Gaudavaho

Author(s): Vakpatiraj, Narhari Govind Suru, P L Vaidya, A N Upadhye, H C Bhayani
Publisher: Prakrit Text Society Ahmedabad
Catalog link: https://jainqq.org/explore/001364/1

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Prakrit Text Series
No. 18
G A ÜD A V A HO
by
VĀKPATIRĀJA
Edited by Prof. N. G. SURU. M, A.
Poona.
PRAKRIT TEXT SOCIETY. Ahmedabad - 9; Varanasi-5.
1975

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Prakrit Text Society Series No. 18
General Editors : P. L. VAIDYA A. N. UPADHYE H. C. BHAYANI
GAUDAVA HO
VĀKPATIRĀJA
Edited
With an Introduction, Sangkrit Chāya, English Tranglation,
Notes, Appendices, and Glossary
by
Prof. N. G. SURU. M. A.
Poona.
PRAKRIT TEXT SOCIETY, Ahmedabad - 9; Varanasi -5.
1975

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Published by Pt. DALSUKH MALVANIA Secretary, PRAKRIT TEXT SOCIETY, L. D. Institute of Indology, Ahmedabad-9.
Price Rs. 25.
Available from: 1 MOTILAL BANARSIDAS, VARANASI 2 MUNSHIRAM MANOHARLAL, DELHI :3 SARASWATI PUSTAK BHANDAR, Rantanpole,
AHMEDABAD. 4 ORIENTAL BOOK CENTRE, Manekchowk,
AHMEDABAD,
Printed by Dr. R. G. Kakade, Aryabhushan Press 915/1 Shivajinagar Poopa 411004.

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प्राकृत - ग्रंथ - परिषद् - ग्रंथाङ्क १८
कइराअ

बप्पइरा अस्स
ग उडव हो
प्रा. नरहर गोविंद सुरु, एम. ए. इत्यनेन
भूमिका - आङ्ग्लभाषानुवाद - टिप्पणी - परिशिष्ट - शब्दकोशादिभिः सह संपादितः
प्रकाशिका प्राकृत ग्रंथ परिषद् अहमदाबाद - ९, वाराणसी - ५

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प्रकाशक :
दलसुख मालवणिया, सेक्रेटरी,
प्राकृत टेक्स्ट सोसायटी, अहमदाबाद - ९.
मूल्य रु.२५-००
मुद्रक : डॉ. र. गो. काकडे,
आर्यभूषण प्रेस,
१५ शिवाजीनगर, पुणे ४११००४,

1

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माहिज्जइ गउडवहो एस मए संप महारंभो । णिसुए मुअंति दप्पं जम्मि गरिंदा कइंदा अ॥
गउडवतो --- १०७४.
“ Now will be narrated this " Gaiidavaho", a big enterprise
( indeed ), which, when listened to ( by them ), great kings and great poets shed their own pride."
Gaiidavaho - 1074.

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FOREWORD
Vākpati, or Vakpati-rajā, was attached to the court of Yasovarman of Kanauj and enjoyed his patronage. He has paid high compliments to his patron's "great prowess, handsomeness and impetuosity". He was well read in earlier classics of Bhāsa, Kalidasa and Subandhu, and was close to Bhavabhuti. He was honoured by the title of Kaviraja, possibly by his patron. His literary activities are to be assigned to the first half of the 8th century A. D. He has bestowed high praise on the Prakrit language in which he wrote two poems. His Mahumahavijaya was composed earlier than the Gaüdavaho; and, in his opinion, it was far superior to the latter, but its Mss. have not come down to us. His Gaüdavaho reminds us of the Ravaṇavaho of Pravarasena, but it has a form of its own: a continuous whole with Gathas grouped into Kulakas, but having no divisions of cantos etc. This form is later adopted by Kutühala in his Lilavati.
It was in the seventies of the last century that G. Bühler came across a Ms. of the Gaüdavaho in the Jaina Bhandara at Jaisalmer, which, along with Pattan, is well known for ancient Mss. It is at his instance that S. P. Pandit edited it, after securing three more Mss. (all of them from Western India and Jaina Collections), along with the Sanskrit commentary of Haripala, in the Bombay Sanskrit and Prakrit Series, 34, Bombay, 1887. Pandit equipped his edition with an unusually lengthy Introduction., various readings and Index Verborum. In his Introduction, besides giving an abstract of the poem, he elaborately discussed the framework of the Poem, date of Yasovarman, slaying of the Gauda king and cultural gleanings from the poem. His additional Notes I-V give a good bit of data on historical and chronological problems connected with the author and his age. His observations on Prakrit Studies and genuineness of the language exhibit his keen interest in the Prakrit languages. A reprint of Pandit's

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edition, with supplementary Notes, setting forth the critical views of Bühler and Jacobi on this poem, was brought out by N. B. Utgikar in the same Series, Poona, 1927. : A study of the poem has shown that it does not possess as much historical material as we expected in the beginning. It is full of descriptions of mythological episodes, scenes of nature, seasons, sports, pastimes, march of armies and such other items usual in Mahākāvyas. Descriptions outweigh the narrative portions and eclipse the theme suggested by the title.
The form of the poem, as it stands to-day, has been a subject of controversy, which is not likely to be decisively cleared, unless some more Mss. of the Gauðavabo come to light. Pandit takes the view that the present work is only a prelude to what the author planned, but possibly never completed. Bühler agrees with him on the whole; Jacobi, on the other hand, considers that the present Text is all that the author wrote or planned to write, but he adds that the Text has suffered epitomisation, eschewing all that was narrative and historical and keeping only that much as is of permanent interest for the poets.
Vākpati, no doubt, is a gifted poet, worthy of being ranked with Māgha and Bhāravi. Even a few Gāthās, which Pandit has rendered into English in his Abstract of the Poem, point out to the originality, keen observation and imaginative flights of Vākpati. They bear testimony to his 'poetical imagery and lively yet philosophical observations', and mature worldly wisdom. His style is precise and pregnant with meaning. If Kālidāsa is well-known for his Upamās, Vākpati stands unrivalled in his Utprekşās. He often rises above the usual conventions of classical poets and has something characteristic of his own in delineating natural scenes, countryside, and village folk etc. There is a touch of personal experience in his descriptions.
The poetic merits of Vākpati, in a way, get sidetracked by the controversy about the form of the poem, about the relation

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--
between Vākpati and Bappa Bhatti etc. There are some reasons why Vākpati's poetic abilities were not duly appreciated. First, as Jacobi puts it, S Vakpati is a first-rate poet and would have been generally acknowledged as such, but for the language in which he composed his works. Secondly, there is no good Sanskrit commentary on the Gaüdavaho to explain the poetic niceties in the Gāthās. Thirdly, although Pandit was aware of Vākpati's merits while presenting his observations on the Prakrit language etc. and he even prayed in conclusion : May Vākpati's merits be recognised by the reader', he could not add the explanatory Notes planned by him. • Under the circumstances the Authorities of the Prakrit Text Society yearned to have a good edition of the Gaüdavaho, an edition which marks a further progress on what was done earlier and also goes a long way to help the reader to understand and appreciate Väkpati's poetic abilities.
It was extremely good of Professor N. G. Suru to have kindly agreed to give such an edition of the Gaüdavaho for publication in the Prakrit Text Society's Series. He has more than fulfilled the expectations. In Professor Suru, we have a mature scholar of Sanskrit and Prakrit. He is a gifted literary critic and a balanced connoisseur of poetic sentiments and embellishments. He has an eye for polished expression and for depth of thought and feeling. And thus, indeed he has, by this edition, put Vākpati's Gaüdavaho on a better footing for further study and appreciation both by scholars and students.
The Prakrit Text is neatly presented along with the Sanskrit Chāyā on the same page below. Professor Suru's English translation is at once faithful and fluent, and would certainly help the reader for understanding the text clearly. His Notes are scholarly and cover a wide range of his classical studies. The Appendices are valuable accessories for a further study of Vakpati. His Introduction is a scholarly piece, judiciously touching almost all
.
..

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the aspects of the poem and its author. His exposition of the choice topics from the poem, his observations on the stark realism of Vākpati's descriptions, and his sketch of the Society, as revealed in the poem, have really raised Vākpati to a higher pedestal in the galaxy of our classical poets. , The General Editors are quite happy over this valuable edition of the Gaüdavaho by Professor Sura and earnestly hope that it would inaugurate a fresh study of Vakpati from various points of view,
P. L. Vaidya Joint General Editor
and President, Prakrit Text
Society of India.

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PREFACE
The Gaüdavaho of Vākpatirāja is a unique Mahākāvya, on. par with Bhāravi's Kirātārjuniya and Māgha's Siśupālavadha and in Prakrit literature it attracts by its merits along with Pravarasena's Rāvanavaho (Setubandha ) in a golden setting of twin gems, as it were. If Kālidäsa is a master of simile, Vākpatirāja is a master of Utpreksā. He remained unnoticed, however, just because he wrote in Prakrit. The attention of scholars, both in India and abroad, was drawn to him, when that eminent, erudite scholar S. P. Pandit brought out his edition of the Gaüdavaho in 1887 and then, learned men like Jacobi, Bühler, Hertel wrote about him in journals in appreciation of the poet. No effort, however, was made to give a full translation of the Poem in English, French, German or any other language in India and abroad. A fullfledged edition of the Gaüdavaho with an Introduction, Translation, Notes, etc. was thus a long felt need. When, therefore, a proposal was made to me by my friend, Dr. A. N. Upadhye that I should undertake this task on behalf of the Prakrit Text Society, I readily agreed and immediately started the work in this connection in right earnest. I had before me the excellent edition of the Gaüdavaho by S. P. Pandit, which gives the Text and the commentary of Haripāla, an alphabetical Index of words occurring in the Text and a long Introduction dealing mainly with the historical aspects of the Poet and his Patron, King Yasovarman. The same was reprinted by N. B. Utgikar in 1927, with a few additions of supplementary Notes to the Introduction of Pandit.
For the preparation of the Text of the Gaudavaho, Pandit utilised four different Manuscripts, one of which gave Haripāla's Commentary. That was long back in about 1880 A. D. It was, therefore, hoped that some more manuscripts of the Gaüdavaho may be traced in Gujarat or roundabout. Inquiries were made in this connection by Pt. Dalsukh Malvania, the Secretary of the Prakrit

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Text Society, in 1965, but he wrote to me to say that no Mss. of the Gaüdavaho were to be had. I got hold of two Mss from the Bhandarkar Oriental Institute and both Dr. Upadhye and I examined them thoroughly, only to find that they were among the four Mss already used by Pandit for his own Text. We, therefore, decided that the Prakrit Text of the Gaüdavaho, as given by Pandit, should be fully utilised for my edition, with a few orthographical changes, such as the dropping of the Ya-śruti, ‘Na' to be invariably changed to ' Ņa' and the semicircular sign (°) to indicate the shortness of vowels of letters ending in *O'(317) to be replaced by an inverted sign . There is no unanimity among the editors of the Prakrit texts as to whether enclitics like pi, vi, ccia, ccea, jeva etc. are to be spaced off from, or joined to-gether, with the previous words. In the present Text, generally, they are joined to-gether. The additional Gāthās given at the end by Pandit in his edition as an Appendix have been incorporated in the body of my Text. No translation of them, however, has been attempted. The Sanskrit construction or the Chāyā word for word, in the order of the Prakrit Text has been given for every Gāthā on the same page as that of its Text. The English Translation, which follows afterwards, is almost literal, as far as possible and difficult Prakrit words have been noted in italics therein within brackets. Notes have been added after the Translation only for such Gāthās as were considered difficult to comprehend even with the aid of the Translation and, wherever necessary, extracts from the Commentary of Haripāla have been given in the Notes for elucidating the central ideas of the Gāthās. The Appendices contain an extract from the Rājatarangiņi, describing the campaign of Lalitāditya, Yasovarman as a Poet, Verses attributed to Vākpatirāja in Anthologies, and a note on the commentator Haripāla. In the Glossary, only such words, as would be found difficult to understand, are noted with their meanings in English and the Introduction deals with all pertinent topics regarding the Gaüdavaho proper.

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I have been working on this edition off and on since 1961 and it was a pleasure to be associated with this remarkable Poet for such a long period, during which I was living, as it were, two existences, the present one and that of Bhavabhūti and Vākpatirāja. in the eighth century. Dr. Upadhye stood by me all along through thick and thin, spurring me on from time to time whenever he found me slack in my efforts. Himself an eminent high-ranking scholar of Indology, he plays the laudable rôle of a mentor to many of us, giving us inspiration for work by his own example and guiding us all along in our difficulties. An outward expression of a few words of gratefulness would be quite inadequate to tell him what I feel about him for all the help he gave me in my work.
I am also indebted to Pandit D. Malvania, the Secretary of the Prakrit Text Society, for including my Edition of the Gaüdavaho in the Society's plan to bring out new editions. of ancient Prakrit literary works and I do sincerely thank him for it. Dr. P. L. Vaidya, President of the Prakrit Text Society of India and an eminent savant of Indology has graced my edition of the Gaüļavaho with a Foreward, for which I am deeply grateful to him.
As the work went to the press, the problem of proof-reading stood before me like a bug-bear in my present physical condition, handicapped as I was, by age and impaired eye-sight. I was relieved, however, when my cousin, Prof. N.V. Vaidya, Professor of Prakrits, Fergusson College Poona, (retired), offered to help me in. this connection and I am glad to say that he did this job very well. I feel it is my duty to thank him for this help, although he may, not like it.
The printing work has been expeditiously. done in the Aryabhushan Press under the vigilant supervision of its meticulous. Manager, Shri. V. A. (Shasaheb ) Patwardhan, who guided and goaded me throughout during the last year and half. I am

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extremely grateful to him for his uniform courtesy and kindness in this respect.
The Gaüdavaho is no doubt a tough literary work and I have stumbled against not a few Gäthās, about the meaning and interpretation of which I feel' diffident. I would gladly welcome suggestions, if any, from my readers, offering different interpretations.
N. G. Suru
25 December, 1974.. Madhuranjan', Poona 4.

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GAÜDVAHO
vji-x
xi-xiv
ii ---xxxviii
xxxviii-xliv
..
Flix
lix---Ixxi
lxxi-lxxiv
:
lxxv--\xxxvi
:
CONTENTS Foreward -- Dr. P. L. Vaidya Preface --- Introduction
| Synopsis of the Gaüļavaho II Character and Composition of the
Gaüdavaho III King Yasovarman and his Date IV Vākpatirāja --Some Personal
Details and his Date V The Date of the Composition
of the Gaüdavaho VI Vākpatirāja, as a Poet VII Picture of the Society, as
revealed in the Gaüdavaho VIII The Language of the Gaüdavaho Text with Chāyā Gaüļavaho --(Translation) Gaüdavaho – ( Notes) Appendices —
I Alphabetical Index of Gāthās II Extract from Rājatarangini III King Yasovarman, a Poet IV Vākpātirāja - Verses attributed to
him in Anthologies V The commentator Haripāla Glossary of Notable Words
:
:
1xxxvi—xcv
хсүнс 2-8ve
1-135 136–289
:
:
:
:
291-309 310–311 312–315
:
:
:
: :
316–317 318—319 320–339
340
Errata
:

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GAÜDAVAHO
INTRODUCTION
The Gauḍavaho of Vakpatiraja is a unique historical Poem in Prakrit. It is a stupendous work, comprising, as it does, 1209 Gāthās in an Āryä metre, not to mention the additional 26 Gāthās, noted by Pandit in his edition of 1887. It is no doubt a Maha-Kavya having a wide variety of topics, but unlike its prototypes in Sanskrit or Prakrit like the Raghuvamsa, the Kirātārjunīya, the Śiśupālavadha or the Setubandha (alternately called Ravana-Vaho), the Gaüḍavaho has no chapters, variously called Sargas, Adhyāyas or Utchhāvāsas, to indicate its division in different topics. It is just one long, continuous composition and thus looks like a magnificent mound of floral garlands and boquets in the form of Gathās, individually knit together in Kulakas and piled in a heap one over the other.
The purpose of this Poem, a Prasasti-Kāvya, as it is, is obviously to celebrate the glory of his patron, King Yasovarman, with particular reference to his slaying of the Gauda King. This most important incident which should, therefore, have been the main theme of the Poem, has been only cursorily mentioned in the whole Poem, and strangely enough, the last Gatha of the Poem ends with an assurance by the poet that 'the life of this great King, so purifying, picturesque, astonishing and unparalleled, will now be narrated. So listen ye all !'1
1. The question of the character and the composition of the Gaüdavaho is discussed later.

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I Synopsis of The Gaüdavaho Invocations :
In the true spirit of catholicism, Vākpatirāja, unlike many of his predecessors, shows no preference or predilection for any particular deity from among the Paurānic pantheon. To him almost all the gods and the goddesses are equally worthy of invocation. Like a cameraman projecting his slides, he moves before our eyes, word-pictures of the various divinities in concrete form and shape, that people of his age cherished and idolised in deep devotion. He begins with Brahmā, seated in meditation in the lotus springing through the navel of Visnu, a white sacred thread across his torso and a rosary of crystal beads revolving in the palm. Then comes the dark-complexioned Vişnu, leisurely reposing on the luminous surface of the oceanic floodwaters of the deluge. This is followed by the description of Visnu's incarnations : the Man-Lion who threw the Demon on his lap and in his fury tore open his chest with His claws; the great Boar who supported the submerged earth on His tusk, the Dwarf who tried to compress the worlds in His small belly; the Tortoise who bore the earth's burden on His back; the young Damsel (Mohini) whose breasts and buttocks came to be formed and fashioned out of the worlds, sliding up and down inside His body; Kļşna, the child of Yasodā, the young lover of Rādhā, the God who had earlier lopped off the head of Rāhu ( before he could swallow the nectar ). Kļşna, in the company of his elder brother Balarāma, who brought the river Yamunā at His feet; Vişnu, with His consort Lakşmi, who leaves traces of her embrace on the bosom of her yellow-clad Lord. Next comes god Siva, the last of

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the Trinity, who burnt and reduced to ashes Kāma, the god of love, who wields the crescent moon on top of his matted hair, who swallowed deadly poison which discoloured His throat, who in worship exchanged His own eye with that of Visnu, who portioned off half of His body to accommodate the softer half of His consort Gauri within Himself and who sustains on his head the mighty heavenly river jumping down from the heaven. Nearby is the third eye of the God, situated on His forehead which deserves your homage. And now the Poet turns his attention to the members of Śiva's Family. The son Kartikeya whom the Love-god leaves untouched through mortal fear, His consort Parvati in her blissful and fearful aspects, as the slayer of the Demon Mahiṣa, as Kālī, the Night of destruction and as hideous Camunḍā. Saraswati, the goddess of Learning, who stealthily moves on the tongues of poets. The lovely moon's orb with a colourless dark spot on it, the Sun-god whose chariot is driven by his seven horses in the firmament, the great Seşa who bears the earth's burden on his multiple hoods, Ganapati with His elephantine tusk protruding over the left mouthcorner, the goddess Laksmi emerging out of the ocean with a lotus in her hand, Kāma the god of love and finally the river Ganga on the lap of the Himalaya, who incurs Parvati's jealousy and in whose waters, on the head of Śiva, floats the skull of Brahma, the
Grand-father!
Praise of Poets :
After Invocations, in the next 36 Gāthās (62-97), Vāk patirāja talks in general about poets, great and small, old and new, the impact and the response they get from readers, their difficulties and handicaps, the language,

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Sanskrit or Prakrit, used as medium, their aspirations and disappointments. Says he— "Blessed indeed are these poets who show us the omniferous world as reflected in their poetic words, to be either meaningful and full of joy or absolutely hollow and unsubstantial" (62). "They establish their greatness solely by their words and thus evoke admiration” (63). “The hearts that truly delight in poetry, forget their own conditions of poverty or prosperity and become one with the poet in his moods of happiness and misery as expressed in his poetry" (64). "Prakrit lends charm to the words in Sanskrit, while Sanskritisation gives dignity to the Prakrit words " ( 65 ). “Good poets are like magicians, showing the real and the concrete as unreal, giving solid shape to an airy nothing or presenting things just as they exist ' ( 66 ). “Modesty and manifestation of punitive strength, though contradictory, heighten the king's glory and dignity. Similarly, pompous style, associated with sweet simple diction, embellishes the poet's speech " (67). “Note, however, the difference between Lakşmi and Saraswati. A little of the former gives to the man some charm and pleasure. Learning, meagre and imperfect, makes the man a laughing stock ” (68). “How can your style, which was at one time virile and vigorous, as in your first work Madhumatha-Vijaya, become soft ( maülaü) now?” If such a question were asked, I would say in reply that the first blossoms of a forest-creeper are always wild and thick compared to the later ones, which are thin and soft” ( 69 ). Speaking about vile critics and detractors, he observes that “ blasphemous utterances of the wicked do not affect the good ones; on the other hand, they recoil on the very persons who speak them out " ( 70 ). “Even men, good and pure, feel a pang of jealousy to hear others being extolled for their excellences, like elephants

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53
getting a tooth-ache because of the moon's rays" (72). It matters very little whether they are censured or praised by the low and the inferior. Their condemnation, therefore, does not in the least depress them" ( 73 ). "Most people, in general, have a low or average level of intelligence and, therefore, they acclaim poets of a mediocre calibre, whom they easily understand and appreciate and who thus become undeservedly famous (75). "While ordinary poets have to make a frantic search for topics, great poets have no difficulty in this respect, because themes themselves rush to their hearts (86). "Talking in praise of the Prakrit language, the Poet observes, "It is only in Prakrit that we have, in an abundant measure, a presentation of ever fresh themes and a rich variety of styles (92). For those who have remained ignorant of the excellent features of the Prakrit, we only have pity, but no sad feelings" (95). "All languages merge in Prakrit and emerge from the same. Waters flow into the ocean and flow away from it " (93). "My heart (as I start to write this Poem) is somehow apprehensive, embarrassed, benumbed, exhausted, distressed, overwhelmed and yet elevated with elation (98).
The Poem begins :
"Rules there the Lord of Earth, King Śrī Yasovarman (Jasavammo) who, having removed all sin from the whole world, delighted great Indra and the fame of his virtues reached the ends of directions" (99). Thus does the Poet begin, in a subservient attitude of a dependent towards his patron-monarch. He believes, as people of those days did, that the king is an incarnation of Visnu and accordingly in his glorification of him, he deifies him, identifying him with Visnu or his incarnation of Child

99

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(vi) Krsna and closely associating him with Indra, the lord of gods, who often invites him to sit by his side on the same throne. It is in this strain that the Poet continues with his description of the King Yašovarman, telling us how,
when he moves with his big army on expedition, the great Snake flutters his hoods in agony, but will not shake off the earth firmly fastened on them” (101). “His feudatory kings bow down their foreheads in supplication and thus hide the angry frowns on their faces" (103). 'His voice, deep and demanding great action, roams over worlds and reaches the oceans like the great river Bhāgirathi " ( 107 ). “Even heavenly nymphs pine for love of him, inspired at the sight of his heroic deeds on battle-fields” (113). “And then even Indra honours him by offering him a seat by his side on the throne. Oh ! the mighty Indra, who cut away the wings of flying mountains and made them immobile” (160). This episode is now described. ( 114-160). Indra the Wing-cutter of Flying Mountains :
The very idea of mountains having wings, flying through the air from place to place and halting for rest at intervals, is quite fantastic?. It catches the Poet's Fancy which he now lets loose in visualising and depicting scenes of destruction. The mountains are imagined to be sentient living beings, with families consisting of males, females and young ones, on the analogy of humans or that of the Papa-bear, Mama-bear and Baby-bear of the Fables. The female mountains are even supposed to have conceived and be in advanced stages of pregnancy at the time of this disaster ! “The mountains ” says he "allowed themselves to be burnt, having nowhere else to go to,
2. The legend has its origin in the fight of Indra with Vstra who blocked the waters, as described in the Rgveda.

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although they lifted themselves up a little for flight" (114). “The thunder-bolt, swinging up and down at every resistance, gets itself whetted on those very mountains on whom its edge got blunted, as it came down with a crashing sound in its violent, bouncing impact " (117). “The mountain-beloveds suddenly start rolling on the ground in an agony of miscarriage due to fright, when they see big birds coming back the moment they flew out from the caves " (118). “The mountain-beloveds, heavy with young ones, hiding inside their (womblike) caves, fearfully reach the outskirts of the sky, grown lazy and languid because of pregnancy, as it were "(125). “ Wings loosely spread out, the mountains are seized by the rushing thunderbolt and then falling down finally after a high upward flight, they are unable to jump up even slightly" (128). "Thunderbolt strikes the mountains, mountains,slashed by the thunderbolt and collapsing, strike the earth and the earth also, hit by the falling mountains, smites Sesa's circle of hoods" (129). “Mountains, struck by the thunderbolt, had their flowers, fruits and foliage turned into burning pieces of charcoal and the creeperbowers, places of Love's assignment of the heavenly couples, became objects of mourning to them " (136). “The thunderbolt would not leave even those mountains which threw themselves in the sea, their long downward descent not yet completed and hence their peaks are to be seen stretched far and high in the sky" (145). “One would imagine, it was not the mountain that entered the ocean, but that the ocean entered the mountain, in its impetuous haste, flooding its inside of valleys and caves, huge like the interior of the nether world” (147). “A mountain-couple gives up their life in the blissful satisfaction of their bodies in the grip of a final cold embrace, as the warmth-giving wings are burnt up” ( 157 ). "The

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earth disintegrated, the circle of mountains smashed and the seas pushed far back, the three worlds were thus brought to universal destruction by Indra, wanting ultimate peace and stability " (156). "The thunderbolt goes back in the hand of Indra, light in body but gaining in weight (respect), by the discharge of its mission, its sharp edge destroyed while breaking the tough wings of the mountains" (159).
After this, he goes back to the main theme and gives a short description of the water-sports (161-162 ), indulged in by the King's courtesans in the bathing tanks (Vapis) of his vanquished enemies. Thereafter he digresses again to give us a picturesque description of Pralaya or a periodic dissolution of the Universe, the sole survivor of which is Lord Visnu or Bālaka-Hari, now incarnated in the human form of King Yasovarman. Pralaya Scenes (167-181):
66
As the heavenly grove of trees started burning, the swarms of bees were screened by thick smoke and their bunches of tender leaves were clasped by the sylvan deities with their palms (in an effort to save them)' (168). "The moon's orb blazes in flames, its spotlike deer running away and the attendant planets dropping off in the guise of flying sparks" (169). "The fire approaches the Lord of gods who is trembling with fear, as it were, the flames fluttering with the breeze stirred by chowries being waved over him by the nymphs" (173). Śesa holds aloft the circling mass of smoke, which loooks like a canopy of Visnu's bodily complexion, as He reposes on him" (176). "Such playful activity (līlā) was displayed by our King who assumed the form of the enemy of Kamsa (KṛṣṇaVinsu) at the time of the universal destruction" ( 181 ).
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Then follows, in a Kulaka of 10 Gāthās ( 182-191 ), a short description of the lamentable condition of the wives of the King's enemies, unaware, as they are, of their condition of widowhood” (191). Yašovarman's Expedition for world conquest :
Back to the main theme, the Poet tells us that the King's Abhişeka ( Coronation ) ceremony was done and as soon as the rainy season was over, the King started on his triumphant march for world conquest ( 192 ). What happened when the march began ? :
(i) All the gods were delighted. Cool, heavenly breezes started blowing. Celestial nymphs moved with graceful, dancing steps. The underground treasures also moved along, escorted by their attendant serpents and Indra opened out his thousand eyes in joy ( 199 ).
(ii) The city-beauties stood collected in graceful poses on the terraces of their mansions to have a glimpse of the King (207) and he too fixed his eyes on their faces (211).
(iii) The bards and poets eulogise him for his great accomplishments ( 209 ), mentioning the fact that even Indra nodded his head in admiration, as he thought. of the King-the great Indra who lopped off the mountains' wings ( 235). This gives an occasion to the Poet to describe this miraculous event of wing-cutting once again ( 224-234 ), in some more poetic fancies, with-· out repetition.
(iv) The Army has four constituents viz. infantry, cavalry, chariots and elephants (Hasti-Ašva-Ratha-Padāti). Of these, the Poet describes the King's army horses in 8 Gāthās ( 255-262) and his victorious elephants in 6 Gāthās ( 263-268).

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“Now come gradually with their charm the days of the cold season (winter), the swans cackling at midnight and the sunlight bereft of its bright strength " ( 270). Thus follows the description of winter for over six Gāthās ( 270 - 276 ) and the King, “casting his eyes on the village-borders thriving in the cold season, gradually reached the region distinguished by the big Sona river" ( 276). From there he goes to the Vindhya mountain where ascends the sun with great difficulty' (280 ) and which, with its peaks penetrating the sky and the sky filling the caves, has screwed up and steadied, as it were, the surfaces of the sky and the earth'( 283 ). The Vindhya-Vāsini Goddess :
Here," directed by the Sabaras clothed only in leaves, he goes to the temple of the Goddess situated in the cave of the Vindhya mountain and pays his homage to her with requisite ceremonies " ( 338 ) in a long Kulaka of 53 Gathās ( 285–337). She is variously called by him as Madhavi, Bhairavi. Candi, Nārāyanī, Sankarī, Kālī, Sabarī, Gauri and Tāpass in the course of his homage, in which he says, “The arched entrance of your temple is embellished with strings of bells, snatched, as it were, from the whole family-herd of the buffalo-Demon seized: by you" ( 285 ). “The head of the buffalo-Demon, hit by the brilliance of your toe-nails, looks like a foot-stool in the form of a block of snow placed by your father Himālaya for helping you to ascend” (286). "The mountain Himālaya, being your father, has been elevated in dignity; so, too, is the mountain Vindhya, by the grace of your residence in its cave" (290). "Physically you stay in just half of the body of the crescent-decorated God ( Siva ); in His heart, however, O Sankarī, you have complete, undivided scope (to occupy)” (292). "Not

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(xi) even for a second, your temple-park is left by the peacocks, out of affection, as it were, for the peacock of Kārtikeya near at hand” (299). “You shine with your bosom besmeared between the breasts with red sandal paste, bleeding as it were, by the pricking thorns of the garlands of Bilva leaves" (304). “The inner hall of your temple, darkened by the blue lustre of swords and daggers gifted by warriors, leaves the owls, during the day even, free from fear" (306). "The stone-slabs (of the pavement), with reflections inside of the red banners, are licked by female jackals under the illusion of the flow of blood from the easily available (animal) offerings" (310). “The dim rows of lamps in the interior of the hall, O Goddess, reel and falter, as if blinded by the darkness of the hair of the offered heads" (318). “Your female worshippers (of the Kaula sect ), mounting one over the other in their excitement to see the great beast (man) being slaughtered, raise up, as it were, a house of perfumes in the air” (319). “ With your feet characterised by people bent down (at your feet), looking much reduced in size in their reflections in your jewel-like toe-nails, you look beautiful, O Mother, being bowed, as it were, by the thumb-sized gods (Valakhilya )" (320). " In youț maidenhood, for the propitiation of god Siva, a veritable Bilva sacrifice, as it were, was done by you, with the help of your tiny breasts over your heart inflamed by love" (325). King's Reflections at the Sight of a dead Body:
After such a homage ( namakkāra ) to the Goddess Vindhya-Vāsini with all its gruesome, blood-curdling details, the King steps out and on the precincts of the temple he sees a human corpse reduced to a bony skeleton, observing which he is filled with sad

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thoughts (347), which have, indeed, a Shakespearean touch about them, as also a touch of Omar Khayyam. This is what he says:
"Alas! the head, that formerly was caressed when lying on his beloved's arm, comely like a bamboo shoot, rolls now on the slope of an ant-hill that serves as his pillow" (342). "How strange is this glossy transformation of a lovely braid of hair into a hollow skull, matted with dry grass sprouting from its interior filled with mud! (343). Alas! Alas! This row of teeth, overspread' with greenish dirt, appears as if it is emitting even now the juice of many a betel chewed before" (344). "By the presence of the feathers of bees here, it looks as if the Cupid's blossom-darts ( mañjarī—bāņa ) were discharged by him (even on this dead body)!" (345). For him, dead as he is, the whole world becomes at once enveloped in impenetrable darkness, although we (on the earth) still have the sun rising, the friendly moon shining, the fire burning and the jewels shedding their lustre' (346).
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From the temple, the King advanced over the slopes of the Vindhya mountain, regaled by the notes of peacocks and glanced at from a distance by the frightened Sabara women holding peacock feathers over their eyes and dropping clusters of Gunja fruit on the way (352-353).
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Hearing of the King's approach, the Lord of Magadha fled away in fear (354).
The Summer:
Now comes Summer with its scorching heat and the Poet treats us to some very fine, unconventional ideas with reference to this season.

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The earth warms up, oppressed by summer, thick heaps of chaff falling in showers and then clearing away, the ponds made muddy upto their bottoms, and grassy sprouts rare and withering " ( 356 ). The travellers pass off the summer (night) sleeping inside the temples, cooled by the holy ablutions of Śiva's limga (during worship) and filled with the fragrance of the Kadamba and Arjuna blossoms wafted inside" (361). "The days are lovely, the city-roads being heated, while the sun's orb is overcast with hanging clouds. The heat of summer is confined to the earth. In the sky the (clouds of the impending) rainy season stand suspended" (363). "A bevy of beauties moves about on terraces, their vigour diminished as a result of (the heat of) summer and the surface of their cheeks cooled by a few drops of water (sprinkled over)" (370).
(L
"Men of the Army, too, softened by the longings of love in their home-sick condition, spoke thus in appreciation of the characteristic symptoms of the season" (371380). The forest-grounds here look beautiful, bristling with Palasa fruit soiled with fine sands and making noise when ejecting water (under trampling feet) and appearing darkish even when slightly sprinkled (with a shower)" (375). "These southern women with their bound tresses of hair scented by fresh Ketaka flowers, look beautiful in their turmeric pigment, the yellow brightness of which is heightened without effort (having the same natural complexion )" (379). "How and why would Cupid, who vanquishes only with his fine, flowery bow, not flash forth (triumphant) all the more, having obtained (additional aid) from the bow of Indra (i. e the Rainbow)"? (380).

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The Rainy Season :
Then come the rains. At first, occasional light showers which thicken the dust in clods and cool the surface of the earth (383). This is followed by heavy showers and now " the rivers start flowing their yellowish and undrinkable waters, being splashed by showers, as the cranes (flying above ) pick up the floating fish"
384). “The rainbow appears in the sky, lovely like a strip of lawn and there moves a curving line of cranes resembling a herd of white cattle " (388). “The lustre of sugar-cane crops brightens up after the first shower, as the dust is washed away, although their twigs are browned off by the summer heat ” ( 392). “The travellers enjoy their rest under the cool-shaded trees, noisy with ( chirping) birds and with sandy mounds (nearby by the sides of rivers full of rippling streams of water " (385). "The (village ) borders look lovely with their slightly yellow rice-fields moistened with drops of fresh water, while the tracts of land (in between ) appear grayish like the backs of tortoises " (397). “With fresh clouds (in the sky ) the day appears to have just begun, although the sun has risen high, while even when the close of the day was far off, it appeared, the sun was. about to set " ( 400). “The nights present a brighter twilight glow, the gurgling sound of the mountain-streams becomes doubly increased and the shrill notes of crickets ( and such other insects ) go on continuosly " (402). “The cities look pleasant with their smelling, soiled grounds, producing a bright, yellowish glow ( up above) and the notes of musical instruments are carried over long ( distances) by the peculiar ( pattering ) sound of the rainy day” ( 403 ). “The nights present the scene of rain-water being drained out in noisy streams over the roads when showers have ceased and the clouds in the

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sky are observed in their clear demarcation, when illumined by lightning flashes " (404). “The villages with their groves of trees, discernible only at their tops owing to the up-heaving overgrowth of grass on the forest borders, appear to have sunk down, as it were, by the coiling columns of smoke" ( 409). “The forest-borders, with cool breezes ( blowing) after a break in showers, delight the heart (at the sight) of the herds of cattle returning by their land-paths" (411). King Yašovarman slays the Magadha King :
The group of kings, allies of the Gauda king, who had earlier deserted him and fled away ( 414), now returned and joined him in a fight which was fierce (415). Blood of soldiers flowed profusely and the gods sent down showers of Mandara flowers to the accompaniment of the sounds of big, heavenly drums ( 416 ). In such a furious fight, the King Yaśovarman seized the Magadha King as he was running away and made a morsel of him (417).
After having slain the Magadha (or the Gauda ) king, Yasovarman marched ahead through the outskirts of the coastal forests of the sea'smelling the fragrance of cardamom'( 417). “There he wandered through the cocoanut palm forests, studded with stones massed on the shore and smelling sweet with the broken pieces of cocoanuts”, 418). Defeat of the King of the Vangas and the Southern King :
In the course of his expedition, he meets the king of the Vangas, who clashes with him with his mighty elephants. The brave Vangas are, however, defeated and made' to bow down in homage by him' (420). He moved on in the South, 'casting his eyes on forest lands bristling with pumpkin gourds, with herds of deer

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squatting down unconcerned' (421). The Southern king submitted and gave him a cordial salutation, after which he proceeded 'by the path over the Malaya mountain' (423).
Vāli and Rāvaṇa :
After the defeat of the Southern king, he lands with his army on the shore of the sea where Vāli, the son of Indra, roamed about, thrusting the mighty ten-faced Rāvaṇa under his armpit (430)- the great Ravana who, at one time, uprooted the Kailasa mountain and balanced it on his hands (428) and who cut off his heads and offered them at the feet of god Śiva to obtain the favour of a boon (424).
The defeat of the Parasikas:
From there the King marched against the Parasīkas, as did Raghu in the course of his world-conquest3 and 'there was a fierce ( tumula) fight between the two opposing forces' (439), in which the armies with their bodies, lifeless and heavy, scattered over the battlefield, became a heavy burden for Seșa to support on his head' (438).
The Feat of Earth-levelling by the King Pṛthu:
After defeating the Parasīkas, the King came down to the difficult regions of the Western mountain-ranges, from where he collected his tribute. These tracts had become inaccessible on account of the fact that in ancient days the King Pṛthu levelled up the earth, pushing back, east and west, the intervening mountain-ranges, with the tips of his mighty bow (459). This was a feat, more miraculous than that of Indra who cut the wings of the
3. Cf Raghuvamsa-IV. 59.
4. Ibid-IV..62. Even the word 'Tumula', occurring in this verse, appears to be taken over by Väkpatirāja.

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mountains and the Poet takes this opportunity to indulge in fine poetic fancies, the scenes of which he visualises in his powerful imagination extended over 19 Gāthās ( 440-458). Says he "the masses of mountains are being driven along, their bottoms grating, their trees and water-streams set in motion, big boulders tumbling down, the mountains, rising and falling in 'waves', Cross over the uneven surfaces of the earth" (445). These lofty mountains, proceeding onward under the driving pressure of the bow's tip, are being smashed by quarterelephants, suspecting them to be their rivals, rushing to attack' (446). The places where the mountains were removed and the places where they were lodged by the King-both these looked quite different now, having completely changed their appearance' (450). 'Greater damage was done to the mountains by their enforced movement, than by the outrage of their wing-cutting, after which they had been happy, having secured stability and having grown, in due time, forests and grass' ( 456 ).
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Yasovarman then comes over to the bank of the river Narmadā, who at one time had fallen in unrequited love for the royal sage Kārtavirya. The love-sick condition of the river, imagined as a fair lady, is described by the Poet in the next 6 Gāthās (460-465)'. Parts of her body become yellowish-pale in spots where the sandalpaste is applied (to give her relief) in her agony of love's torment, looking as if her sandy mounds are exposed to view, because of her debility (as observed in her thin stream)' (462). "Often times her restless bodily activities in the form of waves terminate just in her heart, greatly agitated by her longings of a union with her lover, the pleasure of which is relished, having been conjured in memory but lost soon after' (463).
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March across the Marudesa (Marwar): :
From the banks of the Narmadā river, where he encamped for some time in an atmosphere charged with romantic memories of the legendary love of the River ( 465 ), the King goes over to that part of the seashore, where the gods witnessed the miracle of the emergence of the nectar-jar from inside the ocean (470). Having stayed there for a while,' he trudged onward over the dreary paths across the desert of the Marudesa, where great elephants happened to be killed by haughty lions and the water of the small wells was made turbid by his soldiers, crowding over to draw it from them '( 471). The legend of the Sarpa-Satra (Snake Sacrifice) : : He now arrives in the vicinity of the suburbs of the city of Srikantha (Thanesar ) 'where Janamejaya, the descendent of Pandu, performed a serpent-sacrifice in revenge of the murder of his father and he stays there for a long time' ( 484). This episode inspires the Poet to give a graphic description ( 472–483 ) of this sacrifice. Says he, “Strips of sloughs in rows were cast off by the serpents, getting prematurely old through panic, having been afraid of being speedily burnt " ( 475). “The female cobras, trailed by the red glow of jewels on their pink, spread-out hoods, drop themselves in fire, wearing decorations, as it were, in their endeavour to die ( as Sati) soon after their mates ” (479). “ With his belly fully stuffed with coiled clusters of burning snakes, the fire appears to have his circling entrails bloating and wriggling after his feast (on serpents ) ” (481). “The lord of gods (Indra), whose feet are clasped by the king of snakes with his. twisted hoods, trembles in fear, as if mounted on the ladle dispatched to the heaven to bring him down as an

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(xix ) offering in the fire ) by the angry king ( Janamejaya)" ( 483 ). Visit to the famous lake in Kuru-kşetra :
Leaving the place of the serpent-sacrifice, he moves over to the famous lake in Kuru-kşetra, in which he relaxed in the enjoyment of water-sports with his beloveds ( 486). The lake was the scene of the final fight between Bhima and Duryodhana who, as he lay hidden, submerged under water, was dragged out from its bottom like a big fish ( 485), after having reviled him for his folly of attempting to trap and strap Mādhava (Krsna), for his lecherous act of disrobing Draupadi and his obscene gesture of stroking his thigh, 'on which alone lies the strength of cowards' and which was smashed by Bhima ( 489 ). All this the King remembered at this site, as also the last fight between Karna and Arjuna, fought here - of which the princes assembled talked among themselves, praising the magnanimity of Karna
who refused to fix again to his bow the serpent-shaft, which failed to hit the mark on Arjuna and who gifted away to Indra the precious armour that had been as an inseperable part of his bodily skin' (493). It was here that the great Karna met his death when he was engaged in extracting his chariot-wheel that tore into the earth'( 494). Ayodhyā, former city of Hariscandra, bodily lifted and lodged in Heaven :
From the Kuru-kşetra the King goes over to the city of Ayodhyā 'where he built a palatial temple in one day' (508). This was in ancient days the city of the famous king Hariscandra, who accepted a place in heaven on condition that his city also was transported to the heaven. The gods acceded to his request and accordingly

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the whole city, with all its appurtenances viz. mansions with terraces and turrets, wells, gardens, snakes, men and women, was suddenly uprooted, lifted and like a giant spacecraft, transported and lodged in the heaven! It is no wonder that this legendary miracle of a flying city (507) catches the imagination of our Poet, who vividly depicts this wonderful phenomena in graphic penpictures in the following words : “ The sky became a curved rampart for the city, being observed by its frightened citizens coming out only on balconies ' ( 495 ). “The snakes, recoiling from the path of descent, as they observed clear open space through the cracks (in the subsoil), stayed put, huddled in fright, just in their holes ” ( 496). “The wells, with their (feeding) springs uprooted, became dried up, developing deeper, hollow depths" (498). “The eyes of ( loving ) couples, remaining big and wide open, in the absence of the blinking action, are painful (to observe), having been deprived of dalliance even at the pleasure of seeing each other” (500). “The city becomes lighter day after day, as its supporting earthfoundation is gradually crumbling because of the vioelnt winds beating against it” (501). "Even with a (celestial) park ( Nandana ) full of trees of heavenly branches and juicy blossoms and fruits (at hand ), the earthly trees ( of the city ) were favoured and fondled ( by the citizens), because of the bond of their first friendship” (505). “Even as the earth's surface ( down below ) had darkened with the enveloping darkness of the night, there was day only in this city on account of the overspreading bright light of the sun" (506). (A case of the midnight sun, as in Sweden and Norway ). Visit to the Mandara mountain and tracts in the North :
From the city of Ayodhyā, he advances further and reaches the slopes of the Mandara mountain 'shaded blue

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by its towering peaks, where he receives presents offered to him by rich country-folk' (510). Then he proceeds in the Northern direction 'indicated by the Lord of Yaksas, the tracts of which are perfumed by the juicy exudation oozing from deep cuts on the Devadāru trees and cooled by the fragrance of wines freshly distilled ' (512). What the Army-men saw in their trek :
The Army-men, marching through different territories, East, South, West and North came across various lovely scenes and objects of nature, such as a lake, its environment, the forests and the flora and fauna thereabout, the forest villages and their inhabitants, the spring season, the mountainous parts, caves and the villages and rivers therein, the sea and its coastal region, the Himalayan tract including the Kailāsa mountain and luminous herbs therein, the seasons of summer and autumn etc. In a long Kulaka of 146 Gāthās (513-658), the Poet, a great lover of Nature, depicts their lovely aspects as observed by the soldiers of the King's Army'(658). One is led to believe that Vākpatirāja must have traversed these parts in person to observe them minutely and collect the details thereof with a view to poetising them later. The following are a few of the interesting features, as described by the Poet :
"Here are these (lake) tracts, that look lovely, as cries of the swans get blended with the sweet, throaty (notes) of the intoxicated geese and the clumps of Nicula reeds are penetrated by female cranes" (517). Vain cries (of frustration) from ospreys, hovering over in the sky (to catch fish), emanate here on the pools of water (thickly covered ) with lotus leaves kicked up by the gambolling fish ( underneath ) " (520). " Here these bordering areas

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(xxii) of the banks (of lakes ) where crows come down ( to feast on ) worm-riddled, dehydrated, flattened frogs and where tiny conch-shells and moss are gathered (in nets) and drawn (to the bank ) by fishermen " (521). The heart finds relief on paths over the forest-skirts, being filled with the fragrance of sun-plants in full bloom, (carried) by the breezes along with the fragrance of lotuses" (535). “The jackals (going) through the scared, thinning (ranks ) of vultures, approach a bony skeleton of a buffallo, while the crows, having moved away in fear, collect together in another direction" (541). “The summer nights look charming, the sky above being screened off by a thick film of dust, the fog being absent during evening time and the moon's pleasing orb ( shining) in the other half of the sky" (569). “Here comes out of the pond ) a herd of boars, with bodies made more formidable, as it were, and with lazy, blinking eyes as their eyelids are soiled in the act of wallowing in mud” (576). "Strolls over sandy mounds here during evening give peculiar pleasure, an additional delightful feature being the sight of birds ( in the vicinity ) casting furtive glances, as they recede with slanting necks" (579). “A traveller sucks an inner piece of orange, thinking it to be his beloved's lower lip, downy and reddish-gray as it looks, with a skin from which the threads are loosened" (591). "Blessed (and happy) are the days of village festivals, when children are decorated and women feel the pride of (wearing) pink sārees, while (poor farmers (look on disinterested) without even a tremour (of excitement)” (598). “The forest villages here, where children are delighted to get fruits (as gifts) and which look beautiful with well-planned timber houses, attract the heart by the fact that they are not thickly crowded with people” (607). “The heart, for some peculiar reason, lingers in the deserted villages,

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shattered by the growth of trees (over dilapidated houses), while columns of smoke are now confined only to the habitations of cowherds with a few crows loitering in between" (608). “Here is a grove of trees nestling by the hillside, where in a vacant ( solitary temple), Siva's tirga is bathed by a religious man coming (by chance ) to the village and which, stinking of leaves ( dry and rotten), has a pool of water (Kunda ), deep and bluish" (609). "Squatting on their feet, chin uplifted and their mouth-line extended-such a slumbering pose of lions here looks charming, (especially) as the sharp tips of thir claws protrude under pressure (on paws :) " (622). The wide, reverberating echo of the loud, tinkling sounds of cymbals beaten, takes a long time to quieten, being halted and sent back through a series of surrounding ) caves " (623). The tracks of boars shot by arrows are here pursued by the hunters, marked, as they are, with seal-like drops of blood looking brighter further and further” (627). “Here on the mountain-ridges, monkeys go on licking their own sweet-smelling hands, thickly smeared with the juice (toddy) of the mountain-palms cracked by the force of winds" (633). “And now the mountain Kailāsa passes by-Kailasa, where the orb of the moon, on account of the snowy frost, fades away, feeling distressed, as it were, by the grief at the memory of his friend) Cupid's downfall" (638). "Here on its ridges, even during nights, the blazing twigs of highly ( potent) medicinal herbs, enveloped in their own jewel-like lustre, cannot be clearly distinguished, although the cobras (nearabout) have been repelled by their (anti-venom) smell ” (638). “The mountain-caves here (illumined) by the light radiating from the sages in still meditation and concentration ( of the mind ), become dark as soon as their meditation ceases” (642). “Fapry are the evenings when grassy regions are cooled by the (falling)

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(xxiv) shadows and paths on the forest outskirts (echo) the songs of cow-herdesses ( Gopīs) returning from cities " (644). The moon, shedding off the rising glow, his rays now yellowish like an old piece of ivory, looks beautiful, as his orb rests on the mountain-peak” (646). “At the time of the first shower of rain, water (in different pools), which becomes cool at the surface but (hot down below) because of its retention over heated grounds, is drunk by the forest deer, touching their mouths just a bit (hesitatingly) to the surface of the water” (649). Desolation of Enemies' Cities : • Having fully satiated himself with his, ramblings in the various lovely spots of nature over wide areas of lands, the Poet resumes his task with a graphic description of the sad, lamentable conditions of desolation to which the homes, cities and territories of the kings, who joined Yašovarman in his expedition, were reduced. He devotes 30 Gāthās (659-688) to this description, for which he, perhaps, has a parallel in a similar description of the city of Ayodhyā, given by Kālidāsa in R. V. XVI. “The interior halls of houses, with their roofs demolished and their walls sloping outwards, now look like dry, big wells" (662). “In the parks, the swings underneath the trees have their ropes snapped and the remnant parts are tied in knots and left over their boughs, where the grass grown, has become thin and old” (669). “The structural monuments of past kings have collapsed and are now reduced to fine reddish dust, their existence now to be inferred from old reptiles crawling about " (670). “The premises of houses cause distress, when it is observed that their palms and date-trees are despoiled and left bare by people in their greed for fruits and foliage, while the old, water-drawing wheels on the wells have their iron-bars

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removed and their wooden spokes lying broken and thrown about" (685). “The terraces of houses strike terror and are hair-raising, because of the fear of ghosts, which conjures imaginary sudden sounds where none exist” (684). “The streets during nights are enveloped in pitchy darkness and are greatly reduced in width by the houses crumbling over them.” (687).
. After this the Poet switches on to describe a few erotic scenes ( 689-693), indulged in by the army-men, when they met their wives after the expedition was over. Bards' Eulogy :
The joyful occasion of the King's victory is hailed by the panegyrists, who shower their profuse praise on him in poetic fancies full of exaggeration. 41 Gāthās (695-736) are devoted by the Poet to this topic, in which, incidentally, the legendary episode of the god Sun, trimming himself to make his lustre bearable to his wife Avarcā, is described to show that even the blazing Sun-god, with his orb doubly lustrous because of his being chiselled by Tvaşts, the gods' sculptor, does not fully come up for comparison with the brilliance of our King's prowess !” (704). Note, for instance, some of these fancies :-"It is true that when you are seen, it looks as if there is none like you; for your sight alone establishes your greatness of the era " ( 706 ). “If, (as is supposed ) Vāsuki has a thousand tongues, then why does he not fully praise you? (That were possible, however, ) if he were competent enough to grasp all your merits in one single mind of his " (710). “The bright-red vermilion used for seals on your commandments is received by your servants as a symbol of your affection, but your adversaries look upon it as a glow of the fire of your wrath "(715). "The merits of the people, O Master

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do not become known merely by their eminence, but only after having been decorated with honours by you" (717). “Some of your enemies exhausted themselves and (breathed their last) on your sword; some others surrendered and sought refuge with you. The remaining ones escaped to the sea, while a few found shelter -( God knows where )" (721). "The censure of fickleness (atta. ched) to Lakşmi has been completely wiped out by you alone. She gave you overlordship, without, however, the evil traits of a dictator" ( 723). “Vanity was passed on by you to your supplicants, who now strut about, stiff and erect, with the fulfilment of their great desires; hence it is that no such trait (of vanity) persists in you even in your position of supreme authority” (728). In the end they describe in minute details the act of the removal of bodice by his beloveds (731-736), before they get into bed with him, 'dressed in thin, flimsy apparel.' . Thus, as the Poet tells us, “ the King stopped all other activities with a view to concentrating on the pleasures of love" (737). Among the ladies that stood in attendance on him were those of the king of the Magadhas, whom he had slain and whose wives he had captured as prisoners and collected them in his hareni. They were made to wave chowries over him as so many slave-girls and, as a result of such a woeful plight, says the Poet, “the streams of tears (flowing down) on the cheeks of these ladies, which bear reflections of the hairy strings of chowries (wielded and) waved by them in his service, are not observed, having been already absorbed inside ( the cheeks ) through fear " ( 697). Love Scenes :
The Poet seizes this opportunity to satisfy one of the requirements of a Mahākāvya by depicting scenes of

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(xxvii) love's enjoyment of the King with his beloveds. The incident of the Madanadahana or the burning of the Lovegod by God Siva is described in 4 Găthās ( 738-741 ).... "But although reduced to a body-less condition as a result of his being burnt by Siva, he still depends for the victory of his arrows on these women" (742). “The gallant King, with his broad neck caressingly pressed by the encircling arms of his beloveds, puts on an assortment of a summer dress" (744). “He is looked for by the ladies with longing eyes, which rush up towards him with streaming tears of joy, (the eyes) extending their delicate arms, as it were, to hold him in an embrace" ( 749 ). “ Dressed in an attractive, green apparel, put on for the special occasion of a love-tryst, they exhibit by their straight (tapering) thighs, the inside stems of plantain trees with their equipment (of fluttering, green leaves )" (755). “They look beautiful with a pair of their rounded breasts, swelling at the prospect of getting from their lover a close embrace, which look very much like a pair of wheels of the Cupid's chariot heading towards their lover” (759). “With the rays of their teeth, tinged slightly red by the rosy lustre of their lower lip, it appears as if they have white bandages, soaked in blood, tied over the wounds on their bosom inflicted by Cupid" (762). “They bathe and wash clean, as it were, even the image of their sinful lover ( reflected) in their broad cheeks, (thinking it be) polluted by his close contact with another woman " (764). “ With their bosom filled with a thick accumulation of pollen (fallen) from flowers on their ears tossed in anger, they appear to be sprinkling (healing) powder, as it were, over wounds (inflicted) by Cupid, but now in the process of getting cured" (766). “Their eyes, with eye-lashes throbbing in the tremulous grace of love's dalliance, appear to be

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(xxviii)
flying towards their lover, with the flapping ends of their caving wings ” (770). “With the rays from their bright teeth, meeting the lower lip of their lover who is sitting near them, they appear to be sipping the nectar of his mouth with tender ( straws of ) lotus fibres " ( 771 ). Playful Acts of Gallantry:
Next 23 Gāthās (773-795) are given to a description of the playful acts of the King as a gallant lover with these ladies inside the palace or in parks outside the city and in his summer-resort. “The rounded (plump) breasts of a pretty, young girl, becoming wheel-shaped on his chest under the pressure of an embrace, attained the charm of moist lotus-leaves placed on the bosom" (773). "A girl's laughter, a face with rolling eyes, cheeks pale-white like a fresh Bakula flower and buttocks with a girdle, constitute the life-breath of love's romance " (776).
Then in a Kulaka of 11 Gāthās (777-787), the Poet describes the beautiful features of the toilette and make-up of these ladies after bath. “Bright flashes a crest-decoration of flowers (of a girl) placed on the head, when moist locks of hair (after bath) have spread all along the earrings overreaching her shoulders ” (777). “The lotus-like face (of a girl) looks attractive, with saffron rouge wiped off over the lower-lip (but) preserved on the fringes and with eye-brows emerging in black lustre, having been combed with nails " (778). "The broad bosom (of a girl) presents a happy sight, with its white upper garment overspread with the glitter of the inner necklace of gems, (beautified) with a decoration of a garland of black and white flowers placed above" (780). "A saffron-shade, soft and delicate like the rising moon, shines on their faces, bristling with the lines of brownish, dotted drops of musk" (785). “Thus attracts the bevy of his beloveds breathing the

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(xxix )
fragrance of (chewed) betel leaves, mingled with the smell of wine sipped in small quantity" (781). "Thus does his eye rest on these young girls, who, in their innocence, indulged in love's continuous enjoyment (to satisfy ) their sexual desire for the first time, languid in their covert dalliance (with him )” (796). Personal Account :
Now follows an important chapter of the Gaüdavaho in which the Poet strikes an autobiographical note and gives us some details of his personal life. He tells us that “he, Bappai-rãa, ( Vākpatirāja ) a drop in the ocean of the King Yašovarman's favourites, was decorated with the distinctive title of Kavirāja (797) and that he was held in high esteem by the Poet Kamalāyudha" (798). “ His special features as a poet are but the spray-particles of poetic nectar churned out from the ocean of Bhavabhūti's (works) " (799). “ He found great delight in (the works of Bhāsa - Jvalanamitra, Kuntideva, ( Kālidāsa ) -- the author of Raghuvamsa, Subandhu and Harichandra" (800). * Scriptures, works on Grammar or Mimāmsā, Prosody, Bharata's Nātyasāstra, Gautama's Nyāya System, legendary narratives (such as Mahabharata and Purānas), as also the works of many other outstanding poets have been his source of great delight” (802). "His own graceful display of poetic speech, full of sentiment, is full of substance, brilliant and solid in thought (801) and hence his listeners, (as they hear), nod their heads in wonder, pushing down, what they have heard, to make room, as it were, for more poetic excellences that would follow" (803). A Request made :
(On one occasion) they preferred their request to the Poet to tell them about our King Yašovarman, as

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(XXX) they were seated in an assembly, to hear the life-stories of great and good men being narrated by the learned '(804).
The reasons why they made their request to him, were, according to them, the following:(A) Our King, with his nick-name 'Vigraha-tunga," is an emanation of Hari or Murāri (Visnu), who, at the time of the Universal Deluge, became the safe resort of the three worlds (805–814). . (B) This King,"in his incarnation as Kțsna, used to be carried respectfully by Garuda, the son of Vinatā, who acquired prominent glory for having shaken off multitudes of poisonous cobras” (817-826). (C) When dreadful portents, such as an eclipse of the moon and the sun, neighing of horses etc. occurred, this King had his eye-corners twitching in frowns at that time" (827-832). (D) (Like Lord Krsna), he enjoyed “the celebration of Madanotsava in the company of a band of his beloveds, indulging in novel forms of love-sports in pleasure-houses (panai-bhavana)” (837) and even the captive women of his enemies looked up to this King with impetuous longing, conjuring the image of the God of Love in their agonies of bereavement” (843).
For all these reasons," these people (assembled here) wish to be told by you, leaving no detail, (the narrative of) how the Magadha King was put an end to by our lofty monarch " (844). The Poet's reply:
Then, smiling a little, he said, “In my effort to praise our Master, my speech just wriggles and rolls round in my throat, having been choked by the distressing delight

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( xxxi)
thus appearing as if it is incapable (of the task)" (847). "Our King stands no comparison, even with the Lord of the Earth, Pṛthu, who earlier came to the rescue of the Earth when, in utter chaos, she ran away, assuming the graceful form of a cow" (848-855). "What of other kings then, insipid stories about whom, narrated in glorification, would be least entertaining" (856). "A priceless reward may fall to the lot of the people who are living such a dry and insipid wordly life, when they listen to the narration of our Master's sanctifying. merits" ( 1006 ).
Ways of the World:
C
Then in a Kulaka of 150 Gāthās, the longest in the whole Poem, the Poet dilates upon this dry and insipid "This worldly life' of his times. As Pandit observes, is one of the best and most remarkable parts of the Poem and abounds in sentiments of the very highest order." As a Poet Laurete enjoying the patronage of the ruling monarch, he must always have moved in a highly elite circle of intellectuals, nobility, courtiers, sycophants and men belonging to the rich, upper classes of the society. The varied experiences, mostly unwelcome, that he had of them in his dealings with them, left him, on the whole, a bitter man and he seizes an opportunity in this Poem to give vent to his sad feelings. He tells us how merit, even of the highest order, is always deprecated and devalued, as there is nepotism everywhere with high men in authority. There are very few good men and even these few have lost all interest in their worldly life and would rather take to the forest. The rich men, who can afford to give, are stingy, close-fisted misers. There is fraud and wickedness all round and "All this there is no such thing as happiness in life.

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(xxxii) Form in the guise of the universe is a clear manifestation of Abhāva or Non-existence, like the blue appearance of the sky, which is just an illusion of occular perception" (1005).
Such are the reflections of Vākpatirāja, as given by him in this longest Kulaka. His criticism of the society, however, is very guarded and he speaks the language of a man of caution, who cannot afford to be blunt and outspoken for fear of offending the susceptibilities of the people who count. He wants to strike, but is afraid to wound. His expression, therefore, takes a devious, roundabout, twisted turn and is at times difficult to comprehend. Here are some gems of thoughts that one would like to cull from this book of life':-“With vain, (flattering) praises, men in authority are (so played upon and) mocked by rascals, that they (begin to entertain peculiar notions about themselves, although what actual merits ( they have ) are too patent" (858). "It is surprising that kings who are so suspicious and vigilant in guarding the privacy and ) secrecy of their wealth and wives, keep a class of low people in attendance ( on themselves )” (863). Every day good men are filled with two-fold grief : that they had not (the good fortune ) to be born in an age when good men prospered and that they are now born in the age (dominated by the vile and the wicked" (872). “Bad men delight in the company of the low people, although good people are at their disposal. It is a frivolous whim of those, for whom jewels are easy to have, to wear glass beads” (917). “The misers stay away without even touching Lakşmi, although within reach by their side, looking upon her as their wife (in menses) to be avoided, having an unclean person " ( 921 ). “Attachment to

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(xxxiii) pleasures constantly throbs within, although the mind has been forcibly taken away from them. Sound, uninterrupted, is ( heard ) inside the ears, though blocked by fingers" (937). “O fool, how can there be any relaxation ( and release ) for you, when you are fastened by the bonds of love? They would only tighten up firmly on you, if you try to stretch them to extricate yourself” (942). "Is this also not love of pleasures, (prompted by which) men leave their houses full of fraud and deceipt and seek delight in the innermost recesses of the forests, abounding in perennial waterstreams”? (948). “Indeed, even his own beloved goes away from the man who has lost all his property. Does the night, with all her body (i. e. for all time ) unite with the moon, when he is not complete (with all digits ) ? " (953). “Let this tall talk of uplifting the afflicted masses stop. How is that possible for pygmies? These fellows are not capable of arranging for their own welfare even !" (955). “Since there is no respect for men who have not even an iota of wealth, although otherwise they are highly regarded for their merits, we pay our salutation to wealth! And for this reason, too, we say-Away with wealth” (969). How could these men, whose heart is always bowed low, being constantly pulled down by anxiety ( to find food) for their belly, look up with high and lofty minds, all their enterprises having come to naught?” (972) “ A man of affluence revels in special and novel forms (of enjoyment); while a man of limited extention (and addition to his property) desires only stability. The ( poor) man with no money seeks a sound body and a man with diseases is satisfied only to (breathe and ) survive" (991 ).
Talking of old age, he says, "(With age ) man's hair becomes long and gray, which, I believe, are veritable
s 3

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paths for heart's emotions now going out every day, as they came ( before)” (999). “ The bodily stoop, bending the whole body, shows by its gray hair the fact of the whole body soon turning into an alms-bowl in old age " (1000). “The old man's body gets bent in all places, bowed and pulled by the tendrils of skin-folds, the face now turned down towards the earth ( soon to be its burial place)” (1001). “Such is this selfish, sordid world full of vanity. It would be rewarding to you all, if you hear our King's sacred virtues being dilated upon.” Our King's Greatness :
To test his superhuman strength, even god Siva entered into an encounter with him, assuming a lion's forms ” ( 1007-1010). Along with heroism, he also combines in himself virtues of religiousity and benign, benevolent rule. For instance,“ The creeper-like columns of smoke from his sacrificial performances looked like the dark path of the thick fluid of ichor of the heavenly elephant of Indra, who is invoked on the earth) by his good deeds” (1013) and “ Although abiding strictly by the code of controls and restrictions ( imposed ) under his legal authority, he rules the world with their opposites (viz. love and sympathy)” (1015). He is an incarnation of Vişnu and even to-day he carries over his chest the goddess Lakşmi (1039), a gift from the ocean, when it was, in ancient days, churned by the gods and the demons to obtain nectar and Vişnu took the form of the Tortoise (1016-1038).
. 5. “ It is possible that this self-imposed metamorphosis of
Siva into a lion refers to some fancied or true encounter that Yašovarmā had with a lion ".
Pandit- Gaüļavaho '-Introduction. P. XXXVIII.

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( xxxv )
The wives of his enemies were reduced to the deplorable condition of widowhood ( at the death of their husbands), 'smitten by the King's frowns in a casual outburst of anger' (1043). Our King is thus no other than god Visnu, 'whose famous conch Pāñcajanya bears resemblence with the primordial Egg' (1044). “He is Kesava incarnate, reposing on his own glory and on Sesa" (1045). To him, in his form as Visnu, approached the Goddess of Earth in the beauty of human form', when she was in trouble from her oppressors ” (1063). Yasovarman is born in the lunar race - the race of the Lord of Night and among the many renowned kings belonging to this race, he is great and outstanding (1065). He holds a great impassioned fascination for even the captive women of his enemies (1066-69) who, 'flushed red by (the flames of) fire inside the bowl, tried (without success ) a malevolent, magical ritual to do away with him' (1071). Such is our King for the narration of whose good deeds, even a thousand mouths of the Lord of snakes would be insufficient. Who are we then for this task (1072)! But at the end of this night you may listen to the 'Mirror' reflecting the glory of the haughtiness of his arms, which put an end to that of earlier kings (1073). Now will be narrated this Gaūdavaho, "a big enterprise indeed, which, when listened to (by them ), great kings and great poets shed their pride" (1074). Evening and After :
The afternoon session of the learned men is over and the assembly disperses to meet next morning. As
6. Pandit is wrong to imagine that the earth assumed the
form of a cow to approach Vişnu, as described in Gāthas (1046–1063). The cow form is described earlier in Gāthās ( 848–855) when she approached king Pệthu.

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(xxxvi) Pandit observes, 'the refusal to narrate the story of the slaying of the Gauda king in the evening and not till next morning, is merely a contrivance to get an opportunity to describe the circumstances under which the evening (the night) and the morning present themselves to the eye of a poet, such as our Poet is ". He, therefore, describes first the beauty of the sunset" with the expanse of the sun's orb reeling down (in the west), the forest outskirts looking pleasant with flocks of pigeons returning to the trees (for rest)” (1076), “ the white cows, their udders pluinp and oozing milk, coming back from the forests lazily on account of their heavy haunches ” (1080) and “ the directions, darkened by dust at the end of the day, collecting together, as it were, drawn by their curiosity (to hear) the life-story of the King” (1106).
And now the moon-rise. “Look at the moon's orb, reddish like a big lump of candied sugar” (1114). “Flushed red with (erotic) excitement, because of his companionship with Cupid, the moon steps out with his curved bow, now fully stretched (to form) a circle under the guise of his halo-ring” (1116). "The moon's orb, reddish like the interior, navel-like cavity of a conch, bursts ( on the horizon), the red colour having been imbibed, as it were, from the offerings of wine-filled glasses, made by lovers at that time" (1118). “The moon heaves upward in a state of flickering rays, appearing as if he is holding up, suspended (in his hands), clusters of lotus-fibres, uprooted impetuously with the idea of destroying day lotuses” (1119).
After these descriptions," he reposes on his bed and surrenders himself to sleep, finding himself unable, as it were, to do the narration of His Majesty's exploits (1120), because the glories of the great just devitalise, if incorrectly narrated " (1121).

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Although in bed, he gets no sleep. He, therefore, utilises the time at his disposal till next morning to depict the 'Night Life' of lovers in a Kulaka of 42 Gāthās (1122-1163 ), fantasizing many a love-scene, mostly modelled, like that of his predecessors on Vātsyāyana's Kāma-Sūtra, which had almost served as a guide or a manual to them all. The special toilet and make-up of the young girls for this occasion (1122-1128), meeting of the loving couples and the flirtatious dalliance of these ladies (1129-1138), the couples drinking wines to-gether (1144–1148), the embrace, the kissing, sex-enjoyment and sleep afterwards ( 1151-1163) are some of the features of the Poet's description of these night-activities.
The end of the night, heralding the advent of dawn, is the theme of the next 19 Gathās (1163-1181), followed by the sunrise ( 1182–83).
The Poet has awakened by this time and having finished his morning duties, gets ready to narrate the life of the King, which is very much like the life of Canakya' (1184). The whole universe feels alerted by this great event and there follow interesting scenes of great excitement and enthusiasm on the part of the gods and celestial nymphs in the heaven (1186-89), the ascetics, the flocks of birds and all people on the earth (1190-92). "The whole surface of the sky was filled by the suspended, circling rows of aerial cars of gods, terraced one over the other " (1193).
Having thus collected in a vast, open auditorium all gods, nymphs, men, women and clusters of birds, ( as, earlier, Bhavabhūti had done for his Garbha-Nătaka in the Seventh Act of the Uttararāmacarita, called Sammelana ), the Poet starts with eulogistic address sambohana ) from other poets, almost in the manner of

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(xxxviii) Nāndi or Benediction. The moment he commenced his narration, there was perfect silence, as all people became mute and quiet. “This our King, at whose sprinkling ceremony (in celebration of his conquests, the enemies' captive queens, given the assignment of waving chowries over him, would hide their tears behind them ( 1208 ) the life of this great King, so picturesque and purifying is now being told. So listen, ye all". : Thus ends the Gathā-Pedestal of the Gaudavaho of Bappairāa, having the title of Kairāa. II. Character and Composition of the Gaüdavaho :
Such is the synopsis or a general outline of the Poem, Gaüdavaho. It can be observed that it generally satisfies almost all the requirements of Mahākävya, except one viz. that it should be a composition with well-marked divisions called Sargas or Cantos. The hero is an illustrious King. The principal sentiment is Heroism of which the hero is · Yuddha-vira', while the other sentiments like those of Love, Pathos, Disgust etc. play supplemetary or subordinate rôles with reference to the main sentiment of Heroism. The theme of the Poem is historical and it begins with homage to a number of gods and goddesses, while men of merit are deservedly eulogised and the villains duly censured. The metre of the whole Poem is Aryā or Gäthā except in Gathās 60 and 61, where the metre is Samagalitaka.? The topics treated in the Poem are :7. “Dhruva holds that the verses No. 59 and 60 (it should
be 60 and 61) have not been correctly edited and printed so far. He gives the correct reading and suggests that they to-gether form one verse of 25 Mātrās each in Samagalitaka metre". See Padyaracanāni Aitihāsika Ālocanā". Quoted from Sanskrit and Prakrit Mahākāvyas' by Ramji Upadhyāya, P.261.

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The march of the army, fights on the battlefield, description of cities and villages with their festivals, seasons, forests, mountains, sea, tracts of lands, deserts, lakes and rivers, the sunrise and the moonrise, mornings, evenings, nights, nocturnal darkness, sacrificial performance, sex-delights, water-sports, the Poet's auto-biographical-account, mythological episodes etc. and the Poem is named after a historical event of the slaying of the Magadha king. ____ It is, therefore, strange that such a big poem, which fulfils almost all the requirements of a Mahākāvya, should not have its big bulk divided topic-wise into Sargas or Cantos and it is equally surprising that in its concluding Gatha (1209) the Poet should say that “ the life of this great King, purifying, picturesque and unparalleled, will now be narrated. So, listen, ye all." In this connection, it is interesting to note how the Poet was requested by his learned friends sitting with him in an assembly, to describe to them the incident of the slaying of the Gauda king and how every time he put them off by bringing in irrelevant digression with a view to 7A. सर्गबन्धो महाकाव्यमुच्यते तस्य लक्षणम् ।
आशीर्नमस्क्रिया वस्तुनिर्देशो वापि तन्मुखम् ॥ इतिहासकथोद्भूत मितरद्वा सदाश्रयम् । चतुर्वर्गफलायत्तं चतुरोदात्तनायकम् ॥ नगराणवशैलर्तुचन्द्रार्कोदयवर्णनैः । उद्यानसलिलक्रीडामधुपानरतोत्सवैः॥ विप्रलम्भर्विवाहैश्च कुमारोदयवर्णनैः। मन्त्रदूतप्रयाणाजिनायकाभ्युदयैरपि ॥ अलंकृतमसंक्षिप्त रसभावनिरन्तरम् । सगैरनतिविस्तीर्णैः श्रव्यवृत्तः सुसंधिभि: ॥ सर्वत्र भिन्नवृत्तान्तरुपेनं लोकरञ्जनम् । काव्यं कल्पान्तरस्थायि जायते सदलंकृति॥
. काव्यादर्श I. 14-19 .

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(XL) diverting their attention from the main theme. In Gāthā 844, for instance, they request him to tell them at length how this great King killed the Magadha king'. Hearing this the Poet just smiles a bit and tells them "how difficult it is to find words to adequately praise our Master, since the very joy of it fills and chokes up the throat (847). He excels even the great king Prthu who cannot stand comparison with him " (856). Then he gives a long discourse about wordly life, the types of people one comes across and a sense of futility and frustration which life in this world breeds (857-1005). “You will, however, be cured of this sad feeling and this will be your precious reward, if you listen to the great merits of our Master being extolled by me" (1006). “To test his great strength, God Siva had once assumed the form of a lion (1011). Our King even now upholds on his bosom the goddess Lakşmi, coming out of the milky ocean churned long back by the gods and demons (1039). He is Kesava or Visnu incarnate, enveloped in his fair glory (1045). He it was who viewed and interviewed the goddess Earth when, harassed, she approached him in the form of a fair lady to tell him of her woes (1063). He is born in the race of the Moon which boasts of many an illustrious predecessor (1065). Such is this King, to describe whose greatness, even the great Snake would find it difficult with his thousand tongues (1072). How are we then competent to do so? I shall, however, tell you at the end of the night how the eastern King was killed by our Master (1073). This Gaudavaho, a great (literary undertaking,Mahārambha ), will now (i.e. next morning) be narrated by me, hearing which, both the great kings and the great poets will lose their own pride of achievements and (feel themselves small before our King and before me )” ( 1074).

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We imagine that after this assurance from the Poet the meeting must have dispersed and all his friends must have retired to their homes for evening worship, to collect once again next morning for a recital of the Gaüdavaho. It was evening time when the sun was about to set and, therefore, the Poet utilises this respite to describe the sunset, with the sun's orb on the western horizon, the twilight glow, the darkness of the night, the rise of the moon and the moon's orb in the east, at which time "all directions converged together, as it were, attracted by curiosity to hear the life story of our King" (1106). And now here rises the inoon's orb. Saying this the Poet laid himself on his bed, promising to himself to accept the almost-impossible task of narrating the great deeds of the King” (1120).
The moon-rise gives an impetus to the frenzied activities of lovers, which the Poet describes at length and in details, to await the time of the arrival of the early morning, "when the tiny stars drop down in a shower from the sky, like flowers released by gods on the occasion of the narration of our King's exploits " (1164). And then there was sunrise, the sun's orb appearing on the horizon, dispelling nocturnal darkness for good, as it were. “The Poet finishes his morning duties and feeling relieved and happy, prepares to narrate the King's heroic deeds, very much like those of Cănakya" (1184). At that time stood suspended in tiers the multitude of the aerial cars of gods who came down with nymphs to hear the narration. (1193). The court bards too started their songs of the King's praise. On such an auspicious golden day, the people, gathered, suddenly became quiet to hear him in whom, everything of the Goddess of Learning was, as it were, fully transferred.” (1206).

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( xlii)
: From what has been stated above, especially with reference to the Poet's procrastination, suggesting his obvious reluctance to grapple with the main theme of the Gaüdavaho, viz. the slaying of the Magadha king in greater details than what he has cursorily done before, it is clear that the Poet had no intention to deal with this topic in this Poem. He would rather like to reserve the matter and the material thereof for another bigger ( Mahārambha ) poem of greater magnitude. It might preferably be a continuation of the present one and might contain topics like the march and the meeting of opposing forces, the fourfold constituents of the army, namely, infantry, cavalry, elephants and chariots, their encampment, the battle-array and scenes of warfare with the use of the available weapons and missiles of those times, later culminating in the slaying of the Gauda King, whom he encounters on the battle-field. Such has been the pattern of the earlier Mahākāvyas like Rāvanavaho Kirārārjuniya and Siśupālavadha, which, for its many features, might have served as models to our Poet. In the last two Āśvāsakas, for instance, viz. 14th and 15th of the Rāvanavaho, popularly known as Setubandha, Pravarasena deals with the warfare that raged between the army of monkeys and that of the demons, ending ultimately in the slaying of Rāvana by Rāma. In the Kirātārjuniya also, the last Sarga is devoted by Bhāravi to an encounter of Arjuna with god Siva in the guise of a Kirāta or a mountaineer. The same is the case with Māgha, a competitor of Bhāravi in every respect. Vākpatirāja, too, perhaps, wanting to emulate these earlier poets, had planned his Poem on these patterns and, therefore, he ends the present Poem with an assurance in his Gāthā 1209 that 'the life of this great

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(xLii)
King, so purifying, will now be told to you all, which you will do well to listen ".
This evidently leads one to conclude that the present Poem is just prefatory or “a Prelude ", as Pandit prefers to call it. Says he?B “ It may be added that if we are to take the present poem as the whole poem and not merely as the prelude, then it is a singular one. For we have neither the name of the Gaudian king, nor that of his capital, nor the reasons why he was killed, nor the circumstances under which, nor the manner in which, he was killed. It is improbable in the highest degree that the killing of an unnamed and therefore, obscure king who is disposed of in three or four couplets, out of twelve hundred and more-most of which have no concern with him or his death -- could have given the name to the Poem which it bears "..."The conclusion, accordingly, ... is that what we now have of the poem is merely the preface or prelude, and that the real Poem, giving a full account of the circumstances under which Yašovarmā slew the king of Magadhas, has not been found, if it was ever written, or it may be, has not come down to us; and that the bare reference to and short mention, in one or two places, of the flight and death of the king of the Gaudas, before the second part of the present Poem begins, are merely made to serve as incidents, which make the learned friends of Vākpati prefer their request to him that he should narrate fully the story of the slaying by Yašovaramā; and that there is nothing either in MSS. or in the Commentary to militate against this conclusion; indeed the latter directly supports the conclusion, so far as it says anything on the subject."8
7B Pandit : Gaüdavaho' - Reprint, Pages xlvii — xlix. -78 Haripāla, commenting on the word 'zi? in Gathā
1073, explains it as - 7711 ..

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(xiv) This view of Pandit has been accepted by Bühler, an eminent German scholar, who says of the Gaüdavaho that 'the author (Vākpatirāja ) bestows as much care as possible on the accessories and gives as little as possible on real history. He gives an additional reason in support of the view of the present Poem being a prelude. Of the four MSS of the Gaüdavaho, two style the work in their colophon as 'Kahāvidham' (peranti ), one calls it Gāhāvidham' (TEtató), while the fourth MS is silent about it. Bühler observes that giate, which is Prakrit for 1917, is the title of the first or introductory Lambaka of the Sanskrit rendering of the Gunādhya's BỊhatkathā, both by Kşemendra and by Somadeva and which, therefore, must have been found in the original Prakrit work of Gunādhya. “On this analogy we may hold that our present Poem too should be an introductory part of another larger Poem. The reading hietala is perhaps a mistaken reading for कहावीढं." १
Another Geman scholar, J. Hertel, also agrees with this view of Pandit. He relies on the concluding words of the colophon of one of the MSS, which are --- $1777लंछणस्स वप्पइरायस्स गउडवहे ॥ गाथावीढं समत्तं ॥ and says that the existing Poem is but the introduction-the 41418. Its author never carried out, however, his intention of writing the real Gaüdavaho.
This view has, however, been controverted by the eminent German scholar, H. Jacobi. “He argues that if the existent work is to be looked upon as a prelude to another larger historical work, the former would have to be regarded as a very unique work indeed, without any like of it in the whole range of Indian literature. The present work is too great to have formed only one Āśvāsa, being only a little shorter than, for instance, the
9. 'Gaüdava ho' - Reprint by Utgikar, P ccxxxix.

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(XLV) Rávanavaho, the most famous Mahakävya of the Prakrit literature. If the present 1209 (or 1233 ) verses of the work were to represent only the preface, what colossal extent we shall have to postulate for the whole poem proper !! If this objection be not regarded as very serious, still there is another difficulty that confronts us. What should have led the poet to put the best part of his work (description of nature etc. ) in the body of this (presumed) preface? In the case of other poets, we find, on the other hand, this item reserved for the main part of their work and gradually worked up with the subject-matter."
"All such difficulties are removed, if we hold (says Jacobi ) that the present work was only an epitome i.e. an abridgment ( Auszug) of the original work, from which all that concerned historical incidents was dropped, as being neither of general nor of lasting interest. As an epitome of the original poem, the Gaudavaho must have come to lose its division into Āśvāsas etc., though the internal division of the subject-matter was preserved. Thus we can still recognise distinctly the successive parts of the poem :-(1) The poet's introduction, consisting of the usual Mangala and praise of poetry in general, (2) the work proper, of which, even though there are left now only the description of nature and such other secondary matter, still sufficient traces are left to enable us to formulate the general march of events, such as (a) the praise of Yašovarman (b) his triumphant march and (c) his life of enjoyment after his grand achievement and (3) as conclusion, the poet's own life. Bilhana's 'Vikramānka-devacarita' is composed on similar lines and this type seems to have been the usual one for historical poem." 10 . 10. "Gaüdavabo', Reprint by Utgikar - Introduction
P. ccxlii.

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Jacobi finds support for his argument also in the variation of the number of verses or Gāthās contained in each of the four manuscripts of the Gaüdavaho, one of which has only 1102 Gāthās, while the other three have 1235 i.e. 133 more Gāthās. Haripāla, the commentator also calls his commentary as finisiatfaisaxeeil'. Jacobi surmises that “Haripāla who, besides his father. had many predecessors, probably found in the old MSS, the colophon 17579TT i. e. an epitome of Gaüdavadha, and therefore he called his commentary na quarta1."
Pandit bases his opinion on the last Gāthā, No. 1209, to conclude therefrom that the present work is just prefatory. There is, however, one more verse in Upajāti metre noted in two MSS. The verse is as under :
करायलंछण( स्सव) वप्पइरायस्स गउड( वहम् )।
(नामे )ण कहावीढं रइयंचिय तह समत्तं च ।। Pandit also has recorded this verse in his list of various readings. Jacobi observes, “So much is certain that after V, 1209 there followed only a verse or verses, which brought the Poem to its finish and that, therefore, it is not at all necessary to hold that after V. 1209, the history proper of Yašovarman was to follow." 11
· The arguments advanced by Jacobi are quite ingenious, indeed. But it is difficult to accept his view that the present Poem is merely an epitome. His contention regarding the bulk of the, Gaüdavaho, present and prospective, has not much substance. Poets, Post-Kālidāsian, like Bāna, Bhavabhūti and others, revelled in voluminious writing, in quantity more than quality. Such has been the case, especially with Jain writers like Hari
.: 11. Gaüdava ho', Reprint by Utgikar,
Pages ccxlii-ccxliii.
Introduction.

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(xLvii) bhadra, Pādalipta-Sūri, author of Tarangavatī, Dhanapāla, the author of Bhavisatta-Kahā, not to speak of Hemacandra, who, of course, is a later writer. Prolificity appears to be the order of the day and, therefore, our Poet's aspiration to write the Gaüdavaho proper in continuation of the present one which might just be a prelude to what was to follow, is in keeping with his times. It is doubful whether he did the same. Even if he had, it has not come down to us, just like his other work, Mahumaha-Viaya, which, as he himself says that he had written, but which has failed to reach our hands. The loss of the one viz. Mahumaha-Viaya, which is a fact, is equally possible in the case of his other work which he promises to write' (1209), but which he, perhaps, could not continue, because of circumstances, mainly political, beyond his control.
His other contention that the Poet has already put the best part ( description of nature etc. ) in the present work, is not very convincing. For the prospective Gaüdavaho proper, he might have earmarked topics ( like those already mentioned above ) with a profuse padding of many, relevant, legendary episodes, culminating in the death of the Magadha king. Items like the description of nature etc. which might prove, according to the Poet, out of context there, are included in the earlier part viz. the prelude '.
Variation in the number of Gāthās contained in each of the four manuscripts can be no argument for holding the present Gaüdavaho as an abridgment. The copyists of MSS have 'their preferences and accordingly they pick and choose Gāthās as they like. Jacobi himself observes that “this or that copyist of the prevalent epitome might have put in, at their appropriate places, such verses from

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(xLviii)
the original poem as might have pleased him or such as he would not find wanting for other reasons ". One would be inclined to believe that the manuscript, which has the lowest number of Gāthās viz. 1103, may be an abstract ( Sāra ) or abridgement, while the other three MSS having 1209 (or 1235) Gāthăs, represent the original Gaüdavaho and not the epitome, as viewed by Jacobi. Since Haripāla commented on a copy of the MS which had this lowest number and, therefore, the colophon
5115THAT', it is proper that Haripāla should label his commentary as S artala1'. But he himself admits that what he is commenting upon is an earlier part of the Gaüdavaho -- call it prelude or Săra or whatever name you give - and that its continuation is yet to follow.
The additional verse in Upajāti metre, given in two MSS after the concluding Gāthā No. 1209, is invoked by Jacobi to prove that “the present work is all that we have of the Gaüdavaho, which finishes here once for all and, therefore, it is not at all necessary to hold that after Gathā 1209, the history proper of Yasovarman was to follow". This argument of Jacobi is absolutely incorrect. For one thing, the veracity or authenticity of this verse in question is in doubt. It cannot obviously be from the pen of Vākpatirāja. When he says in Gāthā 1209 that the life-story of this great King will now be told, how can he say in the same breath that the Gaüdavaho is finished ! It is like the Sūtradhāra introducing a dramatic performance with reference to its author and main characters in his prelude and later, when the curtain goes up for the main scene of the drama proper, he comes on the stage to announce that the performance is finished ! Evidently, therefore, it is from the MSS copyists. But even this verse

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( xlix )
tells us that the the Gaüdavaho, named Kahāvidham ( 97475 ) is finished, which means that the Kathāpitha part or prelude of the Gaüdavaho is finished. In this context, the reading “Gaüdavahe' (locative) suggested by Bühler appears cogent, as it will then mean “In Gaüdavaho, the kathāpītha has been finished.”
The absence of chapters or divisions like Āśvāsakas etc. can be no argument for any one to infer that the present Gaüdavaho is an epitome. No doubt, the Mahākāvyas like the Setubandha have such divisions. But, the prose compositions, like the Kādambari of Bāna or the Vāsavadattā of subandhu (whom the Poet admires ) have a continuous, undivided narrative without chapters. Līlāvatī, a Jain Mahākavya by Koūhala, a later poet, has also no divisions in it.
The reason why he has not divided the big bulk of his Poem into chapters is to be sought in the character and composition of the Gaüdavaho. His writing, as can be observed, is mainly Kulakapradhāna i.e.- in groups of verses, small and big, each group having one idea, theme or topic, loosely connected with the main story in its last Gāthā. The Kulaka is like a cavalcade or a caravan of cars, ( each unit giving one idea ), passing in a procession before our eyes, with its last unit carrying a flag to indicate whose-who or whom it belongs to. The Poet has chosen this Form, and not the conventional, uniform pattern of chapters or cantos, with the sole idea of ensuring fullest freedom for his poetic Muse, as she sallys and scars with her wild flights of Fancy, untrammelled by any restrictive norms laid down for a Mahākāvya by rhetoricians like Dandin or Bhāmaha. In this respect, we may say that like his revered Guru Bhavabhūti, he, too, is a rebel against standardisation of poetic Form.

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(L) III. King Yasovarman and His Date : “ Madhya-Deśaor Mid-India, is a valley between the Ganges and Jumna, which has been the prominent centre of Indo-Aryan civilisation. The principal kingdoms here in the 7th century A. D. were Thanesar ( Sthanvīśvara ) and Kanauj, both ruled by King Harsa. They were in fact the ancient Kuru and Pancāla kingdoms united once again, as they once were, under Janamejaya and the combination was so powerful that Harsa, like Janamejaya, easily became the emperor of Hindustan. As Harsa usually lived at Kanauj, that city rose in importance and assumed the status of the capital of India. It had already gained some importance during the days of Maukhari Kings, Išāna-Sarva and Avantivarmā, who ruled there during the latter half of the 6th century over the eastern portion of the Gangetic valley, while the Vardhanas of Thanesar established overlordship over the western. The union of Thanesar and Kanauj at once raised Kanauj to the position of the capital of India, now lost completely by Pāțaliputra. The city of Kanauj consequently acquired grandeur and accumulated riches commensurate with its dignity. When the Chinese pilgrim, Hiuen Tsang, visited it, it was already a great city. This is how he describes it13. “The city where Hinduism flourished as well as Budhism, could show more than two hundred temples with thousands of worshippers, the city 12. C. V. Vaidya - “ History of Mediaeval Hindu India ".
Pages 26 #. 13. Vincent A. Smith - “ Early History of India"
Pages 390-391. Kanyakubja, Kanyakubja, Mahodaya and Gadhipura are synonyms of Kanauj. 'Povi
H a i partighaut lagi ....... I Therajarajaro - IV. 973-974.

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(Li)
which was strongly fortified, then extended along the east bank of the Ganges for about four miles and was adorned with lovely gardens and clear tanks. The inhabitants are rich and happy and every caste rolls in wealth. Flowers and fruits abound everywhere, cultivation and harvest take place at regular time. The climate is temperate. The manners of the people are sincere and honest. The inhabitants have some noble and graceful traits of character. They apply themselves ardently to a cultivation of literature. They speak with clearness and discuss with subtlety. Later, it became also the capital of our King Yas varman and afterwards of the Gurjara-Pratihāra Kings, Mihira Bhoja and Mahendrapāla. Bāṇabhaṭṭa, Bhavabhūti, Vākpatirāja, Rajasekhara and Kṣemisvara were some of the great poets who lived in this city, enjoying the patronage of their contemporary monarchs.
Harsa's death (in 647 A.D) threw the whole country into chaos and 'produced a medley of petty states with ever-varying boundaries and engaged in unceasing internecine war'. As a result, there came on the scene a King named Yasovarman, a Kṣatriya of the lunar race (1064-65). He was a descendant of the Maukhari king Avantivarma, who reigned at Kanauj and whose son, Grahavarmā, married to the princess Rajyaśrī, was earlier murdered by a Mälava king of Ujjain. The murder was avenged by Rajyavardhana, the brother of the princess and of Sri-Harṣa, the patron of Banabhatta. The kingdom of Kanauj came to be later restored to some member of the family of his sister's late husband, Grahavarmā, from whom descended the King Yasovarman.
""
""
After1 ascertaining the (relative) strength or weakness of powers, place, time, seasons for marching, 14. R. P. Kangle-Kauṭiliya Arthaśāstra' Part II, sec 135.

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(Lii)
time for raising armies, revolt in the rear, losses, expenses, gains and troubles of himself and of the enemy, the conqueror should march, if superior in strength, otherwise stay quiet". Such was the dictum of Kautilya whose work, the Arthaśāstra, had served as a manual for all kings to follow. Accordingly, Yasovarman, after his coronation, started on his military expedition of "world conquest immediately after the rainy season (192), equipped with a mighty army, including a big force of cavalry and elephants (255-269). He crossed the big Sona river (276) and in the Vindhya mountain visited the temple of the goddess of the Vindhyas (285-347) and straightway marched against the Magadha king, who fled in fear along with his feudatory princes (414). They first deserted him, but feeling ashamed, they rallied round and gave a fight to Yasovarman, only to be defeated soon in a fierce battle (415-416). Yasovarman then chased the Gauda king and put him to death (417). He then went over to the eastern (elasurabhi) sea-shore and fought successfully with the Vangas (419-420), after which he pushed South. He vanquished the southern kings and went in the direction of the Malaya mountain (423). After this he crossed sword with the Parasikas15 (431-439) and later, collecting tribute from the two Konkanas, came to the Narmadā river (460-465). He then pushed west and going by the sea-coast (470), he crossed the desert region of Marudesa ( Marwar ) (471) and landed on the suburbs of Śrikantha
15. These Parasīkas in the South are a riddle to many. But they appear to be a reality... Parsis seem to have first gone to the further South in their flight from the Arabs about this time i. e. 700 A. D. before their coming to and finally settling on the Gujrat coast. C. V. Vaidya - History of Mediaeval Hindu India.'
Vol I-P. 343

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or Thanesar (484). From there he reached Kuruksetra (494), the famous battle-field of the Kaurava-Pāndava war and then came to Ayodhyā (495–508), where in just one day he built a magnificent temple (509) and received precious presents from the people (509-10). Afterwards he went North in the Himalayan region (511) and subdued the petty chiefs of the Himāchala territory. This marked the end of his expedition, which he celebrated in joyful festivity, along with the soldiers of his army (694).
Such is the description of Yasovarman's digvijaya, recorded by Vākpatirāja in his Poem. It is highly poetic, but as Dr. Mirashi says, 16 it is mostly a fictionalised piece of narrative, mentioning no names of kings defeated, nor any dates thereof. It is, of course, modelled on similar descriptions of conquests given by Kālidāsa in his Raghuvamsa (canto IV) and by Harişena the Poetlaureate of Samudragupta, as recorded in the form of an inscription, which, we may presume, must have been seen by our Poet at Allahabad. He had also probably before him an account of king Srīharşa's campaigns of the earlier century to help him in this respect.
The Magadha king, very probably the same as the Gauda king, might have been, according to Dr. Mirashi, Jivita-Gupta II, who gave for a sun temple the grant of a village named Värunika, now known as Deva-Varunārka, situated in Bihar. There is no doubt that Yasovarman had subjugated the Magadha country. There is an inscription) at Nāland, which gives the following description of Yašovarman :
16. Mirashi — 'Bhavabhūti' - Pp. 20-21. 17. Mirashi- Bhavabhūti'-P-21.

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(LiV) सर्वेषां मूग्निं दत्त्वा पदमवनिभृतामुद्गतो भूरिधामा निस्त्रिशाशुपतानप्रदलितनिखिलारातिघोरान्धकारः। ख्यातो यो लोकपालः सततवसुमतीपद्मिनीबोधहेतुः श्रीमान भास्वानिवोच्चैस्तपति दिशि दिशि श्रीयशोवर्मदेवः ।।
“Here blazes high, in every direction, the famous King Yasovarman, of great refulgence, who, stepping on the heads ( tops ) of all kings (mountains ), destroyed with his quick-projecting sword all his enemies ( dreadful darkness) and caused the awakening of the whole earth (lotus-plants )”. He is also supposed to have founded a town called Yasovarmapura, to commemorate his victory over the Magadha king and the annexation of this country into his own kingdom.
History records Yasovarman's conflict with king Muktāpīda alias Lalitāditya of Kashmir. He belonged to the Karkoța or Nāga dynasty and spent most of his life in expeditions of conquests. According to Kalhana, the author of the Rājatarangini, he conquered most of the eastern kings and those in the Antarvedi or the region between the two rivers, Gangā and Yamunā. After the defeat of the eastern kings, the first bloodless victory he had was over the King Yasovarmā of Kanauj, because
this King showed what was the best thing to do, when he turned his back on Lalitāditya and became his obedient servent'. Peace was made between the two, much against the wishes of Lalitāditya's minister of peace and war and his soldiers too felt dissatisfied that a treaty was effected before their desire of fighting a longer battle was gratified. At the same time the allies of Yasovarman took up a bellicose attitude and showed fight. Lalitāditya, therefore, deposed the king of Kanauj and rewarded his own minister with five great titles. Yasovarman, under

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(Lv) whose patronage were the poets, 18 Vākpati, Bhavabhūti and others, became a dependent of Lalitāditya, employed in proclaiming his praises like a court bard.' Thus the land of Kanauj, from the banks of Yamunā to the banks of Kālikā, came under his sway, 'appearing as if it had been a yard attached to his house. ' 19
There is no reason to disbelieve the account about Lalitāditya, as recorded by Kalhana in his Rājatarangini. As Pandit observes20 he is a safe witness as to the main facts of his narratives, not only as a compiler or chronicler of accounts which he found in the old chronicles, but even as a critical and discriminating historian. We may, therefore, safely accept as true, without any doubt, the following facts: that Yašovarmā was a contemporary of the king Lalitāditya of Kashmir ; that Vākpati and Bhavabhūti were poets at his court; that Yasovarmā did not, when attacked by Lalitāditya in his expedition of conquest, come out successful, but had to become his vassal, if, indeed, he was not entirely deprived of his throne and that a treaty to this effect was made between the two.' .
As mentioned by Kalhana, it appears that Yasovarman was:a poet of no mean order. There are stray verses ascribed to him in the anthologies viz. the Sūktimuktavali, the Subhaşitāvali and the Sārngadharapaddhati. In his introduction to the edition of Subhasitāvali, Peterson makes a mention of a drama, called Rāmābhyudaya, written by Yasovarman, “which must have been a 18. ffaafaqfarisxia Fatleafaa: 1 जितो ययौ यशोवर्मा तद्गुणस्तुतिबन्दिताम् ॥
Taatferuit. IV. 134 19. Tatieruit - IV. 126-145. 20. Pandit - Gaüdavaho,' P. Lxxii.

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widely known play, as the numerous references to it and quotations from it in works of poetics and dramaturgy show."21
The question of the date of Yasovarman is closely linked with that of Kashmirian king Lalitäditya, whose contemporary he was. According22 to the Rajatarangini, Lalitäditya must have come to the throne in 693 A. D. He is recorded to have reigned for 36 years, 7 months and 11 days, between 695 A. D. and 732 A. D. Accordingly, his conquest of Kanauj and destruction of the sovereignty of Yasovarman, if that was really achieved, must have occurred in the first 10 years or so, of the 8th Century, if not earlier. Accordingly, Yasovarman must have reigned in the latter part of the 7th and the first part of the 8th century. As we must suppose that he had finished his own expedition of conquest and slain the king of Gaudas, before he was himself overthrown by Lalitäditya and, as Lalitäditya's victory over him was one of the earliest achievements of that sovereign, it would follow that some considerable portion of his reign must have fallen in the latter part of the 7th century Yasovarman may have had a long reign, beginning from some date anterior to A. D. 693 and ending by some years after A. D. 744. He may have continued to reign as a vassal of Lalitaditya after his subjugation by that king and to reign even after the death of that king". This is Pandit's view.
In his book Ancient Geography of India', General Cunnigham, however, relying on Chinese sources, had adopted a correction of 31 years, so that the accession of Lalitäditya, according to him, falls in A. D. 724. Professor G. Bühler and Professor Max Müller also have accepted
66
<

21. V. Raghavan-Some old lost Rāma Plays' P. 1. 22. Pandit Gaüdavaho-Pp. xcv xcvi also P. LXXXV.
-

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this correction. Dr. R. G. Bhandarkar23 too accepts this view. In his book Early History of India !, Vincent Smith24 records that Muktāpida, also known as Lalitaditya. received investiture as king from the emperor of China in 733 A. D. This prince, who is said to have reigned for 36 years ......... inflicted a crushing defeat upon Yasovarman about the year 740 A. D. According to Jacobi, Gaüdavaho verses 827-832 mention certain portents that took place in the world. Among them, V. 829 mentions an eclipse of the sun ; and this, Jacobi states, was visible according to astronomical calculations, on 14th August 733 A. D. In V. 832, he accepts the reading णियय-पय-भंग of a MS. instead of Pandit's-'भूलयाभंग' and this along with the earlier words Furnacêu, are interpreted by him to mean' shaking of his position (1) that was brought about in a moment or temporarily'. This, according to him, obviously refers to the invasion of Lalitāditya against Yašovarman, which must have taken place after he (Yasovarman) had returned from his expedition against the Gauda King.
“The dates25 of Lalitāditya's reign being thus ascertained to be 724 to 760 A. D., Yasovarman's reign may generally be said to cover the second quarter of the 8th century. His defeat by the king of Kashmir will have to be placed in 733 A. D. before which Yaśovarman must have defeated the king of the Gaudas. Yašovarman had sent an embassy to China on his own behalf in 731 A. D. and later when Lalitāditya sent a similar embassy to China in 736 A. D., he claimed Yaśovarman as his ally. This fact shows that Lalitāditya had defeated
23. Bhandarkar-Mälati-Madhava. P. ix. 24. 'Early History of India'. P. 386. 25. 'Gaüļavaho'-Introduction P. ccLviii.

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Yasovarman in 733 A. D. and instead of annexing the Kanauj territory, had formed an alliance with him. In the words of Kalhana, the kingdom of Kanyakubja came under the control of Lalitãditya as if it were the yard of his house".
66
This view has been accepted by Dr. Tripathi and Dr. P. V. Kane also. According to Vincent A. smith,26 'Yasovarman, the earliest known king after Harṣa's death, who sent an embassy to China in A. D. 731, was later dethroned and slain by Lalitäditya Muktāpiḍa of Kashmir, nine or ten years after i. e. in 740 A. D. Dr. Mirashi27 also accepts 740 A. D. as the year of Yasovarman's defeat and not 733 A. D. as suggested by Jacobi and other scholars. He thinks that no poet, especially a poet like Vākpatirāja, who enjoyed the patronage of the ruling monarch, would describe the defeat of his master in his Poem. The descsiption given by him, therefore, might refer to the defeat of other kings who were his enemies. The commentator Haripala also has suggested the same thing. Commenting on Gatha 829, he saysयस्यां दिशि कुपितो यशोवर्मा भवति तत्र विनाशस्य सूचका उत्पाता हराविव जगत् प्रलये। द्यते भवन्तीति तात्पर्यार्थः ।
The Jain works like the Bappabhaṭṭti-Sūricarita, the Prabandha-Kosa and others also help in fixing the duration of the reign of Yasovarman. The Prabandha-Kosa mentions that Muni Bappabhatti converted King Amarāja to Jainism in Vikrama Samvat 807 (A. D. 754). Āmarāja was the son of Yasovarman who, as these Jain works record, was already the ruling monarch in Vikrama 800 (A. D. 743). Later when Amaraja came to the throne, he honoured Bappabhatti with the title of a 'Suri' in 26. V. Smith - Early History of India'. P. 392. 27. Mirashi - Bhavabhuti' - P. 24.

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Vikrama 811 (A. D. 754). This means that Yašovarman must have died some time about 754 A. D. We may therefore, put the reigning period of Yasovarman between 725 A. D. to 752 A. D.28
IV. Vākpatiraja-Some Personal Details and his Date:
Speaking about himself in his autobiographical account (797-804), Vākpatirāja gives the following particulars :
(i) A Poet at the court of Yasovarman, whose favourite he was ( Panai-lava), he was honoured by him with a distinctive title of Kavirāja.
(ii) The revered poet Kamalayudha, his contemporary, held him in high regard.
(iii) He owes a deep debt of gratitude to the great poet Bhavabhūti, since, whatever good points may be found even to-day in his (own) voluminous (Viada) compositions, are like the spray-particles of poetic nectar, (obtained by churning) the ocean of Bhavabhūti's literature.
(iv) Bhasa-Jvalanamitra, Kuntideva, Kālidāsa, the author of the Raghuvamsa, Subandhu and Haricandra, were his great source of delight.
(v) He was well read in scriptures, grammar, Prosody, Natya-Sastra, Nyāya-Śāstra (logic or dialectics), legendary narratives like the Mahābhārata and Purānas and works of many great poets.
(vi) He commanded a large circle of learned friends and admirers, whe loved to listen to his poetic utterances with wrapt attention, nodding their heads in appreciation".
66
28. Mirashi - Bhavabhūti - P. 6.

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( LX )
Other Sources :
Peterson in his Introduction to the edition of the Subhāṣitāvali of Vallabhadeva observes - "Vākpatirāja is stated to have been the son of Harṣadeva. The following verse has been quoted in this anthology::
घनोद्यानच्छायामिव मरुपथाद्दावदहनातुषाराम्भोवापीमिव विषविपाकादिव सुधाम् ।
प्रवृद्धादुन्मादात् प्रकृतिमिव निस्तीर्य विरहालभेयं त्वद्भक्तिं निरुपमरसां शंकर कदा | No 3114 श्रीहर्षदेवात्मज वाक्पतेः ।
That Vākpatirāja was a prince as well as a poet is evident both from the passage in the Rajatarangini and from the following reference to him, found in Halayudha's commentary on the Pingalasūtras
स जयति वाक्पतिराजः सकलार्थिमनोरथकल्पतरुः । प्रत्यर्थिभूतपार्थिवलक्ष्मीहठहरणाद दुर्ललितः ॥
--
Halayudha's verse is quoted in the Dasarūpāvaloka with the note that the king referred to is Muñja. According to a statement in the Yasastilaka, Vākpatirāja was thrown into prison by Yasovarman and there, like James I of Scotland, composed his poem. " The poet Soḍdhala in his Udayasundarikahā also mentions him as one born in a royal family
सामन्तजन्माऽपि कवीश्वराणां महत्तमो वाक्पतिराजसूरिः । छाययाऽप्यन्यमपीडयन् सन्नुत्पादयत्यर्थमनन्यदृष्टम् ॥
In the Subhāṣita-ratna-bhāndāgāra, the following verse is ascribed to Harṣadeva

यातोऽस्मि पद्मनयने समयो ममैष सुप्ता मयैव भवती प्रतिबोधनीया । प्रत्यायनामयमितीव सरोरुहिण्याः सूर्योऽस्तमस्तकनिविष्टकरः करोति ॥ P. 295 / v. 50

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( lxi) In the Introduction of the Subhāşita-Ratnākara, Kosambi and Gokhale say : “ Vākpatirāja is generally taken as son of Harşadeva and author of Gaudavaho and court Poet of Yasovarman. He is highly praised by Yogeśvara, who appears to be a Păla court poet, best appreciated for his verses on country scenes. He himself praises Bhavabhūti, Bāna, Kamalāyudha, Kesata and Vākpatirāja, which may be the chronological order. The verse is as follows:
उन्नीतो भवभूतिना प्रतिदिनं बाणे गते यः पुरा यश्चीर्णः कमलायुधेन सुचिरं येनागमत् केशटः। यः श्रीवाक्पतिराजपादरजसां संपर्कपूतश्चिरं दिष्टया श्लाध्यगुणस्य कस्यचिदसौ मार्गः समुन्मीलति ॥
No. 1733-P. 298
These anthologies also contain many stray verses ascribed to Vākptirāja.29 Jain Sources :
Mention of Vākpatirăja with reference to his association with Bappabhatti-Sūri and Ama, the son of Yašovarinan, is to be found in some Jain works. They are :-- Bappabhatti-Sūri-carita, which gives an account of the life of Bappabhatti, mentions the following details30 regarding Vākpatirāja :
(i) Vākpati, a great poet, born in the royal family of Paramāras (Powars), was present during the discussions that took place at Lakşanāvati between Bappabhatti-Sūri on the side of king Ama and the Buddhist scholar Vardhanakuñjara, sponsored by king Dharma. Vākpati,
29. See Appendix. 30. Pandit-Gaüqavaho-Introduction, Pp. cxxxviii to cxLi.

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(Lxii) at the instance of his old friend Bappabhattisūri, played a trick and forced his opponent Vardhana-kuñjara to spit out by gargling the magic pill in his mouth and thus helped him to win his debating contest; as a result of which, in accordance with the agreement, king Dharma was forced to surrender his kingdom to king Ama. The Buddhist scholar complained against the treacherous conduct of Vākpati to king Dharma. In consideration of his long services, however, the king pardoned his servant, the Poet.
(ii) Afte some time, Yasodharmā, the king of a neighbouring country, defeated king Dharma of Laksanāvati in battle and took possession of his kingdom. He threw Vakpati into prison, where he wrote his Mahākāvya in Prakrit, called Gaudavaho and showed it to king Yasodharmā. The king, who was a good judge of merit, liberated the poet and begged his pardon. Being thus honourably set free, Vākpati went to Bappabhatti and became his great friend.
(iii) Bappabhatti had a great influence over king Ama, who was converted to Jainism by him. This king once asked Bappabhatti to see if he could bring about the conversion of Vākpati, who was then living at Mathurā as a Sanyāsin, practising austerities in the Varāha temple. Bappabhatti succeeded in his effort to make a convert of Vākpati to Jainism, because when he saw the image of Pārsvanātha in the temple built by king Ama, he was so impressed that he gave up his belief in Brahmanism and became at once a Jinarşi of the Svetāmbara sect. As he was old, he practised fast unto death (Anasana ), expired and went to the heaven. Bappabhatti was born in Vikrama 800 ( A. D. 744 ) and died in Vikrama 895 ( A. D. 839).

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(Lxüi)
Pandit mentions another Jain work 'Prabandhakośa', from Rājasekharasūri, in which, among the many lifestories, is that of Bappabhatti. We are told in this work that while Bappabhatti was being educated by his teacher Siddhasena, at Modherakapura, a young prince named Ama was also there, being taught the 72 arts and sciences along with him. Ama was the son of King Yašovarmā of Kanyakubja reigning at Gopālagiri-durga (Gwalior ), by Yasodevī, who, not being a favourite of her husband was abandoned by him. He was born during her banishment and was brought up by Siddhasena. After his mother's and his own restoration, he was expelled by Yašovarmā, because he was a spendthrift. He thus came a second time to Modheraka and it was during his second stay at that place that he was being educated as above. Yašovarmã was soon taken ill and when on the point of death, he sent for the Prince, at the instance of his ministers, that he might be crowned king in succession to himself. Some time after Ama began his reign at Gopagiri, he sent for his friend Bappabhattı......and made him the chief of the learned people at the court of Gopagiri. While Bappabhatti was at Gopagiri, he happened to take offence at some thing done by the king and at once left Ama's court and came to Laksanāvatī, where king Dharma was reigning. The poet Vākpati, who was in the service of king Dharma, assisted Bappabhatti to get an honorable welcome for him from the king Dharma. Soon afterwards, Ama regretted and brought him back to his court ... ... ... Vāk pati is called Prabandha-kavi, writer of Prabandhas or biographical poems. The other details, viz. the invasion by Yasodharmā, the defeat and death of Dharma and the appropriation of his kingdom, Vākpati's incarceration etc. are the same as in Bappabhatti-carita. Vākpati is liberated by Yasodharmă,

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(Lxiv) when he shows him his poem Gaudavadha, which he wrote in prison. He then goes to Gopagiri-durga, where he writes his great Prakrit Poeni Mahumahaviyayo and shows it to Ama, who rewards him with one lakh of gold pieces. Afterwards when Vākpati was living the life of a strict reciuse at Mathurā, he was converted to the faith of Jina by Bappabhatti.",
The Prabhāvaka,-charita, composed by Prabhācandra-sūri and revised by Pradyumna-sūri, is merely an amplification of the Prabandha-kośa of Rājasekhara, except that Yašovarmā is described here as having descended from and being a bright ornament of Chandragupta. As in the Prabandha-kośa, the composition of Mahumahaviyayo is wrongly placed after that of the Gaudavaho. After Vākpati was set at liberty and left the prison at Laksanavatī, he came, however, to Kanauj and not to Gopagiri. There he was liberally patronised by Ama. Āma thought he was fortunate in having Vākpati at his court. There is no allusion to his having ever been at Kanauj before, or to his having been connected with Yašovarmā.
The other two Jain works viz. Tirthakalpa and Găthāsāhasrī of Samayasundara are also mentioned by Pandit for their references to Bappabhatti-suri.
According to Pandit31, however, these 'ain sources cannot be relied upon, since they do not agree as to the dates and the whole story of Bappabhatti and also for the fact
that they give to Ama an extraordinary reign of much more than eighty years and a life of over one hundred years...! The whole story of the life of Bappabhatti is little better than a fabrication intended to show how easily he
31. Pandit-'Gaüqavaho '--Introduction, Pp. clviii to clix.

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(LXV)
converted such great kings as Āma, defeated such learned scholars as Vardhanakuñjara and made even such poets and sanyasins as Vākpati abjure their faith and become Jains, when they were on the point of death...The story is told as if there were no connection between Vākpati and his friend and patron Yasovarma, the great King of Kanauj and father of Ama, although it is that King whom he has eulogised in his poem and whose achievements he has celebrated... All the credit that the Jain stories have a right to claim is, that king Ama was, perhaps, the son of Yasovarma and was known to have been one who favoured Bappabhatti... He also favoured the Jains, that the poet Vakpati was known to them, that his works were read and admired by them and that he was believed to have lived about, not at, the time of Bappabhatti.
99
The detailed discussion given above regarding the Jain notices of Vākpatirāja and incidentally about his patron King Yasovarman clearly prove how unreliable and biased they are and therefore not very helpful from the historical point of view. In their enthusiasm to glorify the Jain faith, every distinguished personality of repute in Hindu mythology or Indian history has been dragged and twisted by the Jain writers in the network of their stories and very clever and ingenious attempts have been made by them to show how, coming under the influence of great Jain teachers, they ultimately succumbed and got converted to the Jain Faith, abandoning their previous allegiance to their earlier religion. The great writer, Vimalasūri, for instance, in his Pauma-cariya accused the Poet Valmiki as a big fraud, who gives a pack of lies in his Rāmāyaṇa and in his zeal for Jainism has depicted the hero Padma i. e. Rāma as a pious Jaina layman, finally attaining perfect knowledge and entering
s 5

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(Lxvi)
Nirvāna! This was because, probably, many of the teachers like Haribhadra were previously learned, erudite Brahmins, well read in all branches of the Brahmanical knowledge, before they themselves became zealous converts to the Jain Faith
Be that as it may, we cannot escape the conclusion that there were reverses in the fortunes of Vākpatirāja, in the latter part of his life. He had, no doubt, endeared himself to his patron King Yašovarman by his earlier Poem, Mahumahavijaya, which, although apparently in praise of the god Vişnu, must have had a slant suggestion of the glorification of Yašovarman, who, even in the Gaüdavaho, is often referred to as an incarnation of that great God. The Poet, it appears, was still basking in the sunshine of his patron's favours when he wrote of his Gaüdavaho, the Gāhāvīdha, or the 'Pedestal'. The drastic, revolutionary events that followed later on, namely, the defeat of Yasovarman by Lalitāditya and his consequent humiliation, disturbed the whole tenor of the Poet's peaceful life, forcing him, perhaps, even to migrate and seek refuge elsewhere. All this must have chilled his enthusiasm to write anything further in continuation of the Gaüdavaho, since the very hero of this Poem had fallen in disgrace. Further32 misunderstandings between the two must have led to a wider rift in their relations, resulting, perhaps, in the incarceration of the Poet, as the Jain sources, especially the Yaśastilaka, indicate. Such had been probably the decline and the tragic end of the Poet's career. 32. The relations between the king Yaśovarman and his
son Āma do not appear to have been very cordial. It might be that the closer association of Vākpatirāja with Ama, as suggested by the Jaina sources, caused further estrangement between the two.

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(Lxvii)
Among his predecessors and contemporary writers, Vākpatirāja mentions Bhāsa-Jvalanamitra, Kuntideva, Raghukāra, Subandhu and Haricandra ( Harianda ). The epithet Jvalanamitra for Bhāsa, according to Dr. Winternitz, is quite appropriate. “The33 appearance of Agni in human form, as also the mention and the description of conflagrations and fires in a number of his Plays are sufficient to justify this epithet”. No information is available about Kuntideva, who remains an unknown figure. Raghukāra is, of course, Kālidāsa, the author of Raghuvamsa, a Mahākāvya, which Vākpatirāja has drawn upon for the description of his King's Digvijaya and of the desolation of his enemies' cities. The epithet 'Raghukāra' for Kālidāsa appears to have been popular in those days, as can be seen from the following verse in Sadukti-Karnāmsta :
सुबन्धौ भक्तिर्नः क इह रघुकारे न रमते धृतिर्दाक्षीपुत्रे हरति हरिचन्द्रोऽपि हृदयम् । विशुद्धोक्तिः सूरः प्रकृतिमधुरा भारविगिर
स्तथाप्यन्तर्मोदं कमपि भवभूतिर्वितनुते ॥ Who is this Haricandra ( Harianda ), who was such a great delight to Vākpatirāja and who has been mentioned as the captivator of hearts' in the verse, quoted above? In the Harşacarita, Bāna mentions one Bhattāra Haricandra34 " whose prose-coniposition stands 33. See 'Bhāsa, a study' by Pusalkar P. 44.
Also note the following verse, attributed to Rājasekhara in Sūktimuktāvali :भासनाटकचक्रेऽपि छेकैः क्षिप्ते परीक्षितुम् ।
स्वप्नवासवदत्तस्य दाहकोऽभून्न पावकः ।। 34. qaputcast and Faxaferra: 1 भट्टारहरिचन्द्रस्य गद्य बन्धो नृपायते ॥
arafta 1.4

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(Lxviii)
6
6
pre-eminent as a sovereign, luminous with its employment of words, delightful and preserving rigidly the traditional rules of letters'. Bhaṭṭāraka, an honorific title, was much in vogue among the earlier Jains and referred to those who abandoned the worldly life. But the work of Haricandra, which, according to Bāna, was like a king among prose compositions', is perhaps irretrievably lost to us and we have no means to ascertain the age when Haricandra lived. There is another Haricandra, Vaidya-Haricandra noted by Peterson. 'He is a physician, who wrote a commentary on Carakasamhita and is mentioned by Maheśvara,35 author of Viśvakosa, among his ancestors. A third Haricandra, the writer of Dharmasarmābhyudaya-Kāvya has been discovered by Peterson. He is the son of Ardradeva and Rādhā. Jacobi, in his article on Magha and Bhāravi, has drawn attention to the remarkable coincidences in language and thought between certain passages of the Dharma-sarmābhyudaya and the Gaüḍavaho and he comes to the conclusion that this Haricandra positively borrowed his ideas from and slavishly copied the style of Vākpati and, therefore, this Haricandra must be younger than Vakpati.... We must, therefore, hold that Haricandra referred to by Vakpati is the same Haricandra as mentioned by Bāna.
Subandhu, referred to by Vākpatirāja is the author of Vasavadattā, a prose composition like Bana's
35. The subhāṣitāvali gives the following verse on his
name:
अव्यापाररता वसन्तसमये ग्रीष्मे व्यवायप्रियाः
सक्ताः प्रावृषि पल्वलाम्भसि नवे कूपोदकद्वेषिणः ।
azraturan: arafayat kurafagiser: स्वैर्दोषैरपचीयमानवपुषो नश्यन्तु ते शत्रवः । No. 2547

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( Lxix )
Harsacarita, famous for his 'pun on every word ' . 36 According to Dr. Bhandarkar, Subandhu, who comes after Bhavabhuti, wrote his work in the first quarter of the 8th century, sometime after Bhavabhūti had composed his Mālatīmādhava.
The two other poets mentioned in the earlier Gāthās ( 798 and 799 ) are Kamalāyudha and Bhavabhūti. The respectful reference made to him by Vākpatirāja, especially the word 'carana' used as a suffix after his name, clearly indicates the high regard the Poet has for him, almost as that for a teacher. The anthologies give the following verses, ascribed to Kamalayudha :
लघुनि तृणकुटीरे क्षेत्रकोणे यवानां नवकलमपलालस्रस्तरे सोपधाने । परिहरति सुषुप्तं हालिकद्वन्द्वमारात् कुचकलशमहोष्माबद्धरेखस्तुषारः ॥
सुभाषितरत्नभाण्डागारे - 346125
हंसानां निनदेषु यैः कवलितैरासज्यते कूजतामन्यः कोऽपि कषायकण्ठलुठनादाघघरो निस्वनः । ते संप्रत्यकठोरवारणवधूदन्ताङ्करस्पर्धिनो निर्याताः कमलाकरेषु विसिनीकन्दाग्रिमग्रन्थयः ॥

सुभाषितरत्न कोषे - P. 52
करिकवलितमृष्टैः शाखिशाखाग्रपत्रैररुणसरणयोऽमी भीषयन्तेऽकुनैः । चलितशबर सेनादत्तगोशृद्गचण्डध्वनिचकितवराहव्याकुला विन्ध्यपादाः ॥
सुभाषितरत्नकोषे - P. 274
36. प्रत्यक्षर श्लेषमयप्रपश्च विन्यासवैदग्ध्य निधि प्रबन्धम् । सरस्वतीदत्तवरप्रसादश्चक्रे सुबन्धुः सुजनैकबन्धुः ॥

- वासवदत्ता.

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(LXX)
(6
are mere
The great poet Bhavabhūti, in whose foot-steps Vākpatirāja3 followed with the title of Kaviraja at the court of his patron Yasovarman, is also mentioned by him with great respect. "Whatever good things are still to be found in my poems", says the Poet, drops of nectar obtained by me, as they fell out from the ocean of Bhavabhuti ( his poetry "). The word 'ajjavi' (still) suggests that Bhavabhuti was not alive when Vākpatirāja wrote this Gāthā or when he wrote his big, voluminous (viada) Poem. "It appears clear that Vākpati had been in his youth, either a pupil or a personal admirer of Bhavabhūti, who was alive then but had died since, i.e. the Gaüdavaho was written after his death "3 Dr. Belvalkar observes: 'We are probably justified in concluding that Bhavabhuti's connection with the court of Yasovarman fell in the earlier part of that monarch's reign and that the dramatist was somewhat earlier than Vākpatirāja39".
The question arises: Among the past writers of repute, why has Vākpatirāja not mentioned famous poets like Bāṇa, Bhāravi, Māgha and even Pravarasena, the author of the Rāvanavaho (Setubandha), a Prakrit Mahakavya, on which is modelled his own Prakrit Poem, the Gaüdavaho? The omission is, no doubt, surprising and significant. While discussing this point, Prof. P. V. Kane remarks : "It is curious to note that while
37. Mirashi thinks that the relationship of Bhavabhūti with Vākpatirāja might have been that of a 'friend' philosopher and guide, 'from whom he obtained suggestions from time to time, as he read out his poetic writings to him. Mirashi-" Bhavabhuti '-P. 81. 38. Pandit- Gaüdavaho -Introduction, P. IXVI. 39. Belvalkar-Rama's Later History' P. XIVI

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(Lxxi ) Vākpatirāja mentions the work of Subandhu in the same breath with Bhāsa and Kālidāsa, he is silent as regards Bāna, who wrote a prose work similar to Subandhu's. What then is the natural conclusion? It is that when Vākpatirāja wrote, Subandhu was a famous author, while Bāna was yet unknown to fame". Prof. A. B. Gajendragadkar, however, does not accept this view. He observes40 : .“We may guess at a probable reason why Subandhu's work delighted Vākpati ...... In the days of Vākpati, Subandhu was quite a modern author and in that age which was marked by a deterioration in men's ideas about poetry and poetical excellence, his work with its pun on every word', must have created some commotion. Vākpati read it and, being a child of his times, he found great delight in Subandhu's puns and mentioned his work in his Gaudavaho, while speaking of his education.” “The word ' Ānando ' in Gāthā 800 is quite significant. While the writers mentioned by him in this Gāthā were to him a great source of delight, the other writers, although his predecessors, did not much appeal to him and hence not mentioned by him. V. The Date of the Comyosition of the Gaudavaho :
According to Pandit, the Poem was composed years after the destruction of the Gauda king, mainly at the instance of his friends and admirers and not at the bidding of the King Yašovarman, nor because he felt inspired to write it. His reasons for this view are :
(i) In G. 797, Vākpatirāja speaks about himself as ' a poet, having the title of Kavirāja and one who was (ūsi ) an humble favourite of the King. The past tense 'was ’ is quite significant. 40. Gajendragadkar — Introduction to Harşacarita'
Footnote (e) P. XXIV

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(Lxxii)
(ii) In G. 844, the learned men seated in the assembly (804) propose to him: "We wish to hear being told by you, at full length (nisesam ), the death as it was formerly accomplished, of the king of the Magadhas by our lofty monarch ". The adverb 'pura' in addition to the past passive participle 'nitthavio' indicates that many years had passed after the death of the Magadha King.
(iii) In the next Gāthā (845) we read that he (Vākpati), gently smiling and manifesting goodness, spoke as follows:- the hearts of the pure are ever opposed to the spirit of cavilling (Kaiava)". This implies that because of the innate goodness of his heart, he would not hesitate to comply with their request, although the King had suffered in the estimation of his people through his defeat at the hands of the king of Kashmir. Whatever, therefore, other people thought, he would not raise any frivolous objections and would gladly comply with their
request.
(iv) In Gāthā 1204 we find that from among the Poet's interlocutors, the bards and other poets sing a panegyric of Yasovarma, which ends in G. 1204 thus
66
In this manner at that moment were uttered by the poets, praises of the virtues of the monarch, which, though really absent, appeared to be present, because they were imagined to have presented themselves." This, according to Pandit," is almost conclusive to prove that Yasovarmā was dead at that time, as otherwise the virtues of a living monarch could not be spoken as absent by his own subjects and, in all probability, by his dependents.
6
41. Note that Gatha 1194 of this panegyric tells us that the Gauda king was put to death by the king by cutting his throat with sword in a hand-to-hand encounter.

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(Lxxiii)
(v) In Gāthā 113 we are told that "the young wives of gods, in whom the passion of love was excited by the pleasure they felt at the sight of his fighting on the battlefield, are, I believe, still love-sick in their hearts." The expression' still' can only refer to a state of circumstances under which any fighting by him had become impossible i.e. he had been dead.
"The above considerations says Pandit 42 "lead us to infer that the Gauḍavaho was probably written in the first quarter of the 8th century or between A. D. 700 and A. D. 725, for at that time Yasovarman must have slain the Gaudian king, long before he was himself deprived of his throne by Lalitaditya, which event must have occurred, if it did occur, in the very early part of the 8th century, as it was the first exploit of the Kashmirian king after he came to the throne in A.D. 695.
39

The arguments advanced by Pandit to prove that the Gaüdavaho was written long after the death of the Magadha king by Yasovarman and also after his own defeat at the hands of Lalitāditya and perhaps his own death also, are not at all convincing. The reasons given by him may at the most go to prove only one fact viz. that the composition of the present Gauḍavaho was done by Vakpatirāja some years after the memorable event of the slaughter of the Gauda king in the course of the King's Digvijaya. But even after many years the event of the Gauḍavaho was so fresh in the minds of his subjects that the Poet had at last been prevailed upon by his learned friends to take up the writing of this Poem in commemoration of the event. The words indicative of the past tense, like 'āsi' and 'purā', only go to prove that 42. Pandit-Gaüdavaho-Introduction. p. xcvi to c.
33

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the Gaüdavaho was composed years after the heroic event of the killing of the Magadha king and nothing more. If he was, for instance, the 'King's favourite' before, he continues to be so even now, as much as he continued to be the 'Kaviraja' at his court, which certainly was not a thing of the past, when he wrote the Gaüḍavaho. We would, therefore, hold that Yasovarman was at the zenith of the glory, when Vākpatiraja wrote the present Gauḍavaho i. e. only the Prelude. Then came, in 740 A.D. the defeat and the disgrace of Yasovarman, which, perhaps, prevented Vākpatirāja from writing further in continuation of the present Poem. The period of reign of Yasovarman is 725 A. D. to 754 A. D. The date of the composition may, therefore, be some time between 731 A.D. and 735 A.D. M. M. Mirashi places it between 727-731 A.D. Says Dr. Belwalkar43: "In determining the date of the writing of the Gaüḍvaho, no question could be more pertinent than this: Why does the poem, planned upon an 'enormous' scale, stop short with the prelude and not even take up the slaughter of the Gaudian king, that is, the very subject, which, to judge from the title of the poem, should form its main substance? The most natural answer is that Vākpatirāja began his panegyric in the days of Yasovarman's greatest successes and that, after writing his prelude of 1200 stanzas, he was moved to abandon the subject proper by reason of some great disaster or humiliation that befell his patron - presumably the humiliation experienced at the hands of Lalitãditya. If this is certain, as it is plausible, the composition of the Gaüḍavaho would be not far from A. D. 736".
43. Belwalkar-Rama's Later History ', Introduction.
P. xLiv.

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(Lxxv) VI. Vakpatiraja, as a Poet: Every poet is essentially a deep thinker. The impressions he collects and the experiences he gathers, as he moves about among the people roundabout or in the course of his excursions in urban and rural areas, through valleys, mountains, rivers, forests, villages etc. deeply affect his mind and sets him seriously thinking about who and what he is, his relations with things in Nature and with the Maker, if any, of this wonderful creation, comprising the heaven and the earth. Gifted with powers of deep thought, close observation, penetrating perception and high imagination, in addition to the schooling he gets in the prevalent systems of thought like the Sāmkhya, Mimāṁsā, Nyāya and the reading he does of the legendary literature and of the Mahābhārata, the Rāmāyana and the Purānās, he soon formulates his own philosophy, which serves as the plinth or the foundation, on which he builds the superstructure of his writings. It is in this sense that every poet is basically a philosopher at heart.
Believer as he is in polytheism, Vākpatirāja bows his head in reverence before all Divinities of the Paurānic pantheon, without preferences, although we find from his writings that he looks up to Vişnu, as the supreme God. His earlier work, the Mahumaha-Viaya, must have been in praise of Lord Vişnu, whom, also in his present Poem, the Gaūdavaho, he holds aloft above all other gods even including god Siva.44 Indra, the Sun 44.' In Gātha 812, the Poet humorously describes how God
Siva, overcome by the disaster of the Deluge, tries to escape in the silvery boat of the crescent moon, as it dropped down from His head!

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and the Moon etc. are lesser gods, carrying out the behests of the supreme Divinity viz. Vişnu. These gods are interested in the activities of humans on the earth and we find how the Poet, introducing a supernatural element in his narration, tells us that they sent down showers of heavenly flowers at the time of the King's victorious encounters on the battlefield and that heavenly nymphs felt libidinous emotions at the sight of his heroic, valourous deeds. The Sun-god goes up and moves in the firmament in a chariot drawn by (seven ) horses, rising on the top of the mountain in the east and setting on that of the mountain in the west, while the Moon has his retinue of stars and planets roundabout, himself installed in his crescent shape on the matted head of god Śiva. Śiva stays on the Kailāsa mountain with his family ', comprising his consort Pārvatī, ever blended with Him as his better half, his two sons Ganesa and Kārtikeya and the retinue of his followers or Ganās, including Nandi or the Bull. There is Yama, the God of Death, riding on his Buffalo, with a noose in his hand, to snap and snatch the lives of the mortals whose allotted span of life has ended, while Kāma, the God of Love, is there to make life worth living by means of his flowery bow and arrows. Vişnu, the God of gods, who reposes on the bed made of the body of the great Snake Sesa on the surface of the Milky Ocean, holds aloft the great Brahmā, encased in the Lotus shooting from His navel, while Laksmi, sprung from the occan as a result of its churning, sits at His feet as his wedded consort, with Garuda at His disposal, ever ready for a flight whenever required. Often He comes down on the Earth to save her in her distress, by assuming various forms like those of the Tortoise, the Boar, the Man-Lion, the Dwarf or the black-complexioned Krsna. Lakşmi too, like a faithful

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(Lxxvii) consort, often accompanies, whenever needed and lodges for the time, in a lotus or on the arm or on the sword of mortal kings, who are just emanations of this God and of whom, probably, Vākpatirāja was an ardent devotee.
In such a multi-coloured picture of the heaven, which the Poet faithfully accepts, as traditionally handed down to him from the Paurānic mythology, the Poet weaves a fine network of the descriptions of striking legends, skillfully dovetailed into his Poem. Following are the legends that he has selected for his Poem :
1. Indra cutting the wings of flying mountains. 2. Universal conflagration. 3. King Pșthu, levelling the earth. 4. Janamejaya's serpent-sacrifice. 5. Heavenward Flight of Ayodhyā. the city of Hariscandra. 6. Floods causing universal Deluge. 7. The Earth approaching King Pộthu in the form of a cow. 8. God Siva in the form of a lion. 9. Churning of the Ocean. 10 The Earth in Female Form approaching god Vişnu. 11. Tvaşts trimming the sun on a lathe. With a wonderfully superb power of imagination, wide and vast in its range, soaring high in the heaven beyond the limits of the earth and fathoming the depths of the nether world as well, the Poet handles the themes of these mythological episodes with great skill. As Kālidāsa was the master of Upamā, Vākpatirāja was a master of Utpreksā 44B or Poetic Fancy, which, at times, is rampant, riotous and deeply penetrating. He conjures graphic pictures of these mythological incidents and the minute details that he gives of these scenes are so accurate that one feels that he had at his place set up a workshop and a laboratory, as it were, equipped with models, of clay or wood, to test what happens in accordence with the ( then known ) physical laws of nature,
44 B. Hence the Poet's nickname Iva-kavi.

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(Lxxviii) when huge things topple down, or are pushed upwards and sideways or are burnt up, deluged and destroyed.
Down on the earth, Vākpatirāja had to face a twofold confrontation; the Society of men and women in which he was required to move as a person of distinction in his capacity as a Court-Poet and Nature that presented to him pictures of beauty and loveliness in its urban and rural aspects. In his society he had often to face men in authority, courtiers, nobility, worthless and villainous cycophants. Their behaviour and the treatment he received at their hands had, perhaps, given rise in his mind to bitter feelings of resentment and displeasure and the Poet gives vent to them, of course, in an indirect, oblique way, when he dilates on the ways of the world, on the wickedness of rogues and men in authority, the lot of the meritorious and the meritless, wealth and its possessors, the miserly rich as opposed to the impoverished but saintly men of high merit. In such surroundings Vākpatirāja must have felt ignored and, at times, discarded and even humiliated, all of which has, perhaps, led him to include in this Poem a lengthy lampoon on the society in as many as 150 Gāthās. In the end, dwelling upon the vanity of worldly life, he says to himself in despair : “O heart, find solace somewhere else. How long would you torture yourself in this mood of frustration ?" (954). Eroticism:
The pleasure-seeking propensities of men and women, especially of the royalty, find full scope in this Poem. The element of eroticism, as one of the requirments of a Mahākāvya, gets more than its due share at the hands of Vākptirāja, who devotes 169 Gāthās for the description of the various aspects of this Sentiment.

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(Lxxix ) Following is the distribution, topicwise, as contained in this Poem :
1. Love-smitten celestial nymphs — (109–113) 5 2. Water-sports with courtesans-(161-166) 6 3. Widowed wives of enemies--(182–191) 10 4. Ladies watching the King's procession
(202–211) 10 5. Love-sick Narmadā—(460–465) 6. Love-sports of the wives of soldiers -
(689-694) 6 7. Removal of Bodice--(731-736) 8. Graceful dalliance of ladies—(743–772) 9. Playful acts of gallantry--(773–787)
„ „ „ „ (792–796) 10. Enjoyment in pleasure-houses—(833–837) 11. Glances of captive women—(839-842) 13. Earth as a human beauty-(1046–1063) 14. Activities of the Night and Amourous pleasures-(1122-1163)
Total 169 Among the topics mentioned above, the city-ladies watching the King in procession is a time-worn one, having been handled by poets like Asvaghosa, Kālidāsa and Bāna. For his description of the various other topics, we have to take into consideration the Poet's basic concept of the beauty of the female form ( by now conventional and standardised), on which hinges his poetic imagery. A beautiful lady has, no doubt, a peculiar fascination to the Poet. The face with its sparkling, enchanting eyes, alluring lips, big breasts and broad buttocks, are features often invoked by the Poet

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for his descriptions of ladies in their various conditions, such as removal of bodice, the after-bath toilet and make-up, floral decorations, meeting the lover, scenes of carousal, consequent inebriation, fore-play consisting of kissing and embracing, bites, bruises and scratches on lips and hips, the love-making, resultant exhaustion and sleep thereafter. It must be confessed that there is nothing subtle or sublime in the depiction of the love-scenes, which aspect we find in Bhavabhūti's writings. It is all between voluptuous men and flirtatious women and stinks of rank carnality. There is too much of 'wallowing in the flesh' on the part of the Poet, especially when he tries to extol his patron-monarch for his enjoyment of sex-pleasures in the company of a bevy of courtesans or young, beautiful girls. This smacks of indulgence of what Vātsyāyana describes as of Goyūthika type (-one bull in the midst of a herd of cows-). One wonders how far his Patron appreciated such a discription of himself, since it is certainly not very complimentary to him. This, however, is perhaps the 'fault' of the age in which the poet lived and moved about, -the age which knew of no inhibitions whatsover in the matter. We have, for instance, the case of Kālidāsa who, unashamedly' describes in details the honeymoon delights of Siva and, Pārvatī, the parents of the world', in the cool recesses of the Himālyan heights in his Kumārsambhava and the morbid sex-indulgence of Agnivarna, the last king of the Raghu dynasty. Poets like Bhāravi and Māgha, too, are not found wanting in this respect. The Kirātārjuniya of Bhāravi has three cantos, numbering 198 verses, distributed in 8th, 9th and 10th cantos dealing with these topics and the Siśupālavadha, too, in its 3 cantos, 7th, 8th and 9th, gives us a total of 223 verses, masterfully depicting the aspects of love in its different stages and phases, without

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any reserve or restraint. The only exception is that of the Setubandha which, barring a few verses45 in the 10th and the 12th Aśvāsakas, is fairly chaste, untainted by the distemper of love. These poets were indeed lucky to be born in an age of 'permissiveness', when there was no censorship nor any fear of proseccution for obscene writing! Nature :
Our Poet's rapport with Nature stands in glaring contrast with that of his predecessors. It appears that by the time of Vākpatirāja, there had evolved two mutually differing schools of Poetry. One was, what we may style, the Romantic school, headed by Kālidāsa and his ilk, like Harsa and Bāna, and the other, Realistic school of Bhavabhūti and his Sadharmās. Bhavabhūti, for instance, like Kālidāsa, could not be one with Nature, a part and parcel of it, feeling paternal affection for trees and creepers, mountains, rivers and clouds, receiving vibratory responses of joys and sorrows in his own similar moods. He felt no attraction and was never drawn to its soft and beautiful aspects of bright, lovely nights with their full moon, the vernal glory of rich mango-blossoms with humming bees and warbling cuckoos, a sisterly Navamālikā-a veritable Vanajyotsnā - fit to be married to an upabhogakşama mango-tree, or a young fawn to be nursed and nurtured daily by Nīvāra handfuls. These features of Nature never appealed to his serious mind. Alone would he wander on high hills and dales to satisfy his inner cravings of a poet and remain there for long in mystic awe and wonder at the grim, frightful scenes they presented-wild, fearsome forests, the mellow peaks of 45. Only 27 verses (56 to 82 ) in the 10th Āśvāsaka and
5 verses ( 12 to 16) in the 12th Āśvāsaka. S. 6

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(Lxxxii) mountains, panoramic views from their tops, the mad onrush of cascades down the hill-slopes, the hooting of owls in bamboo thickets, wriggling snakes on old, rotten sandal trees, growls of bears in caves, frightful roars of wild beasts and pythons, lurking still in crevices with their spread-out huge bodies, as lizards lick drops of sweat over them. Such has been his approach to Nature, that of a man stupefied and mystified and this explains his peculiar fondness for delineating the awful and the frightful in Nature, with as great force and precision as the sublime and the beautiful.
This also practically sums up in a nutshell what Vākpatirāja feels and thinks of Nature. His love of Nature, too, like that of his master, Bhavabhūti, strikes a different path and finds original, unconventional and unorthodox ways of expression. His feelings of mystic awe and wonder are vented in his grand descriptions of the cosmic phenomena of the wing-cutting of mountains, universal destruction by fire and floods, the Serpentsacrifice of Janamejaya, the churning of the ocean and similar other scenes. The description of the goddess Kālī on the Vindhya mountain with all its gruesome, bloodcurdling details of blood-spilling and animal slaughter, clearly indicates his close association with Bhavabhūti, " the ocean from whom he has culled just a few drops of nectar". In the same vein are given to us the King's saddening thoughts at the sight of a dead body, reduced to a rotten, worm-riddled condition, observed by him on the precincts of the temple of Kāli.
Stark Realism prevails and dominates his descriptions of the seasons as they affect, changing the life on the earth at intervals. The summer heat and its effects, massing of clouds, shower-bursts, mountain-rivers

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flooding and flowing turbid water, the skies bespangled with rainbows, peacocks flying up with spreadout plumage, Bhil women, decorated with peacock feathers placed on their ears and collecting Guñja fruit, herds of elephants, wild boars, buffalos, squatting lions, jackals picking up flesh and bones from the rotting carrion, over which crows also have gathered in clusters, lakes full of clumps of Nicula reeds with swans moving through them, swarms of fish, mud-plastered by recent floods, wailing of ospreys and other birds flying overhead to take a dive for picking fish, plantations of water-melons, fields of rice, barley and discoloured sugar-canes, deep wells, multi-coloured forests with grey, green, pink and mixed shades, forest-fires, rat-infested land-tracts and huge anthills, villages with an encircling belt of forest-ranges, looking whitish with houses of newly-laid thatches, solitary temples with a Śiva limga, the resort of lonely travellers, the bells in which, when sounded, spread their echo over long distances, cowherd habitations where visiting travellers drink water, made whitish when poured from milk-containers, the occasional village festivals, being enjoyed mainly by women dressed in coloured sarees and by children, who relish presents of fruit offered to them, singing groups of cowherdesses returning to their homes and these lovely Southern women, anointed with a turmeric pigment, holding, in their abundant hair, a yellowish-pale Ketaka petal which adds to their attraction.
These are some of the features of Nature which the Poet has described with a remarkable gusto, over which he has expended more than 200 Gāthās in his Poem. This, obiviously, is blatant Realism, because the pictures he gives are just objective, ' photographic prints' in black and white, of his mental impressions, true in every detail

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of whatever he saw in his survey of the wide areas of countryside, and not gay and gorgeous paintings drawn imaginatively in gaudy colours. The Flora and the Fauna :
It is interesting to note the wide and unique variety of the trees, creepers and their flowers, the birds, and the animals which the Poet has mentioned in his Poem. They can be classified as under :Trees :
(Red ) Asoka, Kesara or Bakula, Kadamba with its variety of Jala-Kadamba, Candana, Jambū, Arjuna, Cūta (Sahakāra ), Kharjūra, Tamāla, Pūga, Nālikera, Tāla, Sarala, Palāśa, Udumbara, Mālūra, Badara, Dhava, Campaka, Kāncanāra, nicula, Java, Usira, Nāramga. Creepers and Flowers :
Mālatī, Ketaka, Alambusā, Karīra, Karavīra, Karahāta, Kumbhi, Kāraha, Kinva, Kaccūra, Karamanda, Kunda, Kaseru, Kamala, Kuvalaya, Tāmarasa, Damanaka, Marubaka, Kutaja, Arka, Kandali, Lavalī, Sallaki, Māludhānī, Dādimi, Mustā, Haridrā, Vālunkī, Mādhavī, Yüthikā, Kāśa, Saptalā, Himsī, Tumbi. Birds :
Kalahamsa, Marāla, Krauñca, Sārasa, Balāka (-kā ), Jalaramku, Kukkubha, Kurara, Sarātī, Kalavimka, Kapota, Vāyasa, Lāvaka, Madhukara, Kīța. Animals :
Vrsabha, Varāha, Vidima, Mahișa or Sairibha, Simha, Gaja, Mțga ( Kastūri ), Ruru, Sāhāsāranga ( Monkey ), Karabha, Undura, Kamatha or Kacchapa. Poetic Features :
Vākpatirāja claims for his graceful literary composition (Givilasia ) the following special features :--

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"
They are like so many paintings in words, steeped in sentiment, soft for the tongue to recite, full of substance, of permanent value and solid in their shadow of thought. It is difficult to be in total agreement with all that he has said of himself in this respect. We may accept the fact that his descriptions are graphic word-pictures, that they are full of substance and solid in thought and we may also look upon them as of everlasting value. The style he has adopted in this Foem is a mixture of the Gaudi and the Vaidrbhi-more of Gauḍī than Vaidarbhi-and except in certain portions, it is certainly not 'soft for touch' to the tongue. It also lacks delineation of the Sentiment, if we presume that Heroism should constitute its prevailing Sentiment, which perhaps, the Poet has reserved for the Gauḍavaho proper, the continuation of the present Poem. It is certainly tough and solid in thought' (chhayaghana), because, unless its hard, external shell, like that of a coconut, is broken to bits, the sweet juice of its inside cannot be tasted.
(LXXXV)
"

Writing about Vākpatirāja's Prakrit poetry, Pandit observes: "He is a master in bringing a master-poet's eye to look upon ordinary things and finding out all the poetry that is in them. He has a wonderful way of laying under contribution some mythical event, and of giving an original description of it from the standpoint of his own imagination. Referring to his beautiful picture of the country scenery, Pandit says: "All that part of the Poem embodies nothing, as it were, but what the Poet had witnessed with his own eyes and what none but a true poet of nature like him could picture in such life-like colours The style of Vākpati is highly cultivated and very pregnant Vākpati is not
46. Pandit-'Gaüdavaho -Introduction, Pp. LII to LIV.
19
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pedantic like his fellow Prakrit poets and unlike his Sanskrit confreres, he is free from puns or plays upon words and from analogies or similes drawn from grammatical or dialectical quibbles. He chiefly delights in two Figures of Speech, the Simile and the Utprekṣā . Perhaps in many places Vakpati might have used words more easy to identify and shorter compounds of words; but he might not then have been so sententious, or so exact or so free from prolixity or so appropriate As the partiality for long compounds is, however, a vice of the age to which he belonged, and though it considerably detracts from the merits of his otherwise most excellent poem, we must not judge him independently of what the scholarship of his age considered as essential and beautiful ".
VII: Picture of the Society, as revealed in the Gaüdavaho:
Religious conditions :
In the medieval period, as in Europe so in India, Religion played a dominating rôle in the life of the people. It was almost their life-breath for which they lived and at times even died. By the time of Vakpatirāja, three religions had developed in Mid-India viz. Hinduism, Buddhism and Jainism. There was perfect tolerance among the people who owed their allegiance to any one of them and lived happily without embitterment. "If47, for instance, the father was a devotee of Śiva, the son was a devotee of Buddha and the same man might change his religion without causing disturbance either in the family or the society." With the progress of the cult of Devotion as one of the three Paths to obtain salvation, idolatry had taken root and considerably developed among the
47. C. V. Vaidya History of Medieval Hindu India' P. 100.
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people in general and, as a result, hundreds of temples to adore various gods were raised all over mid-India, chiefly those of Siva, Vişnu and the Sun. Similar was the case with the adherents of Buddhism and Jainism, who also had their temples in which big statues of Buddha and Bodhisatvas and of Jain Tirthamkars were installed. Many of them were mostly built out of the munificence of kings in celebration of their victories and liberal endowments were also given by them for their maintenance. Kalhana speaks of the king Lalitāditya4s raising temples in every city and village that he conquered and in Gāthā 508 Vākpatirāja mentions how Yasovarman caused a magnificent temple to be built in Ayodhyā in one day. Side by side there were the Sāktas or worshippers of Sakti or the consort of Siva in her fierce form called Kālī, Karālā, Cāmundā etc. Of the Sāktas, there are two classes : Kaula or Kaulika and Samayin, often associated or identified with the Saivite schools of Kāpālikas, who indulged in the offering of animals and even human sacrifice. Describing the weird scenes at the temple of the goddess VindhyaVāsinī, Vākpatirāja refers to the Kaula women (in Gāthā 319 ) standing in serried rows one over the other, in their eagerness to witness the slaughter of a Mahāpašu i. e, man. These are women who belong to the Kaula sect of the sāktas.
Along with the idolatrous forms of worship of these gods, there still survived the old vedic worship of fire. The Brahmins had kept up the Agnihotra and the Ksatriyas also indulged in elaborate ceremonial sacrifices celebrated on a large scale. The King Yasovarman is
48.7 gegi 7 ta al foregå atsira: 1
at glasffa gaiat afāgi a fafa# Il
Fajfitoft. IV. 18

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described ( 1013) as performing such sacrifices, “in which the god Indra was invoked and their creeper-like line of smoke appeared like the thick streak of ichor flowing from the heavenly elephant.”
Practice of sorcery ( magic and witchcraft), even at high level, to achieve evil designs, appears to have been resorted to in some quarters. In Gāthā 1071, the Poet refers to an attempt being made on the King's life by his enemy kings, who themselves perished in the attempt, 6 their faces flushed red by the flames of fire in the bowl in which they made offerings accompanied with magic incantation” ( Abhicāra ). Social Conditions :
The Society was sub-divided into the conventional four castes viz. the Brahmins, Ksatriyas, Vaišyas and Sūdras, although there was no rigidity about the professions and avocations they pursued. Cases of men belonging to the Brahmin caste following the profession of warriors, traders or political administration were quite common. “It is not impossible to suppose from the Mrchhakatika where a Brahmin thief is introduced that Brahmins were good and bad in those days ( as they are now ) and followed good and bad professions; but the generality of them may be taken to have followed, then as now, either a religious life or the profession of Government servants, a profession in which they often rose to the high position of governors of provinces49."
The Kșatriyas were mostly warriors and often ruled as kings of the countries to which they belonged. The two prominent races, the Solar and the Lunar, to which most of the kings took great pride to belong, grew greatly 49. C. V. Vaidya . History of Medieval Hindu India,'
pp. 69–70.

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in importance in ancient days. The hero of the Gaüḍavaho is mentioned as a scion of the Lunar race and very probably even the Poet Vākpatirāja was a Kṣatriya prince. Ascetics or Munis mentioned in the Gauḍavaho might have been men belonging to the upper classes, who, disgusted with their worldly life, retired to the forests with their families and often found their residence in mountainous caves. Classes of artisans and craftsmen such as potters, blacksmiths, goldsmiths, jewellers, tailors, masons, carpenters, florists, brick-layers, weavers etc. had also grown up to cater to the multifarious requirements of the society. Gathā 1173 mentions a kind of a ginning machine ( Lodhaa) for the purpose of clearing cotton of its seeds.
On the whole, the people lived a happy life of abundance and prosperity, though there might be cases of penury and shortage of basic needs. The rich chose to live in cities, while those with limited means and subsisting on lands distributed themselves in villages. Magnificent mansions in rows overlooking the city-streets, with their balconies, domes and terraces from which ladies could watch the processions down below, the halls (sāla) inside, beautified with wall-paintings (1083) and wellventilated windows, adorned the big cities, encircled by a rampart with gates and towers (gopura) in every direction. They were built in stone (kuruvinda) or in bricks (itta), cemented with chunam (cunna), with arches (torana) at the entrance, stone-pillars, often studded with precious stones, and wells (avaḍa) on the premises from which water was drawn with the help of water-wheels (arahaṭṭa). The threshold was in stone fixed with iron plates, the floor in polished stone or marble and the ceiling was in wooden cross-pieces (kilîñca), resting on a supporting wooden beam (pinḍībandha). In

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the gardens attached to the mansions, full of all kinds of trees and creepers, there were swings (dolů) suspended from the branches of trees. The city-parks with pleasurehouses (panai-bhavana ) were provided for diversion. There were also monuments in commemoration of the past, illustrious kings ( Purāna-narendra-kārtana-sthāna ).
“The clothing, both of men and women, consisted of one piece of cloth wound about the loins, and taken up above one shoulder in the case of men and above both in that of women. The Uttariya or upper piece of cloth was used by both men and women some-times...... The difference between the great and the low consisted in the fineness of its texture and the whiteness of its colour. Hiuen Tsang speaks of different fine cloths of silk, wool and cotton as follows : “ Kaušeya being of silk, Ksauma, a kind of linen and Kambala, a texture of fine wool and Holala made from the wool of a wild animal.” The art of making fine cloth of silk, wool and cotton had then reached perfection... The white was the colour esteemed by men; but probably women liked different colours and different designs of patches of ornamentation such as pairs of swans”.
The simplicity of dress was, however, compensated by the ornaments which men and women, especially of the rich classes, wore. The kings had as their headornaments garlands and tiaras of precious stones and their bodies were adorned with rings, bracelets and necklaces, in addition to the keyūras and kundalas or ear-rings.
Women too wore necklaces and garlands ( prālamba ) round their necks reaching upto their breasts (.G. 833), over the bodice (kañcuka) fastened over the bosom by 50. C. V. Vaidya - History of Medieval Hindu India. "
P. 89.

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means of a silken string passed through eye-let holes (731). They had rings and ear-ornaments (Karṇapūra), a crestjewel (Cuḍāmani) as also a golden girdle with bells on the waist to hold fast the lower garment. They also made use of floral decorations of Kunda, Bakula or Kadamba flowers with Damanaka or Marubaka nosegays. For their toilet and makeup, sandal paste or saffron was used, the face being beautified with 'a line of black musk-dots' (G. 785). The hair was arranged in braids, falling over the back (paṭṭhiveni) and the betel (tāmbula) coloured their lips, while the cheeks became pink with the intoxication of wine (dara-cakkhia-madirā) taken by them. Such was the city life.
39
The Poet seems to have great fondness for villages, nestling under the shelter and shadow of high mountains. They had, on their outskirts thick forests, infested by the herds of elephants, boars, lions, jackals, deer etc, and big lakes, rivers or mountain-rivulets on their flanks. Marshes, pasture-lands with cattle grazing on them, women combing the areas round about to collect dried cow-dung cakes for fuel, houses of good timber with thatched roofs, granaries (kusula) smelling in the heat of summer, roads full of dust rising up in the air as herds of cows return from adjoining forests in the evening, cowherdesses singing their way back to their homes in villages, are some of the outstanding features of the village life. The festivals were a source of joy to the villagers "when children are adorned, when the women feel proud at the newly dyed saris which they wear." There is a pointed reference in the Poem to the cheeks of a young Dravidian woman, painted with turmeric (G. 601). It appears,51
33
66
51. C. V. Vaidya,- History of Medieval Hindu India'. P. 74.

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the original Dravidian population of the land became now the agriculturists of the country and of course formed the great Sūdra class". The Poet also refers to the Sabara women of the aborigines of the Vindhyas. The young men were clad only in leaves to cover their lower parts, while women had decorations of peacock feathers on their ears. Migration, perhaps, was a usual feature. Referring to such deserted villages (608 ), the Poet observes : The heart somewhat clings to the abandoned villages, in which the trees have burst through walls and the smoke rises only from the sheds of cowherds and in which a few crows perch here and there". Solitary temples in thick groves of trees, with a Siva linga were also to be met with in the country. A pious religious man (dhārmika) from a village nearby would come and wash this linga on occasions. One also came across monks living in the mountain caves, in which the stones have become loose owing to the leaking of the stream-water through them, their garments yellow-brown as an old seed of jujube fruit' (615). Political Conditions:
In the monarchical form of government, the king was absolute and the kingdom and the people belonged to him almost as his property. He was imagined to have divine origin, 'god Visnu52 in human form'. He was looked upon as the father of the people and he was also the dispenser of justice. The king was, of course, born to enjoy, as he had come to the royal station, by reason of austerities that he had performed in his previous lives. He was, therefore, always surrounded by young and beautiful women and they were given various duties,
52. at faco: gfiratafa: 1

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(xciii) such as those of Chămara-bearers or Tāmbūla-Karankabearers. For this purpose, wives of kings, captured after they were conquered or slain were selected and in addition, they were also kept in the harem as concubines. Their miserable plight has been a favourite theme for poets to exhibit their poetic art and Vākpatirāja too has described their condition in his Poem.
The Sāmantas,53 who generally waited upon the king, were the king's kinsmen or relatives, who were territorial lords or subordinate kings in their own territories. They had their own small armies, with which they helped their sovereign king, whenever he moved against his enemies. To help the king in his administration, he had his ministers, called Mantris of Sacivas or Amātyas, the most important among them being the Sandhi-Vigrahika or the minister for peace and war. Besides the ministers, there were other important officers called Superintendents or Adhyakşas of Sulka (Customs), Kosthāgāra (Storehouses ), Durga (fortifications ) etc. 'The king's army usually consisted of infantry, cavalry and elephants. The chariots had long ceased to be of use on the battlefield. The elephant was considered to be a formidable part of the Army. They were obtained from the many forests on the borders of the Himalayas and the Vindhyas. The art of catching the elephants, rearing and training them for fighting had almost reached perfection and there were regular treatises dealing with these topics. The horses for the cavalry were mostly obtained from Persia, Arabia and Afghanistan. In the training of horses also, the same perfection had been attained as that of elephants. The
53. C. V. Vaidya- History of Medieval Hindu India'. '
P. 152.

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soldiers forming the infantry were armed with bucklers and swords. The foot archers did not prominently figure in the infantry; but riders on elephants usually used the bow and the arrow. The armour (kavaca) was also in use for the warriors.
The palace had, besides the harem, three or more courtyards (kaksas); the outer one being for people and for State reception, the next inner one for Sardars and the third for intimate persons only. The palaces were stately buildings, though not of stone. The floors, however, are described as made of shining stones. The columns and walls were ornamented with gold and even precious stones. The palace was usually a severalstoreyed building with inner gardens of flower-beds and large fruit trees.
""
The recreational entertainments, that people including the royalty indulged in, were musical concerts, dancing demonstrations and theatrical performances at the time of religious festivals or other such joyful occasions. Often they were sponsored by kings, who themselves were literary men fond of such cultural activities, and there were men and women who had devoted themselves to the cultivation of such fine arts, as music, dancing or histrionics.54 Conferences of learned for debates, discussions and even contests to decide the merit of poets and philosophers, often presided over by kings, were convened and suitable awards were distributed to the persons who distinguished themselves in them. The poet Vākpatirāja might have been, perhaps, such a recipient of the honour and the
men
54. Bhavabhuti, for instance, refers to his association with a group of actors in dramas.
-Malati-Madhava, Act I

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title of Kavirāja, when he proved his merit and gained the King's approval in such a contest. He also speaks of a session of learned men assembled at his place, where he was requested to narrate to them the heroic exploits of their beloved monarch Yašovarman.
Such is the picture of the Society under normal conditions. But when subjected to an attack from a foreign power, which was not an infrequent occurrence, there must have been chaos and confusion, causing dislocation of the normal state of affairs. The enemy's soldiers, if their master triumphed, must be indulging in plunder, dishonour of women, their capture as spoils of war and other such indignities that a victor was likely to inflict on the vanquished. Even migration of a part of the population to other neighbouring countries must have been the case, when Yašovarman was attacked by the king Lalitāditya of Kashmir.
VIII. The Language of the Gaüdavaho :
It is a fact now beyond doubt that the Prakrits have not originated from Sanskrit, as was supposed by grammarians like Hemacandra, but that they have come down from a dialect or dialects that were contemporaneous with the Vedic language. “Ass against Sanskrit, which means a refined or polished' language the Prakrits were, as the name itself indicates, ' natural' or common 'dialects used by the masses among different tribes and in different regions. It is indeed not improbable that the language actually spoken in workaday life by the classes, who used Sanskrit for literary purposes, was more akin to the Prakrits than to Sanskrit. Besides it is certain that Sanskrit and the Prakrit had been influencing 55. R. N. Dandekar, Journal of the University of Poona,
No. 23. P. 32.

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(xcvi) each other in the course of their respective developments ........... Historically speaking, a kind of recognition seems to have been given to the Prakrits first in the 6th century B. C. ... ... ... The Buddha had said that his word might be learnt by the monks each in his own dialect.' Another religious leader, Mahāvira (699-527 B. C. ) also preached his doctrines in the dialect of his own region in eastern India.56 It is also significant that the earliest written records in any Indian language, which have become available, are the Prakrit inscriptions of Asoka ( 3rd century B. C.) and of Khāravela (2nd century B. C.)”.
“ The literary Prakrits57 make their appearance with the BỊhatkathā, circa first century A. C. if not earlier. Vararuci's grammar, the Prakṣita-Prakāśa, presupposes the previous existence of the Prakrits at least in a spoken form. Vararuci belongs to the first century B. C. so that we shall have to date the beginning of the Prakrits from that epoch. The lower limit would be about the eleventh century A. C. after which the modern vernaculars begin to appear on inscriptions or in literature. The period of the Prakrits, then, would roughly fall between the first and the tenth centuries of the Christan era. The last Sanskrit line on an inscription of the Cālukya king Vijayāditya Satyāśraya at Badami, Saka 621 i. e. A. C. 699 or nearly the beginning of the eighth century, clearly indicates the existence of Prakrit in some form at that time. The line runs thus : अतःपरं प्राकृतभाषया पद्यान्येतानि
a. Unfortunately the further lines which would have shown us the actual form of the Prakrit, are obliterated. So much is, however, certain that a Prakrit in some form
56. Known as ' Addha-māgahā Bhāsā' 57. P. D. Gune, ' Comparative Philology', P. 222

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(xcvii) was used on inscriptions between the close and the beginning of the 7th and the 8th centuries respectively ”.
Among the four Prakrits mentioned by Vararuci viz. Mahārāştri, Sauraseni, Māgadhi and Paišācī, Mahārāștri was recognised as the Prakrit par excellence 58 and earlier works like Hāla's Gāhāsattasai and Pravarasena's Setubandha came to be written in this language. “It59 must have become a literary language sometime before the first known dramatist wrote his work, as in all dramas Prakrit poetry is written in HIETTISET only. The heroines, for instance, speak the ithat, but when they speak in verse, they exclusively use the AIEITIZI”. Speaking about the language from the point of view of literature, Rājasekhara, describing his Kāvya-Purusa“, observes: “Sanskrit is your mouth, Prakrit the arms, Apabhramsa the buttocks, Paišācī the feet and a mixture of these the chest.” When the king holds his durbar, he says,61 “The Sanskrit poets should be seated to the north (of his regal seat ), the Prakrit poets to the east, the Apabhramśa poets to the west, the Paisāca poets to the south.” An ambidexterous poet like Vākpatirāja, well-versed both in Sanskrit and Prakrit, might have had his berths reserved in both the classes !
"Mahāraştri is also the language of artificial epics, of which up till now two have been published, the Rāvanavaho and the Gaüdavaho ... They are very strongly
58. HEITTSETSTTTT 1190 gin fag: 1
___ सागरः सूक्तिरत्नानां सेतुबन्धादि यन्मयम् ॥ काव्यादर्श. I. 59. Dr. Gune, 'Comparative Philology, 'Pp 192–193. 60. $15471HİAT III. 61. argi 751927 Iatu alaca: bat: 6921 falastra I..
पूर्वेण प्राकृताः कवयः...पश्चिमेनापभ्रंशिनः कवयः ॥ काव्यमीमांसा X S. 7

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(xcviii ) influenced by Sanskrit patterns and are written in thoroughly high-flown and artificial language, with unending compounds, as are found in the dramas of Bhavabhūti and occasionally in Mạchhakatika as well ”.62
The Gaudavaho Prakrit is thus essentially Mahārāstri, with a wonderful variety of vocabulary, consisting of Tatsama and Tadbhava words, as also a profuse sprinkling of Desi words. Vākpatirăja evinces profound love of the Prakrit language, which, according to him is the fountain of all languages, even including Sanskrit, which after all is Prakrit, polished and refined'. “It is like an ocean in which all languages merge and from which all languages emerge. It is only in Prakrit that we have, in an abundant measure, a presentation of ever fresh themes and a rich variety of styles. It gives a peculiar delight which dilates and closes the eyes (in wonder ) and thrills the heart" (92-95). This is quite a forceful plea in defence of Prakrit, perhaps in reply to his critics who might have derided him for having had recourse to Prakrit, instead of the conventional and fashionable Sanskrit. It appears, however, that Prakrit had attained a literary status of prestige and dignity even among the elite, and his patron, the Poet-King Yasuvarman thought it fit to honour him by giving him a seat of distinction at his court as Rājakavi. 'Poets generally write for fame, for wealth ”.... says Mammata63 in his Kāvyaprakāśa and Sanskrit poets like Kālidāsa have benefited accordingly. That even Prakrit poets like Vākpatirāja or Rājasekhara should have earned these benefits and got recognition from the royalty for their Prakrit compositions is a fact, which is quite significant and proves the popularity of the Prakrits 62. R. Pischell, Comparative grammar of the Prakrit
Languages,' Pp. 13-14 63. aj zahsema...... 5127941T. I

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In the case of Vākpatirāja, however, it appears that in his Gaudavaho, he tries to placate both the learned and the common masses. He adopts a two-fold style, a mixture of the Gaudi and the Vaidarbhī, “Tamkāro mahurattanam ca " (G. 67.). The pompous style is meant for the scholarly pandits, while sections like the eulogy of poets, descriptions of Nature and ways of the world etc. are intended for the common man.
When one reads portions of the Poem given in an ornate, highflown style, full of long compounds, one gets the impression that this is all Sanskrit prakritised by the Poet to cater to the literary tastes of his times. It is Prakrit 'distorted', because such is not basically the genus or the intrinsic nature of Prakrit, which is essentially an analytical language, like English or a modern Indian language like Hindi, Gujarati or Marathi. He probably first put his ideas in a Sanskrit draft-because he thought in Sanskrit--and then dressed them in a Prakrit garb in verse. “The Gaüdavaho was probably written after the vernaculars of the present day had also commenced their derivation and were recognised as separate popular dialects, although many, especially the educated persons, still understood Prakrit.64"
If, therefore, like the Sūtradhāra6 of Bhavabhūti of his drama, the Uttara-rāmacarita, one were to become a contemporary of Vākpatirāja and a resident of Kanyakubja, he would have to be conversant with three languages viz. Sanskrit, Prakrit and the provincial Apabhramsa. The official court language would, of course, be Sanskrit. When he happens to meet the king, his courtiers or
64. Pandit, 'Gaüdavaho, Introduction, P. lxiv. 65. एषोऽस्मि कार्यवशादायोध्यकस्तदानींतनश्च संवृत्तः । उत्तररामचरित.
Act I

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men of distinction at the palace, he would have to converse with them in Sanskrit, which would be the official language of administration, judiciary, correspondence within the state or inter-state, royal proclamations, edicts or such other important political documents. Meeting ladies of the uppar classes, he will find them talking to him in Prakrit, chiefly the Sauraseni. Stepping on the streets, he will come across masses of men belonging to the lower strata of the society, engaged in various professions and occupations, who would speak in their own native, 'unrefined', Apabhramśa-like dialect, since literacy might not be quite high in those days. Visiting temples, Sanghas, Pariṣads or Mathas where teaching, discussions, debates or conferences of a religious or. metaphysical nature are carried on, he would find that Sanskrit alone is the medium of dialogues among the participants. Going over to the theatrical halls for entertainment, he would witness the dances or the dramatic
performances of playwrights like Kālīdāsa, Śrīharṣa or their contemporary Bhavabhūti, presented in diverse dialects. For musical concerts, the songs selected might be mainly from Prakrit or even Apabhramsa, like those in the dramas of Kalidasa, while for the illiterate masses, popular folk-songs or lyrical melodies, mainly in their provincial dialect viz. Apabhramsa, might have been the only feature of their entertainment.

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कइराअ-बप्पइराअस्स ग उ ड व हो।
मङ्गलाचरणम् पढमं चिअ धवल-कओववीअमंबुरुह-गोअरं णमह । हरि-जढर-णिग्गमुक्खित्त-णाल-सुत्तं पिव सयंभुं ॥१॥ सो जअइ कणिआ-चलअ-गब्भ-परिगूढ-विअड-बोअम्मि । जो वसई णिहाणीकअ-बहु-बंभंडे व्व कमलम्मि ॥२॥ तं पणमह तिगिच्छि-च्छलेण णिवसइ णिवेस-कमलम्मि । जस्स परमाणु-णिवहो व्व भुवण-णिम्माण-पडिवण्णो॥३॥ अट्ठिअमावत्तंती सो जअइ जवुज्जअस्स सा जस्स । फलिहक्खावलि-कज्जम्मि घडइ बंभंड-परिवाडी ॥४॥ पणमह हेट-ट्ठिअ-विअड-सेस-बिस-कंद-कंदलाहिंतो। पडिभिण्ण-कण्ह-पंकं विणिग्गमं णाहि-णलिणस्स ॥ ५॥ विअड-ससि-मंडलाअंत-सलिल-भरिअम्मि भुवण-वलअम्मि । हरिणो हरिण-च्छाअं विलास-परिसंठिअंजअइ ॥६॥
कविराज-वाक्पतिराजस्य .
गौड व धम् प्रथममेव धवलकृतोपवीतमम्बुरुहगोचरं नमत । हरिजठरनिर्गमोत्क्षिप्तनालसूत्रमिव स्वयंभुवम् ॥१॥ स जयति कर्णिकावलयगर्भपरिगृढविकटबीजे । यो वसति निधानीकृतबहुब्रह्माण्ड इव कमले॥२॥ तं प्रणमत पद्मरजश्छलेन निवसति निवेशकमले। यस्य परमाणुनिवह इव भुवननिर्माणप्रतिपन्नः॥३॥ अस्थितमावर्तमाना स जयति जपोद्यतस्य सा यस्य । स्फटिकाक्षावलिकार्ये घटते ब्रह्माण्डपरिपाटी ॥४॥ प्रणमताधास्थितविकटशेषबिसकन्दकन्दलात्। प्रतिभिन्नकृष्णपकं विनिर्गमं नाभिनलिनस्य ॥५॥ विकटशशिमण्डलायमानसलिलभृते भुवनवलये। हरेहरिणच्छायं विलासपरिसंस्थितं जयति ॥६॥
५. उभिण्णं° for पडिभिण्णं'. विणिग्गयं.

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गउडवहो
असुरोरद्वि-णिहंसण-विसट्ट-धूमावलंबि-णह-हीरो। रख-रोस-गहिअ-घण-मंडलो व्व णर-केसरी जअइ ॥७॥ तं णमह समोसरिआ णहग्ग-विहडाविओरवीढस्स । जस्स दइचम्मि अलद्ध-ववसिअच्चेअ भुअदंडा ॥८॥ णमह विआरिअ-दगुइंद-रुहिर-पल्लविअ-गअण-पेरंतं । रिउ-चह-समय-पसारिअ-संझं शिव महुमह-मइंदं ॥९॥ मुक्के वि णर-मइंदत्तणम्मि बोकार-कलुसिअ-गलस्स । हरिणो जअइ चिरं विहअ-सद्द-परिघग्घरा वाणी ॥१०॥ अवहीरिअ-दिग्गअ-चंद-हरिण-पलयन्म-जाल-रंसिअस्स । असुरेचिअ संरंभा जति माया-मइंदस्स ॥११॥ रव-रोस-दलिअ-घण-णिरवलंब-संघडिअ-तडि-कडप्पो व्व । णर-हरिणो जअइ कडार-केसरो कंधरा-बंधो॥ १२॥ सो जअइ गोव-भावे जो विमलिअ-गूढ-णाहि-णलिणाहि । णीसरमाणेहिं चेअ परिमलं वहइ ससिएहि ॥ A || दाढा महा-वराहस्स वअण-मग्गेण णिग्गआ जइ । उअर-ट्ठिअ-णाही-कमल-कंद-मूलाहि व मुणाली ॥ १३ ॥
असुरोरोऽस्थिनिघर्षणविकसितधूमावलम्बिनखप्रान्तः । रवरोषगृहीतघनमण्डल इव नरकेसरी जयति ॥७॥ तं नमत समवसृता नखाग्रविघटितोरस्पीठस्य । यस्य दैत्येऽलब्धव्यवसाया एव भुजदण्डाः ॥८॥ नमत विदारितदनुजेन्द्ररुधिरपल्लवितगगनपर्यन्तम् । रिपुवधसमयप्रसारितसंध्यमिव मधुमथमृगेन्द्रम् ॥९॥ मुक्तेऽपि नरमृगेन्द्रत्वे बुक्कारकलुषितगलस्य। हरेर्जयति चिरं विहतशब्दपरिघर्घरा वाणी ॥ १०॥ अवधीरितदिग्गजचन्द्रहरिणप्रलयाभ्रजालरसितस्य। असुर एव संरम्भा जयन्ति मायामृगेन्द्रस्य ॥ ११॥ रवरोषदलितघननिरवलम्बसंघटिततडित्समूह इव । नरहरेजयति कडारकेसरः कंधराबन्धः ॥१२॥ स जयति गोपभावे यो विमर्दितगूढनाभिनलिनात् । निःसरद्भिरेव परिमलं वहति श्वसितैः।।।। दंष्ट्रा महावराहस्य वदनमार्गेण निर्गता जयति। उदरस्थितनाभिकमलकंदमूलादिव मृणाली ॥१३॥
७. °रोसमहिय° ८. वीढम्मि for वीढस्स.

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मङ्गलाचरणम् तं णमह जो वराहत्तणम्मि फण-मणि-घडत-पडिबिंबो । सेस-ट्ठिअं पि वसुहं वहइ व्च पहाव-संकेतो॥ १४ ॥ हेट-ट्ठिअ-मूर-गिवारणाअ छत्तं अहो इव वहंती। जभइ ससेसा वाराह-सास-दूरुक्खआ पुहवी ॥ १५॥ अंगाइँ विण्हुणो वामणत्तणे विसम-मास-थउडाई। मडहोअर-णपहुप्पंत-भुवण-भरिआई व जति ॥१६॥ जअइ धरमुद्धरंतो भर-णीसारिअ-मुहग्ग-चलणेण । णिअ-देहेण करेण व पंचंगुलिणा महा-कुम्मो ॥१७॥ रक्खर वो रोम-लआ माया-महिलत्तणे महुमहस्स । गूढोअर-तामरसाणुसारिणी भमर-माल व ॥१८॥ सो जअइ जस्स जुवइत्तणम्मि खामोअरोसरंतेहिं । भुवणेहि व थण-जहणाण गारवं किं पि णिवडिअं॥१९॥ सो जअइ जामइल्लाअमाण-मुहलालि-चलअ-परिआलं। लच्छि -णिवसंतेउर-वई व जो वहइ वणमालं ॥२०॥
तं नमत यो वराहत्वे फणामणिघटमानप्रतिबिम्बः । शेषस्थितामपि वसुधां वहतीव प्रभावसंक्रान्तः ॥१४॥ अधःस्थितसूर्यनिवारणाय छत्रमध इव वहन्ती। जयति सशेषा वाराहश्वासदूरोत्क्षिप्ता पृथिवी ॥१५॥ अगानि विष्णोर्वामनत्वे विषममांसस्थपुटानि । अल्पोदरनप्रभवद्भुवनभृतानीव जयन्ति ॥१६॥ जयति धरामुद्धरन भरनिःसारितमुखाग्रचरणेन । निजदेहेन करेणेव पञ्चाङ्गुलिना महाकूर्मः ॥१७॥ रक्षतु वो रोमलता मायामहिलात्वे मधुमथनस्य । गूढोदरतामरसानुसारिणी भ्रमरमालेव ॥१८॥ स जयति यस्य युवतित्व क्षामोदरापसद्भिः । भुवनैरिव स्तनजघनानां गौरवं किमपि निर्वतितम् ॥१९॥ स जयति यामिकायमानमुखरालिवलयवेष्टिताम् । लक्ष्मीनिवेशान्तःपुरवृतिमिव यो वहति वनमालाम् ॥ २०॥
१५. हेठागय° १८. भमरपंतिव्व. १९. थणरमणाण २०. तं णमह for सो
जयइ.

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गउडवहो
बालत्तणम्मि हरिणो जअइ जसोआएँ चुंबिअं वअणं । पडिसिद्ध-णाहि-मग्गुद्ध-णिग्गअं पुंडरीअं व ॥ २१॥ णह-रेहा राहा-कारणाओ करुणं हरंतु वो सरसा। वच्छ त्थलम्मि कोत्थुह-किरणाअंतीओ कण्हस्स ॥२२॥ ते णमह जेण अजवि विलूण-कंठस्स राहुणो वलइ । दुक्खमणिचरिअं चिअ अमूल-लहुएहि सासेहिं ॥२३॥ पणमह बलस्स हुंकार-भअ-वसा घोलमाण-जउणे व्य । मअ-दोस-सिढिल-कसणावरिल्ल-संदाणिए चलणे ॥२४॥ अंतो-संलीण-फणा-सहस्स-रअण-प्पहं पिव वमंती । हलिणो मआरुणा विद्दवेउ दुरिआई वो दिट्ठी ॥ २५ ॥ अप्पाग-गमिअ-विअणत्तणेण भर-दलिअ-सेस-कुम्माण । णिरुवालंभं बल-केसवाण परिवग्गिअं जअइ ॥ २६ ॥ तं णमह पीअ-वसणं जो वहइ सहाव-सामल-च्छा। दिअस-णिसा-लअ-णिगम-विहाअ-सबलं पिव सरीरं ॥ २७॥
बालत्वे हरेर्जयति यशोदया चुम्बितं वदनम्। प्रतिषिद्धनाभिमार्गोवनिर्गतं पुण्डरीकमिव ॥२१॥ नखरेखा राधाकारणाः करुणां हरन्तु वो सरसाः। वक्षःस्थले कौस्तुभकिरणायमानाः कृष्णस्य ॥ २२॥ तं नमत येनाद्यापि विलूनकण्ठस्य राहोर्वलति। दुःखमकथितमेवामूललघुकैः श्वासैः ॥ २३॥ प्रणमत बलस्य हुंकारभयवशाद् घूर्णमानयमुनाविव । मददोषशिथिलकृष्णोत्तरीयसंदानितौ चरणौ ॥२४॥ अन्तःसंलीनफणासहस्ररत्नप्रभामिव वमन्ती। हलिनो मदारुणा विद्रावयतु दुरितानि वो दृष्टिः ।। २५॥ आत्मगमितवेदनत्वेन भरदलितशेषकर्मयोः। निरुपालभं बलकेशवयोः परिवल्गितं जयति ॥२६॥ तं नमत पीतवसनं यो वहति स्वभावश्यामलच्छायम्। दिवसनिशालपनिर्गमविभागशवलमिव शरीरम् ।। २.७॥
२३. च लइ for वलइ. मूललहूएहिं for अमूललहुएहिं. २६. अणुवा° for पिरुवा.

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मङ्गलाचरणम्
सिरि-थण-णिवेस-मग्गा जति भिण्णंगराअ-णिव्वडिआ । वच्छम्मि णाहि-णलिणी-दलाअमाणा महुमहस्स ॥२८॥ सो जअइ जस्स णाडाल-लोअणासंगिणी भुमअ-लेहा । अन्ज वि दीसइ कामस्स दाह-कसणा धणु-लअ व ॥२९॥ तं णमह काम-णेहा अज वि धारेइ जो जडा-बद्धं । तइअ-णअणग्गि-णिवडण-कअ-ववसाअं पिव मिअंकं ॥३०॥ सो वो सुहाइँ उवणेउ विअड-तइअच्छि-पेल्लिअं जस्स । णिवसइ सीसम्मि ससि-च्छलेण णिअअं पिव णडालं ॥ ३१ ॥ कट्टिअ-कुसुम-रउक्कर-कडार-चाव-च्छलेण सो जअइ । अहिधाविऊण गिलिओ व्व जस्स तइअच्छिणा कामो॥३२॥ मउडुच्छंग-परिग्गह-मिअंक-जोण्हावभासिणो णमह । णिचं चिअ पसुबइणो परिट्टि वामण-च्छाअं ॥ ३३॥ केयूरोरअ-सुंकार-संकुले बाण-भुअ-वण-च्छेआ। सो जअइ सणीसासे व वहइ जो अमरिसा बाहू ॥ B ||
श्रीस्तननिवेशमार्गा जयन्ति भिन्नागरागनिवर्तिताः। वक्षसि नाभिनलिनीदलायमाना मधुमथनस्य ॥२८॥ स जयति यस्य लालाटलोचनासगिनी भ्रलेखा । अद्यापि दृश्यते कामस्य दाहकृष्णा धनुर्लतेव ॥ २९॥ तं नमत कामस्नेहादद्यापि धारयति यो जटाबद्धम् । तृतीयनयनाग्निनिपतनकृतव्यवसायमिव मृगादकम् ।। ३०॥ स वः सुखान्युपनयतु विकटतृतीयाक्षिप्रेरितं यस्य । निवसति शीर्षे शशिच्छलेन निजकमिव ललाटम् ॥३१॥ कृष्टकुसुमरजउत्करकडारचापच्छलन स जयति । अभिधाव्य गिलित इव यस्य तृतीयाक्ष्णा कामः ॥ ३२॥ मुकुटोत्सङ्गपरिग्रहमृगाइकज्योत्स्नावभासिनो नमत । नित्यमेव पशुपतेः परिस्थित वामनच्छायम् ॥३३॥ केयूरोरगसूत्कारसकुलौ बाणभुजवनच्छेदात् ॥ स जयति सनिःश्वासाविव वहति योऽमोद् बाहू ॥ Bu
२८. पंकय for णलिणी २१. कसिणा' for कसणा' ३३. हासिणो for भासियों

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गउडवहो
उद्धं अंधअ-रिउगो णअणं पजलिअ-तारअं णमह । उक्करिसिअ-पडिचकं व चकिणो बाणभंगम्मि ॥c॥ जमिअ-सिहंडस्स वि विसहरेण हत्थो पिणाइणो जअइ । लंबि-जडा-भास फणा-रअण मऊहेसु घोलंतो ॥ D॥ कुविआइ चलण-पणो रहसुक्खित्त-मउली हरो जअइ । सीस-द्विअ-बंभ-कवाल-फंस-संकाएँ व उमाए ॥ E ॥ तं पणमह अज वि वहइ तिवहआ-बीइ-भंग-कुडिलाई। जस्स जडा-बंध-णिवेस-विसमिआई व सलिलाइं॥ F || जअइ जडा-संजमणं पसुवइणो जलहि-महण-विरमम्मि । सिहिलेण सेल-णिहसण-किलंत-बच्छेण वामण-च्छाअं ॥ ३४ ॥ पत्यारोसण-तरलिअ-करंगुली-मलिअ-तंबिर-णडालं। पडिसिद्ध-तइअ-णअणुग्गमं व णमिमो हर-किराअं ॥३५॥ सो जअइ झत्ति-कवलिअ-विसस्स कंठम्मि जस्स णिव्वडिआ । खण-दिण्णुव्वत्त-कअंत-पास-णिहसोवमा रेहा ॥३६॥
ऊर्ध्वमन्धकरिपोनयनं प्रज्वलिततारकं नमत। उत्कृष्ट प्रतिचक्रमिव चक्रिणो बाणभङ्गे ॥C॥ यमितशिखण्डस्यापि विषधरेण हस्तः पिनाकिनो जयति । लम्बिजटाभासफणारत्नमयूखेषु घूर्णमानः ॥ D॥ कुपितायाश्चरणप्रणतो रभसोत्क्षिप्तमौलिहरो जयति । शीर्षस्थितब्रह्मकपालस्पर्शशङ्कयेवोमायाः ॥ E॥ तं प्रणमताद्यापि वहति त्रिपथगावीचिभद्गकुटिलानि। यस्य जटाबन्धनिवेशविषमितानीव सलिलानि ॥ F॥ जयति जटासंयमनं पशुपतेर्जलधिमथनविरमे। शिथिलेन शैलनिघर्षणक्लान्तवक्षसा वासुकिना ॥ ३४॥ पार्थारोषणतरलितकराङ्गुलिमर्दितताम्रललाटम् । प्रतिविद्धतृतीयनयनोद्गममिव नमामो हरकिरातम् ॥ ३५॥ स जयति झटितिकवलितविषस्य कण्ठे यस्य निर्वतिता। क्षणदत्तोदत्तकृतान्तपाशनिघर्षोपमा रेखा ॥ ३६॥
३४. 'किलित देहेण for किलंतवच्छेण

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मङ्गलाचरणम्
तं पणमह जो सीसाओ कह वि ल्हसिअ -द्विअं समुव्वहह । अज्ज वि कुसुमीकअ - केसवच्छि-वत्तं व तइअच्छि ॥ ३७ ॥ उवरि-द्विअ-चंदालोअ - पुंजिआ जइ कंठ-मूलम्मि । सीस-च्छाय व विस पहामई थाणुणो रहा ॥ ३८ ॥ देहद्धद्ध - परिद्विअ - गोरि-हराराहणेक- हिअअं व । खंडत्तणेण पणमह परिद्विअं तिणअण-मिअंकं ।। ३९॥ तं णमह जस्स मुह-घडिअ - ससि अला- सुत्तिणा चिरं पीआ । सीसम्म अण्हेण व सुर-सरि-धारा कवालेण ॥ ४० ॥ घोलिर- कडार-तारं डाल - णअणं पिणाइणो णमह । अज्ज वि खआहुईक अ - जलंत - बंभंड - पिंड व ॥ ४१ ॥ तं मह कुलं पिव जस्स सुलह-संभावणं परिहरंतो । अज्ज व बाणमणंगो णो मुअइ भया कुमारम्मि ॥ ४२ ॥ सा जअ णेउरिल्लेण जीऍ चलणेण ताडिअ-क्खंधो। उब्भिण्ण-रुहिर - कुसुमो जाओ महिसासुरासोओ ॥ ४३ ॥
तं प्रणमत यः शीर्षात् कथमपि भ्रष्टस्थितं समुद्रहति । अद्यापि कुसुमीकृत केशवाक्षिपत्रमिव तृतीयाक्षि ॥ ३७ ॥ उपरिस्थितचन्द्रालोकपुञ्जिता जयति कण्टमूले । शीर्षच्छायेव विषप्रभामयी स्थाणो रेखा ॥ ३८ ॥ देहार्घार्धपरिष्ठितगौरीहराराधैन कहृदयमिव । खण्डत्वेन परिष्ठितं त्रिनयनमृगाकम् ॥ ३९ ॥ तं नमत यस्य मुखघटितशशिकला शुक्त्या । शीर्षे सतृष्णेनेव सुरसरिद्वारा कपालेन ॥ ४० ॥ घूर्णनशीलकडारतारं ललाटनयनं पिनाकिनो नमत | अद्यापि क्षयाहुती कृतज्वलद्ब्रह्माण्डपिण्डमिव ॥ ४१ ॥ तं नमत कुलमिव यस्य सुलभसंभावनां परिहरन् । अद्यापि बाणमनगो न मुञ्चति भयात् कुमारे ॥ ४२ ॥ सा जयति नूपुरवता यस्याश्चरणेन ताडितस्कन्धः । उद्भिन्नरुधिरकुसुमो जातो महिषासुराशोकः ॥ ४३ ॥
४१. जयइ for णमह. उग्गिण्ण° for 'उब्भिण्ण.

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उडवो
पढम- हरालिंगण - लज्जिआऍ अजाऍ वो सुहं देतु । कंठ - पहावलंबण- थोअ-त्थामाइँ अच्छी ॥ ४४ ॥ भमिअं पलय - पओसे विविह कवालम्मि णमह कालीए । मिलिआसेस- णिसा-लक्ख विसम - बहु-चंद खंडे व्व ॥ ४५ ॥ डिंब वो चामुंडाऍ पिहु - सिरा- दंड - मंडणं हर । महोअर - पहुपंत - वलअ- भरिअं पिव सरीरं ॥ ४६॥ सा जअइ चउ-मुहासण-तामरस- दलोअरेसु दुल्लुलिआ । क - जीहा - विहे अजा णिमिअ-पअं परिब्भमइ ॥ ४७ ॥ तं णमह जस्स दीस बिंबं विच्छाअ-लंछण-च्छायं । गंगा-णिग्गम-परिगलिअ-मज्झ लावण्ण-तुच्छं व ॥ ४८ ॥ वेरुलिअ - णिहा तं णमह जस्स ते संदणं परिवर्हति । तद्दिस - पढम- पेल्लिअ-तम- मइलंगा इव तुरंगा ॥ ४९ ॥ जअइ जअ - रक्खणे पुंजिअं व जं फुरइ पअणुअं रविणो । पलयम्मि जं च पविरल्लिअं व बहलाइ गो-जालं ॥ ५० ॥
८
प्रथमहरालिङ्गनलज्जिताया आर्याया वः सुखं दत्ताम् । कण्ठप्रभावलम्बनस्तोकस्थामनी अक्षिणी ||४४ || भ्रान्तं प्रलयप्रदोषे विविधकपाले नमत काल्याः । मिलिताशेषनिशालक्षविषमबहुचन्द्रखण्ड इव ॥ ४५ ॥ डिम्बं वश्चामुण्डायाः पृथुशिरादण्डमण्डनं हरतु । तनूदरनप्रभूतान्त्रवलयभृतमिव शरीरम् ॥ ४६ ॥ सा जयति चतुर्मुखासनदलोदरेषु दुर्ललिता | कविजिह्वानिवहेषु च या निहितपदं परिभ्रमति ॥ ४७ ॥ तं नमत यस्य दृश्यते बिम्बं विच्छायलाञ्छनच्छायम् । गङ्गा निर्गमपरिगलितमध्यलावण्यतुच्छमिव ॥ ४८ ॥ वैडूर्यनिभास्तं नमत यस्य ते स्यन्दनं परिवहन्ति । प्रतिदिवसप्रथमप्रेरिततमोमलिनाङ्गा इव तुरंगाः ॥ ४९ ॥ जयति जगद्रक्षणे पुञ्जितमिव यत् स्फुरति प्रतनुकं रवेः । प्रलये यच्च प्रविस्तृतमिव बहलायते गोजालम् ॥ ५० ॥
४५. जयइ for णमह ४६. खामोअरणपहुत्तंतवलयवलियं पिव. ४७. वहेसु व for "वहेसु अ. ५०. पविरेल्लियं पि.

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मङ्गलाचरणम् तं णमह कोल-तुलणे सअल-फणा-मणि-पसत्त-पडिबिंबं । उव्वहइ व जो बहु-सिर-विहत्त-लहुअंधरा-वलयं ॥५१॥ पणमह कालिंदी-सलिल-दंड-घडिअं व सुर-सरि-प्पवहं । दंत-खंभं वीसंत-विअड-हत्थं गअ-मुहस्स ॥ ५२॥ तं णमह गअ-मुहं विअड-दंत-कर-दंड-कलण-लीलासु । मिलिअ-हिमवंत-विज्झे व्व कुणइ जो मेरु-पब्भारे ॥५३॥ गण-वइणो सइ-संगअ-गोरी-हर-पेम्म-राअ-विलिअस्स । दंतो वाम-मुहद्धंत-पुंजिओ जअइ हासो च ॥ ५४ ॥ णमह दणुएंद-णिहणे माआ महु-सूअणं उर्वतीए । माणिअ-तरलत्तण-विन्भमा भमिआई लच्छीए ॥ ५५॥ • हत्थालांबिअ-पंकअ-मिअंकमुअीओ णिग्गअं जअइ ।
आसंघिअ-णिअ-आणण-सोहग-गुणाएँ व सिरीए ॥५६॥ कोसुम-धणु-बाण-ग्गह-सोरह-लग्ग-भमरे व्व कामस्स । ओप्पुंसिअ-रइ-पणअंसु-कज्जलंके करे णमह ॥ ५७॥
तं नमत कोलतुलने सकलफणामणिप्रसक्त प्रतिबिम्बम् । उहतीव यो बहुशिरोविभक्तलघुकं धरावलयम् ॥५१॥ प्रणमत कालिन्दीसलिलदण्डघटितमिव सुरसरित्प्रवाहम् । दन्तस्तम्भ विश्रान्तविकटहस्तं गजमुखस्य ॥५२॥ तं नमत गजमुखं विकटदन्तकरदण्डकलनलीलासु। मिलितहिमवद्विन्ध्यानिव करोति यो मेरुप्रारभारान् ॥५३॥ गणपतेः सदासङ्गतगौरीहरप्रेमरागवीडितस्य । दन्तो वानमुखान्तिपुञ्जितो जयति हास इव ॥५४॥ नमत दनुजेन्द्रनिधने मायामधुसूदनमुपयन्त्याः । मानिततरलत्वविभ्रमाणि भ्रान्तानि लक्ष्याः ॥५५॥ हस्तालम्बितपकजमृगाकमुदधेर्निर्गतं जयति । संभावितनिजाननसौभाग्यगुणाया इव श्रियाः ॥५६॥ कौसुमधनुर्वाणग्रहसौरभलग्नभ्रमराविव कामस्य । उत्प्रोञ्छितरतिप्रणयाश्रुकज्जलाको करौ नमत ॥५७॥
५१. समत्तपडिविवं, घडन्तपडिविवं. ५४. दन्तो वलियमुहद्धत' ५५. दमणे for णिहणे. ५७. ओप्पुसिय for ओप्पुंसि.

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गउडवहो देउ सुहं वो पसु-वइ-सिराहि गोरी-विसरिअव्वेहि । सोवालंभ व्व हिमालअंक-परिघोलिरी गंगा ॥ ५८॥ सा जअइ हर-सिरत्थम्मि जीऍ सालिलम्मि घोलिर-कवालो । अज वि पिआमहत्तमणहं चउराणणो वहइ ॥ ५९॥ हरि-चलण-णह-प्पहाए विच्छोलिअं व पढमअं । हर-ससिणो पाअएहिं संवलिअ व वीअअं॥६० ॥ गहिअ-हिम-च्छाअ व तुहिणद्दि-समावडणए । कारण-परिसुद्धअं व गंगाएँ णमह सलिलअं॥६१॥
__ ददातु सुखं वः पशुपतिशिरसो गौरीखेदैः। सोपालम्भेव हिमालयादकपरिघूर्णनशीला गन्गा ॥५८॥सा जयति हरशिरःस्थे यस्याः सलिले घूर्णनशीलकपालः। अद्यापि पितामहत्वमनघं चतुराननो वहति ॥ ५९॥ हरिचरणनखप्रभया धौतमिव प्रथमकम् । हरशशिनः पादैः संवलितमिव द्वितीयकम् ॥६०॥ गृहीतहिमच्छायकमिव तुहिनाद्रिसमापतने। कारणपरिशुद्धमिव गङ्गाया नमत सलिलम् ॥ ६१ ॥

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अथ कविप्रशंसा इह ते जति कइणो जमिणमो जाण सअल-परिणामं । वाआसु ठिअं दीसइ आमोअ-घणं व तुच्छं व ॥ ६२॥ . णिअआऍच्चिअ वाआएँ अत्तणो गारवं णिवेसंता। जे एंति पसंसंचिअ जअंति इह ते महा-कइणो॥६३॥ दोगचम्मि वि सोक्खाइँ ताण विहवे वि होति दुक्रवाई । कच-परमत्थ-रासिआइँ जाण जाति हिअआई॥६४॥ उम्मिल्लइ लायण्णं पअअ-च्छाआएँ सकस-चआणं । सकअ-सकारुकरिसणेण पअअस्स वि पहावो ॥६५॥ ठिअमडिअं व दीसइ अठिअंपि परिडिअं व पडिहाइ । जह-संठिअं च दीसइ सुकईण इमाओ पयईओ॥६६॥ विणअ-गुणो दंडाडंबरो अ मंडंति जह णरिंद-सिरिं। तह टंकारो महुरत्तणं अ वा पसाहेति ॥६७॥ सोहेइ सुहावेइ अ उबहुजंतो लवो वि लच्छीए। देवी सरस्सई उण असमग्गा कि पि विणडेइ ॥ ६८॥
इह ते जयन्ति कवयो जगदेतद् येषां सकलपरिणामम् । वाचासु स्थितं दृश्यत आमोदधनं वा तुच्छ वा ॥ ६२ ॥ निजयैव वाचात्मनो गौरवं निवेशयन्तः। ये यन्ति प्रशंसामेव जयन्तीह ते महाकवयः॥६३ ॥दौर्गत्येऽपि सुखानि तेषां विभवेऽपि भवन्ति दुःखानि। काव्यपरमार्थरसिकानि येषां जायन्ते हृदयानि ॥६४॥ उन्मीलति लावण्यं प्राकृतच्छायया संस्कृतपढ़ानाम्। संस्कृतसंस्कारोत्कर्षण प्राकृतस्यापि प्रभावः ॥६५॥ स्थितमस्थितमिव दृश्यतेऽस्थितमपि परिष्ठितमिव प्रतिभाति । यथासंस्थितं च दृश्यते सुकवीनामेताः पदव्यः॥६६॥ विनयगुणो दण्डाडम्बरश्च मण्डयतो यथा नरेन्द्रश्रियम् । तथा टड्कारो मधुरत्वं च वाचं प्रसाधयतः॥६७॥ शोभयति सुखयति चोपभुज्यमानो लवोऽपि लक्ष्म्याः । देवी सरस्वती पुनरसमग्रा किमपि विनाटयति ॥६॥
६: निसेवंता. ६४. णवर for होति. ६५. सक्कयपयाण. ६६. तहठियं व for परिठियं व. ६८. सुहावेइ व; कं न, किं न for किं पि.

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१२
गउडवो
महुमह - विअअ - पत्ता वाआ कह णाम मउलउ इमम्मि । पदम - कुसुमाहि तलिणं पच्छा - कुसुमं वण-लआण ॥ ६९ ॥ लग्गिहि ण वा सुअणे वयणिज्जं दुज्जणेहि भण्णंतं । ताण पुण तं सुअणाववाअ - दोसेण संघडइ ॥ ७० ॥ पर-गुण- परिहार- परंपराएँ तह ते गुणण्णुआ जाओ । जाहिं चित्र जह गुणेहि गुणिणो परं पिसुणा ॥ ७१ ॥ जं णिम्मला विखिति हंत विमलेहि सज्जण-गुणेहिं । तं सरिसं ससि - अर-कारणाऍ करि-दंत-विअणाए ॥ ७२ ॥ जाण असमे हि विहिआ जाअइ जिंदा समा सलाहा वि । जिंदा वि हि विहिआ ण ताण मण्णे किलामेइ ॥ ७३ ॥
दंतु णिअअ - गुण - गारवम्मि अद्दिदु-पर- मुह-च्छाआ । गरुआ स- सील- दोला अमाण-पर- दिट्ठ- मुह-राआ ॥ ७४ ॥ बहुओ सामण्ण - महत्तणेण ताणं परिग्गहे लोओ । कामं गआ पसिद्धिं सामण्ण- कई अओच्चे ।। ७५॥
मधुमथविजयप्रयुक्ता वाक् कथं नाम मुकुलयत्वस्मिन् । प्रथमकुसुमात् तर्लिन पश्चात्कुसुमं वनलतानाम् ॥ ६९ ॥ लगिष्यति न वा सुजने वचनीयं दुर्जनैर्भण्यमानम् । तेषां पुनस्तत्सुजनापवाददोषेण संघटते ॥ ७० ॥ परगुणपरिहारपरंपरया तथा ते गुणज्ञा जाताः । जातास्तैरेव यथा गुणैर्गुणिनः परं पिशुनाः ॥ ७१ ॥ यन्निर्मला अपि विद्यन्ते हन्त विमलैः सज्जनगुणैः । तत्सदृशं शशिकरकारणया करिदन्तवेदनया ।। ७२ ।। येषामसमैर्विहिता जायते निन्दा समा श्लाघापि । निन्दापि तैर्विहिता न तेषां मन्ये कुमयति ॥ ७३ ॥ नन्दन्तु निजकगुणगौरवेऽदृष्टपर मुखच्छायाः । गुरवः स्वशीलदोलायमान परदृष्टमुखरागाः ॥ ७४ ॥ बहुः सामान्यमतित्वेन तेषां परिग्रहे लोकः । कामं गताः प्रसिद्धिं सामान्यकवयोऽत एव ॥ ७५ ॥
७१. गुणुण्णया ७५. गुणत्तणेण for महत्तणेण.

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कविप्रशंसा सुअण-सहावे वि गओ जडम्मि कत्तो गुणो समुल्लसइ । रविणो वि जलम्मि ठिअं पडिबिंबमहोमुहं फुरइ ॥ ७ ॥ हरइ अणू वि पर-गुणो गरुअम्मि वि णिअ-गुणे ण संतोसो। सीलस्स विवेअस्स अ सारमिणं एत्तिअं चेअ ॥ ७६ ॥ इअरे वि फुरंति गुणा गुरूण पढमं कउत्तमासंगा। अग्गे सेलग्ग-गआ इंदु-मऊहा इव महीए ॥ ७७॥ णिव्वाडंताण सिवं सअलं चिअ सिवअरं तहा ताण । णिबडइ कि पि जह ते वि अप्पणा विम्हअमुर्वेति ॥ ७८ ॥ पासाम्म अहंकारी होहिइ कह वा गुणाण विवरुक्खे । गव्वं ण गुणि-गअ-मओ गुणत्थमिच्छंति गुण-कामा ॥ ७९ ॥ अहिलंघिऊण लोअं ठिआण एक्कत्तणेण गरुआण । बीआवेक्वी अवलंबिऊण कं मच्छरो फुरउ ॥ ८०॥ णिअ-मइ-संदेहोच्चिअ मइ-संदेहावलोअणे जाण । होति विआर-ट्टाणं ठिअ-रूआ ते ण लोअस्स ॥ ८१॥
सुजनस्वभावेऽपि गतो जडे कुतो गुणः समुल्लसति । रवेरपि जले स्थितं प्रतिबिम्बमधोमुखं स्फुरति ॥G॥ हरत्यगुरपि परगुणो गुरावपि निजगुणे न संतोषः। शीलस्य विवेकस्य च सारमेतदियदेव ॥७६ ॥ इतरस्मिन्नपि स्फुरन्ति गुणा गुरूणां प्रथमं कृतोत्तमासङ्गाः। अग्रे शैलाग्रगता इन्दुमयूखा इव मह्याम् ॥ ७७॥ निर्वतयमानानां शिवं सकलमेव शिवतरं तथा तेषाम् । निर्वर्तते किमपि यथा तेऽप्यात्मना विस्मयमुपयन्ति ।। ७८॥ पार्श्वेऽहङ्कारी भविष्यति कथं वा गुणानां विपरोक्षे। गर्वो न गुणिगतमदो गुणस्थमिच्छन्ति गुणकामाः ॥७१॥ अभिलइन्ध्य लोकं स्थितानामेकत्वेन गुरूणाम् । द्वितीयापेक्ष्यवलम्ब्य के मत्सरः स्फुरतु ॥ ८०॥ निजमतिसंदेह एव मतिसंदेहावलोकने येषाम् । भवन्ति विचारस्थानं स्थितरूपास्ते न लोकस्य ॥८१॥
७६. असंतोसो; रमियध्वं for सारमिण. ८०. गुरुयाण; फुरइ.

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गउडवहो तुच्छा-सुहेण विज्जाएँ मच्छराडंबरो खल-अणस्स । दुक्खेण सज्जणाणं हियउकंपो समिज्जति ॥ ६ ॥ सुकई...... भेसु जाण परिसंठिआ णामाई। णिअअ-णिबंधेसु अ ताण णणु समत्तं च काअद्धं ॥1॥ पाणमइआओ जाणं धरंति कव्वेसु वण्ण-मालाओ। ''भावा जीअस्स ते जिअंतिचिअ मा वि ॥ ३ ॥ किं रतुसमारूढ-गुणाण जीविअं लद्ध-पिसुण-भावं व्य । तेहि पसंसिजंतो वि जं गुणी अ पत्तिइअइ ॥ K॥ सा जअइ मई गुरुआ गमण-पडिबोह-कारणा........ । पडिबोह-संकमा जा स व पडिवज्जइ सरुवं ॥ ५ ॥ जो अप्पणाण सारं पेच्छइ अण्णस्स सो वि पीहेइ । पडिवजइ जो वि पराओं सो वि ........ ओत्तेआ॥ M | गुणिणा अहमा अ ठिआण णवर ताणं च दो च्चिअ विसेसा। सो वि अहमोच्चिअ कओ मज्झिम-संभावणा जस्स || N ॥
तुच्छसुखेन विद्याया मत्सराडम्बरः खलजनस्य । दुःखेन सज्जनानां हृदयोत्कम्पाः शाम्यन्ते ॥6॥सुकवि...... येषां परिसंस्थितानि नामानि। निजकनिबन्धेषु च तेषां ननु समाप्तं च कायार्धम् ।। I॥ प्राणमय्यो येषां धियन्ते काव्येषु वर्णमालाः । ..."भावात् जीवस्य ते जीवन्त्येव मृता अपि ॥ J॥ किं......समारूढगुणानां जीवितं लब्धपिशुनभावमिव । तैः प्रशस्यमानोऽपि यद् गुणी नैव प्रत्येति ॥K॥ सा जयति मतिर्मुवी गमनप्रतिबोधकारणा...... । प्रतिबोधसंक्रमाद् या स्वयमिव प्रतिपद्यते स्वरूपम् ॥ L॥ य आत्मनः सारं प्रेक्षतेऽन्यस्य सोऽपि स्पृहयति । प्रतिपद्यते योऽपि परस्मात् सोऽपि..... ॥ M ॥ गुणिनोऽधमाश्च स्थितानां केवलं तेषां द्वावेव विशेषौ । सोऽप्यधम एव कृतो मध्यमसंभावना यस्य ॥ N|

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कविप्रशंसा
को जिंदणी अमे गरुअअरे को पसंसि तरइ । सामण्णच्चित्र ठाणं थुईण परिणिदिआणं च ॥ ८२ ॥ सोऊण मुणंति परं जेण विअप्पति अप्पणच्चेअ । ते अणरह व्व गव्वस्स उत्तणा कह ण लज्जति ॥ ८३ ॥ काल- गुणा पढम - कईहि भमिअमपरिग्गहेसु मग्गे । इहरा मईहि हीरंति दुक्करं के वि काणं पि ॥ ८४॥ कत्तो णाम इस कवि - सेविएस मग्गे । सीमंते उण मुकम्मि तम्मि सव्वं णवं चेअ ॥ ८५ ॥ जडबुद्धीण पहुष्प मइलो गुण- णिग्गमो ण मणुयाण । नीलं ण णहंसा णायणस्स तेअस्स विणिचित्ती ॥ ० ॥ अत्थालोअण-तरला इअर - कईणं भमंति बुद्धीओ | अत्थच्चे णिरारंभर्मेति हिअअं कइंदाण || ८६ ॥ आ- संसारं कइ - पुंगवेहि तद्दि अह - गहिअ सारो वि । अज्ज वि अभिण्ण मुद्दो व्व जअ वाआ-परिष्कंदो ॥ ८७ ॥
को निन्दति नीचतमान् गुरुतरान् कः प्रशंसितुं शक्नोति । सामान्यमेव स्थानं स्तुतीनां परिनिन्दितानां च ॥ ८२ ॥ श्रुत्वा जानन्ति परं ये न विकल्पयन्त्यात्मनैव । तेनही इव गर्वस्य गर्विणः कथं न लज्जन्ते ॥ ८३ ॥ कालगुणात् प्रथमकविभिर्भ्रान्त मपरिग्रहेषु मार्गेषु । इदानीं मतिभिर्ह्रियन्ते दुष्करं केsपि केषामपि ॥ ८४ ॥ कुतो नाम नदृष्टं सत्यं कविसेवितेषु मार्गेषु । सीमन्ते पुनर्मुक्ते तस्मिन् सर्व नवमेव ॥ ८५ ॥ जडबुद्धीनां प्रभवति मलिनो गुणनिर्गमो न मनुजानाम् । नीलं न नभः सा नायनस्य तेजसः परिवृत्तिः ॥ ० ॥ अर्थालोकनतरलेतरकवीनां भ्राम्यन्ति बुद्धयः । अर्था एव निरारम्भमेन्ति हृदयं कवीन्द्राणाम् ॥ ८६ ॥ आसंसारं कविपुंगवैः प्रतिदिवसगृहीतसारोऽपि । अद्याप्यभिन्नमुद्र इव जयति वाक्परिस्पन्दः || ८७ ॥
८३. अणहरव्व, अणरिहव्व. ८४. मइए, मईए. ८५. अइटुं for नइट्ठ.

१५

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गउडवहो
किं अण्णमणण्ण-मणेहि ताव सु-कईहि सिक्खिआ वाआ। जाअं णीसामण्णाण ताण मूअत्तणं जाव ॥ ८८ ॥ को व विआरेइ विसेस-वित्थरं ताण जं ठिअं लोए। णामेचिअ संकेता गरुआण गुणा फुरति व्व ॥ ८९ ॥ जाण सरूवावगमे विगविआ किंपि होति अण्णे वि । ते आआसाअ वहति अत्तणो णवर माहप्पं ॥९॥ मोह-पडिबोह-कारित्तणेण तिमिरं व ज पासो व्व । तं जअइ विरुद्धं पिव विअप्प-जालं कइंदाण ॥९१॥ णवमत्थ-दंसणं संणिवेस-सिसिराओ बंध-रिद्धीओ। अविरलमिणमो आ-भुवण-बंधमिह णवर पअअम्मि ॥ ९२॥ जे सुण्णा इव बहुसो कहिं पि दीसंत-विरल-गुण-सारा । दर-वसिअ-पुराआरेहि तेहि किं वा णिबंधेहिं ॥ P॥ णिम्माआ तेच्चिअ णवर कव्व-कित्तीओ जाण लोअस्स । कण्णे विसंति हिअए वसंति पसरति अ मुहम्मि ॥ ६॥
किमन्यदनन्यमनोभिस्तावत्सुकविभिः शिक्षिता वाकू । जातं नि:सामान्यानां तेषां मूकत्वं यावत् ॥८८॥ को वा विचारयति विशेषविस्तरं तेषां यत् स्थितं लोके। नाम्न्येव संक्रान्ता गुरूणां गुणाः स्फुरन्तीव ॥ ८९॥ येषां स्वरूपावगमेऽपि गर्विताः किमपि भवन्त्यन्येऽपि। त आयासाय वहन्त्यात्मनः केवलं माहात्म्यम् ॥९०॥ मोहप्रतिबोधकारित्वेन तिमिरमिव यत् प्रकाश इव । तज्जयति विरुद्धमिव विकल्पजालं कवीन्द्राणाम् ॥ ९१॥ नवमर्थदर्शन संनिवेशशिशिरा बन्धर्द्धयः। अविरलमेतदाभुवनबन्धमिह केवलं प्राकृते॥९२॥ ये शून्या इव बहुशः कुत्रापि दृश्यमानविरलगुणसाराः। ईषदुषितपुराकारैस्तैः किं वा निबन्धैः ॥ २॥ निर्मातारस्त एव केवलं काव्यकीर्तयो येषां लोकस्य । कर्णे विशन्ति हृदये वसन्ति प्रसरन्ति च मुखे ॥ ६॥
८८. मणाहिं. ८९. हियए for लोए. ९०. अप्पणो for अत्तणो. ९१ तिमिरं च जं पयासो य.

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कविप्रशंसा दो च्चिअ णवरं हिअए लग्गति जहा-णिवेस-रमणिज्जा । रमणीओ बल्लहाणं महा-कईणं च भणिईओ॥ ॥ सअलाओ इमं वाआ विसंति एत्तो अ णेति वाआओ। एंति समुदं चिअ णेति साअराओचिअ जलाई ॥ ९३ ।। हरिस-विसेसो विअसावओ अ मउलावओ अ अच्छीण । इह बहिहुत्तो अंतो-मुहो अहिअअस्स विप्फुरइ ॥ ९४॥ अणुअंपा वा हासो व होइ अवहीरण व्व गरुआण। इअरेसु अणाअ-गुणंतरेसु ण उणो हिअअ-दुक्खं ॥ ९५ ॥ जे अत्तणो ण अहिआ सरिसा वा तेहि किं भणंतेहिं । जह-तह पराओ इच्छंति तह वि गरुआ वि बहुमाणं ॥९६ ॥ होतु व्व विगअ-गव्वा माहप्प-समुत्तुणव्व विअरंतु । जह-तह णिव्वडिअ-गुणा हासट्टाणं ण लोअस्स ॥ ९७॥ भीमं व लजि पि व थंभिअमिव किं पि होइ सुढिअं व । दूमिअमिव अप्फुण्णं व पहरिसुच्चं व इह हिअरं ॥९८॥
द्वे एव केवलं हृदये लगतो यथानिवेशरमणीये। रमण्यो वल्लभानां महाकवीनां च मणितयः ॥ R॥ सकला इदं वाचो विशन्तीतश्च निर्यन्ति वाचः। एन्ति समुद्रमेव निर्यन्ति सागरादेव जलानि ॥९३॥ हर्षविशेषो विकासको मुकुलीकारकश्चाक्ष्णोः । इह बहिर्मुखोऽन्तर्मुखश्च हृदयस्य विस्फुरति ॥ ९४॥ अनुकम्पा वा हासो वा भवत्यवधारणा वा गुरूणाम् । इतरेष्वज्ञातगुणान्तरेषु न पुनर्हृदयदुःखम् ॥ ९५॥ य आत्मनो नाधिकाः सदृशा वातैः किं भणद्भिः। यथातथा परस्मादिच्छन्ति तथापि गुरवो बहुमानम् ।। ९६ ॥ भवन्तु वा विगतगर्वा माहात्म्यगर्विता वा विचरन्तु । यथातथा निर्वृत्तगुणा हासस्थानं न लोकस्य॥९७॥ भीतमिव लज्जितमिव स्तम्भितमिव किमपि भवति श्रान्तमिव । दूनमिवापूर्णमिव प्रहर्षोच्चमिवेह हृदयम् ।। ९८॥
६४. इय for इह. ९५. हासो व्व होइ. ९६. सरिसा अहिया वा. ९८. विम्हियमिव for थंभियमिव; सुहियं व for मुढियं व, भूसियमिव for दूमियमिव.
ग. २

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अथ काव्यमारभ्यते। अत्थि णित्तिअ-णीसेस-भुवण-दुरिआहिणंदिअ-महिंदो। सिरि-जसवम्मो त्ति दिसा-पडिलग्ग-गुणो महीणाहो ॥ ९९ ॥ घोलइ समुच्छलंती जम्मि चलंतम्मि रेणु-भावेण । वसुहा अमुक-सेस-फण व धवलाअवत्तेसु ॥१०॥ वेहव्व-दुक्ख-विहलाण जस्स रिउ-कामिणीण पम्मुका। कर-ताडण-भीएहि व हारेहि पओहरुच्छंगा ॥३॥ कबरी-बंधा अज वि कुडिला ते जस्स वेरि-बंदीण । हढ-कडण-खुत्तंगुलि-णिवेस-मग्ग व्व दीसंति ॥ १ ॥ चलिअम्मि जम्मि विअणा-विहुअ-फणा-मंडलो वि णो मुअइ । महि-वेढं बल-भर-खुत्त-रअण-संदागिरं सेसो ॥१०१ ॥ णीसंदइ जस्स रणाइरेसु कीलालिओ गअ-मएण । आहअ-वम्माणल-दर-विराअ-धारो व्व कर-वालो ॥१०२ ॥ सेवंजलि-मिलिअ-णडाल-मंडला होति हह-पणामेसु । शूमिअ-भिउडी-भंग व्व जस्स पडिवक्ख-सामंता ॥१०३॥
अस्ति निवर्तितनिःशेषभुवनदुरिताभिनन्दितमहेन्द्रः। श्रीयशोवर्मेति दिवप्रतिलग्नगुणो महीनाथः ॥९९॥ घूर्णते समुच्छलन्ती यस्मिंश्चलति रेणुभावन। वसुधापुक्त शेषफणेव धवलातपत्रेषु ॥१००॥ वैधव्यदुःखविह्वलानां यस्य रिपुकामिनीनां प्रमुकाः। करताडनभीतैरिव हारैः पयोधरोत्सद्गाः । ॥ कबरीबन्धा अद्यापि कुटिलास्ते यस्य वैरिबन्दीनाम् । हठकर्षणनिमनाङ्गलिनिवेशमार्गा इव दृश्यन्ते ॥ T॥ चलिते यस्मिन्वेदनाविधुतफणामण्डलोऽपि न मुञ्चति। महीपीठं बलभरनिमग्नसंदानितं शेषः ॥ १०१ । निःष्यन्दते यस्य रणाजिरेषु कीलालितो गजमदेन। आहतवर्मानलेषद्विरागधार इव करवालः ॥ १०२ ।। सेवाञ्जलि. मिलिलतलाटमण्डला भवन्ति हरप्रणामेषु । छादितभ्रुकुटीभगा इव यस्य प्रतिपक्षसामन्ताः ॥ १०३ ।
१०१. महिवी दं.

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काव्यारम्भः
जो ववसाआवसरेसु दप्प-दर-दिन- दाहिणंस-अडो । दंसण-पसाअ सुहिअं कुणइ व्व भुअ-द्विअं लच्छि ॥ १०४ ॥ कोडव्वत्त-ठिअ-विसम-तार - पहा - भेअ - कलुसिआई व । सामाअंति णडालाइँ जस्स पडिवक्ख - बंदीण ॥ १०५ ॥ पासम्म आवालुंखि अस्स जस-पाअवस्स व महल्लो । अअसो रिऊणं दीसर छाआणिवहो व्व संकतो ॥ १०६ ॥ गंभीर - महारंभा संभाविअ - सारं परिव्भमइ | भुवणंतरेसु भाईरहि व्व सा भारही जस्स ॥ १०७॥ जस्स अ वलंत - जअ - गअ-सीअर धारा - सहस्स- लुलिआओ । संभम-संचारिअ चामराओ धावंति व दिसाओ ।। १०८ ॥ अवि अ ।
सोहइ विणिवेसिअ - पसिढिलंगुली - कोडि--कट्टणुत्थल्लो | पाअडि अब्भंतर-वण- णिवेस-दर- दंतुरो अहरो ।। १०९॥ मुच्चति पल्लिउव्वेल्ल - केसरा मूल- लुलिअ-मअरंदा | णिहु लीला - कुवलअ-पडित्थिआ कह वि णीसासा ॥ ११० ॥
यो व्यवसायावसरेषु दर्पेषदृष्टदक्षिणांसतदः । दर्शनप्रसादसुखितां करोतीव भुजस्थितां लक्ष्मीम् ॥ १०४ ॥ कोपोदृत्तस्थितविषमतारप्रभाभेद कलुषितानीव | श्यामायन्ते ललाटानि यस्य प्रतिपक्षबन्दीनाम् ॥ १०५ ॥ पार्श्वे प्रतापस्पृष्टस्य यशः पादपस्येव महत् । अयशो रिपूणां दृश्यते छायानिवह इव संक्रान्तः ॥ १०६ ॥ गम्भीरमहारम्भा संभावितसागरं परिभ्रमति । भुवनान्तरेषु भागीरथीव सा भारती यस्य ॥ १०७ ॥ यस्य च वलमानजयगजशीकरधारासहस्रलुलिताः । संभ्रमसंचारितचामरा धावन्तीव दिशः ॥ १०८ ॥ अपि च । शोभते विनिवेशित प्रशिथिलाङ्गुलीकोटिकर्षणाच्छलितः प्रकटिताभ्यन्तरवणनिवेशेषदंतुराऽधरः ॥ १०९ ॥ मुच्यन्ते प्रेरितोद्वेलकंसरा मूललुलितमकरन्दाः । निभृतं लीलाकुवलयप्रतिडिताः कथमपि निःश्वासाः ॥ ११० ॥
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१९
१०५. मोहुवत, दर मोहुव्वत्तट्ठियता र पहुब्भेअकलुमियाई व १०६. जय' for जस १०७. भुवणंतर म्म भारई १०९. घट्ट for ag. ११०. पडिच्छिया..

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गउडवहो
वाम-कराअडिअ-सुण्ण-मलिअ-विक्खित्त-कुंतल-सिहाण । अरई-विलास-विसुराविआण णिबडइ सोहगं ॥१११॥ अग्घइ मंगल-गहिएक्क-कुसुम-पसिअ-पसाहणामेलं । विमुह-णअणावहीरिअ-दर-बंदिअ-चंदणं वअणं ॥११२॥ इअ जस्स समर-दंसण-लीला-णिम्मविअ-वम्मह-विआरा । तिअस-तरुणीओ अजवि मण्णे णिहुअं किलम्मति ॥११३॥
अहवा। सिहर-णपहुत्त-गअणा दिसा-पडिप्फलिअ-कडअ-विणिअत्ता। डझंति दरुप्पइआ अलद्ध-गमणंतरा गिरिणो ॥११४॥ तं स-गुहा-मुह-णिव्वडिअ-धूम-चलआवलंबिअ-णिअंबा। वजाणल-धम्मंता लोहं व मुअंति धरणि-हरा ॥११५ ॥ लक्खिज्जइ धूमाअंत-पक्ख-णिक्खंत-सिहि-सिहा-णिवहो । संभम-संचलिअ-चलंत-रअणि-दिअसो व्व सुर-सेलो ॥ ११६॥ जेसुंचिअ कुंठिज्जइ रहसुभिडण-मुहलो महि-हरेसु । तेसुंचेअ णिसिज्जइ पडिरोहंदोलिरो कुलिसो ॥ ११७॥
वामकराकृष्टशून्यमलिनविक्षिप्तकुन्तलशिखानाम् । अरतिविलासखेदितानां निर्वर्तते सौभाग्यम् ॥१११॥ अर्घति मङ्गलगृहीतैककुसुमप्रेषितप्रसाधनापीडम् । विमुखनयनावधीरितेषद्वन्दितचन्दनं वदनम् ॥११२॥ इति यस्य समरदर्शनलीलानिर्मितमन्मथविकाराः । त्रिदशतरुण्योऽधापि मन्ये निभृतं क्लाम्यन्ति ॥११३॥ अथवा ॥ शिखरनप्रभूतगगना दिवप्रतिफलितकटकविनिवृत्ताः । दह्यन्त ईषदुत्पतिता अलब्धगमनान्तरा गिरयः ॥११४॥त स्वगुहामुखनिवृत्तधूमवलयावलम्बितनितम्बाः। वज्रानलमायमाना लोहमिव मुश्चन्ति धरणिधराः ॥ ११५ ॥ लक्ष्यते धूमायमानपक्ष. निष्क्रान्तशिखिशिखानिवहः । संभ्रमसंचलितचलदरजनिदिवस इव सुरशैलः ॥११६॥ येष्वेव कुण्ठ्यते रभसोद्भेदनमुखरो महीधरेषु । तेष्वेव निषज्जति प्रतिरोधान्दोलनशीलः कुलिशः ॥ ११७ ॥
१११. वामयरा., अरइविलासवितुरविआण. ११२. सोहइ for अग्घइ. ११३.तियय for तियस, मण्णे अज्जवि. ११४. गयणंतरा. ११५. तह for तं. वमंति forमुयंति. ११६. शिक्खित for शिक्खंत. ११७.निसज्जइ for णिसिज्जइ. दोलिओ.

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पर्वतपक्षशातनम् वलंति कंदरोअर-णिवडिअ-वलंत-विअड-विहआओ। सहसव्व सेल-सीमंतिणीओ भअ-मुक्क-गब्भाओ ॥११८ ॥ विज्झवइ वेल्लणोणअ-महि-वेदोभअ-दिसागअ-समुद्दो। ठाण-परिसंठिओचित्र पक्व-च्छेआणलं सेलो ॥ ११९ ॥ तद्दियसं रवि-मंडल-संचलणुम्हाअमाण-कडएण । उअयाचलेण कुलिसो मिलिओ वि चिरेण विण्णाओ॥१२०॥ डज्झति विसाणल-वाअ-विसहरामुक्क-चंदण-खंधा। तिअस-विअसाविअंसुअ-सेविअ-धूमा मलअ-वक्खा ॥१२१॥ णिसदिअ-पक्ख-पडंता महीऍ दल-विब्भमेण भज्जति । तक्खण-तरल-पलाअंत-विसहरा महिहरुग्घाआ ॥१२२॥ कहवि धरेइ महि-अलं णिप्पक्ख-पडंत-गिरि-णिसुंभंतं । दाहा-भिण्ण-ससोणिअ-मुह-णिवहारोसिओ सेसो ॥१२३॥ दीसइ जलंत-सेलं तावोसारिअ-वलंत सुर-लो। धूमुष्पित्थ-पिआमह-कमलालि-करंविअंगअणं ॥१२४॥
वेल्लन्ति कन्दरोदरनिर्वृतबलद्विकटविहगाः । सहसैव शैलसीमन्तिन्यो भयमुक्तगर्भाः ॥ ११८॥ विध्यापयति वेल्लनावनतमहीपीठोभयदिगागतसमुद्रः। स्थानपरिसंस्थितोऽपि पक्षच्छेदानलं शैलः ॥ ११९ ।। प्रतिदिवसं रविमण्डलसंचलोष्मायमाणकटकेन। उदयाचलेन कुलिशो मिलितोऽपि चिरेण विज्ञातः ॥ १२०॥ दह्यन्ते विषानलवानविषधरामुक्तचन्दनस्कन्धाः। त्रिदशविकासितांशुकवितधूमा मलयपक्षाः ॥१२१ ।। निशुम्भितपक्षपतन्तो मयां दलविभ्रमेण भज्यन्ते। तत्क्षणतरलपलायमानविषधरा महीधरोद्वाताः ॥१२२॥ कथमपि धारयति महीतलं निष्पक्षपतगिरिनिशुम्भ्यमानम् । दंष्ट्राभिन्नसशोणितमुखनिवहारोषितः शेषः ॥ १२३।। दृश्यते ज्वलच्छैलं तापापसारितवलत्सुरलोकम् । धूमत्रस्तपितामहकमलालिकरम्बितं गगनम् ।। १२४ ।।
११८, चलंत for वलंत, विडवाओ, विहगाओ for विहयाओ. ११९. वीटोभय . १२०. मंचरणु. १२९. वाण° for वा.

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२२
गड हो
गभालसाओं व पुणो कह वि गुहा लिहल- पोय-गरुईओ । पावंति भआ सेलंगणाओ गणगणुद्दे ॥ १२५ ॥
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खण- तरलिअ - पक्ख-उडा कडार - विज्जु-च्छडा - सिहालंमि । सलहा व अत्थाअंति पवि-पईमि धरणि-हरा ॥ १२६ ॥ थोआअंति व विरला दीहाअंति व्व खविअ - वित्थारा । तुंगाअंति व तणुआ पवि - खंडिअ - पेहुणा गिरयः ॥ १२७ ॥ सिढिल - पसारिअ - वक्खा घेष्पति पहाविएण कुलिसेण । दूरुप्पाड - णिवडिआ दर - पप्पुअ - णीसहा गिरिणो ॥ १२८ ॥ कुलिसो ताडे धरे धरा महिं कुलिस- खंडिअ - पडता । विडंत - सेल - पहआ मही वि सेस-फणा-वलअं ।। १२९ ॥ अि - धूम - कडुइआई गिरि-जालाई धुअ-पक्ख-पम्हाई । फुट्टेति लोअणाई व दिसाण मुकोज्झरंसू ।। १३०॥ जाओ दाह - विणिग्गअ-संखा आयस-सिला - अड-त्थउडा | कालस- पडिच्छण- जोग्गा पच्छा कडआ महि-हराण ॥ १३१ ॥
गर्भालसा इव पुनः कथमपि गुहालीनपोतगुर्व्यः । प्राप्नुवन्ति भयाच्छैला द्गना गगनाद्गणोद्देशम् ।। १२५ ।। क्षणतरलितपक्षपुटाः कारविद्युच्छटा शिखावति । शलभा इवास्तायन्ते पविप्रदीपे धरणिधराः ।। १२६ ॥ स्तोकायन्तीव विरला दीर्घायन्तीव क्षपितविस्ताराः । तुङ्गायन्तीव तनवः पविखण्डितपक्षा गिरयः ।। १२७ ।। शिथिलप्रसारितपक्षा गृह्यन्ते प्रधावितेन कुलिशेन । दूरोत्पतितनिपतिता दरप्रप्लुतनिःसहा गिरयः ॥ १२८ ॥ कुलिशस्ताडयति धरान् धरा महीं कुलिशखण्डितपतन्तः । निपतच्छैल प्रहता मह्यपि शेषफणावलयम् ॥ १२९ ॥ निजधूमकद्वकृतानि गिरिजालानि धुतपक्षपक्ष्माणि । स्फुटन्ति लोचनानीव दिशां मुक्तनिर्झराश्रूणि ॥ १३० ॥ जाता दाहविनिर्गतसंस्त्यानाय सशिलातटस्थपुटाः । कुलिशप्रत्येषणयोग्याः पश्चात् कटका महीधराणाम् ॥ १३१ ॥
१२५. 'गभईओ for 'गरुईओ. १२६. 'कराल for 'कडार'. 'पद्म' for * पक्ख. १२७. तणुयायंतिव्व for दीहायंतिव्व. १२८. दरपप्फुय दूरप्पुr for दरपप्पु . १३१. यल' for 'अड'.

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पर्वतपक्षशातनम् दड-चण-राइ-कलुसा तेच्चिअ सिहरोज्झरा सदुक्खाण । जाआ सकज्जला इव बाहोआरा गिरि-वहूण ॥ १३२॥ संखाअ-मसिण-पसरा पासुत्त-महा-भुअंग-सच्छाआ। दीसंति सेल-कडएसु दीहरा लोह-णीसंदा ॥ १३३॥ कुलिसाणल-पिंगलिओ उप्पअण-तलावसत्त-ससि-बिंबो। उक्खित्तामअ-कलसो गरुलो व्व गिरी परिन्भमइ ॥ १३४॥ सेल-णिअंबुप्पइआ वजाणल-सरिस-विज्जु-पिंजरिआ । लुअ-महि-हर-पक्ख-णिहा णहंमि घोलंति घण-णिवहा ॥ १३५॥ दीसंति कुलिस-मिलिआ अंगाराअंत कुसुम-फल-किसला । तिअस-मिहुणाणुसोइअ-संकेअ-लआ-हरा गिरिणो ॥ १३६ ॥ वेअल्ल-चेल्लिराणं परिअत्तंता गिरीण कडएसु। सरिआ-मग्गा पावंति विअड-वण-वट्टअ-च्छाअं ॥१३७ ॥ ओभरण-लालसेहिं गिरीसु दीसइ गुहा-विणितेहिं । पक्ख-च्छेओ व तड-द्विएहिं वसुहा-वण-अरेहिं ॥ १३८॥
दग्धवनराजिकलुषास्त एव शिखरनिर्झराः सदुःखानाम्। जाताः सकज्जला इव बाष्पावतारा गिरिवधूनाम् ॥१३२॥ संस्त्यानमसृणप्रसराः प्रसुप्तमहाभुजङ्गसच्छायाः। दृश्यन्ते शैलकटकेषु दीर्घा लोहनिष्यन्दाः ॥१३३॥ कुलिशानलपिगलित उत्पतनतलावसक्तशशिबिम्बः । उत्क्षिप्तामृतकलशो गरुड इव गिरिः परिभ्रमति ॥१३४ ॥ शैलनितम्बोत्पतिता वज्रानलसशविद्युत्पिारिताः। लूनमहीधरपक्षनिभा नभसि घूर्णन्ते धननिवहाः ॥१३५॥ दृश्यन्ते कुलिशमिलिता अगारायमाणकुसुमफलकिसलयाः । त्रिदशमिथुनानुशोचितसंकेतलतागृहा .गिरयः ॥१३६॥ वैकल्यवेल्नशीलानां परिवर्तमाना गिरीणां कटकेषु। सरिन्मार्गाः प्राप्नुवन्ति विकटव्रणपट्टकच्छायाम् ॥१३७॥ अवतरणलालसैगिरिषु दृश्यते गुहाविनिर्यद्भिः। पक्षच्छेद इव तटस्थितैर्वसुधावनचरैः ॥१३८॥
१३२. वाहोवारा. १३५. पंजरिया. १३७. वल्लिराणां. १३८. तढिएहिं [ताहिएहि-तयास्थितैः ] for तडट्ठिएहिं.

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गउडवहो
जलिउप्पइअ-वलंता अद्धेहिं णहंगणे विसर्टेति । अद्धेहिं मूल-गरुआ महीऍ णिवडंति गिरि-वक्खा ॥ १३९ ॥ उवरिं-धूम-णिवेसा मूलालग्ग-जलणाण दीसंति । हट्ठालोउक्खित्ता छाआ-बंधा इव तरूण ॥ १४०॥ परिलूण-पेहुणस्स वि सुर-गिरिणो अणह-वक्ख-संकाए । घडिओ पुणो वि कुलिसो जालासु णिअंब-विअडासु ॥ १४१॥ णिअ-सामत्थेणंचिअ ण तहा वेएण णिहर-प्पहरो। अण्ण-गिरि-पक्ख-पहओ जह छिंदइ महि-हरं कुलिसो॥१४२ ॥ महि-हर-वडणुच्छलिआ भमंति पसरिअ-मणि-प्पहा-वलआ। सेल व्व जलिअ-वक्खा गअणमि समुद्द-कल्लोला ॥ १४३ ॥ उप्पिअ-तिअस-विसाओ णिक्खमइ चिरेण दाह-कअ-विवरो। कुविअ-गिरि-पक्ख-संपुड-संपीडिअ-णिप्फुरो वज्जो ॥१४४ ॥ असमप्पमाण-दीहर-मूलोआरे समुद्द-पडिए वि।। णह-दूर-ठिअ-सिहरे णो मुअइ मही-हरे कुलिसो ॥१४५ ॥
. ज्वलितोत्पतितवलन्तोऽधैर्नभोगणे विघटन्ति । अधैर्मूलगुरवो मह्यां निपतन्ति मिरिपक्षाः ॥१३९॥ उपरिधूमनिवेशा मूलालग्नज्वलनानां दृश्यन्ते । अधःस्थितालोकोक्षिप्ताश्छायाबन्धा इव तरूणाम् ॥१४०॥ परिलूनपक्षस्यापि सुरगिरेरनघपक्षशङ्कया। घटितः पुनरपि कुलिशो ज्वालासु नितम्बविकटासु ॥१४१॥ निजसामर्थ्येनैव न तथा वेगेन निष्ठुरप्रहारः। अन्यगिरिपक्षप्रहतो यथा छिनत्ति महीधरं कुलिशः॥१४२ ।। महीधरपतनोच्छलिता भ्रमन्ति प्रसृतमणिप्रभावलयाः । शैला इव ज्वलितपक्षा गगने समुद्रकल्लोलाः ॥१४३॥ अर्पितत्रिदशविषादो निष्कामति चिरेण दाहकृतविवरः । कुपितगिरिपक्षसंपुटसंपीडितनिष्फुरो वज्रः ॥१४४॥ असमाप्यमानदीर्घमूलावतारान् समुद्रपतितानपि। नभोदूरस्थितशिखरान्न मुञ्चति महीधरान कुलिशः ।। १४५॥
१४०. दिहा, अवरिंधूम. १४२. भिंदइ for छिंदइ, पहारो. १४३. घडणु' for वडणु. १४४. वक्ख° for पक्ख. १४५. वडिए वि for पडिए वि. :

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पर्वतपक्षशातनम् एको उण धरणि-हरो अद्दि-णिअंब-मूल-सिहरग्गो । ल्हिको दूरुच्छलिए जलहिमि व जलहि-कल्लोले ॥ १४६ ॥ रहसा रसा-अलोअर-विसाल-कंदर-दरी-पलोडतो। णजइ गिरी ण जलहिं जलहिच्चिअ महि-हरं विसइ ॥ १४७ ।। गिरि-लुलिओअहि-विहुआ संभंत-दिसेभ-ताडिअ-क्रवंधा । वेवइ विअणा-वेलंत-महि-हरंदोलिआ वसुहा ॥१४८॥ अप्पत्ता वि समुदं समुद्द-परिरक्खिअ व्व वोलंति । वेअ-समुच्छलिअ-णिअंब-सिंधु-परिणामिआ गिरिणो ॥१४९॥ णिवडत-सिला-छव्विअ-परितलिणाअंत-मूल-वित्थारो। वोच्छिण्ण-मंथर-सिहो विरलाअइ धूम-संघाओ ॥१५०॥ उप्पइअ-रेणु-णिवहा संवेल्लिअ-विअड-कंदर-च्छेआ। तेच्चेअ पडण-भिण्णा पत्ता लहुअत्तणं गिरिणो । १५१ ॥ एकत्तो सल्लाअंत-वज्ज-धारा-कणा किलिम्मति ।। अण्णत्तो कडओसहि-पहाव-रूढ-व्वणा गिरिणो ॥१५२ ॥
एकः पुनर्धरणीधरोऽदृष्टनितम्बमूलशिखरामः। लीनो दूरोच्छलिते जलधाविव जलधिकल्लोले ।। १४६॥ रभसा रसातलोदरविशालकंदरदरीप्रलुण्टन् । न ज्ञायते गिरिन जलधिं जलधिरेव महीधरं विशति ॥ १४७।। गिरिलुलितोदधिविधुता संभ्रान्तदिशेभताडितस्कन्धा। वेपते वेदनावेल्लन्महीधरान्दोलिता वसुधा ।। १४८॥ अप्राप्ता अपि समुद्रं समुद्रपरिरक्षिता इव गच्छन्ति । वेगसमुच्छीलतनितम्बसिन्धुपरिच्छादिता गिरयः ॥१४९॥ निपतच्छिलापिहितपरितलिनायमानमूलविस्तारः । व्युच्छिन्नमंथरशिखो विरलायते धूमसंघातः ॥१५० ॥ उत्पतितरेणुनिवहाः संवेल्लितविकटकन्दरच्छेदाः। त एव पतनभिन्नाः प्राप्ता लघुत्वं गिरयः ।। १५१ ॥ एकतः शल्यायमानवज्रधाराकणाः क्लाम्यन्ति । अन्यतः कटकौषधिप्रभावरूढवणा गिरयः॥ १५२ ।।
१४७. गुहा for “दरी . १४८. विहया for विहुआ. विसहर" for महिहर १४९. परिवेढिया for परिणूमिआ. १५०. सेलढकिय, सेलकड़िय° for 'सिलाछवि . १५१. तेच्चिय पडणुभिण्णा.

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गउडवहो कुलिसो ण दीसइच्चिअ एकमिच्चिअ गिरिमि मुझंतो । एकं व सेल-सिहरं अट्टइ कुलिसंमि गिरि-जालं ॥ १५३ ॥ पक्ख-उड-कूड-पुंजिअ-कप्पंतर-दिप्पमाण-हव्ववहा । पलएच्चिअ विज्झाआ समुद्द-भर-पूरिआ गिरिणो ॥ १५४ ॥ णीसह-विमुक्क-कायत्तणेण वोच्छिण्ण-पक्ख-लहुअंपि। तंचिअ भुअंग-वइणो जाअं गरुअं व गिरि-जालं ॥ १५५ ॥ विहडिअ-वसुहा दलिअदि-मंडला दूर-विदुअ-समुद्दा। थिइ-लालसेण हरिणा णीआ पलयंचिअ तिलोई ॥१५६॥
आमुअइच्चिअ जीअं गिरि-मिहुणं णिव्वुएहिं अंगेहिं । पजलिअ-पक्ख-संपुड-संपाडिअ-सिसिर-परिरंभं ॥ १५७॥ भय-विहडिआण जाओ लुअ-पक्खुद्देस-णिवडिअ-थिराण । अह णिरवसाण-दुसहो कुडुंब-विरहो महि-हराण ॥१५८ ॥ कढिण-गिरि-वक्ख-मूडण-विहडिअ-धारत्तणेण सुर-वइणो। आरुहइ काय-लहुओ पेसण-गरुओ करं कुलिसो ॥ १५९ ॥
कुलिशो न दृश्यत एवैकस्मिन्नेव गिरौ मुह्यन् । एकमिव शैलशिखरं क्वथति कुलिशे गिरिजालम् ॥ १५३॥ पक्षपुटकूटपुनितकल्पान्तरदीप्यमानहव्यवाहाः। प्रलय एव विध्याताः समुद्रभरपूरिता गिरयः ॥ १५४ ॥ निःसहविमुक्तकायत्वेन व्युच्छिन्नपक्षलघुकमपि। तदेव भुजङ्गपतेर्जातं गुरुकमिव गिरिजालम् ॥१५५॥ विघटितवसुधा दलिताद्रिमण्डला दूरविद्रुतसमुद्रा। स्थितिलालसेन हरिणा नीता प्रलयमेव त्रिलोकी ॥१५६।। आमुश्चत्येव जीवितं गिरिमिथुनं निर्वृतैरङ्गैः। प्रज्वलितपक्षसंपुटसंपादितशिशिरपरिरम्भम् ॥१५७॥ भयविघटितानां जातो लूनपक्षो. देशनिपतितस्थिराणाम् । अथ निरवसानदुःसहः कुटुम्बविरहो महीधराणाम् ॥१५८॥ कठिनगिरिपक्षसूदनविघटितधारत्वेन सुरपतेः । आरोहति कायलघुकाप्रेषणगुरुकः करं कुलिशः ॥१५९॥
१५३. च for a after एकं. १५४. कंदरदर for °कप्पंतर. विमक्यिा for विज्झाभा. १५९. सूयण for °सूडण.

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वापीमज्जनक्रीडा इअ जेण खुडिअ-वक्खा गिरिणो वि समंजसत्तणे ठविआ। एकासण-संमाणं सो वि हरी मण्णए जस्स ॥ १६०॥ अवि । चिहुरावीलण-पडिलग्ग-हाण-घुसिणारुणंसुय-सुअंघो। अग्घइ मंगल-गहिएक कुसुम-दामुन्जलो वेसो ॥ १६१ ॥ दर-चक्खिअ-मइरा-मअ-पविरल-संबज्झमाण-सेअ-लवं । सोहइ मंथर-णित्याम-लुलिअ-णअणुप्पलं वअणं ॥ १६२ ॥ सहइ जलद्दासंदाण-विसम-मासलिअ-चंदण-च्छेओ। संकंत-पाडलामोअ सुरहि-सिसिरो थणाहोओ ॥ १६३ ॥ घोलइ महु-रस-विच्छुरिअ-मालई-मउल-कोमलाअंबा । णिदोअंजण-रमणिज-पम्ह-मूलुजला दिट्ठी ॥ १६४ ॥ विक्खिरिअ-चिहुर-मंजरि-सिहा-परिक्खलिअ-जल-लवालिद्धं । णिव्वाइ मलिओणविअ-णह-चुडुप्पंकुरं जहणं ।। १६५॥ इअ जस्स गिम्ह-दिवसावसाण-णिम्माअ-मजण-रसाहिं । लीला-बावीसु रिऊण संठिअं वार-विलआहि ॥१६६॥
इति येन खण्डितपक्षा गिरयोऽपि समञ्जसत्वे स्थापिताः। एकासनसंमानं सोऽपि हरिमन्यते यस्य ॥१६०॥ चिकुरापीडनप्रतिलमस्नानघुसृणारुणांशुकसुगन्धः । अर्घति मङ्गलगृहीतैककुसुमदामोज्वलो वेषः ॥ १६१ ॥ ईषदास्वादितमदिरामदप्रविरलसंबध्यमानस्वेदलवम् । शोभते मन्थरनिःस्थामलुलितनयनोत्पलं वदनम् ॥१६२॥ शोभते जलार्द्रासंदानविषमांसलितचन्दनच्छेदः । संक्रान्तपाटलामोदसुरभिशिशिरः स्तनाभोगः ॥ १६३ ॥ घूर्णते मधुरसविच्छुरितमालतीमुकुलकोमला ताम्रा। निधौताअनरमणीयपक्ष्ममूलोज्वला दृष्टिः ॥१६४॥ विकीर्णचिकुरमारीशिखापरिस्खलितजललवाश्लिष्टम् । विश्राम्यति मुकुलितावनतनखक्षताइकुरं जघनम् ॥१६५॥ इति यस्य ग्रीष्मादवसावसाननिर्मितमज्ज. नरसाभिः । लीलावापीषु रिपूणां संस्थितं वारवनिताभिः ॥१६६॥
१६०. एयासण. १६४. 'विच्छलिय' for विच्छुरिअ'. १६५. ओणमियणहचूडप्पंक्रियं.

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२८
गउडवहो ।
किं च। विवर-समोसरिअ-विराअ-हेम-महि-हर-रस-पवाहेहिं । पाआलोआरिअ-पिहु-सिहो व्य पडिहाइ हब्ब-वहो ॥ १६७॥ वण-देवआ-पसारिअ-कर-अल-संवलिअ-किसलअ-कलावो । डज्झइ धूम-तमंतरिअ-महुअरो तिअस-तरु-संडो ॥ १६८ ॥ पज्जलइ धूम-मंडल-णिह-विवलाअंत-लंछण-मअं व । णिव्वडिअ-फुलिंग-च्छल-संगलिअ-गहं व ससि-बिंबं ॥ १६९ ।। भीसण-सरूव-परिसंठि व जलणाहअंपि पडिहाइ । वेआल-मंडलं मुहल-मुह-गुहा-घोलिग्गि-सिहं ॥ १७० ॥ कर-कलिअ-खग्ग-लेहा-णिह-पढमुभिण्ण-धूम-लेहं व । डज्झइ मिहुणं विजा-हराण अविओअ-वीसत्थः ॥ १७१ ॥ जम-महिसो कवलिज्जइ जाला-संवेल्लिओ हुअ-वहेण । बंभंड-पडिप्फलिओणओ ब्व णिअ-धूम-विच्छड्डो ।। १७२ ॥ अमर-रमणी-विहुव्वंत-चामरुप्पंक-पवण-लोल-सिहो। भय-चेविरो व्ब अलिअइ कहवि विधुहाहिवं जलणो ॥ १७३ ।।
विवरसमपसृतविलीनहेममहीधररसप्रवाहैः । पातालावतारितपृथुशिख इव प्रतिभाति हव्यवाहः ॥१६७॥ वनदेवताप्रसारितकरतलसं. वलितकिसलयकलापः । दह्यते धूमतमोऽन्तरितमधुकरस्त्रिदशतरुपण्डः ॥ १६८ ॥ प्रज्वलति · धूममण्डलनिभविपलायमानलाञ्छनमृगमिव । निवृत्तस्फुलिङ्गच्छलसंगलितग्रहमिव शशिबिम्बम् ॥१६९ ।। भीषणस्वरूपपरिसंस्थितमिव ज्वलनाहतमपि प्रतिभाति । वेतालमण्डलं मुखरमुखगुहाघूर्णनशीलाग्निशिखम् ॥१७०॥ करकलितखड्गलेखानिभप्रथमोगिन्नधूमलेखमिव । दह्यते मिथुनं विद्याधरयोरवियोगविश्वस्तम् ॥१७१ ।। यममहिषः कवल्यते ज्वालासंवेलितो हुतवहेन । ब्रह्माण्डप्रतिफलितावनत इव निजधूमसमूहः ॥१७२ ॥ अमररमणीविधूयमानचामरसमूहपवनलोलशिखः। भयवेपनशील इवालीयते कथमपि विबुधाधिपं ज्वलनः॥१७३॥
१६७. °समोअरियों, विलाय for विरा*. १६८. 'दुम for 'तरु . १६९. संवलिय° for संगलिअ. १७२. पडिक्खनिओं ( = पडिक्खलिओ. ?).

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प्रलयवर्णनम्
फुडिअ-घण-वडल-पाअड-तडि-च्छडा-संड-णिविडिओ जलइ । रवि-बिंब-वलय-बद्ध-प्फलो व्व जलणो णह-अलंमि ॥ १७४॥ डज्झति सरल-सुंकार-दूर-विक्खित्त-सिहि-सिहा-णिवहा। तंडविअ-फणा-मंडल-पिंडिअ-धूमुग्गमा फणिणो ॥ १७५ ॥ उन्बहइ धूम-वलयं सेसो पछि-परिसंठिउम्मेअं। देह-प्पहा-विआणं हरिणो व्व णिवेस-संकंतं ॥ १७६ ॥ जलण-सिहा-संभाविअ-सरीर-णिव्वावणा-णिमित्तं व। डज्झइ ससि-मंडल-कलस-दिण्ण-कंठ-ग्गहं मअणो ॥ १७७॥ रक्खा-सुअंगमुग्गिण्ण-विस-जलासार-विरलिउभेओ। अहिलेइ णिहि-ठाणाइँ कहवि जलणो कुबेरस्स ॥ १७८ ॥ सोहइ वलंत-वासुइ-परिवेस-विढत्त-विअड-पडिबंधो । दर-सिढिल-हर-जडा-पुंज-पिंजरो सिहि-सिहा-णिवहो ।। १७९ ॥ पडिहाइ जलण-जाला-पंजर-संजमण-पुंजिआवयवो। उप्पत्ति-दिअस-परिसंठिओ व्व तणओ ति-णयणस्स ॥ १८०॥
स्फुटितघनपटलप्रकटतडिच्छटाषण्डनिबिडितो ज्वलति । रविबिम्बवलयबद्धफल इव ज्वलनो नभस्तले ॥ १७४॥ दह्यन्ते सरलसूत्कारदूरविक्षिप्तशिखिशिखानिवहाः। ताण्डवितफणामण्डलपिण्डितधूमोद्माः फणिनः ॥ १७५ ॥ उद्वहति धूमवलयं शेषः पृष्ठपरिसंस्थितोद्भवम् । देहप्रभावितानं हरेरिव निवेशसंक्रान्तम् ॥१७६ ॥ ज्वलनशिखासंभावितशरीरनिर्वापणानिमित्तमिव । दाते शशिमण्डलकलशदत्तकण्ठग्रह मदनः ॥१७७॥ रक्षाभुजंगमोद्गीर्णविषजलासारविरलितोद्भेदः । अभिलाति निधिस्थानानि कथमपि ज्वलनः कुबेरस्य ।। १७८॥ शोभते वलद्वासुकिपरिवेषार्जितविकटप्रतिबन्धः । ईषच्छिथिलहरजटापुञ्जपिचरः शिखिशिखानिवहः ॥१७९॥ प्रतिभाति ज्वलनज्वालापञ्जरसंयमनपुनितावयवः। उत्पत्तिदिवसपरिसंस्थित इव तनयस्त्रिनयनस्य ॥१८०॥
१७४. वडण° for "वडल. १७५. मंडव for मंडली. १७६. पट्टीपरिट्टिओम्भेयं. १७७. "ग्गहो. १७९. विरल and °वियड° for° सिढिल. १८०. °दियह for °दिअस.

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३०
गउडवो
इअ पलयाणल-कवलिअ सुरंमि बंभंड- कुहर - कुंडंमि । लीला कंसारि - सरूव-धारिणो जस्स णिव्वडिआ ।। १८१ ॥ अहवा ।
मणि - सबल - कुसुम - मालावबंध - पडिबद्ध - विब्भमा पढमं । जाआ धूमाह अ-वेणु-दंड-कविसा किणो वेणी ॥ १८२ ॥ किं णु हु कला - निरंतर मिअंक- पडिवक्ख-गंड- लेहं ते । दमणअ- सिहाहमहिसाम धूसरं वअणमेत्ताहे ॥ १८३ ॥ धारा-अ-धरणि कणावरुद्ध-णव- कंदली - सिहा- फरुसं । महुरमवगाढ- सोहं अ वहसि विसमारुणं अहरं ॥ १८४ ॥ एअंपवण-पराहीण-सरल- लवली - दलाहिलोलं ते । पेच्छामि असंगअ - मंगलावअंसं सवण - वासं ॥ १८५ ॥ सासअ-मिअंक-मणि-कलस- वेसमवसण्ण- हार-परिभोअं । णिरवसर - चंदण - रसं तं चित्र ते सुअणु थण- वट्टं ॥ १८६ ॥ सरस- पडिवोह - लंधिअ-कलंब - केसर - पिसंगमंगेसुं । लायण्णं चिर- निम्माण- खिण्ण-कणअ-च्छविं वहइ ॥ १८७ ॥
इति प्रलयानलकवलितपुरे ब्रह्माण्डकुहरकुण्डे । लीला कंसारिस्वरूपधारिणो यस्य निर्वृत्ता ॥ १८१ ॥ मणिशबलकुसुममालावबन्धप्रतिबद्धविभ्रमा प्रथमम् । जाता धूमाहतवेणुदण्डकपिशा कस्माद्वेणी ॥। १८२ ॥ किं नु खलु कलानिरंतरमृग इकप्रतिपक्ष गण्डलेखं ते । दमनक शिखाभमभिश्यामधूसरं वदनमिदानीम् ॥ १८३ ॥ धाराहत धरणिकणावरुद्धनवकन्दलीशिखापरुषम् | मधुरमवगाढशोभं च वहसि विषमारुणमधरम् ।। १८४ ॥ एतत् पवनपराधीन सरललवलीदलाभिलोलं ते । प्रेक्षे असङ्गतमङ्गलावतंसं श्रवणपाशम् १८५ ।। शाश्वतमृगाङ्कमणिकलशवषमवसनहारपरिभोगम् । निरवमरचन्दनरसं तदेव ते सुतनु स्तनष्पृष्ठम् ॥। १८६ ॥ सरसप्रतिबोधलङ्घित कदम्ब केसर पिशङ्गमद्गेषु । लावण्यं चिरनिर्माणखिन्नकनकच्छविं वहति । ८७ ।
१८१. पेलि for 'कलिअ. १८२. वीणी. १८५ 'सरस' for "सर".. १८६. परिसोयं, परिवेस for परिभोअं.

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रिपुसुन्दरी वैधव्यदशा
ज्वमासु अपज्जत्तेह - कलह- दंतावहासमूरु-जुअं ।
तं चेr मलिअ - बिस-दंड - विरसमालक्खिमो इहि ॥ १८८ ॥ हा किं णु अणव- कच्चूर-भंग-विच्छाअ-पांडले तरुणि । आवास इमे पडिवोह - कुंठ-कमलपपहे चलणे ॥ १८९ ॥ संचरs चिर-परिग्गह- लायण्णुत्तिष्ण-वेस- सोहग्गो । सोच्चे पुराण लेक्ख धूसरो परिणो एस ॥ १९० ॥ इअ अणि हव्वागमाहिं आलोइऊण ता जस्स । रिङ-सुंदरीओ रुज्जति ह- सरिसं पिअ-सहीहिं ॥ १९१॥ अह सो कआहिसेओ समयंमि णिमिल्ल - मेह-माहप्पे | चलिओ सअल-धरा- वलअ - विजअ - पडिबद्ध - ववसाओ ।। १९२ ॥ किं च जाअं ।
निवड परोपरावण - मुहल-मणि-मंजरी - कण- करालो । गणाहि विबुह-विहुओ सुर- पाव - पल्लवुप्पीलो ॥ १९३॥ मंगल-लास - किलम्मंत - सुर-बहू - कंड-सीअलो वहइ | आभिण्ण - महुर- मंदार-सुंदरो सुर-वह- समीरो ॥ १९४॥
उपमासु अपर्याप्तभकलभदन्तावभासमूरुयुगम् । तदेव मृदितबिसदण्डविर समालक्षयाम इदानीम् ॥ १८८ ॥ हा किं नु अनवकर्चूर भंगविच्छायपाटली तरुणि । आवहास इमौ प्रतिबोधकुण्डकमलप्रभौ चरणौ ॥ १८९ ॥ सचरति चिरपरिग्रहलावण्योतीर्णवेषसौभाग्यः । स एव पुराण! लेख्यधूसर : परिजन एषः ।। १५० ।। इति अज्ञातवैधव्यागमाभिरालोक्य तदा यस्य । रिपुसुन्दर्यो रोद्यन्ते स्नेहसदृशं प्रियसखीभिः ॥ १९१ ॥ अथ स कृताभिषेकः समये निमीलितमेघमात्म्ये । चलितः सकलधरावलयविजयप्रतिबद्धव्यवसायः ॥ ९९२ ॥ निपतति परस्परापतनमुखरमणिमञ्जरीकणकरालः । गगनाद्विबुधविधुतः सुरपादपपल्लव समूहः ॥ १९३ ॥ मङ्गललास्यक्लाम्य सुरवधूकण्ठशीतलो वहति । आभिन्नमधुरमन्दारसुन्दरः सुरपथसमीरः । १९४ ।
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३१
१८८. एहि . ९२ गमाओ for गमाहिं, नेहसरसं. १९२. पडवण्ण for fडबद्ध १९४. आभिन्न सुरहि .

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गउडवहीं
उत्तंभिज्जति णराहिवस्स समअं दिसा-गईदेहिं । असरिस-पसत्थ-मणि-तोरण व्व विअडा कर-क्खंभा॥ १९५॥ साणंद-रोहिणी-बाहु-वलय-पडिबद्ध-बीअ-परिवेसो। .. जाओ पसण्ण-गह-मंडलावलंबी णिसा-णाहो ॥ १९६॥ विभम-परिरंभण्णोण्ण-मिलिअ-मणि-दाम-मुहल-थण-बिंबो। लास-लय-कंस-तालो व्च चलइ सुर-सुंदरी-सत्थो ॥ १९७ ॥ किरण-किलामिअ-परिअर-भुअंग-विस-जलण-धूम-तिमिरेहिं । उब्वेल्ल-महामणि-दंतुरेहिं चलिअं णिहाणेहिं ।। १९८॥ वहइ महिंदो साणंद-सुंदरी-विहुअ-वास-संवलिअं। हरिसावसरंमि वि विसम-विअसि लोअण-सहस्सं ॥ १९९॥ रहसुद्ध-तिअस करि-दंत-दंड-परितुलिअ-रवि-रह-तुरंगो। तोरण-णिबद्ध-जय-पल्लवो व्व जाओ गह-विआणो ॥ २०॥ इअ से पसत्थ-पत्याण-समय-संभाविऊसव-विआसो। जाओ पहरिस-हीरंत-सुहिअ-हिअओ तिअस-लोओ ॥२०१॥
।
उत्तम्भ्यन्ते नराधिपस्य समकं दिग्गजेन्द्रैः। असदृशप्रशस्तमणितोरणा इव विकटाः करस्तम्भाः॥१९५ ॥ सानन्दरोहिणीबाहुवलयप्रतिबद्धद्वितीयपरिवेषः । जातः प्रसन्नग्रहमण्डलावलम्बी निशानाथः ॥१९६॥ विभ्रमपरिरम्भान्योन्यमिलितमणिदाममुखरस्तनबिम्बः । लास्यलयकांस्थताल इव चलति सुरसुन्दरीसार्थः ॥१९७॥ किरणलान्तपरिचरभुजन्गविषज्वलनधूमतिमिरैः । उद्वेलमहामणिदन्तुरैश्चलित निधानः ॥ १९८ ।। वहति महेन्द्रः सानन्दसुन्दरीविधुतवाससंवलितम् । हर्षावसरेऽपि विषमविकसितं लोचनसहस्रम् ॥ १९९ ॥ रभसोर्ध्वत्रिदशकरिदन्तदण्डपरितुलितरविरथतुरंगः । तोरणनिबद्धजयपल्लव इव जातो नभोवितानः ॥ २०० ॥ इति तस्य प्रशस्तप्रस्थानसमयसंभावितोत्सवविकासः। जातः प्रहर्षह्रियमाणसुखितहृदयस्त्रिदशलोकः ॥२०१॥
१९६ विइय for बीअ. १९८ विमल° for °महा. २०१. हीरंतहिययसहिओ.

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पुरसुन्दरीणां परिसंस्थितविलासाः
अवि अ। आमूल वलिअ-वामोरु-वल्लरी-लंघिएअरोरु-ल। तंस-टिअ-दर-परिअत्तिअंग-दिवेक-थण-वटुं ॥२०२ ॥ विणिअत्त-हार-बलअग्ग-मिलिअ-मासल-णिअंब-परंतं। वलणा-मडह-द्विअ-मज्झ-कट्ठिओव्वत्त-रोम-लअं॥२०३ ।। सहि-वंध-द्विअ-दाहिण-पर-वलिओणआणण-मिअंकं । एक्केकम-णिविड-करंबिअंगुली-मिलिअ-कर-किसलं ॥२०४॥ परिअत्त-सरल-कुंतल-णालंजिअ-दाहिण-त्थणद्धंतं । लीला-बंधुर-सीमंत-पअड-चूडा-मणि-च्छाअं ॥ २०५॥
ओणविअ-सवण-तवणिज-मंजरी-रुद्ध कुंडलालो। वलिआगअण्ण-ताडंक-मलिअ-थण-कुंकुमालेक्खं ॥२०६॥ इअ वसुहाहिव-दंसण-वलंत-णअणुप्पलावअंसाण । भवण-सिहरेसु पुर-सुंदरीण परिसंठिअं सहइ ॥२०७॥ किं च।
आमूलवलितवामोरुवल्लरीलचितेतरोरुलतम्। त्र्यस्थितेषत्परिवर्तितागदृष्टैकस्तनपृष्ठम् ॥ २०२ ॥ विनिवृत्तहारवलयाग्रमांसलनितम्बपर्यन्तम् । वलनास्तोकस्थितमध्यकर्षितोवृत्तरोमलतम् ॥ २०३॥ सखीस्कन्धस्थितदाक्षिणप्रकोष्ठवलितावनताननमृगाकम् । एकैकनिबिडकरम्बिताइन्गुलिमिलितकरकिसलयम् ॥२०४॥ परिवृत्तसरलकुन्तलनालानितदक्षिणस्तनार्धान्तम् । लीलाबन्धुरसीमन्तप्रकटच्डामणिच्छायम् ।। २०५॥ अवनमितश्रवणतपनीयमञ्जरीरुद्धकुण्डलालोकम् । वलितागतान्यताडद्कमृदितस्तनकुङ्कुमालेख्यम् ॥ २०६॥ इति वसुधाधिपदर्शनवलन्नयनोत्पलावतंसानाम् । भवनशिखरेषु पुरसुन्दरीणां परिसंस्थितं शोभते ॥ २०७॥
२०५. णालंकिय, णालंचिय° for णालंजि. २०६. ओणमिय.' °कुंडलुज्जोयं. °मिलिय° for 'मलिय. २०७. °यसीण.
ग. ३

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गउडवहो अज्ज वि जस्स हराणल-जालावलि-संभमं भरंतस्स । कुसुम-कविसे असोए वि झत्ति दिट्ठी समुविअइ ॥२०८॥ सो वि ससि-बंधवो जाण दंसणे पणइणीण कोवंकं । कुणइ चिअ कुंद-सिहा-कसाअ-गंड-स्थलं वअणं ॥२०९॥ दिटे पहुम्मि अबलाण ताण आविद्ध-चंदण-कसाओ । वसिओ अंगेसु समंत-पीण-कण-कबुरो सेओ ॥२१०॥ दिट्ठी सचंदणेसुं आरोविअ-रोअणेसु रमणीण । तस्स णिसण्णा पुण्णाह-रअअ-वत्तेसु व मुहेसु ॥ २११॥ अवि अ। समरेसु खग्ग-धारा-गआएँ पडिपेल्लिऊण रिउ-खग्गं । दिट्ठो सिरीऍ तं णील-मणि-कवाडंतरेणं व ॥ २१२॥ सइ सुहडासि-णिवासा संकेतायस-मल व्व सामाइ । जा दोस-रआ सा णवर फुरइ तइ णिम्मला लच्छी ॥ २१३ ॥ तुह जाअ-मच्छरेण व परिंद उभिउडिणा णडालेण । सअल-णडालाई चित्र ठवियाइँ पणाम-मग्गम्मि ॥ २१४॥
अद्यापि यस्य हरानलज्वालावलिसंभ्रमं स्मरतः । कुसुमकपिशे अशोकऽपि झटिति दृष्टिः समुद्विजते। २०८ ॥ सोऽपि शशिबान्धवो यासां दर्शने प्रणयिनीनां कोपाङ्कम् । करोत्येव कुन्दशिखाकषायगण्डस्थलं वदनम् ॥ २०९॥ दृष्टे प्रभौ अबलानां तासामाविद्धचन्दनकषायः । उषितोऽगेषु समन्तपीनकणकर्बुरः स्वेदः ॥२१०॥ दृष्टिः सचन्दनेषु आरोपितरोचनेषु रमणीनाम् । तस्य निषण्णा पुण्याहरजतपात्रेष्विव मुखेषु ॥ २११॥ समरेषु खड्गधारागतया प्रतिप्रेर्य रिपुखद्गम् । दृष्टः श्रिया त्वं नीलमणिकपाटान्तरेणेव ॥ २१२॥ सदा सुभटासिनिवासा संक्रान्तायसमलेव श्यामायते। या दोषरता सा केवलं स्फुरति त्वयि निर्मला लक्ष्मीः ॥२१३ ॥ तव जातमत्सरेणेव नरेन्द्र उद्धृकुटिना ललाटेन। सकलललाटान्येव स्थापितानि प्रणाममार्गे ॥२१४॥
२१०. विलयाण for अबलाण. आवद्ध for आविद्ध.° °वंधुरो for °कब्बुरो. समत्त for समंत. २१२. वेल्लिऊण. २१३. सइ for जा. सा दोसरया साणेव्व.
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बन्दिकवीन्द्रस्तुतिः
गहिओ विवलाअंतीऍ पागिणा तुह असी रणग्गम्मि । सहसा वेणी-दंडो व्व फुरइ पडिवकरव-लच्छीए ॥ ७ ॥ पुरओ पुरओ तुम्हारिसेहि विअडेहिं भूमि-बालेहिं । विवरीअग्ग-सरूवो ब्व एस परिवडिओ वंसो ॥ २१५॥ सहइ गरिंद परिणओ मग्गोप्पिअ-दंड-पाविअ-त्थामो । सिरि-सुंदरीऍ पासे तुह धम्मो सोविदल्लो व्य ॥२१६ ॥ दीहर-पआव-मूलं लच्छी पास-ट्ठिआ जसुग्वा । कंचण-दंडं पिव धवल-चामरं तुज्झ धारेइ ।। २१७ ॥ विहवाअंतारि-बहू-समूह-पडिभग्ग-वलय-रासि-णिहा । तुह जस-कूडुक्केरा दिसासु सअलासु दीसति ॥ २१८ ॥ भरिमो असिं तु संगर-फुरंत-माअंग-मोत्तिअ-मऊहं । धारा-जलुत्त-बिसमिव सिरीऍ पिअ-गेह-णलिणीए ॥ २१९ ॥ भीअ-परित्ताण-मई पइण्णमसिणो तुहाहिरूढस्स । मण्णे संका-विहुरेण वेरि-वगे वि अवआसो ॥ २२० ॥
गृहीतो विपलायमानया पाणिना तवासिः रणाये। सहसा वेणीदण्ड इव स्फुरति प्रतिपक्षलक्ष्म्याः ॥ U॥ पुरतः पुरतो युष्माहौर्विकटैर्भूमिपालैः। विपरीताग्रस्वरूप इवैष परिवधितो वंशः ॥ २१५॥ शोभते नरेन्द्र परिणतो मार्गापितदण्डप्रापितस्थामा । श्रीसुन्दर्याः पार्श्व तव धर्मः सौविदल्ल इव ॥२१६॥ दीर्घप्रतापमूलं लक्ष्मीः पार्श्वस्थिता यशःसंघातम् । काञ्चनदण्डमिव धवलचामरं तव धारयति ॥ २१७॥ विधवायमानवधूसमूहप्रतिभग्नवलयराशिनिभा । तव यश-कूटोत्कराः दिशासु सकलासु दृश्यन्ते ॥ २२८॥ स्मरामः असिं तव संगरस्फुरन्मातङ्गमौक्तिकमयूखम् । धाराजलोप्तबिसमिव श्रियाः प्रियगेहनलिन्याः ॥ २१९॥ भीतपरित्राणमयीं प्रतिज्ञामसेस्तवारूढस्य । मन्ये शङ्काविधुरे न वैरिवर्गेऽप्यवकाशः ॥ २२० ॥
२१६. सोमहल्लो for सोविदल्लो. २१७. जस्स for तुझ. २१८. धवलवलयनिहा for 'वलयरासिणिहा.

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गउडवहो दारिअ-रिउ-गअ-मअ-सुरहिणि ति णिचं चला वि भमरि व्य । खग्ग-लआए णिवसइ फरुसाएँ वि तुज्झ राअ सिरी ॥ v॥ कोऊहलेण आहव-पलोइआ गारवोप्पिअ-करण । पट्टीओ परामुट्ठा तुमाइ पणआण वेरीग ॥ २२१॥ णिवसिज्जइ जय-वारण कुंभ-विभेअ-क्खमे तुह असिम्मि । तदिअसं मुत्ता-कोस-संचआसाएँ व सिरीए ॥ २२२ ॥ सो णत्थि चित्र इह जो परिंद णेहिइ णडाल-वटै वो । अच्छीहंतो करुणा-मआई णणु वारि-बिंदूई ॥ २२३॥ तद्धण-धणं व धरिआ लच्छी वच्छ-त्थले महु-महेण । भिच्चत्थि-बंधवेसुं ण उण विहत्ता जह तुमाइ ॥ ७ ॥ अहवा। उप्पअणाअर-संपिंडिअंग-गिरि-णिवह-गारवोणमि। सव्वाअर-चोढव्वं जाअं सेसस्स महि-वेदं ॥ २२४ ॥ पक्खंतराल-परिअत्तमाण-रवि-मंडला णह-अलम्मि । होंति अणागअ-संगअ-कुलिसा इव सेल-संघाआ ॥२२५॥
दारितरिपुगजमदसुरभाविति नित्यं चलापि भ्रमरीव । खड्गालतायां निवसति परुषायामपि तव राजन श्रीः ।। V॥ कौतूहलेनाहवप्रलोकिता गौरवार्पितकरेण । पृष्ठानि परामृष्टानि त्वया प्रणतानां वैरिणाम् ॥ २२१ ।। न्युष्यते जयवारणकुम्भविभेदक्षमे तवासौ। प्रतिदिवसं मुक्ताकोशसंचयाशयेव श्रिया ॥ २२२।। स नास्त्येवेह यो नरेन्द्र नेक्षते ललाटपट्टे वः । अक्षिभ्यां करुणामयान् ननु वारिबिन्दून् ।। २२३ ।। तद्धनधनमिव धृता लक्ष्मीर्वक्षःस्थले मधुमथेन । भृत्यार्थिबान्धवेषु न पुनर्विभक्ता यथा त्वया ॥W॥ उत्पतनादरसंपिण्डितागगौरवावनामितम् । सर्वादरवोढव्यं जातं शेषस्य महीपीठम् ।। २२४॥ पक्षान्तरालपरिवर्तमानरविमण्डला नभस्तले। भवन्ति अनागतसंगतकुलिशा इव शैलसंघाताः ॥ २२५ ॥
२२१. वाहव° for आहव'. २२५. पक्खंतरखण.

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बन्दिकवीन्द्रस्तुतिः मारुअ-भरंत-कंदर-गारव-परिमंथरं वलग्गंति । वेअ-विअसंत-पाअव-शूमिअ-कडअंतरा गिरिणो ॥ २२६॥ आरोहंति णह-अलं तारुज्जोइअ-गुहा-मुहाहोआ । अण्णोण्ण-पेहुणाणिल-हीरंत विसंठुला सेला ॥ २२७॥ उप्पअणोहुर-पीलिअ-सरीर-मउलंत-विवर-णिन्बूढा । उद्धं णिबद्ध-वेआ णिज्झर-धाराओं णिवडंति ॥ ४॥ मुक्क-तुसारासारं लीलुड्डीणम्मि तुहिण-सेलम्मि । वेवइ अच्छक्कागअ-हिमकाल-किलामिओ लोओ ॥ २२८ ॥ उप्पअण-रुद्ध-गअणा दूरुग्गम-णिव्वडंत-णह-लहुआ। मूएंति मूल-मडहं खमग्ग-विअडं व धरणि-हरा ॥ २२९ ।। दूरअरं उप्पइआ अद्ध-वहत्थमिअ-णिज्झर-तुसारा। दीसंति विअड-लहुआ पण?-काया महा-गिरिणो ॥ २३० ॥ जं जं समुप्पअंता मुअंति सेला णहंगणुद्देस । तं तं पुंजिअ-बहलो भरेइ मुहलुब्भडो पवणो ॥ २३१॥
मारुतभ्रियमाणकन्दरगौरवपरिमन्थरमारोहन्ति । वेगविकसत्पादपस्थगितकटकान्तरा गिरयः ।। २२६॥ आरोहन्ति नभस्तलं तारोद्योतितगुहामुखाभोगाः । अन्योन्यपक्षानिलह्रियमाणविसंष्ठुलाः शैलाः॥२२७॥ उत्पतनावाङ्मुखपीडितशरीरमुकुलीभवद्विवरनियूंढाः। ऊर्ध्व निबद्धवेगा निर्झरधारा निपतन्ति ॥X॥ मुक्ततुषारासारं लीलोड्डीने तुहिनशैले । वेपते अकस्मादागतहिमकालक्लान्तो लोकः ॥ २२८॥ उत्पतनरुद्धगगना दूरोद्गमनिवर्तमाननभोलघवः । सूचयन्ति मूलाल्पं खं अग्रविकटमिव धरणिधराः ॥२२९॥ दूरतरमुत्पतिता अर्धपथास्तमितनिर्झरतुषाराः। दृश्यन्ते विकटलघवः प्रणष्टकाया महागिरयः ॥ २३०॥ यं यं समुत्पतन्तो मुञ्चन्ति शैला नभोऽङ्गणोद्देशम् । तं तं पुञ्जितबहलो बिभर्ति मुखरोद्भटः पवनः ।। २३१॥
२२६. °तम्मिय° for °णूमिअ. २२७. गिरिणो for सेला. २२८. लीगुड्डोणमि. हेमंत° for °हिमकाल.

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गउडवो
पासोसरंत-तल- मग्ग-घडिअ-कम-लहुअ-मासल-च्छाया । उति पक्ख - विअलिअ - दिग्गअ - दाणोज्झरा गिरिणो ॥ २३२ ॥ एंति गणोसरतेसु कह वि उम्मुह समीर हीरंता । थोप्प अइ- णिविद्या सेलेसु विहंग संघाआ || २३३ ॥ ओअरण-विसेसिज्जंत-रवि-अरालोअ - चंचल-च्छाया । दीसंति पविरलाओ व वेज्द्ध-दला वणालीओ ॥ २३४ ॥ इअ जेण णहंगण-गोअराण खुडिआओ पक्ख-मालाओ । सेलाण सोवितं चिंतिऊण अंदोलइ महिंदो ॥ २३५ ॥ अणुधारं संदभ- मोत्तिए तुह असिम्मि सच्चविआ । लीला-दर- दाविहार-मेत पअडव्व जय-लच्छी ॥ २३६ ॥ अयसेण रिऊण करंविआओ कित्तीओ तुह धरिजंति । कुवलय-दल- संवलिआ माल-मालाओ व दिसाहिं ॥ २३७ ॥ पडिबद्धं णवर तुमे णरिंद चकं पआव-विअडं पि । गह-वलयमणुच्छित्ते धुवे व्व परिअत्तर रिंद ॥ २३८ ॥
३८
पार्श्वापसरत्तलमार्गघटितक्रमलघुमां सलच्छायाः । उड्डीयन्ते पक्षविगलितदिग्गजदाननिर्झरा गिरयः ॥ २३२ ॥ एन्ति गगनापसरत्सु कथमपि उन्मुख समीरह्रियमाणाः । स्तोकोत्पतितनिविष्टाः शैलेषु विहंगसंघाताः ।। १३३ ।। अवतरण विशेष्यमाणरविकरालोकचञ्चलच्छायाः । यन्ते प्रविरला इव वेगोर्ध्वदला वनाल्यः ॥ २३४ ॥ इति येन नभोऽद्गणगोचराणां खण्डिताः पक्षमालाः । शैलानां सोऽपि तं चिन्तयित्वा आन्दोलयति महेन्द्रः || २३५ || अनुधारं संलग्ने भमौक्तिके तवासौ दृष्टा । लीलेषद्दर्शितहारमात्र प्रकटेव जयलक्ष्मीः ॥ २३६ ॥ अयशसा रिपोः करम्बिता: कीर्तयस्तव धार्यन्ते । कुवलयदलसंवलिता मालतीमाला इव दिशाभिः ।। २३७ ॥ प्रतिबद्धं केवलं त्वया नरेन्द्रचक्रं प्रतापविकटमपि । ग्रहवलयमनुत्क्षिप्ते ध्रुव इव परिवर्तते नरेन्द्र ॥ २३८ ॥
२३२. 'सामल' by Commentator. 'विलुलिय° for 'विगलिअ ' २३३. गयणोयर° २३४. ओसरण° for ओअरण. वेओड्ड for वेउद्ध. २३६. संदिट्ठेभ', संदट्ठेह. २३७. वरिज्जंति for धरिज्जंति.
२३८. नवरि
"वियडम्मि.

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बन्दिकवीन्द्रस्तुतिः समरम्म करे विप्फुरइ णवर एक्को असी तुह च्चेअ । जो पावइ णिअ-जस-सोम-मंडले लंछण-च्छायं ॥ २३९ ॥ सविमो अणज्जुणमिमं अमहिंदमवासुई च अप्पाणं । सेवंजलि-दसण-गुण-कहासु तुह जो ण पज्जत्तो ॥ २४०॥ णिवडइ पडण-समुच्छलिअ-जलण-कण-जाल-जडिल-धारग्गो । विमुह-गह-मंडलाअट्टिओ व्व खग्गो तुह रिऊसु ॥ २४१॥ तुह पडिवकरखेसु भया कत्थ वि अविलासमावसंतेसु । आरोवेइ ण काअर-गणणाऍ व चावमसमसरो ॥ २४२ ॥ सुहडाअट्टिअ-कोअंड-चंड-रव-दारुणे रणे तं सि । परिरद्धो भीयाएँ व सहसा गाढं जय-सिरीए ॥ २४३॥ सोहइ समागमेसु अहिअ-पआव-प्पईव-मालासु । वावारती कण्णुप्पलं व खग्गं तु जय-लच्छी ॥ २४४ ॥ जं इअरोवद्दव-विहुआ वि मज्जति तुह रिऊ णाह । बहु-रूवा ता धाराओ णवर तुह मंडलग्गस्स ॥ २४५॥
समरे करे विस्फुरति केवलमेकोऽसिस्तवैव । यः प्राप्नोति निजयशःसोममण्डले लाञ्छनच्छायाम् ॥२३९॥ शपामहे अनर्जुनमिमं अमहेन्द्रमवासुकिं चात्मानम् । सेवाञ्जलिदर्शनगुणकथासु तव यो न पर्याप्तः ॥ २४०॥ निपतति पतनसमुच्छलितज्वलनकणजालजटिलधारायः । विमुखग्रहमण्डलाकृष्ट इव खड्गस्तव रिपुषु ॥ २४१॥ तव प्रतिपक्षेषु भयात् क्वापि अविलासमावसत्सु। आरोपयति न कातरगणनयेव चापमसमशरः ॥२४२॥ सुभटाकृष्टकोदण्डचण्डरवदारुणे रणे त्वमसि । परिरब्धो भीतयेव सहसा गाढं जयश्रिया ॥२४३॥ शोभते समागमेषु अहितप्रतापप्रदीपमालासु। व्यापारयन्ती कर्णोत्पलमिव खङ्गं तव जयलक्ष्मीः ॥ २४४॥ यद् इतरोपद्रवविद्वता अपि मज्जन्ति तव रिपवो नाथ । बहुरूपास्ता धाराः केवलं तव मण्डलाग्रस्य ॥ २४५ ॥
२३९. णिरसिम्मि जए. २४०. इणं for इमं. तइ for तुह. २४५. जइ for जं. वज्जति for मज्जति.

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४०
गउडवहो पणइ-अणत्थं आमुअइ कणअमिणमो इह द्विआ लच्छी । कवआवडिआ असिणो तु ऐति णामी सिहि-फुलिंगा ॥२४६ ॥ कोवेण व कस-कंपं रहसुद्ध-परिष्टुिआएँ घडिआई। तुह तज्जणीऍ कज्जाइं चंड-भुअ-दंड-दूईए ॥२४७॥ आरूढो पासाअक्कमेण तह तं सि उवरि लोअस्स । एको अ सो जहा वो अंडअ-बंधाअए मउली ॥ २४८ ॥ बाहु-सिहरेसु दीसइ कामिणि-संकामिएण मअ-तिलओ। भू-भारुव्वहण-वसा परिट्टिओ पंक-लेसो व्व ॥ २४९ ॥ भुमअग्ग-भमिर-लच्छी-चलणालत्तअ-णिहो तुवि प्फुरइ । अवअंसारुण-मणि-मंजरी-भवो राअ-विच्छड्डो ॥ २५०॥ होति कअत्था पणई णह-माला-चलण-रोहणे तुज्झ । आअंब-मणि-गुहाआ व विसिऊण पणाम-संकंता ॥२५१॥ अल्लीणा रहसागम-परिवत्तिअ-केसवंसुअ-धर व्य । कवअ-दलणुग्गआणल-सिह-च्छला वो असिं लच्छी ॥ २५२ ॥
प्रणयिजनार्थमामुञ्चति कनकमेतदिह स्थिता लक्ष्मीः । कवचापतिता असेस्तव निर्यन्ति नामी शिखिस्फुलिङ्गाः ॥ २४६॥ कोपेनेव कृतकम्पं रभसोर्ध्वपरिष्ठितया घटितानि । तव तर्जन्या कायाणि चण्डभुजदण्डदूत्या ॥ २४७ ॥ आरूढः पाक्रिमेण तथा त्वमसि उपरि लोकस्य। एकश्च स यथा वोऽण्डकबन्धायते मौलिः ॥ २४८॥ बाहुशिखरेषु दृश्यते कामिनीसंक्रामितेन मदतिलकः। भूभारोद्वहनवशात् परिष्ठितः पकलेश इव ॥२४९॥ भुवयभ्रमणशीललक्ष्मीचरणालक्तकनिभस्त्वयि स्फुरति । अवतंसारुणमणिमञ्जरीभवो रागसमूहः ॥२५०॥ भवन्ति कृतार्थाः प्रणयिनो नखमालाचरणरोहणे तव। आताम्रमणिगुहा इव विष्टा प्रणामसंक्रान्ताः॥२५१॥ आलीना रभसागमपरिवर्तितकेशवांशुकधरेव । कवचदलनोद्गतानलशिखाच्छलाद्वोऽसिं लक्ष्मीः ॥ २५२ ।।
२४७. जाआई for घडिआई. २४८. सब्वस्स for लोअस्स. बंधावए. २४९. सिहरम्मि...संकामिए तुहअतिलए । भूभारुव्वहणायरपरि. २५१. °पहाव for °पणाम° २५२. रहसागय. वरव्व for धरव्व.

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४१
जयतुरङ्गवर्णनम् इअ जो थुम्वइ पहरिस-पूर-परिक्खलिअ-विसम-कंठेहिं । बन्दीहिं कईदेहिं च भूअत्थेहिं चिअ गुणेहिं ॥ २५३ ॥ इअ चाडु-चउर-चारण-संचारिअ-चंद-चारु-चरिएण । णअराओ णर-वरिंदेण णिग्गअंणिग्गअ-जसेण ॥२५४॥ किं च । जवपचमाणस्स सरीर-चारिणो गब्भ-वसहि-गेहेसु । जाण परिअत्तणेण व आवत्त-गईओ णिवाडिआ ॥२५५ ॥ जे कुंकुम-स्थलीसु केसर-भंगारुणेहि दावेति । पइ-परिहो व महीऍ णव-णहंक खुर-वएहिं ॥२५६ ॥ जे पोह-खण-परिद्विअ-संखाअ-फेण-पिंड-घडिएहिं । हेसा-रवेहिं पूरिअ-पयाण-संख व दीसंति ॥२५७ ॥ आयाण-मरगअ-च्छवि-विच्छड्डाडंबरेण मुंचंति । जे बाल-जव-रसं पिव सयराहा पीअमंगेहिं ॥२५८ ॥ दिण्णाओ पणालीओ व सम-वारि-विणिग्गमाअ धारेति । परिछिण्ण-मज्झ-रेहा-णिहेण जे जहण-बंधेण ॥ २५९॥
___इति यः स्तूयते प्रहर्षपूरपरिस्खलितविषमकण्ठैः। बन्दिभिः कवीन्द्रेश्च भूतार्थैरेव गुणैः ॥२५३ ॥ इति चादुचतुरचारणसंचारितचन्द्रचारुचरितेन । नगरान्नरवरेन्द्रेण निर्गतं निर्गतयशसा ।। २५४॥ जवपचमानस्य शरीरचारिणो गर्भवसतिगेहेषु । येषां परिवर्तनेनेव आवर्तगतयो निर्वृत्ताः ॥ २५५॥ ये कुङ्कुमस्थलीषु केसरभद्गारुणैर्दर्शयन्ति । पतिपरिभोगमिव मह्या नवनखाङ्क खुरपदैः ॥२५६॥ ये प्रोथक्षणपरिष्ठितसंस्त्यानफेनपिण्डघटितैः । हेषारवैः पूरितप्रयाणशङ्खा इव दृश्यन्ते ।। २५७॥ आयानमरकतच्छविसमूहाडम्बरेण मुश्चन्ति । ये बालयवरसमिव शीघ्रं पीतमङ्गैः ॥ २५८॥ दत्ताः प्रणाल्य इव श्रमवारिविनिर्गमाय धारयन्ति । परिच्छिन्नमध्यरेखानिभेन ये जघनबन्धेन ॥ २५९॥
२५३. कविवरेहि for कईदेहि. भूयत्थेहिं विय. २५५. निम्मविया for णिवडिआ. °रोहेसु for °गेहेसु. २५६. णवरयंकं खुरवहेहिं for णवणहंकं etc. २५७. पडिच्छिय' for परिट्ठिअ. संखा इव सहंति. २५८. सयवारा for सयराहा. ते for जे. २५९. बंधेहिं, बिम्बेहिं for बंधेण.

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गउडवहो
मग्गेसु गुरु-बला वेअ-गाढ-णिवडंत-कोडि-टंकेहिं। उच्चरिऊणं व लिहंति जे टआरे खुर-उडेहिं ॥२६०॥ जे अज्ज वि हिम-सेलंत-संभवा अणह-सीअ-विअण व्व । गुरु-तेअ-प्पसर-रसा ठाणे चिअ किंपि कंपति ।। २६१॥ आरूढ-जोह-णिवहा ते तस्स तरंगिणो जय-तुरंगा। मूअंति व्य पहरिसं जाआ पुरओ परिंदस्स ।। २६२ ॥ अवि अ। उवहाणं पिव लीला-वलिअ-द्विअ-पिहु-करत्तणा देंति । जे विअड-दंत-पल्लंक-कअ-णिवेसाएँ लच्छीए ॥२६३ ॥ दीसंति जाण परिअत्त-चलण-दलिआरि-सीस-भावेण । अज्ज वि कवाल-सअल व्व पास-खुत्ता णह-कखंडा ॥ २६४॥ असरल-लीला-गइ-विअलिआहिं जे तीहिं दाण-धाराहिं । राअ-सिरीऍ रअंति व विलास-वेणी-लअं सुरहिं ॥ २६५॥ पासल्लिआण जे पडिगआण खुत्तग्ग-दंत-भावेण । विब्भम-मुणाल-दंडेहिं रुहिर-सलिलं पिव पिअति ॥ २६६ ॥
मार्गेषु गुरुबलाद्वेगनिपतत्कोटिटकैः। उच्चार्येव लिखन्ति जे टकारान् खुरपुटैः ।। २६०॥ ये अद्यापि हिमशैलान्तसंभवात् अनघशीतवेदना इव । गुरुतेजःप्रसररसाः स्थान एव किमपि कम्पन्ते ।। २६१॥ आरूढयोधनिवहास्ते तस्य तरङ्गिणो जयतुरंगाः। सूचयन्तीव प्रहर्ष याताः पुरतो नरेन्द्रस्य ॥२६२॥ उपधानमिव लीलावलितस्थितपृथुकरत्वाद् ददति । ये विकटदन्तपर्यङ्ककृतनिवेशया लक्ष्म्या ॥ २६३ ॥ दृश्यन्ते येषां परिवृत्तचरणदलितारिशीर्षभावेन । अद्यापि कपालशकलानीव पार्श्वनिमन्ना नखखण्डाः ॥२६४॥ असरललीलागतिविगलिताभिर्ये तिसभिर्दानधाराभिः। राजश्रियो रचयन्तीव विलासवेणीलतां सुरभिम् ।। २६५॥ पावीकृतानां ये प्रतिगजानां निमग्नदन्तभावेन । विभ्रममृणालदण्डैः रुधिरसलिलमिव पिबन्ति ॥ २६६॥ ।
२६०. कोणि', कोटि for कोडि. २६१. थामे for ठाणे. २६५. असरिस for असरल. °विललियाहिं for °विअलाहि. २६६. पासोल्लि, पिवंति.

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जयगजेन्द्रवर्णनम्
जे चंचल - चामर- पहलेहिं सोहंति कण्ण- ताहिं ।
उप्प अण- तरल - पक्ख व तिअस-गअ - जुज्झ - बुद्धीए ॥ २६७ ॥ सुत्त - णिवेसं पिव देति दीहरं दाण-वारिधाराहिं । पडिवासरं पवित्थारिणीऍ जे पत्थव - सिरीए ॥ २६८ ॥ ते तस्स जय - गइंदा सिअ - पिट्टंतरिअ - सामल-च्छाया । सरआवणीअ-कलुसा जाओ पुरओ जलहर व्व || २६९ ॥ किं च जाअं ।
वरि अ थोअत्योअं अवंति णिसीह-मुहल-कल-हंसा । दर- दूमिआरविंदा असार-मूराअवा दिअसा ॥ २७० ॥ सउग-मराल- जणवआ धूमाबद्ध - तिमिरा विराअंति । संज्झा - णिअंब-व-पल्लव व्व रअणीण मो-सग्गा ॥ ४ ॥ कासार - विरल-कुमुआ अमलिअ-विच्छाय चंद-परिवेसा । होंति बहलावसाया पहाअ - सिसिरा णिसा बंधा ॥ २७१ ।। घोलइ अलद्ध - किरणो तुसार-लव- लंभ - धूसर-च्छाओ । रविणो अलंबुसा - कुसुम-पाडलो विव-परिणाहो ॥ २७२ ॥
ये चञ्चलचामरपक्ष्मलैः शोभन्ते कर्णतालैः । उत्पतनतरलपक्षा इव त्रिदशगजयुद्धबुद्धया ॥ २६७ ॥ सूत्रनिवेशमिव ददति दीर्घ दानवारिधाराभिः । प्रतिवासरं प्रविस्तारिण्या ये पार्थिवश्रियः ।। २६८ ॥ ते तस्य जय गजेन्द्राः सितपिष्टान्तरितश्यामलच्छायाः । शरदपनीतकलुषा जाताः पुरतो जलधरा इव ।। २६९ ॥ अनन्तरं स्तोकस्तोकं राजन्ते निशीथमुखरकलहंसाः | दरदूनारविन्दा असारसूर्यातपा दिवसाः ॥ २७० ॥ शकुनमरालजनपदा धूमाबद्धतिमिरा विराजन्ते । संध्यानिताम्रनवपल्लवा इव रजनीनां गोसर्गाः ॥ Y ॥ कासारविरलकुमुदा अमृदितविच्छायचन्द्रपरिवेषाः । भवन्ति बहलावश्यायाः प्रभातशिशिरा निशाबन्धाः ॥ २७१ ॥ घूर्णतेऽलब्धकिरणस्तुषारलवलम्भधूसरच्छायः । रवेरलम्बुषा कुसुमपाटलो बिम्बपरिणाहः ।। २७२ ॥
४३
२६७. बन्धुर' for चंचल'. 'पभलेहिं for° तालेहिं'. 'झूझ for 'जुज्झ. २६८. रायलच्छीए for पत्थिवसिरीए २७१. अमइल' for अमलिअ .

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गउडवहो अग्घति सिसिर-सलिला अणिउंचिअ-कोंच-सारस-विरावा । खल-चुण्णिअ-कलमामोअ-वाहिणो गाम-सीमंता॥ २७३ ॥ कं व ण हरति णिविडावसाय-संभिण्ण-सामल-करीसा। गोहण-विणिवेमुद्देस-धूसरारण्ण-परंता ॥ २७४ ॥ अकंत-करीसुम्हा-सुह-णिकंप-जहणं विणिकमइ । कह वि जडाअव-परिभोअ-मंथरं रोहिणी-जूहं ॥ २७५ ॥ इअ हेमंत-समिद्धासु गाम-सीमासु मेइणी-णाहो । दिहिं दितो पत्तो कमेण सोणंकमुद्देसं ॥ २७६ ॥ मलिआ पूअ-प्फल-कोस-वडण-रज्जंत-पल्लला तस्स । सेणा-भडेहि णव-सालि-सालिणो गाम-सीमंता ॥ २७७ ॥ मत्त-कुररासु दिट्ठी सहरी-विष्फुरण-कंपिअ-जलासु । वीसमइ व वंजुलिणीसु ताण आहार-लेहासु ॥ २७८ ॥ ताण णिसम्मइ हिअअं अणाविलाहार-सलिल-सुहआसु । आ-मंजरी-परिग्गह-सुअंध-कलमासु सीमासु ॥ २७९ ॥
राजन्ते शिशिरसलिला अनिकुञ्चितक्रौञ्चसारसविरावाः। खलचूर्णितकलमामोदवाहिनो ग्रामसीमन्ताः ॥२७३ ।। कं वा न हरन्ति निबिडावश्यायसंभिन्नश्यामलकरीषाः । गोधनविनिवेशोद्देशधूसरारण्यपर्यन्ताः ॥२७४॥ आक्रान्तकरीषाष्मासुखनिष्कम्पजधनं विनिष्क्रामति। कथमपि जडातपपरिभोगमन्थरं रोहिणीयूथम् ॥ २७५ ॥ इति हेमन्तसमृद्धासु ग्रामसीमसु मेदिनीनाथः। दृष्टिं ददत प्राप्तः क्रमेण शोणाकमुद्देशम् ॥ २७६॥ मृदिताः पूगफलकोशपतनरज्यमानपल्वलास्तस्य । सेनाभटैनवशालिशालिनो ग्रामसीमन्ताः ।। २७७ ।। मत्तकुररासु दृष्टिः शफरीविस्फुरणकम्पितजलासु । विश्राम्यतीव वज़ुलिनीषु तेषामाधारलेखासु ॥ २७८॥ तेषां निशाम्यति हृदयमनाविलाधारसलिलसुभगासु। आमजरीपरिग्रहसुगन्धकलमासु सीमसु ।। २७९॥
२७५. रमणं for °जहणं'. २४७. पल्लवा for "पलला. २७८. तस्स कासारलेहासु for ताण आहारलेहासु. २७९. तस्स for ताण. 'मुहियासु for सुहआसु.

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५५
विन्ध्यवर्णनम् ल्हसमाण-जुओवत्तिअ-तुरंगम-खंध-केसरुप्पंको। उम्मुह-धुरं समारुहइ जत्थ रविणो रहो कह वि ॥ २८० ॥ बाहि-गआण जस्स अ णत्थि चिअ णह-अलं ति पडिवत्ति । कंदर-परिट्ठिआण असो चिअ णत्थि त्ति पडिहाइ ॥ २८१॥ बहु-कुहराविल-कडअत्तणेण णह-महि-अलंतर-णिवेसो । गहिऊण व वसुहद्धं जो गअणद्धं च णिम्मविओ॥ २८२॥ जेण णहो-गअ-सिहरेण कुहर-पसरिअ-णहंगणेणं च । अण्णोणं कीलिअ-णिच्चलो व्व णह-महि-अलुच्छंगो ॥ २८३ ॥ विज्झम्मि तम्मि रस-सुरहि-सल्लई-भंग-णिव्वुअ-गअम्मि । रोह-णिरंतर-ताली-वणम्मि जाओ मही-णाहो ॥ २८४ ॥ अवि अ। वंदीकअ-महिसासुर-कुल-कंठुम्मोइएहिं व तुमाए । माहवि घंटा-दामेहि मंडिअं तोरण-दारं ॥२८५॥ दिटुं साहज्जारूढ-तुहिण-गिरी-खंड-दिण्ण-पीढं व । महिसासुरस्स सीसं तुह चलण-णह-प्पहा-भरिअं ॥२८६ ॥
संसद्युगोवर्तिततुरंगमस्कन्धकेसरसमूहः । उन्मुखधुरं समारोहति यत्र रवे रथः कथमपि ॥२८० ॥ बहिर्गतानां यस्य च नास्त्येव नभस्तलमिति प्रतिपत्तिः। कन्दरपरिष्ठितानां च स एव नास्तीति प्रतिभाति ॥ २८१॥ बहुकुहराविलकटकत्वेन नभोमहीतलान्तरनिवेशः । गृहीत्वेव वसुधार्ध यो गगनार्ध च निर्मितः ॥ २८२ ॥ येन नभोगतशिखरेण कुहरप्रसृतनभोऽगनेन च । अन्योन्यं कीलितनिश्चल इव नभोमहीतलोत्सद्गः ॥ २८३ ॥ विन्ध्ये तस्मिन रससुरभिसलकीभद्गनिर्वृतगजे। रोहनिरन्तरतालीवने यातो महीनाथः ॥२८४ ॥ बन्दीकृतमहिषासुरकुलकण्ठोन्मोचितैरिव त्वया । माधवि घण्टादामभिर्मण्डितं तोरणद्वारम् ॥ २८५॥ दृष्टं साहाय्यारूढतुहिनगिरिखण्डदत्तपीठमिव। महिषासुरस्य शीर्ष तव चरणनखप्रभाभरितम् ॥२८६॥
२८१. निच्चलव्व. २८३. "लुच्छंगा. २८६. गिरिदिण्णखंडपिंडं व, चरणनहप्पहाभिनं.

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गउडवो
भमरावलिओ भइरवि तुझं भवणाइरम्मि सामोए । थुइ-मेत्तुम्मोइअ-जंतु - णिअल-मालाओ व लुईति ।। २८७ ॥ णणु तुम्हें संभरणे रणम्मि विहति वारण- घडाओ । दूराओ चि वाहण-पद-रव-विद्दुआओ व्व ॥ २८८ ॥ तुह चंडि चलण-कमलाणुवत्तिणो कह णु संजमिज्जति । सेरिह - वह संकिअ-महिस-हीरमाणेण व जमेण ॥ २८९ ॥ तुहिण - गिरी देवि तुमाइ जणअ-भावेण गारवं णीओ । विज्झाअलो विकंदर - णिवास-लीलाऍ कल्लाणि ॥ २९० ॥ सोहसि णारायणि रणिर-णेउराराव - मिलिअ - हंस- उले । भवणम्मि कवालाविल- मसाण-रायण व भ्रमंती ।। २९१ ।। अद्वेण सरीरे चिअ णवर ससि - सेहरस्स तं वससि । हिए उण से संकरि तुह अविहारण ओआसो ॥ २९२ ॥ खलिओ त रहक्खित्त-मणि-तुला- कोडि - कुंडलाहरणो । सिंगो भंग - दुविअ - वलय- बंधो व्व महिसस्स ॥ २९३॥
४६
भ्रमरावलयो भैरवि तव भवनाजिरे सामोदे । स्तुतिमात्रोन्मोचितजन्तु निगडमाला इव लुठन्ति ॥ २८७ ॥ ननु तव स्मरणे रणे विघटन्ते वारणघटाः । दूरादेव वाहनमृगेन्द्ररवविद्वता इव ॥ २८८ ॥ तव चण्डि चरणकमलानुवर्तिनः कथं नु संयम्यन्ते । सैरिभवधशङ्कितमहिषह्रियमाणेनेव यमेन ॥ २८९ ॥ तुहिनगिरिर्देव त्वया जनकभावन गौरवं नीतः । विन्ध्याचलोsपि कन्दरनिवासलीलया कल्याणि ॥ २९० ॥ शोभसे नारायणि रणनशीलनूपुरारावमिलितहंसकुले । भघने कपालाविलक्ष्मशानरागेणेव भ्रमन्ती ।। २९९ ।। अर्धेन शरीर एव केवलं शशिशेखरस्य त्वं वससि । हृदये पुनस्तस्य शंकरि तवाविभागेनावकाशः ।। २९२ ।। स्खलितं त्वया रभसोत्क्षिप्तमणितुलाकोटिकुण्डलाभरणम् । शृङ्गं भगस्थापितवलयबन्धमिव महिषस्य ।। २९३ ॥
२८७. भैरवि. भवरमणि तुज्झ for भइरवि तुझं. २९१. रणिय for रणिर. २९३. भंगपय..

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विन्ध्यवासिनीस्तुतिः
४७
तुह दारं थाम-त्थाम-दिण्ण-रुहिरोवहारमाभाइ । हर-पणय-रोस-विससिअ-संज्झा-सअलावइण्णं व ॥२९४॥ तुह वअण-च्छवि-भिज्जत-विअड-तम-मंडला सआ होति । केहि वि दिजंत-महा-महिसा इव भअवइ पओसा ॥ २९५ ॥ णिद्दा-रूवेण परं णिमेसि जण-लोअणेसु तं चेत्र। पडिवोहे जेण स-जावअ व्व लक्खिजए दिट्ठी ॥ २९६ ॥ पलय वा कालि ण णिम्मवेसि स्वस्स ते अणंतस्स । सव्वंगे कह णु कवाल-मंडलाडंबरं घडउ ॥२९७॥ थुव्वसि तक्रवण-विहडंत-लोह-हिंजीर-सामल-गलेहिं । परिणअ-गणभावागअ-तिणयण-चिंधेहिं व णरेहिं ॥ २९८ ॥ णिमिसं पि अ मुच्चइ आयअणोक्वण-मंडलं तुज्झ । संणिहिअ-कुमार-मऊर-णेह-रसिएहिं व सिहीहिं ॥ २९९ ॥ पाऊण व उवहाराअरेसु सइ धूव-धूम-वडलाई । उव्वमसि बहुल-रअणी-भावेसु णिरंतरं तिमिरं ॥३०॥
तव द्वारं स्थानस्थानदत्तरुधिरोपहारमाभाति । हरप्रणयरोषविशसितसंध्याशकलावतीर्णमिव ॥ २९४ ॥ तव वदनच्छविभिद्यमानविकटतमोमण्डलाः सदा भवन्ति। कैरपि दीयमानमहामहिषा इव भगवति प्रदोषाः ॥ २९५ ।। निद्रारूपेण पदं निमिमीषे जनलोचनेषु त्वमेव । प्रतिबोधे येन सयावकेव लक्ष्यते दृष्टिः ॥ २९६ ।। प्रलयं वा कालि न निर्मापयसि रूपस्य ते अनन्तस्य । सर्वाङ्गं कथं नु कपालमण्डलाडम्बरं घटताम् ।। २९७॥ स्तूयसे तत्क्षणविघटमानलोहहिजीरश्यामलगलैः। परिणतगणभावागतत्रिनयनचिह्नरिव नरैः ॥ २९८॥ निमेषमपि नैव मुच्यते आयतनोपवनमण्डलं तव । संनिहितकुमारमयूरस्नेहरसिकैरिव शिखिभिः ॥२९९॥ पीत्वेव उपहारादरेषु सदा धूमधूपपटलानि। उद्वमसि बहुलरजनीभावेषु निरन्तरं तिमिरम् ॥ ३००॥
__ २९४. ठाणट्ठाण° for थामत्थाम. २९८. बिबेहि, चिण्हेहिं for °चिंधेहिं, जणेहिं for णरेहिं. ३००. उवहारायरेण and रयणीभावेण.

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गउड हो
पणअ-जण- रक्खणंतरिअ-वेरि-करवाल-पंजरेणं व । हारिंद - नील-किरणावलंबिणा भासि वच्छेण || ३०१ ॥ जाहे अणी-रूवेण फुरसि ससहर - विडंबिअ - कवाला । ताहे वि णरट्टि पसाहणम्मि तुह बडइ गह चकं ॥ ३०२ ॥ तं कुवलई - कुणंतीण वा दइच्चाण खग्ग-मालाओ । णिअ-चलण-पंकअच्चा- कज्जं वो कह णु संपडउ ॥ ३०३ ॥ मालूर- पत्त-माला- कंटअ-कअ-सोणिय व्व आहासि | तं सरस-रत-चंदण-परिसोण थणंतरा देवि ॥ ३०४ ॥ संकंनाउ व रोसारुर्णच्छि-वलय - पहाओ महिसम्मि । तुह सबार सोणिअ - सिहा तिमूल- मग्गेसु दीसंति ॥ ३०५ ॥ वीर - विइण्ण-विकोसासि घेणु-करवाल- कंति - कज्जलिअं । दिसम्म विदेवि असंक कोसिअं गब्भ- भवणं ते ॥ ३०६ ॥ तं अत्थारुण-रवि-मंडलेण मुंडोवहार - पुखं व । तारा- णिह-कअ-बलि- तंदुलाऍ इज्जसि णिसाए ॥ ३०७ ॥
૪૮
प्रणतजनरक्षणान्तरितवैरिकरवालपञ्जरेणेव । हारेन्द्रनील किरणावलम्बिना भासि वक्षसा ।। ३०१ ॥ यदा रजनीरूपेण स्फुरसि शशधरविम्बितपाला । तदापि नरास्थिप्रसाधने तव घटते ग्रहचक्रम् ॥ ३०२ ॥ त्वं कुवलयीकुर्वती न वा दैत्यानां खड्गमालाः । निजचरणपङ्कजार्चाकार्य वः कथं नु संपद्यताम् ॥ ३०३ ॥ मालूरपत्रमालाकण्टककृतशोणितेवाभासि । त्वं सरसरक्तचन्दनपरिशोणस्तनान्तरा देवी ॥ ३०४ ॥ संक्रान्ता इव रोषारुणाक्षिवलयप्रभा महिषे । तव शबरि शोणितशिखास्त्रिशूलमार्गेषु दृश्यन्ते ॥ ३०५ ॥ वीरवितीर्णविकोशासिधेनुकरवालकान्तिकज्जलितम् । दिवसेsपि देवि अशङ्ककौशिकं गर्भभवनं ते ॥ ३०६ ॥ त्वमस्तारुणरविमण्डलेन मुण्डोपहारपूर्वमिव । तारानिभकृतaforडुलया पूज्य से निशया ॥ ३०७ ॥
३०१. पणयि, किरणावभासिणा ३०२. कवालं. ३० ३. कुवलयं करेंती पंकयच्चणकज्जे. संघडउ. संपडइ for संपडउ, ३०४. मालूरि. ३०७ पुव्वं व for पुखं व.

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बिन्ध्यवासिनस्तुितिः
४९ तं सहास सजल-जीमूअ-
गोरा गोरि विज्जु-भावाम्म । कंसोप्पिअ-वज्झ-सिला-सह ब्व गअणे समुप्पइआ॥३०८॥ हर-फंस-सेअ-संवलिअ-जावआसंगि-णह-मणि-च्छाओ । सहइ णअ-चंद-लेहा-सुर-सरि-संज्झो व्च ते चलणो ।। ३०९॥ . सुलहोवहार-रुहिर-प्पवाह-संभावणाएँ लिभंति । अरुण-पडाआ-पडिमा-गब्भाओ सिला इह सिवाहि ॥ ३१०॥ पूआहिसेअ-विअलिअ-णडाल-जावअ-रसं पिअंति च । रुहिरासव-परिओसा तुह पुरओ भूअ-पडिमाओ ॥३११ ॥ पच्चक्ख-भाव-तक्खण-मीलंतच्छि-हअ-दसण-गुणेहिं । तिअसेहि वि तुह णिदत्तणम्मि रूवं ण सच्चविअं॥३१२॥ तत्काल-विमुह-हर-वढिएहि सासेहिं तावसि तुमाए । पडिवण्णो पाणायाम-णियम-बंधाअरो कह णु ॥ ३१३ ॥ काम-डहणाणुतावा हरस्स तुह विम्भमेहिं णिव्वडिआ। कविअ-णडाल-णयणाणल व्व संताविणो सासा ॥ ३१४॥
त्वं शोभसे सजलजीमूतगोचरा गौरि विद्युद्भावे । कंसार्पितवध्याशलासहेव गगने समुत्पतिता ॥ ३०८॥ हरस्पर्शस्वेदसंवलितयावकासनिनखमणिच्छायः । शोभते नतचन्द्रलेखासुरसरित्संध्य इव ते चरणः ॥३०९॥ सुलभोपहाररुधिरप्रवाहसंभावनया लिह्यन्ते। अरुणपताकाप्रतिमागर्भाः शिला इह शिवाभिः ॥ ३१०॥ पूजाभिषेकविगलितललाटयावकरसं पिबन्तीव । रुधिरासवपरितोषास्तव पुरतो भूतप्रतिमाः॥३११ ॥ प्रत्यक्षभावतत्क्षणमीलदक्षिहतदर्शनगुणैः। त्रिदशैरपि तव निद्रात्वे रूपं न सत्यीकृतम् ॥३१२॥ तत्कालविमुखहरवर्धितः श्वासैस्तापसि त्वया। प्रतिपन्नः प्राणायामनियमबन्धादरः कथं नु ।। ३१३॥ कामदहनानुतापा हरस्य तव विभ्रमैनिर्वर्तिताः। कृष्टललाटनयनानला इव संतापिनः श्वासाः ॥३१४॥
३०८. गयणं. ३०९ °फास. for °फस. सह for णअ ( = नत). ए for ते. ३१०. वयार° for °वहार'. ३११. पिबंति व्व. ३१३. तकालविमुक्क. ३१४. डहणाणुयावा.
ग. ४

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गउडवहो ।
सइ सिद्ध-सिद्धि-मंडल-पईव-परिकंपिणो पओसेसु । तुज्झोसव-गंध-सुहा सुहअंति समीरणुग्गारा ॥३१५ ॥ तडिभावम्मि फुरंती सवारि-वारिहर-कूड-कोडीए । अकंत-महा-महिस व्व सोहसे अमरिसाअंबा ॥ ३१६ ॥ जण-दिण्ण-केस-कलणा-लोमस-कलुसेहिँ कंपमुप्पेसि । वेआलेहिं व पडिअग्गिआइरा वाउ-दंडेहिं ॥३१७ ॥ गंभीर-गब्भ-मंद-प्पहाओ तुह देवि दीव-मालाओ । उवहार-मुंड-केसंधआर-मूढाओ व खलंति ॥ ३१८ ॥ विससिजंत-महा-पसु-दंसण-संभम-परोपरारूढा। गअणेच्चिअ गंध-उडिं कुणंति तुह कउल-णारीओ ॥ ३१९ ॥ णह-मणि-संकमणा मडह-पणअ-जण-लंछणेहिं चलणेहिं । सोहसि पणमिजति व्च अंब तं वालिहिल्लेहिं ॥ ३२० ॥ अह परिअरो अणेओवअरण-पहरण-सहं कर-सहस्सं । एक्कस्स वरोरु वरुज्जअस्स ते पाणि-कमलस्स ।। ३२१॥
सदा सिद्धसिद्धिमण्डलप्रदीपपरिकम्पिनः प्रदोषेषु । तवोत्सवगन्धसुखाः सुखयन्ति समीरणोद्गाराः ॥ ३१५ ॥ तडिद्भावे स्फुरन्ती सवारिवारिधरकूटकोटौ। आक्रान्तमहामहिषेव शोभसे अमर्षाताम्रा ॥३१६ ।। जनदत्तकेशकलनालोमशकलुषैः कम्पमर्पयसि। वैतालैरिव प्रतिजागरिताजिरा वायुदण्डैः ॥३१७॥ गम्भीरगर्भमन्दप्रभास्तव देवि दीपमालाः । उपहारमुण्डकेशान्धकारमूढा इव स्खलन्ति ॥३१८॥ विशस्यमानमहापशुदर्शनसंभ्रमपरस्परारूढाः । गगन एव गन्धकुटी कुर्वन्ति तव कौलनार्यः ।। ३१९ ।। नखमणिसंक्रमणादल्पप्रणतजनलाञ्छनैश्चरणैः । शोभसे प्रणम्यमानेव अम्ब त्वं वालखिल्यैः ॥ ३२०॥ अथ परिकरोऽनेकोपकरणप्रहरणसह करसहस्त्रम् । एकस्य वरोरु वराद्यतस्य ते पाणिकमलस्य
३१५. सय for सइ. सिद्धसिद्ध. तुह ऊसव', तुह आसव'. ३१६. तडिभावेश. ३१७. दोहमप्पेसि, कंपमोप्पेसि. वाय for वाउ. ३१९. गहणे', कओल° for कउल'. ३२०. वालिखिल्ढहिं. ३२१. कयपरियरं for अह परिअरो.

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विन्ध्यवासिनीस्तुतिः
घअ-बड-धारा-गिवहेहि मंदिरं वो णवारुणाहेहिं । तदिअस-पसु-सिर-च्छेअ-पीअमामुअइ रुहिरं व ॥ ३२२ ॥ मेहाअंतं तुह तइअ-णयण-सिहि-धूम-मंडलं सहइ। वासुइ-जीहाओ लहंति तडि-लआ-विभमं जत्थ ॥ ३२३॥ सीसम्मि कओ महिसस्स देवि मरणाअ जो हि संपण्णो। सोच्चिअ जणस्स जाओ तुह चलणो मंगल-हाणं ॥ ३२४ ॥ कोमारम्मि हराराहणाअ हिअअम्मि मअण-पज्जलिए। तइ विहिओ मुद्ध-थणुल्लएहिं मालूर-होमो व्य ।। ३२५ ॥ अंगमवलंबिआलंबि-सरस-णर-वअण-पाअडं वहसि । अजवि कंस-फोडण-ललंत-णिअअद्वि-सिढिलं व ।। ३२६॥ सूएंति वीर-विक्कअ-विक्कममिह जामिणी-मसाणेसु । अवलंविअ-कुणव-च्छेअ-पाडला साहि-साहाओ ॥ ३२७ ॥ सरसहि-दंड-लोहेण चंडि अहर-प्पहारुणे तुज्झ । जीहा णिअ-दसण-मऊह-मंडलेच्चेअ संवलइ ॥ ३२८ ॥
ध्वजपटधारानिवहेमन्दिरं वो नवारुणाभैः। प्रतिदिवसपशुशिरश्छेदपीतमामुञ्चति रुधिरमिव ॥३२२ ॥ मेघायमानं तव तृतीयनयनशिखिधूममण्डलं शोभते । वासुकिजिह्वा लभन्ते तडिल्लताविभ्रमं यत्र ॥३२३॥ शीर्ष कृतो महिषस्य देवि मरणाय यो हि संपन्नः। स एव जनस्य जातस्तव चरणो मङ्गलस्थानम् ॥ ३२४।। कौमारे हराराधनाय हृदये मदनप्रज्वलित । त्वया विाहता मुग्धस्तनकमालूरहोम इव ॥ ३२५ ।। अङ्गमवलम्बितालम्बिसरसनरवदनप्रकटं वहास । अद्यापि कंसस्फोटनललन्निजकास्थिांशलमिव ।। ३२६॥ सूचयन्ति वीरविक्रयविक्रममिह यामिनीश्मशानेषु । अवलम्बितकुणपच्छेदपाटलाः शाखिशाखाः ॥ ३२७॥ सरसास्थिदण्डलोभेन चण्डि अधरप्रभारुणे तव । जिह्वा निजदशनमयूखमण्डल एव संवलति ॥ ३२८॥
३२२. ते for वो. ३२५. °थणुरगमेहिं, पओहरेहिं for थणुल्लएहिं. विहिओ तइ. ३२६. लुलंत° for "ललंत. ३२७. सूर्यति. ३२८. डंड' for °दंड',

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गउडवहो
पअइ-पारसुक्क-काया पुरओ संचरइ रेवई तुज्झ । इह सइ संणिहिअ-महा-परेअ-भय-मुक्क-मासव्व ।। ३२९॥ पूइज्जसि भिण्ण-भुआ-विइण्ण-रुहिरं व पाअवेहिं पि । परसु-प्पहार-विअलिअ-कसाय-रस-सोण-साहेहिं ॥ ३३०॥ अण्णोण्ण-कलह-विअलिअ-केसर-कीलाल-कललिअ-दारा। कअवाउणो वि तुह देवि सासणं अणुसरंति व्व ॥ ३३१ ॥ उवहारुल्लूरिअ-मास-मंडलाडंबरुब्भडेहिं व । डिंबं जावअ-पड-मंडणेहिं खम्भेहिं विविहेसि ॥ ३३२ ॥ कुणवत्तण-सुलहूसास-काय-णिव्वडिअ-गारवो अप्पा । तुह धारण-क्खमो कीरइ व्व जणु वाहण-सवेण ॥ ३३३॥ सोहसि मुह-मुक्कासरिस-रुहिर-धाराहि रआणि रूवेसु । भत्ति-विइज्जंतारुण-धअ व्च तं भवण-माईहिं ॥ ३३४ ॥ बहुल-पओसा बद्धंकुर व्च तुह देवि महिस-सिंगेहिं । पारोहिणो ब्व लंबिर-मऊर-कंठेहिं रेहेति ॥ ३३५॥
प्रकृतिपरिशुष्ककाया पुरतः संचरति रेवती तव । इह सदा संनिहितमहाप्रेतभयमुक्तमांसेव ।। ३२९॥ पूज्यसे भिन्नभुजावितीर्णरुधिरामिव पादपैरपि । परशुप्रहारविगलितकषायरसशोणशाखैः ।। ३३०॥ अन्योन्यकलहविगलितकेसरकीलालकललितद्वाराः। कृकवाकवोऽपि तव देवि शासनमनुसरन्तीव ॥ ३३१॥ उपहारतुडितमांसमण्डलाडम्बरो टैरिव । डिम्बं यावकपटमण्डनैः स्तम्भैर्विविधत्से ॥ ३३२ ॥ कुणपत्वसुलभीवासकायनिवृत्तगौरव आत्मा। तव धारणक्षमः क्रियत इव ननु वाहनशवेन ॥३३३ ॥ शोभसे मुखमुक्तासदृशरुधिरधाराभिः रजनिरूपेषु। भक्ति. विकीर्यमाणारुणध्वजेव त्वं भवनमातृभिः ॥ ३३४॥ बहुलप्रदोषाः बद्धा.
कुरा इव तव देवि महिषशृगैः। प्रारोहिण इव लम्बनशीलमयूरकण्ठैः शोभन्ते ॥ ३३५॥
३२९. भयवइ for पअइ. सय for सइ. ३३०. °पसरिअ° for °विअलिअ. ३३१. °विललिअ° for °विअलिअ. ३३२. °व जणेसि for विविहेसि. ३३४. "मुक्कायवकोसुमधाराहिं, 'विइज्जितारुण. ३३५. बद्धफलव्व. संगे हिं. लंबिय' for °लंबिर'.

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कलेवरदर्शने नृएतिवैराग्यम् तुह लोह-दप्पणावलि-संकमणालद्ध-कसण-भाव व्व । सोहंति सबर-जुअला मेअअ-काया पणामेसु ॥ ३३६ ॥ रूवंचिअ णवर कराल-दारुणं काल-रत्ति-लीलाए। हिअअं पुण ते करुणा-रसेण सइ वच्छलंचेअ ॥ ३३७ ॥ इअ विज्झ-गुहा-णिलयाएँ तम्मि-दल-सबर-सिट्ठ-भग्गाए । पहुणा सपरिअरं भअवईएँ विहिओ णमक्कारो ॥३३८ ॥ अवि अ। इह अजवि किं णु पुराण-भाव-कविसीकअद्वि-बंधम्मि । हिअउद्देसे रोसग्गि-पिंगिमच्चेअ वि'फुरइ ॥ ३३९॥ तम्मि च्चिअ संधि-पमूअ-कीड-मालाविले णडालम्मि । हासाअ भिडि-भंगो व्य विलिहिओ अह कअंतेण ॥ ३४०॥ कुम्भइ ओलिंभाभाव-कुडिल-वलिएण वअण-बिंबम्मि । मअणाहिमलय-विच्छित्ति-विब्भमं संपइ रएण ॥ ३४१॥ हा हा तंचेअ करिल्ल-पिअअमा-बाहु-सयण-दुल्ललि। उवहाणीकअ-वम्मीअ-मेहलं लुलइ सिर-कमलं ॥३४२ ॥
तव लोहदर्पणावलिसंक्रमणालब्धकृष्णभावानीव । शोभन्ते शबरयुगलानि मेचककायानि प्रणामेषु ॥३३६॥ रूपमेव केवलं करालदारुणं कालरात्रिलीलायाः। हृदयं पुनस्ते करुणारसेन सदा वत्सलमेव ।। ३३७॥ इति विन्ध्यगुहानिलयायाः वस्त्रदलशबरशिष्टमार्गायाः। प्रभुणा सपरिकरं भगवत्यै विहितो नमस्कारः ॥ ३३८ ॥ इहाद्यापि किं नु पुराणभावकपिशीकृतास्थिबन्धे । हृहयोद्देशे रोषाग्निपिनिगमैव विस्फुरति ॥३३९ ॥ तस्मिन्नेव संधिप्रसूतकीटमालाविले ललाटे। हासाय धुकुटिभद्न्ग इव विलिखितोऽथ कृतान्तेन ॥ ३४०॥ उह्यते उपदेहिकाभावकुटिलवलितेन वदनबिम्बे । मदनाधिमलयविच्छित्तिविभ्रमं संप्रति रजसा ।। ३४१॥ हा हा तदेव वंशाकुरप्रियतमाबाहुशयनदुर्ललितम्। उपधानीकृतवल्मीकमेखलं लुलति शिरःकमलम् ॥ ३४२ ।।
३३६. °दप्फणा'. सबरडिंभा, सबरिडिंभा. ३३७. कालकांति.देवि for चेअ. ३३८. °सिद्ध° for °सिह. पत्तवसण° for तमिदल. ३३९. किण्ण and किंतु for किं णु. ३४१. ओलिंभियभाव'. ३४२. करील° for करिल्ल.

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गउडवो
पंक-भरिओअरुभिण्ण-विरस-तण-जडिलिए कवालम्मि । जाओ अहो सिणिद्धो कबरी-बंधस्स परिणाहो ॥ ३४३॥ हा हा कंपावेइ व हरिअ-मलालंबिणी दसण-माला। अजवि विणिहट्ठाणेअ-वीडिआ-रसमिव वर्मती ॥ ३४४ ॥ ठिअ-भमर-पक्ख-भावा णिव्वाडिअ-पत्तणा इव सवेअं। कामेण इमम्मि वि शूण पेसिआ मंजरी-बाणा ॥ ३४५॥ उद्दिणअरमिंदुसह हिआणलं स-रअण-प्पहमिमस्स । एकवएचिअ जाअं अखंड-तम-बंधणं भुवणं ॥ ३४६॥ इअ तम्मि णर-कलेवर-दंसण-मउइअ-मणेण णर-वइणा । पडिवण्ण-विवेअ-विअप्प-सरसमणुसोइअं सुइरं ॥ ३४७॥ अवि अ। बहुसो बहुत्त-विसहर-मणि-प्पहा-रंजिअ व्व ते जाण । अंतोच्चिअ णिति णिवेसिअ-प्पहा पिच्छ-पब्भारा ॥ ३४८ ॥ वरहीण ताण रसिकं पुलिंद केआर-पविरल-दुमेसु । णंदेइ तस्स तड-णिज्झरेसु गिरि-धूम-कलुसेसु ॥ ३४९ ॥ युग्मम्
पकभृतोदरोद्भिन्नविरसतृणजटिलिते कपाले। जातः अहो स्निग्धः कबरीबन्धस्य परिणाहः ॥ ३४३॥ हा हा कम्पयतीव हरितमलालम्बिनी दशनमाला। अद्यापि विनिघृष्टानेकवीटिकारसमिव वमन्ती ॥ ३४४ ।। स्थितभ्रमरपक्षभावा निर्तितपत्रणा इव सवेगम् । कामेनास्मिन्नपि नूनं प्रेषिता मजरीबाणाः ।। ३४५॥ उद्दिनकरमिन्दुसहं स्थितानलं सरत्नप्रभमस्य। एकपद एव जातमखण्डतमोन्बधन भुवनम् ।। ३४६॥ इति तस्मिन् नरकलेवरदर्शनमृदूकृतमनसा नरपतिना। प्रतिपन्नविवेकविकल्पसरसमनुशोचितं सुचिरम् ॥ ३४७॥ बहुशः उपभुक्तविषधरमणिप्रभारञ्जिता इव ते येषाम् । अन्तरेव निर्यन्ति निवेशितप्रभाः पिच्छप्रारभाराः ।। ३४८॥ बर्हिणां तेषां रसितं पुलिन्दकेदारप्रविरलदुमेषु । नन्दयति तस्य तटनिर्झरेषु गिरिधूमकलुषेषु ॥ ३४९॥
३४३. यरुव्वरिय° for · यरुभिण्ण'. परिणामो for परिणाहो. ३४६. निब्भरं° for °बंधणं. ३४७. वियप्पपसरमणु'. ३४९. तडि', तल° for तड. कलसेसु.

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विन्ध्यगिरिसंचारः
उवउत- सलई-कंड-पाडलुच्चार केसरिल्लीओ । पेच्छइ माअंग-वण-त्थली सो जूह-पअवीओ || ३५० ।। कीरइ व तस्स ताली - फल- पिंड मोडणुम्मुह करेहिं । रिज-सिर- कवलण - जोग्गा परिग्गहो जय गईदेहिं ॥ ३५१ ॥ भय लोल - पुलिंद-बहू विरिक- गुंजावली -कण कराला । जाआ से रोसाणल फुलिंग-भरिअ व्व गिरि-मग्गा ॥ ३५२ ॥ कण्ण-ट्रिअ सिहि-पिंच्छ च्छलेण कअ-पत्तणा इव सलीलं । मुच्चति सवर- रमणीहिं णयण-बाणा णरिंदम्मि ॥ ३५३ ॥ अह से भरण गअ दाण- वडल कलुसिअ - दिसा - अड होओ । माया- णिम्मविअ-तमी मुहो व्व चलिओ मगह णाहो ॥ ३५४ ॥ किं च जाअं ।
किं पि विकंपिअ - गिम्हा अवरण्डुकंठ- सालस-मऊरा । हरिअ-वण- राइ- सुहआ उदेसा देति उकंटं || ३५५ ॥ उम्हाड़ गिम्ह-विहरा बहल - बुसासार-लंविअविमुक्का । मइलिअ-तलाअ-मूला किलंत विरलंकुरा वसुहा ॥ ३५६ ॥
उपयुक्त सलकीकाण्डपाटलीच्चार के सरवती । प्रेक्षते मातङ्गवनस्थलीषु स यूथपदवीः ॥ ३५० ॥ क्रियत इव तस्य तालीफलपिण्डामोटनोन्मुख करैः । रिपुशिरः कवलनयोग्यापरिग्रहो जयगजेन्द्रैः ॥ ३५१ ॥ भयलोलपुलिन्दवधूविरिक्तगुंजावलीकणकरालाः । जाता अस्य रोषानलस्फुलिङ्गभृता इव गिरिमार्गाः ।। ३५२ ॥ कर्णस्थित शिखिपिच्छच्छलेन कृतपत्रणा इव सलीलम् । मुच्यन्ते शबररमणीभिर्नयनवाणा नरेन्द्रे || ३५३ ॥ अथास्य भयेन गजदानपटलकलुषितदिशातटाभोगः । मायानिर्मिततमीमुख इव चलितो मगधनाथः ॥ ३५४ ॥ किं च जातम् । किमपि विकम्पितग्रीष्मा अपराह्वोत्कण्ठसालसमयूराः । हरितवनराजिसुभगा उद्देशा ददत्युत्क - ण्ठाम् ।। ३५५ ।। ऊष्मायते ग्रीष्मविधुरा बहलबुसासारलङ्घितविमुक्ता । मलिनिततडागमूला क्लान्तविरलाङ्करा वसुधा ॥ ३५६ ॥

५५
३५०. पिच्छ सो विझवणत्थलासु मायंगपयवीओ. ३५२. 'विरक्क'. ३५३. पिच्छ", सवेयं for सलीलं. ३५४. मय° for गअ. ३५५. अकंपिय° for विकंपिअ. ३५६. उण्हाइ.

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५६
णव- रोह-च्छेअ-सुअंध-विसम-वसुहा- विलंबिअपवाहा । घोलंति हिम- रसोआर - सिसिर - सलिला गिरि-ईओ ॥ ३५७ ॥ अग्घति णील-वण- राइ परि अरुम्मिल्लमाण - सोहग्गा । अहिणव- पडल-परिग्गह- गोर-ग्गामा दिसाहोआ ।। ३५८ ॥ सायं स मारुआसार सेअ - सद्दलिअ - काणणा होंति । गिम्हेच्चिअ जलआरंभ - कोमला महिहर - णिअंबा ॥ ३५९ ॥ सोत - कलसा ईओ पज्जत्त - कलंब - गंधिणो पवणा । घण - डंबरं विणा पाउसस्स तारुण्णअं गलइ ॥ ३६० ॥ बोलिंति गिम्हणिदं पहिआ लिंगाहिसेअ - सिसिरेसु । ऊढ - कलंबज्जुण - परिमले सुर -मंदिरंतेसु || ३६१ ॥ तह तत्त-णअर-रच्छा सहति मेहावलंबि-रवि- विंबा | धरणि - परिट्ठिअ - गिम्हा णह घोलिर - पाउसा दिअसा ॥ ३६२ ॥ वरि अ वसुहावि-जय- गइंद-सीअर - कआहिसेअ व्व । जाआ णिआह- परिणाम - धूसरा दिनअर-मऊहा ॥ ३६३ ॥
गउडवहो
नवरोहच्छेद सुगन्धविषमवसुधाविलम्बितप्रवाहाः । घूर्णन्ते हिमरसावतारशिशिरसलिला गिरिनद्यः ॥ ३५७ ॥ राजन्ते नीलवनराजिपरिकरोन्मील्यमानसौभाग्याः । अभिनवपटलपरिग्रहगौरग्रामा दिशाभोगाः ॥ ३५८ ॥ सायं समारुतासारसेकशाद्वलितकानना भवन्ति । ग्रीष्म एव जलदारम्भकोमला महीधरनितम्बाः ।। ३५९ ।। स्रोतः कलुषा नद्यः पर्याप्तकदम्बगन्धिनः पवनाः । धनडम्बरं विना प्रावृषस्तारुण्यं गलति ॥ ३६० ॥ गमयन्ति ग्रीष्मनिद्रां पथिका लिङ्गाभिषेकशिशिरेषु । ऊढकदम्बार्जुनपरिमलेषु सुरमन्दिरान्तेषु ॥ ३६१ ॥ तथा तप्तनगररथ्याः शोभन्ते मेघावलम्बिरविबिम्बाः । धरणीपरिष्ठितग्रीष्मा नभोघूर्णनशीलप्रावृषो दिवसाः || ३६२ ॥ अनन्तरं च वसुधाधिपजयगजेन्द्रशीकर कृताभिषेका इव । जाता निदाघपरिणामधूसरा दिनकरमयूखाः ॥ ३३३ ॥
३५७. पहा for 'पवाहा. 'रसोवार ३६०. पज्जेत. ३६३. सीयला for 'धूसरा.

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किं च जाअं ।
अंतो- घर - चिर- णिग्गमण - णसहि आलो अ-कूणिआ वलइ । णिद्दा- विमद्द-परिलुलिअ सालसाअंबिरा दिठ्ठी ॥ ३६४ ॥ पीलिअ - तमाल-पल्लव-सयणिज्ज रसोल्ल-ह-वअं हरइ । णव- केसर-माला - सुरहि-मेहलालंकिअं जहणं ॥ ३६५॥ तक्खण-विच्छूढ- मुणाल-वलय-सीअल - पडट्ट - परिमासा । सोहंति जलद्दा मलिअ - चंदणा बाहु-लइआओ || ३६६ ॥ णव-कण किंकिणी- णिह-चंपअ - कुसुमावणद्ध-मंजीरं । हर परिकोमलुव्वूढ - बेस-लडहं परिब्भमिअं || ३६७ ॥ पिअ-परिरंभुम्मूलिअ णह-वअ - परिसेस - चंदण - सुअंघो । अग्घइ दल-सबल-कलंब-दाम-हारो थणुच्छंगो ॥ ३६८ ॥ थोअ-सुरा-मअ-संभिण्ण-सरस- पाडल- कवोल पडिलग्गं । उम्मिल्लइ के अइ-गव्भ-वत्त-ताडंक- लायण्णं ॥ ३६९ ॥ इअ भइ भवण- सिहरेसु गिम्ह - परिणाम - थोअ-सत्थामो । विरल-जल - बिंदु - णिव्वविअ - गंड- वासो पिआ - सत्थो ।। ३७० ।।
-
ग्रीष्मे वनिताविभ्रमाः
किं च जातम् । अन्तर्गृहचिरनिर्गमननसोढालोककूणिता वलति । निद्राविमर्दपरिलुलितसालसाताम्रा दृष्टिः ॥ ३६४ ॥ पीडिततमालपल्लवशयनीयरसार्द्रनखपदं हरति । नवकेसरमाला सुरभिमेखलालङ्कृतं जघनम् ॥ ३६५ ॥ तत्क्षणविक्षिप्तमृणालवलयशीतल प्रकोष्ठपरिमशः । शोभन्ते जलार्द्रा मर्दितचन्दना बाहुलतिकाः ॥ ३६६ ॥ नवकनककिङ्किणीनिभचम्पककुसुमावनद्धमञ्जीरम् । हरति परिकोमलोढवेषरम्यं परिभ्रमितम् ॥ ३६७ ॥ प्रियपरिरम्भोन्मूलित नखपदपरिशेषचन्दनसुगन्धः । राजते दलशबलकदम्बदामहारः स्तनोत्सङ्गः ॥ ३६८ ॥ स्तोकसुरामदसंभिन्नसरसपाटलकपोलप्रतिलग्नम् | उन्मीलति केतकीगर्भपत्रताटकलावयम् ।। ३६९ ।। इति भ्रमति भवनशिखरेषु ग्रीष्मपरिणामस्तोकसस्थामा । विरलजलबिन्दुनिर्वापितगण्डपार्श्वः प्रियासार्थः ॥ ३७० ॥
३६४. असहिया for 'णसहिआ
परिगासा for पउद्धपरिमासा. ३६७. पिया..

५७
३६५. लंछियं for लंकिअं. ३६६. पउबद्ध' for णद्ध ३७०. जुवइ for

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गउडवहो
किं च । इह तेअ-मेह-संवलण-सिसिर-विच्छाय-कविस-रवि-बिंबा। अग्घति भग्ग-पवणा अरेणु-परिधूसरा दिअहा ॥ ३७१ ॥ उकंठ-बरहि-चूडा-विडवंदोलण-तरंगिओ वहइ । अविरल-जंबु-फलासार-वडण-मुहली इह समीरो ॥ ३७२ ॥ इह उव्वेल्लइ दर-पीअ-सलिल-परिसामलोअरद्धंता । परंत-धवल-गअ-कण्ण-कब्बुरा मेह-पत्यारी ॥ ३७३ ।। इह अहिमुह-मंजरिअज्जुणासु अवआढ-कुडअ-गंधासु । वास-सुहआसु मुणिणो गति दिअहे गिरि-अडीसु ॥ ३७४ ॥ बूढोअअ-कअ-रव-चुण्ण-कलुस-पालास-फल कसव्वाओ। इह सोहंति दरोव्वुटु-सामला रण्ण-भूमीओ ॥ ३७५ ॥ अण्णेसिअव्व-पवणा आसारंतेसु समहिउम्हाला। एए ते चूअ-वणाण होति परिणामआ दिअहा ॥ ३७६ ॥ उम्हाल-कुमूल-मुहुच्चरंत-रअ-फरुस-मेअ-गंधाई। आसार-जडे दिअहे गंदंति कुडुबि-गेहाई ॥ ३७७॥
किं च । इह तेजोमेघसंवलनशिशिरविच्छायकपिशरविविम्बाः। राजन्ते भग्नपवना अरेणुपरिधूसरा दिवसाः ॥ ३७१॥ उत्कण्ठबहिचूडाविटपान्दोलनतरङ्गितो वहति । अविरलजम्बुफलासारपतनमुखर इह समीरः ॥ ३७२ ॥ इह उद्वेल्लति दरपीतसलिलपरिश्यामलोदरार्धान्ता। पर्यन्तधवलगजकर्णकर्बुरा मेघसंहतिः ।। ३७३॥ इहाभिमुखमञ्जरीकार्जुनासु अवगाढकुटजगन्धासु। वर्षासुखदासु मुनयो गमयन्ति दिवसान् गिरितटीषु ॥ ३७४ ॥ व्यूढोदककृतरवचूर्णकलुषपालाशफलव्याताः । इह शोभन्ते दरोवृष्टश्यामला अरण्यभूमयः । ३७५ ॥ अन्वेषितव्यपवना आसारान्तेषु समधिकोष्मवन्तः। एते ते चूतवनानां भवन्ति परिणामका दिवसाः ॥३७६॥ ऊष्मवत्कुसूलमुखोच्चरद्रजःपरुषमेदोगन्धानि। आसारजडे दिवसे नन्दन्ति कुटुम्बिगेहानि ॥ ३७७॥ . ३७१. चंय for तेअ. ३७५. सीयला for °सामला. ३७६. म्रयिमुम्हाला for समहिउम्हाला. ३७७. मुहुद्धरंत.

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ग्रीष्मवर्णनम्
फल-सार- लिणि- गहणा इह दारु-च्छेअ-पविरला होंति मूल- द्विअ-वाअ-कलंव- कविस-वसुहा वणुद्देसा ॥ ३७८ ॥ णव के अइ-वासिअ - केस -संजमा दक्खिणाओ णारीओ । इह ता अणाअरुज्जल-हलिद्दि - राज विराअंति ॥ ३७९ ॥ इह कोसुमेण चावेण जो जअइ साहुणा विसम-वाणो । लहिऊण पाग - सासण - सरासणं कह ण विष्फुरइ ॥ ३८० ॥ इअ कंठा-पडिवण्ण- हिअअ - परिकोमला पवति । संलावा काल - सहाअ - संसिणो कडअ-लोअस्स ॥ ३८१ ॥ कंठ - णिहुअं च गीअं अलद्ध - णिदं च णिज्जण-पसुत्तं । सरसो कंठा - णिव्भरस्स हिअअस्स वीसामो ॥ ३८२ ॥ किं च जाअं ।
उम्हा अंत - गिरि- अडं सीमा - णिव्वडिअ - कंदलुब्भेअं । णिव्वाइ विरल धारा- बंधुरिअ - रअं धरणि वेढं ॥ ३८३ ॥ आसार - ताडिआई बलाअ-लुप्पंत- चलिअ-सहराई । सरिआ वहति संपइ अपेअ-पंडूई सलिलाई || ३८४ ॥
फलसारनलिनीगहना इह दारुच्छेदप्रविरला भवन्ति । मूलस्थितशुष्ककदम्बक पिशवसुधा वनोद्देशाः ॥ ३७८ ॥ नवकेतकीवासितकेशसंयमा दक्षिणा नार्यः । इह तावदनादरोज्ज्वलहरिद्रारागा विराजन्ते ॥ ३७९ ॥ इह कौसुमेन चापेन यो जयति साधुना विषमवाणः । लब्ध्वा पाकशासनशरासनं कथं न विस्फुरति ॥ ३८० ॥ इति उत्कण्ठाप्रतिपन्नहृदयपरिकोमलाः प्रवर्तन्ते । संलापाः कालस्वभावशंसिनः कटकलोकस्य || ३८१ ॥ कण्ठनिभृतं च गीतमलब्धनिद्रं च निर्जनप्रसुप्तम् । सरस उत्कण्ठानिर्भरस्य हृदयस्य विश्रामः || ३८२ ।। किं च जातम् । ऊष्मायमाणगिरितटं सीमानिर्वृत्तकन्दलोद्भेदम् | विश्राम्यति विरलधाराबन्धुरितरजस्कं धरणीपीठम् ॥ ३८३ ॥ आसारताडितानि बलाकालुप्यमानचलितशफराणि । सरितो वहन्ति संप्रति अपेयपाण्डूनि सलिलानि ॥ ३८४ ॥
A
३७८. तायकरंब° for वाअकलंब'. 'कलुस' for 'कविस ३८०. को सुमेहिं बाणेहिं जो जई. ३८२. कोमलस्स for fणब्भरस्स. ३८४. 'सटराइ for सहराई. अate for अपेअ .

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गउडवहो आवंडु-सलिल-लंघिअ-वसुआआमलिण-सेवल-सिहाओ। जल-रंकु-दुक्ख-लक्खिअ-सहरा घोलंति सरिआओ ॥ ३८५ ॥ विलुलिअ-पिसंग-वल्ली-विआण-उद्देस-कोमल-फलाण । पविरल-रक्खाण सिरी विअलइ वालुंकि-बाडाण ॥ ३८६ ॥ ण चलइ णवंबु-धोरं पि पल्लले विरल-मुह-कऊसासं । मीण-उलं सहरंतर-परिसंगअ-पंक-गरुअंग ॥ ३८७ ॥ विअरइ सद्दल-रेहाअमाण-सुर-धणु-णिवेस-सुहअम्मि। गअण-त्थलम्मि गो-मंडलं व वलयं बलाआणं ॥ ३८८ ॥ दीसइ णिरंतरुभिण्ण-हरिअ-हरि-चाव-दल-करालं । परिओसुप्पइअ-मऊर-जाल-सबलं व गअणद्धं ॥ ३८९ ॥ पअडाअइ गिम्हाणिल-वेआमूलुक्खअम्मि रअ-पडले । सद्दल-परिणीलमहो कमढ-कवालं व महि-वेदं ॥ ३९० A ॥ विसहंति णिअ-विसाणल-पअविजंतंग-मग्गिअ-प्फंसं । धारादूमिअ-फण-मंडला वि फणिणो णवासारं ॥ ३९० B ॥
आपाण्डुसलिललयितशुष्कामलिनशैवलशिखाः । जलरकुदुःखलक्षितशफराघूर्णन्ते सरितः॥३८५॥ विलुलितपिशङ्गवल्लीवितानोद्देशकोमलफलानाम् । प्रविरलरक्षाणां श्रीर्विगलति वालुकीवाटानाम् ॥ ३८६॥ न चलति नवाम्बुधौतमपि पल्वले विरलमुखकृतोच्छ्वासम् । मीनकुलं शफरान्तरपरिसंगतपकगुर्वगम् ॥ ३८७॥ विचरति शाहलरेखायमाणसुरधनुर्निवेशमुभगे । गगनस्थले गोमण्डलमिव वलयं बलाकानाम् ॥ ३८८ ॥ दृश्यते निरन्तरोद्भिवहरितहरिचापकन्दलकरालम् । परितोषोत्पतितमयूरजालशबलमिव गगनार्धम् ॥ ३८९ ।। प्रकटायते ग्रीष्मानिलवेगामूलोत्खाते रजःपटले । शादलपरिनीलमहो कमठकपालमिव महीपीठम् ॥ ३९०A॥ विषहन्ते निजविषानलप्रतप्यमानाङ्गमार्गितस्पर्शम् । धारादूनफणमण्डला अपि फणिनो नवासारम् ॥ ३९०B ॥
३८६. विलसइ for विमलइ. वल्लीवहाण. ३८७. नवंबुधोयमि. सेलंतर° for सहरंतर. ३८९. गयणयलं for गयणद्धं. ३९०. गिंभाणिल'. कवाडं व for कवालं व.

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ग्रीष्मवर्णनम्
पडिसंत-रआसण्णा अमाण- गिरि-मंडला विराअंति । कामं सामीकअ-गअ- उलाओ कासार - लेहाओ || ३९१ ॥ छाया एक्कासारे वि फुरइ अि - रेणु - णीला | गिम्हाहअ - विरलुदेस-पिंग-विडवाण उच्छ्रण ।। ३९२ ॥ घडिअ - फुडिअंतराओ गहिअ - विस- द्वाण - पंडुर - जलाओ । अहिराअंति धुआरुण - कसेरु - मूलाओ सरसीओ || ३९३॥ जलआणिल-रंखोलिअ - हरि अंकुर - सिसिर-पाअव-तलाई । सलिलाहअ-विरसोउंबराई जाआई रण्णाई || ३९४ ॥ सिसिर-च्छासु चिरं असिंधु-तरंग - पुलिण-सुहएसु । पहिएहिँ वीसमिज्जइ विहंग - मुहलेसु वच्छे || ३९५ ॥ णव-वरणअ-गोरंतर-हिंसी-वण-मत्त-लाव अ-कुलाओ । जाओ भवणग्ग- गिअच्छि अव्व-सोहाओ सीमाओ ॥ ३९६ ॥ आअव-कढमाण णवंबु सिण्ण-दर- गोर- सालिणो होंति । सीमंता कच्छव- पोअ-पट्टि - परिधूसरुदेसा ॥ ३९७ ॥
प्रतिशान्तरजआसन्नायमानगिरिमण्डला विराजन्ते । कामं श्यामीकृतगजकुला आसारलेखाः ।। ३९१ ।। छाया एकासारेऽपि स्फुरति निर्धोतरेणुनीलानाम् । ग्रीष्माहतविरलोदेशपिङ्गविटपानामिक्षूणाम् ।। ३९२ ।। घटित स्फुटितान्तरा गृहीतबिसस्थानपाण्डुरजलाः । अभिराजन्ते धुतारुणकसेरुमूलाः सरस्यः ।। ३९३ ॥ जलदानिलकम्पितहरिताङ्कुरशिशिरपादपतलानि । सलिलाहतविरसोदुम्बराणि जातान्यरण्यानि ॥ ३९४ ॥ शिशिरच्छायेषु चिरं उदकसिन्धुतरङ्गपुलिनसुभगेषु पथिकैर्विश्राम्यते विहगमुखरेषु वृक्षेषु || ३९५ || नववरणकगौरान्तरहिंसीवनमत्तलावककुलाः । जाता भवनाग्रद्रष्टव्यशोभाः सीमानः ॥ ३९६ ॥ आतपक्कथमाननवाम्बुस्विन्नदरगौरशालयो भवन्ति । सीमान्ताः कच्छपपोतपृष्ठपरिधूसरोद्देशाः ।। ३९७ ।।
३९२. गिम्हागय. ३९३ णवारुण. ३९४. खोलिर. ३९५. उवसिंधु, कच्छे सु.

६१

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६२
गउडवहो मसिणुण्णअ-पेरंतं वावीण जलागमोणअं होइ । .. . गिद्धोअ-कद्दमाणील-कक्करुदंतुरं वरणं ॥ ३९८॥ .. वारिच्छेअ-दरावीअ-सलिल-बोसट्टमाण-कलमाओ । जाआओ सीर-खंडिअ-मुत्थ-सुअंधाओ भूमीओ ॥ ३९९ ।। आरंभिणो व्व संपइ दूरुग्गअ-दिणअरा वि णज्जति। दूरुग्गआ वि परिलांघण ब्व दिअहा णवन्भेहिं ॥ ४०० ॥ का वि सिरी गअ-गोहण-परिलक्विजंत-विअड-भावाण । ऊसासअ-तण-गहीराअमाण-मग्गाण कच्छाण ॥ ४०१ ॥ समहिअ-संज्झा-राआ विउणुच्चरमाण-गिरि-णइ-रबाओ । जाआ संताण-पअत्त-कीड-विरुआओ रअणीओ ॥ ४०२॥ उग्गंध-मइल-वसुहा सहति णिव्वडिअ-रग्गअ-च्छाया । दुदिण-विसद्द-दूराअमाण-तूराओ णअरीओ ॥ ४०३॥ जाआओ सलिल-धारा-विराम-णिवडिअ-पह-जलुग्गारा । विज्जुज्जोआलविखअ-मेह-विहंगाओ रअणीओ ॥४०४ ॥
मसृणोन्नतपर्यन्तं वापीनां जलागमावनतं भवति। निर्धीतकर्दमानीलकर्करोदन्तुरं वरणम् ॥ ३९८॥ वारिच्छेददरापीतसलिलविकसत्कलमाः । जाताः सीरखण्डितमुस्तसुगन्धा भूमयः ।। ३९९ ॥ आरम्भिण इव संप्रति दूरोद्गतदिनकरा अपि ज्ञायन्ते । दूरोद्गता अपि परिलधिन इव दिवसा नवाब्रैः ॥४०० ॥ कापि श्रीर्गतगोधनपरिलक्ष्यमाणविकटभावानाम् । उच्चसिततृणगभीरायमाणमार्गाणां कच्छानाम् ॥ ४०१॥ समधिकसंध्यारागा द्विगुणोच्चरमाणगिरिनदीरवाः। जाताः संतानप्रवृत्तकीटविरुता रजन्यः॥४०२॥ उद्गन्धमलिनवसुधा शोभन्ते निर्वतितकौसुंभवस्त्रच्छायाः। दुर्दिनविशब्ददूरायमाणतूर्या नगर्यः ॥ ४०३॥ जाताः सलिलधाराविरामनिर्वर्तितपथजलोद्गाराः । विद्युदुद्योतालक्षितमेघविभङ्गा रजन्यः॥४०४॥
३९८. “गमाणयं. वयणं for वरणं. ३९९. तारिच्छेअ. पवण for °सलिल'. सीमाओ for भूमीओ. ४०.. परिलंबिणो व्व. ४०२. दूरच्चर' for विउणुच्चर' ४०३. दुग्गंधमइल, विमद्द for विसद्द, रयणीओ for णयरीओ. ४०४. विहागाओ for विहंगाओ.

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वर्षावणर्नम् कीडाविलंकुर-सिहा धारा-कदमिअ-कच्छ-कासारा। छेत्त-णिसम्मंत-सराडि-मंडला होति सीमंता ॥ ४०५ ॥ गअणं च मत्त-मेहं धारा-लुलिअज्जुणाई अ वणाई। . णिरहंकार-मिअंका हरांति णीलाओ अ णिसाओ ॥ ४०६॥ जलआगमम्मि मज्जइ जलम्मि सीअंत-णइ-अड-णिवेसं । महु-मह-तलिमत्तण-घडिअ-सेस-मुकं व महि-वेढं । ४०७॥ तणइल्ल-तरु-अलाणं असेब्व-कलुसुण्ह-पल्लल-जलाण । दूरालोएच्चिअ पाउसम्मि लच्छी वणंताणं ॥ ४०८॥ ऊससिअ-रण्ण-सीमावरोह-सिहराहिलक्ख-तरु-संडा। दसिंति णिबुड्डा इव वलंत-धूमोच्छआ गामा ॥ ४०९॥ धारा-किलिण्ण-वत्तं आसुरहि-कसाय-केसरद्धंतं । परिणमइ बंधणेच्चिअ परिसिढिलं जूहिआ-कुसुमं ॥ ४१०॥ णंदंति णंदिअ-दुमा आसार-च्छेअ-सीअल-समीरा । हिअअं थल-मग्ग-वलंत-गोहणा रण्ण-परंता ॥ ४११॥
कीटाविलादकुरशिखा धाराकर्दमितकच्छकासाराः। क्षेत्रानशाम्यच्छराटिमण्डला भवन्ति सीमान्ताः ॥४०५॥ गगनं च मत्तमेघं धारालुलितार्जुनानि च वनानि । निरहदकारमृगाका हरन्ति नीलाश्च निशाः ।। ४०६॥ जलदागमे मज्जति जले सीदन्नदीतटनिवेशम् । मधुमथशय्यात्वघटितशेषमुक्तमिव महीपीठम् । ४०७॥ तृणवत्तरुतलानामसेव्यकलुषोष्णपल्वलजलानाम् । दूरालोक एव प्रावृषि लक्ष्मीर्वनान्तानाम् ॥ ४०८ ॥ उच्छ्वसितारण्यसीमावरोहशिखराभिलक्ष्यतरुपण्डाः । दृश्यन्ते निमन्ना इव वलद्धमावरणा ग्रामाः॥४०९॥ धाराक्लिन्नपत्रमासुरभिकषायकेसरार्धान्तम् । परिणमति बन्धन एव परिशिथिलं यूथिकाकुसुमम् ॥४१०॥ नन्दन्ति नन्दितदुमा आसारच्छेदशीतलसमीराः। हृदयं स्थलमार्गवलद्गोधना अरण्यपर्यन्ताः ॥४११॥
४०७. मज्जत for सीयंत. ४१०. परिजरद for परिसिढिलं. ४११. सायं for हिअअं. वहंत for वलंत.

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६४
गउडवहो णिबिड-दुम-मंडलाइं णिरंतरूससिअ-सद्दल-सिहाई । वचंति बहल-भावं पुंजिज्जंताई व वणाई ॥ ४१२ ॥ णवरि अ पयाण-समुहस्स पाउसेच्चिअ किणावि णरवइणो । णीराइजति व वलिअ-विज्जु-चलया दिसाहोआ॥४१३ ॥ सोहइ विमुह-पअत्तस्स झत्ति मगहाहिवस्स विणिअत्तो । उक्का-दंडस्स व सिहि-कणाण णिवहो णरिंदाण ॥ ४१४ ॥ अग्घइ तत्थ रणारंभ-भिण्ण-भड-सोणिअ-च्छडाअंबं । धाराअद्विअ-पल्हत्थ-विज्जु-व यं व महि-वेढं ॥ ४१५॥ तिअस-रह-पेल्लिअ-घणो णह-दुंदुहि-बहल-गजिउग्गारो। जाओ पहुंत-मंदार-णिबिड-धारो णहाहोओ ॥ ४१६ ॥ अहवि वलाअंतं कवलिऊण मगहाहिवं मही-णाहो । जाओ एला-सुरहिम्मि जलहि-वेला-वर्णताम्म ॥ ४१७ ॥ रअण-कविलासु सोहइ वेला-पुंजिअ-सिलासु से भमिश्र । फल-भंग-महुर-गंधासु णालिएरी-वणालीसु ॥४१८॥
निबिडदुममण्डलानि निरन्तरोच्छ्वसितशाद्वलशिखानि। व्रजन्ति बहलभावं पुज्यमानानीव वनानि ॥४१२ ॥ अनन्तरं च प्रयाणसंमुखस्य प्रावृष्येव केनापि नरपतेः । नीराज्यन्त इव वलितविद्युद्धलया दिगाभोगाः ॥४१३॥ शोभते विमुखप्रवृत्तस्य झटिति मगधाधिपस्य विनिवृत्तः उल्कादण्डस्येव शिखिकणानां निवहो नरेन्द्राणाम् ॥४१४॥ राजते तत्र रणारम्भभिन्नभटशोणितच्छटाताम्रम्। धाराकृष्टपर्यस्तविद्युद्वलयमिव महीपीठम् ॥ ४१५॥ त्रिदशरथप्रेरितधनो नभोदुन्दुभिबहलगर्जितोद्गारः । जातः पतन्मन्दारानिबिडधारो नभआभोगः ॥ ४१६॥ अथापि पलायमानं कवलयित्वा मगधाधिपं महीनाथः । यातः एलासुरभौ जलधिवेलावनान्ते ॥४१७॥ रत्नकपिलासु शोभते वेलापुजितशिलासु अस्य भ्रान्तम् । फलभङ्गमधुरगन्धासु नालिकेरीवनालीषु ॥४१८॥
४१३. जलिय° for वलिअ. ४१४, परियत्तो for विणिअत्तो. ४१५. तस्स or तत्थ. ४१६. गन्जिओयारो, पयत्त for पडत. ४१८. फलसंगमहुगगंधासु.

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दक्षिणदिग्गमनम्
किं च। जय-गअ-कुंभष्फालण-फुरंत-सिंदूर-राविओ जाण । दूरुग्गओ वि णो मुअइ रअणि-विरम-च्छविं सूरो ॥ ४१९ ॥ चलण-णह-च्छवि-विच्छोलिआई काऊण ताण वंगाण । अहिणव-पणाम-वेलक्ख-पंडुराई पिव मुहाई ॥ ४२०॥ चलिओ कुंभी-फल-दंतुरासु दिह्रि वसुंधरा-णाहो । रण्ण-स्थलीसु देंतो णिरूसुआसीण-हरिणासु ॥ ४२१॥ अवि अ। बल भर-पीडा-खुपंत-सेस-सिर-रअण-मंडला जस्स । गब्भ-परिसंठिआर व्व चलइ विहुरोअरं वसुहा ॥ ४२२॥ दक्षिण-दिसा-रिंदेण तेण पाअडिअ-पेसल-पणामो। जाओ पहेण मलयावलंबिणा मेइणी-णाहो ॥ ४२३ ॥ किं च। रहस-च्छेआअर-कअ-कअग्गहुत्ताण-विवलिअच्छेण । जेण पसाआहिमुहं मुहमसमसरारिणो दिटुं ॥ ४२४ ॥ कंठाहोएसु कआ ससंभमं जस्स वसह-इंधण। मउलि-मिअंकामअ-सेअ-भग्ग-विअणा वण-च्छेआ ॥ ४२५॥
किं च ॥ जयगजकुम्भास्फालनस्फुरत्सिन्दूररञ्जितो येषाम् । दूरोगतोऽपि नो मुञ्चति रजनीविरमच्छविं सूर्यः॥४१९॥ चरणनखच्छविविच्छोलितानि ( धौतानि) कृत्वा तेषां वङ्गानाम् । अभिनवप्रणामवैलक्ष्यपाण्डुराणीव मुखानि ॥४२०॥ चलितः कूष्माण्डीफलदन्तुरासु दृष्टिं वसुंधरानाथः । अरण्यस्थलीषु ददन्निरुत्सुकासीनहरिणासु॥४२१ ॥ अपि च ॥ बलभरपीडामज्जच्छेषशिरोरत्नमण्डला यस्य । गर्भपरिसंस्थितार इव चलति विधुरोदरं वसुधा॥४२२॥ दक्षिणदिशानरेन्द्रेण तेन प्रकटितपेशलप्रणामः । यातः पथा मलयावलम्बिना मेदिनीनाथः॥ ४२३॥ किं च ॥ रभसच्छेदादरकृतकचग्रहोत्तानविवलिताक्षेण । येन प्रसादाभिमुखं मुखमसमशरारदृष्टम् ॥४२४॥ कण्ठाभोगेषु कृता ससंभ्रमं यस्य वृषभचिह्नन । मौलिमृगाकामृतसेकभन्मवेदना व्रणच्छेदाः ॥ ४२५ ॥
४१९. रंजिओ for 'राविओ. ४२३. दाहिण for दक्खिण. ४२५. वसहचिंधेण.

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६६
गउडवहो दिवाओं णवणवाणण-सोहा पुणो वराहि संपण्णा। साअर- वामद्ध-पणामिमि मणि-दप्पणे जेण ॥ ४२६॥ परिउठे साण-णिरूसुएण सा जेण चंद-हासस्स । परिमुट्ठा णिअ-कंठढि-चुण्ण-पुंजंकिआ धारा ॥ ४२७॥ मालआ पंसुलिअ-करेण जस्स विम्हय-रसा ति-णयणेण । तुलिओआरिअ-केलास मूल-पंकिआ बाहू ॥ ४२८ ॥ संका-मंथर-संचार-दूमिओ जस्स भवण-कच्छासु । संचरइ तिअस-बंदी-ससिएहिं णिरग्गलं पवणो ॥ ४२९ ॥ तं पि दस-कंधरं हरि-सुएण कक्खंतरम्मि काऊण । जम्मि समुदुद्देसे भमिश्र पत्तो पहू तम्मि ॥ ४३०॥ अवि अ। रोसारूढो परिपाडलेसु मुह-मंडलेसु सुहडाण । पहर-समंचिअ णिव्वडइ सामलो सोणिउप्पीलो ॥ ४३१॥ बल-संखोहुक्खअ-रेणु-णिवह-णिट्ठिअ-वसुंधरा-पअडो। दीसइ सेस-फणा-मणि-राओ इव रुहिर-विच्छड्डो ॥ ४३२ ॥
दृष्टा नवनवाननशोभाः पुनर्वरात संपन्नाः। सादरवामार्धप्रणामिते मणिदर्पणे येन ।।४२६॥ परितुष्टे शाणनिरुत्सुकेन सा येन चन्द्रहासस्य । परिमृष्टा निजकण्ठास्थिचूर्णपुनाकिता धारा ॥ ४२७॥ मृदिताः पांसुलि. तकरेण यस्य विस्मयरसात् त्रिनयनेन । तुलितावतारितकैलासमूलप
कादिकता बाहवः॥४२८ ॥ शङ्कामन्थरसंचारदूनो यस्य भवनकक्षासु। संचरति त्रिदशबन्दश्विसितैर्निरर्गलं पवनः ॥ ४२९॥ तमपि दशकन्धरं हरिसुतेन कक्षान्तरे कृत्वा। यस्मिन् समुद्रोद्देशे भ्रान्तं प्राप्तः प्रभुस्तस्मिन् ॥ ४३०॥ अपि च । रोषारूढः परिपाटलेषु मुखमण्डलेषु सुभटानाम् । प्रहारसममेव निर्वर्तते श्यामलः शोणितोत्पीडः ॥ ॥ ४३१॥ बलसंक्षोभीत्खातरेणुनिवहनिष्ठितवसुंधराप्रकटः । दृश्यते शेषफणामणिराग इव रुधिरराशिः ॥ ४३२ ॥
४२६. संपुना for संपण्णा. ४२८. विम्हय वसा. ४३१. मासलो for सामलो. ४३२. बलभरसखोहियरेणु.

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पारसीकपराभवः परिणइ-कुंडलिअ-कराववीडणा मडह-गंड-विवरेहिं । उद्धं णिबद्ध-वेआ गएहिं मुच्चंति मअ-धारा ॥ ४३३॥ परिरुज्झइ अमरिस-दसण-कट्टिाहर-णिरुद्ध-वअणेहिं । असमाणिअ-पहु- कज्जत्तणेण जी पिव भडेहिं ॥ ४३४॥ धावंति स-सल्ल-भडंग-कवलणाअर-दुहाविअ-मुहीओ। विरसा सिवाओं सोणिअ-कगुल्ल-पविरेल्लिअ रवाओ ॥ ४३५॥ पडिहाइ बूढ-जोहो वि पढम-णिबिडो व्व संगरुद्देसो । उस्मूण-भाव-संसत्त-तुरअ-णर-रुंड-कअ-डिंबो ॥४३६॥ आरक्ख-वण-मुहुग्गिण्ण-भूरि-भंग-ट्ठिअंकुस-खंडं । रहसा विहडिअ-भमरं व धुणइ वअणं जय-गइंदो ॥ ४३७॥ अवजीव-भाव-गरुआअमाण-पल्हत्थ-काय-णिवहाई । जाआई दुव्बहाई व फणिणो ताइचिअ बलाई ॥ ४३८ ॥ इअ से जय-परंतो पुहई-वइणो परिक्खअ-पहाणो । तुमुलो महाहवो आसि चिरअरं पारसीएहि ॥ ४३९॥
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परिणतिकुण्डलितकरावपीडनात् लघुगण्डविवरैः । ऊर्ध्व निबद्धवेगा गजैर्मच्यन्ते मदधाराः॥४३३॥ परिरुध्यते अमर्षदशनकृष्टाधरनिरुद्धवदनैः। असमापितप्रभुकार्यत्वेन जीवितमिव भटैः ॥ ४३४ ।। धावन्ति सशल्यभटागकवलनादरदुःखितमुखाः। विरसाः शिवाः शोणितकणार्द्रविस्तारितरवाः ॥ ४३५ ।। प्रतिभाति व्यूढयोधोऽपि प्रथमनिबिड इव संगरोद्देशः। उच्छूनभावसंसक्ततुरगनररुण्डकृतडिम्बः ।।४३६॥ आरक्षव्रणमुखोद्गीर्णभूरिभङ्गस्थिताकुशखण्डम् । रभसा विघटितभ्रमरमिव धुनोति वदनं जयगजेन्द्रः ॥४३७ ॥ अपजीवभावगुरूयमाणपर्यस्तकायनिवहानि । जातानि दुर्वहानीव फणिनस्तान्येव बलानि ॥४३८॥ इति तस्य जयपर्यन्तः पृथ्वीपतेः परिक्षयप्रधानः। तुमुलो महाहव आसीत् चिरतरं पारसीकैः॥ ४३९ ॥
४३५. कल्लोलविरेलिय. ४३७. रंग° and भग्ग for भंग.

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गउडवहो
किं च । उहओअहि-पडिलग्गा धणु-पेल्लिअ-कोडि-चलिअ-वीअद्धा । णिज्जति जेत्तिअं एंति तेत्तिअंचेअ धरणि-हरा ॥४४०॥ एक्कम्मिच्चिअ सेले पूरिअ-भुवण-चलए समोसरिए । आलोइउं पअत्ता सअल व्व परिद्विआ वसुहा ॥ ४४१॥ इहहुत्तं णिवडंता णोल्लंति पणोल्लिआ धरा-वलयं । णज्जइ एत्तोहुत्तं परओहुत्तं व धरणि-हरा ॥ ४४२ ॥ एक्केणंचिअ चावग्ग-भिण्ण-लग्गेण पेल्लिओ गिरिणा। णिज्जइ पुंजिअ-रअ-पूरिअंतरो सेल-संघाओ ४४३॥ सेलाण चाव-पेल्लिअ-तड-मेह-पडत-विज्जु-वलयाण । पक्ख-च्छेअ-ट्ठिअ-कुलिस-सल्ल-सअलाई व गलंति ॥ ४४४ ॥ णिज्जति मुहल-मूला चल-पाअव-णिज्झरा खलंत-सिला । सम-विसम-भूमि-लंघण-तरंगिणो सेल-संघाआ॥४४५॥ आसा-गएहिं सरहस-चावग्ग-पणोल्लणा-पअत्तंता । धाविअ-पडिगअ-संकालुएहि भिजति कुल-सेला ॥४४६॥
किं च ॥ उभयोदधिप्रतिलग्ना धनुष्प्रेरितकोटिचलितद्वितीयार्धाः। नीयन्ते यावद् यन्ति तावदेव धरणीधराः ॥४४०॥ एकस्मिन्नेव शैले पूरितभवनवलये समपसृते। आलोकयितुं प्रवृत्ता सकलेव परिष्ठिता वसुधा ॥४४१ ॥ इहाभिमुखं निपतन्तो नोदयन्ति प्रणुना धरावलयम् । ज्ञायते इतोऽभिमुखं परतोऽभिमुखमिव धरणीधराः ॥४४२॥ एकेनैव चापाग्रभिन्नलग्नेन प्रेरितो गिरिणा। नीयते पुजितरजःपूरितान्तरः शैलसंघातः ॥४४३ ॥ शैलानां चापप्रेरिततटमेघपतद्विाद्वलयानाम् । पक्षच्छेदस्थितकुलिशशल्यशकलानीव गलन्ति ॥४४४॥ नीयन्ते मुखरमूलाचलपादपनिझराः स्खलच्छिलाः । समविषमभूमिलङ्घनतरङ्गिणः शैलसंघाताः ॥४४५ ॥ आशागजैः सरभसचापाग्रप्रणोदनाप्रवर्तमानाः। धावितप्रतिगजशकावद्भिर्भिद्यन्ते कुलशैलाः ॥४४६॥
४४०. यंति for एन्ति. ४४१. समुट्ठिया for परिट्ठिआ. ४४४. वलयाई for °वलयाण. ४४५. °तरंगिया for तरंगिणो.

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पृथुराजस्य पर्वतनिरासः
दीसति गमण-णिवडिअ-सिहर-सिला-भरिअ-मूल-वित्थारा। खुत्त-धणु-मग्ग-णिग्गम-पअत्त-पढमुज्झरा गिरिणो ॥ ४४७॥ पाआल-भरिअ-मूला पेल्लिअ-णिक्खंत-धणु-समोलइआ। मुच्चंति थोअ-तुलिआ भू-भंग-भएण धरणि-हरा ॥ ४४८॥ जे आसि गिरीण पुरा संचय-विअडा महा-णई-पवहा । ओसारिआण तेच्चिअ थलीहिं पिज्जंति जल-सोता ॥ ४४९ ॥ जेसु गिरी अवणी जेसुं च णिवेसिआ णरिंदेण। दोणि वि भिण्ण-सरूवा जाआ अण्ण ब्व उद्देसा ॥ ४५०॥ मज्झ-समोसरिअम्मि अ परंत-परिदिए अ गिरि-जाले। ओअरइ महिं व णहं आरुहइ महि व्व गअण-अलं ॥ ४५१॥ चाव-पणोल्लण-णिवडिअ-सेल-भरतेक्वास-पुंजइओ। बहु-जलअरो व्व दीसइ सोच्चिअ मडह-ट्ठिओ जलही ॥ ४५२ ॥ जाआ रवि-अर-परिपिल्लणेण थोउम्ह-पिंजर-च्छाया । चिर-आल-द्विअ-महिहर-णिरोह-मुक्क व्व णह-मग्गा ॥४॥
दृश्यन्ते गमननिपतितशिखरशिलाभृतमूलविस्ताराः। निमनधनुर्गिनिर्गमप्रवृत्तप्रथमनिर्झरा गिरयः ॥ ४४७॥ पातालभृतमूलाः प्रेरितनिष्कान्तधनुःसमुत्क्षिप्ताः। मुच्यन्ते स्तोकतुलिता भ्रूभगभयेन धरणिधराः ॥४८॥ ये आसन् गिरीणां पुरा संचयविकटा महानदीप्रवाहाः। अपसारितानां त एव स्थलीभिः पीयन्ते जलस्रोतांसि ॥ ४४९॥ येषु गिरयोऽपनीता येषु च निवेशिता नरेन्द्रेण। द्वयेऽपि भिन्नस्वरूपा जाता अन्य इवोद्देशाः॥ ४५० ॥ मध्यसमपसृते च पर्यन्तपरिष्ठिते च गिरिजाले । अवतरति महीमिव नभ आरोहति महीव गगनतलम् ।। ४५१॥ चापप्रणोदननिपतितशैलभ्रियमाणैकपार्श्वपुञ्जितः। बहुजलचर इव दृश्यते स एव स्तोकस्थितो जलधिः ॥ ४५२ ॥ जाता रविकरपरिप्रेरणेन स्तोकोष्मपिअरच्छायाः। चिरकालस्थितमहीधरनिरोधमुक्ता इव नभोमार्गाः ॥ Z॥
४५०. जेसु पि for जेसुं अ.

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गउडवहो
पढम-विमूढ-च्छाओ ओसारिअ - सेल - जाल - णिव्वडिओ | मज्झम्मि व पुंजइओ धराएँ बहलाअवो दिअहो ॥ ४५३ ॥ उक्खअ - गिरि- गहिर- द्वाण-भाव- दूरुण्ण अंतर क्खंडं । दीसह तह - संठि - सेल - जाल - विसमं व महि- वेढं ।। ४५४ ॥ उम्मिल्लति महीहर-गमणुव्वेल्लिअ-धरा-समकंता । उल्लंत - रेणु - मइला सुइरेण महा-ई- मगा ।। ४५५ । थिइ - लंभ- णिव्वुआणं कालेण विरूढ - काणण-तणाणं । पक्ख-च्छेआहि वि महि-हराण चलिएहिं अवरद्धं ॥ ४५६ ॥ पेरंतीकअ - उत्तुंग - गरुअ-गिरि-वलय- बद्ध-परिवेसं । मझोणअं व दीस पासोणमिअं पि महि वेढं ।। ४५७ ॥ ओसारिअ-गिरि-गारव- विणमिअ- परंत- पुंजइज्जंतं । वित्थारित्थं तंचिअ जाअं मडहं व महि-वेदं ॥ ४५८ ॥ इअ पिहुणो धणु- पेल्लण- णिबिडीकअ-सेल - जाल- दुल्लंघा । भू-परंता जे इर तेसु वि गहिओ करो पहुणा ।। ४५९ ।।
७०
प्रथमविमूढच्छायोऽपसारितशैलजालनिर्वृत्तः । मध्य इव पुञ्जितो धरायां बहलातपो दिवसः || ४५३ ॥ उत्खातगिरिगभीरस्थानभावदूरोन्नतान्तरखण्डम् । दृश्यते तथासंस्थितशैलजालविषममिव महीपीठम् ॥ ४५४ ॥ उन्मील्यन्ते महीधरगमनोद्वेल्लितधरासमाक्रान्ताः । आर्द्रीभवद्रेणुमलिनाः सुचिरेण महानदीमार्गाः ॥ ४५५ ॥ स्थितिलाभनिर्वृतानां कालेन विरूढकाननतृणानाम् । पक्षच्छेदादपि महीधराणां चलितैरपराद्धम् ॥ ४५६ ॥ पर्यन्तीकृतोद्गगुरुगिरिवलयबद्धपरिवेषम् । मध्यावनतमिव दृश्यते पार्श्ववनमितमपि महीपीठम् ॥ ४५७ ॥ अपसारितगिरिगौरव विनमितपर्यन्तपुज्यमानम् । विस्तारितं तदेव जातमल्पमिव महीपीठम् ॥ ४५८ ॥ इति पृथोर्धनुष्प्रेरण निबिडीकृतशैलजालदुर्लङ्घाः । भूपर्यन्ता ये किल तेष्वपि गृहीतः करः प्रभुणा ॥ ४५९ ।।
४५६. परूढ for विरूढ ४५८. वित्थारिज्जतं चिअ.

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नर्मदानुरागः
अवि अ ।
अरइ - परिसकणा रणिर - णेउराराव-संगलंतीसु । ठि-परिअआसु दिट्टी लग्गर कल-हंस मालासु ॥ ४६० ॥ विविणेह-मज्जण-द्विअ-थोउन्भिज्जत दाण - राअं व । दीसह सामाअंत सह सुह-भंगेसु लाअण्णं ॥ ४६१ ॥ संतावायासोप्पिअ - चंदण-पंक-पएस - पंडूई । दोब्बल्ल-समुम्मीलिअ-पुलिणाई व होति अंगाई || ४६२ ॥ बहुसो घडत - विडंत - सइ - सुहासा अ-संगमुल्लोले । हिअरचे समप्पंति चंचला वीइ-वावारा ॥ ४६३ ॥ कुसुम-सयणिज्ज-मलणा सोरह - घोणंत - महुअरं हरइ | उद्देस पहुत्त - जणाहिलक्ख-सीसं पिव सरीरं ॥ ४६४ ॥ इअ जम्मि पसे णम्मआऍ राएसि - बद्ध भावाए । भमिअं संभरिअ कहेण तत्थ वसिअं णरिंदेण ॥ ४६५ ॥ मुह विणिमिअ-व-मंगल-किसल - कलाव - च्छलेण गंतूण | पिज्जतं पिव अहि- दीह दीह - जीहा - सहस्सेहिं ॥ ४६६ ॥
अपि च ॥ अरतिपरिष्वक्कणात् रणनशीलनूपुरारावसंग लन्तीषु । स्थितपरिचयासु दृष्टिर्लगति कलहंसमालासु ॥ ४६० ॥ विपिनेभमज्जनस्थितस्तोकोद्भिद्यमानदानरागमिव । दृश्यते श्यामायमानं सदा सुखभङ्गेषु लावण्यम् ॥ ४६१ ॥ संतापायासार्पितचन्दनपङ्क प्रदेशपाण्डूनि । दौर्बल्यसमुन्मीलितपुलिनानीव भवन्त्यङ्गानि || ४६२ ।। बहुशो घटमानविघटमानस्मृतिसुखास्वादसद्गमोल्लोले । हृदय एव समाप्यन्ते चञ्चला वीचिव्यापाराः || ४६३ ॥ कुसुमशयनीयमर्दन सौरभ घूर्णमानमधुकरं हरति । उद्देशप्रभूतजनाभिलक्ष्यशीर्षमिव शरीरम् ॥ ४६४ ॥ इति यस्मिन् प्रदेशे नर्मदया राजर्षिबद्धभावया । भ्रान्तं संस्मृतकथेन तत्रोषितं नरेन्द्रेण ॥। ४६५ ।। मुखविन्यस्तनवमद्‌गलकिसलय कलापच्छलेन गत्वा । पीयमानमिव अहिदीर्घदीर्घजिह्वा सहस्रैः ॥ ४६६ ॥

७१
४६०. लग्गइ दिली. ४६१. सयअंगेसु, सुहयं गेसु for सुहभंगेसु ( = सुख भङ्गेषु ). ४६३ संगउल्लोले ४६४. सहइ for हरइ. ४६६. मुहविणिहिय.

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७२
गउडवहो अणुणिज्जंतं रक्खा-परिअर-धुअ-धवल-चामर-णिहेण । बंदीकआमर-जरा-बंधूहि व बहु-पणामहि ॥ ४६७ ॥ मरण-भएण व चिंता-सामाअंतेहिं जीव-जालेहिं ।। अवलंबिज्जंतं सोरहाअरा महुअर-कुलेहिं ॥ ४६८॥ हरि-चक्क-विरिक-ट्ठिअ-पाणागअ-राहु-सीस-वलयं व । णिअअ-च्छाया-मंडल-णिहेण पासे पआसंतं ॥ ४६९ ॥ इअ अमअ-कुंभमुभिज्जमाणमुअहीओ जम्मि दट्ठण । तिअसेहिं विम्हिअं तम्मि साअरंते द्विअं पहुणा ॥ ४७० ॥ मुक्का णिसासु दप्पिअ-मइंद-संपाअ-विससिअ-गइंदा । जिअ-सेणा-कलुसीकआवडा तेण मरु-मग्गा ॥ ४७१ ॥ अवि अ। होत-रसा-अल-भय-पिसुण-कसण-घण-धूमकेउ-दंडे हिं । दीसंति भीअ-विवलाअमाण-मुअआओ व दिसाओ ॥ ४७२ ॥ तक्रवण-पसरंतुप्पाअ-तरल-तारा-करंबिओ फुरइ। भीओरअ-सुर-दिज्जंत-भोअ-रअणो व्व णह-मग्गो ॥ ४७३ ॥
अनुनीयमानं रक्षापरिचरधुतधवलचामरनिभेन । बन्दीकृतामरजराबन्धुभिरिव बहुप्रणामैः॥४६७ ॥ मरणभयेनेव चिन्ताश्यामायमानैर्जीवजालैः। अवलम्ब्यमानं सौरभादरात् मधुकरकुलैः॥४६८॥ हरिचक्रविदॉरितस्थितप्राणागतराहुशीर्षवलयमिव । निजकच्छायामण्डलनिभेन पार्श्व प्रकाशमानम् ॥४६९ ॥ इति अमृतकुम्भमुद्भिद्यमानमुदधेर्यस्मिन् दृश्वा। त्रिदशैर्विस्मितं तस्मिन् सागरान्ते स्थितं प्रभुणा ॥४७०॥ मुक्ता निशासु दर्पितमृगेन्द्रसंपातविशसितगजेन्द्राः। पुनितसेनाकलुषीकृतकूपास्तेन मरुमार्गाः॥४७१॥ अपि च ॥ भवद्रसातलभयपिशुनकृष्णघनधूमकेतुदण्डैः। दृश्यन्ते भीतविपलायमानभुजगा इव दिशाः ॥४७२॥ तत्क्षणप्रसरदुत्पाततरलताराकरम्बितः स्फुरति। भीतोरगसुरदीयमानभोगरत्न इव नभोमार्गः॥४७३ ॥
४६९. हरिचक्कविविक. ४७३. दिज्जंतुकोय' for दिज्जंतभो.

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जनमेजयसर्पयज्ञः बिल-चलय-मुहुव्वेल्लंत-सरल-भुअइंद-जाल-कलिलाए। .. चलिअं संभम-रहसुद्ध-केस-दंडाएँ व महीए ॥४७४॥ सज्झस-संजाअ-जराउरेहिं णिम्मोअ-पट्ट-मालाओ। भुअएहि वेअ-पज्जलण-संकिएहिं व मुचंति ॥ ४७५॥ अट्ठिअ-पडत-विसहर-संवलिअ-वलंत-धूम-जालेण। एकाहुईकअं पिव णहम्मि पडिहाइ पाआलं ॥ ४७६॥ संभम-पुणरुत्तारुण-फुरंत-जीहा-कडप्प-पल्लविआ। दीसंति रोस-कवलिअ-हव्यवह-सिह व्व भुअइंदा ॥ ४७७॥ डझंत-विसहरुक्कर-सुंकारंदोलमाण-मुहल-सिहो। णीससइ व विसम-विसाणुभाव दर-घुम्मिरो जलणो॥४७८ ॥ अरुण-विसारि-फणा-रअण-राअ-पडिअग्गिआआ णिवडंति । गहिआणुमरण-मंडण-चिंधाओ व णाअ-णारीओ ॥४७९ ॥ कुसुमिअ-हरि-चंदण-कणअ-दंड-परिरंभ-लालिअंगीओ। वलयंति णिविआरं भुअंग-ललणा सिहि-सिहाओ॥४८॥
बिलवलयमुखोद्वेल्लत्सरलभुजगेन्द्रजालकलिलया। चलितं संभ्रमरभसोर्ध्वकेशदण्डयेव महा॥४७॥साध्वससंजातजरातुरैर्निर्मोकपट्टमाला। भुजगैर्वेगप्रज्वलनशङ्कितैरिव मुच्यन्ते ॥४७५॥ अस्थितपतद्विषधरसंवलितवलद्धमजालेन । एकाहुतीकृतमिव नभसि प्रतिभाति पातालम् ॥ ४७६॥ संभ्रमपुनरुक्तारुणस्फुरज्जिह्वासमूहपल्लविताः। दृश्यन्ते रोषकवलितहव्यवाहशिखा इव भुजगेन्द्राः ॥ ४७७।। दह्यमानविषधरोत्करसूत्कारान्दोल्यमानमुखरशिखः। निःश्वसितीव विषमविषानुभावदरघूर्णनशीलो ज्वलनः ॥४७८॥ अरुणविसारिफणारत्नरागप्रतिजागरिता निपतन्ति। गृहीतानुमरणमण्डनचिह्ना इव नागनार्यः ।।४७९॥ कुसुमितहरिचन्दनकनकदण्डपरिरम्भलालिताङ्ग्यः । वलयन्ति निर्विकारं भुजङ्गललनाः शिखिशिखाः ॥४८०॥
४७५. भुअयाहिवेहिं for भुअएहिं वे.

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उडवी
लक्खिज्ज आहारुद्धमाअ - परिवेल्लिरंत वलड व्व । डज्झत- कुडिल-विसहर-समूह-कलिलोअरो जलणो ॥ ४८१ ॥ पुरुहूआ हुइ-पढमोअरंत- सुर- चाव- गभणीओ व्व । दीसंति बहुविहोरअ - मणि - राअवहाओ जालाओ || ४८२ ॥ वेवइ सरणागअ-विसहरिंद-फण-वलय-कलिअ - चलणग्गो । कुविअ णरिंद-विसज्जिअ - सुआहिरूढो व्व सुर-णाहो ।। ४८३ ।। इअ जम्म पिउ - वहा पंडवेण विहिअं पुरा भुअअ सत्तं । चिरमुसिओ सिरिअंटोव अंठ - मग्गे पहू तम्मि ।। ४८४ ॥ पंडु-तरण कर-अल- पाविअ - कवअंचलेण अक्खित्तो । जाल- द्विअ-जलअर - विब्भमेण सो जम्मि कुरु-णाहो ॥। ४८५ ॥ भाविअ - भारह - कलहं भारह - कलहेण सरवरे तम्मि | कामं सकामिणीएण सलिल-कीला विरइआओ ।। ४८६ ॥ किं च ।
७४
माया - माहप- गुणेहिं जेण बद्धं जयं पि णीसेसं । तं संजमिडं माहवमीहंत रिंद मूढो सि ।। ४८७॥
लक्ष्यते आहारोद्ध्मातपरिवेल्लनशीलान्त्रवलय इव । दह्यमानकुटिलविषधर समूहक लिलोदरो ज्वलनः ॥ ४८१ ।। पुरुहूताहुतिप्रथमावतरत्सुरचापगर्भिण्य इव । दृश्यन्ते बहुविधोरगमणिरागवहा ज्वालाः ॥ ४८२ ॥ वेपते शरणागतविषधरेन्द्र फणावलय कलितचरणाग्रः । कुपितनरेन्द्र विसृष्टस्रुचाधिरूढ इव सुरनाथः ॥ ४८३ ॥ इति यस्मिन् पितृवधात् पाण्डवेन विहितं पुरा भुजगसत्त्त्रम् । चिरमुषितः श्रीकण्ठोपकण्ठमार्गे प्रभुस्तस्मिन् ॥ ४८४ ॥ पाण्डुतनयेन करतलप्राप्तकवचाञ्चलेनाक्षिप्तः । जालस्थितजलचरविभ्रमेण सो यस्मिन् कुरुनाथः ॥ ४८५ ॥ भावितभारतकलहं भारतकलभेन सरोवरे तस्मिन् । कामं सकामिनीकेन सलिलक्रीडा विरचिताः ॥ ४८६ ॥ किं च ॥ मायामाहात्म्यगुणैर्येन बद्धं जगदपि निःशेषम् । तं संयन्तुं माधवमहमान नरेन्द्र मूढोऽसि ॥ ४८७ ॥
४८२. 'किरण' for Tr..

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दुर्योधनकर्णकथास्मरणम्
जा जिoहुणा णराहिव धअ-माला गोग्गहे परिग्गहिआ । दुवअ-सुआ - सिचय-परंपराऍ सो आसि पडिबिंबो ४८८ ॥ मोत्तूण बाहु - सिहरं ठाणे अप्फालिआ तर ऊरू । एएसुंचि जंघा - बलाण भीरूण आसंघो || ४८९ ॥ तइआ ठिओ सि जं किर पलोड - संरंभ- सेअ - विणिवुड्डो । एसा सा तइ सलिल-पवेस - जोग्गा कआ आसि ।। ४९० ॥ इअ ऊरु-रुअं भीमेण जम्मि संभारिआवराहेण । गमिओ र विहाअम्मि तम्मि करुणाइअं पहुणा ।। ४९१ ॥ कवलिअ - किरीडि- चूडा- रअण-कणे इव विसाणल - फुलिंगे । जम्मि मुअंतो ण पुणो कण्णेण सरीकओ भुअओ ।। ४९२ ।।
कत्तं पि हु खण- मेत्त तह - परिट्टिअपसाअ - रोमंचं । जम्मि णिअ- कत्ति - कवअं तेणेअ पणामिअं हरिणो ॥ ४९३ ॥
तम्मि महारह - राहे अ-रह-रहंगग्ग-दारिअ धरम्मि । उसे आसि राहिवाण विअडा कल्लोला || ४९४ ॥
या जिष्णुना नराधिप ध्वजमाला गोग्रहे परिगृहीता । दुपदसुतासिचयपरम्परायाः स आसीत् प्रतिबिम्बः ॥ ४८८ ॥ मुक्त्वा बाहुशिखरं स्थाने आस्फालिते त्वयोरू । एतेष्वेव जङ्घाबलानां भीरूणां विश्वासः ॥ ४८९ ॥ तदा स्थितोऽसि यत्किल पर्यस्तसंरम्भस्वेदविनिमग्नः । एषा सा तदा सलिलप्रवेशयोग्या कृतासीत् ॥ ४९० ॥ इति ऊरुरुजं भीमेन यस्मिन् संस्मारितापराधेन । गमितो रिपुर्विभागे तस्मिन् करुणायितं प्रभुणा ॥ ४९१ ॥ कवलितकिरीटिचूडारत्नकणे इव विषानलस्फुलिङ्गे । यस्मिन् मुञ्चन् न पुनः कर्णेन शरीकृतो भुजगः ॥ ४९२ ॥ उत्कृत्तमपि खलु क्षणमात्रतथापरिष्ठितप्रसाद रोमाञ्चम् । यस्मिन् निजकृत्तिकवचं तेनैव प्रणामितं हरेः ॥ ४९३ ॥ तस्मिन् महारथराधेयरथरथाद्गाग्रदारितधरे । उद्देशे आसीन्नराधिपानां विकटाः कथोल्लोलाः ॥। ४९४ ।।
४९१. ऊरुभयं for करुरुअं. ४९३. हसिऊण for तेणेअ.

७५

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गउडवहो
अवि अ। गोउर-मत्त-विणिग्गअ-ससंक-जण-दीसमाण-चोच्छेअं । जाअं णीसामण्णं परिहा-वलयं णहंचेअ॥ ४९५ ॥
ओअरणा दिट्ठ-च्छेअ-पअड-णह-मग्ग-पडिणिअत्तेहिं । बिल-मज्झेच्चिअ भय-पुंजिएहिं भुअहेहि वीसमिअं॥४९६। कहवि समुप्पअणवसा तह-लद्ध-च्छेअ-विहडिअद्धाओ। दीसंति अहिणवाओ व ठिएअरद्धाओ वडहीओ॥४९७॥ छिण्ण-धरा-अल-पडिबंध-खुडिअ-सोत्तुग्गमेहि पडिवण्णं । तुच्छत्तणमुम्मिल्लंत-गहिर-भावेहि अवडेहिं ॥ ४९८ ॥ परिलंबिज्जइ घोलंत-संखल-च्छेअ-पाअडद्धेहि । मूलाम्म मुहल-घंटा-लीलाएँ णिहाण-कलसेहिं ॥ ४९९ ॥ उव्वेअंति व अहिणव-णिमेस-वोच्छेअ-णिञ्च-पिहुलाई। अविलासाई व सण-रसे वि मिहुणाण अच्छीई ॥ ५००॥ मारुअ-संचरण-वसा कम-भिज्जंतम्मि भूमि-पडिबंधे । तद्दिअस-पलहुओच्चेअ होइ णअरीऍ विणिवेसो ॥ ५०१॥
अपि च । गोपुरमात्रविनिर्गतसशङ्कजनदृश्यमानव्युच्छेदम् । जातं निःसामान्य परिखावलयं नभ एव ॥ ४९५॥ अवतरणाद् दृष्टच्छेदप्रकटनभोमार्गप्रतिनिवृत्तैः । बिलमध्य एव भयपुञ्जितर्भुजगैर्विश्रान्तम् ॥४९६॥ कथमपि समुत्पतनवशात् तथालब्धच्छेदविघटितार्धाः। दृश्यन्ते अभिनवा इव स्थितेतरार्धा वलभ्यः ॥४९७॥ छिन्नधरातलप्रतिबन्धखण्डितस्त्रोतउद्गमैः प्रतिपन्नम्। तुच्छत्वमुन्मीलद्गभीरभावैः कूपैः ॥ ४९८॥ परिलम्ब्यते घूर्णमानशृङ्खलाच्छेदप्रकटार्धेः। मूले मुखरघण्टालीलया निधानकलशैः ॥ ४९९॥ उद्वेजयन्तीव अभिनवनिमषव्युच्छेदनित्यपृथुलानि । अविलासानीव दर्शनरसेऽपि मिथुनानामक्षीणि ॥ ५०० ॥ मारुतसंचरणवशात् क्रमभिद्यमाने भूमिप्रतिबन्धे। प्रतिदिवसप्रलघुक एव भवति नगर्या विनिवेशः ॥५०१॥
४९५. फरिहा for परिहा. ४९७. वलहीओ. ५००. हिअS for अहिणव.

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स्वर्गमुत्पतिता हरिश्चन्द्रनगरी पउराण जामिणीसु वि अभिण्ण-णिद्दालसाण णिव्वडइ। णअरि-परिसक्कणकंत-दिअस-सीमाण पडिबोहो॥ ५०२॥ पावंति कुलाल-उलाई भूमि-दुलहत्तणेण तद्दिअसं । कह-कह वि पंक-पिंडं परिरक्खा-परिमिअंचेअ॥ ५०३ ॥ हेट्ठाअव-वसुआइन्जमाण-मूल-कमूससंत-रसं । जाअमहो-रअ-सिढिलं अग्ग-सिणिद्धं धरा-वेदं ॥ ५०४॥ दिव्व-विडवाहिरामे वि उववणे सरस-मंजरि-फलम्मि। लालिज्जतिचिअ पढम-णेह-बंधेण भू-तरुणो॥५०५॥ सामाअंते वि मही-अलम्मि रअणी-तमाणुबंधेण । उप्पइअ-दिणअराअव-वसेण दिअसोच्चिअ पुरम्मि ॥ ५०६॥ इअ जम्मि पएसे पहु-पहाव-पडिवण्ण-परिअरसहाए । उप्पइअं स-तरु-सुरालआएँ हरिअंद-णअरीए ॥ ५०७॥ तम्मि जहागम-पडिवण्ण-विअड-भूवाल-कित्ति-सरसम्मि । सुर-पासाओ पहुणा एक्केण दिणेण णिम्मविओ॥ ५०८॥
पौराणां यामिनीष्वपि अभिन्ननिद्रालसानां निवर्तते । नगरीपरिवक्कणाकान्तदिवससीमानां प्रतिबोधः ॥ ५०२ ॥ प्राप्नुवन्ति कुलालकुलानि भूमिदुर्लभत्वेन प्रतिदिवसम् । कथंकथमपि पदकपिण्डं परिरक्षापरिमितमेव ॥५०३॥ अधस्तनातपशोष्यमाणमूलक्रमोच्छ्व सद्रसम् । जातमधोरजःशिथिलमनस्निग्धं धरापृष्ठम् ।।५०४॥ दिव्यविटपाभिरामेऽप्युपवने सरसमअरीफले। लाल्यन्त एव प्रथमस्नेहबन्धेन भूतरवः॥५०५॥ श्यामायमानेऽपि महीतले रजनीतमोनुबन्धेन। उत्पतितदिनकरातपवशेन दिवस एव पुरे ॥५०६॥ इति यस्मिन् प्रदेशे प्रभुप्रतापप्रतिपन्नपरिकरसहया। उत्पतितं सतरुसुरालयया हरिश्चन्द्रनगर्या ।। ५०७॥ तस्मिन् यथागमप्रतिपन्नविकटभूपालकीर्तिसरसे । सुरप्रासादः प्रभुणैकेन दिनेन निर्मापितः ॥ ५०८ ॥
__५०२. सीमाइ for सीमाण. ५०४. वसुआविजमाण. ५०५. सुरहि and सुरस for सरस. ५०६. णिहासुहाणुबंधेण for रअणीतमाणुबंधेण, रयणीमुहाणुवंधेण. ५०७. सरस for सतरु. ५०८. कहाँ for जहा , एकदिणेणेअ for एक्केण दिणेण.

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गउड हो
जस्स कडअ - द्विआओ केसव - केऊर - कणअ-रेहाओ । अज्जवि कुइ डाले सिला - हिदूंगुली लोओ ।। ५०९ ॥ णीलं सिहर - च्छायं पेच्छतो तस्स मंदर - गिरिस्स । पडिवज्जइ तम्मि समिद्ध-जणव ओवायणे देवो ॥ ५१० ॥ अहिलेंतस्स कमेण अ जक्खाहिव - लक्खअं दिसं तस्स । जाओ विसेस - दुसहो पअंड-किरणस्स व पआवो ॥ ५११ ॥
अवंति सरस- सुर-दारु-भंग - णीसंद - सुरहिणो तस्स । णिम्महिअ - णव- सुरामोअ-सीअला तम्मि उद्देसा ॥ ५१२ ॥ किं च जाअं ।
७८
एस सरो जस्स इमा हरंति उब्बुद्ध - जल- कलंबाओ । णल-कुंज- मुहल-जल-रंकु - संकुला कूल - लेहाओ ।। ५१३ ।। अह कमल - कागण - द्विअ - सिरि-दंसण- मिलिअ - जलणिहि -च्छायं । उव्वह मलिअ - पाआल-पल्ललं सलिल संघाअं ॥। ५१४ ॥ एए वह वहुवेल - लिणि-दल-संड- पंडुरर्द्धता । विरल-दल- जज्जरुदंड - जरढ - कमला सरुदेसा ॥। ५१५ ॥
यस्य कटकस्थिताः केशवकेयूरकनकरेखाः । अद्यापि करोति ललाटे शिलानिघृष्टा द्गुलिर्लोकः ।। ५०९ ॥ नीलां शिखरच्छायां प्रेक्षमाणस्तस्य मन्दरगिरेः । प्रतिपद्यते तस्मिन् समृद्धजनपदोपायनानि देवः ॥ ५१० ॥ अभिलातः क्रमेण च यक्षाधिपलक्षितां दिशां तस्य । जातो विशेषदुःसहः प्रचण्ड किरणस्येव प्रतापः ॥ ५११ ॥ शोभन्ते सरससुरदारुभद्गनिष्यन्दसुरभयस्तस्य । निर्मथितनव सुरामोदशीतला स्तस्मिन् उद्देशाः ।। ५१२ ॥ किं च जातम् । एतत् सरो यस्येमा हरन्ति उदबुद्धजलकदम्बाः । नडकुञ्जमुखरजलरङ्कुसंकुलाः कूलरेखाः ।। ५१३ ॥ अथ कमलकाननस्थितश्रीदर्शन मिलितजलनिधिच्छायम् । उद्वहति मर्दितपातालपल्वलं सलिलसंघातम् ॥ ५१४ ॥ एते विहगवधूद्वेल्लनलिनीदलषण्डपाण्डुरार्धान्ताः । विरलदलजर्जरोद्दण्डजरठकमलाः सरउद्देशाः ।। ५१५ ॥
५१०. सिद्धि for समिद्ध° ५१३. उव्वूढ for उब्बुद्ध ५१५. 'पहुवेल. सरुच्छंगा for सरुद्देसा.

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सरोवर्णनम्
सुरहिमिह गंधमासिसिर - बाल - मज लुग्गमाण जंबूण | म अरंदमारविंदं च इह समीरो पसारेइ || ५१६ ॥ इह ते मअ-कलकाअंब -कंठ-कंदलिअ-सारसकंदा | सोहंति वलाआलीढ-णील- णिउला तडुदेसा ॥ ५१७ ॥ सुसिरोसरिअ सकद्दम- जड-जल-लव- भिण्ण-भंग-रस- सारो । इह सो परिलिअ - कसाय-गंठि-गंधी मुणालाण ॥ ५१८ ॥ अणुण्ण- णिग्गमुक्खित्त-विसम-दल-संणिवेस- णिविडाओ । इह ता संचार क्खलिअ - कुक्कुहा रण्ण णलिणीओ ।। ५१९ ।। मोह - र सिआई इह णिव्वडति णह घोलिराण कुरराण । उव्वत्त- मीण- ताडिअ -घण - णलिणि दलासु सरसीसु ॥ ५२० ॥ इह वायस - सेविअ - कीडइल्ल-वसुआअ - चिविड- सालूरा । जालिअ-कड्रिअ-संबूअ - सेवला तीर - पेरता ॥ ५२१ ॥ उव्वेल्लेइ समीरो कलह-कररगावसोण-मूलाई । संखाअ-फेण-फुड-पिच्छिलाई इह णलिणि-वत्ताई || ५२२ ॥
इह स
सुरभिमिह गन्धमाशिशिरबालमुकुलोद्गमानां जम्बूनाम् । मकरन्दमारविन्दं चेह समीरः प्रसारयति ।। ५१६ ॥ इह ते मदकलकादम्बकण्ठकन्दलितसारसाक्रन्दाः । शोभन्ते बलाकालीढनीलनिचुला स्तटोद्देशाः ॥ ५१७ ॥ सुषिरापसृतसकर्दमजडजललवभिन्नभङ्गरससारः । परिदलितकषायग्रन्थिगन्धो मृणालानाम् ॥ ५९८ ॥ अन्योन्यनिर्गमोत्क्षिप्तविषमदल संनिवेशनिविडाः । इह ताः संचारस्खलितकुक्कुहा अरण्यनलिन्यः ॥ ५१९ ॥ मोघरसितानीह निर्वर्तन्ते नभो घूर्णितानां कुरराणाम् । उदवृत्तमीनताडितघननलिनीदलासु सरसीषु ॥ ५२० ॥ इह वायससेवितकीटयुक्तशुष्कचिपिटसालूराः । जालिकाकृष्टशम्बूक शैवलास्तीरपर्यन्ताः ॥ ५२१ ॥ उद्वेल्लयति समीरः कलभकराग्रापशोणमूलानि । संस्त्यानफेनस्फुटपिच्छिलानीह नलिनीपत्राणि ॥ ५२२ ॥
७९
५१६. सुरहिनवगंध" and सुरहिमहणिद्ध for सुरहिमिहगंध मुद्ध' for "बाल ं. ५१७. "संवलिय" for 'कंदलिअ ' . सरुद्देसा and तरुद्देसा for तडुद्देसा. ५१८. जलल संभन and जडजलसंभिण्ण' for जडजललवभिण्ण ५२१. 'संकुल for “सेविअ ं. जाल ( लि ) यमुक्कस' for जालियकअ

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गउडवही
पेरंत-लूण - कमला थोअ - जलुव्वत्त-तुंग - णालाओ । इह रोह- सद्दलाबद्ध - मडह-वत्ताओ णलिणीओ ।। ५२३ ।। णिव्वार्वेति व हिअअं एए घण- मलिअ - तल-वणा गिरिओ । मुहल-विहंगा असरा सुण्ण-पसण्णाई अ वणाई ।। ५२४ ॥ सरिआण तरंगिअ-पंक- वडल - पडिबद्ध-वालुआ मसिणा । एए ते पविरल-कास-पल्लवा पुलिण - वित्थारा ।। ५२५ ॥ इह मत्ताअ - विहंग - मुहल-कल्लोल-कल अलुप्पित्था | विरलं सुअंति सरसी-परिसर- परिवेसिणो गामा || ५२६ ॥ एए पूरा लुंखण - विरा- पंकोल्ल-पढम- वित्थारा। जाआ अहिणव- णिग्गम - हरिअ - सिहा सद्दलुदेसा ।। ५२७ ।। कमल-वण-विणिग्गअ- मुहल - कुकुहा सायमिह सुहावेंति । थोरम्हाअंतुम्मस अ-सदला कच्छ-वोच्छेआ ॥ ५२८ ॥ संबूअ - चुण्ण - सबला इह णिहसण - मसिण - वामलूराओ । विडिमाण पअंतर- णित-विसम - हरिआओ पअवीओ ॥ ५२९ ।।
८०
पर्यन्तलूनकमलाः स्तोकजलोद्वृत्ततुद्गनालाः । इह रोधःशाद्वलाबद्धाल्पपत्रा नलिन्यः || ५२३ ।। निर्वापयन्तीव हृदयमेते घनमर्दिततलवना गिरयः । मुखरविहङ्गानि च सरांसि शून्यप्रसन्नानि च वनानि ॥ ५२४ ।। सरितां तरङ्गितपङ्कपटलप्रतिबद्धवालुका मसृणाः । एते प्रविरलकाशपल्लवाः पुलिनविस्ताराः ॥ ५२५ ॥ इह मत्ताने कविहङ्गमुखर कल्लोलकलकलत्रस्ताः । विरलं स्वपन्ति सरसीपरिसरपरिवेशिनो ग्रामाः ॥ ५२६ ।। एते पूरस्पर्शनविलीनपङ्कार्द्रप्रथमविस्ताराः । जाता अभिनवनिर्गमहरितशिखाः शाद्वलोद्देशाः ।। ५२७ ।। कमलवनविनिर्गतमुखरकुक्कुभाः सायमिह सुखयन्ति । स्तोकोष्मायमाणोन्मशकशाद्वलाः कच्छविच्छेदाः ॥ ५२८ ॥ शंबूकचूर्णशबला इह निघर्षणमसृणवल्मीकाः । गण्डकानां पदान्तरनिर्यद्विषमहरिताः पदव्यः ।। ५२९ ॥
५२४. णिव्वायंति व णिव्वावंति व घणमिलिय. ५२५. वालुऊमासा for वालुया मसिणा कासपंडुरा for 'कासपल्लवा. ५२६. "मुह" for "मुहल. परिसर सरसी परिवेसिणो - Reading adopted by the commentator, सरसी परिसर परिवासिणो for सरसीपरिसरपरिवेसिणो. ५२७. णिग्ग. ५२९. किडिमाण for विडिमाण
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अरण्यवर्णनम् तड-णिउल-मंजरी-णिम्महंत-जल-गंध-सीअला एए । तणु-सुत्ति-सार-पेरंत-चालुआ सद्दलुद्देसा ॥ ५३०॥ सहरी-पसत्त-कुररा अंतो-सद्दल-सिहं परिवहति । अहि-गंध-कमलमाबद्ध-घग्घरा वारि-लेहाओ ॥ ५३१॥ सोहंति बाल-सरअम्मि णील-भू-सद्दला तहच्चे। पासालग्ग-सिलंतर-पढम-किलंतंकुरा दिअहा ॥ ५३२ ॥ एआओ परूढारुण-फल-भर-बंधुरिअ-भूमि-खज्जूरा । कंठीओ णिव्ववंति व अमंद-करमंद-आमोआ ॥ ५३३॥ इह सा स-केसरोव्वत्त-कुसुम-कविला करीर-वण-राई। रेहइ णिहस-ट्ठिअ-करभ-केसर-च्छेअ-जडिल व्व ॥ ५३४॥ इह वीसमइ व हिअ फुल्लक्क-समीर-सुरहि-गंधेसु । आवाअ-घडिअ-कमलामोएसु वणंत-मग्गेसु ॥ ५३५ ॥ बादं लीढूस-घणत्तणेण गामेइआओ णोच्चेति । इह अहुआसेअ-विवण्ण-गोमया रण्ण-भूमीओ ॥ ५३६॥
तटनिचुलमञ्जरीनिर्गच्छज्जलगन्धशीतला एते। तनुशुक्तिशारपर्यन्तवालुकाः शाद्वलोद्देशाः ।। ५३०॥शफरीप्रसक्तकुररा अन्तःशाद्वलशिखां परिवहन्ति । अधिगन्धकमलमाबद्धघर्घरा वारिलेखाः॥५३१॥ शोभन्ते बालशरदि नीलभूशाद्वलास्तथैव । पाालग्नशिलान्तरप्रथमक्लान्ताकुरा दिवसाः॥ ५३२ ॥ एताः प्ररूढारुणफलभरबन्धुरितभूमिखर्जूराः। कण्ठिका निर्वापयन्तीवामन्दकरमन्दामोदाः॥५३३ ॥ इह सा सकेसरोवृत्तकुसुमकपिला करीरवनराजिः । शोभते निघर्षस्थितकरभकेसरच्छेदजटिलेव ॥ ५३४ ॥ इह विश्राम्यतीव हृदयं फुल्लार्कसमीरसुरभिगन्धेषु । आपातघटितकमलामोदेषु वनान्तमार्गेषु ।। ५३५॥ बाढं लीढोषघनत्वेन ग्रामयिका नोच्चिन्वन्ति । इह अहुताशेयविवर्णगोमया अरण्यभूमयः ॥ ५३६ ।।
५३०. णिचुल. ५३१. सढरी° for सहरी . °पडत° for °पसत्त. सिहा इह for °सिहं परि . उग्गंध for अहिंगंध. कलम° for °कमल°. ५३२. किलंतविरलंकुरा for °पढमकिलंतंकुरा. ५३३. फलभरं बंधुरिय', °कंठीओ, णिव्ववेंति व्व. ५३४. °कविसा for °कविला. ५३५. पडिय° for °घडिय". ५३६. विवत्त for विवण्ण. बहुलं for बाढं, अणुयासेय° for अहुआसेय सीमाओ for भूमीओ.
ग. ६

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गउडवहो एए ते वण-सेरिह-परिमलण-पइण्ण-गोमयामोआ। धोऊस-रेणु-परिकविस-वारिणो पल्ललुच्छंगा ॥ ५३७ ॥ एआओ वाअ-धूसर-करीस-कविस-धरणी-सुअंधाओ। रण-स्थलीओ उव्वुत्थ-गोउला देंति उक्ठं ॥ ५३८ ॥ सोहंति सरस-मई-णिग्गम-हरिआअमाण-मूलाओ। इह चिण्ण-विसह वढिअ-रूढ-तणा रण्ण-सीमाओ ॥ ५३९ ॥ इह धाउ-लिहिअ-देव-त्थलाओ रण्ण-त्थलीओ सूएंति । आलीयमाण-भासा परिवुत्थं महिस-सत्थाण ॥ ५४० ॥ संतत्थ-विरल-कंकंतरेसु गोमाउणो इह उति । भय-चलिअण्ण-दिसा-घडिअ-वायसं महिस-कंकालं ॥ ५४१ ॥ इह रविणो मअ-तण्हा-णिहेण णीहार-पंडुरा होति । सरसीसु तुलिअ-तरलंबु-वलण-विसमा इव मऊहा ॥ ५४२ ॥ कल्लोल-सिसिर-पवणा सलिलुद्देसे दिसाओ मूएंति । इह उड्डेत-विहंगम-धुअंबु-कण-चुण्ण-मइलाओ॥५४३ ॥
____एते ते वनसैरिभपरिमर्दनप्रकीर्णगोमयामोदाः । धौतोषरेणुपरिकपि. शवारयः पल्वलोत्सङ्गाः ।। ५३७ ॥ एताः शुष्कधूसरकरीषकपिशधरणीसुगन्धाः । अरण्यस्थल्य उद्वसितगोकुला ददत्युत्कण्ठाम् ॥ ५३८॥ शोभन्ते सरससूचीनिर्गमहरितायमानमूलाः। इह चीर्णवृषभवर्धितरूढतृणा अरण्यसीमानः ॥ ५३९॥ इह धातुलिखितदेवस्थला अरण्यस्थल्यः सूचयन्ति । आलीयमानभासाः पर्युषितं महिषसार्थानाम् ॥ ५४०॥ संत्रस्तविरलकदम्कान्तरेषु गोमायव इहोपेन्ति । भयचलितान्यदिग्घटितवायसं महिषकदकालम् ॥ ५४१॥ इह रवेर्मृगतृष्णानिभेन नीहारपाण्डुरा भवन्ति । सरसीषु तुलिततरलाम्बुवलनविषमा इव मयूखाः ।। ५४२॥ कल्लोलशिशिरपवनाः सलिलोद्देशान दिशः सूचयन्ति । इह उड्डीयमानविहंगमधूताम्बुकणचूर्णमलिनाः ।। ५४३ ।।
५३७. कविल for कविसं. ५३९. विसिह and °वसह for "विसह. भूमीओ for “सीमाओ. ५४०. दिव्व' for °देव. परिउत्थं. ५४१ वसंति for उति. पडिय° for °घडिय', महिय° for महिस.

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अरण्यवर्णनम्
इह कअ-फुकार पडत चालुआ- दूसि अग्ग-तोयाओ । पहिएहिं कह वि पिज्जंति वाङ - वेएहिं सरिआओ ।। ५४४ ॥ उम्हाल- तरु-च्छाया गो- रेणु - विइण्ण- मारुअ - णिरोहा । सायमिह समहिण्हा वलंत भट्ठाणला गामा || ५४५ ॥ करि-कर- दंडामोडण विसाहसूसंत-सरल- तरु-जालं । एअं तं धूसर - विरल - सल्लई- मेहलं रणं ॥ ५४६ ॥ वोलेइ लआ-संकलिअ-मुहल- कलहं णिअत्त-करिणअिं । इह कुंजराण मुह मे - वलिअ - जूहाहिवं जूहं ॥ ५४७ ॥ इह दिण्ण-भूमि - मद्दा परिलूणासण्ण- विडवि - साहग्गा । सूति महा-तरुणो गइंद - जूहाण वीसमिअं ॥ ५४८ ॥ इह अजवोरु-वराहा अवरोप्पर-सत्तु साव अ- वहाओ । भमिअव्वाओ पविरलं रुरु-सिंगवईओ भूमीओ || ५४९ ॥ इह मूल- पावरले संवग्गिअ - मुणि- जणावसेसेसु । संवज्जति विहंगा फलेसु णीवार - विडवाणं ।। ५५० ॥
इह कृतफूत्कारपतद्वालुकादूषिताग्रतोयाः । पथिकैः कथमपि पीयन्ते वायुवेगैः सरितः ॥ ५४४ ॥ ऊष्मवत्तरुच्छाया गोरेणुवितीर्णमारुतनिरोधाः । सायमिह समधिकोष्णा वलदूभ्रष्टानला ग्रामाः ।। ५४५ ।। करिकरदण्डामोटन विशाख शुष्यत्सरलतरुजालम् । एतत् तद् धूसरविरलसल्लकीमेखलं अरण्यम् ॥ ५४६ ॥ व्यतिक्रामति लतासंकलितमुखरकलभं निवृत्तकरिणीकम् । इह कुञ्जराणां मुखमात्रवलितयूथाधिपं यूथम् ॥ ५४७ ॥ इह दत्तभूमिमर्दनाः परिलूनासन्नविटपिशाखाग्राः । सूचयन्ति महातरवो गजेन्द्रगूथानां विश्रान्तम् ॥ ५४८ ॥ इह अजवोरुवराहाः परस्परशत्रुश्वापदवधाः । भ्रमितव्याः प्रविरलं रुरुगृद्गवत्यो भूमयः ॥ ५४९ ॥ इह मूलप्रविरलेषु संवर्गितमुनिजनावशेषेषु । संपद्यन्ते विह‌गाः फलेषु नीवारविटपानाम् ।। ५५० ।।
८३
५४४. थक्कार' and 'फुंकार' for 'फुकार', 'रूसियग्ग' for दूसियग्ग'. वेसु for वेएहिं. ५४५ उण्हालतरुच्छाया. होंति उम्हा ( उण्हा ) and समहियुम्हा for समहिउ हा. ५४६. पविरलसरस for धूसरविरल ५४७. वेत्त for बोलेइ. ५४८. दिण्णभूवि. वीसाम' for वीसमिअं. ५४९. अवरोवरपत्त' and अवरो परपत्त for अवरोप्परसत्तु', अमईदाओ वि जाया, अमियन्वाओ वि जाया for भमियव्वाओ पविरलं. ५५०. मुणियणेसु कच्छेसु for मुणिजणावसेसेसु.

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८४
गउडवहो णिबिड-लआ-जाल-पिणद्ध-सिहर-तरु-संड-पडिहउप्पअणा। इह तंसं उड्डेऊण खं विहंगा वलग्गंति ॥ ५५१ ॥ इह केसरिणो विहुणंति ताडणुड्डीण-छप्पअ-कडप्पं । रहस-दलिएह-मअ-सलिल-गरुइअं केसरुप्पकं ॥ ५५२ ॥ मुहल-मऊराई हरंति किंपि इह णव-पलास-कविसाई। उव्वाअ-पल्लुप्पण्ण-पंडु-भावाई रण्णाई ।। ५५३ ॥ झिल्ली-जल-कण-सीअल-पलास-परिवेसिणो इह हरति । असलिल-मज्झागअ-विरल-किंसुआ पल्ललुच्छंगा ॥ ५५४ ॥ तदिअसाणिल-णिब्बूढ-रेणु-णिबडिअ-कठिण-पह-दंडा । वाओलीसु वि जाआ इह विरल-रआओ भूमीओ ॥५५५ ॥ इह उवसरं वराहाण गलिअ-जल-बिंदु-बद्ध-हरिआओ। संकंत-पंक-गारव-बंधुरिअ-तणाओ पअवीओ॥ ५५६॥ एआओ गाढ-फुडणा पुंजइऊससिअ-भू-दल-कवाला। संपीड-विरस-दीहरिअ-तलिण-मुत्थाओ भूमीओ ॥ ५५७॥
निबिडलताजालपिनद्धशिखरतरुपण्डप्रतिहतोत्पतनाः। इह व्यस्रमुड्डीय खं विहङ्गा आरोहन्ति ॥ ५५१ ॥ इह केसरिणो विधुन्वन्ति ताडनोड्डीनषट्पदकलापम् । रभसदलितेभमदसलिलगुरुकृतं केसरकलापम् ॥ ५५२ ।। मुखरमयूराणि हरन्ति किमपीह नवपलाशकपिशानि। उच्नुष्कपल्वलो. त्पन्नपाण्डुभावानि अरण्यानि ॥ ५५३॥ लहरीजलकणशीतलपलाशपरिवेशिन इह हरन्ति । असलिलमध्यागतविरलकिशुकाः पल्वलोत्सद्गाः ॥ ५५४ । प्रतिदिवसानिलनियूंढरेणुप्रकटितकठिनपथदण्डाः। वातालीध्वपि जाता इह विरलरजस्का भूमयः ।। ५५२॥ इह उपसरो वराहाणां गलितजलविन्दुबद्धहरिताः । संक्रान्तपङ्कगौरवबन्धुरिततृणाः पदव्यः ॥५५६ ॥ एता गाढस्फुटनाः पुञ्जितोच्छ्वसितभूतलकपालाः। संपीडनविरसदी/कृततलिनमुस्ता भूमयः ॥ ५५७॥
५५१. परिहउ° for पडिहउ'. ५५२. सरस° for रहस. ५५३. सायमणवसायाई (= सायम् अवश्यायरहितानि ) for णवपलासकविसाई. रूवाई for भावाई. ५५४. रुल्ली° (= झल्ली° ) for झिल्ली. ५५५. वाउलीसु वि. ५५६. बंध' for °बद्ध. ५५७. दीहरकयतलिणमुत्थाओ भूमीओ for °दीहरिय.

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अरण्यवर्णनम् इह हि गअ-जूह-णिदं मूएइ अमारुए वणंतम्मि। कर-णीसासुग्गाहिअ-महि-रअ-कविसो णहुद्देसो ॥ ५५८ ॥ गकण्ण-रअ-भरोणअ-तल-जज्जर-भू-विसट्ट-बिल-विसमा । थोउजडक्क-विडवा इमाओ ता उंदर-थलीओ ॥ ५५९ ॥ इह भूइ-दंड-सेसा वि णिअअ-दीहत्तणेण णज्जति । पासल्ल-भाव-पजत्त-हुअवहा पाअव-णिवेसा ॥ ५६० ॥ इह काला रुग्ग-तरुत्तणेण थलइल्लमंतरा हरइ। भाएसु उववणाअंत-बाल-तरु-मंडलं रण्णं ॥ ५६१॥ वल्ली-विआण-बहलत्तणेण छाया-णिवेस-सिसिराई। इह अणह-हलिद्दी-सद्दलाई गिरि-कच्छ-रण्णाई ॥ ५६२ ।। तद्दिअह-णिहस-संपीअ-सअल-सीरायमाओ व सहति । परिकढिण-कसिण-दल-बंधणाओ इह कच्छ-भूमीओ॥५६३ ॥ इह दीसइ कणअ-सिला-मऊह-पुंजाहिरंजिअं रविणो। णिच्छल्लिअ-परिणअ-ताल-पिंजरं पडिअ-पडिबिंबं ॥ ५६४ ॥
इह हि गजयूथनिद्रां सूचयत्यमारुते वनान्ते। करनिःश्वासोग्राहितमहीरजःकपिशो नभउद्देशः ॥ ५५८॥ उत्कीर्णरजोभरावनततलजर्जरभूविशीर्णबिलविषमाः । स्तोकोज्जटार्कविटपा इमास्ता उन्दुरस्थल्यः ॥५५९॥ इह भूतिदण्डशेषा अपि निजकदीर्घत्वेन ज्ञायन्ते। पाायितभावपर्याप्तहुतवहाः पादपनिवेशाः ॥५६०॥ इह कालाद् रुग्णतरुत्वेन स्थलवदन्तरा हरति । भागेषूपवनायमानबालतरुमण्डलमरण्यम् ॥ ५६१।। वल्लीवितानबहलत्वेन च्छायानिवेशशिशिराणि । इह अनघहरिद्राशाद्वलानि गिरिकच्छारण्यानि ॥ ५६२ ॥ प्रतिदिवसनिघर्षसंपीतसकलसीरायसाइव शोभन्ते। परिकठिनकृष्णदलबन्धना इह कच्छभूमयः॥५६३॥ इह दृश्यते कनकशिलामयूखपुञ्जाभिरञ्जितं रवेः। छिनपरिणततालपिञ्जरं पतितप्रतिबिम्बम् ॥ ५६४॥
५५९. उंदुर'. ५६१. कालोलुग्ग° and कालोरुग्ग° for काला रुग्ग° which is Pandit's emendation, ५६२. हलिद्दा', पिंजराई for °सद्दलाइ.

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गउडवहो इह वाउडुअ-धूली-गरुअ-कणावडण-छिदिअ-रआओ। दीसंति विरल-जल-बिंदु-मुद्दिआओ व्च रत्थाओ ॥ ५६५ ॥ इह ता तरु-मूल-किलिण्ण-कुसुम-दल-दारु-सअल-कलिलाओ। आणील-कविस-फरुसा करीस-सिढिला भूमीओ ॥ ५६६॥ इह होति मुहल-सिहिणो पुराण-फल-सबल-कुसुमिअ-कलंबा । फल-कोस-विउण-पत्तल-पलास-सिसिरा वणुद्देसा ॥ ५६७॥ एए वण-वारण-गंड-णिहस-मअ-गंधिणो भयं देंति । रोसुद्ध-सीह-गह-दलिअ-बक्कला पाअव-खंधा ॥ ५६८ ॥ रअ-पुंज-रुद्ध-गअणा सहति इह सायमणवसायाओ। पच्छद्ध-पसण्ण-मिअंक-मंडला गिम्ह-रअणीओ ॥ ५६९ ॥ गअ-जूहोअरण-विभिण्ण-णलिणि-णिव्वडिअ-सलिल-दंडाओ। इह ता वसुआअ-परिप्पवंत-कमलाओ सरसीओ ॥ ५७० ॥ इह पाअव-लग्ग-द्विअ-णलिणि-दल-च्छेअ-कलिल-कूलाओ । लूआविल-फुडिअ-दलतराओ कासार-भूमीओ ॥ ५७१ ॥
इह वातोद्धृतधूलीगुरुकणावपतनच्छिद्रितरजस्काः । दृश्यन्ते विरलजलबिन्दुमुद्रिता इव रथ्याः ॥५६५॥ इह तास्तरुमूलक्लिन्नकुसुमदलदारुशकलकलिलाः। आनीलकपिशपरुषाः करीषशिथिला भूमयः॥५६६॥ इह भवन्ति मुखरशिखिनः पुराणफलशबलकुसुमितकदम्बाः। फलकोशद्विगुणपत्रलपलाशशिशिरा वनोद्देशाः ॥ ५६७॥ एते वनवारणगण्डनिघर्षमदगन्धिनो भयं ददति। रोषोयसिंहनखदलितवल्कलाः पादपस्कन्धाः ॥५६८ ॥ रजःपुञ्जरुद्धगगनाः शोभन्ते इह सायमनवश्यायाः। पश्चार्धप्रसन्नमृगाकमण्डला ग्रीष्मरजन्यः ॥५६९॥ गजयूथावतरणविभिन्ननलिनी. निर्वृत्तसलिलदण्डाः । इह ताः शुष्कपरिप्लवमान कमलाः सरस्यः ॥५७०॥ इह पादपलग्नस्थितनलिनीदलच्छेदकलिलकूलाः । लूताविलस्फुटितदलान्तरालाः कासारभूमयः ॥५७१ ॥
५६६. °फल° for °दल', परुसकविसा for कविसफरुसा. ५६९. रयपिंजरंतगयणे, रयपिंजरंधगयणा, रयपिंजरुद्धगयणा. गिंभरयणीओ. ५७०. परिक्खयंत° for परिप्पवंत?. ५७१. कविसमूलाओ, कविसकूलाओ, 'कविलकूलाओ for °कलिलकूलाओ, noted by commentator.

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अरण्यवर्णनम्
इह मारुअ-तंसीकअ-दाव- सिहा- सिहर-संवलंताई । दिप्पंति पढममग्गेण तअणु मूलेण रण्णाई || ५७२ ।। अग्यंति ता णव- द्विअ-सिहि-वाअ - पिसंग- वामलूरग्गा । इह हेब्बा-दुमा थलीओ णव- दाव-गंधाओ || ५७३ ॥ इह तोय-लंघणुम्मुक्क- रेणु-दल-सुण्ण-भाव-लहुईओ । तुरिअअरं समहिसरंति मारुआ वत्त-वल्लीओ ॥ ५७४ ॥ दीसंति तह परिडिअ - तण मंडल - पंडुरंतरालाओ । इच्छा-वीसंत-दवाणलाओ इह रण्ण- भूमीओ || ५७५ ॥ इह पंक- लोलणाविल- पुड - मंदुम्मिल-लोअणर्द्धतं । सायं विअअरंग व णीइ जूहं वराहाण || ५७६ ॥ इह रण्ण-गोउलेसुं उण्हाइँ वि पंथिएहिं पिज्जति । कामं गोरस - पारी- णिवेस - पंडूई सलिलाई || ५७७ ॥ इह सलिल-कास- सकारि-मूल- पडिलग्ग-कड्डि अ-दलाओ । पवणो आआसिअ सारसाओ तरलेइ णलिणीओ ॥ ५७८ ।।
इह मारुतत्र्यस्त्रीकृतदावशिखा शिखर संवलमानानि । दीप्यन्ते प्रथममार्गेण तदनु मूलनारण्यानि ।। ५७२ ॥ राजन्ते ता नवस्थितशिखिशुष्कपिशङ्गवल्मीकाग्राः । इहाधस्ताच्छुष्कदुमाः स्थल्यो नवदावगन्धाः ॥ ५७३ ॥ इह तोयलङ्घनोन्मुक्तरेणुदलशून्यभावलघूकृताः । त्वरिततरं समभिसरन्ति मारुताः पत्रवल्लीः ॥ ५७४ || दृश्यन्ते तथा परिस्थिततृणमण्डलपाण्डुरान्तरालाः । इच्छा विश्रान्तदवानला इहारण्यभूमयः ।। ५७५ ।। इह पकलोलनाविलपुटमन्दोन्मीललोचनार्धान्तम् । सायं विकटतराद्गमिव निर्याति यूथं वराहाणाम् ।। ५७६ ॥ इहारण्य गोकुलेषूष्णान्यपि पथिकैः पीयन्ते । कामं गोरसपारीनिवेशपाण्डूनि सलिलानि ॥ ५७७ ॥ इह सलिलकाशसत्कारीमूलप्रतिलग्नकृष्टदलाः । पवन आयासितसारसास्तरलयति नलिनीः ॥ ५७८ ॥
८७
५७२. पढममग्गेहि... मूलेहिं. ५७३. 'पाय' for 'वाअ. ५७४. लंघणा मुक्क', 'रेणुदर पन्तवल्लीओ. ५७७. पहिएहिं for पंथिएहिं. पेज्जंति for पिज्जंति. ५७८. उंकारि for 'सकारि

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८८
गउडवहो तंसीकअ-कंठ-समोसरंत-विहआवलोअ-सरसाई। . इह किंपि पुलिण-परिसकिआई सायं सुहावेंति ॥ ५७९ ॥ संगलग-मासलाअंत-सीअलो विविह-वल्लि-कुसुमाण । आमोओ इह संचरइ कोवि सु-सुअंध-सुरहीण ॥ ५८० ॥ करह-पओअर-विसमाई इह पहोलंति मालुहाणीण । उव्वत्त-धूसराई दलाई पेरंत-कविसाई ॥५८१ ॥ इह रेहति च्छाया-णिविट्ठ-पहिआवलोइअग्गाओ। कक्कोल:दालि-कवि-सत्थ-संकुला रण्ण-भूमीओ ॥ ५८२ ॥ इह गोर-विरहिगी-गंड-वास-धूसर-पिसंग-चट्ठाण । भमइ अवरण्ह-महुरो गंधो करहाड-कुसुमाण ।। ५८३ ॥ घोलइ उल्लित-सुरा-मूल-कसाय-जरढो कलंबाण । एस मिलाणारुण-केसराण दर-सीअलो गंधो ॥ ५८४ ॥ खज्जूर-मंजरी-पिंजराण इह परिमलो पियंगूण । रूढारविंद-मअरंद-कण-कसाओ परिब्भमइ ॥ ५८५॥
व्यस्रीकृतकण्ठसमपसरविहगावलोकसरसानि। इह किमपि पुलिनपरिष्वक्कितानि सायं सुखयन्ति ॥५७९॥ संगलनमांसलायमानशीतलो विविधवल्लीकुसुमानाम् । आमोद इह संचरति कोऽपि सुसुगन्धसुरभीणाम् ॥ ५८०॥ करभपदोदरविषमाणीह प्रघूर्णन्ते मालुधानीनाम् । उवृत्तधूसराणि दलानि पर्यन्तकपिशानि ॥ ५८१॥ इह शोभन्ते छायानिविष्टपथिकावलोकिताग्राः । कइकोलदालिकपिसार्थसंकुला अरण्यभूमयः ॥५८९॥ इह गौरविरहिणीगण्डपार्श्वधूसरपिशगपृष्ठानाम् । भ्रमत्यपराहमधुरो गन्धः करहाटकुसुमानाम् ॥ ५८३॥ घूर्णते आर्द्रयत्सुरामूलकषायजरठः कदम्बानाम् । एष म्लानारुणकेसराणां दरशीतलो गन्धः ॥५८४॥ खर्जुरमञ्जरीपिञ्जराणामिह परिमलः प्रियद्गूनाम् । रूढारविन्दमकरन्दकणकषायः परिभ्रमति ॥ ५८५ ।।
५८०. पन्न° for °वलि. कोवि य for कोवि सु. . ५८१. पलोहंति. ५८२. इह अहिहरंति छायाणिविठ्ठपहियावलोइयग्गाओ। दलियककोसकविसत्थकविउलाकूलतरुलेहा । and इह अहिहरंति छायाणुविठ्ठपहियावलोइयग्गाओ। ककोल. दालिकविसत्थकविउलाकूलतरुलेहा ॥ ५८४. मिणालारुण. ५८५. परिजडिल', परिजरढ° for खज्जूर', करालो for °कसाओ.

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अरण्यवर्णनम्
मउल-णिविडासु इह मरुवअस्स मुह-पाडलासु वल्लीसु । आससइ सिसिर-लच्छी तारेसु अ कुंद-कुसुमेसु ॥ ५८६ ॥ इह लोलेइ खण-क्खण-विवण्ण-जव-मंजरी-तरंगाओ। पवणो संचार-विमूढ-मअ-विमलिआओ सीमाओ ॥ ५८७ ॥ जरढाअंत-फलूसास-पविरलाअंत-मंजरी-सूआ। इह अग्बंति जवाणं अग्ग-भवंतीओ सीमाओ ॥ ५८८॥ इह ताओं पुलोस-सुअंध-जव-कसायाणणेहिं पिज्जति । फुल्ल-करवीर-पाली-समुज्जला रण्ण-वावीओ ॥ ५८९ ॥ इह दावाणल-धूमाहिओअ-पडिबद्ध-महि-रआअंबा । दिअसम्मि वि होति पओस-राअ-मइला दिसाहोआ ॥५९०॥ इह विहडिअ-तंतु-चुडुप्प-पम्हलाअंब-धूसरं पिअइ। गारंग-गम्भ-सअलं पहिओ अहरं पिव पिआए ॥ ५९१ ॥ सिसिरम्मि विरल-कुसुमे गाढालिंगण-णिहेण अवबाणो। बाहु-कलहम्मि मिहुणाई वम्महो इह णिओएइ ॥ ५९२ ॥
मुकुलनिबिडासु इह मरुबकस्य मुखपाटलासु वलीषु । आश्वसिति शिशिरलक्ष्मीस्तारेषु च कुन्दकुसुमेषु ॥५८६॥ इह लोलयति क्षणक्षणविवर्णयवमञ्जरीतरगाः । पवनः संचारविमूढमृगविर्दिताः सीमाः ॥५८७॥जरठायमानफलोच्छ्वासप्रविरलायमानमञ्जरीशूकाः। इह राजन्ते यवानामग्रभवन्त्यः सीमानः ॥५८८॥ इह ताः प्लोषसुगन्धयवकषायाननैः पीयन्ते । फुल्लकरवीरपालीसमुज्ज्वला अरण्यवाप्यः ॥५८९॥ इह दावानलधूमाभियोगप्रतिबद्धमहीरजआताम्राः। दिवलेऽपि भवन्ति प्रदोषरागमलिना दिगाभोगाः॥५९० ॥ इह विघटिततन्तुचर्मपक्ष्मलाताम्रधूसरं पिबति। नारङ्गगर्भशकलं पथिकोऽधरमिव प्रियायाः ॥ ५९१॥ शिशिरे विरलकुसुमे गाढालिन्गननिभेनापबाणः। बाहुकलहे मिथुनानि मन्मथ इह नियोजयति ।। ५९२ ।। .
५८६. मूल° for म उल'. आवसइ for आससइ. ५८७. दोलेइ for लोलेइ. ५८७. °मउयमलिओ for °मअविमलिओ. ५८८. अग्गभरतीओ, अग्गहरंतीओ. ५८९. पिलोस. ५९१ अंतुप्प° for "चुडुप्प. गोरंग° for णारंग.

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गउडवहो
इह तं संचारिअ-कंचणार-केसर-कसाय-गंधाण । उच्छंखलिअ-वणाणं सोहग्गं किंपि पवणाण ॥ ५९३ ॥ इह माहवीण कोमल-पलास-दर-कविस-बंधणाहरणं । उभिज्जइ जरढ-कवोअ-कंठ-मइलारुणं मउलं ॥ ५९४ ॥ इह अहिराअंति कमावमुक्क-परिरूढ-विडव-जालाई । हरिआरुण-पंडु-कसाय-विसम-वण्णाई रण्णाई ॥ ५९५॥ फल-बंध-विरल-हरिआअमाण-सहआर-मंजरि-मुहाण । साहु महु-वासराणं अकुंठ-कल-अठि-कंठाण ॥ ५९६॥ णव-बाण-कोहल्लेण गुणमेमेअ वम्महो मुअइ। सहआर-सरे अविओइणो वि इह उसुआ जेण ॥ ५९७॥ टिविडिक्किअ-डिंभाणं णव-रंगअ-गव्व-गरुअ-महिलाण । णिकम्प-पामराणं भदं गामूसव-दिणाण ॥ ५९८ ॥ विरल-ट्ठिअ-महुअर-कब्बुराओ इह मंजरीओ चूआण । दर-दड-मअण-बाणोवमाओ विडवसु दीसति ॥ ५९९॥
इह तत् संचारितकाञ्चनारकेसरकषायगन्धानाम् । उच्छङ्कलितवनानां सौभाग्यं किमपि पवनानाम् ॥ ५९३ ॥ इह माधवीनां कोमलपलाशदरकापशबन्धनाभरणम् । उभिद्यते जरठकपोतकण्ठमलिनारुणं मुकुलम् ॥ ५९४॥ इहाभिराजन्ते क्रमावमुक्तपरिरूढविटपजालानि । हरितारुणपाण्डुकषायविषमपर्णान्यरण्यानि ॥५९५ ॥ फलबन्धविरलहरितायमानसहकारमञ्जरीमुखानाम् । साधु मधुवासराणामकुण्ठकलकण्ठीकण्ठानाम् ॥ ५९६ ॥ नवबाणकुतूहलेन नूनमेवमेव मन्मथो मुञ्चति । सहकारशरानवियोगिनोऽपीहोत्सुका येन ॥५९७॥ मण्डितडिम्भानां नवरङ्गकगर्वगुरुमहिलानाम् । निष्कम्पपामराणां भद्रं ग्रानोत्सवदिनानाम् ॥५९८॥ विरलस्थितमधुकरकर्बुरा इह मार्यश्चूतानाम् । दरग्यमदनबाणोपमा विटपेषु दृश्यन्ते ॥ ५९९।।
. ५९३. कंचराण° for कंचणार'. उज्झं ( च्छं )खरिय° for उच्छंखलि. केसरलवंगगंधाण. ५९४. फल° for °दर'. बंधणाहोfor बंधणाहरणं. ५९५. अहिराएंति. विडवि. धवल° for °पंडु. ५९६. सुहाण for "मुहाण. ५९७. णूण एमेअ, गुणमेमेव for Yणमेमेअ. ५९८. नवरंगेन, नवरग्गअ for णवरंगअ. णिकम्म. ५९९. बंधुराओ for "कब्बुराओ. दरदट्ठ.

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अरण्यवर्णनम्
इह सोहंति दरुम्मिल्ल-किसलयाअंबिरच्छि-वत्ताई। पाविअ-पडिबोहाई व सिसिर-पसुत्ताइं रण्णाई ॥६०० इह हलिद्दा-हअ-दविड-सामली-गंड-मंडलाणीलं । फलमसअल-परिणामावलंबि अहिहरइ चूआणं ॥६०१॥ एण-खुर-खंडिआपंडु-जच्च-कच्चूर-चुण्णमुण्णमइ । इह अहिणव-सव्वण-वेणु-रोअणा-रेणु-रमणीयं ।। ६०२॥ दीहर-हेमंत-णिसा-णिरंतरुप्पण्ण-चाव-वावारो। जिअ-लक्खो मा इर माहवम्मि कुसुमाउहो होउ ॥६०३॥ पल्लव-सिहाओ इह णिव्वडंति दूरारुणा महु-मुहम्मि । साहा-विभेअ-पाविअ-णिअ-रस-सोणाओ व तरूण ॥६०४॥ इह कहवि समासाइअ-णव-सहआर-मअरंद-बिंदुइआ। रुंटता भमरच्चेअ भमर-मालाहिं पिज्जति ॥६०५॥ णालाअड्ढिअ-परिणाम-पसिढिलूससिअ-बंधणाहो । रस-गारवेण फलमिह चूआण कमोहुरं पडइ ॥६०६॥
इह शोभन्ते दरोन्मीलितकिसलयाताम्राक्षिपत्राणि । प्राप्तपरिबोधानीव शिशिरप्रसुप्तान्यरण्यानि ॥६००॥ इह हि हरिद्राविच्छुरितद्रविडश्यामलागण्डमण्डलानीलम् । फलमसकलपरिणामावलम्बि अभिहरति चूतानाम् ॥ ६०१ ॥ एणखुरखण्डितापाण्डुजात्यकर्पूरचूर्णमुन्नमति । इहाभिनवसवणवेणुरोचनारेणुरमणीयम् ।। ६०२ ॥ दीर्घहेमन्तनिशानिरन्तरोत्पन्नचापव्यापारः। जितलक्ष्यो मा किल माधवे कुसुमायुधो भवतु ॥६०३।। पल्लवशिखा इह निर्वर्तन्ते दूरारुणा मधुमुखे। शाखाविभेदप्राप्तनिजरसशोणा इव तरूणाम् ॥६०४॥ इह कथमपि समासादितनवसहकारमकरन्दबिन्दुचिताः। रुतं कुर्वन्तो भ्रमरा एव भ्रमरमालाभिः पीयन्ते ॥६०५।। नालाकृष्टपरिणामप्रशिथिलोच्व्वसितबन्धनाभोगम् । रसगौरवेण फलमिह चूतानां क्रमावनतं पतति ॥ ६०६॥
६००. समु for दरु', पावियबोहाई पिव. ६०१. °दमिल° for °दविड', बलंबमंबाणमहिहरइ for वलंबि अहिहरइ चूआण. ६०२. °वंडु for °पंडु. ६०५. °अहिणवसहयाररेणु° for °णवसहआरमअरंद. कंदंता for रुंटता. ६०६. बंधबंधुरिअं for बंधणाहोअं.

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गउडवहो
फल-लंभ-मुइअ-डिंभा सु-दारु-घर-संणिवेस-रमणिज्जा । एए हरति हिअअं अजणाइण्णा वण-ग्गाम्मा ॥६०७॥ किंपि दुम-जज्जरेसुं हिअ घोसावबद्ध-धूमेसु ।। लग्गइ विरल-ठिअ-वायसेसु उव्वत्थ-गामेसु ॥६०८ ॥ इह गामागअ-धम्मिअ-संमज्जिअ-सुण्ण-लिंगमुवसेलं । दल-गंधि गहीराणील-कुंडमुरु-पाअवं संडं ॥ ६०९ ॥ अवमारुअ-मूल-णिमिल्ल-पल्लवाउंजिणो परिसरेसु । इह तरुणो सिहर-वहम्मि णवर झंकारिणो होति ॥ ६१०॥ इह भूरि-भमिर-साहा-सारंग-विराविणो विराअंति। आबद्ध-महा-महु-पिंड-मंडला जर-तरु-क्खंधा ॥ ६११ ॥ परिणाम-सोस-लहुआअमाण-फल-थोअ-पाविओसासा । इह जाआ पढम-समोणआओ मालूर-साहाओ ॥ ६१२ ॥ सावअ-पअवी-भिण्णावसाय-हरिअंतरा विराति । एए पहाअ-सरसा वण-त्थली-सद्दलद्धंता ॥ ६१३॥
फललाभमुदितडिम्भाः सुदारुगृहसंनिवेशरमणीयाः । एते हरन्ति हृदयं अजनाकीर्णा वनग्रामाः ॥६०७॥ किमपि दुमजर्जरेषु हृदयं घोषावबद्धधूमेषु । लगति विरलस्थितवायसेषु उद्वसितग्रामेषु ॥६०८॥ इह ग्रामागतधार्मिकसंमार्जितशून्यलिगमुपशैलम् । दलगन्धि गभीरानीलकुण्डमुरुपादपं षण्डम् ॥६०९॥ अवमारुतमूलनिमीलितपल्लवाकुञ्चिनः परिसरेषु । इह तरवः शिखरपथे केवलं झङ्कारिणो भवन्ति ॥ ६१०॥ इह भूरिभ्रमणशीलशाखासारगविराविणो विराजन्ते । आबद्धमहामधुपिण्डमण्डला जरत्तरुस्कन्धाः ॥६११॥ परिणामशोषलघूयमानफलस्तोकप्राप्तोच्छ्वासाः । इह जाताःप्रथमसमवनता मालूरशाखाः ॥६१२ ॥ श्वापदपदवीभिन्नावश्यायहरितान्तरा विराजन्ते । एते प्रभातसरसा वनस्थलीशाहलार्धान्ताः ॥ ६१३॥ ।
६०७. सुदारुसंचय° for सुदारुघरसं°. सुजणाइन्ना for अजणाइण्णा. ६०८. उव्वुत्थ. ६१०. पल्लवाकुंचिणो, पल्लवाकुंजिणो. ६११. संबद्ध for आबद्ध'. ६१२. पावेथोयऊसासा for °थोअपाविओसासा. ६१३. °समए for °सरसा.

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गिरितट वर्णनम्
परिसडिअ - वेणु-दल-रंग-पिंगलं गलइ गिरि-अड-दरीसु । जलमिणमो मल - हरिआ अमाण- जरढोवल - क्खलिअं ॥ ६१४ ॥ इह सोत्तागम - विहडिअ - सिलासु मुणिणो गुहासु णिवसंति । कासायमुव्वहंता पुराण- बोरट्टि - विच्छायं ।। ६१५॥ इह फलइ दुमवई पणओ भमराण कुसुम - पीआणं । सिद्ध-परिग्गहिअ - गुहा-गेहासु णिअंब - मालासु ॥ ६१६ ॥ इह कडुिअ-विअड- सिला-वडण-अ-चुण्ण रासि पंसुलिआ । विसमुज्जल-मुहल-तडा घडणा-जोग्गोवला गिरिणो ॥ ६१७ ॥ इह परिसक्किज्ज काढण-कक्करुक्केर - णिसिअ णह-हीरं । कुरुविंद - कंदरा - मंदिरेसु मंदं मदेहिं ॥ ६१८ ॥ इह दर-खल्लइअ - तडोवलाओ परिविरल-बाल-मीणाओ । फेण च्छाया - सारोअराओ रेहति सरिआओ ॥ ६१९ ॥ अवकल-णीसह मूल-बंधुरा अंत - बाल -धव - कुंजा । इह बहुलं गाढ - कसाय - सीहुणो गिरि - अड-ग्गामा ॥ ६२० ॥
परिशटितवेणुदलरङ्गपिङ्गलं गलति गिरितटदरीषु । जलमिदं मलहरितायमानजरठोपलस्खलितम् ॥ ६१४ ।। इह स्रोतआगमविघटितशिलासु मुनयो गुहासु निवसन्ति । काषायमुद्वहन्तः पुराणबद रास्थिविच्छायम् ।। ६१५ ॥ इह फलति दुमवतीषु प्रणयो भ्रमराणां कुसमपीतानाम् । सिद्धपरिगृहीतगुहागेहासु नितम्बमालासु ॥ ६१६ ॥ इहाकृष्टविकटशिलापतनस्थितचूर्ण राशिपांसुलिताः । विषमोज्ज्वलमुखरतटा घटनायोग्योपला गिरयः ।। ६१७ ।। इह परिष्वक्क्यते कठिन कर्करोत्कर निशितनखप्रान्तम् । कुरुविन्दकन्दरामन्दिरेषु मन्दं मृगेन्द्रैः ।। ६१८ ॥ इह दरखलतीकृततटोपलाः प्रविरलबालमीनाः । फेनच्छायाशारोदराः शोभन्ते सरितः ।। ६१९ ॥ अपवल्कल निःसहमूलबन्धुरायमाणबालधवकुञ्जः । इह बहुलं गाढकषायसीधवो गिरितटग्रामाः ।। ६२० ॥
९३
६१४. दरीहिं and 'सरीहिं for 'दरीसु. ६१७. परिवेसा for पंसुलिआ. पुरासिपरिवेसा for & चुण्णरासिपंसुलिआ. ६१८. कक्करुप्पंक' for area. ६१९. रय° for दर ६२० बाढ for बहुलं.

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।
गउडवही
इह दिअसम्मि वि सिहरावरोह-परिअत्त-रवि-अरुम्मिल्ला । धूमाअंति व दूरावलोअ-मइला गिरि-वणंता ॥ ६२१ ॥ चलण-णिसण्णुण्णामिअ-चिबुअ-अलायामि-तलिण-मुहरेहं । सोहइ पसुत्तमिह केसरीण भर-णिग्गअ-णहग्गं ॥ ६२२ ॥ इह सुइरेण पसम्मइ कफ्फाड-परंपरा-पडिक्खलिओ। अहिताडिअ-कंसुग्गार-झंझणा-पडिरवाहोओ ॥६२३॥ इह दीसइ विमलाअंत-मणि-सिला-संड-संघिउज्जो। परिदलिअ-दाडिमी-कुसुम-दल-सिहाअंबिरं गअणं ॥ ६२४ ॥ इह दूर-द्विअ-सिहरा वित्थारासण्ण-पाअड-णिअंबा । दीसंति अग्ग-मइला कमेण मूलुज्जला गिरिणो ॥ ६२५॥ इह ताओ खंडिउवाअ-पाअवालग्ग-वल्लि-कलिलाओ। सबरुक्खअ-कंदुद्देस-विवर-विसमाओ भूमीओ ॥ ६२६॥ इह वाहेहिं वराहाण बाण-विहआणमणुसरिजंति । अग्गग्ग-समुज्जल-रुहिर-बिंदु-मुद्दाओ पअवीओ ॥ ६२७ ॥ ___इह दिवसेऽपि शिखरावरोधपरिवृत्तरविकरोन्मीलिताः। धूमायन्तीव दूरावलोकमलिना गिरिवनान्ताः ॥ ६२१॥ चरणनिषष्णोन्नामितचिबुकतलायामितनुकमुखरेखम् । शोभते प्रसुप्तमिह केसरिणां भरनिर्गतनखाग्रम् ॥६२२॥ इह सुचिरेण प्रशाम्यति गुहापरम्पराप्रतिस्खलितः। अभिताडितकांस्योद्गारझञ्जनाप्रतिरवाभोगः ।। ६२३॥ इह दृश्यते विमलायमानमणिशिलाषण्डसंध्युद्योतम् । परिदलितदाडिमीकुसुमदलशिखातानं गगनम् ॥ ६२४ ॥ इह दूरस्थितशिखरा विस्तारासन्नप्रकटनितम्बाः। दृश्यन्तेऽग्रमलिनाः क्रमेण मूलोज्ज्वला गिरयः ॥ ६२५ ॥ इह ताः खण्डितोच्छुष्कपादपालग्नवल्लिकलिलाः। शबरोत्खातकन्दोद्देशविवरविषमा भूमयः॥ ६२६ ॥ इह व्याधैर्वराहाणां बाणविहतानामनुस्रियन्ते। अग्रामसमुज्ज्वलरुधिरबिन्दुमुद्राः पदव्यः॥६२७ ॥
६२१. रवियरुप्पीडा, वणद्धता for गिरिवणंता. ६२२. °नह° for "मुह. ६२३. हि चिरेण for सुइरेण. पसंसइ for पसम्मइ. पडिप्फलिओ. अहिताडणकंसुग्गारुझंझणो. ६२४. विमलातंव. ६२५. दूरोत्थिय. ६२६. खंडियब्वाय', कलियाओ. ६२७. बाणपहया, विहयाण अणु° for °विहआणमणु'.

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जलधिवर्णनम्
मणि-वित्थार-परिट्टिअ-वसुहा-पअडाप्रमाण-पेरंतो । लक्खिज्जइ सेस-फणा-अडो व्व अह णिम्मलो जलही ॥ ६२८ ॥ णिबिड-दल-णाल-परिजडिल-दीहरुदंड-पिंड-खज्जूरा। एआओ जलहिणो तड-तमाल-णीला वणालीओ ॥६२९ ।। गोसे विअसंति मराल-चंचु-परिचुंबिआओ सरसीसु । इह कमलिणी महुअर-पुलिंद-विणिवेस-पल्लीओ ॥ ६३०॥ एइ इहं जलणिहिमुत्तरेण उअ-महिहरे णह-विसारी । सामीरं रअमणुवत्तिऊण गंधो वण-लआणं ॥ ६३१॥ पाडलिअ-भू-रओ णिहसणेण पूआण परिमल-कसाओ। कविलिअ-णियंसणो इह जणस्स संज्झाअइ रओहो ॥ ६३२ ॥ इह पवण-भिण्ण-ताली-रस-च्छडा-पिच्छिले परिक्खलिआ। कइणो महुर-सुअंधे लिहंति हत्ये गिरि-अडीसु ॥ ६३३॥ रंखोलिर-परिणअ-गब्भ-सार-संभिडण-मुहल-फल-कोसा । इह पवणो णच्चावेइ णालिएर-वणालीओ ॥ ६३४ ॥
मणिविस्तारपरिष्ठितवसुधाप्रकटायमानपर्यन्तः। लक्ष्यते शेषफणातट इवाथ निर्मलो जलधिः ॥ ६२८॥ निबिडदलनालपरिजदिलदीर्घोद्दण्डपिण्डखर्जूराः । एता जलधेस्तटतमालनीला वनाल्यः ॥६२९॥ प्रभाते विकसन्ति मरालचञ्चुपरिचुम्बिताः सरसीषु । इह कमलिन्यो मधुकरपुलिन्दविनिवेशपल्लयः ॥६३०॥ एतीह जलनिधिमुत्तरेण उदमहीधरे नभोविसारी । सामीरं रजोऽनुवृत्य गन्धो वनलतानाम् ॥६३१ ।। पाटलितभूरजस्को निघर्षणेन पूगानां परिमलकषायः । कपिलितनिवसन इह जनस्य संध्यायते रजओघः ॥६३२ ॥ इह पवनभिन्नतालीरसच्छटापिच्छिलान परिस्खलिताः। कपयो मधुरसुगन्धान लिहन्ति हस्तान गिरितटीषु ॥६३३॥ दोलनशीलपरिणतगर्भसारसंभेदनमुखरफलकोशाः । इह पवनो नर्तयति नालिकेरवनालीः ॥ ६३४॥
६२९. णिबिडदलमाल', 'जज्जरुद्दण्ड° for °दीहरुदंड. ६३२. पूरओ for भूरओ. ६३३. पडण° for पवण'. ६३४. रिखोरिल', रंखोलिय° for रंखोलिर', °कोसो.

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गडवो
मुहलंदोलिअ-ताडी-पल्लव- संवेल्लिआ इह वहति । बंधन -दलंत तराअ-फल- चडकारिणो पवणा ।। ६३५ ॥ अह केलास बोलेइ जम्मि हिम - कण - किलामिअ-च्छायं । संभरिअ-मअण-विणिवाअ - खेअ - विदुरं व ससि-बिंबं ॥ ६३६ ॥ इह हर - जडाहिसंजमण - गंठि- णिविडिअ गलेण वासुइणा । उफुल्ल-फणा-धरिआ मुच्चंति समीरणुग्गारा || ६३७ ॥ इह अ णिसासु विणिव्वर्डति आमोअ - पेल्लिअ-भुअंगा । रअण-च्छवि-संवलिआ कडएसु महोसही - विडवा ॥ ६३८ ॥ इह मणि-अडाण दीसह उव्वत्तिअ - बरहि - पिच्छ-विच्छाओ । णीहार - पड- परिक्खलिअ - णिग्गमो किरण-विच्छड्डो ॥ ६३९ ॥ इह फुरइ पंडु-भावो वासागम-भंग - गहिअ - सिहराण । अणवरअ - विसज्जिअ - विज्जु - रुहिर-धाराण व घणाण ॥ ६४० ॥ इह सिद्ध- सुंदरीणं थणाण णव णह-वआण णिव्वडइ । आअंब-राइ-लंछिअ-वित्त-भुअवत्त-लाअण्णं ॥ ६४१ ॥
९६
मुखरान्दोलितताडीपल्लवसंवेल्लिता इह वहन्ति । बन्धनदलत्तृणराजफलचटत्कारिणः पवनाः || ६३५ ॥ अथ कैलासोऽतिक्रामति यस्मिन् हिमकणक्कामितच्छायम् । संस्मृतमदनविनिपातखेदविधुरमिव शशिबिम्बम् ।। ६३६ ।। इह हरजटाभिसंयमनग्रन्थिनिबिडितगलेन वासुकिना । उत्फुल्लफणाधृता मुच्यन्ते समीरणोद्वाराः ।। ६३७ ॥ इह नैव निशास्वपि निर्वर्तन्ते आमोदप्रेरितभुजङ्गाः । रत्नच्छविसंवलिताः कटकेषु महौषधि - विटपाः || ६३८ ॥ इह मणितटानां दृश्यते उद्वर्तितबर्हिपिच्छविच्छायः । नीहारपटपरिस्खलित निर्गमः किरणसमूहः ।। ६३९ ।। इह स्फुरति पाण्डुभावो वर्षागमभङ्गगृहीतशिखराणाम् । अनवरतविसृष्टविद्युद्रुधिराणामिव
घनानाम् || ६४० ॥ इह सिद्ध सुन्दरीणां स्तनानां नवनखपदानां निर्वर्तते । आताम्रराजिलाञ्छित विचित्रभूर्जपत्रलावण्यम् ।। ६४१ ।।
६३५. 'ताली' for 'ताडी' परि' for इह. ६३९. भर° for 'पड', हारपडण डि. ६४१. आइंबराई, लछण विचित्त..

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ग्रीष्मवर्णनम्
इह मुणिवराण णिकंप-नियम-पडिबंध - संधिआलोआ । झाण-विरमम्मि जाअंति णवर मलिणा गिरि-गुहाओ ।। ६४२ ॥ इह मुक - पल्ललुम्मुह-पसण्ण-महिसावलोइआ होंति । सेल - सिहरं तरिज्जत-रवि-अरा दिअस-परिणामा || ६४३ ॥ छाया - णिव्वाविअ - सद्दलाण भई दिणावसाणाण । अर - विणिअत्त- गोवी - परिगीअ-वर्णत- मग्गाण ॥ ६४४ ॥ इह पल्ली-धूमुब्भेअ-धूसरिज्जंत-कुंज-रमणिज्जा । होंति गिरि- अड अ-दंडा णिसागमारंभ - गंभीरा ॥ ६४५ ॥ उअयच्छविं मुअंतो पुराण करि दंत - पिंगल मऊहो । इह सोहइ सिहरासत - मंडलो जामिणी - णाहो || ६४६ ॥ धाराहिसित्त-णव- कंदलाण इह ता चलंति मालाओ । जरढ-कलविंक - गल-मंडलाहिलीणा जलहराण ॥ ६४७ ॥ इह सो तरुल-वसुआअ - सलिल-संभिण्ण- केसरामोओ। परिणअ-किण्ण-सुरा-अंध - गाढ - महुरो विणिम्महइ ॥ ६४८ ॥
इह मुनिवराणां निष्कम्पनियमप्रतिबन्धसंधितालोकाः । ध्यानविरमे जायन्ते केवलं मलिना गिरिगुहाः || ६४२ ॥ इह मुक्तपल्वलोन्मुखप्रसन्नमहिषावलोकिता भवन्ति । शैलशिखरान्तरीयमाणरविकरा दिवसपरिणामाः ॥ ६४३ ॥ छायानिर्वापितशाद्वलानां भद्रं दिनावसानानाम् । नगरविनिवृत्तगोपीपरिगीतवनान्तमार्गाणाम् || ६४४ ॥ इह पल्लीधूमोद्भेदधूसरायमाणकुञ्जरमणीयाः । भवन्ति गिरिकटकदण्डा निशागमारम्भगंभीराः ॥ ६४५ ॥ उदयच्छविं मुञ्चन् पुराणकरिदन्तपिङ्गलमयूखः । इह शोभते शिखरासतमण्डलो यामिनीनाथः ॥ ६४६ ॥ धाराभिषिक्तनवकन्दलानामिह ताश्चलन्ति मालाः । जरठकलविङ्कगल मण्डलाभिलीना जलधराणाम् ॥ ६४७ ॥ इह स तरुतलशुष्क सलिलसंभिन्नकेसरामोदः । परिणतकिण्व सुरागाढमधुरो विनिर्गच्छति ॥ ६४८ ॥
६४२. गुहाहोआ for गिरिगुहाओ. for णिसागमा ६४६. सिहरासन्न कण्ण', 'गरुओ for 'महुरो.
ग. ७

९७
६४५, कडय° for अडअ. जलयागमा ६४७ वलंति for चलंति. ६४८. कट्ठ for

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गउडवहो
पढमासारे इह तत्त-भू-णिवेसाई वण कुरंगेहिं । दर-घडिअ-मुहं पिज्जति अग्ग-सिसिराई तोयाई ॥ ६४९॥ इह वेलंत-दुमुज्झिअ-भिण्ण-वओ-अंड-कलल-सीअरिणो। वाअंति मेह-सीअल-धूलि-लवुत्थंघिणो पवणा ॥ ६५० ॥ एए विराअ-गोमय-हरिअंतर-बुब्बुआ परिवहति । सद्दल-संदाणिअ-सहर-चित्तला पूर-वित्थारा ॥ ६५१॥ इह धारा-विच्छोलिअ-फलट्ठि-णिग्गअ-कसाय गंधाण । विरल-भमराण घोलइ लच्छा जंबू-तरुअलाण ॥ ६५२ ॥ उक्कंदलाण घोलइ इह सेरिह-दलिअ-केसर-वणाण। गंधो उब्बुद्ध-कलंब-सीअलो सेल-कडआण ॥ ६५३॥ इह सलिल-किलिण्णाअंब-विरस-मालूर-सार-सुरहीण । जलअ-समयम्मि रण्णाणिलाण णिव्वडइ सोहग्गं ॥ ६५४ ॥ णव-धारा-पडिबझंत-रेणु-परिसामला थली-मग्गा । धूसर-हरिण-खुर-च्छेअ-कब्बुरा इह विराअंति ॥ ६५५॥
. प्रथमासारे इह तप्तभूनिवेशानि वनकुरङ्गः । दरघटितमुखं पीयन्तेऽग्रशिशिराणि तोयानि ॥६४९॥ इह वेलददुमोज्झितभिन्नवयोऽण्डकललशीकरिणः। वान्ति मेघशीतलधूलिलवोत्क्षेपिणः पवनाः ॥६५०॥ एते विलीनगोमयहरितान्तरबुदबुदाः परिवहन्ति । शाद्वलसंदानितशफरचित्रला. पूरविस्ताराः ॥ ६५१॥ इह धाराधौतफलास्थिनिर्गतकषायगन्धानाम् । विरलभ्रमराणां घूर्णते लक्ष्मीजम्बूतरुतलानाम् ॥६५२॥ उत्कन्दलानां घूर्णते इह सैरिभदलितकेसरवनानाम् । गन्ध उद्बुद्धकदम्बशीतलः शैलकटकानाम् ॥६५३॥ इह सलिलक्लिन्नाताम्रविरसमालूरसारसुरभीणाम्। जलदसमयेऽरण्यानिलानां निवर्तते सौभाग्यम् ॥६५४॥ नवधाराप्रतिबध्यमानरेणुपरिश्यामलाः स्थलीमार्गाः । धूसरहरिणखुरच्छेदकर्बुरा इह विराजन्ते ॥६५५॥ .
६४९. पेज्जति. ६५०. दुमिज्झिय, कलिल'. लवुत्थंभिणो, लवुलंघिणो for लवुत्थंघिणो. ६५२. लच्छी घोलइ, तरुयराण. ६५३. °सोदर' for "सेरिह. ६५५. पडिबद्ध for पडिबझंत.

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शरद्वर्णनम् अवमेहाओ वि मइल-चंदिमा होति सोम्म-पवणाओ। सलिलंध-गअण-दर-णिव्वडत-तारा रअर्णाओ ॥ ६५६॥ इह सा उम्मुदिअ-सिंदुवार-मअरंद-बंध-सुहआण। सरअ-दिअसाण विअसइ लच्छी उग्गंध-कमलाण ॥ ६५७॥ इअ सअल-दिसा-अड-विअय-मिलिअ-महि-मंडलेहिं सच्चविआ। सेणा-भडेहिं से सुहअ-संणिवेसा वणुद्देसा ॥ ६५८ ॥ अवि अ। एएं विरत्त-सुरचाव-विरस-विरलाहिलक्खिअ-च्छाया। महिस-खुर-च्छेअ-विहाविअ-प्पहा मणि-अडुद्देसा ॥ ६५९ ॥ इच्छा-परिअत्त-लआ-विआण-उद्देस-पीडिअ-दुमाण । छाया सच्चिअ अण्ण व्व रण्ण-फरुसा उववणाण ॥६६०॥ विन्भमवईण भिज्जंतमलअ-परिगूढ-केसरं जाण । ताणंचिअ विअलइ इह लआण फल-पेल्लिअं कुसुमं ॥ ६६१ ॥
ओसरिअ-सिहर-बंधा तहडिओवत्त-भित्ति-पन्मारा। भवणोच्छंगा तेच्चेअ विजल-वावीणिहा जाआ।। ६६२॥
...... ................
__ अपमेधा अपि मलिनचन्द्रिका भवन्ति सौम्यपवनाः। सलिलान्धगगनदरनिर्वर्तमानतारा रजन्यः ॥६५६॥ इह सा उन्मुद्रितसिन्दुवारमकरन्दबन्धसुभगानाम् । शरदिवसानां विकसति लक्ष्मी उद्गन्धकमलानाम् ॥६५७॥ इति सकलदिक्तटविजयभिलितमहीमण्डलैदृष्टा । सेनाभटेस्तस्य सुभगसंनिवेशा वनोद्देशाः ॥६५८ ॥ अपि च । एते विरक्तसुरचाप. विरसविरलाभिलक्षितच्छायाः। महिषखुरच्छेदविभावितप्रभा मणितटोद्देशाः ॥ ६५९॥ इच्छापरिवृत्तलतावितानोद्देशपीडितद्वमाणाम् । छाया सैवान्येव अरण्यपरुषा उपवनानाम् ॥ ६६०।। विभ्रमवतीनां भिद्यमानमलकपरिगृढकेसरं यासाम् । तासामेव विगलतीह लतानां फलप्रेरितं कुसुमम् ॥६६१॥ अपसृतशिखरबन्धास्तथास्थितापवृत्तभित्तिप्रारभाराः। भवनोत्सगास्त एव विजलवापीनिभा जाताः ॥ ६६२॥
६५६ सलिलोत्थ for सलिलंध. ६५७. °बिंदु' for 'बंध. ६५८. मलिय' for °मिलिअ.

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१८०
गउडवहो जाआ ताओच्चिा तह-महग्ध-मणि-रासि-सबलिअ-क्खंभा। भमिर-भुअंग-फणा-रअणमेत्त-विहवाओ वीहीओ ॥ ६६३ ॥ इह किर तंआ पुर-संणिवेस-पिहु-पंसु-रासि-परिवेसं । वरिसासु पएस-पास-खुत्त-माण-विदुमं णअरं ॥६६४॥ णीरेणु-भाव-णिव्वडिअ-साल-सुर-सअण-तोरण-विडंका। दूरे वि पुर-णिवेसा इह आसण्ण व्ब दीसंति ॥६६५॥ पविलीण-कुसुल-ठाण-फरुस-बुस-पंसु-थउडिउद्देसा। इह भू-दविणण्णेसण-विइण्ण-विवरा घरोवासा ॥६६६ ॥ इह काल-रूढ-सीरागमाई जाआई बहल-हरिआई। भू-गुण-विसट्ट-मंदार-बद्ध-गहणाई छेत्ताई ॥६६७॥ इह कारहीसु कल्लं उण्णंति व भूसु सावसाआसु । आरामंति विणिम्महिअ-कमल-गंधाओ व दिसाओ॥ ६६८॥ साहासु बंध-परिसेस-रज्जु-वोच्छेअ-विरल-जर-दब्मा। दोला-मग्गा उवणिग्गमेसु एए तरुअलाण ॥ ६६९ ॥
जातास्ता एव तथामहार्घमणिराशिशबलितस्तम्भाः । भ्रमणशीलभुजङ्गरत्नमात्रविभवा वीथ्यः ॥६६३ ॥ इह किल तदा पुरसंनिवेशपृथुपांसुराशिपरिवेषम् । वर्षासु प्रदेशप्रकाशनिमनमणिविदुमं नगरम् ॥६६४॥ नीरेणुभावनिर्वृत्तसालसुरसदनतोरणविटङ्काः । दूरेऽपि पुरनिवेशा इहासन्ना इव दृश्यन्ते ॥६६५॥ प्रविलीनकुसूलस्थानपरुषबुसपांसुस्थपुटितोद्देशाः । इह भूद्रविणान्वेषणवितीर्णविवरा गृहावकाशाः ॥६६६ ॥ इह कालरूढसीरागमानि जातानि बहलहरितानि। भूगुणविकसितमन्दारबद्धगहनानि क्षेत्राणि ॥ ६६७ ॥ इह कारभीषु कल्यमुनयन्तीव भूषु सावसादासु। आरमन्ति विनिर्गतकमलगन्धा इव दिशः॥ ६६८॥ शाखासु बन्धपरिशेषरज्जुव्युच्छेदविरलजरदर्भाः । दोलामार्गा उपनिर्गमेश्वेते तरुतलानाम् ॥ ६६९॥
६६३. वलहीओ, वेईओ for वीहीओः ६६४. तं आसि सं° (=तं आसीस) for तंआ सं', ६६५. विडंगा for °विडंका. ६६६. 'तुस' for "बुस' ६६७. खेत्ताई for छेत्ताई. ६६९. 'बद्ध for बंध. तस्लयाण.

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उत्सन्ननगरवर्णनम्
१०१ अवसग्ण-पुराण-परिंद-कित्तणट्ठाण-सोण-चुण्णाओ। इह जर-मुअंग-संभाविआओ पेरंत-भूमीओ॥६७०॥ इह णिज्जिअ-कुंदोसीर-सार-सहआर-पाडल-रसाई । कमल-करवीर-बावीसु गिम्ह-तोयाई अग्धंति ॥ ६७१ ॥ इह विअड-मूलबंधा घडिअ-सिला-संचया परिसरेसु । असमत्त-णिवेसच्चिअ जरं गआ सु-पुरिसारंभा॥ ६७२ ॥ दुग्गम-भाव-ठिअ-णालि-घडिअ-घंटेसु तोरणग्गेसु । इह अज्ज वि उद्देसा संभाविअ-भूरि-विहव व्व ॥ ६७३॥
आ-सिहर-परिडिअ-भित्ति-संचया गलिअ-दारु-पडिबंधा। इह दूमंति व अभंतराअवा भवण-वित्थारा ॥६७४॥ जण-विणिहट्टायस-कलुस-हीण-पाहाण-देहली-बंधा । अगरु-दल-लहुअ-जर-दार-दारु-सअला इह णिवेसा ॥६७५ ।। इह विहडिअ-पिंडी-बंध-संधि-परिलंबि-वाल-णिम्मोआ । आयाम-परिडिअ-चंक-विअड-लिंगा थलाहोआ॥ ६७६॥
अवसन्नपुराणनरेन्द्रकीर्तनस्थानशोणचूर्णाः । इह जरभुजङ्गसंभाविताः पर्यन्तभूमयः ॥ ६७० ॥ इह निर्जितकुन्दोशीरसारसहकारपाटलरसानि । कमलकरवीरवापीषु ग्रीष्मतोयानि राजन्ते ॥६७१॥ इह विकटमूलबन्धा घटितशिलासंचयाः परिसरेषु। असमाप्तनिवेशा एव जरां मताः सुपुरुषारम्भाः ॥६७२॥ दुर्गमभावस्थितनाडीघटितघण्टेषु तोरणाग्रेषु । इहाद्यापि उद्देशाः संभावितभूरिविभवा इव ॥६७३॥ आशिखरपरिष्ठितभित्तिसंचया गलितदारुप्रतिबन्धाः। इह दुन्वन्तीव अभ्यन्तरातपा भवनविस्ताराः ॥६७४ ॥ जनविनिघृष्टायसकलुषहीनपाषाणदेहलीबन्धाः । अगरुदललघुकजरदद्वारदारुशकला इह निवेशाः॥६७५॥ इह विघटितपिण्डीबन्धसंधिपरिलम्बियालनिर्मोकाः । आयामपरिष्ठितपकविकटलिगाः स्थलाभोगाः ॥ ६७६ ॥
६७३. दुग्गपहाव for दुग्गमभाव', णेलि', पीली° for °णालि. ६७४. दूमेति. परिबंधा for °पडिबंधा. ६७५. °काल° for 'कलुस'. भगुरु. जर (दारु) सयलमूला इह णिवेसा for जरदारदारु. ६७६. आयास for आयाम'.

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१०२
गउडवहो इह चिंचिणीण घेत्तूण करअलोलुप-पिंडिअं पहिओ। कवलेइ जरढ-कलविंक-पक्ख-परिकब्बुरं कुसुमं ॥ ६७७॥ दीसंति पढम-पीढा णिबिडारुण-लग्ग-पंक-लेवाओ। इह विहडिअ-भित्ति-च्छेअ-णिग्गआ जज्जरिद्वाओ॥ ६७८ ॥ इह लवणुग्गम-परिहीण-भित्ति-वलयत्तणेण दीसंति । अहिअ-विअडाओ पूरण-समुण्णआ कूव-कोसीओ ॥ ६७९ ॥ पीणतण-दर-परिणाम-भंग-परिकसण-मणि-कवालाओ। आहो अज्ज वि इह कहति गहिराओ रत्थाओ॥ ६८० ॥ इह कालेण समीकअ-तलाअ-सुरमंदिराओ दीसंति । दर-णिण्णुण्णअ-संठाणमेत्त-विसमाओ भूमीओ ॥ ६८१॥ घर-गोलअ-दारोसरिअ-मूल-पडिबद्ध-चुण्ण-रेहाओ । एआओ पाडलावंडु-कुप्परा जुण्ण-भित्तीओ ॥ ६८२ ।। इह गंभीराअंति व अहिआलोआई जालअ-विहंगा । छायासु वि दर-पाविअ-खंभ-च्छायाई भवणाई ॥ ६८३॥
इह चिश्चिनीनां गृहीत्वा करतलावलुम्पनपिण्डितं पथिकः । कवलयति जरठकलविकपक्षकर्बुरं कुसुमम् ॥ ६७७॥ दृश्यन्ते प्रथमपीठानिबिडारुणलग्नपकलेपाः। इह विघटितभित्तिच्छेदनिर्गता जर्जरष्टकाः ॥ ६७८॥ इह लवणोद्गमपरिहीनभित्तिवलयत्वेन दृश्यन्ते । अधिकविकटाः पूरणसमुन्नताः कूपकोश्यः ॥६७९॥ पीनत्वदरपरिणामभद्गपरिकर्षणमणिकपालाः । आभोगमद्यापि इह कथयन्ति गभीरा रथ्याः ॥६८०॥ इह कालेन समीकृततडागसुरमन्दिरा दृश्यन्ते । दरनिम्नोन्नतसंस्थानमात्रविषमा भूमयः ॥ ६८१॥ गृहगोलकद्वारापसृतमूलप्रतिबद्धचूर्णरेखाः। एताः पाटलापाण्डुकर्परा जीर्णभित्तयः ॥ ६८२ ॥ इह गम्भीरायन्त इव अधिकालोकानि जालकविभगात् । छायास्वपि दरप्राप्तस्तम्भच्छायानि भवनानि ॥६८३॥
६७८. पढमपीडा, पढमभीडा. पंकलग्ग° for लग्गपंक. लेहाओ for °लेवाओ. ६८०. कसिण' for °कसण'. इह अज्जवि कहिंति. ६८१. °तडाय" for
तलाय. ६८२. °घोलपवारो, घरघोलयवारो for गोलअदारो'. मूलपडिबंध', पाडलावण्ण. ६८३. विभंगा for विहंगा.

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उत्सन्ननगरवर्णनम्
दिअसे व भू-संभावणाऍ उक्कंटयंति अंगाई । णीसद्दाओ व इह झत्ति घडिअ - सहाओ वडीओ ॥ ६८४ ॥ इह दूति व फल-पत्त-लोह- पविरिक्क- ताल - खज्जूरा । अवलोह - पलोह - जरा रहट्ट- दंडा घरोवासा ॥ ६८५ ॥ चिण्होवलक्खि बिहुआरंभोहुर - णरिंद - दीसंता । इह अज्ज व संति महा - णिहाण - मग्गा परिसरेसु ॥ ६८६ ॥ अघडंत- धूम - रअ - णिग्गमाओं पल्हत्थ - भवण - विरलाओ । इह होंति गाढ - तिमिरा चिरेण रअणीसु रत्थाओ ॥ ६८७ ॥ इअ तस्स चिरं सेवागएहिं विहडिअ-समिद्धि-बंधेहिं । अ- अर-संणिवेसावेरि णरिंदेहिं सच्चविआ ॥ ६८८ ॥ किं च जाअं ।
पेच्छह लद्ध-च्छायं इमीऍ पडिवण्ण-दप्पणं वअणं । कमलं व समुह-रवि-बिंब - चुंविअं फुरइ णलिणीए ॥ ६८९ ॥ उव्वह दइअ - गहि आहरोट - झिज्जंत - रोस पडिराअं । पाणोसरंत - मइरं व फलिअ - चसअं इमा वअणं ॥ ६९० ॥
दिवसेऽपि भूतसंभावनया उत्कण्टयन्त्यद्गानि । निःशब्दा अपीह झटिति घटितशब्दा वलभ्यः ।। ६८४ ॥ इह दुन्वन्तीव फलपत्रलोभप्रविरिक्ततालखर्जूराः । अपलोहपर्यस्तजरदरघट्टदण्डाः गृहावकाशाः ॥ ६८५ ॥ चिह्नेोपलक्षिता विधुतारम्भावनतनरेन्द्रदृश्यमानाः । इहाद्यापि सन्ति महानिधानमार्गाः परिसरेषु ॥ ६८६ ॥ अघटमानधूमर जो निर्गमाः पर्यस्तभवनविरलाः । इह भवन्ति गाढतिमिराश्विरेण रजनीषु रथ्याः ॥ ६८७ ॥ इति तस्य चिरं सेवागतैर्विघटितसमृद्धिबन्धैः । निजनगरसंनिवशो वैरिनरेन्द्रैर्दृष्टाः ॥ ६८८ ॥ किं च जातम् । प्रेक्षध्वं लब्धच्छायमस्याः प्रतिपन्नदर्पणं वदनम् । कमलमिव संमुखरविबिम्बचुम्बितं स्फुरति नलिन्याः ॥ ६८९ ॥ उद्वहति दयितगृहीताधरोष्ठक्षीयमाणरोषप्रतिरागम् । पानापसरन्मदिरमिव स्फटिकचषकमस्या वदनम् ॥ ६९० ॥
१०३
६८४. दिसाओ for वडहीओ. ६८५. फलबहलपत्तपवि, फलपत्तलोकपवि for फलपत्तलोहपवि. ६८७ णयरेसु for रयणीसु. ६८९. लडुच्छायं. कमलमिव. ६९०. "किज्जंत' for 'झिज्जंत'.

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१०४
गउडवहो कंठोसरिएक-थणावसत्त-पिअ-बाहु-घोलिर-करग्गा। सोहइ इमा पत्तिअ-तुंबी-वीणा-विणोअ व्व ॥६९१॥ दइअ-गहिआलआवलि-कलिअ-णडालं मुहं वहइ ।। बहुल-णिसा दर-हीरंत-पढम-कलमिंदु-बिंब व ॥ ६९२ ॥ वअण-णयण-प्पहा-णिज्जिआण शृणं इमीऍ एआण। सम-दुक्खाण व जाओ समागमो चंद-हरिणाण ॥ ६९३॥ इअ ओआरिअ-चावम्मि जम्मि पाऊस-विलसिअव्वेसु । णिवण्णेइ परिअणो सेणा-ललणाण लीलाओ॥ ६९४ ॥ किं च। जस्स पहार-धुआणण-रिउ-गअ-गंडत्थलुच्छलंताण । तिअस-परिमुक्क-कुसुमेसु घडइ पणओ महुअराण ॥ ६९५॥ तस्स मगहाहिवइणो इमाण रमणीण विहसिउज्जोआ। तुह बहल-जस-च्छवि-पल्लिअ व्व ण णरिंद दीसंति ॥ ६९६ ॥ एआण फुरिअ-सेवा-चामर-पम्ह-पडिमेसु दीसति । अंतो भय-पीआओ ब्व बाह-धारा कवोलेसु ॥ ६९७ ॥
कण्ठापसृतैकस्तनावसक्तप्रियबाहुघूर्णनशीलकराया । शोभते इयं प्रवर्तिततुम्बीवीणाविनोदेव ॥६९१॥ दयितगृहीतालकावलिकलितललाट मुखं वहति । बहुलनिशा दरह्रियमाणप्रथमकलमिन्दुबिम्बमिव ॥ ६९२ ॥ वदननयनप्रभानिर्जितयो“नमस्या एतयोः। समदुःखयोरिव जातः समागमश्चन्द्रहरिणयोः ॥ ६९३॥ इत्यवतारितचापे यस्मिन् प्रावृड्विलसितव्येषु । निर्वर्णयति परिजनः सेनाललनानां लीलाः॥६९४॥ किं च । यस्य प्रहारधुताननरिपुगजगण्डस्थलोच्छलताम् । त्रिदशपरिमुक्तकुसुमेषु घटते प्रणयो मधुकराणाम् ॥ ६९५॥ तस्य मगधाधिपतेरेतासां रमणीनां विहसितोद्योताः । तव बहलयशश्छविप्रेरिता इव नरेन्द्र दृश्यन्ते ॥६९६ ॥ एतासां स्फुरितसेवाचामरपक्ष्मप्रतिमेषु दृश्यन्ते । अन्तर्भयपीता इव बाष्पधाराः कपोलेषु ॥६९७॥
६९१. वीणाणुणायव्व. ६९२. निडालं for "णडालं. ६९४. णालीओ for लीलाओ.

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बन्दिस्तुतिः
अ-अ-पंक- कणुक्कर - णिहेण जाणं कवोल - कुहराहि । कुंभ-द्वि-मुत्ता- किरण - पेल्लिअं णीइ तिमिरं व ॥ ६९८ ॥ ते तुझ जय - गदा गरिंद विद्दविअ - वेरि-वग्गस्स । वर गिरि - कडअ - पडिपेलणेण तेअं विणोअंति ॥ ६९९ ॥ अह वा । टंक-मुहाहअ - कठिण द्वि-मुक्क- धूम - च्छलेण उव्वमइ | तद्दिअस- पहा - परिपीअ - तिमिर - पडलं व कर- जालं ।। ७०० ॥ वोलेंति णिअ- पमाणाणुरूअ - पडिबद्ध - वासर - कखंडा । टंक-च्छेओच्छलिआ सरीर-सअलाण संघाआ ॥ ७०१ ॥ दीes घडणुम्मिलंत - विमल-दसण- पहा - परिक्खित्तं । तद्दिअसिंदु-पवेसावलग्ग-जोन्हं व मुह- बिंबं ॥ ७०२॥ विअलंति कअ - रणकार-टंक-वोच्छिण्ण- काय - णिव्वडिआ । दिण्ण-सुहं आसुर संगर- द्विआ पहरण-च्छेआ ॥ ७०३ ॥ इअ सो विट्टि घडणा- विउणुज्जल-मंडलो दिअसणाहो | तुज्झ पआव-च्छायं परिफुरंतो ण पूरे ॥ ७०४ ॥
धुतमदपङ्ककणोत्करनिभेन येषां कपोलकुहरात् । कुम्भस्थितमुक्ताकिरणप्रेरितं निर्याति तिमिरमिव ।। ६९८ ॥ ते तव जयगजेन्द्रा नरेन्द्र विद्रावितवैरिवर्गस्य । केवलं गिरिकटकप्रतिप्रेरणेन तेजो विनोदयन्ति ॥ ६९९ ॥ अथ वा । टङ्कमुखाहतकठिनास्थिमुक्तधूमच्छलेन उद्वमति । प्रतिदिवसप्रभापरिपीततिमिरपटलमिव करजालम् ॥ ७०० ॥ व्यतिक्रामन्ति निजप्रमाणानुरूपप्रतिबद्धवासरखण्डाः । टइकच्छेदोच्छलिताः शरीरशकलानां संघाताः ।। ७०१ ॥ दृश्यते घटनोन्मीलद्विमलदशनप्रभापरिक्षिप्तम् । प्रतिदिवसेन्दुप्रवेशावलग्नज्योत्स्नमिव मुखबिम्बम् ॥ ७०२ ॥ विगलन्ति कृतरणत्कारटङ्कव्युच्छिन्नकायनिर्वर्तिताः । दत्तसुखमासुरसंगरस्थिताः प्रहरणच्छेदाः ॥ ७०३ ॥ इति सोऽपि त्वष्टृघटनाद्विगुणोज्वलमण्डलो दिवसनाथः । तव प्रतापच्छायां परिस्फुरन् न पूरयति
।। ७०४ ॥
१०५
६९८. यिर° for 'किरण' कवालकुहराहिं. ६९९. परिपेलणेण'. ७०१. निवडति for वोलिंति. ७०३. दिण्णसुहा. ७०४. पावेइ for पूरेइ.

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गउडवहो तुह दूरावजिअ-सेहरालि-चलएहिँ कीरइ पणामो। ओहुर-णडाल-विअलंत-भिउडि-भंगेहिं व परेहिं ॥७०५॥ सच्चं तुमम्मि दिद्वे ण संति तुम्हारिसत्ति पडिहाइ। णवर तुह दंसणंचिअ ठवेइ कालस्स माहप्पं ।। ७०६॥ विसमत्तणं वि विहिणो ण तवेइ तुमम्मि णाह संभरिए । आसण्ण-पाउसो पल्लवेइ गिम्हो वि वण-राई ॥७०७॥ जाण णिअच्चेअ गुणा किं भण्णउ ताण णिग्गुणा जे वि । ते वि गुणे तुह अवलंबिऊण गुणिणो व्व णंदति ॥ ७०८॥ संणिज्झेणं व सिरीऍ तुज्झ दाहिण-भुआवलंबाए। अणवरअमणिट्ठिअमेस कणअ-वरिसं करो मुअइ ॥ ७०९॥ साहीण-मुह-सहस्सो किं व ण ता वासुई पसंसेइ। जइ तरइ चिंतिउमलं गुणे तु एक्केण हिअएण ॥ ७१०॥ विहिणा जाण णडालेसु विलिहिअं किं पि विसम-परिणामं । ते तुज्झ पाअ-वडण-च्छलेण वसुहाहिव फुसति ॥ ७११॥
तव दूरावर्जितशेखरालिवलयैः क्रियते प्रणामः। अवनतललाटविगल कुटिभगौरव परैः ॥७०५॥ सत्यं त्वयि दृष्टे न सन्ति त्वादृशा इति प्रतिभाति । केवलं तव दर्शनमेव स्थापयति कालस्य माहात्म्यम् ॥७०६॥ विषमत्वमपि विधेर्न तापयति त्वयि संस्मृते। आसन्नप्रावृद पल्लवयति ग्रीष्मोऽपि वनराजिम् ॥७०७॥ येषां निजा एव गुणाः किं भण्यतां तेषां निर्गुणा येऽपि । तेऽपि गुणांस्तवावलम्ब्य गुणिन इव नन्दन्ति ।। ७०८॥ सांनिध्येनेव श्रियस्तव दक्षिणभुजावलम्बायाः। अनवरतमनिष्ठितमेष कनकवर्ष करो मुञ्चति ॥७०९॥ स्वाधीनमुखसहस्रः किं वा न तावद् वासुकिः प्रशंसति । यदि शक्नोति चिन्तयितुमलं गुणांस्तवैकेन हृदयेन ॥ ७१०॥विधिना येषां ललाटेषु विलिखितं किमपि विषमपरिणामम् । ते तव पादपतनच्छलेन वसुधाधिप मार्जयन्ति ॥७११॥
७०५. भिउडिसंगेहिं. ७०७. वेसत्तणंपि ( = कठोरत्वमपि ) for विसमत्तणंपि. सच्चविए for संभरिए. पाउसे, पाउस. ७०८. भालंबिऊण. ७११. णिडाले. पायपडण'.

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बन्दिस्तुतिः
१०७
अहिसारणम्मि तं रिउ-सिरी' णिसिआसि-घडिअ-पडिबिंबो। णीलंसुअ-संवीओ व्व सहसि सहसाहव-णिसीहे ॥ ७१२ ॥ सामण्णाई वि णामक्खराई ठविआई तइ विवेअम्मि । कित्तणमेत्तेण वि जेण फुरसि तं णवर हिअअम्मि ॥७१३॥ तुह धारा-लग्ग-समोसरंत-करि-मोत्तिअत्तणा खग्गो । आहत्तोवल-वरिसंबु-वाह-लील विडंबेइ ॥ ७१४ ॥ अणुराओ त्ति परिअणो कोव-हुआस-प्पह ति पडिवक्खा । आणा-पआण मुद्दासु तुज्झ विंदति सिंदूरं ॥ ७१५॥ वामेअर-भुअ-भवणा कह णु सिरी वसउ तुज्झ खग्गम्मि । मुणिअंदीसह इह संठिआएँ से तम्मि पडिबिंब ॥ ७१६॥ ण वि तह लोअस्स गुणा णिअ-उकरिसेण पाअडा होति । तुह संमाणग्यविआ वच्चंति जहा पहु पसिद्धिं ॥ ७१७॥ ण हु पढमंचिअ पअ-चीढ-घडिअ-मउलीहि कारिओ तं सि। भिउडी-भंगायासं अवराह-भएण व रिऊहिं ॥७१८॥
अभिसारणे त्वं रिपुश्रिया निशितासिघटितप्रतिबिम्बः । नीलांशुकसंवीत इव शोभसे सहसा आहवनिशीथे ॥७१२॥ सामान्यान्यपि नामाक्षराणि स्थापितानि त्वया विवेके । कीर्तनमात्रेणापि येन स्फुरसि त्वं केवलं हृदये ॥७१३॥ तव धारालग्नसमपसरत्करिमौक्तिकत्वात् खड्गः । आरब्धोपलवर्षाम्बुवाहलीलां विडम्बयति ॥७१४ ॥ अनुराग इति परिजनः कोपहुताशप्रभेति प्रतिपक्षाः। आज्ञापदानां मुद्रासु तव विन्दन्ति सिन्दूरम् ॥ ७१५॥ वामेतरभुजभवनात् कथं नु श्रीर्वसतु तव खहगे। ज्ञातं दृश्यत इह संस्थिताया अस्यास्तस्मिन् प्रतिबिम्बम् ।। ७१६॥ नापि तथा लोकस्य गुणा निजोत्कर्षण प्रकटा भवन्ति । तव संमानार्घिता व्रजन्ति यथा प्रभो प्रसिद्धिम् ॥७१७॥ न खलु प्रथममेव पदपीठघटितमौलिभिः कारितस्त्वमसि । भृकुटीभगायासमपराधभयेनेव रिपुभिः ॥७१८॥
७१२. णिययासिघडिय'. ७१३. जाण for जेण. ७१४. विलंबेडं. ७१५.रोस' for कोव". ७१६. खग्गे वि. ७१८. सीसेहिं and °मउलेहि for °मउलीहिं.

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१०८
गउडवहो तुह पहु सवत्त-सीमंतिणीण अच्छिन्न-बाह-धाराहिं । दीसंति समूलाओं व लोला लंबालअ-लआओ ॥ ७१९ ॥ जाणं ण पुरिसआरो जुवइसमा तेसु कह सिरी रमउ । ठिअभावमित्थमहिला महिलाओ कहंपि कामेति ॥ ७२०॥ झीणा एक्के तु असिम्मि सरणमण्णे गआ तुमं चेअ । सेसा वि रिऊ जलहिं कहिं पि किर के वि पडिवण्णा ॥ ७२१॥ वचंति अहो उठें अइंति मूलंकुर व्व पुहईए ।. बीआहि व एक्कत्तो कुलाहि पुरिसा समुप्पण्णा ॥ ७२२ ॥ तरलत्तण-वअणिजं लच्छीऍ तुमाएँ णवर ओप्पुसिअं । तीऍ वि पहुत्तणं वो पहु-दोस-विवन्जिअं दिण्णं ॥ ७२३ ।। विवरीअं व तइ इमं विवेअ-सारम्मि दीसइ परिंद। भीओ दोसाण तुमं ते उण णठा तुमाहितो ॥ ७२४ ॥ सअलेसुं चेअ दिसाअडेसु दीसंति देव पडिलग्गा । धोअ ब दिसा-गअ-सीअरेहिं विमला गुणा तुज्झ ॥ ७२५॥
तव प्रभोसपत्नसीमन्तिनीनामच्छिन्नबाष्पधाराभिः। दृश्यन्ते समूला इव लोला लम्बालकलताः ॥ ७१९॥ येषां न पुरुषकारो युवतिसमास्तेषु कथं श्री रमताम् । स्थितभावमित्थमखिला महिलाः कथमपि कामयन्ते ॥७२०॥ क्षीणा एके तवासौ शरणमन्ये गतास्त्वामेव । शेषा अपि रिपवो जलधि कुत्रापि किल केऽपि प्रतिपन्नाः ॥७२१॥ वजन्त्यध ऊर्ध्वमयन्ते मूलाइकुरा इव पृथिवीम् । बीजादिवैकस्मात् कुलात पुरुषाः समुत्पन्नाः ॥७२२ ॥ तरलत्ववचनीयं लक्ष्म्यास्त्वया उत्प्रोञ्छितम् । तयापि प्रभुत्वं वः प्रभुदोषविवर्जितं दत्तम् ॥७२३॥ विपरीतमिव त्वयि इदं विवेकसारे दृश्यते नरेन्द्र । भीतो दोषेभ्यस्त्वं ते पुनर्नष्टास्त्वत्तः ।। ७२४ ॥ सकलेष्वेव दिक्तटेषु दृश्यन्ते देव प्रतिलग्नाः । धौता इव दिग्गजसीकरैर्विमला गुणास्तव ॥ ७२५॥
७२०. रमइ. ७२१. तुयं for तुम. ७२२. उद्धं for उर्दु. ७२३. उम्पुसियं, उप्फुसियं.

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बन्दिस्तुतिः भुवण-गरुएहिं ते तुह हीरति गुणेहिं तं पुणो ताण । हीरासि गुण-लेसेण वि सुअणो सुअणाण अहिओ सि ॥ ७२६॥ दिअ-भूमिसु दाण-जलुल्लिआई कालम्मि जाई उत्ताई। ताई तुह णाह रोहंति संपअं विहव-बीआई ॥ ७२७॥ पणईसु गुरु-मणोरह-संपत्ति-समुत्तुणेसु संकेतो। मण्णे तुह तेण पहुत्तणे वि ण मओ पडिप्फुरइ ॥ ७२८॥ लहिऊण तुमाहितो देंतेहिं इओ तओ णरवईहिं । साहाहिं व दाण-दुमो गरिंद तुह वडिओ दूरं ॥ ७२९॥ तुह रिज-गअ-कुंभ-खुत्त-णिसिअ-तोमर-णिहित्त-विवरेहिं । विरएंति सुहं मुत्ताहलेहिं रमणीओ हारलआ॥ ७३०॥ अवि । परिघोलइ सिदिलिअ-जालसुत्त-संताण-संठिओ हत्यो । पेढाल-थणहराअडि-कक्खडे वीडअट्ठाणे ॥ ७३१॥ वेल्लहलंगुलि-कर-कमल-मुक्कलिज्जत-जालिआ-वलया। कुच्छि-च्छेआ छज्जति सिदिल-दर-दिट्ठ-भंगंगा ॥ ७३२ ।।
भुवनगुरुकैस्ते तय ह्रियन्ते गुणैस्त्वं पुनस्तेषाम् । ह्रियसे गुणलेशेनापि सुजनः सुजनानामधिकोऽसि ॥ ७२६॥ द्विजभूमिषु दानजलार्द्राणि काले यान्युतानि । तानि तव. नाथ रोहन्ति सांप्रतं विभवबीजानि ।।७२७ ॥ प्रणयिषु गुरुमनोरथसंपत्तिगर्वितेषु संक्रान्तः। मन्ये तव तेन प्रभुत्वेऽपि न मदः प्रतिस्फुरति ॥७२८॥ लब्ध्वा त्वत्तो ददभिरितस्ततो नरपतिभिः । शाखाभिरिव दानदुमो नरेन्द्र तव वर्धितो दूरम् ॥७२९॥ तव रिपुगजकुम्भनिममनिशिततोमरस्थापितविवरैः । विरचयन्ति सुखं मुक्ताफलै रमण्यो हारलताः ॥ ७३०॥ अपि च । परिपूर्णते शिथिलितजालसूत्रसंतानसंस्थितो हस्तः । विपुलस्तनभराकृष्टिपीने वीटिकास्थाने ॥७३१॥ कोमलाङ्गलिकरकमल (बन्धन) मुच्यमानजालिकावलयाः । कुक्षिच्छेदा राजन्ते शिथिलदरदृष्टभगङ्गाः ।।७३२ ॥
७२७. मुक्का and मुत्ताई for उत्ताई. ७२८. परिप्फुरइ. ७२९. धणवई हिं for णरवईहिं. ७३०. °णिहत्त° for °णिहित्त, विरयंति. ७३१. सढलिय for सिडिलिअ, संधाण° for °संताण', पीडण° for वीडण.

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११०
गउडवहो गाढ-कवाडअ-दुक्खुच्चुडंत-णहराइ-लंछणो लहइ । दर-मेहुन्झिअ-हरिणक-बिंब-सोहं थणुच्छंगो ॥ ७३३ ॥ कंठ-णिरोहुव्वण-वित्थरंत-णीसास-तुलिअ-णासउडं । अग्घइ विसंठुलुव्वेल्ल-वल्लरी-चिहुर-पब्भारो ॥७३४ ॥ मणिवलयाउल-बाहग-मोअणुप्पण्ण-करअलायासं । रेहइ लज्जा-पडिरुद्ध-थणहरं भुअलआ-जुअलं ॥ ७३५॥ इअ गरुअ-वइअरुत्तरिअ-कंचुओ कुणइ पहु पओसम्मि । सेज्जारुहणं तुह लडह-वेस-सुहिओ पिआ-सत्यो॥ ७३६॥ इअ बंदि-णंदिअ-जयं गाहिपुरारूढ-सेण्ण-विण्णासो। जाओ सो लडह-विलासमेत्त-वीसंत-वावारो ॥ ७३७ ॥ अवि अ। संभाविअ-चित्त-विआर-कारणामरिस-तंबिर-च्छायं । तहझाण-णिमिल्लंचेअ होइ फुरिआहरं वअणं ॥७३८॥ उम्मिल्लइ थोअ-त्थोअ-रोस-रजत-दारुणावंगा । मासलिअ-सवण-भुअइंद-रअण-कंद-प्पहा दिही॥ ७३९ ॥
गाढकपाटकदुःखापसरनखराजिलान्छनो लभते। दरमेघोज्झितहरिणाकबिम्बशोभां स्तनोत्सङ्गः ॥७३३॥ कण्ठनिरोधोल्बणविस्तरन्नि:श्वासतुलितनासापुटम् । राजते विसंष्ठुलोद्वेल्लवल्लरीचिकुरभारः॥७३४॥ मणिवलयाकुलबाह्वग्रमोचनीत्पन्नकरतलायासम् । शोभत लज्जाप्रतिरुद्धस्तनभरं भुजलतायुगलम् ॥७३५॥ इति गुरुकव्यतिकरोत्तारितकचुकः करोति प्रभो प्रदोषे। शय्यारोहणं तव लटभवेषसुखितः प्रियासार्थः॥७३६॥ इति बन्दिनन्दितजयं गाधिपुरारूढसैन्यविन्यासः। जातः स लटभविलासमात्रविश्रान्तव्यापारः ॥७३७॥ अपि च । संभावितचित्तविकारकारणामर्षताम्रच्छायम् । तथाध्याननिमीलितमेव भवति स्फुरिताधरं वदनम् ॥७३८॥ उन्मीलति स्तोकस्तोकरोषरज्यमानदारुणापागा। मांसलितश्रवणभुजगेन्द्ररत्नकन्दप्रभा दृष्टिः ।।७३९॥
७३३. गाढयचादुक्खित्तुच्चुडतणह. ७३४. निरोहुल्लग° for गिरोहुव्वण'. °उडो for "उडं. ७३६. 'सरलो for सुहिओ. ७३७. 'जओ for "जयं.

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बन्दिस्तुतिः
१११
सामाअइ सेअलवाहिउत्त-विणिअत्त-भूइ-लावण्णो। अविहाविअ-कंठ-च्छवि-वोच्छेओ वच्छ-परिणाहो ॥ ७४०॥ विहडइ हव्यवह-सिहा-कडप्प-पेल्लिअ-पुडं णडालम्मि । कह-कहवि णिबिड-भिउडी-विहंग-संपिंडिअं णयणं ॥ ७४१॥ इअ तिणयण-रोसाणल-विलुत्त-दहो वि कुसुम-कोअंडो । जासु णिसण्णो अज्ज वि अउंठ-बाणोचिअ जयम्मि ॥ ७४२ ॥ आलुलिअ-वेणि-लेहं भमिअं तारं च भुअलआ-जुअलं । णेवच्छं जाण विलास-कंपिअच्छाई अ मुहाई ॥ ७४३॥ ताण रमणीण णअ-बाहु-बिसलआम-कंठ-परिणाहो । उव्वहइ सो विलासी णिआह-णेवच्छ-विच्छिति ॥७४४॥ तेण स पल्लव-भंगं चूडामणि-भावमतरुणं ताण । णिज्जइ कुसुमं आसुरहि-केसरं णव-कलंबाण ॥ ७४५॥ आ-मेह-समय-सुहआ संभिण्णोववण-के अअ-सुअंधा। सीअरिणो से हिअअं हरंति रअणी-मुह-समीरा ॥७४६॥
श्यामायते स्वेदलवाभियुक्तविनिवृत्तभूतिलावण्यः। अविभावितकण्ठछवियुच्छेदो वक्षःपरिणामः ॥७४०॥ विघटते हव्यवाहशिखासमूहप्रेरितपुटं ललाटे । कथंकथमपि निबिडभृकुटिविभङ्गसंपिण्डितं नयनम् ॥ ७४१॥ इति त्रिनयनरोषानलविलुप्तदेहोऽपि कुसुमकोदण्डः । यासु निषण्णोऽद्यापि अकुण्ठबाण एव जये ॥७४२॥ आलुलितवेणिलेखं भ्रमितं तारं च भुजलतायुगलम् । नेपथ्यं यासां विलासकम्पिताक्षीणि च मुखानि ॥७४३॥ तासां रमणीनां नतबाहुबिसलतामृष्टकण्ठपरिणाहः। उद्वहति स विलासी निदाघनेपथ्यविच्छित्तिम् ॥ ७४४॥ तेन स पल्लवभङ्गं चूडामणिभावमतरुणं तासाम् । नीयते कुसुममासुरभिकेसरं नवकदम्बानाम् ॥७४५॥ आमेघसमयसुभगाः संभिन्नोपवनकेतकसुगन्धाः। शीकरिणोऽस्य हृदयं हरन्ति रजनीमुखसमीगः ॥ ७४६॥
७४०. 'छविवुच्छेय, छविवोच्छेयं. ७४२. जाण for जासु. भकुंठ for भउंठ. ७४४ निय° and णव' for ण. किसलआमट्ट. ७४६. 'मुहिया. 'केयई for केअअ.

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११२
गउडवहो कुमुआवबोह-महुरा विरलागअ-मेह-खंडिअ-मिअंका। अग्घति णिसा असमत्त-गलिअ-सलिलागमा तस्स ॥ ७४७॥ णीसासा खण-विरहे फुरंति रमणीण सुरहिणो तस्स । कडिअ-हिअअ-ट्ठिअ-कुसुम-बाण-मअंरद-लेस व्व ।। ७४८ ॥ सो दीसइ उहय-दिसा-पहाविआणंद-बाह-सलिलेहिं । ताण परिरंभ-पसरंत-भुअलएहिं व अच्छीहिं ॥ ७४९॥ अवि अ। फलिहच्छोअर-दीसंत-पट्टि-वेणी-सिहाओ व सहति । सहसा वलि-भंग-तरंगिणीहिं जा रोम-लेहाहि ॥ ७५० ॥ ससिमिव णवोइअं विहसिएण अहर-प्पहाणुविद्वेण । सासामोअ-मिलंतालि-लंछणं जा पआसेंति ॥ ७५१ ॥ जा कण्ण-किसल-करअल-मिलंत-चल-तारआहिं दिट्ठीहि । कंदुअ-कीलं व स-सेस-बाल-भावा पासेंति ॥ ७५२ ॥ जा ललिअ-लआ-लीलं वेलंबंति सिअ-दंत-कुसुमाओ । सहसा महुअर-जालाअमाण-णीलंबरावरणा ॥ ७५३ ॥
कुमुदावबोधमधुरा विरलागतमेघखण्डितमृगाकाः। राजन्ते निशा असमाप्तगलितसलिलागमास्तस्य ॥७.७॥निःश्वासाःक्षणविरहे स्फुरन्ति रमणीनां सुरभयस्तस्य । कृष्टहृदयस्थितकुसुमबाणमकरन्दलेशा इव ॥७३८॥ स दृश्यते उभयदिप्रभावितानन्दवाष्पसलिलैः । तासां परिरम्भप्रसरभुजलतैरिवाक्षिभिः ॥७४९॥ अपि च । स्फटिकाच्छोदरदृश्यमानपृष्ठवेणीशिखा इव शोभन्ते । सहसा वलिभगतरदिगणीभिर्या रोमरेखाभिः ॥७५० ॥ शशिनमिव नवोदितं विहसितेनाधरप्रभानुविद्धेन । श्वासामोदमिलदलिलाञ्छनं याः प्रकाशयन्ति ॥७५१॥ याः कर्णकिसलयकरतलमिलच्चलतारकाभिदृष्टिभिः। कन्दुकक्रीडामिव सशेषवालभावाः प्रकाशयन्ति ॥७५२ ॥ या ललितलीलां विडम्बयन्ति सितदन्तकुसुमाः । सहसा मधुकरजालायमाननीलाम्बरावरणाः ॥७५३॥
७४७. सुहया for महुरा. 'सलिलुग्गमा. ७४८. लेहव्व for °लेसम्व. ७५०. फलिय'. 'राईहिं for "लेहाहिं. ७५१. पयासंति. ७५२. °तारयाए दिट्टीए. °लील व for °कील व. ७५३. अवलंबंति for वेलंबंति. °व पसत्त° for °सियदंत'.

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ललनाविलासाः
जाओ सड़-दिण्ण-सण्णेज्झ-मअण- पूआअरा सरीरेषु । सरस -ह-मंजरि-मअं रत्तासोअं पिव लिहंति ॥ ७५४ ॥ जाओ पसंग-परिग्गहिअ -हारि-हरिअंसुआ पआसेंति । रंभा - गव्यत्तणमणह-परिअरं ऊरुदंडाण || ७५५ ॥ लीलोणअ-मुह अंदाण खंडि आहर - णिहेण थणवट्टे | हिअअं जाण पाअड - वम्मह - बाण - व्वणं फुरइ || ७५६ ।। थण - मज्झ च्छवि-तारं कुप्पा संतरमणंग - णामम्मि । उद्धं व लोअणं तिणयणस्स बंदीकअं जाहिं ॥ ७५७ ॥ ह - रहा जाण थणेसु सहइ रोमंच - खंडिअ - णिवेसा । खण - विरह - भीरुणो सीवणि व्व फुडिअस्स हिअअस्स ।। ७५८ ।। चक्क - जुएण व वम्मह-रहस्स पिअहुत्त - गामिणो जाओ। थण-मंडलेण परिरंभ - लंभ - विअडेण सोहति ।। ७५९ ।। पेच्छति जाओ चलणे चंपअ - कलिओवआरमुज्झते । कण्णुप्पल - पहर-भया गहिए व्व पईव - मालाहिं ॥ ७६० ॥
याः सदादत्तसांनिध्यमदनपूजादराः शरीरेषु । सरसनखमञ्जरीमयं रक्ताशोकमिव लिखन्ति ॥ ७५४ ॥ याः प्रसङ्‌गपरिगृहीतहारिहरितांशुकाः प्रकाशयन्ति । रम्भागर्भत्वमनघपरिकरमूरुदण्डानाम् ॥ ७५५ ॥ लीलावनतमुखचन्द्राणां खण्डिताधरनिभेन स्तनष्पृष्ठे । हृदयं यासां प्रकटमन्मथवाणवणं स्फुरति ॥ ७५६ ।। स्तनमध्यच्छवितारं कूर्पा सान्तरमनङ्गनाशे । उर्ध्वमिव लोचनं त्रिनयनस्य बन्दीकृतं याभिः ॥ ७५७ ॥ नखरेखा यासां स्तनेषु शोभते रोमाञ्चखण्डित निवेशा । क्षणविरहभरुिणः सीवनीव स्फुटितस्य हृदयस्य ॥ ७५८ ॥ चक्रयुगेनेव मन्मथरथस्य प्रियाभिमुखगामिनो याः । स्तनमण्डलेन परिरम्भलम्भविकटेन शोभन्ते ॥ ७५९ ॥ प्रेक्षन्ते याञ्चरणौ चम्पककलिकोपचारमुद्यमानौ । कर्णोत्पलप्रहारभयाद् गृहीताविव प्रदीपमालाभिः ॥ ७६० ॥
११३
७५. संणिज्झ वहति for लिहति. ७५५. हरयंसुया. 'डंडाण for 'दंडाण. ७५७. 'यारं for 'तारं. ७५८. थणंतरेसु for थ णेसु सहइ सीयणिच्च for सीवणि व. फुडिरस्स. ७५९. गामिणा. ७६०. महिए व्व and गहिय व्व for गहिए व्व.
ग. ८

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११४
गउडयहो दसण-णिवीअमीसा-वस-कूणिअ-णयण-पम्ह-भावेण । जा पंजरिआमिव पि धरेंति अवसरण-संकाए ॥ ७६१ ॥ अहर-प्पहा-दरारुण-दसण-मऊहेहिँ थण-विसारीहिं । वम्मह-वण-बंधेहिं व जाओ सरुहिरेहि सोहंति ॥ ७६२ ॥ दीह-पिहुलत्तणेणं हत्थ-दढावेढणेक-जोग्गाओ। जाण क अग्गह-तण्हं देंति बला वेणि-मालाओ॥७६३॥ अवरद्ध-रमण-पडिमं पिजा हवंति व्व गंडवासम्मि । अण्ण-ललणा-पसंगावकलुसि बाह-सलिलेण ॥ ७६४ ॥ सइ संघट्ट-समुंजल-कोडिं कणअ-रसणं विमोएंति। पिअ-मुह-णिहित्त-विअसंत-लोअणा जाओ समयम्मि ॥ ७६५॥ जा रोसुकंपिअ-कण्ण-कुसुम-रअ-पुंज-पूरिअ-थणीओ। अवचुण्णेति व दर-रूढ-संठिए वम्मह-प्पहरे ॥ ७६६॥ कंपाओ वहति थणत्थ-हत्थ-रणिरंगुलीय-हाराओ । अंग थामेच्चिअ मुहल-मेहला-णेउरं जाओ ॥७६७ ॥
दर्शननिपीतमीावशकूणितनयनपक्षमभावेन । याः पञ्जरितमिव प्रियं धारयन्ति अपसरणशङ्कया ॥७६१॥ अधरप्रभादरारुणदशनमयूखैः स्तनविसारिभिः । मन्मथव्रणबन्धैरिव याः सरुधिरैः शोभन्ते ॥७६२॥ दीर्घपृथुलत्वेन हस्तदृढावेष्टनैकयोग्याः। यासां कचग्रहतृष्णां ददति बलाद वेणिमालाः॥७६३॥ अपराद्धरमणप्रतिमामपि याः स्नपयन्तीव गण्डपावें। अन्यललनाप्रसगावकलुषितां बाष्पसलिलेन ॥७६४॥ सदा संघट्टसमुज्ज्वलकोटिं कनकरशनां विमोचयन्ति। प्रियमुखनिहितविकसल्लोचना याः समये ॥७६५॥ या रोषोत्कम्पितकर्णकुसुमरजःपुञ्जपूरितस्तन्यः । अवचूर्णयन्तीव दररूढसंस्थितान मन्मथप्रहारान् ॥ ७६६॥ कम्पाद् वहन्ति स्तनस्थहस्तरणनशीलागुलीयहाराः । अगं स्थान एव मुखरमेखलानूपुरं याः ॥७ ॥
७६१. रस" for °वस. ७६३. 'बहल° for °पिहल. करग्गही. ७६४. जो गोवेति ब्व for °पि जा ण्हवंति व्व. ७६५. सय for सइ. विमायंति and विमोअंति for विमाएंति. ७६६. रोसकंपिय . °पिंजरfor °पूरिअ. अवचुण्णंति व णहभाव for अवचुण्णेति व दररूढ. ७६७. अंगहाणे° for अंग थामे.

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ललनाविलासाः
चित्त-मणि-कण्ण ऊराहिविद्ध-विविहोवराअ-पम्हे हिं | वण्णअ- तूलिल्लेहिं व लिर्हति जा रमणमच्छीहिं ॥ ७६८ ॥ एक - दिसा - पडिलक्खिअ - विमल-दसा चलण- णह-मऊहेहिं । जा लावण्ण-पडीओ व्व सहति परिमास-मउईओ ॥ ७६९ ॥ पिअहुत्तं जाण विलास-लोल- लीला फुरंत - पम्हाई । उड़ेंति व तरलिअ-पक्ख-संपुडग्गाई अच्छी ॥ ७७० ॥ आसण्ण-पि अमाहर- घडत- फुड-दसण-किरण-भावेण । जा मुह-रसासवं पिव पिअंति लीला- मुणालेहिं ॥ ७७१ ॥ बालासु तासु णव- दिट्ठिरा अ-हीरंत - हिअअ-तरलाई । अणुवज्झताई व से गुणेहिं सोहंति ललिआई ॥ ७७२ ॥ परिरंभण- चक्कलिअं सामा- थणमंडलं उरे तस्स । पाव लीला - अल्लअ - णिहित्त-ण लिणी-दल-च्छायं ॥ ७७३ ॥ सेस-गुण- णिरहिलासा रूवंचिअ से पिअंति तरुणीओ | को वा असइ दमण अस्स दल-सुरहिणो कुसुमं ॥ ७७४ ॥
चित्रमणिकर्णपूराभिविद्ध विविधोपरागपक्ष्मभिः । वर्णकतूलिकावद्भिरिव लिखन्ति या रमणमक्षिभिः ॥ ७६८ ॥ एकदिशाप्रतिलक्षितविमलदशाश्चरणनखमयूखैः । या लावण्यपट्य इव शोभन्ते परिमर्शमृद्वयः ॥ ७६२ ॥ प्रियाभिमुखं यासां विलासलोललीलास्फुरत्पक्ष्माणि । उड्डीयन्त इव तरलितपक्षसंपुटाग्राणि अक्षीणि ॥ ७७० ॥ आसन्नप्रियतमाघरघटमानस्फुटदशन किरणभावेन । या मुखरसासवमिव पिबन्ति लीलामृणालैः ॥७७१ ॥ बालासु तासु नवदृष्टिरागह्नियमाणहृदयतरलानि | अनुबध्यमानानीवास्य गुणैः शोभन्ते ललितानि ॥ ७७२ ॥ परिरम्भणचक्रीकृतं श्यामास्तनमण्डलमुरसि तस्य । प्राप्नोति लीलाऽऽर्द्रकनिहितनलिनीदलच्छायम् ॥ ७७३ ॥ शेषगुणनिरभिलाषा रूपमेवास्य पिबन्ति तरुण्यः । को वाऽन्विष्यति दमनक्रम्य दलसुरभिणः कुसुमम् ॥ ७७४ ॥
११५
·
७६८. राम' and 'संग' for 'विद्ध' ७६९. वहति for सहंति. ७७०. पिययमहुतं जाणं विलासलीला तर लियपम्हसं', 'लास' for 'लोल'. ७७२. अणुयज्झता. गुणेण for गुणेहिं. ७७३. साम° for सामा ७७४. रमणीओ for तरुणीओ. मरुययस्स for दमणयस्स. सुरहिणा.

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गउडवहो वाम-कर-पेल्लिओणामअ-मेहला-णिबिडिअंसुए तस्स । वीसमइ विलासवईण जहण-बिंबे खणं दिट्ठी ॥ ७७५ ॥ हसि च भामिअच्छं मुहं च णव-बउल-पंडुर-कवोलं । जहणमणिभच्छिअ-मेहलं च जीअं विलासाण ॥ ७७६ ॥ अवि अ। अणुकुंडलमा विवइण्ण-सरस-कबरी-विलंघिअंसम्मि। सीसम्मि कोसुमो फुरइ चारु-चूडामणि-णिवेसो ।। ७७७ ॥ उप्पुसिआहर-पेरंत-पिंजर-ट्ठविअ-कुंकुमं हरइ।। णह-विलिहिअ-कसणुम्मिल्लमाण-भुमधे मुहंबुरुहं ॥ ७७८ ॥ परिगंडस्थलमासवणलंबि मअ-णाहि-पंक-लेहम्मि । अग्घइ अवंग-मग्गम्मि सरसमासोअमुत्तंसं ॥ ७७९ ॥ अंतो-मणिदाम-च्छवि-विच्छुरिअच्छंसुअं सुहावेइ । थणवट्टमुवरि-विक्खित्त-सबल-कुसुम-च्छडाहरणं ॥७८०॥ इअ दर-चक्विअ-मइराणुविद्ध-तंबोल-परिमलो हरइ । अणुमजणमाहरणावलंबणो से पिआ-सत्थो ॥ ७८१ ॥ ___वामकरप्रेरितावनमितमेखलानिबिडांशुके तस्य। विश्राम्यति विलासवतीनां जघनबिम्बे क्षणं दृष्टिः ॥७७५॥ हसितं च भ्रमिताक्षं मुखं च नवबकुलपाण्डुरकपोलम् । जधनमनिर्भत्सितमेखलं च जीवितं विलासानाम् ॥ ७७६॥ अपि च । अनुकुण्डलमा विप्रकीर्णसरसकबरीविलधितांसे। शीर्ष कौसुमः स्फुरति चारुचूडामणिनिवेशः॥७७७॥ उत्प्रोञ्छिताधरपर्यन्तपिचरस्थापितकुङ्कुमं हरति। नखविलिखितकृष्णोन्मीलद्भूकं मुखाम्बुरुहम् ॥७७८॥ परिगण्डस्थलमाश्रवणलम्बि मृगनाभिपकलेखे । राजतेऽपाङ्गमार्गे सरस आशोक उत्तंसः ॥७७९ ॥ अन्तर्मणिदामच्छविविच्छुरिताच्छांशुकं सुखयति । स्तनपृष्ठमुपरि विक्षिप्तशबलकुसुमच्छटाभरणम् ॥ ७८० ॥ इति दरास्वादितमदिरानुविद्धताम्बूलपरिमलो हरति । अनुमज्जनमाभरणावलम्बनोऽस्य प्रियासार्थः॥ ७८१ ॥
७७५. निवडियंसुए. ७७६. भावियच्छं. वर° for णव. ७७७. वियइण्ण'. ७७८. णल° for °णह'. ७८०. वहमवरि. सरय° for °सबल. ७८१. "मारुमणा' for °माहरणा. °लंबिणो.

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ललनाविलासाः
किं च जा। सोम्माहेसु णिसम्मइ दिट्ठी राउज्जलेसु रमणीण । सारस-चावी-परिपंडुरेसु से दसण-वासेसु ॥ ७८२ ॥ उन्भिज्जइ जड-भावावरोह-दढ-मअण-संणिवेसम्मि। अहराम्म सरस-बउलाहिवाडला राय-विच्छित्ती ७८३॥ पढमं छण-मग्गिअ-बइअरेसु संचरइ मंडणुच्छाहो । गहिअ-हिमावंडुर-मरुअएसु पारत्ति-दामेसु ॥ ७८४ ॥ परिकविस-बिंदु-मालावसेस-मअणाहि-दंतुरे फुरइ । वअणम्मि मअंकारंभ-पेलवा कुंकुम-च्छाया ७८५॥ संगलइ मरुबअ-च्छेअ-सबल-विणिउत्त-दमणअ-दलासु । लावण्णं मलिअ-द्विअ-पिसंग-कुंदासु कबरीसु ॥ ७८६ ॥ इअ रअणी-भंगुग्गअ-पिअंगु-पडिवण्ण-सेहरो हरइ । सिसिरम्मि मलिअ-मणहर-पसाहणो से पिआ-सत्थो । ७८७॥ अवि अ। फल-णिग्गम-पडिपेल्लिअ-परिसिढिलालग्ग-मउल-चुण्णाई । चूआण झणकारेइ मारुओ मंजरि-मुहाई ॥ ७८८ ॥
किं च जातम् । सौम्याभेषु निशाम्यति दृष्टी रागोज्ज्वलेषु रमणीनाम् । सारसवापीपरिपाण्डुरेष्वस्य दशनवासासु ॥७८२॥ उद्भिद्यते जडभावावरोहदृढमदनसंनिवेशे । अधरे सरसबकुलाभिपाटला रागविच्छित्तिः॥७८३॥ प्रथमं क्षणमार्गितव्यतिकरेषु संचरति मण्डनोत्साहः । गृहीतहिमापाण्डुरमरुचकेषु 'पारत्ति'दामसु ॥७८४॥ परिकपिशबिन्दुमालावशेषमृगनाभिदन्तुरे स्फुरति। वदने मृगाकारम्भपेलवा कुकुमच्छाया ॥७८५॥ संगलति मरुबकच्छेदशबलविन्युप्तदमनकदलासु । लावण्यं मर्दितस्थितपिशङ्गकुन्दासु कबरीषु ॥७८६॥ इति रजनीभङ्गोद्गतप्रियंगुप्रतिपनशेखरो हरति । शिशिरे मर्दितमनोहरप्रसाधनोऽस्य प्रियासार्थः • ॥७८७॥ अपि च । फलनिर्गमप्रतिप्रेरितपरिशिथिलालग्नमृदुलचूर्णानि । चूतानां झणत्कारयति मारुतो मञ्जरीमुखानि ॥७८८॥
७८४ "मरुवएसु. पढमछण° for पढमं छण. ७८५ मियंका. पल्लवा. ७८६. संगिलइ. मिलिय° for मलिय'. ७८७. सहइ for हरइ. ७८८. °सुहाई for मुहाई.

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११८
गउडवहो चित्तालक्खिअ-मउलुग्गमाण सायं णिवेसिअ-जलाणं । गंधमणामोरं सत्तलाण कालो विरल्लेइ ॥ ७८९॥ आवाइ माहवीणं विच्छाय-परिट्ठिएक्क-कुसुमासु । णिम्मल-सोरहं मंजरीसु फल-गंठि-जडिलासु ॥ ७९०॥ इअ से दिणेसु महु-सिरि-परिणाम-सुहेसु उववण-णिवेसा। णंदति पणइणी-परिअणस्स णअरोवरोहेसु ॥ ७९१ ॥ किं च। परंत-हरिअ-कोमल-खज्जूर-दलुज्जलं कवोलाण । णयणंत-गलिअ-बाहंजणाण णिव्वडइ लावण्णं ॥ ७९२॥ दर-मउलण-मज्झोणअ-तणु-रेहाअंत-धवल-भावाई। एंति णव-ससिअलाहं अंतोताराई अच्छीई ॥ ७९३॥ थोअमिव खाम-गंडत्तणेण परिलक्खिओण्णअ-णिवेसो। परिवाअइ कक्केअण-पराअ-कणउज्जलो अहरो॥ ७९४ ॥ दोब्बल्ल-पंडुराण उम्हारुणिअ-णव-केसर-गुणाण । विरलत्तणं व थोवं उवेइ मुद्धाण थणआण ॥ ७९५॥
चित्तालक्षितमुकुलोद्गमानां सायं निवेशितजलानाम् । गन्धमनामोदं सप्तलानां कालो विरलयति ॥७८९॥ आशुष्यति माधवीनां विच्छायपरिष्ठितैककुसुमासु। निर्मलसौरभं मञ्जरीषु फलग्रन्थिजटिलासु ॥७९०॥ इत्यस्य दिनेषु मधुश्रीपरिणामसुखेषु उपवननिवेशाः। नन्दन्ति प्रणयिनीपरिजनस्य नगरोपरोधेषु ॥७९१॥ पर्यन्तहरितकोमलखर्जूरदलोज्ज्वलं कपोलानाम् । नयनान्तगलितबाष्पाञ्जनानां निर्वर्तते लावण्यम् ॥ ७९२॥ दरमुकुलनमध्यावनततनुरेखायमाणधवलभावानि । यन्ति नवशशिकलाभामन्तस्ताराणि अक्षीणि ॥ ७९३ ॥ स्तोकमिव क्षामगण्डत्वेन परिलक्षितोन्नतनिवेशः। परिशुष्यति कर्केतनपरागकणोज्ज्वलोऽधरः ॥७९४॥ दौर्बल्यपाण्डुराणां ऊष्मारुणितनवकेसरगुणानाम् । विरलत्वमिव स्तोकमुपैति मुग्धानां स्तनानाम् ॥७९५॥
७८९. चिंता. निसेविअ. for णिवेसिअ. विरेल्लेइ. ७९.. णिम्मिल्ल (explained to mean किंचिच्छुष्क in the margin). णिस्सल्लसोरहं. ७९१. मुहेसु for सुहेसु. णयरोवरेहेसु. ७९३. मुज्झाणं for मज्झोणय. लाभं for °लाहं. ७९४. ककेणयरायकसाओज्जलो, कक्केअणपरायकलुसुजलो, कसायुज्जलो. ७९५. उएह.

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कवेरात्मकथा
११९ इअ तस्स पढम-मअणाणुबंध-पडिबद्ध-मुद्धभावासु । दिट्ठी णिहुअ-विलासालसासु वीसमइ बालासु ॥ ७९६॥ अह तस्स थिर-भुअक्खंभ-णिमिअ-णीसेस-भुवणभारस्स । आसि कइराअ-इंधो बप्पइराओ त्ति पणइ-लवो ॥ ७९७॥ अपा एत्तिअमेत्तेण णवर विरसो वि जस्स पडिहाइ । सिरि-कमलाउह-चलणेहिं कह विजं गहिअ-बहुमाणो ।। ७९८ ॥ भवभूइ-जलहि-णिग्गअ-कव्वामअ-रस-कणा इव फुरंति । जस्स विसेसा अन्जवि विअडेसु कहा-णिवेसेसु ॥ ७९९ ॥ भासम्मि जलण-मित्ते कुंतीदेवे अ जस्स रहुआरे । सोबंधवे अ बंधम्मि हारिअंद अ आणंदो ॥ ८००॥ आलेक्खिरं च सरसं च परिस-लोणं च सारवंतं च । थिरमुज्जलं च छाया-घणं च गी-विलसिअं च ॥ ८०१॥ आगम-वाआ छंदण्णुआ अ ते भरह-गोअम-प्पमुहा। णंदंति जमेवंहास-कारिणो सार-कइणो अ॥८०२॥
__ इति तस्य प्रथममदनानुबन्धप्रतिबद्धमुग्धभावासु । दृष्टिनिभृतविलासालसासु विश्राम्यति बालासु॥७९६॥ अथ तस्य स्थिरभुजस्तम्भनिहितनिःशेषभुवनभारस्य। आसीत् कविराजचिह्नो वाक्पतिराज इति प्रणयिलवः ॥७९७॥ आत्मा एतावन्मात्रेण केवलं विरसोऽपि यस्य प्रतिभाति। श्रीकमलायुधचरणैः कविना यद् गृहीतबहुमानः ॥७९८॥ भवभूतिजलधिनिर्गतकाव्यामृतरसकणा इव स्फुरन्ति । यस्य विशेषा अद्यापि विकटेषु कथानिवेशेषु ॥७९९॥ भासे ज्वलनमित्रे कुन्तीदेवे च यस्य रघुकारे। सौबन्धवे च बन्धे हारिचन्द्रे चानन्दः ॥ ८००॥ आलेख्यं च सरसं च स्पर्शलवणं च सारवच्च । स्थिरमुज्ज्वलं च छायाघनं च गीविलसितं च ।। ८०१॥ आगमवादाश्छन्दोज्ञाश्च ते भरतगौतमप्रमुखाः। नन्दन्ति यमेवंहासकारिणः सारकवयश्च ॥ ८०२ ॥
____ ७९६. 'माणाणुबंधपडिवण्णमुद्ध'. ७९७. णिसिय' for "णिमि. ७९८. इतिअ for एत्तिम', कमलासण° for कमलाउह° ७९९. कहामय . °पबंधेसु, 'णिबंधेसु for णिवेसेसु. ८०१. आलविखरं, सारबंध for सारवंतं, फरुसुज्जलं for थिरमुज्जलं. ८०२. जम्मि इइहासकारिणो.

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१२०
गउडवहो किं च। भरिअ-सवण-ट्ठिअं भूरि-कइ-गुणोवास-कंखिणो जस्स । सुभणिअमहो णति व विम्हय-चलिएहिं सीसेहिं ।। ८०३ ॥ तो सो गोही-परिसंठिएहि सप्पुरिस-संकहावसरे। भणिओ विम्हय-विअसंत-णयण-वत्तं विअड्रेहिं ॥ ८०४ ॥ धारेइ जलहरोहुर-वसुंधराबंधबंधुरं सेसो।। कहवि विणिउंचिअ-द्विअ-विसट्ट-कंठं फणा-वलयं ॥ ८०५॥ दीसंति जअ-विणासुल्लसंत-घण-धूमकेउ-दंड च । जल-मजंत-दिसागअ-खणुद्ध-धरिआ करक्खंभा ॥ ८०६॥ उल्लसिअ-वीइ-वलयंतराल-परिअत्तमाण-रवि-बिंबा । होति सवाडव-जलण व्व गअण-मग्गे विमअरहरा ॥ ८०७॥ विअलंत-विज्जु-वलया पलयंबुवह-णिवहा णिविज्जति । तद्दिअस-पीअ-सलिला साणुसएणं व सलिलेण ॥ ८०८ ॥ जल-भवण-समालंबिअ-सयणस्स मुरारिणो समुद्देण । दिज्जइ महा-पईवो च वीइ-संवेल्लिओ मूरो ॥ ८०९॥
भृतश्रवणस्थितं भूरिकविगुणावकाशकादिक्षणो यस्य। सुभणितमधो नयन्तीव विस्मयचलितैः शीर्षेः ॥८०३॥ ततः स गोष्ठीपरिसंस्थितैः सत्पुरुषसंकथावसरे । भणितो विस्मयविकसन्नयनपत्रं विदग्धैः ।। ८०४॥ धारयति जलभरावनतवसुंधराबन्धबन्धुरं शेषः । कथमपि विनिकुञ्चितस्थितविकसितकण्ठं फणावलयम् ॥८०५॥ दृश्यन्ते जगद्विनाशोल्लसद्घनधूमकेतुदण्ड इव । जलमज्जदिग्गजक्षणोर्ध्वधृताः करस्तम्भाः॥८०६॥ उल्लसितवीचिवलयान्तरालपरिवर्तमानरविबिम्बाः । भवन्ति सवाडवज्वलना इव गगनमार्गेऽपि मकरधराः ॥ ८०७॥ विगलविद्युद्वलयाः प्रलयाम्बुवहनिवहा निपीयन्ते। प्रतिदिवसपीतसलिलाः सानुशयेनेव सलिलेन ॥८०८॥ जलभवनसमालम्बितशयनस्य मुरारेः समुद्रेण। दीयते महाप्रदीप इव वीचिसंवेल्लितः सूर्यः॥ ८०९॥
८०३. गुणोवाय° for °गुणोवास. ८०५. बंधुबंधुरं. ८०६. °ठविया for धरिया. ८०८. विज्जुजीआ for °विज्जुवलया.

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१२१
प्रलयवर्णनम् जाआ वण्णासाआ अण्णेच्चिअ केवि संवलंताण । छीर-सुराउव्व-विआर-विसमिआ सअल-जलहीण ॥ ८१०॥ मज्जइ सिहरारूढारुहंत-पुंजइअ-मुहल-सुर-लोओ। कुहर-भरण-कमोसीअमाण-जल-कलअलो मेरू ॥ ८११॥ चलणंत-णिवडिअं संभमेण पलयंबु-णिब्भरे भुवणे । आरुहइ रअअ-णावं व तिणयणो मलि-ससि-लेहं ॥ ८१२ ॥ णाउल-भावो जोआणुबंध-संजमिअ-सास-पसरस्स । पव्वालिआणणस्स वि सयंभुणो साअर-जलेण ॥ ८१३॥ इअ पलय-जलप्फालिअ-चलंत-सुर-सेल-विहल-विबुहम्मि । अणहमवलंबणं ति-हुवणस्स जो जाअइ मुरारी ॥ ८१४॥ जस्स मह-धूम-लेहा रविणा स-मऊह-दाविअ-दलेण। अग्ग-घडिएण दीसइ कविसेक्क-फल व्व ताल-लआ॥ ८१५॥ तस्स इर इमो सुव्वइ विग्गह-तुंगाहिहाण-पडिवण्णो। भुवणम्मि महासुर-वंस-वेरिणो अंस-णीसंदो॥ ८१६ ॥
जाता वर्णास्वादा अन्य एव केऽपि संवलताम् । क्षीरसुराऽपूर्वविकारसंवलिताः सकलजलधीनाम् ॥ ८१०॥ मज्जति शिखरारूढारोहत्पुत्रीकृतमुखरसुरलोकः । कुहरभरणकमावसीदज्जलकलकलो मेरुः ॥८११॥ चरणान्तनिपतितां संभ्रमेण प्रलयाम्बुनिर्भरे भुवने। आरोहति रजतनावमिव त्रिनयनो मौलिशशिलेखाम् ॥ ८१२॥ न आकुलभावो योगानुबन्धसंयमितश्वासप्रसरस्य । प्लाविताननस्यापि स्वयंभुवःसागरजलेन ॥८१३॥ इति प्रलयजलास्फालितचलतसुरशैलविह्वलविबुधे । अनघमवलम्बनं त्रिभुवनस्य यो जायते मुरारिः ॥ ८१४॥ यस्य मखधूमलेखा रविणा स्वमयूखदर्शिततलेन । अग्रघटितेन दृश्यते कपिशैकफलेव ताललता ॥८१५॥ तस्य किलायं श्रूयते विग्रहतुगाभिधानप्रतिपन्नः। भुवने महासुरवंशवैरिणः अंशनिष्यन्दः॥८१६॥
८१०. खीर° for छीर. ८११. 'तुरण° for °भरण. ८१२. संभवेण. ८१३. पञ्चालिया. ८१४ जलहि° for पलय'. Second half :- भुवणम्मि अणहमवलंबणं तिहुयणस्स जायइ मुरारी. ८१६. तुंगाभिहाण'. भवणम्मि. सारणीसंदो.

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१२२
अह वा ।
ओसरइ समुप्पअणा रहस घडतंग - पेलण-विलोलं । तक्खण- विहडिअ - बंभंड- सअल - जालं व घण- वडलं ॥ ८१७ ॥ विहडंत- घण- विमुक्का परिअत्त-विमाण - वंचिआ कह वि । णिवडंति गलिअ - णिअ-पिञ्छ-विब्भमा तडिगुण-च्छेआ ।। ८१८ ।। भमिअं रय-विहुओअहि-समुच्छलंतेहिं पक्ख- सेलेहिं । साहेज्ज - संगएहिं महा-विहंगेहिं व हम्मि ।। ८१९ ॥ दीसइ वे उग्घाडिअ - साअर-मूल-रअण- पहा अंबो । पढमोवइआरुण - पेल्लिओ व्व मग्गो सुवण्णस्स || ८२० ॥ सोहति अमरिसुग्गम-विजण विसाणल-सिहं विअंभंता । दर-खंडिअ - मुह - घोलंत-गरुल-वक्ख व्व भुअईंदा ॥ ८२१ ॥ मूल-फणा - मंडल - तहणिसण्ण- णिक्कंप-घरिअ महिवेढं । सहइ ठि इअर - फणाहिउत्त- गरुलं अनंतस्स || ८२२ ॥ विहडंति णह - णिवा विहंग - णाहस्स कुलिस- कढिणा वि । मंदर- णिहंस-किण- णिट्टरम्मि वच्छम्मि वासुइणो ॥ ८२३ ॥
गउवहो
अथ वा । अपसरति समुत्पतनाद् रभसघटमानाङ्गप्रेरणविलोलम् । तत्क्षणविघटितब्रह्माण्डशकलजालमिव घनपटलम् ॥ ८१७ ॥ विघटमानघनविमुक्ताः परिवृत्तविमानवञ्चिताः कथमपि । निपतन्ति गलितनिजपिच्छविभ्रमास्तडिद्गुणच्छेदाः ।। ८१८ ॥ भ्रान्तं रय विधुतोदधिसमुच्छलत्पक्षशैलैः । साहाय्य संगतैर्महाविहगैरिव नभसि ।। ८१९ ॥ दृश्यते वेगोद्घादितसागर मूलरत्नप्रभाताम्रः । प्रथमोत्पतितारुणप्रेरित इव मार्गः सुपर्णस्य ।। ८२० ॥ शोभन्ते अमर्षोद्गमद्विगुणविषानलशिखा विजृम्भमाणाः । दरखण्डितमुखघूर्णमानगरुडपक्षा इव भुजगेन्द्राः ॥ ८२१ ।। मूलफणामण्डलतथानिषण्णनिष्कम्पधृतमहीपीठम् । शोभते स्थितमितरफणाभियुक्तमरुडमनन्तस्य ॥ ८२ ॥ विघटन्ते नखनिपाता विहगनाथस्य कुलिशकठिना अपि । मन्दरनिधर्षकिणनिष्ठुरे वक्षसि वासुकेः ॥ ८२३ ॥
८१७. उप्पयइ for ओसरइ. 'घडतग्ग', 'घडतंस. जालसयलं व. ८१८. 'घड' for 'घण'. ८२०. पढमोइण्णारुण, पढमोप्पइआरुण ८२१. अमरसु' मिहं for "सिहं. पक्ख व्व. ८२२. 'विसण्ण' for 'णिसण्ण' हिउतगरलं ( गरल explained by विष ). ८२३. रायस्स for णाहस्स. 'णिहसण' for 'हिंस.

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१२३
उत्पातवर्णनम् णिअ-सुंकारोसारिअ-ण-पडत-विहंग-णाह-संसग्गा। फणिणो विहल-मुह-च्छोह-विउण-रोसं विसूति ॥ ८२४॥ संभम-चलंत-दिग्गअ-बोलाविअ-सास-मुहल-करदंडं । सेसट्ठ-भुअअ-कुल-णामिश्र व ओसरइ पाआलं ॥ ८२५ ॥ इअ एस विहुअ-विसहर-समूह-संभाविउब्भड-जसेण । कुब्भइ विणा-तणएण स-विणयं कण्ह-भावम्मि ॥ ८२६ ॥ अवि अ। संभम-भमंत-विजाहरासि-केसर-करंबिअं फुरइ । उप्याउद्ध-हिअ-चिहुर-दंड-चण्डं व गअण-अलं ॥ ८२७ ॥ उबहइ बिंब-घडिअं तारा-णिअरं ससी विडप्पस्स । णिद्दय-कवलण-खुडिअ-हिअं व दाढा-कणुकरं ।। ८२८॥ रोस-धुअ-चलण-तेलोक-लच्छि-विच्छूढ-उर-च्छायं । विवराह-केउ-भिण्णं रवि-बिंब विअलइ णहम्मि ॥ ८२९ ॥ अत्थक्क फुडण-विअलंत-कलल-कलिलं व बाल-बंभंडं। रवि-बिंब दीसइ किरण-मुक्क-कीलाल-जंबालं ।। ८३०॥
निजसूत्कारापसारितापतविहङ्गनाथसंसर्गाः । फणिनो विह्वलमुखक्षोभद्विगुणरोषं खिद्यन्ते ॥८२४॥ संभ्रमचल दिग्गजघूर्णितश्वासमुखरकरदण्डम् । शेषस्थभुजगकुलनामितमिवापसरति पातालम् ॥८२५ ॥ इत्येष विधुतविषधरसमूहसंभावितोद्भटयशसा । उहते विनतातनयेन सविनयं कृष्णभावे ॥ ८२६॥ अपि च । संभ्रमभ्रमविद्याधरासिकेसरकरम्बितं स्फुरति। उत्पातोर्ध्वस्थितचिकुरदण्डचण्डमिव गगनतलम् ।। ८२७॥ . उद्वहति बिम्बघटितं तारानिकरं शशी राहोः । निर्दयकवलनखण्डितस्थितमिव.दंष्ट्राकणोत्करम् ॥ ८२८ ।। रोषधूतचरणत्रैलोक्यलक्ष्मीविक्षिप्तनूपुरच्छायम् । विवराभकेतुभिन्नं रविबिम्बं विगलति नभसि ॥८२९॥ अकस्मात्स्फुटनविगलत्कललकलिलमिव बालब्रह्माण्डम् । रविबिम्ब दृश्यते किरणमुक्तकीलालजम्बालम् ॥ ८३०॥
८२०. First half-°समुहट्ठियविहयनाह', विहडंतविहंगणाह. विहयच्छोहा विउणियरोसं. विउणरोसा. ८२५. °वलंत° for °चलंत. ८२७. डंड° for "दंड'. ८२९. विवराहि° and विवरभ° for विवराह. ८३०. अच्छक, ससि for रवि.

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१२४
गउडवहो
तद्दिअस-मुह-ठिअ-लोह-कवल-कसण-प्पहा-विहिण्णं व । हेसंति रहस-णिवूढ-धूम-कलुसं जय-तुरंगा ।। ८३१॥ इअ तइआ खण-णिव्वडिअ-भू-लआ-भंग-भंगुरावंगे। जाए इमम्मि भुवणेसु दारुणा आसि उप्पाआ॥ ८३२॥ किं च। सरहस-संचार-तरंगिओरु-तरलाविओ सुहावेइ । आरसणा-गुण-पडिबद्ध-कुंडलो कुसुम-पालंबो ॥ ८३३ ।। घोलइ पडिलग्ग-पियंगु-मंजरी-जाल-गरुइअद्धंतो। असमंजस-लासायास-पसिढिलो कुंतल-कलावो ॥ ८३४॥ सहइ थणवट्ठ-संठिअ-पिठाअअ-पंसु-पिंजर-च्छायं । अहिराम-माहवी-मउल-दंतुरं दमणआहरणं ।। ८३५ ।। पडवास-पंसु-धूसर-दर-गरुआअंत-पम्ह-परिसिढिला। घोलइ महु-मअ-परिणाम-विरल-परिवाडला दिट्ठी ।। ८३६ ॥ इअ मअणूसव-विअसंत-बहल-कीला-रसो सुहावेइ। एअस्स पणइ-भवणेसु णव-विलासो पिआ-सत्यो ॥ ८३७॥
प्रतिदिवसमुखस्थितलोहकवल कृष्णप्रभाविभिन्नमिव । हेषन्ते रभसनिर्मूढधूमकलुषं जयतुरङ्गाः ।।८३१॥ इति तदा क्षणनिर्वर्तितधूलताभन्गभगुरापागे । जातेऽस्मिन् भुवनेषु दारुणा आसन उत्पाताः ॥ ८३२।। किं च। सरभससंचारतरदिगतोरुतरलितः सुखयति। आरशनागुणप्रतिबद्धकुण्डलः कुसुमपालम्बः॥८३३॥ घूर्णते प्रतिलग्नप्रियगुमारीजालगुरुकृतार्धान्तः । असमञ्जसलासायासप्रशिथिलः कुन्तलकलापः ॥८३४ ।। शोभते स्तनपृष्ठसंस्थितपिष्टातकपांसुपिअरच्छायम् । अभिराममाधवीमुकुलदन्तुरं दमनकाभरणम् ॥८३५ ॥ पटवासपांसुधूसरदरगुरूकियमाणपश्मपरिशथिला। घूर्णते मधुमदपरिणामविरलपरिपाटला दृष्टिः ।। ८३६॥ इति मदनोत्सवविकसबहलक्रीडारसः सुखयति । एतस्य प्रणयिभवनेषु नवविलासः प्रियासार्थः ॥ ८३७ ॥
.८३१. विभिण्णं च. ८३२. निव्वडियणिययपयभंगभंगुरावेगा, निव्वडियनिययपयभंगभंगुरावंगे. ८३४. पडिबद्ध for पडिलग्ग. गरुयअद्धंतो. ८३५. वह for
पिया'.

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वैरिवनितावस्था
अवि अ ।
लहु-विसय-भाव- पडिसिद्ध-पसर - संभावणा-पडिक्खलिआ । जस्स समत्ता वि गुणा चिरमसमत्त व्व दीसंति ॥ ८३८ ॥
अह वा ।
वसुहा- यण-पहुष्पंत- रेणु- परिभोअ - विहुरिअ - कवोलं । वयणं हेमंत मिअंक- धूसरं सार्खेतीहिं ।। ८३९ ।। असमारण- मूलुब्भिज्जमाण- पम्हग्ग-मडहिअ - णडाले । अलए णीसास- णिवेस - जज्जरे संजमंतेहिं ॥ ८४० ॥ जह तह - पुसिअंसु कणावलंब-मंथरिअ-पम्ह-परिवेसं । देतीहिँ अहिणवाणंद-बाह- सोम्मुम्मुहिं दिहिं ॥ ८४१ ॥ आक्खित्त चुडुप्पुहेस-समहिआअंब मुव्वहतीहिं । अझसुरमहरं वेलक्ख -सुण्ण-दिण्णंगुली- किसलं ॥ ८४२ ॥ इअ एस हिअअ - णिम्माअ वम्महं खण-खलंत - विअणाहिं । रहसमुम्मुहीहिंदीस पडिवक्ख- णरिंद बंदीहिं ॥ ८४३ ॥ इअ उण्णएण इमिणा जह विविओ पुरा मगह - णाहो । तह सीसंतं एए तुमाओ णीसेसमिच्छति ॥ ८४४ ॥
आप च । लघुविषयभावप्रतिषिद्धप्रसरसंभावनाप्रतिस्खलिता । यस्य समाप्ता अपि गुणाश्चिरमसमाप्ता इव दृश्यन्ते ॥ ८३८ ॥ वसुधाशयनप्रभवद्रेणुपरिभोगविधुरितकपोलम् । वदनं हेमन्तमृगाकधूसरं सारयद्भिः ॥ ८३९ ॥ असमारचनमूलादभिद्यमानपक्ष्माग्राल्पीकृतललाटान् । अलकान निःश्वासनिवेशजर्जरान संयमयन्तीभिः ॥ ८४० ।। यथातथामोञ्छिताश्रुकणावलम्बमन्थरितपक्ष्मपरिवेषाम् । दद्द्तीभिरभिनवानन्दबाष्प सौम्योन्मुखीं दृष्टिम् ॥ ८४१ ॥ आक्षिप्तक्षतोद्देशसमधिकाताम्रमुद्वहन्तीभिः । अताम्बूलमधरं वैलक्ष्यशून्यदत्ता इंगुलि किसलयम् ॥ ८४२ ॥ इत्येष हृदयनिर्मितमन्मथं क्षणस्खलद्वेनाभिः । रभसमुन्मुखीभिर्दृश्यते प्रतिपक्षनरेन्द्रबन्दीभिः || ८४३ ॥ इत्युन्नतेनानेन यथा निष्ठापितः पुरा मगधनाथः । तथा शिष्यमाणमेते त्वत्तो निःशेषमिच्छन्ति ॥ ८४४ ॥

१२५
८३९. परिहो and परिघाय' for परिभोअ° ८४० °विरल' for 'मूल'. संजयंतीहिं. ८४१. मंद' for 'बाह'. 'सोसुम्मुहं, 'सोम्मुस्सुहं and 'सोम्मुम्मुहं for सोम्म्ही हिं. ८४२. दिण्णसुण्णंगुली ८४३. वम्महक्खण'. 'वियलाहिं. रहसंमुहीहि.

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१२६
अह विहसिऊण सणिअं सो जंपर णिव्वडंत-सम्भावं । कइयव-विमुहाइंचिअ होंति विसुद्धा हिअआई ॥ ८४५ ।। धीरेहिं हिअअ-णिहिआ कह वि गमेज्जंति सोअ -संवेआ । अंगाइँ पहरिसो उण गरुआण वि किंपि तरलेइ || ८४६ ॥ कंठेच्चि परिघोलइ पुणरुत्तं पहरिसाउल - क्खलिआ । अपहुष्पंति व्त्र महं वाआ पहुणो पसंसासु ।। ८४७ ॥ अवि अ ।
उ
अंतोवासं विअडाअमाण - फण - मंडलो समुव्वह । पच्छाच्छेप्प- च्छल- णित- दीह - देहत्तणा सेसो ॥ ८४८ ॥ छीराअंत-ह-च्छवि-चलण - विणिम्मिअ-पओहर- चउको । गूढ - मुह कुम्मोचेअ लहइ आवीण- संठाणं ॥ ८४९ ॥ पढमुत्थंघण - घोलाविज्द्ध - घोणा उडेण पडिवण्णं । उत्तुंड -तण्ण अत्तणमइरा वेउण्ठ-कोलेण || ८५० ॥ देह-परिवाडि - पीडा- हुंकार - तरंगिओ विणिक्खमइ । धूमाअंतो पाआल- बहल -तम- संचओचेअ ॥ ८५१ ॥
अथ विहस्य शनैः स जल्पति निर्वर्तमानसद्भावम् । कैतव विमुखान्येव भवन्ति विशुद्धानां हृदयानि ॥ ८४५ ॥ धीरैर्हृदयनिहिताः कथमपि गम्यन्ते शोकसंवेगाः । अङ्गानि प्रहर्षः पुनर्गुरुकाणामपि किमपि तरलयति ॥ ८४६ ॥ कण्ठ एव परिघूर्णते पुनरुक्तं प्रहर्षाकुलस्खलिता । अप्रभवन्तीव मम वाक् प्रभोः प्रशंसासु ॥ ८४७ ॥ अपि च । अन्तरवकाशं विकटायमानफणमण्डलः समुद्रहति । पञ्चाच्छेपच्छल निर्यद्देहदीर्घत्वात् शेषः ॥ ८४८ ॥ क्षीरायमाणनखच्छविचरण विनिर्मितपयोधरचतुष्कः । गूढमुखः कूर्म एव लभते आपीनसंस्थानम् ।। ८४९ ॥ प्रथमोन्नमनघूर्णितोर्ध्वघोणापुटेन प्रतिपन्नम् । उत्तण्डतर्णकत्वमचिराद् वैकुण्ठकोलेन ॥ ८५० ॥ देहपरिपाटीपीडाहुंकारतरैंट्गितो विनिष्क्रामति । धूमायमानः पाताल बहलतमःसंचय एव ॥ ८५१ ।।
८४५. हुअ for सणिअं. ८४६. धरिज्जंति and गमिज्जति for गमेज्जंति... ८४७, क्खंते' for कंठे . पहरिमोवलक्खलिया. ८४८. मंडलं. ८४९. छीराअंतमह". ८५० पढमुत्थं घणघोला विउद्धघोणंतरेण पडिवनो । उद्दंडो (°ड ? ) उन्नत्तणमया ( उ ? ) वइउंठकोलेण । वेउंठगुंठेण पढमुत्थंभण ८५१. विणिक्रमइ.

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गोरूपधरा पृथिवी
१२७ पाआलोअर-मग्गम्मि भिण्ण-विणिवेस-सिढिल-गलिएण। बुब्भइ सुमेरुणा तरुण-रोअणा-सार-सारेच्छं ॥ ८५२ ॥ खण-परिअत्त-सहावत्तणेण दर-णिग्गअंकुर-सिहो व्य । वअणुद्देसो लीला-कवलिअ-तण-दंतुरो होइ ॥ ८५३॥ तक्खण-पीवर-पसरंत-दुद्ध-धारा-णिहेण मूलाम्म । सकुलो व विहाविज्जइ भारुव्वहणाअरा सेसो ॥ ८५४ ॥ इअ जेण संभमारंभ-गहिअ-गो-भाव-विभमुभंता। पुई पुहई-वइणा विलंछिआ णिअअ-णामेण ॥ ८५५॥ तेण वि इमस्स तुलणा ण सहइ सुहअंति कस्स वा विरसा । सच्चरिअ-वंचिआणं सेसाण सिरी-समुल्लासा ॥ ८५६॥ किं च। जाण अलंकारसमो विहवो मइलेइ ते वि व नो । विच्छाएइ मिअंकं तुसार-वरिसो अणुगुणो वि ॥ ८५७ ॥ मोह-सलाहाहि तहा पहुणो पिसुणेहिं वेलविज्जति । जह णिव्वडिएसु वि णिअ-गुणेसु ते किंपि चिंतेति ॥ ८५८॥
पातालोदरमार्गे भिन्नविनिवेशशिथिलगलिन । उहते सुमेरुणा तरुणराचनासारसादृश्यम् ॥८५२॥ क्षणपरिवृत्तस्वभावत्वेन दरनिर्गता
कुरशिख इव । वदनोद्देशो लीलाकवलितदन्तुरो भवति ॥ ८५३ ।। तत्क्षणपीवरप्रसरदुग्धधारानिभेन मूले । सकुल इव विभाव्यते भारोद्वहनादरात शेषः ।। ८५४।। इति येन संभ्रमारम्भगृहीतगोभावविभ्रमोभ्रान्ता। पृथिवी पृथिवीपतिना विलाञ्छिता निजकनाम्ना ।। ८५५॥ तेनाप्यस्य तुलना न शोभते सुखयन्ति कस्य वा विरसाः । सच्चरितवश्चितानां शेषाणां श्रीसमुल्लासाः ॥८५६ । किं च। येषामलंकारसमो विभवो मलिनयति तानपि वर्धमानः। विच्छाययति मृगाकं तुषारवर्षोऽनुगुणोऽपि ॥ ८५७॥ मोघश्लाघाभिस्तथा प्रभोः पिशुनैर्विडम्ब्यन्ते । यथा निवृत्तेष्वपि निजगुणेषु ते किमपि चिन्तयन्ति ॥८५८॥
८५.२. रोअणाारसारिच्छं. ८५४. भारुव्वहणायरो. ८५५. पुहईनाहेण लंछिमा. ८५६. ण सहइ तुलणा. ८५८. नय° for णिय. चिंतंति.

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१२८
गउडवहो
सुलहं हि गुणाहाणं सगुणाहाराण णणु णरिंदाण | अण्णेसिअव्व-मग्गा कत्तो वि गुणा दरिदाण ॥ ८५९ ॥ तं खलु सिरीऍ रहस्सं जं सुचरिअ-मग्गणेक्क-हिअओ वि । अप्पाणमोसरंतं गुणेहिं लोओ ण लक्खेइ ॥ ८६० ॥ - ण सहति सील-सारं दोसे विचिणंति णचिअ विवेआ। दोसम्मि गुणाआरे णवरं पहुणो णिसम्मति ।। ८६१॥ लोएहिं अगहिचित्र सीलमविहव-ट्ठिअं पसण्णं पि। सोसमुवेइ तहिचिअ कुसुमं व फलग्ग-पडिलग्ग ॥ ८६२ ॥ णिचं धण-दार-रहस्स-रक्खणे संकिणो वि अच्छरिअं। आसण्ण-णीअ-वग्गा जं तहवि णराहिवा होति ॥ ८६३ ॥ पेच्छह विवरीअमिमं बहुआ मइरा मएइ ण हु थोवा । लच्छी उण थोवा जह मएइ ण तहा इर बहूआ॥ ८६४ ॥ जे णिव्वडिअ-गुणा वि हु सिरि गआ ते वि णिग्गुणा होति । ते उण गुणाण दूरे अगुणचिअ जे गआ लच्छि ॥ ८६५॥ .
सुलभ हि गुणाधानं सगुणाधाराणां ननु नरेन्द्राणाम् । अन्वोषितव्यमार्गाः कुतोऽपि गुणा दरिद्राणाम् ॥ ८५९॥ तत् खलु श्रियो रहस्यं यत् सुचरितमार्गणैकहृदयोऽपि । आत्मानमपसरन्तं गुणैर्लोको न लक्षयति ॥ ८६०॥ न सहन्ते शीलसारं दोषान् विचिन्वन्ति नैव विवेकात् । दोषे गुणाकारे केवलं प्रभवो निशाम्यन्ति ॥८६१॥ लोकैरगृहीतमेव शीलमविभवस्थितं प्रसन्नमपि । शोषमुपैति तत्रैव कुसुममिव फलाग्रप्रतिलग्नम् ॥८६२ ॥ नित्यं धनदाररहस्यरक्षणे शदिन्कनोऽपि आश्चर्यम् । आसननीचवर्गा यंत् तथापि नराधिपा भवन्ति ॥ ८६३॥ प्रेक्षध्वं विपरीतमिदं बही मदिरा मदयति न खलु स्तोका। लक्ष्मीः पुनः स्तोका यथा मदयति न तथा किल बह्वी ॥८६४॥ ये निवृत्तगुणा अपि खलु श्रियं गता तेऽपि निर्गुणा भवन्ति । ते पुनर्गुणानां दूरे अगुणा एव ये गता लक्ष्मीम् ॥ ८६५॥
८५९. सगुणाहाराण. दरिदेण. ८६०. 'रसिओ वि for °हियओ वि. ८६१. सीलसारे. विचलंति and विरमंति for विचिणंति. ८६२. लोए वि for लोएहिँ. सीलमविहवट्ठिअं Corrected into सीलं विहवुद्धिअं. सासमुवेइ. तहच्चिअ. ८६३. रक्खणा for °रक्खणे. अच्छेरं for अच्छरिअं. ८६४. विवरीयमिणं. जह थोवा for थोवा जह. सबहुआ वि for इर बहूआ.

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गुणिजनेष्वनादरः
१२९
एक्के लहुअ-सहावा गुणेहिँ लहिउं महंति धण-रिदि। अण्णे विसुद्ध-चरिआ विहवाहि गुणे विमग्गंति ॥ ८६६॥ परिवार-दुजणाई पहु-पिसुणाई पि होति गेहाई । उहअ-खलाई तहच्चिअ कमेण विसमाई मण्णेत्था ॥ ८६७॥ एत्तिअमेत्तेण गुणे णणु पडिवज्जति णिविवेआ वि। जेतिअमेत्तेण पहू गरुआण परम्मुहा होति ॥ ८६८॥ . तह अयसिणो गुणेहिं जाआ सुअणा जणम्मि सअलम्मि । दोसाअरणं पि ण गारवाय जह संपअं ताण ॥ ८६९ ॥ गहिआ गुणत्तणेणं फलंति दोसा फुडं परिंदेसु। दोसच्चिअ गुण-संभावणाएँ जइ ताण जाति ॥ ८७०॥ मूढे जणम्मि अ-मुणिअ-गुण-सार-विवेअ-वइअरुबिग्गा। किं अण्णं सप्पुरिसा गामाओ वणं पवज्जति ॥ ८७१॥ दुक्खेहिं दोहिं सुअणा अहिऊरिज्जति दिअसिअंचे। सुपरिस-काले अण जं जं जाआ णीअ-काले अ॥८७२॥
एके लघुकस्वभावा गुणैर्लब्धुमिच्छन्ति धनऋद्धिम् । अन्ये विशुद्धचरिता विभवाद् गुणान् विमृग्यन्ति ॥८६६॥ परिवारदुर्जनानि प्रभु पिशुनान्यपि भवन्ति गेहानि । उभयखलानि तथैव क्रमेण विषमाणि मन्येथाः॥८६७॥ एतावन्मात्रेण गुणान् ननु प्रतिपद्यन्ते निर्विवेका अपि । यावन्मात्रेण प्रभवो गुरूणां पराङ्मुखा भवन्ति ।। ८६८॥ तथा अयशस्विनो गुणैर्जाताः सुजना जने सकले। दोषाचरणमपि न गौरवाय यथा सांप्रतं तेषाम् ॥ ८६९॥ गृहीता गुणत्वेन फलन्ति दोषाः स्फुटं नरेन्द्रेषु । दोषा एव गुणसंभावनया यदि तेषां जायन्ते ।। ८१०॥ मूढे जने अज्ञातगुणसारविवेकव्यतिकरोद्विग्नाः । किमन्यत् सत्पुरुषा ग्रामाद् वनं प्रव्रजन्ति ॥८७१॥ दुःखाभ्यां द्वाभ्यां सुजना अभिपूर्यन्ते दिवसकमेव । सुपुरुषकाले च न यद् यद् जाता नीचकाले च ॥ ८७२॥
८६७. पिसुणाई च. ८६८. This couplet read as - एत्तियमीत्तण पह गरुयान परामुहा होति । लोवहियगहियं चिय सीलं तेसु ट्ठियं पसनं पि। ८६९. जयम्मि for जणम्मि. ८७०. तेण for ताण. ८७१. रनाओ for गामाओ. पहम्मति for पवज्जंति. ८७२. अहिजलिज्जति for अहिलरिज्जति. दिअनिसं for दिअसि. also read as-सुपुरिसकालमजणणं जाया जे नीयकाले य.
ग. ९

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१३०
गउड हो
सुमईण सुचरिआण अ देता आलोअणं पसंगं च । पहुणो जं णिअअ फलं तं ताण फलं ति मण्णंति ॥। ८७३ ।। root faणाम विवी सुहाई लीलासहाई णिन्विसइ । असमंजस - करणेच्चअ णवर णिव्वड पहुभावो ॥ ८७४ ॥ अंदोलंताण खणं गरुआण अणाअरे पहु-कअम्मि । हिअअं खल- बहुमाणावलोअणे णवर णिव्बाइ || ८७५ ॥ पत्थव - घरे गुणिणो वि णाम जइ केवि सावसास व्व । जण - सामण्णं तं ताण किंपि अण्णंचिअ णिमित्तं ॥ ८७६ ॥ वच्चति वेस - भावं जेहिंचिअ सज्जणा गरिंदाण । तेहिंचिअ बहुमाणं गुणेहिं किं णाम मग्गंति || ८७७ ॥ को व्व ण परंमुहो णिग्गुणाण गुणिणो ण कं व दूमेंति । जो वा ण गुणी जो वाण णिग्गुणो सो सुहं जिअ || ८७८ ॥ जं सुअणेसु णिअत्त पहूणं पडिवत्ति - णीसहं हिअअं । तं खु इमं रणाहरण- मोअणं गारव भएण || ८७९ ॥
सुमतीनां सुचरितानां च ददत आलोकनं प्रसङ्गं च । प्रभवो यद् निजकफलं तत् तेषां फलमिति मन्यन्ते ॥ ८७३ ।। अन्योऽपि नाम विभवी सुखानि लीलासहानि निर्विशति । असमञ्जसकरण एव केवलं निर्वर्तते प्रभुभावः ॥ ८७४ ॥ आन्दोलतां क्षणं गुरूणामनादरे प्रभुकृते । हृदयं खलबहुमानावलोकने केवलं विश्राम्यति ॥ ८७५ ॥ पार्थिवगृहेषु गुणिनोsपि नाम यदि केऽपि सावकाशा इव । जनसामान्यं तत् तेषां किमप्यन्यदेव निमित्तम् ॥ ८७६ ।। व्रजन्ति द्वेष्यभावं यैरेव सज्जना नरेन्द्राणाम् । तैरेव बहुमानं गुणैः किं नाम मृगयन्ते ॥ ८७७ ॥ को वा पराङ्मुखो निर्गुणानां गुणिनो न कं वा दुन्वन्ति । यो वा न गुणी यो वा न निर्गुणः स सुखं जीवति ॥ ८७८ ॥ यत् सुजनेषु निवर्तते प्रभूणां प्रतिपत्तिनिःसहं हृदयम् । तत् खलु इदं रत्नाभरणमोचनं गौरवभयेन ।। ८७९ ।।
८७३. अवलोयणं. जाण for ताण. ८७४. विलासलीलासुहाई for सुहाई लीलासहाई. उवरs for णिव्वडइ. ८७५. णेव्वाइ for णिब्बाइ ८७७. कह for किं.

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सुजनदुर्जनभेदः अविवेअ-संकिणोच्चेअ णिग्गुणा पर-गुणे पसंसंति।। लद्ध-गुणा उण पहुणो बाढं वामा पर-गुणेसु ॥ ८८० ॥ सब्बोच्चिअ स-गुणुक्करिस-लालसो वहइ मच्छरुच्छाहं । ते पिसुणा जे ण सहति णिग्गुणा पर-गुणुग्गारे ॥ ८८१॥ सुअणतणेण घेप्पइ थोएणंचिअ परो सुचरिएण। दुक्ख-परिओसिअव्वो अप्पाणोच्चेअ लोअस्स ॥ ८८२ ॥ मोत्तुं गुणावलेवो तीरइ कह णु विणय-ट्टिएहिं पि। मुक्कम्मि जम्मि सोच्चिअ विउणअरं फुरइ हिअअम्मि ॥ ८८३॥ मिजंता हिअएण किं पि चिंतेति जइ ण जाणामि । किरियासु पुण पअति सज्जणा णावरद्धे वि ॥ ८८४ ॥ महिमं दोसाण गुणा दोसा वि हु देति गुण-णिहाअस्स। दोसाण जे गुणा ते गुणाण जइ ता णमो ताण ।। ८८५॥ . सुअणाअंति खला वि हु सुअणा वि खलत्तणं व दावेति । एसोच्चिअ सीमंतो गुणाणं दूरं फुरंताण ॥ ८८६॥
अविवेकशकिन एव निर्गुणाः परगुणान् प्रशंसन्ति। लब्धगुणाः पुनः प्रभवी बाढं वामाः परगुणेषु ।। ८८०॥ सर्व एव स्वगुणोत्कर्षलालसो वहति मत्सरोत्साहम् । ते पिशुना ये न सहन्ते निर्गुणाः परगुणोद्गारान ॥ ८८१ ॥ सुजनत्वेन गृह्यते स्तोकेनैव परः सुचरितेन। दुःखपरितोषयितव्य आत्मैव लोकस्य ॥ ८८२॥ मोकुं गुणावलेपः शक्यते कथं नु विनयस्थितैरपि । मुक्ते यस्मिन् स एव द्विगुणतरं स्फुरति हृदये ॥ ८८३॥
यमाना हृदयेन किमपि चिन्तयन्ति यदि न जानामि । क्रियासु पुनः प्रवर्तन्ते सज्जना नापराद्धेऽपि ॥ ८८४॥ महिमानं दोषाणां गुणा दोषा अपि खलु ददति गुणनिघातस्य । दोषाणां ये गुणास्ते गुणानां यदि तद् नमस्तेषाम् ॥ ८८५ ॥ सुजनायन्ते खला अपि खलु सुजना अपि खलत्वमिव दर्शयन्ति । एष एव सीमन्तो गुणानां दूरं स्फुरताम् ॥ ८८६॥
८८०. संकिअच्चेअ. ८८२. अत्ताणो for अप्पाणो. ८८३. हिययस्स for हिययम्मि. ८८४. किरियासु तु पयत्तंति. ८८६. Also read as सुयणा वि खलायंति व खला वि सुयणतणं व दाति ।

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१३२
गउडवहो संसेविऊण दोसे अप्पा तीरइ गुण-द्विओ काउं। णिव्वडिअ-गुणाण पुणो दोसेसु मई ण संठाइ ॥ ८८७ ॥ सुट्ठ वि परिहीण-गुणो सुअणो अण्णेहिं होइ सामण्णो । सहआरे गलिअ-रसे वि भूअ-कज्जं ठिअं चेअ॥ ८८८ ॥ कलहोआइमयाइं णवरं महिलाण दप्पण-अलाई। पुरिसाण दप्पणं चरिअ-धारिणो सज्जणच्चेअ॥ ८८९ ॥ वअण-विमुक्कं पि खलो अण्णत्तो दारुणतणं वहइ। धारासु मुहुत्तिण्णं पि धरइ फरुसत्तणं दब्भो ॥ ८९०॥ परिगअ-परगुण-सारत्तणेण विउणं विसरमाणाण । होइ विवेओच्चिअ दुज्जणाण पिसुणत्तण-णिमित्तं ॥ ८९१ ॥ अह मोहो पर-गुण-लहुअआएँ जं किर गुणा पयट्टति । अप्पाण-गारवंचिअ गुणाण गरुअत्तण-णिमित्तं ॥ ८९२॥ कुम्भंते जम्मि गुणुण्णआ वि लहुअत्तणं व पार्वति । कह णाम णिग्गुणच्चिअ तं वहति माहप्पं ॥ ८९३ ॥
__संसेव्य दोषान् आत्मा शक्यते गुणस्थितः कर्तुम् । निर्वृत्तगुणानां पुनर्दोषसु मतिर्न संतिष्ठते ॥ ८८७ ॥ सुष्टु अपि परिहीनगुणः सुजनोऽन्यैर्भवति सामान्यः । सहकारे गलितरसेपि भूतकार्य स्थितमेव ।। ८८८ ।। कलधौतादिमयानि केवलं महिलानां दर्पणतलानि। पुरुषाणां दर्पणं चरितधारिणः सज्जना एव ॥ ८८९॥ वचनविमुक्तमपि खलोऽन्यत्र दारुणत्वं वहति । धारासु मुखोत्तीर्णमपि धारयति परुषत्वं दर्भः॥ ८९० ॥ परिगतपरगुणसारत्वेन द्विगुणं विसूरयताम् । भवति विवेक एव दुर्जनानां पिशुनत्वनिमित्तम् ॥ ८९१॥ अथ मोहो परगुणलघुतया यत् किल गुणाः प्रवर्तन्ते। आत्मगौरवमेव गुणानां गुरुत्वनिमित्तम् ॥ ८९२॥ उहामाने यस्मिन् गुणोन्नता अपि लघुत्वमिव प्राप्नुवन्ति। कथं नाम निर्गुणा एव तद् वहन्ति माहात्म्यम् ॥८९३।।
८८७. गुणाहिओ for गुणढिओ. ८८९. सज्जणोच्चेय. ८९०. कुणइ for वहइ. हवइ and वसइ for धरइ. ८९२. पयत्तंति.

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गुणिजनानुतापः
माह गुण - कज्जम्मि अगुण - कज्जे णिबद्ध - माहप्पा | विवरीअं उपपत्तिं गुणाण इच्छंति कावुरिसा || ८९४ ॥ गुण-संभवो मओ सुपुरिसाण संकमइ णेअ हिअअम्मि | तेण आणिव्वृढ-मअ व्व ताण गरुआ गुणा होंति ॥ ८९५ ।। ता चेअ मच्छर-मलं जाव विवेओ फुडं ण विप्फुरइ | जालअं च भअवआ हुअवहेण धूमो अ विणिअत्तो ॥ ८९६ ॥ तुंगावलोअ होइ विम्हओ णीअ-दंसणे संका । जह पेच्छताण गिरिं जहेअ अवडं णिअंताण ॥। ८९७ ॥ इच्छामि विमुक-गुणं पिसुणासंकाऍ काउमप्पाणं । विसहर - संखोहु क्खित्त - कुसुम - मालं व अणीए || ८९८ ॥ जणमणहिगीअगुणगारखं पि गुण-गव्विअं णिएऊण । भुवणारूढ - गुणाण वि अप्पा अंदोलइ गुणेसु ॥ ८९९ ॥ गुणिणो विवारूढाण विहविणो गुरु-गुणाण ण हु किंपि । लहुअन्ति व अण्णोष्णं गिरीण जे मूल - सिहरेसु ॥ ९०० ॥
माहात्म्ये गुणकार्ये अगुणकार्ये निबद्धमाहात्म्याः । विपरीतामुत्पत्तिं गुणानामिच्छन्ति कापुरुषाः ॥। ८९४ ॥ गुणसंभवो मदः सुपुरुषाणां संक्रामति नैव हृदये । तेन अनिर्व्यूढमदा इव तेषां गुरवो गुणा भवन्ति ॥ ८९५ ॥ तावदेव मत्सरमलं यावद् विवेकः स्फुटं न विस्फुरति । ज्वलितं च भगवता हुतवहेन धूमश्च विनिवृत्तः ॥ ८९६ ।। तुङ्गावलोकने भवति विस्मयो नीचदर्शने शङ्का । यथा प्रेक्षमाणानां गिरिं यथैव अवटं पश्यताम् ॥ ८९७ ।। इच्छामि विमुक्तगुणं पिशुनाशङ्कया कर्तुमात्मानम् । विषधरसंक्षोभोत्क्षिप्तकुसुममालामिव रजन्याम् ॥ ८९८ ॥ जनमनभिगीतगुणगौरवमपि गुणगर्वितं दृष्टा । भुवनारूढ गुणानामपि आत्मा आन्दोलति गुणेषु ॥ ८९९ ॥ गुणिनो विभवारूढानां विभविनो गुरुगुणानां न खलु किमपि । लघयन्तीवान्योन्यं गिरीणां ये मूलशिखरेषु ॥ ९०० ॥
१३३
८९४. गुणकज्जम्मि अगुणकाल and गुणकज्जे परगुणकज्जे for गुणकज्जम्मि अगुणकज्जे. ८९५. सुवरिसाण कमइ. हियएसु. अणिच्छूढ for अणिब्बूढ. ८९६. ता होइ मच्छरमलो. न ताण for फुडं ण.

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१३४
गउडवहो ण तहा महागुणेसु माहप्पधरा हवंति णरवइणो । साहंकारा जह पत्थिवेसु तेच्चेअ दीसंति ॥९०१॥ जह जह णग्यंति गुणा जह जह दोसा अ संपइ फलंति । अगुणाअरेण तह तह गुण-सुण्णं होहिइ जअं पि ॥९०२ ॥ किं व परिंदेहिं विवेअ-मुक्क-सअलाहिलास-णीसंगा। विहिणो वि धीर-पडिबद्ध-परिअरा होति सप्पुरिसा ॥९०३॥ थोआरंभे वि विहिम्मि आयसग्गे व्व खंडणमुर्वेति । स-परिफंदेणंचिअ जीआ भामि-दारु-सअलं व ॥९०४॥ विण्णाणालोओच्चिअ कुमईण विसार पआसेइ।.. कसणाण मणीणं पिव तेअ-प्फुरणं सि चेअ ॥९०५॥ हिअअ-विअडत्तणेणं गरुआण ण णिबडंति बुद्धीओ। घोलंति महा-भवणेसु मंद-किरणच्चिअ पईवा ॥९०६॥ अच्चंत-विएएण वि गरुआण ण णिव्वडंति संकप्पा । विज्जुज्जोओ बहलत्तणेण मोहेइ अच्छीइं ॥९०७॥
न यथा महागुणेषु माहात्म्यधरा भवन्ति नरपतयः। साहंकारा यथा पार्थिवेषु त एव दृश्यन्ते ॥ ९०१॥ यथा यथा नार्धन्ति गुणा यथा यथा दोषाश्च संप्रति फलन्ति । अगुणादरेण तथा तथा गुणशून्यं भविष्यति जगदपि ॥९०२॥ किं वा नरेन्द्रविवेकमुक्तसकलाभिलाषनिःसद्गाः । विधेरपि धैर्यप्रतिबद्धपरिकरा भवन्ति सत्पुरुषाः ॥९०३ ॥ स्तोकारम्भेऽपि विधौ आयसाग्र इव खण्डनमुपयन्ति । स्वपरिस्पन्देनैव नीचा भ्रमिदारुशकलमिव ॥ ९०४॥ विज्ञानालोक एव कुमतीनां विसारतां प्रकाशयति । कृष्णानां मणीनामिव तेजःस्फुरणं सितमेव ॥९०५॥ हृदयविकटत्वेन गुरूणां न निवर्तन्ते बुद्धयः। घूर्णन्ते महाभवनेषु मन्दकिरणा एव प्रदीपाः ॥९०६॥ अत्यन्तवितेजसाऽपि गुरूणां न निवर्तन्ते संकल्पाः । विद्युयोतो बहलत्वेन मोहयति अक्षीणि ।। ९०७॥
९०१. महागुणाण. ९०२. दोसा वि for दोसा अ. ९०३. णीसंका. गुरुगुणा होति for होंति सप्पुरिसा. वीर° for ° धीर. ९०४. भम° for भमि. ° सयलव्व. ९०५. कुमईसु for कुमईणं. पसासेइ. कसणाणं पि मणीणं. सयं for सिकं.

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कलियुगप्रभावः
१३५ जे गेण्हंति सयंचिअ लच्छि ण हु ते ण गारव-ढाणं । ते उण कवि सयंचिअ दालिदं घेप्पए जेहिं ॥९०८॥ एक्के पावंति ण तं अण्णे परओ व्व तीऍ दीसंति । इअराण महग्याणं च अंतरे णिवसइ पसंसा ॥९०९ ॥ मरणमहिणंदमाणाण अप्पणच्चेअ मुक्क-विहवाण । कुणइ कुविओ कअंतो जइ विवरीअं सु-पुरिसाण ॥ ९१० ॥ उवअरणीभूअ-जआ ण हु णवर ण पाविआ पहु-ट्ठाणं । उवअरणं पि ण जाआ गुण-गुरुणो काल-दोसेण ॥ ९११॥ छाया सा इर मण्णे अणंतरागामिणो कअ जुअस्स। काल-काल-भरम्मि वि किंपि जेण विमलं पडिप्फुरइ ॥९१२॥ विसइच्चेअ सरहसं जेसुं कि तेहि खंडिआसेहिं । णिक्खमइ जेसु परिओस-णिन्भरो ताई गेहाई ॥ ९१३॥ उज्झइ उआर-भावं दक्खिण्णं करुणरं च आमुअइ । काण वि समोसरंती छिप्पइ पुहवी वि पावहिं ॥९१४॥
ये गृह्णन्ति स्वयमेव लक्ष्मी न खलु ते न गौरवस्थानम् । ते पुनः केऽपि स्वयमेव दारिद्यं गृह्यते यैः ॥ ९०८॥ एके प्राप्नुवन्ति न तामन्ये परत इव तस्या दृश्यन्ते। इतरेषां महार्घाणां चान्तरे निवसति प्रशंसा ॥९०९॥ मरणमभिनन्दतामात्मनैव मुक्तविभवानाम्। करोति कुपितः कृतान्तो यदि विपरीतं सुपुरुषाणाम् ॥ ९१०॥ उपकरणीभूतजगतो न खलु केवलं न प्रापिताः प्रभुस्थानम् । उपकरणमपि न जाता गुणगुरवः कालदोषेण ॥ ९११ ॥ छाया सा किल मन्येऽनन्तरागामिनः कृतयुगस्य । कलिकालभरेऽपि किमपि येन विमलं प्रतिस्फुरति ।। ९१२ ॥ विशत्येव सरभसं येषु किं तैः खण्डिताशैः । निष्कामति येषु परितोषनिर्भरस्तानि गेहानि ॥९१३॥ उज्झति उदारभावं दाक्षिण्यं करुणतां चामुञ्चति । केषामपि समपसरन्ती स्पृश्यते पृथिव्यपि पापैः ॥९१४॥
९०८. गिम्हंति and गिण्हंति for गेण्हंति. दारिदं and दोगच्च for दालिद्द. ९०९. पुरओ व्ध for परओ व्व. ९१०. कुइओ for कुविओ. सुवुरिसाण. ९१२. परिप्फुरइ. ९१३. सहरिस for सरहसं. णिक्खमइ जेहिं for णिक्खमइ जेसु. परिओसपहसिरो for परिओसणिभरो. ९१४. उवयार° for उआर. दक्खिण्णं च करुणं च. दक्खिण्णं च सइ ( or च जइ?) करुणयं मुयइ. पावेण. अणोसरंती for समोसरंती.

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१३६
गउडवहो अंतोच्चिअ णिहुअं विहसिऊण अच्छंति विम्हिआ ताहे । इअर-सुलहं पि जाहे गरुआण ण किंपि संपडइ ॥९१५॥ दावेंति सज्जणाणं इच्छा-गरुअं परिग्गहं गरुआ। मअण-विणिवेस-दिटुं महा-मणीणं व पडिबिंबं ॥९१६ ॥ साहीण-सज्जणा वि हु णीअ-पसंगे रमंति काउरिसा। सा इर लीला जं काअ-धारणं सुलह-रअणाण ॥ ९१७॥ थाम-स्थाम-णिवेसिअ-सिरीण गरुआण कह णु दालिदं। एक्का उण किविण-सिरी गआ अ मूलं च पम्हुसि ॥९१८॥ किविणाण अण्ण-विसए दाण-गुणे अहिसलाहमाणाण । णिअ-चाए उच्छाहो ण णाम कह वा ण लज्जा वि ॥ ९१९ ।। परिहोअ-सहा णववहु व्व ताण णव-संगमालसा लच्छी। इअरा लहिऊण सिरि ण काम-लीला-परा तेण ॥ ९२० ॥ अच्छंतिचिअ किविणा अछिवंता पास-गोअरं लच्छि । परिहारवई व पियं मइल-च्छायं णिअच्छंता ॥९२१॥
अन्तरेव निभृतं विहस्य तिष्ठन्ति विस्मितास्तदा। इतरसुलभमपि यदा गुरूणां न किमपि संपद्यते॥९१५॥ दर्शयन्ति सज्जनानामिच्छागुरुकं परिग्रहं गुरवः । मदनविनिवेशदृष्टं महामणीनामिव प्रतिबिम्बम् ॥ ९१६॥ स्वाधीनसज्जना अपि खलु नीचप्रसगे रमन्ते कापुरुषाः । सा किल लीला यत् काचधारणं सुलभरत्नानाम् ॥९१७।। स्थानस्थाननिवेशितश्रीणां गुरूणां कथं नु दारिद्यम् । एका पुनः कृपणश्रीगेता च मूलं च प्रमृष्टम् ॥९१८ ।। कृपणानामन्यविषयान् दानगुणानभिश्लाघमानानाम् । निजत्याग उत्साहो न नाम कथं वा न लज्जाजप ॥९१९॥ परिभोगसहा नववधूरिव तषां नवसद्गगमालसा लक्ष्मीः। इतरे लब्ध्वा श्रियं न कामलीलापरास्तेन ॥ ९२० ॥ तिष्ठन्त्येव कृपणा अस्पृशन्तः पार्श्वगोचरां लक्ष्मीम् । परिहारवतीमिव प्रियां मलिनच्छायां पश्यन्तः ।। ९२१॥
. ९१५. विम्हया. ९१६. रूयं for °गरुअं दिवो महामणीणं व पडिबंधो. ९१८. ठाणट्टाण° for थामत्थाम. किवण for किविण ९१९. किवणाणमण्णविसए दाणगुणा सइ सलाह ९२०. परिभोयहया. णववहुव्व for णवहुव्व for लीलाधरा. जेण for तेण. ९२१. मलिणच्छायं

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लक्ष्मीविलसितम्
१३७
परमत्थ-पाविअ-गुणा गरुअं पि हु पलहु व मण्णंति । तेण सिरीऍ विरोहो गुणेहिं णिकारणं ण उण ॥ ९२२ ॥ भुमआ-भंगाणत्ता वि सुवुरिसं जं ण तुरिअमल्लिअइ । तं मण्णे धावंती रहसेण सिरी परिक्खलइ ॥ ९२३ ॥ णणु णासमणवलंबा एइच्चिअ सा वि सुवुरिसाभावे । देव्व-वसा तेण सिरीएँ होइ णासंसिओ विरहो ॥९२४ ॥ धम्म-पसूआ कह होउ भअवई वेस-सज्जणा लच्छी। ताओ अलच्छिओच्चिअ लच्छि-णिहा जा अणज्जेसु ॥ ९२५॥ जा विउला जाओ चिरं जा परिहोडज्जलाओ लच्छीओ। आआरधराणंचिअ ताओ ण उणो अ इअराण ॥९२६ ॥ अवणेइ देइ अ गुणे दोसे मेइ देइ अ पसं। दीसइ एस विरुद्धो व्च को वि लच्छीऍ विण्णासो ॥९२७॥ समरे धारा-गोअरमुवेंति जे वइरि-मंडलग्गाण । ते तम्मि बला खलु णिवसिरी' लच्छीऍ छिप्पंति ॥ ९२८॥
परमार्थप्राप्तगुणा गुरुकमपि प्रलघुकमिव मन्यन्ते । तेन थियो विरोधो गुणैर्निष्कारणं न पुनः ॥ ९२२ ॥ धूभङ्गाज्ञप्ता अपि सुपुरुष यन त्वरितमालीयते । तन्मन्ये धावन्ती रभसेन श्रीः परिस्खलति ॥ ९२३ ॥ ननु नाशमनवलम्बा एत्येव साऽपि सुपुरुषाभावे । दैववशात् तेन श्रियो । भवति नाशंसितो विरहः ॥ ९२४॥ धर्मप्रसूता कथं भवतु भगवती द्वेष्यसज्जना लक्ष्मीः। ता अलक्ष्म्य एव लक्ष्मीनिभा या अनार्येषु ॥९२५॥ य विपुला याश्चिरं याः परिभोगोज्वला लक्ष्मयः । आचारधराणामेव ता न पुनश्च इतरेषाम् ॥ ९२६॥ अपनयति ददाति च गुणान् दोषांश्छादयति ददाति च प्रकाशम् । दृश्यते एष विरुद्ध इव कोऽपि लक्ष्म्या विन्यासः ॥ ९२७॥ समरे धारागोचरमुपयन्ति ये वैरिमण्डलाग्राणाम् । ते तस्मिन् बलात् खलु निवसनशीलया लक्ष्मया स्पृश्यन्ते ॥ ९२८॥
९२२. तणलहुइअंव, तणपलहुयं व for गरुअंपि पलहुअं व. ९२३. सुवुरिसे and सुपुरिसं for सुवुरिसं. ९२४. तेहिं for तेण. ९२५. देस for वेस. ९२६. जाय for जाओ. पराणं for 'धराणं. उणो उ, उणा उ for उणो अ. ९२७. णासेइ for 'मेइ. ९२८. वेरि' for वइरि. घिप्पंति for छिप्पंति.

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१३८
गउडवहो अप्फोडणाहिघाअ-च्छलेण चिरमेक-भुअ-कआसंघा। विणिवारेंति व वीअं भुअं पि दप्पेण सप्पुरिसा ॥ ९२९ ॥ अण्णोण्णं लच्छिगुणाण पूण पिसुणा गुणच्चिअ ण लच्छी। लच्छी अहिलेइ गुणे लच्छि ण उणो गुणा जेण ॥९३०॥ लच्छी-लआएँ मूलं गुणत्ति एअं परिट्रिअंचे। जेण अहो-गमणंचेअ ताण परिवड्ढणे तीए ॥९३१ ॥ अयसं दाऊण विसंठुलाण सज्झस-विमूरिअव्वाण । पढमंचिअ जीएँ पाई महुमहच्चेअ खलिआई ॥९३२ ॥ सा चडुला कह णु गुणुज्जलेसु लच्छी अकूणिरं कुणउ । चिरआलोसिअ-पाआल-तिमिर-संवाहिअं दिढि ॥ ९३३॥ जीऍ समारंभेच्चिअ लच्छी पढम-द्विआ वि विवलाइ । अण्णा तीएच्चिअ पत्थणाएँ कह णाम संघडइ ।। ९३४ ॥ दुक्खाभावो ण सुहं ताई वि ण सुहाई जाई सोक्खाई। मोत्तूण सुहाई सुहाई जाई ताइच्चिअ सुहाई ॥ ९३५॥
आस्फोटनाभिघातच्छलेन चिरमेकभुजकृताध्यवसायाः । विनिवारयन्तीव द्वितीयं भुजमपि दर्पण सत्पुरुषाः ॥ ९२९॥ अन्योन्यं लक्ष्मीगुणानां नूनं पिशुना गुणा एव न लक्ष्मीः। लक्ष्मीरभिगृह्णाति गुणान् लक्ष्मी न पुनर्गुणा येन ॥ ९३०॥ लक्ष्मीलताया मूलं गुणा इत्येतत् परिष्ठितमेव । येनाधोगमनमेव तेषां परिवर्धने तस्याः॥ ९३१ ।। अयशो दत्त्वा विसंष्ठुलानां साध्वसविसूरितव्यानाम् । प्रथममेव यस्याः पदानि मधुमथन एव स्खलितानि ।। ९३२ ॥ सा चदुला कथं नु गुणोज्वलेषु लक्ष्मीरकूणितां करोतु । चिरकालोषितपातालतिमिरसंवाहितां दृष्टिम् ॥ ९३३ ॥ यस्याः समारम्भ एव लक्ष्मीः प्रथमस्थिताऽपि विपलायते । अन्या तयैव प्रार्थनया कथं नाम संघटताम् ।। ९३४॥ दुक्खाभावो न सुखं तान्यपि न सुखानि यानि सौख्यानि । मुक्त्वा सुखानि सुखानि यानि तान्येव सुखानि ॥ ९३५॥
९२९. दप्पेण भुवं पि for भुपि दप्पेण. ९३०. णवर for Yण. अहिलेइ गुणा लच्छी. ९३१. जेणाहो. ९३३. कुणइ. चिरकालो. ९३५. सुक्खाई for सोक्खाई.

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सुखदुःखविवेकः
१३९
सुह-संग-गारवेच्चिअ हवंति दुक्खाई दारुणअराई । आलोउकरिसेचिअ च्छाया बहलत्तणमुवेइ ॥ ९३६ ॥ सुह-संगो सुह-विणिवत्तिएक-चित्ताण अविरअं फुरइ । अंगुलि-पिहिआण वो अब्बोच्छिण्णो ब्व कण्णाण ॥९३७॥ दूमिजंताई वि सुहमुर्वेति गरुआण णिअअ-दुक्खेहिं । रस-बंधेहिं कईण व विइण्ण-करुणाई हिअआई ॥ ९३८ ॥ अण्णण्णाई उता संसार-वहम्मि णिरवसाणम्मि । मण्णंति धीर-हिअआ वसइ-ट्टाणाई व कुलाइं ॥९३९ ॥ ससिएहिचिअ लोओ दुक्खं लहुएइ दुक्ख-जणिएहिं । आयास-कएहिं करी आयासं सीअरेहिं व ॥९४०॥ पहरिस-मिसेण बाहो जं बंधु-समागमे समुत्तरइ । वोच्छेअ-काअराइं तं गृण गलंति हिअआई ॥ ९४१॥ मूढ सिढिलत्तणं ते सणेह-वासेण कह णु बद्धस्स । बाहं गाढअराअइ जो इर मोर्चे तणंतस्स ॥ ९४२ ॥
सुखसद्गगौरव एव भवन्ति दुक्खानि दारुणतराणि । आलोकोत्कर्षे एव छाया बहलत्वमुपैति ।। ९३६ ।। सुखसन्गः सुखविनिवर्तितैकचित्तानामविरतं स्फुरति । अगुलिपिहितानां रवोऽव्युच्छिन्न इव कर्णानाम् ।। ९३७ ।। दूयमानान्यपि सुखमुपयन्ति गुरूणां निजकदुःखैः। रसबन्धैः कवीनामिव वितीर्णकरुणानि हृदयानि ॥९३८॥ अन्यान्यान्युपयन्तः संसारपथे निरवसाने। मन्यन्ते धीरहृदया वसतिस्थानानीव कुलानि ॥९३९॥ श्वसितैरेव लोको दुःखं लघयति दुःखजनितैः। आयासकृतैः करी आयासं शीकरैरिव ॥ ९४०॥ प्रहर्षमिषेण बाष्पो यद् बन्धुसमागमे समुत्तरति । व्युच्छेदकातराणि तन्नूनं गलन्ति हृदयानि ॥ ९४१॥ मूढ शिथिलत्वं ते स्नेहपाशेन कथं नु बद्धस्य। बाढं गाढतरायते यः किल मोक्तुं तन्वतः ॥ ९४२॥
९३६. दुक्खाई हवंति. करिसच्चिय. बहुलत्तण and सफलत्तण for बहल. नण. ९३७. सुह विणियत्तियाण for सुहविणिवत्तिएक. अन्वुच्छिन्नो व्व सवणाण. ९३८. ° बंधेण व कइणो and °बंधेहिं कइणो for बंधेहिं कईण व. ९४०. आयासकरेहि. ९४०. आयासकरेहिं ९४२. सिणेह. पासेण for °वासेण. जं for जो. भगतस्स. Also read as जोतुं मोतु भणंतस्स.

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१४०
गउडवहो
होऊण वि हंत णिरंतराई दूरंतराई जाति । उम्मोइअ-रसणंतोवमाई घडिआई लोअस्स ॥ ९४३॥ पढमं ण गुणा गुण-हेउणो परं ते तओ सह गुणहिं । संपइ ताण गुणच्चेअ णवर हा ते उण ण संति ॥९४४॥ कालवसा णासमुवागअस्स सप्पुरिस-जस-सरीरस्स । अट्ठि-लवाअंति कहिं पि विरल-विरला गुणुग्गारा ॥९४५॥ थिर-वासणा-समुत्था दोसा बंधाय णीअ-चरिआण। सप्पुरिसाणं च गुणा मोहाय ण झत्ति विरमंति ॥ ९४६॥ एस विराओ हिअअं जं रमइ जहागएसु विहवेसु । णिन्भच्छणं तु लच्छीऍ णवर थिर-मच्छरो राओ॥९४७ ॥ सोच्चेअ किंण राओ मोत्तूण बहु-च्छलाई गेहाई । पुरिसा रमंति बधुज्झरेसु जं काणणंतेसु ॥९४८ ॥ किं व सरूव-वरोच्चिअ सेवा-णिंदा-चरो व्व अह मग्गो। जं महइ विंझ-चण-गोअराण लोओ पुलिंदाण ॥ ९४९ ॥
. भूत्वाऽपि हन्त निरन्तराणि दूरान्तराणि जायन्ते। उन्मोचितरशनान्तोपमानि घटितानि लोकस्य ॥ ९४३॥ प्रथमं न गुणा गुणहेतवः परं ते ततः सह गुणैः । संप्रति तेषां गुणा एव अनन्तरं हा ते पुनर्न सन्ति ॥९४४॥ कालवशान्नाशमुपागतस्य सत्पुरुषयशाशरीरस्य। आस्थलवायन्ते कस्मिन्नपि विरलविरला गुणोद्गाराः ॥९४५ ॥ स्थिरवासनासमुत्था दोषा बन्धाय नीचचरितानाम् । सत्पुरुषाणां च गुणा मोहाय न झगिति विरमन्ति ॥ ९४६॥ एष विरागो हृदयं यद् रमते यथागतेषु विभवेषु । निर्भर्त्सनं तु लक्ष्म्याः केवलं स्थिरमत्सरो रागः ॥९४७॥ स एव किं न रागो मुक्त्वा बहुच्छलानि गेहानि । पुरुषा रमन्ते बद्धनिर्झरेषु यत् काननान्तेषु ॥ ९४८॥ किं वा स्वरूपपर एव सेवानिन्दापर इवाथ मार्गः । यन्महति विन्ध्यवनगोचराणां लोकः पुलिन्दानाम् ॥ ९४९॥
९४६. सप्पुरिसाणं पि. जेहिं for झत्ति. ९४७. थिरमंथरो. ९४९. सहइ for महइ.

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संसारभावाः
सरिआओ अणेअ-विहंगमाओ तल - णिम्मलाई अ वणाई । माअंग - कलह मुहला गिरिणो अ रई विरलंति ॥ ९५० ॥ सीले जइ वि विमलो तह वि हु मा दुग्गअं जणं छिवसु । कालंतर - णिव्वडिअं वसइच्चित्र मंगुलं तम्मि ॥ ९५१ ॥ को तेसु दुग्गआणं गुणेसु अण्णो कआअरो हो । अप्पा वि णाम णिव्वेअ - विमुह जेसु दावे ॥ ९५२ ॥ हरइ परिहीण - विहवस्स णूण णिअ-पणइणी वि अप्पाणं । सव्वंगमसं पुण्णस्स घडइ किं जामिणी ससिणो ।। ९५३ ॥ हिअअ कहिं पि णिसम्मसु कित्तिअमासाहओ किलिम्मिहिसि । दीणो वि वरं एकस्स ण उण सअलाऍ पुहबीए ।। ९५४ ॥ अच्छउ ता विहलुद्धरणगारवं कत्थ तं अगरुएसु । अप्पाणअस्स वि पि इअरा काउं ण पारंति ।। ९५५ ।। गाढ-मअ- मूढ - हिअआ लहिऊण धणं गुणं व जं किं पि । कह ते भरिहिंति परं अप्पा वि हु जाण पम्हुसइ ॥ ९५६ ॥
सरितोऽनेकविहंगमास्तलनिर्मलानि च वनानि । मातङ्गकलहमुखरा गिरयश्च रतिं तन्वन्ति ॥ ९५० ॥ शीलेन यद्यपि विमलस्तथापि खलु मा दुर्गतं जनं स्पृश । कालान्तरनिर्वृत्तं वसत्येव अनिष्टं तस्मिन् ॥ ९५१ ॥ कस्तेषु दुर्गतानां गुणेषु अन्यः कृतादरो भवति । आत्माऽपि नाम निर्वेदविमुखतां येषु दर्शयति ॥ ९५२ ॥ हरति परिहीनविभवस्य नूनं निजप्रणयिन्यपि आत्मानम् । सर्वाङ्गमसंपूर्णस्य घटते किं यामिनी शशिनः ॥ ९५३ ॥ हृदय कस्मिन्नपि निशामय कियदाशाहतः क्लमिष्यसि । दीनोऽपि वरमेकस्य न पुनः सकलायाः पृथिव्याः ॥ ९५४ ॥ तिष्ठतु तावद् विह्वलो - द्धरणगौरवं कुतस्तद्गुरुकेषु । आत्मनोऽपि प्रियमितराः कर्तुं न पारयन्ति ।। ९५५ ।। गाढमदमूढहृदया लब्ध्वा धनं गुणं वा यत् किमपि । कथं ते स्मरिष्यन्ति परं आत्माऽपि येषां विस्मरति ।। ९५६ ।।
१४१
९५०. विरिल्लेति. ९५१. विमलं. ९५३. न हु for किं. ९५४. 'केत्तिय . ९५५. पारेंति, वारंति.

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१४२
गउडवहो जह परिअयम्मि लोओ तह भुज्जंतो वि दुक्करं को वि। पाणि-सिसिराई पाणम्मि अण्णहा होंति सलिलाई ॥९५७॥ भूरि-गुणा विरलच्चिअ एक-गुणो वि हु जणो ण सव्वत्थ । णिद्दोसाण वि भई पसंसिमो विरल-दोस पि ॥९५८ ॥ सामण्ण-सुंदरीणं विभममावहइ अविणओच्चे। धूमोच्चिअ पज्जलिआहि बहुमओ सुरहि-दारूण ॥९५९ ॥ थोवागअ-दोसच्चिअ ववहार-वहम्मि होति सप्पुरिसा। इहरा णीसामण्णेहिं तेहिं कह संग होइ ॥९६०॥ उक्करिसोच्चेअ ण जाण ताण को वा गुणाण गुण-भावो। सो वा पर-सुचरिअ-लंघणेण ण गुणत्तणं तह वि ॥९६१ ॥ णवरं दोसा तेच्चेअ जे मअस्स वि जणस्स सुन्वंति । णज्जति जिअंतस्स वि जे णवर गुणा वि तेच्चे ॥ ९६२॥ ववहारेच्चिअ छायं णिएह लोअस्स किं व हिअएण। तउग्गमो मणीण वि जो बाहिं सो ण भंगम्मि ॥९६३॥
यथा परिचये लोकस्तथा भुज्यमानोऽपि दुष्करं कोऽपि । पाणिशिशिराणि पानेऽन्यथा भवन्ति सलिलानि ।। ९५७॥ भूरिगुणा विरला एव एकगुणोऽपि जनो न सर्वत्र । निदोषाणामपि भद्रं प्रशंसामो विरलदोषमपि ॥ ९५८ ॥ सामान्यसुन्दरीणां विभ्रममावहति अविनय एव। धूम एव प्रज्वलिताद् बहुमतः सुरभिदारूणाम् ॥ ९५९॥ स्तोकागतदोषा एव व्यवहारपथे भवन्ति सत्पुरुषाः। इतरथा निःसामान्यस्तैः कथं संगतं भवति ॥९६०॥ उत्कर्ष एव न येषां तेषां को वा गुणानां गुणभावः। स वा परसुचरितलधनेन न गुणत्वं तथापि ॥ ९६१ ॥ केवलं दोषास्त एव ये मृतस्यापि जनस्य श्रूयन्ते । ज्ञायते जीवतोऽपि ये केवलं गुणा अपि त एव ॥९३२ ।। व्यवहार एव छायां पश्यत लोकस्य किं वा हृदयेन । तेजउद्गमो मणीनामपि यो बहिः स न भन्नगे ।। ९६३ ।।
९५७. उवहुज्जंतो य दुक्करं तह य for तह भुज्जतो वि दुक्करं को वि. तोयाई for सलिलाई. ९५८. परंसिमो लहंयदोस पि. लहुयदोसे वि. ९५९. पज्जलियाण. ९६०. इयराणमसामण्णेहिं. संगमो for संगअं. ९६१. अह वा for सो वा. वहइ and कहवि for तह वि. ९६२. नरस्स for जणस्स. घेप्पंति for सुव्वंति. ९६३. हियएहिं. मणी] for मणीण वि.

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गुणदोषविवेकः
सम-गुण-दोसा दोसेक दंसिणो संति दोस-गुण-वामा । गुण-दोस-वेणो णत्थि जे उ गेण्हंति गुणमेत्तं ॥ ९६४ ॥ दीसह सामाअंतो व को वि हिअएण णिम्मलो तह वि । हरिअंचिअ चूअ - फलं गअं च परिणाम - परमत्थं । ९६५ ।। दीसंत - णिम्मलो जइ वि को वि कज्जेण णासमो तह वि । पिंग पि केसरं कुंकुमस्स राएण सामण्णं ।। ९६६॥ सच्चविआसअल-गुणं पि सज्जणं सुवुरिसा पसंसंति । पडबंध - मिअर्द्ध को वा रअणं विआरेइ || ९६७॥ सोहइ अदोस- भावो गुणो व्व जड़ होइ मच्छरुत्तिष्णो । विहवे व गुणेसु वि दूमेइ ठिओ अहंकारो ॥ ९६८ ॥ जेण गुणग्धविआण विण गारवं धण-लवेण रहिआण । तेण विवाण णमिमो तेणंचिअ होउ विहवेहिं ॥ ९६९ ॥ दविणोवर तुच्छा वि सज्जणा एत्तिएण धीरेति । जं ते णिअ-गुण-लेसेहिँ देति काणं पि परिओस ।। ९७० ॥
समगुणदोषा दोषकदार्शनः सन्ति दोषगुणवामाः । गुणदोषवेदिनो न सन्ति ये तु गृह्णन्ति गुणमात्रम् ॥ ९६४ ॥ दृश्यते श्यामायमान इव कोऽपि हृदयेन निर्मलस्तथापि । हरितमेव चूतफलं गतं च परिणामपरमार्थम् ।। ९६५ ॥ दृश्यमाननिर्मलो यद्यपि कोऽपि कार्येण नासमस्तथापि । पिगमपि केसरं कुङ्कुमस्य रागेण सामान्यम् ।। ९६६ ॥ परिदृष्टासकलगुणमपि सज्जनं सुपुरुषाः प्रशंसन्ति । प्रतिबन्धस्थगितार्धं को वा रत्नं विदारयति ।। ९६७ ।। शोभते अदोषभावो गुण इव यदि भवति मत्सरोतीर्णः । विभवेष्विव गुणेष्वपि दुनोति स्थितोऽहंकारः ॥ ९६८ ।। येन गुणार्चितानामपि न गौरवं धनलवेन रहितानाम् । तेन विभवेभ्यो नमामस्तेनैव भवतु विभवैः ।। ९६९ ।। द्रविणोपका (चा) रतुच्छा अपि सज्जना एतावता धीरयन्ति । यत् ते निजगुणलेशैर्ददति केषामपि परितोषम् ॥ ९७० ।।
१४३
९६४. जे य for जे उ. ९६५. अह य for तह वि. ९६६. पिंगं न for पिंग पि. ९६७. सवलगुणमवि for 'सयलगुणं पि. ९६९. ग्घवियाण व. 'लवेहि.

Page #261

१४४
गउडवहो दूमंति सज्जणाणं पम्हुसिअ-दसाण तोस-कालम्मि । दाणाअर-संभम-दिट्ठ-पास-सुण्णाई विलिआई॥९७१ ॥ सइ जाढर-चिंताअडिअं व हिअअं अहो-मुहं जाण । उद्धर-चित्ता कह णाम होंतु ते सुण्ण-ववसाया॥९७२॥ दिण्णं पुरा जहिच्छं तओ अ देंतेहिं संठिअमभावा। गहिरं च पराहिंतो तओ अ ओ लोह-पणएण ।। ९७३ ॥ लोए अमुणिअ-सारत्तणेण खणमेत्तमुचिअंताण । णिअअ-विवेअ-विआ गरुआण गुणा पअति ॥ ९७४॥ गेण्हउ विहवं अवणेउ णाम लीलावहे वय-विलासे।. दूमेइ कह णु देव्वो गुण-परिउटाई हिअआई॥ ९७५ ॥ अघडिअ-परावलंबा जह जह गरुअत्तणेण विहडंति । तह तह गरुआण हवंति बद्ध-मूलाओ कित्तीओ ॥ ९७६ ॥ आगम-लंभे वय-परिणईऍ भंगेसु धण-विलासाण। थोवमसमंजसाई वि हिअआई वहति परिणाम ॥ ९७७ ॥
दुन्वन्ति सज्जनानां विस्मृतदशानां तोषकाले । दानादरसंभ्रमटपार्श्वशून्यानि वीडितानि ॥९७१ ॥ सदा जाठरचिन्ताकृष्टमिव हृदयमधोमुखं येषाम् । उदरचित्ताः कथं नाम भवन्तु शून्यव्यवसायाः !! ९७२॥ दत्तं पुरा यथेच्छं ततश्च ददाद्भिः संस्थितमभावात् । गृहीतं च परेभ्यस्ततश्च
ओ लोभप्रणतेन॥९७३॥लोके अज्ञातसारत्वेन क्षणमात्रमुद्विजमानानाम् । निजकविवेकस्थापिता गुरूणां गुणाः प्रवर्तन्ते ॥ ९७४ ॥ गृह्णातु विभवं अपनयतु नाम लीलावहान व्ययविलासान् । दुनोति कथं नु देवं गुणपरितुष्टानि हृदयानि ॥९७५ ॥ अघटितपरावलम्बा यथा यथा गुरुत्वेन विघटन्ते। तथा तथा गुरूणां भवन्ति बद्धमूलाः कीर्तयः ॥ ९७६ ।। आगमलम्भे वयापरिणत्या भङ्गेषु धनविलासानाम् । स्तोकमसमासान्यपि हृदयानि वहन्ति परिणामम् ॥ ९७७॥
९७१.°दसावसाण° for °दसाण तोस. ९७२. उद्धरचित्ता. सण्ण for सुण्ण. ९७३. Also read as- दिण्णं पुरा जहिच्छ तओ वि दंतेण संठियमभावा । सहि च पराहुत्तं तत्ता वि य लाहपणईओ । ९७४. 'मेत्तमुच्चियंताण. ९७६. विहरंति for विहडंति. ९७७. भंगे य for भंगेसु. थण for धण'. माहप्पं for परिणाम.

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खलस्वभावः
१४५
ण सहति णिअ-गुणा इर पुरओ गरुआण इअ विइंतता। णीआहिगमे लहुआ गुणाण भावंचिअ हरंति ॥ ९७८ ॥ असलाहणे खलुच्चिअ अलिअ-पसंसाएँ दुज्जणो विउणं । अपवत्त-गुणे सुअणो दुहा वि पिसुणत्तणं लहइ ॥ ९७९ ॥ अप्पाण-णिन्विसेसो त्ति एस मे जं पि भणइ णेहेण । तं पि खलो अस्थ-गईऍ ठवइ पिसुणतणेच्चेअ॥९८०॥ उपरिमहो अधरंतेहिं कब-कणउज्जले अलंकारे। सीसइ सार-विसेसो विज्जा-विहवाण सवणेहिं ॥९८१॥ ण सिरी चला महग्येसु ते ण तेचेअ सा वि जं मुअइ। ते उण ते तंचिअ जइ मुअंति इह तीऍ को दोसो ॥९८२ ॥ तण्हा अखंडिअच्चिअ विहवे अच्चुण्णए वि लहिऊण । सेलं पि समारुहिऊण किं व गअणस्स आरूढं ॥९८३॥ पुरओ सिरीऍ पिय-पंकआएँ कमलाअरं पिव रअंति। मण्गे किविणा पहुणो पणाम-घडिअंजलि-मिसेण ॥ ९८४॥
न शोभन्ते निजगुणाः किल पुरतो गुरूणामिति विचिन्तयन्तः । नीचाभिगमे लघवो गुणानां भावमेव हरन्ति ॥ ९७८ ॥ अश्लाघने खल्वेव अलीकप्रशंसया दुर्जनो द्विगुणम् । अपवृत्तगुणे सुजनो द्विधाऽपि पिशुनत्वं लभते ॥ ९७९॥ आत्मनिर्विशेष इत्येष मे यमपि भणति स्नेहेन। तमपि खलोऽर्थगत्या स्थापयति पिशुनत्व एव ॥ ९८०॥ उपर्यधश्च धारयद्भिः काव्यकनकोज्वलानलंकारान् । शिष्यते सारविशेषो विद्याविभवानां श्रवणैः ॥ ९८१॥ न श्रीश्चला महार्येषु ते न तानेव साऽपि यन्मुञ्चति । ते पुनस्ते तामेव यदि मुश्चन्ति इह तस्याः को दोषः॥ ९८२ ॥ तृष्णा अखण्डितैव विभवेऽत्युनतानपि लब्ध्वा । शैलमपि समारुह्य किं वा गगनस्यारूढम् ॥९८३ ॥ पुरतः श्रियाः प्रियपकजायाः कमलादरमिव रचयन्ति । मन्ये कृपणाः प्रभवः प्रणामघटिताञ्जलिमिषेण ॥ ९८४॥
ग. १०

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१४६
मउडवहो
कुसुम-फलोसारिअ-पाअवेहिँ विणिअत्त-सउण-पणएहिं । तं किर ण मअंचिअ महिहरेहिँ जलहिं विसंतेहिं ॥ ९८५॥ सोवाए सुह-दुक्खागमम्मि आरंभिणो फलमइति । चिंता-णह-कंडू-संभवम्मि विहिणो ण कंडुयणे ॥९८६ ॥ मोहाहिभवेण सिरिं चिर-चोलीणं विमग्गमाणाण । दूरीभवंतु आगंतुआओ कह मा समिद्धीओ ॥९८७॥ आआर-पेसलाण वि हवंति एमेअ विहि-णिओएण । विणिअत्तीओच्चिअ आवईओ मण्णे समाहलोत्ते ॥ ९८८॥ जम्मि अविसण्ण-हिअअत्तणेण ते गारवं वलग्गति । तं विसममणुप्तो गरुआण विही खलो होइ ॥ ९८९॥ हिअअस्स विणिव्ववणे इह लोएचिअ समप्पिअ-फलाए। बीअं पर-लोअ-फलं ण रण्ण-वसहीऍ सद्दिहिमो ॥ ९९० ॥ रमइ विहवी विसेसे थिइ-मेत्तं थोअ-वित्थरो महइ । मग्गइ सरीरमधणो रोई जीएच्चिअ कअत्यो ॥ ९९१ ॥
कुसुमफलापसारितपादपैर्विनिवृत्तशकुनप्रणयैः। तत् किल न मृतमेव महीधरैर्जलाध विशद्भिः ॥ ९८५॥ सोपाये सुखदुःखागमे आरम्भिणः फलमयन्ते । चिन्तानखकण्डूसंभवे विधेर्न कण्डूयने ।। ९.६॥ मोहाभिभवेन श्रियं चिरातिक्रान्तां विमार्गमाणानाम् । दूरीभवन्तु आगन्तुकाः कथ मा समृद्धयः ॥ ९८७॥ आका(चारपेशलानामपि भवन्ति एवमेव विधिनियोमेन । विनिवृत्तय एवापदो मन्ये समखिला इति ।। ९८८ ॥ यस्मिन्नविषण्णहृदयत्वेन ते गौरवमारोहन्ति । तद् विषममनुत्प्रयन् गुरूणां विधिः खलो भवति ॥९८९॥ हृदयस्य विनिर्वपणे इंह लोक एव समर्पितफलायाम् । बीजं परलोकफलं नारण्यवसत्यां श्रद्धास्यामः ॥९९० ।। रमते विभवी विशेषे स्थितिमात्रं स्तोकविस्तरः काइक्षते। मार्गयति शरीर मधनो रोगी जीव एव कृतार्थः ॥ ९९१ ॥

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अनङ्गविचेष्टितम् मूले णिविडाअंता विरलुग्गारा तओ पसंगेसु ।। कालेण सउरिसाण वि कहाणुबंधा णिमिलंति ॥९९२ ॥ विरसाअंता बहलत्तणेण हिअए खलंति परिओहा। थोअ-विहवत्तणेणं सुहंभरप्पच्चिअ सुगंति ॥ ९९३ ॥ विरसम्मि वि पडिलग्गं ण तरिजइ कह वि जं णिवत्तेउं । हिअअस्स तस्स तरलत्तणम्मि मोहो इह जणस्स ॥ ९९४ ॥ हिअअम्मि गाढ-घडिएहिं दो वि मण्णे समं ठविजंति । बुद्धीओ उहय-लोअम्मुहीओ जुबईण थणएहिं ॥ ९९५ ॥ पहरइ कह णु अणंगो कह णु हु विधति कोसुमा बाणा । इअ कामेच्चिअ अफुडे फुडाई तत्तो कह सुहाई ॥९९६ ॥ हिअअस्स णिद्वरत्तणमिणमो किं संठवेहि महिलाण । अत्तो पयोहराणं वचिअ वसइ एआण ॥ ९९७ ॥ रमइ अ चरिए अप्फुल्लअम्मि खिज्जइ अणिअअ-सीलेण । जिंदइ अ पर-सहावं सिहइ अ लोओ पर-गुणाण ॥९९८ ॥
मूले निविडायमाना विरलोद्गारास्ततः प्रसन्गेषु। कालेन सत्पुरुषाणामपि कथानुबन्धा निमीलन्ति ॥९९२ ॥ विरसायमाना बहलत्वेन हृदये स्खलन्ति परिभोगाः। स्तोकविभवत्वेन सुखंभरात्मान एव श्रूयन्ते ॥९९३ ॥ विरसेऽपि प्रतिलग्नं न तीर्यते कथमपि यन्निवर्तयितुम् । हृदयस्य तस्य तरलत्वे मोह इह जनस्य ॥ ९९४ ॥ हृदये गाढघटितै अपि मन्ये समं स्थाप्येते । बुद्धी उभयलोकोन्मुख्यौ युवतीनां स्तनकैः ॥ ९९५ ॥ प्रहरति कथं नु अनगः कथं नु खलु विध्यन्ति कौसुमा बाणाः । इति काम एवास्फुटे स्फुटानि तस्मात् कथं सुखानि ॥९९६॥ हृदयस्य निष्ठुरत्वमिदं कि संस्थापयिष्यति महिलानाम् । अतः पयोधराणां वज्रमेव वसति एतासाम् ।। ९९७ ॥ रमते च चरिते आत्मीये खिद्यते च निजकशीलेन । निन्दति च परस्वभावं स्पृहयति च लोकः परगुणेभ्यः ॥ ९९८ ।।

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१४८
गउडवहो
मग्ग व्व दीह-धवला मण्णे चिहुरा जणस्स जाति । वोलंताण अणुदिणं जहागों हिअअ-भावाण ॥ ९९९ ॥ सव्वंगं विणिवेसो गईइ पलिएहिं णूण दावेइ।। आसण्णमिमम्मि जरा-करंक-भावं सरीरम्मि ॥ १०००॥ सव्व-त्थामोणमिश्र ओहुरमाअडिअं बलि-लआहिं । धरणि-अलाहिमुहं पिव सरीरामिणमो जरी वहइ ॥ १००१॥ अंगेसु बिंदु-णिबिडा णिवडइ परिणाम-जज्जरिजंती। तिलअ-च्छलेण मण्णे कसण-च्छाय व्व चिहुराण ॥१००२॥ गब्भुग्गम-लंघिअ-जोव्वणाण घरिणीऍ विमण-पिय-दिटुं । थणआण दुद्ध-धारा-णिहेण पलिअं व णिक्खमइ ।। १००३॥ सअलं विराम-विरसत्तणेण दुक्खं सुहंचिअ ण णाम । दुक्खाभावो सोक्खं ण जेण ण हु तेण दुक्खं पि॥१००४॥ फुरइ अ फुडो अभावस्स एस भुवण-च्छलेण आआरो। आलोअण-णिव्वडिओ व्व णील-भावो णहअलस्स ॥१००५॥
मार्गा इव दीर्घधवला मन्ये चिकुरा जनस्य जायन्ते। अतिकामतामनुदिनं यथागतं हृदयभावानाम् ॥ ९९९॥ सर्वान्गं विनिवेशो नत्याः पलितैनूनं दर्शयति। आसन्नमस्मिन् जराकरदकभावं शरीरे ॥ १००० ॥ सर्वस्थानावनतमधोमुखमाकृष्टं वलिलताभिः । धरणितलाभिमुखमिव शरीरमिदं जरी वहति ।। १००१ ॥ अगेषु बिन्दुनिबिडानिपतति परिणामजर्जरीक्रियमाणा । तिलकच्छलेन मन्ये कृष्णच्छायेव चिकुराणाम् ॥१००२॥ गर्भोद्गमलडिन्तयौवनानां गृहिण्या विमनस्कप्रियदृष्टम् । स्तनानां दुग्धधारानिभेन पलितमिव निष्कामति ॥ १००३॥ सकलं विरामविरसत्वेन दुःखं सुखमेव न नाम । दुःखाभावः सौख्यं न येन न खलु तेन दुःखमपि ॥१००४॥ स्फुरति च स्फुटोऽभावस्यैष भुवनच्छलेनाकारः। आलोकननिवृत्त इव नीलभावो नभस्तलस्य ।। १००५॥
१००१. जरा for जरी. १००२. विंउ° for बिंदु. णिविडइ for णिवडइ. १००३. जोवणेण घरिणीण. १००५. भुयण'.

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शिवस्य सिंहरूपम् इअ विरसमिमं संसारमावसंताण वो फलममोल्लं । णिव्वडउ पावणाणं गुणाण पहुणो णिसमणेण ॥१००६॥ अवि अ। आसा-गअ-दाणाअंत-कसण-कंठ-प्पहा-हओ लहइ।। केसर-कलाव-करणिं सोच्चिअ सिढिलो जडा-णिवहो ॥१००७॥ वहइ मणि-किरण-रंजिअ-सीस-णिवेसिअ-फणा-समोसरिओ। भुअइंदो पट्ठि-पहोलि-रुद्ध-लंगूल-लंबं ॥१००८॥ ताओच्चिअ रहस-विसट्ट-वअण-कुहरोअराओ पावेंति । जालावली-विलासं उत्तंस-कवाल-मालाओ ॥१००९॥ पडिमा मग्गा सिर-ससिअलाएँ सच्चविअ-गह-मुहोइण्णा। तेच्चिअ हत्थेसु णहंकुसत्तणं एंति जिंतूण ॥ १०१०॥ इअ तुलिउमहिलसंतेण जस्स बल-विन्भमं ति-णयणेण । भेसिअ-गोरि-मइंदं मइंद-रूवेण परिणमिअं॥१०११॥ खुडिआ इमेण समरंगणेसु रिउ-वारणाण कर-दंडा। णासा-विमुक्क-जीहाह-रुहिर-धारा विसहर ब्व ॥ १०१२ ॥
इति विरसमिमं संसारमावसतां वः फलममूल्यम्। निर्वर्ततां पावनानां गुणानां प्रभोर्निशमनन ॥१००६॥ अपि च । आशागजदानायमानकृष्णकण्ठप्रभाहतो लभते । केसरकलापरूपं स एव शिथिलो जटानिवहः ॥१००७॥ वहति मणिकिरणरञ्जितशीर्षनिवेशितफणासमपसृतः। भुजगेन्द्रः पृष्ठप्रभावालरुद्धलागूलविडम्बम् ॥१००८॥ ता एव रभसविकसितवदनकुहरोदराः प्राप्नुवन्ति। जालावलीविलासं उत्तंसकपालमालाः॥१००९॥ प्रतिमामार्गाः शिरःशशिकलायां सत्यापितनखमुखावतीर्णाः । त एव हस्तयोर्नखाइकुशत्वं यन्ति निर्गम्य ॥१०१०॥ इति तुलितुमभिलषता यस्य बलविभ्रमं त्रिनयनेन । भीषितगौरीमृगेन्द्रं मृगेन्द्ररूपेण परिणमितम् ॥१०११॥ खण्डिता अनेन समरागणेषु रिपुवारणानां करदण्डाः । नासाविमुक्तजिह्वाभरुधिरधारा विषधरा इव ॥ १०१२॥
१०० ६. फल्ल (= ल ?) ममलं. १०१०. सिरससियलासच्च', omitting °एँ supplied by conjecture. १०१२. पहणंगणेसु for समरंगणेसु. जअवारणाण. परि° for कर. जीहाहिरहिर.

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१५०
गउडवही
मह धूम - लआ एअस्स सुचरिआहूअतिअस - णाहस्स । सुर-करिणो बहल -मअंबु - सामला सहइ सरणि व्व ।। १०१३ ।। लहुईकआ वि गुण - गारवेण गरुआ वि णिअअ-कुल-उव्वा । अप्पाण- गारवेणं पुणो वि गुरुईकआ जेण ।। १०१४ ॥ पहु- धम्म - बंधणे संठिअस्स विवरीअ - सासिअ - जअस्स । करुणा - णीसास - सहा सहति संरंभ- भिउडीओ ।। १०१५ ।। अह वा । कुम्माहिवेण दीसइ उण्णा मिअ-संख - रअण- वलएण । तिअसाण संभमुग्गाहि अग्घ-वत्तो व्व सलिल - णिही ॥ १०१६ ॥ उम्मिल्लस्स वि चिर-आल-मुक-णीसास- सिटिल-देहस्स । पट्टी पुणो तरंगेहिं लंघिआ कमढ - णाहस्स ।। १०९७॥ दीसंति कुम्म - तुलिआ घण व्व पुणरुत्त - विज्जु - विष्फुरणा । ऊसास-दिट्ठ-तंबिर-कंठ-च्छेआ महा-मीणा ॥ १०१८ ॥ पेच्छति सुर- दइच्चा घडिअ - धरा - मग्ग- गोर-परिणाहं । पट्टि पेरंत सहाव - सामलं कमढ - णाहस्स ।। १०१९ ॥
मखधूमलता एतस्य सुचरिताहूतत्रिदशनाथस्य । सुरकरिणो बहल - मदाम्बुश्यामला शोभते सरणीव ॥ १०१३ ॥ लघुकृता अपि गुणगौरवेण गुरवोऽपि निजककुलपूर्वे । आत्मगौरवेण पुनरपि गुरूकृता येन ॥ १०१४ ॥ प्रभुधर्मबन्धने संस्थितस्य विपरीतशासितजगतः । करुणानिःश्वास सहाः शोभन्ते संरम्भभ्रुकुटयः ।। १०१५ ।। अथ वा । कूर्माधिपेन दृश्यते उन्नामितशङ्खरत्नवलयेन । त्रिदशानां संभ्रमोदग्राहितार्घपात्र इव सलिलनिधिः ॥ १०१६ ॥ उन्मीलितस्यापि चिरकालमुक्तनिःश्वासशिथिलदेहस्य | पृष्ठं पुनस्तरद्गैर्लङ्घितं कमठनाथस्य ॥ १०१७ | दृश्यन्ते कुर्मतुलिता घना इव पुनरुक्तविशुद्रविस्फुरणाः । उच्छ्रासदृष्टताम्रकण्ठच्छेदा महामनाः ॥ १०१८ ॥ प्रेक्षन्ते सुरदैत्या घटितधरामार्गगौरपरिणाहम् । पृष्ठं पर्यन्तस्वभावश्यामलं कमठनाथस्य ॥ १०१९ ॥
१०१४. निय° for गुण'. 'वश्वा, उच्चा for उव्वा. १०१५. जणस्स for 'जअस्स. १०१७. 'आर' for 'आल. पुरो for पुणो १०१८. दीसंतु.

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सागरमन्थनम्
कुम्म-ट्ठिअस्स दीसइ जलहिम्मि तरंग-भंगुर-णिवेसा । ण-पहुत्त-रसाअल-कुंचिअ व्च पडिमा महिहरस्स ॥१०२० ॥ वलइअ-भुअंग-वलयाववीड-पुंजिअ-णमंत-साहग्गा । अग्गेहिं सेल-घडिआ मूलेहिं दलंति दुम-णिवहा ॥१०२१॥ भुअआहिवस्स णिहसा झिजति उरम्मि खर-हरंतीओ। वण-गंठि-गआओ विहंग-णाह-णह-कोडि-कीलाओ॥१०२२॥ फुटृति पाअवाणं रय-वित्थारावबद्ध-परिवेसा। विणिवत्ति-समय-ताडिअ-तडाओ पारोह-मालाओ॥१०२३ ॥ अद्विअ-गिरि-चलण-गआगअंबु-चोच्छिण्ण-णिवडिअ-तडाओ। पत्ताओ विअड-भावं तलिणाओ वि कडअ-सरिआओ॥१०२४ ॥ परिसिढिल-विअड-मूला तेच्चेअ वहंति पढम-तणु-धारा। भुअइंद-णिहस-विहडंत-विवर-मूला जलुप्पीला ॥१०२५॥ वीसाम-मंथराअंत-सेल-वोच्छिण्ण-दूर-वडणाओ। मडहं कमेण वलयं णिज्झर-धाराओ बंधति ॥ १०२६॥
कूर्मस्थितस्य दृश्यते जलधौ तरङ्गभङ्गुरनिवेशाः। नप्रभूतरसातलकुश्चितेव प्रतिमा महीधरस्य ॥ १०२०॥ वलयितभुजङ्गवलयावपीडपुञ्जितनमच्छाखाग्राः । अप्रैः शैलघटिता मूलैदलन्ति दुमनिवहाः ॥१०२१॥ भुजगाधिपस्य निघर्षात् क्षीयन्ते उरसि खरखरन्त्यः। व्रणग्रन्थिगता विहंगनाथनखकोटिकीलाः ॥१०२२ ॥ स्फुटन्ति पादपानां रयविस्तारावबद्धपरिवेषाः । विनिवृत्तिसमयताडिततटाः प्ररोहमालाः ॥१०२३॥ अस्थितगिरिवलनगतागताम्बुव्युच्छिन्ननिपतिततटाः। प्राप्ता विकटभावं तन्व्योऽपि कटकसरितः॥१०२४॥ परिशिथिलविकटमूलास्त एव वहन्ति प्रथमतनुधाराः । भुजगेन्द्रनिघर्षविघटमानविवरमूला जलोत्पीडाः ॥१०२५ ।। विश्राममन्थरायमाणशैलव्युच्छिन्नदूरपतनाः । अल्पं क्रमेण वलयं निर्झरधारा बध्नन्ति ।।१०२६॥
१०२०. अपहुत्त. १०२१. मुंचिय for पुंजिअ. १०२.. सिहा. १०२३. वित्थारोववद्ध १०२४. गिरिचलण. गयंतुदोछिन्न नियंब° for वि कडय. १०२५. पडिसिढिल'. हवंति for वहति. निव्वडिय° for 'विहडंत. १०२६. वलणाओ for °वडणाओ.

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१५२
गउडवहो पावंति वलिअ-वित्थअ-गिरि-कडअ-णिहंसणा तलिण-मूला। वित्थारं दसण-च्छेअ-मंडला दिग्गइंदाण ॥ १०२७॥ णिहस-विरिक दुम-लओ जह जह सेलम्मि घडइ भुअइंदो । तह तह दीहाअंतो पुणो वि वलइन्जइ गिरिम्मि ॥ १०२८ ॥ णिहस-परिगलिअ-वासुइ-णिम्मोअ-रयावबद्ध-परिवेसो। कुम्मम्मि होइ खण-विरइआलवालो व्व सलिल-णिही ॥१०२९॥ कम-लद्धालोअं फणि-णिहंस-झिज्जंत-तड-पणट्ठासु । णिंति अ-विणिक्खमंता वि वणअरा महिहर-दरीसु ॥१०३०॥ होंति गिरि-वलण-भावा अण्णण्ण-दिसा-घडंत-कडआण। सरलं पि पडंतीणं सिलाण कुडिल व्व गइ-मग्गा ॥१०३१॥ उच्छलिअ-सलिल-पूरिअ-गअण-दिसा-वलय-पडिहओआसो। खण-तुच्छम्मि पडिरवो णवर समुद्देच्चिअ वलग्गो॥ १०३२॥ वासुइ-णिहसुम्मूलिअ-पक्ख-च्छेअ-वण-गंठि-णिव्वडिआ। णिवडंति सेल-कडआओ वज्ज-धारा-तड-खंडा ॥१०३३॥
प्राप्नुवन्ति वलितविस्तृतगिरिकटकनिघर्षणास्तनुमूलाः। विस्तार दशनच्छेदमण्डला दिग्गजेन्द्राणाम् ॥ १०२७॥ निघर्षविभक्तद्रुमलतो यथा यथा शैले घटते भुजगेन्द्रः । तथा तथा दीर्घायमाणः पुनरपि वल्यते गिरौ ॥१०२८॥ निघर्षपरिगलितवासुकिनिर्मोकरयावबद्धपरिवेषः। कूर्मे भवति क्षणविरचितालवाल इव सलिलनिधिः ॥ १०२९ ॥ क्रमलब्धालोकं फणिनिघर्षक्षीयमाणतटप्रनष्टासु । निर्यन्ति अविनिष्क्रामन्तोऽपि वनचरी महीधरदरीषु ॥ १०३० ।। भवन्ति गिरिवलनभावादन्योन्यदिग्घटमानकटकानाम् । सरलमपि पतन्तीनां शिलानां कुटिला इव गतिमार्गाः ॥ १०३१॥ उच्छलितसलिलपूरितगगनदिवलयप्रतिहतावकाशः। क्षणतुच्छे प्रतिरवः केवलं समुद्र एवावलग्नः ॥१०३२ ॥ वासुकिनिघर्षोन्मूलितपक्षच्छेदवणग्रन्थिनिर्वर्तिताः। निपतन्ति शैलकटकाद् वज्रधारातटखण्डाः ॥ १०३३ ।।
१०२७. पावेंति for पावंति. १०२९. परिवेसं. 'वालं व गिरिमूलं for °वालो व्व सलिलणिही. १०३०. सिज्जंत° for °झिज्जंत. °यडट्ठासु for पणट्ठासु. °णिकमंता वि. १०३१. अण्णोण. १०३२. वडल° for °वलय. पडिहओवासो. विलग्गो for वलग्गो. १०३३. तडि for तड.

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सागरमन्थनम्
पसरंति वलंतोअहि-मंडलइज्जंत-कडिअ-सरीरा । सुंकार-सरलिआवत्त-पसिढिला णवर भुअइंदा ॥१०३४॥ तरु-वलिअ-लआ-लच्छि लहंति सेलम्मि कडअ-सरिआओ। उम्मोइअ-वासुइ-णिहस-मग्ग-संदाणिअ-जलाओ ॥ १०३५ ॥ कडएहिं तहेअ मही-सिहरेहिं जहं व पल्लिअं गिरिणो। अल्लीणं णवर दिसाहिं णिहस-तणुआम्म मज्झम्मि ॥ १०३६ ॥ कुम्म-विणिहिट्ठ-मूलो भुअआहिव-णिहस-तणुइआहोओ। कह-कह वि पढम-णिमिओ सुहेण ओसारिओ सेलो ॥१०३७॥ घडिअं मंदर-दर-दूमिअम्मि संखुहिअ-जलहि-तण्णाअं। सिसिरोवआर-पंक व कुम्म-चीढाम्मि महि-वेदं ॥ १०३८ ॥ इअ कम-णिम्महिआमुक्क-विहुर-खीरोअ-सरहसुव्बूढा । लच्छी अज्जवि वच्छ-स्थल-द्विआ कुमइ इमेण ॥ १०३९ ॥ किं च। दीसइ कर-ताडण-मूढ-रुहिर-संगलिअ-सामल-च्छायं । हिअअ-ट्ठिअ-विरह-हुआस-धूम-मइलं व थणवढे ॥ १०४० ॥
प्रसरन्ति वलदुदधिमण्डलीक्रियमाणकृष्टशरीराः । सूत्कारसरलीकृतावर्तप्रशिथिलाः केवलं भुजगाः ॥१०३४॥ तरुवलितलतालक्ष्मी लभन्ते शैले कटकसरितः । उन्मोचितवासुकिनिघर्षमार्गसंदानितजला: ॥ १०३५ ।। कटकैस्तथैव महीशिखरैर्नभ इव प्रेरितं गिरेः। आलीनं केवलं दिगिभर्निघर्षतनौ मध्ये ॥१०३६ ॥ कूर्मविनिघृष्टमूलो भुजगाधिपनिघर्षतनूकृताभोगः । कथंकथमपि प्रथमन्यस्तः सुखेनापसारितः शैलः ॥१०३७ ।। घटितं मन्दरदरदूने संक्षुब्धजलध्याीकृतम् । शिशिरोपचारपकमिव कूर्मपीठे महीपीठम् ॥१०३८॥ इति क्रमनिर्मथितामुक्तविधुरक्षीरोदसरभसोदूढा । लक्ष्मीरद्यापि वक्षःस्थलस्थिता उह्यते एतेन ॥१०३९ ॥ किं च ! दृश्यते करताडनमूढरुधिरसंगलितश्यामलच्छायम् । हृदयस्थितविरहहुताशधूममलिनमिव स्तनपृष्ठम् ॥ १०४०।।
१०३४. सेल° for णवर. १०३५. वलय° for °वलिअ. वहंति for लहं ति. अह सेल° for सेलम्मि. १०३७. विणिहट्ट. उत्तारिओ for ओसारिओ. १०३८. कमढ for कुम्म. १०३९. विहुय for 'विहुर. १०४०. गूढ for मूढ. संवलिय° for °संगलिय'. हिययद्धते विरहग्गिधूम for हिअअद्विअविरहहुआसधूम'.

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१५४
गउडवहो वअणुव्वहण-णिवेसिअ-करुद्ध-णह-मणि-मऊह-वोच्छेए। संधति णिरंजण-णिम्मलाओ थोरंसु-धाराओ ॥१०४१॥ घण-लंबालअ-माला-णिरोह-खणमेत्त-पुंजइज्जंता। उम्हविअ-गंडवासं चक्कलइज्जति णीसासा ॥ १०४२॥ इअ लीला-रोसुग्गम-विसमिअ-भुमअम्मि जम्मि कुब्भंति । वेरि-रमणीहिं वेहव्व-लंभ-विहुराई अंगाई ॥१०४३ ॥ जस्स मुह-मारुआहअ-विसंत-भुवणंतरेण उअराओ । वुभइ व अण्ण-बंभंड-डंबरो पंचअण्णेण ॥ १०४४॥ सो एस केसवो उवसमुद्दमुद्दाम-दाविआयामे । अह सोहइ सेसम्मि व णिअअम्मि जसम्मि विणिसण्णो॥१०४५॥ अह वा। भारुव्वहणा-जोग्गाअरेण तारेहिं णह-मऊहेहिं ।। सेस-सिमूहि व चलणारविंद-घडिएहि सोहंति ॥ १०४६॥ भुअइंद-फणा-मंडल-णिवेस-पडिलग्ग-रअण-राअं व । चलण-जुअमावहंति पज्जत्तालत्तअ-च्छायं ॥१०४७॥
वदनोद्वहननिवेशितकरोर्ध्वनखमणिमयूखव्युच्छेदान् । संदधति निरअननिर्मलाः स्थूलाश्रुधाराः ।। १०४१ ॥ घनलम्बालकमालानिरोधक्षणमात्रपुनीक्रियमाणाः। उष्णीकृतगण्डपार्श्व चक्रीक्रियन्ते निःश्वासाः ॥ १०४२॥ इति लीलारोषोद्गमविषमितभ्रूके यस्मिन् उह्यन्ते। वैरिरमणीभिर्वैधव्यलम्भविधुराण्यङ्गानि ॥१०४३॥ यस्य मुखमारुताहतविशद्भुवनान्तरण उदरात् । उह्यते इवान्यब्रह्माण्डडम्बरः पाञ्चजन्येन ॥ १०४४॥ स एष केशव उपसमुद्रमुद्दामदर्शितायामे। अथ शोभते शेष इव निजके यशसि विनिषण्णः॥ १०४५॥ अथ वा। भारोद्वहनयोग्यादरेण तारैर्नखमयूखैः। शेषशिशुभिरिव चरणारविन्दघटितैः शोभमानाम् ॥१४६॥ भुजगेन्द्रफणामण्डलनिवेशप्रतिलग्नरत्नरागमिव । चरणयुगमावहन्ती पर्याप्तालक्त कच्छायम् ॥१४७॥
१०४१. 'वोच्छेआ. संधिंति for संधति. १०४३. वियसिय for विसमिय'. १०४५. सो वेस for सो एस. पाविया' for °दाविआ°. सेसं पिव for सेसम्मिव. जसम्मि निययम्मि. य निसण्णो for विणिसण्णो. १०४७. °रयणहायं व.

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पृथिव्याः स्त्रीरूपम्
लीला - घोलाविअ - चलण-मुहल-मंजीर-रव-मिलतेहिं । giति सेस-फणा- वलएहिं व राजहंसेहिं ॥। १०४८ ॥ कारण-किरि-खंधुक्रखेव - लग्ग - परिकविल- केसर- च्छायं । वहमाणि किरण - कलावमिरिण - रसणा गुणुग्गिण्णं ।। १०४९ ।। सेविनंतिं स-रण- रसणा-पडिणिव्वडंत-पडिमेण । आढत्त-रोहणुद्दलण-वइअरेणं पिव जणेण ।। १०५० ॥ णाहि विवरेण कारण- वराह-दाढा-बहेण व सहति । पाआल-तमुब्भे आअमाण - रोमावलीएण ।। १०५१ ॥ अज्जवि अह-द्विअ-राम-रमणि- णिग्गमण-सीर- मगं व । अरमहिराम - वलि-वीइ-भंग - विसमं पतिं ॥ १०५२ ॥ सोहति हारावलि - वलंत - रोमावली - तरंगेण । जणा-संगअ - गंगा-सोत्तेण व मज्झएसेण ॥ १०५३ ॥ लायण्ण- परिष्फुरमाण-परिअणुक्खित्त - चामर - चएहिं । अंतो- पाअड-भूरुह-मूल- कलावं व संतिं ॥ १०५४ ॥
लीलाघूर्णितचरणमुखरमञ्जीररवमिलद्भिः । उद्यमानां शेषफणावलयैरिव राजहंसैः ॥ १०४८ ॥ कारणकिरिस्कन्धोत्क्षेपलग्नपरिकपिलकेसरच्छायम् । वहन्तीं किरणकलापं इरिणरसनागुणोद्गीर्णम् ॥ १०४९ ॥ सेव्यमानां सरत्नरसनाप्रतिनिवर्तमानप्रतिमेन । आरब्धरोहणोद्दलनव्यतिकरेणेव जनेन ॥ १०५० ।। नाभिविवरेण कारणवराहदंष्ट्रापथेनेव शोभमानाम् । पातालतमउद्भेदायमानरोमावलीकेन ॥ १०५१ ।। अद्यापि अनघस्थितरामरमणीनिर्गमनसीरमार्गमिव । उदरं अभिरामवलिवीचिभद्गविषमं प्रकाशयन्तीम् ।। १०५२ ।। शोभमानां हारावलिवलदूरोमावलीत रङ्गेण । यमुनासंगतगद्गास्त्रोतसेव मध्यदेशेन ।। १०५३ ।। लावण्यपरिस्फुरत्परिजनोत्क्षिप्तचामरचयैः 1 अन्तःप्रकटभूरुह मूल कलापमिव दर्शयन्तीम्
।। १०५४ ।।
१५५
१०४९ परिकविस. १०५०. रोहणुव्वलण. १०५१. 'वएण व for 'वहेण व. १०५२. पयासंति. १०५३. गंगा संगयजउणा १०५४. लाइण्ण'. 'चएण. कलावं पयासंति.

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१५६
गउडवहो पहु-दंसण-रस-पसरिअ-ससेअ-रोमंच-संचय-णिहेण । सलिलाहअन्देम्स( सिअं) बीअ-लअं व दंसंतिं ॥ १०५५ ॥ अंतोवरिं च परिसंठिएण णह-णिण्णआएँ व जलेण । पडिमा पडिएण सिअंसुएण संवलिअ-थण-विवं ॥ १०५६ ॥ कंठ-कुसुमेसु बहुसो लीगुड्डीणेहिं महुअर-कुलेहिं ।
आयासिअंग-लेहं सवक्ख-सेलेहिं व पुणो वि ॥ १०५७॥ मुत्ता-परंतत्तण-पाविअ-पाआर-मंडल-गुणेहिं । दिव्व-पुरेहिं व मणि-कुंडलेहिं संभाविआभोरं ॥१०५८ ॥ कुंडल-ससि-मूरंतर-णिसण्ण-कबरी-णिसा-विणीलद्धं । मुह-मंडलं सुमेरुं व कणअ-गोरं पासेंतिं ॥१०५९॥ सव्वत्तो हार-मऊह-दंड-पडिअग्गिअंग-भावेण । उम्मिल्ल-णिम्मलाणेअ-पह-समूह व दीसंति ॥१०६० ॥ अवअंस-कुसुम-णीसंदमाण-रअ-बिंदु-कलिअ-मूलेण । गंडत्थलेण दर-गलिअ-रेणु-भावेण व सहति ॥ १०६१॥
प्रभुदर्शनरसप्रसृतसस्वेदरोमाञ्चसंचयनिभेन । सलिलाहतदेशोच्छ्वसितां बीजलतामिव दर्शयन्तीम् ॥१०५५॥ अन्तरुपरि च परिसंस्थितेन नभोनिम्नगाया इव जलेन। प्रतिमापतितेन सितांशुकेन संवलितस्तनबिम्बाम् ॥१०५६॥ कण्ठकुसुमेषु बहुशो लीनोड्डीनैर्मधुकरकुलैः। आयासितागलेखां सपक्षशैलैरिव पुनरपि ॥१०५७॥ मुक्तापर्यन्तत्वप्रापितप्रा. कारमण्डलगुणैः। दिव्यपुरैरिव मणिकुण्डलैः संभाविताभोगाम् ॥ १०५८ ॥ कुण्डलशशिसूरान्तरनिषण्णकबरीनिशाविनीलार्धम् । मुखमण्डलं सुमेरुमिव कनकगौरं प्रकाशयन्तीम् ॥१०५९॥ सर्वतो हारमयूखदण्डप्रति. जागरितागभावेन । उन्मीलितनिर्मलानेकपथसमूहमिव दृश्यमानाम् ॥१०६० ॥ अवतंसकुसुमनिष्यन्दमानरजोबिन्दुकलितमूलेन। गण्डस्थलेन दरगलितरेणुभावेनेव शोभमानाम् ॥१०६१॥
१०५६. अंतो अवरिं च परिट्ठिएण. पडिमाठिएण, पडिमावीएण. “संवरिय. १०५७. कमलेसु for कुसुमेसु. १०५८. मंडलद्धेहि. देव्व for दिव्व. १०६०. पडिवग्गिअ. १०६१. °रसबिंदुवलयभावेण for °रअबिंदुकलिअमूलेण. दरकलिय° for दरगलिय'.
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चन्द्रवंशजन्मा यशोवर्मा
१५७
माला-वलएहिं पइण्ण-सुरहि-कबरी-लअं महुअराण । वेणी-बंधेहिं व बहु-णरिंद चेहव्व-पिसुणेहिं ॥ १०६२ ॥ इअ सुव्वइ एसो इर सरीर-भाव-परिसंठिअं बहुसो। । पच्चक्वंचिअ देविं पुहई पुलएइ पीडासु ॥१०६३॥ किं च। सीसइ व जस्स ताराणुसारि-णिग्गअ-कलंक-वलएण । अत्ति-णयणाहि अज्ज वि समुभवो णिअअ-बिंबेण ॥ १०६४।। वंसम्मि तस्स रअणी-रमणस्स पुरा परिट्ठिा पहुणो। जे ताण अह पणामो एसो उण किंपि णिव्वडिओ॥१०६५॥ अवि अ। सज्झस-संवेउम्मीलणे वि अलसुम्मुहा समुत्तरइ । दिट्ठी पहरिस-विरलाअमाण-पम्हंतरालेसु ॥१०६६॥ तत्तोहुत्त-गआगअ-हिअअ-वहाअंत-णह-मऊहेण । कर-किसलएण लोलंसुअम्मि थण-मंडले वसि॥१०६७॥ गाढ-जहण-त्थल-क्खलण-मुहल-मणि-किंकिणीअमुकंपो । पडिकुसुमंदोलिअ-कंठ-दाममंगं तरंगेइ ॥ १०६८॥
मालावलयैः प्रकीर्णसुरभिकबरीलतां मधुकराणाम् । वेणीवन्धैरिव बहुनरेन्द्र वैधव्यपिशुनैः ॥१०६२॥ इति श्रूयते एष किल शरीरभावपरिसंस्थितां बहुशः। प्रत्यक्षमेव देवीं पृथिवीं पश्यति पीडासु ॥१०६३॥ किं च। शिष्यते इव यस्य तारानुसारिनिर्गतकलकवलयेन। अत्रिनयनादद्यापि समुद्भवो निजकबिम्बेन ॥ १०६४ ॥ वंशे तस्य रजनीरमणस्य पुरा परिष्ठिताः प्रभोः । ये तेषामथ प्रणाम एष पुनः किमपि निवृत्तः॥१०६५ ।। अपि च । साध्वससंवेगोन्मीलनेऽपि अलसोन्मुखा समुत्तरति । दृष्टिः प्रहर्षविरलायमानपक्ष्मान्तरालेषु॥१०६६॥ तदभिमुखगतागतहृदयपथायमाननखमयूखेन । करकिसलयेन लोलांशुके स्तनमण्डले उषितम् ॥ १०६७॥ गाढजघनस्थलस्खलनमुखरमणिकिकिणीकमुत्कम्पः । प्रतिकुसुमान्दोलितकण्ठदाम अगं तरगयति ॥१०६८।।
१०६२. विइन्न for पइण्ण'. १०६४. अत्तिनयणाओ for अत्तिणयणाहि १०६६. उम्मीलणा वि.

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१५८
गउडवहो
इअ णिव्वत्तिअ-सेज्जा-परिणयणाण पडिवक्ख-कुमरीण । जाअंति जस्स पुरओ स-सज्झसा वम्मह-विआरा ॥ १०६९ ॥ केऊर-मरगओग्गिण्ण-किरण-कलिले भुअम्मि अप्पाणं। सा जस्स विणोएइ व लिणि-वणुकंठिआ लच्छी ।। १०७०॥ अहिआराणल-कुंडंब-मंडलं ताव णं समक्कमइ । तिमिरं कुलमिव तारा-फण-रअणवहं विसहराण ॥१०७१॥ पुहई-वइणो अम्हे सच्चरिआवेअणम्मि के तस्स। सुव्वइ ण-पहुत्तंचिअ तस्स वि फणिणो मुह-सहस्सं ॥ १०७२ ॥ तह वि णिसामेह णराहिवस्स भुअ-दप्प-दप्पणं एअं। रआण-विरमम्मि णवरं पुरुमिल्ल-णरिंद-णिठवणं ॥१०७३॥ साहिज्जइ गउड-वहो एस मए संपअं महारंभो । णिसुए मुअंति दप्पं जम्मि परिंदा कइंदा अ॥१०७४ ॥ एत्ताहे उण रविणो उव्वत्तिअ-कमढ-पिंगल-च्छाओ। परिघोलइ विआलअ-किरण-कंदलो बिब-परिणाहो ॥ १०७५॥
इति निर्वर्तितशय्यापरिणयनानां प्रतिपक्षकुमारीणाम् । जायन्ते यस्य पुरतः ससाध्वसा मन्मथविकाराः ।। १०६९॥ केयूरमरकतोद्गीर्णकिरणकलिले भुजे आत्मानम्। सा यस्य विनोदयतीव नलिनीवनोत्कण्ठिता लक्ष्मीः ॥१०७० ।। अभिचारानलकुण्डताम्रमण्डलं तावदेनं समाकामति । तिमिरं कुलमिव ताराफणरत्नवहं विषधराणाम् ।। १०७१ ॥ पृथ्वीपतेर्वयं सच्चरितावेदने के तस्य । श्रूयते नप्रभूतमेव तस्यापि फणिनो मुखसहस्रम् ॥१०७२ । तथापि निशमयत नराधिपस्य भुजदर्पदर्पणमेतम् । रजनीविरमे केवलं पूर्वीयनरेन्द्रनिष्ठापनम् ॥१०७३ ।। कथ्यते गौडवध एष मया सांप्रतं महारम्भः। निश्रुते मुवन्ति दर्प यस्मिन् नरेन्द्राः कवीन्द्राश्च ॥१०७४।। इदानी पुना रवेरुद्धर्तितकमठपिन्गलच्छायः। परिपूर्णते विगलितकिरणकन्दलो बिम्बपरिणाहः ॥ १०७५ ।।
१०६९. विलासा for °वियारा. १०७०. गओगिण्ण. कलिए for कलिले. १०७२. जम्मि न पहुप्पइच्चिय for सुव्वइ णपहुतंचिअ. १०७३. रयणीविरमम्मि बहुपुरुमिल्ल, रयणीविरमम्मि इमं पुरुमिल्ल° for रयणीविरमम्मि णवरं पुरुमिल्ल". ०७४ साहिप्पइ for साहिजइ.

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दिनकरास्तसमयः
१५९
एए छाया-परिअत्त-मुहल-पारावआ पसज्जति । - गिरि-कुंजुण्णिद्द-मइंद-णंदिणो रण्ण-पेरंता ॥ १०७६ ॥ मइलिज्जइ दिअसाहिव-किरणाइण्णत्य-सेल-गलिएहिं । आयस-रस-विसरेहिं व छाया-मग्गेहिं महि-वेढं ॥१०७७॥ सरिआण णिरंतर-मिलिअ-विहअ-णिवहोवरोह-मुचंता । उबल्लंति व णिव्वडिअ-मंडला पुलिण-वित्थारा ॥१०७८ ॥ दूरत्तण-पढम-णिअत्त-गो-हणा होति णअर-मम्गेसु । सालंब-दिणअरचेअ धूसरा दिअस-परिणामा ॥१०७९ ॥ थोअमिव विअड-गमणा गरुआअंत-जहणालसमुवेति । धेणु-धवलीओ पाहुअ-पीणापीणा वणंताओ॥१०८० ॥ संवेल्लिऊण एकं दिअसारंभ-पडिसारिअं विंझो। विइ पक्खं व पुणो छाया-वलयं पसारेइ ॥१०८१॥ अंदोलइ दिण-लच्छी पच्छिम-सेल-त्थलावलंबासु । जरठ-सर-गठि-रेहारुणासु रवि-किरण-मालासु ॥१०८२॥ . एते छायापरिवृत्तमुखरपारावताः प्रसजन्ति। गिरिकुजोनिद्रमृगेन्द्रनन्दिनोऽरण्यपर्यन्ताः ॥ १०७६ ।। मलिनीक्रियते दिवसाधिपकिरणाकीर्णास्तशैलगलितैः । आयसरसविसरैरिव छायामागैर्महीपृष्ठम् ॥ १०७७॥ सरितां निरन्तरमिलितविहगनिवहोपरोधमुच्यमानाः। उद्वेल्लन्तीव निवृत्तमण्डलाः पुलिनविस्ताराः ॥१०७८॥ दूरत्वप्रथमनिवृत्तगोधना भवन्ति नगरमार्गेषु। सालम्बदिनकर एव धूसरा दिवसपरिणामाः ।। १०७९ ।। स्तोकमिव विकटगमना गुरूयमाणजघनालसमुपयन्ति । धेनुधवल्यः प्रस्नुतपीनापीना बनान्तात् ।। १०८०॥ संवेल्यैकं दिवसारम्भप्रतिसारितं विन्ध्यः। द्वितीयं पक्षमिव पुनश्छायावलयं प्रसारयति ॥ १०८१॥ आन्दोलयति दिनलक्ष्मीः पश्चिमशैलस्थलावलम्बासु। जरठशरग्रन्थिरेखारुणासु रविकिरणमालासु ॥१०८२॥
१०७६. एए छावरिययत्त', एए छापरियत्त, both corruptly. The original might have been either छाया or इच्छा , rather the latter. १०७८. उम्मिलंति व for उव्वेल्लंति व. १०८०. थोवमिव. °लसमयंति. Second half also read as--धेनु-धवलीओ पण्हुयापीणमाला वगंताओ, or रेणुधवलीओ पण्हुयपीणा घेणू वणंताओ. १०८१. परिसारियं. तओ for पुणो. १०८२. सेलच्छला.

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१६०
गउडवहो पच्छ-टिआअवत्तण-सुण्णइअ-गवक्ख-मग्ग-पइरिका । जाआ समुज्जलालेकरव-सुंदरा मंदिरद्धंता ॥ १०८३ ।। तंसागअ-रविअर-णिव्वडंत-मूलंतराल-विअडाई। विरलाअंति व छाया-णिग्गम-सिढिलाई रण्णाई॥१०८४॥ सेलग्ग-खण-विहत्ता रवि-वडण-कमेण दूरमुच्छलिआ। घम्म-च्छेआ इव तारअत्तणं एंति मउलिता ॥ १०८५॥ एंति मह-मोत्तिअड़े पओस-सीहाहए दिणेहम्मि । ल्हसिअ-द्विअ-रुहिराअंब-कुंभ-करणि रवि-मिअंका॥ १०८६ ॥ जामवई-मुह-भरिए संज्झा-मइराएँ दिणअराहारे। आआस-केसरं दंतुरेंति णक्खत्त-कुसुमाई ॥१०८७॥ आअव-किलंत-महिसच्छि-कोण-सोणाअवं दिणंतम्मि । उव्वत्तइ रविणो भू-कलंव-पुड-पाडलं बिंब ॥१०८८ ॥ संज्झालत्तअ-धरिअम्मि उअह जलणोवले व्ब रवि-बिंबे । णिबडइ धूम-लेह व्व मासला जामिणि-च्छाया ॥ १०८९॥
पश्चात् स्थितातपत्वशून्यीकृतगवाक्षमार्गप्रतिरिक्ताः। जाताः समु ज्ज्वलालेख्यसुन्दरा मन्दिरार्धान्ताः ॥१०८३ ॥ व्यस्त्रागतरविकरनिवर्तमानमूलान्तरालविकटानि। विरलायन्त इव छायानिर्गमशिथिलान्यरण्यानि ॥१०८४॥ शैलाग्रक्षणविभक्ता रविपतनक्रमेण दूरमुच्छलिताः । धर्मच्छेदा इव तारकत्वं यन्ति मुकुलीभवन्तः ॥१०८५॥ एतः ग्रहमौक्तिकाढ्ये प्रदोषसिंहाहते दिनेभे। हसितस्थितरुीधराताम्रकुम्भसादृश्यं रविमृगाको ॥१०८६॥ यामवतीमुखभृते संध्यामदिरया दिनकराधारे। आकाशकेसरं दन्तुरयन्ति नक्षत्रकुसुमानि ॥१०८७॥ आतपक्लान्तमहिषाक्षिकोणशोणातपं दिनान्ते । उद्वर्तते रवे कदम्बपुटपाटलं बिम्बम् ॥ १०८८ ॥ संध्यालक्तकधृते पश्यत ज्वलनोपल इव रविबिम्बे । निर्वर्तते धूमलेखेव मांसला यामिनीच्छाया ॥१०८९॥
१०८३. पच्छाइयायवत्तण° for पच्छट्ठियायवत्तण. १०८४. सरलाई for सिढिलाई. १०८५. दूरमुत्थलिया. अवि for इव १०८६, मोत्तियत्थं. १०८६. °मोत्तियत्थं. १०८८. ओवत्तइ. परिवाडलं for °पुडपाडलं. १०८९. कलियम्मि and 'वरियम्मि for °धरियम्मि.

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दिनकरास्तसमयः
१६१ जाअंव धूम-संचय-कलुसारुण-किरण-दंतुरं रविणो। तिमिरोवआर-मुझंत-विसम-संज्झाअवं बिंब ॥१०९०॥ काली-कअ-सरस-गल-च्छेअ-महा-महिस-विन्भमो मिलइ। अत्याअंबिर-रवि-बिंब-चुंबिओ तिमिर-संघाओ॥१०९१॥ लहइ स-संदण-तुरओ तिमिरक्कमंत-पिंजर-सरीरो। महुमहण-गारवुवत्त-पिच्छ-गरुल-च्छविं सूरो॥ १०९२ ॥ जाए णिराअवे दिणअरम्मि गिरि-रेणु-पाडल-मऊहे । घोलइ मिलत-तिमिरा कुलीर-कविला दिण-च्छाया॥१०९३ ॥ णिअ-कर-किलिंच-णीडत्यमत्थ-गिरि-पाअवाहि रवि-बिंबं । णिवडइ संज्झा-कललोल्ल-विहअ-णाहंड-पिंडं व ॥१०९४ ॥ थोउच्चत्तण-लक्खिअ-संज्झारुण-गअण-तालु-पेरंतो। कवलेइ पओस-करी विहाण-पिंडं व रवि-बिंबं ॥१०९५॥ णह-चटुं दूरुण्णअ-संज्झा-परिवेस-परिअरं सहइ । अहिणव-पडिबंधाअंब-बिंब-विअडावड-च्छायं ॥ १०९६॥
जातमिव धूमसंचयकलुषारुणकिरणदन्तुरं रवेः। तिमिरोपचारमुह्यमानविषमसंध्यातपं बिम्बम् ॥ १०९०॥ कालीकृतसरसगलच्छेदमहामहिषविभ्रमो मिलति। अस्ताताम्ररविबिम्बचुम्बितस्तिमिरसंघातः॥१०९१॥ लभते सस्यन्दनतुरगस्तिमिराकम्यमाणपिजरशरीरः। मधुमथनगौरवो.
वृत्तपिच्छगरुडच्छविं सूरः ॥१०९२ ॥ जाते निरातपे दिनकरे गिरिरेणुपाटलमयूखे। घूर्णते मिलतिमिरा कुलीरकपिला दिनच्छाया॥१०९३॥ निजकरकिलिश्चनीडस्थं अस्तगिरिपादपाद् रविबिम्बम् । निपतति संध्याकललाईविहगनाथाण्डपिण्डमिव ॥ १०९४ ॥ स्तोकोद्वर्तनलक्षितसंध्यारुणगगनतालुपर्यन्तः। कवलयति प्रदोषकरी विधानपिण्डमिव रविबिम्बम् ॥१०९५॥ नभःपृष्ठं दूरोन्नतसंध्यापरिवेषपरिकरं शोभते। अभिनवप्रतिबन्धाताम्रबिम्बविकटावटच्छायम् ॥ १०९६॥
१०९१. कालीकयमहिसासुर-सरसगलच्छेयविन्भमो मिलइ. अत्थाइंबिर'. १.९२. तिमिरसमकत्त'. 'मळहो for °सरीरो. १०९३. निरासनयणा रविम्मि for मिराअवे दिणअरम्मि. १०९४. °कल° for 'कर'. कलिलोल' for कललोल्ल. पिंडाहं for पिडं व.
ग. ११

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१६२
गउडवहो पुरुमिल्ल-दिसा-गअ-तिमिरमवर-भाआवलंबि-रवि-बिंबं । गरुलमिव गहिअ-गअ-कुम्ममुअह परितबिरं गअणं ॥१०९७ ॥ पल्हत्यइ तिमिर-महा-वराह-पडिपेल्लिओ सुमेरु व्व।। संज्झालोओ पडिलग्ग-केसराअंत-रवि-किरणो ॥१०९८ ॥ विअडंडम्मि व रवि-मंडलम्मि मुक्कम्मि पढममरुणंके। णह-सिरि-विणआएँ ससी वुब्भइ वीअंड-पिंडो व्व ॥१०९९ ॥ आसार-पसर-सरला ताली-वण-दंड-धूसरा होति । गंधव्व-पुराआरा णिराअवा रवि-अर-णिवेसा ॥ ११०० ॥ रेहावसेस-दिणअर-मऊह-णिव्वाडिअ-दंड-पडिबंधा । जालाअइ सालोआ अवर-दिसा भुवण-भवणस्स ॥ ११०१॥ गअण-महि-वेढ-णीलो मज्झे संज्झावसेस-पडिभिण्णो। घोलइ खज्जूर-कखंध-पाडलो तिमिर-संघाओ॥११०२ ॥ दीसइ दिसासु तारा-सहरी-जालाविला तिमिर-लेहा। रवि-पडण-संभमारंभ-रहस-चलिअ व्व कालिंदी ॥ ११०३ ॥
पूर्वीयदिग्गजतिमिरं अपरभागावलम्बिरविबिम्बम् । गरुडमिव गृहीतगजकूर्म पश्यत परितानं गगनम् ॥ १०९७॥ पर्यस्यति तिमिरमहावराहप्रतिप्रेरितः सुमेरुरिव । संध्यालोकः प्रतिलग्नकेसरायमाणरविकिरणः ॥१०९८ ॥ विकटाण्ड इव रविमण्डले मुक्ते प्रथममरुणाके। नभाश्रीविनतया शशी उहते द्वितीयाण्डपिण्ड इव ॥ १०९९ ॥ आसारप्रसरसरला तालीवनदण्डधूसरा भवन्ति । गन्धर्वपुराकारा निरातपा रविकरनिवेशाः ॥११००॥ रेखावशेषदिनकरमयूखनिवर्तितदण्डप्रतिबन्धाः । जालायते सालोका अपरदिय भुवनभवनस्य ॥११०१॥ गगनमहीपीठनीलो मध्ये संध्यावशेषप्रतिभिन्नः। घूर्णते खजूरस्कन्धपाटलस्तिमिरसंघातः॥१६०२॥ दृश्यते दिशासु ताराशफरीजालाविला तिमिरलेखा। रविपतनसंभ्रमारम्भरभसचलितेव कालिन्दी ॥ ११०३ ॥
१०९७. पुरविल्ल° for पुरुमिल्ल. ११०२. वीढ° for वेढ. 'लग्गो for "भिण्णो.

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प्रदोषकालः सायं मिलंति कम-णिव्वडंत-तम-मंडलावउण्णाओ। आसण्ण-भाव-पाअड-णिअअ-गइंदाओ व दिसाओ ॥११०४॥ ऊसासिअ-सामलारुण-तम-वेल्ली-मूल-लखिरं कोवि । गअण-च्छलरुणयकंचमिदुबिंब समुद्धरइ ॥११०५॥ होत-चसुहाहिव-कहा-कोऊहल-कडिआओ व मिलंति । दिअस-विराम-च्छवि-धूसराओ समअंचिअ दिसाओ॥११०६॥ बहलत्तण-कुहरूससिअ-तम-सिहा-लंघणोणउच्छंगा। देंति थलुद्देसच्चिअ थोआलोआ दरी-संकं ॥ ११०७॥ आलोओ परिघोलइ ससिणो छाया-णिवेस-वोच्छिण्णो। मलिणाणुसार-पसरिअ-कसण-च्छवि-मग्ग-सबलो व्व ॥११०८ ॥ दीसइ णिसासु तारा-णिहेण फुडिअ-विरल-द्विअ-कवालं। बंभंडग्ग-पुडं पिव कालंतर-जजरं गअणं ॥ ११०९॥ जाआओं कम-पसम्मंत-धूम-रअ-णिग्गमावरोहाओ। आरूढ-पओसाओ वि पविरल-तिमिराओ व दिसाओ ॥१११० ॥
सायं मिलन्ति क्रमनिवर्तमानतमोमण्डलावपूर्णाः।आसन्नभावप्रकटनिजकगजेन्द्रा इव दिशः॥११०४॥ उच्छसितश्यामलारुणतमोवल्लीमूललक्षितं कोऽपि । ........................ इन्दुबिम्बं समुद्धरति ॥ ११०५ ।। भवद्वसुधाधिपकथाकुतूहलकृष्टा इव मिलन्ति । दिवसविरामच्छविधूसराः सममेव दिशः ।। ११०६॥ बहलत्वकुहरोच्छसिततमःशिखालचनावनतोत्सद्गाः । ददति स्थलोद्देश एव स्तोकालोका दरीशकाम् ॥११०७॥ आलोकः परिपूर्णते शशिनश्छायानिवेशव्युच्छिन्नः। मलिनानुसारप्रसृतकृष्णच्छविमार्गशबल इव ।। १९०८॥ दृश्यते निशासु तारानिभेन स्फुटितविरलस्थितकपालम् । ब्रह्माण्डागपुटमिव कालान्तरजर्जर गगनम् ॥११०९॥ जाताः क्रमप्रशाम्यद्धृमरजोनिर्गमावरोधाः। आरूढप्रदोषा अपि प्रविरलतिमिरा इव दिशः ॥ १११०॥
११०४. गइंदाओ दिसाओ for गइंदाओ व दिसाओ. ११०६. नवरि for होत. समयं. ११०९. निसाए. बम्हंडग्गपुडम्मि व.

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गढवहो
मूढ-ससि-दिणअरालोअ - मज्झ - पुंजिज्जमाण -तम- कसणं । संजा अमुहअ-धारा- णिम्मल - खग्गोवमं गअणं ।। ११११ ॥ पेरतेसु दराबद्ध- तिमिरमोसुक्क - कमल-परिसामं ।
१६४
आभाइ लावअ-बहू-वच्छ कसाय- पहं गअणं ॥ १११२ ॥ गह- णिवह-बिंदु-संदेह-समिअ-संज्झाणलो समुक्खिवइ । अय- सुपण्णो गअणम्मि अमअ-कलसं व ससि - बिंबं ॥ १११३ ॥ तम - महुअर - जालुप्प अण-पअड-मअ-मंडलं णिसा वइणो । विंबं माहवमिव पिंड-खंडमावाडलं उअह ॥ १११४ ॥ status अण-तुला- दंडेण समूससंत-कर- ऊ | पच्छा रवि - पिंड-भरोणएण कलसो व्व सस-इंधो ॥ १११५ ॥ संणद्ध-मअण- साहिज्ज - जाअ - संरंभ- पाडलो णीइ । परिवेस - च्छल - मंडलिअ-चाव - वलओ व्व हरिणको ।। १११६ ॥ पावर उअयाअंबो दर - सिढिल- क्खलिअ-तलिण-तम- लेहो । ल्हसिअ - विणीलंसुअ-मत्त - हलहराहं णिसा - णाहो ॥ १११७ ॥
मूढशशिदिनकरालोकमध्यपुञ्जी क्रियमाणतमः कृष्णम्। संजातं उभयधारा निर्मल खड्गोपलं गगनम् ।। ११११ ॥ पर्यन्तेषु दराबद्धतिमिरावशुष्क कमलपरिश्यामम् । आभाति लावकवधूवक्षः कषायप्रभं गगनम् ॥। १११२ ।। ग्रहनिवहबिन्दुसंदोहशमितसंध्यानलः समुत्क्षिपति । उदयसुपर्णी गगने अमृतकलशमिव शशिबिम्बम् ।। १११३ ॥ तमोमधुकरजालोत्पतनप्रकटमृगमण्डलं निशापतेः । बिम्बं माधवमिव पिण्डखण्डमापाटलं पश्यत ।। ११२४ ॥ उत्क्षिप्यते गगनतुलादण्डेन समुच्छ्रसत् करकेतुः । पश्चाद् रविपिण्डभरावनतेन कलश इव शशचिह्नः ॥ १११५ ॥ संनद्धमदनसाहाय्यजातसंरम्भपाटलो निर्याति । परिवेषच्छलमण्डलितचापवलय इव हरिणाकः ।। १११६ ।। प्राप्नोति उदयाताम्रो दरशिथिलस्खलिततनुतमोलेखः । स्रस्तविनीलांशुकमत्तहलधराभां निशानाथः ।। १११७ ॥
१११४ महमंडलं. Second half also read as माहवमिव पिंडमखंडबिंबमावाडलं उयह or माहवमिव पिंडमखंडवियडमापाडलं उयह । १११५. गयणउला', 'रज्जू for 'केऊ. १११६. साहायसाय' for साहिज्जजाअ'. 'साहेज्ज' for 'साहिज्ज १११७. वड्डइ and 'हलहराहो for पावइ and 'हलहराहं.

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नक्तव्यापाराः
अवि । तक्खण-कामिअणाणिअ-महु-चसओअरण-लद्ध-राअं व । उभिज्जइ बिंबं संख-णाहि-सोणं णिसा-वइणो॥१११८ ॥ ऊससइ विलोल-करतणेण पंकअ-विणास-बुद्धीए। रहसुम्मूलिअ-परिलंबि-बिस-कलावो व्व सस-इंधो॥ १११९॥ इअ जंपिऊण सयणावलंबिणा तेण देव-चरिआण । आवेअणम्मि अप्पा अ-पहुप्पंतो व्व पडिवण्णो ॥ ११२० ॥ जाओच्चिअ काअव्वे उच्छाहेति गरुआण कित्तीओ। ताओच्चिअ अतह-णिवेअणेण अलसेंति हिअआइं ॥ ११२१ ॥ णवरिअ के वावारा पवहिउँ पअत्ता। कामो वर-कामि-अणं केसर-उव्वेहि भिंदइ सरेहिं । इअर-जण-बाण-कज्जम्मि कुणइ हेयाई कुसुमाई ॥११२२ ॥ कीऍ वि अहिणव-भुमआ-णडाल-परिसुद्धि-लद्ध-परिणाहं । अहिअ-पिहु-लोअण-जुअं विसेस-तारं मुहं सहइ ॥११२३॥ वीआभरणा अ-कअण्ण-मंडणा अहिहरंति रमणीओ। सुण्णाओ व कुसुम-फलंतरम्मि सहआर-वल्लीओ॥ ११२४ ॥
अपिच। तत्क्षणकामिजनानीतमधुचषकावतरणलब्धरागामिव । उद्भिद्यते बिम्बं शङ्खनाभिशोणं निशापतेः ॥१११८॥ उच्छसिति विलोलकरत्वेन पकजविनाशबुद्धया। रभसोन्मूलितपरिलम्बिबिसकलाप इव शशचिह्नः ॥१११९॥ इति जल्पित्वा शयनावलम्बिना तेन देवचरितानाम् । आवेदने आत्मा अप्रभवनिव प्रतिपन्नः ।। ११२०॥ या एव कर्तव्ये उत्साहयन्ति गुरूणां कीर्तयः। ता एवातथानिवेदनेनालसयन्ति हृदयानि ॥११२१॥ अनन्तरं कान् व्यापारान् प्रवर्तयितुं प्रवृत्ताः । कामो वरकामिजनं केसरपूवैभिनत्ति शरैः । इतरजनबाणकार्ये करोति हेयानि कुसुमानि ॥११२२ ॥ कस्या अपि अभिनवभूललाटपरिशुद्धिलब्धिपरिणाहम् । अधिकथुलोचनयुगं विशेषतारं मुखं शोभते ॥ ११२३॥ वीताभरणा अकृतान्यमण्डना अभिहरन्ति रमण्यः । शून्या इव कुसुमफलान्तरे सहकारवल्यः॥ ११२४।।
१११९ मयइंधो for ससइंधौ. १२१. अतहनिवेसणेण. अलसति. ११२२. इयराण for इयरजण'. सेसाई'107' हेयाई. ११२४. वीसाभरणा.

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१६६
गउडवहो गहिअ-विविहंगराओ अकअंजण-झसुर-मंजरी-रअणो। पावइ असमत्तालेक्ख-विन्भमं कामिणी-सत्थो ॥११२५॥ कोलीकअ-कालाअरु-धूमुप्पील-च्छलेण पडिहाइ। रमणाहिसारणे कावि पहरिसालिंगिअ-तम व्व ॥११२६॥ ऊरु-जुअं मलय-भवंगराअ-विणिवेस-दर-समूससि। गुरु-जहणुव्वहण-सहं कसं थोरं थणवईहिं ॥ ११२७॥ लक्खिज्जइ सीसे सरसमेव कंठे पयोहरुम्हविरं। विसमं कुसुमाभरणं सम-काल-कअं पि जुबईण ॥ ११२८॥ थण-पडिमागअ-परिणील-जालिआ-मंडणं वरो एइ। वम्मह-सर-संका-हिअअ-गहिअ-कवअं व णव-वहुअं॥११२९ ॥ अवियोअ-गमिअ-दिअसं सम-गहिअ-पसाहणं पओसम्मि । सोहइ रआविअण्हं सयणागमणूसुअं मिहुणं ॥११३०॥ गलिउम्मऊह-पिहु-हेम-मेहला-वलय-मालिणी कावि । वम्मह-भयाहिसंधिअ-सिहि-पाआर व्व पडिहाइ ॥११३१॥
गृहीतविविधान्गरागोऽकृताअनताम्बूलमञ्जरीरचनः । प्रानोति असमाप्तालेख्यविभ्रमं कामिनीसार्थः ।।११२५ ।। क्रोडीकृतकालागरुघूमोत्पीडच्छलेन प्रतिभाति । रमणाभिसरणे कापि प्रहर्षालिङ्गिततमस्केव ॥११२६ ॥ ऊरुयुगं मलयभवागरागविनिवेशदरसमुच्छसितम् । गुरुजघनोद्वहनसहं कृतं स्थूलं स्तनवतीभिः ॥११२७॥ लक्ष्यते शीर्ष सरसमेव कण्ठे पयोधरोष्मायितम् । विषमं कुसुमाभरणं समकालकृतमपि युवतीनाम् ॥११२८॥ स्तनप्रतिमागतपरिनीलजालिकामण्डनां वर एति । मन्मथशरशकाहृदयगृहीतकवचामिव नववधूम् ॥११२९ ॥ अवियोगगमितदिवसं समगृहीतप्रसाधनं प्रदोषे । शोभते रतावितृष्णं शयनागमनोत्सुकं मिथुनम् ॥११३०॥ गलितोन्मयूखपृथुहेममेखलावलयमालिनी कापि। मन्मथभयाभिसंहितशिखिप्राकारेव प्रतिभाति ॥ ११३१॥
११२५. °ससुर for 'झसुर . असमसालिक्ख. ११२६. कोडष्ठिय° for कोलीक. "गुरु° for °अरु. ११२९४ पडमा', "पडिणील. जालियामंडलं व.
णवलवहं for णववहुअं. ११३०. दियह.यंगहिय°. विइण्डे, वितण्हं. ११३१. पस .. रियमलह° for गलिउम्मऊह°. °कामिणी, for °मालिणी. भयाउ for 'भयाहिं.

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नक्तव्यापाराः
१६७
ण सहिजइ कामि-अणेण विरह-विअणा-विसंठुलंगेण । ससिणो रवि-मंडल-संपवेस-तत्तं व कर-जालं ॥ ११३२॥ जाआई दुलह-दइआणुराअ-रणरणअ-मुक्क-थामाण । तणुआअंताई वि कामिणीण गरुआई अंगाई ॥११३३॥ अवि अ। पडिरोहि-कण्ण-पल्लव-पणोल्लणत्थं व तुलिअ-भुमअग्गा । अग्घइ णिमेस-णियमण-फुरंत-पम्हाउरा दिट्ठी ॥११३४ ॥ णमइ णडालंचिअ लज्जिएसु कर-मलिअ-कंठ-कुसुमेसु । उव्वत्त-पम्ह-चुंबिअ-पुडाई ण हु णाम अच्छीइं ॥११३५॥ हत्यो घोलइ सणसमओसारिअ-णिरिंगि-विणिवेसो। बाणीकच्छि -संधाण-गहिअ-सवणावआसो व ॥११३६ ॥ लज्जोणअ-चअणालक्खिएक-दर-विअसिआहरंताई। गमणम्मि वि आवझंति वलिअ-मज्झाई दिट्ठाई ॥ ११३७ ॥ इअ कामिणीण पियअम-समागमुम्मिल्लमाण-मअणाण । सज्झस-पडिबद्ध-रसाई होति लीलाइअब्वाइं ॥११३८॥
न सह्यते कामिजनेन विरहवेदनाविसंष्ठुलाङ्गेन। शशिनो रविमण्डलसंप्रवेशतप्तमिव करजालम्॥११३२॥ जातानि दुर्लभदयितानुरागरणरणकमुक्तस्थानाम् । तनूयमानान्यपि कामिनीनां गुरूणि अन्गानि ॥११३३॥ अपि च । प्रतिरोधिकर्णपल्लवप्रणोदनार्थमिव तुलितधू-अग्रा । अर्थति निमेषनियमनस्फुरत्पक्ष्मातुरा दृष्टिः ॥११३४॥ नमति ललाटमेव लज्जितेषु करमर्दितकण्ठकुसुमेषु । उद्वृत्तपक्ष्मचुम्बितपुटानि न खलु नाम अक्षीणि ॥११३५॥हस्तो घूर्णते दर्शनसमयापसारितशिरोवस्त्रविनिवेशः। बाणीकृताक्षिसंधानगृहीतश्रवणावकाश इव ॥११३६ ॥ लज्जावनतवदनालक्षितैकदरविकसिताधरान्तानि । गमनेऽपि आवध्यन्ते वलितमध्यानि दृष्टानि ॥११३७॥ इति कामिनीनां प्रियतमसमागमोन्मीलन्मदनानाम् । साध्वसप्रतिवद्धरसानि भवन्ति लीलायितव्यानि ॥ ११३८॥
११३४. पणोल्लुण'. भुममग्गा, भुयमग्गा. निवेस° for जिमेस'. ११३६. °सवणावयासव्व. ११३८. पडिरुद्धरयाई.

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१६८
गउडवहो ललणा वल्लहहुत्तं विलास-बिस-मंडणाओं वोलेंति । णीसंकंचिअ बंदीकइंदु-किरणाओ व णिसासु ॥११३९ ॥ सरस-मअ-तंबिमाहअ-किसलय-मालाअमाण-पम्हाई । रमण-पवेसत्थं पिव पियाण विअसंति अच्छीइं॥११४० ॥ अवहीरिअ-पियअमहुत्त-गमण-भय-दिण्ण-संखलाई व । कजलिअ-बाह-लेहाई होंति कीए वि अच्छीई ॥ ११४१॥ थोएण वि दूमिज्जइ ण लेइ गरुअंपि णाम-मंतक्खं । इअ असमंजस-हिअओ होइ सिणेहेण जुवइ-जणो ॥११४२ ॥ वलिउद्ध-कवोल-घडंत-चंद-बिंबाण माणइत्तीण । अंतो दीसइ व णिरोह-पुंजिओ हास-विच्छड्डो ॥११४३ ॥ सासुक्खअ-रअ-लहुइअ-समूससंतुप्पलोणअ-मुहम्मि । चप्सअम्मि कावि परिसेस-माण-गरुई चिरा पिअइ ॥ ११४४॥ अहिलासा रहस-विणिग्गएण कामेसु-जज्जरंगेण । कुवलय-णालेण महुं हिअएण व कावि आपिअइ ॥११४५॥
__ ललना वल्लभाभिमुखं विलासबिसमण्डना अतिकामन्ति। निःशइन्कमेव बन्दीकृतेन्दुकिरणा इव निशासु ॥११३९ ॥ सरसमदताम्राहताकसलयमालायमानपक्ष्माणि । रमणप्रवेशार्थमिव प्रियाणां विकसन्ति अक्षीणि ॥११४०॥ अवधीरितप्रियतमाभिमुखगमनभयदत्तशृखलानीव । कज्जलितबाष्पलेखानि भवन्ति कस्या अप्यक्षीणि ॥११४१॥ स्तोकेनापि दूयते न गृह्वाति गुरुकमपि अपराधम् । इति असमञ्जसहृदयो भवति स्नेहेन युवतिजनः ॥११४२॥ वलितोर्ध्वकपोलघटमानचन्द्रबिम्बानां मानवतीनाम् । अन्तर्दृश्यत इव निरोधपुनितो हाससमूहः ॥११४३॥ श्वासोत्खातरजोलघूकृतसमुच्छसदुत्पलावनतमुखे। चषके कापि परिशेषमानगुर्वी चिराव पिबति ॥११४४॥ अभिलाषा रहसविनिर्गतेन कामेषुजर्जराल्मेन। कुवलयनालेन मधु हृदयेनेव कापि आपिवति ॥ ११४५॥ . ११३९. वोलिंति. ११४१. गमणतंसुद्ध for गमणभयदिण्ण'. °लेहाई कीए वि दिसंति अच्छीई, or °लेहाहराइं कीए वि भन्छीई. ११४२. थोवेण. ११४४. चिरं for चिरा. ११४५. जन्जरग्गेण.

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नक्तव्यापारा:
चिर-संविविअलइ माणो चिर- विअलिओ वि संघडइ । विवरी - रसं कीलेइ महु-मओ कामिणि - अणम्मि ॥ ११४६ ॥ अखलिअ - सरीर - वणो सहाव - हिअओसरत-मअ-धारो | मत्तो चि णवर णज्जइ कवोल -राएण जुवइ - जणो ॥ ११४७ ॥ अंगाईं पअणुआईं वि किंपि गरुएइ महु-मअ-विलासो । हिअआईं पुणो लहुएइ माण- गरुआई विपियाण | ११४८ ॥ विरह - विणिग्गअ - सेस व्व विन्भमा मंद-हिअअ - संगलिआ । मुहणीसासा पिय-संगमम्मि सोहंति रमणीण ।। ११४९ ॥ सरस-ह-राइ-मग्गेहिं पीणण-मंडलाई तरुणीण | पिय-संगम-हरिनुसास-रहस- फुडिआई व सहति ।। ११५० ॥ संभाविअ - काम-हरो उप्पेर रसं असोजमल्लो वि ।
ह - रेहा - फरुस पयोहराण रमणीण परिरंभो ॥ ११५१ ॥ गाढालिंगण - तण्हा - णिहेण पडिपीलणं व पडिवण्णं । पढमं की वि भर - पीडिएन हिअएण थनआण ॥ ११५२ ॥
चिरसंस्थितोऽपि विगलति मानश्विरविगलितोऽपि संघटते । विपरीतरसं क्रीडति मधुमदः कामिनीजने ॥ ११४६ ।। अस्खलितशरीरवचनः स्वभावहृदयापसरन्मदधीरः । मत्त इति केवलं ज्ञायते कपोलरागेण युवतिजनः ॥ ११७ ॥ अङ्गानि प्रतनुकान्यपि किमपि गुरूकरोति मधुमदविलासः । हृदयानि पुनर्लघयति मानगुरूण्यपि प्रियाणाम् ॥ ११४८ ॥ विरहविनिर्गतशेषा इव विभ्रमा मन्दहृदयसंगलिताः । मुखनिःश्वासाः प्रियसङ्गमे शोभन्ते रमणीनाम् ॥ ११४९ ॥ सरसनखराजिमार्गेः पीनस्तनमण्डलानि तरुणीनाम् । प्रियसङ्गमहर्षोच्छ्रासरभसस्फुटितानीव शोभन्ते ॥ ११५०॥ संभावितकामभरोऽर्पयति रसमसौकुमार्योऽपि । नखरेखापरुषपयोधराणां रमणीनां परिरम्भः ॥ ११५१ ॥ गाढालिङ्गनतृष्णानिभेन प्रतिपीडनमिव प्रतिपन्नम् । प्रथमं कयापि भरपीडितेन हृदयेन स्तनयोः ॥ ११५२॥
१६९
११४६. वियलिय° for वियलइ. संगिलड् and संगलइ for संघडइ. चिरसंचिओ वि. कामिणिअणेसु. वम्महो for -महुमहो. ११४७. सहावविहवो. ११५०. हरिससा सरसफुडियाई, or हरिसूसासहरिसफुडियाई. ११५१. कामभरो. असोअमलोवि. 'परुस परिलंभो. ११५२. 'तम्हा' and तन्हा परिपीडणं व.

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१७०
गउडवहो पढम-रआरंभ-रसाण वि तह वच्छ-स्थलोवऊहाई। जह पीडिअ-जहण-णिरंतराई जाति अंगाई ॥११५३ ॥ अच्चंत-मएण विलासिणीण परिगलिअ-हिअअ-सुण्णाई। वडुंत-णीरसाई ण समप्पंतिच्चिअ रआई ॥११५४ ॥ अण्णोण्णाराहण-खण-खलंत-हिअआवहीरिअ- सुहाई। सुहमब्भाहिरं रइ-वित्थरेण पावंति मिहुणाई॥११५५॥ ताइंचिअ किंपि रसं देंति परूढे वि पेम्म-राअम्मि । पिय-दिण्ण-णहाहरणुल्लसाई रमणीण रमिआई ॥ ११५६ ॥ आवअणोरु-णिरंतर-पीडिअ-देहाण हरइ मिहुणाण । चलणेसु वि कअ-चलणो सव्वंगालिंगण-विलासो ॥ ११५७।। थण-बिवेसु वहणं जोव्वण-लद्ध-परिणाह-विअडेसु । सोच्चिअ तह-परिणाहो जाओ विरलो व्व रोमंचो ॥११५८॥ पीडिअ-पयोहरोगाढ-णह-पउद्देस-दर-समूससि। विमलइ करेण रमणस्स कावि वच्छ-त्यलं हसिरी ॥११५९ ॥
प्रथमरतारम्भरसानामपि तथा वक्षःस्थलोपगूढानि । यथा पीडितजघननिरन्तराणि जायन्तेऽङ्गानि ॥११५३॥ अत्यन्तमदेन विलासिनीनां परिगलितहृदयशून्यानि । वर्धमाननीरसानि न समाप्यन्त एव रतानि ।। ११५४॥ अन्योन्याराधनक्षणस्खलहृदयावधीरितसुखानि। सुखमन्यधिक रतिविस्तरेण प्राप्नुवन्ति मिथुनानि ॥ ११५५ ।। तान्येव किमपि रसं ददति प्ररूढेऽपि प्रेमरागे। प्रियदत्तनखाभरणोल्लासानि रमणीनां रतानि ॥११५६॥ आवदनोरुनिरन्तरपीडितदेहानां हरति मिथुनानाम् । चरणेध्वपि कृतचरणः सर्वाइन्गालिङ्गनविलासः ॥११५७॥ स्तनबिम्बेषु वधूनां यौवनलब्धपरिणाहविकटेषु । स एव तथापरिणाहो जातो विरल इव रोमाञ्चः ॥११५८॥ पीडितपयोधरावगाढनखपदोद्देशदरसमुसितम् । विमर्दयति करेण रमणस्य कापि वक्षःस्थलं हसनशीला ॥११५९॥
११५४. वद्धंत° and वर्ल्डति for वडूंत°. समप्पैति. ११५५. रय° for रइ. ११५६. कंपि. पेम°. पिम्म'. हरणुल्लमाहि रमणीहिं. ११५८. परिमाणो, नहपरि णामो. ११५९. °वओद्देस, वहुद्देस for °पउद्देस. विमलेइ.

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रजनीविरामः बहुसो भम्ग-हिअ-रमण-णह-सिहा-चुण्ण-विउण-गरुएण । आयासिज्जइ थण-मंडलेण मज्झालसा तरुणी ॥११६०॥ तणुअत्तण-णमिओअर-पयोहरासण्ण-जहण-णिमिअ-भुओ। सोहइ तंस-णुवण्णो वलिओरु-लओ पिया-सत्यो ॥११६१॥ दइयाऍ कोवि णिद्दा-परिस्समुभिण्ण-सेअ-बिंदुइझं। परिउंबइ सुह-णसहिअ-पडिवोहंदोलिअं वअणं ॥ ११६२ ॥ समभाव-पवत्तूसास-सिढिल-णीसह-परिट्ठिआवयवो। दर-लक्खिअ-दुब्बलो व्व होइ णिदासु जुवइ-अणो ॥११६३ ॥ णवारिअ णरिंद-विक्कम-विअड-कहावसर-समुह-सुर-मुक्को कुसुम-णिवहो ब्व णिवडइ णहाहि तारा-लवुप्पीलो ॥ ११६४ ॥ जाअं तारा-वइणो वाअंत-मुणाल-पाडल-मऊहं । विंबं अबाल-जंबू-फल-भंग-पिसंग-परिवेसं ॥ ११६५॥
ओसारिअम्मि पच्छा सिण्होल्लिअ-तिमिर-केस-हत्यम्मि । णिवडंति सलिल-बिंदु व्च तारआ रअणि-तरुणीए ॥ ११६६ ॥
बहुशो भन्मस्थितरमणनखचूर्णद्विगुणगुरुणा। आयास्यते स्तनमण्डलेन मध्यालसा तरुणी ॥११६०॥ तनुकत्वनमितोदरपयोधरासनजघननिक्षिप्तभुजः। शोभते व्यस्रसुतो वलितोरुलतः प्रियासार्थः ॥११६१॥ दयितायाः कोऽपि निद्रापरिश्रमोद्भिन्नस्वेदबिन्दुकितम् । परिचुम्बति सुखनसोढप्रतिबोधान्दोलितं वदनम् ॥ ११६२ ॥ श्रमभावप्रवृत्तीच्छासशिथिलनिःसहपरिष्ठितावयवः । दरलक्षितदुर्बल इव भवति निद्रासु युवतिजनः ॥ ११६३॥ अनन्तरं नरेन्द्रविक्रमविकटकथावसरसंमुखसुरमुक्तः। कुसुमनिवह इव निपतति नभसस्तारालवसमूहः ॥११६४॥ जातं तारापतेः शुष्यन्मृणालपाटलमयूखम् । बिम्बं अबालजम्बूफलभन्गपिशगपरिवेषम् ॥११६५॥ अपसारिते पश्चादवश्यायातितिमिरकेशहस्ते। निपतन्ति सलिलबिन्दव इव तारका रजनितरुण्याः ॥११६६॥
११६१. तरुणतण'. निमिओभर' for °णमिओअर'. 'निसनो and "गुमण्णो for Yवण्णो. १९६२. सुसहीयण (= सुसखीजन ?) for सुहणसहिम. ११६३. अह for सम° and इय before सम', thus reading two Matras too many for the metre. ११६५. भंगि° for भंग'. ११६६. सेय' for सलिल'.

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१७२
गउडवो
ल्हसिअ - द्विअ-मअ-विच्छाय- मज्झ-ससि बिंब-चुंबिअं सहइ । दद्दुर उडं व दर - फुडिअ - विअड- पुड-मंडलं गअणं ॥ ११६७ ॥ अत्थाअ-तलिण-तारतणेण तंचेअ पढम-परिविरलं । पच्छा पुंजिज्जंतं पुणो वि विअडेइ गह - अकं ।। १११८ ॥ अरुण-विराविअ-तणुआ अमाण-संज्झा - रसाणुलित्तं व । थोअ - त्यो अमुसालोअ - पंडुरं होइ गअण- अलं ॥। ११६९ ॥ पम्हंतर-ल क्खि अ-पंडु-भाव-विसम-पहं समुप्पअर | सिरहा-इअ - सामाअंत-मसिण- देहं कवोअ - उलं ॥ ११७० ॥ आरोहिणा पहाअ - कमेण परिपिंजरत्तणमुर्वेता । विडवेसु फल-विसेसा परिणाम - गुणं व गेव्हंति ॥ ११७१ ॥ मिहु (-हिं रइ - ) रसायाम खेअ खण-लद्ध - गरुअ- णिद्देहिं । पडिबुज्झिज्जर कह कह वि सालसं रअणि विरमम्मि ॥ ११७२ ।। तम-लोह- लोढ आणुगअ-मुक- गोम हो तलिण-मूलो। गह- पलहि-बीअ - णिवहो पच्छा पुंजिज्जइ णिसाए ॥ ११७३ ॥
स्रस्तस्थितमृगविच्छायमध्यराशिविम्ब चुम्बितं शोभते । दर्दुरपुटमिव दरस्फुटितविकटपुटमण्डलं गगनम् | ११६७ ॥ अस्तागततनुतारत्वेन तदेव प्रथमपरिविरलम् । पश्चात् पुञ्जीक्रियमाणं पुनरपि विकटयति ग्रहचक्रम् ॥। ११६८ ।। अरुणविलयिततनूयमानसंध्यारसानुलिप्तमिव । स्तोकस्तोकं उषालोकपाण्डुरं भवति गगनतलम् ॥ ११६९ ॥ पक्ष्मान्तरलक्षितपाण्डुभावविषमप्रभं समुत्पतति । अवश्यायहतश्यामायमानमसृणदेहं कपोतकुलम् ॥ ११७० ॥ आरोहिणा प्रभातक्रमेण परिपिञ्जरत्वमुपयन्तः । विटपेषु फलविशेषाः परिणामगुणमिव गृह्णन्ति ॥ ११७१ ।। मिथुनैः रतिरसायामखेदक्षणलब्धगुरुकनिद्रेः । प्रतिबुध्यते कथंकथमपि सालसं रजनिविरमे ॥ ११७२ ॥ तमोलोहलोठका नुगत मुक्तप्रभातप्रभस्तनुमूलः । ग्रहकार्पासबीजनिवहः पश्चात् पुञ्जीक्रियते निशया ॥ ११७३ ॥
११६७. दद्दर'. 'कुणं for 'उडं. 'धवल' for 'विअड. ११६८. अत्थामयतलिणतारतणेण, or अत्थायतरलतारतणेण. पुणो वि निवडाइ गहचकं. ११७०. र for 'अ'. 'विहंग' for 'कवोअ. ११७१. 'णिवेसा for 'विसेसा. ११७३. गोसपहात लिणतलो.

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प्रभातसमयः
आयासेइ पईवे सलोल-कज्जल-सिहा-दरुव्वत्ते । स-कअ-ग्गहं व पच्चूस-मारुओ वास-गेहेसु ॥ ११७४॥ तंचे तिमिर-मलिणं जाअं अरुण-प्पहा-हअंगअणं । सीसअमिव सिंदूरत्तणेण पडिवण्ण-परिणामं ॥११७५ ॥ गेण्हंति कंठ-फरुसाई कहवि रअणी-जलाणुभावेण । विहआ वलग्ग-रअ-संणिवेस-गरुआई बीआई ॥११७६ ॥ रुण्णारुण-णयणाओं व णिसा-विसूरंत-णलिणि-सोएण । सोहंति जलोल्ल-ट्ठिअ-चक्काअ-जुआओ वावीओ ॥११७७॥ ससिणो समोसरंती अत्थाअल-मत्थअ-त्थ-बिंबस्स । सोहइ सहआर-रसग्ग-तलिण-परिपंडुरा जोण्हा ॥ ११७८ ॥ असहिअ-विसुद्ध-सुकआवअंस-सप्पुरिस-सुचरिउग्गारो। विवलायइ कलि-कालो व्व भिण्ण-हिअओ तमुग्धाओ ॥ ११७९ ॥ कोऊहल-मिलिआमर-विमाण-रअण-प्पहा-विभिण्णो व्य । जाओ अजड-जवा-कुसुम-पाडलो णह-अल-विआणो ॥११८०॥
आयासयति प्रदीपान सलोलकज्जलशिखादरोवृत्तान् । सकचग्रहमिव प्रत्यूषमारुतो वासगृहेषु ॥११७४॥ तदेव तिमिरमलिनं जातमरुणप्रभाहतं गगनम् । सीसकमिव सिन्दूरत्वेन प्रतिपन्नपरिणामम् ॥११७५ ॥ गृहन्ति कण्ठपरुषाणि कथमपि रजनीजलानुभावेन । विहगा अवलग्गरजःसंनिवेशगुरूणि बीजानि॥११७६॥ रुदितारुणनयना इव निशाखिद्यमाननलिनीशोकेन । शोभन्ते जलार्द्रस्थितचक्रवाकयुगा वाप्यः ॥११७७॥ शशिनः समपसरन्ती अस्ताचलमस्तकस्थबिम्बस्य। शोभते सहकाररसाग्रतलिनपरिपाण्डुरा ज्योत्स्ना ॥११७८ ।। असोढविशुद्धसुकृतावतंससत्पुरुषसुचरितोद्गारः। विपलायते कलिकाल इव भिन्नहृदयस्तमउद्घातः ॥११७९॥ कुतूहलमिलितामरविमानरत्नप्रभाविभिन्न इव । जातोऽजडजपाकुसुमपाटलो नभस्तलवितानः ॥११८०॥
११७४. सदोलकज्जल'. ११७६, विलग्ग. ११७८. जुण्हा for जोण्हा. ११७९. विरलायइ for विवलायइ. ११८०. जढर° for अजड.

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१७४
गउडवहो परिगलिअ-पंडु-तारा-दलस्स णह-साहिणो विणिक्खमइ । णव-किसलय-सोहग्गेण पढममरुणुग्गमालोओ ॥ ११८१॥ इट्टा-चुण्णं व किरंतमुद्धमरुणाअवं परिप्फुरइ। रविणो गअणासि-णिसाण-चक्क-वलओवमं विंबं ॥ ११८२ ॥ जलहिस्स पुणो वि समागमं व बहलत्तणेण सूअंतं । अ-पुणागमणाय व तं तिमिरं उम्मूलिअं रविणा ॥११८३॥ णवरिअ णिव्वत्तिअ-रआणि-विरम-काअव्व-णिव्वुओ ताण । . सो साहिउं पअत्तो चरिअं चाणक-चरिअस्स ॥११८४॥ णवरिअ णिवडिअ-तम-लोह-टंक-परिसुद्धि-तुंग-विअडासु । आसा-भित्ति पत्थिव-पसत्थि-जोग्गासु व ठिआसु ॥ ११८५ ।। अग्ग-ठिअ-हरिअ-तुरंग-पल्लवे मंगलाय कलसे व्व । तक्खणमुक्खित्ते तरणि-मंडले वासव-दिसाए ॥ ११८६॥ पहु-कित्ति-णिसमणूसुअ-हिअअ-क्खलिअ-रमणाहिलासासु । । अंदोलिऊण सुर-सुंदरीसु रहसा विणितीसु ॥ ११८७॥ ---..-.........
परिगलितपाण्डुतारादलस्य नभःशाखिनो विनिष्कामति । नवकिसलयसौभाग्येन प्रथममरुणोद्गमालोकः ॥११८१ ॥ इष्टकाचूर्णमिव किरदूर्ध्वमरुणातपं परिस्फुरति। रवेर्गगनासिनिशानचकवलयोपमं बिम्बम् ॥११८२ ॥ जलधेः पुनरपि समागममिव बहलत्वेन सूचयत्। अपुनरागमनायेव तत् तिमिरमुन्मूलितं रविणा ॥११८३ ।। अनन्तरं निर्वर्तितरजनिविरामकर्तव्यनिर्वृतस्तेषाम् । स कथयितुं प्रवृत्तश्चरितं चाणक्यचरितस्य ॥१९८४॥ अनन्तरं निपतिततमोलोहटङ्कपरिशुद्धितुगविकटासु । आशाभित्तिषु पार्थिवप्रशस्तियोग्यासु इव स्थितासु ॥११८५ ॥ अग्रस्थितहरिततुरंगपल्लवे मगलाय कलश इव । तत्क्षणमुत्क्षिप्ते तराणिमण्डले वासवदिशा ॥११८६॥ प्रभुकीर्तिनिशमनोत्सुकहृदयस्खलितरमणाभिलाषासु। आन्दोल्य सुरसुन्दरीषु रभसा विनियन्तीषु ॥११८७॥
११८१. विणिकमइ. ११८२. First half also read as – इट्टाउण्णं व्व किरंतमुदमरुणायवं परिष्फुरइ । or इट्टाचुण्णं व खिरंतमुद्धतरुणायवं परिप्फुरद । or इट्टाचुण्णं पिव विक्खिरंतमरुणायवं परिप्फुरइ । Second half also read as - णहयलकरवालणिसाणचकवलयं व रविबिंबं । ११८३. The whole couplet Thus - जमहस्स पुणो असमागमाय बहलत्तणेण सूअंतं । अप्पुणरागमाय व तं तममुम्मूलियं रविणा॥ ११८४. वियम° for °विरम. ११८५. परिसुद्ध'. पसत्तिजोग्गा for 'पसस्थिजोग्गा. ११८६. मुहगहियतुरंगमहरियपलवे.

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सम्मेलनम्
१७५ कुसुम-चरिसूमुआमर-विलुत्त-मणि-मउल-कंदल-दलासु । विरलाअंतीसु सुरिंद-मंदिरुज्जाण-वीहीसु ॥ ११८८ ॥ अमओवओअ-परिहिट्ठ-कंठ-महुरीहुअंत-रसिअम्मि ।। मंगल-जीमूअ-उलम्मि गअण-वढे पउलुम्मि ॥ ११८९॥ चलिअम्मि रहस-विअलिअ-कण्हाइण-णिअलिए मुणि-अणम्मि । कोऊहल-पत्थिअ-गअण-हरिण-पडिवण्ण-चलणे व्च ॥ ११९० ॥ विणयाढत्त-णराहिव-चरिअ-समाअण्णणाअरेणं व ।
आमुक्क-पाअवासण-बंधेसु विहंगम-कुलेसु ॥ ११९१॥ . लंबि-महा-दप्पण-संकमंत-संमद्द-णिरवआसेसु । भवण-खंभावलि-सिहरमारुहंतेसु व जणेसु ॥ ११९२ ॥ धवलिज्जत-समुण्णअ-पहु-जस-पासाअ-घडिअ-मंचं व । कम-लंबिअ-तिअस-विमाण-मंडलं णह-अलं जाअं ॥ ११९३ ।। किं च।
तुह धारा-संदाणिअ-गइंद-मुत्ताहलो असी जयइ । 'गउड-गल-च्छे अ-वलग्ग-संठिएआवलीओ व्व ॥११९४ ॥
कुसुमवर्कत्सुकामरविलुप्तमणिमुकुलकन्दलदलासु । विरलायमानासु सुरेन्द्रमन्दिरोद्यानवीथीषु ।। ११८८॥ अमृतोदकपरिघृष्टकण्ठमधुरीभवद्रसिते। मन्गल जीमूनकुले गगनपृष्ठे प्रवृष्टे ॥ ११८९॥ चलिते रभसविगलितकृष्णाजिननिगडिते मुनिजने। कुतूहलप्रार्थितगगनहरिणप्रतिपत्रचरण इव ॥११९०॥ विनयारब्धनराधिपचरितसमाकर्णनादरेणेव । आमुक्तपादपासनबन्धेषु विहंगमकुलेषु ॥११९१॥ लम्बिमहादर्पणसंक्रामत्संमर्दनिरवकाशेषु । भवनस्तम्भावलिशिखरमारोहत्सु इव जनेषु ॥ ११९२ ॥ धवलीक्रियमाणसमुन्नतप्रभुयशःप्रासादघटितमश्चमिव । क्रमलम्बितत्रिदशविमानमण्डलं नभस्तलं जातम् ॥११९३ ।। किं च। तव धारासंदानितगजेन्द्रमुक्ताफलोऽसिर्जयति। गौडगलच्छेदारूढसंस्थितैकावलिरिव॥११९४॥
११८९. परिहट्ट'. 'वट्ठो मउटुम्मि, वट्टे पयम्मि , ११९२. संकमिम or संकमेण for °संकमंत. ११९३. मंचेव. मंडले नहयले जाए. कमलंछिअ° for कमलंबिअ. ११९४. भाइ for जयइ. संठिएआवलिलओ व्व for संठिएभावलीओ ब.

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१७६
गउडवहो
सम-जाइत्तण-संभाविओवआरेहिं णिअअ-चलणेहिं । पोच्छाहिअ व्व चलणे तु एंति णिअलाविला रिउणो ॥ ११९५ ॥ कर - संदिरेण सोहसि तद्दिअसं दाण-वारिणा देव । हिअअ - भरिअस्स करुणा-रसंबुणो णिग्गमेणं व ।। ११९६ ॥ ias तुह विणिअत्तस्स आसमुहं दिसाओ जेऊण । लच्छी पुणो वि पिणा संपेसण - दिण्ण-विहव व्व ॥ ११९७ ॥ कारासु पढममणुहूअ - णिअल-मल-मग्ग-लंछणा चलणा । तऍ छेइज्जति विइण्ण-काल-सुत्त व्व सत्तूण ॥ ११९८ ॥ संकंत- महि-ओ-धूसराई संप तुह पणामेसु ।
भिउडी महलण-भीअ व्व रिउ णडालाई णारुहइ ॥ ११९९ ॥ गरुअअर-मत्त-वारण-खंध- समारुहण - विरलिएणं व । ऊरु - जुएण विराअइ सहाव - विअडं गअं तुज्झ ॥। १२०० ॥ घेप्पड़ अगुणीहिं गुणि व्व जेण गुण-गारवेण वो अप्पा । तेणेअ तं पि मण्णास अप्पाणमणज्जिअ - गुणं व ॥ १२०१ ॥
समजातित्वसंभावितोपकारैर्निजकचरणैः । प्रोत्साहिता इव चरणे तवायन्ति निगडाविला रिपवः ॥ ११९५ ॥ करस्यन्दनशीलेन शोभसे प्रतिदिवस दानवारिणा देव । हृदयभृतस्य करुणारसाम्बुनो निर्गमेणेव ॥ ११९६ ॥ नन्दति तव विनिवृत्तस्य आसमुद्रं दिशो जित्वा । लक्ष्मीः पुनरपि पित्रा संप्रेषणदत्तविभवेव ॥ ११९७ ॥ कारासु प्रथममनुभूत निगडमलमार्मलाञ्छनाश्चरणाः । त्वया छेद्यन्ते वितीर्णकाल सूत्रा इव शत्रूणाम् ॥ ११९८ ॥ संक्रान्तमहीरजोधूसराणि संप्रति तव प्रणामेषु । भ्रुकुटिर्मलिनीकरणभीतेव रिपुललाटानि नारोहति ॥ ११९९ ॥ गुरुतरमत्तवारणस्कन्धसमारोहणविरलितेनेव । ऊरुयुगेन विराजते स्वभावविकटं गतं तव ॥ १२०० ॥ गृह्यते अगुणिभिर्गुणीव येन गुणगौरवेण वः आत्मा । तेनैव त्वमपि मन्यसे आत्मानमनर्जितगुणमिव ॥ १२०१ ॥
११९८. मग्गेसु लंछणा for मलमग्गलंछणा. तइआ छिज्जेति for तऍ छेइज्जति. ११९९ महीरयपंडुराई and 'महीर यधूसराई' १२०० राय for मत खंधारुहणाय विरलिएणं व and खंधारहणपरिवेल्लिएणं व for खंधसमारुहणविरलिएणं व. १२०१. Variety of readings such as घेप्पइ अगुणीहिं गुणो व्व जेण गुणगारवेण वो अप्पा । or धिप्पइ गुणीहिं अगुणो व्व जेण गुणगारवेण वो अप्पा ।

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कर्वानां संबोधनालापाः जाहेच्चि तं चलणोणआण अवारं कर पसारोस । , लच्छी भुअ-ट्ठिआ वो ताहेच्चिअ तेसु संकमइ ॥ १२०२॥ अकओवआर-तणुआ अभग्ग-पसरेसु तुज्झ दीसंति । संकेता इव अलएसु केस-हत्था रिउ-पियाण ॥१२०३ ॥ इअ ताहे भावागअ-पच्चक्खाअंत-णरवइ-गुणाण। विवरोक्खम्मि वि जाआ कईण संवोहणालावा ।। १२०४॥ अवि अ। अह सुद्धम्मि अ णिहसुत्थ-कंचणाहरण-रअ-पिसंगम्मि । जाअम्मि सुवण्णमए व्च तम्मि जण-संसिए दिअसे ॥ १२०५ ॥ संकेतासेस-सरस्सइत्तणेणं व साहिरे तम्मि। जाओ खणेण मूअल्लिओ व्व कोऊहला लोओ ॥ १२०६॥ किं च। वीसंभमगंतूणं व विसम-महिला-सहाव-दोसेण । बाहिचिअ वेरि-सिरीओ जेण पणईण दिण्णाओ॥ १२०७॥ जस्स विअयाहिसेए विवक्ख-देवीहिं णव-णिओआहिं । पीआई तक्खप्पिअ-चमरंतरिआई अंसहि ॥ १२०८॥
यदैव त्वं चरणावनतानामुपरि करं प्रसारयसि। लक्ष्मी जस्थिता वस्तदैव तेषु संक्रामति ॥१२०२॥ अकृतोपचारतनुका अभग्नप्रसरेषु तव दृश्यन्ते। संक्रान्ता इवालकेषु केशहस्ता रिपुप्रियाणाम् ॥१२०३॥ इति तदा भावागतप्रत्यक्षायमाणनरपतिगुणानाम् । विपरोक्षेऽपि जाताः कवीनां संबोधनालापाः॥१२०४॥अपि च। अथ शुद्ध च निघोत्थकाश्चनाभरणरजापिशगे। जाते सुवर्णमय इव तस्मिन् जनशंसिते दिवसे॥१२०५॥ संक्रान्ताशेषसरस्वतीत्वेनेव कथनशीले तस्मिन् । जातःक्षणेन मूकीकृतइव कौतूहलाल्लोकः॥१२०६।। किं च। विश्रम्भमगत्वेव विषममहिलास्वभावदोषेण। बहिरेव वैरिश्रियो येन प्रणयिभ्यो दत्ताः ॥१२०७॥ तस्य विजयाभिषेके विपक्षदेवीभिर्नवनियोगाभिः। पीतानि तत्क्षणार्पितचमरान्तरितानि अश्रूणि॥१२०८॥ १२०२. उवरि for अवरि. ताण for तेसु. १२०३. मुकोवयार'. अरुग्ग° for अभग्ग. भग्गप्पसरेसु १२० ४. इह for इअ. कइयण° for कईण १२०५. Also read as-सव्वत्थच्चिय निहसंतकंचणाभरणरयपिसंगम्मि । or अह सव्वत्तोच्चिय निहसकंचणाहरणयपियसंगम्मि । १२०६. तक्खण° for खणेण. मूअल्लिय व्व. १२०७. बंदी हिं for °देवीहिं. कय° for णव. तक्खणो.

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१७०
तस्स इमं पावणमहिम शितं च विम्हस-कां च । सीसइ चरिअमचरम णराहिवाशी मिसामेह ॥ १२०९ ॥ कइराअ-लंगणस्म अप्पाइसअसम राज्डन गाहाचीदं समतं ॥
तस्येदं पावनमभिनवं च चित्रं च विस्मयकर च । शिष्यते चरितमचरम नराधिपतेनिशमयत ॥ १२०९॥ कविराजलाञ्छनस्य वाक्पविराजस्य गोडवधे गाथापीठं समाप्तम्॥
१२०९. तस्सेमं. विम्हययरं न चित्तच. At the end of 1209, one Ms reads-करायलंछणस्स व बप्पहरायस्स सउड़वहं । नरमेण कहानीदं रहचिन तह समत च ॥

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GAUDAVAHO
(TRANSLATION, NOTES, INDICES AND GLOSSARY)

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GAÜDA VAHO (Translation )
Benediction
1. Pay homage, at the very outset, to the Self-born (Brahmā ) residing within the orbit of a lotus and wearing a white sacred thread which was, as if, a fibre of the lotus-stalk extracted while coming out through the belly of Vişņu.
2. Victorious is He ( Brahmā ) who dwells in a lotus with its big seeds lying hidden inside the ring of its pericarp ( Kannia ), looking as if, they are so many worlds (bambhamda treasured up ( nihāņīkaa ) in it.
3. Bow to Him (Brahmā) whose mass of atoms, as it were, later accepted by Him as the substance for the creation of the worlds, stays stored up ) in His residence-lotus, under the guise of its dust-particles (timgicchi).
4. Victorious is He ( Brahmā) for whom the circle (parivādi ) of worlds serves for the purpose of a rosary of crystal beads, revolving (āvattamti) in His hand continuously (to mark the cycle of their creation and destruction ), ever engaged, as He is, in His meditational prayers ( javojjaa ).
5. Bow to the Emergence ( viņiggama) of the NavelLotus ( Brahmā) out of the sprout | kamdala ) of the lotus-bulb in the form of the huge Sesa situated down below, after having broken through the black ( Krşņa-Vişņu ) mud.
6. Victorious is the charming repose ( parisamthia ) of Visnu having the dark shade of a black antelope, on the world's globe, which, flooded with the ( deluge) waters, looked like the orb of the prodigious moon.
7. Victorious is the Man-Lion with His sharp nail-tips enveloped in smoke issuing from the friction of the Demon's chest-bones ( uratthi ), thus appearing as if He had seized in His. clutches a mass of clouds in His roaring fury.
8. Bow to Him (Narasimha ) whose massive hands were withdrawn, finding no other task (vavasāa ) to accomplish, since the Demon had his broad chest torn open by only the tips of His claws.

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Gajidavaho
9. Bow to the Lord Visņu in His incarnation of the ManLion, who, splashing (pallavia) the fringes of the firmament with the blood of the dissected Demon, appeared to have unfolded the evening ( scene, to satisfy the stipulation ) of the time of the enemy's death.
10. Victorious is the throaty voice of Visnu, which, for long, destroyed the articulation of (other) words by its growl, His throat having been made hoarse by roar (bukkāra ), even though He had cast away the form of the Man-Lion.
11. Victorious are the angry outbursts ( samrambha ) of the Man-Lion, (directed ) solely against the Demon, completely ignoring the Quarter-elephants, the moon-deer and thunder rasia) of the mass of deluge-clouds.
12. Victorious is the Man-Lion's massive neck with its reddish mane, which is, as it were, a collected bundle of lightning streaks, now left without support, as the clouds were shattered by the fury of His roar.
13. Victorious is the tusk of the Great Boar, jutting out from the passage of His mouth, like a lotus-stalk from the bulbous root of the lotus inside the navel of His stomach.
14. Bow to Him, who, in His state of the Boar in which He transformed Himself by His power, bore the Earth Himself, as it were, although (actually) resting on Sesa, since His reflection was cast (ghadamta) in the jewels of his hoods.
15. Victorious is the Earth along with Sesa, dug up and (tossed ) far away (dūrukkhaa ) by the Boar's breaths, thus looking as if (She is ) holding an umbrella (up-side down ) to ward off the (blaze of) the suns pushed underneath at the bottom.
16. Victorious are the various bodily parts of Visnu in His Dwarf incarnation, depressed and elevated (thaudam) because of the uneven ( distribution of flesh on His body, having been stuffed, as it were, with worlds that could not be contained ( napahuppamta) in His small stomach.
17. Victorious is the Great Tortoise lifting the (sunken ) Earth with His body, as with a hand, with His ( out-stretched ) five fingers, since, under the pressure of the Earth, His mouth-tip and four feet happened to be pushed out (ạisāria).

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Benediction
18. May the creeper-like hair-line (roma-laa) on the belly of Visnu in his fraudulent female form protect you—( the hairline) which looked like a row of bees pursuing the lotus hidden inside His stomach (navel).
19. Victorious is He, for whom, in His transformation as a young female, the worlds, receding (osaramta ) within from His thin belly, procured the voluminous bulk for breasts and buttocks.
20. Victorious is He who wears a garland of wood-flowers, encircled (pariāla) by rows of humming bees behaving as watchmen (jāmailla ) and thus looking as an enclosure (vai) thrown round His harem, the residence of Laksmi.
21. Victorious is the mouth of Visnu (Krsna ) kissed by Yasodã in His infancy-the mouth that looked like a lotus shooting upwards, as it were, having been denied an outlet of the navel.
22. May the fresh nail-marks caused (kāraņāo ) by Rādhā, appearing like rays of the Kaustubha jewel on the chest of Krsna, take away your grief.
23. Bow to Him ( Visņu ) who cut the head of Rāhu, (for which reason ) his grief revolves, remaining just unexpressed ( añiccaria ) (and unrelieved ), ( finding an outlet only) in baseless, slight sighs.
24. Bow to the feet of Balarāma, fastened together (samdāņia) by his black upper garment slipping down through the effects of intoxication, thus giving an impression of the Yamunā river rolling (on his feet), being frightened of his angry grunts.
25. May the eyes of Balarāma, flushed with intoxication, emitting, as it were, the lustre of jewels on a thousand hoods lying dormant within him, drive away your sins.
26. Victorious is the swaggering step of Balarāma and Krsna which presses down under its weight Sesa and the Tortoise, making them realise the pang ( viaņā ) thereof within themselves ( and suffer) with the least murmur of a protest (niruvālambham).
27. Bow to that Yellow-clad (Visņu ) who has a naturally dark-complexioned body, made so variegated (sabala) by the periods of disappearance and emergence of day and night, as it were.

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Gaüdavaho
28. Victorious are the circled imprints (nivesamaggā ) of Laksmī's breasts on the chest of (Visnu), the Destroyer of Madhu, stamped (on it) by her collapsing pigment and showing like leaves of the lotus-plant ( sprouting) from His navel.
29. Victorious is He (Śiva ) whose frowning arch of eyebrows, closely contacting His forehead-eye, looks like the burntup black bow-stick of Cupid, even to-day.
30. Bow to Him (Śiva) who, even to-day, holds back the Moon fastened firmly in His matted hair, even though (through friendship ) he had resolved ( kaa-vavasāa) as it were, to fall in the fire of His third eye.
31. May He extend to you all happiness,- ( He ) who perhaps has His own forehead (now) resting on His head under the guise of the moon, being pushed upwards (pellia) by His very broad third eye.
32. Victorious is He, by whose third eye rushing ahead (ahidhāyiūņa), as it were, Cupid was swallowed ( gilia ) under the guise of His (flowery ) bow, rendered ruddy by the thick mass of pollen (flung ) from the flowers (of the bow) when fully stretched (kaddhia).
33. Bow to the Pasupati's high stature (paritthiam ) with its constantly dwarfed shadow (Vāmaņacchāa) shining, as He is, in the light of the Moon, (who is ) his possession (held ) in the lap of his crown (maiidocchamga).
34. Victorious is Pasupati's tying of His matted hair by means of Vāsuki, relaxing at the cecession of the ocean's churning, His chest languishing on account of the friction of mountains against it.
35. We bow to Siva, the Mountaineer, whose forehead (became ) red as He rubbed it in wrath against Arjuna with quivering fingers, thereby inhibiting, as it were, the opening of His third eye.
36. Victorious is He, on whose throat, as soon as He gulped the poison, manifested a black line, resembling a scar left by the Death's noose, fastened for a moment and released instantaneously,

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Benediction
37. Bow to Him who still has His third eye, when somehow missing (Ihasia) in its place, substituted by Visņu with His own eye-leaf, given by Him as a flowery offering (in deep devotion ).
38. Victorious is the line of poison's lustre, looking like His head's shadow collected at the bottom of His throat, on account of the (refulgent) moon's light overhead.
39. Bow to the Moon of the Three-eyed God (Siva ) who stands reduced to the size of) a digit, his heart being completely dedicated to the propitiation of Gauri and Siva, who stay (blended) only by their bodily halves.
40. Bow to Him whose decorative skullbone on His head, drank for long, feeling very thirsty, as it were, the stream of the God's River (Gañgā ), by means of an oyster-shell of the Moon's crescent, joined to its mouth.
41. Bow to the Pinākin's (Siva's) forehead-eye, with its rolling, reddish pupils, in which the lump of the Universe, made a sacrificial offering at the time of the world's destruction, is still blazing (in flames ), as it were.
42. Bow to Him (Kārtikeya ) whom Cupid would avoid, ( apprehending) short shrift at His hands, as from any member of) His family; ( and hence ) even to-day he does not shoot his shaft at Him through fear.
43. Victorious is that Goddess, by whose foot, adorned with anklets, the Asoka tree in the form of the Demon Mahisa, being struck on his trunk ( shoulder ), put blossoms of blood.
44. May the eyes of the revered Lady (Pārvati) who blushed at the first embrace of her Lord Siva, give you happiness, ( although they had ) little strength (left in them ), being seized by the venomous lustre of His throat.
45. Pay your homage to the rambling of Kālī, the veritable black Night of Destruction, on the eve of the world's dissolution, (brightened ) by multifarious skulls (big and small ) decorating Her body and thus looking like a big gathering of the millions of odd-sized moons ( shining) on all nights.

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46. May the physical form of Câmundā remove your fear — the Form embellished with rod-like big veins and stuffed with coils (of entrails ), which a thin belly could hardly contain.
47. Victorious is that (Sarasvati, the Goddess of Learning ), who, having been spoiled by excessive fondling inside the (parental home of) petals of the lotus, the seat of (her father) the Four-faced (Brahmā), now wanders ( wantonly) with a stealthy step on the multitudes of poets' tongues.
48. Bow to him (Moon) whose orb appears lustre-less over the shadow of his spot, perhaps, on account of the fact that his central stock of loveliness filtered through the breach made by Gañgā (in the celestial floor ), at the time of her descent (on the earth), leaving Him void and empty ( tuccha).
49. Bow to Him (The Sun) whose chariot those horses, complexioned like Lapis Lazuli, carry, their bodies appearing discoloured because of the enveloping darkness, which, earlier, is pushed back every day (by the rising dawn).
50. Victorious is the Sun's mass of rays, which, for the world's preservation, glows dim in a shrunken collected form, but, which, expanding, as it were, at the time of the world's annihilation, intensifies itself (in a blaze ).
51. Bow to him (sesa ) who, when the Boar (Visnu ) held it up, bore the earth's globe, lessened in weight, distributed, as it was, on His many heads, while its reflection was cast in the jewels of all His hoods.
52. Bow to the pillar-like tusk of the Elephant-mouthed (Ganesa ), with His huge trunk resting on it, like the Gangetic stream joined with the column of Yamunā's waters.
53. Bow to that Ganesa, who, in his playful frolics of holding the huge trunk by means of His tusk, makes as it were, the summits of the mountain Meru an arena for the meeting of the Himalayas and the Vindhyas.
54. Victorious is the tusk of Ganapati, gathered at the end of the left half of His mouth, ( giving an impression of) His smile, as it were, when feeling abashed at (the manifestation ) of passion's ardour by His parents, Pārvati and Siva, ever united, as they are, bodily.

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55. Bow to the ramblings of Laksmi, which fully honoured (i. e. possessed ) the graces of alluring agility (of dalliance ), while ( finding Her way) after the death of the Demon-King, to go near Vişņu in a disguised form.
56. Victorious is the emergence of Laksmi from the ocean, holding in Her hands a lotus and the moon, although feeling (all the time ) fully self-conscious of the charming excellences of Her own face.
57. Bow to the two hands of Cupid, besmirched with marks of collyrium, though He wiped off the tears of love from the eyes of His wife Rati, looking like bees as it were, clinging to the fragrance of the flowery bow and arrows, as He grasped them ( by his hands ).
58. May Gañgā give you happiness -(Gañgā) who rolls on the lap of (her father ) Himālaya from the head of Siva, voicing Her bitter complaint, as it were, against ( His other daughter ), Gauri, for her painful behaviour of jealousy.
59. Victorious is the River (Gañgā) in whose waters on the head of God Siva, floats the skull (of the fifth head) of Brahmā, who thereby holds up His faultless claim of being the Grand-father', undisputed even to-day.
60-61. Bow to the waters of Gañgā, which are absolutely pure and white for these reasons : Firstly, they have been stirred and washed ( viccholia) by the lustrous rays from the nails of Visņu's toes; secondly, they blend with the rays of Siva's moon; and (finally), falling on the mountain Himālaya, they absorb the snow-shades.

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Now the Eulogy of Poets
62. Victorious, indeed, are these poets, by its presentation in whose poetic words, this world in all its vicissitudes is seen to be either a source of deep joy or insipid (and worthless ).
63. Successful (in life ) are those great poets who, by their own poetic utterances, establish their greatness and evoke eulogy.
64. There is all happiness even in the misery of poverty and misery even in affluence for those whose hearts ( yearn to ) relish the pleasure of the essence of Poetry.
65. The charm of Sanskrit speech blooms in its Prakritic shadow, while the (innate ) glory of the Prakrit is heightened, when touched up by its Sanskritization.
66. What is real is made to look unreal and the unreal looks perfectly real, while (sometimes) the thing is pictured as it exactly stands. Such are the (peculiar ) ways of good poets.
67. Just as the quality of good administration and the pompous display of the royal sceptre embellish the great King's glory, so too, do bombast and sweetness adorn the poet's speech.
68. Even a fraction of Laksmi (Wealth) becomes and pleases man in its enjoyment. The goddess of Learning, however, if imperfect, exposes the man to some sort of ridicule.
69. How can my robust ( flowery) language (employed) in the Madhumatha-vijaya shrink to the state of a concise, compact) bud ? (But then ) the later floral bloom of forestcreepers is much thinner and softer than its first bloom.
70. Censure of a good man, (loosely ) talked about by the wicked, may or may not stick to him. It, however, recoils on them, by the very sin of indulging in censorious language about the good.
71. By their (persistent ) series of efforts to suppress (systematically ) the merits of others, malicious men become such connoisseurs of merits, that they themselves, though wicked, become men of merit, as a result of the assimilation) of those very merits (in themselves ).

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72. Even the pure-minded, alas, feel a pang (of jealousy ) in their hearts at (the praise of) a good man's merits, which perhaps, is analogous to the pain (of tuskers ) in their tusks caused by impact of the moon's rays !
73. For those to whom condemnation made by unequals is of the same value as their appreciation, words of deprecation spoken by them cause no dejection.
74. Great men should rejoice in the eulogistic appreciation of their own merits, without caring to observe the shadow ( of bitterness darkening) other's faces, while the blush on their own faces (on account of praise ) is being noticed by them, being thrown off the balance of their minds tormented) by their own (guilty ) conduct.
75. Most men, possessed as they are of ordinary intelligence, hail poets (of mediocre talent ); hence is it, indeed, that mediocre poets have (undeservedly) gained the fame (of great poets).
76. Merit in others, as small as an atom even, captivates the good man, who finds no satisfaction in his own (outstanding) merit. This and this much is the sum and substance of character and judgment ( discrimination ).
77. Merits of great men, which first hold (their hearts ) fast in their grip, later shine (in their reflection ) in others, like the rays of the moon which first fall on mountain-tops before ( spreading) on the earth.
78. Trying to accomplish the good and the beautiful, everything becomes all the more beautiful; some such thing happens in their case, too, so much so that they themselves feel greatly astonished.
79. With merits by the side (to lean upon ), one may fee egoistic; but how can a fellow (be so egoistic ) in the absence of merits ? People who cherish ( acquisition of) merits allow some (amount of) pride based on merits, which, however, must not result in ( snobbish ) intoxication.
80. With reference to whom, expecting him to be the second, should jealousy throb, when ( we find that ) these great ones are already established in their unique, solitary position, rising (head and shoulders ) above the common man ?

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81. Those who doubt their own competence of judgement when called upon to look into ( and decide ) the differences of opinions, can never deliberate and decide for other people from a position of firmness.
82. Who condescends to find fault with the inferiors ? Who dares to appreciate the superiors ? The position of praise and blame is thus the same (in both these attempts ).
83. Those who only listen to and (try to ) understand ( a literary piece ), but cannot judge for themselves (its merits and demerits ), are unfit to feel elated. How is it then that they are not ashamed to be puffed up with pride?
84. Earlier poets, through the fault of their times, often hovered about in their ramblings over paths unbeaten. In modern times, too, some poets are carried away on difficult (paths in. imitation) of the Genius (of the earlier poets ).
85. “How could anything (topic) escape observation (of the earlier poets) on the paths (of vision ) followed by them, (thus leaving practically no topic for the moderners to poetise )"? True. If, however, the (traditional and conventional ) border-lines be given up (and the horizons of Imagination be widened ), all (topics ) will be just fresh and new to him too — (the modern poet).
86. Imaginations of other ordinary poets, frantic in their eager search for themes, ramble about (here and there ). These very themes, however, rush to the hearts of great poets, with no effort (on their part).
87. Ever victorious is the Poetic speech throbbing with inspiration, (still fresh in its charming appeal), although drawn upon for its essence every day by veteran poets since the beginning of man's life in this world, ( remaining intact ) with its seal yet unbroken, as it were.
88. What is more, the good poets, with their minds solely devoted, have so cultivated the (poetic) speech that these uncommon ones (poets) have preferred to remain tongue-tied (for want of a worthy listener).
89. Who cares to deliberate in its special features whatever (literature ) is left behind by them ? The excellences of great poets

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The Eulogy of Poets
now shine in the glory of their names only, to which they are transferred.
11
90. Even others, who somehow feel elated (and elevated) at the mere fact of having been able to understand and appreciate great poets in their innermost, intrinsic nature, put on (a mantle of) their own superiority in vain, only for the misery (it produces).
91. Victorious is the web of fancies of great poets which appears to be full of conflicting opposites, since it brings about both delusion and enlightenment, like darkness and light (respectively).
92. It is only in Prakrit that we shall have in an abundant measure, till (the end of) of the world's duration, a presentation of ever fresh themes and a rich variety of styles, caressingly cool and sweet in their composition (Samnivesa).
93. All languages merge in it (Prakrit) and emerge (nemti) from it. Waters pour into the sea and flow away from it.
94. A peculiar delight which dilates and closes the eyes, thrills the heart, rushing inwards and outwards.
95. For those who have remained ignorant of its (Prakrit's ) excellent features, (we may) have pity, a (contemptuous) laugh and a thought (that they show) such callous disregard to the great poets, but no sadness in (our) hearts.
96. What matters it, if those who are neither our superiors nor our equals, say (things unpalatable)? Whatever that be, great poets have a right to expect high regard from others.
97. They (great poets) may be without pride or may strut about inflated by their greatness. They have displayed some merits, whatever they may be, and hence should be no object of laughter for commoners.
98. The heart (of a poet undertaking to compose a poem) is as if somehow apprehensive, embarrassed, stunned, fatigued, distressed, overwhelmed (apphunṇam) and (yet) elevated with high elation.

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99. Rules there the Lord of the Earth, King Sri Yasovarman, who, having removed all sin from the whole world, delighted great Indra, ( for which reason the fame of) his virtues has gone far to cling to the (ends of the distant) directions.
100. At the time of whose marching (expedition ), the earth, tossed up in dust, reels, as it were, underneath the white parasols, without, however, leaving the (underlying support of the ) hoods of Sesa.
101. At whose marching, Sesa, too, does not cast aside the Earth, nailed (samdāņia) as she is, by the jewels driven inside by the mighty pressure of his army, although (he may be ) shaking his hoods in agony.
102. Whose sword, on the battlefields (raņāiesu) dripping with blood and mingled with the (bluish ) elephants' rut, oozes, as it were, a thin stream of liquid (metal), the sword having melted ( virāa) on account of the fire produced, when struck against the (warriors') armours.
103. Whose feudatories, erstwhile hostile, appear to be covering up (nūmia) the frowns formed on their faces ), while paying forced (hadha ) homage with their folded hands, joined to their foreheads in servile supplication.
104. Who, on occasions of heroic endeavours, glancing (daradittha) proudly at his broad right shoulder, makes the royal Glory resting on his arms, pleased and happy, as it were, by ( granting to her ) the favour of his full view.
105. In whose case, the foreheads of his enemy's captive women darken, as if discoloured by the piercing lustre of his frightening ( vi şama ) pupils, (when) raised in anger.
106. By the side of whose Tree of Glory, overspread by his prowess, is seen, as it were, the huge ignominy of his enemy, lying transformed in a heap in the form of the mass of thick (black) shadows.
107. Whose voice, deep and demanding great deeds (mahārambha) like Gangā (Bhāgīrathi), roams over all the worlds, embracing even the oceans.

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108. To whom all directions hasten in a hurry, as it were, to serve (him ) with waving chowries, disturbed and agitated, as they are, by a thousand streams of water-spray spouted gleefully by his victorious elephants, returning (from his compaigns ).
And moreover,
109. The lower lip looks charming when up-turned, being pulled by means of the finger-tips loosely placed on it, revealing its slightly dented surface on account of the inside ( bite ) bruises.
110. Sighs somehow are slyly given out (and they ) settle upon (paditthiä) the sportive lotus (in the hand ), forcing up the filaments in a whirl and stirring the honey at the bottom.
111. Their beauty blooms ( all the more ), as in their peevish ( mood of) dejection for not having (obtained) the playful pleasures of love's enjoyment (with him ), they pull their curly locks of hair with the left hand, crush them in vain and strew them about (on the head ).
112. The face develops a charm ( in spite of the fact that ), accepting only a single auspicious flower, the decorative wreath is sent away and the sandal paste, after a slight reverent bow, has been spurned with averted eyes.
113. (Such is this king) for whom, I imagine, the heavenly girls languish even now, on account of love's malady, worked up by the charming sight of his fighting (prowess ) in battles.
or otherwise,
114. The mountains, unable to contain their summits even in the sky and reverting from the ends of the quarters where their own ridges had already extended, get ( themselves ) burnt, having nowhere else to go to, although they lifted themselves up a little for flight.
115. The mountains discharge moltern iron, as it were, being smelted by the fire of the thunderbolt, their slopes enveloped in coils of smoke issuing from their cave-mouths.
116. The heavenly mountain (Meru ), with a mass of fireflames falling out from its smoking wings, was observed to be in close association with the Night and the Day, as it were, which also moved with him in his hasty flight.

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Gaüdavaho
117. The thunderbolt, .swinging up and down at (every) resistance, gets itself sharpened on those very mountains on whom its edge got blunted, as it came down with a crashing sound in its violent, bouncing impact.
118. The mountain-beloveds suddenly start rolling on the ground in an agony of miscarriage due to fright, when (they see ) big birds coming back, the moment they flew out from the caves.
119. The mountain extinguishes the fire caused by wing-cutting, sitting just at the very place where it is situated, since the oceans flooded in from both of its sides on the earths' surface which had caved in on account of pressure.
120. The thunderbolt, although meeting (in a blow) the rising mountain, whose ridges were being heated every day (taddiasa) by the movement of the sun's orb, was noticed (by the mountain ) after a long time.
121. The sides of the Malaya mountain went on burning, its sandal trees, with its branches withering ( vāa) on account of the poison-flames and hence being deserted by snakes, while its fragrant smoke was being availed of by gods (for perfuming) their spread-out (viasā via ) garments.
122. Masses of mountains, crashing on the ground with clipped (misudhia) wings, got fried up in the charming manner of (dry) leaves, the snakes fleeing in frantic haste that very moment.
123. With great difficulty does Sesa support the earth being beaten by the heavy thud of the falling, wingless mountains, feeling ( sore and ) furious at the fact that his mouths, pierced by his own fangs, were filled with blood.
124. The mountains, blazing in flames, host of gods retreating, being repelled by the heat, the sky looks variegated with rows of bees, frightened by smoke, hovering over the Grand-sire's (Brahma's ) lotus.
125. Mountain-( shaped ) beloveds heavy with young ones hiding inside ( Ihikka) their caves, fearfully reach the outskirts of the sky, ( grown ) lazy and languid because of pregnancy, as it were.

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126. These ( mountains ), supporters of the earth, fluttering their wings for the (last) moment, vanish like moths in the (blazing) lamp of the thunderbolt, flaming like dazzling lightning-streaks.
127. The mountains, thinning (in their ranks ), look very few in number; their expanse destroyed, they look elongated (in breadth); curtailed (in size ), they look too tall, with their wings clipped by the thunderbolt.
128. Wings loosely spread out, the mountains are seized by the rushing thunderbolt; and then falling down (finally) after a high upward flight, they are unable to jump up even slightly.
129. Thunderbolt strikes the mountains ( dhare); mountains slashed by thunderbolt and coming down, strike the earth; and the earth, too, hit by the falling mountains, smites Sesa's circle of hoods.
130. The mountain-ranges, made sore with their own pungent smoke, flapping their wing-like eyelashes and shedding tears of water-streams, burst like the veritable eyes of the quarters.
131. The sides of mountains, with their uneven (thaiida) surfaces of hardened iron-rocks, first flowing out (in fluid condition) on account of the burning heat and later solidified (samkhāa), become quite fit afterwards to meet and repel the (blows of the ) thunderbolt.
132. The summit-streams, soiled black by (the ashes of ) the burnt-up wooded groves, prove to be the falling tear-streams (bāhoārā) mingled with collyrium, ( from the eyes ) of the sorrowing mountain-wives.
133. The broad beds of iron-streams on the mountainridges, with their soft flow (of liquid ) now congealed, look in their lustrous forms like the huge bodies of snakes stretched out in sleep.
134. A certain mountain, glowing reddish-yellow by the fire of the thunderbolt and with the moon's ( reflected ) orb at its bottom in the course of its upward flight, roved about like Garuda (flying away) with a nectar-jar picked up (in his claws ).
135. Masses of clouds, flying off from the mountain-slopes, enveloped in the tawny glow of lightning resembling the thunderbolt, rolled on in the sky, looking like clipped mountain-wings.

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Gaüdavaho
136. Mountains, meeting the thunderbolt (in its blow), made their flowers, fruits and leaves look like burning pieces of charcoal, while the creeper-bowers, ( erstwhile) places of love's assignment, were being mourned for ( on account of their loss) by the heavenly couples.
137. The river-ways, flowing about on the ridges of mountains, quaking in (the agony of) mutilation, assumed the appearance of bandages on their gaping wounds.
138. What was seen by the forest-roving animals of the earth was only the clipping of wings of the mountains, as they stood ( still and stupefied) on their embankments, although they had come out from the caves in their eager desire to get down (on the earth).
139. The mountain-wings get scattered about in the sky in their (upper and lighter) halves, as they go up burning and start rolling (round and round ), while by their (lower ) halves, heavy at the bottom, they drop down on the ground.
140. Columns of smoke, massed up above the trees, having fires burning at the bottom, look like formations of shadows, thrown up by the light down below (hetthāloa).
141. Thunderbolt met the heavenly mountain Meru once again in the mighty flames on its slopes, on account of a suspicion that its wings were still intact, although they had been lopped off (before ).
142. By its own innate power, the thunderbolt might not deal such a hard and a fast blow, as it would do (to the extent of) cutting asunder a mountain, when hit with force by the wings of another mountain.
143. The billows of the oceans, stirred up by the falling mountains and lit up by the encircling lustre of the jewels (underneath ), heave high up in the sky, looking like the very mountains with blazing wings.
144. After a long time does the thunderbolt come out (from the mountain-side ), giving to the gods a feeling of sadness, causing a crater by its burning action, its flashing lustre lost, being compressed within their enfolding wings by the angry mountains.

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145. The thunderbolt would not leave even those mountains which dropped (themselves ) in the sea, although their long downward descent had not yet completed and (hence ) their peaks were to be seen stretched far ( and high ) in the sky.
146. Only one mountain, however, could (successfully) submerge, without its slopes, base and top being seen (Thikka) in the high-mounting waves of the ocean, as in the ocean itself.
147. One would imagine that it was not the mountain that (entered) the ocean, but the ocean itself entered the mountain in impetuous haste, flooding in to roll ( leisurely ) inside (the region of) its valleys and caves, as huge as the interior of the nether world.
148. The earth quakes, shaken by the seas agitated by mountains, its shoulders thrashed by the excited quarter-elephants, and thus made to oscillate by the mountains wriggling in agony.
149. Mountains move on, as if escorted by the seas, although they had not reached them, hidden from view, as they (mountains ) were, by their own ) rivers flowing on their slopes and tossed up by the violence of speed.
150. The dense, smoky mass rarefies, its vast extent at the base made thin by falling rocks which cover it up (chhavvia) and the slow ( rising ) flames being cut off.
151. These very mountains, tossing up a mass of dust and shaking off big chunks of their caves and valleys, became lighter, as they were shattered (into pieces) on account of their fall.
152. The mountains languish (in pain ) on one side, (pierced ) by the rankling splinters of the thunderbolt's sharp edge, while on their other side, they had their wounds healed up by the potency of the medicinal herbs (growing) on their ridges.
153. Not against one single mountain even was the thunderbolt seen to fail or falter. The whole cluster of mountains was (simply) boiled up ( attai) like one hill-top.
154. The mountains, having all the blazing fires of the World's Destruction concentrated in the trap of their folding wings, were extinguished only at the time of the Deluge, when they were inundated by the oceans' tidal floods.
G. 2

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Gaüdavaho
155. The same mountain-group, although now lighter on account of their wings being cut off, became heavy for the Lord of snakes (Sesa ), as they helplessly threw down (the full weight) of their bodies.
156. The earth disintegrated, the circle of mountains smashed and the seas pushed far back, the three worlds were (thus ) brought to universal Destruction, as it were, by Indra, longing for peace and stability.
157. A mountain-couple just gives up life, in the blissful satisfaction (ņivvua) for their bodies which could secure a (final) cold embrace, as the (warmth-giving) enfolding wings had been burnt-up.
158. There was then an unending, unbearable family separation for mountains, who, torn asunder (from one another ) hy fear, settled down firmly on the very spots where they dropped, as a consequence of the cutting of their wings.
159. The thunderbolt (once again ) goes up in the hand of Indra, light in body but gaining in weight (respect ) (by the discharge ) of its mission, having its sharp edge destroyed in breaking the tough wings of the mountains.
160. (Such is our King), sitting on one seat with whom, Indra considers it an honoui (Indra ) who put the mountains in a straight and reasonable frame of mind by clipping their wings.
161. Fine looks the (courtesans') muslin dress, made fragrant and pink by the bath-saffron, still clinging to their curly locks of hair and gorgeous with an auspicious one-flower garland, worn (by them).
162. The face looks beautiful with particles of perspiration thinly formed (on it) as a result of the intoxication of moderately tasted (cakkhia ) wines and with rolling lotus-like eyes, languid and feeble (ạitthāma).
163. Lovely is the expanse of their breasts, cool and sweetsmelling, on account of the fragrance of Pātala flowers transferred (to them), with patches of sandal paste unevenly accumulated (in dense layers) on their fleshy parts, ( jutting out ) from the tight-fastening (ūsamdūna) of the wet ( bodice ).
S

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Universal Dissolution
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164. The eyes roll about, soft and reddish like Mälatī buds besmeared with honey-juice, looking bright with their lovely roots of eye-lashes, from which collyrium has been completely washed away.
165. The hips get greatly relieved of pain (nivvāi) in their close contact with drops of water dribbling from the dishevelled blossom-like locks of hair, bruised, (as they-hips-are) by the sprout-like nail-scratches, inclined downwards and closing up (in the process of healing ).
166. (Such is our King) who stays behind to enjoy, in the pleasure-ponds of his enemies, the pleasure of water-sports, arranged ( pimmāa) at the close of the summer day, with a bevy of courtesans.
And what is more,
167. With the (hidden ) streams of the (melting) golden mountain flowing out of its crevices, the fire appeared to be falling out from the nether world in big flames.
168. The heavenly grove of trees began burning up, the (hovering swarms of) bees being screened by the darkness of smoke, their bunches of tender leaves having been mixed up with the spread-out palms of the sylvan deities (in an effort to save them .
169. The moon's orb blazes up in flames, its spot-like deer, resembling a circling mass of smoke, running away (from it ), its attendant planets having dropped off in the guise of flying sparks.
170. The group of goblins stood up, as it were, in their hideous forms, although struck by fire, with the fire-flames lolling out from their cave-like growling ( muhala) mouths.
171. The Vidyādhara couple, fully confident of their inseparable state, starts burning up (and) the first streak of smoke, issuing out, looked like a sword-blade grasped in the hand.
172. The buffalo of Yama, enveloped in flames, was swallowed by fire, as if he was his own mass of smoke brought down to the spot ), after having stumbled against the ends of the universe (in an attempt to escape ).

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173. The fire approaches the Lord of gods, trembling in fear, as it were, its flames fluttering with the breeze set in motion by the multitude (uppamka) of chowries being waved (over Indra) by the heavenly women.
20
174. The fire blazes up in the sky, being stuffed (and intensified) (nividio) by a cluster of lightning-streaks, fully exposed after the bursting of the mass of clouds and (finally) resulting, as it were, in the circle of orbs of (twelve) suns.
175. The snakes began burning up, driving far off the fireHames by their straight, hissing breaths (sumkāra) and keeping the emerging smoke pent up in their circle of dancing hoods.
176. Seṣa holds aloft the circling mass of smoke breaking out over his back, (looking) like a canopy (viāna) of Visnu's bodily complexion, formed overhead on account of His laying himself on him (nivesa).
177. Madana (the god of Love) blazed up (and) for the purpose of finding relief for his (burning) body, possessed by the flames of fire, he was (found) clasping the neck of the pitcher in the form of the moon's orb.
178. The fire somehow reached the underground treasurespots of Kubera, its emergence being rarefied by the (quenching) shower of the poison (liquid) emitted by the guardian-snakes.
179. The mass of fire-flames, when their vivid obstruction was brought about by the bodily halo of the wriggling Väsuki, looked brownish like a cluster of the slightly loosened matted hair of god Śiva.
180. (The fire) looked like the Son (Kartikeya) of the Three-eyed God (Siva), as He stood on the day of His birth, with all His parts collected together and restrained in the cage of its fire-flames.
181. (Such is our King) who displayed such playful activity (against his enemies), assuming the form and appearance of the enemy of Kamsa (Krsna Visņu) at a time of the Universal destruction, when (even) gods were engulfed in the flames of the destructive fire, inside the cave-like bowl of the universe.
Or rather,

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182. “Why has your hair-braid, graces of which were inseparably associated with the inter-weaving of a floral wreath variegated with jewels, now turned reddish-brown like a bamboostick struck by smoke?”
183. “Why has your face, its cheeks fonce ) looking like the counter-part of the digit-full moon, become darkish and smoky grey, like a Damanaka tuft of blossoms ?”
184. “The lip you have, which (once ) was so sweet and stuffed with beauty, is now turned unevenly reddish and rough like a fresh Kandala shoot, enveloped by particles of dust beaten down by a shower.”
185.“ This your expansive ear, we see now becoming tremulous like an erect Lavali leaf at the mercy of winds, unadorned as it is, by auspicious ear-ornaments.
186. “The self-same broad surface of your breasts, garbed like an eternal (full) moon or a jewelled jar, has dropped away its encircling garland and finds now no occasion (and scope for an application) of the sandal-paste.”
187. “The lovely complexion over your limbs, bright-yellow like a bunch of Kadamba filaments freshly bursting in a blossom, wears now the lustre of gold, dulled by a long lapse of time since its production.”
188. “The same pair of thighs which before had a white shining look, rendering its comparisons with the tusks of young elephants absolutely inadequate, has now, we observe, become loose and insipid like crushed lotus-stalks.
. 189. “Alas ! young woman, why do you have such red, colourless feet, like old (aņava) and broken bits of a Karcūra plant, looking like dull-lustred lotuses thwarted in the process of their full blossoming ?”
190. “This retinue now moves about, with the dignified grace of their dress losing all its brightness, having been worn a long time, and thus looking dusty like old paintings.”
191. In this way were the beautiful ladies of his enemies made to weep ( rujjamti) by their friends who, not having known of the

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mishap of their (recent) widowhood, saw (and said) what was appropriate for their affection (for them).
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192. Then, with the Coronation Ablution (ceremony) done for him, he started on his expedition, at a time when the magnificence of clouds disappears, having firmly fixed (in his heart) the ambitious resolve (Vavasaa) of the conquest of the whole world.
And this is what happened :
193. Here comes down from the sky a mass of tender leaves from the heavenly trees shaken by gods, magnified ( karāla ) by the pollen of blossoms and resounding with clanging (paropparavadana) jewels.
194. A breeze over the heavenly path blows lovely by its fragrance (obtained) from the slight-opened Mandara flowers. cooling to the throats of heavenly nymphs, exhausted by auspicious dancing.
195. Simultaneously (Samaam) with the King's (march), the huge pillarlike trunks are lifted up by the quarter-elephants, (to present) as it were, arches of uncommon, excellent jewels, (for his welcome).
196. The moon with a second halo (parivesa) formed (round him) by the encircling arms of rapturous Rohini, became invested with a bracelet of propitious planets.
197. A band of heavenly beauties moved on, with their plump, rounded breasts, resonant with the jingle of jewelled necklaces falling on one another in a graceful embrace, keeping time, as it were, for their dancing steps by the beat of cymbals (kamsa).
198. There was an onward movement on the part of the under-ground Treasure-Troves too, with their upper surfaces uneven and bristling on account of the big, darting (uvvella) gems (underneath), and with dark screens of fumes from the poisonfires of attendant snakes, fatigued by the lustrous rays (from the treasures).
199. The great Indra, even at the time of great joy, has his thousand eyes, dimly opened, soiled, as they are, by the fragrant powder (vāsa) getting in them, when scattered by rejoicing fairies.

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200. The firmament-canopy has victorious buntings of foliage fastened on arches, as it were, as the horses of the sun's chariot found themselves suspended over the impetuously uplifted trunks of gods' elephants.
23
201. Thus was the world of gods, who brought about the magnificent festive celebration on the occasion of the king's commendable march, their happy hearts being carried away by the thrill (of the event).
Moreover,
202. (The standing pose) in which the creeper-like left thigh (completely) crossed (turned) over, up to its very base (hip), the other slender (right) one, presenting to the view only one big breast, as the body, slightly swerving round, stood oblique,
203. (In which) the garland receding (sideways) met, with its ends, the curving line of the fleshy hips and the creeper-like hair-line (on the stomach) was uplifted, being drawn out clearly on (the surface) of the thin waist, which stood out (in a prominent view) on account of twisting (of the body),
204. (In which) the moon-like face was turned and rested down upon the right fore-arm placed on her friend's shoulder, the sprout-like palms of each of them united in a clasp, as the fingers were closely intertwined,
205. (In which) half of the breast was decorated (am jia) by a big and straight braid of hair turned over (on it) and the brilliance of the crest-gem became manifest when the parting line of the hair (on the head) was bowed down (bandhura) grace.
6
"
206. (In which ), as the (right) ear was bent low, the view of the ear-ring became obscured by the shining creeper-blosornamentmamjari) of gold (tavaṇijja), while the other (left) ear-ornament rubbed (or blended with) the saffron-paint on the bosom, which it reached, when turned sideways.
som
207. Thus did the standing grace of the city's beauties look charming on the terraces of their houses, when their decorative lotus-like eyes moved about for a sight of the King.
208. (The moon's friend) whose eyes, when he recollects even to-day, his bewilderment (caused) by the coiling mass of

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flames from the fire of Siva's wrath, suddenly turn away (in fright) at the sight of even an Asoka tree of brownish blossoms. . 209. That friend of the moon ( Cupid ) even, having seen these women, verily makes the faces of his own beloveds (Rati and Prīti) disfigured with anger, their broad cheeks being discoloured and pale, like the bunches of Kunda flowers.
210. In the case of these women, too, perspiration (came out and ) stayed on their bodies, discoloured by the sandal pigment through which it broke out (āviddha) and looking variegated with its mass of profuse drops all over (the body).
211. His eyes were fixed on the faces of these fair ladies, besmeared with sandal paste and painted with the yellow Gorocanā pigment, as on silver plates (full of sandal and yellow pigments ) on auspicious days.
Moreover,
212. “In battles, Laksmī, posed (seated) on your swordblade, had a glimpse of you, as it were, through the interstices of a door-panel (studded) with blue gems, after having tossed away (padipelliūna) the enemy's sword."
213. “Laksmī, who, fond of vice and ever residing on the sword-blades of warriors, has become dark ( complexioned ), as a result, as it were, of the iron-rust being injected, now flashes clean and bright with you."
214.“ By your forehead with its upraised (knitted ) eyebrows, as if infused with anger, oh King, all foreheads of other kings ) are leveled down ( in a bow ) on the path of homage."
215. “By kings like you ( more and more ) pre-eminent in later succession (in posterity ), this Race (the Bamboo tree ) has prospered in growth in an inverse order, as it were, with reference to its topmost part.”
216. “Religion appears charming, like a chamberlain (sovidalla ) by the side of your beautiful (beloved ), Royal Glory, as it has advanced (in age and progress ), securing strength and stability by means of the Staff (punishment ) utilised (on occasions) on the path of movement."

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vou)."
217. “ Laksmī holds over you a veritable white chowrie in the form of your mass ( ugghāa) of fame, with its handle of gold, as it were, in the form of your extending prowess as the basis (of fame )."
218. “Huge heaps of your glory are seen lying scattered about in all directions, giving an appearance of piles of broken bracelets of the multitudes of widowed (vihavūamta) wives of your enemies (slain by you)."
219. "We still remember your (tu ) sword with its flashing rays of pearls (extracted) from elephants (māamga) in war, looking very much like a lotus-stalk planted ( utta ) in streaming water, of the Goddess Lakşmi, ever fond of her abode in a lotus-plant.”
220.“ Having launched upon the vow of giving protection to the affrighted, your sword, I believe, has now no scope even against the host of your enemies, distressed, as they would be, by fear (of you )."
221. “Your enemies' backs, observed in curiosity (and wonder) on the battle-fields, were stroked by you placing your hand on them in appreciation, as they bent down to bow at your feet."
222. “Every day, the Goddess Laksmi stays on your sword, capable of breaking open the temples of a mighty victorious elephant, solely with a desire, as it were, to collect a treasure of pearls."
223. “There exists not a single man, O Lord, who would ( wish to ) take up (ņehii) the watery drops of mercy from your eyes to your forehead ( above in wrath )."
Or rather,
224. “The earth became ( very heavy ) for Sesa to bear with all his efforts (ādara ), when depressed under the weight of the 'multitude of mountains, compressing their bodies in their zeal (ādara) to fly up."
225. “Up in the sky, the clusters of mountains with the sun's. orb revolving inside underneath their wings, looked as if they came in contact with ( Indra's ) thunderbolt, yet to come (descend on them )."

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226. "Up went the mountains (in the sky), slowed down (in speed ) by the heaviness of caves filled with winds, and their peaks thickly screened by trees spreading out (in size ) on account of the velocity (of mountains )."
227. "The mountains ascend in the sky, with their broad cavemouths illumined by stars, moving unsteady, as they are, being dragged about by winds ( set in motion ) by their respective (flapping) wings (pehuna ).'
228. “ As the mountain Himālaya did his graceful flight, discharging frosty showers, the people started to shiver, feeling distressed by the (unexpected) sudden (acch( tth )akka) onset of winter."
229. “Obscuring the sky in their flight and at a high altitude looking small when the sky came out in view, the mountains suggested that the sky ( kham) is, as it were, meagre ( and small ) ( madaha ) at the bottom but huge and extensive at the top."
230. “When these great mountains flew up very high and when midway, the spray of the cascading streams vanished (from sight) (atthamia ), they looked astonishingly small, having ( as it were ) lost their huge bodies (forms )."
231. “The roaring violent wind, thick and heavy, having been ( so long ) pent up, fills whatever sky-pocket the flying mountains vacated."
232. “The mountains fly upward, their thick, dense shadows receding from the sides, reforming in conformity with the passage of their lower base and then gradually diminishing, while the streams of ichor ( dāņa) on the quarter-elephants, flowed down from their wings."
233. “ Flocks of birds, being swept by the opposing upward winds facing them, are forced to fly up a little; but they come down again and perch on the mountains dropping down from the sky."
234. "The forest-groves, with their shadows quick-moving as the light of the sun's rays changed its area ( of illumination, corresponding) with the receding movement ( of the groves ), appeared thin and sparse, their foliage ( umbrella ) having been upturned by the ( wind's ) velocity."

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Praise by Bards and Poets
235. "The great Indra even, who had clipped the wing-rows of these mountains getting in his (thunderbolt's) range in the sky, nodded his head in admiration at the thought of this King (going on his expedition )."
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236. The Goddess of Victory seen (saccavia) on your sword, the pearls from elephants' (temples) closely clinging (samdaṭṭa) all along its blade (aṇudhāram) has, as it were, manifested herself only by her necklace slightly exhibited in gracefu! dalliance."
237. "Your glories, mingled with the (black) ignonimy of your enemies, are held (on their persons) like Malati garlands interwoven with petals of blue lotuses."
238. "The kings' circle, mighty with their prowess and solely centred in you like the planetary ring in the immovable (anucchitta) polar star, moves round and round."
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239. "On the battle-field, only your sword flashes bright in your hand, which thus attains the lustrous beauty of the spot on the moon's orb in the form of your glory."
240. "We curse ourselves for not being Arjuna (i. e. Sahasrarjuna with a thousand arms), or great Indra (with a thousand eyes), or Vasuki (with a number of ears), since (in our present body) we are incompetent (apajjatta) to do homage (with more than two folded hands), to have your sight (with more than two eyes), or to (hear) your eulogy (with more than two ears)."
241. "Your sword comes down on the enemies, with its sharp edge (dharagga) enveloped in a cluster of (ignited) shooting fire-sparks generated by its impact (on the armour), drawn (towards them), as it were, by their hostile circle of planets."
66
242. Against your enemies dwelling somewhere in fear and misery (avilasam), even the Odd-Arrowed God ( Cupid) does not draw his bow, considering them cowards, as it were.'
77
243. "On the battle-field, frightful by the twanging sounds of bows pulled by warriors, you (tam) happen to be closely embraced at once by the Goddess of Victory, filled with fright, as it were."
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244. Charming does the Goddess of Victory look in her unions with you, employing your (tu) sword like a blue lotus on

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Gajdavaho
her ear (to extinguish ) the rows of lustrous lamps in the form of your enemies of great valour."
245. “Your sword verily, O Lord, has multiform blades, since your enemies collapse (and go down on their knees ), being frightened away even ( at the sight) of another's plight ( wrought by your sword )."
246. “They are not fire-sparks that fall out from your sword striking the armours; but this is veritable gold, which the Goddess ( residing) here (on your sword) emits to succour the supplicants."
247. “All your (diplomatic) missions (kajjāim) are successfully accomplished just by your fore-finger, a veritable female envoy of your mighty, massive arm, when (it is ) raised and held erect, though quivering, ( kaakampam ) as if in anger."
248. “You have so ascended on top of the world, elbowing out (others) on all the sides (pāsāakkameņa), that only the crown (on your head ) looms (over all ) like a dome (on a mansion )."
249. “The spot of musk (maa), transferred to your shoulders by your beloveds, looks like a mud-remnant left over in the discharge of your duty of bearing the earth's burden.”
250. “The thick concentration of red lustre, gathered from the blossoms of red rubies in the ear-ornaments (of your ladies ), flashes bright on you ( your face ) like an imprint of red lac-dye from the foot of Lakşmi constantly roving over your eye-brows."
251. “The supplicants, in the act of homage ( at your feet), are happy and satisfied, as they ascend (in their reflection ) the serried steps of your lustrous toe-nails, (feeling) as if they have entered the caves of reddish jewels."
252. “ Laksmī lies concealed inside your sword under the guise of the fire-flames discharged by its blows on the armours (of enemies), looking as if (she is ) wearing (her husband's )-Visņu's garment, exchanged (by her for her own) in her flurried arrival."
253. Thus is (he) who is praised for merits, which are facts (bhuattha), by bards and great poets, with their throats becoming painful and (voices) faltering at the flood of joy.

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Horses on the March
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254. Thus was exit made from the city by the King whose fame had already) gone ahead, his charming exploits, like (those of) the moon, having been broadcast ( samcāria ) by his flattering (cādu), witty bards.
Horses on the March
255. His marching steeds, whose whirling movements (āvattagaio) were executed ( perfectly), just because, perhaps, (they had ) turned and twisted about inside the embryonic homes of the vital wind-breath named Java-Pacamāna,
256. Who, with their hoof-prints reddish like saffron blotches (marked) on saffron-coloured surfaces of the tracts, betray the enjoyment of the Earth by her Lord, characterised by fresh nail-marks (left on the beloved Earth),
257. Who, with their neighing sounds produced by the thick (Samkhāna=samkhyāna) lumps of foam at their mouth-ends, appear to be the conchs of march, as it were, being filled with wind (blown ),
258. Who, with the magnificence of a multitude of emeralds in ornamental decorations ( āyāna), emit a hundred-fold ( or quickly ) ( sayarāhā), as it were, through their limbs, the fresh grassy juice, taken in (by them),
259. Who, with their well-formed hips, very much like a clearly demarcated middle ( central) line, possess, as it were, well-laid channels (paņāli ) for the water of perspiration to flow out,
260. Who, with their hooves with chisel-like, pointed edges (tamka ) falling deep (and sharp) with great strength and speed on (soft) roads, write, after (first ) uttering, as it were, the syllable *?'(a),
261. Who, born on the borders of the mountain Himālaya, as they are, quiver on the spot, in the powerful exhuberance of their mettle, experiencing, as if, even to-day, the shivering caused by the healthy ( anagha) cold weather of their native land ).
262. These (such ) victorious horses, with numbers of warriors mounting them, marching in waves in front of the great King, suggest, as it were, the great joy (they feel at their participation in the King's campaign).

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Gaidavaho
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Elephants of the king's army
263. (The elephants ), who with their big trunks held over after being gracefully twisted, offer to Laksmi a pillow, as it were, (to rest upon ), as She lays herself on the couch of their huge tusks,
264. Whose nail-pieces (on their toes ) appear to be, even to-day, fragments of skulls imbedded (khattā ) in the sides of their feet), because of the fact that they had crushed the enemies' heads with their feet, turned and twisted (in the act of crushing),
265. Who, with their triple streaks of ichor flowing in a. zig-zag grace, arrange, as it were, Laksmi's hair in a fragrant, graceful, creeper-like braid,
266. Who drink, as it were, the blood-water of their rival elephants, completely floored by them and laid by their sides (pāsallia), with the help of lovely lotus-stalks, as it were, as the pointed tips of their tusks were thrust in the sides ( of the dead elephants ),
267. Who, with their flapping ears, soft and hairy like whirling chowiies, look charming, appearing as if (they are ) on fluttering wings, (wishing) to fly up with the idea of (having) a fight with heavenly elephants,
268. Who, with the watery streams of their ichor, give every day (an indication of the farthest limits of advance ) by fixing a tape on the ground, as it were, for his expanding Royal Glory.
269. Such victorious elephants of the King, with their darkish skin-colour hidden under the spread of white powder ( siapittha), march ahead of him, like clouds whose blackish aspect is taken away by the season of autumn.
270. And now came with their charm ( agghamti) little by little (i. e. gradually ) (winter) days, the swans cackling at midnight, the lotuses getting only slightly oppressed (with heat) (dūmia ) and the sun's light bereft of its bright strength (asūra).
271. The compact nights have sparse clusters of white lotuses on ponds ( kūsūra), moon's halo, unruined (unbroken), but pale, thick frost and cold mornings.

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272. The sun's rounded orb, reddish like Alambusā blossom, reels in the sky, not finding (full support of) its rays and paled in lustre by the influx of mist ( tusāralamhha).
273. The village-borders look lovely with their cool waterspots, with the notes of curlews (herons) and cranes uncurtailed and with the fragrance of paddy (kalama ) pounded at the threshing floors ( khala) wafted about.
274. Whom would not the forest-fringes captivate, enveloped, as they are, in the smoke (emitted by cattle-farms, the dry cow-dung cakes (karīsa) made blackish, being covered up by thick mist?
275. A herd of cows (rohinijuha) goes out somehow with a dull step to enjoy the mild heat of the sun, with their hips unshivering, (having had ) the happy comfort of the heat of (burning ) cow-dung cakes permeating (through their bodies ).
276. Thus casting his eyes on the village-borders prospering in the cold season, the Lord of the earth ( King ) reached gradually the territory distinguished by the Soņa river.
277. The outskirts of ( several) villages, blooming (beaming) with fresh paddy crops and pools of water, getting red-coloured by the betel-nut shells dropping (in them ), were trodden by the soldiers of his army.
278. Their eyes rested on the border-lines of water-reservoirs (teeming) with intoxicated ospreys, the waters (in them ) rippling with flashing fish and possessing clumps of reeds ( vamjuliņīsu ) (in between ).
279. Their hearts felt restful (and happy ) there (to see ) these out-skirts, with lovely. waters inside the unsullied (clean). reservoirs and ( beautified ) all round (a) with fragrant paddyfields putting forth their blossoms.
The Vindhya mountain
280. (The Vindhya mountain) where ascends the sun's chariot with great difficulty, with its yoke pushed upward, the tawny mane on the shoulders (of its horses) tossed up by the yoke falling back (on it),

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281. Where, for those who go out, there is an impression that the sky does not exist at all, (the vision being obstructed by mountain-ranges overhead), while to those staying inside the deep caves, (it appears) that the mountain itself does not exist,
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282. Who, with its ridges full of many a cavern, appears to have been manufactured, by taking (as raw materials) half of the earth and half of the sky and then placing it in between the sky and the earth,
283. Who, with his peaks penetrating the sky and the sky spreading through the caves, has screwed up and steadied, as it were, the surfaces of the sky and the earth,
284. On this Vindhya mountain, with elephants pleased and happy to get bits of Sallaki plants full of fragrant juice and with thick-growing palm-forests, the King went up.
Praise of the Presiding Goddess of the Vindhyas
285. The arched entrance (of your temple), O Madhavi, is embellished with strings of bells snatched, as it were, from the whole family herd of the Buffalo-Demon, captured by you."
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286. "The head of the Buffalo-Demon, filled with the brilliance of the toe-nails of your feet, is seen to be a foot-stool, as it were, in the form of a block of snow placed by (your father) Himalaya for helping you to ascend."
287. "The rows of bees, O Bhairavi, over the perfumed courtyard of your temple, hover about like dangling chains of creatures released (from worldly life) by a prayer alone (offered to you).
""
288. "Indeed, at your (mere) recollection on the battlefield, masses of elephants disperse from a distance, being put to flight, as it were, by the roar of your vehicle, the Lion.
""
289. "How could your devotees, O Candi, falling in line at your lotus-like feet (in prostration), be bound over by Yama, when he would be, as it were, carried away (from them) by his buffalo, scared (by the memory) of the killing of the BuffaloDemon (Sairibha)?”
290. "The mountain Himalaya, by reason of his being your father, has been elevated (in status and dignity); so, too, is

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Praise of the Vindhya Goddess
33
mountain Vindhya, O Blissful Goddess, by the grace of your having accepted ) a residence in its cave.”
291. “Very nice and charming you appear, O Nārāyani, in your residence (temple ), when strolling about, the flocks of swans collect at the jingling sounds of your anklets, (evincing ) a passion, as it were, for the cemetery strewn with skull-bones.”
292. “ Physically only, you stay in just half of the body of the Crescent-decorated God (Siva); in his heart, however, O Sankarī, you have complete, undivided scope (to occupy). ”
293. “The Buffalo-Demon's horn was pulled out (broken) by you (with a kick ), as it forcibly extracted (from your foot ) the circular (kumdala) jewelled anklet (tulūkoti) and placed it as a ring, as it were, on the (remaining) broken part of his horn.”
294. “ Your door of the temple ), with offerings of blood placed at various spots, appears to be strewn with the pieces of (the body of ) Sandhyā, slaughtered by you in your jealous resentment against ( your Lord) Siva.”
295. “The night-falls, when columns of darkness are pierced through by the shining light of your face, appear, O Divine Goddess, like huge buffaloes being offered (to you ) by some ( devotees ). ”
296. “You alone place (ạimesi) your (light) step on the eyes of the people in the form of sleep; since, on awakening, their eyes look (red), as if filled with the red lac dye (of your foot ). ”
297. “ If, O Kāli, you had not brought about the dissolution (of the world), how could there have been such a gorgeous decoration of garlands of skulls on all the bodies of your infinite forms ? ”
298. “You are praised by men, who, that very moment, find their iron (greed ) chains snapping, (leaving behind ) black necks, like Siva's characteristic marks, since they attained the status of His followers, as it were.”
299. “Not even for a second, your temple-park is left by the peacocks, out of feelings of affection, as it were, for the peacock of Kārtikeya, near at hand.”
300.“ Always drinking in (inhaling), as it were, columns of the smoke of incense at sacred offerings, you vomit out this thick darkness in the form of nights of the dark fortnight.”
G. 3

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Gaüdavaho
301. “You look beautiful with your bosom luminous with the rays of sapphires in your garland, as if with a cage made out of enemies' swords, kept off ( amtaria) for the protection of people bowing (in devotion at your feet).”
302. “When you flash out in the form of night, the moon playing the part of ( resembling) the skull, that time the circle of planets makes for the decoration of human bones.”
303. “If you had not turned the serried rows of the demons' swords into blue lotuses (inclined at your feet), how could have been the ceremony of the worship of your lotus-like feet carried out ?”
304. “You shine with your bosom between the two breasts besmeared with the wet, red sandal paste, as if bleeding, ( being pricked ) by the thorns of the garlands of Bilva leaves.”
305. “The blood-streams spurting through the outlets (paths) made by your trident, O Forest-goddess, (piercing) the body of the Buffalo ( demon ), look like the triple course of your (three ) eyes flushed red with anger (when) rivetted on him.”
306. “The inner hall of your temple, O Goddess, darkened, as with black collyrium, by the lustre of swords and daggers (asidhenu) gifted by warriors, leaves the owls even during the day, free from fear.”
307. “You are ( every day) worshipped by ( your devotee ) the Night with offerings of rice-grains resembling the stars, having first made an offering of a dripping head, as it were, by means of ( in the form of) the orb of the setting sun.”
308. “You shine, O Gaurī, in the midst of watery clouds in the shape and form of lightning, as if you have been (Yasodā's divine daughter substituted by Devaki) flying up to the heaven along with the death-dealing stone-slab placed by Kaisa (for striking dead on it Devaki's new-born children ).”
309.“ With the lustre of the jewel-like toe-nails overspreading the red lac dye, blending with sweat ( caused ) by the touch of God Siva, your foot looks beautiful, as though the crescent moon, the Gods' river (Gangā) and the twilight have (combined ) to bow at your feet ( along with the head of Siva.)”

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310. “The stone-slabs (of the pavement) here, with their inside reflections of the red banners, are licked by female jackals under the mistaken fancy of the flow of blood from the easily available (animal) offerings.”
311. “The reflected images of the various creatures ( at your feet) in front of you drink in, as it were, the saffron paint washed down from your forehead in the act of worship-bath, expecting the gratification of drinking blood.'
312. “ (Even) in the state of sleep your form cannot be observed even by gods, the functioning of their eyes being impaired by the closure of their eyes, dazzled by their having direct vision of you ( in the wakeful state ) ”.
313. “How indeed, could you have, O Ascetic Goddess, (practising penance to change your complexion from black to white ) cultivated regard for the restraint of breath (exhaled and inhaled ), with your sighs increasing ( beyond normal proportion) at the time God Siva (insulting you) turned away from you (calling you a black woman)?”
314. “The sighs of Siva, produced by your graceful movements of dalliance, are now heated and tormenting (samtāvino ) on account of a feeling of repentance for burning the God of Love, looking as if they (sighs) have drawn (in themselves ) the fire from His eye on the forehead.”
315. “The breezes, ever blowing at night-falls, fluttering the ever-burning lamps in the conclaves of the perfected devotees, give comfort by the happy fragrance of incense at your festivals (īt sava).
316. “Flashing in the form of lightning on the edge of a mass (kūdakodi) of watery clouds, you look charming (like your own self ) flushed red with anger, while overpowering the Buffalo (Demon )."
317. “ You cause a flutter (of fear ) by means of typhoons (vūudumdū:), as if with evil goblins, keeping the whole court-yard awake ( during night ), dusty and hairy, as they become, when they grab ( in their virulence ) heaps of hair offered (to you) by people.”
318. “The dimmed rows of lamps in the deep interior of the hall, O Goddess, reel and falter, as if blinded by the darkness of the hair of offered heads.”

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319. “Your female worshippers (of the Kaula sect), going up one over the other in their excitement to see the great beast ( Man ) being slaughtered, construct, as it were, a house of perfumes in the air.”
320. “With your feet, characterised by people bent down (at your feet), looking very much reduced ( madaha ) in size in their reflections in your jewel-like toe-nails, you look beautiful, O Mother, being bowed, as it were, by thumb-sized gods (Vālakhilya).”
321. “These thousand arms of yours with their multifarious equipment and weapons, are a mere appendage (pariara) to that one arm of yours, O Goddess of excellent thighs, when lifted up to grant boons (to your devotees ).”
322. “Your temple with its multitudes of freshly red-lustred stream-like banners, throws out all the blood, as it were, drunk every day (taddiasa ) from the decapitated heads of animals ( sacrificed in your honour ). ”
323. “The cloud-like smoke-coil, issuing from the fire of your third eye, looks lovely, as the tongues of Vāsuki (encircling the neck of god Siva) assume the grace of lightning flashes."
324. “The very foot, which was planted on the Buffalo's head culminating in his death, richly serves as an auspicious source (of bliss ) to the people.”
325. “In your maidenhood, for the propitiation of god Siva, a veritable Bilva sacrifice, as it were, was done by you, with the help of your tiny breasts on your heart inflamed by love."
326. “You possess a body conspicuous with dripping human mouths clinging to one another, remaining loose (and disjointed ) even now, by reason, as it were, of the dislocated, dangling bones (of your body) battered by Kamsa.”
327. “The branches of trees in the cemetaries, at night, red with pieces of dead (human ) bodies ( kunava ) suspended on them, suggest the highest heroism of warriors in the act of selling human flesh (to get success in their undertakings )."
328.“ In your greed for a big (chunk of a) bone full of gravy, your tongue, O Candī, turns and twists over the lustrous rows of your teeth, tinged pink with the lower lip's lustre.”

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Praise of the Vindhya Goddess
37
329. “Revati (Cāmundā) moves ahead of you, her body naturally gaunt and dried-up, (indicating) as if her flesh is lost through fear of human bodies ever present here.”
330. “You are worshipped even by trees, with an offering of their own blood, as it were, (flowing) from their hacked arms (branches ), red with sap exuding from the cuts made by axes.”
331. “Even cocks (or peacocks ), turning the entrance) path muddy with blood, fat and hair, dropped (on the ground) in their mutual fights, obey your comands, as it were.”
332. “You strike terror (dimba) even with these pillars decorated with cloth dyed red, prominently displaying, as it were, circular heaps of flesh (from animals), butchered for your offering.”
333. “Your carrier corpse, indeed, makes itself (strong and ) capable to bear you, its strength being brought about, even in its dead state, by its body which can easily breathe.”
334. "Charming you look, in your night-forms (in association) with the temple-deities, pouring out from their mouths extraordinary blood-streams, being fanned in devotion by red banners, as it were.”
.335. “The dark nights, by your association, O Goddess, develop shoots (baddhamkura ) as it were, in the form of the buffalo-horns and put out sprouts, as it were, by the out-stretched necks of peacocks.”
336. “The blue-bodied (meaakāyā) Sabara couples look charming, gaining a dark complexion, as it were, by their reflections in the rows of copper ( loha) mirrors.”
337. “It is only your form as a Black Night of Destruction which is dreadful and frightening; your heart, however, is evee affectionate with feelings of compassion."
338. Thus was homage, with requisite ceremonies ( sapariara) of worship, paid by the King to the Divinity dwelling in the cave of the Vindhya mountain, the way (to the temple ) being directed by Sabaras clothed in mere leaves ( tammi-dala ).
Thoughts at the sight of a dead body
339. “Is it that even now flares up the flush of the fire of anger within the spot of his heart, although the bony skeleton is browned off by its longtime ( decay) ?”

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38
Gaüdavaho
340. “Death has, as it were, engraved lines of the knitting of eye-brows for ( depicting) a laugh on its forehead, teeming with vermin-clusters produced in its joint.”
341. “The dust on the round face, turned in curling knots in the absence of any ointment (olimbha), wears an appearance of thickly besmeared sandal paste (to alleviate ) love's pangs.”
342. “Alas ! The lovely head that (formerly) was fondled and caressed when lying on his beloved's arm, (comely ) like a bamboo sprout, rolls now on the slope of an ant-hill which forms its pillow ! ”
343. “How strange is this glossy transformation of the (lovely) braid of hair into a hollow skull, thickly matted with dry grass, sprouting from its interior filled with mud !”
344. “Alas ! Alas ! This row of teeth, overspread with greenish dirt, gives a trembling, as it were, as if emitting (even now) the juice of many a betel chewed ( before ). ”
345.“ By the presence of bees' feathers (here), it appears that His blossom-darts were discharged by Cupid (even on this dead body ), the feathers having been separated (from the arrows )."
346. “For him, (dead as he is ), the whole world becomes at once enveloped in impenetrable darkness, inspite of its having still the rising sun, the friendly moon, the burning fire and the lustre of jewels.”
347. Thus did the King grieve for long, filled with emotion and (indulging) in various fancies of discriminative thought, greatly softened in his mind at the sight of a human corpse there.
348, (The peacocks ) whose big, sloping plumage with its spreading brilliance, bristles out from within, as if tinged with the lustre of the gems of cobras eaten up (bahutta ) often.
349. The notes of these peacocks delight him (on the banks ) of streams flowing on the slopes, soiled by mountain-smoke, (shaded ) by trees becoming scarce by the (encroaching) fields of Bhils (pulimda).
350. In the forest-tracts, (infested ) by elephants, he sees the tracks of their herds, bristling red with bits of Sallaki plants, as if with filaments, (thrown out) after being eaten up.

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The Summer
351. The practice (joggā) in the skill of encircling enemyheads was being done, as it were, by his victorious elephants, as they stretched up their trunks to smash lumps of palm fruit.
352. The hill-paths became strewn with the fire-sparks (phulimga) of his wrath, as it were, dreadful (as they looked ) with clusters of tiny Gunja fruit, dropped ( virikka) by the frightened Bhil women running away.
353. Under the guise of peacock's feathers worn on their ears, the feathered (kaapattaņā ) arrows in the form of glances, as it were, are cast at the King by the Sabara women.
| 354. The Lord of Magadha moved away, creating by magic a screen of dark night ( tami) over his face, as it were, as he darkened the whole expanse of quarters by a thick layer of elephants’ rut, in fear of the King.
355. The tracts of land, flickering (in the heat ) of summer, with peacocks, restless and languid, (resting) in the afternoons, and charming with green forest-groves, give to the King a peculiar feeling of uneasiness.
356. The earth warms up, oppressed by summer, with thick heaps of chaff (busa ) falling in showers and then clearing away, the ponds made muddy upto their bottoms and ( grassy) sprouts, rare and withering.
357. The mountain-rivers falter along (in their courses ), their currents being slowed down on rugged land, fragrant ( as they are ) with bits of fresh sprouts (roha), their water cooled by the fall ( oyūra) of icy flow in it.
358. The landscapes (disābhoā) greatly appreciate (in charm), their loveliness emerging on account of a surrounding belt (pariara) of blue forest-ranges and their villages (looking ) white with a covering of newly-laid thatches.
359. Even in summer, the mountain-slopes (oniambā), develop an overgrowth of lawns ( saddalia ) in the forests, because of the sprinkling of water by windy (stormy) showers at evening, thus (looking) as comely and delicate ( as they do ) at the commencement of the rainy season.
360. Then the rivers flow in turbid currents and the breezes get fully (pajjatta ) surcharged with Kadamba fragrance. The

Page #337

Gati davaho
youthful exhuberance of the rainy season thus drops down (descends on the earth), without its pompous array (dambara)
of clouds.
40
361. The travellers pass off their summer (night) sleeping inside the temples, cooled by the holy ablutions of Siva's limga (during worship) and filled with the fragrance of the Kadamba and the Arjuna blossoms wafted inside (dha).
362. The days are lovely, the city-roads being heated, while the sun's orb is overcast with hanging clouds; the heat of summer is confined to the earth, while (the clouds of) the rainy season stand suspended in the sky.
363. And then (navari) the sun's rays developed a misty appearance, (as) at the close (pariņāma ) of summer, as if showered by the spray of rut falling from the victorious elephants of the King.
And this is what happened :
364. The eyes turn away, contracted by the bright, dazzling light (outside) which could not be endured, having come out from inside the house, after a long time, reddish and languid (as they are), when rubbed after a break in the sleep.
365. The hips, adorned by a fragrant garland of Bakula flowers, attract (attention), with fresh nail-marks (on them) caused by a bed of tender Tamala leaves crushed underneath.
366. The creeper-like arms, with cool forearms, as the bracelets of lotus-fibres were tossed away, look charming, being moistened with water and besmeared with sandal paste.
367. The (graceful) whirling movement, with anklets fastened on the feet interspersed with Campaka flowers resembling new, tiny golden bells, captivates (the eye), sweet and charming (as it looks), when the soft (silken) dress is thrown up.
368. The broad bosom gains in loveliness, fragrant with the residue of the sandal paste over pinkish nail-marks, (the fresh skin formed over them) being removed in the act of a close embrace and bedecked with a garland of Kalamba flowers (looking) variegated with their petals.
369. The charm of an ear-ornament, consisting of an inner (yellowish) Ketaka petal, emerges (in its loveliness), as it clings

Page #338

Tha Talk of Soldiers
41
to the reddish, flushed cheeks mingled with the intoxication of a small quantity of wine (taken ).
370. Thus moves about on terraces a bevy of beauties, with their vigour diminished as a result of the heat ) of summer, the surface of their cheeks cooled down by a few drops of water ( sprinkled over ).
The talk of soldiers
371. “The days now are lovely, the sun's orb (becoming) pale ( vicchāya ) and brown on account of a co-mingling of lustre and clouds, the breezes cut off, (looking) greyish and dusty without dust.”
372. “ Here blows a breeze, rippling (taramgia) with the swinging branches (of trees), through which (protrude ) the crests of peacocks with their uplifted necks (ukkamtha) and made noisy by the falling of showers on the thick Jambu fruit.”
373. “Here emerges a mass (patthāri) of clouds, half of its interior darkened by what little (dara) water they had drunk, thus looking greyish like an elephant's ear white at its tips (peramta).”
374. “The ascetics pass their days here on the sloping embankments of the mountain, with blossoming Arjuna trees in front, surcharged with the deep fragrance of Kutaja flowers and made pleasant by showers.”
375. “The forest-grounds here look beautiful, bristling (kasavva ) with the Palāśa fruit, soiled with fine sands and making noise when ejecting water (under trampling feet), and appearing darkish even when slightly sprinkled ( with a shower ). ”
376. “These days, when breezes ( become scarce and ) have to be looked for, and getting warmer after a shower, ( are conducive ) for ripening of the mango-groves ” .
377. "On a day dulled (heavy) by showers, the family houses (inmates ) delight in the smell of fat, coarsened by dust falling out from the heated granaries ( kusula).”
378. “The forest-tracts here, dense with lotus-plants varieagated ( sāra) with their fruit, becoming thin and sparse by woodcutting activities ), have their grounds browned off by the drying (vūa) Kadamba trees, left standing only on their stumps."

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Gaiidavaho
379. "These Southern women, with their bound tresses of hair scented by fresh Ketaka flowers, look beautiful in their turmeric pigment, whose yellow brightness is heightened without effort (having the same natural complexion).
42
66
380. How and why would not Cupid, who conquers (only) with his fine, flowery bow, flash forth (triumphant) all the more, having obtained (additional aid) of the bow of Indra (rainbow) ?"
29
381. Such were the talks of the army people, made soft and tender by longings of love (ukkamṭhā) possessing their hearts and telling the characteristic symptoms of the season.
382. The sweet-throated song and sleep in a (quiet) uninhabited place, when (for a long time) no sleep was to be had, were a great solace to the heart filled with (love's) longings.
And what more happens ?
383. The earth's surface dries up, its mountain-slopes being heated, the bulbous roots sprouting on the borders and the dust thickening in clods on account of light showers.
384. The rivers now start flowing their waters, yellowish and undrinkable, splashed by showers. the cranes (balua) picking up the floating fish.
385. The rivers reel and falter (as they flow), the driedup, muddy moss-tufts overflooded by yellowish water and the fish (in the stream) difficult to spot out by the water-hens.
386. The beauty of the plantations of water-melons (vālumki) drops away, with the shrinking of ashes (serving as manure ), their tender fruit at (different) spots being encircled by the canopy (viāna) of brownish creepers scattered about.
387. Though washed by new (muddy water) and breathing shallow through their mouths, the flock of fish does not move away (to another place) in the pond, their bodies having become heavy with mud, (which they collected on them) in their meetings with other fish.
388. In the sky-region, lovely by the manifestation (nivesa) of a rainbow looking like a strip of lawn, there moves a curving line of cranes resembling a herd of (white) cattle.

Page #340

Advent of Rains
389. The sky, partially bespangled with the lustre of deep, greenish rainbows shooting up, looks picturesque, as if it has been made multi-coloured (sabala) by the plumages of peacocks, who have taken to the air in a pleasant mood of satisfaction (as an effect of showers).
43
390. (A) As the thick column of dust (rises up), being dug out (ukkhaa) from its base (on the ground) by the speed of the summer gusts of wind, the surface of the earth manifests itself like the flattened skull of a tortoise.
390. (B) The hooded cobras tolerate the first fresh showers, although their rounded hoods smart (dumia) under the smiting streams (falling on them), since their cool touch is very much solicited (maggia) by them on their bodies, being (constantly) heated (payavijjamta) by the fire of their own poison.
391. The rows of ponds look lovely, bringing the mountainranges, whose dust is allayed, much nearer (to them) and darkening the herds of elephants.
392. The lustre of sugar-cane (crops) flashes forth just after the first shower, looking blue as the dust is washed away, although they have gaps formed (viraluddesa) and the twigs are browned off in several spots because of the summer heat.
393. The ponds look lovely, their inside (walls) collapsing although well-built, the water becoming whitish in places where the stalks were rooted and the pink Kaseru grass at the bottom quivering.
394. The forests have their tree (-tops) stirred (ramkholia) by winds from the clouds and with a cool, green verdure ( growing underneath) at the base; the Udumbara fruit becomes insipid (and) tasteless) when beaten by showers.
395. A rest (continued) for a long time is enjoyed by travellers underneath the cool-shaded trees, noisy with (chirping) birds, delightful (as they are) with sandy mounds (nearby) by the side of rivers full of rippling water-streams.

396. The frontiers (of villages), with flocks of intoxicated quails (moving) inside the beds of Himsi creepers, with white patches inside formed by the fresh Varanaka grass, develop a charm fit for observing from house-tops.

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Gaüdavaho
397. The borders (of villages) look lovely with slightly yellow (daragora) rice-fields, moistened with drops of fresh water boiling in the heat (of the sun ), with tracts of land (in between ) appearing greyish like the backs of young tortoises.
44
398. The surrounding parapet-wall (varana) of the wells with its soft, upraised border, bristling with its bluish pieces of stones (masonry), thoroughly cleansed of its mud, appears to have diminished (onaa) in height, as the water came in ( to fill the wells full).
399. The lands had rice-fields ripening (vosaṭṭamāņa) with what little water they could subsist on (lit. drink) after the rains had stopped (vāricchea), being filled with the fragrance of Musta grass chopped by the ploughs.
400. With fresh clouds (filling the sky), the days appear to have just begun, although the sun has risen high, while even when the (day's) end was far off, (it appeared) as though they are about to cross over (the setting time or the setting mountain ).
401. Quite a peculiar charm (develops) for the bordering regions (near water), that could be noticed in their (various) vivid aspects when herds of cattle have moved nearabout, the paths (leading to them) being hidden deep (gahīrāamāņa) in the grass that heaves up (and covers them).
402. The nights present a brighter twilight glow, when the gurgling sound of the mountain-rivers doubly increased (in volume) and the shrill notes of crickets (and such other insects) go on continuously.
403. The cities look pleasant, with their smelling (uggamdha) soiled grounds, producing a bright, yellowish glow (up above), the notes of musical instruments being carried over longer (distances) by the peculiar (pattering) sound of the rainy day.
404. The nights present the scene of rain-water being drained out in noisy streams over the roads when showers have ceased, while (up in the sky) clouds are observed in their distinct demarkation (vihamgão) when illumined by lightning flashes.
405. The frontier-lines (of villages) have tender shoots (of grass) obscured by (crowding) insects (kīḍa), marshes and ponds made muddy by showers and flocks of Sarāti birds squatting in fields.

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Advent of Rains
45
406. The sky becomes overcast with massive clouds, the forests have their Arjuna trees pressed down and drooping on account of showers; and the dark-blue nights, with the moon, bereft of the pride ( ahamkāra) (of his lustre), do attract.
407. In the rainy season, the earth sinks, the sites (nivesa) of river-banks sagging under water, thus looking as if it (the earth ) has been tossed away (from his head ) by Sesa, when he himself was being fashioned into a bed ( talimattaņa) by the god Vişnu.
408. The beauty of the forests in the rainy season has to be observed only from a distance, since the ground underneath the trees is full of high grass ( tanailla ) and the water of the ponds, muddy and warm, is unserviceable.
409. The villages, with their groves of trees discernible only at their tops because of the upheaving overgrowth of grass (avaroha) on the forest-borders, appear to have sunk, as it were, enveloped, as they are, by the coiling columns of smoke.
410. The jasmine flower, with its ( encircling ) petals drooping (being beaten ) by showers and half of its filaments soiled and slight-smelling (ūsurabhi), gets loosened from its stem where alone it ripens.
411. The forest borders, which delight trees and with cool breezes ( blowing ) after a break in showers, gladden the heart ( by the sight) of the herds of cattle, returning by their paths on land.
412. The forests develop denseness (bahala-bhūva) with their thick (mibiļa) groves of trees and with the tufts of grassy lawns heaving up (ūsasia ) in their close ( ņiramtara) growth, thus appearing as if they are being (moved and ) massed together ( pumjijjamtāi).
413. And then it looked as if all the four quarters are having their Nīrājana (waving of lights ) ceremony done in honour of the King through some one, just in the rainy season, when streaks of lightning start flashing round in circles.
414. The group of kings looked radiant ( with valour) as they returned, and (joined ) the Magadha king turning away (in flight from the field of battle ), looking like a cluster of (blazing) fire-sparks from a column of a meteor.

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Gajidavaho
415. The surface of the earth, gory (@amba) with the continuous flowing lines of blood of soldiers battered at the very start of the battle, looked as if it was strewn with scattered, coiling streaks of lightning conducted (down to the earth ) by shower-streams.
416. The wide expanse of the sky, (emptied) of its clouds pushed out by the gods' chariots and reverberating with the deep boom of drums ( beaten by gods ) in the heaven, ( sent down ) thick showers of the Mandāra flowers that fell (on victorious warriors ).
The King's Conquests
417. And then, after having gobbled up (Kavaliūna) the fleeing (valūamta) Magadha monarch (i.e. killed him), he marched on through the outskirts of the sea-coast forests smelling fragrant with cardamom (elū).
418. His rambling in the cocoa-nut forest-ranges, reddish with gems, studded with stones heaped in masses on the shore, and sweet-smelling with split (cocoanut ) fruits was a pleasant sight.
419. (Of the Vangas ) over whom the sun, red-tinged (rāvia ) as red lead, (soared high ) flashing from the victorious elephants' temples crashing (against one another in a combat ), does not leave, even when risen high (in the sky), the pink glow of (dawn) when the night had ended,
420. The faces of these Vangas, washed clean ( viccholia) (and white ) with the lustre of his toe-nails, turned pale, as it were, by the feeling of shame and ) embarrassment caused in their first ) attempt to ) bow down in homage ( at the King's feet ).
421. The Lord of the Earth moved on, casting his eyes on the forest-lands, bristling with pumpkin gourds and with herds of deer squatting unconcerned.
422. At the time of whose march, the earth shakes (and trembles ), distressed in her belly, as the ring of jewels on the hoods of Sesa is thrust (in her inside) by the pressure exerted by the heavy weight of the army, thus appearing as if she has ( her son ) the planet Mars ( situated ) in her womb.
423. The Lord of the Earth, to whom a cordial salutation (as an indication of homage ) was made by the southern king, marched ahead along the path over the Malaya mountain.

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The King's Conquests
47
424. He (Rāvana) who looked up to the face of (Siva ) the Enemy of the Odd-Arrowed ( Cupid ), favourably -disposed for the grant of a favour, with his eyes upturned ( uttūna) and rolling, having seized (his own hair with his hand ) in his devotional zeal to cut his own heads violently (to make an offering of them at His feet),
425. On whose ( Rāvana's ) broad neck, the wounds inflicted were hastily made painless with a sprinkling of nectar from the moon on His crest, by the Bull-Emblemed God ( Siva ),
426. By whom (Rāvana ) were observed the charms of his nine new faces, perfected by the grant of a boon (varāhi ), in a jewelled mirror presented respectfully ( before him ) by the left half of His body (viz. Pārvati ),
427. By whom (Rāvana), not very eager for the whetstone ( Sūna ), was felt in full satisfaction (pariutthe ) the sharp edge of his sword Candrahāsa, marked, as it was, by a thick layer (punrja) of his own powdered neck-bones,
428. Whose ( Rāvana's ) arms were massaged in astonishment with his own soiled hands by the Three-eyed God ( Siva ), spotted with mud, as they were, from the base of the Kailāsa mountain, when he balanced it ( on his hands) and then put it down,
429. In whose (Rāvana's) interior halls of the palace, the wind blows in the discomfort of a slow movement through fear, although unimpeded ( piraggalam ) by the sighs of captive gods.
430. Our King reached that part of the ocean, where, thrusting such a mighty Ten-Faced ( Rāvana ) in his armpit, Indra's son (Vālin ) had at one time, roamed about (on an excursion).
431. The blackish flood (uppila) of blood, gushing up in anger on the red, round faces of the Pärasikas, comes out simultaneously with the blows (of swords ).
432. The pool of blood (ruhiravicchadda), manifest on the ground which stood coagulated (pitthia), as layers of dust on this ground ) were excavated by the excited (trampling) of the army (soldiers ), appears like the refulgent lustre of jewels on the hoods of Sesa ( now exposed to view).

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Gajdavaho
433. Streaks of ichor are ejected upward through the tiny apertures of their temples by the elephants, as their natural (downward ) speed (of oozing) is blocked by their own trunks, colled up in the act of striking a slanting blow (pariņai) (of the tusks ).
434. By soldiers, who tightly shut their mouths with their lower lips, angrily (pressed and pulled in with the help of the (upper rows of) teeth, resistance is offered to the life departing, as it were, while still the Master's mission remained uncompleted (unaccomplished ).
435. The female jackals hoarsely (yelling) scamp about, their mouths agonised in their zeal to gobble the parts of dead bodies with darts imbedded (in them ), their ( shrill ) cries being widely spread over drops of blood.
436. The battle-field looks as crowded as at the start (of the battle ), even though the soldiers have been routed ( scattered ), striking terror (dimba), with the dead bodies (rumda) of men (riders ) stuck up to their ( dead ) horses in their swollen condition.
437. The victorious elephant, with splinters of (the mahoot's ) hook flying out from the gaping wound in the frontal joint of his temples (ārakkha), goes on shaking his mouth (head), thinking them to be ( a hovering swarm of ) bees disengaged (from his temples).
438. The same armies, with bodies scattered (palhattha) all over, lifeless and (hence ) heavy, had become ( a burden ) unbearable for Sesa (to support ).
439. Thus was a great, fierce fight of the King with the Pārasīkas, which resulted in heavy destruction and climaxed in his victory.
King Prtbu Measuring the Earth
440. The mountains, situated near both the seas (Eastern and Western ), although ( uprooted and ) made to move away with their second half of ranges, came in (to the same place with their other half ) and covered up as much area as they were made to evacuate ( nijjamti ) ( when pushed back ).
441. Even as only one mountain, that covered up the whole world, was dislodged (and set aside ), the whole earth, re-established in its full aspect, started coming into full view.

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King Pṛthu Measuring the Earth
442. It appeared (najjai) as though these mountains, thrown aside (paṇolliā) and (therefore) tumbling in this direction, are now pressing and pushing (nollemti) the rounded surface of this earth in this as also in the other direction (east and west).
49
443. The whole multitude of mountain-ranges, being forced aside by just one mountain clinging to the bow-end piercing (and penetrating its side), is being driven along (nijjai), filling, as it does, the intervening space with massed columns of dust.
444. It looked as if broken bits of splinters of the mighty thunderbolt, which had remained imbedded (at the time when) their wings were cut, are now dropping down from these mountains, (when we see) streaks of lightning crashing down from the clouds over their embankments, being (powerfully) pushed (by Prthu's bow).
445. The mountain-masses are being driven along, their bottoms grating, their trees and water-streams set in motion, big boulders tumbling down, (the mountains rising and falling) in waves, as they cross over even and uneven surfaces (of the earth).
446. These lofty mountains, proceeding onward under the forceful (driving) pressure of the bow's tip, are being smashed by quarter-elephants (āsāgaa), suspecting (them to be) their rival elephants rushing (to attack them).
447. The mountains, with their wide expanse of bases stuffed with boulders falling from their tops in the course of their movement, are observed to have fresh (new) water-streams, gushing out from outlets bored by the bow (end) thrust inside.
448. With their bases fully occupying the (area of the) nether world, these mountains, tilted up on the bow which pierced and came out (on their other side), were gently released (and lowered down), after having been balanced (on the bow) for a short while, for fear of demolishing the earth (by the thud of their sudden fall).
449. The currents of big rivers, which were formerly formidable with the pooling of water over the (slopes of) mountains, have now become thin streams of water and are being absorbed by the low-lying lands, from where they (mountains) are vacated.
G. 4

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50
Gaüdavaho
450. The places from where the mountains were removed and the places where they were lodged by the King - both these (places) looked quite different (now), having (completely ) altered their appearance.
451. The cluster of mountains, having been displaced from the central region and placed on the borders, the sky (vault) appears to have descended down to the earth, while the earth ascended the surface of the sky.
452. The same sea, now remaining in its diminished ( maqaha) expanse, (its water ) having been collected on one side by reason of its being filled with mountains driven by the bow and dropped in it, appears to be unusually greatly populated by aquatic creatures.
453. The day shone with full light (bahalāava) (of the sun ), which at first had missed its brightness, but later, when the mountain-cluster was set aside, (became ) fully manifest, (becoming) concentrated (pumjaia ), as it were, only in the middle of the earth.
454. The earth's surface appeared to be unevenly rugged, with all that cluster of mountains thus situated, and its other ( adjoining) continents far elevated (in height ), because of the ( abysmal) hollowness of the land, from where the mountains were excavated.
455. The courses of big rivers, overlaid by the earth thrown over as mountains ( began ) moving, emerged into view after a long time, having been made muddy by the dust getting soaked in water.
456. Greater offence (damage ) was done to the mountains by their enforced movements than by (the outrage of) their wingcutting, after which they had been happy at having obtained stability and having grown (in due time ) forests and grass.
457. The earth's surface, with an encircling ring (parivesa) of lofty, heavy mountains constituting its border, appeared to be deeply depressed in its central region, although, in fact, only its two sides were weighed down (by mountains ).
458. The earth's surface, getting enfolded by its borders heavily bent down under the huge weight of mountains (placed over them after ) being removed, appeared to have greatly dimi

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Love-sick Narmadā
51
nished (in size ), although (in reality) it had ( reclaimed ) bigger areas of extension.
459. Tributes were collected by the Master even from these border areas ( bhū peramtā), although, indeed, (they had become ) inaccessible by mountain-ranges, thickly placed together (ņibidikaa) by the propelling force (pellana) of his bow by Pșthu.
Narmada river as a love-sick maiden
460. The eyes find themselves fixed on the rows of swans, which, in their established familiarity, come dribbling in (samgalamti ) at (hearing) the sounds of jingling anklets, as she ( Narmadā ) moves about in a mood of distate ( and displeasure ).
461. Her bright, lovely complexion appears to be changing to a darkish shade, by reason of constant interruption in her happiness, thus having, as it were, the colour of ichor flowing out a little from (the temples of) forest-elephants ( vivineha ) as they stand (in the current) to enjoy a bath.
462. Parts of her body become yellowish-pale in spots where the sandal-paste is applied (to give relief) in her agony of love's torment, looking as if her sandy mounds are exposed (to view) because of her debility (as observed in her thin, trickling stream).
463. Often times, her restless bodily activities in the form of waves ( vīivūvāra) terminate just in her heart, ( which is ) greatly agitated ( ullola) by (longings for a) union (with her lover ), the pleasure of which is relished in day-dreams conjured (ghadamta ) in memory (saisuhäsūa ), (but after a time ) lost.
464. Her body (river-bed ) attracts attention by (the swarms of ) bees hovering (ghoņamta) over (spots full of) fragrance (produced ) by the crushing of her flower-bed, her head, which fully occupied a particular spot (on the bed ), being easily discernible to people.
465. Recollecting this legend, the King dwelt in the same place where roamed Narmadā, who had fixed her love on that royal sage (Kārtaviryārjuna ).
Nectar-jar coming out from the ocean
466. (The Nectar-jar ) being sipped, as it were, by the Lord of Snakes with his thousand, very long tongues, having glided

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( to it ) under the garb of clusters of fresh, auspious sprouts placed on its mounth,
467. Being courted, as it were, ( for a grant of favour) by the old, imprisoned gods with many a bow, thus resembling the white chowries being waved over it ( nectar-jar) by the attendant guards,
468. Being resorted to, out of their fondness for fragrance, by clusters of bees, as if by the crowds of creatures ( scorched ) black with anxiety (caused ) by the fear of death,
469. Shining by its side, resembling its own halo of lustre and thus looking like the round head of Rāhu, which remained full of life, even when cut off with His wheel by Visnu.
470. Our Master stayed on this sea-coast, where the gods ( stood ) in wonder to see the white nectar-jar coming out from the ocean.
· 471. He left (behind ) the paths over Marudesa where great elephants happened to be killed by haughty lions in an attack ( sampūta) (on them ) and where ( water of ) small wells was made turbid by his armies, crowding (to draw it from them ).
Janamejaya's Serpent-sacrifice
472. The directions with black, thick tails of comets foreboding impending (homta) dread for the nether world, appeared to be full of snakes fleeing in fear.
473. The path of the sky, strewn with flickering stars as a result of the portents occurring at that moment, appeared to be ( glittering), as it were, with hood-jewels, being offered to gods (as a bribe to save them ) by the frightened cobras.
474. Thickly covered (kalilā) with clusters of the straight (bodies of) lordly snakes wriggling out of the mouths of circuitous holes, it appeared that the (Lady ) Earth moved (in fright ), as it were, with her upraised locks of hair in the fury of bewilderment.
475. Strips of sloughs in rows were cast off by serpents, suffering from (premature ) old age through panic, being afraid, as it were, of being speedily burnt up.

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476. With the coiling columns of smoke, getting mixed up with snakes incessantly (atthia) falling (in fire-flames), the sky, too, appears to be one with ) the nether world, turned into one single oblation ( in the sacrificial fire ).
477. The great snakes, sprouting (pallavia ) with the throbbing clusters (kadappa ) of their tongues, doubly red (punarutta ) through bewilderment, appear to be angrily swallowing the flames of the (sacrificial) fire.
478. The fire, with its swinging flames, noisy on account of the hissing sounds ( sumkāra) of the multitudes of burning snakes appears to be breathing out heavy sighs, as it were, while slightly ( giddy and ) reeling through the effect of the virulent venom (of snakes).
479. The female cobras, trailed ( padiaggiā) by the red glow of jewels on their pink, spread-out hoods, drop themselves (in fire ), wearing signs of decoration, as it were, in their endeavour to die (soon) after (their mates ).
480. The snake-beauties encircle (valaamti). (in an embrace ) the fire-flames without the slightest feeling (of fear), although their bodies were (accustomed to be ) fondly caressed (in embrace) by the golden twigs of the fully-flowered Haricandana trees.
481. With his belly fully stuffed with coiled clusters of burning snakes, it looks as if the fire has his own circling entrails bloated and wriggling after his feast (on serpents ).
482. The fire-flames, multi-coloured, because of the lustre of the various types of snake-jewels, appear to be containing within them the bow of Indra (Rainbow), coming down first before Indra himself was made a sacrificial offering.
483. His feet grasped with twisted hoods by the king of snakes who came for refuge, the Lord of gods trembles ( in fear), as if mounted on the ladle dispatched (to the heaven to bring him down as an offering in the fire) by the angry king (Janamejaya).
484. Our Master stayed long on the way in the vicinity of the suburbs of the city of Srikantha, where the descendent of Pandu (Janamejaya ) performed the Serpent-sacrifice (in revenge ) for the murder of his father.

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485. (In that lake) wherein the king of Kurus (Duryodhana) was dragged out (akkhitta ) by the son of Pandu ( Bhîma ), (catching hold of) the skirt of his armour (kavaa) which reached his hands, in the manner of an aquatic creature found in the fisherman's ) net.
486. In that lake, water-sports were indulged in in the company of his beloveds by the king-a veritable young elephant of the Bhārata (-varsa), remembering all the time the Bhārata conflict (between Pāndavas and Kauravas).
Bhima rails at Duryodhana
487. “You are a fool, O king, wishing (ihamta) to restrain Mādhava who, by virtues (chords) of the magnificence of His Māyā, has enthralled the whole world”.
488. “The row of flags, O king, seized by the victor ( Arjuna) in his fight with you when you attempted ) cattle-lifting, was a veritable (mirror) reflection of Draupadi's garments (removed from her body by Dusśāsana ) in succession.”
489. “Quite fit and proper (it is) that you slapped your thighs instead of ( lit. leaving off) the shoulder ! Cowards, whose strength lies in their legs, place great reliance on their thighs."
490. “That you stood at that time completely drowned in sweat flowing (on your body ) was (an occasion ) for a practice in plunging under water.”
491. In such a place where Bhima, reminding (sambhāria) him of his lapses, made his enemy (Duryodhana ) suffer pangs (by inflicting crushing blows) on his thighs at day-break (vihāa), our Master displayed (acts) of mercy.
492. (In that region ) where the snake (Kandapuccha ), emitting the sparks (of his own) poison-fire, as though (they were ) splintered particles of the crest-jewels (in the crown ) of Arjuna, was not made an arrow again (for the second time ) by Karna.
493. Where his own armour (which had become one with his ) skin, and which, although peeled off (ukkatta), appeared to have, for a moment, still remained (on his body in the form of) horripilation (produced ) by the joy of ( granting )'a favour, was

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The Flying City of Hariscandra
gifted away by him ( Karpa ) to Indra ( approaching in the disguise of a brahmin).
494. In that region, where the chariot-wheel of the great chariot-fighter ( Karna) tore into the earth, striking stories deseribing without a break (heroic events and incidents ) of many a king are being told ).
The Flying City of Hariscandra
495. The sky itself, now deprived of Generality, (peculiarly) became the curved rampart (for the city ), its differentiation (from the rest of the sky) being observed by its frightened citizens, coming out only on balconies.
496. The snakes, recoiling from (the path of) descent, as they observed clear, open space through the breaches (cracks in the subsoil), stayed put, huddled in fright, just in their holes.
497. The mansion-terraces, having their upper halves torn as under because of cracks developing through the force of (the city's) upward flight, appeared somehow renovated, as it were, with their other halves remaining intact.
498. The wells, with their (feeding) springs uprooted, as their support of the earth-surface (subsoil) was cut off, became dried up (tucchatta), developing (deeper) hollowed depths.
499. The treasure-jars (buried underground ), half exposed (to view ) by their broken bits of chains dangling (midair ), hang about suspended at the bottom of the city), in the graceful style of big ringing bells.
500. The eyes of (loving) couples, ever remaining big (and wide open ) because of their recent cessation of winking (action) are painful (to observe ), deprived, as they are, of dalliance (avilāsāim ) even at the pleasure (of each other's ) sight.
501. The lodgement of the city becomes only lighter day after day, as its ( supporting) earthy foundation is gradually crumbling on account of the wind's (violent) movement.
502. Even during nights (on the earth), awakening (from sleep) occurs for the citizens, who still feel languid (and lazy) in their ( deep) unbroken sleep, since in the course of the city's

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upward flight, they reached the border-line (from where eternal light) of the day begins.
503. The potters' houses (of pot-making industry) obtain somehow, day by day, lumps of clay, rationed in quantity (and meant) for their preservation only, because of ( shortage due to ) the inaccessibility of the earth ( material ).
504. As the moisture ( rasa ) in the earthy foundation began gradually evaporating, getting dried up by the sun's heat ( beating ) at its bottom, the earthy foundation of the city ) became full of dust and loose at the bottom, remaining ( moist and ) cloggy only on its top-surface.
505. Even with a ( celestial ) park (full of trees) of heavenly branches and juicy blossoms and fruits (nearby), the earthly trees (of the city ) were (favoured and ) fondled (by the citizens ), because of the bond of their first (early) friendship.
506. Even when the earth's surface had darkened (sāmāamta ) with the enveloping darkness of the night, there was day only in this city, because of the overspreading bright light of the sun.
507. Thus ( in this part of the country ) where went up (to the heaven ) the city of Hariscandra, with its whole retinue (pariarasahā) (of bipeds and quadrupeds ), rallied (round him ) through the superhuman ) prowess of the king, as also with the trees and temples,
508. In that place, savouring of the fame of many a mighty monarch accepting (permanent residence) as he came (jahāgama), a (magnificent) mansion of gods (temple ) was built up by our Master just within one day.
509. (The Mandara mountain ) at whose foot (-hill) the lines of gold ( incised ) by the armlets of Keśava ( Vişnu) are still preserved, the people, even to-day, touch with their foreheads (in obeisance), rubbing their fingers on its rocks (nearby).
510. Observing the thick blue shade of the peaks of this Mandara mountain, His Majesty received at this place the presents (brought) by the rich country-folk.
511. The prowess of the King who took ( ahilemta) (for his march ) the (North) direction indicated by the Lord of Yaksas,

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became specially unendurable, like (the bright heat) of the hotrayed (sun).
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512. The tracts over there appeared to him appreciably charming, perfumed (as they were) by the juicy exudation ( oozing) from deep cuts on Devadāru trees and rendered cool by the fragrance of fresh wines extracted (distilled) (nimmahia ).
513. (Here is) this lake whose shore-lines (are shaded) by the watery Kadamba trees in full bloom and are teeming with flocks of gallinules (jalaramku) chirping sweet in intoxication in the clumps of reeds.
514. It (the lake) holds huge mass of water, having the look of the sea meeting (the lake) for a sight (of his daughter) Laksmi residing in the forests of lotus-beds, having over-run (over-flowed) the ponds of the nether world.
515. Here are some lake-spots with their whitish borderlines, as clusters of lotus-leaves are upturned by the female birds (vihaavahu), the lotuses becoming tattered, stale (jaratha) and standing on stalks jutting out, with very few (virala) leaves (left underneath).
516. The breeze here spreads the fragrant smell of the Jambū trees, which have put forth cool, tiny buds and (spreads) also the honey-juice of lotuses.
517. Here are these tracts that look lovely, as the cries of swans get blended with the sweet, throaty (notes) of the intoxicated geese and the clumps of Nicula reeds are penetrated by female cranes (balāā ).
518. Here the fragrant smell of the crushed knots (of the fibrous lotus-roots), heavily thickened by the juice exuded from their broken bits, saturated with muddy, heavy drops of water flowing down from their apertures.
519. Here the beds of forest lotus-plants, thickly overgrown with an uneven placement of leaves curled upside down (ukkhitta) as they sprouted out one after another, rendering the movement of wild cocks (kukkuha) ( halting and) faltering.

520. Vain cries (of failure and frustration) from ospreys (kurari), hovering over in the sky (to catch fish), emanate here

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on the pools of water, (thickly covered ) with leaves of lotusplants kicked up by the gambolling (uvvatta) fish (underneath ).
521. Here these bordering areas of the banks (of lakes ) where crows fall upon (to feast on) worm-riddled ( kīdailla), dehydrated, flattened frogs and where tiny conch-shells (or snails ) and moss are (gathered in nets) and drawn (to the bank) by fishermen (jālia).
522. The wind here flutters the leaves of lotus-plants, the roots of which are reddish like trunk-tips ( karagga) of elephants and which are slimy (picchila ), having been smeared (phuda) with thickened foam.
523. The lotus-plants here have their lotuses (standing ) at the far ends (peramta) plucked (by people ), the stalks jutting out ( uvvatta) high above the little water (left at the bottom ), while their thin (madaha ) leaves are entangled in grassy patches on the banks.
524. These mountains with forests at the base overridden by clouds, the lakes with vocal birds and woods, void and tranquil, soothe the heart, as it were.
525. Here are sandy stretches (in the beds ) of rivers, soft and smooth (masiņā), the sands being fixed firm in wavy layers of mud, with Kāśa blossoms few and far between.
526. The villages here, situated on the outskirts of lakes, give very light sleep, being harrassed ( uppittha) by the dinning sound-waves of the cries (kallola) of many intoxicated birds.
527. The grassy plots, their first (layer of) grassy growth rendered colourless and soaked (ālumkhana) in mud by the onset of flood, have now put forth fresh tufts of grass coming out (over the old layer ).
528. The marshy tracts ( voccheā) are pleasing and comforting in the evening, when cackling wild cocks have gone out of the lotus-beds and the grassy patches remain lukewarm (thoumhāamta), swarms of mosquitoes having flown away ( ummasaa ).
529. The foot-tracks of rhinoceroses ( vidima) here are (a mixture of) black and white, ( being covered ) with the powder of tiny conch-shells (pounded under their tread ),, the ant-hills

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(yāmalūra) (on the wayside) made soft and loose by the friction (caused when they rubbed their bodies against them), and the grass growing uneven (on patches of ground) in between their foot-prints.
530. Here these grassy tracts, cooled by the watery smell, (emanating and ) spreading (nimmahamta) from the Nicula blossoms on the banks, with sands on their borders mostly comprising small shells ( tanusutti).
531. The waterlines, with moss (ghagghara ) formed (on the surface ), have (flocks of ) ospreys constantly engaged in (chasing ) female fish, while inside (the water ) tufts of grass (saddala-sihā) are to be seen with lotuses of deep fragrance ( ahigamdha).
532. The days in the infancy (beginning) of autumn are fine with blue meadows ( all round in villages ), while (in cities ) first shoots of grass, sprouting through the interstices of stones ( masonry), fade out (completely).
533. The lands on mountain-slopes (kamthi ) here are bristling (bandhuria ) with date - palms, (bending down ) under the load of ripened, red fruit ( dates, coupled ) with the strong fragrance of Karamanda fruit.
534. This forest-grove here of Karira trees, brownish with blossoms with their outstretched filaments, looks beautiful, ( appearing ) as if it is intertwined (jadila ) with the hair of camels plucked (from their mane ) and sticking to the trees in the act of rubbing (their bodies against these trees).
535. The heart finds relief, as it were, on the paths (going) over the forest - skirts, being filled with the fragrance of sun - plants in full bloom, ( carried ) by breezes, along with the fragrance of lotuses mingling with it that very moment (āvāa).
536. The village - women (gāmeia) here do not collect from forest-lands cow-dung cakes, discoloured and unfit for fire ( feeding ) (ahuāsea), thickly covered, as they are, by the saline substance (lidhūsa ) absorbed in (lit. licked by ) them.
537. Here are these pond - beds, over which is diffused the smell of cow-dung trampled upon by wild buffaloes (plunging in them ), their water turned tawny - coloured by the saline particles (üsa) washed (into them ).

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538. These forest - lands, giving out a nice fragrance of their soil, which (becomes ) brownish, (having been mixed) with dry, greyish cowdung (karisa), rouse uneasy yearnings (at the thought that) the herds of cattle (had stayed and now) migrated from them (uvvuttha ).
539. The forest - outskirts, with their surfaces green with the fresh sprouting of needle - like grass shoots, look beautiful, the grass having grown and taken root (vaddhiaradha ) after having been grazed upon (ciņna) by bulls.
540. The forest - regions, with their temple-sites painted in mineral dyes, and with wild cocks (bhāsā) hanging about in close vicinity, indicate the fact of the herds of buffaloes, resting there (parivuttham).
541. The jackals approach a bony skeleton (kamkāla ) of a buffalo through the scared, thinning ( ranks) of herons (or vultures ), while the crows, having moved away (from it) in fear, group together in another direction.
542. The rays of the sun here, with the manifestation ( niha) of mirage ( maatanha) on lakes, becomes frosty white, looking as if they (rays ) become crooked and curved because of refraction ( valana ) over ( a mass of) upraised ( tulia), rippling ( tarala ). water.
543. Cool breezes, ( stirred ) by big waves, indicate the (location of) watery places and their directions, ( surcharged and) soiled, as they are, by the powdered (chunna ) particles of water, whipped (dhua) by (flapping wings of) the fying birds.
544. The travellers here ( somehow ) with great reluctance drink from rivers their waters, the foremost portions (nearer the sands) of which are contaminated by sands, (tossed up and ) falling with hissing sounds (phukkāra) (in the water ) on account of winds blowing with speed.
545. The villages, at evening time, with warm (umhāla) shades of trees and with obstruction caused ( to the free movement) of winds by the dust raised by cattle (on their return home), become more hot with the coiling, broiling ( bhattha ) fires (burning in home-kitchens ).

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546. Here (is) this forest with thickets of Devadāru trees, dried up and shorn of branches ( visāha), being broken with their heavy trunks by the elephants and girdled by ( a grove of) greyish, sparse Sallaki trees.
547. Here passes by a herd of elephants, their young ones hoarsely grunting, having been entangled ( samkalia) in (clustering) creepers, their females recoiling (in fright) and their leader (looking back) with only a ( majestic ) turn of his face (head).
548. The big trees here, giving stamping strokes (madda) to the ground underneath, as their close, foremost ends of the branches are lopped off, suggest the fact of a herd of lordly elephants resting there.
549. Here are lands fit to roam about (bhamiavva ), (where we have ) speedless ( ajava) big boars, the enemy, and the ferocious, wild beast (tiger) killing each other (avaroppara) and rare finds of Ruru horns.
550. Birds here fall upon ( samvajjamti) the fruits ( grains ), standing upon the stems ( vidava ) of wild rice-crops with their slender (pavirala) roots remaining, after (much of it) having been collected (samvaggia) by the ascetics.
551. · Here the birds, with their flight impeded (paţihaa ) by the groves of trees, their tops having been enmeshed in a thick network of creepers, fly out oblique ( tamsam ) and then take to ( valaggamti) the sky.
552. The lions here shake off the swarms ( kadappa ) of bees, sent into flight by the blows (with their paws ), from the masses of their manes, heavily ( glued ) by the liquid of rut of the elephants ( whose temples) are violently cleft (by them).
553. The forests here, with peacocks noisy ( with their cries ) and looking reddish with fresh Palāśa blossoms, attract in a way indescribable (kimpi), as they develop a yellowish look by the dry (uvyāa) (waterless ) ponds.
554. The pond-beds situated in the neighbourhood (parivesino ) of Palāśa trees, (that are ) rendered cool by the spray of water-particles ( splashed) by waves (jhilli ), captivate (the eye ), with a few Kimśuka trees standing conspicuous in the centre of the water-less zone ( asalilamajjha).

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555. The grounds here, with their road-strips hardened by (layers of) soft earth carried by winds every day, become even on (occasions of) whirl-winds (väoli) covered with a very thin (layer of) dust.
62
556. Here in the vicinity of lakes ( uvasaram ) the foot-tracks, which grow green grass (haria) with the trickle of drops of water from the (bodies of) boars, have this grass bent under the heavy load (gārava) of lumps of mud dropped (on the grass by the boars shaking it off).
557. The lands, deeply splitting (cracking), have their broken patches massed up and upheaving, with clumps of Musta grass (growing on them), clustering, drying, elongated and thin.
558. Here the portion of the sky above, in this windless region bordering on the forest, indicates (the fact of) a herd of elephants (enjoying) their sleep, made brownish, as it (the sky) is, by the ground-dust hurled (uggahia) (in the air) by the exhalations from their trunks.
559. Here are these rat-infested tracts, become uneven on account of their holes having been shattered (visaṭṭa), as the loose (jajjara) ground had its surface depressed under heavy heaps of earth dug up (by them) and with a few barren (ujjada) branches of sun-plants (akka) left over (on them).
560. The locations of trees here, although remaining (only) as long columns of ashes (bhui), are to be ascertained by their elongated condition (of shapes), the fire (of conflagration) having sufficed for their prostration sideways (in the form of ashes).
561. The forest here attracts (attention) with its (pockets of) vacant, levelled land (thalailla) in between, as the (old) trees become sick (rugga ) ( dried up) in course of time, while the circling groves of young trees formed (subsidiary, small) planted parks. (uvavaṇāamta).
562. The mountainous, marshy forests here, cool with the formation of shade on account of the thickness of creeper-canopies, have grassy patches of turmeric (haliddi) with their healthy (abundant) growth.
563. The bordering lands here look lovely with hard, black stems of the foliage, (appearing) as if they (lands) have assi

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63
milated (lit. drunk) the iron of ploughs (sīrāyasa ) in their every day friction (in the course of cultivation).
564. The sun's reflection, fallen on golden rocks and deeply tinged by the mass of rays (shooting up from them), looks reddishyellow like a ripened palm fruit (freshly ) cut ( nicchalliya).
565. The roads here with their (upper ) surface of soft earth, perforated (chiddiya ) by the heavy particles of dust falling down after having been tossed up (in the air ) by (gusts of), winds appear to be impressed with seals, as it were, by means of sparse drops of water.
566. Here are these lands, loose like dry cowdung (karīsa) and bluish, brownish and rough, strewn, as they are, with faded flowers, (dry ) leaves and pieces of wood (lying scattered ) underneath the trees.
567. Here are forest-regions, resounding with (notes of) peacocks, having Kadamba trees in full blossom variegated with old fruit and rendered cool with the fruit, buds ( kosa ) and doubled (viuma ) foliage of Palāśa trees.
568. These trunks of trees smelling of ichor, (trapsferred to them ) by wild elephants in the act of rubbing their temples, haye their barks torn to shreds ( daliya) with their claws by angry lions, (rushing and) wrathfully raising themselves erect (against them ).
569. The summer nights look charming, the sky above being screened off by a thick film of dust, the fog absent (anavasāa ) during evening time, and the moon's pleasing orb (shining ) in the other half of the sky.
570. Here are these lakes where lotus-plants lie scattered by the elephants plunging (in them, as a result of which ) massive columns of water are raised, the dry ( vasuāa) lotuses floating on the surface.
571. Here the sloping sites of lakes whose banks are brown with bits of lotus-leaves collecting and clinging to the trees, the spaces in between the split (phudia ) leaves being (filled and ) soiled (āvila ) by (the cobwebs of) spiders (lūā).
572. The forests here, being enveloped by the rising tops of ( shooting ) fire-flames slanted ( tamsikaa ) by the ( gusts of) winds,

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blaze up ( dippamti) first at the top and afterwards (tuaņu ) at the bottom
573. The lands here, giving out the odour of (recent burning by) wild fire, look nice (agghamti) with their ant-hills tawny-coloured as a result of having been recently (baked ) dry (vāa) in the (furnace of the) fire, while the trees wither at the bottom (hettha).
574. The breezes here can set in motion the leafy creepers more quickly and easily ), as they are now lighter (and ) have developed empty spaces ( sunnabhāva ) in between the leaves, freed from dust as a result of the (washing) onset of water (shower ).
575. Here are forest-lands with interposed, yellowish patches of lawns remaining intact, as before (tahaparitthia), (having escaped burning), (thus indicating the fact of) forest-fires stopping to rest at will ( wherever they liked in their acts of damage and destruction ).
576. Here comes out (nii) (of the pond ) a herd of boars, with bodies made more formidable (viadaara), as it were, and with lazy, half-opened (blinking) eyes, as their eye-lids (puda) are soiled in the act of wallowing (lolana) in mud.
577. Here in the habitations of cowherds, even warm water is drunk by travellers, although it looks whitish when placed in (poured) in vessels (pāri) in which usually cows are milked.
578. The wind here flutters the lotus-plants, the leaves of which are pulled out from the roots to which they (leaves) are attached, (producing) a hissing sound (sakkāri) as it moves, over water and Kāśa grass, the cranes nearby feeling harrassed (āyāsia) thereby.
579. Strolls (parisakkia) over sandy mounds here during evenings give peculiar pleasure, an additional delightful feature (sarasa ) in them being the sight of birds (in the vicinity) casting (furtive ) glances as they recede with slanted necks.
580. Here spreads the perfume, thick and cool, as it filtrates (samgalaņa) through the blossoms of various creepers, possessed of extremely fine and deep fragrance.
581. The leaves of Māludhāni creepers, ( shaped) uneven like the soles (paoara) of a camel, upturned and greyish with pinkish edges, ( go on ) reeling and rolling about ( paholamti) here.

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582. The forest-lands here, the foremost parts of which are (keenly) observed by travellers sitting under the shade ( of trees ), look charming, thickly crowded, as they are, with Kamkola trees, (crops of) pulses and herds of monkeys.
583. The perfume of Karahāta flowers, the back surfaces (vallho) of which are greyish-pink like the broad cheeks (gamdavūsa) of a fair lady in separation, spreads about here, ( specially) sweet, as it is, in the afternoon.
584. The slightly cool (darasiala) perfume of Kadamba flowers, deep (jaradha ) and pungent, as the roots are soaked in wines offered in fulfilment of their cravings ), rolls about here, its pink filaments having faded out.
585. The fragrance of Priyamgu creepers that are reddish like blossoms of date-palms, spreads about here, having mixed with the honey-particles of full-grown lotuses.
586. The glory of winter finds its life-breath (āsasai) in the Marubaka creepers here, thickly ( covered ) with buds and having a pink, facial ( external ) appearance, as also in the bright (tāra) white Kunda flowers.
587. The wind here futters the bordering fields of barley, (raising) waves among (barley) blossoms which change their colour every moment, trampled upon, as they often are, by the herds of deer, becoming confused about the direction of their movement.
588. The foremost bordering regions of barley fields look lovely, as the husk (sūā) of their blossoms becomes scarce (paviralāamta) owing to the heaving (ūsāsa) (swelling ) of ripening grains (phala).
589. (Water from ) forest-wells, which look bright and gorgeous with rows ( pāli) of Karavīra flowers, is drunk (by people ) with their mouths made sour (after chewing) the fried (pulosa) fragrant barley grains.
590. The landscapes in different directions even during daytime look dusky like night-fall, (groves of) mango trees being enveloped in the ground-dust ( mahiraa ) which is coated (ahioa ) with smoke from the forest-fires.
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i 591. A traveller sucks an inner piece (gabbhasaala) of an orange, (thinking) as if it is his beloved's lower lip, downy (pamhala) and reddish-grey, as it looks, with a skin (cuduppa) from which the threads are loosened.
592. Here during winter when flowers become scarce, the God of Love, who (generally) downtools (lit. keeps aside his flowery arrows), engages the couples in a hand-to-hand tussle under the pretext of a tight embrace.
593. Here is quite a peculiar charm of breezes, invested with the sweet perfume of Kancanāra filaments set in motion (by them), which makes the forests riotous ( ucсhamkhalia).
594. Blooms here a bud of Mādhavi creepers adorned with pinkish stems (bamdhana ) and tender leaves, looking dull-red (mailāruņa ) like the throat of a full-grown pigeon.
595. Bright and beautiful are (ahirāamti) the forests here ip (their multi-coloured aspect of) green, pink, white, grey and mixed shades, with a thick network of branches growing out of season ( lit. setting aside the seasonal sequence ) ( kamāvamukka).
596. Nice ( and happy is the advent of) days of spring, when with the formation of fruit, the greenish (hariðamāno ) tips of mango-blossoms become scarce and the throats of the sweet-- warbling female cuckoos ( enjoy) a free play ( akumtha).
597. Indeed, out of curiosity (to try) new arrows, Cupid must be indiscriminately discharging mango (blossom ) shafts; since even those, not in separation (from their beloveds) are (found to be ) uneasy ( ūsua) and restless.
598. Blessed (and happy ) are the days of village festivals when children are adorned (tividikkia), women feel the pride of ( wearing ) pink-coloured (navaramgaa) sarees, while the poor ) farmers ( look on disinterested ) without a tremor (of excitement).
599. Here on the branches of mango trees are to be seen blossoms spotted (kabbura) (black) with a very few bees perched (on them ), appearing as if (they are ) the slightly-burnt shafts of Cupid.
600. The forests here, slumbering in winter, look charming with their slightly-opened reddish eyes in the form of the tender,
.
:
:

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pinkish sprouts, looking as if they have been ( stirred) to a state of awakening (by the spring).
601. The fruit of mango trees here, still lingering (at the stage of ) incomplete ( asaala ) ripening, attracts (the eye, looking ) bluish like rounded cheeks of a dark Dravidian damsel, rubbed with turmeric (pigment ).
602. The yellowish, powdered stuff gets squeezed out from the finest ( jacca) (variety of) Karcūra plants, when trampled upon by the deer (eņa) under their hooves, looking like the yellow, Rocanā dust obtained from the split bamboos.
: 603. May not Cupid here, who had created constant occupation (employment) for his bow during all these long Hemanta (winter) nights, (again choose) the (same ) targets in the persons ( already) vanquished (by him; but he should make fresh conquests ).
604. The tips of the sprouts of trees here, at the beginning (muha ) of spring, emerge pipk up to their farthest extremities, perhaps because of the fact that the crimson colour (blood) of their own sap has been carried (to their extreme ends from the point where ) their twigs were cut open (for the sprouts to shoot through ).
. 605. The bees here, besmeared with drops ( vimduia) of honey from fresh mango (blossoms) which they could somehow collect, are themselves being licked (pijjamti), as they hover (rumtamtā), by the other rows of bees ( who cannot get a chance to go close to the blossoms ).
606. The fruit of the mango trees turns gradually upsidedown (ohura ) by the weight (gūrava ) of its juice, its outstretched stem, pulled out from its stalk, becoming loose and swollen (ūsasia ) at the time of its ripening (poriņāma).
607. The forest villages here, where children are delighted to obtain fruit ( gifts ) and which look beautiful with well-planned timber houses, attract the heart (by the fact that ) they are not thickly populated with people (a-janäiņņa). : 608. The heart, for some peculiar reason (kimpi), clings to (lingers in ) the deserted (uvvattha) villages, shattered by (an excessive growth of) trees (over dilapidated houses ), while

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columns of smoke are now confined (only) to the habitations of cowherds and a few crows are ( seen ) loitering in between.
609. Here is a grove ( samda) of big trees, nestling by a hillside, where in a vacant (solitary temple ) Siva's Limga is bathed by a religious man (dhammia), coming (by chance ) to the village and which, smelling of leaves ( dry and rotten ) has a pool of water ( kumda) deep and bluish.
610. The trees here on the premises, shrivelling still (äumiiņo ) with their foliage folding up at the roots by the downward (current of) winds, produce low murmuring sounds (jhamkāriņo ) over the ( aerial ) path (in line with) their tops,
611. The trunks of ageing trees here, reverberating with the (chattering of) much-roving monkeys ( sāhāsārainga ) and having big and round honey-suckles formed (on them by the bees), look charming.
612. The branches of Mālūra ( Bilva) trees here, at first weighed (bent ) down, have regained a slight heaving up, as their fruit becomes lighter on account of dehydration during (the period of) ripening.
613. Central portions of grassy tracts in the forest-lands look charming, as some patches in between regain their green shade with the brushing off (bhinna ) of the (overlaid ) dew (avasāya) by the tread of wild beasts, looking moist and fresh in the early morning.
614. This water here, reddish-brown in colour (for having mixed) with rotten (parisadiya ) bamboo leaves, flows through the mountain-valleys, stumbling over age-old pebbles (uvala ) turned greenish (hariāamāņa ) with ( encrusted ) dirt.
615. The sages here dwell in caves, the boulders of which are dislodged by (the force of) falling (rushing) streams, wearing, as they do, garments dyed red (kāsāya ), having the shade of old jujube fruit-stone.
616. Here over the lines of mountain-slopes (ạiambamālāsu), the caves of which are accepted as residences by the Siddhas (perfected sages) and which are (thickly covered) with trees, (dumavaisu), the bees obtain fulfilment of their desire (pañao), as they can drink (the honey) of flowers (in all seasons ).

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617. Here are mountains, overlaid (at the feet) with heaps of powdered (stones), to which condition huge boulders, dislodged (from mountain-sides), were reduced when fallen down and which have embankments uneven, glistening and noisy and (which supply) pieces of stones that are fit for (masonry) construction.
69
618. Here move, with a slow tread, lions inside the cavetemples formed out of Kuruvinda (ruby) stones, the edges (hira) of their claws sharpened upon piles of broken (pointed) stones (kakkara) (over which they pass).
619. The rivers here, with their embankments, the stones of which are a bit worn out (khallaia) (and polished), with a few small fish (swimming) and with their under-current looking variegated by the shadow of foam-crust.
620. The villages on mountain-ridges (surrounded by) wavy (bamdhuruamta) thickets of Dhava trees, (standing) on feeble (nisaha) roots with their barks peeled off (avavakkala), abound in (the supply of) thick, sour rum (sihu) distilled from molasses (as a part of cottage industry ?).
621. Even during the day here, the outskirts of mountainforests, shining (ummilla) with the sun's rays deviated (pariatta) (towards them) after obstruction by the tops (of mountains ), apppear to be enveloped in smoke, as they are not clear (maila) for observation from a distance.
622. Squatting on their feet, chin (cibuaala) uplifted and the thin mouth-line extended, such a slumbering pose of lions here looks charming, (especially) as the sharp tips of their claws protrude under the pressure (on paws).
623. The wide, reverberating echo of the loud tinkling sounds (jhamjhana) of cymbals beaten, takes a long time to quieten, being halted and sent back through a series of (surrounding) caves (kapphāḍa).
624. The sky here, (lit up) by the brilliance (shooting up) from the joints (samdhi) of bright, jewelled slabs piled up in heaps (samḍa), looks reddish (yambira) like the petal of a pomegranate flower fully expanded (paridalia ).

625. The mountains here, with their peaks flung far above and their slopes (niyamba) standing out prominent to their full

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extent, appear clouded (maila) at the top, while gradually brightening up at the feet.
626. Here are these lands, clustered (kalila) with creepers coiling round the trees which, when cut, have dried up (uvvāa), (the surface of these lands) made uneven by the holes (left in the ground), as the bulbous roots have been dug out by the Sabaras.
627. The tracks of boars shot by arrows are here pursued by the hunters (vāha), marked as they are, with seal-like drops of blood looking brighter further and further.
628. And then the clear, bright sea comes to be noticed, its coastal line (peramta) coming into full prominent view by the land lying about in its full extent of jewels, like the fully stretched circle (phaṇāaḍa) of Sesa's hoods.
629. Here are rows of coastal forests of the sea, (studded) with clumps of date-palms, matted (parijaḍila) (and clustered at the tops) with leaves and stalks, rising tall (from the ground like) high columns (diharuddamḍa).
630. Here on ponds, very early in the morning, bloom lotusplants kissed by swans (marāla) with their beaks, veritable hideout habitations (palli) of the barbarous (pulinda) bees residing.
631. Here comes from forest-creepers on the Northern Mountain (uamahihara), situated to the north of this sea, fragrant perfume, spreading in the sky and following the speedy course (raya) of the wind (sāmīra).
632. The falling mass of pollen (raoha) from the betel trees here, giving reddish colour (pāḍalia) to the dust on the earth, scented with perfume ( obtained) by (mutual) friction and making the wearing apparel (niamsana) (of the people) brown-coloured (kaviliņa), presents an appearance of the twilight glow.
633. Here on the mountain-ridges, monkeys go on licking their own sweet-smelling hands, thickly smeared (picchila) with the juice (toddy) of the mountain-palms cracked by (the force of) winds.
634. The breeze here sets the forest-groves of cocoa-nut trees dancing, their fruit-shells (phalokosa) making a loud noise as they swing and clash (ramkholira) (against one another) in their ripened condition of the kernel in the interior (gabbhasara ).

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635. The breezes here, stirred ( samvelliā) by the leaves of dalm-trees, rustling and swinging, move on producing crackling sounds (cadakkāriņo ), as the fruits of the best variety of grass ( tanarāa) burst at their stems (by the wind's action).
636. And now the mountain Kailāsa passes by- (Kailāsa ) where the orb of the moon, on account of the snowy frost, fades away, feeling distressed ( vihura ) as it were, by the grief at having remembered (his friend ) Cupid's downfall (destruction ).
637. Here are exhaled by Vāsuki breeze-like breaths held (pent up) in his fully expanded (upphulla) hoods, through his throat suffocated (ạibidia ) by the knot (in which his body is tied up) to bind ( hold together ) His ( Śiva's ) matted hair.
638. Here on its ridges, even during nights, the (blazing) twigs of highly (potent) medicinal herbs, enveloped in their own (innate ) jewel-like lustre, do not come to be clearly distinguished (nivvadamti), although the cobras (nearabout) have been repelled by their (anti-venom ) smell.
639. The mass of rays here, (shooting from the jewelled embankments, appears paled in lustre ( vicchaa) like the upturned plumage of a peacock, its full refulgence being haltingly relayed (parikkhalia ) through the layers of mist (nihāra) (overhanging).
640. Pallor flashes white over the clouds that have (now) occupied the ( mountain ) peaks at the break ( of the rainy season ), having, as it were, discharged streams (streaks) of lightning-blood.
.641. The fresh nail-marks (nahavaa) over the breasts of the beauties of the Siddhas here develop the charm of picturesque birch-leaf paintings marked by reddish border-lines.
642. The mountain-caves here, (illumined ) by the light radiating ( samdhia) from the sages in still meditation and (consequent ) concentration of the mind ), become dark, as soon as their meditation ceases.
.643. The decline (pariņāma) of days (evenings ) are (ruefully) watched with upraised mouths by buffaloes mightily pleased while leaving the ponds, the sun's rays being screened by the mountain-peaks.
644. Happy (are) the evenings when grassy regions are cooled by (falling ) shadows and paths on the forest-outskirts

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(echo ) the songs of cow-herdesses (gopis ) returning from the cities.
645. The high columns of mountain-ridges here, lovely with their bowers turned greyish by the smoke rising from hamlets (palli) ( down below), appear grave (and solemn ), as at the advent of the night ( ņisāgama).
646. The moon, shedding off the rising glow (uayachavi), his rays (now) yellowish like an old piece of ivory, looks beautiful, as his orb rests on the mountain-peak.
647. Here move on rows of clouds sprinkling shower over fresh shoots (kamdala) of trees, and appearing deep-blue ( ahiņila ) like the ring round the throats of old sparrows (kalavimka).
648. The perfume of Bakula flowers here, (fallen down ) and gone dry ( vasuāa) at the bottom of the trees, but bursting open with (a shower of) water, goes out ( viņimmahai ), (smelling ) sweet like old wine prepared from Kiņva seeds.
649. At the time of the first rain-shower, waters (in different pools ), which remain cool at the top surface but (hot down below), because of its retention (nivesa) over heated ground, are drunk by the forest deer, joining (ghadia) their mouths just a bit (hesitatingly to the surface of the water ).
650. The breezes blow, spraying about the yolk (kalala ) of birds' eggs bursting (on the ground ) when discarded by shaking trees, tossing up ( utthamghiņo ) dust-particles cooled by clouds.
651. Here flow these wide-sweeping floods, (raising ) bubbles (bubbuă) greenish inside with the cowdung absorbed ( virāa) (in them ) and looking picturesque with (flocks of ) fish netted ( samdānia ) ( trapped in ) by marshy patches.
652. Here reels (and lingers) the beauty of grounds underneath (a grove of) the Jambū trees, giving out a strong smell of their fruit-stones (phalatthi) washed (viccholia) by showerstreams, very few bees being (left over now).
653. Here comes rolling the cool fragrance of blossoming (ubbuddha) Kadamba trees from the mountain-ridges, over which plantain trees have shot up and the Kesara ( Bakula) groves are smashed by buffaloes (seriha).

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654. Here in the rainy season emerges the charm of forestbreezes ( carrying) the smell of the pulp (sāra ) of Bilva ( fruit ), moistened with water, reddish and insipid.
655. The paths on lands, darkened by the dust held fast (padibajjhamta) by fresh (shower ) streams, look lovely, spotted (kabburā) as they are, with the greyish imprints of the hooves. of the deer.
656. The nights here, although bereft of clouds (avamehão ), have blurred moonlight and gentle breezes, the stars very slightly coming into view in the sky, blinded (with the darkness of the sheets of) water (over the earth).
657. (And now) here spreads the beauty of the days in autumn, pleasant with the fragrance of honey formed inside the blossoming (ummuddia ) Sinduvāra flowers and with lotuses pouring out their perfume.
658. In this way, various forest regions with their (characteristic ) lovely aspects were observed ( saccavia) by his armymen, who met in victory different countries on the earth in all directions.
The desolate condition of the territories and cities of enemykings
659. The jewelled embankments here (in the enemies' territories ), the lustre of which is faintly (virala) observed at the loss of their fresh (polished ) brightness ( virasa ) like the faded (viratta) ( discoloured) rainbow, their ( former ) brilliance now to be imagined from those parts cut open by buffaloes with their hooves.
660. The lovely appearance of parks is quite different now, ( wild and ) rough like forests, their trees being smothered with oppressive congestion (pidia ) in various parts by canopied overgrowth of creepers, turning and twisting (pariatta ) at their sweet will (without the gardeners' direction).
661. The flower of those very creepers which (worn as a decoration when only a bud) started blooming (bhijjamtam ), (and when faded) left its filaments completely hidden in the hair (alaa) of graceful ladies, now drops down (from its stem ) being pushed out (pellia) by the developing) fruit.

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662. The same interior (halls) of houses (bhavanocchamgā) with their top (roof) structures gone away (demolished) and the foreparts (pabbhāra) of the walls standing, as they were, inclined outwards (ovatta), now look like waterless ( dry) big wells.
663. The same market-places (or picture galleries ), which (rested ) on pillars studded with such precious piles of gems, now (boast) of the glory ( vihava) of only the hood-jewels of cobras freely moving about. : : 664. Here, indeed, at the time in the rains is that city with a ring of huge heaps of loose earth at the place of the city's location, with pieces of gems and corals shining in different parts where they happen to be embedded.
: 665. Those places, where the cities were founded (ņivesa ) (and established ), although (situated ) far off, appear to be near enough, with the cupolas (domes-vidamka) and arches of temples and ramparts ( sāla ) emerging in full (and clear ) view on account of their dustless condition.
666. The empty spaces (ovāsa) inside the houses, with ups and downs (thaüţia ) in places of the lost granaries, caused by coarse husk and dust, show up deep and hollow holes (for one who would search for underground wealth.
667. The fields here with furrows of ploughs (sīrāgama), (levelled up ) with an overgrowth of vegetation in time and now looking deep green, ( are covered ) with thickets of thriving sunplants (mamdāra) due to the richness of the soil. :: 668. Looking up on raised toes ( unnamti) as it were, to the rise of dawn (kallam ) in these low-lying ( sunken).( sāvasāda ) tracts full of Karabha plants, the directions stop here, as it were, giving out the fragrance of lotuses.
669. Here in the parks (uvaniggama) are these swing-courts underneath the trees, the (swing) ropes having snapped ( vocchea), the knot left over ( tied) on the boughs where grass has grown thin and old.
... 670. Here are outlying lands on (city) borders where (structural) monuments commemorating the glory of) of past kings, collapsing, are reduced to fine reddish ( brick) powder, (their existence ) now to be inferred from old reptiles ( crawling about ).

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671. Here in the wells full of lotuses and Karavira flowers are waters lovely (even ) in summer, that excel (in quality) the essence of Kunda (flowers) and Uśira plants or the pink mango juice.
672. Here on the precincts are some building projects commenced by good men, with their built-up solid foundations, with piles of stones cemented, but later abandoned in (a state of) incomplete construction, now gone old (and dilapidated ).
673. Here are parts (of cities) with arch-tops, to which are fastened big bells with straps (ņālī), remaining in tact (tthia ) because of their inaccessibility, (thus ) indicating ( sambhāvia ) their great prosperity (in the past ). ... 674. Here are these residential extensions now, with (only) the piled-up walls standing up-to their tops, the wooden supports having fallen down; ( they ) as it were, torment (their heart with the heat of) the bright light of the sun scorching their inside. ... 675. Here are dwellings where the threshold construction in stones is ( covered ) by thin iron bars that are still without rust, being (constantly) rubbed (and polished) by people, while, of the light doors made out of Agaru pieces, only a few chips of wood are left over.
676. Here are extensions of raised grounds (thala ), with sloughs of snakes hanging over joints of the dislocated wooden beams (pimdi) and with distinct signs (limgā) of mud-layers stretching all along their length.
.677. Plucking the flowers of tamarind trees ( cimciņi) greyish like the wings of an old sparrow and crushing (olumpa) it into a lump on his palms, the traveller makes a morsel of it (eats).
678. Here are to be seen decayed bricks, with thick layers of reddish clay sticking ( to them ) and coming out through the cracks in the walls falling apart from their first ( lower ) foundation.
679. On account of the fact that the ring of the encircling wall is corroded (parihina) by a coating of salty layers, the tubular wells appear more awesome and upraised, being fully filled (with water ). ....680. The streets, grave and solemn, with their solid thickness piņattaņa ), with their conditions of slight wear, tear and friction

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(parikasana) and (strewn) with broken chips of precious stones, even now speak of their expansive width (@hoa).
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681. Both the ponds and temples (being buried underground and levelled up (samikaa) in course of time, the lands here look uneven (visama) only with slight elevations (unnaa) and depressions (niņņa).
682. Here are these old (decayed) walls, with lines of pointng in chunam ( cunṇarehā) still held fast at the base (foundation), deviating (moving away) from the doors of a round-shaped (golaa) house and with reddish-yellow decaying plasters (of bricks).
683. The houses here look, as it were, solemn and aweinspiring, admitting more light inside because of broken patches in lattice-windows and (mixing) in their own shadows the faint shadows of their pillars.
684. The terraces here even during day-time are hair-raising (ukkamṭaamti) because of an imaginary (fear) of ghosts, raising sudden sounds where there are no sounds.
685. The premises of houses here cause distress (in the heart to see) their palms and date-trees (despoiled and) left bare (by people) out of their greed for fruits and foliage (and to see) the old water-drawing wheels (on their wells) deprived of their iron bars, their (wooden) spokes lying (broken and) scattered about.
686. Here on the outskirts are even to-day the paths leading to the precious hoards of wealth, as indicated by symbolic signs, being watched by kings with down-cast (ohura) heads, (feeling ashamed at the thought of) having been frustrated in their efforts (plans) (vihuārambha).
687. The streets here at nights are, for a long time, enveloped in pitchy darkness, with no outlet of smoke and dust any more and greatly reduced (in width) (viralão) by the houses falling on them.
688. Such were the conditions (samnivesa) of (their own) cities witnessed by the hostile kings, who (left a long time back) to join (our King) in his service, greatly disturbing (and destroying) the prosperity (of their own cities).
689. Look at the face of this woman which has regained its brightness and has again taken to the mirror: It beams like

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the lotus of a lotus-plant kissed by the Sun's orb standing face to face."
690. “This ( ima) (woman ) has a face from which the hostile flush of anger wears away, as her lover seizes her lower lip (between his own ) like a crystal cup, the wine in which goes on subsiding at every sip."
691. “How charming is this woman who mixes and moves her fingers in the hand of her lover, which, slipping down from her neck, has cupped one of her breasts, looking as if she has started the diversion of (playing on ) a lute with a gourd (on its handle ) !
692. "This woman has a face with the forehead overshadowed by her locks of hair seized by her lover, thus looking like the pight of the dark fortnight with the moon's orb in its slightly reduced first digit.”
693. “The union of the moon and the deer ( as seen in the spot) who have been vanquished by the lustre of her face and her eyes, has taken place because of the fact, perhaps, that both of them (the moon and the deer) share the common grief (of defeat).”
694. This was how servants described the love-sports of the wives of the army (men), among the multifarious pleasures, worth enjoying in the rainy season, after the bow was brought down (from the shoulder to rest) by him (our King). The King's Glorification by Bards
695. “At whose blows, love ( desire ) for flowers, showered by gods, develops in (the heart of) of bees flying up from the broad temples of enemies' elephants shaking their heads (at these blows ),"
696. “The lustrous flashes of smiles of these ladies ( here, formerly) belonging to that Magadha monarch, 0 King, are not noticed, being repelled (pellia), as it were, by the brilliance of your own great glory.
697. “The streams of tears (flowing down ) on the cheeks of these ladies, which bear reflections of the hairy strings of chowries (wielded and) waved by them in your service, are (also) not observed, having been already sucked ( absorbed ) inside (the cheeks) through fear."

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698. From whose ( elephants') cavity in the temples, darkness exits (nii) as it were, under the guise of a massive quantity (ukkara) of the drops of muddy ichor thrown out, (the darkness) being driven out, as it were, by the rays of pearls stored up inside their temples,"
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699. Such mighty, victorious elephants belonging to you, O King, who routed a host of enemies, have to find diversional (outlet) for their spirited vigour (team) only in (the pastime of) dashing against (paḍipellaṇa) mountain-embankments."
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The sun trimming himself to make his lustre bearable for his wife Avarca
::
700. (The sun whose) mass of rays, under the disguise of smoke released from his hard bones struck by the (sharp) point of (Tvastr's) chisel, emits, as it were, a thick layer of darkness swallowed by his lustre every day."
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701. "Multitudes of chunks from his body, flying off (ucchalia) at every chopping stroke of the chisel, go away (fall off), curtailing (brightness) of the parts (periods) of days in proportion to the sizes (of their bulk separated from the body of the Sun)."
702. "His facial orb, enveloped in the lustre of his white teeth radiating at the time of chiselling (ghaḍana), looks as if it is the light of the Moon illuminating (the face) while entering (the Sun's mouth) every day.
""
46 703. Parts of weapons, produced from his body cut with chisel and making a clanking sound (raṇakkāra), fall off, giving him happiness (at the thought) that they would stay (with gods) for their fight with the demons. "
704. "Thus even that lord of the day (Sun) blazing, with his orb doubly lustrous because of his being chiselled by Tvastr (tatthi) (Gods' sculptor), does not fully come up (pūrei) ( for comparison with) the brilliance of your prowess.
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705. "Homage (lit. salutation at the feet) is given to you by your (erstwhile) enemies, who keep far away the (clinging) rows of bees over their crest-chaplets, appearing as if (the eyebrows in) their frowns have dropped down from their down-cast (ohura) foreheads.
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.
706. “It is true that when you are seen, it appears (to us ) that there is none like you. Your sight alone establishes the greatness of your time (era ).”
707. “When you are remembered, O Lord, even the adverse disposition of fate does no harm (torment); summer, with the rainy season near at hand, invests the forest-grove with foliage."
708. “What should be said of those who have (in them ) merits of their own ? (they rejoice to find similar traits in you); but even those, lacking in merits, delight, like the meritorious ones, by cultivating (avalambiūņa) (in themselves ) your merits.” :
709. “It is as if by the close association ( samnijjheņa) of Lakşmi with you, resting on your right arm, that your (right) hand rains a shower of gold, never ceasing, never ending ( aạitthiam )."
710. “If Vāsuki has a thousand mouths (tongues ) at his command, then why does he not praise you (fully) ? ( That were possible, however, ) if he were competent enough to think of all your merits in his one single heart (mind) !”
711. “Even those people, O King, on whose foreheads Fate has inscribed something of untoward ( visama ) consequences, get it wiped out ( on your feet ) under the pretext of falling on them.”
712. “In your gallant endeavour to approach (in love) ( ahisāraņa ) the enemies' Goddess of Wealth on the midnight in the form of a sudden battle, you look charming with your reflection on your sword-blade, appearing as if you are cloaked in blue.”
713. “The letters of your name, though quite ordinary, have been aptly given to you ( while being named by your parents ) with great thought; since even by a mere mention of your name alone, you flash in their hearts ( to give relief and security ).”
714. “With (clusters of) pearls, clinging to the swordblade, being drawn out from the temples (of elephants ), your sword imitates the graceful activity of the cloud that has commenced (ādhatto ) a shower of hail stones ( uvala-varisa ).
715. “The ( bright-red ) vermilion (used) for seals on your commandments, the servants receive (welcome) as ( a symbol of) your affection, while your adversaries find it as a glow of the fire of your wrath.”

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716. “Leaving her (favourite ) abode on your right arm, how (possibly) will Lakşmi dwell on your sword? - Ah! we know; what is seen is just her reflection in it (sword ), stationed, as She is, here ( on your right arm )."
717. “The merits of the people, O Master, do not become so manifest ( known ) merely by their own eminence, as when they get famous after having been decorated with honours by you !”
718. “It is not, indeed, for the first time that you have been put to the trouble of knitting your eye-brows (in frowns ) by your enemies, joining their heads to your footstool, in fear, as it were, of their offence.”
719. “By the uninterrupted streams of tears of the wives of your enemies, O Master, the long creepers of their trembling tresses of hair appear to have been rooted (underground ) as it were.”
720. “How can Laksmī, like a young girl, derive pleasure (in staying) with those who have no manliness (in them) ? All women, however, with great difficulty, come to like such a condition of having to stay (with the unmanly).”
721. “Some (of your enemies ) exhausted (jhiņā) themselves ( to death ) on your sword; others came to you ( to surrender and) seek refuge with you. The remaining enemies also escaped to the sea, while some of them found shelter (somehow) somewhere (God knows where ) !”
722. “Men born in one (and the same ) family either go down (in disgrace) or rise high up (in glory ), like roots and sprouts (emanating) from one common seed (-- roots going down under and sprouts growing tall) over the earth.”
723. “The censure of fickleness ( attaching) to Lakşmi has been completely wiped out only (navara) by you. She, too, gave you overlordship without, however, the evil traits (and tendencies ) of a supreme master ( dictator ). ”
724. “This, O King, looks somewhat contrary in you, who are (fortified by) the strength of (thought and ) discretion: you are afraid of faults; but the faults have made themselves scarce in
you !"
725. “On the horizons of all directions, o King, your merits are seen to be overhanging, brightened as they are, having

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been washed clean, as it were, by the spray showered by quarter-elephants.”
726. “Those good men are attracted towards you by your merits, great ( and outstanding) in this world. You, however, are drawn towards them even by a fraction of a merit in them. You are, thus, among the good men, a greater and a better man.”
727. “The seeds of glory, which were sown and wetted with water (poured) over gifts at the proper time in the fields viz. worthy Brahmins, have now grown ( to yield you ), O Lord, ( a rich harvest of affluence)”.
728. “Vanity was passed on by you to your supplicants who ( strut about ) stiff and erect ( samuttuna) with the fulfilment of their great desires; hence, I think, no such trait (of vanity ) pulsates in you, even in your position of supreme authority.”
729. “The mighty tree of munificence, O King, has been aided in its overgrowth, as by branches, far and wide, by those very kings, who, receiving from you, gave away (in gifts) here and there.”
730. “With the pearls (obtained ) from holes bored by your sharp lance (tomara) dug deep in the temples of elephants, your beloved ladies weave creeper-like necklaces. " Removal of Bodice . 731. Kept over the whole length of the loosened string passed through eyelet-holes (jāla) (attached to the bodice ), the hand rolls down to the place of its knot (vīdaatthāņa), which becomes tough and hard, ( kakkhada), by the upward pull exerted by plump (pedhāla ) breasts.
732. (Glimpses of ) parts of the belly, over which the encircling strap with eye-holes joined to the bodice (jalia ) is being untied with the delicate ( vellahala) fingers of lotus-like hands, look beautiful, the relaxed (triple ) folds being (bhamgamgā) being slightly visible.
733. The full rounded expanse of the breasts, characterised by rows of curved nail-marks, ( their scabs ) being painfully peelep off (uccudamta) by the tight flaps (kavādaa) (of the bodice), acquires the charm of the full moon's orb left off a little by a cloud.
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734. The mass of creeper-like ( curly) locks of hair, tossed up and dishevelled ( visamthula), looks lovely, the nostrils heaving up ( tulia) with forceful (uvvana ), extended breaths ( vittharamta) by the oppression of the throat (caused by the bodice being removed over the neck).
735. The pair of (delicate) creeper-like arms, with their wrists strenuously exerting to remove, painfully, over the foremost parts of the hands, jewelled bracelets, looks picturesque, as it presses against, ( to cover up ) through shyness, the heavy (exposed) breasts.
736. “The bodice being thus taken off ( uttaria) with very interesting incidents ( vasara) (in the act of its removal ), the bevy of your beloveds gets on to your bed, dressed in thin, flimsy (ladaha) apparel.”
737. With his victory thus hailed with joy by the bards and his army-arrays (senāviņņāsa) having marched over Gādhipura (Kānya-kubja ), the King halted all other activities (to concentrate ) only on the delicate ( ladaha) pleasures of love's dalliance. Cupid, the Love-God, being bnrnt by Siva
738. (God Śiva ) - His face, just when closed ( absorbed ) in meditation, begins (to change over to ) a reddish (flushed ) glow because of indignation, when He discerned the cause of His mental affectation, the lower lip throbbing at this time.
739. The eyes open their corners (avamga), becoming dreadfully red through anger little by little, and their lustre deeply intensified by the jewels of the Lord of cobras (Vāsuki ), coiled up over His brawny (fleshy) ears.
740. The broad expanse (pariņāha ) of the chest darkens, its bright loveliness ( caused ) by ashes fading, when assailed (ahiutta ) by particles of perspiration, the portion round the throat, lustrous (blue), being thereby indiscernible.
741. The eye on the forehead, with the greatest of difficulty, opens out, the eye-lids being pushed out by the mass of (inner) fire-flames, although it (eye ) was being pressed down by the knitting action of thick eye-brows (frowns ).
742. (These women) on whom rests ( lit. sits ) the flowerbowed God ( Cupid ) even to-day for his victory, with his arrows

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unblunted (aumtha), although deprived, as he is, of his own body (burnt) by the fire of wrath of the Three-eyed (God),
83
743. (These women) whose (features, namely) a saunter (bhamiam) with the hair-braid tossed about, the bright, white pair of (delicate) creeper-like arms, the (lovely) costume and faces with eyes (mischievously) tremulous in dalliance, (are so captivating),
744. The gallant king, with his broad neck caressingly pressed (amaṭṭha) by the tender lotus-fibres in the form of the encircling (naa) arms of such beloved women, puts on the assortment (vicchitti) of the summer dress.
745. By him, a full-blown (ataruna) blossom of young Kadamba trees with its slight-fragrant filaments and coupled with bits of tender sprouts, was turned into a crest-gem (cuḍāmani ) (decoration) of these ladies.
746. The breezes blowing at the beginning (muha) of the night, agreeable (comforting) till the time of clouds (rainy season), filled with the fragrance of Ketaka flowers blooming in gardens and carrying (thin) spray of water, attract the heart.
747. The nights are very much liked (agghamti) by him, sweet, as they are, by the awakening (blooming) of white lilies, with the moon partitioned (khamdia) by clouds occasionally (virala) coming over (the orb), while the downpour of rain continues without end (asamatta).
748. The sighs, perfumed, burst out from (the hearts of) ladies even at a moment's separation from him, (carrying) as it were, a spot of honey from the flowery arrow imbedded in the captivated heart.
749. He is looked for by the ladies with (eager, longing) eyes, which rush up (for him) in both directions with streaming tears of joy, (the eyes) extending their delicate arms, as it were, to hold (him) in an embrace.
Moreover,

750. (The ladies) who, with their hair-lines (on the stomach), suddenly broken in waves of triple folds, appear charming (sahamti), showing, as it were, the curling tresses at the end of the

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braid of their hair on the back, (reflected from behind) on the crystal-clear (transparent) surface of the belly,
751. Who, with a smile blended (anuviddha) with the rosy lustre of their lower lip, exhibit (a picture of) the (pinkish) moon, newly risen, with a black spot in the form of a cluster of bees, (gathered over the lips, attracted) by the deep fragrance of their breaths,
752. Who, with their eyes, the tremulous pupils of which meet the palms of hands in the form of their sprout-like ear-decoration, display a ball game, as it were, in their (enthusiasm of) childhood still lingering in them,
753. Who, covered with a veil of blue silk, looking like a thick (hovering) cluster of bees, imitate the graceful movement of creepers, with their rows of teeth (looking) like white flowers (on the creepers),
754. Who, in respectful devotion for the worship of Cupid, always favouring them with His presence (by their side), draw on their own bodies, (a painting of) a red Aśoka tree, as it were, full of blossoms, in the form of fresh (reddish) nail-marks,
755. Dressed in an attractive, green apparel, put on for the special occasion (of love-tryst), who exhibit, by their straight (tapering) thighs, the interior stems of plantain trees with all their faultless equipment (of fluttering, green leaves),
756. Of whom, as they lower down their moon-like faces, it appears as if their heart throbs, as it were, showing under the guise of their lower lips bitten (by their lovers ), vivid sores of wounds caused by Cupid's shafts, on their bosom,
757. The middle (gaping) portion of the bodice (kuppāsa), lit up by the lustre of the space between the two (slightly exposed) breasts, looks like the upper (oblong) erect eye of Siva, held imprisoned by these women, for (having caused) the destruction of (their Patron-God) Cupid.
758. On whose breasts, the nail-mark with its impression (nivesa) (surface) broken by horripitation, looks like a seam (sivani) sewn over the heart at the dread of a moment's separation,
759. Who look beautiful with a pair of their rounded breasts, swelling (at the prospect of) getting (from the lover) a close

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embrace, thus looking very much like a pair of wheels of the Cupid's chariot heading towards their lover,
760. Who look at their feet which were being confused ( mujjhamte ), (mistaken) by a fancied identification (uvaūra ) with Campaka buds, thus appearing as if they (feet) have been clasped by rows of lamps, ( falling down for protection) through the fear of (extinguishing ) blows from their ear-lotuses,
761. Who, with the contracted (kunia) position of eyelids (pamha ) because of jealousy, (roused ) after having drunk their lover at the first sight, hold him encaged, as it were, (in their eyes ) for fear of his escaping,
762. Who, with the rays of their teeth tinged slightly red by the rosy lustre of their lower lip and spreading over their breasts, look lovely, appearing as if ( they have white ) bandages soaked in blood, tied over the wounds (on the bosom inflicted) by Cupid,
763. Whose braids of hair (arranged ) in rows, (proving ) by their length and thick abundance, very (handy and ) useful for the sole purpose of binding (āvedhana) the hands tight, inspire a strong (balū ) desire (in the heart of their lovers ) for seizing their hair,
764. Who bathe (and wash ) clean, as it were, even the image of their sinning lover (reflected in their broad cheeks, (thinking it to be ) infected ( avakalusia) by his close contact with another woman,
765. Who, just at the proper ) time, untie their golden girdle, with its ends (edges ) ( polished ) bright by constant ( sai) wearing (samghatta), fixing their beaming eyes on the face of their
lover,
766. Who, with their bosom filled with a thick accumulation of pollen ( fallen ) from flowers on their ears tossed in anger, appear to be sprinkling ( healing ) powder, as it were, over the wounds (inflicted) by Cupid, now (in the process of) getting slightly healed up (cured),
767. Who, with the necklace and rings on the fingers of hands placed on the bosom, starting to jingle on account of tremour (caused by love's excitement ), possess (a peculiar aspect of the body by which, though being only in one place (without having

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moved away), they had (as it were ) their girdle and anklets producing jingling sounds,
768. Who, with their eye-lashes in various subsidiary colours (uvarāga), having been mingled with the rays of multi-coloured gems set in their ear-ornaments, appear to draw a painting of their lover as it were, with colour-brushes ( vannaatīlilla ),
769. Who, with a brighter aspect of the body viewed in one (frontal) direction on account of the lustrous rays (shooting ) from the toes of their feet, look charming like lovely stage-curtains ( lit up by foot-lights ), soft for touch (parimāsa ),
770. Whose eyes, with eye-lashes quivering in the tremulous grace of love's dalliance, appear to fly towards their lover, as it were, with the flapping ends of their caving ( sampuļa) wings,
771. Who, with the rays of their clear, white teeth, meeting (falling upon ) the lower lip of their lover (sitting) near them, appear to be sipping the nectar-juice (rasāsava ) from his mouth with graceful (tender ) ( straws of) lotus-fibres,
772. With these girls the King's playful acts of galantry (laliāņi), thrilling with the excitement of heart being carried away by fresh passion, as seen in their eyes (ditthirūa) and pursued ( anubajjhamtāim) (and prolonged) by his merits (of attraction ), appeared very amusing.
773. The rounded (plump ) breasts of a pretty, young girl, becoming wheel-shaped on his chest under the pressure of an embrace, attained the beauty of lotus-leaves, gracefully placed (on the bosom ) under moistened (allaa) conditions.
774. Indifferent to his many other merits, these young girls ( satisfied their thirst ) by drinking in the handsome appearance of his physical form only. Who cares to ) search for the flower of a Damanaka plant when its leaves are so fragrant ?
775. His eyes rested for a moment on the rounded buttocks of the lovely ladies, where their garment became tight (ạibidia ) on account of their girdle being pressed (lowered ) down by the left hand (of the king).
776. (A girl's ) laughter, a face with rolling eyes ( bhāmiaccham ), cheeks pale-white like a fresh Bakula flower and buttocks

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with the girdle undiscarded (aạibbhacchia), constitute the lifebreath of love's romance.
777. Bright flashes a crest-decoration of flowers (of a girl) placed on the head, where moist locks of hair (after bath) have spread (vivainna) all along the ear-rings overreaching (vilamghia) her shoulders.
778. The lotus-like face of a girl) looks attractive, with saffron rouge wiped over the lower lip (but) preserved on the fringes (edge-lines) and with eye-brows emerging in black ( lustre ), having been combed ( vilihia) with nails.
779. The ear-decoration (uttamsa), (consisting) of a fresh Asoka flower hanging down from the ears over the broad cheeks, gains in charm, ( as it goes ) over the path of eye-corners (avamga) marked by lines of musk-pigment ( maaņāhipamka).
780. The broad bosom (of a girl) presents a happy sight ( suhāvei), with its white upper garment overspread ( vicchuria ) with the glitter (chavi) of the inner necklace of gems, ( beautified, as it is ) with a decoration of a collection ( garland) of black and white ( sabala ) flowers placed above.
781. Thus attracts the bevy (sattha ) of his beloveds breathing the fragrance of betel leaves ( chewed), mingled with that of wine sipped ( cakkhia ) in small quantity.
782. His eye rests on the lips ( dasaņavāsa) of the beautiful young girls, ( quivering) with agitation (sommāha-sonmātha) and bright with rouge (rūujjala), looking pale-white like wells with cranes.
783. The colour-paint (rāavicchitti ), pink like a fresh Bakula flower, flashes (emerges) on the lower lip, on which is laid a thick coating ( samặivesa ) of wax (maaņa), to prevent the biting effects of cold.
784. Their enthusiasm for adorning themselves on the occasions of) their momentary meetings ( vaiara ) ( unions) solicited ( maggia ) for the first time, passes on to the garlands of Pāratti flowers interwoven with clusters of Marubaka blossoms, (turned ) pale-white with frost absorbed (in them).
785. A saffron-shade, soft and delicate like the rising moon (maamkārambha ), shines on their faces, bristling (damtura) with the remaining lines of brownish, dotted drops of musk.

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786. The lovely charm languishes over their hair-braids, decorated with Damanaka petals, interspersed with variegated clus: ters of Marubaka (Marjoram ) clusters, with a few browned Kunda flowers still retained over them, although crushed ( and faded ).
787. Thus does, in winter, the lovely band of his beauties attract (the eye ), as they take up for a crest-decoration a Priyamgu flower blossoming at the end (bhamga ) of the night, while their ( earlier ) charming decoration is all crushed (and faded during the night).
788. The wind makes the (hollow ) tips of mango blossoms whistle (jhanakkārei), full of pollen-powder, as they are, inside their buds, which cling loosened (on their stems ), having been pushed by (the formation of) fruit coming out now.
789. The evening time (sāyam.. .kālo ) spreads (virallei ) the perfume-less (aņāmoam ) smell of the Saptalā ( double jasmine ) flowers, when sprinkled with water, their (tiny) buds, coming out, having to be noticed with an attentive ) mind.
790. The clean fragrance of the Mādhavi blossoms slightly wears out (āvāi ) ( lit. dries up ), with only a single faded flower surviving (in the whole cluster), as (the blossoms ) are being enmeshed ( jadila) in ( a layer of) knotted fruit.
791. Thus do the parks, situated on the outskirts of the city, delight him in the company of his beloveds attending on him), during these days, happy, as they are, with the rich development of the glory of spring.
Moreover, 792. The beauty of cheeks, bright like the tender leaves of a Kharjūra tree, green at the borders, fully comes out, as coollyrium flows down over them along with tears from the corners of their eyes.
793. The eyes with black pupils inside (amtotūrāim ) and with their white parts forming thin lines when slightly closing, so as to depress the middle portion (majjhonaa ), attain the bright charm of the new (crescent) moon.
794. The lower lip dries up ( parivūai) a little, its protruding shape becoming conspicuous because of emaciated (khāma) cheeks,

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thus looking bright like pollen-particles (kaņa) of the Karketana. ( Bimba) fruit.
795. A condition of becoming slightly thin (viralattand ). ( loose and wide apart ), as in the case of filament-threads of a fresh Bakula flower, (scorched ) red by the (sun's ) heat, comes over the young girl's breasts, which look pale-white through loss of strength (because of exhaustion ).
796. Thus does his eye rest on these young girls who, in their innocence (muddhabhāva ) indulged in continuous enjoyment (to satisfy ) their sexual desire (maana) for the first time, languid as they are (now), in their covert ( ņihua) dalliance ( with him )..
797. Then, of this king on whose pillar-like arms rested (nimia) the burden of the whole world, there was ( a Poet called Bappai-Rāa (Vākpātirāja ) who, although decorated with the distinctive title ( imdha) of Kavirāja, was a drop in (the ocean of) his favourites.
798. Although insipid, 'he felt himself prominent with only this much – that he was being held in high esteem by the honoured Poet Kamalāyudha,
799. Whose special (poetic ) features flash forth in his literary compositions ( kahūnivesa ) even to-day, appearing like spray-particles of poetic nectar, churned out from the ocean of Bhavabhūti's (works ),
800. Who (found ) great delight in Bhāsa, Jvalanamitra, Kantideva, in Raghukāra (i. e. Kālidāsa, the author of Raghuvamsa), and in the literary compositions of Subandhu and Haricandra,
801. Whose graceful display of (poetic ) speech (givilasia ) is a veritable painting (in words ), steeped in sentiment, soft ( loņam ) (for the tongue ) to handle (i. e. recite ), full of substance (sāravamta), ever-lasting, brilliant and solid in its shadow (of sense i. e. thought ).
802. Those well-versed in Scriptures, in (the science of) Speech (Grammar ) and in Metre (Prosody), those among whom Bharata (author of Nātya-Sāstra ) and Gautama ( the propounder of the Nyāya System of Philosohy) are prominent, the writers of legendary narratives ( such as Mahābhārata and the Purānas ), as also (great ) poets of substance give him (perennial ) joy,

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803. Whose ( listeners ), expecting to provide empty space (room) (ovāsa ) for more poetic excellences, push down, with heads nodded in wonder, whatever good utterances ( already heard) still stay in their ears after having fully filled them (ears).
804. Such a poet (that he is ) has been asked, with eye-lashes widening in wonder, (to speak about our King ) at a time when life-stories of good men are narrated by the learned men ( gathered and) sitting in an assembly.
805. Sesa holds up the circle of his hoods, suppressed by the pressure of the earth, which is put down (ohura ) by the weight of water, his swelling ( visatta) throat remaining contracted.
806. The (mighty ) pillar-like trunks, held upward ( uddha) for a moment by the Quarter-elephants drowning in the ( deluge ) waters, look like thick columns of comets ( dhūmakeu) shooting up (to indicate ) world's destruction.
807. The oceans (maaraharā), with the sun's orb floating in the interior of the billows surging up ( soaring) on the path of the sky, appear to possess the submarine fires ( breaking out inside).
808. The masses of the deluge-clouds, with streaks of lightning coils dropping out, are being gulped now by water, in revenge (sānurāa) as it were, since the clouds had been drinking water every day (in the past ).
809. The sun, being pushed up ( samvellia ) by the waves, is being presented, as it were, by the ocean (to serve ) as a big lamp to the God Murāri ( Visņu), who has taken up his bed inside the watery abode.
810. Quite different became the colours and the tastes of all oceans mixing ( samvalamta) with one another, strange and peculiar like a unique (aiivva ) concoction (cocktail) of milk and liquors.
811. The mountain Meru sinks ( under water ), with the noisy hosts of gods collecting together, some of them having ascended and some ascending the tops of the mountain ), while the loud gurgling sounds of water ( kalaala ) were gradually subsiding, as its caves were (being ) filled ( with water ).
812. The Three-eyed God (Siva ) steps into the crescent Moon, as if in a silvery boat, as he (the Moon ), (usually ) over

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His head, now dropped down at His feet, in the confusion (created) by the whole universe being flooded with deluge waters.
813. There was no feeling of distress (āulabhāva) for the Self-born (Brahmā), although His faces were overflooded (pavvālia ) by the water of the oceans, since he was used to controlling his breathing by continuous Yogic meditation.
814. The God Murāri (Visnu ) who, when all other gods were afflicted (with distress) on the divine mountain, which, too, started moving, being ( violently) splashed by the deluge waters, became the safe ( anaha) resort of the three worlds.
815. (And this King) whose smoke-line from sacrificial fires, with the sun joined (ghadia ) at its top and showing its bottom (on the earth ) with his rays, appears like a tall palm plant having only one reddish fruit,
816. This our (King ), acclaimed (accepted ) in the world by his ( nick-) name Vigraha-tuñga ( Lofty-bodied ), is known to be an integral part (and portion) that has flowed out from Him (Vishnu), the enemy of the race of the great demon.
Or rather 817. The massive layer of clouds drops away shattered by the thrust (pellana ) of his (Garuda's ) body, meeting in a violent impact at his upward flight, thus looking like a cluster of fragments ( saalajāla ) of the Universe, disjointed ( vihadia ) at that moment,
818. Snapped pieces of lightning-strings, released by disintegrating clouds and missing the aerial car ( of Visnu ) that has turned away (pariatta), glide down with the charm of a graceful flutter of his (Garuda's ) own wings falling off from his body.
819. There was a flight, in the sky, of the winged mountains that were tossed up in the air from the sea agitated by the force of the speed ( of Garuda's flight ), appearing like big birds joining him in companionship (sähemta).
820. The path of the sun ( suvanna-suparna), red with the radiating lustre of jewels (treasured ) at the bottom of the ocean, opened out (ugghādia ) by the violent speed ( of Garuda ), appears as if it is trodden ( beaten-pollia) by Aruna flying first ( ahead of the sun.)

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821. The lords of snakes look beautiful, as they fanned (viambhamta) the flames of the poison-fires, doubled (in volume) by their rise of wrath, (the fire-flames) appearing like Garuda's feathers, slightly bitten off and being chewed (by them) in their mouths.
92
822. The stance (thiam) of Ananta (Sesa), by which the globe of the earth is held motionless, resting, as before, on his main (basic) hood, while attacking (ahiutta) Garuda with the other hoods, looks striking (sahai).
823. The (piercing) thrusts of claws (nahanivaa) by the Lord of birds (Garuda), although hard as thunderbolt, prove futile (blunt) on Vasuki's chest, hardened, as it is, by the tough scar (formed) by the friction of the Mandara Mountain.
824. The hooded cobras feel sorry (visuremti) (frustrated) to find that contacts with the Lord of birds, being repelled (osāria) by their own furious hisses (sumkāra), could not be effected (napadamta), their anger being doubly increased because of ineffective (vihala) excitement of Mouths (itching for attack).
825. With the massive columns of trunks, noisy with (hissing) breaths, being ( twisted and) rolled about by the Quarter-elephants rushing in bewilderment, the nether world draws away, appearing as if it is bent down (namiam) under (the burden of) all snakefamilies resting (for shelter) on the body of Sesa (seṣattha).
826. Thus was He (the King), in his incarnation of Krsna (Visnu), carried (vubbhai) respectfully by the son of Vinatā (i. e. Garuda), who acquired prominent glory for having shaken off multitudes of (poisonous) cobras.
Moreover
827. Variegated (karambia) with lighting-filaments in the form of (flashing) sword-blades (being brandished) by Vidyadharas roaming about in confusion, the sky bristles luminous and fierce, as if with massive columns of hair ( cihura), upraised and erect (to mark) a portentous occurrence.
828. The moon carries a cluster of stars glued over his orb (bimbaghaḍdia), looking like rows of the tiny fangs of Rāhu (viḍappa), bitten (into the moon) in the act of making a morset of him and chewing it.

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829. The sun's orb, pierced by (the black body of) Ketu, thus looking (from the earth) like a hole (vivarābha), droops down in the sky, resembling in lustre an anklet tossed away from the foot of Lakṣmi, the Goddess of the three worlds, as she kicked in anger.
830. The sun's orb, (looking) distressed (jambāla) by the blood discharged by its rays, appears like Brahma's unripe Primordial Egg covered by oozing yolk (kalala), because of sudden (atthakka) bursting.
93
831. The victorious steeds started neighing, black smoke being emitted in violent breaths, mingled with black lustre, as it were, from the morsels of bridles filling their mouths every day.
832. Such were the dreadful portents in the world when this (King) had his eye-corners (avamga) twitching (bhamgura) in frowns (formed) by the knitting of creeper-like eye-brows for a moment at that time.
And what is more
833. The low-hanging flower-garland, with its loops (kumḍala) fixed upto the girdle-string and being dangled about by tremulous (jerky) things in their movements, delights (the eye).
834. The locks of hair, the lower halves of which were loaded (garuia) with chaplets of Priyamgu blossoms fastened on them, fluttered about, loose and dishevelled in their strenuous exertion (to do wild) improper (unscientific) dances (lāsa).
835. The decoration of Damanaka blossoms, tinged reddish by the fine dust of scented powder (pitṭhāaa) applied to the bossom, looks charming, bristling (damtura), as it does, with lovely Madhavi buds.
836. The eyes, languid (parisiḍhila) with eye-lashes becoming slightly heavy (garuaamta) and greyish with the dust of perfumed powder (paḍavāsa), roll about, blinking dim (virala) and reddish, as they do, with the effects of the intoxication of wines.
837. Thus does the band of his beloveds, in pleasure-houses (panai-bhavana), amuse him, their vigorous zest for love-sports

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greatly increasing in (the course of the celebration of) Cupid's festival, (inventing) novel forms ( navavilāsa) of indulgence (in love ).
838. (The King) before whom man's merits, though complete (and perfect-samatta ) appear incomplete (and imperfect), halted, as they happen to be, (in the absence of their proper growth and recognition, denied to them, because of their small (limited) field of activity ).
839. (Enemies' wives by whom), wiping (sūravemti) their face, greyish like the winter moon, the cheeks having been afflicted by their pervasion (paribhoa) by overpowering (pahuppamta ) dust, because of their sleeping on bare ground,
840. Restraining (in a knot) the locks (ņivesa) of hair, made thread-bare (jajjara ) by sighs breathed over them (nivesa) and diminishing (madahia ) ( the broad size of) the forehead with their (over-spreading ) ends (pamhagga ), shooting out (in curls ) from the roots in the absence of dressing (and combingasamārama),
841. Casting their eyes, softened ( somma) and eager with tears of new joy (at the King's sight), the enclosing layers (parivesa) of their eye-lashes becoming dulled (and heavy) with the clinging particles of tears, although somehow (jahataha ) wiped away,
842. Having a lower lip without (the colour of) betelleaves ( ajhasuram ), (no longer being chewed ) and yet more pinkish, as the skin (formed ) over bite-wounds (cūduppa) has been (recently) removed and with a delicate sprout-like finger rested ( on the lip ) in an embarrassed, vacant ( state of mind).
843. Thus is this ( King ) looked up to by the captive women of his enemies in their impetuous eagerness, their agonies having been halted for the moment (in the act of) conjuring (ạimmāa) the (image of the ) God of Love in their heart.
844. These people ( here ) wish to be told (sisamta) by you, leaving no detail, (the narrative of how the Magadha king was put an end to (nitthavio ) by such a lofty one as (our King) is.
845. Then, smiling gently, he said (in words which ) clearly expressed his benign, good nature : “The hearts of the pure(minded) are necessarily averse to hypocrisy (kaivaa ) ( deceit).'

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66
846. Emotional upheavals of grief, sustained in the heart, are somehow passed off (borne) by the firm-minded. The great joy, however, does somehow thrill the bodies of even the great
ones.
The Earth as a Cow
847. "In my (attempts to) praise the Master, my speech, although repeated, just wriggles (and rolls) round inside the throat, having been halted by the distressing delight, thus appearing. as if it is incapable (of the task). '
"3
Moreover
848. With the circle of his bloated hoods, Seṣa fills the empty void within (amtovāsa), (created by the Earth leaving him to escape in the form of a cow), as his long body goes out (extending) in the form of his tail at the back (to hold the Earth).
95
849. The Tortoise himself, his mouth hidden (inside his body), assumes the form (and shape) of her (cow's) udder (āvīņa), with her quadruple teats created out of his four feet, and the lustre of whose nails looked like ( oozing) milk.
850. Immediately the rôle of the calf (tannaa) with his uplifted mouth was taken up by the Boar (Kaula) (the incarnation of) Visņu (veumtha), whose blunted snout (ghona) was being twisted about high (in the air) when first tilted up (padhamutthamghana).
851. Only the thick, accumulated mass of darkness from the nether world goes out in the way (nature) of smoke, (being expelled) in waves by the bellows (of the Earth-Cow as a result) of the spasms (parivāḍi) of her bodily pain.
852. The Sumeru mountain, loosened from its uprooted foundation (viņivesa) and dropping down over the path of the nether world, bears similarity (sareccha) with the fresh essence of the yellow (Gorocana) pigment (on the Cow's forehead).
853. With her form (and nature) completely changed at this moment, the region of her mouth, bristling with grass. playfully picked up in mouthfuls, looks like the (same) region over which (earlier) tufts (of grass) had slightly sprouted up.

854. At the bottom, Seṣa appears to have (mustered strong), with all his brood (collected to-gether), under the guise of the

/

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big streams of milk flowing out (from her udder ), out of his concern for bearing the heavy load of the Earth ).
855. The Lord of this Earth ( Prthu ), by whom this earth ( was protected ) when she had strayed away in the graceful form of a cow assumed in the wake of chaos and was later characterised by his own name,
856. A comparison even of this (our) King with him (Pșthu ) is no good. Whom would entertain insipid stories of the glorification of those other kings, whom the performance of good (and brave ) deeds has evaded (in their life ).
857. Prosperity, growing in abudance, spoils even those who just equate it (proseperity) with jewellery. The frosty shower, although of similar properties, pales the lustre of the moon.
858. With vain (moha), (flattering) praises ( salāhā), men in authority are so (played upon and ) mocked ( velavijjamti) by rascals that they (begin to ) entertain peculiar notions about themselves, although what actual merits ( they have ) are too patent ( ņivvadia).
859. Acquisition of merits is quite easy for great kings who can be patrons of the men of merits ( saguna ). Whence, however, are merits possible for the poor, by whom ways and means have to be sought (to acquire them ) ?
860. This is the secret of wealth that people, who set their heart solely on finding (ideal) good behaviour (in others ), do not realise themselves straying away from virtues.
861. Men in power cannot bear the (purest ) essence of character (which is too good for them ); nor do they pick up lapses (in others) through proper discrimination. They rest satisfied (nisammamti) listening to (reports of what basically is ) a moral lapse ( dosa ), but is given the form and appearance of virtuous conduct.
862. Man's pure character, howsoever pleasing, dries up (in him), if associated with poverty (avihava) and unrecognised (agahia ) by the society, like a flower growing close on top of the fruit.
863. It is surprising (acchariam.) that kings who are suspicious and vigilant in guarding the ( privacy and ) secrecy of their

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wealth and wives, keep a class of low people close in attendance (on themselves).
97
864. Look at this contradiction: wine, taken in a large measure (bahua), intoxicates (maei ); its small quantity does not. Wealth, however, even a little of it, gives intoxication (vanity); but not so, if in plenty.
865. Even people, with proved virtues, lose their virtues when they become rich. Men without virtues, however, go (miles) away (dure) from virtues, if they obtain wealth.
866. Some people, mean-minded, seek to obtain richness through merits; others of pure behaviour, however, want to acquire merits through wealth!
867. Houses there are where (only) the servants are wicked, or where the masters (alone) are rogues, or where both (servants and masters) are villainous. Consider such houses as successively hard and difficult (to deal with).
868. As much (and as long) as these men in power, although wanting in (thought and) discrimination, keep away from the great with their faces turned against them, so much (and so long) they have a chance of) picking up some merits in themselves.
869. These good men, with all their merits, have become so unsuccessful with all the people that even (if they eschew virtue), their behaviour (otherwise), full of lapses (in morals), will not now bring them any credit (greatness).
870. Taken as merits, even bad traits yield manifest fruit ( reward) with kings; since (jai) they cannot understand what is bad about these traits, having been represented (to them) as good points.
871. (in their dealings) with fools, feeling (sore and) disgusted by incidents (vaiara), in which their excellence of merit and judgment is not understood (and appreciated), good men retire to the forests from their native villages.

872. Whole day, good men are filled with two-fold grief : that they had not (the good fortune) to be born in an age when good men prospered and that they are now born in the age (ruled by) the vile and the wicked.
G. 7

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873. Granting interviews and close contacts (pasamga) to men of intelligence and of good conduct, these (rich) men of power feel that whatever has been their own benefit was also the benefit of these (good) men too !
98
874. Any other man of wealth enjoys pleasures, associated with graceful forms of (dignified) entertainment (līlāsaha); (in the case of these autocratic men, however), power (or authority) is vindicated in just doing things nonsensical (asamam jasa ).
875. The heart of great men, although upset (amdolamta) by disrespect (shown to them) by men in authority, quietens, however, at the sight of the wretched villains (being treated) with great honour.
876. If at all, (of) the meritorious, some of them, appear to have been favoured with some space inside the royal palaces, it is just their commonality on par with all and sundry; or may be, (they have been so admitted) for some (ulterior) motive even.
877. Why do good men seek to evoke (admiration and) respect for those very merits from kings, because of which alone they become objects of hatred ( vesabhāva ) ( and contempt) with them ?
878. Who is not averse to the meritless? Whom do the meritorious not cause pain (of envy and jealousy)? The only man who lives in peace and happiness (of obscurity, undisturbed by inconvenient attention), is the one who has no merit in him or-the one who is not meritless (and is not obtrusive.)
879. (The fact) that the heart of men in authority recoils from great and good men, feeling impatient and intolerant (nisaha) of the high honour being done to them, is on par with a man's desire to free himself of all jewelled ornaments (on his person) for fear of (having to bear) their heavy load (on the body)!
880. Men without merit are (quite vocal in) praising others' merit, afraid, as they are, of (the charge of incapacity and) want of judgment (being levelled at them). (Accomplished) men of power, however, who have themselves acquired merits, are most malicious and crooked (vāmā) in respect of others' merits.
881. Every one, ambitious of (establishing) his own eminence (ukkarisa) in merit, possesses jealous enthusiasm (maccharu

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cchāha ) (in running down others ). Those are wretched and wicked, however, who, themselves meritless, cannot bear acclamation(uggūra) of the merits of the other people.
882. Even with a little of (superficial ) good behaviour, one is taken to be a good man ( suaņatta ) by people roundabout. Very difficult, however, to satisfy (and please) one's own (heart and) soul.
883. How, indeed, is it possible even for the humble-hearted (viņayatthia) to leave off all (legitimate ) pride of their own merits? Even if so set aside, the same (pride ) throbs (and vibrates ) with a double force inside the heart.
884. I do not know what possibly the good men, being hurt (dumijjamtā), (feel and ) think in their hearts. They will not, however, proceed to acts (of violence in revenge ) even against the (worst) offender.
885. Virtues (by contrast) lay down (the limit) of the maximum depravity (mahimam) of vices, while vices establish the greatness (and glory) of virtues. If what are the (advantages and) benefits (guņā) of vices, would also be the benefits of virtues, then my salutation (homage ) to them (virtues)!
886. Even the wicked play the good man and even good men show (by outward appearances ) wickedness'. This alone is the ( limiting) boundary line of degradation ) for virtues vibrating (in them ) far ( and deep).
887. Even after having indulged in (a life of) vices, it is possible for one to (salvage and ) establish oneself on (the path of) virtues; on the other hand, the mind of men, well-known for their virtues, stays not in (an atmosphere of) vices (even for a minute ).
888. A good man, although totally bereft of virtues, takes his place (in society) in common with other (low ) men. On a (dried up ) mango tree, the sap of which has oozed away, it has a purpose (to serve, of giving thick shade).
889. The surfaces of mirrors, (being used ) by ladies are made of silver. Men's mirror, however, is good men of pious character (and behaviour).
890. A wicked man has ( shows up ) his dreadful trait elsewhere, even if taken away from his words (tongue). A blade

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of Darbha grass retains its harshness (sharpness ) in its edges, although gone away from its tip.
891. It is this very quality of judgement (and discrimination) that, makes for wickedness in bad men who, having realised the excellence of merits in others, become doubly distressed.
892. It is, indeed, a delusion (moha ) ( mistaken notion ) that by the deprecation of merits in others, one's own merits will get a fillip ( payattamti). It is one's own greatness, that serves for the greatness of one's merits.
893. How (and why) should the totally meritless have a feeling ( of self-consciousness ) of their own greatness, when even lofty men of merits become degraded, as it were, by such a feeling being harboured ( vubbhamte) by them?
894. Greatness being the result of merits, bad men, laying stress on their ( so called ) greatness ' resulting from no merits, expect from merits ( or want of them ) quite a contrary creation.
895. Vanity, born of merits, never travels to the hearts of good men. Hence do their merits remain great, (as they should ), without having brought out resulting vanity (anivvīdhamaa).
896. The dirt of jealousy remains only so long, as long as thought ( vivea ) has not clearly dawned on the mind ). As soon as the divine fire blazes up, the ( earlier ) smoke goes away.
897. There is wonder when looking up high and fear when looking deep down below, as (of people ) gazing at a mountain and ( when ) peeping inside a well.
898. I wish to make myself relieved of all merits (I have ) for fear of the wicked, as I would throw away a garland of flowers, (apprehending) its provocation ( samkhoha ) ( being caused) to the poisonous snakes.
899. Observing how a man gets elated for merits, although the greatness ( and glory) of his merits has remained unsung (anahigia), even those men (the fame of) whose merits has gone over the whole world, (begin to ) waver (with apprehension ) about themselves.
900. A man with merits feels no concern (attachment) for a man of wealth, while men of wealth do not bother about men of

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high merits. Mutually they consider one another as insignificant (men of straw), like people, dwelling on the top of mountains, (looking down) on people at the base and vice versa.
101
901. Kings are not so self-conscious of their greatness in respect of the highly (accomplished) men of great merits, as they appear to be full of pride with other kings.
902. The more these virtues are not being valued and the more the vices are now to thrive, the more will the world be devoid of virtues (and values), since they (virtues) cease to command respect.
903. What of these (mortal) kings? The great (saintly) men who are left with no attachment, having, in their high thought, done away with all desire, stand up, with their loins girded up in firm courage, even against destiny.
904. Even when fate shows a slight (adverse) activity, low people break into pieces by their own movement, as if (they are) on a sharp edge (blade) of an iron wheel, like a piece of wood on a rotating saw.
905. The light of knowledge alone shows up the insignificance (visāraam) of bad minds, like the flash of lustre, which by itself white, (brings to light the blackishness) of black gems.
906. Because of their broadened hearts, thoughts of great men never become known out-side. Lamps, (shedding) mild rays, (roll and) reel about (with their lustre confined) within the big mansions.
907. Even with great (and powerful) lustre (viea) (which they possess ), the wishes (and thoughts) of great men do not fructify (or materialise). The flash of lightning dazzles the eyes by its mighty blaze.
908. Not that those who gather wealth themselves (on the strength of their merits) are not worthy of respect; but then, those, by whom poverty is (willingly) accepted, are some (rare and superior) men.

909. Some do not reach (the stage of) praise; some (great men) are seen to be beyond any praise. Praise thus stands midway between some others (of low merits) and men highly respectable.

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910. Death, even if (jai) angry, does just the opposite (in the life) of great men, who welcome death and (voluntarily) give away all their wealth of their own accord.
102
911. Not only did (these) great men, who used the world as a means (to achieve) greatness, not attain high position of authority, but they could not be instrumental even (for others to achieve such position), because of the fault of the present (Kali) Age.
912. I believe it to be the shadow of the Krta age immediately following (The present Kali age); since something, pure and chaste, does flash (occasionally), inspite of the overpowering influence of this Kali age.
913. What concern have we with those houses where a man just enters in all zest and haste, only (to find in them) his hopes shattered? Those houses alone are ( commendable), out of which a man comes out filled with great satisfaction.
914. He gives up nobility (of heart) and abandons courtesy and sympathy. Even the earth, shrinking and drawing away from some such people, is polluted by the touch of their sins.
915. When a thing, quite easy for even an ordinary man (to get), has no chance of materialising (sampada) in the case of great men, they just smile to themselves inwardly and secretly and sit still in surprise.
916. Great men (magnify when they) show to the good men the gifts they received, (telling them that) they have far exceeded their expectation, like the reflection of great (precious) gems seen through a layer (viņivesa) of wax (maana).
917. Bad men delight in the company of low people, although good men are at their disposal (sāhīņa). It is a frivolous freak (līlā) (whim) of those, for whom jewels are easy to have, to wear glass beads.
918. How can Poverty assail great men who go on investing at every place (or worthy person)? The miser's wealth, however, (remains) all alone (uninvested) by itself; and when once gone away (lock, stock and barrel), all its roots (traces) are wiped away (obliterated).
919. For misers praising (ahisalāhamāņa ) merits of munificence in others, there is no enthusiasm in themselves for doing

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103
any charity (niacūe ); nor, strangely enough, is there any feeling of shame even.
920. Their wealth (Laksmi), like a newly married girl, is slow (and hesitating) for the first coition, though able to bear (the strain of) a fuller enjoyment (with them); for this reason, others also cannot indulge in love-sports with their wealth, even after having secured access to her (wealth ).
921. The misers stay away without even touching Lakşmi, although within reach by their side, looking upon her as their beloved (in menses) to be avoided (parihāravaim), having an unclean appearance (person ).
922. Men, who have acquired (in themselves ) great merits, look down upon great ( Lakşmi) as most insignificant (and of no consequence ); hence is Lakşmi's (hatred and ) hostility towards merits, not without reason, of course.
923. That Laksmī does not hasten to meet the good man' although commanded by him with (the signal of) his knitted eyebrows, is, I think, due to the fact that she stumbles over (in the act of) rushing towards him in her impetuousity ( to meet him ).
924. She, too, in the absence of a good man, would face extinction, having no support left (for her). This, unfortunately, is a painful bereavement for Lakşmī, never wished for ( by her ).
925. Born of Dharma (Righteousness ), how could Laksmī be the hater of good men ? Those are Alaksmīs (opposites of Lakşmi), looking very much like Laksmi, who abide with the ignoble.
926. Lakşmis that are ample, are lasting and have brightened in their constant use for enjoyment, belong only to men of piety, and never to others (of bad behaviour ).
927. She takes away (man's ) faults and confers merits ( on him); covers up his defects and gives him prominence (in the public eye). Such peculiar dispensation ( viņņāso ), apparently contradictory, is to be observed in the case of Laksmi.
928. Those ( warriors), who on the battlefield (successfully) confront the sharp blades of the swords of enemies, are blessed with the touch of Lakşmi (who is ) forced to stay there.

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929. Good men, having for long habituated (kaāsamgkā ) their one (right) arm only, under the guise of acts of smashing and smiting ( solely with its help), keep back, as it were, in haughtiness, even the other hand.
930. Between wealth and merits, merits alone, methinks, are wicked, and not wealth. For Lakşmi accommodates merits, but merits do not, ( since they hate her ).
931. That merits are the root-cause of Laksmi, the creeperis a fact fully established; since they (merits) are alone forced down deep ( underground ), when Lakşmi ( develops ) a prosperous growth.
932. Who (Laksmi), giving to the restless ( visamthula ) (suitors ), languishing (and recoiling) in nervous fear, the ignominy (of rejection), has at the very outset planted her stumbling feet by the side of the Destroyer of the (Demon) Madhu (Visņu ),
933. How would she, the fickle one, open out her eyes wide ( akūniam) on those men, resplendent with merits, compressed (samvāhia ) as they are, by the darkness of the nether world where She ( Lakşmi) stayed for a long time?
934. At her (lit. whose ) very (celebration in the ) beginning, even the glow of wealth ( Laksmi) vanishes. How then could the other one (Lakşmi ), with all prayerful imploring, rejoin ( the man left already ) ?
935. Absence of unhappiness is no happiness, nor do ( worldly) pleasures (give ) happiness. Happiness (that dawns), after eschewing such pleasures ( of the senses ), is the real happiness.
936. In (the heart's ) inordinate addiction to pleasures, unhappiness becomes all the more poignant. The shadow gains in thickness in the powerful brilliance of light.
937. (Heart's ) attachment to pleasures constantly throbs within, although the mind has been forcibly turned away from pleasures. Sound, uninterrupted, is (to be heard) within the ears though blocked by fingers.
938. Hearts of great men find happiness even when tormented by their own conditions of unhappiness, like those (hearts ) of poets pouring out pathos in compositions full of sentiment.

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939. Men of high and steady hearts ( dhīrahiaā) look upon. the families (of their birth ) as mere (temporary) resting places of sojourn, to which, one after another (annannāim), they come in their unending life of (soul's ) migration.
940. (Ordinary) people lighten their misery in sighs produced by unhappiness, as does an elephant who overcomes his exhaustion by blowing out spray with effort (from his trunk).
941. That the tear-drops come out of the eyes ) under the guise of joy at a meeting of the dear relations is an indication of) the fact that the hearts start (melting and ) trickling under (the impact of) the fright of (impending) bereavement.
942. O fool, how can there be any relaxation (and release ) for you, when fastened by the bonds of love and affection, which (jo) would only tighten up firmly on you, as you try to ) stretch ( tamanta ) them to extricate yourself (from them)?
943. The get-togethers of people, which once had become very close, having cut short all distance, (dissolve and ) develop remoteness of great distance and are thus like the two ends of a loosened girdle.
944. In the first (formative stage of life ) there are (of course ) no merits ( acquired ), nor the potential requisites thereof; but thereafter they are ( to be noticed ) along with merits. Now, however, only the merits exist; and they too, alas! (after a time ) are no longer there !
945. In course of time, after death (kālavasā ), appreciative utterances with reference to the merits of the great man's ( surviying) body of fame, become rare and rare and persist (as reminders ) here and there, like (scattered) fragments of the bones (of his body).
946. Vicious traits, arising out of the permanently abiding desires (within ), serve as bondage for men of mean behaviour. The merits of good men, however, ( strongly resist and ) cause no temptations, (on the borderline of which ) they (temptations ) immediately (jhatti) halt.
947. This is real detachment when the man's heart finds happiness (and contentment) in whatever possessions have come ( to his hand ). Censure of Laksmī, however, (on one's part),

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betrays passion (for worldly pleasures ), blended with an ingrained jealousy (of those who enjoy wealth while he cannot).
948. Is this also not love of pleasures, (prompted by which ) men give up their houses full of many frauds and deceipt and find delight in the innermost recesses of the forests abounding in perennial water-streams ?
949. Or rather, this is an (indirect ) way ( cleverly to disclose ) one's own nature or (to pour) censure on the (abject life of) service, when people go on praising the life of savage tribals staying in the vicinity of the Vindhyas.
950. (For them ) rivers with a variety of fauna, forests with clean (lawn) surfaces and mountains resounding with fights of elephants, enhance ( virallamti) their pleasure.
951. Although (now) pure in his behaviour, do not touch the wretched one. Evil stays (dormant) in him, carried over a long time.
952. What other man would entertain respect for those merits of the wretched ones, when even their own self shows aversion, ( caused by) a feeling of disgust for them ?
953. Indeed, his own beloved even withdraws herself from the man who has lost all his property. Does the night, with all her body (i. e. for all time ), unite with the moon, when not full (with digits )?
954. O heart, find solace (ạisammasu ) somewhere. How long would you torture ( yourself ), thus frustrated (āsāhao ) ? The miserable one-- ? better ( that this misery is ) for one (i, e. himself) only, and not for ( all on ) the whole earth.
955. Let this tall talk of uplifting the afflicted ( vihala ) cease. How is that (possible ) for the pygmies (aguru ) ? These fellows are not capable of bringing about their own welfare even !
956. How can they, with their hearts infatuated with stiff vanity for having secured wealth and a merit of some sort, remember ( bharihimti) other people, when even their own self forgets ( pamhusai ) them ?
957. As in their first acquaintence (pariaya), so (later also ) in the enjoyment (of their intimate association ), men are difficult

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(to deal with). Water, at first cool ( when poured ) over hands, turns otherwise while drinking.
958. Rare indeed are those having manifold merits. Even a man with a single (outstanding ) merit is not found everywhere. Lucky if we come across men, who (though without merits ) have at least no faults. We would (hail and ) praise even a man with but a rare fault.
959. Behaviour, impolite, lends grace to public beauties. Smoke alone is preferred to a blaze in the case of fragrant pieces of wood.
960. In the sphere of mutual dealings ( vayahārapaha), men with a few faults in them are good and great. How otherwise (iharā) is intimate association possible with those, who are (perfect), uncommon (and extraordinary) ?
961. Of what use is the qualification on account of qualities for those who cannot rise to eminence ? It may be, this ( eminence) is not possible because of its being overshadowed by other people's good deeds. Yet their qualification is there.
962. Those alone are (genuine ) faults, which are heard (being talked about ) even after the man is dead. And those are alone real qualities ( high and noble ), which are ( lauded and ) recognised even during his life-time.
963. Observe (ņieha) men's complexion (of countenance) only in their open dealings. Why (talk) of ( what he has in ) his heart ? The flash of gems ( teuggama), shooting outside, is not ( seen in the interior ) of gems, if broken into pieces (bhamgammi).
964. Some there are to whom merits are on par with faults; some, who only look out for faults and some others, who are averse as much to faults as to merits. There are, however, none who can detect merits as well as faults and then pick up only merits.
965. A certain man (in the course of dealings ) appears to darken (sāmāamta) (in his face ), as it were; but then ( taha vi ) he is quite pure at heart. It is only the greenish (raw) mangofruit, which develops (yellow colour to mark ) its highest stage of ripenesss (pariņāmaparamattha ).
966. Although looking quite clean and pure (outwardly) in his action, a man is exactly the same that he basically is (i. e.

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true to his nature). The (saffron) filament, although reddishyellow, has (a relationship) in common (samanna) with the colour of saffron.
108
967. Noble men do praise a good man, even if his merits are not observed in toto. Who would think of crushing a gem (to pieces), because half of it is hidden (numia) (from view) by an obstructive layer (padibamdha) ?
968. (Total) absence of faults (in man) shines as well as a merit, if it rises above jealousy (maccharuttinna). As in affluence, so in (the possession of merits), self-consciousness (pride) is agonising.
969. Since there is no respect for those who are without even an iota of wealth, although otherwise highly regarded (agghavia) for their merits, we pay our obeisance to wealth! And for this reason too, away with wealth!
970. Good men, although feeling slighted and insignificant with (the gifts of) wealth (offered) to oblige them, cheer themselves up (dhiremti) (in the belief) that they could give satisfaction to some at least with what little they have of merits (niagunalesehim).
971. To the good men, who (at times) forget (pamhusia) their present plight (of poverty), occasions full of embarassment (viliāim) to find their sides empty, when in confusion they hasten in their ardour to give (rewards in appreciation), cause great
torment.
972. How could they, whose heart is always bowed low, being constantly pulled down by anxiety (to find food) for the belly (juḍharacimtā), look up with high and lofty (uddhura) minds, all their enterprises having come to naught?
973. Formerly (when we could afford), we gave to our heart's content; even afterwards, continuing to give, we found that our (stock of) wealth had come to an end (samthia). Then, in destitution (abhāvā), doles from others had to be accepted, alas! with our head bowed (in humiliation caused) by greed.
974. Merits of great men who feel dejected (and shaken ) for a moment, (having realised) that the intrinsic essence (value of their merits) is not being understood (and recognised) by the people, are rehabillitated (in themselves by them) with their own

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The Good and the Bad Men
sense of judgment and then they proceed to play (their part as before).
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975. Fate! Let it seize all wealth and let it, indeed, take away the delights of spending. How can it, however, (affect and) afflict the hearts, pleased in (the possession of) merits?
976. The more these great men, who never formed (and developed) dependence on others, alienate and isolate themselves (from people), the more does their reputation become firmly deep-rooted.
977. By the acquisition of scriptural knowledge and by the ripening of age, hearts do suffer what little effect (is produced) by the losses of all the gorgeous display of wealth, although unwise (to be so affected).
978. Considering that their own merits cannot bear (comparison) in their confrontation (purao) with those of the great, small men, (developing) association (ahigame) with the meaner lot, completely wipe out (all traces of) the very existence of their own merits.
979. By his false praise of the unworthy (asalāhane), a bad man becomes doubly wicked; similarly, (by his false praise) of the meritless (apaattaguna), a good man turns a wicked (flatterer) both ways.
980. "In no way is he different (or apart) from me Whomsoever does he speak of in such words, him too he places, by implication, just in the category of the wicked (in which he himself is).
981. The outstanding excellence of the precious possessions of knowledge is intimated (sisai) by the ears (of those who have them) wearing embellishments of the gold of poetry, up above (the ears) and down below.
982. Lakṣmi, abiding with men highly honoured (for their merits), is never fickle. Hence (tena) if she herself leaves them at all or if they themselves leave her, how can that be considered as her fault?
983. Even after having obtained the very highest forms (accumnae) of rich glory, thirst (for wealth) continues unabated. The mountaineer (asks), even after having ascended the mountaintop, what (part) of the sky has been overreached ( or assailed) ?

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984. The miser-masters, I think, build up a devotional offering of lotuses (in worship) before the lotus-loving Goddess Lakşmi, in the guise of their hands folded in homage.
985. Is it not really just an act of suicide (maam ) for those mountains, who entered the ocean (to drown themselves, when they found ) that their trees had been despoiled of all their flowers and fruit and their favourite birds had fled away ?
986. When remedies (exist) for securing happiness and avoiding unhappiness, those alone who exert get the reward, ( which is not obtained ) by scratching (to coax and cajole ) Fate, with nails in the form of mere sallies of ambitious thoughts (without action ).
987. Why should not (mā) abundance and prosperity, which once came unsolicited (ūgamtuā), go away from them, though they may be searching Laksmī, who has long passed them by (ciravolina) because of their overpowering delusion ?
988. In the same way ( emea), even the withdrawals (from public life ) of men of fair behaviour through the ordainment of Fate, turn out to be, I think, total ( samahila ) disasters.
989. Fate plays the villain; refusing to lift (anuppemto) a difficult ( disastrous ) situation from great men, although they rise ( valaggamti) to great glory, while facing it with hearts undejected.
990. We would believe (saddihimo) in the reward being offered in this very ( life on the ) earth, provided the heart has secured peace and tranquility ( viņiyyavana ). We may not believe in the seed (of piety and penance fertilising) in a retired life in the forest and later yielding its rich fruit in the next world ( heaven ).
991. A man of plenty and affluence ( vihavi ) revels in special forms (of enjoyment ), while a man of very limited extention (and addition to his property ) desires only stability; the (poor ) man with no money seeks a (sound) body and a man with diseases is satisfied if only he can live (and breathe ).
992. Conversational sessions ( dialogues ) with great men, hard and difficult to follow.) at the beginning and vaguely expressive and revealing during the stages (of discussion ), come to a close after a time.

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993. Losing their flavour (appeal) by (the fact of their) crowding (bahalattaṇa) one after another, enjoyments fail (to give thrill) and falter inside the hearts. Men with limited resources, however, are said (sunamti) to get their fill of happiness.
994. The heart, when once attached even to an insipid object, is not possible to be turned away. People's belief in the fickleness of the heart in this respect is only a delusion.
111
995. The two-fold intellectual aspirations (of men), eagerly looking forward (to bliss) in both the worlds, are simultaneously blocked (and buried deep) inside the heart's (cavity) by women, with the (lid of) their firmly formed breasts (covering the heart).
996. How does the Bodiless (Cupid) strike ? How, indeed, can his shafts of flowers pierce (the heart of the victim)? Thus, when the God of Love himself is indistinct (and obscure), how can tangible pleasures (flow forth) from him?
997. How will women's (tender) heart develop this hardness? (To achieve it), therefore, is this very adamantine crust. (vajjam) of breasts laid (over the heart)!
998. Man delights in his own actions and yet bewails his own conduct and character. He condemns other's natures but. aspires (sihai) (to achieve) the merits of others.
999. (With age) man's hair becomes long and grey, which, I believe, are veritable paths taken up by the emotions of the heart, now going out, every day, as they came (before).
1000. The grip (viņivesa) of the stoop, bending the whole body, shows by its grey hair the fact of the whole body turning soon into an alms-bowl (karamka) of old age.
1001. The old man has a body bent in all places, bowed (ohura) and pulled by the tendrils of skin-folds, its face turned now towards the earth, as it were, (soon to be its burial place).
1002. The dark shade of the hair getting worne out with old age, falls, I believe, over the various parts of the body, in thick black drops, under the guise of black spots (freckles) on the skin.
1003. The grey substance (of old age) flows out from the breasts of the lady of the house under the guise of the milk-stream, being looked at with a sore mind by her husband, who feels that

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her breasts are assailed and overpowered ( into old age ) by the onset of her pregnancy.
1004. Everything, because of its insipid ( disappointing) end, turns into unhappiness. In fact, there is no (such thing as) happiness. Since, what ( appears to be ) happiness is just a negation of unhappiness and this (so called) happiness too is really unhappiness.
1005. All this Form in the guise of the Universe is a clear manifestation of Non-existence ( Abhāva ), like the blue appearance of the sky turning out to be an illusion of occular perception.
1006. May a priceless (amolla ) reward fall to the lot of people, living such a dry and insipid worldy life, after having listened ito ( the description of) our Master's sanctifying (pāvana ) merits. God Siva assumes a lion's form to test the King's heroism
1007. The very same loose mass of matted hair, enveloped by the lustre of His blue-black throat looking like the ichor of Quarter-elephants, gains resemblance (karani) with the mass of the lion's mane.
1008. The Lord of snakes (Vāsuki), receding (and stretching his body) back-wards from his hood placed over (Siva's ) head, tinged red by the lustre of his jewels, bears imitative similarity ( velamba ) with (the lion's ) tail, stopped (demarkated ) by the spreading brilliance of his back (patthi).
1009. The self-same skull-garlands adorning (uttansa ) His head, with their fiercely gaping ( visatta ) mouth-cavities, get the grace of the curling cluster of hair on his (lion's ) head. .
1010. The same (curved ) lines of reflection (padimāmaggū), fallen down ( oiņņa) from his nail-tips and observed (saccavia) in the mirror-like ) crescent of the moon on (His ) head, go out and become the hook-like claws of (the lion's ) paws.
1011. Thus by the Three-eyed (God), wishing to measure ( tulium) the graceful might of him (our King), (His own form ) was transformed into the form of the Lord of beasts ( lion ), giving fright (bhesia ) even to the lion of Pārvati, The king's heroism, religious pursuit, greatness and benign rule
1012. The massive trunks of enemies' elephants were lopped off ( khudia ) by him on the battle-fields, with streams of blood,

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looking like tongues (gushing forth) from their noses (thus appearing) like poisonous snakes.
1013. The creeper-like, coiling column of smoke, (issuing from) his sacrificial performances, looked fine like the dark path ( sarani) of the thick fluid of ichor (flowing from the temples) of the heavenly elephant of Indra, invoked (on the earth ) by his good deeds.
1014. The great ancestors of his family ( kulapuvvā ), although made (to look) small by the magnificence of his merits, were again elevated by him by his own greatness.
1015. His frowns of wrath (samrambhabhiidi), tolerating (the co-existence of) the sighs of pity, look charming on him, who, although strictly abiding by the code of controls and restrictions (imposed on the people ) under his legal authority, rules the world with their opposites (viz. love and sympathy).
The king as Visnu in his Tortoise incarnation, helping in the churning of the ocean and accepting Lakşmi
1016. The (Milky) ocean, with its conchs and coiling clusters of jewels lifted up (to its surface ), was observed by the Lord of tortoises to be a (silver) plate full of worship-materials, as it were, held up (to Him ) in haste by the gods (to honour Him ).
1017. The broad back of the Lord of tortoises, who had emerged (ummilla ) and relaxed His body, (giving out) breaths for a long time, was again over-flown by waves.
1018. The big fish, balanced ( on His back ) by the Tortoise, with the parts of their throats looking reddish at the time of the exhalations of breath, appeared like clouds with repeated (punarutta) lightning flashes
1019. The gods and the demons watched the back of the Lord of the tortoises, as whitishness was developed on that portion ( of the back ), where the earth rubbed in close contact, leaving the borders naturally blackish (as before ).
1020. The reflection (phadimā) of the ( Mandara ) mountain, planted on (the back of) the Tortoise, cast on (the surface of) the ocean and swaying and swinging in its position ( ņivesa ) because of waves, looked as if it was getting crooked and curved on account of the bottom (of its foundation of the earth ) being insufficient (apahutta) (to cover and fully occupy the back ).
G. 8

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1021. The groves of trees, with the ends of their branches bending low when thickly collected together by the encircling (body of the coiling) Lord of snakes, hugged the mountain-side by their tops, while they were being torn off by their roots.
1022. The spikes of the sharp-pointed claws of the Lord of birds (Garuda ), (embedded ) inside the chest of the Lord of snakes and now turned into knotty scars, are being rubbed off by the friction (of the mountain ) gratingly.
1023. Serried rows of the offshoots (pārohamālà) of trees, forming circles (parivesa ) with the increase in the speed ( of the revolving mountain ), get smashed (phuttamti), as they strike the ( mountain ) embankments at the time of wheeling round (pariatti) (in its rotatory movement).
1024. The rivers on the mountain-ridges, although thin, and small (talina), become big and wide, as their banks collapse when shattered ( vocchinna ) by the water ( splashing on them) in the course of its coming to and going away (gaagaa ), as a result of the whirling action of the moving mountain.
1025. Pools of water, with their bottoms loose and broad, begin to drain off in thin streams at first, as the roots of their ( spring) holes inside are being scrubbed off and opened out by the friction exerted by the Lord of snakes.
1026. The streams of mountain-currents, having (their waters ) ceased to be hurled at a long distance, when the ( moving) mountain slows down (to a stop ) for rest, now form gradually a small circle.
1027. The curving parts of the tusks of Quarter-elephants with their thin tips, become flattened out owing to the friction of the whirling, wide mountain-ridges.
1028. The tighter the Lord of snakes closes on the mountain, bereft, as it is, of its trees and creepers (lost) in friction, the more is he, while stretching ( his body ), wound round the mountain.:
1029. With the slough of Vāsuki dropping down by friction and in its whirling speed (raya) forming a circling fence round the Tortoise, the ocean appears to have constructed a basin, as it were.

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1030. Forest-rovers ( appear to ) go out, although they have not actually come out of the mountain-valleys, having gradually. obtained sun-light, as the embankments ( enclosing the valleys ) were being scrubbed and lost by the friction of the great Cobra.
1031. The downward paths of the straight-falling rocks, which come into contact with each direction, one after another, because of the churning action of the mountain. become crooked and zig-zag.
1032. The echo ( of the sound of churning) just stayed put in the momentarily emptied portion of the ocean itself, as the upper aerial space of the sky) was blocked by the upsurged water, which filled the circle of directions all round in the sky.
1033. From a mountain ridge fell out blocks of embankment, full of sharp pieces (dhārā) of Indra's thunderbolt, which (blocks were in fact) knotty scars formed over (the parts of the mountain-body) where its wings were clipped and which (scars ) are now extracted by the friction caused by Väsuki.
1034. The huge snakes just stretch themselves flat (over the surface of the ocean), having pulled out their bodies, although being coiled up in the whirling (waters of the ) ocean, (floating) relaxed (on the surface ) after having straightened ( saralia ) the whirlpools with their hissing.
1035. The rivers on the ridges develop the grace of creepers twining round the trees, (the flow of) their waters having been channeled through the paths, scooped up (earlier) by the friction of Väsuki's (body) and now left off (by him ).
1036. The sky above was forced out (evacuated ) by the ridges, the ground and the peaks of the mountain. The directions, therefore, occupied only the mountain's middle part, thinned, as it was, by friction.
1037. With its base on the back of the Tortoise scraped off ( viņihittha ) and its big bulk (āhoa) reduced in size by the friction of the Lord of snakes, the mountain, placed (ạimia ) with great difficulty before (on the back of the Tortoise ), could now be taken away with ease.
1038. The layer of the earth, moistened by (the water of) the agitated ocean, formed a mud-plaster, as it were, to serve as

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a refrigerating remedy to the back of the Tortoise, painfully bruised a little by the Mandara mountain.
1039. Laksmi, who was thus forcibly salvaged out of the ocean, left sore and distressed ( vihura ) after having been gradually churned, is even to-day carried over his chest by this King.
The miserable condition of his enemies' wives
1040. The broad surface of their bosom, with its darkening shade, caused by the clotting of blood ceasing to circulate (mudha) as a result of its being beaten with hands ( palms ), shows as if it has gone grey because of smoke coming out from the fire of separation smouldering inside their heart.
1041. The big streams of tears (from their eyes ), crystalclear for want of collyrium ( ņiramiana ), patch up (from above to form continuous lines of white lustre, joining) the ends of the rays of the uplifted jewel-like finger-nails of hands placed (underneath the chin) to uphold the face.
1042. Their sighs, getting for a time pent up and accumulated (pum jaijjamtā) by the obstruction of thick, overhanging tresses of hair (on the face), are made to eddy in circles, thus heating up their broad cheeks.
1043. Such were the bodies of the wives of his enemies, impaired by the visitation of widowhood ( vehavvalambha), just when the King knitted his eye-brows in a frown in a casual outburst of anger.
The King who is no other than Visņu
1044. (Visņu ) of whom the conch Páñcajanya manifests resemblance (dambara) with the primordial Egg, when from His · belly one of the (three) worlds enters its interior, blown (in it) by His mouth's breath.
1045. This (King) is Keśava ( Visnu), who now looks charming, reposing on his own glory, as on Sesa, displaying vast expanse in the vicinity of the ocean.
The Goddess of Earth approached Visnu ( i. e. our King ) in the beauty of human form
1046. (The Goddess of Earth) looking lovely with the bright rays of her toe-nails clustering round (ghadiehim ) her lotus

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117
like feet, like the young ones of sesa gathered out of due keenness (to lend him a helping hand in the task ) of bearing her burden,
1047. Having a pair of feet coloured red with an ample (pajjatta ) application of the red-lac dye, looking as if the red lustre of the jewels on the hoods of the Lord of snakes clings (to her feet) placed on them,
1048. Being borne along by royal swans, as if by the hoodcoils of Sesa, collected by the jingle of anklets on her feet resounding at her graceful gliding (gait),
1049. Wearing a cluster-band of brilliant rays, emitted by the golden (iriņa) girdle and lustrous like the (Boar's ) reddishbrown mane clinging (to her), when lifted and placed on His shoulders by (Vişnu, who became ) the Boar for the ( laudable ) purpose (of saving the Earth from deluge ),
1050. Being waited upon by people whose images are being reflected back from her jewelled girdle, ( appearing) as if they are engaged in the operations of climbing and digging up ( uddalana ).
1051. Looking lovely (sahamtiņ) with the deep cavity of her navel, the mark of indentation, as it were, left by the tusk of ( Vişnu, who became ) the Boar for the cause of salvaging the Earth ) and (characterised) by the (uprising) hair-line (on the stomach), giving the impression of a column of darkness bursting out ( through the hole of the navel ) from the nether world,
1052. Revealing her belly undulating with the lovely ( ahirāma) wave-like skin-folds, which were plough-furrows (siramagga) as it were, making way for (Sitā), the beloved of Rāma, to come out (of the earth), having stayed ( alive and ) intact inside to this day,
1053. Appearing charming with her waist-region marked by the waves of her hair-line (on the belly) blending with the necklaces of gems (on the bosom ), like the Gangetic stream mingling with that of Yamunā,
1054. Showing, with the puffs (caya ) of chowries tossed over (her) by female attendants of flashing (paripphuranāņa) loveliness, the coiling clusters of the roots of trees, as it were, manifested within (her body),

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1055. Under the pretext of the thick spread of horripilation alongwith perspiration, (produced ) by the emotion (of joy) at the sight of her Lord, revealing creeper-seeds heaving and sprouting, as it were, over her ( soil) patches splashed with water,
1056. With the pair of her rounded breasts closely covered (samvalia ) by a white, thin garment, a falling reflection, as it were, of the water ( stream )of the heavenly river, situated both inside ( as Gangā ) and up above (as Mandākini ),
1057. With her slim bodily frame (amgalehā) constantly being harrassed by swarms of bees, hiding inside and flying away from the flowers (of wreaths) on her neck, '(looking) like veritable winged mountains,
1058. With her body (her expanse) beautified by her jewelled earrings, as if with heavenly cities, their borders ( studded ) with pearls, having developed the ( appearance and ) features of surrounding circular ramparts,
1059. Presenting the gold-bright (kaņaagora) orb of her face like Mt. Sumeru, half of which (on the head) is bluish-black because of night in the form of her braid of hair, situated ( nisanna ) between the sun and the moon ( serving ) as her ear-rings,
1060. Looking as if a network of manifold paths, bright and clear, has shot up ( ummilla) (on her ), by the fact of (the surface of) her body having been closely served (padiaggia ) by the massive columns of rays (flashing) from her bejewelled garlands,
1061. Looking charming with her broad cheeks, at the base of which had collected ( moist ) drops of pollen dripping from the decorative flowers on her ears, thus appearing as if the ( moistened dust (on her surface ) had (slowly and ) slightly trickled down)
- 1062. With the creeper-like tresses of her hair over-spread with the circling rows of bees, (presenting the sight of) multiple long braids, ( suggesting) repeated conditions of her widowhood on account of the deaths of successive kings, (her consorts ),
1063. It is said (suvvaż) that this (our) King (as Visnu ) has many a time interviewed (pulaei) the Earth in her troubles, whenever (she approached Him ), having assumed a human female form.

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And what is more -
1064. (Of the moon) whose birth from the eye of Atri is indicated by his own (moon's) orb, on which the circle of the spot (developed ) in conformity with the black pupil (in Atri's eye ).,
1065. In that race of the Lord of the night, came many renowned kings before, to whom my homage (paņāma). (Of them ) this one (king Yaśovarman) has turned out (nivvadia ) to be somehow (great and extra-ordinary).
And moreover —
1066. (This King in whose case ) the eyes (of the young captive girls of the enemies ), although opening wide in nervous excitement ( sajjhasa ) as they languidly look up (alasummuhā ), are lowered down in between the eye-lashes fanning out ( viralāamāna) in joy (at his sight ).
1067. The ( delicate ) sprout-like hand just rested on their round bosom, covered with a thin, fluttering garment, the darting rays of its finger-nails serving like (tiny) paths for the movements of their heart, going out towards him and coming back.
1068. The tremour (ukkampa ) sets the body quivering in ripples ( taramgei) the tiny jewelled bells on their girdles, clinking as they fall flip-flap over their firm, broad buttocks and causing each flower of their garlands to vibrate (amdolia).
1069. Such have been love's reactions, full of nervous fear, of his enemies' young ( captive ) girls who joined him on his bed in wedlock.
1070. (He, the King ) on whose arm, suffused with rays , emitted by emeralds on his armlets, Royal Glory (Lakşmil) diverts herself, as it were, yearning for (abode in ) a forest of lotus-plants.
1071. In the meantime, the circle (of his enemies ), flushed red by (the flames of) fire inside the bowl, used for malevolent, magic ritual, (tries to) overcome him, like a host of cobras wearing starlike, red jewels on their hoods (attacked) by darkness.
1072. Who (and what ) are we for the narration of the good deeds of this Monarch, for which, it is said, even a thousand mouths of his ( Vişnu's ) very Lord of snakes are insufficient ( mapahutta ) and powerless.

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1073. And yet, at the end of this night, you may listen to the Mirror ( dappaña) (reflecting the glory) of the haughtiness of his arms, which puts an end to (the glory of) earlier (purumilla) kings.
1074. Now will be narrated this “Gaūda-vaho", a big, enterprise (mahārambha) (indeed ), which, when listened to (by them ), great kings and great poets shed their own pride.
1075. At this time ( ettāhe ), the expanse of the sun's orb, having a reddish-yellow hue like that of an upturned tortoise, ( started ) reeling down (in the west), with its mass (kamdala ) of rays dropped down.
1076. The forest-outskirts look pleasing, with flocks of cooing pigeons, returning ( to rest ) in the shade ( of trees) and delightful with lions awakening inside the mountain-thickets.
1077. The earth's surface is darkened by the shadowy paths dropping down from the setting mountain, overspread (āiņņa ) with the sun's rays and thus looking ) like streams (visara) of molten iron (üyasarasa ).
1078. The extensive sandy mounds of rivers shoot up into full view, as it were, with their rotundity fully brought out, when being left off by the covering impediment of the ( perching ) flocks of closely-gathered birds.
1079. The day's ends become dusty-grey over the city streets, even when the sun is still suspended (over the western horizon), as the cattle-wealth has hurried back (even before the close of the day), because of the long distance ( they have to traverse ). .
1080. The excellent white cows (dhenudhavali ), their udders plump and flowing out, come back from the forests lazily on account of their heavy haunches (jahaņa), although ( appearing to be ) going a bit rapidly (in their eagerness to meet their calves ).
1081. Folding up ( to close ) one wing, spread out at the day's beginning, the Mountain Vindhya now unfurls the shadow-shroud, ( which is ) his other wing, as it were.
1082. The Day's Glory (Lakşmi) enjoys the pleasure of a swing (amdolai) on the net-meshes of the sun's rays, suspended from the top of the setting mountain and pink like the knotty lines on ripened white reeds (sara ).

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1083. The interior parts of mansions become beautiful with paintings (shown ) vividly bright (in their colours ) now, after their (east-facing) window-passages are made (clear ), devoid (of screens ) and empty, the light of the sun having gone (to the west) behind (the buildings ).
1084. The forests now become rarefied ( viralāamti), as it were, made loose by the exit of their thick shadows (inside), the portions of these forests) at the bottom and in the middle becoming vividly visible by the rays of the sun coming over them obliquely.
1085. It appears as if the fragments of the sun's hot rays, distributed for a time in different directions ) on the top of the mountain and later tossed up far (into the sky) in the course of the gradual lowering down of the sun's orb, become clustered in buds and then assume the forms of luminaries ( in the sky).
1086. The sun and the moon attain resemblance ( karani) with the blood-red temples, toppled down ( Ihasia), when the DayElephant, rich in the pearls of planets, is killed by the Evening-Lion.
1087. The constellation-blossoms bristle over the SkyBakula tree, supported in the Sun-Basin and filled with the TwilightWine (poured out) from her mouth by the (lady) Night.
1088. At the end of the day, the sun's orb, pink like the concavity (puda) of a flower of the land-growing Kadamba tree, rolls over (ovattai) ( the setting mountain ), its light, reddish like the eye-corners ( kona ) of a buffalo exhausted by the sun's bright heat.
1089. Look! As the sun's orb is held like a sun-stone (jalanovala ) over the red lac of twilight, the shadow of the night issues out like a veritable massive line of smoke.
1090. The sun's orb now bristles (damtura) with rays, pink and grey on account of the massing of smoke, the twilight lustre getting lifeless (mujjhamta) and discoloured (visama) by the (suffocating) treatment ( uvaāra ) of the darkness.
1091. The thick mass of darkness, kissed by the pink orb of the setting sun, gathers all round, having a charming appearance of the great Buffalo, his neck dripping ( with blood ), ( having been ) cut by the Goddess Kāli.

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Gaüdavaho 1092. The sun, with his chariot and horses, his yellowish red form being enveloped by darkness, gets the lustrous hue of Garuda, with wings uplifted (to hold the weight of the Destroyor of the demon Madhu (i. e. Visnu ).
1093. As the lustreless (ạirāava) sun has his rays turned pink by the mountain dust, the daylight, mixing up with darkness, moves unsteady, ( becoming ) grey like a crab (kulāra).
1094. The sun's orb, nestled inside the nest of woodsticks ( kilinca) in the form of its own ( lingering ) rays, falls down from the tree of the setting mountain, like an egg-lump of the Lord of birds, moist (on its outer surface ) with the foetal fluid ( kalala ) in the form of the twilight glow.
1095. The elephant, in the form of the nightfall, gulps the sun's orb like his morning lump of food, the extreme end of his palate in the form of the firmament, pink with twilight glow, made visible when ( the mouth is ) slightly opened out.
1096. With its encircling ring of the halo of twilight pushed up high, the sky looks beautiful like a big well (avada), with its protective wall (padibamdha) newly constructed and with the sun's reddish orb (reflected in its water ).
1097. Look (uaha)! With the darkness advancing from the east and with the sun's orb suspended over the (lower ) region of the ( western ) direction, the sky (appears ) like Garuda, who has seized an elephant and a tortoise (in his claws ).
1098. The bright twilight glow, with the sun's rays cling. ing (to it) in the manner of filaments, topples down like the Sumeru mountain, pushed overboard by the great boar in the form of darkness.
1099. The sun's orb, like a huge egg, marked with a reddish tinge, having now been laid aside, the moon, like a second lump of egg, is carried (inside) by the Vinatā-like Goddess of the firmament.
1100. The lustreless dispositions of the hovering rays of the sun, (projecting) straight like falling streams of showers, become murky grey like erect columns of palm-forests and develop the form of the magic city of Gandharvas.

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1101. The other (western ) direction, full of bright light (sāloa) with the sun's rays now lingering in straight lines ( rehāvasesa ) and thus building up (at intervals, criss-cross ) massive patterns of columns, looks like a huge latticed window (jālāai) of the Universe-Palace.
1102. The thick mass of darkness, dark-blue both on the (upper ) surface in the sky and on the (lower ) surface of the earth, but interjected in the middle by the remnant of twilighty rolls and reels, rosy-coloured (pādala ) like the trunk of a Kharjūra tree.
1103. Over the directions, the line of smoke, full with clusters of female fish ( sahari) in the form of stars, appears like the stream of the river ) Yamunā, who has started going back, as it were, impetuously in her excitement, while attempting to fall on (the lap of her father ) the sun.
1104. The quarters, filled with the gradually developing, coiling columns of darkness, meet ( one another ), the guardian elephants (of each ) coming out into view because of their proximity
1105. (It appears that) some one digs up the moon's orb, observed to be the bulbous root of the dark-red creeper of darkness, which has now sprouted up.
1106. The directions, darkened by dusk at the end of the day, gather to-gether, as it were, drawn by their curiosity ( to hear the life-story of the King (soon) to be narrated.
1107. Even elevated tracts, with very little light left over them and with their surfaces (appearing) depressed, when enveloped by the tufts of darkness emerging (üsasia) from the caverns (roundabout ), having been thickly massed up (inside ), give the doubt (and the illusion of their being ) valleys.
1108. The moonshine, cut up in between by the interspersion (nivesa ) of the evening) shadows, spreads falteringly (gholai), its path made variegated, as it were, by the dark lustre projecting in conformity ( anusāra ) with (the size of) the black spot (on the moon ).
1109. The sky, at nights, looks torn and tattered ( jajjara ) by the long passage of time, appearing like the outer shell of Brahmā’s (primordial) egg, its bowl-shaped interior now cracked and porous, (the minute holes appearing) in (the guise of stars ).

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1110. The directions, with the obstruction (avaroha) of smoke and emerging dust gradually subsiding, appear to be (enveloped) in a thin (cloak of) darkness, as it were, although the nightfall has far and fully progressed (ārūḍha).
124
1111. The sky, black with the darkness being massed up in between the smothered (and subdued) light of the sun (in the west) and that of the moon (in the east), has become like a swordblade with bright edges on both its sides.
1112. The sky, with the darkness slightly forming up (dar abaddha) on the horizons (peramta) and turned dark-blue like a dried up (osukka) lotus, looks like the discoloured bosom of a female quail (lāvaa).
1113. Suparna (i. e. Garuda) in the form of the rising mountain, having extinguished the twilight fire (by sprinkling ) a collection of (nectar) drops in the form of a bunch of constellations, lifts up, in the sky, the moon's orb, (which is ) like a jar of nectar.
1114. Look at the moon's orb, reddish like a big lump of candied sugar, the ring of the deer (-shaped spot) clearly discernible due to the (withdrawal in) flight of the swarms of bees in the form of darkness.
1115. The moon (sasaimaha), like a jar (on a pan), is tossed up by the balance-rod of the sky with its projecting strings (keu) in the form of the rays (of the sun and the moon ), (the other pan on the rod) being pressed down behind (in the west) by the weight of the lumpy orb of the sun.
1116. Flushed red with (erotic) excitement, caused by the companionship of Cupid (who stands by) fully equipped, the moon steps out (in the sky) with his curved bow now fully stretched, (to form) a circle under the guise of the ring of his halo.
1117. Over the rising mountain (uaa), the reddish moon, with his thin layer of darkness loosened and slipping down, gets the appearance of the intoxicated Plough-wielder (i. e. Balarama), whose blue-coloured lower garment has dropped down (lhasia).
Moreover
1118. The moon's orb, reddish like the interior navel-like cavity (nahi) of a conch, bursts (on the horizon), the red colour

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having been imbibed, as it were, from the offerings (oaraña) of wine-filled glasses, made by lovers at that time.
1119. The moon heaves upward in a state of flickering rays, appearing as if he is holding up, suspended (in his hands ), clusters of lotus-fibres, uprooted impetuously with the idea of destroying day-lotuses.
1120. Having said this and then reposing on his bed, he surrendered (to sleep ), finding himself unable (apahuppamta), as it were, (to continue with ) the narration of His Majesty's exploits.
1121. The glories of the great which enthuse (and spur) the hearts (of listeners) to action (when properly told), just devitalise them, if incorrectly narrated.
But then, what activities were started (at this time of the night )?
1122. The God of Love pierces (the hearts of) enlightened (vara) lovers with the Bakula and such other excellent flowers, while He employs other neglectable (heya ) flowers for the function of his darts in the case of the other (ordinary) lovers.
1123. The face of a certain lady, having obtained the fullness of form ( pariņāha) by the fresh cure and make-up ( parisuddhi) of her eye-brows and forehead, beams specially bright, ( being endowed) with a pair of bigger eyes.
1124. The ornaments gone and the other decorations not yet taken up (after bath ), these charming ladies captivate (the heart), like (slim) mango-creepers, bereft (of any additional sproutings ), during their intervening stage of blossoms (shed away) and the fruit (not yet formed ).
1125. This bevy of lovely ladies, who have applied various pigments (on their bodies ) but who have not yet arranged (the make-up and decoration ) of collyrium, Tāmbūla (jhasura) and tender sprouts (as ear-ornaments ), gets the grace of a painting not yet completed.
1126. (That it may be useful ) while going out (at night ) to meet her lover, this lady embraces (and assimilates ) the darkness, as it were, under the guise of the fumes of the burning incense

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of black sandalwood, being clasped (by her) to her bosom (kolikaa ).
126
1127. The plump (thora) pair of thighs, slightly swelling (samusasia) with the deposited layer (viņivesa) of sandalwood paste (applied to them), is made capable (and fit), as it were, to carry the weight of their heavy buttocks, by these ladies with (towering) breasts.
1128. The floral decorations of these young ladies, although put on at one and the same time, react differently (visama) —the one over the head looks just fresh while that on the neck (appears parched), being scorched (umhavia) by their breasts.
1129. Here comes over the husband to his newly wedded wife (wearing over head) a blue gauze (jālia) reflected in her bosom, (looking) as if a thin armour-plate is put on (by her on her bosom) in fear of the (piercing) Cupid's darts.
1130. A couple here, having passed the day without separation (avioa) and having put on the decorations together (sama), looks pretty, eager (as the two are) to go to bed now, in their unsatiated thirst (avianha) for sexual enjoyment.
1131. Here this lady, wreathed (round the hips) by a big, lustrous, golden girdle slipping down, (appears to have erected) as it were, an encircling wall of fire, for fear of the (hostile) Cupid.
1132. The cluster of the moon's rays is not tolerated by the lovers, being physically restless and uneasy (visamṭhulamga) in the agony of separation, (feeling them) burning hot, as it were, because of the (moon's) entrance into the sun's orb (during the black fortnight).
1133. The bodies of love-sick ladies, although getting thin and emaciated, become heavy (for them), having lost their strength and stamina (thama) on account of an intense love's longing (raṇaraṇaa) (to meet) their inaccessible (dulaha) lovers.
Morcover
1134. The eyes (of ladies) look precious (and charming) with the eye-brows balanced (i. e. uplifted) upwards, to shake off, as it were, the obstructing sprout (kept as a decoration) on the wistful (aurā), (as the eyes look), with eye-lashes throbbing to restrain winking.
ear,

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1135. In their acts of blushing (lajjiesu), when the hand (goes up) to the throat to press (the chaplet of) flowers thereon, only the forehead hangs down and not indeed the eyes, with their upturned eyelashes kissing (i. e. touching) their skin-folds.
1136. The hand moves unsteady (i. e. shakes), as it pushes the veil over the head (nirimgi) for a better sight (of the lover ), holding to the region of the ear, as it were, when fixing and drawing back the eye, turned into an arrow (to shoot at.).
1137. Even while moving away, half-averted glances (diṭṭhāim) are fixed (on their lovers by the ladies), with one corner of the lower lip observed to be slightly opening out, as the face is lowered in a blush.
127
1138. Such have been the flirtatious plays (lilaiavva) of amorous women, love rising (in their hearts) as they join their lovers, but (the manifestation of) emotion thwarted by nervous
ness.
1139. At nights, the ladies with decorations of lotus-fibres go towards their lovers just fearlessly, (thinking that they can go unobserved), having locked in (bamdikaa) (all) the moon's
rays.
1140. The eyes of the beloved ladies beam wide for (welcoming) the entrance of their lovers, as it were, their eyelashes serving as festoons (mālāamāṇa) of tender sprouts, overlaid with the pink (tambimā) of their fresh intoxication.
1141. The eyes of this lady develop inside (black) bordering lines of tears (bāhalehāim) mixed with collyrium, thus appearing as if iron chains are fastened (on them), for fear of their going back in the direction of her spurned (avahīria) lover.
1142. Young girls feel hurt (dūmijjai) even with a slight (misbehaviour on the part of their lovers), but would not take (offence) at a grave lapse (nāmamamtakkha). Such are they, of a heart most illogical (and unreasonable), because of deep affection.
1143. Effusions of laughter (hāsavicchaḍḍa), massed up inside (the mouth) because of restraint (exercised over their outburst), is to be noticed, as it were, (on the outer surface of the cheeks) in the case of these proud ladies, in the form of the Moon's orb joining their upturned (valiuddha) cheeks (in reflection).

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1144. This lady, stiff ( even) with a remnant of pride, drinks after a long time from the wine-glass, its mouth covered with a lotus heaving up (samūsasamta), having been made weightless (lahuia) on account of its pollen puffed away by her (heavy) sighs.
1145. This lady drinks, ( sucking) through the (hollow) lotus-stalk (māla), as if through her heart, which came out impetuously through intense longing and the body of which is holed (jajjara ) by the (piercing ) shafts of Cupid,
1146. Pride, although sustained for a long time, wears away, while that (pride ) is formed up (samghadai) again, even though it is a long time that it was shed off. Thus does intoxication of wine play with women in love, (rousing) contradictory (moods and ) emotions.
1147. Young women show no faltering (akhalia) in their bodily movement or speech and are firm and composed (dhira). as the intoxication naturally wears off from the heart. But the fact that they are inebriated (matta.) is betrayed by the flush on their cheeks.
1148. The playful action of the intoxication of wine brings heaviness to the bodily parts, although slim and light. It causes levity (lahuei ), however, in the hearts of the beloved ones, although (stiff and ) heavy with haughtiness.
1149. In a meeting with lovers, charming are the sighs of lovely ladies, exhaled through the mouth and falling out from an inert (languishing) heart; (they are ) veritable graces, indeed, that just have survived those that had already left during (agonising) separation.
1150. The plump, rounded breasts of young ladies look pretty with the rows (rāi) of fresh nail-marks on them, appearing as if (they are so many points ) where the hearts had burst, because of the force (exerted ) by exhalations of ( wild ) joy at their union with their lovers.
1151. The embrace of the ladies, with breasts rough-skinned because of the scars of) nail-lines, even though tight and hard (asoumalla ), gives peculiar pleasure, as it does honour and justice to the intensity (kāma-bhara) of love's passion.

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1152. With her heart already oppressed (pidia) with (love's) heaviness (from within ), (relief-giving) counter-pressure (padipilana) of her breasts (on the bosom of her lover) has been first resorted to by this lady, under the pretext of a keen desire for a tight embrace.
1153. Such are the tight bosom-embraces of these (lovers), who fervently indulge with pleasure in the preliminaries of (paḍhamaraa) of sexual enjoyment, that their bodies become closely united, with the hips also of both (closely) pressed together.
1154. Sexual enjoyments of amorous women, because of excessive intoxication, do not at all come to an end (na samappamti), though the heart has dropped away from them, (becoming insensitive and) empty and with increasing tempo (vaddhamta) they have become insipid (and devoid of pleasure).
1155. The couples obtain greater pleasures by the prolongation of the sexual act, although for a time (previously) they had put off this pleasure, the hearts having been diverted away (from it) in their desire to court each other.
1156. Even when love has deeply developed, such pleasures alone, as are characterised by the display (ullasa) of decorative nail-marks bestowed (upon their bodies) by their lovers, give to the ladies peculiar pleasure.
1157. Playful indulgence (vilāsa) in a total embrace of the whole body (savvamgālimgaṇa), as practised by couples, in which the (two) bodies are closely pressed tight (one over the other), from the mouth to the thighs and lower down, as even the (man's) legs are made to rest over the (woman's) legs, is indeed captivating.
1158. With these young married girls, the very same horripilation of equal dimensions became thin and sparse over their breast-orbs, (looking so ), because of the wide expanse ( pariṇāha ) gained (by them) through the prime of youth.
1159.
This smiling lady gently caresses (to feel) with her hand her lover's bosom, slightly swelling over the places of her nail-marks, furrowed deep by her heavily pressing breasts (against his chest).
G. 9

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1160. This young lady, (grown) languid in (the movement of) her waist, is troubled by her rounded breasts, become doubly heavy by the pulverised dust of her lover's (finger-) nail-tips, oftentimes broken, (as they ground gratingly against the hard surface of her breasts).
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1161. The bevy of beloveds here looks pretty, lying asleep (numanna) obliquely (at an angle), with a hand thrown over hip (brought together) near the breast, as the belly is bent (and pressed) inside because of its thinness, thighs having been crossed (one over the other).
1162. Here a man kisses the mouth of his beloved, covered with drops of perspiration, arising through sleep and exhaustion and swayed away (amdolia ) ( to dodge the kiss) in her awakening, which (disturbance) in her happiness (of sleep) is not tolerated by her.
1163. The young girls, with their limbs left loose and listless (nīsaha), (accompanied) with heavy breathing, started because of the state of fatigue, appear, in their sleep, to be giving a slight indication of their enfeebled condition, as it were.
1164. And then here drops down a multitude (uppila) of tiny shooting-stars ( tūrālava) from the sky, a cluster of flowers, as it were, showered by gods in our direction (samuha) on this important occasion of the narration of our King's exploits.
1165. The moon's orb has developed rays, pink like fading lotus-fibres, with a tawny-coloured (pisanga) halo like pieces of ripe (abāla) Jambu fruit cut open.
1166. The meteors fall down (from the sky) like drops of water from the young Lady-Night, when her abundant mass of hair, in the form of darkness, drenched with dew (sinha), is brushed back (osāria) by her.
1167. The sky, kissed by the moon's orb with its discoloured (black) deer (spot), staying suspended (lhasia) in its central region, looks like the (leather) top-covering (puda) of a tambour (daddura), with its slightly-split, puffy (viaḍa) circular coat (of black, inky stuff).
1168. All the tiny (talina) stars having now set, the very same circle of planets, which formerly (looked) rarefied
(in

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lustre ), shows itself bright and prominent ( viadei) once again, being afterwards filled in (pumjijjamta) (with the sun-light ).
1169. The surface of the sky becomes, little by little, yellowishpale (pamdura ), with the light of dawn ( usāloa ) ( appearing ) as if it is besmeared with the twilight-fluid, (gradually ) being diluted (taņuñamūna) when getting liquefied ( virūvia), (dissolved ) by (the sun's harbinger ) Aruna.
1170. The swarm of pigeons goes up in flight in contrasting ( visama) lustre, the whitishness (pamdubhāva) (of eyes ) being noticed in between their eye-lashes, while their bodies become bluish and glossy (masiņa), when beaten with dew.
1171. Some particular fruits on their branches, putting on a reddish-yellow tinge (on their outer surface ) in the course of the mounting progress of dawn, take up the quality of ripeness, as it were.
1172. At the end of the night, couples awake with great difficulty, languid after their heavy sleep, obtained for a time through fatigue from physical exerrtion (āyāma) in sexual pleasures.
1173. The multitude of cotton (palahi) seeds in the form of stars, extricated from the (cotton-like) light of dawn, by means of the (cotton- ) seed-removing iron machine ( lodhaa ) in the form of darkness, is ( taken away from the east and now) dumped in a heap on a slender base in the west, by the night.
1174. Seizing by the hair ( sakaaggaham ), as it were, the early morning (paccūsa ) breeze, ( rushing ) inside the bed-chambers, pesters the lamps with their flickcring ( salola ) wick-flames, overlaid with soot ( kajjala ) shooting upwards a bit.
1175. The same sky, (earlier ) gray with darkness, became enveloped in the reddish lustre of twilight, like lead (sisaa ) undergoing transformation in the condition of red lead ( simdūra)
1176. Birds pick up (in their beaks ) grain-seeds, (made ) rough (and painful) for their throat ( to swallow ), as a result ( anubhūva ) of the watery dew of the previous ) night and heavy with the coated ( valagga ) layer ( samnivesa ) of dust.
1177. The tanks ( vāvio) look pretty with couples of the Cakravāka birds staying drenched in water ( jalolla) (on the banks, ( appearing ) as if they ( the tanks ) have wept out their eyes red in

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grief for their lotus-plants, lamenting during the night (in separation from their lord, the sun ).
1178. The moonlight, withdrawing from the moon with his orb resting on top of the setting mountain, now lingers on unsteady (gholai ), thin and yellowish-pale like a mango-blossom (rasagga).
1179. The thick (black) mass of darkness, with its heart pierced, runs away, like the Kali age, not bearing (to hear ) the utterances of the pious deeds of good men, adorned ( avaamsa ) by their meritorious actions.
1180. The canopy ( viāņa ) of the surface of the sky became pinkish-red (pādala ) like a fully bloomed ( ajada ) Japā flower, ( appearing) as if it is bestrewn (vibhinna ) with the lustre of the jewels, (inset) on the aerial cars of gods gathered out of curiosity (to witness and hear the narration ).
1181. The emerging, red light of dawn (aruna ) first comes out in the beauty and splendour (sohagga) of the fresh foliage of the tree of the sky, with its pale ( withered ) leaves in the form of stars dropped away
1182. The sun's orb, resembling a sharpening wheel (ạisāṇacakka ) for the sword in the form of the sky, flashes bright in its red lustre, like the flying circle of the (blazing ) pulverised particles of the (wheel's outer ) brick-layer (itthācunna ).
1183. The darkness was (completely) uprooted by the sun, so that it may, as it were, never come back again, indicating, as it was, by its massive thickness, the ocean's ( drowning ) reunion, as it were, ( as happened for the sun the previous evening ).
1184. And now, happy after having finished his (morning) duties ( to be done) at the end of the night, he (the Poet ) started to narrate the life of the King (Yaśovarman ), very much like the life of Cāņakya.
1185. And then, as the walls of the various quarters, ( standing) huge and high, with their cleansing operation parisuddhi) carried out by means of the iron-chisels of darkness, were (made ) fit for (the inscription) of our King's pangeyrics (on them ),
1186. As the sun's orb, like a jar, with tender sprouts in the form of the (sun's ) green horses placed on its top, was held

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aloft that very moment for this auspicious occasion by the (fair Lady) of the eastern direction (presided over) by Indra,
133
1187. As the heavenly nymphs forcibly went out, having gone through (a good deal of mental) oscillation, (after which) their desire to (meet) their lovers dropped away from their heart, eager as they were, to hear the glory of our Lord (being recounted),
1188. As the groves (vihi) in the garden (surrounding) the palace of the Lord of gods were getting thin and sparse, the jewel-like buds, sprouts (kamdala) and petals having been plucked (vilutta) by gods, eager (to discharge) a shower of flowers (on the assembly down below),
1189. As the auspicious cluster of clouds (jimua) started to shower (pauṭṭha), their thundering (rasia) getting sweet and melodious (mahurihuamta) in their throats, rubbed over (parihittha) with the application (uvaoa) of nectar,
1190. As the sages started (to go down), although entangled (nialia) in their black deer-skins (kanhäina), slipping down because of their hasty movement, (appearing) as if their feet are clasped (padivanna) by the heavenly deer, prayerfully pleading (to be taken down with them) out of their curiosity (to see and listen),
1191. As the flocks of birds left off their perching postures (asaṇabamdha) on the trees, out of regard, as it were, for (this solemn opportunity of) hearing the King's life, begun (aḍhatta) (being narrated) in all humility,
1192. As the people, (rushing) closely in crowds (sammadda), leaving no gap, were being reflected in the huge, hanging (lambi) mirrors, (looking) as if they were mounting the tops of the rows of pillars inside the mansion,
1193. The whole surface of the sky became filled with the suspended (lambia) circling rows of the gods' aerial cars, terraced (kama) one over the other, (appearing) as if rows of sofas (to serve as seating accommodation) were being arranged out of the lofty and mansion-like white (glory of the) fame of our Lord.
And what is more?

1194. "With pearl-clusters of elephants fastened (samdāņia) on its sharp blade, your sword is victorious, (appearing) as if

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the necklaces (eāvali ) have remained still sticking ( to it), even after the Gaüda king's throat was cut asunder. ”
1195. “Your enemies, distressed by shackles, approach your ( tua ) feet (for mercy ), encouraged, as it were, by their own feet which, belonging to the same category (as that of your feet ), anticipate (sambhāvia) and solicit a favour (from them )."
1196. “Every day, you look handsome with the water flowing ( samdira ) from your hand while making gifts, (which is ), as if, the overflow ( niggama ) of the sentimental fluid of compassion ( karuņārasa ) filling your heart.”
1197. "(When you ) come back after having conquered the quarters apto the oceans, Lakşmi is delighted to meet you again ), with all the precious treasures, as if gifted by her father (the ocean ) once again while dispatching her (back to you, her husband )."
1198. “Your enemies' feet, marked with black lines of dirt left by chains, experienced (by them) for the first time, are chopped off by you, (thinking) them to be black death-chords, as it were, fastened (on them for being disposed of ).”
1199. “Your frown, (formed by knitted eye-brows ), does not fall upon your enemies' foreheads, darkened with grounddust transferred ( sticking), being afraid of itself getting soiled (with the same dust ), as it were. "
1200. “Your naturally conspicuous gait looks graceful with your pair of thighs gone thin, as it were, by your ( constantly) riding on the shoulders of the mightier elephants in rut.” .
1201. “Since (jena ) out of your (vo) high regard for merits, even the merit-less take themselves to be full of merits, you, too, on that account ( tena ) consider your own self as one who has acquired no merit ( whatsoever ).”
1202. “The very moment you extend your hand over (to favour ) those who are bent down at your feet, your Laksmi, residing on your arm, goes over to them.”
1203. * The abundant hair of your enemies' beloveds, getting thin, as no toilet was being done (akaovaūra ), appears to have been transferred (added ), as it were, to your own hair whose growth is uncut (abhaggapasara).”

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1204. Thus have been, at that time, the (eulogistic ) speeches of address ( sambohana ) of the poets, to whom the king's merits were being revealed (paccakkhõamta) in their imagination full of devotional sentiment (for the King), although actually never seen ( vivarokkha) (with their own eyes by them ). And moreover,
1205. And then on the pure day, approved by the people, become golden (pisamga), as it were, (looking) reddish-yellow like gold-dust (raa) arising from gold ornaments as a result of friction (ņihasuttha),
1206. All people, within a moment, became quiet and dumb (muallia), as it were, out of eagerness (to listen), as he (the Poet) started narrating (sāhira), ( appearing ) as if the Goddess of Speech from all places went over to him. And what is more ?
1207. (The King) who gave away the enemies' Wealth-God. desses to the supplicants just outside ( his palace ), having found no trust in them, as it were, because of vicious traits in the nature of foul women,
1208. (The King ) at whose sprinkling ceremony (in celebration) of his conquests, the tears (from the eyes ), screened by means of chowries being waved (lit. offered ) at the time, were sucked in by the enemies' queens, (who were ) given this new assignment,
1209. The life of this great King, purifying, novel, picturesque, astonishing and unparelleled (acarama), is now being told. Listen, ye all.
Here ends the Găthā-Pedestal of the Gauda-vaho of Vappairāa, having the title of Kairāa.

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GAÜDAVAHO (Notes)
As is customary and also as required by literary conventions, Vākpatirāja begins his Poem 'Gauḍavaho' with a homage to the Divine. He is not a sectarian, who has a preditection, like Kalidasa, for one particular god, but is perfectly catholic in his devotion to the various gods idolised in mythology.
The following are the Divinities invoked by him in his prefatory portion of the poem extending over 61 Gāthās :Brahmā (1-5), Hari (6), Nrsimha (7-12), Varaha, The great Boar (13-15), Vamana (16), Kurma (17), Visņu as Mohini (18-19), Kṛṣṇa (20-23), Balarama (24-25), Bala and Krsna (26), Madhumatha (27-28), Siva (29-41), Kumāra (42), Gauri (43-46), Saraswati (47), Candra (48), Surya (49-50), Ahivaraha (51), Gaṇeśa (52-54), Lakṣmi (55-56), Kāma (57) and Ganga (58-61).
1. The Mahabharata represents Brahma as springing from the navel of Visnu or from a lotus which grew thereabout. .. after-With a white sacred thread made i. e. worne across. कृतधवलोपवीतम् । The white sacred thread is imagined by the Poet as the lotus-fibre extracted and thus suspended over the body of Brahma, as He came out from the belly of Visnu.
2. The seeds in the pericarp (fr) of the lotus where Brahma dwells are fancied to be so many worlds treasured in a latent form, to be later on manifested in their fully expanded form.
,
3. It is from atoms, according to the Vaiseṣikas, that the world has been created. The dust-particles (faff) inside the lotus, the residence (for) of Brahmā, serve for the purpose of atoms and are accepted, according to the Poet, as the material for he creation of the worlds.
4. Brahma is pictured by the Poet as a great Yogin or Rṣi sitting in meditation and muttering his prayers, with a rosary of crystal beads in his right hand, which represents a cycle or a circle of worlds corresponding with the round beads, revolving at each Mantra.

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5. A lotus comes out from the bulbous root from which springs a sprout (as) and then from the sprout, the lotus. For this divine Navel-lotus, suggestive of Brahmā, the Poet imagines the great Snake to be the bulbous root, shooting up, as it does from the black (uz) mud, which is no other than Krsna or Visnu Himself. Cf. TEÀ FITTFT fantoret foram TGS: RTET Fourqu45:4794€ पद्मस्य किल संभवः । ... पद्माभिव्यङग्यो ब्रह्मा । शेषाहिरेव बिसकन्द इव । [Focata I GUTT atica: 75% ga i aufcata I Com.
6. When dissolution takes place, the whole universe is filled or submerged under the waters of the Deluge and then Visnu, dark-complexioned, reposes on the surface of the Milky Ocean, which may look like the full moon, while the dark spot, shaped like a black antelope, corresponds with Visnu gracefully reposed (9fcrifg34) on it.
7. A reference to the Man-Lion incarnation of Visnu. “ He assumed this form to deliver the world from the tyranny of Hiranya-Kasipu, a demon who, by the favour of Brahmā, had become invulnerable and was secure from gods, men and animals. This demon's son, named Prahlāda, worshipped Visņu, which so incensed his father that he tried to kill him, but his efforts were all in vain. Contending with his son as to the omnipotence and omnipresence of Visnu, Hiranya-Kasipu demanded to know if Visņu was present in a stone pillar of the hall and struck it violently. To avenge Prahlada and to vindicate his own offended majesty, Visnu came forth from the pillar, as Nara-simha, half-man and half-lion and tore the arrogant Daitya king to pieces. "
VETT-Tea The nail-tip, sharp edge of a claw'.
8. The Poet means that the job of tearing open the demon's chest was easily finished just by His claws resting on the chest. His massive hands were not at all required to exert and hence were withdrawn.
9. To kill the demon, evening time had to be selected in accordance with the conditions (44) of the boon granted by Brahmä. Cf. favou a forgat fĘ 79100H ATT JEETT-fear rat at graut भूमौ स्वर्गे वा मानुषान्मृगाद् वा वधो मा भूदिति । तदर्थं जात्यन्तरमाश्रित्य Free EHSET FETT 91fca: FFTRIA I Com.

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10. The loud roar (2717) accompanying the killing of the demon had so affected His throat that His attempt at speech failed in its utterance of definite words, although the form of the Man-Lion was already discarded.
11. The elephant, the deer and the loud thunder ( 37) of clouds are ordinarily the objects against which a lion's fury is directed. This one viz. The Man-Lion, however, ignored them all and concentrated his wrathful outburst only against the Demon
12. The brownish mane with its mass o' reddish hair () is imagined to be a heap of lightning-streaks loosely hanging in the air, as the supporting clouds are whiffed away by the fury of His roar.
13. 'A demon named Hiranyāksa had dragged the earth to the bottom of the sea. To recover it Vişnu assumed the form of a boar, and after a contest of a thousand years, He slew the demon and raised up the earth. The Boar's tusk is fancied to be a lotus-stalk emerging from the bulbous root of the lotus implanted in Vişnu's navel.
14. The earth ordinarily rests on the great Serpent Sesa. Visnu also reposes on Sesa. In His incarnation of the Boar, however, it looked as if He Himself is supporting the earth, as His form stands reflected in the jewels on the hoods of Sesa.
15. The earth, resting on the tusks of the Boar, happens to be tossed up far upwards by the violent breaths of the Boar. The earth, therefore, with Sesa down below, appears to be holding an umbrella upside-down in the form of the coiled body of Sesa to protect herself from the blazing suns, who are pushed deep down at the bottom of the sea.
16. The body o' Visnu in his Dwarf incarnation was full of depressions and protuberances in its various parts in the upper and lower portions. The Poet imagines that this is due to the fact that the worlds had to be somehow forcibly stuffed into His body, as in a sack, which ordinarily could not contain them.
17. The heavy pressure of the earth, placed up above, has forced out from His body His tip of the mouth and the four feet. The Tortoise, therefore, bears the huge burden of the earth on His body, as one would ordinarily do on his hand with five fingers,

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the middle finger corresponding with his mouth-tip, while the remaining four fingers, two on each side of the middle finger, correspond with the four feet of the Tortoise.
18. Visņu assumed the deceitful maidenly form of Mohini to snatch away the nectar-pitcher from the hands of the demons. The thin line of hair on Her' stomach is imagined to be a line of bees flying in search of the lotus hidden inside Her navel.
19. It was necessary for Visnu in His young female form to readjust His bodily features by the redistribuition of worlds inside and, therefore, some of them were pushed up to form the breasts, while some others receded downward, to be shaped as Her hips and buttocks, leaving the stomach very thin (ah).
20. The garland of wood-flowers which Visnu in his incarnation of Krişna wears, attracts the bees by its fragrance. The Poet imagines the garland as a hedge (95-afa) enclosing His harem, the residence of Laksmi, where the bees serving as watchmen (FTTHCS), surround (9f73117) the whole place.
21. The face of Krsna is imagined to be a lotus which in the case of Visnu is supposed to emanate from His navel. In his incarnation as Krsna this passage through the navel is stopped and hence this lotus now appears in the form of His (Krspa's ) face.
22. PEUT RI - May take away grief. (FIFOT – pro fafhai Harga - Com.)
23. “Mythologically Rähu is a Daitya, the son of fagfafa and सिंहिका and therefore called by his metronymic संहिकेय. He had four arms and his lower part ended in a tail. He was a great mischief-maker and when the gods had produced the Amrta by churning the ocean, he assumed a disguise and insinuating himself amongst them, drank some of it. The sun and the moon detected him and informed Vişnu who cut off his head and two of his arms; but, as he had secured immortality, his body was placed in the stellar sphere. Rāhu wreaks his vengeance on the sun and the moon, by occasionally swallowing them, thus causing eclipses." Against this mythological background, the Poet imagines that Rāhu's grief, for want of his head, remains unrelieved and unexpressed and revolves round the top of his (runk in baseless, slight sighs.

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24.
"Once, when Balarama was intoxicated, he called upon the Yamuna river to come to him, that he might bathe; but his command not being heeded, he plunged his ploughshare into the river and dragged the waters whither-so-ever he went, until they were obliged to assume a human form and beseech his forgiveness. This action gained for him the title यमुनाभिद् and कालिन्दीकर्षण. He is represented as of fair complexion and as clad n a dark-blue vest. The wine-loving' Balarama was as much addicted to wine, as his brother Kṛṣṇa was devoted to the fair sex."
C
The dark-blue upper garment, slipping down to entangle his feet, is imagined to be the Yamuna river falling at his feet in supplication.
66 25. According to a view as to the origin of aя, he was an incarnation of the great serpent of a thousand hoods. His especial weapons are a club, the ploughshare () and the pestle ( मुसल ) and hence he is called हली or हलायुध, हलभृत्, लाङ्गली, मुसली, संकर्षण etc.
26. The haughty, heavy tread of a and, which pressed down the great serpent and the divine Tortoise (), gives them pain. But it is a pain self-inflicted and suffered by themselves in other forms, because H and are incarnations of शेष and कूर्म. Cf. शेषकूमौ बलवासुदेवयोरात्मभूतौ । तेन ताभ्यां विदलयद्भ्यां आत्मन्येव दुःखात्मिका वेदना गमिता भवति वल्गद्भ्याम् । आत्मपीडा च नोपालम्भास्पदम् । Com.
27. The cosmic body of Viṣņu, the Yellow-clad, has a patched mixture of white and dark colours formed, as it were, of the Night and the Day, appearing and disappearing. Cf. Omar Khayyam But helpless pieces of the Game He plays/Upon this Chequerboard of Nights, and Days. 'क्रीडत्येषोऽविरतमवशै: शारिभिः शारिपट्टे । अप्येतस्मिन् रजनिदिवसैनिर्मिते श्वेतकृष्णे । Translation.
66
25 44
19
28. What is seen on Visnu's chest is the circular imprint of impression (for) of Lakṣmi's breasts left on it, as the layer or pigment dropped away from her bosom, either because of perspiration or friction. The Poet imagines them to be the round leaves of the lotus emanating from His navel.
29. The single arch-like eye-brow over the third eye of Siva in the centre of His forehead is fancied to be the burnt-up bow of Cupid.

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30. The crescent moon is even now held fast on His knotted, matted hair by Siva, because, the Poet imagines, siva does not want the moon to throw himself into the fire-flames of His third eye, out of his love and friendship for Cupid. Cf. FEHT: FTAFETTI rituara gfagfifa 1 Com.
31. The forehead of Siva is covered by the crescent moon on His head. The Poet imagines that the moon himself constiutes His forehead, which takes the guise of the crescent moon on His head.
32. When Cupid fully stretched his flowery bow, the thick mass of pollen, flung out from the flowers, made the bow ruddy. The Poet imagines this bow to be the third eye of Siva which, as it were, rushed out to swallow Cupid.
33. The moon, held in the crown of His head, illumines the whole area round-about and as a result even the shadow in His standing posture gets diminished and dwarfed.
34. The great Snake Vāsuki was used by God Siva to tie His matted hair in a knot at the time of the ocean-churning. Whenever the churning was stopped for rest, the snake-rope became loose and had, therefore, to be tied up again, especially because the chest of the Snake had become worn out (
fa) on account of its friction with the mountain Mandara, used as the churning rod.
35. When Yudhisthira lost his kingdom in gambling and the five brothers went into exile for thirteen years, Arjuna proceeded on a pilgrimage to the Himalayas to propitiate the gods and to obtain from them celestial weapons for use in the contemplated war against the Kauravas. There he fought with Siva, who appeared in the guise of a Kirāta or mountaineer; but Arjuna, having found out the true character of his adversary, worshipped him and then Siva gave him the Pāśupata, one of his most powerful weapons.
36. The God of Death, Yama, is represented in mythology as of green clour and clothed in red. He rides upon a buffalo and is armed with a ponderous mace and a noose to secure his victims. The Poet imagines that as soon as Siva swallowed the deadly poison, he was marked out by Yama as his victim and, therefore, he cast his noose round His throat; but realising that

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it was the great immortal god Siva, he immediately withdrew his noose which, however, left a scar (fog) on the neck because of friction.
142
37. There has been no rivalry for supremacy between the two great gods, Siva and Visnu and in many passages of the Mahabharata Siva is represented as being worshipped by Visnu and Krisna. In one such worship, Siva, wanting to test Visnu's devotion, saw to it that His third eye was displaced and lost. Visņu immediatly plucked out His own eye and offered it as a flower to serve as a substitute for His missing third eye. Cf. हरमाराधयति भक्तिजिज्ञासया हरेण तृतीयनेत्रं ललाटात् प्रच्यावितम् । ततः केशवेन qalutaqzi acool¿ qœar fromfar gone qzenGarrìfqafofa afafa: 1 कुसुमैरिव पत्रैरपि पूजा प्रसिद्धा || Com What Visnu offered was His eye looking like a leaf instead of the usual flowers.
38. The dark line surrounding Siva's throat is caused by the deadly poison which He swallowed. The Poet imaginatively identifies it with the shadow of His head cast on the throat, since the upper portion of His head is illumined by the moon on His forehead.
39. Both Siva and Parvati have each given up half of their bodies to stay blended together as Ardha-Nari-Natesvara. Therefore the moon also has reduced himself to the size of a digit in imitation of the divine couple for whom he is full of love.
40. "Siva is commonly represented as seated in profound thought, with a third eye in the middle of his forehead, contained in or surmounted by the moon's crescent; his matted locks are gathered up into a coil like a horn, which bears upon it a symbol of the river Ganges, which he caught as it fell from heaven; a necklace of skulls (Munda-mālā ) hangs round his neck and serpents twine about his neck as a collar (Naga-Kundala ); His neck is blue from drinking the deadly poison, which would have destroyed the world and in his hand he holds a Trisula or a trident called Pināka. His garment is the skin of a tiger, a deer or an elephant, hence he is called Krtti-Vasas. He is generally accompanied by his bull Nandi. He also carries the bow Ajagava, a drum (Damaru) in the shape of an hour-glass, the Khatvanga or a club with a skull at the end or a cord ( Pāśa) or binding refractory offenders. His Pramathas or attendants

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are numerous. His third eye has been very destructive. With it He reduced to ashes Kāma, the god of love, for daring to inspire amorous thoughts of His consort Pārvati, while He was engaged in penance and the god and all created beings were destroyed by its glance at one of the periodical destructions of the universe. His heaven is on Mount Kailāsa.
The Poet fancies that the bony skull round his neck felt thirsty and drank the water of the Gangetic stream overhead, using the crescent moon as a shell to drink with. For a similar idea compare:
ईसारोसप्पसाअप्पणइसु बहुसो सग्गगंगाजलेहि आमूलं पूरिआए तुहिणकरकलारुप्पसिप्पीअ रुद्दो । जोण्हामुत्ताहलिल्ल णअमउलिणिहित्तग्गहत्थेहिं दोहिं अग्धं सिग्घं व देतो जअइ गिरिसुआपाअपंकेरुहाणं ॥
44CHERT. I.4. 42. “Kumāra or better known as Skanda or Kārtikeya is the son of Siva, born without the direct intervention of a woman. He was reared by six Křttikās, hence the name Kārtikeya. He is the Mars or god of war of Indian mythology. He was the commander of the army of gods in their fight with Tāraka, whom he vanquished and slew. He is represented as riding a peacock. He is supposed to have remained celibate, having developed aversion for women. The Poet fancies that Ananga or the god of love would not discharge his arrows at him for fear that he, too, like any one of Siva's family, would make short work of him even now.
43. Mahisāsura is a demon who, in a fight, was slain by Durgā or Pārvati. He was kicked to death on his shoulder ba her. The blood flowing therefrom is represented as a cluster of red flowers of the Asoka tree, which conventionally blooms when kicked by a fairlady.
44. Āryā is a name of Pārvati. When Śiva embraced her for the first time, her eyes, tinged red as a result of her blushing, became discoloured and powerless, as they mingled with the darkblue lustre of Siva's throat.
45. “As the sakti or female energy of Siva, she has two characters, one mild and the other fierce; and it is under the latter

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that she is especially worshipped. ...... In her terrible form she is Durgā, the inaccessible ’, Kāli and Syamā, “The black ’, Candi and Candikā, “the Fierce', and Bhairavi “The terrible '.. As Kāli or Kālikā, she is represented with a black skin, a hideous and terrible countenance, dripping with blood, encircled with snakes, hung round with skulls and human heads, and in all respects resembling a fury rather than a goddess. As Vindhya-Vāsini, * The dweller in the Vindhyas', she is worshipped at a place of that name where the Vindhyas approach the Himalayas, near Mirzapur and it is said that the blood before her image is never allowed to get dry.”
During the period of Dissolution, all nights are collected together, with all moons, small and big, of different nights, gathered in one place. The various skulls, big and small, worne in a garland by the goddess Kāli, are fancied to be these moons during Dissolution. Cf. T EHTfa afmarfa TCUT 350TUTHAIGHT TIT कपालानि तानि चन्द्रखण्डानीव प्रतिपदादिसंबन्धीनि सर्गे क्रमभावीन्यपि प्रलये afatfat Il Com.
46. “Cāmundā is an emanation of goddess Durgā sent forth from her forehead to encounter the demons, Canda and Munda. She is thus described in the Mārkandeya Purāna :-“ From the forehead of Ambikā (Durgā ), contracted with wrathful frowns, sprang a goddess of black and formidable aspect, armed with a scimitar and noose, bearing a ponderous mace, decorated with a garland of dead corpses, robed in the hide of an elephant, dry and withered and hideous, with yawning mouth, lolling tongue and bloodshot eyes and filling the regions with her shouts.” When she had killed the two demons, she bore their heads to Durgā, who told her that henceforth she should be known, by a contraction of their names as Cāmunda.”
Sueh a physical appearance of Cāmundā with its prominent veins sticking out and the coils of intestines, not to be contained (mogaoqia) inside the thin, fatless belly, is sure to strike terror (fa).
47. “Sarasvati, the wife of Brahmā, is the goddess of speech and learning, inventress of the Sanskrit language and DevaNāgari letters and patroness of the arts and sciences. She is represented as of a white colour, of a graceful figure and sitting

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on a lotus. The Poet imagines that having been fondled and thus spoiled by Brahmā, she now wanders about like a wanton lady over the soft tongues of poets. Cf. धातुश्चतुर्मुखीकण्ठशृङगाटकविहारिणीम्। नित्यं प्रगल्भवाचालामुपतिष्ठे सरस्वतीम् ।। सुभा.
48. Sanskrit poets have indulged in various fine fancies to explain away the dark spot on the moon. Here is one such from Väkpatirāja. He imagines that a big, wide rent was caused in the surface of the heavenly floor, as a result of the rushing cascadelike stream of Gangā, flowing down to the earth from the heaven. Through this breach also flowed the stock of moon's loveliness, colle ted in the middle of the moon's surface. This left a wide, yawning gap, which, perhaps, is seen as the shadowy spot.
49. Sūrya is represented in a chariot drawn by seven horses or a horse with seven heads, surrounded with rays. His charioteer is Aruņa or Vivasvat and his city is Vivasvati or Bhāsvati. The colour of his horses, like that of Lapis Lazuli, the poet imagines, is due to the fact of the darkness being pushed back every day (afger) by Aruna.
50. Ordinarily the sun contracts himself to give out a dim glow for preserving the world. At the time of Dissolution, the mass of his rays, fully expanding (qfa fors 37), as it were, blazes forth in intensity
51. The weight of the earth became light, as it was evenly distributed over his many hoods.
52. “Gaņeśa o Ganapati, a son o Śiva and Pārvatī, is represented as a short, fat god of a yellow colour, with a protuberant belly, four hands, and the head of an elephant, which has only one tusk. Sometimes, he is depicted as riding upon a rat; hence his appelation 'Ākhu-ratha'. The picture of Ganesa, with his trunk resting upon his one tusk, is likened by the Poet to the Gangetic stream, mingling with the huge column of the waters of Yamunā - a mixture of black and white. Cf. Fafara guitar भूषणेव भस्माङगरागा तनुरीश्वरस्य । पश्यानवद्याअगि विभाति गङगा भिन्नप्रवाह Tatar S9: 11 Raghu, XIII. 57.
53. The earlier picture of Ganesa, indulging in the playful frolics of clasping his trunk ove his solitary tusk, is fancied to be similar to that of bringing to-gether the Himalayas and Vindhyas
G. 10

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on the slopes of the mountain Meru. The yellow Meru represents the body of Gaṇeśa, while the Himalayas and Vindhyas correspond with his tusk and the trunk respectively.
54. The ever-united Śiva and Pārvati manifest at times the a dour of their passion, seeing which, Ganesa, their son, blushes and chuckles inwardly. This action is represented by His solitary tusk collected at the end of the left half of his mouth, as would ordinarily be in the case of a man, who, under such conditions, may push out his tongue to the corner of his mouth.
55. Vişņu, in his disguised form ( Māyā) of the Man-Lion, was all fire and fury when He killed the Demon-king (Danujendra) Hiranya-Kasipu. With a view to pacifying Him, His consort Lakşmi approaches Him wich alluring, agile, graceful steps, which deserve homage from us.
56. While emerging from the ocean, Lakşmi held a lotus and the moon in her two hands. She was, however, all the while, fully conscious (37HTET3T) of the fact that she was much superior to the two in beauty. Cf. प्रसिद्धसौभाग्यामाभ्यामपि मन्मुखं सुन्दरतमं gunfufa criaroffia CTRTI E stufat i Com.
57. The Cupid's two hands are soiled with black collyrium from the eyes of Rati full of tears of love, as he wiped (aftar) them. The Poet fancies them to be full of bees attracted by the fra rance of his flowery bow and arrows.
58. The river Gangā on the head of god śiva has always been, according to Sanskrit poets, a cause of jealousy to Pārvati. The poet imagines that Gangā, falling down from His head on the lap o her father, the mountain Himālaya, pours out her complaint against her sister, Pārvati, as it were. Cf. tapa fagfarari OT farepta : 1 7817: 14 Hallarg confHEFITRI 2. I50.
59. Brahmā is said to have four heads. Originally He had five, but one was burnt off by the fire of Siva's central eye, because He had spoken disrespectfully. This head, now reduced to a skull, is fancied to be still floating (and not sinking ) in the waters of Gangā on the head of god Śiva. The bones of elderly gods are supposed to remain floating on the surface, and hence that proves the grand-fatherly status of Brahmā. Cf. tor FEIT: पञ्चमं शिरश्छित्त्वा स्वशिरोगङगाम्भसि प्रक्षिप्तमिति पौराणिकाः। पितामह

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प्रभृतीनां च कपालादिकमस्थि गङगायां क्षिप्तं घूर्णमानमास्ते । तेन गङगाजलघूर्ण#7719410cala agerHTETRATTENTEMEI father I Com.
60-61. Three reasons are given by the Poet to establish the purity of the waters of Gangā.
The Eulogy of Poets 62. The poets alone, by their interpretation in words, show to us this world with all its variations, either as a substantial source of joy or as 'airy nothing'. Surt = .
64. The man who loses himself in the real enjoyment of Poetry, is least affected by material want or prosperity. In fact, poverty, to him, becomes a pleasure, while abundance proves a miserable encumbrance.
65. Sanskrit and Prakrit are complementary to each other. 66. Compare —
“And as imagination bodies forth The forms of things unknown the poet's pen Turns them to shapes and gives to airy nothing,
A local habitation and a name.” Shakespeare. 67. ¿qaret HERETOT 37. A clear reference to the Gaudi and the Vaidarbhi styles, a mixture of which, as with Bhavabhūti, is commended by the Poet. Cf.
यत् प्रौढत्वमुदारता च वचसां यच्चार्थतो गौरवम् । Toggle Tarta Thaqifusca triput: 11 ATO 1.6
CAT: METT: – Bombast. - 68. It does not matter if you are not very rich. Even a little of wealth is enough to make you happy. But a little of knowledge makes a man puffed up, egoistic and ridiculous.
Cf. 35: CATTET: TEACHIETà faa: 11
ज्ञानलवदुर्विदग्धं ब्रह्मापि नरं न रब्जयति ॥ भर्तृहरि-नीति. २ 69. ...... TITIT. A reference to his earlier work, “Madhumatha-Vijaya'. The style employed by him in this work was full of Ojas i. e. pompous, heavy and rhetorical. He would attempt a simpler and softer style in the present work. The first flowers are always full and robust, while the later ones are thin and soft.

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Gaüdavaho 70. Cf. a otra T HETIST
rifa gehiefg : # 9799A 11 TT. V. 83. 71. The constant, malicious effort to deprecate and deny other's merits results in the absorbing of those very merits in themselves by the wicked. Cf. गुणसंसर्ग एवं नामोत्कृष्टो येन पिशुनानामप्यत्कर्ष करोति ।...अनवरतं च परगुणानालोचयतामभ्यासातिशयाद् गुणज्ञानातिशयो । Hafa i Com.
72. It is a pity that even pure souls feel affected by jealousy to hear the praise of other's merits. The analogy, the Poct gives, is that of elephants who are believed to get excruciating pain in their tuskers at the touch of the moon's rays.
74. The situation, as presented by the Poet, is this : Here is a man, truly great, being admired for his merits, by people who are forced to do so. Their hesitation is clearly seen on their faces, shadowed by some sort of bitterness. The great man, however, should. overlook this aspect and should exult all the same in the praise offered. As he rejoices in the eulogy, his face would be tinged pink with a blush (8x731), which would be observed by these others who would be swinging off their balance (IMTOTHT), when they think within of their own conduct and character full of lapses. Fastsat TOYHTÀ: Test Hem i -a IT: I
75. ali ofrotee - In their acceptance o: appreciation (as · great poets )." 76. Cf. TOTUTTATOTT quatica face
निजहृदि विकसन्तः सन्ति सन्तः कियन्तः ॥ भर्तहरि-नीति. : .... #31 -- To belittle once own great merit while magnifying the merit in others, howsoever small, speaks of a noble trait in the character and judgment of a great man.
77. Merits, like the moon's rays, first seize the hearts of great man, as of mountain-tops. They are later seen in their flash in the hearts of others as well, perhaps in imitation, like the moonshine spreading on the earth. Cf. Hegrafa sjokintaator: Com.
79. A certain amount of pride in the possession of merits may be legitimate, but certainly not in their absence (faran ). Let it be, however, a feeling of just pride and not snobbish vanity.

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80. A poet like Kalidāsa, for instance, who stands unequalled and is established as such in the circle of poets, will find no other poet of whom he should be jealous. cf. पुरा कवीनां गणनाप्रसङगे कनिष्ठिकाधिष्ठितकालिदासः ।
अद्यापि तत्तुल्यकवेरभावादनामिका सार्थवती बभूव ।। सुभा० 81. The Gāthā, as rendered in Sanskrit prose, would read thus - मतिसंदेहावलोकने येषां निजमतिसंदेह एव, ते स्थितरूपा लोकस्य विचारFUT of safra A mind, chaotically confused in itself, is incompetent to resolve the doubts of others. He, who cannot judge for himself, cannot judge for others.
82. Censure of the lowest of the low is beneath our dignity, while the great ones cannot be adequately extolled, because of our inability to understand them fully. Cf. 7 act aterofag: foport: 1 4o. Futility of efforts is thus a common factor in both.
84. The earlier poets, perhaps pre-Kalidasian, went about their task, without any guide-lines or accepted and established norms for their literary compositions, such as the literary Form of a Mahakāvya, the particular Sentiment, the choice of topics, characterisation etc. There were thus no trodden paths or beaten tracks and hence their Poetical Fancy soared high and low in search of themes. Things settled down in this respect during the days of Kalidasa. Cf. 37497 Barat fotograf: 1 port Tommi arafe À fa: 11 TT. I
Although such is the case, we now (5637-gGra) find how some poets, trying to emulate the genius of the earlier poets, fail miserably in their attempts at such imitation. Cf. er fe à seraitaat:
: Disfer tarafa gamathi Fafaritaifafa funt rarit i Com.
85. It may be argued that earlier poets like Vyāsa and Vālmika have practically exhausted all topics and there is nothing new or original left for a poet of these days to visualise, in view of a common saying, stafogo TTT Ph. Such is not the case, however. Even a modern poet, with a keen insight and subtle observation, can conceive fresh themes, if only he frees himself from the limits ( T) of conventional approach to his surroundings and extends his range of imagination over wider areas, high and low.
of Eco - 7 Troi— Not perceived.

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86. An ordinary poet has to scratch his head long to think of a suitable theme for his composition. A great poet, like Valmiki, finds themes rushing to his imagination, without any effort ( णिरारंभ ) on his part. The sight of a Krauñca bird, shot by a hunter, was enough to inflame his poetic Fancy. For a similar idea, compare – लौकिकानां हि साधूनामर्थं वागनुवर्तते । ऋषीणां पुनरद्यानां वाचमर्थोऽनुधावति ॥ उत्तर० I. 10.
87. Immortal and divine is the Poetical speech, a petal, as it were of Atman, or the Divine Soul. Cf. वन्देमहि च तां वाणीममृतामात्मनः कलाम् । This speech has inspired poets of all ages since the beginning of the world (आसंसारं ) and has throbbed and vibrated on their lips. Although so used by poets every day, She has remained as new and fresh even to this day, like a precious jewel kept in an air-tight casket, with its seals intact. Cf. क्षणे क्षणे यन्नवतामुपैति तदेव रूपं रमणीयतायाः ॥
88. णीसामण्णाण - निसामान्यानां - of the uncommon or extraordinary (poets ). Cf. अभ्युत्कटोत्कर्षयोगात तत्कृतकाव्यस्य श्रोतरि योग्ये असति मूकत्वमेव महाकवीनां युक्तमित्यर्थः । Com. Cf. also – इतरकर्मफलानि यदृच्छया विलिख तानि सहे चतुरानन । अरसिकेषु कवित्वनिवेदनं शिरसि मा लिख मा लिख मा लिख ॥ सुभा.
89. Great poets like Kalidasa have now developed a halo of lustre around their names and hence no one would care to analyse their merits in detail for a critical appreciation of their literary works. Their names are enough to justify their high position in the galaxy of poets. Cf. महाकवीनां नाममात्रग्रहणे प्रत्यक्षायमाणा नाम्नीव संक्रान्ता गुणा द्रागित्येव निर्विवादं प्रथन्ते, अतः कस्तान् विचारयतीत्यर्थः 1 Com.
90. Men there are who are proud and boast of their knowledge and understanding of eminent poets like Kālidāsa, Bāņa or Bhavabhuti and thereby arrogate greatness to themselves. This is a vain, useless effort ending only in misery. Cf. अन्येsपि ते आयासाय वहन्ति आत्मनः केवलं माहात्म्यं । महाकविकाव्यं प्राप्य तद्विषयविचारयोग्यत्वाभिमानम् ॥ Com.
91. Great poets are difficult to understand in their subtle and intricate net-work o poetic fancies (विअप्प - जालं). Those who cannot understand, feel as if they are enveloped in darkness, while those who understand and appreciate, feel the dawn of

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light visiting their eyes. Cf. मंदमतीनां मोहकारितया तिमिरमिव प्रकाश इव च व्युत्पन्नानाम् । Com. : 93. difs - Faruffat, for + sfort. Emerge, flow out.
95. While highlighting the benefits of Prakrit the poet administers a mild, dignified rebuke to the so-called Pandits of his days who boast of their indifference to the study and knowledge of this language.
%. TE TE... ATUT – Cf. gefa afanha TETETT TATT quifosfat Tat TEHTAT I ATA: HOUTATIEIET TFA OSgreitauet: 1 Com. 98. gfosi – STTTH Exhausted, tired.
A marvellous analysis of feelings that assail his heart, as he undertakes . to write this big poem. 37-95voj - 3/7 Pino - Suppressed, over-whelmed. efi - Eto -Lofty, risen high with joy.
100. He (Yasovarman ) has moved out with his huge army on his military expedition, the groups of soldiers holding white parasols over their heads. They kick up fine dust in the air which gathers in mass underneath the parasols. The Poet imagines that the reason why this dust does not fly up in the sky (but stays under the parasols ) is that the earth would not leave the solid support of the hoods of Seşa on which it rests for ever. (1994 g).
101. Śesa too does not throw away the earth, although he often shakes his hoods in agony. That is because the earth is, as it were, firmly fastened to the hoods by means of his nail-like jewels pressed down (T) into the hoods by the weight (**) of the marching columns of soldiers overhead.
102. The fact of his sword dripping with blood (toifar), mingled with the bluish rut of elephants, is explained away by the poetic fancy of the sword melting, as it were and giving out a liquid stream of heated iron, as it clashed against armours of the opposing warriors.
104.. The goddess Lakşmi reposes on the right arm of the warrior. The king's glances towards his right shoulder are intended, as it were, to make her happy by bestowing on her the favour of his Darshan.

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105. ATSYFT31 - (7) STATE - The breaking or piercing effect of the lustre of his pupils. V. L. ATLYFT8737 - Tamat - Expansion of the lustre of pupils. cat - The prisoner, captive men or women. V. L. qfsane Tritu - THYSTIETTA - Noted by Com
106. The Poet fancies his glory () to be a big mighty tree, casting a thick shadow down below in the form of the ignominy or ill repute (34) of his enemies.
107. gfris – V.L. 9f74 - qfrufe - Traverses all over the worlds, either as his commands or through his bards. Cf. of CERTARTATE DU afreageTOT AT I Com.
108. Huge herds of elephants are seen in all directions joyfully spouting watery spray through their hose-like trunks. The Poet imagines the various directions rushing over to the King in excitement and waving chowries (corresponding with the waterspray) over the king.
Now in a Kulaka or a group of five Gāthas ( 109-113 ) the Poet gives an imaginative description of the likely amorous reactions of the young celestial women, as they observed the heroic exploits of the King on the battlefield.
109. The lower lip, when upturned (387) with her finger-tips, showed slight dents on its inside skin, because of the bite-bruises caused in the act of kissing
110. The ladies dared not hope for the fulfilment of their desires. As a result, their sighs, secretly given out, rested
T3T) on the lotuses in their hands and stirred the honey at their bottom.
111. Not having had the pleasure of love's dalliance (37-5FAFT), the ladies are fretting and fuming within (fautefautu). With their hand they pull their locks of hair, press them in vain (ET) and scatter (faffert) them over their heads. V. L. faecifar391 - farfuatia Distressed '.
112. For their toilet and decoration, the maids have brought for them flowers, wreaths and sandal pigment. They have, however, po mood left and therefore, they pick up just one flower and send away the decorative wreath; similarly with a slight bow tafo), they spurn away (telfrat) the sandal paste with averted (file) eyes.

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In a Kulaka extending over 47 Gathas, the Poet describes the mythological episode of Indra's wonderful exploit of cutting the wings of mountains, connecting it at the end with the main theme by telling us that even such a mighty god like Indra would wish to be seated with him on the same throne – एक्कासणसंमाणं सो वि हरी मण्णए जस्स । G. 160.
153
The mountains were supposed to have had wings before and they used to fly from place to place. When, therefore, Indra found them troublesome and refractory, he cut off their wings with his mighty thunderbolt.
The mountains, according to the Poet, are personified and even deified entities. If like birds they have wings and they fly through the sky, they are evidently sentient beings with a mighty life-force to impel and propel them in their various, vigorous activities and they have also thoughts, emotions and feelings attributed to them, like those of human beings. And, if according to Kalidasa, the great mountain Himalaya, the Nagadhiraja, could have a family consisting of his wife Mena, a son called Maināka mountain, daughters named Parvati and Ganga and could celebrate her marriage with god Siva, it is evident that this logic and this analogy should extend to these mountains too. Accordingly we find in the description that follows, that these flying mountains have their own wives and their retinue and they suffer like humans all the ill effects like miscarriage etc. under the impact of this catastrophe viz. attack by Indra.
114. These big mountains find that they have nowhere to go to for refuge. Their summits have pervaded the skies and all space in all directions has been occupied by their ridges, which reach the ends of these quarters and they come back disappointed. They, therefore, fly upwards a little and stay there to allow themselves to be consumed by the flames from the thunderbolt.
115. The inside caves are filled with coiling columns of smoke which now comes out from their mouths and spreads over their slopes (f). The Poet imagines the smoke to be moltern iron (E) flowing from these mountain-sides, smelting (a) like furnaces under the fire of the thunderbolt.

116. Meru is a fabulous mountain in the navel or centre of the earth, on which is situated Svarga, the heaven of Indra, contain

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ing the cities of gods and the habitations of celestial spirits. All planets are said to revolve round this mountain. It is also said to consist of gold and gems, hence called Hemādri, Ratna-sānu, Karṇikācala, Lotus mountain', Deva-Parvata and Amarādri. Regarded as a terrestrial object, it would seem to be some mountain north of the Himalayas.
6
The day and the night are the two phenomena caused by the movement of the sun. When on one extremity of the mountain the sun rises, there is Day, followed by the Night when he sets at the other extreme end. Struck by Indra's thunderbolt, the mountain Meru started burning, enveloped in fire-flames, with its wings filled with smoke. The mountain also tried to move away in haste and hurry and as a result the day and the night, dependent on the sun's movement, moved along with it as the sun is closely associated with the mountain.
117. The edge of the thunderbolt became blunted, as it suddenly met the mountain with a crashing sound () in its isolent impact. Then it began to move up and down (ailfox) to break the resistence (after) and by this action its edge gets sharpened (forfors).
118. The mountain-wives aborted instantaneously through fright, as they saw even big birds turning back (a) towards the same caves from which they had fled out. Cf. Marathi idiom - भीतीनें गर्भगळित होणें.
119. As soon as the wings were clipped, the fire had started over the mountain and as a result, the mountain, which for some time was up in the air, dropped down with a thud on the same spot. Because of the depression caused in the surface of the earth, oceans on both the sides of this mountain rushed their waters in the portion of the land that had caved in and thus the fire was extinguished on the mountain in the same spot where it became re-established.
120. By the daily movements of the sun the rising mountain had already become heated. The hot thunderbolt, therefore, was felt by the mountain after some time had lapsed, although it had struck the mountain earlier.

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124. The Poet imagines that the holocaust has even affected the rows of bees hovering over the Grand-father Brahma's lotus and are scared by the smoke from the burning mountains.
. 125. Shaped like them, the mountains have wives and their young ones are hiding (fr ) inside their caves. · Out of fright they cannot go or fly far, as if because of their pregnancy.
128. The underlying analogy is that of a big bird, shot in the wings by an arrow. One upward flight and then it collapses on the ground, unable (THE) then to jump up (90g 3) even a little
130. The Poet fancies mountain ranges to be the eyes of the various quarters, breaking and bursting open from the heavy blow of the thunderbolt. Their smoke fills the eyes and makes them sore, the eye-lashes in the form of wings start flapping up, the streams are like tears flowing, before the eyes burst.
131. A mass of iron at a very high temperature becomes liquid and when cooled, becomes solid. The poet applies this analogy to the mountain-slabs which flow out (faforator) in liquid form because of excessive heat and then solidify (Hera). Thus they become fit to receive and resist the thunderbolt, like warriors, according to the Com. Cf. at 4GETFH 4497CCI गिरिकटकैः पुनरायसशिलाभिः कुलिशाग्निदाहविगलितविनिर्गतलोहीभूतनिम्नोन्नततटरूपाभिः कवचस्थानाभिः कुलिशप्रहारनिवारणं पश्चात् कृतम् । निम्नोन्नतFavarapuaraat 319699848212744 adagocyaani farcury i Com.
132. Water-streams, flowing from mountain-peaks : and mixed with ashes, are imagined to be the streams of tears, mingled with the collyrium of the sorrowing mountain-ladies.
134. The mountain, reddish-brown, because of its moeting the thunderbolt, with the moon's full orb reflected at its bottom, looks like flying Garuda, lifting the nectar-jar in his hands.
Garuda is said to have stolen the Amrta from the gods in order to purchase with it the freedom of his mother from her cowife Kadru. Indra discovered the theft and fought fierce battle with Garuda. The Amộta was recovered, but Indra was worsted in the fight and his thunderbolt was sma hed. Garuda is represented as having the head, wings, talons and beak of an eagle
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and the body and limbs of a man. red and his body golden.
156
His face is white, his wings
136. The creeper-bowers had been places of resort or rendezvous for heavenly couples. They are, therefore, sorry to find these places in flames along with the mountains!
137. Observed from great heights, the river-beds, flowing over mountain-slopes, looked like bandages (r) over the wounds of mountains!
138. The animals, coming out from the caves and wanting to descend down, could only see the mountain-wings being clipped and heaped up and no solid ground down below.
139. Of the mountain-wings, half of them, being lighter, get scattered about in the air, while the other half, heavier at the base, drops down on the ground.
140. While the trees have fires burning at the bottom, columns of smoke have massed up above on their tops. The Poet imagines them i.e. smoke-columns to, be the formations of shadows (T) thrown up by the fire-light (r) down below.
141. Meru is a golden mountain and so are also the fireflames caused by the clipping of wings. There was a doubt, therefore, as to whether the reddish-yellow glow was the result of fire-flames or just the natural colour of the mountain, whose wings have perhaps remained intact. Hence it became necessary to repeat the blow of the thunderbolt.
142. The blow from the thunderbolt developed greater striking power, when hit with force by the wings of another
mountain.
143. The ocean is a Ratnakara or a mine of jewels. The mountains, falling with force in the waters, splashed up and stirred mighty waves, throwing up and scattering the heaps of gems' at the bottom. The red glow of jewels enveloped the waves and gave the impression that they were, not waves, but the mountains themselves with blazing wings.
144. The thunderbolt, like lightning, crashes on the mountain and pierces deep inside its body causing a crater. The angry mountain closes its folding wings over the thunderbolt and as a

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result the sizzling lustre of the thunderbolt is temporarily lost (Fury).
145. Many a winged mountain sought refuge inside the oceanic waters. The thunderbolt pursued them even there and attacked, before their drowning action was complete; for instance, the parts at the bottom had not yet completely submerged and as a result the summit areas stood fully and far exposed in the sky.
146. The Poet perhaps refers in this Gāthā to the mountain Maināka, the son of Himavat and Menā. When Indra clipped the wings of the mountains, this is said to have been the only mountain who escaped.
147. As soon as the mountains dropped down in the ocean, the waters rushed in and flooded its caverns and valleys. One wondered at this sudden, simultaneous action of both, whether it was not the mountain but the ocean that entered and penetrated the mountain.
148. Three factors that cause earth-tremours, are :-first, the oceans agitated by the plunging mountains, the Quarter-elephants thrashing tLeir shoulders i.e. corners and the mountains wriggling in agony.
149. The big rivers on mountain slopes, tossed up and thus swelling in size completely covered up and hid from view the parent mountains. It looked, therefore, as if these mountains were moving on under the protection of the seas although they had not yet reached them.
150. The rocks, disintegrating from the mountain, drop down and cover up (gfodt3t) the smoke-filled area at its base, thus diminishing the density of the smoke and cutting off the flames rising slowly upwards.
151. Mountains falling down, throwing up heaps of dust, with their chunks (3T) of caves and valleys shaken off (Hafrost), became lighter than before.
154. The fires that would burn and blaze during the period intervening between the two Kalpas, old and new (niegtare), appear to be concentrated in the trap of the wings of mountains and they could only be extingusihed by the floods of oceanic waters

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at the time of the Pralaya or the dissolution of the worlds. For the phenomenon of fires Of. gran fanga hafai eviatifea argaraf: 1 etc. quit. III. 8
155. Although the mountains became slimmer and lighter, as their wings were clipped, to the Lord of Snakes they felt very heavy, because, in sheer helplessness they threw themselves with the full weight of their bodies on the earth, without any attempt to bear and hold themselves up.
157. The two mountains, one of them the husband and another his wife, hold themselves in a cold embrace for want of wings and then give up their life.
160. THTAFOT farzt - Put in a proper, sober frame of mind; made to see reason.
In a Kulaka of 6 Gāthās (161-166 the Poet describes the water-sports which the king Yaśovarman indulged in in the company of the courtesans, in the tanks of the enemies...
161. The silken garment is pink and perfumed by the safforn bath and being wet, clings to the locks (ratasu) of hair on the head.
162. FUTH-Powerless or feeble because of intoxication.
163. Over her expansive bosom is fastened a wet cloth-piece, which forces out the fleshy por ions of her breasts, on which the sandal paste is thickly collected (HTTF3). The bosom is cool as the fragrance of Pātala flowers is transferred to it.
164. The eyes are soft and pink like the Mālati buds sprinkled over with the juicy honey inside the buds and bright at the roots of the hair of eye-lashes, the collyrium inside having been completely washed away in water-sports.
165. There have been nail-scratches (ETH) on her buttocks, caused during her love's enjoyment the previous night. They were smarting with acute pain. The drops of water trickling from her locks of hair, cooled down (foraats) the pain and gave her great relief.
166. furf73-THife - faf arawin : - (by the courtesans ), who provided the pleasure of a bath.

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Next , in a Kulaka of 15 Gāthas (167-181 ) the Poet gives us a picturesque description of the Pralaya or a periodical dissolution of the Universe, where everything is destroyed, except Hari or Vişnu who alone survives. Is not our king Yašovarman an incarnation of the Child Krspa or Bālaka Hari ? The Pralaya, therefore, may be looked upon as merely a sport or imidiapu of the King himself. Cf. लीला कंसारिसरूवधारिणो जस्स णिव्वडिआ। G.181.
During the Universal destruction, three elements, Viz. Fire, Wind and Water, play havoc. There is thus wild conflagration, violent hurricanes and drowning floods all over . Cf.
दग्धं विश्वं दहनकिरणोंदिता द्वादशार्काः वाता वाता दिशि दिशि न वा सप्तधा सप्त भिन्नाः । छन्नं मेघर्न गगनतलं पुष्करावर्तकाद्यैः ।
979 9791: 5424777 mai theerst: fogo il quit. III. 8. 167. The golden mountain, Meru, starts burning and the molten gold began to flow (facT3T) through its crevices. It, therefore, looked as if it is from the Pātāla or the world down below, that the fire is coming up.
168. As the gods' grove of trees started burning, the sylvan goddesses stretched forth their palms to save the clusters of pink, tender leaves, which blended with the palms very well.
169. When the moon began blazing up, the deer, which very much looked like his spot on the orb, fled away and the planets, attending on him, dropped away in the form of sparks darting off from the orb.
171. Vidyādharas or Possessors of Knowledge' are a class of inferior deities inhabiting the regions between the earth and the sky and generally of benevolent disposition. They are attendants upon Indra, but they have a chief and kings of their own, and are represented as intermarrying and having much intercourse with men.
Here this Vidyadhara is confident of staying to-gether even in death and the first whiff of smoke, issuing from them, looked like the blade of the sword held in the hand by the Vidyādhara.
172. Yama, the god of death, is supposed to ride a big buffalo. This vehicle of Yama is enveloped in the fire-flames. The Poet imagines the burning buffalo to be the mass of smoke,

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which issued from the fire, reached the ends of the Universe and, meeting resistence, has ricochetted or recoiled (fenfor), in the form of Yama's buffalo.
174. With the addition and accumulation of the lighningstreaks, opened out (3) because of the cloud-burst, the fire becomes massed up (fufafeer) and thus shows up the results (a) of a circle of twelve suns put together.
175. The flames are warded off by the snakes with their hisses () and the rising smoke is covered up and confined by them within the limits of their quick-moving hoods.
176. Visnu is represented as a comely youth of a dark-blue complexion and portrayed as reclining on the serpent-king Seṣa.
The smoke, which Sesa holds aloft on his back, is imagined to be the blue-coloured awning, formed overhead, of the lustre of Visnu's bodily complexion, transferred upwards as He reposes (forter) on him.
177. The moon is supposed to be the store of nectar from which the gods drink daily; when fully consumed, he is replenished again. Cf. पर्यायपीतस्य सुरैहिमांशोः कलाक्षयः श्लाध्यतरोऽपि वृद्धेः । रघु० V. 16.
The Poet represents his orb in this Gāthā as a jar of nectar, which the god of love, Madana, clutches to find relief for his burning body. The moon is looked up to as a bosom friend of Madana Cf. मदनस्य किल चन्द्रो दयितः । अतश्चन्द्रे दह्यमाने नष्टोऽसौ भवतितराम् । अत उदककलशमिव चन्द्रं परित्राणाय विगृह्य दहतेऽसाविति कविकल्पितम् । Com.
178. Kubera, the Lord of Wealth (afa), is the regen of the North and the keeper of gold and silver, jewels and pearls and all the treasures of the earth, besides nine particular Nidhis or treasures, which are- महापद्मश्च पद्मश्च शङ्खो मकरकच्छपौ । मुकुन्दकुन्दनीलाश्च खर्वश्च निधयो नव ॥ They are supposed to be guarded by snakes.
179. Vasuki is the king of the Nagas or serpents who live in Pātāla. He was used by the gods and Asuras for a coil round the mountain Mandara at the churning of the ocean. He is generally identified with Sesa, a serpent with a thousand heads, which is the couch and canopy of Viṣṇu, whilst sleeping during the

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intervals of creation. Sometimes sesa is represented as supporting the world and sometimes as supporting the seven Pātālas. Whenever he yawns, he causes earthquakes.
Vāsuki's halo of his hoods vividly brought about (faca) the obstruction of the flames of the fires.
180. Siva cast his seed into the fire and it was afterwards received by the Ganges : Kārtikeya was the result. Hence he is called Agnibhū and Gangāja.
The miserable plight of the widows of enemies, whom Yasovarman killed, is now described in a Kulaka of 10 Gāthās (182-191 ) in the form of questions asked by their friends.
182. 'You would always arrange your hair in braids interwoven with floral wreaths and studded with jewels. Why (fafiuit) has it now become brownish like a smoked bamboo stick?'
183. "Your face once looked like the moon full with all his. digits. Why is it now darkened and gray like the blossom-tufts of the Damanaka plant ?' Damanaka is Marathi aqur which is dark-grey in colour and has a peculiar fragrance.
184. The sweet, deeply charming lower lip is now become rough like a tender sprout of a plantain tree covered with dustparticles beaten down on its soft surface by a shower. A remarkably keen observation of the Poet! The upamānas he gives are peculiarly uncommon.
185. nast - A kind of a creeper. Bhavabhūti compares the tender shoot of this plant to the palm of Sīta. Cf. 447 JSET: qiforforatoreft: 1 BIO III. 46.
186. The breast, like the eternal full moon or like a jewelled pitcher, is now bereft of its garland and is not served with the application of sandal paste.
187. The bodily complexion before was bright-yellow like the filaments of a fully blooming Kadamba flower. Now it looks like a gold -piece which has lost its bright yellow lustre and has become dull and faded (fan), having been kept for a long time after its production.
G. 11

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190. The servants attending have kept on wearing the same dress for such a long time and therefore it has lost its brightness. It now looks like an old painting greyish with dust.
192. णिमिल्ल... माहप्पे - निमीलितमेघ माहात्म्ये At a time when the greatness of clouds closes i. e. comes to an end, when the rainy season is over.
The good, auspicious omens, that visited him when he started on his campaign, are described in the next 9 gāthās forming a Kulaka (193-201).
193. A shower of tender sprouts from the Kalpatarus (heavenly trees) greets him. It is interspersed or intensified with the pollen of blossoms () and gems clashing against one another (परोप्परावडण )
196. The moon has a halo round his orb, perhaps formed by the encircling arms of his beloved Rohini, who has about her wrist a bracelet of gems in the form of planets. Cf. प्रसन्नेन गुरुसूतकेण ग्रहवलयेनैकेन कान्ताकरकटकेन प्रयुक्त इत्यर्थः । Com.
197. In the course of their dancing, as the girls move on, they embrace one another, as a result of which the jewelled necklaces on their big breasts clash (faf) and produce jingling sounds, the time for the dance being kept up by means of cymbals (कंस ) :
198
The earth is supposed to have precious treasures of jewels buried underneath, being guarded by huge snakes. These treasures also have started moving on with the King's expeditionary forces. As a result, the jewels are shooting up underneath, making the earth's surface uneven.
199. Indra would have very much liked to view this festive occasion with all his thousand eyes fully open. But he cannot do so, as the fragrant powder (a), showered by the heavenly nymphs, got into his eyes, which, as a result, can only be slightly -opened by him. Cf. वासः कर्पूरादिवासितः चतुः समादिद्रव्यविशेषः । स हि महोत्सवेष्वावर्तेषु सुरसुन्दरीभिः प्रकीर्यंते नायकवक्त्रादिषु । Com.
200. The Poet indulges in a wild fancy in this Gāthā. He imagines buntings of tender leaves of the heavenly trees in the canopy of the sky and he also gives a fanciful picture of the gods'

And

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elephants raising their huge tusks aloft, over which have stumbled the sun's horses yoked to his chariot !
Now follows the description in a Kulaka of 7 Gāthās (201207) of the beautiful ladies standing on terraces in various poses to have a view of the King, as he marched on with his army,
202. The lady, standing oblique (a), her right thigh being crossed over by the left one taking a full turn (aroser) upto its base viz the hip and thus presenting to the view only one breast, is graphically described in this gāthā.
203. This lady wears a big necklace of gems. As she turned sideways (954), this necklace receded to her side and its ends met the fleshy, curving line of her buttocks, while the thin hairline, uplifted, as it was dragged over to the thin waist, stood out (837) prominently.
204. This lady, standing behind her friend, places her right fore-arm on her friend's (left) shoulder and brings down her
rest upon this forearm, joining the palms of her hands in a close grip.
205. The big and straight braid (p untos) of her hair has been brought over on her bosom by this lady, thus adorning (siforat) the hal portion of her breast and then, as she bent down her head, the lustrous crest-jewel became conspicuous (TTE) over the parting line (aa) of her hair,
206. The picture which, according to me, the Poet wants to present in this Gāthā is something like this : Here is a lady who bends down her right ear on her right side , perhaps, on the support of her hand and consequent'y the golden creeper-like ornament, either attached to her lock of hair or in the upper part of her ear, hangs down and blocks the view of her kundala or the ear-ring down below. The left ear is also turned sideways and the ear ornment, hanging down, reaches her breast and rubs the saffron pigment applied to it.
208. Madana, the god of love, averts his eyes even at the sight of the Aśoka blossoms, as they remind him of the flames of fire, similar in colour, issuing from the third eye of Siva.
. 209. Moon is a great friend of Madana. This Madana also feels enamoured of these ladies, when he sees them and consequently

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he makes his own two beloveds, Rati and Priti, filled with jealous anger, which discolours their cheeks. Cf. TAT Trentoni Gia #fer उत्पन्नाभिलाषत्वात प्रणयिन्यो रतिप्रीत्योर्वदनं कोपाङकं करोत्येव कून्दशिखाकषायगण्डस्थलम् । Com.
211. The Com. observes - quafate oratratfor art iftantरोचनानि भवन्तीति तुल्यत्वं सुन्दरीवदनैः ।
After this, in a Kulaka of 41 Gāthās ( 212-252 ), we find the poets and the bards singing his praise, pointing out his various glorious features, including the fact that even Indra nods his head when he thinks of him (G. 235 )-the great Indra who lopped off the wings of mountains. The episode is once again being described without, however, repeating what he had already said before.
212. The bards are singing the King's glory. Says one of them -- Lakşmi, like a beloved, having stolen glances at her lover, glimpses at you stealthily through the jewelled 'door-crack, as it were, reposing, as she is, on your sword-blade.' Cf. s: T. लक्ष्मीश्च । किल सानुरागा स्त्रीः संनिहितं प्रेर्य अपसार्य दूरवर्तिनमपि प्रियतमं कवाटवातायनान्तरालादिना पश्यति । सानुरागदृष्टया च विजितश्रियं त्वामेव रणे puertas ad gfa alfaat I Com.
213. Lakşmi, though fair in complexion, becomes dark, because of the fact, perhaps, that she ever dwells on the sword of warriors and has, therefore, the black iron of the blade injected in her blood. And, moreover, she is more fond of vice i. e. vicious men. With you, however, she always shines pure and bright.
214. When in angry frowns you raise your eye-brows, the enemies before you bow down their foreheads in submission.
215. Kings like you, coming one after another in succession, have attained greater and greater eminence. You are, for instance, more eminent than your father, who was more glorious than his father and so on. This is just in the reverse order of the growth of the bamboo tree, which is thickest at the bottom and then grows up thinner and thinner further up. Cf. दारुवंशः किल स्थूलमूलो भवति क्रमेण चोपर्युपरि तनुतनुतरादिरूपः । भवादृशैस्तु उन्नतचरितैर्नृपवंशस्य āgittarita argeta Ca ra I Com.
216. Laksmi is your beautiful beloved in your harem, where, like a kañcukin, stays Dharma or Religion and Law. Like a chamberlain, He too has grown old or fully developed. He holds

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the symbolic staff or Rod of Punishment (que) to support himself and obtain strength therefrom. For the description of a kaficukin. Cf. 31TETT 574afada HUT TETAT I et aufs Tarta : 1 antes asfa FA ÅT FITCTT I gparafarmacias Farref o V. 3.
218. Scattered heaps of (white ) fame of the king are supposed to be the huge piles of broken bracelets of enemies' wives, thrown away by them when they became widows.
219. The King's sword, covered with shining pearls extracted from the temples of the enemies' elephants, is fancied to be the lotus stalk planted (571-347) in the water of the lotus-plant, the fond residence of Laksmi.
220. Your sword has pledged itself to give protection to the frightened ones. In this category now come to be included even your enemies who are mightily afraid of you. Your sword has, therefore, no scope left to play its part of destruction.
221. The enemies fought valiantly, but later gave up their fight and retreated. You observed their backs out of curiosity, as they were running away from you. Later they surrendered and, as they bowed at your feet in submission, you stroked their backs in admiration for the initial valour they displayed.
223. A feeling of pity causes tears in the eyes as much as an outburst of anger would cause drops of perspiration on the forehead. There is no one, says the bard, who wishes that the tear-drops caused by pity in his eyes, while observing the wretched conditions of his enemies, be substituted by angry drops of perspiration on his forehead.
224. The mountains, just before their flight, withdrew within themselves and compressed (fufc37) their bodies as an athlete does. The result was that collectively they became very heavy and their weight was transferred to the surface of the earth and through the earth to the Sesa down below, who was thus put to a great strain to bear this heavy earth.
225. As the mountains were in flight, the sun's orb moved at times within the intervening spaces (
B TS) of their wings. The bright lustre of the sun's orb over there gave an illusion that it was Indra's thunderbolt that has contacted the wings in a clash and not the sun's orb.

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226. The upward flight of the mountains was slowed down by their deep and hollow caves, being filled with wind like sacks and their peaks became thickly covered (fer) with trees. whose branches spread out as a result of the velocity of stormy winds.
166
227. At higher altitudes the mountains come in line with stars which illumine their wide cave-mouths. Their flight is uneven and unsteady (fag), because of winds, differing in speed and intensity of the wings of many mountains, flying side by side.
228. The mountain Himalaya, in his graceful flight, discharged snow-showers. As a result, the people began to shiver (as), as the season of winter came over them, all of a sudden (3).
229. For people down on the earth, the mountains blocked the view of the sky as they went up in flight. At high attitudes, when the sky roundabout was cleared for view, they i.e. the mountains looked small in comparison with the vast sky. Thus the sky () looked small at the bottom and wide and vast at the top.
230. Mountains, looking big down bellow, appear conspicuously small at great heights; in fact, they lose their big forms, looking like specks of dust. The rivulets, showering their spray prominently visible at low altitude, are lost sight of midway, when mountains have reached greater heights.
232. The Poets' keen observation. He describes how when the big mountain lifts itself in the air, its shadow down below is quite thick, dense and almost of the size and shape of the base of the mountain. As the mountain goes up and up, the same shadow goes on withdrawing inwards from all its sides ( पासोसरंत ) until at last, gradually, it gets diminished to a very small size (H), formed and shaped, as it becomes on the way, according to its base (fear). The clipped wings of the mountains obstructed on the way the streams of ichor (दाणोज्झर ), flowing from the temples of Quarter-elephants. As a result, the ichor began to flow down now from the wings of the mountains.
Dig-Gajas are elephants who protect the eight points of the compass, or the extremities of directions. They are eight in

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number and are named as -- teraz, questa, 27m, 9445, 350, पुष्पदन्त, सर्वभौम and सुप्रतीक.
233. As the wings were clipped, the mountains began dropping down through the sky on the earth. The flocks of birds on mountain-tops were thrown up in the air and were being swept off by the winds blowing with force upward (JHEAT). They just flew up a little up above (17304837) and again rested on tops of the mountains, as they settled down on solid ground.
234. The rows of forests on the surface of the mountains. also began to move away (31F cut). As a result their shadows began changing their places, according as the light of the sun moved over to different areas. The area which, for instance, was under a dark shadow, soon came under the bright light of the sun. And gusts of winds blowing upwards uplifted every leaf of the tree, like the ears of a horse standing erect, which made the forestgroves look thin and sparse (पविरल).
236. The full bodily form of the goddess of victory (Parent) is not to be observed. It is only seen in the form of a necklace, as it were, shown in love's dalliance (TT). The Poet's fancy on the sword-blade, on the sharp edge of which is clinging a row of pearls, extracted from the temples of elephants slain on battle-fields.
237. Fame is white, while ignominy or ill repute is black. Both these reaching the directions are held by them as woven. gar ands, as it were, of white Mālati flowers interspersed with blueblack lotuses (Fam).
238. The King is a pivot, as it were, a Cakravartin, rooted in whom the circle of kings (775777), as mentioned by Kautilya in his Artha-fāstra, moves about, like the ring of planets moving round the Polar Star (eta).
239. The King's glory is all white and therefore imagined to be the moon's orb, on which the blue flashing sword, being brandished, looks like the dark spot usually found on the moon. The reading forefaffm og makes no sense.
241. fac...37156311-' (The sword) attracted towards them by their adverse planets.' Cf. विमुखेन प्रतिकूलेन पञ्चमादिकेन भौमादिWHERE $9 astFTA fag Com.

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...... 244. The poet has in mind the behaviour of a lady meeting her lover in a passionate embrace and out of shyness trying to extinguish the burning lamps in the chamber. Cf.
नीवीबन्धोच्छवसनशिथिलं यत्र बिम्बाधराणां क्षौमं रागादनिभृतकरेष्वाक्षिपत्सु प्रियेषु । अचिस्तुङगानभिमुखमपि प्राप्य रत्नप्रदीपान् हीमूढानां भवति विफलप्रेरणा चर्णमुष्टि: ।। मेघ० ६९
अहिअ . . .मालासु - अहितप्रतापप्रदीपमालासु - Against the rows of lamps of the valorous deeds of enemies '. It can also be rendered as - अधिकप्रतापप्रदीपमालासु - Against the rows of lamps of her lover of superior valour. Cf. नवनायिका हि प्रौढतमं अधिकप्रतापं कान्तं कामयितुं सलज्जत्वात् सति दीपे न शक्तेति दीपोपशमनाय कर्णोत्पलं व्यापारयतीति दृष्टम् । अत्र पक्षे अधिकप्रतापस्य नायकस्य समीपे या दीपमालास्तासु कर्णोत्पलव्यापारणम् । Com.
The com. suggests another interpretation also. “The rows of lamps in the form of enemies of greater valour'. जयपक्षे तु अधिकप्रतापा रिपव एव दीपमालास्तासु खड्गकर्णोत्पलव्यापारणम् ।
__245. Your sword manifests different operational forms or results. Some of the enemies are actually cut to pieces, while some others collapse through fright at the sight of the slaughter wrought by your sword. Cf. मण्डला खड्गः । तस्यैव केवलस्य बढ्यो धारा बहुशक्तिका धारा: यत: काश्चित् प्राप्य शवन् द्रावयन्ति काश्चिदप्राप्यव प्रतापमात्रोत्साहभङ्गान् रिपुञ्जनयन्ति । Com.
246. When the sword falls with force on the armours of enemies, fire-sparks shoot out. The poet says that they are not fire-sparks (fafagfoot), but they constitute gold emitted by Laksmi to succour the supplicants (पणइअण). ऐति - निर्यान्ति, 'go out '. (निर+ इ).
247. - Your fore-finger (तज्जणी), quivering, as it is lifted in anger, settles all business and is, as it were, an ambassador (दुई) sent out by your mighty arm.
..248. पासाअक्कमेण - पाक्रिमेण - By aggressively pushing away on both sides. तं सि - त्वमसि. एक्को . . . .मउली - Your head, rising

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head and shoulders above all people, looks like a dome (siceraler) on an edifice.
249. The blackish spot of musk (737-) is transferred to his shoulders by his beloveds, resting their heads and faces besmeared with musk pigment. The poet imagines, it is a mudspot of the earth left over, the burden of which he carries on his shoulders.
250. The King's face is enveloped in the mass of red lustre (T fares) flashing on it, issuing from the rubies of the blossom-like ear-ornaments of his ladies about him. This aspect the Poet fancies to be the imprint of red lac-dye (373737) from the feet of Laksmi, who ever dwells and hovers over his brows. Cf. शौर्यातिशयभाजां भ्रूभगे जयश्रीर्वसतीत्युपमानं कविकल्पनया भ्रुकुटिमात्रवशीकृतशत्रुत्वात् स्वशृङ्गारपरत्वमुचितम् । यथोक्तम् । सुखं हि फलमर्थस्य Tata qet feu fa 4746fFATTI Com.
251. The shining red nails of toes of the King are imagined to be the caves of red jewels, entrance in which is possible on the strength of some occult powers, Mantras or medicinal herbs; and then having obtained an entrance therein, one is assured of spiritual attainments. The supplicants, bowing at his feet, get themselves transferred inside the cave-like toe-nails and thus ascend over their serried steps (UEATWT) to obtain his favours and feel fully satisfied in their hearts (कअत्थ). Cf. तव आताम्रमणिगहा इव विवरविशेषानिव प्रविश्य प्रभावसंक्रान्ता मणिमन्त्रौषधादिप्रभावेन प्रविष्टा: HT: 1 Com.
252. Lakşmi stays with the King, clothed as it were by the sword, as with a bluish garment, inside which she is there, gold-complexioned, in the form of the fire-sparks shooting from the armours when struck (CUT) by the sword. The point is: how does Laksmi happen to be clothed in a blue garment, which, mythologically speaking, belongs to her Lord, Visņu ? The Poet fancies that in her great hurry to come down to stay on this King's sword, she mistakenly picked up and wore Vişnu's garment, leaving her own there with Visnu on their bed of Sesa! What a fantastic idea ! :: The King has made his exit from the city with his army and is on his victorious march. In a Kulaka of 8 Gathās (255-262)

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the poet gives a description of the horses and in the next Kulaka of 7 Gāthās (263-269) he gives a description of the mighty elephants, forming the two constituent parts of his army.
255.5994-A special kind of vital life-breath circulating within the body of a horse of a very high pedigree. Cf. 741477 FTA fragatat arafagiatsePage #468

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Poet imagines that it is due to the fact of the Himalayan regions where they come from and their bodily quiver is a result of the healthy cold, which they still feel even here.
263. Now the elephants. They have lifted up their trunks and turned and twisted them gracefully, which, the Poet imagines, is for the purpose of serving as a cushion, as it were, for Lakşmi, as she reposes on the couch of their huge tusks.
264. The elephants trampled upon the heads of enemies which they crushed, turning and twisting their feet over their heads. The big toe-nails of these elephants are, as it were, (the Poet imagines ) pieces of skulls imbedded in the sides of their feet. Says the Com, - TETTİ Fuiqürtsafari ya wafaat I TOTHESTET ETTI
265. The triple black-coloured streams of rut flowing in a zig-zag ( 37 ) way from the temples of elephants are fancied to be the triple braid of hair of Laksmi, or Royal Glory.
266. The rival elephants have been floored by these elephants who threw them on their sides (74fc37), pierced and stuck their pointed tusks inside them. The Poet imagines the piercing tusks to be the hollow lotus-stalks used by these elephants to suck the blood-water of these fallen elephants. (We now use grassy straws to drink liquids from glasses in restaurants.)
267. The flapping ears of these elephants are fancied as their futtering wings in action to fly up to the heaven with the intention of engaging gods' elephants in a fight.
268. The ground down below is marked by the sticky streams of ichor from the temples of elephants, as they advance daily ahead of the king's army. Thereby they indicate, as it were, the progress made by the King's Royal Glory, by laying down on the ground a measuring tape (सुत्तणिवेस). Cf. यावती qeyfiy qarafrat 37114fret atacat toyut face I T | Com.
269. The elephants with their dark skin covered up by the layers of white powder are compared to the white clouds of autumn, their turbid (paper) contents of water having now been drained off. f3_TGT:-gone ahead (973).
In a Kulaka of 7 Gāthās ( 270-276) the Poet now describes the season of winter.

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... 270.. अग्धंति – शोभन्ते (Com)-'Appear charming'. दरविणईषदून (पीडित)- Slightly troubled' (with heat). . .. .
273. खल ... वाहिणो - खलचूर्णित-कलमामोदवाहिनः – 'carrying the fragrance of paddy (PH) being pounded on threshing floors (खल).
Cf. संपन्नशालिनिचयावतभूतलानि ........स्वस्थस्थितप्रचुरगोकुलशोभितानि । ...... सै: ससारसकुलैः प्रतिनादितानि
सीमान्तराणि जनयन्ति नृणां प्रमोदम् ।। ऋतु० III.16 - 274. गोहण-देस – गोधनविनिवेशोद्देश- The places of cattle-farms.
275. अक्कंत...जहणं- आक्रान्तकरीषोष्म सुखनिष्कंपजघनं - Their hinderends (EU) not shivering with cold, as they are happy with the warmth (उष्मा) of dry cow-dung cakes, which has enveloped (अक्कंत) them. रोहिणीजूहं - रोहिणीयूथं - गोमण्डलम् (Com.)- A herd of red cows. ___276. सोणंकमुद्देसं - शोणाख्यनदाङ्कितं प्रदेशम् (Com.).
Sona-Nada is the name of a 'male' river rising in Gondavana and falling into the Ganges near Pā taliputra. ___278. आहारलेहासु - जलाधारलेखासु - On the border-lines of water-reservoirs.
279. णिसम्मइ - निशाम्यति, निषीदति, विश्राम्यति - Com. - "Rests happily'. आ - आसमन्तात्. - Com. Allround'. * In a Kulaka of 5 Gāthās ( 280-284), the Poet describes the Vindhya mountain where the King has come up in the course of his march.
280. The Poet imagines that the sun's chariot, to which are yoked seven horses, ascends the heights of the Vindhya mountain somehow with difficulty. In the process of climbing up, the yoke of the chariot is tilted upward and as it falls upon the shoulders of the horses, the mane is pushed upward by the yoke receding backward (हसमाण - हसता, पश्चाद्भागं पतता Com. ).
281. To those who stand outside the caves of the Vindhyas, the sky is not perceptible. What they see are the mountain-ranges and ridges all round and hence their impression that the sky does

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not exist at all. For those who are all the time inside the caves, and have never gone out, the feeling is that there is no such thing as the mountain Vindhya !
282. The mountain has many lofty ridges with as many huge caves burrowed underneath. The Poet fancies that the mountain was fashioned by God, utilising two substances as material, viz. half of the earth and half of ether (TT-31779). Ether or Ākāśa was used to make the insides of caves and the earth was used for manufacturing the outer covering of caves and high ridges (4537). Having thus made the Vindhya mountain, it was placed (fract) in the intervening space (31TT) of the earth down below and the sky up above.
283. The mountain-peaks have gone up and pierced the sky in various places, while the sky too, viz. ether has penetrated and pervaded the caves situated at different places on the mountain. The Poet imagines that the surfaces (3068TT) of the earth are secured firm, as it were, with the surfaces of the sky by joining them to-gether by means of nails ( 37-furca). The Poet seems to believe that the sky or ether is some substantial, thin and rarified material, which could be fastened with nails inside the solid earth.
284. tefuriare -'Thick-growing ?.
Now the King goes over to the temple of the mountain goddess, Vindhya-Vāsini and offers his homage to her in a hymn of 53 Gathās ( 285-337) forming a Kulaka.
286. The foot-stool on which she rests her foot, is the head of Mahisāsura and is tinged red by the rays of her toe-nails. The Poet imagines that to be a block of snow donated by her father to assist ( HTË FET) her to ascend.
287. The rows of bees, hovering in the court-yard (BTFETT) of the temple, are fancied to be the chains of worldly life disentangled (377153) from creatures, as soon as they offered just a prayer (FÀTT) to the Goddess.
288. Mere recollection (470) of the Goddess puts to rout clusters of elephants, as if by the roar of the Lion serving as her vehicle. The Goddess is supposed to ride a lion.

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289. Your devotees, falling at your feet, will not be tied with his noose (fief wifer) by Yama, the god of death, who generally collects his victims in this manner. The reason why Yama will not succeed is, as the Poet fancies, that the buffalo he rides will take him away (ETCHUTUT) from them, having been scared (Fifarist) away at the remembrance of the killing of the Buffalo (afte) of the demon Mahisāsura on an earlier occasion.
291. The goddess, roaming about on the premises of the temple, collects flocks of swans roundabout, being attracted by the jingling sounds ( 327 ) of her anklets. The Poet imagines the white swans to be the pieces of skull-bones strewn all round in the cemetery (FHI), of which she is fond.
292. Half of siva’s body is taken up by the goddess in His form as Ardha-Nāri-Nateśvara. Such is the case physically. In His heart, however, she has full, undivided (31fangor) scope to occupy the whole of it.
293. The goddess broke with a kick the horn of Mahişāsura's buffalo and in this effort the circular jewelled anklet (afurTotalft) was removed with force (Efrat) from her foot, to be later put on the broken piece of horn, still remaining on the head of the buffalo (ingfast).
294. Sandhyā, Twilight', is personified as the daughter of Brahmā and wife of Siva. The Poet alludes to a mythological incident of Pārvatī or Kāli slaying Sandhya in jealous anger. Cf. मत्तोऽपि तवेयं गौरवार्ता, अतो मां परित्यज्य अस्यास्त्रिकालं प्रणाममपि co toifa ztopit upp i Com. FTA - FESTETTA-At different places.
* 295. Huge thick columns of darkness, brighty illumined by the lustre of her face, are imagined to be the big buffaloes, covered with blood as they are, as offerings to the goddess, being slaughtered in front of her.
297. Käli brings about the Pralaya or total destruction and dissolution. This provides for the multiplicity of skulls which, in a garland, are utilised to decorate her body of infinite forms. The conditional form is used for the sentence of the Gātha, the particle at, as suggested by the Com. having the sense of a. Cf. वाशब्दश्चेदर्थे । प्रलयं चेत् हे कालि न निरमास्यः नाकरिष्यः, ततो रूपस्य तवानन्तस्य Hata si per 591WHUSMTFCUrhacord i Com.

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..: 298. Chains (fevitt) of iron (TE), as also of greed (TH), are fastened on the necks of the worldly men. The moment they offer their prayer to the Goddess, these chains are broken (faesa), leaving black scars on their necks, very much like the scar on the neck of god Siva, who is called ' Nilakantha'. These men, having the characteristic marks of Siva, are, therefore, imagined to be His Ganas or followers,-- a status which they have obtained as a result of the prayer offered to the Goddess. .
299. The reason why the garden peacocks do not leave the precincts is, perhaps, the fraternal affection they feel and cherish for the great Peacock, the vehicle of Kārtikeya who is in close vicinity.
300. The smoke of incense, burnt at sacred offerings (34672737U), is being swallowed, as it were, by the goddess. The same is being thrown out by her in the form of thick darkness on nights of the black fortnight..
301. The bosom of the Goddess is adorned with a garland of blue sapphires with its lustrous rays shooting all round.
The Poet fancies this garland with its shooting rays as a protective weapon to counter and parry the cage formed of the sword-thrusts of enemies pointed at her and this she employs to protect her devotees bowing at her feet.
302. When at night, the goddess moves as Kāli resembling a black night, the moon plays the skull and planets the human bones in the garland of skulls that she is supposed to wear.
303. The swords of enemies, directed at the goddess, were changed into blue lotuses turned over at your feet and thus was the worship of your feet with blue lotuses accomplished. Ferra, 979/8G9GY -- says the Com. and the form of the sentence is conditional.
304. The application of red sandal paste ( ) to her bosom looks like the bleeding (73TH IfuT3T), caused by thorns in the garland of Bilva leaves pricking her bosom.
305. Triple streams of blood (alfor3fhET) flowing from the body of the buffalo as a result of the blow from the trident, a weapon which she wields, are imagined to be the lustre shooting forth in three channels from her three fiery , red eyes.

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Ben 306. The owls are proverbially shy and afraid of day-light and hence are called Diva-Bhita'. Inside the inner hall of the temple, there is complete darkness effected by the bluish swords and daggers and, therefore, even during the day, the owls move about fearlessly in the temple hall. Cf. farsafa गुहासु लीनं दिवाभीतमिवान्धकारम् । कुमारo I-12
307. The Night, personified as a devotee of Kāli, does daily worship of the goddess, by first (g) offering her head dripping with blood in the form of the setting sun and then handfuls of rice-grains in the form of the clusters of stars.
308. The mythological background for this Gatha is as follows. The sage Narada had foretold to Kamsa that a son of Devaki, his brother's daughter, would destroy him and overthrow his kingdom. To obviate this danger, Kamsa kept his cousin Devaki confined in his own palace and six children that she bore, he caused to be put to death. She conceived a seventh time, but the child was an incarnation of Visnu and was miraculously preserved by being transferred from the womb of Devaki to that of Rohini, who was Vasudeva's second wife. This child was Balarama. Devaki again conceived and her eighth child was born at midnight with a very dark skin, whence he was called Krsna. Vasudeva took up the child and escaped with him from Mathura. Crossing the river Yamuna, he went to the house of Nanda, a cowherd, whose wife Yasoda had on that very night been delivered of a female child. Vasudeva secretly changed infants and carried back the daughter of Yasoda to his wife Devaki. Kamsa discovered that he had been cheated and, therefore, in his wrath he tried to smash the infant daughter brought to Devaki, on a slab of stone kept by him outside for this purpose. The child, however, slipped away from the hands of Kamsa and like a lightning streak, shot up to the heaven along with the black stone-slab on which it was meant to be killed.
The goddess moving among the black watery clouds, like lightning, is compared to this infant. Cf. arenag i fac देवकीगर्भात् तव प्रलयो भविष्यतीति । ततः कंसेनात्मरक्षणार्थं घातका आदिष्टाः । अस्यां वध्यशिलायां देवकीगर्भा आस्फोटय निपातनीया इति । तच्च ज्ञात्वा देवक्या गोकुलपतिनन्दभार्यायशोदादुहिता स्वगर्भपरिवर्तनाय समानीता । सा च गौरी वध्यशिलायां घ्रातकैः संयोज्यमाना सती तेषां शिरसि स्वचरणाभिघातं कृत्वा स्वकं

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तेजःपुञ्जरूपं निधाय गगनमुत्पतिता । सा च विद्युद्रूपा सजलजलधरस्था सती एवमुत्प्रेक्षिता । वध्यशिलयेव सह सोत्पतितेति - जलपूर्णानां मेघानां वध्यशिलासादृश्यात् । Com.
309. Siva bows down at the feet of the goddess. The touch of the bowed head of god Siva gives her a thrill and produces perspiration. The same is mixed with the red lac-dye and the pink lustre of her toe-nails. It appears, says the Poet, that not only Siva but the other three viz., the crescent moon, the divine Twilight or Sandhyā, personified and the river Gangā, closely associated with His head, have combined in the act of this homage. Cf. चन्द्र रेखासदृशी स्वेदरेखा । यावकरागः संध्याप्रभाप्रायः । नखप्रभाप्रवाहो गङगासदृशः । एतास्तिस्रः सपत्न्यः सौभाग्यातिशयेन वशीकृताः सत्यश्वरणनिपतिता G Factfco TITT Traifa arstuff: 1 Com.
310. The reflection of red buntings in the floor, made of crystal stone-slabs, gives to the female jackals an illusive impression of the offerings of blood which they start licking! A fine illustration of the figure of speech called भ्रान्तिमत्.
311. Many living creatures stand collected in front of the goddess and their images are seen reflected in the floor near the goddess. The reflection of these creatures gives an idea that they
re drinking, as it were, the coloured saffron-water flowing down from the body of the idol, as the ablution ceremony is being done in the course of the rites of worship and the creatures get the satisfaction that it is real blood they are drinking and not water.
312. The moment when the gods first saw her in her blazing glory when she was fully awake, their eyes were dazzled and their vision was affected greatly, so much so that they could not bring themselves to view her, even when she was asleep.
313. Siva offended her by calling her a 'Blackie'. She then went away to practise penance by which she could change her complexion from black to white. “When, therefore, siva called you a black goddess and turned away (fate) from you, you became angry and started heaving out long sighs. That very moment you resolved to practise penance and as a first step you took to the learning of Prānāyāma or breath-control, for which you probably developed a high regard.
G. 12

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314. When siva observed the goddess, gracefully moving about in dalliance before Him, He was affected by libidinous feelings of love and started repenting (3rpara) for his rash action of burning the god of love. The breaths, He exhaled at the time, were very tormentingly hot, perhaps because they drew (#1663T) in them, the fire of His third eye.
315. The perfected (fr) devotees hold constant, uninterrupted sessions in their assemblies (#5), when oil-lamps are kept burning all the time. Cf. facergastraat : frui: fa&HUED 7 fafhat: yatar: ... Com.
317. Heaps of hair offered by people to the goddess in devotion were strewn and scattered about in the courtyard (3115T). The gusts of whirlwind (9756u5) lifted them along with the dust. Their appearance looked like evil goblins and kept the courtyard fully awake (9f83f71t37).
319. Women devotees, going on top of one another in their curiosity to see the animal being slain, form a pyramid or an edifice of perfumes (गंधउडि) as it were. कउलणारीओ - Women adherents of the cult of the worship of Sakti. “They are called Sāktas, of whom there are two classes, Kaula or Kaulika and Samayin. The Kaulas or the Left-handed (ATHATT) Sāktas, as they are called, worship their goddess Śakti represented either by a Sricakra i. e. a picture of the female organ drawn in the centre of nine such organs on a piece of silken cloth or the organ of a living beautiful woman. They offer to her and themselves indulge in taking wine, flesh, honey, fish and such other things, including sexual intercourse. It is interesting to note how the conception of Sakti i.e.
energy', representing originally the powers of willing, acting, creating etc. came to be first deified as a goddess, chiefly because of the word's feminine gender, being looked upon as the Consort of Siva. Later various forms of the goddess, blissful and fierce, were developed, the latter ones being named as a Page #476

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320. People, bowing at the feet of the goddess, get reflected in her shining jewel-like toe-nails, of course, very much reduced in size, almost thumb-sized. Hence the Poet's imagination that the Vālakhilyas are, as it were, at her feet. 'arofami's are pigmy sages no bigger than a joint of the thumb, chaste, pious, resplendent as the rays of the sun.” So described by the facut to which says that they were brought forth by Samnati (humility), wife of Kratu and were 60,000 in number. They are able to fly swifter than birds. The Rgveda says that they sprang from the hairs of Prajāpati. They are the guards of the chariot of the sun. They are also called Kharwas (as). Wilson says they are not improbably connected with the character of Däumling, Thaumlin, Tamlane, Tom-a-lyn or Tom Thumb' ( Hindu classical Dictionary - Dowson. )
321. The only hand of the goddess that counts is the one raised by her to grant boons and favour. The other 999 hands are just an external appendage (9624) and superfluous. Cf. वरदानोद्यतेनैकेनैव करकमलेन सर्व साध्यते । एकोनसहस्त्रं तु परिच्छदमात्रमित्यर्थः ।
323. The goddess also, like siva, has a third eye from the fire of which a cloud-like ( 31) column of smoke issues forth. Nearby, the other half of her body is god Siva, with the great serpent Vāsuki encircling His dark neck. The coils of smoke, mingled with the fire-flames of the third eye of the goddess, thus resemble the split tongues frequently thrown out by Vāsuki and looking very much like the graceful play of lightning streaks. Cf. TicETAT QUITAT I Com.
325. A beautiful idea. While a young unmarried girl, she fell in love with god Siva. To propitiate Him she did a sacrifice, as it were, a sacrifice of the small Bilva (1 ) fruit, corresponding with her tiny, bud-like breasts (2037), in the fire of her heart in flames (95517537) or inflamed by Madana, the god of Love. The fancy, in terms of a sacrifice, could be explained thus - Propitiation (347) = Performance of
sacrifice (34AT) Heart inflamed with = Sacrificial altar with kindled love (347)
fire (39HTT) Budlike breasts (3491) = ( offerings of) Bilva fruit.
(34417).

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326. Kamsa seized the new-born daughter of Yaśodā exchanged for the child Krsna delivered by his mother Devaki and smashed her on the slab of stone kept for this purpose outside the prison-house. The child, however, flew to the heaven, although so smashed. The goddess, wearing a string of human mouths dripping with blood (HSH), possesses a body, which, as the Poet imagines, is all flabby, dislocated and disjointed by reason of the fact that Kamsa had smashed her body earlier.
327. Selling of human flesh is looked upon as an act of heroism, calculated to give success in an undertaking of importance. We find Mādhava, the hero of Bhavabhūti's drama 'MālatiMadhava', going over to the cemetery and announcing the sale of human flesh (HETHİH) thus —
भो भोः श्मशाननिकेतना: कटपूतना: । अशस्त्रपूतं निर्व्याजं पुरुषाङगोपकल्पितम् ।
famild FETHİRT TETİ TAHGH I Hrosato V–12.
Cf. also देवीश्मशाने वीराः सिद्धये महामांसविक्रयं कुर्वन्तीति कौलागमादिषु SHEH I Com.
328. The fresh piece of bone, full of gravy, excites the appetite of the goddess and makes her mouth water. The goddess is pictured by the Poet as holding the bone in her hand and rolling her tongue over the upper and lower rows of her teeth.
329. maat — The divine mother (htaat). The Com. takes it to mean Cāmundā. ATHHIST of Hemacandra mentions this word as meaning ATGT: or 'Divine mothers ’. VII. 10.
330. Even trees in the courtyard are supposed to do worship of the Goddess by offering blood in the form of sap from their arms viz. branches, when hacked by means of axes by the people.
332. f5Q - Fear, terror. Jeft34 - afsa, faaifa-slaughtered. 6793793 - 1794 *78197 - cloth dyed in red juice.
333. A dead body is supposed to be the vehicle of the goddess. Cf. FaTEAT STCOTTH: 1 For the dead body to serve this purpose, it has to make itself capable of bearing her weight (ETT2017 ) and has, therefore, to infuse strength in itself (37091) by acquiring the facility of breathing even in its condition of a corpse ! A fantastic idea!

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334. The idea seems to be that when the goddess moves about in her night-forms, she is attended by the temple Divinities (), who pour out from their mouths profuse streams of blood. It then appears that she is being fanned (s) by red cloth-pieces, being waved about her in great devotion.
335. During the dark nights of the black fortnight, when the goddess moves about, the horns of buffaloes appear like shoots put out by nights and the outstretched necks of peacocks look like sprouts ( पारोह) thereof.
181
336. Sabara couples of bluish-dark (3) complexion, bowing at the feet of the goddess, appeared darker still, as they were seen reflected in the rows of bronze mirrors. Cf. : Com.
<"
337. Although you look dreadful and fierce as you sport about () in your destructive form as black Night, you have a heart full of compassion and affection."
99
338. तंमिदल-वस्त्रदल-Wearing leaves only to serve the purpose of a garment ( तंमि ) .
In a Kulaka of 9 Gāthās (339-347) the Poet describes the King's despondent thoughts and feelings at the sight of a dead body, rotten and reduced to a skeleton. It has no doubt a Shakespearean touch about it.
339. The bony skeleton, having remained rotting for a long time (g), has turned reddish-brown. The Poet queries that it may be due to the fact that the fire of anger, that he had felt when alive, still persists in his heart even when dead, thus giving a tawny tinge to the rotten body of bones.
340. The portion of his forehead is filled with wriggling clusters of worms. The Poet imagines that they are, as it were, lines of wrinkles drawn on his forehead, when he knitted his eyebrows in an outburst of laughter while alive.

341. His one-time round face is now covered with thick dust, heaped up in curly patches in the absence of any oily ointment ( ओलिभाभाव ). The same, however, reminds one of thick application (faffa) of sandal paste to lessen his pangs of love-torment (f), while he was living.

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342. Here lies the head of the man, which once was lovely like a lotus and was caressed by his beloved, when reposed on her arm looking soft and delicate like a bamboo shoot. It is now resting on the slope ( T) of an ant-hill, turned into a cushion ( BOETUI 7637 ).
343. And now the woman's head which at one time was adorned with braids of hair. The same has undergone a hideous change (qu ), in that it is reduced to a mere skull with bunches of dry grass, sprouting in the layer of mud with which it is filled.
344. The two rows of teeth are now pasted with green dirt. The Poet imagines that this green stuff is, perhaps, the juice of many a betel chewed (fafurre) by the lady during her life-time and now being thrown out (azat) by her.
345. The bluish feathers of bees are still found to be sticking to the skeleton. The Poet imagines that the god of love has perhaps discharged his arrows of blossoms (HTETATOTT) even at this dead body and in the process, the feathers, forming a part of the arrows, are removed from the arrows and are now sticking to the dead body.
346. The whole world is plunged in eternal darkness for the dead man, even though there still are, over his dead body, blazing lights and lustres in the form of the sun, the moon, the fire and shining gems.
348. Brailfe fürfe - 3Trata fuffrat - Spread out inside, bristle out from within. f978996HTCT - f979 TT TTT: - The sloping plumage. The cobras, often eaten by the peacocks, have, as it were, lent the lustre of their crest-gems to their feathers.
350. The leaves of Sallaki plant are the favourite food of elephants. The paths by which they went in the forest are marked by the bits of Sallaki leaves dropped down on the way after being gobbled up (3957). They look reddish, as if strewn with filaments ( auferans ).
353. The Sabara women had peacock feathers placed on their ears as decoration. When they looked full at the King, it appeared as if they cast arrows, equipped with feathers (7737T FUTT), in the form of the glances from their eyes.

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The Poet goes on to describe the season of summer and incidentally the nostalgic thoughts and reflections of the soldiers of the King's army.
355. TE3IT-HATI: — Charming, lovely ’; may also be hect:'giving happiness or comfort'.
356. a ...fanfit - Heaps of chaff falling in 'overwhelming showers and later being blown off (fa4997). Hefoot ... मूला - The bottom layers of ponds made muddy ( मइलिअ), as the layers above are now dried up in summer.
358. 3feura... FITAT – “With villages appearing yellowwhite (from a distance ) as they are freshly covered with thatches ( 954 ) upon their roofs.
361. They appear to be Siva temples where the limga image in stone of god Siva is worshipped with daily ablutions of water. The inner hall is cooled thereby and the fragrance of the Kadamba and the Arjuna flowers is carried inside by the breezes.
In a Kulaka of 7 Gathās (364-370 ) the Poet describes the condition of ladies in summer, as they resort to the terraces on the tops of their houses.
364. Most of the day, the ladies have been resting in the interior of their houses. As they come out after a long time, the light dazzles their eyes which contract automatically; and they become languid and reddish when the ladies rub them for a better sight, after their siesta, or afternoon nap.
365. Their buttocks are encircled by a garland of fresh Bakula flowers and are marked with the impression of tender Tamāla sprouts, which served as a bed for the ladies to rest upon and which looked like fresh nail-marks from their lovers.
366. Their arms are moist and besmeared with sandal paste. The forearms have a cool feel or touch ( HTF), although, that very moment, the bracelets of lotus-fibres were removed from them.
367. On the terraces they start dancing. The whirling movement ( 9ff3T) is very captivating with the jingling of anklets of the new tiny golden balls, interspersed with the yellow Campak flowers and charming with the soft and thin silken dress being tossed up (367)

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368. When closely embraced (f7H ) by their lovers, the friction, caused, removes the scabs formed over the nail-marks, leaving them pinkish. With the application of the sandal paste, the broad bosom becomes fragrant and is then adorned with a garland of variegated Kadamba leaves.
369. The cheeks become fresh and pink with the flush of the intoxication of a little of wine and in contact with an ear-ornament of gold ( 5 ) tied with a Ketaki petal, they look lovely.
370. FITFE... FETTHT - THYTOTH-PITALEATHT – “With their innate strength and stamina lessened by the effects of summer.'
The talk of soldiers among themselves over the topic of summer is now given in a Kulaka of 11 Gāthās ( 371-381 ).
373. Mass (Teret) of clouds, whitish on the fringes and dark in their interior, because of the small quantities of water sucked in by them, are compared to the ears of elephants, white at their tips and blackish further up.
374. 3fe... FLUTE - 3 2457Talofra - ( The sloping mountain-sides ) where the blossoming Arjuna trees are on the front side ( 3 HE).
375. The forest-floors are covered (Fra) with Palāśa fruit, discoloured by the fine sand falling over them and they make a crunching sound (883776 ) when trampled upon and throw out the inside water ( बूढोअअ ).
377. The inmates of village families feel delightful to pass the day, dull and heavy because of rainy showers outside, staying in ide their houses smelling of fat as there is abundance of meat etc. for them. This fat, mixed with chaffy dust (737) coming out from the mouths of granaries ( 5) is made rough and coarse. Cf. Hierfameufa94&cate Tafa: 7271 geffanti 754faguturut faqc912 urteet: 1 Com.
379. The southern ( FEMTETT) women have tied their hair in braids which are perfumed by the fresh Ketaka petals and the yellow turmeric pigment, which they use for their bodies, looks brighter on them without any special efforts to do so on their part, as it well fuses with their own natural complexion.

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380. The god of love succeeds unaided with only his own flowery bow to help him hit the targets. How much more triumphant would he be when the bow of Indra viz. the rainbow is now there at his disposal?
383. णिव्वाइ - शुष्यति – Com. Dries up. ' बंधुरिअ - अं The dust solidifying in lumps' (with light showers). पिण्डीकृतं - Com.
6
Notes
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185
385. The tufts of moss ( सेवलसिहा ) are soiled ( आमलिण ) and dried up (3) and (the rivers) are over-flooded ( लंघिअ ) by yellowish (आवंडु ) water. जलरंकु : - A kind of gallinule, the common water-hen. :| Com.
386. वालुंकिवाडाण Of the plantations (a) of watermelons. वालुंकी चिर्भटिका Com. ; the same as Marathi वाळुक - एक प्रकारची काकडी, चिबूड, सुरती काकडी - 'महाराष्ट्र शब्दकोश.
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C
388. The sky looked lovely () with the appearance (for lit. placing') of the rain-bow, looking (with its greenish lustre) like a strip of lawn (). The line of cranes looked from a distance like white cattle moving in a line.
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389. A portion of the sky is bespangled () with the emergence (f) of the deep-green, shooting () rainbows and looks multi-coloured like a cluster of peacocks flying up (353) in joy with their plumage spread out.
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390. (A) The patch of ground, with its layer of dust swept away completely by a violent hurricane, looks like the flat skull ( कवाल ) of a big tortoise. कवाल The skull. 'खोपडी, सिरकी हड्डी. ( पाइअसद्दम हण्णवो ).

390. (B) The serpents endure the showers that beat them on their hoods, because they very much cherish the cool touch of the rainy water on their bodies, being constantly heated (qafasia) by the fire of their poison.
391. The Gāthā describes the lines or series of showers () which, allaying the dust in the air, brings the mountain-ranges nearer and darkens the skins of the herds of elephants. The Com. reads which gives no meaning.

392. The heat of summer causes the shrinking of the foliage of sugar-cane crops and thus gaps are formed, exposing the bare spots ( विरलुद्देस ) and turning the twigs brown ( पिंगविडव ) .

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393. Describes ponds, wherein, although the sides were wellbuilt, in course of time they cracked inside (9fc31ae). 1991 (t):A kind of grass growing in water. Cf. Eraugot 795: 1
395. The travellers enjoy a long rest underneath the trees giving a cool shade, noisy (HD) with chirping birds and growing on the sandy banks (पुलिण) of rivers (उदसिंधु) rippling with waves.
396. The charm of village borders is due to the flocks of quails (73) moving inside the thickets of feet creepers, interspersed with the white patches of the auth grass. Cf. नववरणकैबलतणविशेषैनिरन्तराणि यानि हिंसीनां लताविशेषाणां वनानि, तत्र HTRIT Tatari faftitati for get a ... HTT: 3409fagiar: 1 Com. foratfeestrom - seat – 'fit to be seen ’.
398. The wells have a surrounding, protective parapet wall (aut) with a glossy, raised (300T37) border on top. It is built in stones (78771) and is jutting out (FET), looking bluish, as the layer of mud is washed out by rain.
400. It is a usual experience that when the sky is thick with clouds, we feel it is morning time just after sun-rise, even though two or three hours of the morning have elapsed; and the same feeling we have in the afternoon also. For instance, when even there are still two or three hours left for sunset, we feel the day has already crossed over (af ofaut) to the closing time of the evening. TOT3T - 774T: - (Even when) the end of the day is far off.'
401. og 1 - of the marshy places, of bordering regions near water.' 343 ... TT - Of the paths deeply hidden because of the grass heaving up (34f3T) on both the sides (of the paths).
403. The cities have their grounds giving out a peculiar smell (3TTT) and dirty, perhaps, with the garbage strewn about. They give out a bright yellow (2737) glow (512T); and the sounds of musical instruments are carried far because of the patter (fag) of showers on a rainy day.
404. At night, when the rainy shower stops, the accumulated water flows out (5#11T) in channels (97) and when the lightning flashes, the clouds, clearly distinguished from one another (far-fast), are to be observed up above.

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406. forsetafa31 - fa7e5#157175PT: - The moon having lost the pride of his lustre; lustreless.
407. The earth sinks in the rains, because, as the Poet imagines, the great serpent Sesa has thrown her off from his head, when he himself was turned into a bed by the god Vişnu. afsnauf- gp241ai from the Desi word af meaning 'a ted.
409. The villages appear to have sunk or submerged (furcet) in the coiling (assa) layers (3755) of smoke, since only the treetops are to be noticed, the additional reason being that there is an overgrowth of grass (319TE) on their borders.
410. The petals of the jasmine flower are moist (fafGOUT) under the shower, half of its filaments are soiled and have lost most of its fragrance. It gets dislodged from its stem and becomes ripe (FROTHS).
413. The ceremony of waving lights (arrua) is, as it were, being done by some one (funfartifa) on behalf of the various directions (FAT371) for the King, intent on his marching expedition. Such a fancy is based on the fact that the streaks of lightning are to be seen turning and twisting in all directions.
414. The Magadha king fled from the battle-field, along with a host of his ally-kings. They, however, felt ashamed and returned back to give a fight to the king Yaśovarman. They are, therefore, compared to the sparks of fire (fafegut) falling from a big meteor (341), which rises in the sky for a time and then vanishes from sight like the Magadha King.
415. The lines of blood flowing from the soldiers slain are imagined to be the lightning streaks attracted (377377663T) by the showers and scattered about (906 ) on the ground.
416. The fictitious phenomena of the celebration of the King's victory by gods is described in this Gāthā. The gods, driving in the sky in chariots, have thrown away (afce53) the clouds. The deep sound of drums is having its echo (58112) and a thick shower of Mandāra flowers is falling down from the sky.
The next two Gãthās ( 419-420) describe the defeat of the King of Vangas
419. The victorious elephants have the decoration of red lead (figt) applied to their temples. When on the battle-field,

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the elephants of opposing forces clash, the red lead flashes off in the air and covers the sun's orb with a red lustre, as a result of which, the sun, even though far up above in the sky, looks like his orb at sunrise after the end of the night ( रयणिविरम ) .
420. The faces of the Vanga men first became white-washed (fafer) as it were, by the lustre of the King's toe-nails. Later they became yellowish and pale, because of embarassment felt at the time of bowing at his feet.
a
422. The Earth quivers with agony in her stomach, because the jewels on the hoods of Seṣa have penetrated her belly, as result of the pressure exerted by the heavy tread of the army. It appeared as if the Earth holds inside her womb the planet Mars ( आर ) in the form of her foetus ( गब्भ ) .
While describing the King's march in the South in the vicinity of the Malaya mountain, the Poet, in a Kulaka of 7 Gāthās (424-430), alludes to the great effort of Rävaṇa to propitiate god Śiva with a view to obtaining a boon from Him. The same Rāvana, when he became powerful, was picked and pocketed by Vali and was carried away by him, holding him in his armpit !
424. Rāvaṇa looks up above to the face of god Siva (3774f), favourably disposed for the grant of a boon. As he looked up, his eyes were turned upwards (3), as he seized his own hair (कअग्गह) in his enthusiasm (आदर) to cut (च्छेअ ) violently (TH) his own heads.
425. When the heads were cut, the wounds inflicted on his big and broad necks (r) were immediately made painless ( भग्गविअणा ) by the sprinkling ( सेअ ) of nectar ( अमअ) of the crest-moon (foзi) by god Siva, whose emblem (g) is the bull (वसह ) .
426. Of the ten heads which Rāvaṇa had, he cut off nine. Through the boon of god Siva they were restored back and, as Pārvati, the other bodily half of Siva (T), bent down and held a mirror to him, he could see them all in their reflections.
427. Candrahasa is the name of Ravana's sword. Rāvana felt its edge which was covered with a thick layer of the powder (r) of his neck bones, after his nine necks were chopped by him and he was fully satisfied (f) that it has retained

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its sharpness and was not, therefore, eager to sharpen it again on the whetstone (ATT), with a view to cutting off the remaining tenth head. Cf. दशमं शिरश्छेत्तुमनेन शङिकतमिति स्पृशतोऽभिप्रायः । Com.
428. Rāvana is credited with the heroic feat of uprooting the Kailasa mountain, balancing it on his twenty hands and then putting it down. Siva was astonished at this feat and patted him for it.
429. There is a story that Rāvana imprisoned the gods and made each of them perform some menial office in his household : Thus Agni was his cook, Varuna supplied water, Kubera furnished money, Vāyu swept the house etc. The wind feels it uncomfortable to move slowly in his household. It is due to his fear of Rāvana and not because he is restrained in his movement by the sighs of grief from the gods. Conflict with the Pārasīkas.
431. The blood rushes to their faces, mounted by anger (ETATES). It comes out the moment they are struck by swords.
432. The pool (fa ) of blood stood solid (forfest) and visible on the ground, which roundabout was dug out by the excited trampling of soldiers. This soldified blood appeared like the brilliance of jewels on the hoods of Sesa, revealed because the ground came to be excavated upto the depth where Sesa dwells.
433. The rut of the elephants shoots up in a stream upwards through the small (56) apertures in their temples, because their usual downward flow has been obstructed by their trunks coiling and twisting up (5f3T) to give a free play to their tusks, in their attempt to give a slanting blow. Ofurg-ofzufa: fazione दन्तप्रहारः । Cf. वप्रक्रीडापरिणतगजप्रेक्षणीयं ददर्श । मेघ० २
434. The soldiers would refuse to give up their life, unless the master's mission is accomplished (TAHTNUT). They, therefore, shut their mouths by drawing in angrily (fct3T) the lower lip with the upper row of teeth and thus obstructing the life departing.
435. The female jackals run helter skelter, trying to swallow bits of flesh from the dead bodies and find it painful, as there are darts imbedded. They give out hoarse (facht) howls, the sounds of which spread far and wide (fazfess3t), moistened, as they are, with blood particles (ATFUT37—50C).

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436. The battle-field looked as thick and crowded (forfas) as at the beginning, even though the soldiers were routed (a) and taken away, because there were the dead bodies (55) of horses and horsemen stuck together (HO) and now in a swollen state (उस्सूणभाव). All this struck terror (कअडिब).
437. The mahoot's hook (FT), pierced in the frontal joint on the temples of the elephant, broke and was ejected (frutout) from the wound (aut). It, however, stayed there in broken splinters (FH) and the elephant thought them to be a swarm of bees still hovering over his temples, although they had scattered away. Hence does the elephant go on shaking his head. 371228 – 317789:, -- "The junction of the frontal sinuses of an elephant, f7:
438. Multitudes of soldiers' bodies, becoming heavy (+7831Tअमाण) because the life inside had departed (अवजीवभाव), proved an unbearable burden, as it were, to Sesa.
Now follows a Kulaka of 19 Gāthäs ( 440-458) describing his march through regions inaccessible on account of the western mountain-ranges and making the inhabitants thereof pay him tribute. In this context, he refers to the legend of the king Pșthu, who cleared the plains of the Deccan by pushing the existing mountains towards the seas on the east and the west. When Pộthu, the son of Vena, became the king, his subjects, who had suffered from famine, besought him for the edible plants which the earth withheld: In anger, he seized his bow to compel her to yield the usual supply. She assumed the form of a cow and filed before him. Unable to escape, she implored him to spare her and promised to restore all the needed fruits, if a calf were given to her, through which she might be able to secrete milk. He, therefore, made Farina F the calf, milked the earth and received the milk in his own hand for the benefit of mankind. Thence proceeded all kinds of corn and vegetables, upon which people subsist now and perpetually.' Cf.
तत उत्सारयामास शैलान् शतसहस्रशः । धनुष्कोटया तदा वैन्यस्तेन शैला विवर्धिताः ।। ८२ ।। न हि पूर्वविसर्गे वै विषमे पृथिवीतले । प्रविभागः पुराणां वा ग्रामाणां वा पुर ऽभवत् ।। ८३ ।।

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न सस्यानि न गोरक्ष्यं न कृषिर्न वणिकपथः । वैन्यात प्रभति मैत्रेय सर्वस्यैतस्य संभवः ।। ८४ ।। यत्र यत्र समं त्वस्या भूमेरासीद् द्विजोत्तम । तत्र तत्र प्रजाः सर्वा निवासं समरोचयन् ॥ ८६ ।। स कल्पयित्वा वत्सं तु मनु स्वायंभुवं प्रभुम् । स्वपाणौ पृथिवीनाथो दुदोह पृथिवीं पृथुः ।। ८७ ॥ सस्यजातानि सर्वाणि प्रजानां हितकाम्यया ।
तेनान्नेन प्रजास्तात वर्तन्तेऽद्यापि नित्यशः ।। ८८ ॥ विष्णुपुराण I. १३. 440. The King Prthu tried to level up the earth by re-adjusting the location of the mountain-ranges nearabout both the seas, eastern and western. With the tips of his big bow, he gave a mighty blow and dislodged and pushed back half of the mountainranges on both the sides and cleared the space. The same space, however, was reoccupied by the other remaining halves of the ranges, thus leaving vacant their own areas formerly occupied by them. Cf. पृथुराजेन सागरद्वयावस्थिता पृथिवी मानदण्डस्थानीयेन धनुषा परिच्छेत्तुमारब्धा । तत्र अतिद्राधीयस्त्वाद् धनुषः पर्वतैरुभयसागरतटवर्तिभिरवकाशेऽवरुद्ध यावदेकेन प्रान्तेन प्रेर्य परतो गिरयो नीयन्ते तावदपरेण प्रान्तेन धनुषा प्रेर्यमाणेन अर्वाग्भवता पृथिवी व्याप्यते - इति दिग्द्वयस्थित-गिरिस्वीकरण-निराकरणव्यग्रत्वात् क्षितिपरिच्छेदो न संपन्न इति कथा । Com.
441. In some places, there was only one big mountain that obstructed the whole view roundabout. When, however, this solitary mountain was removed and set aside (समोसरिअ), the earth was fully re-established in its proper perspective,
__442. The mountains, as they are being brushed (पणोल्लिआ) aside, fall down on this side (इहहुत्तं) of the round surface of the earth and by the violent impact of the tumbling mountains the earth is being pressed down first on this side (एत्तोहुत्तं) and then, see-sawwise, on the other side (परओहुत्तं).
443. Even one mountain, pierced by the bow-end and closing on the mountain-ranges, pushes and drives them along, (like a railway engine pushing a chain of waggons of a goods train ) This raises a thick mass of dust which fills the atmosphere up above.
444. The clouds, hanging over the embankments of these mountains, get dislodged and then the lightning streaks fall off in coils from the clouds. They appear to be the fragments of

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splinters of Indra's thunderbolt, which have still remained imbedded in the sides of the mountains, when their wings were cut off.
446. As the mountains move, impelled by the violent pricking of the bow-tip, they are smashed, on the way, by the Quarterelephants (आसागअ), who suspect (संकालुअ) them to be the hostile rival elephants (975-T37) rushing at them.
447. As the mountains move, they leave behind big bottompits at their bases; but they are soon filled by the big boulders, tumbling behind from their peaks. Another phenomenon. We find fresh water-streams (64TT) spouting from the holes bored by the bow piercing (a) the mountain-side.
448. The mountains at their bases (1) had originally taken up the whole space of the nether world (97377). They are now pushed (fragt) by the bow, the tip of which pierces through one side of the mountain and comes out (furerea) on the other side. The mountain thus stands suspended ( 4537) in the air on the big bow. It is held balanced on the bow for a short while (थोअतुलिअ) and then slowly released (मुच्चंति) on the ground, lest the sudden fall may smash the earth ( THT).
449. Over the mountains were big river-streams forming at places deep pools of water (1937fa375). As the mountains are evacuated ( THET3T), these water-streams (Fohla) dropped down, to be later drunk (fqvuifa) or sucked by dry lands, left over in the places of the mountains.
451. The vacuum or empty space, created in the middle of the earth, looked like the sky dropped down, while the network of the mountains on the borders (ia) appeared like the earth gone up in the sky.
452. The mountain, egged on by the bow, fell into the sea and filled one side (9779th) of it. The sea accordingly was reduced in size (Hafst) and appeared teeming with aquatic creatures.
453. The day's light and lustre, at the time of dislodging the mountains, was lost (faha), but it came out in full refulgence, as if focussed or concentrated in mid-region, from which the mountains were cleared away.

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454. When the mountains were dug out, the whole region at their bases appeared hollowed out (FTSTHET) and then the corresponding parts of the earth on the borders became lifted up high and elevated (30u3t). The displaced mountains were lodged in the other distant regions, thus making the whole surface of the earth unevenly high and low (fan).
455. There were big rivers on the mountain-slopes, but as the mountains separated and started moving, they threw a lot of earth (ECT) and dust in the river-beds, the flow of which was consequently choked and suppressed. Later, however, the earthdust settled down at the bottom in the form of mud (उल्लंतरेणु) and the water up above started flowing as currents of these big rivers.
456. The mountains were submitted to two-fold outrages : the first was, cutting of their wings by Indra and the second was their displacement by the king Pộthu. Between these two, their displacement proved to be more damaging than their wing-cutting; because once their wings were lopped off, they settled down steady (fTah) in their places on the earth, wherever they dropped down and in course of time, they grew up the forests and vegetation. Cf. छिन्नपक्षैर्यथा तथा स्थितिरासादिता। समासीनधनुष्कोटिविघटनचलितैः पुनर्नगैर्न कथंचित् पदबन्धो लब्ध इति THTGETRI Tot afuge TFT I Com.
457. The mountains on two sides only viz. on the east and the west, were displaced and pushed back, leaving a very vast space in the central regions. The earth was thus weighed down only on its two sides (TATU#3r). It appeared, however, it was depressed in the central region, because on its surrounding borders was situated ( 1937) quite a ring (afia) of all these displaced, heavy and tall mountains.
458. There was a heavy concentration (TFE FITT) on the earth’s borders of the displaced (THITT) mountains, which, by their weight (57739), caused a great depression in them (borders ). Consequently, the area of the earth appeared to be curtailed and reduced (956), although in fact, it gained in vastness of space (farenfrei) by reason of the removal of obstructive mountains.
G. 13

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The King Yaśovarman, in the course of his expedition, reaches the banks of the river Narmada. In a Kulaka of 6 gāthas, (460-465) the Poet refers to and describes the legend of the river Narmadā having fallen in love with the king Kārtavīrya, like a love-sick maiden and pining for him. Cf. HEUTETTI देवतारूपत्वान्नर्मदा नाम नायिका कार्तवीर्यार्जुने बद्धानुरागा सती राजर्षि तमनुससार। अयमपि च राजर्षिस्तां प्रत्यनुपजाताभिलाष इति तदलाभे संजात रणरणका । Com
460. The river Narmadā, imagined as a piping, love-sick maiden, is overwhelmed with a feeling of despair, displeasure or distaste. In her movements (9f4u ) in such a mood, the anklets make jingling sounds, hearing which the rows of swans glide along (Firesarit) to gather round her and then she looks at them with a steady gaze, born out of firm familiarity (fo3tufrast).
461. The pangs of her unrequited love constantly affect the happiness (EHT) of her mind and bring a darkened shade (HTATBİA) to her natural lovely complexion. This dark shade is, perhaps, on account of the juice of ichor bursting out (fostul TOT) on a small scale from the temples of forest elephants standing in the river-bed to enjoy a bath.
462. The loves torment heats up the body and, to alleviate the burning feeling, sandal paste is applied to the body, chiefly the breasts. This is done in the case of the 'maiden' Narmadā. These parts (3FITTS) of the body, thus, appear like sandy mounds (grass) emerging (747H7f34) in river-beds, when the flow of the stream becomes weak and thin, exposing the sands near the banks.
Note the perversion of the Utpreksā or Poetic Fancy. What should be the Upamāna is represented as Upameya and vice-versa. A case of faga-35a! The sandy mounds, for instance, should serve as an Upameya or the object of comparison with the bodily parts besmeared with sandal paste viz. the breasts, to be represented or fancied as an Upamāna or the Standard of comparison. The Poet, however, takes it in a reverse way. He visualises the river as a divine, love-sick maiden with all those conventional features associated with her and then tries to see them in the factual phenomena of the flowing river !
463. In her case as a love-sick maiden, her memory (3) plays a great part in her mind, building up (967) fantasies of

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pleasureable unions with her lover, which, however, are later smashed (विघडंत). A case of मानससंभोग, as described by Bhavabhūti in his drama, Mālati-Madhava' (III Act). This greatly excites and agitates her heart, as is seen in the operation of ripples (वीइवावार) which dash against and finish (समप्पंति) at the banks, corresponding with her heart. Cf. Heat TGT विरहिणी भवति तदा हृदये एव आशाकल्पितप्रियसंगमकल्लोला: समाप्यन्ते, न तु af:TTTTTTTHETTEPA faaaaafatata fatt i Com.
464. Her body attracts, because swarms of bees are drawn towards the spot where she lay on a couch of flowers, crushed underneath (
H TT) and giving out a fine fragrance (TE). The place where she rested her head is easily discernible to people (Fonte Mre).
Here too we find that what is real is the river-stream, imagined as her body, as if it is real. Cf. TE FE TENT Ffffare f afqनतया क्वचित्क्वचित् प्रदेशे शैत्यमाश्रित्य परिभ्रमन्ति भ्रमरपङक्तयः कामाक्रान्ताः 449/24/1fa traffic Trap 127Tyrant Afegat: 1 Com.
In a Kulaka of 5 Gāthās (466-470) the scenes of the emergence of the nectar-jar are described, because it was this part of the sea-shore where this event happened and where the King came in the course of his triumphant march.
466. An auspicious pitcher is always placed in a sacred spot, with tender sprouts of grass, especially Dūrvā grass, kept at its mouth to cover it. The long thousand tongues of the great snake Seșa, stretched out at the mouth of the jar of nectar, are imagined to be the grass sprouts, under the garb of which the Lord of snakes. tries to sip (fquia) the nectar inside. Hafafurfaspo- Hafaruto* Placed at the mouth.'
467. White chowries are being waved over the nectar -jar by the attendant-guards (TFCTTTTT). They are imagined to be the old, imprisoned gods, offering salutation with a view to obtaining favours from it (अणुणिज्जंत).
468. The swarms of bees hover over the jar, attracted by its sweet smell (RE). They are supposed to be the clusters of living beings, burnt black with anxiety, caused by the fear of death.
469. The round side of the jar was shining bright with the halo of its own innate lustre. This is imagined to be the head of

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Rāhu which retained its life-breath (TUTT3T), although it was lopped off (fafa) from his body by the Sudarsana wheel of Visnu.
Rāhu was the son of fagfafar and fare for and is called by his metronymic Aface. He had four arms and his Jower part ended in a tail. He was a great mischief-maker and when the gods had produced the Amsta by churning the ocean, he assumed a disguise and, insinuating amongst them, drank some of it. The sun and the moon detected him and informed Visnu, who cut off his head and two of his arms, but, as he had secured immortality, his body was placed in the stellar sphere. Rāhu wreaks his vengeance on the sun and the moon by occasionally swallowing them.'
471. Maru or Marwar is a desert country known for its scarcity of water and, therefore, the few wells (3795) that supply water are naturally used by most of the people roundabout. Crowding (ofert) over them they make the water, which often reaches its low depth, muddy ( ta.37).
The King, now reaches the country called stative, the same as Thanesar, where long back, the king Janamejaya performed a serpent-sacrifice, the description of which is now being given in a Kulaka of 13 Gāthās ( 472-484).
Janamejaya, a great king, was son of ATT and greatgrandson of 375a. It was to this king that the Mahābhārata was recited by a girl, and the king listened to it in expiation of the sin of killing a Brāhmaṇa. His father, refera, died from the bite of a serpent, and FTTH Gry is said to have performed a great sacrifice of serpents ( Nāgas) and to have conquered the Naga people of तक्षशिला. Hence he is called सर्पसत्रिन्.
472. The comets with their thick, black tails apeared in the sky. They are supposed to be bad omens or indications (fru )of impending (ta) disaster. They looked like snakes running in fear of being burnt in the sacrifice started by जनमेजय.
473. Unusual, portentous phenomena (309737) boding calamity began to occur in the sky, leaving a few flickering ( ) stars in the sky. The stars, the Poet imagines, are veritable gems, as it were, plucked out by the great serpents, for being given to

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the gods as a bribe to save them from the disaster. V. L. Oferuiaक्को, where the word उक्कोअ - उत्कोच means a bribe'.
474. Huge, black snakes tried to wriggle and worm out their way through the coiling holes underground. They thus looked like the earth's curly locks of hair, straightened in her bewilderment, as she moved away in fear.
475. Through panic (HHT) many of the snakes became afflicted (31737) with premature old age and, afraid of being quickly burnt, if the old sloughs (forrastat) were retained on their bodies, they hurriedly cast them off.
476. The snakes were being continuously (37f37) thrown in the fire, producing coiling columns of smoke, that rose up in the sky. The whole scene of the sky and the earth below was one huge mass of smoke and it, therefore, appeared that even the nether world, along with the sky up above, became one huge, offering (1271831705637), being given over in the sacrificial fire of the king Janamejaya.
477. The lordly snakes put out their tongues oftere in excitement. The clusters of tongues sprouted, spread out and throbbed constantly and, red, as they were, they looked like fireflames, which were swallowed by the snakes.
478. The noisy ((Ham) fire-flames, swinging (31GSART) with the hissing breaths (PTT) of the burning snakes, made it appear that the fire itself was giving out heavy sighs, feeling giddy and reeling (धुम्मिर), because of the adverse toxic effect (अणुभाव) of the poison of snakes.
479. The cobra females fell into the blazing fire, being closely accompanied (9f83ff1737T) by the red flashes of gems, situated on their red, expanding (fautft) hoods. It looked as if they were immolating themselves in the fire, wearing the red sign (FETE) of a 'Sati' (TCHOUT), in the form of the red Kumkum decoration on their foreheads.
480. The female cobras entwine the fire-flames unaffected (furfcasti), although formerly they were habituated to embrace (परिरंभ) the golden twigs (कणअदंड) of the blossoming Haricandana sandal trees.

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481. The stomach of the fire was greatly filled (af ) with the coiling ( 55) masses of the burning, wriggling snakes. It appeared as if the fire had a feast (3TTET) of snakes, and then felt overfull and bloated (3GHT3T) in his stomach and his intestines (31a-ter), coiled inside, started their wriggling, peristaltic action in full force.
482. The king Tafel, father of JTSTU, was bitten by the Cobra-King named T&T and, therefore, he wanted to have his vengeance on him. He was, however, given protection by Indra himself. In the snake-sacrifice, therefore, an offering of metai together with Indra himself, was invoiced by TTÀ CTY and his priests.
Cf. किल तक्षककोपेन जनमेजयेन सेन्द्राय तक्षकाय स्वाहेति सेन्द्रतक्षकाहुतिः TFATT I Com. The fire-flames displayed a variety of colours, in accordance with the jewels of cobras being consumed. It looked as if these flames had, inside them (TAUTTT), the bow of Indra (i, e. the rainbow), which came down (317313a) first ahead of Indra (TFE3T), who was, along with 7879, made an offering (377€$7631) to be given in the sacrificial fire.
483. A graphic description of what must have happened at the time, when Indra also was demanded as an offering. The Lord of snakes (faqafie), seeking refuge, clutches the feet of Indra with his circle of hoods and Indra trembles (aq) with fear, as he is invoiced by the angry king जनमेजय, placing him on the sacrificial ladle (सुआ) dispatched to the heaven to bring him ( Indra ) down on the earth.
In a Kulaka of 7 Gāthās (485-491 ) the Poet describes the conflict between Bhima and Duryodhana, because this lake was the scene of the conflict.
485. 'On the eighteenth day of the battle (between Pāndavas and Kauravas ), after his party had been utterly defeated, Duryodhana fled and hid himself in a lake, for he was said to possess the power of remaining under water. He was discovered and with great difficulty, by taunts and sarcasms was induced to come out. It was agreed that he and Bhima should fight it out with clubs. The contest was long and furious and Duryodhana was getting the best of it, when Bhima remembers his vow and, although it was unfair to strike below the waist, he gave his antagonist such a violent blow on the thigh that the bone was smashed and Duryodhana fell?.

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The Poet in this Gāthā tells us that Bhima caught hold of the armour-skirt of Duryodhana lying submerged under water and pulled him in the manner an aquatic creature ( fish ), captured in a fisherman's net (57).
486. TTERS - 1 E — 'The Bhārata conflict or war.'' 2 T --The veritable young one of an elephant in the dynasty of the Bharatas; refers to FTTT, who, while enjoying water-sports in this lake, often remembered (fazi) the Bharata conflict. Cf. Hradi HTH Com.
487. Bhima rails at Duryodhana, calling him a stupid fellow, since he aspired (FET) to bind Krsna who has bound over the whole world by his Māyā.
488. In the thirteenth year of their exile, Pāndavas entered the service of Rājā Virāța, Arjuna among them, disguised as a eunuch, acting as music and dancing master. Duryodhana came down with his armies to this country and did cattle-lifting (FTTHET). Arjuna went out with the army of the king, headed by his son Uttara and defeated the leading warriors and Kaurava princes in a single combat.
In this Gāthā, the Poet refers to this heroic exploit of Arjuna who is also called force or fou. The banners of enemies, that he snatched away, were as it were, a successive reflection of the garments of Draupadi, that were removed, one after another, by S:MATT earlier, in the asembly of gut. This refers to the following incident. When in a gambling match farfoss lost everything, TA exultingly sent for that to act as a slave and sweep the room. When she refused to come, his brother, S: THT dragged her in by the hair and tried to remove her garments from her body. th at the same time insulted her by inviting her to sit on his lap. This drew from Bhima a vow that he would one day smash Duryodhana's thigh.
489. Warriors usually pat their shoulders; Duryodhana, however, patted his thighs, to indicate, as it were, that his strength lies only in his thighs and legs (varam), as is the case with cowards. 377477) Ten, faqaty:- Reliance, trust.
490. Whenever, on critical occasions you perspired and the perspiration (3r), spreading (TMT) over your body, made

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you drown (faforg) in it, that was an occasion for you, for having a practice () of entering the water.
492. Karna is one of the great heroes of the Mahabharata. He is the son of Kunti by Surya, before her marriage to Pandu. Kunti on one occasion paid such attention to the sage Durvāsas that he gave her a charm, by virtue of which she might have a child by any god, she preferred to invoke. She chose the sun and the result was Karna, who was equipped with arms and armour. Afraid of censure and disgrace, Kunti exposed the child on the banks of the Yamuna, where it was found by Nandana or Adhiratha, the Sūta or charioteer of Dhṛtaräṣṭra. The charioteer and his wife Radha brought him up as their own and the child passed on as such. When he grew up, Indra disguised himself as a Brāhmaṇa and cajoled him out of his cuirass. Karna was made king of Anga by Duryodhana in order to quality him to fight in the passage of arms at the Swayamvara of Draupadi. This princess haughtily rejected him, saying "I wed not with the baseborn." Karna had especial rivalry and animosity against Arjuna, whom he vowed to kill. The Mahabharata notes many clashes between these two warriors. The present Gāthā notes one in which the snake Kanda-puccha, who bore hostility against Arjuna since the incident of his burning the Khandava forest, transforms himself into a deadly arrow in the hands of Karna and gets himself shot against him. Krsna perceived the snakearrow and immediately stepped down the chariot and its horses, as a result of which the arrow hit only the crest-gem on the crown of Arjuna. In the final terrific combat between him and Arjuna, the wheel of Karna's chariot tore deep down into the earth, immobilising the chariot and when Karna got busy to extract the buried wheel, Arjuna killed him with his deadly arrow. This incident led to a hot discussion between the two warriors and later among the other kings as well.
The snake Kanda-puccha, turned into an arrow, was shot at Arjuna. When he struck against the crest-jewel in the crown of Arjuna (f), he emitted sparks of poisonous fire, which looked like the particles of the jewel being thrown out by the snake who swallowed the gem. Cf. खाण्डववनदाहसमये कृतवैरः कण्डपुच्छो नाम सर्पः अर्जुनेन सह युद्धोद्यतस्य कर्णस्य शरीभूय अर्जुनस्य शिरश्छेत्तुं प्रसृतः । तेन च सारथीभूतवासुदेवकृतरथप्रयोगविशेषस्यार्जुनस्य शिरस्यप्रभवता शिरश्चूडामणिरेव

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प्राप्तः सन् कवलितः । ततः पुनस्तेन सर्पण गत्वा कर्णोऽभ्यथितो यदुत भूय एकवारं मां शरं कुर्विति । कर्णेन तु कथमहमेकस्यैव द्वितीयं शरं क्षिपामीति दन्नि पुनः शरीकृतोऽसौ । Com.
493. The armour had become a part of his body. When Indra approached him in disguise, asking for this armour as a gift, he gave (quifh37) it to him, having peeled (34977) it off from his body. Although it was thus removed from his body, it appeared as if it was still retained there in the form of the thrill of horripilation through joy for the fact that he could grant this favour to the Brāhmana.'
494. It was in this region that Karna's chariot dug deep into the earth, tearing (GTf73) it down and it was here that people indulged in continuous talks (FEMTOT) about the various great kings and their exploits. 'BeastGTopettaret:, 'continuous, uninterrupted talks.' Cf. 3947704rafaguthCGT: I Waga 30.
Now in a Kulaka of 12 Gathās ( 495-506 ) the Poet describes. the wonderful event of the whole township of Hariscandra being bodily lifted and stabilised up in the heaven, because in this very
region our King got a heavenly palace constructed within one day. . हरिश्चन्द्र, a king of the solar dynasty, was the son of त्रिशंकु and was famous for his liberality, probity and unflinching adherence to truth. On one occasion, his family-priest afho commended his qualities in the presence of fagarfar, who refused to believe them. A quarrel thereupon ensued and it was at last decided that fagarfha himself should test the king. The sage accordingly subjected him to the most cruel test with a view to see if he could be but once made to swerve from his plighted word. The king, however, stood the test with exemplary courage, adhering to his word, though he had to forego the kindgom, to sell off his wife and son, and at last his own self, to a low-caste man and -as the last test, as it were, of his truthfulness and courage- to be even ready to put even his own wifet o death as a witch. fagarfhe thereupon acknowledged himself vanquished and the worthy king was elevated along with his subjects (and their city as well) to the heaven.
495. The whole city was being air-lifted. The people inside the houses came out as far as their balconies and fearfully began looking out, when they saw the sky surrounding them on all sides,

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like a wall or a rampart going round the whole city. The sky or ether has ordinarily its generality or 377779ca, which is infinite and is all-pervasive. In this case, however, this generality was lost (ohrhuur), when it assumed its particular, differentiating aspect (atogat), in the form of a surrounding wall of the blue sky.
496. The snakes, formerly hiding in the holes underground, got scared and remained huddled up (trojfsf3r), as the city was going up. They wanted to get out, but when they saw through the cracks (331) in the subsoil where they had their holes, the open sky, vividly visible, they stopped (atelier) where they were, desisting from going down (ओअरणा).
497. The big buildings, with top-terraces (acet), were violently shocked and shaken by the sudden upward flight (4430). As a result, they got cut and broken into two halves; the upper halves with terraces, cut away (78937) from the main portion, toppled down on the earth, while the other remaining halves (fogas) went up to the heaven, presenting quite new and different terraces now. Did the Poet keep before him miniature clay models of buildings to observe what would happen, if they were suddenly lifted up above ?
498. The city had walls dug deep in the surface of the earth and they were fed with water by the natural springs underground. As soon as the city was lifted, the earth's suport (afsaa) was cut off (fs), the springs, supplying the water, were extirpated and the wells getting dried up (100FUT), showed how deep ( THT) they were.
499. The treasure-troves, in the shape of big jars, fastened with chains and kept buried underground, were pulled out as the city was going up. They remained suspended (of farur) in the air for a time, with their chains snapped. The parts, that remained with the treasure-troves, started clanking like bells and dangling about on account of their upward movement. Cf. em एव च रणरणायमानत्वाद् घण्टात्वेन कविना कल्पिताः । दूरीकृतनिखातानि निधानानि trettoTTCTTTTectif 915GT2THTT!5e mife gorara guzt: 1 Com.
500. Couples of men and women, as they went up to the heaven, lost their mortal, blinking (THC) function of their eyes, having now become 'gods'. The gods are supposed to stare always with eyes big and open, and they never blink, as mortals

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on earth do. As such, they cannot enjoy the gestures of love's dalliance, in the opening and closing of their eyes, indicative of blushing, even when they may now meet and look at each other. Cf. देवत्वमापन्नानां स्वर्गं गतानां नागराणामनिमेषदृष्टित्वम् । निमेषाभावादन्योन्यदर्शनाविच्छेदेन सविलासत्वे सत्यपि अनारतदृष्टित्वं तरुणानां निर्लज्जत्वमेव बोधयति । लज्जैव भूषणं योषितामित्यविलासानीवेत्युक्तम् ।
203
501. The habitation or lodgment of the city on the foundation (fsd) of the earth, which began to gradually crumble day after day by the force of strong wind, became lighter.
502. The city, in the course of its upward movement (f), crossed over the boundary where, further up, there was constant day-light and no darkness of the night. The citizens never knew when they were being lifted up. Although it was the time of the night, they were awakened in the region where it was bright light of the day and they had their eyes, dulled by undisturbed sleep, but now rudely opened up. स्वर्गे किल सदा दिवसः । आदित्यस्य अनावरणात् अस्ताचलादिना । अतश्च नगर्या उत्पतितया मध्यरात्रे स्वर्गं प्रापितानां पौराणामादित्यालोकं पश्यतां निद्रालसानामेव प्रबोधो जात: । Com.
503. Scarcity of clay ( भूमिदुलहत्तण) severely affected the potters. They could get a rationed (fr) quantity of clay everyday, sufficient only for their self-preservation or to keep them alive.
504. As the city went up high in the heaven, the sun's orb was left down below and the rays of the sun started beating the bottom foundations of the buildings. As a result, the moisture ( रस ) of the earth in these foundations ( मूल ) began gradually to evaporate (a), and the layer of the earth started to get dried up ( वसुआइज्ज माण ) by the sun's heat (आअव ) beating down below (1). The moisture having gone, the foundations were reduced to the dust (33) and became loose (ferfa), remaining sticky (faf) at the top.
505. Up in the heaven, the citizens got the advantage of lovely, divine parks with fresh blossoms and tasty fruits. But they preferred their own earthly gardens, because of their earlier attachment to them.

506. As in the land of the midnight sun (Norway), here too, there was just bright day, even when the earth down below was enveloped in the darkness of the night.

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507-508. The two Gathās give us a couplet or Yugalaka, having one sentence. In this place, from where Hariscandra went up to the heaven on the strength of his prowess, accompanied, as he was, by his retinue (9fT3T HET) and the trees and temples of the place, our King built up a heavenly temple in one day. This place was hallowed (HSH) by the successive 'waves' of reputation of many a king, who came over just as they liked (FET).
509-510. Another couplet or Yugalaka. This was the region from where the Mandara mountain was pulled out by Keśava (Visņu ) to serve as churning rod for churning the ocean to obtain nectar. Visnu, at the time, clasped the mountain with His hands, thereby leaving golden marks engraved on the sides (97631) of the mountain by his pointed armlets (Tu). Even now the people over there bow down their heads on these marks, rubbing with fingers on the slab on which the marks are, Cf. क्षीरोदधिमथनसमये हि हरिकराकर्षणं मन्दरस्य बभूव । तद्वशात् केशवबाहु. केयूरनिघर्षणेन निकषपाषाणवत् कटकशिलासु कनकरेखाया: संभवः । तत्र च लोकः 3 formato girat great ica farfat i Com.
511. As he was taking (afs a) to the north direction, presided over (Lit. indicated) by Kubera, the Lord of the Yaksas, his prowess became severe like the sun's heat going north. Cf. aa: gara asta at realfata zafar I TO IV. 66. Also, fotofageraदाध्युषितां दिशं रथयजा परिवर्तितवाहनः । दिनमुखानि रविहिमनिग्रहैविमलयन् Hissel FF74745TCT 11 TETO IX. 25.
Now follows a big Kulaka of 146 Gathās (513-658) in which we have a description of a variety of scenes in Nature such as the lake, the forests, the rivers, the trees, the villages, the mountains etc. which his soldiers came across in the course of their march. : In a Kulaka of 38 Gāthās ( 513-550 ) he describes the lake in the mountainous region of the Himalayas.
514. Lakşmi or the Glory of the beds of lotuses attracted the sea of the nether world, as it were and he came over to meet the lake with a view to having a sight of his daughter, Laksmi.
518. The lotus stalks are hollow and full of holes ( AfHT ). Muddy, heavy water trickles inside and when they are broken, ( 1 ), their juice gets mixed up with the drops of muddy water, flowing over from their holes. This adds to the fragrance when

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the knots ( ifo ) of their bulbous roots are trampled upon and crushed (ft3).
520. Female ospreys hover about in the sky to catch fish from the lakes. Their attempts are foiled, as the surface of the lakes is covered by a thick carpet of lotus leaves, being kicked from below by the upturned fish and, therefore, not to be seen by the ospreys who give out plaintive notes in despair.
521. The sandy banks of lakes are full of crows falling upon dead frogs (i ), now full of worms (1550), dried up ( TESTST) and flattened (fafas ). There are also fishermen (Fift) on the spot, dragging in their nets snails or small conchshells (संबूअ) mixed with moss ( सेवल).
523. The lotuses on the watery borders of lakes are plucked away, being easily accessible. There is little water in the lake near the borders and, therefore, when lotuses are plucked, the stalks stand high, jutting out ( 3097). The leaves, thin and scanty (5€), are interlaced with the grassy sprouts of lawns (HE) underneath.
529. The paths, by which the huge rhinoceroses have gone, are being described. As they go, the tiny conch-shells get crushed under their heavy tread, leaving them black and white ( Hass). The ant-hills on the way, against which they rub (fueroT) their bodies, become soft and loose, and their foot-prints make the lawns uneven (AHA), coming out through ( furat ) pot-holes caused in places wherever they have stepped.
531. On the shore of the lake, the water-lines (aft) are covered with a layer of moss (pre) formed on the surface. The ospreys are constantly chasing the tiny fish under water, where grassy tufts (ESTHET) are interwoven with lotuses of deep (31fe) fragrance.
536. The dry cow-dung cakes are generally collected by village women, for being used as fuel. In this particular case they do not collect (Taifa) them, because they are thickly covered (घणत्तण) by a salty substance (ऊस) and hence they do not burn well in the fire. (TE3TH3)-Te Bree Sta: ST 1 39: TCFARI घनत्वेन प्राचुर्येण शुष्कगोमयपिण्डानामूषेण वेष्टितत्वाद् वन्हेरप्रवेश इति नोच्चिन्वन्ति frau: 1 Com.

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541. The body of a dead buffalo is pounced upon by vultures and swarms of crows. The jackals also want a bite at the carrion and, therefore, they approach through the thinning (faza) ranks of frightened ( vultures, while the crows move away in fear, only to collect in groups (afer) elsewhere. Very keen and subtle observation of the Poet.
551. The birds resting in the thick groves of trees and now wanting to fly up in the sky, find that the tree-tops up above are covered up and closed by the clusters of creepers, enmeshed in the branches of the trees. Their upward flight is thus blocked. They, therefore, take an oblique (de) turn, come outside the grove in the open and then take to (acuifa) the sky.
555. Ordinarily hurricanes (artist) lift up huge, whirling columns of dust and the whole area gets thickly covered with it. Here in these forests, however, the surface of roads becomes hardened, as the layers of dust, carried every day (afezi), get situated and firmly fixed there. When, therefore, the roads have developed a concrete-like firm surface, even the whirlwinds throw up very little (fazas) dust.
556. The boars, after a plunge in the lake, go up the banks and wend their way by the foot-paths. The trickling drops of water, falling down in the soil, produce tufts of green grass; but later they are bent down or depressed (afc37) by the weight (11779) of mud-lumps, shaken off and falling upon the grasstufts.
557. Tracts of soil are found in some places to develop deep cracks (5765EUTT) in them. The patches, sa separated from one another, heave up (57f3T) and are overgrown with Mustā grass, collected in bunches (#915), discoloured and having long leafy blades (left3). Cf. faeci f ai arteafafan arrafa: Tode | VIT6 II. 6.
559. Tracts of earth, with holes burrowed by rats (37 ), are made uneven with ups and downs (fam), because these holes are broken and shattered (fag), as the ground over them, becoming loose (HTFUTT), caved in under the weight of the heavy heap of earth, thrown over after being dug out ( 3 farafuot) by rats. On these rat-tracts grow a few sun-plants (377) with their barren (36375) branches.

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560. The wild fire, raging in forests, has burnt down big i rees. The places where it happened are indicated by the long lines of ashes to be seen on spots, where they were laid low on their sides (Tramita) by the flames of fire.
563. The lands on the borders (78 ) are daily (agar) being ploughed. The vegetation, that grows as a result, develops leaves of plants with black stems (BETOT). The reason perhaps is that they have sucked (89737) the iron (3774) of the ploughshare in the course of every day friction ifugh) when the lands were being tilled.
565. The roads have already on their surface a thin layer of earth. On this fall heavy, piercing blobs of dust, raised by strong winds. It looks as if these blobs serve the purpose of sealing (f€37) the roads tight by means of sparse drops of water placed on them.
573. 9 737 - PYCUT: 'Lands'. Of. Tafa FuM165: fahruha ATEFTefo 347775fenteafa typT: 1 Com.
574. The showers have washed away the dust in between the leaves (aa) of creepers and thus a void (HUOTTT) has been created between the leaves. The breezes can move quicker, unobstructed, as they are now, by the layers of dust between the leaves.
575. The forest-fires have been erratic in their burning fury. Many a yellow patch of grass has escaped from its clutches.
579. An evening walk on the sandy mounds is pleasing, not only in itself, but by an opportunity it gives to observe the birds over there stealthily moving away in fear from us, all the time glancing with slanting, oblique necks turned at us to observe our movements.
582. The forest-lands are lovely with travellers resting under the shade, while looking out at the farthest ends of the grounds. The Kankola trees, the crops of pulses like tūr and gram and herds of monkeys fill the landscape roundabout.
583. गोर. . . वट्ठाणं - ( The करहाट flowers) whose backside surfaces are tawny-coloured (fqat like the broad cheeks of a love-sick lady suffering from the separation of her man. Cf. उदयति हि शशाङक: कामिनीगण्डपाण्डुः । मृच्छ. I.

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584. fema...TTTT-( The fragrance) which is fully developed (TTT) and is pungent (THT), as the roots are made wet (fema) with mouthfuls of wine ( poured by ladies in fulfilment of its cravings ). It is a poetic convention that even plants, like women in pregnancy, develop peculiar cravings which, if fulfilled, helps them to put forth blossoms. Cf. स्त्रीणां स्पर्शात् प्रियङगुर्विकसति बकुल: सीधुगण्डूषसेकात् । पादाघातादशोकस्तिलककुरबको वीक्षणालिङगनाभ्याम् । मन्दारो नर्मवाक्यात् पटुमदुहसनाच्चम्पको वक्त्रवातात् । चुतो गीतान्नमेरुविकसति
TEATTET AF07977: 11 Cf. also get aleGTE GTPCTT 3 trafic IT of. Com.
592. The god of love is inactive in the cold season, having laid aside his bow and arrows viz, the flowers, which become scarce (face ). He (Cupid ) engages the couples, however, in a hand-to-hand fight' under the pretext (fur) of a close embrace.
597. Like a youngster eager to try a new-found weapon, Cupid appears to be flinging his arrows of mango-blossoms, indiscriminately. Since even those, not suffering the pangs of separation, feel peculiar uneasiness, as if they too have been his target.
598. The festivals are a joyful occasion for villages. The children are dressed and decorated (fafafcf737) in fine clothes and ornaments, women are self-conscious with the pride of pink (CT) sarees which they wear, while the poor (97) villagers look about vacantly without feeling any thrill of the festivity.
600. The forests are in slumber, as if hibernating, in the cold season. With the advent of spring, they are awakened (97fa34FECTE) from their sleep and thus like animate beings, slightly open their reddish eyes in the form of rosy sprouts.
601. The mango fruit, not yet fully ripe, has a colour on its outside surface, which is mostly yellow with some dark-green patches here and there. They are compared to the cheeks of a Dravidian woman, whose dark cheeks are besmeared with a yellow turmeric pigment (हलिद्दा).
602. Cf. बाहल्येन सव्रणस्य वेणोर्मज्जा रोचना भवति । Com. Note the alliteration in the Gāthā.
603. The long winter nights have given much continuous operation work to the bow of Cupid and he has hit many a target

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during those nights, bringing lovers under his subjugation and making them enjoy the pleasures of love. May he not harass them any more in the season of spring. He should look elsewhere for different targets. Cf. gaHSTÀTafa: pfc free atacafe fatfert I THET AFC Sthefeatza: 97TFA Tautaar: ffat: 11 #to V. 7.
604. The tender fresh sprouts are very much pink (ECTEUT), because of the fact, perhaps, that their own red sap is taken over (91fa3t) to them from the twigs (HTET), through which they ( sprouts) have cut themselves (fast) to shoot outwards.
605. The mango blossoms are being pounced upon by the swarms of bees. Of them, some succeed in sucking the honey from the blossoms and getting soaked in them, with drops of honey sticking (fag537) to their bodies. Other bees, who cannot get an access to the blossoms, chase these lucky bees and lick the honey-drops from their backs.
608. The heart lingers (rus) with these deserted villages, where, on the sites of dilapidated (JPUTT) houses, trees have grown up, where smoke, a sign of human life, is confined ( 3TT ) only to the houses of cowherds and where very few crows are to be seen perched up, most of them having left because of the scarcity of food crumbs.
610. The wind-current is blowing downward (3941631); hence the leaves of tree-tops shrivel up (315fTOTT) and become still. The trees, therefore, produce a murmuring sound (ntfort) over the aerial path of the downward winds, in line with their tops (FHE EFFH).
611. f... faccifar-( The tree-trunks) resounding with the chirping monkeys (FETART) moving wildly in their frolics. The Com. has erred in his interpretation of this compound, taking it to mean - FTTH Tranfy: HTTS tfacfaut FR595954TTahfuit facturati Com. HIETATTST—IITTAT EST is the same as merat, meaning 'a monkey'.
616. h4t310i- Tamme same as atareyahrH- ( Bees ) who drink honey.
617. Drilling operations are being carried out on hills to obtain stone for building works. When, therefore, big boulders (fa36fHST) are being taken out, they fall down and as a result
G. 14

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the small stones get crushed and pulverised, gathering in heaps of stone-powder at the base and the stones (395), removed, are fit (TTT) for masonry (TEUTT).
618. Note the alliteration in the composition of the Gāthā.
623. The cymbals (PT), beaten, produce loud tinkling sounds (HHT). They give out an echo which, resounding, spreads far and wide (3TTET3T) and is sent back, as it stumbles in the rows of caves (9501675). After having sounded in series one after another, the echo dies down (TFS) after a long time. A very graphic picture !
625. The peaks of the mountains have gone high up in the sky and, therefore, they look cloudy and smoky (95), while down below the slopes nearby (3THUOT) are in view in their full. extent (faptt), appearing bright and clear (355) in daylight.
627. The boars, struck with arrows by the hunters are pursued by them, following the tracks (937) marked with big seal-like (FET) round drops of blood, oozing from the wounds on their bodies. These drops become clearer and more brightred, as hunters advance further and further ( 37***T).
636. The moon's orb becomes lustre-less because of frost. The Poet imagines, it is due to the fact that the Moon feels the pain of anguish, as he remembers how his friend, Madana, met with destruction in the blazing fire issuing from the third eye of god
Siva.
638. Luminous medicinal herbs of high potency shed their own bright light, as of jewels, even at night. One would'nt know whether it is the light of jewels on the heads of cobras or of the herbs. Cf. रत्नानामोषधीनां विवेको रात्रावपि न जायत इत्यर्थः । The smell of the herbs repels (afrigt 3) the cobras. Cf. fagfaaraotatea fata HFSNIT:..... Com. For the idea of herbs giving light at night, Cf. वनेचराणां वनितासखानां दरीगृहोत्सङगनिषक्तभासः । भवन्ति यत्रौषधयो Porutiyet: Geta: 1 $ATTO . 10.
640. When the rainy season is over (***), the clouds perch on summits of the mountains, shining in their water-less pale lustre (997). The pallor, perhaps, is due to the fact that the clouds have bled white through their lightning streaks, continuously being discharged (faafrut37) like bleeding veins. Cf. fais Sera feret

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योद्धारः पाण्डुवर्णा भवन्ति दुर्गं चाश्रयन्ते । घना अपि प्रोषितप्रावृषो विगतजललोहिता गृहीतगिरिशिखरदुर्गा गलितविद्युद्रुधिरधारा: । Com.
211
641. The fresh nail-marks left on the breasts of the beauties
of Siddhas bring out ( णिव्वडइ ) the picturesque ( विइत्त) borderlines in pink ( आअंबराइ) on birch leaves ( भुअवत्त ). The breasts resemble birch-leaves and red nail-marks look like pink borders..
642. When sages engage themselves in motionless (for) meditation leading to the cessation of the functions of the senses (Häfzuqfafada), they radiate peculiar light. When meditation stops, this light is switched off, leaving the caves in darkness. Cf. असंप्रज्ञातयोगदशायां योगिनां तेजोमयप्रकाशैकरूपत्वं भवतीति योगशास्त्रेषु गीयते । Com.
or
648 परिणअ महरो - ( The fragrance ) sweet like old (परिणअ ) wine obtained from Kinva ( किण्व ) seeds. किण्व - ' A drug seed used to cause fermentation in the manufacture of spirits." 649. दर... The deer approach the pools of water with suspicion and, therefore, they bring their mouths to the watery surface hesitatingly and touch the water slightly, before drinking it fully to their heart's content.
The various kings who were asked to accompany the King Yasovarman have now been permitted to go back to their territories and capitals. The sad, deplorable and desolate conditions of their native places are described by the Poet in the next 30 Gāthās (659-688). For this, the Poet had perhaps before him similar description of the desolate condition of Ayodhya, the presiding goddess of which approaches the king Kusa and implores him to come back and reinstate the city's glory. Cf. Raghu XVI. 4-22.
662. The inner halls of houses have their roofs (f) removed, having been demolished; the foreparts (TR) of the supporting walls have turned outwards (a), though standing on the same spot, as a result of the disappearance of roofs. Consequently they look like big, dry wells.

663. The jewels, that were used for big pillars to support the picture-galleries (at) and make them look variegated (H), have now disappeared, being replaced by the jewels on the hoods. of the cobras freely moving about in these deserted places.

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664. Here at that time (dist) in the rainy season, the city was surrounded with mounds of dust, heaped up in a circle ( 9fवेस) and pieces of jewels and corals appeared luminous (पआसं) in various places (90) where they were embedded (n).
666. The houses had vacant spaces (31731TT) inside, where in places of the store-houses of grains (), there were now layers of coarse (954) husk ( ) and dust, making these spots uneven with ups and downs (73fest). There were big holes (faat) burrowed in these empty spaces, serving as tunnels to investigate (STUUTETUT) underground treasures. 667. The fields, ploughed, have their furrows (
F TA) levelled and covered up, not with grain-crops, but with a thick growth of wild vegetation (eeft) and with dense clumps of sun-plants (arz), as the soil is fertile ( TUT).
668. The lakes have dried up and their beds are now taken up by low-lying patches of earth (HTTHT377 97), with an overgrowth of Th plants instead of lotus-plants. In these spots, not women, but vacant directions stand on their toes to await (vifa) the arrival of dawn (forts) and the directions stop still (372rHifa) now, having exhausted the stock of lotus-perfumes which they had given away (fafurafest). Cf. GEET HATT gO TET FREE TRIETE इदानीं केवलं निरुदकगर्ता भवन्ति । कमलानां स्थाने करभा भवन्ति । सूर्योदयं
ATAİ FİTTİFerra pra faze Warrice: 1 Com.
669. In the gardens (59 for TAT) were swings hanging underneath the trees, tied to their branches. The ropes of these swings have snapped, leaving only the knots (
a f ), tied to their branches and they are overgrown with sparse grass which is now old and dried up.
670. In the suburban areas (aufs) of the city, there are structural monuments (faTITUT) commemorating old kings. They are now collapsing (3724uut) and are reduced to reddish brick powder (atoremuet), now haunted (errfazr) by old snakes.
672. On the premises, constructional projects of good men, commenced long back, have been left incomplete in the absence of the ruling monarch, after having laid big (375) solid foundations (FATTET) and the heaps of stones, cut and chiselled (aftar), having been cemented and piled up in their supporting walls. They are now in an old, dilapidated (FTE TBT) state.
F

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674. The extensions of houses (af) have only high walls reaching the house-tops left over, their supporting wooden beams having crashed down. As a result, the bright, scorching light of the sun freely fills up the inside of these roofless enclosures which, the Poet fancies, must be tormenting the hearts.
213
675. The dwellings (fr) have thresholds built up (T) in stones () and are encased in plates of iron, which are however, rustless ( कलुसहीण ), being constantly rubbed and polished by people. The doors, made of scented Agaru wood, light() as they were, have become old () and broken, leaving of them a few bits of wood ( दारुस अला ) .
676. Expansive mounds () here now indicate two sad features of neglect. Wooden beams (fr) have crosswise joints (fa) (now fallen out from demolished houses), over which are found suspended ( परिलंबि) sloughs of snakes (बालणिम्मोअ ) ; and we also observe, in the vein of an archaeologist, signs (f) of the layers of mud () stretched all along its length (आयामठिअ ) .
678. In a dilapidated house, old, worn-out bricks (OORZET) have fallen out through the cracks in the walls which are getting separated ( विहडिअ ) from the lower foundation ( पढमपीढा ) . These decayed bricks are covered with reddish layers of clay ( पंकलेव), sticking to them thickly. Cf. इह विघटित भित्तिच्छेदनिर्गता जर्ज रेष्टकाः । Com.
679. The tube-wells have their inner ring of mortar-cemented wall corroded (af) by the action of alkaline or salty substance, coming out ( लवणुग्गम ). As a result, they look fearfully more conspicuous and uplifted (r), when fully filled ( पूरण) with water. Cf. पुराणभित्तिषु लवनिकोत्पद्यते तथा च भित्तयः क्षीयते इति प्रसिद्धमार्यावर्ते
Com.
680. Well-paved, solid streets, undergoing wear (f) and tear () and having pieces of precious stones embedded, appear grim and grave (f) and tell us how broad ( आहोअ ) they were.

682. There were round-shaped houses ( घरगोलअ ) and their old walls ( जुण्णभित्ति ) were held fast in the foundations, with lines of pointing done in mortar (q). The doors, how

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ever, have deflected and moved away (31tafT3T) from the foundation and the walls have ( decaying) reddish-yellow (975MTAT) plasters (949).
683. The houses have a very solemn and grave appearance, because they admit more light (31FEST tar), as their latticewindows (1937) have broken in parts (FET). And in the shadows of the houses have mingled the slight or faint shadows cast by the pillars.
684. The top-most parts or terraces of houses cause shivers (37pcsifa) even during the day, because of the imagination (param) of ghosts; no sounds (OHE) are heard from there and yet overpowering fright creates (af537) them.
685. Compounds of houses (Artan) had trees like palms and dates; but we find their foliage and fruits are plucked away out of greed (TE), leaving these trees bare (fafta ). In the same way, the iron bars of water-wheels (REE) have been removed (3795ta) and their wooden spokes (5) are thrown about (CIE)
686. In the suburbs (9fThe), there are big precious treasures (FOTETO) buried under-ground and their location is indicated by symbolic marks (face). They are being wistfully looked at with bowed heads (ET) by kings, as they could not be utilised for their various projects (आरंभ) in which they failed (विहुअ).
687. The natural darkness of the night is greatly increased, as the smoke and the dust could not be cleared for a long time and the roads also became narrow (fast) because of the debris of houses falling in heaps over them.
688. fagfsy...aefe - (Kings ) who greatly disturbed or dislocated (fagf531) the continued progress of the prosperous conditions (of their subjects ).
Next, in a Kulaka of 6 Gāthās ( 689-694) we get a description of the various pleasures which the wives of the army men indulged in, when their husbands returned home after finishing the campaign.
689. Here is a lady who has regained the brightness of her face, after the return of her man and has once again taken up to the mirror to observe her reflection. During separation, the
1

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mirror was put aside. Her face and its reflection are like the lotus of a lotus-plant, facing the sun's orb enveloping the lotus in its light, as if kissing it.
690. The lady was angry; but when her man held her lower lip between his own lips, the flush (9f52T3T) of anger began wearing away (fausia ), like red wine in a crystal cup which goes on subsiding when sipped ( 914 ), after being seized between the two lips by the drinker.
691. The man had encircled her neck with his hand which gradually slipped down and grasped one of her breasts. The lady covered his hand with her own and inserting her own fingers in his fingers, started moving them over (E T ) the breast. The whole picture looked like an attempt on her part to play on the lute (at) with a gourd ( at ), the breast corresponding with the gourd, while his lower hand corresponded with the handle of the lute, on which her moving fingers appeared like playing on it.
692. The binding knot of her hair has been loosened and the abundant locks fall over her forehead (515), which her lover has tried to hold up. Her face thus looks like the second ) night of the black fortnight, when the first digit (96AAST) gets slightly lessened (aceta) in lustre.
693. The moon and the deer appear to be standing united on its surface, because, as the Poet imagines, they have between them a common bond of grief (1976:9), viz. the defeat both of them have sustained from this lady, whose face has vanquished the moon's orb, while her eyes surpass the eyes of the deer.
In a Kulaka of 42 Gāthās ( 695-736 ), we get the glorification of the King Yaśovarman at the hands of his bards, after he finished his victorious compaign and reached the capital, Kānyakubja.
695. The bees transfer their attachment to the honey of heavenly flowers showered by gods, soon after they are dislodged from the temples of enemies' elephants, shaking their heads when smarting under the King's painful blows.
697. The captive wives of your enemies, employed by you in your personal service, are waving chowries over you, while shedding tears at this humilation. These tears, flowing in streams, are not to be noticed on their bright cheeks, filled, as they are, with

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the reflections (afsar) of the soft hair of chowries handled by them, appearing as if they ( tears ) are absorbed (47317317) within (siat) through fright.
698. The darkness from inside the temple - cavities goes out (vits) in the form of the particles from the mass (3973) of ichor, thrown out (Frost), as it were, by the bright rays of the stock of pearls stored itside their temples.
In the next five Gāthās (700-704), the Poet refers to the following legend with reference to the chiselling of the sun carried out by fagarantir :
सूर्य married संज्ञा, the daughter of विश्वकर्मन्. His effulgence was so over-powering that his wife gave him grey or 'Shade' for a handmaid and she retired into the forest to devote herself to religion. While thus engaged and in the form of a mare, the sun saw her and approached her in the form of a horse. Hence sprang the two Aivins and रेवंत. सूर्य brought back his wife संज्ञा to his home and her father, the sage faga hf, placed the luminary on his lathe and cut away an eighth of his eflulgence, trimming him in every part except the feet. The fragments, thus cut off, fell blazing to the earth and from them fa9a9f formed the discus of विष्णु, the trident of शिव, the weapon of कुबेर, the lance of कार्तिकेय and the weapons of other gods. The Com. has a different version to give about this episode. Cf. Tarenfurahit I 3777f ra taart भर्तुस्तेजः सोढुमशक्ता सती ततोऽपससार दूरम् । ततो भगवान भानुस्तदनुरक्तः radotsfigrafirar UTE CRAIGRU FETET TETAT I Com.
700. The smoke, which is gulped every day by the sunlight, is caused, as it were, by the chopping strokes of the pointed ends (HR) of the chisel () against the hard bones of the sun's body given by facet to trim the sun.
701. The day's brightness in its various parts was being curtailed (पडिबद्ध) in proportion to the number of chunks (सअल) chiselled out (agf ) from the sun's body every day. cf. sfacrat ar TEUETTİ TARAFT
F TICÆ I Com. 702. At every blow (TCU) of the chisel on the body, the sun's mouth would open out in agony, revealing the lustre of his teeth. It appeared as if at every time the mouth so opened, the lustre of his teeth was the bright moonlight ( OET) that clung to his teeth at the time when the moon entered his mouth every day,

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for being drunk by him. Cf. sfaferi FOT TRETIT: 4: foartfa sfHch1 Com.
704. ...gis - Does not fulfil the requirement of the brilliance of prowess.
705. While bowing at the King's feet, his subjugated enemies keep away the hovering rows of bees over their crest-chaplets (AT), looking as if they have dropped down their dark, angry frowns ( corresponding with bees ) from their bent (ET) foreheads through fear, anger being substituted by the fear of the King. Cf. वशीकृतस्य च भयाद् विगलिता भएकुटि: । Com.
706. You have made the time of your life unique, giving greatness to the era by your accomplishments, thus made fit to be called a Yuga-Puruşa.
708. JE TU stazifa 55Having resorted to i.e. cultivated your merits (in themselves ).
710. Although Vāsuki has a thousand tongues, he has only one mind to think of your merits. Speech is an expression of thought; hence his inability to praise you fully and do adequate justice to your merits. Cf. HEEHTETT TETSZTOTT foruव्यापारात् वागिन्द्रियसहस्त्रयुतोऽपि वासुकिनिखिलांस्तव गुणान् स्तोतुं न शक्त 5740: 1 Com.
712. Like a lover boldly approaching his beloved (31feHTCH) at mid-night (frHTE), the king, wooing the royal Glory (397) of his enemy, engages him in a sudden, surprise attack (EHTET) at midnight, with a drawn sword (31f7 ) in his hand, in the bluish blade of which he finds his image reflected (afsstufefaa). The blue reflection is imagined by the Poet to be the blue garment worn (aftar) by the King in order that it should blend with the darkness of the night. Of.
मुखरमधीरं त्यज मजीरं रिपुमिव केलिसुलोलम् ।।
aos afectaui Afafhaut sisse tortoll . TT. V. 4.
713. The name given (ofazt) to you ( 25 ) by your parents, although quite common, with reference to the letters (17496TE) it contains, is apt and significant, with a great deal of thought behind it (faqat). It means “one whose fame serves as a protective armour.” The mere mention of your name thrills the heart with vibrations (57) suggestive of security from danger. Cf.

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त्वन्नामकीर्तनरूपं यशः कवचवदभयकारि भवति । अतः यस्य यशो भीतानां ant greprezini ta'aruauf'gfa ara i Com.
714. The bluish blade of the sword with pearl-clusters clinging to it, when being withdrawn, looks like the blue cloud (corresponding with the sword) showering hail-stones (5995) whitish like pearls.
715. The seals, stamped on his edicts in red vermilion (façt), are welcomed by his servants as symbols of the King's love and received by his enemies as the red glow of the fire of his wrath.
716. If, as is supposed that Laksmi or Royal Glory resides on your right (9137T) arm, how can she, at the same time, be dwelling on your sword ? - Ah ! I know (Afori) now. What we find inside the sword is just her reflection, cast from the arm in the shining blade of the sword held in the same hand.
717. The merits, some men have, do not become known to the large mass of the people, unless the King has shown his recognition of them in the form of special honours and decorations (FhTrafa3t) bestowed on these men.
718. This is not the first time that you have been forced to knit your eye-brows in angry frowns against your enemies, when they bowed and touched your foot-stool with their heads, filled with the fear, as it were, of their guilt. There have been several such occasions in the past.
719. The captive women are continuously shedding copious tears flowing in streams over their long and loosened creeper-like tresses of hair from their heads resting on their beds and they reach the ground down below, thus giving the idea that these creepers in the form of the long tresses of hair have their roots (#4457317) down in the ground-soil.
720. Lakşmi is like a young girl. How can she find pleasure in staying with men who are effeminate, having no manhood? And yet what can she do ? All (FET) women somehow have to tolerate the situation (E3THT), as it exists (578) and then in course of time they come to like it. Cf. Faf: fit: raft कामयन्ते । नैव का अपि कामयन्त इत्यर्थः । पुरुषकारहीनान स्वपतीन् विहाय 999rbai argent 37 tumeftfor 1974: I Com.

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722. Men born in one and the same family ! Some of them rise high (358 sfa) in fame and eminence, while some others go down (BET) in degeneration and downfall. It is like the seed, the one seed, from which shoot out the roots that go down in the subsoil and also the sprouts (317) that go up higher and higher. Cf. एकस्मादेव बीजादुत्पन्नानि मूलानि अकुराश्च क्रमेण पृथिव्या अध: ऊर्ध्वं च यथा गच्छन्ति तथैव एकत एव कुलादुत्पन्नाः केचित् पुरुषा अपकर्ष केचिच्च उत्कर्ष Tagi: 1 Com.
724. One, who takes a fright, runs away from the person who gives the fright. Here, however, you are afraid of faults, but you do not run away from them. On the other hand, they run away and make themselves scarce in you. This is something contradictory (faaeter).
728. Vanity was passed on by you to your supplicants Yourse), who, with the fulfilment of their desires by you, went about proud, with heads erect ( TTO). This trait never touched you, even when you had in you the fullest justification to be vain, because of your sovereignty (TETT).
729. The tree of liberality (Truggh) got its great and magnificent growth (af 3r) through your subservient kings owing allegiance to you, as they spread their gifts here and there, having first received from you in large quantity. It is like a big bunyan tree, which feeds its own branches and then the branches give away whatever they have received from the main source.
Removal of bodice by the ladies for the purpose of preparing to get ready to get into the bed of the King is the theme of the next 6 Gāthās (730–735).
731. First thing is loosening the knot which ties together the two flaps of the bodice. The hand, therefore, slides over to the place of the knot (aftsgru) which has become tight and hard (1995), being constantly pulled (31737f5c) by the weight of the breasts (4T), full and plump (
a s). The bodice is fastened by means of a string passing (HAM) through eyelet-holes (FTLET).
732. The lower part of the bodice has a linen strap with eyelet-holes (alfo2m), which encircles the upper portion of the stomach. As this strap was being loosened by the lady with her deft, delicate fingers, the bared parts of the belly looked lovely

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( छज्जंति), slightly exposing to view the relaxed ( सिढिल ), wavy folds (m) below.
220
nail-marks
733. The big round bosom () had earlier rows of (T), the black skins or scabs over which were being painfully rubbed off (उच्चुडंत) by the tight flaps ( कवाडअ ) of the bodice being removed. The bosom, so partially exposed, looked like the full moon's orb, from which a cloud was slightly moving away.
734. The bodice, being hastily removed over the throat, exerted pressure (fr) on it, forcing the lady to give out hard (3), sustained (fa) breaths; as a result, the nostrils heaved up (fr). And when the bodice was thus pulled out, it tossed up (उब्वेल्ल) the abundant locks of hair (चिहुरपन्भार ) leaving it dishevelled ( विसंठुल ). Cf. मदनातुरायास्तादृशेनैव प्रेयसा शिरोमार्गेण कञ्चुके विमुच्यमाने ईदृशी अवस्था नायिकाया भवति । Com.
735. The jewelled bracelets were tight on the wrists (a). The lady could remove (T) them from the wrists with a strenuous effort, exerting painful pressure on her palms (); and then, after the bracelets were so removed, she pressed her hands against her bare breasts, to cover them up in her shyness.
The god of love has been burnt by Siva and is, therefore, body-less. He, however, depends on the beautiful women to carry on his mission. This episode of the burning of Cupid is being described in a Kulaka of 5 Gathas (738-742). For a detailed graphic description of the same incident, see KumāraSambhava III.
738. God Śiva was absorbed in meditation (forfree) with his eyes closed. As soon as Madana discharged his flowerarrow at the God, his mind was greatly agitated and he was filled with wrath (f) which tinged His eyes red, as He found out ( संभाविअ ) the cause thereof.
739. The corners (T) of his eyes (fat) started becoming dreadfully ( दारुण ) red little by little ( थोअत्थोअ) and this red lustre became intensified (T) by the jewels of the lord of snakes thickly coiled (f) over His ears.
740. His broad chest became darkish, because the bright splendour (r) of the white ashes, applied, disappeared

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(fafurater), when overpowered (31f5a) by the drops of sweat. With the chest becoming darkish blue, the throat, with its portion (ata3r) of blue lustre on it, was not distinctly discernible (अविभाविअ).Cf. स कोपश्यामिकयैकीभूतो विवेकेन न लक्ष्यते । Com.
741. With great difficulty, His third eye which flashed forth the fire-flame, could open out (fa€55) fully. There was pressure of the fire-flames on the eye-lids from inside and at the same time, the angry frowns, knitting (fast) the eye-brows, pressed (Hf9fs3T) the eye-lids from outside.
742-744. Three Gāthās ( 742 to 744 ) form one sentence. The gallant King whose neck is encircled by the tender arms of fair women, on whom Cupid, although burnt and body-less, solely depends, has now taken up the summer dress (fur3TENT8).
748. Even a moment's separation of the King forces sighs of grief from the hearts of these ladies, appearing as if they ( sighs ) are a few spots or blobs of honey from the flower-arrows of Cupid, left over (feat) inside the heart attracted towards the King.
749. Like Lord Krsna, who disappeared from the sight of Gopis on the moon-lit sands of Yamunā, this King was being searched ( THE ) with eager, longing eyes rushing forth (Telfast) to meet him with tears of joy, looking as if the eyes have stretched out (ata) their hands' in their ( ladies') haste to embrace (of 7) him. Cf. faxMOETTİ # Goud csire 574fceterfacerea arfETTHI 9fe7fETTAÇinafia 3feft: 1 Com.
The graceful dalliance of the ladies, while in close contact with the King, is being described in a Kulaka of 23 Gāthās ( 750–772).
750. The thin hair-lines on the stomach, wavy (arifruft) with the triple folds on it, are supposed to be the reflection of the curly ends of the hair-braid on the back (fs). The stomach is so crystal-clear (fe ) and transparent that the hair-ends of the braid on the back are seen (ata) reflected in front on it (the belly) !
751. The smile, mingled (Buface with the pink lustre of the lips, is comparable to the newly-risen pinkish moon, the spot on him corresponding with a swarm of bees, gathered because of the fragrance of their mouth-breaths. Cf. BETPLOFFİ TETRACT

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तत् नवोदितचन्द्रवदाभाति स्म आरक्तशुभ्रकान्तिमत्त्वात् । आमोदयुक्तश्वासमिलिता 7 374TFITTI AEG TOT 9naathifa FA 1 Com.
752. The decorative ear-ornament, consisting of a bunch of tender sprouts, looks like the rosy palm of the lady and the flickering pupil (ATE3T) of the eye, stretching back and meeting the ear-ornament, is like a small ball striking the palm in a ballgame (pratoT), generally indulged in by young girls in their childhood (aria). Cf. $a Brugte aquara 19mmH79897 Com.
753. The ladies, veiled (Taco) in blue garment and having rows of bright, white teeth, imitate (arafat ) graceful creepers with their dark-blue foliage and white flowers, with swarms of bees hovering over them, corresponding with the ladies' blue veil (E3T-6717737AU).
754. Their bodies are full of nail-marks, fresh and red, inflicted by the King in love's enjoyment. These marks show a pattern or a design of red Asoka flowers, with which Cupid, the god of Love is worrshipped. The Poet fancies that the ladies have these designs drawn on their own bodies, to worship thereby the god of Love who has granted them the constant presence (FR) of the King. Cf. forat fa रक्ताशोककुसुमैः पूज्यते । तानि रक्तानि भवन्ति नवनखक्षतवत् इत्येवमुत्प्रेक्षितम् ।
Com.
755. A poetic fancy, basis for which is the often used expression INTE meaning "a lady with thighs like stems of plantain tree". When these ladies of the harem put on a green-coloured silken garment, they exhibit the graces of the inner stems (TOHTOT) of the plantain trees ( TEHT) with their perfect paraphernalia (9f3T) of tender, green leaves, in respect of their lovely, tapering thighs and green garments. The occasion for the green dress is, of course, their secret visit as an Abhisārikā. Cf. 35GUETAT कोमलत्वपरिवर्तुलत्वादिना सादृश्येऽपि हरितांशुकप्रावरणं विना कदलीदलतुल्यता fanfararter Share & Baufacte: I Com. Cf. also ETFICHE: **CHTESTEHTİREMETA I Ħa. 93.
756. When these ladies bend down their faces in graceful dalliance, marks of bites are to be seen on their lower lips, as they touch the bosom. It looks as if it is their heart that throbs under the guise of these bites, showing vividly (97393) the sores of wounds caused by Cupid's arrows piercing the heart.

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757. The bodice, with its two flaps, opens out in the middle (मज्झ ) between the two breasts and this gap looks bright ( तार ) . The Poet imagines this gap to be the upper (3) third eye of god Śiva, opened out to destroy Cupid () and the ladies. pounced on it and imprisoned (er) it, as it were, keeping it captive on their bosom for ever.
223
758. On their bosom there has been a long line of nailmarks caused by their lover in the course of violent enjoyment. This nail-line () has left its impression (fra), which, however, gets broken (f) on the surface of the skin by the thrill of horripilation due to the excitement of love. The line, thus made uneven, looks like a seam (af) with small stitches sewn over the heart, that burst (fr) by the shock of the fear of a likely momentary separation.
759. The ladies look charming with their round breasts, ( थणमंडल ), projecting (farers) at the prospect () of their lover's embrace (f). They thus look like two wheels of the Cupid's chariot, proceeding towards () their lover. Compare the following couplet from the Karpūra-mañjari, where the two dangling ear-rings of the heroine are imagined to be the two wheels of the Cupid's chariot :-( - ( विचक्षणा) - उहएसुं वि सवणेसुं णिवेसिअं रअणकुंडलजुअं से । (राजा) - ता वअणवम्महरहो दोहि वि चक्के हि चकमिओ ।। कर्पूरo II. 18
760. The feet of beautiful ladies, fair, soft and delicate, are often fancied to be the yellowish Campaka buds. The ladies often put out the lamps burning by their bedside, out of bashfulness, when they find their lovers removing even their lower garments in the frenzied excitement of love. This they do by means of lotuses which they have as decoration on their ears. The rows of lamps, imagined as animate things with feelings, are fancied by the poet to be clinging to the Campaka-like feet of these ladies for mercy, out of fear of being blown out by them with their earlotuses ( कण्णुप्पल ). Cf. ता हि नायिकाः सुरतार्थं प्रियतमैरागूर्यमाणा अपह्रियमाणनितम्बवस्त्रा लज्जया कर्णोत्पलप्रहारेण दीपपालीर्नाशयन्ति । तन्मा नो नीनशन्निति दीपमालाभि: सुन्दरीचरणा आश्रिता इत्युत्प्रेक्षितम् । Com.

761. At his very first sight, the ladies have sucked him in.. Now with eyes contracted (for) and with eye-lids (TF)

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covering, they confine him, as it were, in a cage (Puffer) for fear of his going away (
3 20) from them. 762. The white sheen of the rows of teeth, mingled with the pink lustre of the rosy lip, spreads overs the bosom of the ladies, appearing as if they have over their breasts, strips of white bandages (qurga) soaked in blood (EET), over the wounds caused by Cupid's shafts piercing the heart. Cf. 3TETTHET HANITरक्ता ये स्तनप्रसारिणः स्तनोपरि पतिताः शुभ्रा दन्तमयूखास्ते मन्मथकृतानां 3777PTAUTAI HURT T: TTT aralaust 5914 - afar 479: 1 Com.
763. The multiple braids of hair, long, thick (fe) and abundant, are often utilised by the ladies to bind tightly (CGTacu) the hands of their erring lovers. The sight of such braids, therefore, gives to our King, their lover, a very powerful (at) longing (avet) to seize their hair (PUSTITE ).
764. The faithless lover stands before the ladies, as streams of tears flow out from their eyes, washing clean not only their own broad cheeks (गंडवास) but also the image of the erring man (अवरद्ध) reflected in them. This they do with a view to removing all taint or contamination (3790f3t) caused by his intimate contact with another woman.
765 At the proper time (af) they loosen their golden girdle ( HTT), with its two ends (ifs) shining , because of constant (48) friction (899). And all the time they have their beaming (fasteia) eyes fixed on the face of their man. Cf. प्रियमुखनिक्षिप्तविहसल्लोचनत्वमेव समयः । अतोऽवलोकनविशेषेण प्रियतमं प्रयुज्य विमोचयन्तीत्यर्थः । Com.
766. The dust from the flowers placed on their ears falling down on their bosom, as the ladies toss their heads in anger, serves the purpose of the healing powder ( 3 oujfat), spread over the wounds inflicted by Cupid, now in the process of slight healing (acea).
767. Love's excitment caused tremours of the body and as a result, the jewelled necklace worn over the breasts (STUGA) and the rings on the fingers of the hands of these ladies, started to jingle (fure). It, therefore, looked as if the girdle and the anklets are producing the jingling sounds (HE), although their body was stationary, pinned down to one spot (oftast) and there

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was no bodily movement on their part, which ordinarily produce these sounds.
225
768. The equipment required for painting consists of various different colours and colour-brushes ( वण्णअतुलिल्ल ). The ladies draw (ffa), as it were, the portrait of their lover with brushes in the form of their eye-lashes (4) becoming multi-coloured (fafaga), when the lustre of gems in their earornaments ( कण्णऊर) pervades these eye-lashes. Cf. अक्षीणि हस्तस्थानीयानि सुन्दरीणाम् । पक्ष्माणि कूर्चिका स्थानीयानि । कर्णाभरणस्थनानामणिप्रभारागद्रव्याणि सिन्दूरादीनि । Com.
769. The one-direction (4) view, for instance the frontal view, of these ladies in its clear and bright aspect (fa), looks charming, when overspread by the rays of toenails() shooting upwards, appearing like lovely stagecurtains(3), (illumined by foot-lights).
770. The eyes of these ladies, with their eye-lashes fluttering ( फुरंत ) and tremulous ( लोल ) in dalliance, appear to be flying (f), as it were, like birds, towards their lover, with flapping ( तरलिअ ) wings, the fringes of which are drawn in ( संपुङग्ग ).
771. Their white teeth fall upon the lower lip of their lover close by (TUT), as they ardently kiss him. The bright rays of the teeth appear like white lotus-stalks (), with which they suck in the distilled juice of his mouth. This picture corresponds with similar scenes in restaurants where men and women come together to drink from glasses full of liquids with the help of grass.
straws.
772. दिटिटराअ - दृष्टिराग-- ' Love as seen or reflected in the eyes. Cf. अथ भवन्तमन्तरेण कीदृशोऽस्या दृष्टिरागः । शाकु. II. अणुबज्झताई - अनुबध्यमानानि - Being continued for long.
773. ATAT-TT-A young girl' according to the commentator Mallinatha- 82. O According to another commentator on Bhattikāvya, she is - ' शीते सुखोष्णसर्वांङगी ग्रीष्मे या सुखशीतला । तप्तकाञ्चनवर्णाभा सा स्त्री श्मामेति कथ्यते । Vallabhācārya commenting on the same in Meghaduta says, . श्यामा एकवारप्रसूता । तरुणीत्यर्थः ।

The breasts, pressed and rounded under pressure, looked like lotus-leaves moistened and placed on his chest.
G. 15

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776. fuafo - 31frifia. - 'When the girdle is not thrown away or set aside in contempt.' The girdle, still hanging on the buttocks, looks charming.
778. The saffron paint applied to the lower lip is mostly wiped out (gryf#3r) in the act of kissing, remaining yellowish (45) only on its edge-line (H ), while the eye-brows come out in black, being combed (fafofast) with nails.
782. The lips ( UTATH ), throbbing with excitement (HEHE) and shining bright with rouge, appear like wells filled with cranes, corresponding with the white rows of teeth which the lips cover and hence called दसणवास. Cf. रागेण अलक्तकादिरडगेण उज्ज्वलास्तथा च अन्तःस्थितैर्दन्ततेजोभि: सारसपक्षियुक्तवापीवत् शुभ्रवर्णयुक्ता ये THOTTATI 3TTOOTEST Tu Coet a gyet: 1 Com.
The next 5 Gāthās ( 783-787), forming a Kulaka, describe the floral toilet of the ladies after bath on a morning of the cold season. Cf. 3727 274574tufasinin f9f917 halfenatuitaethI Com.
783. E... QafiH- On the lower lip) on which is a thick application (afuath) of wax to prevent (3C2TE) the cracking ( of the lip) due to cold (TEHTA). Cf. 75 FT: STUTT: 1 Com.
784. When the ladies have to meet their lover for the first time, their enthusiasm passes over to the qif flowers, interwoven with leafy clusters of heara flowers laden with frosty drops.
785. The pinky saffron shade on the face, looking like the rising orb of the moon, has in between the dotted marks of musk, left over ( 3 ) overnight. Cf. 397#artet: 1 Com.
786. The charm of hair-braids, decorated with Damanaka petals along with bits of Marubaka clusters, now goes away (Fig), with only a few Kunda flowers, now turned brownish, remaining.
The description of the advent of spring (wgfaft) is given now in 4 Gāthās ( 788-791 ).
791. Otrasta r intaq-On the outskirts of the capital. Cf. 72,19 TCETTA I Com.
Description of the graceful charms of young girls is the theme of the next 5 Gāthās ( 792–796 ).

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793. The eyes, closing slightly in bashfulness, reveal streaks of white lines with the central portion of pupils inside ( BiataTTT) pushed in. On the crescent moon also the black spot is not observed. What we can see is only the white portion down below. Cf. Tagifterii fe 7907 THTHC 1 7919 ETTFATET 370 $aferifatनयनेषु न भासन्ते । Com.
794. The lower lip of young girls, subjected to the pleasures of love, looks dry, prominent and protruding, especially because of the sunken emaciated cheeks. It has also the lustre of the pollen of a Bimba fruit (कक्केअण). The Com. notes कक्केअण-कर्केतन to mean ' a kind of a gem.' Cf. freut sfa Aforfastastaaegati and he further adds --- 31fafarafagfthed ATESTATI FTATETRA atama # Jharanara H GH I Com.
795. Through exhaustion the breasts loose their swell, becoming thin and wide apart from each other (farm), like filaments of a fresh Bakula flower, turned reddish by the scorching heat of the sun.
Having finished his description of the King's victorious expedition, the Poet now strikes a personal note, giving a few autobiographical details about himself.
797. 5T315ETT - afactorfar: -'Having a title (FET) of a facts. Rājasekhara notes ten stages for a poet to develop into a great Poet. In this, the sixth stage is that of a Mahākavi, while the seventh stage is that of a Kavirāja, when he secures proficiency in various languages and possesses unrestrained skill in various types of poetic compositions and in the delineation of various sentiments. Cf. Sretagaregato: Helafa: 1 TFT wa Taifanan तेषु तेषु प्रबन्धेषु तस्मिस्तस्मिश्च रसे स्वतन्त्रः स कविराजः । का. मी. V.
798. The high esteem in which the Poet Kamalāyudha held Vākpatirāja makes him feel elated, although he fully realises that himself, he is dry and insipid, with reference to his poems.
799. The distinctive traits that you may find in his literary, narrative compositions (FETfUTC) are like drops of nectar sprayed out as a result of churning by him of the ocean of Bhavabhūti's compositions.
800. Along with Kamalāyudha and Bhavabhūti, the Poet mentions Bhāsa-Jvalanamitra, Kālidāsa, the author of Raghu i. e.

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Raghuvamsa, Subandhu, the writer of the literary composition (ca) Vāsavadattā' and Haricandra. For fuller information, see the Introduction.
801. femtoj - 2991 avi – Soft for touch (on the tongue ); pleasant to recite'. gru - r - 'Solid or substantial in its shadow (of the sense ). Cf. Ten 919 itfassfuri parti आलेख्यवदिङिगतदर्शकं रसयुक्तं स्पर्शकोमलं सारयुक्तं मुद्रितमिव मनसि प्रवेशशीलं SCUTET 37ef Teringat a sacraet: 1 Com.
802. BITTHAT3T-EGUOT37T --- 31THE Era ISIT: - Those, well-versed in scriptures (311), in the Science of speech i. e. Grammar and in metrical science or prosody (GH). gaeth furt-ga (fa)61491fcut: -Writers of historical accounts like THT2TUT, HETATT and gerus. ATASUT1 - 02: – Poets of substance; great Poets like afmary and HF.
803. Things heard from the Poet's utterances have already filled the ears of the listeners. They still want to hear more of him. Therefore, they nod their heads to push down in the ears, as in sacks of grains, whatever they have heard, with a view to making room (TTATH) for additional things yet to be heard.
804. The learned men (fa3757) requested the Poet (araufar TET), with their eyes beaming in wonder, to tell them about this King also, on an occasion when life-stories of great man are described.
These learned men, while making such a request to the Poet aufaktur, extol the King especially with reference to his exploit in slaying the king of Magadha ( Gathā 844). 40 Gāthās ( 805844) thus give us a big Kulaka, with their subsidiary Kulakas. For instance, 12 Gāthās (805-816) speak of the King as an emanation of Visnu, whose portion he has inherited,-Vişnu who became the resort of all three worlds at a time when the mightly catastrophe of Deluge (704) took place. Nay, the King was an incarnation of Visnu Himself (Gāthas 817-826). Like Krspa, an incarnation of Vişnu, the King is an expert in the art of love and indulged in novel forms of love's pleasures (Gāthās 827-837). Even the captive wives of his enemies became enamoured of him, because he was so handsome ( 839-843).
805. The Poet describes what happens on account of the deluge (915). Seșa, who is all along supporting the earth over

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his hoods, is weighed down (a ) by the pressure (Brande) exerted by the earth, which in turn is bent (BET) under the heavy load of the deluge-water (75T).
806. The appearance of a comet (943) is supposed to be an ill omen foreboding disaster.
807. The sun's orb reflecting deep inside the waves of oceans (FSTEPage #527

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814, 815, 816. These three Gāthās form one sentence. The great god Visnu who was the sole, safe resort of the other gods (814) and this our pious King, in whose case the line of sacrificial smoke, rising upwards, reached the sun's orb ( 815), was in reality an emanation (thura) of this great god Visnu and had a popular nick-name feTSIT.
This king is the incarnation of Krsna i.e. Visnu, who often times was carried by Garuda, the son of Vinatā, over the universe.
817. By the force of his upward flight (HAO3TOTT) he shattered the masses of clouds, which looked like pieces of the universe disintegrating at that moment.
818. Bits of string-like (TTT) lightning, separated from the shattering clouds, look like fluttering feathers of Garuda falling off, being avoided by the whirling aerial car of Visnu on the way.
819. The winged mountains sought refuge inside the ocean to avoid the thunderbolt of Indra. The fury of Garuda's flight violently agitated (fast) the ocean and as a result these winged mountains (99) were tossed up from the surface of the ocean and they went on flying (fH 3T) in the sky, trying to keep company with Garuda, ás big birds would do.
820. The sun's path was lit up with red lustre, shooting from the treasures of jewels stored at the bottom of the sea, fully exposed by the violent speed of Garuda's flight and it looked as if it is Aruna, the harbinger, who is going ahead of the sun (samo).
821. The big snakes were emitting flames of poison-fires which became doubly intense through their anger. These reddish flames looked like Garuda's feathers, bitten off and now being ruminated (915) in their mouths.
822. Ananta is another name for Sesa. The main hood on which the earth rests was left unmoved by him with a view to holding the earth steady, while he attacked Garuda with his other hoods.
823. The sharp, piercing thrusts of the nails of Garuda bad no effect, as they became blunted (faecfa) against the chest of Vāsuki, mainly because it had become hard and tough, having developed a thick scar (fast) as a result of its friction against the Mandara mountain. It should be recalled that on that great

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occasion of the churning of the ocean, while the mountain Mandara became the churning rod, Vāsuki was used as the rope tied round the mountain for the act of churning.
825. The quarter-elephants, greatly excited and confused (**), moved away from their legitimate places at the extremities of directions, grunting and twisting their huge trunks which looked like big snakes. As a result, with the weight of elephants at the ends having shifted, the earth tilted aside (34TH ), appearing as if all serpent-groups collected together, standing on the head ( hood ) of Sesa.
826. faut 37TATUT3T - fataTT - Son of fatat - Garuda. Garuda is a mythical bird or vulture, half-man, half-bird, on whom Visnu rides. He is the King of birds and descended from Kaśyapa and Vinatā, one of the daughters of Daksa. He is the great enemy of serpents, having inherited his hatred from his mother, who had quarrelled with her co-wife and superior, Kadru, the mother of serpents. He is represented as having the head, wings, talons, and beak of an eagle and the body and limbs of a man. His face is white, his wings red, and his body golden. Garuda is said to have stolen the Amộta from the gods in order to purchase with it the freedom of his mother from Kadru. Indra discovered the theft and fought a fierce battle with Garuda. The Amrta was recovered, but Indra was worsted in the fight, and his thunderbolt was smashed.
Evil portents begin to occur in the enemies places, the moment our King knits his eye-brows in angry frowns. They are being described in the next 6 Gāthās ( 827-832).
.827. The sky flashes bright, with the sword blades being brandished by Vidyadharas. They look like massive columns of hair (FEETGUE ), standing erect on their ends and suggestive of evil portents (309737). Cf. FETUST TUTH 791GUSTATZT EGYTAT: yfnet: 1 Com.
828. The movement of stars is arrested and they get stuck (afs3r) over the orb of the moon. This looks as if the fangs (ETGT) of Rāhu (fasoy) stand imbedded in the moon, when he mercilessly tried to swallow (79330) and bite off (@fcst) parts of him.
829. The sun's orb also gets pierced and penetrated by the black body of Ketu who attacks him, thus giving an appearance
-

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of a hole bored (fa) through the sun. The lustrous orb with a black hole looks very much like an anklet of Laksmi, dropped down from her foot, as she kicked in anger ().
232
830. Blood (a) flowed from the sun's rays and thus the orb looked miserable (a), like Brahma's primordial, unripe Egg, enveloped (f) in its yolk (a), as it broke open all of a sudden (). Note the use of three alliterating words: कलल, कलिल and कीलाल.
831. The mighty, victorious horses, as they started neighing, threw out smoky, violent exhalations the bright, white lustre of the rows of their teeth being soiled (faf), as it were, by the black hue caused because of the steel bridles (), which they have to chew as morsels ( कवल) every day. Cf. सधूमं हयहेषणं Com.
:
The next 5 Gathas ( 833-837) tell us how the King felt happy and enjoyed the company of his beloveds in festive love-sports.
833. The lady had a garland of flowers round her neck ( पालंब) and its loops ( कुंडल) were tied and fixed to the girdle encircling her waist. The sight of this garland dangling (ft) over her thighs, as she was moving about with vigour, delighted the King.
834. The locks of hair were decorated with f¶ blossoms tied to their lower halves, which thus became heavy (T3). They became loose as a result of vigourous, unscientific (3) dancing movements. Cf. अतिरभसप्रसारितत्त्वेन त्यक्तागमत्वं लासस्य असामञ्जस्यम् । Com.
838. Even a perfect man, endowed fully with all merits and accomplishments, appears, in comparison with the King, deficient and imperfect, because his field of activity is limited and small ( लहुविसयभाव ) and he is denied ( पडिसिद्ध) opportunities of playing his part in a wider range (47) and of obtaining recognition ( संभावणा) thereof.
In a Kulaka of 5 Gāthās (839-843), the captive wives of the King's enemies are described as having wistful longings of love for the King, in whom they conjure the image of the Love-god.
839. These captive women were sleeping on bare ground. As a result their cheeks were enveloped (f) by overwhelming

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(TEua) layers of dust, which they were wiping off from their faces. Ćf. traitstaf watafort: riferat perifera i 7. 83. Also Fiat Fritt farfareuferant afgant arreyri ATO 60.
840. While in captivity, the ladies did not care to comb and arrange (3744T207) their hair. As a result, the hair become rough and threadbare (JTETT) because of hot sighs being breathed over and hanging over the forehead, they reduced its size, making it appear small (fr). Cf. Fariffs CTHUHETHER Yt i गण्डाभोगात कटिनविषमामेकवेणीं करेण || मेघ. 85. शद्धस्नानात परुषमलक TTITS0721 T0 88. Their action of tying such locks of their hair in order that they may look presentable, suggests their newfound interest.in the King. Cf. trauffre4GTIGTHT HGGIHTS: naut FSET I Com.
841. The ladies began looking at the King with soft, eager and wistful eyes in their fresh joy of love for the King, having somehow wiped away the tear-particles clinging to their eye-lashes (972), which languidly ( मंथरिअ) blinked in their sockets (परिवेस). Cf. स्वभर्तृ विरहादिक्लेशजाश्रुपातस्योत्पुंसनं, राजराजाभिलाषानन्दाभिनवाश्रुणश्च gafari ! Com.
842. 39 - Without betel-leaves chewed. - arasBetel; a Deśī word. aga - a - A skin or scab formed over a bruise, after the bleeding has stopped.
847. In my efforts to speak in praise of our Master, words fail to come out (afs37) from my throat, although I try to say them again and again (que). This is due to the great joy I feel, which causes distress and pain (310). The result is, I find my speech is unable ( 37 ofa ) as it were, to do this task.
The king Yaśovarman was an extra-ordinary King, greater than even the King Pșthu who compelled the earth, that had assumed the form and shape of a cow, to yield the usual supply of edible products, giving her a calf in carita #. The legend is told in greater detail in the Introduction.
848. The earth, so long stationed on the hoods of Sesa, leaves him in fright and assumes the shape of a cow. The void (statath - 37872979), that has been created, has been filled by Seşa by swelling (F3TGT3PATUT) his hoods, while the long body (AEE) stretched out (FOTT) in the form of his tail (gue) behind.

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849. Along with Sesa, there is also the divine Tortoise ( - ) down below. When the earth assumes the form of the cow, this Tortoise, with his mouth hidden inside (CHF), takes over the shape (AT) of her udder (31raitot), his four feet transformed into her four teats ( 9341627397), while his toes very much look like the cow's oozing milk (Terzia).
850. The Boar (413 ), the incarnation of Visnu (aort ), became the calf (avur3r). The Boar, with his snout (atui) lifted high (50) and turned and twisted about (atfa3r), soon (ET) assumed the form of the calf with its uplifted mouth (35).
851. The earth in the nether world was enveloped in the thick mass of darkness ( 7734 ). When she assumed the form of a cow through fright, she felt spasms of pain (fearfsusi) which forced out her cries or bellows ( T ), setting smoky waves ( iftar ) and thus dispelling (fafurahs) the darkness. Cf. पाताले वर्तमानो यो बहलतमःसंचयः स पथिव्या गोरूपत्वे हंभारवनिष्क्रान्तधूमत्वं 99: 1 Com.
852. The golden mountain, Sumeru, was dislodged (for) from its foundation (fafurah) and, when it got loose (fafan), it fell (TFS3T) over the path of the nether world, on the head of the Earth-cow and resembled (Artos-HTGPU) the spot of fresh yellow pigment (973TUTT). Cf. FREITERT: A forfatt: 995: 3TTETTITUTO पातालोदरशन्यप्रदेशे गलितः अत एव सूक्ष्माकारः सन अभिनव-गोरोचनात्वं प्राप्त sfatura: Com.
853. The earth has completely changed (9f7317) her form and nature (ETC) within a moment. Formerly on the surface of the earth, there were tufts (HET) of grass, slightly sprouting up ( furt ), which now, in her new form of a cow, appeared like morsels of grass, picked up (Hafes3r) sportively by her and thus filling her mouth.
854. The fat (4797) or profuse streams of milk began oozing out from the Earth-cow's udder. The Poet imagines that they are, as it were, the whole family of Sesa, collected by him to help him bear the heavy load of the earth down at the bottom ( ).
855-856. The two Gāthās together give one sentence. Our King's comparison even with the ancient king get who gave his own name to the Earth (- hence she is called 'eat or at

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does not appear good. Insipid glorification (fr) of kings, wanting in good deeds, gives no delightful appeal to anybody.
235
The next 150 Gāthās that follow now ( 857-1006) are devoted by the Poet to his interesting observations on life in general.
857. Those who consider wealth (fag) and resulting prosperity as some kind of an ornament () which enhances their value in the eyes of the people and feel that it gives them prestige and prominence over others, are soon spoiled, as their wealth goes on increasing. They become stiff and snobbish. It is like frost (g) which dulls and dims the lustre of the moon, although of the same cooling quality (अणुगुण) as the moon. Cf. तुषारवर्षोऽपि शीतस्पर्श: चन्द्रोऽपि शीतरश्मिः इति विद्यमानेऽप्यानुगुण्ये अभिमानमात्रकृते दूषकत्वं Com. For the idea of a rich man getting snobbish compare : - यस्यास्ति वित्तं स नरः कुलीनः । स पण्डितः स श्रुतिमान् गुणज्ञः । स एव वक्ता स च दर्शनीयः । सर्वे गुणाः काञ्चनमाश्रयन्ते । नीति० ३२.
858. Flattery turns the head of these masters and they begin to get false notions about themselves, although what merits they have is all too well-known to everybody.
859. Kings can command the services of the accomplished persons whom they patronise (I), with a view to acquire these merits and skills in themselves. For a poor man, however, he has to find ways and means to propitiate the meritorious ones and gain their favours through service, before they impart their knowledge to them. Cf. दरिद्राणां पुनः कुतो गुणाः । अन्वेषणीयमार्गत्वात् । मार्गः उपायः गुणिपरिचयः । स दरिद्राणामन्वेषणीयो वर्तते नतु सिद्धोऽस्ति स्वरसतः । गुणिस्वीकारं च सेवया दरिद्राः कुर्युः । Com.
860. The rich man is so eager to look for ideal good behaviour in others, although himself he strays away, committing many a moral lapse.
861. Talking of great men in authority, they do not much care for absolute or perfect moral behaviour (); and they are discrete enough not to investigate into their occasional lapses, if On the other hand, they see to it and are satisfied (funifa), if efforts are made to give a garb of virtue to cover up their faults and failures and thereby shield them.
any.

862. Pure, pleasing behaviour of a man who is poor and destitute, goes unrecognised and unnoticed ( अगहिअ ) by the

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people round-about. In the end it dries up and becomes extinct, like a flower close on top of the fruit formed underneath.
863. The very people viz. rogues and vagabonds, who can never be trusted in respect of the kings' wives and wealth, are kept by them as close companions of pleasure.
865. Even men, firmly established in virtues, lose their virtues and become callous and reckless in their behaviour, as soon as they become rich. No wonder, therefore, if we find that the virtueless people are miles away () from any consideration of virtues
in their conduct.
866. Some there are who are light-hearted or mean-minded. They desire to acquire abundance of wealth by the development of merits, skills or accompliments in themselves. And there are others, leading a pure life, who seek to develop merits in themselves by means of wealth.
867. The society under the monarchical rule is divided into various strata and classes, such as royalty, nobility, king's counsellors, officials in charge of administration, general public pursuing their various avocations etc. A poet, seeking royal patronage, has to depend on the good will and support of all such lesser men in authority and is often required to visit them in their houses. The poet's personal experiences in this respect are referred to in this Gāthā. He mentions in this connection three categories of houses of the men in authority including the King(). 1--Houses where the servants are bad and wicked, while the master is a good man; 2-Houses in which the master is a bad man, but his subordinates are well-disposed; 3-Houses where both the master and men under him are wicked. Such houses are difficult to deal with (fa) in their due order (). A good master, for instance, can easily overrule his servants. In the second category, his subordinates can get round their master. The case is hopeless and beyond cure, however, in the third category, where both the bad master and his unscrupulous servants combine to throw away the supplicant approaching for favours.
868. Only such merits or excellences which these officials lack in themselves and on account of which they become averse to great men who possess them, are being cultivated by them. If, for instance, they find that other men are greatly appreciated for

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their skill or proficiency in arts like music, painting or poetry, they attempt to try their hand at developing these arts in themselves.
869. If great and good men find that they cannot succeed with people with what merits they have, they then try to do things which may not exactly be proper, moral or lawful (in accordance with the dictates of Manu). If, for instance, he fails as a poet or a painter, he may take to a questionable profession (ETHT3TOUT) to eke out his means of livelihood. That, however, is not very creditable (ut TTTGT3T) to him.
870. Downright bad traits are often represented (TEST) to the king by his flatterers as good points in the man concerned and then he profits thereby. That is because (575) the king does not realise that he is played upon in such a representation (Turki TUTT). Cf. स्वार्थनिष्पादनपरैर्धनपिशितग्रासगधेरास्थानबकैः द्यूतं विनोद इति, परदाराभिगमनं वैदग्न्यमिति, मृगया श्रम इति, पानं विलास इति, गुरुवचनावधीरणं अपरप्रणेयत्वमिति, नृत्यगीतवाद्यवेश्याभिसक्तिः रसिकतेति, स्वच्छन्दता प्रभुत्वमिति, बन्दिजनख्यातिर्यश इति, . . दोषानपि गुणपक्षमारोपयद्भिः अन्तः स्वयमपि विहसद्भिः प्रतारणकुशलैबूंः सर्वजनस्योपहास्यतां यान्ति । कादंबरी.
871. Finding that in this world of fools, their merit and judgement (fad37) are not appreciated in respect of many testing incidents, these good men retire from active life and go to the forest.
872. The grief of good men is two-fold : that they are born at a time when there are few good men to appreciate them and that, on the other hand, they have to move in the midst of the scoundrels roundabout.
873. Masters, who are perfect snobs, grant interviews (376)spot) and get into close contact (48T) with them, seating them on the same seat with them. And then they think and say that they have gained (927) in their company and their association, as nuch as possibly the interviewers have gained by the honour of meeting them in a personal interview.
874. There are men of wealth who revel in intellectual forms of entertainment of high culture. These so-called masters, however, think that their authority is to be shown in doing things, irrational and absurd (
H U T). 875. It is but natural for great men to be upset and feel agitated (अंदोलंत) over disrespect or scant courtesy (अणाअर)

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shown by masters. They, however, calm down (forears), when they find even rascals or wicked ones being honoured by them.
876. If, sometimes, worthy men of merit find that they have been given admission and are allowed to occupy some space (ATCHT) in royal households, they need not think much about it. They may look upon it as common courtesy generally shown to all and sundry (THTHUI). Or it may be that there is some motive (fufhai) behind it; may be good or may be ulterior.
877. If, for some reasons, it happens that men of merit have incurred the displeasure of kings, they should not expect to be treated with honour by these kings. Their very popularity among the people becomes the reason for kings to discard them. Lokamanya Tilak or Mahatma Gandhi were always kept at a distance by the ruling class. Cf. नरपतिहितकर्ता द्वेष्यतां याति लोके । जनपदहितकर्ता त्यज्यते पार्थिवेन । इति महति विरोधे विद्यमाने समाने । नपतिजनपदानां दुर्लभः कार्यकर्ता ।। सुभा०
878. People avoid you if you have no merit in you. But if you have any special merit in you, you become to others a source of jealousy and mental uneasiness. Best way, therefore, is to cultivate no merit in you or if you possess any merit, do not show it off and become obtrusive, treading on others toes. Thereby you may live happily.
879. Men in authority turn away (foT37773) their hearts from good men, because they cannot bear (u ) to see them highly honoured (afsafa). This is like throwing away (T37UT) all decorative ornaments from the body for fear of their heavy load, which they will have to carry, unmindful of the fact they add charm to your person.
881. With a view to establishing one's own superiority in a particular merit like music, painting or dance, one is jealously vehement in running down other skilled persons in the same field. This is quite understandable. But it is sheer malicious wickedness (THT) on the part of the meritless to betray their mean-minded intolerence, when others with merit are hailed with joy and are applauded (TTTT).
882. It is easy to deceive others by a show of superficial, short-term behaviour and be considered a good man. That never

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satisfies the soul within or the man's conscience (37), which is so difficult to please ( दुक्ख परिओसिअव्व ) .
883. It is natural to feel justly proud for the merit you have. A top-ranking musician, for instance, is bound to entertain feelings of legitimate pride for the art he possesses and he cannot shed it off, howsoever humble and modest he may br. And even if he tries to suppress this feeling and would not show it outwardly, his heart throbs with this feeling doubly strengthened ( विउणअरं ) .
Notes
884. "I do not know says the Poet, what exactly good men feel and think, when they find themselves being hurt (fa) by rough, discourteous behaviour, almost amounting to insult and humiliation, at the hands of the people in authority. This much I know, however, that they will not re-act in retaliation, inspite of the offence given ( अवरद्धे ).
95
"3
<<
885. Virtues or the good values of behaviour in man's life point out by contrast the maximum depravity (महिम - महत्त्वं ) of conduct to which a man of vices goes down in his wretched life. If it happens that virtues or values even can gain the benefits (T), equal to those of vices, then our salutation to these virtues also. Take, for instance, the problem of corruption. We know how a corrupt man gets rich in no time. If a man, incorruptible, can be equally rich, then my hat is certainly off to such a man too.

886. Virtues and vices are traits that have to be inculcated in early years and then later to be cultivated and developed. Basically man is neither wicked nor vicious. Circumstances and surroundings give a tilt to his innate nature one way or the other. Therefore, when required by conditions in which he finds himself, a good man has to act the rôle and character of a villain and vice versa. This stage of the colourless condition, neither black nor white, is the border or boundary-line (a) from where virtues throb and vibrate far and deep down in man's nature.
887. The sinner can be a saint, but not vice versa, especially if the man is deeply entrenched in virtues, practised by him all his life.
888. Even though lacking in special merit (परिहीणगुण) if we find that he is essentially and truly (g) a good man, then he deserves to be treated with respect, in common (4) with other

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such people. In his message to Duşyanta, Kaņva pleads that Sakuntalā, whom he married of his own accord, should be given a position of respect in common with his other wives. Cf. ATHIRyfirfryer fit ang Out 597 | 977950 IV. 17. The poet gives an illustration of the mango tree which has become barren, devoid of juice (FOTETTH). Although such is the case, the tree bas a purpose to serve as a tree (737-48T), giving shade with its thick foliage.
889. For women there are various mirrors of silver (Timetat) copper, bronze etc. For men, however, good men of character serve as a mirror to show them by comparison how good and pure they are in their behaviour. Of. TfortafT forensfare: TSST एव संभवति । स्वमहिमदर्शनमक्ष्णोर्मुकुरतले जायते यस्मात् । सुभा०
890. If not in words, a wicked man will carry (ar) his terrible trait elsewhere. What is his nature cannot be stopped or suppressed. A Darbha or a tuft of grass has a sharp edge on both the sides. Its sharpness (967 FOOT), even if taken away from its tip (मुहुत्तिण्ण), will persist (धरइ) on its edges (धारासु).
891. The realisation of the excellence of merit in others (RTUHT ) comes to the wicked man only because of his faculty of judging (fast) and then having realised this excellence, he feels doubly (fasu) sad and distressed (fary HOT) at heart. This very quality of judgment is the cause of his wickedness.
893. Even men, highly eminent in merit (ITUTOUTSTT-TTUITECT: ), suffer devaluation (E3TFTO), if they show off (asta) their greatness (HTEVO) because of their merit; how possibly can men, absolutely wanting in merit (foramUTT) lay any claim to such great. ness ?
894. There exists a cause-and-effect relation ( 611FTRUTHT) between merits and greatness, greatness being the effect (Ford) of merits. We find, however, that these mean, contemptible men (FlyfPage #538

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fire-god (gara), corresponding with thought, blazes forth, the smoke-screen (of dust) is wafted off (farforerer).
Notes
897. As you look up at the high Himalayan mountain-top (तुंगावलोअण), ), you are filled with wonder. As you look down deep ( णीअदंसण ) from a height into a well (अवड ) below, you get a fright ( संका).
898. Some time in despair, I feel that I should shed away all merits I possess, as I am afraid of these wicked men who, out of jealousy, may cause any amount of harm to me. This thought is very much like a similar thought of a man who, going at night, would like to divest himself of a flower-garland, for fear of exciting (a) the cobras thereby.
899. People in general have not extolled his merit, and have not praised (uffer) him; and yet he is proud of the merit ( गुणगव्विअ ) he has. When one sees such a sight ( णिएऊण), even the hearts of those, whose fame has spread far and wide, become diffident (a) in themselves and they begin to doubt their own merit. The poet perhaps refers to the case of Bhavabhuti for whom he has great affection and admiration. Bhavabhuti was sure of his merit and therefore he challenged his critics who deprecated ( अणहिगीअ ) him in these words. - Cf. ' ये नाम केचिदिह नः प्रथयन्त्यवज्ञां । जानन्ति ते किमपि तान् प्रति नैष यत्नः ॥ मालती० I.
900. Men of merit and men, who have reached the pinnacle of wealth and glory (fazar), say to one another that they have nothing to do (fafa) with them. They only deprecate and slight (gif) each other, as men, living mountain-top look down on those living at the base and vice-versa.
on
901. Between the two, viz, kings and men of great merit ( महागुण), it is the latter who are proud and stiff in their behaviour with kings and not the kings, who are not conscious of greatness (T) with reference to these men of high merit.
902. The poet is bitter when he sees that vice is prospering. The more we find that merits are not getting their due recognition and honour (fa) and the more the defects and deficiencies (दोसा) are yielding rich rewards ( फलंति) now, the more will the world (अं) be soon devoid of merit ( गुणसुण्ण ), as no incentive for the cultivation of merit will be had.
G. 16

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903. But then these great men, who have become fearless ( V AT), having given up all ambition after a good deal of thought (विवेअ), care a fig for kings (किं व नरिंदेहिं). In their fortitude (धीर) they have girded up their loins (c4f73reT) to fight against their fate or destiny (faft) even !
904. This is how great men act. On the other hand, look at these mean men (vitat) who are absolutely spineless. At the slightest hostile action (TTTT) of fate against them, they get cut into pieces (खंडण) by their own frenzied movements (सपरिफंदणेण) like a piece of wood (
a t ) kept whirling (f) on the sharp edge of an iron wheel (349 ). Cf. Faltout fahraifa Frilufarfetfrava I BET Thçxit Toet garante y al quoted by Com.
905. The light of knowledge (fauoriutostar) reveals the shallowness (fahrest-fachtcai) of low minds. The bright lustre ( of the sun ), when it flashes (atsevi) is white (ft3r), but it shows that the gems on which it flashes, are black (AUT).
906. Great men, having broad hearts (fa3737fa35a) or minds, are not prone to publicise their ideas or thoughts, but would rather keep them to themselves. The Poet gives an illustration of oil-lamps which give mild lustre (HafPVT). Their light, however, is confined within the halls of big mansions, in which their fiames roll and reel (घोलंति). Cf. प्रदीपोऽयं निद्रावशमुपगतो घूर्णत इव ।सुमा०
907. Even with the greatest of lustre (fagar), which great men possess and shine with, we find they cannot succeed in life to realise their ambitions and aspirations (#). People perhaps shy away and they are afraid to approach and deal with them. The illustration is of a lightning flash (farului137) which, by its powerful lustre, dazzles the eyes and forces people to close them in the face of the lightning.
908. Those who succeed in life in grabbing or amassing wealth by their own effort (azi f37), unaided, are of course deserving of respect (tran). But then we will have greater respect for those by whom poverty has been embraced of their own accord (HT 1938), as a matter of choice.
909. Ordinary people with practically no merit in them can never hope to attain the high mark of respectability and eulogy

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(EHT). On the other hand, there are these great men, who feel embarrassed and are thus averse to or beyond (97311) any praise from others. Eulogy thus stands in between those (537) who want praise and publicity, but do not get it and those revered ones (EET) who are shy and shun words of praise. We thus find that only the mediocre get themselves praised and advertised.
910. Here are great and good souls who, feeling bitter and disgusted with life, have given away freely whatever wealth they had and now stand eagerly waiting for death, which they would welcome with open hands. But this god of Death (Fia), although angry with them, does just the opposite (faastat), showing no response to their wishes. Not only that, but he gives them a long life, out of love for them and compensates and replenishes their exhausted stocks of wealth. Cf. पापपरिचयपरिहाराय जीवनमनिच्छता गुणिदौर्गत्यनिवारणाय स्वयं त्यक्तविभवानां विभवदोषधिया वा कृतान्तो विपरीतं Betfa - Tango 11979 sqaufer i alfa2796: Afactai: 1 Com.
911. These great men of merit (FOTTEUTT) used the world i. e. the society in which they moved, to rise to the heights of eminence (3937Page #541

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913. Houses, that turn away the supplicant, shattering all his expectations with which he enters them in his impetuous eagerness, are no good. Those houses, from which the man goes out in fullest satisfaction, are the only commendable ones.
914. Some of these wicked men have no generosity ( 33173979JGT HITT) or feeling of obliging others (59TTIITT), no politeness (दक्खिण्णभाव) and no sympathy (करुणअ-करुणता). Even the earth withdraws from such scoundrels, afraid of being polluted by their touch (fguns).
915 When these great men find that things easily accessible even to ordinary men ( TTM) are, however, denied to them, having been left beyond their reach (a #1955), they just smile inwardly (alfaa3r) and keep quiet (370jfa), feeling greatly surprised (fafz3T) at the turn of events.
916, Great men show off the gifts (fr) received by them, telling the good people that these gifts have far exceeded their expectations, like the reflection of precious jewels, which becomes magnified when seen through a thin layer of wax (H3Toy Marathi Fot). Such is the child-like simplicity of great men.
917. Low people seek the company of villains for their diversion, even when the good ones are at hand. The Poet cites the example of men, who love to wear ornaments of glass beads even when they can afford real gems.
918. The wealth (of charity) stands invested by great men at different places (PHYTH) and in different men and, therefore, they would know of no poverty. The miser, however, has only one place - himself — to invest. When that source is gone and even its roots are wiped out (96f737), leaving no trace of the original wealth.
919. Misers are quite eloquent in showering praise on the magnificent charities of others ( sourface ). While doing so, however, they feel for themselves no urge or enthusiasm (305 ) to give away, nor are they ashamed of praising others.
920. The miser has hoarded enough money to be able to enjoy fully. His wealth (ent) is thus like a newly wedded wife, youthful and strong, capable of giving fullest pleasure (of
TOTHET) and yet she is halting, dull and hesitating even in

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her first union (uraFITATESAT) with the man, who is stingy in taking full advantage of her. For this reason, other youngsters have an eye on her, nay, even may get her (fessur) to enjoy. But they cannot freely and openly indulge in love-sports (FTAMTMTTTT) with her, as the miser has a closed fist and will not give them liberally. Himself he will not utilise his wealth and will not allow others also to make use of his wealth by giving away profusely.
921. The misers keep away from Laksmi, although she is with them by their side (TATTO). They have only to dip. into their pockets to get the money required to spend on themselves; but misers as they are, they will not even touch wealth, as if she is unclean and untouchable, being in her menses. Cfपरिहारवती रजस्वला । Com.
922. Lakşmi is great (17638), but these men, highly accomplish ed, look down upon her as of no consequence or significance (4553). Hence her hostility (fata) against them for their merits, and not for no reason (furpat Tuj u), as she finds herself neglected by them.
924. Lakşmi would disappear in the absence of a good man to cling to. If would be a serious loss for her, never wished for (orreft) by her.
925. Lakşmi is born of Dharma or Righteousness. How can she hate good men ? (HHFIT-ovar). Lakşmi that we find with the unrighteous, or the sinful men, is no Laksmi. She is Alaksmi, Evil fortune, like wealth with the sudden rich upstarts.
926. The wealth of such upstarts soon disappears. On the other hand, the wealth of the righteous (37T3TTTTT) is profuse (farm), lasting and shines bright with use and enjoyment (9fagta 5 ). Such is not the case with the wealth of others (5377).
927. A good man of merits, when poor, has all the good traits in his behaviour, like courtesy and understanding. The moment he becomes rich, we find him changed and spoiled, deveóping defects like vanity and arrogance. Laksmi thus takes away his merits (Taois TU) and invests him with vicious traits (a CTA). In the case of the wicked ones, however, wealth covers up (1 ) their faults and, according to the saying - Ha Junt: ASTAHTATYT- shows them as good men of merits, giving them

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limelight and publicity (CTTH). Such is the contradictory dispensation (विण्णास) of wealth. Of. अपनयति गुणान ददाति च दोषान् । griafaud J TUTTI Gifa TOT T rufa Com.
928. The great warriors, who face the sword-blades (459) of enemies on the battle-field, are blessed, lit. touched by Lakşmi (furafait), who is forcibly (259) made to stay with them there (afon).
929. Good men have long been accustomed (37879T) to the use of one hand only, in all their acts of smashing (3719TET), striking (featz) etc. And they are so proud that they will not take the help of their other hand even, although necessary. Would such people look up to others for help even in emrgency?
930. If we have to find out who is wicked among these two viz. wealth or virtues, I would say, it is virtues or merits that are wicked; because Laksmi does not refuse to stay (3 ) with men of virtues; but on the other hand, merits do not tolerate the association of Laksmi or wealth with them. Men of merits may happen to be rich; but the really rich men are devoid of merits. Cf. प्रायेण गुणिनां लक्ष्मी श्यते न तु श्रीमतां गुणा: इति लक्ष्मी गुणा द्विषन्ति न maasortat - Tut: 1 Com.
931. It is an established fact (ai offezzi) that for Laksmi, the creeper, the root ( ) is merits. Men of merit, like poets, painters, musicians, get rich awards from the State and the public for their talents in the various fields of arts. But at the same time, when this creeper viz. Laksmi or wealth grows up with him (facut) and when he becomes richer and richer, his merits get buried underground (TETTHOT). He loses those very merits in the vanity of his wealth. Cf. लतावृद्धौ हि मूलान्यधस्ताद् गच्छन्ति । Com.
932-933. The two Gāthās give one sentence. Lakşmi is a fickle (7597) goddess. Earlier, when she emerged from the ocean, she was surrounded by many a god who stood unsteady in nervous fear ( H) expecting to be chosen as her consort at her Swayamvara. To them all she gave the ignominy (3 ) by her rejection and stumbled with unsteady steps over to Visnu (HEHE). Having stayed for long (fa T3IT) in the darkness of the nether world, her eyes are compressed (Farfst) and contracted. How can she now immediately open them fully (3rfuri qura), to look

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at these men shining bright in their merits (To[FF75) ? She will find it difficult to favour them with pleasing eyes; but she will not be averse to them. Cf. forti feratan a safer i ostrarafhरोपहतनयनतया । एवं सत्यपि तया पूर्वमेव दुष्टदैत्यादित्यागेन गुणवत्येव भगवति नारायणे वसतिः कृता। तेन गुणवत्पक्षपातोऽस्याः स्फुट एव ।
934. At the pompous celebration of wealth (Lakşmi), though newly acquired (96#fęg3T), she (Laksmi) runs away (faqmis) from him. Finding himself suddenly rich for the first time, he is tempted to make a vulgar demonstration of his wealth, spending lavishly on ceremonial celebrations, like marriages of his sons and daughters, as a result on which he soon becomes a pauper once again. Then becoming bankrupt, howsoever he may try and implore (TC4UTT) the goddess, it does not happen (#955) that he gets once more another instalment (STOUTT) of wealth and becomes rich again.
935. What is happiness? It certainly is not negative in the sense that no unhappiness ( 4:19) is happiness. It is not also the worldly pleasures, which we enjoy for a time, but which bring pain and unhappiness afterwards. Happiness which, therefore, does not depend on these material pleasures of the senses ( TOT Jers), is the real, ever-lasting happiness of the heart and the soul.
936. Deeper the addiction of man for pleasures of the senses (TEFTTTTT), such as wine and women, more poignant (CTEUTTT) is the grief and agony thereof, whether he gets them or not. The illustration given is that of light and shadow : brighter the light (377673T), deeper (as of the shadow.
937. Pleasures of the senses continue to haunt the mind, even though with full concentration (para) it is dragged away from them. The illustration is that of the internal sound (77) which is to be heard inside the ears, though they are closed with fi
h fingers (infas fofa31) to keep away other sounds.
938. In the case of great men, their sufferings even give pleasure to their hearts, like poetic compositions (TOT), full of Pathos (fagoufeTTS), which delight the hearts of poets.
939. In this endless (furTqHT) path of worldly migration (FACE), wise men look up to their present houses ( 1) as

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temporary places of sojourn (275GOTT) for their soul, going from one embodiment to another ( 3pvormig in its cycle of birth and death. They, therefore, have no fond attachment or pride of their present status in life. Cf. Tas not a faca077- HHATTO EU Furet i Com.
940. Men breathe out their grief in sighs caused by affliction. The elephant spouts out his exhaustion ( BRIT) in spray-showers due to exertion (आयासकअ).
941. The joy (EFI) of meeting dear relatives produces tears (are). It is, perhaps on account of the fact that the hearts melt at the thought of impending separation, which fills them with nervousness (at 03T3TT).
942 It is foolish on your part to imagine that the bond of friendship and affection will become loose sometime in future. On the other hand the more you stretch (JULETto extricate yourself, the tighter will it become (गाढअरायइ). Cf. तैलादिना स्नेहेन Trionfavifor at fanger TT TT FET agarrayre: 1 Com.
943. Alas ! In your meetings (afsuns) you develop deep ties of friendship, closing the distance (fordiae) that existed between you and your friends previously; but after some time you fall apart and, as a result of this split, the distance becomes wider ( Te), like the two ends of a girdle which had joined together, but which, when the girdle ( THOTT) is taken off (SFATE3T), remain far off frora each other.
944. In his childhood, at first man possesses no merits or accomplishments (UT TUT), nor has he the means, instrumental to achieve them (TEST). He is just a lump of clay, yet to be moulded into a shape. Then starts his education, primary secondary and higher, followed by specialisation in the field of his choice. Now, as a finished product, he is hailed and acclaimed as a fine man of merits and accomplishments (que à TTBUTT TTT HE TUTA). Now (HT), after he is dead and gone, his merits alone remain in the memory of the people for sometime (alt T 3T). Afterwards, alas, even these merits also are forgotten (as in the cases of great patriots like Tilak, Gandhi, Tagore or Nehru - ) (णवर हा ते उण ण संति). Cf. प्रथम बाल्योपक्रमे तावन्न गुणा दृश्यन्ते । नापि गुणहेतवः अध्ययनादयः । ततः सह गुणस्ते हेतवो दृश्यन्ते । संप्रति तेषां गुणा एव दृश्यन्ते व्यतीतशरीराणाम् । अनन्तरं कष्टं तेऽपि न सन्ति भूयसि काले गते । Com.

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945. A great man is dead, leaving behind him an abstruse, astral body of his fame. In course of time, however, even the eulogistic spceches of his merits become more and more scarce on the lips of his people, like small pieces of his bones (31fcgmarzifer) scattered about here or there. Cf. यथा नष्टस्य' शरीरस्य क्वचित् gae FETAT: FATTFT saha ATT FT TUTSATT ETT: 1 Com.
946. Bad men develop vicious traits (at) as a result of their constant (Fort) thinking, brooding or wishing (ATTTT) of evil, immoral actions and these traits bind them (ET) to the sinful conduct or behaviour for all time, leaving them no escape from it. In the case of good men, however, even their merits or accompliments give no temptation (HTETT) to them to err on the wrong path; because their very merits, sounding a note of warning, put a stop (विरमंति) to such wayward inclination immediately (झत्ति).
947. Complete satisfaction of the heart with what possessions one has ( TETTTI facay) is real Detachment (facT3T). On the other hand, condemnation of Laksmi by a poor man betrays his passion (T311) for pleasures, which he cannot enjoy in his present conditions of poverty and a feeling of jealousy (79) for those rich men who can afford those pleasures. A conflict between the haves and the have-nots. Men owning and staying in posh buildings and going in cars are hated by the houseless pedestrians.
948. It may be said that when we find that some men derive pleasure in taking to a life in forests full of eternally flowing waterstreams (
a t ), it is also a kind of love for pleasures (7377), which they do not get in their houses, where fraud and falsehood abound (ag ).
949. Those who praise (ES) the ways of the life of tribals (groma) living in the Vindhya forests certainly betray their own primitive nature ( 7776495:) or their intention to condemn an abject life of service (सेवानिंदावरो). Cf. वनवासमानं मोक्षोपायः siformuarama graecafa Hatari Com. Cf. also watai: THEMIT HIFTTportret: 1 stato 47.
951. Although now pure and perfect in his present behaviour, the wretched man (7731) should be avoided. The earlier sin (HT) will be found lurking (foraafs37) in him even after a long lapse of time.

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952. The miserable ones are filled with disgust and aversion (foradatfahr ) for themselves and the merits they may have. When such is the case, how can any other man show any regard and respect (73773ret) for their merits ?
953. Even his wife shrinks away (gig start from the man who has lost his wealth. The night does not meet (955) the moon fully with her full body (Hodii), when the moon is not full (tiyoor). It is only a part of the night spared for a partial moon, and not the full time of the night. Cf. वनं गन्तुं बुद्धिर्भवति च कलत्रात् oftwa: 1479. I. 15.
954. The Gāthā gives perhaps a personal, autobiographical touch on the part of the Poet. Frustrated in life, with all his hopes and aspirations destroyed, he cries out in despair, addressing his heart to seek solace somewhere. “ It is better that your misery is confined to you alone and has not spread over the whole world, embracing everybody in its fold.” Cf. Giftay garfo RTÀTAस्मच्छरीरे सुहृदित्युषित्वा । विपनदेहे मयि मन्दभाग्ये ममेति चिन्ता क्व गमिष्यसि Mai 4999. I. 38.
955. Here are some pigmies (3817837) who indulge in an idle, tall talk (ra) of the uplift of the suffering people. This non-sense should stop (37093). These men (5370) can do no good to themselves even. What of others' welfare ?
957. The first contact (9f7370) with people with a view to getting acquainted is difficult enough. To develop intimacy (53at) is also equally difficult (977) with them. The water used for washing hands is quite cold (atforff) and the same, utilised for drinking (Trofa), feels and tastes different and strange (STUULET alifa).
959. Aggressive, frivolous behaviour (3 fautet) in the case of public women (HTATOOTETT), trying to take undue liberties, has its peculiar charm. When fragrant ( sandal ) wood is ignited, its smoke of good smell is greatly preferred to its flames (955f13).
960. Good men with a few human imperfections (TalBETHT) alone are easy to deal with (aaa). Perfect men with no faults are uncommon and extra-ordinary (ITATHOOT), placed high above the common rut and therefore difficult to associate with (TP HT3 ats).

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961. What is the use of cultivating merits and accomplishments, if the man is not given any high position of eminence (f). It may be argued that his rise is blocked by other men of good character and behaviour (feau). All the same, the fact that he also has merit in him (T) cannot be lost sight of.
251
963. Watch the man's face while you deal with him. His honesty or otherwise will be found reflected on his face which brightens or darkens according as the dealing is fair or foul. The outward lustre of the gem reveals its genuiness and not its inside, if you break it and look at its broken pieces.
964. People in general show different attitudes with reference to merits and faults or defects. Category I- No appreciation for merits and no condemnation of faults. An attitude totally unconcerned (r). Category II- Fault-finding only ( दसिणो ), called पुरोभागs Cf. दोषैकदक पुरोभागः । Category III. Those who are equally opposed to merits or faults; people who are cynical, having no good word for merits, while disapproving faults (aterra). Category IV - People having a good understanding of faults and merits knowing that no one is perfect, will only pick up and applaud the one particular merit that a man may possess ( गुणमेत्तं गेहंति ). Cf. गुणदोषवेदिनश्च मध्यस्था न सन्ति ये गृहन्ति गुणमात्रं दोषं तु त्यजन्ति राजहंसप्रायाः । राजहंसः किल जलसंमिश्रं क्षीरं निष्कृष्य पिबति जलं तु त्यजति । Com.
965. A man may appear to be changing the colour of his face, in the course of his dealings with others. It all depends on his moods at the time. He may be joyful, depressed or angry, according to the deal he is having. That does not mean that he is not pure or honest at heart. The mango-fruit is greenish in its raw state; but when it reaches the full stage of ripeness (f
), it becomes yellow. That does not mean the mango is rotten inside. Cf. विदुषो लोकसामान्यव्यवहारावसरे तदनुसारेण व्यवहरमाणस्य श्यामायमानत्वेऽपि नास्ति विरसत्वमित्यर्थः । Com.

966. A man may appear (4) to be very pure, decent and honest in his dealings, but, remember, in all this () he will not be able to be different (3) than what his basic nature is: The effect () viz. the dealings will be in conformity with his nature (17), although apparently it may appear to be

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different for a time. A wicked man will be seen ultimately in his true colours though he may hide it for a time under the cloak of honesty. The reddish-yellow colour of a filament has been inherited from saffron and therefore will be in common (Propout) with the colour (T2T) of saffron.
967. It is not necessary that all the good points in man have to be observed. Even a partial picture of merits (3T#staytur), as noticed ( fast) in a good man, is sufficient for men of noble, open-hearted nature (Heftet) to praise him. Half the part of a gem, held in a hand , is kept away from view (TF3T); but nobody tries to split it (facris) into pieces to look what it contains inside.
968. Absence of faults in a man is as good as a positive possession of a merit in him, provided he is unaffected by a feeling of jealousy or envy (pogafout for those who have merits. For instance, not every man is a poet. If, however, he is not jealous of those who have this talent, he may be looked upon as essentially a good man. Unfortunately, however, such is not the case. There is that ingrained (fast) vanity ( 318 97T) in man, which always troubles (he) him and which makes him jealous of the men of merits, as of men in affluence (Fakat). He cannot bear the idea that they should be talented or rich, while he has remained a pauper in life.
969. We find that wealth alone has become a criterion for respect (TTT). Men, highly esteemed (3787fa37) for their merits or talents, go down in public estimation, if they have not even an iota of wealth (euraot ti3T). A poor man, howsoever learned, has no value in the eyes of the people. For this reason (aui fast), I do humble myself and bow down at the feet of wealth (fagator OHHT), and say that I shall have nothing to do with wealth (ats fasaf), which I willingly forego. Cf. giri fanart fonfae fauäfefa fawafararda PH 1 Com.
970. Good men, howsoever learned, are ignored and no awards or gifts of wealth (afquitat) are made to them. Although so neglected, they take heart (rifa) in one thing viz. that for some people at least (Tror for their merits, howsoever meagre (for ), have given a certain amount of pleasure and satisfaction (FTA).

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971. Good men, most often, forget their conditions (faa) of poverty. But then occasions arise, when they are specially pleased (a) with an exhibition of talent, as of a musician at a concert and they feel an impulse of giving a gift as a token of their appreciation. In their ardour and confusion ( दाणाअरसंभम) they search their sides (पास) or pockets, only to find them empty (). The result is great embarassment ( बिलिअ ). Such occasions torment ( दूमेंति) these good men. Cf. saying to who restored the stolen casket of Vasantasena's_ornaments - भद्रे, न कदाचित् प्रियनिवेदनं निष्फलीकृतं मया । तद् गृह्यतां पारितोषिकं इदमङगुलीयकम् । (इत्यनङ्गुलीयकं हस्तमवलोक्य लज्जां नाटयति ) । मृच्छ० V.
253
973. When we could afford, we gave away in charity amply to our hearts content (f). We still continued to give ( तओ अ देतेहि ), although we were aware that we were running short of our possessions, until at last a day came when our stock was finished. Finding ourselves in a destitute condition (), we begged and accepted ( गहिअं) charity from others ( पराहितो ), with our heads bowed in shame, though prompted by greed (). लोहपणएहि ( लोभप्रणतैः ) would have been a correct reading, as plural is used earlier all along.
974. When great men find that the essence of their intrinsic merits goes without being fully understood and recognised (for), they feel for a moment dejected and disgusted at heart (f). Soon they compose themselves on the strength of their ability to think and judge for themselves ( णिअअविवेअट्ठविआ) and cheering up, give full vent and scope to their activities (T qgf), in consonance with the dictates of their merits.
975. Accursed, adverse Fate may take away the wealth they have and, reducing them to poverty, may deprive them of the joys of spending (aufa). The heart's satisfaction, however, in their possession of merit like proficiency in music, poetry, painting, can never be taken away by Fate.
976. The fame and the glory of these great men become all the more solid and deep-rooted (ay), as they, in their greatness (गरुअत्तणेण), cut themselves away ( विघडंति) from the people, having had already formed and developed the habit of never depending on others (af) for anything in life.

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977. These great men have acquired all the knowledge from the study of Scriptures, like the Upanişads and the Bhagavadgita (31TT4609) and are now advanced in age (aepefrus). When, however, they are faced with a crisis in life, in which they lose all their money and the pleasures thereof (gurfa STATOTT), their hearts feel the effect (fen) of these losses, although it is improper and unwise (असमंजस) to do so even slightly (थोव),
978. When lesser men ( 3) realise that their own merits stand no comparison with those of the mighty great, they avoid their contacts with them and associate with the meaner ones (uftri#). The result in the end is that they completely do away or lose whatever merits they had before (गुणाण भावं चिअ हरंति). G. लघवो गुरूणां पुरतो निजगुणा -हस्वतरा विभास्यन्तीति भीत्या मूलत एव Tituofra Fire: F adira i Com.
979. A bad man who falsely praises an underserving fellow (HOTEUT), knowing full well that he is not worth the compliments he showers on him, is a doubly (fasu) bad man. Conversely, a good, wise man, who eulogises a fellow for merits which he does not possess (अपअत्तगुण), gets condemned as a wicked man (पिसुणत्तणं) both ways (FET), for his falsehood and for turning a flatterer. cf. निन्द्यस्य अलीकप्रशंसया दुर्जनो यथा द्विगुणं पैशुन्यं प्राप्नोति तथैव गुणहीनस्य EXACUTA MANH4T gottsfa faços a laat starteriteret: 1 Com.
980. When a wicked man(a), out of friendship (azur), hugs another fellow saying he is my own self, no different from me (30y to fulfTh), he implies thereby (32TT) that his so-called friend also is equally wicked. Cf. HATTATOTT TETIT Especat, Sefa 13FT TE SHPATET Fgfa: sitfaraf APTAİ RATTFUT Hafa i Com.
981. The wealth (fara) of the learned men consists of their learning and knowledge of the various lores or branches like the systems of Samkhya, Yoga, Nyāya, Mimaṁsā, Vedānta etc.
Hence they can rightly be called विज्जाविहव (विद्याविभव) or the possessors of the wealth of learning. The chief essence (Hrefah). of this knowledge of diverse branches is Poetry (7600), with its twofold Alamkāras or Figures of speech viz. शब्दालंकारs and अर्थालंकारs, which serve as embellishments of Poetry. The essence of knowledge on the part of the possessors of the wealth of learning is intimated (सीसई) to the listeners by their nodding ears (सवण),

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when they wear the bright golden (745 vots) ornaments or Figures of speech as contained in the Poetry of these learned men, up above and down below their ears-शब्दालंकारs down below and अर्थालंकार up above.
982. When Lakşmi has found her abode with the highly worthy and eminent men, she never leaves them (TTCT HETETET). Hence (aut) when we find that she leaves them at all (
2 3 ) or that when they themselves (at gut a) leave her, how can we blame Lakşmi alone. These men, who, in their arrogance of detachment, discard her, are equally responsible for bringing upon themselves conditions of poverty. Construe the Gathā thus :महग्धेसु सिरी ण चला । तेण ते च्चेअ (तान् एव) जं (यत्) सा मुअइ, ते उण ते वं चिअ जइ मुअंति, इह तीए को दोसो।
983. Man's thirst (aut) or craving for wealth remains unsatiated, even after having acquired the highest forms (2003) of riches in abundance. The craze of a mountaineer stands unabated, even when he has reached the highest Himalayan peak and he asks, “I have reached the highest point on the earth. But for me, sky is the limit. Therefore tell me, what part of the sky have I reached ? (
Free fai a BITE ?). None whatever. I must still continue to go up and up in the sky. Cf. fai a TOTEA 3ITETER47 Titre 7 TT TTET:, 7 opatce: 1 Com.
984. The master-misers (fa faut GoT) offer homage to their tutelary Goddess Laksmi, folding their hands in supplication (Tataafs3rafos). The two hands joined in a Praņāma look like a closed lotus, of which the goddess is very fond. The Poet imagines that these misers arrange (Taifa) the respectful worship (CET) of the Goddess, as it were, built up in a heap of lotuses in the form of a multitude of folded hands. Cf. 46TfET FOTOT: प्रियाणीति कृत्वा कृपणा धनिनः प्रणामकृताञ्जलिव्याजेन तस्याः पुरतः कमलपूजां Taarifa for frate: 1 Com.
985. When mountains found that their trees were shorn of fruits and flowers (F4 TATET379TTA) and the birds whom they loved had departed from them (fafor3TFTHOUTOUTST), they threw themselves in the deep sea. Was it not an act of suicide (a fofie OT 438
a) on their part, when they found that the very purpose of their life is lost and that no longer would they be of use to any

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body? The figure of speech is Anyokti, with specific reference to great men who disappear when they cannot give anything in charity. Cf. महतां दानसामर्थ्यनाशः पलायनं च मृत्युवदिति भावः । Com.
986. Happiness can be secured and unhappiness can be avoided (सुहदुक्खागम), if proper steps are taken (सोवाय) or acted upon by men of action ( TTT). Mere wishing, willing or brooding will not help. Howsoever you scratch (FETOT) Fate, with a view to coax and cajole it to favour you, with the finger-nails (ITE) of your ambitious thoughts (fear), you will fail to turn it towards you. Cf. Jh fe fufa Aruffor T AATTE: 1 afge सुप्तस्य सिंहस्य प्रविशन्ति मुखे मृगाः ।। Also उद्योगिनं पुरुषसिंहमुपैति लक्ष्मी-। वं हि दैवमिति कापुरुषाः वदन्ति । दैवं निहत्य कुरु पौरुषमात्मशक्त्या । यत्ने कृते यदि न सिध्यति कोऽत्र दोषः ।।
987. Some men find themselves in prosperity (Aftet), which came to them unexpected or unasked (BTTTTTT). This sudden state of plenty and abundance (FT) turns their heads and, overcome by infatuaton (TE), they behave indiscreetly, as a result of which they soon lose their wealth (ft). Repentant, they again go after her in search. But then why should not prosperity, that came to them of its own accord without being invited, now go far away from them, when they had acted foolishly before, in their days of plenty and lost her (atator) ?
988. We have seen how in the case of the new rich, their behaviour, impolite and indiscreet through infatuation, caused them loss of prosperity. In the same way (5#3T), if some of these men, finding themselves rich, cut away from people and snobbishly live a sequestered, isolated life of withdrawal (faforsteft), although generally delicately polite in their behaviour (आआरपेसल), they too, I believe, suffer the same fate and total (HAFES) failures followed by disasters (3795), which take away all prosperity from them.
989. Great men bravely face difficulties and disasters (fa ) without losing their heart (अविसण्णहिअअ) and rise to glory (गारवं
nift) in overcoming them. Fate, which brought on them such a calamity, should now relent. But it refuses to do away (romana) with these disasters, delighting to prolong their misery. Truly, cussed Fate plays the role of a villain ( ) in their lives. Cf.

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प्राप्तेऽपि दुःखे ये अविषण्णहृदयाः सन्तो गौरवं न त्यजन्ति तेषां गुरूणां दुःखं अनपनयत् aa coa HrSort I Com.
990. We believe that in this very life (E lyfoafer) one should get reward for peace and tranquility (furodaut) of one's heart. This cannot be the seed (aftar) that yields the fruit or the harvest in the next world, having been sown (fucqaut) in this world and that fruit too after a life of penance in the forest (Fuorahety). Cf. अरण्यवसतिः केवलं ऐहिकफलानां शान्तिसुखादिरूपाणां दात्री न तु परलोकार्जनEnTuTi qatafufa 979: 1 Com.
991. The upper rich (feat) delight in special forms of entertainment and enjoyment, like dinners, dances, excursions, gambling etc. Men (upper middle class ) who have collected additional property and possessions in lands, cattle, money, etc., care (63) for only stability and security (SAT). A penniless man seeks physical health ( te), while a sick one is satisfied (737), if he only can live or survive (ung fat3T).
992. Long talks or dialogues (FETUELETT) with great men of learning, stuffed (forfastiat) with high thoughts, as they appear to be at the beginning (), vaguely reveal (fast ) what they have in their mind, in the course of conversation (TTT) and then come to an end (fortrofa).
993. In the case of rich men, the many forms of pleasures (FTETSTT) at their disposal, lose their taste and become insipid, just because of their multiplicity. They give no delight, becoming only a matter of routine or ritual. On the other hand, men of limited means (taas) are known to feel fully satisfied and happy (सुहंभरप्पा = सुखंभरात्मान:) with what little they get to enjoy.
994. The heart, once attached (9f5cm) even to an insipid, insignificant (fa ) object, can never be taken away (furnis) from it. Like a small child clutching a doll, the man will go on hugging his fetish and will never be forced to part with it. To say, therefore, that there is fickleness in man's heart is just a false delusion (HTE). Cf. Ei a aafa OT WTFT af: AT HTETfra i facarafe auf 3771940utacarat i Com.
995. Thinking men have two-fold aspirations (@gist) of happiness to be secured first in this their very life on the earth and that in the other world and they fondly cherish these ideas and
G. 17

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ambitions in their hearts. Unfortunately, however, they remain firmly covered up and sealed (afsgf) in their hearts by the thick slabs of the breasts of young women reposing on them. In plain words women come in the way as obstacles in the fulfilment of these aspirations. Cf. युवतिस्तनलंपटा ऐहिक - पारत्रिकनिश्रेयसपराऊमुखा भवन्तीत्यर्थः । Com.
258
996. It is imagined that the God of Love, Cupid, is body-less (3) and the arrows he flings at persons in love are of flowers (a) that are supposed to pierce the vulnerable hearts. All these factors in the case of the Love-god are intangible and unsubstantial (g). Under these circumstances, how can real, tangible (5) pleasures be obtained from this Love-god? Cf. स एव नास्ति अनङ्गः परमार्थतः । अतस्तस्मात् कविसमयेन भाव्यानि सुखान्यपि तथैव अपरमार्थानीति भाव: । Com.
997. Women, they say, are hard-hearted. But the question is how can a tender heart of a woman develop this (5) hardness (fr)? To achieve this, therefore, this adamant (hard stone) of firm, twin breasts lodges () over the heart. Cf. गतप्राया रात्रिः शशिमुखि शशी शीर्यत इव । प्रदीपोऽयं निद्रावशमुपगतो घूर्णत इव । प्रणामान्तो मानस्त्यजसि न तथापि क्रुधमहो । कुचप्रत्यासत्त्या हृदयमपि ते चण्डि कठिनम् । सुभा०
998. Strange contradictions in man's nature. While taking delight in his own (3) actions, howsoever indiscreet, he feels sorry (f) for his behaviour. He finds fault with other people's naturea nd disposition and at the same time he wants (f) to assimilate in himself the good traits and merits of others. Cf. विरुद्धवर्तनो लोक इत्यर्थः । Com.
999. Old age turns the man's hair on his head long and white. I believe, they are, as it were, the trodden paths () taken up by the various emotions that assailed through the hair (TH) and shocked the heart, as they came every day and later passed away (a) from the heart via the hair. A path, beaten and trodden by daily coming and going, becomes dusty and greyish white. Cf. कामादिचेष्टाशक्तयो हि यौवनदशायां यथा क्रमेण आगच्छन्ति तथा ता वार्धक्ये क्रमेणैव अपगच्छन्ति । तासामागमनगमनैरिव केशा मार्गा इव धवला भवन्तीत्युत्प्रेक्ष्यते । Com.
1000. In old age, the whole body develops a stoop (T). This disposition (fafora) of the body, along with the grey hair

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(afagfé), appears to show (atas) that the body has now turned into a veritable alms-bowl (Topita), which is so imminent ( 31THOOTT) because of old age and which leaves him poor and destitute forcing him to beg. Cf. $25:: thcfchii atea refo97fes#lfcffeTTTEUTET HAT I Com.
1001. In old age, the body develops freckles or black spots (fres 37). These are, as it were, the black shade (140 CPUT) of the hair, which, with ripeness of age (FTUITA), gets worn out or disintegrated and discoloured (Houfeuriat) and falls down all over the parts (ITE) of the body in big thick dots.
1003. The whitish grey fluid (9fessi), a sign of old age, flows from the breasts of the young lady of the house (fruit) under the guise (forgot) of milk-stream, as they (breasts) are affected by the onset of pregnancy (TOHTITA), which powerfully attacks the youth (sifarrocaut) of the lady; and the man, her lover-husband, looks at this flowing grey substance in a very depressed and disconsolate state (faat) of his mind.
1004. Everything that we have or try to do is fraught with difficulties and dangers (विसम) and is without any pleasure (विरस). As a result it is all unhappiness and definitely no happiness ( fazt UT OTTH). If we say that no unhappiness (579THTT) is happiness, (just as no disease is health), that too is not correct. (Cratat ATRAT GUT UT). Therefore this so-called happiness also is misery and nothing but misery. The poet gives here his pessimistic outlook on life, mainly influenced by the tenets of Buddhism.
1005. Continuing in the same strain, the Poet affirms that what we see roundabout as the so-called universe is the Form(STTTT) manifested by Non-existence (TTT). “The world is an illusion
(TIFFAPT),' says the Vedāntin. 'Everything is void,' ( Th) would say the Buddhist Mādhyamikas. The sky appears blue from the surface of the earth. But this is just an optical illusion ( 317 Trufucaf31). There is nothing like a concrete blue substance up above. It is all void and empty space.
In a Kulaka of 5 Gāthās ( 1007-1011 ) the Poet tells us how God Śiva assumed the form of a lion to test the heroic strength of the King.
1007. The loose mass of Siva's matted hair gets itself transformed into the lion's mass of the mane ( 919), with

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which it bears resemblance ( fur), while the blue-black (FUT) lustre which covers and colours (ET) His throat, very much looks like the ichor (Cuisia) of quarter-elephants (3TTATT3T), who might have clashed with the Lion.
1008. God Śiva holds over His head Vāsuki, the king of snakes, with hoods lit up (5937) with rays of jewels on top of his hoods. This Snake becomes the lion's tail (T), with which the Snake's body greatly resembles (वेलंब = विडम्ब or विडम्बना). For assuming the shape of the tail, the great Snake recedes backwards to stretch and spread his body, having first uncoiled it; and when being attached to the body of the lion at its end, it was stopped and clearly demarcated (5) by the row of lustre (catfishaf) shining on the lion's back (9fès).
1009. Śiva has garlands of skulls (1975ATEST) serving as a decoration (FIR) over His head. These skulls are openmouthed (face), revealing the reddish inside (337€) of their cavities (96). These skulls went into the formation of the graceful curling locks of hair (
H am) on His head. Cf. अत्यन्तोद्घाटितवदनकुहरा याः शिवशिरःस्थकपालमालास्ता एव शिवसिंहस्य जालाasta 16:1 6751764: aymar: HEPAT:19:29 Çocafaat:1 Com.
1010. The curved, sharp edges of His finger-nails (ET) went in by way of reflection (पडिमामग्गा) and were sighted (सच्चविअ) inside the mirror-like crescent of the moon (af 35) on the head of Siva. These reflections went over to the Siva-lion as sharp claws (UTE), useful as hooks (315) to curb his victims. Cf. शिवस्य नखाग्राणां ये प्रतिमानिवेशाः शिरःशशिकलायां कृतास्त एव ततो निर्गम्य fafhERT ATT turrara TGT sfa yra: 1 Com.
1011. Gauri or Pārvati too seems to have her own lion attending her as her escort, who was frightened at the sight of this lion, made out of the indigenous material of his own body by god Siva.
The next 4 Găthās speak about the King's heroic exploits, devotion to religious pursuits, his greatness and benign, benevolent rule.
1012. The trunks (GST) of enemies' elephants, lopped off by the King, appeared like huge poisonous snakes, as the streams of blood, resembling tongues (ETE = Form of snakes, flowed out from their noses (MITHT).

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1013. The column of smoke appeared lovely (HE) like a path (सरणि) blackened (सामला) by the thick (बहल) flow of the water of ichor (731), oozing from (the temple of) of the heavenly elephant (सुरकरि) called Airāvata of Indra (तिअसणाह), invited (37TE3T) to go down on the earth by the good deeds of this King
1014. By the greatness of his own merits (Turia), his predecessors (rycat) were dwarfed ( ų) by him; but at the same time, by his own greatness (Tria), he made them also great (78875371).
1015. The King's wrathful frowns (ataf387341), accompanied with (FT) sighs indicative of a feeling of pity (THEUTTUITHTA), looked charming (fa) in his case, although he scrupulously insisted on the observance of a strict penal code of restrictions (ETFADDETT) that he had laid down in his authority as the ruling monarch (8). A stickler for enforcing the laws, as he was, he, however, ruled over his subjects in just the opposite way (faaretzr), showing them clemency and forgiveness, in spite of their breaches of behaviour. Rules and regulations are meant for imperfect humans and not vice versa.
The king Yaśovarman is god Hari or Visņu Himself, since he holds on his chest the goddess Lakşmi, the consort of the great God, Who as Tortise was instrumental in churning the milky ocean and the emergence of the goddess therefrom. The scenes of the churning of the ocean are described in a Kulaka of 24 Gäthäs (1016-1039)
1016. In the act of churning, the bottom of the ocean was being dug up by the Mandara mountain and the conchs (fa) and strings of jewels were thrown up (sounft3). To the Tortoise, an incarnation of god Visnu, who lay at the bottom to support the Mandara mountain on His back, it appeared that a silver plate full of materials of worship (Spaan) was being hastily held over (BYTf3T) to Him by the gods (fata).
1018. The big fish (HETATOTT), lifted up, having been balanced (afs3T) on His back, displayed reddish patches of their throats, as they gave out breaths (3HT). Thus they looked like clouds with lightning streaks flashing off and on.

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1019. The back of the Tortoise had a black skin-surface. The gods and the demons (TST), however, saw that the portion of the back which, joined to the earth, was being rubbed off by the mountain, exhibited a white colour as a result of the friction, while on its borders (ga), it retained the dark tinge. Cf. आश्रितया भूम्या यो घृष्ट: पृष्ठप्रदेशः स गौरीभूत.। पार्वानि तु स्वभावश्यामलानि कूर्मस्य । Com.
1020. The mountain, resting down below on the back of the Tortoise and towering high above the surface of the water, cast its reflection (FfshT) over the ocean, which because of the waves (PT), was not straight but curved and crooked in its appearance (fuat). The reason perhaps is, as the Poet imagines, that the earth (रसाअल) serving as foundation of the mountain (महिहर) found that the resting space on the back of the Tortoise was insufficient (Tea) for it and hence the reflection appeared crooked (1937), as the mountain remained unsteady and wobbling all the time.
1021. The Mandara mountain was taken over, along with the groves of trees, to the ocean and was placed on the back of the Tortoise to serve as a churning rod. It was then encircled by the coiling, hard-pressing body of Vāsuki, who, while entwining, gathered together the bending ends of the spreading branches. Thus when the branch-tops of trees (HTERTI) were pressed to the mountain-sides ( 5377), their roots were torn and thrown out (Edifer).
1022. Garuda, the lord of birds, had a fight with Vásukt some time before and in the course of the fight, the spikelike (F7) piercing, sharp claws had left wounds which later turned into knots of scars (autif) on his chest (37ff). These scars were being scraped off (fsvifa) on account of the friction (FUE) in the course of the churning, producing grating sounds (ETE 51371).
1023. The rows of the leafy tufts of trees (ITREATST) started revolving in circles (fah), formed (3906) on account of the acceleration of speed ( REFTTT) in the churning action. And they got split and shattered (फुटृति) as they dashed (ताडिअ) against the sides of the mountain in their revolutions (fafup3TfFT).

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1024. The mountain has thin-streamed (afssor) rivers. As it became unsteady ( 31fz3T) and started moving and revolving (277007), the river-water, splashing against the banks in the course of its comings and goings ( 1T3TT31), shattered them (alfosgout). They fell down (furafs37) and thus made the rivers broad and wide (fa3FEHT).
1025. Lakes or reservoirs of water (foto), loose and wide at the bottom (af fafafa3545T), at first threw out their water in a thin stream (TGHETETTTT), as a result of the whirling action of the mountain. Later when the spring-holes at the bottom, through which water leaked to fill the basin of the lakes, were smashed and broken down (ansa), having been rubbed off due to the friction (णिहस), these lakes started flowing out (वहंति).
1026. Some time, during the course of churning, the Mandara mountain slows down (मंथराअंत) and then comes to a stop (वीसाम). As a result, the water-currents lose the action of being thrown out or flung at a great distance (pasu) from the mountain-side. When the whirling is resumed, the same currents (
f t ) begin once again to flow out and form a small (75) circle of a stream roundabout.
1027. The whirling (af 3), broad (772737) mountain-ridges meet and scrape off the thin and sharp-pointed (afout) tusks of quarter-elephants in the course of their revolutions and by the friction (FUEHUT) caused, they rub off and blunt or flatten (farett) the curving parts of their tusks (THYTTETH SCT).
1028. The trees and creepers scraped off and removed from the mountain-side on account of friction, the great Snake grips (955) the mountain closely. His body spreads out (aratia) and is wound and tightened (asvule) round the mountain.
1029. The slough of the great Snake Vāsuki was extricated from his body due to friction and it dropped down in the ocean making a round fence (9fd) encircling the Tortoise, as a result of the speed (77) in the whirling movement of the mountain. It thus appeared as if the ocean formed a temporary basin (आलवाल) round the Tortoise, lodged underneath the mountain.
1030. The mountain-valleys have their side-embankments scrubbed off (favvia) by the friction of the great Snake. As a

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result, the valleys, gradually exposed to light (Hagstai), gave the impression that the foresters inside are now moving out (förfa), although, in reality, they did not stir out (fafur HGT) from their places inside the valleys
1031. Ordinarily the big boulders (fast), loosened from the mountain-ridges (76537), should drop down straight (E5). But because of the whirling action (Tour 19 ) of the mountain and its ridges coming in contact with the directions one after another, the downward flight of these boulders appears slanting and crooked (sm).
1032. The aerial vacuum up above in the sky (3113T) was destroyed (FEET) and became non-existent, as the water, tossed up (3785f3T) by churning, filled the circle of directions all round in the sky. The thundering echo (9f5a) of churning, therefore, could find no access in the sky and remained clinging (at) and hovering over the ocean inside the empty space momentarily created (qura80) by the water tossed up.
1033. Big boulders, with sharp pieces (ETRT) of the thunderbolt embedded inside, fell out from the sides (973) of a ridge (5537) of the mountain. These boulders were in fact the knotty scars (qurift) on the body of the mountain, as a result of the wounds inflicted at the time when its wings were cut off (979 05837) and now dropped down, having been uprooted by the friction of the body of Vāsuki.
1034. The big snakes of the ocean pulled out (f6C 3) their bodies that became coiled up (#5555551T) and twisted on account of the whirling (aa) ocean. They straighten up (fr) the whirlpools (317) with their forceful hisses and, thus relaxed (ff), they stretch and spread themselves to lie floating on the surface of the ocean. Cf. ga TH FETESTI Urgut Agf: 9 9697#ra Citata Hagafret i Com.
1035. The mountain has on it big trees and rivulets (Hf73T). By the friction caused by the Vāsuki's body, paths or channels (HRT) on the sloping sides of the mountain and the waters, chained and fettered (FGTfT3T) by tight rope of the Snake's body, were released and allowed to flow down through these channels over the trees. The streams so flowing appeared charming like creepers entwining the trees.

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1036. The sky-scraping mountain filled the sky with its ridges, the flat ground (het) and the peaks, thus evacuating or ejecting (fosser) it from its place of occupation. The directions therefore, came down from their original positions in the sky and occupied (out the mid-region (HVA) of the mountain, thin and emaciated (aloger) as it became, by the friction. .
1037. The huge mountain was first lodged (forf#3f) with great difficulty on the back of the Tortoise. As churning proceeded, the foundation or base of the mountain was scraped off (fafurfect) and the big volume (37TET3T) was thinned by the friction of the great Snake. When, therefore, the churning was stopped, the mountain could be easily lifted and taken away (ओसारिअ).
1038. The churning action of the Mandara mountain caused slight painful bruises (Gagf#3T) on the back of the Tortoise. But the layer of the earth (Hatao) at the base, made wet (quot3t) with the water of the agitated ocean, became a mud-plaster (97) placed on the back of the Tortoise as a cooling remedy (fafaa377). Cf. महोदधिमथनसमये किल कूर्मः सर्वात्मना जलधितलं प्राप्तो मन्दरभरधरणाय । ततः 972fa quat ca fastrat a Fosfaat 3taf facat Tauchfeferat i Com.
1039. The Goddess Lakşmi who was thus forcibly (HTF) churned out of the milky ocean (TXT3T), left sore and distreassed (377499faET) and later married (309 ) to Visnu, is even to-day held over his chest by this our King, an incarnation of Vişnu.
The next four Gāthās (1040-1043) describe the King's prowess and the consequent grievous condition of his enemies' wives.
1040. Grief-stricken ladies, the the wives of his enemies, started slapping and pounding their bosom. As a result the blood stopped circulating and became clotted or coagulated (5), developing a darkish colour (1HSRT) over the surface, which the Poet imagines to be the smoke of the fire of grief inside the heart, caused by separation, soiling (59) the bright and white surface of the broad bosom (urato).
1041. The tears, clean and clear, flow down in streams (314EFT) from the eyes which have had no collyrium (forcoot). They ooze down over the cheeks where they join (Freifa) to form a continuous line, the lustre shooting from the ends (a1703T) of

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jewels in the form of finger-nails ( #fot) of palms, placed under the chin to lift up the face (वयणुव्वहण).
1042. They give out long sighs (UTATE) which, coming out, meet with the obstruction (FUTETE) caused by thick, long tresses of hair hanging over the face and are massed and pent up (957gruia temporarily (EUA). Thus obstructed, they turn into eddies (777695wvifa) moving round and round and thereby heating up (उम्हविअ) the broad cheeks (गंडवास).
1043. The wives of enemies, waiting upon the King as captives, presented such bodily conditions (stats qoxifa) in their misery, even when, just casually, the King knitted (fanfhzt) his eye-brows in frowns in feigned (लीला) outburst of anger (रोसुग्गम).
In the next two Gāthās ( 1044-1045), the Poet reiterates his fancy about the King being Keśava ( Visnu), reposing on his fame, as Vişnu does on the body of Sesa. .
1044. The great God Visnu holds inside His stomach the three worlds. His conch bears (284) great and gorgeous resemblance (cat) with the primordial egg of Brahmā (THE) all at once (375); and when He blows the conch, one of the worlds (quiat) is forced out from His belly (53727311) by His powerful mouth-breath (FAT31) and made to enter (विसंत) the conch which He holds to His mouth. Cf. भगवतो हि हरेरुदरे त्रयो लोकाः स्थिताः तेन तदाधारत्वेन अण्डत्रयमपि तत्र स्थितमिति कोष्ठ्यपवनप्रेरितः अन्यतमो लोकः शङखाभ्यन्तरे प्रविष्ट: इति शङखः अन्यतमFroscarafea: herala i Com.
1045. The King's fame has extended (3TATA) unrestrained upto the vicinity of the sea (30H ). It has thus spread like the body of Sesa, on which, like Visnu, he reposes. Hence is he Keśava himself.
A great protector that he is, he, as Visnu, was visited by thə goddess of Earth who assumed a human form to seek His protection and help in her troubles. This the Poet describes in the next 17 Gāthās (1046-1062).
1046. The earth as a globe is supported on his head by Sesa. Now, to approach the King she has assumed a female human form, with her lovely lotus-like feet, which are gripped (afts) and brightened (are) by the lustrous rays of toes (UHF). These

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toes are imagined to be the young ones of Sesa, who have clustered round the feet, to lend support to Seṣa out of proper respect for him (r), to enable him to bear the burden of the earth in
her new form.
267
1047. Her feet, red-lustred with a profuse (5) application of the red lac-dye (3) are supposed, as it were, to be enveloped in the red hue of jewels (4) on the circle of the hoods of Sesa, as she placed (fr) her feet on them.
1048 She was being carried along (a) by the multitude of royal swans, who collected (f) round her, being attracted by the jingling sounds of her anklets (), as her feet gracefully ( लीला ) moved in a gliding gait ( घोलाविअ ). The bunches of swans are imagined to be the clustered coils of the hoods () of Sesa. Cf. शौक्ल्यात् शेषफणासादृश्यं राजहंसानाम् । Com.
1049 She is wearing, round her waist, a brilliant band of rays ( किरणकलाव), thrown out (उग्गिण्ण ) by a girdle-string ( रसणाT) of gold (f). This shining band had the same lustre as that of the tawny-coloured mane (4) of the Boar (faf), which stuck () to her (the earth), when she was lifted and placed on His shoulders (a) by Visnu who became the Boar for a purpose (T), viz. to save the earth from deluge.
1050 As people approached her in her female form for doing all kinds of homage and service to her, they had their reflections, in various poses, cast in the jewels of her girdle (RGMRAO) and it looked as if these people were engaged in various activities (a) such as going up (T) on the high, elevated portions of the earth or digging up (3) the depressed areas there.
1051. The deep cavity of her navel (ffa) was, as it were, a notch made by the sharp tusk (a) of the Boar in the midportion of the earth uplifted by Him; and the thin hair-line (Ta) on her stomach issuing from inside the navel was, as it were, the column of darkness coming out () from the nether world.

1052. The lovely stomach of the Earth-Maiden, uneven (fa¤¤) with the wave-like (a) three rippling folds, is imagined to be the plough-furrows ( सीरमग्ग) facilitating the emergence ( णिग्गमण ) of Sita, who had stayed safe, without harm (fr) underground.

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Janaka says (in the Rāmāyaṇa), “ As I was ploughing my field, there sprang from the plough a girl, obtained by me while cleansing my field and known by name as Sītā (the furrow). This girl, sprung from the earth, grew up as my daughter". Cf. सीता हलविलिखनैर्भुवो जातेति प्रसिद्धिः । वलित्रयं चोदरे तरुणी धारयत इति F7797I TT WETTATT I Com.
1053. The white and bright necklaces of jewels (ETT967), mixing (96) their lustre with the rippling hair-line on her midregion (H319), looked charming like the confluence of the two rivers Gangā and Yamunā, wherein the whitish stream (ATT) of Gangā joins the waters of Yamunā. Cf. TESTATZTEFATEEGATI प्रक्षालनाद्वारिविहारकाले । कलिन्दकन्या मथुरां गताऽपि गङगोर्मिसंसक्तजलेव
fa Il Teo VI. 48. Also the description of the two rivers at Prayāga, o XIII 54–57.
1054. The attendants (afc3tu) of flashing beauty, waving chowries, swelling in volume (737), looked like the coiling heaps (Pita) of the roots of trees, revealed from inside her body (as the earth). Cf. afgreta The Fratiafor fforis Harritulfaत्यादुत्प्रेक्षा । Com.
1055. The feeling (H) of joy at the sight of her lord thrilled her and produced on her body horripilation (1147) along with perspiration ( 37). Under the guise (foren) of such a physical reaction, she showed herself to be as it were a seed-creeper (7373T), with its pieces (H) cut off and transplanted into the surrounding soil, these pieces puffing and heaving up (Afr) when fully watered (foMTE). 0731737T ( AT) would mean a plant or creeper, like sugarcane, which is cut into small pieces; and these pieces, when transplanted elsewhere, grow up, thus serving the purpose of seeds. Cf. Tato poteftfun STT EUSTATI 97a1 FE FTI ETT ETT SETTEUS FIT: FATO ag athr3 577497 i Com.
1056. Her bosom ( with breasts ) was covered (pafosat) closely with a bodice of silken, white cloth (f3iq3t), which, thin and soft, looked like the reflection of the whitish waters of the heavenly river (utefoTour37T), Mandākini. The reflection falls down from above (39ft), in the case of Mandākini, over the upper surface of the bodice and projects from inside (36) on its inside surface, close to the skin, from the waters of Gangā, who is no other han the heavenly river, brought down to the earth hy Bhagiratha.

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1057. The flower-wreaths, decorating her neck, attracted swarms of bees which came and entered (tot) the flowers and soon, after having sucked the honey, fled away (EST), thus causing great torment to her slender body (31 ). The Poet imagines the bees to be the age-old flying mountains with wings.
1058. She had jewelled earrings to adorn (wartfast) the fullness (STTET3T) of her body and the earrings looked like heavenly cities (दिव्वपुर) with which the broad expanse (आहोअ) of the earth was beautifully studded, surrounded, as the cities were, by circular walls which corresponded with the big, round pearls at the lower ends (F CT) of these earrings.
1059. The bright gold-like face, round in shape (HHT), of the Maiden-earth, has its upper half viz. the head, bluish-black (विणीलद्ध) because of the night (णिसा) which is transformed now in the guise of her braid of hair; and the face, held between (31 ) the two jewelled earrings (Afuris ) formed out of the moon and the sun (afargt). It thus looks like the golden mountain Sumeru, round which the two luminaries viz. the sun and the moon revolve. Cf. Azt fifices STATUTHTRIT: f a t graferat, पश्चिमभागे तु तमः, इति मुखेन कुण्डलाभ्यां पश्चात् प्रलम्बमानकबर्या च युक्तेन सादृश्यम् । Com.
1060. The garlands of gems, that she now wears, cast about bright columns of rays, with which the whole body is closely associated (festfrost) and lit up. These columns of rays all over her human body are, as it were, a network of roads (PETA), with which, she, as the earth, was formerly characterised.
1061. She has flowers like lotuses as decorations for her ears (37a31A ). From them trickle down (UTHTATOT) drops of pollen (रअबिंदु) which gather (कलिअ) at the base (मूल) of her broad cheeks (1575). It looks as if these pollen-drops are particles of dust (TT) of the natural earth, now transformed to her human face and they are moist and slowly dropping down ( for) to the lower parts of her cheeks. Cf. Bracareffer केशेषु धारितानि यानि कुसुमानि तेभ्यः सकाशाद्वहतां रजसां बिन्दुभिलिप्तमूलेन TUS FUIT fæfacts Tighearna aferetfaccef: i Com.
1062. Her long creeper-like braid of hair (tantae) has flowers strewn (9540) inside its tresses and is covered up with hovering rows of bees clustering over it. It looks as if she has

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over her head, not the swarms of bees, but many hair-braids (auftDET), hanging loose, and thus symbolic (fatus) of her condition of widowhood (algo), which she had suffered in the past many a time at the passing away of many kings (E T ).
1063. It is heard (1995) being said that this King of ours, as the great god Visnu, has often seen (gog) and interviewed the Earth, when she stood before him (of #f3T) in a bodily form of a woman.
King Yasovarman is an illustrious scion of the lunar race, or a race descending from the moon. Mythology speaks of the moon as the son of Atri, produced from his eye.
1064. The fact that the moon has taken his birth from the eye of the sage Atri is borne out by the fact that he has on the surface of his orb a circular spot which very much resembles the eye-pupil (art). Another poet fancies that the moon must have been produced, not from the eye of Atri, but from that of the god of Love. Cf. spai garcazutfit sumata gfal #: #7527 प्रज्ञापरिचयपराधीनमनसाम् । सुधानामाधारः स खलु रतिबिम्बाधरसुधा-। रसासेकस्निग्धादजनि नयनात् पुष्पधनुषः ॥ सुभा०
1065. The race of the lord of night (T3TUITE) is the same as Candra-Vamśa or lunar race, claiming descent from the Moon. It is divided into two great branches, the Yādavas and the Pauravas, respectively descended from Yadu and Puru. Krsna belonged to the line of Yadu, and Dusyanta, with the Kuru and Pandu princes, to the line of Puru.
Such are the personal charms of this King that even enemies, girls brought over to bed with him become highly susceptible to passionate reactions. ( 1066–1069)
1066. The captive girls, when they meet him in bed-chamber, stand near him with faces downcast. Slowly they lift up their dull, languid faces to look at him, with eyes opened wide in the excitement (Ft) of nervous, fear (FET). The moment they see him, they are thrilled with joy (TEST), as a result of which their eyes drop down (समुत्तरइ), getting blurred (विरलाSTART) in between the upper and lower eye-lashes (TFEDTS), 1067. Their delicate hand, like a tender sprout (<
f ), stays (afh3t) on their bosom, covered with a silken, fluttering

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(Ts) garment and the lustre of rays shooting from the fingernails of their palms, shows up the path of the heart (377), as it were, as it ( the heart ) rushed towards him (ae) and slowly came back. (31T+T38).
1068. The amorous feeling starts a tremor (5989) which makes the body quiver (azit). As a consequence, the jewelled bells (Hfurfäffiuft) in her girdle produce jingling sounds (ES). as they flap up and down (aoo) on their firm, broad buttocks (गाढजहणत्थल); and the garlands on their necks (कंठदाम) have every single flower (पडिकुसुम) vibrating (अंदोलिअ).
1069. The young girls of his enemies, captured and brought over, were made to unite with him, after having been married to him, in a Gāndharva form of marriage. Cf. 972219fzupet parafacte: 1 Com.
1070. Lakşmi finds great pleasure (fantaz), as it were, in reposing on his arm, although she usually longs (342f83T) to reside in lotus-beds. The King's arm is enveloped (af ) in lustrous rays thrown out (उग्गिण्ण) by the emeralds set in his armlets (केयूर).
1071. All the while, the hostile circle (#5) of his enemies is active and tries to overpower (R44745). Finding themselves weak and powerless to resist him on the field of battle, they resort to exorcism or magic (31FESTT). In a sacrificial ritual intended for the King's destruction, they have gathered round a basin or a a bowl (15) full of fire (
3 3 ), in which they give offerings to the evil spirits and as they watch, their faces become flushed red (stacia) (ats). This, however, has no effect, as in the case of darkness attacking the clustered family of poisonous cobras, carrying on their hoods jewels that look like luminous stars (art). Cf. dr AGITAÇ fare:Hafoti gasi afa lahat तिमिरं यथा नश्यति तथैव अभिचारकर्माग्निकुण्डेन तानं यशोवर्म शत्रुमण्डलं तं समाकामत नश्यतीति । Com.
The day has come to a close and, therefore, giving an assurance to his audience that he will resume his narration of the Gaüdavaho next morning when the night has ended' (Trifah), he proceeds to the description of the evening and the moon-rise in Gāthās 1075 to 1119.
1075. The orb of the setting sun has a tawny shade like the belly of a tortoise turned upside down ! A fine comparison.

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1077. The shaded paths (1), coming down from the top of the setting mountain ar), are lit up, being overspread (3) by the setting sun's rays and thus they look like streams ( विसर ) of molten iron ( आयसरस ). The area of the earth's surface ( महीवेढ ) down below is darkened ( मइलिज्जिइ ), as the portion of the mountain up above stands illuminated.
1078. Flocks of birds (fa) had gathered in mass, perched closely together (fortaff) on the heaps of sands in river-beds. As soon as they fly away, the roundness (H) of these sandy mounds comes out into full view ( उब्वेल्लंति ).
1079. Over the roads of the city (3), the afternoons become grey (धूसर ) even when the sun is still suspended ( सालंब ) in the sky on the west. The reason for this aspect is the returning (for) crowds of dust-raising precious cattle (E), which had gone out to their pasture-lands situated at long distances ( दूरत्तण) from their city and hence coming back earlier even before sun-set.
1080. The excellent cows, white-skinned, have heavy haunches (गरुआ अमाण - जहण ), which slow down (3) their pace, although they appear to be going a bit rapidly (थोअमिवविअडगमणा ) in their eagerness to meet their calves. Another feature that serves as a handicap to them is the plump ( पीण) udders ( आपीण), which have started oozing milk ( पण्हुअ ). Cf. क्षीरपूर्णोधस्त्वेन च गुरुजघनत्वम् । धेनुधवल्यः धेनवश्च ता धवल्यः उत्तमगव्यः । Com.
1081. The Vindhya mountain is imagined to have two wings : one which makes for daylight and is spread over (affer) the world at day-break (f). At evening time, this wing is withdrawn and folded up (af) and the other wing, which brings in the shadowy coils (4) of darkness, is stretched out ( पसारेइ ). Cf. आदित्यपरिवृत्तिनिबन्धनोऽयं दिनरजनीविभागः । प्रदोषसमये च यस्यां दिशि दिवसपक्ष आसीत् तत्र दिवसपक्षसंकोचेन रात्रिपक्षः प्रसरति । Com.
1082. The bright glory of the Day is imagined to be the goddess Lakṣmi (fat), enjoying the pleasure of sitting and moving on the swing (as). The swing is made up of the network of sun's rays, like strings of a net, hanging down from the plateau or table-land of the setting mountain (afùces). These string-like rays are pink, like the lines on the knots of white, ripened reeds (जरढसर).

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1083. There have been beautiful, bright-coloured wall-- paintings in the interior parts of mansions (Fifa ) on the eastern side, the windows (1794e) of which were screened off in the morning to avoid discolouring by the sun's rays falling on them. In the afternoon, the sunlight has gone west (908f731731471UT); therefore, the screens and curtains of windows have · been removed, leaving the windows clear and empty (qurE37), to allow the passage (ATT) of light to fall fully on the paintings, which shine quite brightly () when cleared of obstruction, (पइरिक्क). Cf. दिवा हि रविकरसंसर्गविवर्णीभावभयेन वातायनान्याच्छाद्य स्थाप्यन्ते । अपराण्हे तु गवाक्षवरणं जालकादिकं अपसार्यते इत्यावारकशून्यत्वेन तमसा विरिक्ताः शून्या भवन्ति चित्रगृहान्तःप्रदेशाः । आलेख्यं च चिरमुज्ज्वलं प्रथते तदा । Com.
1084. At evening time, the rays of the sun about to set on the western horizon, come and penetrate the forests in a slanting or oblique way ( 491737), illuminating and bringing vividly (fa315) into view (furoasa), their lower areas at the base (55) and those in the interior (ATS) mid-region. As a result, the thick, darkening shadows of the daytime, are dispelled (forma) and loosened (for), making the forests look thin and rarefied, as it were (facetsifera).
1085. As the sun gradually drops down ( faasu), his parts or pieces of bright light (TFH259311) get divided and distributed on top of the setting mountain (MTCETTT) at that moment in various directions and later are hurled upwards far into the sky. These pieces of light, so flung, take the shape of round buds (मउलिता) and become so many stars (तारअत्तणं एंति) at night. Cf. अधो गच्छति रवौ ऊवं धावितास्तत्किरणा इव मुकुलीभूताः संवलिताः सन्त: alzifa Fit4FCHT9a1 sfat i Com.
1086. The sun's orb on the western horizon and the moon's orb on the eastern horizon, reddish as they appear bear the resemblance (#3fur) of an elephant's temple (1), bloodred (Efezsia) and dropped down (EET) on the ground. The elephant here in this case is the Day (feuia) and this Dayelephant is killed by the Evening-lion (931teita), brownishskinned like the evening twilight.
1087. Imagine the starry sky as a big Bakula tree (317377HHT). This tree, before putting forth blossoms, stands in need of the ful
G. 18

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filment of its craving, which consists of mouthfuls of wine being poured in its basin by a beautiful lady. Therefore, the Lady Night (795) fills her mouth (HE4f73T) with the pinkish Evening-wine (ATHE77) and pours it in the round sun-basin
(f@UTZTETETT). The craving fulfilled, the Sky-Bakula tree bristles · with blossoms of constellations (ope a rs). What a
bold Fancy ! Cf. age: fpics Fat featuga to momenta बीजमत्र । आकाशो बकुलवृक्ष इव । अस्तं गच्छन् दिनकर आधार इव आलवालं sa i FETT afaza i Fetarfor gogroñta i Com.
1089. The dark shadow of the night (FrPHU TESTAT) is imagined to be the thick (TFT) line of smoke issuing from the red lac (3767T3T) in the form of the evening twilight. This lump of red lac is set on fire and therefore fuming, as the sun's orb, throwing refractory rays, is held over it. It is common knowledge that the sun's rays, shooting down through a prism and falling upon a piece of cotton, produce a line of smoke at first and then the flame. The sun's orb in this case is considered to be similar to the sun-stone (जलणोवल-ज्वलनोपल or ज्वलनाश्मन्). Cf. शमप्रधानेषु तपोधनेषु गूढं हि दाहात्मकमस्ति तेजः । स्पर्शानुकूला इव सूर्यकान्तास्तGrottsfare qafia 11 370 10 II. 7.
1091. The pitch-black mass of darkness (fafactata), with the reddish (आयंबिर )orb of the setting sun touching (चुंबिअ) it close behind, presents to the view a black circular mass with a red ring round it. It thus looks like the dark, massive neck of the great Buffalo, with a cutting wound, inflicted by Kāli, which started dripping (AT).
1092. The sun or Sürya is represented in a chariot drawn by seven horses, surrounded by rays. They are supposed to have a green colour for their skin. The setting sun has a yellowish lustre for his orb which is getting enveloped (377441a) in black darkness and has also a blending of the green colour of his horses. The sun, so multi-coloured, looks like the golden-bodied Garuda, who has lifted up (309) greenish wings to be able to bear the heavy burden (1177) of black-complexioned Vişnu. (HEHEUT). Cf स्यन्दने रथे ये तुरगास्ते हरिताः । गरुडोऽपि स्वरूपेण सौवर्णाद् रक्तः तदुपरिस्थो हरिः कृष्णः । हरिभराक्रान्तगरुडोन्नमितं पिच्छं हरितम् । इति तुल्यता fafarafy gathaf og EfT9uinta TEGA I Com.

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1094. The setting sun is likened to a big lump of an egg (Bisfie) of the lord of birds i.e. Garuda, falling down from the top of the tree viz. the setting mountain, in the branches of which it is lodged in a nest (ufts ) formed of wood-sticks (farfet) viz. the sun's rays. This bird's egg is wet (365) all over its surface, covered by the reddish foetal fluid (7003cs) in the form of the evening twilight glow.
1095. Imagine evening (CT) as an elephant. This Eveningelephant now swallows (2005) the sun's orb as his food-lump for the morning (fast) breakfast. In the action of swallowing, the elephant's mouth is slightly opened out (17300FT), exposing the surface of his palate in the form of the reddish-pink sky, as seen (लक्खिअ) because of the evening glow (संझा).
1096. The evening glow of twilight, pushed up high and deep in the sky and forming an encircling ring by its halo (foto qft) with the glowing sun at its centre, looks like a huge well (fa375–3798), with a circular protective wall (oftare), built newly (EU) in red bricks and therefore looking reddish. It has the sun's orb reflected in the bluish water of the well, very much corresponding with the sky.
1097. With the darkness adavancing from the eastern direction (gefaefarit) and with the sun's orb hanging over the other (3797) (western) part, the reddish sky looks like Garuda who, in one of his claws, has seized an elephant and, in the other, a big tortoise. Garuda is represented as having made an effort to devour an elephant and a tortoise. Cf. पूर्व गरुडेन गजकूर्मों Hefughn rafafa sfarsi, agfestuaHETTI Com.
1098. The evening scene ( 153) of the bright twilight glow, with the rays of the sun pinned to the sun's red orb like so many threads of filaments ( T3TATTor), gives the idea of the golden mountain Sumeru falling down flat on its back (पल्हत्थइ), having been thrown overboard (9f59fces) by the great boar in the form of the thick and heavy mass of darkness.
1099. Vinatā, the mother of Garuda, is supposed to have two eggs within her womb and the glory of the sky ( faft) is imagined to be this Vinatā. At sunset she has delivered and thrown out (477) one huge egg (fa3755) viz. the sun and now she bears (795) in her womb another big egg (atsis) viz. the moon.

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1100. The rays of the setting sun, in their dispositions (FUT TH) over various parts of the earth, take splendid shapes like the cities of Gandharvas, as they shoot down straight like streams of showers (3THTTTHTHT), becoming misty and gray like erect columns of palm groves. The cities of Gandharvas are often referred to as being very splendid.
1102. The thick mass of nocturnal darkness is all blue in the upper part of the sky, as also on the surface of the earth. In between these two massive layers, the remnant of the twilight (HET ) has pierced and penterated the mid-region (HEH). As this mass of darkness, moved by the wind, rolls and reels (TSE), it looks pinkish (955) like the trunks (CET) of the Kharjūra tree.
1103. The river Yamunā rises in a mountain called Kalinda and hence she has the name Kālindi. She is personified as the daughter of the Sun by his wife ist. So she was sister of Yama. The massive line of smoke (fafhET),spangled with stars, looking like swarms of female fish (EU), is imagined to be the river Kālindi i. e. Yamunā, who rushes in impetuous haste (TEF), in her excitement (HHA) to meet and fall upon the sun (faqsot) in his lap.
1104. All the directions are fully filled (37agout) with coiling columns of darkness (THH55), as they gradually develop (74foodga) their thickness and density. It looks as if their guardian elephants themselves are now visible (and not the darkness ), because they (the elephants ) have now come close to-gether (37THOOTHTT), since, at this time of the night, these directions have assembled and met (f#sifa) one another.
1105. Describing the moonrise, the moon shooting up at the base of the eastern horizon from the miry depth of darkness, the Poet fancies the moon as the bulbous root (1) of the darknesscreeper, which is darkish-red and which some one (Fifa) is extracting out of the soil viz. darkness. The phrase 731012885FUTTENE is unintelligible. The Commentator suggests that there might be some error about this reading as there is one syllabic instant less. Cf. T91083 Furus at gfa sfq TOTAC: DaratFata I TEATGA TAGIT 3Toista G:HTETTA: 1 Com.
1106. The directions seemed to have collected to-gether and converged at this spot all at one time (73T), attracted out of eagerness, as it were, to hear the støry of our King, to be told (ata).

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1107. Plateaus or tablelands (TSTEHT) have now very little light left over them (TTTTTTT). On the other hand their surfaces (3380) look depressed (31703), as they are covered up (लंघण) by the tufts of darkness (तमसिहा) heaving up (ऊससिअ) from caves (FET), in which, they are thickly massed up inside (TEMETUT), and are now trying to escape. As a result, even these tablelands, although elevated, give an illusion of valleys (aprint).
1108. The moonlight (AfATT TOTTT) flows chequered in its illumination, being broken in (alfaguut) by the shadows of the evening twilight. It thus appears variegated ( s) because of the fact that the dark lustre (Hylosgfa) has stretched along (Taft3) the path (HRT) that follows, as it were, the spot (#fout) on the moon. Cf. Target TF TUTHOTTEETE OT OTT तया शशिन आलोको मध्ये मध्ये मिश्रो भवति तत्रोत्प्रेक्ष्यते - शशिनः शशरूपमलिनस्य कलङकस्य या तत्सदृशी कृष्णा प्रतिकृतिः सा तस्य आलोके दृश्यत इति । Com.
1109. The sky is fancied to be the outer shell (3779195) of the primordial egg of Brahma (बंभंड). In course of time (कालंतरेण) it gets tattered (HFUTT) and worn out. As a result its internal covering, bowl-shaped (7975), cracks (53) and becomes porous (faess) and full of holes, which are no other than stars (arctfuraor), seen up above in the firmament.
1111. The sky has, on both its sides, the subdued (7) light of the moon in the east and that of the sun on the west, with black darkness being heaped up (fTFCTATUT) in between (FA). The sky thus looks like a two-edged sword with the bright (FOTFH) two blades (ETCT) on both the sides and the bluish metallic part in between.
1113. Suparna or Garuda is fancied to be the rising mountain (3374gavot). The first task he accomplishes is extinguishing (737) the conflagration viz. the evening twilight (#1 ) by sprinkling (CE) nectar-drops in the form of the clusters of stars (Tarrag) and then he picks up and carries in the sky the nectar-jar (377344148) viz. the moon's orb.
1114. The moon is fancied to be a pinkish (Targ) big lump (free) of candied sugar (ET). The round deer-spot (मअमंडल) is fully visible (पअड), as the swarms of bees (महुअरजाल) in the form of darkness have fied away (उप्पअण).

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1115. Wonderful fancy! The Poet imagines the sky as a rod of a measuring balance (g), holding two pans at its two ends, held down by strings (3) in the form of rays () of the sun and the moon. After sunset, the sun and the moon are placed in the two pans of the sky-balance. The lump of the sun in the west (af) is found heavier and, therefore, pulls down (3) the balance-rod at its end, as a result of which the jar-like (कलसो व्व) moon is tilted upward ( उक्खिप्पइ ) in the sky, while the sun has gone down.
278
1116. The moon comes out (f) on the horizon, flushed red (1) by his close association with Cupid who stands by his side, fully equipped () and thus causes a good deal of love's excitement (संरंभ), which colours him red. He has a halo ( परिवेस ) formed round his orb and it thus appears that he (the moon) holds the curving bow (a), turned into a full circle (f) when fully stretched, under the garb () of his halo.
1117. The moon is reddish (a), as he just rises on the rising mountain and the thin (af) cloak of darkness gets loose on his orb and slips down (fr). The moon thus resembles the charm of Balarama, intoxicated by booze, from whose body the bluish garment (faver) which he wears, has slipped down ( ल्हसिअ ) .
1118. The rising moon is red (T) like the navel-like hollow cavity of a conch. This red colour is brought on him, perhaps because of the pourings ( ओअरण) of wine-filled glasses ( महुचसअ ) offered by lovers in his honour.
1119. The moonrise is a death knell to the day-lotuses (3). Therefore, as the moon heaves up (3) on the horizon, his rays appear to be faltering and flickering ( ( विलोल ). The Poet imagines that these fickle rays are, as it were, the hanging clusters of lotus-fibres (fa) of the day-lotuses, forcibly uprooted ( रहसुम्मूलिअ ) with a view to destroying them all-together ( विणासबुद्धीए ) .
1121. The Poet expresses his diffidence for this great task for which he feels that he may not be able to do full justice. The glories of the great give all the encouragement, if sung well and properly. If, however, the poet fails and does it in a sloppy, haphazard way, without giving a full and correct picture of their

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glorious achievements, he feels greatly discouraged and inert in himself ( fa).
The night has fallen and the Poet takes this opportunity to describe the amorous activities of the young people in Gāthās, 1122-1138 and in Gāthâs 1139-1141.
1123. The face of a certain lady, having undergone fresh cure and make-up of the eye-brows and the forehead, has developed a round fullness of expression (fig). This has opened out the eyes which look bigger than before (31fe3faa). The face thus shines specially bright and lustrous (विसेसतार).
1124. The ladies, just fresh from bath, are very attractive (streerita). They have removed (aftar) the ornaments they had before their bath and have not done any decorations (37973T0FHEUTT) after their bath. Thus they look lovely like mangocreepers (HE3Tat) who are devoid (quut) of blossoms which they have shed and have yet to put out the tiny mango-fruit. A stage between the blossoms and the fruit (कुसुमफलंतर).
1126. The gushing flow (cat) of the incense-smoke of black sandal-wood (TOTTE) is grasped and clasped to her bosom by a certain lady, appearing as if she embraces this cloak of darkness (31TfT3ra) with joy, in order that it may serve as a black cloak, when she goes out to meet her lover (TAOFEHT) in the dead of night.
1129. The gauze or a thin transparent fabric which the lady wears over her head is reflected on her clear crystal-like bosom. It is an armour, as it were, which is put on by her to shield her heart against the Love's arrows apprehended by her.
1131. The lady wears a garland-like (trauit) golden girdle (HHEMT), big and shining (3773), which has now slipped (ITF333T) over her hips. It looks as if it is an encircling fire-wall (ffeqTTT) constructed (ffett) round her waist for fear of the Love-god (TFHE).
1132. The lover, pining for his beloved, finds the moonlight unbearable. Bāna tells us how his hero Pundarika, in his lovesick condition, died of a moon-stroke ! The Poet imagines that the rays of the moon become hot (TTT), perhaps because during

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the black fortnight the moon gets into the sun ( रविमंडल संपवेस ) . Cf. कृष्णपक्षे रविमण्डलप्रवेशो ज्योतिःशास्त्रे प्रसिद्धः । Com.
280
1134. The tips of eyebrows (з) are thrown up (fax) to shake off (e), as it were, the protruding (affe) earsprout ( कण्णपल्लव) and the wistful eyelashes (पम्ह ) start throbbing, as the blinking action ( णिमेस ) of eyes is controlled ( नियमन ), to have a full, uninterrupted view of the lover.
1135. A graphic picture of a blushing beauty, as she wilts under the stare of her love-smitten lover. During these blushing moments ( लज्जिएसु) it is only her forehead ( णडाल ) which bows down (णमइ ), while, involuntarily the (left) hand goes up to her throat and presses (f) the decorative chaplet of flowers. But the eyes have not moved away. In her effort to keep them fixed on her man, the eyelashes are turned upwards ( उव्वत्त), so much so that they kiss ( चुंबिअ ) or closely cling to the skin-folds (g) up above.
1136. Her hand trembles as it moves unsteadily (5) and pushes aside ( ओसारिअ ) the veil placed over her head ( णिरिंगि), with a view to have a better look (a) of the man at this time (समय). The hand holds to the region of her ear ( गहिअसवणावआस), as if for the purpose of fixing an aim (r) at her lover from her eye, which is now turned into a love's arrow (auffes). Cf. शराकर्षणं हि कर्णान्तं क्रियते धानुष्कैः । Com.
her
1137. Even when moving away (1) from her lover, half-averted (वलिअमज्झ ) glances ( दिठ्ठाई ) are kept fixed (aifa) on him, the face is bowed down (33) in bashfulness and the slightly opened out (faf) tip of her lower lip (g) is visibly seen, as she goes ahead.
1139. The ladies having whitish decorations of lotus fibres, looking very much like the moon's rays, feel that they have now held the moon's rays locked up (a) within themselves and, as there would be no moonlight outside, they go over (ataifa) towards their lovers () absolutely fearlessly ( णीसंकंचिअ ) at nights. Cf. चन्द्रो हि चौर्यचरितानां बैसबन्धननिक्षिप्त इव अभयकरः स्तावको वा प्रोत्साहको वैतालिको वेति मतः । Com.
1140. Under intoxication the eyes open wide, their eyelashes smitten (3) with red tinge (blood-shot), looking like

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wreaths of tender filaments (किसलय-मालाअमाण). The Poet imagines them to be festoons, as it were, held aloft to welcome and facilitate the entry of her lover (TUTTO Hel) through the eyes into her heart.
1141. This lady has spurned (triftar) her lover, and having done that, starts weeping and shedding tears, which, mingled with collyrium, leave black stains on the borders of the eyelashes. The Poet fancies them to be iron-chains or shackles (Hans) fastened on them for fear that the eyes may go back and wistfully look at the same lover, once spurned by her.
Haughtiness or jealous anger (FTF) provoked by preferential attention paid to another lady by her lover is the theme of this and the next 6 Gāthās.
1142. How unreasonable (THEFTA) young girls are because of their great fondness (
F E) is shown by the fact that while taking umbrage (footT) even at a small fault (Tigo) on the part of their man, they let him off, condoning (175) him for his very serious (गरुअ) offence (णाममंतक्ख) !
1143. These proud ladies sometimes feel like bursting into laughter at some funny remarks, jokes or humourous situations, such as their lovers kissing their feet in prostration. They, however, tighten ther lips to suppress (णिरोह) the outburst inside (अंतो), as a result of which the laughter is heaped up (ft3t) within their mouths. The same laughter, however, becomes clearly visible (as) when, at nights, the moon's orb unites (TCT) in reflection with their cheeks, with their upper portions upturned (afoje), as a result of the tightening of lips to restrain the peals of laughter (atafa7899). Cf. Afhaitai afetaTATIE STEL THEY fosfatayfalatalouttTF9T1964 FT : 1 Com.
1144. This haughty lady has been offered a glass (20) of wine by her man. Most of the stiffness of her pride has melted away, although a bit of it still persists (9fTturres) and, therefore, she leaves the glass untouched. After a good deal of coaxing, however, she takes up the glass, covered with a lotus, which comes up at the top (
F T -5445), thereby tilting the mouth of the wine-cup (31|0T3HE), because by the time she starts drinking, the pollen-dust of the lotus has been wafted away by her heavy sighs, rendering the glass lighter (553T) and helping it to tilt easily.

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1145. With great gusto (3RFECTAT) this lady drinks wine from the goblet, through the hollow stalk of a blue lotus (a utos), as if through her very heart, which has fallen out hastily (EnfafurTUT3T), having been bodily riddled (1 FUTT) with the shafts of Love-god.
1149. The ladies meet their lovers (fornith.) after a long time of separation and then give out sighs from their mouths (FEOTTHTT), indicative of their feelings of relief and joy. The sighs, so exhaled, look charming (Atefa), like some of their natural graces which have still remained with them, though many others have left them (fafurnit) during the period of separation (fake).
1150. Pretty rows of nail-marks, reddish because they are fresh, incised on the round and plump breasts (arcus) of the young girls, appear like so many small cracks (9763475) where the heart burst and broke open, as it heaved out (3HT) with force ( TEF) in great joy of a meeting with their lovers.
1151. The breasts (TTT) of ladies have developed a rough surface (567) because of nail marks (UTETET), which have after some time left scabs or scars. Their embrace (fr) is not so soft, but is rather rough, wanting in delicateness ( 134 ) All the same, it gives such a great pleasure (TF), as it clearly indicates (Fatfast) love's intense passion (ATA ). The Commentator has clearly failed to understand the word 3 5H, which in Sanskrit would be THTHTT, meaning' wanting in delicateness'. He thus gives the fantastic interpretation-374 3744f 379fargefq etc.
1152. It is but natural for the lady, when she meets her man after a long time, to have a great desire (aut) to hold him close in a tight embrace (ItigifTor). But, physiologically, the fact of the matter is that her heart feels a heavy, aching pressure (Fift) of love within, which is transferred to her breasts. Under the pretext (fureur of a tight embrace, therefore, she seeks relief for her breasts, by accepting (9f5quot) a counterpressure (9f54tspur) for them in the arms of her lover.
1153. Bosom-against-bosom embraces (corystaats), even after delighting themselves in the preliminaries of love's enjoyment (96H3TT HITT), so develop in course of time, that

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the hips (760) of the two meet and press against each other (atfs3r), so much so that no gap is left in between (forete).
1154. Due to heavy drunkenness, the sexual indulgence in pleasures (T3TTS) of these gay ladies sees, no end at all (UT Fajfa foast), although it becomes insipid in spite of the fact that its tempo has increased (ascauiPage #581

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1159. The lady breaks into a laugh (afper), as she gently passes (fam) her hand over the bosom of her lover, to soothe the pain thereof, as it were; because the places (BE) on his chest were deeply pressed or dug in (31) by the rough, scarry nailmarks (ET) of her firm and solid breasts showing a slight swelling (T- Hf93). One gets a swelling at a place where one is hard hit. Cf. FETTETETTUATT TrafSTATATATAPOFTETTEİGHTfaramaet: RTEYST: 1 Com.
1160. The young girl, feeling dull and languid in her waist (HUSISHT), is greatly harrassed (3T TH355) by her plump, rounded breasts (TUTHES), because they have now become doubly heavy (विउणगरुअ) by the tips of her lover's nails (रमणणहFET) crushed into powder, as they grated against the hard surface of her breasts and broke in the attempt, leaving the crushed powder inside (parfger).
1161. A nice description of sleeping beauties. Lying on her side, asleep (ofauor) in an oblique or slanting position (h) against her man, one hand placed on her hip (TEU-forf 37937), the hip, in a cuddle position, brought near the breasts (931182TFoot); this becomes possible because the belly is so thin (24377) that it can easily be folded (afs3t), so as to take the hips close to the breasts. Down below, the thighs are crossed, one over the other (af 357643T).
1162. The beloved's face is studded with beads of sweat (ht-fa537), caused by sleep and exection of enjoyment (Furętofera fHUUT). The man finds this a pleasing sight and out of his love for her, he attempts a kiss on her mouth. She however, tosses away (Biglfs3) her face, as she awakens (afsate); and she feels irritated and cannot bear ( fast) to lose the happiness (TF) of her sleep.
1163. The young girls, asleep, slightly appear to be weak and fragile, as the various parts of their body lie about (of fgst) loose and unbearably weary (OE), panting and breathing heavily (पअत्तूसास) on account of the condition of fatigue (समभाव).
After having satiated himself with the close observation of the nocturnal amorous activities of the young people, the Poet notices the early dawn and then the rising sun in the Gāthās 1164 to 1184.

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1171. The reading फलनिवेसा (फलनिवेशा:) would be preferable. It means ‘Fruits growing lit. placed (on the branches ).
___1173. The stars and planets (गह), shining bright throughout the night are taken out (197) from the light of the dawn (गोसप्पहा) and are pushed aside and dumped (पुंजिज्जइ) over on the western horizon (पच्छा ) with its thinned base (तलिणमूल) by the night. The Poet metaphorically represents these stars and planets as cotton-seeds (पलहि-बीअ), sifted by means of the iron ginning machine (TCT) in the form of the churning darkness (तम) and kept behind by the Lady-night in a heap. Cf. प्रातःकाले ग्रहनिवहो मुक्तप्रभः मन्दप्रभः सन् क्रमेण पूर्वदिग्भागेभ्यो विनश्यन् पश्चिमदिशि एव पुजीकृत इव दृश्यते । तत्रोत्प्रेक्ष्यते । तमोरूपलोहमयलोठकानुगतकार्पासबीजनिवहो यथा कयाऽपि स्त्रिया पश्चिमभागे पुज्जीक्रियते तद्वदिति । लोठकः कार्पासबीजनिष्कासनार्थो यन्त्रविशेषः । Com.
1177. With the couples of the ruddy geese (चक्काअ) standing soaked in water, the big tanks appear red-eyed (अरुणणअण), having wept (रुण्ण) in sympathetic grief (विसूरंत) for their day-lotusplants (णलिणीसोएण). The Nalini or the day lotus-plant is poetically supposed to be the beloved of the sun and she closes her petals in grief, when at sunset she is separated from her lover, the sun. The same is the fate of the male Cakravāka who stands separated from his beloved mate for the whole night. The sun meets his beloved Nalini at daybreak. Cf. तस्मिन् काले नयनसलिलं योषितां खण्डितानां । शान्ति नेयं प्रणयिभिरतो वर्त्म भानोस्त्यजाशु । प्रालेयास्त्रं कमलवदनात् सोऽपि हर्तुं नलिन्याः । प्रत्यावृत्तस्त्वयि कररुधि स्यादनल्पाभ्यसूयः । मेघ० 39. For the poetic convention about the चक्रवाक birds Cf. सरसि नलिनीपत्रेणापि त्वमावृतविग्रहां । ननु सहचरी दूरे मत्वा विरौषि समुत्सुकः । विक्रमो० IV.
1179. The thick mass of darkness (तमुग्घाअ) runs away (विवलाअइ), when its heart is pierced and penetrated by the sun's rays, The Poet compares this darkness to the dark Kali age, which cannot bear (असहिअ) to hear the acclamations (उग्गार) of the meritorious deeds (सुचरिअ) of good men, as it (acclamation) serves as a decoration (अवअंस) to their pious actions.
1182. The sun is figuratively imagined to the whetting wheel (णिसाणचक्क) of the bluish sword in the form of the blue sky (गअणासि). As the sword is held over the rotating sharpening wheel, fire-sparks, which are no other than the powdered particles (चुण्ण)

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of the wheel made from brick-clay (EST), shoot and spread about (fara). This is the red-lustred (STRUTT377) dawn emerging (3) and the wheel is the sun's orb.
1183. The darkness, overpowering the sun once again (gont fa), meant (317)his (Sun's) union with (i. e. drowning) in the ocean, as happened last evening. For the purpose of averting such a tragedy, the sun completely uprooted (37H137) the darkness this morning, so that it may not come back once again (37942114417) to attack him.
In a Kulaka of 9 Gāthās (1185-1193) the Poet describes the state of commotion and hectic activities, occurring in the heaven up above and down on the earth, as it became known that our King's exploits are soon to be narrated.
1185. The quarters, serving as lofty, prominent walls, were cleaned (free) with the help of iron chisels (ECT) in the form of darkness-masses and made fit for the inscription of our King's eulogy (TARRAGMT).
1186. The eastern direction lit. the direction presided over by Vāsava i. e. Indra, held up, as an auspicious symbol of welcome (HOT), a big, lustrous jar (
HH), as it were, in the form of the sun's orb (friss) and the mouth of the jar was covered with green tufts (Toma) of grass (dūrvā) in the form of the sun's green horses (aft-gir).
1187. The heavenly nymphs were in two minds (aralfour), wavering between their desire for their lovers (CAUTEMTE) and their keenness to hear about the glory of our lord. In the end, the latter prevailed and the former viz. the desire for their lover dropped away from their heart (fc3737ef3t). And then they rushed out (faförenta) in haste (EHT) from their mansions. Cf. 3F FATHEGTfq nahhoafriquiri qafTH I Com.
1189. The auspicious families of clouds pour their showers (958) on the surface of the sky (T37TCO), their thundering sound (fA31) made sweet and melodious (HETTEBIT), as their throats are scraped (free) and softened by the use (3931737) of nectar, swallowed by them. The clouds, personified, have families (ag), high and low as mentioned by Kālidasa. Cf. Fra an Hanifafaa पुष्करावर्तकानां । जानामि त्वां प्रकृतिपुरुषं कामरूपं मघोनः । मेघ० 6.

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1190. The sages . (futatut) also moved, cloaked lit. chained (forit 3T) in their deer-skins (TOUETSUT), which now slipped down (farfeszt) as they started in haste to attend the session of narration by the Poet. The deer-hides, so dropped, are fancied to be the heavenly deer-either the constellation (fr) or the moon's deer-falling at the feet (9f5qUiT-7750T) and praying or begging (9f2e737-STTTT) them to take them along, as they too have the eagerness to listen. Cf. गगनहरिणो मृगशिराश्चन्द्रमृगो वा । garai a faceta De CUTTIVAT ETT Safeet i Com.
1192. People crowded (he) round-about and stood close to one another, leaving no gap (fur<3IH) in between and they were reflected (Hina) in the huge, hanging mirrors (ququr). Thus reflected, it looked as if they were mounting the tops (ET) of the rows of pillars (EHT ) supporting the big mansion (aut).
1193. The whole surface of the sky (WEST) became filled with the circular, aerial cars (faHTH5) of gods (fata), which stood suspended in the air, row upon row, in due order (70) and it appeared as if these aerial cars, so arranged, were so many couches (Ha) or seats of honour, raised high up (PH90T3T) and fixed (aftar) in the palace-like, bright glory (TH) of our Lord.
* And now, what say the bards, as they sing the glory of our Lord ? ' This is the theme of the next 11 Gāthās (1194 to 1204).
1195. Although troubled and handicapped (fa) by chains (futsty), they come to your (T) feet, as if encouraged (97ofer) by their own feet, to go to you and plead for mercy. That is because they (the enemies' feet) anticipate (Fihifast) such a favour (393177) from them, having belonged to the same category (ATH-5115TTT) as that of the King's feet. Cf. 3744614
चरणानां यशोवर्मचरणयोश्च तुल्या चरण-जातौ उत्पत्तिः । अतः समजातित्वेन F facil407 firaran cut: Sehifedt 59 aut aa sufrat i Com.
1197. You come back to your capital, having conquered kings and countries stretched in all directions as far as the ocean and bringing with you abundant wealth (fara). Laksmi is delighted (uits) to greet you, as she feels that all this wealth is given over to her lord by her father (193OTT), the ocean, once again, when sending her back ( HUT) to her husband for the

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second time. Cf. 97:TUT TIETT TETTE Targar: utsfa भर्तृगृहविसर्जनम् । Com.
1198. The iron chains, fastened for the first time (96#), have left black lines on the feet of the enemies. They are, as it were, threads tied by the god of death to mark them as his victims. When you observe them, O King, you chop off their legs.
1199. The enemies' foreheads are already soiled with dust on the ground, transferred (pia) to them, when they bowed low at your feet. Your frown, formed of knitted eye-brows, therefore, refuses to meet lit. mount (1955) their foreheads, for fear of being itself soiled and sullied by them. In short, you have nothing to ask them about. Cf. जितसर्वत्वात् भ्रुकुटिविषयस्तव न afgaffar artafet: 1 Com.
1201. Althvugh you are highly accomplished, you always consider yourself (37+9Top), in all humility, as one who has acquired no merit (Topf50T3T-TTUT), as it were. That is because you find that even worthless people (Bount), knowing how you too, highly value merits (opravy at) in others, lay great claim (9095 ) to such merits in themselves (37091). Observing such unworthy ones boasting and bragging of merits which they do not possess, you, in contrast, would openly declare that you have not any merit in you, although we know that such is not the case with you.
1202. The moment (?) you extend your hand to bestow favour on those who fall at your feet, Laksmī, residing on your arm, goes over to them, and that very moment they find themselves suddenly rich. Cf. THICHHT THITHTHIYATHU: 1 Com.
1203. Having been busily occupied with your campaign, you found no time to get your hair cut and thus their progress has remained unchecked (35877947). As a result, they are hanging loose on your shoulders, like the hair of women. One would imagine that they are the abundant locks of hair (THEFTT) of the enemies' beloveds, transferred to your head, as it were, because these unfortunate women, kidnapped by you, now staying in your harem, have done no toilet or combing and brushing of their hair (31731a3), but allowed them to get thin (aroser) and drop off.

Page #586

Notes
289
1207. The goddesses of enemies' wealth (af feet) were freely given over and distributed to the supplicants (qui), just outside (artefast), without bringing even a coin out of them inside His palace. This is done because He has no faith (aintHICOT), as it were, in women who, by nature, have the bad traits of faithlessness (fahH-AFECT-HETTGTT).
1208. At his consecration ceremony to celebrate his victory, the wives of enemy-kings (fagopaat) were assigned the new task (Ta-FUTSTĪST) of waving hairy chowries over him. They did the job, however, with tears in their eyes, which ( tears ) they sucked in, having concealed (stafet) them behind the chowries fluttered ( 5f0q3-37f97) by them at that moment.
The Poet calls this Poem Gaüdavaho as Gāhāvidha (TETO) a Pedestal in Gāthās ’, serving as a base or foundation, as it were, for a magnificent edifice to be built up later.
G. 19

Page #587

Page #588

Appendix I
Index of Gathas in Alphabetical Order
अ
अणुकुंडलमा विवइण्ण 1203 अणुणिज्जंतं रक्खा
अकओवर
अक्कंति करीसुम्हा अक्खित्त
अखलिअसरीरवअणो
अग्गट्ठिअहरिअतुरंग
अग्घइ तत्थ रणारंभ
अग्घर मंगलगहिएक्क
अग्घंति णीलवणराई अति ता वि
अवंति सरससुरदारु अग्घंति सिसिरसलिला
अघडंतधूमरअ
अघडिअपरावलंबा
अच्चतम एण विलासिणीण
अच्चतविएएणवि
अच्छउ ता विहलुद्धरण
अच्छंतिच्चि किविणा
अज्जवि अणहट्ठिअराम
अज्जवि जस्स हराणल अट्ठअगिरिवलणगआ अअिपतविसहर अट्ठअमावती
अण्णा उ अणिमुक्त अण्णेस अव्यपवणा अण्णो वि णाम विहवी
अण्णोष्णकलहविअलिअ अणोरणं लच्छिगुणाण अण्णोण्णा राहणखण अणुअंपा वा हासो

•
275 अणुधारं संदट्टेभ° 842 अणुराओत्ति परिअणो
1147 अत्थक्कफुडणविअलंत 1186 अत्थाणतलिणतारत्तणेण 415 अत्थालोअणतरला
112 अस्थि णिअत्तिअणीसेस
358 अद्वेण सरीरेच्चेअ
573
अप्पत्ताविसमुद्द
512
अप्पा एत्तिअमेत्तेण 273 अप्पाणगमिअविअणत्तणेण
687 अप्पाणणिव्विसेसो ति
976 अप्फोडणा हिघाअ 1154
अमओवओअपरिहिट
907 अमररमणीविहुव्वंत 955
अयसं दाऊण विसंठुलाण अयसेण रिऊण करंबिआओ
अरइपरिसक्कणा रणिर
921
1052
208 अरुणविराविअतणुआ 1024 अरुणविसारिअफणा
476 अल्लीणा रहसागम
4 अवअंसकुसुमणीसंद
939
अवजीवभावगरुआ अवणेइ देइ अ गुणे
519
376 अवमारुअमूलणिमिल्ल
अवहाओ वि इह
874
331
अवरद्धरमणपडिमं
930 अववक्कलणीसहमूल 1155 अवसण्णपुराणणरिंद 95 अवहीरिअदिग्गअ

777
467
236
715
830
1168
86
99
292
149
798
26
980
929
1189
173
932
237
460
1169
479
252
1061
438
927
610
656
764
620
170
11

Page #589

292
Gaüdavaho
746
258
437
262
248
400
अवहीरिअपिअअम अविओअगमिअदिअसं अविवेअसंकिणोच्चे असमप्पमाणदीहर' असमारणमलुब्भिज्जमाण° असरललीलागइ असलाहणे खलुच्चिअ असहिअविसुद्धसुकआ असुरोरद्विणिहंसण° अह कमलकाणणोठ्ठ अह केलासो वोलेइ अह तस्स थिरभुअ° अह परिअरो अणेओ अह मोहो परगुण अह विहसिऊण सणिअं अह सुद्धम्मि अ णिहसुत्थ अह से भएण गअदाण' । अह सो कआहिसेओ अहरप्पहादरारुण अहवि वलाअंतं कवलिऊण अहिआराणलकुंडंब अहिलंघिऊण लोअं अहिलासा रहस अहिलेतस्स कमेण अ अहिसारणम्मि तं रिउ°
आ. आअवकढमाणणवंबु आअवकिलंतमहिसच्छि आआरपेसलाण वि आआसेइ पईवे आगमलंभे वयपरि' आगमवाआ छंदण्णुआ आमुअइच्चिअ जी आमूलवलिअवामोरु
1141 आमेहसमयसुहआ 1130. आयाणमरगअच्छवि 880 आरक्खवणमुहग्गिण्ण 145 आरूढ जोहणिवहा 840 आरूढो पासाअक्कमेण 265 आरंभिणो व्व संपइ 979 आरोहिणा पहाअक्कमेण 1179 आरोहंति णहअलं
7 आलुलिअवेणिलेहं 514 आलेखिअंच सरसं 636 आलोओ परिघोलइ 797 आवअणोरु णिरंतर 321 आवंडुसलिललंघिअ' 892 आवाइ माहवीणं 845 आसण्णपिअअमाहर' 1205 आसागअदाणाअंत 354 आसागएहिं सरहस' 192 आसारताडिआई 762 आसारपसरसरला 417 आसिहरपरिट्ठिअ° 1071 आसंसारं कइपुंगवेहि
80 1145 इअ अमअकुंभ 511 इअ अमुणिअवेहव्वा 712 इअ उक्कंठापडिवण्ण°
इअ उण्णएण इमिणा 397 इअ ऊरुरु भीमेण 1088 इअ एस विहुअविसहर' 988 इअ एस हिअयणिम्माण° 1174 इअ ओआरिअचावम्मि 977 इअ कमणिम्महिआ° 802 इअ कामिणीण पिअअम° 157 इअ गरुअवइअरु° . 202 इअ चाडुचउरचारण
1171 227 743 801 1108 1157 385 790 771 1007 446 384 1100 674 87
470 191 381 844 491 826 843 694 1039 1138 736 254

Page #590

Appendix 1
293
।
201 704 276 660 898
1182
549 339 374 595 664
556
373 544 617
इअ जम्मि पएसे णम्मआएँ इअ जम्मि पएसे पहुपहाव इअ जम्मि पिउवहा इअ जस्स गिम्हदिवसा इअ जस्स समरदसण° इअ जेण खुडिअवक्खा इअ जेण णहंगण° इअ जेण संभमारंभ इअ जो थुव्वा इअ जंपिऊण सयणा इअ णिव्वत्तिअसेज्जा इअ तइआ खण° इअ तम्मि णरकलेवर इअ तस्स पढममअणा इअ ताहे भावागअ इअ तिणयणरोसाणल इअ तुलिउमहिलसंतेण इअ दरचक्खिअमइरा इअ पलयजलप्फालिअ इअ पलयाणिलकवलिअ° इअ पहुणो धणुपेल्लण' इअ बंदिणंदिअजयं इअ भमइ भवणसिहरेसु इअ मअणूसवविअसंत इअ रअणीभंगुग्गअ° इअरे वि फुरंति गुणा इअ लीलारोसुग्गम इअ वसुहाहिवदंसण इअ विज्झगुहाणिलयाएँ इअ विरसमिमं संसार इअ सअलदिसाअड इअ सुब्वइ एसो इर इअ से जयपेरंतो इअ से दिणेसु महु°
465 इअ से पसत्थपत्थाण 507 इअ सोवि तद्विघडणा' 484 इअ हेमंतसमिद्धासु 166 इच्छापरिअत्तलआ° 113 इच्छामि विमुक्कगुणं 160 इट्टाचुण्ण व किरंत 235 इह अजवोरुवराहा 855 इह अज्जवि किंणु 253 इह अहिमहमंजरिअ 1120 इह अहिराअंति कमा 1069 इह इर तंआ पुर' 832 इह उवसरं वराहाण 347 इह उव्वेल्लइ दरपीअ° 796 इह कअफुक्कारपडतं 1204 इह कडिअविअडसिला 742
इह कहवि समासाइअ° 1011
इह कारहीसु कल्लं. 781
इह कालरूढसीरा 814
इह काला रुग्गतरु° इह कालेण समीकअ°
इह केसरिणो विहुणंति 737 इह कोसुमेण चावेण
इह गामागअधम्मि
इह गोरविरहिणीगंड 787 इह गंभीराअंति व
इह चिचिणीण घेत्तूण 1043 इह णिज्जिअकुंदोसीर 207 इह णेअ णिसासु वि 338 इह तस्स चिरं सेवा 1006 इह ताओ खंडिउव्वाअ°
658 इह ताओं पुलोस 1063 इह ता तरुमूल° 439 इह तेअमेहसंवलण 791 इअ ते जति कइणो
605 668 667 561
181
681
552
380
370
83
77
609 583 683 677 671 638 688 626 589 566 371 62

Page #591

294
Gaüqavaho
565
521
627 672
594
621
676 535
650
इह ते मअकलकाअंब इह तोयलंघणुम्मुक्त इह तं संचारिअ इह दरखल्लइअ° इह दावाणलधूमा इह दिअसम्मि वि सिहरा' इह दिण्णभूमिमद्दा इह दीसइ कणअसिला इह दीसइ विमलाअंत इह दूमंति व फलपत्त इह दूरदिट्ठसिहरा इह धाउलिहिअदेव इह धाराविच्छोलि इह परिसक्किज्जइ कढिण° इह पल्लीधूमुब्भेअ इह पवणभिण्णताली इह पाअवलग्गट्ठि इह पंकलोलणाविल इह फलइ दुमवईसु इह फुरइ पंडुभावो इह भूइदंडसेसा वि इह भूरिभमिरसाहा इह मणिअडाण दीसइ इह मत्ताणेअविहंग इह मारुअतंसीक इह माहवीण कोमल इह मुक्कपल्ललुम्मुह इह मुणिवराण णिक प° इह मूलपविरलेसुं इह रणगोउलेसुं इह रविणो मअतण्हा इह रेहंति च्छाया' इह लवणुग्गमपरिहीण इह लोलेइ खणक्खण
517 इह वाउचुअथूली. 574 इह वायससेविअकीडइल्ल° 593 इह वाहेहि वराहाण 619 इह विअडमूलबंधा 590 इह विहडंततंतुचुडुप्प
इह विहडिअपिंडीबंध 548 इह वीसमइ व हिअयं 564 इह वेल्लंतदुमुज्झिअ° 624 इह सलिलकाससक्कारि' 685 इह सलिलकिलिण्णाअंब° 625 इह सा उम्मुद्दिअसिंदुवार 540 इह सा सकेसरोव्वत्त 652 इह सिद्धसुदरीणं 618 इअ सुइरेण पसम्मइ 645 इह सोत्तागमविहडिअ 633 इह सो तरुअलवसुआ 571 इह सोहंति दरुम्मिल्ल 576 इह हरजडाहिसंजमण 616 इह गअजूहणिदं 640
इह हि हलिद्दाहअदविड 560 इहहुत्तं णिवडता 611 इह होति मुहलसिहिणो 639 526 उअअच्छवि मुअंतो 572 उक्कत्तं पि हु खणमत्त
उक्करिसोच्चेअ ण जाण 643 उक्किण्णरअभरोण
उक्कंठबरहिचूडा 550 उक्कंदलाण घोलइ 577 उक्खअगिरिगहण 542 उक्खिप्पइ गअणतुला 582 उग्गंधमइलवसुहा
उच्छलिअसलिलपूरि 587 उज्झइ उआरभावं .
578 654 657 534 641 623 615 648 600 637
558
601
442 567
646
594
642
493 961 559 372 653 454 1115
403 1032
679
914

Page #592

Appendix I
295
1119
1105
557 533 538 697
631
1076
65
537 527 568
659
651
515
उसंभिज्जति णराहिवस्स उद्दिणअरमिंदुसहं उप्पअणरुद्धगअणा उप्पक्षणाअरसंपिंडिअंग उप्पअणोहुरपीलिअ° उप्पइअरेणुणिवहा उप्पिअतिअसविसाओ उप्पुसिआहरपेरंत उभिज्जइ जडभावा उम्मिल्लइ थोअस्थोअ° उम्मिल्लइ लायण्णं उम्मिल्लस्स वि चिरआलं उम्मिल्लंति महीहर' उम्हाअंतगिरिअडं सम्हाइ गिम्हविहुरा उम्हालकुसूलमुहु उम्हालतरुच्छाया उवअरणीभूअजआ उवउत्तसल्लईकंड उवमासु अपज्जत्तेह उवरिट्ठिअचंदालोअ° उपरिमहो अ धरतेहि उरि धूमणिवेसा उल्लसिअवीइवलयं उवहइ दइअगहिआ° उवहइ धूमवलयं उव्वहइ बिंबघडिअं उव्वेअंति व अहिणव उव्वेल्लेइ समीरो उवहाणं पिव लीला उवहारुल्लूरिअमास उहओअहिपडिलग्गा
ऊ रुजु मलयभवं
197. ऊससइ विलोलकर' 346 अससिअरण्णसीमा 229 उसासिअसामलारुण... 224
x एमआओ गाढफुडणा 151 एमाओ परूढारुण 144 एआओ वाअधूसर' 778 एलाण फुरिअसेवा 783 एडू इहं जलणिहि 739 एए छायापरिअत्त
एए ते वणसेरिह __1017 एए पूरालुखण°
455 एए वणवारणगंड 383 एए विरत्तसुरचाव 356 एए विराअगोमय 377 एए विहअवहुव्वेल्ल° 545 एवं पवणपराहीण 911 एक्कत्तो सल्लाअंतवज्ज 350 एपकदिसापडिलक्खि 188 एक्केणंचिअ चावग्ग'
38 एक्कम्मिच्चिअ सेले 981 एक्के पावंति ण तं . 140 एक्के लहुअसहावा
एक्को उण धरणिहरो 690
एणखुरखंडिआपंडु 176
एताहे उण रविणो एसिअमेत्तेण गुणे
एंति गअणोसरतेसु 522
एंति गहमोत्तिअड्डे 263 एस विराओ हिअयं 332 एस सरो जस्स इमा .
ओ ओअरणलालसेहि 1127 ओअरणविसेसिज्जंत
185 152 769 443 441
909
866
807
602 1075 868
828
233
500
1086
947
513
440
138 234

Page #593

296
1030
ओअरणा दिठ्ठच्छेअ° . ओणविअसवणतव ओसरइ समुप्पअणा ओसरिअसिहरबंधा ओसारिअगिरगारव ओसारिअम्मि पच्छा
528 171 1196
च्छा
1166
1166
16
अंगमवलंबिआलंबि अंगाई पअणुआई पि अंगाई विण्हुणो वामण अंगेसु बिंदुणिबिडा अंतोघरचिरणिग्गमण अंतोच्चिअ णिहुअं विह अंतोमणिदामच्छवि अंतोवरिं च परिसं अंतोवासं विअडा अंतोसंलीणफणा अंदोलइ दिणलच्छी अंदोलंताण खणं
780
Gaüqavaho 496 कमलद्धालोअं फणि
206 कमलवणविणिग्ग . 817 करकलिअखग्गलेहा
662 करसंदिरेण सोहसि 458 करहपओअरविसमाई
करिकरदंडामोडण
कलहोइमआई णवरं 326 कल्लोलसिसिरपवणा 1148 कवलिअकीरिडिचूडा
कं व ण हरंति णिबिडा
कह वि धरेइ महिअलं 1002
कह वि समुप्पअणवसा 364
कामडहणाणुतावा 915
कामो वरकामिअणं
कारणकिरिखंदुक्खेव 1056
कारासु पढमणुहू 848
कालगुणा पढमकईहिँ कालवसा णासमुवा
कालीकअसरसगल 875
का वि सिरी गअगोहण'
कासारविरलकुमुआ 1057
किरणकिलामिअपरिअर' 382
किविणाण अण्णविसए 734
कि अण्णमणण्णमणेहि 425
किं णु हु कलाणिरंतर 691 किंपि दुमजज्जरेसुं 1036 किंपि विकंपिअगिम्हा
32 किं रतुसमारूढगुणाण 159 किं व गरिदेहिं विवेअ° 353 किं व सरूववरोच्चिअ 85 कीऍ वि अहिणवभुमआ 767 कीडाविलंकुरसिहा T कीरइ व तस्स ताली
581 546 889 543 492 274 123 497 314 1122 1049 1198
84 945 1091 401 271 198 919
1082
88
847
183 608
कंठकुसुमेसु बहुसो कंठणिहु च गी कंठणिरोहुव्वणवित्थरंत° कंठाहोएसु का कंठेच्चिा परिघोलइ कंठोसरिएक्कथणा कडएहिं तहेअ मही कड्डिअकुसुमरउक्कर' कढिणगिरिवक्खसूडण कण्णट्ठिअसिहिपिच्छ फत्तो णाम ण 8 कंपाओ वहति थणत्थ कबरीबंधा अज्जवि
355
K
903 949 1123 405 351

Page #594

Appendix I
297
ग
570
406
1102
54 __ 125 1003 318
107
1200 1131 1113
कुंडलससिसूरंतर कुणवत्तणसुलहूसास कुमुआवबोहमहुरा कुम्मटिअस्स दीसइ कुम्मविणिहिट्ठमूलो कुम्माहिवेण दीसइ कुलिसाणलपिंगलिओ कुलिसो ताडेइ धरे कुलिसो ण दीसइच्चि कुविआइ चलणपणओ कुसुमफलोसारिअ' कुसुमवरिसूसुआमर' कुसुमसयणिज्जमलणा कुसुमिअहरिअंदणकणअ° केऊरमरगओग्गिण्ण केऊरोरअसुंकार' कोउव्वत्तठिअविसम कोऊहलमिलिआमर कोऊहलेण आहव को जिंदइ णीअअमे को तेसु दुग्गआणं कोमारम्मि हरा को व विआरेइ विसेस कोवेण अ कअपं को व्व ण परम्मुहो कोलीकअकालाअरु कोसुमधणुबाणग्गह
1125 61
480
• 1059 333 गअजूहोअरणविभिण्ण 747 गअणं चं मत्तमेहं 1020
गअणमहिवेढणीलो 1037 गणवइणो सइसंगम 1016 गब्भालसाओ व पुणो 134 गब्भुग्गमलंघि 129 गंभीरगब्भमंद 153 गंभीरमहारंभा ___E गरुअअरमत्तवारण
985 गलिउम्मऊहपिहु 1188 गहणिवहबिंदुसंदोह 464 गहिअविविहंगराओ
गहिअहिमच्छाययं व 1070 गहिआ गुणत्तणेएं ___B गहिओ विवलाअंतीएँ
105 गाढकवाडअदुक्खु 1180
गाढजहणत्थलक्खलण 221 गाढमअमूढहिअया 82 गाढालिगणतण्हा
गिरिलुलिओअहिविहुआ 325 गुणसंभवो मओ ___89 गुणिणो विहवारूढाण° । 247 गुणिणा अहमा अ ठिआण 878 गेण्हउ विहवं अवणेउ 1126
रोहंति कंठफरुसाई गोउरमेत्तविणिग्ग गोसे विअसंति मराल
870
U
733
952
1068
956 1152 148 895 900
N.
975
1176 495
ख
630
585
घ
खज्जूरमंजरीपिंजराण खणतरलिअपक्खउडा खणपरिअत्तसहाव खलिओ तई रहसु खुडिआ इमेण समरं
853
126
घडिअफुडिअंतरालो
घडिअं मंदरदर' 293 घणलंबालअमाला 1012 घरगोलअदारो
393 1038 1042 682

Page #595

298
Gaüdavaho
675
172
घेप्पइ अगुणीहिं गुणि व्व घोलइ अलद्धकिरणी घोलइ उल्लितसुरा घोलइ पडिलग्गपियंगु घोलइ महुरसविच्छुरि घोलइ समुच्छलंती घोलिरकडारतारं
D.
989
419
चक्क्रजुएण व वम्म चलणणहच्छवि चलणणिसण्णुण्णामि चलणंतणिवडिअं° चलिअम्मि जम्मि विअणा चलिअम्मि रहसविअलिअ° चलिओ कुंभीफलदंतुरासु चावपणोल्लणणिवडिअ चिण्होवलक्खिआ विहुआ चित्तमणिकण्णऊरा चित्तालक्खिअमउलु चिरसंठिओ वि विअलइ चिहरावीलणपडिलग्ग
588 407 394 177 809 1183 139 255 108
509
1201 जणमणहिगीअगुण 272 जणविणिहट्ठाअस । 584 जममहिसो कवलिज्जइ 834 जमिअसिहंडस्स वि
जम्मि अविसण्णहिअ° जयगअकुंभप्फालण जरढाअंतफलूसास
जलआगमम्मि मज्जइ 759 जलआणिलरंखोलिअ° 420 जलणसिहासंभाविअ° 622 जलभवणसमालंबिअ° 812 जलहिस्स पूणो वि समा 101 जलिउप्पइअवलंता । 1190 जवपचमाणस्स सरीर ___421 जस्स अ वलंतजयगअ°
452 जस्स कडअद्विआओं 686 जस्स पहारधुआणण 768 जस्स महधूमलेहा । 789 जस्स मुहमारुआहअ° 1146 जस्स विअयाहिसेए 161 जह जह णग्घति गुणा
जहतहपुंसिअंसु 392 जह परिअयम्मि लोओ 644 जाआई दुलहदइआ 912 जाआओ कमपसम्मत 498 जाआओ सलिलधारा 849 जाआ ताओच्चिअ तह
जाआ दाहविणिग्ग जाआ रविअरपरि
जाआ वण्णासाआ 17 जाए णिराअवे दिण' 0. जाओच्चिअ काअव्वे 317 जाओ पसंगपरि
695 815 1044 1208 902 841 957
छाया एक्कासारे वि छायाणिव्वाविअसद्दलाण छाया सा इर मण्णे छिण्णधराअलपडिबंध छीराअंतणहच्छवि
1133 1110 404 663 131
Z
810
जअइ जअरक्खणे जअइ जडासंजमणं जअइ धरमुद्धरंतो जडबुद्धीण पहुप्पइ जणदिण्णकेसकलणा
1093.
1121
755

Page #596

Appendix I
299
245 231 72
879
झ
554
721
700
*754 जं इअरोवद्दवविद्दुआ 1165 जं जं समुप्पअंता 1090 जं णिम्मला वि खिम्जति 752 जं सुअणेसु णिअसइ 488 857 झिल्लीजलकणसीअल° 73 झीणा एक्के तु असिम्मि 708
टंकमुहाहअकढिणट्ठि
टिविडिक्किअडिभाणं 1087 766
ठिअभमरपंकभावा
ठिअमट्ठिअं व दीसइ 213
डझंतविसहरुक्कर 1202 302
डझंति विसाणलवा उज्झंति सरलसुंकार'. डिबं वो चामुंडाएँ
720
598
345
753
66
926
जाओ सइदिण्णसंणेज्झ जाअं तारावइणो जाअं व धूमसंचय जा कण्णकिसलकरअल जा जिण्हुणा णराहिब जाण अलंकारसमो जाण असमेहिँ विहिआ जाण णिअच्चेअ गुणा जाण सरूवावगमे जाणं ण पुरिसआरो जामवईमुहभरिए जा रोसुक्कंपिअकण्ण जा ललिअलआलीलं जा विउला जाओ चिरं जा सुहडासिणिवासा जाहे च्चिअ तं चलणो जाहे रअणीरूवेण फुरसि जीऍ समारंभेच्चिअ जे अच्जवि हिमसेलंत? जे अत्तणो ण अहिआ जे आसि गिरीण पुरा जे कुंकुमत्थलीसुं जे गेण्हंति सयंचिअ 'जे चंचलचामरपम्हलेहि जेण गुणग्घविआण वि जेण णहोगअसिहरेण जे णिव्वडिअगुआ वि हु जे पोहखणपरिट्ठि मेसु गिरी अवणीआ जे सुण्णा इव बहुसो जेसुंचिअ कुंठिज्जइ जो अप्पणाणसारं जो ववसाआवसरेसु
478. 121
175
934
46
261
96
267
387 924. 288 901 1197 411
74 1135
55
969
449 ण चलइ णवंबुधोअं 256 जणु णासमणवलंबा 908 णणु तुम्हं संभरणे
ण तहा महागुणेसुं णंदइ तुह विणिअत्तस्स गंदंति णंदिअदुमा गंदंतु णिअअगुण
णमइ णडालंचिअ 257
णमह दणुइंदणिहणे
णमह विआरिअदणुइंद P. णवकणकिंकिणीणिह
__णबकेअइवासि M. गबधारापडिबझंत 104 णवबाणकोउहल्लेण
283
865
367 379 655 597

Page #597

300
णवमत्थदंसणं संणि' raft गरिदविक्कम वरिअ विडिअम णवरिअ णिव्वत्तिअरअणि वरि अ थोअत्थोअं
वरि अ पयाणसमुहस्स वरि अ वसुहाहिवजय
व रोहच्छेअसुअंध णवरं दोसा तेच्चिअ
'णववरणअगोरंतर
ण वि तह लोअस्स गुणा ण सहिज्ज कामिअणेण
ण सहति णिअगुणा सहंति सीलसारं
ण सिरी चला महग्घेसु
मणिसंकमणा मह
हरेहा जाण थणेसु हरेहा राहाकारणाओ
हव दूरुण्णअ हु पढमंचि प°
गाउलभावो जोआ णाला अड्ढिअपरिणाम ाहिविवरेण कारण णिअआएच्चि वाआएँ णिअकर किलिंचणीडत्थ'
furधूमकडइआई णिअमइसंदेहोच्चिअ णिअसामत्थेणं चिअ
असुंकारोसारिअ
णिच्चं धणदाररहस्स णिज्जंति महलमुहा
णिद्दारुवेण प ffesदलणालपरि fifesghi sort

.0
Gaüdavaho
92 णिबिडलजाल 1164 णिम्माआ तेच्चिअ 1185 णिमिसं पि णेअ मुच्चइ
1184 णिरसिम्मि जए विप्फुरइ
270 णिवडइ पडणसमुच्छलिअ
413
णिवडइ परोप्परवडण
1363
णिवडंत सिलाछव्विअ
357 णिवसिज्जइ जयवारण
962 णिव्वाडंताण सिवं
396 णिव्वावेंति व हिअयं
717 णिसुढिअपक्खपडता 1132 णिहसपरिगलिअवासुइ 978 णिहसविरिक्कदुमलओ
861 णीरेणुभावणिव्वडिअ
982 णीलं सिहरच्छायं
320 णीसहविमुक्कका
758
णीससा खणविरहे
22 णीसंदइ जस्स रणाइरेसु
1096
त
718 तइआ ठिओसि जं किर
813 तक्कालविमुहहर
606 तक्खणकामिअणाणिअ
1051 63
तक्खणपरं तुप्पाअ तक्खणपीवरपसरत
1094 तक्खणविच्छूढमुणाल 130 तडणिउलमंजरीणि महंत
81 तडिभावम्मि फुरंती
142 तणइल्लतरुतलाणं
824 तणुअत्तणणमिओअर
863
तण्हा अखंडिअच्चेअ
445 तत्तोहुत्तगआगअ° 296 तद्दिसमुहट्टि 629 तद्दिअसाणिलणिव्वूढ 412 तद्दि असं रविमंडल

551
Q
299
239
241
193
150
222
78
524
122
1029
1028
665
510
155
748
102
490
313
1118
473
854
366
530
316
408
1161
983
1067
831
555
120

Page #598

Apbendix I
301
।
856 745 269 699.
.
804
307 303
860
1175
तद्दिअहणिहससंपी तद्धणणं व धरिआ तममहुअरजालुप्पअण तमलोहलोढआणुग तम्मिच्चिअ संधिपसूअ तम्मि जहागमपडिवण्ण तम्मि महारहराहे तरलत्तणवअणिज्जं तरुवलिअलआलच्छि तस्स इमं पावणमहि तस्स इर इमो सुव्वइ तस्स मगहाहिवइणो तह अयसिणो गुणेहि तह तत्तणअररच्छा तह वि णिसामेह णरा ताइंचिअ किंपि रसं ताओच्चिअ रहसविसट्ट ता चेअ मच्छरमलं ताण णिसम्मइ हिअयं ताण रमणीण ण तिअसरहपेल्लिअघणो तुच्छासुहेण विज्जाएँ तुह चंडि चलणकमला तुह जाअमच्छरेण व तुह दारं थामत्थाम° तुह दूरावज्जिअ तुह धारालग्गसमो तुह धारासंदाणि तुह पडिवक्खेसु भया तुह पहु सवत्तसीमं° तुह रिउगअकुंभक्खुत्त° तुह लोहदप्पणावलि तुह वअणच्छविभिज्जंत तुहिणइरी देवि तुमाइ
563 तेण वि इमस्स तुलणा
w. तेण सपल्लवभंग 1114 ते तस्स जयगइंदा 1173 ते तुज्झ जयगइंदा 340 तो सो गोट्ठीपरिसंठिएहिं 508 तं अत्थारुणरवि 494 तं कुवलईकुणंती 723 तं खु सिराएँ रहस्सं 1035 तंचे तिमिरमलिणं 1209 तं णमह कामणेहा 816 तं णमह कुलं पिव 696 तं गमह कोलतुलणे
869 तं णमह गअमुहं ___362 तं णमह जस्स दीसइ 1073 तं णमह जस्स मुह 1156 तं णमह जेण अज्जवि 1009 तं णमह जो वराह 896 तं मह पीअवसणं 279 तं णमह समोसरिआ 744 तं पणमह अज्जवि 416 तं पणमह जो सीसाओ
H. तं पणमह तिगिच्छि 289 तं पि दसकंधरं हरि 214 तं सगुहामहणिव्वडिअ 294 तं सहसि सजलज़ीमूब 705 तंसागअरविअर' 714 तंसीकअकंठसमो° 1194 तुंगावलोअणे होइ 242 719 थबिबेसु वहणं 730 थणपडिमागअपरिणील 336 थणमज्झच्छवितारं 295 थामत्थामणिवेसिअ 290 थिइलंभणिव्वुआणं
115 308 1084
579
897
1158 1129 757 918 456

Page #599

332
Gaüdanaho
घिरवासणसमुत्था थुम्वसि तक्खण थीअमिव खामगंड थोअमिव विअडगमणा थोडासुरामअसंभिष्ण थोआअंति व विरला थोआरंभे वि विहिम्मि थोउम्वत्तणलक्खि थोएण वि दूमिज्जइ थोवागअदोसच्चि
1169 1103 820 965 966 1018 136
447
806 264 575 678 763 217 603 935
872
946 दीसइ णिसासु तारा 298 दीसइ दिसासु तारा 794 दीसइ वेउग्घाडि 1080 दीसह सामाअंतो व्द
369 दोसंतणिम्मलो जइ वि __127 दोसतिं कुम्मतुलिआ ।
984 दोसंति कुलिसमिलिआ 1095 दीसति गमणणिवडिअ 1142 दीसति जअविणासु 960 दीसति जाण परिअत्त
दीसंति तहपरिट्ठि 692 वीसंति पढमपीढा 1162 दीहपिहलत्तणेणं
423 दीहरपआवमलं . 132 दीहरहेमंतणिसा 162 दुक्खाभावो ण सुहं 793 दुक्खोहि दोहिं सुअणा 970 दुग्नमभावटिअणीलि 13 दूमिज्जताइँ वि सुह V. दूमिज्जंता हिअएण
दूमंति सज्जणाणं दूरअरं उप्पइआ दूरत्तणपढमणिअत्त देउ सुहं वो पसुवइ
देहद्धद्धपरिट्टिअगोरि 210
देहपरिवाडिपीडा 286
दोग्गच्चम्मि वि सोक्खाई 259
दोच्चिअ णवरं हिअए दोब्बल्लपंडुराणं
दसणणिवीअमिसा 1040 702 124 घअवडधाराणिवेहि 389 धम्मपसूआ कह होउ
673
938 884
प10
121
दइअगहिआलआवलि दईआएँ वि को वि णिहा दक्खिणदिसारिदेण वड्ढवणराइकलुसा दरचक्खिअमइराम दरमउलणमज्झोण दविणोवआरतुच्छा दाढा महावराहस्स दारिअरिउगअम दावेंति सज्जणाणं दिअभूमिसु दाणजलु दिअसे वि भूअसंभा दिट्ठाओ णवणवाणण° दिट्ठी सचंदणेसु दिटे पहुम्मि अबलाण दिलृ साहेज्जारूढ दिण्णाओ पणालीओ व दिण्णं पूरा जहिच्छं दिव्वविडवाहिरामे वि दीसइ करताडणमूढ दीसइ घडणुम्मिल्लंत दीसइ जलंतसेलं दीसइ णिरंतरुभिण्ण
971 230
684
1079
426
58
211
39 851
64
R.
973
505
795 761
322 925

Page #600

लिज्जतसमुण्णअ किलिणवत्तं
बारह अधरणिकणा धाराहिसित्तणवकंदलाण
धारेइ जलहरोहुर
धावति ससल्लभडंग
धीहि हिअयणहि
अमअपंककणुक्कर
अडाअइ गिम्हाणिल पण जामिणीसुवि
पक्खउडकूडपुंजिअ
पतरालपरिअल
पच्चक्खभावतक्खण
पच्चट्ठिआअवत्तण
फज्जलइ धूममंडल
पडवासपंसुधूसर
बिद्धं णवर तुमे
डिमामग्गा सिरससि
पडिरोहिकण्णपल्लव पडसंतरयासणा
पsिहाइ जलणजाला
पsिहाइ वूढजोहो वि
पढेमरआरंभरसाण वि
पढमविमूढच्छाओ
पढ महरालिंगण
पढमासारे इह तत्त पढमुत्थंघणघोला पढमंचिअ धवलकओ
पढमं छणमग्गिअवइ
पढमं ण गुणागुण पण अजण रक्खणंतरिअ
पुणइअणत्थं आमुअइ
०

Appendix I
1193 पणईसु गुणमणोरह
पणमह कालिंदीसलिल
410
184
647
805 पत्थारोसणतरलिअ
435 पत्थिवघरेसु गुणिणो
846 पम्हंतरलक्खिअपंडु
698 पयइपरिसुक्ककाया परगुणपरिहारपरंपराएँ
390
502
154
225
312
1083
पणमह बलस्स हुंकार पणमह हेडिअविअर्ड
परमत्थपाविअगुणा
परिअत्तसरलकुंतल' परिउट्ठे साणणिरूसुएण
परिकविसबिदुमाला
परिंग अपरगुणसार परिगलिअपंडुतारा परिगंडत्थलमासवण°
169 परिघोलइ सिढिलिअ
836
परिणइकुंडलिअकरा 238 परिणामसोसलहुआ 1010 परिरुज्झइ अमरिस
1134 परिरंभणचक्कलिअं
391 परिलूणपेहुणस्स वि
180 परिलबिज्जइ घोलंत
436 परिवारदुज्जणाई 1153 परिसडिअवेणुदलरंग
453 परिसिढिलविअडमूला
301
246
44 परिहोअसहा णववहु क
649
फ्लयं वा कालि ण
850
पल्लवसिहाओ इह
1
पल्हत्थइ तिमिरमहा
784
पविलीण कुसूलट्ठाण
944
पसरंति वलंतोअहि
पहरइ कह णु अणंगो पहरिसमिसेण बाहो

303
728
$2
24
5
35
876
1170
329
71
922
205
427
785
891
1181
779
731
433
612
434
773
141
499
867
614
1025
920
297
604
1098
666
1034
996
941

Page #601

304
पहुकित्तिणिसमणूसुअ पहुदंसणरसपसरिअ पहुधम्मबंधणे संठिअस्स पालभरिअमूला पांआलोअरमग्गम्मि
पाऊण व उवहारा 'पालिअभूरओ हि
पाणमइआओ जाणं
पावइ उअयाअंबो
पार्वति कुलालउलाइँ
पावंति वलिअवित्थअ
पासम्म अहंकारी
पासम्म आवा
पासल्लिआण जे पडि
पासोसरंततलमग्ग
पिअपरिरंभुम्मूलिअ पियहुतं जाणविलास
पीडिअप ओह रोगाढ
पीणत्तणदरपरिणाम
पीलिअतमालपल्लव
पुरओ पुरओ तुम्हा पुरओ सिरी पिय
पुरुमिल्लदिसागअ
पुरुहू आइपढमो
पुहवीवो अहे आहिसेअविअलिअ
पूइज्जसि भिण्णभुआ
पेच्छह विवरीअमिमं
पेच्छति जाओ चलणे
पेच्छंति सुरदइन्चा पेरंतलूणकमला पेरं हरिअकोमल ती उत्तंग

Gaüdavaho
1187 परंतेसु दराबद्ध 1055 पंकभरिओअरुब्भिण्ण
1015 पंडुतएण करअल
448
फ
852
300
632
J.
1117
266
232
368
770
1159
680
365
215
984
1097
482
1072
311
फलणिग्गमपडिपेल्लिअ
फलबंधविरलहरिआ
फललंभमुइअडिभा
503 फलिहच्छोअरदीसंत
1027 फुट्टंति पाअवाणं 79 फुडिअघणवडलपाडल
106
फलसारणलिणिगहणा फलिक्खावलिकज्जम्मि
330
864
760
1019
523
फुरइ अ फुडो अभावस्स
व
बंदीकअमहिसासुर
बरहीण ताण रसिअं बलसंखोहुक्खअरेणु बहलत्तणकुहरूसfer
बहुओ सामण्ण
बहुकुहराविलकडअ
बहुलपओसा बद्ध
बहुसो घडंतविडंत बहुसो बहुतविसहर
बहुसो भग्गअरमण
बाढं लीढूसघणत्तणेण
बालत्तणम्मि हरिणो
बालासु तासु णव
बाहि गआण जस्स
बाहुसिहरेसु दीसइ
बिलवलयमुहुव्वेल्लं त
भ
792 भमरावलिओ भइरवि 457 भमिअं पलयपओसे

1112
343
485
788,
P
596
607
378
4
750
1023
174
1005
285
349
432
1107
75
282
335
463
348
1160
536
21
772
281
249
474
287
45

Page #602

Appendix 1
305
398
1013 885
143
487
226
1501
भमिअं रयविहुओअहि भयलोलपुलिंदवहू भयविहडिआण जाओ भरिअसवणठिअं भरिमो असिं तु संगर' भवभूइजलहिणिग्ग भारुव्वहणाजोग्गा भाविअभारहकलहं भासम्मि जलणमित्ते भीअपरित्ताणमई भीअं व लज्जिअं पिव भीसणसरूवपरि भुअआहिवस्स णिहसा भुअइंदफणामंडल भुमअग्गभमिरलच्छी भुमआभंगाणत्ता वि भुवणगरुएहिं ते भुरिगुणा विरलच्चि
1062
304
98
894
1172 228 471
726
819 मसिणुण्णअपेरंतं 352 महधूमलआ एअस्स 158 महिमं दोसाण गुणा 803 महिहरवडणुच्छलिआ 219
महुमहविअयपउत्ता 799 मायामाहप्पगुणेहिँ 1046 ___मारुअभरंतकंदर' 486 मारुअसंचरणवसा 800 मालावलएहि पइण्ण 220 मालरपत्तमाला
माहप्पे गुणकज्जम्मि 170
मिहुणेहिं रइरसायाम 1022
मुक्कतुसारासारं 1047
मुक्का दिसासु दप्पि 250
मुक्के वि णरमइंदत्तणम्मि 923
मुच्चंति पेल्लिउव्वेल्ल
मुत्तापेरंतत्तण 958 मुहलमऊराइं हरंति
मुहलंदोलिअताडी 1077 मुहविणिमिअणव
33 मूढससिदिणअरा 586 मूढ सिढिलत्तणं ते 999 मूढे जणम्मि अमुणि 260 मूलफणामंडलतह 811 मूले णिबिडाअंता 451 मेहाअंतं तुह तइअ 735 मोत्तूण बाहुसिहरं 628 मोत्तुं गुणावलेवो 182 मोहपडिबोहकारि 278
मोहरसिआई इह 468 910 मोहसलाहाहिं तहा 277 मोहाहिभवेण सिरि 428 मंगललासकिलम्मत
10 110 1058 553 635 466 1111
942
871 822 992 323
मइलिज्जइ दिअसाहिव' मउडुच्छंगपरिग्गह मउलणिबिडासु इह मग्ग व्व दीहधवला मग्गेसु गुरुबला मज्जइ सिहरारूढा मज्झसमोसरिअम्मि मणिवलयाउलबाहग्ग मणिवित्थारपरिट्ठि मणिसबलकुसुममाला मत्तकुररासु दिट्ठी मरणभएण व चिंता मरणमहिणंदमाणाण मलिआ पूअप्फलकोस मलिआ पंसुलिअकरेण
G. 20
489
883
91.
520
858
987
194

Page #603

306
Gaüdavabo
974
लोए अमुणिअसार' 418 लोएहिं अगहिअंचि 569 लंबिमहादप्पण
862
1129
18
991
693 890 1041 722 877
रमणकविलासु सोहइ रमपुंजरुद्धगअणा रक्खउ वो रोमला रक्खाभुअंगमुग्गिण्ण रमइ अ चरिए अप्फुल्ल° रमइ विहवी विसेसे रबरोसदलिअघण रहसच्छेआअरक रहसा रसाअलोअर रहसुद्धतिअसकरि रुग्णारुणणयणाओ व रूवंचिअ णवर कराल? रेहावसेसदिणअर' रोसधुअचलणतेलोक्क रोसारूढो परिपाडलेसु रंखोलिरपवणभिण्ण
147
168
1021
337
1143 562 963
839
431
178
वअणणयणप्पहा 998
वअणविमुक्कं पि खलो
वअणुव्वहणणिवेसि 12 वच्चंति अहो उड्ढं 424 वच्चंति वेसभावं
वणदेवआपसारिअ 200 वलइअभुअंगवलया 1177
वलिउद्धकवोलघडत
वल्लीविआणबहल 1101
ववहारेच्चिअ छायं 829 वसुहासयणपहुप्पंत
वहइ मणिकिरणरंजिअ 634 ___ वहइ महिंदो साणंद
वामकरपेल्लिओणमि 481 वामकराअड्ढिअसुण्ण 116 वामेअरभुअभवणा 1128 वारिच्छेअदरावीअ'
70 वासुइणिहसुम्मूलिअ 931 विअडससिमंडलाअंत 1137 विअडंडम्मिव रवि 1139 विअरइ सद्दलरेहा 1092 विअलंतविज्जुवलया
729 विअलंति कअरणक्कार' 1014 विक्खिरिअचिहुरमंजरि' 838 विज्झवइ वेल्लणोण 280 विज्झम्मि तम्मि रस 1167 विणयगुणो दंडाडंबरो 1054 विणयाढत्तणराहिव 1048 विण्णाणालोओच्चिअ 756 विणिअत्तहारवलयग्ग
1008 199 775 111 716 399 1033
6
लक्खिज्जइ आहार लक्खिज्जइ धूमाअंत लक्खिज्जइ सीसे सरस लग्गिहिइ ण वा सुअणे लच्छी लआएँ मूलं लज्जोणअवअणा ललणा वल्लहहुत्तं लहइ ससंदणतुरओ लहिऊण तुमाहितो लहुईकआ वि गुण° लहुविसयभावपडिसिद्ध ल्हसमाणजुओवत्ति ल्हसिअट्ठिअम लायण्णपरिप्फुरमाण लीलाघोलाविअचलण लीलोणअमुहअंदाण
1099 388
808 703 165 119 284
67 1191 905 203

Page #604

विब्भमपरिरंभण्णोण विभमवईण भिज्जंत बिरलट्ठिअमहुअर विरसम्म वि पडिलग्गं
विरसाअंता बहल विरहविणिग्गअसेस ब विलुलिअपि संगवल्ली
विवरसमोसरिअ
विवरीअं व तइ इमं विविणेहमज्जणट्ठिअ
विसइच्चेअ सरहसं विसमत्तणं पि विहिणो
विससिज्जत महापसु विसहंति णिअविसाणल
faess व्ववसिहा
विडिवसुहादलि
विहडतघणविमुक्का विहडति णहणिवाआ
विहवाअंतारिवह
विहिणा जाण णडालेसु वीआभरणा अकअण्ण
वीरविइण्णविकोसासि
साममंथराअंत
वीसंभमगंतूणं व वुब्भइ ओलिभाभाव°
जम्म
बूढोअअकअर
'वेअल्लवेल्लिराणं
वेरुलिहणिहा तं णमह वेल्लहलं गुलिकरकमल
वेल्लंति कंदरोअर
das सरणागअविस
वेव्वदुक्खविहलाण
चोलंति णिअपमाणा

Appendix I
197 वोलिति गिम्हणिद्दं वोलेइ लआसंकलिअ
661
599 वंसम्मि तस्स रअणी
994
स
993 सअलं विसमविरस
1149 सअलाओ इमं वाआ
386
असुंचेr दिसा
167 सड़ जाढरचिता
724
461
913
707 संकामंथरसंचार
319 संकंतमहिरओधूसराई 390 संकंताओ व रोसारुण
741
संकंतासेस सरस्स
156
818 संगलइ मरुअअ
823 संगलणमासलाअंत
218 संचरइ चिरपरिग्गह 711 सच्चं तुमम्मि दिट्ठे 1124 सच्चविआसअलगुणं 306 सज्झससंजाअजरा 1026 संज्झससंवे उम्मीलणे 1207 संज्झालत्तअधरिअम्मि 341 संणद्धम अणसाहिज्ज 893 संणिज्झेणं व सिरीऍ 375 संतत्थविरलकंकं
137 संतावायासोप्पिअ
सइ सिद्धसिद्धिमंडल
सइ संघट्टसमुज्जल सउणमरालजणवआ
संखाअमसिणपसरा
49 संबूअचुण्णसबला
732 संभमचलंतदिग्गअ
O
118 संभमपुणरुत्तारुण
483 संभमभमंतविज्जा
S. संभाविअकामहरो
701 संभाविअचित्तविआर

307
361
547
1065
1004
93
725
972
315
765
Y.
429
1199
305
1206
133
786
580
190
706
967
475
1066
1089
1116
709
541
462
529
825
477
827
1151
738

Page #605

308
समगुणदोसा दोसेक्क° समजाइ त्तणसंभाविओ
समभावपअत्तूसास
समरे धारागोअर°
समरेसु खग्गधारा°
समहिअसंज्झाराआ
सरसट्ठिदंड लोण
सरसणहराइमग्गेहिं
सरसपडिबोहलंघिअ
सरसमअतंबिमाहअ
सरहससंचारतरं
सरिआओ अणेअ
सरिआण णिरंतरमिलिअ
सरिआण तरंगिअपंक' सविमो अणज्जुणमिमं सव्वंगं विणिवेसो
सव्वत्तो हारमऊह
सव्वत्थामोणमिअं
संवेल्लिऊण एक्कं
सव्वोच्चिअ सगुणु ससिएहिंचिअ लोओ
ससिणो समोसरांती
ससिमिव णवोइअं
संसेविऊण दोसे
सहइ जलद्दासंदाण सहइ गरिद परिणओ
सहइ थणवट्ठसंठिअ°
सहीपसत्तकुररा सहिखधट्ठिअदाहिण
सा चडुला कह णु गुणु सा अइ चउमुहास सा जअइ हरसिरत्थम्मि सा जयइ मई गरुआ साणंदरोहिणीबाहु

Gaüḍavaho
964 सामण्णसुंदरीणं
1195
1163
928
212
402
328 सावअपअवीभिण्णा'
1150 सासअमिअंकमणि
सामण्णाई वि णाम
सामाअइ सेअलआ
सामाअंते वि मही
सायं मिलंति कम
सायं समारुआसार
187 सासुक्खअरयलहु 1140 साहासु बंधपरिवेस 833 साहिज्जइ गउडवहो 950 साहीणसज्जणा वि हु 1078 साही गमुहसहस्सो 525 सिढिलपसारिअवक्खा 240 सिरिथणणिवेसमग्गा 1000 सिसिरच्छासु चिरं 1060 सिसिरम्मि विरलकुसुमे
1001 सिहरणपहुत्तगअणा
1081
सीलेण जइ वि विमलो
सीसइ व जस्स तारा
सीसम्मि कओ महिसस्स
सुअणत्तणेण घेप्पइ
सुअणसहावे वि गओ
सुअणाअंति खला वि हु 163 सुकइ. भेसु जाण
216 सुट्ठ वि परिहीणगुणो 835 सुत्तणिवेसं पिव देंति
531 सुमईण सुचरिआण 204 सुरहिमिह गंधमा 933 सुलहोवहाररुहिर 47 सुलहं हि गुणाहाणं 59 सुसिरोसरिअसकद्दम L सुहडाअड्ढिअकोअंड 196 सुहसंगगारवेच्चिअ
881
940
1178
751
887

०
959
713.
740
506
1104
359
613
186
1144
669
1074
917
710
128
28
395
592
114
951
1064
324
882
G.
886
I.
888
268
873
516
310
859
518
243
936

Page #606

सुहसंगो सुहविणिवत्ति सूति वीरविक्ar
सेलग्गखणविहत्ता
सेणिअंबुप्पइआ सेल्लाण चावपेल्लिअ सेवंजलिमिलिअणडाल
सेविज्जंति सरअ
सेसगुणणिरहिलासा सोऊण मुणंति परं सो एस केसवो सोच्चेअ किं ण राओ
सो अइ कणि सो जअइ गोवभावे सो जअइ जस्स जुवइ सो अइ जस्स गाडाल
०
सो अइ जामइल्ला सो अइ झत्ति कवलिअ
सो अइ णेउरिल्लेण
सो अइ सणीसासेव्व
सो णत्थिचिचअ इह जो सोत्तकलुसा णईओ सो दीसइ उहदिसा सोम्मासु णिसम्म
सोवा
दुक्ख सो वि सतिबंधवो जाण
सो वि सुहाइँ उवणेउ सोहइ अदोसभावो सोहइ वलंत वासु सोहइ विणिवेसिअपसि
सोहइ विमुहपअत्तस्स सोहइ समागमेसुं सोइ सुहावेइ अ

Appendix I
937 सोहंति अमरिसुग्गम 327 सोहंति बालसरअम्मि 1085 सोहंति सरस सूई
135 सोहति हारावलि
444 सोहसि णारायणि रणिर 103 सोहसि मुहमुक्कासरिस
ह
1050
774 हत्थालंबिअपंकअ 83 हत्थो घोलइ दंसण
1045 हरइ अणूवि परगुणो 948 हरइ परिहीणविहवस्स
O
2
हरफंससेअसंवलिअ
A. हरिचक्कविरिक्कट्ठिअ 19 हरिचलणणहप्पहाए 29 हरिसविसेसो विअसा
20
हसिअं च भामिअच्छं
36
43
हा किं णु अणवकच्चूर
हा हा कंपावेइ व
हाहा तंचेअ करिल्ल
हिअय कहिं पि णिसम्मसु
C.
223
360 हिअयम्मि गाढघडिएहि
749 हिअयविअडत्तणेणं
782 हिअयस्स णिट्ठरत्तण
986 हिअयस्स विणिव्ववणे 209 हेट्ठट्ठिअसूरणिवारणाएँ
31 हेट्ठाअववसुआइज्जमाण 968 होऊण विहंत णिरंतराइं 179 होंतरसाअलभय
109 होतवसुहाहिवकहा
414 होंति कअत्था पणई
होंति गिरिवलणभावा
244 68
होंतु व्व विगअगव्वा
O

309
821
532
539
1053
291
334
56
1136
76
953
309
469
60
94
776
189
344
342
954
995
906
997
990
15
504
943
472
1106
251
1031
97
-

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310
Gaüdavaho
Appendix II Extract from Rajatarangini ( IV. 126-145) describing the the campaign of King Lalitāditya.
राजा श्रीललितादित्यः सार्वभौमस्ततोऽभवत् । प्रादेशकेश्वरस्रष्टुर्विधेर्बुद्धेरगोचरः ॥ १२६॥ प्रतापांशुच्छटाकूटैः पटवाससधर्मभिः । जम्बुद्वीपद्विपेन्द्रस्य येनातन्यत मण्डलम् ॥ १२७॥ नयाञ्जलिषु बद्धेषु राजभिर्विजयोद्यमे । पार्थिवः पृथुविक्रान्तियुधि क्रोधं मुमोच यः ॥ १२८ ॥ विनिःसरज्जनतया भयाद् ग निवामुचन् । द्विषां वसतयो यस्य निशम्यास्कन्ददुन्दुभिम् ।। १२९॥ विलोलतिलकान्तर्यः सनेत्राम्भोभिराननैः। निवापालिदानानि द्विषां नारिकारयत् ॥ १३०॥ क्षितिं प्रदक्षिणयतो रबेरिव महीपतेः।। जिगीषोः प्रायशस्तस्य यात्रास्वेव वयो ययौ॥१३१॥ करं पूर्वदिशो गृह्णन प्रतापानलसंनिधौ । अन्तर्वेद्यां महाराजः स कीयुष्णीषभृद् बभौ ॥१३२॥ कन्यानां यत्र कुब्जत्वं व्यधाद् गाधिपुरे मरुत् । तत्रैव शंसनीयः स पुंसां चक्रे भयस्पृशाम् ॥१३३॥ यशोवर्माद्रिवाहिन्याः क्षणात् कुर्वन् विशोषणम् । नृपतिर्ललितादित्यः प्रलयादित्यतां ययौ ॥१३४॥ मतिमान कन्यकुब्जेन्द्रः प्रत्यभात् कृत्यवेदिनाम् । दीप्तं यल्ललितादित्यं पृष्ठं दत्त्वा न्यषेवत ।। १३५।। तत्सहायास्ततोऽप्यासन निकाममभिमानिनः। कुसुमाकरतोऽप्युच्चैः सुरभिश्चन्दनानिलः ॥१३६ ॥ श्रीयशोवर्मणः संधौ सांधिविग्रहिको न यत् । नयं नियमनालेखे मित्रशर्माऽस्य चक्षमे ॥१३७ ॥ सोऽभूत् संधिर्यशोवर्मललितादित्ययोरिति । लिखितेनादित्यनिर्देशादनहत्वं विदन प्रभोः॥१३८॥
युगलकम् ॥ सुदीर्घविग्रहाशान्तैः सेनानीभिरसूयिताम् । औचित्यापेक्षतां तस्य क्षितिभृद् बह्वमन्यत ॥१३९॥

Page #608

Appendix II
311
प्रीतः पञ्चमहाशब्दभाजनं से व्यवत्त सः। यशोवर्मनृपं तं तु समूलमुदपाटयत ॥१४०॥ अष्टादशानामुपरि प्राकसिद्धानां तदुद्भवः। कर्मस्थानः स्थितिः प्राप्ता ततःप्रभृति पञ्चभिः॥१४१॥ महाप्रतीहारपीडा स महासंधिविग्रहः । महाश्वशालाऽपि महाभाण्डागारश्च पञ्चमः॥११२॥ महासाधनभागश्चेत्येता यैरभिधाः श्रिताः । शाहिमुख्या येष्वभवन्नध्यक्षाः पृथिवीभुजः॥१४३॥ कविर्वाक्पतिराजश्रीभवभूत्यादिसेवितः। जितो ययौ यशोवर्मा तद्गुणस्तुतिबन्तिाम् ॥१४४॥ किमन्यत् कान्यकुब्जोर्वी यमुनापारतोऽस्य सा। .. अभूदा शालिकातीरं गृहप्राङ्गनवद्वशे ॥१४५॥ यशोवर्माणमुल्लध्य हिमाद्रिमिव जाह्नवी । सुखेन प्राविशत् तस्य वाहिनी पूर्वसागरम् ॥ १४६॥

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Gaüdavaho
Appendix III
King Yašovarman-A Poet As has been said in the Introduction, King Yaśovarman was also a poet of no mean order. The name Yaśovarman figures in many anthologies, such as Sūktimuktāvali, Subhāṣitāvali, the Sārngadharapaddhati, Subhāsita-Ratnakosa. In his introduction to the Subhāṣitayali, Peterson mentions a drama Rāmābhyudaya as written by Yasovarman, which must have been', as Raghavan says,* * a very widely known play, as the numerous references to it and quotations from it in works of poetics and dramaturgy show. These referances and citations are ample and informing enough, enabling us to know the author of the play, the number of its Acts and the story of the Play, Act by Act."
Here are a few extracts from Dr. V. Raghavan's article "Some old Lost Rāma Plays" :षडकं दृश्यते लोके रामाभ्युदयनाटकम् ।
शारदातनय-भावप्रकाश. औचित्यं वचसां प्रकृत्यनुगतं, सर्वत्र पात्रोचिता पुष्टिः स्वावसरे रसस्य च, कथामार्गे न चातिकमः । शुद्धिः प्रस्तुतसंविधानविधौ प्रौढिश्च शब्दार्थयोः विद्वद्भिः परिभाव्यतामवहितैरेतावदेवास्तु नः ॥
शृगारप्रकाश Vol II रावणः - युक्त्यैव क्षत्रबन्धोः परिभवमसमं जीवतः कर्तुमिच्छन्
मायासाहायके त्वं निपुणतर इति प्रार्थये नासमर्थः। यच्चान्यत् तत्र वज्रप्रहतिमसृणितस्फारकेयूरभाजः
सज्जास्त्रैलोक्यलक्ष्मीहठहरणसहा बाहवो रावणस्य ।। मारीचः- दाराणां वतिनां च रक्षणविधौ वीरोऽनुयोज्यानुज
वीराणां खरदूषणत्रिशिरसामेको वधं यो व्यधात् । तस्याखण्डिततेजसः कुलजने न्यक्कारमाविष्कृतः
कुण्ठः संगरदुर्मदस्य भवतः स्याञ्चन्द्रहासोऽप्यसिः ॥ * Dr. V. Raghavan—Some old Lost Rāma Plays’ P. 1

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Appendix III रावणः- तवैव रुधिरांबुभिः क्षतकठोरकण्ठस्तै
रिपुस्तुतिभवो मम प्रशममेतु कोपानलः । सुरद्विपशिरस्स्थलीदलनदष्टमुक्ताफलः स्वसुः परिभवोचितं पुनरसौ विधास्यत्यसिः॥
नाट्यदर्पणे इन्द्रजित् - रक्षोवीरा दृढोरप्रतिफलनदलत्कालदण्डप्रचण्डा
दोर्दण्डाकाण्डकण्डूविषमनिकषणत्रासितक्ष्माधरेन्द्राः। याताः कामं न नाम स्मृतिपथमपथप्रस्थितेन्द्रानुसारी स्वर्वासिक्लिष्टदृष्टः कथमहमपि ते विस्मृतो मेघनादः॥
नाट्यदर्पणे रामः-प्रत्याख्यानरुषः कृतं समुचितं यूरेण ते रक्षसा .
सोढं तच्च तथा त्वया कुलजनो धत्ते यथोच्चैः शिरः। व्यर्थ संप्रति बिभ्रता धनुरिदं त्वद्व्यापदः साक्षिणा रामेण प्रियजीवितेन तु कृतं प्रेम्णः प्रिये नोचितम् ॥
. नाट्यदर्पणे धूमवातं वितानीकृतमुपरिशिखादोभिरभ्रंलिहायैः बिभ्रद् भ्राजिष्णु रत्नं ततमुरसि तथा चर्म चामूरवं च। भूयस्तेज प्रतानैः विरहमलिनतां क्षालयन्नकभाजो देव्याः सप्ताचिराविर्भवति विफलयन् वाञ्छितान्यन्तकस्य ॥
नाट्यदर्पणे Stray verses quoted from the Rāmābhyudaya :स्निग्धश्यामलकान्तिलिप्तवियतो वेल्लबलाका घना वाताः शीकरिणः पयोदसुहृदामानन्दकेकाः कलाः । काम सन्तु दृढं कठोरहृदयो रामोऽस्मि सर्व सहे वैदेही तु कथं भविष्यतु हहा हा देवि ! धीरा भव ॥
___Quoted by आनन्दवर्धन. यत्त्वनेत्रसमानकान्ति सलिले मग्न तदिन्दीवरं मेधैरन्तरितः प्रिये तव मुखच्छायानुकारी शशी। येऽपि त्वदूगमनानुसारिगतयस्ते राजहंसा गताः त्वत्सादृश्यविनोदमात्रमपि मे दैवेन न क्षम्यते॥
From सुभाषितावलि and सूक्तिमुक्तावलि.

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आक्रन्द्राः स्तनितैः विलोचनजलान्यश्रान्तधाराम्बुभिः तद्विच्छेदभुवश्च शोकशिखिनः तुल्यास्तडिद्विभ्रमैः । अन्तर्मे दयितामुखं तव शशी वृत्तिः समैवावयोः तत् किं मामनिशं सखे जलधर त्वं दाधुमेवोधतः॥
Quoted from Earta and attributed to Yasovarman in सूक्तिमुक्तावलि.
कृतककुपितैर्बाष्पाम्भोभिः सदैन्यविलोकितैवनमपि गता यस्य प्रीत्या धृतापि तथाम्बया। नवजलधरध्यामाः पश्यन् दिशो भवती विना
कठिनहृदयो जीवत्येव प्रिये स तव प्रियः॥ Quoted by आनन्दवर्धन in ध्वन्यालोक-- fully quoted in Locana रक्तस्त्वं नवपल्लवैरहमपि श्लाघ्यैः प्रियाया गुणैस्त्वामायान्ति शिलीमुखाः स्मरधनुर्मुक्तास्तथा मामपि । कान्तापादतलाहतिस्तव मुदे तद्वन्ममाप्यावयोः सर्व तुल्यमशोक ! केवलमहं धात्रा सशोकः कृतः ।। Quoted by आनन्दवर्धन and many other writers. प्रारब्धं तरुपुत्रकेषु सहसा संत्यज्य सेकक्रियां एतास्तापसकन्यकाः किमिदमित्यालोकयन्त्याकुलाः। आरोहन्त्युटजदुमांश्च बटवो वाचंयमाः सत्वरं सधोमुक्तसमाधयो निज (बृसी) ध्वेवोच्चपादं स्थिताः॥
-जल्हण - सूक्तिमुक्तावलि. प्रौढच्छेदानुरूपोच्चनरयभवत्सैहिकेयोपघातत्रासाकृष्टाश्वतिर्यग्वलितरविरथेनारुणेनेक्ष्यमाणम् । कुर्वतकाकुत्स्थवीर्यश्रुतिमिव मरुतां कन्धरारन्ध्रभाजां भान्कारैर्भीममेतत् निपतति वियतः कुम्भकर्णोत्तमाङ्गम् ॥
From - सूक्तिमुक्तावलि, also
शार्गधरपद्धति. स यस्य दशकन्धरं कृतवतोऽपि कक्षान्तरे गतः स्फुटमवन्ध्यतामधिपयोधि सान्ध्यो विधिः। तदात्मज इहागदः प्रहित एष सौमित्रिणा क स क स दशाननो ननु निवेद्यतां राक्षसाः ॥ .

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man.
Appendix III
1
Quoted in सुवृत्ततिलक by क्षेमेन्द्र. उच्छूठनारुणमश्रुनिर्गमवशात् चक्षुर्गतं मन्थरं सोमश्वासक दर्थिताधररुचिः, व्यस्तालका भ्रूलता आपाण्डुः करपल्लवे च निभृतं शेते कपोलस्थली मुग्धे कस्य तपः फलं परिणतं यस्मै तवेयं दशा ॥ From कवीन्द्रसमुच्चय
"
कामस्यापि शराहतिर्न गणिता त्वं जीवनं संस्मृता नो दग्धो विरहानलेन झटिति त्वत्संगमाशासृतैः । नीतोऽयं दिवसो विचित्रलिखितैः संकल्परूपैर्मया किञ्चान्यन्मनसि स्थिताऽसि ननु मे तत्र स्वयं साक्षिणी ॥
--
From सूक्तिमुक्तावलि over the name Rājaputra YasovarDr. Keith takes it as our Yasovarman's verse.

315

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816
Gaüdavaho Appendix IV
वाक्पतिराज Verses attributed to him in Anthologies :
सुभाषितरत्नाकर by Kosambi and Gokhale. अस्ति श्रीस्तनपत्रभगमकरीमुद्राङ्कितोरःस्थलो देवः सर्वजगत्पतिर्मधुवधूवक्त्राब्जचन्द्रोदयः। क्रीडाकोडतनोनवेन्दुविशदे दंष्ट्राकरे यस्य भू - र्भाति स्म प्रलयाब्धिपल्वलतलोत्खातैकमुस्ताकृतिः॥ पृष्ठभ्राम्यदमन्दमन्दरगिरिग्रावाग्रकण्डूयनान् निद्रालोः कमठाकृतेर्भगवतः श्वासानिलाः पान्तु वः । यत्संस्कारकलानुवर्तनवशाद् वेलाच्छलेनाम्भसां यातायातमयन्त्रितं जलनिधेर्नाद्यापि विश्राम्यति ॥
वाक्पतिराजस्यैतौ। P. 21 देवि त्वं कुपिता, त्वमेव कुपिता, कोऽन्यः पृथिव्या गुरुर्माता त्वं जगतां, त्वमेव जगतां माता न विज्ञोऽपरः । देवि त्वं परिहासकेलिकलहेऽनन्ता, त्वमेवेत्यथ ज्ञातानन्त्यपदो नमन् जलधिजां शौरिश्चिरं पातु वः ॥
वाक्पतिराजस्य । P. 21 दंष्ट्रासङ्कटवक्त्रकन्दरतरज्जिह्नाभृतो हव्यभुम् - ज्वालाभासुरभूरिकेशरिसटाभारस्य दैत्यगृहः । व्यावल्गबलवद्धिरण्यकशिपुक्रोडस्थलीपाटनस्पष्टप्रस्फुटनस्थिपञ्जररवकूरा नखाः पान्तु वः॥
वाक्पतेः। P. 28 खर्वग्रन्थिविमुक्तसन्धिविकसद्वक्षःस्फुरत्कौस्तुभं निर्यन्नाभिसरोजकुड्मलकुटीगम्भीरसामध्वनि । पात्रावाप्तिसमुत्सुकेन बलिना सानन्दमालोकितं पायाद् वः क्रमवर्धमानमहिमाश्चर्य मुरारेर्वपुः॥
वाक्पतिराजस्य । P. 24 सेयं द्यौस्तदिदं शशाकदिनकृच्चिद्रं नभः सा क्षितिस्तत्पातालतलं त एव गिरयस्तेऽम्भोधयस्ता दिशः।

. For Private &Personal Use Only

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Appendix IV
317 इत्थं नाभिविनिर्गतर्न सशिरःकम्पाद्भुतं वेधसा यस्यान्तश्च बहिश्च दृष्टमखिलं त्रैलोक्यमव्यात् स वः॥
वाक्पतिराजस्य ( वाचस्पतेः) । P. 27 उत्प्लुत्य दूरं परिधूय पक्षावधौ निरीक्ष्य क्षणबद्धलक्ष्यः। मध्येजलं बुड्डुति दत्तझम्पः समत्स्यमुत्सर्पति मत्स्यरङ्कः॥
वाक्पतिराजस्य । P 207.

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318
Gaiidavako
Appendix V The Commentator Haripåla ånd his Commentary
“ The Commentary of Haripāla explains merely the principal points, on account of which it is also called Gaüdavadhasāraţika. Very often it is nothing better than its Sanskrit paraphrase.” So says R. Pischel about Haripāla, the only commentator of the Gaüdavaho. In the colophon of the Ms. of his commentary, mantion is made about Haripāla in the following wards:-- जालन्धरीयभद्रश्रीमदुपेन्द्रहरिपालविरचित-गौडवधसारटीका परिपूर्णा । This means that he was the son of Upendrabhatta and that his native place was Jālandara. The fact that he read this Poem with his father who must have helped him a good deal in the choice of variant readings of the Text and in the understanding and the interpretation of the Gāthās is borne out by what he says about his father in the following words; while commenting on the word झणक्कारेइ in Gatha. 788 :
झणदित्यव्यक्तशब्दानुकरणम्। तच्च रसाफलपलवासु कोमलानिलवेल्लितासु मञ्जरीषु न युज्यते। झणत्कारादेः कठिनद्रव्यस्य नूपुररणितादिषु दर्शनम् । तस्मात् सणकाइ इति पाठो लक्ष्यते, सकारस्य च रेखाभ्रंशमात्रेण लेखकदोषे झकारीभूतत्वादिति सुगृहीतनामभिरस्मतपितृभट्टश्रीमदुपेन्द्रपादैरवर्णि। तैरेव च बाल्य एव इयमपरा व्याख्या कृता।
नूनं पुत्रक मारुतोऽपि मधुरो रोलम्बमाला मधौ शश्वच्चूतलतावितानपवनरस्ता झणत्कारयेत् । प्रे-खल्लास्यलताफलर्धिकुसुमप्राप्त्यर्थगर्वोद्धता
धावद्रावयुतासु तासु च लताभेदोऽपि भक्तेर्भवेत् ॥
In spite of what Pischel has said, it must be admitted that, being the only Commentator available, he proves of great help in the proper understanding and interpratation of the difficult Gāthās of the Gaüdavaho, supplying valuable cues in the matter. His knowledge of the Prakrits is, however, limited, as he is more well-versed in Sanskrit than in Prakrits. To give a few instances

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Appendix v
319
(1) In Gāthā 782, the word h y which should be HITHTETO full of excitement', is taken by him to mean 'TRIT 3791 mai ag af 19, of mild lustre '.
(2) gosto, in G. 1093 which means a crab ', is understood as 'a flower'- TE Tafega: 1
(3) The word 3773 HC . Wanting in softness or delicateness', with reference to FTTH · Embrace' in G. 1151, is interpreted fancifully as 37 3# fagfata19 ... 1
(4) In G. 611 he gives quite a fantastic interpretation of - साहासारंगविराविणो as शाखाभिः सारङगविराविणो सारङगवज्झङकाररवकारिणो
etc. The word साहासारंग-शाखासारङग, like शाखामृग, just means "A monkey':
As Pandit observes, “The commentary of Haripāla is in many places hardly a Commentary, but merely a Sanskrit construction of the Prakait Text, word for word, in the order of the original or a chhāya (shadow ), as such version is usually called. It rarely explains, though it often makes remarks, on points connected with allusions contained in the Text. Indeed, it is often prolix. But whenever it does explain the Text, it can hardly be said to be clear and to the point.”
It is probable that Haripāla was a Jain, as the Commentary, as given by its single Ms., begins with an invocātion to Lord Jina in the following words-ओं नमः श्रीजिनेन्द्रेभ्यः ।. It is mainly Jain scholars like Haribhadra and Hemacandra, who had devoted themselves to the study of the Prakrits. The orthodox Sanskrit Pandits had somehow developed a cartain amount of prejudice against the Prakrits, and hence the fervent plea for Prakrits made by poets like Pravarasena, Vākpatirāja and Rajasekhara. The date of Haripāla cannot be aseertained.

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GAUDAVAHO
Glossary
OF NOTABLE WORDS अकणिअ (933)- अकूणित, Not contracted, opened out. अक्क (535)- अर्क, Name of a plant. Hindi or Marathi रुई. Also
means — the sun'. अग्यवत्त ( 1016) - अर्घ्यपात्र, A plate full of materials of worship. अग्छति (269)- राजन्ते, Look charming. अग्घ-राज् 'To become
to appear nice. अग्धविअ (717)- अघित, पूजित, संमानित, Honoured, decorated. अचरम (1209)--- अचरम, Foremost, unparalleled. अच्छक्क (228)- अकाण्ड, अकस्मात्, 'All of a sudden. Also
अत्थक्क. अछिवंत (921)- अस्पृशत्, 'Not touching' छिव-स्पृश् - To
touch' अणरह (83)-- अनर्ह, अयोग्य, 'Unfit, unworthy'. अट्टा (153)-- क्वथति, Boils / अट्ट-क्वथ्, To boil. अटिलवाआंति (945)-- अस्थिलवायन्ते, ' Act or look like bits of
bones. अणहिगीअ (899)-- अनभिगीत, Unsung, not praised. अणिउंचिअ (273)- अनिकुञ्चित, Com. अवक्रीकृत. Uncurtailed, not
___curved. अणिचरिअ (23)- अकथित, · Untold, unexpressed. ' णिच्चर-कथय
____To tell. आणिटिअ (707)- अनिष्ठित, असंपूर्ण, Unending, never finishing. अणिमच्छिअ (776)- अनिर्भत्सित, Not cast away, not removed. अणुच्छित्त ( 238)- अनुत्क्षिप्त, अत्यक्त, 'Not abandoned, not
__discarded. अनुप्त (989)- अनुत्प्रयत्, Com. अनपनयत्, Not lifting, not
removing. अत्थगई (980)- अर्थगति, Implication, inference.

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Glossary
321
अत्थाअंति (126)- अस्तायन्ते, Sink below the horizon, set, :
अत्था, अत्थाअ-अस्ताय, To set. अहर (287)- अजिर, अङगन, Court-yard. अप्फालिअ (814)- आस्फालित, Struck, beaten.. अप्फुण्ण (98) -D. आक्रान्त, Overwhelmed, overpowered. अप्फुल्लअ (998)- आत्मीय, One's own. Cf. Mar. आपलें. . . अप्फोडण (929 )-- आस्फोटन, Slapping, striking. अमुणिअ (191) - अज्ञात, अविदित, Not known. अमोल्ल (1006)- अमूल्य, Priceless, Valuable, precious. अरहट्ट (685)-- अरघट्ट, Water-drawing contraption. Cf. Mar, रहाट, अलत्तअ (1047)- अलक्तक, Red lac or sap, used by women to dye
certain parts of the body, particularly the soles and lips
Cf. Mar. अळिता. अलंबुसा (272)- अलम्बुषा, गुल्मविशेष, A kind of creeper. अल्लअ (773)- आर्द्र, Wet, moistened. अल्लिअइ (923)- आलीयते, Embraces, unites.
अल्ली, अल्लीअ--आ + ली, To merge, to embrace. __- (173) उपसर्पति. अल्लिअ-उप+ सृप, To approach. अल्लीण (252)- आलीन, आश्लिष्ट, Concealed, hidden, stayed close. अवचुण्णेति (766)-अवचूर्णयन्ति, Sprinkle powder. अवड ( 471 ) D. - अवट, कूप, A well. DNM. I. 53. Cf. Mar. आड, अवसाय (613)- अवश्याय, Hoar-frost, white dew. अयोच्छिण्ण (937)- अव्युच्छिन्न, Continuous, uninterrupted. असमारण (840)- असमारचन, Want of arranging, dressing or
____ combing ( hair ). असलाहण (979 )- अश्लाघन, Absence of praise. असोउमल्ल ( 1151)- असौकुमार्य, Want of softness or delicacy;
____rough. अहिजारज्जति (872) - अभिपूर्यन्ते, Are filled. अहिलेइ ( 178 )- अभिलाति, अभिगृह्णाति, Takes up. seizes. / ले-ला =
___ ग्रह To seize, to take. अहिसारण ( 1126 ) - अभिसारण, Going over to meet (the lover ). अहिसंधिअ (1131)- अभिसंधित, Formed, created, joined. अहुआसेअ ( 536)- अहुताशेय, Unfit for fire. २१

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Gaüdavaho
अहिअं (4)- अस्थितं, अनवरतम् Ceaselessly, continuously. अंजिअ (205)- अजित, Anointed, decorated, adorned. अंडअवंधाअए (248)- अण्डकबन्धायते, Denominative of अंडकबन्ध,
An egg-shaped dome on a temple. अंत (481)- अन्त्र, Entrails, intestines. अहिआर (1071 )- अभिचार, Exorcising, employment of magic
spells for malevolent purposes. आउंजि (610)- आकुञ्चिन्, Contracting, shrivelling. आमेल (112)- आपीड, A garland of flowers. आमोडण ( 351 ) आमोटन, Breaking, smashing. आयस (1077)- आयस, Made of iron, metallic. आयाण (258)- आयान, अश्वाभरणविशेप, A decoration of a horse. आर (422)- आर, मङगलग्रह, The planet Mars. Cf. आर अङगारको
भौमः । Com. आरक्व (437)- आरक्ष, The junction of the frontal sinuses of
an elephant. Cf. आरक्षं शिरसि गजस्य मदस्थानं यत्राङ्कुशचञ्चु
निमज्जति । Com. आलंखण ( 527)- स्पर्श, Touch, contact./आलुख-स्पृश्, to touch. आवरिल्ल (24) - उत्तरीय, Upper garment. आवाअ ( 535)- आपात, तत्काल, That very moment. अविद्ध (210) D. -क्षिप्त, प्रेरित, Thrown out, tossed;
- also परिहित, covered, invested. आवीलण ( 161)- आपीडन, समूह, Mass, heap, collection. आवंडुर (784)- आपाण्डुर, Whitish, pale. आसागअ (446) - आशागज, A Quarter-elephant. आसंघ (489) D. - श्रद्धा, विश्वास, Faith, belief. आसंधि ( 56 ) D. -- संभावित, मानित, Considered, thought. आसंदाण ( 163)- आसंदान, अवष्टम्भन, अवरोध, Binding, fastening. ओसुक्क ( 1112)- अवशुष्क, Dried up, withered. इट्टा (678 )-- इष्टका, A brick. इरिण ( 1049)-D. कनकं, Gold, DNM. I. 79, इहरा (84)-- इदानीम्, Now, in modern days. उबंटयंति ( 684)- उत्कण्टकयन्ति, Cause the erection of hair.
horripilate.

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Glossary
323
उग्घाडिअ (820)-उद्घाटित, Exposed, opened out. उच्चु डंत ( 733)--Being scraped off. उत् + चुड. To take off, to
___scrub. उच्छ (409) D.-अन्तरावरण, Internal covering. DNM. I. 85. उज्जड (559) D.---उद्वस, शून्य. Desolate, barren. DNM. I. 96 उनुण (83) D.-दृप्त, गर्वित. Vain, proud. DNM. I. 99. उत्थल (109)-उच्छलित, उर्तित, Uplifted, upturned. cf. Marathi
उथळ. उत्थंधि (650)-उत्क्षेपिन्, Tossing up, hurling upward. उधुमाअ (481)-उद्ध्मात, Swollen, bloated. उधुर (972)-उधर, High, lofty, lifted up. उद्दलण (1050)-उद्दलन, विदारण, Tearing, digging. उप्पिअ (1208)-अर्पित, Given, shed. उप्पित्थ ( 124, 526) त्रस्त, भीत, विधुर, Frightened, distressed,
afflicted, DNM. I. 129 उत्पील (431) D. संघात, समूह, Mass, collection. DNM. 126 उप्पंक ( 176) D. राशि, समूह, Multitude, number, DNM. I. 130 उन्भड (231)-उद्भट, प्रबल, प्रचण्ड. Violent, terrific. उब्भिडण (117)-उद्भेदन, Blow, impact, collision. उम्हाइ (356)-ऊष्मायते, Gets warm or heated. उल्लस (1156)-उल्लास, विकसन, Display, manifestation. उवऊढ (1153)-उपगूढ, Embrace. उच्वाअ (553)--उद्वात, शुक, Parched, dried up. उध्वत्थ (538)-उदुषित, Gone out to reside, migrated. जति (584)-आर्दीभवत, Getting moist or wet, V उल्ल- आर्द्रय. to
become or make wet. उल्लूरिअ (332)-तुडित, विदारित, Cut to pieces, slaughtered. उवआर ( 760 )- उपचार, Supposed or fancied identification
founded on resemblances. कोल (515) - उद्वेष्टित, Loosened, detached, separated. - (110)
उच्छलित, Tossed up, forced upward. उवणिग्गम (669)- उपनिर्गम, उपवन, A park, garden. उसीर ( 671 )- उशीर, A kind of fragrant grass. Marathi वाळा,
___ Hindi खश.

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उस्सूण (436) - उच्छून, Swollen.
ऊस (536 ) - ऊष, Salt ground, barren, saline soil. ऊससिअ ( 1105 ) - उच्छ्वसित, Heaved up, sprouted. एक्कवास (452) - एकपार्श्व, One side.
ओज्झर (130) - निर्झर, A stream, rivulet.
-
ओप्पु सिअ (723) – also ओप्पुंसिअ, उप्पुसिअ - उत्प्रोञ्छित, Wiped out. ओलिंभा ( 341 ) – D. Ointment ?
ओलंप (677) - अवलोप, The act of crushing, Com - अवलुम्पन ओहुर (606 ) - D. अवनत, स्त्रस्त, Turned or bent down. DNM
I. 157.
कक्कर (398) – कर्कर, A stone.
कक्अण ( 794 ) – कर्केतन, A kind of a gem. A Bimba fruit. Cf कर्केतनापरसंज्ञकबिम्बफलः । कक्केयण इति मणिविशेषोऽप्युपलक्ष्यते ।
Com.
कक्कोल (582 ) – कङकोल, वृक्षविशेष: A kind of a tree, as also its
fruit.
कक्खड (731) D. पीन, पुष्ट, कर्कश ( Com ). Big, tough, hard. कच्चूर (189, 602 ) - कर्पूर, A kind of a fragrant tree. Hindi काली हळदी.
कच्छ (401) - कच्छ, जलप्रायदेशः, Marshy tract.
कडप्प ( 12 ) – D, कटप्र, निकर, Mass, heap, bundle, DNM. II.13. कउलणारी (319 ) - कौलनारी, A woman belonging to the śakta (Kaula ) sect.
कडार ( 12, 32 ) - कडार, Brown, tawny-coloured.
कण्हाइण ( 1190 ) - कृष्णाजिन, Deer - hide, the skin of a black
antelope.
कप्फा ( फा ) ड (623) D. गुहा, A cave. DNM. II. 7.
कब्बुर (210) - कर्बुर, Gray, ash-coloured.
करणि ( 1007 ) D. सादृश्य, रूप, Resemblance, similarity, imitation. DNM. II. 7.
करमन्द (533) - करमन्द, A kind of a plant, as also its fruit.
Marathi करवंद.

. करवीर (671) - करवीर, A kind of a flowery plant. Marathi कण्हेर. cf. करवीरं कणहीरकमिति लोकभाषया प्रसिद्धम् । Com.
१

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करिल्ल (342) D. वंशाङकुर, A bamboo sprout. DNM. II. 10. करीर (534)- करीर, तृक्षविशेष. A kind of a tree. करहाड (533)- करहार, वृक्षविशेष, A kind of a thoo. करंक ( 1000 ) --- करङ्क, भिक्षापात्र, A small pot (of cocoanut),
____alms-bowl. करंबिअ (237)- करम्बित, Mixed, intermingled, variegated: कलअंठी (596)- कलकण्ठी, A cuckoo. कलहोअ ( 889)- कलधौत, Silver, also gold. कलल (650)- कलल, Yolk of an egg, foetal fluid. कललिअ (331)- कललित, कर्दमित, Made muddy. कलविंक (647)- कलविङ्क, A sparrow. कवलेइ ( 1095 ) - कवलयति, gobbles, makes a mouthful of,
___swallows. कवाल (390)- कपाल, The skull. कसब्य (375) D. --प्रचुर, व्याप्त, Full, covere 1, D M. II, 53. कसेरु ( 393)- कशेरु, A kind of grass growing in water. Cf.
__ कसेरुस्तृणविशेषो जलजः | Com. कहुल्लोल (494)- कथाप्रबन्ध, Continuous narration of stories... कारही (668 )--- कारभी, Belonging to the Karabha plant. Cf.
___ करभनामसुगंधिद्रव्यविशेषसंवन्धिनी। Com. कालसुत्त (1198)- कालसूत्र, Noose of Death, कावुरिस ( 894)-कापुरुष, A bad or wicked man. कास ( 525)- काश, A flower of the Kasa, variety of grass used
for mats, roofs etc.. किण्ण (648)- किण्व, फलवृक्षविशेष, A kind of a tree the fruit of
which is utilised for distilling wine. किरि ( 1049 )---किरि, A boar, hog. किलिंच ( 1094)- D. लघुदारु, A wood-stick. Marathi किलचा. किंसुअ (554)- किंशुक, The Palasa tree and its blossom. कीडइल्ल ( 521 )- कीटयुक्त, Full of insects or worms. कीलाल ( 331 )- कीलाल, Blood. मज्जारुधिरादिकम् । Com. कीलिअ (283)- कीलित, Nailed, screwed tight. कुक्कुह (519)- कुक्कुभ, Wild cock. कुप्पर (682)- कूर्पर, Decaying wall-plaster, also कप्पर.

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Gaüdavaho
कुप्पास (757)-कुर्पास, A sort of bodice worn by women. कुरर (520)-कुरर, An osprey. कुरुविंद (618)- कुरुविन्द, मणिविशेष, A kind of a stone, a ruby.
___ कुरुविन्दाः पाषाणमणिविशेषाः । Com. कुलीर (1093)-- कुलीर, जन्तुविशेष, A crab. कसूल (377, 664 )--- कुसूल, Granary, store-house. कुंडल (833)- कुण्डल, Coil of a rope, loop. कूडकोडी (316)- कूटकोटि, कूटस्य राशेः कोटि: प्रान्तः। Com. Edge
or border of a mass. कूडुक्केर (218)- कूटोत्कर, Massive heap. कूणिअ (364)- कूणित, Contracted, closed. केऊ (1115)- केतु, तुलासूत्र, Cotton thread or string attached to a
weighing balance. केसर (534)- केसर, 1. A kind of a tree and its flower, also
known as Bakula tree. 2. Mane of a lion. कोल (850 )- कोल, Hog, boar. कोलीकअ (1126)-क्रोडीकृत, Embraced, clasped to the bosom. कोसिअ (541)- कौशिक, An owl. कंक (541)- कडक, पक्षिविशेष, Heron. कंकाल (541)-कङकाल, A bony skeleton. कंचणार (593)- कांचनार, The Kovidara tree. कटी (533)- D. उपकण्ठ, The land on slopes of a mountain. कंडअण (986)- कण्डूयन, Scratching, rubbing. कंद (739)-D, दृढ, Strong, DNM. II 51. खज्जू र (533)- खजूर, Date-tree. खल (273)- खल, Threshing floor. खल्लइअ (619)-D. संकुचित, Worn out. खलतीकृत - Com.
DNM. II.79. खीरोअ (1039)-क्षीरोदक, the milky ocean. खुडिअ (235)-खण्डित, विच्छिन्न, Cut, clipped. खुत्त (101)-D. निमग्न, Sunken, imbedded. DNM. II. 74 खुप्पंत (422)-मज्जन्त, Sinking, being thrust inside. Marathi खुपणे. गामेइआ (536)-ग्रामेयिका, A woman of the village, a rustie woman, गो-जाल ( 50 )-रश्मिसमूह, Mass of rays.

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गोमाउ (541)-गोमायु, शृगाल, A jackal. गोलअ (682)-गोलक, Round-shaped. गंधउडि (319)-गन्धकुटी, A house of perfumes. घग्घर (531)–घर्घर, A pile or mass. घुसिण (161)-घुसृण, कुडकुम, Saffron. घोणा (850)- घोणा, Nose, snout. घोणंत (464)-घूर्णमान, Hovering, rolling, reeling. चक्कलइज्जति ( 1042)- कुण्डलीक्रियन्ते, (from चक्कल D. - कुण्डल,
वतुल)-- Moved in cireles, चक्काअ (1177)- चक्रवाक, A kind of a bird. चक्खिअ (781)- आस्वादित, Sipped, tasted. चडक्कारि (635)- चटत्कारिन्, Producing a crackling sound. चिबिड ( 521 )-चिपिट, Pressed, flattened. चिण्ण (539)-- चीर्ण, Trampled, trodden upon, grazed upon. cf.
चिन्नं चरितं भक्षितम् । Com. चिंचिणी (677)-D. चिंचा, The tamarind tree or its fruit. Marathi.
चिंच. चिहुर (734)- चिकुर, The hair of the head. घुडुप्प (165 ) D. - क्षत, त्वक्, Bruise, skin. चुडुप्पं त्वग्विदलनम्.
DNM. III. 3. चंदिमा ( 656)- चन्द्रिका, Moonlight. छण ( 784)- क्षण, A festival. छविअ ( 150 ) D. -- पिहित, आच्छादित, Covered. छिद्दिअ (565)- छिद्रित, छिद्रयुक्त, Full of holes, perforated. छिप्पइ (914)- स्पृश्यते, Is touched or tainted. छीराअंत (849)-क्षीरायमाण, Looking like oozing milk. छेप्प (848) D. -- शेप, A tail. जच्च (602)- जात्य, of a fine quality. जरी ( 1001 )- जरिन्, A man of old age. जलरंकु ( 385 )--A kind of a bird, water-hen. जलरङकुः ढेङकः । Com. जव (588)- यव, Barley-corn. जवपचमाण ( 255)- जवपचमान, A kind of vital breath in the
body of a horse of the finest species. Cf. सुजात्यश्वानां वायुविशेषोऽन्तश्चरणः प्राणो मनोजवः । Com.

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Gaüdavaho जामइल्ल ( 20 ) - यामवत्, 'यामिक, प्राहरिक, Guard, watchman, of.
Marathi पहारेकरी. जामवई ( 1087)- यामवती, यामिनी, Night... जालसुत्त (731)- जालसूत्र, A string passed through a strap with
eye-let holes (जाल). जालाअइ ( 1101)- जालायते, Acts or looks like a lattice window. जालिअ ( 521 )- जालिक, A fisherman. जालिआ (1129)- जालिका, A guaze, पट्टादिमयं शिरोवस्त्रम् । Com. जावअ (296)- यावक, Lac, red dye. जिअंत (962)- जीवत्, Living, alive. जोग्गा (351)- योग्या, Exercise, practice. जंबाल ( 830)-- जंबाल, Mud, moss. Com. takes it to mean ' dis
tressed '. जंबालं व्याकुलम् । जंबू (516)- जंबू, The rose apple as also fruit. झसुर (1125)-D. ताम्बूल, Betel. DNM. III. 61 झिज्जंत (690)-क्षीयमाण, Getting thin or reduced. cf Marathi झिजणे. झिल्ली (554)D-लहरी, तरङग. A ripple, a wave. टआर (261)-टकार, The Devanagari letter 'ट' टिविडिक्किअ (598)-विभूषित, अलङ्कृत, Adorned, decorated. टंक (700)- टडक, A stone-cutter's chisel. टंकार (67) D- ओजस्, तेजस्, Highflown, pompous style, osten
tatious display. डंबर (1044)- डम्बर, Resemblace, appearance. डिंब (46)- डिम्ब, Fear, fright. डिंभ (607) डिम्भ, A Young child. णई (1000)- नति, Stoop, bent, curved form. णग्घंति (902)- न अर्घन्ति, Are not valued, depreciated. णवरंगअ (598)-नवरङगक, A garment dyed in red or saffron. णाममंतक्ख (1142)-D. अपराध, Misbehaviour, lapse. णारंग (591)-नारङग, The orange tree and its fruit. णालि (673) नाडि, रज्जु, वस्रा, A strap, rope. णाहि ( 1118)- नाभि, Any navel-like cavity. णिअच्छिअव्व (396)- द्रष्टव्य, Worth observing. V णिअच्छ - दृश,
To see.

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329
णिअल (1198) --निगड, Fetter, chain, shackle.. णिअंसण (632)-D. निवसन, A garment, apparel; DNM. IV. 38,
Cr. Marathi नेसणे, 'णिच्छल्लिअ (564)- छिन्न, Cut, broken. णिज्झर (230)-निर्झर, A stream. णिदृविअ (844)-निष्ठापित, समापित, विनाशित, Killed, destroyed,
____finished. णित्थाम (162)-निःस्थाम, दुर्बल, Feeble, languid. णिप्फुर (144)- निष्फुर, Lustre-less. णिबुडु (409)- निमग्न, Sunk, submerged, drowned. णिमिअ (47)- न्यस्त, निहित, Placed, deposited. णिम्मोअ (475)-निर्मोक, Slough of a snake. णिमिल्ल (192)-निमीलित, Disappeared, gone out of sight. णिम्महंत (530)- गच्छत् , Going out, emanating. /णिम्मह-गम् , To
__go out. णि(णी)रिंगी (1136)--D. शिरोऽवगुण्ठनम् , A veil worn over head.
DNM. IV. 31. णिव्वविअ (370)-निर्वापित, Cooled. णिब्वाइ (165)– विश्राम्यति, Feels happy or relieved, rests.
__णिव्वा = विश्रम्. णिसम्मइ (279)-निशाम्यति, निषीदति, विश्राम्यति (Com.), Finds
relief, rests. णिसाणचक्क (1182)- निशानचक्र, A sharpening wheel. णिसुढिअ (122)--निशुम्भित, निपातित, Felled down, destroyed,
/णिसुंभ - नि + शुम्भ) To strike, to destroy. णिहस (36)-निघर्ष, Friction, act of rubbing. Also णिहसण
(निघर्षण). णीराइज्जति (413)-नीराज्यन्ते, Lights are waved as an act of
adoration. णीसामण्ण (495)---नि:सामान्य, Devoid of generality. णीहार (542)- नीहार, तुषार. Fog, mist. गुवण्ण (1161)-D. सुप्त - Slept. DNM. IV-25. णूमिअ (103) - छादित, Covered, hidden. णूमेह (927)-छादयति, Covers, hides.

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तणंत (942 ) - तन्वत्, Stretching, pulling. तण्णअ (850) - तर्णक, A calf.
तण्णाअ (1038 ) - D. आर्द्र, Wet, moistened.
तद्दिअसं ( 49 ) D. – अनुदिनम्, प्रतिदिनम्, Every day. DNM. V. तभी ( 354 ) - तमी, Dark night.
तम्मि (338) D - वस्त्रम्, A garment, apparel. तरणि, The sun.
तरणि ( 1186)
Gaüdavaho
तरलेइ (846) – तरलयति, Thrills.
तलिण (69) • तलिन, प्रतल, सूक्ष्म, Thin, small, insignificant. तलिम (407) - D. शय्या, A bed, DNM. V. 20. तवणिज्ज (206) - तपनीय, Gold.
तट्ठि (704) - त्वष्टृ, विश्वकर्मन्, Architect of the gods. ताडंक (206). - ताडऊक, Ear ornament, ear-ring. ताल (564) -ताल, वृक्षविशेष, The palmyra tree.
तिंगिच्छि ( 3 ) D. - Particles of dust, pollen in a lotus.
तिलअ (1002) - तिलक, Freckles, ( black) spots on the skin. Cf. Marathi तीळ.
·
तुच्छ (498) D. अवशुष्क, Dried up, withered. DNM. V. 14. तुलाओडि ( 293 ) - तुलाकोटि, नुपूर, Anklet worn on
the feet by
women.
तुलादंड ( 1115 ) – तुलादण्ड,
Balance-rod.
-
तूलिल्ल (768 ) – तूलिकावत्, कूचिकायुक्त, With paint-brushes. उग्गम (963) - तेजउद्गम, A lustrous flash. तुंबी (691) – तुम्बी, अलाबु, A gourd.
--
तंडविअ (175) - ताण्डवित, नर्तित, Made to dance.
तंसीकअ (572) - व्यस्त्रीकृत, Turned oblique or slanting.
थउड ( 16 ) - स्थपुट, नीचोन्नत, Uneven, high and low, depressed and !
elevated.
थणुल्लअ (325) – अल्पस्तन, Small breast.
थामत्थाम (294 ) - स्थानस्थान, At every place..
ददुर ( 1167 ) – दर्दुर, Tambour, drum.

दसणवास ( 782 ) – दशनवासस्, A lip, lit, a covering of teeth.. दुहाविअ ( 435 ) – दुःखित, Pained, tormented, agonised. दूमंति ( 674 ) – दुन्वन्ति, पीडयन्ति, Oppress, cause distress.

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Glossary
धव (620) - धव, वृक्षविशेष, A kind of a tree
धीरेंति (970 ) -- धीरयन्ति, Compose, take courage, cheer up . परिक्क (1083 ) – प्रतिरिक्त, Vacated, left off, empty. पउ ( 1189 ) – प्रवृष्ट, Rained, showered.
पओअर (581 ) - पदोदर, Sole of a foot.
पडल (358) – D. नीव्रं, Edge of a thatch. DNM. VI-5.
-
पडवास (836 ) • पटवास, Perfumed powder.
पडिअग्गिअ (317) - प्रतिजागरित, Kept alert or awake through devotion. – ( 479 ) -- अनुव्रजित, अनुगत, Followed, pursued,. trailed.
पडित्थिअ ( 110 ) - प्रतिष्ठित, Settled down
पडिप्फलिअ ( 114 ) – प्रतिफलित, संक्रान्त, Pushed over, transferred. पडी (769) - पटी, A stage curtain.
पणई (1207 ) - प्रणयी, A supplicant.
पणोल्लिअ (442) - प्रणोदित, प्रेरित, Pushed, driven.
पत्तण ( 345 ) - D. बाणस्य फलं पुङ्खश्च । Blade and feathers of an
arrow.
3311
पत्थारी (373) D. - निकर, प्रस्तर, समूह, Mass, multitude. DNM. VI-69.. पप्पुअ (128) – प्रप्लुत, Flooded, inundated.
पब्भार (662 ) - प्राग्भार, The front, forepart.
पम्हुसइ (956 ) – विस्मरति, Forgets. Vपम्हुस - विस्मृ - to forget. परिआल ( 20 ) – D. परिवृत, परिवेष्टित, Fenced, surrounded.
परिणइ (433) - परिणति - तिर्यग्दन्तप्रहार: । A bending or stooping action of an elephant to give side-blow with his tusks. परिभोअ (839 ) - परिभोग, Envelopment, covering, pervasion. परिवग्गिअ ( 26 ) - परिवल्गित, A swaggering gait.
परिवार्डि (851) -परिपाटी, Series, succession परिवाडिपीडा, Spasms, cramps due to pain.
परिवुत्थ (540 ) – पर्युषित, स्थित, परिवास, Resting, staying.
परिसक्कण (460 ) - परिष्वक्कण, परिभ्रमण, Moving about, going. round, stroll.
परिसडिअ (614 ) - परिशटित, Rotted, decomposed, putrefied. परिसुद्धि (1123 ) - परिशुद्धि, Toilette, make-up. परि संठिअ (207) - परिसंस्थित, A standing pose.

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Gaüdavaho
'परिहारवइ (921) D. -- ऋतुमती, A woman in her courses. DNM.
VI-37. पलहि (ही) (1173)- D. कर्पास, Cotton. पलास (594)- पलाश, I Name of a tree, also called किंशुक. 2. A leaf
or petal in general. पल्ली (645)- पल्ली, A small village, a hamlet. पलोट्ट (490)-पर्यस्त, Scattered, stretched.. पलोडूंत (147)-- प्रलोटमान, Rolling./पलोट-To roll on the ground. पल्हत्थ (415)-- पर्यस्त, Scattered, thrown about. पविरल्लिअ (50) D-विस्तृत, Spread, expanded. पविरेल्लिअ (435) D. -- विस्तारित, Spread over, prolonged. पव्वालिअ (813)- प्लावित, जलव्याप्त, Flooded, inundated. पहोली (1008)-- प्रभावलि, A continuous line of lustre. Marathi.
प्रभावळ. पामर (598)--- पामर, A farmer, a poor, pitiable fellow. पारी (577) D. -- दोहनभाण्डम्, A milking vessel. DNM. VI. 37. पाली (589)-पाली, पङिक्त, श्रेणी, Row, line. पालंब (833)-प्रालम्ब, A garland worn round the neck and
reaching to the breasts. पासल्ल (560)-तिर्यक्, वक्र, Turned, prostrated, bent. पासलिअ (266)-पाश्वित, पार्वीकृत, तिर्यपातित, Thrown or placed
on one side. पिंडी (676)-पिण्डी, A supporting wooden beam. पिठाअअ (835)-पिष्टातक, Scented or perfumed powder. पियंगु (गू) (585)- Name of a creeper, said to put forth
blossoms at the touch of a fair lady. पुड (1088)-पुट, Cavity, concavity. पुरव (307)- पूर्व, Earlier, former. पुरुमिल्ल (1073)-पूर्वीय, Former, previous. पुलएइ (1063)- पश्यति, Sees, interviews. / पुलअ-दृश्, To see. पुलोस (589)-प्लोष, Act of burning. पुजिअ (231)-पुञ्जित, Massed, Collected, accumulated. पुलिंद (949)- पुलिंद, A savage tribal, a mountaineer. पेढाल (731) D.- विपुल, वर्तुल, Plump, round.

Page #630

Glossary
333
पेडण (127) D. -- पिच्छ, Wing, feather; also पिहुण. पोह (257)-प्रोथ, मुखप्रान्त, Nose or nostrils of a horse. पेल्लिअ (31)-प्रेरित, Impelled, driven, pushed. फडिमा (1020)-प्रतिमा, Image, reflection. . फलिह (690)- स्फटिक, Crystal. फुड (522)- स्पृष्ट, Touched, smeared, ब (व) हुत्त (348)- उपभुक्त, Eaten up. बाह (627)- व्याध, A hunter, (941)- बाष्प, a tear. बाहोआर ( 132 ) -- बाष्पावतार, Stream or flow of tears. बिन्दइअ (1162, 605)- बिन्दुकित, बिन्दुयुक्त, Covered with drops,
dotted. बुक्कार ( 10 ) D-बूङकार, Roar. बुसासार (356)-बुसासार, A shower of chaff. बोरछि (615)- बदरास्थि , The stone of the jujube fruit. बंधुराअंत (620)- बन्धुरायमाण, Stooping, bending, wavy. बंधुरिअ (556)- बन्धुरित, नम्रीभूत, Bent, inclined, bowed. भट्ट (565)- भृष्ट, Fried, roasted, broiled भरिहिंति (956)- स्मरिष्यन्ति, Will remember, or recollect. भास (540)-भास, पक्षिविशेष, A Cock, vulture. Cf. भासा : पक्षिविशेषा
___ महिषपुरीषोपजीविनः । Com. मअण (916)- मदन, Bees' wax. Marathi मेण. मअतिलअ (249)--- मदतिलक, A round-shaped mark in musk. मअरहर (807)- मकरधर, An ocean. मउलिंत (1085)- मुकुलीभवत्, Becoming like a bud. मडह (16, 320) D. -- लघु, स्वल्प, Small-sized, thin, little. मह (548)-मर्द-मर्दन, Stamping pounding. मरुवअ (586)- मरुव (ब) क, A kind of plant (Marjoram). Hindi
मरुआ, Marathi. मरवा. मलिअ (188)-- मृदित, Crushed,-मलित, soiled, full of dirt or dust, मलिण ( 1108)- मलिन, Dark (spot) on the moon. महापसु (319)- महापशु, The great animal' i. e. man.' महापशर्मनुष्यः।
Com. मालूर (304)- मालूर, बिल्व. Bilva tree. माहव (603)- माधव, The spring season.

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334
Gaüdavaho माहवी (594)- माधवी, The spring creeper with white fragrant
flowers. मुत्था (557)- मुस्ता, A kind of grass. Hindi मोया, नागरमोथा. मंगुल (951) D. -- अनिष्ट, पाप, Evil, sinful, DNM. VI. 145. मूअल्लिअ (1206)-- मूकीकृत, Silenced, made quiet. रग्गअ (403) D - कौसुम्भवस्त्र, A cloth dyed with safflower. DNM.
VII. 3. रणरणअ (1133)- रणरणक, Anxiety, uneasiness. 'रणाइर (102) --- रणाजिर, रणाङगन, Battle-field. रसग्ग (1178)- रसान, A ( mango) blossom. रसिअ (1189)- रसित, thundering sound. राविअ (419) D. -- रञ्जित, Coloured or tinged red. DNM. VII. 5. रुरु (549)- रुरु A kind of deer. रुंटंत (605)- Humming. /रुंट-रुंज, To hum, to give out a sound. रर्वई ( 329 ) -- रेवती, Goddess Camunda. रेहति ( 335)- शोभन्ते, Appear bright, look charming रोअणा (211)-रोचना, also गोरोचना, A kind of yellow pigment. रोह (284)- रोह, प्ररोह, A shoot, growth, (523)- रोधस्, Bank. रोहिणी (275)- रोहिणी, A red cow or cow in general. रंखोलिअ (394)- दोलित, कम्पित, Stirred, swung. रंभा (755)- रम्भा, A plantain tree. लडह (367)-D. रम्य, सुन्दर, कोमल, Charming, graceful, DNM.
VII. 17. ललिअ (772)- ललित, Amorous pastime, dalliance. लावअ (396)- लावक, A kind of a bird, quail. लिन्भंति (310)-लिह्यन्ते, are licked. लीलाइअव्व (1138) - लीलायितव्य, Playful dalliance. लुअ (158)- लून, Cut away, lopped. लूआ (571)-लूता, A spider. लोढअ (1173)- लोठक, A ginning machine for separating seeds
from cotton. ल्हसमाण ( 280)- ह्रसत्, स्रसत्, पश्चाद्भागं पतत्, Slipping or tilting
behind.

Page #632

Glossary
Dropped down, slipped. Hidden, concealed. The terrace. Also वलही.
-
ल्हसिअ ( 37 ) - स्रस्त, हिक्क ( 125 ) – निलीन, वडही ( 684 ) – वलभी, aणबंध (762) - ब्रणबन्ध, A bandage. बण्णअ (768) - वर्णक, Paint, colour. वरण (398) वरणअ (396) - वरणक, A kind of grass.
- वरण, तट, A surrounding wall.
वलग्गंति (989 ) - आरोहन्ति, Ascend, climb, cling. / वलग्ग-आरुह् -
to climb.
वलाअ (384) - बलाका, A crane.
वलाअंत (417) • पलायमान, Fleeing, running away.
बसुआअ (385) - उद्वात, शुष्क, Parched, dried up.
बाअ (121) - शुष्क, Withered, parched. / वा to get dry. बाओली (555) – वाताली, पवनसमूह, A whirlwind. वामलूर (529) - वामलूर, An ant-hill.
वाल ( 676 ) - व्याल, A snake, a cobra.
वालिहिल (320) - वालखिल्य, A class of divine personages of the size of a thumb, numbering sixtythousand.
वालुंकी (386) – वालुङकी Water-melon Marathi. वाळकं 'विआण ( 200 ) - वितान, Expansion, awning, canopy. वित्त (641) विचित्र, Full of variety, picturesque. विएअ (907) - वितेजस्, Great or powerful lustre. विक्खिरिअ (165) - विकीर्ण, Dishevelled, spread out, scattered. -विच्छ्डु (172) D. - निवह, समूह, Mass, heap, Collection. DNM.
VII-32.

335
विच्छाएs (857) विच्छाययति, Discolours, pales
विच्छित्ति ( 341 ) – विन्यास, रचना, Colouring of the body with paints and unguents.
विच्छुरिअ (780) - विच्छुरित, व्याप्त, Overspread, enveloped. विच्छूढ (366) - विक्षिप्त, Removed, tossed away.
च्छोलिअ ( 60 ) – विच्छोलित, धौत, Washed, bathed. विज्झाअ (154) – विध्यात, Extinguished, cooled down डिप्प (829) D. - राहु, Rāhu, name of a demon, also a planet,
causing eclipse.
-

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Gaüdavaho
विडिम (529) D. --- गण्डक, A rhinoceros. विडंक (665)-विटङक, Pinnacle, cupola, dome. . विढत्त (179)- अजित, Acquired, gained. विणआ (1099)-विनता, Mother of Garuda. विणिमिअ (466)-विन्यस्त, Placed, deposited. विणिम्महइ (648)~~ गच्छति, Goes out. N वि+णिम्मह-गम्, to go. विणिहत (344) = विनिघृष्ट, Eaten, chewed. वित्थारित्थ (458)- विस्तारित, Extended, spread over. विविअ (699)-विद्रावित, Routed, scattered, विरल्लेइ (789)- तनोति, विस्तारयति, Spreads. विराअ (102)- विलीन, विद्रुत, विगलित, Shattered, melted. विराविअ (1169)---विलयित, Melted, turned into liquid. वि+रा
-(Cause) to melt. विरिक (352)---विरिक्त Left off, dropped. (469) D. विदारित, पाटित,
Cut off, lopped. DNM. VII. 64. विलंछिअ (855)---विलाञ्छित, Marked, characterised. विसह (7) D. - विघटित, विकसित, उत्थित, Emitted, thrown out. विससिअ (294)-- विशसित, Torn, cut, slaughtered. विसुराविअ (111)- खेदित, Dejected, distressed. विसूरिअव्व (58)- Lamentable, painful. /विसूर-खिद् To lament, to .
feel sorry. विसंठल (932)-विसंष्ठुल, Restless, fickle, unsteady. विविहेसि (332)-जनयसि, You produce, create./वि-वि-धा, To create. विद्वाणपिण्ड (1095)-विधानपिण्ड, Lump of food as morning breake
____fast. विहाण D. प्रभात. DNM. VII. 90. वीडक (731)-- ब्रीडक, Causing bashfulness. वनभइ (341)- उह्यते, Is carried or held. /वह, To carry. वढ (436)- व्यूढ, Routed, carried away, deserted. वेअल्ल (137)-वैकल्य, Distress, agony. वेलविज्जंति (858)- विडम्ब्यन्ते, Are mocked or ridiculed. वेलहल (732)-D. मृदु, कोमल, Soft, delicate. Marathi वेल्हाळ. वेलंबंति (753)--विडम्बयन्ति, Mock, imitate. वेल्लण (119)- वेल्लन, Rolling, wriggling. वेसभाव (877)-द्वेष्यभाव, Hatred, hostility.

Page #634

Glossary
वोच्छेअ (495) – व्युच्छेद, Division, demarcation, differentiation. वोसट्टमाण ( 399 ) – विकासयत्, Developing, growing. / वोसट्ट - विकासय्
To grow.
वोलंति ( 149 ) - गच्छन्ति, Go, pass, cross over. वोल-गम्, to go. बोलिंति (361) - गमयन्ति Pass off, spend.
Mud.
वक (676) – पड़क,
सक्कारि (578) – शक्कारी, शादिति शब्द याः कुर्वन्ति तच्छीलाः । Com. Producing a hissing sound.
सच्चविअ (236 ) – सत्यापित, दृष्ट, Seen, observed, verified. सप्तला, A kind of jasmine (double jasmine ).
सत्तला (789 ) - सद्दल ( 412 ) - शाद्वल, Lawn, grassy tract. सद्दलिअ (359 ) - शादलित, Full of grassy plots.
समअं (195) – समकम्, समकालम्, Simultaneously, at one and the same time.
337
समप्पंति (1154) – समाप्यन्ते, Come to a finish, end. समहिल ( 988 ) – समखिल, सकल, समस्त, Total, all.
समोलइअ (448 ) D. - समुत्क्षिप्त, Tossed up, tilted, thrown up. समुत्तुण (97) D. - गर्वित Proud, elated, puffed up.
समुत्तर (1066 ) – समुत्तरति अवतरति, Goes down, descends. सयराहा (258) - शीघ्रं युगपद्, Quickly, simultaneously. सराडि (405) - शराटि, A kind of a bird.
सरणि ( 1013) - सरणि, मार्ग, Path, way.
सल्लई (546) 1 - स ( श ) ल्लकी, A kind of a tree whose tender leaves are a favourite food of elephants.
२२
सल्लाअंत (152) - शल्यायमान, Rankling, paining like a dart. सवत्त (719) - सपत्न, Enemy.
ससइंध ( 1119 ) - शशचिन्ह, The moon. Lit. with the hare as symbol. सहआर (596) - सहकार, A mango tree.
सहसि (308) - शोभसे, Look charming / सह - शुभ्, to look lovely. संदिर ( 1196 ) – स्यन्दनशील, Flowing.
बोहण (1204 ) -- संबोधन, An address, speech.
संमद्द ( 1192 ) - संमर्द, A crowd.
साण ( 427 ) - शाण, A whetstone, a sharpening instrument. Marathi
सहाण.

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Gajidavaho
सामली (601)- सामला or श्यामला, A fair lady. सुन्दरी (Com.) सामण्णसुंदरी (959)- सामान्यसुन्दरी, A public woman, prostitute. सामाअंत (965)- श्यामायमान, Darkening, becoming clouded or
shadowed. सारस (578)- सारस, The Indian crane or swan. साल (665) --- साल, शाल, प्राकार, Wall, rampart. सालूर ( 521 )-- शालूर, मण्डूक, A frog. सावअ (613)--- श्वापद, A beast of prey, wild beast, tiger. साहासारंग (611)-- शाखासारङग, शाखामृग, Monkey. साहिज्जइ (1074)- कथ्यते, Is told, or narrated, / साह-कथय, शास्, to tell. साहिर (1206)- कथनशील, Narrator, reciter. Marathi शाहिर. सिंदुवार (657)-सिन्दुवार, A kind of tree known as निर्गुण्डी in
____Hindi. सिण्ह (1166) सिण्हा (1170) D. ---- हिम, अवश्याय, Hoar-frost, dew,
___DNM. VIII-53. सिहइ (998) D. --- स्पृहयति, Desires, aspires. सिहाल (126)-शिखावत्, Full of flames. सीमंत (886)- सीमान्त, Border, dividing line. सीवणी (758)-सीवनी, A seam, suture, stitch. सुआ (483)- त्रुच्, A ladle. सुअंति (526) - स्वपन्ति, Slumber, sleep. सुढिअ (98)- श्रान्त, Exhausted, tired, DNM. VIII. 36. सुपण्ण (1113)- सुपर्ण, Garuda. सुसिर (518)-- सुषिर, A hole, aperture, cavity. सहभरप्पा (993)- सुखंभरात्मा, Thinking himself to be full of
___happiness. सूअ (588)--- शूक, Bristle, tuft, awn of barley. सूई (539)- सूची, A needle. सूडण (159)-सूदन, Breaking, destroying. सूसंत (546)-- शुष्यत्, Drying. सेरिह (537)-सैरिभ, A buffalo. सेवल ( 521 )- शैवल, Moss. सोण (670)-शोण, Red. सोविअल्ल (216)- सौविदल्ल, An attendant in the women's apart.
ments.

Page #636

Glossary
339
संखाअ ( 522 ) -- संस्त्यान, Clotted, coagulated. संघट्ट (765)-संघर्ष, Friction. संबूअ ( 521 )--- शंबूक, A small conch-shell, a snail. संभरिअ ( 707) - संस्मृत, Recollected, remembered. संभिडण (634)-- संभेदन, आघात, Striking, clash. संधिअ (642)-संधित, प्रसारित, Spread, radiated. संवज्जति (550)-संपद्यन्ते, Fall upon, perch. संवग्गिअ (550)-- संवर्गित, Collected. संवलिअ (1056)- संवलित, व्याप्त, Enveloped, covered. संवेल्लिअ (151)- संवेल्लित, Shaken, made to quiver. हर (448)-धर, धरणीधर, A mountain. हलिद्दी (379)- हरिद्रा, Turmeric. हिंजीर (298)-हिजीर, Chain. हिंसी (396)-हिंसी, लताविशेष, A kind of a creeper. हीर (7) D. -प्रान्त, अन्तभाव, Tip, edge. हेछ (5)- अधस्, Down, below. हेसंति (831)- हेषन्ते, Neigh.
DNM = Desi – Nama - Mala.
000

Page #637

Page
Line
viii
-
XX
XXV
Correct Utchhvāsas looks violent removed, gods' Mahākāvya sallies servant 754 A. D.
xlix
"
liv
25
tix
घर्घरो
lxix lxxi
composition upper
१०
114 127
ERRATA
Introduction Gāthā Incorrect
Utch havāsas loooks vioelnt removed and gods Jain Mahākāvya sallys servent 752 A. D. घधरो Comyosition
uppar
Prakrit Text 59 सालिलम्मि H हियउक्कंपो
गिरिणो गिरयः
उच्चार 415 वयं
दुल्लंघा-। 524 गिरिओ 547 करिण।ि 601 इह हलिद्दा719 अच्छिन्न735
बाहग 800 हारिअंद
सावसास 912 क 926 परिहोडज्जलाओ
963 तउग्गमो 1127 करंथोरं 1190 चलण
350
ū ovőnew vw To con anw apa
HRAVAHHHHHHINNA ------
459
८० 3 ८३ 7 ९१ 3 १०८ 1 ११० 5 ११९ १३० १३५ १३७ 9 १४२
सलिलम्मि हियउक्कंपा गिरिणो गिरिणो उच्चारवलयं दुल्लंघा। गिरिणो करिणी इह हि हलिहाअच्छिण्णबाहग्गहारिअंदे सावआस कअपरिहोउज्जलाओ तेउग्गमो कअं व थोरं चलणे
876
१७५
6

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