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 UD A V A HO by VAKPATIRAJA 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 VAKPATIRAJA Edited With an Introduction, Sangkrit Chaya, 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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prAkRta - graMtha - pariSad - graMthAGka 18 kairAa bappairA assa ga uDava ho prA. narahara goviMda suru, ema. e. ityanena bhUmikA - AGglabhASAnuvAda - TippaNI - pariziSTa - zabdakozAdibhiH saha saMpAditaH prakAzikA prAkRta graMtha pariSad ahamadAbAda - 9, vArANasI - 5

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prakAzaka : dalasukha mAlavaNiyA, sekreTarI, prAkRta TeksTa sosAyaTI, ahamadAbAda - 9. mUlya ru.25-00 mudraka : DaoN. ra. go. kAkaDe, AryabhUSaNa presa, 15 zivAjInagara, puNe 411004, 1

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mAhijjai gauDavaho esa mae saMpa mahAraMbho / Nisue muaMti dappaM jammi gariMdA kaiMdA a|| gauDavato --- 1074. " 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 Vakpati, or Vakpati-raja, 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 Bhasa, 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 Gaudavaho; and, in his opinion, it was far superior to the latter, but its Mss. have not come down to us. His Gaudavaho reminds us of the Ravanavaho 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 Kutuhala in his Lilavati. It was in the seventies of the last century that G. Buhler came across a Ms. of the Gaudavaho 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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(viii) edition, with supplementary Notes, setting forth the critical views of Buhler 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 Mahakavyas. 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 Gaudavabo come to light. Pandit takes the view that the present work is only a prelude to what the author planned, but possibly never completed. Buhler 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. Vakpati, no doubt, is a gifted poet, worthy of being ranked with Magha and Bharavi. Even a few Gathas, which Pandit has rendered into English in his Abstract of the Poem, point out to the originality, keen observation and imaginative flights of Vakpati. 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 Kalidasa is well-known for his Upamas, Vakpati stands unrivalled in his Utpreksas. 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 Vakpati, in a way, get sidetracked by the controversy about the form of the poem, about the relation

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(ix) -- between Vakpati and Bappa Bhatti etc. There are some reasons why Vakpati'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 Gaudavaho to explain the poetic niceties in the Gathas. Thirdly, although Pandit was aware of Vakpati's merits while presenting his observations on the Prakrit language etc. and he even prayed in conclusion : May Vakpati'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 Gaudavaho, 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 Vakpati's poetic abilities. It was extremely good of Professor N. G. Suru to have kindly agreed to give such an edition of the Gaudavaho 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 Vakpati's Gaudavaho on a better footing for further study and appreciation both by scholars and students. The Prakrit Text is neatly presented along with the Sanskrit Chaya 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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(x) the aspects of the poem and its author. His exposition of the choice topics from the poem, his observations on the stark realism of Vakpati's descriptions, and his sketch of the Society, as revealed in the poem, have really raised Vakpati to a higher pedestal in the galaxy of our classical poets. , The General Editors are quite happy over this valuable edition of the Gaudavaho 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 Gaudavaho of Vakpatiraja is a unique Mahakavya, on. par with Bharavi's Kiratarjuniya and Magha's Sisupalavadha and in Prakrit literature it attracts by its merits along with Pravarasena's Ravanavaho (Setubandha ) in a golden setting of twin gems, as it were. If Kalidasa is a master of simile, Vakpatiraja is a master of Utpreksa. 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 Gaudavaho in 1887 and then, learned men like Jacobi, Buhler, 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 Gaudavaho 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 Gaudavaho by S. P. Pandit, which gives the Text and the commentary of Haripala, 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 Haripala's Commentary. That was long back in about 1880 A. D. It was, therefore, hoped that some more manuscripts of the Gaudavaho 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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(xii) Text Society, in 1965, but he wrote to me to say that no Mss. of the Gaudavaho 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 Gaudavaho, as given by Pandit, should be fully utilised for my edition, with a few orthographical changes, such as the dropping of the Ya-sruti, 'Na' to be invariably changed to ' Na' and the semicircular sign (deg) 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 Gathas 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 Chaya word for word, in the order of the Prakrit Text has been given for every Gatha 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 Gathas as were considered difficult to comprehend even with the aid of the Translation and, wherever necessary, extracts from the Commentary of Haripala have been given in the Notes for elucidating the central ideas of the Gathas. The Appendices contain an extract from the Rajatarangini, describing the campaign of Lalitaditya, Yasovarman as a Poet, Verses attributed to Vakpatiraja in Anthologies, and a note on the commentator Haripala. 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 Gaudavaho proper.

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(xiii) 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 Bhavabhuti and Vakpatiraja. 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 role 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 Gaudavaho 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 Gaulavaho 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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(xiv) extremely grateful to him for his uniform courtesy and kindness in this respect. The Gaudavaho is no doubt a tough literary work and I have stumbled against not a few Gathas, 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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GAUDVAHO 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 Gaulavaho II Character and Composition of the Gaudavaho III King Yasovarman and his Date IV Vakpatiraja --Some Personal Details and his Date V The Date of the Composition of the Gaudavaho VI Vakpatiraja, as a Poet VII Picture of the Society, as revealed in the Gaudavaho VIII The Language of the Gaudavaho Text with Chaya Gaulavaho --(Translation) Gaudavaho - ( Notes) Appendices -- I Alphabetical Index of Gathas II Extract from Rajatarangini III King Yasovarman, a Poet IV Vakpatiraja - Verses attributed to him in Anthologies V The commentator Haripala Glossary of Notable Words : : 1xxxvi--xcv khsuns 2-8ve 1-135 136-289 : : : : 291-309 310-311 312-315 : : : : : 316-317 318--319 320-339 340 Errata :

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GAUDAVAHO INTRODUCTION The Gaudavaho of Vakpatiraja is a unique historical Poem in Prakrit. It is a stupendous work, comprising, as it does, 1209 Gathas in an Arya metre, not to mention the additional 26 Gathas, 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 Kiratarjuniya, the Sisupalavadha or the Setubandha (alternately called Ravana-Vaho), the Gaudavaho has no chapters, variously called Sargas, Adhyayas or Utchhavasas, 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 Gathas, individually knit together in Kulakas and piled in a heap one over the other. The purpose of this Poem, a Prasasti-Kavya, 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 Gaudavaho is discussed later.

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(ii) I Synopsis of The Gaudavaho Invocations : In the true spirit of catholicism, Vakpatiraja, unlike many of his predecessors, shows no preference or predilection for any particular deity from among the Pauranic 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 Brahma, 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 Visnu, 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; Klsna, the child of Yasoda, the young lover of Radha, the God who had earlier lopped off the head of Rahu ( before he could swallow the nectar ). Klsna, in the company of his elder brother Balarama, who brought the river Yamuna at His feet; Visnu, with His consort Laksmi, 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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(iii) the Trinity, who burnt and reduced to ashes Kama, 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 Siva'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 Mahisa, as Kali, the Night of destruction and as hideous Camunda. 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 Sesa 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, Kama 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 Siva, floats the skull of Brahma, the Grand-father! Praise of Poets : After Invocations, in the next 36 Gathas (62-97), Vak patiraja 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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(iv) 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 Laksmi 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 ( maulau) 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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(v) 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 Sri 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 Yasovarman, 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 Bhagirathi " ( 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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(vii) 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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(viii) 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 Balaka-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). Sesa 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 (lila) was displayed by our King who assumed the form of the enemy of Kamsa (KrsnaVinsu) at the time of the universal destruction" ( 181 ). (( 35

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(ix) Then follows, in a Kulaka of 10 Gathas ( 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). Yasovarman's Expedition for world conquest : Back to the main theme, the Poet tells us that the King's Abhiseka ( 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-Asva-Ratha-Padati). Of these, the Poet describes the King's army horses in 8 Gathas ( 255-262) and his victorious elephants in 6 Gathas ( 263-268).

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(x) "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 Gathas ( 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-Vasini 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 Gathas ( 285-337). She is variously called by him as Madhavi, Bhairavi. Candi, Narayani, Sankari, Kali, Sabari, Gauri and Tapass 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 Himalaya for helping you to ascend" (286). "The mountain Himalaya, 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 Sankari, 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 Kartikeya 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 yout 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 ( namakkara ) to the Goddess Vindhya-Vasini 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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(xii) 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 ( manjari--bana ) 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). "" 66 33 66 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). 19 33. 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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(xiii) 66 66 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 Siva'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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(xiv) 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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(xv) 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 Yasovarman 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 Yasovarman 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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(xvi) 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). Vali and Ravana : After the defeat of the Southern king, he lands with his army on the shore of the sea where Vali, the son of Indra, roamed about, thrusting the mighty ten-faced Ravana 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 Siva to obtain the favour of a boon (424). The defeat of the Parasikas: From there the King marched against the Parasikas, 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 Sesa to support on his head' (438). The Feat of Earth-levelling by the King Prthu: After defeating the Parasikas, 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 Prthu 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 Vakpatiraja.

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(xvii) 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 Gathas ( 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 ). 6 66 Yasovarman then comes over to the bank of the river Narmada, who at one time had fallen in unrequited love for the royal sage Kartavirya. The love-sick condition of the river, imagined as a fair lady, is described by the Poet in the next 6 Gathas (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). $ 2

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(xviii) March across the Marudesa (Marwar): : From the banks of the Narmada 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-ksetra : Leaving the place of the serpent-sacrifice, he moves over to the famous lake in Kuru-ksetra, 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 Madhava (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). Ayodhya, former city of Hariscandra, bodily lifted and lodged in Heaven : From the Kuru-ksetra the King goes over to the city of Ayodhya '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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(xx) 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 Ayodhya, he advances further and reaches the slopes of the Mandara mountain 'shaded blue

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( xxi ) 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 Devadaru 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 Kailasa mountain and luminous herbs therein, the seasons of summer and autumn etc. In a long Kulaka of 146 Gathas (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 Vakpatiraja 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 sarees, 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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(xxiii) 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 Kailasa 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 ( Gopis) 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 Yasovarman in his expedition, were reduced. He devotes 30 Gathas (659-688) to this description, for which he, perhaps, has a parallel in a similar description of the city of Ayodhya, given by Kalidasa 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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(xxv) 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 Gathas (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 Avarca, is described to show that even the blazing Sun-god, with his orb doubly lustrous because of his being chiselled by Tvasts, 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 ) Vasuki 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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(xxvi) 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 Laksmi 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 Mahakavya 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 Gathas ( 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 Gathas (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 Gathas (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 Gaudavaho in which the Poet strikes an autobiographical note and gives us some details of his personal life. He tells us that "he, Bappai-raa, ( Vakpatiraja ) a drop in the ocean of the King Yasovarman's favourites, was decorated with the distinctive title of Kaviraja (797) and that he was held in high esteem by the Poet Kamalayudha" (798). " His special features as a poet are but the spray-particles of poetic nectar churned out from the ocean of Bhavabhuti's (works) " (799). " He found great delight in (the works of Bhasa - Jvalanamitra, Kuntideva, ( Kalidasa ) -- the author of Raghuvamsa, Subandhu and Harichandra" (800). * Scriptures, works on Grammar or Mimamsa, Prosody, Bharata's Natyasastra, Gautama's Nyaya System, legendary narratives (such as Mahabharata and Puranas), 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 Yasovarman, 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 Murari (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 Ktsna, used to be carried respectfully by Garuda, the son of Vinata, 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, Prthu, 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 Gathas, 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 Abhava or Non-existence, like the blue appearance of the sky, which is just an illusion of occular perception" (1005). Such are the reflections of Vakpatiraja, 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 Laksmi, 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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(xxxiv) 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 Visnu and even to-day he carries over his chest the goddess Laksmi (1039), a gift from the ocean, when it was, in ancient days, churned by the gods and the demons to obtain nectar and Visnu 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 Yasovarma had with a lion ". Pandit- Gaulavaho '-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 Pancajanya 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 Gaudavaho, "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 Visnu, as described in Gathas (1046-1063). The cow form is described earlier in Gathas ( 848-855) when she approached king Pethu.

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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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(xxxvii) 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 Gathas (1122-1163 ), fantasizing many a love-scene, mostly modelled, like that of his predecessors on Vatsyayana's Kama-Sutra, 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 Gathas (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, Bhavabhuti had done for his Garbha-Nataka in the Seventh Act of the Uttararamacarita, called Sammelana ), the Poet starts with eulogistic address sambohana ) from other poets, almost in the manner of

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(xxxviii) Nandi 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 Gatha-Pedestal of the Gaudavaho of Bappairaa, having the title of Kairaa. II. Character and Composition of the Gaudavaho : Such is the synopsis or a general outline of the Poem, Gaudavaho. It can be observed that it generally satisfies almost all the requirements of Mahakavya, 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 roles 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 Arya or Gatha except in Gathas 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 Matras each in Samagalitaka metre". See Padyaracanani Aitihasika Alocana". Quoted from Sanskrit and Prakrit Mahakavyas' by Ramji Upadhyaya, P.261.

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(xxxix) 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 Mahakavya, 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. sargabandho mahAkAvyamucyate tasya lakSaNam / AzIrnamaskriyA vastunirdezo vApi tanmukham // itihAsakathodbhUta mitaradvA sadAzrayam / caturvargaphalAyattaM caturodAttanAyakam // nagarANavazailartucandrArkodayavarNanaiH / udyaanslilkriiddaamdhupaanrtotsvaiH|| vipralambharvivAhaizca kumaarodyvrnnnaiH| mantradUtaprayANAjinAyakAbhyudayairapi // alaMkRtamasaMkSipta rasabhAvanirantaram / sagairanativistIrNaiH zravyavRttaH susaMdhibhi: // sarvatra bhinnavRttAntarupenaM lokaraJjanam / kAvyaM kalpAntarasthAyi jAyate sdlNkRti|| . kAvyAdarza I. 14-19 .

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(XL) diverting their attention from the main theme. In Gatha 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 Laksmi, 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,Maharambha ), 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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(xli) 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 Gaudavaho. 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 Canakya" (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 Gaudavaho, 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 ( Maharambha ) 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 Mahakavyas like Ravanavaho Kirararjuniya and Sisupalavadha, which, for its many features, might have served as models to our Poet. In the last two Asvasakas, for instance, viz. 14th and 15th of the Ravanavaho, 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 Ravana by Rama. In the Kiratarjuniya also, the last Sarga is devoted by Bharavi to an encounter of Arjuna with god Siva in the guise of a Kirata or a mountaineer. The same is the case with Magha, a competitor of Bharavi in every respect. Vakpatiraja, 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 Gatha 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 Yasovarma 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 Vakpati prefer their request to him that he should narrate fully the story of the slaying by Yasovarama; 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 : Gaudavaho' - Reprint, Pages xlvii -- xlix. -78 Haripala, commenting on the word 'zi? in Gatha 1073, explains it as - 7711 ..

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(xiv) This view of Pandit has been accepted by Buhler, an eminent German scholar, who says of the Gaudavaho that 'the author (Vakpatiraja ) 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 Gaudavaho, two style the work in their colophon as 'Kahavidham' (peranti ), one calls it Gahavidham' (TEtato), while the fourth MS is silent about it. Buhler observes that giate, which is Prakrit for 1917, is the title of the first or introductory Lambaka of the Sanskrit rendering of the Gunadhya's BIhatkatha, both by Ksemendra and by Somadeva and which, therefore, must have been found in the original Prakrit work of Gunadhya. "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 kahAvIDhaM." 1 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 --- $1777laMchaNassa vappairAyassa gauDavahe // gAthAvIDhaM samattaM // and says that the existing Poem is but the introduction-the 41418. Its author never carried out, however, his intention of writing the real Gaudavaho. 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 Asvasa, being only a little shorter than, for instance, the 9. 'Gaudava ho' - Reprint by Utgikar, P ccxxxix.

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(XLV) Ravanavaho, the most famous Mahakavya 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 Asvasas 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 Yasovarman (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 'Vikramanka-devacarita' is composed on similar lines and this type seems to have been the usual one for historical poem." 10 . 10. "Gaudavabo', Reprint by Utgikar - Introduction P. ccxlii.

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(xLvi) Jacobi finds support for his argument also in the variation of the number of verses or Gathas contained in each of the four manuscripts of the Gaudavaho, one of which has only 1102 Gathas, while the other three have 1235 i.e. 133 more Gathas. Haripala, the commentator also calls his commentary as finisiatfaisaxeeil'. Jacobi surmises that "Haripala who, besides his father. had many predecessors, probably found in the old MSS, the colophon 17579TT i. e. an epitome of Gaudavadha, and therefore he called his commentary na quarta1." Pandit bases his opinion on the last Gatha, No. 1209, to conclude therefrom that the present work is just prefatory. There is, however, one more verse in Upajati metre noted in two MSS. The verse is as under : karAyalaMchaNa( ssava) vappairAyassa gauDa( vaham ) / (nAme )Na kahAvIDhaM raiyaMciya taha samattaM ca / / 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 Yasovarman 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, Gaudavaho, present and prospective, has not much substance. Poets, Post-Kalidasian, like Bana, Bhavabhuti and others, revelled in voluminious writing, in quantity more than quality. Such has been the case, especially with Jain writers like Hari .: 11. Gaudava ho', Reprint by Utgikar, Pages ccxlii-ccxliii. Introduction.

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(xLvii) bhadra, Padalipta-Suri, author of Tarangavati, Dhanapala, the author of Bhavisatta-Kaha, 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 Gaudavaho 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 Gaudavaho 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 Gathas contained in each of the four manuscripts can be no argument for holding the present Gaudavaho as an abridgment. The copyists of MSS have 'their preferences and accordingly they pick and choose Gathas 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 Gathas viz. 1103, may be an abstract ( Sara ) or abridgement, while the other three MSS having 1209 (or 1235) Gathas, represent the original Gaudavaho and not the epitome, as viewed by Jacobi. Since Haripala commented on a copy of the MS which had this lowest number and, therefore, the colophon 5115THAT', it is proper that Haripala should label his commentary as S artala1'. But he himself admits that what he is commenting upon is an earlier part of the Gaudavaho -- call it prelude or Sara or whatever name you give - and that its continuation is yet to follow. The additional verse in Upajati metre, given in two MSS after the concluding Gatha No. 1209, is invoked by Jacobi to prove that "the present work is all that we have of the Gaudavaho, which finishes here once for all and, therefore, it is not at all necessary to hold that after Gatha 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 Vakpatiraja. When he says in Gatha 1209 that the life-story of this great King will now be told, how can he say in the same breath that the Gaudavaho is finished ! It is like the Sutradhara 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 Gaudavaho, named Kahavidham ( 97475 ) is finished, which means that the Kathapitha part or prelude of the Gaudavaho is finished. In this context, the reading "Gaudavahe' (locative) suggested by Buhler appears cogent, as it will then mean "In Gaudavaho, the kathapitha has been finished." The absence of chapters or divisions like Asvasakas etc. can be no argument for any one to infer that the present Gaudavaho is an epitome. No doubt, the Mahakavyas like the Setubandha have such divisions. But, the prose compositions, like the Kadambari of Bana or the Vasavadatta of subandhu (whom the Poet admires ) have a continuous, undivided narrative without chapters. Lilavati, a Jain Mahakavya by Kouhala, 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 Gaudavaho. His writing, as can be observed, is mainly Kulakapradhana 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 Gatha. 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 Mahakavya by rhetoricians like Dandin or Bhamaha. In this respect, we may say that like his revered Guru Bhavabhuti, he, too, is a rebel against standardisation of poetic Form.

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(L) III. King Yasovarman and His Date : " Madhya-Desaor 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 ( Sthanvisvara ) and Kanauj, both ruled by King Harsa. They were in fact the ancient Kuru and Pancala 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, Isana-Sarva and Avantivarma, 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 Pataliputra. 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-Pratihara Kings, Mihira Bhoja and Mahendrapala. Banabhatta, Bhavabhuti, Vakpatiraja, Rajasekhara and Ksemisvara 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 Ksatriya of the lunar race (1064-65). He was a descendant of the Maukhari king Avantivarma, who reigned at Kanauj and whose son, Grahavarma, married to the princess Rajyasri, was earlier murdered by a Malava king of Ujjain. The murder was avenged by Rajyavardhana, the brother of the princess and of Sri-Harsa, 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, Grahavarma, from whom descended the King Yasovarman. "" "" After1 ascertaining the (relative) strength or weakness of powers, place, time, seasons for marching, 14. R. P. Kangle-Kautiliya Arthasastra' 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 Arthasastra, 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 Narmada 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 Srikantha 15. These Parasikas 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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(Liii) or Thanesar (484). From there he reached Kuruksetra (494), the famous battle-field of the Kaurava-Pandava war and then came to Ayodhya (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 Himachala 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 Vakpatiraja 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 Kalidasa in his Raghuvamsa (canto IV) and by Harisena 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 Sriharsa'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 Varunika, now known as Deva-Varunarka, situated in Bihar. There is no doubt that Yasovarman had subjugated the Magadha country. There is an inscription) at Naland, which gives the following description of Yasovarman : 16. Mirashi -- 'Bhavabhuti' - Pp. 20-21. 17. Mirashi- Bhavabhuti'-P-21.

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(LiV) sarveSAM mUgniM dattvA padamavanibhRtAmudgato bhUridhAmA nistrishaashuptaanprdlitnikhilaaraatighoraandhkaarH| khyAto yo lokapAlaH satatavasumatIpadminIbodhahetuH zrImAna bhAsvAnivoccaistapati dizi dizi zrIyazovarmadevaH / / "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 Muktapida alias Lalitaditya of Kashmir. He belonged to the Karkota or Naga dynasty and spent most of his life in expeditions of conquests. According to Kalhana, the author of the Rajatarangini, he conquered most of the eastern kings and those in the Antarvedi or the region between the two rivers, Ganga and Yamuna. After the defeat of the eastern kings, the first bloodless victory he had was over the King Yasovarma of Kanauj, because this King showed what was the best thing to do, when he turned his back on Lalitaditya and became his obedient servent'. Peace was made between the two, much against the wishes of Lalitaditya'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. Lalitaditya, 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 Vakpati, Bhavabhuti and others, became a dependent of Lalitaditya, employed in proclaiming his praises like a court bard.' Thus the land of Kanauj, from the banks of Yamuna to the banks of Kalika, 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 Lalitaditya, as recorded by Kalhana in his Rajatarangini. 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 Yasovarma was a contemporary of the king Lalitaditya of Kashmir ; that Vakpati and Bhavabhuti were poets at his court; that Yasovarma did not, when attacked by Lalitaditya 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 Suktimuktavali, the Subhasitavali and the Sarngadharapaddhati. In his introduction to the edition of Subhasitavali, Peterson makes a mention of a drama, called Ramabhyudaya, written by Yasovarman, "which must have been a 18. ffaafaqfarisxia Fatleafaa: 1 jito yayau yazovarmA tadguNastutibanditAm // Taatferuit. IV. 134 19. Tatieruit - IV. 126-145. 20. Pandit - Gaudavaho,' P. Lxxii.

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(Lvi) 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 Lalitaditya, whose contemporary he was. According22 to the Rajatarangini, Lalitaditya 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 Lalitaditya and, as Lalitaditya'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 Lalitaditya, according to him, falls in A. D. 724. Professor G. Buhler and Professor Max Muller also have accepted 66 < 21. V. Raghavan-Some old lost Rama Plays' P. 1. 22. Pandit Gaudavaho-Pp. xcv xcvi also P. LXXXV. -

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(Lvii) this correction. Dr. R. G. Bhandarkar23 too accepts this view. In his book Early History of India !, Vincent Smith24 records that Muktapida, 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, Gaudavaho 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 Niyaya-paya-bhaMga of a MS. instead of Pandit's-'bhUlayAbhaMga' and this along with the earlier words Furnaceu, 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 Lalitaditya against Yasovarman, which must have taken place after he (Yasovarman) had returned from his expedition against the Gauda King. "The dates25 of Lalitaditya'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 Yasovarman must have defeated the king of the Gaudas. Yasovarman had sent an embassy to China on his own behalf in 731 A. D. and later when Lalitaditya sent a similar embassy to China in 736 A. D., he claimed Yasovarman as his ally. This fact shows that Lalitaditya had defeated 23. Bhandarkar-Malati-Madhava. P. ix. 24. 'Early History of India'. P. 386. 25. 'Gaulavaho'-Introduction P. ccLviii.

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(Lviii) 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 Lalitaditya 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 Harsa's death, who sent an embassy to China in A. D. 731, was later dethroned and slain by Lalitaditya Muktapida 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 Vakpatiraja, 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 saysyasyAM dizi kupito yazovarmA bhavati tatra vinAzasya sUcakA utpAtA harAviva jagat prlye| dyate bhavantIti tAtparyArthaH / The Jain works like the Bappabhattti-Suricarita, 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 Amaraja to Jainism in Vikrama Samvat 807 (A. D. 754). Amaraja 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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(Lix) Vikrama 811 (A. D. 754). This means that Yasovarman 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. Vakpatiraja-Some Personal Details and his Date: Speaking about himself in his autobiographical account (797-804), Vakpatiraja 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 Kaviraja. (ii) The revered poet Kamalayudha, his contemporary, held him in high regard. (iii) He owes a deep debt of gratitude to the great poet Bhavabhuti, 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 Bhavabhuti's literature. (iv) Bhasa-Jvalanamitra, Kuntideva, Kalidasa, 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, Nyaya-Sastra (logic or dialectics), legendary narratives like the Mahabharata and Puranas 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 - Bhavabhuti - P. 6.

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( LX ) Other Sources : Peterson in his Introduction to the edition of the Subhasitavali of Vallabhadeva observes - "Vakpatiraja is stated to have been the son of Harsadeva. The following verse has been quoted in this anthology:: ghanodyAnacchAyAmiva marupathAddAvadahanAtuSArAmbhovApImiva viSavipAkAdiva sudhAm / pravRddhAdunmAdAt prakRtimiva nistIrya virahAlabheyaM tvadbhaktiM nirupamarasAM zaMkara kadA | No 3114 zrIharSadevAtmaja vAkpateH / That Vakpatiraja 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 Pingalasutras sa jayati vAkpatirAjaH sakalArthimanorathakalpataruH / pratyarthibhUtapArthivalakSmIhaThaharaNAda durlalitaH // -- Halayudha's verse is quoted in the Dasarupavaloka with the note that the king referred to is Munja. According to a statement in the Yasastilaka, Vakpatiraja was thrown into prison by Yasovarman and there, like James I of Scotland, composed his poem. " The poet Soddhala in his Udayasundarikaha also mentions him as one born in a royal family sAmantajanmA'pi kavIzvarANAM mahattamo vAkpatirAjasUriH / chAyayA'pyanyamapIDayan sannutpAdayatyarthamananyadRSTam // In the Subhasita-ratna-bhandagara, the following verse is ascribed to Harsadeva yAto'smi padmanayane samayo mamaiSa suptA mayaiva bhavatI pratibodhanIyA / pratyAyanAmayamitIva saroruhiNyAH sUryo'stamastakaniviSTakaraH karoti // P. 295 / v. 50

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( lxi) In the Introduction of the Subhasita-Ratnakara, Kosambi and Gokhale say : " Vakpatiraja is generally taken as son of Harsadeva and author of Gaudavaho and court Poet of Yasovarman. He is highly praised by Yogesvara, who appears to be a Pala court poet, best appreciated for his verses on country scenes. He himself praises Bhavabhuti, Bana, Kamalayudha, Kesata and Vakpatiraja, which may be the chronological order. The verse is as follows: unnIto bhavabhUtinA pratidinaM bANe gate yaH purA yazcIrNaH kamalAyudhena suciraM yenAgamat keshttH| yaH zrIvAkpatirAjapAdarajasAM saMparkapUtazciraM diSTayA zlAdhyaguNasya kasyacidasau mArgaH samunmIlati // No. 1733-P. 298 These anthologies also contain many stray verses ascribed to Vakptiraja.29 Jain Sources : Mention of Vakpatiraja with reference to his association with Bappabhatti-Suri and Ama, the son of Yasovarinan, is to be found in some Jain works. They are :-- Bappabhatti-Suri-carita, which gives an account of the life of Bappabhatti, mentions the following details30 regarding Vakpatiraja : (i) Vakpati, a great poet, born in the royal family of Paramaras (Powars), was present during the discussions that took place at Laksanavati between Bappabhatti-Suri on the side of king Ama and the Buddhist scholar Vardhanakunjara, sponsored by king Dharma. Vakpati, 29. See Appendix. 30. Pandit-Gauqavaho-Introduction, Pp. cxxxviii to cxLi.

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(Lxii) at the instance of his old friend Bappabhattisuri, played a trick and forced his opponent Vardhana-kunjara 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 Vakpati to king Dharma. In consideration of his long services, however, the king pardoned his servant, the Poet. (ii) Afte some time, Yasodharma, the king of a neighbouring country, defeated king Dharma of Laksanavati in battle and took possession of his kingdom. He threw Vakpati into prison, where he wrote his Mahakavya in Prakrit, called Gaudavaho and showed it to king Yasodharma. The king, who was a good judge of merit, liberated the poet and begged his pardon. Being thus honourably set free, Vakpati 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 Vakpati, who was then living at Mathura as a Sanyasin, practising austerities in the Varaha temple. Bappabhatti succeeded in his effort to make a convert of Vakpati to Jainism, because when he saw the image of Parsvanatha in the temple built by king Ama, he was so impressed that he gave up his belief in Brahmanism and became at once a Jinarsi of the Svetambara 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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(Lxui) Pandit mentions another Jain work 'Prabandhakosa', from Rajasekharasuri, 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 Yasovarma of Kanyakubja reigning at Gopalagiri-durga (Gwalior ), by Yasodevi, 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 Yasovarma, 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. Yasovarma 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 Bappabhatti......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 Laksanavati, where king Dharma was reigning. The poet Vakpati, 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 ... ... ... Vak pati is called Prabandha-kavi, writer of Prabandhas or biographical poems. The other details, viz. the invasion by Yasodharma, the defeat and death of Dharma and the appropriation of his kingdom, Vakpati's incarceration etc. are the same as in Bappabhatti-carita. Vakpati is liberated by Yasodharma,

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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 Vakpati was living the life of a strict reciuse at Mathura, he was converted to the faith of Jina by Bappabhatti.", The Prabhavaka,-charita, composed by Prabhacandra-suri and revised by Pradyumna-suri, is merely an amplification of the Prabandha-kosa of Rajasekhara, except that Yasovarma is described here as having descended from and being a bright ornament of Chandragupta. As in the Prabandha-kosa, the composition of Mahumahaviyayo is wrongly placed after that of the Gaudavaho. After Vakpati was set at liberty and left the prison at Laksanavati, he came, however, to Kanauj and not to Gopagiri. There he was liberally patronised by Ama. Ama thought he was fortunate in having Vakpati at his court. There is no allusion to his having ever been at Kanauj before, or to his having been connected with Yasovarma. The other two Jain works viz. Tirthakalpa and Gathasahasri 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-'Gauqavaho '--Introduction, Pp. clviii to clix.

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(LXV) converted such great kings as Ama, defeated such learned scholars as Vardhanakunjara and made even such poets and sanyasins as Vakpati 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 Vakpati 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 Vakpatiraja 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, Vimalasuri, for instance, in his Pauma-cariya accused the Poet Valmiki as a big fraud, who gives a pack of lies in his Ramayana and in his zeal for Jainism has depicted the hero Padma i. e. Rama as a pious Jaina layman, finally attaining perfect knowledge and entering s 5

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(Lxvi) Nirvana! 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 Vakpatiraja, in the latter part of his life. He had, no doubt, endeared himself to his patron King Yasovarman by his earlier Poem, Mahumahavijaya, which, although apparently in praise of the god Visnu, must have had a slant suggestion of the glorification of Yasovarman, who, even in the Gaudavaho, 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 Gaudavaho, the Gahavidha, or the 'Pedestal'. The drastic, revolutionary events that followed later on, namely, the defeat of Yasovarman by Lalitaditya 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 Gaudavaho, 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 Yasastilaka, indicate. Such had been probably the decline and the tragic end of the Poet's career. 32. The relations between the king Yasovarman and his son Ama do not appear to have been very cordial. It might be that the closer association of Vakpatiraja 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, Vakpatiraja mentions Bhasa-Jvalanamitra, Kuntideva, Raghukara, Subandhu and Haricandra ( Harianda ). The epithet Jvalanamitra for Bhasa, 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. Raghukara is, of course, Kalidasa, the author of Raghuvamsa, a Mahakavya, which Vakpatiraja has drawn upon for the description of his King's Digvijaya and of the desolation of his enemies' cities. The epithet 'Raghukara' for Kalidasa appears to have been popular in those days, as can be seen from the following verse in Sadukti-Karnamsta : subandhau bhaktirnaH ka iha raghukAre na ramate dhRtirdAkSIputre harati haricandro'pi hRdayam / vizuddhoktiH sUraH prakRtimadhurA bhAravigira stathApyantarmodaM kamapi bhavabhUtirvitanute // Who is this Haricandra ( Harianda ), who was such a great delight to Vakpatiraja and who has been mentioned as the captivator of hearts' in the verse, quoted above? In the Harsacarita, Bana mentions one Bhattara Haricandra34 " whose prose-coniposition stands 33. See 'Bhasa, a study' by Pusalkar P. 44. Also note the following verse, attributed to Rajasekhara in Suktimuktavali :bhAsanATakacakre'pi chekaiH kSipte parIkSitum / svapnavAsavadattasya dAhako'bhUnna pAvakaH / / 34. qaputcast and Faxaferra: 1 bhaTTAraharicandrasya gadya bandho nRpAyate // 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'. Bhattaraka, 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 Bana, 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 Mahesvara,35 author of Visvakosa, among his ancestors. A third Haricandra, the writer of Dharmasarmabhyudaya-Kavya has been discovered by Peterson. He is the son of Ardradeva and Radha. Jacobi, in his article on Magha and Bharavi, has drawn attention to the remarkable coincidences in language and thought between certain passages of the Dharma-sarmabhyudaya and the Gaudavaho and he comes to the conclusion that this Haricandra positively borrowed his ideas from and slavishly copied the style of Vakpati 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 Bana. Subandhu, referred to by Vakpatiraja is the author of Vasavadatta, a prose composition like Bana's 35. The subhasitavali gives the following verse on his name: avyApAraratA vasantasamaye grISme vyavAyapriyAH saktAH prAvRSi palvalAmbhasi nave kUpodakadveSiNaH / azraturan: arafayat kurafagiser: svairdoSairapacIyamAnavapuSo nazyantu te zatravaH / 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 Bhavabhuti had composed his Malatimadhava. The two other poets mentioned in the earlier Gathas ( 798 and 799 ) are Kamalayudha and Bhavabhuti. The respectful reference made to him by Vakpatiraja, 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 : laghuni tRNakuTIre kSetrakoNe yavAnAM navakalamapalAlasrastare sopadhAne / pariharati suSuptaM hAlikadvandvamArAt kucakalazamahoSmAbaddharekhastuSAraH // subhASitaratnabhANDAgAre - 346125 haMsAnAM ninadeSu yaiH kavalitairAsajyate kUjatAmanyaH ko'pi kaSAyakaNThaluThanAdAghagharo nisvanaH / te saMpratyakaThoravAraNavadhUdantAGkaraspardhino niryAtAH kamalAkareSu visinIkandAgrimagranthayaH // subhASitaratna koSe - P. 52 karikavalitamRSTaiH zAkhizAkhAgrapatrairaruNasaraNayo'mI bhISayante'kunaiH / calitazabara senAdattagozRdgacaNDadhvanicakitavarAhavyAkulA vindhyapAdAH // subhASitaratnakoSe - P. 274 36. pratyakSara zleSamayaprapazca vinyAsavaidagdhya nidhi prabandham / sarasvatIdattavaraprasAdazcakre subandhuH sujanaikabandhuH // - vAsavadattA.

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(LXX) (6 are mere The great poet Bhavabhuti, in whose foot-steps Vakpatiraja3 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 Vakpatiraja wrote this Gatha or when he wrote his big, voluminous (viada) Poem. "It appears clear that Vakpati had been in his youth, either a pupil or a personal admirer of Bhavabhuti, who was alive then but had died since, i.e. the Gaudavaho 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 Vakpatiraja39". The question arises: Among the past writers of repute, why has Vakpatiraja not mentioned famous poets like Bana, Bharavi, Magha and even Pravarasena, the author of the Ravanavaho (Setubandha), a Prakrit Mahakavya, on which is modelled his own Prakrit Poem, the Gaudavaho? 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 Bhavabhuti with Vakpatiraja 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- Gaudavaho -Introduction, P. IXVI. 39. Belvalkar-Rama's Later History' P. XIVI

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(Lxxi ) Vakpatiraja mentions the work of Subandhu in the same breath with Bhasa and Kalidasa, he is silent as regards Bana, who wrote a prose work similar to Subandhu's. What then is the natural conclusion? It is that when Vakpatiraja wrote, Subandhu was a famous author, while Bana 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 Vakpati ...... In the days of Vakpati, 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. Vakpati 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 ' Anando ' in Gatha 800 is quite significant. While the writers mentioned by him in this Gatha 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 Yasovarman, nor because he felt inspired to write it. His reasons for this view are : (i) In G. 797, Vakpatiraja speaks about himself as ' a poet, having the title of Kaviraja and one who was (usi ) an humble favourite of the King. The past tense 'was ' is quite significant. 40. Gajendragadkar -- Introduction to Harsacarita' 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 Gatha (845) we read that he (Vakpati), 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 Gatha 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 Yasovarma 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 Gatha 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 Gaudavaho 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 Gaudavaho was written long after the death of the Magadha king by Yasovarman and also after his own defeat at the hands of Lalitaditya 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 Gaudavaho was done by Vakpatiraja 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 Gaudavaho 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 'asi' and 'pura', only go to prove that 42. Pandit-Gaudavaho-Introduction. p. xcvi to c. 33

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(Lxxiv) the Gaudavaho 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 Gaudavaho. We would, therefore, hold that Yasovarman was at the zenith of the glory, when Vakpatiraja wrote the present Gaudavaho i. e. only the Prelude. Then came, in 740 A.D. the defeat and the disgrace of Yasovarman, which, perhaps, prevented Vakpatiraja 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 Gaudvaho, 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 Vakpatiraja 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 Lalitaditya. If this is certain, as it is plausible, the composition of the Gaudavaho 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 Samkhya, Mimamsa, Nyaya and the reading he does of the legendary literature and of the Mahabharata, the Ramayana and the Puranas, 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, Vakpatiraja bows his head in reverence before all Divinities of the Pauranic pantheon, without preferences, although we find from his writings that he looks up to Visnu, as the supreme God. His earlier work, the Mahumaha-Viaya, must have been in praise of Lord Visnu, whom, also in his present Poem, the Gaudavaho, he holds aloft above all other gods even including god Siva.44 Indra, the Sun 44.' In Gatha 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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(Lxxvi) and the Moon etc. are lesser gods, carrying out the behests of the supreme Divinity viz. Visnu. 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 Siva. Siva stays on the Kailasa mountain with his family ', comprising his consort Parvati, ever blended with Him as his better half, his two sons Ganesa and Kartikeya and the retinue of his followers or Ganas, 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 Kama, the God of Love, is there to make life worth living by means of his flowery bow and arrows. Visnu, 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 Brahma, 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. Laksmi 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, Vakpatiraja 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 Pauranic 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 Psthu, levelling the earth. 4. Janamejaya's serpent-sacrifice. 5. Heavenward Flight of Ayodhya. the city of Hariscandra. 6. Floods causing universal Deluge. 7. The Earth approaching King Pothu 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 Visnu. 11. Tvasts 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 Kalidasa was the master of Upama, Vakpatiraja was a master of Utpreksa 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, Vakpatiraja 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 Vakpatiraja 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 Gathas. 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 Mahakavya, gets more than its due share at the hands of Vakptiraja, who devotes 169 Gathas 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 Narmada--(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, Kalidasa and Bana. 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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(Lxxx) 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 Bhavabhuti'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 Vatsyayana describes as of Goyuthika 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 Kalidasa who, unashamedly' describes in details the honeymoon delights of Siva and, Parvati, the parents of the world', in the cool recesses of the Himalyan heights in his Kumarsambhava and the morbid sex-indulgence of Agnivarna, the last king of the Raghu dynasty. Poets like Bharavi and Magha, too, are not found wanting in this respect. The Kiratarjuniya of Bharavi has three cantos, numbering 198 verses, distributed in 8th, 9th and 10th cantos dealing with these topics and the Sisupalavadha, 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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(Lxxxi) any reserve or restraint. The only exception is that of the Setubandha which, barring a few verses45 in the 10th and the 12th Asvasakas, 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 Vakpatiraja, there had evolved two mutually differing schools of Poetry. One was, what we may style, the Romantic school, headed by Kalidasa and his ilk, like Harsa and Bana, and the other, Realistic school of Bhavabhuti and his Sadharmas. Bhavabhuti, for instance, like Kalidasa, 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 Navamalika-a veritable Vanajyotsna - fit to be married to an upabhogaksama mango-tree, or a young fawn to be nursed and nurtured daily by Nivara 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 Asvasaka and 5 verses ( 12 to 16) in the 12th Asvasaka. 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 Vakpatiraja feels and thinks of Nature. His love of Nature, too, like that of his master, Bhavabhuti, 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 Kali on the Vindhya mountain with all its gruesome, bloodcurdling details of blood-spilling and animal slaughter, clearly indicates his close association with Bhavabhuti, " 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 Kali. 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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(Lxxxiii) 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 Gunja 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 Siva 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 Gathas 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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(Lxxxiv) 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, Jambu, Arjuna, Cuta (Sahakara ), Kharjura, Tamala, Puga, Nalikera, Tala, Sarala, Palasa, Udumbara, Malura, Badara, Dhava, Campaka, Kancanara, nicula, Java, Usira, Naramga. Creepers and Flowers : Malati, Ketaka, Alambusa, Karira, Karavira, Karahata, Kumbhi, Karaha, Kinva, Kaccura, Karamanda, Kunda, Kaseru, Kamala, Kuvalaya, Tamarasa, Damanaka, Marubaka, Kutaja, Arka, Kandali, Lavali, Sallaki, Maludhani, Dadimi, Musta, Haridra, Valunki, Madhavi, Yuthika, Kasa, Saptala, Himsi, Tumbi. Birds : Kalahamsa, Marala, Kraunca, Sarasa, Balaka (-ka ), Jalaramku, Kukkubha, Kurara, Sarati, Kalavimka, Kapota, Vayasa, Lavaka, Madhukara, Kita. Animals : Vrsabha, Varaha, Vidima, Mahisa or Sairibha, Simha, Gaja, Mtga ( Kasturi ), Ruru, Sahasaranga ( Monkey ), Karabha, Undura, Kamatha or Kacchapa. Poetic Features : Vakpatiraja 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 Gaudi 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 Gaudavaho 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 Vakpatiraja'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 Vakpati is highly cultivated and very pregnant Vakpati is not 46. Pandit-'Gaudavaho -Introduction, Pp. LII to LIV. 19 .........

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(LXXXVI) 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 Utpreksa . 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 Gaudavaho: Religious conditions : In the medieval period, as in Europe so in India, Religion played a dominating role 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 Vakpatiraja, 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 Siva, 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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(Lxxxvii) people in general and, as a result, hundreds of temples to adore various gods were raised all over mid-India, chiefly those of Siva, Visnu 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 Lalitaditya4s raising temples in every city and village that he conquered and in Gatha 508 Vakpatiraja mentions how Yasovarman caused a magnificent temple to be built in Ayodhya in one day. Side by side there were the Saktas or worshippers of Sakti or the consort of Siva in her fierce form called Kali, Karala, Camunda etc. Of the Saktas, there are two classes : Kaula or Kaulika and Samayin, often associated or identified with the Saivite schools of Kapalikas, who indulged in the offering of animals and even human sacrifice. Describing the weird scenes at the temple of the goddess VindhyaVasini, Vakpatiraja refers to the Kaula women (in Gatha 319 ) standing in serried rows one over the other, in their eagerness to witness the slaughter of a Mahapasu i. e, man. These are women who belong to the Kaula sect of the saktas. 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 forega atsira: 1 at glasffa gaiat afagi a fafa# Il Fajfitoft. IV. 18

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( Lxxxviii) 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 Gatha 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" ( Abhicara ). Social Conditions : The Society was sub-divided into the conventional four castes viz. the Brahmins, Ksatriyas, Vaisyas and Sudras, 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 Ksatriyas 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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(Lxxxix) in importance in ancient days. The hero of the Gaudavaho is mentioned as a scion of the Lunar race and very probably even the Poet Vakpatiraja was a Ksatriya prince. Ascetics or Munis mentioned in the Gaudavaho 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. Gatha 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 (sala) 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 (avada) on the premises from which water was drawn with the help of water-wheels (arahatta). The threshold was in stone fixed with iron plates, the floor in polished stone or marble and the ceiling was in wooden cross-pieces (kilinca), resting on a supporting wooden beam (pindibandha). In

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(xc) the gardens attached to the mansions, full of all kinds of trees and creepers, there were swings (dolu) 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 ( Purana-narendra-kartana-sthana ). "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 : " Kauseya 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 keyuras and kundalas or ear-rings. Women too wore necklaces and garlands ( pralamba ) round their necks reaching upto their breasts (.G. 833), over the bodice (kancuka) fastened over the bosom by 50. C. V. Vaidya - History of Medieval Hindu India. " P. 89.

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(xci) means of a silken string passed through eye-let holes (731). They had rings and ear-ornaments (Karnapura), a crestjewel (Cudamani) 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 (patthiveni) and the betel (tambula) coloured their lips, while the cheeks became pink with the intoxication of wine (dara-cakkhia-madira) 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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(xcii) the original Dravidian population of the land became now the agriculturists of the country and of course formed the great Sudra 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 (dharmika) 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 Chamara-bearers or Tambula-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 Vakpatiraja too has described their condition in his Poem. The Samantas,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 Amatyas, 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 Adhyaksas of Sulka (Customs), Kosthagara (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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(xciv) 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 Vakpatiraja 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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(xcv ) title of Kaviraja, 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 Yasovarman. 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 Yasovarman was attacked by the king Lalitaditya of Kashmir. VIII. The Language of the Gaudavaho : 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, Mahavira (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 Kharavela (2nd century B. C.)". " The literary Prakrits57 make their appearance with the BIhatkatha, circa first century A. C. if not earlier. Vararuci's grammar, the Praksita-Prakasa, 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 Calukya king Vijayaditya Satyasraya 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 : ataHparaM prAkRtabhASayA padyAnyetAni 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-magaha Bhasa' 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. Maharastri, Sauraseni, Magadhi and Paisaci, Maharastri was recognised as the Prakrit par excellence 58 and earlier works like Hala's Gahasattasai 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, Rajasekhara, describing his Kavya-Purusa", observes: "Sanskrit is your mouth, Prakrit the arms, Apabhramsa the buttocks, Paisaci 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 Apabhramsa poets to the west, the Paisaca poets to the south." An ambidexterous poet like Vakpatiraja, well-versed both in Sanskrit and Prakrit, might have had his berths reserved in both the classes ! "Maharastri is also the language of artificial epics, of which up till now two have been published, the Ravanavaho and the Gaudavaho ... They are very strongly 58. HEITTSETSTTTT 1190 gin fag: 1 ___ sAgaraH sUktiratnAnAM setubandhAdi yanmayam // kAvyAdarza. I. 59. Dr. Gune, 'Comparative Philology, 'Pp 192-193. 60. $15471HIAT III. 61. argi 751927 Iatu alaca: bat: 6921 falastra I.. pUrveNa prAkRtAH kavayaH...pazcimenApabhraMzinaH kavayaH // kAvyamImAMsA 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 Bhavabhuti and occasionally in Machhakatika as well ".62 The Gaudavaho Prakrit is thus essentially Maharastri, with a wonderful variety of vocabulary, consisting of Tatsama and Tadbhava words, as also a profuse sprinkling of Desi words. Vakpatiraja 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 Rajakavi. 'Poets generally write for fame, for wealth ".... says Mammata63 in his Kavyaprakasa and Sanskrit poets like Kalidasa have benefited accordingly. That even Prakrit poets like Vakpatiraja or Rajasekhara 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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(xcix) In the case of Vakpatiraja, 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 Vaidarbhi, "Tamkaro 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 Gaudavaho 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 Sutradhara6 of Bhavabhuti of his drama, the Uttara-ramacarita, one were to become a contemporary of Vakpatiraja 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, 'Gaudavaho, Introduction, P. lxiv. 65. eSo'smi kAryavazAdAyodhyakastadAnIMtanazca saMvRttaH / uttararAmacarita. Act I

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(c) 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', Apabhramsa-like dialect, since literacy might not be quite high in those days. Visiting temples, Sanghas, Parisads 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 Kalidasa, Sriharsa or their contemporary Bhavabhuti, 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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kairAa-bappairAassa ga u Da va ho| maGgalAcaraNam paDhamaM cia dhavala-kaovavIamaMburuha-goaraM Namaha / hari-jaDhara-Niggamukkhitta-NAla-suttaM piva sayaMbhuM // 1 // so jaai kaNiA-calaa-gabbha-parigUDha-viaDa-boammi / jo vasaI NihANIkaa-bahu-baMbhaMDe vva kamalammi // 2 // taM paNamaha tigicchi-cchaleNa Nivasai Nivesa-kamalammi / jassa paramANu-Nivaho vva bhuvnn-nnimmaann-pddivnnnno||3|| aTThiamAvattaMtI so jaai javujjaassa sA jassa / phalihakkhAvali-kajjammi ghaDai baMbhaMDa-parivADI // 4 // paNamaha hett-tttthia-viadd-ses-bis-kNd-kNdlaahiNto| paDibhiNNa-kaNha-paMkaM viNiggamaM NAhi-NaliNassa // 5 // viaDa-sasi-maMDalAaMta-salila-bhariammi bhuvaNa-valaammi / hariNo hariNa-cchAaM vilAsa-parisaMThiaMjaai // 6 // kavirAja-vAkpatirAjasya . gauDa va dham prathamameva dhavalakRtopavItamamburuhagocaraM namata / harijaTharanirgamotkSiptanAlasUtramiva svayaMbhuvam // 1 // sa jayati karNikAvalayagarbhaparigRDhavikaTabIje / yo vasati nidhAnIkRtabahubrahmANDa iva kmle||2|| taM praNamata padmarajazchalena nivasati niveshkmle| yasya paramANunivaha iva bhuvnnirmaannprtipnnH||3|| asthitamAvartamAnA sa jayati japodyatasya sA yasya / sphaTikAkSAvalikArye ghaTate brahmANDaparipATI // 4 // prnnmtaadhaasthitvikttshessbiskndkndlaat| pratibhinnakRSNapakaM vinirgamaM nAbhinalinasya // 5 // vikaTazazimaNDalAyamAnasalilabhRte bhuvnvlye| harehariNacchAyaM vilAsaparisaMsthitaM jayati // 6 // 5. ubhiNNaMdeg for paDibhiNNaM'. viNiggayaM.

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gauDavaho asurordvi-nnihNsnn-vistttt-dhuumaavlNbi-nnh-hiiro| rakha-rosa-gahia-ghaNa-maMDalo vva Nara-kesarI jaai // 7 // taM Namaha samosariA Nahagga-vihaDAvioravIDhassa / jassa daicammi aladdha-vavasiaccea bhuadaMDA // 8 // Namaha viAria-daguiMda-ruhira-pallavia-gaaNa-peraMtaM / riu-caha-samaya-pasAria-saMjhaM ziva mahumaha-maiMdaM // 9 // mukke vi Nara-maiMdattaNammi bokAra-kalusia-galassa / hariNo jaai ciraM vihaa-sadda-parighaggharA vANI // 10 // avahIria-diggaa-caMda-hariNa-palayanma-jAla-raMsiassa / asurecia saMraMbhA jati mAyA-maiMdassa // 11 // rava-rosa-dalia-ghaNa-NiravalaMba-saMghaDia-taDi-kaDappo vva / Nara-hariNo jaai kaDAra-kesaro kNdhraa-bNdho|| 12 // so jaai gova-bhAve jo vimalia-gUDha-NAhi-NaliNAhi / NIsaramANehiM cea parimalaM vahai sasiehi // A || dADhA mahA-varAhassa vaaNa-maggeNa NiggaA jai / uara-TThia-NAhI-kamala-kaMda-mUlAhi va muNAlI // 13 // asuroro'sthinigharSaNavikasitadhUmAvalambinakhaprAntaH / ravaroSagRhItaghanamaNDala iva narakesarI jayati // 7 // taM namata samavasRtA nakhAgravighaTitoraspIThasya / yasya daitye'labdhavyavasAyA eva bhujadaNDAH // 8 // namata vidAritadanujendrarudhirapallavitagaganaparyantam / ripuvadhasamayaprasAritasaMdhyamiva madhumathamRgendram // 9 // mukte'pi naramRgendratve bukkaarklussitglsy| harerjayati ciraM vihatazabdaparighargharA vANI // 10 // avdhiiritdiggjcndrhrinnprlyaabhrjaalrsitsy| asura eva saMrambhA jayanti mAyAmRgendrasya // 11 // ravaroSadalitaghananiravalambasaMghaTitataDitsamUha iva / naraharejayati kaDArakesaraH kaMdharAbandhaH // 12 // sa jayati gopabhAve yo vimarditagUDhanAbhinalinAt / niHsaradbhireva parimalaM vahati shvsitaiH|||| daMSTrA mahAvarAhasya vadanamArgeNa nirgatA jyti| udarasthitanAbhikamalakaMdamUlAdiva mRNAlI // 13 // 7. degrosamahiyadeg 8. vIDhammi for vIDhassa.

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maGgalAcaraNam taM Namaha jo varAhattaNammi phaNa-maNi-ghaData-paDibiMbo / sesa-TThiaM pi vasuhaM vahai vca phaav-sNketo|| 14 // heTa-TThia-mUra-givAraNAa chattaM aho iva vhNtii| jabhai sasesA vArAha-sAsa-dUrukkhaA puhavI // 15 // aMgAi~ viNhuNo vAmaNattaNe vism-maas-thuddaaii| maDahoara-NapahuppaMta-bhuvaNa-bhariAI va jati // 16 // jaai dharamuddharaMto bhara-NIsAria-muhagga-calaNeNa / Nia-deheNa kareNa va paMcaMguliNA mahA-kummo // 17 // rakkhara vo roma-laA mAyA-mahilattaNe mahumahassa / gUDhoara-tAmarasANusAriNI bhamara-mAla va // 18 // so jaai jassa juvaittaNammi khAmoarosaraMtehiM / bhuvaNehi va thaNa-jahaNANa gAravaM kiM pi nnivddiaN||19|| so jaai jaamillaaamaann-muhlaali-cla-priaalN| lacchi -NivasaMteura-vaI va jo vahai vaNamAlaM // 20 // taM namata yo varAhatve phaNAmaNighaTamAnapratibimbaH / zeSasthitAmapi vasudhAM vahatIva prabhAvasaMkrAntaH // 14 // adhaHsthitasUryanivAraNAya chatramadha iva vhntii| jayati sazeSA vArAhazvAsadUrotkSiptA pRthivI // 15 // agAni viSNorvAmanatve viSamamAMsasthapuTAni / alpodaranaprabhavadbhuvanabhRtAnIva jayanti // 16 // jayati dharAmuddharana bharaniHsAritamukhAgracaraNena / nijadehena kareNeva paJcAGgulinA mahAkUrmaH // 17 // rakSatu vo romalatA mAyAmahilAtve madhumathanasya / gUDhodaratAmarasAnusAriNI bhramaramAleva // 18 // sa jayati yasya yuvatitva kSAmodarApasadbhiH / bhuvanairiva stanajaghanAnAM gauravaM kimapi nirvatitam // 19 // sa jayati yAmikAyamAnamukharAlivalayaveSTitAm / lakSmInivezAntaHpuravRtimiva yo vahati vanamAlAm // 20 // 15. heThAgayadeg 18. bhamarapaMtivva. 19. thaNaramaNANa 20. taM Namaha for so jayai.

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gauDavaho bAlattaNammi hariNo jaai jasoAe~ cuMbiaM vaaNaM / paDisiddha-NAhi-magguddha-NiggaaM puMDarIaM va // 21 // Naha-rehA rAhA-kAraNAo karuNaM haraMtu vo srsaa| vaccha tthalammi kotthuha-kiraNAaMtIo kaNhassa // 22 // te Namaha jeNa ajavi vilUNa-kaMThassa rAhuNo valai / dukkhamaNicariaM cia amUla-lahuehi sAsehiM // 23 // paNamaha balassa huMkAra-bhaa-vasA gholamANa-jauNe vya / maa-dosa-siDhila-kasaNAvarilla-saMdANie calaNe // 24 // aMto-saMlINa-phaNA-sahassa-raaNa-ppahaM piva vamaMtI / haliNo maAruNA viddaveu duriAI vo diTThI // 25 // appAga-gamia-viaNattaNeNa bhara-dalia-sesa-kummANa / NiruvAlaMbhaM bala-kesavANa parivaggiaM jaai // 26 // taM Namaha pIa-vasaNaM jo vahai shaav-saaml-cchaa| diasa-NisA-laa-Nigama-vihAa-sabalaM piva sarIraM // 27 // bAlatve harerjayati yazodayA cumbitaM vdnm| pratiSiddhanAbhimArgovanirgataM puNDarIkamiva // 21 // nakharekhA rAdhAkAraNAH karuNAM harantu vo srsaaH| vakSaHsthale kaustubhakiraNAyamAnAH kRSNasya // 22 // taM namata yenAdyApi vilUnakaNThasya raahorvlti| duHkhamakathitamevAmUlalaghukaiH zvAsaiH // 23 // praNamata balasya huMkArabhayavazAd ghUrNamAnayamunAviva / madadoSazithilakRSNottarIyasaMdAnitau caraNau // 24 // antaHsaMlInaphaNAsahasraratnaprabhAmiva vmntii| halino madAruNA vidrAvayatu duritAni vo dRSTiH / / 25 // Atmagamitavedanatvena bhrdlitshesskrmyoH| nirupAlabhaM balakezavayoH parivalgitaM jayati // 26 // taM namata pItavasanaM yo vahati svbhaavshyaamlcchaaym| divasanizAlapanirgamavibhAgazavalamiva zarIram / / 2.7 // 23. ca lai for valai. mUlalahUehiM for amUlalahuehiM. 26. aNuvAdeg for piruvA.

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maGgalAcaraNam siri-thaNa-Nivesa-maggA jati bhiNNaMgarAa-NivvaDiA / vacchammi NAhi-NaliNI-dalAamANA mahumahassa // 28 // so jaai jassa NADAla-loaNAsaMgiNI bhumaa-lehA / anja vi dIsai kAmassa dAha-kasaNA dhaNu-laa va // 29 // taM Namaha kAma-NehA aja vi dhArei jo jaDA-baddhaM / taia-NaaNaggi-NivaDaNa-kaa-vavasAaM piva miaMkaM // 30 // so vo suhAi~ uvaNeu viaDa-taiacchi-pelliaM jassa / Nivasai sIsammi sasi-cchaleNa NiaaM piva NaDAlaM // 31 // kaTTia-kusuma-raukkara-kaDAra-cAva-cchaleNa so jaai / ahidhAviUNa gilio vva jassa taiacchiNA kaamo||32|| mauDucchaMga-pariggaha-miaMka-joNhAvabhAsiNo Namaha / NicaM cia pasubaiNo pariTTi vAmaNa-cchAaM // 33 // keyUroraa-suMkAra-saMkule baann-bhua-vnn-ccheaa| so jaai saNIsAse va vahai jo amarisA bAhU // B || zrIstananivezamArgA jayanti bhinnaagraagnivrtitaaH| vakSasi nAbhinalinIdalAyamAnA madhumathanasya // 28 // sa jayati yasya lAlATalocanAsaginI bhralekhA / adyApi dRzyate kAmasya dAhakRSNA dhanurlateva // 29 // taM namata kAmasnehAdadyApi dhArayati yo jaTAbaddham / tRtIyanayanAgninipatanakRtavyavasAyamiva mRgAdakam / / 30 // sa vaH sukhAnyupanayatu vikaTatRtIyAkSipreritaM yasya / nivasati zIrSe zazicchalena nijakamiva lalATam // 31 // kRSTakusumarajautkarakaDAracApacchalana sa jayati / abhidhAvya gilita iva yasya tRtIyAkSNA kAmaH // 32 // mukuTotsaGgaparigrahamRgAikajyotsnAvabhAsino namata / nityameva pazupateH paristhita vAmanacchAyam // 33 // keyUroragasUtkArasakulau bANabhujavanacchedAt // sa jayati saniHzvAsAviva vahati yo'mod bAhU // Bu 28. paMkaya for NaliNI 21. kasiNA' for kasaNA' 33. hAsiNo for bhAsiyoM

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gauDavaho uddhaM aMdhaa-riugo NaaNaM pajalia-tAraaM Namaha / ukkarisia-paDicakaM va cakiNo bANabhaMgammi // c // jamia-sihaMDassa vi visahareNa hattho piNAiNo jaai / laMbi-jaDA-bhAsa phaNA-raaNa maUhesu gholaMto // D // kuviAi calaNa-paNo rahasukkhitta-maulI haro jaai / sIsa-dvia-baMbha-kavAla-phaMsa-saMkAe~ va umAe // E // taM paNamaha aja vi vahai tivhaa-biii-bhNg-kuddilaaii| jassa jaDA-baMdha-Nivesa-visamiAI va slilaaiN|| F || jaai jaDA-saMjamaNaM pasuvaiNo jalahi-mahaNa-viramammi / sihileNa sela-NihasaNa-kilaMta-baccheNa vAmaNa-cchAaM // 34 // ptyaarosnn-trlia-krNgulii-mlia-tNbir-nnddaalN| paDisiddha-taia-NaaNuggamaM va Namimo hara-kirAaM // 35 // so jaai jhatti-kavalia-visassa kaMThammi jassa NivvaDiA / khaNa-diNNuvvatta-kaaMta-pAsa-NihasovamA rehA // 36 // UrdhvamandhakariponayanaM prajvalitatArakaM nmt| utkRSTa praticakramiva cakriNo bANabhaGge // C // yamitazikhaNDasyApi viSadhareNa hastaH pinAkino jayati / lambijaTAbhAsaphaNAratnamayUkheSu ghUrNamAnaH // D // kupitAyAzcaraNapraNato rabhasotkSiptamauliharo jayati / zIrSasthitabrahmakapAlasparzazaGkayevomAyAH // E // taM praNamatAdyApi vahati tripthgaaviicibhdgkuttilaani| yasya jaTAbandhanivezaviSamitAnIva salilAni // F // jayati jaTAsaMyamanaM pshupterjldhimthnvirme| zithilena zailanigharSaNaklAntavakSasA vAsukinA // 34 // pArthAroSaNataralitakarAGgulimarditatAmralalATam / pratividdhatRtIyanayanodgamamiva namAmo harakirAtam // 35 // sa jayati jhaTitikavalitaviSasya kaNThe yasya nirvtitaa| kSaNadattodattakRtAntapAzanigharSopamA rekhA // 36 // 34. 'kilita deheNa for kilaMtavaccheNa

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maGgalAcaraNam taM paNamaha jo sIsAo kaha vi lhasia -dviaM samuvvahaha / ajja vi kusumIkaa - kesavacchi-vattaM va taiacchi // 37 // uvari-dvia-caMdAloa - puMjiA jai kaMTha-mUlammi / sIsa-cchAya va visa pahAmaI thANuNo rahA // 38 // dehaddhaddha - paridvia - gori-harArAhaNeka- hiaaM va / khaMDattaNeNa paNamaha paridviaM tiNaaNa-miaMkaM / / 39 // taM Namaha jassa muha-ghaDia - sasi alA- suttiNA ciraM pIA / sIsamma aNheNa va sura-sari-dhArA kavAleNa // 40 // gholira- kaDAra-tAraM DAla - NaaNaM piNAiNo Namaha / ajja vi khaAhuIka a - jalaMta - baMbhaMDa - piMDa va // 41 // taM maha kulaM piva jassa sulaha-saMbhAvaNaM pariharaMto / ajja va bANamaNaMgo No muai bhayA kumArammi // 42 // sA jaa NeurilleNa jIeN calaNeNa taaddia-kkhNdho| ubbhiNNa-ruhira - kusumo jAo mahisAsurAsoo // 43 // taM praNamata yaH zIrSAt kathamapi bhraSTasthitaM samudrahati / adyApi kusumIkRta kezavAkSipatramiva tRtIyAkSi // 37 // uparisthitacandrAlokapuJjitA jayati kaNTamUle / zIrSacchAyeva viSaprabhAmayI sthANo rekhA // 38 // dehArghArdhapariSThitagaurIharArAdhaina kahRdayamiva / khaNDatvena pariSThitaM trinayanamRgAkam // 39 // taM namata yasya mukhaghaTitazazikalA zuktyA / zIrSe satRSNeneva surasaridvArA kapAlena // 40 // ghUrNanazIlakaDAratAraM lalATanayanaM pinAkino namata | adyApi kSayAhutI kRtajvaladbrahmANDapiNDamiva // 41 // taM namata kulamiva yasya sulabhasaMbhAvanAM pariharan / adyApi bANamanago na muJcati bhayAt kumAre // 42 // sA jayati nUpuravatA yasyAzcaraNena tADitaskandhaH / udbhinnarudhirakusumo jAto mahiSAsurAzokaH // 43 // 41. jayai for Namaha. uggiNNadeg for 'ubbhiNNa.

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uDavo paDhama- harAliMgaNa - lajjiAeN ajAeN vo suhaM detu / kaMTha - pahAvalaMbaNa- thoa-tthAmAi~ acchI // 44 // bhamiaM palaya - paose viviha kavAlammi Namaha kAlIe / miliAsesa- NisA-lakkha visama - bahu-caMda khaMDe vva // 45 // DiMba vo cAmuMDAeN pihu - sirA- daMDa - maMDaNaM hara / mahoara - pahupaMta - valaa- bhariaM piva sarIraM // 46 // sA jaai cau-muhAsaNa-tAmarasa- daloaresu dulluliA / ka - jIhA - vihe ajA Nimia-paaM paribbhamai // 47 // taM Namaha jassa dIsa biMbaM vicchAa-laMchaNa-cchAyaM / gaMgA-Niggama-parigalia-majjha lAvaNNa-tucchaM va // 48 // verulia - NihA taM Namaha jassa te saMdaNaM parivarhati / taddisa - paDhama- pellia-tama- mailaMgA iva turaMgA // 49 // jaai jaa - rakkhaNe puMjiaM va jaM phurai paaNuaM raviNo / palayammi jaM ca paviralliaM va bahalAi go-jAlaM // 50 // 8 prathamaharAliGganalajjitAyA AryAyA vaH sukhaM dattAm / kaNThaprabhAvalambanastokasthAmanI akSiNI ||44 || bhrAntaM pralayapradoSe vividhakapAle namata kAlyAH / militAzeSanizAlakSaviSamabahucandrakhaNDa iva // 45 // DimbaM vazcAmuNDAyAH pRthuzirAdaNDamaNDanaM haratu / tanUdaranaprabhUtAntravalayabhRtamiva zarIram // 46 // sA jayati caturmukhAsanadalodareSu durlalitA | kavijihvAnivaheSu ca yA nihitapadaM paribhramati // 47 // taM namata yasya dRzyate bimbaM vicchAyalAJchanacchAyam / gaGgA nirgamaparigalitamadhyalAvaNyatucchamiva // 48 // vaiDUryanibhAstaM namata yasya te syandanaM parivahanti / pratidivasaprathamapreritatamomalinAGgA iva turaMgAH // 49 // jayati jagadrakSaNe puJjitamiva yat sphurati pratanukaM raveH / pralaye yacca pravistRtamiva bahalAyate gojAlam // 50 // 45. jayai for Namaha 46. khAmoaraNapahuttaMtavalayavaliyaM piva. 47. vahesu va for "vahesu a. 50. pavirelliyaM pi.

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maGgalAcaraNam taM Namaha kola-tulaNe saala-phaNA-maNi-pasatta-paDibiMbaM / uvvahai va jo bahu-sira-vihatta-lahuaMdharA-valayaM // 51 // paNamaha kAliMdI-salila-daMDa-ghaDiaM va sura-sari-ppavahaM / daMta-khaMbhaM vIsaMta-viaDa-hatthaM gaa-muhassa // 52 // taM Namaha gaa-muhaM viaDa-daMta-kara-daMDa-kalaNa-lIlAsu / milia-himavaMta-vijjhe vva kuNai jo meru-pabbhAre // 53 // gaNa-vaiNo sai-saMgaa-gorI-hara-pemma-rAa-viliassa / daMto vAma-muhaddhaMta-puMjio jaai hAso ca // 54 // Namaha daNueMda-NihaNe mAA mahu-sUaNaM urvatIe / mANia-taralattaNa-vinbhamA bhamiAI lacchIe // 55 // * hatthAlAMbia-paMkaa-miaMkamuaIo NiggaaM jaai / AsaMghia-Nia-ANaNa-sohaga-guNAe~ va sirIe // 56 // kosuma-dhaNu-bANa-ggaha-soraha-lagga-bhamare vva kAmassa / oppuMsia-rai-paNaaMsu-kajjalaMke kare Namaha // 57 // taM namata kolatulane sakalaphaNAmaNiprasakta pratibimbam / uhatIva yo bahuzirovibhaktalaghukaM dharAvalayam // 51 // praNamata kAlindIsaliladaNDaghaTitamiva surasaritpravAham / dantastambha vizrAntavikaTahastaM gajamukhasya // 52 // taM namata gajamukhaM vikttdntkrdnnddklnliilaasu| militahimavadvindhyAniva karoti yo meruprArabhArAn // 53 // gaNapateH sadAsaGgatagaurIharapremarAgavIDitasya / danto vAnamukhAntipuJjito jayati hAsa iva // 54 // namata danujendranidhane mAyAmadhusUdanamupayantyAH / mAnitataralatvavibhramANi bhrAntAni lakSyAH // 55 // hastAlambitapakajamRgAkamudadhernirgataM jayati / saMbhAvitanijAnanasaubhAgyaguNAyA iva zriyAH // 56 // kausumadhanurvANagrahasaurabhalagnabhramarAviva kAmasya / utproJchitaratipraNayAzrukajjalAko karau namata // 57 // 51. samattapaDivivaM, ghaDantapaDivivaM. 54. danto valiyamuhaddhata' 55. damaNe for NihaNe. 57. oppusiya for oppuMsi.

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gauDavaho deu suhaM vo pasu-vai-sirAhi gorI-visariavvehi / sovAlaMbha vva himAlaaMka-parigholirI gaMgA // 58 // sA jaai hara-siratthammi jIeN sAlilammi gholira-kavAlo / aja vi piAmahattamaNahaM caurANaNo vahai // 59 // hari-calaNa-Naha-ppahAe viccholiaM va paDhamaaM / hara-sasiNo pAaehiM saMvalia va viiaaN||60 // gahia-hima-cchAa va tuhiNaddi-samAvaDaNae / kAraNa-parisuddhaaM va gaMgAe~ Namaha slilaN||61|| __ dadAtu sukhaM vaH pazupatiziraso gauriikhedaiH| sopAlambheva himAlayAdakaparighUrNanazIlA gangA ||58||saa jayati haraziraHsthe yasyAH salile ghuurnnnshiilkpaalH| adyApi pitAmahatvamanaghaM caturAnano vahati // 59 // haricaraNanakhaprabhayA dhautamiva prathamakam / harazazinaH pAdaiH saMvalitamiva dvitIyakam // 60 // gRhItahimacchAyakamiva tuhinaadrismaaptne| kAraNaparizuddhamiva gaGgAyA namata salilam // 61 //

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atha kaviprazaMsA iha te jati kaiNo jamiNamo jANa saala-pariNAmaM / vAAsu ThiaM dIsai Amoa-ghaNaM va tucchaM va // 62 // . NiaAeNccia vAAe~ attaNo gAravaM nnivesNtaa| je eMti pasaMsaMcia jaaMti iha te mhaa-kinno||63|| dogacammi vi sokkhAi~ tANa vihave vi hoti dukravAI / kaca-paramattha-rAsiAi~ jANa jAti hiaaaii||64|| ummillai lAyaNNaM paaa-cchAAe~ sakasa-caANaM / sakaa-sakArukarisaNeNa paaassa vi pahAvo // 65 // ThiamaDiaM va dIsai aThiaMpi pariDiaM va paDihAi / jaha-saMThiaM ca dIsai sukaINa imAo pyiio||66|| viNaa-guNo daMDADaMbaro a maMDaMti jaha nnriNd-siriN| taha TaMkAro mahurattaNaM a vA pasAheti // 67 // sohei suhAvei a ubahujaMto lavo vi lcchiie| devI sarassaI uNa asamaggA ki pi viNaDei // 68 // iha te jayanti kavayo jagadetad yeSAM sakalapariNAmam / vAcAsu sthitaM dRzyata AmodadhanaM vA tuccha vA // 62 // nijayaiva vAcAtmano gauravaM niveshyntH| ye yanti prazaMsAmeva jayantIha te mhaakvyH||63 ||daurgtye'pi sukhAni teSAM vibhave'pi bhavanti duHkhaani| kAvyaparamArtharasikAni yeSAM jAyante hRdayAni // 64 // unmIlati lAvaNyaM prAkRtacchAyayA sNskRtpddh'aanaam| saMskRtasaMskArotkarSaNa prAkRtasyApi prabhAvaH // 65 // sthitamasthitamiva dRzyate'sthitamapi pariSThitamiva pratibhAti / yathAsaMsthitaM ca dRzyate sukavInAmetAH pdvyH||66|| vinayaguNo daNDADambarazca maNDayato yathA narendrazriyam / tathA TaDkAro madhuratvaM ca vAcaM prsaadhytH||67|| zobhayati sukhayati copabhujyamAno lavo'pi lakSmyAH / devI sarasvatI punarasamagrA kimapi vinATayati // 6 // 6: nisevaMtA. 64. Navara for hoti. 65. sakkayapayANa. 66. tahaThiyaM va for pariThiyaM va. 68. suhAvei va; kaM na, kiM na for kiM pi.

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12 gauDavo mahumaha - viaa - pattA vAA kaha NAma maulau imammi / padama - kusumAhi taliNaM pacchA - kusumaM vaNa-laANa // 69 // laggihi Na vA suaNe vayaNijjaM dujjaNehi bhaNNaMtaM / tANa puNa taM suaNAvavAa - doseNa saMghaDai // 70 // para-guNa- parihAra- paraMparAe~ taha te guNaNNuA jAo / jAhiM citra jaha guNehi guNiNo paraM pisuNA // 71 // jaM NimmalA vikhiti haMta vimalehi sajjaNa-guNehiM / taM sarisaM sasi - ara-kAraNAeN kari-daMta-viaNAe // 72 // jANa asame hi vihiA jAai jiMdA samA salAhA vi / jiMdA vi hi vihiA Na tANa maNNe kilAmei // 73 // daMtu Niaa - guNa - gAravammi addidu-para- muha-cchAA / garuA sa- sIla- dolA amANa-para- diTTha- muha-rAA // 74 // bahuo sAmaNNa - mahattaNeNa tANaM pariggahe loo / kAmaM gaA pasiddhiM sAmaNNa- kaI aocce / / 75 // madhumathavijayaprayuktA vAk kathaM nAma mukulayatvasmin / prathamakusumAt tarlina pazcAtkusumaM vanalatAnAm // 69 // lagiSyati na vA sujane vacanIyaM durjanairbhaNyamAnam / teSAM punastatsujanApavAdadoSeNa saMghaTate // 70 // paraguNaparihAraparaMparayA tathA te guNajJA jAtAH / jAtAstaireva yathA guNairguNinaH paraM pizunAH // 71 // yannirmalA api vidyante hanta vimalaiH sajjanaguNaiH / tatsadRzaM zazikarakAraNayA karidantavedanayA / / 72 / / yeSAmasamairvihitA jAyate nindA samA zlAghApi / nindApi tairvihitA na teSAM manye kumayati // 73 // nandantu nijakaguNagaurave'dRSTapara mukhacchAyAH / guravaH svazIladolAyamAna paradRSTamukharAgAH // 74 // bahuH sAmAnyamatitvena teSAM parigrahe lokaH / kAmaM gatAH prasiddhiM sAmAnyakavayo'ta eva // 75 // 71. guNuNNayA 75. guNattaNeNa for mahattaNeNa.

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kaviprazaMsA suaNa-sahAve vi gao jaDammi katto guNo samullasai / raviNo vi jalammi ThiaM paDibiMbamahomuhaM phurai // 7 // harai aNU vi para-guNo garuammi vi Nia-guNe Na sNtoso| sIlassa viveassa a sAramiNaM ettiaM cea // 76 // iare vi phuraMti guNA gurUNa paDhamaM kuttmaasNgaa| agge selagga-gaA iMdu-maUhA iva mahIe // 77 // NivvADaMtANa sivaM saalaM cia sivaaraM tahA tANa / NibaDai ki pi jaha te vi appaNA vimhaamurveti // 78 // pAsAmma ahaMkArI hohii kaha vA guNANa vivarukkhe / gavvaM Na guNi-gaa-mao guNatthamicchaMti guNa-kAmA // 79 // ahilaMghiUNa loaM ThiANa ekkattaNeNa garuANa / bIAvekvI avalaMbiUNa kaM maccharo phurau // 80 // Nia-mai-saMdehoccia mai-saMdehAvaloaNe jANa / hoti viAra-TTANaM Thia-rUA te Na loassa // 81 // sujanasvabhAve'pi gato jaDe kuto guNaH samullasati / raverapi jale sthitaM pratibimbamadhomukhaM sphurati // G // haratyagurapi paraguNo gurAvapi nijaguNe na sNtossH| zIlasya vivekasya ca sArametadiyadeva // 76 // itarasminnapi sphuranti guNA gurUNAM prathamaM kRtottmaasnggaaH| agre zailAgragatA indumayUkhA iva mahyAm // 77 // nirvatayamAnAnAM zivaM sakalameva zivataraM tathA teSAm / nirvartate kimapi yathA te'pyAtmanA vismayamupayanti / / 78 // pArzve'haGkArI bhaviSyati kathaM vA guNAnAM viproksse| garvo na guNigatamado guNasthamicchanti guNakAmAH // 71 // abhilaindhya lokaM sthitAnAmekatvena gurUNAm / dvitIyApekSyavalambya ke matsaraH sphuratu // 80 // nijamatisaMdeha eva matisaMdehAvalokane yeSAm / bhavanti vicArasthAnaM sthitarUpAste na lokasya // 81 // 76. asaMtoso; ramiyadhvaM for sAramiNa. 80. guruyANa; phurai.

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gauDavaho tucchA-suheNa vijjAe~ maccharADaMbaro khala-aNassa / dukkheNa sajjaNANaM hiyaukaMpo samijjati // 6 // sukaI...... bhesu jANa parisaMThiA nnaamaaii| Niaa-NibaMdhesu a tANa NaNu samattaM ca kAaddhaM // 1 // pANamaiAo jANaM dharaMti kavvesu vnnnn-maalaao| ''bhAvA jIassa te jiaMticia mA vi // 3 // kiM ratusamArUDha-guNANa jIviaM laddha-pisuNa-bhAvaM vya / tehi pasaMsijaMto vi jaM guNI a pattiiai // K // sA jaai maI guruA gamaNa-paDiboha-kAraNA........ / paDiboha-saMkamA jA sa va paDivajjai saruvaM // 5 // jo appaNANa sAraM pecchai aNNassa so vi pIhei / paDivajai jo vi parAoM so vi ........ otteaa|| M | guNiNA ahamA a ThiANa Navara tANaM ca do ccia visesaa| so vi ahamoccia kao majjhima-saMbhAvaNA jassa || N // tucchasukhena vidyAyA matsarADambaraH khalajanasya / duHkhena sajjanAnAM hRdayotkampAH zAmyante ||6||sukvi...... yeSAM parisaMsthitAni naamaani| nijakanibandheSu ca teSAM nanu samAptaM ca kAyArdham / / I // prANamayyo yeSAM dhiyante kAvyeSu varNamAlAH / ..."bhAvAt jIvasya te jIvantyeva mRtA api // J // kiM......samArUDhaguNAnAM jIvitaM labdhapizunabhAvamiva / taiH prazasyamAno'pi yad guNI naiva pratyeti // K // sA jayati matirmuvI gamanapratibodhakAraNA...... / pratibodhasaMkramAd yA svayamiva pratipadyate svarUpam // L // ya AtmanaH sAraM prekSate'nyasya so'pi spRhayati / pratipadyate yo'pi parasmAt so'pi..... // M // guNino'dhamAzca sthitAnAM kevalaM teSAM dvAveva vizeSau / so'pyadhama eva kRto madhyamasaMbhAvanA yasya // N|

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kaviprazaMsA ko jiMdaNI ame garuaare ko pasaMsi tarai / sAmaNNaccitra ThANaM thuINa pariNidiANaM ca // 82 // soUNa muNaMti paraM jeNa viappati appaNaccea / te aNaraha vva gavvassa uttaNA kaha Na lajjati // 83 // kAla- guNA paDhama - kaIhi bhamiamapariggahesu magge / iharA maIhi hIraMti dukkaraM ke vi kANaM pi // 84 // katto NAma isa kavi - seviesa magge / sImaMte uNa mukammi tammi savvaM NavaM cea // 85 // jaDabuddhINa pahuSpa mailo guNa- Niggamo Na maNuyANa / nIlaM Na NahaMsA NAyaNassa teassa viNicittI // 0 // atthAloaNa-taralA iara - kaINaM bhamaMti buddhIo | atthacce NirAraMbharmeti hiaaM kaiMdANa || 86 // A- saMsAraM kai - puMgavehi taddi aha - gahia sAro vi / ajja vi abhiNNa muddo vva jaa vAA-pariSkaMdo // 87 // ko nindati nIcatamAn gurutarAn kaH prazaMsituM zaknoti / sAmAnyameva sthAnaM stutInAM parininditAnAM ca // 82 // zrutvA jAnanti paraM ye na vikalpayantyAtmanaiva / tenahI iva garvasya garviNaH kathaM na lajjante // 83 // kAlaguNAt prathamakavibhirbhrAnta maparigraheSu mArgeSu / idAnIM matibhirhriyante duSkaraM kespi keSAmapi // 84 // kuto nAma nadRSTaM satyaM kaviseviteSu mArgeSu / sImante punarmukte tasmin sarva navameva // 85 // jaDabuddhInAM prabhavati malino guNanirgamo na manujAnAm / nIlaM na nabhaH sA nAyanasya tejasaH parivRttiH // 0 // arthAlokanataraletarakavInAM bhrAmyanti buddhayaH / arthA eva nirArambhamenti hRdayaM kavIndrANAm // 86 // AsaMsAraM kavipuMgavaiH pratidivasagRhItasAro'pi / adyApyabhinnamudra iva jayati vAkparispandaH || 87 // 83. aNaharavva, aNarihavva. 84. maie, maIe. 85. aiTuM for naiTTha. 15

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gauDavaho kiM aNNamaNaNNa-maNehi tAva su-kaIhi sikkhiA vaaaa| jAaM NIsAmaNNANa tANa mUattaNaM jAva // 88 // ko va viArei visesa-vittharaM tANa jaM ThiaM loe| NAmecia saMketA garuANa guNA phurati vva // 89 // jANa sarUvAvagame vigaviA kiMpi hoti aNNe vi / te AAsAa vahati attaNo Navara mAhappaM // 9 // moha-paDiboha-kArittaNeNa timiraM va ja pAso vva / taM jaai viruddhaM piva viappa-jAlaM kaiMdANa // 91 // Navamattha-daMsaNaM saMNivesa-sisirAo bNdh-riddhiio| aviralamiNamo A-bhuvaNa-baMdhamiha Navara paaammi // 92 // je suNNA iva bahuso kahiM pi dIsaMta-virala-guNa-sArA / dara-vasia-purAArehi tehi kiM vA NibaMdhehiM // P // NimmAA teccia Navara kavva-kittIo jANa loassa / kaNNe visaMti hiae vasaMti pasarati a muhammi // 6 // kimanyadananyamanobhistAvatsukavibhiH zikSitA vAkU / jAtaM ni:sAmAnyAnAM teSAM mUkatvaM yAvat // 88 // ko vA vicArayati vizeSavistaraM teSAM yat sthitaM loke| nAmnyeva saMkrAntA gurUNAM guNAH sphurantIva // 89 // yeSAM svarUpAvagame'pi garvitAH kimapi bhvntynye'pi| ta AyAsAya vahantyAtmanaH kevalaM mAhAtmyam // 90 // mohapratibodhakAritvena timiramiva yat prakAza iva / tajjayati viruddhamiva vikalpajAlaM kavIndrANAm // 91 // navamarthadarzana saMnivezazizirA bndhrddhyH| aviralametadAbhuvanabandhamiha kevalaM praakRte||92|| ye zUnyA iva bahuzaH kutrApi dRshymaanvirlgunnsaaraaH| ISaduSitapurAkAraistaiH kiM vA nibandhaiH // 2 // nirmAtArasta eva kevalaM kAvyakIrtayo yeSAM lokasya / karNe vizanti hRdaye vasanti prasaranti ca mukhe // 6 // 88. maNAhiM. 89. hiyae for loe. 90. appaNo for attaNo. 91 timiraM ca jaM payAso ya.

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kaviprazaMsA do ccia NavaraM hiae laggati jahA-Nivesa-ramaNijjA / ramaNIo ballahANaM mahA-kaINaM ca bhnniiio|| // saalAo imaM vAA visaMti etto a Neti vaaaao| eMti samudaM cia Neti sAarAocia jalAI // 93 / / harisa-viseso viasAvao a maulAvao a acchINa / iha bahihutto aMto-muho ahiaassa vipphurai // 94 // aNuaMpA vA hAso va hoi avahIraNa vva gruaann| iaresu aNAa-guNaMtaresu Na uNo hiaa-dukkhaM // 95 // je attaNo Na ahiA sarisA vA tehi kiM bhaNaMtehiM / jaha-taha parAo icchaMti taha vi garuA vi bahumANaM // 96 // hotu vva vigaa-gavvA mAhappa-samuttuNavva viaraMtu / jaha-taha NivvaDia-guNA hAsaTTANaM Na loassa // 97 // bhImaM va laji pi va thaMbhiamiva kiM pi hoi suDhiaM va / dUmiamiva apphuNNaM va paharisuccaM va iha hiaraM // 98 // dve eva kevalaM hRdaye lagato ythaaniveshrmnniiye| ramaNyo vallabhAnAM mahAkavInAM ca maNitayaH // R // sakalA idaM vAco vizantItazca niryanti vaacH| enti samudrameva niryanti sAgarAdeva jalAni // 93 // harSavizeSo vikAsako mukulIkArakazcAkSNoH / iha bahirmukho'ntarmukhazca hRdayasya visphurati // 94 // anukampA vA hAso vA bhavatyavadhAraNA vA gurUNAm / itareSvajJAtaguNAntareSu na punarhRdayaduHkham // 95 // ya Atmano nAdhikAH sadRzA vAtaiH kiM bhnndbhiH| yathAtathA parasmAdicchanti tathApi guravo bahumAnam / / 96 // bhavantu vA vigatagarvA mAhAtmyagarvitA vA vicarantu / yathAtathA nirvRttaguNA hAsasthAnaM na loksy||97|| bhItamiva lajjitamiva stambhitamiva kimapi bhavati zrAntamiva / dUnamivApUrNamiva praharSoccamiveha hRdayam / / 98 // 64. iya for iha. 95. hAso vva hoi. 96. sarisA ahiyA vA. 98. vimhiyamiva for thaMbhiyamiva; suhiyaM va for muDhiyaM va, bhUsiyamiva for dUmiyamiva. ga. 2

Page #135
atha kaavymaarbhyte| atthi nnittia-nniises-bhuvnn-duriaahinnNdia-mhiNdo| siri-jasavammo tti disA-paDilagga-guNo mahINAho // 99 // gholai samucchalaMtI jammi calaMtammi reNu-bhAveNa / vasuhA amuka-sesa-phaNa va dhavalAavattesu // 10 // vehavva-dukkha-vihalANa jassa riu-kAmiNINa pmmukaa| kara-tADaNa-bhIehi va hArehi paoharucchaMgA // 3 // kabarI-baMdhA aja vi kuDilA te jassa veri-baMdINa / haDha-kaDaNa-khuttaMguli-Nivesa-magga vva dIsaMti // 1 // caliammi jammi viaNA-vihua-phaNA-maMDalo vi No muai / mahi-veDhaM bala-bhara-khutta-raaNa-saMdAgiraM seso // 101 // NIsaMdai jassa raNAiresu kIlAlio gaa-maeNa / Ahaa-vammANala-dara-virAa-dhAro vva kara-vAlo // 102 // sevaMjali-milia-NaDAla-maMDalA hoti haha-paNAmesu / zUmia-bhiuDI-bhaMga vva jassa paDivakkha-sAmaMtA // 103 // asti nivrtitniHshessbhuvnduritaabhinnditmhendrH| zrIyazovarmeti divapratilagnaguNo mahInAthaH // 99 // ghUrNate samucchalantI yasmiMzcalati rennubhaavn| vasudhApukta zeSaphaNeva dhavalAtapatreSu // 100 // vaidhavyaduHkhavihvalAnAM yasya ripukAminInAM prmukaaH| karatADanabhItairiva hAraiH payodharotsadgAH / // kabarIbandhA adyApi kuTilAste yasya vairibandInAm / haThakarSaNanimanAGgalinivezamArgA iva dRzyante // T // calite yasminvedanAvidhutaphaNAmaNDalo'pi na munycti| mahIpIThaM balabharanimagnasaMdAnitaM zeSaH // 101 / niHSyandate yasya raNAjireSu kIlAlito gjmden| AhatavarmAnaleSadvirAgadhAra iva karavAlaH // 102 / / sevAJjali. mililatalATamaNDalA bhavanti harapraNAmeSu / chAditabhrukuTIbhagA iva yasya pratipakSasAmantAH // 103 / 101. mahivI daM.

Page #136
kAvyArambhaH jo vavasAAvasaresu dappa-dara-dina- dAhiNaMsa-aDo / daMsaNa-pasAa suhiaM kuNai vva bhua-dviaM lacchi // 104 // koDavvatta-Thia-visama-tAra - pahA - bhea - kalusiAI va / sAmAaMti NaDAlAi~ jassa paDivakkha - baMdINa // 105 // pAsamma AvAluMkhi assa jasa-pAavassa va mahallo / aaso riUNaM dIsara chAANivaho vva saMkato // 106 // gaMbhIra - mahAraMbhA saMbhAvia - sAraM parivbhamai | bhuvaNaMtaresu bhAIrahi vva sA bhArahI jassa // 107 // jassa a valaMta - jaa - gaa-sIara dhArA - sahassa- luliAo / saMbhama-saMcAria cAmarAo dhAvaMti va disAo / / 108 // avi a / sohai viNivesia - pasiDhilaMgulI - koDi--kaTTaNutthallo | pAaDi abbhaMtara-vaNa- Nivesa-dara- daMturo aharo / / 109 // muccati palliuvvella - kesarA mUla- lulia-maaraMdA | Nihu lIlA - kuvalaa-paDitthiA kaha vi NIsAsA // 110 // yo vyavasAyAvasareSu darpeSadRSTadakSiNAMsatadaH / darzanaprasAdasukhitAM karotIva bhujasthitAM lakSmIm // 104 // kopodRttasthitaviSamatAraprabhAbheda kaluSitAnIva | zyAmAyante lalATAni yasya pratipakSabandInAm // 105 // pArzve pratApaspRSTasya yazaH pAdapasyeva mahat / ayazo ripUNAM dRzyate chAyAnivaha iva saMkrAntaH // 106 // gambhIramahArambhA saMbhAvitasAgaraM paribhramati / bhuvanAntareSu bhAgIrathIva sA bhAratI yasya // 107 // yasya ca valamAnajayagajazIkaradhArAsahasralulitAH / saMbhramasaMcAritacAmarA dhAvantIva dizaH // 108 // api ca / zobhate vinivezita prazithilAGgulIkoTikarSaNAcchalitaH prakaTitAbhyantaravaNanivezeSadaMturA'dharaH // 109 // mucyante preritodvelakaMsarA mUlalulitamakarandAH / nibhRtaM lIlAkuvalayapratiDitAH kathamapi niHzvAsAH // 110 // 1 19 105. mohuvata, dara mohuvvattaTThiyatA ra pahubbheakalumiyAI va 106. jaya' for jasa 107. bhuvaNaMtara mma bhAraI 109. ghaTTa for ag. 110. paDicchiyA..

Page #137
gauDavaho vAma-karAaDia-suNNa-malia-vikkhitta-kuMtala-sihANa / araI-vilAsa-visurAviANa NibaDai sohagaM // 111 // agghai maMgala-gahiekka-kusuma-pasia-pasAhaNAmelaM / vimuha-NaaNAvahIria-dara-baMdia-caMdaNaM vaaNaM // 112 // ia jassa samara-daMsaNa-lIlA-Nimmavia-vammaha-viArA / tiasa-taruNIo ajavi maNNe NihuaM kilammati // 113 // ahvaa| sihara-Napahutta-gaaNA disaa-pddipphlia-kdda-vinniattaa| DajhaMti daruppaiA aladdha-gamaNaMtarA giriNo // 114 // taM s-guhaa-muh-nnivvddia-dhuum-claavlNbia-nniaNbaa| vajANala-dhammaMtA lohaM va muaMti dharaNi-harA // 115 // lakkhijjai dhUmAaMta-pakkha-NikkhaMta-sihi-sihA-Nivaho / saMbhama-saMcalia-calaMta-raaNi-diaso vva sura-selo // 116 // jesuMcia kuMThijjai rahasubhiDaNa-muhalo mahi-haresu / tesuMcea Nisijjai paDirohaMdoliro kuliso // 117 // vAmakarAkRSTazUnyamalinavikSiptakuntalazikhAnAm / arativilAsakheditAnAM nirvartate saubhAgyam // 111 // arghati maGgalagRhItaikakusumapreSitaprasAdhanApIDam / vimukhanayanAvadhIriteSadvanditacandanaM vadanam // 112 // iti yasya samaradarzanalIlAnirmitamanmathavikArAH / tridazataruNyo'dhApi manye nibhRtaM klAmyanti // 113 // athavA // zikharanaprabhUtagaganA divapratiphalitakaTakavinivRttAH / dahyanta ISadutpatitA alabdhagamanAntarA girayaH ||114||t svguhaamukhnivRttdhuumvlyaavlmbitnitmbaaH| vajrAnalamAyamAnA lohamiva muzcanti dharaNidharAH // 115 // lakSyate dhUmAyamAnapakSa. niSkrAntazikhizikhAnivahaH / saMbhramasaMcalitacaladarajanidivasa iva surazailaH // 116 // yeSveva kuNThyate rabhasodbhedanamukharo mahIdhareSu / teSveva niSajjati pratirodhAndolanazIlaH kulizaH // 117 // 111. vAmayarA., araivilAsavituraviANa. 112. sohai for agghai. 113.tiyaya for tiyasa, maNNe ajjavi. 114. gayaNaMtarA. 115. taha for taM. vamaMti formuyaMti. 116. zikkhita for zikkhaMta. 117.nisajjai for Nisijjai. dolio.

Page #138
parvatapakSazAtanam valaMti kNdroar-nnivddia-vlNt-viadd-vihaao| sahasavva sela-sImaMtiNIo bhaa-mukka-gabbhAo // 118 // vijjhavai vellnnonna-mhi-vedobha-disaaga-smuddo| ThANa-parisaMThiocitra pakva-ccheANalaM selo // 119 // taddiyasaM ravi-maMDala-saMcalaNumhAamANa-kaDaeNa / uayAcaleNa kuliso milio vi cireNa vinnnnaao||120|| Dajjhati visaannl-vaaa-vishraamukk-cNdnn-khNdhaa| tiasa-viasAviaMsua-sevia-dhUmA malaa-vakkhA // 121 // Nisadia-pakkha-paDaMtA mahIeN dala-vibbhameNa bhajjati / takkhaNa-tarala-palAaMta-visaharA mahiharugghAA // 122 // kahavi dharei mahi-alaM Nippakkha-paDaMta-giri-NisuMbhaMtaM / dAhA-bhiNNa-sasoNia-muha-NivahArosio seso // 123 // dIsai jalaMta-selaM tAvosAria-valaMta sur-lo| dhUmuSpittha-piAmaha-kamalAli-karaMviaMgaaNaM // 124 // vellanti kandarodaranirvRtabaladvikaTavihagAH / sahasaiva zailasImantinyo bhayamuktagarbhAH // 118 // vidhyApayati vellnaavntmhiipiitthobhydigaagtsmudrH| sthAnaparisaMsthito'pi pakSacchedAnalaM zailaH // 119 / / pratidivasaM rvimnnddlsNclossmaaymaannkttken| udayAcalena kulizo milito'pi cireNa vijJAtaH // 120 // dahyante vissaanlvaanvissdhraamuktcndnskndhaaH| tridazavikAsitAMzukavitadhUmA malayapakSAH // 121 / / nizumbhitapakSapatanto mayAM dalavibhrameNa bhjynte| tatkSaNataralapalAyamAnaviSadharA mahIdharodvAtAH // 122 // kathamapi dhArayati mahItalaM niSpakSapatagirinizumbhyamAnam / daMSTrAbhinnasazoNitamukhanivahAroSitaH zeSaH // 123 / / dRzyate jvalacchailaM tApApasAritavalatsuralokam / dhUmatrastapitAmahakamalAlikarambitaM gaganam / / 124 / / 118, calaMta for valaMta, viDavAo, vihagAo for vihayAo. 119. vITobhaya . 120. maMcaraNu. 129. vANadeg for vA.

Page #139
22 gaDa ho gabhAlasAoM va puNo kaha vi guhA lihala- poya-garuIo / pAvaMti bhaA selaMgaNAo gaNagaNudde // 125 // 7 khaNa- taralia - pakkha-uDA kaDAra - vijju-cchaDA - sihAlaMmi / salahA va atthAaMti pavi-paImi dharaNi-harA // 126 // thoAaMti va viralA dIhAaMti vva khavia - vitthArA / tuMgAaMti va taNuA pavi - khaMDia - pehuNA girayaH // 127 // siDhila - pasAria - vakkhA gheSpati pahAvieNa kuliseNa / dUruppADa - NivaDiA dara - pappua - NIsahA giriNo // 128 // kuliso tADe dhare dharA mahiM kulisa- khaMDia - paDatA / viDaMta - sela - pahaA mahI vi sesa-phaNA-valaaM / / 129 // ai - dhUma - kaDuiAI giri-jAlAI dhua-pakkha-pamhAI / phuTTeti loaNAI va disANa mukojjharaMsU / / 130 // jAo dAha - viNiggaa-saMkhA Ayasa-silA - aDa-tthauDA | kAlasa- paDicchaNa- joggA pacchA kaDaA mahi-harANa // 131 // garbhAlasA iva punaH kathamapi guhAlInapotagurvyaH / prApnuvanti bhayAcchailA dganA gaganAdgaNoddezam / / 125 / / kSaNataralitapakSapuTAH kAravidyucchaTA zikhAvati / zalabhA ivAstAyante pavipradIpe dharaNidharAH / / 126 // stokAyantIva viralA dIrghAyantIva kSapitavistArAH / tuGgAyantIva tanavaH pavikhaNDitapakSA girayaH / / 127 / / zithilaprasAritapakSA gRhyante pradhAvitena kulizena / dUrotpatitanipatitA darapraplutaniHsahA girayaH // 128 // kulizastADayati dharAn dharA mahIM kulizakhaNDitapatantaH / nipatacchaila prahatA mahyapi zeSaphaNAvalayam // 129 // nijadhUmakadvakRtAni girijAlAni dhutapakSapakSmANi / sphuTanti locanAnIva dizAM muktanirjharAzrUNi // 130 // jAtA dAhavinirgatasaMstyAnAya sazilAtaTasthapuTAH / kulizapratyeSaNayogyAH pazcAt kaTakA mahIdharANAm // 131 // 125. 'gabhaIo for 'garuIo. 126. 'karAla for 'kaDAra'. 'padma' for * pakkha. 127. taNuyAyaMtivva for dIhAyaMtivva. 128. darapapphuya dUrappur for darapappu . 131. yala' for 'aDa'.

Page #140
parvatapakSazAtanam daDa-caNa-rAi-kalusA teccia siharojjharA sadukkhANa / jAA sakajjalA iva bAhoArA giri-vahUNa // 132 // saMkhAa-masiNa-pasarA paasutt-mhaa-bhuaNg-scchaaaa| dIsaMti sela-kaDaesu dIharA loha-NIsaMdA // 133 // kulisANala-piMgalio uppann-tlaavstt-ssi-biNbo| ukkhittAmaa-kalaso garulo vva girI parinbhamai // 134 // sela-NiaMbuppaiA vajANala-sarisa-vijju-piMjariA / lua-mahi-hara-pakkha-NihA NahaMmi gholaMti ghaNa-NivahA // 135 // dIsaMti kulisa-miliA aMgArAaMta kusuma-phala-kisalA / tiasa-mihuNANusoia-saMkea-laA-harA giriNo // 136 // vealla-cellirANaM pariattaMtA girINa kddesu| sariA-maggA pAvaMti viaDa-vaNa-vaTTaa-cchAaM // 137 // obharaNa-lAlasehiM girIsu dIsai guhA-viNitehiM / pakkha-ccheo va taDa-dviehiM vasuhA-vaNa-arehiM // 138 // dagdhavanarAjikaluSAsta eva zikharanirjharAH sduHkhaanaam| jAtAH sakajjalA iva bASpAvatArA girivadhUnAm // 132 // saMstyAnamasRNaprasarAH prsuptmhaabhujnggscchaayaaH| dRzyante zailakaTakeSu dIrghA lohaniSyandAH // 133 // kulizAnalapigalita utpatanatalAvasaktazazibimbaH / utkSiptAmRtakalazo garuDa iva giriH paribhramati // 134 // zailanitambotpatitA vjraanlsshvidyutpiaaritaaH| lUnamahIdharapakSanibhA nabhasi ghUrNante dhananivahAH // 135 // dRzyante kulizamilitA agArAyamANakusumaphalakisalayAH / tridazamithunAnuzocitasaMketalatAgRhA .girayaH // 136 // vaikalyavelnazIlAnAM parivartamAnA girINAM kttkessu| sarinmArgAH prApnuvanti vikaTavraNapaTTakacchAyAm // 137 // avataraNalAlasaigiriSu dRzyate guhaavinirydbhiH| pakSaccheda iva taTasthitairvasudhAvanacaraiH // 138 // 132. vAhovArA. 135. paMjariyA. 137. vallirANAM. 138. taDhiehiM [tAhiehi-tayAsthitaiH ] for taDaTThiehiM.

Page #141
gauDavaho jaliuppaia-valaMtA addhehiM NahaMgaNe visarTeti / addhehiM mUla-garuA mahIeN NivaDaMti giri-vakkhA // 139 // uvariM-dhUma-NivesA mUlAlagga-jalaNANa dIsaMti / haTThAloukkhittA chAA-baMdhA iva tarUNa // 140 // parilUNa-pehuNassa vi sura-giriNo aNaha-vakkha-saMkAe / ghaDio puNo vi kuliso jAlAsu NiaMba-viaDAsu // 141 // Nia-sAmattheNaMcia Na tahA veeNa nnihr-pphro| aNNa-giri-pakkha-pahao jaha chiMdai mahi-haraM kuliso||142 // mahi-hara-vaDaNucchaliA bhamaMti psria-mnni-pphaa-vlaa| sela vva jalia-vakkhA gaaNami samudda-kallolA // 143 // uppia-tiasa-visAo Nikkhamai cireNa daah-ka-vivro| kuvia-giri-pakkha-saMpuDa-saMpIDia-Nipphuro vajjo // 144 // asamappamANa-dIhara-mUloAre samudda-paDie vi|| Naha-dUra-Thia-sihare No muai mahI-hare kuliso // 145 // . jvalitotpatitavalanto'dhairnabhogaNe vighaTanti / adhairmUlaguravo mahyAM nipatanti miripakSAH // 139 // uparidhUmanivezA mUlAlagnajvalanAnAM dRzyante / adhaHsthitAlokokSiptAzchAyAbandhA iva tarUNAm // 140 // parilUnapakSasyApi surgirernghpkssshngkyaa| ghaTitaH punarapi kulizo jvAlAsu nitambavikaTAsu // 141 // nijasAmarthyenaiva na tathA vegena nisstthurprhaarH| anyagiripakSaprahato yathA chinatti mahIdharaM kulishH||142 / / mahIdharapatanocchalitA bhramanti prasRtamaNiprabhAvalayAH / zailA iva jvalitapakSA gagane samudrakallolAH // 143 // arpitatridazaviSAdo niSkAmati cireNa dAhakRtavivaraH / kupitagiripakSasaMpuTasaMpIDitaniSphuro vajraH // 144 // asamApyamAnadIrghamUlAvatArAn smudrptitaanpi| nabhodUrasthitazikharAnna muJcati mahIdharAna kulizaH / / 145 // 140. dihA, avariMdhUma. 142. bhiMdai for chiMdai, pahAro. 143. ghaDaNu' for vaDaNu. 144. vakkhadeg for pakkha. 145. vaDie vi for paDie vi. :

Page #142
parvatapakSazAtanam eko uNa dharaNi-haro addi-NiaMba-mUla-siharaggo / lhiko dUrucchalie jalahimi va jalahi-kallole // 146 // rahasA rsaa-aloar-visaal-kNdr-drii-ploddto| Najai girI Na jalahiM jalahiccia mahi-haraM visai // 147 / / giri-lulioahi-vihuA saMbhaMta-disebha-tADia-kravaMdhA / vevai viaNA-velaMta-mahi-haraMdoliA vasuhA // 148 // appattA vi samudaM samudda-parirakkhia vva volaMti / vea-samucchalia-NiaMba-siMdhu-pariNAmiA giriNo // 149 // nnivddt-silaa-chvvia-pritlinnaaaNt-muul-vitthaaro| vocchiNNa-maMthara-siho viralAai dhUma-saMghAo // 150 // uppaia-reNu-NivahA sNvellia-viadd-kNdr-ccheaa| teccea paDaNa-bhiNNA pattA lahuattaNaM giriNo / 151 // ekatto sallAaMta-vajja-dhArA-kaNA kilimmati / / aNNatto kaDaosahi-pahAva-rUDha-vvaNA giriNo // 152 // ekaH punrdhrnniidhro'dRssttnitmbmuulshikhraamH| lIno dUrocchalite jaladhAviva jaladhikallole / / 146 // rabhasA rasAtalodaravizAlakaMdaradarIpraluNTan / na jJAyate girina jaladhiM jaladhireva mahIdharaM vizati // 147 / / girilulitodadhividhutA sNbhraantdishebhtaadditskndhaa| vepate vedanAvellanmahIdharAndolitA vasudhA / / 148 // aprAptA api samudraM samudraparirakSitA iva gacchanti / vegasamucchIlatanitambasindhuparicchAditA girayaH // 149 // nipatacchilApihitaparitalinAyamAnamUlavistAraH / vyucchinnamaMtharazikho viralAyate dhUmasaMghAtaH // 150 // utpatitareNunivahAH sNvellitvikttkndrcchedaaH| ta eva patanabhinnAH prAptA laghutvaM girayaH / / 151 // ekataH zalyAyamAnavajradhArAkaNAH klAmyanti / anyataH kaTakauSadhiprabhAvarUDhavaNA giryH|| 152 / / 147. guhA for "darI . 148. vihayA for vihuA. visahara" for mahihara 149. pariveDhiyA for pariNUmiA. 150. selaDhakiya, selakar3iyadeg for 'silAchavi . 151. tecciya paDaNubhiNNA.

Page #143
gauDavaho kuliso Na dIsaiccia ekamiccia girimi mujhaMto / ekaM va sela-siharaM aTTai kulisaMmi giri-jAlaM // 153 // pakkha-uDa-kUDa-puMjia-kappaMtara-dippamANa-havvavahA / palaeccia vijjhAA samudda-bhara-pUriA giriNo // 154 // NIsaha-vimukka-kAyattaNeNa vocchinnnn-pkkh-lhuaNpi| taMcia bhuaMga-vaiNo jAaM garuaM va giri-jAlaM // 155 // vihaDia-vasuhA daliadi-maMDalA duur-vidua-smuddaa| thii-lAlaseNa hariNA NIA palayaMcia tiloI // 156 // Amuaiccia jIaM giri-mihuNaM NivvuehiM aMgehiM / pajalia-pakkha-saMpuDa-saMpADia-sisira-pariraMbhaM // 157 // bhaya-vihaDiANa jAo lua-pakkhuddesa-NivaDia-thirANa / aha NiravasANa-dusaho kuDuMba-viraho mahi-harANa // 158 // kaDhiNa-giri-vakkha-mUDaNa-vihaDia-dhArattaNeNa sur-vinno| Aruhai kAya-lahuo pesaNa-garuo karaM kuliso // 159 // kulizo na dRzyata evaikasminneva girau muhyan / ekamiva zailazikharaM kvathati kulize girijAlam // 153 // pkssputtkuuttpunitklpaantrdiipymaanhvyvaahaaH| pralaya eva vidhyAtAH samudrabharapUritA girayaH // 154 // niHsahavimuktakAyatvena vyucchinnpksslghukmpi| tadeva bhujaGgapaterjAtaM gurukamiva girijAlam // 155 // vighaTitavasudhA dalitAdrimaNDalA duurvidrutsmudraa| sthitilAlasena hariNA nItA pralayameva trilokI // 156 / / Amuzcatyeva jIvitaM girimithunaM nirvRtairnggaiH| prajvalitapakSasaMpuTasaMpAditaziziraparirambham // 157 // bhayavighaTitAnAM jAto lUnapakSo. dezanipatitasthirANAm / atha niravasAnaduHsahaH kuTumbaviraho mahIdharANAm // 158 // kaThinagiripakSasUdanavighaTitadhAratvena surapateH / Arohati kAyalaghukApreSaNagurukaH karaM kulizaH // 159 // 153. ca for a after ekaM. 154. kaMdaradara for degkappaMtara. vimakyiA for vijjhAbhA. 159. sUyaNa for degsUDaNa.

Page #144
vApImajjanakrIDA ia jeNa khuDia-vakkhA giriNo vi samaMjasattaNe tthviaa| ekAsaNa-saMmANaM so vi harI maNNae jassa // 160 // avi / cihuraaviilnn-pddilgg-haann-ghusinnaarunnNsuy-suaNgho| agghai maMgala-gahieka kusuma-dAmunjalo veso // 161 // dara-cakkhia-mairA-maa-pavirala-saMbajjhamANa-sea-lavaM / sohai maMthara-NityAma-lulia-NaaNuppalaM vaaNaM // 162 // sahai jlddaasNdaann-vism-maaslia-cNdnn-ccheo| saMkaMta-pADalAmoa surahi-sisiro thaNAhoo // 163 // gholai mahu-rasa-vicchuria-mAlaI-maula-komalAaMbA / NidoaMjaNa-ramaNija-pamha-mUlujalA diTThI // 164 // vikkhiria-cihura-maMjari-sihA-parikkhalia-jala-lavAliddhaM / NivvAi malioNavia-Naha-cuDuppaMkuraM jahaNaM / / 165 // ia jassa gimha-divasAvasANa-NimmAa-majaNa-rasAhiM / lIlA-bAvIsu riUNa saMThiaM vAra-vilaAhi // 166 // iti yena khaNDitapakSA girayo'pi samaJjasatve sthaapitaaH| ekAsanasaMmAnaM so'pi harimanyate yasya // 160 // cikurApIDanapratilamasnAnaghusRNAruNAMzukasugandhaH / arghati maGgalagRhItaikakusumadAmojvalo veSaH // 161 // ISadAsvAditamadirAmadapraviralasaMbadhyamAnasvedalavam / zobhate mantharaniHsthAmalulitanayanotpalaM vadanam // 162 // zobhate jalArdrAsaMdAnaviSamAMsalitacandanacchedaH / saMkrAntapATalAmodasurabhiziziraH stanAbhogaH // 163 // ghUrNate madhurasavicchuritamAlatImukulakomalA taamraa| nidhautAanaramaNIyapakSmamUlojvalA dRSTiH // 164 // vikIrNacikuramArIzikhApariskhalitajalalavAzliSTam / vizrAmyati mukulitAvanatanakhakSatAikuraM jaghanam // 165 // iti yasya grISmAdavasAvasAnanirmitamajja. narasAbhiH / lIlAvApISu ripUNAM saMsthitaM vAravanitAbhiH // 166 // 160. eyAsaNa. 164. 'vicchaliya' for vicchuria'. 165. oNamiyaNahacUDappaMkriyaM.

Page #145
28 gauDavaho / kiM c| vivara-samosaria-virAa-hema-mahi-hara-rasa-pavAhehiM / pAAloAria-pihu-siho vya paDihAi habba-vaho // 167 // vaNa-devaA-pasAria-kara-ala-saMvalia-kisalaa-kalAvo / Dajjhai dhUma-tamaMtaria-mahuaro tiasa-taru-saMDo // 168 // pajjalai dhUma-maMDala-Niha-vivalAaMta-laMchaNa-maaM va / NivvaDia-phuliMga-cchala-saMgalia-gahaM va sasi-biMbaM // 169 / / bhIsaNa-sarUva-parisaMThi va jalaNAhaaMpi paDihAi / veAla-maMDalaM muhala-muha-guhA-gholiggi-sihaM // 170 // kara-kalia-khagga-lehA-Niha-paDhamubhiNNa-dhUma-lehaM va / Dajjhai mihuNaM vijA-harANa avioa-vIsatthaH // 171 // jama-mahiso kavalijjai jAlA-saMvellio hua-vaheNa / baMbhaMDa-paDipphalioNao bva Nia-dhUma-vicchaDDo / / 172 // amr-rmnnii-vihuvvNt-caamruppNk-pvnn-lol-siho| bhaya-ceviro vba aliai kahavi vidhuhAhivaM jalaNo // 173 / / vivarasamapasRtavilInahemamahIdhararasapravAhaiH / pAtAlAvatAritapRthuzikha iva pratibhAti havyavAhaH // 167 // vanadevatAprasAritakaratalasaM. valitakisalayakalApaH / dahyate dhUmatamo'ntaritamadhukarastridazatarupaNDaH // 168 // prajvalati * dhUmamaNDalanibhavipalAyamAnalAJchanamRgamiva / nivRttasphuliGgacchalasaMgalitagrahamiva zazibimbam // 169 / / bhISaNasvarUpaparisaMsthitamiva jvalanAhatamapi pratibhAti / vetAlamaNDalaM mukharamukhaguhAghUrNanazIlAgnizikham // 170 // karakalitakhaDgalekhAnibhaprathamoginnadhUmalekhamiva / dahyate mithunaM vidyAdharayoraviyogavizvastam // 171 / / yamamahiSaH kavalyate jvAlAsaMvelito hutavahena / brahmANDapratiphalitAvanata iva nijadhUmasamUhaH // 172 // amrrmnniividhuuymaancaamrsmuuhpvnlolshikhH| bhayavepanazIla ivAlIyate kathamapi vibudhAdhipaM jvlnH||173|| 167. degsamoariyoM, vilAya for virA*. 168. 'duma for 'taru . 169. saMvaliyadeg for saMgalia. 172. paDikkhanioM ( = paDikkhalio. ?).

Page #146
pralayavarNanam phuDia-ghaNa-vaDala-pAaDa-taDi-cchaDA-saMDa-NiviDio jalai / ravi-biMba-valaya-baddha-pphalo vva jalaNo Naha-alaMmi // 174 // Dajjhati srl-suNkaar-duur-vikkhitt-sihi-sihaa-nnivhaa| taMDavia-phaNA-maMDala-piMDia-dhUmuggamA phaNiNo // 175 // unbahai dhUma-valayaM seso pchi-prisNtthiummeaN| deha-ppahA-viANaM hariNo vva Nivesa-saMkaMtaM // 176 // jalaNa-sihA-saMbhAvia-sarIra-NivvAvaNA-NimittaM v| Dajjhai sasi-maMDala-kalasa-diNNa-kaMTha-ggahaM maaNo // 177 // rkkhaa-suaNgmugginnnn-vis-jlaasaar-virliubheo| ahilei Nihi-ThANAi~ kahavi jalaNo kuberassa // 178 // sohai valaMta-vAsui-parivesa-viDhatta-viaDa-paDibaMdho / dara-siDhila-hara-jaDA-puMja-piMjaro sihi-sihA-Nivaho / / 179 // paDihAi jlnn-jaalaa-pNjr-sNjmnn-puNjiaavyvo| uppatti-diasa-parisaMThio vva taNao ti-NayaNassa // 180 // sphuTitaghanapaTalaprakaTataDicchaTASaNDanibiDito jvalati / ravibimbavalayabaddhaphala iva jvalano nabhastale // 174 // dahyante srlsuutkaarduurvikssiptshikhishikhaanivhaaH| tANDavitaphaNAmaNDalapiNDitadhUmodmAH phaNinaH // 175 // udvahati dhUmavalayaM zeSaH pRSThaparisaMsthitodbhavam / dehaprabhAvitAnaM hareriva nivezasaMkrAntam // 176 // jvalanazikhAsaMbhAvitazarIranirvApaNAnimittamiva / dAte zazimaNDalakalazadattakaNThagraha madanaH // 177 // rakSAbhujaMgamodgIrNaviSajalAsAraviralitodbhedaH / abhilAti nidhisthAnAni kathamapi jvalanaH kuberasya / / 178 // zobhate valadvAsukipariveSArjitavikaTapratibandhaH / ISacchithilaharajaTApuJjapicaraH zikhizikhAnivahaH // 179 // pratibhAti jvlnjvaalaapnyjrsNymnpunitaavyvH| utpattidivasaparisaMsthita iva tanayastrinayanasya // 180 // 174. vaDaNadeg for "vaDala. 175. maMDava for maMDalI. 176. paTTIpariTTiombheyaM. 177. "ggaho. 179. virala and degviyaDadeg fordeg siDhila. 180. degdiyaha for degdiasa.

Page #147
30 gauDavo ia palayANala-kavalia suraMmi baMbhaMDa- kuhara - kuMDaMmi / lIlA kaMsAri - sarUva-dhAriNo jassa NivvaDiA / / 181 // ahavA / maNi - sabala - kusuma - mAlAvabaMdha - paDibaddha - vibbhamA paDhamaM / jAA dhUmAha a-veNu-daMDa-kavisA kiNo veNI // 182 // kiM Nu hu kalA - niraMtara miaMka- paDivakkha-gaMDa- lehaM te / damaNaa- sihAhamahisAma dhUsaraM vaaNamettAhe // 183 // dhArA-a-dharaNi kaNAvaruddha-Nava- kaMdalI - sihA- pharusaM / mahuramavagADha- sohaM a vahasi visamAruNaM aharaM // 184 // eaMpavaNa-parAhINa-sarala- lavalI - dalAhilolaM te / pecchAmi asaMgaa - maMgalAvaaMsaM savaNa - vAsaM // 185 // sAsaa-miaMka-maNi-kalasa- vesamavasaNNa- hAra-paribhoaM / Niravasara - caMdaNa - rasaM taM citra te suaNu thaNa- vaTTaM // 186 // sarasa- paDivoha - laMdhia-kalaMba - kesara - pisaMgamaMgesuM / lAyaNNaM cira- nimmANa- khiNNa-kaNaa-cchaviM vahai // 187 // iti pralayAnalakavalitapure brahmANDakuharakuNDe / lIlA kaMsArisvarUpadhAriNo yasya nirvRttA // 181 // maNizabalakusumamAlAvabandhapratibaddhavibhramA prathamam / jAtA dhUmAhataveNudaNDakapizA kasmAdveNI // / 182 // kiM nu khalu kalAniraMtaramRga ikapratipakSa gaNDalekhaM te / damanaka zikhAbhamabhizyAmadhUsaraM vadanamidAnIm // 183 // dhArAhata dharaNikaNAvaruddhanavakandalIzikhAparuSam | madhuramavagADhazobhaM ca vahasi viSamAruNamadharam / / 184 // etat pavanaparAdhIna saralalavalIdalAbhilolaM te / prekSe asaGgatamaGgalAvataMsaM zravaNapAzam 185 / / zAzvatamRgAGkamaNikalazavaSamavasanahAraparibhogam / niravamaracandanarasaM tadeva te sutanu stanaSpRSTham // / 186 // sarasapratibodhalaGghita kadamba kesara pizaGgamadgeSu / lAvaNyaM ciranirmANakhinnakanakacchaviM vahati / 87 / 181. peli for 'kalia. 182. vINI. 185 'sarasa' for "sara".. 186. parisoyaM, parivesa for paribhoaM.

Page #148
ripusundarI vaidhavyadazA jvamAsu apajjatteha - kalaha- daMtAvahAsamUru-juaM / taM cer malia - bisa-daMDa - virasamAlakkhimo ihi // 188 // hA kiM Nu aNava- kaccUra-bhaMga-vicchAa-pAMDale taruNi / AvAsa ime paDivoha - kuMTha-kamalapapahe calaNe // 189 // saMcaras cira-pariggaha- lAyaNNuttiSNa-vesa- sohaggo / socce purANa lekkha dhUsaro pariNo esa // 190 // ia aNi havvAgamAhiM AloiUNa tA jassa / riGa-suMdarIo rujjati ha- sarisaM pia-sahIhiM // 191 // aha so kaAhiseo samayaMmi Nimilla - meha-mAhappe | calio saala-dharA- valaa - vijaa - paDibaddha - vavasAo / / 192 // kiM ca jAaM / nivaDa paroparAvaNa - muhala-maNi-maMjarI - kaNa- karAlo / gaNAhi vibuha-vihuo sura- pAva - pallavuppIlo // 193 // maMgala-lAsa - kilammaMta - sura-bahU - kaMDa-sIalo vahai | AbhiNNa - mahura- maMdAra-suMdaro sura-vaha- samIro // 194 // upamAsu aparyAptabhakalabhadantAvabhAsamUruyugam / tadeva mRditabisadaNDavira samAlakSayAma idAnIm // 188 // hA kiM nu anavakarcUra bhaMgavicchAyapATalI taruNi / AvahAsa imau pratibodhakuNDakamalaprabhau caraNau // 189 // sacarati ciraparigrahalAvaNyotIrNaveSasaubhAgyaH / sa eva purANa! lekhyadhUsara : parijana eSaH / / 150 / / iti ajJAtavaidhavyAgamAbhirAlokya tadA yasya / ripusundaryo rodyante snehasadRzaM priyasakhIbhiH // 191 // atha sa kRtAbhiSekaH samaye nimIlitameghamAtmye / calitaH sakaladharAvalayavijayapratibaddhavyavasAyaH // 992 // nipatati parasparApatanamukharamaNimaJjarIkaNakarAlaH / gaganAdvibudhavidhutaH surapAdapapallava samUhaH // 193 // maGgalalAsyaklAmya suravadhUkaNThazItalo vahati / AbhinnamadhuramandArasundaraH surapathasamIraH / 194 / * 31 188. ehi . 92 gamAo for gamAhiM, nehasarasaM. 192. paDavaNNa for fDabaddha 194. Abhinna surahi .

Page #149
gauDavahIM uttaMbhijjati NarAhivassa samaaM disA-gaIdehiM / asarisa-pasattha-maNi-toraNa vva viaDA kr-kkhNbhaa|| 195 // saannNd-rohinnii-baahu-vly-pddibddh-biia-priveso| .. jAo pasaNNa-gaha-maMDalAvalaMbI NisA-NAho // 196 // vibhm-prirNbhnnnnonnnn-milia-mnni-daam-muhl-thnn-biNbo| lAsa-laya-kaMsa-tAlo vca calai sura-suMdarI-sattho // 197 // kiraNa-kilAmia-pariara-bhuaMga-visa-jalaNa-dhUma-timirehiM / ubvella-mahAmaNi-daMturehiM caliaM NihANehiM / / 198 // vahai mahiMdo saannNd-suNdrii-vihua-vaas-sNvliaN| harisAvasaraMmi vi visama-viasi loaNa-sahassaM // 199 // rahasuddha-tiasa kri-dNt-dNdd-pritulia-rvi-rh-turNgo| toraNa-Nibaddha-jaya-pallavo vva jAo gaha-viANo // 20 // ia se pstth-ptyaann-smy-sNbhaaviuusv-viaaso| jAo paharisa-hIraMta-suhia-hiao tiasa-loo // 201 // / uttambhyante narAdhipasya samakaM diggjendraiH| asadRzaprazastamaNitoraNA iva vikaTAH krstmbhaaH||195 // sAnandarohiNIbAhuvalayapratibaddhadvitIyapariveSaH / jAtaH prasannagrahamaNDalAvalambI nizAnAthaH // 196 // vibhramaparirambhAnyonyamilitamaNidAmamukharastanabimbaH / lAsyalayakAMsthatAla iva calati surasundarIsArthaH // 197 // kiraNalAntaparicarabhujangaviSajvalanadhUmatimiraiH / udvelamahAmaNidanturaizcalita nidhAnaH // 198 / / vahati mahendraH sAnandasundarIvidhutavAsasaMvalitam / harSAvasare'pi viSamavikasitaM locanasahasram // 199 // rabhasordhvatridazakaridantadaNDaparitulitaravirathaturaMgaH / toraNanibaddhajayapallava iva jAto nabhovitAnaH // 200 // iti tasya prshstprsthaansmysNbhaavitotsvvikaasH| jAtaH praharSahriyamANasukhitahRdayastridazalokaH // 201 // 196 viiya for bIa. 198 vimaladeg for degmahA. 201. hIraMtahiyayasahio.

Page #150
purasundarINAM parisaMsthitavilAsAH avi a| AmUla vlia-vaamoru-vllrii-lNghiearoru-l| taMsa-Tia-dara-pariattiaMga-diveka-thaNa-vaTuM // 202 // vinniatt-haar-blagg-milia-maasl-nniaNb-prNtN| vlnnaa-mddh-dvia-mjjh-ktttthiovvtt-rom-laN||203 / / sahi-vaMdha-dvia-dAhiNa-para-valioNaANaNa-miaMkaM / ekkekama-NiviDa-karaMbiaMgulI-milia-kara-kisalaM // 204 // pariatta-sarala-kuMtala-NAlaMjia-dAhiNa-tthaNaddhaMtaM / lIlA-baMdhura-sImaMta-paaDa-cUDA-maNi-cchAaM // 205 // oNavia-savaNa-tavaNija-maMjarI-ruddha kuNddlaalo| valiAgaaNNa-tADaMka-malia-thaNa-kuMkumAlekkhaM // 206 // ia vasuhAhiva-daMsaNa-valaMta-NaaNuppalAvaaMsANa / bhavaNa-siharesu pura-suMdarINa parisaMThiaM sahai // 207 // kiM c| aamuulvlitvaamoruvllriilcitetrorultm| tryasthiteSatparivartitAgadRSTaikastanapRSTham // 202 // vinivRttahAravalayAgramAMsalanitambaparyantam / valanAstokasthitamadhyakarSitovRttaromalatam // 203 // sakhIskandhasthitadAkSiNaprakoSThavalitAvanatAnanamRgAkam / ekaikanibiDakarambitAingulimilitakarakisalayam // 204 // parivRttasaralakuntalanAlAnitadakSiNastanArdhAntam / lIlAbandhurasImantaprakaTacDAmaNicchAyam / / 205 // avanamitazravaNatapanIyamaJjarIruddhakuNDalAlokam / valitAgatAnyatADadkamRditastanakuGkumAlekhyam // 206 // iti vasudhAdhipadarzanavalannayanotpalAvataMsAnAm / bhavanazikhareSu purasundarINAM parisaMsthitaM zobhate // 207 // 205. NAlaMkiya, NAlaMciyadeg for NAlaMji. 206. oNamiya.' degkuMDalujjoyaM. degmiliyadeg for 'maliya. 207. degyasINa. ga. 3

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gauDavaho ajja vi jassa harANala-jAlAvali-saMbhamaM bharaMtassa / kusuma-kavise asoe vi jhatti diTThI samuviai // 208 // so vi sasi-baMdhavo jANa daMsaNe paNaiNINa kovaMkaM / kuNai cia kuMda-sihA-kasAa-gaMDa-sthalaM vaaNaM // 209 // diTe pahummi abalANa tANa Aviddha-caMdaNa-kasAo / vasio aMgesu samaMta-pINa-kaNa-kaburo seo // 210 // diTThI sacaMdaNesuM Arovia-roaNesu ramaNINa / tassa NisaNNA puNNAha-raaa-vattesu va muhesu // 211 // avi a| samaresu khagga-dhArA-gaAe~ paDipelliUNa riu-khaggaM / diTTho sirIeN taM NIla-maNi-kavADaMtareNaM va // 212 // sai suhaDAsi-NivAsA saMketAyasa-mala vva sAmAi / jA dosa-raA sA Navara phurai tai NimmalA lacchI // 213 // tuha jAa-macchareNa va pariMda ubhiuDiNA NaDAleNa / saala-NaDAlAI citra ThaviyAi~ paNAma-maggammi // 214 // adyApi yasya harAnalajvAlAvalisaMbhramaM smarataH / kusumakapize azoka'pi jhaTiti dRSTiH smudvijte| 208 // so'pi zazibAndhavo yAsAM darzane praNayinInAM kopAGkam / karotyeva kundazikhAkaSAyagaNDasthalaM vadanam // 209 // dRSTe prabhau abalAnAM tAsAmAviddhacandanakaSAyaH / uSito'geSu samantapInakaNakarburaH svedaH // 210 // dRSTiH sacandaneSu AropitarocaneSu ramaNInAm / tasya niSaNNA puNyAharajatapAtreSviva mukheSu // 211 // samareSu khaDgadhArAgatayA pratiprerya ripukhadgam / dRSTaH zriyA tvaM nIlamaNikapATAntareNeva // 212 // sadA subhaTAsinivAsA saMkrAntAyasamaleva shyaamaayte| yA doSaratA sA kevalaM sphurati tvayi nirmalA lakSmIH // 213 // tava jAtamatsareNeva narendra uddhRkuTinA llaatten| sakalalalATAnyeva sthApitAni praNAmamArge // 214 // 210. vilayANa for abalANa. Avaddha for Aviddha.deg degvaMdhuro for degkabburo. samatta for samaMta. 212. velliUNa. 213. sai for jA. sA dosarayA sANevva. .

Page #152
bandikavIndrastutiH gahio vivalAaMtIeN pAgiNA tuha asI raNaggammi / sahasA veNI-daMDo vva phurai paDivakarava-lacchIe // 7 // purao purao tumhArisehi viaDehiM bhUmi-bAlehiM / vivarIagga-sarUvo bva esa parivaDio vaMso // 215 // sahai gariMda pariNao maggoppia-daMDa-pAvia-tthAmo / siri-suMdarIeN pAse tuha dhammo sovidallo vya // 216 // dIhara-paAva-mUlaM lacchI pAsa-TThiA jasugvA / kaMcaNa-daMDaM piva dhavala-cAmaraM tujjha dhArei / / 217 // vihavAaMtAri-bahU-samUha-paDibhagga-valaya-rAsi-NihA / tuha jasa-kUDukkerA disAsu saalAsu dIsati // 218 // bharimo asiM tu saMgara-phuraMta-mAaMga-mottia-maUhaM / dhArA-jalutta-bisamiva sirIeN pia-geha-NaliNIe // 219 // bhIa-parittANa-maI paiNNamasiNo tuhAhirUDhassa / maNNe saMkA-vihureNa veri-vage vi avaAso // 220 // gRhIto vipalAyamAnayA pANinA tavAsiH rnnaaye| sahasA veNIdaNDa iva sphurati pratipakSalakSmyAH // U // purataH purato yussmaahaurvikttairbhuumipaalaiH| viparItAgrasvarUpa ivaiSa parivadhito vaMzaH // 215 // zobhate narendra pariNato mArgApitadaNDaprApitasthAmA / zrIsundaryAH pArzva tava dharmaH sauvidalla iva // 216 // dIrghapratApamUlaM lakSmIH pArzvasthitA yazaHsaMghAtam / kAJcanadaNDamiva dhavalacAmaraM tava dhArayati // 217 // vidhavAyamAnavadhUsamUhapratibhagnavalayarAzinibhA / tava yaza-kUTotkarAH dizAsu sakalAsu dRzyante // 228 // smarAmaH asiM tava saMgarasphuranmAtaGgamauktikamayUkham / dhArAjaloptabisamiva zriyAH priyagehanalinyAH // 219 // bhItaparitrANamayIM pratijJAmasestavArUDhasya / manye zaGkAvidhure na vairivarge'pyavakAzaH // 220 // 216. somahallo for sovidallo. 217. jassa for tujha. 218. dhavalavalayanihA for 'valayarAsiNihA.

Page #153
gauDavaho dAria-riu-gaa-maa-surahiNi ti NicaM calA vi bhamari vya / khagga-laAe Nivasai pharusAe~ vi tujjha rAa sirI // v // koUhaleNa Ahava-paloiA gAravoppia-karaNa / paTTIo parAmuTThA tumAi paNaANa verIga // 221 // Nivasijjai jaya-vAraNa kuMbha-vibhea-kkhame tuha asimmi / tadiasaM muttA-kosa-saMcaAsAe~ va sirIe // 222 // so Natthi citra iha jo pariMda Nehii NaDAla-vaTai vo / acchIhaMto karuNA-maAI NaNu vAri-biMdUI // 223 // taddhaNa-dhaNaM va dhariA lacchI vaccha-tthale mahu-maheNa / bhiccatthi-baMdhavesuM Na uNa vihattA jaha tumAi // 7 // ahvaa| uppannaaar-sNpiNddiaNg-giri-nnivh-gaarvonnmi| savvAara-coDhavvaM jAaM sesassa mahi-vedaM // 224 // pakkhaMtarAla-pariattamANa-ravi-maMDalA Naha-alammi / hoMti aNAgaa-saMgaa-kulisA iva sela-saMghAA // 225 // dAritaripugajamadasurabhAviti nityaM calApi bhramarIva / khaDgAlatAyAM nivasati paruSAyAmapi tava rAjana zrIH / / V // kautUhalenAhavapralokitA gauravArpitakareNa / pRSThAni parAmRSTAni tvayA praNatAnAM vairiNAm // 221 / / nyuSyate jayavAraNakumbhavibhedakSame tvaasau| pratidivasaM muktAkozasaMcayAzayeva zriyA // 222 / / sa nAstyeveha yo narendra nekSate lalATapaTTe vaH / akSibhyAM karuNAmayAn nanu vAribindUn / / 223 / / taddhanadhanamiva dhRtA lakSmIrvakSaHsthale madhumathena / bhRtyArthibAndhaveSu na punarvibhaktA yathA tvayA // W // utpatanAdarasaMpiNDitAgagauravAvanAmitam / sarvAdaravoDhavyaM jAtaM zeSasya mahIpITham / / 224 // pakSAntarAlaparivartamAnaravimaNDalA nbhstle| bhavanti anAgatasaMgatakulizA iva zailasaMghAtAH // 225 // 221. vAhavadeg for Ahava'. 225. pakkhaMtarakhaNa.

Page #154
bandikavIndrastutiH mArua-bharaMta-kaMdara-gArava-parimaMtharaM valaggaMti / vea-viasaMta-pAava-zUmia-kaDaaMtarA giriNo // 226 // ArohaMti Naha-alaM tArujjoia-guhA-muhAhoA / aNNoNNa-pehuNANila-hIraMta visaMThulA selA // 227 // uppaaNohura-pIlia-sarIra-maulaMta-vivara-NinbUDhA / uddhaM Nibaddha-veA Nijjhara-dhArAoM NivaDaMti // 4 // mukka-tusArAsAraM lIluDDINammi tuhiNa-selammi / vevai acchakkAgaa-himakAla-kilAmio loo // 228 // uppaaNa-ruddha-gaaNA duuruggm-nnivvddNt-nnh-lhuaa| mUeMti mUla-maDahaM khamagga-viaDaM va dharaNi-harA // 229 / / dUraaraM uppaiA addh-vhtthmia-nnijjhr-tusaaraa| dIsaMti viaDa-lahuA paNa?-kAyA mahA-giriNo // 230 // jaM jaM samuppaaMtA muaMti selA NahaMgaNuddesa / taM taM puMjia-bahalo bharei muhalubbhaDo pavaNo // 231 // mArutabhriyamANakandaragauravaparimantharamArohanti / vegavikasatpAdapasthagitakaTakAntarA girayaH / / 226 // Arohanti nabhastalaM tArodyotitaguhAmukhAbhogAH / anyonyapakSAnilahriyamANavisaMSThulAH shailaaH||227|| utptnaavaangmukhpiidditshriirmukuliibhvdvivrniyuuNddhaaH| Urdhva nibaddhavegA nirjharadhArA nipatanti // X // muktatuSArAsAraM lIloDDIne tuhinazaile / vepate akasmAdAgatahimakAlaklAnto lokaH // 228 // utpatanaruddhagaganA dUrodgamanivartamAnanabholaghavaH / sUcayanti mUlAlpaM khaM agravikaTamiva dharaNidharAH // 229 // dUrataramutpatitA ardhpthaastmitnirjhrtussaaraaH| dRzyante vikaTalaghavaH praNaSTakAyA mahAgirayaH // 230 // yaM yaM samutpatanto muJcanti zailA nabho'GgaNoddezam / taM taM puJjitabahalo bibharti mukharodbhaTaH pavanaH / / 231 // 226. degtammiyadeg for degNUmia. 227. giriNo for selA. 228. lIguDDoNami. hemaMtadeg for deghimakAla.

Page #155
gauDavo pAsosaraMta-tala- magga-ghaDia-kama-lahua-mAsala-cchAyA / uti pakkha - vialia - diggaa - dANojjharA giriNo // 232 // eMti gaNosaratesu kaha vi ummuha samIra hIraMtA / thoppa ai- NividyA selesu vihaMga saMghAA || 233 // oaraNa-visesijjaMta-ravi-arAloa - caMcala-cchAyA / dIsaMti paviralAo va vejddha-dalA vaNAlIo // 234 // ia jeNa NahaMgaNa-goarANa khuDiAo pakkha-mAlAo / selANa sovitaM ciMtiUNa aMdolai mahiMdo // 235 // aNudhAraM saMdabha- mottie tuha asimmi saccaviA / lIlA-dara- dAvihAra-meta paaDavva jaya-lacchI // 236 // ayaseNa riUNa karaMviAo kittIo tuha dharijaMti / kuvalaya-dala- saMvaliA mAla-mAlAo va disAhiM // 237 // paDibaddhaM Navara tume NariMda cakaM paAva-viaDaM pi / gaha-valayamaNucchitte dhuve vva pariattara riMda // 238 // 38 pArzvApasarattalamArgaghaTitakramalaghumAM salacchAyAH / uDDIyante pakSavigalitadiggajadAnanirjharA girayaH // 232 // enti gaganApasaratsu kathamapi unmukha samIrahriyamANAH / stokotpatitaniviSTAH zaileSu vihaMgasaMghAtAH / / 133 / / avataraNa vizeSyamANaravikarAlokacaJcalacchAyAH / yante praviralA iva vegordhvadalA vanAlyaH // 234 // iti yena nabho'dgaNagocarANAM khaNDitAH pakSamAlAH / zailAnAM so'pi taM cintayitvA Andolayati mahendraH || 235 || anudhAraM saMlagne bhamauktike tavAsau dRSTA / lIleSaddarzitahAramAtra prakaTeva jayalakSmIH // 236 // ayazasA ripoH karambitA: kIrtayastava dhAryante / kuvalayadalasaMvalitA mAlatImAlA iva dizAbhiH / / 237 // pratibaddhaM kevalaM tvayA narendracakraM pratApavikaTamapi / grahavalayamanutkSipte dhruva iva parivartate narendra // 238 // 232. 'sAmala' by Commentator. 'viluliyadeg for 'vigalia ' 233. gayaNoyaradeg 234. osaraNadeg for oaraNa. veoDDa for veuddha. 236. saMdiTThebha', saMdaTTheha. 237. varijjaMti for dharijjaMti. 238. navari "viyaDammi.

Page #156
bandikavIndrastutiH samaramma kare vipphurai Navara ekko asI tuha ccea / jo pAvai Nia-jasa-soma-maMDale laMchaNa-cchAyaM // 239 // savimo aNajjuNamimaM amahiMdamavAsuI ca appANaM / sevaMjali-dasaNa-guNa-kahAsu tuha jo Na pajjatto // 240 // NivaDai paDaNa-samucchalia-jalaNa-kaNa-jAla-jaDila-dhAraggo / vimuha-gaha-maMDalAaTTio vva khaggo tuha riUsu // 241 // tuha paDivakarakhesu bhayA kattha vi avilAsamAvasaMtesu / Arovei Na kAara-gaNaNAeN va cAvamasamasaro // 242 // suhaDAaTTia-koaMDa-caMDa-rava-dAruNe raNe taM si / pariraddho bhIyAe~ va sahasA gADhaM jaya-sirIe // 243 // sohai samAgamesu ahia-paAva-ppaIva-mAlAsu / vAvAratI kaNNuppalaM va khaggaM tu jaya-lacchI // 244 // jaM iarovaddava-vihuA vi majjati tuha riU NAha / bahu-rUvA tA dhArAo Navara tuha maMDalaggassa // 245 // samare kare visphurati kevalameko'sistavaiva / yaH prApnoti nijayazaHsomamaNDale lAJchanacchAyAm // 239 // zapAmahe anarjunamimaM amahendramavAsukiM cAtmAnam / sevAJjalidarzanaguNakathAsu tava yo na paryAptaH // 240 // nipatati patanasamucchalitajvalanakaNajAlajaTiladhArAyaH / vimukhagrahamaNDalAkRSTa iva khaDgastava ripuSu // 241 // tava pratipakSeSu bhayAt kvApi avilaasmaavstsu| Aropayati na kAtaragaNanayeva cApamasamazaraH // 242 // subhaTAkRSTakodaNDacaNDaravadAruNe raNe tvamasi / parirabdho bhItayeva sahasA gADhaM jayazriyA // 243 // zobhate samAgameSu ahitprtaapprdiipmaalaasu| vyApArayantI karNotpalamiva khaGgaM tava jayalakSmIH // 244 // yad itaropadravavidvatA api majjanti tava ripavo nAtha / bahurUpAstA dhArAH kevalaM tava maNDalAgrasya // 245 // 239. Nirasimmi jae. 240. iNaM for imaM. tai for tuha. 245. jai for jaM. vajjati for majjati.

Page #157
40 gauDavaho paNai-aNatthaM Amuai kaNaamiNamo iha dviA lacchI / kavaAvaDiA asiNo tu aiti NAmI sihi-phuliMgA // 246 // koveNa va kasa-kaMpaM rahasuddha-pariSTuiAe~ ghddiaaii| tuha tajjaNIeN kajjAiM caMDa-bhua-daMDa-dUIe // 247 // ArUDho pAsAakkameNa taha taM si uvari loassa / eko a so jahA vo aMDaa-baMdhAae maulI // 248 // bAhu-siharesu dIsai kAmiNi-saMkAmieNa ma-tilo| bhU-bhAruvvahaNa-vasA pariTTio paMka-leso vva // 249 // bhumaagga-bhamira-lacchI-calaNAlattaa-Niho tuvi pphurai / avaaMsAruNa-maNi-maMjarI-bhavo rAa-vicchaDDo // 250 // hoti kaatthA paNaI Naha-mAlA-calaNa-rohaNe tujjha / AaMba-maNi-guhAA va visiUNa paNAma-saMkaMtA // 251 // allINA rahasAgama-parivattia-kesavaMsua-dhara vya / kavaa-dalaNuggaANala-siha-cchalA vo asiM lacchI // 252 // praNayijanArthamAmuJcati kanakametadiha sthitA lakSmIH / kavacApatitA asestava niryanti nAmI zikhisphuliGgAH // 246 // kopeneva kRtakampaM rabhasordhvapariSThitayA ghaTitAni / tava tarjanyA kAyANi caNDabhujadaNDadUtyA // 247 // ArUDhaH pAkrimeNa tathA tvamasi upari loksy| ekazca sa yathA vo'NDakabandhAyate mauliH // 248 // bAhuzikhareSu dRzyate kAminIsaMkrAmitena mdtilkH| bhUbhArodvahanavazAt pariSThitaH pakaleza iva // 249 // bhuvayabhramaNazIlalakSmIcaraNAlaktakanibhastvayi sphurati / avataMsAruNamaNimaJjarIbhavo rAgasamUhaH // 250 // bhavanti kRtArthAH praNayino nakhamAlAcaraNarohaNe tv| AtAmramaNiguhA iva viSTA prnnaamsNkraantaaH||251|| AlInA rabhasAgamaparivartitakezavAMzukadhareva / kavacadalanodgatAnalazikhAcchalAdvo'siM lakSmIH // 252 / / 247. jAAI for ghaDiAI. 248. sabvassa for loassa. baMdhAvae. 249. siharammi...saMkAmie tuhaatilae / bhUbhAruvvahaNAyarapari. 251. degpahAva for degpaNAmadeg 252. rahasAgaya. varavva for dharavva.

Page #158
41 jayaturaGgavarNanam ia jo thumvai paharisa-pUra-parikkhalia-visama-kaMThehiM / bandIhiM kaIdehiM ca bhUatthehiM cia guNehiM // 253 // ia cADu-caura-cAraNa-saMcAria-caMda-cAru-carieNa / NaarAo Nara-variMdeNa NiggaaMNiggaa-jaseNa // 254 // kiM ca / javapacamANassa sarIra-cAriNo gabbha-vasahi-gehesu / jANa pariattaNeNa va Avatta-gaIo NivADiA // 255 // je kuMkuma-sthalIsu kesara-bhaMgAruNehi dAveti / pai-pariho va mahIeN Nava-NahaMka khura-vaehiM // 256 // je poha-khaNa-paridvia-saMkhAa-pheNa-piMDa-ghaDiehiM / hesA-ravehiM pUria-payANa-saMkha va dIsaMti // 257 // AyANa-maragaa-cchavi-vicchaDDADaMbareNa muMcaMti / je bAla-java-rasaM piva sayarAhA pIamaMgehiM // 258 // diNNAo paNAlIo va sama-vAri-viNiggamAa dhAreti / parichiNNa-majjha-rehA-NiheNa je jahaNa-baMdheNa // 259 // ___iti yaH stUyate prhrsspuurpriskhlitvissmknntthaiH| bandibhiH kavIndrezca bhUtArthaireva guNaiH // 253 // iti cAducaturacAraNasaMcAritacandracArucaritena / nagarAnnaravarendreNa nirgataM nirgatayazasA / / 254 // javapacamAnasya zarIracAriNo garbhavasatigeheSu / yeSAM parivartaneneva Avartagatayo nirvRttAH // 255 // ye kuGkumasthalISu kesarabhadgAruNairdarzayanti / patiparibhogamiva mahyA navanakhAGka khurapadaiH // 256 // ye prothakSaNapariSThitasaMstyAnaphenapiNDaghaTitaiH / heSAravaiH pUritaprayANazaGkhA iva dRzyante / / 257 // AyAnamarakatacchavisamUhADambareNa muzcanti / ye bAlayavarasamiva zIghraM pItamaGgaiH // 258 // dattAH praNAlya iva zramavArivinirgamAya dhArayanti / paricchinnamadhyarekhAnibhena ye jaghanabandhena // 259 // 253. kavivarehi for kaIdehi. bhUyatthehiM viya. 255. nimmaviyA for NivaDiA. degrohesu for deggehesu. 256. NavarayaMkaM khuravahehiM for NavaNahaMkaM etc. 257. paDicchiya' for pariTThia. saMkhA iva sahaMti. 258. sayavArA for sayarAhA. te for je. 259. baMdhehiM, bimbehiM for baMdheNa.

Page #159
gauDavaho maggesu guru-balA vea-gaaddh-nnivddNt-koddi-ttNkehiN| uccariUNaM va lihaMti je TaAre khura-uDehiM // 260 // je ajja vi hima-selaMta-saMbhavA aNaha-sIa-viaNa vva / guru-tea-ppasara-rasA ThANe cia kiMpi kaMpati / / 261 // ArUDha-joha-NivahA te tassa taraMgiNo jy-turNgaa| mUaMti vya paharisaM jAA purao pariMdassa / / 262 // avi a| uvahANaM piva lIlA-valia-dvia-pihu-karattaNA deMti / je viaDa-daMta-pallaMka-kaa-NivesAe~ lacchIe // 263 // dIsaMti jANa pariatta-calaNa-daliAri-sIsa-bhAveNa / ajja vi kavAla-saala vva pAsa-khuttA Naha-kakhaMDA // 264 // asarala-lIlA-gai-vialiAhiM je tIhiM dANa-dhArAhiM / rAa-sirIeN raaMti va vilAsa-veNI-laaM surahiM // 265 // pAsalliANa je paDigaANa khuttagga-daMta-bhAveNa / vibbhama-muNAla-daMDehiM ruhira-salilaM piva piati // 266 // mArgeSu gurublaadvegnipttkottittkaiH| uccAryeva likhanti je TakArAn khurapuTaiH / / 260 // ye adyApi himazailAntasaMbhavAt anaghazItavedanA iva / gurutejaHprasararasAH sthAna eva kimapi kampante / / 261 // ArUDhayodhanivahAste tasya taraGgiNo jyturNgaaH| sUcayantIva praharSa yAtAH purato narendrasya // 262 // upadhAnamiva lIlAvalitasthitapRthukaratvAd dadati / ye vikaTadantaparyaGkakRtanivezayA lakSmyA // 263 // dRzyante yeSAM parivRttacaraNadalitArizIrSabhAvena / adyApi kapAlazakalAnIva pArzvanimannA nakhakhaNDAH // 264 // asaralalIlAgativigalitAbhirye tisbhirdaandhaaraabhiH| rAjazriyo racayantIva vilAsaveNIlatAM surabhim / / 265 // pAvIkRtAnAM ye pratigajAnAM nimagnadantabhAvena / vibhramamRNAladaNDaiH rudhirasalilamiva pibanti // 266 // / 260. koNi', koTi for koDi. 261. thAme for ThANe. 265. asarisa for asarala. degvilaliyAhiM for degvialAhi. 266. pAsolli, pivaMti.

Page #160
jayagajendravarNanam je caMcala - cAmara- pahalehiM sohaMti kaNNa- tAhiM / uppa aNa- tarala - pakkha va tiasa-gaa - jujjha - buddhIe // 267 // sutta - NivesaM piva deti dIharaM dANa-vAridhArAhiM / paDivAsaraM pavitthAriNIeN je patthava - sirIe // 268 // te tassa jaya - gaiMdA sia - piTTaMtaria - sAmala-cchAyA / saraAvaNIa-kalusA jAo purao jalahara vva || 269 // kiM ca jAaM / vari a thoatyoaM avaMti NisIha-muhala-kala-haMsA / dara- dUmiAraviMdA asAra-mUrAavA diasA // 270 // sauga-marAla- jaNavaA dhUmAbaddha - timirA virAaMti / saMjjhA - NiaMba-va-pallava vva raaNINa mo-saggA // 4 // kAsAra - virala-kumuA amalia-vicchAya caMda-parivesA / hoMti bahalAvasAyA pahAa - sisirA NisA baMdhA // 271 / / gholai aladdha - kiraNo tusAra-lava- laMbha - dhUsara-cchAo / raviNo alaMbusA - kusuma-pADalo viva-pariNAho // 272 // ye caJcalacAmarapakSmalaiH zobhante karNatAlaiH / utpatanataralapakSA iva tridazagajayuddhabuddhayA // 267 // sUtranivezamiva dadati dIrgha dAnavAridhArAbhiH / prativAsaraM pravistAriNyA ye pArthivazriyaH / / 268 // te tasya jaya gajendrAH sitapiSTAntaritazyAmalacchAyAH / zaradapanItakaluSA jAtAH purato jaladharA iva / / 269 // anantaraM stokastokaM rAjante nizIthamukharakalahaMsAH | daradUnAravindA asArasUryAtapA divasAH // 270 // zakunamarAlajanapadA dhUmAbaddhatimirA virAjante / saMdhyAnitAmranavapallavA iva rajanInAM gosargAH // Y // kAsAraviralakumudA amRditavicchAyacandrapariveSAH / bhavanti bahalAvazyAyAH prabhAtazizirA nizAbandhAH // 271 // ghUrNate'labdhakiraNastuSAralavalambhadhUsaracchAyaH / raveralambuSA kusumapATalo bimbapariNAhaH / / 272 // 43 267. bandhura' for caMcala'. 'pabhalehiM fordeg tAlehiM'. 'jhUjha for 'jujjha. 268. rAyalacchIe for patthivasirIe 271. amaila' for amalia .

Page #161
gauDavaho agghati sisira-salilA aNiuMcia-koMca-sArasa-virAvA / khala-cuNNia-kalamAmoa-vAhiNo gaam-siimNtaa|| 273 // kaM va Na harati nnividdaavsaay-sNbhinnnn-saaml-kriisaa| gohaNa-viNivemuddesa-dhUsarAraNNa-paraMtA // 274 // akaMta-karIsumhA-suha-NikaMpa-jahaNaM viNikamai / kaha vi jaDAava-paribhoa-maMtharaM rohiNI-jUhaM // 275 // ia hemaMta-samiddhAsu gAma-sImAsu meiNI-NAho / dihiM dito patto kameNa soNaMkamuddesaM // 276 // maliA pUa-pphala-kosa-vaDaNa-rajjaMta-pallalA tassa / seNA-bhaDehi Nava-sAli-sAliNo gAma-sImaMtA // 277 // matta-kurarAsu diTThI saharI-viSphuraNa-kaMpia-jalAsu / vIsamai va vaMjuliNIsu tANa AhAra-lehAsu // 278 // tANa Nisammai hiaaM aNAvilAhAra-salila-suhaAsu / A-maMjarI-pariggaha-suaMdha-kalamAsu sImAsu // 279 // rAjante zizirasalilA anikunycitkraunycsaarsviraavaaH| khalacUrNitakalamAmodavAhino grAmasImantAH // 273 / / kaM vA na haranti nibiDAvazyAyasaMbhinnazyAmalakarISAH / godhanavinivezoddezadhUsarAraNyaparyantAH // 274 // AkrAntakarISASmAsukhaniSkampajadhanaM vinisskraamti| kathamapi jaDAtapaparibhogamantharaM rohiNIyUtham // 275 // iti hemantasamRddhAsu grAmasImasu mediniinaathH| dRSTiM dadata prAptaH krameNa zoNAkamuddezam // 276 // mRditAH pUgaphalakozapatanarajyamAnapalvalAstasya / senAbhaTainavazAlizAlino grAmasImantAH / / 277 / / mattakurarAsu dRSTiH zapharIvisphuraNakampitajalAsu / vizrAmyatIva vaz2ulinISu teSAmAdhAralekhAsu // 278 // teSAM nizAmyati hRdymnaavilaadhaarslilsubhgaasu| AmajarIparigrahasugandhakalamAsu sImasu / / 279 // 275. ramaNaM for degjahaNaM'. 247. pallavA for "palalA. 278. tassa kAsAralehAsu for tANa AhAralehAsu. 279. tassa for tANa. 'muhiyAsu for suhaAsu.

Page #162
55 vindhyavarNanam lhsmaann-juovttia-turNgm-khNdh-kesruppNko| ummuha-dhuraM samAruhai jattha raviNo raho kaha vi // 280 // bAhi-gaANa jassa a Natthi cia Naha-alaM ti paDivatti / kaMdara-pariTThiANa aso cia Natthi tti paDihAi // 281 // bahu-kuharAvila-kaDaattaNeNa Naha-mahi-alaMtara-Niveso / gahiUNa va vasuhaddhaM jo gaaNaddhaM ca nnimmvio|| 282 // jeNa Naho-gaa-sihareNa kuhara-pasaria-NahaMgaNeNaM ca / aNNoNaM kIlia-Niccalo vva Naha-mahi-alucchaMgo // 283 // vijjhammi tammi rasa-surahi-sallaI-bhaMga-Nivvua-gaammi / roha-NiraMtara-tAlI-vaNammi jAo mahI-NAho // 284 // avi a| vaMdIkaa-mahisAsura-kula-kaMThummoiehiM va tumAe / mAhavi ghaMTA-dAmehi maMDiaM toraNa-dAraM // 285 // diTuM sAhajjArUDha-tuhiNa-girI-khaMDa-diNNa-pIDhaM va / mahisAsurassa sIsaM tuha calaNa-Naha-ppahA-bhariaM // 286 // saMsadyugovartitaturaMgamaskandhakesarasamUhaH / unmukhadhuraM samArohati yatra rave rathaH kathamapi // 280 // bahirgatAnAM yasya ca nAstyeva nabhastalamiti prtipttiH| kandarapariSThitAnAM ca sa eva nAstIti pratibhAti // 281 // bahukuharAvilakaTakatvena nabhomahItalAntaranivezaH / gRhItveva vasudhArdha yo gaganArdha ca nirmitaH // 282 // yena nabhogatazikhareNa kuharaprasRtanabho'ganena ca / anyonyaM kIlitanizcala iva nabhomahItalotsadgaH // 283 // vindhye tasmina rssurbhislkiibhdgnirvRtgje| rohanirantaratAlIvane yAto mahInAthaH // 284 // bandIkRtamahiSAsurakulakaNThonmocitairiva tvayA / mAdhavi ghaNTAdAmabhirmaNDitaM toraNadvAram // 285 // dRSTaM saahaayyaaruuddhtuhingirikhnndddttpiitthmiv| mahiSAsurasya zIrSa tava caraNanakhaprabhAbharitam // 286 // 281. niccalavva. 283. "lucchaMgA. 286. giridiNNakhaMDapiMDaM va, caraNanahappahAbhinaM.

Page #163
gauDavo bhamarAvalio bhairavi tujhaM bhavaNAirammi sAmoe / thui-mettummoia-jaMtu - Niala-mAlAo va luIti / / 287 // NaNu tumheM saMbharaNe raNammi vihati vAraNa- ghaDAo / dUrAo ci vAhaNa-pada-rava-vidduAo vva // 288 // tuha caMDi calaNa-kamalANuvattiNo kaha Nu saMjamijjati / seriha - vaha saMkia-mahisa-hIramANeNa va jameNa // 289 // tuhiNa - girI devi tumAi jaNaa-bhAveNa gAravaM NIo / vijjhAalo vikaMdara - NivAsa-lIlAeN kallANi // 290 // sohasi NArAyaNi raNira-NeurArAva - milia - haMsa- ule / bhavaNammi kavAlAvila- masANa-rAyaNa va bhramaMtI / / 291 / / adveNa sarIre cia Navara sasi - seharassa taM vasasi / hie uNa se saMkari tuha avihAraNa oAso // 292 // khalio ta rahakkhitta-maNi-tulA- koDi - kuMDalAharaNo / siMgo bhaMga - duvia - valaya- baMdho vva mahisassa // 293 // 46 bhramarAvalayo bhairavi tava bhavanAjire sAmode / stutimAtronmocitajantu nigaDamAlA iva luThanti // 287 // nanu tava smaraNe raNe vighaTante vAraNaghaTAH / dUrAdeva vAhanamRgendraravavidvatA iva // 288 // tava caNDi caraNakamalAnuvartinaH kathaM nu saMyamyante / sairibhavadhazaGkitamahiSahriyamANeneva yamena // 289 // tuhinagirirdeva tvayA janakabhAvana gauravaM nItaH / vindhyAcalospi kandaranivAsalIlayA kalyANi // 290 // zobhase nArAyaNi raNanazIlanUpurArAvamilitahaMsakule / bhaghane kapAlAvilakSmazAnarAgeNeva bhramantI / / 299 / / ardhena zarIra eva kevalaM zazizekharasya tvaM vasasi / hRdaye punastasya zaMkari tavAvibhAgenAvakAzaH / / 292 / / skhalitaM tvayA rabhasotkSiptamaNitulAkoTikuNDalAbharaNam / zRGgaM bhagasthApitavalayabandhamiva mahiSasya / / 293 // 287. bhairavi. bhavaramaNi tujjha for bhairavi tujhaM. 291. raNiya for raNira. 293. bhaMgapaya..

Page #164
vindhyavAsinIstutiH 47 tuha dAraM thAma-tthAma-diNNa-ruhirovahAramAbhAi / hara-paNaya-rosa-visasia-saMjjhA-saalAvaiNNaM va // 294 // tuha vaaNa-cchavi-bhijjata-viaDa-tama-maMDalA saA hoti / kehi vi dijaMta-mahA-mahisA iva bhaavai paosA // 295 // NiddA-rUveNa paraM Nimesi jaNa-loaNesu taM cetr| paDivohe jeNa sa-jAvaa vva lakkhijae diTThI // 296 // palaya vA kAli Na Nimmavesi svassa te aNaMtassa / savvaMge kaha Nu kavAla-maMDalADaMbaraM ghaDau // 297 // thuvvasi takravaNa-vihaDaMta-loha-hiMjIra-sAmala-galehiM / pariNaa-gaNabhAvAgaa-tiNayaNa-ciMdhehiM va NarehiM // 298 // NimisaM pi a muccai AyaaNokvaNa-maMDalaM tujjha / saMNihia-kumAra-maUra-Neha-rasiehiM va sihIhiM // 299 // pAUNa va uvahArAaresu sai dhUva-dhUma-vaDalAI / uvvamasi bahula-raaNI-bhAvesu NiraMtaraM timiraM // 30 // tava dvAraM sthAnasthAnadattarudhiropahAramAbhAti / harapraNayaroSavizasitasaMdhyAzakalAvatIrNamiva // 294 // tava vadanacchavibhidyamAnavikaTatamomaNDalAH sadA bhvnti| kairapi dIyamAnamahAmahiSA iva bhagavati pradoSAH // 295 / / nidrArUpeNa padaM nimimISe janalocaneSu tvameva / pratibodhe yena sayAvakeva lakSyate dRSTiH // 296 / / pralayaM vA kAli na nirmApayasi rUpasya te anantasya / sarvAGgaM kathaM nu kapAlamaNDalADambaraM ghaTatAm / / 297 // stUyase ttkssnnvighttmaanlohhijiirshyaamlglaiH| pariNatagaNabhAvAgatatrinayanacihnariva naraiH // 298 // nimeSamapi naiva mucyate AyatanopavanamaNDalaM tava / saMnihitakumAramayUrasneharasikairiva zikhibhiH // 299 // pItveva upahArAdareSu sadA dhuumdhuuppttlaani| udvamasi bahularajanIbhAveSu nirantaraM timiram // 300 // __ 294. ThANaTThANadeg for thAmatthAma. 298. bibehi, ciNhehiM for degciMdhehiM, jaNehiM for NarehiM. 300. uvahArAyareNa and rayaNIbhAveNa.

Page #165
gauDa ho paNaa-jaNa- rakkhaNaMtaria-veri-karavAla-paMjareNaM va / hAriMda - nIla-kiraNAvalaMbiNA bhAsi vaccheNa || 301 // jAhe aNI-rUveNa phurasi sasahara - viDaMbia - kavAlA / tAhe vi NaraTTi pasAhaNammi tuha baDai gaha cakaM // 302 // taM kuvalaI - kuNaMtINa vA daiccANa khagga-mAlAo / Nia-calaNa-paMkaaccA- kajjaM vo kaha Nu saMpaDau // 303 // mAlUra- patta-mAlA- kaMTaa-kaa-soNiya vva AhAsi | taM sarasa-rata-caMdaNa-parisoNa thaNaMtarA devi // 304 // saMkaMnAu va rosArurNacchi-valaya - pahAo mahisammi / tuha sabAra soNia - sihA timUla- maggesu dIsaMti // 305 // vIra - viiNNa-vikosAsi gheNu-karavAla- kaMti - kajjaliaM / disamma videvi asaMka kosiaM gabbha- bhavaNaM te // 306 // taM atthAruNa-ravi-maMDaleNa muMDovahAra - pukhaM va / tArA- Niha-kaa-bali- taMdulAeN ijjasi NisAe // 307 // 48 praNatajanarakSaNAntaritavairikaravAlapaJjareNeva / hArendranIla kiraNAvalambinA bhAsi vakSasA / / 301 // yadA rajanIrUpeNa sphurasi zazadharavimbitapAlA / tadApi narAsthiprasAdhane tava ghaTate grahacakram // 302 // tvaM kuvalayIkurvatI na vA daityAnAM khaDgamAlAH / nijacaraNapaGkajArcAkArya vaH kathaM nu saMpadyatAm // 303 // mAlUrapatramAlAkaNTakakRtazoNitevAbhAsi / tvaM sarasaraktacandanaparizoNastanAntarA devI // 304 // saMkrAntA iva roSAruNAkSivalayaprabhA mahiSe / tava zabari zoNitazikhAstrizUlamArgeSu dRzyante // 305 // vIravitIrNavikozAsidhenukaravAlakAntikajjalitam / divasespi devi azaGkakauzikaM garbhabhavanaM te // 306 // tvamastAruNaravimaNDalena muNDopahArapUrvamiva / tArAnibhakRtaaforDulayA pUjya se nizayA // 307 // 301. paNayi, kiraNAvabhAsiNA 302. kavAlaM. 30 3. kuvalayaM kareMtI paMkayaccaNakajje. saMghaDau. saMpaDai for saMpaDau, 304. mAlUri. 307 puvvaM va for pukhaM va.

Page #166
bindhyavAsinastuitiH 49 taM sahAsa sajala-jImUa- gorA gori vijju-bhAvAmma / kaMsoppia-vajjha-silA-saha bva gaaNe smuppiaa||308|| hara-phaMsa-sea-saMvalia-jAvaAsaMgi-Naha-maNi-cchAo / sahai Naa-caMda-lehA-sura-sari-saMjjho vca te calaNo / / 309 // . sulahovahAra-ruhira-ppavAha-saMbhAvaNAe~ libhaMti / aruNa-paDAA-paDimA-gabbhAo silA iha sivAhi // 310 // pUAhisea-vialia-NaDAla-jAvaa-rasaM piaMti ca / ruhirAsava-pariosA tuha purao bhUa-paDimAo // 311 // paccakkha-bhAva-takkhaNa-mIlaMtacchi-haa-dasaNa-guNehiM / tiasehi vi tuha NidattaNammi rUvaM Na sccviaN||312|| tatkAla-vimuha-hara-vaDhiehi sAsehiM tAvasi tumAe / paDivaNNo pANAyAma-Niyama-baMdhAaro kaha Nu // 313 // kAma-DahaNANutAvA harassa tuha vimbhamehiM nnivvddiaa| kavia-NaDAla-NayaNANala vva saMtAviNo sAsA // 314 // tvaM zobhase sajalajImUtagocarA gauri vidyudbhAve / kaMsArpitavadhyAzalAsaheva gagane samutpatitA // 308 // harasparzasvedasaMvalitayAvakAsaninakhamaNicchAyaH / zobhate natacandralekhAsurasaritsaMdhya iva te caraNaH // 309 // sulabhopahArarudhirapravAhasaMbhAvanayA lihynte| aruNapatAkApratimAgarbhAH zilA iha zivAbhiH // 310 // pUjAbhiSekavigalitalalATayAvakarasaM pibantIva / rudhirAsavaparitoSAstava purato bhuutprtimaaH||311 // prtykssbhaavttkssnnmiildkssihtdrshngunnaiH| tridazairapi tava nidrAtve rUpaM na satyIkRtam // 312 // tatkAlavimukhaharavardhitaH zvAsaistApasi tvyaa| pratipannaH prANAyAmaniyamabandhAdaraH kathaM nu / / 313 // kAmadahanAnutApA harasya tava vibhrmainirvrtitaaH| kRSTalalATanayanAnalA iva saMtApinaH zvAsAH // 314 // 308. gayaNaM. 309 degphAsa. for degphasa. saha for Naa ( = nata). e for te. 310. vayAradeg for degvahAra'. 311. pibaMti vva. 313. takAlavimukka. 314. DahaNANuyAvA. ga. 4

Page #167
gauDavaho / sai siddha-siddhi-maMDala-paIva-parikaMpiNo paosesu / tujjhosava-gaMdha-suhA suhaaMti samIraNuggArA // 315 // taDibhAvammi phuraMtI savAri-vArihara-kUDa-koDIe / akaMta-mahA-mahisa vva sohase amarisAaMbA // 316 // jaNa-diNNa-kesa-kalaNA-lomasa-kalusehi~ kaMpamuppesi / veAlehiM va paDiaggiAirA vAu-daMDehiM // 317 // gaMbhIra-gabbha-maMda-ppahAo tuha devi dIva-mAlAo / uvahAra-muMDa-kesaMdhaAra-mUDhAo va khalaMti // 318 // vissijNt-mhaa-psu-dNsnn-sNbhm-propraaruuddhaa| gaaNeccia gaMdha-uDiM kuNaMti tuha kaula-NArIo // 319 // Naha-maNi-saMkamaNA maDaha-paNaa-jaNa-laMchaNehiM calaNehiM / sohasi paNamijati vca aMba taM vAlihillehiM // 320 // aha pariaro aNeovaaraNa-paharaNa-sahaM kara-sahassaM / ekkassa varoru varujjaassa te pANi-kamalassa / / 321 // sadA siddhasiddhimaNDalapradIpaparikampinaH pradoSeSu / tavotsavagandhasukhAH sukhayanti samIraNodgArAH // 315 // taDidbhAve sphurantI svaarivaaridhrkuuttkottau| AkrAntamahAmahiSeva zobhase amarSAtAmrA // 316 / / janadattakezakalanAlomazakaluSaiH kmpmrpysi| vaitAlairiva pratijAgaritAjirA vAyudaNDaiH // 317 // gambhIragarbhamandaprabhAstava devi dIpamAlAH / upahAramuNDakezAndhakAramUDhA iva skhalanti // 318 // vizasyamAnamahApazudarzanasaMbhramaparasparArUDhAH / gagana eva gandhakuTI kurvanti tava kaulanAryaH / / 319 / / nakhamaNisaMkramaNAdalpapraNatajanalAJchanaizcaraNaiH / zobhase praNamyamAneva amba tvaM vAlakhilyaiH // 320 // atha parikaro'nekopakaraNapraharaNasaha karasahastram / ekasya varoru varAdyatasya te pANikamalasya 315. saya for sai. siddhasiddha. tuha Usava', tuha Asava'. 316. taDibhAveza. 317. dohamappesi, kaMpamoppesi. vAya for vAu. 319. gahaNe', kaoladeg for kaula'. 320. vAlikhilDhahiM. 321. kayapariyaraM for aha pariaro.

Page #168
vindhyavAsinIstutiH ghaa-baDa-dhArA-givahehi maMdiraM vo NavAruNAhehiM / tadiasa-pasu-sira-cchea-pIamAmuai ruhiraM va // 322 // mehAaMtaM tuha taia-NayaNa-sihi-dhUma-maMDalaM shi| vAsui-jIhAo lahaMti taDi-laA-vibhamaM jattha // 323 // sIsammi kao mahisassa devi maraNAa jo hi sNpnnnno| soccia jaNassa jAo tuha calaNo maMgala-hANaM // 324 // komArammi harArAhaNAa hiaammi mann-pjjlie| tai vihio muddha-thaNullaehiM mAlUra-homo vya / / 325 // aMgamavalaMbiAlaMbi-sarasa-Nara-vaaNa-pAaDaM vahasi / ajavi kaMsa-phoDaNa-lalaMta-Niaadvi-siDhilaM va / / 326 // sUeMti vIra-vikkaa-vikkamamiha jAmiNI-masANesu / avalaMvia-kuNava-cchea-pADalA sAhi-sAhAo // 327 // sarasahi-daMDa-loheNa caMDi ahara-ppahAruNe tujjha / jIhA Nia-dasaNa-maUha-maMDaleccea saMvalai // 328 // dhvajapaTadhArAnivahemandiraM vo nvaarunnaabhaiH| pratidivasapazuzirazchedapItamAmuJcati rudhiramiva // 322 // meghAyamAnaM tava tRtIyanayanazikhidhUmamaNDalaM zobhate / vAsukijihvA labhante taDillatAvibhramaM yatra // 323 // zIrSa kRto mahiSasya devi maraNAya yo hi sNpnnH| sa eva janasya jAtastava caraNo maGgalasthAnam // 324 / / kaumAre harArAdhanAya hRdaye madanaprajvalita / tvayA viAhatA mugdhastanakamAlUrahoma iva // 325 / / aGgamavalambitAlambisarasanaravadanaprakaTaM vahAsa / adyApi kaMsasphoTanalalannijakAsthiAMzalamiva / / 326 // sUcayanti vIravikrayavikramamiha yAminIzmazAneSu / avalambitakuNapacchedapATalAH zAkhizAkhAH // 327 // sarasAsthidaNDalobhena caNDi adharaprabhAruNe tava / jihvA nijadazanamayUkhamaNDala eva saMvalati // 328 // 322. te for vo. 325. degthaNuragamehiM, paoharehiM for thaNullaehiM. vihio tai. 326. lulaMtadeg for "lalaMta. 327. sUryati. 328. DaMDa' for degdaMDa',

Page #169
gauDavaho paai-pArasukka-kAyA purao saMcarai revaI tujjha / iha sai saMNihia-mahA-parea-bhaya-mukka-mAsavva / / 329 // pUijjasi bhiNNa-bhuA-viiNNa-ruhiraM va pAavehiM pi / parasu-ppahAra-vialia-kasAya-rasa-soNa-sAhehiM // 330 // annnnonnnn-klh-vialia-kesr-kiilaal-kllia-daaraa| kaavAuNo vi tuha devi sAsaNaM aNusaraMti vva // 331 // uvahArullUria-mAsa-maMDalADaMbarubbhaDehiM va / DiMbaM jAvaa-paDa-maMDaNehiM khambhehiM vivihesi // 332 // kuNavattaNa-sulahUsAsa-kAya-NivvaDia-gAravo appA / tuha dhAraNa-kkhamo kIrai vva jaNu vAhaNa-saveNa // 333 // sohasi muha-mukkAsarisa-ruhira-dhArAhi raANi rUvesu / bhatti-viijjaMtAruNa-dhaa vca taM bhavaNa-mAIhiM // 334 // bahula-paosA baddhaMkura vca tuha devi mahisa-siMgehiM / pArohiNo bva laMbira-maUra-kaMThehiM reheti // 335 // prakRtiparizuSkakAyA purataH saMcarati revatI tava / iha sadA saMnihitamahApretabhayamuktamAMseva / / 329 // pUjyase bhinnabhujAvitIrNarudhirAmiva pAdapairapi / parazuprahAravigalitakaSAyarasazoNazAkhaiH / / 330 // anyonyklhviglitkesrkiilaalkllitdvaaraaH| kRkavAkavo'pi tava devi zAsanamanusarantIva // 331 // upahAratuDitamAMsamaNDalADambaro Tairiva / DimbaM yAvakapaTamaNDanaiH stambhairvividhatse // 332 // kuNapatvasulabhIvAsakAyanivRttagaurava aatmaa| tava dhAraNakSamaH kriyata iva nanu vAhanazavena // 333 // zobhase mukhamuktAsadRzarudhiradhArAbhiH rjniruupessu| bhakti. vikIryamANAruNadhvajeva tvaM bhavanamAtRbhiH // 334 // bahulapradoSAH baddhA. kurA iva tava devi mhissshRgaiH| prArohiNa iva lambanazIlamayUrakaNThaiH zobhante // 335 // 329. bhayavai for paai. saya for sai. 330. degpasariadeg for degvialia. 331. degvilaliadeg for degvialia. 332. degva jaNesi for vivihesi. 334. "mukkAyavakosumadhArAhiM, 'viijjitAruNa. 335. baddhaphalavva. saMge hiM. laMbiya' for deglaMbira'.

Page #170
kalevaradarzane nRetivairAgyam tuha loha-dappaNAvali-saMkamaNAladdha-kasaNa-bhAva vva / sohaMti sabara-jualA meaa-kAyA paNAmesu // 336 // rUvaMcia Navara karAla-dAruNaM kaal-rtti-liilaae| hiaaM puNa te karuNA-raseNa sai vacchalaMcea // 337 // ia vijjha-guhA-NilayAe~ tammi-dala-sabara-siTTha-bhaggAe / pahuNA sapariaraM bhaavaIe~ vihio NamakkAro // 338 // avi a| iha ajavi kiM Nu purANa-bhAva-kavisIkaadvi-baMdhammi / hiauddese rosaggi-piMgimaccea vi'phurai // 339 // tammi ccia saMdhi-pamUa-kIDa-mAlAvile NaDAlammi / hAsAa bhiDi-bhaMgo vya vilihio aha kaaMteNa // 340 // kumbhai oliMbhAbhAva-kuDila-valieNa vaaNa-biMbammi / maaNAhimalaya-vicchitti-vibbhamaM saMpai raeNa // 341 // hA hA taMcea krill-piaamaa-baahu-synn-dullli| uvahANIkaa-vammIa-mehalaM lulai sira-kamalaM // 342 // tava lohadarpaNAvalisaMkramaNAlabdhakRSNabhAvAnIva / zobhante zabarayugalAni mecakakAyAni praNAmeSu // 336 // rUpameva kevalaM karAladAruNaM kaalraatriliilaayaaH| hRdayaM punaste karuNArasena sadA vatsalameva / / 337 // iti vindhyaguhAnilayAyAH vstrdlshbrshissttmaargaayaaH| prabhuNA saparikaraM bhagavatyai vihito namaskAraH // 338 // ihAdyApi kiM nu purANabhAvakapizIkRtAsthibandhe / hRhayoddeze roSAgnipinigamaiva visphurati // 339 // tasminneva saMdhiprasUtakITamAlAvile llaatte| hAsAya dhukuTibhadnga iva vilikhito'tha kRtAntena // 340 // uhyate upadehikAbhAvakuTilavalitena vadanabimbe / madanAdhimalayavicchittivibhramaM saMprati rajasA / / 341 // hA hA tadeva vNshaakurpriytmaabaahushyndurllitm| upadhAnIkRtavalmIkamekhalaM lulati ziraHkamalam // 342 / / 336. degdapphaNA'. sabaraDiMbhA, sabariDiMbhA. 337. kAlakAMti.devi for cea. 338. degsiddhadeg for degsiha. pattavasaNadeg for tamidala. 339. kiNNa and kiMtu for kiM Nu. 341. oliMbhiyabhAva'. 342. karIladeg for karilla.

Page #171
gauDavo paMka-bharioarubhiNNa-virasa-taNa-jaDilie kavAlammi / jAo aho siNiddho kabarI-baMdhassa pariNAho // 343 // hA hA kaMpAvei va haria-malAlaMbiNI dsnn-maalaa| ajavi viNihaTThANea-vIDiA-rasamiva varmatI // 344 // Thia-bhamara-pakkha-bhAvA NivvADia-pattaNA iva sveaN| kAmeNa imammi vi zUNa pesiA maMjarI-bANA // 345 // uddiNaaramiMdusaha hiANalaM sa-raaNa-ppahamimassa / ekavaecia jAaM akhaMDa-tama-baMdhaNaM bhuvaNaM // 346 // ia tammi Nara-kalevara-daMsaNa-mauia-maNeNa Nara-vaiNA / paDivaNNa-vivea-viappa-sarasamaNusoiaM suiraM // 347 // avi a| bahuso bahutta-visahara-maNi-ppahA-raMjia vva te jANa / aMtoccia Niti Nivesia-ppahA piccha-pabbhArA // 348 // varahINa tANa rasikaM puliMda keAra-pavirala-dumesu / NaMdei tassa taDa-Nijjharesu giri-dhUma-kalusesu // 349 // yugmam pakabhRtodarodbhinnavirasatRNajaTilite kpaale| jAtaH aho snigdhaH kabarIbandhasya pariNAhaH // 343 // hA hA kampayatIva haritamalAlambinI dshnmaalaa| adyApi vinighRSTAnekavITikArasamiva vamantI // 344 / / sthitabhramarapakSabhAvA nirtitapatraNA iva savegam / kAmenAsminnapi nUnaM preSitA majarIbANAH / / 345 // uddinakaramindusahaM sthitAnalaM srtnprbhmsy| ekapada eva jAtamakhaNDatamonbadhana bhuvanam / / 346 // iti tasmin narakalevaradarzanamRdUkRtamanasA nrptinaa| pratipannavivekavikalpasarasamanuzocitaM suciram // 347 // bahuzaH upabhuktaviSadharamaNiprabhAraJjitA iva te yeSAm / antareva niryanti nivezitaprabhAH picchaprArabhArAH / / 348 // barhiNAM teSAM rasitaM pulindakedArapraviraladumeSu / nandayati tasya taTanirjhareSu giridhUmakaluSeSu // 349 // 343. yaruvvariyadeg for * yarubhiNNa'. pariNAmo for pariNAho. 346. nibbharaMdeg for degbaMdhaNaM. 347. viyappapasaramaNu'. 349. taDi', taladeg for taDa. kalasesu.

Page #172
vindhyagirisaMcAraH uvauta- salaI-kaMDa-pADaluccAra kesarillIo / pecchai mAaMga-vaNa-tthalI so jUha-paavIo || 350 / / kIrai va tassa tAlI - phala- piMDa moDaNummuha karehiM / rija-sira- kavalaNa - joggA pariggaho jaya gaIdehiM // 351 // bhaya lola - puliMda-bahU virika- guMjAvalI -kaNa karAlA / jAA se rosANala phuliMga-bharia vva giri-maggA // 352 // kaNNa-Tria sihi-piMccha cchaleNa kaa-pattaNA iva salIlaM / muccati savara- ramaNIhiM NayaNa-bANA NariMdammi // 353 // aha se bharaNa gaa dANa- vaDala kalusia - disA - aDa hoo / mAyA- Nimmavia-tamI muho vva calio magaha NAho // 354 // kiM ca jAaM / kiM pi vikaMpia - gimhA avaraNDukaMTha- sAlasa-maUrA / haria-vaNa- rAi- suhaA udesA deti ukaMTaM || 355 // umhAr3a gimha-viharA bahala - busAsAra-laMviavimukkA / mailia-talAa-mUlA kilaMta viralaMkurA vasuhA // 356 // upayukta salakIkANDapATalIccAra ke saravatI / prekSate mAtaGgavanasthalISu sa yUthapadavIH // 350 // kriyata iva tasya tAlIphalapiNDAmoTanonmukha karaiH / ripuziraH kavalanayogyAparigraho jayagajendraiH // 351 // bhayalolapulindavadhUviriktaguMjAvalIkaNakarAlAH / jAtA asya roSAnalasphuliGgabhRtA iva girimArgAH / / 352 // karNasthita zikhipicchacchalena kRtapatraNA iva salIlam / mucyante zabararamaNIbhirnayanavANA narendre || 353 // athAsya bhayena gajadAnapaTalakaluSitadizAtaTAbhogaH / mAyAnirmitatamImukha iva calito magadhanAthaH // 354 // kiM ca jAtam / kimapi vikampitagrISmA aparAhvotkaNThasAlasamayUrAH / haritavanarAjisubhagA uddezA dadatyutka - NThAm / / 355 / / USmAyate grISmavidhurA bahalabusAsAralaGghitavimuktA / malinitataDAgamUlA klAntaviralAGkarA vasudhA // 356 // 55 350. piccha so vijhavaNatthalAsu mAyaMgapayavIo. 352. 'virakka'. 353. piccha", saveyaM for salIlaM. 354. mayadeg for gaa. 355. akaMpiyadeg for vikaMpia. 356. uNhAi.

Page #173
56 Nava- roha-cchea-suaMdha-visama-vasuhA- vilaMbiapavAhA / gholaMti hima- rasoAra - sisira - salilA giri-Io // 357 // agghati NIla-vaNa- rAi pari arummillamANa - sohaggA / ahiNava- paDala-pariggaha- gora-ggAmA disAhoA / / 358 // sAyaM sa mAruAsAra sea - saddalia - kANaNA hoMti / gimheccia jalaAraMbha - komalA mahihara - NiaMbA // 359 // sota - kalasA Io pajjatta - kalaMba - gaMdhiNo pavaNA / ghaNa - DaMbaraM viNA pAusassa tAruNNaaM galai // 360 // boliMti gimhaNidaM pahiA liMgAhisea - sisiresu / UDha - kalaMbajjuNa - parimale sura -maMdiraMtesu || 361 // taha tatta-Naara-racchA sahati mehAvalaMbi-ravi- viMbA | dharaNi - pariTThia - gimhA Naha gholira - pAusA diasA // 362 // vari a vasuhAvi-jaya- gaiMda-sIara - kaAhisea vva / jAA NiAha- pariNAma - dhUsarA dinaara-maUhA // 363 // gauDavaho navarohaccheda sugandhaviSamavasudhAvilambitapravAhAH / ghUrNante himarasAvatArazizirasalilA girinadyaH // 357 // rAjante nIlavanarAjiparikaronmIlyamAnasaubhAgyAH / abhinavapaTalaparigrahagauragrAmA dizAbhogAH // 358 // sAyaM samArutAsArasekazAdvalitakAnanA bhavanti / grISma eva jaladArambhakomalA mahIdharanitambAH / / 359 / / srotaH kaluSA nadyaH paryAptakadambagandhinaH pavanAH / dhanaDambaraM vinA prAvRSastAruNyaM galati // 360 // gamayanti grISmanidrAM pathikA liGgAbhiSekazizireSu / UDhakadambArjunaparimaleSu suramandirAnteSu // 361 // tathA taptanagararathyAH zobhante meghAvalambiravibimbAH / dharaNIpariSThitagrISmA nabhoghUrNanazIlaprAvRSo divasAH || 362 // anantaraM ca vasudhAdhipajayagajendrazIkara kRtAbhiSekA iva / jAtA nidAghapariNAmadhUsarA dinakaramayUkhAH // 333 // 357. pahA for 'pavAhA. 'rasovAra 360. pajjeta. 363. sIyalA for 'dhUsarA.

Page #174
kiM ca jAaM / aMto- ghara - cira- NiggamaNa - Nasahi Alo a-kUNiA valai / NiddA- vimadda-parilulia sAlasAaMbirA diThThI // 364 // pIlia - tamAla-pallava-sayaNijja rasolla-ha-vaaM harai / Nava- kesara-mAlA - surahi-mehalAlaMkiaM jahaNaM // 365 // takkhaNa-vicchUDha- muNAla-valaya-sIala - paDaTTa - parimAsA / sohaMti jaladdA malia - caMdaNA bAhu-laiAo || 366 // Nava-kaNa kiMkiNI- Niha-caMpaa - kusumAvaNaddha-maMjIraM / hara parikomaluvvUDha - besa-laDahaM paribbhamiaM || 367 // pia-pariraMbhummUlia Naha-vaa - parisesa - caMdaNa - suaMgho / agghai dala-sabala-kalaMba-dAma-hAro thaNucchaMgo // 368 // thoa-surA-maa-saMbhiNNa-sarasa- pADala- kavola paDilaggaM / ummillai ke ai-gavbha-vatta-tADaMka- lAyaNNaM // 369 // ia bhai bhavaNa- siharesu gimha - pariNAma - thoa-satthAmo / virala-jala - biMdu - Nivvavia - gaMDa- vAso piA - sattho / / 370 / / - grISme vanitAvibhramAH kiM ca jAtam / antargRhaciranirgamananasoDhAlokakUNitA valati / nidrAvimardaparilulitasAlasAtAmrA dRSTiH // 364 // pIDitatamAlapallavazayanIyarasArdranakhapadaM harati / navakesaramAlA surabhimekhalAlaGkRtaM jaghanam // 365 // tatkSaNavikSiptamRNAlavalayazItala prakoSThaparimazaH / zobhante jalArdrA marditacandanA bAhulatikAH // 366 // navakanakakiGkiNInibhacampakakusumAvanaddhamaJjIram / harati parikomaloDhaveSaramyaM paribhramitam // 367 // priyaparirambhonmUlita nakhapadaparizeSacandanasugandhaH / rAjate dalazabalakadambadAmahAraH stanotsaGgaH // 368 // stokasurAmadasaMbhinnasarasapATalakapolapratilagnam | unmIlati ketakIgarbhapatratATakalAvayam / / 369 / / iti bhramati bhavanazikhareSu grISmapariNAmastokasasthAmA / viralajalabindunirvApitagaNDapArzvaH priyAsArthaH // 370 // 364. asahiyA for 'NasahiA parigAsA for pauddhaparimAsA. 367. piyA.. 57 365. laMchiyaM for laMkiaM. 366. paubaddha' for Naddha 370. juvai for

Page #175
gauDavaho kiM ca / iha tea-meh-sNvlnn-sisir-vicchaay-kvis-rvi-biNbaa| agghati bhagga-pavaNA areNu-paridhUsarA diahA // 371 // ukaMTha-barahi-cUDA-viDavaMdolaNa-taraMgio vahai / avirala-jaMbu-phalAsAra-vaDaNa-muhalI iha samIro // 372 // iha uvvellai dara-pIa-salila-parisAmaloaraddhaMtA / paraMta-dhavala-gaa-kaNNa-kabburA meha-patyArI // 373 / / iha ahimuha-maMjariajjuNAsu avaADha-kuDaa-gaMdhAsu / vAsa-suhaAsu muNiNo gati diahe giri-aDIsu // 374 // bUDhoaa-kaa-rava-cuNNa-kalusa-pAlAsa-phala ksvvaao| iha sohaMti darovvuTu-sAmalA raNNa-bhUmIo // 375 // aNNesiavva-pavaNA AsAraMtesu smhiumhaalaa| ee te cUa-vaNANa hoti pariNAmaA diahA // 376 // umhaal-kumuul-muhuccrNt-ra-phrus-mea-gNdhaaii| AsAra-jaDe diahe gaMdaMti kuDubi-gehAI // 377 // kiM ca / iha tejomeghsNvlnshishirvicchaaykpishrvivimbaaH| rAjante bhagnapavanA areNuparidhUsarA divasAH // 371 // utkaNThabahicUDAviTapAndolanataraGgito vahati / aviralajambuphalAsArapatanamukhara iha samIraH // 372 // iha udvellati drpiitslilprishyaamlodraardhaantaa| paryantadhavalagajakarNakarburA meghasaMhatiH / / 373 // ihAbhimukhamaJjarIkArjunAsu avgaaddhkuttjgndhaasu| varSAsukhadAsu munayo gamayanti divasAn giritaTISu // 374 // vyUDhodakakRtaravacUrNakaluSapAlAzaphalavyAtAH / iha zobhante darovRSTazyAmalA araNyabhUmayaH / 375 // anveSitavyapavanA AsArAnteSu smdhikossmvntH| ete te cUtavanAnAM bhavanti pariNAmakA divasAH // 376 // uussmvtkusuulmukhoccrdrjHprussmedogndhaani| AsArajaDe divase nandanti kuTumbigehAni // 377 // . 371. caMya for tea. 375. sIyalA for degsAmalA. 376. mrayimumhAlA for samahiumhAlA. 377. muhuddharaMta.

Page #176
grISmavarNanam phala-sAra- liNi- gahaNA iha dAru-cchea-paviralA hoMti mUla- dvia-vAa-kalaMva- kavisa-vasuhA vaNuddesA // 378 // Nava ke ai-vAsia - kesa -saMjamA dakkhiNAo NArIo / iha tA aNAarujjala-haliddi - rAja virAaMti // 379 // iha kosumeNa cAveNa jo jaai sAhuNA visama-vANo / lahiUNa pAga - sAsaNa - sarAsaNaM kaha Na viSphurai // 380 // ia kaMThA-paDivaNNa- hiaa - parikomalA pavati / saMlAvA kAla - sahAa - saMsiNo kaDaa-loassa // 381 // kaMTha - NihuaM ca gIaM aladdha - NidaM ca NijjaNa-pasuttaM / saraso kaMThA - Nivbharassa hiaassa vIsAmo // 382 // kiM ca jAaM / umhA aMta - giri- aDaM sImA - NivvaDia - kaMdalubbheaM / NivvAi virala dhArA- baMdhuria - raaM dharaNi veDhaM // 383 // AsAra - tADiAI balAa-luppaMta- calia-saharAI / sariA vahati saMpai apea-paMDUI salilAI || 384 // phalasAranalinIgahanA iha dArucchedapraviralA bhavanti / mUlasthitazuSkakadambaka pizavasudhA vanoddezAH // 378 // navaketakIvAsitakezasaMyamA dakSiNA nAryaH / iha tAvadanAdarojjvalaharidrArAgA virAjante // 379 // iha kausumena cApena yo jayati sAdhunA viSamavANaH / labdhvA pAkazAsanazarAsanaM kathaM na visphurati // 380 // iti utkaNThApratipannahRdayaparikomalAH pravartante / saMlApAH kAlasvabhAvazaMsinaH kaTakalokasya || 381 // kaNThanibhRtaM ca gItamalabdhanidraM ca nirjanaprasuptam / sarasa utkaNThAnirbharasya hRdayasya vizrAmaH || 382 / / kiM ca jAtam / USmAyamANagiritaTaM sImAnirvRttakandalodbhedam | vizrAmyati viraladhArAbandhuritarajaskaM dharaNIpITham // 383 // AsAratADitAni balAkAlupyamAnacalitazapharANi / sarito vahanti saMprati apeyapANDUni salilAni // 384 // A 378. tAyakaraMbadeg for vAakalaMba'. 'kalusa' for 'kavisa 380. ko sumehiM bANehiM jo jaI. 382. komalassa for fNabbharassa. 384. 'saTarAi for saharAI. aate for apea .

Page #177
gauDavaho aavNddu-slil-lNghia-vsuaaaamlinn-sevl-sihaao| jala-raMku-dukkha-lakkhia-saharA gholaMti sariAo // 385 // vilulia-pisaMga-vallI-viANa-uddesa-komala-phalANa / pavirala-rakkhANa sirI vialai vAluMki-bADANa // 386 // Na calai NavaMbu-dhoraM pi pallale virala-muha-kaUsAsaM / mINa-ulaM saharaMtara-parisaMgaa-paMka-garuaMga // 387 // viarai sddl-rehaaamaann-sur-dhnnu-nnives-suhammi| gaaNa-tthalammi go-maMDalaM va valayaM balAANaM // 388 // dIsai NiraMtarubhiNNa-haria-hari-cAva-dala-karAlaM / pariosuppaia-maUra-jAla-sabalaM va gaaNaddhaM // 389 // paaDAai gimhANila-veAmUlukkhaammi raa-paDale / saddala-pariNIlamaho kamaDha-kavAlaM va mahi-vedaM // 390 A // visahaMti Nia-visANala-paavijaMtaMga-maggia-pphaMsaM / dhArAdUmia-phaNa-maMDalA vi phaNiNo NavAsAraM // 390 B // ApANDusalilalayitazuSkAmalinazaivalazikhAH / jalarakuduHkhalakSitazapharAghUrNante sritH||385|| vilulitapizaGgavallIvitAnoddezakomalaphalAnAm / praviralarakSANAM zrIrvigalati vAlukIvATAnAm // 386 // na calati navAmbudhautamapi palvale viralamukhakRtocchvAsam / mInakulaM zapharAntaraparisaMgatapakagurvagam // 387 // vicarati zAhalarekhAyamANasuradhanurnivezamubhage / gaganasthale gomaNDalamiva valayaM balAkAnAm // 388 // dRzyate nirantarodbhivaharitaharicApakandalakarAlam / paritoSotpatitamayUrajAlazabalamiva gaganArdham // 389 / / prakaTAyate grISmAnilavegAmUlotkhAte rajaHpaTale / zAdalaparinIlamaho kamaThakapAlamiva mahIpITham // 390A // viSahante nijaviSAnalapratapyamAnAGgamArgitasparzam / dhArAdUnaphaNamaNDalA api phaNino navAsAram // 390B // 386. vilasai for vimalai. vallIvahANa. 387. navaMbudhoyami. selaMtaradeg for saharaMtara. 389. gayaNayalaM for gayaNaddhaM. 390. giMbhANila'. kavADaM va for kavAlaM va.

Page #178
grISmavarNanam paDisaMta-raAsaNNA amANa- giri-maMDalA virAaMti / kAmaM sAmIkaa-gaa- ulAo kAsAra - lehAo || 391 // chAyA ekkAsAre vi phurai ai - reNu - NIlA | gimhAhaa - viraludesa-piMga-viDavANa ucchraNa / / 392 // ghaDia - phuDiaMtarAo gahia - visa- dvANa - paMDura - jalAo / ahirAaMti dhuAruNa - kaseru - mUlAo sarasIo || 393 // jalaANila-raMkholia - hari aMkura - sisira-pAava-talAI / salilAhaa-virasouMbarAI jAAI raNNAI || 394 // sisira-cchAsu ciraM asiMdhu-taraMga - puliNa-suhaesu / pahiehi~ vIsamijjai vihaMga - muhalesu vacche || 395 // Nava-varaNaa-goraMtara-hiMsI-vaNa-matta-lAva a-kulAo / jAo bhavaNagga- giacchi avva-sohAo sImAo // 396 // Aava-kaDhamANa NavaMbu siNNa-dara- gora- sAliNo hoMti / sImaMtA kacchava- poa-paTTi - paridhUsarudesA // 397 // pratizAntarajaAsannAyamAnagirimaNDalA virAjante / kAmaM zyAmIkRtagajakulA AsAralekhAH / / 391 / / chAyA ekAsAre'pi sphurati nirdhotareNunIlAnAm / grISmAhataviralodezapiGgaviTapAnAmikSUNAm / / 392 / / ghaTita sphuTitAntarA gRhItabisasthAnapANDurajalAH / abhirAjante dhutAruNakaserumUlAH sarasyaH / / 393 // jaladAnilakampitaharitAGkurazizirapAdapatalAni / salilAhatavirasodumbarANi jAtAnyaraNyAni // 394 // ziziracchAyeSu ciraM udakasindhutaraGgapulinasubhageSu pathikairvizrAmyate vihagamukhareSu vRkSeSu || 395 || navavaraNakagaurAntarahiMsIvanamattalAvakakulAH / jAtA bhavanAgradraSTavyazobhAH sImAnaH // 396 // AtapakkathamAnanavAmbusvinnadaragaurazAlayo bhavanti / sImAntAH kacchapapotapRSThaparidhUsaroddezAH / / 397 / / 392. gimhAgaya. 393 NavAruNa. 394. kholira. 395. uvasiMdhu, kacche su. 61

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62 gauDavaho masiNuNNaa-peraMtaM vAvINa jalAgamoNaaM hoi / .. . giddhoa-kaddamANIla-kakkarudaMturaM varaNaM // 398 // .. vAricchea-darAvIa-salila-bosaTTamANa-kalamAo / jAAo sIra-khaMDia-muttha-suaMdhAo bhUmIo // 399 / / AraMbhiNo vva saMpai dUruggaa-diNaarA vi nnjjti| dUruggaA vi parilAMghaNa bva diahA NavanbhehiM // 400 // kA vi sirI gaa-gohaNa-parilakvijaMta-viaDa-bhAvANa / UsAsaa-taNa-gahIrAamANa-maggANa kacchANa // 401 // samahia-saMjjhA-rAA viuNuccaramANa-giri-Nai-rabAo / jAA saMtANa-paatta-kIDa-viruAo raaNIo // 402 // uggaMdha-maila-vasuhA sahati NivvaDia-raggaa-cchAyA / dudiNa-visadda-dUrAamANa-tUrAo NaarIo // 403 // jAAo salila-dhArA-virAma-NivaDia-paha-jaluggArA / vijjujjoAlavikhaa-meha-vihaMgAo raaNIo // 404 // masRNonnataparyantaM vApInAM jalAgamAvanataM bhvti| nirdhItakardamAnIlakarkarodanturaM varaNam // 398 // vAricchedadarApItasalilavikasatkalamAH / jAtAH sIrakhaNDitamustasugandhA bhUmayaH / / 399 // ArambhiNa iva saMprati dUrodgatadinakarA api jJAyante / dUrodgatA api pariladhina iva divasA navAbraiH // 400 // kApi zrIrgatagodhanaparilakSyamANavikaTabhAvAnAm / uccasitatRNagabhIrAyamANamArgANAM kacchAnAm // 401 // samadhikasaMdhyArAgA dvigunnoccrmaanngirindiirvaaH| jAtAH saMtAnapravRttakITavirutA rjnyH||402|| udgandhamalinavasudhA zobhante nirvtitkausuNbhvstrcchaayaaH| durdinavizabdadUrAyamANatUryA nagaryaH // 403 // jAtAH saliladhArAvirAmanirvartitapathajalodgArAH / vidyududyotAlakSitameghavibhaGgA rjnyH||404|| 398. "gamANayaM. vayaNaM for varaNaM. 399. tAricchea. pavaNa for degsalila'. sImAo for bhUmIo. 40.. parilaMbiNo vva. 402. dUraccara' for viuNuccara' 403. duggaMdhamaila, vimadda for visadda, rayaNIo for NayarIo. 404. vihAgAo for vihaMgAo.

Page #180
varSAvaNarnam kIDAvilaMkura-sihA dhaaraa-kdmia-kcch-kaasaaraa| chetta-NisammaMta-sarADi-maMDalA hoti sImaMtA // 405 // gaaNaM ca matta-mehaM dhArA-luliajjuNAI a vnnaaii| . NirahaMkAra-miaMkA harAMti NIlAo a NisAo // 406 // jalaAgamammi majjai jalammi sIaMta-Nai-aDa-NivesaM / mahu-maha-talimattaNa-ghaDia-sesa-mukaM va mahi-veDhaM / 407 // taNailla-taru-alANaM asebva-kalusuNha-pallala-jalANa / dUrAloeccia pAusammi lacchI vaNaMtANaM // 408 // uussia-rnnnn-siimaavroh-sihraahilkkh-tru-sNddaa| dasiMti NibuDDA iva valaMta-dhUmocchaA gAmA // 409 // dhArA-kiliNNa-vattaM Asurahi-kasAya-kesaraddhaMtaM / pariNamai baMdhaNeccia parisiDhilaM jUhiA-kusumaM // 410 // NaMdaMti NaMdia-dumA AsAra-cchea-sIala-samIrA / hiaaM thala-magga-valaMta-gohaNA raNNa-paraMtA // 411 // kITAvilAdakurazikhA dhaaraakrdmitkcchkaasaaraaH| kSetrAnazAmyaccharATimaNDalA bhavanti sImAntAH // 405 // gaganaM ca mattameghaM dhArAlulitArjunAni ca vanAni / nirahadakAramRgAkA haranti nIlAzca nizAH / / 406 // jaladAgame majjati jale sIdannadItaTanivezam / madhumathazayyAtvaghaTitazeSamuktamiva mahIpITham / 407 // tRNavattarutalAnAmasevyakaluSoSNapalvalajalAnAm / dUrAloka eva prAvRSi lakSmIrvanAntAnAm // 408 // ucchvasitAraNyasImAvarohazikharAbhilakSyatarupaNDAH / dRzyante nimannA iva valaddhamAvaraNA graamaaH||409|| dhArAklinnapatramAsurabhikaSAyakesarArdhAntam / pariNamati bandhana eva parizithilaM yUthikAkusumam // 410 // nandanti nanditadumA aasaarcchedshiitlsmiiraaH| hRdayaM sthalamArgavaladgodhanA araNyaparyantAH // 411 // 407. majjata for sIyaMta. 410. parijarada for parisiDhilaM. 411. sAyaM for hiaaM. vahaMta for valaMta.

Page #181
64 gauDavaho NibiDa-duma-maMDalAiM NiraMtarUsasia-saddala-sihAI / vacaMti bahala-bhAvaM puMjijjaMtAI va vaNAI // 412 // Navari a payANa-samuhassa pAuseccia kiNAvi NaravaiNo / NIrAijati va valia-vijju-calayA disaahoaa||413 // sohai vimuha-paattassa jhatti magahAhivassa viNiatto / ukkA-daMDassa va sihi-kaNANa Nivaho NariMdANa // 414 // agghai tattha raNAraMbha-bhiNNa-bhaDa-soNia-cchaDAaMbaM / dhArAadvia-palhattha-vijju-va yaM va mahi-veDhaM // 415 // tiasa-raha-pellia-ghaNo nnh-duNduhi-bhl-gjiuggaaro| jAo pahuMta-maMdAra-NibiDa-dhAro NahAhoo // 416 // ahavi valAaMtaM kavaliUNa magahAhivaM mahI-NAho / jAo elA-surahimmi jalahi-velA-varNatAmma // 417 // raaNa-kavilAsu sohai velA-puMjia-silAsu se bhamizra / phala-bhaMga-mahura-gaMdhAsu NAlierI-vaNAlIsu // 418 // nibiDadumamaNDalAni nirntrocchvsitshaadvlshikhaani| vrajanti bahalabhAvaM pujyamAnAnIva vanAni // 412 // anantaraM ca prayANasaMmukhasya prAvRSyeva kenApi narapateH / nIrAjyanta iva valitavidyuddhalayA digAbhogAH // 413 // zobhate vimukhapravRttasya jhaTiti magadhAdhipasya vinivRttaH ulkAdaNDasyeva zikhikaNAnAM nivaho narendrANAm // 414 // rAjate tatra rnnaarmbhbhinnbhttshonnitcchttaataamrm| dhArAkRSTaparyastavidyudvalayamiva mahIpITham // 415 // tridazarathapreritadhano nabhodundubhibahalagarjitodgAraH / jAtaH patanmandArAnibiDadhAro nabhaAbhogaH // 416 // athApi palAyamAnaM kavalayitvA magadhAdhipaM mahInAthaH / yAtaH elAsurabhau jaladhivelAvanAnte // 417 // ratnakapilAsu zobhate velApujitazilAsu asya bhrAntam / phalabhaGgamadhuragandhAsu nAlikerIvanAlISu // 418 // 413. jaliyadeg for valia. 414, pariyatto for viNiatto. 415. tassa or tattha. 416. ganjioyAro, payatta for paData. 418. phalasaMgamahugagaMdhAsu.

Page #182
dakSiNadiggamanam kiM c| jaya-gaa-kuMbhaSphAlaNa-phuraMta-siMdUra-rAvio jANa / dUruggao vi No muai raaNi-virama-cchaviM sUro // 419 // calaNa-Naha-cchavi-viccholiAI kAUNa tANa vaMgANa / ahiNava-paNAma-velakkha-paMDurAI piva muhAI // 420 // calio kuMbhI-phala-daMturAsu dihri vasuMdharA-NAho / raNNa-sthalIsu deMto NirUsuAsINa-hariNAsu // 421 // avi a| bala bhara-pIDA-khupaMta-sesa-sira-raaNa-maMDalA jassa / gabbha-parisaMThiAra vva calai vihuroaraM vasuhA // 422 // dakSiNa-disA-riMdeNa teNa paaaddia-pesl-pnnaamo| jAo paheNa malayAvalaMbiNA meiNI-NAho // 423 // kiM c| rahasa-ccheAara-kaa-kaaggahuttANa-vivaliaccheNa / jeNa pasAAhimuhaM muhamasamasarAriNo diTuM // 424 // kaMThAhoesu kaA sasaMbhamaM jassa vsh-iNdhnn| mauli-miaMkAmaa-sea-bhagga-viaNA vaNa-ccheA // 425 // kiM ca // jayagajakumbhAsphAlanasphuratsindUraraJjito yeSAm / dUrogato'pi no muJcati rajanIviramacchaviM suuryH||419|| caraNanakhacchaviviccholitAni ( dhautAni) kRtvA teSAM vaGgAnAm / abhinavapraNAmavailakSyapANDurANIva mukhAni // 420 // calitaH kUSmANDIphaladanturAsu dRSTiM vasuMdharAnAthaH / araNyasthalISu ddnnirutsukaasiinhrinnaasu||421 // api ca // balabharapIDAmajjaccheSaziroratnamaNDalA yasya / garbhaparisaMsthitAra iva calati vidhurodaraM vsudhaa||422|| dakSiNadizAnarendreNa tena prakaTitapezalapraNAmaH / yAtaH pathA malayAvalambinA mediniinaathH|| 423 // kiM ca // rabhasacchedAdarakRtakacagrahottAnavivalitAkSeNa / yena prasAdAbhimukhaM mukhamasamazarAradRSTam // 424 // kaNThAbhogeSu kRtA sasaMbhramaM yasya vRSabhacihnana / maulimRgAkAmRtasekabhanmavedanA vraNacchedAH // 425 // 419. raMjio for 'rAvio. 423. dAhiNa for dakkhiNa. 425. vasahaciMdheNa.

Page #183
66 gauDavaho divAoM NavaNavANaNa-sohA puNo varAhi sNpnnnnaa| sAara- vAmaddha-paNAmimi maNi-dappaNe jeNa // 426 // pariuThe sANa-NirUsueNa sA jeNa caMda-hAsassa / parimuTThA Nia-kaMThaDhi-cuNNa-puMjaMkiA dhArA // 427 // mAlaA paMsulia-kareNa jassa vimhaya-rasA ti-NayaNeNa / tulioAria-kelAsa mUla-paMkiA bAhU // 428 // saMkA-maMthara-saMcAra-dUmio jassa bhavaNa-kacchAsu / saMcarai tiasa-baMdI-sasiehiM NiraggalaM pavaNo // 429 // taM pi dasa-kaMdharaM hari-sueNa kakkhaMtarammi kAUNa / jammi samududdese bhamizra patto pahU tammi // 430 // avi a| rosArUDho paripADalesu muha-maMDalesu suhaDANa / pahara-samaMcia NivvaDai sAmalo soNiuppIlo // 431 // bl-sNkhohukkha-rennu-nnivh-nnitttthia-vsuNdhraa-paddo| dIsai sesa-phaNA-maNi-rAo iva ruhira-vicchaDDo // 432 // dRSTA navanavAnanazobhAH punarvarAta sNpnnaaH| sAdaravAmArdhapraNAmite maNidarpaNe yena / / 426 // parituSTe zANanirutsukena sA yena candrahAsasya / parimRSTA nijakaNThAsthicUrNapunAkitA dhArA // 427 // mRditAH pAMsuli. takareNa yasya vismayarasAt trinayanena / tulitAvatAritakailAsamUlapa kAdikatA baahvH||428 // zaGkAmantharasaMcAradUno yasya bhvnkkssaasu| saMcarati tridazabandazvisitairnirargalaM pavanaH // 429 // tamapi dazakandharaM harisutena kakSAntare kRtvaa| yasmin samudroddeze bhrAntaM prAptaH prabhustasmin // 430 // api ca / roSArUDhaH paripATaleSu mukhamaNDaleSu subhaTAnAm / prahArasamameva nirvartate zyAmalaH zoNitotpIDaH // // 431 // balasaMkSobhItkhAtareNunivahaniSThitavasuMdharAprakaTaH / dRzyate zeSaphaNAmaNirAga iva rudhirarAziH // 432 // 426. saMpunA for saMpaNNA. 428. vimhaya vasA. 431. mAsalo for sAmalo. 432. balabharasakhohiyareNu.

Page #184
pArasIkaparAbhavaH pariNai-kuMDalia-karAvavIDaNA maDaha-gaMDa-vivarehiM / uddhaM Nibaddha-veA gaehiM muccaMti maa-dhArA // 433 // parirujjhai amarisa-dasaNa-kaTTiAhara-Niruddha-vaaNehiM / asamANia-pahu- kajjattaNeNa jI piva bhaDehiM // 434 // dhAvaMti s-sll-bhddNg-kvlnnaaar-duhaavia-muhiio| virasA sivAoM soNia-kagulla-pavirellia ravAo // 435 // paDihAi bUDha-joho vi paDhama-NibiDo vva saMgaruddeso / usmUNa-bhAva-saMsatta-turaa-Nara-ruMDa-kaa-DiMbo // 436 // Arakkha-vaNa-muhuggiNNa-bhUri-bhaMga-TThiaMkusa-khaMDaM / rahasA vihaDia-bhamaraM va dhuNai vaaNaM jaya-gaiMdo // 437 // avajIva-bhAva-garuAamANa-palhattha-kAya-NivahAI / jAAI duvbahAI va phaNiNo tAicia balAI // 438 // ia se jaya-paraMto puhaI-vaiNo parikkhaa-pahANo / tumulo mahAhavo Asi ciraaraM pArasIehi // 439 // - pariNatikuNDalitakarAvapIDanAt laghugaNDavivaraiH / Urdhva nibaddhavegA gajairmacyante mddhaaraaH||433|| parirudhyate amrssdshnkRssttaadhrniruddhvdnaiH| asamApitaprabhukAryatvena jIvitamiva bhaTaiH // 434 / / dhAvanti sshlybhttaagkvlnaadrduHkhitmukhaaH| virasAH zivAH zoNitakaNArdravistAritaravAH // 435 / / pratibhAti vyUDhayodho'pi prathamanibiDa iva sNgroddeshH| ucchUnabhAvasaMsaktaturaganararuNDakRtaDimbaH / / 436 // ArakSavraNamukhodgIrNabhUribhaGgasthitAkuzakhaNDam / rabhasA vighaTitabhramaramiva dhunoti vadanaM jayagajendraH // 437 // apajIvabhAvagurUyamANaparyastakAyanivahAni / jAtAni durvahAnIva phaNinastAnyeva balAni // 438 // iti tasya jayaparyantaH pRthvIpateH prikssyprdhaanH| tumulo mahAhava AsIt cirataraM paarsiikaiH|| 439 // 435. kallolavireliya. 437. raMgadeg and bhagga for bhaMga.

Page #185
gauDavaho kiM ca / uhaoahi-paDilaggA dhaNu-pellia-koDi-calia-vIaddhA / Nijjati jettiaM eMti tettiaMcea dharaNi-harA // 440 // ekkammiccia sele pUria-bhuvaNa-calae samosarie / AloiuM paattA saala vva paridviA vasuhA // 441 // ihahuttaM NivaDaMtA NollaMti paNolliA dharA-valayaM / Najjai ettohuttaM paraohuttaM va dharaNi-harA // 442 // ekkeNaMcia cAvagga-bhiNNa-laggeNa pellio girinnaa| Nijjai puMjia-raa-pUriaMtaro sela-saMghAo 443 // selANa cAva-pellia-taDa-meha-paData-vijju-valayANa / pakkha-cchea-TThia-kulisa-salla-saalAI va galaMti // 444 // Nijjati muhala-mUlA cala-pAava-NijjharA khalaMta-silA / sama-visama-bhUmi-laMghaNa-taraMgiNo sel-sNghaaaa||445|| AsA-gaehiM sarahasa-cAvagga-paNollaNA-paattaMtA / dhAvia-paDigaa-saMkAluehi bhijati kula-selA // 446 // kiM ca // ubhayodadhipratilagnA dhnusspreritkotticlitdvitiiyaardhaaH| nIyante yAvad yanti tAvadeva dharaNIdharAH // 440 // ekasminneva zaile pUritabhavanavalaye smpsRte| AlokayituM pravRttA sakaleva pariSThitA vasudhA // 441 // ihAbhimukhaM nipatanto nodayanti praNunA dharAvalayam / jJAyate ito'bhimukhaM parato'bhimukhamiva dharaNIdharAH // 442 // ekenaiva cApAgrabhinnalagnena prerito girinnaa| nIyate pujitarajaHpUritAntaraH zailasaMghAtaH // 443 // zailAnAM cApapreritataTameghapatadviAdvalayAnAm / pakSacchedasthitakulizazalyazakalAnIva galanti // 444 // nIyante mukharamUlAcalapAdapanijharAH skhalacchilAH / samaviSamabhUmilaGghanataraGgiNaH zailasaMghAtAH // 445 // AzAgajaiH srbhscaapaagrprnnodnaaprvrtmaanaaH| dhAvitapratigajazakAvadbhirbhidyante kulazailAH // 446 // 440. yaMti for enti. 441. samuTThiyA for pariTThiA. 444. valayAI for degvalayANa. 445. degtaraMgiyA for taraMgiNo.

Page #186
pRthurAjasya parvatanirAsaH dIsati gmnn-nnivddia-sihr-silaa-bhria-muul-vitthaaraa| khutta-dhaNu-magga-Niggama-paatta-paDhamujjharA giriNo // 447 // pAAla-bharia-mUlA pellia-nnikkhNt-dhnnu-smoliaa| muccaMti thoa-tuliA bhU-bhaMga-bhaeNa dharaNi-harA // 448 // je Asi girINa purA saMcaya-viaDA mahA-NaI-pavahA / osAriANa teccia thalIhiM pijjaMti jala-sotA // 449 // jesu girI avaNI jesuM ca NivesiA nnriNdenn| doNi vi bhiNNa-sarUvA jAA aNNa bva uddesA // 450 // majjha-samosariammi a paraMta-paridie a giri-jaale| oarai mahiM va NahaM Aruhai mahi vva gaaNa-alaM // 451 // caav-pnnollnn-nnivddia-sel-bhrtekvaas-puNjio| bahu-jalaaro vva dIsai soccia maDaha-TThio jalahI // 452 // jAA ravi-ara-paripillaNeNa thoumha-piMjara-cchAyA / cira-Ala-dvia-mahihara-Niroha-mukka vva Naha-maggA // 4 // dRzyante gmnniptitshikhrshilaabhRtmuulvistaaraaH| nimanadhanurginirgamapravRttaprathamanirjharA girayaH // 447 // pAtAlabhRtamUlAH preritnisskaantdhnuHsmutkssiptaaH| mucyante stokatulitA bhrUbhagabhayena dharaNidharAH // 48 // ye Asan girINAM purA saMcayavikaTA mhaandiiprvaahaaH| apasAritAnAM ta eva sthalIbhiH pIyante jalasrotAMsi // 449 // yeSu girayo'panItA yeSu ca nivezitA nrendrenn| dvaye'pi bhinnasvarUpA jAtA anya ivoddeshaaH|| 450 // madhyasamapasRte ca paryantapariSThite ca girijAle / avatarati mahImiva nabha Arohati mahIva gaganatalam / / 451 // caapprnnodnniptitshailbhriymaannaikpaarshvpunyjitH| bahujalacara iva dRzyate sa eva stokasthito jaladhiH // 452 // jAtA ravikaraparipreraNena stokossmpiarcchaayaaH| cirakAlasthitamahIdharanirodhamuktA iva nabhomArgAH // Z // 450. jesu pi for jesuM a.

Page #187
gauDavaho paDhama-vimUDha-cchAo osAria - sela - jAla - NivvaDio | majjhammi va puMjaio dharAe~ bahalAavo diaho // 453 // ukkhaa - giri- gahira- dvANa-bhAva- dUruNNa aMtara kkhaMDaM / dIsaha taha - saMThi - sela - jAla - visamaM va mahi- veDhaM / / 454 // ummillati mahIhara-gamaNuvvellia-dharA-samakaMtA / ullaMta - reNu - mailA suireNa mahA-I- magA / / 455 / thii - laMbha- NivvuANaM kAleNa virUDha - kANaNa-taNANaM / pakkha-ccheAhi vi mahi-harANa caliehiM avaraddhaM // 456 // peraMtIkaa - uttuMga - garua-giri-valaya- baddha-parivesaM / majhoNaaM va dIsa pAsoNamiaM pi mahi veDhaM / / 457 // osAria-giri-gArava- viNamia- paraMta- puMjaijjaMtaM / vitthAritthaM taMcia jAaM maDahaM va mahi-vedaM // 458 // ia pihuNo dhaNu- pellaNa- NibiDIkaa-sela - jAla- dullaMghA / bhU-paraMtA je ira tesu vi gahio karo pahuNA / / 459 / / 70 prathamavimUDhacchAyo'pasAritazailajAlanirvRttaH / madhya iva puJjito dharAyAM bahalAtapo divasaH || 453 // utkhAtagirigabhIrasthAnabhAvadUronnatAntarakhaNDam / dRzyate tathAsaMsthitazailajAlaviSamamiva mahIpITham // 454 // unmIlyante mahIdharagamanodvellitadharAsamAkrAntAH / ArdrIbhavadreNumalinAH sucireNa mahAnadImArgAH // 455 // sthitilAbhanirvRtAnAM kAlena virUDhakAnanatRNAnAm / pakSacchedAdapi mahIdharANAM calitairaparAddham // 456 // paryantIkRtodgagurugirivalayabaddhapariveSam / madhyAvanatamiva dRzyate pArzvavanamitamapi mahIpITham // 457 // apasAritagirigaurava vinamitaparyantapujyamAnam / vistAritaM tadeva jAtamalpamiva mahIpITham // 458 // iti pRthordhanuSpreraNa nibiDIkRtazailajAladurlaGghAH / bhUparyantA ye kila teSvapi gRhItaH karaH prabhuNA // 459 / / 456. parUDha for virUDha 458. vitthArijjataM cia.

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narmadAnurAgaH avi a / arai - parisakaNA raNira - NeurArAva-saMgalaMtIsu / Thi-pariaAsu diTTI laggara kala-haMsa mAlAsu // 460 // viviNeha-majjaNa-dvia-thounbhijjata dANa - rAaM va / dIsaha sAmAaMta saha suha-bhaMgesu lAaNNaM // 461 // saMtAvAyAsoppia - caMdaNa-paMka-paesa - paMDUI / dobballa-samummIlia-puliNAI va hoti aMgAI || 462 // bahuso ghaData - viDaMta - sai - suhAsA a-saMgamullole / hiarace samappaMti caMcalA vIi-vAvArA // 463 // kusuma-sayaNijja-malaNA soraha - ghoNaMta - mahuaraM harai | uddesa pahutta - jaNAhilakkha-sIsaM piva sarIraM // 464 // ia jammi pase NammaAeN rAesi - baddha bhAvAe / bhamiaM saMbharia kaheNa tattha vasiaM NariMdeNa // 465 // muha viNimia-va-maMgala-kisala - kalAva - cchaleNa gaMtUNa | pijjataM piva ahi- dIha dIha - jIhA - sahassehiM // 466 // api ca // aratipariSvakkaNAt raNanazIlanUpurArAvasaMga lantISu / sthitaparicayAsu dRSTirlagati kalahaMsamAlAsu // 460 // vipinebhamajjanasthitastokodbhidyamAnadAnarAgamiva / dRzyate zyAmAyamAnaM sadA sukhabhaGgeSu lAvaNyam // 461 // saMtApAyAsArpitacandanapaGka pradezapANDUni / daurbalyasamunmIlitapulinAnIva bhavantyaGgAni || 462 / / bahuzo ghaTamAnavighaTamAnasmRtisukhAsvAdasadgamollole / hRdaya eva samApyante caJcalA vIcivyApArAH || 463 // kusumazayanIyamardana saurabha ghUrNamAnamadhukaraM harati / uddezaprabhUtajanAbhilakSyazIrSamiva zarIram // 464 // iti yasmin pradeze narmadayA rAjarSibaddhabhAvayA / bhrAntaM saMsmRtakathena tatroSitaM narendreNa // / 465 / / mukhavinyastanavamadgalakisalaya kalApacchalena gatvA / pIyamAnamiva ahidIrghadIrghajihvA sahasraiH // 466 // 71 460. laggai dilI. 461. sayaaMgesu, suhayaM gesu for suhabhaMgesu ( = sukha bhaGgeSu ). 463 saMgaullole 464. sahai for harai. 466. muhaviNihiya.

Page #189
72 gauDavaho aNuNijjaMtaM rakkhA-pariara-dhua-dhavala-cAmara-NiheNa / baMdIkaAmara-jarA-baMdhUhi va bahu-paNAmahi // 467 // maraNa-bhaeNa va ciMtA-sAmAaMtehiM jIva-jAlehiM / / avalaMbijjaMtaM sorahAarA mahuara-kulehiM // 468 // hari-cakka-virika-TThia-pANAgaa-rAhu-sIsa-valayaM va / Niaa-cchAyA-maMDala-NiheNa pAse paAsaMtaM // 469 // ia amaa-kuMbhamubhijjamANamuahIo jammi daTThaNa / tiasehiM vimhiaM tammi sAaraMte dviaM pahuNA // 470 // mukkA NisAsu dappia-maiMda-saMpAa-visasia-gaiMdA / jia-seNA-kalusIkaAvaDA teNa maru-maggA // 471 // avi a| hota-rasA-ala-bhaya-pisuNa-kasaNa-ghaNa-dhUmakeu-daMDe hiM / dIsaMti bhIa-vivalAamANa-muaAo va disAo // 472 // takravaNa-pasaraMtuppAa-tarala-tArA-karaMbio phuri| bhIoraa-sura-dijjaMta-bhoa-raaNo vva Naha-maggo // 473 // anunIyamAnaM rakSAparicaradhutadhavalacAmaranibhena / bandIkRtAmarajarAbandhubhiriva bhuprnnaamaiH||467 // maraNabhayeneva cintaashyaamaaymaanairjiivjaalaiH| avalambyamAnaM saurabhAdarAt mdhukrkulaiH||468|| haricakravidaoNritasthitaprANAgatarAhuzIrSavalayamiva / nijakacchAyAmaNDalanibhena pArzva prakAzamAnam // 469 // iti amRtakumbhamudbhidyamAnamudadheryasmin dRshvaa| tridazairvismitaM tasmin sAgarAnte sthitaM prabhuNA // 470 // muktA nizAsu drpitmRgendrsNpaatvishsitgjendraaH| punitasenAkaluSIkRtakUpAstena mrumaargaaH||471|| api ca // bhvdrsaatlbhypishunkRssnnghndhuumketudnnddaiH| dRzyante bhItavipalAyamAnabhujagA iva dizAH // 472 // tatkSaNaprasaradutpAtataralatArAkarambitaH sphurti| bhItoragasuradIyamAnabhogaratna iva nbhomaargH||473 // 469. haricakkavivika. 473. dijjaMtukoya' for dijjaMtabho.

Page #190
janamejayasarpayajJaH bil-cly-muhuvvellNt-srl-bhuaiNd-jaal-klilaae| .. caliaM saMbhama-rahasuddha-kesa-daMDAe~ va mahIe // 474 // sajjhasa-saMjAa-jarAurehiM nnimmoa-ptttt-maalaao| bhuaehi vea-pajjalaNa-saMkiehiM va mucaMti // 475 // atttthia-pddt-vishr-sNvlia-vlNt-dhuum-jaalenn| ekAhuIkaaM piva Nahammi paDihAi pAAlaM // 476 // sNbhm-punnruttaarunn-phurNt-jiihaa-kddpp-pllviaa| dIsaMti rosa-kavalia-havyavaha-siha vva bhuaiMdA // 477 // ddjhNt-vishrukkr-suNkaarNdolmaann-muhl-siho| NIsasai va visama-visANubhAva dara-ghummiro jlnno||478 // aruNa-visAri-phaNA-raaNa-rAa-paDiaggiAA NivaDaMti / gahiANumaraNa-maMDaNa-ciMdhAo va NAa-NArIo // 479 // kusumia-hri-cNdnn-knna-dNdd-prirNbh-laaliaNgiio| valayaMti NiviAraM bhuaMga-lalaNA sihi-sihaao||48|| bilvlymukhodvelltsrlbhujgendrjaalklilyaa| calitaM saMbhramarabhasordhvakezadaNDayeva mhaa||47||saadhvssNjaatjraaturairnirmokpttttmaalaa| bhujagairvegaprajvalanazaGkitairiva mucyante // 475 // asthitapatadviSadharasaMvalitavaladdhamajAlena / ekAhutIkRtamiva nabhasi pratibhAti pAtAlam // 476 // sNbhrmpunruktaarunnsphurjjihvaasmuuhpllvitaaH| dRzyante roSakavalitahavyavAhazikhA iva bhujagendrAH // 477 / / dhymaanvissdhrotkrsuutkaaraandolymaanmukhrshikhH| niHzvasitIva viSamaviSAnubhAvadaraghUrNanazIlo jvalanaH // 478 // aruNavisAriphaNAratnarAgapratijAgaritA niptnti| gRhItAnumaraNamaNDanacihnA iva nAganAryaH / / 479 // kusumitaharicandanakanakadaNDaparirambhalAlitAGgyaH / valayanti nirvikAraM bhujaGgalalanAH zikhizikhAH // 480 // 475. bhuayAhivehiM for bhuaehiM ve.

Page #191
uDavI lakkhijja AhAruddhamAa - parivelliraMta valaDa vva / Dajjhata- kuDila-visahara-samUha-kaliloaro jalaNo // 481 // puruhUA hui-paDhamoaraMta- sura- cAva- gabhaNIo vva / dIsaMti bahuvihoraa - maNi - rAavahAo jAlAo || 482 // vevai saraNAgaa-visahariMda-phaNa-valaya-kalia - calaNaggo / kuvia NariMda-visajjia - suAhirUDho vva sura-NAho / / 483 / / ia jamma piu - vahA paMDaveNa vihiaM purA bhuaa sattaM / ciramusio siriaMTova aMTha - magge pahU tammi / / 484 // paMDu-taraNa kara-ala- pAvia - kavaaMcaleNa akkhitto / jAla- dvia-jalaara - vibbhameNa so jammi kuru-NAho // / 485 // bhAvia - bhAraha - kalahaM bhAraha - kalaheNa saravare tammi | kAmaM sakAmiNIeNa salila-kIlA viraiAo / / 486 // kiM ca / 74 mAyA - mAhapa- guNehiM jeNa baddhaM jayaM pi NIsesaM / taM saMjamiDaM mAhavamIhaMta riMda mUDho si / / 487 // lakSyate AhAroddhmAtaparivellanazIlAntravalaya iva / dahyamAnakuTilaviSadhara samUhaka lilodaro jvalanaH // 481 / / puruhUtAhutiprathamAvataratsuracApagarbhiNya iva / dRzyante bahuvidhoragamaNirAgavahA jvAlAH // 482 // vepate zaraNAgataviSadharendra phaNAvalaya kalitacaraNAgraH / kupitanarendra visRSTasrucAdhirUDha iva suranAthaH // 483 // iti yasmin pitRvadhAt pANDavena vihitaM purA bhujagasatttram / ciramuSitaH zrIkaNThopakaNThamArge prabhustasmin // 484 // pANDutanayena karatalaprAptakavacAJcalenAkSiptaH / jAlasthitajalacaravibhrameNa so yasmin kurunAthaH // 485 // bhAvitabhAratakalahaM bhAratakalabhena sarovare tasmin / kAmaM sakAminIkena salilakrIDA viracitAH // 486 // kiM ca // mAyAmAhAtmyaguNairyena baddhaM jagadapi niHzeSam / taM saMyantuM mAdhavamahamAna narendra mUDho'si // 487 // 482. 'kiraNa' for Tr..

Page #192
duryodhanakarNakathAsmaraNam jA jiohuNA NarAhiva dhaa-mAlA goggahe pariggahiA / duvaa-suA - sicaya-paraMparAeN so Asi paDibiMbo 488 // mottUNa bAhu - siharaM ThANe apphAliA tara UrU / eesuMci jaMghA - balANa bhIrUNa AsaMgho || 489 // taiA Thio si jaM kira paloDa - saMraMbha- sea - viNivuDDo / esA sA tai salila-pavesa - joggA kaA Asi / / 490 // ia Uru-ruaM bhImeNa jammi saMbhAriAvarAheNa / gamio ra vihAammi tammi karuNAiaM pahuNA / / 491 // kavalia - kirIDi- cUDA- raaNa-kaNe iva visANala - phuliMge / jammi muaMto Na puNo kaNNeNa sarIkao bhuao / / 492 / / kattaM pi hu khaNa- metta taha - pariTTiapasAa - romaMcaM / jammi Nia- katti - kavaaM teNea paNAmiaM hariNo // 493 // tammi mahAraha - rAhe a-raha-rahaMgagga-dAria dharammi / use Asi rAhivANa viaDA kallolA || 494 // yA jiSNunA narAdhipa dhvajamAlA gograhe parigRhItA / dupadasutAsicayaparamparAyAH sa AsIt pratibimbaH // 488 // muktvA bAhuzikharaM sthAne AsphAlite tvayorU / eteSveva jaGghAbalAnAM bhIrUNAM vizvAsaH // 489 // tadA sthito'si yatkila paryastasaMrambhasvedavinimagnaH / eSA sA tadA salilapravezayogyA kRtAsIt // 490 // iti UrurujaM bhImena yasmin saMsmAritAparAdhena / gamito ripurvibhAge tasmin karuNAyitaM prabhuNA // 491 // kavalitakirITicUDAratnakaNe iva viSAnalasphuliGge / yasmin muJcan na punaH karNena zarIkRto bhujagaH // 492 // utkRttamapi khalu kSaNamAtratathApariSThitaprasAda romAJcam / yasmin nijakRttikavacaM tenaiva praNAmitaM hareH // 493 // tasmin mahAratharAdheyaratharathAdgAgradAritadhare / uddeze AsInnarAdhipAnAM vikaTAH kathollolAH // / 494 / / 491. UrubhayaM for karuruaM. 493. hasiUNa for teNea. 75

Page #193
gauDavaho avi a| goura-matta-viNiggaa-sasaMka-jaNa-dIsamANa-coccheaM / jAaM NIsAmaNNaM parihA-valayaM nnhNcea|| 495 // oaraNA diTTha-cchea-paaDa-Naha-magga-paDiNiattehiM / bila-majjheccia bhaya-puMjiehiM bhuahehi viismiaN||496| kahavi samuppaaNavasA th-lddh-cchea-vihddiaddhaao| dIsaMti ahiNavAo va ThiearaddhAo vddhiio||497|| chiNNa-dharA-ala-paDibaMdha-khuDia-sottuggamehi paDivaNNaM / tucchattaNamummillaMta-gahira-bhAvehi avaDehiM // 498 // parilaMbijjai gholaMta-saMkhala-cchea-pAaDaddhehi / mUlAmma muhala-ghaMTA-lIlAe~ NihANa-kalasehiM // 499 // uvveaMti va ahinnv-nnimes-vocchea-nninyc-pihulaaii| avilAsAI va saNa-rase vi mihuNANa acchII // 500 // mArua-saMcaraNa-vasA kama-bhijjaMtammi bhUmi-paDibaMdhe / taddiasa-palahuoccea hoi NaarIeN viNiveso // 501 // api ca / gopuramAtravinirgatasazaGkajanadRzyamAnavyucchedam / jAtaM niHsAmAnya parikhAvalayaM nabha eva // 495 // avataraNAd dRSTacchedaprakaTanabhomArgapratinivRttaiH / bilamadhya eva bhayapuJjitarbhujagairvizrAntam // 496 // kathamapi samutpatanavazAt tthaalbdhcchedvighttitaardhaaH| dRzyante abhinavA iva sthitetarArdhA valabhyaH // 497 // chinnadharAtalapratibandhakhaNDitastrotaudgamaiH prtipnnm| tucchatvamunmIladgabhIrabhAvaiH kUpaiH // 498 // parilambyate ghuurnnmaanshRngkhlaacchedprkttaardheH| mUle mukharaghaNTAlIlayA nidhAnakalazaiH // 499 // udvejayantIva abhinavanimaSavyucchedanityapRthulAni / avilAsAnIva darzanarase'pi mithunAnAmakSINi // 500 // mArutasaMcaraNavazAt kramabhidyamAne bhuumiprtibndhe| pratidivasapralaghuka eva bhavati nagaryA vinivezaH // 501 // 495. pharihA for parihA. 497. valahIo. 500. hiaS for ahiNava.

Page #194
svargamutpatitA harizcandranagarI paurANa jAmiNIsu vi abhiNNa-NiddAlasANa nnivvddi| Naari-parisakkaNakaMta-diasa-sImANa pddiboho|| 502 // pAvaMti kulAla-ulAI bhUmi-dulahattaNeNa taddiasaM / kaha-kaha vi paMka-piMDaM prirkkhaa-primiaNcea|| 503 // heTThAava-vasuAinjamANa-mUla-kamUsasaMta-rasaM / jAamaho-raa-siDhilaM agga-siNiddhaM dharA-vedaM // 504 // divva-viDavAhirAme vi uvavaNe srs-mNjri-phlmmi| lAlijjaticia paDhama-Neha-baMdheNa bhuu-trunno||505|| sAmAaMte vi mahI-alammi raaNI-tamANubaMdheNa / uppaia-diNaarAava-vaseNa diasoccia purammi // 506 // ia jammi paese pahu-pahAva-paDivaNNa-pariarasahAe / uppaiaM sa-taru-surAlaAe~ hariaMda-NaarIe // 507 // tammi jahAgama-paDivaNNa-viaDa-bhUvAla-kitti-sarasammi / sura-pAsAo pahuNA ekkeNa diNeNa nnimmvio|| 508 // paurANAM yAminISvapi abhinnanidrAlasAnAM nivartate / nagarIparivakkaNAkAntadivasasImAnAM pratibodhaH // 502 // prApnuvanti kulAlakulAni bhUmidurlabhatvena pratidivasam / kathaMkathamapi padakapiNDaM parirakSAparimitameva // 503 // adhastanAtapazoSyamANamUlakramocchva sadrasam / jAtamadhorajaHzithilamanasnigdhaM dharApRSTham / / 504 // divyaviTapAbhirAme'pyupavane srsmariiphle| lAlyanta eva prathamasnehabandhena bhuutrvH||505|| zyAmAyamAne'pi mahItale rjniitmonubndhen| utpatitadinakarAtapavazena divasa eva pure // 506 // iti yasmin pradeze prbhuprtaapprtipnnprikrshyaa| utpatitaM satarusurAlayayA harizcandranagaryA / / 507 // tasmin yathAgamapratipannavikaTabhUpAlakIrtisarase / suraprAsAdaH prabhuNaikena dinena nirmApitaH // 508 // __502. sImAi for sImANa. 504. vasuAvijamANa. 505. surahi and surasa for sarasa. 506. NihAsuhANubaMdheNa for raaNItamANubaMdheNa, rayaNImuhANuvaMdheNa. 507. sarasa for sataru. 508. kahA~ for jahA , ekadiNeNea for ekkeNa diNeNa.

Page #195
gauDa ho jassa kaDaa - dviAo kesava - keUra - kaNaa-rehAo / ajjavi kui DAle silA - hidUMgulI loo / / 509 // NIlaM sihara - cchAyaM pecchato tassa maMdara - girissa / paDivajjai tammi samiddha-jaNava ovAyaNe devo // 510 // ahileMtassa kameNa a jakkhAhiva - lakkhaaM disaM tassa / jAo visesa - dusaho paaMDa-kiraNassa va paAvo // 511 // avaMti sarasa- sura-dAru-bhaMga - NIsaMda - surahiNo tassa / Nimmahia - Nava- surAmoa-sIalA tammi uddesA // 512 // kiM ca jAaM / 78 esa saro jassa imA haraMti ubbuddha - jala- kalaMbAo / Nala-kuMja- muhala-jala-raMku - saMkulA kUla - lehAo / / 513 / / aha kamala - kAgaNa - dvia - siri-daMsaNa- milia - jalaNihi -cchAyaM / uvvaha malia - pAAla-pallalaM salila saMghAaM // / 514 // ee vaha vahuvela - liNi-dala-saMDa- paMDurarddhatA / virala-dala- jajjarudaMDa - jaraDha - kamalA sarudesA // / 515 // yasya kaTakasthitAH kezavakeyUrakanakarekhAH / adyApi karoti lalATe zilAnighRSTA dgulirlokaH / / 509 // nIlAM zikharacchAyAM prekSamANastasya mandaragireH / pratipadyate tasmin samRddhajanapadopAyanAni devaH // 510 // abhilAtaH krameNa ca yakSAdhipalakSitAM dizAM tasya / jAto vizeSaduHsahaH pracaNDa kiraNasyeva pratApaH // 511 // zobhante sarasasuradArubhadganiSyandasurabhayastasya / nirmathitanava surAmodazItalA stasmin uddezAH / / 512 // kiM ca jAtam / etat saro yasyemA haranti udabuddhajalakadambAH / naDakuJjamukharajalaraGkusaMkulAH kUlarekhAH / / 513 // atha kamalakAnanasthitazrIdarzana militajalanidhicchAyam / udvahati marditapAtAlapalvalaM salilasaMghAtam // 514 // ete vihagavadhUdvellanalinIdalaSaNDapANDurArdhAntAH / viraladalajarjaroddaNDajaraThakamalAH sarauddezAH / / 515 // 510. siddhi for samiddhadeg 513. uvvUDha for ubbuddha 515. 'pahuvela. sarucchaMgA for saruddesA.

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sarovarNanam surahimiha gaMdhamAsisira - bAla - maja luggamANa jaMbUNa | ma araMdamAraviMdaM ca iha samIro pasArei || 516 // iha te maa-kalakAaMba -kaMTha-kaMdalia-sArasakaMdA | sohaMti valAAlIDha-NIla- NiulA taDudesA // 517 // susirosaria sakaddama- jaDa-jala-lava- bhiNNa-bhaMga-rasa- sAro / iha so parilia - kasAya-gaMThi-gaMdhI muNAlANa // 518 // aNuNNa- Niggamukkhitta-visama-dala-saMNivesa- NiviDAo / iha tA saMcAra kkhalia - kukkuhA raNNa NaliNIo / / 519 / / moha - ra siAI iha NivvaDati Naha gholirANa kurarANa / uvvatta- mINa- tADia -ghaNa - NaliNi dalAsu sarasIsu // 520 // iha vAyasa - sevia - kIDailla-vasuAa - civiDa- sAlUrA / jAlia-kaDria-saMbUa - sevalA tIra - peratA // 521 // uvvellei samIro kalaha-kararagAvasoNa-mUlAI / saMkhAa-pheNa-phuDa-picchilAI iha NaliNi-vattAI || 522 // iha sa surabhimiha gandhamAzizirabAlamukulodgamAnAM jambUnAm / makarandamAravindaM ceha samIraH prasArayati / / 516 // iha te madakalakAdambakaNThakandalitasArasAkrandAH / zobhante balAkAlIDhanIlaniculA staToddezAH // 517 // suSirApasRtasakardamajaDajalalavabhinnabhaGgarasasAraH / paridalitakaSAyagranthigandho mRNAlAnAm // 598 // anyonyanirgamotkSiptaviSamadala saMnivezaniviDAH / iha tAH saMcAraskhalitakukkuhA araNyanalinyaH // 519 // mogharasitAnIha nirvartante nabho ghUrNitAnAM kurarANAm / udavRttamInatADitaghananalinIdalAsu sarasISu // 520 // iha vAyasasevitakITayuktazuSkacipiTasAlUrAH / jAlikAkRSTazambUka zaivalAstIraparyantAH // 521 // udvellayati samIraH kalabhakarAgrApazoNamUlAni / saMstyAnaphenasphuTapicchilAnIha nalinIpatrANi // 522 // 79 516. surahinavagaMdha" and surahimahaNiddha for surahimihagaMdha muddha' for "bAla N. 517. "saMvaliya" for 'kaMdalia ' . saruddesA and taruddesA for taDuddesA. 518. jalala saMbhana and jaDajalasaMbhiNNa' for jaDajalalavabhiNNa 521. 'saMkula for "sevia N. jAla ( li ) yamukkasa' for jAliyakaa

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gauDavahI peraMta-lUNa - kamalA thoa - jaluvvatta-tuMga - NAlAo / iha roha- saddalAbaddha - maDaha-vattAo NaliNIo / / 523 / / NivvArveti va hiaaM ee ghaNa- malia - tala-vaNA girio / muhala-vihaMgA asarA suNNa-pasaNNAI a vaNAI / / 524 // sariANa taraMgia-paMka- vaDala - paDibaddha-vAluA masiNA / ee te pavirala-kAsa-pallavA puliNa - vitthArA / / 525 // iha mattAa - vihaMga - muhala-kallola-kala aluppitthA | viralaM suaMti sarasI-parisara- parivesiNo gAmA || 526 // ee pUrA luMkhaNa - virA- paMkolla-paDhama- vitthaaraa| jAA ahiNava- Niggama - haria - sihA saddaludesA / / 527 / / kamala-vaNa-viNiggaa- muhala - kukuhA sAyamiha suhAveMti / thoramhAaMtummasa a-sadalA kaccha-voccheA // 528 // saMbUa - cuNNa - sabalA iha NihasaNa - masiNa - vAmalUrAo / viDimANa paaMtara- Nita-visama - hariAo paavIo // 529 / / 80 paryantalUnakamalAH stokajalodvRttatudganAlAH / iha rodhaHzAdvalAbaddhAlpapatrA nalinyaH || 523 / / nirvApayantIva hRdayamete ghanamarditatalavanA girayaH / mukharavihaGgAni ca sarAMsi zUnyaprasannAni ca vanAni // 524 / / saritAM taraGgitapaGkapaTalapratibaddhavAlukA masRNAH / ete praviralakAzapallavAH pulinavistArAH // 525 // iha mattAne kavihaGgamukhara kallolakalakalatrastAH / viralaM svapanti sarasIparisaraparivezino grAmAH // 526 / / ete pUrasparzanavilInapaGkArdraprathamavistArAH / jAtA abhinavanirgamaharitazikhAH zAdvaloddezAH / / 527 / / kamalavanavinirgatamukharakukkubhAH sAyamiha sukhayanti / stokoSmAyamANonmazakazAdvalAH kacchavicchedAH // 528 // zaMbUkacUrNazabalA iha nigharSaNamasRNavalmIkAH / gaNDakAnAM padAntaraniryadviSamaharitAH padavyaH / / 529 // 524. NivvAyaMti va NivvAvaMti va ghaNamiliya. 525. vAluUmAsA for vAluyA masiNA kAsapaMDurA for 'kAsapallavA. 526. "muha" for "muhala. parisara sarasI parivesiNo - Reading adopted by the commentator, sarasI parisara parivAsiNo for sarasIparisaraparivesiNo. 527. Nigga. 529. kiDimANa for viDimANa ----

Page #198
araNyavarNanam taDa-Niula-maMjarI-NimmahaMta-jala-gaMdha-sIalA ee / taNu-sutti-sAra-peraMta-cAluA saddaluddesA // 530 // saharI-pasatta-kurarA aMto-saddala-sihaM parivahati / ahi-gaMdha-kamalamAbaddha-ghaggharA vAri-lehAo // 531 // sohaMti bAla-saraammi NIla-bhU-saddalA thcce| pAsAlagga-silaMtara-paDhama-kilaMtaMkurA diahA // 532 // eAo parUDhAruNa-phala-bhara-baMdhuria-bhUmi-khajjUrA / kaMThIo NivvavaMti va amaMda-karamaMda-AmoA // 533 // iha sA sa-kesarovvatta-kusuma-kavilA kriir-vnn-raaii| rehai Nihasa-TThia-karabha-kesara-cchea-jaDila vva // 534 // iha vIsamai va hia phullakka-samIra-surahi-gaMdhesu / AvAa-ghaDia-kamalAmoesu vaNaMta-maggesu // 535 // bAdaM lIDhUsa-ghaNattaNeNa gAmeiAo Nocceti / iha ahuAsea-vivaNNa-gomayA raNNa-bhUmIo // 536 // taTaniculamaJjarInirgacchajjalagandhazItalA ete| tanuzuktizAraparyantavAlukAH zAdvaloddezAH / / 530||shphriiprsktkurraa antaHzAdvalazikhAM parivahanti / adhigandhakamalamAbaddhaghargharA vaarilekhaaH||531|| zobhante bAlazaradi nIlabhUzAdvalAstathaiva / pAAlagnazilAntaraprathamaklAntAkurA divsaaH|| 532 // etAH prruuddhaarunnphlbhrbndhuritbhuumikhrjuuraaH| kaNThikA nirvaapyntiivaamndkrmndaamodaaH||533 // iha sA sakesarovRttakusumakapilA karIravanarAjiH / zobhate nigharSasthitakarabhakesaracchedajaTileva // 534 // iha vizrAmyatIva hRdayaM phullArkasamIrasurabhigandheSu / ApAtaghaTitakamalAmodeSu vanAntamArgeSu / / 535 // bADhaM lIDhoSaghanatvena grAmayikA noccinvanti / iha ahutAzeyavivarNagomayA araNyabhUmayaH // 536 / / 530. Nicula. 531. saDharIdeg for saharI . degpaDatadeg for degpasatta. sihA iha for degsihaM pari . uggaMdha for ahiMgaMdha. kalamadeg for degkamaladeg. 532. kilaMtaviralaMkurA for degpaDhamakilaMtaMkurA. 533. phalabharaM baMdhuriya', degkaMThIo, NivvaveMti vva. 534. degkavisA for degkavilA. 535. paDiyadeg for degghaDiya". 536. vivatta for vivaNNa. bahulaM for bADhaM, aNuyAseyadeg for ahuAseya sImAo for bhUmIo. ga. 6

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gauDavaho ee te vnn-serih-primlnn-pinnnn-gomyaamoaa| dhoUsa-reNu-parikavisa-vAriNo pallalucchaMgA // 537 // eAo vaaa-dhuusr-kriis-kvis-dhrnnii-suaNdhaao| raNa-sthalIo uvvuttha-goulA deMti ukThaM // 538 // sohaMti srs-mii-nniggm-hriaaamaann-muulaao| iha ciNNa-visaha vaDhia-rUDha-taNA raNNa-sImAo // 539 // iha dhAu-lihia-deva-tthalAo raNNa-tthalIo sUeMti / AlIyamANa-bhAsA parivutthaM mahisa-satthANa // 540 // saMtattha-virala-kaMkaMtaresu gomAuNo iha uti / bhaya-caliaNNa-disA-ghaDia-vAyasaM mahisa-kaMkAlaM // 541 // iha raviNo maa-taNhA-NiheNa NIhAra-paMDurA hoti / sarasIsu tulia-taralaMbu-valaNa-visamA iva maUhA // 542 // kallola-sisira-pavaNA saliluddese disAo mUeMti / iha uddddet-vihNgm-dhuaNbu-knn-cunnnn-milaao||543 // ____ete te vanasairibhaparimardanaprakIrNagomayAmodAH / dhautoSareNuparikapi. zavArayaH palvalotsaGgAH / / 537 // etAH zuSkadhUsarakarISakapizadharaNIsugandhAH / araNyasthalya udvasitagokulA dadatyutkaNThAm // 538 // zobhante srssuuciinirgmhritaaymaanmuulaaH| iha cIrNavRSabhavardhitarUDhatRNA araNyasImAnaH // 539 // iha dhAtulikhitadevasthalA araNyasthalyaH sUcayanti / AlIyamAnabhAsAH paryuSitaM mahiSasArthAnAm // 540 // saMtrastaviralakadamkAntareSu gomAyava ihopenti / bhayacalitAnyadigghaTitavAyasaM mahiSakadakAlam // 541 // iha ravermRgatRSNAnibhena nIhArapANDurA bhavanti / sarasISu tulitataralAmbuvalanaviSamA iva mayUkhAH / / 542 // kallolazizirapavanAH saliloddezAna dizaH sUcayanti / iha uDDIyamAnavihaMgamadhUtAmbukaNacUrNamalinAH / / 543 / / 537. kavila for kavisaM. 539. visiha and degvasaha for "visaha. bhUmIo for "sImAo. 540. divva' for degdeva. pariutthaM. 541 vasaMti for uti. paDiyadeg for degghaDiya', mahiyadeg for mahisa.

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araNyavarNanam iha kaa-phukAra paData cAluA- dUsi agga-toyAo / pahiehiM kaha vi pijjaMti vAGa - veehiM sariAo / / 544 // umhAla- taru-cchAyA go- reNu - viiNNa- mArua - NirohA / sAyamiha samahiNhA valaMta bhaTThANalA gAmA || 545 // kari-kara- daMDAmoDaNa visAhasUsaMta-sarala- taru-jAlaM / eaM taM dhUsara - virala - sallaI- mehalaM raNaM // 546 // volei laA-saMkalia-muhala- kalahaM Niatta-kariNaaiM / iha kuMjarANa muha me - valia - jUhAhivaM jUhaM // 547 // iha diNNa-bhUmi - maddA parilUNAsaNNa- viDavi - sAhaggA / sUti mahA-taruNo gaiMda - jUhANa vIsamiaM // 548 // iha ajavoru-varAhA avaroppara-sattu sAva a- vahAo / bhamiavvAo paviralaM ruru-siMgavaIo bhUmIo || 549 // iha mUla- pAvarale saMvaggia - muNi- jaNAvasesesu / saMvajjati vihaMgA phalesu NIvAra - viDavANaM / / 550 // iha kRtaphUtkArapatadvAlukAdUSitAgratoyAH / pathikaiH kathamapi pIyante vAyuvegaiH saritaH // 544 // USmavattarucchAyA goreNuvitIrNamArutanirodhAH / sAyamiha samadhikoSNA valadUbhraSTAnalA grAmAH / / 545 / / karikaradaNDAmoTana vizAkha zuSyatsaralatarujAlam / etat tad dhUsaraviralasallakImekhalaM araNyam // 546 // vyatikrAmati latAsaMkalitamukharakalabhaM nivRttakariNIkam / iha kuJjarANAM mukhamAtravalitayUthAdhipaM yUtham // 547 // iha dattabhUmimardanAH parilUnAsannaviTapizAkhAgrAH / sUcayanti mahAtaravo gajendragUthAnAM vizrAntam // 548 // iha ajavoruvarAhAH parasparazatruzvApadavadhAH / bhramitavyAH praviralaM rurugRdgavatyo bhUmayaH // 549 // iha mUlapraviraleSu saMvargitamunijanAvazeSeSu / saMpadyante vihagAH phaleSu nIvAraviTapAnAm / / 550 / / 83 544. thakkAra' and 'phuMkAra' for 'phukAra', 'rUsiyagga' for dUsiyagga'. vesu for veehiM. 545 uNhAlatarucchAyA. hoMti umhA ( uNhA ) and samahiyumhA for samahiu hA. 546. paviralasarasa for dhUsaravirala 547. vetta for bolei. 548. diNNabhUvi. vIsAma' for vIsamiaM. 549. avarovarapatta' and avaro parapatta for avaropparasattu', amaIdAo vi jAyA, amiyanvAo vi jAyA for bhamiyavvAo paviralaM. 550. muNiyaNesu kacchesu for muNijaNAvasesesu.

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84 gauDavaho nnibidd-laa-jaal-pinnddh-sihr-tru-sNdd-pddihuppannaa| iha taMsaM uDDeUNa khaM vihaMgA valaggaMti // 551 // iha kesariNo vihuNaMti tADaNuDDINa-chappaa-kaDappaM / rahasa-dalieha-maa-salila-garuiaM kesaruppakaM // 552 // muhala-maUrAI haraMti kiMpi iha nnv-plaas-kvisaaii| uvvAa-palluppaNNa-paMDu-bhAvAI raNNAI / / 553 // jhillI-jala-kaNa-sIala-palAsa-parivesiNo iha harati / asalila-majjhAgaa-virala-kiMsuA pallalucchaMgA // 554 // tadiasANila-NibbUDha-reNu-NibaDia-kaThiNa-paha-daMDA / vAolIsu vi jAA iha virala-raAo bhUmIo // 555 // iha uvasaraM varAhANa glia-jl-biNdu-bddh-hriaao| saMkaMta-paMka-gArava-baMdhuria-taNAo paviio|| 556 // eAo gADha-phuDaNA puNjiuussia-bhuu-dl-kvaalaa| saMpIDa-virasa-dIharia-taliNa-mutthAo bhUmIo // 557 // nibiddltaajaalpinddhshikhrtrupnnddprtihtotptnaaH| iha vyasramuDDIya khaM vihaGgA Arohanti // 551 // iha kesariNo vidhunvanti tADanoDDInaSaTpadakalApam / rabhasadalitebhamadasalilagurukRtaM kesarakalApam // 552 / / mukharamayUrANi haranti kimapIha nvplaashkpishaani| ucnuSkapalvalo. tpannapANDubhAvAni araNyAni // 553 // laharIjalakaNazItalapalAzaparivezina iha haranti / asalilamadhyAgataviralakizukAH palvalotsadgAH // 554 / prtidivsaanilniyuuNddhrennuprkttitktthinpthdnnddaaH| vAtAlIdhvapi jAtA iha viralarajaskA bhUmayaH / / 552 // iha upasaro varAhANAM galitajalavindubaddhaharitAH / saMkrAntapaGkagauravabandhuritatRNAH padavyaH // 556 // etA gADhasphuTanAH punyjitocchvsitbhuutlkpaalaaH| saMpIDanavirasadI/kRtatalinamustA bhUmayaH // 557 // 551. parihaudeg for paDihau'. 552. sarasadeg for rahasa. 553. sAyamaNavasAyAI (= sAyam avazyAyarahitAni ) for NavapalAsakavisAI. rUvAI for bhAvAI. 554. rullIdeg (= jhallIdeg ) for jhillI. 555. vAulIsu vi. 556. baMdha' for degbaddha. 557. dIharakayataliNamutthAo bhUmIo for degdIhariya.

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araNyavarNanam iha hi gaa-jUha-NidaM mUei amArue vnnNtmmi| kara-NIsAsuggAhia-mahi-raa-kaviso Nahuddeso // 558 // gakaNNa-raa-bharoNaa-tala-jajjara-bhU-visaTTa-bila-visamA / thoujaDakka-viDavA imAo tA uMdara-thalIo // 559 // iha bhUi-daMDa-sesA vi Niaa-dIhattaNeNa Najjati / pAsalla-bhAva-pajatta-huavahA pAava-NivesA // 560 // iha kAlA rugga-taruttaNeNa thalaillamaMtarA hri| bhAesu uvavaNAaMta-bAla-taru-maMDalaM raNNaM // 561 // vallI-viANa-bahalattaNeNa chaayaa-nnives-sisiraaii| iha aNaha-haliddI-saddalAI giri-kaccha-raNNAI // 562 / / taddiaha-Nihasa-saMpIa-saala-sIrAyamAo va sahati / parikaDhiNa-kasiNa-dala-baMdhaNAo iha kcch-bhuumiio||563 // iha dIsai kaNaa-silA-maUha-puMjAhiraMjiaM rvinno| Nicchallia-pariNaa-tAla-piMjaraM paDia-paDibiMbaM // 564 // iha hi gajayUthanidrAM sUcayatyamArute vnaante| karaniHzvAsogrAhitamahIrajaHkapizo nabhauddezaH // 558 // utkIrNarajobharAvanatatalajarjarabhUvizIrNabilaviSamAH / stokojjaTArkaviTapA imAstA undurasthalyaH // 559 // iha bhUtidaNDazeSA api nijakadIrghatvena jnyaaynte| pAAyitabhAvaparyAptahutavahAH pAdapanivezAH // 560 // iha kAlAd rugNatarutvena sthalavadantarA harati / bhAgeSUpavanAyamAnabAlatarumaNDalamaraNyam // 561 / / vallIvitAnabahalatvena cchAyAnivezazizirANi / iha anaghaharidrAzAdvalAni girikacchAraNyAni // 562 // pratidivasanigharSasaMpItasakalasIrAyasAiva shobhnte| parikaThinakRSNadalabandhanA iha kcchbhuumyH||563|| iha dRzyate kanakazilAmayUkhapuJjAbhiraJjitaM rveH| chinapariNatatAlapiJjaraM patitapratibimbam // 564 // 559. uMdura'. 561. kAloluggadeg and kAloruggadeg for kAlA ruggadeg which is Pandit's emendation, 562. haliddA', piMjarAI for degsaddalAi.

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gauDavaho iha vaauddua-dhuulii-grua-knnaavddnn-chidia-raao| dIsaMti virala-jala-biMdu-muddiAo vca ratthAo // 565 // iha tA tru-muul-kilinnnn-kusum-dl-daaru-sal-klilaao| ANIla-kavisa-pharusA karIsa-siDhilA bhUmIo // 566 // iha hoti muhala-sihiNo purANa-phala-sabala-kusumia-kalaMbA / phala-kosa-viuNa-pattala-palAsa-sisirA vaNuddesA // 567 // ee vaNa-vAraNa-gaMDa-Nihasa-maa-gaMdhiNo bhayaM deMti / rosuddha-sIha-gaha-dalia-bakkalA pAava-khaMdhA // 568 // raa-puMja-ruddha-gaaNA sahati iha saaymnnvsaayaao| pacchaddha-pasaNNa-miaMka-maMDalA gimha-raaNIo // 569 // ga-juuhoarnn-vibhinnnn-nnlinni-nnivvddia-slil-dNddaao| iha tA vasuAa-parippavaMta-kamalAo sarasIo // 570 // iha pAava-lagga-dvia-NaliNi-dala-cchea-kalila-kUlAo / lUAvila-phuDia-dalatarAo kAsAra-bhUmIo // 571 // iha vAtoddhRtadhUlIgurukaNAvapatanacchidritarajaskAH / dRzyante viralajalabindumudritA iva rathyAH // 565 // iha taastrumuulklinnkusumdldaarushklklilaaH| AnIlakapizaparuSAH karISazithilA bhuumyH||566|| iha bhavanti mukharazikhinaH puraannphlshblkusumitkdmbaaH| phalakozadviguNapatralapalAzazizirA vanoddezAH // 567 // ete vanavAraNagaNDanigharSamadagandhino bhayaM ddti| roSoyasiMhanakhadalitavalkalAH pAdapaskandhAH // 568 // rajaHpuJjaruddhagaganAH zobhante iha saaymnvshyaayaaH| pazcArdhaprasannamRgAkamaNDalA grISmarajanyaH // 569 // gajayUthAvataraNavibhinnanalinI. nirvRttasaliladaNDAH / iha tAH zuSkapariplavamAna kamalAH sarasyaH // 570 // iha pAdapalagnasthitanalinIdalacchedakalilakUlAH / lUtAvilasphuTitadalAntarAlAH kAsArabhUmayaH // 571 // 566. degphaladeg for degdala', parusakavisA for kavisapharusA. 569. rayapiMjaraMtagayaNe, rayapiMjaraMdhagayaNA, rayapiMjaruddhagayaNA. giMbharayaNIo. 570. parikkhayaMtadeg for parippavaMta?. 571. kavisamUlAo, kavisakUlAo, 'kavilakUlAo for degkalilakUlAo, noted by commentator.

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araNyavarNanam iha mArua-taMsIkaa-dAva- sihA- sihara-saMvalaMtAI / dippaMti paDhamamaggeNa taaNu mUleNa raNNAI || 572 / / agyaMti tA Nava- dvia-sihi-vAa - pisaMga- vAmalUraggA / iha hebbA-dumA thalIo Nava- dAva-gaMdhAo || 573 // iha toya-laMghaNummukka- reNu-dala-suNNa-bhAva-lahuIo / turiaaraM samahisaraMti mAruA vatta-vallIo // 574 // dIsaMti taha pariDia - taNa maMDala - paMDuraMtarAlAo / icchA-vIsaMta-davANalAo iha raNNa- bhUmIo || 575 // iha paMka- lolaNAvila- puDa - maMdummila-loaNarddhataM / sAyaM viaaraMga va NIi jUhaM varAhANa || 576 // iha raNNa-goulesuM uNhAi~ vi paMthiehiM pijjati / kAmaM gorasa - pArI- Nivesa - paMDUI salilAI || 577 // iha salila-kAsa- sakAri-mUla- paDilagga-kaDDi a-dalAo / pavaNo AAsia sArasAo taralei NaliNIo // 578 / / iha mArutatryastrIkRtadAvazikhA zikhara saMvalamAnAni / dIpyante prathamamArgeNa tadanu mUlanAraNyAni / / 572 // rAjante tA navasthitazikhizuSkapizaGgavalmIkAgrAH / ihAdhastAcchuSkadumAH sthalyo navadAvagandhAH // 573 // iha toyalaGghanonmuktareNudalazUnyabhAvalaghUkRtAH / tvaritataraM samabhisaranti mArutAH patravallIH // 574 || dRzyante tathA paristhitatRNamaNDalapANDurAntarAlAH / icchA vizrAntadavAnalA ihAraNyabhUmayaH / / 575 / / iha pakalolanAvilapuTamandonmIlalocanArdhAntam / sAyaM vikaTatarAdgamiva niryAti yUthaM varAhANAm / / 576 // ihAraNya gokuleSUSNAnyapi pathikaiH pIyante / kAmaM gorasapArInivezapANDUni salilAni // 577 // iha salilakAzasatkArImUlapratilagnakRSTadalAH / pavana AyAsitasArasAstaralayati nalinIH // 578 // 87 572. paDhamamaggehi... mUlehiM. 573. 'pAya' for 'vAa. 574. laMghaNA mukka', 'reNudara pantavallIo. 577. pahiehiM for paMthiehiM. pejjaMti for pijjaMti. 578. uMkAri for 'sakAri

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88 gauDavaho tNsiika-kNtth-smosrNt-vihaavloa-srsaaii| . iha kiMpi puliNa-parisakiAI sAyaM suhAveMti // 579 // saMgalaga-mAsalAaMta-sIalo viviha-valli-kusumANa / Amoo iha saMcarai kovi su-suaMdha-surahINa // 580 // karaha-paoara-visamAI iha paholaMti mAluhANINa / uvvatta-dhUsarAI dalAI peraMta-kavisAI // 581 // iha rehati cchaayaa-nnivitttth-phiaavloiaggaao| kakkola:dAli-kavi-sattha-saMkulA raNNa-bhUmIo // 582 // iha gora-virahigI-gaMDa-vAsa-dhUsara-pisaMga-caTThANa / bhamai avaraNha-mahuro gaMdho karahADa-kusumANa / / 583 // gholai ullita-surA-mUla-kasAya-jaraDho kalaMbANa / esa milANAruNa-kesarANa dara-sIalo gaMdho // 584 // khajjUra-maMjarI-piMjarANa iha parimalo piyaMgUNa / rUDhAraviMda-maaraMda-kaNa-kasAo paribbhamai // 585 // vysriikRtknntthsmpsrvihgaavloksrsaani| iha kimapi pulinapariSvakkitAni sAyaM sukhayanti // 579 // saMgalanamAMsalAyamAnazItalo vividhavallIkusumAnAm / Amoda iha saMcarati ko'pi susugandhasurabhINAm // 580 // karabhapadodaraviSamANIha praghUrNante mAludhAnInAm / uvRttadhUsarANi dalAni paryantakapizAni // 581 // iha zobhante chAyAniviSTapathikAvalokitAgrAH / kaikoladAlikapisArthasaMkulA araNyabhUmayaH // 589 // iha gauravirahiNIgaNDapArzvadhUsarapizagapRSThAnAm / bhramatyaparAhamadhuro gandhaH karahATakusumAnAm // 583 // ghUrNate ArdrayatsurAmUlakaSAyajaraThaH kadambAnAm / eSa mlAnAruNakesarANAM darazItalo gandhaH // 584 // kharjuramaJjarIpiJjarANAmiha parimalaH priyadgUnAm / rUDhAravindamakarandakaNakaSAyaH paribhramati // 585 / / 580. pannadeg for degvali. kovi ya for kovi su. . 581. palohaMti. 582. iha ahiharaMti chaayaannivitthtthphiyaavloiyggaao| daliyakakosakavisatthakaviulAkUlatarulehA / and iha ahiharaMti chaayaannuvitthtthphiyaavloiyggaao| kakola. dAlikavisatthakaviulAkUlatarulehA // 584. miNAlAruNa. 585. parijaDila', parijaraDhadeg for khajjUra', karAlo for degkasAo.

Page #206
araNyavarNanam maula-NiviDAsu iha maruvaassa muha-pADalAsu vallIsu / Asasai sisira-lacchI tAresu a kuMda-kusumesu // 586 // iha lolei khnn-kkhnn-vivnnnn-jv-mNjrii-trNgaao| pavaNo saMcAra-vimUDha-maa-vimaliAo sImAo // 587 // jrddhaaaNt-phluusaas-pvirlaaaNt-mNjrii-suuaa| iha agbaMti javANaM agga-bhavaMtIo sImAo // 588 // iha tAoM pulosa-suaMdha-java-kasAyANaNehiM pijjati / phulla-karavIra-pAlI-samujjalA raNNa-vAvIo // 589 // iha dAvANala-dhUmAhioa-paDibaddha-mahi-raAaMbA / diasammi vi hoti paosa-rAa-mailA disAhoA // 590 // iha vihaDia-taMtu-cuDuppa-pamhalAaMba-dhUsaraM piai| gAraMga-gambha-saalaM pahio aharaM piva piAe // 591 // sisirammi virala-kusume gADhAliMgaNa-NiheNa avbaanno| bAhu-kalahammi mihuNAI vammaho iha Nioei // 592 // mukulanibiDAsu iha marubakasya mukhapATalAsu valISu / Azvasiti ziziralakSmIstAreSu ca kundakusumeSu // 586 // iha lolayati kSaNakSaNavivarNayavamaJjarItaragAH / pavanaH saMcAravimUDhamRgavirditAH sImAH ||587||jrtthaaymaanphlocchvaasprvirlaaymaanmnyjriishuukaaH| iha rAjante yavAnAmagrabhavantyaH sImAnaH // 588 // iha tAH ploSasugandhayavakaSAyAnanaiH pIyante / phullakaravIrapAlIsamujjvalA araNyavApyaH // 589 // iha daavaanldhuumaabhiyogprtibddhmhiirjaataamraaH| divale'pi bhavanti pradoSarAgamalinA digaabhogaaH||590 // iha vighaTitatantucarmapakSmalAtAmradhUsaraM pibti| nAraGgagarbhazakalaM pathiko'dharamiva priyAyAH // 591 // zizire viralakusume gaaddhaalingnnibhenaapbaannH| bAhukalahe mithunAni manmatha iha niyojayati / / 592 / / . 586. mUladeg for ma ula'. Avasai for Asasai. 587. dolei for lolei. 587. degmauyamalio for degmaavimalio. 588. aggabharatIo, aggaharaMtIo. 589. pilosa. 591 aMtuppadeg for "cuDuppa. goraMgadeg for NAraMga.

Page #207
gauDavaho iha taM saMcAria-kaMcaNAra-kesara-kasAya-gaMdhANa / ucchaMkhalia-vaNANaM sohaggaM kiMpi pavaNANa // 593 // iha mAhavINa komala-palAsa-dara-kavisa-baMdhaNAharaNaM / ubhijjai jaraDha-kavoa-kaMTha-mailAruNaM maulaM // 594 // iha ahirAaMti kamAvamukka-parirUDha-viDava-jAlAI / hariAruNa-paMDu-kasAya-visama-vaNNAI raNNAI // 595 // phala-baMdha-virala-hariAamANa-sahaAra-maMjari-muhANa / sAhu mahu-vAsarANaM akuMTha-kala-aThi-kaMThANa // 596 // Nava-bANa-kohalleNa guNamemea vammaho muai| sahaAra-sare avioiNo vi iha usuA jeNa // 597 // TiviDikkia-DiMbhANaM Nava-raMgaa-gavva-garua-mahilANa / Nikampa-pAmarANaM bhadaM gAmUsava-diNANa // 598 // virala-TThia-mahuara-kabburAo iha maMjarIo cUANa / dara-daDa-maaNa-bANovamAo viDavasu dIsati // 599 // iha tat saMcAritakAJcanArakesarakaSAyagandhAnAm / ucchaGkalitavanAnAM saubhAgyaM kimapi pavanAnAm // 593 // iha mAdhavInAM komalapalAzadarakApazabandhanAbharaNam / ubhidyate jaraThakapotakaNThamalinAruNaM mukulam // 594 // ihAbhirAjante kramAvamuktaparirUDhaviTapajAlAni / haritAruNapANDukaSAyaviSamaparNAnyaraNyAni // 595 // phalabandhaviralaharitAyamAnasahakAramaJjarImukhAnAm / sAdhu madhuvAsarANAmakuNThakalakaNThIkaNThAnAm // 596 // navabANakutUhalena nUnamevameva manmatho muJcati / sahakArazarAnaviyogino'pIhotsukA yena // 597 // maNDitaDimbhAnAM navaraGgakagarvagurumahilAnAm / niSkampapAmarANAM bhadraM grAnotsavadinAnAm // 598 // viralasthitamadhukarakarburA iha mAryazcUtAnAm / daragyamadanabANopamA viTapeSu dRzyante // 599 / / . 593. kaMcarANadeg for kaMcaNAra'. ujjhaM ( cchaM )khariyadeg for ucchaMkhali. kesaralavaMgagaMdhANa. 594. phaladeg for degdara'. baMdhaNAhofor baMdhaNAharaNaM. 595. ahirAeMti. viDavi. dhavaladeg for degpaMDu. 596. suhANa for "muhANa. 597. NUNa emea, guNamemeva for YNamemea. 598. navaraMgena, navaraggaa for NavaraMgaa. Nikamma. 599. baMdhurAo for "kabburAo. daradaTTha.

Page #208
araNyavarNanam iha sohaMti drummill-kislyaaaNbircchi-vttaaii| pAvia-paDibohAI va sisira-pasuttAiM raNNAI // 600 iha haliddA-haa-daviDa-sAmalI-gaMDa-maMDalANIlaM / phalamasaala-pariNAmAvalaMbi ahiharai cUANaM // 601 // eNa-khura-khaMDiApaMDu-jacca-kaccUra-cuNNamuNNamai / iha ahiNava-savvaNa-veNu-roaNA-reNu-ramaNIyaM / / 602 // diihr-hemNt-nnisaa-nnirNtruppnnnn-caav-vaavaaro| jia-lakkho mA ira mAhavammi kusumAuho hou // 603 // pallava-sihAo iha NivvaDaMti dUrAruNA mahu-muhammi / sAhA-vibhea-pAvia-Nia-rasa-soNAo va tarUNa // 604 // iha kahavi smaasaaia-nnv-shaar-marNd-biNduiaa| ruMTatA bhamaraccea bhamara-mAlAhiM pijjati // 605 // NAlAaDDhia-pariNAma-pasiDhilUsasia-baMdhaNAho / rasa-gAraveNa phalamiha cUANa kamohuraM paDai // 606 // iha zobhante daronmIlitakisalayAtAmrAkSipatrANi / prAptaparibodhAnIva ziziraprasuptAnyaraNyAni // 600 // iha hi haridrAvicchuritadraviDazyAmalAgaNDamaNDalAnIlam / phalamasakalapariNAmAvalambi abhiharati cUtAnAm // 601 // eNakhurakhaNDitApANDujAtyakarpUracUrNamunnamati / ihAbhinavasavaNaveNurocanAreNuramaNIyam / / 602 // diirghhemntnishaanirntrotpnncaapvyaapaarH| jitalakSyo mA kila mAdhave kusumAyudho bhavatu // 603 / / pallavazikhA iha nirvartante dUrAruNA mdhumukhe| zAkhAvibhedaprAptanijarasazoNA iva tarUNAm // 604 // iha kathamapi smaasaaditnvshkaarmkrndbinducitaaH| rutaM kurvanto bhramarA eva bhramaramAlAbhiH pIyante // 605 / / nAlAkRSTapariNAmaprazithilocvvasitabandhanAbhogam / rasagauraveNa phalamiha cUtAnAM kramAvanataM patati // 606 // 600. samu for daru', pAviyabohAI piva. 601. degdamiladeg for degdaviDa', balaMbamaMbANamahiharai for valaMbi ahiharai cUANa. 602. degvaMDu for degpaMDu. 605. degahiNavasahayArareNudeg for degNavasahaAramaaraMda. kaMdaMtA for ruMTatA. 606. baMdhabaMdhuriaM for baMdhaNAhoaM.

Page #209
gauDavaho phala-laMbha-muia-DiMbhA su-dAru-ghara-saMNivesa-ramaNijjA / ee harati hiaaM ajaNAiNNA vaNa-ggAmmA // 607 // kiMpi duma-jajjaresuM hia ghosAvabaddha-dhUmesu / / laggai virala-Thia-vAyasesu uvvattha-gAmesu // 608 // iha gAmAgaa-dhammia-saMmajjia-suNNa-liMgamuvaselaM / dala-gaMdhi gahIrANIla-kuMDamuru-pAavaM saMDaM // 609 // avamArua-mUla-Nimilla-pallavAuMjiNo parisaresu / iha taruNo sihara-vahammi Navara jhaMkAriNo hoti // 610 // iha bhUri-bhamira-sAhA-sAraMga-virAviNo viraaaNti| Abaddha-mahA-mahu-piMDa-maMDalA jara-taru-kkhaMdhA // 611 // pariNAma-sosa-lahuAamANa-phala-thoa-pAviosAsA / iha jAA paDhama-samoNaAo mAlUra-sAhAo // 612 // sAvaa-paavI-bhiNNAvasAya-hariaMtarA virAti / ee pahAa-sarasA vaNa-tthalI-saddaladdhaMtA // 613 // phalalAbhamuditaDimbhAH sudArugRhasaMnivezaramaNIyAH / ete haranti hRdayaM ajanAkIrNA vanagrAmAH // 607 // kimapi dumajarjareSu hRdayaM ghoSAvabaddhadhUmeSu / lagati viralasthitavAyaseSu udvasitagrAmeSu // 608 // iha grAmAgatadhArmikasaMmArjitazUnyaligamupazailam / dalagandhi gabhIrAnIlakuNDamurupAdapaM SaNDam // 609 // avamArutamUlanimIlitapallavAkuJcinaH parisareSu / iha taravaH zikharapathe kevalaM jhaGkAriNo bhavanti // 610 // iha bhUribhramaNazIlazAkhAsAragavirAviNo virAjante / AbaddhamahAmadhupiNDamaNDalA jarattaruskandhAH // 611 // pariNAmazoSalaghUyamAnaphalastokaprAptocchvAsAH / iha jAtAHprathamasamavanatA mAlUrazAkhAH // 612 // zvApadapadavIbhinnAvazyAyaharitAntarA virAjante / ete prabhAtasarasA vanasthalIzAhalArdhAntAH // 613 // / 607. sudArusaMcayadeg for sudArugharasaMdeg. sujaNAinnA for ajaNAiNNA. 608. uvvuttha. 610. pallavAkuMciNo, pallavAkuMjiNo. 611. saMbaddha for Abaddha'. 612. pAvethoyaUsAsA for degthoapAviosAsA. 613. degsamae for degsarasA.

Page #210
giritaTa varNanam parisaDia - veNu-dala-raMga-piMgalaM galai giri-aDa-darIsu / jalamiNamo mala - hariA amANa- jaraDhovala - kkhaliaM // 614 // iha sottAgama - vihaDia - silAsu muNiNo guhAsu NivasaMti / kAsAyamuvvahaMtA purANa- boraTTi - vicchAyaM / / 615 // iha phalai dumavaI paNao bhamarANa kusuma - pIANaM / siddha-pariggahia - guhA-gehAsu NiaMba - mAlAsu // 616 // iha kaDuia-viaDa- silA-vaDaNa-a-cuNNa rAsi paMsuliA / visamujjala-muhala-taDA ghaDaNA-joggovalA giriNo // 617 // iha parisakkijja kADhaNa-kakkarukkera - Nisia Naha-hIraM / kuruviMda - kaMdarA - maMdiresu maMdaM madehiM // 618 // iha dara-khallaia - taDovalAo parivirala-bAla-mINAo / pheNa cchAyA - sAroarAo rehati sariAo // 619 // avakala-NIsaha mUla-baMdhurA aMta - bAla -dhava - kuMjA / iha bahulaM gADha - kasAya - sIhuNo giri - aDa-ggAmA // 620 // parizaTitaveNudalaraGgapiGgalaM galati giritaTadarISu / jalamidaM malaharitAyamAnajaraThopalaskhalitam // 614 / / iha srotaAgamavighaTitazilAsu munayo guhAsu nivasanti / kASAyamudvahantaH purANabada rAsthivicchAyam / / 615 // iha phalati dumavatISu praNayo bhramarANAM kusamapItAnAm / siddhaparigRhItaguhAgehAsu nitambamAlAsu // 616 // ihAkRSTavikaTazilApatanasthitacUrNa rAzipAMsulitAH / viSamojjvalamukharataTA ghaTanAyogyopalA girayaH / / 617 / / iha pariSvakkyate kaThina karkarotkara nizitanakhaprAntam / kuruvindakandarAmandireSu mandaM mRgendraiH / / 618 // iha darakhalatIkRtataTopalAH praviralabAlamInAH / phenacchAyAzArodarAH zobhante saritaH / / 619 // apavalkala niHsahamUlabandhurAyamANabAladhavakuJjaH / iha bahulaM gADhakaSAyasIdhavo giritaTagrAmAH / / 620 // 93 614. darIhiM and 'sarIhiM for 'darIsu. 617. parivesA for paMsuliA. purAsiparivesA for & cuNNarAsipaMsuliA. 618. kakkaruppaMka' for area. 619. rayadeg for dara 620 bADha for bahulaM.

Page #211
/ gauDavahI iha diasammi vi siharAvaroha-pariatta-ravi-arummillA / dhUmAaMti va dUrAvaloa-mailA giri-vaNaMtA // 621 // calaNa-NisaNNuNNAmia-cibua-alAyAmi-taliNa-muharehaM / sohai pasuttamiha kesarINa bhara-Niggaa-NahaggaM // 622 // iha suireNa pasammai kphphaadd-prNpraa-pddikkhlio| ahitADia-kaMsuggAra-jhaMjhaNA-paDiravAhoo // 623 // iha dIsai vimlaaaNt-mnni-silaa-sNdd-sNghiujjo| paridalia-dADimI-kusuma-dala-sihAaMbiraM gaaNaM // 624 // iha dUra-dvia-siharA vitthArAsaNNa-pAaDa-NiaMbA / dIsaMti agga-mailA kameNa mUlujjalA giriNo // 625 // iha tAo khNddiuvaaa-paaavaalgg-vlli-klilaao| sabarukkhaa-kaMduddesa-vivara-visamAo bhUmIo // 626 // iha vAhehiM varAhANa bANa-vihaANamaNusarijaMti / aggagga-samujjala-ruhira-biMdu-muddAo paavIo // 627 // ___iha divase'pi shikhraavrodhprivRttrvikronmiilitaaH| dhUmAyantIva dUrAvalokamalinA girivanAntAH // 621 // caraNaniSaSNonnAmitacibukatalAyAmitanukamukharekham / zobhate prasuptamiha kesariNAM bharanirgatanakhAgram // 622 // iha sucireNa prazAmyati guhaaprmpraaprtiskhlitH| abhitADitakAMsyodgArajhaJjanApratiravAbhogaH / / 623 // iha dRzyate vimalAyamAnamaNizilASaNDasaMdhyudyotam / paridalitadADimIkusumadalazikhAtAnaM gaganam // 624 // iha dUrasthitazikharA vistaaraasnnprkttnitmbaaH| dRzyante'gramalinAH krameNa mUlojjvalA girayaH // 625 // iha tAH khnndditocchusskpaadpaalgnvlliklilaaH| zabarotkhAtakandoddezavivaraviSamA bhuumyH|| 626 // iha vyAdhairvarAhANAM baannvihtaanaamnusriynte| agrAmasamujjvalarudhirabindumudrAH pdvyH||627 // 621. raviyaruppIDA, vaNaddhatA for girivaNaMtA. 622. degnahadeg for "muha. 623. hi cireNa for suireNa. pasaMsai for pasammai. paDipphalio. ahitADaNakaMsuggArujhaMjhaNo. 624. vimalAtaMva. 625. dUrotthiya. 626. khaMDiyabvAya', kaliyAo. 627. bANapahayA, vihayANa aNudeg for degvihaANamaNu'.

Page #212
jaladhivarNanam maNi-vitthAra-pariTTia-vasuhA-paaDApramANa-peraMto / lakkhijjai sesa-phaNA-aDo vva aha Nimmalo jalahI // 628 // nnibidd-dl-nnaal-prijddil-diihrudNdd-piNdd-khjjuuraa| eAo jalahiNo taDa-tamAla-NIlA vaNAlIo // 629 / / gose viasaMti marAla-caMcu-paricuMbiAo sarasIsu / iha kamaliNI mahuara-puliMda-viNivesa-pallIo // 630 // ei ihaM jalaNihimuttareNa ua-mahihare Naha-visArI / sAmIraM raamaNuvattiUNa gaMdho vaNa-laANaM // 631 // pADalia-bhU-rao NihasaNeNa pUANa priml-ksaao| kavilia-NiyaMsaNo iha jaNassa saMjjhAai raoho // 632 // iha pavaNa-bhiNNa-tAlI-rasa-cchaDA-picchile prikkhliaa| kaiNo mahura-suaMdhe lihaMti hatye giri-aDIsu // 633 // raMkholira-pariNaa-gabbha-sAra-saMbhiDaNa-muhala-phala-kosA / iha pavaNo NaccAvei NAliera-vaNAlIo // 634 // mnnivistaarprisstthitvsudhaaprkttaaymaanpryntH| lakSyate zeSaphaNAtaTa ivAtha nirmalo jaladhiH // 628 // nibiDadalanAlaparijadiladIrghoddaNDapiNDakharjUrAH / etA jaladhestaTatamAlanIlA vanAlyaH // 629 // prabhAte vikasanti marAlacaJcuparicumbitAH sarasISu / iha kamalinyo madhukarapulindavinivezapallayaH // 630 // etIha jalanidhimuttareNa udamahIdhare nabhovisArI / sAmIraM rajo'nuvRtya gandho vanalatAnAm // 631 / / pATalitabhUrajasko nigharSaNena pUgAnAM parimalakaSAyaH / kapilitanivasana iha janasya saMdhyAyate rajaoghaH // 632 // iha pavanabhinnatAlIrasacchaTApicchilAna priskhlitaaH| kapayo madhurasugandhAna lihanti hastAna giritaTISu // 633 // dolanazIlapariNatagarbhasArasaMbhedanamukharaphalakozAH / iha pavano nartayati nAlikeravanAlIH // 634 // 629. NibiDadalamAla', 'jajjaruddaNDadeg for degdIharudaMDa. 632. pUrao for bhUrao. 633. paDaNadeg for pavaNa'. 634. rikhorila', raMkholiyadeg for raMkholira', degkoso.

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gaDavo muhalaMdolia-tADI-pallava- saMvelliA iha vahati / baMdhana -dalaMta tarAa-phala- caDakAriNo pavaNA / / 635 // aha kelAsa bolei jammi hima - kaNa - kilAmia-cchAyaM / saMbharia-maaNa-viNivAa - khea - viduraM va sasi-biMbaM // 636 // iha hara - jaDAhisaMjamaNa - gaMThi- NiviDia galeNa vAsuiNA / uphulla-phaNA-dhariA muccaMti samIraNuggArA || 637 // iha a NisAsu viNivvarDati Amoa - pellia-bhuaMgA / raaNa-cchavi-saMvaliA kaDaesu mahosahI - viDavA // 638 // iha maNi-aDANa dIsaha uvvattia - barahi - piccha-vicchAo / NIhAra - paDa- parikkhalia - Niggamo kiraNa-vicchaDDo // 639 // iha phurai paMDu-bhAvo vAsAgama-bhaMga - gahia - siharANa / aNavaraa - visajjia - vijju - ruhira-dhArANa va ghaNANa // 640 // iha siddha- suMdarINaM thaNANa Nava Naha-vaANa NivvaDai / AaMba-rAi-laMchia-vitta-bhuavatta-lAaNNaM // 641 // 96 mukharAndolitatADIpallavasaMvellitA iha vahanti / bandhanadalattRNarAjaphalacaTatkAriNaH pavanAH || 635 // atha kailAso'tikrAmati yasmin himakaNakkAmitacchAyam / saMsmRtamadanavinipAtakhedavidhuramiva zazibimbam / / 636 / / iha harajaTAbhisaMyamanagranthinibiDitagalena vAsukinA / utphullaphaNAdhRtA mucyante samIraNodvArAH / / 637 // iha naiva nizAsvapi nirvartante AmodapreritabhujaGgAH / ratnacchavisaMvalitAH kaTakeSu mahauSadhi - viTapAH || 638 // iha maNitaTAnAM dRzyate udvartitabarhipicchavicchAyaH / nIhArapaTapariskhalita nirgamaH kiraNasamUhaH / / 639 / / iha sphurati pANDubhAvo varSAgamabhaGgagRhItazikharANAm / anavaratavisRSTavidyudrudhirANAmiva ghanAnAm || 640 // iha siddha sundarINAM stanAnAM navanakhapadAnAM nirvartate / AtAmrarAjilAJchita vicitrabhUrjapatralAvaNyam / / 641 / / 635. 'tAlI' for 'tADI' pari' for iha. 639. bharadeg for 'paDa', hArapaDaNa Di. 641. AiMbarAI, lachaNa vicitta..

Page #214
grISmavarNanam iha muNivarANa NikaMpa-niyama-paDibaMdha - saMdhiAloA / jhANa-viramammi jAaMti Navara maliNA giri-guhAo / / 642 // iha muka - pallalummuha-pasaNNa-mahisAvaloiA hoMti / sela - siharaM tarijjata-ravi-arA diasa-pariNAmA || 643 // chAyA - NivvAvia - saddalANa bhaI diNAvasANANa / ara - viNiatta- govI - parigIa-varNata- maggANa // 644 // iha pallI-dhUmubbhea-dhUsarijjaMta-kuMja-ramaNijjA / hoMti giri- aDa a-daMDA NisAgamAraMbha - gaMbhIrA // 645 // uayacchaviM muaMto purANa kari daMta - piMgala maUho / iha sohai siharAsata - maMDalo jAmiNI - NAho || 646 // dhArAhisitta-Nava- kaMdalANa iha tA calaMti mAlAo / jaraDha-kalaviMka - gala-maMDalAhilINA jalaharANa // 647 // iha so tarula-vasuAa - salila-saMbhiNNa- kesraamoo| pariNaa-kiNNa-surA-aMdha - gADha - mahuro viNimmahai // 648 // iha munivarANAM niSkampaniyamapratibandhasaMdhitAlokAH / dhyAnavirame jAyante kevalaM malinA giriguhAH || 642 // iha muktapalvalonmukhaprasannamahiSAvalokitA bhavanti / zailazikharAntarIyamANaravikarA divasapariNAmAH // 643 // chAyAnirvApitazAdvalAnAM bhadraM dinAvasAnAnAm / nagaravinivRttagopIparigItavanAntamArgANAm || 644 // iha pallIdhUmodbhedadhUsarAyamANakuJjaramaNIyAH / bhavanti girikaTakadaNDA nizAgamArambhagaMbhIrAH // 645 // udayacchaviM muJcan purANakaridantapiGgalamayUkhaH / iha zobhate zikharAsatamaNDalo yAminInAthaH // 646 // dhArAbhiSiktanavakandalAnAmiha tAzcalanti mAlAH / jaraThakalaviGkagala maNDalAbhilInA jaladharANAm // 647 // iha sa tarutalazuSka salilasaMbhinnakesarAmodaH / pariNatakiNva surAgADhamadhuro vinirgacchati // 648 // 642. guhAhoA for giriguhAo. for NisAgamA 646. siharAsanna kaNNa', 'garuo for 'mahuro. ga. 7 97 645, kaDayadeg for aDaa. jalayAgamA 647 valaMti for calaMti. 648. kaTTha for

Page #215
gauDavaho paDhamAsAre iha tatta-bhU-NivesAI vaNa kuraMgehiM / dara-ghaDia-muhaM pijjati agga-sisirAI toyAI // 649 // iha velNt-dumujjhia-bhinnnn-vo-aNdd-kll-siiarinno| vAaMti meha-sIala-dhUli-lavutthaMghiNo pavaNA // 650 // ee virAa-gomaya-hariaMtara-bubbuA parivahati / saddala-saMdANia-sahara-cittalA pUra-vitthArA // 651 // iha dhArA-viccholia-phalaTThi-Niggaa-kasAya gaMdhANa / virala-bhamarANa gholai lacchA jaMbU-tarualANa // 652 // ukkaMdalANa gholai iha serih-dlia-kesr-vnnaann| gaMdho ubbuddha-kalaMba-sIalo sela-kaDaANa // 653 // iha salila-kiliNNAaMba-virasa-mAlUra-sAra-surahINa / jalaa-samayammi raNNANilANa NivvaDai sohaggaM // 654 // Nava-dhArA-paDibajhaMta-reNu-parisAmalA thalI-maggA / dhUsara-hariNa-khura-cchea-kabburA iha virAaMti // 655 // . prathamAsAre iha taptabhUnivezAni vanakuraGgaH / daraghaTitamukhaM pIyante'grazizirANi toyAni // 649 // iha velddumojjhitbhinnvyo'nnddkllshiikrinnH| vAnti meghazItaladhUlilavotkSepiNaH pavanAH // 650 // ete vilInagomayaharitAntarabudabudAH parivahanti / zAdvalasaMdAnitazapharacitralA. pUravistArAH // 651 // iha dhArAdhautaphalAsthinirgatakaSAyagandhAnAm / viralabhramarANAM ghUrNate lakSmIjambUtarutalAnAm // 652 // utkandalAnAM ghUrNate iha sairibhadalitakesaravanAnAm / gandha udbuddhakadambazItalaH zailakaTakAnAm // 653 // iha slilklinnaataamrvirsmaaluursaarsurbhiinnaam| jaladasamaye'raNyAnilAnAM nivartate saubhAgyam // 654 // navadhArApratibadhyamAnareNuparizyAmalAH sthalImArgAH / dhUsarahariNakhuracchedakarburA iha virAjante // 655 // . 649. pejjati. 650. dumijjhiya, kalila'. lavutthaMbhiNo, lavulaMghiNo for lavutthaMghiNo. 652. lacchI gholai, taruyarANa. 653. degsodara' for "seriha. 655. paDibaddha for paDibajhaMta.

Page #216
zaradvarNanam avamehAo vi maila-caMdimA hoti somm-pvnnaao| salilaMdha-gaaNa-dara-NivvaData-tArA raarNAo // 656 // iha sA ummudia-siNduvaar-marNd-bNdh-suhaann| saraa-diasANa viasai lacchI uggaMdha-kamalANa // 657 // ia saala-disA-aDa-viaya-milia-mahi-maMDalehiM sccviaa| seNA-bhaDehiM se suhaa-saMNivesA vaNuddesA // 658 // avi a| eeM virtt-surcaav-virs-virlaahilkkhia-cchaayaa| mahisa-khura-cchea-vihAvia-ppahA maNi-aDuddesA // 659 // icchA-pariatta-laA-viANa-uddesa-pIDia-dumANa / chAyA saccia aNNa vva raNNa-pharusA uvavaNANa // 660 // vinbhamavaINa bhijjaMtamalaa-parigUDha-kesaraM jANa / tANaMcia vialai iha laANa phala-pelliaM kusumaM // 661 // osaria-sihara-baMdhA thddiovtt-bhitti-pnmaaraa| bhavaNocchaMgA teccea vijala-vAvINihA jaaaa|| 662 // ...... ................ __ apamedhA api malinacandrikA bhavanti saumypvnaaH| salilAndhagaganadaranirvartamAnatArA rajanyaH // 656 // iha sA unmudritasinduvAramakarandabandhasubhagAnAm / zaradivasAnAM vikasati lakSmI udgandhakamalAnAm // 657 // iti sakaladiktaTavijayabhilitamahImaNDalaidRSTA / senAbhaTestasya subhagasaMnivezA vanoddezAH // 658 // api ca / ete viraktasuracApa. virsvirlaabhilkssitcchaayaaH| mahiSakhuracchedavibhAvitaprabhA maNitaToddezAH // 659 // icchAparivRttalatAvitAnoddezapIDitadvamANAm / chAyA saivAnyeva araNyaparuSA upavanAnAm // 660 / / vibhramavatInAM bhidyamAnamalakaparigRDhakesaraM yAsAm / tAsAmeva vigalatIha latAnAM phalapreritaM kusumam // 661 // apsRtshikhrbndhaastthaasthitaapvRttbhittipraarbhaaraaH| bhavanotsagAsta eva vijalavApInibhA jAtAH // 662 // 656 salilottha for salilaMdha. 657. degbiMdu' for 'baMdha. 658. maliya' for degmilia.

Page #217
180 gauDavaho jAA tAocciA th-mhgdh-mnni-raasi-sblia-kkhNbhaa| bhamira-bhuaMga-phaNA-raaNametta-vihavAo vIhIo // 663 // iha kira taMA pura-saMNivesa-pihu-paMsu-rAsi-parivesaM / varisAsu paesa-pAsa-khutta-mANa-vidumaM NaaraM // 664 // nniirennu-bhaav-nnivvddia-saal-sur-sann-tornn-viddNkaa| dUre vi pura-NivesA iha AsaNNa vba dIsaMti // 665 // pviliinn-kusul-tthaann-phrus-bus-pNsu-thuddiuddesaa| iha bhU-daviNaNNesaNa-viiNNa-vivarA gharovAsA // 666 // iha kAla-rUDha-sIrAgamAI jAAI bhl-hriaaii| bhU-guNa-visaTTa-maMdAra-baddha-gahaNAI chettAI // 667 // iha kArahIsu kallaM uNNaMti va bhUsu sAvasAAsu / ArAmaMti viNimmahia-kamala-gaMdhAo va disaao|| 668 // sAhAsu bNdh-prises-rjju-vocchea-virl-jr-dbmaa| dolA-maggA uvaNiggamesu ee tarualANa // 669 // jAtAstA eva tathAmahArghamaNirAzizabalitastambhAH / bhramaNazIlabhujaGgaratnamAtravibhavA vIthyaH // 663 // iha kila tadA purasaMnivezapRthupAMsurAzipariveSam / varSAsu pradezaprakAzanimanamaNividumaM nagaram // 664 // nIreNubhAvanirvRttasAlasurasadanatoraNaviTaGkAH / dUre'pi puranivezA ihAsannA iva dRzyante // 665 // pravilInakusUlasthAnaparuSabusapAMsusthapuTitoddezAH / iha bhUdraviNAnveSaNavitIrNavivarA gRhAvakAzAH // 666 // iha kAlarUDhasIrAgamAni jAtAni bhlhritaani| bhUguNavikasitamandArabaddhagahanAni kSetrANi // 667 // iha kArabhISu kalyamunayantIva bhUSu saavsaadaasu| Aramanti vinirgatakamalagandhA iva dishH|| 668 // zAkhAsu bandhaparizeSarajjuvyucchedaviralajaradarbhAH / dolAmArgA upanirgamezvete tarutalAnAm // 669 // 663. valahIo, veIo for vIhIoH 664. taM Asi saMdeg (=taM AsIsa) for taMA saM', 665. viDaMgA for degviDaMkA. 666. 'tusa' for "busa' 667. khettAI for chettAI. 669. 'baddha for baMdha. taslayANa.

Page #218
utsannanagaravarNanam 101 avsgnn-puraann-priNd-kittnntttthaann-sonn-cunnnnaao| iha jara-muaMga-saMbhAviAo perNt-bhuumiio||670|| iha Nijjia-kuMdosIra-sAra-sahaAra-pADala-rasAI / kamala-karavIra-bAvIsu gimha-toyAI agdhaMti // 671 // iha viaDa-mUlabaMdhA ghaDia-silA-saMcayA parisaresu / asamatta-Nivesaccia jaraM gaA su-purisaarNbhaa|| 672 // duggama-bhAva-Thia-NAli-ghaDia-ghaMTesu toraNaggesu / iha ajja vi uddesA saMbhAvia-bhUri-vihava vva // 673 // A-sihara-pariDia-bhitti-saMcayA glia-daaru-pddibNdhaa| iha dUmaMti va abhaMtarAavA bhavaNa-vitthArA // 674 // jaNa-viNihaTTAyasa-kalusa-hINa-pAhANa-dehalI-baMdhA / agaru-dala-lahua-jara-dAra-dAru-saalA iha NivesA // 675 / / iha vihaDia-piMDI-baMdha-saMdhi-parilaMbi-vAla-NimmoA / AyAma-pariDia-caMka-viaDa-liMgA thlaahoaa|| 676 // avasannapurANanarendrakIrtanasthAnazoNacUrNAH / iha jarabhujaGgasaMbhAvitAH paryantabhUmayaH // 670 // iha nirjitakundozIrasArasahakArapATalarasAni / kamalakaravIravApISu grISmatoyAni rAjante // 671 // iha vikaTamUlabandhA ghaTitazilAsaMcayAH prisressu| asamAptanivezA eva jarAM matAH supuruSArambhAH // 672 // durgamabhAvasthitanADIghaTitaghaNTeSu toraNAgreSu / ihAdyApi uddezAH saMbhAvitabhUrivibhavA iva // 673 // AzikharapariSThitabhittisaMcayA glitdaaruprtibndhaaH| iha dunvantIva abhyantarAtapA bhavanavistArAH // 674 // janavinighRSTAyasakaluSahInapASANadehalIbandhAH / agarudalalaghukajaradadvAradAruzakalA iha niveshaaH||675|| iha vighaTitapiNDIbandhasaMdhiparilambiyAlanirmokAH / AyAmapariSThitapakavikaTaligAH sthalAbhogAH // 676 // 673. duggapahAva for duggamabhAva', Neli', pIlIdeg for degNAli. 674. dUmeti. paribaMdhA for degpaDibaMdhA. 675. degkAladeg for 'kalusa'. bhaguru. jara (dAru) sayalamUlA iha NivesA for jaradAradAru. 676. AyAsa for AyAma'.

Page #219
102 gauDavaho iha ciMciNINa ghettUNa karaalolupa-piMDiaM phio| kavalei jaraDha-kalaviMka-pakkha-parikabburaM kusumaM // 677 // dIsaMti paDhama-pIDhA nnibiddaarunn-lgg-pNk-levaao| iha vihaDia-bhitti-cchea-NiggaA jjjridvaao|| 678 // iha lavaNuggama-parihINa-bhitti-valayattaNeNa dIsaMti / ahia-viaDAo pUraNa-samuNNaA kUva-kosIo // 679 // piinntnn-dr-prinnaam-bhNg-priksnn-mnni-kvaalaao| Aho ajja vi iha kahati gahirAo rtthaao|| 680 // iha kAleNa samIkaa-talAa-suramaMdirAo dIsaMti / dara-NiNNuNNaa-saMThANametta-visamAo bhUmIo // 681 // ghara-golaa-dArosaria-mUla-paDibaddha-cuNNa-rehAo / eAo pADalAvaMDu-kupparA juNNa-bhittIo // 682 / / iha gaMbhIrAaMti va ahiAloAI jAlaa-vihaMgA / chAyAsu vi dara-pAvia-khaMbha-cchAyAI bhavaNAI // 683 // iha cizcinInAM gRhItvA karatalAvalumpanapiNDitaM pathikaH / kavalayati jaraThakalavikapakSakarburaM kusumam // 677 // dRzyante prthmpiitthaanibiddaarunnlgnpklepaaH| iha vighaTitabhitticchedanirgatA jarjaraSTakAH // 678 // iha lavaNodgamaparihInabhittivalayatvena dRzyante / adhikavikaTAH pUraNasamunnatAH kUpakozyaH // 679 // pInatvadarapariNAmabhadgaparikarSaNamaNikapAlAH / AbhogamadyApi iha kathayanti gabhIrA rathyAH // 680 // iha kAlena samIkRtataDAgasuramandirA dRzyante / daranimnonnatasaMsthAnamAtraviSamA bhUmayaH // 681 // gRhgolkdvaaraapsRtmuulprtibddhcuurnnrekhaaH| etAH pATalApANDukarparA jIrNabhittayaH // 682 // iha gambhIrAyanta iva adhikAlokAni jAlakavibhagAt / chAyAsvapi daraprAptastambhacchAyAni bhavanAni // 683 // 678. paDhamapIDA, paDhamabhIDA. paMkalaggadeg for laggapaMka. lehAo for deglevAo. 680. kasiNa' for degkasaNa'. iha ajjavi kahiMti. 681. degtaDAya" for talAya. 682. deggholapavAro, gharagholayavAro for golaadAro'. mUlapaDibaMdha', pADalAvaNNa. 683. vibhaMgA for vihaMgA.

Page #220
utsannanagaravarNanam diase va bhU-saMbhAvaNAeN ukkaMTayaMti aMgAI / NIsaddAo va iha jhatti ghaDia - sahAo vaDIo // 684 // iha dUti va phala-patta-loha- pavirikka- tAla - khajjUrA / avaloha - paloha - jarA rahaTTa- daMDA gharovAsA // 685 // ciNhovalakkhi bihuAraMbhohura - NariMda - dIsaMtA / iha ajja va saMti mahA - NihANa - maggA parisaresu // 686 // aghaDaMta- dhUma - raa - NiggamAoM palhattha - bhavaNa - viralAo / iha hoMti gADha - timirA cireNa raaNIsu ratthAo // 687 // ia tassa ciraM sevAgaehiM vihaDia-samiddhi-baMdhehiM / a- ara-saMNivesAveri NariMdehiM saccaviA // 688 // kiM ca jAaM / pecchaha laddha-cchAyaM imIeN paDivaNNa-dappaNaM vaaNaM / kamalaM va samuha-ravi-biMba - cuMviaM phurai NaliNIe // 689 // uvvaha daia - gahi AharoTa - jhijjaMta - rosa paDirAaM / pANosaraMta - mairaM va phalia - casaaM imA vaaNaM // 690 // divase'pi bhUtasaMbhAvanayA utkaNTayantyadgAni / niHzabdA apIha jhaTiti ghaTitazabdA valabhyaH / / 684 // iha dunvantIva phalapatralobhapraviriktatAlakharjUrAH / apalohaparyastajaradaraghaTTadaNDAH gRhAvakAzAH // 685 // cihneopalakSitA vidhutArambhAvanatanarendradRzyamAnAH / ihAdyApi santi mahAnidhAnamArgAH parisareSu // 686 // aghaTamAnadhUmara jo nirgamAH paryastabhavanaviralAH / iha bhavanti gADhatimirAzvireNa rajanISu rathyAH // 687 // iti tasya ciraM sevAgatairvighaTitasamRddhibandhaiH / nijanagarasaMnivazo vairinarendrairdRSTAH // 688 // kiM ca jAtam / prekSadhvaM labdhacchAyamasyAH pratipannadarpaNaM vadanam / kamalamiva saMmukharavibimbacumbitaM sphurati nalinyAH // 689 // udvahati dayitagRhItAdharoSThakSIyamANaroSapratirAgam / pAnApasaranmadiramiva sphaTikacaSakamasyA vadanam // 690 // 103 684. disAo for vaDahIo. 685. phalabahalapattapavi, phalapattalokapavi for phalapattalohapavi. 687 Nayaresu for rayaNIsu. 689. laDucchAyaM. kamalamiva. 690. "kijjaMta' for 'jhijjaMta'.

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104 gauDavaho kNtthosriek-thnnaavstt-pia-baahu-gholir-krggaa| sohai imA pattia-tuMbI-vINA-viNoa vva // 691 // daia-gahiAlaAvali-kalia-NaDAlaM muhaM vahai / / bahula-NisA dara-hIraMta-paDhama-kalamiMdu-biMba va // 692 // vaaNa-NayaNa-ppahA-NijjiANa zRNaM imIeN eaann| sama-dukkhANa va jAo samAgamo caMda-hariNANa // 693 // ia oAria-cAvammi jammi pAUsa-vilasiavvesu / NivaNNei pariaNo seNA-lalaNANa liilaao|| 694 // kiM c| jassa pahAra-dhuANaNa-riu-gaa-gaMDatthalucchalaMtANa / tiasa-parimukka-kusumesu ghaDai paNao mahuarANa // 695 // tassa magahAhivaiNo imANa ramaNINa vihsiujjoaa| tuha bahala-jasa-cchavi-pallia vva Na NariMda dIsaMti // 696 // eANa phuria-sevA-cAmara-pamha-paDimesu dIsati / aMto bhaya-pIAo bva bAha-dhArA kavolesu // 697 // kaNThApasRtaikastanAvasaktapriyabAhughUrNanazIlakarAyA / zobhate iyaM pravartitatumbIvINAvinodeva // 691 // dayitagRhItAlakAvalikalitalalATa mukhaM vahati / bahulanizA darahriyamANaprathamakalamindubimbamiva // 692 // vadananayanaprabhAnirjitayo"namasyA etyoH| samaduHkhayoriva jAtaH samAgamazcandrahariNayoH // 693 // ityavatAritacApe yasmin prAvRDvilasitavyeSu / nirvarNayati parijanaH senAlalanAnAM liilaaH||694|| kiM ca / yasya prahAradhutAnanaripugajagaNDasthalocchalatAm / tridazaparimuktakusumeSu ghaTate praNayo madhukarANAm // 695 // tasya magadhAdhipateretAsAM ramaNInAM vihasitodyotAH / tava bahalayazazchavipreritA iva narendra dRzyante // 696 // etAsAM sphuritasevAcAmarapakSmapratimeSu dRzyante / antarbhayapItA iva bASpadhArAH kapoleSu // 697 // 691. vINANuNAyavva. 692. niDAlaM for "NaDAlaM. 694. NAlIo for lIlAo.

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bandistutiH a-a-paMka- kaNukkara - NiheNa jANaM kavola - kuharAhi / kuMbha-dvi-muttA- kiraNa - pelliaM NIi timiraM va // 698 // te tujha jaya - gadA gariMda viddavia - veri-vaggassa / vara giri - kaDaa - paDipelaNeNa teaM viNoaMti // 699 // aha vA / TaMka-muhAhaa - kaThiNa dvi-mukka- dhUma - cchaleNa uvvamai | taddiasa- pahA - paripIa - timira - paDalaM va kara- jAlaM / / 700 // voleMti Nia- pamANANurUa - paDibaddha - vAsara - kakhaMDA / TaMka-ccheocchaliA sarIra-saalANa saMghAA // 701 // dIes ghaDaNummilaMta - vimala-dasaNa- pahA - parikkhittaM / taddiasiMdu-pavesAvalagga-jonhaM va muha- biMbaM // 702 // vialaMti kaa - raNakAra-TaMka-vocchiNNa- kAya - NivvaDiA / diNNa-suhaM Asura saMgara- dviA paharaNa-ccheA // 703 // ia so viTTi ghaDaNA- viuNujjala-maMDalo diasaNAho | tujjha paAva-cchAyaM pariphuraMto Na pUre // 704 // dhutamadapaGkakaNotkaranibhena yeSAM kapolakuharAt / kumbhasthitamuktAkiraNapreritaM niryAti timiramiva / / 698 // te tava jayagajendrA narendra vidrAvitavairivargasya / kevalaM girikaTakapratipreraNena tejo vinodayanti // 699 // atha vA / TaGkamukhAhatakaThinAsthimuktadhUmacchalena udvamati / pratidivasaprabhAparipItatimirapaTalamiva karajAlam // 700 // vyatikrAmanti nijapramANAnurUpapratibaddhavAsarakhaNDAH / TaikacchedocchalitAH zarIrazakalAnAM saMghAtAH / / 701 // dRzyate ghaTanonmIladvimaladazanaprabhAparikSiptam / pratidivasendupravezAvalagnajyotsnamiva mukhabimbam // 702 // vigalanti kRtaraNatkAraTaGkavyucchinnakAyanirvartitAH / dattasukhamAsurasaMgarasthitAH praharaNacchedAH // 703 // iti so'pi tvaSTRghaTanAdviguNojvalamaNDalo divasanAthaH / tava pratApacchAyAM parisphuran na pUrayati / / 704 // 105 698. yiradeg for 'kiraNa' kavAlakuharAhiM. 699. paripelaNeNa'. 701. nivaDati for voliMti. 703. diNNasuhA. 704. pAvei for pUrei.

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gauDavaho tuha dUrAvajia-seharAli-calaehi~ kIrai pnnaamo| ohura-NaDAla-vialaMta-bhiuDi-bhaMgehiM va parehiM // 705 // saccaM tumammi didve Na saMti tumhArisatti pddihaai| Navara tuha daMsaNaMcia Thavei kAlassa mAhappaM / / 706 // visamattaNaM vi vihiNo Na tavei tumammi NAha saMbharie / AsaNNa-pAuso pallavei gimho vi vaNa-rAI // 707 // jANa Niaccea guNA kiM bhaNNau tANa NigguNA je vi / te vi guNe tuha avalaMbiUNa guNiNo vva NaMdati // 708 // saMNijjheNaM va sirIeN tujjha daahinn-bhuaavlNbaae| aNavaraamaNiTThiamesa kaNaa-varisaM karo muai // 709 // sAhINa-muha-sahasso kiM va Na tA vAsuI psNsei| jai tarai ciMtiumalaM guNe tu ekkeNa hiaeNa // 710 // vihiNA jANa NaDAlesu vilihiaM kiM pi visama-pariNAmaM / te tujjha pAa-vaDaNa-cchaleNa vasuhAhiva phusati // 711 // tava dUrAvarjitazekharAlivalayaiH kriyate prnnaamH| avanatalalATavigala kuTibhagaurava paraiH // 705 // satyaM tvayi dRSTe na santi tvAdRzA iti pratibhAti / kevalaM tava darzanameva sthApayati kAlasya mAhAtmyam // 706 // viSamatvamapi vidherna tApayati tvayi sNsmRte| AsannaprAvRda pallavayati grISmo'pi vanarAjim // 707 // yeSAM nijA eva guNAH kiM bhaNyatAM teSAM nirguNA ye'pi / te'pi guNAMstavAvalambya guNina iva nandanti / / 708 // sAMnidhyeneva zriyastava dkssinnbhujaavlmbaayaaH| anavaratamaniSThitameSa kanakavarSa karo muJcati // 709 // svAdhInamukhasahasraH kiM vA na tAvad vAsukiH prazaMsati / yadi zaknoti cintayitumalaM guNAMstavaikena hRdayena // 710||vidhinaa yeSAM lalATeSu vilikhitaM kimapi viSamapariNAmam / te tava pAdapatanacchalena vasudhAdhipa mArjayanti // 711 // 705. bhiuDisaMgehiM. 707. vesattaNaMpi ( = kaThoratvamapi ) for visamattaNaMpi. saccavie for saMbharie. pAuse, pAusa. 708. bhAlaMbiUNa. 711. NiDAle. pAyapaDaNa'.

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bandistutiH 107 ahisAraNammi taM riu-sirI' nnisiaasi-ghddia-pddibiNbo| NIlaMsua-saMvIo vva sahasi sahasAhava-NisIhe // 712 // sAmaNNAI vi NAmakkharAI ThaviAI tai viveammi / kittaNametteNa vi jeNa phurasi taM Navara hiaammi // 713 // tuha dhArA-lagga-samosaraMta-kari-mottiattaNA khaggo / Ahattovala-varisaMbu-vAha-lIla viDaMbei // 714 // aNurAo tti pariaNo kova-huAsa-ppaha ti paDivakkhA / ANA-paANa muddAsu tujjha viMdati siMdUraM // 715 // vAmeara-bhua-bhavaNA kaha Nu sirI vasau tujjha khaggammi / muNiaMdIsaha iha saMThiAe~ se tammi paDibiMba // 716 // Na vi taha loassa guNA Nia-ukariseNa pAaDA hoti / tuha saMmANagyaviA vaccaMti jahA pahu pasiddhiM // 717 // Na hu paDhamaMcia paa-cIDha-ghaDia-maulIhi kArio taM si| bhiuDI-bhaMgAyAsaM avarAha-bhaeNa va riUhiM // 718 // abhisAraNe tvaM ripuzriyA nizitAsighaTitapratibimbaH / nIlAMzukasaMvIta iva zobhase sahasA AhavanizIthe // 712 // sAmAnyAnyapi nAmAkSarANi sthApitAni tvayA viveke / kIrtanamAtreNApi yena sphurasi tvaM kevalaM hRdaye // 713 // tava dhArAlagnasamapasaratkarimauktikatvAt khaDgaH / ArabdhopalavarSAmbuvAhalIlAM viDambayati // 714 // anurAga iti parijanaH kopahutAzaprabheti prtipkssaaH| AjJApadAnAM mudrAsu tava vindanti sindUram // 715 // vAmetarabhujabhavanAt kathaM nu zrIrvasatu tava khhge| jJAtaM dRzyata iha saMsthitAyA asyAstasmin pratibimbam / / 716 // nApi tathA lokasya guNA nijotkarSaNa prakaTA bhavanti / tava saMmAnArghitA vrajanti yathA prabho prasiddhim // 717 // na khalu prathamameva padapIThaghaTitamaulibhiH kAritastvamasi / bhRkuTIbhagAyAsamaparAdhabhayeneva ripubhiH // 718 // 712. NiyayAsighaDiya'. 713. jANa for jeNa. 714. vilaMbeDaM. 715.rosa' for kova". 716. khagge vi. 718. sIsehiM and degmaulehi for degmaulIhiM.

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108 gauDavaho tuha pahu savatta-sImaMtiNINa acchinna-bAha-dhArAhiM / dIsaMti samUlAoM va lolA laMbAlaa-laAo // 719 // jANaM Na purisaAro juvaisamA tesu kaha sirI ramau / ThiabhAvamitthamahilA mahilAo kahaMpi kAmeti // 720 // jhINA ekke tu asimmi saraNamaNNe gaA tumaM cea / sesA vi riU jalahiM kahiM pi kira ke vi paDivaNNA // 721 // vacaMti aho uTheM aiMti mUlaMkura vva puhaIe / . bIAhi va ekkatto kulAhi purisA samuppaNNA // 722 // taralattaNa-vaaNijaM lacchIeN tumAe~ Navara oppusiaM / tIeN vi pahuttaNaM vo pahu-dosa-vivanjiaM diNNaM // 723 / / vivarIaM va tai imaM vivea-sArammi dIsai priNd| bhIo dosANa tumaM te uNa NaThA tumAhito // 724 // saalesuM cea disAaDesu dIsaMti deva paDilaggA / dhoa ba disA-gaa-sIarehiM vimalA guNA tujjha // 725 // tava prbhosptnsiimntiniinaamcchinnbaasspdhaaraabhiH| dRzyante samUlA iva lolA lambAlakalatAH // 719 // yeSAM na puruSakAro yuvatisamAsteSu kathaM zrI ramatAm / sthitabhAvamitthamakhilA mahilAH kathamapi kAmayante // 720 // kSINA eke tavAsau zaraNamanye gatAstvAmeva / zeSA api ripavo jaladhi kutrApi kila ke'pi pratipannAH // 721 // vajantyadha Urdhvamayante mUlAikurA iva pRthivIm / bIjAdivaikasmAt kulAta puruSAH samutpannAH // 722 // taralatvavacanIyaM lakSmyAstvayA utproJchitam / tayApi prabhutvaM vaH prabhudoSavivarjitaM dattam // 723 // viparItamiva tvayi idaM vivekasAre dRzyate narendra / bhIto doSebhyastvaM te punarnaSTAstvattaH / / 724 // sakaleSveva diktaTeSu dRzyante deva pratilagnAH / dhautA iva diggajasIkarairvimalA guNAstava // 725 // 720. ramai. 721. tuyaM for tuma. 722. uddhaM for urdu. 723. umpusiyaM, upphusiyaM.

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bandistutiH bhuvaNa-garuehiM te tuha hIrati guNehiM taM puNo tANa / hIrAsi guNa-leseNa vi suaNo suaNANa ahio si // 726 // dia-bhUmisu dANa-jalulliAI kAlammi jAI uttaaii| tAI tuha NAha rohaMti saMpaaM vihava-bIAI // 727 // paNaIsu guru-maNoraha-saMpatti-samuttuNesu sNketo| maNNe tuha teNa pahuttaNe vi Na mao paDipphurai // 728 // lahiUNa tumAhito deMtehiM io tao NaravaIhiM / sAhAhiM va dANa-dumo gariMda tuha vaDio dUraM // 729 // tuha rija-gaa-kuMbha-khutta-Nisia-tomara-Nihitta-vivarehiM / viraeMti suhaM muttAhalehiM ramaNIo haarlaa|| 730 // avi / parigholai sidilia-jAlasutta-saMtANa-saMThio hatyo / peDhAla-thaNaharAaDi-kakkhaDe vIDaaTThANe // 731 // vellhlNguli-kr-kml-mukklijjt-jaaliaa-vlyaa| kucchi-ccheA chajjati sidila-dara-diTTha-bhaMgaMgA // 732 / / bhuvanagurukaiste taya hriyante guNaistvaM punasteSAm / hriyase guNalezenApi sujanaH sujanAnAmadhiko'si // 726 // dvijabhUmiSu dAnajalArdrANi kAle yAnyutAni / tAni tava. nAtha rohanti sAMprataM vibhavabIjAni / / 727 // praNayiSu gurumanorathasaMpattigarviteSu sNkraantH| manye tava tena prabhutve'pi na madaH pratisphurati // 728 // labdhvA tvatto dadabhiritastato narapatibhiH / zAkhAbhiriva dAnadumo narendra tava vardhito dUram // 729 // tava ripugajakumbhanimamanizitatomarasthApitavivaraiH / viracayanti sukhaM muktAphalai ramaNyo hAralatAH // 730 // api ca / paripUrNate zithilitajAlasUtrasaMtAnasaMsthito hastaH / vipulastanabharAkRSTipIne vITikAsthAne // 731 // komalAGgalikarakamala (bandhana) mucyamAnajAlikAvalayAH / kukSicchedA rAjante zithiladaradRSTabhagaGgAH / / 732 // 727. mukkA and muttAI for uttAI. 728. paripphurai. 729. dhaNavaI hiM for NaravaIhiM. 730. degNihattadeg for degNihitta, virayaMti. 731. saDhaliya for siDilia, saMdhANadeg for degsaMtANa', pIDaNadeg for vIDaNa.

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110 gauDavaho gADha-kavADaa-dukkhuccuDaMta-NaharAi-laMchaNo lahai / dara-mehunjhia-hariNaka-biMba-sohaM thaNucchaMgo // 733 // kaMTha-NirohuvvaNa-vittharaMta-NIsAsa-tulia-NAsauDaM / agghai visaMThuluvvella-vallarI-cihura-pabbhAro // 734 // maNivalayAula-bAhaga-moaNuppaNNa-karaalAyAsaM / rehai lajjA-paDiruddha-thaNaharaM bhualaA-jualaM // 735 // ia garua-vaiaruttaria-kaMcuo kuNai pahu paosammi / sejjAruhaNaM tuha laDaha-vesa-suhio piaa-styo|| 736 // ia baMdi-NaMdia-jayaM gaahipuraaruuddh-sennnn-vinnnnaaso| jAo so laDaha-vilAsametta-vIsaMta-vAvAro // 737 // avi a| saMbhAvia-citta-viAra-kAraNAmarisa-taMbira-cchAyaM / tahajhANa-NimillaMcea hoi phuriAharaM vaaNaM // 738 // ummillai thoa-tthoa-rosa-rajata-dAruNAvaMgA / mAsalia-savaNa-bhuaiMda-raaNa-kaMda-ppahA dihii|| 739 // gADhakapATakaduHkhApasaranakharAjilAnchano lbhte| darameghojjhitahariNAkabimbazobhAM stanotsaGgaH // 733 // kaNThanirodholbaNavistaranni:zvAsatulitanAsApuTam / rAjate visNsstthulodvellvllriicikurbhaarH||734|| maNivalayAkulabAhvagramocanItpannakaratalAyAsam / zobhata lajjApratiruddhastanabharaM bhujalatAyugalam // 735 // iti gurukavyatikarottAritakacukaH karoti prabho prdosse| zayyArohaNaM tava laTabhaveSasukhitaH priyaasaarthH||736|| iti bandinanditajayaM gaadhipuraaruuddhsainyvinyaasH| jAtaH sa laTabhavilAsamAtravizrAntavyApAraH // 737 // api ca / saMbhAvitacittavikArakAraNAmarSatAmracchAyam / tathAdhyAnanimIlitameva bhavati sphuritAdharaM vadanam // 738 // unmIlati stokstokrossrjymaandaarunnaapaagaa| mAMsalitazravaNabhujagendraratnakandaprabhA dRSTiH / / 739 // 733. gADhayacAdukkhittuccuDataNaha. 734. nirohullagadeg for girohuvvaNa'. deguDo for "uDaM. 736. 'saralo for suhio. 737. 'jao for "jayaM.

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bandistutiH 111 sAmAai sealvaahiutt-vinniatt-bhuui-laavnnnno| avihAvia-kaMTha-cchavi-voccheo vaccha-pariNAho // 740 // vihaDai havyavaha-sihA-kaDappa-pellia-puDaM NaDAlammi / kaha-kahavi NibiDa-bhiuDI-vihaMga-saMpiMDiaM NayaNaM // 741 // ia tiNayaNa-rosANala-vilutta-daho vi kusuma-koaMDo / jAsu NisaNNo ajja vi auMTha-bANocia jayammi // 742 // Alulia-veNi-lehaM bhamiaM tAraM ca bhualaA-jualaM / NevacchaM jANa vilAsa-kaMpiacchAI a muhAI // 743 // tANa ramaNINa Naa-bAhu-bisalaAma-kaMTha-pariNAho / uvvahai so vilAsI NiAha-Nevaccha-vicchiti // 744 // teNa sa pallava-bhaMgaM cUDAmaNi-bhAvamataruNaM tANa / Nijjai kusumaM Asurahi-kesaraM Nava-kalaMbANa // 745 // A-meha-samaya-suhaA saMbhiNNovavaNa-ke aa-suaNdhaa| sIariNo se hiaaM haraMti raaNI-muha-samIrA // 746 // zyAmAyate svedlvaabhiyuktvinivRttbhuutilaavnnyH| avibhAvitakaNThachaviyucchedo vakSaHpariNAmaH // 740 // vighaTate havyavAhazikhAsamUhapreritapuTaM lalATe / kathaMkathamapi nibiDabhRkuTivibhaGgasaMpiNDitaM nayanam // 741 // iti trinayanaroSAnalaviluptadeho'pi kusumakodaNDaH / yAsu niSaNNo'dyApi akuNThabANa eva jaye // 742 // AlulitaveNilekhaM bhramitaM tAraM ca bhujalatAyugalam / nepathyaM yAsAM vilAsakampitAkSINi ca mukhAni // 743 // tAsAM ramaNInAM ntbaahubisltaamRssttknntthprinnaahH| udvahati sa vilAsI nidAghanepathyavicchittim // 744 // tena sa pallavabhaGgaM cUDAmaNibhAvamataruNaM tAsAm / nIyate kusumamAsurabhikesaraM navakadambAnAm // 745 // AmeghasamayasubhagAH sNbhinnopvnketksugndhaaH| zIkariNo'sya hRdayaM haranti rajanImukhasamIgaH // 746 // 740. 'chavivuccheya, chavivoccheyaM. 742. jANa for jAsu. bhakuMTha for bhauMTha. 744 niyadeg and Nava' for Na. kisalaAmaTTa. 746. 'muhiyA. 'keyaI for keaa.

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112 gauDavaho kumuAvaboha-mahurA virlaaga-meh-khNddia-miaNkaa| agghati NisA asamatta-galia-salilAgamA tassa // 747 // NIsAsA khaNa-virahe phuraMti ramaNINa surahiNo tassa / kaDia-hiaa-TThia-kusuma-bANa-maaMrada-lesa vva / / 748 // so dIsai uhaya-disA-pahAviANaMda-bAha-salilehiM / tANa pariraMbha-pasaraMta-bhualaehiM va acchIhiM // 749 // avi a| phalihacchoara-dIsaMta-paTTi-veNI-sihAo va sahati / sahasA vali-bhaMga-taraMgiNIhiM jA roma-lehAhi // 750 // sasimiva NavoiaM vihasieNa ahara-ppahANuvidveNa / sAsAmoa-milaMtAli-laMchaNaM jA paAseMti // 751 // jA kaNNa-kisala-karaala-milaMta-cala-tAraAhiM diTThIhi / kaMdua-kIlaM va sa-sesa-bAla-bhAvA pAseMti // 752 // jA lalia-laA-lIlaM velaMbaMti sia-daMta-kusumAo / sahasA mahuara-jAlAamANa-NIlaMbarAvaraNA // 753 // kumudAvabodhamadhurA virlaagtmeghkhnndditmRgaakaaH| rAjante nizA asamAptagalitasalilAgamAstasya ||7.7||niHshvaasaaHkssnnvirhe sphuranti ramaNInAM surabhayastasya / kRSTahRdayasthitakusumabANamakarandalezA iva // 738 // sa dRzyate ubhayadiprabhAvitAnandavASpasalilaiH / tAsAM parirambhaprasarabhujalatairivAkSibhiH // 749 // api ca / sphaTikAcchodaradRzyamAnapRSThaveNIzikhA iva zobhante / sahasA valibhagataradigaNIbhiryA romarekhAbhiH // 750 // zazinamiva navoditaM vihasitenAdharaprabhAnuviddhena / zvAsAmodamiladalilAJchanaM yAH prakAzayanti // 751 // yAH krnnkislykrtlmilccltaarkaabhidRssttibhiH| kandukakrIDAmiva sazeSavAlabhAvAH prakAzayanti // 752 // yA lalitalIlAM viDambayanti sitadantakusumAH / sahasA madhukarajAlAyamAnanIlAmbarAvaraNAH // 753 // 747. suhayA for mahurA. 'saliluggamA. 748. lehavva for deglesamva. 750. phaliya'. 'rAIhiM for "lehAhiM. 751. payAsaMti. 752. degtArayAe diTTIe. deglIla va for degkIla va. 753. avalaMbaMti for velaMbaMti. degva pasattadeg for degsiyadaMta'.

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lalanAvilAsAH jAo sar3a-diNNa-saNNejjha-maaNa- pUAarA sarIreSu / sarasa -ha-maMjari-maaM rattAsoaM piva lihaMti // 754 // jAo pasaMga-pariggahia -hAri-hariaMsuA paAseMti / raMbhA - gavyattaNamaNaha-pariaraM UrudaMDANa || 755 // lIloNaa-muha aMdANa khaMDi Ahara - NiheNa thaNavaTTe | hiaaM jANa pAaDa - vammaha - bANa - vvaNaM phurai || 756 / / thaNa - majjha cchavi-tAraM kuppA saMtaramaNaMga - NAmammi / uddhaM va loaNaM tiNayaNassa baMdIkaaM jAhiM // 757 // ha - rahA jANa thaNesu sahai romaMca - khaMDia - NivesA / khaNa - viraha - bhIruNo sIvaNi vva phuDiassa hiaassa / / 758 / / cakka - jueNa va vammaha-rahassa piahutta - gAmiNo jaao| thaNa-maMDaleNa pariraMbha - laMbha - viaDeNa sohati / / 759 / / pecchati jAo calaNe caMpaa - kaliovaAramujjhate / kaNNuppala - pahara-bhayA gahie vva paIva - mAlAhiM // 760 // yAH sadAdattasAMnidhyamadanapUjAdarAH zarIreSu / sarasanakhamaJjarImayaM raktAzokamiva likhanti // 754 // yAH prasaGgaparigRhItahAriharitAMzukAH prakAzayanti / rambhAgarbhatvamanaghaparikaramUrudaNDAnAm // 755 // lIlAvanatamukhacandrANAM khaNDitAdharanibhena stanaSpRSThe / hRdayaM yAsAM prakaTamanmathavANavaNaM sphurati // 756 / / stanamadhyacchavitAraM kUrpA sAntaramanaGganAze / urdhvamiva locanaM trinayanasya bandIkRtaM yAbhiH // 757 // nakharekhA yAsAM staneSu zobhate romAJcakhaNDita nivezA / kSaNavirahabharuiNaH sIvanIva sphuTitasya hRdayasya // 758 // cakrayugeneva manmatharathasya priyAbhimukhagAmino yAH / stanamaNDalena parirambhalambhavikaTena zobhante // 759 // prekSante yAJcaraNau campakakalikopacAramudyamAnau / karNotpalaprahArabhayAd gRhItAviva pradIpamAlAbhiH // 760 // 113 75. saMNijjha vahati for lihati. 755. harayaMsuyA. 'DaMDANa for 'daMDANa. 757. 'yAraM for 'tAraM. 758. thaNaMtaresu for tha Nesu sahai sIyaNicca for sIvaNi va. phuDirassa. 759. gAmiNA. 760. mahie vva and gahiya vva for gahie vva. ga. 8

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114 gauDayaho dasaNa-NivIamIsA-vasa-kUNia-NayaNa-pamha-bhAveNa / jA paMjariAmiva pi dhareMti avasaraNa-saMkAe // 761 // ahara-ppahA-darAruNa-dasaNa-maUhehi~ thaNa-visArIhiM / vammaha-vaNa-baMdhehiM va jAo saruhirehi sohaMti // 762 // dIha-pihulattaNeNaM htth-dddhaaveddhnnek-joggaao| jANa ka aggaha-taNhaM deMti balA venni-maalaao||763|| avaraddha-ramaNa-paDimaM pijA havaMti vva gaMDavAsammi / aNNa-lalaNA-pasaMgAvakalusi bAha-salileNa // 764 // sai saMghaTTa-samuMjala-koDiM kaNaa-rasaNaM vimoeNti| pia-muha-Nihitta-viasaMta-loaNA jAo samayammi // 765 // jA rosukNpia-knnnn-kusum-ra-puNj-puuria-thnniio| avacuNNeti va dara-rUDha-saMThie vammaha-ppahare // 766 // kaMpAo vahati thaNattha-hattha-raNiraMgulIya-hArAo / aMga thAmeccia muhala-mehalA-NeuraM jAo // 767 // darzananipItamIAvazakUNitanayanapakSamabhAvena / yAH paJjaritamiva priyaM dhArayanti apasaraNazaGkayA // 761 // adharaprabhAdarAruNadazanamayUkhaiH stanavisAribhiH / manmathavraNabandhairiva yAH sarudhiraiH zobhante // 762 // dIrghapRthulatvena hstdRddhaavessttnaikyogyaaH| yAsAM kacagrahatRSNAM dadati balAda vennimaalaaH||763|| aparAddharamaNapratimAmapi yAH snapayantIva gnnddpaaveN| anyalalanAprasagAvakaluSitAM bASpasalilena // 764 // sadA saMghaTTasamujjvalakoTiM kanakarazanAM vimocynti| priyamukhanihitavikasallocanA yAH samaye // 765 // yA roSotkampitakarNakusumarajaHpuJjapUritastanyaH / avacUrNayantIva dararUDhasaMsthitAna manmathaprahArAn // 766 // kampAd vahanti stanasthahastaraNanazIlAgulIyahArAH / agaM sthAna eva mukharamekhalAnUpuraM yAH // 7 // 761. rasa" for degvasa. 763. 'bahaladeg for degpihala. karaggahI. 764. jo goveti bva for degpi jA NhavaMti vva. 765. saya for sai. vimAyaMti and vimoaMti for vimAeMti. 766. rosakaMpiya . degpiMjarafor degpUria. avacuNNaMti va NahabhAva for avacuNNeti va dararUDha. 767. aMgahANedeg for aMga thAme.

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lalanAvilAsAH citta-maNi-kaNNa UrAhividdha-vivihovarAa-pamhe hiM | vaNNaa- tUlillehiM va lirhati jA ramaNamacchIhiM // 768 // eka - disA - paDilakkhia - vimala-dasA calaNa- Naha-maUhehiM / jA lAvaNNa-paDIo vva sahati parimAsa-mauIo // 769 // piahuttaM jANa vilAsa-lola- lIlA phuraMta - pamhAI / ur3eMti va taralia-pakkha-saMpuDaggAI acchI // 770 // AsaNNa-pi amAhara- ghaData- phuDa-dasaNa-kiraNa-bhAveNa / jA muha-rasAsavaM piva piaMti lIlA- muNAlehiM // 771 // bAlAsu tAsu Nava- diTThirA a-hIraMta - hiaa-taralAI / aNuvajjhatAI va se guNehiM sohaMti laliAI // 772 // pariraMbhaNa- cakkaliaM sAmA- thaNamaMDalaM ure tassa / pAva lIlA - allaa - Nihitta-Na liNI-dala-cchAyaM // 773 // sesa-guNa- NirahilAsA rUvaMcia se piaMti taruNIo | ko vA asai damaNa assa dala-surahiNo kusumaM // 774 // citramaNikarNapUrAbhividdha vividhoparAgapakSmabhiH / varNakatUlikAvadbhiriva likhanti yA ramaNamakSibhiH // 768 // ekadizApratilakSitavimaladazAzcaraNanakhamayUkhaiH / yA lAvaNyapaTya iva zobhante parimarzamRdvayaH // 762 // priyAbhimukhaM yAsAM vilAsalolalIlAsphuratpakSmANi / uDDIyanta iva taralitapakSasaMpuTAgrANi akSINi // 770 // AsannapriyatamAgharaghaTamAnasphuTadazana kiraNabhAvena / yA mukharasAsavamiva pibanti lIlAmRNAlaiH // 771 // bAlAsu tAsu navadRSTirAgahniyamANahRdayataralAni | anubadhyamAnAnIvAsya guNaiH zobhante lalitAni // 772 // parirambhaNacakrIkRtaM zyAmAstanamaNDalamurasi tasya / prApnoti lIlA''rdrakanihitanalinIdalacchAyam // 773 // zeSaguNanirabhilASA rUpamevAsya pibanti taruNyaH / ko vA'nviSyati damanakramya dalasurabhiNaH kusumam // 774 // 115 * 768. rAma' and 'saMga' for 'viddha' 769. vahati for sahaMti. 770. piyayamahutaM jANaM vilAsalIlA tara liyapamhasaM', 'lAsa' for 'lola'. 772. aNuyajjhatA. guNeNa for guNehiM. 773. sAmadeg for sAmA 774. ramaNIo for taruNIo. maruyayassa for damaNayassa. surahiNA.

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gauDavaho vAma-kara-pellioNAmaa-mehalA-NibiDiaMsue tassa / vIsamai vilAsavaINa jahaNa-biMbe khaNaM diTThI // 775 // hasi ca bhAmiacchaM muhaM ca Nava-baula-paMDura-kavolaM / jahaNamaNibhacchia-mehalaM ca jIaM vilAsANa // 776 // avi a| aNukuMDalamA vivinnnn-srs-kbrii-vilNghiaNsmmi| sIsammi kosumo phurai cAru-cUDAmaNi-Niveso / / 777 // uppusiAhara-peraMta-piMjara-TThavia-kuMkumaM hri|| Naha-vilihia-kasaNummillamANa-bhumadhe muhaMburuhaM // 778 // parigaMDasthalamAsavaNalaMbi maa-NAhi-paMka-lehammi / agghai avaMga-maggammi sarasamAsoamuttaMsaM // 779 // aMto-maNidAma-cchavi-vicchuriacchaMsuaM suhAvei / thaNavaTTamuvari-vikkhitta-sabala-kusuma-cchaDAharaNaM // 780 // ia dara-cakvia-mairANuviddha-taMbola-parimalo harai / aNumajaNamAharaNAvalaMbaNo se piA-sattho // 781 // ___vAmakarapreritAvanamitamekhalAnibiDAMzuke tsy| vizrAmyati vilAsavatInAM jaghanabimbe kSaNaM dRSTiH // 775 // hasitaM ca bhramitAkSaM mukhaM ca navabakulapANDurakapolam / jadhanamanirbhatsitamekhalaM ca jIvitaM vilAsAnAm // 776 // api ca / anukuNDalamA viprkiirnnsrskbriivildhitaaNse| zIrSa kausumaH sphurati caarucuuddaamnniniveshH||777|| utproJchitAdharaparyantapicarasthApitakuGkumaM hrti| nakhavilikhitakRSNonmIladbhUkaM mukhAmburuham // 778 // parigaNDasthalamAzravaNalambi mRganAbhipakalekhe / rAjate'pAGgamArge sarasa Azoka uttaMsaH // 779 // antarmaNidAmacchavivicchuritAcchAMzukaM sukhayati / stanapRSThamupari vikSiptazabalakusumacchaTAbharaNam // 780 // iti darAsvAditamadirAnuviddhatAmbUlaparimalo harati / anumajjanamAbharaNAvalambano'sya priyaasaarthH|| 781 // 775. nivaDiyaMsue. 776. bhAviyacchaM. varadeg for Nava. 777. viyaiNNa'. 778. Naladeg for degNaha'. 780. vahamavari. sarayadeg for degsabala. 781. "mArumaNA' for degmAharaNA. deglaMbiNo.

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lalanAvilAsAH kiM ca jaa| sommAhesu Nisammai diTThI rAujjalesu ramaNINa / sArasa-cAvI-paripaMDuresu se dasaNa-vAsesu // 782 // unbhijjai jdd-bhaavaavroh-dddh-mann-sNnnivesmmi| aharAmma sarasa-baulAhivADalA rAya-vicchittI 783 // paDhamaM chaNa-maggia-baiaresu saMcarai maMDaNucchAho / gahia-himAvaMDura-maruaesu pAratti-dAmesu // 784 // parikavisa-biMdu-mAlAvasesa-maaNAhi-daMture phurai / vaaNammi maaMkAraMbha-pelavA kuMkuma-cchAyA 785 // saMgalai marubaa-cchea-sabala-viNiutta-damaNaa-dalAsu / lAvaNNaM malia-dvia-pisaMga-kuMdAsu kabarIsu // 786 // ia raaNI-bhaMguggaa-piaMgu-paDivaNNa-seharo harai / sisirammi malia-maNahara-pasAhaNo se piA-sattho / 787 // avi a| phala-Niggama-paDipellia-parisiDhilAlagga-maula-cuNNAI / cUANa jhaNakArei mAruo maMjari-muhAI // 788 // kiM ca jAtam / saumyAbheSu nizAmyati dRSTI rAgojjvaleSu ramaNInAm / sArasavApIparipANDureSvasya dazanavAsAsu // 782 // udbhidyate jaDabhAvAvarohadRDhamadanasaMniveze / adhare sarasabakulAbhipATalA raagvicchittiH||783|| prathamaM kSaNamArgitavyatikareSu saMcarati maNDanotsAhaH / gRhItahimApANDuramarucakeSu 'pAratti'dAmasu // 784 // parikapizabindumAlAvazeSamRganAbhidanture sphurti| vadane mRgAkArambhapelavA kukumacchAyA // 785 // saMgalati marubakacchedazabalavinyuptadamanakadalAsu / lAvaNyaM marditasthitapizaGgakundAsu kabarISu // 786 // iti rajanIbhaGgodgatapriyaMgupratipanazekharo harati / zizire marditamanoharaprasAdhano'sya priyAsArthaH * // 787 // api ca / phalanirgamapratipreritaparizithilAlagnamRdulacUrNAni / cUtAnAM jhaNatkArayati mAruto maJjarImukhAni // 788 // 784 "maruvaesu. paDhamachaNadeg for paDhamaM chaNa. 785 miyaMkA. pallavA. 786. saMgilai. miliyadeg for maliya'. 787. sahai for harai. 788. degsuhAI for muhAI.

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118 gauDavaho cittAlakkhia-mauluggamANa sAyaM Nivesia-jalANaM / gaMdhamaNAmoraM sattalANa kAlo virallei // 789 // AvAi mAhavINaM vicchAya-pariTThiekka-kusumAsu / Nimmala-sorahaM maMjarIsu phala-gaMThi-jaDilAsu // 790 // ia se diNesu mahu-siri-pariNAma-suhesu uvvnn-nnivesaa| NaMdati paNaiNI-pariaNassa Naarovarohesu // 791 // kiM c| paraMta-haria-komala-khajjUra-dalujjalaM kavolANa / NayaNaMta-galia-bAhaMjaNANa NivvaDai lAvaNNaM // 792 // dr-mulnn-mjjhonna-tnnu-rehaaaNt-dhvl-bhaavaaii| eMti Nava-sasialAhaM aMtotArAI acchII // 793 // thoamiva khAma-gaMDattaNeNa prilkkhionnnna-nniveso| parivAai kakkeaNa-parAa-kaNaujjalo ahro|| 794 // dobballa-paMDurANa umhAruNia-Nava-kesara-guNANa / viralattaNaM va thovaM uvei muddhANa thaNaANa // 795 // cittAlakSitamukulodgamAnAM sAyaM nivezitajalAnAm / gandhamanAmodaM saptalAnAM kAlo viralayati // 789 // AzuSyati mAdhavInAM vicchaayprisstthitaikkusumaasu| nirmalasaurabhaM maJjarISu phalagranthijaTilAsu // 790 // ityasya dineSu madhuzrIpariNAmasukheSu upvnniveshaaH| nandanti praNayinIparijanasya nagaroparodheSu // 791 // paryantaharitakomalakharjUradalojjvalaM kapolAnAm / nayanAntagalitabASpAJjanAnAM nirvartate lAvaNyam // 792 // daramukulanamadhyAvanatatanurekhAyamANadhavalabhAvAni / yanti navazazikalAbhAmantastArANi akSINi // 793 // stokamiva kSAmagaNDatvena prilkssitonntniveshH| parizuSyati karketanaparAgakaNojjvalo'dharaH // 794 // daurbalyapANDurANAM USmAruNitanavakesaraguNAnAm / viralatvamiva stokamupaiti mugdhAnAM stanAnAm // 795 // 789. ciMtA. nisevia. for Nivesia. virellei. 79.. Nimmilla (explained to mean kiMcicchuSka in the margin). NissallasorahaM. 791. muhesu for suhesu. Nayarovarehesu. 793. mujjhANaM for majjhoNaya. lAbhaM for deglAhaM. 794. kakeNayarAyakasAojjalo, kakkeaNaparAyakalusujalo, kasAyujjalo. 795. ueha.

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kaverAtmakathA 119 ia tassa paDhama-maaNANubaMdha-paDibaddha-muddhabhAvAsu / diTThI Nihua-vilAsAlasAsu vIsamai bAlAsu // 796 // aha tassa thira-bhuakkhaMbha-Nimia-NIsesa-bhuvaNabhArassa / Asi kairAa-iMdho bappairAo tti paNai-lavo // 797 // apA ettiametteNa Navara viraso vi jassa paDihAi / siri-kamalAuha-calaNehiM kaha vijaM gahia-bahumANo / / 798 // bhavabhUi-jalahi-Niggaa-kavvAmaa-rasa-kaNA iva phuraMti / jassa visesA anjavi viaDesu kahA-Nivesesu // 799 // bhAsammi jalaNa-mitte kuMtIdeve a jassa rahuAre / sobaMdhave a baMdhammi hAriaMda a ANaMdo // 800 // AlekkhiraM ca sarasaM ca parisa-loNaM ca sAravaMtaM ca / thiramujjalaM ca chAyA-ghaNaM ca gI-vilasiaM ca // 801 // Agama-vAA chaMdaNNuA a te bhrh-goam-ppmuhaa| NaMdaMti jamevaMhAsa-kAriNo sAra-kaiNo a||802|| __ iti tasya prathamamadanAnubandhapratibaddhamugdhabhAvAsu / dRSTinibhRtavilAsAlasAsu vizrAmyati baalaasu||796|| atha tasya sthirbhujstmbhnihitniHshessbhuvnbhaarsy| AsIt kavirAjacihno vAkpatirAja iti praNayilavaH // 797 // AtmA etAvanmAtreNa kevalaM viraso'pi yasya prtibhaati| zrIkamalAyudhacaraNaiH kavinA yad gRhItabahumAnaH // 798 // bhavabhUtijaladhinirgatakAvyAmRtarasakaNA iva sphuranti / yasya vizeSA adyApi vikaTeSu kathAnivezeSu // 799 // bhAse jvalanamitre kuntIdeve ca yasya rghukaare| saubandhave ca bandhe hAricandre cAnandaH // 800 // AlekhyaM ca sarasaM ca sparzalavaNaM ca sAravacca / sthiramujjvalaM ca chAyAghanaM ca gIvilasitaM ca / / 801 // AgamavAdAzchandojJAzca te bhrtgautmprmukhaaH| nandanti yamevaMhAsakAriNaH sArakavayazca // 802 // ____ 796. 'mANANubaMdhapaDivaNNamuddha'. 797. Nisiya' for "Nimi. 798. itia for ettima', kamalAsaNadeg for kamalAuhadeg 799. kahAmaya . degpabaMdhesu, 'NibaMdhesu for Nivesesu. 801. AlavikharaM, sArabaMdha for sAravaMtaM, pharusujjalaM for thiramujjalaM. 802. jammi iihAsakAriNo.

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120 gauDavaho kiM c| bharia-savaNa-TThiaM bhUri-kai-guNovAsa-kaMkhiNo jassa / subhaNiamaho Nati va vimhaya-caliehiM sIsehiM / / 803 // to so gohI-parisaMThiehi sppuris-sNkhaavsre| bhaNio vimhaya-viasaMta-NayaNa-vattaM viaDrehiM // 804 // dhArei jalaharohura-vasuMdharAbaMdhabaMdhuraM seso|| kahavi viNiuMcia-dvia-visaTTa-kaMThaM phaNA-valayaM // 805 // dIsaMti jaa-viNAsullasaMta-ghaNa-dhUmakeu-daMDa ca / jala-majaMta-disAgaa-khaNuddha-dhariA karakkhaMbhA // 806 // ullasia-vIi-valayaMtarAla-pariattamANa-ravi-biMbA / hoti savADava-jalaNa vva gaaNa-magge vimaaraharA // 807 // vialaMta-vijju-valayA palayaMbuvaha-NivahA Nivijjati / taddiasa-pIa-salilA sANusaeNaM va salileNa // 808 // jala-bhavaNa-samAlaMbia-sayaNassa murAriNo samuddeNa / dijjai mahA-paIvo ca vIi-saMvellio mUro // 809 // bhRtazravaNasthitaM bhUrikaviguNAvakAzakAdikSaNo ysy| subhaNitamadho nayantIva vismayacalitaiH zIrSeH // 803 // tataH sa goSThIparisaMsthitaiH satpuruSasaMkathAvasare / bhaNito vismayavikasannayanapatraM vidagdhaiH / / 804 // dhArayati jalabharAvanatavasuMdharAbandhabandhuraM zeSaH / kathamapi vinikuJcitasthitavikasitakaNThaM phaNAvalayam // 805 // dRzyante jagadvinAzollasadghanadhUmaketudaNDa iva / jalamajjadiggajakSaNordhvadhRtAH krstmbhaaH||806|| ullasitavIcivalayAntarAlaparivartamAnaravibimbAH / bhavanti savADavajvalanA iva gaganamArge'pi makaradharAH // 807 // vigalavidyudvalayAH pralayAmbuvahanivahA nipiiynte| pratidivasapItasalilAH sAnuzayeneva salilena // 808 // jalabhavanasamAlambitazayanasya murAreH smudrenn| dIyate mahApradIpa iva vIcisaMvellitaH suuryH|| 809 // 803. guNovAyadeg for degguNovAsa. 805. baMdhubaMdhuraM. 806. degThaviyA for dhariyA. 808. vijjujIA for degvijjuvalayA.

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121 pralayavarNanam jAA vaNNAsAA aNNeccia kevi saMvalaMtANa / chIra-surAuvva-viAra-visamiA saala-jalahINa // 810 // majjai sihraaruuddhaaruhNt-puNjia-muhl-sur-loo| kuhara-bharaNa-kamosIamANa-jala-kalaalo merU // 811 // calaNaMta-NivaDiaM saMbhameNa palayaMbu-Nibbhare bhuvaNe / Aruhai raaa-NAvaM va tiNayaNo mali-sasi-lehaM // 812 // NAula-bhAvo joANubaMdha-saMjamia-sAsa-pasarassa / pavvAliANaNassa vi sayaMbhuNo sAara-jaleNa // 813 // ia palaya-jalapphAlia-calaMta-sura-sela-vihala-vibuhammi / aNahamavalaMbaNaM ti-huvaNassa jo jAai murArI // 814 // jassa maha-dhUma-lehA raviNA s-muuh-daavia-dlenn| agga-ghaDieNa dIsai kavisekka-phala vva taal-laa|| 815 // tassa ira imo suvvai viggh-tuNgaahihaann-pddivnnnno| bhuvaNammi mahAsura-vaMsa-veriNo aNs-nniisNdo|| 816 // jAtA varNAsvAdA anya eva ke'pi saMvalatAm / kSIrasurA'pUrvavikArasaMvalitAH sakalajaladhInAm // 810 // majjati zikharArUDhArohatputrIkRtamukharasuralokaH / kuharabharaNakamAvasIdajjalakalakalo meruH // 811 // caraNAntanipatitAM saMbhrameNa pralayAmbunirbhare bhuvne| Arohati rajatanAvamiva trinayano maulizazilekhAm // 812 // na AkulabhAvo yogAnubandhasaMyamitazvAsaprasarasya / plAvitAnanasyApi svayaMbhuvaHsAgarajalena // 813 // iti pralayajalAsphAlitacalatasurazailavihvalavibudhe / anaghamavalambanaM tribhuvanasya yo jAyate murAriH // 814 // yasya makhadhUmalekhA raviNA svamayUkhadarzitatalena / agraghaTitena dRzyate kapizaikaphaleva tAlalatA // 815 // tasya kilAyaM zrUyate vigrhtugaabhidhaanprtipnnH| bhuvane mahAsuravaMzavairiNaH aNshnissyndH||816|| 810. khIradeg for chIra. 811. 'turaNadeg for degbharaNa. 812. saMbhaveNa. 813. paJcAliyA. 814 jalahideg for palaya'. Second half :- bhuvaNammi aNahamavalaMbaNaM tihuyaNassa jAyai murArI. 816. tuMgAbhihANa'. bhavaNammi. sAraNIsaMdo.

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122 aha vA / osarai samuppaaNA rahasa ghaDataMga - pelaNa-vilolaM / takkhaNa- vihaDia - baMbhaMDa- saala - jAlaM va ghaNa- vaDalaM // 817 // vihaDaMta- ghaNa- vimukkA pariatta-vimANa - vaMciA kaha vi / NivaDaMti galia - Nia-piJcha-vibbhamA taDiguNa-ccheA / / 818 / / bhamiaM raya-vihuoahi-samucchalaMtehiM pakkha- selehiM / sAhejja - saMgaehiM mahA-vihaMgehiM va hammi / / 819 // dIsai ve ugghADia - sAara-mUla-raaNa- pahA aMbo / paDhamovaiAruNa - pellio vva maggo suvaNNassa || 820 // sohati amarisuggama-vijaNa visANala-sihaM viaMbhaMtA / dara-khaMDia - muha - gholaMta-garula-vakkha vva bhuaIMdA // 821 // mUla-phaNA - maMDala - tahaNisaNNa- NikkaMpa-gharia mahiveDhaM / sahai Thi iara - phaNAhiutta- garulaM anaMtassa || 822 // vihaDaMti Naha - NivA vihaMga - NAhassa kulisa- kaDhiNA vi / maMdara- NihaMsa-kiNa- NiTTarammi vacchammi vAsuiNo // 823 // gauvaho atha vA / apasarati samutpatanAd rabhasaghaTamAnAGgapreraNavilolam / tatkSaNavighaTitabrahmANDazakalajAlamiva ghanapaTalam // 817 // vighaTamAnaghanavimuktAH parivRttavimAnavaJcitAH kathamapi / nipatanti galitanijapicchavibhramAstaDidguNacchedAH / / 818 // bhrAntaM raya vidhutodadhisamucchalatpakSazailaiH / sAhAyya saMgatairmahAvihagairiva nabhasi / / 819 // dRzyate vegodghAditasAgara mUlaratnaprabhAtAmraH / prathamotpatitAruNaprerita iva mArgaH suparNasya / / 820 // zobhante amarSodgamadviguNaviSAnalazikhA vijRmbhamANAH / darakhaNDitamukhaghUrNamAnagaruDapakSA iva bhujagendrAH // 821 / / mUlaphaNAmaNDalatathAniSaNNaniSkampadhRtamahIpITham / zobhate sthitamitaraphaNAbhiyuktamaruDamanantasya // 82 // vighaTante nakhanipAtA vihaganAthasya kulizakaThinA api / mandaranidharSakiNaniSThure vakSasi vAsukeH // 823 // 817. uppayai for osarai. 'ghaDatagga', 'ghaDataMsa. jAlasayalaM va. 818. 'ghaDa' for 'ghaNa'. 820. paDhamoiNNAruNa, paDhamoppaiAruNa 821. amarasu' mihaM for "sihaM. pakkha vva. 822. 'visaNNa' for 'NisaNNa' hiutagaralaM ( garala explained by viSa ). 823. rAyassa for NAhassa. 'NihasaNa' for 'hiMsa.

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123 utpAtavarNanam nnia-suNkaarosaaria-nn-pddt-vihNg-nnaah-sNsggaa| phaNiNo vihala-muha-cchoha-viuNa-rosaM visUti // 824 // saMbhama-calaMta-diggaa-bolAvia-sAsa-muhala-karadaMDaM / sesaTTha-bhuaa-kula-NAmizra va osarai pAAlaM // 825 // ia esa vihua-visahara-samUha-saMbhAviubbhaDa-jaseNa / kubbhai viNA-taNaeNa sa-viNayaM kaNha-bhAvammi // 826 // avi a| saMbhama-bhamaMta-vijAharAsi-kesara-karaMbiaM phurai / upyAuddha-hia-cihura-daMDa-caNDaM va gaaNa-alaM // 827 // ubahai biMba-ghaDiaM tArA-NiaraM sasI viDappassa / Niddaya-kavalaNa-khuDia-hiaM va dADhA-kaNukaraM / / 828 // rosa-dhua-calaNa-teloka-lacchi-vicchUDha-ura-cchAyaM / vivarAha-keu-bhiNNaM ravi-biMba vialai Nahammi // 829 // atthakka phuDaNa-vialaMta-kalala-kalilaM va baal-bNbhNddN| ravi-biMba dIsai kiraNa-mukka-kIlAla-jaMbAlaM / / 830 // nijasUtkArApasAritApatavihaGganAthasaMsargAH / phaNino vihvalamukhakSobhadviguNaroSaM khidyante // 824 // saMbhramacala diggajaghUrNitazvAsamukharakaradaNDam / zeSasthabhujagakulanAmitamivApasarati pAtAlam // 825 // ityeSa vidhutaviSadharasamUhasaMbhAvitodbhaTayazasA / uhate vinatAtanayena savinayaM kRSNabhAve // 826 // api ca / saMbhramabhramavidyAdharAsikesarakarambitaM sphurti| utpAtordhvasthitacikuradaNDacaNDamiva gaganatalam / / 827 // . udvahati bimbaghaTitaM tArAnikaraM zazI rAhoH / nirdayakavalanakhaNDitasthitamiva.daMSTrAkaNotkaram // 828 / / roSadhUtacaraNatrailokyalakSmIvikSiptanUpuracchAyam / vivarAbhaketubhinnaM ravibimbaM vigalati nabhasi // 829 // akasmAtsphuTanavigalatkalalakalilamiva bAlabrahmANDam / ravibimba dRzyate kiraNamuktakIlAlajambAlam // 830 // 820. First half-degsamuhaTThiyavihayanAha', vihaDaMtavihaMgaNAha. vihayacchohA viuNiyarosaM. viuNarosA. 825. degvalaMtadeg for degcalaMta. 827. DaMDadeg for "daMDa'. 829. vivarAhideg and vivarabhadeg for vivarAha. 830. acchaka, sasi for ravi.

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124 gauDavaho taddiasa-muha-Thia-loha-kavala-kasaNa-ppahA-vihiNNaM va / hesaMti rahasa-NivUDha-dhUma-kalusaM jaya-turaMgA / / 831 // ia taiA khnn-nnivvddia-bhuu-laa-bhNg-bhNguraavNge| jAe imammi bhuvaNesu dAruNA Asi uppaaaa|| 832 // kiM c| sarahasa-saMcAra-taraMgioru-taralAvio suhAvei / ArasaNA-guNa-paDibaddha-kuMDalo kusuma-pAlaMbo // 833 / / gholai pddilgg-piyNgu-mNjrii-jaal-gruiaddhNto| asamaMjasa-lAsAyAsa-pasiDhilo kuMtala-kalAvo // 834 // sahai thaNavaTTha-saMThia-piThAaa-paMsu-piMjara-cchAyaM / ahirAma-mAhavI-maula-daMturaM damaNaAharaNaM / / 835 / / pddvaas-pNsu-dhuusr-dr-gruaaaNt-pmh-prisiddhilaa| gholai mahu-maa-pariNAma-virala-parivADalA diTThI / / 836 // ia maaNUsava-viasaMta-bahala-kIlA-raso suhaavei| eassa paNai-bhavaNesu Nava-vilAso piA-satyo // 837 // pratidivasamukhasthitalohakavala kRSNaprabhAvibhinnamiva / heSante rabhasanirmUDhadhUmakaluSaM jayaturaGgAH / / 831 // iti tadA kSaNanirvartitadhUlatAbhangabhagurApAge / jAte'smin bhuvaneSu dAruNA Asana utpAtAH // 832 / / kiM c| sarabhasasaMcArataradigatorutaralitaH sukhyti| ArazanAguNapratibaddhakuNDalaH kusumpaalmbH||833|| ghUrNate pratilagnapriyagumArIjAlagurukRtArdhAntaH / asamaJjasalAsAyAsaprazithilaH kuntalakalApaH // 834 / / zobhate stanapRSThasaMsthitapiSTAtakapAMsupiaracchAyam / abhirAmamAdhavImukuladanturaM damanakAbharaNam // 835 // pttvaaspaaNsudhuusrdrguruukiymaannpshmprishthilaa| ghUrNate madhumadapariNAmaviralaparipATalA dRSTiH / / 836 // iti madanotsavavikasabahalakrIDArasaH sukhayati / etasya praNayibhavaneSu navavilAsaH priyAsArthaH // 837 // .831. vibhiNNaM ca. 832. nivvaDiyaNiyayapayabhaMgabhaMgurAvegA, nivvaDiyaniyayapayabhaMgabhaMgurAvaMge. 834. paDibaddha for paDilagga. garuyaaddhaMto. 835. vaha for piyA'.

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vairivanitAvasthA avi a / lahu-visaya-bhAva- paDisiddha-pasara - saMbhAvaNA-paDikkhaliA / jassa samattA vi guNA ciramasamatta vva dIsaMti // 838 // aha vA / vasuhA- yaNa-pahuSpaMta- reNu- paribhoa - vihuria - kavolaM / vayaNaM hemaMta miaMka- dhUsaraM sArkhetIhiM / / 839 / / asamAraNa- mUlubbhijjamANa- pamhagga-maDahia - NaDAle / alae NIsAsa- Nivesa - jajjare saMjamaMtehiM // 840 // jaha taha - pusiaMsu kaNAvalaMba-maMtharia-pamha-parivesaM / detIhi~ ahiNavANaMda-bAha- sommummuhiM dihiM // 841 // Akkhitta cuDuppuhesa-samahiAaMba muvvahatIhiM / ajhasuramaharaM velakkha -suNNa-diNNaMgulI- kisalaM // 842 // ia esa hiaa - NimmAa vammahaM khaNa-khalaMta - viaNAhiM / rahasamummuhIhiMdIsa paDivakkha- NariMda baMdIhiM // 843 // ia uNNaeNa imiNA jaha vivio purA magaha - NAho / taha sIsaMtaM ee tumAo NIsesamicchati // 844 // Apa ca / laghuviSayabhAvapratiSiddhaprasarasaMbhAvanApratiskhalitA / yasya samAptA api guNAzciramasamAptA iva dRzyante // 838 // vasudhAzayanaprabhavadreNuparibhogavidhuritakapolam / vadanaM hemantamRgAkadhUsaraM sArayadbhiH // 839 // asamAracanamUlAdabhidyamAnapakSmAgrAlpIkRtalalATAn / alakAna niHzvAsanivezajarjarAna saMyamayantIbhiH // 840 / / yathAtathAmoJchitAzrukaNAvalambamantharitapakSmapariveSAm / daddtIbhirabhinavAnandabASpa saumyonmukhIM dRSTim // 841 // AkSiptakSatoddezasamadhikAtAmramudvahantIbhiH / atAmbUlamadharaM vailakSyazUnyadattA iMguli kisalayam // 842 // ityeSa hRdayanirmitamanmathaM kSaNaskhaladvenAbhiH / rabhasamunmukhIbhirdRzyate pratipakSanarendrabandIbhiH || 843 // ityunnatenAnena yathA niSThApitaH purA magadhanAthaH / tathA ziSyamANamete tvatto niHzeSamicchanti // 844 // 125 839. pariho and parighAya' for paribhoadeg 840 degvirala' for 'mUla'. saMjayaMtIhiM. 841. maMda' for 'bAha'. 'sosummuhaM, 'sommussuhaM and 'sommummuhaM for sommhI hiM. 842. diNNasuNNaMgulI 843. vammahakkhaNa'. 'viyalAhiM. rahasaMmuhIhi.

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126 aha vihasiUNa saNiaM so jaMpara NivvaDaMta-sambhAvaM / kaiyava-vimuhAiMcia hoMti visuddhA hiaAI // 845 / / dhIrehiM hiaa-NihiA kaha vi gamejjaMti soa -saMveA / aMgAi~ pahariso uNa garuANa vi kiMpi taralei || 846 // kaMThecci parigholai puNaruttaM paharisAula - kkhaliA / apahuSpaMti vtra mahaM vAA pahuNo pasaMsAsu / / 847 // avi a / u aMtovAsaM viaDAamANa - phaNa - maMDalo samuvvaha / pacchAccheppa- cchala- Nita- dIha - dehattaNA seso // 848 // chIrAaMta-ha-cchavi-calaNa - viNimmia-paohara- cauko / gUDha - muha kummocea lahai AvINa- saMThANaM // 849 // paDhamutthaMghaNa - gholAvijddha - ghoNA uDeNa paDivaNNaM / uttuMDa -taNNa attaNamairA veuNTha-koleNa || 850 // deha-parivADi - pIDA- huMkAra - taraMgio viNikkhamai / dhUmAaMto pAAla- bahala -tama- saMcaocea // 851 // atha vihasya zanaiH sa jalpati nirvartamAnasadbhAvam / kaitava vimukhAnyeva bhavanti vizuddhAnAM hRdayAni // 845 // dhIrairhRdayanihitAH kathamapi gamyante zokasaMvegAH / aGgAni praharSaH punargurukANAmapi kimapi taralayati // 846 // kaNTha eva parighUrNate punaruktaM praharSAkulaskhalitA / aprabhavantIva mama vAk prabhoH prazaMsAsu // 847 // api ca / antaravakAzaM vikaTAyamAnaphaNamaNDalaH samudrahati / paJcAcchepacchala niryaddehadIrghatvAt zeSaH // 848 // kSIrAyamANanakhacchavicaraNa vinirmitapayodharacatuSkaH / gUDhamukhaH kUrma eva labhate ApInasaMsthAnam / / 849 // prathamonnamanaghUrNitordhvaghoNApuTena pratipannam / uttaNDatarNakatvamacirAd vaikuNThakolena // 850 // dehaparipATIpIDAhuMkArataraiMTgito viniSkrAmati / dhUmAyamAnaH pAtAla bahalatamaHsaMcaya eva // 851 / / 845. hua for saNiaM. 846. dharijjaMti and gamijjati for gamejjaMti... 847, kkhaMte' for kaMThe . paharimovalakkhaliyA. 848. maMDalaM. 849. chIrAaMtamaha". 850 paDhamutthaM ghaNagholA viuddhaghoNaMtareNa paDivano / uddaMDo (degDa ? ) unnattaNamayA ( u ? ) vaiuMThakoleNa / veuMThaguMTheNa paDhamutthaMbhaNa 851. viNikramai.

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gorUpadharA pRthivI 127 pAAloara-maggammi bhinnnn-vinnives-siddhil-glienn| bubbhai sumeruNA taruNa-roaNA-sAra-sArecchaM // 852 // khaNa-pariatta-sahAvattaNeNa dara-NiggaaMkura-siho vya / vaaNuddeso lIlA-kavalia-taNa-daMturo hoi // 853 // takkhaNa-pIvara-pasaraMta-duddha-dhArA-NiheNa mUlAmma / sakulo va vihAvijjai bhAruvvahaNAarA seso // 854 // ia jeNa sNbhmaarNbh-ghia-go-bhaav-vibhmubhNtaa| puI puhaI-vaiNA vilaMchiA Niaa-NAmeNa // 855 // teNa vi imassa tulaNA Na sahai suhaaMti kassa vA virasA / saccaria-vaMciANaM sesANa sirI-samullAsA // 856 // kiM c| jANa alaMkArasamo vihavo mailei te vi va no / vicchAei miaMkaM tusAra-variso aNuguNo vi // 857 // moha-salAhAhi tahA pahuNo pisuNehiM velavijjati / jaha NivvaDiesu vi Nia-guNesu te kiMpi ciMteti // 858 // pAtAlodaramArge bhinnavinivezazithilagalina / uhate sumeruNA taruNarAcanAsArasAdRzyam // 852 // kSaNaparivRttasvabhAvatvena daranirgatA kurazikha iva / vadanoddezo lIlAkavalitadanturo bhavati // 853 / / tatkSaNapIvaraprasaradugdhadhArAnibhena mUle / sakula iva vibhAvyate bhArodvahanAdarAta zeSaH / / 854 / / iti yena sNbhrmaarmbhgRhiitgobhaavvibhrmobhraantaa| pRthivI pRthivIpatinA vilAJchitA nijakanAmnA / / 855 // tenApyasya tulanA na zobhate sukhayanti kasya vA virasAH / saccaritavazcitAnAM zeSANAM zrIsamullAsAH // 856 / kiM c| yeSAmalaMkArasamo vibhavo malinayati tAnapi vrdhmaanH| vicchAyayati mRgAkaM tuSAravarSo'nuguNo'pi // 857 // moghazlAghAbhistathA prabhoH pizunairviDambyante / yathA nivRtteSvapi nijaguNeSu te kimapi cintayanti // 858 // 85.2. roaNAArasAricchaM. 854. bhAruvvahaNAyaro. 855. puhaInAheNa laMchimA. 856. Na sahai tulaNA. 858. nayadeg for Niya. ciMtaMti. For Private &Personal Use Only .

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128 gauDavaho sulahaM hi guNAhANaM saguNAhArANa NaNu NariMdANa | aNNesiavva-maggA katto vi guNA daridANa // 859 // taM khalu sirIeN rahassaM jaM sucaria-maggaNekka-hiao vi / appANamosaraMtaM guNehiM loo Na lakkhei // 860 // - Na sahati sIla-sAraM dose viciNaMti Nacia viveaa| dosammi guNAAre NavaraM pahuNo Nisammati / / 861 // loehiM agahicitra sIlamavihava-TThiaM pasaNNaM pi| sosamuvei tahicia kusumaM va phalagga-paDilagga // 862 // NicaM dhaNa-dAra-rahassa-rakkhaNe saMkiNo vi acchriaN| AsaNNa-NIa-vaggA jaM tahavi NarAhivA hoti // 863 // pecchaha vivarIamimaM bahuA mairA maei Na hu thovA / lacchI uNa thovA jaha maei Na tahA ira bhuuaa|| 864 // je NivvaDia-guNA vi hu siri gaA te vi NigguNA hoti / te uNa guNANa dUre aguNacia je gaA lacchi // 865 // . sulabha hi guNAdhAnaM saguNAdhArANAM nanu narendrANAm / anvoSitavyamArgAH kuto'pi guNA daridrANAm // 859 // tat khalu zriyo rahasyaM yat sucaritamArgaNaikahRdayo'pi / AtmAnamapasarantaM guNairloko na lakSayati // 860 // na sahante zIlasAraM doSAn vicinvanti naiva vivekAt / doSe guNAkAre kevalaM prabhavo nizAmyanti // 861 // lokairagRhItameva zIlamavibhavasthitaM prasannamapi / zoSamupaiti tatraiva kusumamiva phalAgrapratilagnam // 862 // nityaM dhanadArarahasyarakSaNe zadinkano'pi Azcaryam / AsananIcavargA yaMt tathApi narAdhipA bhavanti // 863 // prekSadhvaM viparItamidaM bahI madirA madayati na khalu stokaa| lakSmIH punaH stokA yathA madayati na tathA kila bahvI // 864 // ye nivRttaguNA api khalu zriyaM gatA te'pi nirguNA bhavanti / te punarguNAnAM dUre aguNA eva ye gatA lakSmIm // 865 // 859. saguNAhArANa. darideNa. 860. 'rasio vi for deghiyao vi. 861. sIlasAre. vicalaMti and viramaMti for viciNaMti. 862. loe vi for loehi~. sIlamavihavaTThiaM Corrected into sIlaM vihavuddhiaM. sAsamuvei. tahaccia. 863. rakkhaNA for degrakkhaNe. accheraM for acchariaM. 864. vivarIyamiNaM. jaha thovA for thovA jaha. sabahuA vi for ira bahUA.

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guNijaneSvanAdaraH 129 ekke lahua-sahAvA guNehi~ lahiuM mahaMti dhnn-ridi| aNNe visuddha-cariA vihavAhi guNe vimaggaMti // 866 // parivAra-dujaNAI pahu-pisuNAI pi hoti gehAI / uhaa-khalAI tahaccia kameNa visamAI maNNetthA // 867 // ettiametteNa guNe NaNu paDivajjati NiviveA vi| jetiametteNa pahU garuANa parammuhA hoti // 868 // . taha ayasiNo guNehiM jAA suaNA jaNammi saalammi / dosAaraNaM pi Na gAravAya jaha saMpaaM tANa // 869 // gahiA guNattaNeNaM phalaMti dosA phuDaM priNdesu| dosaccia guNa-saMbhAvaNAe~ jai tANa jAti // 870 // mUDhe jaNammi a-munnia-gunn-saar-vivea-viarubiggaa| kiM aNNaM sappurisA gAmAo vaNaM pavajjati // 871 // dukkhehiM dohiM suaNA ahiUrijjati diasiaNce| suparisa-kAle aNa jaM jaM jAA NIa-kAle a||872|| eke laghukasvabhAvA guNairlabdhumicchanti dhanaRddhim / anye vizuddhacaritA vibhavAd guNAn vimRgyanti // 866 // parivAradurjanAni prabhu pizunAnyapi bhavanti gehAni / ubhayakhalAni tathaiva krameNa viSamANi mnyethaaH||867|| etAvanmAtreNa guNAn nanu pratipadyante nirvivekA api / yAvanmAtreNa prabhavo gurUNAM parAGmukhA bhavanti / / 868 // tathA ayazasvino guNairjAtAH sujanA jane skle| doSAcaraNamapi na gauravAya yathA sAMprataM teSAm // 869 // gRhItA guNatvena phalanti doSAH sphuTaM narendreSu / doSA eva guNasaMbhAvanayA yadi teSAM jAyante / / 810 // mUDhe jane ajJAtaguNasAravivekavyatikarodvignAH / kimanyat satpuruSA grAmAd vanaM pravrajanti // 871 // duHkhAbhyAM dvAbhyAM sujanA abhipUryante divasakameva / supuruSakAle ca na yad yad jAtA nIcakAle ca // 872 // 867. pisuNAI ca. 868. This couplet read as - ettiyamIttaNa paha garuyAna parAmuhA hoti / lovahiyagahiyaM ciya sIlaM tesu TThiyaM pasanaM pi| 869. jayammi for jaNammi. 870. teNa for tANa. 871. ranAo for gAmAo. pahammati for pavajjaMti. 872. ahijalijjati for ahilarijjati. dianisaM for diasi. also read as-supurisakAlamajaNaNaM jAyA je nIyakAle ya. ga. 9

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130 gauDa ho sumaINa sucariANa a detA AloaNaM pasaMgaM ca / pahuNo jaM Niaa phalaM taM tANa phalaM ti maNNaMti // / 873 / / root faNAma vivI suhAI lIlAsahAI Ninvisai / asamaMjasa - karaNeccaa Navara NivvaDa pahubhAvo // 874 // aMdolaMtANa khaNaM garuANa aNAare pahu-kaammi / hiaaM khala- bahumANAvaloaNe Navara NivbAi || 875 // patthava - ghare guNiNo vi NAma jai kevi sAvasAsa vva / jaNa - sAmaNNaM taM tANa kiMpi aNNaMcia NimittaM // 876 // vaccati vesa - bhAvaM jehiMcia sajjaNA gariMdANa / tehiMcia bahumANaM guNehiM kiM NAma maggaMti || 877 // ko vva Na paraMmuho NigguNANa guNiNo Na kaM va dUmeMti / jo vA Na guNI jo vANa NigguNo so suhaM jia || 878 // jaM suaNesu Niatta pahUNaM paDivatti - NIsahaM hiaaM / taM khu imaM raNAharaNa- moaNaM gArava bhaeNa || 879 // sumatInAM sucaritAnAM ca dadata AlokanaM prasaGgaM ca / prabhavo yad nijakaphalaM tat teSAM phalamiti manyante // 873 / / anyo'pi nAma vibhavI sukhAni lIlAsahAni nirvizati / asamaJjasakaraNa eva kevalaM nirvartate prabhubhAvaH // 874 // AndolatAM kSaNaM gurUNAmanAdare prabhukRte / hRdayaM khalabahumAnAvalokane kevalaM vizrAmyati // 875 // pArthivagRheSu guNinospi nAma yadi ke'pi sAvakAzA iva / janasAmAnyaM tat teSAM kimapyanyadeva nimittam // 876 / / vrajanti dveSyabhAvaM yaireva sajjanA narendrANAm / taireva bahumAnaM guNaiH kiM nAma mRgayante // 877 // ko vA parAGmukho nirguNAnAM guNino na kaM vA dunvanti / yo vA na guNI yo vA na nirguNaH sa sukhaM jIvati // 878 // yat sujaneSu nivartate prabhUNAM pratipattiniHsahaM hRdayam / tat khalu idaM ratnAbharaNamocanaM gauravabhayena / / 879 / / 873. avaloyaNaM. jANa for tANa. 874. vilAsalIlAsuhAI for suhAI lIlAsahAI. uvaras for NivvaDai. 875. NevvAi for NibbAi 877. kaha for kiM.

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sujanadurjanabhedaH avivea-saMkiNoccea NigguNA para-guNe psNsNti|| laddha-guNA uNa pahuNo bADhaM vAmA para-guNesu // 880 // sabboccia sa-guNukkarisa-lAlaso vahai maccharucchAhaM / te pisuNA je Na sahati NigguNA para-guNuggAre // 881 // suaNataNeNa gheppai thoeNaMcia paro sucrienn| dukkha-pariosiavvo appANoccea loassa // 882 // mottuM guNAvalevo tIrai kaha Nu viNaya-TTiehiM pi| mukkammi jammi soccia viuNaaraM phurai hiaammi // 883 // mijaMtA hiaeNa kiM pi ciMteti jai Na jANAmi / kiriyAsu puNa paati sajjaNA NAvaraddhe vi // 884 // mahimaM dosANa guNA dosA vi hu deti gunn-nnihaaass| dosANa je guNA te guNANa jai tA Namo tANa / / 885 // . suaNAaMti khalA vi hu suaNA vi khalattaNaM va dAveti / esoccia sImaMto guNANaM dUraM phuraMtANa // 886 // avivekazakina eva nirguNAH paraguNAn prshNsnti| labdhaguNAH punaH prabhavI bADhaM vAmAH paraguNeSu / / 880 // sarva eva svaguNotkarSalAlaso vahati matsarotsAham / te pizunA ye na sahante nirguNAH paraguNodgArAna // 881 // sujanatvena gRhyate stokenaiva paraH sucriten| duHkhaparitoSayitavya Atmaiva lokasya // 882 // mokuM guNAvalepaH zakyate kathaM nu vinayasthitairapi / mukte yasmin sa eva dviguNataraM sphurati hRdaye // 883 // yamAnA hRdayena kimapi cintayanti yadi na jAnAmi / kriyAsu punaH pravartante sajjanA nAparAddhe'pi // 884 // mahimAnaM doSANAM guNA doSA api khalu dadati guNanighAtasya / doSANAM ye guNAste guNAnAM yadi tad namasteSAm // 885 // sujanAyante khalA api khalu sujanA api khalatvamiva darzayanti / eSa eva sImanto guNAnAM dUraM sphuratAm // 886 // 880. saMkiaccea. 882. attANo for appANo. 883. hiyayassa for hiyayammi. 884. kiriyAsu tu payattaMti. 886. Also read as suyaNA vi khalAyaMti va khalA vi suyaNataNaM va dAti /

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132 gauDavaho saMseviUNa dose appA tIrai guNa-dvio kaauN| NivvaDia-guNANa puNo dosesu maI Na saMThAi // 887 // suTTha vi parihINa-guNo suaNo aNNehiM hoi sAmaNNo / sahaAre galia-rase vi bhUa-kajjaM ThiaM cea|| 888 // kalahoAimayAiM NavaraM mahilANa dppnn-alaaii| purisANa dappaNaM caria-dhAriNo sjjnnccea|| 889 // vaaNa-vimukkaM pi khalo aNNatto dAruNataNaM vhi| dhArAsu muhuttiNNaM pi dharai pharusattaNaM dabbho // 890 // parigaa-paraguNa-sArattaNeNa viuNaM visaramANANa / hoi viveoccia dujjaNANa pisuNattaNa-NimittaM // 891 // aha moho para-guNa-lahuaAe~ jaM kira guNA payaTTati / appANa-gAravaMcia guNANa garuattaNa-NimittaM // 892 // kumbhaMte jammi guNuNNaA vi lahuattaNaM va pArvati / kaha NAma NigguNaccia taM vahati mAhappaM // 893 // __saMsevya doSAn AtmA zakyate guNasthitaH kartum / nirvRttaguNAnAM punardoSasu matirna saMtiSThate // 887 // suSTu api parihInaguNaH sujano'nyairbhavati sAmAnyaH / sahakAre galitarasepi bhUtakArya sthitameva / / 888 / / kaladhautAdimayAni kevalaM mahilAnAM drpnntlaani| puruSANAM darpaNaM caritadhAriNaH sajjanA eva // 889 // vacanavimuktamapi khalo'nyatra dAruNatvaM vahati / dhArAsu mukhottIrNamapi dhArayati paruSatvaM drbhH|| 890 // parigataparaguNasAratvena dviguNaM visUrayatAm / bhavati viveka eva durjanAnAM pizunatvanimittam // 891 // atha moho paraguNalaghutayA yat kila guNAH prvrtnte| Atmagauravameva guNAnAM gurutvanimittam // 892 // uhAmAne yasmin guNonnatA api laghutvamiva praapnuvnti| kathaM nAma nirguNA eva tad vahanti mAhAtmyam // 893 / / 887. guNAhio for guNaDhio. 889. sajjaNocceya. 890. kuNai for vahai. havai and vasai for dharai. 892. payattaMti.

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guNijanAnutApaH mAha guNa - kajjammi aguNa - kajje Nibaddha - mAhappA | vivarIaM upapattiM guNANa icchaMti kAvurisA || 894 // guNa-saMbhavo mao supurisANa saMkamai Nea hiaammi | teNa ANivvRDha-maa vva tANa garuA guNA hoMti // 895 / / tA cea macchara-malaM jAva viveo phuDaM Na vipphurai | jAlaaM ca bhaavaA huavaheNa dhUmo a viNiatto // 896 // tuMgAvaloa hoi vimhao NIa-daMsaNe saMkA / jaha pecchatANa giriM jahea avaDaM NiaMtANa // / 897 // icchAmi vimuka-guNaM pisuNAsaMkAeN kAumappANaM / visahara - saMkhohu kkhitta - kusuma - mAlaM va aNIe || 898 // jaNamaNahigIaguNagArakhaM pi guNa-gavviaM NieUNa / bhuvaNArUDha - guNANa vi appA aMdolai guNesu // 899 // guNiNo vivArUDhANa vihaviNo guru-guNANa Na hu kiMpi / lahuanti va aNNoSNaM girINa je mUla - siharesu // 900 // mAhAtmye guNakArye aguNakArye nibaddhamAhAtmyAH / viparItAmutpattiM guNAnAmicchanti kApuruSAH // / 894 // guNasaMbhavo madaH supuruSANAM saMkrAmati naiva hRdaye / tena anirvyUDhamadA iva teSAM guravo guNA bhavanti // 895 // tAvadeva matsaramalaM yAvad vivekaH sphuTaM na visphurati / jvalitaM ca bhagavatA hutavahena dhUmazca vinivRttaH // 896 / / tuGgAvalokane bhavati vismayo nIcadarzane zaGkA / yathA prekSamANAnAM giriM yathaiva avaTaM pazyatAm // 897 / / icchAmi vimuktaguNaM pizunAzaGkayA kartumAtmAnam / viSadharasaMkSobhotkSiptakusumamAlAmiva rajanyAm // 898 // janamanabhigItaguNagauravamapi guNagarvitaM dRSTA / bhuvanArUDha guNAnAmapi AtmA Andolati guNeSu // 899 // guNino vibhavArUDhAnAM vibhavino guruguNAnAM na khalu kimapi / laghayantIvAnyonyaM girINAM ye mUlazikhareSu // 900 // 133 894. guNakajjammi aguNakAla and guNakajje paraguNakajje for guNakajjammi aguNakajje. 895. suvarisANa kamai. hiyaesu. aNicchUDha for aNibbUDha. 896. tA hoi maccharamalo. na tANa for phuDaM Na.

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134 gauDavaho Na tahA mahAguNesu mAhappadharA havaMti NaravaiNo / sAhaMkArA jaha patthivesu teccea dIsaMti // 901 // jaha jaha NagyaMti guNA jaha jaha dosA a saMpai phalaMti / aguNAareNa taha taha guNa-suNNaM hohii jaaM pi // 902 // kiM va pariMdehiM vivea-mukk-salaahilaas-nniisNgaa| vihiNo vi dhIra-paDibaddha-pariarA hoti sappurisA // 903 // thoAraMbhe vi vihimmi Ayasagge vva khaMDaNamurveti / sa-pariphaMdeNaMcia jIA bhAmi-dAru-saalaM va // 904 // viNNANAlooccia kumaINa visAra paasei|.. kasaNANa maNINaM piva tea-pphuraNaM si cea // 905 // hiaa-viaDattaNeNaM garuANa Na NibaDaMti buddhiio| gholaMti mahA-bhavaNesu maMda-kiraNaccia paIvA // 906 // accaMta-vieeNa vi garuANa Na NivvaDaMti saMkappA / vijjujjoo bahalattaNeNa mohei acchIiM // 907 // na yathA mahAguNeSu mAhAtmyadharA bhavanti nrptyH| sAhaMkArA yathA pArthiveSu ta eva dRzyante // 901 // yathA yathA nArdhanti guNA yathA yathA doSAzca saMprati phalanti / aguNAdareNa tathA tathA guNazUnyaM bhaviSyati jagadapi // 902 // kiM vA narendravivekamuktasakalAbhilASaniHsadgAH / vidherapi dhairyapratibaddhaparikarA bhavanti satpuruSAH // 903 // stokArambhe'pi vidhau AyasAgra iva khaNDanamupayanti / svaparispandenaiva nIcA bhramidAruzakalamiva // 904 // vijJAnAloka eva kumatInAM visAratAM prakAzayati / kRSNAnAM maNInAmiva tejaHsphuraNaM sitameva // 905 // hRdayavikaTatvena gurUNAM na nivartante buddhyH| ghUrNante mahAbhavaneSu mandakiraNA eva pradIpAH // 906 // atyantavitejasA'pi gurUNAM na nivartante saMkalpAH / vidyuyoto bahalatvena mohayati akSINi / / 907 // 901. mahAguNANa. 902. dosA vi for dosA a. 903. NIsaMkA. guruguNA hoti for hoMti sappurisA. vIradeg for deg dhIra. 904. bhamadeg for bhami. deg sayalavva. 905. kumaIsu for kumaINaM. pasAsei. kasaNANaM pi maNINaM. sayaM for sikaM.

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kaliyugaprabhAvaH 135 je geNhaMti sayaMcia lacchi Na hu te Na gArava-DhANaM / te uNa kavi sayaMcia dAlidaM gheppae jehiM // 908 // ekke pAvaMti Na taM aNNe parao vva tIeN dIsaMti / iarANa mahagyANaM ca aMtare Nivasai pasaMsA // 909 // maraNamahiNaMdamANANa appaNaccea mukka-vihavANa / kuNai kuvio kaaMto jai vivarIaM su-purisANa // 910 // uvaaraNIbhUa-jaA Na hu Navara Na pAviA pahu-TThANaM / uvaaraNaM pi Na jAA guNa-guruNo kAla-doseNa // 911 // chAyA sA ira maNNe aNaMtarAgAmiNo kaa juass| kAla-kAla-bharammi vi kiMpi jeNa vimalaM paDipphurai // 912 // visaiccea sarahasaM jesuM ki tehi khaMDiAsehiM / Nikkhamai jesu pariosa-Ninbharo tAI gehAI // 913 // ujjhai uAra-bhAvaM dakkhiNNaM karuNaraM ca Amuai / kANa vi samosaraMtI chippai puhavI vi pAvahiM // 914 // ye gRhNanti svayameva lakSmI na khalu te na gauravasthAnam / te punaH ke'pi svayameva dAridyaM gRhyate yaiH // 908 // eke prApnuvanti na tAmanye parata iva tasyA dRshynte| itareSAM mahArghANAM cAntare nivasati prazaMsA // 909 // maraNamabhinandatAmAtmanaiva muktvibhvaanaam| karoti kupitaH kRtAnto yadi viparItaM supuruSANAm // 910 // upakaraNIbhUtajagato na khalu kevalaM na prApitAH prabhusthAnam / upakaraNamapi na jAtA guNaguravaH kAladoSeNa // 911 // chAyA sA kila manye'nantarAgAminaH kRtayugasya / kalikAlabhare'pi kimapi yena vimalaM pratisphurati / / 912 // vizatyeva sarabhasaM yeSu kiM taiH khaNDitAzaiH / niSkAmati yeSu paritoSanirbharastAni gehAni // 913 // ujjhati udArabhAvaM dAkSiNyaM karuNatAM cAmuJcati / keSAmapi samapasarantI spRzyate pRthivyapi pApaiH // 914 // 908. gimhaMti and giNhaMti for geNhaMti. dAridaM and dogacca for dAlidda. 909. purao vdha for parao vva. 910. kuio for kuvio. suvurisANa. 912. paripphurai. 913. saharisa for sarahasaM. Nikkhamai jehiM for Nikkhamai jesu. pariosapahasiro for pariosaNibharo. 914. uvayAradeg for uAra. dakkhiNNaM ca karuNaM ca. dakkhiNNaM ca sai ( or ca jai?) karuNayaM muyai. pAveNa. aNosaraMtI for samosaraMtI.

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136 gauDavaho aMtoccia NihuaM vihasiUNa acchaMti vimhiA tAhe / iara-sulahaM pi jAhe garuANa Na kiMpi saMpaDai // 915 // dAveMti sajjaNANaM icchA-garuaM pariggahaM gruaa| maaNa-viNivesa-diTuM mahA-maNINaM va paDibiMbaM // 916 // sAhINa-sajjaNA vi hu NIa-pasaMge ramaMti kaaurisaa| sA ira lIlA jaM kAa-dhAraNaM sulaha-raaNANa // 917 // thAma-sthAma-Nivesia-sirINa garuANa kaha Nu daalidN| ekkA uNa kiviNa-sirI gaA a mUlaM ca pamhusi // 918 // kiviNANa aNNa-visae dANa-guNe ahisalAhamANANa / Nia-cAe ucchAho Na NAma kaha vA Na lajjA vi // 919 / / parihoa-sahA Navavahu vva tANa Nava-saMgamAlasA lcchii| iarA lahiUNa siri Na kAma-lIlA-parA teNa // 920 // acchaMticia kiviNA achivaMtA pAsa-goaraM lacchi / parihAravaI va piyaM maila-cchAyaM NiacchaMtA // 921 // antareva nibhRtaM vihasya tiSThanti vismitaastdaa| itarasulabhamapi yadA gurUNAM na kimapi sNpdyte||915|| darzayanti sajjanAnAmicchAgurukaM parigrahaM guravaH / madanavinivezadRSTaM mahAmaNInAmiva pratibimbam // 916 // svAdhInasajjanA api khalu nIcaprasage ramante kApuruSAH / sA kila lIlA yat kAcadhAraNaM sulabharatnAnAm // 917 / / sthAnasthAnanivezitazrINAM gurUNAM kathaM nu dAridyam / ekA punaH kRpaNazrIgetA ca mUlaM ca pramRSTam // 918 / / kRpaNAnAmanyaviSayAn dAnaguNAnabhizlAghamAnAnAm / nijatyAga utsAho na nAma kathaM vA na lajjAjapa // 919 // paribhogasahA navavadhUriva taSAM navasadgagamAlasA lkssmiiH| itare labdhvA zriyaM na kAmalIlAparAstena // 920 // tiSThantyeva kRpaNA aspRzantaH pArzvagocarAM lakSmIm / parihAravatImiva priyAM malinacchAyAM pazyantaH / / 921 // . 915. vimhayA. 916. rUyaM for deggaruaM divo mahAmaNINaM va paDibaMdho. 918. ThANaTTANadeg for thAmatthAma. kivaNa for kiviNa 919. kivaNANamaNNavisae dANaguNA sai salAha 920. paribhoyahayA. Navavahuvva for Navahuvva for lIlAdharA. jeNa for teNa. 921. maliNacchAyaM

Page #254
lakSmIvilasitam 137 paramattha-pAvia-guNA garuaM pi hu palahu va maNNaMti / teNa sirIeN viroho guNehiM NikAraNaM Na uNa // 922 // bhumaA-bhaMgANattA vi suvurisaM jaM Na turiamalliai / taM maNNe dhAvaMtI rahaseNa sirI parikkhalai // 923 // NaNu NAsamaNavalaMbA eiccia sA vi suvurisAbhAve / devva-vasA teNa sirIe~ hoi NAsaMsio viraho // 924 // dhamma-pasUA kaha hou bhaavaI vesa-sajjaNA lcchii| tAo alacchioccia lacchi-NihA jA aNajjesu // 925 // jA viulA jAo ciraM jA parihoDajjalAo lcchiio| AAradharANaMcia tAo Na uNo a iarANa // 926 // avaNei dei a guNe dose mei dei a psN| dIsai esa viruddho vca ko vi lacchIeN viNNAso // 927 // samare dhArA-goaramuveMti je vairi-maMDalaggANa / te tammi balA khalu NivasirI' lacchIeN chippaMti // 928 // paramArthaprAptaguNA gurukamapi pralaghukamiva manyante / tena thiyo virodho guNairniSkAraNaM na punaH // 922 // dhUbhaGgAjJaptA api supuruSa yana tvaritamAlIyate / tanmanye dhAvantI rabhasena zrIH pariskhalati // 923 // nanu nAzamanavalambA etyeva sA'pi supuruSAbhAve / daivavazAt tena zriyo / bhavati nAzaMsito virahaH // 924 // dharmaprasUtA kathaM bhavatu bhagavatI dveSyasajjanA lkssmiiH| tA alakSmya eva lakSmInibhA yA anAryeSu // 925 // ya vipulA yAzciraM yAH paribhogojvalA lakSmayaH / AcAradharANAmeva tA na punazca itareSAm // 926 // apanayati dadAti ca guNAn doSAMzchAdayati dadAti ca prakAzam / dRzyate eSa viruddha iva ko'pi lakSmyA vinyAsaH // 927 // samare dhArAgocaramupayanti ye vairimaNDalAgrANAm / te tasmin balAt khalu nivasanazIlayA lakSmayA spRzyante // 928 // 922. taNalahuiaMva, taNapalahuyaM va for garuaMpi palahuaM va. 923. suvurise and supurisaM for suvurisaM. 924. tehiM for teNa. 925. desa for vesa. 926. jAya for jAo. parANaM for 'dharANaM. uNo u, uNA u for uNo a. 927. NAsei for 'mei. 928. veri' for vairi. ghippaMti for chippaMti.

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138 gauDavaho apphoDaNAhighAa-cchaleNa cirmek-bhua-kaasNghaa| viNivAreMti va vIaM bhuaM pi dappeNa sappurisA // 929 // aNNoNNaM lacchiguNANa pUNa pisuNA guNaccia Na lcchii| lacchI ahilei guNe lacchi Na uNo guNA jeNa // 930 // lacchI-laAe~ mUlaM guNatti eaM prittriaNce| jeNa aho-gamaNaMcea tANa parivaDDhaNe tIe // 931 // ayasaM dAUNa visaMThulANa sajjhasa-vimUriavvANa / paDhamaMcia jIe~ pAI mahumahaccea khaliAI // 932 // sA caDulA kaha Nu guNujjalesu lacchI akUNiraM kuNau / ciraAlosia-pAAla-timira-saMvAhiaM diDhi // 933 // jIeN samAraMbheccia lacchI paDhama-dviA vi vivalAi / aNNA tIeccia patthaNAe~ kaha NAma saMghaDai / / 934 // dukkhAbhAvo Na suhaM tAI vi Na suhAI jAI sokkhaaii| mottUNa suhAI suhAI jAI tAiccia suhAI // 935 // AsphoTanAbhighAtacchalena ciramekabhujakRtAdhyavasAyAH / vinivArayantIva dvitIyaM bhujamapi darpaNa satpuruSAH // 929 // anyonyaM lakSmIguNAnAM nUnaM pizunA guNA eva na lkssmiiH| lakSmIrabhigRhNAti guNAn lakSmI na punarguNA yena // 930 // lakSmIlatAyA mUlaM guNA ityetat pariSThitameva / yenAdhogamanameva teSAM parivardhane tsyaaH|| 931 / / ayazo dattvA visaMSThulAnAM sAdhvasavisUritavyAnAm / prathamameva yasyAH padAni madhumathana eva skhalitAni / / 932 // sA cadulA kathaM nu guNojvaleSu lakSmIrakUNitAM karotu / cirakAloSitapAtAlatimirasaMvAhitAM dRSTim // 933 // yasyAH samArambha eva lakSmIH prathamasthitA'pi vipalAyate / anyA tayaiva prArthanayA kathaM nAma saMghaTatAm / / 934 // dukkhAbhAvo na sukhaM tAnyapi na sukhAni yAni saukhyAni / muktvA sukhAni sukhAni yAni tAnyeva sukhAni // 935 // 929. dappeNa bhuvaM pi for bhupi dappeNa. 930. Navara for YNa. ahilei guNA lacchI. 931. jeNAho. 933. kuNai. cirakAlo. 935. sukkhAI for sokkhAI.

Page #256
sukhaduHkhavivekaH 139 suha-saMga-gAraveccia havaMti dukkhAI dAruNaarAI / Aloukarisecia cchAyA bahalattaNamuvei // 936 // suha-saMgo suha-viNivattieka-cittANa aviraaM phurai / aMguli-pihiANa vo abbocchiNNo bva kaNNANa // 937 // dUmijaMtAI vi suhamurveti garuANa Niaa-dukkhehiM / rasa-baMdhehiM kaINa va viiNNa-karuNAI hiaAI // 938 // aNNaNNAI utA saMsAra-vahammi NiravasANammi / maNNaMti dhIra-hiaA vasai-TTANAI va kulAiM // 939 // sasiehicia loo dukkhaM lahuei dukkha-jaNiehiM / AyAsa-kaehiM karI AyAsaM sIarehiM va // 940 // paharisa-miseNa bAho jaM baMdhu-samAgame samuttarai / vocchea-kAarAiM taM gRNa galaMti hiaAI // 941 // mUDha siDhilattaNaM te saNeha-vAseNa kaha Nu baddhassa / bAhaM gADhaarAai jo ira morce taNaMtassa // 942 // sukhasadgagaurava eva bhavanti dukkhAni dAruNatarANi / AlokotkarSe eva chAyA bahalatvamupaiti / / 936 / / sukhasangaH sukhavinivartitaikacittAnAmavirataM sphurati / agulipihitAnAM ravo'vyucchinna iva karNAnAm / / 937 / / dUyamAnAnyapi sukhamupayanti gurUNAM nijkduHkhaiH| rasabandhaiH kavInAmiva vitIrNakaruNAni hRdayAni // 938 // anyAnyAnyupayantaH saMsArapathe nirvsaane| manyante dhIrahRdayA vasatisthAnAnIva kulAni // 939 // zvasitaireva loko duHkhaM laghayati duHkhjnitaiH| AyAsakRtaiH karI AyAsaM zIkarairiva // 940 // praharSamiSeNa bASpo yad bandhusamAgame samuttarati / vyucchedakAtarANi tannUnaM galanti hRdayAni // 941 // mUDha zithilatvaM te snehapAzena kathaM nu bddhsy| bADhaM gADhatarAyate yaH kila moktuM tanvataH // 942 // 936. dukkhAI havaMti. karisacciya. bahulattaNa and saphalattaNa for bahala. naNa. 937. suha viNiyattiyANa for suhaviNivattieka. anvucchinno vva savaNANa. 938. deg baMdheNa va kaiNo and degbaMdhehiM kaiNo for baMdhehiM kaINa va. 940. AyAsakarehi. 940. AyAsakarehiM 942. siNeha. pAseNa for degvAseNa. jaM for jo. bhagatassa. Also read as jotuM motu bhaNaMtassa.

Page #257
140 gauDavaho hoUNa vi haMta NiraMtarAI dUraMtarAI jAti / ummoia-rasaNaMtovamAI ghaDiAI loassa // 943 // paDhamaM Na guNA guNa-heuNo paraM te tao saha guNahiM / saMpai tANa guNaccea Navara hA te uNa Na saMti // 944 // kAlavasA NAsamuvAgaassa sappurisa-jasa-sarIrassa / aTThi-lavAaMti kahiM pi virala-viralA guNuggArA // 945 // thira-vAsaNA-samutthA dosA baMdhAya nniia-criaann| sappurisANaM ca guNA mohAya Na jhatti viramaMti // 946 // esa virAo hiaaM jaM ramai jahAgaesu vihavesu / NinbhacchaNaM tu lacchIeN Navara thira-maccharo raao||947 // soccea kiMNa rAo mottUNa bahu-cchalAI gehAI / purisA ramaMti badhujjharesu jaM kANaNaMtesu // 948 // kiM va sarUva-varoccia sevA-NiMdA-caro vva aha mggo| jaM mahai viMjha-caNa-goarANa loo puliMdANa // 949 // . bhUtvA'pi hanta nirantarANi dUrAntarANi jaaynte| unmocitarazanAntopamAni ghaTitAni lokasya // 943 // prathamaM na guNA guNahetavaH paraM te tataH saha guNaiH / saMprati teSAM guNA eva anantaraM hA te punarna santi // 944 // kAlavazAnnAzamupAgatasya stpurussyshaashriirsy| AsthalavAyante kasminnapi viralaviralA guNodgArAH // 945 // sthiravAsanAsamutthA doSA bandhAya nIcacaritAnAm / satpuruSANAM ca guNA mohAya na jhagiti viramanti // 946 // eSa virAgo hRdayaM yad ramate yathAgateSu vibhaveSu / nirbhartsanaM tu lakSmyAH kevalaM sthiramatsaro rAgaH // 947 // sa eva kiM na rAgo muktvA bahucchalAni gehAni / puruSA ramante baddhanirjhareSu yat kAnanAnteSu // 948 // kiM vA svarUpapara eva sevAnindApara ivAtha mArgaH / yanmahati vindhyavanagocarANAM lokaH pulindAnAm // 949 // 946. sappurisANaM pi. jehiM for jhatti. 947. thiramaMtharo. 949. sahai for mahai.

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saMsArabhAvAH sariAo aNea-vihaMgamAo tala - NimmalAI a vaNAI / mAaMga - kalaha muhalA giriNo a raI viralaMti // 950 // sIle jai vi vimalo taha vi hu mA duggaaM jaNaM chivasu / kAlaMtara - NivvaDiaM vasaiccitra maMgulaM tammi // 951 // ko tesu duggaANaM guNesu aNNo kaAaro ho / appA vi NAma Nivvea - vimuha jesu dAve // 952 // harai parihINa - vihavassa NUNa Nia-paNaiNI vi appANaM / savvaMgamasaM puNNassa ghaDai kiM jAmiNI sasiNo / / 953 // hiaa kahiM pi Nisammasu kittiamAsAhao kilimmihisi / dINo vi varaM ekassa Na uNa saalAeN puhabIe / / 954 // acchau tA vihaluddharaNagAravaM kattha taM agaruesu / appANaassa vi pi iarA kAuM Na pAraMti / / 955 / / gADha-maa- mUDha - hiaA lahiUNa dhaNaM guNaM va jaM kiM pi / kaha te bharihiMti paraM appA vi hu jANa pamhusai // 956 // sarito'nekavihaMgamAstalanirmalAni ca vanAni / mAtaGgakalahamukharA girayazca ratiM tanvanti // 950 // zIlena yadyapi vimalastathApi khalu mA durgataM janaM spRza / kAlAntaranirvRttaM vasatyeva aniSTaM tasmin // 951 // kasteSu durgatAnAM guNeSu anyaH kRtAdaro bhavati / AtmA'pi nAma nirvedavimukhatAM yeSu darzayati // 952 // harati parihInavibhavasya nUnaM nijapraNayinyapi AtmAnam / sarvAGgamasaMpUrNasya ghaTate kiM yAminI zazinaH // 953 // hRdaya kasminnapi nizAmaya kiyadAzAhataH klamiSyasi / dIno'pi varamekasya na punaH sakalAyAH pRthivyAH // 954 // tiSThatu tAvad vihvalo - ddharaNagauravaM kutastadgurukeSu / Atmano'pi priyamitarAH kartuM na pArayanti / / 955 / / gADhamadamUDhahRdayA labdhvA dhanaM guNaM vA yat kimapi / kathaM te smariSyanti paraM AtmA'pi yeSAM vismarati / / 956 / / 141 950. virilleti. 951. vimalaM. 953. na hu for kiM. 954. 'kettiya . 955. pAreMti, vAraMti.

Page #259
142 gauDavaho jaha pariayammi loo taha bhujjaMto vi dukkaraM ko vi| pANi-sisirAI pANammi aNNahA hoMti salilAI // 957 // bhUri-guNA viralaccia eka-guNo vi hu jaNo Na savvattha / NiddosANa vi bhaI pasaMsimo virala-dosa pi // 958 // sAmaNNa-suMdarINaM vibhamamAvahai avinnocce| dhUmoccia pajjaliAhi bahumao surahi-dArUNa // 959 // thovAgaa-dosaccia vavahAra-vahammi hoti sppurisaa| iharA NIsAmaNNehiM tehiM kaha saMga hoi // 960 // ukkarisoccea Na jANa tANa ko vA guNANa gunn-bhaavo| so vA para-sucaria-laMghaNeNa Na guNattaNaM taha vi // 961 // NavaraM dosA teccea je maassa vi jaNassa sunvaMti / Najjati jiaMtassa vi je Navara guNA vi tecce // 962 // vavahAreccia chAyaM Nieha loassa kiM va hiaenn| tauggamo maNINa vi jo bAhiM so Na bhaMgammi // 963 // yathA paricaye lokastathA bhujyamAno'pi duSkaraM ko'pi / pANizizirANi pAne'nyathA bhavanti salilAni / / 957 // bhUriguNA viralA eva ekaguNo'pi jano na sarvatra / nidoSANAmapi bhadraM prazaMsAmo viraladoSamapi // 958 // sAmAnyasundarINAM vibhramamAvahati avinaya ev| dhUma eva prajvalitAd bahumataH surabhidArUNAm // 959 // stokAgatadoSA eva vyavahArapathe bhavanti stpurussaaH| itarathA niHsAmAnyastaiH kathaM saMgataM bhavati // 960 // utkarSa eva na yeSAM teSAM ko vA guNAnAM gunnbhaavH| sa vA parasucaritaladhanena na guNatvaM tathApi // 961 // kevalaM doSAsta eva ye mRtasyApi janasya zrUyante / jJAyate jIvato'pi ye kevalaM guNA api ta eva // 932 / / vyavahAra eva chAyAM pazyata lokasya kiM vA hRdayena / tejaudgamo maNInAmapi yo bahiH sa na bhannage / / 963 / / 957. uvahujjaMto ya dukkaraM taha ya for taha bhujjato vi dukkaraM ko vi. toyAI for salilAI. 958. paraMsimo lahaMyadosa pi. lahuyadose vi. 959. pajjaliyANa. 960. iyarANamasAmaNNehiM. saMgamo for saMgaaM. 961. aha vA for so vA. vahai and kahavi for taha vi. 962. narassa for jaNassa. gheppaMti for suvvaMti. 963. hiyaehiM. maNI] for maNINa vi.

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guNadoSavivekaH sama-guNa-dosA doseka daMsiNo saMti dosa-guNa-vAmA / guNa-dosa-veNo Natthi je u geNhaMti guNamettaM // 964 // dIsaha sAmAaMto va ko vi hiaeNa Nimmalo taha vi / hariaMcia cUa - phalaM gaaM ca pariNAma - paramatthaM / 965 / / dIsaMta - Nimmalo jai vi ko vi kajjeNa NAsamo taha vi / piMga pi kesaraM kuMkumassa rAeNa sAmaNNaM / / 966 // saccaviAsaala-guNaM pi sajjaNaM suvurisA pasaMsaMti / paDabaMdha - miarddha ko vA raaNaM viArei || 967 // sohai adosa- bhAvo guNo vva jar3a hoi maccharuttiSNo / vihave va guNesu vi dUmei Thio ahaMkAro // 968 // jeNa guNagdhaviANa viNa gAravaM dhaNa-laveNa rahiANa / teNa vivANa Namimo teNaMcia hou vihavehiM // 969 // daviNovara tucchA vi sajjaNA ettieNa dhIreti / jaM te Nia-guNa-lesehi~ deti kANaM pi pariosa / / 970 // samaguNadoSA doSakadArzanaH santi doSaguNavAmAH / guNadoSavedino na santi ye tu gRhNanti guNamAtram // 964 // dRzyate zyAmAyamAna iva ko'pi hRdayena nirmalastathApi / haritameva cUtaphalaM gataM ca pariNAmaparamArtham / / 965 // dRzyamAnanirmalo yadyapi ko'pi kAryeNa nAsamastathApi / pigamapi kesaraM kuGkumasya rAgeNa sAmAnyam / / 966 // paridRSTAsakalaguNamapi sajjanaM supuruSAH prazaMsanti / pratibandhasthagitArdhaM ko vA ratnaM vidArayati / / 967 / / zobhate adoSabhAvo guNa iva yadi bhavati matsarotIrNaH / vibhaveSviva guNeSvapi dunoti sthito'haMkAraH // 968 / / yena guNArcitAnAmapi na gauravaM dhanalavena rahitAnAm / tena vibhavebhyo namAmastenaiva bhavatu vibhavaiH / / 969 / / draviNopakA (cA) ratucchA api sajjanA etAvatA dhIrayanti / yat te nijaguNalezairdadati keSAmapi paritoSam // 970 / / 143 964. je ya for je u. 965. aha ya for taha vi. 966. piMgaM na for piMga pi. 967. savalaguNamavi for 'sayalaguNaM pi. 969. gghaviyANa va. 'lavehi.

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144 gauDavaho dUmaMti sajjaNANaM pamhusia-dasANa tosa-kAlammi / dANAara-saMbhama-diTTha-pAsa-suNNAI viliaaii||971 // sai jADhara-ciMtAaDiaM va hiaaM aho-muhaM jANa / uddhara-cittA kaha NAma hoMtu te sunnnn-vvsaayaa||972|| diNNaM purA jahicchaM tao a deMtehiM sNtthiambhaavaa| gahiraM ca parAhiMto tao a o loha-paNaeNa / / 973 // loe amuNia-sArattaNeNa khaNamettamuciaMtANa / Niaa-vivea-viA garuANa guNA paati // 974 // geNhau vihavaM avaNeu NAma lIlAvahe vy-vilaase|. dUmei kaha Nu devvo guNa-pariuTAI hiaaaii|| 975 // aghaDia-parAvalaMbA jaha jaha garuattaNeNa vihaDaMti / taha taha garuANa havaMti baddha-mUlAo kittIo // 976 // Agama-laMbhe vaya-pariNaIeN bhaMgesu dhnn-vilaasaann| thovamasamaMjasAI vi hiaAI vahati pariNAma // 977 // dunvanti sajjanAnAM vismRtadazAnAM toSakAle / dAnAdarasaMbhramaTapArzvazUnyAni vIDitAni // 971 // sadA jATharacintAkRSTamiva hRdayamadhomukhaM yeSAm / udaracittAH kathaM nAma bhavantu zUnyavyavasAyAH !! 972 // dattaM purA yathecchaM tatazca dadAdbhiH saMsthitamabhAvAt / gRhItaM ca parebhyastatazca o lobhprnnten||973||loke ajJAtasAratvena kSaNamAtramudvijamAnAnAm / nijakavivekasthApitA gurUNAM guNAH pravartante // 974 // gRhNAtu vibhavaM apanayatu nAma lIlAvahAna vyayavilAsAn / dunoti kathaM nu devaM guNaparituSTAni hRdayAni // 975 // aghaTitaparAvalambA yathA yathA gurutvena vighttnte| tathA tathA gurUNAM bhavanti baddhamUlAH kIrtayaH // 976 / / Agamalambhe vayApariNatyA bhaGgeSu dhanavilAsAnAm / stokamasamAsAnyapi hRdayAni vahanti pariNAmam // 977 // 971.degdasAvasANadeg for degdasANa tosa. 972. uddharacittA. saNNa for suNNa. 973. Also read as- diNNaM purA jahiccha tao vi daMteNa saMThiyamabhAvA / sahi ca parAhuttaM tattA vi ya lAhapaNaIo / 974. 'mettamucciyaMtANa. 976. viharaMti for vihaDaMti. 977. bhaMge ya for bhaMgesu. thaNa for dhaNa'. mAhappaM for pariNAma.

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khalasvabhAvaH 145 Na sahati Nia-guNA ira purao garuANa ia viiNttaa| NIAhigame lahuA guNANa bhAvaMcia haraMti // 978 // asalAhaNe khaluccia alia-pasaMsAe~ dujjaNo viuNaM / apavatta-guNe suaNo duhA vi pisuNattaNaM lahai // 979 // appANa-Ninviseso tti esa me jaM pi bhaNai NeheNa / taM pi khalo astha-gaIeN Thavai pisunntnneccea||980|| uparimaho adharaMtehiM kaba-kaNaujjale alNkaare| sIsai sAra-viseso vijjA-vihavANa savaNehiM // 981 // Na sirI calA mahagyesu te Na tecea sA vi jaM muai| te uNa te taMcia jai muaMti iha tIeN ko doso // 982 // taNhA akhaMDiaccia vihave accuNNae vi lahiUNa / selaM pi samAruhiUNa kiM va gaaNassa ArUDhaM // 983 // purao sirIeN piya-paMkaAe~ kamalAaraM piva raNti| maNge kiviNA pahuNo paNAma-ghaDiaMjali-miseNa // 984 // na zobhante nijaguNAH kila purato gurUNAmiti vicintayantaH / nIcAbhigame laghavo guNAnAM bhAvameva haranti // 978 // azlAghane khalveva alIkaprazaMsayA durjano dviguNam / apavRttaguNe sujano dvidhA'pi pizunatvaM labhate // 979 // AtmanirvizeSa ityeSa me yamapi bhaNati snehen| tamapi khalo'rthagatyA sthApayati pizunatva eva // 980 // uparyadhazca dhArayadbhiH kAvyakanakojvalAnalaMkArAn / ziSyate sAravizeSo vidyAvibhavAnAM zravaNaiH // 981 // na zrIzcalA mahAryeSu te na tAneva sA'pi yanmuJcati / te punaste tAmeva yadi muzcanti iha tasyAH ko dossH|| 982 // tRSNA akhaNDitaiva vibhave'tyunatAnapi labdhvA / zailamapi samAruhya kiM vA gaganasyArUDham // 983 // purataH zriyAH priyapakajAyAH kamalAdaramiva racayanti / manye kRpaNAH prabhavaH praNAmaghaTitAJjalimiSeNa // 984 // ga. 10

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146 mauDavaho kusuma-phalosAria-pAavehi~ viNiatta-sauNa-paNaehiM / taM kira Na maaMcia mahiharehi~ jalahiM visaMtehiM // 985 // sovAe suha-dukkhAgamammi AraMbhiNo phalamaiti / ciMtA-Naha-kaMDU-saMbhavammi vihiNo Na kaMDuyaNe // 986 // mohAhibhaveNa siriM cira-colINaM vimaggamANANa / dUrIbhavaMtu AgaMtuAo kaha mA samiddhIo // 987 // AAra-pesalANa vi havaMti emea vihi-NioeNa / viNiattIoccia AvaIo maNNe samAhalotte // 988 // jammi avisaNNa-hiaattaNeNa te gAravaM valaggati / taM visamamaNupto garuANa vihI khalo hoi // 989 // hiaassa viNivvavaNe iha loecia smppia-phlaae| bIaM para-loa-phalaM Na raNNa-vasahIeN saddihimo // 990 // ramai vihavI visese thii-mettaM thoa-vittharo mahai / maggai sarIramadhaNo roI jIeccia kaatyo // 991 // kusumphlaapsaaritpaadpairvinivRttshkunprnnyaiH| tat kila na mRtameva mahIdharairjalAdha vizadbhiH // 985 // sopAye sukhaduHkhAgame ArambhiNaH phalamayante / cintAnakhakaNDUsaMbhave vidherna kaNDUyane / / 9.6 // mohAbhibhavena zriyaM cirAtikrAntAM vimArgamANAnAm / dUrIbhavantu AgantukAH katha mA samRddhayaH // 987 // AkA(cArapezalAnAmapi bhavanti evameva vidhiniyomena / vinivRttaya evApado manye samakhilA iti / / 988 // yasminnaviSaNNahRdayatvena te gauravamArohanti / tad viSamamanutprayan gurUNAM vidhiH khalo bhavati // 989 // hRdayasya vinirvapaNe iMha loka eva samarpitaphalAyAm / bIjaM paralokaphalaM nAraNyavasatyAM zraddhAsyAmaH // 990 / / ramate vibhavI vizeSe sthitimAtraM stokavistaraH kaaiksste| mArgayati zarIra madhano rogI jIva eva kRtArthaH // 991 //

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anaGgaviceSTitam mUle NiviDAaMtA viraluggArA tao pasaMgesu / / kAleNa saurisANa vi kahANubaMdhA NimilaMti // 992 // virasAaMtA bahalattaNeNa hiae khalaMti priohaa| thoa-vihavattaNeNaM suhaMbharappaccia sugaMti // 993 // virasammi vi paDilaggaM Na tarijai kaha vi jaM NivatteuM / hiaassa tassa taralattaNammi moho iha jaNassa // 994 // hiaammi gADha-ghaDiehiM do vi maNNe samaM ThavijaMti / buddhIo uhaya-loammuhIo jubaINa thaNaehiM // 995 // paharai kaha Nu aNaMgo kaha Nu hu vidhati kosumA bANA / ia kAmeccia aphuDe phuDAI tatto kaha suhAI // 996 // hiaassa NidvarattaNamiNamo kiM saMThavehi mahilANa / atto payoharANaM vacia vasai eANa // 997 // ramai a carie apphullaammi khijjai aNiaa-sIleNa / jiMdai a para-sahAvaM sihai a loo para-guNANa // 998 // mUle niviDAyamAnA viralodgArAstataH prsngessu| kAlena satpuruSANAmapi kathAnubandhA nimIlanti // 992 // virasAyamAnA bahalatvena hRdaye skhalanti pribhogaaH| stokavibhavatvena sukhaMbharAtmAna eva zrUyante // 993 // virase'pi pratilagnaM na tIryate kathamapi yannivartayitum / hRdayasya tasya taralatve moha iha janasya // 994 // hRdaye gADhaghaTitai api manye samaM sthApyete / buddhI ubhayalokonmukhyau yuvatInAM stanakaiH // 995 // praharati kathaM nu anagaH kathaM nu khalu vidhyanti kausumA bANAH / iti kAma evAsphuTe sphuTAni tasmAt kathaM sukhAni // 996 // hRdayasya niSThuratvamidaM ki saMsthApayiSyati mahilAnAm / ataH payodharANAM vajrameva vasati etAsAm / / 997 // ramate ca carite AtmIye khidyate ca nijakazIlena / nindati ca parasvabhAvaM spRhayati ca lokaH paraguNebhyaH // 998 / /

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148 gauDavaho magga vva dIha-dhavalA maNNe cihurA jaNassa jAti / volaMtANa aNudiNaM jahAgoM hiaa-bhAvANa // 999 // savvaMgaM viNiveso gaIi paliehiM NUNa daavei|| AsaNNamimammi jarA-karaMka-bhAvaM sarIrammi // 1000 // savva-tthAmoNamizra ohuramAaDiaM bali-laAhiM / dharaNi-alAhimuhaM piva sarIrAmiNamo jarI vahai // 1001 // aMgesu biMdu-NibiDA NivaDai prinnaam-jjjrijNtii| tilaa-cchaleNa maNNe kasaNa-cchAya vva cihurANa // 1002 // gabbhuggama-laMghia-jovvaNANa ghariNIeN vimaNa-piya-diTuM / thaNaANa duddha-dhArA-NiheNa paliaM va Nikkhamai / / 1003 // saalaM virAma-virasattaNeNa dukkhaM suhaMcia Na NAma / dukkhAbhAvo sokkhaM Na jeNa Na hu teNa dukkhaM pi||1004|| phurai a phuDo abhAvassa esa bhuvaNa-cchaleNa aaaaro| AloaNa-NivvaDio vva NIla-bhAvo Nahaalassa // 1005 // mArgA iva dIrghadhavalA manye cikurA janasya jaaynte| atikAmatAmanudinaM yathAgataM hRdayabhAvAnAm // 999 // sarvAngaM vinivezo natyAH palitainUnaM drshyti| Asannamasmin jarAkaradakabhAvaM zarIre // 1000 // sarvasthAnAvanatamadhomukhamAkRSTaM valilatAbhiH / dharaNitalAbhimukhamiva zarIramidaM jarI vahati / / 1001 // ageSu bindunibiDAnipatati pariNAmajarjarIkriyamANA / tilakacchalena manye kRSNacchAyeva cikurANAm // 1002 // garbhodgamalaDintayauvanAnAM gRhiNyA vimanaskapriyadRSTam / stanAnAM dugdhadhArAnibhena palitamiva niSkAmati // 1003 // sakalaM virAmavirasatvena duHkhaM sukhameva na nAma / duHkhAbhAvaH saukhyaM na yena na khalu tena duHkhamapi // 1004 // sphurati ca sphuTo'bhAvasyaiSa bhuvncchlenaakaarH| AlokananivRtta iva nIlabhAvo nabhastalasya / / 1005 // 1001. jarA for jarI. 1002. viMudeg for biMdu. NiviDai for NivaDai. 1003. jovaNeNa ghariNINa. 1005. bhuyaNa'.

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zivasya siMharUpam ia virasamimaM saMsAramAvasaMtANa vo phalamamollaM / NivvaDau pAvaNANaM guNANa pahuNo NisamaNeNa // 1006 // avi a| AsA-gaa-dANAaMta-kasaNa-kaMTha-ppahA-hao lhi|| kesara-kalAva-karaNiM soccia siDhilo jaDA-Nivaho // 1007 // vahai mnni-kirnn-rNjia-siis-nnivesia-phnnaa-smosrio| bhuaiMdo paTThi-paholi-ruddha-laMgUla-laMbaM // 1008 // tAoccia rahasa-visaTTa-vaaNa-kuharoarAo pAveMti / jAlAvalI-vilAsaM uttaMsa-kavAla-mAlAo // 1009 // paDimA maggA sira-sasialAe~ sccvia-gh-muhoinnnnaa| teccia hatthesu NahaMkusattaNaM eMti jiMtUNa // 1010 // ia tuliumahilasaMteNa jassa bala-vinbhamaM ti-NayaNeNa / bhesia-gori-maiMdaM maiMda-rUveNa prinnmiaN||1011|| khuDiA imeNa samaraMgaNesu riu-vAraNANa kr-dNddaa| NAsA-vimukka-jIhAha-ruhira-dhArA visahara bva // 1012 // iti virasamimaM saMsAramAvasatAM vaH phlmmuulym| nirvartatAM pAvanAnAM guNAnAM prabhornizamanana // 1006 // api ca / AzAgajadAnAyamAnakRSNakaNThaprabhAhato labhate / kesarakalAparUpaM sa eva zithilo jaTAnivahaH // 1007 // vahati mnnikirnnrnyjitshiirssniveshitphnnaasmpsRtH| bhujagendraH pRSThaprabhAvAlaruddhalAgUlaviDambam // 1008 // tA eva rabhasavikasitavadanakuharodarAH praapnuvnti| jAlAvalIvilAsaM uttNskpaalmaalaaH||1009|| pratimAmArgAH ziraHzazikalAyAM satyApitanakhamukhAvatIrNAH / ta eva hastayornakhAikuzatvaM yanti nirgamya // 1010 // iti tulitumabhilaSatA yasya balavibhramaM trinayanena / bhISitagaurImRgendraM mRgendrarUpeNa pariNamitam // 1011 // khaNDitA anena samarAgaNeSu ripuvAraNAnAM karadaNDAH / nAsAvimuktajihvAbharudhiradhArA viSadharA iva // 1012 // 100 6. phalla (= la ?) mamalaM. 1010. sirasasiyalAsacca', omitting dege~ supplied by conjecture. 1012. pahaNaMgaNesu for samaraMgaNesu. jaavAraNANa. parideg for kara. jIhAhirahira.

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150 gauDavahI maha dhUma - laA eassa sucariAhUatiasa - NAhassa / sura-kariNo bahala -maaMbu - sAmalA sahai saraNi vva / / 1013 / / lahuIkaA vi guNa - gAraveNa garuA vi Niaa-kula-uvvA / appANa- gAraveNaM puNo vi guruIkaA jeNa / / 1014 // pahu- dhamma - baMdhaNe saMThiassa vivarIa - sAsia - jaassa / karuNA - NIsAsa - sahA sahati saMraMbha- bhiuDIo / / 1015 / / aha vA / kummAhiveNa dIsai uNNA mia-saMkha - raaNa- valaeNa / tiasANa saMbhamuggAhi aggha-vatto vva salila - NihI // 1016 // ummillassa vi cira-Ala-muka-NIsAsa- siTila-dehassa / paTTI puNo taraMgehiM laMghiA kamaDha - NAhassa / / 1097 // dIsaMti kumma - tuliA ghaNa vva puNarutta - vijju - viSphuraNA / UsAsa-diTTha-taMbira-kaMTha-ccheA mahA-mINA // 1018 // pecchati sura- daiccA ghaDia - dharA - magga- gora-pariNAhaM / paTTi peraMta sahAva - sAmalaM kamaDha - NAhassa / / 1019 // makhadhUmalatA etasya sucaritAhUtatridazanAthasya / surakariNo bahala - madAmbuzyAmalA zobhate saraNIva // 1013 // laghukRtA api guNagauraveNa guravo'pi nijakakulapUrve / AtmagauraveNa punarapi gurUkRtA yena // 1014 // prabhudharmabandhane saMsthitasya viparItazAsitajagataH / karuNAniHzvAsa sahAH zobhante saMrambhabhrukuTayaH / / 1015 / / atha vA / kUrmAdhipena dRzyate unnAmitazaGkharatnavalayena / tridazAnAM saMbhramodagrAhitArghapAtra iva salilanidhiH // 1016 // unmIlitasyApi cirakAlamuktaniHzvAsazithiladehasya | pRSThaM punastaradgairlaGghitaM kamaThanAthasya // 1017 | dRzyante kurmatulitA ghanA iva punaruktavizudravisphuraNAH / ucchrAsadRSTatAmrakaNThacchedA mahAmanAH // 1018 // prekSante suradaityA ghaTitadharAmArgagaurapariNAham / pRSThaM paryantasvabhAvazyAmalaM kamaThanAthasya // 1019 // 1014. niyadeg for guNa'. 'vazvA, uccA for uvvA. 1015. jaNassa for 'jaassa. 1017. 'Ara' for 'Ala. puro for puNo 1018. dIsaMtu.

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sAgaramanthanam kumma-TThiassa dIsai jalahimmi taraMga-bhaMgura-NivesA / Na-pahutta-rasAala-kuMcia vca paDimA mahiharassa // 1020 // valaia-bhuaMga-valayAvavIDa-puMjia-NamaMta-sAhaggA / aggehiM sela-ghaDiA mUlehiM dalaMti duma-NivahA // 1021 // bhuaAhivassa NihasA jhijati urammi khr-hrNtiio| vaNa-gaMThi-gaAo vihNg-nnaah-nnh-koddi-kiilaao||1022|| phuTRti pAavANaM ry-vitthaaraavbddh-privesaa| viNivatti-samaya-tADia-taDAo paaroh-maalaao||1023 // advia-giri-clnn-gaagaNbu-cocchinnnn-nnivddia-tddaao| pattAo viaDa-bhAvaM taliNAo vi kdda-sriaao||1024 // parisiDhila-viaDa-mUlA teccea vahaMti pddhm-tnnu-dhaaraa| bhuaiMda-Nihasa-vihaDaMta-vivara-mUlA jaluppIlA // 1025 // viisaam-mNthraaaNt-sel-vocchinnnn-duur-vddnnaao| maDahaM kameNa valayaM Nijjhara-dhArAo baMdhati // 1026 // kUrmasthitasya dRzyate jaladhau trnggbhnggurniveshaaH| naprabhUtarasAtalakuzciteva pratimA mahIdharasya // 1020 // valayitabhujaGgavalayAvapIDapuJjitanamacchAkhAgrAH / apraiH zailaghaTitA mUlaidalanti dumanivahAH // 1021 // bhujagAdhipasya nigharSAt kSIyante urasi khrkhrntyH| vraNagranthigatA vihaMganAthanakhakoTikIlAH // 1022 // sphuTanti pAdapAnAM rayavistArAvabaddhapariveSAH / vinivRttisamayatADitataTAH prarohamAlAH // 1023 // asthitgirivlngtaagtaambuvyucchinnniptittttaaH| prAptA vikaTabhAvaM tanvyo'pi kttksritH||1024|| parizithilavikaTamUlAsta eva vahanti prathamatanudhArAH / bhujagendranigharSavighaTamAnavivaramUlA jalotpIDAH // 1025 / / vizrAmamantharAyamANazailavyucchinnadUrapatanAH / alpaM krameNa valayaM nirjharadhArA badhnanti / / 1026 // 1020. apahutta. 1021. muMciya for puMjia. 102.. sihA. 1023. vitthArovavaddha 1024. giricalaNa. gayaMtudochinna niyaMbadeg for vi kaDaya. 1025. paDisiDhila'. havaMti for vahati. nivvaDiyadeg for 'vihaDaMta. 1026. valaNAo for degvaDaNAo.

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152 gauDavaho pAvaMti valia-vitthaa-giri-kaDaa-NihaMsaNA tlinn-muulaa| vitthAraM dasaNa-cchea-maMDalA diggaiMdANa // 1027 // Nihasa-virika duma-lao jaha jaha selammi ghaDai bhuaiMdo / taha taha dIhAaMto puNo vi valainjai girimmi // 1028 // nnihs-priglia-vaasui-nnimmoa-ryaavbddh-priveso| kummammi hoi khaNa-viraiAlavAlo vva salila-NihI // 1029 // kama-laddhAloaM phaNi-NihaMsa-jhijjaMta-taDa-paNaTThAsu / NiMti a-viNikkhamaMtA vi vaNaarA mahihara-darIsu // 1030 // hoMti giri-valaNa-bhAvA annnnnnnn-disaa-ghddNt-kddaann| saralaM pi paDaMtINaM silANa kuDila vva gai-maggA // 1031 // ucchlia-slil-puuria-gann-disaa-vly-pddihoaaso| khaNa-tucchammi paDiravo Navara samuddeccia vlggo|| 1032 // vaasui-nnihsummuulia-pkkh-cchea-vnn-gNtthi-nnivvddiaa| NivaDaMti sela-kaDaAo vajja-dhArA-taDa-khaMDA // 1033 // prApnuvanti vlitvistRtgirikttknighrssnnaastnumuulaaH| vistAra dazanacchedamaNDalA diggajendrANAm // 1027 // nigharSavibhaktadrumalato yathA yathA zaile ghaTate bhujagendraH / tathA tathA dIrghAyamANaH punarapi valyate girau // 1028 // nighrsspriglitvaasukinirmokryaavbddhprivessH| kUrme bhavati kSaNaviracitAlavAla iva salilanidhiH // 1029 // kramalabdhAlokaM phaNinigharSakSIyamANataTapranaSTAsu / niryanti aviniSkrAmanto'pi vanacarI mahIdharadarISu // 1030 / / bhavanti girivalanabhAvAdanyonyadigghaTamAnakaTakAnAm / saralamapi patantInAM zilAnAM kuTilA iva gatimArgAH // 1031 // ucchlitslilpuuritggndivlyprtihtaavkaashH| kSaNatucche pratiravaH kevalaM samudra evAvalagnaH // 1032 // vaasukinighrssonmuulitpksscchedvnngrnthinirvrtitaaH| nipatanti zailakaTakAd vajradhArAtaTakhaNDAH // 1033 / / 1027. pAveMti for pAvaMti. 1029. parivesaM. 'vAlaM va girimUlaM for degvAlo vva salilaNihI. 1030. sijjaMtadeg for degjhijjaMta. degyaDaTThAsu for paNaTThAsu. degNikamaMtA vi. 1031. aNNoNa. 1032. vaDaladeg for degvalaya. paDihaovAso. vilaggo for valaggo. 1033. taDi for taDa.

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sAgaramanthanam pasaraMti valaMtoahi-maMDalaijjaMta-kaDia-sarIrA / suMkAra-saraliAvatta-pasiDhilA Navara bhuaiMdA // 1034 // taru-valia-laA-lacchi lahaMti selammi kdda-sriaao| ummoia-vAsui-Nihasa-magga-saMdANia-jalAo // 1035 // kaDaehiM tahea mahI-siharehiM jahaM va palliaM girinno| allINaM Navara disAhiM Nihasa-taNuAmma majjhammi // 1036 // kumma-viNihiTTha-mUlo bhuaaahiv-nnihs-tnnuiaahoo| kaha-kaha vi paDhama-Nimio suheNa osArio selo // 1037 // ghaDiaM maMdara-dara-dUmiammi sNkhuhia-jlhi-tnnnnaaaN| sisirovaAra-paMka va kumma-cIDhAmmi mahi-vedaM // 1038 // ia kama-NimmahiAmukka-vihura-khIroa-sarahasuvbUDhA / lacchI ajjavi vaccha-sthala-dviA kumai imeNa // 1039 // kiM c| dIsai kara-tADaNa-mUDha-ruhira-saMgalia-sAmala-cchAyaM / hiaa-TThia-viraha-huAsa-dhUma-mailaM va thaNavaDhe // 1040 // prasaranti valadudadhimaNDalIkriyamANakRSTazarIrAH / sUtkArasaralIkRtAvartaprazithilAH kevalaM bhujagAH // 1034 // taruvalitalatAlakSmI labhante zaile kaTakasaritaH / unmocitavAsukinigharSamArgasaMdAnitajalA: // 1035 / / kaTakaistathaiva mahIzikharairnabha iva preritaM gireH| AlInaM kevalaM digibharnigharSatanau madhye // 1036 // kUrmavinighRSTamUlo bhujagAdhipanigharSatanUkRtAbhogaH / kathaMkathamapi prathamanyastaH sukhenApasAritaH zailaH // 1037 / / ghaTitaM mandaradaradUne saMkSubdhajaladhyAIkRtam / ziziropacArapakamiva kUrmapIThe mahIpITham // 1038 // iti kramanirmathitAmuktavidhurakSIrodasarabhasodUDhA / lakSmIradyApi vakSaHsthalasthitA uhyate etena // 1039 // kiM ca ! dRzyate karatADanamUDharudhirasaMgalitazyAmalacchAyam / hRdayasthitavirahahutAzadhUmamalinamiva stanapRSTham // 1040 / / 1034. seladeg for Navara. 1035. valayadeg for degvalia. vahaMti for lahaM ti. aha seladeg for selammi. 1037. viNihaTTa. uttArio for osArio. 1038. kamaDha for kumma. 1039. vihuya for 'vihura. 1040. gUDha for mUDha. saMvaliyadeg for degsaMgaliya'. hiyayaddhate virahaggidhUma for hiaadviavirahahuAsadhUma'.

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154 gauDavaho vannuvvhnn-nnivesia-kruddh-nnh-mnni-muuh-vocchee| saMdhati NiraMjaNa-NimmalAo thoraMsu-dhArAo // 1041 // ghnn-lNbaala-maalaa-nniroh-khnnmett-puNjijjNtaa| umhavia-gaMDavAsaM cakkalaijjati NIsAsA // 1042 // ia lIlA-rosuggama-visamia-bhumaammi jammi kubbhaMti / veri-ramaNIhiM vehavva-laMbha-vihurAI aMgAI // 1043 // jassa muha-mAruAhaa-visaMta-bhuvaNaMtareNa uarAo / vubhai va aNNa-baMbhaMDa-DaMbaro paMcaaNNeNa // 1044 // so esa kesavo uvasamuddamuddAma-dAviAyAme / aha sohai sesammi va Niaammi jasammi vinnisnnnno||1045|| aha vaa| bhAruvvahaNA-joggAareNa tArehiM Naha-maUhehiM / / sesa-simUhi va calaNAraviMda-ghaDiehi sohaMti // 1046 // bhuaiMda-phaNA-maMDala-Nivesa-paDilagga-raaNa-rAaM va / calaNa-juamAvahaMti pajjattAlattaa-cchAyaM // 1047 // vadanodvahananivezitakarordhvanakhamaNimayUkhavyucchedAn / saMdadhati niraananirmalAH sthUlAzrudhArAH / / 1041 // ghnlmbaalkmaalaanirodhkssnnmaatrpuniikriymaannaaH| uSNIkRtagaNDapArzva cakrIkriyante niHzvAsAH // 1042 // iti lIlAroSodgamaviSamitabhrUke yasmin uhynte| vairiramaNIbhirvaidhavyalambhavidhurANyaGgAni // 1043 // yasya mukhamArutAhatavizadbhuvanAntaraNa udarAt / uhyate ivAnyabrahmANDaDambaraH pAJcajanyena // 1044 // sa eSa kezava upsmudrmuddaamdrshitaayaame| atha zobhate zeSa iva nijake yazasi vinissnnnnH|| 1045 // atha vaa| bhArodvahanayogyAdareNa taarairnkhmyuukhaiH| zeSazizubhiriva caraNAravindaghaTitaiH zobhamAnAm // 146 // bhujagendraphaNAmaNDalanivezapratilagnaratnarAgamiva / caraNayugamAvahantI paryAptAlakta kacchAyam // 147 // 1041. 'voccheA. saMdhiMti for saMdhati. 1043. viyasiya for visamiya'. 1045. so vesa for so esa. pAviyA' for degdAviAdeg. sesaM piva for sesammiva. jasammi niyayammi. ya nisaNNo for viNisaNNo. 1047. degrayaNahAyaM va.

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pRthivyAH strIrUpam lIlA - gholAvia - calaNa-muhala-maMjIra-rava-milatehiM / giti sesa-phaNA- valaehiM va rAjahaMsehiM // / 1048 // kAraNa-kiri-khaMdhukrakheva - lagga - parikavila- kesara- cchAyaM / vahamANi kiraNa - kalAvamiriNa - rasaNA guNuggiNNaM / / 1049 / / sevinaMtiM sa-raNa- rasaNA-paDiNivvaDaMta-paDimeNa / ADhatta-rohaNuddalaNa-vaiareNaM piva jaNeNa / / 1050 // NAhi vivareNa kAraNa- varAha-dADhA-baheNa va sahati / pAAla-tamubbhe AamANa - romAvalIeNa / / 1051 // ajjavi aha-dvia-rAma-ramaNi- NiggamaNa-sIra- magaM va / aramahirAma - vali-vIi-bhaMga - visamaM patiM // 1052 // sohati hArAvali - valaMta - romAvalI - taraMgeNa / jaNA-saMgaa - gaMgA-sotteNa va majjhaeseNa // 1053 // lAyaNNa- pariSphuramANa-pariaNukkhitta - cAmara - caehiM / aMto- pAaDa-bhUruha-mUla- kalAvaM va saMtiM // 1054 // lIlAghUrNitacaraNamukharamaJjIraravamiladbhiH / udyamAnAM zeSaphaNAvalayairiva rAjahaMsaiH // 1048 // kAraNakiriskandhotkSepalagnaparikapilakesaracchAyam / vahantIM kiraNakalApaM iriNarasanAguNodgIrNam // 1049 // sevyamAnAM saratnarasanApratinivartamAnapratimena / ArabdharohaNoddalanavyatikareNeva janena // 1050 / / nAbhivivareNa kAraNavarAhadaMSTrApatheneva zobhamAnAm / pAtAlatamaudbhedAyamAnaromAvalIkena // 1051 / / adyApi anaghasthitarAmaramaNInirgamanasIramArgamiva / udaraM abhirAmavalivIcibhadgaviSamaM prakAzayantIm / / 1052 / / zobhamAnAM hArAvalivaladUromAvalIta raGgeNa / yamunAsaMgatagadgAstrotaseva madhyadezena / / 1053 / / lAvaNyaparisphuratparijanotkSiptacAmaracayaiH 1 antaHprakaTabhUruha mUla kalApamiva darzayantIm / / 1054 / / 155 1049 parikavisa. 1050. rohaNuvvalaNa. 1051. 'vaeNa va for 'vaheNa va. 1052. payAsaMti. 1053. gaMgA saMgayajauNA 1054. lAiNNa'. 'caeNa. kalAvaM payAsaMti.

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156 gauDavaho pahu-daMsaNa-rasa-pasaria-sasea-romaMca-saMcaya-NiheNa / salilAhaandemsa( siaM) bIa-laaM va daMsaMtiM // 1055 // aMtovariM ca parisaMThieNa Naha-NiNNaAe~ va jaleNa / paDimA paDieNa siaMsueNa saMvalia-thaNa-vivaM // 1056 // kaMTha-kusumesu bahuso lIguDDINehiM mahuara-kulehiM / AyAsiaMga-lehaM savakkha-selehiM va puNo vi // 1057 // muttA-paraMtattaNa-pAvia-pAAra-maMDala-guNehiM / divva-purehiM va maNi-kuMDalehiM saMbhAviAbhoraM // 1058 // kuMDala-sasi-mUraMtara-NisaNNa-kabarI-NisA-viNIladdhaM / muha-maMDalaM sumeruM va kaNaa-goraM pAseMtiM // 1059 // savvatto hAra-maUha-daMDa-paDiaggiaMga-bhAveNa / ummilla-NimmalANea-paha-samUha va dIsaMti // 1060 // avaaMsa-kusuma-NIsaMdamANa-raa-biMdu-kalia-mUleNa / gaMDatthaleNa dara-galia-reNu-bhAveNa va sahati // 1061 // prabhudarzanarasaprasRtasasvedaromAJcasaMcayanibhena / salilAhatadezocchvasitAM bIjalatAmiva darzayantIm // 1055 // antarupari ca parisaMsthitena nabhonimnagAyA iva jlen| pratimApatitena sitAMzukena saMvalitastanabimbAm // 1056 // kaNThakusumeSu bahuzo liinoddddiinairmdhukrkulaiH| AyAsitAgalekhAM sapakSazailairiva punarapi // 1057 // muktAparyantatvaprApitaprA. kaarmnnddlgunnaiH| divyapurairiva maNikuNDalaiH saMbhAvitAbhogAm // 1058 // kuNDalazazisUrAntaraniSaNNakabarInizAvinIlArdham / mukhamaNDalaM sumerumiva kanakagauraM prakAzayantIm // 1059 // sarvato hAramayUkhadaNDaprati. jAgaritAgabhAvena / unmIlitanirmalAnekapathasamUhamiva dRzyamAnAm // 1060 // avtNskusumnissyndmaanrjobinduklitmuulen| gaNDasthalena daragalitareNubhAveneva zobhamAnAm // 1061 // 1056. aMto avariM ca pariTThieNa. paDimAThieNa, paDimAvIeNa. "saMvariya. 1057. kamalesu for kusumesu. 1058. maMDaladdhehi. devva for divva. 1060. paDivaggia. 1061. degrasabiMduvalayabhAveNa for degraabiMdukaliamUleNa. darakaliyadeg for daragaliya'. ___

Page #274
candravaMzajanmA yazovarmA 157 mAlA-valaehiM paiNNa-surahi-kabarI-laaM mahuarANa / veNI-baMdhehiM va bahu-NariMda cehavva-pisuNehiM // 1062 // ia suvvai eso ira sarIra-bhAva-parisaMThiaM bhuso| / paccakvaMcia deviM puhaI pulaei pIDAsu // 1063 // kiM c| sIsai va jassa tArANusAri-Niggaa-kalaMka-valaeNa / atti-NayaNAhi ajja vi samubhavo Niaa-biMbeNa // 1064 / / vaMsammi tassa raaNI-ramaNassa purA pariTThiA phunno| je tANa aha paNAmo eso uNa kiMpi nnivvddio||1065|| avi a| sajjhasa-saMveummIlaNe vi alasummuhA samuttarai / diTThI paharisa-viralAamANa-pamhaMtarAlesu // 1066 // tattohutta-gaAgaa-hiaa-vahAaMta-Naha-maUheNa / kara-kisalaeNa lolaMsuammi thaNa-maMDale vsi||1067|| gADha-jahaNa-tthala-kkhalaNa-muhala-maNi-kiMkiNIamukaMpo / paDikusumaMdolia-kaMTha-dAmamaMgaM taraMgei // 1068 // mAlAvalayaiH prakIrNasurabhikabarIlatAM madhukarANAm / veNIvandhairiva bahunarendra vaidhavyapizunaiH // 1062 // iti zrUyate eSa kila zarIrabhAvaparisaMsthitAM bhushH| pratyakSameva devIM pRthivIM pazyati pIDAsu // 1063 // kiM c| ziSyate iva yasya taaraanusaarinirgtklkvlyen| atrinayanAdadyApi samudbhavo nijakabimbena // 1064 // vaMze tasya rajanIramaNasya purA pariSThitAH prabhoH / ye teSAmatha praNAma eSa punaH kimapi nivRttH||1065 / / api ca / sAdhvasasaMvegonmIlane'pi alasonmukhA samuttarati / dRSTiH prhrssvirlaaymaanpkssmaantraalessu||1066|| tadabhimukhagatAgatahRdayapathAyamAnanakhamayUkhena / karakisalayena lolAMzuke stanamaNDale uSitam // 1067 // gADhajaghanasthalaskhalanamukharamaNikikiNIkamutkampaH / pratikusumAndolitakaNThadAma agaM taragayati // 1068 / / 1062. viinna for paiNNa'. 1064. attinayaNAo for attiNayaNAhi 1066. ummIlaNA vi.

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158 gauDavaho ia Nivvattia-sejjA-pariNayaNANa paDivakkha-kumarINa / jAaMti jassa purao sa-sajjhasA vammaha-viArA // 1069 // keUra-maragaoggiNNa-kiraNa-kalile bhuammi appaannN| sA jassa viNoei va liNi-vaNukaMThiA lacchI / / 1070 // ahiArANala-kuMDaMba-maMDalaM tAva NaM samakkamai / timiraM kulamiva tArA-phaNa-raaNavahaM visaharANa // 1071 // puhaI-vaiNo amhe saccariAveaNammi ke tss| suvvai Na-pahuttaMcia tassa vi phaNiNo muha-sahassaM // 1072 // taha vi NisAmeha NarAhivassa bhua-dappa-dappaNaM eaN| raANa-viramammi NavaraM purumilla-NariMda-NiThavaNaM // 1073 // sAhijjai gauDa-vaho esa mae saMpaaM mahAraMbho / Nisue muaMti dappaM jammi pariMdA kaiMdA a||1074 // ettAhe uNa raviNo uvvttia-kmddh-piNgl-cchaao| parigholai viAlaa-kiraNa-kaMdalo biba-pariNAho // 1075 // iti nirvartitazayyApariNayanAnAM pratipakSakumArINAm / jAyante yasya purataH sasAdhvasA manmathavikArAH / / 1069 // keyUramarakatodgIrNakiraNakalile bhuje aatmaanm| sA yasya vinodayatIva nalinIvanotkaNThitA lakSmIH // 1070 / / abhicArAnalakuNDatAmramaNDalaM tAvadenaM samAkAmati / timiraM kulamiva tArAphaNaratnavahaM viSadharANAm / / 1071 // pRthvIpatervayaM saccaritAvedane ke tasya / zrUyate naprabhUtameva tasyApi phaNino mukhasahasram // 1072 / tathApi nizamayata narAdhipasya bhujadarpadarpaNametam / rajanIvirame kevalaM pUrvIyanarendraniSThApanam // 1073 / / kathyate gauDavadha eSa mayA sAMprataM mhaarmbhH| nizrute muvanti darpa yasmin narendrAH kavIndrAzca // 1074 / / idAnI punA rveruddhrtitkmtthpinglcchaayH| paripUrNate vigalitakiraNakandalo bimbapariNAhaH // 1075 / / 1069. vilAsA for degviyArA. 1070. gaogiNNa. kalie for kalile. 1072. jammi na pahuppaicciya for suvvai NapahutaMcia. 1073. rayaNIviramammi bahupurumilla, rayaNIviramammi imaM purumilladeg for rayaNIviramammi NavaraM purumilla". 074 sAhippai for sAhijai.

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dinakarAstasamayaH 159 ee chAyA-pariatta-muhala-pArAvaA pasajjati / - giri-kuMjuNNidda-maiMda-NaMdiNo raNNa-peraMtA // 1076 // mailijjai diasAhiva-kiraNAiNNatya-sela-galiehiM / Ayasa-rasa-visarehiM va chAyA-maggehiM mahi-veDhaM // 1077 // sariANa NiraMtara-milia-vihaa-Nivahovaroha-mucaMtA / uballaMti va NivvaDia-maMDalA puliNa-vitthArA // 1078 // dUrattaNa-paDhama-Niatta-go-haNA hoti Naara-mamgesu / sAlaMba-diNaaracea dhUsarA diasa-pariNAmA // 1079 // thoamiva viaDa-gamaNA garuAaMta-jahaNAlasamuveti / dheNu-dhavalIo pAhua-pINApINA vnnNtaao||1080 // saMvelliUNa ekaM diasAraMbha-paDisAriaM viNjho| vii pakkhaM va puNo chAyA-valayaM pasArei // 1081 // aMdolai diNa-lacchI pacchima-sela-tthalAvalaMbAsu / jaraTha-sara-gaThi-rehAruNAsu ravi-kiraNa-mAlAsu // 1082 // . ete chAyAparivRttamukharapArAvatAH prsjnti| girikujonidramRgendranandino'raNyaparyantAH // 1076 / / malinIkriyate divasAdhipakiraNAkIrNAstazailagalitaiH / Ayasarasavisarairiva chAyAmAgairmahIpRSTham // 1077 // saritAM nirntrmilitvihgnivhoprodhmucymaanaaH| udvellantIva nivRttamaNDalAH pulinavistArAH // 1078 // dUratvaprathamanivRttagodhanA bhavanti ngrmaargessu| sAlambadinakara eva dhUsarA divasapariNAmAH / / 1079 / / stokamiva vikaTagamanA gurUyamANajaghanAlasamupayanti / dhenudhavalyaH prasnutapInApInA banAntAt / / 1080 // saMvelyaikaM divasArambhapratisAritaM vindhyH| dvitIyaM pakSamiva punazchAyAvalayaM prasArayati // 1081 // Andolayati dinalakSmIH pshcimshailsthlaavlmbaasu| jaraThazaragranthirekhAruNAsu ravikiraNamAlAsu // 1082 // 1076. ee chAvariyayatta', ee chApariyatta, both corruptly. The original might have been either chAyA or icchA , rather the latter. 1078. ummilaMti va for uvvellaMti va. 1080. thovamiva. deglasamayaMti. Second half also read as--dhenu-dhavalIo paNhuyApINamAlA vagaMtAo, or reNudhavalIo paNhuyapINA gheNU vaNaMtAo. 1081. parisAriyaM. tao for puNo. 1082. selacchalA.

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160 gauDavaho paccha-TiAavattaNa-suNNaia-gavakkha-magga-pairikA / jAA samujjalAlekarava-suMdarA maMdiraddhaMtA // 1083 / / tNsaaga-rviar-nnivvddNt-muulNtraal-viaddaaii| viralAaMti va chAyA-Niggama-siDhilAI rnnnnaaii||1084|| selagga-khaNa-vihattA ravi-vaDaNa-kameNa duurmucchliaa| ghamma-ccheA iva tAraattaNaM eMti maulitA // 1085 // eMti maha-mottiar3e paosa-sIhAhae diNehammi / lhasia-dvia-ruhirAaMba-kuMbha-karaNi rvi-miaNkaa|| 1086 // jAmavaI-muha-bharie saMjjhA-mairAe~ dinnaraahaare| AAsa-kesaraM daMtureMti Nakkhatta-kusumAI // 1087 // Aava-kilaMta-mahisacchi-koNa-soNAavaM diNaMtammi / uvvattai raviNo bhU-kalaMva-puDa-pADalaM biMba // 1088 // saMjjhAlattaa-dhariammi uaha jalaNovale vba ravi-biMbe / NibaDai dhUma-leha vva mAsalA jAmiNi-cchAyA // 1089 // pazcAt sthitaatptvshuunyiikRtgvaakssmaargprtiriktaaH| jAtAH samu jjvalAlekhyasundarA mandirArdhAntAH // 1083 // vystraagtrvikrnivrtmaanmuulaantraalvikttaani| viralAyanta iva chAyAnirgamazithilAnyaraNyAni // 1084 // zailAgrakSaNavibhaktA ravipatanakrameNa dUramucchalitAH / dharmacchedA iva tArakatvaM yanti mukulIbhavantaH // 1085 // etaH grahamauktikADhye pradoSasiMhAhate dinebhe| hasitasthitaruIdharAtAmrakumbhasAdRzyaM ravimRgAko // 1086 // yAmavatImukhabhRte saMdhyAmadirayA dinkraadhaare| AkAzakesaraM danturayanti nakSatrakusumAni // 1087 // AtapaklAntamahiSAkSikoNazoNAtapaM dinAnte / udvartate rave kadambapuTapATalaM bimbam // 1088 // saMdhyAlaktakadhRte pazyata jvalanopala iva ravibimbe / nirvartate dhUmalekheva mAMsalA yAminIcchAyA // 1089 // 1083. pacchAiyAyavattaNadeg for pacchaTThiyAyavattaNa. 1084. saralAI for siDhilAI. 1085. dUramutthaliyA. avi for iva 1086, mottiyatthaM. 1086. degmottiyatthaM. 1088. ovattai. parivADalaM for degpuDapADalaM. 1089. kaliyammi and 'variyammi for degdhariyammi.

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dinakarAstasamayaH 161 jAaMva dhUma-saMcaya-kalusAruNa-kiraNa-daMturaM rvinno| timirovaAra-mujhaMta-visama-saMjjhAavaM biMba // 1090 // kAlI-kaa-sarasa-gala-cchea-mahA-mahisa-vinbhamo mili| atyAaMbira-ravi-biMba-cuMbio timir-sNghaao||1091|| lahai sa-saMdaNa-turao timirkkmNt-piNjr-sriiro| mahumahaNa-gAravuvatta-piccha-garula-cchaviM suuro|| 1092 // jAe NirAave diNaarammi giri-reNu-pADala-maUhe / gholai milata-timirA kulIra-kavilA dinn-cchaayaa||1093 // Nia-kara-kiliMca-NIDatyamattha-giri-pAavAhi ravi-biMbaM / NivaDai saMjjhA-kalalolla-vihaa-NAhaMDa-piMDaM va // 1094 // thouccttnn-lkkhia-sNjjhaarunn-gann-taalu-perNto| kavalei paosa-karI vihANa-piMDaM va ravi-biMbaM // 1095 // Naha-caTuM dUruNNaa-saMjjhA-parivesa-pariaraM sahai / ahiNava-paDibaMdhAaMba-biMba-viaDAvaDa-cchAyaM // 1096 // jAtamiva dhUmasaMcayakaluSAruNakiraNadanturaM rveH| timiropacAramuhyamAnaviSamasaMdhyAtapaM bimbam // 1090 // kAlIkRtasarasagalacchedamahAmahiSavibhramo milti| astaataamrrvibimbcumbitstimirsNghaatH||1091|| labhate ssyndnturgstimiraakmymaannpijrshriirH| madhumathanagauravo. vRttapicchagaruDacchaviM sUraH // 1092 // jAte nirAtape dinakare girirennupaattlmyuukhe| ghUrNate milatimirA kulIrakapilA dincchaayaa||1093|| nijakarakilizcanIDasthaM astagiripAdapAd ravibimbam / nipatati saMdhyAkalalAIvihaganAthANDapiNDamiva // 1094 // stokodvrtnlkssitsNdhyaarunnggntaalupryntH| kavalayati pradoSakarI vidhAnapiNDamiva ravibimbam // 1095 // nabhaHpRSThaM dUronnatasaMdhyApariveSaparikaraM shobhte| abhinavapratibandhAtAmrabimbavikaTAvaTacchAyam // 1096 // 1091. kAlIkayamahisAsura-sarasagalaccheyavinbhamo milai. atthAiMbira'. 1.92. timirasamakatta'. 'maLaho for degsarIro. 1093. nirAsanayaNA ravimmi for mirAave diNaarammi. 1094. degkaladeg for 'kara'. kalilola' for kalalolla. piMDAhaM for piDaM va. ga. 11

Page #279
162 gauDavaho purumilla-disA-gaa-timiramavara-bhAAvalaMbi-ravi-biMbaM / garulamiva gahia-gaa-kummamuaha paritabiraM gaaNaM // 1097 // palhatyai timira-mahA-varAha-paDipellio sumeru vv|| saMjjhAloo paDilagga-kesarAaMta-ravi-kiraNo // 1098 // viaDaMDammi va ravi-maMDalammi mukkammi pddhmmrunnNke| Naha-siri-viNaAe~ sasI vubbhai vIaMDa-piMDo vva // 1099 // AsAra-pasara-saralA tAlI-vaNa-daMDa-dhUsarA hoti / gaMdhavva-purAArA NirAavA ravi-ara-NivesA // 1100 // rehAvasesa-diNaara-maUha-NivvADia-daMDa-paDibaMdhA / jAlAai sAloA avara-disA bhuvaNa-bhavaNassa // 1101 // gaaNa-mahi-veDha-NIlo majjhe sNjjhaavses-pddibhinnnno| gholai khajjUra-kakhaMdha-pADalo timir-sNghaao||1102 // dIsai disAsu tArA-saharI-jAlAvilA timir-lehaa| ravi-paDaNa-saMbhamAraMbha-rahasa-calia vva kAliMdI // 1103 // pUrvIyadiggajatimiraM aparabhAgAvalambiravibimbam / garuDamiva gRhItagajakUrma pazyata paritAnaM gaganam // 1097 // paryasyati timiramahAvarAhapratipreritaH sumeruriva / saMdhyAlokaH pratilagnakesarAyamANaravikiraNaH // 1098 // vikaTANDa iva ravimaNDale mukte prthmmrunnaake| nabhAzrIvinatayA zazI uhate dvitIyANDapiNDa iva // 1099 // AsAraprasarasaralA tAlIvanadaNDadhUsarA bhavanti / gandharvapurAkArA nirAtapA ravikaranivezAH // 1100 // rekhAvazeSadinakaramayUkhanivartitadaNDapratibandhAH / jAlAyate sAlokA aparadiya bhuvanabhavanasya // 1101 // gaganamahIpIThanIlo madhye sNdhyaavshessprtibhinnH| ghUrNate khjuurskndhpaattlstimirsNghaatH||1602|| dRzyate dizAsu tArAzapharIjAlAvilA timirlekhaa| ravipatanasaMbhramArambharabhasacaliteva kAlindI // 1103 // 1097. puravilladeg for purumilla. 1102. vIDhadeg for veDha. 'laggo for "bhiNNo.

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pradoSakAlaH sAyaM milaMti km-nnivvddNt-tm-mNddlaavunnnnaao| AsaNNa-bhAva-pAaDa-Niaa-gaiMdAo va disAo // 1104 // UsAsia-sAmalAruNa-tama-vellI-mUla-lakhiraM kovi / gaaNa-cchalaruNayakaMcamidubiMba samuddharai // 1105 // hota-casuhAhiva-kahA-koUhala-kaDiAo va milaMti / diasa-virAma-cchavi-dhUsarAo samaaMcia disaao||1106|| bhlttnn-kuhruussia-tm-sihaa-lNghnnonnucchNgaa| deMti thaluddesaccia thoAloA darI-saMkaM // 1107 // Aloo parigholai sasiNo chaayaa-nnives-vocchinnnno| maliNANusAra-pasaria-kasaNa-cchavi-magga-sabalo vva // 1108 // dIsai NisAsu tArA-NiheNa phuddia-virl-dvia-kvaalN| baMbhaMDagga-puDaM piva kAlaMtara-jajaraM gaaNaM // 1109 // jAAoM km-psmmNt-dhuum-ra-nniggmaavrohaao| ArUDha-paosAo vi pavirala-timirAo va disAo // 1110 // sAyaM milanti krmnivrtmaantmomnnddlaavpuurnnaaH|aasnnbhaavprkttnijkgjendraa iva dishH||1104|| ucchasitazyAmalAruNatamovallImUlalakSitaM ko'pi / ........................ indubimbaM samuddharati // 1105 / / bhavadvasudhAdhipakathAkutUhalakRSTA iva milanti / divasavirAmacchavidhUsarAH samameva dizaH / / 1106 // bahalatvakuharocchasitatamaHzikhAlacanAvanatotsadgAH / dadati sthaloddeza eva stokAlokA darIzakAm // 1107 // AlokaH paripUrNate shshinshchaayaaniveshvyucchinnH| malinAnusAraprasRtakRSNacchavimArgazabala iva / / 1908 // dRzyate nizAsu tArAnibhena sphuTitaviralasthitakapAlam / brahmANDAgapuTamiva kAlAntarajarjara gaganam // 1109 // jAtAH krmprshaamyddhRmrjonirgmaavrodhaaH| ArUDhapradoSA api praviralatimirA iva dizaH // 1110 // 1104. gaiMdAo disAo for gaiMdAo va disAo. 1106. navari for hota. samayaM. 1109. nisAe. bamhaMDaggapuDammi va.

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gaDhavaho mUDha-sasi-diNaarAloa - majjha - puMjijjamANa -tama- kasaNaM / saMjA amuhaa-dhArA- Nimmala - khaggovamaM gaaNaM / / 1111 // peratesu darAbaddha- timiramosukka - kamala-parisAmaM / 164 AbhAi lAvaa-bahU-vaccha kasAya- pahaM gaaNaM // 1112 // gaha- Nivaha-biMdu-saMdeha-samia-saMjjhANalo samukkhivai / aya- supaNNo gaaNammi amaa-kalasaM va sasi - biMbaM // 1113 // tama - mahuara - jAluppa aNa-paaDa-maa-maMDalaM NisA vaiNo / viMbaM mAhavamiva piMDa-khaMDamAvADalaM uaha // 1114 // status aNa-tulA- daMDeNa samUsasaMta-kara- U | pacchA ravi - piMDa-bharoNaeNa kalaso vva sasa-iMdho // 1115 // saMNaddha-maaNa- sAhijja - jAa - saMraMbha- pADalo NIi / parivesa - cchala - maMDalia-cAva - valao vva hariNako / / 1116 // pAvara uayAaMbo dara - siDhila- kkhalia-taliNa-tama- leho / lhasia - viNIlaMsua-matta - halaharAhaM NisA - NAho // 1117 // mUDhazazidinakarAlokamadhyapuJjI kriyamANatamaH kRssnnm| saMjAtaM ubhayadhArA nirmala khaDgopalaM gaganam / / 1111 // paryanteSu darAbaddhatimirAvazuSka kamalaparizyAmam / AbhAti lAvakavadhUvakSaH kaSAyaprabhaM gaganam // / 1112 / / grahanivahabindusaMdohazamitasaMdhyAnalaH samutkSipati / udayasuparNI gagane amRtakalazamiva zazibimbam / / 1113 // tamomadhukarajAlotpatanaprakaTamRgamaNDalaM nizApateH / bimbaM mAdhavamiva piNDakhaNDamApATalaM pazyata / / 1124 // utkSipyate gaganatulAdaNDena samucchrasat karaketuH / pazcAd ravipiNDabharAvanatena kalaza iva zazacihnaH // 1115 // saMnaddhamadanasAhAyyajAtasaMrambhapATalo niryAti / pariveSacchalamaNDalitacApavalaya iva hariNAkaH / / 1116 / / prApnoti udayAtAmro darazithilaskhalitatanutamolekhaH / srastavinIlAMzukamattahaladharAbhAM nizAnAthaH / / 1117 // 1114 mahamaMDalaM. Second half also read as mAhavamiva piMDamakhaMDabiMbamAvADalaM uyaha or mAhavamiva piMDamakhaMDaviyaDamApADalaM uyaha / 1115. gayaNaulA', 'rajjU for 'keU. 1116. sAhAyasAya' for sAhijjajAa'. 'sAhejja' for 'sAhijja 1117. vaDDai and 'halaharAho for pAvai and 'halaharAhaM.

Page #282
naktavyApArAH avi / takkhaNa-kAmiaNANia-mahu-casaoaraNa-laddha-rAaM va / ubhijjai biMbaM saMkha-NAhi-soNaM nnisaa-vinno||1118 // Usasai vilola-karataNeNa pNka-vinnaas-buddhiie| rahasummUlia-parilaMbi-bisa-kalAvo vva ss-iNdho|| 1119 // ia jaMpiUNa sayaNAvalaMbiNA teNa deva-cariANa / AveaNammi appA a-pahuppaMto vva paDivaNNo // 1120 // jAoccia kAavve ucchAheti garuANa kittiio| tAoccia ataha-NiveaNeNa alaseMti hiaAiM // 1121 // Navaria ke vAvArA pavahiu~ pattaa| kAmo vara-kAmi-aNaM kesara-uvvehi bhiMdai sarehiM / iara-jaNa-bANa-kajjammi kuNai heyAI kusumAI // 1122 // kIeN vi ahiNava-bhumaA-NaDAla-parisuddhi-laddha-pariNAhaM / ahia-pihu-loaNa-juaM visesa-tAraM muhaM sahai // 1123 // vIAbharaNA a-kaaNNa-maMDaNA ahiharaMti rmnniio| suNNAo va kusuma-phalaMtarammi shaar-vlliio|| 1124 // apic| tatkSaNakAmijanAnItamadhucaSakAvataraNalabdharAgAmiva / udbhidyate bimbaM zaGkhanAbhizoNaM nizApateH // 1118 // ucchasiti vilolakaratvena pkjvinaashbuddhyaa| rabhasonmUlitaparilambibisakalApa iva zazacihnaH // 1119 // iti jalpitvA zayanAvalambinA tena devacaritAnAm / Avedane AtmA aprabhavaniva pratipannaH / / 1120 // yA eva kartavye utsAhayanti gurUNAM kiirtyH| tA evAtathAnivedanenAlasayanti hRdayAni // 1121 // anantaraM kAn vyApArAn pravartayituM pravRttAH / kAmo varakAmijanaM kesarapUvaibhinatti zaraiH / itarajanabANakArye karoti heyAni kusumAni // 1122 // kasyA api abhinavabhUlalATaparizuddhilabdhipariNAham / adhikathulocanayugaM vizeSatAraM mukhaM zobhate // 1123 // vItAbharaNA akRtAnyamaNDanA abhiharanti ramaNyaH / zUnyA iva kusumaphalAntare shkaarvlyH|| 1124 / / 1119 mayaiMdho for sasaiMdhau. 121. atahanivesaNeNa. alasati. 1122. iyarANa for iyarajaNa'. sesAI'107' heyAI. 1124. vIsAbharaNA.

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166 gauDavaho gahia-vivihaMgarAo akaNjnn-jhsur-mNjrii-ranno| pAvai asamattAlekkha-vinbhamaM kAmiNI-sattho // 1125 // kolIkaa-kAlAaru-dhUmuppIla-cchaleNa pddihaai| ramaNAhisAraNe kAvi paharisAliMgia-tama vva // 1126 // Uru-juaM mly-bhvNgraaa-vinnives-dr-smuussi| guru-jahaNuvvahaNa-sahaM kasaM thoraM thaNavaIhiM // 1127 // lakkhijjai sIse sarasameva kaMThe pyohrumhvirN| visamaM kusumAbharaNaM sama-kAla-kaaM pi jubaINa // 1128 // thaNa-paDimAgaa-pariNIla-jAliA-maMDaNaM varo ei| vammaha-sara-saMkA-hiaa-gahia-kavaaM va nnv-vhuaN||1129 // aviyoa-gamia-diasaM sama-gahia-pasAhaNaM paosammi / sohai raAviaNhaM sayaNAgamaNUsuaM mihuNaM // 1130 // galiummaUha-pihu-hema-mehalA-valaya-mAliNI kAvi / vammaha-bhayAhisaMdhia-sihi-pAAra vva paDihAi // 1131 // gRhItavividhAngarAgo'kRtAanatAmbUlamaJjarIracanaH / prAnoti asamAptAlekhyavibhramaM kAminIsArthaH / / 1125 / / kroDIkRtakAlAgarughUmotpIDacchalena pratibhAti / ramaNAbhisaraNe kApi praharSAliGgitatamaskeva // 1126 // UruyugaM malayabhavAgarAgavinivezadarasamucchasitam / gurujaghanodvahanasahaM kRtaM sthUlaM stanavatIbhiH // 1127 // lakSyate zIrSa sarasameva kaNThe payodharoSmAyitam / viSamaM kusumAbharaNaM samakAlakRtamapi yuvatInAm // 1128 // stanapratimAgataparinIlajAlikAmaNDanAM vara eti / manmathazarazakAhRdayagRhItakavacAmiva navavadhUm // 1129 // aviyogagamitadivasaM samagRhItaprasAdhanaM pradoSe / zobhate ratAvitRSNaM zayanAgamanotsukaM mithunam // 1130 // galitonmayUkhapRthuhemamekhalAvalayamAlinI kaapi| manmathabhayAbhisaMhitazikhiprAkAreva pratibhAti // 1131 // 1125. degsasura for 'jhasura . asamasAlikkha. 1126. koDaSThiyadeg for kolIka. "gurudeg for degaru. 11294 paDamA', "paDiNIla. jAliyAmaMDalaM va. NavalavahaM for NavavahuaM. 1130. diyaha.yaMgahiyadeg. viiNDe, vitaNhaM. 1131. pasa .. riyamalahadeg for galiummaUhadeg. degkAmiNI, for degmAliNI. bhayAu for 'bhayAhiM. . For Private &Personal Use Only

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naktavyApArAH 167 Na sahijai kAmi-aNeNa viraha-viaNA-visaMThulaMgeNa / sasiNo ravi-maMDala-saMpavesa-tattaM va kara-jAlaM // 1132 // jAAI dulaha-daiANurAa-raNaraNaa-mukka-thAmANa / taNuAaMtAI vi kAmiNINa garuAI aMgAI // 1133 // avi a| paDirohi-kaNNa-pallava-paNollaNatthaM va tulia-bhumaaggA / agghai Nimesa-NiyamaNa-phuraMta-pamhAurA diTThI // 1134 // Namai NaDAlaMcia lajjiesu kara-malia-kaMTha-kusumesu / uvvatta-pamha-cuMbia-puDAI Na hu NAma acchIiM // 1135 // hatyo gholai snnsmosaaria-nniriNgi-vinniveso| bANIkacchi -saMdhANa-gahia-savaNAvaAso va // 1136 // ljjonna-cannaalkkhiek-dr-viasiaahrNtaaii| gamaNammi vi AvajhaMti valia-majjhAI diTThAI // 1137 // ia kAmiNINa piyaama-samAgamummillamANa-maaNANa / sajjhasa-paDibaddha-rasAI hoti lIlAiabvAiM // 1138 // na sahyate kAmijanena virhvednaavisNsstthulaanggen| zazino ravimaNDalasaMpravezataptamiva krjaalm||1132|| jAtAni durlabhadayitAnurAgaraNaraNakamuktasthAnAm / tanUyamAnAnyapi kAminInAM gurUNi angAni // 1133 // api ca / pratirodhikarNapallavapraNodanArthamiva tulitadhU-agrA / arthati nimeSaniyamanasphuratpakSmAturA dRSTiH // 1134 // namati lalATameva lajjiteSu karamarditakaNThakusumeSu / udvRttapakSmacumbitapuTAni na khalu nAma akSINi ||1135||hsto ghUrNate drshnsmyaapsaaritshirovstrviniveshH| bANIkRtAkSisaMdhAnagRhItazravaNAvakAza iva // 1136 // lajjAvanatavadanAlakSitaikadaravikasitAdharAntAni / gamane'pi Avadhyante valitamadhyAni dRSTAni // 1137 // iti kAminInAM priyatamasamAgamonmIlanmadanAnAm / sAdhvasaprativaddharasAni bhavanti lIlAyitavyAni // 1138 // 1134. paNolluNa'. bhumamaggA, bhuyamaggA. nivesadeg for jimesa'. 1136. degsavaNAvayAsavva. 1138. paDiruddharayAI.

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168 gauDavaho lalaNA vallahahuttaM vilAsa-bisa-maMDaNAoM voleMti / NIsaMkaMcia baMdIkaiMdu-kiraNAo va NisAsu // 1139 // sarasa-maa-taMbimAhaa-kisalaya-mAlAamANa-pamhAI / ramaNa-pavesatthaM piva piyANa viasaMti acchiiiN||1140 // avahIria-piyaamahutta-gamaNa-bhaya-diNNa-saMkhalAI va / kajalia-bAha-lehAI hoMti kIe vi acchII // 1141 // thoeNa vi dUmijjai Na lei garuaMpi NAma-maMtakkhaM / ia asamaMjasa-hiao hoi siNeheNa juvai-jaNo // 1142 // valiuddha-kavola-ghaDaMta-caMda-biMbANa mANaittINa / aMto dIsai va Niroha-puMjio hAsa-vicchaDDo // 1143 // sAsukkhaa-raa-lahuia-samUsasaMtuppaloNaa-muhammi / capsaammi kAvi parisesa-mANa-garuI cirA piai // 1144 // ahilAsA rahasa-viNiggaeNa kAmesu-jajjaraMgeNa / kuvalaya-NAleNa mahuM hiaeNa va kAvi Apiai // 1145 // __ lalanA vallabhAbhimukhaM vilAsabisamaNDanA atikaamnti| niHzainkameva bandIkRtendukiraNA iva nizAsu // 1139 // sarasamadatAmrAhatAkasalayamAlAyamAnapakSmANi / ramaNapravezArthamiva priyANAM vikasanti akSINi // 1140 // avadhIritapriyatamAbhimukhagamanabhayadattazRkhalAnIva / kajjalitabASpalekhAni bhavanti kasyA apyakSINi // 1141 // stokenApi dUyate na gRhvAti gurukamapi aparAdham / iti asamaJjasahRdayo bhavati snehena yuvatijanaH // 1142 // valitordhvakapolaghaTamAnacandrabimbAnAM mAnavatInAm / antardRzyata iva nirodhapunito hAsasamUhaH // 1143 // shvaasotkhaatrjolghuukRtsmucchsdutplaavntmukhe| caSake kApi parizeSamAnagurvI cirAva pibati // 1144 // abhilASA rahasavinirgatena kaamessujrjraalmen| kuvalayanAlena madhu hRdayeneva kApi Apivati // 1145 // . 1139. voliMti. 1141. gamaNataMsuddha for gamaNabhayadiNNa'. deglehAI kIe vi disaMti acchII, or deglehAharAiM kIe vi bhanchII. 1142. thoveNa. 1144. ciraM for cirA. 1145. janjaraggeNa.

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naktavyApArA: cira-saMvivialai mANo cira- vialio vi saMghaDai / vivarI - rasaM kIlei mahu-mao kAmiNi - aNammi // 1146 // akhalia - sarIra - vaNo sahAva - hiaosarata-maa-dhAro | matto ci Navara Najjai kavola -rAeNa juvai - jaNo // 1147 // aMgAIM paaNuAIM vi kiMpi garuei mahu-maa-vilAso / hiaAIM puNo lahuei mANa- garuAI vipiyANa | 1148 // viraha - viNiggaa - sesa vva vinbhamA maMda-hiaa - saMgaliA / muhaNIsAsA piya-saMgamammi sohaMti ramaNINa / / 1149 // sarasa-ha-rAi-maggehiM pINaNa-maMDalAI taruNINa | piya-saMgama-harinusAsa-rahasa- phuDiAI va sahati / / 1150 // saMbhAvia - kAma-haro uppera rasaM asojamallo vi / ha - rehA - pharusa payoharANa ramaNINa pariraMbho // 1151 // gADhAliMgaNa - taNhA - NiheNa paDipIlaNaM va paDivaNNaM / paDhamaM kI vi bhara - pIDiena hiaeNa thanaANa // 1152 // cirasaMsthito'pi vigalati mAnazviravigalito'pi saMghaTate / viparItarasaM krIDati madhumadaH kAminIjane // 1146 / / askhalitazarIravacanaH svabhAvahRdayApasaranmadadhIraH / matta iti kevalaM jJAyate kapolarAgeNa yuvatijanaH // 117 // aGgAni pratanukAnyapi kimapi gurUkaroti madhumadavilAsaH / hRdayAni punarlaghayati mAnagurUNyapi priyANAm // 1148 // virahavinirgatazeSA iva vibhramA mandahRdayasaMgalitAH / mukhaniHzvAsAH priyasaGgame zobhante ramaNInAm // 1149 // sarasanakharAjimArgeH pInastanamaNDalAni taruNInAm / priyasaGgamaharSocchrAsarabhasasphuTitAnIva zobhante // 1150 // saMbhAvitakAmabharo'rpayati rasamasaukumAryo'pi / nakharekhAparuSapayodharANAM ramaNInAM parirambhaH // 1151 // gADhAliGganatRSNAnibhena pratipIDanamiva pratipannam / prathamaM kayApi bharapIDitena hRdayena stanayoH // 1152 // 169 1146. viyaliyadeg for viyalai. saMgilaD and saMgalai for saMghaDai. cirasaMcio vi. kAmiNiaNesu. vammaho for -mahumaho. 1147. sahAvavihavo. 1150. harisasA sarasaphuDiyAI, or harisUsAsaharisaphuDiyAI. 1151. kAmabharo. asoamalovi. 'parusa parilaMbho. 1152. 'tamhA' and tanhA paripIDaNaM va.

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170 gauDavaho paDhama-raAraMbha-rasANa vi taha vcch-sthlovuuhaaii| jaha pIDia-jahaNa-NiraMtarAI jAti aMgAI // 1153 // accaMta-maeNa vilAsiNINa priglia-hiaa-sunnnnaaii| vaDuMta-NIrasAI Na samappaMticcia raAI // 1154 // aNNoNNArAhaNa-khaNa-khalaMta-hiaAvahIria- suhaaii| suhamabbhAhiraM rai-vitthareNa pAvaMti mihunnaaii||1155|| tAiMcia kiMpi rasaM deMti parUDhe vi pemma-rAammi / piya-diNNa-NahAharaNullasAI ramaNINa ramiAI // 1156 // AvaaNoru-NiraMtara-pIDia-dehANa harai mihuNANa / calaNesu vi kaa-calaNo savvaMgAliMgaNa-vilAso // 1157 / / thaNa-bivesu vahaNaM jovvaNa-laddha-pariNAha-viaDesu / soccia taha-pariNAho jAo viralo vva romaMco // 1158 // piiddia-pyohrogaaddh-nnh-puddes-dr-smuussi| vimalai kareNa ramaNassa kAvi vaccha-tyalaM hasirI // 1159 // prathamaratArambharasAnAmapi tathA vakSaHsthalopagUDhAni / yathA pIDitajaghananirantarANi jAyante'GgAni // 1153 // atyantamadena vilAsinInAM parigalitahRdayazUnyAni / vardhamAnanIrasAni na samApyanta eva ratAni / / 1154 // anyonyaaraadhnkssnnskhlhRdyaavdhiiritsukhaani| sukhamanyadhika rativistareNa prApnuvanti mithunAni // 1155 / / tAnyeva kimapi rasaM dadati prarUDhe'pi premraage| priyadattanakhAbharaNollAsAni ramaNInAM ratAni // 1156 // AvadanorunirantarapIDitadehAnAM harati mithunAnAm / caraNedhvapi kRtacaraNaH sarvAingAliGganavilAsaH // 1157 // stanabimbeSu vadhUnAM yauvanalabdhapariNAhavikaTeSu / sa eva tathApariNAho jAto virala iva romAJcaH // 1158 // pIDitapayodharAvagADhanakhapadoddezadarasamusitam / vimardayati kareNa ramaNasya kApi vakSaHsthalaM hasanazIlA // 1159 // 1154. vaddhaMtadeg and varlDati for vaDUMtadeg. samappaiti. 1155. rayadeg for rai. 1156. kaMpi. pemadeg. pimma'. haraNullamAhi ramaNIhiM. 1158. parimANo, nahapari NAmo. 1159. degvaoddesa, vahuddesa for degpauddesa. vimalei.

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rajanIvirAmaH bahuso bhamga-hia-ramaNa-Naha-sihA-cuNNa-viuNa-garueNa / AyAsijjai thaNa-maMDaleNa majjhAlasA taruNI // 1160 // tnnuattnn-nnmioar-pyohraasnnnn-jhnn-nnimia-bhuo| sohai taMsa-NuvaNNo valioru-lao piyA-satyo // 1161 // daiyAeN kovi nniddaa-prissmubhinnnn-sea-biNduijhN| pariuMbai suha-Nasahia-paDivohaMdoliaM vaaNaM // 1162 // smbhaav-pvttuusaas-siddhil-nniish-pritttthiaavyvo| dara-lakkhia-dubbalo vva hoi NidAsu juvai-aNo // 1163 // NavAria NariMda-vikkama-viaDa-kahAvasara-samuha-sura-mukko kusuma-Nivaho bva NivaDai NahAhi tArA-lavuppIlo // 1164 // jAaM tArA-vaiNo vAaMta-muNAla-pADala-maUhaM / viMbaM abAla-jaMbU-phala-bhaMga-pisaMga-parivesaM // 1165 // osAriammi pacchA siNhollia-timira-kesa-hatyammi / NivaDaMti salila-biMdu vca tAraA raaNi-taruNIe // 1166 // bahuzo bhnmsthitrmnnnkhcuurnndvigunngurunnaa| AyAsyate stanamaNDalena madhyAlasA taruNI // 1160 // tnuktvnmitodrpyodhraasnjghnnikssiptbhujH| zobhate vyasrasuto valitorulataH priyAsArthaH // 1161 // dayitAyAH ko'pi nidrAparizramodbhinnasvedabindukitam / paricumbati sukhanasoDhapratibodhAndolitaM vadanam // 1162 // zramabhAvapravRttIcchAsazithilaniHsahapariSThitAvayavaH / daralakSitadurbala iva bhavati nidrAsu yuvatijanaH // 1163 // anantaraM nrendrvikrmvikttkthaavsrsNmukhsurmuktH| kusumanivaha iva nipatati nabhasastArAlavasamUhaH // 1164 // jAtaM tArApateH zuSyanmRNAlapATalamayUkham / bimbaM abAlajambUphalabhangapizagapariveSam // 1165 // apasArite pshcaadvshyaayaatitimirkeshhste| nipatanti salilabindava iva tArakA rajanitaruNyAH // 1166 // 1161. taruNataNa'. nimiobhara' for degNamioara'. 'nisano and "gumaNNo for YvaNNo. 1962. susahIyaNa (= susakhIjana ?) for suhaNasahima. 1163. aha for samadeg and iya before sama', thus reading two Matras too many for the metre. 1165. bhaMgideg for bhaMga'. 1166. seya' for salila'.

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172 gauDavo lhasia - dvia-maa-vicchAya- majjha-sasi biMba-cuMbiaM sahai / daddura uDaM va dara - phuDia - viaDa- puDa-maMDalaM gaaNaM // 1167 // atthAa-taliNa-tArataNeNa taMcea paDhama-pariviralaM / pacchA puMjijjaMtaM puNo vi viaDei gaha - akaM / / 1118 // aruNa-virAvia-taNuA amANa-saMjjhA - rasANulittaM va / thoa - tyo amusAloa - paMDuraM hoi gaaNa- alaM // / 1169 // pamhaMtara-la kkhi a-paMDu-bhAva-visama-pahaM samuppaara | sirahA-ia - sAmAaMta-masiNa- dehaM kavoa - ulaM // 1170 // ArohiNA pahAa - kameNa paripiMjarattaNamurvetA / viDavesu phala-visesA pariNAma - guNaM va gevhaMti // 1171 // mihu (-hiM rai - ) rasAyAma khea khaNa-laddha - garua- NiddehiM / paDibujjhijjara kaha kaha vi sAlasaM raaNi viramammi // 1172 / / tama-loha- loDha ANugaa-muka- goma ho tlinn-muulo| gaha- palahi-bIa - Nivaho pacchA puMjijjai NisAe // 1173 // srastasthitamRgavicchAyamadhyarAzivimba cumbitaM zobhate / dardurapuTamiva darasphuTitavikaTapuTamaNDalaM gaganam | 1167 // astAgatatanutAratvena tadeva prathamapariviralam / pazcAt puJjIkriyamANaM punarapi vikaTayati grahacakram // / 1168 / / aruNavilayitatanUyamAnasaMdhyArasAnuliptamiva / stokastokaM uSAlokapANDuraM bhavati gaganatalam // 1169 // pakSmAntaralakSitapANDubhAvaviSamaprabhaM samutpatati / avazyAyahatazyAmAyamAnamasRNadehaM kapotakulam // 1170 // ArohiNA prabhAtakrameNa paripiJjaratvamupayantaH / viTapeSu phalavizeSAH pariNAmaguNamiva gRhNanti // 1171 / / mithunaiH ratirasAyAmakhedakSaNalabdhagurukanidreH / pratibudhyate kathaMkathamapi sAlasaM rajanivirame // 1172 // tamolohaloThakA nugata muktaprabhAtaprabhastanumUlaH / grahakArpAsabIjanivahaH pazcAt puJjIkriyate nizayA // 1173 // 1167. daddara'. 'kuNaM for 'uDaM. 'dhavala' for 'viaDa. 1168. atthAmayataliNatArataNeNa, or atthAyataralatArataNeNa. puNo vi nivaDAi gahacakaM. 1170. ra for 'a'. 'vihaMga' for 'kavoa. 1171. 'NivesA for 'visesA. 1173. gosapahAta liNatalo.

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prabhAtasamayaH AyAsei paIve salola-kajjala-sihA-daruvvatte / sa-kaa-ggahaM va paccUsa-mAruo vAsa-gehesu // 1174 // taMce timira-maliNaM jAaM aruNa-ppahA-haaMgaaNaM / sIsaamiva siMdUrattaNeNa paDivaNNa-pariNAmaM // 1175 // geNhaMti kaMTha-pharusAI kahavi raaNI-jalANubhAveNa / vihaA valagga-raa-saMNivesa-garuAI bIAI // 1176 // ruNNAruNa-NayaNAoM va NisA-visUraMta-NaliNi-soeNa / sohaMti jalolla-TThia-cakkAa-juAo vAvIo // 1177 // sasiNo samosaraMtI atthAala-matthaa-ttha-biMbassa / sohai sahaAra-rasagga-taliNa-paripaMDurA joNhA // 1178 // ashia-visuddh-sukaavaNs-sppuris-sucriuggaaro| vivalAyai kali-kAlo vva bhiNNa-hiao tamugdhAo // 1179 // koUhala-miliAmara-vimANa-raaNa-ppahA-vibhiNNo vya / jAo ajaDa-javA-kusuma-pADalo Naha-ala-viANo // 1180 // AyAsayati pradIpAna salolakajjalazikhAdarovRttAn / sakacagrahamiva pratyUSamAruto vAsagRheSu // 1174 // tadeva timiramalinaM jAtamaruNaprabhAhataM gaganam / sIsakamiva sindUratvena pratipannapariNAmam // 1175 // gRhanti kaNThaparuSANi kathamapi rajanIjalAnubhAvena / vihagA avalaggarajaHsaMnivezagurUNi biijaani||1176|| ruditAruNanayanA iva nizAkhidyamAnanalinIzokena / zobhante jalArdrasthitacakravAkayugA vApyaH // 1177 // zazinaH samapasarantI astaaclmstksthbimbsy| zobhate sahakArarasAgratalinaparipANDurA jyotsnA // 1178 / / asoddhvishuddhsukRtaavtNsstpurusssucritodgaarH| vipalAyate kalikAla iva bhinnahRdayastamaudghAtaH // 1179 // kutUhalamilitAmaravimAnaratnaprabhAvibhinna iva / jAto'jaDajapAkusumapATalo nabhastalavitAnaH // 1180 // 1174. sadolakajjala'. 1176, vilagga. 1178. juNhA for joNhA. 1179. viralAyai for vivalAyai. 1180. jaDharadeg for ajaDa.

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174 gauDavaho parigalia-paMDu-tArA-dalassa Naha-sAhiNo viNikkhamai / Nava-kisalaya-sohaggeNa paDhamamaruNuggamAloo // 1181 // iTTA-cuNNaM va kiraMtamuddhamaruNAavaM pripphuri| raviNo gaaNAsi-NisANa-cakka-valaovamaM viMbaM // 1182 // jalahissa puNo vi samAgamaM va bahalattaNeNa sUaMtaM / a-puNAgamaNAya va taM timiraM ummUliaM raviNA // 1183 // Navaria Nivvattia-raANi-virama-kAavva-Nivvuo tANa / . so sAhiuM paatto cariaM cANaka-cariassa // 1184 // Navaria NivaDia-tama-loha-TaMka-parisuddhi-tuMga-viaDAsu / AsA-bhitti patthiva-pasatthi-joggAsu va ThiAsu // 1185 / / agga-Thia-haria-turaMga-pallave maMgalAya kalase vva / takkhaNamukkhitte taraNi-maMDale vAsava-disAe // 1186 // pahu-kitti-NisamaNUsua-hiaa-kkhalia-ramaNAhilAsAsu / / aMdoliUNa sura-suMdarIsu rahasA viNitIsu // 1187 // ---..-......... parigalitapANDutArAdalasya nabhaHzAkhino viniSkAmati / navakisalayasaubhAgyena prathamamaruNodgamAlokaH // 1181 // iSTakAcUrNamiva kiradUrdhvamaruNAtapaM prisphurti| ravergaganAsinizAnacakavalayopamaM bimbam // 1182 // jaladheH punarapi samAgamamiva bahalatvena suucyt| apunarAgamanAyeva tat timiramunmUlitaM raviNA // 1183 / / anantaraM nirvartitarajanivirAmakartavyanirvRtasteSAm / sa kathayituM pravRttazcaritaM cANakyacaritasya // 1984 // anantaraM nipatitatamolohaTaGkaparizuddhitugavikaTAsu / AzAbhittiSu pArthivaprazastiyogyAsu iva sthitAsu // 1185 // agrasthitaharitaturaMgapallave magalAya kalaza iva / tatkSaNamutkSipte tarANimaNDale vAsavadizA // 1186 // prbhukiirtinishmnotsukhRdyskhlitrmnnaabhilaassaasu| Andolya surasundarISu rabhasA viniyantISu // 1187 // 1181. viNikamai. 1182. First half also read as - iTTAuNNaM vva kiraMtamudamaruNAyavaM pariSphurai / or iTTAcuNNaM va khiraMtamuddhataruNAyavaM paripphurada / or iTTAcuNNaM piva vikkhiraMtamaruNAyavaM paripphurai / Second half also read as - NahayalakaravAlaNisANacakavalayaM va ravibiMbaM / 1183. The whole couplet Thus - jamahassa puNo asamAgamAya bahalattaNeNa sUaMtaM / appuNarAgamAya va taM tamamummUliyaM rvinnaa|| 1184. viyamadeg for degvirama. 1185. parisuddha'. pasattijoggA for 'pasasthijoggA. 1186. muhagahiyaturaMgamahariyapalave.

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sammelanam 175 kusuma-carisUmuAmara-vilutta-maNi-maula-kaMdala-dalAsu / viralAaMtIsu suriMda-maMdirujjANa-vIhIsu // 1188 // amaovaoa-parihiTTha-kaMTha-mahurIhuaMta-rasiammi / / maMgala-jImUa-ulammi gaaNa-vaDhe paulummi // 1189 // caliammi rahasa-vialia-kaNhAiNa-Nialie muNi-aNammi / koUhala-patthia-gaaNa-hariNa-paDivaNNa-calaNe vca // 1190 // viNayADhatta-NarAhiva-caria-samAaNNaNAareNaM va / Amukka-pAavAsaNa-baMdhesu vihaMgama-kulesu // 1191 // . laMbi-mahA-dappaNa-saMkamaMta-saMmadda-NiravaAsesu / bhavaNa-khaMbhAvali-siharamAruhaMtesu va jaNesu // 1192 // dhavalijjata-samuNNaa-pahu-jasa-pAsAa-ghaDia-maMcaM va / kama-laMbia-tiasa-vimANa-maMDalaM Naha-alaM jAaM // 1193 / / kiM c| tuha dhArA-saMdANia-gaiMda-muttAhalo asI jayai / 'gauDa-gala-cche a-valagga-saMThieAvalIo vva // 1194 // kusumavarkatsukAmaraviluptamaNimukulakandaladalAsu / viralAyamAnAsu surendramandirodyAnavIthISu / / 1188 // amRtodkprighRssttknntthmdhuriibhvdrsite| mangala jImUnakule gaganapRSThe pravRSTe // 1189 // calite rabhasavigalitakRSNAjinanigaDite munijne| kutUhalaprArthitagaganahariNapratipatracaraNa iva // 1190 // vinayArabdhanarAdhipacaritasamAkarNanAdareNeva / AmuktapAdapAsanabandheSu vihaMgamakuleSu // 1191 // lambimahAdarpaNasaMkrAmatsaMmardaniravakAzeSu / bhavanastambhAvalizikharamArohatsu iva janeSu // 1192 // dhavalIkriyamANasamunnataprabhuyazaHprAsAdaghaTitamazcamiva / kramalambitatridazavimAnamaNDalaM nabhastalaM jAtam // 1193 / / kiM c| tava dhaaraasNdaanitgjendrmuktaaphlo'sirjyti| gauddglcchedaaruuddhsNsthitaikaavliriv||1194|| 1189. parihaTTa'. 'vaTTho mauTummi, vaTTe payammi , 1192. saMkamima or saMkameNa for degsaMkamaMta. 1193. maMceva. maMDale nahayale jAe. kamalaMchiadeg for kamalaMbia. 1194. bhAi for jayai. saMThieAvalilao vva for saMThiebhAvalIo ba.

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176 gauDavaho sama-jAittaNa-saMbhAviovaArehiM Niaa-calaNehiM / pocchAhia vva calaNe tu eMti NialAvilA riuNo // 1195 // kara - saMdireNa sohasi taddiasaM dANa-vAriNA deva / hiaa - bhariassa karuNA-rasaMbuNo NiggameNaM va / / 1196 // ias tuha viNiattassa AsamuhaM disAo jeUNa / lacchI puNo vi piNA saMpesaNa - diNNa-vihava vva // 1197 // kArAsu paDhamamaNuhUa - Niala-mala-magga-laMchaNA calaNA / taeN cheijjati viiNNa-kAla-sutta vva sattUNa // 1198 // saMkaMta- mahi-o-dhUsarAI saMpa tuha paNAmesu / bhiuDI mahalaNa-bhIa vva riu NaDAlAI NAruhai // 1199 // garuaara-matta-vAraNa-khaMdha- samAruhaNa - viralieNaM va / Uru - jueNa virAai sahAva - viaDaM gaaM tujjha // / 1200 // gheppar3a aguNIhiM guNi vva jeNa guNa-gAraveNa vo appA / teNea taM pi maNNAsa appANamaNajjia - guNaM va // 1201 // samajAtitvasaMbhAvitopakArairnijakacaraNaiH / protsAhitA iva caraNe tavAyanti nigaDAvilA ripavaH // 1195 // karasyandanazIlena zobhase pratidivasa dAnavAriNA deva / hRdayabhRtasya karuNArasAmbuno nirgameNeva // 1196 // nandati tava vinivRttasya AsamudraM dizo jitvA / lakSmIH punarapi pitrA saMpreSaNadattavibhaveva // 1197 // kArAsu prathamamanubhUta nigaDamalamArmalAJchanAzcaraNAH / tvayA chedyante vitIrNakAla sUtrA iva zatrUNAm // 1198 // saMkrAntamahIrajodhUsarANi saMprati tava praNAmeSu / bhrukuTirmalinIkaraNabhIteva ripulalATAni nArohati // 1199 // gurutaramattavAraNaskandhasamArohaNaviraliteneva / Uruyugena virAjate svabhAvavikaTaM gataM tava // 1200 // gRhyate aguNibhirguNIva yena guNagauraveNa vaH AtmA / tenaiva tvamapi manyase AtmAnamanarjitaguNamiva // 1201 // 1198. maggesu laMchaNA for malamaggalaMchaNA. taiA chijjeti for taeN cheijjati. 1199 mahIrayapaMDurAI and 'mahIra yadhUsarAI' 1200 rAya for mata khaMdhAruhaNAya viralieNaM va and khaMdhArahaNaparivellieNaM va for khaMdhasamAruhaNaviralieNaM va. 1201. Variety of readings such as gheppai aguNIhiM guNo vva jeNa guNagAraveNa vo appA / or dhippai guNIhiM aguNo vva jeNa guNagAraveNa vo appA /

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karvAnAM saMbodhanAlApAH jAhecci taM calaNoNaANa avAraM kara pasArosa / , lacchI bhua-TThiA vo tAheccia tesu saMkamai // 1202 // akaovaAra-taNuA abhagga-pasaresu tujjha dIsaMti / saMketA iva alaesu kesa-hatthA riu-piyANa // 1203 // ia tAhe bhaavaaga-pcckkhaaaNt-nnrvi-gunnaann| vivarokkhammi vi jAA kaINa saMvohaNAlAvA / / 1204 // avi a| aha suddhammi a Nihasuttha-kaMcaNAharaNa-raa-pisaMgammi / jAammi suvaNNamae vca tammi jaNa-saMsie diase // 1205 // saMketAsesa-sarassaittaNeNaM va sAhire tmmi| jAo khaNeNa mUallio vva koUhalA loo // 1206 // kiM c| vIsaMbhamagaMtUNaM va visama-mahilA-sahAva-doseNa / bAhicia veri-sirIo jeNa paNaINa dinnnnaao|| 1207 // jassa viayAhisee vivakkha-devIhiM Nava-NioAhiM / pIAI takkhappia-camaraMtariAI aMsahi // 1208 // yadaiva tvaM caraNAvanatAnAmupari karaM prsaarysi| lakSmI jasthitA vastadaiva teSu saMkrAmati // 1202 // akRtopacAratanukA abhagnaprasareSu tava dRshynte| saMkrAntA ivAlakeSu kezahastA ripupriyANAm // 1203 // iti tadA bhAvAgatapratyakSAyamANanarapatiguNAnAm / viparokSe'pi jAtAH kavInAM sNbodhnaalaapaaH||1204||api c| atha zuddha ca nighotthkaashcnaabhrnnrjaapishge| jAte suvarNamaya iva tasmin janazaMsite divse||1205|| saMkrAntAzeSasarasvatItveneva kathanazIle tasmin / jAtaHkSaNena mUkIkRtaiva kautuuhlaallokH||1206|| kiM c| vizrambhamagatveva vissmmhilaasvbhaavdossenn| bahireva vairizriyo yena praNayibhyo dattAH // 1207 // tasya vijayAbhiSeke vipkssdeviibhirnvniyogaabhiH| pItAni tatkSaNArpitacamarAntaritAni ashruunni||1208|| 1202. uvari for avari. tANa for tesu. 1203. mukovayAra'. aruggadeg for abhagga. bhaggappasaresu 120 4. iha for ia. kaiyaNadeg for kaINa 1205. Also read as-savvatthacciya nihasaMtakaMcaNAbharaNarayapisaMgammi / or aha savvattocciya nihasakaMcaNAharaNayapiyasaMgammi / 1206. takkhaNadeg for khaNeNa. mUalliya vva. 1207. baMdI hiM for degdevIhiM. kayadeg for Nava. takkhaNo.

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170 tassa imaM pAvaNamahima zitaM ca vimhasa-kAM ca / sIsai cariamacarama NarAhivAzI misAmeha // 1209 // kairAa-laMgaNasma appAisaasama rAjDana gAhAcIdaM samataM // tasyedaM pAvanamabhinavaM ca citraM ca vismayakara ca / ziSyate caritamacarama narAdhipatenizamayata // 1209 // kavirAjalAJchanasya vAkpavirAjasya goDavadhe gAthApIThaM smaaptm|| 1209. tassemaM. vimhayayaraM na cittaca. At the end of 1209, one Ms reads-karAyalaMchaNassa va bappaharAyassa saur3avahaM / narameNa kahAnIdaM rahacina taha samata ca //

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GAUDAVAHO (TRANSLATION, NOTES, INDICES AND GLOSSARY)

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GAUDA VAHO (Translation ) Benediction 1. Pay homage, at the very outset, to the Self-born (Brahma ) 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 Visnu. 2. Victorious is He ( Brahma ) 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 ( nihanikaa ) in it. 3. Bow to Him (Brahma) 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 ( Brahma) for whom the circle (parivadi ) of worlds serves for the purpose of a rosary of crystal beads, revolving (avattamti) 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 ( viniggama) of the NavelLotus ( Brahma) 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 ( Krsna-Visnu ) 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 (vavasaa ) 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 Visnu 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 (bukkara ), 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 (durukkhaa ) 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 (aisaria).

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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 (pariala) by rows of humming bees behaving as watchmen (jamailla ) 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 Yasoda 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 (karanao ) by Radha, appearing like rays of the Kaustubha jewel on the chest of Krsna, take away your grief. 23. Bow to Him ( Visnu ) who cut the head of Rahu, (for which reason ) his grief revolves, remaining just unexpressed ( aniccaria ) (and unrelieved ), ( finding an outlet only) in baseless, slight sighs. 24. Bow to the feet of Balarama, fastened together (samdania) by his black upper garment slipping down through the effects of intoxication, thus giving an impression of the Yamuna river rolling (on his feet), being frightened of his angry grunts. 25. May the eyes of Balarama, 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 Balarama and Krsna which presses down under its weight Sesa and the Tortoise, making them realise the pang ( viana ) thereof within themselves ( and suffer) with the least murmur of a protest (niruvalambham). 27. Bow to that Yellow-clad (Visnu ) 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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Gaudavaho 28. Victorious are the circled imprints (nivesamagga ) of Laksmi'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 (Siva ) 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 (Siva) who, even to-day, holds back the Moon fastened firmly in His matted hair, even though (through friendship ) he had resolved ( kaa-vavasaa) 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 (ahidhayiuna), 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 (Vamanacchaa) 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 Vasuki, 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 Visnu 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 (Ganga ), by means of an oyster-shell of the Moon's crescent, joined to its mouth. 41. Bow to the Pinakin'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 (Kartikeya ) 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 (Parvati) 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 Kali, 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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Gajidavaho 46. May the physical form of Camunda 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 (Brahma), 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 Ganga (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 Yamuna'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, Parvati and Siva, ever united, as they are, bodily.

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Benediction 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 Visnu 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 Ganga give you happiness -(Ganga) who rolls on the lap of (her father ) Himalaya 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 (Ganga) in whose waters on the head of God Siva, floats the skull (of the fifth head) of Brahma, who thereby holds up His faultless claim of being the Grand-father', undisputed even to-day. 60-61. Bow to the waters of Ganga, 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 Visnu's toes; secondly, they blend with the rays of Siva's moon; and (finally), falling on the mountain Himalaya, 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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The Eulogy of Poets 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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10 Gaidavaho 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 (apphunnam) and (yet) elevated with high elation.

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Now begins the Poem 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 (samdania) 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 (ranaiesu) dripping with blood and mingled with the (bluish ) elephants' rut, oozes, as it were, a thin stream of liquid (metal), the sword having melted ( viraa) on account of the fire produced, when struck against the (warriors') armours. 103. Whose feudatories, erstwhile hostile, appear to be covering up (numia) 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 sama ) 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 (maharambha) like Ganga (Bhagirathi), roams over all the worlds, embracing even the oceans.

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Cutting of Mountain-Wings 13 108. 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 (paditthia) 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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14 Gaudavaho 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 ( vaa) 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 (viasa 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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Cutting of Mountain-Wings 15 126. 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 (samkhaa), 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 (bahoara) 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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16 Gaudavaho 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 (hetthaloa). 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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Cutting of Mountain-Wings 17 145. 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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18 Gaudavaho 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 (nivvua) 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 (aitthama). 163. Lovely is the expanse of their breasts, cool and sweetsmelling, on account of the fragrance of Patala flowers transferred (to them), with patches of sandal paste unevenly accumulated (in dense layers) on their fleshy parts, ( jutting out ) from the tight-fastening (usamduna) of the wet ( bodice ). S

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Universal Dissolution 19 164. The eyes roll about, soft and reddish like Malati 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 (nivvai) 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 ( pimmaa) 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 Vidyadhara 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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Gaudavaho 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 (sumkara) and keeping the emerging smoke pent up in their circle of dancing hoods. 176. Sesa holds aloft the circling mass of smoke breaking out over his back, (looking) like a canopy (viana) 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 Vasuki, looked brownish like a cluster of the slightly loosened matted hair of god Siva. 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 Visnu) 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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Widowed Wives of Enemies 21 182. "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 (anava) and broken bits of a Karcura 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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Gaidavaho mishap of their (recent) widowhood, saw (and said) what was appropriate for their affection (for them). 22 192. 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 ( karala ) 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 (vasa) getting in them, when scattered by rejoicing fairies.

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The Victorious March 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 (tavanijja), 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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Gaudavaho 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 Priti) 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 (aviddha) 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 Gorocana pigment, as on silver plates (full of sandal and yellow pigments ) on auspicious days. Moreover, 212. "In battles, Laksmi, 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 (padipelliuna) the enemy's sword." 213. "Laksmi, 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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* Praise by Bards and Poets 25 vou)." 217. " Laksmi holds over you a veritable white chowrie in the form of your mass ( ugghaa) 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 (vihavuamta) wives of your enemies (slain by you)." 219. "We still remember your (tu ) sword with its flashing rays of pearls (extracted) from elephants (maamga) in war, looking very much like a lotus-stalk planted ( utta ) in streaming water, of the Goddess Laksmi, 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 (nehii) 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 (adara ), when depressed under the weight of the 'multitude of mountains, compressing their bodies in their zeal (adara) 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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Gaudavaho 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 Himalaya 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 ( dana) 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 )." 66 236. The Goddess of Victory seen (saccavia) on your sword, the pearls from elephants' (temples) closely clinging (samdatta) all along its blade (anudharam) 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." 27 239. "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." 66 244. 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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28 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 (kajjaim) 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 (pasaakkamena), 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 Laksmi 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. " Laksmi 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 )-Visnu'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 29 254. 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 ( samcaria ) by his flattering (cadu), witty bards. Horses on the March 255. His marching steeds, whose whirling movements (avattagaio) were executed ( perfectly), just because, perhaps, (they had ) turned and twisted about inside the embryonic homes of the vital wind-breath named Java-Pacamana, 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 (Samkhana=samkhyana) 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 ( ayana), emit a hundred-fold ( or quickly ) ( sayaraha), 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 (panali ) 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 Himalaya, 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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30 Gaidavaho . 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 (khatta ) 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 (pasallia), 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) (dumia ) and the sun's light bereft of its bright strength (asura). 271. The compact nights have sparse clusters of white lotuses on ponds ( kusura), moon's halo, unruined (unbroken), but pale, thick frost and cold mornings.

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The Winter Season 31 272. The sun's rounded orb, reddish like Alambusa blossom, reels in the sky, not finding (full support of) its rays and paled in lustre by the influx of mist ( tusaralamhha). 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 (karisa) 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 Sona 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 ( vamjulinisu ) (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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Gaudavaho 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, 32 282. 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." 66 286. "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 Narayani, 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 Sankari, 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 (tulukoti) 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 ) Sandhya, 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 (aimesi) 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 Kali, 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 Kartikeya, 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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34 Gaudavaho 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 Gauri, in the midst of watery clouds in the shape and form of lightning, as if you have been (Yasoda'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 (Ganga) and the twilight have (combined ) to bow at your feet ( along with the head of Siva.)"

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Praise of the Vindhya Goddess 35 310. "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 (samtavino ) 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 (it sava). 316. "Flashing in the form of lightning on the edge of a mass (kudakodi) 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 (vuudumdu:), 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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36 Gajdavaho 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 (Valakhilya)." 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 Vasuki (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 Candi, 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 (Camunda) 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 (meaakaya) 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 Gaudavaho 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 (jogga) 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 (kaapattana ) 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 ( oyura) of icy flow in it. 358. The landscapes (disabhoa) 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 (oniamba), 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

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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 (parinama ) 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

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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 ( vicchaya ) 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 (patthari) 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 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 ). " 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 ( sara) with their fruit, becoming thin and sparse by woodcutting activities ), have their grounds browned off by the drying (vua) 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 (ukkamtha) 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 (valumki) drops away, with the shrinking of ashes (serving as manure ), their tender fruit at (different) spots being encircled by the canopy (viana) 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.

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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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Gaudavaho 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 (vosattamana) with what little water they could subsist on (lit. drink) after the rains had stopped (varicchea), 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 (gahiraamana) 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 (vihamgao) when illumined by lightning flashes. 405. The frontier-lines (of villages) have tender shoots (of grass) obscured by (crowding) insects (kida), marshes and ponds made muddy by showers and flocks of Sarati 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 ( ahamkara) (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 ( talimattana) by the god Visnu. 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 (usurabhi), 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-bhuva) with their thick (mibila) groves of trees and with the tufts of grassy lawns heaving up (usasia ) in their close ( niramtara) growth, thus appearing as if they are being (moved and ) massed together ( pumjijjamtai). 413. And then it looked as if all the four quarters are having their Nirajana (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 Mandara flowers that fell (on victorious warriors ). The King's Conquests 417. And then, after having gobbled up (Kavaliuna) the fleeing (valuamta) Magadha monarch (i.e. killed him), he marched on through the outskirts of the sea-coast forests smelling fragrant with cardamom (elu). 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 (ravia ) 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 (Ravana) 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 ( uttuna) 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 ( Ravana'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 (Ravana ) were observed the charms of his nine new faces, perfected by the grant of a boon (varahi ), in a jewelled mirror presented respectfully ( before him ) by the left half of His body (viz. Parvati ), 427. By whom (Ravana), not very eager for the whetstone ( Suna ), was felt in full satisfaction (pariutthe ) the sharp edge of his sword Candrahasa, marked, as it was, by a thick layer (punrja) of his own powdered neck-bones, 428. Whose ( Ravana'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 Kailasa mountain, when he balanced it ( on his hands) and then put it down, 429. In whose (Ravana'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 ( Ravana ) in his armpit, Indra's son (Valin ) 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 Parasikas, 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 (parinai) (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 (arakkha), 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 Parasikas, 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 Prthu Measuring the Earth 442. It appeared (najjai) as though these mountains, thrown aside (panollia) 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 (asagaa), 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 Gaudavaho 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 (bahalaava) (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 Narmada 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 ( bhu peramta), although, indeed, (they had become ) inaccessible by mountain-ranges, thickly placed together (nibidikaa) by the propelling force (pellana) of his bow by Psthu. 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 ( Narmada ) 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 ( viivuvara) 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 (saisuhasua ), (but after a time ) lost. 464. Her body (river-bed ) attracts attention by (the swarms of ) bees hovering (ghonamta) 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 Narmada, who had fixed her love on that royal sage (Kartaviryarjuna ). 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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Gaudavaho ( 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 Rahu, 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 ( samputa) (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 (kalila) 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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Janamejaya's Serpent-sacrifice 53 476. 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 ( sumkara) 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 ( padiaggia) 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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54 Gaudavaho 485. (In that lake) wherein the king of Kurus (Duryodhana) was dragged out (akkhitta ) by the son of Pandu ( Bhima ), (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 Bharata (-varsa), remembering all the time the Bharata conflict (between Pandavas and Kauravas). Bhima rails at Duryodhana 487. "You are a fool, O king, wishing (ihamta) to restrain Madhava who, by virtues (chords) of the magnificence of His Maya, 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 Dussasana ) 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 (sambharia) him of his lapses, made his enemy (Duryodhana ) suffer pangs (by inflicting crushing blows) on his thighs at day-break (vihaa), 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 (avilasaim ) 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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56 Gaudavaho 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 (samaamta ) 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 (pariarasaha) (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 (jahagama), 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 Kesava ( Visnu) 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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Scenes in Nature became specially unendurable, like (the bright heat) of the hotrayed (sun). 57 512. The tracts over there appeared to him appreciably charming, perfumed (as they were) by the juicy exudation ( oozing) from deep cuts on Devadaru 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 Jambu 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 (balaa ). 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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8 Gaudavaho 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 ( kidailla), dehydrated, flattened frogs and where tiny conch-shells (or snails ) and moss are (gathered in nets) and drawn (to the bank) by fishermen (jalia). 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 (masina), the sands being fixed firm in wavy layers of mud, with Kasa 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 (alumkhana) 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 ( vocchea) are pleasing and comforting in the evening, when cackling wild cocks have gone out of the lotus-beds and the grassy patches remain lukewarm (thoumhaamta), 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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Scenes in Nature (yamalura) (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-siha) 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 (avaa). 536. The village - women (gameia) here do not collect from forest-lands cow-dung cakes, discoloured and unfit for fire ( feeding ) (ahuasea), thickly covered, as they are, by the saline substance (lidhusa ) 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 (usa) washed (into them ).

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60 Gaudavaho 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 (cinna) by bulls. 540. The forest - regions, with their temple-sites painted in mineral dyes, and with wild cocks (bhasa) hanging about in close vicinity, indicate the fact of the herds of buffaloes, resting there (parivuttham). 541. The jackals approach a bony skeleton (kamkala ) 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 (phukkara) (in the water ) on account of winds blowing with speed. 545. The villages, at evening time, with warm (umhala) 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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Scenes in Nature 61 546. Here (is) this forest with thickets of Devadaru trees, dried up and shorn of branches ( visaha), 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 (patihaa ) 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 Palasa blossoms, attract in a way indescribable (kimpi), as they develop a yellowish look by the dry (uvyaa) (waterless ) ponds. 554. The pond-beds situated in the neighbourhood (parivesino ) of Palasa trees, (that are ) rendered cool by the spray of water-particles ( splashed) by waves (jhilli ), captivate (the eye ), with a few Kimsuka trees standing conspicuous in the centre of the water-less zone ( asalilamajjha).

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Gaudavaho 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 (vaoli) 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 (garava) 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 (visatta), 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. (uvavanaamta). 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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Scenes in Nature 63 milated (lit. drunk) the iron of ploughs (sirayasa ) 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 (karisa) 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 Palasa 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 (anavasaa ) 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 ( vasuaa) 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 (avila ) by (the cobwebs of) spiders (lua). 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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64 Gaudavaho blaze up ( dippamti) first at the top and afterwards (tuanu ) 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 (vaa) 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 ( sunnabhava ) 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 (pari) 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 (sakkari) as it moves, over water and Kasa grass, the cranes nearby feeling harrassed (ayasia) 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 (samgalana) through the blossoms of various creepers, possessed of extremely fine and deep fragrance. 581. The leaves of Maludhani 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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Scenes in Nature 65 582. 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 Karahata flowers, the back surfaces (vallho) of which are greyish-pink like the broad cheeks (gamdavusa) 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 (asasai) in the Marubaka creepers here, thickly ( covered ) with buds and having a pink, facial ( external ) appearance, as also in the bright (tara) 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 (sua) of their blossoms becomes scarce (paviralaamta) owing to the heaving (usasa) (swelling ) of ripening grains (phala). 589. (Water from ) forest-wells, which look bright and gorgeous with rows ( pali) of Karavira 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. G. 5

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66 Gaudavaho 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 Kancanara filaments set in motion (by them), which makes the forests riotous ( ucshamkhalia). 594. Blooms here a bud of Madhavi creepers adorned with pinkish stems (bamdhana ) and tender leaves, looking dull-red (mailaruna ) like the throat of a full-grown pigeon. 595. Bright and beautiful are (ahiraamti) 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 ) ( kamavamukka). 596. Nice ( and happy is the advent of) days of spring, when with the formation of fruit, the greenish (haridamano ) 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 ( usua) 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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Scenes in Nature 67 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) Karcura plants, when trampled upon by the deer (ena) under their hooves, looking like the yellow, Rocana 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 (rumtamta), 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 (gurava ) of its juice, its outstretched stem, pulled out from its stalk, becoming loose and swollen (usasia ) at the time of its ripening (porinama). 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-janainna). : 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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Gaudavaho 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 (aumiino ) with their foliage folding up at the roots by the downward (current of) winds, produce low murmuring sounds (jhamkarino ) over the ( aerial ) path (in line with) their tops, 611. The trunks of ageing trees here, reverberating with the (chattering of) much-roving monkeys ( sahasarainga ) and having big and round honey-suckles formed (on them by the bees), look charming. 612. The branches of Malura ( 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 (avasaya) 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 (hariaamana ) 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 (kasaya ), having the shade of old jujube fruit-stone. 616. Here over the lines of mountain-slopes (aiambamalasu), 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 (panao), as they can drink (the honey) of flowers (in all seasons ).

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Scenes in Nature 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 (kapphada). 624. The sky here, (lit up) by the brilliance (shooting up) from the joints (samdhi) of bright, jewelled slabs piled up in heaps (samda), 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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70 Gau davaho 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 (uvvaa), (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 (vaha), 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 (phanaada) of Sesa's hoods. 629. Here are rows of coastal forests of the sea, (studded) with clumps of date-palms, matted (parijadila) (and clustered at the tops) with leaves and stalks, rising tall (from the ground like) high columns (diharuddamda). 630. Here on ponds, very early in the morning, bloom lotusplants kissed by swans (marala) 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 (samira). 632. The falling mass of pollen (raoha) from the betel trees here, giving reddish colour (padalia) to the dust on the earth, scented with perfume ( obtained) by (mutual) friction and making the wearing apparel (niamsana) (of the people) brown-coloured (kavilina), 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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Scenes in Nature 71 635. The breezes here, stirred ( samvellia) by the leaves of dalm-trees, rustling and swinging, move on producing crackling sounds (cadakkarino ), as the fruits of the best variety of grass ( tanaraa) burst at their stems (by the wind's action). 636. And now the mountain Kailasa passes by- (Kailasa ) 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 Vasuki breeze-like breaths held (pent up) in his fully expanded (upphulla) hoods, through his throat suffocated (aibidia ) by the knot (in which his body is tied up) to bind ( hold together ) His ( Siva'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 (nihara) (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 (parinama) 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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72 Gajdavaho (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 ( nisagama). 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 ( ahinila ) like the ring round the throats of old sparrows (kalavimka). 648. The perfume of Bakula flowers here, (fallen down ) and gone dry ( vasuaa) at the bottom of the trees, but bursting open with (a shower of) water, goes out ( vinimmahai ), (smelling ) sweet like old wine prepared from Kinva 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 ( utthamghino ) dust-particles cooled by clouds. 651. Here flow these wide-sweeping floods, (raising ) bubbles (bubbua) greenish inside with the cowdung absorbed ( viraa) (in them ) and looking picturesque with (flocks of ) fish netted ( samdania ) ( trapped in ) by marshy patches. 652. Here reels (and lingers) the beauty of grounds underneath (a grove of) the Jambu 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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Desolate Condition of Cities and Territories 73 654. Here in the rainy season emerges the charm of forestbreezes ( carrying) the smell of the pulp (sara ) 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 (kabbura) as they are, with the greyish imprints of the hooves. of the deer. 656. The nights here, although bereft of clouds (avamehao ), 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 ) Sinduvara 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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74 Gaudavaho 662. The same interior (halls) of houses (bhavanocchamga) with their top (roof) structures gone away (demolished) and the foreparts (pabbhara) 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 (nivesa ) (and established ), although (situated ) far off, appear to be near enough, with the cupolas (domes-vidamka) and arches of temples and ramparts ( sala ) emerging in full (and clear ) view on account of their dustless condition. 666. The empty spaces (ovasa) inside the houses, with ups and downs (thautia ) 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 (siragama), (levelled up ) with an overgrowth of vegetation in time and now looking deep green, ( are covered ) with thickets of thriving sunplants (mamdara) 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).( savasada ) 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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Desolate Condition of Cities and Territories 75 671. 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 Usira 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 (nali), remaining in tact (tthia ) because of their inaccessibility, (thus ) indicating ( sambhavia ) 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 (limga) of mud-layers stretching all along their length. .677. Plucking the flowers of tamarind trees ( cimcini) 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 pinattana ), with their conditions of slight wear, tear and friction

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Gaidavaho (parikasana) and (strewn) with broken chips of precious stones, even now speak of their expansive width (@hoa). 76 681. 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 (ninna). 682. Here are these old (decayed) walls, with lines of pointng in chunam ( cunnareha) 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 (ukkamtaamti) 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) (vihuarambha). 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) (viralao) 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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Love - Sports 11 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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Gaiidavaho 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," 78 66 699. 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 (padipellana) mountain-embankments." 66 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." 66 701. "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 (ghadana), 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 (ranakkara), 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 (purei) ( for comparison with) the brilliance of your prowess. 99 705. "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. 99

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Glorification by Bards 79 . 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 (avalambiuna) (in themselves ) your merits." : 709. "It is as if by the close association ( samnijjhena) of Laksmi with you, resting on your right arm, that your (right) hand rains a shower of gold, never ceasing, never ending ( aaitthiam )." 710. "If Vasuki 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) ( ahisarana ) 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 (adhatto ) 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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Gaudavaho 716. "Leaving her (favourite ) abode on your right arm, how (possibly) will Laksmi 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 Laksmi, 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 (jhina) 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 Laksmi 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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Glorification by Bards 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 (jala) (attached to the bodice ), the hand rolls down to the place of its knot (vidaatthana), which becomes tough and hard, ( kakkhada), by the upward pull exerted by plump (pedhala ) 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 (bhamgamga) 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 (kavadaa) (of the bodice), acquires the charm of the full moon's orb left off a little by a cloud. G. 6

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82 Gaudavaho 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 (senavinnasa) having marched over Gadhipura (Kanya-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 Siva ) - 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 (Vasuki ), coiled up over His brawny (fleshy) ears. 740. The broad expanse (parinaha ) 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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The Graceful dalliance of Ladies 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 (amattha) 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 (cudamani ) (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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84 Gau davaho 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 Asoka 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 (kuppasa), 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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The Graceful dalliance of Ladies 85 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 (uvaura ) 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 (avedhana) the hands tight, inspire a strong (balu ) 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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X6 Gaudavaho moved away), they had (as it were ) their girdle and anklets producing jingling sounds, 768. Who, with their eye-lashes in various subsidiary colours (uvaraga), 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 ( vannaatililla ), 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 (parimasa ), 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 ( sampula) 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 (rasasava ) from his mouth with graceful (tender ) ( straws of) lotus-fibres, 772. With these girls the King's playful acts of galantry (laliani), thrilling with the excitement of heart being carried away by fresh passion, as seen in their eyes (ditthirua) and pursued ( anubajjhamtaim) (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 (aibidia ) 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 ( bhamiaccham ), cheeks pale-white like a fresh Bakula flower and buttocks

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Playful Acts of Gallantry 87 with the girdle undiscarded (aaibbhacchia), 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 ( maanahipamka). 780. The broad bosom (of a girl) presents a happy sight ( suhavei), 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 ( dasanavasa) of the beautiful young girls, ( quivering) with agitation (sommaha-sonmatha) and bright with rouge (ruujjala), looking pale-white like wells with cranes. 783. The colour-paint (raavicchitti ), pink like a fresh Bakula flower, flashes (emerges) on the lower lip, on which is laid a thick coating ( samaivesa ) of wax (maana), 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 Paratti 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 (maamkarambha ), shines on their faces, bristling (damtura) with the remaining lines of brownish, dotted drops of musk.

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Gaudavaho 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 (jhanakkarei), 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 (sayam.. .kalo ) spreads (virallei ) the perfume-less (anamoam ) smell of the Saptala ( 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 Madhavi blossoms slightly wears out (avai ) ( 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 Kharjura 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 (amtoturaim ) 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 ( parivuai) a little, its protruding shape becoming conspicuous because of emaciated (khama) cheeks,

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Bappai-raa, the Poet 89 thus looking bright like pollen-particles (kana) 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 (muddhabhava ) indulged in continuous enjoyment (to satisfy ) their sexual desire (maana) for the first time, languid as they are (now), in their covert ( nihua) 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-Raa (Vakpatiraja ) who, although decorated with the distinctive title ( imdha) of Kaviraja, 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 Kamalayudha, 799. Whose special (poetic ) features flash forth in his literary compositions ( kahunivesa ) even to-day, appearing like spray-particles of poetic nectar, churned out from the ocean of Bhavabhuti's (works ), 800. Who (found ) great delight in Bhasa, Jvalanamitra, Kantideva, in Raghukara (i. e. Kalidasa, 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 ( lonam ) (for the tongue ) to handle (i. e. recite ), full of substance (saravamta), 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 Natya-Sastra ) and Gautama ( the propounder of the Nyaya System of Philosohy) are prominent, the writers of legendary narratives ( such as Mahabharata and the Puranas ), as also (great ) poets of substance give him (perennial ) joy,

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20 Gaudavaho 803. Whose ( listeners ), expecting to provide empty space (room) (ovasa ) 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 ( dhumakeu) shooting up (to indicate ) world's destruction. 807. The oceans (maarahara), 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 (sanuraa) 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 Murari ( Visnu), 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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Universal Deluge 91 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 (aulabhava) for the Self-born (Brahma), although His faces were overflooded (pavvalia ) by the water of the oceans, since he was used to controlling his breathing by continuous Yogic meditation. 814. The God Murari (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-tunga ( 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 ( saalajala ) 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 (sahemta). 820. The path of the sun ( suvanna-suparna), red with the radiating lustre of jewels (treasured ) at the bottom of the ocean, opened out (ugghadia ) 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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Gaudavaho 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 (osaria) by their own furious hisses (sumkara), 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 (sesattha). 826. Thus was He (the King), in his incarnation of Krsna (Visnu), carried (vubbhai) respectfully by the son of Vinata (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 (bimbaghaddia), looking like rows of the tiny fangs of Rahu (vidappa), bitten (into the moon) in the act of making a morset of him and chewing it.

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Dreadful Portents 829. The sun's orb, pierced by (the black body of) Ketu, thus looking (from the earth) like a hole (vivarabha), droops down in the sky, resembling in lustre an anklet tossed away from the foot of Laksmi, the Goddess of the three worlds, as she kicked in anger. 830. The sun's orb, (looking) distressed (jambala) 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 (kumdala) 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 (lasa). 835. The decoration of Damanaka blossoms, tinged reddish by the fine dust of scented powder (pitthaaa) applied to the bossom, looks charming, bristling (damtura), as it does, with lovely Madhavi buds. 836. The eyes, languid (parisidhila) with eye-lashes becoming slightly heavy (garuaamta) and greyish with the dust of perfumed powder (padavasa), 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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94 Gaudavaho greatly increasing in (the course of the celebration of) Cupid's festival, (inventing) novel forms ( navavilasa) 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 (suravemti) 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 (nivesa) 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 combingasamarama), 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 (cuduppa) 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 (aimmaa) 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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99 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, Sesa fills the empty void within (amtovasa), (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 (avina), with her quadruple teats created out of his four feet, and the lustre of whose nails looked like ( oozing) milk. 850. Immediately the role of the calf (tannaa) with his uplifted mouth was taken up by the Boar (Kaula) (the incarnation of) Visnu (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 (parivadi) of her bodily pain. 852. The Sumeru mountain, loosened from its uprooted foundation (vinivesa) 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, Sesa appears to have (mustered strong), with all his brood (collected to-gether), under the guise of the /

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Gaudavaho 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 (Psthu ) 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 ( salaha), 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 ( nivvadia). 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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Merits and Demerits 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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Gaudavaho 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 (lilasaha); (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 ( vesabhava ) ( 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 (vama) 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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Merits and Demerits 99 cchaha ) (in running down others ). Those are wretched and wicked, however, who, themselves meritless, cannot bear acclamation(uggura) of the merits of the other people. 882. Even with a little of (superficial ) good behaviour, one is taken to be a good man ( suanatta ) 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 (vinayatthia) 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 (dumijjamta), (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 (guna) 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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100 Gaudavaho 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 (anivvidhamaa). 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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Merits and Demerits 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 (visaraam) 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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Gaudavaho 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 (vinivesa) of wax (maana). 917. Bad men delight in the company of low people, although good men are at their disposal (sahina). It is a frivolous freak (lila) (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 (ahisalahamana ) merits of munificence in others, there is no enthusiasm in themselves for doing

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The Class of Misers 103 any charity (niacue ); 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 Laksmi, although within reach by their side, looking upon her as their beloved (in menses) to be avoided (pariharavaim), having an unclean appearance (person ). 922. Men, who have acquired (in themselves ) great merits, look down upon great ( Laksmi) as most insignificant (and of no consequence ); hence is Laksmi's (hatred and ) hostility towards merits, not without reason, of course. 923. That Laksmi 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 Laksmi, never wished for ( by her ). 925. Born of Dharma (Righteousness ), how could Laksmi be the hater of good men ? Those are Alaksmis (opposites of Laksmi), looking very much like Laksmi, who abide with the ignoble. 926. Laksmis 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 ( vinnaso ), 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 Laksmi (who is ) forced to stay there.

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104 Gaidavaho 929. Good men, having for long habituated (kaasamgka ) 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 Laksmi 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 Laksmi ( 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 (Visnu ), 933. How would she, the fickle one, open out her eyes wide ( akuniam) on those men, resplendent with merits, compressed (samvahia ) as they are, by the darkness of the nether world where She ( Laksmi) 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 (Laksmi ), 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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Ways of the World 105 939. Men of high and steady hearts ( dhirahiaa) look upon. the families (of their birth ) as mere (temporary) resting places of sojourn, to which, one after another (annannaim), 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 (kalavasa ), 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 Laksmi, however, (on one's part),

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106 Gaudavaho 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 (aisammasu ) somewhere. How long would you torture ( yourself ), thus frustrated (asahao ) ? 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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Ways of the World 107 (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 ( vayaharapaha), men with a few faults in them are good and great. How otherwise (ihara) 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 (nieha) 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 (samaamta) (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 (parinamaparamattha ). 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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Gaudavaho 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 (viliaim) 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 (judharacimta), 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 (abhava), 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). 109 975. 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 (asalahane), 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. Laksmi, 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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110 Gaudavaho 984. The miser-masters, I think, build up a devotional offering of lotuses (in worship) before the lotus-loving Goddess Laksmi, 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 (ma) abundance and prosperity, which once came unsolicited (ugamtua), go away from them, though they may be searching Laksmi, 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 ( viniyyavana ). 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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Old Age 993. Losing their flavour (appeal) by (the fact of their) crowding (bahalattana) 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 (vinivesa) 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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112 Gaudavaho 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 ( Abhava ), 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 (pavana ) 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 (Vasuki), 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 (padimamaggu), fallen down ( oinna) 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 Parvati, 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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The Churning of Ocean 113 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 ( kulapuvva ), 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 Laksmi 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 (phadima) 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 ( nivesa ) 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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114 Gaiidavaho 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 (parohamala) 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 Vasuki 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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The Churning of Ocean 115 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 (dhara) 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 Vasuki. 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 Vasuki'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 ( vinihittha ) and its big bulk (ahoa) reduced in size by the friction of the Lord of snakes, the mountain, placed (aimia ) 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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116 Gajdavaho 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 ( niramiana ), 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 jaijjamta) 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 Visnu 1044. (Visnu ) of whom the conch Pancajanya 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 Kesava ( 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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The Earth as Human Beauty 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 (irina) girdle and lustrous like the (Boar's ) reddishbrown mane clinging (to her), when lifted and placed on His shoulders by (Visnu, 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 (sahamtin) with the deep cavity of her navel, the mark of indentation, as it were, left by the tusk of ( Visnu, 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 ( ahirama) wave-like skin-folds, which were plough-furrows (siramagga) as it were, making way for (Sita), the beloved of Rama, 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 Yamuna, 1054. Showing, with the puffs (caya ) of chowries tossed over (her) by female attendants of flashing (paripphuranana) loveliness, the coiling clusters of the roots of trees, as it were, manifested within (her body),

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118 Gaudavaho 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 Ganga ) and up above (as Mandakini ), 1057. With her slim bodily frame (amgaleha) 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 (kanaagora) 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 (suvvaz) 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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King's Greatness 119 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 (panama). (Of them ) this one (king Yasovarman) 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 (alasummuha ), are lowered down in between the eye-lashes fanning out ( viralaamana) 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 (Laksmil) 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 ( Visnu's ) very Lord of snakes are insufficient ( mapahutta ) and powerless.

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120 Gaudavaho 1073. And yet, at the end of this night, you may listen to the Mirror ( dappana) (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 "Gauda-vaho", a big, enterprise (maharambha) (indeed ), which, when listened to (by them ), great kings and great poets shed their own pride. 1075. At this time ( ettahe ), 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 (ainna ) with the sun's rays and thus looking ) like streams (visara) of molten iron (uyasarasa ). 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 (jahana), 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 (Laksmi) 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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Sunset 121 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 ( viralaamti), 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 ( uvaara ) 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 Kali.

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122 Gaudavaho 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 (airaava) sun has his rays turned pink by the mountain dust, the daylight, mixing up with darkness, moves unsteady, ( becoming ) grey like a crab (kulara). 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 Vinata-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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Moon-rise 123 1101. The other (western ) direction, full of bright light (saloa) with the sun's rays now lingering in straight lines ( rehavasesa ) and thus building up (at intervals, criss-cross ) massive patterns of columns, looks like a huge latticed window (jalaai) 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 (padala ) like the trunk of a Kharjura 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 ) Yamuna, 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 (usasia) 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 ( anusara ) 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 Brahma's (primordial) egg, its bowl-shaped interior now cracked and porous, (the minute holes appearing) in (the guise of stars ).

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Gaudavaho 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 (arudha). 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 (lavaa). 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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Activities of Night 125 having been imbibed, as it were, from the offerings (oarana) 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 ( parinaha) 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, Tambula (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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Gaii davaho 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 (vinivesa) 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 (jalia) 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 (visamthulamga) 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 (ranaranaa) (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 (aura), (as the eyes look), with eye-lashes throbbing to restrain winking. ear,

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Activities of Night 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 (ditthaim) 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 (malaamana) of tender sprouts, overlaid with the pink (tambima) of their fresh intoxication. 1141. The eyes of this lady develop inside (black) bordering lines of tears (bahalehaim) 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 (avahiria) lover. 1142. Young girls feel hurt (dumijjai) even with a slight (misbehaviour on the part of their lovers), but would not take (offence) at a grave lapse (namamamtakkha). Such are they, of a heart most illogical (and unreasonable), because of deep affection. 1143. Effusions of laughter (hasavicchadda), 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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128 Gaidavaho 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 (samusasamta), 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 (mala), 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 (rai) 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 (kama-bhara) of love's passion.

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Amorous Pleasures 129 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 (padhamaraa) 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 (vilasa) in a total embrace of the whole body (savvamgalimgana), 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 ( parinaha ) 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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Gaudavaho 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). 130 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 (nisaha), (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 ( turalava) 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 (abala) 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 (osaria) 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 (viada) 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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Dawn 131 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 ( usaloa ) ( appearing ) as if it is besmeared with the twilight-fluid, (gradually ) being diluted (tanunamuna) when getting liquefied ( viruvia), (dissolved ) by (the sun's harbinger ) Aruna. 1170. The swarm of pigeons goes up in flight in contrasting ( visama) lustre, the whitishness (pamdubhava) (of eyes ) being noticed in between their eye-lashes, while their bodies become bluish and glossy (masina), 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 (ayama) 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 (paccusa ) 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 ( simdura) 1176. Birds pick up (in their beaks ) grain-seeds, (made ) rough (and painful) for their throat ( to swallow ), as a result ( anubhuva ) of the watery dew of the previous ) night and heavy with the coated ( valagga ) layer ( samnivesa ) of dust. 1177. The tanks ( vavio) look pretty with couples of the Cakravaka 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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132 Gaudavaho 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 ( viana ) of the surface of the sky became pinkish-red (padala ) like a fully bloomed ( ajada ) Japa 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 (aisanacakka ) 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 (itthacunna ). 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 (Yasovarman ), very much like the life of Canakya. 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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Scenes of Enthusiasm 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 (pauttha), 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 (kanhaina), 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 (asanabamdha) on the trees, out of regard, as it were, for (this solemn opportunity of) hearing the King's life, begun (adhatta) (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 (samdania) on its sharp blade, your sword is victorious, (appearing) as if

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134 Gaidavaho the necklaces (eavali ) have remained still sticking ( to it), even after the Gauda 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 (sambhavia) 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 ( karunarasa ) filling your heart." 1197. "(When you ) come back after having conquered the quarters apto the oceans, Laksmi 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 (akaovaura ), appears to have been transferred (added ), as it were, to your own hair whose growth is uncut (abhaggapasara)."

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Narration to Begin 135 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 (paccakkhoamta) 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 (nihasuttha), 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 (sahira), ( 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 Gatha-Pedestal of the Gauda-vaho of Vappairaa, having the title of Kairaa.

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GAUDAVAHO (Notes) As is customary and also as required by literary conventions, Vakpatiraja begins his Poem 'Gaudavaho' 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 Gathas :Brahma (1-5), Hari (6), Nrsimha (7-12), Varaha, The great Boar (13-15), Vamana (16), Kurma (17), Visnu as Mohini (18-19), Krsna (20-23), Balarama (24-25), Bala and Krsna (26), Madhumatha (27-28), Siva (29-41), Kumara (42), Gauri (43-46), Saraswati (47), Candra (48), Surya (49-50), Ahivaraha (51), Ganesa (52-54), Laksmi (55-56), Kama (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. kRtadhavalopavItam / 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 Vaisesikas, that the world has been created. The dust-particles (faff) inside the lotus, the residence (for) of Brahma, 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 Rsi 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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Notes: 137 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 Brahma, 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. TEA FITTFT fantoret foram TGS: RTET Fourqu45:4794EUR padmasya kila saMbhavaH / ... padmAbhivyaGagyo brahmA / zeSAhireva bisakanda iva / [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 Brahma, had become invulnerable and was secure from gods, men and animals. This demon's son, named Prahlada, worshipped Visnu, 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 Visnu 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 Brahma. Cf. favou a forgat fE 79100H ATT JEETT-fear rat at graut bhUmau svarge vA mAnuSAnmRgAd vA vadho mA bhUditi / tadarthaM jAtyantaramAzritya Free EHSET FETT 91fca: FFTRIA I Com.

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138 Gaudavaho 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 Hiranyaksa had dragged the earth to the bottom of the sea. To recover it Visnu 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 Visnu'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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Notes 139 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. Visnu 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 Krisna 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 Rahu is a Daitya, the son of fagfafa and siMhikA and therefore called by his metronymic saMhikeya. 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 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. Rahu wreaks his vengeance on the sun and the moon, by occasionally swallowing them, thus causing eclipses." Against this mythological background, the Poet imagines that Rahu'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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140 Gaudavaho 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 yamunAbhid and kAlindIkarSaNa. 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 Krsna 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 aia, he was an incarnation of the great serpent of a thousand hoods. His especial weapons are a club, the ploughshare () and the pestle ( musala ) and hence he is called halI or halAyudha, halabhRt, lAGgalI, musalI, saMkarSaNa 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 zeSa and kUrma. Cf. zeSakUmau balavAsudevayorAtmabhUtau / tena tAbhyAM vidalayadbhyAM Atmanyeva duHkhAtmikA vedanA gamitA bhavati valgadbhyAm / AtmapIDA ca nopAlambhAspadam / Com. 27. The cosmic body of Visnu, 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. 'krIDatyeSo'viratamavazai: zAribhiH zAripaTTe / apyetasmin rajanidivasainirmite zvetakRSNe / Translation. 66 25 44 19 28. What is seen on Visnu's chest is the circular imprint of impression (for) of Laksmi'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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Notes 141 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 Vasuki 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 Kirata or mountaineer; but Arjuna, having found out the true character of his adversary, worshipped him and then Siva gave him the Pasupata, 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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Gaidavaho 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. Visnu immediatly plucked out His own eye and offered it as a flower to serve as a substitute for His missing third eye. Cf. haramArAdhayati bhaktijijJAsayA hareNa tRtIyanetraM lalATAt pracyAvitam / tataH kezavena qalutaqzi acool? qoear fromfar gone qzenGarrifqafofa afafa: 1 kusumairiva patrairapi pUjA prasiddhA || 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-mala ) 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 Pinaka. 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 ( Pasa) or binding refractory offenders. His Pramathas or attendants

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Notes 143 are numerous. His third eye has been very destructive. With it He reduced to ashes Kama, the god of love, for daring to inspire amorous thoughts of His consort Parvati, 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 Kailasa. 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: IsArosappasAappaNaisu bahuso saggagaMgAjalehi AmUlaM pUriAe tuhiNakarakalAruppasippIa ruddo / joNhAmuttAhalilla NaamauliNihittaggahatthehiM dohiM agdhaM sigghaM va deto jaai girisuApAapaMkeruhANaM // 44CHERT. I.4. 42. "Kumara or better known as Skanda or Kartikeya is the son of Siva, born without the direct intervention of a woman. He was reared by six Krttikas, hence the name Kartikeya. He is the Mars or god of war of Indian mythology. He was the commander of the army of gods in their fight with Taraka, 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. Mahisasura is a demon who, in a fight, was slain by Durga or Parvati. 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. Arya is a name of Parvati. When Siva 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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144 Gaudavaho that she is especially worshipped. ...... In her terrible form she is Durga, the inaccessible ', Kali and Syama, "The black ', Candi and Candika, "the Fierce', and Bhairavi "The terrible '.. As Kali or Kalika, 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-Vasini, * 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 Kali, are fancied to be these moons during Dissolution. Cf. T EHTfa afmarfa TCUT 350TUTHAIGHT TIT kapAlAni tAni candrakhaNDAnIva pratipadAdisaMbandhIni sarge kramabhAvInyapi pralaye afatfat Il Com. 46. "Camunda is an emanation of goddess Durga sent forth from her forehead to encounter the demons, Canda and Munda. She is thus described in the Markandeya Purana :-" From the forehead of Ambika (Durga ), 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 Durga, who told her that henceforth she should be known, by a contraction of their names as Camunda." Sueh a physical appearance of Camunda 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 Brahma, is the goddess of speech and learning, inventress of the Sanskrit language and DevaNagari 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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Notes 145 on a lotus. The Poet imagines that having been fondled and thus spoiled by Brahma, she now wanders about like a wanton lady over the soft tongues of poets. Cf. dhaatushcturmukhiiknntthshRnggaattkvihaarinniim| nityaM pragalbhavAcAlAmupatiSThe sarasvatIm / / subhA. 48. Sanskrit poets have indulged in various fine fancies to explain away the dark spot on the moon. Here is one such from Vakpatiraja. 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 Ganga, 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. Surya is represented in a chariot drawn by seven horses or a horse with seven heads, surrounded with rays. His charioteer is Aruna or Vivasvat and his city is Vivasvati or Bhasvati. 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. "Ganesa o Ganapati, a son o Siva and Parvati, 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 'Akhu-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 Yamuna - a mixture of black and white. Cf. Fafara guitar bhUSaNeva bhasmAGagarAgA tanurIzvarasya / pazyAnavadyAagi vibhAti gaGagA bhinnapravAha 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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146 Gaudavaho on the slopes of the mountain Meru. The yellow Meru represents the body of Ganesa, while the Himalayas and Vindhyas correspond with his tusk and the trunk respectively. 54. The ever-united Siva and Parvati 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. Visnu, in his disguised form ( Maya) 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 Laksmi approaches Him wich alluring, agile, graceful steps, which deserve homage from us. 56. While emerging from the ocean, Laksmi 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. prasiddhasaubhAgyAmAbhyAmapi manmukhaM sundaratamaM 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 Ganga on the head of god siva has always been, according to Sanskrit poets, a cause of jealousy to Parvati. The poet imagines that Ganga, falling down from His head on the lap o her father, the mountain Himalaya, pours out her complaint against her sister, Parvati, as it were. Cf. tapa fagfarari OT farepta : 1 7817: 14 Hallarg confHEFITRI 2. I50. 59. Brahma 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 Ganga on the head of god Siva. The bones of elderly gods are supposed to remain floating on the surface, and hence that proves the grand-fatherly status of Brahma. Cf. tor FEIT: paJcamaM zirazchittvA svazirogaGagAmbhasi prakSiptamiti pauraannikaaH| pitAmaha

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Notes 147 prabhRtInAM ca kapAlAdikamasthi gaGagAyAM kSiptaM ghUrNamAnamAste / tena gaGagAjalaghUrNa#7719410cala agerHTETRATTENTEMEI father I Com. 60-61. Three reasons are given by the Poet to establish the purity of the waters of Ganga. 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 Bhavabhuti, is commended by the Poet. Cf. yat prauDhatvamudAratA ca vacasAM yaccArthato gauravam / 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: TEACHIETa faa: 11 jJAnalavadurvidagdhaM brahmApi naraM na rabjayati // bhartRhari-nIti. 2 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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148 Gaudavaho 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. guNasaMsarga evaM nAmotkRSTo yena pizunAnAmapyatkarSa karoti |...anvrtN ca paraguNAnAlocayatAmabhyAsAtizayAd guNajJAnAtizayo / 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 TOYHTA: Test Hem i -a IT: I 75. ali ofrotee - In their acceptance o: appreciation (as * great poets )." 76. Cf. TOTUTTATOTT quatica face nijahRdi vikasantaH santi santaH kiyantaH // bhartahari-nIti. : .... #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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Notes 149 80. A poet like Kalidasa, 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. purA kavInAM gaNanAprasaGage kaniSThikAdhiSThitakAlidAsaH / adyApi tattulyakaverabhAvAdanAmikA sArthavatI babhUva / / subhA0 81. The Gatha, as rendered in Sanskrit prose, would read thus - matisaMdehAvalokane yeSAM nijamatisaMdeha eva, te sthitarUpA lokasya vicAraFUT 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 Mahakavya, 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 A 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 a seraitaat: : Disfer tarafa gamathi Fafaritaifafa funt rarit i Com. 85. It may be argued that earlier poets like Vyasa and Valmika 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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150 Gaudavaho 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 ( NirAraMbha ) on his part. The sight of a Kraunca bird, shot by a hunter, was enough to inflame his poetic Fancy. For a similar idea, compare - laukikAnAM hi sAdhUnAmarthaM vAganuvartate / RSINAM punaradyAnAM vAcamartho'nudhAvati // uttara0 I. 10. 87. Immortal and divine is the Poetical speech, a petal, as it were of Atman, or the Divine Soul. Cf. vandemahi ca tAM vANImamRtAmAtmanaH kalAm / This speech has inspired poets of all ages since the beginning of the world (AsaMsAraM ) 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. kSaNe kSaNe yannavatAmupaiti tadeva rUpaM ramaNIyatAyAH // 88. NIsAmaNNANa - nisAmAnyAnAM - of the uncommon or extraordinary (poets ). Cf. abhyutkaTotkarSayogAta tatkRtakAvyasya zrotari yogye asati mUkatvameva mahAkavInAM yuktamityarthaH / Com. Cf. also - itarakarmaphalAni yadRcchayA vilikha tAni sahe caturAnana / arasikeSu kavitvanivedanaM zirasi mA likha mA likha mA likha // subhA. 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. mahAkavInAM nAmamAtragrahaNe pratyakSAyamANA nAmnIva saMkrAntA guNA drAgityeva nirvivAdaM prathante, ataH kastAn vicArayatItyarthaH 1 Com. 90. Men there are who are proud and boast of their knowledge and understanding of eminent poets like Kalidasa, Bana or Bhavabhuti and thereby arrogate greatness to themselves. This is a vain, useless effort ending only in misery. Cf. anyespi te AyAsAya vahanti AtmanaH kevalaM mAhAtmyaM / mahAkavikAvyaM prApya tadviSayavicArayogyatvAbhimAnam // Com. 91. Great poets are difficult to understand in their subtle and intricate net-work o poetic fancies (viappa - jAlaM). 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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Notes 151 light visiting their eyes. Cf. maMdamatInAM mohakAritayA timiramiva prakAza iva ca vyutpannAnAm / 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 Sesa on which it rests for ever. (1994 g). 101. Sesa 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 Laksmi 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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152 Gaudavaho 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 Gathas ( 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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Notes 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 - ekkAsaNasaMmANaM so vi harI maNNae jassa / 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 Mainaka 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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154 Gaudavaho 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 Hemadri, Ratna-sanu, Karnikacala, Lotus mountain', Deva-Parvata and Amaradri. 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 - bhItIneM garbhagaLita hoNeM. 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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Notes 155 124. 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 girikaTakaiH punarAyasazilAbhiH kulizAgnidAhavigalitavinirgatalohIbhUtanimnonnatataTarUpAbhiH kavacasthAnAbhiH kulizaprahAranivAraNaM pazcAt kRtam / nimnonnataFavarapuaraat 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 Amota 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 Jain EducationNnternational

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Gaudavaho 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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Notes 157 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 Gatha to the mountain Mainaka, the son of Himavat and Mena. 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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158 Gaudavaho 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 Gathas (161-166 the Poet describes the water-sports which the king Yasovarman 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 Patala flowers is transferred to it. 164. The eyes are soft and pink like the Malati 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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Notes 159 Next , in a Kulaka of 15 Gathas (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 Visnu who alone survives. Is not our king Yasovarman an incarnation of the Child Krspa or Balaka Hari ? The Pralaya, therefore, may be looked upon as merely a sport or imidiapu of the King himself. Cf. lIlA kaMsArisarUvadhAriNo jassa nnivvddiaa| 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. dagdhaM vizvaM dahanakiraNoMditA dvAdazArkAH vAtA vAtA dizi dizi na vA saptadhA sapta bhinnAH / channaM megharna gaganatalaM puSkarAvartakAdyaiH / 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 Patala 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. Vidyadharas 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 Vidyadhara. 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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160 Gaudavaho 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 Sesa. 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. paryAyapItasya suraihimAMzoH kalAkSayaH zlAdhyataro'pi vRddheH / raghu0 V. 16. The Poet represents his orb in this Gatha 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. madanasya kila candro dayitaH / atazcandre dahyamAne naSTo'sau bhavatitarAm / ata udakakalazamiva candraM paritrANAya vigRhya dahate'sAviti kavikalpitam / 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- mahApadmazca padmazca zaGkho makarakacchapau / mukundakundanIlAzca kharvazca nidhayo nava // They are supposed to be guarded by snakes. 179. Vasuki is the king of the Nagas or serpents who live in Patala. 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 Visnu, whilst sleeping during the

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Notes 161 intervals of creation. Sometimes sesa is represented as supporting the world and sometimes as supporting the seven Patalas. Whenever he yawns, he causes earthquakes. Vasuki'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 : Kartikeya was the result. Hence he is called Agnibhu and Gangaja. The miserable plight of the widows of enemies, whom Yasovarman killed, is now described in a Kulaka of 10 Gathas (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 upamanas he gives are peculiarly uncommon. 185. nast - A kind of a creeper. Bhavabhuti compares the tender shoot of this plant to the palm of Sita. 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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162 Gaudavaho 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. Nimilla... mAhappe - nimIlitamegha mAhAtmye 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 gathas 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 (paropparAvaDaNa ) 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. prasannena gurusUtakeNa grahavalayenaikena kAntAkarakaTakena prayukta ityarthaH / 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 (kaMsa ) : 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. vAsaH karpUrAdivAsitaH catuH samAdidravyavizeSaH / sa hi mahotsaveSvAvarteSu surasundarIbhiH prakIryaMte nAyakavaktrAdiSu / Com. 200. The Poet indulges in a wild fancy in this Gatha. 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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Notes 163 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 Gathas (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 gatha. 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 Gatha 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 Asoka 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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164 Gaudavaho he makes his own two beloveds, Rati and Priti, filled with jealous anger, which discolours their cheeks. Cf. TAT Trentoni Gia #fer utpannAbhilASatvAta praNayinyo ratiprItyorvadanaM kopAGakaM karotyeva kUndazikhAkaSAyagaNDasthalam / Com. 211. The Com. observes - quafate oratratfor art iftantrocanAni bhavantIti tulyatvaM sundarIvadanaiH / After this, in a Kulaka of 41 Gathas ( 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 -- Laksmi, 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. lakSmIzca / kila sAnurAgA strIH saMnihitaM prerya apasArya dUravartinamapi priyatamaM kavATavAtAyanAntarAlAdinA pazyati / sAnurAgadRSTayA ca vijitazriyaM tvAmeva raNe puertas ad gfa alfaat I Com. 213. Laksmi, 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. dAruvaMzaH kila sthUlamUlo bhavati krameNa coparyupari tanutanutarAdirUpaH / bhavAdRzaistu unnatacaritairnRpavaMzasya agittarita argeta Ca ra I Com. 216. Laksmi is your beautiful beloved in your harem, where, like a kancukin, stays Dharma or Religion and Law. Like a chamberlain, He too has grown old or fully developed. He holds

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Notes 165 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 AT 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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Gaudavaho 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 ( pAsosaraMta ) 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 (dANojjhara ), 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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Notes 167 number and are named as -- teraz, questa, 27m, 9445, 350, puSpadanta, sarvabhauma and supratIka. 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 (pavirala). 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 Malati 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-fastra, 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. vimukhena pratikUlena paJcamAdikena bhaumAdiWHERE $9 astFTA fag Com.

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168 Gaudavaho ...... 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. nIvIbandhocchavasanazithilaM yatra bimbAdharANAM kSaumaM rAgAdanibhRtakareSvAkSipatsu priyeSu / acistuGagAnabhimukhamapi prApya ratnapradIpAn hImUDhAnAM bhavati viphalapreraNA carNamuSTi: / / megha0 69 ahia . . .mAlAsu - ahitapratApapradIpamAlAsu - Against the rows of lamps of the valorous deeds of enemies '. It can also be rendered as - adhikapratApapradIpamAlAsu - Against the rows of lamps of her lover of superior valour. Cf. navanAyikA hi prauDhatamaM adhikapratApaM kAntaM kAmayituM salajjatvAt sati dIpe na zakteti dIpopazamanAya karNotpalaM vyApArayatIti dRSTam / atra pakSe adhikapratApasya nAyakasya samIpe yA dIpamAlAstAsu karNotpalavyApAraNam / Com. The com. suggests another interpretation also. "The rows of lamps in the form of enemies of greater valour'. jayapakSe tu adhikapratApA ripava eva dIpamAlAstAsu khaDgakarNotpalavyApAraNam / __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. maNDalA khaDgaH / tasyaiva kevalasya baDhyo dhArA bahuzaktikA dhArA: yata: kAzcit prApya zavan drAvayanti kAzcidaprApyava pratApamAtrotsAhabhaGgAn ripuJjanayanti / 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 (paNaiaNa). aiti - niryAnti, 'go out '. (nira+ i). 247. - Your fore-finger (tajjaNI), quivering, as it is lifted in anger, settles all business and is, as it were, an ambassador (duI) sent out by your mighty arm. ..248. pAsAakkameNa - pAkrimeNa - By aggressively pushing away on both sides. taM si - tvamasi. ekko . . . .maulI - Your head, rising

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Notes 169 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. zauryAtizayabhAjAM bhrUbhage jayazrIrvasatItyupamAnaM kavikalpanayA bhrukuTimAtravazIkRtazatrutvAt svazRGgAraparatvamucitam / yathoktam / sukhaM hi phalamarthasya 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 (kaattha). Cf. tava AtAmramaNigahA iva vivaravizeSAniva pravizya prabhAvasaMkrAntA maNimantrauSadhAdiprabhAvena praviSTA: HT: 1 Com. 252. Laksmi 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, Visnu ? The Poet fancies that in her great hurry to come down to stay on this King's sword, she mistakenly picked up and wore Visnu'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 Gathas (255-262)

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170 Gaudavaho the poet gives a description of the horses and in the next Kulaka of 7 Gathas (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
Notes 171 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 Laksmi, 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, - TETTI Fuiqurtsafari 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 (suttaNivesa). Cf. yAvatI 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 Gathas ( 270-276) the Poet now describes the season of winter.

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172 Gajidavaho ... 270.. agdhaMti - zobhante (Com)-'Appear charming'. daraviNaISadUna (pIDita)- Slightly troubled' (with heat). . .. . 273. khala ... vAhiNo - khalacUrNita-kalamAmodavAhinaH - 'carrying the fragrance of paddy (PH) being pounded on threshing floors (khala). Cf. saMpannazAlinicayAvatabhUtalAni ........svasthasthitapracuragokulazobhitAni / ...... sai: sasArasakulaiH pratinAditAni sImAntarANi janayanti nRNAM pramodam / / Rtu0 III.16 - 274. gohaNa-desa - godhanavinivezoddeza- The places of cattle-farms. 275. akkaMta...jahaNaM- AkrAntakarISoSma sukhaniSkaMpajaghanaM - Their hinderends (EU) not shivering with cold, as they are happy with the warmth (uSmA) of dry cow-dung cakes, which has enveloped (akkaMta) them. rohiNIjUhaM - rohiNIyUthaM - gomaNDalam (Com.)- A herd of red cows. ___276. soNaMkamuddesaM - zoNAkhyanadAGkitaM pradezam (Com.). Sona-Nada is the name of a 'male' river rising in Gondavana and falling into the Ganges near Pa taliputra. ___278. AhAralehAsu - jalAdhAralekhAsu - On the border-lines of water-reservoirs. 279. Nisammai - nizAmyati, niSIdati, vizrAmyati - Com. - "Rests happily'. A - AsamantAt. - Com. Allround'. * In a Kulaka of 5 Gathas ( 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 (hasamANa - hasatA, pazcAdbhAgaM patatA 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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Notes 173 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 Akasa 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-Vasini and offers his homage to her in a hymn of 53 Gathas ( 285-337) forming a Kulaka. 286. The foot-stool on which she rests her foot, is the head of Mahisasura 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 ( HTE 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 (FATT) 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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174 Gaudavaho 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 Mahisasura 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-Nari-Natesvara. 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 Mahisasura'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. Sandhya, Twilight', is personified as the daughter of Brahma and wife of Siva. The Poet alludes to a mythological incident of Parvati or Kali slaying Sandhya in jealous anger. Cf. matto'pi taveyaM gauravArtA, ato mAM parityajya asyAstrikAlaM praNAmamapi 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. Kali 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 Gatha, the particle at, as suggested by the Com. having the sense of a. Cf. vAzabdazcedarthe / pralayaM cet he kAli na niramAsyaH nAkariSyaH, tato rUpasya tavAnantasya Hata si per 591WHUSMTFCUrhacord i Com.

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Notes 175 ..: 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 Kartikeya 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 Kali 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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176 Gaudavaho 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 guhAsu lInaM divAbhItamivAndhakAram / kumArao I-12 307. The Night, personified as a devotee of Kali, 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 devakIgarbhAt tava pralayo bhaviSyatIti / tataH kaMsenAtmarakSaNArthaM ghAtakA AdiSTAH / asyAM vadhyazilAyAM devakIgarbhA AsphoTaya nipAtanIyA iti / tacca jJAtvA devakyA gokulapatinandabhAryAyazodAduhitA svagarbhaparivartanAya samAnItA / sA ca gaurI vadhyazilAyAM ghrAtakaiH saMyojyamAnA satI teSAM zirasi svacaraNAbhighAtaM kRtvA svakaM

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Notes 177 tejaHpuJjarUpaM nidhAya gaganamutpatitA / sA ca vidyudrUpA sajalajaladharasthA satI evamutprekSitA / vadhyazilayeva saha sotpatiteti - jalapUrNAnAM meghAnAM vadhyazilAsAdRzyAt / 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 Sandhya, personified and the river Ganga, closely associated with His head, have combined in the act of this homage. Cf. candra rekhAsadRzI svedarekhA / yAvakarAgaH saMdhyAprabhAprAyaH / nakhaprabhApravAho gaGagAsadRzaH / etAstisraH sapatnyaH saubhAgyAtizayena vazIkRtAH satyazvaraNanipatitA 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 bhrAntimat. 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 Pranayama or breath-control, for which you probably developed a high regard. G. 12

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178 Gaulavaho 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 (gaMdhauDi) as it were. kaulaNArIo - Women adherents of the cult of the worship of Sakti. "They are called Saktas, of whom there are two classes, Kaula or Kaulika and Samayin. The Kaulas or the Left-handed (ATHATT) Saktas, as they are called, worship their goddess Sakti 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
Notes 179 320. 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 Valakhilyas 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 Prajapati. 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 Daumling, 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. varadAnodyatenaikenaiva karakamalena sarva sAdhyate / ekonasahastraM tu paricchadamAtramityarthaH / 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 Vasuki 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 Vasuki 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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180 Gaudavabo 326. Kamsa seized the new-born daughter of Yasoda 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 Madhava, the hero of Bhavabhuti's drama 'MalatiMadhava', going over to the cemetery and announcing the sale of human flesh (HETHIH) thus -- bho bhoH zmazAnaniketanA: kaTapUtanA: / azastrapUtaM nirvyAjaM puruSAGagopakalpitam / famild FETHIRT TETI TAHGH I Hrosato V-12. Cf. also devIzmazAne vIrAH siddhaye mahAmAMsavikrayaM kurvantIti kaulAgamAdiSu 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 Camunda. 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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Notes 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 ( pAroha) 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. taMmidala-vastradala-Wearing leaves only to serve the purpose of a garment ( taMmi ) . In a Kulaka of 9 Gathas (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 ( olibhAbhAva ). 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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182 Gaudavaho 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 furfe - 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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Notes 183 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 ... mUlA - The bottom layers of ponds made muddy ( mailia), 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 Gathas (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 Tamala 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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184 Gaudavaho 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 Gathas ( 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 Palasa 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 ( bUDhoaa ). 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. NivvAi - zuSyati - Com. Dries up. ' baMdhuria - aM The dust solidifying in lumps' (with light showers). piNDIkRtaM - Com. 6 Notes - 185 385. The tufts of moss ( sevalasihA ) are soiled ( AmaliNa ) and dried up (3) and (the rivers) are over-flooded ( laMghia ) by yellowish (AvaMDu ) water. jalaraMku : - A kind of gallinule, the common water-hen. :| Com. 386. vAluMkivADANa Of the plantations (a) of watermelons. vAluMkI cirbhaTikA Com. ; the same as Marathi vALuka - eka prakAracI kAkaDI, cibUDa, suratI kAkaDI - 'mahArASTra zabdakoza. - 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. - 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. - 390. (A) The patch of ground, with its layer of dust swept away completely by a violent hurricane, looks like the flat skull ( kavAla ) of a big tortoise. kavAla The skull. 'khopaDI, sirakI haDDI. ( pAiasaddama haNNavo ). 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 Gatha 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 ( viraluddesa ) and turning the twigs brown ( piMgaviDava ) .

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186 Gaudavaho 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 (puliNa) of rivers (udasiMdhu) 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. navavaraNakaibalataNavizeSainirantarANi yAni hiMsInAM latAvizeSANAM vanAni, tatra 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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Notes 187 406. 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 Visnu. 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 Yasovarman. 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 Gatha. 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 Mandara flowers is falling down from the sky. The next two Gathas ( 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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188 Gaudavaho 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 ( rayaNivirama ) . 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 Sesa 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 ( Ara ) in the form of her foetus ( gabbha ) . While describing the King's march in the South in the vicinity of the Malaya mountain, the Poet, in a Kulaka of 7 Gathas (424-430), alludes to the great effort of Ravana to propitiate god Siva with a view to obtaining a boon from Him. The same Ravana, when he became powerful, was picked and pocketed by Vali and was carried away by him, holding him in his armpit ! 424. Ravana 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 (kaaggaha) in his enthusiasm (Adara) to cut (cchea ) 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 ( bhaggaviaNA ) by the sprinkling ( sea ) of nectar ( amaa) of the crest-moon (fozi) by god Siva, whose emblem (g) is the bull (vasaha ) . 426. Of the ten heads which Ravana had, he cut off nine. Through the boon of god Siva they were restored back and, as Parvati, 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. Ravana 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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Notes 189 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. dazamaM zirazchettumanena zaGikatamiti spRzato'bhiprAyaH / Com. 428. Ravana 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 Ravana 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, Vayu swept the house etc. The wind feels it uncomfortable to move slowly in his household. It is due to his fear of Ravana and not because he is restrained in his movement by the sighs of grief from the gods. Conflict with the Parasikas. 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 dantaprahAraH / Cf. vaprakrIDApariNatagajaprekSaNIyaM dadarza / megha0 2 434. 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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190 Gajidavaho 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 (ussUNabhAva). All this struck terror (kaaDiba). 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 (+7831TamANa) because the life inside had departed (avajIvabhAva), proved an unbearable burden, as it were, to Sesa. Now follows a Kulaka of 19 Gathas ( 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 Psthu, who cleared the plains of the Deccan by pushing the existing mountains towards the seas on the east and the west. When Pothu, 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. tata utsArayAmAsa zailAn zatasahasrazaH / dhanuSkoTayA tadA vainyastena zailA vivardhitAH / / 82 / / na hi pUrvavisarge vai viSame pRthivItale / pravibhAgaH purANAM vA grAmANAM vA pura 'bhavat / / 83 / /

Page #488
Notes 191 na sasyAni na gorakSyaM na kRSirna vaNikapathaH / vainyAta prabhati maitreya sarvasyaitasya saMbhavaH / / 84 / / yatra yatra samaM tvasyA bhUmerAsId dvijottama / tatra tatra prajAH sarvA nivAsaM samarocayan // 86 / / sa kalpayitvA vatsaM tu manu svAyaMbhuvaM prabhum / svapANau pRthivInAtho dudoha pRthivIM pRthuH / / 87 // sasyajAtAni sarvANi prajAnAM hitakAmyayA / tenAnnena prajAstAta vartante'dyApi nityazaH / / 88 // viSNupurANa I. 13. 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. pRthurAjena sAgaradvayAvasthitA pRthivI mAnadaNDasthAnIyena dhanuSA paricchettumArabdhA / tatra atidrAdhIyastvAd dhanuSaH parvatairubhayasAgarataTavartibhiravakAze'varuddha yAvadekena prAntena prerya parato girayo nIyante tAvadapareNa prAntena dhanuSA preryamANena arvAgbhavatA pRthivI vyApyate - iti digdvayasthita-girisvIkaraNa-nirAkaraNavyagratvAt kSitiparicchedo na saMpanna iti kathA / 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 (samosaria), the earth was fully re-established in its proper perspective, __442. The mountains, as they are being brushed (paNolliA) aside, fall down on this side (ihahuttaM) 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 (ettohuttaM) and then, see-sawwise, on the other side (paraohuttaM). 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

Page #489
192 Gaudavaho 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 (AsAgaa), who suspect (saMkAlua) 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 (thoatulia) and then slowly released (muccaMti) 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.

Page #490
Notes 193 454. 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 (ullaMtareNu) 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 Pothu. 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. chinnapakSairyathA tathA sthitiraasaaditaa| samAsInadhanuSkoTivighaTanacalitaiH punarnagairna kathaMcit padabandho labdha iti 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

Page #491
194 Gaudavaho The King Yasovarman, in the course of his expedition, reaches the banks of the river Narmada. In a Kulaka of 6 gathas, (460-465) the Poet refers to and describes the legend of the river Narmada having fallen in love with the king Kartavirya, like a love-sick maiden and pining for him. Cf. HEUTETTI devatArUpatvAnnarmadA nAma nAyikA kArtavIryArjune baddhAnurAgA satI rAjarSi tmnussaar| ayamapi ca rAjarSistAM pratyanupajAtAbhilASa iti tadalAbhe saMjAta raNaraNakA / Com 460. The river Narmada, 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 (HTATBIA) 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' Narmada. 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 Utpreksa or Poetic Fancy. What should be the Upamana 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 Upamana 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

Page #492
Notes 195 pleasureable unions with her lover, which, however, are later smashed (vighaDaMta). A case of mAnasasaMbhoga, as described by Bhavabhuti in his drama, Malati-Madhava' (III Act). This greatly excites and agitates her heart, as is seen in the operation of ripples (vIivAvAra) which dash against and finish (samappaMti) at the banks, corresponding with her heart. Cf. Heat TGT virahiNI bhavati tadA hRdaye eva AzAkalpitapriyasaMgamakallolA: samApyante, na tu 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 afqnatayA kvacitkvacit pradeze zaityamAzritya paribhramanti bhramarapaGaktayaH kAmAkrAntAH 449/24/1fa traffic Trap 127Tyrant Afegat: 1 Com. In a Kulaka of 5 Gathas (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 Durva grass, kept at its mouth to cover it. The long thousand tongues of the great snake Sesa, 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 (aNuNijjaMta). 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

Page #493
196 Gaudavaho Rahu which retained its life-breath (TUTT3T), although it was lopped off (fafa) from his body by the Sudarsana wheel of Visnu. Rahu 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. Rahu 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 Gathas ( 472-484). Janamejaya, a great king, was son of ATT and greatgrandson of 375a. It was to this king that the Mahabharata was recited by a girl, and the king listened to it in expiation of the sin of killing a Brahmana. His father, refera, died from the bite of a serpent, and FTTH Gry is said to have performed a great sacrifice of serpents ( Nagas) and to have conquered the Naga people of takSazilA. Hence he is called sarpasatrin. 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 janamejaya. 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

Page #494
Notes 197 the gods as a bribe to save them from the disaster. V. L. Oferuiakko, where the word ukkoa - utkoca 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 (dhummira), because of the adverse toxic effect (aNubhAva) 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 (pariraMbha) the golden twigs (kaNaadaMDa) of the blossoming Haricandana sandal trees.

Page #495
198 Gaudavaho 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 TTA CTY and his priests. Cf. kila takSakakopena janamejayena sendrAya takSakAya svAheti sendratakSakAhutiH 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 (377EUR$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 janamejaya, placing him on the sacrificial ladle (suA) dispatched to the heaven to bring him ( Indra ) down on the earth. In a Kulaka of 7 Gathas (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 Pandavas 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?.

Page #496
Notes 199 The Poet in this Gatha 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 Bharata 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 Maya. 488. In the thirteenth year of their exile, Pandavas entered the service of Raja Virata, 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 Gatha, 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

Page #497
200 Gaudavaho 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 Durvasas 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 Suta or charioteer of Dhrtarastra. 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 Brahmana 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 Gatha 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. khANDavavanadAhasamaye kRtavairaH kaNDapuccho nAma sarpaH arjunena saha yuddhodyatasya karNasya zarIbhUya arjunasya zirazchettuM prasRtaH / tena ca sArathIbhUtavAsudevakRtarathaprayogavizeSasyArjunasya zirasyaprabhavatA zirazcUDAmaNireva

Page #498
Notes 201 prAptaH san kavalitaH / tataH punastena sarpaNa gatvA karNo'bhyathito yaduta bhUya ekavAraM mAM zaraM kurviti / karNena tu kathamahamekasyaiva dvitIyaM zaraM kSipAmIti danni punaH zarIkRto'sau / 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 Brahmana.' 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 Gathas ( 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. . harizcandra, a king of the solar dynasty, was the son of trizaMku 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,

Page #499
202 Gaidavaho 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 (oaraNA). 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 eva ca raNaraNAyamAnatvAd ghaNTAtvena kavinA kalpitAH / dUrIkRtanikhAtAni nidhAnAni 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

Page #500
Notes 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. devatvamApannAnAM svargaM gatAnAM nAgarANAmanimeSadRSTitvam / nimeSAbhAvAdanyonyadarzanAvicchedena savilAsatve satyapi anAratadRSTitvaM taruNAnAM nirlajjatvameva bodhayati / lajjaiva bhUSaNaM yoSitAmityavilAsAnIvetyuktam / 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. svarge kila sadA divasaH / Adityasya anAvaraNAt astAcalAdinA / atazca nagaryA utpatitayA madhyarAtre svargaM prApitAnAM paurANAmAdityAlokaM pazyatAM nidrAlasAnAmeva prabodho jAta: / Com. 503. Scarcity of clay ( bhUmidulahattaNa) 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 ( rasa ) of the earth in these foundations ( mUla ) began gradually to evaporate (a), and the layer of the earth started to get dried up ( vasuAijja mANa ) by the sun's heat (Aava ) 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.

Page #501
204 Gaudavaho 507-508. The two Gathas 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 Kesava (Visnu ) 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. kSIrodadhimathanasamaye hi harikarAkarSaNaM mandarasya babhUva / tadvazAt kezavabAhu. keyUranigharSaNena nikaSapASANavat kaTakazilAsu kanakarekhAyA: saMbhavaH / tatra ca lokaH 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, fotofageradAdhyuSitAM dizaM rathayajA parivartitavAhanaH / dinamukhAni ravihimanigrahaivimalayan Hissel FF74745TCT 11 TETO IX. 25. Now follows a big Kulaka of 146 Gathas (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 Gathas ( 513-550 ) he describes the lake in the mountainous region of the Himalayas. 514. Laksmi 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

Page #502
Notes 205 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 (saMbUa) mixed with moss ( sevala). 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 (5EUR), 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 (ghaNattaNa) by a salty substance (Usa) and hence they do not burn well in the fire. (TE3TH3)-Te Bree Sta: ST 1 39: TCFARI ghanatvena prAcuryeNa zuSkagomayapiNDAnAmUSeNa veSTitatvAd vanherapraveza iti noccinvanti frau: 1 Com.

Page #503
206 Gauqavaho 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 Musta 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.

Page #504
Notes 207 560. 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 (fEUR37) 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 tur and gram and herds of monkeys fill the landscape roundabout. 583. gora. . . vaTThANaM - ( The karahATa 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. udayati hi zazAGaka: kAminIgaNDapANDuH / mRccha. I.

Page #505
208 Gaudavaho 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. strINAM sparzAt priyaGagurvikasati bakula: sIdhugaNDUSasekAt / pAdAghAtAdazokastilakakurabako vIkSaNAliGaganAbhyAm / mandAro narmavAkyAt paTumaduhasanAccampako vaktravAtAt / cuto gItAnnameruvikasati 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 (haliddA). 602. Cf. bAhalyena savraNasya veNormajjA rocanA bhavati / Com. Note the alliteration in the Gatha. 603. The long winter nights have given much continuous operation work to the bow of Cupid and he has hit many a target

Page #506
Notes 209 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. gaHSTATafa: 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

Page #507
210 Gaudavaho 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 Gatha. 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. ratnAnAmoSadhInAM viveko rAtrAvapi na jAyata ityarthaH / 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. vanecarANAM vanitAsakhAnAM darIgRhotsaGaganiSaktabhAsaH / bhavanti yatrauSadhayo 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

Page #508
Notes yoddhAraH pANDuvarNA bhavanti durgaM cAzrayante / ghanA api proSitaprAvRSo vigatajalalohitA gRhItagirizikharadurgA galitavidyudrudhiradhArA: / Com. 211 641. The fresh nail-marks left on the breasts of the beauties of Siddhas bring out ( NivvaDai ) the picturesque ( viitta) borderlines in pink ( AaMbarAi) on birch leaves ( bhuavatta ). 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 (Hafzuqfafada), they radiate peculiar light. When meditation stops, this light is switched off, leaving the caves in darkness. Cf. asaMprajJAtayogadazAyAM yoginAM tejomayaprakAzaikarUpatvaM bhavatIti yogazAstreSu gIyate / Com. or 648 pariNaa maharo - ( The fragrance ) sweet like old (pariNaa ) wine obtained from Kinva ( kiNva ) seeds. kiNva - ' A drug seed used to cause fermentation in the manufacture of spirits." 649. dara... 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 Gathas (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.

Page #509
212 Gaudavaho 664. Here at that time (dist) in the rainy season, the city was surrounded with mounds of dust, heaped up in a circle ( 9fvesa) and pieces of jewels and corals appeared luminous (paAsaM) 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 idAnIM kevalaM nirudakagartA bhavanti / kamalAnAM sthAne karabhA bhavanti / sUryodayaM ATAI FITTIFerra 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

Page #510
Notes 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 ( kalusahINa ), 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 ( dArusa alA ) . 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 ( parilaMbi) sloughs of snakes (bAlaNimmoa ) ; and we also observe, in the vein of an archaeologist, signs (f) of the layers of mud () stretched all along its length (AyAmaThia ) . 678. In a dilapidated house, old, worn-out bricks (OORZET) have fallen out through the cracks in the walls which are getting separated ( vihaDia ) from the lower foundation ( paDhamapIDhA ) . These decayed bricks are covered with reddish layers of clay ( paMkaleva), sticking to them thickly. Cf. iha vighaTita bhitticchedanirgatA jarja reSTakAH / 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 ( lavaNuggama ). As a result, they look fearfully more conspicuous and uplifted (r), when fully filled ( pUraNa) with water. Cf. purANabhittiSu lavanikotpadyate tathA ca bhittayaH kSIyate iti prasiddhamAryAvarte 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 ( Ahoa ) they were. 682. There were round-shaped houses ( gharagolaa ) and their old walls ( juNNabhitti ) were held fast in the foundations, with lines of pointing done in mortar (q). The doors, how

Page #511
214 Gaudavaho 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 (AraMbha) in which they failed (vihua). 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 Gathas ( 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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Notes 215 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 Gathas ( 695-736 ), we get the glorification of the King Yasovarman at the hands of his bards, after he finished his victorious compaign and reached the capital, Kanyakubja. 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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216 Gailavaho 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 Gathas (700-704), the Poet refers to the following legend with reference to the chiselling of the sun carried out by fagarantir : sUrya married saMjJA, the daughter of vizvakarman. 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 revaMta. sUrya brought back his wife saMjJA 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 viSNu, the trident of ziva, the weapon of kubera, the lance of kArtikeya and the weapons of other gods. The Com. has a different version to give about this episode. Cf. Tarenfurahit I 3777f ra taart bhartustejaH soDhumazaktA satI tato'pasasAra dUram / tato bhagavAna bhAnustadanuraktaH 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 (paDibaddha) in proportion to the number of chunks (saala) chiselled out (agf ) from the sun's body every day. cf. sfacrat ar TEUETTI TARAFT F TICAE 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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Notes 217 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. vazIkRtasya ca bhayAd vigalitA bhaekuTi: / 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-Purusa. 708. JE TU stazifa 55Having resorted to i.e. cultivated your merits (in themselves ). 710. Although Vasuki 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 foruvyApArAt vAgindriyasahastrayuto'pi vAsukinikhilAMstava guNAn stotuM na zakta 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. mukharamadhIraM tyaja majIraM ripumiva kelisulolam / / 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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218 Gaudavaho tvannAmakIrtanarUpaM yazaH kavacavadabhayakAri bhavati / ataH yasya yazo bhItAnAM 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 (fact), 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. Laksmi 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 kAmayante / naiva kA api kAmayanta ityarthaH / puruSakArahInAna svapatIn vihAya 999rbai argent 37 tumeftfor 1974: I Com.

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Notes 219 722. 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. ekasmAdeva bIjAdutpannAni mUlAni akurAzca krameNa pRthivyA adha: UrdhvaM ca yathA gacchanti tathaiva ekata eva kulAdutpannAH kecit puruSA apakarSa kecicca utkarSa 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 Gathas (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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Gaudavaho ( chajjaMti), slightly exposing to view the relaxed ( siDhila ), 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 (uccuDaMta) by the tight flaps ( kavADaa ) 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 (ubvella) the abundant locks of hair (cihurapanbhAra ) leaving it dishevelled ( visaMThula ). Cf. madanAturAyAstAdRzenaiva preyasA ziromArgeNa kaJcuke vimucyamAne IdRzI avasthA nAyikAyA bhavati / 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 KumaraSambhava III. 738. God Siva 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 ( saMbhAvia ) the cause thereof. 739. The corners (T) of his eyes (fat) started becoming dreadfully ( dAruNa ) red little by little ( thoatthoa) 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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Notes 221 (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 (avibhAvia).Cf. sa kopazyAmikayaikIbhUto vivekena na lakSyate / Com. 741. With great difficulty, His third eye which flashed forth the fire-flame, could open out (faEUR55) 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 Gathas ( 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 Yamuna, 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. faxMOETTI # Goud csire 574fceterfacerea arfETTHI 9fe7fETTACinafia 3feft: 1 Com. The graceful dalliance of the ladies, while in close contact with the King, is being described in a Kulaka of 23 Gathas ( 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. BETPLOFFI TETRACT

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222 Gaudavaho tat navoditacandravadAbhAti sma AraktazubhrakAntimattvAt / AmodayuktazvAsamilitA 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 raktAzokakusumaiH pUjyate / tAni raktAni bhavanti navanakhakSatavat ityevamutprekSitam / 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 Abhisarika. Cf. 35GUETAT komalatvaparivartulatvAdinA sAdRzye'pi haritAMzukaprAvaraNaM vinA kadalIdalatulyatA fanfararter Share & Baufacte: I Com. Cf. also ETFICHE: **CHTESTEHTIREMETA I Ha. 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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Notes 757. The bodice, with its two flaps, opens out in the middle (majjha ) between the two breasts and this gap looks bright ( tAra ) . The Poet imagines this gap to be the upper (3) third eye of god Siva, 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, ( thaNamaMDala ), 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 Karpura-manjari, where the two dangling ear-rings of the heroine are imagined to be the two wheels of the Cupid's chariot :-( - ( vicakSaNA) - uhaesuM vi savaNesuM NivesiaM raaNakuMDalajuaM se / (rAjA) - tA vaaNavammaharaho dohi vi cakke hi cakamio / / karpUrao 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 ( kaNNuppala ). Cf. tA hi nAyikAH suratArthaM priyatamairAgUryamANA apahriyamANanitambavastrA lajjayA karNotpalaprahAreNa dIpapAlIrnAzayanti / tanmA no nInazanniti dIpamAlAbhi: sundarIcaraNA AzritA ityutprekSitam / 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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224 Gaudavaho 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 HANITraktA ye stanaprasAriNaH stanopari patitAH zubhrA dantamayUkhAste manmathakRtAnAM 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 (gaMDavAsa) but also the image of the erring man (avaraddha) 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. priyamukhanikSiptavihasallocanatvameva samayaH / ato'valokanavizeSeNa priyatamaM prayujya vimocayantItyarthaH / 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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Notes 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 ( vaNNaatulilla ). 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 ( kaNNaUra) pervades these eye-lashes. Cf. akSINi hastasthAnIyAni sundarINAm / pakSmANi kUrcikA sthAnIyAni / karNAbharaNasthanAnAmaNiprabhArAgadravyANi sindUrAdIni / 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 ( phuraMta ) and tremulous ( lola ) in dalliance, appear to be flying (f), as it were, like birds, towards their lover, with flapping ( taralia ) wings, the fringes of which are drawn in ( saMpuGagga ). 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. diTiTarAa - dRSTirAga-- ' Love as seen or reflected in the eyes. Cf. atha bhavantamantareNa kIdRzo'syA dRSTirAgaH / zAku. II. aNubajjhatAI - anubadhyamAnAni - Being continued for long. 773. ATAT-TT-A young girl' according to the commentator Mallinatha- 82. O According to another commentator on Bhattikavya, she is - ' zIte sukhoSNasarvAMGagI grISme yA sukhazItalA / taptakAJcanavarNAbhA sA strI zmAmeti kathyate / Vallabhacarya commenting on the same in Meghaduta says, . zyAmA ekavAraprasUtA / taruNItyarthaH / The breasts, pressed and rounded under pressure, looked like lotus-leaves moistened and placed on his chest. G. 15

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226 Gaudavaho 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 dasaNavAsa. Cf. rAgeNa alaktakAdiraDageNa ujjvalAstathA ca antaHsthitairdantatejobhi: sArasapakSiyuktavApIvat zubhravarNayuktA ye THOTTATI 3TTOOTEST Tu Coet a gyet: 1 Com. The next 5 Gathas ( 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 Gathas ( 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 Gathas ( 792-796 ).

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Notes 227 793. 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 $aferifatnayaneSu na bhAsante / 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 (kakkeaNa). The Com. notes kakkeaNa-karketana 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. Rajasekhara notes ten stages for a poet to develop into a great Poet. In this, the sixth stage is that of a Mahakavi, while the seventh stage is that of a Kaviraja, 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 teSu teSu prabandheSu tasmistasmizca rase svatantraH sa kavirAjaH / kA. mI. V. 798. The high esteem in which the Poet Kamalayudha held Vakpatiraja 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 Bhavabhuti's compositions. 800. Along with Kamalayudha and Bhavabhuti, the Poet mentions Bhasa-Jvalanamitra, Kalidasa, the author of Raghu i. e.

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228 Gaudavaho Raghuvamsa, Subandhu, the writer of the literary composition (ca) Vasavadatta' 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 AlekhyavadiGigatadarzakaM rasayuktaM sparzakomalaM sArayuktaM mudritamiva manasi pravezazIlaM 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 ( Gatha 844). 40 Gathas ( 805844) thus give us a big Kulaka, with their subsidiary Kulakas. For instance, 12 Gathas (805-816) speak of the King as an emanation of Visnu, whose portion he has inherited,-Visnu 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 (Gathas 817-826). Like Krspa, an incarnation of Visnu, the King is an expert in the art of love and indulged in novel forms of love's pleasures (Gathas 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). Sesa, who is all along supporting the earth over

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Notes 229 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
230 Gaudavaho 814, 815, 816. These three Gathas 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 Vinata, 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, as 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 Vasuki, 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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Notes 231 occasion of the churning of the ocean, while the mountain Mandara became the churning rod, Vasuki 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 Kasyapa and Vinata, 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 Amota 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 Gathas ( 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 Rahu (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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Gaudavaho 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: kalala, kalila and kIlAla. 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 ( kavala) every day. Cf. sadhUmaM hayaheSaNaM 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 ( pAlaMba) and its loops ( kuMDala) 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 fP blossoms tied to their lower halves, which thus became heavy (T3). They became loose as a result of vigourous, unscientific (3) dancing movements. Cf. atirabhasaprasAritattvena tyaktAgamatvaM lAsasya asAmaJjasyam / 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 ( lahuvisayabhAva ) and he is denied ( paDisiddha) opportunities of playing his part in a wider range (47) and of obtaining recognition ( saMbhAvaNA) thereof. In a Kulaka of 5 Gathas (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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Notes 233 (TEua) layers of dust, which they were wiping off from their faces. Cf. 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 gaNDAbhogAta kaTinaviSamAmekaveNIM kareNa || megha. 85. zaddhasnAnAta paruSamalaka 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 ( maMtharia) blinked in their sockets (parivesa). Cf. svabhartR virahAdiklezajAzrupAtasyotpuMsanaM, rAjarAjAbhilASAnandAbhinavAzruNazca gafari ! Com. 842. 39 - Without betel-leaves chewed. - arasBetel; a Desi 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 Yasovarman was an extra-ordinary King, greater than even the King Psthu 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 Sesa 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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234 Gaudavaho 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. pAtAle vartamAno yo bahalatamaHsaMcayaH sa pathivyA gorUpatve haMbhAravaniSkrAntadhUmatvaM 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 pAtAlodarazanyapradeze galitaH ata eva sUkSmAkAraH sana abhinava-gorocanAtvaM prApta 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 Gathas 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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Notes does not appear good. Insipid glorification (fr) of kings, wanting in good deeds, gives no delightful appeal to anybody. 235 The next 150 Gathas 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 (aNuguNa) as the moon. Cf. tuSAravarSo'pi zItasparza: candro'pi zItarazmiH iti vidyamAne'pyAnuguNye abhimAnamAtrakRte dUSakatvaM Com. For the idea of a rich man getting snobbish compare : - yasyAsti vittaM sa naraH kulInaH / sa paNDitaH sa zrutimAn guNajJaH / sa eva vaktA sa ca darzanIyaH / sarve guNAH kAJcanamAzrayante / nIti0 32. 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. daridrANAM punaH kuto guNAH / anveSaNIyamArgatvAt / mArgaH upAyaH guNiparicayaH / sa daridrANAmanveSaNIyo vartate natu siddho'sti svarasataH / guNisvIkAraM ca sevayA daridrAH kuryuH / 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 ( agahia ) by the

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236 Gaudavaho 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 Gatha. 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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Notes 237 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. svArthaniSpAdanaparairdhanapizitagrAsagadherAsthAnabakaiH dyUtaM vinoda iti, paradArAbhigamanaM vaidagnyamiti, mRgayA zrama iti, pAnaM vilAsa iti, guruvacanAvadhIraNaM aparapraNeyatvamiti, nRtyagItavAdyavezyAbhisaktiH rasikateti, svacchandatA prabhutvamiti, bandijanakhyAtiryaza iti, . . doSAnapi guNapakSamAropayadbhiH antaH svayamapi vihasadbhiH pratAraNakuzalaibUMH sarvajanasyopahAsyatAM yAnti / kAdaMbarI. 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 (aMdolaMta) over disrespect or scant courtesy (aNAara)

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238 Gaudavabo 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. narapatihitakartA dveSyatAM yAti loke / janapadahitakartA tyajyate pArthivena / iti mahati virodhe vidyamAne samAne / napatijanapadAnAM durlabhaH kAryakartA / / subhA0 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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239 satisfies the soul within or the man's conscience (37), which is so difficult to please ( dukkha pariosiavva ) . 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 ( viuNaaraM ) . 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 ( avaraddhe ). 95 "3 << 885. Virtues or the good values of behaviour in man's life point out by contrast the maximum depravity (mahima - mahattvaM ) 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 role 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 (parihINaguNa) 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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240 Gaidavaho such people. In his message to Dusyanta, Kanva pleads that Sakuntala, 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 eva saMbhavati / svamahimadarzanamakSNormukuratale jAyate yasmAt / subhA0 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 (muhuttiNNa), will persist (dharai) on its edges (dhArAsu). 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
241. 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 (tuMgAvaloaNa), ), you are filled with wonder. As you look down deep ( NIadaMsaNa ) from a height into a well (avaDa ) below, you get a fright ( saMkA). 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 ( guNagavvia ) he has. When one sees such a sight ( NieUNa), 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 ( aNahigIa ) him in these words. - Cf. ' ye nAma kecidiha naH prathayantyavajJAM / jAnanti te kimapi tAn prati naiSa yatnaH // mAlatI0 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 ( mahAguNa), 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 (dosA) are yielding rich rewards ( phalaMti) now, the more will the world (aM) be soon devoid of merit ( guNasuNNa ), as no incentive for the cultivation of merit will be had. G. 16

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.242 Gaudavaho 903. But then these great men, who have become fearless ( V AT), having given up all ambition after a good deal of thought (vivea), care a fig for kings (kiM va nariMdehiM). In their fortitude (dhIra) 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 (khaMDaNa) by their own frenzied movements (sapariphaMdaNeNa) 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 Thcxit 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 (gholaMti). Cf. pradIpo'yaM nidrAvazamupagato ghUrNata iva |sumaa0 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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Notes: 243 (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. pApaparicayaparihArAya jIvanamanicchatA guNidaurgatyanivAraNAya svayaM tyaktavibhavAnAM vibhavadoSadhiyA vA kRtAnto viparItaM 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
244 Gaudavaho 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 (dakkhiNNabhAva) and no sympathy (karuNaa-karuNatA). 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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Notes 245 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. CfparihAravatI rajasvalA / Com. 922. Laksmi 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. Laksmi 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. Laksmi is born of Dharma or Righteousness. How can she hate good men ? (HHFIT-ovar). Laksmi 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, deveoping 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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246 Gaudavaho limelight and publicity (CTTH). Such is the contradictory dispensation (viNNAsa) of wealth. Of. apanayati guNAna dadAti ca doSAn / 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 Laksmi (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. prAyeNa guNinAM lakSmI zyate na tu zrImatAM guNA: iti lakSmI guNA dviSanti na 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. latAvRddhau hi mUlAnyadhastAd gacchanti / Com. 932-933. The two Gathas give one sentence. Laksmi 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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Notes 247 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 ostrarafhropahatanayanatayA / evaM satyapi tayA pUrvameva duSTadaityAdityAgena guNavatyeva bhagavati nArAyaNe vasatiH kRtaa| tena guNavatpakSapAto'syAH sphuTa eva / 934. At the pompous celebration of wealth (Laksmi), though newly acquired (96#feg3T), 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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248 Gaudavaho 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 (AyAsakaa). 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 (gADhaarAyai). Cf. tailAdinA snehena 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 a 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 - ) (Navara hA te uNa Na saMti). Cf. prathama bAlyopakrame tAvanna guNA dRzyante / nApi guNahetavaH adhyayanAdayaH / tataH saha guNaste hetavo dRzyante / saMprati teSAM guNA eva dRzyante vyatItazarIrANAm / anantaraM kaSTaM te'pi na santi bhUyasi kAle gate / Com.

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Notes 249 945. 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. yathA naSTasya' zarIrasya kvacit 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 (viramaMti) to such wayward inclination immediately (jhatti). 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 (sevAniMdAvaro). Cf. vanavAsamAnaM mokSopAyaH 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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250 Gaudavaho 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. vanaM gantuM buddhirbhavati ca kalatrAt oftwa: 1479. I. 15. 954. The Gatha 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 RTATAsmaccharIre suhRdityuSitvA / vipanadehe mayi mandabhAgye mameti cintA kva gamiSyasi 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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Notes 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 ( dasiNo ), called purobhAgas Cf. doSaikadaka purobhAgaH / 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 ( guNamettaM gehaMti ). Cf. guNadoSavedinazca madhyasthA na santi ye gRhanti guNamAtraM doSaM tu tyajanti rAjahaMsaprAyAH / rAjahaMsaH kila jalasaMmizraM kSIraM niSkRSya pibati jalaM tu tyajati / 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. viduSo lokasAmAnyavyavahArAvasare tadanusAreNa vyavaharamANasya zyAmAyamAnatve'pi nAsti virasatvamityarthaH / 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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252 Gaudavaho 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 fauafefa 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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Notes 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 ( dANAarasaMbhama) they search their sides (pAsa) or pockets, only to find them empty (). The result is great embarassment ( bilia ). Such occasions torment ( dUmeMti) these good men. Cf. saying to who restored the stolen casket of Vasantasena's_ornaments - bhadre, na kadAcit priyanivedanaM niSphalIkRtaM mayA / tad gRhyatAM pAritoSikaM idamaGagulIyakam / (ityanaGgulIyakaM hastamavalokya lajjAM nATayati ) / mRccha0 V. 253 973. When we could afford, we gave away in charity amply to our hearts content (f). We still continued to give ( tao a detehi ), 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 ( gahiaM) charity from others ( parAhito ), with our heads bowed in shame, though prompted by greed (). lohapaNaehi ( lobhapraNataiH ) 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 ( NiaaviveaTThaviA) 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 (garuattaNeNa), cut themselves away ( vighaDaMti) 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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254 Gaudavaho 977. These great men have acquired all the knowledge from the study of Scriptures, like the Upanisads 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 (asamaMjasa) to do so even slightly (thova), 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 (guNANa bhAvaM cia haraMti). G. laghavo gurUNAM purato nijaguNA -hasvatarA vibhAsyantIti bhItyA mUlata eva 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 (apaattaguNa), gets condemned as a wicked man (pisuNattaNaM) both ways (FET), for his falsehood and for turning a flatterer. cf. nindyasya alIkaprazaMsayA durjano yathA dviguNaM paizunyaM prApnoti tathaiva guNahInasya EXACUTA MANH4T gottsfa facos 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 APTAI 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, Nyaya, Mimamsa, Vedanta etc. Hence they can rightly be called vijjAvihava (vidyAvibhava) or the possessors of the wealth of learning. The chief essence (Hrefah). of this knowledge of diverse branches is Poetry (7600), with its twofold Alamkaras or Figures of speech viz. zabdAlaMkAras and arthAlaMkAras, which serve as embellishments of Poetry. The essence of knowledge on the part of the possessors of the wealth of learning is intimated (sIsaI) to the listeners by their nodding ears (savaNa),

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Notes 255 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-zabdAlaMkAras down below and arthAlaMkAra up above. 982. When Laksmi 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 Laksmi alone. These men, who, in their arrogance of detachment, discard her, are equally responsible for bringing upon themselves conditions of poverty. Construe the Gatha thus :mahagdhesu sirI Na calA / teNa te ccea (tAn eva) jaM (yat) sA muai, te uNa te vaM cia jai muaMti, iha tIe ko doso| 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 Pranama 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: priyANIti kRtvA kRpaNA dhaninaH praNAmakRtAJjalivyAjena tasyAH purataH kamalapUjAM 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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256 Gaudavaho body? The figure of speech is Anyokti, with specific reference to great men who disappear when they cannot give anything in charity. Cf. mahatAM dAnasAmarthyanAzaH palAyanaM ca mRtyuvaditi bhAvaH / Com. 986. Happiness can be secured and unhappiness can be avoided (suhadukkhAgama), if proper steps are taken (sovAya) 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 suptasya siMhasya pravizanti mukhe mRgAH / / Also udyoginaM puruSasiMhamupaiti lkssmii-| vaM hi daivamiti kApuruSAH vadanti / daivaM nihatya kuru pauruSamAtmazaktyA / yatne kRte yadi na sidhyati ko'tra doSaH / / 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 (AArapesala), 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 (avisaNNahiaa) and rise to glory (gAravaM 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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Notes 257 prApte'pi duHkhe ye aviSaNNahRdayAH santo gauravaM na tyajanti teSAM gurUNAM duHkhaM anapanayat 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. araNyavasatiH kevalaM aihikaphalAnAM zAntisukhAdirUpANAM dAtrI na tu paralokArjanaEnTuTi 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 (suhaMbharappA = sukhaMbharAtmAna:) 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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Gau davaho 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. yuvatistanalaMpaTA aihika - pAratrikanizreyasaparAUmukhA bhavantItyarthaH / 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. sa eva nAsti anaGgaH paramArthataH / atastasmAt kavisamayena bhAvyAni sukhAnyapi tathaiva aparamArthAnIti bhAva: / 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. gataprAyA rAtriH zazimukhi zazI zIryata iva / pradIpo'yaM nidrAvazamupagato ghUrNata iva / praNAmAnto mAnastyajasi na tathApi krudhamaho / kucapratyAsattyA hRdayamapi te caNDi kaThinam / subhA0 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. viruddhavartano loka ityarthaH / 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. kAmAdiceSTAzaktayo hi yauvanadazAyAM yathA krameNa Agacchanti tathA tA vArdhakye krameNaiva apagacchanti / tAsAmAgamanagamanairiva kezA mArgA iva dhavalA bhavantItyutprekSyate / 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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Notes 259 (afagfe), 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 (visama) and is without any pleasure (virasa). 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 Vedantin. 'Everything is void,' ( Th) would say the Buddhist Madhyamikas. 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 Gathas ( 1007-1011 ) the Poet tells us how God Siva 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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260 Gajidavaho 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 Siva holds over His head Vasuki, 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 (velaMba = viDamba or viDambanA). 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 (9fes). 1009. Siva has garlands of skulls (1975ATEST) serving as a decoration (FIR) over His head. These skulls are openmouthed (face), revealing the reddish inside (337EUR) of their cavities (96). These skulls went into the formation of the graceful curling locks of hair ( H am) on His head. Cf. atyantodghATitavadanakuharA yAH zivaziraHsthakapAlamAlAstA eva zivasiMhasya jAlAasta 16:1 6751764: aymar: HEPAT:19:29 Cocafaat:1 Com. 1010. The curved, sharp edges of His finger-nails (ET) went in by way of reflection (paDimAmaggA) and were sighted (saccavia) 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. zivasya nakhAgrANAM ye pratimAnivezAH ziraHzazikalAyAM kRtAsta eva tato nirgamya fafhERT ATT turrara TGT sfa yra: 1 Com. 1011. Gauri or Parvati 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 Gathas 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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Notes 261 1013. The column of smoke appeared lovely (HE) like a path (saraNi) blackened (sAmalA) by the thick (bahala) flow of the water of ichor (731), oozing from (the temple of) of the heavenly elephant (surakari) called Airavata of Indra (tiasaNAha), 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 Yasovarman is god Hari or Visnu Himself, since he holds on his chest the goddess Laksmi, 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 Gathas (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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262 Gaudavabo 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. AzritayA bhUmyA yo ghRSTa: pRSThapradezaH sa gauriibhuut.| pArvAni tu svabhAvazyAmalAni kUrmasya / 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 (rasAala) serving as foundation of the mountain (mahihara) 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 Vasuki, 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 Vasukt 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 (phuTRti) as they dashed (tADia) against the sides of the mountain in their revolutions (fafup3TfFT).

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Notes 263 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 (Nihasa), these lakes started flowing out (vahaMti). 1026. Some time, during the course of churning, the Mandara mountain slows down (maMtharAaMta) and then comes to a stop (vIsAma). 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 Vasuki 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 (AlavAla) 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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264 Gaudavaho result, the valleys, gradually exposed to light (Hagstai), gave the impression that the foresters inside are now moving out (forfa), 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 Vasuki. 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 Vasuki'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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Notes 265 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 (osAria). 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. mahodadhimathanasamaye kila kUrmaH sarvAtmanA jaladhitalaM prApto mandarabharadharaNAya / tataH 972fa quat ca fastrat a Fosfaat 3taf facat Tauchfeferat i Com. 1039. The Goddess Laksmi 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 Visnu. The next four Gathas (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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266 Gaudavaho jewels in the form of finger-nails ( #fot) of palms, placed under the chin to lift up the face (vayaNuvvahaNa). 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 (umhavia) the broad cheeks (gaMDavAsa). 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 (lIlA) outburst of anger (rosuggama). In the next two Gathas ( 1044-1045), the Poet reiterates his fancy about the King being Kesava ( Visnu), reposing on his fame, as Visnu 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 Brahma (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 (visaMta) the conch which He holds to His mouth. Cf. bhagavato hi harerudare trayo lokAH sthitAH tena tadAdhAratvena aNDatrayamapi tatra sthitamiti koSThyapavanapreritaH anyatamo lokaH zaGakhAbhyantare praviSTa: iti zaGakhaH anyatamaFroscarafea: 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 Kesava himself. A great protector that he is, he, as Visnu, was visited by th@ 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 Gathas (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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Notes toes are imagined to be the young ones of Sesa, who have clustered round the feet, to lend support to Sesa 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 ( lIlA ) moved in a gliding gait ( gholAvia ). The bunches of swans are imagined to be the clustered coils of the hoods () of Sesa. Cf. zauklyAt zeSaphaNAsAdRzyaM rAjahaMsAnAm / Com. 1049 She is wearing, round her waist, a brilliant band of rays ( kiraNakalAva), thrown out (uggiNNa ) by a girdle-string ( rasaNAT) 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 ( sIramagga) facilitating the emergence ( NiggamaNa ) of Sita, who had stayed safe, without harm (fr) underground.

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268 Gaudavaho Janaka says (in the Ramayana), " 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 Sita (the furrow). This girl, sprung from the earth, grew up as my daughter". Cf. sItA halavilikhanairbhuvo jAteti prasiddhiH / valitrayaM codare taruNI dhArayata iti 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 Ganga and Yamuna, wherein the whitish stream (ATT) of Ganga joins the waters of Yamuna. Cf. TESTATZTEFATEEGATI prakSAlanAdvArivihArakAle / kalindakanyA mathurAM gatA'pi gaGagormisaMsaktajaleva fa Il Teo VI. 48. Also the description of the two rivers at Prayaga, 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 HarritulfatyAdutprekSA / 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), Mandakini. The reflection falls down from above (39ft), in the case of Mandakini, over the upper surface of the bodice and projects from inside (36) on its inside surface, close to the skin, from the waters of Ganga, who is no other han the heavenly river, brought down to the earth hy Bhagiratha.

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Notes 269 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 (divvapura) with which the broad expanse (Ahoa) 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 (viNIladdha) because of the night (NisA) 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, pazcimabhAge tu tamaH, iti mukhena kuNDalAbhyAM pazcAt pralambamAnakabaryA ca yuktena sAdRzyam / 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 (raabiMdu) which gather (kalia) at the base (mUla) 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 kezeSu dhAritAni yAni kusumAni tebhyaH sakAzAdvahatAM rajasAM bindubhiliptamUlena TUS FUIT faefacts 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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270 Gaiidavaho 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 prajJAparicayaparAdhInamanasAm / sudhAnAmAdhAraH sa khalu rtibimbaadhrsudhaa-| rasAsekasnigdhAdajani nayanAt puSpadhanuSaH // subhA0 1065. The race of the lord of night (T3TUITE) is the same as Candra-Vamsa or lunar race, claiming descent from the Moon. It is divided into two great branches, the Yadavas 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 (samuttarai), getting blurred (viralASTART) 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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Notes 271 (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 (Hfurfaffiuft) in her girdle produce jingling sounds (ES). as they flap up and down (aoo) on their firm, broad buttocks (gADhajahaNatthala); and the garlands on their necks (kaMThadAma) have every single flower (paDikusuma) vibrating (aMdolia). 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 Gandharva form of marriage. Cf. 972219fzupet parafacte: 1 Com. 1070. Laksmi 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 (uggiNNa) by the emeralds set in his armlets (keyUra). 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 AGITAC fare:Hafoti gasi afa lahat timiraM yathA nazyati tathaiva abhicArakarmAgnikuNDena tAnaM yazovarma zatrumaNDalaM taM samAkAmata nazyatIti / Com. The day has come to a close and, therefore, giving an assurance to his audience that he will resume his narration of the Gaudavaho next morning when the night has ended' (Trifah), he proceeds to the description of the evening and the moon-rise in Gathas 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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272 Gaudavaho 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 ( visara ) of molten iron ( Ayasarasa ). The area of the earth's surface ( mahIveDha ) down below is darkened ( mailijjii ), 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 ( ubvellaMti ). 1079. Over the roads of the city (3), the afternoons become grey (dhUsara ) even when the sun is still suspended ( sAlaMba ) 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 ( dUrattaNa) from their city and hence coming back earlier even before sun-set. 1080. The excellent cows, white-skinned, have heavy haunches (garuA amANa - jahaNa ), which slow down (3) their pace, although they appear to be going a bit rapidly (thoamivaviaDagamaNA ) in their eagerness to meet their calves. Another feature that serves as a handicap to them is the plump ( pINa) udders ( ApINa), which have started oozing milk ( paNhua ). Cf. kSIrapUrNodhastvena ca gurujaghanatvam / dhenudhavalyaH dhenavazca tA dhavalyaH uttamagavyaH / 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 ( pasArei ). Cf. AdityaparivRttinibandhano'yaM dinarajanIvibhAgaH / pradoSasamaye ca yasyAM dizi divasapakSa AsIt tatra divasapakSasaMkocena rAtripakSaH prasarati / Com. 1082. The bright glory of the Day is imagined to be the goddess Laksmi (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 (afuces). These string-like rays are pink, like the lines on the knots of white, ripened reeds (jaraDhasara).

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Notes 273 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, (pairikka). Cf. divA hi ravikarasaMsargavivarNIbhAvabhayena vAtAyanAnyAcchAdya sthApyante / aparANhe tu gavAkSavaraNaM jAlakAdikaM apasAryate ityAvArakazUnyatvena tamasA viriktAH zUnyA bhavanti citragRhAntaHpradezAH / AlekhyaM ca ciramujjvalaM prathate tadA / 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 (maulitA) and become so many stars (tAraattaNaM eMti) at night. Cf. adho gacchati ravau UvaM dhAvitAstatkiraNA iva mukulIbhUtAH saMvalitAH santa: 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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274 Gaudavaho 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 bIjamatra / AkAzo bakulavRkSa iva / astaM gacchan dinakara AdhAra iva AlavAlaM sa i FETT afaza i Fetarfor gogronta 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 (jalaNovala-jvalanopala or jvalanAzman). Cf. zamapradhAneSu tapodhaneSu gUDhaM hi dAhAtmakamasti tejaH / sparzAnukUlA iva sUryakAntAstaGrottsfare qafia 11 370 10 II. 7. 1091. The pitch-black mass of darkness (fafactata), with the reddish (AyaMbira )orb of the setting sun touching (cuMbia) 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 Kali, which started dripping (AT). 1092. The sun or Surya 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 Visnu. (HEHEUT). Cf syandane rathe ye turagAste haritAH / garuDo'pi svarUpeNa sauvarNAd raktaH taduparistho hariH kRSNaH / haribharAkrAntagaruDonnamitaM picchaM haritam / iti tulyatA fafarafy gathaf og EfT9uinta TEGA I Com.

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Notes 275 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 (lakkhia) because of the evening glow (saMjhA). 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. pUrva garuDena gajakUrmoM 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 (palhatthai), having been thrown overboard (9f59fces) by the great boar in the form of the thick and heavy mass of darkness. 1099. Vinata, 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 Vinata. 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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276 Gaudavaho 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 Kharjura tree. 1103. The river Yamuna rises in a mountain called Kalinda and hence she has the name Kalindi. 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 Kalindi i. e. Yamuna, 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 story of our King, to be told (ata).

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Notes 277 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 (laMghaNa) by the tufts of darkness (tamasihA) heaving up (Usasia) 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 tayA zazina Aloko madhye madhye mizro bhavati tatrotprekSyate - zazinaH zazarUpamalinasya kalaGakasya yA tatsadRzI kRSNA pratikRtiH sA tasya Aloke dRzyata iti / Com. 1109. The sky is fancied to be the outer shell (3779195) of the primordial egg of Brahma (baMbhaMDa). In course of time (kAlaMtareNa) 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 (maamaMDala) is fully visible (paaDa), as the swarms of bees (mahuarajAla) in the form of darkness have fied away (uppaaNa).

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Gaudavaho 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 (kalaso vva) moon is tilted upward ( ukkhippai ) 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 (saMraMbha), which colours him red. He has a halo ( parivesa ) 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 ( lhasia ) . 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 ( oaraNa) of wine-filled glasses ( mahucasaa ) 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 ( ( vilola ). The Poet imagines that these fickle rays are, as it were, the hanging clusters of lotus-fibres (fa) of the day-lotuses, forcibly uprooted ( rahasummUlia ) with a view to destroying them all-together ( viNAsabuddhIe ) . 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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Notes 279 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 Gathas, 1122-1138 and in Gathas 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 (visesatAra). 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 (kusumaphalaMtara). 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. Bana 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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Gaudavaho the black fortnight the moon gets into the sun ( ravimaMDala saMpavesa ) . Cf. kRSNapakSe ravimaNDalapravezo jyotiHzAstre prasiddhaH / Com. 280 1134. The tips of eyebrows (z) are thrown up (fax) to shake off (e), as it were, the protruding (affe) earsprout ( kaNNapallava) and the wistful eyelashes (pamha ) start throbbing, as the blinking action ( Nimesa ) of eyes is controlled ( niyamana ), 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 ( lajjiesu) it is only her forehead ( NaDAla ) which bows down (Namai ), 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 ( uvvatta), so much so that they kiss ( cuMbia ) or closely cling to the skin-folds (g) up above. 1136. Her hand trembles as it moves unsteadily (5) and pushes aside ( osAria ) the veil placed over her head ( NiriMgi), with a view to have a better look (a) of the man at this time (samaya). The hand holds to the region of her ear ( gahiasavaNAvaAsa), 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. zarAkarSaNaM hi karNAntaM kriyate dhAnuSkaiH / Com. her 1137. Even when moving away (1) from her lover, half-averted (valiamajjha ) glances ( diThThAI ) 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 ( NIsaMkaMcia ) at nights. Cf. candro hi cauryacaritAnAM baisabandhananikSipta iva abhayakaraH stAvako vA protsAhako vaitAliko veti mataH / Com. 1140. Under intoxication the eyes open wide, their eyelashes smitten (3) with red tinge (blood-shot), looking like

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Notes 281 wreaths of tender filaments (kisalaya-mAlAamANa). 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 Gathas. 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 (garua) offence (NAmamaMtakkha) ! 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 (Niroha) the outburst inside (aMto), 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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282 Gaudavaho 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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Notes 283 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
284 Gaudavaho 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 TrafSTATATATAPOFTETTEIGHTfaramaet: 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 (viuNagarua) by the tips of her lover's nails (ramaNaNahaFET) 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 (Furetofera 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 (paattUsAsa) on account of the condition of fatigue (samabhAva). 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 Gathas 1164 to 1184.

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Notes 285 1171. The reading phalanivesA (phalanivezA:) would be preferable. It means 'Fruits growing lit. placed (on the branches ). ___1173. The stars and planets (gaha), shining bright throughout the night are taken out (197) from the light of the dawn (gosappahA) and are pushed aside and dumped (puMjijjai) over on the western horizon (pacchA ) with its thinned base (taliNamUla) by the night. The Poet metaphorically represents these stars and planets as cotton-seeds (palahi-bIa), sifted by means of the iron ginning machine (TCT) in the form of the churning darkness (tama) and kept behind by the Lady-night in a heap. Cf. prAtaHkAle grahanivaho muktaprabhaH mandaprabhaH san krameNa pUrvadigbhAgebhyo vinazyan pazcimadizi eva pujIkRta iva dRzyate / tatrotprekSyate / tamorUpalohamayaloThakAnugatakArpAsabIjanivaho yathA kayA'pi striyA pazcimabhAge pujjIkriyate tadvaditi / loThakaH kArpAsabIjaniSkAsanArtho yantravizeSaH / Com. 1177. With the couples of the ruddy geese (cakkAa) standing soaked in water, the big tanks appear red-eyed (aruNaNaaNa), having wept (ruNNa) in sympathetic grief (visUraMta) for their day-lotusplants (NaliNIsoeNa). 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 Cakravaka who stands separated from his beloved mate for the whole night. The sun meets his beloved Nalini at daybreak. Cf. tasmin kAle nayanasalilaM yoSitAM khaNDitAnAM / zAnti neyaM praNayibhirato vartma bhAnostyajAzu / prAleyAstraM kamalavadanAt so'pi hartuM nalinyAH / pratyAvRttastvayi kararudhi syAdanalpAbhyasUyaH / megha0 39. For the poetic convention about the cakravAka birds Cf. sarasi nalinIpatreNApi tvamAvRtavigrahAM / nanu sahacarI dUre matvA virauSi samutsukaH / vikramo0 IV. 1179. The thick mass of darkness (tamugghAa) runs away (vivalAai), 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 (asahia) to hear the acclamations (uggAra) of the meritorious deeds (sucaria) of good men, as it (acclamation) serves as a decoration (avaaMsa) to their pious actions. 1182. The sun is figuratively imagined to the whetting wheel (NisANacakka) of the bluish sword in the form of the blue sky (gaaNAsi). As the sword is held over the rotating sharpening wheel, fire-sparks, which are no other than the powdered particles (cuNNa)

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286 Gaudavaho 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 Gathas (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 Vasava 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 (durva) 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 (faforenta) 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 Kalidasa. Cf. Fra an Hanifafaa puSkarAvartakAnAM / jAnAmi tvAM prakRtipuruSaM kAmarUpaM maghonaH / megha0 6.

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Notes 287 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. gaganahariNo mRgazirAzcandramRgo vA / 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 Gathas (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 caraNAnAM yazovarmacaraNayozca tulyA caraNa-jAtau utpattiH / ataH samajAtitvena 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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288 Gaudavaho second time. Cf. 97:TUT TIETT TETTE Targar: utsfa bhartRgRhavisarjanam / 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. jitasarvatvAt bhrukuTiviSayastava na 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, Laksmi, 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.

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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-FUTSTIST) 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 Gaudavaho as Gahavidha (TETO) a Pedestal in Gathas ', serving as a base or foundation, as it were, for a magnificent edifice to be built up later. G. 19

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Page #588
Appendix I Index of Gathas in Alphabetical Order a aNukuMDalamA vivaiNNa 1203 aNuNijjaMtaM rakkhA akaovara akkaMti karIsumhA akkhitta akhaliasarIravaaNo aggaTThiahariaturaMga agghai tattha raNAraMbha agghara maMgalagahiekka agghaMti NIlavaNarAI ati tA vi avaMti sarasasuradAru agghaMti sisirasalilA aghaDaMtadhUmaraa aghaDiaparAvalaMbA accatama eNa vilAsiNINa accatavieeNavi acchau tA vihaluddharaNa acchaMticci kiviNA ajjavi aNahaTThiarAma ajjavi jassa harANala aTThaagirivalaNagaA aaipatavisahara aTThaamAvatI aNNA u aNimukta aNNesa avyapavaNA aNNo vi NAma vihavI aNNoSNakalahavialia aNoraNaM lacchiguNANa aNNoNNA rAhaNakhaNa aNuaMpA vA hAso * 275 aNudhAraM saMdaTTebhadeg 842 aNurAotti pariaNo 1147 atthakkaphuDaNavialaMta 1186 atthANataliNatArattaNeNa 415 atthAloaNataralA 112 asthi NiattiaNIsesa 358 adveNa sarIreccea 573 appattAvisamudda 512 appA ettiametteNa 273 appANagamiaviaNattaNeNa 687 appANaNivviseso ti 976 apphoDaNA highAa 1154 amaovaoaparihiTa 907 amararamaNIvihuvvaMta 955 ayasaM dAUNa visaMThulANa ayaseNa riUNa karaMbiAo araiparisakkaNA raNira 921 1052 208 aruNavirAviataNuA 1024 aruNavisAriaphaNA 476 allINA rahasAgama 4 avaaMsakusumaNIsaMda 939 avajIvabhAvagaruA avaNei dei a guNe 519 376 avamAruamUlaNimilla avahAo vi iha 874 331 avaraddharamaNapaDimaM 930 avavakkalaNIsahamUla 1155 avasaNNapurANaNariMda 95 avahIriadiggaa 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

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292 Gaudavaho 746 258 437 262 248 400 avahIriapiaama avioagamiadiasaM aviveasaMkiNocce asamappamANadIhara' asamAraNamalubbhijjamANadeg asaralalIlAgai asalAhaNe khaluccia asahiavisuddhasukaA asuroradviNihaMsaNadeg aha kamalakANaNoThTha aha kelAso volei aha tassa thirabhuadeg aha pariaro aNeo aha moho paraguNa aha vihasiUNa saNiaM aha suddhammi a Nihasuttha aha se bhaeNa gaadANa' / aha so kaAhiseo aharappahAdarAruNa ahavi valAaMtaM kavaliUNa ahiArANalakuMDaMba ahilaMghiUNa loaM ahilAsA rahasa ahiletassa kameNa a ahisAraNammi taM riudeg A. AavakaDhamANaNavaMbu AavakilaMtamahisacchi AArapesalANa vi AAsei paIve AgamalaMbhe vayapari' AgamavAA chaMdaNNuA Amuaiccia jI AmUlavaliavAmoru 1141 AmehasamayasuhaA 1130. AyANamaragaacchavi 880 ArakkhavaNamuhaggiNNa 145 ArUDha johaNivahA 840 ArUDho pAsAakkameNa 265 AraMbhiNo vva saMpai 979 ArohiNA pahAakkameNa 1179 ArohaMti NahaalaM 7 AluliaveNilehaM 514 AlekhiaMca sarasaM 636 Aloo parigholai 797 AvaaNoru NiraMtara 321 AvaMDusalilalaMghia' 892 AvAi mAhavINaM 845 AsaNNapiaamAhara' 1205 AsAgaadANAaMta 354 AsAgaehiM sarahasa' 192 AsAratADiAI 762 AsArapasarasaralA 417 AsiharapariTThiadeg 1071 AsaMsAraM kaipuMgavehi 80 1145 ia amaakuMbha 511 ia amuNiavehavvA 712 ia ukkaMThApaDivaNNadeg ia uNNaeNa imiNA 397 ia Ururu bhImeNa 1088 ia esa vihuavisahara' 988 ia esa hiayaNimmANadeg 1174 ia oAriacAvammi 977 ia kamaNimmahiAdeg 802 ia kAmiNINa piaamadeg 157 ia garuavaiarudeg . 202 ia cADucauracAraNa 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

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Appendix 1 293 / 201 704 276 660 898 1182 549 339 374 595 664 556 373 544 617 ia jammi paese NammaAe~ ia jammi paese pahupahAva ia jammi piuvahA ia jassa gimhadivasA ia jassa samaradasaNadeg ia jeNa khuDiavakkhA ia jeNa NahaMgaNadeg ia jeNa saMbhamAraMbha ia jo thuvvA ia jaMpiUNa sayaNA ia NivvattiasejjA ia taiA khaNadeg ia tammi Narakalevara ia tassa paDhamamaaNA ia tAhe bhAvAgaa ia tiNayaNarosANala ia tuliumahilasaMteNa ia daracakkhiamairA ia palayajalapphAlia ia palayANilakavaliadeg ia pahuNo dhaNupellaNa' ia baMdiNaMdiajayaM ia bhamai bhavaNasiharesu ia maaNUsavaviasaMta ia raaNIbhaMguggaadeg iare vi phuraMti guNA ia lIlArosuggama ia vasuhAhivadaMsaNa ia vijjhaguhANilayAe~ ia virasamimaM saMsAra ia saaladisAaDa ia subvai eso ira ia se jayaperaMto ia se diNesu mahudeg 465 ia se pasatthapatthANa 507 ia sovi tadvighaDaNA' 484 ia hemaMtasamiddhAsu 166 icchApariattalaAdeg 113 icchAmi vimukkaguNaM 160 iTTAcuNNa va kiraMta 235 iha ajavoruvarAhA 855 iha ajjavi kiMNu 253 iha ahimahamaMjaria 1120 iha ahirAaMti kamA 1069 iha ira taMA pura' 832 iha uvasaraM varAhANa 347 iha uvvellai darapIadeg 796 iha kaaphukkArapaDataM 1204 iha kaDiaviaDasilA 742 iha kahavi samAsAiadeg 1011 iha kArahIsu kallaM. 781 iha kAlarUDhasIrA 814 iha kAlA ruggatarudeg iha kAleNa samIkaadeg iha kesariNo vihuNaMti 737 iha kosumeNa cAveNa iha gAmAgaadhammi iha goravirahiNIgaMDa 787 iha gaMbhIrAaMti va iha ciciNINa ghettUNa 1043 iha NijjiakuMdosIra 207 iha Nea NisAsu vi 338 iha tassa ciraM sevA 1006 iha tAo khaMDiuvvAadeg 658 iha tAoM pulosa 1063 iha tA tarumUladeg 439 iha teamehasaMvalaNa 791 ia te jati kaiNo 605 668 667 561 181 681 552 380 370 83 77 609 583 683 677 671 638 688 626 589 566 371 62

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294 Gauqavaho 565 521 627 672 594 621 676 535 650 iha te maakalakAaMba iha toyalaMghaNummukta iha taM saMcAria iha darakhallaiadeg iha dAvANaladhUmA iha diasammi vi siharA' iha diNNabhUmimaddA iha dIsai kaNaasilA iha dIsai vimalAaMta iha dUmaMti va phalapatta iha dUradiTThasiharA iha dhAulihiadeva iha dhArAviccholi iha parisakkijjai kaDhiNadeg iha pallIdhUmubbhea iha pavaNabhiNNatAlI iha pAavalaggaTThi iha paMkalolaNAvila iha phalai dumavaIsu iha phurai paMDubhAvo iha bhUidaMDasesA vi iha bhUribhamirasAhA iha maNiaDANa dIsai iha mattANeavihaMga iha mAruataMsIka iha mAhavINa komala iha mukkapallalummuha iha muNivarANa Nika padeg iha mUlapaviralesuM iha raNagoulesuM iha raviNo maataNhA iha rehaMti cchAyA' iha lavaNuggamaparihINa iha lolei khaNakkhaNa 517 iha vAucuathUlI. 574 iha vAyasaseviakIDailladeg 593 iha vAhehi varAhANa 619 iha viaDamUlabaMdhA 590 iha vihaDaMtataMtucuDuppa iha vihaDiapiMDIbaMdha 548 iha vIsamai va hiayaM 564 iha vellaMtadumujjhiadeg 624 iha salilakAsasakkAri' 685 iha salilakiliNNAaMbadeg 625 iha sA ummuddiasiMduvAra 540 iha sA sakesarovvatta 652 iha siddhasudarINaM 618 ia suireNa pasammai 645 iha sottAgamavihaDia 633 iha so tarualavasuA 571 iha sohaMti darummilla 576 iha harajaDAhisaMjamaNa 616 iha gaajUhaNidaM 640 iha hi haliddAhaadaviDa 560 ihahuttaM NivaDatA 611 iha hoti muhalasihiNo 639 526 uaacchavi muaMto 572 ukkattaM pi hu khaNamatta ukkarisoccea Na jANa 643 ukkiNNaraabharoNa ukkaMThabarahicUDA 550 ukkaMdalANa gholai 577 ukkhaagirigahaNa 542 ukkhippai gaaNatulA 582 uggaMdhamailavasuhA ucchaliasalilapUri 587 ujjhai uArabhAvaM . 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

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Appendix I 295 1119 1105 557 533 538 697 631 1076 65 537 527 568 659 651 515 usaMbhijjati NarAhivassa uddiNaaramiMdusahaM uppaaNaruddhagaaNA uppakSaNAarasaMpiMDiaMga uppaaNohurapIliadeg uppaiareNuNivahA uppiatiasavisAo uppusiAharaperaMta ubhijjai jaDabhAvA ummillai thoasthoadeg ummillai lAyaNNaM ummillassa vi ciraAlaM ummillaMti mahIhara' umhAaMtagiriaDaM samhAi gimhavihurA umhAlakusUlamuhu umhAlatarucchAyA uvaaraNIbhUajaA uvauttasallaIkaMDa uvamAsu apajjatteha uvariTThiacaMdAloadeg uparimaho a dharatehi uri dhUmaNivesA ullasiavIivalayaM uvahai daiagahiAdeg uvahai dhUmavalayaM uvvahai biMbaghaDiaM uvveaMti va ahiNava uvvellei samIro uvahANaM piva lIlA uvahArullUriamAsa uhaoahipaDilaggA U ruju malayabhavaM 197. Usasai vilolakara' 346 asasiaraNNasImA 229 usAsiasAmalAruNa... 224 x emaAo gADhaphuDaNA 151 emAo parUDhAruNa 144 eAo vAadhUsara' 778 elANa phuriasevA 783 eDU ihaM jalaNihi 739 ee chAyApariatta ee te vaNaseriha __1017 ee pUrAlukhaNadeg 455 ee vaNavAraNagaMDa 383 ee virattasuracAva 356 ee virAagomaya 377 ee vihaavahuvvelladeg 545 evaM pavaNaparAhINa 911 ekkatto sallAaMtavajja 350 epakadisApaDilakkhi 188 ekkeNaMcia cAvagga' 38 ekkammiccia sele 981 ekke pAvaMti Na taM . 140 ekke lahuasahAvA ekko uNa dharaNiharo 690 eNakhurakhaMDiApaMDu 176 etAhe uNa raviNo esiametteNa guNe eMti gaaNosaratesu 522 eMti gahamottiaDDe 263 esa virAo hiayaM 332 esa saro jassa imA . o oaraNalAlasehi 1127 oaraNavisesijjaMta 185 152 769 443 441 909 866 807 602 1075 868 828 233 500 1086 947 513 440 138 234

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296 1030 oaraNA diThThaccheadeg . oNaviasavaNatava osarai samuppaaNA osariasiharabaMdhA osAriagiragArava osAriammi pacchA 528 171 1196 cchA 1166 1166 16 aMgamavalaMbiAlaMbi aMgAI paaNuAI pi aMgAI viNhuNo vAmaNa aMgesu biMduNibiDA aMtogharaciraNiggamaNa aMtoccia NihuaM viha aMtomaNidAmacchavi aMtovariM ca parisaM aMtovAsaM viaDA aMtosaMlINaphaNA aMdolai diNalacchI aMdolaMtANa khaNaM 780 Gauqavaho 496 kamaladdhAloaM phaNi 206 kamalavaNaviNigga . 817 karakaliakhaggalehA 662 karasaMdireNa sohasi 458 karahapaoaravisamAI karikaradaMDAmoDaNa kalahoimaAI NavaraM 326 kallolasisirapavaNA 1148 kavaliakIriDicUDA kaM va Na haraMti NibiDA kaha vi dharei mahialaM 1002 kaha vi samuppaaNavasA 364 kAmaDahaNANutAvA 915 kAmo varakAmiaNaM kAraNakirikhaMdukkheva 1056 kArAsu paDhamaNuhU 848 kAlaguNA paDhamakaIhi~ kAlavasA NAsamuvA kAlIkaasarasagala 875 kA vi sirI gaagohaNa' kAsAraviralakumuA 1057 kiraNakilAmiapariara' 382 kiviNANa aNNavisae 734 ki aNNamaNaNNamaNehi 425 kiM Nu hu kalANiraMtara 691 kiMpi dumajajjaresuM 1036 kiMpi vikaMpiagimhA 32 kiM ratusamArUDhaguNANa 159 kiM va garidehiM viveadeg 353 kiM va sarUvavaroccia 85 kIeN vi ahiNavabhumaA 767 kIDAvilaMkurasihA T kIrai va tassa tAlI 581 546 889 543 492 274 123 497 314 1122 1049 1198 84 945 1091 401 271 198 919 1082 88 847 183 608 kaMThakusumesu bahuso kaMThaNihu ca gI kaMThaNirohuvvaNavittharaMtadeg kaMThAhoesu kA kaMThecciA parigholai kaMThosariekkathaNA kaDaehiM tahea mahI kaDDiakusumaraukkara' kaDhiNagirivakkhasUDaNa kaNNaTThiasihipiccha phatto NAma Na 8 kaMpAo vahati thaNattha kabarIbaMdhA ajjavi 355 K 903 949 1123 405 351

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Appendix I 297 ga 570 406 1102 54 __ 125 1003 318 107 1200 1131 1113 kuMDalasasisUraMtara kuNavattaNasulahUsAsa kumuAvabohamahurA kummaTiassa dIsai kummaviNihiTThamUlo kummAhiveNa dIsai kulisANalapiMgalio kuliso tADei dhare kuliso Na dIsaicci kuviAi calaNapaNao kusumaphalosAria' kusumavarisUsuAmara' kusumasayaNijjamalaNA kusumiahariaMdaNakaNaadeg keUramaragaoggiNNa keUroraasuMkAra' kouvvattaThiavisama koUhalamiliAmara koUhaleNa Ahava ko jiMdai NIaame ko tesu duggaANaM komArammi harA ko va viArei visesa koveNa a kaapaM ko vva Na parammuho kolIkaakAlAaru kosumadhaNubANaggaha 1125 61 480 * 1059 333 gaajUhoaraNavibhiNNa 747 gaaNaM caM mattamehaM 1020 gaaNamahiveDhaNIlo 1037 gaNavaiNo saisaMgama 1016 gabbhAlasAo va puNo 134 gabbhuggamalaMghi 129 gaMbhIragabbhamaMda 153 gaMbhIramahAraMbhA ___E garuaaramattavAraNa 985 galiummaUhapihu 1188 gahaNivahabiMdusaMdoha 464 gahiavivihaMgarAo gahiahimacchAyayaM va 1070 gahiA guNattaNeeM ___B gahio vivalAaMtIe~ 105 gADhakavADaadukkhu 1180 gADhajahaNatthalakkhalaNa 221 gADhamaamUDhahiayA 82 gADhAligaNataNhA girilulioahivihuA 325 guNasaMbhavo mao ___89 guNiNo vihavArUDhANadeg / 247 guNiNA ahamA a ThiANa 878 geNhau vihavaM avaNeu 1126 rohaMti kaMThapharusAI gouramettaviNigga gose viasaMti marAla 870 U 733 952 1068 956 1152 148 895 900 N. 975 1176 495 kha 630 585 gha khajjUramaMjarIpiMjarANa khaNataraliapakkhauDA khaNapariattasahAva khalio taI rahasu khuDiA imeNa samaraM 853 126 ghaDiaphuDiaMtarAlo ghaDiaM maMdaradara' 293 ghaNalaMbAlaamAlA 1012 gharagolaadAro 393 1038 1042 682

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298 Gaudavaho 675 172 gheppai aguNIhiM guNi vva gholai aladdhakiraNI gholai ullitasurA gholai paDilaggapiyaMgu gholai mahurasavicchuri gholai samucchalaMtI gholirakaDAratAraM D. 989 419 cakkrajueNa va vamma calaNaNahacchavi calaNaNisaNNuNNAmi calaNaMtaNivaDiaMdeg caliammi jammi viaNA caliammi rahasavialiadeg calio kuMbhIphaladaMturAsu cAvapaNollaNaNivaDia ciNhovalakkhiA vihuA cittamaNikaNNaUrA cittAlakkhiamaulu cirasaMThio vi vialai ciharAvIlaNapaDilagga 588 407 394 177 809 1183 139 255 108 509 1201 jaNamaNahigIaguNa 272 jaNaviNihaTThAasa / 584 jamamahiso kavalijjai 834 jamiasihaMDassa vi jammi avisaNNahiadeg jayagaakuMbhapphAlaNa jaraDhAaMtaphalUsAsa jalaAgamammi majjai 759 jalaANilaraMkholiadeg 420 jalaNasihAsaMbhAviadeg 622 jalabhavaNasamAlaMbiadeg 812 jalahissa pUNo vi samA 101 jaliuppaiavalaMtA / 1190 javapacamANassa sarIra ___421 jassa a valaMtajayagaadeg 452 jassa kaDaadviAoM 686 jassa pahAradhuANaNa 768 jassa mahadhUmalehA / 789 jassa muhamAruAhaadeg 1146 jassa viayAhisee 161 jaha jaha Nagghati guNA jahatahapuMsiaMsu 392 jaha pariayammi loo 644 jAAI dulahadaiA 912 jAAo kamapasammata 498 jAAo saliladhArA 849 jAA tAoccia taha jAA dAhaviNigga jAA raviarapari jAA vaNNAsAA 17 jAe NirAave diNa' 0. jAoccia kAavve 317 jAo pasaMgapari 695 815 1044 1208 902 841 957 chAyA ekkAsAre vi chAyANivvAviasaddalANa chAyA sA ira maNNe chiNNadharAalapaDibaMdha chIrAaMtaNahacchavi 1133 1110 404 663 131 Z 810 jaai jaarakkhaNe jaai jaDAsaMjamaNaM jaai dharamuddharaMto jaDabuddhINa pahuppai jaNadiNNakesakalaNA 1093. 1121 755

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Appendix I 299 245 231 72 879 jha 554 721 700 *754 jaM iarovaddavavidduA 1165 jaM jaM samuppaaMtA 1090 jaM NimmalA vi khimjati 752 jaM suaNesu Niasai 488 857 jhillIjalakaNasIaladeg 73 jhINA ekke tu asimmi 708 TaMkamuhAhaakaDhiNaTThi TiviDikkiaDibhANaM 1087 766 ThiabhamarapaMkabhAvA ThiamaTThiaM va dIsai 213 DajhaMtavisaharukkara 1202 302 DajhaMti visANalavA ujjhaMti saralasuMkAra'. DibaM vo cAmuMDAe~ 720 598 345 753 66 926 jAo saidiNNasaMNejjha jAaM tArAvaiNo jAaM va dhUmasaMcaya jA kaNNakisalakaraala jA jiNhuNA NarAhiba jANa alaMkArasamo jANa asamehi~ vihiA jANa Niaccea guNA jANa sarUvAvagame jANaM Na purisaAro jAmavaImuhabharie jA rosukkaMpiakaNNa jA lalialaAlIlaM jA viulA jAo ciraM jA suhaDAsiNivAsA jAhe ccia taM calaNo jAhe raaNIrUveNa phurasi jIeN samAraMbheccia je acjavi himaselaMta? je attaNo Na ahiA je Asi girINa purA je kuMkumatthalIsuM je geNhaMti sayaMcia 'je caMcalacAmarapamhalehi jeNa guNagghaviANa vi jeNa NahogaasihareNa je NivvaDiaguA vi hu je pohakhaNapariTThi mesu girI avaNIA je suNNA iva bahuso jesuMcia kuMThijjai jo appaNANasAraM jo vavasAAvasaresu 478. 121 175 934 46 261 96 267 387 924. 288 901 1197 411 74 1135 55 969 449 Na calai NavaMbudhoaM 256 jaNu NAsamaNavalaMbA 908 NaNu tumhaM saMbharaNe Na tahA mahAguNesuM NaMdai tuha viNiattassa gaMdaMti NaMdiadumA gaMdaMtu NiaaguNa Namai NaDAlaMcia 257 Namaha daNuiMdaNihaNe Namaha viAriadaNuiMda P. NavakaNakiMkiNINiha __NabakeaivAsi M. gabadhArApaDibajhaMta 104 NavabANakouhalleNa 283 865 367 379 655 597

Page #597
300 NavamatthadaMsaNaM saMNi' raft garidavikkama varia viDiama Navaria NivvattiaraaNi vari a thoatthoaM vari a payANasamuhassa vari a vasuhAhivajaya va rohaccheasuaMdha NavaraM dosA teccia 'NavavaraNaagoraMtara Na vi taha loassa guNA Na sahijja kAmiaNeNa Na sahati NiaguNA sahaMti sIlasAraM Na sirI calA mahagghesu maNisaMkamaNA maha harehA jANa thaNesu harehA rAhAkAraNAo hava dUruNNaa hu paDhamaMci padeg gAulabhAvo joA NAlA aDDhiapariNAma AhivivareNa kAraNa NiaAecci vAAe~ Niakara kiliMcaNIDattha' furdhUmakaDaiAI NiamaisaMdehoccia NiasAmattheNaM cia asuMkArosAria NiccaM dhaNadArarahassa NijjaMti mahalamuhA NiddAruveNa pa ffesdalaNAlapari fifesghi sort .0 Gaudavaho 92 NibiDalajAla 1164 NimmAA teccia 1185 NimisaM pi Nea muccai 1184 Nirasimmi jae vipphurai 270 NivaDai paDaNasamucchalia 413 NivaDai paropparavaDaNa 1363 NivaDaMta silAchavvia 357 Nivasijjai jayavAraNa 962 NivvADaMtANa sivaM 396 NivvAveMti va hiayaM 717 NisuDhiapakkhapaDatA 1132 NihasaparigaliavAsui 978 Nihasavirikkadumalao 861 NIreNubhAvaNivvaDia 982 NIlaM siharacchAyaM 320 NIsahavimukkakA 758 NIsasA khaNavirahe 22 NIsaMdai jassa raNAiresu 1096 ta 718 taiA Thiosi jaM kira 813 takkAlavimuhahara 606 takkhaNakAmiaNANia 1051 63 takkhaNaparaM tuppAa takkhaNapIvarapasarata 1094 takkhaNavicchUDhamuNAla 130 taDaNiulamaMjarINi mahaMta 81 taDibhAvammi phuraMtI 142 taNaillatarutalANaM 824 taNuattaNaNamioara 863 taNhA akhaMDiaccea 445 tattohuttagaAgaadeg 296 taddisamuhaTTi 629 taddiasANilaNivvUDha 412 taddi asaM ravimaMDala 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 taddiahaNihasasaMpI taddhaNaNaM va dhariA tamamahuarajAluppaaNa tamalohaloDhaANuga tammiccia saMdhipasUa tammi jahAgamapaDivaNNa tammi mahAraharAhe taralattaNavaaNijjaM taruvalialaAlacchi tassa imaM pAvaNamahi tassa ira imo suvvai tassa magahAhivaiNo taha ayasiNo guNehi taha tattaNaararacchA taha vi NisAmeha NarA tAiMcia kiMpi rasaM tAoccia rahasavisaTTa tA cea maccharamalaM tANa Nisammai hiayaM tANa ramaNINa Na tiasarahapelliaghaNo tucchAsuheNa vijjAe~ tuha caMDi calaNakamalA tuha jAamacchareNa va tuha dAraM thAmatthAmadeg tuha dUrAvajjia tuha dhArAlaggasamo tuha dhArAsaMdANi tuha paDivakkhesu bhayA tuha pahu savattasImaMdeg tuha riugaakuMbhakkhuttadeg tuha lohadappaNAvali tuha vaaNacchavibhijjaMta tuhiNairI devi tumAi 563 teNa vi imassa tulaNA w. teNa sapallavabhaMga 1114 te tassa jayagaiMdA 1173 te tujjha jayagaiMdA 340 to so goTThIparisaMThiehiM 508 taM atthAruNaravi 494 taM kuvalaIkuNaMtI 723 taM khu sirAe~ rahassaM 1035 taMce timiramaliNaM 1209 taM Namaha kAmaNehA 816 taM Namaha kulaM piva 696 taM gamaha kolatulaNe 869 taM Namaha gaamuhaM ___362 taM Namaha jassa dIsai 1073 taM Namaha jassa muha 1156 taM Namaha jeNa ajjavi 1009 taM Namaha jo varAha 896 taM maha pIavasaNaM 279 taM Namaha samosariA 744 taM paNamaha ajjavi 416 taM paNamaha jo sIsAo H. taM paNamaha tigicchi 289 taM pi dasakaMdharaM hari 214 taM saguhAmahaNivvaDia 294 taM sahasi sajalaz2ImUba 705 taMsAgaaraviara' 714 taMsIkaakaMThasamodeg 1194 tuMgAvaloaNe hoi 242 719 thabibesu vahaNaM 730 thaNapaDimAgaapariNIla 336 thaNamajjhacchavitAraM 295 thAmatthAmaNivesia 290 thiilaMbhaNivvuANaM 115 308 1084 579 897 1158 1129 757 918 456

Page #599
332 Gaudanaho ghiravAsaNasamutthA thumvasi takkhaNa thIamiva khAmagaMDa thoamiva viaDagamaNA thoDAsurAmaasaMbhiSNa thoAaMti va viralA thoAraMbhe vi vihimmi thoumvattaNalakkhi thoeNa vi dUmijjai thovAgaadosacci 1169 1103 820 965 966 1018 136 447 806 264 575 678 763 217 603 935 872 946 dIsai NisAsu tArA 298 dIsai disAsu tArA 794 dIsai veugghADi 1080 dIsaha sAmAaMto vda 369 dosaMtaNimmalo jai vi __127 dosatiM kummatuliA / 984 dosaMti kulisamiliA 1095 dIsati gamaNaNivaDia 1142 dIsati jaaviNAsu 960 dIsati jANa pariatta dIsaMti tahapariTThi 692 vIsaMti paDhamapIDhA 1162 dIhapihalattaNeNaM 423 dIharapaAvamalaM . 132 dIharahemaMtaNisA 162 dukkhAbhAvo Na suhaM 793 dukkhohi dohiM suaNA 970 dugnamabhAvaTiaNIli 13 dUmijjatAi~ vi suha V. dUmijjaMtA hiaeNa dUmaMti sajjaNANaM dUraaraM uppaiA dUrattaNapaDhamaNiatta deu suhaM vo pasuvai dehaddhaddhapariTTiagori 210 dehaparivADipIDA 286 doggaccammi vi sokkhAI 259 doccia NavaraM hiae dobballapaMDurANaM dasaNaNivIamisA 1040 702 124 ghaavaDadhArANivehi 389 dhammapasUA kaha hou 673 938 884 pa10 121 daiagahiAlaAvali daIAe~ vi ko vi NihA dakkhiNadisArideNa vaDDhavaNarAikalusA daracakkhiamairAma daramaulaNamajjhoNa daviNovaAratucchA dADhA mahAvarAhassa dAriariugaama dAveMti sajjaNANaM diabhUmisu dANajalu diase vi bhUasaMbhA diTThAo NavaNavANaNadeg diTThI sacaMdaNesu diTe pahummi abalANa dilR sAhejjArUDha diNNAo paNAlIo va diNNaM pUrA jahicchaM divvaviDavAhirAme vi dIsai karatADaNamUDha dIsai ghaDaNummillaMta dIsai jalaMtaselaM dIsai NiraMtarubhiNNa 971 230 684 1079 426 58 211 39 851 64 R. 973 505 795 761 322 925

Page #600
lijjatasamuNNaa kiliNavattaM bAraha adharaNikaNA dhArAhisittaNavakaMdalANa dhArei jalaharohura dhAvati sasallabhaDaMga dhIhi hiayaNahi amaapaMkakaNukkara aDAai gimhANila paNa jAmiNIsuvi pakkhauDakUDapuMjia patarAlapariala paccakkhabhAvatakkhaNa paccaTThiAavattaNa phajjalai dhUmamaMDala paDavAsapaMsudhUsara biddhaM Navara tume DimAmaggA sirasasi paDirohikaNNapallava paDasaMtarayAsaNA pasihAi jalaNajAlA pasihAi vUDhajoho vi paDhemaraAraMbharasANa vi paDhamavimUDhacchAo paDha maharAliMgaNa paDhamAsAre iha tatta paDhamutthaMghaNagholA paDhamaMcia dhavalakao paDhamaM chaNamaggiavai paDhamaM Na guNAguNa paNa ajaNa rakkhaNaMtaria puNaiaNatthaM Amuai 0 Appendix I 1193 paNaIsu guNamaNoraha paNamaha kAliMdIsalila 410 184 647 805 patthArosaNataralia 435 patthivagharesu guNiNo 846 pamhaMtaralakkhiapaMDu 698 payaiparisukkakAyA paraguNaparihAraparaMparAe~ 390 502 154 225 312 1083 paNamaha balassa huMkAra paNamaha heDiaviarDa paramatthapAviaguNA pariattasaralakuMtala' pariuTThe sANaNirUsueNa parikavisabidumAlA pariMga aparaguNasAra parigaliapaMDutArA parigaMDatthalamAsavaNadeg 169 parigholai siDhilia 836 pariNaikuMDaliakarA 238 pariNAmasosalahuA 1010 parirujjhai amarisa 1134 pariraMbhaNacakkaliaM 391 parilUNapehuNassa vi 180 parilabijjai gholaMta 436 parivAradujjaNAI 1153 parisaDiaveNudalaraMga 453 parisiDhilaviaDamUlA 301 246 44 parihoasahA Navavahu ka 649 phlayaM vA kAli Na 850 pallavasihAo iha 1 palhatthai timiramahA 784 pavilINa kusUlaTThANa 944 pasaraMti valaMtoahi paharai kaha Nu aNaMgo paharisamiseNa bAho 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 pahukittiNisamaNUsua pahudaMsaNarasapasaria pahudhammabaMdhaNe saMThiassa pAlabhariamUlA pAMAloaramaggammi pAUNa va uvahArA 'pAliabhUrao hi pANamaiAo jANaM pAvai uayAaMbo pArvati kulAlaulAi~ pAvaMti valiavitthaa pAsamma ahaMkArI pAsamma AvA pAsalliANa je paDi pAsosaraMtatalamagga piapariraMbhummUlia piyahutaM jANavilAsa pIDiapa oha rogADha pINattaNadarapariNAma pIliatamAlapallava purao purao tumhA purao sirI piya purumilladisAgaa puruhU AipaDhamo puhavIvo ahe Ahiseavialia pUijjasi bhiNNabhuA pecchaha vivarIamimaM pecchati jAo calaNe pecchaMti suradaincA peraMtalUNakamalA peraM hariakomala tI uttaMga Gaudavaho 1187 paraMtesu darAbaddha 1055 paMkabharioarubbhiNNa 1015 paMDutaeNa karaala 448 pha 852 300 632 J. 1117 266 232 368 770 1159 680 365 215 984 1097 482 1072 311 phalaNiggamapaDipellia phalabaMdhaviralahariA phalalaMbhamuiaDibhA 503 phalihacchoaradIsaMta 1027 phuTTaMti pAavANaM 79 phuDiaghaNavaDalapADala 106 phalasAraNaliNigahaNA phalikkhAvalikajjammi 330 864 760 1019 523 phurai a phuDo abhAvassa va baMdIkaamahisAsura barahINa tANa rasiaM balasaMkhohukkhaareNu bahalattaNakuharUsafer bahuo sAmaNNa bahukuharAvilakaDaa bahulapaosA baddha bahuso ghaDaMtaviDaMta bahuso bahutavisahara bahuso bhaggaaramaNa bADhaM lIDhUsaghaNattaNeNa bAlattaNammi hariNo bAlAsu tAsu Nava bAhi gaANa jassa bAhusiharesu dIsai bilavalayamuhuvvellaM ta bha 792 bhamarAvalio bhairavi 457 bhamiaM palayapaose 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 bhamiaM rayavihuoahi bhayalolapuliMdavahU bhayavihaDiANa jAo bhariasavaNaThiaM bharimo asiM tu saMgara' bhavabhUijalahiNigga bhAruvvahaNAjoggA bhAviabhArahakalahaM bhAsammi jalaNamitte bhIaparittANamaI bhIaM va lajjiaM piva bhIsaNasarUvapari bhuaAhivassa NihasA bhuaiMdaphaNAmaMDala bhumaaggabhamiralacchI bhumaAbhaMgANattA vi bhuvaNagaruehiM te bhuriguNA viralacci 1062 304 98 894 1172 228 471 726 819 masiNuNNaaperaMtaM 352 mahadhUmalaA eassa 158 mahimaM dosANa guNA 803 mahiharavaDaNucchaliA 219 mahumahaviayapauttA 799 mAyAmAhappaguNehi~ 1046 ___mAruabharaMtakaMdara' 486 mAruasaMcaraNavasA 800 mAlAvalaehi paiNNa 220 mAlarapattamAlA mAhappe guNakajjammi 170 mihuNehiM rairasAyAma 1022 mukkatusArAsAraM 1047 mukkA disAsu dappi 250 mukke vi NaramaiMdattaNammi 923 muccaMti pelliuvvella muttAperaMtattaNa 958 muhalamaUrAiM haraMti muhalaMdoliatADI 1077 muhaviNimiaNava 33 mUDhasasidiNaarA 586 mUDha siDhilattaNaM te 999 mUDhe jaNammi amuNi 260 mUlaphaNAmaMDalataha 811 mUle NibiDAaMtA 451 mehAaMtaM tuha taia 735 mottUNa bAhusiharaM 628 mottuM guNAvalevo 182 mohapaDibohakAri 278 moharasiAI iha 468 910 mohasalAhAhiM tahA 277 mohAhibhaveNa siri 428 maMgalalAsakilammata 10 110 1058 553 635 466 1111 942 871 822 992 323 mailijjai diasAhiva' mauDucchaMgapariggaha maulaNibiDAsu iha magga vva dIhadhavalA maggesu gurubalA majjai siharArUDhA majjhasamosariammi maNivalayAulabAhagga maNivitthArapariTThi maNisabalakusumamAlA mattakurarAsu diTThI maraNabhaeNa va ciMtA maraNamahiNaMdamANANa maliA pUapphalakosa maliA paMsuliakareNa G. 20 489 883 91. 520 858 987 194

Page #603
306 Gaudavabo 974 loe amuNiasAra' 418 loehiM agahiaMci 569 laMbimahAdappaNa 862 1129 18 991 693 890 1041 722 877 ramaNakavilAsu sohai ramapuMjaruddhagaaNA rakkhau vo romalA rakkhAbhuaMgamuggiNNa ramai a carie apphulladeg ramai vihavI visese rabarosadaliaghaNa rahasaccheAaraka rahasA rasAaloara rahasuddhatiasakari rugNAruNaNayaNAo va rUvaMcia Navara karAla? rehAvasesadiNaara' rosadhuacalaNatelokka rosArUDho paripADalesu raMkholirapavaNabhiNNa 147 168 1021 337 1143 562 963 839 431 178 vaaNaNayaNappahA 998 vaaNavimukkaM pi khalo vaaNuvvahaNaNivesi 12 vaccaMti aho uDDhaM 424 vaccaMti vesabhAvaM vaNadevaApasAria 200 valaiabhuaMgavalayA 1177 valiuddhakavolaghaData vallIviANabahala 1101 vavahAreccia chAyaM 829 vasuhAsayaNapahuppaMta vahai maNikiraNaraMjia 634 ___ vahai mahiMdo sANaMda vAmakarapellioNami 481 vAmakarAaDDhiasuNNa 116 vAmearabhuabhavaNA 1128 vAriccheadarAvIa' 70 vAsuiNihasummUlia 931 viaDasasimaMDalAaMta 1137 viaDaMDammiva ravi 1139 viarai saddalarehA 1092 vialaMtavijjuvalayA 729 vialaMti kaaraNakkAra' 1014 vikkhiriacihuramaMjari' 838 vijjhavai vellaNoNa 280 vijjhammi tammi rasa 1167 viNayaguNo daMDADaMbaro 1054 viNayADhattaNarAhiva 1048 viNNANAlooccia 756 viNiattahAravalayagga 1008 199 775 111 716 399 1033 6 lakkhijjai AhAra lakkhijjai dhUmAaMta lakkhijjai sIse sarasa laggihii Na vA suaNe lacchI laAe~ mUlaM lajjoNaavaaNA lalaNA vallahahuttaM lahai sasaMdaNaturao lahiUNa tumAhito lahuIkaA vi guNadeg lahuvisayabhAvapaDisiddha lhasamANajuovatti lhasiaTThiama lAyaNNaparipphuramANa lIlAgholAviacalaNa lIloNaamuhaaMdANa 1099 388 808 703 165 119 284 67 1191 905 203

Page #604
vibbhamapariraMbhaNNoNa vibhamavaINa bhijjaMta biralaTThiamahuara virasamma vi paDilaggaM virasAaMtA bahala virahaviNiggaasesa ba viluliapi saMgavallI vivarasamosaria vivarIaM va tai imaM viviNehamajjaNaTThia visaiccea sarahasaM visamattaNaM pi vihiNo visasijjata mahApasu visahaMti NiavisANala faess vvavasihA viDivasuhAdali vihaDataghaNavimukkA vihaDati NahaNivAA vihavAaMtArivaha vihiNA jANa NaDAlesu vIAbharaNA akaaNNa vIraviiNNavikosAsi sAmamaMtharAaMta vIsaMbhamagaMtUNaM va vubbhai olibhAbhAvadeg jamma bUDhoaakaara 'veallavellirANaM verulihaNihA taM Namaha vellahalaM gulikarakamala vellaMti kaMdaroara das saraNAgaavisa vevvadukkhavihalANa colaMti NiapamANA Appendix I 197 voliti gimhaNiddaM volei laAsaMkalia 661 599 vaMsammi tassa raaNI 994 sa 993 saalaM visamavirasa 1149 saalAo imaM vAA 386 asuMcer disA 167 sar3a jADharacitA 724 461 913 707 saMkAmaMtharasaMcAra 319 saMkaMtamahiraodhUsarAI 390 saMkaMtAo va rosAruNa 741 saMkaMtAsesa sarassa 156 818 saMgalai maruaa 823 saMgalaNamAsalAaMta 218 saMcarai cirapariggaha 711 saccaM tumammi diTThe 1124 saccaviAsaalaguNaM 306 sajjhasasaMjAajarA 1026 saMjjhasasaMve ummIlaNe 1207 saMjjhAlattaadhariammi 341 saMNaddhama aNasAhijja 893 saMNijjheNaM va sirIeN 375 saMtatthaviralakaMkaM 137 saMtAvAyAsoppia sai siddhasiddhimaMDala sai saMghaTTasamujjala sauNamarAlajaNavaA saMkhAamasiNapasarA 49 saMbUacuNNasabalA 732 saMbhamacalaMtadiggaa O 118 saMbhamapuNaruttAruNa 483 saMbhamabhamaMtavijjA S. saMbhAviakAmaharo 701 saMbhAviacittaviAra 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 samaguNadosA dosekkadeg samajAi ttaNasaMbhAvio samabhAvapaattUsAsa samare dhArAgoaradeg samaresu khaggadhArAdeg samahiasaMjjhArAA sarasaTThidaMDa loNa sarasaNaharAimaggehiM sarasapaDibohalaMghia sarasamaataMbimAhaa sarahasasaMcArataraM sariAo aNea sariANa NiraMtaramilia sariANa taraMgiapaMka' savimo aNajjuNamimaM savvaMgaM viNiveso savvatto hAramaUha savvatthAmoNamiaM saMvelliUNa ekkaM savvoccia saguNu sasiehiMcia loo sasiNo samosarAMtI sasimiva NavoiaM saMseviUNa dose sahai jaladdAsaMdANa sahai garida pariNao sahai thaNavaTThasaMThiadeg sahIpasattakurarA sahikhadhaTThiadAhiNa sA caDulA kaha Nu guNu sA ai caumuhAsa sA jaai harasiratthammi sA jayai maI garuA sANaMdarohiNIbAhu Gaudavaho 964 sAmaNNasuMdarINaM 1195 1163 928 212 402 328 sAvaapaavIbhiNNA' 1150 sAsaamiaMkamaNi sAmaNNAI vi NAma sAmAai sealaA sAmAaMte vi mahI sAyaM milaMti kama sAyaM samAruAsAra 187 sAsukkhaarayalahu 1140 sAhAsu baMdhaparivesa 833 sAhijjai gauDavaho 950 sAhINasajjaNA vi hu 1078 sAhI gamuhasahasso 525 siDhilapasAriavakkhA 240 sirithaNaNivesamaggA 1000 sisiracchAsu ciraM 1060 sisirammi viralakusume 1001 siharaNapahuttagaaNA 1081 sIleNa jai vi vimalo sIsai va jassa tArA sIsammi kao mahisassa suaNattaNeNa gheppai suaNasahAve vi gao suaNAaMti khalA vi hu 163 sukai. bhesu jANa 216 suTTha vi parihINaguNo 835 suttaNivesaM piva deMti 531 sumaINa sucariANa 204 surahimiha gaMdhamA 933 sulahovahAraruhira 47 sulahaM hi guNAhANaM 59 susirosariasakaddama L suhaDAaDDhiakoaMDa 196 suhasaMgagAraveccia 881 940 1178 751 887 0 959 713. 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

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suhasaMgo suhaviNivatti sUti vIravikar selaggakhaNavihattA seNiaMbuppaiA sellANa cAvapellia sevaMjalimiliaNaDAla sevijjaMti saraa sesaguNaNirahilAsA soUNa muNaMti paraM so esa kesavo soccea kiM Na rAo so ai kaNi so jaai govabhAve so jaai jassa juvai so ai jassa gADAla 0 so ai jAmaillA so ai jhatti kavalia so ai NeurilleNa so ai saNIsAsevva so Natthicicaa iha jo sottakalusA NaIo so dIsai uhadisA sommAsu Nisamma sovA dukkha so vi satibaMdhavo jANa so vi suhAi~ uvaNeu sohai adosabhAvo sohai valaMta vAsu sohai viNivesiapasi sohai vimuhapaattassa sohai samAgamesuM soi suhAvei a Appendix I 937 sohaMti amarisuggama 327 sohaMti bAlasaraammi 1085 sohaMti sarasa sUI 135 sohati hArAvali 444 sohasi NArAyaNi raNira 103 sohasi muhamukkAsarisa ha 1050 774 hatthAlaMbiapaMkaa 83 hattho gholai daMsaNa 1045 harai aNUvi paraguNo 948 harai parihINavihavassa O 2 haraphaMsaseasaMvalia A. haricakkavirikkaTThia 19 haricalaNaNahappahAe 29 harisaviseso viasA 20 hasiaM ca bhAmiacchaM 36 43 hA kiM Nu aNavakaccUra hA hA kaMpAvei va hAhA taMcea karilla hiaya kahiM pi Nisammasu C. 223 360 hiayammi gADhaghaDiehi 749 hiayaviaDattaNeNaM 782 hiayassa NiTTharattaNa 986 hiayassa viNivvavaNe 209 heTThaTThiasUraNivAraNAe~ 31 heTThAavavasuAijjamANa 968 hoUNa vihaMta NiraMtarAiM 179 hoMtarasAalabhaya 109 hotavasuhAhivakahA 414 hoMti kaatthA paNaI hoMti girivalaNabhAvA 244 68 hoMtu vva vigaagavvA 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 Gaudavaho Appendix II Extract from Rajatarangini ( IV. 126-145) describing the the campaign of King Lalitaditya. rAjA zrIlalitAdityaH sArvabhaumastato'bhavat / prAdezakezvarasraSTurvidherbuddheragocaraH // 126 // pratApAMzucchaTAkUTaiH paTavAsasadharmabhiH / jambudvIpadvipendrasya yenAtanyata maNDalam // 127 // nayAJjaliSu baddheSu rAjabhirvijayodyame / pArthivaH pRthuvikrAntiyudhi krodhaM mumoca yaH // 128 // viniHsarajjanatayA bhayAd ga nivAmucan / dviSAM vasatayo yasya nizamyAskandadundubhim / / 129 // vilolatilakAntaryaH snetraambhobhiraannaiH| nivApAlidAnAni dviSAM nArikArayat // 130 // kSitiM pradakSiNayato raberiva mhiipteH|| jigISoH prAyazastasya yAtrAsveva vayo yyau||131|| karaM pUrvadizo gRhNana pratApAnalasaMnidhau / antarvedyAM mahArAjaH sa kIyuSNISabhRd babhau // 132 // kanyAnAM yatra kubjatvaM vyadhAd gAdhipure marut / tatraiva zaMsanIyaH sa puMsAM cakre bhayaspRzAm // 133 // yazovarmAdrivAhinyAH kSaNAt kurvan vizoSaNam / nRpatirlalitAdityaH pralayAdityatAM yayau // 134 // matimAna kanyakubjendraH pratyabhAt kRtyavedinAm / dIptaM yallalitAdityaM pRSThaM dattvA nyaSevata / / 135 / / tatsahAyAstato'pyAsana nikaammbhimaaninH| kusumAkarato'pyuccaiH surabhizcandanAnilaH // 136 // zrIyazovarmaNaH saMdhau sAMdhivigrahiko na yat / nayaM niyamanAlekhe mitrazarmA'sya cakSame // 137 // so'bhUt saMdhiryazovarmalalitAdityayoriti / likhitenAdityanirdezAdanahatvaM vidana prbhoH||138|| yugalakam // sudIrghavigrahAzAntaiH senAnIbhirasUyitAm / aucityApekSatAM tasya kSitibhRd bahvamanyata // 139 //

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Appendix II 311 prItaH paJcamahAzabdabhAjanaM se vyavatta sH| yazovarmanRpaM taM tu samUlamudapATayata // 140 // aSTAdazAnAmupari prAkasiddhAnAM tdudbhvH| karmasthAnaH sthitiH prAptA tataHprabhRti pnycbhiH||141|| mahApratIhArapIDA sa mahAsaMdhivigrahaH / mahAzvazAlA'pi mahAbhANDAgArazca pnycmH||112|| mahAsAdhanabhAgazcetyetA yairabhidhAH zritAH / zAhimukhyA yeSvabhavannadhyakSAH pRthiviibhujH||143|| kvirvaakptiraajshriibhvbhuutyaadisevitH| jito yayau yazovarmA tadguNastutibantiAm // 144 // kimanyat kAnyakubjorvI yamunApArato'sya saa| .. abhUdA zAlikAtIraM gRhaprAGganavadvaze // 145 // yazovarmANamulladhya himAdrimiva jAhnavI / sukhena prAvizat tasya vAhinI pUrvasAgaram // 146 //

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312 Gaudavaho Appendix III King Yasovarman-A Poet As has been said in the Introduction, King Yasovarman was also a poet of no mean order. The name Yasovarman figures in many anthologies, such as Suktimuktavali, Subhasitavali, the Sarngadharapaddhati, Subhasita-Ratnakosa. In his introduction to the Subhasitayali, Peterson mentions a drama Ramabhyudaya 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 Rama Plays" :SaDakaM dRzyate loke rAmAbhyudayanATakam / zAradAtanaya-bhAvaprakAza. aucityaM vacasAM prakRtyanugataM, sarvatra pAtrocitA puSTiH svAvasare rasasya ca, kathAmArge na cAtikamaH / zuddhiH prastutasaMvidhAnavidhau prauDhizca zabdArthayoH vidvadbhiH paribhAvyatAmavahitairetAvadevAstu naH // zRgAraprakAza Vol II rAvaNaH - yuktyaiva kSatrabandhoH paribhavamasamaM jIvataH kartumicchan mAyAsAhAyake tvaM nipuNatara iti prArthaye naasmrthH| yaccAnyat tatra vajraprahatimasRNitasphArakeyUrabhAjaH sajjAstrailokyalakSmIhaThaharaNasahA bAhavo rAvaNasya / / mArIcaH- dArANAM vatinAM ca rakSaNavidhau vIro'nuyojyAnuja vIrANAM kharadUSaNatrizirasAmeko vadhaM yo vyadhAt / tasyAkhaNDitatejasaH kulajane nyakkAramAviSkRtaH kuNThaH saMgaradurmadasya bhavataH syAJcandrahAso'pyasiH // * Dr. V. Raghavan--Some old Lost Rama Plays' P. 1

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313 Appendix III rAvaNaH- tavaiva rudhirAMbubhiH kSatakaThorakaNThastai ripustutibhavo mama prazamametu kopAnalaH / suradvipazirassthalIdalanadaSTamuktAphalaH svasuH paribhavocitaM punarasau vidhaasytysiH|| nATyadarpaNe indrajit - rakSovIrA dRDhorapratiphalanadalatkAladaNDapracaNDA dordnnddaakaannddknndduuvissmnikssnntraasitkssmaadhrendraaH| yAtAH kAmaM na nAma smRtipathamapathaprasthitendrAnusArI svarvAsikliSTadRSTaH kathamahamapi te vismRto meghnaadH|| nATyadarpaNe rAmaH-pratyAkhyAnaruSaH kRtaM samucitaM yUreNa te rakSasA . soDhaM tacca tathA tvayA kulajano dhatte yathoccaiH shirH| vyartha saMprati bibhratA dhanuridaM tvadvyApadaH sAkSiNA rAmeNa priyajIvitena tu kRtaM premNaH priye nocitam // . nATyadarpaNe dhUmavAtaM vitAnIkRtamuparizikhAdobhirabhraMlihAyaiH bibhrad bhrAjiSNu ratnaM tatamurasi tathA carma cAmUravaM c| bhUyasteja pratAnaiH virahamalinatAM kSAlayannakabhAjo devyAH saptAcirAvirbhavati viphalayan vAJchitAnyantakasya // nATyadarpaNe Stray verses quoted from the Ramabhyudaya :snigdhazyAmalakAntiliptaviyato vellabalAkA ghanA vAtAH zIkariNaH payodasuhRdAmAnandakekAH kalAH / kAma santu dRDhaM kaThorahRdayo rAmo'smi sarva sahe vaidehI tu kathaM bhaviSyatu hahA hA devi ! dhIrA bhava // ___Quoted by Anandavardhana. yattvanetrasamAnakAnti salile magna tadindIvaraM medhairantaritaH priye tava mukhacchAyAnukArI shshii| ye'pi tvadUgamanAnusArigatayaste rAjahaMsA gatAH tvatsAdRzyavinodamAtramapi me daivena na kssmyte|| From subhASitAvali and sUktimuktAvali.

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314 Gaudavaho AkrandrAH stanitaiH vilocanajalAnyazrAntadhArAmbubhiH tadvicchedabhuvazca zokazikhinaH tulyAstaDidvibhramaiH / antarme dayitAmukhaM tava zazI vRttiH samaivAvayoH tat kiM mAmanizaM sakhe jaladhara tvaM daadhumevodhtH|| Quoted from Earta and attributed to Yasovarman in sUktimuktAvali. kRtakakupitairbASpAmbhobhiH sadainyavilokitaivanamapi gatA yasya prItyA dhRtApi tthaambyaa| navajaladharadhyAmAH pazyan dizo bhavatI vinA kaThinahRdayo jIvatyeva priye sa tava priyH|| Quoted by Anandavardhana in dhvanyAloka-- fully quoted in Locana raktastvaM navapallavairahamapi zlAghyaiH priyAyA guNaistvAmAyAnti zilImukhAH smaradhanurmuktAstathA mAmapi / kAntApAdatalAhatistava mude tadvanmamApyAvayoH sarva tulyamazoka ! kevalamahaM dhAtrA sazokaH kRtaH / / Quoted by Anandavardhana and many other writers. prArabdhaM taruputrakeSu sahasA saMtyajya sekakriyAM etAstApasakanyakAH kimidmityaalokyntyaakulaaH| ArohantyuTajadumAMzca baTavo vAcaMyamAH satvaraM sadhomuktasamAdhayo nija (bRsI) dhvevoccapAdaM sthitaaH|| -jalhaNa - sUktimuktAvali. prauDhacchedAnurUpoccanarayabhavatsaihikeyopaghAtatrAsAkRSTAzvatiryagvalitaravirathenAruNenekSyamANam / kurvatakAkutsthavIryazrutimiva marutAM kandharArandhrabhAjAM bhAnkArairbhImametat nipatati viyataH kumbhakarNottamAGgam // From - sUktimuktAvali, also zArgadharapaddhati. sa yasya dazakandharaM kRtavato'pi kakSAntare gataH sphuTamavandhyatAmadhipayodhi sAndhyo vidhiH| tadAtmaja ihAgadaH prahita eSa saumitriNA ka sa ka sa dazAnano nanu nivedyatAM rAkSasAH // . .

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man. Appendix III 1 Quoted in suvRttatilaka by kSemendra. ucchUThanAruNamazrunirgamavazAt cakSurgataM mantharaM somazvAsaka darthitAdhararuciH, vyastAlakA bhrUlatA ApANDuH karapallave ca nibhRtaM zete kapolasthalI mugdhe kasya tapaH phalaM pariNataM yasmai taveyaM dazA // From kavIndrasamuccaya " kAmasyApi zarAhatirna gaNitA tvaM jIvanaM saMsmRtA no dagdho virahAnalena jhaTiti tvatsaMgamAzAsRtaiH / nIto'yaM divaso vicitralikhitaiH saMkalparUpairmayA kiJcAnyanmanasi sthitA'si nanu me tatra svayaM sAkSiNI // -- From sUktimuktAvali over the name Rajaputra YasovarDr. Keith takes it as our Yasovarman's verse. 315

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816 Gaudavaho Appendix IV vAkpatirAja Verses attributed to him in Anthologies : subhASitaratnAkara by Kosambi and Gokhale. asti zrIstanapatrabhagamakarImudrAGkitoraHsthalo devaH srvjgtptirmdhuvdhuuvktraabjcndrodyH| krIDAkoDatanonavenduvizade daMSTrAkare yasya bhU - rbhAti sma prlyaabdhiplvltlotkhaataikmustaakRtiH|| pRSThabhrAmyadamandamandaragirigrAvAgrakaNDUyanAn nidrAloH kamaThAkRterbhagavataH zvAsAnilAH pAntu vaH / yatsaMskArakalAnuvartanavazAd velAcchalenAmbhasAM yAtAyAtamayantritaM jalanidhernAdyApi vizrAmyati // vaakptiraajsyaitau| P. 21 devi tvaM kupitA, tvameva kupitA, ko'nyaH pRthivyA gururmAtA tvaM jagatAM, tvameva jagatAM mAtA na vijJo'paraH / devi tvaM parihAsakelikalahe'nantA, tvamevetyatha jJAtAnantyapado naman jaladhijAM zaurizciraM pAtu vaH // vAkpatirAjasya / P. 21 daMSTrAsaGkaTavaktrakandaratarajjihnAbhRto havyabhum - jvAlAbhAsurabhUrikezarisaTAbhArasya daityagRhaH / vyAvalgabalavaddhiraNyakazipukroDasthalIpATanaspaSTaprasphuTanasthipaJjararavakUrA nakhAH pAntu vH|| vaakpteH| P. 28 kharvagranthivimuktasandhivikasadvakSaHsphuratkaustubhaM niryannAbhisarojakuDmalakuTIgambhIrasAmadhvani / pAtrAvAptisamutsukena balinA sAnandamAlokitaM pAyAd vaH kramavardhamAnamahimAzcarya muraarervpuH|| vAkpatirAjasya / P. 24 seyaM dyaustadidaM zazAkadinakRccidraM nabhaH sA kSitistatpAtAlatalaM ta eva girayaste'mbhodhayastA dishH| . For Private &Personal Use Only

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Appendix IV 317 itthaM nAbhivinirgatarna saziraHkampAdbhutaM vedhasA yasyAntazca bahizca dRSTamakhilaM trailokyamavyAt sa vH|| vAkpatirAjasya ( vAcaspateH) / P. 27 utplutya dUraM paridhUya pakSAvadhau nirIkSya kssnnbddhlkssyH| madhyejalaM buDDuti dattajhampaH samatsyamutsarpati mtsyrngkH|| vAkpatirAjasya / P 207.

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318 Gaiidavako Appendix V The Commentator Haripala and his Commentary " The Commentary of Haripala explains merely the principal points, on account of which it is also called Gaudavadhasaratika. Very often it is nothing better than its Sanskrit paraphrase." So says R. Pischel about Haripala, the only commentator of the Gaudavaho. In the colophon of the Ms. of his commentary, mantion is made about Haripala in the following wards:-- jAlandharIyabhadrazrImadupendraharipAlaviracita-gauDavadhasAraTIkA paripUrNA / This means that he was the son of Upendrabhatta and that his native place was Jalandara. 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 Gathas is borne out by what he says about his father in the following words; while commenting on the word jhaNakkArei in Gatha. 788 : jhnndityvyktshbdaanukrnnm| tacca rasAphalapalavAsu komalAnilavellitAsu maJjarISu na yujyte| jhaNatkArAdeH kaThinadravyasya nUpuraraNitAdiSu darzanam / tasmAt saNakAi iti pATho lakSyate, sakArasya ca rekhAbhraMzamAtreNa lekhakadoSe jhakArIbhUtatvAditi sugRhiitnaambhirsmtpitRbhttttshriimdupendrpaadairvrnni| taireva ca bAlya eva iyamaparA vyAkhyA kRtaa| nUnaM putraka mAruto'pi madhuro rolambamAlA madhau zazvaccUtalatAvitAnapavanarastA jhaNatkArayet / pre-khallAsyalatAphalardhikusumaprAptyarthagarvoddhatA dhAvadrAvayutAsu tAsu ca latAbhedo'pi bhakterbhavet // 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 Gathas of the Gaudavaho, 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 Gatha 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 - sAhAsAraMgavirAviNo as zAkhAbhiH sAraGagavirAviNo sAraGagavajjhaGakAraravakAriNo etc. The word sAhAsAraMga-zAkhAsAraGaga, like zAkhAmRga, just means "A monkey': As Pandit observes, "The commentary of Haripala 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 chhaya (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 Haripala was a Jain, as the Commentary, as given by its single Ms., begins with an invocation to Lord Jina in the following words-oM namaH zrIjinendrebhyaH / . 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, Vakpatiraja and Rajasekhara. The date of Haripala cannot be aseertained.

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GAUDAVAHO Glossary OF NOTABLE WORDS akaNia (933)- akUNita, Not contracted, opened out. akka (535)- arka, Name of a plant. Hindi or Marathi ruI. Also means -- the sun'. agyavatta ( 1016) - arghyapAtra, A plate full of materials of worship. agchati (269)- rAjante, Look charming. aggha-rAj 'To become to appear nice. agdhavia (717)- aghita, pUjita, saMmAnita, Honoured, decorated. acarama (1209)--- acarama, Foremost, unparalleled. acchakka (228)- akANDa, akasmAt, 'All of a sudden. Also atthakka. achivaMta (921)- aspRzat, 'Not touching' chiva-spRz - To touch' aNaraha (83)-- anarha, ayogya, 'Unfit, unworthy'. aTTA (153)-- kvathati, Boils / aTTa-kvath, To boil. aTilavAAMti (945)-- asthilavAyante, ' Act or look like bits of bones. aNahigIa (899)-- anabhigIta, Unsung, not praised. aNiuMcia (273)- anikuJcita, Com. avakrIkRta. Uncurtailed, not ___curved. aNicaria (23)- akathita, * Untold, unexpressed. ' Niccara-kathaya ____To tell. ANiTia (707)- aniSThita, asaMpUrNa, Unending, never finishing. aNimacchia (776)- anirbhatsita, Not cast away, not removed. aNucchitta ( 238)- anutkSipta, atyakta, 'Not abandoned, not __discarded. anupta (989)- anutprayat, Com. anapanayat, Not lifting, not removing. atthagaI (980)- arthagati, Implication, inference.

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Glossary 321 atthAaMti (126)- astAyante, Sink below the horizon, set, : atthA, atthAa-astAya, To set. ahara (287)- ajira, aGagana, Court-yard. apphAlia (814)- AsphAlita, Struck, beaten.. apphuNNa (98) -D. AkrAnta, Overwhelmed, overpowered. apphullaa (998)- AtmIya, One's own. Cf. Mar. ApaleM. . . apphoDaNa (929 )-- AsphoTana, Slapping, striking. amuNia (191) - ajJAta, avidita, Not known. amolla (1006)- amUlya, Priceless, Valuable, precious. arahaTTa (685)-- araghaTTa, Water-drawing contraption. Cf. Mar, rahATa, alattaa (1047)- alaktaka, Red lac or sap, used by women to dye certain parts of the body, particularly the soles and lips Cf. Mar. aLitA. alaMbusA (272)- alambuSA, gulmavizeSa, A kind of creeper. allaa (773)- Ardra, Wet, moistened. alliai (923)- AlIyate, Embraces, unites. allI, allIa--A + lI, To merge, to embrace. __- (173) upasarpati. allia-upa+ sRpa, To approach. allINa (252)- AlIna, AzliSTa, Concealed, hidden, stayed close. avacuNNeti (766)-avacUrNayanti, Sprinkle powder. avaDa ( 471 ) D. - avaTa, kUpa, A well. DNM. I. 53. Cf. Mar. ADa, avasAya (613)- avazyAya, Hoar-frost, white dew. ayocchiNNa (937)- avyucchinna, Continuous, uninterrupted. asamAraNa (840)- asamAracana, Want of arranging, dressing or ____ combing ( hair ). asalAhaNa (979 )- azlAghana, Absence of praise. asoumalla ( 1151)- asaukumArya, Want of softness or delicacy; ____rough. ahijArajjati (872) - abhipUryante, Are filled. ahilei ( 178 )- abhilAti, abhigRhNAti, Takes up. seizes. / le-lA = ___ graha To seize, to take. ahisAraNa ( 1126 ) - abhisAraNa, Going over to meet (the lover ). ahisaMdhia (1131)- abhisaMdhita, Formed, created, joined. ahuAsea ( 536)- ahutAzeya, Unfit for fire. 21

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322 Gaudavaho ahiaM (4)- asthitaM, anavaratam Ceaselessly, continuously. aMjia (205)- ajita, Anointed, decorated, adorned. aMDaavaMdhAae (248)- aNDakabandhAyate, Denominative of aMDakabandha, An egg-shaped dome on a temple. aMta (481)- antra, Entrails, intestines. ahiAra (1071 )- abhicAra, Exorcising, employment of magic spells for malevolent purposes. AuMji (610)- AkuJcin, Contracting, shrivelling. Amela (112)- ApIDa, A garland of flowers. AmoDaNa ( 351 ) AmoTana, Breaking, smashing. Ayasa (1077)- Ayasa, Made of iron, metallic. AyANa (258)- AyAna, azvAbharaNavizepa, A decoration of a horse. Ara (422)- Ara, maGagalagraha, The planet Mars. Cf. Ara aGagArako bhaumaH / Com. Arakva (437)- ArakSa, The junction of the frontal sinuses of an elephant. Cf. ArakSaM zirasi gajasya madasthAnaM yatrAGkuzacaJcu nimajjati / Com. AlaMkhaNa ( 527)- sparza, Touch, contact./Alukha-spRz, to touch. Avarilla (24) - uttarIya, Upper garment. AvAa ( 535)- ApAta, tatkAla, That very moment. aviddha (210) D. -kSipta, prerita, Thrown out, tossed; - also parihita, covered, invested. AvIlaNa ( 161)- ApIDana, samUha, Mass, heap, collection. AvaMDura (784)- ApANDura, Whitish, pale. AsAgaa (446) - AzAgaja, A Quarter-elephant. AsaMgha (489) D. - zraddhA, vizvAsa, Faith, belief. AsaMdhi ( 56 ) D. -- saMbhAvita, mAnita, Considered, thought. AsaMdANa ( 163)- AsaMdAna, avaSTambhana, avarodha, Binding, fastening. osukka ( 1112)- avazuSka, Dried up, withered. iTTA (678 )-- iSTakA, A brick. iriNa ( 1049)-D. kanakaM, Gold, DNM. I. 79, iharA (84)-- idAnIm, Now, in modern days. ubaMTayaMti ( 684)- utkaNTakayanti, Cause the erection of hair. horripilate.

Page #620
Glossary 323 ugghADia (820)-udghATita, Exposed, opened out. uccu DaMta ( 733)--Being scraped off. ut + cuDa. To take off, to ___scrub. uccha (409) D.-antarAvaraNa, Internal covering. DNM. I. 85. ujjaDa (559) D.---udvasa, zUnya. Desolate, barren. DNM. I. 96 unuNa (83) D.-dRpta, garvita. Vain, proud. DNM. I. 99. utthala (109)-ucchalita, urtita, Uplifted, upturned. cf. Marathi uthaLa. utthaMdhi (650)-utkSepin, Tossing up, hurling upward. udhumAa (481)-uddhmAta, Swollen, bloated. udhura (972)-udhara, High, lofty, lifted up. uddalaNa (1050)-uddalana, vidAraNa, Tearing, digging. uppia (1208)-arpita, Given, shed. uppittha ( 124, 526) trasta, bhIta, vidhura, Frightened, distressed, afflicted, DNM. I. 129 utpIla (431) D. saMghAta, samUha, Mass, collection. DNM. 126 uppaMka ( 176) D. rAzi, samUha, Multitude, number, DNM. I. 130 unbhaDa (231)-udbhaTa, prabala, pracaNDa. Violent, terrific. ubbhiDaNa (117)-udbhedana, Blow, impact, collision. umhAi (356)-USmAyate, Gets warm or heated. ullasa (1156)-ullAsa, vikasana, Display, manifestation. uvaUDha (1153)-upagUDha, Embrace. ucvAa (553)--udvAta, zuka, Parched, dried up. udhvattha (538)-uduSita, Gone out to reside, migrated. jati (584)-ArdIbhavata, Getting moist or wet, V ulla- Ardraya. to become or make wet. ullUria (332)-tuDita, vidArita, Cut to pieces, slaughtered. uvaAra ( 760 )- upacAra, Supposed or fancied identification founded on resemblances. kola (515) - udveSTita, Loosened, detached, separated. - (110) ucchalita, Tossed up, forced upward. uvaNiggama (669)- upanirgama, upavana, A park, garden. usIra ( 671 )- uzIra, A kind of fragrant grass. Marathi vALA, ___ Hindi khaza.

Page #621
324 Gaudavaho ussUNa (436) - ucchUna, Swollen. Usa (536 ) - USa, Salt ground, barren, saline soil. Usasia ( 1105 ) - ucchvasita, Heaved up, sprouted. ekkavAsa (452) - ekapArzva, One side. ojjhara (130) - nirjhara, A stream, rivulet. - oppu sia (723) - also oppuMsia, uppusia - utproJchita, Wiped out. oliMbhA ( 341 ) - D. Ointment ? olaMpa (677) - avalopa, The act of crushing, Com - avalumpana ohura (606 ) - D. avanata, strasta, Turned or bent down. DNM I. 157. kakkara (398) - karkara, A stone. kakaNa ( 794 ) - karketana, A kind of a gem. A Bimba fruit. Cf karketanAparasaMjJakabimbaphalaH / kakkeyaNa iti maNivizeSo'pyupalakSyate / Com. kakkola (582 ) - kaGakola, vRkSavizeSa: A kind of a tree, as also its fruit. kakkhaDa (731) D. pIna, puSTa, karkaza ( Com ). Big, tough, hard. kaccUra (189, 602 ) - karpUra, A kind of a fragrant tree. Hindi kAlI haLadI. kaccha (401) - kaccha, jalaprAyadezaH, Marshy tract. kaDappa ( 12 ) - D, kaTapra, nikara, Mass, heap, bundle, DNM. II.13. kaulaNArI (319 ) - kaulanArI, A woman belonging to the sakta (Kaula ) sect. kaDAra ( 12, 32 ) - kaDAra, Brown, tawny-coloured. kaNhAiNa ( 1190 ) - kRSNAjina, Deer - hide, the skin of a black antelope. kapphA ( phA ) Da (623) D. guhA, A cave. DNM. II. 7. kabbura (210) - karbura, Gray, ash-coloured. karaNi ( 1007 ) D. sAdRzya, rUpa, Resemblance, similarity, imitation. DNM. II. 7. karamanda (533) - karamanda, A kind of a plant, as also its fruit. Marathi karavaMda. . karavIra (671) - karavIra, A kind of a flowery plant. Marathi kaNhera. cf. karavIraM kaNahIrakamiti lokabhASayA prasiddham / Com. 1

Page #622
Glossary 325 karilla (342) D. vaMzAGakura, A bamboo sprout. DNM. II. 10. karIra (534)- karIra, tRkSavizeSa. A kind of a tree. karahADa (533)- karahAra, vRkSavizeSa, A kind of a thoo. karaMka ( 1000 ) --- karaGka, bhikSApAtra, A small pot (of cocoanut), ____alms-bowl. karaMbia (237)- karambita, Mixed, intermingled, variegated: kalaaMThI (596)- kalakaNThI, A cuckoo. kalahoa ( 889)- kaladhauta, Silver, also gold. kalala (650)- kalala, Yolk of an egg, foetal fluid. kalalia (331)- kalalita, kardamita, Made muddy. kalaviMka (647)- kalaviGka, A sparrow. kavalei ( 1095 ) - kavalayati, gobbles, makes a mouthful of, ___swallows. kavAla (390)- kapAla, The skull. kasabya (375) D. --pracura, vyApta, Full, covere 1, D M. II, 53. kaseru ( 393)- kazeru, A kind of grass growing in water. Cf. __ kaserustRNavizeSo jalajaH | Com. kahullola (494)- kathAprabandha, Continuous narration of stories... kArahI (668 )--- kArabhI, Belonging to the Karabha plant. Cf. ___ krbhnaamsugNdhidrvyvishesssNvndhinii| Com. kAlasutta (1198)- kAlasUtra, Noose of Death, kAvurisa ( 894)-kApuruSa, A bad or wicked man. kAsa ( 525)- kAza, A flower of the Kasa, variety of grass used for mats, roofs etc.. kiNNa (648)- kiNva, phalavRkSavizeSa, A kind of a tree the fruit of which is utilised for distilling wine. kiri ( 1049 )---kiri, A boar, hog. kiliMca ( 1094)- D. laghudAru, A wood-stick. Marathi kilacA. kiMsua (554)- kiMzuka, The Palasa tree and its blossom. kIDailla ( 521 )- kITayukta, Full of insects or worms. kIlAla ( 331 )- kIlAla, Blood. majjArudhirAdikam / Com. kIlia (283)- kIlita, Nailed, screwed tight. kukkuha (519)- kukkubha, Wild cock. kuppara (682)- kUrpara, Decaying wall-plaster, also kappara.

Page #623
326 Gaudavaho kuppAsa (757)-kurpAsa, A sort of bodice worn by women. kurara (520)-kurara, An osprey. kuruviMda (618)- kuruvinda, maNivizeSa, A kind of a stone, a ruby. ___ kuruvindAH pASANamaNivizeSAH / Com. kulIra (1093)-- kulIra, jantuvizeSa, A crab. kasUla (377, 664 )--- kusUla, Granary, store-house. kuMDala (833)- kuNDala, Coil of a rope, loop. kUDakoDI (316)- kUTakoTi, kUTasya rAzeH koTi: praantH| Com. Edge or border of a mass. kUDukkera (218)- kUTotkara, Massive heap. kUNia (364)- kUNita, Contracted, closed. keU (1115)- ketu, tulAsUtra, Cotton thread or string attached to a weighing balance. kesara (534)- kesara, 1. A kind of a tree and its flower, also known as Bakula tree. 2. Mane of a lion. kola (850 )- kola, Hog, boar. kolIkaa (1126)-kroDIkRta, Embraced, clasped to the bosom. kosia (541)- kauzika, An owl. kaMka (541)- kaDaka, pakSivizeSa, Heron. kaMkAla (541)-kaGakAla, A bony skeleton. kaMcaNAra (593)- kAMcanAra, The Kovidara tree. kaTI (533)- D. upakaNTha, The land on slopes of a mountain. kaMDaaNa (986)- kaNDUyana, Scratching, rubbing. kaMda (739)-D, dRDha, Strong, DNM. II 51. khajjU ra (533)- khajUra, Date-tree. khala (273)- khala, Threshing floor. khallaia (619)-D. saMkucita, Worn out. khalatIkRta - Com. DNM. II.79. khIroa (1039)-kSIrodaka, the milky ocean. khuDia (235)-khaNDita, vicchinna, Cut, clipped. khutta (101)-D. nimagna, Sunken, imbedded. DNM. II. 74 khuppaMta (422)-majjanta, Sinking, being thrust inside. Marathi khupaNe. gAmeiA (536)-grAmeyikA, A woman of the village, a rustie woman, go-jAla ( 50 )-razmisamUha, Mass of rays.

Page #624
Glossary 327 gomAu (541)-gomAyu, zRgAla, A jackal. golaa (682)-golaka, Round-shaped. gaMdhauDi (319)-gandhakuTI, A house of perfumes. ghagghara (531)-gharghara, A pile or mass. ghusiNa (161)-ghusRNa, kuDakuma, Saffron. ghoNA (850)- ghoNA, Nose, snout. ghoNaMta (464)-ghUrNamAna, Hovering, rolling, reeling. cakkalaijjati ( 1042)- kuNDalIkriyante, (from cakkala D. - kuNDala, vatula)-- Moved in cireles, cakkAa (1177)- cakravAka, A kind of a bird. cakkhia (781)- AsvAdita, Sipped, tasted. caDakkAri (635)- caTatkArin, Producing a crackling sound. cibiDa ( 521 )-cipiTa, Pressed, flattened. ciNNa (539)-- cIrNa, Trampled, trodden upon, grazed upon. cf. cinnaM caritaM bhakSitam / Com. ciMciNI (677)-D. ciMcA, The tamarind tree or its fruit. Marathi. ciMca. cihura (734)- cikura, The hair of the head. ghuDuppa (165 ) D. - kSata, tvak, Bruise, skin. cuDuppaM tvagvidalanam. DNM. III. 3. caMdimA ( 656)- candrikA, Moonlight. chaNa ( 784)- kSaNa, A festival. chavia ( 150 ) D. -- pihita, AcchAdita, Covered. chiddia (565)- chidrita, chidrayukta, Full of holes, perforated. chippai (914)- spRzyate, Is touched or tainted. chIrAaMta (849)-kSIrAyamANa, Looking like oozing milk. cheppa (848) D. -- zepa, A tail. jacca (602)- jAtya, of a fine quality. jarI ( 1001 )- jarin, A man of old age. jalaraMku ( 385 )--A kind of a bird, water-hen. jalaraGakuH DheGakaH / Com. java (588)- yava, Barley-corn. javapacamANa ( 255)- javapacamAna, A kind of vital breath in the body of a horse of the finest species. Cf. sujAtyazvAnAM vAyuvizeSo'ntazcaraNaH prANo manojavaH / Com.

Page #625
328 Gaudavaho jAmailla ( 20 ) - yAmavat, 'yAmika, prAharika, Guard, watchman, of. Marathi pahArekarI. jAmavaI ( 1087)- yAmavatI, yAminI, Night... jAlasutta (731)- jAlasUtra, A string passed through a strap with eye-let holes (jAla). jAlAai ( 1101)- jAlAyate, Acts or looks like a lattice window. jAlia ( 521 )- jAlika, A fisherman. jAliA (1129)- jAlikA, A guaze, paTTAdimayaM zirovastram / Com. jAvaa (296)- yAvaka, Lac, red dye. jiaMta (962)- jIvat, Living, alive. joggA (351)- yogyA, Exercise, practice. jaMbAla ( 830)-- jaMbAla, Mud, moss. Com. takes it to mean ' dis tressed '. jaMbAlaM vyAkulam / jaMbU (516)- jaMbU, The rose apple as also fruit. jhasura (1125)-D. tAmbUla, Betel. DNM. III. 61 jhijjaMta (690)-kSIyamANa, Getting thin or reduced. cf Marathi jhijaNe. jhillI (554)D-laharI, taraGaga. A ripple, a wave. TaAra (261)-TakAra, The Devanagari letter 'Ta' TiviDikkia (598)-vibhUSita, alaGkRta, Adorned, decorated. TaMka (700)- TaDaka, A stone-cutter's chisel. TaMkAra (67) D- ojas, tejas, Highflown, pompous style, osten tatious display. DaMbara (1044)- Dambara, Resemblace, appearance. DiMba (46)- Dimba, Fear, fright. DiMbha (607) Dimbha, A Young child. NaI (1000)- nati, Stoop, bent, curved form. NagghaMti (902)- na arghanti, Are not valued, depreciated. NavaraMgaa (598)-navaraGagaka, A garment dyed in red or saffron. NAmamaMtakkha (1142)-D. aparAdha, Misbehaviour, lapse. NAraMga (591)-nAraGaga, The orange tree and its fruit. NAli (673) nADi, rajju, vasrA, A strap, rope. NAhi ( 1118)- nAbhi, Any navel-like cavity. Niacchiavva (396)- draSTavya, Worth observing. V Niaccha - dRza, To see.

Page #626
Glossary 329 Niala (1198) --nigaDa, Fetter, chain, shackle.. NiaMsaNa (632)-D. nivasana, A garment, apparel; DNM. IV. 38, Cr. Marathi nesaNe, 'Nicchallia (564)- chinna, Cut, broken. Nijjhara (230)-nirjhara, A stream. NidRvia (844)-niSThApita, samApita, vinAzita, Killed, destroyed, ____finished. NitthAma (162)-niHsthAma, durbala, Feeble, languid. Nipphura (144)- niSphura, Lustre-less. NibuDu (409)- nimagna, Sunk, submerged, drowned. Nimia (47)- nyasta, nihita, Placed, deposited. Nimmoa (475)-nirmoka, Slough of a snake. Nimilla (192)-nimIlita, Disappeared, gone out of sight. NimmahaMta (530)- gacchat , Going out, emanating. /Nimmaha-gam , To __go out. Ni(NI)riMgI (1136)--D. ziro'vaguNThanam , A veil worn over head. DNM. IV. 31. Nivvavia (370)-nirvApita, Cooled. NibvAi (165)- vizrAmyati, Feels happy or relieved, rests. __NivvA = vizram. Nisammai (279)-nizAmyati, niSIdati, vizrAmyati (Com.), Finds relief, rests. NisANacakka (1182)- nizAnacakra, A sharpening wheel. NisuDhia (122)--nizumbhita, nipAtita, Felled down, destroyed, /NisuMbha - ni + zumbha) To strike, to destroy. Nihasa (36)-nigharSa, Friction, act of rubbing. Also NihasaNa (nigharSaNa). NIrAijjati (413)-nIrAjyante, Lights are waved as an act of adoration. NIsAmaNNa (495)---ni:sAmAnya, Devoid of generality. NIhAra (542)- nIhAra, tuSAra. Fog, mist. guvaNNa (1161)-D. supta - Slept. DNM. IV-25. NUmia (103) - chAdita, Covered, hidden. NUmeha (927)-chAdayati, Covers, hides.

Page #627
330 taNaMta (942 ) - tanvat, Stretching, pulling. taNNaa (850) - tarNaka, A calf. taNNAa (1038 ) - D. Ardra, Wet, moistened. taddiasaM ( 49 ) D. - anudinam, pratidinam, Every day. DNM. V. tabhI ( 354 ) - tamI, Dark night. tammi (338) D - vastram, A garment, apparel. taraNi, The sun. taraNi ( 1186) Gaudavaho taralei (846) - taralayati, Thrills. taliNa (69) * talina, pratala, sUkSma, Thin, small, insignificant. talima (407) - D. zayyA, A bed, DNM. V. 20. tavaNijja (206) - tapanIya, Gold. taTThi (704) - tvaSTR, vizvakarman, Architect of the gods. tADaMka (206). - tADaUka, Ear ornament, ear-ring. tAla (564) -tAla, vRkSavizeSa, The palmyra tree. tiMgicchi ( 3 ) D. - Particles of dust, pollen in a lotus. tilaa (1002) - tilaka, Freckles, ( black) spots on the skin. Cf. Marathi tILa. * tuccha (498) D. avazuSka, Dried up, withered. DNM. V. 14. tulAoDi ( 293 ) - tulAkoTi, nupUra, Anklet worn on the feet by women. tulAdaMDa ( 1115 ) - tulAdaNDa, Balance-rod. - tUlilla (768 ) - tUlikAvat, kUcikAyukta, With paint-brushes. uggama (963) - tejaudgama, A lustrous flash. tuMbI (691) - tumbI, alAbu, A gourd. -- taMDavia (175) - tANDavita, nartita, Made to dance. taMsIkaa (572) - vyastrIkRta, Turned oblique or slanting. thauDa ( 16 ) - sthapuTa, nIconnata, Uneven, high and low, depressed and ! elevated. thaNullaa (325) - alpastana, Small breast. thAmatthAma (294 ) - sthAnasthAna, At every place.. dadura ( 1167 ) - dardura, Tambour, drum. dasaNavAsa ( 782 ) - dazanavAsas, A lip, lit, a covering of teeth.. duhAvia ( 435 ) - duHkhita, Pained, tormented, agonised. dUmaMti ( 674 ) - dunvanti, pIDayanti, Oppress, cause distress.

Page #628
Glossary dhava (620) - dhava, vRkSavizeSa, A kind of a tree dhIreMti (970 ) -- dhIrayanti, Compose, take courage, cheer up . parikka (1083 ) - pratirikta, Vacated, left off, empty. pau ( 1189 ) - pravRSTa, Rained, showered. paoara (581 ) - padodara, Sole of a foot. paDala (358) - D. nIvraM, Edge of a thatch. DNM. VI-5. - paDavAsa (836 ) * paTavAsa, Perfumed powder. paDiaggia (317) - pratijAgarita, Kept alert or awake through devotion. - ( 479 ) -- anuvrajita, anugata, Followed, pursued,. trailed. paDitthia ( 110 ) - pratiSThita, Settled down paDipphalia ( 114 ) - pratiphalita, saMkrAnta, Pushed over, transferred. paDI (769) - paTI, A stage curtain. paNaI (1207 ) - praNayI, A supplicant. paNollia (442) - praNodita, prerita, Pushed, driven. pattaNa ( 345 ) - D. bANasya phalaM puGkhazca / Blade and feathers of an arrow. 3311 patthArI (373) D. - nikara, prastara, samUha, Mass, multitude. DNM. VI-69.. pappua (128) - prapluta, Flooded, inundated. pabbhAra (662 ) - prAgbhAra, The front, forepart. pamhusai (956 ) - vismarati, Forgets. Vpamhusa - vismR - to forget. pariAla ( 20 ) - D. parivRta, pariveSTita, Fenced, surrounded. pariNai (433) - pariNati - tiryagdantaprahAra: / A bending or stooping action of an elephant to give side-blow with his tusks. paribhoa (839 ) - paribhoga, Envelopment, covering, pervasion. parivaggia ( 26 ) - parivalgita, A swaggering gait. parivArDi (851) -paripATI, Series, succession parivADipIDA, Spasms, cramps due to pain. parivuttha (540 ) - paryuSita, sthita, parivAsa, Resting, staying. parisakkaNa (460 ) - pariSvakkaNa, paribhramaNa, Moving about, going. round, stroll. parisaDia (614 ) - parizaTita, Rotted, decomposed, putrefied. parisuddhi (1123 ) - parizuddhi, Toilette, make-up. pari saMThia (207) - parisaMsthita, A standing pose.

Page #629
332 Gaudavaho 'parihAravai (921) D. -- RtumatI, A woman in her courses. DNM. VI-37. palahi (hI) (1173)- D. karpAsa, Cotton. palAsa (594)- palAza, I Name of a tree, also called kiMzuka. 2. A leaf or petal in general. pallI (645)- pallI, A small village, a hamlet. paloTTa (490)-paryasta, Scattered, stretched.. paloDUMta (147)-- praloTamAna, Rolling./paloTa-To roll on the ground. palhattha (415)-- paryasta, Scattered, thrown about. pavirallia (50) D-vistRta, Spread, expanded. pavirellia (435) D. -- vistArita, Spread over, prolonged. pavvAlia (813)- plAvita, jalavyApta, Flooded, inundated. paholI (1008)-- prabhAvali, A continuous line of lustre. Marathi. prabhAvaLa. pAmara (598)--- pAmara, A farmer, a poor, pitiable fellow. pArI (577) D. -- dohanabhANDam, A milking vessel. DNM. VI. 37. pAlI (589)-pAlI, paGikta, zreNI, Row, line. pAlaMba (833)-prAlamba, A garland worn round the neck and reaching to the breasts. pAsalla (560)-tiryak, vakra, Turned, prostrated, bent. pAsalia (266)-pAzvita, pArvIkRta, tiryapAtita, Thrown or placed on one side. piMDI (676)-piNDI, A supporting wooden beam. piThAaa (835)-piSTAtaka, Scented or perfumed powder. piyaMgu (gU) (585)- Name of a creeper, said to put forth blossoms at the touch of a fair lady. puDa (1088)-puTa, Cavity, concavity. purava (307)- pUrva, Earlier, former. purumilla (1073)-pUrvIya, Former, previous. pulaei (1063)- pazyati, Sees, interviews. / pulaa-dRz, To see. pulosa (589)-ploSa, Act of burning. pujia (231)-puJjita, Massed, Collected, accumulated. puliMda (949)- puliMda, A savage tribal, a mountaineer. peDhAla (731) D.- vipula, vartula, Plump, round.

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Glossary 333 peDaNa (127) D. -- piccha, Wing, feather; also pihuNa. poha (257)-protha, mukhaprAnta, Nose or nostrils of a horse. pellia (31)-prerita, Impelled, driven, pushed. phaDimA (1020)-pratimA, Image, reflection. . phaliha (690)- sphaTika, Crystal. phuDa (522)- spRSTa, Touched, smeared, ba (va) hutta (348)- upabhukta, Eaten up. bAha (627)- vyAdha, A hunter, (941)- bASpa, a tear. bAhoAra ( 132 ) -- bASpAvatAra, Stream or flow of tears. bindaia (1162, 605)- bindukita, binduyukta, Covered with drops, dotted. bukkAra ( 10 ) D-bUGakAra, Roar. busAsAra (356)-busAsAra, A shower of chaff. borachi (615)- badarAsthi , The stone of the jujube fruit. baMdhurAaMta (620)- bandhurAyamANa, Stooping, bending, wavy. baMdhuria (556)- bandhurita, namrIbhUta, Bent, inclined, bowed. bhaTTa (565)- bhRSTa, Fried, roasted, broiled bharihiMti (956)- smariSyanti, Will remember, or recollect. bhAsa (540)-bhAsa, pakSivizeSa, A Cock, vulture. Cf. bhAsA : pakSivizeSA ___ mahiSapurISopajIvinaH / Com. maaNa (916)- madana, Bees' wax. Marathi meNa. maatilaa (249)--- madatilaka, A round-shaped mark in musk. maarahara (807)- makaradhara, An ocean. mauliMta (1085)- mukulIbhavat, Becoming like a bud. maDaha (16, 320) D. -- laghu, svalpa, Small-sized, thin, little. maha (548)-marda-mardana, Stamping pounding. maruvaa (586)- maruva (ba) ka, A kind of plant (Marjoram). Hindi maruA, Marathi. maravA. malia (188)-- mRdita, Crushed,-malita, soiled, full of dirt or dust, maliNa ( 1108)- malina, Dark (spot) on the moon. mahApasu (319)- mahApazu, The great animal' i. e. man.' mhaapshrmnussyH| Com. mAlUra (304)- mAlUra, bilva. Bilva tree. mAhava (603)- mAdhava, The spring season.

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334 Gaudavaho mAhavI (594)- mAdhavI, The spring creeper with white fragrant flowers. mutthA (557)- mustA, A kind of grass. Hindi moyA, nAgaramothA. maMgula (951) D. -- aniSTa, pApa, Evil, sinful, DNM. VI. 145. mUallia (1206)-- mUkIkRta, Silenced, made quiet. raggaa (403) D - kausumbhavastra, A cloth dyed with safflower. DNM. VII. 3. raNaraNaa (1133)- raNaraNaka, Anxiety, uneasiness. 'raNAira (102) --- raNAjira, raNAGagana, Battle-field. rasagga (1178)- rasAna, A ( mango) blossom. rasia (1189)- rasita, thundering sound. rAvia (419) D. -- raJjita, Coloured or tinged red. DNM. VII. 5. ruru (549)- ruru A kind of deer. ruMTaMta (605)- Humming. /ruMTa-ruMja, To hum, to give out a sound. rarvaI ( 329 ) -- revatI, Goddess Camunda. rehati ( 335)- zobhante, Appear bright, look charming roaNA (211)-rocanA, also gorocanA, A kind of yellow pigment. roha (284)- roha, praroha, A shoot, growth, (523)- rodhas, Bank. rohiNI (275)- rohiNI, A red cow or cow in general. raMkholia (394)- dolita, kampita, Stirred, swung. raMbhA (755)- rambhA, A plantain tree. laDaha (367)-D. ramya, sundara, komala, Charming, graceful, DNM. VII. 17. lalia (772)- lalita, Amorous pastime, dalliance. lAvaa (396)- lAvaka, A kind of a bird, quail. linbhaMti (310)-lihyante, are licked. lIlAiavva (1138) - lIlAyitavya, Playful dalliance. lua (158)- lUna, Cut away, lopped. lUA (571)-lUtA, A spider. loDhaa (1173)- loThaka, A ginning machine for separating seeds from cotton. lhasamANa ( 280)- hrasat, srasat, pazcAdbhAgaM patat, Slipping or tilting behind.

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Glossary Dropped down, slipped. Hidden, concealed. The terrace. Also valahI. - lhasia ( 37 ) - srasta, hikka ( 125 ) - nilIna, vaDahI ( 684 ) - valabhI, aNabaMdha (762) - braNabandha, A bandage. baNNaa (768) - varNaka, Paint, colour. varaNa (398) varaNaa (396) - varaNaka, A kind of grass. - varaNa, taTa, A surrounding wall. valaggaMti (989 ) - Arohanti, Ascend, climb, cling. / valagga-Aruh - to climb. valAa (384) - balAkA, A crane. valAaMta (417) * palAyamAna, Fleeing, running away. basuAa (385) - udvAta, zuSka, Parched, dried up. bAa (121) - zuSka, Withered, parched. / vA to get dry. bAolI (555) - vAtAlI, pavanasamUha, A whirlwind. vAmalUra (529) - vAmalUra, An ant-hill. vAla ( 676 ) - vyAla, A snake, a cobra. vAlihila (320) - vAlakhilya, A class of divine personages of the size of a thumb, numbering sixtythousand. vAluMkI (386) - vAluGakI Water-melon Marathi. vALakaM 'viANa ( 200 ) - vitAna, Expansion, awning, canopy. vitta (641) vicitra, Full of variety, picturesque. viea (907) - vitejas, Great or powerful lustre. vikkhiria (165) - vikIrNa, Dishevelled, spread out, scattered. -vicchDu (172) D. - nivaha, samUha, Mass, heap, Collection. DNM. VII-32. 335 vicchAes (857) vicchAyayati, Discolours, pales vicchitti ( 341 ) - vinyAsa, racanA, Colouring of the body with paints and unguents. vicchuria (780) - vicchurita, vyApta, Overspread, enveloped. vicchUDha (366) - vikSipta, Removed, tossed away. ccholia ( 60 ) - viccholita, dhauta, Washed, bathed. vijjhAa (154) - vidhyAta, Extinguished, cooled down Dippa (829) D. - rAhu, Rahu, name of a demon, also a planet, causing eclipse. -

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336 Gaudavaho viDima (529) D. --- gaNDaka, A rhinoceros. viDaMka (665)-viTaGaka, Pinnacle, cupola, dome. . viDhatta (179)- ajita, Acquired, gained. viNaA (1099)-vinatA, Mother of Garuda. viNimia (466)-vinyasta, Placed, deposited. viNimmahai (648)~~ gacchati, Goes out. N vi+Nimmaha-gam, to go. viNihata (344) = vinighRSTa, Eaten, chewed. vitthArittha (458)- vistArita, Extended, spread over. vivia (699)-vidrAvita, Routed, scattered, virallei (789)- tanoti, vistArayati, Spreads. virAa (102)- vilIna, vidruta, vigalita, Shattered, melted. virAvia (1169)---vilayita, Melted, turned into liquid. vi+rA -(Cause) to melt. virika (352)---virikta Left off, dropped. (469) D. vidArita, pATita, Cut off, lopped. DNM. VII. 64. vilaMchia (855)---vilAJchita, Marked, characterised. visaha (7) D. - vighaTita, vikasita, utthita, Emitted, thrown out. visasia (294)-- vizasita, Torn, cut, slaughtered. visurAvia (111)- khedita, Dejected, distressed. visUriavva (58)- Lamentable, painful. /visUra-khid To lament, to . feel sorry. visaMThala (932)-visaMSThula, Restless, fickle, unsteady. vivihesi (332)-janayasi, You produce, create./vi-vi-dhA, To create. vidvANapiNDa (1095)-vidhAnapiNDa, Lump of food as morning breake ____fast. vihANa D. prabhAta. DNM. VII. 90. vIDaka (731)-- brIDaka, Causing bashfulness. vanabhai (341)- uhyate, Is carried or held. /vaha, To carry. vaDha (436)- vyUDha, Routed, carried away, deserted. vealla (137)-vaikalya, Distress, agony. velavijjaMti (858)- viDambyante, Are mocked or ridiculed. velahala (732)-D. mRdu, komala, Soft, delicate. Marathi velhALa. velaMbaMti (753)--viDambayanti, Mock, imitate. vellaNa (119)- vellana, Rolling, wriggling. vesabhAva (877)-dveSyabhAva, Hatred, hostility.

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Glossary vocchea (495) - vyuccheda, Division, demarcation, differentiation. vosaTTamANa ( 399 ) - vikAsayat, Developing, growing. / vosaTTa - vikAsay To grow. volaMti ( 149 ) - gacchanti, Go, pass, cross over. vola-gam, to go. boliMti (361) - gamayanti Pass off, spend. Mud. vaka (676) - par3aka, sakkAri (578) - zakkArI, zAditi zabda yAH kurvanti tacchIlAH / Com. Producing a hissing sound. saccavia (236 ) - satyApita, dRSTa, Seen, observed, verified. saptalA, A kind of jasmine (double jasmine ). sattalA (789 ) - saddala ( 412 ) - zAdvala, Lawn, grassy tract. saddalia (359 ) - zAdalita, Full of grassy plots. samaaM (195) - samakam, samakAlam, Simultaneously, at one and the same time. 337 samappaMti (1154) - samApyante, Come to a finish, end. samahila ( 988 ) - samakhila, sakala, samasta, Total, all. samolaia (448 ) D. - samutkSipta, Tossed up, tilted, thrown up. samuttuNa (97) D. - garvita Proud, elated, puffed up. samuttara (1066 ) - samuttarati avatarati, Goes down, descends. sayarAhA (258) - zIghraM yugapad, Quickly, simultaneously. sarADi (405) - zarATi, A kind of a bird. saraNi ( 1013) - saraNi, mArga, Path, way. sallaI (546) 1 - sa ( za ) llakI, A kind of a tree whose tender leaves are a favourite food of elephants. 22 sallAaMta (152) - zalyAyamAna, Rankling, paining like a dart. savatta (719) - sapatna, Enemy. sasaiMdha ( 1119 ) - zazacinha, The moon. Lit. with the hare as symbol. sahaAra (596) - sahakAra, A mango tree. sahasi (308) - zobhase, Look charming / saha - zubh, to look lovely. saMdira ( 1196 ) - syandanazIla, Flowing. bohaNa (1204 ) -- saMbodhana, An address, speech. saMmadda ( 1192 ) - saMmarda, A crowd. sANa ( 427 ) - zANa, A whetstone, a sharpening instrument. Marathi sahANa.

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338 Gajidavaho sAmalI (601)- sAmalA or zyAmalA, A fair lady. sundarI (Com.) sAmaNNasuMdarI (959)- sAmAnyasundarI, A public woman, prostitute. sAmAaMta (965)- zyAmAyamAna, Darkening, becoming clouded or shadowed. sArasa (578)- sArasa, The Indian crane or swan. sAla (665) --- sAla, zAla, prAkAra, Wall, rampart. sAlUra ( 521 )-- zAlUra, maNDUka, A frog. sAvaa (613)--- zvApada, A beast of prey, wild beast, tiger. sAhAsAraMga (611)-- zAkhAsAraGaga, zAkhAmRga, Monkey. sAhijjai (1074)- kathyate, Is told, or narrated, / sAha-kathaya, zAs, to tell. sAhira (1206)- kathanazIla, Narrator, reciter. Marathi zAhira. siMduvAra (657)-sinduvAra, A kind of tree known as nirguNDI in ____Hindi. siNha (1166) siNhA (1170) D. ---- hima, avazyAya, Hoar-frost, dew, ___DNM. VIII-53. sihai (998) D. --- spRhayati, Desires, aspires. sihAla (126)-zikhAvat, Full of flames. sImaMta (886)- sImAnta, Border, dividing line. sIvaNI (758)-sIvanI, A seam, suture, stitch. suA (483)- truc, A ladle. suaMti (526) - svapanti, Slumber, sleep. suDhia (98)- zrAnta, Exhausted, tired, DNM. VIII. 36. supaNNa (1113)- suparNa, Garuda. susira (518)-- suSira, A hole, aperture, cavity. sahabharappA (993)- sukhaMbharAtmA, Thinking himself to be full of ___happiness. sUa (588)--- zUka, Bristle, tuft, awn of barley. sUI (539)- sUcI, A needle. sUDaNa (159)-sUdana, Breaking, destroying. sUsaMta (546)-- zuSyat, Drying. seriha (537)-sairibha, A buffalo. sevala ( 521 )- zaivala, Moss. soNa (670)-zoNa, Red. sovialla (216)- sauvidalla, An attendant in the women's apart. ments.

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Glossary 339 saMkhAa ( 522 ) -- saMstyAna, Clotted, coagulated. saMghaTTa (765)-saMgharSa, Friction. saMbUa ( 521 )--- zaMbUka, A small conch-shell, a snail. saMbharia ( 707) - saMsmRta, Recollected, remembered. saMbhiDaNa (634)-- saMbhedana, AghAta, Striking, clash. saMdhia (642)-saMdhita, prasArita, Spread, radiated. saMvajjati (550)-saMpadyante, Fall upon, perch. saMvaggia (550)-- saMvargita, Collected. saMvalia (1056)- saMvalita, vyApta, Enveloped, covered. saMvellia (151)- saMvellita, Shaken, made to quiver. hara (448)-dhara, dharaNIdhara, A mountain. haliddI (379)- haridrA, Turmeric. hiMjIra (298)-hijIra, Chain. hiMsI (396)-hiMsI, latAvizeSa, A kind of a creeper. hIra (7) D. -prAnta, antabhAva, Tip, edge. hecha (5)- adhas, Down, below. hesaMti (831)- heSante, Neigh. DNM = Desi - Nama - Mala. 000

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Page Line viii - XX XXV Correct Utchhvasas looks violent removed, gods' Mahakavya sallies servant 754 A. D. xlix " liv 25 tix ghargharo lxix lxxi composition upper 10 114 127 ERRATA Introduction Gatha Incorrect Utch havasas loooks vioelnt removed and gods Jain Mahakavya sallys servent 752 A. D. ghadharo Comyosition uppar Prakrit Text 59 sAlilammi H hiyaukkaMpo giriNo girayaH uccAra 415 vayaM dullNghaa-| 524 girio 547 krinn|i 601 iha haliddA719 acchinna735 bAhaga 800 hAriaMda sAvasAsa 912 ka 926 parihoDajjalAo 963 tauggamo 1127 karaMthoraM 1190 calaNa 350 u ovonew vw To con anw apa HRAVAHHHHHHINNA ------ 459 80 3 83 7 91 3 108 1 110 5 119 130 135 137 9 142 salilammi hiyaukkaMpA giriNo giriNo uccAravalayaM dullNghaa| giriNo kariNI iha hi halihAacchiNNabAhaggahAriaMde sAvaAsa kaaparihoujjalAo teuggamo kaaM va thoraM calaNe 876 175 6

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