Kansvaho

Author(s): Rama Paniwada, A N Upadhye
Publisher: Motilal Banarasidas
Catalog link: https://jainqq.org/explore/001886/1

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A.N. UPADHYE
RĀMA PĀŅIVĀDA'S
KAMSAVAHO
( A Prākrit Poen in Classical Style )
GRONORCA

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RĀMA PĀŅIVĀDA'S
K A M S A VA HO
(A Prākrit Poem in Classical Style.)
Text and Chaya critically edited for the first time with various Readings, Introduction, Translation, Notes, etc.
BY Dr. A. N. UPADHYE, M.A., D.Litt. SPRINGER RESEARCH SCHOLAR, UNIVERSITY OF BOMBAY, PROFESSOR OF ARDHAMĀGADHI, RAJARAM COLLEGE, KOLHAPUR
MOTILAL BANARSIDASS DELHI :: VARANASI :: PATNA

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MOTILAL BANARSIDASS BUNGALOW ROAD, JAWAHAR NAGAR, DELHI-6 NEPALI KHAPRA, VARANASI-I
BANKIPUR, PATNA-4
First issue 1940 Second issue 1968
Price Rs.4.50
PRINTED IN INDIA BY SHANTILAL JAIN, SHRI JAINENDRA PRESS BUNGALOW ROAD, DELHI-6 AND PUBLISHED BY SUNDARLAL JAIN, MOTILAL BANARSIDANG, BUNGALOW ROAD, JAWAHARNAGAR, DELHI-6

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CONTENTS
PAGE
PREFACE
INTRODUCTION
1. Critical Apparatus 2. Presentation of the Text and Chāyā ..
..
xi
3. Rāma Pāṇivāda and his Works
4. Kaṁsavaho: A Critical Study
..
xxiv-xlix
i) Earlier Acquaintance with the Work .. xxiv ii) The Theme and the Title
. XXV iii) Summary of the Contents .. .. xxvi iv) The Form, the Source and the Model.. xxxi v) On the Prakrit Dialect of Karsavaho ..
a) Special Traits of the Author's Dialect.. xxxiv
b) The Name of this Prakrit Dialect .. xxxix vi) Metres in Karsavaho i.
xlvi vii) Style of Karsavaho
.. .. ..
.. .. xlvii The Chāyā and its Authorship
xlix
5.
KAŃSAVAHO : TEXT WITH FOOT-NOTES
..
9-499
SANSKRIT CHĀYĀ with FOOT-NOTES
43-80

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KAMSAVAHO
INDEX OF VERSES
..
..
..
..
39-8€ 86-979
GLOSSARY OF WORDS ..
TRANSLATION
133-63
NOTES ..
..
..
..
..
..
165-211
INDEX OF PROPER NAMES
..
212

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PREFACE
Kamsavaho of Rama Pāņivada, though listed by OPPERT and mentioned by AUFRECHT at the close of the last century, did not attract the attention of Prakrit scholars till a Ms. of it from the Madras Oriental Library was lately described in the Triennial Catalogue of Mss., Volume VI-Part I. Sanskrit, Madras 1935.
Rāma Pāṇivāda is a genuine poet with a confident grip over his expression; he has inherited the spirit of classical Sanskrit authors whose models he closely follows; though he belongs to the closing period of Prakrit literature, his work can be creditably ranked with the mediæval Prakrit poems; and his language is a fine specimen of literary Prakrit handled after closely studying the Sūtras of Prakrit grammars.
The detailed results of my study of the two Mss. that were accessible to me I have presented here. The constitution of the text was attended with many difficulties, but I have faithfully handled the material and never trespassed its limits. This limited material almost forced me to offer some emendations which are marked with asterisks in the text; and my suggestions on the Chaya are put in the foot-notes within square brackets. The inclusion of the Chaya and the addition of the English Translation and the critical and explanatory Notes, I hope, would go a long way to facilitate the understanding of the text. The Introduction is occupied with a critical study of the various aspects of Kamsavaho after describing the Ms. material and the method of text-constitution. The details about Rāma Pānivāda are critically set forth; and the source

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KAŃSAVAHO
and model, the Prākrit dialect and the style of Kamsavaho are thoroughly scrutinised. With all modesty the Introduction aims at enlightening the readers on the position of Karsavaho in the realm of Prākrit literature in particular and Indian literature in general.
The Syndicate of the University of Bombay have been pleased to select me as the Springer Research Scholar to conduct research in Prākrit literature, and here I record my sense of gratitude to the Syndicate for enabling me to make my study about Rāma Pāṇivāda and his Karnsavaho so exhaustive.
I offer my thanks to various scholars who helped me in the preparation of this edition. Pt. K. SAMBASHIVA SHASTRI, Trivandrum, kindly made the Travancore Ms. accessible to me ; Prof. M. R. BALAKRISHNA WARRIER, M.A., Trivandrum, favoured me with a valuable summary of his Malayālam articles about Rāma Pāṇivada and his activities ; Rao Saheb Mahākavi Ullur S. PARAMESVARA AIYAR, M.A., B.L., and Mr. C. K. NARAYANA KURUP, Trivandrum, kindly sent to me some notes about Rāma Pāṇivāda and his compositions ; my friend Dr. V. RAGHAVAN, M.A., Ph.D., Madras, helped me with important references about our author's works; and my friend Prof. M. V. PATWARDHAN, M.A., Sangli, spared his valuable time and made important suggestions in the Translation and Notes : to all these scholars I offer my sincere thanks. My thanks are also due to my pupil and friend Mr. J. N. DANI, B.A., B.T., Kolhapur, who helped me in arranging the Glossary.
I record my sense of gratitude to the Prime Minister, Kolhapur Government, Kolhapur, for the help given towards the publication of this book.

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PREFACE
vii
I feel much obliged to Pt. NATHURAM PREMI, Bombay, for his valuable assistance in the publication of this book. I should also note with satisfaction the kind cooperation that I received from the New Bharat Press and the Karnatak Press which have ably discharged their responsibility.
I have to acknowledge my indebtedness to the Univer. sity of Bombay for the substantial financial help it has granted towards the cost of the publication of this book.
karmanyevādhikāras te
Rajaram College,
Kolhapur : June 1940.
A. N. UPADHYE.

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BY THE SAME AUTHOR
1. PAMCASUTTAM of an Unknown ancient writer : Prakrit Text edited with Introduction, Translation, Notes with Copious extracts from Haribhadra's Commentary, and a Glossary. Second Ed., revised and enlarged, Crown pp. 96, Kolhapur 1934.
2. PRAVACANASĀRA of Kundakunda, an authoritative work on Jaina ontology, epistemology etc. : Prakrit text, the Sanskrit commentaries of Amṛtacandra and Jayasena, Hindi exposition by Pande Hemarāja edited with an English Translation and a critical elaborate Introduction etc. New Edition, Published in the Rayachandra Jaina Sastramālā vol. 9, Royal 8vo pp. 16 + 132 + 376+ 64, Bombay 1935.
3. PARAMĀTMA-PRAKASA of Yogindudeva. An Apabhramsa work on Jaina Mysticism: Apabhramsa text with various readings, Sanskrit Tika of Brahmadeva and Hindi exposition of Daulatarāma, also the critical Text of YOGASARA with Hindi paraphrase: edited with a critical Introduction in English. New Ed., Published in the Rayachandra Jaina Sastramālā vol. 10, Royal 8vo. pp. 12 + 124 +396, Bombay 1937.
4. VARANGACARITA of Jatasimhanandi. A Sanskrit Puranic kavya of A.D. 7th century: Edited for the first time from two palm-leaf Mss. with various readings, a critical Introduction, Notes, etc. Published in the Māņikachandra D. Jaina Granthamālā No. 40, Crown pp. 16+ 88+ 396, Bombay 1938.

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INTRODUCTION
1. CRITICAL APPARATUS
This editio princeps of Kassavaho is based on the following Ms. material :
M—This is a Devanāgari transcript on bluish ledger paper, 81 X 13" in size, and belongs to the Rajaram College Library, Kolhapur (R. No. 19201). It is a recent copy made from a Ms. in the Government Oriental Mss. Library, Madras. In the Triennial Catalogue (Madras 1935), Vol. VI, Part I, Sanskrit, the Madras Ms. (R. No. 5190) is thus described : Paper. 104 X 94 inches. Foll. 38. Lines 20 in a page. Devanāgarī. Good. Transcribed in 1925-26 from a Ms. of M. R. Ry. Kļşņa Variyar, Nelinattur Variyam, Shoranore, Malabar District.' It is complete in four Sargas and contains both text and Chāyā. I have personally seen this Ms. Though written in Devanāgari characters, the double consonants are represented by nõlli, i.e., a fat zero the following consonant of which is to be pronounced as a double consonant. I learn from the Curator that the original of it was a palm-leaf Ms. My conjecture is that it might have been written either in Malayālam or Grantha characters. I tried to put myself in communication with the owner of the Ms., but I was not successful. All my readings are taken from the transcript (in the Rajaram College Library) which contains both the Prākrit Text and the Sanskrit Chāyā. There are certain lacunae in the text, and the Ms. bristles with scribal errors here and there. On the whole the Sk. Chāyā is better preserved.

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KAMSAVAHO
T-Three other Mss. of Kamsavaho with Sk. Chāyā are knowr. from Travancore. Two of them belong to the Palace Library of His Highness the Maharaja of Travancore, but they are incomplete. The third, which contains the text and the Chāyā of all the four cantos, belongs to a private library in Travancore. It is a palm-leaf Ms. written in Malayalam script. I have seen it personally in the Exhibition of Mss. arranged at the time of the All-India Oriental Conference, Trivandrum, 1937. Its description was given thus : 'No. 2533, Substance : Palmleaf, Size : 9" x 11", Leaves : 57 with 8 lines per page and 20 words per line, Script : Malayalam, No. of Granths 600, Owner : the same as that of No. 2533A (i.e., Vasudeva Sarma Avl. of Vattapalli Mattom, Sucîndram). Through the kindness of the Curator, Govt. Oriental Mss. Library, Trivandrum, I have received a Devanāgarī transcript, containing text and Chāyā, which I have designated as I in this Edition. This is now presented by me to the Rajaram College Library, and its R. No. is 24619. There is another Devanāgarī transcript of the palm-leaf Ms. in the Oriental Library, Trivandrum, and through the kindness of Pt. K. SAMBASHIVA SHASTRI I had noted down the readings from it during my short stay at Trivandrum; but as these readings substantially agree with those of T, I have not recorded them separately.
The Prākrit Text preserved in both the transcripts, M and T, is very unsatisfactory. The number of lacunae, scribal errors and other irregularities is greater in T than in M. So far as the Präkrit verses are concerned, both these transcripts use { for l. They constantly confuse between p&v, d & dh, p & ph, kh & gh, k & t, between a, i & u, between am & ā, u & 1 and between a long vowel and a vowel followed by an anusvāra. Very often consonants expected to be double stand single preceded by an anusvāra ; and when we want the anusvāra, we find the subsequent consonant a double one instead : the number of such

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INTRODUCTION
xi
errors is very great in both the transcripts. Some of these scribal errors have their origin in the Malayālam script itself in which v & p are quite similar and u, 1 & i are much alike ; and the copyists, being ignorant of Prākrit, were likely to misread the original. In reproducing the Sanskrit Chāyā, the copyists are more careful and their performance is not so bad as in the Präkrit portion. The interchange between a double consonant and a consonant preceded by an anusvara is due to the device of Nõlli, a fat zero, used in Grantha, Kannada, Malayalam and Telugu scripts when Prākrit was being written. The difference between the sign which indicates anusvara and the Nõlli which indicates that the following consonant is to be doubled is very little : the former is a small zero and the latter a fat one ; and the scribes who were ignorant of Prakrit were sure to confuse these two signs. Even the Madras Ms., though written in Devanāgari, uses some Nõllis on the top of the letters now and then ; and, if I remember right, the local Devanāgari transcript at Trivandrum used something like the sign of equality on the heads of letters to indicate that the following letter is to be doubled. This Nõlli device gives duplicates like khkh, ghgh etc., but I have uniformly adopted the standard convention of writing kkh, ggh etc. Anunāsika is unknown to these Mss. I have used I for | throughout.
2. PRESENTATION OF THE TEXT AND CHĀYA
When I first read the Text, the scribal errors simply bewildered me. But a close study of the work with the help of both the transcripts enabled me to fill the gaps, to correct the scribal errors and to hit on the right reading. The fact that Rāma Pânivāda has written a commentary on the Prāksta Prakāśa of Vararuci was enough to indicate that he might have

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KAŃSAVA HO
been following the Sūtras of Vararuci, and this was further confirmed by the fact that he uses many Prakrit words specially illustrated in the Sūtras and the commentaries of that grammar. So I could conveniently check some of the meaningless scribal errors of the copyists in the light of the Sūtras of Vararuci. In so eliminating the errors I had always in view the possibility of misreading the original Malayalam, especially in the case of some letters, already noted above, which are written almost alike in the Malayālam script. When the grammatical standard was well-nigh settled and the possible orthographical errors were deleted, the Sanskrit Chāyā helped me, more than once, to lay my finger on the possible original reading. In discarding, discriminating and ascertaining the various readings, I have taken utmost precaution to see that I am not violating the limits of the material supplied by the Mss. After eliminating the scribal errors, if I found that the two Mss. differed, I have adopted one reading and given the other in the foot-notes. When both the Mss. agreed on a suspicious reading, which could not be called a scribal error, I have usually adopted it in view of the metrical necessities etc. When certain forms do not agree with the recognised conventions of the Präkrit language, though both the Mss. concur, I have followed this method : I have put the expected form in the Text with an asterisk to indicate that I have gone beyond the material supplied by the Mss.; and the available readings are given in the foot-notes. I do not claim that my suggestions are final, and the asterisk will immediately attract the attention of the intelligent reader who may have something to say for or against my suggestion.
Following the lead of GOLDSCHMIDT1 and PANDIT? I have
1 Rāvanavaho, Prākṣt und Deutsch Herausgegeben von Seigfried GOLDSCHMIDT, Strassburg 1880.
2 Gaüdavaho, A Historical Poem in Prākrit by Vākpati, ed. by S. P. PANDIT, Bombay 1887.

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INTRODUCTION
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added hyphens to indicate the separate members of a compound expression with the hope that this might facilitate the understanding of the text. I have not introduced them meticulously but only as far as practicable. I do agree with PANDIT3 that pi, tti etc. are all used and are to be pronounced as enclitics in Prākrit ; but when he insists that they should be printed without being separated from the words to which they cling, I fear that he is carrying the principle to a logical extreme which results into a practical disadvantage that some of the combinations not only present a difficulty but also assume a misleading form. The convention of writing them separately has been established now through the efforts of eminent editors of Prākrit texts. Really speaking avagraha has no legitimate place in Prākrit Phonology, especially because there is no rigour of Sandhi in Prākrit as in Sanskrit. But remembering that Rāma Pāṇivāda is writing under strong Sanskrit influence I have introduced the avagraha here and there. If it was not to be introduced, there were two alternatives before me : either the two words should be written in combination or written separately without avagraha. The former would have created some difficulty in understanding and the latter would have given rise to quite awkward words which have never been current in Prākrit in earlier literature. So to avoid these disadvantages I have introduced avagraha which should not be quite objectionable in the work of an author writing under the strong influence of Sanskrit.
The transcripts are quite reliable so far as the Sanskrit Chāyā is concerned. The Chāyā in both the Mss. is in perfect agreement : there is only one solitary case where there is a different reading with a corresponding difference in the Prākrit text (i. 38). There are minor different readings on the common
3
Ibidem, Critical Notice p. x.

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Prākrit original ; and only a few important ones are noted by me in the foot-notes. The Chaya ought to be as literal as possible ; but, almost as a rule, the Craya of our Text substitutes the forms of the past tense, Imperfect and Perfect, when the corresponding form in the Prakrit text is that of the Present tense. It is difficult to gauge the reason of this change. In such cases and in others where a literal paraphrase was needed I have added my suggestions in the square brackets in the foot-notes without disturbing the Chayà found in both the Mss. The Chaya is presented by me in the prose form, and at the beginning of each verse I have put a few words of the Prākrit verse in square brackets. For the convenience of reference, a comma is put to indicate where the second line of the Prākrit verse stops, and the Sandhi rules are not strictly observed. In the Mss. the Sanskrit rendering is given immediately after every verse ; but in this edition it is printed continuously at the end of the Text.
3. RĀMA PĀŅIVĀDA AND HIS WORKS
The name of the author is mentioned as Rama Pāṇivāda in the various colophons of Karnsavaho. From the researches of Mahakavi ULLUR S. PARAMESWARA AIYAR, Prof. M. R. BALKRISHNA WARRIER and other scholars it is quite plain that our author is identical with the famous Keraļa poet of that name. Prof. WARRIER has already published in the Malayālam language an extensive critical biography of Rāma Pāņivāda, and he has also contributed many articles in Malayālam about this poet. He has kindly sent to me a summary of his researches, and this section about the author is based mainly on his notes.
Pāṇivādas or Nambitārs formed a caste of Malabar. It

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INTRODUCTION
:
was their hereditary profession to help the Cäkkiärs or the traditional actors of Kerala in the staging of Sanskrit plays. There are two types of performances staged by the Cākkiārs (Sūtas) Kūrtu and Kūțiyāṭṭam. In the former the Paniväda or Nambiar was to play on the drum called 'Mizhāvu or Muruja-vadya; and in the latter, which consisted in enacting scenes from classical Sanskrit dramas, he played on the drum. It is from this drum (pāņi-vādya) that the castename Pāņiväda appears to be derived. The women of the Nambiar caste generally took the female parts in these plays. As a result of this, the members of this caste, as a whole, were well versed in Sanskrit; and the tradition of Sanskrit scholarship was deep-rooted in their community. These Nambiars enacted the dramatic narrations of Puranic stories as well.
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Rāma Pāņivāda, as his name indicates, belonged to the Pāņivāda or the Nambiar community, a section of the Ambalavāsi community of Kerala. He was born about the year A. D. 1707 at Kalakkathu house, Killikurisi Mangalam, a village near the present railway station Lekkidi in South Malabar. Before it was ceded to the British, the village was inIcluded in the Cochin State. His father is believed to have been a Nampüdiri Brahmin of Kumāranallur in central Travancore who was a priest in the temple of Killikuriśi Mangalam, the famous Saiva temple of the locality.
Rāma Pāṇivāda began his studies first under his father and then under an eminent teacher Nārāyaṇa Bhattatiri, a learned Nampudiri Brahmin of Thrikkarimon Illam. In his different works Rama refers in glowing and respectful terms

4 M. KRISHNAMACHARIAR: Classical Sanskrit Literature § 177; the name of our author is given as Ramapaninada! There are some references to Rama Pāņivāda in T. K. K. MENON'S Landmarks in Malayalam Literature, Ernakulam, 1937.

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to his teacher at whose auspicious hands were laid the very foundations of his profound erudition and wide knowledge. From the way in which Nārāyaṇa Bhattatiri is mentioned in different works it appears that the statement saā gurūnar catane samallio (i. 2) and the concluding salutation sirigurupāānam namo at the close of the fourth canto have in view this Nārāyana Bhattapāda. It appears from Pānivāda's tributes that Nārāyana Bhatta was a great scholar and an eminent teacher. Unfortunately none of his works has come down to us. His place Thrikktārimom Illam was situated only at a distance of seven miles from the birth-place of Rāma Pāņivāda. Nārāyana's family was one of hereditary Tântrins in the famous Saiva temple at Killikuriśi Mangalam, and Rāma Pânivāda tells us in his Syikfşnaviläsam how his Guru performed the Pratişthā ceremony at the time of the renovation of chat temple. This Nārāyaṇa Bhatta Pada should be distinguished from another Närāyana Bhatta (A. D. 1560-1646), the author of Nārāyaṇīya, Prakriya-sarvasvam, Mānameyodaya and other works. Some scholars have confused these two authors on account of the similarity of names."
Rāma Panivāda had the necessary education and training; but in order to continue a literary career he needed the patronage of some munificent king or nobleman. He left home and first approached Kolatiri Raja of North Malabar. Kolatiri, being engaged in a war against his neighbour, could not offer a cordial welcome and patronage at his court to our author who consequently recorded his sad experiences in the following well-known verse :
कोलभूपस्य नगरे वासरा हरिवासराः । मषकैर्मत्कुणैश्वापि रात्रयः शिवरात्रयः॥
5 For instance, K. Sāmbasiva Sastri in his Preface to Vyttavārtikam Trivandrum Sanskrit Series No. cxxxi.

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Then he lived for some time at the court of king Vīrarāya of Vețţatu Nādu. It was at the request of this king (but according to another Ms., of Rāmavarman) that he composed Candrikā-vīthi to be staged at the Saiva tempie at Triprangoțu on the Sivarātri day. Further he found a temporary patron in Muriyanāțţu Nambilār, a local chieftain of the Mukundapuram Taluk of the Cochin State. During his short stay there he composed a couple of Stotras, Mukundaśatakam and Siva-śatakam, for his patron. Manakottu Achan was another patron whom Rāma Pāṇivāda mentions in his Malayālam work sivapurānam. About A.D. 1735 this patron passed away, the family became extinct, and the estates passed into the possession of Pāliyatu Achans, the traditional ministers of the Rājā of Cochin. Our author became a dependant of Pāliyatu Achan with whom he lived at Jayantaor Chenna-mangalam for some time and received his generous support. It is here that he composed his Vişnu-vilāsam and its Malayālam version Vişnugita at the instance of Śrī-Kubera, the Pāliyam chief.
Rāma Pāṇivāda had spent some time in the neighbourhood of Kumāranallūr, to which place his Brahmin father belonged. During his stay here he came into contact with Thekkețathu Bhattatiri of Kutamāļür Matom and through him with the Rājā of Ampalapuzha or Chempakaśćeri. The Nampūdiri kings of Chempakaśćeri were liberal patrons of poets and scholars from times immemorial ; and many of the Keraļa poets enjoyed their proverbial patronage. Rāma Pānivāda spent some years of his life at the court of the then ruling king Deva Nārāyana. On his request Pāṇivāda wrote many works the chief of which was the Mahākāvya Rāghavīyam, the magnum opus of the poet, along with a commentary on it. Deva Nārāyana's patronage appears to have been quite fruitful since it was at his court that our author wrote Pañcapodi

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which is written on the model of Așțapadī of Jayadeva and it appears to have been inspired by the study of Mahānāțakam and Bhagavadajjukiyam of Bodhāyana. It was followed by Līlāvati-vithi and the Prahasana Madanaketucaritam which was staged in the temple of Ranganatha. In honour of the family deity of Deva Nārāyaṇa he composed Ambaranadiśa-stotram.
With the conquest of the kingdom of Chempakasseri by Vīra Mārtanda Varman, the founder of modern Travancore, about the middle of the 18th century A. D., Rāma Pāņivāda became a dependant of this illustrious monarch who was a liberal patron of men of letters and under whose benevolence many Sanskrit and Malayālam poets flourished. On the request of this patron our author wrote Sitārāghavam that was staged at the Sri Padmanabha temple at Trivandrum. Later on he enjoyed the patronage of Kārtika Tirunāl Mahārāja who was a nephew and successor of Mārtanda Varman. He received a decent grant from this patron which he spent on the renovation of the Mandapam of the temple at Killikurići Mangalam. He accompanied the Mahārāja during the royal visits to Sucīndram, Thiruvattār, Kanyākumāri, Padmanabhapuram and other famous temples of South Travancore. He left Trivandrum and settled for some time at Ampalapuzha. It is believed that he died (about A. D. 1775) as the result of the bite of a rabid dog. Rāma Pānivāda seems to have remained a bachelor througho'it his life.
Though Rāma Pānivāda had to change his patrons now and then, his literary career appears to have been quite unbroken and rigorous. Patrons he sought, not to praise them and to get prizes, but to have better opportunities to toil in the fields of learning and scholarship. New circumstances and novel
6 Ambaranadiśä is the god at Ampalapuzha, the family deity of the Rājā of Chempakaśćeri.

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INTRODUCTION
opportunities only inspired him to work in new moulds and on novel models with the result that Rama Panivada has left to posterity a vast amount of literature varying in taste and varied in form.
xix
8
The works of Rama Panivada are found in three languages Sanskrit, Malayalam and Prakrit. To start with his Sanskrit works, he has composed four dramas: Candrikā,' a Vīthi; Lilavati, a Vithi; Madanaketucaritam," a Prahasana; and Sitārāghavam,10 a Nätaka. He wrote the following Kavyas : Viṣṇuvilāsakāvyam,11 which has eight cantos and deals with the first nine Avataras or incarnations of Visnu and on which he himself has written a svopajña-tikā called Viṣṇupriyā; Bhāgavatacampu,12 which is a campu-kavya dealing with the story of the Daśamaskandha of Bhāgavata, of which only seven Stabakas have been discovered and the story runs upto Mucukundamokṣa, and which is said to contain numerous Prakrit passages; Raghaviyam,13 with a svopajña commentary called Bālapāṭhyā which is the greatest of Panivada's works consisting of twenty
7 Candrika, a Vithi: Trivandrum Curator's Office Collection for Kollam 1093-94, p. 13, No. 96.
8 Lilavati, a Vithi, Ibidem No. 99.
-9 Madanaketucaritam: three Mss. in Paliyam Library, Cochin State; Govt. Oriental Mss. Library Madras R. No. 5163.
10 Sitärāghavam: Govt. 0. Mss. Library Madras D. No. 12721 and R. No. 5135; Trivandrum Palace Library Catalogue No. 1600; Trivandrum Curator's Office Collection for Kollam 1104, p. 27, No. 148.
11 Viṣṇuvilāsam: Govt. O. Mss. Library Madras No. 3442; Paliyam Library, Cochin State.
12 Not less than nine Bhāgavatacampus by different authors are mentioned by KRISHNAMACHARIAR in his Classical Sanskrit Literature. He does not, however, attribute one to Rāma Pāņivāda.

13 Raghaviyam Govt. O. Mss. Library Madras D. No. 11706 and R. No. 3397; Trivandrum Curator's Office Collection for Kollam 1104, p. 29, No. 162; Ibid. for Kollam 1087, p. 29, No. 282 also Paliyam Library Cochin State.

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KAŃSAVAHO
cantos and covering 1576 verses. Some of his important Stotras are : Mukundaśatakam, 14 sivasatakam, Pañcapadi, Ambaranadiśa-stavam, Süryaśatakam. He has some scientific works also to his credit : Vịttavārtikam, i3 which deals with classical Vsttas or metres ; Rāsaktidā, a work in four Paricchedas illustrating different metres ; Tālaprastāra, which deals with the subject of Tāla and is written in Anuştubh metre. Besides his Svopajña glosses noted above, he has written a commentary called Vilasinile on Śti-Kışņavilāsakāvya of Sukumāra and ancther called Vivarana on the Dhātukāvya17 of Nārāyana Bhattapāda. The latter appears to have remained incomplete.
Rāma Pāṇivāda has written a large number of works in Malayālam,15 and only some important ones may be noted here: Šri-KȚşņacaritam in the maņi-pravāļa style ; Sivapurāņam (kilippāțțu ) ; Pañcatantram (kilippāțțu) which is an adaptation of the Sanskrit work in Malayalam; Rukmängadacaritam (kiļippāțţu) ; etc. It is a point of great controversy among the Malayalam scholars whether Rāma Pāṇivāda and Kuñjan Nambiār were identical or two independent authors of the Keraļa country. Eminent scholars like Mahākavi Ullur S. Parameswara AIYAR, Prof. WARRIER, Dr. GODAVARMA and others have discussed this subject in great details. Those who accept
14 Mukundaśataka with a commentary by his fellow-pupil : Govt. 0. Mss. Library Madras, No. 3403.
15 Vịttavārtikam and Rāsakrīdā ed. by K. Sämbaśiva Sāstri, Trivandrum Sanskrit Series No. cxxxi, Trivandrum 1937.
16. Vilăsini : M. KRISHNAMACHARIAR'S Classical Sanskrit Literature $ 169; the first four cantos are published at Palghat with the commentary of Rāma Pānivāda.
17. Dhātukävya-2'yākhyā : Govt. 0. Mss. Library Madras No. 3656.
18. Those who are interested in other Malayālam compositions of our author should kindly read the various contributions on the subject by Prof. WARRIER of Trivandrum.

mational

Page #22

INTRODUCTION
the identity naturally attribute the authorship of the Tullal pāṭṭus, about seventy in number, to Rāma Pāņivada. They are like ballads which are extremely popular in the Kerala country.
xxi
Rāma Pāņivada has not stopped with Sanskrit and Malayalam, but he has tried his hand at Prakrits as well. For this, he had already some background. As a Sanskrit playwright the study of Prakrits was indispensable to him. Ancient conventions require that specific characters should speak particular dialects. It is this need that kept the study of Prakrits quite alive in the Kerala country. It is reported that the Prākṛta-prakāśa of Vararuci and the Setubandha or Ravanavaho of Pravarasena formed a part of the course of study of the Kerala Panditas who have made their own contributions to Prakrit literature. Bilvamangala, also known as Kṛṣṇalīlāśuka, composed a Prakrit kavya Govindabhiṣeka1 or Śrīcihnakävya to illustrate the rules of Vararuci's Prakrit grammar after the model of Bhaṭṭikavya. It contains twelve cantos of which the first eight were composed by Bilvamangala and the rest by Durgāprasādayati, also a Keraliya, who was his disciple and commentator. Both of them flourished in the 13th century A.D.20 Among other Prakrit works written by Kerala authors may be mentioned Sauricarita,21 a Yamaka-kavya, of Srikantha and Candralekha,22 a drama of the Saṭṭaka type, of Rudradāsa, both of whom lived before Rama Pāņivāda.
As to Rāma Panivada's contribution to Prakrit litcrature we find Prakrit passages in his dramas like Madanaketucaritam and Sitārāghavam. It is also reported that his Bhāgavata

Govindabhişeka: Govt. O. Mss. Library Madras Nos. 4156,
19 5156B.
20. There are different opinions about his age which is put between 11th and 15th century A.D.
21
Sauricarita : Govt. O. Mss. Library Madras No. 4321. Candralekha : Govt. O. Mss. L. Madras No. 3207(a).
22

Page #23

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KAMSAVAHO
campū contains some Prākrit passages. His more important works in Prakrit however are : Prākrta-vrttih, Usanirddham24 and Kansavaho.
___I have personally seen a palm-leaf Ms. of Prākrta-vrttih in the exhibition of Mss., arranged at Trivandrum, at the time of the session of the All-India Oriental Conference in 1937. The description of the Ms. was given thus : G.O. L. No. 2533A, Substance : palm-leaf, Size : 9" x 1}", Leaves 58 with 8-9 lines per page and about 28 letters in a line, Script : Malayälam, Number of Granthas 900, Owner : Vasudeva Sarma Avl. of Vattapalli Mattom Sucīndram, Subject : the grammar of Prākrit languages. This Ms. contains the Prākrit Sūtras at the end. The Ms. opens thus :
सुकृतिभिरेव गृहीतो बहुविधरूपावतारगम्भीरः । जयति स भगवान्विष्णुः प्राकृतशास्त्रप्रपञ्च इव ॥ प्रणिपत्य विनराजं श्रीगुरुपादान् मुनित्रयं वाणीम् । शङ्करमद्रिसुतां च प्राकृतवृत्तिर्मया क्रियते ॥
तत्रादौ लिपिविन्याससङ्केतः क्रियते-बिन्दुर्विधीयते etc. The Ms ends thus :
पैशाचेऽपि 'शषसां सः' 'रडलानां ळ:' इत्येतावन्मात्रमेव विशेषः, इति तावदत्रैवान्तभूतोऽयमपि विशेषः ।
प्राकृतलक्षणमेतत्प्रायेणोक्तं प्रयोगमनुसृत्य ।
अपरमपभ्रंशादेर्लक्षणमन्यत्र विज्ञेयम् ॥ The colophon runs thus : इति रामपाणिवादविरचितायां प्राकृतवृत्तावष्टमः परिच्छेदः । समाप्ता चेयं प्राकृतवृत्तिः॥ Through the kindness of the Curator, Government Oriental Mss. Library, Trivandrum, I have received a Devanagari transcript
23. PrākstavȚttiḥ: Govt. O. Mss. Library Madras No. 5209; The Trivandrum Maharaja's Palace Library No. 764; Paliyam Library, Cochin State.
24. Uşāniruddham : Govt. O. Mss. Library Madras No. 2817.

Page #24

INTRODUCTION
xxiii
of the Sūtras from this Ms. Ignoring all sorts of desperate errors of copyists I have compared this Sūtrapātha with the one edited by Cowell, and I have the following observations to make. There is, however, no doubt that Rāma Pânivāda is commenting on the Sūtras of the Prākrta-prakāśa of Vararuci. Here and there some Sūtras are differently worded. Some sūtras from chap. 3 are transferred to chap. 4 which may be a scribal blunder. The 5th chapter covers chaps. 5 & 6 of COWELL's edition. Our Ms. has in all only eight chapters which cover the matter of the nine chapters of COWELL'S text. A careful study of the recension of Vararuci's Sūtras on which Rāma Pāņivāda has commented would be interesting especially when the authenticity of some of the chapters of Vararuci's grammar is still an open question.
Uşāniruddham is the next Prākrit work attributed to Rāma Pāṇivāda. The Madras Ms. does not mention the name of the author. There are four cantos, and the story is based on the famous episode of the marriage of Uşā and Aniruddha as we get it in the Bhagavata. Through the kindness of my friend Dr. RAGHAVAN I have received some excerpts from the Madras Ms. which contains the Prākrit text and the Sanskrit Chāyā. I shall reproduce here some Prakrit verses with minor emendations here and there. The opening Prākrit line stands thus : सिरिगणवइणो णमो अविग्यो होदु । Then there are these verses :
1 भइस्स वो भत्तिगुणल्लिआणं भवेज णिचं भअवं गणेसो ।
दाणेण जो पीणइ माणसाइं वणीवआणं व महुव्वआणं ॥ 2 अबोधणिहाविहलो वि लोओ जीसे पसाए सइ संपबुद्धो ।
सच्छंददो बज्झइ कव्वगंफ चित्तम्मि णो भासउ भारई सा ।। 6 अत्थावबोहम्मि पहाणभूदे गोणतणेणोवअरंति सद्दा ।
दे सकआ वा उण पाअडा वा बुहाण को तत्थ विसेससंगो ॥ 8 उसाणिरुद्धं ति मए णिबद्धं जं कि पि कव्वं जदुणाहदेव्वं ।
सुदं सुणंताण वि जंण तत्ती जहिं खु वाण्णनइ बासुदेवो ॥

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KAMSAVAHO
The colophon of the First canto stands thus : इअ उसाणिरुद्धे पढमो सग्गो ।
The concluding verse, at the close of the Fourth canto, reads thus:
gei gfæraryaqaferit fafuiffe331– जोण्हापण्हुअवेरिविकमतमो उभासिआसामु हो । आणं दण्णव पुण्णमाहरो सव्वाण निव्वाणदो Bat Raguizon feug at Medaûdeäsrá ||
Even these stray extracts are enough to show how the author is indebted to Rajasekhara : the first verse reminds us of the Nandi of Karpūramañjarī and the sixth closely agrees with K.-mañjarī I. 8.
4. KAMSAVAH025: A CRITICAL STUDY
i) EARLIER ACQUAINTANCE WITH THE WORK.
In the Catalogus Catalogorum (Parts I-III, Leipzig 18911903) of Theodor AUFRECHT we have an entry about Kamsvadha which is described as a Präkṛta-kavya (p. 77). AUFRECHT gives reference to OPPERT 5918 which stands for 'Lists of Sanskrit Mss. in Private Libraries of Southern India' by Gustav Oppert, Vol. I, Madras 1880-4 and Vol. II, Madras 1885-8. Though noted by AUFRECHT, somehow this work has not attracted the attention of Prakrit scholars. That was quite natural in view of the meagre information given by AUFRECHT.
25 I wished I read the name as Kamsavaham; but out of regard for my predecessors, GOLDSCHMIDT and PANDIT, and to maintain uniformity with Ravanavaho and Gaüḍavaho I have regularly written Kamsavaho.

Page #26

INTRODUCTION
Lately a Ms. of Kamsavaho is described in the Triennial Catalogue of Mss. in the Govt. Oriental Mss. Library, Vol. VI-Part I Sanskrit, Madras 1935. One of the transcripts used for this. edition is copied from the Madras Ms.
XXV
ii) THE THEME AND THE TITLE.
Rama Pāņivada has composed Kamsavaho (in 233 Prakrit verses divided into four cantos) to celebrate the incident of the slaying of Kamsa by Kṛṣṇa. This event, which is described at length in Srimad Bhagavatam, has something dramatic and thrilling about it. As such it has engrossed the attention of many a literary genius in India from pretty early times; and if the author happens to be a devotee of VisņuKṛṣṇa he is all the more eloquent in glorifying the destruction of that cruel Kamsa at the hands of boy Kṛṣṇa. Tradition attributes a play Kamsavadha to Panini. Patanjali26 discusses the dramatic representation of the slaying of Kamsa, one party painting their faces red and the other black. Among the plays attributed to Bhasa, there is Balacarita which depicts in a lively and vivid manner the various feats of Krsna culminating in the slaying of Kamsa. Among other Sanskrit plays dealing with this incident we might mention Kamsavadham,27 in seven Acts, of Seşakṛṣṇa who was a contemporary of Akbar; then the Kamsavadham of Damodara; 28 and lastly Kamsavadham of Haridasa29 who is a modern author from East Bengal and who, it is said, composed this work at the age of fourteen. Dharma

26 KEITH: Sanskrit Drama p. 32, 36 etc.: M KRISHNAMACHARIAR: Classical Sanskrit Literature, p. 535.
27 Published in Kavyamālā, No. 6, Bombay 1888; See Classical Sanskrit Literature, p. 654.
28 Ibidem, p. 641, foot-note 2.
29 Ibidem, p. 673.

Page #27

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KAMSAVAHO
sūri (15th Century A.D.) had composed a Kamsavadhanāṭaka, but it is not now extant. His Prakrit poem Hamsasandeśa also is lost to us.29a Among the Sanskrit poems dealing with this event we have Kamsanidhana,30 a poem in seventeen cantos without labial, by Rama; and then there is Kamsavadha31 by Rajacuḍamani who flourished about the middle of the 17th century. Further there are two Kamsavadha-campus32 composed at the close of the last century: one by Keralavarman of Malbar and the other by Haridasa of East Bengal. Whatever may be the literary merits of these compositions, especially on the back-ground of classical works, one thing is certain that the slaying of Kamsa has been an engrossing subject for writers throughout several centuries. Thus Rama Panivada has his predecessors and successors in handling this theme in the realm of Sanskrit literature.
In the field of Sanskrit classical poems we have already Ravanavadha33 of Bhatti and Sisupalavadha of Magha; and, as shown below, Rāma Paṇivada shows an intimate acquaintance with the latter in composing his Kamsavaho. However in selecting this particular form of the title for his poem, it is more probable that Rama Panivada has in view the two earlier eminent poems, viz., Dahamuhavaho (or Ravanavaho, also called Setubandha) of Pravarasena and Gaüḍavaho of Vākpati..
iii) SUMMARY OF THE CONTENTS.
The author, being devoted to his Teachers and pressed by his ardent devotion for Vişnu-Kṛṣṇa, narrates the story of
29a Proceedings and Transactions of the 10th All India O. C. Trivandrum, 1940, pp. 502 etc.
30 A Third Report of Mss. etc. by P. PETERSON, p. 355.
31 Classical Sanskrit Literature, p. 235.
32 Ibidem, pp. 258 & 666
33 It is usually styled Bhaṭṭikāv ya.

Page #28

INTRODUCTION
the slaying of Kamsa by Kṛṣṇa who is now adorning the settlement of cowherds as a son of Yasoda and attracting the attention of affectionate Gopis (1-2).
xxvii
One evening Akrūra comes to Gokula; he has the rare opportunity of having an audience with Krsna; and he is plunged in joy at the vision of the divinity (i. 3-8). Kṛṣṇa received him affectionately, inquired about his welfare, treated him with dainty dishes, and expressed joy at his arrival. Akrūra draws the attention of Balarama and Krsna to the fact how, despite their potent valour, Kamsa is waxing strong; and their parents are pining in the prison house. Krsna offers an apologetic explanation that their attachment for their fosterparents is too deep, and then inquires of Akrūra about the special purpose of his arrival (i. 9-14). Akrūra adds in reply that Kamsa, as a rule, does not like anybody going to them; but that he is lucky that Kamsa has sent him to invite Balarama and Kṛṣṇa to Mathura to attend the Bow-festival which, really speaking, is an open pretext to conceal his motive of killing them. Thus Akrūra delivers the royal invitation, indicates Kamsa's intention, and requests the brothers to see whether they would or would not attend the bow-festival at Mathura (i. 16-26). Balarama is in a mood of hesitation, but Kṛṣṇa fearlessly decides that he should start with his party with which his brother agrees; and all of them start for Mathura next morning (i. 27-34).

Krṣṇa was the very life of Gopis; his departure brings on them deep pangs of separation; they curse Akrūra who took Kṛṣṇa to Mathura; and all of them begin to lament in various ways recollecting the image of Kṛṣṇa and their sports with him in Vṛndāvana (i. 35-55). On the instructions of Krsna Akrüra consoled them requesting them to put up with this temporary separation because Krsna was going out on an important mission (i. 56-60).

Page #29

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KAMSAVAHO
Akrūra drove the chariot; they all halted on the banks of Yamuna; and it is there that Akrūra had the wonderful experience of seeing Krsna everywhere. Soon Kṛṣṇa and his party entered the town of Mathura to the joy and satisfaction of all the young folk of the town (i. 61-64).
In that town of Mathura Rama and Kṛṣṇa met a washerman, carrying the clothes of Kamsa, from whom they demanded some clothes; but they were warned by him that this audacity of theirs would cost them their heads, if the matter were to reach Kamsa's ears. Kṛṣṇa not only robbed him of the clothes but sent him also to the grave by plucking his head with his nails (ii. 1-10).
As they proceeded, they met a certain hunchbacked but beautiful lady who, on their inquiry, informed them that she was an artisan in the royal harem, that the adverse fate had made her physically crooked, that she was going to present the fragrant saffron to Kamsa, and that she would give a part of it to them as their bodies were quite worthy of it. They gladly accepted that saffron which added to their physical glow. By his divine touch Krsna rendered her bent body straight. With a bit of audacity she made passionate advances to Kṛṣṇa who appreciated her love but told her that he was too busy with serious work on hand to dabble in love affairs at this stage. Kṛṣṇa bade good-bye to her who was pleased with a prospective assurance of his return, and proceeded towards the royal residence (ii. 11-30).
Rāma and Krsna came to the gymnasium for archery which was duly decked for the function. There, despite the warning of the servant, Kṛṣṇa picked up the bow which was smashed to pieces as he tried to string it; and there was such a great noise that Kamsa was thrilled to the core of his heart. The soldiers on guard who took the offensive received a good

Page #30

INTRODUCTION
xxix
thrash. This success of the princes was a matter of joy to all (ii. 31-7).
Coming out of the gymnasium and strolling in the courtyard Kļşņa described the various scenes which greeted his eyes in that town of Mathurā. Thus follows a picture of that town in the mouth of Krşņa who describes in poetical terms various scenes such as the lofty palaces, the extensive moat, the bright mansions, the amorous pleasures of loving couples, the dancing peacock, the singing and dancing parties, the disputes of grammarians etc. Kļşņa is so much pleased by seeing that town that he waxed very eloquent and described Mathurā as the heaven itse f Then in the evening he retired to his place of residence (ii 38-60).
Early in the morning, at the appointed hour, the bards begin to sing eloquently just to wake up Krşna and their songs inform Kșžsa in an ornate style decked with various poetic embellishments how it is dawning, how the darkness is passing away, how the lotuses are blooming and the Cakravāka birds uniting again, how the rising sun is producing various scenes etc. (iii. 1-20).
Krşņa left his bed even before the bards pour out their verses, and offered his twilight worship. Putting on brilliant dress and attracting the attention of young ladies along the roads Rāma and Kļņa proceeded towards the city-gate (iii. 21-6). Ambaştha, with the elephant Kuvalayāpīda, tried to stop them at the gate ; but Krşņa sent that elephant as well as its master to the grave after putting a vigorous and successful fight. With the tusks in their hands as trophies they were an object of pleasant sight for all the people. As desired by Kaṁsa there ensued an unfair duel in which Kịşma occupied himself with Cāņūra and Rāma with Muşţika. People felt that it was an unequal duel, because Rāma and Krşna were just boys while their partners were heavy wrestlers. There was a thrilling

Page #31

XXX
KAMSAVAHO
fight, and at last Rāma and Krsna killed their opponents and routed the wrestlers who tried to overpower them (iii. 27-51). When that wicked Kaṁsa expressed his intention to imprison. them all, Krsna attacked him, felled him on the ground, and finished him to death with all vehemence. The naughty brothers of Kaṁsa tco were killed. By way of congratulations gods showered from heaven flowers on their heads (iii. 52-60).
The slaying of Karisa by Kışņa was a matter of relief to the whole world. Thereafter people became happy ; ladies could move about freely ; youths had no hindrance in their sports; and lastly even voluptuaries got a good deal of liberty (iv. 1-5). Kịşma appointed Ugrasena as the king and released his parents from the prison house. Both Balarāma and Kșşņa paid respects to their parents who blessed them and embraced them with filial affection (iv. 6-9).
Then Akrūra comes, pays respects to Vasudeva and his wife, and then narrates the various events in the childhood of the princes : the transference of child Krsna to the bed of a cowherdess on a cloudy night when the river Yamunā became easily fordable ; destruction of Pūtanā by Krşna by sucking her blood ; defeat and death of Tịnāvarta who had assumed the form of whirlwind ; Yaśodā's binding of Kțşņa to the mortar which he pulled through and uprooted a couple of Arjuna trees; destruction of Bakāsura and Aghasura ; humiliation of Brahman by Kışma ; different sports of Kışņa in Vịndāvana etc. ; destruction of Dhenuka by Balarama ; Krşna's dancing on the hood of Kāliya serpent and consequent banishment of it ; his drinking. of conflagration ; smashing of Pralamba by Krşna : Krşņa deprives Gopis of their garments ; refusal of the food by the sacrificial priests but the same respectfully offered by their pious. wives; the worship of Gopas diverted from Indra to Govardhana ; consequent rain-deluge was brought by Indra but all the

Page #32

INTRODUCTION
xxxi
people were protected by Kļşma who lifted up the Govardhana mountain on his little finger ; Krşņa coronated as Gopendra ; Kịşna's rescue of Nanda from Varuna's abode ; the graceful Rāsa sports of Krsna ; disillusionment of proud maidens; and the destruction of Sankhacūda, Arişta, Kesi, Vyoma and lastly Kamsa who invited them with the pretence of the bow-festival (iv. 10-46). The parents were pleased to hear these events from Akrūra's mouth; they embraced and blessed the princes who looked all the more graceful and glorious (iv. 47-8).
The author declares that this poem is like a ford for those who want to cross the ocean of Prakrit literature ; and in conclusion he solicits the protection of Vişņu.
iv) THE FORM, THE SOURCE AND THE MODEL.
It is clear from the perusal of the contents that our author has practically given the biography of Krsna upto his slaying of Kamsa, though the title of the work is Kamsavaho which might tempt us to expect that the poem glorifies merely the slaying of Kamsa. The whole of the fourth canto is like an appendix narrating the various events from Kışna's life including the slaying of Karsa (iv. 45) artificially put in the mouth of Akrūra. Though they afford an opportunity for the author
to exhibit his poetic skill, certain sections stand out a bit · detached and come like intruders in that context, for instance,
the elaborate description of Mathurā put in the mouth of Krşna and that of the exploits of Krşņa in the mouth of Akrūra. There are other portions which are occupying more space than usual when we compare their length with the general scope of the poem : the lamentations of the Gopis and the songs of bards. It is true that it is in these sections that Rāma Pāņivāda is seen at his best as a poet.
Rāma Pāņivāda appears to be an ardent devotee of Vişnu

Page #33

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KAŃSAVAHO
Kịşna and a close student of his biography. His Bhāgavatacampū, noted above, deals with the Tenth Skandha of Bhagavata which is a fine biography of Krşna. So far as the facts of the contents are concerned, Kamsavaho also is solely indebted to Bhagavata. Every detail of Krşna's life included in this work can be traced to Bhāgavata, as it is clear from the references given by me in the Notes. Though the handling of the topic and the poetic elaboration are quite independent and belong to our author, we find parallel ideas in similar contexts ; and at times the wording also is alike (see my notes on i. 4; ii. 8, 15; m. 38, 54 ; iv. 12, 21, 22, 37 ; etc.). Though the events are taken from Bhāgavata, our author shows originality and skill in narrating them with some dramatic effect, as we see in the case of his portrayal of the incidents of the washerman and the saffron girl (ii. 2-10, 11-30). The sentiment surrounding the meeting of Kțşna with the saffron girl (ii, 11-30) shows how our author is capable of creating artistic situations and weaving graceful conversations.
Apart from the fact that Rāma Pāṇivāda has composed some works in Sanskrit, the high-flowing style of Kaisavaho is sufficient to indicate the influence of classical Sanskrit writers like Kālidāsa, Māgha etc. on our author. Some of his poetic ornaments remind us of earlier Sanskrit works; and I have noted some such references in my Notes. Kamsavaho covers the same part of the life of Kịşna as depicted in the Bālacarita of Bhāsa, but I do not find any striking similarities between the two works. To me it appears that Siśupālavadha was the model before our author when he composed Kamsavaho. There are close similarities between the two works, and they are far from being accidental. There are some parallel situations in both the texts : arrival of Nārada in $. i and that of Akrūra in K. i; Akrūra's address to Krşņa (K. i. 15-16) reminds us of Nārada's address (S. i. 31 etc.);

Page #34

INTRODUCTION
xxxiii
corresponding to the description of Dvārakā (s. iii. 33 etc.), we have here (K. ii. 39 etc.) the description of Mathurā put in the mouth of Krsna ; announcement of the morning by the bards (S. xi. 1 & K. iii. 2); and lastly just as Bhīşma praises and narrates the various events from Kışņa's life in s. xiv, so also Akrūra is doing here in K. iv. Not only that there are common or parallel ideas, but some of them are expressed in similar words : $. ii. 13 & K. i. 14 ; S. i. 31 & K. i. 15 ; S. xvi. 35 & K. i. 29 : S. xv. 17 & K. i. 40; $. xiv. 64, xx. 79 & K. ii. 9; , iï. 79 & K. ii. 47 ; S. viii. 14 & K. ii. 5 K. ii. 50 ; S. xi. 24 & K "ii. 5 ; Š. xi. 49 & K. iii. 15; $. xi. 55 & K. iii. 17; S. xi. 43-5 & K. iii. 18 ; etc. In addition to these some other points of similarity might be noted as well. Ś. begins with the phrase sriyah palim and K. with siñia ņāho, and the titles of both works are of the same pattern. Though it is not a good criterion of parallelism, especially when the Sanskrit vocabulary is almost oceanic and the literature sufficiently extensive, still one must say that Rāma Pāṇivāda has much in common with the vocabulary and the turns of expression met with ... Siśupālavadha. In the description of the town and the songs of the bards many ideas and words are common. Des pite many points of agreement, it is really creditable that Rama Pāṇivāda is not a slavish and mechanical imitator. One feels that Māgha is being followed, but Rāma Pāṇivāda has everywhere his touch of variety, if not speciality. I feel that it is not a case of a novice imitating and reproducing. Rāma Pāṇivāda has so thoroughly mastered śiśupālavadha that ideas and expressions from Māgha are being echoed in this work without any special or intentional effort on the part of our author. This is not impossible when we remember that our old Panditas committed to memory not only Amarakośa but also Raghuvarśa, Meghadüta, Siśupālavadha etc.
Any one who is acquainted with the classical poems like

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Rāvanavaho and Gaūdavaho would expect that Karnsavaho must be heavily indebted to these eminent predecessors in the field of Prākrit literature. I have carefully studied these texts, but I have not been able to detect their influence on our author to any appreciable extent. A few ideas, forms and turns of expression in Kansavaho remind us of Rāvanavaho, and there is one verse in our text (i. 36) which closely agrees with that in Rāvanavaho (iv. 20). Between Gaüdavaho and Kansavaho there is hardly any similarity that could attract my attention. One idea is similar, but it is a common property of many authors as I have shown in the Notes. Though there is nothing particularly common, still the style of scme verses reminds us of Rajasekhara's verses in Karpūramañjari.
v) ON THE PRĀKRIT DIALECT OF KAMSAVAHO.
A) SPECIAL TRAITS OF THE AUTHOR'S DIALECT.
In studying the Prākrit dialect of this work we have to take into account many things : our author belongs to the last period of Prākrit literature ; with him the Prākrit language is a purely literary language in the sense that he studied Prākrit grammars and texts, and then wrote this poem ; he is writing in a place where the then spoken languages were not likely to influence his language, and lastly he is a thorough master of Sanskrit in which too he could compose poems with equal if not greater fluency and elegance. Under these circumstances, a detailed grammatical analysis would not serve any great purpose ; so what is essential for us to know is how far Rāma Pāṇivāda conforms to the standards of Prākrit grammarians and in what details he has his specialities.
We have seen above that Rāma Panivada has written a commentary on the Prākrta-prakāśa of Vararuci, and so we

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INTRODUCTION
expect him to have followed this grammar in handling the Prakrit language. This expectation is fulfilled to a great extent, and we would not be wrong in saying that our author is mainly following Vararuci's grammar and its successors. In the vocabulary of Kamsavaho there are many conspicuous words and forms which are met with in the Sutras of Vararuci and the commentaries thereon: acchera, amelo, gahira, ghola, cimdha, nolla, dualla, panolla, pariccemu, päsutta, moha ( mayūkha), rumbha, ruva, vale, vijjuli, sumdera, somala etc. So far as the substantial stock of vocabulary is concerned, our author is closely following the first nine chapters of Vararuci's
grammar.
XXXV
Secondly, we come across certain words and forms which, according to PISCHEL'S 34 analysis, are known to us from the Prakrit prose of the dramas: adihi (ii. 50), assu (i. 35), tui (i. 19), païdi (iii. 25), paduma (iii. 2), pahudi (iv. 34), pidara (1. 12), bhavam (i. 14), bhādara (i. 27), vivuda (iii. 10), radana (ii. 49), sakkuna (iii. 33), etc. Of course it is not claimed that these forms cannot be derived by a liberal and hypercritical application of the Sutras of Vararuci.
Thirdly, we have in this work a large number of nominal and verbal forms which are direct corruptions of Sanskrit forms according to the well-known rules of phonetic change: idam vao (i. 28), joņhāaṁ (iii. 6), thaliaṁ (ii. 38), punnimäaṁ35

34 PISCHEL: Grammatik der Präkrit-Sprachen, Strassburg 1900; and also its Index by Zilva WIKREMASINGHE, Bombay 1909. 35 It is interesting to note that Bhasa's Prakrit shows such forms (PRINTZ: Bhasa's Prakṛta, p. 27) in the Loc. sing. PISCHEL, as far as I remember, has not noted similar forms from any other If such forms are as old as Bhasa, their absence in the subsequent literature is difficult to be explained. Or should we presume that they are the outcome of the Ms. tradition of Kerala country to which the Mss. of Bhasa's dramas and of Kamsavaho belong?
source.

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KANSAVAHO
(ii. 19), vihiäam (ii. 44), dikkhu (iv. 41) ; caatthi (i. 24), musinãi (ii. 47), vāharai mho (ii. 25), darti (ii. 52), viin. nanti (i. 16), suämti (ii. 34), ujjihāna (iii. 20), etc. Such tendencies are bound to develop in the Prākrit stage especially when the Prākrits, as literary languages, were cultivated under the influence of classical Sanskrit and handled by authors who were themselves Sanskrit writers. Instances of this type are not altogether absent in earlier stages of Prākrit literature ; but being rare they could be accepted as isolated cases of exception. Here, however, the tendency to introduce them is stronger and the number of instances is conspicuously large.
Fourthly, Rāma Pāṇivāda uses certain words and forms which, so far as I know, are his own and not of much frequency in earlier Prākrit literature : kamanā (ii. 19), kāriä (i. 48), küamda (i. 57, ii. 32, iii. 43), kuvittha or kavittha (i. 28, ii. 35), koccana (ii. 52, 53, 55, 57), kocci (ii. 54), nihela (ii. 52), talaümda (i. 48), panhi (ii. 50), Täsi (= rasmi, iii. 17), vuṁdara (iii. I, 57), sähar (i. 64), simkharā (iii. 31); kannäü (i. 62), nisäü (iii. 4), tujjhana (i. 25) ; etc. Some of them can be explained analogically or by further changes in the known forms. I have discussed these in the Notes.
Fifthly, words like ammaka (i. 37), ahake (ii. 6) are not quite fitting in the dialect of our text. Ahake is justified according to Vararuci's Sūtras (xi. 9) but only in the Māgadhi dialect.
Sixthly, our author shows a confirmed habit of converting a string of Sanskrit words en bloc into Prākrit. Prakrit grammarians have to deal mainly with Tadbhava words; they generalise certain tendencies according to which Präkrit Tadbhavas were derived from Sanskrit words ; and then these very generalisations served as rules for converting many other Sanskrit words into Prākrits when the latter became purely literary languages. It is an important rule that the intervoca.

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XXXVII
lic or, in grammarians' words, non-initial and non-conjunct k, g, c, j, t, d, p, y and v are generally dropped. The rule is a good one for all practical purposes. Even in the earlier nages of Prākrit literature we find that this rule has affected a few initial consonants also in some words : im = kis, ira.= kila, una:= punar, na yānāmi = na jānāmi, ya = ca etc. It only means that these consonants were changed along with the previous words with which they went and thus became non-initial as it were. If at all, in the literary Prakrits, Sanskrit words were to be corrupted into Prākrit, the question may be asked whether a word is to be taken as an unit of corruption or a string of words say as in a compound phrase or in an elegant expression which is conceived by the author primarily in Sanskrit. Common sense demands that simple words should be taken as the units of corruption, and their non-initial and nonconjunct consonants may be dropped according to the above rule. The term 'simple words' included prepositions etc. ; So we have forms like uvažsai, paāsai, pažnna. It also included some compound words of two members of frequent occurrence : kara-ala, dharani-yala, bhamara-ula ; in these words the whole expression is treated as an unit of change. When the initial consonants of the various non-initial members of a compound expression are being elided, softened etc., on a large scale, it only means that the author first conceives an expression in Sanskrit, and then he converts it into Prākrit at a stretch. This difficulty faced the Präkrit grammarians, and Hemacandra (VIII. i. 177) allows an option admitting both forms like jala-cara and jalayara. Aciram and svajana would give aïraṁ and saäņa, but on that account it would not be justified to use iram for ciram and ana for jana when they are independent words. In our text we do come
across some such cases, and both the Mss. agree to adopt the · same reading : iram = ciram (i. 12, 16, ii. 57, iv. 47), ana =

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jana (i. 14, 29, iv. 28), ulam kulam (ii. 58). Some of these words occur more than once; so we cannot brush them aside by attributing them to scribes. These forms appear to be used by the author himself. In all probability the author was led to use such words from their occurrence in compound expressions like airam, suiram, kumiäna, muniäṇa, saäṇa, rāüla etc. which are met with in standard texts like Gaüḍavaho and others. When these words (ciram etc.) stand as independent units and not as second members of a compound, the practice of eliding their initial consonants is not a healthy one, nor has it any stable foundation in the genuine Prakrit style of early authors. So I have emended these readings; and asterisks are put on them to indicate that they are subjected to editorial improvement. In the very interest of the language the elision of initial consonants in a compound expression, though optionally allowed by the grammarians, has to be practised with restraint. I have noted some striking cases of the elision of initial consonants in Rāvanavaho na inam=na dinam (viii. 61), aṇehim janaiḥ (viii. 65), ūraṁ pūram (viii. 65); but in every case their presence is due to the necessity of rhyme. The treatment of aspirates like kh etc. is to be considered on the same lines as that of intervocalic k etc.
1
KAMSAVAHO
Seventhly, we may also note the treatment accorded to initial conjunct groups. In the light of Vararuci's Sūtras (iii. 50 & 57) there is no justification for forms like kkhaäṁ (i. 29), kkhuḍiä (iii. 19), tthuo (iv. 16), ppaälaï (iii. 35), ppaïdi (iii. 52), ppaḍinava (iii. 16), ppamaüladam (iii. 37), ppalavaï (iii. 29, 49, 52), ppavaḍiä (iii. 55), ppasaham (iii. 52), ppaharisa (iii. 37), pponnidda (iii. 41), pphuḍa or pphuḍaṁ (i. 29, ii. 5, 18, 38, iii. 18, 58). We get instances of this type in the various readings available for the Prakrit portions of the dramas. Here metre requires them, so they cannot be

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xxxix
called scribal errors; even in the verses of Karpūtamañjari36 there are some such cases : na tthāņāki (ii. 1), tłhio (ii. 46, iii. 4). This tendency can be explained on the supposition that the whole sentence or a string of words was first conceived in Sanskrit and then converted into Prākrit. This is manifest in some of the verses of Pravarasena, Vakpati and Rājasekhara. This habit, so far as our author is concerned, is quite strong here as seen from the structure of various verses.
Lastly, our text shows the development of certain conjuncts in the following cases : bhuvana-ppenādāe (ii. 40), pparusa (iii. 47); and they are possibly due to the necessity of metre. PISCHEL has already collected many such cases from Prākrit literature.
To conclude, the above facts indicate that Rāma Pāṇivāda mainly follows Vararuci's Sūtras, especially the first nine chapters, with the commentaries thereon ; his dialect is influenced by the Prākrit prose of the dramas; he shows a small number of words which are further deductions from the known forms ; and, as he conceives the expressions first in Sanskrit, we find that many Sanskrit forms are directly corrupted into Prākrit, that some initial consonants are elided and that some initial duplicates are retained.
B) THE NAME OF THIS PRĀKRIT DIALECT.
The term Prākrit is used with various meanings. If we consider the views of the Prākrit grammarians, we find that it is used as a generic term to designate a number of Middle Indo-Aryan literary languages. In this serise Ardha-Māgadhi
36 I have noted these readings from Dr. KONOW's text of Karpūtamañjarī (Cambridge, Mass 1901), but I find that Dr. GHOSH has adopted some different readings in two places in his edition. of Karpūramañjari (Calcutta 1939) which has just reached my hands.

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and Päli, the canonical languages of the Jainas and Buddhists, can also be grouped under Prākrit. According to Dandin the pre-eminent Prākrit is Māhārāştri (mahārāştrāśayā bhāşā) and in Mịcchakațikam the Sūtradhāra, remarking that he would then speak in Prakrit begins to speak in Sauraseni. Mähärāştri and Sauraseni being the popular dialects of the dramatic group of Prakrits, the term Prakrit often stood for them. Further, as PISCHEL37 has remarked, the Māhāräştri is the language meant when one speaks of Prākrit in general ; and it is also considered to be the best Prākrit in which we have classical poems like Ravanavaho, Gaüdavaho etc. and compilations of lyrical songs like Gathāsaptaśati which has become a veritable treasure of quotations drawn by later rhetoricians. Now and then the term Prākrit is used even to indicate some of the Modern Indian languages like Marāthi and Kannada38 thereby distinguishing them from Sanskrit.
As we can imagine the territorial divisions and social groups in India in early days and as indicated by dialectai names like Magadhi, Sauraseni and Māhārāşțrī, it is clear that some of these dialects derived their names from territorial units. It appears that even by the time of Vararuci, if not earlier, they had become stereotyped literary languages in the sense that the writers of these dialects did not write so much from their personal touch with the spoken dialects as from the grammars and the works they studied. Such a procedure has its advantages as well as disadvantages : on the one hand the dia. lects gradually assume a standardised form and dignity and on the other they get isolated from the currents of spoken languages which evolve or degenerate in the popular mouths in their own way. Time, place and usage have created such barriers now and the evidence to the point is so meagre that to-day it
37 38
Grammatik etc. § 12. S. B. JOSHI : Kannadada Nele (Dharwar 1939) p. 28.

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INTRODUCTION
is wellnigh impossible to get any idea of the original Māgadhi, the spoken language of Magadha. We may get a trace of it here and there, but these attempts are all guesses in the realm of probability. With us to-day, and especially with Rāma Pāņivāda, names like Sauraseni are conventional Prakrit dialects stereotyped and standardised by grammarians and playwrights. Rama Pāņiväda composed this work after studying the language from grammars and literature.
xli
Rāma Pāņivāda is not explicit about the dialect in which he wrote Kamsavaho. As I understand, he simply hints that it is a Prakrit poem (iv. 48*1). To-day we are accustomed to the terminology of Prakrit dialects used by grammarians like Vararuci, Hemacandra and others and lately set on a scientific footing by PISCHEL who, for the first time, took an extensive linguistic survey of Prakrits with a marvellous critical acumen. So, in the light of the present terminology and material, we shall see whether our author is writing in Magadhi, Šauraseni or Māhārāṣṭrī; and if he shows any dialectal admixture, to what extent can we ascertain it.

The material afforded by Prakrit literature and by the Prakrit grammars is such that it is always difficult to state individual exclusive characteristics of any dialect. When distinguishing one dialect from others what can be done at the best is to note essential characteristics not singly but along with other features of that dialect. By exclusive characteristics I mean those traits which exclusively belong to one dialect and are not found in any other dialects. For instance, use of the palatal sibilant alone is an exclusive characteristic of Magadhi. In distinguishing one Prakrit dialect from the other, we may state a few essential characteristics of different dialects; and all of them together characterise a particular dialect.

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Our author uses ahake (ii. 6) which is noted as a speciality of Magadhî dialect by Vararuci, and there are about half a dozen words like kalana (i. 14, 51), kumāla (iii. 29), galula (iv. 28), calana (iii. 34, 50), muhala (ii. 57) in which r is changed to I. It is true that kalana and kumala are not popular in dialects other than Magadhi ;39 but words like calana can occur in any other Prakrit dialect. In the absence of the Nom. Sing. of a-ending nouns in e and of the wholesale change of r to I and of s and s to ś, we cannot say that the dialect of our text is Magadhi. A word like ahake should be considered either as an intruder or a slip of the author.
A good deal has been written about Sauraseni, its characteristics and its relation with Mahārāṣṭrī.40 The use of Sauraseni is prominent among the Prakrit dialects used in the prose of the dramas. But the Ms. material from which we have to generalise the nature of Sauraseni is extremely unsatisfactory and the grammars are not quite exhaustive and they sometimes differ mutually. "In spite of all these difficulties" says PISCHEL, "it is however possible to get on the whole a fairly correct picture of S. In phonology the most characteristic feature is the change of ta into da and tha into dha (§ 203); in declension and conjugation the great variety of forms of
39 I am usually guided by the forms noted by PISCHEL.
40 PISCHEL: Grammatik etc. §§ 2, 12-15, 22 etc.; KoNow and LANMAN: Karpūramanjari, the section of Rajasekhara's Prakrit, pp. 199 etc.; R. SCHMIDT Elementarbuch der Sauraseni, Hannover 1924 M. GHOSH Mahārāṣṭri, a later phase of Sauraseni in the Journal of the Department of Letters, Vol. XXIII, Calcutta 1933; A. M. GHATAGE: Šauraseni Prakrit, the Journal of the University of Bombay, vol. III, part vi; S. K. CHATTERJI: The Study of New Indo-Aryan in the Journal of the Department of Letters, vol. XXIX, Calcutta 1936; A. M. GHATAGE: Māhārāṣṭri Language and Literature, the Journal of the University of Bombay, vol. IV, part vi; etc.

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xliii
M. AMg. JM. Js. has been greatly simplified. Thus in the case of a-stems only the abl. sing. in -do and the loc. sing. in -e are in use ; in plural, in the case of all the stems, only the forms nasalised at the end are used in instr., gen. as well as in loc. ; the i- and u-sters have in gen. sing. only -ņo, not -ssa as well ; in verbal flexion the Ātmanep, has almost completely disappeared ; the opt. has only the endings -eam (I. sing.), -e; many verbs have stem-forms different from M.; the fut. is formed only from stems in -i, and the passive only in -ia, the absol., in contrast to M., almost exclusively in -ia Skt. -ya, etc.” By way of explanation and supplementation it may be added that in šauraseni -di in the Present and -du in the Imperative are the 3rd p. sing. terminations which being -i and u respectively in Māhāraştri, that d and dh are retained, and sometimes nt is changed to nd and ry to yy.
With the above description of Sauraseni in mind, if we look at our text, we find that there are many cases of t changing into d (adi ii, 20, adihi ii. 50, cada i. 60, tado i. 24, dāva iii. 49, parāhada i. 11, vāmadā i. 18 etc.) though this tendency is not uniformly carried out. In our text th is changed to h and not to dh. Some illustrations of abl. sing. in -do or -ado are found (lambhado i. 12, karado ii. 7, sūrādo iii. 8, also matthæādu iii. 15), besides we have those in -ī and -hi (gotavā i. 19, maihi i. 7 etc.). Loc. sing. in -e as well as in -mmi are found in our text (samujjale i. 30, jaämmi i. 13, rahammi i. 23, vasuhammi ii. 52, vihummi i. 10 etc). Nasalisation is unknown to our author, but whenever a long vowel is metrically needed anusvāra is added to the pl. terminations of the Instr., Gen. and Loc. The gen. sing. termination for the i- and u-stems is not only - no but -ssa as well, though the latter is excluded by PISCHEL in Saurasenī (bamdhuno i. 10, Tassino i. 11, bāhussa i. 21, Harissa i. 41 etc.). We have many forms of the Atmanepada (jampaë, paäcchaë i. 9). We come across Optative forms in

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-jja (bhanejja i. 14). As against PISCHEL's expectation we come across Passive in -iji (kahijjaë i. 15) and Absol. in -una and so also in -ia (gamiūna i. 34, parivedhiūna i. 53 hakkāriä i. 23, samõanniä i. 35 etc.). The 3rd p. sing. termination of the Present is i throughout and never di ; there are only two cases of the softening of t in the 3rd p. sing. of the Imperative (ii. 6, 7). In this text ry is changed to jj and in one case nt. is changed to nd (sujjakandā iii. 14). The above scrutiny does not warrant us to conclude that the dialect of our text is Sauraseni ; but this much is to be admitted that it is sprinkled here and there with what are called Sauraseni characteristics. 42
It is already remarked above that our author closely follows Vararuci's grammar and his dialect fundamentally agrees with the one discussed in the first nine chapters of Präkyta. prakāśa. Hemacandra and others who are indebted to Vararuci call the main dialect by the name Prăkrit. . The 12th chapter of PrākȚta-prakāśa mentions Māhārāstri, but the text, as it is available, shows certain inconsistencies ; so the genuineness of the 12th chapter can be called into question. Other grammarians like Mārkandeya start with Māhārāştri as the basic dialect, and according to their view Vararuci's Prākrit can be called Mahārāştri. Exception is taken to this view, and it is claimed that the Prākrit of Vararuci belongs to Indian Midland, and therefore it should be called Sauraseri ; 12 and this agrees well with the references to Sauraseni in the 10th and 11th chapters. Admitting that it was once the dialect of the Indian Midland, we may still call it Māhārāştri following
41 Being a late work the text of Kansavaho is not likely to be subjected to many changes at the hands of generations of copyists. The study of the dialect leaves the impression that our author did not discriminate one dialect from the other as rigorously as the modern scholars like WEBER, KONOW and others.
42 See the Papers of Drs. CHATTERJI and GHOSH noted above.

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the lead of various grammarians. If it is once admitted that we are dealing with literary dialects, it is more safe to follow the terminology of the grammarians without always insisting on the territorial bias unless they show mutual contradictions and inconsistencies of an extraordinary character. Later grammarians have understood that the Prākrit of Vararuci is Māhā. rāştri ; and, as Rāma Pāņivāda is following the nine chapters of Prākṣta-prakāśa, he is writing in Māhārāştri which is purely a literary language with no special territorial association at the time when he wrote this work.
Turning to the characteristics of Māhārāştrī, as noted by grammarians and as gathered from the study of Māhārāştri literature, we find that intervocalic consonants k, g, c, j, t, d, P, y and v are usually dropped ; and aspirates like kh, gh, th, dh, ph and bh are changed to h. These are general rules ; Mss. do show irregularities, and modern scholars want these rules to be applied rigorously as it is clear from the editions of Sattasaż, Kappüramamjarī etc. Grammarians allow even in Māhārāştnī the change of t to d in a few words ; 43 and nowa-days it is held by some scholars 44 that the change of t to d is not prohibited in Māhārāştri. Rāma Pāṇivāda usually drops intervocalic consonants k, g, c, j, p, y and v. His exceptions --are either sanctioned by grammarians or very rare. His treatment of t is very uncertain : he may drop it or soften it as seen from the same words occurring in different places : (aggao i. 3 & aggado i. 5, gao i. 51 & gada ii. 11, laā iv. 25 & ladā i. 54, haâ i. 36 & hadā iii. 51, etc.). As to d, it is sometimes dropped and sometimes retained (vimaa i. 30, saž i. 2, savai i. 61 ; jamnādi i. 16, pada i. 8, paduma iii. 2; maa iii. 60 & mada iv. 43; etc.). The most significant Māhārāştri trait of our author's dialect is the termination i ore in the 3rd p. sing.
43 PISCHEL : Grammatik $ 204. 44 See the articles of Prof. A. M. GHATAGE noted above.

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of the Present and u in that of the Imperative. There are only two cases of the termination du in the Imperative, and I should call them exceptional occurrences. It may be noted that even a rigorous editor like WEBER retains the termination -du once in his text of Sattasai (verse 878) which is written in Mähärăştri. About the changes of r there is no uniformity: it is changT ed to a, i or u; and sometimes the same word shows two different forms (maa i. 50 & mia ii. 20). As to ks it is usually changed to kkh, but in a few words to cch. So far as the root preks is concerned, both pekkha and peccha are available (ii. 11, iv. 11). The other Mahārāṣṭrī characteristics found in our author's dialect are the usual change of aspirates to h; the change of ry to jj; the Abl. sing. in -a, the Loc. sing. in -mmi; the Passive in -ijj; the Future in -hi- ; and the Gerund in -ūna. In literary languages vocabulary is not a reliable criterion to distinguish one dialect from the other; and therefore I have not scrutinised words like laṭṭhi which are restricted by certain grammarians for specific dialects.
Taking into account the essential characteristics of Saurasexi and Mahārāşṭrī, I might state, in conclusion, that the Prākrit dialect of Kamsavaho should be called Mahārāṣṭrī; and as the author belongs to the decadent period of Prakrit literature and as he is thoroughly acquainted with the prose of the dramas, he shows some of the traits of Sauraseni as well.

VI)
In the Notes I have given the metrical analysis of every chapter at the close of it; and I have also added there the mātrā-scheme and the author's definitions of different Vṛttas. Rama Panivada has composed a treatise on classical metres, so I have mainly adopted his terminology; and just in a few cases I have noted the variant names :
METRES IN KAMSAVAHO.

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INTRODUCTION
xlvii
Avitatha, see Kataka. Indravajrā (1): iv. 12. Upajāti (12) : iv. 1, 2, 6, 8, 9, 11, 13-8. Upendravajrā (7): iv. 3-5, 7, 10, 19, 20. Kataka (1): ii. 60. Drutavilambita (1): iv. 37. Pșthvi (3): iii. 57, iv. 27, 40. Praharşiņi (56) : iii. 1-56. Mañjubhāşiņi (3): iv. 28, 43, 48*2 (Sanskrit). Mandākrāntā (1): iv. 33. Mālabhāriņi, see Vasantamālikā. Mālini (3): i. 61-2, iv. 48. Rathoddhatā (1): iv. 29. Vasantatilaka (7): iv. 21, 22, 34, 36, 42, 45, 48*1. Vasantamālikā (60): i. 63, ii. 1-57, iv. 24, 32. Vamsastha (60): i. 1-60. Sālini (2): iv. 30-1. Sikhariņi (1): i. 64. Sārdūlavikrīdita (6) : ii. 58, iii. 58, iv. 23, 26, 46, 47. Sragdharā (5) : ii. 59, iv. 35, 39, 41, 44. Svāgatā (3): iii. 59, iv. 25, 38. Harini (1): iii. 60.
If frequency is a good indication, Varsastha, Vasantamālikā and Praharşiņi are the favourite metres of Rāma Pāņivāda. Compared with the extent of the work, it has to be admitted that our author has used a greater variety of metres. On the whole the verses are metrically flawless, and there is only one case of Yati-bhanga (ii. 4, cd).
VII) STYLE OF KAŃSAVAHO.
Rāma Pāṇivāda has been brought up in the traditions of classical Sanskrit the tendencies of which are consequently deep

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xlviii
KAMSAVAHO
rooted in him. He shows a thorough mastery over the vocabulary which almost flows forth to serve his purpose. . His language is simple in presenting the conversation and the narration, but it grows pretty difficult in descriptive portions especially due to the lengthy compounds. If the Prākrit language of the author becomes artificial now and then, the fault is due more to the age in which and the circumstances under which the work was composed than to any specific deficiency in the scholarship of our author. In many places we see his masterly grip over the language which 'vividly expresses the actions to be described. His style, though not very graceful, is full of vigour; it inclines more towards elaboration than suggestion ; and sometimes the sound appears to dominate over the sense.
It is clear from the metrical analysis that our author has used a large number of metres in this work. The Gāthā, the Prākrit metre par excellence, is conspicuous by its absence. On the whole the verses fiow with a vigour and dignity. Rāma Pārivāda's mastery over the language is seen also in some of his verbal devices. Identical syllables are repeated at the close of contiguous Pādas with the effect that we get a sonorous sound in reading these verses. In some verses the same syllable recurs so often that the reading of the verse adds to our pleasure. As in some of the Dravidian languages, our author shows the second syllable identical in all the Padas; and in some places we have the Yamaka of identical syllables with different meaning. Prākrit language affords a special facility in this regard since one and the same Prākrit word may stand for different Sanskrit words : in a few cases our author has availed himself of this advantage. Attention has been drawn to many of these cases in the Notes
Some of the scenes sketched by Rāma Pāṇivāda in the section of the bards' songs or in the description of Mathurā

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INTRODUCTION
xlix
are worthy of a genuine poet. These descriptions a:c spiced with poetic embellishments like Upamā, Utprekşā, Rūpaka, Drstānta etc. ; and we come across a few happy illustrations of Arthäntaranyāsa. Most of them are mentioned in the Notes on different verses.
Among the Sanskrit authors of note, Rāma Pāṇivāda can be favourably compared with Māgha whose influence he betrays in many places. We miss here the outstanding Utprekşās and the natural scenes of the country-side seen in Gaüdavaho ; nor do we get here the pedantic descriptions full of unwieldy compounds exhibited in Rāvanavaho. Antiquity may be an advantage but is not a virtue by itself ; nor is modernity a fault which should be allowed to obscure the genuine merits of a poet. Taking into consideration the able delineation of the subject, the successful handling of the language and the well-deccrated presentation of poetry seen in Karsavaho, it can be said that Rāma Panivada deserves a respectable seat in the gallery of his predecessors like Pravarasena, Vākpati Rajasekhara and Gunacandra.
5. THE CHÃYĀ AND ITS AUTHORSHIP
As already noted above, both the Mss. give the Sanskrit rendering or the Chāyā of the Prākrit text. It is practically identical in both the Mss. : there is a single case where the two Mss. differ with a corresponding difference in the Präkrit text (i. 38). There are a few variants on the common Prākrit text. So far as the tenses of the verbal forms are concerned, the Chāyā is not literal ; and in fact the forms of the Present are substituted by those of the Imperfect and Perfect. Who is the author of this Chāyā is a question for the solution of

Page #51

KAMSAVAHO
which ne definite clue is available from the Mss. However some circumstantial evidence may be noted here : Kaṁsavaho belongs to an age and country in which Prākrit texts almost necessarily required a Chāyā ; the Sanskrit Chāyā in the Ms. is so closely associated with the text that it has not got independent colophons, those in the square brackets being added by the editor ; both the Mss. give the same Chāyā, and as yet no Ms. of Kansavaho without the Chāyā has come to light; the Chāyā takes some liberty with the verbal forms of the text ; in some cases (i. 50) the metre is maintained even in the Sanskrit rendering ; and lastly Rāma Pāṇivāda himself has written a Chāyā for the Prākrit portions of his dramas like Sitārāghavanāțaka etc.45 Taking into account all these points, I am inclined to believe, of course tentatively, that Rāma Pāņivāda himself might have added this Chāyā to make his work intelligible even to those who did not possess the first-hand knowledge of Prakrit.46
45 A Triennial Catalogue of Mss., vol. VI-part 1. Sanskrit, Madras 1935, p. 7042, No. 5135 b.
46 A portion of this Introduction was read before the Prākrit Section of the Tenth All-India Oriental Conference, Tirupati, 1940.

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राम-पाणिवाअ-कओ
कंसवहो

Page #53

Page #54

[ पढमो सग्गो']
सिरीअ णाहो सिहि-पिंछ-सेहरो सिणिद्ध-गोवीणअणंचलंचिओं। सरं जसोआ-तणअत्तणं गओ विहू विहूसावइँ गोव-चाडि ॥१ कहं खु से कंसवहं सुहावहं सुई व गण्हेह वले मुहीअणा। . सआ गुरूणं चलणे समल्लिओ भणामि जं भत्ति-गुणेण णोल्लिओ॥२ अहेकदा चंकमिरो वअंगणे दिणंत-गो-दोहण चावुडंगणे । सहग्गओ सो ऽहिसरंतमग्गओ गदग्गओ दक्खइ गदिणी-सुअं ॥३ रआइ रेहा-रह-संख-पंकअ
अंकिदाई पुलऊण भूअले । तहिं णमंतं पुलआलि-पम्हलप्पमोअ-बाहोल-विहुल्ल-विग्गहं ॥४
१M begins thus: श्रीरस्तु ॥ कंसवधम् ॥, r begins thus: श्रीरामपाणिवादविरचितं कंसवधकाव्यम्. २ MT सेहरं. ३ MT लंचि. ४ तणयत्तणं ५M विगूसा (विभूसा ?). ६ T समिछओ. ७ T रम. ८T बोहोल्ल

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- कंसवहो
खणे खणे झाण-णिमीलियुक्खणं णमंत-मोलि-प्पणिवेसिअंजलि । असंभमं संभरमाणमग्गदों लसंतमप्पाणमणंत-कोड्डअं ॥५ अदिट्ठ-पासहिअ-वत्थु-सत्य असुबमाणुच्चलिउच्च-णिस्सणं । परं परब्बम्ह-सुहाणुभाविणं" ण बाहिरं बाहइ किं पि देहिणं ॥ ६ खणं रुवंतं विहसंतमंतरा खणं च खंभं व णिरूसह ठिअं। खणं चरंतं खणमुच्च-जंपिअं खणं पि तुण्हिक्क-मुहं माहि व ॥७ पमोअ-तूरंत-पद-कमुच्चल
खलंत-मोत्ता-गुण-फेण-मंडलो। सरि-प्पवाहं विअ संमुहाग स पञ्चुवट्ठाइ णमञ्चुअंबुही ॥ ८ करंबुएणं परिगण्हिऊण णं घरं णि पावइ देवई-सुओ। अणामअं पुच्छइ मिह-भोअणं
पअच्छए किं पि अ जंपएं पुणो ॥९ १MT णिमीलिमक्खणं. २ M संभमरंतमग्गदो.३ M -माण चलिच. ४ Tवरं. ५ ॥ सुखाणु'. ६ जंभिअं. ७ . कमुच्चलविकलंत, कमुचलंखीलं. ८ M जप्पए.

Page #56

-पढमो सग्गो
तुहावलोएण भुवीअ मे मणं विसट्टमक्कूर सिणिद्ध-बंधुणो । अहो किमच्छेरमिणं समुग्गए विहुम्मि सज्जो विअसेइ केरवं ॥ १० मुणामि तेएण खु भोअ-राइणो दिण-प्पदीवा विव तिक्ख-रस्सिणो । पलिज्जमाणेण पराहद-प्पहा कहं पि तुम्हे बलिणो विजीवह ॥ ११ अवच्च-जुग्गे चिरैमक्खंदे वि दे सहंति जं जो पिदरा णितणं । सरीरिणो ता दुरवच-लंभदो वदंति संञ्चं णिरवच्चदा वरं ॥ १२ कहं परिच्चेमु सरीर-पोसए इमे वि मादा-पिदरे व वच्छले । जअम्मि जे कोइल-रीइ-गामिणो ण दे जुउच्छंति कहं महाअणा ॥ १३ कअं खु जं वा कहिदेण भूरिणा किणो भणेज्जाअम-कालणं भवं । इदं वदंतो विरमेइ माहवो
भणंति भव्वा हि जां मिदक्खरं ॥ १४ १ . क्सिट्ट-. २४ विहुन्वि, T विहुम्म. ३ T रंसिणो. ४ MT इरमक्खदे. मनं ६ T जुहुच्छंति. ७ M -आयम. ८ MT अणा.
५

Page #57

- कंसवहो
विमुद्ध-सीलेग विणम्म मोलिणा स कंस-दूरण कहिज्जए हरी । तुह ब्व साहिट्ठ-जहिट्ठ-दंसणं विसिट्टमम्हाअमण-प्पओअणं ।। १५ णिरत्य-संगा णिअमंत-पंथओ जमादि-जोअब्भसणुब्भड-स्समा । चिरै विइण्णंति तवोहणा वि जं स दिट्ठिएँ मज्झ सि दिहि-गोअरो ॥१६ जिअं जिअं मे णअणेहि जेहि दे सुजाअ सुंदर-गुणक-मंदिरं । पसण्ण-पुण्णामअ-मोह-सच्छहं मुहं पहासुजलमज्ज पिज्जए ॥ १७ णिसिज्झए माहव माउलेण दे विभमाणेण व पावरासिणा। इमस्स पच्चक्ख-णिरिक्खणसवो मुहर्स जं वा विहि-वामदा खु सा ॥ १८ ममम्मि तुटुं विहिणा णु संपवं महं मह च्चे णु पुण्ण-संभवो । जमज्ज तेण चिअ भोअ-राइणां
विसज्जिओ हं तुइ कज्ज-गोरवा ।। १९ १M पत्या. २ MT इरं. ३ ॥ दिदि, T दिटिअ. ४ T मुहुस्स. ५M ममञ्चेन ६ M मोगराइणो.

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- पढमो सम्गो
सुणाहि तासेण सआ समाउलो जमीहए माहव दे स माउलो' । स वंचिउं वंछइ तं पि संपअं जअस्स जो देसि खु कं पि संपअं ॥ २० पलंब-बाहुस्स वहस्स जस्स दे पलंब-केसि-प्पमुहा ण पारिआ। तमप्पणा संपइ संपमदिउं तम-प्पहाणो स हि सण्णहेइ हि ॥ २१ धराहिणाहो धणुहूसव-च्छला खलो तिलोईवई हिंसिउं तुमं । समं समारंभई कुंभि-राइा समं च मल्लेहि स मंचमाठिओं ॥ २२ रहम्मि हकारिअ राअ-पंसणो भणीअ मं किं पि स तं पि सुव्वउ । अमंदमकूर) वच्च गोउलं भणेहि बाले वि अ राम-केसवे ॥ २३ चअत्थि भोआहिव-बाहु-पालिए सरास-जण्णो महुरा-महाघरे । तमिक्खिउं वो जइ कि पि कोदुअं
तदो समाअच्छह पेच्छहूसवं ॥ २४ १ M मादुलो. २ M ही. ३ T omits the 4th line. ४ तिलोइपइ. ५T समरंभइ. ६ T राएण. ७ Fourth line defective in r.८T.. वंस्सणो. ९ T अक्करम.

Page #59

- कंसवहो
स गंदगोवो वि.स-मित्त-बंधवो जवा समावच्चउ मज्झ मंदिरं । अतुच्छओ तुज्झण विक्खणाअरो मह त्ति तेण चिअ सव्वमीरिअं॥२५ इमस्स कज्जस्स सरीरमेरिसं जहिं खु पाणाअइ विप्पलंभणं । ण वच्च वा णंद वच्च वा तुवं विही-णिसेहो वि ण दूअ-कत्तओ ॥ २६ पवट्टए चावमहं ति कोदुअं णिवट्टए वंचण-साहणं ति तं । दुहा वले भादर भाव-बंधणं मह त्ति तं जंपइ रोहिणी-सुओ ।। २७ इदं वओ भण्णइ वण्णमालिणा अलं कवित्थेणे पलंब-मूअण । अकज-सज्जाण हि सत्तु-संभवो कुदो भअंकज्ज-पहुम्मुहाण णो ॥२८ अह एफुडं काहिइ साहसं जइ क्खरं स जाहिइ पाअडो जणों । समिद्धमग्गि गसिउं समुट्टिओ ण डज्झए कि सलहाण संचओ ॥ २९
१
कुवित्येण. २ MT अणो.

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- पढमो सग्गो
-
-
विसुद्ध - सीले विम-च्छल-कमो ण को वि अम्हे छिविडं पअब्भइ । हम्मि तारा - णिअरे समुज्जले णिसंधआरो महलेइ किं भण ॥ ३० भुअ-पआवो भुअ-दप्पसालिणो रिव्रण मज्झे चि संपआसइ । हिरण - रेअस्स वि जाल-संचओ सअं समिधेरै किमिंधणं विणा ।। ३१ वअं वएसग्ग-सरा णिराउला स-सिक-भंडा सअडाहिरोहिणी । समुच्चलामो सअला वि संपअं सहाजिओ होज्ज स भोअ-भूवई ।। ३२
इआलवंती सह सीर - पाणिणा रहं समारोह देवई -सुओ । करग्ग-संवग्ग-पग्गहो जवा
स तस्स पडिम्मि अ गंदिणी -सुओ ।। ३३

सुहं रहम्मि चित्र हम्मिओवमे । सअं सअंतो गमिऊण जामिणेिं । पगे समं सम्मिलिदेहि माहवो
इ
सणंद - गोव-मुहेहि पहिओ || ३४
१ M विणअ. २ M भुजप्पआवो. ३ M समिद्धेइ. ४ M वयं. ५ M पग्गवो.
&T omits two lines.
९

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१०
- कंसवहो -
अहो समाअण्णअ कण्ण- दूसहं पवास वत्तं पदएस - उणो । गलुग्गलंतस्सु-जलुक्खदक्खरं विओअ भीआ विलवंति गोविआ ।। ३५
अमुद्धदम्म व संभु-मत्थएं अकोत्थुहम्मoad विहु- वच्छए । अणंदर णंद - घरम्मि का सिरी हुआ हआ हंत वअं वअंगणा ।। ३६
अणण णाहा अविहा विहाअ णे घिणं विणा झत्ति गए विदालुणे । तर्हि जणे लग्गइ संपअं पि जं तमम्मकाणं खु मणं विणिदिअं ॥ ३७
किमेत्थ अम्हे कुणिमो गुणुत्तरे " जणे पिणद्धं जुवईण माणसं । ण तीरए चारु-पसूण- सोरहे महीरुहे भिंगउलं च कड्डिउं ॥ ३८ पहाण-पाणाणि खुणो जणद्दणो स जेण दूरं गमिओ दुरप्पणा । कअंत-दुओ चिअ सो समागओ ण कंस-दूओ ति मुणेह गोविआ ।। ३९
१ T दुस्सअं ( दुस्सहं ? ). २ T मत्थके. ३ T णो. ५ गुणंतरे, T गुणत्तरे.

४ M किमम्मकाओ

Page #62

-पढमो सम्गो
इमाहि कूरो ण परो ति से का अवस्समकूरअ-सह-पकिया। अघोर-सई जह घोर-मुत्तिणो सिवस्स वक्खाइ तह त्ति मण्णिमो ॥ ४० हरिस्स रूवं चिअ संभरेह हो हरिम्मणी-सामल-कोमल-प्पहं । सिणिद्ध-केसंचिअ-मोर-पिंछिअं विसट्ट-कंदो-विसाल-लोअणं ॥४१ फुरंत दंतुज्जल-कंति-चंदिमासमग्ग-सुंदेर-मुहेंदु-मंडलं । विसुद्ध-मोत्ता-गुण-कोत्थुह-प्पहापलित्त-वच्छं फुड-वच्छ-लंछणं ॥ ४२ भुअंग-भोआकई-चंग-भंगअप्पआम-सोमाल-भुआ-लअंचिअं। मणि-प्पहाइण्ण-सुवण्ण-मेहलाविलंबि-पीअंबर-सोणि-मंडलं ॥ ४३ णह-प्पहालिद्ध-णहप्पहामलप्पवाल-तंबुज्जल-पाअ-पंकअं । मणोज्ज-हासोल्ल-कडक्ख-विक्खण
क्खण-क्खुहिज्जंत चअंगणंग ॥४४ १M पंछिअं. २ T हुरंत. 3 T मंसलं. ४ ४ मोतागण, T मोत्ताउण. ५ 7 भोमाकइ. ६ T प्यवाह.७ ॥ खुविज्जंत. ८ ' वसंगणंगणं.

Page #63

- कंसवहो
णिअंबिणीओ णिउलोल्ल-पल्लवप्पबद्ध-पल्लंक-पमद्द-णिद्दअं। ण विम्हरिज्जे णवं णवं करं जणदणेणं जउणाड-कीलणं ॥ ४५ जहिंदु सा जिल्लुअ-फुल्ल-मंजरी णमंत-चुंतग्ग-भमंत-छप्पआ। मुआणुवजंत-सुऊढ-जंपिआ तडंत-वाणीर-लआ खु सक्खिणी ॥ ४६ मउंद-वेणूअर-णित-बंधुरस्सणामआसाअ-विरूढ-पल्लवा । दवुम्ह-सुक्का वि वणंत-पाअवा जहिं खु गिम्हाअवमावुणंति णो॥ ४७ वणाणिला जत्थ कलिंद-णंदिणीतरंग-संपक्क-सिणिद्ध-सीअला। कुणंति णों पंकअ-पंसु-मंसला समाउराणं तलवूड-कारिअं ॥४८ भुवंति गोवडण-सेल-मेहलाविलंबिउग्गज्जिय-विज्जुलाँ घणा । इमाण णो माण-विणोअणुम्मुहा
जहिं जइच्छागअ-पीढमद्दआ ॥ ४९ १ . विच्छुरिज्जेउ. २ T जणाघ. ३ ४ जहं. ४ . उणंति. ५Mणे. ६ ॥ कारिणं. ७ T विजला.

Page #64

-पढमो समो
.
जहिं च बुंदावणमेक मंदिरं माणि-प्पदीवो मअ-लंछणो स। णवा अ सेज्जा तरु-पल्लवावली वसंत-पुप्फाइ अ भूसणाइ णो ॥ ५० गओ स कालो गअ-गामिणी-अणा मणोरहाणं कुणिमो तिलंजलिं। सुहस्स सव्वस्स वि मूल-कालणं जणो गओ जं जण-लोअणंजणो ॥ ५१ कआ णु कण्हस्स कवोल-घोलिरप्फुड-प्पहा-मंडल कुंडलुज्जलं । सु-पिक-बिंबी-फल-पाडलाहरं मुहुत्तों पेच्छिहिमो मुहंबुअं॥५२ कआ णु पीण-त्थण-गाढ-पीडणामलिज्जमाणुज्जल-चण्ण-मालिअं। इमेहिं दोहिं परिवेढिऊण से विसालमालिंगिहिमो भुअंतरं ।। ५३ असंक-संकेअ-लदा-घरोअरहिअस्स मग्ग-प्पहिएक्खणस्स से । जवेण गंतूण जहिट्ठ-चेट्ठिअं कआ णु वा पाइहिमो ऽहराम ॥५४
१ . कुंडलज्जई. २ M मुहुत्तहं.

Page #65

१४
- कंसवहो -
इअ - पलावं पिअ - विप्पवासअप्पआम- सोआउरमंगणा - अणं । मुउंद - चाआउ स गंदिणी-सुओ समागओ जंपइ किं पि साअरं ।। ५५
अहीरमाहीर - णिअंबिणी -अणा
मुहा तुम्हे विलवेह वीहलं । कहं णु वो मुंबई चंचलेक्खणा स्वणं पि सो तुम्ह वसंवओ हरी ॥ ५६
विजिम्ह- तुम्हभुमआ-कुअंडअप्पमुत्त- चंचल-बाण-कीलिओ । कहं खु सो कंपइ संपइ क्खणं सहेज्ज कज्जाहिमुहस्स साहसं ॥ ५७
उसम्मि संमज्जइ साअरम्मि जो स साअमुम्मज्जइ किं ण चंदमो । अलं विसाएण विलासिणीण वो गअस्स पच्चाअमणं ण दुल्लहं ॥ ५८
समत्य -लोअस्स पआस- हेदुणो तमप्पवंचस्स णिरासआरिणों ।
१ अ मुद्दा तु.

Page #66

- पढमो सग्गो -
पडिप्प आणं पडिवालएह से सरोइणीओ व सहस्स - रस्सिणो ।। ५९
विओअ - सोउम्हल- गिम्ह-ताविअं वšत्थिओ-सत्थअ-चादई-उलं । वअंबु धाराहि सु-सीअलाहि सो सुहावए माहव दूअ-वारिओ ।। ६०
अह दिअह-विआस-प्पक्कमे पारुहंतो सवइ हरि-सणाहं संदणं गंदिणेओ । णय-पदुम-राई- रोअणिज्जं जणाणं लहs सुहमहिक्खं कं पि सो कस्सवी व ।। ६१
जव - जिअ -पवणेणं वच्चमाणो रहेणं सह पसुव - वरेहिं गाहए माहवो सो । कसण-गिरि - सिहाली-तुल्ल-कल्लोल-मालाफिडिअ -तड- तमालं सूर - कण्णाउ वेलं ॥ ६२
जडण- सलिलम्मि बुडमाणो पडिबिंबं व तहिं पि वासुदेवं ।
पुलऊण भुवीअ विम्हअंतो पुलउब्भिण्ण-तणू स गंदिओ ।। ६३
१ MT वळत्थिआ. २ T णअण. ३ M विडिअ ४ M जुडणा.

१५

Page #67

१६
- कंसवहो -
तरंतो तं तो सो तरुण-मण-संतोस-महुरो स- बुंदेहिं साहं विसई महुरं णाम णअरं । af वीहीगाही कुणs वणिआणं समहिअं समानंद चंदो वित्र कुमुइणीणं महुमहो ।। ६४
इअ राम- पाणिवाअ - कए कंसवहे पढमो सग्गो ।
[ बीओ सग्गो ]
अह मालिअं - दिण्ण-माल-भारी वणमाली मुसली अ वच्चमाणं । परिधोअ-वरिल्ल भंडवाह रअअं कं पि णिअंति रामग्गे ।। १
मउ-हास-मणोहराणणेहिं कुमरेहिं वसणाइ जाइदो सो । कुमणो घण- गव्व दुव्विणीओ कुविदो भाइ भोअराअ-भिच्चो ॥ २
१ M विसअ. २ T मालिम. ३ M भंणवाहं.

Page #68

-बीओ सग्गो
ण हु संभरि पि सकए जं तमिणं जंपह डिंभआ किमेव्वं । णणु खादइ तज्जिओ वि जो सो छिविओ किं ण कुणेइ कण्हभोई ॥३ णवरं ण लहिस्सइ त्ति णेअं वसणं भोअवइस्स जच्चमाणं । णमिणं चिअ तुम्ह सीस-छेअस्स वि हो होस्सइ कालणं मुणेह ॥४ अभणिज्ज-चउग्गमेण जम्मा अणुहोति फुडमप्पणो विणासं । चवलं लहिऊण पक्खवालिं सलहा किं ण मरंति हव्यवाहे ॥५ अह होदु सहेमि एकवारं अहके तुज्झण बाल-चावलाई । ण सहेज्ज णराहिवो इमाई जइ सो सोच्छिइ वच्छलिज्ज-चंझो ॥६ इअ सो कडु भासिऊण जाहे पहसंतो चिअ वोलि पवुत्तो। सहसा महु-मूअणेण ताहे वसणाई हरिआइ से करादो ॥ ७
१T पक्खवाली, M पक्खवाहि.२ T अहहे.

Page #69

- कंसवहो
अहिहोदु-मणस्स कोह-भारा रहसुहाविअ-लट्ठि-पाणिणो से। अह तक्खण-णक्ख-कोडि-रुग्गं परिपाडेइ सिरं सिरीअ णाहो ।। ८ णिअ-पंक-विसोहणावदाओ रअअस्सब्महि लहू-भवंतो। पविसेई सइप्पासमप्पा वसणाणं णिअरो अ वासुदेवं ॥९ सिअएहि सिएहि से सरीरं वसिएहिं लसए तमाल-णीलं । कणउज्जल-मेहलाहिरामं ससि-मोहेहि व णील-सेल-सिंगं ॥१० अह पेक्खइ वंकदं गदाए तणु-लहीअ वि दिहि-रम्म-रूवं । मअणस्स व सो कुअंड-लहिं वणिअं कं पि समुण्णमंत-पिटुं ॥११ अणुसप्पिर-छप्परं वहंति मणि-पत्तं भिद-कुंकुमं करग्गे । सणि सणि समावडंति समुवागच्छिअ पुच्छए हरी णं ॥१२
.
४
१T सो. २ . परिसेइ. ३ ॥ दट्टि. ४ पीठं, T वट्ठी. ५ M समावसतिं.

Page #70

-बीओ सम्गो
कुडिलच्छि वले कुदो सि बाले कुडिली-होइ कहं तुहं सरीरं । मसिणं घुसिणं च कस्स दाउँ सणि गच्छसि पेच्छणिज्ज-रूवे ॥१३ अह जंपइ सा विहिस्स सत्ती बलि जिंभइ वामिआ ममस्सि । हिअअम्मि पसिद्धमिथिआणं मह गत्ते वि कुणीअ वंकदं जा ॥१४ सुण सुंदर सिप्पआरिआ है णिवरंतेउर-वासिणी विणीआ । घुसिणं पुण कंस-राइणो से पणिदाउं पलामि तण्णिएदं ॥१५ मुउमारमिणं च दे सरीरं सुरही कुंकुम-पंकओ अ एसो। परिगण्हड ता भवं चिएअं सरिसाणं हि समाअमो सुहस्स ॥ १६ इअ तप्पविइण्ण-कुंकुमाहिप्फुसिअंगा विलसंति कण्ह-रामा। स-पसूण-कला अ सिंदुवारा विव संझाअव-संछिविज्जमाणा॥१७
१T दाई.२ ॥ सरई. ३ स समाप्रमो.

Page #71

२०
- कंसवहो -
चिबुए कर- पल्लवेण कण्हो सणिअं गण्हिअ सारसेक्खणं तं । अह खुज्जिअमुज्जुई कुणीअ 'फुड- लज्जावलिआणणेंदु - बिंबं ॥ १८
पढमं' कुडिला वि चंदलेहा जह संपुण्णदमेइ पुण्णिमाअं । तह सा सहसा भुवीअ पुण्णा कमणी - कोमल-कंति- कोमुईहिं ।। १९
अदिभूमिमुवागअं मिअच्छी मअणाअल्लुअ-सल्लमुव्वहंती । णमिऊण भणाइ णंदसृणं धुअ-लज्जा - णिअलेहि अक्खरेहिं ।। २०
इमिणाम् जिओ सरीर-सोहाविहवेण त्ति तुमंस रूढ-वेरो । तुम अणुकंपि त्ति दाणिं किमु मं वाहइ वम्महो महप्पं ॥ २१
विस - रुक्ख पणएहि मण्णे विसमे विसि sहुणा कुणाइ । उहि किमण्णा मणं मे
इमिणा उज्झइ णिज्जए अ मुच्छं ।। २२
MT पडमं. २ M इमिणम्मि.

Page #72

- बीओ सग्गो
अवसं सवसं पि मार- घोरज्जर- दुमंत-मणं मणोज्ज-मुत्ति । अणुगण्ह मि कण्हसार-सारच्छवि-सांरेहि कडक्ख - विक्खणेहिं ॥ २३
हरिणील- सिणिद्ध-मुद्ध-सोहे तुह संकंतमुरम्म रम्म रूवं । कसणाअल-धाउ-राअ - कप्पं ' थण- उंभेहि लुहामि कुंकुमं णं ॥ २४ अह वाहरई म्ह वासुदेवो सुमहंतं तुह सुब्भु साहसिकं । इह जाइ मए विवक्खिदाई हरिदाई तइ ताइ अक्खराई || २५
विअसंत-मुहारविंद-णितै-* ब्भमरालाव-छलाहिलास - वाअं । पडिवालइ किं णु मल्लिअक्खो लिणि किं दुसरेइ दिट्ठमत्तं ।। २६
मह माणिणि कज्ज - गोरवेण
परवंतस्स ण तुब्भ कुंभ-थोरे ।
परिरंभिउमोसरो उरोए
सवसो अ खमो हि काम तंते ।। २७
१ Defective line in T. २ M उंफेर्हि. ३ T लहामि ४ M वासरइ. ५ MT णित्त.

२१

Page #73

- कंसवहो
अहमेहिमि दाव भूव-सेवाणिअलादो मह जाव होज मोक्खो। ण हि केरविणिं छिवेउमीसो घण-रुद्ध-प्पसरी स चंदमो वि ॥ २८ अह णो हिअएच्छिआइ पच्छा ससि-जोण्हुप्फुसिआसु जामिणीसुं । सुअणाण सहासु सकवीणं वअणाई व पहंतु कीलिआई ॥ २९ इअ तं पिअ-दंसणं भणंतो मुदिरं चेअ विसज्जिऊण कण्हो। सअणेहि सहग्गओ गओ सो सणि तो विसए अ राअहाणि ॥ ३० महणिज्ज-महुज्जलंग-लच्छीविहवालोअ-विहुल्ल-कोउहल्ला।। पदिसंति पिहजणा चि मग्गं तहि से कं ण हरंति पुण्णभाआ ॥ ३१ मणि-दीव-सिहा-पलिज्जमाणं कणअ-क्खंभ-विलग्ग-हार-गुंफं । महिसक्खअ-धूव-गंध-गब्भं महु-चेरी विसए कुअंड-सालं ॥ ३२
१कीलआई, T कीलिआहिं. २ M कोउहल्लो. ३ M कुअंडवालं.

Page #74

-बीओ सग्गो
महिअं बहु-गंध-मल्लएहिं धणुहं गण्हिअ पाणि-पल्लवेहिं । सहस' चिअ सज्जिअं कुणंतो स समाकड्डइ मुट्टि-पीडिअंणं ॥ ३३ . अई बालअ राअ-पूइदं णं धणुहं मा छिव मा छिवेत्ति जाहे । वअणाइ सुअंति' किंकराणं खुडिअं तं महु-मूअणेण ताहे ॥ ३४ थणि किमिणं कुदो पओओ णर-सिंघ-द्धणि णु तं णिवुत्तं । इवित्य-सएण दुत्थ-चित्तो धणु-भंग-द्धणिणा भुवीअ कंसो ॥ ३५ अह रक्खि -भडे परकमंते परुसेहिं वअणेहि अक्खिवंते । पमलंति परोस-विड्डिरिल्ला धणु-खंडेहि रणम्मि राम-कण्हों ।। ३६ मिहिरम्मि विअ प्पआसमाणे वणमालिम्मि मणाइ सज्जणाणं । कमलाइ व होति फुल्लआई
कुमुआई व कुअंति दुजणाणं ॥ ३७ १M सहसु. २ T अयि. ३ T मा च्छिव मा च्छिवेत्ति. ४ T सुवंति. ५॥ सूहगेण. ६ M णरणीह ( सीह ? ). ७ M अयवित्य, T अअपित्थ. ८ M Defective reading.९ M रामकण्हो.

___

Page #75

२४
- कंसवहो -
अह चाव-घराहि णिकमंतो सह रामेण स देवई-तणूओ। जुवई-णयणेहि पिज्जमाणो विअरेइ प्फुडमंकर्ण-स्थलीअं ॥ ३८ समुवडिअ भोअ-राअहाणि सरसं तं पुलऊण राअहाणिं । भणए सणि मणोहिरामं स हि वाआहि स-वित्यराहि रामं ॥ ३९ उव णो भुवण-प्पणाइदाए महुराए महुरत्तणं पुरीए । मणि-हम्मिअ-पालि-मोलि-कुंभक्खलणोवाहिअ-सुर-संदणाए ॥ ४० इअमुण्णमिउच्चे केउ-हत्थप्पअलिज्जंत-पडाइअंगुलीहि । स-विहूइ-लहूइदं स-गव्वा णअरिं तज्जइ किं णु णिज्जराणं ॥ ४१ कणआअल-सोह-सोह-सिंगत्थल-कीलंत-पुरंगणच्छरोहाँ ।। परिहण्णव-मज्झ-वट्टिणी सअमोलंबइ जंबुदीव-लच्छि ॥ ४२
१ प णअणेहिं. २ : प्फुदु. ३ T वित्यदाहि. ४ T इयमु.. ५M omits सोह. ६ M च्छलोहा. ७ T वट्टणीअं.

Page #76

- बीओ सग्गो -
फलिहोवल - कुट्टिम-पएसो हरिणीलालअ - रस्सि मिस्सिदो ऽयं । इह संप संभराव णो जउणुग्गण्हिअ जण्हवी पवाहं ॥ ४३
कसणीवल-केलि-पव्वआणं तम- सामाहि रुईहि णिण्हुआ' । अहे व सरंत वीहिआअं विद्दुआसंकमिहाहिसारिआओ ॥ ४४
इह कंचन - गेह - कंति-लित्ते गअणे बाल - दिणेस - मोह-मोहा | विहडेर ण दिग्विआसु दिग्घं अणीअं पि रहंगणाम - जुग्गं ॥ ४५
इह वप्प - मणि- पहा - कडप्पा गअणं मंडल - सोहिणी लिहता । रणो ससिणो अ कंचि कालं परिवेस - "पहमुज्जलं कुणंति ।। ४६
वलही - वलएसु गोउराणं विहरताण विलासिणीअणाणं । मुसिणा मुहेंदु से अ-बिंदुच्छल-मोत्ताफलआइ सग्ग-वाओं ॥ ४७
१ M णिहुआसं. २M वीहिआई. ३ T वलहिं. ४ T वावो.

२५

Page #77

-कंसवहो
इह चंद-मणी-घरोअरेसुं समरं चंद-मुहीहि संविसंता । ण लहंति रइ-स्ससं जुवाणा तव-रत्तीसु वि णाम तामसीसुं ॥४८ इअमुण्णमिउच्च-सोह-सीसा पविसद्देहि गवक्ख-लोअणेहिं ।। रदणाअर-महला-कलावं कुदुउल्ली पुलइ व्व भूअ-धत्तिं ॥ ४९ अदिहीण कुणंति पज्ज-कजं पअलंत-प्पसवासवोदएहिं । इह णिक्खुड-वाड-बाल-रुक्खा सुह-पहि च रवेहि कोइलाणं ॥ ५० सर-सीअर-वाहिणो समीरा सरसामोअ-हरा सरोरुहाणं । मिहुणाण रइ-स्समं समे सइ सजंति णमेत्थ वित्थरंतं ॥५१ इह कोच्चण पिच्छिलम्मि णिचुब्भड-दोग्घट्ट-कडावडोज्झरेहिं । लगिआ वसुहम्मि दंति भिंगा ण णिहेलोवल-कुहिम-भमं किं ।। ५२
१M पविसंदेहि. २॥ वलअंत. ३ र सरसामोद. ४ r Defective reading.

Page #78

-बीओ सम्गो
७
आणिअंतण-जंत-मग्ग-णितद्धणिउग्धोसिर-चारि-धोरणीहिं । इह कोच्चण णिच्च-सिच्चमाणे णिलए णचइ पञ्चह' मऊरों ॥५३ इह सुबइ णिव्वहंत-तालएफुड-संगीअ-णडंगहार-इंधं । गहिरो घण-गजिआणुरूवो महुरो कोच्चि मइंग-तुंग-णाओ ॥ ५४ सुण पुन्वअ-सुंदरीअणाणं महु-गोट्ठीसु मआणुसंग-संदं । ललिअंकलअंठ-कंठ-णाअप्पडिमं कोचण णचणम्मि गीअं ॥ ५५ परदो मुर्ण थाणिइल्ल-भावा विहलं पच्चअ-लक्खणस्स सुत्तं । सहलं तमलल्लअम्मि कज्जे इअ वय्याँअरणार्ण वाअ-घोसं ॥ ५६ स-सलाह-सिलोअ-पाएहिं मुहलं कोचण बंदि-बुंदरेहिं । इणमम्मउरं चिरै पि दिटुं
ण हु दिह्रि परदो णिवट्टएइ ।। ५७ १ . पंचमं. २ M मयूरो. ३ T सुगु. ४ T सुणु. ५ भाआ. ६ व आअरणाण, T वाम ७NT पाठएहिं. ८ MT इरे.

Page #79

२८
- कंसवहो
गंधव्या ण किमेत्थ संति ण हु किं विजंति विज्जाहरा किं वा चारु ण चारणाण अ कुँलं जिणंति णो किंणरा। किं णे सुमणाण धाम किमहो णाहो महिंदी ण से सग्गो चेअ वसूण ठाणमिणमो रम्मं मुधम्मुज्जलं ॥ ५८ कीलो-सेलग्ग-लग्ग-स्थणिअ-घण-घणुस्सिट्ठ-विहि-प्पणालीझंकारुकंठ-मोर-प्फुड-णडण-हलब्बोल-दिप्पंत-कामा। वामा वामा वि पीण-स्थण-कणअ-घडे संघर्डऊण गाढं कंठे गण्हंति कुंठेअरमिह पिहु-राओल्लिरा वल्लहा णं ॥५९ इअ बहु-वित्थआइ विसआण बहुत्तणदो सअमह गो-सआइमुवसंहरिऊण मुहं । वसहिमुवासरेइ वसुदेव-सुओ स जआ तइ खु दिवाअरो वि चरमाअले-पोलि-भुवं ।। ६०
इअ कंसवहे बीओ सग्गो।
[तीओ सग्गो]
पच्चूसे पर-मण-सल्ल-मल्ल-जुज्झप्पत्थाव-प्पढम-पवुत्त-सुत्तहारो। पाढत्तो पडह-रवो पबोह-वेलं वोलंति भणइ व बंदि-बुंदराणं ॥१
१ MT उलं. ५T वरमामल.
२ M चेअ. ३ M किल्ला. ४॥ कुंठेअरमिव, T कंठेअरमिह.

Page #80

- तीओ सग्गो -
-
बुज्झंती' बुह पडिहा व कव्व-बंधे बज्झती बहल - रसेहि अक्खरेहिं । पासुतं पदुम-विलोअणं पबोहं पावे कमइ कमेण बंदि-पाली || २ कल्लाणं कमल-सिरी - कडक्ख-विक्खाविक्खेव-प्पअडुल- चंचलीअ - मालं । कल्लाणं कुणडे पुरस्सरस्स तुज्झं कल्लं णं सुह सुह-पवोह - हेदु || ३ होस्संतिं तुह मुह- लच्छिमच्छि-सोहाविच्छाई कअ - णिअ-चिन्ह-कहिमाणं । पेच्छतो पढममिमो तुह प्पबोहा णिक्खंतो णिहुअ गई णिसाउ णाहो ॥ ४ जाओ दे जउ-सुअ णेत्त-तारआओ णिस्सेसं जणमणुगहिहिंति बोहे | ताहिंतो लहु इदराउ तारआओ वीला धुवमुव होंति णिप्पहाओ ।। ५ जोहाअं तुहिणअरस्स रुक्ख - छाआपच्छण्णा. कह विठिआ खु अंधआरा । उल्लासे तुह मुहअंद-चंदिमाएँ
संकंता णिअ- खअमेहिमोसरते || ६

१ T बुन्झतिं . २ M कुणइ. ३ M कलाणं. ४ I सुहअं. ५ M पेच्छते. ६ T णिसाह. ७M चंदभाए.
२९

Page #81

-कंसवहो
तूरंतो विरह-विसरणा-विसोहं राहाए सुहअ तुवं व भाणुमंतो। मीलंतं मुह-कमलं सरोइणीए संपत्तो परिफुसिउँ करंचलेहिं ॥ ७ बीमंता विमअ-भडा जहा तुइत्तो मुरादो सुइरमुदेउमुम्मुहादो। अण्णाअ-प्फिडिऔ-पसण्णआ-दुअल्ला णिल्लीणा कुहइ मुउंद चंद-मोहा ॥८ झीणाअं विहडण-कालणे णिसाअं चक्काआ णिअ-चणिआहि संघडंति । संताअं विअ णिअ-पाव-संतदीअं संता दे स-अलुण-विक्खण-च्छडाहिं ॥९ भिंगालि पुलइअ पंकआण गब्भे संभंतं दर-विवुदाण संभरामो । उब्बोह-कम-विअसंत-दीहरच्छीदच्छंत-प्पसरमए कणीणि दे ॥१० संभिण्ण-प्पहमिणमीसि चंदिमाए बंधूआरुणमरुणस्स रस्सि-जालं । मोत्ताली-सु-विसअ-दंत-कंति-सिटुं दिढि णो हरइ तुव विवाहरोहूँ॥११
१॥ संपत्ते. २. परिपुसिउं. ५T मोत्तालि, ६M दिदी.
३ M अण्णाहिच्छिडिम. ४ मिंगाली.

Page #82

- तीओ सम्गो
आलिद्धो दिअहवइस्स पाडलेहिं मोहेहिं मरगअ-कुट्टिमो विहाइ । गोवीणं.घण-कुअ-कुंभ-कुंकुमेहिं संकेतो तुहमिव कण्ह वच्छ-भाओ ॥ १२ उम्मिल्लावइ कमलाअरो ण जाहे सच्छंदं मुउलमआइ लोअणाई । उण्णिदो णिअ-णअणुप्पलाइ ताहे फुल्लाई कुणसु तुवं पि वासुदेव ॥ १३ आविज्झा रवि-किरणेहि सुज्ज-कंदा उम्हाणं वमिउममी उवकमंति । णो खुद्दौ अवि हि सहति अण्ण-ओविच्छड़े किमुअ तुमारिसा महंता ॥ १४ तिक्खंसु-प्फुड-हरि-णक्ख-विक्खदादो विक्खोह-प्पवडिअ-रिक्ख-मोत्तिआदो । अंधार-त्थिर-करि-पत्थआदु संझाराओ ऽअं विअलइ सोणिअ-प्पवाहो ॥ १५ णिदाणं कुमुइणिमुज्झिऊण सज्जो बुझंति कमलिणिमल्लिएइ भिंगो । पच्चूहो ण हि बहु-वल्लहस्स कोचिं तुज्झ व्व प्पडिणव-कीलणूसवेसुं ।।१६
उम्माणं. ३ M णो वखुद्दा. ४ M विक्खणादो, T विक्खदोदो.
१ M रइ. २
किल्लणूसवेसु.
५

Page #83

- कंसवहो
आअंबो कुणइ दिणेस-रासि-रासी जिंतीणं पिअ-चसहीउ बंधईणं । थोरेसुं थण-अलसेसु वल्लहोरप्पम्मटुं घुसिण-रसं पुणो व लित्तं ॥ १७ किंचेमो जलहि-जलम्मि संमिलंतो संदाइ प्फुड-वलआमुहग्गि-संकं । अम्मेलावई पुण हत्थि-मत्थएK सिंदर-प्पअर-पिसांगमाणमेसो ।। १८ सच्छंदं छुरउ णिहेल-सामले दे वच्छम्मि क्खुडिअ-पवाल-खंड-सोहो । सोहग्गं लहिउमिमो खु सुज-मोहो तल्लच्छी-घण-थण-कुंकुमंकणस्स ॥ १९ पुव्वासा-जुवइ-सव-प्पवाल-भूसाताडंकं गअण-सरो-सहस्स-पत्तं । पाईणाअल-मणि-सोह-मोलि कुंभं पेच्छेणं दिणअर-बिंबमुज्जिहाणं ॥ २० एव्वं सिं थुइ-वअणुग्गमाहि पुव्वं पलंकं मुअइ जणदणो विणिदो। उम्मेसं लहइ पुरो सरोअ-वाडो पच्छा णं पसरइ राअहंस-णाओ ।। २१
१ M अंमोलावइ. २ T उम्मेसुं.

Page #84

- तीओ सग्गो
-
पच्चूसे' चिअ णिअ-सच्छ-गत्त-लच्छीविच्छड्डु-च्छिविअ-विअप्पहावआसो । पच्चक्खो भुवइ रई पाअ-सेवा-' तप्पज्ज -पवण-मणाण सो जणाणं ।। २२
संझं तो विअअ -जवा-पसूण- तंब तंबुल्लारुण-वणिआहरोट्ठ-सोहं । राहाएँ मुह-विहु-संभरावअं सो वंदेतो चलइ पुरी - दुवार - हुत्तो ॥ २३ पालेअ-च्छइ-तणुणो बलस्स पच्छा वच्चंतो पअडुल-हार- चारु-वच्छो । कण्हो सो बहु विलसेइ विज्जुलिल्लो चंदस्स व्विव णव - णील-वारिवाहो ।। २४
सोएणं बहु-दिअहे समाउराए वामच्छी फुरइ त स माउराए । कंसादीण अ कुहणा-समल्लआणं सत्तूर्ण पइदि-हदास -मल्लआणं ॥ २५५ सोहग्ग-द्विअ - णअरंगणा-कडक्खच्छाआली-मसिण-मसार - मंडिआए । arry विविह-विलास-वेस-लच्छीभासंतां सणिअमअंति राम कहाँ || २६
३३
१ M पञ्चस. २ M पावसेवा. ३ I राहाहे, T राजाए. ४ M सेएणं. ५ Wanting in r. ६ r भासतो. ७ T रामकण्हो.
3

Page #85

૨૪
- कंसवहो -
अंट्ठो णरवइ - सासणा दुवारे दुव्वार-प्पसर-पआवमीसरं तं । संभे पर कुंभिणा स-पाणिच्छत्तेणं विअ भअवंतमुण्ह-मोहं ॥। २७
आमेलं कुवलअ - पुव्वमुव्वराअं कीलतं विअ सअम भम्र णाहं । कुज्झतं कुलिस कढोरे-दंत-डंड कुंभिदं कुडिल-मणो पोलए सो ॥ २८
मत्तुं किं जम-घर म वारणस्स पञ्चकखं णिवडह मत्त वारणस्स । अण्णत्तो ऽवसरह उमा कुमाला झत्ति ति पलवह हत्थिवो स-गव्वं ।। २९
अण्णत्तो जइ ण णिअत्तएसि णाअं सज्जीवी वसिहि ता खणं पि णाअं । इत्थं तो भणि हरी सहग्गअम्मां पाढत्ता परिभुविडं णमुग्गअम्मी || ३० उव्वंत-क्खुडिअ - कडंबु - णिज्झरोलं मज्झम्मि पवडिअ - सिंखरां-भुअंगं । दोघ णिअ-भु-कड्रिअं मुउंदी भातो विहरइ मंदरं व पुव्वं ॥ ३१
१ MT कठोर. २. M पघडअ-सिंघरा. ३ T भुज.

Page #86

- तीओ सग्गो
कुज्झंत गअमह कुंडली कआए सुंडाए कअ-परिवठ-मूढ-हेलं । भंसंतो भमर-करंबिअम्मि गंडे चंडाहिं पहरइ सो चर्वडिआहिं ॥ ३२ कीलाए लगइ हरी महिम्मि जाला नाला सो डसण-जुएण वारणिंदो । विझंतो महिअलमेत्य बुड्डमाणं कड्देउं तमिणमहो ण सकुर्णइ ॥ ३३ कुंभं तो कुविअ-मणो खणद्ध-आलं वोलंतो चलण-अलेण वामएणं । उक्खाइ क्खुडिअ-पढिल्ल-मूल-बंधं कण्हो से कर-जुअलेण दंत-जुग्गं ॥ ३४ जाहे सो णिवडइ वज्ज-रुग्ग-पक्खप्पक्खित्तो कसण-गिरीव णाअ-राओ । ताह खु प्पअलइ सेस-सीस-अक्कप्पब्मटुं विअ वलअं वसुंधराए ॥ ३५ अंबटु-प्पहद-पहेण कच्चिर सो हत्थिदो सरइ स ति चिंतअंतो। अंबटुं गमइ धुवं तआणि दुर्ल्ड हत्थिद-प्पहद-पहेण वासुदेवो ॥ ३६
१॥ बोलतो. २ Tणावराओ. ३ ॥ कच्चिर.

Page #87

- कंसवहो
गेहं ता गहिरअरुम्ह-सोम्म-सीला गाहंता गअण-अलं व पुप्फवंता। केसिं चि प्पहरिस-फुल्लदं कुणंते केसि चि प्पमउलदं च राम-कण्हा ॥३७ घोलंतुज्जलवण-माल-हारि-वच्छे कीलंते करिवर-दंत-पाणिणो दे। पेच्छंता जह-सुहमच्छि-जम्म-कज्जं सच्छंदं सवइ लहंति सव्व-लोआ ॥ ३८ वेरं जे हिअअ-ठिअं वहंति ताणं वत्ताई मइलदमाइ हॉति ताहे । रुक्खाणं सइ णिअ-कोडर-प्पडिट्ठो पुप्फाई दव-दहणो हि वाअएई ॥ ३९ आदिट्ठा णवरि अ दुण्णएण रण्णा रण्णेहा विअ रहसेण सिंघ-पोदें। जेउं दे जउ कुमरे कअ-प्पडिण्णा सण्णद्धा समाहिसरति मल्ल-जोहा ॥ ४० मंचम्ग-द्विअ-णिअ-भत्तु-दिट्टि-विट्ठीसिंचंता विअ मअ-पल्लवुल्लसंता। चाणूरो सअमहँ मुडिओ अ बेण्णि
प्पोण्णिद्दा णिहिलमवंति मल्ल-सेणं ॥४१ १NT पाइलदं. २ पाणिणे. ३M पच्छंता. ४M पुष्फाणं. ५ . एवाअएइ, Tह पाबएइ. ६ 7 बेहुँ.७५ सममम. ८ 1 सेण्णं.

Page #88

-तीओ सम्मो
चाणो कइहवं-सूअणं सरंतो साडोवं भणइ वले वएस-सूण । इच्छंतो णिवसइ तुज्झ जुज्झ-कीलापंडिचं पुलइउमेस भोअ-राओ॥ ४२ भूवालो चिअ कुसलो कुअंड-सत्ये गोवालो चिअ णिउणो णिउज्झ-तंते । जो जस्सि कुणइ परिस्समं पआमं सो तस्सि चिअ विणिजिओ विहाइ ॥ ४३ मल्लेहिं सह मह-विक्कमेहि पाडिप्फद्धीअं कह किर होज्ज दुक्खरा दे। बालेण च्चिअ तुमए पलंब-केसिप्पाआ किं ण हु णिहआ दइच्च-चीरा ॥ ४४ ता जुझं कुणह दुवे वि णाम तुम्हे धम्मेण चित्र खु दुवेहि मल्लएहिं । अम्हाणं मुणउ सरं कुऊहलिल्लो । भोएसो भुअ-विवम्मि तारतम्मं ॥ ४५ एवं से सुणिअ वआइ सुप्पसण्णो सण्णद्धो समहिघडेइ णेण कण्हो। कुप्पंतो कुलिस-विघट्ट-णिट्ठराहिं मुट्ठीहिं मुसलहरो वि मुट्ठिएण ॥ ४६
१ M कइडव. २ T भोअरावो. ३ कुसले.४ अम्माणं.

Page #89

३८
- कसवहा
बिब्बाल-प्परुस-परप्फर-प्पलावं घेप्पंत-प्फिडिअ-पडंत-बाहु-जंतं । अप्फाल-प्फुड-कडु-सद-विड्डिरिल्लं खुब्भंत-त्तिहुवणमासि ताण जुझं ॥ ४७ कडता कर-जुअलेण जाणु-जंघा .. संघट्ट-क्खुडिअ-विलित्त-रत्त-गत्ता। उद्दाम-भमण-धुणंत-भूमि-अका विकंतिं विविहमिमा समारंहति ॥ ४८ कट्ठे हो कढिण-मणो' पणोल्लए को सदले सस-सिमुएहि संपहंतुं ।। गच्छामा विसममिणं ण पंच्छणिज्जं . जुझं ति प्पलवइ दाव साहु-लोओ ॥ ४९ चाणूरं चलण-जुअम्मि गण्हमाणो कण्हो णं खिवइ तडित्ति धत्ति-चढे । जंडो से तह किर मुट्ठिरं च दुटुं दिटुंतं समुवगआ दुवे वि मल्ला ।। ५० जुझंता कदि वि हदा गदग्गएणं विब्भंता कदि वि पलाइदा खु मल्ला । मत्तंडे फुडअरमुग्गए गहा वि
प्पम्मट्ठाँ कहि उण जोइरिंगिणोहा ॥ ५१ १ M धिप्पोल., T चिप्पोल. २ M समाहरंति, T समारणंति. ३ ॥ कठिन, T कठिण. ४ संपहत्तुं. ५ । विस[म]मिमं. ६ ॥ श्रीभंता. ७ । प्पमुट्ठा.

___

Page #90

- तीओ सग्गो -
वझंतु पइदि- कडू बडू बलादो वझंतु सहमिमा वि गोव-संघा । मुच्चता मुणह विणासिहिंति जिम्हा तुम्मे ति प्पलवर दाव भो-राओं ॥ ५२
3
विभाणं विसमहिअं सहाव-वक
कंसं तं कसण-भुअंगमं व घोरं । पक्खिदो विअ विणअत्ति-भंजणो सो मंचग्ग-डिअमहिसंपडे कण्हो || ५३
उट्टंतो कर जुअ- लग्ग - खग्ग-चम्मो जाहे णं पहरिउमा रहेइ कंसी । मंचादो महु-महणी हटेणं' ताहे भू-वट्ठे पडिअममुं खणा कुणाइ || ५४ वच्छम्मि पवडिअ खिप्पमत्थिवस्थि वित्थिण्ण-त्थण- अड- चंदणोल्लिए से । कण्हो सो कुणइ तहा गहीद - खरगो भूवो सो भुवई जहा कहावसेसी ।। ५५ कडूंतो गल-पह - णित-रत-सितं गतं से गलल-धओ गआणुकंपं ।
सेर सो लहइ तहिं खु वेर-संतिं धीराणं पि हि हिअअं धुणाई कोहो ।। ५६

१ T विणस्सिविति, २ भोअरावो. ३ ॥ वकं. ४ MT हठेण, ५ T भुवउ
६ M धुणाहि, T सुणाइ.
३९

Page #91

૪૦
- कंसवहो -
सिणिद्ध-घण- कुंतल -प्फुरिअ-मोर- पिंछंचिए सिरीअ पट्टणो सिरे सुर-करंचलुम्मुचिओ | भमंत-भमरावली-कलअलेहि वाआलिआ सुर-हु-कुसुम-च्छडा पडइ दाव देवालआ || ५७ णचंति फुडमच्छरा णह-पहे सेच्छं मिहो मच्छरा दिव्वा दुंदुहिणो धणंति गहिरं सग्गाणिलुग्गूरिऔं । पुण्णा भिण्ण-कडावडोज्झर - दिसा - दोग्घट्ट-थटुब्भङप्पप्फुज्जंत- पमोअ - बंहिअ - महा-घोसेहि वीसंभरा ॥ ५८ अट्ठ दाव णिवरस्स कणिट्ठा णिडुरगृहसिआदि गरिट्ठा । दुट्ठ-रुट्ठ- मणसो वि पविट्ठा विट्ठरस्सव - हआ सुर- गोट्ठि ॥ ५९
इअ सभुअ-संभार - "फार-प्पआवमआअवेक्खविअविमअंधारो वीरो विसुद्ध - गुणुत्तरो । बुह-अण-मणंभोअव्वाअं णिआम-विअस्सरं कुणइ कुसलालोओ लोए मुउंद - दिवारो ।। ६०
इअं कंसवहे तीओ सग्गो ।
१
मुंचिअं. २ T सेच्छा. ३ T° लुलूरिआ. ४ T सुभुअ. ५M मआमअ T विकस्सरं. ७ ↑ इअ राम-पाणिवाअकए.

Page #92

-चउत्थो सग्गो
*
.
[चउत्थो सग्गो] तदो अ भोएस-भुअ-प्पआवगिम्होम्ह-भारेण पडझैमाणं'। कण्हंबुवाहो खु कडक्ख-लच्छीधाराहि सिंचावइ जीवलोअं ॥१ धंसं गए कंस-णिवे जणाणं मणाइ गौहे. पसाअ-लच्छी। परिच्चुए पाउस-वारिवाहे सरोअ-बुंदाइ व हंस-राई ।। २ पवित्त-चारित्त-विलोव-संकाविवज्जिआओ कुल-वालिआओ। . तआ पआसं पसरंति सेरं ससि-प्पहाओ व तमुज्झिआओ ॥३ जुवाण रामाहिमणंतराअं विहत्तु-कामाणमणंत-राअं। करेइ तावं सरसा वि सारं विरामइल्लि त्ति णिसा विसाअं॥४ विढत्त-रत्त-प्पणआ विवंका विसट्ट-कंदोट्ट-पहा विडेसुं। विअङ्क-णारीण विलास-दिट्ठी
पडेइ णो पत्थिव-खग्ग-लट्ठी ।। ५ १ MT पढजमाणं. २ M गहे. ३ MT वाहेइ. ४ M पालिआओ. ५ Mणे.

Page #93

४२
- कंसवहो -
काऊण भोअंधअ-चक्कवट्ठि पआण रक्खित्तरमुग्गसेणं । मोएइ माआ-पिदरे तदो सो काराघरादो' कमला-सहाओ ।। ६
सहग्गओ णं समुवासरंतो सिणेह - बाहोच्छडअच्छि - पन्हे | कुणी दीहं कुमरो पणामं स- णाम संगहि विहि- वीरो ।। ७ दिग्घाउणो होह चिरस्स वच्छा तुम्हे ति बाह- क्खलिअक्खराहिं । आसीहि वड्डावई देवईए समं खु सो आणदुंदुही णं ॥ ८ एक्कैस्स सच्छ-'फैलिअ-पआसं ' अण्णस्स भिण्णंजण-मंजुलाहं । मर्लिज्जमाणुज्जलं वण्ण-मालं वच्छं समालिंगइ ताण तादो ॥। ९ तदो समागच्छ गंदिणेओ कअ-पणामो कम सोहिदाई' | कहाणुबद्धाइ कुमारआणं
आइ संजपई मंजुलाइ ॥ १०
१ M करावरादो. २ T यमला. ३ T संगच्छिम ४ M दिग्घायुणो. ५ M अक्खरोहिं, T अक्खराही. ६ M वज्झावइ ७ M णो. ८ MT एकस्स. ९ M सच्चप्पडिअ, T सच्छहलिअ. १० MT मणिज्ज. ११ M कमसोहिदालं, 1 कमणोइदाई. १२ M संजप्पर.

Page #94

-च उत्यो सग्गो
अअं खु गो जस्स णिहेल-णीलं वच्छत्थलुग्घोलिर-वण्णमालं । चउम्भुअं विग्गहमग्गभाए जाअस्स णं पंच्छह पेच्छणिजं ॥११ " घेत्तर्ण जं सम्हर-रत्ति-मज्झे तुझं तरंतस्स तरंगइल्ली। कूलंत-चोलंत-जला वि ताहे जंघाण लंघीअ कलिंद-अण्णा ॥ १२ तप्पम्मि जं ठाविअ गोविआए पचाणिआ सोरि तुए सुआ से । कजाणुरोहा गरुअत्तणं णो मुणंति मुल्लस्स हि विक्कएK ॥ १३ इमो खु सो चेअथण-प्पदाए थणेणे पांदण वि पूदणाए। तण्हा-पडीघाअमलंभमाणो पाणे वि जो दुल्ललिओ पिवीअ॥ १४ एसो खु सो णंद-घरेसएण जिणा तिणावत-दइच्च-वीरो। कओ ऽभुवंतो वि स चक्कवाओ
कअंत-भूमी-सर-चकवाओ ॥ १५ १ . पेच्छसपेच्छणिज्जं. २ ४ घोत्तूण, T घोरूण. ३ T सम्मर. ४T खोलंत, ५ Tथण्णेण. ६ M तणावत्त.

.

Page #95

४४
- कंसवहो -
सत्तून सव्वं मुसिणाउं गव्वं कुदो खु बंधूण वि वल्लवाणं । इअ त्थुओं' जो किर गव्व-चोरो पहास - सीलेहि सुरेहि सो s ॥ १६
जो अ माआ-पणिबज्झमाणं जणं विमुंचावर बंधणादो । सो अ माआउ महाणुभावो उलूहले बज्झइ सो खु एसो ॥ १७ भग्गो णमेको चि भग्गवेण पुरज्जुणो सोरि सहस्स - बाहू | णं सहस्साहिअ - दीह-साहाबाहूण भग्गं जुअमज्जुणाणं ।। १८
पआरअंतं णिअ-गो - सआई परावे किर संपवृत्तो । बआसुरो णं खु सअं पणट्ठो तामिस्स - संघो व सहस्स - मोहं ॥ १९
सउस्स रूवेण सअं सअंतो पवड्डिएणं जढरें-ट्ठिएणं । अहासुरो णेण हृदो हदासां स गुम्म - रोपण व कम्म- दोसो || २०
१ जणो. ६ जठर, T जठरा.
मुसिगाई. २ T इअत्थुवो. ३ T सो णं. ४ चिञ. ५ ५ पुरज्जुणे, T पुर

Page #96

- चउत्यो सम्गो
माआंबलेणमिममब्भअमुम्भमेउं जो पकमेइ स स चित्र वंचिओ से । माअंबुहिम्मि गहिरे पडिओ विरिंचो पत्तो णमेव सरणं कवलद्धपाणिं ॥ २१ बुंदावणम्मि जउणा-पुलिणम्मि रम्मे गोवणदि-सिहरम्मि अहम्मिआहे । गोवाल-बाल-कुल-लालिअ-कीलिआई णेणं बहूइ दिअहाइ खु वोलिआई ॥ २२ णेणं घेणुअ-गदह-प्पहुदिणो वग्गस्स दुग्गबिरं चे चेअ बलेण ताल-विविण-व्वाएण धृअं बला। पीओणिब्भरतप्फलंबु-छलदो लोआण सोआअमो सन्तु-प्पाण-मिसा टुं साहु पुहवी-भारो समुद्धारिओ॥२३ परिरक्खिउमंग घेणुअंतं पअरंतो विहणासि घेणुअं किं । कह वीससिमी तुमं ति रामं पहसंतो किर वाहरेइ कण्हो ॥ २४ कालिआहि-विस-धूम-लआहिं कालिआहि गअणं व करालं । जाउणंबु विरएइ विसुद्धं जाउ गंद-तणओ सरओ व ॥ २५
१
माया. २ सरणिं. ३ अ इम्मिमाए. ४ . हु. ५M माधण ६ गतुं.

Page #97

- कंसवहो
पात्तो' फणिराअ-पव्वअ-फणा-सिंगेसु पाए समं सिग्धं णिक्खिविऊण णचिउमिमो पच्चूस-सुज्जीवमी । आअंबाअव-सोह-पीअ-चसणो साणंद-बुंदारअस्सेणी-णेत्त-सरोअ-रोअण-गुणुद्दामो खु दामोअरी ॥२६ झणज्झणिअ-णेउरं चलण-पल्लवाणोलणाणमंत-फणि-मत्थअं कम-पढिल्ल-कंची-लअं। चलंत-सिहि-पिंछिआ-चलअ-रम्म-धम्मिल्लब्भमंत-भमर-च्छडं णडइ बाल-गोवालओ ।। २७ गलुलाहि से गलिअ-गव्व-सालिणो अभअं पुणो दिसइ एस भाइणी । रुसिआ विसं जइ वि साहुणा जणां अमअं खु दे तह वि णाम तोसिआ ॥ २८ णाअ-जोव्वअ-समप्पिएहि तो णाअ-हार-णिअरहि भूसिओ। एस भाइ हरि-णील-सामलो तारएहि व सुहो णहोवहो ॥ २९ मुप्पतेसुं गोव-गो-बुंदरेसुं दिप्पंतो तो णिप्पडंतो दवग्गी। सज्जो जेणं पिज्जए विज्जुलाहो सव्वावाओ होइ लोउत्तराणं ॥ ३०
१M पाडतो, T पाढातो. २ MT धम्मल्लअ. ३ MT अणा. ४ T णिहरेहि,

Page #98

-चउत्यो सग्गो
V9
गोवाअंतो गोउलं कामवालो गोवाअंतं कंस-भिच्चं दइचं । आकंखंतं विप्पलंभं पलंब रुट्ठो दुर्दु मुट्ठिणा पिट्ठवंतो ॥ ३१ जउणा-सलिले कआ वि जाओ जुबईओ किल कीलणं कुणंति । हिअआइ व णिम्मलाइ ताणं वसणाई मुसिणाइ वासुदेवो ॥ ३२ रणे जण्णे कुहइ महिए भोअणं जाइदेहिं भूदेवेहिं किर पडिणिराचक्खिओ दिक्खिएहिं । भत्ताहिती सरस-महुरं सारं चावि ताणं भज्जाहिंतो लहइ तमिमी मुत्तिमसिं च देइ ।। ३३ एसो खु णंद-पहुंदिस्स पुरंदरादो भत्तिं णिवत्तिअ करेइ गिरिंद-हुत्तं । आअड्डिऊण दिअहो कुमुआअरादी भिंगस्स दिद्विमिव पंकअ-वाड-हुत्तं ॥ ३४ सज्जो गज्जंत-विजुज्जल-जलअ-घडा-गब्भ-पब्भार-थोरप्पन्भट्ठे पट्टविट्ठभि-भुवण-अलं विट्टिमब्भावडंतिं । गोवालो एस गोवड्डणमअलवरं तक्खणं उक्खणंतो छत्तं काऊण घेत्तूण अकर-अमले डिंभओ रुंभए णं ॥३५
१
वासुदेओ. २ M पुरंदराओ. ३ T फट्टविटुंमिअ.

Page #99

४
- कंसवहो
णिव्वाण-गव्व-सिहि-पव्यों-वेरि-जुटुं तुटुं स ण्हुअ-पओहर-णिस्सिदेहिं । एअं पओहि सुरही अहिसिंचमाणी गोविंद-णाम सु-सिलिट्ठअरं करेइ ॥ ३६ अह खु णं चिअ कंचण-कुंभिआविअलिएहि किलब्भमु-वल्लहो । सुरणई-सलिलेहि णिसिंचए पमुदिरो मुदिरो विअ सारओ ॥ ३७ जाउ दाव जउणों-जल-मग्गं वारुणेण हरिअं पुरिसेणं । अच्चुओ बअ पएद-णिएदा पच्चुवाहरइ णंदममंदं ॥ ३८ जोण्हा-विच्छड्ड-पच्चुप्फुसिअ-ससिमणी-संद-णीसंद-सीए बुंदारण्णे कलिंद-प्पिअ-दुहिउ-महा-तूहे-रोहत्थलीसुं । वेला-सेलाणिलालोलिअ-सरस-रसालग्ग-लग्गालिवग्गे काले संते वसंते कुणइ घणमिमो केसवो रास-कीलं ॥३९ उवट्टिअ-तरहिआवलि -सिलिट्ठ-गोट्टी-गओ पवंचिअ-विवंचिआ-मुरलि-सिंग-सिंगारिअं । विडंबिअ-विडकर्म विमल-मंजु-संजंपिअं तरंगिअ-सुरंगणं कुणइ बालओ खेलणं ॥ ४० १M णिवार. २ M पव्वर. ३ M सलिले. ४ T ताव जवुणा. ५ MT महारूह ६ . रासलीलं. ७ M उवट्ठिदविरहिआ.

Page #100

- चउत्यो सम्गो
४
रास-कीलासु वीला-विअल-वअ-चहू-णेत्त कंदोह-मालापालंबालंकिदंगो मउ-हसिअ-सुहा-सित्त-चत्तेंदु-बिंबो । संगाअंतो णडतो सरसअरमिमो संचरंतो सअंतो सब्बासुं दिक्खु दक्खिज्जइसअल-अणाणंदणो णंदणो दे॥४१ सोहग्ग-गन्विर-मणाण णिबिणीणं पत्तो तहा बहु-तणू वि परोक्ख-भावं । एसो तम-प्पइदिआण ण दक्खणिज्जो सुज्जो व वित्थअ-पहो वि विहावरीणं ॥ ४२ विरदे मदे विरहिणीण ताण तो पअडेइ विग्गहमिमो कुमारओ। पसमं गअम्मि सिसिरम्मि तक्खणं कुसुमं पासइ हि चूद-पादवो ॥ ४३ संखोही संखऊडो वि स वुसह-तणू किं चरिहो गरिट्ठा विट्ठो रुटुंण केसी विअ तुरअ-चवू धंसिओ केसवेणं । वामारंभी स वोमो वि खु परिखुडिओ सोरि वेरि-दुमाणं दावग्गी गंदणी दे किमिह हि बहुणा संपअंजंपिएणं ॥४४ आणाइओ धणुह-जण्ण-छलेण एसो कंसेण तेण धुवमत्त-णिबंहणत्थं । साहग्ग-संघरिस-संघडिओ हि वही सुण्णी-करेइ तरस चिअ किं ण रुक्खं ॥४५
१ T सोफ [ भ ? ] ग्ग. २ M केसवो णं. ३ T रुष्वा [ क्खा ?].

Page #101

- कंसवहो
अक्कूराणण-सिप्पि-गब्भ-गलिअं तं सुत्ति-मुत्तावलिं गण्हेऊण कुणंति हंत पिदरा कण्णाण दे मंडणं । अच्चारूढ-हिरी दरोणअ-सिरो-णंचंत-पिंछंचलं गाढं किं च परिस्सर्जति बहुसो माअग्गरं सग्गरं ॥ ४६ पालेआअल-मोलि-घोलिर-महा-कल्लोल-हल्लोहल'फारुड्डामर-चारु-चारण-धुणी-सच्छाहि वच्छा चिरें। तुम्हे जीवह पुण्णिमामअ-मऊहुण्णिद्द-जोण्हा-झरीपंडिच्च-च्छिउर-च्छईहि महिआ कित्तीहि धत्तीअले ॥४७ इअ मुदिअ-मणाणं ताणमासीहि ताहे सर-समअ-सिरीहिं चंद-सूरा व मुरा। समहिअमहिरामं राम-कण्हा पसण्णा सअल-जण-मणोजं लंभिआ कं पि लच्छि ॥४८
इअ राम-पाणिवाअ-कएँ कंसवहे
चउत्यो सग्गो। देव्वाह-पाअड-पओ-णिलए गहीरे बोलाण वाहिउमिणं खु मुणेह रूहं । णव्वं हि कचमिह कंसवहाभिहाणं सब्बे वि भव्य मंदिणो परिसीलएँह ॥४८१
१४ हिरं, T रं. २ T तुम्मे. ३ T omits कए. ४ x ends here and has the phrase HTAVE app which is put later. \ T alone gives this verse and the subsequent portion. ६T वालण्ण, ७T भावमभिणो. ८T परिसीलसेह,

Page #102

- चउत्थो सग्गो
सिरि-गुरु-पाआणं णमो । सुहमत्थु ।
समत्तमिणं कव्वं ।' कमलासहाय कमलासनादिभिः शमलापनोदमभिलाषकैः सुरैः। समुपास्यमानचरणाम्बुज प्रभो कमलालयेश परिपालयाशु माम् ॥ ४८*२
S T omits this phrase which is given by M above, T alone gives this verse. ३ कमलासादिमिः.

Page #103

Page #104

कंसवधकाव्यस्याज्ञातप्रणेतृका
संस्कृतच्छाया
[प्रथमः सर्गः] [१ सिरीअ णाहो]-श्रियो नाथः शिखिपिञ्छशेखरः स्निग्धगोपीनयनाञ्चलाञ्चितैः, स्वयं यशोदातनयत्वं गतो विभुयंभूषयद्गोपवाटिकाम् ॥ १ ॥
[२ कहं खु]-कथां खल्वस्य कंसवधं सुखावहां सुधामिव गृह्णीत वले सुधीजनाः, सदा गुरूणां चरणौ समाश्रितो भणामि यां भक्तिगुणेन नुन्नः ॥ २ ॥
[३ अहेकदा]-अथैकदा चक्रमणशीलो व्रजाङ्गणे दिनान्तगोदोहनव्यापृताङ्गने, सहाग्रजः सोऽभिसरन्तमग्रतो गदाग्रजोऽद्राक्षीद्गान्दिनीसुतम् ॥ ३ ॥
[४ रआइ ]--रजांसि रेखारथशङ्खपङ्कजध्वजाङ्कितानि प्रविलोक्ये भूतले, तस्मिन्नमन्तं पुलकालिपक्ष्मूलप्रमोदबाष्पाविफुल्लविग्रहम् ॥४॥
[५ खणे खणे]--क्षणे क्षणे ध्याननिमीलितेक्षणं नम्यमानमौलिप्रणिवेशिताञ्जलिम्, असंभ्रमं संस्मरन्तमग्रतो लसन्तमात्मानमनन्तकौतुकम् ॥ ५॥
१ M शेखरं. २ ॥ °ञ्चितम्. ३ [विभुविभूषयति गोप° ] ४ T कथं. ५ T कंसवधः. ६ T सुधावहा. ७ T व्रजाङ्कणे. ८ [ पश्यति ( द्रक्ष्यति ) गान्दिनी° ]. ९ T प्रलोक्य. १० T नमन्तः. ११ विग्रहः.

Page #105

-संस्कृतच्छाया
[६ अदिट्ठ-पासहिअ ]-अदृष्टपार्थस्थितवस्तुसार्थमश्रूयमाणोचलितोचनिस्वनम् , वरं परब्रह्मसुखानुभाविनं न बाह्यं बाधते किमपि देहिनम् ॥ ६॥
७ खणं रुवंतं ]-क्षणं रुवन्तं विहसन्तमन्तरा क्षणं च स्तम्भमिव निरुच्छ्रसंस्थितम् , क्षणं चरन्तं क्षणमुच्चजल्पितं क्षणमपि च तूष्णीकमुखं मदादिव ।। ७॥
[८ पमोअ-तुरंत:-प्रमोदत्वयमाणपदक्रमोच्चलस्खलन्मुक्तागुणफेनमण्डलः, सरित्प्रवाहमिव सम्मुखागतं स प्रत्युपातिष्ठद् एनमच्युताम्बुधिः ॥ ८ ॥
[९ करंबुएणं ]-कराम्बुजेन' परिगृह्येनं गृहं निजं प्रापयर्दै देवकीसुतः, अनामयम् अपृच्छन्मृष्टंभोजनं प्रायच्छत् किमपि चाजल्पत् पुनः ॥ ९॥
[१० तुहावलोएण ]-तवावलोकेन बभूव मे मनो विकसितमक्रूर स्निग्धबन्धोः, अथो किमाश्चर्यमिदं समुद्गते विधौ सद्यो विकसति कैरवम् ॥ १० ॥
[११ मुणामि तेएण]-जानामि तेजसा खलु भोजराजस्य दिनप्रदीपा इव तीक्ष्णरश्मेः, प्रदीप्यमानेन पराहतप्रभाः कथमपि यूयं बलिनो विजीवथ ॥ ११ ॥
१ रुदन्तं. २ [ प्रत्युपतिष्ठते ]. ३ [ प्रापयति ]. ४ [ पृच्छति मृष्ट ] ५ [ प्रयच्छति ]. ६ [ च जल्पति ]. ७ T बलिनोपि.

Page #106

-प्रथमः सर्गः
५५
[ १२ अवच्च - जुग्गे ] - - अपत्ययुग्मे चिरमक्षतेऽपि तौ सहते यन्नः पितरौ नियन्त्रणाम्, शरीरिणस्तस्माद्दुरपत्यलाभतो' वदन्ति सत्यं निरपत्यता वरम् ॥ १२ ॥
-
[ १३ कहं परिच्छेमु ] --- कथं परित्यजानि शरीरपोषकाविमावपि मातापितरौ वा वत्सलो, जगति ये कोकिलरीतिगामिनो न तान् जुगुप्सन्ते कथं महाजनाः ॥ १३ ॥
[ १४ कथं खु जं ] - कृतं खलु यद्वा कथितेन भूरिणा किणों भणेदागमकारणं भवान् इदं वदन् विरराम माधवो भणन्ति भव्या हि जना मिताक्षरम् ॥ १४ ॥
[ १५ विसुद्ध - सीलेण ] - विशुद्धशीलेन विनम्रमौलिना स कंसदूतेन अकथ्यतं हरिः, तवैव साधिष्ठयथेष्टदर्शनं विशिष्टमस्मदागमनप्रयोजनम् || १५ ॥
[ १६ णिरत्थ-संगा ] निरस्तसङ्गा निगमान्तपान्था यमादियोगाभ्यसनोद्भटश्रमाः, चिरं विचिन्वन्ति तपोधना अपि यं स दिष्ट्या ममासि दृष्टिगोचरः ॥ १६ ॥
[ १७ जिअं जिअं ] -- जितं जितं मे नयनाभ्यां याभ्यां [ तव ] सुजातसौन्दर्यगुणैकमन्दिरम्, प्रसन्नपूर्णामृतमयूखसदृशं मुखं प्रहासो - ज्ज्वलमद्य पीयते ॥ १७ ॥

१ T नियन्त्रणा ( णं ? ). २ [ 'लम्भतो ]. ३ [ परित्यजाव: ]. ४ [ इव ]. ५ तिणो, M ( किंनु ? ). ६ [ विरमति ]. ७ [ कथ्यते ]. ८ [ सच्छायं ].

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-संस्कृतच्छाया
[१८ णिसिज्झए ]-निषिच्यते माधव मातुलेन ते विजृम्भ- माणेनेव पापराशिना, अमुष्य प्रत्यक्षनिरीक्षणोत्सवो मुखस्य यद्वा विधिवामता खलु सा ॥ १८ ॥
[१९ ममंमि तुटुं]मयि तुष्टं विधिना नु सांप्रतं महान्ममैव नु पुण्यसंभवः, यदद्य तेनैव भोजराजेन विसृष्टोऽहं त्वयि कार्यगौरवात् ॥१९॥
[२० सुणाहि तासेण ] -शृणु त्रासेन सदा समाकुलो यदीहते माधव ते स मातुलः, स वञ्चयितुं वाञ्छति त्वामिह सांप्रतं जगते यो ददासि खलु कामपि संपदम् ॥ २० ॥
[२१ पलंब-बाहुस्स ]-प्रलम्बबाहोर्वधाय यस्य ते प्रलम्बकेशिप्रमुखा न पारिताः, तमात्मना संप्रति संप्रमर्दितुं तमःप्रधानः स हि सन्नाति हि ॥ २१ ॥
[२२ धराहिणाहो ]-धराधिनाथो धनुरुत्सवच्छलात् खलत्रिलोकीपते हिंसितुं त्वाम्, समं समारभते कुम्भिराजेन समं च मल्लैः स मञ्चमास्थितः ॥ २२ ॥
[२३ रहम्मि ]-रहस्याहूय राजपांसनो बभाणे मां किमपि स तदपि श्रूयताम्, अमन्दमक्रूर व्रज गोकुलं भण बालावपि च रामकेशवौ ॥ २३ ॥
[२४ चअत्थि भोआहिव ]-चकास्ति भोजाधिपबाहुपालिते शरासयज्ञो मधुरॉमहागृहे, तदीक्षितुं वा यदि किमपि कौतुकं ततः समागच्छतं पश्यतमुत्सवम् ॥ २४ ॥
१ [ अस्य ]. २ [ त्वामपि ]. ३ r omits some portion. ४ [ अभणत् ].५ [ मथुरा ].

Page #108

-प्रथमः सर्गः
[ २५ स गंदगोवो ]-स नन्दगोपोऽपि समित्रबान्धवो जवात् समाव्रजतु मम मन्दिरम् , अतुच्छो युष्माकं वीक्षणादरो ममेति तेनैव सर्वमीरितम् ॥ २५ ॥
[२६ इमस्स कज्जस्स ]--अमुष्य कार्यस्य शरीरमीदृशं यस्मिन् खलु प्राणायते विप्रलम्भनम् , न व्रज वा नन्दजै व्रज वा त्वं विधिनिषेधोऽपि न दूतकर्तृकः ॥ २६ ॥
[२७ पवट्टए चाव-]-प्रवर्तते चापमख इति कौतुकं निवर्तते वञ्चनसाधनमिति तद् , द्विधा वले भ्रातर्भावबन्धनं ममेति तमजल्प रोहिणीसुतः ॥ २७ ॥
[२८ इदं वओ]-इदं वचो अभण्यते वन्यमालेिना अलं कुतर्केण प्रलम्बसूदन, अकार्यसजानां हि शत्रुसंभवः कुतो भयं कार्यपथोन्मुखानां नः ॥ २८ ॥
[२९ अह प्फुडं ] -अथ स्फुटं करिष्यति साहसं यदि क्षयं स्वयं यास्यति प्राकृतो जनः, समिद्धमग्निं ग्रसितुं समुत्थितो न दह्यते किं शलभानां संचयः ॥ २९ ॥
[३० विसुद्ध-सीले ]--विशुद्धशीलान् विमदच्छल कमो न कोऽप्यस्मान् स्प्रष्टुं प्रगल्भते, नभसि तारानिकरान्समुज्ज्वलान् निशान्धकारो मलिनयति किं भण || ३० ॥
१ [ अस्य ]. २ ॥ नन्द. ३ ॥ निषेधो हि. ४ [ तं जल्पति ]. ५ [ भण्यते ]. ६ विशुद्धशीलो, T °शीला. ७ T विमत', . विमच्छल°.

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५८
-संस्कृतच्छाया
[३१ भुअ-प्पआवो ]-भुजप्रतापो भुजदर्पशालिनो रिपूणां मध्य एव संग्रकाशते, हिरण्यरेतसोऽपि जालसंचयः स्वयं समिन्धे किमिन्धनं विना ॥ ३१ ॥
[३२ वरं वएसग्ग]-वयं व्रजेशाग्रसरी निराकुलाः सशिक्यभाण्डाः शकटाधिरोहिणः, समुच्चलामः सकला अपि सांप्रतं सभाजितों भवतु स भोजभूपतिः ॥ ३२ ॥
[३३ इआलवंतो]--इत्यालपन् सह सीरपाणिना रथं समारोहति देवकीसुतः, कराग्रसंवल्गितप्रग्रहो जवात्स तस्य पृष्ठे च गान्दिनीसुतः ॥ ३३ ॥
[३४ सुहं रहम्मि ]-सुखं रथ एव होपमे स्वयं शयानो गमयित्वा यामिनीम् , प्रगे समं संमिलितैर्माधवः स नन्दगोपप्रमुखैः प्रस्थितः ॥ ३४ ॥
[३५ अहो समाअण्णिअ]-अथो समाकर्ण्य कर्णदुस्सहां प्रवासवार्ता पतगेशकेतोः, गलोद्गलदश्रुजलोक्षताक्षरं वियोगभीर्ती व्यलपन गोपिकाः ॥ ३५ ॥
[३६ अमुद्धअंदम्मि]-अमुग्धचन्द्र इव शम्भुमस्तके अकौस्तुभ इव विष्णुवक्षसि, अनन्दजे नन्दगृहे का श्रीः हता हता वयं व्रजाङ्गनाः ॥ ३६ ॥
१ [ज्वालासंचयः ]. २ M ब्रजेशाग्रेसरा. ३ T सभाजिको. ४ T समारोहदेवकी. ५ M संवाल्लित. ६ r omits some portion. ७ [ जलोक्षिताक्षरं ]. ८ M भीत्या. ९ [ विलपन्ति ].

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-प्रथमः सर्ग:
[३७ अणण्ण-णाहा ]—अनन्यनाथा अपि हा विहाय नो घृणां विना झटिति गते विदारुणे, तस्मिन् जने लगति सांप्रतमपि यत्तदस्मादृशीनां खलु मनो विनिन्दितम् ॥ ३७॥
[३८ किमेत्थ अम्हे ]-किमत्र वयं' कुर्मो गुणोत्तरे जने पिनद्धं युवतीनां मानसम् , न तीर्यते चारुप्रसूनसौरभे महीरुहे भृङ्गकुलं च क्रष्टुम् ॥ ३८ ॥
[३९ पहाण-पाणाणि]-प्रधानप्राणाः खलु नो जनार्दनः स येन दूरं गमितो दुरात्मना, कृतान्तदूत एव स समागतो न कंसदूत इति जानीत गोपिकाः ॥ ३९ ॥
[४० इमाहि कूरो] -अस्मात् क्रूरो न पर इति अस्य कृता अवश्यमक्रूरशब्दप्रक्रिया, अघोरशब्दं यथा घोरमूर्तेः शिवस्य व्याचष्टे तथेति मन्यामहे ॥ ४० ॥
[४१ हरिस्स रूवं ]-हरेः रूपमेव संस्मरत भो हरिन्माणश्यामलकोमलप्रभम्, स्निग्धकेशाञ्चितमयूरपिञ्छिकं विकसितेन्दीवरविशाललोचनम् ॥ ४१ ॥
[४२ फुरंत-दंतुज्जल ]-स्फुरद्दन्तोज्ज्वलकान्तिचन्द्रिकासमग्रसौन्दर्यमुखेन्दुमण्डलम् , विशुद्धमुक्तागुणकौस्तुभप्रभाप्रदीप्तवक्षःस्फुटवत्सलाच्छनम् ॥ ४२ ॥
[४३ भुअंग-भोआकइ ]-भुजङ्गभोगाकृतिसौन्दर्यभङ्गदप्रकामसौकुमार्यभुजालताञ्चित . मणिप्रभाकीर्णसुवर्णमेखलाविलम्बिपीताम्बरश्रोणिमण्डलम् ॥ ४३ ॥ १ M किमस्मादृश्यः. २ ॥ क्रूरो वर इति. ३ [ °प्रकामसुकुमार' ]

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६०
- संस्कृतच्छाया -
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[ ४४ ह - पहालिद्ध ] - खप्रभास्पृष्टनभः पथामलप्रवालताम्रोज्ज्वलपादपङ्कजम्, मनोज्ञहासाईकटाक्षत्री क्षणक्षणक्षोभ्यमानत्रजाङ्गनाङ्गजम् ॥ ४४ ॥
[ ४५ णिअंबिणीओ ] - नितम्बिन्यो निचुलार्द्रपल्लव प्रबद्धपर्यङ्कप्रमर्दनिर्दयम्, न विस्मर्यतां नवं नवं कृतं जनार्दनेन यमुनातटकीडनम् ॥ ४५ ॥
[ ४६ जहिं दुसा ] —– यस्मिंस्तु सा निर्लून फुल्लमञ्जरी नमद्वृन्ताप्रभ्रमत्षट्पदा, शुकानूद्यमान सुगूढजल्पितौ तटान्तवानरिलता खलु साक्षिणी ॥ ४६ ॥
[ ४७ मउंद-वेणूअर ] - मुकुन्द वेणूदरनिर्यद्वन्धुरस्वरामृतास्वादेंविरूढपल्लवाः, दवोष्मशुष्का अपि वनान्तपादपा यस्मिन्खलु ग्रीष्मातपम् आवृण्वन् नः || ४७ ॥
[ ४८ वणाणिला जत्थ ] - वनानिला यत्र कलिन्दनन्दिनीतरङ्गसंपर्क स्निग्धशीतलाः, अकुर्वन् नः पङ्कजपांसुमांसलाः श्रमातुराणां तालवृन्तकार्यम् ॥ ४८ ॥
[ ४९ भुवंति गोवडूण ] - अभवन् गोवर्धन शैलमेखलात्रिलम्बितोद्गर्जितविद्युतो घनाः, आसां नो मानविनोदनोन्मुखा यस्मिन् यदृच्छागतपीठमर्दाः ॥ ४९ ॥
१ नवप्रभा २ M Defective reading. ३ सुरूढ. ४ [ स्वनामृतास्वाद ] ५ [ आवृण्वन्ति ]. ६ [ कुर्वन्ति ]. ७ [ भवन्ति ]. ८ M 'गतिपीठमर्दनाः,
[ पीठमर्दकाः ].

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~प्रथमः सर्गः
[५० जहिं च]-यस्मिंश्च वृन्दावनमेकमन्दिरं मणिप्रदीपो मृगलाञ्छनः स्वयम् , नवा च शय्या तरुपल्लवावली वसन्तपुष्पाणि च भूषणानि नः ॥ ५० ॥
[५१ गओ स कालो]-गतः स कालो गजगामिनीजना मनोरथेभ्यः कुर्मः तिलाञ्जलिम् , सुखस्य सर्वस्यापि मूलकारणं जनो गतो यजनलोचनाञ्जनम् ॥ ५१ ॥
[५२ कआ णु कण्हस्स]-कदा नु कृष्णस्य कपोलघूर्णनशीलस्फुटप्रभामण्डलकुण्डलोज्ज्वलम् , सुपक्कबिम्बीफलपाटलाधरं मुहूर्त प्रेक्षिध्यामहे मुखाम्बुजम् ॥ ५२ ॥
[५३ कआ णु पीण ]-कदा नु पीनस्तनगाढपीडनामृद्यमानोज्ज्वलवन्यमालिकम् , आभ्यां दोभ्यां परिवेष्ट्यास्य विशालमालिशिष्यामो भुजान्तरम् ॥ ५३ ॥
[५४ असंक-संकेअ]-अशङ्कसङ्केतलतागृहोदरस्थितस्य मार्गप्रहितेक्षणस्यास्य, जवेन गत्वा यथेष्टचेष्टितं कदा नु वा पास्यामोsधरामृतम् ॥ ५४ ॥
[५५ इअ-प्पलावं ]-इतिप्रलापं प्रियविप्रवासजप्रकामशोकातुरमङ्गनाजनम् , मुकुन्दवाचा स गान्दिनीसुतः समागतो अजल्पत् किमपि सादरम् ॥ ५५ ॥
[५६ अहीरमाहीर ]--अधीरमाभीरनितम्बिनीजना मुगु खलु यूयं विलपथ विह्वलम् , कथं नु वो मुञ्चति चञ्चलेक्षणाः क्षणमपि स युष्मद्वशंवदो हरिः ॥ ५६ ॥
१M तिलकाजलिं. २ ॥ इति प्रकामं, 'T इति प्रलापः.३ [जल्पति ]. ४ मुग्धा.

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६२
-संस्कृतच्छाया
[५७ विजिम्ह-तुम्ह ]-विजिह्मयुष्मद्भूकोदण्डप्रमुक्तनेत्राञ्चलबाणकालितः, कथं खलु स कम्पते संप्रति क्षणं सह्यतां कार्याभिमुखस्य साहसम् ॥ ५७ ॥
[५८ उसम्मि संमज्जइ ]-उषसि संमजति सागरे यः स सायमुन्मजति किं न चन्द्रमाः, अलं विषादेन विलासिनीनां वो गतस्य प्रत्यागमनं न दुर्लभम् ॥ ५८ ॥
[५९ समत्थ-लोअस्स ] समस्तलोकस्य प्रकाशहेतोः तमःप्रपञ्चस्य निरासकारिणः, प्रतिप्रयाणं प्रतिपालयतास्य सरोजिन्य इव सहस्ररश्मः ॥ ५९॥
[६० विओअ-सोउम्हल]-वियोगशोकोष्मलापतापितं व्रजस्त्रीसार्थचातकीकुलम् , वचोऽम्बुधाराभिः सुशीतलाभिः स सुखयामास माधवदूतवारिदः ॥ ६० ॥
[६१ अह दिअह ] -अथ दिवसविकासप्रक्रमे प्रारोहत्सपदि हरिसनाथं स्यन्दनं गान्दिनेयः, नयनपद्मराजिरोचनीयां जनानाम् अल. भते शुभामभिख्यां' कामपि स काश्यपिरिव ॥ ६१ ॥
[६२ जव-जिअ-पवणेणं]-जवजितपवनेन व्रजन् रथेन सह पशुपवरैः अगाहर्ते माधवः स, कृष्णगिरिशिखालीतुल्यकल्लोलमालाभ्रंशिततटतमालां सूर्यकन्याया वेलाम् ॥ ६२ ॥
[६३ जउणा-सलिलम्मि]-यमुनासलिले मजन प्रतिबिम्वमिव
१ [ सुखयति ]. २ [ लभते ]. ३ ४ शुभामिख्यां. ४ [ गाहते ]. ५४ मज्जत् .

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- द्वितीयः सर्गः -
तस्मिन्नपि वासुदेवम्, प्रलोक्य बभूव विस्मयमान: पुलकोद्भिन्नतनुः स गान्दिनेयः ॥ ६३ ॥
[ ६४ तरंतो तं ] — तरंस्तां ततः से तरुणमनस्सन्तोषमधुरः स्त्रवृन्दैः सार्धम् अविशत् मधुरां नाम नगरम् तस्मिन् वीथीगाही चकारे वनितानां समधिकं समानन्दं चन्द्र इव कुमुदिनीनां मधु
"
मथनः ॥ ६४ ॥
[ इति रामपाणिवादकृते कंसववे प्रथमः सर्गः ]
६३
[ द्वितीयः सर्गः ]
[ १ अह मालिअ ] —अथ मालिकदत्तमालभारी वनमाली मुसली च व्रजन्तम् परिधौतवस्त्रभाण्डवाहं रजकं कमपि अपश्यतां राजमार्गे ॥ १ ॥
"
[ २ मउ-हास ] मृदुहास मनोहराननाभ्यां कुमाराभ्यां वसनानि याचितः सः, कुमना घनगर्वदुर्विनीतः कुपितो अभाषत भोजराज - भृत्यः ॥ २ ॥
[ ३ ण हु संभरिउं ] न खलु संस्मर्तुमपि शक्यते यत्तदिदं जल्पथो डिम्भकौ किमेवम्, ननु खादति तर्जितोऽपि यः स स्पृष्टः किं न करोति कृष्णभोगी ॥ ३ ॥

१ M°वपुः २ r omits स, M Defective reading. ३ [ विशति ] . M मधुरा. ५ [ करोति ]. ६ r मदनः ७ [ पश्यतः ]. ८ [ भाषते ].

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६४
-संस्कृतच्छाया
[४ णवरं ण लहिस्सइ ] केवलं न लप्स्यत इति नेदं वसनं भोजपतेर्याच्यमानम् , नन्विदमेव युष्मच्छीर्षच्छेदस्यापि भो भविष्यति कारणं जानीतम् ॥ ४ ॥
[५ अभणिज्जवउ-]-अभणितव्यवचउद्गमेन जाल्मा अनुभवन्ति स्फुटमात्मनो विनाशम् , चपलां लब्ध्वा पक्ष्मपालों' शलभाः किं न म्रियन्ते हव्यवाहे ॥ ५ ॥
[६ अह हो -अथ भवतु सह एकवारमहं युवयोर्बालचापलानि, न सहेत नराधिप इमानि यदि स श्रोष्यति वात्सल्यवन्ध्यः ॥६॥
[७ इअ सो कडु]-इति स कटु भाषित्वा यावत्प्रहसन्नेवापक्रमितुं प्रवृत्तः, सहसा मधुसूदनेन तावद्वसनानि हृतान्यस्य करात् ॥७॥
[८ अहिहोदु-मणस्स ]-परिभवितुमनसः क्रोधभाराद्रभसोत्थापितयष्टिपाणेरस्य, अथ तत्क्षणनखकोटिरुग्णं पर्यपाटयत् शिरः श्रियो नाथः ॥ ८ ॥
[९ णिअ-पंक ] निजपङ्कविशोधनावदातो रजकस्याभ्यधिकं लघूभवन, प्राविशत् सदाप्रकाशमात्मा वसनानां निकरश्च वासुदेवम् ॥९॥
[१० सिअएहि ]--सिचयैः सितैरस्ये शरीरं वसितैः अलसत् तमालनीलम्, कनकोज्ज्वलमेखलाभिरामं शशिमयूखैरिव नीलशैलशृङ्गम् ॥ १० ॥
१ [ पक्षपाली ]. २ [ अभिभवितु ]. ३ [ परिपाटयति ]. ४ [ प्रविशति ]. ५M लितैरस्य. ६ [ लसति ].

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- द्वितीयः सर्गः -
-
[ ११ अह पेक्खड़ ] - अथ अपश्यत् वक्रतां गतया तनुयट्र्यापि दृष्टिरम्यरूपाम्, मदनस्येव से कोदण्डयष्टिं वनितां कामपि समुन्नमत्पृष्ठाम् ॥ ११ ॥
६५
[ १२ अणुसप्पिर ] अनुसर्पणशीलषट्पदं वहन्ती मणिपात्रं मृतकुङ्कुमं कराग्रे, शनैः शनैः समापतन्तीं समुपागम्य अपृच्छत् हरिरेनाम् ॥ १२ ॥
[ १३ कुडिलच्छि ] -- कुटिलाक्षि वले कुतोऽसि बाले कुटिलीभवति कथं तव शरीरम्, मसृणं घुसृणं च कस्मै दातुं शनैर्गच्छसि प्रेक्षणीयरूपे ॥ १३ ॥
[ १४ अह जम्पइ ] — अथ अजल्पत् सा विधेः शक्तिर्बलवज्जूम्भते त्रामा मयि, हृदये प्रसिद्धां स्त्रीणां मम गात्रेऽप्यकरोत् वक्रतां या ॥ १४ ॥
[ १५ सुण सुंदर ] - शृणु सुन्दर शिल्पकारिकाहं नृवरान्तःपुरवासिनी विनीता, घुसृणं पुनः कंसराजायास्मै प्रणिदातुं प्रचलामि तनिकेतम् ॥ १५ ॥
[ १६ सुउमारमिणं ] - सुकुमारमिदं च ते शरीर सुरभिः कुङ्कुमपङ्कजचैषः, परिगृह्णातु तस्माद्भवानेवेदं सदृशयोर्हि समागमः सुखाय ॥ १६ ॥

[ १७ इअ तप्पविइण्ण ] - इति तत्प्रवितीर्णकुङ्कुमाभिमृष्टाङ्गी १ [ प्रेक्षते ]. २ च. ३ M कोपदण्ड ४ [ पूच्छति ]. ५ [ बल्पति ]. ६ M गात्रे व्यकरोत्. ७ [ पश्चैषः ]. ८ M तत्प्रविकीर्थ.

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- संस्कृतच्छाया
व्यलसती कृष्णरामौ, सप्रसूनकलाये सिन्दुवाराविव सन्ध्यातपसंस्पृश्यमाणौ ॥ १७ ॥
६६
[ १८ चिबुए कर ] — चिबुके करपल्लवेन कृष्णः शनैर्गृहीत्वा सारसेक्षणां ताम्, अथ कुब्जामृज्वीमकरोत् स्फुटलज्जावलिताननेन्दुबिम्बाम् ॥ १८ ॥
[ १९ पढमं कुडिला ] - प्रथमं कुटिलापि चन्द्रलेखा यथा संपूर्णतामेति पूर्णिमायाम्, तथा सा सहसा बभूव पूर्णा कमनीकोमलकान्तिकौमुदीभिः ॥ १९॥
[ २० अदभूमि ] - अतिभूमिमुपागतं मृगाक्षी मदनायल्लकशल्यमुद्वहन्ती, नत्वा अभणत् नन्दसूनुं धुतलज्जानिगलैरक्षरैः ॥ २० ॥
[ २१ इमिणम्हि ] - अनेनास्मि शरीरशोभाविभवेनेति त्वयि रूढवैरः, त्वयानुकम्पितेतीदानीं किमु मां बाधते मन्मथो महात्मन् ॥ २१ ॥
[ २२ विस रुक्ख ] - विषवृक्षप्रसूनैर्मन्ये विषमेषुर्विशिखानधुना करोति, मृदुभिः किमन्यथा मनो मे अनेन दह्यते नीयते च मूर्छाम् ॥ २२ ॥
[ २३ अवसं सवसं ] - अवशां स्ववशामपि मारघोरज्वरदूयप्रानमनसं मनोज्ञमूर्ते", अनुगृहाण मां कृष्णसारशारच्छविसारैः कटाक्षवीक्षणैः ॥ २३ ॥
१ [ विलसत: ]. २ [ सप्रसूनकलौ च ]. ३ [ अभवत् ]. ४ [ भणति ]. ५r मनः समोहनमूर्ते

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[ २४ हरिणील- सिणिद्ध ] - हरिनीलस्निग्धमुग्धशोभे तव संक्रान्तमुरसि रम्यरूपम्, कृष्णाचलधातुरागकल्पं स्तनकुम्भाभ्यां मामि कुङ्कुममेनत् ॥ २४ ॥
[ २५ अह वाहरइ ] - अथ व्याहरति स्म वासुदेवः सुमहत्तव सुभ्रु साहसिक्यम्, इह यानि मया विवक्षितानि हृतानि त्वया तान्यक्षराणि ॥ २५ ॥
[ २६ विअसंत ] विकसन्मुखारविन्द निर्यद्भमरालापच्छलाभिलावाचम्, प्रतिपालयति किं नु मल्लिकाक्षो नलिनीं किंतु सरति दृष्टिमात्राम् ॥ २६ ॥
[ २७ मह माणिणि ] मम मानिनि कार्यगौरवेण परवतो न तव कुम्भस्थूल, परिरब्धुमवसर उरोजौ स्ववश एव क्षमो हि कामतन्त्रे' ॥ २७ ॥
[ २८ अहमेहिमि ] -- अहमेष्यामि तावद्भूपसेवानिगलान्मम यावद्भवेन्मोक्षः, न हि कैरविणीं स्प्रष्टुमीशो घनरुद्धप्रसरः स चन्द्रमा अपि ॥ २८ ॥
[ २९ अह णो ] – अथ नौ हृदयेप्सितानि पश्चात् शशिज्योस्नोन्मृष्टासु यामिनीषु, सुजनानां सभासु सत्कवीनां वचनानीव प्रथन्तां क्रीडितानि ॥ २९ ॥
[ ३० इअ तं पिअ ] - इति तां प्रियदर्शनां भणन मुदितामेव
१ [ दृष्टमात्रम् ]. r कामतन्त्रः.

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६८
-संस्कृतच्छाया
विसृज्य कृष्णः, स्वजनैः सहाम्रजो गतः स शनैस्ततो अविशत् च राजधानीम् ॥ ३०॥
[३१ महणिज्ज]-महनीयमहोज्ज्वलाङ्गलक्ष्मीविभवालोकविफुल्लकौतूहलाः, प्रादिशने पृथग्जना अपि मार्ग तस्यामस्मै कं न हरन्ति पूर्णभागाः ॥ ३१॥
[३२ मणि-दीव ]-मणिदीपशिखाप्रदीप्यमानां कनकस्तम्भविलनहारगुम्फाम् , महिषाक्षधूपगन्धगर्दा मधुवैरौं विवेश कोदण्डशालाम् ॥ ३२ ॥
[३३ महिअं बहु]--महितं बहुगन्धमाल्यैर्धनुर्गृहीत्वा पाणिपल्लवाभ्याम् , सहसैव सज्यं कुर्वन् स समाकर्षत् मुष्टिपीडितमेनत् ॥३३॥
[३४ अइ बालअ-अयि बालक राजपूजितमेतद्धनुर्मा स्पृश मा स्पृशेति यावत् , वचनानि अश्रूयन्त किंकराणां त्रुटितं मधुसूदनेन तावत् ॥ ३४ ॥
[३५ यणि किमिणं]-स्तनितं किमिदं कुतः पयोदो नरसिंहध्वनितं नु तन्निवृत्तम्, इति वितर्कशतेन दुःस्थचित्तो धनुर्भङ्गचनिना बभूवं कंसः ॥ ३५ ॥
[३६ अह रक्खिभडे ] -अथ रक्षिभटान् पराक्रमतः परुषैवचनैराक्षिपतः, प्रामृद्गीता" प्ररोषभयङ्करौ धनुःखण्डाभ्यां रणे रामकृष्णौ ॥ ३६॥
१[विशति ]. २[प्रदिशन्ति ]. ३[पुण्यभाजः ]. ४ ॥ वैरिविवेश. ५[ विशति ] ६ [ समाकर्षति ] ७T पूजितमेनं.धनुर्मा, ८[श्रूयन्ते].९ [ अभवत् ]. १० [प्रमृद्रीतः].

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-द्वितीयः सर्गः
[३७ मिहिरम्मि]-मिहिर इव प्रकाशमाने वनमालिनि मनांसि सजनानाम् , कमलानीव अभवन फुल्लानि कुमुदानीव अकुचन दुर्जनानाम् ॥ ३७॥
[३८ अह चावघराहि]-अथ चापगृहानिष्क्रामन् सह रामेण स देवकीतनूजः, युवतिनयनैः पीयमानो व्यचरत् स्फुटमङ्कणस्थल्याम् ॥ ३८ ॥
[३९ समुवहिअ ]-समुपस्थितभोजराजधानी सरसं तां प्रलोक्य राजधानीम् , अभण शनैर्मनोभिरामं स हि वाग्भिः सविस्तराभिरामम् ॥ ३९ ॥
[४० उव णो भुवण ]--पश्य नो भुवनपणायिताया मधुराया मधुरत्वं पुर्याः, मणिहर्म्यपालिमौलिकुम्भस्खलनापवाहितसूर्यस्यन्दनायाः ॥ ४० ॥
[ ४१ इअमुण्णमि ]-इयमुन्नमितोचकेतुहस्तप्रचाल्यमानपताकिकाङ्गुलीभिः, स्वविभूतिलघूकृतां सगर्वा नगरी तर्जयति किं नु निर्जराणाम् ॥ ११ ॥
[४२ कणाअल]-कनकाचलशोमसौधशृङ्गस्थलक्रीडत्पुराअनाप्सरौघोः, परिखार्णवमध्यवर्तिनीयं स्वयमालम्बते जम्बूद्वीपलक्ष्मीम् ॥ ४२ ॥
[४३ फलिहोवल ] स्फटिकोपलकुट्टिमप्रदेशो हरिनीलालय:
१ [ भवन्ति ]. २[ कुचन्ति ].३ [विचरति]. ४ [समुपस्ताव ].५ [ ति]. ६[ सविस्तरामी रामम् ]. ७ ॥ पश्यन्तौ. ८सगळ. ९x omits सौष.

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७०
-संस्कृतच्छाया
रश्मिमिश्रितोऽयम् , इह संप्रति संस्मारयति नो यमुनोद्गृहीतजाह्नवीप्रवाहम् ॥ १३ ॥
[४४ कसणोवल ]-कृष्णोपलकेलिपर्वतानां तमःश्यामाभी रुचिभिर्निहुतायाम् , दिवसेऽपि सरन्ति वीथ्यां' विधुताशङ्कमिहाभिसारिकाः ॥ १४ ॥
[४५ इह कंचण]-इह काञ्चनगेहकान्तिलिप्ते गगने बालदिनेशमयूखमोहात् , विघटते न दीर्घिकासु दीर्घ रजन्यामपि रथाङ्गनामयुग्मम् ॥ ४५ ॥
[४६ इह वप्प-मणि ]-इह वप्रमणिप्रभासमूहा गगनं मण्डलशोभिनो लिहन्तः, खेः शशिनश्च कचित्कालं परिवेषप्रभामुज्वलां कुर्वन्ति ॥ ४६॥
[४७ वलही चलएसु]-वलभीवलयेषु गोपुराणां विहरतां विलासिनीजनानाम् , मुष्णाति मुखेन्दुस्वेदबिन्दुच्छलमुक्ताफलानि स्वर्गवातः ॥ ४७॥
[४८ इह चंद-मणी]इह चन्द्रमणिगृहोदरेषु समं चन्द्रमुखीभिः संविशन्तः, न लभन्ते रतिश्रमं युवानः तपरात्रिष्वपि नाम तामसीषु ॥४८॥
[४९ इअमुन्नमिउच्च ] -इयमुन्नमितोच्चसौधशर्षाि प्रविकसितैर्गवाक्षलोचनैः, रत्नाकरमेखलाकलापां कुतुकवती प्रलोकत इव भूतधात्रीम् ॥ १९ ॥
१ [वीषिकायां ].२ [ लिखन्तः ].

national

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-द्वितीयः सर्गः
[५० अदिहीण ]-अतिथीनां कुर्वन्ति पायकार्य प्रचलत्प्रसवासवोदकैः, इह. निष्कुटवाटबालवृक्षाः सुखप्रश्नं च रवैः कोकिलानाम् ॥ ५० ॥ - [५१ सर-सीअर]-सरशीकरवाहिनः समाराः सरसामोदहराः सरोरुहाणाम्, मिथुनानां रतिश्रम शमयितुं सदा सजन्ति नन्वत्र विस्तृणन्तम् ॥ ५१ ॥
[५२ इह कोच्चण ]---इह कचन पिच्छिलायां नित्योद्भटगजकटावटनिझरैः, लग्ना वसुधायां ददति भृङ्गा नेन्द्रनीलोपलकुट्टिमभ्रम किम् ॥ ५२ ॥
[५३ अणिअंतण ] -अनियन्त्रणयन्त्रमार्गनिर्यद्ध्वनितोद्धोषण- .. शीलवारिधोरणीभिः, इह कचन नित्यसिच्यमाने निलये नृत्यति प्रत्यहं मयूरः ॥ ५३ ॥
[५४ इह सुव्वइ ]-इह श्रूयते निर्वहत्तालस्फुटसंगतिनटाङ्गहारचिह्नम्, गभीरो घनर्जितानुरूपो मधुरः कचिन्मृदङ्गतुङ्गनादः ॥५४॥
[५५ सुण पुव्वअ]-शृणु पूर्वजसुन्दरीजनानां मधुगोष्ठीषु मदानुषङ्गसान्द्रम्, ललितं कलकण्ठकण्ठनादप्रतिम वचन नर्तने गीतम् ॥ ५५ ॥
[५६ परदो सुण ]-परतः शृणु स्थानिवद्भावाद्विफलं प्रत्ययलक्षणस्य सूत्रम्, सफलं तदलाश्रये कार्ये इति वैयाकरणानां वादघोषम् ॥ ५६॥
१ . दधति. २ नित्यदीप्यमानो. ३ ॥ पूर्वमुन्दरी.

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७२
-संकुमच्या
[५७ स-सलाह ]- सश्लाघश्लोकपाठकैर्मुखरं कचन बन्दिवृन्दैः, इदमस्मत्पुरं चिरमपि दृष्टं न खलुः दृष्टिं परतो निवर्तयति ॥ ५७ ॥
[५८ गंधव्वा ण]-गन्धर्वा न किमत्र सन्ति न खलु कि विद्यन्ते विद्याधराः किं वा चारु न चारणानां च कुलं जयन्ति नो किनराः, कि नेदं सुमनसां धाम किमहो नाथो महेन्द्रो नास्य स्वर्ग एव वसूनां स्थानमिदं रम्यं सुधर्मोज्ज्वलम् ॥ ५८ ॥
[५९ कीलासेलग्ग ] ---क्रीडाशैलामलग्नस्तनितधनघनोत्सृष्टवृष्टिप्रणाली शंकारोत्कण्ठमयूरस्फुटनटनकोलाहलदीप्यमानकामाः, वामा वामा अपि पीनस्तनकनकघटौ संघटय्य गाढं कण्ठे गृह्णन्ति कुण्ठेतरमिह पृथुरागाईशीला वल्लभानाम् ॥ ५९॥
[६० इअ बहु-वित्यआइ ]-इति बहुविस्तृतानि विषयाणां बहुत्वतः स्वयमथ गोशतानि उपसहृत्य सुखम् , वसतिम् उपासरत् वसुदेवसुतः स यदा तदा खलु दिवाकरोऽपि चरमाचलमौलिभुवम् ॥६०॥
[इति कंसवधे द्वितीयः सर्गः ]
[तृतीयः सर्गः] [१ पचूसे पर]-प्रत्यूषे परमर गल्र ल्लियुद्धप्रस्तावप्रथमप्रवृत्तसूत्रधारः, प्रारब्धः पटहरवः प्रबोधवेलामपन्ताम् अभण इव बन्दिवृन्देभ्यः ॥ १॥
१. मुलाघ. २ . परितो. ३ ॥ महीन्द्रो. [ उपसरति ]. ५. प्रत्यूहे. ६[ भणति ].

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- तृतीयः सर्गः
[ २ बुज्झती बुह ] - बुध्यमाना बुघप्रतिभेव काव्यबन्धान् बनती' बहलरसैरक्षरैः, प्रसुप्तं पद्मविलोचनं प्रबोधं प्रापयितुम् अक्रमते क्रमेण बन्दिपाली ॥ २ ॥
७३
[ ३ कल्लाणं कमल ] -- कल्याणं कमलश्रीकटाक्षवीक्षाविक्षेपप्रचटुलचञ्चरीकमालम्, कल्याणं करोतु पुरस्सरस्य तव कल्यं ननु सुभग सुखप्रबोधहेतुः ॥ ३ ॥
[ ४ होस्संतिं तुह ] - भविष्यन्तीं तव मुखलक्ष्मीमक्षिशोभाविच्छायीकृतनिजचिह्नकृष्णिमानम्, पश्यन् प्रथममयं तव प्रबोधान्निष्क्रान्तो निभृतगतिर्निशाया नाथः ॥ ४ ॥
[ ५ जाओ दे जउ ] - यास्ते यदुत नेत्रतारका निश्शेषं जनमनुग्रहीष्यन्ति बोधे, ताभ्यो लचितरास्तारका व्रीडया ध्रुवं पश्य भवन्ति निष्प्रभाः ॥ ५ ॥
[ ६ जोण्हाअं तुहिण ] - ज्योत्स्नायां तुहिनकरस्य वृक्षच्छायाप्रच्छन्नाः कथमपि स्थिताः खल्वन्धकाराः, उल्लासे तवमुखचन्द्रचन्द्रिकायाः शङ्कमाना निजक्षयमिदानीमपसरन्ति ॥ ६ ॥
[ ७ तूरंतो विरह ] त्वरमाणो विरहवेदनाविशोभं राधायाः सुभग त्वमिव भानुमान्, मीलन्मुखकमलं सरोजिन्याः संप्राप्तः परिमार्छु कराचलैः ॥ ७ ॥
[ ८ बीता विमअ 1 - बिभ्यतो विमतभटा यथा त्वत्सूर्यात्
१ M बध्नन्ती. २४ उपक्रमत, [ क्रमते ]. ३ T चलीक

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७४
-संस्कृतच्छाया
सुचिरमुदेतुमुन्मुखात् , अज्ञातभ्रष्टप्रसन्नतादुकूला निलीना कुहचिन्मुकुन्दचन्द्रमयूखाः ॥ ८॥
[९ झीणा विहडण ]-क्षीणायां विघटनकारणे निशायां चक्रवाका निजवनिताभिः संघटन्ते, शान्तायामिव निजपापसंततौ सन्तस्ते सकरुणवीक्षणच्छटाभिः ॥ ९॥
[१० भिंगालिं पुलइअ ]-भृङ्गालि प्रलोक्य पङ्कजानां गर्भे संभ्रान्तां दरविवृतानां संस्मरामः, उद्बोधक्रमविकसदीर्घतराक्षिद्रक्ष्यमाणप्रसरामये कनीनिकां ते ॥ १० ॥
[११ संभिण्ण-प्पह ]-संभिन्नप्रभामिदमीषच्चन्द्रिकया बन्धूकारुणमरुणस्य रश्मिजालम् , मुक्ताली सुविशददन्तकान्तिश्लिष्टं दृष्टिं नो हरति तवेवाधरोष्ठम् ॥ ११ ॥
[१२ आलिद्धो दिअह ]-आस्पृष्टो दिवसपतेः पाटलैर्मयूखैमरकतकुट्टिमो विभाति, गोपीनां घनकुचकुम्भकुङ्कुमैः संक्रान्तस्तवेव कृष्ण वक्षोभागः ॥ १२ ॥
[१३ उम्मिल्लावइ ]-उन्मीलयति कमलाकरो न यावत् स्वच्छन्द मुकुलमयानि लोचनानि, उन्निद्रो निजनयनोत्पले तावत् फुल्ले कुरु त्वमपि वासुदेव ॥ १३ ॥
[१४ आविज्झा रवि ]-आविद्धा रविकिरणैः सूर्यकान्ता ऊष्माणं वमितुममी उपक्रमन्ते, नो क्षुद्रा अपि सहन्तेऽन्यतेजोविच्छदै किमुत त्वादृशा महान्तः ॥ १४ ॥
१T भंगाली:. २ ॥ गर्भ ३ T मुक्तालि. ४ M अस्पृष्टो, [ आश्रिष्टो ].

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- तृतीयः सर्गः
७५
[१५ तिक्खंसु-प्फुड ]-तीक्ष्णांशुस्फुटहरिनखविक्षताद्विक्षोभप्रपतितक्षमौक्तिकात्, अन्धकारस्थिरकरिमस्तकात् सन्ध्यारागोऽयं विगलति शोणितप्रवाहः ॥१५॥
[१६ णिहाणं कुमुइणि ]-निद्राणां कुमुदिनीमुज्झित्वा सद्यो बुध्यमानां कमलिनीमाश्रयति भृङ्गः, प्रत्यूहो न हि बहुवल्लभस्य कचित्तवेव प्रतिनवक्रीडनोत्सवेषु ॥ १६ ॥
[१७ आअंबो कुणइ ]-आताम्रः करोति दिनेशरश्मिराशिनियन्तीनां प्रियवसतेबन्धकीनाम्, स्थूलयोः स्तनकलशयोर्वल्लभोरःप्रमृष्टघुसृणरसं पुनरिव लिप्तम् ॥ १७ ॥
[१८ किंचेमो जलहि ]-किं चायं जलविजले संमिलन्संददाति स्फुटवडवाग्निशङ्काम्, आम्रेडयति पुनर्हस्तिमस्तकेषु सिन्दूरप्रकरपिशङ्गिमानमेषः ॥ १८ ॥ । [१९ सच्छंदं छुरउ ] स्वच्छन्दं छुरतुं इन्द्रनीलश्यामले ते वक्षसि त्रुटितप्रवालखण्डशोभः, सौभाग्यं लब्धुमयं खल्ल सूर्यमयूखस्त. लक्ष्मीघनस्तनकुङ्कुमाङ्कनस्य ।। १९ ॥
[२० पुव्वासा-जुवइ ]-पूर्वाशायुवतिश्रवः प्रवालभूषाताटङ्क गगनसरस्सहस्रपत्रम्, प्राचीनाचलमाणिसौधमौलिकुम्भं पश्येदं दिनकरबिम्बमुजिहानम् ॥ २०॥
[२१ एवं सिं ]-एवमेषां स्तुतिवचनोद्गमात् पूर्व पर्यङ्कम्
१M राशिं नीतानां. २ ॥ पुनरिवालिप्तम्. ३ ४ संमिलत् संदधाति, T स ददाति. ४ [ स्फुरतु ]. ५॥ छुरित.

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-संस्कृतच्छाया
अमुचत् जनार्दनो विनिद्रः, उन्मेषं लभते पुरस्सरोजवाटः पश्चान्ननु प्रसरति राजहंसनादः ॥ २१ ॥
[२२ पचूसे चित्र]-प्रत्यूष एव निजस्वच्छगात्रलक्ष्मीविच्छर्दस्पृष्टवियत्पथावकाशः, प्रत्यक्षो अवभत् रविरिव पादसेवातात्पर्यप्रवणमनसां स जनानाम् ॥२२॥
[२३ संझं तो ]--सन्ध्यां ततो विकचजपाप्रसूनताम्रां ताम्बूलारुणवनिताधरोष्ठशोभाम, राधाया मुखविधुसंस्मारकं स वन्दमानो अचलत् पुरीद्वाराभिमुखः ॥ २३ ॥
[२४ पालेअ-च्छइ ]-प्रालेयच्छवितनोबलस्य पश्चाद् व्रजन् प्रचटुलहारचारुवक्षाः, कृष्णोऽसौ बहु व्यलसत् विद्युत्वांश्चन्द्रस्येव नवनीलवारिवाहः ॥ २४ ॥
[२५ सोएणं बहु]-शोकेन बहुदिवसात् समातुराया वामाक्षि अस्फुरत् तदा स्वमातुः, कंसादीनां च कुहनासमाश्रयाणां शत्रूणां प्रकृतिहताशमल्लकानाम् ॥ २५॥"
[२६ सोहग्ग-द्विअ]-सौवाग्रस्थितनगराङ्गनाकटाक्षच्छायालीमसृणमसारमण्डितया, वीथ्या विविधविलासवेषलक्ष्मीभासमानौ शनैः आयेतां रामकृष्णौ ॥२६॥
[२७ अंबट्ठो गरवइ ]-अम्बष्ठो नरपतिशासनाद्वारे दुर्वार
१ [ मुत्रति ].२. [ भवति ].३ [संस्मारकां ]. ४ [चलति ]. ५ [विलसति ].६ [ रति ].७T omits this. ८. [ अयतः ]

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- तृतीयः सर्ग:
प्रसरप्रतापमीश्वरं' तम् , रोर्बु प्रायततं कुम्भिना स्वपाणिच्छत्रेणेव भगवन्तमुष्णमयूखम् ॥ २७ ॥
[२८ आमेलं कुवलअ]-आपीड कुवलयपूर्वमुर्वरायां क्रीडन्तमिव स्वयमभ्रम्वा नाथम , क्रुध्यन्तं कुलिशकठोरदन्तदण्डं कुम्भीन्द्र कुटिलमनाः प्राणुदत्सः ॥ २८ ॥
[२९ मत्तुं किं जम ]-मर्तु किं यमगृहमत्तवारणस्य प्रत्यक्ष निपततो मत्तवारणस्य, अन्यतो अपसरतं दुर्दमौ कुमारौ झटितीति प्रालपत् हस्तिपः सगर्वम् ॥ २९ ॥
[३० अण्णत्तो जइ ]-अन्यतो यदि न निवर्तयसि नागं सजीवो वत्स्यति क्षणमपि नायम् , इत्थं ततो भणित्वा हरिः सहानजन्मा प्रारब्ध परिभवितुमेनमुग्रकर्मा ॥ ३० ॥
[३१ उच्चंत क्खुडिअ]-उद्वान्तत्रुटितकटाम्बुनिझरा मध्ये प्रघटितालामुजङ्गम् , गजं निजभुजकृष्टं मुकुन्दो भ्रामयन् व्यहरत मन्दरमिव पूर्वम् ॥ ३१ ॥
[३२ कुझंतं गअमह ] क्रुध्यन्तं गजमथ कुण्डलीकृतया शुण्डया कृतपरिवेषमूढहेलम् , मृश्यन् भ्रमरकरम्बिते गण्डे चण्डाभिः प्राहरते स चपेटिकाभिः ॥ ३२ ॥
[३३ कीलाए लगइ]-क्रीडया अलगत् हरिर्मयां यावत्तावत्स
१॥ प्रसरदुराप.२ [ प्रयतते ].३ M °मभ्रमूसनाथ, T Blank.४ [ प्रणुदति सः], T प्राणदण्डम्. ५[प्रलपति ]. ६M प्रकटित.७ [ विहरति ]. ८M प्रहरन्मन्दरादिमिव. ९ [ प्रहरति ]..१० ( रुगति ].

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७८
-
- -संस्कृतच्छाया
दशनयुगेन वारणेन्द्रः, विध्यन्महीतलमत्र मजत्कृष्टुं तदिदमथो न अशक्नोत् ॥ ३३ ॥
[३४ कुंभं तो कुवित्र]-कुम्भं ततः कुपितमनाः क्षणार्धकालमाक्रामंश्चरणतलेन वामेन, उदखनत् त्रुटितप्रशिथिलमूलबन्धं कृष्णोऽस्य करयुगलेन दन्तयुग्मम् ॥ ३४ ॥
[३५ जाहे सो]-यावत् स न्यपतत् वज्ररुग्णपक्षप्रक्षिप्तः कृष्णगिरिवि नागराजः, तावत् खलु प्राचलत् शेषशीर्षचक्रप्रभ्रष्टमिव वलयं वसुन्धराया ॥ ३५ ॥
[३६ अंबद्द-प्पहद ]--अम्बष्ठप्रहतपथेन कियच्चिरं स हस्तीन्द्रः सरति स्वयमिति चिन्तयन् , अम्बष्ठम् अगमयत् ध्रुवं तदानीं दुष्टं हस्तीन्द्रप्रहतपथेन वासुदेवः ॥ ३६॥
[३७ गेहं ता गहिर ]-गेहं तावद्गभीरतरोष्मसौम्यशीलौ गाहमानौ गगनतलमिव पुष्पवन्तौ, केषांचित्प्रहर्षफुल्लताम् अकुरुतां केषांचित् प्रमुकुलतां च रामकृष्णौ ।। ३७ ॥
[३८ घोलंतुज्जल]-पूर्णमानोज्ज्वलबनमालभारिवक्षसौ क्रीडन्तौ ।। करिवरदन्तपाणी तौ, पश्यन्तो यथासुखमक्षिजन्मकार्य स्वच्छन्दं सपदि अलभन्ते सर्वलोकाः ॥ ३८ ॥
[३९ वेरं जे हिअअ ]-वैरं ये हृदयस्थितम् अवहनं तेषां
१ [ शक्नोति ].२ [ उत्खनति ]. ३ [ निपतति ]. ४ ॥ पक्षः. ५ [ प्रचलति ]. ६[ गमयति ].७ [ कुरुतः ]. ८ मुकुलता. ९ [ लभन्ते ]. १० [ वहन्ति ].

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- तृतीयः सर्गः
७९
वस्त्राणि मुकुलतमानि अभवन् तावत् , वृक्षाणां सदा निजकोटरप्रतिष्ठः पुष्पाणि दवदहनो हि म्लापयति ॥ ३९ ॥
[४० आदिवा णवरि ]-आदिष्टा अनन्तरं दुर्नयेन राज्ञा अरण्येभा र रभसेन सिंहपोतो, जेतुं तौ यदुकुमारौ कृतप्रतिज्ञाः सनद्धाः समभ्यसरन मल्लयोधाः ॥ ४० ॥
[४१ मंचग्ग-द्विअ]-मञ्चाग्रस्थितनिजभर्तृदृष्टिवृष्टिसिच्यमानाविव मदपल्लवोल्लसन्तौ, चाणूरः स्वयमथ मुष्टिकश्च द्वौ प्रोनिद्रौ निखिलम् आवती मल्लसैन्यम् ॥ ४१ ॥
[४२ चाणूरो कइव-चाणूरः कैटभसूदनं सरन् साटोपम् अभणत् वले ब्रजेशसूनो, इच्छन्निवसति तव युद्धक्रीडापाण्डित्यं प्रलोकितुमेष भोजराजः ॥ ४२ ॥
[४३ भूवालो चिअ]-भूपाल एव कुशलः कोदण्डशास्त्रे गोपाल एव निपुणो नियुद्धतन्त्रे, यो यस्मिन्करोति परिश्रमं प्रकामं स तस्मिन्नेव विनियोजितो विभाति ॥ ४३ ॥
[४४ मल्लेहिं सह ]-~-मल्लैः सह महाविक्रमैः प्रतिस्पर्धिरिय कथं किल भवेद्दुष्करा त्वयाँ, बालेनैव त्वया प्रलम्बकेशिप्रायाः किं न खलु निहता दैत्यवीराः ॥ ४४ ॥ [४५ ता जुझं कुणह ]-तस्माद्युद्धं कुरुतं द्वावपि नाम युवां
१ [ भवन्ति ]. २ M omits. हि. ३ [ सभभिसरन्ति ]. ४ [ अवतः ]. ५ ॥ अवदत्, [ भणति ]. ६ T बटो. ७ T°दुष्कराख्या, [ तव ].

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-संस्कृतम्भया
धर्मेणैव खलु द्वाभ्यां मल्लाभ्याम्, अस्माकं जानातु स्वयं कुतूहलवान् भोजेशो भुजविभवे तारतम्यम् ॥ १५ ॥
[४६ एवं से सुणि]-~एवमस्य श्रुत्वा वचांसि सुप्रसन्नः सन्नद्धः समभ्यघटत अनेन कृष्णः, कुप्यन् कुलिशविघट्टनिष्ठुराभिः मुष्टिभिः मुसलधरोऽपि मुष्टिकेन ॥ ४६ ॥
[४७ धिब्बोल-प्परुस ]-धिक्कारपरुषपरस्परप्रलापं गृह्यमाणभ्रष्टपतद्बाहुयन्त्रम् , आस्फालस्फुटकटुशब्दभयंकरं क्षुभ्यत्रिभुवनमासीत् तेषां युद्धम् ॥ ४७ ॥
[४८ कडूंता कर]-कर्षन्तः करयुगलेन जानुजङ्घासंघत्रुटित विलिप्तरक्तगात्राः, उद्दामभ्रमणधूयमानभूमिचक्रा विक्रान्ति विविधामिमे समारभन्ते ॥ ४८ ॥
[४९ कटुं हो ]-कष्टं भोः कठिनमनाः प्रणुदति कः शार्दूलौ शशशिशुभ्यां संप्रहन्तुम् , गच्छामो विषममिदं न प्रेक्षणीयं युद्धमिति प्रालपत् तावत्साधुलोकः ॥ ४९ ॥
[५० चाणूर चलण ]-चाणूरं चरणयुगे गृहन् कृष्ण एनम् अक्षिपत् तडिति धात्रीपृष्ठे, ज्येष्ठोऽस्य तथा किल मुष्टिकं च दुष्टं दिष्टान्तं समुपगतौ द्वावपि मल्लौ ॥ ५० ॥
[५१ जुझंता कदि ]-युध्यन्तः कत्यपि हता गदाग्रजेन
१ [ समभिषटते ]. २ ४ पटु. ३ M आस. ४ [ समारभन्ते ]. ५. संग्रह . ६ [ प्रलपति ].-७ M तावत्स अनः.८ [क्षिपति ].

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-तृतीयः सर्गः
बिभ्यन्तः कत्यपि पलायिताः खलु मल्लाः, मार्ताण्डे स्फुटतरमुद्गते ग्रहाः अपि प्रमृष्टाः क पुनर् ज्योतिरिङ्गणौघाः ॥ ५१ ॥
[५२ बझंतु प्पइदि]-बध्येतां प्रकृतिकटू बटू बलाद्वध्यन्तां प्रसभमिमेऽपि गोपसंघाः, मुच्यमाना जानीत विनाशयिष्यन्ति जिह्माः युष्मानिति प्रालपत् तावद्भोजराजः ॥ ५२ ॥
[५३ बिब्भाणं विसम]-बिभ्राणं विषमधियं स्वभाववकं कसं तं कृष्णभुजङ्गममिव घोरम् , पक्षीन्द्र इव विनतार्तिभञ्जनः स मञ्चाप्रस्थितम् अभिसमपतत् कृष्णः ॥ ५३ ।। _ [५४ उलुतो कर]-उत्तिष्ठन् करयुगलमखगचर्मा यावदेनं प्रहर्तुमारभते कंसः, भश्चान्मधुमथनो हठेन तावद्भपृष्ठ पतितममुं क्षणातू अकरोत् ॥ ५४ ॥
[५५ वच्छम्मि प्पवडिअ]-वक्षसि प्रपत्य क्षिप्रमस्तिप्रारित विस्तीर्णस्तनतटचन्दनार्देऽस्य, कृष्णः सो अकरोत् तथा गृहीतखड्गो भूपः सो अभवत् यथा कथावशेषः ।। ५५ ।।
[५६ कईतो गल]-कर्षन् गलपथनिर्यद्रक्तसिक्तं गात्रमस्य गरुडध्वजो गतानुकम्पम्, स्वैरं सोऽलभत तस्मिन्खलु वैरशान्ति धीराणामपि हि हृदयं धुनाति क्रोधः ॥ ५६ ॥ [५७ सिणिद्ध]-स्निग्धघनकुन्तलस्फुरितमयूरापिञ्छाञ्चिते श्रियः
१ [प्रलपति ]. २ घियान्धभाववक्रं. ३ अमिसंपतति ].४ T आरभत. ५ [ करोति ].६ [ क्षिप्रमस्थिवस्ति ].७ [ स करोति ].८ [ स भवति ]. ९ [सलभते]

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- संस्कृतच्छाया -
मृत्युः शिरसि सुरकराञ्च लोन्मुक्ता, भ्रमद्भमरावलीकलकलैर्वा चालिता सुरकुसुमच्छटा अपतते तावदेवालयात् ॥ ५७ ॥
ર
८२
[ ५८ णचंति फुड ] - अनृत्यतै स्फुटमप्सरसो नभःपैथे स्वेच्छं मिथो मत्सरा दिव्या दुन्दुभयो अध्यनन् गभीरं स्वर्गानिलोद्गुर्णाः, पूर्णा भिन्नकटावटनिर्झरदिग्गज सार्थोद्भटप्रस्फूर्जत्प्रमोद बृंहितमहाघोषैर्विश्वंभरा 1146 11
[ ५९ अट्ठ दाव ] – अष्ट तावन्नृवरस्य कनिष्ठा निष्ठुराट्टहसितातिगरिष्ठाः, दुष्टरुष्टमनसोऽपि प्रविष्टा विष्टरश्रवहता सुरगोष्ठीम् ||५९ ||
[ ६० इअ समुअ ] - इति संभुजसंभारस्फारप्रतापमयातपक्षपितविमतान्धकारो वीरो विशुद्धगुणोत्तरः, बुधजनमनोऽम्भोजवातं निकामविकस्वरम् अकरोत् कुशलालोको लोके मुकुन्ददिवाकरः || ६०॥ [ इति कंसवधे तृतीयः सर्गः ]
[ चतुर्थः सर्गः ]
[ १ तदो अ भोएस ] -- ततश्च भोजेशभुजप्रतापग्रीष्मोष्मभारेण प्रदह्यमानम्, कृष्णाम्बुवाहः खलु कटाक्षलक्ष्मीधाराभिः असेचयत् जीवलोकम् ॥ १ ॥
[ २ धंसं गए ] – ध्वंसं गते कंसनृपे जनानां मनांसि अगाहते
१ [ पतति ]. २ M तावदेव देवालयात्. ३ [ नृत्यन्ति ]. ४ Tomits some portion. ५ M स्वेच्छा. ६ [ ध्वनन्ति ]. ७ M निष्ठुराष्ट. ८ [ स्वभुज ]. ९ [ करोति ]. [० [ सेचयति ]. ११ [ गाहते. ]

द

Page #134

- चतुर्थः सर्गः
प्रसादलक्ष्मीः, परिच्युते प्रावृड्वारिवाहे सरोजवृन्दानीव हंसराजिः ॥२॥
[३ पवित्त-चारित्त ]-पवित्रचारित्रविलोपशङ्काविवर्जिताः कुलपालिकाः, तदा प्रकाशं प्रासरने स्वैरं शशिप्रभा इव तमउज्झिताः ॥३॥
[४ जुवाण रामाहि]-यूनां रामाभिरनन्तरायं विहर्तुकामानामनन्तरागम् , अकरोत् तावत् सरसापि सायं विरामवतीति निशा विषादम् ॥ ४॥
[५विढत्त-रत्त]---विधृतरक्तप्रणया विवक्रा विकसितेन्दीवरप्रभा विटेघु, विदग्धनारीणां विलासदृष्टिः अपतत् नो पार्थिवखड्गयष्टिः॥५॥
[६ काऊण भोअंधश्र]-कृत्वा भोजान्धकचक्रवर्तिनं प्रजानां रक्षितारमुग्रसेनम् , अमोचयत् मातापितरौ ततः स कारागृहात्कमलासहायः ॥ ६॥
[७ सहग्गओ णे ]-सहाग्रज एनौ समुपासरन् स्नेहबाष्पावच्छादिताक्षिपक्ष्माणौ, चकार दीर्घ कुमारः प्रणाम स्वनाम संगृह्य वृष्णिवीरः ॥७॥
[८ दिग्घाउणो होह ]-दीर्घायुषौ भूयास्तं चिरस्य वत्सौ युवामिति बाष्पस्खलिताक्षराभिः, आशीर्भिः अवर्धयत् देवक्या समं खलु स आनकदुन्दुभिरेनौ ॥ ८ ॥ [९ एकस्स सच्छ ] -एकस्य स्वच्छस्फटिकप्रकाशमन्यस्य
१ [प्रसरन्ति ]. २ T°रायम् . ३ [ करोति ]. ४ . वितेषु. ५ [ पतति ]. ६ [ मोचयति ].७ ॥ ततोसौ. ८ [ वर्धापयति ]. ९ दुन्दुभिः. १० ॥ स्वच्छं.

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-संस्कृतच्छाया
भिन्नाञ्जनमञ्जलाभम, मर्चमानोज्ज्वलवन्यमालं वक्षः समालिङ्गत् तयोस्तातः ॥९॥
[१० तदो समागच्छिअ]-ततः समागत्य गान्दिनेयः कृतप्रणामः क्रमशोभितानि, कथानुबद्धानि कुमारयोर्वचांसि समजल्पत् मञ्जुलानि ॥ १० ॥
[११ अअं खु]-अयं खलु स यस्य इन्द्रनीलनीलं वक्षःस्थलोद्भूर्णनशीलवन्यमालम्, चतुर्भुजं विग्रहमग्रभागे जातस्य ननु अपश्यत प्रेक्षणीयम् ॥ ११ ॥
[१२ घेतूणं जं]-गृहीत्वा यं संस्मररात्रिमध्ये तव तरतस्तरङ्गवती, कूलान्तातिक्रान्तजलापि तावजवानां लंघयत् कलिन्दकन्या ॥ १२ ॥
[१३ तप्पम्मि जं]-तल्पे यं स्थापयित्वा गोपिकायाः प्रत्यानीता शौरे त्वया सुतास्याः, कार्यानुरोधाद्गुरुत्वं नो जानन्ति मूल्यस्य हि विक्रयेषु ॥ १३ ॥
[१४ इमो खु सो]-अयं खलु स एव स्तनप्रदायाः स्तन्येन पीतेनापि पूतनायाः, तृष्णाप्रतीघातमलभमानः प्राणानपि यो दुर्ललितोऽपिबत् ॥ १४ ॥
[१५ एसो खु सो ]--एष खलु स नन्दगृहेशयेन येन तृणावर्तदैत्यवीरः, कृतोऽभवन्नपि स चक्रवातः कृतान्तभूमीसरश्चक्रवाकः ॥१५॥
१ [ समालिङ्गति ]. २ [ संजल्पति ]. ३ [ पश्यतं ]. ४ T जङ्केनालय्यत्, ५ [ लङ्या ]. ६ ॥ कर्मानु.७ ' चक्रवाकः

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- चतुर्थः सर्गः
[१६ सत्तूण सव्वं ]-शत्रूणां सर्व मुष्णातु गर्व कुतः खलु बन्धूनामपि बल्लवानाम्, इति स्तुतोऽयं किल गव्यचोरः प्रहासशीलैः सुरैः सोऽयम् ॥ १६ ॥
[१७ जो चेअ माआ ]-य एव मायाप्रणिबध्यमानं जनं विमोचयति बन्धनात् , स एव मात्रा महानुभावः उलूखले अबध्यते स खलु एषः ॥ १७ ॥
[१८ भग्गो]-भग्नो नन्वेक एव भार्गवेण पुरार्जुनः शौरे सहस्रबाहुः, अनेन सहस्राधिकदीर्घशाखाबाह्वोर्भग्नं युगमर्जुनयोः ॥१८॥ . [१९ पआरअंतं नि]-प्रचारयन्तं निजगोशतानि पराभवितुं किल संप्रवृत्तः, बकासुर एनं खलु स्वयं प्रणष्टस्तमिस्रासंघ इव सहस्रमयूखम् ॥ १९ ॥
[२० सउस्स रूवेण ]--शयो रूपेण स्वयं शयानः प्रवृद्धन जठरस्थिलेन, अघासुरोऽनेन हतो हताशः स गुल्मरोगेणेव कर्मदोषात् ॥ २० ॥
[२१ माआ-बलेण ] —मायाबलेनेममर्भकमुद्भमयितुं यः प्राक्रमत स स्वयमेव वञ्चितोऽस्य, मायाम्बुधौ गभीरे पतितो विरिश्चः प्राप्तः एनमेव शरणं कबलार्धपाणिम् ॥ २१ ॥
[२२ बुंदावणम्मि ]-वृन्दावने यमुनापुलिने रम्ये गोवर्धनाद्रिशिखरे च हाभे, गोपालबालकुललालितक्रीडितानि अनेन बहूनि दिवसानि खल्वतिक्रान्तानि ॥ २२ ॥ १ M मात्रा. २ [ बध्यते ]. ३ [ दोषः ].४ [ प्रक्रमते ]

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८६
- संस्कृतच्छाया
[२३ णेणं घेणुअ]-अनेन धेनुकगर्दभप्रभृतेर्वर्गस्य दुर्गर्वशीलं चेत एव बलेन तालविपिनव्याजेन धृतं बलात, पीतो निर्भरतत्फलाम्बुच्छलतो लोकानां शोकागमः शत्रुप्राणमिषात्खलु साधु पृथिवीभारः समुद्धृतः ॥ २३ ॥
[२४ परिरक्खिउमंग ]-परिरक्षितुमङ्ग धेनुकं त्वं प्रचरन् विहंसि धेनुकं किम्, कथं विश्वसिमस्त्वामिति राम प्रहसन् किल व्याहरत् कृष्णः ॥ २४ ॥
[२५ कालिआहि ]-कालियाहिविषधूमलताभिः कालिकाभिगंगनमिव करालम् , यामुनाम्बु व्यरचयत् विशुद्धं जातु नन्दतनयः शरदिवै ॥२५॥
[२६ पाढत्तो फणिराअ]-प्रारब्धः फणिराजपर्वतफणाशृङ्गेषु पादौ समं शीघ्र निक्षिप्य नर्तितुमयं प्रत्यूषसूर्योपमः, आताम्रातपशोभपीतवसनः सानन्दवृन्दारकश्रेणीनेत्रसरोजरोचनगुणोदामः खलु दामोदरः ॥ २६ ॥
[२७ झणज्झणिअ]-झणझणितनूपुरं चरणपल्लवानोदनानमत्फणिमस्तकं क्रमप्रशिथिलकाञ्चीलतम् , चलच्छिखिपिच्छिकावलयरम्यधम्मिल्भ्रमझमरच्छटम् अनट बालगोपालः ॥ २७॥
[२८ गलुलाहि से ]—गरुडादस्मै गलितगर्वशालिने" अभयं पुनर् अदिशत् एष भोगिने, रुष्टा विषं यद्यपि साधवो जना अमृतं खलु ते तथापि नाम तुष्टाः ॥ २८ ॥
१ [ व्याहरति ].२ [ विरचयति ]. ३ T शरदीव. ४ [ नटति ]. ५ M गव्यशालिने, T शालिनो. ६[ दिशति ]. ७T भोगिनः.

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- चतुर्थः सर्गः -
[ २९ णाअ-जोव्वअ ] - नागयौवतसमर्पितैस्ततो नागहारनिक भूषितः, एष भाति' हरिनीलश्यामलः तारकैरिव शुभो नभः पथः ॥२९॥
[ ३० सुष्पंतेसुं गोव ] - स्वपत्सु गोपगोवृन्देषु दीप्यमानस्ततो निष्पतन् दवाग्निः, सद्योऽनेन अपीयेत विद्युदाभः सर्वापायो भवति लोकोत्तराणाम् ॥ ३० ॥
८७
[ ३१ गोवाअंतो गोउलं ] - गोपायन् गोकुलं कामपाल: गोपायमानं कंसमृत्यं दैत्यम्', आकांक्षन्तं विप्रलम्भं प्रलम् रुष्टो दुष्टं मुष्टया पिष्टवान् ॥ ३१ ॥
[ ३२ जणा-सलिले ] - यमुनासलिले कदापि या युवतयः किल क्रीडनम् अकुर्वन्, हृदयानीव निर्मलानि तासां वसनानि अमुष्णात् वासुदेवः ॥ ३२ ॥
[ ३३ रण्णे जण्णे ] -- अरण्ये यज्ञे कुहचिन्महिते भोजनं याचितैः भूदेवैः किल प्रतिनिराख्यातो दीक्षितैः, भक्ताभ्यः सरसमधुरं सादरं चापि तेषां भार्याभ्यो अलभतं तदयं मुक्तिमाभ्यश्च अदात् ॥ ३३ ॥
[ ३४ एसो खु णंद-पहुदिस्स ] – एष खलु नन्दप्रभृतेः पुरन्दरात् भक्तिं निवृत्त्य अकरोत् गिरीन्द्राभिमुखम्, आकृष्य दिवसः कुमु दाकरात् भृङ्गस्य दृष्टिमिव पङ्कजवाटाभिमुखम् ॥ ३४ ॥
[ ३५ सज्जो गज्जंत ] –सद्यो गर्जद्विद्युदुज्ज्वलजलदघटागर्भप्राग्भारस्थूलप्रभ्रष्ट स्पष्टविष्टम्भितभुवनतळां वृष्टिमभ्यापतन्तीम्, गोपाल
१ T एषोऽभात् . २ [ पीयते ]. ३ r भृत्यदैत्यः ४ [ कुर्वन्ति ].५ [ मुष्णाति ६ [ लभते ]. ७ [ ददाति ]. ८ [ करोति ]. ९ M प्रभ्रष्टास्पष्ट.

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८८
-संस्कृतच्छाया
एष गोवर्धनमचलवरं तत्क्षणमुत्खनन् छत्रं कृत्वा गृहीत्वा च करकमले डिम्भको अरौत्सीत् एनाम् ॥ ३५ ॥ . [३६ णिव्वाण-गव्व ]-निर्वाणगर्वशिखिपर्वतवैरिजुष्टं तुष्टं स्वयं स्नुतपयोधरनिःसृतैः, एनं पयोभिः सुरभिरभिषिञ्चन्ती गोविन्दनाम सुश्लिष्टतरम् अकरोत् ॥ ३६ ॥
[३७ अह खु णं]-अथ खल्वेनमेव काञ्चनकुम्भीविगलितैः किलाभ्रमुवल्लभः, सुरनदीसलिलैः न्यषिञ्चत् प्रमोदशीलो मुदिर इव शारदः ॥ ३७॥
[३८ जाउ दाव जउणा]-जातु तावद्यमुनाजलमग्नं वारुणेण हृतं पुरुषेण, अच्युतो बत प्रचेतोनिकेतात् प्रत्युपाहर नन्दममन्दम् ॥ ३८॥
[३९ जोण्हा-विच्छड्ड ]-ज्योत्स्नाविच्छर्दप्रत्युन्मृष्टशशिमणिसान्द्रनिष्यन्दशीते वृन्दारण्ये कलिन्दप्रियदुहितमहातीर्थरोधःस्थलीषु, वेलाशैलानिलालोलितसरसरसालाग्रलग्नालिवर्गे काले सति वसन्ते अकरोत् धनमय केशवो रासक्रीडाम् ॥ ३९ ॥
[४० उवहिअन्तरट्टिआ]-उपस्थितविदग्धरुयावलिश्लिष्टगोष्ठीगतः प्रपञ्चितविपञ्चिकामुरलिशृङ्गशृङ्गारितम्, विडम्बितविटक्रमं विमल' मञ्जसंजल्पितं तरङ्गितसुराङ्गनम् अकरोत् बालकः खेलनम् ॥ ४० ॥
[४१ रास-कीलासु]-रासक्रीडासु ब्रीडाविकलबजवधूनेत्रेन्दी
१ [रुपद्धि ]. २ [गोपेन्द्र.].३ [करोति ]. ४ [निषिञ्चते ].५ [ प्रत्युपाहरति]. ६ [ करोति ].७ [ करोति ].

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- चतुर्थः सर्गः
बरमालाप्रालम्बालंकृताङ्गो मृदुहसितसुधासिक्तवक्त्रेन्दुबिम्ब:, संगायन्नटन् सरसतरमयं संचरञ्छयानः सर्वासु दिक्षु अदृश्यते सकलजनानन्दनो नन्दनस्ते ॥ ४१ ॥
[ ४२ सोहग्ग-गव्विर सौभाग्यगर्वशीलमनसां नीतम्बिनीनां प्राप्तस्तथा बहुतनुरपि परोक्षभावम्, एष तमः प्रकृतीनां न दर्शनीयः सूर्य इव विस्तृतप्रभोऽपि विभावरीणाम् ॥ ४२ ॥
८९
[ ४३ विरदे मदे ] - विरते मदे विरहिणीनां तासां ततः प्राकटयत् विग्रहमयं कुमारः, प्रशमं गते शिशिरे तत्क्षणं कुसुमं प्रकाशयति हि चूतपादपः ॥ ४३ ॥
[ ४४ संखोही संखऊडो ] --संक्षोभी शङ्खचूडोऽपि स वृषभ-तनुः किं चारिष्टो गरिष्ठः विष्टो रुष्टेन केश्यपि च तुरगवपुर्व्वंसित; केशवेन, वामारम्भी स व्योमोऽपि खलु परित्रुटितः शौरे वैरिद्रुमाणां दावाग्निर्नन्दनस्ते किमिह हि बहुना सांप्रतं जल्पितेन ॥ ४४ ॥
[ ४५ आणाइओ घणुह ] - आनायितो धनुर्यज्ञच्छलेनैष कंसेन तेन ध्रुवमात्मनिबर्हणार्थम्, शाखाग्रसंघर्ष संघटितो हि वह्निः शून्यीकरोति तरसैव हि किं नैं वृक्षम् ॥ ४५ ॥
[ ४६ अक्कूराणण-सिप्पि ] - अक्रूराननशुक्तिगर्भगलितां तां सूक्तिमुक्तावलीं गृहीत्वा अकुरुतां हन्त पितरौ कर्णयोस्तौ मण्डनम्, अत्यारूढ हृदिरावनतारीरान्यञ्चत्पिञ्छाञ्चलं गाढं किं च पर्यस्वजेता बहुशो मायाप्रजं साग्रजम् ॥ ४६ ॥
१ [ दृश्यते ]. २ [ प्रकटयति ]. ३T कि नु . ४ [ कुरुत: ].५ [ परिश्वजेते

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- संस्कृतच्छाया
[ ४७ पालेआअल- मोलि ] - प्रालेयाचलमौलिघूर्णन शीलमहाकल्लोलहल्लो हलस्फारोड्डामर चारुचारणधुनीस्वच्छाभिर्वत्सौ चिरम् युवां जीवतं पूर्णिमामृतमयूखोन्निद्रज्योत्स्नाझरीपाण्डित्यच्छिदुरच्छविभिर्महितौ कीर्तिभिर्धात्रीतले ॥ ४७ ॥
१०
[ ४८ इअ मुदिअ - मणाणं ] - इति मुदितमन सस्तियोराशीभिस्तावच्छ रत्समय श्रीभिश्चन्द्रसूर्याविव शूरौ, समधिकमभिरामा रामकृष्णौ प्रसन्नौ सकलजनमनोज्ञां लम्भितौ कामपि लक्ष्मीम् ॥ ४८ ॥
-
[ इति रामपाणिवादकृते कंसवधे चतुर्थः सर्गः ]
[ [ दुव्वाह-पाअड ] – दुर्वाहप्राकृतपयोनिलये गभीरे बालानां वाहितुमिदं खलु जानीत रोधः, नत्र्यं हि काव्यमिह कंसवधाभिधानं सर्वेऽपि भव्यमतयः परिशीलयत ॥ ४८* १ ॥ ] '
१ Wanting in MT.

[ श्रीगुरुपादयोर्नमः | शुभमस्तु ] [ समाप्तमिदं काव्यम् ]

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सिलोअसई
२.२५
२.८
ه
१.३५ ३.३६ ३.२७ ३.१७
م م
४.४५
» »
للبع سم
३.४०
३.२८
अअ खु सो जस्स अइ बालअ राअ अराणणसिप्पिगम्भ अह दाव णिवरस्स अणण्णणाहा अविहा अणिअंतणजंत अणुसप्पिरछप्प अण्णत्तो जइ ण अदिट्टपासडिअ अदिभूमिमुवागअं अदिहीण कुणंति अभणिजवउग्गमेण अमुद्धअंदम्मि व अवच्चजुग्गे चिरमक्खदे अवसं सवसं पि असंकसंकेअलदा अह खु णं चिअ अह चावघराहि अह जैपइ सा अह णो हिअएच्छिआइ अह दिअहविआस अह पेक्खइ वंकदं अह प्फुडं काहिइ अह मालिअदिण्ण अहमेहिमि दाव अह राक्खिभडे
४.११ अह वाहरइ म्ह २.३४ अह होदु सहेमि : ४.४६ अहिहोदुमणस्स ३.५९ अहीरमाहीरणिबिणी
अहेक्कदा चंकमिरो २.५३ अहो समाअण्णि
अंबढप्पहदपहण अंबहो परवइसासणा
आअंबो कुणइ दिणेस २.२० २.५०
आणाइओ धणुहजण्ण २.५
आदिहा णवरि अ १.३६
आमेलं कुवलअपुत्व १.१२
आलिद्धो दिअहवइस्स
आविज्झा रविकिरणेहि २.२३ १.५४ इअ तप्पविइण्ण
इअ तं पिअदसणं
इअप्पलावं पिअ २.१४ इअ बहुवित्थआइ २.२९ । इअमुण्णमिउच्चकेउ १.६१ इअमुण्णमिउच्चसोह
इअ मुदिअमणाणं १.२९ इअ समुअसंभार
२.१ / इअ सो कडु भासिऊण २०२८ इआलवंतो सह २.३६ । इदं वओ भण्णइ
سم
२.१७ २.३०
४.३७
२.६० २.४१
२.४९
४.४८ ३.६०
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--कंसवहो- ..
३.३ २.४४
१.१३
४.६ ४.२५
२०५४
३.१८
३.५४
३.१३
३.३२ २.१३
इमस्स कजस्स सरीर इमाहि कुरो ण परो इमिणम्हि जिओ इमो खु सो च्चे इह कंचणगेह इह कोच्चण पिच्छिलम्मि इह चंदमणीघर इह वप्पमणिप्पहा इह सुब्वइ णिन्वहंत उहंतो करजुअलग्ग उम्मिल्लावइ कमलाअरो उवहिअतरहिआवलि उव णो भुवण उव्वंतवखुडिअकडंबु उसम्मि संमजद एकस्स सच्छप्फलिअ एवं से सुणिअ वआइ एवं सिं थुइवअण एसो खु णंदपहदिस्स एसो खु सो गंदघरे कअं खुजं वा कआ णु कण्हस्स कआ णु पीणत्थण कहं हो कढिणमणो कड्ता करजुअलेण कडतो गलपहणित कणआअलसोह कमलासहाय कमलासन
१.२६ । करंबुएणं परिगण्हिऊण १.४० कल्लाण कमलसिरी २.२१
कसणोवलकेलि ४.१४ कह खु से कसंवह
कहं परिचेमु सरीर २.५२ काऊण भोअंध २०४८
कालिआहिविसधूम २०४६
किमेत्थ अम्हे कुणिमो किंचेमो जलहिजलम्मि कीलाए लगइ हरी कीलासेलग्गलग्ग
कुज्झंतं गअमहकुंडली ४.४०
कुडिलच्छि वले २.४०
कुंभं तो कुविअमणो
खणं रुवंतं १.५८
खणे खणे झाण ४.९
गओ स कालो
गलुलाहि से गलिअ ३.२१
गंधव्वा ण किमत्थ ४.३४
गेहं ता गहिरअरुम्ह ४.१५
गोवाअंतो गोउलं
घेत्तूण जं सम्हर १.५२
घोलंतुजल वणमाल
चअस्थि भोआहिव ३.४८ चाणूरं चलणजुअम्मि ३.५६
चाणूरो कइढवसूअणं २०४२
चिबुए करपल्लवेण ४.४८*२ । जउणासलिलम्मि
१.५१ ४.२८ २.५८
م
४.३१ ४.१२ ३.३८ १.२४ ३.५० ३.४२
مع
२.१८
१.६३

onal

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-सिलोअसूई
९३
जउणासलिले कआ वि जवजिअपवणेणं जहिं च बुंदावण जहिं दु सा णिल्लुअ जाउ दाव जउणाजल जाओ दे जउसुअ जाहे सो निवडइ वज जिअं जिअं मे जुझंता कदि वि हदा जुवाण रामाहिमणंत जो चेअ माआ जोण्हाअं तुहिणअरस्स जोहाविच्छड्डुपच्चुप्फुसिअ झणज्झणिअणेउरं झीणाअं विहडण गचंति प्फुडमच्छरा णवरं ण लहिस्सइ णहप्पहालिद्ध ण हु संभरिउं पि णाअजोव्वअणिअपंकविसोहण णिअंबिणीओ णिउलोल णिदाणं कुमुइणि णिरत्थसंगा णिअमंत णिव्वाणगव्वसिहि णिसिज्झए माहव पेणं घेणुअगद्दह तदो अ भोएसभुअ
४.३२ | तदो समागच्छिअ गंदिणेओ ४.१० १.६२ तप्पम्मि जं टाविअ ४.१३ १.५० तरंतो तं तो तरुण
१-६४ १.४६ ता जुज्झं कुणह दुवे ३.४५ ४.३८ | तिक्खंसुप्फुडहरि ३.५ तुहावलोएण भुवीअ १.१०
तूरंतो विरहविसूरणा १.१७
थणि किमिणं कुदो २.३५ ४.४
दिग्घाउणो होह चिरस्स ४.८ ४.१७
दुव्वाहपाअडपओ ४.४८१ ३.६ | धराहिणाहो धणुह
१.२२ ४.३९
४.२ ४.२७ धिब्बोलप्परुस
३.४७ पआरअंतं णि
४.१९ पञ्चूसे चिअ णि
३.२२ ३.५८ पच्चूसे परमणसल्ल
३.१ २.४ पढमं कुडिला वि
२.१६ २.४४
पमोअतूरंतपद परदो सुण थाणिइल २०५६ परिरक्खिउमंग घेणुअं ४.२४ पलंबबाहुस्स वहस्स
१.२१ १.४५ पवट्टए चावमहे ति
१.२७ पवित्तचारित्तविलोव १.१६
पहाणपाणाणि खु णो
पाढत्तो फणिराअपव्वअ ४.२६ १.१८ पालेअच्छइतणुणो
१.२४ ४.२३ पालेआअलमोलि
४.४७ पुव्वासाजुवइसव
२.३
४.२९
२.९
w
w
३.२०

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-कंसवहो
४.४१
१.३२
३.५५ १.४८
२.४७
३.२
१.६०
४.५
३.१०
२.२२
१.१५
फलिहोवलकुट्टिम फुरंतदंतकंति बसंतु प्पइदिकडू विजिम्हतुम्हन्भुमआ बिन्भाणं विसमहिअं बीमंता विमअभडा बुज्झती बुहपडिहा भग्गो णमेको चिअ भिंगालि पुलइ भुअंगभोआकइ भुअप्पआवो भु भुवंति गोवडणसेल भूवालो चिअ कुसलो मउहासमणोहर मउंदवेणूदरणित मणिदीवसिहा मत्तु किं जमघर ममम्मि तुडं विहिणा मल्लेहिं सह मह मह माणिणि कज महणिजमहुजलग महिअंबहुगंध मंचग्गहिअणिअभत्तु माआबलेणमिममन्भ मिहिरम्मि विअ मुणामि तेएण खु रआइ रेहारह रणे जण्णे कुहइ महिए
२.४३ | रहम्मि हक्कारिअ १.४२ रासकीलासु वीला ३.५२
वअं वएसग्गसरा १.५७
वच्छम्मि प्पवडिअ ३.५३
वणाणिला जत्थ ३.८
वलहीवलएसु
विअसंतमुहारविंद ४.१८ विओअसोउम्हल
विढत्तरत्तप्पणआ १.४३ | विरदे मदे विरहिणीण १.३१ विसरुक्खपसूणएहि १.४९ विसुद्धसीलण विणम्म ३.४३ | विसुद्धसीले विमअ
वृंदावणम्मि जउणा
वेरं जे हिअीठ २.३२ सउस्स स्वेण सरं ३.२९
सच्छंदं छुरउ णिहेल
सजो गजंतविज्जुजल ३.४४
स गंदगोवो वि २०२७
सत्तूण गव्वं मुसिणाउ २.३१
समस्थलोअस्स पास समुवटिअ भो सरसीअरवाहिणो
ससलाहसिलो २.३७
सहग्गओ णे समुवासरंतो १.११
संखोही संखऊडो
संझं तो विअअजवा ४.३३ । संभिण्णप्पहमिणमीसि
४.२२
سه
१.४७
४.२०
مه
४ .33
ه
س
ن
م س
२.३९
ه
२.५७
४.७ ४.४४ ३.२३
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-सिलोअसूई
१.३४
३.२५
४.४२ ३.२६
सिअएहि सिएहि सिणिद्धघणकुंतल सिरीअ णाहो सिहि सुउमारमिणं च दे सुण पुन्वअसुंदरी सुण सुंदर सिप्पआरिआ सुणाहि तासेण सआ सुप्पंतेसुं गोवगो
२.१० । सुहं रहम्मि चि
सोएणं बहुदिअहे १.१ सोहम्गगाविरमणाण २.१६ सोहग्गाहअणअरंगणा २०५५ २.१५ | हरिणीलसिणिद्ध १.२० हरिस्स रूवं चिअ ४.३० होस्संतिं तुह मुह
२.२४ १.४१
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सद्दकोसो
This Glossary is a select collection of words that would be useful to a student of Präkrit vocabulary. Pronouns, pronomina forms, proper names and nouns & roots which have retained their Sanskrit forms are usually ignored. Important roots, primitive and causal, are indexed; but their detailed forms are not given. Some interesting and peculiar forms are noted without giving the meaning. Some unusual and difficult words are included. Only one occurrence, usually the first, is noted. अअंति, ३.२६, see Notes.
अइ = अयि, २०३४.
अक्खद ( अक्षत ) १.१२, safe,
unwounded.
अक्खर (अक्षर) १ ३५, letters, words.
अक्खिव - आक्षिप् (घा.) २.३६, to insult.
अग्ग (अग्र ) १-४६, tip, top. अग्गअ ( अग्रज ) १.३, elder brother.
अग्गअम्म ( अग्रजन्मन् ) ३.३०, elder brother.
अग्गओ ( अग्रतः ) १०३, in
front.
अग्गदो ( अग्रतः ) १.५, in front. अग्ग ( अनि ) १.२९, fire. अग्गसर ( अग्रसर ) १.३२, one who moves ahead.
७

अच्छरा ( अप्सरस् ) २.४२, ४ heavenly nymph.
अच्छेर (आश्चर्य ) १०१०, surprise, wonder.
अज ( अद्य ) १.१७, today. अज्जुण (अर्जुन) ४.१८, see the Notes. अट्टहासिअ ( - हसित ) ३.५९,
loud laughter.
- अण ( जन ) १.५१, also जण. अणंतराअं ( अनन्तरायम्, -रागम् )
४०४, see Notes.
अणामअ ( अनामय) १०९, health, well-being.
अणुवज्ज - passive base of
अनुवद्. १.४६. अणुसप्पिर (अनुसर्पणशील), २.१२. अणुसंग ( अनुषङ्ग ) २०५५, ne cessary consequence.

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९८
- कंसवहो
अण्णतो= अन्यतः, ३.२९, see | अम्मेलाव-आम्रेडय (घा.)३.१८, Notes.
to repeat. अण्णहा (अन्यथा) २०२२, other- अलल्लअ २.५६, see Notes. wise.
आल्लिअ ३.१६,see Notes. अण्णा (अज्ञातम्) ३.८, un- अवञ्च(अपत्य)१.१२,issue, son. knowingly.
अवड (अवट) २.५२, a founअतुच्छ (अतुच्छ-क) १.२५,
____tain. not insignificant, great.
अवदाअ ( अवदात) २.९, pure. अन्त (आत्मन्) ४.४५.
अवस (अवश) २.२३, unsupअत्ति (भर्ति) ३.५३, suffering. ported, helpless. अस्थि (अस्थि) ३.५५, bone. अवस्सं ( अवश्यम् ) १.४०, neअदि (अति) २.२०.
___cessarily. अदिहि (अतिथि)२.५०,a guest. अवसेस (अवशेष) ३.५५, remअप्पा (आत्मन्) १.५, self,
____nant. one self.
अविहा (अविधा) १.३७, see अप्फाल ( आस्फाल ) ३.४७,
the Notes. striking.
असंभमं ( असंभ्रमम् ) १.५,, अब्भव (अर्भक) ४.२१, child. without confusion. अब्मभु (अभ्रमु) ४.३७, see अस्सु (अश्रु) १.३५, tears. the Notes.
अहके = अहं, २.६, see Notes. अब्भहिअ(अभ्यधिक)२.९, more. अहर ( अधर) १.५२, lower अब्भावड-अभ्यापत् (धा.)४.३५. lip, also १.५४. अभणिज (अभाणतव्य) २.५. अहरो? (अधरोष्ठ)३.११,lower अमअ (अमृत) १.१७, nectar; lip. -मोह (-मयूख), १.१७, the अहिक्खा (अभिख्या) १.६१,
___beauty, glory. अम्मक (अस्मादृश?) १.३७, see अहिणाह (अधिनाय) १.२२, the Notes.
supreme master.
moon.

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अहिप्फुसिअ ( अभिमृष्ट) २.१७, | अंभोअव्वाअ ( अम्भोजनात) ३-३०,
a multitude of lotuses.
anointed.
अहिद ( अधिप ) १-२४, the ruler, king. अहिलास (अभिलाष ) २.२६, longing. अहिसारिआ (अभिसारिका) २०४४, see Notes.
अहीर (अधीर) १.५६, nervous. अहुणा ( अधुना ) २.२२, now. अंकण ( अङ्कन ) ३.१९, a mark. अंकणत्थली ( -स्थली ) २.३८,
open space of the yard. अंग, ४.१४, see Notes. अंगअ ( अङ्गज ) १-४४, love,
passion.
अंगणा ( अङ्गना ) १.३, woman. अंगहार २.५४, a gesticula -
tion.
अंकिद (अङ्कित) १·४, marked, imprinted with.
अंचल १.५७, skirt, border. अंतरा १ ७, in the middle. अंतेडर ( अन्तःपुर ) २.१५,
harem.
- अंद ( -चन्द्र) १.३६, moon. अंधार (अन्धकार) ३.१५, dark
ness.
अंबुडी (अम्बुधि) १.८, ocean.

९९
आ
आश्रम ( आगम ) १-१४, com - ing, arrival.
आअर ( आदर ) १.२५ regard,
respect.
आअल्लभ (D. आयल्लक १) २०२०, longing, uneasiness. आअव ( आतप ) १०४७, heat. आअंब (आताम्र ) ३.१७, red
dish.
आइण्ण (आकीर्ण) १.४३, covered. आकइ (आकृति) १.४३, figure, shape.
आणाइअ ( आनायित ) ४०४५, brought, invited. आमेल (आपीड ), ३.२८, see
notes.
आमोअ ( आमोद ), २०५१, fra
grance.
आरह - आरम् (धा. ), ३०५४, to begin.
आलव - आलप् (घा.), १.३३, to talk.
आलिद्ध (आष्टि ), १०४४, see
notes.
आली, ३.१०, a line, row. आलोअ ( आलोक) ३.६०, sple
ndour.

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१००
-कंसबहो
आविज्झ (आषिद्ध ) ३.१४, उक्खद १.३५, see the Notes. ___pierced.
| उक्खा -उत्खन् (धा.)३.३४. आवुण-आवृ (घा.) १.४७. उग्गअम्म (उपकर्मन् ) ३.३०, आसव २०५०, flowery juice. one of fierce acts. आसाअ (आस्वाद) १.४७, taste. उग्गाजअ (उद्गर्जित) १.४९, आसि-आसीत् ३.४७.
____thunder. आसी (आशिम), ४.८, a ble-| उग्गूरिअ (उचूर्ण ) ३.५८, ssing.
___excited. आह (आभ) ४.९, like, rese- उग्घोसिर (उद्घोषणशील) २.५३. __mbling.
उच्छइअ ( अवच्छादित) ४.७, आहीर (भाभीर)१.५६,see Notes. covered.
उज्जल (उज्ज्वल) १.१७, briइअप्पलाव (इतिप्रलाप) १.५५. ght, shining. इअवित्थ २.३५, see the | उजिहाण-उजिहान, ३.२०, see
Notes on २.३५ and १.२८. Notes. इयन-ईश् (धा) १.२४, to see, उज्जुई (ऋज्वी ) २.१८, straight. ___ to attend.
उटुंत-उत्तिष्ठत्, ३.५४. इक्ख ण (ईक्षण) १.५, look, eye. उड्डामर ४.४७, excellent. इत्थिआ (स्त्री)२.१४, a woman. उदअ (उदक) २.५०, water. इदर (इतर), ३.५, other. उद्दाम ३.४८, wild. इह (इभ ) ३.४०, an elephant. उप्पल ( उत्पल ) ३.१३, a -इंध (चिह्न) २.५४, a sign,
lotus. signal, see Notes. उप्फुसिअ (उन्मृष्ट) २.२९. '
उब्भड (उद्भट) २.५२, furious. ईरिअ ( ईरित)-१.२५, uttered, उन्भडस्सम ( उद्भटश्रम) १.१६, pronounced.
excessive or hard labour. ईसर ( ईश्वर ) ३.२७, lord. उम्मिल्लाव-उन्मीलय् , ३.१३, to
open. उअर ( उदर) १.४७, hollow, उम्मुह ( उन्मुख ) १.२८, lookstomach.
ing up or at, following.

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- सद्दकोसो
१.१
उम्मेस (उन्मेष) ३.२१, bloom-1 एक्कवारं(एकवारम्)२.६, once. ing.
एहि (इदानीम् ) ३.६, now. उम्ह (ऊष्मन् ) १.४७, heat. एत्थ (अत्र) २.५१, here. उम्हल उष्मल) १.६०, hot. एव्वं-एवं ३.२१. उम्हाणं-ऊष्माण, ३.१४. एरिस ( ईदृश) १.२६, such, उर (उरस् ) ३.१७, chest. i similar. उरोअ (उरोज) २.२७, breast.
ओ उलूहल ( उलूखल ) ४.१७, ओझर (D. निझर ), २०५२, a. mortar.
___stream; see Notes. उल्ल ( आर्द्र ) १.४४, wet, ओणअ (अवनत)४.४६, bent. moist, see Notes.
ओलंब-अवलम्ब् (धा.) २.४२, to उल्लास ३.६, iash.
____ assume. उव ( meaning पश्य) २.४०. ओल्लिर (आर्द्रशील) २०५९. उवल ( उपल) २.४३, stone.. ओवाहिअ (अपवाहित) २.४०, उव्वंत (उद्वान्त) ३.३१, over- ___driven away. ____flowing.
ओसर (अवसर) २.२७, leisure. उव्वरा (उर्वरा) ३.२८, see ओह (ओघ) २.४२, a stream, Notes.
a party. उवासर-उपसर् (धा.) २.६०, ___to approach.
कअं (कृतम् ) १.१४, enough. उस (उषस् ) १.५८, morning. कअंत (कृतान्त) १.३९, the उस्सिट्ट ( उत्सृष्ट) २.५९, dis- god of death. charged.
कइढव-कैटभ ३.४२,see Notes.
कज (कार्य) १.१९, work, ऊसव (उत्सव) १.१८, festivity.
__mission, duty.
कटुं (कष्टम् ) ३.४९, alas. एइ-एति २.१९.
कड (कट) २०५२, the temples एक (एक) १.१७, one of an elephant. unique.
कडक्ख (कटाक्ष) १.४४, sideएकदा (एकदा) १.३, once. glance.

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२०२
- कंसवहो
कडप्प ( D. समूह) २.४६, । कला (कालिका) २.१७, a bud. Inster, mass.
कलाव (कलाप) २.४९, a band. कह रेष् (धा.) १.३८, to कल्ल ( कल्य ) ३.३, dawn, drag.
___morning. कणि? (कनिष्ठ)३.५९, younger | कल्लाणं (कल्याणम्) ३.३, Hail, brother.
____welfare. कणीणिआ (कनीनिका) ३.१०, कवलद्धपाणि ४.२१,see Notes. eye pupil.
| कवित्थ (कुतर्क ?) १.२८,२.३५, कण्ण ( कर्ण) १.३५, ear. ___see the Notes. कण्ह (कृष्ण) १.५२. | कवोल ( कपोल) १.५२, cheek. कण्हभोई ( कृष्णभोगिन्) २.३, a| कसणगिरि (कृष्णगिरि ) १.६२, black snake.
see Notes. कण्हिमाण ( कृष्णिमन् ) ३.४, कसणाअल (कृष्णाचल) २.२४, blackness.
___dark mountain. कत्तअ ( कर्तृक) १.२६.
कह-कथम्, ३.४४. कदि-कति, ३.५१.
कस्सवि (काश्यपि) १.६१, see कप्प (कल्प) २.२४, similar. Notes. कमणी (कमनीय) २.१९, plea- कंची ( काश्ची) ४.२७, girdle. sant.
कंति (कान्ति) १.४२, radiance. कमलाअर (कमलाकर) ३.१३, a कंदोट्ट (D. कन्दोत्थ) १.४१, ४ ___ lotus-pool.
____ blue lotus; see Notes. करग्ग (करार) १.३३, finger. का-कृ (धा.) १.२९, to do. करंबिअ(करम्बित)३.३२, inlaid. | काराघर ( कारागृह ) ४.६, a करंबुअ ( कर+अम्बुज ) १.८, ____prison house. lotus like hand.
कारिअ (कार्य), १.४८, duty, कलअल ( कलकल ) ३.५७, function. murmer.
कालण (कारण) १.१४, reason. कलअंठ (कलकण्ठ) २.५५, a कालिआ (कालिका) ४.२५, a cuckoo.
____dark cloud.

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- सद्दकोसो
१०३
किणो [प्रश्ने] १.१४, a parti- कुलिस (कुलिश) ३.२८, a ___cle of interrogation. thunderbolt. किर-किल, ३.४४.
कुविद (कुपित) २.२, angry. किंणर २.५८, see the Notes. कुहा-कुहचित् ३.६. किंदु-किंतु २०२६, see Notes. कुहणा(कुहना)३.२५,treachery. कीलण (क्रीडन) १.४५, sport, कुंठेअर (कुण्ठेतर) २.५९, im___play.
petuous. कीला (क्रीडा) २.५९, sport. कुंडलीकअ (कुण्डलीकृत) ३.३२, कीलअ (क्रीडित) २.२९, sport. formed into a circle. कुअ (कुच) ३.१२, breast. कुंतल ३.५६, lock of hair. कुअ-कुच् (धा. ) २.३७, to: कुंभि (कुम्मिन् ) ३.२७, an contract.
elephant, कुअंडअ(कोदण्ड-क) १.५७,bow. कूर (क्रूर) १.४०, cruel. कुज्झ-क्रुध् (धा.) ३.२८. केउ (केतु) १.३५, banner, कुट्टिम २.४३, pavement. __fiag. कुडिलच्छि (कुटिलाक्षि) २०१३, केश्चिरं-कियच्चिरम् ३.३६. ___having erooked glances. केरव ( कैरव) १.१०, a kind कुण-कृ (धा.) १.३८, to do. of lily. कुणाइ-करोति, २.२२.
केरविणी (कैरविणी) २.२८, a कुदुउल्ली (कुतुकवती) २.४९. water lily. कुप्प कुप् (घा.) ३.४६. कोइल (कोकिल)१.१३,cuckoo. कुमर (कुमार) २.२, a boy, कोचण (कचन)२०५२,५५,५७, prince.
____ somewhere. कुमाल (कुमार) ३.२९, a boy, कोउहल्ल ( कौतूहल्य) २.३१, ____prince.
__curiosity. कुमुइणी (कुमुदिनी) १.६४, a कोशिकचित्, २.५४, ३.१६, night-lotus.
____see Notes. कुलवालिआ (-पालिआ) ४.३, कोडर (कोटर) ३.३९, hollow. highborn girl.
कोडि (कोटि)२८, point,

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१.४
- कंसवहो
कोइम (D. कुड्य ?), १.५, खुड-त्रुट (घा.) २.३४, to break.
som hing curious or खुडिअ (त्रुटित) ३.१९, broken.
wonderful, see Notes. खुद्द (क्षुद्र) ३.१४, mean. कोदुअ (कौतुक) १.२४, curio- खेलण (श्वेलन) ४.४०, sport.
sity. कोमुई (कौमुदी) २.१९, moon- गअ (गज) २.५१, elephant. ___ light.
गअण (गगन) २.४५, sky. कोह (क्रोध) ३.५६, anger. गह (गति)३.४, gait. कोत्थुह (कौस्तुभ) १.३६, see गण्ड-ग्रह (धा.) १.२, to take, ____ the Notes.
___to receive. क्ख म (क्षय ) १.२९, ruin, गत्त ( गात्र ) २.१४, body, ___destruction.
___limbs. -क्ख ल-स्खल् (धा.) १.८, stum- ! गदह (गर्दभ) ४.२३, see Notes. ble, to clash against. गमइ-गमयति ३.३६.
खुह-क्षुम् (धा.) १.४४, to गव्व (गर्व, गव्य) ४.१६, see rouse, to distutb.
Notes.
| गस-अस् (धा.) १.२९, to catch. खम (क्षय) ३.६, destruction. गहिर (गभीर) २.५४, deep. . खण (क्षण) १.५, moment. गंधव (गन्धर्व) २.५८, Gandhaखम (क्षम) २.२७, able. ____rva, or a songster. खलण (स्खलन) २.४०, stumb- गरि? (गरिष्ठ) ३.५९, promiling.
____nent. खंम ( स्तम्भ or स्कम्म) १.७, a गरुअत्तण-गुरुत्व, ४.१३. pillar, post.
गलुल (गरुड) ३.५६, an eagle. खिप्पं (क्षिप्रम् ) ३.०५, sudde- गवक्ख (गवाक्ष) २.४९, a ___nly.
___window. खु (खलु) १.२, indeed, in गिम्ह (ग्रीष्म) १.४७, summer. fact.
गुम्मरोअ (गुल्मरोग) ४.२०, a खजिआ (कुन्जा) २.१८, a disease of spleen-enlarhumpbacked lady.
gement.

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- सद्दकोसो
१०५
गोउर (गोपुर)२०४७, gate. | चम्म (चर्मन)३.५४, a shield. गोरव (गौरव) १.१९, great | चरमाअल (-चल) २०६०, wes___ness, importance.
tern mountain. गोव ( गोप) १.१, cowherd.
चलण (चरण) १.२, foot. गोवडण ( गोवर्धन ) १.४९, चवल (चपल) २.५, unsteady. name of a mountain; see
चवेडिआ (चपेटिका) ३.३२, ३ ____ the Notes. गोवायंत-गोपायत्, ४.३१
___slap.. गोविआ ( गोपिका) १.३५, चकमिर (चंक्रम(ण)शील) १.३, cowherd lady.
in the habit of strolling,
see the Notes. घडा (घटा)४.३५,a collection. चग (D. सौन्दर्य) १.४३,beauty. घर (गृह) १.९, a house.
चंचलीअ ( चञ्चरीक) ३.३, घरेसअ (गृहेशय) ४.१५ see a bee. Notes.
चंदन (चन्द्रमस्) १.५८, moon. घिणा (घृणा), १.३७, cornpa- चंदमुही (चन्द्रमुखी) २.४८, । _ssion, pity.
____moon-faced lady. घुसिण (घुसण) २.१३, saffron. चंदलेहा (चन्द्रलेखा) २.१९, घेत्तूण-गृहीत्वा, ४.१२.
crescent of the moon. घेप्पंतगृह्यमाण, ३.४७.
चंदिमा (चन्द्रिका) १.४२, moonघोल-चूर्ण (धा.) ३.३८.
___ light. घोलिर ( घूर्णनशील ) १
चाईउल (चातकीकुल) १.६०, ___rolling, dangling.
a flock of cătaki birds. च चअत्थि-चकास्ति, १.२३, see
चाव (चाप) २.३८, a bow. the Notes.
| चावमह (चापमख)१.२७, bow: चक्कट्टि (चक्रवर्तिन् ) ४.६, an
festival. emperor.
चारण, २.५८, a bard. चक्कवाअ, ४-१५, see Notes. / चारित्त (चारित्र) ४.३, con. चक्काअ (चक्रवाक) ३.९, thes duct.
Cakravaka bird. | चिण्ह (चिह) ३.४, mark.

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चिबुआ (चिबुक) २.१८, chin. जम (यम) १.१६, one of the चूद (चूत) ४.४३, the man- means of attaining go tree.
Yoga, restraint etc.; see चेट्टि (चेष्टित) १.५४, acti- the Notes. ___vity, behaviour.
जम्म (जन्मन्) ३.३८, birth. श्चिअ (एव) १.१९.
जम्म (जाल्म)२.५, a wretch. चेअ (एव, च एव) १.१९.
जर (ज्वर) २.२३, fever.
जव १.३३, speed. छह (छवि)३.२४, lustre. छडा (छटा) ३.९, series.
जवा (जपा) ३.२३, Japa. छत्त(छत्र)३.२७, an umbrella.
Olle flower. छप्पथ (षट्पद) १.४६, bee. जहिट्ट (यथेष्ट) १.१५, as desirछिउर (छिदुर) ४.४७, exting- ed, desirable, agreeable. uishing.
जहिं (यत्र, यस्मिन्) १.४६. छिव-स्पृश् (धा.) १.३०, to जंत ( यन्त्र) २०५३, a waterjet. ___touch.
जंप-जल्स् (धा.) १.७, to छर ३.१९, to cover seel speak. - Notes.
जाइद (याचित) २.२, begged.
जाउ (जातु) ४.२५, once. जअ (जगत् ) १.१३, world.
जाउण (यामुन) ४.२५, of the जइच्छा (यदृच्छा ) १.४९, chance
___ river Yamuna. जउणा (यमुना) १.६३. जउणाड ( यमुनातट) १.४५,
जामिणी ( यामिनी ) १.३४, ___bank of Yamuna.
___night. जश्चमाण-याच्यमान, २.४. | जाल (ज्वाला) १.३१, fiame. जढर (जठर )४.२०, stomach. जाला ३.३३, see Notes. जण्ण (यज्ञ) १.२४, a sacrifice, जाहे-यावत् or यदा, २.७. ____a festival.
जिअ (जित) १.१७,conquered. जण्हवी ( जाहवी ) २.४३, जिणा-येन, ४.१५. Ganges.
जिण्णति-जयन्ति, २०५८.

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जिम्ह (जिझ) ३.५२, deceit- | झीण (क्षीण )३.९, exhausted.
ful, crooked, curved. जिंभ-जृम्भ (धा.)२.१४. ठाण स्थान)२.५८, an abode. जुअ (युग) ३.३३, a pair. . ठाविअ-स्थापयित्वा, ४.१२. जुउच्छ-जुगुप्स् (धा.) १.१३, | ठिअ ( स्थित ) १.७, standing. ____to detest. जुग्ग (युग्म ) १.१२, a pair. उज्झ-passive base of दह जुज्झ (युद्ध ) ३.१, fight. (धा.) १.२९, to burn. जुट्ट ( जुष्ट ) ४.३६, resorted to. | डज्झइ-दह्यते, २-२२. जुवई ( युवति) १.३८, young | इसण ( दशन) ३.३३, a tusk. girl, maiden.
डंड ( दण्ड) ३.२८, staff. जुवाण-यूनाम्, ४.४,
भिअ ( डिम्भ-क ) २.३, a जुवाणा-युवानः, २०४८,
child, boy. जेउजेतुम्, ३.४०, जेट (ज्येष्ठ)३.५०, elder bro- णक्ख ( नख) २.८, nail. ____ther.
णच्च-नृत् (धा.)२.५३,to dance. जोअब्भसण (योगाभ्यसन) १.१६, णचण (नर्तन) २०५५, dancing.
exercise in mental con- णडण (नटन)२.५९, dancing. centration.
णरसिंघ (नरसिंह)२.३५, Manजोइरिंगिण (ज्योतिरिङ्गण)३.५१,
lion. ___firefly, see Notes.
णलिणी ( नलिनी) २.२६, lotus जोण्हा (ज्योत्स्ना)२.२९, moon
___plant. light.
णवरि ( अनन्तरम् ) ३.४० जोव्वअ ( यौवत ) ४.२९, a णह ( नभस् ) १.३०, sky. ___number of girls. . ! णहप्पह (नभःपथ) १.४४, sky. जोह (योध) ३.४०, a fighter. णहप्पहा ( नखप्रभा ) १.४४,
lustre of the nails. झत्ति (झटिति) १.३७, suddenly. णहोवह (नभःपथ) ४.२९, sky. झाण (ध्यान) १.५, thought, | णंचंत-न्यञ्चत् ४.४६. meditation.
णाअ (नाग) ४.२९, a serpent.

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णिअ-दृश् (धा. ) २.१, to see.। णिट्टर (निष्ठुर ) ३.४६, hard. णि (निज) १.९, one's own. णिद्दा (निर्दय) १.४५, pitiणिअमंत ( निगमान्त ) १.१६, | less, unkind.
Vedanta, निगम meaning णिहाण ( निद्राण ) ३.१६, vedic texts.
___ asleep. णिअर (णिकर) २.९, collec-णिबंहण (निबईण) ४.४५, destion.
____truction. णिअल (निगल) २.२०, fetter. णितणा (नियन्त्रणा) १.१२,
णिब्भर (निर्भर)४.२३, exces
____sive. ___shutting up, closure. णिबिणी ( नितम्बिनी) १.४५,
| णिम्मल (निर्मल) ४.३२, clear. a beautiful woman, णिमीलिअ (निमीलित) १.५, णिआमं ( निकामम् ) ३.६०, closed. excessively.
णिरस्थ ( निरस्त ) १.१६, णिउल ( निचुल ) १.४५, a thrown off, set a side. ___kind of creeper.
णिराचक्खिअ-निराख्यात, ४.३३. णिउज्झ (नियुद्ध ) ३.४३, fight. णिरिक्खण (निरीक्षण), १.१८, णिएद (निकेत) २.१५, an |
___ seeing, observing. abode.
णिरूसहं (निरुत्साहम् ?) १.७, णिकम-निष्क्रम् (धा.) २.३८, to without any movement, go out.
____ see the Notes. णिक्खुड (निष्कुट ) २.५०, a णिल्लअ (निर्लन) १.४६, pluckpleasure-grove.
___ed, cut. णिञ्च (नित्य) २.५२, ever, | णिवट्ट-निवर्त (धा.) १.२७, to ___ constant.
__turn back. णिजए-नीयते, २.२२. णिवत्तिअ-निवृत्य, ४.३४. णिजर (निर्जर) २०४१, a god. | णिवर (नृवर) २.१५, a king. णिज्झर ( निर्झर ) ३.३१, णिव्वाण (निर्वाण) ४.३६, exstream.
tinguished.

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of तण्हा ( तृष्णा ) ४०१४, thirst. तणुलट्ठि (तनुयष्टि ) २०११, the slender body.
uncing.
तणूअ ( तनूज ) २.३८, a son.
णिस्सण ( निस्वन) १.६, sound, तप्पज्ज ( तात्पर्य ) ३०२२, aim, object. तप्पविइण्ण ( तत्प्रवितीर्ण ) २.१७ given.
तमप्पवंच ( तमः प्रपञ्च ) १.५९, mass of darkness. तमप्पहाण ( तमः प्रधान ) १.५९, prominent with तमोगुण; see the Notes.
तमिस्स ( तमिस्रा ) ४.१९, darkness.
णिसिज्झ - passive base निषिध् (घा.) १.१८. णिसेह (निषेध ) १.२६, deno
noise.
णिहिल ( निखिल ) ३०४१, all,
whole.
२०५२,
णिहुअ ( निभृत) ३.४ stealthy णिहेल ( D. नील ) sapphire; see Notes. णितं निर्यत्, १४७, २.२६, see
Notes.
णितीणं-निर्यन्तीनां, ३.१७. णिण्डुअ ( निहुत )
२.४४,
obscured.
णीसंद (निष्यन्द ) ४.३९, tric
kling.
णेउर ( नूपुर ) ४.२७,
an
anklet.
णेत्तं (नेत्र) १.५७, eye. णोल्लिअ (नुन्न) १-२, urged, see the Notes.
ण्डुअ (स्तुत ) ४.३६, oozing.
त
तआणि ( तदानीं ) ३.३६, then . तइ तदा, २०६०. तइ= त्वया, २०२५. तड ( तट ) १.४६, bank.

१०९
तरराट्टआ (D. विदग्धस्त्री ) ४.४०, a bold or clever girl. तरसा, ४.४५, speedily. तरंगइली ( तरङ्गवती ) ४.१२, flooded.
तलवुड ( तालवृन्त ) १.४८, fan, see Notes.
तवरन्ति ( परात्रि ) २०४८,
sunmer night. तवोहण (तपोधन ), १.१६, an
ascetic, a monk.
तहि ( तत्र or तस्मिन्) १०४, there, in or on that. तंत (तन्त्र ) २.२७, doctrine, 'affair’.

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तंब (तान ) १.४४, red. तुमारिस-युष्मादृश, ३.१४ तंबुल्ल (ताम्बूल) ३.२३, betel- तुल्ल ( तुल्य) १.६२, similar. ___ chewing.
तुहिणअर ( तुहिनकर ) ३.६, ताडंक (ताटङ्क) ३.२०, a kind moon. of ear ornament.
तूर-त्वर् (धा.) १.८, to hasten. तामस, २०४८, dark,gloomy.| तह ( तीर्थ ) ४.३९, a holy तारा (तारका) ३.५, a star, place, see Notes. eye-pupil.
तेअ (तेजस् ) १.११, lustre. तारतम्म ( तारतम्य ) ३.४५,
तोसिअ (तुष्ट) ४.२८, plearelative excellence.
sed. ताला, ३.३३, see Notes -स्थण ( स्तन) १.५३, breast. तास (त्रास) १.२०, fear, anxiety.
थट्ट (D. सार्थ ) ३.५८, a ताहे-तावत् or तदा, २.७
party. तिक्खंसु ( तीक्ष्णांशु ) ३.१५, थणउम्भ ( स्तनकुम्भ ) २.२४, the sun.
___jarlike breast. तिक्खरस्सि (तीक्ष्णरश्मि) १.११
थणिअ (स्तनित )२.३५, thunthe sun (whose rays are ____dering. scorching).
थल (स्थल) ४.११, region. तिलोईवइ (त्रिलोकीपति) १.२२,
थली ( स्थली) ४.३९, spot. lord of three worlds. थाणिहल्लभाव, २०५६, see तीअ-तृतीय, ३. colophon. Notes. तरिए-तीयते, १.३८.
थिर (स्थिर) ३.१५, steady, तुर (त्वयि) १.१९.
___mighty. तुइत्तोत्वत्, ३.८
थुअ (स्तुत) ४.१६, praised. तुज्झणयुष्माकम् , १.२५, see / थुइ ( स्तुति) ३.२१, praise. the Notes.
थोर ( स्थूर ) २.२७, big, तु? (तुष्ट ) १.१९, pleased. massive. तुहिक (तुष्णीक) १.७, silent, closed.
| दइश्व-दैत्य, ३.४४.

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दक्वणिज-दर्शनीय, ४.४२. दिहिगोअर (दृष्टिगोचर) १.१६, दक्खिजइ-दृश्यते, ४.४१. within the range of दच्छंत-द्रक्ष्यमाण, ३.१०.
sight. दप्पसालि (दर्पशालिन् ) १.३१, दिणंत ( दिन + अन्त ) १.३,
one who is full of pride. evening. दर, ३.१०, little.
दिण्ण (दत्त) २.१. दवम्गि ( दवामि) ४.३०, forest दीहं (दीर्घ) ४.७, long, prosfire.
trated. दंति-ददति, २०५२, see Notes.| दीहर (दीर्ष) ३.१०, long, दसण (दर्शन) १.१५, seeing, large. sight.
दु-तु, १.४६. दाणि-इदानी, २.२१.
दुअल्ल (दुकूल) ३.८, a garदाव-तावत्, २०२८, see Notes.
__ment, see Notes. दिअह (दिवस) १.६१, day. दुक्खर ( दुष्कर ) ३.४४, दिक्खिा ( दीक्षित ) ४.३३, _____ difficult. ___ready, initiated. दुग्गविर (दुर्गर्वशील) ४.२३. दिक्खु -दिक्षु, ४-४१,see Notes. दुण्ण (दुर्नय ) ३.४०, दिग्धं (दीर्घम्) २.४५, long time. wicked. दिग्घाउ (दीर्घायुस्) ४.८, long- दुत्थचित्त ( दुःस्यचित्त) २.३५, ____lived.
___mentally disturbed. दिग्धिा (दीपिका) २.४५, a दुरप्पणा-दुरात्मना, १.३९. Jake.
दुल्लह (दुर्लभ) १.५८, rare. दिमत्तं ( दृष्टमात्रम् ) २.२६, दुवार ( द्वार) ६.२३, gate.
just at the sight. दुव्वार (दुवार) ३.२७, irreदिटुंत (दिष्टान्त) ३.५०, end, ___ sistible. ___deatb.
दुब्वाह (दुर्वाह ) ४.४८*१, दिट्टिए (दिष्टया) १.१६, luc- difficult to ford.
kily, fortunately; see | दुग्विणीअ ( दुर्विनीत ) २.२, the Notes.
___impolite, obstinate.

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दुवे द्वौ, ३.४५.
धाउ (धातु)२.२४, mineral. दुहा (द्विधा ) १.२७, divided, धुअ (धुत) २.२०, washed, ___tvofold.
shaken off. दुहिउ ( दुहित ) ४.३९, a धुणंत-धूयमान, ३.४८ ___daughter.
धुणाइ धुनाति, ३.५६ दूअ (दूत ) १.२६, a mess- धुणी (ध्वनि ), ४.४७, sound, ___enger.
___words. दूसह । दुःसह ) १.३५, unbea
धिब्बोल ( धिकार ) ३.४७, rable',
___words of reproach.
घेणु, ४.२४, see Notes. दे-दा (धा.) १.२०, to give.
धोरणी, २.५३, a stream. दो ( दोस् ) १.५३, arm. दोग्घट्ट ( D. गज ) २.५२,
पअच्छ-प्रदा (धा.) १.९, to
___give. ____elephant; see Notes.
| पअडुल (प्रचटुल ) ३.३, unदोहण ( दोहन) १.३, milking.
steady, restless. द्धअ ( ध्वज ) १.४, lanner, पअद-प्रयत् (धा.)३.२७. flag.
पअब्म-प्रगल्भ् (धा.) १.३०, to -द्धणिअ ( ध्वनित । २.३५, bave the power, to dare. sounding, roaring. पअलंत, २.५०, see Notes.
पआ ( प्रजा) ४.६, subjects. अ ( ध्वज) ३.५६, banner. पआव (प्रताप) ३.६०, valour. - ध्वन् (धा.), ३.५८ पास (प्रकाश ) १.५९, light.
(धनुस् ) २.३५, a bow. पआर (प्रकाशम् ) ४.३, openly घणुह (धनुस् ) १.२२, boir. पइ (पति) ३.५७, master, Icd.
धत्तिवट्ट ( धात्रीपृष्ठ ) ३.५०, पइदि (प्रकृति) ३.२५, nature. ___surface of the earth. एएद (प्रचेतस् ) ४.३८, see धम्मिल्लअ (धम्मिल्लक) ४.२७, Notes. ___a braid of hair.
पएस (प्रदेश) २.४३, region. धंस (ध्वंस)४.१, destruction. | पओ (पयस्) ४.४८*१, water.

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पओअ ( पयोद ) २.३५, a cloud | पडिट्ठ (प्रतिष्ठ) ३०३९, remain
पओहि = पयोभिः ४.३६, see the Notes.
ety
a

११३
ing.
पडिण्णा (प्रतिशा) ३.४०, a vow.
पडिप्प आण ( प्रतिप्रयाण ) १५९,
return.
पक्कि ( प्रक्रिया ) १.४०, mological formation. पक्खवाली (पक्षपाली ) २.५, wing.
पगे ( प्रगे ) १ ३४, at dawn. पग्गह ( प्रग्रह) १०३३, rope . पञ्चअ (प्रत्यय) २०५६,see Notes. पच्चक्ख (प्रत्यक्ष ) १.१८, eye
पडिम (प्रतिम ) २०५५, like. पांडवाल - प्रतिपाल् (धा. ) १.५९, to wait.
to eye. पच्चहं ( प्रत्यहम् ) २.५३, day to day.
पडिहा (प्रतिभा) ३.२, genius. पडीघा ( प्रतीघात ) ४.१४, removal.
पढम ( प्रथम ) २.१९, first.
return.
पश्चाअमण ( प्रत्यागमन) १०५८, पढिल्ल (प्रशिथिल) ३-३४, loose. पण ( प्रणय ) ४.५, love. पञ्चवट्ठा - प्रति + उप + स्था (घा.) १०८, पणाइद ( पणायित ) २०४०, to receive.
पशूस (प्रत्यूष) ३.१, morning. पच्चूह (प्रत्यूह) ३.१६, hindrance. पच्छा ( पश्चात् ) २.२९, afterwards.
पज्ज (पाद्य ) २०५०, washing the feet etc.
पट्ट ( स्पष्ट ) ४.३५, evident. पट्टि (पृष्टि ) १.३३, side. पट्ठिअ (प्रस्थित) १-३४, started. पडाइआ ( पताकिका) २.४१, a
flag.
ረ
पडिबिंब ( प्रतिबिम्ब ) १.६२, reflection, image.
praised. पणोल्ल - प्रणुद् (घा.) ३.४९, to impell.
पहि ( प्रश्न ) २.५०, inquiry ; see Notes.
पत्थाव (प्रस्ताव ) ३०१, beginning.
पत्थिव ( पार्थिव ) ४.५, a king. पदपस ( पतगेश ) १०३५ Garuda, the king among birds.
पदुम (पद्म) १.६१, lotus.

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- कंसवहो -
पप्फुज - प्रस्फूर्ज् (घा.) ३.५८, । परिवेढ ( परिवेष ) ३.३२, a
to outburst.
११४
पम्भार ( प्राग्भार ) ४.३५, large quantity.
पमउलदा ( प्रमुकुलता ) ३.३७, see Notes.
पमद (प्रमर्द) १०४५, crushing. पमल - प्रमृद् (धा.) २.३६, to
crush.
पम्मट्ठ ( प्रमृष्ट ) ३.१७, rubbed पम्हल ( पक्ष्मल ), १.४, hairy, shaggy. पमुदिर ( प्रमोदशील ) ४.३७, ju
bilant.
परप्फर ( परस्पर ) ३.४७,
-mutual.
परवंत ( परवान् ) २०२७, one who is occupied. परं १.६, greatly. पराभुव - पराभू (धा ) ४.१९. परिश्चे- परित्यज् (घा.)
१.१३,
to abandon. परिधोअ ( परिधौत ) २.१,
to shine.
पलित ( प्रदीप्त ) १०४२, lit up. पल्लंक ( पर्यङ्क, पल्यङ्क ) १०४५, bed, couch.
पवट्ट- प्रवर्त (धा. )
१.२७, to
start.
पचड - प्रपत् (धा. ) ३.५५, to jump.
पवण ( प्रवण ) ३.२२, intent. पवंचिअ ( प्रपञ्चित ) ४.४०, displayed.
पवाल ( प्रवाल ) ३.१९, coral. पवाह ( प्रवाह ) २०४३, stream. पवित्त ( पवित्र ) ४.३, pure. पविसङ्घ ( D. प्रविकसित ) २.४९, opening, blooming.
to embrace.
परिवेढ - परिवेष्ट् (घा.) १०५३, पवुत्त ( प्रवृत्त) २.७, begun.
to surround.
पव्वअ (पर्वत) ४.२६, mountain.
washed.
परिपाड - परिपाट् (धा. ), २.८. परिफुस - परिमृज् (धा ) ३.७. परिरंभ - परिरम् ( धा. ) २.२७,
circle; see Notes. परिवेस ( परिवेष ) २०४६, hallo. परिहा ( परिखा) २.४२, a moat. परुस ( परुष ) २.३६, harsh. परोकखभाव ( परोक्ष - ) ४.४२,

invisibility. परोस ( प्ररोष ) २०३६, anger. पलंबबाहु ( प्रलम्ब - ) १.२७,
पलिज- प्रदीपू (घा.) १.११, of long arms.

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-सहकोखो
पसर (प्रसर ), २०२८, spread,। पाईण (प्राचीन) ३.२०, eastern. appearance.
| पाउस (प्राइट) ४.२, rain. पसव (प्रसव)२.५०, a flower. पाडल (पाटल) १.५२, pink. पसाअ (प्रसाद) ४.२, satisfac-| पाटिप्फद्धी (प्रतिस्पर्षि) ३.४४, tion.
.. competition. पसुव (पशुप) १.६२, cowherd.| पाढत्त (प्रारब्ध) ३.१, begun. पसूण (प्रसून) २.१७, a flower. | पाणाअ-प्राणाय (घा.) १.२६, to पह-प्रथु (घा.) २.२९, to ex- breathe. __tend, spread.
पारिस (पारित) १.२१, able. पह (पथ) १.२८, path. पारुह-प्रारुह् (घा.),१.६१. पहरिस (प्रहर्ष ) ३.३७, joy. पालंख (प्रालम्ब)४.४१, pendants पहाण (प्रधान) १.३९, chief, / पाली ३.२, a line, row. important.
पालेभ (प्रालय) ३.२४, snow. पहुदि (प्रभृति) ४.२३, comm- पाव-प्रापय् (धा.) १.९, to lead. encing with.
पावे-प्रापय् (घा.) ३.२०. पंकअ (पङ्कज) १.४, a lotus.| पास४ि (पावस्थित) १.६, stanपंडिच (पाण्डित्य) ३.४२, skill. ding nearby. पंथम (पान्थक) २.१६, a tra- पासुत्त (प्रसुस) ३.२, sleeping.
veller, one who follows | पिअदसण (प्रियदर्शन) २.३०, the path.
___good looking. पंसण (पांसन) १.२३, a wicked | पिक्क (पक्क) १.५२, ripe. person, a wretch.
| पिच्छिल २.५२, slimy.. पंसु (पांसु) १.४८,dust, pollen. पिज-passive base of पा पाअड (प्राकृत) १.२९, not (घा.) १.१७. _cultured, ordinary. | पिजमाण-पीयमान, २.३८. पाअड ( प्राकृत ) ४.४८२१, पिणद्ध (पिनद्ध)१.३८, fixed.
Prākrit language. पिदर (पितृ) १.१२, parents. पाव (पादप) १.४७, tree. | पिसंगिमाण (पिशङ्गिमन्) ३.१८, पारहिमो-पास्यामः १.५४. tawny colour.

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- कंसवो -
पिहजण (पृथग्जन) २०३१, an | पुहवी (पृथ्वी) ४.२३, earth. पेक्ख- प्रेक्ष (घा.) २.११, to
११६
ordinary man.
see.
पिडु ( पृथु ) २०५९, great. पिंछ ( पिच्छ ) १-१, a feather | पेच्छ-प्रेक्ष (घा.) १-२४, to see,
attend, visit. पेच्छणिज ( प्रेक्षणीय) २०१३,
of a tail.
पिंडिआ (पिञ्छिका ) १.४१,
feather. पीअ ( पीत ) ४.२६, yellow. पीअंबर ( पीताम्बर ) १०४३, yel -
low garment. पीढमद्दअ ( पीठमर्द - क) १.४९,
companion.
पुण्ण (पुण्य) १.१९, merit. पुण्ण (पूर्ण) १-१७, full. पुण्णभाग ( पुण्यमाक् ) २.३१,
२०१९,
meritorious.
पुण्णिमा ( पूर्णिमा ) Full-moon day.
पुष्क (पुष्प) १.५०, flower. पुप्फवंता ३.३७, see the Notes. पुरस्सर ३.३, preeminent one. पुलअ ( पुलक) १.६२, horri
pilation, hair-end. पुलअ - प्रलोक् (घा.) १०४, to see . पुलआलि ( पुलक + आली )
१.४,
line of hair-ends. पुव्वासा (पूर्वाशा) ३०२०, eastern direction.

attractive.
पोणिद्द ( प्रोभिद्र ) ३०४१, awake.
पोद ( पोत) ३.४०, young
one.
पोसअ ( पोषक ) १.१३, one who brings up.
- आम ( प्रकाम) १०४३, suficiently, very much. - पभाव ( प्रताप ) १.३१,
strength, power. -पओअण (प्रयोजन ) १-१५,
occasion, purpose. -प्पक्कम ( प्रक्रम ) १०६१, begin
ning.
प्मुह (प्रमुख) १-२१, leading. -प्पमोअ ( प्रमोद ) १०४, jos, delight.
- प्यहिअ ( प्रहित) १.५४. प्फुडं ( स्फुटम् ) १ २९, clearly.
फ
फलिह (स्फटिक) २०४३, crystal. फार (स्फार) ३.६०, excessive.

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- सद्दकोसो -
विभंता-विम्य : ३.५१.
फिड - भृश (घा.) ३०४७. फिडिअ ( D. भ्रष्ट ) ३०८, drop | बीअ (द्वितीय) २ colophon. बीता - विम्यतः, ३.८.
ped.
फुर-स्फुर् (घा.) १०४२, to | बुज्झ - बुधू (घा.) ३०२, to wake. shine. बुड्डु - मज्ज् ( धा. ) १०६३, to dive, to sink. बेणि द्वौ, ३-४१.
- भुमआ ( भ्रू) १.५७, eye brow.
फुल्ल (पुष्प) १०४६, flower; see Notes.
व
बज्झ - बन्धू ( धा. ) ३०२, to construct.
बहु ( बटु ) ३.५२, a boy. बलिअं ( D. गाढम् ) २०१४,
भ
भग्ग ( भम) ४-१८, destroyed. भण्ण - Passive base of मण् ( धा. ) १०२८.
strongly.
dance.
बहुत्तण ( बहुत्व ) २०६०, abun | भणाइ = भणति २०२०, see Notes. भक्त ( भक्त ) ४.३३, devoted. बंधई ( बन्धकी ) ३०१७, an | भत्ति ( भक्ति ) ४. ३४, devotion. unchaste woman. भन्तु ( भर्तृ ) ३.४१, master. बहिअ ( बृंहित ) ३.५८, increa- | भ्रमण ( भ्रमण ) ३०४८, move
sed.
ment.
बालचावल ( बालचापल ) २०६, भवं ( भवान् ) १०१४, your a boyish prank.
honour.
बाह ( बाष्प ) ४०७, tears. बाहिर (बाह्य) १०६, external. बाहुजंत ( बाहुयन्त्र ) ३.४७,
भव्व ( भव्य ) १०१४, a pions or virtuous person. भव्वमदि ( भव्यमति ) ४०४८* १, a man of pious intention.
armlock.
बाहोल्ल (बाह+उल्ल- बाप्पाई ) १०४, भंगअ ( भङ्गद ) १०४३, defea
with tears;
see
wet Notes.
विभाण - विभ्राण ३.५२.

११७
ting, surpassing.
भंड ( भाण्ड ) १·३२, a pot. भाअ ( भाग ) ३०१२, region.

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-कंसवहो
मादर (भ्रात) १.२७, see thes Notes.
मम (मद) १.७, hilarity, मिश्च (भृत्य) २.२, servant. vanity. मिद (भृत) २०१२, filled. मम (मृग) १.५०, deer;-लंछण, मिंग (भूत) ३.९, a bee. १.५०, moon. मिंगउल (भूनकुल) १.३८, a महलदम ३.३९, see the Notes. ___swarm of bees.
मइले-मलिनय् (घा.) १.३०, to भुज (मुज) १.३१, arm. darken. मुअंग (भुजङ्ग)१.४३, serpent.] महंग (मृदङ्ग) २०५४, a tabor. मुअंतर (भुजान्तर) १.५३, chest.] मउ (मृदु)२०२, gentle, mild. मुबाला (भुजालता) १.४३, मउअ (मृदुक) २.२२, tender. arm-creeper.
मउंद (मुकुन्द)१.४७, a name भुष-म् (धा.) १.१०, to be, ___of Krsna. to become.
मऊर (मयूर)२०५३, a peacock. भूअघत्ती ( भूतधात्री ) २.४९, मग्ग (मार्ग) २.३१, path. the earth.
मच्छर(मत्सर)३.५८, jealousy. भूमल (भूतल). १.४, surface | मजा (मध्य) २०४२, centre;of the earth.
वहिणी (वर्तिनी), standing in भूदेव ४.३३, a priest. __the centre. मरि १.१४, much.
मण्ण-मन् (घा.) १.४०, to भूषा (भूपति) १.३२, king. I think, to consider. भूषट्ठ (मपृष्ठ) ३.५४, surface of ] मणिपत्त (मणिपात्र ) २.१२, & the earth.
___jewelled pot. भूसा (भूषा) ३.२०, an orna- मणिप्पहा ( मणिप्रभा) १.४३. ment.
____lustre of jewels. मोअ ( भोग)१.४३, hood or | मण्णे-मन्ये, २.२२.
the body of a serpent.. मणोज (मनोश)१.४४,pleasingमोह (भोगिन् ).४.२८, a serpमणोरह (मनोरय) १.५१,desire. ent.
मत्तंड (मार्तण्ड) ३.५१, sun.

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- सद्दकोसो -
goose.
मलिज्जमाण ( मृद्यमान ) १.५३,
being crushed.
मत्तवारण ३०२९, see Notes मनुं मर्तुम्, ३.२९.
मत्थअ ( मस्तक ) १.३६, head. माआ ( माया, मातृ ) ४०१७.
ममस्सिमय, १.१४.
मरगअ (मरकत) ३·११, , emerald. मल्लअ ( माल्यक) २.३३, a flo_wer, a garland.
मल्लिअक्ख ( मल्लिकाक्ष ) २०२६,
मसार ३.२६, an emerald. मसिण ( मसृण) २०१३, glossy, soft.
महणिज्ज ( महनीय ) २०३१. glorious.
महं ( महत् ) १.१९, great. महाअण ( महाजन ) १.१३, a
great person. महाघर ( महागृह) १.२४, a big
hall.
महिअ (महित) २.३३, worship - ped, decked. महिसक्खअ
२०३२, bdellium. महुगोट्टी (मधुगोष्ठी ) २.५५, liquor-club.
मंच १-२२, sofa, dias. मंजु ४०४०, sweet. मंजुल ४०९, lovely.
( महिषाक्ष क )

मसल ( मांसल ) १०४८, fleshy. heavy, loaded.
११९
माउरा (मातृ ) ३.२५, mother. माउल ( मातुल ) १.१८, mater
nal uncle.
nother.
माणिणी ( मानिनी ) २-२७, a proud lady. मादा ( मातृ ) १.१३, मालभारी ( मालभारिन् ) २.१, bearing or wearing a garland.
मालिअ ( मालिक ) २०१, agarland-maker.
मि ( मां, मे ) २.२३. मिअच्छी ( मृगाक्षी ) २.२०, &
fawn-eyed lady. मिट्ट (मृष्ट )
१.९, dainty,
8 weet.
मिदक्खरं ( मिताक्षरम् ) १.१४, in measured words, in short.
मिस (मिष ) ४.२३, pretended appearance. मिहिर ( मिहिर) २.३७, the

sun.
मिडुण (मिथुन) २०५१, & couple. मिद्दो ( मिथः) ३०५८, mutually .

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- कंसवहो -
मुउल ( मुकुल ) ३०१३, a bud. | मोलिभुव ( मौलिभू ) २.६०, top
मुउंद ( मुकुन्द ) १०५५, a name of Krsna.
१२०
मुच्छा ( मूर्च्छा ), २०२२, infa -
tuation. मुट्ठि ( मुष्टि) २.३३, fist. मुण-मन् or ज्ञा (धा. ) १-११, to think, to understand. मुत्ति ( मूर्ति ) १.४०, form. मुक्ति (मुक्ति) ४.३३, release. मुद्ध ( मुग्ध ) १.३६, see the Notes.
मुदिअ ( मुदित ) २०३०, happy मुदिर ४.३७, a cloud. मुल्ल ( मूल्य ) ४-१२, price. मुसिणाइ - मुष्णाति २.४७. मुसिणाउ = मुष्णातु, ४०१६. मुह (मुख) १०१७, mouth, face. मुहल ( मुखर ) २०५७, noisy. मुहा ( मुधा ) १०५६, in vain. मुहत्तअ ( मुहूर्त क ) १.५२, a period of time.
मेहला (मेखला ) १-४३, girdle. मोअ - मोच् (घा.) ४.६. मोक्ख (मोक्ष) २०२८, liberation. मोत्ता (मुक्ता ) १.८, pearl; - गुण,
pearl-string.
मोलि ( मौलि ) २०६०, head, the top of anything.

region.
मोर ( मयूर ) १.४१, peacock. मोह ( मयूख ) २०१०, a ray of light.
मोह २.४५, delusion. म्ह= स्म २.२५, see Notes.
र
रअ ( रजस् ) १.४, dust. रअअ ( रजक ) २.१, a wash
erman.
रअणी ( रजनी ) २.४५, night. रद्द ( रति ) २.४८, love sport;
- रसम, exertion of.... रह ( रवि ) २.४६, the sun. रक्सिर ( रक्षितृ ) ४-६,
protector. रक्खिभड ( रक्षिभट ) २.३६, a soldier on guard. रण्ण ( अरण्य ) ३.४०, a forest. रत ( रक्त ) ३०४८, blood. रणाअर ( रत्नाकर ) २.४९,
ocean.
रम्म ( रम्य ) २०११, attractive. रसाल ४० ३९, the mango tree. रस्सि ( रश्मि ) २०४२, a ray. रह (रथ) १४, a chariot. रह (रहस्) १.२३, secrecy, privacy.

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१२१
रहस ( रभस ) २.८, haste. रेहा (रेखा) १.४, a line. रहंगणाम (रथाङ्गनाम) २.४५, रोणिज ( रोचनीय ) १.६१, ___ a Cakravāka bird. ___pleasing. राअ (राग) २.२४, glow, hue. रोह (रोधस्) ४.३९, bank. राई (राजि)१.६१, a line, row. राममग्ग ( राजमार्ग) २.१, the लक्खण (लक्षण) २.५६, see royal road.
Notes. राअहाणी (राजधानी) २.३०, लग्ग-लग् (धा.) १.३७, to _royal residence. ____ stick, to follow. रामा ४.४, a beautiful dam- लच्छी (लक्ष्मी ) २.३१, wealth, ____sel.
glory. रासि ( रश्मि, राशि) ३.१७, a लट्टि (यष्टि) २.८, stick. __ray, a heap or mass. लदा (लता) १.५४, creeper. रिक्ख (ऋश)३.१५, a star. लहु (लघु) २.९, light. रीड (रीति) १.१३, course, | लहूइद (लघुकृत) २०४१, humway, method. -गामिणो
___iliated. (-गामिनः) १.१३, those लंघीअ ४.१२, see Notes. that follow the course लंभ (लम्भ) १.१२, obtaining, or way.
___finding. रुड (रुचि)२.४४, light, glow. लंभ-लम् (धा) ४.१४. रुक्ख (वृक्ष) २०२२, a tree | लित्त (लिप्स) २०४५,besmeared. रुग्ग ( रुग्ण) २.८, injured, लुह-मृज् (धा.) २.२४, see broken.
Notes. रूव-रुद् (धा.) १.६, to weep,| लोअ (लोक) १.५९, world. ___to cry.
लोअण (लोचन) १.५१, eye. रुंभ-रुध् (धा.)३.२७, to stop.
व रुसिअ ( रुष्ट) ४.२८, angry. / वअण (वचन) २.३६, a word. रूह (रोधस् ) ४.४८*१, dam; वअंगण (व्रज+अङ्गन) १.३, yard see Notes.
of the cowpen.
PLEARN

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वअंगणा (बजाङ्गना) १.३६, the | पच्छलंछण (वत्सलाञ्छन)१.४२, ___cowherd woman. I see the Notes. वहत्थिआ (व्रजस्त्री) १.६०, धच्छलिज ( वात्सल्य ) २.६, Vraja lady.
____affection. वएस (ब्रजेश) १.३.२, the cow-बल (वजी ३.३५.thunderbolt.
_herd chief. वओ (वचस्)१.२८,speech,sta
धज्झ-वध् (घा.) ३.५२. _tement; see the Notes.
वडाव-वर्धापय् (धा.)४.८,, to.
वहाव वणिआ (वनिता) १.६४, woman
___congratulate. वरिल (D. वस्त्र) २.१, a gar-| वण्ण (वन्य) १.५३, wild. __ment; see Notes.
पत्त (वक्त्र) ३.३९, face. वलही (वलभी) २०४७, a turret.| यत्थि ३.५५, see Notes. वलआमुह (वडवामुख) ३.१८, बत्थु ( वस्तु ) १.६, object, ___ submarine fire.
___ thing. पलिअ (वलित) २.१८, turned.
| बप्प (वप्र) २.४६, a rampart. वले १.२, a term of address%3B
वम्मह (मन्मथ) २०२१, god of ___see the Notes.
__love. ववु ( वपुस्) ४.४४, body. वसण (वसन) २.९, agarment. वय्याअरण (वैयाकरण) २.५६, वसहि (वसति)२.६०, anabode.
a grammarian, वसंव(वशंवद) १.५६. वल्लव (बल्लव) ४.१६, a cow____dient, devoted.
___herd. वहू ( वधू) ४.४१, a maiden.| वल्लह ( वल्लभ ) २.५९, ३. वक्खाइ-व्याचष्टे १.४०.
beloved. वग्ग (वर्ग)४.२३, group. वंक (वक्र) ३.५३, crooked. वश्व-व्रज् (धा.) १.२३, to go. बंकदा (वक्रता) २.२, crookedवच्छ (वक्षस्) १.४२, chest. | ness. वच्छ ( वत्स)४.८, a boy.
| वंझ (वन्ध्य) २.६, barren. वच्छल (वत्सल) १.१३, lov- वाअ [वा-ग्लै (घा.)] ३.३९,, ing, affectionate.
to fade.

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१२३
वाम (वाद ) २.५६, disputa-| विअह (विदग्ध) ४.५, clever. tion.
विअप्पह (वियत्पय)३.२२, the वाअ (ब्याज)४.२३, disguise. path of the sky. वाम (वात )२.४७, wind. विअल-विगल्, ३.१५. वाअ (वाक् ) १.५५, speech.. विअल (विकल) ४.४१ destiवाआलिअ (वाचालित) ३.५५, ___tute of. ___noisy.
विअस-विकस् (धा.) १.१०, वाड ( वाट) २.५०, agarden. to bloom. वाडिआ ( वाटिका) १.१, en- | विअस्सर ( विकस्वर ) ३.६०,
closure, settlement. ___blooming. वाणीर (वानीर) १.४६, cane | विभ-विजृम्भ (घा.) १.१८, creeper.
___spread. वाम २.५९, refractory, un- विआंस ( विकास ) १.६१, favourable.
___shining. वामच्छि ( वाम+अधि ) ३.२५, | विइण्णंति-विचिन्वन्ति, १.१६, left eye.
see the Notes. वामदा ( वामता) १.१८, per- विओअ ( वियोग ) १.३५, versity.
___separation. वामा २०५९, a beautiful विक्का (विक्रय) ४.१३, exwoman.
___ change. वामिआ ( वामिका ) २.१४, विकंति ( विक्रान्ति ) ३.४८, adverse.
___feat of valour. वारिस ( वारिद ) १.६०, विक्खण ( वीक्षण ) १.२५, __cloud.
____seeing, meeting. वारिवाह ३.२४, a cloud. विक्खद (विक्षत)३.१५, woundवावुड (न्यात)१.३, engaged.
____ed. वाहर-न्याहर, २०२५.
विक्खा (वीक्षा) ३.३, seeing. विषम (विकच ) ३.२३, bloo- विक्खोह (विक्षोम)३.१५,manming.
gling.

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१२४
- कंसवहो
विग्गह ( विग्रह ) १.४, the | विणम्म (विनम्र) १.१५, bent ___body, figure.
down. विघट्ट ३.४६, impact. विणिउंजियो-विनियोजितः,३.४३. विच्छङ्क (विच्छदं) ३.१४, dis- विणिह (विनिद्र) ३.२१, awake. ____play.
विण्हि (वृष्णि) ४.७, see Notes. विच्छाईका (विच्छायीकृत)३.४, | विणीअ (विनीत)२.१५, modest, ___rendered pale.
___polite. विजंति-विद्यन्ते, २.५८. विण्हु-वच्छ ( विष्णुवक्षस् ) विजाहर (विद्याधर ) २०५८, १.३६, chest of Visnu.
a Vidyadhara, or one विणोषण (विनोदन) १.४९, re
who has Vidyās. ___moval. विजिम्ह (विजिह्म) १.५७, curv- वित्थर-विस्तृ (घा.) २.५१, to ed, bent.
___ spread. विजुली (विद्युत्) १.४९, light- वित्थर (विस्तर) २.३९, exten. ening.
sion, prolixity. विजुलिल्ल ( विद्युत्वत् ) ३.२४,
वित्थिण्ण (विस्तीर्ण) ३.५५,
___extensive. possessed of lightening.
विदालुण (विदारुण) १.३७, विट्ठरस्सव (विष्टरश्रव) ३.५९, a
___ cruel, pitiless. _name of Krsna.
विप्पलंभ (विप्रलम्भ) ४.३१, विट्ठ (विष्ट) ४.४४, spreading.
g trechery. विटुंभित्र ( विष्टम्भित ) ४.३५, विप्पलंभण (विप्रलम्भन) १.२६, ____pervaded.
1 deceipt, trechery. विट्टि (वृष्टि) २०५९, rains.
विमअ (विमद) १.३०, great विड (विट) ४.५, a voluptu- ____vanity. ary.
विमअ ( विमत ) ३.६०, an विहिरिल्ल (D. भयंकर) २.३६, enemy.
fierce; see Notes. विम्हअ-विस्मय् (धा.) १.६३. विढत्त ( विधृत ) ४.५, see विम्हर-विस्मर् (धा.) १.४५, to Notes.
forget.

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- सद्दकोसो -
विरामदल्ली ( विरामवती) ४०४,
terminable.
विलंबिअ ( विलम्बित ) १०४९, hanging.
faster (facity ) 8.3, loss. विवक्खिद ( विवक्षित ) २०२५, expressed.
विवंचिआ ( विपञ्चिका ) ४.४०, sport, amusement. षिबुद ( विवृत ) ३.१०, opened. बिस (विष) २०२२, poison. विसअ (विषय) २.६०, topic,
territory.
विसअ ( विषद) ३.११, bright. विसज्ज-विसृज् २०३०, to take
leave.
विसजिअ ( विसर्जित ) १.१९, sent, despatched. विसट्ट (D. विकसित ) १-१०,
bloomed.
विसम ३.४९, uneven, unfair. विसमहिअं ३.५३, see Notes. सिमेसु ( विषमेषु ) २.२२, the
god of love.
षिसिद्ध (विशिष्ट) १.१५, spe
cial, specified.
विसिह ( विशिख ) २०२२, an
arrow.
बिसूरणा ( D. वेदना ) ३०७,
sorrow.

१२५
विसोह ( विशोम ) ३.७, pale, contracted.
विसोहण ( विशोधन ) २.९,
washing away, purification.
|
२०५६, in
बिइड - विषट् २०४५. विहणासि विहंसि, ४- २४. विहल ( विफल ) विहव ( विभव ) २.२१, wealth. operative. विहाअ = विहाय १०३७, having abandoned.
विहार = विभाति ३.४३. विहावरी ( विभावरी ) ४०४२, night.
विहि (विधि) १-२६, a positive instruction.
विहि ( विधि ) १.१८, fate, destiny.
विहु ( विधु ) १-१०, moon. विदुल्ल (विफुल्ल ) १.४, blooming. विर ( विभूति ) २०४१, pros - perity. विसाव-विभूषय् (घा.) १.१,
to adorn. वीसंभरा ( विश्वम्भरा ) ३.५८,
earth.
वीससिमो - विश्वसिमः, ४.२४.

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१२६
- कंसवहो
turbed.
चीहल ( विहुल ) १.५६, per-| सइप्पास (सदाप्रकाश) २.९.
____ see Notes. वीला (ब्रीडा) ३.५, shame. सउ (शयु) ४.२०, a boasnake. वीहिआ ( वीथिका ) २.४४, | सक्कए-शक्यते, २.३. street.
सक्कवि ( सत्कवि ) २.२९, a वीही ( वीथी) ३०२६, road. good poet. वीहीगाही ( वीथीगाही) १.६४. सक्कुण-शक् (धा.) ३.३३, to बुंत ( वृन्त) १.४६, stalk. be able. बुंद (वृन्द) १.६४,party,group. | सक्खिणी (साक्षिणी) १.४६, बुंदर (वृन्द) २.५७, a group. witness. बुंदारअ (वृन्दारक) ४.२६, a god. सग्ग (स्वर्ग) २.४७, heaven. बुंदावण ( वृन्दावन ) १.५०, सच ( सत्य ) १.१२, true,
name of a park; see ___surely. Notes.
सच्छ (स्वच्छ) ३.२२, clear, वेर (वैर) ३.३९, hatred. ____brilliant. बेला १.६२, bank.
सच्छंदं ( स्वच्छन्दम् ) ३.१३, वोल-अपक्रम् (घा.) २.७, to voluntarily. pass, to proceed. सच्छहं (D. सच्छायम्) १.१५,
___ similar to, like. सम-शी (घा.)४४१, to lie सजिअं ( सज्यं [धनुः]) २.३३, down.
____with a string. सअ (शत) २.३५, lundred. | सजो (सद्यस्) १.१०, immeस (स्वयम् ) १.२९, himself. diately. सअड (शकट) १.३२, a cart. | सणि ( शनैः)२.१२, slowly, सअण (स्वजन) २.३०, one's ____ gradually. own people.
सण्णद्ध (सन्नद्ध) ३.४५, ready, सअलुण (सकरुण ) ३.९, com- prepared. passionate.
सण्णह-सब (घा.) १.२१, to सह (सदा) २.५१, always. I be ready, to prepare.

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१२७
सत्ति (शक्ति) २०१४, power.| समारंभ-समारम् (धा.) १.२२, सत्तु (शत्रु) ३.२५, an enemy. | to begin, to undertake. सत्थअ ( सार्थ-क) १.६, colle- समावड-समापत् (धा.) २.१२. ___ction, multitude, range. समिधे-समिन्ध् (घा.) १.३१, to सह (शब्द) १.४०, word. burn, to enkindle. सहल (शार्दूल ) ३.४९, a tiger. समीर २.५१, breeze. सम-शम् (धा.) २.५१, to
समुट्टिअ (समुस्थित) १.२९, ris
___ing up. pacify.
समुवट्टिअ २.३९, see Notes. समत्त (समात) ४. colophon,
सर (शरत्) ४.४८, autumn. ended.
सर (सरस्) २.५१, a lake. समत्थ (समस्त) १.५९, whole,
सरअ (शरत्) ४.२५, autumn. ___all.
सरण (शरण) ४.२१, ashelter. समल्लअ ३.२५, see Notes.
सरास (शरास) १.२४, a bow. समल्लिअ (समालीन) १.२, see
सरिस (सदृश) २०१६, similar, the Notes.
like. सम्हर ४.१२, memorable. सरीर (शरीर) २.१०, body. समाअण्ण-समाकर्ण (धा.) १.३५, सरीरि (शरीरिन् ) १.१२, the to hear.
___embodied being, people. समाअम (समागम) २.१६, सरोअवाड ( सरोजवाट) ३.२१, meeting.
___ lotus-plantation. समाउर (श्रमातुर) १.४८, ex- सरोइणी ( सरोजिनी ) १.५९, hausted.
lotus plant. समाउर (समातुर) ३.२५, an- सरोरुह २.५१, a lotus. xious, afflicted.
सलह ( शलभ) १.२९, moth. समाउल (समाकुल) १.२०,dis- सल्ल (शल्य)२.२०, an arrow, turbed, agitated.
dart. समाकड-समाकृष् (धा.) २.३३, | सलाहा (लाघा) २-५७, prarse. to pull.
J सव (श्रव) ३.२०, ear.

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-- कंसवहो
सवड (सपदि ) १.६१, at once. | संता-सन्तः ३.९. सवस (स्ववश ) २.२३, self-संद (सान्द्र) २.५५, vehement; dependent.
४.३९, copious. सस ( शश) ३.४९, a hare. संदण (स्यन्दन) १.६१, chariot. मसि शशिन ) २.१०. moon. संप (सांप्रतम्) १.१९, now. सहल (सफल) २०५६, opera
संपआ (संपद् ) १.२०, wealth, tive, effective.
___glory. सहस्स ( सहस्र) ४.१८, thou- | संपआस-संप्रकाश् (धा.) १.३१, sand.
___to shine. सहस्सरस्सि (सहस्ररश्मि)१.५९, संपइ (संप्रति ) १.२१, now. the sun.
संपक (सम्पर्क) १.४८, contact. सहा ( सभा) २.२९, an asse- संपत्त (संप्राप्त) ३.७, reached. mbly.
संपमह-संप्रमई (धा.) १.२१, to सहाजिअ ( सभाजित ) १.३२, crush.
honoured, respected; see | संपुण्णदा ( संपूर्णता ) २.१९, Notes.
___ fullness. संकेत (संक्रान्त)२०२४, reflected. | संभर-संस्मर् (धा.) १.५, to संख (शङ्ख) १.४ couch. ___remember, to meditate. संखोहि ( संक्षोभिन् ) ४.४४, संभराव-संस्मारय् (धा.) २.४३, ___ oppressive.
___to remind. संघरिस (संघर्ष )४.४५, rubb- संभरावअ ( संस्मारक ) ३.२३, _ing.
reminiscent. संछिव-संस्पृश, २.१७.
संभव १.१९, origination, संझा (सन्ध्या) २०१७, evening. ___acernal. संझाराअ (सन्ध्याराग) ३.१५, । संभार ३.६०, wealth. __glow of twilight. संवग्गिअ ( संवल्गित ) १.३३, संत ( शान्त) ३.९, pacified. rolling, moving. संतदि (सन्तति) ३.९, a line, | साअरं (सादरम्) १.५५, respectarray.
____ fully.
och.

..

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साडोवं ( साटोपम् ) ३.४२, सिलोम (लोक)२.५७, a verse. ___proudly.
। सिसु (शिशु) ३.४९, young one. साम (श्याम) २.४४, dark. सिहर (शिखर) ४.२२, peak. सामल (श्यामल) १.४१, dark. सिहा (शिखा) २.३२, fiame. सारअ (शारद) ४.३७, autu- सिहि (शिखिन्) ४.३६, fire. mnal.
सिहि (शिखिन्)१.1, peacock. सारच्छवि (शारच्छति) २.२३, सिक (शिक्य) १.३२, see the ___variegated skin.
___Notes. सारसेक्खणा (सारसेक्षणा) २.१८, सिट्र (श्लिष्ट) ३.११, touched.
a lotus-eyed lady. | सित्त (सिक्त) ३.५६, sprinkled. साहसिक (साहसिक्य) २.२५, सिप्पआरिआ ( शिल्पकारिका ) audacity.
२०१५, an artisan. साह (साधम ) १.६४, with. सिप्पि (D. शुक्ति ) ४.४६, a साहा ( शाखा) ४.४५, al
pearl-oyster. ___branch.
सिंखरा (शृङ्खला) ३.३१,chain. साहिट्ट (साधिष्ठ) १.१५, the
सिंचाव-सेचय (घा.), ४.१. ____ best, excellent. सिअ (सित) २.१०, white.
सिंग (शृङ्ग) २.१०.a peak; सिअअ ( सिचय ) २.१०, a सिंघ (सिंह)३.४०, a lion.
४.४०, a horn, lute. ____garment.
सीअ ( शीत) ४.३९, cold. सिणिद्ध (स्निग्ध) १.१, attuched, affectionate, loving.
सीअर (शीकर ) २.५१, mist, सिणेह (स्नेह) ४.७, love, |
____spray. ____ affection.
सीअल (शीतल ) १.६०, cool. सिर ( शिरस् ) २.८, head. सीस ( शीर्ष ) २.४, head. सिरी (श्री) १.१, Lakshmi, | सीससक ( शीर्षचक्र ) ३.३५,
the goddess of wealth ___multitude of hoods. and prosperity.
सुअ (शुक)१.४६, parrot. सिलिट्ट (लिष्ट) ४.४०, uni-| सुअण (सुजन ) २.२९, a good ted, attended.
man.

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सुमंति-ध्यन्ते, २.३४. । सुहअ (सुभग) ३.३, fortunate, सुदरं (सुचिरम् ) ३.८, for a blessed. ___ long time.
सुहा (सुधा) १.२, nectar. सुउमार ( सुकुमार ) २.१६, सुहाव-सुखय् ( धा. ) १.६०, tender.
to appease. सुऊढ (सुगूढ) १.४६, hidden.! सुहीअण (सुधीजन) १.२, men सुक्क ( शुष्क) १.४७, dry. of intelligence; see the सज्ज ( सूर्य ) ४.४२, the sun. Notes. सुजकंद ( सूर्यकान्त ) ३.१४, सुंडा (शुण्डा )३.३२, trunk. ___sun-stone.
सुंदर ( सौन्दर्य ) १.१७, loveliसुण-श्रू (घा.) १.२०, to hear. ness, beauty. सुत्तहार (सूत्रधार) ३.१, the सूर (सूर्य) २.४०, the sun. ___stage manager.
सूरकण्णा ( सूर्यकन्या ) १.६२, सत्ति ( सूक्ति) ४.४६, a well- the river Yamuna. ___spoken word.
सेअ (स्वेद) २.४७, perspiraसुप्पंत-स्वपत् ४.३०.
tion. सुब्भु (सुन) २.२५, having सेच्छं (स्वेच्छम् ) ३.५८, volu____lovely brows.
ntarily. सुमण (सुमनस् )२.५८, a good सेजा (शय्या) १.५०, bed. __man, or god.
सेणी (श्रेणी) ४.२६, a line, सूर (शूर) ४.४८, heroic. ___row. सुरद्द (सुरदु) ३.५७, a cele- सेरं (स्वैरं) ३.५६, according stial tree.
to pleasure. सुरहि (सुरभि) २.१६, frag- सेहर ( शेखर ) a chaplet,
rant; ४.३६, the celestiall crest. cow.
सोअ (शोक) १.६०, sorrow, सुवण्ण ( सुवर्ण) १.४३, gold. ___grief. सुब्ब-श्रू ( धा.) १.६, to hear. सोच्छिइ-ओष्यति २.६. सुह (शुभ) १.६१, auspicious. | सोणिअ (शोणित)३.१५, blood.

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सोणिमंडल (श्रोणिमण्डल) १.४३, । हदास (हताश)३.२५,wretched.
the region of hips. I हम्मिअ (हर्म्य) १.३४, palace. सोमाल ( सुकुमार ) १.४३, हरि ३.१५, lion. tender.
हरिद (हृत) २.२५, carried. सोरह (सौरभ) १.३८, frag- हरिम्मणि (हरिन्मणि) १.४१, an ___rant.
___emerald. सोह (शोभ) २.४२.
हलब्बोल (D. कोलाहल) २.५९, सोह (सौध) २.४२, palace.
___loud noise. सोहग्ग ( सौभाग्य ) ३.१९, love- |
हव्ववाह (हव्यवाह) २.५, fire. ___ liness.
हिअअ (हृदय) २.१४, heart. सोहा (शोभा) २.२१, beauty.
हिरण्णरेअ (हिरण्यरेतस्) १.३१,
____fire. सोहिद (शोभित) ४.१०, cha
हिरी (ही) ४.४६, modesty. rming.
हुखलु २.३.
हुत्तो (अभिमुख) ३.२३, toहकार-आहे (धा.) १.२३, to
___wards. call.
हेला ३.३२, sport. हढ (हठ) ३.५४, force. हो-भू (धा.) १.३२, to be, to हत्थिव (हस्तिप) ३.२९, the become.
elephant driver. } होदु-भवतु २.६.

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TRANSLATION
CANTO ONE 1. The Lord ( Visnu ), the spouse of Laksmī, who has a chaplet of peacock-feathers, who is honoured by the side-glances of loving Gopis and who has himself become the "adopted] son of Yasodā, adorns the settlement of cowherds.
2. O wise people, do you receive the story of his slaying of Kamsa, which, in fact, is pleasing like nectar and which I narrate ever clinging to the feet of teachers, [ and being ) urged by the quality of devotion.
3. Now, once upon a time, when the elder brother of Gada (i. e., Krsna), accompanied by his elder brother (i. e., Balarāma), was strolling in the yard of the cowpen where there were ladies engaged in milking the cows in the evening, he sees the son of Gāndini (i. e., Akrüra) approaching him in front.
4. [ Akrūra] who was paying homage there seeing the (particles of ) dust on the ground marked with [ the signs of ] lines, chariots, conchs, lotuses and banners; whose body was covered with horripilation, was wet with tears of joy and was blooming;
5. who was blinking his eyes at every moment in meditation; who had placed his folded hands on his head that was bending; and who was coolly meditating on the flashing self that was in front of him and that possessed infinite wonders.
6. Nothing from outside disturbs an individual who greatly experiences the happiness [ of the realization] of the great Brahman, who does not see the range of objects round about him, who does not hear the loud noise that is set out (round about him),
7. who is weeping for a moment and laughing now and then, who is standing breathless like a pillar for a moment and who is

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134
walking about for a moment, and who is talking aloud for a moment and who is [standing] with the mouth closed as through vanity.
KAṀSAVAHO
8. That ocean in the form of Acyuta, who was adorned with circles of foam in the form of strings of pearls that were heaving and clashing as he was happily strolling with hurried steps, rises up to receive him (i. e., Akrūra) who was like a river flowing towards him.
9. Taking him by the lotus-like hand, the son of Devaki (i. e., Kṛṣpa) leads him home, inquires about his health, offers him dainty meals, and further speaks something [thus] :
10. "O Akrūra, looking at you (who are) an affectionate relative (of mine), my mind has become bloomed [with joy ]. Ah! is this surprising that the Kairava-lotus immediately blooms when the moon has arisen?"
11. [Akrura addresses Krsna:] "I think, strong as you are, you live somehow with (your) splendour eclipsed, in fact, by the outshining lustre of the king of Bhojas (i. e., Kamsa) like lamps by day (with their light eclipsed by the outshining lustre) of the sun."
12. [Krsna says: :] Inasmuch as those parents of ours are undergoing imprisonment, though [we] the two sons are safe [here], people are saying: 'Surely, to have no son is better than having a bad one'."
46
13. "How can we abandon even these [foster-] parents who nourish our bodies and who are affectionate like our mother and father? Will not great men detest those that follow the way of the cuckoo in this world?"

Will you tell [us] After saying this,
14. "Or there is no need of too much talk. what is the occasion for [your] arrival?" Madhava (i. e., Krsna) stops, for pious men talk in measured words.

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TRANSLATION, I
15. Hari (i. e., Krsna) is addressed thus by Kamsa's messenger whose character is pure and whose head is bent [respectfully] : 'To have an excellent and agreeable audience with yourself is the special purpose of our arrival'.
135
16. You whom search for long even the great ascetics that have cast off worldly] attachment, that travel along the path of the Vedanta [philosophy] and that labour hard in the practice of Yoga-exercises such as self-restraint etc., have been visible to me (lit., have come within the range of my sight) through my good luck.
17. Victorious are my eyes by which is being tasted (i. e., seen ) your face which is an unique abode of the qualities of well-formed beauty, which is similar to the lucid full-moon and which is sparkling with a smile.
18. O Madhava, that the festival of seeing thy face eye to eve is prohibited by your maternal uncle who is, as it were, a mass of sin spreading out, is indeed a perversity of fate.
19. Indeed, fate is pleased with me now; indeed, there is a great accrual oi merit to me that today I have been despatched to you on an important mission by that very king of Bhojas.
20. O Madhava, listen what that maternal uncle of yours, who is ever agitated by fear, aims at: now he wishes to cheat even you who bestow on the world very great prosperity indeed.
21. Verily that miscreant prepares himself now to crush you to destroy whom, of long arms, Pralamba, Kesin and others were not able.
22. O Lord of the three worlds, that wicked king, seated on the dais, conspires with Kumbhirāja and the Mallas to kill you [after inviting you] with the pretence of bow festival.

23. Whatever that wicked king told me in private, having called me[to himself ], you hear that as well: "O Akrūra, quickly go to Gokula and further talk to those boys, Rama and Kesava [thus
24. In a big hall at Mathura, guarded by the arms of the king

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KAMSAVAHO
of Bhojas, the consecration of a bow is being celebrated; if you have any curiosity to see that, then come along and attend the festival.
25. Let that Nandagopa also, accompanied by friends and relatives, come quickly to my abode; I have great eagerness to see you [all]": thus it was all pronounced by him.
26. Such is the (outward) form (lit., body) of this affair wherein, indeed, breathes the [ spirit of] fraud. O son of Nanda, you may or you may not go: it is not for the messenger to persuade or dissuade.
27. The son of Rohini (i. e., Balarama) speaks to him (i. e., Krsna) thus: 'O brother, [my] curiosity gets excited (lit., starts), because there is a bow-festival; and it gets damped (lit., vanishes), because it is an occasion for treachery: [so] the fixity of my mind is divided'.
28. [Then these words are uttered by Vanyamālin (i. e. Krsna): "O destroyer of Pralamba (i. e., Balarama), away with ( this ) meaningless conjecture; it is only for the ill-behaved (lit., those that are ready for unworthy acts) that there are enemies. Whence is [there] any fear for us who are following the path of duty?
29. Well, if an ordinary man were to act rashly, indeed he would himself come by his ruin. Is not a swarm of moths, which is out to swallow a burning flame (lit., enkindled fire), burnt down?
30. No one, whose ways are crooked and full of vanity, can dare touch us who are of pure character. Tell (me), can the darkness of night darken the brilliant clusters of stars in the sky?
31. The strength of arms of one who is full of the pride of his arms becomes manifest only in the midst of enemies. Does even the multitude of the flames of fire burn by itself without fuel?
32. Now, we will all set out together taking the lead of the chiefs of Vraja without being confused, with poles and pots, and mounted-on carriages; let the king of Bhojas (i. e., Kamsa) be honoured."

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TRANSLATION, I
137
33. ( After ] speaking thus, the son of Devaki (i. e., Krsna) gets into the chariot with Balarāma ( lit., one who has a plough in his hand ); and suddenly by his side the son of Gandini (i. e., Akrūra ), with reins between his fingers (gets into the chariot ].
34. Happily spending the night, himself sleeping in the palacelike chariot itself, Madhava started (on his journey ] early in the morning accompanied by Nandagopa and others that had gathered together (there).
35. Then, hearing the report of Kșspa's ( lit., one whose banner is marked with the eagle ) departure, unbearable to the ears, the Gopīs, who are afraid of separation, begin to lament with their words broken by the water of tears trickling as for as necks.
36. Alas! doubly cursed are we, the cowherd ladies! What grace is there in Nanda's home without Nanda-prince, as on the head of Sambhu without the crescent moon (lit., young or not fully grown moon) and as on the chest of Visnu without the Kaustubha ( jewel)?
37. Alas! verily ridiculous is our heart which even now follows that cruel person who suddenly went away ruthlessly renouncing us who have no other patron.
38. What shall we do here, [inasmuch as ] the heart of young girls is fixed on a meritorious person? (For] it is not possible to drag away a swarm of bees [ settled ) on a tree fragrant with fine flowers.
39. Really Janārdana is our vital life; the wicked person, by whom he was led away far off, came here ) verily as a messenger of the god of death and not as a messenger of Kamsa: thus you { should ) understand, O Gopīs.
40. The etymological formation of the word Akrūra is necessarily ( made] thus in is case: 'No one other than he is cruel (krura)' Just as the word A-ghora (i. e., non-terrible) denotes īśvara of terrible form, so we think [ with regard to Akrūra as well).
41. O (Gopis ), you remember (hereafter) only Hari's figure

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KAMSAVAHO
which has dark and delicate radiance like that of an emerald; which has peacock feathers adorned by his glossy hair; which has large eyes like blooming lotuses;
42. which has the lunar orb [in the form of its perfectly beautiful face (attended) with moonlight [in the form] of brilliant radiance of the flashing teeth; whose chest is ablaze with the lustre of the Kaustubha and the strings of bright pearls; which has a distinct mark of (Śrī-)Vatsa (on the chest);
43. which is distinguished with extremely tender and creeperiike arms that surpass the beauty of the body of a serpent; whose hips are covered with a yellow garment which is hanging down from a golden belt that is overspread with the lustre of jewels;
44. whose lotuslike feet are overspread with the lustre of the nails, are clear like the brilliance of the sky, and are red and radiant like coral; and which, for a moment, rouses the passion of cowherd girls by its side-glances lit up (lit., moist) with the pleasing smile.
45. O beautiful girls, let not the various novel sports, which were indulged in by Janardana on the banks of Yamuna and which were vigorous on account of the crushing of beds made of fresh leaves of Nicula creepers, be forgotten.
46. Where, in fact, stands as a witness that cane-creeper, growing on the bank, whose clusters of flowers are plucked, which is full of bees hovering round on the tips of bending stalks and in which are concealed the echoed notes of parrots.
47. Where, as a matter of fact, the forest-trees, which have put forth (their) sprouts by reason of their] tasting the nectar of the pleasant notes issuing from the hollow of Mukunda's flute, ward off the summer heat for us, though [they are] withered by the heat of conflagration.
48. Where the sylvan breezes, which are moist and cool on account of the contact with the waves of Yamuna ( (lit., the

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TRANSLATION, I
daughter of Kalinda) and which are loaded with the pollen of lotuses, act the part of fans for us who are sick with fatigue.
139
49. Where the clouds hanging on the slopes of the mountain Govardhana and possessed of thunder and lightening are like companions who have accidentally come and who are bent on chasing away the vanity of us here.
50. Where, for us, Vrndavana was an unique rendezvous; the moon himself, a jewel-lamp; the heap of the leaves of trees, a fresh bed; and the vernal flowers, the [various] ornaments.
51. O young ladies (walking gracefully like elephants) that time is gone; let us bid farewell to [our cherished] desires, because the person, who was the root-cause of all the happiness and who was like a salve to the eyes of people, has gone away.
52. When, indeed, shall we see, for a moment, Krsna's lotuslike face which is shining with earrings that are dangling on the cheeks and have a clear hallo of light and whose pink lower lip is like a fully ripe Bimba fruit?
53. Surrounding [him] by these arms, when, indeed, shall we embrace his broad chest so as to crush the brilliant garland of wild flowers by the impetuous pressure of [our] swelling breasts?
54. Rushing forth with speed and behaving according to our desire, when, indeed, shall we drink the nectar of the lower lip of him (i. e., Krsna) who is standing fearlessly in the heart of the rendezvous bower and who is waiting (for us)?
55. Then that son of Gandini (i. e., Akrūra), who came (back) at the instance of Mukunda, respectfully spoke something to those ladies who were lamenting thus and who were suffering from excessive sorrow at the separation from their beloved.
56. O Abhira ladies, verily you are lamenting in vain being nervous and perturbed. How can that Hari, who is devoted to you, forsake you, [who are ] of tremulous eyes, even for a moment?

57. Being nailed by the arrows [in the form of the side-glances discharged from the bows [in the form of your arching eyebrows, how can he waver [in his devotion]? Now you should patiently bear his rash departure on an important mission.

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KAMSAVAHO
58. Does not the moon, that sinks in the ocean [ early ] in the morning, come up (again) in the evening ? No more sorrow; for you, who are graceful, the return of a person who has gone away is not a rarity.
59. Like lotus plants (waiting) for the sun who illumines the whole world and who expells the spreading mass of darkness, you wait for the return of him (i. e., Krsna) who bestows the light (of knowledge) on all the people and who removes the mass of ignorance.
60. That cloud [in the form ] of the messenger of Mādhava appeases with extremely cool showers of water (in the form ] of words the flock of Cătaki birds [ in the form) of the party of Vraja ladies that was tormented by the hot summer (in the form ] of the misery of separation.
61. Then, at the dawning of the day, the son of Gāndini (i. e., Akrūra ), immediately mounting the chariot occupied by Hari, acquires a rare and auspicious beauty pleasing to the rows of lotuslike eyes of men, just as Kāsyapi (mounting the chariot occupied by the sun acquires a rare and auspicious beauty which is pleasing to the beds of lotuses ).
62. Accompanied by the cowherd chiefs, Mādhava, driving (lit., going) in a chariot that surpassed the wind by its speed, reaches the bank of Yamunā (lit., the daughter of the sun ) where the Tamāla trees on the slope are struck by series of waves similar to the rows of the peaks of Krsna-giri.
63. That son of Gāndini (i. e., Akrūra), bathing in the waters of Yamunā, had his body bristling with hair-ends through surprise after seeing Väsudeva even s in the waters ] there like a reflection.
64. Then, after crossing that (river Yamunā), that slayer of Madhu (i. e., Krsna), who is pleasing and sweet to the young minds, enters the town, Mathurā by name, accompanied by his party; and there, passing through the streets, he gives excessive pleasure to the ladies just as the moon to the night-blooming lotuses. Thus (ends) the First canto in the ( poem ] Kaṁsavaho
composed by Rāma Pānivāda.

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CANTO TWO 1. Now, Vanamālin (i. e., Krsna ) who was wearing a garland given by a florist and Musalin (i. e., Balarama) see a certain washerman going by the royal road and carrying a load of washed clothes.
2. He was asked for clothes by the princes whose faces were charming with a gentle smile, [but] the vile servant of Bhojarāja, who was obstinate with excessive vanity, gets angry and speaks { thus ) :
3. “O boys, why are you tlus talking about this matter ) which, indeed, cannot even be thought of? What would not the black snake, which indeed bites even when threatened ( from a distance], do when touched [ actually) ?
4. Not only that these clothes of Bhoja king, asked for [by you] will not be obtained, but also you ( should ] know that verily this itself would become, Alas, the cause of even your decapitation.
5. Evidently the wretches invite (lit., experience) their own ruin by uttering unspeakable words. Do not the moths die in the fire by [ reason of their ) possessing ( wantonly) futtering wings?
6. Well, let it be, only once I ( may ) put up with your boyish pranks; ( but ) the king, who is devoid of (any) affection, would not tolerate these, if he hears them.
7. After speaking thus bitterly, when he began to proceed simply laughing, all of a sudden the clothes were taken away by the slayer of Madhu (i. e., Krsna ) from his hands.
8. Then the lord of Laksmi, suddenly injuring it (i. e., the head) by the points of his nails, knocks down the head of him (i. e., of the washerman) who was thinking of attacking him and who, with excessive anger, had hurriedly raised his hand armed with a stick.
9. The soul of the washerman, becoming lighter than ever and having become pure on account of the washing away of its sins, enters imo eternal light; and (at the same time, the pile of

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clothes, becoming lighter than ever and having become pure on account of the washing away of its dirt, enters into the possession of] Vāsudeva.
10. With white robes put on, his body, which is blue like the Tamāla tree and which is attractive with a shining girdle of gold, shines brightly, as does the peak of the Blue-mount, beautiful with its slopes bright with gold, on account of the rays of the moon.
11. Then he sees a certain humpbacked lady whose appearance was attractive to the eyes though her slender body was bent and who was as it were the (bent ) bow of Cupid.
12. Going nearer, Hari asks her who was gradually coming (to him ) carrying in her hand a jewelled pot, full of saffron, that was followed by bees.
13. “O young girl of crooked glances (lit., eyes ), whence do you come, [and] how is it that your body is bent ( like this ]? O (you) of beautiful form, to whom are you slowly proceeding to give this soft saffron ? • 14. Then she speaks ( in reply]: "On me strongly works the adverse power of fate that has produced even in my body (that) crookedness which is known [to exist ] in the heart of women.
15. O handsome one, [just ] hear, I am a modest artisan residing in the king's harem; and I am going to the mansion of king Karsa in order to give him [ this ) saffron.
16. Tender is this your body and ( quite] fragrant is this saffron-paste; so let your honour alone accept this, because the meet ing of the like leads to happiness."
17. Thus Krsna and Rāma, with (their ) limbs fully anointed with the saffron given by her, glitter like Sinduvāra tree with flowers and buds lit up ( lit., being touched ) by evening twilight.
18. Slowly catching that lotus-eyed (woman) at her chin with his tender hand, Krsna then made that humpbacked lady straight with her moonlike face turned aside with obvious bashfulness.
19. Just as the crescent of the moon, though curve in the

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beginning, becomes full on the full-moon day; so she became at once full of the moonlight [in the form] of pleasant and delicate loveliness.
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20. After saluting Nanda-prince that had come too near her, the fawn-eyed lady, who was carrying [in her heart] the dart of love's uneasiness, addresses (him) with words that had shaken off the fetters of bashfulness.
)
21. O illustrious one, can it be that the god of love, who has conceived hostility towards you, thinking that he is vanquished by this your superb physical beauty, is tormenting me because I am compassionated by you now?
22. I think, the god of love (lit., the god with an odd number of arrows) nowadays prepares (his) arrows with the flowers of poisonous trees; otherwise, how is it that with mild ones (i. e., arrows) my heart would be tormented (lit., burnt) and be led to infatuation by him?
23. O you of lovely form, with [your] side-glances, which are speckled [black and white] like the variegated skin of a spotted antelope, oblige me whose mind is tormented by the terrible fever of Cupid and who have been made helpless though a mistress of my own self.
24. Your delightful image is reflected in (my) heart which [consequently] possesses a glossy and lovely grace of yellowish blue; with my jarlike breasts I would fain} wipe off the saffron that resembles the glow of minerals on the Krsna-mountain."
25. Then Vasudeva spoke [thus]: "O you with lovely brows, it is a very great audacity on your part; [for] you have taken away from me, i. e., you have anticipated] whatever words I wanted to say.

26. Does the goose wait for courting words [from the lotus plant] under the semblance of the humming notes of bees issuing from [its] blooming lotus-mouths? But on the contrary] he [ makes advances towards the lotus plant as soon as he sees it.

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27. O proud lady, I, who am occupied with an important business, have no leisure to embrace your jarlske massive breasts: it is only a man of leisure that can afford to indulge in love affairs.
28. I shall come ( back ) as soon as I am free from the shackles of the king's service: even that moon, whose appearance is screened by clouds, is not able to touch the water lily.
29. And thereafter, let the sports desired by [our] hearts extend over the nights bathed in moonlight like the utterances of gifted poets in the assemblies of appreciative people."
30. Thus addressing that pleasant-looking lady and bidding good bye to her who was really satisfied [ by his assurance ), Krsna accompanied by his elder brother proceeded with his people, and gradually enters the royal residence.
31. There, even the common people, whose curiosity bloomed at the sight of the dignity of the splendour of their glorious and extremely shining bodies, point out the path to him: whom do the meritorious not attract ?
32. [Then ] the enemy of Madhu (i. e., Krspa) enters the gymnasium for archery which was lit up by the flames of jewellamps, in which clusters of garlands were hung on golden pillars, and which was full of the fragrance of bdellium and insense.
33. Taking the bow that was decked with manifold fragrant flowers by (his) tender hands and stringing it in mediately, he pulls it clasping it by the fist.
34. No sooner the words of the servants, “O boy, do not, do not touch that bow honoured by the king” are heard, than the bow is broken by the slayer of Madhu (i. e., Krsna).
35. Is this thunder? [But] whence (can there be ] a cloud ? Or is it indeed the roaring of the Man-lion that has returned ? Kamsa had his mind thus disturbed with hundreds of thoughts by (hearing) the sound of the crashing of the bow.
36. Then Rāma and Krsna fierce with anger, crush in a battle, with broken pieces of the bow, the soldiers cn guard that were assailing and insulting [them) with harsh words.

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37. When Vanamālin (i. e., Krṛṣṇa), like the sun, is shining, the minds of good people, like day-lotuses, bloom (with joy); while those of wicked people, like night-lilies, are contracted.
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38. Then the son of Devaki (i. e., Krsna), coming with Rāma out of the gymnasium for archery and being gazed at (lit., drunk) by the eyes of young ladies, moves about visibly in the open space of the yard.
39. Coming to the capital of the Bhoja king and looking with gratification at the royal residence, he gradually addresses Rāma in detailed words and in a pleasant manner.
40. Behold the sweetness of our town Mathura which is praised by the world and which drives away the chariot of the sun due to its stumbling against the domes of the series of jewelled palaces.
41. With fingers [ in the form] of fluttering flags on the hands [in the form] of lofty banners raised aloft, this [town], full of pride, browbeats as it were the city of gods which is humiliated by its prosperity.
42. This [town], in which hosts of Apsaras in the form of town-ladies are playng on the open flats on the tops of palaces which possess the beauty of the golden mountain (i. e., Meru) and which (town) stands in the midst of the ocean [in the form ] of the moat, itself assumes the glory of Jambudvipa.
43. The region of the pavement, inlaid with crystal stones and blended with the rays of yellowish blue dwellings, reminds us here now of the streams of Jahnavi (i. e., Ganges) joined by Yamunā.
44. Here in this town], without any apprehension, lovelorn ladies proceed to meet their lovers], even by day, along the streets that are obscured by the splendours, black like darkness, flashing from pleasure-mounts made of black precious stones.

45. Here, the sky being lit up (lit., besmeared) by the lustre of golden palaces, the Cakravaka-couples in the lakes, mistaking it (i. e., lustre) for the rays of the rising sun, do not get separated even pretty late at night.
10

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46. Here the masses of the splendour of the jewels on the ramparts, which emanate in the form of a circle and touch the sky, brighten for a while the luminous hallo of light of the sun and the moon.
47. The heavenly breeze steals the pearls under the guise of the drops of perspiration on the moonlike faces of lovely women loitering in the round enclosures on the turrets of gates.
48. Here [in this town), the youths, cohabiting with the moon-faced ladies in the interiors of moon-stoned dwellings, do not, indeed, experience the exhaustion of love enjoyment even on the gloomy summer-nights.
49. This [town of Mathurā ], with its head [in the form ] of lofty palaces lifted up and with its eyes ( in the form ] of circular windows dilated, is, as it were, looking eagerly at the earth which has a girdle-band ( in the form] of the ocean.
50. Here, the young trees in the pleasure-grove perform the function of washing the feet of guests with the water (in the form) of the trickling juice of flowers and make an inquiry about (their) well-being with the notes of cuckoos.
51. Here, the breezes, loaded with the moisture of the lakes and charged with the delicious fragrance of lotuses, are indeed ever ready to allay the increasing sexual exhaustion of the couples.
52. Here, in some places, the bees, which are swarming on the ground that is slimy with streams (oozing ] from the fountains of the temples of constantly infuriate elephants, create the illusion of a pavement of (blue) sapphire stones : is it not so ?
53. Here, the peacock dances, day to day, in some shelter which is constantly sprinkled over by streams of water splashing with a rustling sound as they issue forth from the channels of water-jets without any hindrance.
54. Here, somewhere, is heard the sweet and loud sound of a tabor which is deep and [therefore] resembling the thunder of clouds and which is a signal to the gesticulations of actors in the

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midst of musical concerts that are displayed with the observance of tempo.
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55. Do you hear, somewhere in the liquor-clubs, at the time of dance, the singing of maidens from the eastern countries which is vehement due to the effect of intoxication, which is charming, and which resembles the sound [issuing] from the throat of a cuckoo.
56. Yonder [you] hear the sound of the disputations of grammarians like this: [ some maintaining] 'the sutra (anaci ca), which defines the. (retrospective) influence of a following letter (in duplicating the immediately preceding), is inoperative, because the substitute-letter has the same value as that of the original one'; [ while others argue] 'it is operative in the matter of changes due to any letter'.
57. This town of ours, which is (rendered) resonant in some places by hosts of bards that are uttering panegyrics (lit., glorificatory verses), though seen for a long time, does not, indeed, [ permit us to ] divert (our) eyes elsewhere.
58. Are there no Gandharvas here? Are not the Vidyadharas , indeed, found (here)? Is there not the fine party of Caraṇas (here) ? Are not the Kimnaras triumphant (here) ? Is this not an abode of the gods ? Is not the great Indra the lord of it? This charming abode of wealth which is glorious with the possession of religion is heaven itself (which is an abode of gods that is glorious with the Sudharman hall).

59. Here, the beautiful ladies, whose passion is excited by the loud shrieks of the violently dancing peacocks that are full of eager longing on account of the splashing sound of rain-showers discharged by massive and thundering clouds that are clinging to the peaks of pleasure-mountains, and who are affectionate (lit., wet) with great attachment, though refractory in love, embrace (lit., cling to the necks of) [their] beloveds, closely and impetuously, bri ging together (i. e., pressing) the golden jars [in the form] of their swelling breasts.

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60. Thus, when that son of Vasudeva (i. e., Krsņa), after personally summing up , at ease, hundreds of utterances detailed on accoun of the abundance of topics , approaches his residence, at that time the sun as well [ approaches ] the peak of the western mountain.
Thus (ends) the Second Canto in the
(poem) Karsavaho.
CANTO THREE 1. The sound of the drum, which is begun early in the morning and which is the Sūtradhāra that comes forth first at the commencement of the wrestling fight which is like a dart to the heart of adversaries, announces, as it were, to the parties of bards, the passing of the ( appointed ] time of awaking.
2. The bardic party, constructing poetic compositions with words full of sentiment [ and hence .] resembling (iva) the waking genius of a wise poet, gradually proceeds to wake up the sleeping lotus-eyed ( Krsna).
3. Hail! O blessed one, may the dawn, which is indeed the occasion for a happy waking and which is attended by restless swarms of bees that are [ as it were ] the side glances darted by the lotus-beauty, bestow good fortune on you, the preëminent one.
4. This lord of night (i. e., the moon ), seeing the prospect of the loveliness of your face outshining by the beauty of its eyes the darkness of his spot, has stepped away with stealthy steps (even] before your waking up.
5. O descendent of Yadu, these stars of your eyes (i.e., pupils), on (your) waking, will favour all the people; and behold, on account of them, those other stars in the sky) (will) indeed quickly grow pale through (a sense of] shame.
6. In the light of the moon the masses of darkness remain, indeed, somehow sheltered by the shade of trees; [but] now, in

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the flash of the light of your moonlike face, they disappear suspecto ing their destruction.
7. O blessed one, the sun has arrived hastily in order to touch with his rays (kara) the contracted lotus-face of the lotus plant which (face) is pale with the pangs of separation, even as you go to caress with your fingers the contracted lotuslike face of Rādhā haggard with the pangs of separation.
8. O Mukunda, the rays of the moon, with their garments [in the form) of pleasantness dropped away unknowingly, have disappeared somewhere being afraid of the sun who has been for a long time preparing (himself) to rise, just as the soldiers of the enemy, being afraid of you who have been for broaring (yourself ) to rise, (have disappeared somewhere with their garments dropping down unknowingly through fear ).
9. Now that the night, the cause of separation, has vanished, the Cakravāka birds meet their mates, just as the good people meet the series of your compassionate glances when their array of sins is pacified.
10. Seeing a swarm of bees hovering within the slightly opened calices of lotuses, Oh, we remember your eye-pupil which is moving unsteadily within your ) large eyes that are gradually opening as you wake up.
11. This cluster of the rays of the dawn, which is reddish like the Bandhūka flower and whose glow is slightly blended with moonlight, captures our attention like your lower lip which is touched by the lustre of (your) very bright teeth resembling a string of pearls.
12. O Krsna, the emerald pavement, suffused with the reddish rays of the sun, shines like the (dark) region of your chest imprinted with the saffron from the massive and jarlike breasts of the cowherd girls.
13. O Vāsudeva, waking up (i. e., as you wake up) you too make the lotuses of your eyes bloom, [even) before the lotus-pool voluntarily opens ( its ) eyes in the form of [lotus-] buds.

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14. These sun-stones, pierced by the rays of the sun, begin to emit heat: even the insignificant do not tolerate the display of others' lustre, then what of great men like you?
15. This red glow of twilight, [which is indeed] a stream of blood, flows forth from the frontal region of the mighty elephant [in the form] of darkness, which (frontal region) is wounded by the claws of the fierce (sphuta) lion [in the form] of the sun and from which pearls [in the form] of stars are falling down on account of the mangling.
16. The bee, leaving immediately the night-lotus bed which is closing (lit., sleeping), resorts to the day-lotus bed which is blooming (lit., waking up), because, for one who has many beloveds, there is no hindrance anywhere in the matter of ever new lovesports, as in your case.
17. The reddish mass of the sun's rays causes the saffron-paste, (which was painted) on the large jarlike breasts of unchaste women coming out from [their] lovers' houses and which has been rubbed off by the chests of their beloveds, to look as if it has been applied once again.
18. And further, this (mass of the sun's rays), appearing in contact with the water of the (eastern) ocean, causes the suspicion of the bright submarine fire; and on the heads of elephants it intensifies the reddish hue of the vermillion powder.
19. Surely, let this lustre of the sun, which looks like a piece of broken coral, freely flash on your sapphire-blue chest, so as to acquire the loveliness of the saffron mark left [there] by the massive breasts of that Laksmi.
20. Behold this orb of the rising sun which is an ornamental coral ring on the ear of the lady in the form] of the East, which is a thousand petalled lotus in the lake of the sky, and which is a dome on the jeweiled palace [in the form] of the eastern mountain.
21. Janardana, who is awake even before the out-pouring of suchlike eulogies of theirs, [then] leaves his bed: [for] the

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lotus-plantation blooms first, and then indeed spreads out the cackling of the royal swans.
22. Early in the morning, he, like the sun that pervades the region of the sky with the exuberance of the splendour of his brilliant body, becomes visible to all the people whose minds are intent on the aim of serving his feet.
23. Then he proceeds towards the city-gate [after] saluting the twilight which is red like a blooming Japà flower, which looks like a maiden's lower lip red with betel-chewing, and which is reminiscent of the moonlike face of Rādhā.
24. That Kệsņa, whose chest is beautiful with a dangling necklace, (while) following Balarāma whose body has a snowy lustre, looks very well like a fresh blue cloud shot with (a streak of] lightening following the moon.
25. Then throbs the left eye of his mother, who was afflicted with sorrow over many a day, and (so also į of the enemies like Kamsa and others who had resorted to trechery and of the athletes who were wretched by nature.
26. Rāma and Krsna, who shone with the splendour of their costumes and with their manifold graces, gradually pass along the road which is decorated with glistening emeralds (in the form] of the continuous brilliance of the side-glances of town-ladies standing on the turrets of palaces.
27. At the gate, according to the king's command, Ambastha tries to stop by means of an elephant that lord (Kęspa) of irresistible valour like a person trying to screen the revered sun with the umbrella [in the form] of his hand.
28. That crooked-minded (Ambastha) urges on the emirent elephant, Kuvalayāpida by name, whose huge tusks were hard like thunderbolt and who looked as if he were Airāvata himself sporiing on the earth.
29. “O naughty (lit., unrestrained) boys, why do you rush into the presence of this rutted elephant, that is the very yard of Yama's

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house, to court (your) death? Get aside immediately:" thus speaks the elephant driver with vanity.
30. “If you do not turn aside the elephant, then he would not remain alive even for a moment:" after speaking thus, Hari, who is fierce in action, accompanied by his brother, began to overpower him.
31. Dragging bim (i. e., the elephant) with his arms, Mukunda disports turning round and round the elephant who was wet with streams of rut overflowing from his wounded temples and who had a snakelike chain fastened round his waist, as (it was done] formerly [with] the mount Mandara ( which was wet with torrents of water rushing from its broken sides and which had a snake passing round its middle part).
32. Then knocking down that enraged elephant who was indulging in useless sport [in the form] of circular movement with his trunk formed into a ring, he (i. e., Krsna) strikes him with violent slaps on the termple that was swarmed with bees.
33. When, in [course of] the sport, Hari clings to the earth, that great elephant, which pierces the ground [in order to strike him) with the pair of tusks, is not able to pull out the same as it sinks there.
34. Then Krsna, with his mind enraged, stepping within half a moment on the temple [ of the elephant] with the left foot, pulls out with both hands the pair of his tusks with [their] root-bonds broken and loosened.
35. When the great elephant falls down like the Black mountain that was tossed away with the wings broken by the thunderbolt, verily the globe of the earth trembles as if dislodged from the multitude of the hoods of Sesa.
36. How long does the great elephant move voluntarily along the path trodden by Ambastha ? Thinking thus Vāsudeva sends, at that moment, [that] wicked Ambastha, indeed, along the path trodden by the great elephant.

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37. Then Rāma and Krsņa, roaming in the residence [of Karsa), like sun and moon in the firmament, characterised by excessive heat and gentleness, bestow on some the blooming due to joy and on others fading (due to sorrow].
38. All the people immediately achieve, according to their desire, the purpose of the existence of. (their) eyes, after seeing, to their satisfaction, those [Rāma and Kệsna] whose chests have rolling and brilliant sylvan garlands and who are sporting carrying the tusks of the great elephant in their hands.
39. The faces of those, who bear hatred smouldering (lit., standing) in their hearts, become completely faded at that time: the forest-fire, present in the hollows of trees, ever fades (their) flowers.
40. Then those well-accoutred athlete-fighters, who had pledged themselves to conquer the Yadu princes and who were directed by the vile king, go forth rapidly to attack them like wild elephants (that go forth to attack) the lion-cubs.
41. Then both Cāņüra and Mustika, who were awake and who shone with the sprouts of vanity as though sprinkled over by the shower of the glances of their master seated on an elevated platform, personally protect the entire army of Mallas.
42. Cāņūra, advancing towards the slayer of Kaitabha (i. e., Krsna), proudly speaks thus: “O son of Vraja chief, the king of Bhojas (just) waits here wishing to see your skill in the art of fighting
43. It is the king alone that is skilled in the science of archery, and it is the cowherd (i. e., yourse , alone that is expert in the technique of fight. In whatever (department) one makes excessive efforts in that one becomes adept.
44. How, indeed, can this competition with the wrestlers of great valour be difficult for you? As a matter of fact, were not the Daitya heroes such as Pralamba, Kesi and others killed by you, [when you were] just a child ?

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45. Verily, therefore, both of you fight a duel, according to the regulations (of the duel), with two wrestlers; let the Bhoja king, who is full of curiosity, know for himself the relative excellence of the strength of arms of us [the fighting parties]."
46. Hearing his words thus, Krşņa, being pleased, gets prepared and occupies himself with him [in a duel]; and Balarāma (lit., the pestle-bearer) also, being enraged, [occupies himself in a duel] with Mustika by means of his fists hard like the impact of the thunderbolt.
47. Theirs was a duel in which there was a mutual exchange of words harsh with reproach, in which arm-locks were being adopted, unfastened and dropping down, which was terrible on account of the clear and shrill sounds of (mutual] striking, and which agitated all the three worlds.
48. These [fighters], who drag with the pair of their hands the knees and shanks (of the opponents), whose limbs are broken and besmeared with blood in course of the conflict and by whose wild movements the circle of the earth was made to tremble, begin to display manifold feats of valour.
49. "Alas! what hard-hearted (person) would impell the tigers to fight with the youngs of hares? Let us go away, this is an unfair duel not to be witnessed": so speak the good people at that time.
50. Holding Cāņūra by both of his feet, Krsna dashes him with a crash on the ground; and similarly, in fact, his elder brother
(strikes down) that wicked Mustika: [thus) both the wrestlers met their end.
51. In fact so many wrestlers, that were fighting, were killed by the elder brother of Gada (i. e., Krsna); and so many, that were frightened, took to their heels: when the sun is distinctly arisen, even the planets are wiped (out of sight), then what of the swarms of fireflies?
52. "Let these boys, that are bitter by nature, be imprisoned per force, and let even these cowherd parties be killed violently;

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know that these deceitful ones would destroy you, if they are let loose ": thus speaks the king of Bhojas at that time.
53. That Krsna, who destroys the sufferings of those that are devoted to him (vinata-arti-bhañiana), assails that Karnsa who possessed a wicked intention, who was crooked by nature, who was terrible like a black serpent and who was seated on a platform, just as the lord of birds (i. e., Garuda), who destroyed the sufferings of Vinatā, attacks a terrible black serpent that has excessive poison and that is crooked by nature.
54. No sooner Karsa gets up holding the sword and shield in both of his hands and begins to strike him, than the destroyer of Madhu (i. e., Krsna) forcibly makes him fall on the ground from the elevated seat within a moment.
55. Jumping on his chest which was moist with the sandalpaste on the broad region of the breasts, that Krsna, sword in hand, quickly so cuts the bone and fat that the king becomes (merely] a legendary remnant.
56. Pitilessly dragging his body, which is sprinkled with blood coming out of the mouth, that eagle-bannered (Krsna) attains, according to his pleasure, the pacification of [his] enmity at thai moment: verily anger agitates the hearts of even the great.
57. At that time a shower of flowers from the celestial trees (viz., Kalpavěkşa), which is noisy with the murmers of series of hovering bees and which is let down by the hands of gods, falls from heaven on the head of the lord of Laksmī (i. e., Krsna) which is decorated with peacock feathers that are flashing in the glossy and thick locks of hair.
58. Apparently the heavenly nymphs, with mutual jealousy. dance voluntarily in the firmament; celestial drums, excited by heavenly breezes, sound deeply; and the earth is full of loud sounds of the furious, outbursting and joyful trumpeting of the party of quarter-elephants with the streams (of rut) from the fountains of their temples let loose (lit., burst).

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59. Then the eight youngest brothers of (that) king, who were uppermost in harsh horselaugh etc., though wicked and enraged in thought, joined the company of gods on account of their being killed by Vistaraśrava (i. e., Krsna).
60. Thus, the sun (in the form) of Mukunda, whose splendour is beneficial, who has driven away the darkness { in the form] of enemies by the sunshine [in the form) of the excessive valour of the wealth of his arms, who is a [great] hero, and who is preëminent in spotless virtues, makes the multitude of lotuses (in the form] of the minds of wise people fully blooming in this world.
Thus (ends) the Third Canto in the
[poem] Kamsavaho.
CANTO POUR 1. And afterwards, the cloud ( in the form) of Krsna verily sprinkles with the showers of (his) beautiful (lit., the wealth of ) side-glances the living world that was being burnt by the pressure of the summer-heat ( in the form ) of the valour of arms of the Bhoja king.
2. When the king Kamsa went to destruction, great satisfaction pervades the minds of people, just as a party of swans (occupies ) the beds of lotuses, when the rain-cloud has fallen down ( in the form of rain).
3. Then the highborn (and virtuous ) girls move about openly and freely without any fear of (their) pure conduct being molested, just as the moon's rays being free from ( the tyranny of) darkness spread out openly and freely.
4. Then, though pleasant in the evening, the night, terminable as it is, causes pain to youths, because they are desirous of enjoying themselves with beautiful damsels without any interruption and without an end to their passion.
5. It is the amorous glance of clever ladies, which possesses passionate love, which is very cooked and which has the lustre of

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157
a blooming lotus, that falls on the voluptuaries, but not the king's sword which possesses a passion for blood, which was curved and which had the lustre of a blooming (blue) lotus.
6. Then, having appointed Ugrasena as the emperor of Bhojas and Andhakas and as the protector of the subjects, that consort of Kamalā (i. e., Krsna) releases (his) mother and father from the prison-house.
7. The hero among the Vrsņis (i. e., Krsna ), accompanied by his elder brother, approaching them (i. e., the parents ) whose eyelids were fringed with affectionate tears and mentioning his name; offered a prostrated salutation.
8. Indeed that Anaka iundubhi (i. e., Vasudeva), along with Devaki, congratulated these (Rāma and Krsna ) with blessings consisting of worús hindered by tears: “O boys, may you be long-lived for long”.
9. Crushing the shining garland of wild flowers, the father embraces their chest which was shining like clear crystal in the case of one and which had the lovely appearance of powdered collyrium in the case of the other
10. Then, having arrived (there ) and offering salutations, the son of Gāndini (i. e., Akrūra) utters pleasing words, which are arranged in the form of narrative and which are charming on account of their order (of events ), concerning the princes.
11. This is he whose body, blue like sapphire, having a garland of wild flowers rolling on the chest and equipped with four arms, and hence (a sight) to be seen, you are surely beholding as he appears in front of you).
12. And while you were crossing ( the river Yamunā) taking him (with you) on that cloudy midnight, that flooded river ( lit., the daughter of Kalinda), though overflowing the banks by its waters, became fordable with legs at that time.
13. Having put him on the bed of the cowherdess, her daughter was brought by you, O Śauri: considering the gravity of the

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occasion, people do not mind, in fact, the heaviness of the price (paid) in (a transaction of] exchanges.
14. Verily this is that same naughty (boy) who, failing to get the satisfaction of his ) thirst, drank, merely by sucking her breast, even the life of Pūtanā that suckled him.
15. Indeed this is he by whom, (when) staying in Nanda's house, the Daitya hero, Tțgāvarta (by name), was made nonexistent; and ( thus ] that (Trạāvarta who had assumed the form of a whirlwind or ] Cakraväta (was made to be) a Cakravāka bird in the lake of Yama's realm.
16. Indeed here is he, the thief of cow-products, who was praised thus by jocular gods: “Let him steal (i.e., put down) all the vanity ( gavva=garva-) of the enemies: but why does he steal the dairy-products ( gavva= gavya ) of the cowherds who are his relatives ? ".
17. It is that very person who releases from bondage the people that are bound down by illusion, he himself, the noble one, was fastened to a mortar by his mother: indeed here he is.
18. O Śauri, formerly it was only one Arjuna, possessing one thousand arms, that was routed by Bhārgava (i. e., Paraśurāma ); [but] by this ( Krsna ) a pair of Arjunas, that had more than one thousand arms [ in the form ) of long branches, was broken down.
19. In fact Bakāsura, that tried, as it is said, to overpower him who was grazing his hundreds of cows, perished himself like a mass of darkness (that tries to overpower) the thousand-beamed sım ( who spreads his hundreds of rays in the space ).
20. That wretched Aghāsura, that was himself lying assuming the form of a boa snake, was killed by him who, standing in (its) stomach, enlarged himself, just as a person of Karmic flaw (is killed) by the disease of spleen enlargement (which arising in the
stomach becomes developed). · 21. He who began ( lit., begins ) to swing round this boy on the strength of māyā (i. e., miracle) was himself deceived; in fact

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159
Viridica (i. e., god Brahman), who fell in the deep ocean of mâyā, sought shelter of Kavaladdha-pāņi (i. e., Krsna ).
22. Indeed many days were spent by him in fondling sports with parties of cowherd boys at Vrndāvana, on the pleasant banks of Yamunā and on the peak of Govardhana mountain which resembles a palace.
23. By this Bala (rāma) was forcibly shaken the proud heart itself of groups of demons like Dhenuka (who assumed the form of a) Gardabha and others under the disguise of palm-grove; under the disguise of the copious water of its fruits the cause of the people's sorrow was drunk up; and under the disguise of the lives of the enemy the burden of the earth was removed effectively.
24. It is reported that Krsņa jocularly addressed Räma thus : "Well, while grazing the dhenuka (i. e., cattle ) in order to protect them, why do you kill Dhenuka (i. e., the demon by that name) ? How can we rely on you?"
25. On one occasion, the Nanda prince, like the autumn, makes pure the water of Yamunā which was dreadful with the columns (lit., creepers) of the poisonous exhalations of the snake Kāliya like the sky with the ( masses of ) dark clouds.
26. Indeed this Dāmodara, who is comparable to the morning sun, who has put on the yellow garment that looks like reddish sunlight, and who is extraordinary with the merits of enlightening the lotuses ( in the form] of the eyes of the series of jubilant gods, began to dance quickly by simultaneously putting (both) the feet on the peaks (in the form] of the hoods of the mountain [in the form] of that great serpent.
27. The boy Gopāla dances producing a tinkling sound of the anklets, bending the hood of the serpent by the pressure of (his). sproutlike feet, with the creeperlike girdle becoming gradually joose and with swarms of bees hovering round the hair which was attractive with a circle of waving peacock feathers.

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28. Moreover, this ( Kyspa ) bestows shelter from Garuda on the serpent ( Kāliya ) whose vanity was completely gone: though good people, when displeased, are ( dangerous like ) poison, still they are indeed ( beneficial like ) nectar, when pleased.
29. Then this ( Krsņa ), who is dark like sapphire, being decorated with clusters of Nāga garlands that are offered to him by a party of Nāga girls, looks like the clear sky with the stars.
30. Further, when bands of cowherds and cows were asleep, the lightening-like blazing forest-fire that was breaking out is drunk by him at once: every danger is possible in the case of the eminent ( people ) of this world.
31. Kämapāla ( i. e., Balarāma), who was guarding the flock of cows, getting angry, crushed with the fist [that] wicked Pralamba, a Daitya, a dependant of Karsa, who feigned to be a cowherd and who intended ( to play some ] trechery.
32. It is said, whenever any maidens sport in the waters of Yamunā, that Vasudeva steals their clothes, as if they were their clear hearts.
33. When, at a celebrated sacrifice ('held ) in a forest, he was turned off by the sacrificial priests who were asked for food, he gets tasteful and sweet food, along with respects, from their devoted wives; and he bestows liberation on them.
34. Diverting the devotion of Nanda and others from Purandara (i. e., Indra), he directs (it), in fact, towards the great mountain (Govardhana ), just as the day turning away the attention of the bees from the bed of night-blooming lotuses ( directs it) towards the plot of day-blooming lotuses.
35. Immediately digging up the great mountain Govardhana, making an umbrella [ of it), and taking (it) in his lotuslike hand, this boy Gopāla stops at once the rushing shower which falls down in great abundance from the interior of the array of clouds that are thundering and ablaze with lightening and which clearly per. vades the surface of the earth.

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161
36. Sprinkling this ( Krsna ), who was resorted to by Indra (lit., the enemy of the mountain ) whose fire of vanity was extinguished and who was pleased, with (the streams of ] milk flowing from her sponteniously oozing udder, the heavenly cow makes his title Govinda ( i. e., Gopendra) all the more appropriate.
37. Then, indeed, the jubilant beloved of Abhramu (i. e., Airā. vata), like an autumnal cloud, sprinkles him with the waters of the celestial river poured down from golden pitchers.
38. Well, on one occasion, Acyuta at once brings back, from Varuna's abode, [that] Nanda who had dived in the waters of Yaminã and who was carried away by a dependant of Varuņa.
39. In the vernal season, when the swarms of bees sticking to the tops of juicy mango trees are disturbed by the breezes from the mountains on the shore, this Keśava performs the steady Rāsa sport in the park of Vmdā which is cool on account of the copious trickling down of moon-stones that are touched by the effusion of moonlight and in the extremely holy localities on the banks of Yamunā (lit., the beloved daughter of Kalinda).
40. The boy (Krsna ), frequenting the assemblies attended by parties of clever girls that had come there, performs a sport in which (various) amusements are displayed, which is ornamented with the Murali lute, in which the ways of a voluptuary are mocked, in which there are clear and sweet conversations, and which thrills the heavenly nymphs.
41. In the Rāsa sports, this your son, whose body is decked with a pendant garland of lotuses (in the form) of the eyes of Vraja maidens that are overwhelmed with bashfulness, whose moonlike face is besmeared with the nectar of sweet smiles, and who gladdens all the people, is seen in all the directions singing, dancing, moving and lying in a most charming manner.
42. Though possessing manifold bodies like that, he became invisible to beautiful ladies whose minds are proud of their beauty: this (Krsna') is not visible for persons of malignant nature, just as
11

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the sun, though of far spreading lustre, (is not visible ) to the nights (which are full of darkness ).
43. When the vanity of those ladies in separation subsided, this prince manifests his body: well, when the winter has passed away, the mango tree suddenly exhibits blossoms.
44. Even (that) oppressive Sankhacuda, that mighty Arista who had a bull's body and also that all-spreading Kesi who has a horse's body: (every one of them ) was destroyed by Keśava who was enraged; in fact, even that Vyoma, whose enterprises were wicked, was crushed by him. O Sauri, your son is a forest-fire to the trees (in the orm) of enemies: what is the use of saying any. thing mort now?
45. This (Krsna) was invited by that Kamsa with the pretence of the bow-festival, indeed, for his own destruction. Is it not that the fire enkindled by the rubbing of the branches speedily reduces the tree to nonexistence ? · 46. Having taken that series of pearls (in the form ) of wellspoken words dropping from the interior of a pearl-oyster ( in the form] of the mouth of Akrūra, those parents make an ornament (of them) for (their) ears to the joy of all; and moreover (they ) closely and repeatedly embrace Krsna (lit., the elder brother of Māyā), whose peacock-feathers were directed downwards when his head was bent a little due to excessive modesty, along with his ekler brother.
47. O boys, on this earth (may] you live long decked with fame which is shining on account of the excellent and agreeable utteranoes of bards that are loud like the roaring of lofty waves of rivers] Bolling down the peaks of Himālayan mountain and which possesses the brilliance that extinguishes the skill of (i. e., puts to shame ) the stream of moonlight spread by the moon of the fullmoon night.
48. Then, by these blessings of those [parents] whose hearts were delighted, the heroic Rāma and Krsna, who looked pleasant,

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TRANSLATION, IV
were endowed with an indescribable lovely glory which charmed the minds of all people, like the moon and the sun (who become endowed with a charming glory) on account of the beauty of the autumnal season.
Thus (ends) the Fourth Canto in the [poem] Komsavaho composed by Rama Pāņivāda.
48*1. Well, know this new poem, called Kamsavaha, to be a [ veritable] dam for novices to take (them) through the deep ocean of Prakrit (language) which is difficult to ford: may you all [people] of pious intentions study (it) frequently.
Salutation to the feet of the revered master.

163
May there be happiness. THIS POEM ENDS.
48*2. O Lakṣmi's consort, O you whose lotus like feet are worshipped by Brahman and other gods who are desirous of the expiation of their sins, O master, O lord of Laksmi, protect
me soon

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NOTES
[Besides the usual ones the following abbreviations are used in these Notes: To 10.5.9=fTHORITETI (FUFTTR ed.) Frat, 37E3T2T, 19; Hc. or Hema. - Prakrit Grammar of Hemacandra (Poona 1936); Mk. प्राकृतसर्वस्वम् of मार्कण्डेय (Vizagapatam शक 8C8C); Trivikrama=71HARIOS TERITORE (Ms..); Pischel = references are to the sections of his Grammatik der Prakrit-Sprachen (Strassburg 1900); Vr., Vara., or Vararuci=9ryart of affa (London 1868); To ato=farfast of TTH horare (Trivandrum 1937). For the explanations of mythological details given in these Notes the following works are mainly consulted: श्रीमद्भागवal ( faturaenti ed. Bombay); A Classical Dictionary of India by J. Garret (Madras 1871) and its Supplement (Madras 1873); A Classical Dictionary of Hindu Mythology etc. by J. Dowson (London 1879); Vedic Mythology by A. A. Macdonell (Strassburg 1897); Epic Mythology by E. W. Hopkins (Strassburg 1915); Arcraftgratarishtat by fð. Ferra (Poona 1932). ]
CANTO ONE 1. The poet begins the poem with an auspicious word forft as in Arranger and Falk416a77. PATST OTET is primarily faouof whom tot is the eighth incarnation. If we read hai and zifasi, then they would qualify JOTTTTUT; see also iii. 57 below. Bif93T is a p. p. p. from się I U. or 378 I P. to honour. My emendation ifasit etc. is supported by the gre in Ms. T. ICT is the wife of cowherd . It was to her bed that hout, at his birth, was conveyed by acca in exchange of her new born infant

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योगनिद्रा that was brought to देवकी. Till he killed कंस, कृष्ण remained with PUTET who, therefore, became his foster-mother. 70 is the termination for abstract nouns (Vr. iv. 22). It may be noted that the Sanskrit graf often changes the tense of verbal forms. A fuerat indicates how our used to wear peacockfeathers in his childhood to which माघ also refers in शिशुपालPETA iji. 5.
2. Apparently the forms oral and agree in Tha, but they may be construed कंसवधं नाम कथां. कंस is the son of उग्रसेन and the cousin of aan, the mother of qcut. He deposed his father and became notorious as the tyrannical king of Mathurā. He married two daughters of strypa, the king of Magadha. As it was foretold that he would die at the hands of a son of ago, he tried to destroy all the children. When TTTH, the seventh son, was born, he was carried away to Tigo where he was nurtured by force as a child of रोहिणी. The eighth child कृष्ण too was taken to गोकुल. one tried without any success to destroy these two boys, but at last met his end at the hands of out. The present work narrates how कंस was slain by कृष्ण. वले or बले is a term of address in conversation ( Vr. ix. 12); it expresses specification or assertion (Hc. ii. 185 ); or it is simply a term of address (Mk. viii. 26 ) as it is here. Its etymology is not certain. Three Sanskrit words attract our attention : अबले ('Voc. sg. of अबला)>वले, with the supposition that it was first meant for ladies; ai, taking into account He
macandra's meaning; or उत रे > उव ले>वले, उत being represented by उव, see ii. 40 below. सुहीअण-सुधीजन, सुखीजन or TESTT. BAfgan p. p. p. of the grelcat, 9481, but it may be traced back to सम-आ-ली. णोल्लिअ p. p. p. from णोल्ल usually equated with नुद्.

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3. is a Prakrit suffix showing 'habit' corresponding to Sk. शील (Vr. iv. 24 ) : चंकमिरो = चंक्रम (ण) शील: The second line qualifies з. The author's style is so much influenced by Sanskrit that I find it necessary to put 4, otherwise we will have a form like हिसरंत. गदाग्रज is a name of कृष्ण, as he had a younger brother by name. This name is used in faq also ii. 69. To explain दक्खर Pischel postulates a form * दृक्षति ( $554 ) . गान्दिनी was a princess of काशी. She was the wife of श्वफल्क and the motner of अक्रूर who, therefore, gets the names गान्दिनेय, farga etc., He was sent by to invite to attend some
sports at मथुरा.
1
seen on the ground.
lines etc.
4. 14 and
soles; and ther imprints, when they are moving in the yard, are
31espectfully bows down to them.
T
or we may take conchs etc. consisting of lines'; compare भागवत 10. 38. 25-6 and 34 : पदानि तस्याखिललोकपालकिरीटजुष्टामलपादरेणो : ॥ ददर्श गोठे क्षितिकौतुकानि विलक्षितान्यब्जयवाङ्कुart: 113 ॥ बाहोल्ल=बाह+उल्ल= बाष्प + आर्द्र (Vr. iii. 38, Hc. i. 82 ). पुलऊण gerund from पुलअ to see (Vr. viii. 69 ) from प्रलोक् (Pischel 104, 130).
"
NOTES, 1
3
167
have auspicious marks of royalty on their
1

5. निमीलित + ईक्षणं, in such a manner that his eyes were closed in meditation. began to reflect, in meditation, on the flashing परमात्मन्, viz., कृष्ण who was just before him. कोड्डअं, also कुड्डुं or कुड्डुअं, is a देशी word meaning आश्चर्य; Sk. lexicons note a word कुड्य with that sense; and we have in Marathi कोडकौतुक.
6. In an ecstatic state of meditation, a fully concentrated on external disturbances for the time being.
has all his faculties ; and as such he is not amenable to

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7. अकर has approached कृष्ण who is परमात्मन् incarnate, so his joy knows no bounds; and in that jubilant and ecstatic mood he is behaving like one who is almost out of his senses. may be If the as well rendered by now' instead of 'for a moment'. reading is correct, णिरूसहं = निरुत्साहम्; णिरूससं would be a better reading standing for निरुच्छवसन् of the छाया.
KAMSAVAHO
8. In this verse we have both the figures of speech and उपमा.
9. देवकी is the wife of वसुदेव, mother of कृष्ण and cousin of कंस. Compare भाग. 10. 38. 36-39.
10. अक्रूर is the son of श्वफल्क and गान्दिनी He belonged to the यादव family and was an uncle of कृष्ण. कंस sent him to invite कृष्ण and राम to मथुरा He is famous as the possessor of gem.
The figure of speech here is
.
is a kind of white lotus
which blossoms at moon-rise.
11. भोजराज is a name of कंस, as he is the king of Bhojas. पलिजमाण is the present passive p. from the root प्रदीप (Hc. i. 221 ). The figure of speech here is उपमा.
12. This verse can be put in the mouth of as well with equal propriety, and in that case is honorific plural and fu means elders. Thus अक्रूर would be taunting राम and कृष्ण just to enkindle their wrath against . compare ч. 10. 39. 6 etc. The figure of speech here is अर्थान्तरन्यास.
13. The bird or cuckoo, it is said, lays its eggs in the nest of a crow which warms and guards them. When the young ones come out and have the wings, they fly away caring little for the crow that nourished them all along. In the light of this, atra-vs-गामिणो means those that follow the way of the cuckoo',

"

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NOTES, I
169
i. e., those that behave ungratefully towards their foster-parents. In the last line tre merely introduces interrogation. faza is taken as the Imperative 1st p. sg. by the ETAT possibly according to Vr. vii. 18, but I have taken it as Present 1st p. plural.
14. Compare the second half with fFIT, ii. 13- Tatangi arawahiGTI Arga: 1 fakta HEATIE: FAT FATHIA: 11 The figure of speech here is अर्थान्तरन्यास.
15. 37r explains his mission. His foremost intention is to have a glimpse of the excellent and agreeable personality of who is an incarnation of God. ca stands for emphatic ga. Verses 15-16 remind us of fryns. i. 31 etc. are addresses that by saying raða vîra A: HTTPR 16 FifaTath, and then goes on to explain how RAKH is to be realized by saints.
16. The first two lines mention the essential qualifications for Godrealization. Prata=fata means Veda, so fortha=ara. Fa Tarraपान्थाः or -पान्थका: 'those that follow the course of वेदान्त'. The word ac primarily stands for the group of Upanishadic texts which come last in the enumeration of the four branches of Vedic literature ( ECT, AGUT, 371702 and 39fasc), wnich chronologically form the last compositions, and which form the culminating point of Vedic thought so far as their contents are concerned. Ja, faga, आसन, प्राणायाम, प्रत्याहार, धारण, ध्यान and समाधि (पातञ्जलयोगसूत्राणि 7-88): these are the eight 315s or means of attaining Yoga or mental concentration, favojla is a direct corruption of the Sk. form विचिन्वन्ति. दिहिए दिष्ट्या, Inst. sg. of दिष्टि f. 'good fortune'.
18. 377t complains that it is really unfortunate that he is not able to come and see ecur now and then due to the prohibition of a who is enemical towards hout, he is as it were a heap of sin

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KAMSAVAHO
spreading on all sides. Here the figure of speech is car. It may be 377814 as well, if we render a by 'nay.'
19. Note the form F, Loc. sg. of you, which is frequently used in the area portions of the Sanskrit plays. 34. congratulates himself on his good luck that he has been sent to put by 8 himself.
20. We have 449 at the close of the a & b and c& d. for etc. कामपि अवर्णनीयां संपदम्. The very existence of कृष्ण, the incamation of divinity, adds glory to the world.
21. Eur is called here goaTIE. To have long and pendant arms is a sign of perfection and merit. We have that at the beginning of a & band c& d.957 was an Asura dependant of 2. Disguised as a sita he joined the play of boys with a view to devour 7227A and out. When he took a Ta on his shoulders, as the rules of the play required, he expanded his form and began to run away. Four came to his rescue and challenged the demon. बलराम beat प्रलम्ब on his head with his fist till his eyes were knocked out and his brain forced through the skull, so that he fell to the ground and expired. From this Th gets the name gosto
67 (see i. 28, also iii. 44, iv. 31 ). Er was a Daitya who assumed the form of a horse and attacked hour, but was killed by that hero who rent him asunder by thrusting his arm into his jaws (see below iii. 44 and iv. 44). 37090=3 TTHÀI, personally, him self. According to the popular exposition of the nice doctrine, सत्त्व, रजस् and तमस् are the constituents of everything in creation in various proportion. कंस is called तमप्पहाणो-तमोगुणप्रधानः, because he is preeminently characterised by gay which is the cause of heaviness, ignorance, illusion, lust, anger, pride, sorrow, dullness and stolidity. Does the last fe stand for additional

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emphasis ? Or should we read youretes, Fut. 3rd p. sg., which woulà indicate his wish.
22. कुम्भराज (in our text कुम्भि -) was an Asura chief perhaps the same as the son of gate and the brother of factwho was slain by ghout because of his immoral behaviour. He is the name of a clan of people, perhaps the professional wrestlers in the service of $ There is nothing special in saying that the king was seated on a dias ( Hait), but we can understand its use for the sake of alliteration with the opening syllables of the fourth line. In भाग. 10. 42. 35 कंस is described as seated on राजमञ्च.
23. udges is also known by the names 4, HEPA, grupit etc. where cos was brought up. It is at a distance of six miles from Ayrt and contains spots associated with the early life of Ho. A new item is founded by a HITTA; and it is at a distance of one mile to the south of महावन on the eastern bank of यमुना.
24. चअत्थि is directly corrupted from the Sk. form चकास्ति. In this text me is variously mentioned as G 9, 7167zza, 719पति, भोजराज, भोजेश etc. The छाया reads मधुरा, perhaps a South Indian spelling of art. TUHOTTI-Treza: refers to a festival of consecrating the bow.
25. नन्द or नन्दगोप is the cowherd नन्द, the foster-father of कृष्ण. The form तुज्झण, Gen. pl. of युष्मद्, perhaps stands metris causa for TFHTOT which is recorded by grammarians (Pischel $420)
26. As a messenger the thinks that his duty is merely to deliver the message. It is not for him to say whether BUT should go or should not go to Ayer. He would neither ask him to go nor prohibit him from going. It is a point which is to be decided by GTA and out That he should come to attend the festival is the

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body of the present business, and it is animated by the spirit of treachery. In disclosing जहिं खु पाणाअइ विप्पलंभणं, अक्रूर has not gone out of his way, for had plainly disclosed his intention to him ( 279. 10. 36. 27-39 ).
27. On a see i. 2 above. HTET is the normal base from a in Taft of the dramas especially in Nom., Acc. and Inst. EUỘT was one of the wives of age, the father of T. Her son was TOSTA. She is to be distinguished from the wife of 50% of the same name.
28. Note इदं वओ. वओ is a direct corruption from वचः, neuter, though it appears like a mas. form. ru or naast is a name of विष्णु-कृष्ण, as he wears a garland of forest flowers. कवित्थ appears to be some corrupt word the counterpart of which, viz., 3 fare, is used at ii. 35. The Sk. छाया renders them by कुतर्क and वितर्क. Are we to connect it with price, useless, meaningless ? The left word forie, meaning 'mental disturbance' also attracts my attention; it occurs in TEOT 84-63. There is a crop of enemies only for the wicked, while the dutiful and virtuous have to fear from none.
29. In the light of Vararuci iii. 50 and 57, there is no justification for forms like gos, qesi etc. which show an initial conjunct consonant. This can be explained only on the basis of the author's habit of thinking in Sanskrit and then corrupting a string of words (here 374-453, 7-24 ) into Prākrit. This tendency of keeping the initial conjunct in a word is seen to a great extent in this text. Parfer, Fitz, Fut. 3rd p. sg. forms from the roots i to do and या to go. This verse reminds us of शिशुपाल. xvi. 35 -महतस्तरसा विलवयन्निजदोषेण कुधीविनश्यति । कुरुते न खलु स्वयेच्छया शलभानिन्धनमिद्धदीधितिः ।।. The figure of speech here is दृष्टान्त.

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serve, to visit.
the syllable
NOTES, I
30. ताराणियरे समुज्जले Acc. pl. The figure of speech here is
दृष्टान्त.
31. जालसंचओ = ज्वालासञ्चयः. Here also the figure of speech is दृष्टान्त.
32. वरसग्ग- व्रजेशाग्रसरा : ' leading the representatives of the व्रज country'. व्रज is the name of a district around आग्रा and मथुरा. नन्द, the foster-father of , lived there; and it formed the scene of He's juvenile adventures. f is a balance-like mechanism consisting of a bamboo pole with rope-nets hanging on both the sides in which are put milk-pots and carried to distant places on shoulders. p. p. p. from the root to honour, to 10.39.10 etc. Note the ring of
Compare
in the last two lines.
173
33. सीरपाणि: is a name of बलराम, because he carried a plough in his hand as a weapon. पट्टि = पृष्टि: side; so अक्रूर takes his seat in the chariot by the side of , and has the reins of horses in his hands.

35. पतगेश केतुः is कृष्ण, as his banner is emblazened with the eagle. जलुक्खद etc. is equated with जलोक्षताक्षरम् by the छाया; but I have taken off, i. e., 'with their words sprinkled by the water of tears'. We may even taken जलावक्षताक्षरम्, i. e.. with their words broken or hindered etc.'. अस्सु from 312 which grammarians usually give sig. Their tears, it appears, were flowing as far as their necks. For the lamentations of s, see
for
H. 10.39.13 etc.
36. In the phrase अमुद्ध - अंदग्मि, the word चन्द्र loses its initial consonant, because the initial of a second member of a compound may be optionally treated as noninitial (Hc. on i. 177). is to be understood as distinguished from q. is the famous

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KAŃSAVAHO
jewel worn on by farm or buy on his chest. It was obtained at the time of the churning of the ocean. Are being the foster-father, कृष्ण is called नन्दज. व्रजाङ्गनाः are the cowherd ladies from व्रजHUS, a territory of some eighty miles round about Ayit. Compare this verse with Taurat iv. 20-HI STYFGTSİ YEलच्छिरहिअं महुमहस्स उरं। सुमिरामि महणपुरओ अमुद्धअंदं च हरअडापब्भारं॥ In this verse the figure of speech is ATSITAT.
37. अविहा may stand for अपि हा or अविधा, the latter being an interjection expressing sorrow and expecting help. The Sk. Eyrr takes the former, though the latter is equally suitable. fcraft (Vr. vi. 7). तमम्हआणं would have been a better reading, अम्हआण= अम्हाणं with स्वार्थे क-suffix. Or is it that he uses अम्मक in the sense of STATET?
38. किमम्मकाओ for किमेत्थ अम्हे appears to be a genuine reading, as the gran also correspondingly differs in the two Mss. The figure of speech here is दृष्टान्त.
39. कृष्ण is the very life of गोपीs; अक्रूर came there ana led कृष्ण away; thus he took away their very life : so verily he is the messenger of यम and not of कंस. That is how the गोपीs argue. प्राणाः always Mas. pl. in Sanskrit; here it is pl. but Neu.
40. There is no doubt that the author is thinking in Sanskrit, though he is writing in Prākrit. According to his wording the etymology of 3 stands thus: 37CHTET a q: a STER:. Usually we have न विद्यते क्रूरतरः यस्मात् स अक्रूरः, i.e., 'No one is more cruel than he.' This idea is found in 1To also, 10. 39.21 and 26. अघोर (शिव) is the name of ईश्वर who is often identified with the thesia etc. As a * he haunts the cremation ground, wears serpents round his head and skulls for a necklace, indulges

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NOTES, I
175
in revelry, and being drunk deep dances arcant with his wife and tramples on rebellous demons. With these details in view, he is really घोर, fierce or terrible, but still he is called अघोर, माघ also has expressed a similar idea that भौमदिन, though अप्रशस्त, is called by the name $3-7 TÅRTH Efa ATA 4f#Chagua Daftarfa 1421 LITHI TEHf9 $a TAT: 11 xv. 17.
41. We may read हरिस्सरूवं or हरिस्स रूवं, and accordingly it may be rendered हरिस्वरूपं or हरे रूपं. Upto the close of verse 44 we have the adjectives of rad. Third line may be thus dissolved: fafurae fufe sifa #refufc37 H. etc, a blue lotus, is usually considered as a ft word. I think, ii comes from pretra (Potgiu ) which is a Sk. word. Various words like parez, Focate etc., noted by lexicographers, are mere back-formations from the Prakrit कंदोट्ट.
42. Construe hi are try etc. It appears that the reading, according to the Sk. छाया, was पलित्त-वच्छप्फुड-, i. e., "the श्रीवत्स mark was clearly visible on account of the shining chest etc.' वत्स or श्रीवत्स is a particular mark or curl of hair on the breast of fans or awr and of other divine beings. It is said to be white and represented in pictures by a symbol resembling a cruciform flower. To explain the form afcat, which the grammarians derive from afat by a special rule, Pischel postulates a form *चन्द्रिमन् (103). The word चन्द्रिका would. give us चंदिगा or öffel which might have been misread as afght due to orthographical confusion at a pretty early stage of Präkrit literature.
43. ut usually means the hood, but it is also used in the sense of the body of a serpent. The girdle is holding up the garment which therefore is hanging from the girdle. From the

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KAMSAVAHO
word refa Vararuci has a form red (ii. 7), Hemacandra has 311799 (i. 209), while our text has 31798.
44. I have construed thus : ECCETRAS UTETETAS qalsigas a पाअपङ्कअं. आलिह is given as a substitute for स्पृश् ( Hc. iv. 182 ), and 31 is equated with 371f7ng by a special rule (Hc. ii. 49). Just as मुद्ध goes back to the root मुह and दुद्ध to दुह् , it is not unlikely that these comes from 371SE. Pischel ( $ 303 ) postulates a word like ·*3114a. In explaining the etymology of 38 Pischel has in view Vedic words like 35 'water', fear abounding in water ' ( 111 ).
45. 53015=FLATTE, a case of internal Sandhi (Pischel $ 165). Of course the author is referring to their amorous sports.
46. = or ha agad. The cane-creeper is standing there as a witness to their love-sports enjoyed in the past. Fier, a blooming flower, has been treated undoubtedly as a Sanskrit word of much antiquity; and the root goes is recorded even by ETOYO. But the root get itself has a Prākrit appearance, and I think that it might go back to the Sk. root fee.
47. fua Present parti. from with a (Pischel $ 493), but according to the Sk. grat it is from with far. It appears from the 911 there was a various reading RFIRTH 378T3 etc. Here the figure of speech is amhrcer.
48. HAISTUT=STATTETTH. The known forms for at gera are arsfaz, az, -att and even -2; for arso we may have 70° as well ( Pischel : 53). Our form appears to be a further deduction from Teat.
49. The mountain ritata is situated at a distance of eighteen miles from Fara in the AYT district. It is this mountain which

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NOTES, I
177
Hout is said to have taken on his little finger to protect the people from the heavy rains poured down by Indra. The clouds remove the vanity of proud ladies that are averse to their lovers. The clouds enkindle their passion whereby they become submissive. Compare Parça 3: #ra Hala gradi sapaterefta: and the com. farfuri H
74 79 difa urai. 50. gran was their meeting place where they sported in moon light on the beds of fresh sprouts wearing various kinds of vernal flowers as ornaments. Different opinions are held about the exact identification of the ancient site of great. It was situated in the मथुरा district and served as a meeting place for कृष्ण and गोपीs. It is interesting to note that the metre is preserved even in the Sanskrit 3141.
51. कणिमो तिलंजलिं-the desires of गोपीs to meet कृष्ण etc. are not likely to be fulfilled now; so they are offering as it were, by way of good bye to their cherished desires, two handfuls of water with sesamum seeds that constitute the customary libation to the departed. FUTSOTSTOPHUTT--collerium is dark, a decoration for the eyes, an object of attraction to ladies and has a soothing effect: so is not's personality as well.
52. कृष्ण is the son of वसुदेव and देवकी. He is an अवतार of विष्णु. There was a good deal of supernaturalness about his birth. With the fear that 8 might kill him, he was taken to Tigres and brought up there as a cowherd boy in the house of नन्द. कंस finding that he was outwitted and that his enemy was living at The tried various ways to kill out, but all his efforts failed against divine hour. Most of these incidents are referred to in the fourth canto of this book. With a view to overpower and kill him
12

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178
KAMSAVAHO
invited him with the pretext of a bow-festivai. This plan also killed as described in this work.
failed, and eventually
53. has a garland of wild flowers which would be crushed when he is violently embraced by गोपीs. दो हि=दोर्भ्याम्, by both the arms. fan ga-the extensive space between the arms, i. e., the chest.
54. who is eagerly waiting for our arrival.
55. मुउंदवाआउ Inst. sg. It appears that it is that sends अक्रूर to console the गोपीs.
56. Originally was the name of a nomadic clan that settled in Northern India and Gujerat; later on it is often used in the sense of cowherds.
57. In giving the etymology of з, Pischel postulates a stage like *भ्रुवका ($ 123 ). अक्रूर's main argument of consolation is that has gone away to achieve an important mission, a duty, so s should try to put up with his separation which is temporary. 58. Apparently the moon plunges into the western ocean early in the morning and emerges out of the eastern ocean in the evening. Further consoles the is that their coquettish grace is tempting enough to attract back though he has gone away for the time being. The figure of speech in this verse is fat. 59. The first two lines are to be construed with, for whom the ms are waiting, as well as with the sun whose arrival the lotuses await the former, as an incarnation of fa, bestows the light of religion and dispels the darkness of अविद्या or तमोगुण for the benefit of all the people, while the latter is a source of light for the whole world and dispels the darkness of night. We have an उपमा here.
-literally, whose eye is set on our path of arrival, i. e.,

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NOTES, I
179
60. The figure of speech here is pofitam . By reading this verse one is reminded of a x.48 - Tauragarrafafa amada सः। अभिवृष्य मरुत्सस्य कृष्णमेघस्तिरोदधे ॥
61. काश्यपि is the name of अरुण or Dawn who drives the chariot of the sun. ECHUTIE is to be construed both ways: occupied by हरि or कृष्ण and secondly by हरि or the sun.
62. कृष्णगिरि is the Karakorum or the Black mountain. सूरकण्णाउ Gen. sg. from सूर्यकन्या. गाहए, reaches
63. कृष्ण वासुदेव is omnipresent. When अक्रूर was taking his bath plunging himself in the stream of gar, he was simply thrilled with surprise to see anot even there. Compare TT 10.39.40 etc.
64. =ai 74714. There is some play of sound in the first line. The figure of speech is 3471. Note HTC , with, accompanied by.
In this canto verses 1-60 are composed in åte metre which is four times u-v--uv-ul-u-11 ( FT ETEI Jo ato 99); Nos. 61-62 are in afsoff metre which is four times vuujuuni----u--iv-- !! (at ant at AS Arfoot tal : 1 To aro 13 ); No. 63 is in gate ( also called ASHTOTT) metre which is double vu-luv-lv-u! - -, vv-l-ul-U-TU---:: 3 1 74 af 1997a1fOSAT ATA TAHTEETH 11 7 370 40); and No. 64 is in frefront metre which is four times v -- -1---luvulvU-1 - UUTU-!! ( FT4: Prefcuft THT THAT YQ: 1 po ato 3x).
CANTO TWO 1. For the details about the washerman's incident see MTO 10. 41. 31-42. Though the details are there, the situation is made quite dramatic by our author. मुसलिन् is a name of बलराम

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KAMSAVAHO
who is armed with a club. बरिल is considered as a देशी word meaning 'a garment'. Either it goes back to 3 on the analogy of 34 or it comes from the root to cover, with the suffix .
3. To entertain the idea of getting the clothes belonging to is to invite his wrath, and to demand them openly is indeed a fatal calamity. is compared with a black serpent. It bites even when it is simply threatened from a distance, then what tc say when it is actually touched. It will do all that is within its power to do. Here the figure of speech is प्रतिवस्तूपमा. सक्कए, a direct corruption of शक्यते.
4. If they do not get the clothes demanded, there is no positive loss; but the washerman warns them that they would lose their heads for this demand. To is a direct corruption of the Sk. form. We may note that there is fan at the end of the third line.
5. वअ + उग्गमेण वम्मेण The figure of speech here is अप्रस्तुत - प्रशंसा supported by दृष्टान्त.
•
6. In the form we see that the termination is softened into and not that the consonant is lost; see also in 8 below. The other reading for अहके is अहहे. Should we read अहए possibly derived from which is postulated by Pischel (§ 142, 194, 417)? The form, however, is recognised by Vararuci (xi.9) for the a dialect. For go see i. 25 above. fg Fut. 3rd p. sg. (Var. vii. 17).
7. जाहे and ताहे in the sense of यदा and तदा (Var. vi. 8 ). मधु
r is known by the

was a demon killed by go, and therefore names मधुमय (न), मधुसूदन, मधुवैरिन् etc.

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NOTES, I
181
8. Compare with this verse Pro 10. 41. 37 eta fareमानस्य कुपितो देवकीसुतः । रजकस्य कराग्रेण शिरः कायादपातयत् ।। तस्यानुजीविनः सर्वे वासःकोशान्विसृज्य वै। दुद्रुवुः सर्वतो मार्ग पासांसि जगृहेऽच्युतः ।।
9. The adjectives are to be construed both with 789 399 and quunto fort. The washerman was haughty, but he had the good luck of being killed at the hands of lord hout; so his 31545, with all modesty and with all its sins washed away, enters into the realm of eternal light, namely, the person of divine HET. Simultaneously with the departure of his spirit, the clothes which were clean with their dirt washed away came into the possession of up with all modesty. For the idea of the spirit entering into कृष्णपरमात्मन् see शिशुपाल• xiv.64 and xx. 79. The spirit of शिशुपाल, who was killed by het, enters the body of wr. The figure of speech here is gepifrat.
10. Hal has a blue body decked with a shining girdle of gold, and he has put on the white garments; so he looks like the Blue mountain having golden slopes covered with moonlight. Note the play of the syllable y in the first line and partly in the second line. We have an 344T here.
11. Compare the details of the following incident with ARO 10.42. 1 etc. According to mi, vegar. The name of this lady is त्रिवक्रा as given in भाग०. According to बालचरित of मास, her name is #frat.
13. Now and then the author shows the tendency of repeating some syllable or the other in a melodious manner.
14. She says that Fate has been adverse to her, with the result that it has put even in her limbs crookedness which is to be found usually in the heart of women. Here the figure of speech is अतिशयोक्ति.

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KAMSAVAHO
15. Compare भाग. 10. 42. 3 etc.-दास्यस्म्यहं सुन्दर कंससमता त्रिवक्रनामा ह्यनुलेपकर्मणि । In this way our text has got some common words etc., with unito in corresponding contexts.
16. The copulative particle च is used twice in the first half : it means that it is put to each of the members connected. चिएअं-चिअ+ gai. The author happily expresses a common idea which we come across so often in Sanskrit literature. Compare कुलेन कान्त्या वयसा नवेन गुणैश्च तैस्तैर्विनयप्रधानैः। त्वमात्मनस्तुल्यममुं वृणीष्व रत्नं समागच्छतु काश्चनेन ॥ रघु• vi. 79; साधारणोऽयमुभयोः प्रणयः स्मरस्य तप्तेन तप्तमयसा घटनाय योग्यम् । विक्रमोर्वशीयम् ii. 16; स धर्मराजः खलु शीलया त्वयास्ति चित्तातिथितामवापितः। ममापि साधुः प्रतिभात्ययं क्रमशक्ति योग्येन हि योग्यसंगमः ॥ नैषधीय० ix. 56. The figure of speech here is अर्थान्तरन्यास. __ 17. The flow of the phrases clearly indicates that the author first thinks in Sanskrit and then a Präkrit line is mechanically produced.
19. Note the form पुण्णिमा, a direct corruption of पूर्णिमायां Loc. sg. of पूर्णिमा. There is alliteration in the last two lines. कमणी appears to be a contraction of कमनीय.
21. मदन is already enemical towards कृष्ण, because he feels that he is surpassed by the physical beauty of कृष्ण. कृष्ण has become a partisan of त्रिवक्रा by compassionating her. मदन is tormenting her now; and this can be due to the fact that she is sided by HOT with whom #ca is not on good terms. Here we have the प्रत्यनीकालङ्कार.
22. Usually the arrows of मदन are made of अरविन्द, अशोक, चूत, नवमल्लिका and नीलोत्पल flowers which obviously are incapable of burning and infatuating, and hence the need of her conjecture

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NOTES, II
that his arrows nowadays are made of flowers of poisonous trees. In this text we come across forms like भगाइ, कुणाइ etc. Elsewhere we get fe also. Either they are formed on the analogy of fЯ or contaminated with the forms of the ninth class (Pischel § 514). Here the figure of speech is 3 arising out of
विरोध.
183
23. She is her own mistress; but as is tormenting her now, she has become helpless; so should come to her rescuse at this moment: that is her line of argument. Note the form fi Acc. sg. of (Pischel § 415).
24. is compared with the Black mount; there is saffron on his chest just as there is mineral colour on the mountain: face proposes that she would rub it off with her breasts by closely embracing him. लुह is given as an आदेश for मृज्. Can we not connect it with, to make dry?
25. वाहरइ म्ह - Note the use of the particle स्म to give the sense of the past. So far as I know, it is unprecedented in Prakrit. our says that it is for him to make advances, and he did intend to that effect. He mildly complains, with a bit of taunt to her audacity as well, that she has really anticipated him by speaking as above. How it is for him to court first is made clear by an illustration in the next verse. He does intend to court her, but due to the important mission on hand he is forced to adjourn his love affairs. तइत्वया.

26. What is true of the goose should have also been true in his case but for the urgent and pressing duty on hand to which he has to attend. The form f is found in some Mss. of the dramas, दु but it is considered as a wrong reading for fag. (Pischel § 185).

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KAMSAVAHO
27. The mission on hand is so pressing that your admits that he is not the master of himself (Rear). The figure of speech is अर्थान्तरन्यास.
28. The form ata for atac is met with in some of the Mss. of Trata 90, 168, 503 etc. (and Weber accepts that reading) and in रावणवहो 3.26 etc. The figure of speech here is प्रतिवस्तूपमा.
29. Compare the idea in the first two lines with Asia ii. 47पश्चादावां विरहगुणितं तं तमात्माभिलाषं निर्वेश्यावः परिणतशरच्चन्द्रिकासु क्षपासु ॥. सुजनानां-of good people who are capable of appreciating the poetic merits. Perhaps the author has in view the sessions of epic or bardic singers which are continued late at night. The figure of speech here is 34AT.
30. faev--Prākrits do not admit the distinction of es, 28345 and 3 4246; and there is only one set of terminations. Now and then some relics of Sk. 3rHaqc are inherited. fara is TEHT in Sanskrit; still our author uses faut; so perhaps it is metri causa.
31. afe-E (Var. vi. 7; Hc. ii. 161). Here the figure of speech is 3747-AUTH.
33. afri='accompanied by the string'. With Nos. 3336 compare 2017. 10. 42. 16 etc.
34. Perhaps the author accepts the form forfa. Of course we can read Ar fega fã without violating the metre. Esifa= 3278, a case of direct corruption.
35. After hearing the crashing sound of the bow, apa had his mind crowded with various thoughts to get some reasonable explanation of the occurrence. The incarnation of Man-lion or
fHETTAT was an event of the hoary past; so he asks whether it

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NOTES, II
185
has come back again. R afaeg see i. 28 above; the reading is obscure, and hence my suggestion in the light of what I have said at i. 28. Here the figure of speech is ja E
36. ffxtra; is a possessive termination ( Hc. ii. 159 ) put to विडिर, a देशी word meaning terror.
37. The figure of speech here is g .
38. 3jxy 3i=3 TESETTA, a case of direct corruption. Note the opening conjuncts of 693718AM in 37 and of ons here.
39. I have taken affat as a Gerundive form on the ar.alogy of ठाविअ-स्थापयित्वा (iv. 12 below ), though the छाया equates it with gy4f4a. There is rhyme at the close of lines a&b and c& d. We can see how the author is finding out an opportunity to give a description of the town of Hy which follows in the subsequent verses. In this very context m. also has a description of AYTT (TITO 10. 41. 19 etc.), but beyond a few words there is nothing particularly common. Some ideas and words remind us of the description of art ft in fretro iii. 33 etc. Just to avoid the repetition of sense I have taken Totarat once as 'a capital' and a second time ‘ a royal residence'.
40. au UEFIC=797907TATAT:, thus the doubling of q is either euphonic or for the sake of metre.
41. If the reading was gied, then it would have qualified of. The town of मथुरा threatens as it were the celestial town of अमराat which it has already surpassed by its prosperity. The figure of speech is 36789T.
42. Het is one of the seven islands of which the world is made up. It stands surrounded by the ocean. In its centre stands the mountain #5 with its golden peaks on which the

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heavenly nymphs are sporting. This town is metaphorically identified with get whose dignity it possesses, because it stands surrounded by a moat and on its shining terraces of lofty palaces beautiful ladies are sporting. The figure of speech is faciar.
43. जाह्नवी, the daughter of जहु from whose ear गंगा is said to have issued. At their confluence, it is said, the rivers Ganges and Jumna give a wondeful scene due to the blending of their whitish and darkish streams. This idea is quite a favourite one with Sanskrit writers. Compare रघुवंश vi. 48, xiii. 57; मेघदूत i. 51; fa1 v. 26; and 3 1053. The figure of speech here is स्मरणालङ्कार.
O
44. Note the forms ogen en which are the corruptions of नितायां वीथिकायां | Even by day there is darkness in the streets which are obscured by the dark hue of the pleasure mounts. So quite fearlessly the love-lorn go to their lovers even by day. अभिसारिका is defined thus : मदेन मदनेनापि प्रेरिता शिथिलत्रपा । योत्सुकाभिसरेत् कान्तं सा भवेदभिसारिका ॥ कुलजां गणिकां प्रेष्यां यथावपचेष्टितैः । रागातिशयसंपन्नां वर्णयेद भिसारिकाम् ॥
45. चक्रवाक couples get separated at night. But here, as the sky was flooded with the glow of the golden palaces, they remained together even late in the evening thinking that it was the light of the rising sun. रअणीअं= रजन्याम्, a case of direct corruption.
46. The masses of light emanating from the jewels on the ramparts were so bright that now and then they added their mite to the hallos of light of the sun and moon.
47. मुसिणाइ a corruption of मुष्णाति This reminds us of शिशुपाल ० iii. 79- उत्सङ्गिताम्भः कणको नभस्वानुदन्वतः स्वेदलवान्ममर्ज etc.

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48. The houses, being fitted with moonstor.es, are quite cool even in the summer-nights; so young people do not feel any sexual exhaustion there. 8H31–4H().
49. FST ATTT etc. The figure of speech here is JETT. $637+ 381, 3s being the possessive suffix.
50. gegforgegs, the vowel change in for appears to be irregular. सुहपण्हं would be allright metrically. पअलंत-प्रचलत् or Dort guests are offered water to wash their feet and then follows ordial inquiry about their welfare. This verse reminds us of for 10947 viii. 14-3face feataetajua: Fő femrad - रिवालपा । नारीणामथ सरसी सफेणहासा प्रीत्येव व्यतनुत पाद्यमूर्मिहस्तैः ।।
51. Note the play of sound in the first two lines. facertai qualifies TFA.
52. State is treated as a azt word meaning an elephant. Sometimes it is differently spelt as CE, TETTE; and Trivikrama (II. i. 30) gives its etymology thus: gasitet Street fau: 1 data: 1 mari Pacife. The elephant has two frontal globes, so it may be called fast: to which word I would trace back to Pischel traces 31TH from a postulated word *37967 ($326). Note the form fa, the usual form from the root at being fat (Pischel $ 474). Our author regularly uses forces in the sense of contes jewel (iii. 19, iv. 11 below). Note the form gefin Loc. sg. of aget. The author is describing the various scenes in the town of HERT. In some places the ground is slimy with the rut of elephants; thereon the bees are settling down; and so it gives the appearance of a pavement of reiss jewels.
53. The reading and also would be equally significant indicating the musical note guiding the dance.

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54. The compound may be thus dissolved:forces are tagarför yostor iftamfor ag ut ETOM SANTERT TR Fari. Fra=fae, here ,
being lost, as that word becomes noninitial in a compound. ilfa -कचित्. Though the छाया equates कोच्चि with क्वचित् , it is rather difficult to justify this equation grammatically. I would suggest that कोच्चि might stand for कश्चित्. Note मइंग for मृदङ्ग, usually we have , also fhall (see Pischel $ 51 ).
55. Though the author is describing the scenes from HYT, after all he belongs to the western coast; so possibly he refers to the female singers from the East.
56. The author depicts a scene of grammarians' debate at HYRT. They are discussing a point of Sanskrit grammar. The case in issue is the Sandhi between two words like got 34741. According to the rule of Pāṇini tu (vi. i. 77 ), the $ at the end of सुधी is changed to य्. Thus we get सुध्य्+उपास्य. Now according to the EFT, 37ma (viij. iv. 47 ), the consonant, which is preceded by the vowel 3 and followed by the consonant is to be doubled optionally: +34777, But in view of the fact that the substitute letter has the same value as the original (स्थानिवद् आदेशो), i. e., the consonant 2 is as good as the vowel and should not therefore have the effect of duplicating the preceding a. This means that the rule of a should become inoperative. But this objection is set at rest by the f which adds talenat not when a rule of letter is to be applied.' The rule is not inoperative, because of the speaft, i. e., at the time of the application of the letter-rule like stufa 7. I may quote here the relevent portion from सिद्धान्तकौमुदी-इको यणचि १६३११७७। इक: स्थाने यण् स्यादचि सहितायां विषये । सुधी उपास्य इति स्थिते । स्थानत आन्तर्यादीका

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रस्य यकारः । सुध्य् उपास्य इति जाते । अनचि च |८|४|४७॥ अचः परस्य यरो द्वे वा स्तो न त्वचि । इति धकारस्य द्वित्वम् । स्थानिवदादेशोऽनल्विधौ | १|१|५६ | आदेश: स्थानिवत्स्यान्न तु स्थान्यलाश्रयविधौ । अनेनेह यकारस्य स्थानिवद्भावेनाच्त्वमाश्रित्यानचि चेति द्वित्वनिषेधो न शंक्योऽनल्विधाविति तनिषेधात् ( pp. 12-3, निर्णयसागर ed. Bombay 1908)
57. is visiting the town of π after a long time; and he is not tired even though he has seen it for a long while. It is attracting him all the more, and he feels not in any way inclined to divert his attention anywhere else.
189
58. The town of # is heaven itself, and this identity is described in terms of double meaning which can be made applicable to Я as well as to heaven. The first set of words describes heaven and the second set (put in the angular brackets in the translation) describes the town of . q means 'god' also 'wealth'. Heaven is an abode of gods and Я that of wealth. Once we read किण्णरा and a second time किं णरा. इणमो is possible in Nom. sg. neuter (Vr. vi. 18). If the reading was, it could have given us two convenient qualifications: i) 'glorious with the Sudharman hall' and ii) glorious with excellent mansions'. There is some repetition of the same syllable here and there in the first two lines. Here the figure of speech is रूपक arising out of श्लेष.

"
59. Young ladies, who were first averse to meet their lovers, have their passion now enkindled by the natural phenomena round about, and immediately and violently embrace their beloveds. See i. 43 above. The author achieves some sound effect by repeating the syllables. It is equally possible to read वल्लहाणं कंठे गण्हंति. as in the Sk. P. If we take & Acc. pl., we violate the usage;

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and if we take a Loc. sg., then tog is being used intransitively. So in view of the Sanskrit idiom I have taken ata FET (Acc. pl.)
72 (Loc. sg. collectively) togfa. Compare ii. 50 below: चाणूरं चलणजुअम्मि गण्हमाणो.
60. As it is evening now, FooT retires to his residence, and the sun to the western horizon. The first two lines are to be construed with both, so some words are used with double meaning. The meanings of words to be construed with the sun are put in the angular brackets in the translation. Note the form games for 30 H TCT ( Var. i. 11). Here the figure of speech is E TAT. We may not take it in the sense of cow, because cu is in # now on an important mission. He should not be painted as a cowherd here; and moreover the context shows that he sumrned up his description of AYTT which he began in verse No. 39.
In this canto verses 1-57 are composed in a metre (see p. 179 above); No.58 is in Jamaicat which is four times ---luu-luculuv-1 --U1---1-ll, and it: is thus defined: 3 fayzi a tafarat e zeza I Hot wat a: ICEfamilfcafu prit ll To aro 30; No. 59 is in ErT metre which is four times ---I-U-T-uuluvuru--10--10--l, and is thus defined: harti grazie alla stat a ferai wit at JE E PITI JH U aa ll do ato 89; and No. 60 is in 72 metre (also called far ) which is four times voul v-ul-Uuluculu-ulv-l, and is defined thus : 075777 जो जो लगौ च कटकं विदुः । वृ० वा. ३५.
CANTO THREE 1. alifá qualifies at TS. EUR is the first to come on the stage either to perform the preliminary rites of gors or to open

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the conversation at the close of act. Here the drum-sound is compared with सूत्रधार. आढस ( here पाढत्त with the preposition) is usually equated with 3rot by the grammarions. Pischel however postulates a form *3714 ( $ 286 ) to explain it. Here the figure of speech is geen based on 9993% This opening reminds us of शिशुपाल. xi. 1 etc.
2. पद्मलोचन or -विलोचन is कृष्ण himself who is being addressed by the bardic party. We may note the alliteration here and there in this verse. Compare AE's comparison of poets with kings शिशुपाल० xi. 6.
3. Verses 7–20 form the address of the bards. The first to is exclamatory ‘Hail'. Early in the morning bees are hovering everywhere and some of them issuing forth from the lotuses that are just opened. They are compared with the side-glances darted by the beautiful lady in the form of the lotus.
4. Construe तुह होस्सतिं मुहलच्छि of which अच्छि... कण्हिमाणं is an adjective. Because noot was rising up from the bed, the moon feared that his face would be thrown into the background by that of Entot and went away at once. The blue eyes of acut are more than a match for the dark spots on the moon. The moon sets in the morning and on this the author bases his fancy.
5. The author takes advantage of the double meaning of arate * eye-pupil' and 'star'. Early in the morning the stars in the sky grow pale, and that, the author fancies, is due to their being humiliated by the brilliance of the pupils of our's eyes which are opened as he leaves the bed. Compare a similar situation in शिशुपाल • xi. 24.
6. Hlutsi=Falcatui. The way in which the word is used indicates that darkness is personified. ओसरते, note the आत्मनेपद.

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7. Some of the words are to be construed with TIETC as well as सरोहणीए. करंचल-points of rays and also fingers. राधा was the favourite mistress of कृष्ण when he stayed at वृन्दावन as a गोपाल among the cowherds. In later poetry some symbolical and mystical character is seen in r that she represents the human spirit attracted to the God or the pure divine love flowing towards the divinity. तु त्वम्, We have here समासोक्ति and उपमा.
8. What the sun is to the moon's rays out is to the soldiers of the enemy. तुइत्तो Abl. sg. दुकूल gives the form दुऊल also; but दुगुल्ल in अर्धमागधी (Pischel s90).
9. Note the forms झीणाअं, णिसाअं, संतदीअं etc. It is when the sins of mundane beings are exhausted that lord soos bestows his favours on them.
10. The lotaslike eyes of your with their dark and unsteady pupils remind one of the calices of lotuses in which there are dark bees hovering. So we have here the figure of speech FATUTAR.
11. The figure of speech here is 34AT.
12. If 908-91053-97731t, then we may render 'the dark region of your chest'.
13. hout is compared with a lotus-pool and his eyes with the lotuses therein.
14. Note आविज्झा -आविदा, perhaps due to contamination with such forms as faeta=fotk. panta, on the change of my to me see Pischel § 275. The figure of speech is quaerah. This verse reminds us of Mr . 7-Taguiatge agrity The दाहात्मकमस्ति तेजः । स्पर्शानुकूला इव सूर्यकान्तास्तदन्यतेजोऽभिभवाद्वमन्ति ।
15. The sun is a lion, and the darkness an elephant. The former is mangling the latter with the consequence that the stars

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in the form of pearls (which the elephant carries in its head according to f) are scattered and that there is the twilight in the form of blood: The figure of speech is qift. This reminds us of शिशुपाल ० xi. 49 - परिणतमदिराभं भास्करेणांशुबाणैस्तिमिरकरिघटायाः सर्वदिक्षु क्षतायाः । रुधिरमिव वहन्त्यो भान्ति बालातपेन छुरितgverdadenká anft av: 11
193
16. The छाया renders अल्लिएह by आश्रयति; we should better connect it with, to settle down upon. Note the opening conjunct in प्पडिणव. As to the figure, there is अर्थान्तरन्यास in the third supported by 34 in the fourth line. Such a combination is called by the name विकस्वर.
17. The morning sun is spreading his red rays on the breasts of unchaste women that have the saffron therefrom rubbed away by the chests of their beloveds whom they visited; so this twilight here is like fresh saffron on their breasts. This reminds us of शिशुपालo xi. 55.
18. अम्मेलावइ = आम्रेडयति, repeats and hence intensifies. The red hue of the vermillion on the heads of elephants is intensified, as it is lit up by the rays of the morning sun. frufti Acc. sg. पिशंगिमन् in the sense of पिशंगत्व. This verse reminds us of शिशुपाल ० xi. 43-45.
19. छुर to cover, फुरउ would have been more appropriate. The saffron mark left by ft's breasts on the chest of is so bright that it would lend some loveliness even to the rays of the morning sun.

20. Note the form उज्जिहाण directly corrupted from Sk. उबिहान pres. p. from उद्-हा to rise up. The figure of speech is मालारूपक. The illustrative quotation given by angeado (x. 30) may be
13

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EACH
compared with this verse : HERTHRI Palanga sitauef नायाः । विराजते व्योमसरःसरोजं कर्पूरपूरप्रभमिन्दुबिम्बम् ॥
21. 6oT is awake even before the bards pour out their eulogistic songs, just as the blooming of the lotus plant precedes the cackling of the swans. . Here the figure of speech is agra.
23. The twilight lustre was like a red 1791 flower; cf. HEÇT i. 36-Fr à 5: gfaaa Fm76978 91:The brilliant twilight with its reddish hue reminds ze of the moonlike face of 79T from whom he is now separated. ETI=sfah (Hc. ii. 158 ). Here the figure of speech is स्मरण.
24 The figure of speech is 39HT, and the imagery is finely projected by the author.
25. ESTÈ, Acc. pl. This we might call Acc. of time, 'for or over many days'. The throbbing of the left eye is considered as auspicious in the case of females but inauspicious for males: what was a happy prospect for gooy's mother was a fatal calamity for 8 and others. For the various omens at that time see mo 10. 42. 27 etc. -777351T=FAra: the use of Fa is not quite appropriate, but it was perhaps necessary for rhyme seen at the end of a & b and c& d. In the light of author's own usage (i. 2, iii. 16) rather समल्लिआणं, but perhaps he has used समल्लआणं for rhyme.
26. Perhaps the author imagines that the streets are speckled with reflections of the glances of ladies who are standing on the mansions. 373ifa=379 fact, Pres. 3rd p. pl. of IP, to go.
27. अम्बष्ठ is the keeper of the elephant कुवलयापीड belonging to *. His attempt to overpower pot with the help of his elephant was as ill-advised as that of a person who wishes to shelter

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himself from the sun by his hand. For this event see rTo 10. 43. 1 etc.
28. pries t s (Vr. ï. 16), but Pischel postulates a word *3714754 from which he derives HS ( $ 122 ). grus pasite i.e., आपीड prefixed by the word कुवलय, which amounts to कुवलयापीड the name of an elephant belonging to कंस. In शिशुपाल. we have fecund pfang=revozofuý i. 42. 39375 is the wife of ऐरावत who therefore gets the name अभ्रमनाथ. Cf. शिशुपाल. i. 52 सलीलयातानि भर्तुरश्रमोः
29. HARU, in the first line, means the fence round the mansion ( of HTE), while in the second line a rutted elephant viz. कुवलयापीड. The form अण्णत्तो may be explained from अन्यद+तः, and on the analogy of this we get Hoit etc.
30. Here too we have a & b and c&d rhyming. Juratas sita:, the duplication of the second member is perhaps due to the metre. The first two lines constitute the reply of Hout who is 34747, i. e., whose acts are fatally fierce. Cf. AMO 10. 43. 4 etc.
31. Ef3efuse or apa, wounded, cut or bursting open. AFN a rod-here is a reference to the mythological churning of the ocean for nectar. On that occasion the mountain #ret was used as a churning stick and the serpent area as a rope. The normal Prakrit form is सिंखला for शृखला, but here we have सिंखरा. There are a few Prākrit words which show 7 for the of the Sanskrit words: Pare (ii44 ) =ffs, 973454736, ATHEI=TSHIRT (Pischel $ 259). Here the figure of speech is 34HT.
32. From the org it appears that the original reading might have been परिवेसमूढहेलं; the author has already used परिवेस at ii. 46. First but leads that elephant round and round,.so that it might

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get exhausted; and when it takes circular movements with its trunk gracefully bent, he fells it and strikes on its temples.
33. जाला and ताला are used ike यदा and तदा (Hc. iii. 65 ). Pischel derives them from * यात् कालात् and तात् कालात् which are postulated stages. Note the form atefon from het f. for loc. sg. Å stands for Hurgh. The elephant strikes the ground with the idea that he is there, but as he has slipped away with his adroit movements the elephant, due to its heavy stroke, stands there withrits tusks sinking in the earth. It is pinned in that position, and कृष्ण takes advantage of further attack. अहो-अयो, now.
34. For the detailed description see 10 10.43. 9 etc., especially verse 14.
35. The similes here have in view certain mythological references. Once upon a time the mountains, which had formerly wings, grew very refractory and troublesome; so Indra cut off their wings with his thunderbolt, and they fell finally in their present positions. We have a vivid and elegant description of the flying mountains in T360et (verses 224-235). The elephant $5994 its falls like horft when its wings were cut by Indra's thunderbolt. te is the king of anis, the serpent race, dwelling in TT . He has thousand heads or hoods that are said to carry the glabe of the earth. When the elephant fell, the earth shook as though it was dislodged from the heads of 319.
36.34726 being the keeper, the elephant followed him and his instructions all these days. Now we wanted to reverse this order, and he made 3778 follow the elephant. The elephant was first killed and 37g was made to follow it to the grave. Note that the alternative lines begin with similar words.

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37. gada=gozat, usually those that are decorated with flowers'; but in view of the qualifications उम्हसोम्मसीला and गअणतलं ब П it is more appropriate to take that word to mean sun and moon'. It is better that the simile should stop with the second line. The reading प्पमइलदं would stand for प्रमलिनतां. The arrival of राम and was a matter of joy to some and a matter of sorrow to others. a & b and c & d rhyme at the beginning.
38. After killing the elephant कुवलयापीड, राम and कृष्ण are carrying the tusks as trophies in their hands; compare л 10. 43. 15–16. People saw these brothers to their heart's content, and felt that their eyes were fruitful today. In early Kannada, Tamil and Malayalam poetry the second letter of all the lines of a verse is the same. Our author shows such a tendency here and there in the first half or the second half of a verse: see i. 7, 27; ii. 16, 32; iii. 38, 41, 43, 59; iv. 3, 25, 30, 40, 48*2, etc.
197
39. Sanskrit छाया renders मुकुलतमानि; that implies that the reading of the text might have been з. But here we can conveniently take तेषां वक्त्राणि मलिनतमानि भवन्ति 'their faces become superlatively dark or faded'. # though usually equated with मलिन, may be traced back to a word like *मृदिल, मृद् f. dust etc. The figure of speech is दृष्टान्त.
40. णवरि अ is taken as अनन्तरं by the छाया. 3441 here, and it is quite apt.

41.
चाणूर and were celebrated wrestlers in the service of whose special favour they enjoyed. Being awake they protected (arafa) the whole army. If we could read forføyáfa, the meaning would be 'they inspect the whole army'.
We have
an उत्प्रेक्षा here.

We have an

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42. men and hy were terrible demons. It is said that they tried to kill Brahman seated on the lotus springing from facu's naval. fasuot killed them, and hence he gets the names He or my-F9 (see also ü. 7, 32, 34).
43. चाणूर thinks that he would tickle कृष्ण's vanity and induce him to fight against a heavy champion by saying गोवालो etc. भूवालो is apparently king , Note the alliteration effected throughout the verse. Here the figure of speech is 3 ufakar.
44. Compare Pro 10. 43. 32-40. Daityas are a race of demons or giants who fought against gods and molested the sacrifices. Often they are associated with 779s.
45. ATH appears to be used here simply as an explative. If they fight, the Bhoja king will be able to know who is superior or inferior in the strength of arms
46. TUT=STUTUT TURU. Hou enters into a duel with air and ATA with gfè.
47. The doubling of g in 1968 appears to be euphonic. Or should we read धिब्बोलं परुस etc.? बाहुजंतं refers to the armlocks adopted in wrestling. Are we to read खुब्मतं तिहुवण etc.? आसि and red, both the forms are current.
48. Compare with this and the following verse M10 10. 44.. 1 10.
51. ita fomuter would have been a normal reading. Here the figure of speech is Era. Cf. T10 10. 44. 28-31 etc. with this and the following verse.
53. Here the figure of speech is THT. Naturally some words, which are to be construed both with us and as and both with 78 and serpent, are to be understood with a twofold

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meaning. विसमहिअं-विषमहृदयं or -धियं and विषमधिकम्. विणअत्ति= विनत + अर्ति and विनता+अर्ति. गरुड is a mythical bird-man on which विष्णु rides. कश्यप was his father and विनता his mother. विनता was not on good terms with her cowife and superior कद्रु, the mother of serpents, and was treated by her almost like a slave. wanted to rescue far from this slavery, but the serpents demanded अमृत as a price for विनता's freedom. अमृत or nectar was obtained, and in addition I got a boon that all the serpents would be his food. gave 3 to the serpents and rescued his mother; but, with whom had already entered into conspiracy, outwitted the serpents and carried the pot of nectar Cf. भाग० 10.44. 36 - तं खङ्गपाणिं विचरन्तमाशु श्येनं यथा दक्षिणसव्यमम्बरे । समग्रही दुर्विष होतेजा यथोरगं तार्क्ष्यसुतः प्रसह्य || On the next verse
cf. ibid. 10. 44. 34-35.
199
55. पवडिअ - प्रपत्य, Gerund of प्रपत्. The word वत्थि perhaps stands for or fat. If it is to be traced back , a taft word for ч, then it refers to the bony socket of the heart. I have taken from 5 U, to injure, to hurt.
56. गरुड is the conveyance of विष्णु, but he is allowed to sit on the roof when विष्णु is driving in a chariot ; so विष्णु-कृष्ण gets the title गरुडध्वज. Here the figure of speech is अर्थान्तरन्यास.
57-8. Compare भाग० 10. 44. 42; also कंसवधम् of शेषकृष्ण vi. 46. Such descriptions are quite common in Indian literature in such contexts. Note the alliteration here and there.

59. कंस had eight brothers कङ्क, न्यग्रोधक etc. See भाग ० 10.44. 40-1. The second letter is the same in all the four lines. Though the brothers were wicked, they went to heaven because they were killed by who is an incarnation of God.

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60. We have alliteration here and there in this verse, and the figure of speech is in 54%.
In this canto verses 1-56 are composed in Tefuft metre which is four times ---luvulv-ulu-i-, and is thus defined: hat sit 1947 jung: getauft i lao apo pu); verse No. 57 is in qan metre which is four times u-uluv-lv-uluval
--10 -11, and is thus defined : सुग्रहयतिः पृथ्वी जसौ जसयला 16: (Lo ato 38); verse No. 58 is greatfect (see p. 190 above); verse No. 59 is in amar metre which is four times -v-luvul-vui--ll, and is thus defined: 79741 Dogma a farraa farrera (qo ai. Po ); and verse No. 60 is in Ruit metre which is four times w.vuluu-1---1-valuval v-ll, and is thus defined: Tutte AFASTA JA AREA TE: 1 Efront (To ato R4).
CANTO FOUR 1. The world was oppressed by the tyranny of 98, sortut brought relief to all the beings by slaying w. Here the figure of speech is रूपक.
2. प्रसादलक्ष्मी is compared with हंसराजि and other items are to be construed similarly. The figure of speech is 34AT.
3. कुलपालिकाः or even कुलबालिकाः. Formerly they were afraid of moving about lest the king it might molest their chastity.
4. There is 99 at the close of a & b and c& d. In the second line अणंतराअं is taken as अनन्तरागम् by the छाया. Can we not take it as 377TH and interpret thus: 'youths that desire to sport with (their) beloveds over endless nights without any hindrance'? They were sorry because the night comes to end; they wished that it was endless. Cf. the sentiment expressed by the

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king in विक्रमोर्वशीयम् iii. 22 - अनुपनतमनोरथस्य पूर्वे शतगुणितेव गता मम त्रियामा। यदि तु तव समागमे तथैव प्रसरति सुश्रु ततः कृती भवेयम् ॥
5. विदत्त, usually translated as अर्जित, is rendered by the छाया as विधृत. The first three adjectives are to be construed with विलासदिट्ठी as well as खग्गलट्ठी. The figure of speech is परिसंख्या. With the death of there has been a good deal of change in the circumstances: people are happy (No. 2); ladies can move freely (No. 3); youths have no hindrance in their sports (No. 4); and lastly, as stated in this verse, voluptuaries too get much liberty. 6. Bhojas and Andhakas are the clan-names of the descendents of Bhoja and Andhaka. 3 is the father of, and had wrested the crown by deposing him. So, after killing कंस, restored उग्रसेन to the throne. माआपिदरे i. e, the parents of Hou who were imprisoned by (see i. 12 above).
201
7. वृष्णि is a clan- name derived from वृष्णि, a descendent of यदु. belongs to this branch of lunar race. णे = माआपिदरे Acc. pl.
8. The meaning of चिरस्स is partly covered by दिग्घाउणो. आनकदुन्दुभि and देवकी are the parents of कृष्ण. The former is वसुदेव
himself, and he is so called because the drums of heaven resounded at his birth.
9. The first is the description of the chest of and the second is that of ; this distinction is due to their natural bodily colours.

10. The occasion and context are not quite fitting, still the author makes narrate the various events in the lives of and. At any rate the poet wants to narrate the other events of our's life in this poem. All these events are referred to in at places more than one.
They are collectively stated

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KAŃSAVAHO
at TT0 10. 26. 1-15. This narration of events reminds us of the praise poured on कृष्ण by भीष्म in शिशुपाल xiv. 54 etc.
12. The fr renders HERRIHET, on that memorable night, taking संस्मर-संस्मरणीय. I have however taken शम्बररात्रिमध्ये 'on a ' cloudy night'. The cther part I have thus consurued: pfsetool Jei Jaror jeften (GER). On this and the next verse, cf. HTITO 10. 3 closing verses, espically No. 51 which runs thus: quia a त्यसकृद्यमानुजा गम्भीरतोयाघजवोर्मिफेनिला । भयानकावर्तशताकुला नदी मार्ग
et forfra fwy: 9:11 I have translated 12 & 13 as independent verses apparently taking å for f. As they stand 11-13 would be taken together. ___13. शौरिः a patronymic of वसुदेव. In exchanging कृष्ण with a cowherd girl Vasudeva was a loser; but the gravity of the occa. sion demanded it, because mour's life was in danger. The figure of speech is अथान्तरन्यास. तुए-त्वया, quite usual in dramas.
14. See TITO 10. 6. 79t was a female demon, a daughter of afs. She attempted to kill the infant not by suckling him, but instead of her milk of sucked her life and reduced her to death. She goes to better worlds as she meets her end at the hands of divine tut whom she tried to suckle. ___ 15. घरेसएण is an अलुक् compound. तृणावर्त was a demon in the service of a who sent him to destroy tot. He assured the form of a whirlwind (25ata:), covered the area of Jeses with dust and sand, and in that turmoil carried off the infant out, but was overpowered by the weight of the child and was consequently killed. Hop=27 (Pischel § 427-28). Farst (=aaa) was reduced to the position of चक्कवाअ (चक्रवाक bird) in the lake of the Tam , i. e., he was killed. See T. 10. 7. 20. etc.

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203
16. The word toa stands for both Toy and stá as shown in the translation.
17. There is pun on the word ATSIT. UT rescues people who are bound by ATSIT ( EATO), but he himself is bound to a mortar by AT39T (=HTC or Arą). Note #TBTT is Inst. sg. from AT39F=AFQ. Shoot was ever mischevous. Once he broke the pot of curds which enraged his mother quiet who consequently tied him down to a mortar. After a good deal of effort she could manage to get a sufficiently long rope to fasten round his body ( 1To 10.99 14 etc.)
18. By way of revenge परशुराम destroyed कार्तवीर्य-अर्जुन who. was known as Haare and who, according to another tradition, had thousand arms. The back-ground of the event of acu's breaking a pair of 377 trees is like this. Two pegs, foot and Afruita, were once sporting with ladies in the river Ganges. They were excessively drunk and completely nude. Tog was passing by that way. At the sight of the sage are the ladies clothed themselves, but the two brothers were too drunk to mind their nudity. Arcę was offended by their behaviour, felt that they did not deserve to be men, and cursed them that they might be turned into trees for a period of one hundred years. They would be relieved, however, by the contact of entor. For his mischief, we have seen above, tot was tied to a mortar, but divine as his. power was, he pulled the mortar through the interspace between the pair of 37ga trees (viz., the two 9875 converted into trees) in the veranda. His pull was so forcible that both the trees were uprooted; and consequently the 70s were released from the form of trees. Cf FIFTTT30 xiv. 80 with this verse.
19. are was a demon in the service of Once he assumed the form of a crane and tried to swallow uso who was

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KANISAVAHO
playing with his companions. His mouth and throat were burnt and consequently bou was vomitted. Just on the spot group finished him to death when he further attacked him with the beek (27110. 11. 48 etc.), fuafuite 311 Taaraid can be construed both with णं-तं कृष्णं and सहस्समोहं-सहस्रमयूखम्; accordingly गो can mean “cow' as well as 'ray of light.'
20. अघासुर was ademon in the service of कंस who despatched him to destroy Fut. He came to go and assumed the form of a huge boa-constrictor. The cowherds entered its mouth mistaking it for a mountain cavern. He also entered its mouth with a view to rescue others, and enlarged himself to such an extent that the serpent was burst to death (See TT. 10. 12. 13 onwards). The 3147 reads that perhaps with a reading कम्मदोसा in views
21. In this verse the author has the following incident in view, anca made the cows, cowherds etc. invisible for a period of one year, and thus tested the power of hoe who could outwit aer by his all-pervasive ability. Cf. 47770 10. 13, especially verse 15. Verse 44 runs thus - pa JHET faoi fante fagATEA I Fap Hrasf Faha fanleg: || sera realizes that he was outwitted, seeks shelter of our's feet, and then offers a long prayer (see
11. 10. 13. 60 etc. and 10. 14 also which chapter is called ब्रह्मस्तुति). Better read कवलडपाणिं for कवलद्ध-, which is apparently a name of good who, as a typical cowherd, carries a bunch of grass in his hand. The adjective for for ghout is often used in mo, see 10. 13. 14. 61; 10. 14. 1 etc.
22. Compare To 10. 11. 36 etc. where various sports are described. Verse No. 36 runs thus: Frasi hata margfalta च । वीक्ष्यासीदुत्तमा प्रीती राममाधवयोर्नुप ॥

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205
23. On this verse see ArTo 10. 15. 21 etc. was a demon who lived in a palm-grove from which the cowherds once wanted to enjoy the fruits. 1996 assumed the form of an ass and began to attack a m who was shaking the trees. TTTH seized the ass by its legs, whirled it round till it was dead, and threw its body on the top of trees which were thereby thoroughly shänen as if by a whirlwind. All the trees fell down as much as the enemies therein like 2016. Thereafter people could enter that forest freely, and the cows also could graze happily there. Thus people were made happy and the burden of the wicked was removed from the earth.
24. 37 is a term of address, a particle implying attention, assent or desire etc. It is constantly used in 70 in these contexts. funt a direct corruption of the Sk. form. The word 2014 is used with two different meanings, and hence the apparent contradiction.
25. Note the 1% at the opening of a & band c& d. falfes 391f=ffetafe and ef. fe was a serpent king with five hoods. Being afraid of 19€ whom he had offended, he came and dwelt in a deep pool of FIT, and thus proved a bane to the living world all around. The child shoor once jumped into the pool, and when he was entwined by the snakes he overpowered them. He simply danced with dignity on the hoods of pifs who had to pray for guy's mercy. By spared others but forced कालिय and his attendants to go to the ocean. We have here उपमा. This and the following verse describe the above event. Cf. YTTO 10. 16. 3 etc.
26-7. दामोदर is a name given to कृष्ण due to a rope going round his belly when be pulled the mortar between a pair of the

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KAMSAVAHO
trees noted above. The author depicts here the scene of boy our stepping and dancing on the hoods of gifs. The language flows quite in tune with the ideas of the author. Cf. T1To 10. 16. 24 etc. In 26 the figure of speech is 3YHT, and in 27 Famalfi.
28. कालिय had his vanity completely smashed by कृष्ण whose mercy he implored. But blessed forfose with protection from सुपर्ण गरुड on account of whose fear he had migrated to यमुना. Cf.
UT. 10. 16. 63 and also 10. 17. 1–10 etc. The figures of speech here are अर्थान्तरन्यास and पर्याय.
29. This incident refers to the context when he was praised by Julysts, cf. 77 10. 16. 33 ff., also 10. 17. 13. Are we to take second णाअ-नाक, heavenly, in the light of दिव्यनग्गन्धवाससम् in HTTÓ 10. 17. 13? The figure of speech is 397
30. Once a forest-fire was spreading in the forest on the banks of 61. Every one sought the shelter of ghout who consequently swallowed the flames. Cf. TT. 10. 17. 21-25: fasadei निरीक्ष्य जगदीश्वरः । तमनिमपिबत्तीव्रमनन्तोऽनन्तशक्तिधृक् ॥ २५ ॥. Another similar event is described in to 10. 19, and that chapter is called Arafat. The figure of speech in this verse is अर्थान्तरन्यास.
31. About going see Notes on i. 21 above. The destruction of प्रलम्ब is described in भाग० 10. 18. गोवाअंतं is an adjective of ga who had assumed the form of a ty. Note the sound effect in the last line.
32. Cf. TITO 10. 22, which is called TETETT:, especialıy verses 8-9 etc.
33. Once the hungry aties were sent by Hour to a sacrifice that: was being celebrated in a forest, but the priests turned

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207
them off without giving them food with no regard for your who sent them. Then our advised them to beg food from their wives who, despite the objection raised by their beloveds etc., showed their respect for कृष्ण and offered food to the गोपs (see भाग 10. 23). egter blesses them thus: forat af garat 3 FETHTH97792 113R1!
34. The pastoral people of 5, ata and others were once out to perform a sacrifice in honour of Indra who bestows rain etc., but shoot induced them to stop it and worship the mountain otrasa (see HTTo 10. 24). Here the figure of speech is 39AT.
35. When his worship was stopped by 60T, Indra felt offended, was quickly enraged, and poured down a fatal deluge of rain with a view to wash away the stata mountain and all the people of that area; but us lifted up the mountain Ta on his finger, held it for seven days like an umbrella, and thus prepared a solid shelter for the people of tea. Indra was outwitted, and at last he paid homage to get. Cf. T10 10. 25, especially verse 19 etc. This verse is a fine illustration of the author's confident handling of the language.
36. पर्वतवैरिन् is Indra who had cut off the wings of mountains that were boisterously flying causing a great anxiety to the world. When itu protected all people from the rains, Indra was humiliated, and he offered glowing praise at the feet of hour. At that moment, the heavenly cow sprinkled him with milk and thus coronated him like Indra. Just as Indra is the Indra of the Devas pour is the Indra of Gopas: the former is corse and the latter Torsd. fare is only a Prākrit form of 14HTTo explains गोविन्द by saying गवामिन्द्रतां गतः (10. 27. 23*1). The form qilfe is a direct corruption of quif:.

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KAMSAVAHO
37. अभ्रमुवल्लभः is ऐरावत, the elephant of Indra. Cf. with this and on the last verse . 10. 27, especially verse 22:
मन्त्र्य सुरभिः पयसात्मनः । जलैराकाशगङ्गाया ऐरावतकरोद्धृतैः ॥ etc. Note
the syllabic repetition in the last line.
38. प्रचेतस् is the name of वरुण. As Nanda once entered the waters of यमुना out of time (or as भाग०puts it अविज्ञायासुरीं वेलां ), he was carried away by an असुर in the service of वरुण; but कृष्ण saw, got respects from him, and brought his foster-father back to the joy of all the गोपs. ( see भाग० 10. 28 ).
39. Pischel postulates a word of which is usually equated with a ption of रासक्रीडा see भाग ० 10.29 etc.
40. Are we to read पवंचिअविवंचिअं ? Cf. भाग ० 10. 29-33.
to explain the etymology (§ 58). For the descri
41. अक्रूर is addressing these verses to वसुदेव ( and देवकी ), and hence दे णंदणो ( = तव नन्दनः कृष्णः ). Note the form दिक्खु from Sk. दिक्षु Loc. sg. The figure of speech is रूपक. See भाग. 10. 29 etc. and 10. 15. 9 etc.
asked her to mount
She repented for
42. Once a certain, for whom cial attachment, was puffed with pride. carry her as she was not able to walk. his shoulders but disappeared all of a sudden. her vanity and began to lament ( भाग ० 10. 30.34 etc.). कृष्ण is not accessible to men in whom a predominates. Here we have विरोध and उपमा. Note the form दक्खणिज्ज, perhaps a compromise between दर्शनीय and प्रेक्षणीय.

had shown some speShe requested
to
43. On the disappearance of, is felt very sorry; when their vanity melted away, or again appeared before them in full

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glory; and their sports became all the more attractive (see Ho 10. 31-32). Here the figure of speech is IFA.
209
44. शङ्खचूड was a servant of कुबेर. In his attempt to kidnap some mis he was killed by ; and the jewel from his crown was passed over to बलराम ( भाग० 10. 34. 25 ff ). अरिष्ट was a दैत्य sent by to destroy. He assumed the form of a savage bull and attacked कृष्ण. twisted its neck, pulled out its horn and thrashed it thereby so much that it vomited blood and died on the spot ( भाग● 10.36. 1 – 15 ). The name of the दैत्य is अरिष्ट so च + अरिष्टः = चरिट्ठो; this Sandhi unusual. Should we read किं गरिट्ठो अरिट्ठो ? As to केशिन् see Notes on i. 21 above ( भाग० 10. 37 ). व्योम was an असुर, a descendent of मय. He put on the dress of a cowherd, and playing with the cowherd boys closetted them in a cave the mouth of which he closed with a slab of stone. कृष्ण came to their rescue and destroyed व्योम ( भाग ० 10. 32.26 etc.) Here the author hurriedly refers to three events in one and the same verse.
invited
with the pretext of the bow-festival and
45. with the aim of killing him; but the arrival of resulted into the destruction of himself. In fine, his plan turned against himself. The illustration given by the author is quite significant.
14

46. माया or योगमाया is really the daughter of नन्द and यशोदा, but she was exchanged with child and brought to the bed of देवकी in मथुरा. कंस wanted to smash that female child on a stone, but it slipped from his hands and flashed forth in the sky like lightening (o 10. 4). Thus she is the sister of our who is therefore मायाग्रज.

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47. This verse expresses the blessings of the parents to TTH and cur.
48. #fì fossa Tafa stariatui sent. The author concludes the last verse with the word zett, as he began the first verse with sît (= WET).
48*1. This verse explains why the author wrote this poem. He claims that it is a new poem and that its study would introduce one confidently into the extensive field of Prākrit literature; and he wishes that all should read it. The I have taken as rate, a dam. It is not unlikely if it is a wrong reading for reaftet, a ford, a road.
48*2. For his protection he invokes god fac] who is saluted by all other gods including em. This verse is in Sanskrit, and the second letter is the same in all the lines.
In this canto the author has used a large number of 77s. Verses Nos. 1, 2, 6, 8, 9, 11 and 13-18 are composed in 3451a metre which is a combination of stanzas of lines of इन्द्रवज्रा and उपेन्द्र1911. According to our author there are fourteen varieties of it (C. To $8). Nos. 3-5, 7, 10, 19 and 20 are composed in Borse a which is four times u-u --vlu-ul--11 and is thus defined : 34GSTE FRATAT FTSTEHT 16614( ao al. 83). Verse No. 12 is composed in a si metre which is four times --v --ulu-v --Il and is thus defined: Tout To& fra Stefa (To To 83). Nos. 21, 22, 34, 36, 42, 45 and 48*1 are composed: in auraass which is four times --ul -uulu-ulu-ul-- 11 and is thus defined: Taf THAT GET sit auralaes HAH (@o ato Ro). Nos. 23, 26, 46 and 47 are com

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211
posed in de familiar. (see p. 190 above). Nos. 24 and 32 are composed in TATIS FT (see p. 179 above). Nos. 25 and 38 are composed in Frat metre (see p. 200 above). Nos. 27 and 40 are composed in qef metre ( see p. 200 above). Nos. 28, 43 and 48*2 are composed in Apurauit which is four times vv-lv-ul vu-Tvul-ll and is defined thus : Fit Fit HT HAH3Hret ( To To ). Verse No. 29 is written in totaal metre which is four times-v-ruuvi-v-lv-l1 and is defined thus that start 41547 aut aimugar ( To ato pu). Verse Nos. 30 and 31 are composed in soft metre which is four times ---1--vla-ul--ll and is thus difined mot Haanut sit farajalgfa: (qo ato PE). Verse No. 33 is written in Frarrat metre which is four times ---I-uuluvull --------ll and which is defined thus: 347a afatat us faerd I HEART TATT ALATAN : 11 (q. TO BE ). Verse Nos. 35, 39, 41 and 44 are composed in prat metre (see p. 190 above). No. 37 is written in gafasiaa metre which is four times vul-vul-vui-v-ll, and it is thus defined: 78Ti a 2270 a yg gafasian (qo ato Po). And No 48 is composed in a soft metre (see p. 179 above).

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INDEX
(of Proper Names in the Text)
N.B.-The dark numbers indicate that some biographical information is given in the Notes at those places.
Abhramu, iii. 28; iv. 37. Abhira, i. 56.
Acyuta, i. 8; iv. 38. Aghasura, iv. 20.
Akrūra, i. 10, 23, 40; iv. 46. Ambaṣṭha, iii. 27, 36. Anakadundubhi, iv. 8.
Andhaka, iv. 6.
Arjuna, iv. 18.
Arista, iv. 44. Bakāsura, iv. 19. Bala, iii. 24; iv. 23. Bhargava, iv. 18. Bhoja (-adhipa, -bhūpati, -īša, -pati, -rāja etc.), i. 11, 19, 24, 32; ii. 2, 4, 39; iii. 42, 45, 52; iv. 1, 6.
Brahman, i. 6.
Cakravāta, iv. 15.
Căņūra, iii. 41, 42, 50
Caraṇa, ii. 58.
Daitya, iii. 44; iv. 15, 31. Damodara, iv. 26.
Devaki (-suta etc.), i. 9, 33; ii. 38; iv. 8.
Dhenuka, iv. 23, 24. Gada (-agraja), i. 3; iii. 51. Gandharva, ii. 58. Gandineya, i. 61, 63; iv. 10. Gändini (-suta), i. 3, 33, 55.

Garuda, iv. 28. Gokula, i. 23.
Gopala, iii. 43; iv. 27, 35. Govardhana, i. 49; iv. 22, 35. Govinda, iv. 36.
Hari, i. 15, 41, 56, 61; iii. 30, 33. Jahnavi, ii. 43.
Jambudvipa, ii. 42.
Janardana, i. 39, 45; iii. 21. Kaiṭabha, iii. 42.
Kalinda (-nandini, -kanyā etc.),
i. 48; iv. 12, 39.
Kaliya, iv. 25. Kamalā, iv. 6, 48*2. Kāmapāla, iv. 31. Kamsa, i. 2, 15, 39; ii. 15, 35; iii. 25, 53, 54; iv. 2, 31, 44, 45. Kamsavaha, iv. 48*1, colophons. Kasyapi, i. 61.
Kaustubha, i. 36, 42. Kavaladdhapāņi, iv. 21. Kesava, i. 23; iv. 39, 44. Kesin, i. 21; iii. 44; iv. 44. Kinnara, ii. 58.
Kṛṣṇa, i. 52; ii. 17, 18, 30, 36, 37; iii. 12, 24, 26, 34, 37, 46, 50, 53, 55; iv. 1, 24, 48. Kṛṣṇa (-giri,-acala etc.), i. 62; ii. 24; iii. 35.

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INDEX
¿
Kumbhirāja, i. 22.
| Sambhu, i. 36. Kuvalayāpida, iii. 28.
Sankhacūda, iv. 44. Mādhava, i. 14, 18, 20, 34, 60, Sauri, iv. 13, 18, 44. 62.
Sesa, iii. 35. Madhu (-sūdana,-vairin-ma- Sirapāņi, i. 33.
tha (na) etc.), i. 64, ii. 7, 32, Śri, i. 1; ii. 8; iii. 57. 34; iii, 54.
Sri-yatsa, i. 42. Mahendra, ii. 58,
Sūryakanyā, i. 62. Malla, i. 22 etc.
Trnăvarta, iv. 15. Mandara, iii. 31.
Ugrasena, iv. 6. Manmatha, ü. 22.
Van(yamalin, i. 28; ii. 1, 37. Mathurā, i. 64; ii. 40.
Varuņa, iv. 38. Māyā (-agraja), iv. 46.
Vasu, ii. 58. Mukunda, i. 47, 55; ii. 8, 31,60.
Vasudeva, i. 63. Musaladhara, iï. 46.
Vāsudeva, ii. 9, 25, 60; iii. 13, Musalin, ï. 1.
36; iv. 32. Mustika, iii. 41, 46, 50.
Vidyadhara, ii. 58. Nāga, iv. 29.
Vinatā, iii. 53. Nanda-gopa, i. 25, 34, 36; iv.15, 34, 38.
Viriñca, iv. 21.
Visņu, i. 36. Nanda (- ja-tanaya), i. 26, 36;
Vistaraśrava, iii. 59. iv. 25. Pracetas, iv. 38.
Vraja i. 32, 60; iii. 42. Pralamba. i. 21; iii. 44; iv. 31. |
| Vịndä (-aranya,-vana) i. 50; Pralamba-sūdana, i, 28.
iv. 22, 39. Purandara, iy. 34.
Vrsņi, iv. 7. Pūtanā, iv. 14.
Vyoma, iv. 44. Rādhā iii. 7, 23.
Yadu, iii. 5, 40. Räma, i. 23; ii. 17, 36, 38; ii. 1 Yama, iii. 29. 26, 37; iv. 24, 48.
Yamuna, i. 45, 63; ii. 43; iv. Rāma Pāṇivāda, colophons. 22, 25, 32, 38. Rohiņī-suta, i. 27.
| Yasodā, i. 1.

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omparative Grammar of the Prakrit Languagesy R. Pischel : Pages 440 : Cloth bound : Gold embossed : Price Rs. 50%. This is the English translation of R. Pischel's Gramatic der Prakrit sprachen, the most important and comrehensive Grammar of the Prakrit Language. The origial German edition is quite out of print and its English ranslation has a huge demand. In this latest edition the omplete word Index of Prakrit words of the work of late Vikramsinghe, published in the Indian Antiquary, has een included to make it more rich and valuable. This is an indispensable book for the linguistics of the ndo-Aryan languages and the research scholars of the Prakrit literature. MOTILAL BANARSIDASS Jawaharnagar, Bungalow Rd. Delhi-7. jainelibrary.org