977), 166, 169, 498, to pass by, to go away. atfesa, atetor d. (=oranta, sifarra, aroma), 59, 157, 178, 197, 289, 318, 389, 398, 486, 513, 535, gone away, departed. Hofor tb (=s&fa), 234, a bird. Haqq tb ( =722194), 480, 496, 699, to see, 40 tb (=#=ETT, ACT), 4, 47, 247, 488, 568, 580, 614, similar. FT d. (= 1 ). 598, jasmine plant or creeper. ATTE tb ( O), 535, thirsting or greedy for something. a tb (=T&T, FIET), 404, 473, 642, eager or keen desire, lo nging, craving. Helga tb (tele), 697, mistaking, wrongly believing. faigsunt tb (= 10), 417, fond of, eager for. Fula tb (=cara), 144, good disposition; 235, 558, sincerity, Fantafet tb (htaa1ET), 558, devoid of sincerity, artificial, affected. faz tb ( Farofa), 32 natural, straight-forward.

Page #154
(884) 9 ts (= ), 530, ordinary, common, normal, entire, whole. 970 tb (=4917), 63, 342, 444, 572, 645, to come to an end, to be finished, to perish, to succeed, to be successful, to be accomplished. Hafense tb (=FATTT), 487, to come back, to return, to resort to. H o tb (A ), 660, placed on, creeping near. htfory tb (=HTATA, TIT, Fifa), 63, brought near, successfully accomplished, achieved. au tb (= rana), 224, pulled out, extricated, extracted. #457 tb (=#fa), 112, to gather, to collect. H458 tb (=#997), 314, (1) to cover, occupy, encompass; (2) to fascinate. HAR tb (=#889), 445, to breathe out, to expand, to open out, to unfold. AUTIE tb (ETTATE, faturu), 236, obtainable by one's own, unaided efforts. ATTHU d. (afaafert), 285, a neighbour. Hafsga1 d. (=sfaaferat), 37, 40, a woman neighbour. 974 tb (1) (37EUR), the autumn season; (2) (774), wine, liquor. afaat (Camerat), 56, a fellow (similar) captive woman. Aface tb (aface, ain&T), 156, abashed, embarrassed. afatti tb (=afaah), 521, 549, wholly, quite, extremely. ## tb (1) ( F), 432, awned, bearded (paddy plant) (2) ( *), full of grief, lamenting. afect tb (=HEH ), 49, capabie of enduring, one who has frequently, endured. pige ts (=se), 525, full, crowded. i tb (= ), 384, to draw or collect together, to shorten, to abridge, to contract. Fanfa tb (= alf), 3, a shell-like piece carved out of a conch, an oyster-shell having the shape of a conch. HTT tb (= ), 634, struggle, emulation, rivalry. # tb (=003), a bed of lotus-plants. sifura tb (eft), 125, pretext, excuse, see fora. sq3 tb (= 9EUR, siqe), 332, to be felt or experienced, to turn out, to appear. 894 tb (=**) 390, excitement, agitation, panic. Fafeu tb (=jqfea, fafa) interspersed, interlaid.

Page #155
(126) saMvelliya tb (=saMveMllita), 694, tightly pressed or joined together. saMhiya (=saMhita), 55, joined, patched up. sAmalI tb (zyAmalA),.. 377, 593, a young damsel having a dark brown complexion. sAmAa tb (=zyAmAya), 377, to darken, to become darkish. sAlAhaNa tb (=sAtavAhana), 468, king Satavahana. sAlUrI d(=maNDUko), 406, a female frog. sAhulI d. (=mayUrapicchacchatrikA), 217, a parasol of peacock feathers; (=vastrAJcala), 539, the . breadthwise skirt of a saree. sicchI d. (=jyA), 56, bow-string. siMdUriya tb: (=sindurita),1,240, reddened with vermilion powder. sikkariya tb ( sItkRta), 407, hissing sound due to pain.: sijjiyavva tb (=sveditavya, svedana), 407, perspiration, sweating, (=svedakAraka) causing perspi ration. sijjira tb (=svedanazIla), 643, perspiring. siDhila tb (=zithila), 183, languid, drooping, enfeebled. sippa d. (=sic, passive ), 383, to be sprinkled. sippi d. (zukti), 64, oyster-shell. sippIra d. (=palAla), 270, straw. simisimAya tb (=simasimAya), 602, to make a humming sound. siramaggaHtb (=ziromArga, zirobhAga), 483, top-portion, top-region. sirigoviyA tb (=zirogopikA, mukhyagopikA), 128, chief or principal cowherdess. suDhiya d. (=zrAnta), 263, exhausted, fatigued. suNNAratulA tb (suvarNakAratulA), 104, goldsmith's balance. sutta tb (=sotta =srotas), 191, 630, water-channel. stream. current. sunnaiya tb (=zUnyita, zanyIkRta), 24, 369, 512, vacated, left, abandoned, deserted. surasura tb (=surasurAya), 76, to glide or slip away. suha tb (=sukhaya), 584, to make happy, to please, to delight. suhaucchaya tb (=sukhapRcchaka), 52, 53, making inquireies about the condition of a sick person. suhAya tb (=sukhaya), 584, to delight, to make happy. suhAva tb (=sukhaya), 87, 209, to delight, to make happy.

Page #156
(127) afect, hot tb (=he) 116, 209, 272, 322, Add. 2, pleasure, joy. go tb (=), 677, swollen. Afeat tb (=fifeft), 372, a she-buffalo. Raifear tb (=791#). 413, a kind of sweet-smelling flower. alfafer tb (=alfafa), 36, son of Sumitra, Laksmana. eta tb (=T/ET), 82, to cleanse. EET tb (=a14170), 70, 81, 130, 177, 438, 461, good luck, good fortune, sexual attractiveness. Ta tb (= FTTH ), 571, a lance, a javelin. Eriefe tb ( =ET&FET), 178, 376, by passing from one person's hand to another's, by manual transmission. affaqi tb (= #1), 690, joy. EEST d. (=iter ), 19, 656, longing, yearning, keen desire or interest, hustle and bustle, excitement. feu tb (= tfs), 86, a ploughman, a peasant, a farmer. om d. (= ), 679, to move, to swing. Ecco d. (=arregan), 81, enthusiasm, solicitude. ETIES d. (=Tenfawr), 64, a house-lizard. Et af Sy tb (= tofa, gregofania), 251, beaming with a broad smile, thrilled wilh joy.. fener d. (=TFT), 399, frightened, startled. 3 tb (=a, afaqa), 384, turned towards, fixed on. 29 d. (=T GT), 0487, growling, coughing sound made by a monkey. 34987 FUT tb (=87989591), 158, (1) the gods Agni and Varuna (Neptune), (2) the ordeal of being heatedsin fire and cooled in water. gariau tb (909f47), 47, 209, a person who is about to start on a journey.

Page #157
(128) Gahakosa : Notes Abbreviations used in the notes. Abl. = Ablative case. Abstr. n. = Abstract noun. Acc, = Accusative case. Act. = Active voice or construction. Adj. = Adjective. Adv. = Adverb. Adv. Comp. = Adverbial compound. B. = Bhuvanapala ( Commentator on Gabakosa ). B. C. = Bahuvrihi compound. Cf. = Compare. Caus, = Causal form of a verbal root. Concr. n. = Concrete noun or nominal form. Cond. = Conditional mood. D. = Desi word borrowed from regional spoken language. Dat. = Dative case, Denom. = Denominative root or verbal form. D. N. M. = Desinamala of Hemacandra (chapter and stanza ). Du. = Dual number. F. G. = Feminine gender. Fut. = Future tense. G. = Govardhana's Aryasaptasati. Gen. = Genitive Case. Gen. Abs. = Genitive Absolute construstion. Ger. = Gerund. H. = Hemacandra's Sanskrit and Prakrit Grammar, Chapter 8 ( Pada and Sutra ). Imper. = Imperative mood. Impers. = Impersonal voice or construction. Ind. = Indeclinable particle. Inf. = Infinitive of purpose.

Page #158
( 129 ) Instr. = Instrumental case. Inv. Seq. = Inverted sequence of words in compounds. K. C. = Karmadharaya compound. Loc. = Locative case. Loc. Abs. = Locative absolute construction. M. G. = Masculine gender. N. = Common noun. N. G. = Neuter gender. Nom. = Nominative case. PAP = Past active participle. PPP. = Past passive participle. Pass. = Passive form or construction Past. = Past tense. Pers. = Person. Pleon. Suff. = Pleonastic suffix. Plu. = Plural number. Pot. = Potential mood. Pot. p. p. = Potential passive participle. Pres. p. p. = present passive participle. Pres. = Present tense. Pres. a. p. = Present active participle. Prim. Suff. = Primary derivative suffix. Pro. = Pronoun. Rad. form = Uninflected form of a verbal root. Sec. Suff. = Secondary derivative suffix. Sing, = Singular number. St. = Stanza. T. C. Tatpurusa componnd. Vajja. = Vajjalagga of Jayavallabha. Voc. = Vocative case.

Page #159
( 130 ) First Cento The commentary of B., a Jaina scholar, begins with the salutation af at fata, which is followed by what appears to be a benedictory stanza in the Anustubh metre. Unfortunately the major portion of the stanza is illegible in both the Ahmedabad and Poona (BORI) mss. 1) = # = reflected in the form of an image). For paDimAsaMketa see paDimAgaya st. 125 and 351. rosAruNa etc. and gahiyagghakayaM are B.C. s. For the idea cf. Kumarasambhava VIII, 50-53, Karpuramanjarj I. 4 and G. st. 6, 7. 2) B's version does not contain the stanza afazi 91330d etc. (No. 2 in Weber's edition), proclaiming the greatness of secular Prakrit poetry, its sweet and pleasing quality and its predominantly erotic nature. See Vajja., st. 2. The phrase #8753occurs in the colophon following st. 500 in Weber's edition, at the end of the fifth cento. There the Gathasaptasati is said to have been composed by eminent poets such as **T*** (i. e. Hala, the friend of poets). Hala is also known by the name Salahana (Satavahana). See st. 468 for Salahananarinda. fargeg does not mean 'composed', but compiled and arranged in the form of an anthology.' Hala is of course said to be the author of about 56 stanzas in the commentary printed in the present edition, Part I. But the other stanzas are by poets who preceded Hala or were his contemporaries. The names of most of these poets are menitoned in B's commentary. ATTFITIUT does not necessarily mean accompanied by figures of speech', but rich in poetic charm arising from figures of speech or subtle suggestions of factual situations (arceaft) and emotional situations (ETF)'. See Dandin's Kavyadarsa, II, 1 and 367. TIETOT - TIET ( TIT) is used in Prakrit in the sense of a stanza in the arya metre whose scheme is generally 12, 18, 12 and 15 matras for the four quarters respectively. 3) Cited in Kavyaprakaza, II p. 30 (BORI edition), as an example of sequential, telescopic, multiple suggestions. 339=964, see H. 2, 211, where it is mentioned in the sense of the Imper. 2nd pers. sing. The form zuk (Imper. 2nd pers. plu.) occurs in st. 16, 64, 65 etc. and is mentioned in D. N. M. I. 98. No other form of the root 32 occurs in Prakrit. saMkhasutti vva = saMkhasattI vva; shortening of long vowels before conjunct consonants is common in Prakrit. See H. 1, 84. For gent cf. af st. 240. ET = Ha. See H. 4, 100 4) 737 = 779TT = AT = similar. Fefa = poffa, Denom. from 3* = 55 = a bud. 5) Bquotes from a metrical lexicon according to which navaphalikA (nohaliyA) means a woman who has only recently come out of her monthly course. Such a woman naturally desires fertility for her own self. Thus tafaur has two senses : (1) fertility or fruition

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(131) and blossoming of the Kurabaka creeper in the house-yard and (2) a woman who has come out of her monthly course. The husband of the woman uttering the stanza wants her to embrace the Kurabaka creeper (or tree) to make it blossom and bear fruit. So the woman says to him: "why do you not seek a meeting with me, your wife, just out of my monthly course and make me bear fruit (progeny), but seek fertility for the Kurabaka creeper by urging me to embrace it ?" It is a poetical convention that a Kurabaka tree blossoms and bears fruit when embraced by a youthful woman. For far navaphalikA, see H. 1. 170. valiyamUhapaMkayaM is an adv. comp. mAse af mArgayase. magga = to seek to ask for. 6) An Asoka tree blossoms when kicked by a young woman, another poetical convention. arfafa pres. pass. 3rd pers. plu. from a (a) to torment, to afflict, caus. from tap ( = tava ) . vilayA afaat. See H. 2. 128. qgajat pres. act. part. nom. sing., from pahuppa ia, to be able, see H. 4. 63. B's go seems to be used in the sense of prabhavan ( samarthaH san) laDaha d. ,. See DNM, 7, 17. The Sanskrit word ww appears to be a back-formation from 3. = * = tilavATa 7) tilavADa fa = a sesamum field. Cf. st. 8. (), p. p. p. from to cut, to harvest. 8) aandag anfefe, loc. abs. constr. sarda pres. act. part. from gara, denom. from dhavalAyaMtesu dhavala. saNavADaya zaNavATaka = hemp or jute field. harivAlamaMDiyamuhA naDA, reference to the use of Haritala powder (yellowish paint) by actors to brighten their facial complexion. = 9 ) mA ruvvau = mA rudyatAm, impers. constr. For ruva see H. 4, 226; for duplication of a see H. 4. 249 bAluki == cucumber ( Marathi vALUka ) also called taDasI (trapuSI), st. 491, and karkaTI (Marathi kAkaDI) kuTila crooked, winding in all directions (and fragile when pulled or stretched). a obliquely, etc. is an adv. comp. fr== For duplication of , see H. 2.99. = 1 = pRSTha que back. See st. 162, 169. ga gaf, loc. abs. constr. fa dUna 10) paTThI * distressed. For cUma to torment see H. 4, 23. According to B, the husband called his wife by the name of his sweet-heart even when he was bending at her feet while apologising to her for some lapse on his part. She therefore thought him to be as stupid as a beast of burden. Her little son promptly mounted on his back, confirming thereby, unwittingly, her judgement about her husband, and causing her to laugh. According to the commentator Kulanathadeva, the wife laughed because the son's action was reminiscent of the posture called in sexual enjoyment. 11) se tasthA in her case. salAhaNija, pot. pass. part. from salAha EBT to praise, see H. 2. zlAgh 101. B's first explanation compliments the nayika for her correct judgement about the worthy young man. The second explanation censures her for foolishness in loving an unworthy man. =

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(132) 12) TU = FT. For 77 = fac see H. 4, 132. facing - a (faraffa). See note on st. 219 below and on Vajja st. 390. B gives two explanations, the first complimenting the nayika and the second cocealing her wantonness from her husband. For 1974, cf. HETTAFFA, st. 382, and note on a st. 255. 13) afEET# = HTF to appeal to, to fascinate, to charm, to please, For the idea cf. st. 274, 473. Contrast st. 132. 14) fon d. = 962. . See H. 2, 194-196. feq = FTET, see H. 4, 182 (Marathi faau). Compare Meghaduta St. 113, Malatimadhava 1, 39. 15) far = tfes = Toufa, fut. act. 3rd pers. sing. from g (= 3 + ), to come. The first g is inserted for metre. Cf. fefa st. 398. gfqug and forfou are pot. act. 1st and 3rd pers. sing. forms used in the sense of the future tense. See H. 3, 177. 16) ITU = gia poverty-stircken. Beft = Fofc = foz, pull and tug, strain and stress, wear and tear. a, various members of the family wearing the same rag by turns. a = Theat, pot. pass. part. from # to bear or endure. afara = ata = washed, laundered. CETUT EFT is impers. constr. 547 = 9 a, see note on st. 3. af... fotot is a B. C. 17) #teafao = the first tawny and tender leaves protruding from a germinating mango stone, or from a leaf-bud (90mtar). ada...outy is a B. C. = an excellent bull, an uncastrated bull, a steer. See below st. 682, 684, and Vajja, st. 179-185. Joulu (=701, a youug bull) appears to be a contraction of TEUT. 18) 3founy = falsely asleep, pretending to be asleep, see st. 694. B understands & in a double sense : (1) as particle of entreaty (arat) and (2) as a verbal form in the sense of dehi or desa, with elision of the imper. 2nd pers. termination hi or su. ovAsa - 377914, see H. 1, 172. It can also stand for 39918, adjacent position or sleeping place. 38 = 9 or h? (= ) See H. 3, 113. For the idea in the stanza cf. Amarusataka, st. 37, 82. 19) alafau (caus. p. p. p. from ale = it or afa , see H. 4, 162) = allowed to go away or to vanish or to flag. Or the causal form may be taken as used in a noncausal sense (=gata or atikrAnta). volAviya etc. and asamattamaMDaNA are B. C. . halahalaya = #ta, interest, curiosity. Cf. Marathi dan (uneasiness of mind). For i = 1, see H. 4, 230. 20) qurfag = 39. For oth =: 3709 see H. 4. 39 and st. 283 below. is fro may mean (1) my kissing her or (2) her kissing me. For the phrase qo 7CTET, see st. 553. vaNagghaya-varNaghata-ghee coloured with yellow turmeric powder and applied to the face by women for brightening facial complexion (according to B), or as an indication of their

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(133) being in the menses according to Kulanathadeva, who says that it is a start (regional custom). For duplication of q into te see H. 2,97. 09=fesca or a = anointed. See DNM. 5.22, and st. 273, where J att stands for fac71 , showing that even the tresses used to be anointed with ghee by women in their menses. cq also means ghee. From go (ghee) we get the denom. verb tuppei (=ghatena limpati). In vaNNagghayatuppamuhI and tuppAlayA the denominative rad. form to is used in the sense of the p. p. p. afog. See Vajja., Intro duction, p. XLI. All the four compounds in the stanza are B. C. s. 21) TA=aa, see Vajja, Notes, p. 476. 315-31t. See H. 3, 87. See st. 32, 240, 282 etc. graafufuato and start are B. C. s. Cf. fat32, 2,44 and G. st. 76. 22) #iftafe, caus. pres. pass. 2nd pers. sing. from 7 to do. arfgast = f (dat. sing) = to (your) nobility of birth, good breeding, good manners, nobility of mind. See st. 213. 23) Tag = tfa = does not allow or permit. quify = qui, adv. with elision of the final anusvara for metre. Or quifgrasat may be taken to be a K. C. 24) Fa (= avat) and riat are pres. act. parts. used in the sense of the conditional mood. See H. 3, 179-180. See st. 133, 162 and 498, for similar forms. gola is a deinflected form used instead of kUNato as in Apabhramsa. sunnaiya = zUnyIkRta, zUnyita, Ppp. from denom. root from (= TFU). See st. 369 and 512. T UT = 91 T = ofteia = act of touching. Cf. qfha st. 445. 25) B explains mANaitta as mAnavitta and also as mAnavata, itta being a possessive suffix added to nouns, according to H. 2, 159. Cf. jfruga st. 558. Cf. Amarusataka, 23. 26) For illicit love between a man and his brother's wife, cf. st. 36, 61, 457 and 645, and for flagellation of such a woman by her husband's brother, see st. 457. See also Raghavan, Smgaraprakasa, pp. 653-654. The gentle flogging is perhaps an indication of the man's love for his sister-in-law and is intended to arouse her passion. For 7 = 64 to desire, see H. 4, 192, 193, pres. pass. 3rd pers. sing. from T. See H. 3, 161. 27) For ( * = ( a see H. 4. 74. 28) aftry = (similar). See H. 1. 44. The son of the village-chief is said to be similar to an insect in a nimba-berry, because, according to B, he is attached and devoted to his wife who is an inferior woman, unworthy of his love. TE=T371373 = aftua, denom. verb from mar (=, thin, lean, emaciated). See st. 61, 238, 548. a = #AfET377 = women like me in the village pining for you. 29) #1753 = 4 TFIV, B. C. with inv. seq. of the two words. The idea in the stanza is that in disentangling the husband's hair from her anklet, the nayika forgets jealous anger for

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30) 31) pahara = prahAra blow. For shortening of aria gr, see H. 1. 68. vaNamagga vraNamArga scar of a healed wound. See (=), st. 265. (134) him and shows kind regard for him by avoiding to cause pain to his hair if she were to drag her foot away angrily with a jerk. Vajja, 432. For f agfa (deserted, in ruins ), see st. 179. 32 ) ah = aso, see note on st. 21. sambhAviya arifa, natural, honest, straight-forward. For duplication of into a see H. 2. 97. The idea is that the man concerned addressed his wife by the name of his sweetheart, unlike other men who address their wives by their own names though their hearts are occupied by their sweethearts enthroned there. The tone of the stanza is ironical. = 33) zigfa afg rugang a afg parAgbhUtAyAH ( parAmukhAyAH), mama pRSTham for duplication TT:), of a in fer see H. 2, 98-99 and of ager, st. 226. qeffa ( palIviDaM pradIpya), ger from palIva (pradIpapa ). See H. 1,221. = 37) 34) taha khareNa atyarthaM khareNa (B), extremely rough or coarse sAmalI == zyAmalA a beautiful young woman. somAlA sukumArA delicate. See H. 1.171. egg- godAtIrtha. For tUha see H. 2.72 and 1.104. means stonesteps leading to the river-water. 35)] fereer, Gen. Sing, fem, of the pro.ag, see H. 3.64. BIET = (1) shadow, H. 1.249, (2) lustre, healthy glow. It is changed to or by deaspiration. The banner on the top of the Sun's chariot cannot cast any shadow for two reasons: (1) because of its extreme proximity to the Sun and (2) because a shadow is cast only on a material surface and not on empty space. 36) ft (acc. of time) is a BC. kuDDa = kuDya 39) Vajja 464. For and 3 = = = 38) tAlUra d. Avarta ... whirlpool. bhamADaNa bhramaNa, rotating movement. For bhamADa = bhram see H. 4, 161. For g buDDa masj (majj) see H 4. 101. bahu, ubbuddha and Nibuddha are rad. forms used as past act. parts. (=m, cm, faza). See note on gor in st. 20. is pres. pass. 3rd pers. sing. from to carry, see H. 4. 250, (= is carried away). and darabuDDa... are BCs. dara = slightly (f). According to B the figure in the stanza is afr. The speaker of the stanza (a woman) is suggesting to the man. addressed that his love for her is inconstant in contrast to the attachment and loyalty of the bee to the kadamba flower being swept away by the flood of the mountain-stream. Vajja 462. pres, act. part. from r+ to come, to visit). = ufo see Vajja, Notes, p. 502, and see note on st. 285. fqq are BCs. Contrast st. 142. ( = = during the whole day. See st. 67, 74, 172, 210, 379. KELAT = wall or partition. = = =

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(135) chAyaM = chAyAm = face, complexion, self-respect. jUrai = krudhyati. For jUra=krudh see H. 4. 135. 40) chaNa = kSaNa, utsava = a festival. duggayapautthavaiya is a B. C. For duggaya see st. 16. saMThavaMtI = saMsthApayantI = consoling, comforting. 41) For vasahi = vasati (place of residence) see H. 1, 214. kisiya = kRzita = emaciated. kisiya is ppp. from denom. from kisa ( = kRza) = lean. 42) sabbhAva = sadbhAva or svabhAva ( see note on st. 32). sabbhAvaNeha = genuine, unaffected love. rajjijjai = pres. impers. 3rd pers. sing. from rajja ( = rajya) to love. aNahiyaa (B. C.) = ahRdaya = devoid of love. For aNa = a, see H. 2, 190. dijjai pres. pass. 3rd pers. sing. from de to give. 43) According to B, the stanza contains utthAnaprazaMsA = glorification of energetic exertion. 44) Compare Meghaduta, 9. pavAsa = pravAsa = physical separation or mental estrangement. visesei = vizeSayati = surpasses. Compare st. 136. 45) Vajja, st. 375. sunnaya -- zUnyaka = (1) deserted (2) dejected, vacant. 46) akkhaDa = Askhala =to glide or creep. B explains akkhaDai as smRtipatham eti, is remembered. aIsaMta = adRzyamAna == not being seen ( pres. pass. part., see note on dIsai st. 26). The second half of the stanza has two loc. abs. constructions. 47) = Vajja 354. pahi -pathika fleeting, transitory, aNiyatta = anivRtta = anivartamAna = never coming back or returning. daDDha = dagdha = accursed, wicked, wretched. The first three quarters have each a loc. abs. constr. 48) Vajja 365. kira = kila = indeed, really. kallaM = on the next morning, tomorrow, subvai ( = zrUyate ) pres. pass. sing. from su ( = zru ) to hear, to learn. See H. 4, 249. 49) hu~ta = hota = bhavat = bhaviSyat = prospective, would-be. AucchaNa =ApRcchana, leave-taking. gharagharesu = gahagaheSu = pratigahama = in every house. Compare gharaMpareNa st. 338. For the anusvara in gharaM see H. 3.1. 50) pasaMga = prasaGaga = attachment, involvement, intimacy. For ikkaMtarasA (ekAntarasAH) (B.C.) Kulanathadeva and Sadharanadeva read ekattharasA (=ekatrarasAH, ekastharasAH), whose love (rasa) is exclusively fixed on a single woman. ikkaMtarasA == whose joy (happiness, rasa) is centred on a single woman. 51) lukkA = lukkiyA (nilInA) ppp from lukka = nilI, to hide or to resort to, see H. 4, 55 and note on tuppa in st. 20. nIi = nirgacchati, niryAti. For nI = gam see H. 4. 162. chAhI = 9141 = shade. See H. 1, 249. According to B, the female attendant at a publie water

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( 136 ) fountain cleverly invites the wayfarer to rest awhile in the water-shed and pass the sultry summer noon, making merry in her company. 52) 438 TOT = one who comes to inquire about the health of a sick person. See st. 256. a=rat = forat = wat = F = taking away (a deinflected nom. sing. masc, form like aja in st. 24 ). It can also be taken to be a voc. sing. form like aria in the 2nd quarter. 53) art = farat = care or concern. See st. 222 and 600. See Vajja, st. 2, Notes p. 412. sifatt = fragt = foul-smelling. For , possessive suffix, see H. 2, 159. For fery see st. 14. 54) The first half has three BCs. fagfiat (=far + + $)= faxUTTET, fasurat. For 7 as a prim. deriv. suff. see H. 2. 145. Ut would have been metrically better than muNasu. Cf. muNesu in st. 50. 55) = Vajja 348. For foF# see note on st. 9. fattigt == fazifaa = opposed, broken, snapped. fafar = or 17 = 379318 = lapse, offence. fazifgrafy and arfausto are KCs, while 95942... is a BC. 56) favet ( 7 ) = FUT (B) = bow-string. sf (= FT), p. p. p. from = HET to wipe away. See H. 4, 105. #40 (d) = afragt = a captive woman. #freet = sarisabaMdI = sadazabandI, a fellow captive woman. For sari == sadaza see H. 1. 142. B seems to have read siribaMdI which he explains as mukhyabandI. See the word sirigoviyA (st. 125) which B explains as mukhyagopikA. 57) Fafo = Befat = lightning-crash. qfeta = reverberation, echo. #Fifat == #1587ATUT = eager or desirous. For afect see note on fanfaat in st. 54. 58) vifaat = fat, see st. 558. gfquez = ignorant, unskilled. Toate = a1, fola = faded, wilted. For Toqty = F, see H. 4, 18. For gaat = Tog ( PPP ), see note on goa in st. 20. 59) = Vajja 425. ator (==27f480) (transgressed, violated), ppp fromata. See note on atafay in st. 19. All the three compounds in this stanza are BCs. g& #TOT = 79 a = Ta #TTU = because of you, for you. 60) = Vajja 374. See notes on this Vajja st., pp. 479-480. For k = pref, see note on st. 34. 3ofro 31 -- JOTTT = sleeplessness, vigil. See st. 527; cf. st. 91. 1) = Vajja 465. zafrafa B. C. ( CAFT ) = harbouring improper (i. e, sinful) thoughts ( about his brothers's wife). aftafeh fat is a loc. abs. constr. forth = faut = fqua faune FH (a ) is an example of loc. used for gen. See H. 3, 134. taNuyAae, see note on taNuAi in st. 28.

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(137) 62) mannuya = manyuka or mantuka (neuter gender ) = lapse, offence. kayamannuyAi~ is K. C. bhariUNa ( gerund ) = pazar. For 7 = FAT, see H. 4. 74. g = FTF (adv.) = (even) in the absence of her consort. Forcat pres. act. part. from denom. Far from the noun E. FAT = Efaat = tfwar = was pitied. Intransitive root used in transitive sense. 63) ## = = E. AT = 3a 19. FRTZ = rata = FATH = brought to a successful conclusion, achieved, accomplished. For U-99 See H. 4. 142. 64) fafctags = fatiga = oyster-shell. forf = forfa, fata = lodged, ensconced. See note on st. 20 and 51. staff=315feet =mango-stone. Tog=domestic lizard, house-lizard. The implied common property between a tender sprout coming out of a germinating mango-stone and the tail of a house-lizard is perhaps their tenderness and reddishness and unsteadiness. Cf. G. 94. It is not clear why a house-lizard should become lodged in an oyster-shell. The simile with a tortoise in G. is natural and convincing. 397 = Tud, see note on st. 3. 65) TUT = saatot, descended, come down. hanging down, Te d. = T1, Tf$a = woven. Cf. Marathi TV, afavi, TATA. Hay d = a spider. The stanza contains a very striking, original and convincing comparison 66) EU = FETTOTF. = a metallic pin or peg. Fiafaqui EFTTTTA, BC. For factor = aCFt see H. 1, 146. The temple is poetically fancied as groaning with pain, because its dome (turret ) is pierced with a slightly visible metallic pin protruding out of it. The basis or cause of the fancy is the cooing of the pigeons resting on the temple's dome. Cf. st. 447, 605. 67) fang=for the whole day, see. st. 36. qtet d.=a young, suckling calf of a cow or buffalo. =99 = 499 = to sleep. See H. 1.64. 68) ciragayapautthavaie is a BC. For na saMdaraM compare st. 470. 69) fafael d. = mud, mire. qu = 3 a = lifted up. ficcoia (pres, pass. part. from denom. from the noun #34 = 80%* )= covered with horripilation, thrilled, fuit = FEHT = why. See H. 2, 216 and 3, 68. Compare fuust st. 644. 70) TUE = 750E = Tiga, act. form used in pass, sense. TET = = conjugal happiness or good fortune. #tafs = HATE = 499#fa, non-causal form used in causal sense. TTGT etc. is a loc. abs. constr. 71) For 3 = 3487 see st. 40. 72) ## = T = 207 = black ashes. #fa - Tra, pres. pass. 3rd pers. plu. = are seen. THE = TAY ( an example of haplology) = cheer up. 73) fofofasi = FAITH = as much. fafar = ara = that much. For fetfery and fatero see H. 2, 157. See st. 400. == tata, pres. pass. 3rd pers. sing. See H. 4, 250.

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(138) nimvoDaM tIrai = is possible to maintain or sustain (for a long time). khama = kSama = samartha =able. 74) bahuvallaha B. C. paMca diyahAI (acc. of time) = for five days. For maggai see maggase in st. 5. miTTha = miSTam = sweet. 75) aMgovAsaM = aGagapArzvama (B.). Better to equate with aGagAvakAzam. Se ovAsa st. 18 and calaNovAsa st. 116. In st. 615, however, avahovAsa stands for ubhayapArzvama. 76) daDhamannumiyAe- See st. 10, note on duma, to torment. mannu aparAdha = lapse, misconduct, see st. 62 (mannuya). dUmiya = dUna = duHkhita = afflicted, tormented. The second half contains a vivid and realistic simile. Cr. st. 109, 182. surasura (onomatopoeic root),to glide, to slip away. 77) saMvaliya = saMvalita = mixed, interspersed. richolI = paGakti line, row, swarm kaMThiyA = kaNThikA necklace. Compare st. 611 and Sisupalavadha, 6.53. 78) duggacca = daurgatyam = poverty. AsaMghiya == AzaMsita = saMbhAvita or apekSita = desired. See st. 389 and H. 4, 35. vimuha -- vimukha = one who has failed to get ( the desired object). Compare st. 669 and macchakaTika 1, 12. 79) khaMdhaggi = skandhAgni =- fire made by burning logs of wood. naDijjai = bAdhyate, pIDyate = is tormented. sANusaa = sAnuzaya = angry, resentful. In a city a wayfarer cannot easily have either fire from logs of wood or a warm bed or quilt of grass. 80) paholaNA = praghUrNanA = shaking. For pahola := ghUrNa see H. 4. 177. alaya = alaka = (dangling) tresses, locks of hair. AuliyaM = Akulitam = perplexed. taraliya - taralita = allured, enticed. pahalla = pahalliya = pracalita = moved, shaken. For halla to move, to shake, to be unsteady, see st. 679. Compare Marathi halaNe. oli = Ali = paGakti = a line or swarm (of bees). For oli compare Marathi oLa. See H. 1, 83. 81) ajjA = prauDhayuvatiH = an adult (grown up ) lady. See Vajja, Note on st. 308. The idea is that even in the absence of a bath and make-up and adornment, she was more fascinating, and confident about her sexual appeal than her cowives. hallapphala d = enthusiasm, solicitude (autsukya). pasAhirI =prasAdhanazIlA = given to (or in the habit of ) decorating or adorning. 82) jAla = chidra = etched hole. jAlavalaya = a reticulated bracelet. sohaMti = sohaMtI = zodhayantI cleansing. The final I in sohaMtI is shortened for metre. kilaMbakaMTaya = sharp point of a wooden splinter. nhANa = snAna :- post-menstruation bath. kAhisi = kariSyasi fut. 2nd pers. sing. See H. 3, 170 and 4, 214. 83) ahaMsaNeNa = adaMsaNeNa --- adarzanena. For optional duplication of da see H. 2,97. See st. 84, 182,556. pisuNajaNa == scandal-mongering or malicious people. emeya = evam eva = just so, without any apparent reason. See st. 136. For elision of the first a in evameva see H. 1,271.

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(139) 85) puTTad. = udara = belly, abdomen, stomach. See st. 234. puTTavaDiyaH udarapatita = (1) reduced to a condition in which people have to work hard for satisfying hunger for food; (2) hanging on the abdomen. According to B the stanza suggests the pregnant condition of a woman (whose breasts begin, with advancing pregnancy, to sag and hang on the abdomen and become darkish in their nipples). See st. 427. 86) sumahilo is a B.C.mINa = kSINa = emaciated, lean. duccaM = docca = dautyam = the role or function of a mediator. paDivannaM = svIkRtam = was assumed. 87) suhaya - subhaga = a charming man. suhAvesi = sUkhayasi, sukhaM karoSi, denom. verb. from suha = sukha. See st. 99,209. nikkaiyavaM = niSkatavama, niSkapaTam (adv.) sincerely, guilelessly, with genuine love. af#@ vuur - arferozat -- as a matter of mere formality or empty courtesy. 88) pahara = prahAra, see note on st.31. ubvAya = udvAna or udvAta = pIDita = pained, aching. Cf. pabvAya, st. 58. vIyaMto = vIjayana = fanning. 89) gorayaM = gorajaH = dust-particle raised by a cow while walking or running; (2) gauravam (Atmagauravama) = vanity, self-esteem. avaNito= apanayan = taking away. Cf ANata and naMta st. 52. ballavI = gopI cowherdess. 90) iMtassa piyassa, gen. abs. used for loc. abs. (iMtammi piyammi). piTThI = pRSTha = back. Cf. paTThi st. 10. samuha = saMmuha = saMmukha ; samuhaTThiyaM (K.C.) = favourably disposed. 91) jANAveu inf. from caus. of jANa to know. viviya = vidrAvita, (p.p.p. from caus. of viddava = vidru) == chased, banished. parisesa = remnant, remainder. pairikka = paririkta or pratirikta = privacy, solitude. Weber's reading pairikkammi vi is decidedly better. viNaya restraint, reserve. 92) ittAhaM - idAnIma now, hereafter in future. H. 2, 134 gives the forms iNhi (or inhi ) and ettAhe. For inhi see st. 32. For kAhisi see st. 82. khamiti (pres. pass. 3rd pers. plu.) used for khamijjaMtu (imper. pass. 3rd pers. plu). 93) nama = chAdaya to conceal, to hide. See H. 4,21. varAyA = varAkAH =- wretched, miserable, pitiable. 94) taiyA = tadA = then, formerly. phalaDaya = phala, with two pleonastic suffixes aDa and a as in Apabhramsa, see H. 4, 429. baddha phalaDayA = baddhaphalA (BC) = (1) begun to bear fruit, (2) pregnant. The stanza indirectly suggests the indifference of a selfish and ungrateful lover to his former sweet-heart, after she conceives by him. 95) mAmi= he sakhi, see H. 2, 195.phidA = phiTriyA = bhraSTA, naSTA, apagatA = perished, quenched. See H. 4, 177.Cf. Marathi phiTaNe. Compare st. 424. 96) sAriccha = sadRkSa = similar. See note on st. 28. 97) saMbharijjai Pres. pass. 3rd pers. sing. For saMbhara = saMsmara see st. 27. pamhusai = pamhusijjai = vismayate. For pamhusa = vismar to forget see H. 4, 75. In pamhasai the act. form is used in

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(140) pass. sense. Weber reads panbhasio = prabhraSTaH dropped from the mind, i. e. forgotten. saMbhariyavvaM (pot. pass. part.) something which has got to be remembered. kayaM = made to be, i. e. become (jAtam ). kRtam veSTakati = 98) nAsa = nyAsa = nyAsa = a (valuable) treasure vave vRtiveSTavRtiveSTana veSTanavRti = encircling hedge. parigaaM (= parigatam surrounded ) is a better reading than parikaraM. 99 ) accha u let alone. For accha = AsU see H. 4, 215. chitta AstAm region, site, locality, area. sImA outskirts, boundary, jhatti For suhAve see 87 209. cheta kSetra jhaTiti = immediately. = - = = = = = 100) cUyA cUtA: mango trees. agghAiyA = = agdhAyiyA becomes agbAiyA AdhA AghrA = to smell or agmAyiyA AghAtAH by vocalisation of fa into 6 (saMprasAraNa) (p.p.p. from agvAya inhale through the nose). dAhiNa dakSiNa. See H. 1, 45, and 2,72. The sight ( and fragrance) of blossoming mango trees, the smell of wine and the contact of the southern Malaya breeze are ordinarily expected to act as powerful excitants of passion and to induce homesickness in way-farers, and make then eager to return home to meet their wives. = = B's commentary is called chekoktivicAralIlA " graceful reflection on (ie thoughtful exposition of) the clever utterances" [ in the Gahakosa, i. e. anthology (or collection) of stray, isolated stanzas in Prakrit ].

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101) avagUhae uha anfenfer ava to upa before the root gUhU. For jAhe sincere love. 102) aviyahapicchaNijjaM, cf. st. 95. viiNNa faattoi datta sabbhAva sadbhAva 103 ) jaNei janayati = produces, gives (caus. pres. 3rd pers. sing. from = to be born, to come into existence). TR 104) faffe boSThasphuraNa (B) the (correct) movement of the lips while speaking. According to other commentators, it means the first letter of the Devanagari alphabet. Thus fafafa autojat seems to mean people who are unable to read and write, i. c. illiterate, uneducated people. This is confirmed by the word f (fr) used in the nirakSarA second half in connection with ger (a gold-smith's balance used for weighing gold etc.), which is fai. e. without any numbers etched on it to indicate the weight of the thing to be weighed, unlike modern balances used in science laboratories or weighing machines in factories, railway stations etc. The goldsmith's balance is a small-sized instrument and it is put in a cloth-bag and carried by the goldsmith on his shoulder, while visiting the houses of his customers. TIT gaurava esteem, respect. See H. 1. 163. anyaviya arpita honoured, ppp. from denom. from the noun ardha honour, respect. af 34, pres. pass. 3rd pers. plu. from ag to carry. See H. 2, 26 and 4, 245. = = 107) ciDura 108) 1 11 105) AryavaMta AtAmrAnta (B) becoming slightly (ar) red with anger. It would be better to equate the word with rara (pres. act. part. from denom. from reddish ). AtAmra = = 106) fasafa faaifa (caus. p.p.p. from fa to be extinguished). For fa see st. 12. faufor niruddhocchvasita (by inversion of the sequence of the two words ) checked or restrained breath. fa = zaGakAkula nervous, apprehensive. fe cIrya, corita theft, secrecy. The three compounds in the first three quarters are BCs. = = = = (141) Second Cento embraces. B's version usually prefers the upasarga = yadA when, see H. 3, 65. = = = cikura keza tresses. See H. 1, 186. Oh! For as a particle of address (a), see H. 2, 196. Abhinavagupta (Dhvanyaloka Locana) explains a "I pray or request you. as , to whiten, see H. 4, 24. = For buma 109) dijjato Cf. st. 76. 110) fres = nIDa , (pres. pass. part. Nom. Sing.) dIyamAnaH = nest. For duplication of see H, 2, 99. free (d.) a young one. Cf. Marathi f. The first half and 3rd quarter are BCs. = = = being given or offered

Page #171
( 142 ) 111) T = * = weight or burden. aftorify = bent or pressed down. faafa = fastica = request ( Marathi faridt). TSFEITE ( Imper. act. 2nd pers. sing.) ==T =17. See H. 3, 177. a furat - T: (adv.) = slowly. See H. 2, 168. 112) facafes = faofah = last. 1s = difficult to see or find, i. e. rare or scarce; or painful to see. 731 = feat = funeral pyre. = 377 = raat = weeping. In his commentary on this stanza B speaks of four kinds of words used in Prakrit:(1) a = phonetically derived from Sanskrit; (2) 9 = same as in Sanskrit; (3) tant = words neither tadbhava nor tatsama but still used in Prakrit; (4) sAmAnyabhASAzraya = borrowed from contemporary regional languages. Cf. Dandin, Karyadarsa I, 33, where only the first three kinds of words are mentioned and not the fourth. 113) HEE (d.) =small, shallow.atta (pres. pass. part. from the root to carry away. See H. 4, 250). H TT=STATA or gta ( for duplication of 7 see H. 4, 230 ) = clinging, getting emotionally involved. #fefe = SETT, fut. pass. 2nd pers. sing. from a to burn. See H. 1, 218 and 4, 246. 114) T = F T =- daughter-in-law. See H. 1, 261. 37TCFT = 3Toy = started. See H. 2, 138. JACTITT = difficult to negotiate or walk up (or down ). qurat = 9997 = Ar = path, way. The daughter-in-law walks down (or up) a difficult (steep) path in order to induce the farmer's son to hold her hand and help her in negotiating the difficult path. 115) for (acc. of time ) = on the preceding night. Foarfait = sqarfa = banished, removed, rubbed away. ha = 141787 = transferred. The idea is that on seeing her lip deprived of the rouge, the faces of her cowives became red with jealous anger. 116) TUTE = atteet, see afrath st. 18 and altare st. 75. arafat =zfrafica = wound, entangled. 3TTET = 3176U = pulling, dragging, afo ( + gfe ) = te, pleasure, joy. cfars or ol is added here pleonastically to L. Cf. H. 2. 163-164. See note on st. 118. Cf. Marathi Ed. 117) 37799 = ESTR = a bear. #199fTt = #F#ta qf : = a way-farer in the cold season (winter). T = straw, dry grass. facta = aga = fata = farafa. dying out, about to be extinguished, smouldering. For the root fargt see st. 12. a = Treufa = (1) agitates, rakes, stokes ( the fire ), (2) rips open or tears ( the bear ). For 6 = CTET, see H. 1, 198, 232. The dying, reddish, smoky straw-fire is compared here to the lacerated body of a black bear. 118) arts = arrafa = stops, restrains, checks (me). 750, see st. 94. Hufessit = * = dumb, tight-lipped. T + gay + 38 = #fact, two pleonastic suffixes, farm and 37, and change of fu into y and of into foes, according to H. 2, 163-164 and 4, 329 and 447. Hairatfor = paisaia = shaking or convulsing the entire body.

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( 143 ) 119) afy = afar = crushed, crumpled. Jestfay = yegua (caus. ppp. from A to fly ) = caused to fly away. forset ( voc. sing ) = oh paternal aunt ! * = 65e =sky (or cloud ). GETTY = having its face ( surface ) turned upwards. g = f ra=thrown. See H. 2, 127. The stanza suggests the extreme naiveness of a child in regarding the image of the sky reflected in the village lotus-pond as the sky itself fallen into the pond with its face turned up ( ITU). 120) afar = at#f4FT = ATTAT =reed-chair or stool, or cushion. Gerfafs=sfcafafel three boxes or stools or cushions placed one on the top of the other. Cf Marathi gata= a pile. E = JICE = eager, greedy. See st. 630, 645. 121) qui B explains this as afe=" oh friend "here and in st. 296 and 355. H. 2, 205 206 gives four senses for this word : (1) possibly or perhaps, (2) surely or certainly, (3) or, (4) alas. The sense alas' would be quite suitable in st. 121 and 355. WHITE (B. C.)= HTTY = = an accursed, wretched or wicked person, a miscreant. 3 rifa denom, from a = languish, droop. For the idea compare st. 394. 122) far ofag = gfa 39, loc. abs. constr. afh4 = fga = turned, directed. fagt (adv.)= covertly, slyly, silently. The women of Gokula smiled slyly in order to convey to one another and to Krsna that he was no longer a mere innocent child as said by Yasoda but already a young lad, teasing them and playing mischiefs with them and having love affairs with them. 123) f at = steep, uneven, rough and difficult descent. Cf CACEITT quat st. 114. = excuse, pretext. q = pity, compassion. forete (adv.) = blamelessly, confidently. 124) HET137 = cheerful complexion ( glow) of the face. 3 ET377 (BC), cf. st. 213. froi = #TH = ancestral debt. H3 = passes on, moves on, is inherited. 125) #furk = AT = pretext or excuse. Cf. fore, st. 459. faf tifay=ffTITAT=Feman (B). WatafshTTO= 491fafafrah = reflected in the cheek (as in a mirror). For GEHITY see st. 240, 351 and compare qfe st. 1. 126) 21 stands for 377 (32TTT) and not a (= 377017. TE97). 3799 = various different. See st. 340. 054 =- = cliff, precipice (Marathi ET). get d.=skin, slough, bark-garment (cf. Marathi atm). Ug=sheds, casts away. farraa=spreading scattering, dispersing. fagra would have been better, but metrically defective. Weber renders you as gown or mantle. gofurgoutr = leaning on their bows. gfaat - atr:, f#itat:. growia (pres. pass. part.) = pUryamANa = being filled or crowded. AloyaMti = Alokayanti = look with curiosity. 128) quia = 79a = forest-fire. Afp = = Hot = black ashes. The final in het is shortened for metre, see H. 1, 4.5 = f = soiled, darkened. TET, see st. 3.

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(144) chauroya = kSIroda = milk - ocean. ucchaliya = ucchalita = splashed up. mahumahaNa = viSNu. 129) viyaNA - vedanA, see st. 66. nihayabaMdhavaviyaNAe~ is either a BC, instru. sing., or a rC. loc. sing. pakkala d. = samarthaM (B) = a mighty hero. aNurAeNa = with loving admiration. puloio =pralokitaH, dRSTaH, see H. 4, 181. 130) = Vajja 206. kaimo vi diyaho = kaivayA vi diyahA = katipaye api divasAH = since several days. For kaima = katama see H. 1, 48. vikkirai = viSkirati = scatters, For explanation of the word rupa and for the idea underlying the stanza, see Vajja, Notes, p. 446.Compare st. 373Fand 672 and also st. 131. Also compare Vajja 212, 213 and 214 and notes on Vajja st. 212. 131) taNaio' = tanakitaH (ppp. from denom. from taNua-tanaka) = emaciated. See st. 61 and note on st. 28. alihiya = alikhita= unscraped, unpared. duppariyalla = duSparikarSa = difficult to stretch ( or to wield). Cf Ayalla = AkarSa, AkarSaNa st. 160. 132) hAsAvio = hAsio or hasAvio (caus. p.p.p. from hasa to smile). sAmalI = zyAmalA = a beautiful, young woman. vallahavAa = vallabhavAta or vallabhavAda = husband-craze or mania)(delirum, obsession). 133) mAmi, see note on st. 95. kaivayarahiya = free from deceit, sincere, honest, genuine, cf. nikkaiyava st.87.haMtaM- abhaviSyata (cond. mood ). See note on st. 24. 134) acchera = Azcarya, see H. 1, 58; 2, 66. nihi= nidhi- unearthed buried treasure suddenly discovered. viNiyaMsaNa = vinivasana = vivasana = nagna = unclothed, naked. For the anusvAra on ya see H. 1, 26. tissA = tasyAH , see H. 3. 64. mha = amha = asmAkam, for us, i.e. for me.sukkhaM saggaM can also be understood to mean saggasukkhaM = the bliss of heaven. For Asi (past tense) - AsIt, see H. 3, 164. 135) vesa = dveSya = object of hatred, disliked. See st. 213, 215. bAlaya=oh young (inex perienced ) boy! bahuviyAraM -bahuvikA 'ma- changeful, unpredictable. kira = kila= really, of course, patently. 136) mANadhaNA = indulging too much in jealous anger. taha dUraM = so such, to such an extent."aNabaddha = pursued, nourished, nursed. asuNI = anAzravA = perverse, obstinate. pauttha =gone away on a journey, mentally estranged. Cf. st. 44. 137) Ahaya= Ahata= struck, affected, influenced, inspired. virahakkharAbaddha = Abaddhavirahakkhara (BC) = full of letters ( words ) conveying the grief of separation ( from her husband ). gAi = gAyai = sings, see H.4, 240. 138) ahayaM = aham. See H. 3, 105. lajjAlaiNI = lajjAvatI = shy, bashful [lajjA +mAla+a ( ka)+iNI] an example of two pleonastic suffixes (a and iNI)added to the possessive suffix Ala.Cf.saddhAla iNI st. 417. ummacchara = nirargala (B) = violent, wild, impetuous. See

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( 145 ) st. 620. 3 ife = please forbear, see H. 2. 189. According to B, the woman is embarrassed at the prospect of her husband urging her to practise inverted coitus on him, resulting in the bedsheet being marked with the moist red paint applied to her feet, and her clever female friends noticing this the next morning. For references to inverted coitus see st. 141, 224, 239, 325, 406. 139) FETT = TOT = TECat, see H. 2, 146 and 4, 210. fegin = afusada = a1f57. ET = 9194 = to wash, The wife washes her husband's feet to prevent him from moving out at night for seeking the company of other women. The husband smiles to convey to his wife that he has understood her intention in washing his feet. The wife smiles because she concludes from her husband's smile that he has seen through her intention. 140) #7 - play, jest, fun. atzg = 4a, see note on 75 st. 73. EF =64 to get angry. See H. 4, 236. Hafauty (BC) = one who has cast aside decent behaviour. IEU = HTT= gta = become. 3tay = a helpless, powerless. 141) 98ffout d. =a game played by young girls in which the trunk and hips are moved up and down, the body being supported on the legs bent at the knees. + = CH = her (acc. sing. ). afacer = sfaEFIT = proficient. TUT = 797 = hips. qfrariat = puruSAyamANA, performing the role of a man while practising inverted coitus. pUrisAyaMtI is pres. act. part. from the denom. root 14 (from the noun gfta = a man ). FESTA ( FA) = P1F4 = to be exhausted or fatigued. #mafer is fut. act. pres. 3rd pres. sing. For fest see H. 2, 106. 142) = Vajja = 476.93TTATT (BC) = abounding in young men, gir = safare = old, aged. ETUT = Falafat = at her disposal, in her possession. 57out = = old (wine ). 143) = Vajja 439. #ferria pres. pass. part. from #8 == 444 = to tell. TOTETTTT 8 = makes it heard by her again and again, i. e. makes me repeat it several times. 144) qrafen =#fear displayed, shown. HTC = HERTa = good disposition, favour able attitude. faam = fa = playful movements of the eye-brows, eyes and lips. qufgy... faas is an adv. comp. 970 = concealment. a193 - oua = engaged ( in concealing ). 145) ga -Oh how nice! H. 2, 181 reads ga qogy, and explains ja as TETUT = take this. att = 267 =a plum. According to B, the wife cleverly suggests to her husband that sexual relations, suspended during her pregngncy and since her delivery, can now be resumed. 146) 375883, see note on st. 99. ratat people's gossip or comments. TUT = your own (mind or heart ). Hicaat = FAE: (BC) = whose love has become feeble. 59159 = 39157 = reproach, rebuke, TTT=1114: = worthy of or deserving.

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( 146 ) 147) = Vajja 453. Eogh = 93TT (BC) = difficult to obtain. farita (voc. sing. agreeing with hiyaya) = seeking to obtain, aspiring to get. kaiyA vi = kadA api. For 591 = 71, see H. 3, 65. gfsafaff = GETA (fut. 2nd pers. sing. ) = you will be broken or shattered. 148) TITUETTT=37T051F:= not admiring the good qualities of others. For change of 7 to see H. 1, 56. 311 = that person or man. F= . pres. 1st pers. plu. from T to be, see H. 3, 147. The plu. is often used for the sing. idiomatically. 149) a = breaking, bursting. For 59 = 9EUR to break, see H. 4, 231. fauftus = ya or Twia, pres. pass. 3rd pers. sing. from fat (or furont) = to speak about one's sorrow, see H. 4, 3. 37EURTar (d.) = 1658 = a mirror. The mirror intended here is one whose surface is soiled by water vapour or breath exhaled from the nose or mouth. Cf. Ramayana, III. 16, 13 (f:STAFET gaiget:). 150) a = fiara = Kadamba-bud. See H. 1, 222. fastig = tft 19: = a bow (i.e., catapult-like mechanism ) loaded with and discharging pebbles of stone (instead of arrows). Cf. st. 498. 151) TAHT = suspecting that a noose has been laid ( for catching it). fE = = given, offered. ztvia (29=30=31toja) inclined or turned downwards. #45 = palm of the hand. oyaliya = avagalita = slipped down. piMDa = lump of boiled rice offered to birds before the midday meal, and also known as #af). The stanza suggests the extreme emaciation of the woman separated from her husband gone away on a journey for earning money for the maintenance of his family. When the woman offered a lump of food to birds, her bracelet slipped down her emaciated wrist and fell on the ground, encircling the lump of food. The crow thought that the bracelet fallen on the ground was a noose or trap set up to catch it and so it did not want to pounce upon the lump of food. 152) fag (ppp. from the root Tie = to inform or to tell ) = #feTap = proclaimed, declared. oNiyattiya = apanivatita =turned away. accha = akSa = eye. sesapurisa etc. is a BC. a1 = q = moist with tears. For 3 = 3 see H. 1, 82. 153) =Vajja 378. apfefaut =3affan = the last day of the period of separation from her husband (gone away on a journey). #fat = t1f31, ata = steathily or secretly. af faal = Ter ga = immediately after she drew the lines ). 5 = , 155, to erase, rub away. See H. 4, 105. For the background and implication of the stanza, see Vajja, Notes pp. 481-482. See also notes on st. 370 below. 154) frog = TEETH, ATTEOH = similarity. faf = fafa = the creator ( of this world ) 254 adv. =37747, 3774710in a different manner, differently i. e. once again, afresh. als = qzfach (inf. form ) = in order to fashion or create. Cf. Naisadhiyacarita, III 32.

Page #176
(147) === 155 ) = Vajja 377. paDhama cciya paDhami cicaya paDame striya a case of deinflection diyahaddha one half of a day, a half day. fefeat fafa: was covered or chequered. cittalia is ppp from denom. root from cittala - citta (citra), a being added pleonastically. Cf. H.2, 173. See also st. 252 below. the very first meeting of a husband and his wife the pleasure of sexual union savilakkha savailakSya salajja 156) = Vajja 325. paDhamasamAgama after their wedding. surayasuha : bashful, abashed. lakkhia dRSTa seen. ufag is either a part of the long compound or a deinflected loc. sing. form standing for bIryAdiyahe. Both the halves of the stanza have each a loc. abs. constr. = = = = = 157) samUhAgaya = come towards or approached (me) bolINa gata atikrAnta passed by my side. volINa turned backboliya (ppp. from bola to go away ). See st. 178. baliya wards towards me. piya being shortened fqu (my beloved girl), the at in fqat for metre, according to H. 1, 4. vicchoha vikSeSa tossing darting ( of glances, acha akSi ). jaNassa je huMti te haMtu, Ordinally lotuses, mango blossoms, jasmine flowers etc. are supposed to serve as the arrows of Madana (Cupid), who is therefore called puSpabANa, the god using flowers as arrows : = = = * 158) kaNayora golden girdle or waist-band huyavaha the god of fire kanakasUtra hutavaha ( agnideva ) varuNa = the god of water. mAhappa mAhAtmya greatness, eminence huyavahavaruNANa 'hutavaharuNayoH from, i. c. by the favour of Agni and Varuna, the Gen. case being [used for the Abl. according to H. 3, 131 136. jahaNAruhaNa jaghanArohaNa mounting on the hips or the waist. i. e. being worn on the hips (also mounting on the sokkha lower part of a woman's body in sexual intercourse) subakha saukhya, or = sukha with duplication of according to H. 2, 99. The reference here is to the practice of heating gold in fire and then dipping it in water during the fabrication of gold into ornaments, and also to the penance (divya) called after which consists in a person's standing under the hot sun in summer, surrounded by four blazing fires and then standing under raining clouds in the rainy season. This penance is supposed to enhance the physical hardiness and the spiritual greatness of the person practising it. It is also called agnipAnIyavrata or zyAmazabalavrata and there is a covert reference to it in st. 383 below. == = 160) muharaso the sweetness or nectar of the mouth the braided hair. Ayalsa AkarSa or AkarSaNa = - = = = 159) vihavasAraM vibhavasAra: choicest or best (for the neuter gender see H. 1, 34) possession or wealth. acchariyaM = Azcaryam (see H. 2, 67 ) =wonder, surprise. aNahutayaM abhavat = not existing, not possessed. tai tae sapatnI rival wife, cowife. B seems to have read ki tha ( tvayA, see H. 3, 94. savattI ki ettha kim atra) for ki va. = = 1= = = seizure of (or lips ). kayaggaha kacagraha pulling or dragging. See note on duppariyalla

Page #177
(148) st. 131. B explains = Ayalla as haTha i. e. force, violence. sarahasa = sarabhasa = violent, impetuous. 161) tumAhi = tvattaH, Abl. sing. See H. 3,96 and 3,8. jIyaM = jIvitama = life. see H. 1,271. mahaM = maha = mama, see H. 3, 113. 162) pattiya = pratIhi ( Imper. 2nd pers. sing. from pattiya to believe ). pattiyaMtI (= pratIyAma) and bhijjaMtA (=bhidherana) are conditional 1st pers. sing. and 3rd pers. plu. forms respec - tively. See notes on st. 24, pulaubbheya - pulako da = sudden emergence or outburst of horripilation. 163) =Vajja 68. vasaNadesakAlammi vasaNadesammi vasaNakAyammi ya = in a place and time of calamity. bAullaya (also bAullI) = paJcAlikA = a human figure (painted on a wall ). Cf. Marathi bAhalI. Alihiya = Alikhita = drawn, painted. 164) paDhamullaya - prathama = first. For the pleonastic suffixes ulla and ya(a) see H. 2, 163 and 164. See st. 387 below. sIlakhaMDaNa = breach (or violation) of chastity (or conjugal fidelity). vilakkha (adj)= embarrassed, horrified. vihaMgaulo = vihaGakUlam = flock of birds. For the masculine gender of the word kula see H. 1, 33. NiuMja = nikuJja = bower of creepers or shrubs (on the river-bank). uDDei =uDDayate = flies or starts up. 165) asajjha = asAdhya = impossible to achieve. vasaMtamAsa = spring month, spring season. pattA = prAptA ( = reduced to, turned into), supply ahaM as subject for the predicate pattA. asaittaNa - asatItva = the state of a woman of bad character. 166) ikkikkama = ekaika = one after another, one by one (to be connected with vivaraMtara ). The final ma in ikkikkama is added for metre. vaiveDhaya = veDhayavai = veSTakavRti - surrounding hedge. vivaraMtara = this aperture (opening) and that. taraladinnaNayaNAe = dinataralaNayaNAe ( BC ). tarala = quivering, unsteady. tai volate= tvayi gacchati or atikrAmati ( loc. abs. constr.) = while you were moving away. paMjarasauNAiyaM tIe (impers. constr.) =she behaved like a bird confined in a cage (paMjarasa uNa). paMjarasauNAiyaM is past part. from denom. root from paMjarasauNa. 167) kareu = karau = karotu. See H. 3, 157-158. vaiveDha = veDhavai = veDhayavai = veSTakava ti. See note on vaiveDhaya, st. 166. pilliya = piDDiya = pIDita = pressed, squeezed. pAyaggaMguTTha - pAyaMguDhagga= pAdAGguSThAna = tips of the toes ofth e feet. ukkhitta = utkSipta = lifted up. raised. NIsaha = niHsaha tired, languid. 168)saMbharaNa = saMsmaraNa = recollection, remembrance. palaTuM-pravartamAnam = starting, gushing out, welling up, pouring down. For paloTa = paryasa = to spread or scatter, see H.4, 200. dijjai = dIyate (pres. pass. 3rd pers. sing.) = is given, i.e. is placed (on the ground )

Page #178
( 149 ) (Feud). a = 97 = turned, deflected. See H. 1, 26. frat = at = neck, att is BC. 169) fafar BTC = her limbs, i. e., her neck, head and eyes. 7E = Ty = in such a way, i. e. through such a wide angle. gfqHF = 76EU = middle of the back. 170) A = #= mediocre, neither too good nor too bad. at = at: (adv. used as adj.) = better, preferable. 37$tat, see note on st. 26 and 46. # = I do not want to have, I do not like. as requires the instru. case of that which is not wanted or desired. 171) 3&feafafot = a glance through a half-closed eye, a side-long glance (PICTET). rafai =Fat fa# (adv.) = in a natural, straight way. The alternative form ofay is used in st. 32. t = alles = fatufa (fut. act. 3rd pers. sing.). = TETT = innocent, naive. #fefefefe (fut. pass. 2nd pers. sing. ) = you will be regarded. 172) feug. see note on st. 36. ggfaut (d.) = * = mute (silent ) with anger. #15T = at = having carried out (ger. from #). HE = A = HTTTT = lapse, misconduct. Cf. F9 st. 62. qida = 978Ti qreast = region of the feet or vicinity of the feet. ETIT = Catar:, object of fat (= we, i, e., I remember ), used in the gen. case instead of accu. case, according to H. 3, 134. 173) 914351 = a1 = hut of a Can dala (910). 677E = TATT = a sacrificial hall or enclosure. = indeed, surely. ofteftam (pot. pass. part. from afat to avoid ) = fit to be avoided or shunned. faecat foar = fallen on bad or difficult times. 174) f = aa = virtuous, chaste. ef = unchaste, lecherous, of bad character. faco (d. = =secret. 3 = 1473 = 12 Tart (Imper. pass. 3rd pers. sing. ). The point of the stanza is: If your wife is a chaste woman, it is because she was lucky in having an imcomparably charming man like you as her husband, and hence she remains loyal to you. If she had any inferior man as her husband, she would never have remained loyal to him, but would have run after you. If I am disloyal to my husband and in love with you, that is because my husband is a worthless man, very much inferior to you. So you are the real cause of your wife's chastity and my unchastity. 175) pate= para = all property or belongings. GET = TT. EIE = 2, see H. 1, 217. nivvui = nirvati-perfect happiness. kuDa = ghaTa = a jar of water. hatthAhatthi (adv.)= EFTIGEFAT, Farafta 1 = by taking with his own hand from my hand. Cf. st. 376. Farem sed is loc. abs. 176) FigFor (pot. act. 1st pers. sing. ) = may I be born. 2557 = 407 = stunted, dwarfish. E27 = 1914 = a leafless tree, afsu = = fruf = shattered, fallen, decayed,

Page #179
(150) perished. For jhaD = zad see H. 4, 130. cAI = tyAgI = generous, eager to give for helping others. rasia = rasika = sensitive, kind-hearted, compassionate. 177) sohaggagaNaM= saubhAgyagaNam = sexual attractiveness. amahilasarisa = amahilAsadRza = mahilAjana ayogya = improper or unusual for women, The A in mahilA is shortened (for metre) according to H. 1, 4. sAhasa = adventure. golAura = flood of the river Godavari. vAsAratta = varSArAtra == varSAkAla = rainy season. addharatta = ardharAtra = midnight. 178) voliya =gata, naSTa, mRta = gone away, ceased to exist. kuDaMga = (d.) = kuJja = bower, arbour, thicket of creepers or shrubs. khannaya = sthANuka = leafless stem or stump. Cf. khannua in st. 176. gayavaya = gatavayas = old, no longer young. mUlaccheya = extermination. Cf. st. 326,551, 576. 179) NiyaMba == nitamba = hips, buttocks. DasaNaMka = dazanAGaka = dantavraNa = toothmark, tooth bite. udhvasiya = uduSita = decayed, delapidated, in ruins. See st. 30. mUlabaMdha =foundation pit, trench for laying the foundation of a building. aNaMga = anaGaga = Cupid, god of love. 180) jahiM -- yasmin, tahiM = tasmin [ loc. sing. of the pronouns ja (=yata) and ta ( tata). See H. 3, 59, 60. four = fear = remained fixed or pinned down. As Prof. Weber points. out [ Indische Studien, Vol. 16, ( 1883), p. 77], B while commenting on this stanza, waxes eloquent and poetical, describing the beauty of each limb of the woman from her face to her feet. 181) fagar = painful, unbearable. 3THUATT = made of nectar, consisting of nectar, delightful. ahiyaM = adhikam (adv.) = very mnch, extremely. samayaM = samakam (adv.) = at one and the same time. viNimmaviyA = viNimmiyA ( caus. p. p. p. used in a non-causal sense) = created, fashioned. 182) addasaMNeNa, see note on st. 83. puttaya (Voc. sing.) = putrike = Oh daugther or baby! See st. 214, 283,306,355, 644. aNubaddha = joined, bound or knit together. hatthauDa = hastapuTa = the two hands joined gether to form a cup or bowl. pANiya = pAnIya = water. See H, 1, 101. galaMti = drop away, disappear. Cf. st. 76, 109. 183) purau = pUrao = purataH = in front or in the presence (of). vichaya = vRzcika = a scorpion. Dakka = daSTa = stung. See H. 1, 217 and 2, 2. vijja = vaidya = a physician. jAra = illicit lover, paramour. siDhila = zithila = languid, drooping, enfeebled. aMdoligI = Andolana. zIlA = tossing, swinging. nijjai = nIyate ( pres. pass. 3rd pers. sing.) = is taken or carried away. 184) vikkei =vikrINAti =barters, sells. pAmara=a farmer. pAraya=prAvAraka =gown. See H. 1, 271. bailla (d.) balIvarda = a bull. niddhamamammare = nidhUmamarmarasadazau = warm like a smokeless chaff-fire. sAmalI = zyAmalA = a beautiful young woman ( his wife). niyacchaMto = pazyan == seeing. For niyaccha = to see, see H. 4, 181.

Page #180
( 151 ) 185) 1 = 3779 = a blind man; two pleonastic suffixes ( and ) added to sia according to H. 2, 173 and 164. For arc = qa7 see st. 145. qfeer = 917 = bowl. HTBUT = hta: (voc. sing.) = Oh mother ! fame = to rob, to take away, to seduce. Sarifa= foufra = hate or malign (me). See note on st. 677. f&c=214 =tail. fcntfeat (abl. sing. ) = from the serpent's ) tail. 601 = head or hood (of a serpent ). The growth of a hood from a serpent's tail is something unheard of and unthinkable. Similarly the jealousy of other women who have themselves robbed the woman, uttering the stanza, of her husband and done a great injustice to her, is outrageous and horrifying. 186) #TOGTT = standing on the brink or verge of death, under the shadow of death. aral= the river Tapi. qafa = turn ( towards). 7 Fot = in the same way i. e. (as eagerly ) as they did formerly in my youthful days ). Cf st. 178, 326. 187) aforer = farmer's daughter-in-law. TaTTI ( supply are or arfed) = newly dyed (i. e. brand-new ) garment (saree ). 30TH = BICET (BC) = the like of which she had never got till now. 977 = stica = possession, acquisition. U6 = is not contained. sa (d.) = faers = wide, broad, spacious. 7-91 = TET =street. Cf. st. 408, 513. 188) 979=fica FETI = halt, rest, leisure, respite (faga). # is an example of past part. used as a noun. vifaa= f = 999 = spoken word, utterance. 39 = 39 TUT, STATUT = extempore, off-hand, on the spur of the moment. 5fqyas= offeqaauf = 99 = utterances (pot. pass. part. used as noun). 189) - Vajja 147. grup = a, stara = behoves, becomes appropriate. For s see H. 4, 100. afar = CH = gaiety, merry-making, dalliance. fureti = ufura = discourse, speech. #301 =A1x =silence, reserve. 190) afat = TETTE. = trembling. faze = fan = fETTA = perspiring. Ofte = aftuz=act of holding. A fter the path or track of a pen, the line drawn with a pen. afat = Fafa = wobbling, slipping (adj. qualifying it). afs=faffa= the first word written in a letter, meaning" may you prosper or fare well ", " may God bless you." #CTF = is not completed. ffgat = fath: (pres. act. 1st pers. plu. used for sing.) (foffa). Cf. 437. 191) ogroffet = turmeric powder applied to the body (for decoration ) and washed away at the time of bathing. kaDUya = bitter, aromatic. aNusuttajalaM = anusrotojalam = water flowing down along the current (of a river ). See st.'60. 192) TE = T1 = afati = adverse. unfavourable. See note on 71 in st. 33.

Page #181
(152) afa (see note on st. 162 ) = know, believe. afg ghaTitam commenced. fague = fails. vAlapavalaM faaza vAlukApaTalam made of sand baMdha ciya afa fea = baMdhe cciya. baMdhi ciya na ei its expected shape, does not succeed. For change of afr to as see note on st. 155. 1 = 194) uppAdaya utpAdita arjita = earned, amassed. bhAvaNaM ficiary pikka = pakva == ripe. See H. 1. 47. avsifa (pres. pass. 3rd pers. plu.) even when ripe. = Vajja 665. For of see H. 1. 271. gone away, receded. The sing. form frager must be understood as used in the sense of the plu. form faufg; or we should read diyo digraheNa samo na hoi. = = 195) Vajja 34. a = atha = yadi even if. (d.) as a noun-"evil things, harmful things "). = = = = hatye 196) actually in one's hand or possession, completely at one's disposal (after). vasaNe vyasane sahakaTe = in times of calamity. niraMtaraM = always standing by one's side to help and to guide. fr wisdom, knowledge. gr righteousness. == ... = bhAjanam recepient, bene = navaraM = kevalam only. See H.2, 187. are eaten. The nimba fruits are bitter oh you possessing large eyes ! caMdavalA 197) gfe (voc. sing) white or bright because of the full moon. (B.C.) containing four parts (of three hours each). jAma = yAma prahara a period of three hours. jAmiNI- = night. sayajAma vva = as if containing a hundred periods of three hours each, endlessly long. The multiple alliteration (gr) in the stanza is remarkable and spontaneous. carefully planned and sand-wall, i. e. bund does not come up to for = = jAva ... 198) Vajja 52. (1) born in a low family (+fter) (2) not resting on the ground [+(f)+] (but suspended from the neck of the player, or placed on a wooden stand) domuhama aga (1) speaking with two mouths, indulging in double speak, (2) having two faces at opposite ends (on which it is struck with the two hands of the player). ar = tAvat yAvat only so long as. mahuro (1) pleasing in his speech, (2) producing delightful sounds. =(1) food (a), (2) lump of moistened wheat flour ( applied to its two faces). murauvva like a (longish) tabour. fr jIrNa aftof (1) digested, (2) worn off, peeled off. faze = (1) begins to speak harshly, (2) begins to produce jarring sounds. Cf. Nitisataka st. 8. 111 sinful, evil, malicious (used here - 199) pulaio = dRSTa: == was looked at or glanced. darabaliyAvaMgatArayaM avaMgadaravaliyatArayaM with the pupils slightly (x) turned to-wards the corners of the eyes (adv. comp). arftat=

Page #182
(153) was repulsed, was refused entry and sojourn in the house. 317frey = 3 a = in an uncovered place (i. e. a corner of the court-yard ) away from the house. Et = the extreme edge of the sloping roof of a house, jutting beyond the walls, eaves. So 279-117 means a place away from the caves (or walls ) of a house. aft = halted (or sojourned ) during the night. The stanza suggests the enthralling effect of the daughter-in-law's beauty on the wayfarer. 200) C = fatis = fa#faa = fully expanded. TifaT = aga = frafaa =overjoyed. For as a possessive suffix, see H. 2, 159. TUTTUTT=[5#fa= hums, makes a humming sound. Tafu= dark-coloured jewel, sapphire (mat). AEHTOT = goddess presiding over the spring season. # 1 = # = girdle, (waist-band. The mutiple alliteration in the first half of the stanza is remarkable. See st. 197.

Page #183
(154) Third Cento 201) 594a 7 (afua) = unique tree. De Orafort = on your expansive breasts. faafrafes = fasthofa = will be privileged to rest on ( and toy with your breasts). visamma(=vissamma) represents the Sanskrit root vizrAmya, which explains the duplication of ma.The simplification of ssa into sa is for metre. NihANakalasa-a treasure-jar. pAroha paroha= sprout or branch of tender leaves. For elongation of g see H. 1, 44. The hand with its five fingers is compared to a branch of tender leaves (placed on a buried treasure to identify its precise location ). For the idea, cf. st. 158. For reference to bureed treasures see st. 134, 287 and 327. 202) Agrigrad = I have to (or I must ) go. TE JETEH = ai gat, gen. case used for acc., see H. 3, 134. Or te should be taken as implied after TETE. fartfoy = closed, qafraist = Tata = walking to and fro. 203) saufa ( denom. verb from g=se) - Je gafa = make small, lower the prestige. mg (adv.) = quickly, in a short time. qagfari = qa r = as great as a mountain. 917 becomes a according to H. 1, 81 and then fit according to H. 1, 84. ET 555 = two acts, things or matters. foafru = : 474 = revelation or disclosure of one's sufferings or secrets). For fragt see note on st. 149. apfurat = not tried or tested before, untrustworthy, unreliable. The forms afforage and fada are used here to denote the person to whom the sorrow is or is not revealed (fa940194 2H). 204) at=377 = lofty, high. 3faat = 341 = lifted or pushed up, propped up. #HY = raised up, uplifted. * = auspicious jar or pitcher. 377875 = lotus used for welcoming and honouring a guest. 205) ag = afa = fence, hedge. faat = orifice, opening. gegn = Tarahi or TTF1 = of so much (or of this) expanse. For gaz (TEC) == Tar or raraa see H. 2, 187. In the context of the present stanza, ge&fa means "as large or expansive as a leaf of the castor plant." 206) #fag = #f779 = young elephant. t = TOGFIE = temples (of an elephant ). fag = f = similar. Tot = firm, compact. 9797 large, plump. furiat = closely pressing against ( or touching ) one another. Faf = 3ogafaga (inf.) = to exhale or breathe freely. ET = = wretched, cursed. 207) qF74= 97# = Oh ( dear ) boy! Oh young man ! #rast gify = 140417: 4 = have sexual desire ( for such a woman). HTUT = a woman who has been delivered one month back. grafa oft = a woman who has been pregnant for six months. ikkadiyahajariyA = a woman who is having fever for one day. raMguttiNNA = a woman who

Page #184
(155) has left the stage ( after a dance or drama performance). According to B, such a woman excites sexual passion in a young man and is consequently fit to be sexually approached by him. 208) uit = fagnat = groaning. qfaqe = sfaqe = = rival wives, cowives. (acc. plu.) - heaps (lumps, clusters) of jealous anger i. e. exciting their jealous anger). F3 = 921 = jars or pitchers (of loveliness.), see st. 175. fetuafg = g aat doted on (or longed for ) (by hundreds of men ) (also supported or propped up by their hearts ). = why ? See H. 3, 68. 209) janfgu, see note on st. 49. FTESSUT = 9757 pressure, close contact, squeezing. For efens see note on st. 116. qfsu == fallen, plunged, immersed. 1970 = evil omen (such as throbbing of the left eye ). situate =the day of the planet Mars, i. e. Tuesday (which is supposed to be inauspicious for undertaking a journey ). fafghaus = fafofaa (also called ET), the seventh of the 11 karanas or astrological divisions of a lunar month ( supposed to be inauspicious ). fafghaug can also stand for afofcau ( a rainy day). 210) atif = atlant = poor or pitiable girl. T531 T = for you, to have a glimpse of you. gharadAratoraNa = arch at the door or entrance of her house. osUsai = avazuSyati =languishes. For 1 = 39 or 37a see H. 1, 172. B takes it in the sense of 791, calling the attention of a person, i. e," look here". authTM = a garland of flowers hung across the arch or lintel of the main entrance of a house. 211) 3194 = 31917 or ga = TE = come near.qfagfa fe is an impers. constr. Thaa = zukavRnda = a flock of parrots. pUsa (or pUsaa) perhaps stands for puMzaka= a male parrot. Cf. qta, tilfies. For 75 = a see H. 2, 79. 777067 = 9795 = (green) leaves and (red) fruits. 212) gifagt = ( I was ) caused to laugh. ag = got = in that manner, i. e., abjectly or obsequiously (while calling his wife by the name of his sweet-heart ). f = 3fERT = I was caused to laugh ) ( pres. used for the past ). 31 Fiat : qatqarait = stimulating the wick of the lamp ( Graafg=e9afa) by raising it. For 34 =Tete see H. 4, 152. Throat is pres. act. part. from the denom. from the noun 377#TTU (= 98197), which is found used in st. 645 and 647. For the motive behind raising the wick of the lamp, see the English translation of the stanza, p. 27. 213) 30o = considerate behaviour, indulgence, accommodation. HETTET, = see note on st. 124. a, see st. 135. qah = free, independent, master of himself. 977 = accommodating the wishes of others. Biffy, see st. 22. 214) EU = 9f7%, see note on st. 182. #igcq, see st. 158. 3fZJITHOTT = f iata: = a man born in a noble family. faTFTATUT = becoming estranged; disaffected, or lukewarm in his love. geoma = go unnoticeable, difficult to recognize as estranged. pofaux = faug = every day, from day to day, with each passing day.

Page #185
( 156 ) 215) DUETO = Qoca = the state of being or becoming an object of hatred. For = 79 see H. 2, 154. Taforuct pleasing, delightful. For the state of being an object of love. 216) Ug = FT97 = large and heavy breasts. JE EETTTE3t =TAT FTATTTE:= so plump by nature ( i. e., because of her youthful age ). qf5 =collapsed, became limp. Folg= afata = remains firm or in place. fagfin = in their hearts ( also, on their bosoms). Cf. st. 85. 217) Fiat (d.) = an umbrella made of peacock-feathers (B.). It may also stand for at (= ar =small branch of a tree, with an added as a pleonastic suffix, the conjunct consonant ce being simplified into 7). In st. 539, this very word is used in the sense of the skirt of a garment or saree (af71575). feaa =touching. See note on st. 14. 218) mANosaDhaM- a medicine for curing jealous anger. For osaDha = auSadha see H. 1, 227. daiya = dear lover, beloved husband. fqours = qta ( pres. pass. 3rd pers. sing ) = is drunk. tah = a mouthful. uifauft = Hoffauit = #17aal, utfaraft = an angry, haughty woman, or a sensible, wise woman ( see H. 1, 26 ). afsirror = turned back and lifted up. ##- F#ge = the hollow formed by joining the two hands. 219) amefafe== Hafafan = the fire of love. ZTE = Eart, see note on HITAUTE in st. 121. fautg=atra=faifa= becomes extinguished. See H. 2, 28. See st. 12. h = devoid of moisture ( also, devoid of love). TH = full of moisture (also, full of love). 220) ffoafuu55= can be adequately or fully described. Toga= as and when seen (by a person). diTThI eye. dubbalagAI = a helpless cow.paMkavaDiyA = sunk or stuck up in mud. A TTE = cannot come out ( of the mud ), cannot extricate herself. 221) #fa = offiat = #TATOTT = while being made or formed (or drawn). lat, pres. pass. part. nom. sing. feminine, from the root #7 ( = ), see H. 4, 250. faeit = HET = nuit = friendship. T = 391 = unharmed, unscathed, imperishable. gigt = TETUT =rock, stone. See H. 1, 262. 222) paat = arc = Oh, what a pity! How painful ! See H. 2, 204. Tauro (voc. sing. ) = FRE*13* = one who is in the habit of (or bent on ) doing things difficult (for me) to bear. aff (d.) = faa =thought, plan. See st. 53, where afa means concern or anxiety. asfoit = wavy, curly, rough. fati, see note on st. 107. am = straight, smooth. During the separation of a woman from her husband, she does not attend to her tresses by oiling and combing them, and hence they become curly or wavy, rough and uneven. 223) TTY = Ta = factura = sophisticated or technically perfect sexual enjoyment.

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(157) puNaruttarAyarasiya-punaruktarAgarasa (=Ananda) pracura =full of the frequent or repeated rapturous joy of love-making. haraMti = charm or ravish the mind. sabbhAvaramiya =carnal enjoyment full of genuine feeling or love (sabbhAva sadabhAva). jattha va tattha va jaha va taha va = ( obtained by chance ) at any place or in any way. For va-vA, see H. 1, 67. 224) kaha vi = kathamapi = with great difficulty or effort. moiya=mocita = zlathIkRta = loosened, disengaged. daDhamaDhabaddhagaMThI = muDhabaddhadaDhagaMThI = ajJabaddhadaDhagranthiH = a tight knot tied up by an ignorant person. khutta magna = sunk, plunged, immersed. khutta seems to stand for khappiya, p.p.p. from khuppa = majja, see H. 4, 101. samukkhaya = samukkhAya = samutkhAta = pulled out, extricated. For the shortening of war into a see H. 1, 67. According to B the stanza suggests viparItarata, inverted coitus. 225) piyAi samayaM = priyayA samam (-saha) = along with your sweet-heart (always present in your thoughts). vujjhasi (pres. pass. 2nd pers. sing. from vaha to carry) = you are carried or borne by me. See H. 4, 245 for change of a into a and H. 2, 26 and 89-90 for change of haya (in uhayase) to jjha. ayANaya = ajJa = an ignorant person. bailla. see st. 184. aMgAI muyai = droops, languishes, breaks down. Cf, st. 287. 226) aNuNayapasAiyA = appeased or pacified by your entreaties. gaNaMtI = counting. apahatta = aprabhUta = aparyApta = insufficient. For duplication of the final ta, see H. 2, 98 and compare the word parAhatti, st. 33, and parAhutta. st, 192. uhaya = ubhaya = both. Cf. st. 246. 227) = Vajja 318. seyacchaleNa = under the guise of perspiration. amAyaMta =not being contained ( in her body ). osarai == apasarati = flows away. tivali = the three folds of skin (on the abdomen). sovANapaMti = sopAnapaGakti = sopAnamArga = stair-way, stair - case, stepladder. The instr. sing. sovANapaMtIe would be better than the plu. form sovANapaMtIhi. Compare Kumarasambhava I, 39. 228) divvAyatta = daivAyatta = davAdhIna = depending on fate. kIrai = kriyate (pres. pass. 3rd pers. sing.) = can be done. See note on st. 221. ettiyaM = etAvat or etata = this much or this, see H. 2, 156, 157. kikillikaGakelli= the Asoka tree. The Asoka tree, according to poetic convention, does not bear any fruits, but has superbly beautiful leaves. 229) dhayai = washes away. See st. 139. mayakalaMka = mRgakalaGaka = the dark spot or stain in the form of the deer on the surface of the moon. kavolapaDiya = kapolapatita = fallen on, i.e. imaged in, her bright, glossy cheek. Cf. st. 125. aNavarayamukkajala = incessantly shed tears (jala = azru). 230) appaNo gaMdheNa = by its fragrance. mAliyA mAlitA-vyAptA= pervaded. nomAliyA-navamAlikA = the jasmine plant. See H. 1, 170. parimaluggAro = effusion or of puff of fragrance. mAsala = mAMsala = massive, profuse, copious. See H. 1, 29. hayAsA = accursed, wicked.

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(158) See st. 219. gE = The ( see H. 4, 231 ) = to burst, to explode. sant = 37=9:=extraordinary. #tfa = #1 fq = indescribable. 231) = Vajja 114. Hafer = (1) gifca. (2) 6 9 ( a ) = (1) realisation or acquisition of the expected sucess, (2) abundance of fruits. UT = bent down, humble. at = lifted up, raised. fafaafa = (1 ) failure in obtainining the expected success or result, ( 2 ) end of the fruiting season, or absence of fruits. Cf. Sakuntala, V. 12. 232) 4 = jingling sound of bangles. afturat = qfadhar (adj. of qfETETT) = changing sides or turning during sleep. mahala = mukhara = loud, noisy. AvattaNa = Avartana = parivartana = act of turning over or changing sides in sleep. valiya (adj. of hattha) = turned or tossed. faigh = FATTA (adj. of Ect = weak, enfeebled (hands ). The correct order of the words in the long compound is: AvattaNalipaNitthAmahatthamahalo (arhET).SITATS = reassures ( the attendants, that she is still alive though tortured by the pangs of separation from her husband). 233) = Vajja 102. afsat == fau= ditt fazu = di fay. For use of masculine gender in the case of Art and an), see H. 1, 33. quifet=aff97: = of a proud-sprited (or wise) person. sifaa TUT = the last stage of life, i. e. the time of decay and death. sreta = FTTT#1 = setting (sun). ada is pres. act. part. of denom. root 274 = to set, from the noun attha = asta ( setting of the sun). phuraMti == sphuranti = flash or shine (upwards ). 234) 5 (d.) = stomach. See st. 85. Scott = its own. But = Theft = a bird. ufqht = 3afgri: = fearless, undaunted (adj. of qfar in the second half ). HTUT = Ata: = Oh mother! =, by deaspiration of . fags = fazao =afflicted, distressed. THE = 1777 = able to bear the burden (of uplifting or rescuing distressed people ). 235) = Vajja 556. TATOTOT 3T = = one who knows the true nature of things. 7 19= = sincerity. facag= 09&=tata (pres. pass. 3rd pers. sing ) = is won over. See H. 4, 256. TOUTEFT = an old or grown up cat. See H. 2, 132. #f5 = #lfs = rice-gruel, auf = faarafuar == fartfuga (inf. of purpose ). 3 = afa = Taalfa = is able. See H. 4, 86. 236) Tout = 37707 = a forest, UTE (B. C.) = obtainable by each one's unaided effort. a = all (that is wanted or required). THvar =31420falfa = lasting till the end in the form of death. The male and female deer do not depend on one another for the food and water required by them. And yet they love one another till the end of their life. Their mutual love is self-less. In the commentary (p. 108 ) we expect

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(159) parasparopakArakatvaM na asti in place of parasparopakArakatvama asti. 237) SETET = ETT = simple-minded, foolish. 316...3169 = 77... 1 = either ... or. According to B the idea is that the woman is either so foolish as to talk to others about the smashing of her bangles in the coarse of violent love-making on the preceding night, or she loves her husband so fondly as to tell others admiringly about such strictly private matters. 238) fay53 (imper. pass. 3rd pers. sing. ) = let her be given (in marriage ). fgfggh = to the man desired by her (or loved by her ). 193731 ( voc. sing. ) = Oh paternal aunt ! aurifa = TTTATH (acc. sing. of pres. part. from denom. root TTTTTT = 77#TT ) = becoming emaciated ( from day to day ). ut fag - supply a after forg -" do you not see ( that she is wasting away day by day?)" =3FF7 = 4 = in the case of girls like me ( entirely depending on the wishes of their elders ). t = a: = whence? how? feugfag -- the thing ( i. e. the man ) desired by my heart, afors (ger.) =having said (so). See H. 2, 146.**I= F#737. See H. 1, 67. 239) far = tired, fatigued, exhausted (by several rounds of sexual dalliance). fitegrack = afternoon in summer, fHT = TAI, TUTTI = who has been having sexual dalliance (with his wife ). FETTETE = FAITEMTH = fragrant because of perfumed oil and cosmetic powder used before and during bathing. 365 = = = moist (because of perspiration ). The stanza suggests inverted coitus. See st. 138, 141, 224, 352, 406. 240) E == At = this ( moon). See note on st. 21. T moist, fresh, recently made. THE = EFETTE = circle of tooth-bites. af TT37V = imaged. See st. 125. fefry=farofsa=reddened with red vermilion ( lead oxide ). ETT = 15EUR917 = plate carved out of an oyster-shell. Tot = action, manner, behaviour, similarity. Cf. st. 3. 241) SET = q #TUT: = rays of the moon, ATT = FEST: = were (gently ) wiped off. For g# = , see H. 4, 105. auftaftoria = E t fae Torikat: = mingled (mixed ) with the rays of the sapphires (in the necklaces, FSTETUT = 205TATU). For TEU = 3 a = 1ca, fafeta, see st. 285. i = 3727, see H. 1, 26, T = 7591 = mistaken belief. 242) gaaf = garafat or THE = so vast or extensive. For get = Taiga or tan see H. 2, 157. 2 = 37ttfa = resembles. Haft = 9 = only. The idea is that nothing else in the whole world can match in loveliness her body which is imcomparably beautiful. The left half of her body can be compared only with the right half (and vice versa ). 243) arte arcufa=plays ( on the flute or lute ). 7591fH = I dance to his tune. 79 for# ( loc. abs. constr. used to show the cause )= his love being inconstant, i. e. because his love is fickle or changeful. s = agyfa = winds or bends (its body ). TE = TOET

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(160) firm, rigid, stiff. q=tree. The idea is that even a creeper adjusts itself to the contours of a tree which is firm and rigid. How much more then is it necessary for a woman, like the speaker of the stanza, to adjust herself to the ever-changing moods and whims of her lover (or consort) who is fickle in his love? Cf. Vajja, Additional st. 119. 3, p. 227. 244) afg-with great difficulty. it under a woman's control, unswervingly devoted to in consonance with (or agreeable to) a woman's heart (i. e. mind her. jaha hiyayaM taha or wish ). = 245) avvo, see st. 222. kaMkhirI fart desiring longing for. aNuNayasuha of being appeased (conciliated) (by my beloved consort). to him something (i. e. an imaginary offence) never committed = the path of wanton (unruly) behaviour (or infidelity). Supply nIo. 246) gaNaNA = = (imper. pass. 3rd pers. sing. for ses st. 231. Cf st. 226. counting (with the fingers and toes of the two hands and the two feet). feug (twenty) days (of separation). f used in the sense of the plural afsig). See H. 4, 447. 247) kIramuha kIra (zuka) mukha a parrot's beak. sacchaha sacchAha = similar. bhikkhusaMgha assemblage of (red-robed) (Buddhist ) monks. f qfa fallen, prostrated. This is the only reference to Gautama Buddha and Buddhist monks in the Gahakosa. = 251) pitRNa you af = 248) fag = pRthula = pRthu full, plump, large. For the pleonastic suffix, cf. H. 2. 173. kisoyarI kRzodarI young woman whose belly is thin, a slender-bodied woman. farer emaciated. = (already) (or naturally) slender. fafgaffes=2 (B) vanished, in an extreme stage of emaciation. fa kim iva or ki vA. = 249) good quality, inherent worth or excellence. gres - guNa f(pres. pass. 3rd pers. bhAvio bhAvitaH = = powerfully wild, forest-dwelling people. fasfa sing.) is attracted or fascinated. See H. 4, 250. #fa = impressed, haunted, enchanted. gfwar = zabarAH = na icchanti do not desire to have. guMjAu guJjA: gaudy-coloured, red Gunja seeds. The Sabaras wear ornaments of Gunja seeds wnich are easily available in forests. They are not interested in wearing ornaments made of pearls. - - = the pleasure efte = ascribing by him. afqm (by me) before 250) Vajja 637. For explanation of the puns on the words, = game, arstiga and q see English translation of Gahakosa p. 32, and notes on Vajjalagga, p. 561. bIi bibheti. For bIha it to fear, see H. 4, 53. = = ghetUNa = gRhItvA gerund from gRha to take. See H. 2, 146 and 4. 210). a handful of (camphor or sandal) powder. graufer hAsocchalita = =

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( 161 ) expanding ( bursting), or beaming with a smile. B explains the phrase as TEUT: ( i. e. ETF ). gefa = thrilled with a smile (i. e. joy). SaffefH=37768ftsf#, atrofotif [ fut. 1st pers. sing. from * (d.) = to cover, besmear, besprinkle. ] Etat fragrant water. The dry camphor or sandal powder turned into scented water in the hand of the young woman, because her hand began to per spire profusely due to the nervous excitement caused by her intention to play a practical joke on her beloved consort by smearing his face with the powder, and made her tremble. The words TT Tahtute constitute a loc. abs. constr., or they may be taken to be gen. sing. forms to be construed with a Cf. Meghduta, 68. 252) gf = 965 back. TIET = TE95, TTTTTT = the back-yard of a house, or gaifft = a garden in the backyard. See st. 622, where the word TTIET is used. The word appears to be connected with Sanskrit TTTT - 97797 - TETET - TIES. C = 3 = 315715, ( see H. 1, 200 ) = a walnut tree. Tafsu = fafa, (see st. 155) =tinged, soiled. ga=#=clever, shrewd. fattiTr=wife of the brother-in-law. 550g (voc. sing. ), see st. 237. AT Affofefe = Al #f e (fut. pass. 2nd pers. sing. ) = you will not come to be known ( as having had secret love-making with your paramour, as a result of which your back is soiled by the sap of the Ankotha leaves crushed under your back during sexual play). 253) AGFA = FTOTOJfH = 31781&fquif (fut. act. 1st pers. sing. ) = I shall cover or close or screen. For the root 437 = FTTT = to close, see st. 437, 539. fH = fq=afq. This is a peculiar use of fma for pi (= api), not recorded by Hemacandra. tA= tAvata =of course, certainly. She speaks of closing her eyes in order that her offending lover (for husband ) should not notice their dilation with joy on seeing him, though he has offended her. a = the Kadamba flower ( which has fine, stiff filaments resem[bling the ruffled hair on the skin of a thrilled person ). mauliyaM = mukulitam = budding with horripilation. Ofte = grefTooTf. For 47 = , see H. 4. 21. 245) FIT = stormy wind.jsferfoto = 3rfora = having the grass-roof blown or swept away. Cf. fafuota, st. 370. B's first explanation of fefort by Eatot is not correct. Did The read uttiNNe for uttiNie? But later on he correctly explains the word as udagatRNama. TITUT = Efecal (gerund) = having wept or cried. See H. 4, 212. haftu fargefaqorx = sitting in an unnerved, helpless manner. For elongation of fe in fata see H. 1, 43. TE = Taufa = 9*1 Tufa =lights up, illumines, reveals, shows, TU $C = tasu = TagfaTy = graagfa = whose husband has gone away on a journey. The elongation of g is for metre. For as see st. 261. fa5555371 =lightning flash. Because of the stormy wind and heavy rain, the house is plunged in total darkness. The clouds light up the interior of the house now and then with their lightning flashes ( as if) in order to show the plight of the lonely helpless woman to casual passers by.

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(162) 255) Tetor = whatever is within your easy reach. = whence ?, how? toi= salt. See H. 1, 171. TIHTI = food cooked (or prepared ) in a village. For the root = to cook, see rau, st. 12. Ato = sau = salted ( food or dish ). AF = FT = oil or ghee. The idea is that salted preparations of food unless they are cooked or fried in oil (or ghee ) are not delicious or satisfying. But salt is difficult to get, especially in inland villages situated far away from the sea-shore. But even if salt is used in food preparations, they do not become tasty unless they are cooked in oil or ghee. The stanza suggests that ordinarily, dazzlingly beautiful women are difficult to come across in villages. But even if such a woman is found in a village (or even in a city ), she is no good if she does not have genuine, sincere love in her heart for the man who chooses her to become his life-long companion. There is pun on the words to [ (1) salt, (2) dazzling beauty (1907)], a [(1) cooked or prepared in a village, (2) brought up in a village ] and A? [(1) oil or ghee, (2) genuine affection. ]. 256) Efegut = a woman who comes to inquire about the health of a sick person. See st. 52, 53. a faqau = fragrant breath. futafay = cooled [p.p.p. from the caus. root faqa = faafqz = to make cool, the primary root being fat = faraf = to become cool. Cf. Marathi nivaviNe ]. payaikaDyaM = naturally bitter. osaha = auSadha = decoction. a farers = fafaozfant safetya = is not left over.fqug = drinks at a stretch 'or at once. See st. 248, where fafgy means 'vanished. 257) arotaur = a thicket of reeds. af afg=here and there, in various places, 99T = af r = par = who has missed (i. e. failed to fulfil ) the tryst with you. fahre=searches for you, tries to have (your sight). HEUTETTITUT 2 =like the forgotten place ( location ) of a buried treasure. q.99 = slipped from memory, forgotten. Cf. st. 134, 201 and 327. 258) = Vajja 35. fafcu = unpleasant, harsh or offensive words. fet = darkened, clouded, agitated. a&ta = violent anger. Hafa = shower, distil. 259) Bahifuaft = insulted. 7 fa = fa= not in the least. See st. 320. fazt ==wealth, power, authority. Fifoviat (pres. pass. part.) = being honoured ( by others ). #T3 = sfataa (inf. from the root afa + . See H. 4, 214 ) = to return the goodness shown to him (in honouring him). 260) gat = in the course of a quarrel. Te gang = aged, become old, obliterated. FUTET = heard or learnt by a good ( noble-minded ) person. TETES =secrets. 37349T - at the end of his life, on his death. GEJ = burns down. See H. 1, 217. 261) Turizat = jasmine creeper in the front yard of the house. set = 90% - cluster or bunch of leaves and flowers; creeper (B). T T = hurdle or obstruction blocking the entrance of the house. TIATH = 17TH = comfort, solace, consolation. To =

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( 163 ) looking at the home-ward way of the consort gone on a journey). See st. 518. 7 = perished, denied, made impossible. For at see st 254. 262) Asfag = #fia = closed. ET = HC1Fata = enjoyment of delight (at the sight of the dear lover or consort ). 7 ggfa , supply 675 = if, before gfa. It would be better to read a 5 af at then. Ti= TETA= placed or worn on the ears. See st. 646. fe 7575 = would be noticed or perceived. The pres. forms fa and fa@5% are used here in the sense of the pot. forms av and afteva respectively according to H. 4, 447. The idea is that the blue lotuses placed on the young woman's ears (as ornaments ) would not be noticed as their blue colour would become merged in the blue colour of her eyes extending as far as her ears. (But they are actually noticed, since her eyes are closed). 263) fafcemaa= stuck up in the wet mud. For an see st. 224 and 455. afat (d.) = = exhausted. #677 = act of pulling. quan= q = fast asleep. See H. 1, 44. qeffH QTYH is loc. abs, constr. FETHE = pleasure of sexual intercourse. At = farmer's wife. For 9777 see st. 184. E U = the rainy season. 264) fafa = afa = give. QUIAT=377fa, q:a = wretchedness, misery. Faifafa ( caus. pres. 3rd pers. plu. ) =bring happiness, yield delight. 375757aroj friends (or companions) in (i. e. causing ) both misery and happiness. 265) festa qui = pierce the body and then the heart). zaforfa aout = bring torment ( to their victims). 4#=trace, mark or scar of a wound. See quart st. 31. 309 318= Oh, how wonderful ! 375gzaal = zarzga: = never seen before. CT = ATETEFTA = power. See H. 1, 33 for the optional masc. gender. 266) 35EUR = 3facteu: = extremely sharp. 356AT (BC) = not coming into contact with the body (but directly piercing the heart). Anar (BC) = unbearably fiery or painful. raiyarA = ratikarAH = delightful, giving joy. bahuviyappA = bahuprakArAH = manifold or diverse ( in their effects ). 267) far = jealousy, acute desire (for appropriating him and making him exclusively my own). Fuifa = 4afe = create, excite, produce. agafa = augment, intensify. Etfa fa = agafia = make or enable me to endure. All these three are caus. pres. 3rd pers plu. forms. vippiyaM = vipriyama = that which is disagreeable or unpleasant. mariu na diti == do not allow me to die, i. e. do not end my life. a RT (BC) = diverse in their ways of operation. See agfagiat st. 266. 268) fafana, see st. 28. foramazio (BC)= 199 (= ) qafi= wearing a newly dyed garment (saree). See st. 187. 976= ar=art- a pitiable woman, (r is shortened into 7 for metre ). grafaret = reqfigur= from one house to another. afcarct=

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(164) a[series or succession. and praheNaka or (praphenaka = a sweet cake or pastry. B identifies it with gr in the popular language. Hemcandra, DNM 6,173, explains q lAhaka (as : (1) bhojanopAyana, utsava = a festival. For the sense (2) see q = a sweet dish offered as a present (on a festive occasion ), and (2) st. 562. See also st. 621. 269) hemaMta winter. dusAa, see st. 16. juNNavaDaa old, worn out, tattered garment. aftfarg (B. C.) whose threads are very sparse (because of constant and prolonged use). f = turned brown (or dark) because of exposure to smoke (of the fire kindled for warming the body in the winter cold). gggda (B.C.)=having the fragrant (or strong) smell of dung fire. ggar (d.)-arf fire made by burning dry dung-cakes. See DNM 6, 84. 270) himAgamapahAe on a winter morning. fgar teoroifeofaa = = winter, cold season. kharasippI rullihiya bruised by the sharp points of the blades of grass (used as a bed). sippIra - palAla straw. AyamaNajala water used for rinsing the mouth (after waking up. ) ullaya Ardraka wet, moist. hatbapkaMsa touching (i. e. gently rubbing) with the hand. See st. 463. afa masiNa masUNa smooth. See H. 1, 130. See st. 482. 271) nakkluDiya Fakta foca plucked with the finger-nails. For aferafga see H, 1, khaNDita 53. sahayAramaMjarI spray of mango blossoms piva iva. hIrati hriyamANAm = ( 1 ) being carried or worn ( on the head) (of the farmer), (2) being kidnapped in the case of the captive woman (det) ]. The bees following the spray of mango-blossoms are here compared with young men pursuing a warrior who is carrying away on his arms or shoulders a captive woman belonging to his enemy, in order to rescue her. Meginr bhasalajuvANA -bees comparable to young men. (waar gaar). = = = = = 272) caMdaNapaMka thick sandal paste. --fever or burning sensation caused by aroused passion kAmimihuNANaM in the case of loving couples. anunnAligaNa mutual embrace, embracing one another. afget pleasure. See note on st. 116. = = 273) pAyA focatal ghRta liptAlakA (BC) = whose tresses are anointed with ghee (mixed with turmeric powder). The practice or custom of anointing the face or tressees with a mixture of ghee and turmeric powder by women in menses is referred to in st. 20, 483 and 553 also. For explanation of the word go see note on st. 20. fat kim sink down, i, e. sit. Weber's reading sofer actually means "you sit ". fagfer you stand" would have been more appropriate in view of the phrase faafc (B.C.)-who doubly wrapped up the region of her hips. why? See H. 2, 216. both mean "thus" (adv.)-bending down (her face) in bashfulness. fer and ( iti ) . vahuyAe hasiyaM ( impers constr. ). Cf. 532. 274) farart facta: became suppressed. For far fat (to melt, to be absorbed

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(165) or dissolved ), see H. 4, 56. fazt is past act. part. rug =17&t (pres. part.)=knowing or being aware of. gharasAra = economic condition of the household. dohalao = dohadakaH = pregnancy longing. For the change of to see H. 1, 221. g ak =the poor man's wife. dgaontui =the harsh words uttered by the relatives in the husband's family) ( because of the pregnancy of the woman to be followed by the birth of a child which would add to the difficulties of the already poor family). 275) fagftuaracy = (K. C.) = dishevelled tresses. fan = (loosened and slipping ) garment ( saree ). HTH = act of tying up and adjusting ( the tresses and the saree ). 9193 = burqa = engaged, busy. 077 = ITU = fingers. if (d.) ==barber. facit = running away. f = small boy. Afro zinafart=httfrafoot = trying to find out the way by which the boy had fied. maggannirI can be derived from magga + annirI (= 37481, 371erat =following the way of the absconding boy). aft=372 +3 + GT +$, the primary derivative suffix g7 being added to 37+ according to H. 2, 145. 276) 3677 = puts on, develops, unfolds. 77956UTATET == charming because of fresh youth fulness. taNuyAiM ( supply hoMti) == (become) lean or emaciated. majjhaM = madhyam = middle part of the body, waist. 5311 =her dear consort. qfeqqat = her enemy, i. e., cowives. The consort of the young woman is said to become emaciated because of his excessive addiction to enjoyment of carnal pleasures with her. Cf. st. 130, 131 and Vajja 208. 277) Trgftuat = enfeebled by old age. 731=sickly, ailing. faca ugly, loathsome (because of old age). afout = a woman born in a noble or exalted family. 278) 389 (d.)= an unchaste, wanton woman ( at ). See Vajja, st. 421, notes p. 491. aitaito ragain and again, or by turns. Ofafa =obtain or secure. fpgfk = with great difficulty or effort. See H. 1. 128. f4 #5130= water from the only well (373=397) in the village. 279) fq3= (voc. sing.) - Oh paternal aunt ! aaaff# = from the banian tree in the village. The loc. is used for the the abl. according to H. 3, 136. que T TC (B. C. ) = Toe Taviy = pale-coloured. Fi = leaves, sing. used for plu. arutau struck. i. e. rudely shaken by the wind. Braga (B. C. ) = pale-faced. Eg = (1) drop down (in the case of leaves), (2) become cheerless or depressed in the case of hearts or minds). The hearts of unchaste women become cheerless because the falling of banian leaves indicates that the tree would soon be devoid of leaves ( in the winter) and consequently it will no longer serve as a safe trysting place for meeting their paramours. 280) cute (adv.) =aimlessly, at random. erg f s =gives out long sighs. Tad (adv.) = vacantly, without any apparent reason. 25850 (adv.) = in an unintelligible or indistinct manner. faf9 = some thing (i. e. unfulfilled love for some young man).

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( 166 ) 281) Tag (voc. sing. )=Oh master of the household, i. e. oh my husband ! T3T FE TOT = (this man here) has sought our shelter or protection, or our asylum. F = F = asmAkam (gen. plu.) = our. For aDayaNA see st. 278. bhaNirI = bhaNanazIlA or bhaNantI = saying. EHITU = who has returned home all of a sudden. gru (adv.) = at once, quickly, ptomptly. t = paramour. 369EUR = 309fa = hands over, consigas. Cf. the next stanza and Vajja 475. 282) 36 = 19: = this man. See note on st. 21. FE 5611 = from our (i. e. my) father's family. 973 = 7737 = in front of you, i. e., only shortly before you arrived, just now. frog (d.) = 3taat = an unchaste or wanton woman. See H. 2, 174, 5fF# GITE = U Stafa = makes him cling to the neck (of her husband). Cf. 379 in st. 281. 283) 7774 = 9f7+ (voc. sing.). See note on st. 182. 700 = 197337 = under the pretext (9) of saluting the ( rising ) sun. 3 Traf# =you are lowering (inclining) your joined hands, i. e. offering homage. For qo = 1T, see note on st. 20. 1917 = 17 = ERC = salutation. Watu = to the gods. 34CFATAL = mixed with (i. e. accompanied by ) smiles and side-long glances. For GFP = 3 XT, see H. 1, 43. 284) 47$ = wiat = Fraft (pres. act. part. from = ?=to remember). The anusvara in pat is dropped for metre and the t in staat is changed to g by dropping the consonant according to H. 1, 177. FFH TE= T. the gen. being used for the acc. according to H. 3, 134. 276773 (adv.)=with excessive longing. Tutor =under the pretext of singing a song. a = grief, sorrow (AFT B ).afted = blocked, choked. afva == f aca = half (i. e. partially) coming out of the throat), i, e. indistinct. ef = aa = F = stumbling, faltering. 377EUR 5 a = 3TATTUESIT = utterance of the letters. The second half of the stanza is an adverbial compound connected with the verb sufe. 285) If = tf = night. aga = a 3 153 (197) = full of dense darkness. Cf. st. 241, where 3115T (= 3TIET) is used in the sense of mixed or mingled. It is also possible to read agah (B. C.) and FTTIE (K, C.) as two separate words and then the sense will be: the accursed night (ETS) is full of dense darkness. Perhaps the speaker intends both the senses, the latter being superficially intended and the former being suggested. Dat = F = vacant (i. e. having no other inmate than myself). 4597 (voc. sing.) = Oh neighbour ! Cf pafusor st. 37, 40. pia = keep awake. 7 affarat (pres. act. 1st pers. plu.) = we are (i. e. I am) not robbed (by thieves ). Uuder the superficial sense, the woman requests the neighbour to keep awake and prevent thieves from breaking into her house during the accursed " dark night. But under the suggested sense, she tries to advise him to keep awake and to confidently

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( 167 ) and fearlessly visit her house, as the night is full of dense darkness and as she is alone in her house, her husband having left the house for a long journey just on that day. 286) Fiy = 2931: = mother-in-law. They = takes care of, tends. TTTTT (B. C.) = not attending to any other things than her daughter-in-law. ATEH Histatak faa = the life-sustaining (life-saving) medicine, as it were, of her son. 777 AT = sight of the new (first) clouds (of the rainy season). ISTITUIfa (B. C.) = whose life has come to her throat (i. e. who is in a precarious condition or on the verge of death). The son must be supposed to have gone on a journey and naturally pining for his young wife staying with his mother, just as the young wife is pining for her absent husband. 287) To = surely, undoubtedly. fegyfofatr = enthroned in the heart. For duplication of the last letter, see H. 2, 99.9% = 4TET = otherwise, i. e. if your wife is not enshrined by you in your heart. F TET = my desires (about making nail-scratches and tooth-bites on your body during love-enjoyment). We must supply #% (= # = my) before HOTTTET. HIT = 77. See H. 4, 2. faatar = how did (or could) she come to know my desires (and in anticipation make nail-scratches and tooth-bites on your body)? The stanza reports what the sweet heart of the man said to him about his profound love for his wife. Cf. st. 225. 288) ag 37$a = 73 alea ( loc. abs. constr.) = when you were no longer seen (by her ), when you had gone beyond the range of her sight. See st. 46. FUUT = touching the ears, reaching as far as her ears, i. e. long (eyes). afraie (B. C.) = with tears welling up (and streaming down). Cf. saare, st. 325. CATEGIT arfota foi = a libation of water was offered ( by her eyes ) to the joys of looking at you (i. e. all hope of looking at you was abandoned by her eyes, as you had gone beyond their range). Cf. Gutt faat, st. 510. 289) q uafaezeaqoort (B.C.)= whose beauty and youthful age have ( almost ) passed away (left her ) and are only slightly perceived ( feu = fafea fera) (B.). The phrase alottofa@u can also be explained as " have passed away ( i. e. left her) and hence are no longer perceptible (ofert)". ### ay = like one's native place. CUGATTIGOTUT (B. C.) = whose ancient (or old ) signs (traces, vestiges) of erstwhile people (i. e. friends and relatives ) have disappeared. TTT = 96 = E. Cf. 317771afa II, 27. For TTI = TETT, see H. 4, 329 and 447. 290) afeitafayfau = dilated with joy. at Betfe safute (pass. voice ) = he said with his eyes, i. e. conveyed his interest in me (silently) (by his sparkling, dilated eyes). TUTH = in the midst (or presence) of (other) people. qfagfa (supply #5) = (the signal of his eyes) was straight away (fan) accepted (or approved) (by me) (with my profusely

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( 168 ) perspiring limbs). aftgaagaag (B. C.) =which were accompanied by body-pervading (Hf73 = = 19*) and surplus (Fata) (i. e. continually exuded ) drops of perspiration. 3oata = Hafta = remaining behind, left over, surplus, extra. For bhariuvvaraMta cf. bhariuccaraMta st. 331. Weber's reading uvvamaMta (= udvamat) means the same as gata in st. 331, breaking out, issuing again and again. For gaafu, see note on Vajja 305, p. 468. 291) ***4=*4=97897=37741= mutual, reciprocal, mutually, exchanged. In st. 166 ikkikkama means ekaika = one by one. saMdesa = message. saMdesANurAya = fondness for sending (mutual) messages, or affection revealed through mutually exchanged messages. #5 = = 35EURugt = yearning, longing. The first half of the stanza is a long B. C. dukkhaM (adv.) acchaMti = duHkham Asate = remain plunged in sorrow. 292) 7 7 fqu = not at all your lover or dear consort. THE = T17 ( = ATA ) JET = utterance of his name. fazuiafaeg = dilated ( blooming ) because of the contact ( = ret of the sun's rays. faes = fafgut = af = fa#fas, the radical base being used as past part. See. note on 909, st. 20. For fags = as see H. 4. 176. 293) 3775 = 3att = fag == love-embrace. 9 = 9 ( used as interjection ) = good luck! hail ! HTTC#6589TU = strong ( stormy ) wind uprooting the tree in the form of jealous anger (of women towards their consorts ), foraqght = giving supreme delight (fraag) (to the entire body). TOTEHOTtit = prelude to the drama of sexual enjoyment. garat is the prelude to the actual commencement of a drama and consists in the performance of the worship of the gods presiding over the theatre. Cf. farg1999 2, 8. 294) faatama = reassured (confident, fearless) because of inferring ( the mental condition of others ) by your own ( condition ). aqau -- sij Tate = I pray to you, have mercy (on me). Sa = 1 = now or from now onwards, hereafter, henceforth. fath= stop or give up (your attachment to that man). #fT2TTATTUTTOT 7 = (voc. sing.) = oh you, who are attached to that man who does not know your true condition (i. e. your sufferings)! = why? 3pfe= us i. e. me. aga = degrade humiliate, make (me) look small or contemptible. For the denom. verb ggfer see note on st. 203. 295) anfaat = raafg#: = an ascetic or monk (dwelling in a monastery, TTT). HIE TOTO TFH GUT = by your husband complimenting you (on the loveliness and splendeur of your face). foar = 531f5a = gofta = for such a long time, for quite a long time. The ap in garfori is dropped for metre. Cf. foffefart, st. 519. faecat =

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(169) embarrassed, ashamed. See st. 164. Fannafo = a handful of flowers (offered to the rising moon) in the evening (sAya).tujjha muhadinna = offered to your face. tujjha is to te connected with maha, though maha is locked up in a compound. caMdu tti, ( supply bhameNa = TAUT) = mistaking your face to be the moon. The stanza is addressed to a young woman by her female friend, with reference to an incident that had happened earlier. This young woman was sitting or standing on the top of a hill in the east, accompanied by her husband, on an evening. Some ascetics mistook her beaucif ul rosy face to be the rising moon and offered a handful of flowers to the supposed moon. But just then they heard the woman's husband praising the beauty of her face, whereupon the ascetics realised their mistake and felt embarrassed. When the woman's husband noticed the ascetics' embarrassment, he laughed at their folly for quite a long time. The worship of the rising moon by offering a handful of flowers seems to be a custom among ascetics. 296) For au see st. 121. a fa = both of them, i. e., both the husband and wife. THE = kRtakalaha (B. C.) = who had earlier quarreled with one another. bhaMDaNa (d.) = kalaha, see st. 546. For the root 3 = to quarrel, see st. 392. * () = 15# Ta = simultaneously, at one and the same time. fatig = afhaiff ( past act. part. ) = smiled. 377-30 = under the pretext of looking at some other thing. This is connected with a fe (= afaa = sent out, directed) though it is locked up in a compound. - #TUT = gaita farsa = met each other by chance. Eit (d.) = chance, accident. TOT (d.) = falsa = met. fafcpaT = moving out of the glances. Afha ... fafchTIE is a B. C. 297) fev = day after day, from day to day. farga = shrinking, becoming emaciated. f 5 (= 10) = to waste away, to become emaciated. TE = T17 = limb. gaff quaeff, loc. abs. constr. gfagrar = TGRT = (pres. pass. part. ) = being asked or questioned (about my emaciation, by my friends or relatives). 7 orfoet = 7 TOH: =we (i. e. I) do not know. The elision of an initial 7 and the prefixture of y to the residual vowel (Tafel is irregular, as the 7 is initial and not medial. See H. 1, 176 and 180. But the root our is very frequently used in the form gut in the Gahakosa and in Jaina Mahasstri. See st. 435, 575, 578, 582. See st. 297 and compare 917 (=cAcala, caJcala st, 358). The yazruti can also be justified by regarding na yANimo asa single compound word. fra foi forat = to whom and what we (i. e. I ) should say (about your misdeeds). 298) PTT ATTITY ( voc. sing.) - af at (=775T) *77* = oh you who have caused my limbs to become lean ! fatela Tiggoro = oh you who have taught (i. e.

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( 170 ) made ) me to weep ( endlessly ) long ! trgoq = TIET Sweeping, pot. part. used as action-noun. fautti77*#174 = oh you who have made me transgress the rules of respectful (modest) behaviour towards my parents by disregarding their wishes)! = #t: = Oh. o = BEAT = us ( i. e. me ). At faraftvo (pot. 2nd pers. sing. from fq=& = fach) = you should not forget (me). See H. 3, 177-178. 299) of Edan Tufte (gen. abs. used in the sense of loc. abs.) = while intense love is waxing (continuously). fazara (inf.) = a (B) = to bear or endure. See H. 4, 193. Weber [ Indische Studien, Vol. 16 (1883), p. 108 ] thinks that the correct reading should be viramAveuM = viramayitum = to stop, to end, to terminate. maraNaviNoeNa viNA = except by one's separation (i. e. banishment, expulsion) (from this world ) by death. 37 = 3a = otherwise (than through death). Farze = . fattar = faite = faataa = faqa. 300) quojat=describing, i. e. extolling, praising. art=691H=frequently, again and again. feefg7317 = in the presence of that wanton woman. See st. 282. gangi = 9: = difficult to have or secure. F = Fauha = by myself. TR = 9 , plu. used for sing. Compare yfurt and fort, st. 297.

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( 171 ) Fourth Cento 301) et = he, i. e. my lover or consort. 97311 = uta: = became. For faget see st. 164. afuru (adv.)=T&#= tightly. 3951 = was embraced (by me ). ifo=knot. farmat= searching. paDhamosariya =prathamApasRta = prathamasrasta = already slipping down (due to excitement of passion). face = faqh = garment, saree. See st. 134. Cf. st. 694. 302) alfo = qua = vainly wandering about or groping. A gat = Art359ATA: = unable to find out the way (to the garment, i. e, the way to loosen or strip it). seulla = moist because of perspiration. NiyaMba = nitamba = hips, buttocks. Alagga = sticking or clinging. Fogfart = fine-textured garment or saree. Automatic loosening of the knot of the garment and perspiration of the body in general and of the hips in particular are supposed to be the usual results of aroused sexual passion in the case of women. Cf. 309, 310. 303) 50073741 = credulous, readily believing whatever is said by others, naive. #TATIZOTT TT sikkhaviyA = was taught by you who had offended against her. diyaheNa = in a single day. 3 HIGT (past part. from the denom. 34 #TT, used as an action noun) = sluggishness, laziness, langour. Ea facfr = vacant, unmotivated yawning. The idea is : The consort had really committed a breach of loyalty against his simple-minded wife. But to save his face he offered a lame excuse to her and she readily believed it, and not only became reconciled with him, but even began to show signs of awakening passion, namely, langour and yawning. The yawning is said to be unmotivated, as it occurred even in the absense of drowsiness which is its usual cause. 304) qay, see st. 162. a fa=ta (B) or atfq = not at all or not even af@uofoTT = courteous or polite remark or utterance. avahatthiyasabbhAva (B.C.) = apahastitasadbhAva= divorced from, or devoid of sincerity. afty is p. p. p. from the denom. root 379ET (= 379EFTT) = to dispense with, to give up. See st. 359. #19 = #CHIA, see st. 235. 305) Aroffor ( voc. sing. ) = Hafeafa, Amafa, Alfafa = Oh haughty woman ! aTETT AT GTR = do not get angry with your arms. For 57 see H. 4, 135. For ater (fem.) = 16 (masc.) see H. 1, 36. q ar ATT = moving about in empty space (to embrace your consort, who was no longer sleeping with you). afor 957 = 96fcat = made to weep silently. The non-causal form (9561=ofcat) is used here in a causal sense (TOTEUT or Tefaut = qtifaar). For = by your mouth, i. e. by your uttering angry or harsh words to scold him (which have driven away your consort ). (So, you should get angry with your mouth and not with your arms ). 306) gay = qfa, see note on st. 182. q is= 96901 = one who plucks flowers (prim. derivative used in the sense of the infinitive, 'in order to pluck flowers'. 34 =

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(172) handful of water. kUlAI tIrANi = banks. sIlummUlAi~ = uprooting or destroying the moral character of people. The banks of Godavari are said here to be destructive of moral character because they abound in dense thickets of creepers and shrubs where women meet their paramours by previous appointment and the sight of such trysting couples arouses the sexual passion of casual visitors and tempts them to indulge in illicit love-making. 307) vayaNe vayaNammi at each of our queries. IMA - read calaMtasosa calaNDIrSam (adv.)== This is to be connected with fat dadatI giving out or avadhAnazUnyahuMkArAn inattentively (mechanically) uttered in the intervals of your sighs. by shaking your head. uttering sujhAva hANahuMkAre "hum" sounds. adat = 308) sambhAvaM pucchatI asking (me) about the truth (of your rumoured breach of loyalty to her). tu piyA me (mae) royAviyA I caused your bloved to weep. The gen. sing. is used in place of the instr. sing. #q, according to H. 3. 134, fer fertig (4) as I said to her "there is no truth in the rumour". saang gegedte (both adverbs) = without swearing on oath and in a smiling manner. The reason for the young man's beloved shedding tears was the inability of her friend (the speaker of the stanza) to reinforce her denial of the young man's rumoured breach of loyalty with an oath, and har merely making a verbal denial. = 311) Vajja 406, 309) here (i. e. in the field of the tuvari crop). in = efqq I shall (eventually) make love with her (when the tuvari plants grow tall and dense with flowers and leaves). Supply i (iti) before citiUNa vavinaMtI tuvarI the seeds of the tuvari plants being sown in the field. afersieft ( upyamAnA ) is pres. pass. part. from vava : to sow. tuvarI tUra in Marathi. tuvarI (sing. ) is used in the sense of tuvarIbIyAI. pAmarakaraseullA moistend by the perspiration of the farmer's hand (and remaining clinging to it). 935 does not fall into the furrows in the field. For perspiration of the body as an effect of awakening passion see st, 302, 310. Cf. st. 366. the householder's (i. e. farmer's) son. afer picked up or gathered (and hanyothe hand (of the wife of the nsaget = nsaide (B.C.) galaMtaseyaMgulI = moSaM bhramati - moves about 310) gahavaisua taken away ). palar3IvoDha karpAsaphala cotton pod. pulaio farmer's son) which is covered with horripilation. having its fingers drippiug with perspiration. mohaM bhamai aimlessly, unprofitably, in vain. Cf. st. 302, 309, 319. It is very likely that the ag (agar) is a young married girl in illicit love with the farmer's son and not the wife of the farmer's son himself. That explains the sweating of her fingers while moving aimlessly on the tops of the cotton plants already touched by him when he plucked the cotton-pods. = = lovers or consorts) nIMsasiya = = = fortunate, lucky, fafifa = know how to look (at their niHzvAsa = uvakaMpa - a sigh. 47 tremor (of the body). g

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( 173 ) =T157=horripilation. Faeft = in the case of women like us (i. e. like me). 3791 fa a ng = TEHT af faata = even their own selves are forgotten by them. The act. form a g is used here for the passive form arafts according to H, 4, 447. For arat = facasee H. 4, 75. 312) Jue afeqqa1 = your cowife. TUTTO CIET TO (Tt) fHU HA = because of this waist (of yours) which is slender (by nature), which is emaciated (i. e. appearing all the more slender in comparison with your youthful bosom and hips) and which occupies the middle portion of your body. Tug af 75 ( =Ef47oys, pass. voice ) = (your cowife) is made so lean and emaciated. Cat = forcibly. There is pun on the word majjhattha ( = madhyastha) which also means impartial (and hence not expected to torment your cowife). The cowife becomes lean through fear that because of the beautiful and attractive new wife her husband would begin to ignore her as she has outlived her youthful charm. 313) tuha vioo ==separation from you. dUsahaNIo=difficult to endure(for me). vijjarahiovAhi vva like a disease in the absence of a physician(to treat the patient). Are= 19, the in # being lengthened for metre. FIETTA (B.C.)= one who stays with another ( as his friend). algat H = the residence of a friend. Et = devoid of money. This adjective actually qualifies agatata but in effect it qualifies either the friend who resides with another person or the person with whom the friend resides. riuriddhidasaNaM = the sight of one's enemy's prosperity. 314) According to B, the stanza is addressed by a poet to his royal patron. 75 = is able. J59 fEAT # Bf5 = 79 a harafiga =(1) to cover or pervade your heart (i. e. chest); (2) to charm or fascinate your heart (i. e. mind). fafetoo = (1) large, broad; (2) generous. Ainsi = (1) spotless; (2) pure or righteous (sinless). THT = (1) lofty, high; (2) noble or exalted. CTET E=(1) CUTTIA =apart from the clouds;(2) TTTTT 691 = except the breasts(of your wife). Thor = the sky. The chest and heart (mind) of the king are compared to the sky, and the breasts of the king's wife are compared to the clouds. There is pun on the word fety and its three adjectives and also on the word paohara. 315) For Eu see st. 278, 281. 37TTS = 1o fa = listens ( to ), hears. pgfgffH= under the bower (or thicket) of creepers. For a = 319: see H. 2, 141. fagfin is formed by adding the loc. sing. termination fff to the indeclinable faca as if it were a noun. #*#* = 44TTA = the rustling sound of withered, fallen leaves of the creepers or shrubs. quifqfcay = pressed down or crushed by the ends of her feet (i. e. by the soles of her feet). For facut see st. 209, 322 and for fafest see st. 565. 316) AHT = BUT T = a young, beautiful, healthy damsel. Tutaquad =fully developed and conpicuous youthful condition. # 31 = a = filled up rounded, bulging. 15

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( 174 ) = root, i. e., upper part of the cheek. ulah = ( a lotus used as ) an ear-ornament or an ear-ring. Etha = Tate (B. c.) = with its tip sloping downwards (or hanging down from the ear and touching the cheek with its tip). Too fasts (pass. voice ) = the loveliness (of the upper part of the cheek ) is being drunk (as it were). 317) atfy = fragrant ( to be connected with qft = smell). forf#fay =faufta = f ra = churned out, emitted, emanating. GHET (B. C.) = arranging or forming, themselves in a circle. ahiliti = abhilIyante = rush, run or swarm (toward). auvvakamalaM = wonderful lotus. aforyziata (B. C.) = which has never before known (i. e. experienced ) defeat from the moon. Ordinary lotuses bloom only during day-time. The moon shining at night defeats them (i.e. makes them close their petals). But the woman's face-lotus blooms even at night, when the moon shines brightly. Hence it is said to be an extraordinary lotus not sustaining defeat from the moon and attracting bees (admirers) towards itself. For the root fet see st. 630. 318) fqufra at TOT (loc. abs. ) = when her dear consort departed (on a journey). TUTHE = in the midst (or presence) of the elders (in the family ). ate = gull = courage, fortitude, mental firmness. See H. 1, 155. a fait = 3795FATTT = resorting to. acchiNimIlaNa = closing of the eyes. se pamhadio bAho - a tear clinging to her eyelashes. She made a supreme effort to check her tears when her consort took leave of his elders and departed on a journey, as shedding of tears is regarded as inauspicious on such an occasion. But in spite of herself a tear welled up, clung to her eyelashes for a while and then dropped down. 318) tassa suhayassa nAmaggahaNaNa duiM appAhitI = sending to her charming lover a female messenger (with a message to be deliverd to him ) after uttering his name. 37c9Tg = to send a message (with a messsenger). See H. 4, 180. See st. 517 and 675. asfu ift (B. C.) =all of whose limbs were (or whose entire body was ) wet with perspiration (at the mere utterance of his name). zfeesy is p. p. p. from the denom. root 365 = to make wet. The TTTTO Tar = (in her absent-mindedness ) she actually (4 = ga) reached the court-yard of his house. 320) na vi = nApi or naiva = not even or not at all. aNAlavaMtI = not speaking any thing, maintaining absolute silence. fajfatta (K. C.)= greatly heightened or excessive anger. I forgfa = by her indifferent or nonchalant remarks, Cf. st. 304. 321) Tragisate (accus. of time ) = for twenty lives. For ate = fasifa = see H. 1, 28, 92. sigur afgrei = I shall worship (your feet) by laying down my life. 3rfi&F is fut. Ist pers. sing from aggha = argha = to worship. jai vijjhase = yadi vidhyasi = if you pierce (him) fagt p. p. p. from faa =to pierce. Cf. st. 14.

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(175) 322) sayaNaparaMmu (at first) lying on the bed with her face turned away from me (in anger). fa(B.C.) whose anger was (gradually) subsiding. fefe delight, pleasurable sensation. See st. 116, 209, 272. uppalaNa utpreraNa or utpIDana nudging, pressing. full, heavy breasts. See st. 216. stanabhara kaisabanidrA feigned or pretended sleep. ubvataMta pushing, = == udvartamAna changing or turning the sides of the body (in sleep). area qualifies fqar understood. 323) he pathika jar3a nauhasi tao = tataH oft) of ar. (324) gAmaNiyA having forcibly or violently twisted (my) arm (or hand). Pfgoh way-farer! at fer-you have gone away (easily, without any difficulty). afa fare fe if you can get away from, or go out of (my heart). a then (only). The root nIha (or NIha) is an extended form of nI ( or gacch (H. 4, 162). no becomes nIa by H. 4, 240, and then nIha by aspiration = 1113 = tadA = taMsavalaMtavayaNa (adv. comp.) i. e. to one side, wafag (orama). far forst for na bhaNio her)? i. c., she conveyed to you. Cf. the next stanza. = daughter of the village chief. 325) gaverfafety (supply aft) repeatedly), fig = = unceasingly, again and again. turning the face in a slanting manner (ater tiryak), glance (glances) channeled through half-closed eyes. what was it that was not said (i. e., conveyed) to you (by you all he feelings of love, admiration and yearning for by her as she was looking at you again and again (ge fort for (a) fa-ffort fer in st. 324. argent diTThIe with her glance that was dull (or sluggish) because of the burden (we) of tears. nayana aMtaraSota (tears) welling up from the interior of the eyes. = = vaDajakkha 326) stone (or wooden) image of a Yaksa intalled under a banian tree. #g Usosayammi dinno which used to be placed as a cushion ( under my head) juvANeha - by my youthful lovers (when they slept with me). afta-a cushion or pillow. draufen -- to serve the purpose of a pillow (nimittasaptamI) taM vivanpiNamAni I pay homage to that very Yaksa-image now (when I have become old and when I am no longer in demand by young men). gaat oh damned (wicked) old age! af egg hayajare = be contented. Yaksas are the loyal servants of Kubera, the god of wealth. Their stone (or wooden) images used to be installed under banian trees, and were worshipped by people wishing to acquire wealth through their favour. When formerly the old woman. (the speaker of the present stanza) was in her youthful age, she did not care to worship the Yaksa-idol and even showed disrespect to it as she received a lot of money. from her young patrons. On the contrary she even allowed the young men to place the Yaksa-idol under her head during carnal enjoyment with her under the banian tree, But now she has become old, and young men no longer solicit her favour and recom

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( 176 ) pense her for it. She is therefore now required to worship the Yaksa-idol to obtain wealth for her sustenance, through his favour. She consequently curses her old age for the present nemesis. Cf. st. 178, 186. 327) B ETI = 3 = 3482 CH (B) = inside, in his mind. For = see H. 2,99 and 158. Compare Tran st. 33, 192 and 5 st. 226. 555 = q = is consumed or burnt (with grief). TIF = devoid of his wife ( who is dead ). AUGT TIS = various places in the house) where he used to have carnal enjoyment with her (during her life-time). 3feedFOTETUT (gro) fra = like a place from which a buried treasure has been dug out (and taken away by some one other than the owner). 3famour = 3eruf = dug up. Cf. st. 134, 201, 257. 328) faglitt = loss of sleep, sleeplessness. 37TATUT = paleness all over the body (31). GETT TA = protracted sighs. For aize = ag = ale see H. 2, 171. ordfa = happen in your case). # = h = with, towards. 329) aor = au Fictor = for that reason. Hafi afrat (1) 7 #trf = I do not die (i. e., end my life) though filled with (i. e. overpowered by) anger (or grief). For 7 = anger see st. 208. For a = grief see st. 284, 381. O = 17 = because, T T (B.C.)= 9001:= whose mind is fixed or centred on you. 2599 (=3) AT free = (I wish that) I should not be attached to (or involved in) you in my next life). Cf. aerat 8, 6. For = see H. 4, 230. For use fo the gen, in place of the loc. 73, see H. 3, 134. 330) a = 3797784 (imper. 2nd pers. sing. from 95 ) commit transgressions (violations of loyalty against me). al = fazah (adv.) = without hesitation. amhe visahimo = ahaM visahimi = I shall endure or tolerate (all that). For pattiya see st. 162, 192, 304. all Thrfa = your laspses are not contained in (i. e. do not find entrance or access) (in my heart ), do not find a place (in my heart). TufufFH = full of (your) virtues (i. e. full of admiration for your virtues). 331) 39777 = (tears) filling the eyes and overflowing. See note on afroata st. 290. f =recollection of the dear consort (or lover). fagfore =indicated, suggested. fuck ofagforent -fagfoTTTTTT (B.C.)=by which her recollection of her dear consort (or lover) is indicated or suggested. FCFA oftaret = the efflux (overflow) of her grief. Houfit aigi = tears standing (gathering) in her eyes. 332) jaM jaM jaMpase = whatever you say or speak. jaM jaM niyaMsesi=whatever you wear on your body (as a garment). See furugu st. 134, 301. 3tufafaart = learning, imitating. fast att 7 933 (=mad) = the entire) day does not become long enough, i. e. does not suffice. na saMpaDai can also stand for na saMpatatina pratibhAti= is not felt by her to be too long, i. e. tiresome.

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(177) 333) maM vAhaDa = let him call or address me. free ar by her (i. e. his sweetheart's) name. ki va bhanieNa what is the use of reproaching him? (i. e. he is incorrigible). = iva is used here as an expletive (rare). faefqet (B. C.) whose love i fixed. af afga = yatra tatra vA = on some woman or another (if not on me). mA kuppaha do not get angry with him. Cf. st. 50. = 334) imiNA uDDakAeNa devasikam visiting the (1) anena dagdhakAyena by this (my) accursed body: (2) by this accursed crow. qfqa treated with contempt, despised. feufer (adv. ) = nityam always, every day. Cf. afag st. 514. geenfie paragharabhamira (1) anyakArye for accomplishing the tasks of others: for the sake of food. farrafast (B. C.) (1) long-lived (body); (2) longliving (crow). A crow is supposed to have a long life of one hundred years. afar afar afgar: a= we (i. e. I) are (am) disgusted (distressed or bored). The stanza is uttered by an old woman who formerly worked as a go-between or procuress for illicit lovers. houses of others. afe (2) agrakAyeM = = 335) siNehadANeNa posito (1) being pampered by bestowing affection (on him), being treated affectionately; (2) being fed with oil (fig taila). Alaya = place ( tatsama word). dIva 5 like a lamp. bahareNa soon before long. mahale malinayati (1) tarnishes, brings into disrepute; (2) blackens or soils (with its soot). g is pres. act. 3rd pers. sing of denom. from the adjective vva * malina. = 1 = = == 336) suffer for abundance of wealth although existing, i. e. in his possession or at his dANarahiya a miserly person. gimhAvavasaMtatta like its (i. e., the tree's) own shade. For and Sakuntala, V, 7. disposal niSphalA = useless, of no use oppressed by summer-heat, fragenfg a see st. 51. vRkSa = a tree. Cf. st. 51 sing.) f 337) vAmacchi (K. C., voc. oh my left eye! ag gftg (loc. abs.). = when (or after) you throb. fer = my dear consort. f after the word fag is an expletive having no sense. = comes back, returns (home). farfar (B. C.) = who has closed her right eye. For arfgr suiraM afer see H. 2, 72 and, 1, 45. suciram with you. = for a long time. afachg (adv.) = greedily, insatiably, eagerly. as The throbbing of the left eye of a woman is believed to be indicative of some thing good to happen in her case. = = = = 338) suNayapara = wandering or abounding in ( stray) dogs (also ruffians), stafet roaming from one house to another. for your sake. i. e. in tuha kaeNa = tuha kAraNeNa order to search you out. TT young woman. rftige-fecua (1) will be bitten or devoured, (2) will be molested or raped, (3) will be overpowered. fa aifa (1) by some dog. (2) by some ruffian, (3) by some wooden piece. afsafer stands for reffigy (fut. pass, 3rd pers sing, with the err shortened into, and and for dropped i =

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(178) for metre). q arty = a wooden piece [ in a game of draughts (atitegiar ea ) ). statur fecat = moving from one square ( of the board ) to another ( in the course of the game). Cf. Bhatshari, Vairagyasataka, 39 and Govardhana, Aryasaptasati, 157. 339) THIEU = FATH = decoration (of coloured powder or mud ). az fazi = given or offered to you (by your consort or lover ). Egofureta == unobjectionable in the Phalguna festival. ( gut = 0, 3889, cf. Marathi a ). STUTTO h aga = (already) washed away (ty = a) by the perspiration gushing out from the tips of your jar-like breasts. Forqaga see st. 168. For ay = to wash, see st. 139, 229. 340) = 3FT IFTTH = different (new) every time. t = 7 that bee. Tretfest = 919 : = greedy for drinking (the nectar in flowers). If = 12+5(possessive suffix, see H. 2, 159) = pa, FEET. HE3 = 915&fa = desires. See H. 4, 192. 341) 77719TUTUTUCCOT (B. C.) = 727190agateToT =scattering (i. e. directing) her lotus like eyes on to the street. Ju ofry = fat rated = waits for you (i. e. for your arrival). artfufagfi stofa = afafparfai faal TI = with her breasts pressed (i. e. leaning) against the door-frame. # cefa a looking like two water-filled jars placed on the two sides of the entrance of the house (to welcome you). 342) 97EUR = the poor woman. See st. 268. at sa 5515=Tasca Traz sua = she wept as long as one can possibly weep, i. e. as long as it is humanly possible to weep. For 5896 see H. 4, 226 and 249. For hi and at see H. 2, 171. atu = & =(she) became emaciated. I ful! = facenah ras much as it is possible (for the body) to shrink or to become emaciated. A = F:afta = she sighed. 19 YTT Acofa = till the sighs came to an end. aT ETT, TT 5073, era f575 (TT-PTU) and a fafat are impers. constructions. 343) samadukkhasukkhasaMvaDhiyANa mihaNANa =in the case of couples grown up in the midst of mutually shared sorrows and joys. I quaToj = whose love has become deep-rooted in the course of a long period of time. v 3 = that member of the couple who dies first. fug = gafa = (really ) lives (because he or she is constanty remembered by the lamenting survivor and lives in her or his memory). gut HU ag= the other one (i. e. the survivor ) is as good as dead ( because of unbearable grief caused by the death of the other member). For the shortening of 7 into f# (in foto see H. 4, 238. 344) 799999 = the new (freshly plucked) spray of mango leaves. Ef g = will stop or prevent. fate u =the departure (on a journey) of your dear consort. 6 = accompanied by ( a = afga:) the first mango-blossoms. TTTFAZgift3t = resting (or placed) on the mouth of the (water-filled) auspicious jar at the time of his departure. The idea is that the sight of the mango leaves and blossoms

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(179) placed on the top of the auspicious jar would intensify her husband's love for her and make him postpone or cancel his intended departure on a journey. 345) TTT = jealous anger. fa = some how, with great difficulty or effort fog fegur = having found ( discovered ) a loop-hole (in the form of a breach of loyalty by my husband). HE (= #= #A) fzug afa3t = was smuggled (i. e. aroused) in my heart (i. e. mind). face far ( loc, abs.) = as soon as my dear consort was actually seen by me. coriyakAmuo = cauryakAnukaH = a clandestine paramour. naTTho = disappeared. 346) agar = HETOT = yet = a female friend. OOTATUT (pres. pass. part.) = being accost ed. Ca = a crocus flower. TT= = sticking. HTUT!= the simple-minded (naive) married damsel. afg5 (pres. 3rd pers. sing.) = is laughed at (by her friends). 906gat 7 = briskly removing the nail - marks (made by her husband on her breasts during the preceding night). Cf. st. 435. The damsel is said to be simple-minded because she believes in the words of her friends, although she must have been aware of the nail-marks, which cannot be removed by the hands. 347) = = Oh wicked one ! The voc. particle is repeated to suggest the wickedness of the consort or lover and the speaker's disdain for him. as T =these glances ( faz ) directed (towards me) through your half open eyes. fraafia = unsteady (i. e. unwilling to remain fixed on me) through contempt for me. aeft = za fie = 37ta =317&pfra = 3778170 = contempt. gersfa a fent = uproot my heart as it were. 348) OTETIT 7 gefa = do not give out (or emit) long sighs. ffATI = fetar = emaciated, lean. aham(voc. sing) (B. C.) = one who is loved by several women; or (T. C.) one who loves several women. ifk = Tra = for whom. 4913 = FOT: = lucky, fortunate. The woman speaking the stanza suggests that she is unlucky because she loves the man addressed and yet cannot secure his love. 349) fafafaiat=A Tat:= glances. F#F# fa afaraa = difficult to endure even by Cupid. 31&TITATSIU = satt i = lustre or glitter of the partially visible pupils, facts = sluggish because of drowsiness. aftalist = rolling about or unsteady. T o = turning obliquely. These three adjuncts qualify cartu. The first half of the stanza is a long B. C. qualifying didriNivAyA in the second half ( NihAlasa ... addhatArayANaM Aloo ). 350) forugelfs = singfanuzi = the unruly conduct, i, e. sin or crime of love or attach ment. En fa = some how, with great effort. T TATT -- I have put an end to, I have bidden good-bye to, got over, atoned for ( the sin of falling in love with a man ) (by enduring its evil consequences). 577face (B. C.) = (whose peace of mind has been ruined, but) whose life alone remains unharmel. ETT = Oh my accursed

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(180) heart ! inhi virama =stop now (getting emotionally involved with any one else).mA rajjasu Fri fq = do not at all become attached (to any other man). gert can also be equated with gator = the bad swing-play (i. e., gamble) (of love) with its ups and downs. AS Tfaut = I have played out (the swing-play of love, with every thing lost, except my life). 351) 3751 = 310f = a young woman. Trzy = only recently made nail-marks or nail wounds (made on her breasts by her consort or lover). foot = 3 =at the time of looking (at the nail-wounds). For foroy = to see, see H. 4, 181 and st. 184. 7545527 Turag == the bosom heavy and lofty because of her youthful age. TEUTTO is a K. C. (Taqutot TET JTT ). afsat ate = is worshipped. fEATTITotoqofsadi = worshipped with the (two) blue lotuses in the form of her own (blue) eyes imaged (fEFTTT) (on her smooth and bright bosom). See st. 1 and 125. 352) TFT Tog on whose chest. 45 = ET = the brilliant Kaustubha jewel (churned out of the milk-ocean and worn by Visnu as an ornament on his chest). #, see st. 1. #Tftatur = devoid of ( i. e. without the deer (i. e. deer-like dark spot ). fac . = gefaa za = like (the orb of the moon) (reflected) in the orb of the Sun. See note on st. 155 and 192. The spotless face of Laksmi reflected in the bright Kaustubha gem on Visnu's chest when she is resting on it is poetically compared to the orb of the spotless Moon imaged in the dazzling orb of the Sun. Actually, however, the Moon's orb can never be devoid of the dark spot, nor can it be imaged in the orb of the Sun. The comparison is based on pure imagination (#fegata). The stanza contains a veiled reference to inverted coitus. Cf. Govardhana's Aryasaptasati st. 12. 353) For st. 353-355, see p. 158 of the text. afsata == TT= = cowife. Tarify = yearning for your favour. For stfgey see note on st. 340. TETETTFETATOTT=TfE4375TEUHITOT = (1) because of the excessive jealous anger assumed (FET) by you;(2) because of a very large vessel (TOT) used (afgo) for measuring ( a heap of grains of corn ). feffosfaefa = gouf = (1) you will become emaciated; (2) a heap of grains of corn (already measured with a small measuring vessel) is (reduced in its quantum) if a larger vessel is used for measuriny it again. There is pun (slesa) on Art and fastfef. 345) #fruia pres. pass. part. from * (= gey to tear) ] = being torn or cut asunder. farzaga = yagfara a = the saw in the form of unbearable separarion (from her husband or lover). 3 At = tears mixed with the collyrium in her eyes. HF = f = mixed, adj. used in the sense of the abstract noun TT (#2767 = mixture). TATTA = dark-coloured guide-line (made on a log of wood while cutting it with a saw). .

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(181) deposit) mA sAhasaM karijAsu love with this man). For f 355) ga, see note on st. 182. fq this will prove to be a bad investment (or do not commit the rash (thoughtless) act (of falling in (imper. 2nd pers. sing.) see H. 3, 177. ge forfer deposited here (i. e., surrendered to this man ). For the duplication of a iner see H. 2, 99. vaNe afar Oh my friend! puNo na lati are not recovered, are lost for ever. A bad investment is one in which the thing deposited is never recovered. = = 356) For st. 356, 357 see p. 159 of the text. firererea (B.C.) who has already reached the climactic point in sexual intercourse. 4g young, newly married girl. azafataf the stage of the termination of sexual intercourse. afazafguur (B.C.) = whose heart (i. e. carnal desire) is not yet satisfied. Cf. st. 346, 435. * 357) vesavilathA = vezavanitA = vezyA a prostitute, harlot. ag may (their hearts ) be happy (in the company of their patrons ). surayasa rahasata vhAvaharAI removing (or quenching) the thirst (of all their patrons) for carnal enjoyment, bahumaggaviNimmavivAi~ viNimma viyabahumagAI (B. C) give rise to) many amorous acts (such as kissing, embracing, biting, fa forenfa is a caus. p. p. p. used in a non-causal sense (faforfen). 358) (B. C.) Oh you who have never experienced the agony of jealous anger (caused by any lapse or misconduct on my part)! angefe = caJcalacitta (B. C. ) fickle-minded. yAcala can be equated with cAcala = caJcala or with Acala [ fickle all round (an)]. But in both cases, the change of ar to ar or of ar to ar is irregular, as an initial is never changed to nor dropped in Prakrit, nor is far allowed in the case of an initial residual vowel or an original vowel. See H. 1, 176, 177 and 180. Cf. note on na yANimo st. 267. tA pucchissaM I shall then ( tA tataH) ask you a similar question (namely, why you have become emaciated). = = 359) [avahatthiUNa ( gerund ) having disregarded or ignored. For the denom. root g see st. 304. afgifq= the warnings (or advice) of my female friends. Groj acP yeSAM kAraNena = for the sake of which (pleasures). ramio si = you were enjoyed by me (i. e., I had sexual relations with you). fgte-because of which (pleasures) there is now danger to my life itself (as you have now become indifferent to me). saMsa = danger, peril. = 360) IsAluo jealous. The possessive suffix are and the pleonastic suffix a() have been added here to the word (f) ascording to H. 2, 159 and 2, 164. Cf. saddhAlua st. 687, fr : na dei = uf (acc. of time) during the night. a does not allow (his wife). ucceuM = Oh mother ! aiujjayasahAvo = (inf.) to gather, to pluck. a = = sarahasasu rayatavhA vaharAi~ violent (impetuous) which create (i. e. scratching, etc. ). = = by himself. g (voc. sing. ) extremely simple-natured, i. c. foolish. The husband.

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(182) of the woman is said to be foolish, because he does not know that by going out at night to gather Madhaka flowers, he enables his wife to receive her paramour during his absence and have a merry time with him. Madhuka flowers are used for distilling wine. 361) T (B. C.) who have pulled away a portion (a) of your garment acchoDiyavatthaddhatA : caught by me to stop you (from going away in anger). feqar=who has started to go. agchoDiya] can be equated with akvoDiya (= AkRSTa ) from the akkhoTa kRS or AkRSa H. 4, 188. acchoDiyavatyatA and patthiA form together a K. C. maMtharaM (adv. )-slowly. na citesi= you are not heeding. thaNaharAyAsiya = distressed by the burden of your breasts. majjha =waist. See st. 312. 362) uddhaccho (BC). Safer: with his eyes turned upwards. far (B.C.) = with the fingers of his hands loosely held together (in order to receive the water into the cavity of his hands joined together). fare (adv.) for a long time, slowly. qraf = prapApAlikA a female attendant at a road-side water-well. prapApAlikA > pavAvAliyA > pavAliyA (by haplology) > pAvAliyA (H. 1, 44 ) taNuei tanayati ( denom. from tanu = thin, small) makes thin or slender. The idea is that both the way-farer and the water-dispensing girl become fascinated with one another and try to prolong the process. of drinking and serving water. Cf. st. 363. 364) sA 47: of both 363) she (i. e., the young girl serving alms to the beggar). aea = his (i. e., of the beggar). fO bhicchAyaro = bhikSAkara = beggar, mendicant. cchA is shortened according to H. 1, 4. f circular (round) navel. of them. See H. 3, 123. far begging-bowl (made out of a cocoanut shell). caDDaya ( do) = dava ladle for serving food (to the beggar). fafa rob or carry away. The idea is that the young girl and the mendicant become so fascinated with and at sorbed in looking at each other, that they do not notice the crows carrying away their ladle and begging bowl. = = 365) (adv.) vaMkaM at. with. pAmarapaura abounding in rustic, uncultured people. viilage (like ours). = = Vajja 557. fe 11 valpate Fata (pres. impers. constr.). The root a means to turn or move about, to exist, to continue to live. Weber reads farfa jIvate. See notes on Vajja 557, p. 534-535. g (pres. pass. 3rd pers. sing.) is conciliated. kapAvarAho (B.C.) who has committed (serious) lapses. autiz city-fire, burning of a city by fire. patta prApta occurred, happened. = = = = = slantingly, obliquely, with a side-long glance. g is conveyed or related. Both these are pres. pass. forms. saha f(pres. impersonal form) = one can have a hearty laugh or cut a joke. in a wretched or sordid is seen or looked =

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(183) 366) laigu = a cotton-field, a field to be brought under cotton-crop. Cf. Farst st, 8. TOUTATI - auspicious ceremony of sowing cotton-seeds on an auspicious day. quia= Tf77. = auspicious religious ceremony (consisting in offering Durva grass, flowers, curds etc. to the plough - share). AutTETA = full of lecherous desire (to meet her paramour secretly in the cotton-field when the cotton-plants grow tall enough to conceal both of them). For foot = Ha see H. 1, 208. &fa =tremble (because of nervous excitement ). For 737 see st. 387.71$ = 3 t = a wanton or lewd woman. 367) gray = a pious, religious-minded man. #TTEETSET = branches of the Karanja trees growing on the river-bank. a (pres. part.) = breaking. fort =of you who are (desirous of) going to heaven (after your death) (by living a pious life). gfe fa qu = both your feet. For efe see H. 3, 120. gafu fu feafa = are still touching the earth. The pious man was breaking the Karanja-branches to prepare a hut for himself or for some other religious purpose. But in doing so he was doing harm to the trees. The woman addressing this stanza to the pious monk was angry at the denudation of the trees which would make it impossible for her to meet her paramour under the dense shade of the trees. She therefore says to him that though he is toiling so hard to live a righteous life by breaking the Karanja-branches, he has not succeeded in attaining to heaven and that his feet are still touching the earth. The exact purpose of breaking the Karanja-branches is not clear. Compare st. 368 and 592. 368) gf zetu = f*=347 = the act of being cut (or plucked) by the way-farers. For ullara see H. 4, 116. saMkAula=full of apprehension. bahalatimirassa (B.C.) vaDassa (the leaves) of the Banian tree casting dense shade. fazt (adv.) = secretly, quietly. 3 qu (d.) = fath = water mixed with turmeric powder. Car =the leaves (of the Banian tree lying scattered under it). The idea is that wayfarers used to rest in the shade of the Banian tree and used to pluck its leaves for preparing improvised plates from them for their midday meals. As the Banian tree thus became denuded of its leaves it could no longer cast a dense shade and wanton women were thereby deprived of a good trysting place for meeting their paramours. To prevent wayfarers from plucking the leaves of the Banian tree, the woman sprinkled the leaves already lying scattered under it, with turmeric- water to create the impression in the way-farers' minds that the tree was dedicated to some god and so it would be improper to pluck its leaves or even to rest in its shade. 369) 91HT1 = farmer. fafaTFE Shifz (abl. sing.) = from the field in which there is no work to be done (such as ploughing, sowing seeds, weeding grass, reaping the harvest, etc.). qafe = qafa = house or residence (in the nearby village ). See H. 1, 214. TEGT =

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(184) made lonely or vacant. See note on st. 24. See also st. 512. hic = residence, dwelling place. f at = = wishing to avoid (the grief caused by his house devoid of his wife). 370) For garefa foot see note on st. 254. The duplication of or is for metre, and it can be explained by H. 2, 99. gfaq= openings or holes in the grass-roof of the house. 35 = 96fget = ran = dripping or forcing their way (through the holes in the thatched roof ). See Vajja, 24, 28 and notes p. 422. Fosffgrifeface the perpendicular lines drawn on the wall of the hut, to indicate the number of days at the end of which her husband was to return home after his journey. For the idea compare st. 153 and Vaija, st. 378, notes p. 482.77 = tarfa = preserves or saves (from being washed out by the rain-water trickling along the surface of the wall). At the commencement of her husband's journey, his wife had drawn on the wall of the hut as many perpendicular lines as the number of days he was expected to be away. As each day passed she used to erase one line. Some more lines were yet to be erased in this manner, and she wanted to save them from being washed away by the rain-water. This explanation would hold good in the case of st. 153 also. 371) grat= a bank. get = tasting, chewing. The Prakrit root appears to be connected with the Sanskrit root get = to eat. See H. 4, 258, (afwezi = tatfah). TIETS TE=(pungent) leaves of a mustard plant. 3foveg=3675fT (B)=jumps up, springs up. According to H. 4, 164, 36 means "to go near, to approach".Weber reads upphaDai-utpatati=jumps up. khukkhaei-makes agurgling sound, growls. piTrei-tADayati = beats or strikes (with his hands). fog is to be connected with Sanskrit 03 (>1753 >fog) to press or to squeeze. Cf. 487. 372) 695 = fa = the master of a house-hold or family. This word is frequently used in the sense of a farmer, who is generally a householder. Huhfat = a dead she-buffalo. CCHIA = GOEITTH (B.) = a garland or necklace of small bells (for adorning domestic animals). TEST (ger. ) = having carried about (from place to place ), or having suspended round his own neck (B.) (as a memento ). ATITE = TAHETAT = hundreds of buffalo-herds. Ag5T = car = having seen or examined. See H. 4, 181. 777 = 2TH = thereafter. 3 = fra = temple of Arya, i. e. Durga or Candika. Cf. st. 468 for temples of Aparna (Parvati, Durga). The idea is that the farmer had such a high regard for his buffalo and was so fond of her, that he could not think of any other buffalo as worthy of wearing the garland of bells formerly worn by his (now dead) buffalo and so he dedicated it to the temple of Durga. 373) = Vajja, 212. See Vajja, Notes p. 448. TET (d.) = plume, feather, 310 = ear-orna

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(185) ment. Toa = agat = full of pride. For the possessive suffix g see H. 2, 159, TunferefTag = Tigua ATTIET (B. C.) = wearing ornaments of pearls obtained from the heads of elephants (slain formerly by her husband). Ta = senior cowife. aga = newly married junior wife (of the hunter). Cf. st. 130, 131 and Vajja, 206. 374) cafefafogatoj = of (i. e. to) those (women) who look at men) with oblique eyes (i e., who cast side-long glances at men). factoi = to those women who speak in an oblique manner (i. e. suggestively, indirectly). anfatto = to those women who smile in a sly (rougish) manner. a factor = to those women who move about in a crooked manner (i, e, with affected blandishments or grace ). These four adjectives describe cultured, highly accomplished, clever and sophisticated high-society women and courtesans. 375) FEU = pugua (70Ega B.) = irritating. 36937 = pollen of lotu ses ( in general) (or pollen of the lotus worn on the ear as ornament ). argfig = blown or wafted by the wind. The gen. case is used here twice, idiomatically for the instr. case, according to H. 3, 134. sayfaya = (the eye though) already cleansed by a mere puff of breath (from your mouth). (3170) Fatu (voc. sing.) = Oh you who are kissing (my eye) ( while removing the pollen from it ). catur ft Tafa = which of the gods are you? (i. e., you must be a god since you have divined my heart's desire to have my eye kissed by you). 376) # 5 = from her face (i. e. forehead). fa = ornamental tilaka mark ( on the forehead). carefu (adv.) = by moving from one hand to another (i. e, from one place to another), see st. 175.37589TUTTI = achieving a very difficult task (i. e. making a tortuous journey). 377) 14 HEET=the beauty (i.e. the beautiful, bright complexion) of the face of the young damsel, stafogos = looking with half - closed (or partly open) eyes (i. e. casting a repentant, dejected, guilt - conscious glance at her lover ). ACHT (denom. from 14 -= SUTH ) = ATATUT = Tra = becomes dark or sombre. af 3a = the farmer's son jago Toua = moving about near her house with Jambu-leaves placed on his ear as an ear-ornament. The idea is this : the young damsel had fixed up a secret meeting with her lover (the farmer's son) under a Jambu tree outside the village. Her lover kept up the appointment, but she could not for some reason turn up there at the agreed time. In order to convey to her her failure to keep up the appointment he went near her house, with a few Jambu leaves placed on his ear. When she saw him she felt very dejected at her failure to keep up the appointment and her face became darkened with a sense of guiltiness. Cf. Rudrata, Kavyalamkara 7, 39; Kavyaprakasa II, st. 132 (p. 211-212, BORI edition).

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(186) 378) == Vajja, 413. $T = clever or skilful in doing your assigned job properly. #7EUR3 = **= harsh. The change of to z is unusual in Prakrit, in which ay is always changed to T. #39= soft, gentle. ale=149 = to speak or utter. See H. 4, 211, a ak fupIE (imper. 2nd pers. sing., see H. 3, 175)=ra at 75 =please do or manage your job in such a way. FETTET HET = TTT Fogfqaqrog 7 wafar = that the scratched (skin) docs not become white and cause irritation and uneasiness). The idea is that the female messenger should scold the lover of the Nayika for his infidelity towards her, but in order that he should not become completely estranged she should also humour him. 379) STUTgat = (1) not finding a place or foot-hold in your heart. afga f rar = (1) already fascinated with a thousand other women (loved by you); (2) already overcrowded with a thousand other women. fari = for the whole day. See note on st. 36. TU FAT = doing nothing else but doting on you. in art = (1) emaciates her body (i. e. her body becomes emaciated because of her frustration in fascinating your mind); (2) makes her body lean (in order to find entrance in your already over-crowded heart). Cf. Aryasaptasati st. 374. 380) #4 feuif 799 = does not slip down from (or leave) my heart (i. e. my heart is always thinking of her). For ** == sta see H. 4, 177. 3TofauxfactorTattarar (B.C.) = giving (i. e. causing) severe agony (to my heart) every day(because of her separation from me). 4739919 sn = like the painful ) sense ( consciousness ) of a secretly committed sin. 381) 37 = rise up (from your prostration at my feet to appease me ). HET = in vain. ki pasAesi = why are you appeasing me? majjha mANaNa vina kajja = I have nothing to do with jealous anger (i. e. I do not wish to get angry with you). JU TEAC = TE #C HTOTT (B. C.) = (jealous anger) which causes grief cr embarrassment (9 = T) to you. 382) afruft = house-wife. AEIUTEFFR = work (of cooking food) to be done in the kitchen. GITT = 7 = clinging (to the hand). afp = = hot soot formed on the bottoms of cooking utensils. Asfzu = soiled. f375= FTET = touched. See H. 2, 138. taract TT = looking like the Moon ( who has a dark spot on his surface ). TET 1993 (pass. voice ) = is laughed at by her (a mused) husband. 383) 1893 TOTAL = long, warm and copious exhalations (sighs ). 99ET = $#fa seized, possessed, affected (by warm sighs). aigufafaqat = being sprinkled with the water of tears. facea = fazata ( pres. pass. part. See H. 4, 255 ). Atua (K. C.) = darkened and covered with palc-white spots (due to the warmth of the sighs and the coolness of the tears). Fiat = Fafa = proclaims or indicates ( her separation from you). According to Weber's readings ( Tha and faut), and his explanation of eras

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(187) as agafa (performs or practises), the stanza makes a covert reference to the afta or already alluded to in st. 158. 384) at the advent (or approach) of the rainy season. q (the way-farer's) way (back to his home ). gharatuttamaNeNa (B. C. ) = gRhAbhimukhamanasA whose mind is turned. homewards. For hutta = abhimukha see H. 2. 158. gharahuttamaNa is really equal to gRhabhUtamanas whose mind has become identified with (i. e. absorbed in thoughts about) his home. najjai at is felt (by the way-farer). See H. 4, 252. f = saMkocitaH iva as if contracted or shortened, fa perhaps stands for first "collected lumped up", the a in being changed into y according to H. 4, 238. as if chopped into pieces poDa as if drunk up B seems to have read nijJai ( fera: a) for 335. fg means "is carried, i. e. is traversed." The idea is that because of the way-farer's impatience and eagerness to go back home and his walking fast, his long way appears to him to be cut up into pieces, to be shortened and to be drunk up by him. = 385) aha bayA this or that young married girl. For aha asau see st. 21. subai sleeps soundly. pasiDhilehi~ aMgehi = with tired or fatigued limbs. Cf. suDhia in st. 263. dinnavaDivakkhaa (adv. comp.) causing mental agony to her cowives. nivvattiyasuravarasANubaMdha jinbharaM (adv. comp.) in a manner full of happiness due to the lingering memories () of the enjoyment (Ter) of sexual intercourse (during the preceding night). Cf. st. 67, 68. 386) sarada zaradi = in the autumn. mahaddaha mahAlada a large water-reservoir. For =E daha hrada see H.2, 120. aMtosIya antaHzIta = afgrm=externally (i. e. on the surface) warm. = what shall I do (to avert the infamy)? 387) ayasa == infamy, ignominy ki kAhUM ( kariSyAmi) For kAhUM see H. 3, 170. kaha vucche ***f= how shall I answer (the questions of kathaM vakSyAmi people about my secret love-affair)? For see H. 3, 171. how will this love-affair of mine end (shape itself out)? gefear one who has made the first-ever venture (of secretly meeting her illicit lover and becoming pregnant by him). For paDha mullaya see st. 164. ghara harei vepate trembles nervously. For gharahara = see st. 366. = internally cool. afg bAhirunha jAtAni have become. 388) stuM rodituma rodanArtham for weeping, in order to weep. See H. 4, 212. tuha maddened by your mere sight. your mind). = = 1= = sIlaM 1 389) raNaraNavasunahio (B.C.) whose heart (mind) was vacant (i. e., who was absent-minded) because of uneasiness (or anxiety). AsaMghiyavasahI (B. C. ) = saMbhAvitavasatiH = who had plan frgency your (real) character (i. e. fickleness of

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(188) ned (or intended) to stay (in the village during the night). TATEA FI =right through the middle of the village (on his way back home). Tot = Ta: = passed, went. 390) 1 = = ofe = if. Artyaga a t (B. C.) = having many young men at its disposal (to save it in case of a calamity). STATUT = helpless, without any body to save it (from fire). agafat= that was the mischief [ i. e. evil consequence (of your breasts) ]. - facity = unsteady (throbbing) because of panic ( or nervous excitement ) ( caused by the outbreak of fire in the village). 391) TEUT=R17: --haughty or unyielding by nature. IUTER TEUTT =unable to tolerate his haughtiness (or unable to pursue your jealous anger against him). FETT= under the pretext of drunkenness. The past part. matta is used here in the sense of mattatva-mada = intoxication (caused by drinking wine). TFH3= 609 TFTTH = (impers. constr.) = you should go to him. For the duplication of # in the form F# see H. 4, 249. Er aft The = wash your hands clean on wine (i. e. throw the blame for going to him on wine). This sentence is merely a paraphrase of ATETASOT TFA3. For gafsee H. 1, 26 and 108. 392) weat = quarreling, scolding, reproaching. 75 = to quarrel. See st. 296 for the verbal noun aut. a (inf. form) in order to sleep on. Cf. the form ser in st. 388, see H. 4, 212. TITETE=37ofa =drags, draws or collects together. Cf. the word are (st. 160) and cafu (st. 131). Rad stands for Fre (p.p.p. from =to drag or pull). It is used as radical base here and in st. 649. Cf. cat st. 627 and #87 St. 263. g=39f= the adult woman (mistress of the house). This woman had fallen in love with the wayfarer at first sight and had carnal enjoyment with him, and hence while collecting the straw-blades next morning, after the way-farer had left, she began to weep due to the sad memories of the happy time she had with him overnight, although she had been discourteous to the way-farer and had scolded him at first. 393) pufoarte undejected, not disheartened ( even in calamity ). SpeaTT== B ant: = free from arrogance (or pride). a = unperturbed. Tagat = whose nature ( mental attitude) is unchanged or uniform. For 34 see st. 124 and 213. qfaatu fa = even under favourable and unfavourable circumstances. Fag=anti:=strong-minded men. 394) = possibly, perhaps (to be connected with pridor). See H. 2, 207. # fe aesi pia = on remembering some sweet-heart of his. For *T=FAT see H. 4, 74. u TH (impers. constr.) = who has sung (or is singing) a song? F ATTETTETE Tutsui (adv. comp.) = so as to tear opeu the wounds of our (i, e, my ) heart struck by the arrows of Cupid. Cf. Amarusataka 13 and 54.

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(189) 395) muddhabahuyA = whose beautiful young (junior) wife. ia (K. C.) = rising (i. e. protuberent) aangrew and huge (massive), qz$?afzofty safe (impers, constr.) the first (elder, senior) paDhamaghariNIe nIsasiyaM wife heaved a sigh (of disappointment ). osinnakavolAe (B. C. ) = avasvinnakapolayA cheeks were bathed in perspiration (because of the fever of jealous anger). tormented by severe (intense) hunger, affig 396) gAuliya the pleasure = juicy, fresh. = of the company of his dear mate (female elephant). (now dead). muNAlakavalo = bunch or cluster of lotus-stalks (intended to be eaten by him ). hariya ciya just on his trunk milANo mlAna - became withered or wilted. For milANa see H. 2, 106. The lotus-stalks became withered due to the warm sighs emitted by the elephant. 397) fra be gracious (to me). For the shortening of into see H. 4,238, pasIya kasmAt why, for what reason? See H. 3, 68. = a stranger. that is the power (i. e. effect) of my sins (done in a previous life). The stanza is a dialogue (a) between a man and his wife or sweet-heart. Cf. Amarusataka, 57. 400) vicchaDDa (d.) () 398) fefe (fut. act. 2nd pers. sing) = you will come. Cf. fg in st. 15. afz a f (impers. constr.) I kept awake during the first half of every night, which appeared (to me) to be (endlessly long) like an year. the remaining part (i. e. second half of every night). att saMtAvaparavvasAeN (gen, sing) = in the case of me who was plunged in mental agony. like an eon. = is a fabulously long period of time comprising millions of Ta zeSam = avaziSTam passed away. paM years. samUha Szafa (B. C.) and pollen (raya rajas that much. See st. 73. aufg = 399) g (imper. 2nd pers. plu. ) hold her back, restrain her (or support her from falling down). 1 = do not be afraid of her (or anxious about her).r na esA. gahalaMpiyA possessed by an evil spirit (or ghost) . atyavakagajjiya unceasing (continuous) thundering (of the clouds), sr === atthakkiya = asthita asthita = not stopping. For yavaka sthA to stand, to stop, see H. 4, 16. The sense fa ( delay, breathing time, leisure, respite), assigned by B to the word in st. 188, is only an extension of the etymological meaning of davaka fa, namely, halt, cessation or rest. Similarly the sense "sudden, unexpected (af)" given by other commentators for the word can be explained through the sense "delay, leisure, respite" assigned by B to the word in st. 188, because that which admits of no delay is of course some thing happening suddenly or unexpectedly. = = = collection, assemblage or fa profusion, abundance which has a profusion (or collection) of filaments () as much. faferat 97147). fafast yAvAn tAvAn elsewhere, i. e., in other flowers. See H. 2, 161. anyatra == = = = -

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( 190 ) Fifth Cento 401) stafa = Taufra = see or behold. See st. 254, where = tarafa = means "reveals or shows". This scnse is akin to the sense " seeing or beholding" , because the eye is able to see a thing only when that thing is revealed by some source of light. forfat (B.C.)= whose eyes are winkless, i. e with unwinking eyes. fogafru (T.C.)= whitened with meal (while grinding corn). Atgagsafe = the goddess Laksmi rising up (or emerging) from the milk-ocean (when it was churned by the gods and demons for obtaining fourteen valuable things - the qa&T S- from it). Tirt =(1) (coming out) from her house; (2) (emerging) from her residence (namely the milk-ocean), 3pforfra also means "gods" whose eyes never wink (or close), but always remain open. 402) ff ofurg (loc. abs.) = when this question was put (to the young woman). #1 # 9= who is there whom I can regard as mine (and remember)?face, uninflected form used instead of fat (loc. sing. ). See Vajjalagga, introduction p. xxxviii. fa que salg TF Taifaut = saying this and weeping she made us weep (out of pity for her) therfaur = tlfaat: =made to weep. Cf. st. 238. 403) E (voc. sing.) = Oh unfortunate woman ! faer gafe = why do you not raise up (i. e. make rise up your husband fallen at your feet)? g fa TOTEH FOrmea= in the case of love which is far advanced (i. e. high-pitched). 37Thu = end, termination. The idea is that her husband's love for her had become so intense in the course of time that he abjectly prostrated himself at her feet in order to propitiate her after having angered her by some lapse in love on his part. 404) =29= keen or strong desire, eagerness. OOFTOFF =of becoming your beloved, or of winning your love. 31 a ut = but I do not know how to achieve that desire (i. e., how to win your love). For the phrase a groti see note on st. 297. a fy = I pray to you, take pity on me = I pray to you (great). WET = T = so that. 405) = 1770737 = was not heeded, was ignored (by you). fafca for 377 = was addressed with unfriendly (harsh) words, was scolded (by you). A face = was not stopped (by you). #FAT #C = #FC (1949) = for what gain or advantage ? 406) agfa forza TTEC and alfos aforcat are B. C.S. ET = TEFT= front legs (i. e. paws). atfot = moving up and down (or sideways ) ( because of the rippless of water in the river). NiyaMba = nitamba = hip, buttock. sAlarI (d.) maNDakI = female frog. purisAyaMti vva = CETTATOTT = as if playing the role of a man (i. e. practising inverted coitus). See st. 141, 448.

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( 191 ) 407) f#94 = a (past part. used as a noun) = hissing sound (indicating pain). afore = fora = murmuring sound (made by the mouth). aggrefafootjad = araga = Fa#174EFTET = shaking of the hands violently, causing perspiration of the body. B explains sijjiyavva as meaning svedakAraka and inverts the sequence of the two words dhuyaay and fafoutgoa and also the sequence of the words ay and it. But that is not necessary. The compound can be explained as a T. C. [agafa fafsorgaars, fafchgaa being regarded as a pot. part. used in the sense of a noun (= Fac). Cf. the word tega in st. 298 used in the sense of via) arcat (d.) soft = a young woman. See H. 2, 80 (where the third quarter of the present stanza is cited). 408) For fofaufta and fafers see note on st. 73. feces = fua (pres. pass. 3rd pers. sing.) = is touched. See H. 4, 257. Teof itat = slinking away from elderly people in a bashful manner. ofcopat is to be regarded as an adverb( = 5TH) meaning "bashfully". Cf. st. 187, 513. 409) AyayaggIvo (B.C.) moro = the peacock who has stretched out his neck. taNaggalaggaM ==cling ing to the tip of a grass-blade. T afad a far = looking like a pearl perforated with an emerald needle. The green, pointed and tapering blade of grass looks like an emerald needle, and the water-drop clinging to its tip resembles a pearl. 410) fafang fa = even though (only) in a dream. dot faute without him, in his absence or separation. #7 faogg fafaur = who can (i. e. how can I see i. e., have) a dream ? Cf. st. 518 and Sakuntala VI. 22, and Vikramorvasiya, II. 10. 411) qe = sfera = set out or started on a journey. para = torment (caused by the heat of the mid-day Sun). 8 = VYTETI = moon- light. Caet = osale: = stream, flow. For shartening of the at in at, see H., 1, 44. 412) 5 = Forfa = gets angry. Gratefin = at the wrong place and time. gfqwiat = data: (pres. pass. part.) = being requested (or asked) to do something. Tgar93T = = engaged (or absorbed) in the enjoyment of carnal pleasure. Fra = crying (because of hunger). 99g = sqfa = curses. 413) 793 = CUTIH (impers. voice) =(you) should sleep (now). 731 THT = the third quarter (of the night from 12 midnight to 3 A. M.). Par = exciting fragrance ( of the Sephalika flowers). -yn = does not allow (me) to sleep, makes me sleepless. 414) Trufaszt Ei = a matter repugnant to the king (and forbidden by him), treasonable talk. TOT 600 = at the point or spot from where a mangofruit grows, i. e. from the branch where a mango-fruit grows or makes its appearance. Weber reads

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(192) (sprout) instead of 5. aa = afla PART = from that point or part. See H. 2, 160 and 3, 8. furad = is protruding slightly, has come out slightly. f# fq = some thing (i. e. a shoot of mango-blossom). The way-farers tell one another about the emergence of blossom on mango branches in a hushed, whispering and apprehensive manner, because they wish to avoid frightening other wayfarers by publishing the news about mango-blossom. The sight of ( and even the talk about ) mango-blossom is painful to lovers separated from one another. See st. 100 and 344. Cf. st. 657. 415) ae afsart = my giferalfa = being in that condition (i. e., naked and tired). fraafers fa TT ( loc. abs, constr.) = even though the sexual intercourse is over. facite = feufofa = looks intently or gazes (at my limbs), aty faz a = as if he was inter ested in (or eager for) sexual intercourse (once again) (i. e. with undiminished craving). 416) FH AM = the bed (or bottom) of the lake. fee = was seen, became visible, was exposed to view. 37fa5o= never before seen (as the lake was previously full of water). arua ... #th and FH ... ratoj are B. C. s, joined together to form a K. C. ali = TOUT = becoming dry, drying up. See qo14 in st. 58 and 613. FH = = heat of the Sun in summer). faqja = fan = being distressed or tormented. See H. 4, 132. 46 = #hy = tortoise. qrato = arata = fish. 417) coriyaraya - secret or clandestine carnal enjoyment. saddhAluiNI = zraddhAlaH = fond of or eager for. See note on t ut st. 138. For T = keen desire, see st. 404. af (adv.) = much more, i. e. very easily. afterefe (pres. pass. 2nd pers. sing.) = you are (i. e. will be) seen or detected (by people, while you are going to meet your paramour). The pres. pass. form is used here in the sense of the future faraffefal = you will be seen). tamabharie is to be connected with addharattammi . 418) afert = gar = spoken to, addressed, accosted. For the duplication of a see H. 2, 99. For ***** = * = (with) every one (she comes across). See st. 550. F or faurr = $10 faut = without any reason. 75T (= Flu) primarily means " effect or result ", and then secondarily it means " purpose or intention" which acts as the cause of the effort to achieve that purpose. See st. 502. qfar = aCHT = blazing up, being on fire. For change of to see H. 1, 221. 77758 = 1 97 = grass (or shrubs) on the river-bank. 419) FTA = I accept, I agree. See H. 2, 177.375 = 39$ = 3798311 (nom.pl wanton, lecherous. F = FH: = we are (i. e., I am). 397# =stop keeping my company. HEFTS = Affah (p. p. p. from denom. from EAT = #SA) = soiled, tarnished. Ter = 11TH = family (i. e. the family's good name). 950gr = 98aquife ( gen. used for instr.) = by (so-called) chaste women. FUFT TT a = like the wife of a certain per

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son (i. e. your own wife). feat na we (i. e., I) do not have a love-affair with a barber (as your wife has). For if see st. 275. According to B, a certain married. man is thus addressed by some woman who was seeking intimacy with him, and whom he had censured as a woman of loose morals. Cf. st. 174. (abl. 420) borasaMghADa badarayugalam a pair of plums growing from a single spray. sing.) from the village street. of see note on st. 138. According to B, the young woman went from the village-street straight to her house because she was ashamed of parading the young man's gift before other people and yet on the other hand she could not discard it out of loving regard for him. (193) = 421) fafgust (B. C.) STEGET whose mind was embarrassed (saddened or disappointed). abhavyA =unlucky, unfortunate. agahiyANuNao (B. C. ) whose appeasement was rejected (by me). paravajjaNacirIhi dancing (with joy) at the disgrace (or troubles) of others, exulting in the difficulties of others. q=disgrace, parAvadya scandal, ignominy of others. It is also possible to equate the phrase with qareetagitlAbhiH == causing others to dance (naccirI nartayantI ) to their own musical instrument i. e. inciting me to assume a stiff attitude towards my lover and reject his entreaties. This is how the commentator Gangadhara explains the phrase. Cf. st. 243. Under B's explanation we must take que as standing for a, with shortening of r into ra for metre. = = = = 422) dIsaMta nayaNasuo dIsaMto nayaNasuhao dRzyamAnaH nayanasubhagaH = delighting the eyes when seen. The use of the uninflected form a for at appears to be an Apabhramsa trait. See H. 4, 344. It is also possible to regard (1) vafa: sought after; (2) safe: feqat for (1) as a K. C. appearing in the sky. f:= abode of proficiency in all the arts); (2) fe: possessing all the digits, i. e., full (Moon). = 423) duihAyaNNaNapaDiroha = obstruction to the hearing of the message (brought) by your female messenger. ucchappei utkSipati pushes up [ utkSip > ucchipa > ucchippa ] ( duplication of according to H. 4, 230). - = 424) ft: :=we are (i. e., I am) distressed. For fan see note on st. 10. perishing in a moment (i. e., in a short time ), short-lived. fafanufafgo acquisition of a treasure in a dream. fag (K. C.) = seen (found) and vanished (soon). This phrase is to be connected with both pimma and NihilaMbha. 425) visuddha = pure (i. e., made out of a flawless bamboo). f f = (1) though joined (i. e. furnished) with a bow-string): (2) though endowed with virtues. fas =

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( 194 ) faferafa = (1) throws, propels; (2) forsakes, parts company (with). For o -- faq see H. 4, 143. 4* = a* = (1) bent or curved; (2) crooked. grau = (1) straight ; (2) upright. gaat = (1) contact : (2) association, friendly relation. 426) araufafar (B. C.) = arrafafaat = 91470 (1) small, of small size ; (2) short statured, dwarfish. viyaMbhamANeNa = viz2ambhamANena = growing in size and height. mahamaha = HET = Visnu (in the Vamana incarnation). afsagt = (1) formation of (three) folds of skin (on the abdomen); (2) imprisonment of Bali (the king of the demons). H A = #ETTU = (1) of (i. e. on ) the middle part of the body (i. e., on the abdomen); (2) 989812y = for (the welfare of the middle world (i. e. the world of mortals). The idea is that the youthful age of the young woman, while causing the growth ( enlargement) of her breasts also caused three folds of fatty skin to appear on her abdomen. Cf. Kumarasambhava I, 39. Cf. also st. 227. 427) q3o = (1) fall, collapse; (2) dropping down dead ( on the battle-field). A = (1) high lofty, protruding; (2) lofty-minded, valiant. fahaforjat =(1) closely pressing against each other; (2) extremely invulnerable (or very closely associated with one another, never leaving one another). Tuacha=(1) adorned (aca B.C.) with fresh (bleeding) wounds; (2) adorned with moist [recently made nail- marks ( = TUT == 7477) ]. #1176 (B.C.)=(1) (breasts) which have fulfilled their mission of fascinating the minds of young men; (2) (warriors) who have achieved the task (of fighting valiantly with the enemy). Cf. Vajja, Additional st. 312* 6. 428) 7 grifa = do not fascinate (or ravish). For duplication of T, see H. 4, 230. fufs = afrika = (1) pressing, squeezing; (2) reflection, cogitation. TEU = (1) heavy, large; (2) weighty with sense, faq = (1) interstice; (2) literary fault. 33fact is a B.C. TET TU (1) adorned with (nail-) marks; (2) adorned with figures of speech. rsrar = poetic utterances. 429) 3 iat (voc. sing.) = Oh you who are smelling i inhaling ) (the strong fragrance of the Kadamba blossoms). paMthakalaMbANa =of the Kadamba flowers on the way (paMtha = pathin = way). ale fuez (B.C., voc. sing.) = Oh you whose eyes are filled with tears (on smelling the exciting aroma of the Kadamba flowers). ET == 317 = take courage, cheer up. #1 of foag 7 fofefafa = you will certainly see the face of your wife. The young wayfarer was shedding tears as he feared that he would not be able to meet his wife because of her succumbing to the grief of separation, even before his return home. 430) saft = 39f = over (me). 75 = with all your might ( T, see st. 482). E fgqu = steel-hearted ( also greedy-minded (THETT) (as I went away through the greed for earning money, leaving behind my wife at home to pine for me)]. Saat (B. C.)

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( 195 ) =JETTATH = whose tresses are hanging loosely on her back, unoiled and uncombed (as is usual for women in separation from their consorts). HT fefe = HT #rife (fut. used for the imper. )= do not kill her (with your thunder). The wayfarer means to say that he is hard-hearted and can endure the thunder of the cloud, howsoever painful, but his tender-hearted wife will not be able to withstand it and hence the cloud should have pity on her. 431) Alfafeget = 1529 = paddy-field. (FAT = (1) soiled with (or full of) mud; (2) (little son) soiled with dust or dirt. alfa915 =(1) drinking water only, i. e. continuosly irrigated with water; (2) drinking milk only. TUT = (1) replenished with water (734 = T ) upto a high level; (2) conferring a high (or proud) status ( 231 = pada ) (on his father). B mentions the variant dinnajannuyavaeNa- dattajAnukapayasA = (the paddy field) fed with knee-deep water; (2) FF FT947 (the little son ) who is given a place (98 = F1A) on the knees (i. e., lap) (of his father). 432) Egid =- gfruf91% = (1) time of maturation or ripeness; (2) old age. i = (1) contact (or association) with the threshing floor; (2) contact with wicked people. 337 =(1) 7 = having fully developed awn on the ears ( of grains ); (2) ATIF = full of sorrow, distressed, lamenting. 3t = F = 114. See H. 4. 329 and 447. Fus a = is weepiug as it were. TTTTHET (B.C.) = (1) with its head (i. e. top) bent down (because of the burden of the rice-grains); (2) with its head bent down ( because of anxiety). Tartfe = (is weeping as it were) under the guise of the dew drops ( trickling down from its top). Alat = paddy plant. * 433) pahio mijjai = the wayfarer is tormented or distressed. kUruNAho viya like Duryodhana (the Kaurava king). aur arfgangur ferat = (1) being touched by the terrible (i. e. unbearable) southern breeze (aferrata) (in the spring season); (2) being touched (i. e. struck or kicked) by Bhima (younger brother or Yudhisthira) with his right foot(afettqra). #rgare fafegu = ATTET (FTTT) Aft = (the southern breeze) joined with (allied with) the spring season (HTTC = #TFI); (2) (Bhima) conspiring with Madhava (Krsna). For the use of the gen. instead of the instr. see H. 3, 134. Erfget = y our = Jeg = to his heart's satisfaction, unscrupulously. Cf. Vajja, st. 638. 434) FETITETE311 = covered by the reddish glow of the evening twilight. For the root 737= to cover see st. 283, 539. nfsamaal = the crescent Moon appearing in the west on the first day of the bright half of a month, Terr3 2 = as if it were a nail-scratch (nafaqa = 7EUR ) (made by her consort on her body or breast). 777 af 3 = covered by (and shining through) a reddish silken garment. agfart = the lady in the form of the evening) sky. The lunar crescent and reddish evening twilight are here

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( 196 ) poetically imagined to be respectively a nail-scratch and a reddish sisken saree. 435) Agaz = the simple-minded (naive, inexperienced) young wife. gas = wipes out, rubs off. 90g = washes away (with water). 40555 = gestufa = whisks off with a jerk. 350 agro = made by her dear consort (on the previous night). ead = @TCH = nail-mark. For duplication of a see H. 2, 99 and 90. poTviT = not knowing ( that it was a nail-mark made by her consort himself). ag=on the surface of her breast. Cf. st. 346. 436) fa a faoefe = do you not see (the series of crescent Moons)? FITICIZHfF# =in the armpit of your wife. Factor fratis the series (or line) of lovely crescent Moons (i. e. lunar-crescent-like, curved nail-marks). aiate ff gestgfg = why are you looking at the sky (in which there is a single crescent Moon )? HET = #9 = in vain, unprofitably. The crescent Moon appearing in the western sky on the first evening of the bright half of a month is very faint and distant, and beyond your reach. But the several crescentmoon-like nailmarks made by yourself in the arm-pit of your wife during amorous play with her, are quite distinct and within your easy reach. You can even touch them with your hand. This is the implication of the word Ag. According to B the stanza is addressed by a woman to her brother-in-law in a jocular manner. People generally look with interest and admiration at the first crescent Moon in the bright half of a month. 437) atarg for a youtg= what possibly can be said (i.e. conveyed) through words ? faffafHT = how much ? 4 TETETT - you alone know (by your own experience) (that sorrow). TETET (B. C.) = one who knows (the nature and intensity of that sorrow). 377er = ET = nature. 438) fafrau -merciless, cruel. aff. HETTO= the advantage (or privilege) of the good luck of being the object of your love. #T## = equally with me. The idea is that the husband who has called his wife (the speaker of the stanza) by the name of his sweet-heart, has really cruelly robbed his sweet-heart of her name and conferred it on his wife, showing thereby that his wife is superior to his sweet-heart and that he loves his wife more ardently than his sweet-heart. The stanza is of course ironical. 439) fazafatss(passive form from the causal base fatal = fat4T)= is eaused to bloom (dilate). fq337 = 99 = is drunk (i. e., sucked or kissed ). #fur = the bud of the Kunda flower. For duplication of see H. 2, 97. gaut = (by the bee) while obtaining (i. e., drinking) the juice (nectar) (of the Kunda-bud). Taar... forzoj (adv.

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(197) = comp.) by skilfully supporting ( putting) the weight of his body on his (vibrating) wings. four (skilfully) is to be connected with arfa. Cf. Vajja, st. 252. The stanza suggests that a man should proceed in a very gentle and considerate manner while making love with his newly married wife. Contrast st. 440 and compare st. 580. = you 440) jAva na... mAlaImaulaM while yet the jasmine bud has not even slightly attained to its unfolding. tAva cciya even then. AruhaNapANalohilla bhamara = Oh bee who are eager to perch on it and suck its juice For lohilla see note on st. 340. malesi munAsi are rubbing (i. e. rough-handling, molesting it), For = see H. 4, 126. Cf. st. mRd 575 and Vajja st. 242. The stanza suggests the rough behaviour of a young man who impatiently and impetuously makes love with his newly married immature wife. Contrast st. 439 and 580. 441) akayannu (voc. sing.) = Oh ungrateful one! khuSaM kSuNNam trodden, trampled, waded. afrif I (even today) vividly see or visualise (before my eyes) ( the mud on the village-street). For fafreres see st. 263. Cf. st. 177. 442) maddened by love. fagfa=(mistaken) notion that it was the farmer's son. jAva phaMsemi yAvat spRzAmi = as soon as I touched him (i.e., his body, in order to embrace him). taNapuriso a straw-man. Supply the predicate freq ( niSpannaH ) - he turned out (to be). = = 443) f fg indicated by (a slight dilation of) the cheeks. bhramaNam = movement, moving about. agfarge (B. C.) in which the region of the porch of the house is not crossed ( i. e., confined to the interior of the house). porch or portico of a house. fes dRSTam - *fez: eye aNucchUDavayaM atyaktapadam (B. C.) = not leaving the feet, i. e., directed to the (toes of the feet). For = farcar i. c., see H. 2, 127. = a woman belonging to an exalted family. way, manner. = = = = == = 444) fa Vajja, 95. aat two. See H. 3, 119. mAnonnata mANunnaya elevated (distinguished) by their self-respect. come to an end, perish, die. ga... ahavA either...or. Cf. Bhartrhari, Nitisataka, st. 33. The stanza appears to be addressed by some one to a proud, haughty woman who has rejected the suit of a self-respecting and sensitive young man. Being disappointed by her, that young man would rather end his life than repeat his request to her. = = = - 445-morning-rays, or the morning Sun's rays. gege in sanskrit means both the morning and the morning - Sun. Avali: mass, assemblege. parimAsa = parimarza = sparza = contact. Cf. qfq=fea7 st. 24. PP===3393=filating, expanding, opening parimusana parimarzana samUsa tasa

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(198) out. af = 97 = petal. The long compound in the first half of the stanza is a B. C., while 9777... The is a T. C. frustfag = the beauty of the lotuses) which vanquishes (i. e. charms) (the hearts of) all living beings. foto is a B. C. joined to fatt to form a K. C. mahamahei = gandhena prasarati = spreads out its fragrance. For mahamaha see H. 4, 78, and st. 450. 446) #1 = fa: (abl. sing. of ff) used in the sense of = Firet ( = 7) = where, i. e., how immensely remote ? TT -=in relation to (i. e., from) the day-blooming lotuses. FETTI = friendly companion ( of the night-bloon ing lotuses ) (i. e. , causing them to bloom). sahayaro can be connected with raI (= ravi) also. na calai = does not waver, remains constant and unchanging (even thoguh they may be separated by a long dis tance). Cf. Uttararamacarita, 6, 12. 447) 347 = look here. See H. 2. 208. fauu33567ATT = heated (tormented) by the harsh (scorching) rays of the sun. pharusa (= paruSa) is to be shifted to before kara. Or pharusa may be regarded as an adverb connected with saMtatta (severely tormented); jhIru = jhillI ( B) = a cricket (insect). art = extremely shrill (high- pitched). f964 = sound. Cf. st. 66. 448) ft ist = TE91 Trept = practising inverted coitus (on her consort). See st. 583. aa cacar fa eft aq = like a Vidyadhara woman (fairy) slightly rising (jumping) up (in the sky). viyala = vigalata or vigalita = slipping or sliding down. aMbara = portion of the saree covering her bosom. ERT = TEET = 29791T = luxuriant tresses. 7155 = kuNDala = ear-rings. hAralayA = slender necklace. lalaMta = dangling to and fro. viyala qualifies both aMbara and kesahattha, while lulaMta quailfies both koMDala and hAralayA. The long compound in the first half is a B. C. 449) TTTFCT = mistake in calling one's own wife by the name of one's sweet-heart. Cf. st. 438. 3777 surfeua = today on the occasion of a festival. FOTTA (loc. sing. used for the instr. sing., according to H. 3, 135) = by her dear consort. 7 qfig = does not please her (i. e. becomes hateful to her). agaf 17 a= like a garland (offlowers) placed on the neck of a buffalo to be killed as a victim in some religious rite). 450) EHEI = spreads out (or advances) with its fragrance (of sandal). See st. 445. f =ary = her. See H. 3, 70. fafia = faufate or fata A = going out of the house. 1579frisur = by the fragrance of the Ankotha flowers in the back-yard of the house). 379 = that one will certainly die (because of the Malaya breeze charged with the fragrance of the sandal trees). 459) TARTOTT (gen. sing.) = of the village-chief. TUTOTTEETATg = tfaTuATTATE (B.C.) =wearing a dress suitable for following the husband in death (i. e., for ending their

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(199) lives after his death). AFHSTA fa reven in the midst of the excruciating pangs of death, angig haft =on or towards his favourite wife (i. e., the dearest of his wives). TT = "Tant = went (i. e., turned) (towards). 452) quifquam = safetyou = $7697 = utterance, remark. afrat (B, C.) = couched in similar (i. e., identical ) letters (words ). faght = difference ( or speciality ) in their imports. 59712454 =full of sarcasm (or irony). #94 = HT, see H. 1, 50. 453) as = different (i. e., sincere and convincing.) qafa=emanate or come out. T f furat = utterance coming only from between the lips (and not from the heart). 454) g aur = honestly, truly ( to be connected with arge=95 = tell me ). agafar = become bigger (i. e. grow) in size. #74 foar=#TFIT: VT = while yet they (the bracelets) are on their wrists (or fore-arms). Foght = we (i. e., I ask you. 455) fiat = fra: = round and round. For duplication of a see H. 2, 99. 5775 = faga = becomes distressed. See H. 4, 132. aftefq; = 3 a = to lift him up (infinitive). It can also be equated with afcepc (gerund) = having raised (her trunk). E qara = TFT Taifa = extends it towards him. 0 67 = immersed or stuck up in the mud. For khutta see note on st, 224. nehaNiyalAviyA = nehaNiyaliyA = enchained by the bond of love. The caus. past part. futofaut is used here in a non-causal sense. 456) FEFT TETUTTO = the third eye of Siva (on his forehead). ok = is victorious [i. e., is very fortunate (in being sealed with a kiss by Parvati)]. 75o = amorous dalliance. feu = = stripped or removed. forint = garment or saree. For foreigos = faah see st. 301, 460 and 134.62 = covered, closed, blocked. 777 = the pair of the normal eyes (below the forehead). raikeli...NiyaMsaNa and karakisalaya...jayala are B. C.s joined together to form a K. C. #tfoy = the delicate sprout-like hands of Parvati. Cf. Vajja, 607 and Kumarasambhava, VIII. 7. 457) srat 97317 = runs in front ( or ahead) (of her pursuing brother-in-law ). qaq 8 = moves (struts) on both the sides of the brother-in-law). fecstagffH = within the range (or reach) of his sight. F E TTUT = afraid of the blows of the new (i. e., newly plucked) creeper. deurassa to be read as deurayassa (=devarakasya) for metre, va being changed to 3 by samprasarana ( vocalisation of the consonant a). Or if should be read as deUrassa. For the lengthening of TThi (in diTThI) and shortening of yA (in layA) see H. 1, 4. For the situation in the stanza see st. 26. 458) FifT# = = counterfeit, faked. 312TE= 1 92 =under-garment or bed-sheet (of the newly married girl). Thosa data = being taken (or carried round) (i. e., paraded) by the relatives ( of the married girl ). The relatives do this in order

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( 200 ) to announce that the young girl has had her first sexual intercourse with her husband resulting in bleeding due to the rupture of the hymen, at the time of the first coitus. kumarIjAro = the pre-marital paramour of the newly married girl. hAsummIsehi~ acchIhiM = with glances mixed with smiles. The premarital lover smiles slyly, because he knows that he himself has had copulation with the girl even before her marriage. According to Weber, the commentator Hemacandra (on the Anuyogadvarasutra ) says that public display of the blood-stained under-garment (or bed-sheet) of a newly married girl after the first coitus was a custom prevailing in certain parts of the country. In the present case the under-garment (or bed-sheet) was not really blood-stained, but artificially tinged with a red fluid colour. Hence it is spoken of here as #fTh. According to the commentator Gangadhara, it was a custom in certain parts of the country to display the garment of a young married girl, stained with the blood of her first menstruation. The relatives of the girl in the present case knew her love-affair with her pre-marital paramour, but they paraded her artificially tinged garment in order to announce her" first menstruation ", after marriage. It would appear according to Hemacandra's explanation, that there was really no vaginal bleeding at the time of the girl's first coitus with her husband, but, in order to deceive him and other people into believing that there was such a bleeding and in order to convince them of her unscathed virginity, the relatives made a display of an artificially tinged bedsheet or undervest. According to Gangadbara's explanation, it would appear that the girl had yet no coitus with her husband, but in order to convince him and other people of her virginity, her relatives paraded her artificially tinged under-garment, claiming that it was stained with the blood of her first menstruation. But common to both the explanations is the fact that the girl had already had premarital sex with her paramour. Cf. st. 691. 459) #fordt af = very slowly or gently. Aut = finger dipped in bees-wax. HTUTTETTET = #CATTITUT = spreading (or applying) a thin layer (9EUR = film) of bees-wax. fue = fare = excuse, pretext, guise. Cf. furg. st. 125. aas = puts, fastens. ya TUTTE = a white bandage (for covering a wound). aforgiga = on her lower lip wounded ( afuer afura (by her consort while kissing her). 460) azt = recently married girls belonging to an exalted family. fatifurt = overpowered by bashfulness at the end of sexual intercourse because of their stark nakedness ). ca forta (B. C.) = unable to stretch their hands as far as their sarees (kept away from the bed). Zifa = 744f= cover up, hide. (FATT>41>7>67). Cf. EF in st. 253. Et = genitals, pudendum. fragfTOTO = by embracing their beloved consorts. Cf. st. 456 and Sisupalavadha X. 42. 461) jar (d.) = 75T = a (tawny - coloured young) cow. Tg = strog = a cow - stall or

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(201) catte-shed. dudavasaha = duSTavRSabha = vicious or ferocious bull. sohaggaM =saubhAgyama = good luck in the form of sexual appeal. grefsi = tafcTg = was shown or demonstrated. 31f73g = eye-lid or socket of the eye. dejat = FOETH= rubbing. Cf. Sakuntala VI. 16 and Kumarasambhava III, 36. 462) ramiyavvalehaDA == ratilampaTA = eager for sexual dalliance. saMbhamavikkhittaM = thrown away hastily. 5h = bower of creepers or shrubs. TaTTi , see st. 187, 268. a fi = as if it were a banner unfurled or hoisted. fare = for (proclaiming or announcing) her misconduct. 463) nat = an old cow (incapable of bearing calves and yielding milk). 6 = by the mere touch of the hand (of the cowherd milking her). aizra=because of the skill of the cow herd (while gently squeezing her teats). Traut= begins to ooze milk. 796164qesht = paelaga TUT = who begins to ooze milk by (your) merely looking at her, T = 3 , p. p. p. used in the sense of an action-noun. The suggested idea is that an ordinary woman begins to melt with aroused passion at the gentle fondling of her body by a man in love with her. But it is very difficult to come across a woman who melts mentally and physically at the mere glance of a man. Cf. st. 681. 464) masiNaM (adv.) = masUNam =slowly, gently. caMkammaMtI = caMkramyamANA = walking in an unsteady (wobbling) manner. *** is an intensive form of the root # (=#F) in the sense of crooked or wobbling movement. H. 4, 161 gives it in the sense of the root g = to move about. HEH = distortion or contortion of the face ( indicating physical pain ). EU = id=girdle. THOTTO hegfa = series of nail-marks (made by her consort or lover during love-play) on her hips (or loins). fons = touches. For fe see note on st. 14. Cf. Kuttinimata, st. 402. 465) TETAETH = (1) (the foot of your beloved) delighted with rapture (ET ) on being massaged (by you); (2) (King Vikramaditya) delighted with rapturous joy by the overthrow ( IET = 7) (of his enemies by his army-generals). R = (1) ATH = lac-paint; (2) XT = a hundred thousand gold coins. fado = Cat = (1) transferring; (2) giving, presenting (as a token of his joy). The foot of a man's beloved is here compared with King Vikramaditya by using punned phrases. 466) = FTE (voc. sing.) = Oh foolish woman ! HUHFTTHAT = reconciled (with your) consort ) merely on seeing him. T = #fant = 762T or afsarar (supply go fa) =you have lost (or missed). T HET = other delights (mentioned in the first hemistich). 1975tus = prostrations at your feet (by your consort). TH... afaqaator = impetuous and forced kisses. T ulfe (d.) = use of force. According to B the two gen. plur. forms in the first hemistich are used for abl. plur. forms. See H. 3, 134. Cf.

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(202) Amarugataka, 95. 467) qfau (see st. 397) = take pity on me ( your consort ). facials = angers, quarrels. gut$=3TIT: = gala night. EUT = bright with the (full) Moon ( = 151587 = F). Tag = tfa is slipping away. 468) fra = at ga = only two. For at see H. 3, 119. 3 A3 Fluffa = (1) know how to elevate or raise to eminence ; (2) know how to raise (i. e., rebuild or reconstruct); (3) how to raise to prosperity. 31900 = (1) the families of Aparna (i, e., Parvati) and her relatives; (2) the temples of Aparna (i. e., Parvati or Gauri); (3) families plunged in distress and poverty. The fETTEE311 = the beloved consort of Gauri (i. e. Siva, who by marrying Parvati, raised the family of Parvati and that of her relatives to distinction). King Satavahana reconstructed the delapidated temples of Parvati in his kingdom and he also rehabilitated the families of poverty-stricken people with monetary help. The stanza is thus an example of trisemi or triple slesa. 469) qiefs = CSF = Patala tree (bearing reddish flowers). FAG FETITE = without any supporting notches (to serve as foot-holds on its trunk, and hence difficult to climb). ?# = a chisel to cut an indent, and secondarily" a notch or indent ". 31eafurafer = who first tried to climb on the tree and then fell down (because of its smooth and slippery stem). Both these compounds are copulative K. C.s The stanza sugggests the behaviour of a woman who first attracts men towards herself and then spurns them after bringing about their moral and material down-fall. 470) F H is to be regarded as a compound word (because of the duplication of though it is not a compound word. See H. 2, 97. (B. C.) A = head having many Patala flowers (placed on it for decoration). agat i = this is not at all) good (or proper). The speaker of the stanza is a woman complainiug to her aunt about her own brother-in-law wearing many Patala flowers on his head. As there is only one Patala tree in the entire village, and that too in the village-chief's house, the brother in-law must have received the flowers from the village-chief's wife (or daughter) as a token of her admiration for him. She therefore warns the aunt that if the village-chief comes to know about his wife's (or daughter's ) love-affair with the brother-in-law, he will certainly punish the brother-in-law. For 7 To cf. st. 68. 471) Tg = F = on their faces. TE S (K. C.) = having long or beautiful eyelashes and white (i. e, shining or sparkling). ExfAUTE = (K. C.) = long-extending and dark-coloured. 31 feet = afra (pres. act. 3rd pers. plu.) = there are. See H. 3, 148. TO Tarifa = they do not know how to look at men ) (with ensnaring side-long glanccs). For T stoffa see note on 17 Orforat in st. 297.

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( 203 ) 472) (a) ff HIT THE = (pass. constr.) = your enemies follow your miad, i. e. o'vey your desires(after you conquered them and reinstated them as vassals). aftafetariz (B. C.) = (your enemies) who left behind (i. e., abandoned) (all) hopes (rar = 3TTTT) of saving their wealth (paumA = padmA = lakSmI ) (at the time of running away from their kingdoms). HET ... aqafe (B.C.) = whose panic-stricken (fa ) allies (aa= ) have run away ( along with them ) out of fear of the rainy season though otherwise charming (because you had decided to start a campaign of military conquest against them at the end of the rainy season). The enemies of the king (who is addressed in this stanza by his army-gcneral or court-bard) are compared in a punning manner with swans () who speed to the Manasa lake (on the Himalaya mountain), (FTTE TEA), leaving behind their favourite food of lotuses [ 93 38(=37137 = ENT) ] (growing in the low-land lakes), their feeble (fag) wings (99) fluttering (in their attempt to leave the low-lands and migrate to the Manasa lake, as they are afraid of the impend. ing rainy season which is repugnant to their health, although it is charming to others). oftafel = left behind, abandoned. There is pun on the words 970 = (1) allies, (2) wings; TSATH = (1) hope of saving wealth, (2) food consisting of lotuses; and ATT = (1) mind or desire, (2) the Manasa lake. 473) For duggaya see st. 16. ghariNI = gahiNI = house-wife. rakkhaMtI= wishing to avoid. AulattaNaM = embarrassment. Of TEHT (B.C. ) = questioned (by her relatives ) about her pregnancy-longing. t = 6 = desire, longing, see st. 404, 642. In alamat there is repetition of sense. 474) safrat = uprooted from peaceful and happy family-life. aftur =whose mental peace has been broken or shattered or ruined. anafazar (B.C.) = whose abundant riches have perished (i. e., have been robbed), ters = feTTI = nailmarks or nailwouuds (made by their paramour patrons). #Ifrutart= harlots. TOTUTTERS lines (marks ) for keeping count of the patrons brought into trouble by them. The use of the negative particle in the last two phrases in the first half of the stanza poses a problem. Perhaps we have to emend a intoy (= a) in both the places. The English translation (p. 60 ) and the notes are based on such an emendation. Bhuvanapala is silent. 475) TESTUTIUT (B.C.) = whose eyes have become reddish (because of irritation due to bath with cold water on a summer-after-noon). JonETTITETEJTETTU (B. C.) = whose thighs and hips are clearly revealed because of their wet under-garments. aTaTrA53Tfruf = who have had a bath (with cold water) (or who are emerging from a dip in cold water) on a (summer-) afternoon. FTUART = F = for the benefit of (or on behalf of) (such women) (Cupid wields his bow and excites the minds of their consor point of making them have sexual dalliance with them even by day). It is also possible

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(204) to read and or separately and translate : for such women (i. e., because of such women) Cupid does not or need not ) wield (i. e., use) his bow (and arrows) (as the mere sight of such women is enough to excite the sexual passion of their consorts and prompt them to have dalliance with them immediately). 476) feat = alas ! r = ## (EU). In this stanza uttered by a woman separated from her consort for a long time and complaining about her sufferings because of separation, the separation is compared with the mountain Mandara used by the gods and demons (as a churning-rod to agitate the milk-ocean), the heart of the woman is compared with the milk-ocean, and the happiness formerly enjoyed by her in the company of her consort is compared with the precious things extracted from the ocean in the process of its being churned. grafar = (1) were extracted: (2) were uprooted i. e, destroyed. 477) 55UTT = simple, unsophisticated love-making. #F# = $=if I propose to perform refined, technically perfect love (by urging him to do the various asanas in love-making). fagih fao =he suspects my tutoring by, and learning that sophisticated lovemaking from, some gallant (or paramour ). saat = TUT = unlucky, unfortunate. ittha = ettha = in these circumstances. kaha na kAyavvaM = how should I proceed (so as to please my consort)? 478) 93 = 3 = bee. See H. 1, 244. I =jasmine creeper (plant) or flower. Siffres Ang = on a cluster (or bunch) of (red) Asoka flowers. Taft = was consigned (to) or thrown (on). The bee appears to have mistaken the red Asoka flowers to be a mass of flames of fire and threw itself on it to immolate itself. Though the bee could not have killed itself by merely throwing itself on the Asoka flowers, the speaker of the stanza wails its action as it is indicative of its desperateness and its desire to end its life. 479) bahavihavilAsabharia = abounding in manifold blandishments and enchanting actions. uva 59371=teacher, instructor. ( TTT) faqaf=all women learn. 3ffafcig=things never before learnt from any body, or not taught by any body. Under the second expla. nation the non-causal form afafaeuis will have to be regarded as used for the causal form afaqafarg. Cf. Kavyaprakasa II, stanza 10. 480) coafat (voc. sing.) = Faesafafa (B) = Oh you always staying inside your house and never moving out.fazaofa=farfsgrup=O h, [active form used in passive sensean example of reverse deponentia (according to H. 1, 2 and 4, 447 )] =you are seen by me, i. e., I have seen through your untrue statement that you have seen him before. 497 f a fazit = really he has never been seen by you. For y = to see, see H. 4, 181. f3 seems to be connected with faut = to see. Hemacandra's fa 37563

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(205) (H. 4, 181) = to see, would stand for f . For faraz see st. 184, 568. afro faco (loc. abs.) = when (or if) he is seen (by women ). 9417413. (B. C.) = whose condition is healthy or normal. B's explanation of quafar as Fataifafa is very peculiar and different from that given by other commentators, who equate it with au (= q ) afeta (= avingsfa) = oh you have become enamoured of him simply because of the description given by others about his charming appearance and qualities. It can also be explained as auiafea = " oh you who are retaining your normal facial glow of good health", qof being used in the sense of haauf = facial glow indicative of good health. 481) dhalimailo = soiled with dust. paMkaMkio= besmeared with mud. taNarai yasayaNadeho (B. C.) hose body lies on a bed made of straw; or whose bed (TUTE = bed's structure ) is made of grass (B); or whose entire body (HOTE=40EUR) is covered (afqa) with grass tossed up by him (Weber), ut being substituted for See H. 1, 256, 257, and st. 518, where fasttu stands for FUTTETUT = fatan. &1 = T& T = ATAT = stoutness or hugeness of the elephant's body. 777 = 1 = kettle-drum. 482) Dialogue between a robber and a hero's wife captured by him. Cf. st. 397. & THE (impers. constr.) = why are you not moving (quickly) (but are walking very slowly) ? ** T = * FTAT = fF THIE = what is the strength (or support) on which you are relying ? For thAma = sthAma cf. English stamina. jeNa masiNagamaNA si = because of which you are walking smoothly (i. e. slowly and confidently). For afaut see st. 464. afeggafat = smiling without displaying the teeth, i. e. smiling in a gentle, subdued manner. Cf. grau # a fu (st. 443). forfafe = you will know it (soon) (when my consort comes and attacks you to rescue me). 483) 9-6391 = qocaat = a woman in her menses. graf? wimpers. constr.) = the cowives (hafa) wept with big tears. For IT = F see H. 1, 124; for a see H. 1, 209. Hufagreftert=top of the arm, i. e. shoulder. fata =fattart= region of the top of the arm). CTET (p.p.p. from denom. from the word fcq(ghee)]=face = besmeared with ghee coloured with turmeric powder. See st. 20, 273 and 553, and note on st. 20. The reason why the cowives shed tears is that from the smear of the yellow-coloured ghee on the shoulder of their husband they could easily infer that he must have slept with the menstruating wife on the previous night while they were denied that privilege and pleasure. 484) T = *sufa = (people) get angry, become annoyed, disapprove. See H. 4, 135. Cf. st. 511. (773) aufursat els = (even if) censure accrues or results. fa TH = what does

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(206) it matter ? (i. e. I do not care for it). TET 755EUR = ara ( 19) fanta (i. e. stara) = sit close to me, sleep near me. For 53 = for see H. 1, 94 and 4, 123. 485) fafgz aa = fosfaa: 99 = as if painted on a canvass ). TI = aa: = They = 77= there. faha84777 = the entire) circle of the ten quarters or regions of surrounding space. aga = as if bears or brings before me. qfargfarfs = a series or succession of your images, cf. Amarusataka, 102. 486) FETTI 5712 TATT=so long as my glance spreads out and reaches you, i. e. as long as you are within the range of my eyes. (loc. sing.) = would have been a better reading. CAT (B. C.) = gone beyond the range of my sight. ag afh = you torment me so much, nafe is a non-causal form used in a causal sense ( = arafe ). 7 hou diTheNa=that I wish I had never seen you at all. hou = bhavatu enough ( of having seen you). 487) 9645#1 -- already stung (by a bee ) once. Pag -- recedes, retreats. gut = shakes (the branch of the Jambu tree). ECOTEST = noisy with (i. e. making) a growling sound. Hafis = goes near ( the branch ). For est = 3 14 = to go near, see H. 4, 54. Hata (wat) = thinking it to be a bumble bee. Cf. st. 371. 488) freo (loc. sing.) = in the bower of creepers abounding in foliage. TET = 977, being added as a possessive suffix, though H. 2, 173 enjoins it as a pleonastic suffix. In this latter case the compound would be a madhyamapadalopo K.C. standing for pattalajattaNiuje with elision of the middle word jutta. kaMDayaNabhaeNa = through fear of a burning or irritating itch. daralaMbiya = slightly hanging down loosely. gucchakavicchu = kavicchuguccha = a cluster or bunch of stinging nettle. 489) ffmfefe == (fut. pass. 2nd pers. sing. used in an active sense, an example of deponen tia) = you will of course go ( near him or meet him ). HT 197 = do not make such haste (in going out to meet your lover). 7553 f = let the Moon grow (i. e. rise high in the sky), i. e, it does not matter even if the Moon rises higher in the sky and begins to shine brightly. Als = af FIATH = in the bright ) moonlight. For afhT see H, 1, 185. g f qa = like milk poured into milk. The girl addressed must be one with an extremely fair (clear) complexion. Contrast st. 417. 490) ATAT =(1) full of sap; full of youthful vigour; (2) full of love. Cf. 3tcu in st. 491. 95 = (1) she becomes dried up; (2) she languishes or withers. FETT (B.C.) = (1) whose heart is stupefied; (2) whose ( mind) is innocent. Fits grans = (1) she experiences sufferings; (2) she undergoes sufferings (i. e. she is distressed). kat = (1) Tat = red; (2) #at = full of love. 487 f = (1) she is white; (2) she is pale.

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(207) are = are = miserable, pitiable girl. The apparent contradiction under senses num bered (1) is removed under senses numbered (2). 491) TUH Dat = (1) the fault (i. e. effect) of the autumn season (FTT = TTT) ; (2) the fault or effect of wine (HTU = 77 = afast). Pracufth sarfat= scented with the fragrance of blue lotuses (1) blooming in autumn, (2) placed in wine to make it fragrant. aset Teat= Cucumber creeper. Cf. arfae in st. 9. TT TT (te) TEET = thrives and climbs up any tree whether withered or fresh (juicy). The suggested sense is that under the influence of wine scented with lotuses a woman's sexual desire is aroused and she aggressively climbs up the body of a standing man whether old or young in order to bend his head and to kiss him. Cf. the word atat in st. 490. 492) = 7: = the spring fesival. Fa 3 =## STAT: (TIA:) = became agonising for me. F = F = 4# , see H. 3, 113. TH936 = like a village drum (sounded to alert people against calamities like out-break of fire or assault by robbers). The three adjuncts in the first half of this stanza are B. C. s qualifying both the festival and the drum. F EITUTUT = because of which people begin to run even on trackless regions (out of eagerness to watch thc festival or out of panic).qfanfa a t == in which there is the ever-increasing uproar (of jubilant crowds or of panic-stricken people ). TETETI = in which musical instruments (like trumpets and bugles) are sounded loudly. 3= = = indeed, surely. See H. 2. 198. at would have been a better reading than 3. el got = that festival. 493) ago TEGO AUT=because of an obstinate miscreant standing by one's side. Jean qar = Jomado ( caus. pres. part. used in non-causal sense ) = raving incoherently. **T = HH = fear. #519977aafatate = a thief hanged (by his neck) and dangling from a tree in a cemetery. In the case of the cora, pAsaTrieNa stands for pAzasthitena = "throttled with a noose", and goat means "stiff and rigid (because of death)". 494) faqat = gozar = after having seen. For f#737 =to see, see H. 4, 181. g ga =coming back home. 37497575 (B. C.) = who have not accomplished their important tasks (for which they had undertaken the journey). 79913t-the newly started rainy season. gere h a = as it were laughs at them in ridicule) with the the loud laughter (i.e. dilation) of the (white) Kutaja flowers (blooming at the commencement of the rainy season). 495) = Vajja 251. mffaguit = Also = Jasmine creeper or plant. de THT (B.C.) = qT felesa: =reduced to the condition of branches devoid of leaves. fauftafsson = slightly opened buds. protagfee = abundance of fragrance. 496) 3 (accus. plu.) = rising high ( in the sky ). 1973faatat (B. C.) = who had

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(208) already given up ( 7 = 319 =497) all hope of her life. 317548 = 398f2aHeft (B. C.) =who had a Weeping face, i. e. whose face was cover@d with tears. 497) aferu fra = the very group or band of her female friends. Hufafter = Hafqat: = Alfarar: = 4101: = of the sulking lady. See st. 218, 305. 331 311 = 0917#: gia: = became makers of bangles or armlets. The point here is not one of making bangles or armlets, but of pushing them up her wrists or arms every time they slipped down due to the emaciation of her body. 3fagasta 4 = bangle (or armlet) which is the symbol of her not being a widow (i.e. symbol of her happy conjugal life with her husband). The ar in afagar is shortened (for metre) according to H. 1, 4. grof Fat = FT TUT = taking back to its proper place (on the fore-arm or upper arm). Cf. st. 528, 663. Cf. Sakuntala III. 12 and Meghaduta 2. 498) warga Afegur = made unconscious (i. e. fainting) because of the exciting fragrance of Kadamba flowers. 79 (supply quoftat ) =(the thunder of clouds) was not heard (by her). Di Tot afe=that was all to the good (i. e. was very good or fortunate). Gail= TOT = e =otherwise. See H. 2, 212. sitgor faut toat=(the sound of thunder would not have passed away without (ending) her life. awat is pres. act. part. used in the sense of the conditional mood. See st. 24, 133 and 162. See H. 3, 179-180. For Kadamba see st. 150. 499) faqat = arat = a crevice or hole in the thatched roof of a honse. 3 = 3 = = wet. apura # = portion of the floor still remaining dry. Jeg = gafa (denom. verb) = moistens, drenches. afate = incessant, continuous. algafamforak = stream of tears. 500) ETT Fofa ag = (1) give delight to the tongue (GTETC, gen. sing.) ; (2) give delight to others with their tongue (ret, instr. sing.) afa - are able. See H. 4, 86. Eng =(1) satisfaction; (2) delight, afswiat fa=(1) though crushed; (2) though tormented or oppressed. # # ifa = (1) yield ( sweet ) juice ; (2) give or offer love (or affection). 3o = ya: = sugar-canes. Tot =noble born men. Cf. st. 648.

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(209) Sixth Cento 501) 37 = mango-bud. F raagt = the southern breeze from the Malaya mountain. ukkaMThiya cceya = just the intense longing (or uneasiness). pattaM vasaMtamAsaM sAhai = announces that the spring season has already arrived (i. e. started). 502) ago = in the mango-grove. g (adv.) = hovers with yearning (i. e. restlessly). fact OFFHTUT= not without reason. Fr=#11 = effect or result, and then secondarily, cause or reason which produces the effect. See st. 418. The reason is the appearance of of blossoms on mango trees. = T= how? E f t3 = curls or streaks of smoke. 503) af et = #19: = braided hair or tresses. 51TE = dishevelled by being seized or pulled by the dear consort with his hand, tarifat aur = mouth scented with wine. Aufen = sty2 =on the bed (i. e., while sleeping with their consorts). sferat fq9 = this much alone, just this much. Tugu = adornment, decoration. 504) Tartart = village-girls. Torastit = FATTET: = having heavy breasts. For the possessive suffix 35 see H. 2. 159. HT...FHEITSTT (B.C.) = having the only adornment of a flashing (or glistening) madder-dyed (e) bodice ( a). tatu = 6 TH = (even ) of grown-up men (of advanced age ). TOT = H = at the time of Cupid's festival (perhaps the same as ur in st. 339). 505) rautta, and the remaining six pres. act. parts. are vocative singulars agreeing with pahiya. avaloyaMta disAo = looking at the various quarters (for help in the midst of danger to life because of separation from your wife ). #a=breathing hard nervously (because of recollection of your wife). Haryawning (because of grief due to loneliness). Ta = singing or humming a tune (for forgetting your sorrow). Tiaa = weeping or crying because of despair). segn=making inquiries (about the way to be followed). 952 = falling down (due to exhaustion). zva = smiling vacantly (like a mad person). fa a Thu = why are you undertainkg and continuing the journey ? quit =sifaa= Tath = journey, past. act, part. used as a noun. 506) if f*4 = even now ( when she is a mere child ). 21 = this charming girl. #1 075 = captivates or infatuates (by arousing the passion of young men). fawwafaa = like a poisonous plant. azgat = when she grows up into a young woman. If 37UT621 = will bring disaster (or will work havoc) (in the case of young men ). For the future form #fas see H. 4, 214 and 3, 170. 507) shafaaiefault == 31 iy faarafavia ( loc. abs. ) = when the days of the wedding are

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(210) near at hand.... (B.C.) = whose mind is eager for the love of (i. e. physical union with the new wife to be. padamapariNIeN suravaM = sexual union with the first wife. f=does not have any place in the heart (of the bridegroom) (i. c. has no attraction for him). It is obviously a case of bigamy on the part of the bridegroom. The plural form feu implies that the wedding ceremony is spread over three or more days. 508) pupphavaidaMsaNaM sight of (i. c. intimate physical contact with) a woman in her menses. amaMgalaM = unclean, impure, harmful to health. bhinnamajjAyaM violating the bounds ( maryAdA) of morality or propriety. fg fg = gives supreme delight to the heart. For intimate association with women in menses cf. st. 20, 483, 484, 532, 553. 509 ) aigaraNa vi ganmassa bharaNa even because of the very great burden of the foetus. na khijjaDa does not feel sad. vivarIyaNihuyaNaM apAvaMtI unable to have inverted coitus (because of advanced pregnancy). 510 ) bIsatyahasiya uyayaMjalI dino unrestrained, uninhibited, free laughter. free sauntering or loitering about. paDhamaM (adv. ) anusvAra is dropped for metre. Cf. qarfi in st. 23; or q may be regarded as forming a K. C. with fast. adeft fat- a hand-ful of water was given (i. e. they were abandoned). first gear the drowning or crushing burden (i. e. responsibility) of the household. fat is a non-causal pres. part. used in a causal sense. The stanza refers to a woman, who has to assume the heavy responsibility of managing the affairs of the house-hold after her husband's death, or to a newly married women who has to shoulder the responsibility of managing the affairs of her husband's family. Both of them have to bid farewell to unrestrained laughter and sauntering in a carefree manner because of the changed conditions in their lives. For upayaMjalI dino compare pANiyaM dinaM in st. 288. 511) paralobhavasaNio loo = people who make a fetish of (or are obsessed with thoughts of) the other world (i. e. life after death) (i. c. who attach too much importance to the morality or otherwise of every action and forego the pleasures of the present life). For jUrai =jUrau, see st. 484. balA = forcibly, irresistibly. a feast my glance turns (i. e., is dragged) towards (him). = = 512) ghoSaM yammaM star washed out (by rain-water leaking from the roof) and discoloured. fererfree = a painting or painted picture. ujjharakuharaM nirakuharam - trough or basin of a water-spring, or water-fall. For T = ojhara see H. 1, 98 salilasuna iyaM afeeqfied divested of water. For gw see st. 24, 369. See st. 461. gefied devoid of cattle (or cows). goSTham cow-stall. = 11= = frafer pariSvavikata = carefirst of all, firstly. The = =

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( 211 ) 513) F iyat fa a (loc, abs.) = though you approaehed her from the front side and passed her. FRET...tostor is a K. C. aqfETHSTUTT (B. C.) = who failed to have close contact with your body. afsu = 3a = B IT = not taken place. Totut = FATA = 774 Fat = close contact. The fag = reproaches (or curses ) the (village) street (which was wide). Juua STCOI= and her slender body. & fq = though wide. Really fo is not a good reading. It should be to match the in the last quarter. For see 187 and 200. Cf. st. 187 and 408. 514) fa (B. C., voc. sing.) = Oh fickle-minded one! 9 GITT = TA TTT =cafe at: =(her desires) clinging to (or centred on) you. TFH (gen. sing.) used for J (loc. sing.), according to H, 3, 134. afgug (adv.) = afgaa = sfafaggy = afany = every day or the whole day. A gfa = Tag = crowd together (in her heart). For 3755 = T# (779) see H. 4, 162. On p. 225 of the printed text ( Part I ), read itonga for afa#rafia in the chaya. qaftur faufifa = retreat (or recede) (from her heart) after spreading out towards you. raNaraNaMti (denom. verb) = raNaraNakaM kurvanti = produce restlessness (or agony) in her heart. 515) at atifs far ate (impers, constr.) = that pitiable damsel wept for a long time with protracted wailings. gg fac TFI (B.C.)= whose hope of seeing you (again) had disappeared. 373fUTEUTAT (adv. comp.)=not caring for the reproaches of people. waktfeartegui ( adv. comp. ) = setting aside ( or disregarding ) ( the exhortations of ) elderly relatives. 516) fuu = my heart. fecuffer=faqafurieur autafa = is fixed (or centred) on your heart. For duplication of a see H. 2, 99. fazot = my mental glance. E = (is fixed) on your face. faqifsfet a = falfafeta as if drawn ( painted ) in a picture (i. e. motionless, unwinking). 371fESTUTETI = a1155 Tag:fearfi = (my limbs are) distressed because (they are deprived) of your embrace. 3tifata is to be understood as meaning afgna just as facdt is to be understood to mean "mental glance". This is necessary because the woman uttering this stanza is separated from her lover or consort. Hati = 797 37STIS = but (my limbs have ) becomc emaciated or feeble. B explains olugga (=avarugNa) as vicchAya = pale. The anusvAra in navaraM is dropped for metre and then 7a7 is joined to start according to rules of Sandhi. Fazam is not a compound. 517) faqaug=emaciated because of separation (from my lover). gaat (=geagt) fatetur = the fire of separation is unbearable. dussaho is changed to dusaho for metre. calaM jIvaM (= of fad) = my life is in a precarious condition. For 375 = offa see H. I, 271. 391fuis fef Afg = fasta fae afp = Oh my friend, what message should be sent (by me,

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(212) to my lover) ? For 3cqtaret see st. 319 and 675. 518) sfitat = 7177#: = sleeplessness. Cf. 75 fiiTT3 st. 60, 527. TIENE 7 = does not give her (i. e. does not allow her to have) the delights (joys) of seeing you (even in a dream). pahAloyaNaviloyaNaM = pathyAlokanavinodanam = the diversion of looking at the way (of your coming back home). Cf. st. 261. B's explanation of this phrase as qe #129 involves repetition between Alokana and IkSaNa. It is therefore better to equate viloyaNa with vinodana. For change of Na (na) to la see H. 1, 203. Weber actually reads viNoaNa. For the idea in the first half compare st. 410. A for a fq = I have been deprived of that also. 519) 3fqanu (voc. sing.) = Oh you who come before me (i. e. are seen by me) ( only) in imagination ( 3799). Cf. st. 607. Taraft E lfare (B. C., instr. sing. ) = whose hope of continuing to live is sustained (or supported qf552 ) only by the prospect of seeing your face (again) (some time or other). Gratin #9 = by me plunged in suffering (or distress). f#foarfn7 Flot = how long a time (should be passed by me) ? For kiccira compare icciraM in st. 295. kiyaccira > kiccira by elision of ya for metre. 520) = Vajja 412.5 = TST = in such a loving manner. afar fa = 37fq = both of them. For afer see H. 3, 120. U faq = Ta = simultaneously. FaqarTOS ETTE = experienced sexual (orgastic) gratification. Cf. autgart I, i and H. 4, 332, illustrative Apabhramsa stanza No. 2. 521) #f9789377 = ha : =(always) looking at her face. graha (adv.) JATETETT =afata GETTHETI = completely maddened by his sight (whenever she looks at him). at fa uuifa (pass, voice) = both of them are spoken of by people. For at = at see H. 3, 119-120. For duplication of Na in bhaNNaMti see H. 4,249. kayatyA pUrisamahila ti=as being an extremely fortunate man and woman (or couple) (on the earth). 522) 377193afazit = angered because of some other offence on my part, rg TE = TETET = some how (because of apologies from me). asafe ter = you become appeased (or pacified). a FTTETTET #faer (voc. sing.) = Oh you who are angry with me beca my offence of being an object of your inexplicable ) hatred. For ag = OST see st. 135, 213. a (accus. sing.) = a1. FT TagfH = how can (or shall) I propitiate (you) ? Cf. st, 584. 523) stafar = you put in an appearance (at my place). facrs Fifa = you speak pleasing (or flattering) things (about me). Halat gf3 sau = only this much constitutes sincere love (in your opinion). 97230 T feqi = after tearing open one's heart. The y = 7 (=and) is for metre. F= TU = tell me. grag (caus. pres. 3rd pers. sing.) =shows. The woman uttering this stanza means to say that her lover, who does not love her

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(213) and is unfaithful to her, is making only an outward show of love and sincerity, though in his heart he has no love for her. Nobody ever proves or can prove the sincerity of his heart by tearing it open. 524) nahasarammi kittiyaM janhAjalaM how much is the water in the form of Moon-light in the lake of the sky? The idea is that it is immense and infinite. foragazzi falling down in countless streams (ojhara) through the pipes ( paNAla praNAla) in the form of the Moon's rays (caMda = caMdakiraNa ). bhagga piyasaMgamaM (B.C.) = which has ruined the prospect (hope or possibility) of my going out for secretly meeting my lover (without being seen by people). fagis does not come to an end (i. e. appears to be inexhaustible). For the root fagt see st. 248, 256. 527) 525) far (supply a) even in this place which is crowded with (i. e. full of ) handsome young men barAiyA aNubvAyA ( = sarasA, B) diTThI the moist (i. e. tearful) glance of the helpless girl. aNubvAyA anudvAnA = ArdrA. ubvAya udvAna zuSka = dried up. The word occurs in st. 89 in the sense" afflicted, aching", and in st. 541 in the sense" tired, wearied ". of a wanders about (vainly looking for you) as in a (tenantless) forest. = == 526) gfafa if you do not (wish to) touch a woman in her menses (like myself). afra (though) forbidden (by me.) fq, see st. 382. kaNDUla, spandamAna = itching, throbbing. For 'calucula our, i. e. my pasaria = prasRta stretched out. culuculaMta spand see H. 4, 127. amha mama = = = = (B.C) whose eyes are reddish and heavy (dull) because of sleeplessness (ujjagiraya =, see st. 60). fer- embarrassed because of ornaments worn by her in vain (as she has no hope of meeting her lover). f vipadyate is on the point of dying. aasay (B.C.)( supply or gr) in this village (or place) where there is no physician at all. 528 ) aikovaNA: atikopanA extremely harsh or disposed to anger. anfaat = = roditA (caus. p. p. p.) = was caused to shed tears, was moved to tears. gayavai = gata- (i. e. proSita - ) pati (B. C.) whose husband had gone away (on a long journey). See st. 254, 261. qazgoNayA = pAdapatanAvanatA = bending down her head and hands to pay homage to the mother-in-law). y fa fogy egy (loc. abs.) when the bangles (or armlets) on both her arms slipped down from her hands (because of her extreme emaciation). Cf. st. 497, 663. 529) AucchaNaNitthAmaM = = = ApRcchananiHsthAmam enfeebled (drooping, cheerless) at the time of bidding goodbye (to her husband) niyacchamANeNa pahieNa by the (prospective ) traveller when he saw (his wife's face). For fag to see, see st. 184, 537,568. faufaa - zokanigaDita fettered (immobilised) by grief. == gantum eva na zaktam fua fami -

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(impers. constr.) = stands for ti, 530) daDDhaloeNa = a tiny hole = = because of accursed (wicked or mischievous) people. made with a needle, or the eye of a needle. f who are in the habit of inserting (or pushing) a pestle. Forg kSip see H. 4, 143. sUIve he musalaM vicchuha is an idiomatic phrase which means " to exaggerate a minor matter out of proportion, to spread exaggerated scandals, to make big capital of a small thing", similar to the English phrase "to make an elephant out of a louse, to make a mountain out of a mole. "frat ang asif a fast I could not look at my lover with normal (entire or whole) eyes. = complete (or entire, fully opened ). Cf. fer all, used in Vedic Sankrit. Cf. st. 171. (214) he was not at all able to go (on his intended journey). fa really being equal to according to H. 4, 86. 531) api inake (supply diNaM) today only for once only for one day). #art stop me (from weeping, because of my consort's impending journey). w gor (loc. abs) = but when tomorrow he departs. jai na maristaM (tathA) na roievaM - (I assure you that) I shall not weep if I do not die (but I am sure that I shall die as soon as he departs and then there would be no question at all of my weeping). = = 532) e ( hai ) ehi dattA = oh my dear one, come near me now. (now) forms a part of what her dear consort said to his wife in menses and is to be connected with ggf. piyame vAhatami is loc. abs constr. udumaI menses. (B. C.)-whose face was husband's request). fadar fast at fast covered up) her hips or pelvic region. at RtumatI = puSpavatI = the wife who was in the bent down (because of embarrassment at her she gave a double wrapping to (i.e. doubly as wrapping, enfolding. Cf. st. 273. = = 533) muddhaM (voc. sing.) = Oh lovely damsel ! in the form of your side-long glance. ( imeNa nayaNaddhabhalleNa : == with this arrow (bhalla = bANa ) = addhaNayaNa half-open eye. See af in st. 171.) (B.C.) whose corners are red. farate viSama dangerous, lethal bhumayalapAcAvaviNiggaya = = sharp, incisive. f emanating from the bow in the form of your creeper-like (i. e. curving and slender) eye-brows. For shortening of ar in bhumayA see H. 1, 4. For bhumavA , see H. 2, 167 and 1, 121. = = == = == 534) Vajja 254. saralasahAvAeN viTThIe = with a straight (normal) glance. Cf. in st. 530 saralasahAvAeN na Alato she did not speak to him though she is open-hearted (or frank) by nature, agrar is to be connected with both fees and the woman in question. uvayAro ( = upacAra: ) na kao she did not even greet him (i. e. did not even observe the courtesy due to a visitor ). taM ciyaM kaliyaM chaille hi = clever observers came to know the reason of all that (namely her being in love with him, though outwardly she do not afta ny = =

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(215) = a clever or shrewd person. 535) daMsaNasahA behaved indifferently towards him). www (d.) thirsting (eagerly longing) for your sight. For duplication of a in aerogr see H.2, 97. saddaM sokaNa = on hearing your voice. jAI (payAi~ ) niggayA = as many steps as she went out. and T she had to be physically carried (taken back) those many steps (as she had no strength in her legs to walk back by herself). is pot. pass. part. from to transport or carry jAI (vAI) and tAI payAI are examples of accusative of space. = = 536) fest = zrRkuTyA by arching my eyebrows (i. e. with a frown). guised I shall look at him. fanford = I shall scold him. qrygt zed (=zter) I shall angrily turn paraMmuhI hussaM my face away from him. For ho = bhU see H. 4, 60. jai taM na picchissaM = (only) if I do not actually see him. All these four verbal forms and fe are fut. 1st pers. singulars. >The idea is that the moment she sees her offending husband (or lover), her anger vanishes and she is unable to do the actions which her female friends are advising her to do in order to show her anger. 537) IsAmacchara rahiya devoid of anger and jealousy. ffure fafar dispassionate, nivviyAra = blank. jaNo jaNaM piva niyacchae he (my lover) looks at me, just as one person looks (with unconcern) at another (who is a complete stranger to him). For faq see st. 184, =dRz 529. For a stranger see st. 559. ft=&ftra- how is it possible for us (i. e. for me) to avoid being emaciated ? = = = 538) tuha daMsaNasaM jaNio aNurAo love induced (aroused) (in her) by your www.rar shy, bashful. Cf. lajjAluiNI st. 138, 420. hiyaya cciya fga for fax is an example of consonantisation of a vowel or anti-samprasarana. pariNAma jAha jarAM yAti ===== jIrNo bhavati = comes to an end, disappears. granniegt za like a (vain) desire cherished by a poverty-stricken person. Cf. fatura daridrANAM manorathAH / = = vidagdha - = 539) fergfe (B. C., voc. sing.) Oh you whose saree-skirt has been lifted up by the wind. For angest see st. 217. ugg = cover up. See st. 253, 434. gada (B.C.) sAhulI thaesu your thighs having circular tooth-marks (or a series of tooth-marks (made by your consort while kissing them) clearly visible (ge). gured caTukArakam over-fond of you, doting on you. jaNahAsiyaM ( janahasitaM ) mAM kuNasu = do not make him an object of ridicule by people. = = sight. Get just in her heart. 540) vahumAyA to sijjai the mother of the newly married girl is delighted. (circular) tooth-marks. Cf. q, st. 31. azafarafagifaqtafazso thighs revealed (framfaerer)[because the saree is lifted up (4) by the wind. Cf. st. 539. fagra << -just as the (circular) lid of a (buried) treasure (discovered by chance) 11 by the seen on her

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(216) makes a person happy (because of the valuable jewelry and ornaments he hopes to get). The mother of a newly married girl is over-joyed at the sight of the tooth-bites. on the thighs of her daughter made by her husband because of his excessively doting love for her. Cf. Kumarasambhava 8, 12. 541) DahiUNa (gerund) =descends to the river. agafe loping) the blades or clumps of grass river-bank, fafe river). having burnt down. samavisamalaMghaNuvvAo= fatigued by moving through (jumping across) even and uneven places (i.e. planes and high and low lands).g with the help of (i. e. catching hold of, envehanging (or dangling) from the slopes of the as if it were thirsty (and wanted to drink the water in the = 542) mUDha hi Oh my foolish heart ! annaM pi kipi pAvihisi= you will have to suffer even some other (worse) [thing or sorrow (i. e. even death). #faaP do not grieve (a) (or despair) because of the present minor sorrow (of separation from your beloved ). parAhINajaNaM mahaMta Oh you who are longing for a person dependent on (or attached to) another (man or woman). For H how much is this (present sorrow of separation) for you? The speaker of the stanza may be a man or woman separated from his or her beloved who is attached to some other person. = see H. 4, 192. geffer = qi = she see st. 543) surU pAMsula ( voc. sing) ( voc. sing) = Oh you libertine (i. e. licentious man) !ft at far, to whom you are an object of hatred (i. e. she who hates you). For as = 213, 215. sAvi ( tujjha ) ahiyayaraM (adv. ) vallahA hoi even she is extremely dear (to you. fgg she does not trust her wicked heart (to entertain hatred for you, as her heart is full of love for you). The idea is that hating you is the only way of winning your love. But as her heart is full of love for you she cannot trust that her heart will ever be able to hate you and thereby to win your love. = = 544) Ama - Yes of course! See st. 419 guNa va sohiro shining with (i. e. famous for) her good qualities and her beauty. ar we (i. c. I). one frg ert er afcent if every body (like myself) is not similar to her. f = should that person die (i. e. has that person no right to live and aspire to your love and must therefore die) ? = 545) gharassa = == in the house (gen. used for loc). daily and occasional use for the family) is there and mahilAo fg: real (or ideal) housewives. those who do not have such a perception) are the ruin also mean "what is good (i. e, beneficial) and what is bad (i. e. harmful) (for the household)". what (i. c. what things of what is not there. ruifer know. z aer #gen = others (i. e. and decay of men. can

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(217) 546) TATA Tangan = this is the way ( manner, behaviour ) of good house-wives. &fa gfz 3910HT = meeting (i. e. responding to) reproaches (or taunts) with gentle smiles. qoyurth faftunang = meeting offensive (or annoying) remarks (a faqautfa) with courtesy (or polite service). For 3TUTT = 39717 see st. 534. stafz TE = meeting bickerings with (silentj tears. U (d.) = 95. See st. 296. 392. In the first three quarters the constructions are elliptical and some word like svIkaraNIyAH or svIkaraNIyAni has to be supplied as predicate in each case. 547) 36107 = 369519: = speaking, talking or exchange of words. At for 3 = well may one not exchange words (of greeting) with another (i. e. with me, a woman). 79T 13Tfaca fa 150 = thinking that it would be disapproved (or resented ) by people. samuhAvaDie verie vi = even on an enemy appearing in front of one. diddhi na pADei = does not turn even a glance (on). According to B thc stanza is addressed by a married woman to her estranged paramour who is going away from her without even casting a glance at her, let alone exchanging words of greeting with her. 548) FT TUT35 = whoever becomes emaciated in her body. Cf. st. 28, 61, 238. TF #TOTO an gat = na Ta= because of you. qagfa hal= you are asking me with a smile (about the cause of my emaciation), (although you know the cause, namely my separation from you during your absence on a long journey). aha maha gimhe payaI = this (aha - tat) is my normal condition in summer. For EUR = al see st. 21, 32, 240 etc. and H. 3, 87. f (gerund) = having said thus. The woman uttering the stanza is angrily retorting to her lover when he asked her about the cause of her physical emaciation, expecting that she would mention, as the cause, her separation from him during his absence. But she angrily says that her emaciation is the result of the summer season (and not of her separation from him ). Though she says so angrily, she begins to shed tears, because she knows that her emaciation is really due to her separation from him. Cf. Amarnsataka st. 45. 549) argufquant (B.C.) = whose beloved is entirely devoted to him, and submissive to his wishes. T = gare = lucky, blessed. fazfgott = fqrafeart = forsaken by his dear wife (or who has lost his wife because of her death or abduction). For shortening of ar into y see H. 1, 4.2747931 a = is certainly unfortunate. 550) kiM kisAyasi (denom. verb from kisa=kRza)=why do you become emaciated? ikkamikkassa fas cafa= why do you get angry with each and every person? For.gq#f### see st. 418. faeiava forf = the course (or path ) of love which is full of contradictions.fi f a = * The Talfa = who is able to stop it (i. e, cure its nature by removing the contradictions) ? For # = ra see H. 4, 218. The phrase farandi form is difficult.

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(218) It is not clear from the stanza itself and from B's obscure remarks how exactly the path of love is full of contradictions. Perhaps fa aut means "not agreeing with one's expectations as it is full of unforeseen difficulties when one expects it to be smooth". Hence it is no use weeping or being emaciated or getting angry with all and sundry. One should take it easy and face the situation calmly and with courage. 551) AT THETUT = that rural splendour (or grandeur). For Fiqat = re see H. 1, 15. arguuj = our (i. e. my) youthful age. TOTT fac o people speak of these things as an anecdote (i. e. hearsay account of a bygone event), legend or myth. apr fo di afunt = and we (i. e. I) too listen to that (quietly, without contradicting it, because they are saying only the truth). Cf. st. 178. The stanza is uttered by a woman who has outlived her youthful age, surroundings and admirers and she agrees with what people say about her. 552) agoTIETETT (B. C. )= whose cheeks were wet with tears and lower lip was throbbing (with anger). faseget = who was smiling in a perplexed manner (with embarrassment). foi faftus (impers. constr.)=why do ( or should ) I get angry (with my lover or consort, because of his lapses)? TETTI FTF (loc. abs.) = when his love for me is no longer a reality, but has got be proclaimed by him on oath. 553) auuTaTTHET (B. C.) = whose face was anointed with coloured ghee (i. e. who was unclean and unapproachable because of menses). See st. 20, 273, 483. ## TUTO at (et) = who used to kiss me eagerly (or passionately). For * = F (me) see H. 2, 107. T HAT fo = even when I am adorned with ornaments (after the menses). 2 10EUR (denom. verb) = is lazy (or unwilling, lukewarm) even in touching my body (as he no longer has any attraction for me). 554) HTEYT (voc, sing) = Oh mother-in-law ! ffaeignift (B. C.) = whose body is densely (i. e. completely) covered (araa) (with her garment). 7 qfefTe = do not avoid (i. e. reject) her. ToeTaCO3=9=910707744 =both the upper and lower garments on the body. avaNijjai ccaya = are necessarily removed. For pacchANa = pracchAdana [ like TTTT (st. 184) =g1917 ] cf. H. 1, 271. TaffH = at the time of carnal enjoyment. Cf. Karpuramanjari, II. 28. 555) = at the end of (or after) every quarrel ( between a man and his wife). TAHT = commencements (bouts or rounds) of carnal enjoyment. qui hangfa = are ever new (i. e. yield ever new joy, because of the intensification of passion due to mutual understanding). Arofafor =Oh haughty girl! See st. 218, 305. TE=prolonged and frequent sulkiness. The fqFH fauths = destroys (even ) intense (ardent ) love (between husband and wife).

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(219) 556) intoxicated by jealous anger. far (adv.) without argerfor by not meeting him (i. e. by avoiding my lover). For a fagifs = fagfe poDhavAeNa by making arrogant (or defiant) remarks. = = how to say pleasing (flattering) words. , used as an expletive. See 557) aNuUlaM vattuM H. 2, 217. care how to lavish excessive love, how to make a show of excesaivallahaM dAuM sive love. The adjective (= dear) is used here in the sense of an abstract noun glove). gufgat (abl. sing.) = from you. = = = = 558) rAmeu rameu ramayatu let (her alone) make love (with you). is lengthened for metre, like a in st. 556. See st. 58. qfsage=qfozefafter one who is well-known for ha his (supposed) cleverness, one who considers himself to be very clever (af). <Page #249
(220) feudo not get frightened in your own house. For FT=ft see H. 4, 53. quang cafta = remembering (i. e. thinking) that you are sojourning in the house of another woman ( than your own wife). For HT = FAT see H. 4, 74. The stanza is ironically addressed by a woman to her own husband who is in the habit of generally sleeping his nights with women other than his own wife. dos 562) atsaa = coa = vicious, ferocious dog. als is explained by B as the name of the dog. It can also stand for a = 456 = 92 = old. fran = fan = Ha = dead. Le HE TUTTIT = the mother-in-law intoxicated by drinking wine (purchased by, or presented to, her by some one) for the festival. See st. 238 and 621, where he means a sweet dish offered as a present on a festive occasion. AfAEATOT foi atfed = the wooden barricade of the compound wall or fence) broken by a tresspassing buffalo. phaliyaM = phalikAm =a wooden plank used as a barricade at the entrance of the compound wall (or fence). & afH TH= who will inform (or tell) him (i. e. my paramour) (about all this) (so that he would come to meet me at night without any risk or difficulty)? 563) A THUET = (K. C.) fazotat = their frightened and greedy glances. Tevfa=send, i.e. turn or direct or cast. 9*750T (B.C.) = 949-(= 2-) qfat =( abducted ) wife of the mighty hero. quae = FatCAST = at the region of her breasts. affefaeuffe75 = as at a treasure-jar guarded by a snake. 3fe = af = snake. Po za > Off on > F5H ca, the final fa being changed to # arbitrarily according to H. 4, 329 and 447; or it may be regarded as a case of deinflection, cf. st. 24, 155, 192, 352. Buried treasure-troughs are believed to be guarded by snakes. 564) AmazgatfogTOTOT (B.C.) = whose face has been raised up forcibly (Ta = T ) (by her dear consort) after seizing her tresses ( #777 adv. ). cat 53 = small quantities of wine. For at = a = F = 39 see H. 2, 125. fra fagout = offered by her dear consort directly from his mouth. tata a = as if it were a medicine against her anger. Cf. st. 218. 565) T13151 togtfe afefafot = pressed (nudged) by the beautiful lady in the form of the rainy season with the breasts in the form of the clouds [T ET =(1) breasts, (2) clouds ]. T TTTTTTHET 3PTIS TE = (the Vindhya mountain) has its limbs adorned with horripilation in the form of the new grass-shoots. 566) 318 = of course, certainly. See st. 419, 544. a = the line or cluster of trees is dense. FEST ott = the water fowls (aquatic birds) are garrulous. faft = cool (and refreshing). Taip = tata: = COT: . fa 3 TOT = some unique, (peculiar) good qualities (aot shared by other rivers). The unque qualities of the river Reva are perhaps its depth, limpidity and holiness.

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(221) == 567) ravaNAyarassa sAhemi I shall tell (or complain) to the ocean (who is your consort) (about the harm that you have done to me). veDisalayAhatillamailiyA = uefousifrewaferwurger (B.C.) = who has soiled (i. e. damaged) (with the mud left behind by your flood) the reed-bower near your bank(where I always meet my lover secretly by previous appoinment). For afse = aareed, see H. 1, 46, 207. fe aMta + illa, see H. 2, samIpa illa is a secondary suffix meaning " existing ". The words mailiya and are used here out of their proper places as is frequently done in the case of compounds in Prakrit. gefur (B. C.) = setting aside all courtesy (or consideration) (for me). 163. aMta aifa = 568)ga (imper. 2nd pers. plu.) =3 come on. imIe~ thaNae niyacchaha = look at the breasts of this (young) woman. qfqqq$?lge!! = resembling (i. e. having the appearance and gloss of) ripe Bilva fruits. lofty, high, protruding. fg a fa = are not contained in her bosom [. c. are popping out of her bosom (hRdave bakSasi ) ]. sappurisamaNI-like the desires (or ambitions) of a great man (which are too many and too big to be contained in his heart or mind). e. 113 569) kharapavaNagalatthallaNa = kharapavanagalahastana the act of being pushed (or driven) by a strong wind (gale). galatthallaNa galahastana = pushing some one by seizing the back-side of his neck. girikUDAvaDaNa crashing on (colliding with the mountain-peak. bhinnadehassa kAlanehassa feri the heart of the dark (water-laden) cloud whose body is shattered (because of these two things). fasser (irregular instr. sing. of faer )= because of (i. e. under the guise of) the vibrant lightning-flash. For fazer vidyut 800 H.2, 173. ghukkujuedda dhukadhukAyate (as it were) palpitates (throbs). See Vajja, note on st. 445 (p. 497). see = = = = = =on (i. e. from) the lightning 570) suracAvakoTibhinna = split up by the pointed tip (koTi) of the rain bow. saviyaNaM kaMdaMtassa howling with pain. For viyaNA = vedanA see H. I, 146. mehamahisassa uyare the belly of the buffalo in the form of the cloud aMtaM va palaMbiyA vijjU hangs down like the entrail or intestine (of the cloud-buffalo). 571) vicallA = AvignAH, udvignAH, vyAkulAH alarmed, frightened. aufgef of the mango tree. gef= hastabhallIm a javelia held in the hand (by Cupid). lohiuppaMkarAviyaM lohita ( rudhira) samUharaJjitAm tinged ( reddened) with a mass of blood (of his victims, i. c, wayfarers already killed by Cupid). = on the top = (d) samUha mass or cluster. For i = see. H. 4, 49. = 572) jeNeva = yena eva only because of which purisA pavAsagaliyA ( hoMti) (i. e. fond) of undertaking (long) journeys. et fafa (fert) ara men are proud fa = so long as two or three (women) do not (actually) die (because of separation ). For at and fafar see H. 3, 119 and 121. a fazer af till then separations (from their husbands

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(222) going away on long journeys) will not stop or end. The idea is that women themselves are to blame if they are not able to stop their consorts from going away on long journeys. 573) atau = Oh young man la=t =I pray to you. Te fadau = enough of further delay. T ag = h sifaris = she will continue to live [i. e. her life will be saved (by your sight) ). The y before #t is used as an expletive ( for metre ). Weber reads are for TAT 574) 20027hfaq = (1) (picture) devoid of the use (F= ## = FT) of colours, i. e, an out-line picture ; (2) (Cupid) devoid of the considerations of caste (i. e, social status). fartyH = (1) 1977 = picture ; (2) 177 # = the mind-born god (i. e. feeling) of love. garg = this is its nature (i. e. speciality, advantage). f = ya = namely that. gADhaM avagUDho= tightly or closely embraced. nimisaM pi = even for a mement. na muccai = na pote = is not released i. e. separated. 575) fanefaca (B. C.) = whose ligaments (i. e. overlapping petals) are still unseparated. of Sathi = tip (or apex) of the bud. CATHOu tfcot = greedy for drinking the first out-pouring (effusion) of its nectar (juice). Effe TOT = gaofaa T aifa = does not know how to unfold the bud (i. e. does not have the patience to wait till the petals the bud become separated from one another by themselves). For Joao = gece see H. 4, 223. aug = augufa = bites off or nibbles (and damages the bud ). Cf. st. 440. Contrast st. 580. 576) fraacfe = (voc. sing.) =Oh my dear friend ! ACHE= = on the slope of the river bank. T = Vanjula plants. STUTTTTTT=YUT (B. C.) = whose clusters (of flowers (formerly) broke under the burden of bees perching (ta) on them. 750T TUTTI GITT = they have become in the course of time mere stumps (or stubs). Cf. st. 178. 578) augtu = qaruto = CaCe = in the forest region. afatita Tagi faqatfag =kindled by the masses of flames (ammifs) of the non-stop spreading fire. Ha&fut= the foolish (simple-minded or ignorant) deer. f uaui fa *f*5= thinking it to be a forest of Kimsuka trees (covered with red flowers). Cf. st. 478. 578) niyaNa sippaM =(my) adoritness in carnal enjoyment. taha sAriyAe~ ullAviyaM = was blurted out in such a faithful manner by the starling. Gefag is caus.p.p.p. used in non-causal sense (3efau). F TE97377 = in the presence of our (i. e. my) elders. Daca = at ale (accus. of time) = at that time. ATT =#13 = #1: = Oh mother! 7 orforact fire 14 = we (i. e. 1) did not know where we (i. e. I)should go (because of a sense of shame). Cf. Amarusataka st. 17. Cf. also st. 579. The "adroitness in carnal enjoyment" can refer only to the unrestrained confidential remarks and other sounds made by the

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(223) woman duriug sexual intercourse, as the Sarika bird (starling) can imitate only spoken words as is clear from st. 579. The Sarika is often mentioned in Indian literature as divulging the remarks and (sounds) made by lovers etc. in strict privacy. 579) #1541 = 1541 (voc, sing.) = Oh mother ! 3 is lenthened for metre. Tafsu avis = take away (from my bed-room ) the Sarika bird in the cage. Tatifeat= from the bed-room where I have carnal enjoyment with my consort afsifqug = confidential (uninhibited) remarks made by us (during carnal enjoyment). 9966 (denom. verb.) = reveals, divulges. Cf. st. 578. 580) afgust (B,C.) = whose mind is concentrated on (the Jasmine-bud), single-minded, thinking of nothing else. Turo = sedulously, carefully. A # = guards, caresses gently, the Jasmine-bud. ofte foa = as if it were his own life. For oro = offaa see st. 193 and H. 1, 271. a furet... Fogg = resembling the slightly protruding pointed tip of a panther's tooth. afa = arep = a panther or tiger. atat - T = tooth. See H. 2, 139. Compare st. 439. Contrast st. 440, 575. 581) paccaggunvilladalallasaMta = gushing out (ullasaMta) from the recently opened petals. paccaggaM = TITAE (adv.) = newly, recently. #fas = godt = ge=gafocs = unfolded, opened. It is an example of a radical form used as a past participle. It can also be regarded as a case of a radical form used as a present participle (faqaa). Cf. fauo = fausa, st. 448. HriafTHJEET = pleasing or delightful (to the bee) because of the fragrance of the nectar (or juice) (in the flowers of the Kunda plant). a afy i A37 63 = there is nothing that the bee does not wish to do (i, e. the bee will not refrain from lavishlng all kinds of endearments on the Kunda plant, such as kissing, licking and smelling the flowers of the Kunda plant). It would be better to read for instead of kUdalaiyAe~, in consonance with the use of the word dala. f. st. 440 (mAlaImaulaM) and st. 575 (STH). The stanza suggests the gentle endearments lavished by a consider ate lover on his beloved. 582) 4 orforat = we (i. e. I) do not know. fa TEHT = some extraordinary (special) good qualities. Here too, as in st. 581, it is desirable to read #satg instead of go. 5419. affassuts = afastad = is approached or resorted to ( by the bees ). For afect = to approach, see st. 317 and 630. fe fa 98 = to drink or devour just with their eyes and not to suck its nectar with their mouths). According to B the stauza suggests how young men are much more interested in feasting their eyes on the excep tional bcauty of a young damsel than in caressing or cuddling her. 583) arafatte UT (B. C.) =whose thighs are trembling slightly because of excitement and fatigue). #3fsu (B.C.) = whose eyes are closed ( because of excessive joy ). fons

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(224) fag (B.C.) whose tresses are dangling (because of the brisk movements of the hips up and down, to and fro, and sideways). gfag frang in the case of women performing inverted coitus. t (B.C.) whose weapons are in perfect fighting trim and ready for action (to subjugate and tame their male partners). Cf. st. 54, 141, 406. Cf. also Srigara ataka, 46. dses not please you, is not liked by you. 584) na te suhAyai suhayai (denom. verb from suha. with lengthened for metre). ha that which is in my hands (not to do). ahavaM jaMna suhAmi (but) if I myself do not please you (i. e. if I myself am disliked or hated by you) suhAmi suhaAmi with huA contracted into hA for metre taM ki mamAyataM is it in my hands (to remedy it) 7 Cf. st. 522. = 585) tiyasehi~ sAu cciya na pAvio the gods have not at all ed) the taste. piyayamAhararasassa = of the nectar ( rasa extremely dear beloved. T and therefore. samuddhariyaM was extracted (by churning it). = = = = 586) gahavaissa ghyA the daughter of the householder (i. e. of the farmer). % forr alone. mahilattaNaM the status (or distinction) of being a (beautiful) woman. let her possess that status (i. c. we gladly concede that status to her). = devIkao afts by whom all the people in the village have been transformed into gods. devIkao is a fer formation in the sense of total transformation (abhUtatadbhAva) aNimisaNa (B.C.)possessing unwinking eyes (i. e. staring at her in a winkless manner). The gods also are supposed to have winkless (i. e. never closing) eyes. (f) obtained (i.e. experiencamRta) of the lower lip of my (abl. sing.) from the ocean. = the faces of hostile people. E HEMI 587) jaM = yat yadi = if . paIvANaM muhaM (1) pradIpAnAM mukham the faces of lamps (i. e. the tops of the wicks of lamps); (2) saturat ge liyANa vitathA snehalAlitAnAm api (1) though fondled (i. e. profusely fed) with oil; (2) though extremely fondled with affection. gaffer sarvakAryeSu avAhUyA nAm (1) though made privy to all undertakings (or tasks, carried out at night); (2) thongh taken into confidence in all undertakings. bAhirista bAhira isla (pleonastic + suffix added according to H. 2, 163, 164) kasaNaM hoi = kRSNaM bhavati = = (1) becomes darkened (because of the accumlation of soot ); (2) becomes darkened (because of malice). f - f what can (or need )be said (about hostile people, bhaNyate if the situation is as described in the stanza in the case of lamps)? The stanza does not contain any factual and cogent logical reasoning, but only a semblance of reasoning based on the use of punned words and phrases. = T = eget mat = 588) The stanza bearing this number and the stanzas bearing the numbers 596 and 597 are missing in both the BORI and Ahmedabad manuscripts of the Gahakosa with Bhuvanapala's commentary. See Weber, Indische Studien, Vol. 16 (1883), p. 200.

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(225) 589) F E = why are you saying to me? afafeg = geta : =" he will be seen (by you) (i. e. you will see or meet him again)". affeg is fut. pass. 3rd pers. sing. from daza = to see. jiyaMtehiM (masc. instr. plu. )= jIvadabhiH . It would be better to read jiyaMtIe (fem. instr. sing)= facut = "(by you) if you continue to live" (as done by Weber). Flat Cat = this is the voice of business (i. e. of cool, calculating pragmatism). FAUTEHTII fazy at i =it is not the way of (emotion-based) love. The sranza is uttered by a woman who thinks that there is no possibility of her husband coming back to her though her female friends advise her to continue to live in the hope that he would come back some time and not to end her life in despair. 590) T70731=###:= the lonely male deer. For 57 see H. 2, 165. aaTag = ET HIT (B)=the tame female deer. Perhaps alfare stands for fast =a female deer with yellowish spots on her body, similar to those of a leopard (af). TOTEUTT full of intense longing (i. e. love). Te gift = was fondled (or cuddled) so affectionately. piyajAyassa (B.C.) vAhassa hatthAo- from the hand of the huntsman who loved (i. e. was very fond of) his wife. The bow dropped down from the huntsman's hand because on seeing the female deer fondling her mate, the huntsman was reminded of the the endearments lavished on him by his own wife. Cf. Raghuvamsa 9, 67. The sense "tame female deer" for alfquas given by B has no relevance to the huntsman's presence in a forest for game. The sense " spotted female deer" is therefore to be preferred. HET = 591) fafarat = afga: = thirsty. P UT = Fofocar (gerund) = thinking (thus). the couple of the male and female deer. fguro = out of mutual affection. 592) geef Terin such a large village (i.e. in this village abounding in so many people). fet 7 953= fer (aq ) 7 Tafa = alms do not fall in your begging bowl (i.e. are not obtained by you). Hofe= why do you complain (thus)? A t affRz = Oh monk (or pious men), who are cutting the leaves and branches of the) Karasja tree (which serves as a quiet trysting place for women like me to meet their paramours)! # gfru = TG H ITU (B.) = I am surprised (to find that you continue to live, when for your sinful act of cutting the Karanja branches and leaves, you should have been punished with death which you richly deserve for your wicked act. Why should you complain about not getting any alms in this village ? ) Cf. st. 367, 368. Here, as also in st. 367, it is not clear why the monk was in the habit of cutting the Karanja branches and leaves. 593) info = (voc. sing.) = Oh young damsel with a darkish complexion ! 5 TUTU= through the power of your eyes. T5 = bright, sparkling, flashing. qua = turning or

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(226) slanting sideways, i. e. oblique. faqerit = atetit (B. C.) = sharp-pointed. piercing (the hearts of young men). fart = fata = war. The idea is that Cupid wishes to wage a fresh war with Siva, using this time your captivating glances as a sure, infallible weapon to vanquish Siva, which he could not formerly do by employing his usual con ventional arrows of flowers. 594) 973ffroute = Fraterrorf (K. C.)= standing up after a total bath from head to foot. sAmalaMgI (B.C.)=the woman having a darkish complexion. pattaNiyaMbapphaMsA (B.C.) cihurA =tresses which have obtained (and are enjoying) the (pleasure and privilege of) contact with her hips (as they are hanging down straight after the bath). gafaegfee Tafa= are weeping with (i. e. under the guise of) water - drops trickling from them. To = as if because of the fear of being tied up again in the form of a braid (and of being deprived of that pleasure). 595) See Vajja, 533 and notes on the same, pp. 525-526. 596) (597) Both these stanzas are missing in the BORI and Ahmedabad Manuscripts, as stated already in the note on st. 588. 598) # H T =hovers over lotuses (F2 = ). Taf aftag = fragata =pressess, squeezes or crushes the Saptala (=Navamalika) (i. e. Jasmine plant). Ang 7 248 = does not leave the Malati plant (without kissing and sucking it). THEFT ATAU = the inconstancy (or fickleness) of the accursed bee. E T=TTEST = the Patala plant (or flowers ). 7 = takes away, removes, cures. The flowers of the Patala plant would appear to be more attractive, by their fragrance and abundance of nectar than lotuses, than Saptala flowers and Malati flowers. The stanza suggests the inconstancy of a man who has had sexual relations with serveral women, but is finally monopolised by a woman surpassing others in her sexual appeal. 599) TTTT... KAT (B. C.) = whose blue (or dark) coloured bodice is fastened (foto = ) so as to leave an opening (or uncovered portion of the bosom) (#48=377TST) two fingers wide, and affording a clear view (of the central part of the bosom). This is how B explains the word afane (= having a speciality, namely, exposing the central part of the bosom between the two breasts). afane can also be connected with to [particularly or deeply dark-coloured (bodice)]. Togfafourut = a sample or specimen [ of the loveliness of the bosom (afvuur = afur = a sample or a specimen of a thing to be sold fasuarastat)]. For a= i= to show, see H. 4, 32. 600) TTTT... # (B. C., voc. sing.) 93 = Oh Banian tree who have (under the guise

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(227) of your dense shade) enchained (interned, furuf y = farfaa) in the central villageyard, the dark half of a month! TAULETTI THT = the village (i. e. villagers) clinging to you (i. e. residing around you ) over a long distance on all sides, with you at the centre. afereaferet t (B. C.) fa = even though it has a diligent ( vigilant, afects and intolerant ( strict or harsh, qfet man as its (i, e. their ) chief (1637 = wifi = village - chief). 7 sfat = 7 saa = is (i. e. are ) not worried ( disturbed ) [ by the fear of divulgement of its (i. e. their ) secret amours under your dense shade and can confidently go ahead with them).

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(228) Seventh Cento 601) afatg987 = (jets of water) pouring down incessantly (from the sky). TUTSUTTTTafsu = Tuuta (= ) T TTrafca = consisting in (i. e, in the form of) streams of swiftly descending jets of water. Burada = arasv = binding ropes. Afa fa@fas asamattho meho= the cloud unable to lift up the earth. rasaiva = is howling as it were. The water-jets starting from the clouds reach down as far as the surface of the earth. The cloud is here represented as trying to lift up the earth with the ropes in the form of the water-jets. But as it is unable to lift up the earth, it is fancied as howling (or groaning) under the guise of the sounds of thunder. Cf. Sisupalavadha, 11, 64. 602) AfghaTTON = clinging (a = 37735TT = 3 ) to the shoulders of the buffalo. The a in avalagya is dropped for metre. gholai = dhurNati = hovers. See H. 4, 117. siMgAhayaM = struck by the horns (of the buffalo). fafafura = making a humming (or buzzing) sound. Fra = swarm of gnats (or flies). TIETOTEFTTHEHE = noisy like the clanging sound of a lute struck (or plucked) (by the fingers of the player). 603) 43=TAF:=dog. EfTET (B. C.) = whose tail (OET) is coiled up (while sleeping). fay = quite comfortably. #at= great = opfTETAA: = unmoistened (by rain). The s in aimmato is lengthened to compensate for the chnge of ci into maM. niggayassa var3ayassa (gen. abs. used in the sense of loc. abs. ) = when the young boy (appointed to tend the sacred fire) had gone out. jaNaraMjaNaggihutte (B.C.) gharammi = in the house where the sacred fire was worshipped (with oblations) for the entertainment of people. The exact sense of these words is not clear. Fire-worship is a religious rite and not meant for the entertainment of people. The commentary does not help. 604) at May = do not put trust in (i. e. do not trust ) ( people who indulge in the fiattery of others for their selfish ends). caDayArao = given to flattery. saIveho = sUcIvedhaH = perforation (of the ear-lobe) with a needle. fof 555 TATT = is it acknowledged as evidence (or proof) (of a person's being a Hindu)? The exact sense and relevance of the second half of the stanza is not clear. The commentary does do throw any light on them. 605) ETTITIET (B. C.) = whose beaks (@=757) are being washed down by streams of rain-water. T a is pres. pass. part. from qe = to wash or cleanse. See H. 4, 249. wfaqqua (B. C.) = whose wings are hanging down (by the weight of rain-water). fagfaunat (B. C.) = whose necks are curved or (bent down ) ( in order to shelter their eyes and noses from the rain-water). agaate on the encircling hedges (of houses or gardens). See st. 166. sifat o ateifa = look as if they are impaled. Cf. st. 66.

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(229) 606) FETTU estar aforgat = receiving on her head the rain-water dripping (from the leaky roof of her house). ucchovayaM (desi word) = paTalodaka (commentary). rakkhe = rakSati = shields, shelters. Bafa fcyuta = 7: a ff*TATTE = |being drenched by her own tears [ due to separation from her dead (?) consort ). afouta is pres. pass. part. from the denom. root gets = to drench. Cf. sfeestg in st. 687. 607) uppikkhAgayapiyayamahatthe hatthaM pasAritI = stretching your hand towards the hand of your dear lover, conjured up by imagination (as standing in front of you). For efqaaft see st. 519. awgur (B. C., voc. sing.) = Oh absent-(or vacant-) minded one! oficfff CaffH = on the way muddy ( because of the rains (FETE)]. fafefefe = you will fall down. 608) grafirat (p. p. p. from the denom. root 379017 = to place on the ( lap ) = placed (or seated) on his lap. fEATT #afutia (B.C.) # T = her feet whose extremeties (i.e. soles ) were soiled with mud (sticking to them ) during her movement (3&arto) from her father's house to his residence. 3 for ag = her profuse perspiration it. self (due to her first-ever contact with her husband's body) washes (her feet). Ariftgut fau= like a servant standing near in constant attendance. 609) fuerat = fagtat: = Fa: = swarms ( of bees ). HETHEUT = bees maddened with joy. fustofgut = sitting (poised) motionless (on the lotus-petals). utH TUIfAET = (almost) completely dispersed (routed) (darkness). offs sa = fff (nom. plu.) 7 = like (lingering) knots (i. e. pockets) (of darkness). 610) arata atato ( loc. abs.) = when the rainy season has gone away (i. e. ended). For arah = rainy season, see st. 177. 3MTTHET (B. C.) = (1) accompained by highsoaring clouds; (2) characterised by high (lofty) breasts in the case of the youthful age of a woman). par3hamikkakAsakusumaM = the first solitary Kasa flower. dIsai - dazyate = makes its appearance, becomes visible. qfou a = like a patch of grey hair (on the head or the earth). 611) Hatrs (abla. sing.) = from the hollow (of yonder tree). qafat =rushed out (swiftly, aftu ). For the parrot, see note on st. 211. = in the autumn. offrant aq = like a person suffering from fever. fed faca = vomits bile mixed with blood. Cf. st. 77. 612) Fagarferiate = (1) (waters in the lakes) fragrant because of the lotuses ( 7 d.); (2) (faces or mouths) fragrant like lotuses. 9318= (1) (K. C.) sparkling and clear (76=Fate); (2) (B.C.)having sparkling eyes (37958 = 3te = F2 ). Hoer faifa = greedily drink (or suck).

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( 230 ) 613) tart = TET: = streets in the villages). affaqatalat =still wet ( 7 = a ) in. side (or below the surface). 3af qaaTacT#1317 (B. C.) = having dried up (TaTT) mud on the surface. For 93914 ( = fal, 76#) see note on st. 58. HafFH FTOT (loc. abs.) =when people walk on them again and again. For FFF see note on st. 464. anaf 5 = breathe out (or sigh) as it were (when they extrude wet mud through their clefts). 614) fetale = white (waterless) clouds (in autumn). US (B.C.)=which have already) discharged their water. faufera q47 = appearing like hills of white (feat) rocksalt (FTA). austrat = resembling heaps of washed (at) cotton ( ). Trattofa = gefra, gouf = become dried up. For aga see H. 4, 11. 615) 4FH TE19g = the surface of the village-street. HA TOTOOF (B.C.) = having scanty (dried up) mud in its middle portion. 3tah = 3971 regt: = 3994at: = on both its sides ( margins). For a = 39, see H. 2, 138. Tafa (B.C.) = having wet mnd. For fac see st. 263, 441. strat = has become, i. e, looks. atrauta = etada TT = like the partition-line (of hair) (on the head of a woman). 616) for (voc. sing.) = Forfoz = Oh Kusmandi creeper ! See H. 1, 124. F = Tu = since. Tag af = (1) you are encroaching on (jumping over to, spreading out to ) another hedge (ag = afa) than your own; (2) you are approaching another woman's husband (qas = gefa) than your own. factas FeaTUT = (1) forsaking ( leaving off) your own hedge; (2) forsaking your own husband. Ta fq=(1) though it (your hedge) is quite able to bear your burden; (2) though he (your husband) is capable of supporting you and taking care of you). u ri at = today or tomorrow (i. e, very soon). fefefp = (1) you will blossom; (2) you will be exposed (or unmasked), your secret love-affair will be divulged. 217) IT = 1045 = an agent of death, i. e. a slaughterer (TTTIT). faz pat (pres. pass. part.) == #TAT: = being taken (to the slaughter-house). a faitf = t fsta: = with their bellowing sounds. Cf. H. 4, 98-99. facafah = last. See st. 112. afogo. ggfe = with their ( last) glances turned (towards their families ). 315 yifa ata s = as if take leave of their families. 618) fata = incredulous (or ignorant) about the real situation, qarutaouifTT GEET = your hands reddish like tender sprouts of coral. fatuatTTT (B.C.) fa = although the reddish mineral colour (of your toilet rouge ) has been already washed off from them. Cf. st. 108. For afar = to believe, see st. 162. The in 3iFT is lengthened for metre. 619) RE AT 9A= first wipe your face. IataTTU ( B.C.) = on which tears ( due to anger )

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(231) are descending, which is soiled with tears. = Oh mother (of a child)! The reading is not very apt in connection with a young married girl. Weber's reading ar gai cia ( = ( = mA enad eva) is preferable. mantu cciya muhamaMDaNaM ti = thinking that anger itself lends adornment to your face. mA kAhii puNo vi let him (i. e. your consort) not do the same thing again, i.e. let him not provoke you to anger again by his unfaithful (objectionable) behaviour. 620) pullaya atyakkarUsaNaM - Oh young man ! = getting angry all of a sudden (commentary), or getting angry constantly (t. e. again and again). See st. 399, 655, becoming propitious (friendly, favourable) in a moment (or suddenly), afforest = adherence to untrue statements (once made). ==ycdalai = excessive mental agony. For ummacchara see st. 138 payaI sfer: nature, 621 ) bhoiNI = svAmitAryA, grAmaNIbhAryA wife of the village-chief. For wit village-chief, see st. 600, and for gf st. 650, 652. EP$? = iaEP$? = sweet cake, pastry. See st. 268. afrafenfer werorg:for fera: pampered (over-fondled) by eating (the pastry). boliye (dei) = vigvacanam ( dadAti ) (makes utterance of i. e. says) the word "fie" (to show his disapproval). For see note on st. 371. = = = 622) mohaNu kaMThaM viuNei redoubles (or intensifies) the longing for sexual enjoyment. garegithe son-in-law who has come ( to his father-in-law's house) in the afternoon. gharaparohaDa gRhapazcAdbhAga the backyard of the house. See st. 252. majjaNamuhalo valayasado gayajAmAuya = = the tinkling, loud (g) sound of ( his newly married wife's ) bangles during her bath. The after-noon is not the usual time for a woman's bath, which is generally taken in the morning, whether it is a normal daily bath or a special bath on the fourth day of the monthly menstrual period. Cf. st. 82. Weber therefore under. stands paraparohDamajjaya in the sense cleansing ( majjaNa = ) of the backyard outhouse", where the newly married girl and her husband are to spend the night together. = = = 623) taI tanvI = the slender damsel. vahai = possesses. chaNapiTTha... dhavale thaNe = ( both ) breasts whitened by fine particles (af) tossed up during the pounding () of (rice) grains for the festival (near at hand). f rAyahaMse vva == looking as if they were (two white) flamingos. gegeten for resting under the shade of her lotus- like face. Cf. st. 401. 624) et sorg for juNNamallassa kacchAbaMdhu cciya the mere girding up of the loins (i. e. the mere tightening up of the belt round the waist) by the old (veteran, seasoned) ( = oft of bRddha ) wrestler. jujjha... mallassa (B. C. ) who has (formerly) smashed (f = broken, defeated) (other) wrestlers by pounding (drubbing) them ( mardana ) with slaps (blows) of his hands (caveDA) in the course of wrestling bouts pulls out (uproots) the hearts of timid wrestlers. = ( jujjha ). bhajjamallahiyavAI == one who ukkhaNai

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( 232 ) can be easily broken (defeated), faint-hearted (= 7). 625) furwoteft (pres. pass. part. ) = being brought (pompously ). TOT ETUTIT = your husband's banner proclaiming his victory (over the rival wrestlers) accompanied by the beating of drums. Afces (voc. sing. ) = Oh victorious wrestler's wife ! f = you are dancing (with joy at your husband's victory). En qrafsruia (loc, abs.) when (as a matter of fact) your misfortune is being revealed ( through the victory of your husband over his opponents). The victory of the champion wrestler over his rivals shows that he abstains from frequent sexual intercourse with his wife (for conserving his stamina) and keeps her sexually hungry because otherwise he could not have vanquished his opponents. Cf, st. 130, 131, 373, 672 and also Vajja, st. 204. 626) Vajja, st. 66. ata = fax = trust, confidence. arguFqfUTTU = intent on exces sive flattery of others (in order to achieve their selfish objects). farafT+37TTE = who turn their faces away (i. e. become indifferent ) as soon as their purpose is served. Cf. st. 628. Dogs also first coax and caress bitches and then turn their bodies and faces in the opposite direction as soon as they have achieved coitus. 627) pautthA - proSitA = starting to go or departing. kaDaDhaMtI = drawing or attracting behind her. maMDalANa richoliM = a pack or crowd of dogs (maMDala). akkhaMDiyasohaggA (B.C.) = whose sexual appeal (attractiveness) is undiminished (unimpaired). 628) TEORI 0737 = the dog who is in the habit of first coaxing and caressing (the bitch on heat). af = 79T = in that manner ( i. e. profusely ). Cf. st. 626. 629) parafrat fq311 = proud because of the abundance of cereals that has resulted (f69a) (due to good, timely rains and his own labours). 775 ISE TE=sings (with) joy) in the autumn nights. afsu... fule (B. C.) = ( autumn nights ) in which the Moon looks white like the (new) grains of rice (alfo=due), unhusked (pounded and polished). 630) kalamagovI-female keeper or warden of the paddy- field. keyArasuttaraMbhaNataMsaTriya Niccalo calaNo = the foot placed obliquely across (aufgu) the water-channel and held motionless (fu ) while blocking ( 59T) the water-channel in the field (TTTH = arrata:). paumAlehaDAlivalae Na ahilijjai = is resorted to by a swarm of bees greedy (AlehaDa) for (tasting the nectar in ) the lotuses. The idea is that the foot of the female paddy-warden resting in the water-channel was beautiful like a lotus and hence the bees were attracted towards it. Cf. st. 317. 631) faut fame = day by day, with every passing day. ariagttage (B. C.) = whose pale

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(233) faee is hung down or drooping. Tafata (B. C.) = whose anxiety (fear ) about the (eventual) termination (or interruption) of her secret meetings with her lover ( a = 0) is growing. UT A = dries up (withers, becomes emaciated) along with the paddy-plants. Cf. st. 8, 367, 592. 632) sarae gose = on a morning in the autumn. tasAradhavale tilacchite = in the sesamum field whitened by hoar-frost. Gott aftuale FERRATT COTT = after seeing a thousand longextending green tracks made by the (intruding) bulls (ar = q). HTC = TTT = safa or faga = becomes enraged or afflicted with grief. For et see. H. 4, 132, 135. 633) status fasca = mourns (feels sorry for) the stems of sesamum plants. Tfaf Rot CETTET (B. C.) = looking withered (1 ) and pale white because of exposure to the Sun's rays. raNNaMduradaMtukkhatta = uprooted by the teeth of the wild rats. ukkhatta = utkRtta uprooted. It may also stand for a = tossed up, uprooted. It may also be a scribal error for ukkhitta ( = utkSipta ) or ukkhiNNa (= utkhAta or utkIrNa ). See st. 327. fagnafy = twisted out of their natural shape. The commentator equates afoy with afaa (=fET > afsu > afsu) = laid low on the soil in an irregular, disorderly condition (obliquely, faep = fach). 634) TETTY = 39817#=39731= the act of collecting and bringing. # g u = pgdaa = vying with another, F = = rivalry, competition. For the possessive suffix 31175 see H. 2, 159. aga = the bottom of the fence (or hedge). afmja = TITATA = rushing or running towards. For t=rot see H. 4, 34. ffequaq3 =engaged in collecting splinters of wood (f#fea = 77168, see st. 82), (for feeding or fuelling the bon-fire kindled to warm themselves on a winter morning or for the spring festival). fe = a young boy. The four words in the gen. plu. form a gen. abs. constr. used in the sense of the loc. abs. Fagt agt og = the bon-fire keeps on burning slowly (i. e. it smoulders without blazing because of the delay in feeding it with splinters). 635) HT AT = do not do so (i. e. do not ignore her). FT fer = give up jesting (i. e. do not look at the matter lightly). fazi porattur = this poor (helpless ) woman is without any cover (to shelter her from the Sun's heat ). gtcut (B. C.) = ATTUT. EITOT (d.) = 1TTUT, TEEC7. Bafer fa = even in the cool shade of your body (while you are standing near her), (or even in the cold season). Of ==qfault = sfaufa = she is perspiring. qort fa gift T = please make shade over her again (by standing near her). For get = gut see H. 1, 249. The real reason why she is perspiring is her nervous exicitement at the close contact of the brother-in-law's body. The woman speaking the stanza wants to convey that she is perspiring because of exposure to the Sun's heat, even in the cool shade of the brother-in-law's body. How much more would she perspire if the brother-in-law moves away from her ? The

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(234) speaker therefore requests him to again stand near her and offer to her the shade of his body. 636) TTT = garment, warm clothing. See st. 184. TUT = sheltered, cosy residence. f m = far trufa farafa = rests, reclines, sleeps. See fa frafes in st. 201. SFETsot (B. C.) = 30ATTATUT = having (naturally ) warm breasts. Cf. st. 184. The stanza contains a subtle reference to inverted coitus (genifua). Cf. st. 138, 141, 224, 239, 352. 637) $A TORTUT = in the case of lotus-beds. zogt = burning, scorching, causing to wither. Cf. st. 641. To = 5T q = in the case of people in general. (573) fawag (K. C.) = (essentially or really) different contrary) natures (of things). GIUTE = understands (i. e. can explain or account for). 638) This stanza and the next two (639 and 640) are missing in the Baroda manuscript (No. 12681 of the Oriental Institute, Baroda) and in the BORI manuscript (No. 385 of 1887-1891) used for the text of the seventh Cento. (641) apcator praat fa = though concealing themselves (i. e. their real nature). afrgfg Fourt = people (i. e. their real natures) are known (revealed) by their actions. 77518= Tut (pres. pass. 3rd pers. sing. from a = = to know or recognise). See H. 4. 252. samatthijjai == samarthyate = is proved or ascertained (to be hot). saroruhANa dAheNa = by its burning (or scorching or withering) effect on lotuses. Cf. st. 637. The winter is well known as the cold season of the year, but it has a scorching effect on lotuses. (642) #F# (EFTET) = who (i. e. which woman) does not have a craving (or keen desire)? For et see st. 404, 473. TEUFTTET = TETET = Tech = for greatness. Tot TETTHETEU = ygfa 9977fta (gen. abs. used in the sense of loc. abs.) = when her husband begins to conciliate her (in an apologetic manner). Tato = 9140 = conciliation. 75 837 Hug ot a fa = if the winter-nights do not destroy her anger (or haughtiness) (and deprive her of the greatness consisting in appeasement by the husband, as there is no need at all for such an appeasement). (643) FEHTTAKET ATT = in the case of a wayfarer whitened (or dusty, hoary) with particles (24 = 7:) of snow. TT =homeless (i. e. journeying abroad, away from his home). T a gfafuoti = perspiring because of his wife's face remembered by him. The idea is that the wayfarer becomes so absorbed in thoughts about his wife as he remembers her face, and perspires so profusely due to nervous excitement, that he does not feel the severe cold of the winter. (644) ET =qfaa = Oh young girl! Testift afroi = after having kindled (or lit up) the fire (in the hearth). faut fait = f* T = why? See st. 69. According to the

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(235) commentator the Na N in kiNo is doubled by H. 2, 97. samosarasi = move away (hastily). te paNayasapaDiyapaDimA (B.C.) (jAlA) phuraMti (the flames of the fire) imaged in your jar-like (i. e. large) breasts, are throbbing (quivering). rffer the flames are not (actually) touching your breasts. (So you need not recede from the fire in fright). (645) e hai Oh girl ghUmaMdhAre = in the midst of the darkness of the smoke. ar front ammata ( pradIpanam abhyuttejanam ) = the stimulation of the fire (by blowing air on it abhuttaNaM = from the mouth). See note on st. 212. gaff (fut. pass. 3rd pers. sing.) will be achieved (or accomplished). faat afgg (loc. abs.) while your brother-in-law is standing near you. muhakamalacuMbaNAhaTa greedy (eager) for kissing your lotus-like face. The idea is that the young girl cannot confidently stimulate the fire with the air from her mouth as she is afraid that her brother-inlaw standing near her would seize the opportunity to kiss her while she blows air on the smouldering fire from her mouth. = pradIpayantI, uttejayantI (646) abhUtI stimulating (the fire by blowing air from the mouth ). See note on ambhUttaNaMtI in st. 212. te kavolammi paDimAgayA jAlA = the flame (of the fire) imaged on your cheek. Cf. st. 644. kaNNalaiyallapallava lalli = the beauty (=) of the moist (r = r) of the moist (www) (i. e. fresh) (reddish) tender leaf placed on the ear (as an ornament). laiya gRhIta placed or laiya can also be equated with lagita = lagna worn. See st. 262. clinging (to). asaifa dhArayati assumes, puts on. = = (647) imaM te sihiNo (agne) abbhUttaNaM - this process of stimulating the fire that you are carrying on. f = let it remain uncompleted (i. e. do not continue it [any longer). The three adjuncts in the first half (qualifying c) are B. C. s. AyabacchaM because of which your eyes have become reddish (due to irritation caused by the smoke). fa because of which tears are which is causing tremor streaming down from your eyes. AbaddhaSaNaharukaMpa (heaving up and down) of your heavy breasts. (648) rasAsAo = = = the taste of the juice (i. e. the sweet delicious juice). = of the excellent sugar-canes (also called f chu guger). suviNaTTha fave completely destroyed (i. e. crushed in the sugar-cane press or crusher ). : how possibly? water (d.) isadRzAnAM tuNavizeSANAm - in the case of a particular variety of reeds looking like sugar-canes. I moSAza hatAza wretched, accursed, miserably unlucky. - = = = = = 649) jaMta == yantra = ikSupIDanayantra = sugar-cane crusher juvvaNa = yauvana = youthful age. najjai= See st. 641. f one and the same, i. e. very similar. cages ofgu (1) =

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( 236 ) impels (prompts) (teaches) the operation of crushing the canes (i. e. sugar-canes); (2) impels or prompts the action (activity, functioning) of the male sexual organ. FETT T = (1) draws (extracts) the sugar-cane juice; (2) extracts the seminal fluid. TH =(1) does not allow people (crusher-operators and juice-processors) to sleep (during the nights); (2) does not allow love-making couples to sleep throughout the nights. this is a meaningless expletive. See H. 2, 217. 650) Fiat(1) operator of the suger-cane crusher. See st. 595. (2) operator of the male sexual machine. 3tig fees = it has been reported to us. VEFTUTOT = by swearing on oath. #=aFIT: = her (i. e. of the village- chief's wife). her fat het = only her voice is sweet or pleasing. fata=in the sexual machine (i. e. in the vaginal cavity or passage) of the village-chief's wife. For sigurt see st. 621. #aft = there is no moisture (because she has now become old and hence devoid of vaginal secretions). Cf. st. 595. For stanzas 649 and 650, cf. Vajja, st. 533-537. 651) naM saMgayasaMbhAvaM (B.C.) =tAM saMgatasvabhAvAm = that woman whose nature is to have intimacy or sexual relations (saMgata maitrI or samAgama) (with the master of any house where she goes to stay even as a guest). ETTEVU fer ff TT UTE = why do you speak of her as a shorttime guest ? 37% SFEESTITUUT = because of the virtue ( i. e. weakness, lewdness ) of our (i. e. my) house-master, i. e. my husband. TU is used here ironically for gaitut (= afor). af EST = ENTET = master of the house, i. e. husband. For the possessive suffixes and the pleonastic suffix (=) see H. 2, 159 and 164. 9 That T GITT = has become the very mistress of the house. 652) f (voc. sing.) = oh painter of pictures ! Court = the proper sequence ( and proportion) of different colours ( to be used for having the correct light and shade effect). Tofaget = the proper sense of perspective (so as to create a three-dimensional illution). neya nivvaDiyA = naiva niSpannA or spaSTIbhUtA = has not at all resulted, i. e. has not become clear or has not at all been achieved by you in your picture. For feqt see H. 4, 62. & fa af fagfe = and still you seek (or want) to draw pictures. Bigfoszffn = on the wall of the residence of) the villagechief's wife. The stanza has an erotic side-meaning which is not given in the commentary. aur = sexual characteristics of the various classes of women as described in Kamasastra. Fafaafa: = the correct poses of the body in sexual intercourse ( TI ). etfirefT C = scratching or rubbing the vaginal wall of the villagechief's wife (who is a lecherous woman). 653) afar ars = the southern breeze ( blowing from the south ( at the beginning of the spring season)]. #TEST qe feu affett = has already begun to move (I. e. blow) over the village-streets. 31 FiTATT ETT = carrying or bringing (along with itself)

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(237) the first leaf (or leaves) of the Asoka trees. HTETET a = as if it were the very first (98 fau) announcement (or proclamation, E# ) of the arrival of the spring season (VIRG = TTgz = 4HFG). See st. 433. 654) 1 hrot = that jealous anger. #7 f t af fagfag (fut. pass. 3rd pers. sing.) =how will (i. e. can) that anger be maintained (kept up, sustained) intact (fat) ? quae = at the sight of the Moon-like face of the dear consort. B T TT DET = which is afraid of (even looking at) the leaf-buds (or flower-buds) of the Asoka trees. fahi (B. C.) = whose interiors are bursting open (blooming or opening from inside out). For ata = ft (to fear), see H. 4, 53. 655) mae kAraNagahio vi mANo = jealous anger though assumed by me for a very good reason (Viz. a real lapse in love by my consort). Ta o Turat = if it receded ( vanished ) without much ado (i. e. without any reason, easily, at once, right away). For #see st. 83, 84, 136. d FIT 953 = let the blame for that descend (fall, rest) on your head. 3759797956 357 = oh, you Asoka tree, who have blossomed all of a sudden (or out of season). See yaa in st. 188 and 377in st. 399. 656) FIE = Put every thing in order, get every thing ready, be prepared (for welcoming the spring season). Ji ate = sound she trumpets. T = arrange (the flowers) (into garlands). fafoeft = decoration, ornamentation. E = Tang=eagerness, keen interest, excitement. Cf. F*c in st. 81. gefaas = king. 657) Ta = 97 = Well-being ? (Are you talking of well-being ?) at a = 5:9 = = How and whence can there be well- being ( for people in love )? Taja3t = the dwarfish (stunted) mango tree. #TU = top, uppermost part. fa fa 370752f = some thing disastrous. C = has come out or has grown. ff fa refers to a spray of mango blossoms, whose sight is unbearable to lovers in separation. Cf. st. 414. The word apurig is used in the neuter gender according to H. 1, 34. 658) qua = burnt down by the forest-fire (in the winter ). Fort fa again grown (or sprouted) (in the spring season). AFTUutefragata ear of a mongoose (ichneumon). = which has = looks like the 659) vammaheNa mahusirIe paMgaraNaM miva dinnaM = Cupid has as it were given to the Goddess of spring a cloak (or mantle) (as a present ). font (CTTO) = (a cloak ) touched by (i. e. worn on his own body.infyt can also be understood to mean " touched by (i. e. covering) the entire) body of the Goddess of spring)". h&CarTo = a cloak of lovely flowers. For cu = ITTUTE see H. 1, 175. 990 = accompanid by (i. e. decorated with new, tender leaves (i.e. embroidered with designs of tender leaves). 5775outoft (B. C.) = with its fragrance spreading (TEOUT = To far and wide.

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(238) 660) kAraNagahi pi mAnaM, sec st. 655. moeDa mocayati loosens, dissipates, banishes. T GGATZA maMjarI this spray of mango-bloosoms. (1) placed on the ear (as an ornament); (2) drawing close to the ear (for whispering words of appeasement). For refer (p. p. active) see H. 4, 54. The newly sprouted mango-blossom is supposed to excite the passion of angry women and make them receptive to the words of appeasement uttered by my female friend (piyasahI). = 661) bajjaM ciya chaNadiyahe just today (or at least today) on the festival-day. frant your dear consort. ehiha will return home (after his long absence on a journey), arrerreeft comforting (or consoling) ( her unhappy daughter-inAsAsaMtI law). af afcquet (B. C.) who turned her face away (in order to conceal paDiyattamuhI her own tears). The mother-in-law sheds tears because she likely to return home on that day (or even at an early date). = knows that her son is not 1 =3 under the 662) #13 (Voc. sing.) Oh (maternal) aunt! gafaeda mAtRSvasaH guise of the farmer's daughter. reguit in the shade of the stunted (dwarfish) mango trec. Cf. a, st. 657. aggrer fra a continuous shower (or stream) vasuhArA = of wealth pours down. surger 4 = (for the benefit of) the village - chief ( grAmaNI) who is well-known (isa vidita) for collecting (saMgaNa saMgrahaNa) fines (from young men arrested and summarily fined, while engaged in unlawful lovemaking with the farmer's daughter under the mango- tree). Erger can also be exauthorised to collect fines from plained as saMgrahaNavat (see H. 2, 159 ) = saMgrahaNAdhikRta offenders. See note on farger in st. 558. Cf. st. 600. = = = 1= = 663) AucchaNovaUhaNa act of embracing (the consort) for bidding good-bye to him (when he is departing on a journey), a parting (or fare-weli ) embrace. efT (B.C.) whose slender arms were withdrawn from his neck (after the parting embrace). bahUe~ valayAi~ pati the bracelets (bangles) of the young girl slip down (from her wristsor arms because of their sudden emaciation due to the impending separation from her consort) pahiyacalaNe on the feet of the intending traveller (i. c. her consort). nilayAI va like binding chains (to prevent him from going away). Cf. st. 151, 497, 528. = 664) jahAhiva Oh leader of the elephant- herd! fet afge avoid (going near) the paddy-field. uDiDavapAsa uDDAviyapAsa (B.C.) in which snares ( pAsa ) have been thrown up (i. e. spread out) (for catching elephants). TOE (B.C.) in which there are (hidden) pits (1) covered (w) with (green) grass. = fgrefsar (B.C.) = in = =

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(239) which there are guards (TTTET) standing hidden ( f a) (to pounce on you). TEHET TEL (T.C. ) = which is pleasing ( or Tera ) only at first sight ( or only on the surface) (TC = ). 665) Tafut #fut = in the case of an elephant who looks grand in the midst of the (Vindhya) forests. Tafahu = the status of the lord of the elephant-herd. qanfo#getfm TIF = because of his craving (greed) for mouthfuls of tender paddy plants (growing on the planes). For sifero = 997 see H. 2, 159 and st. 340, 353 etc. 666) 3TUTTU fagurt = because of crooked (i. e. adverse) fate. quafre Fafe orat zborn in the pre-eminent race (family) (of the divine elephant Airavata). rgfaagt = pure by birth (i. e. possessing excellent pedigree). ago rag=falls into bondage, is fettered. Het =$7: = belonging to the highest class of elephants called Bhadra. 667) g faggi Tute = knows how to guide his herd to safety. fa =T = fright ened. Cf. faze in st. 571. aa = aa = encirclement. Trafanyak = (by) fires started on all the four sides (of the forest). fahreTTER = (and also by ) drums beaten (aaa) in a shrill (dreadful) manner (fach). 658) H1 (B.C.)= whose cheeks look sickly and emaciated. fara 3 (B.C.) =whose ichor (rut) has disappeared (or dried up) (because of old age). TECHN ER= 9a7fFH CAT EH (loc, abs.) = (even) when the last stage or fag end ) of your life has been reached (by you). The use of TFTCATTATUTO ( B.C.) would have been better as it would have agreed with the instrumental case in the other words, and would have avoided the irregular compounding of the predicate patta with the subject dasAvasANeNa. tae dharateNa ( = forcao) = because of your being alive. aurig = the herd has an able guardian (or protector are ) (in you). 669) fa = ta = not at all. a = pains or torments. Fe = in that manner, to that extent. qat = captivity. #ftforfatet = separation from the female elephant (his mate). anfaufa fari = made to turn away because of the cessation ( drying up ) (fata) of his rut. Cf. st. 78 and Mecchakatika I. 12 and Vajja st. 190. 670) 9707 village. 7 faut = has been defended, ( guarded ) ( against the attacking enemy) in such a (valiant) (or effective) manner. aloo fa TrafOTUICOTM=by the villagechief's son, though a mere boy (of tender age). E foag aftut so that his own people (i. e. friends, relatives and followers) are plunged in anxiety (about his safe return home from the battle ). 578 Tue qfequat #5 = and so, that his enemies are apprehensive of their own safety 671) 311g argay troq = make inquiries ( about the availability of deer-skins ) in the

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(240) families of other hunts-men. gear = Tea-affo = skias of antelopes ( spotted deer). BT Tigart = our young huntsman. fugata = does not employ (or operate) his bow against deer (because he is reminded of the eyes of his young wife on seeing a deer. Moreover because of his proud, heroic spirit, he hates to kill innocent deer, but would rather use his skill and strength against ferocious beasts like tigers and lions). Cf. Raghuvamsa IX. 58. 672) Tagout = who (formerly) used to inflict widowhood on female elephants (by slaying their mates). Fagfafurare = who used (formerly) to kill the male elephants by a single arrow (in each case). REFETI #371 = has (now) been reduced to such a condition (of debilitation) by my accursed daughter-in-law (i.e. by his youthful wife) (because of excessive sexual enjoyment with him). E F#Tay ag = that he has to carry with him a whole package of arrows (for killing a single elephant). Cf. st. 130, 131, 373 and 625. 673) IETE = maafa = valuable herds of cattle (i. e. cows and bulls). Feata@aalfagie= (were closely) inspected by robbers by shaking their bodies. The purpose of shaking the cattle's bodies is perhaps to make them stand up, so that their abdomens could be inspected for the names of their owners branded on them. fasine is an adverbial B. C. After the first half we must supply the following words : FTE TIETIS TETE - yAI tAI corehi parihariyAI (were left alone), iyarAiM puNa avahariyAI. The second half of the stanza tells us what happened thereafter. fa ETOTUT ( fact UTS TETETT FAOT sifauts = other people also in the village branded their cattle with the name of the mighty village-chief (1698 = TIHTT) (to save them from being stolen by thieves in future). 3iffig = were marked (or branded). 674) famiguita get #TF3 = let not the people in the ) village talk of ascending the heights of the Vindhya mountain (for safety from the attacking enemy). Tra = the village-chief is still breathing (though unconscious on his death-bed). Total =paccucjIvio =on regaining consciousness. jai suNai = if he hears the talk about leaving the village. ar fftfarti ag=then he will give up his life (i.e. will die by the shock of disgrace). 675) atat geotag = the village-chief on his death-bed. JF 37 = #fanfa = gives his (last) message to his son (as follows). For 3Cre=fazt see st. 319, 517 and H. 4, 180.79= with (great) effort (or difficulty) (as he is on the point of dying). #fFIE (pot. act. 2nd pers. sing.) = you should behave (act) in such a way. 57% AF FINT # 7 h = that you are not known (by people) by my name (i. e. as my son), (but by your own valour and greatness). TIETA=JITE (pres. pass. 2nd pers. sing.) =you are (not) known (by people). See st. 641, 649.

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( 241 ) 676) bAhiraloeNa = by people who care only for external appearances. For bAhira = bahiH see H. 2, 140. a = greedy for the flesh (only). PITTg Tigtig = only the limbs (of the slain animal) were seized (or grabbed ). arat= rat=1 t = the huntsman's wife. fgut feucu fauer Tag = was not ready to give the heart of the slain animal) (to any customer) unless she was satisfied about his genuine desire and admiration for it. The apparent meaning of facut a ag is not clear. The commentary does not help. For the suggested sense see the English translation of the stanza, p. 86.476 = keeps on wandering in the market place (in search of the desired customer). 677) sUNaThaM (B.C.) = zunoSTham = whose lip was swollen. mahumacchiyAe~ DakkaM- bitten or stung by a honey-bee. For 99% = 4T see H. 1, 217 and 2, 2. ATSET gf at = fouffaat gforet = the Pulinda (i. e. Bhilla) woman being seized by jealousy (or anger) (at the thought that her husband's lip was swollen because of a love-bite by some sweet-heart of his). IsAiyA is past part. from the denom. root IsAa from the noun IsA-IrSyA= jealousy or anger. See st. 185.39 976 TTD TOT = she (angrily left him and) went away to the shade of another tree. For pe = a see H. 2, 127. 678) TURTOU T = who had started to follow (her husband ) in death ( i. e. who had already decided to court death by burning herself on his funeral pyre). TEHttastat fuafFH (loc. abs.) = on seeing that her dear consort had revived from his prolonged unconsciousness (or coma) (TERITT). TFFTTT = TATT* = a rraf (commentary) or serious fatal illness. asa suf = the decoration of widow-hood (i. e. the ornaments etc. worn by her prior to burning herself as a widow). 70 = ## (= saubhAgyacihana) jAtam = became for her a mark of supreme good fortune. kulavahU = a woman belonging to a noble (honourable) family. 679) T = blessed (lucky) people. fifah qaft = live in a hill-top village. Et (B.C.)= in which they can have carnal enjoyment without fear of being disturbed by any body. bahalapattalavaIe (B.C.) = bahalapatravatike = where there are hedges (vai = vati ) with thick foliage (T ) = 97, H. 2, 173), ( surrounding the houses ). The cin as is lengthened for metre. atituresarte (B.C.)= where the bamboo-thickets (TET = TET) are swinging to and fro on being rocked by breezes of wind. = = to move or swing. Cf. Er st. 80. 680) o fifa TTAT = the hill-top villages in this region. 909650 Taat (B.C.) = where the Kadamba trees in the back and front yards of houses are in full bloom (praphulla). niddhoya #tasi (B.C.) = where there are clean- washed stone platforms (or paved seats) (in front of the houses). AETHITT (B.C.) = where the ( tame ) peacocks dance with joy (on the stone-platforms). Thi7 64MHUETT = which (villages) are charming because

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(242) of the murmuring sounds of the running mountain-streams. For 3 =fet see H. 1, 28. pasaraMta can also be connected with kalayala, " the spreading murmuring sounds of the mountain brooks". 681) CETT (d.)= a cow who does not yield any milk (commentary), or a way-ward cow. I ara fa a 3 = who did not even moisten the (cowherd's) hand (with a drop of milk). (denom. root from 3 =3* )=to moisten. E ao afrafar = she (i. e. her udder) was so gently (or skilfully) patted (or stroked) by the cowherd (or she was so severely beaten by the cowherd). ag= T= T4 = so very (gently) (or severely). for salfeat FIT = she has now begun to give a pitcher (or bucket ) of milk. For 3=TZ see st. 175. 682) amira965: = a superior bull, a steer. E FG FTTE = lives (only) for (or because of) you. Ja=anal= a cow. See st. 461. frest=f62: = a young cow. z afago = for the sake of our life, i. e. to enable us to live comfortably. TES= T H = the entire ) cowstall (and the people depending on it). Era = 79 TITTA = depends on you (for their well-being). 683) 5a gifcer=167#ifsoft = a dairy-maid (in charge of milking the cows). FAT= A = saha= with. piMDAra (d.) =gopAlaka= a cowherd. dava (d.)==nama = joke, jest. piMDAre davaM kUNaMafre is a loc, abs. constr. To=(adv.) angrily [because the cowherd's young wife (719vahuyA) did not like his intimacy with the dairy- maid]. savva cciya vacchayA mukkA = she let loose all the calves (in the cow-shed, in order to disturb and distract him and stop him from his intimate gossip with the dairy-maid). 684) Fiftae=9157 fath=on a track (et) already (trodden and) made even ( F ifa) by a veteran (superior) bull. The phrase can also be explained as " on a track already trodden (ifto = arra = afta) easily (EFT) by an experienced bull." affeuratatafuegos = of 27184757 = (because of ) being stamped (or pounded or struck ) by the hammers of the hard hoofs (arato). TTTT = stones breaking (by the pounding by the hoofs ). faforrituffaut (B. C.) from which ( track ) sparks of fire are coming out of the breaking stones ). The first half of the stanza is a long B. C. qualifying at (=T). *7 (d.) = face aq9 = an inferior bull. a = without any difficulty. The idea is that when the hard stones on a track are powdered by the stamping (thumping) hoofs of mighty bulls, even inferior oxen are able to traverse that beaten track easily. 685) Tafs =FA U T=by the damsel engaged in plucking flowers. The grofaer = the bees on the flowers were made to swing ( oscillate or shuttle) to and fro. For

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bhasala see st. 478. For DolA denom, root = dolAya. 686) agdhAi = an enfa arfarerfa smells. for touches softly, caressess. fag places on (i. e. pressess against) his heart (bosom). jaNiyaromaMcaM (B. C.) covered with horripilation (at the thrilling contact of the Madhaka flower), ricchavAe~ because of its similarity with the cheek of his wife.. ( 243 ) = dolA ater a swing, see H. 1, 217. starfar is p.p.p. from the 687) baNagaeNa mohaM sIsa ullijja the wild elephant moisteas his head vainly (unprofitably). bhuvaMgakittIeN with (i. e. by touching with his head ) a serpent's (white) slough (i.e. discarded skin). kaDalaggAe hanging from (clinging to) a mountain-cliff (*, precipice). waalego = mistaking (wrongly thinking) it to be the stream of a (tiny) water-fall (of a mountain-spring). zraddhAlu, see sadbhAluiNI st. 417 and IsAlua st. 360. For aar cager or keen desire see st. 404, 473, 642. A mistaken belief or misapprehension is often the child of a keen desire. ujjharadhArAsaddhAlueNa = = = 688) muyaMta (voc. sing.) = forsaking, leaving pikkakaityapatrakavitva Tfq= a ripe wood-apple (which has a strong but attractive smell). fafran arfafafa you will come to know (its roughness and hardness) (on actually) touching it. = like a simpleminded (naive) rustic. (fofa)=(on touching with his hand) the picture (or painting) (of a beautiful woman). A wood-apple may have an attractive appearance but it has a rough, hard surface. An ignorant rustic is first attracted towards a life-like picture of a beautiful woman, thinking it to be a real woman; but on touching it with his hands he is disappointed to find that it is only a picture and not a real woman. 689) === 1 a female singer of auspicious songs (on the eve or occasion of the wedding ceremony). f (g) (loc. abs. constr.) = when a song was being sung (by the female singer). foster is pres. pass. part. from the root (-) to sing. gijjaMta jaagard in the case of the maiden to be married soon. Cf. gaafa st. 49, 209. afe (B. C.) who was attentively listening to the name of the bride-groom (mentioned in the song). at fam horripilation appeared on the bride's body. romaMco niggao souM va = as if it (i. e. the horripilation) wanted to hear the bride-groom's name. 690) phira kila it is reported that. tAo maM tasya deha = = fa by whom I was (my lover) were to my father is going to give me (in marriage) to him (i. e. to my lover). (xg) faf raped in the field (for premarital sex). ford if he jai teNa imaM suNiyaM = hear about this (i. e. about my father's intention). E fed heart would burst with joy. affar harSikA = harSa = joy. The two present tense verbal forms and are used here in the sense of the future tense. fcfare = s which is change = =

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(244) 691) mane madhye I think. beDisakuDaMgA bowers (or thickets) of reeds. For afeg vetasa see H. 1, 46 and 207. ang aaron hearing the auspicious song at the time of (my) impending marriage. tehi juvANehi samaM maM hasati = are laughing at me ironcially, along with those young men (with whom I used to have pre-marital sex under those reed-thickets, which were silent witnesses of our sexual enjoyments). == 692) The word (= impending, near at hand, about to take place soon), is to be connected with vioya ( - viyoga separation), and not with cautthimaMgala ( = caturthI maJcagala, auspicious ceremony on the fourth day after the wedding, giafuata). = separation about to take place. Cf. the word ga in st. 49 and 689. According to the Vedic ritual a newly married couple has to observe abtsinence during the first three nights after the wedding. On the fourth day an auspicious ceremony called caturthImagala (or garbhAdhAna ) is performed and the couple is allowed to sleep together on the fourth night and to have their first sexual intercourse. On the next day the bridegroom leaves the bride's house and goes back to his house. See Kamasutra III. 2, 1. The present stanza describes the physical and mental condition of the couple when they tightly grasp each other's profusely perspiring hands just before the bridegroom takes leave of the bride. f (impers, constr.) their (profusely perspiring) hands wept as it were (because of the impending separation). = 693) fafg=they (i. e. newly married damsels, (even) cast a glance (at their consorts). consorts) to touch (i. e. to kiss) their mouths. not say anything (freely). fi fr ge pio hoi that they are so loveable. 694) aliyapasuta, see note on st. 18. navavara newly married man. (valaMta valamAna) = turning agd dar gear navavahUe~ vevaMtA hatyA sides (on the bed) (so as to face his wife). alipapa suttavalaMta is a K. C. aliya... navavare is loc. abs. constr. the trembling hands of the newly married damsel. as moved towards the knot of her undergarment (saree) (in a futile effort to resist his attempt to untie the knot). Hafensisanfa ()-(of the undergarment) held fast (saMyamita) between her thighs pressed tightly together ( saMveSTita ) For saMvelcha , see H. 4, 222. Cf. st. 301. = = = age) do not (out of bashfulness) fef they do not allow (their = na Alavai kipi = they do (yet) it is a myserty ( riddle or puzzle). 695) kayAvarAheNa (inA) pucchitI (though) questioned by her guilty (husband) (about the reason of her sulkiness). The husband is said be guilty perhaps because he proceeded rather rashly and violently without taking the newly married wife into confidence by stages and disarming her fears. She was therefore uncooperative and unresponsive. The consort must have asked her about the cause of her passiveness. But she could not speak out frankly because of her mild anger and bashfulness. g, cf. arag in st. =

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( 245 ) 693. FEAT CHE = trembles violently when caught (or seized) by him in his arms). 39tat grozat far=remains still (passive) when embraced by him. For 37%=3TTET see note on st. 561. 696) a fomu =aa: (= FAT) TT = just from him. fier fafat = FT: fauffa= falfagfra = (all) stories start (or originate) (from him) (i. e. are concerned with him as their theme). For at (oft) =T# see H. 4, 162 and fafa in st. 450. fazafa afe = (all stories) develop or grow in him (i. e. converge on him). afe pacafa = terminate(or end up) in him. f am I ( then ) to suppose (or conclude ) ? $a TaTot CAT TIHT = that this village has (only) one (handsome) young man. 575TTOTI (B.C.) - g at. 697) TTTg =177fa = words or sentences. FT JFTH = we ( or I ) utter or speak). For =94 (a) see H. 4, 2. = 3 FTTH = other people. See st. 537, 559. quifquis = spoken or uttered. agafar yagfra = delight, gladden. See st. 87, 209. 698) T = with all respect ( i. e. with utmost effort ). HTTE = strive to secure ( or to find out). fout goi = some person whom you can love. 7E TOT AT #57 = if you want (or care for) happiness in your life). F FETTE<31 = a person who is dear to one's heart. oi ai afg fer = the happiness which does not arise in the company of such a person (dear to one's heart). *(a) = there is no (such) happiness in this world). 699) rafforia = who had rushed hastily (or eagerly) (out of her house). Te gayTT 7 Hafat you were not seen (by her) as desired by her (or to her heart's satisfaction). For safat = 6: see st. 480, 496. E TA = in (this) accursed (wretched) village. AiguafTADTTFTE (B.C.) = in which the streets (or lanes) are meandering ( = a) like a snake struck on its head and wriggling (afst=f ) (with pain). 700) qui fait argiaitr=#ferrar: (or fiftrat: ) arctati: = the downward streaming tears of the angry wife. For Frojfgott see st. 218, 305, 397. F attatafal = mixed (ft=fafa) with the flashing lustre (TE=TAT) of her (dark) eyes, (golden) cheeks and (red) lips. Gryttafurat = resembling ( 17 ) a straight rainbow. TETI fet fact=were watched for a long tim by her (astonished, ad niring ) husband (as it was a rare, enchanting sight). The rain- bow is said here to be straight, because the tears were streaming down in a straight line, unlike the normal rainbow which is arched and curved. - - -

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(246) ADDITIONAL STANZAS (1) a = winnowing basket. For = 7 1: = grains of gram. T TT = TifaT:, TET: = were not fried. w at > fotit > FOT> frat: . 3187 at = = went away (disappointed as I could not meet him) (and in the meantime the basket containing the gram- grains was burnt to cinders along with those in the frying pan, because of my absent - mindedness. ). HET = 3 = the mother-in-law. afgtru a 1837 41 = (the whole thing was thus an exercise in futility) like playing on a flute before stark deaf people. (2) fagufa = faaraofa = fa = reveal, indicate (denom. verb from fagur= fara = revealing ). *ifhoftoi atig = the faces of ( lovely ) women. T*T* (B.C.) = Focfa91 (B.C.)=(faces) whose cheeks are bristling with horripilation. 30 furoasa (B.C.) = (faces) whose eyes are dilated ( with joy ) and motionless. Both these B. C. s are joined to form a K.C. jalalikkapiyAvagahaNasuhilli =the pleasure of being embraced by their lovers concealed (fosa) under water(while swimming in a pool).f47==ff FT - fata. See note on go in st. 20. For fi = fant see H. 4, 55. (3) 399HY = full of nectar, fashioned out of nectar, i. e, soft, gentle, kind. ford = heart, mind. igro qugreti: = removing (fulfilling) the desires (ava) of those full of desire (i. e. of poor people) (by giving to them what they want). faut q qurat =your enemy-scorching valour. The idea is that the king's relentless crusade against his enemies is incompatible with his ordinarily compassionate and gentle nature. The stanza is perhaps a bard's tribute to king Vikramaditya (cf. st. 465, 472) or to king Salahana (Sata vahana) (cf. st. 468). (4) Arfacro afoaj = the dancing of flocks of peacocks = 57, T = looks charming. For k=TIF (or ler) see H. 4, 100. E ftirfara a = as if seized with deep longing (799) (for the clouds in the rainy season). The water-laden clouds in the rainy season are supposed to be the friends of peacocks, who dance with joy at the appearance and rumbling of clouds in the sky. ET= starfa (past part. from denom. 1917, see st. 377) = darkened. zfuratat 3 (B.C.) (faux) - [during the days (of the rainy season)] which are accompanied by the rumblings (fast = tf = a) of the new clouds (913# =179= = cloud).

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( 347 ) Errata Introduction: Page No. Line Read For (iv) 14 (iv) 16 (iv) 4 from bottom sanskrit valAthA butinitial n Jaina 430, (st. 254) Bhagavadgita TOU JOS 5 from bottom Item (12) Item (27), line 3 12 nd Sanskrit balAyA but initial in Jaina 430). (st. 254), Bhagavadgita and shady Gathas? Garga Gatbasaptasati Jainendravyakarana? gatartha into pedigrees 13 1 (x) (xii) (xiii) (xiii) (xiv) (xiv) (xiv) (xvi) 3 Note (38), line 2 20 21 Note (46), line 4 Item (13), line 1 ahady Gathas Gamga Gathasap-tasati Jainendravyakaraan? gatartha in pedigrces English Trar.slation Page No. St. No. 1/11 Read For 3 (Siva) Twilight (...to embrace it) return horripilation poverty-stricken Sirisa today Siva's disappears clasped consort your privileged attractiveness dilapidated there protuberant temples of a (Siva) twilight (...if) retnrn horripaition poverty-striken sirisa to day Siva's disappears clapsed eonsort you priveleged attractivenes delapidated their protuberent temples a 108 174 179 188 204 206

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Page No. 26 28 34 39 39 40 44 47 49 49 49 85000622MK-*** 51 54 54 54 55 57 61 61 70 72 73 75 76 81 83 87 88 St. No. 206 223 265 31) 311 316 353 371 387 390 391 395 407 429 430 431 437 450 459 483 483 491 512 553 571 576 590 598 628 630 643 649 652 668 693 696 1/11 4 4 3 3 3 4 4 3 4-5 2 2 4 2 2 2 5 3 4 3 4 4 5 3 3 2 2 4 4 24425233 (248) Read protuberant -in Oh, how wonderful! his forget prominently measured out (again) plants has...ventured at its haughty by trepidation oh (thorny) the (straight) avaricious milk written flowers lovemaking face favourite drunken is her face in her unapproachable way-farers (formerly) broke huntsman Patala (earlier) lotuses (i. e. honey) his wife the sugar-cane press etc. ichor lovable suppose 1 For protuberent in Alas, the for get prominelty measured out of plants is...venturing at it its haughtly by the fever of jealousy oh the avarcious mllk writtan tree love fare favourtite drunkan is her unapproachable way farers broke hunts-man Patala (formerly) lotuses and his wife the sugar press ctc. inchor loveable supposc

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