Mallikamakarandanatakam

Author(s): Ramchandra Mahakavi, Punyavijay
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/002644/1

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RAMACANDRA'S MALLIKAMAKARANDANATAKA L. D. SERIES 91 GENERAL EDITORS DALSUKH MALVANIA NAGIN J. SHAH Edited By MUNI SHRI PUNYAVIJAYAJI Introduction, Notes Etc. By V. M. KULKARNI Director, B. L. Institute of Indology, Patan utIya L. D. INSTITUTE OF INDOLOGY AHMEDABAD-9 ahamaTAnA

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RAMACANDRA'S MALLIKAM AKARANDANATAKA LD SERIES 91 GENERAL EDITORS DALSUKH MALVANIA NAGIN J. SHAH Edited By MUNI SHRI PUNYAVIJAYAJI Introduction, Notes Etc. By V. M. KULKARNI Director, B. L. Institute of Indology, Patan. HAR L. D. INSTITUTE OF INDOLOGY AHMEDABAD-9 madAbATa

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Printed by Shri Ramanand Printing Press Kankaria Road, Ahmedabad-22, and Published by Nagin J. Shah Director L. D. Institute of Indology Ahmedabad-9 FIRST EDITION February 1983 PRICE RURSAS Revised ks 6 OS Price Rs. L. D. Indolowy

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mahAkavi zrIrAmacandraviracitaM mallikAmakarandanATakam saMpAdaka munirAja zrI puNyavijayajI prastAvanA, TippaNa Adi bA. ma kulakarNI mAma prakAzaka: lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira ahamadAbAda-9 bAda

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PRE FACE The L. D. Institute of Indology has great pleasure in publishing the Mallikamakaranda, a Sanskrit play by Ramacandra, a pupil of A:. Hemacandra and author of several works. The work is edited by a great scholar Late Muniraja Shri Punyavijayaji probably on the basis of that solitary manuscript the photocopy of which is preserved in the Muni Punyavijayaji Collection in the L. D. Institute of Indology. This text edited by Muni Shri Punyavijayaji was printed for the first time in our Research Journal SAMBODHI Volume VII. When we thought of issuing the work in book-form, we requested Dr. V. M. Kulkarni, Director, B. L. Institute of Indology, Patan, to write an Introduction and Critical Notes to the text. He gladly accepted our request and fulfilled the task as perfectly as possible. His introduction is illuminating. It gives succinct account of Ramacandra's life, date and works, summarises the plot, examines how far Ramacandra is successful in creating convincing realistic characters, constructs his personality as revealed by his works, brings out salient features of his style and evaluates him as a dramatist. Dr. Kulkarni has no doubt taken great pains in the preparation of Critical Notes. They bear testimony to the meticulous care with which he has done his work and the range of his scholarship. Moreover, he has prepared ten appendices, thus enhancing the value of the edition, We are most grateful to the Late Muniraja Shri Punyavijayaji and Dr. V. M. Kulkarni for this excellent edition of the Mallikamakaranda. We hope students and scholars of Sanskrit Literature will enjoy the work. L. D. Institute of Indology, Ahmedabad-380 009. 15th January 1983. Nagin J. Shah Director

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CONTENTS Pages Characters in the Drama 1-2 Introduction 3-35 Ramacandra : His Life, Date and Works 3-5 A Detailed Summary of the Plot 5-17 Characters 18-19 Mallikamakaranda : A Prakarana 20-22 Poet's Personality as revealed by his works 22-26 Ramacandra as a dramatist 26-30 Ramacandra's Style 30-32 Some Technical Terms in the Sanskrit Drama 32-35 Text of the Mallika makarandanatakam -1-64 mallikAmakarandasthapadyAnAM mA 65-67 Critical and Comparative Notes 69-105 pariziSTAH 106-165 1 mallikAmakarandanATakazabdasamahaH 106-138 2 mallikAmakarandanATakAntargatAni mahAkavizrIrAmacandrasya subhASitAni 139-145 3 prabandhazatakArimahAkavizrIrAmacandrasya nUtanakAvyanirmitiviSaye doktiH 146-148 4 mahAkavizrIrAmacandraviracitakatipayanATakanAM rasagrahaNam 149-150 5 zrIbhartRharikRtazagArazatakAt mallikAmakarandanATake samudbhUtAH katipayAH zlokAH 151 6 mahAkavizrIrAmacandrasya nATakAntareSu samupalabhyamAnAH mallikAmakarandanATakasthAH katipayAH zlokAH gozAzca 152-153 7 mallikAmakarandanATake prayuktAnAM vRttAnAM sUcIpatram / 154-156 8 mallikAmakaranda nATakagatA alaGkArAH kAvyaprakAzaktilakSaNasahitAH 157-158 9 mallikAmakarandanATake mahAkavizrIrAmacandreNa prayuktAnAM viraladRSTAntAnAm abhinavazabdAnAM maco 159 10 nATakaviSayakakatipayapAribhASikazabdAH (lakSaNasahitAH) 160-165 zuddhipatram 166

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CHARACTERS IN THE DRAMA Men Makaranda Vaisravana Citrangada Sresthi Suka Sundaraka Karala Koraka Devalaka Ka pinjala Tamarasa - The Hero - A sea-trader, transformed into a suka (parrot ) by Candralekha and restored to his original form by Makaranda. - The rival of the Hero, a Vidyadhara-prince. - A merchant, named Brahmadatta, foster-father of Mallika, the Heroine. - A sea-trader, by name Vaisravana, who was transformed into a parrot (Suka) by Candralekha. - Purusa ', an attendant of Mallika, the Heroine, and of her father, Brahmadatta, - An attendant of Citrangada. - An employee of the merchant Brahmadatta (Sresthi) - An attandant of Candralekha, mother of the Heroine (Mallika). - Companion of Citrangada. - An employee of Candralekha, mother of the Heroine (Mallika). - A. Chap', announcing the approach of the time fixed upon (by astrologers ), as auspicious for the performance of marriage. - The name of a merchant, the foster-father of the Heroine (Mallika). - An inmate of Gandhamusika's asrama. - Kadamba (or Kadambaka), the lord of the Yaksas, who waits upon the revered Varisena. The idol of this Lord of the Yaksas is duly replaced by Makaranda at the time of the wedding of Mallika with the Yaksa. - Mallika, transformed into a Tapasa (or Tapasakumara) by the use of a magic pill by her mother Candra lekha (with a view to protecting her from abduction). - Gamblers, the creditors of Makaranda, the Hero. Batu Brahmadatta Makanda Yaksa Tapasa or Tapasakumara Dyetakarah

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Mallikamakaranda Mallika Candralekha Bandhumari or Bandhusundari Manorama Women - The Heroine, the daughter of Candralekha--a Vidya dhara queen, born of a Kirata (forester ) youth, deserted imediately on her birth and brought up by the foster-parents, the merchant Brahmadatta and his wife, Bandhumati or Bandhusundari. - The chief queen of the Vidyachara sovereign ruler Vainateya, banished on account of her misconduct. - The wife of the merchant Brahmadatta and the foster: mother of Mallika. - The wife of the sea-trader Vaigravana who was trans formed, by use of magic, into a Suka (parrot). - Mallika herself is referred to as Yuvati before the story of her birth and bringing up is disclosed to Makaranda, the Hero. - Name of the maid of Mallika (referred to as Yuvati), - Maid to Yuvati (Mallika), named Bandhula. - Maid of Mallika, named Magadhika. - Maid of Mallika, named Lavangika. - Name of a revered Parivrajika highly respected by Candralekha, mother of Mallika ( the Heroine ) and Citrangada, a Vidyadhara prince, suitor of Mallika (the Heroine) and Makaranda's (the Hero's) rival, Yuvati Bandhula Ceti Ceti Ceti Gandhamusika Vainateya Characters mentioned or Persons referred to - Name of a Vidyadhara King, lord of Rathanapura cakravalanagara, the husband of Candralekha whom he banished for her misconduct. - A Forester-youth with whom Candralekha enjoyed love's dalliance. - Name of a merchant, resident of Suvarnadipa, and the father of Makaranda (the Hero). Kirata-yuva Jinadatta

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INTRODUCTION Ramacandra : His Life, Date and Works! Ramacandra was the chief disciple of the great Acarya Hemacandra (A.D. 1089-1173). He takes pride in mentioning this fact in the prologues of some of his plays.2 The title "Kavikataramalla' was conferred on him by Siddharaja Jayasimba for his power of composing poems speedily or quickly. He had, it is said, lost one eye, although its precise cause is not known. He was a devout votary of Jainism, a fact attested to by the number of 'strotras' he wrote in praise of the Jinas. He was fearless. In spite of the orders of King Ajayapala he refused to impart knowledge to his fellow-student Balacandra whom he considered to be an unworthy pupil His works bear testimony to his love of freedom here on earth and ardent desire for freedom from the cycle of birth and death.3 Although he was a 'muni', whose chief essence is pragama (quietitude) he had a keen aesthetic scnse, he was a lover of literature, seientific as well as artistic. It appears from his stout defence of writing plays that he was severely criticised by his contemporary critics for writing plays treating of love, laughter, heroism, etc. 4. It also appears that he was charged of plagiarism in his own days by his spiteful critics whom be effectively replies to and silences. 5 He was a very learned monk as he was proficient 1 For a detailed account vide (i) L.B. Gandhi's Introduction in Sanskrit, pp. 22-39) to Nalavilasa, pub. in GOS as No XXIX, Farola, 1926 and (ii) the Natyadarpana of Ramacandra and Gunacandra : A Critical Study (pp. 209-237) by Dr, K. H. Trivedi, pub. in L. D. Series as No. 9, Ahmedabad, 1966. 2 Vide Prologues to Nalavilasa, Kaumudimitrananda and Mallika-Makaranda. 3 Svatantryam yadi Jivitavadhi mudha svarbhurbhuvo vaibhavam - Nalavilasa 1.2.c Suktayo Ramacandra sya---svatantryam..Harsavr(sr)stayah -Satyabariscandra 1.5 ---Nirbhayabhima [-2. And, concluding benedictions in his various plays naTaH -( sAvajJam ) bhAva, prazamarasikavaiduSyeNa dharmadezanAvidhAnaikapragalbhavAco vAcaMyamAH zRD. gAra hAsya-vIra-pramukharasamayAnAmanaH khalu nATyaprabandhAnAm / sUtradhAraH-mArSa sAMprata grAmINacAturIvandhyamabhidadhAsi / zamastattva munIndrANAM jAnate tu jagantyapi / Ja fafa aaai faget yasafi Il-Mallika-Makaranda, I. 5 Vide : q2: (CTA) 1a, paropanItazabdArthAH svanAmnA kRtakIrtayaH / nibaddhAro'dhunA tena vizrambhasteSu ka: satAm //

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Mallikamakaranda in grammar, Logic and Poetics B He was also conversant with the art of singing, music and dance and was well-versed in the ways of the world.? He proudly refers to himself as 'Prabandha-sata-kacta'. But the works he wrote do not make the number '100'. We should interpret the 'title' to mean 'an author who wrote a large number of works'. He wrote sastra (scientific) works like Dravyalamkara (with a commentary ) and Natya. dar pana (with a commentary) in collaboration with Gunacandra, and independently Haimabshadvsttinyasa. He wrote plays with a view to bringing round dull-headed men or the foolish people to the right path. He was an indefatigable and industrious poet and polymath. He was very proud of his learning and poetic genius. It is perfectly understandable if one is justly proud of his abilities and achievements. Some of his utterances, however, indicate that he was boastful.8 sUtradhAraH-mArSa nAsya paryanuyogasya vayaM pAtram / avArthe prabandhavidhAnasamAnakAlA: sumedhasa eva pramANam / --Kaumudimitrapanda I. 5 Also vide: Mallika-Makaranda I. 7-8. Vide: zabdalakSma-pramAlakSma-kAvyalakSma-kRtazramaH / vAgvilAsastrimArgo nau, pravAha iva jAhanujaH // - Natyadarpapa, p. 103. v. 4 And, na gIta-vAdya-nRttajJA: lokasthitivido naye / abhinetu ca kartuM ca prabandhAste vahirmukhAH // -Ibid. p. 21 c. 4 And also. paJcAbandhamiSapaJcamukhAnakena vidvanmana:sadasi nRtyati yasya kIrtiH / / vidyAtrayIcaNamacumbitakAvyatandra kasta na veda sukRtI kila rAmacandram // -Raghuvilasa, I. 3 prANAH kavitva' vidyAnAM lAvaNyamiva yoSitAm / vidyavedino'pyasmai tato nitya kRtaspRhAH / / -Natyadarpapa. p. 22 v,9 7 CE..nATakena rAjAdiruttamaprakRtiyutpAdyate...vaNigAdimadhyamaprakRtiH prakaraNena / dume ghasAM hi nyAyye varmani vRttyartha kavayo'bhineya prabandhAna grathanantIti / -Natyadarpana, p: 106 8 CF : kavi: kAvye rAmaH srsvcsaamekvstiH|-Nalavilasa I. 2.a. And, prabandhAnAdhAtu navabhaNitivedagdhyamadhurAn kavIndrA nistandrA: kati nahi murAriprabhRtayaH / Rte rAmAnnAbhyaH kimuta parakoTo ghaTaritu' rasAn nATayaprANAn paTuriti vitarko manasi naH / / -Nalavilasa I.3 -Kaumud imitrapanda I.3

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Introduction 5 After the death of Hemacandra, Ramacandras' great preceptor, in A.D 1173, King Kumarapala too died (within a period of six months or so). Ajayapala, who succeeded Kumarapala to the throne, was hostile to Ramacandra-as he believed that Ramacandra was against his succeeding to the throne-and was responsible for his untimely, unnatural and very tragic death. A Detailed Summary of the Plot Prologue: After the Nandi verse paying homage to Lord Jina, the Sutradhara enters the stage and announces his intention to please the appreciative audience. Staging a play before inappreciative spectators is simply ridiculous. His Assistant (Nata) appeals to him not to enrage the aesthetes-rasikas-but to think of presenting some play before Sutradhara informs him that he has already decided to stage the play Mallika-Makaranda of Ramacandra, a worthy pupil of that great Hemacandra. The Assistant scornfully says that the 'munis" (sages, monks) are solely devoted to prajama (quietitude) that they are eloquent in delivering religious sermons but in other matters maintain rigid silence and that they are unworthy of dramatic compositions which abound in sentiments like the erotic, the comic, and the heroic. (Such an objection was most probably raised against the dramatist Ramacandra himself, a Jain monk, writing such plays.) The Sutradhara brushes aside the objection saying that although gods are born in heaven, they move about throughout the And also, vyutpattimukhameva nAdakaguNavyAse tu ki varNyate saurabhyaprasavA navA bhaNitirapyastyeva kAzcit kvacit / yaM prANAn dazarUpakasya sa karotkSepaM samAcakSate sAhityopaniSayavidaH sa tu raso rAmasya vAcAM paraH // --Satyahariscandra 1.3 And also further, prabandhA ikSuvat prAyo hIyamAnarasAH kramAt / kRtistu rAmacandrasya sarvA svAduH puraH puraH || -Nalavilasa, 1.4 -Satyahariscandra, 1.4 --Kaumudimitrananda, 1.4 And also still further, sUktayo rAmacandrasya vasantaH kalagItayaH / svAtantryamiSTayo pacete harSa ( sa ) STaya: 11 --Satyahari candra, 1,5 --Nirbhayabhima, 1.2

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Mallikamakaranda three worlds. He suggests thereby that it is perfectly legitimate for (gifted) munis who are devoted to pragama (quietitude) to take to the pasttime of writing plays and or witnessing their performance and appreciating them. Thereupon the Assistant angrily points out how there are numberless (playwrights and) poets who commit literary theft and pass others' poems as their own. The Sutradhara firmly replies that the dramatist himself has silenced the dull-headed critics in this matter : "We are determined to take all pains and spare no efforts in writing plays and poems. It is an old 'Vyasana' (I vice 2 close or intent application or assiduous devotion) with us; and we need not at all blame others for it." The actor, playing the role of Makaranda (the hero of the play), speaks from behind the scenes agreeing with the statement of the Sutradhara to look sharp as all the actors are excited and that he himself is eager to let the audience have pleasure of enjoying the play. The Sutradhara advises him not to make haste as every great success is attended with troubles. He, who bears physical and mental fatigue obtains the bride of knowledge. It is, announced from behind the scenes that this 'upasruti (or 'deva-prasna') indicates that he is sure to win a bride as well as great success. The Sutradhara and the Nata then leave the stage to attend to some other business and with their exit the Amukha (Prastavana, Introduction) comes to an end. Act 1: Makaranda repeating the words of the Sutradhara "When our 'vyasana' is very old why should we blame others? -enters the stage. He informs the spectators that he is addicted to gambling since long. He is now full of repentance for this his vice as it is a great stigma on his great family, his study of scriptures and the instruction received from his preceptor. The thought of committing suicide crosses his mind. On second thoughts, however, he thinks that following the right path is the real atonement (prayagcitta). He therefore decides to spend the night in a rather secluded garden and to leave for an altogether new place at day-break giving the slip to the gamblers, his creditors, and lead there a good life. He sees in front of him a temple dedicated to the god of love, illuminated by a bright lamp. There arrives at that time a young maiden (who later turns out to be Mallika, the heroine of the play), supported by her maid (Bandhula) and an attendant carrying a sword in his hand. Fearing that the maiden would not act freely if she were to see him in the light of the lamp Makaranda puts off the light, and hides himself behind a mangotree in the court-yard of the temple. From the conversation of the two girls he comes to know that the maiden is overcome with terrible grief - although she comes from a rich family - and that she intends to put an end to her life in fear of an impending danger. In view of her dangerous mood the attendant requests her to return home. She, however, conceals her feelings and with a smile on her face asks him not to worry about her.

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Introduction 7 She sends both of them away under some pretext. She then attempts to commit suicide by hanging herself. Makaranda however comes out of his hiding, shouts loudly for her maid and attendant to rush up as their mistress is about to kill herself. He takes the initiative, cuts off the noose with his sword. The maiden falls down in a swoon. Makaranda tries to fan her with the end of his garment and shampooes her breast. The maid and the attendant both greatly excited return to the scene of action. The attendant takes him to be a thief. The maid appeals to him to take the ornaments but spare her mistress's life. Makaranda informs them that he is neither a thief nor a paramour. The maiden and Makaranda deeply fall in love with each other. As a token of their first meeting the maiden presents him her pair of ear-rings. Makaranda gladly accepts it. The maid and the attendant disapprove of this act. The attendant angrily depricates her action saying that it is against the code of conduct for a trader's daughter to offer her pair of ear-rings as present to a stranger. He threatens to bring policemen and get back by force the ear-rings from the stranger. He leaves the scene of action. Bandhula is afraid that he might act on his threat and therefore her mistress should tell the stranger of her impending calamity. Just at that moment gamblers arrive there in search of Makaranda, their debtor. He advises the maiden to go home by the back-door and to to see him at that very place the next day at midnight. The maiden with the maid leaves the stage. Makaranda, realising that he has been seen by the gamblers with the help of a lamp nowhid es himself in the hinder part of the temple Act II: The conversation between Lavangika, a female servant of Mallika, and Koraka, an attendant of the merchant Brahmadatta (the foster-father of Mallika) informs us that Mallika has been suffering for the last eight days from love's fever. At his master's behest Koraka gets an announcement made by the beating of drum that the person who would protect Mallika from being (mysteriously) abducted would be paid five hundred dinaras. A rogue (Kitava, in the present case, a gambler) has taken upon himself to protect Mallika. Koraka informs the merchant Brahmadatta and his wife Bandhumati, the foster-parents of Mallika, that they have succeeded in finding a 'rescuer of Mallika. The merchant asks another. servant of his, Sundaraka by name, to bring in his presence the rogue (gambler) who is a debtor and other gamblers, his creditors who are holding him up. The merchant promises the creditors that he would pay off the debts to them the next morning. The Creditors, satisfied with his. assurance free the debtor and leave the merchant's residence. He learns from the gambler that his name is Makaranda. The merchant and his wife try to dissuade this young, handsome man from his resolve to protect Mallika from being abducted by some unknown agency but he

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Mallikamakaranda remains firm. The merchant then tells him how sixteen years ago he came across a deserted newly-born girl with a signet-ring on her finger and a 'bhurjakandaka' (a piece of birch-leaf or amulet) on her fore-arm. He took up the girl and entrusted her to the care of his wife Bandhumati. As the child was found in the shade of Jasmine plants she has been named as Mallika by them. The signet-ring bears the name of the Vidyadhara King Vainateya by name, and birch-leaf bears one sentence: "At the end of sixteen years on the fourteenth day of the dark half of the month of Caitra she would be forcibly taken away by killing her husband-cum-protector.' Makaranda now realizes that it is impossible to rescue the girl but puts up appearances and tells the parents not to worry as he would protect their daughter by his magical power. He asks the merchant Brahmadatta to get the material for worshipping the charmed-circle' before the performance of the religious ceremony proper. The merchant directs Sundaraka to get the things required for the worship-as ordered by Makara'da. In the meantime the parents along with Makaranda go to see Mallika who is suffering from fever, Makaranda infers from Mallika's condition that she is suffering from loves fever. Mallika and Makaranda both are attracted to each other out of overpowering emotion of love; and both feel guilty as both had already fallea in love with a young man and a youthful damsel respectively exactly eight days ago at midnight in the court-yard of the Cupid's temple. The name of the maid 'Bandhula' and the voice of Mallika lead Makaranda to identify his beloved who is no other than Mallika herself. The materials for worshipping the charmed circle are now brought there. Makaranda helps Mallika to rise from her sick bed. His touch immediately reminds her of the touch of his band when he had shampooed her breast in the garden of Cupid. Makaranda bows down to the charmed circle and worships it with the pair of ear-rings which he had received from the youthful maiden who had been saved by him from committing suicide. The sight of the pair of her ear-rings leaves no doubt in Mallika's mind that the young man with whom she had fallen in love is no other than Makaranda. The parents of Mallika come to know now of the mutual love between Mallika and Makaranda. It is already nightMakaranda asks all but Mallika to leave the place. They do so. Mallika vows in the presence of Makaranda that she either marries him or remains unmarried. She then requests him not to commit suicide out of love for her nor to persist in preventing her being abducted. He however tells her there is no greater happiness than dying for one's own beloved. Just then a voice from behind the scenes is heard-inquiring whether he is her pro. tector or husband. He replies that he is both, the husband and protector. The voice ridicules the very idea that a contemptible human being should be the protector and husband of a Vidyadhara damsel. The voice further

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Introduction says "Here I abduct this damsel' and asks the damsel not to be sorry at all as she will be made a Vidyadhara queen. Mallika cries belplessly as she is being abducted in a mysterious way. Her abduction comes as a rude shock to Makaranda. He faints. Regaining consciousness he decides to leave by the back-door and do what befits his deep love for Mallika. Prelude (to Act 111) : Before the third act proper commences we have a Viskambhaka containing a dialogue between Ceti (a female servant) and Devalaka (an attendant upon an idol, who subsists on the offerings made to it). This dialogue informs us that Mallika is not prepared at all to accept Citrangada, a Vidyadhara prince as her husband as she has already fallen in love with a man (called Makaranda). Citrangada every day tries to please Mallika with diverse acts of courtesy, courting and offering of various means of decoration, gifts and promises of his love but in vain. Candralekha, the mother of Mallika would rather kill her daughter than marry her to some one else (other than Citrangada). Mallika too is firm who would prefer death to marrying someone else (other than Makaranda). Devalaka gives the Ceti a wonderful news that in the morning he saw at the Siddhayatana (a Jain temple) a man. The Ceti is intere. sted in knowing about him as she has been directed by Candralekha to get his whereabouts. Devalaka asks her to go to the Siddhayatana where he is resting and he himself proceeds to meet Mallika and give her divine fruits. Act III : The main scene opens with Makaranda, who has fainted on account of a sudden fall from high above. After recovering consciousness he wonders where he is. From the various indications he infers that he is in heavenly region. In front of him he sees the everlasting idol of Jina and pays homage. From behind the scenes a voice resembling that of Mallika is heard by Makaranda. He wants to ascertain whether his guess is correct. He comes across Tapasa-Kumara and Manorama, seated in an arbour. Makaranda is simply struck with wonder at the striking resemblance between Tapasakumara and Mallika. He bows down to Tapasakumara. Tapasakumara wants to know how he happened to come to this celestial region (the mountain Meru). He pleads ignorance. Makaranda desires to know about Tapasakumara's family and why in the prime of life with such a handsome form he has taken to this hard ascetic life. Thereupon he narrates his account : "This mountain Meru is a part of the Vaitadhya Mountain. Once, Candralekha, the wife of the Vidyadhara King Vainateya, who was ruling over Rathanapura, transgressed the top of this Siddhayatana. As a result of this violation she forgot altogether her lore of flying through the sky and fell down here. She then practised austerities lasting for six months with a view to regaining her lost lore. At

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10 Mallikamakaranda the end of the austerities she regained her lost lore. However, being overcome by passion she enjoyed love's pleasures with a young Kirata (forest dweller). As a result of this love-affair she became pregnant. As soon as she delivered a child she deserted it by putting on its person a few but very valuable ornaments.......... He stops half-way, On being questioned by Makaranda he replies that he was brought up on Panca-saila (Mountain)no, no, not Panca-saila mountain but here only. Makaranda knows that the latter part of the story is spurious. He believes that the deserted child is none other than Mallika and that this Tapasakumara must be her brother. Tapasakumara further tells him that realizing the objects of pleasure, especially, women, to be the source of grief he took to asceticism. Manorama knows that it is this man whom Candralekba wants to kill. She requests Makaranda to narrate his life-story. He tells his account thus : "There was a merchant by name Jinadatta, who lived in 'Suvarnadvipa'. He was the best among highly religious persons. He had inherited immenso wealth. I was his only son born to him in his late age. I was named Makaranda. Right from my boyhood I squandered away our ancestral wealth by gambling and I had to depend on others for even two meals a day. In the very prime of my life I started visiting harlots." Tapasakumara was disgusted with him to hear it and told him not to proceed further in his narration. When Manorama and Makaranda importuned him to narrate the rest of the account he relented. Makaranda then resumed nars artion : "As it was not possible for me to live amongst my own relationand people belonging to my caste I migrated from Suvarnadvipa to the mountain Panca-Saila. There I was separated from my beloved by an unknown agency in a mysterious way. Then I decided to end my life by throwing myseif into the ocean when I saw there a Bharunda bird that had arrived. What happened in between I do not know but I found myself this morning in the garden adjoining the Siddhayatana'' Tapasakumara (rightly) thinks that the Bharunda bird, greedy of flesh, must have brought him there and suddenly dropped him down from high above. Makaranda then requests Tapasakumara to suggest to him some way to put an end to his life. Just then Devalaka arrives there to offer Tapasakumara divine fruits. Tapasakumara learns from Devalakathat he has been asked by Candralekha to find out of what form the newly arrived man is and where he is seated. Tapasakumara "fears something untoward might happen to Makaranda. Just then Magadhika arrives there and excitedly says: "A great misfortune is about to visit them". She whispers into the ear of Tapasakumara what that misfortune is. Hearing her words Tapasakumara feels very much distressed at the hard-heartedness of his mother. He regards Magadhika like his own mother and requests her to show the way to save himself and Makaranda.

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Introduction She advises Makaranda to go to the Siddha yatana and stay there as (even) minor calamities do not visit a person during his stay in the Siddhayatana. Tapasakumara too advises him to go there and follow Magadhika's instructions scrupulously. Magadhika and Makaranda then leave for the Siddha yatana. From behind the scenes there is the sudden fall or throw of a huge slab of stone from above. It was the doing of Candralekha who was terribly angry with Makaranda for pursuing her daughter (Mallika) even in a different dvipa and wanted to kill him on the spot at one stroke. She asks Devalaka to remove the slab of stone so that she could agaip kill him although already dead, Devalaka removes the slab of stone but to his surprise none was to be found below it. Candralekba is sorry that her plot went awry. She gets enraged with Manorama for interfering in her planned strategy. Tapasakumara addresses his mother in these words: "O mother, why do you want to kill that innocent and high-souled man? You better kill me who is the real source of your agony." Candralekha is still angry, holds Tapasakumara by the hair and asks Devalaka to take Manorama with him. Thus they all leave the stage. Act IV : Makaranda, who is seated in the Siddhayatana, thinks to himself as follows : "Although I am separated from my beloved, I do not die. On the contrary, seeing that Tapasakumara who hears close resemblance to Mallika-my beloved-I desire to live. Better I take to asceticism following the example of Tapasakumara so that in heaven at least I shall be united with my beloved (Mallika). But why is Candralekha infuriated with me? Certainly she must have abducted Mallika from her (fosterfather) Brahmadatta's house. Magadhika could throw some light on this ipcident of abduction. From behind the scenes a voice is heard : "... O princess where are you now? Please reply to me. O pitiless Candralekha, what kind of turbulence or agitation is this of yours that you put obstacles in the way of your own daughter ?" Makaranda recognises the voice to be that of Magadhika. She then enters the stage. In her conversation with Makaranda she informs him thus : Mallika was abducted from Panca-saila and transformed into a male by the use of a magic pill by Candralekha. She was transformed into a male only to prevent her abduction by an inimical person (Makaranda ?)." Magadhika further informs him "she has been taken out from the arbour to her own mansion by Candralekba and she has been flogged for the simple reason that she still remembers you." Makaranda who is unable to save his beloved from the clutches of her cruel mother wishes to kill himself with a sword but his hand is as it were paralysed. A divine voice, however, prevents him from committing suicide. Magadhika explains the purpose of her visit : "I have been sent to offer to you these precious garments and ornaments by my princess (Mallika). She actually offers them to him.] She had received them from Citrangada." She has in

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12 Mallikamak aranda addition sent his message to you : " You are my husband. You, however, protect yourself by becoming small. Even Hari in his incarnation as Krsoa) became an insignificant cowherd (boy) and killed Kamsa (his powerful enemy)." After delivering this message she adds that he should remain in the Siddhayatana as no misfortunes overtake a person during his stay there. And if he feels dull and uninterested from the longings of love he might divert himself by visiting the pleasure-lake in the garden. With these words she goes away. Being oppressed by the scorching heat of the sun, Makaranda takes a walk along the bank of the pleasure-lake in the garden. After a while he comes across the camp of Citrangada. He therefore goes in another direction. He chances to see a secluded mansion. As soon as he enters, he hears a voice advising him not to enter the mansion which is the abode of great sins. Makaranda then notices a parrot, kept in a cage in the courtyard, talking in human voice. Makaranda desires to know the parrot's account. The parrot then narrates his account thus; There was a seatrader, Vaigravana by name and a resident of Vaibhala-nagara. He had a wife called Manorama. Once both of them got into a ship filled with precious goods of various kinds. On their way they got down to observe the beautiful trees in the forest. In the course of their wandering they came across a middle-aged ( lit. aged ) lady. She welcomed them both to her own mansion. They stayed there for quite a few days. Once while Vaigravana was seated on a couch in a room on the top of the mansion, which was all bathed in moon-light, Candralekha, overcome by passion, invited him for amorous dalliance with her. He being a devout Jain and being devoted to abstinence from sexual intercourse with another's wife rejected her invitation. This infuriated her. Using magical powder she transformed him into a parrot and kept him imprisoned in a cage. That Vaisravana is my own self; Candralekha made Manorama, my wife, work as a female servant with her own daughter Mallika, who was transformed into a male (Tapasakumara). Candralekha herself, with her retinue, now resides in the hemitage of Gandhamusika, who had come there from Vaibhala-nagara. Makaranda asks the parrot whether there is some way to get out of the wretched condition. He informs him that the touch of a human hand would restore him to his original form. Makaranda pulls him out of the cage and he is restored to his origioal form. Makaranda asks him to go to the Siddhayatana for his own safety and that there is every chance of his meeting his wife Manorama there. The parrot (of course, now Vaisravana) leaves for the Siddhayatana. Makaranda then overhears a converasation from behind the scenes. It is a conversation between Citrangada and Kapinjala. As directed by his master Citrangada Kapinjala carries with him pomogranate and other fruits for the parrot.

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Introduction 13 Kapinjala tells him that Mallika is deadly hostile to bim. Makaranda wishes to retire to the Saddhayatana. Kapinjala reports to his master that the parrot is no longer to be found in the cage Citrangada is taken aback at this for he does not know how to face Candralekba when the parrot has escaped from the custody. Just then Makaranda comes face to face with Citrangada. Kapinjala tells his master that it is Makaranda who is an obstacle in his path of love (to Mallika). Citrangada and Makaranda get involved in a verbal contest. Citrangada finally asks Karala, bis servant, to seize Makaranda and take him to the camp. He himself (with Kapinjala) proceeds to go to the hermitage of Gandhamusika. Thus they all exit. Prelude to Act V : Manorama is grateful to Makaranda for restoring her husband to her. She expresses her resolve to help achieve Makarnda's desired object (Mallika with whom he has desparately fallen in love) even at the cost of her life. She decides to propitiate Gandha-musika and secure Mallika for Makaranda through her favour. As she proceeds to go to meet Gandhamusika she sees Devalaka arriving. He does not at all like Candralekha's hateful attitude towards Makaranda nor her angry behaviour towards Mallika, her own daughter. He does not see any alternative but death for Mallika, who has been adstainig from taking food or drink (as a protest against her mother's attitude). Manorama asks Devalaka why Mallika does not wish to marry Citrangada, the Vidyadhara prince, who is handsome like Madana. Devalaka pities her ignorance of love's course. Manorama finds fault with Citrangada who wants to force his love on unwilling Mallika. She comes to know from Devalaka that Mallika is in the palace-garden. Devalaka goes away to call Citrangada as directced by Candralekha; and Manorama goes to see the revered Gandhamusika. Act V: The main scene opens with the entry of Mallika and Magadbika. Mallika wants to know how Makaranda fares. Magadhika, with the best of intentions, deliberately gives a false report about Makaranda just to keep her away from thoughts of death. Magadhika tries to persuade her to take food without bothering about the agony caused by the wicked, Mallika replies that none is cruel (or wicked) to her but she is cruel (or wicked) to all; and that she is prepared to do what her mother Candralekha wants her to do. A voice from behind the scenes is heard "My beloved daughter, what is that desired thing"? It is Candralekha, being aided by Tamarasa, who arrives and repeats the question. Mallika (coolly) replies "My death". Candralekha is dejected to hear this. She says to Tamarasa : "I bore the foetus in my womb; I suffered the pains of child-birth: planning deliberately I deserted her in the vicinity of Brahmadatta's house: I have been doing these calculated efforts to marry her to the Vidyadhara prince - all these good things she is ignoring for one fault of mine, viz. I separated her from that contemptible trader with whom she

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14 Mallikamakaranda is in love." Tamarasa, speaking aside to Candralekha, suggests to her to give up (lit. slacken ) her insistence on marying her to Citrangada; for if something untoward (or unlucky) happens to Mallika it is bound to give rise to a great scandal. Candralekha is not at all worried about new public scandals. Tamarasa tells her not to be so very harsh to her own daughter. Candralekha tries to persuade her daughter to act as she (Candralekha, her mother ) desires. But she is very firm and tauntingly speaks to her mother. She goes to the length of referring to her misconduct (anacara). Tamarasa scolds her for making a mention of her own mother's misconduct. He tries to impress on her to act to her mothers' desire. She is, however, firm in her resolve to marry Makaranda). Candralekha thereupon tells Tamarasa to stop arguing with Mallika and that Citrangada, her prospective husband, would do the rest to change her mind. A voice from behiod the scenes is heard : "What room is there for any doubt in the matter?" Knowing that Citrangada is approaching Candra. lekha with Tamarasa leaves for an interview with Gandhamusika. Just then there arrives on the scene Citrangada with his retinue including Kapinjala. The dialogue between Citrangada and Mallika reveals the form. er's pathetic efforts to win Mallika's love and Mallika's deep love for Makaranda. Citrargada then whispers something into Kapinjala's ear. He goes off the stage. Citrangada then angrily asks Mallika : "what is your final decision''? She replies: "I shall marry Makaranda and Makaranda alone, and never you". Just at the moment, Makaranda, with his hands tied and dragged by hair, and Kapinjala enter the stage. Makaranda says to Kapinjala : " Your master can deprive us-Mallika and Makaranda himself-of our life but not of our spontaneous bond of love''. Mallika is very much distressed to see her lover in that condition. Makaranda asks her not to lose heart. For her sake he is prepared to face any misfortune or calamity, Mallika reaffirms her love for Makaranda in the presence of Citrangada: "I shall secure Makaranda as my husband if not in this birth at least in the next birth. Kapinjala says to her: 'O good girl, you are simplehearted: All the beings in the world are born in various forms of existence in accordance with their good or evil deeds. So what relation possibly can be there of one being with another when they are born with different form and in different places in their future life ? So give up your obstinacy and accept the Vidyadhara prince as your husband and mounted in the celestial car (lit. lattice of the celestial car) enjoy the beautiful scenes presented by lovely rivers, oceans, mountains and islands.' Mallika remains silent. Citrangada asks Makaranda to give up his foolish obstinacy and not to court death at his hands. Makaranda replies ; "Kill me and marry this Mallika." Citrangada asks his man to bring a sword. A servant brings it for him. Mallika, however, gets ready to be killed first. At this point Magadhika says: "I

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Introduction report this whole incident foreboding evil to Gandhamasika." Citrangada raises his sword and asks Makaranda to remember his ( favourite ) god. Makaranda remembers the feet of Lord Jina. Mallika addresses Citrangada first to kill her as she is the root-cause of the misfortune and stands stretching her neck before him. Just then Makanda arrives on the with a message from Gandhamusika. She reminds him of his latest vowfirst to present the person to be killed before the idol of the Jina and then kill him. Citrangada is sorry for the lapse and sends a message back: "You personally come and show the man (Makaranda) before the idol of the Jina." Gandhamusika arrives on the scene and scolds Citrangada for his shortsightedness, and assures him, speaking aside, "I shall myself kill Makaranda and persuade Mallika to love you." Citrangada regards this as a great favour and with his retinue he goes off the stage. Gandhamusika asks Makanda to bring with him Makaranda (with his hands tied) and Mallika as well. Prelude to Act VI: Makanda is simply amazed at Gandhamusika's enmity to the innocent Makaranda, He is extremely sorry for Makaranda's fate. As directed by Gandhamusika he handed over Makaranda to Vaisravana who, he understands, killed him with a sword in the Tamoguha (a cave full of darkness). He wishes to go and report the matter to Gandhamasika that Vaisravana has accomplished the task which she had assigned to him. Just then he sees Tamarasa approaching. Tamarasa is bewildered at Mallika's about-turn. Forgetting her deep love for Makaranda and her hatred against Citrangada she nowadays propitiates Citrangada after inciting Candralekha and Gandhamusika to kill Makaranda. He comes to know of Makaranda's fate from Makanda; says Makanda "Last mid-night in accordance with Gandhamasika's orders I took Makaranda to Vaisravana, who stays at the Siddhayatana. That very mid-night Vaisravana took Makaranda to the Tamoguha and with a sword ..... He leaves the sentence half-said. Tamarasa blames Vaisravana as well as Gandhamusika for the henious crime. Makanda insinuates that Gandhamusika must have done it for money through Vaisravana, who, according to Tamarasa, has been Gandhamusika's favourite as he is the husband of Manorama, her sister's daughter. Tamarasa then goes away to call Citrangada as ordered by Mallika; and Makanda too leaves the stage to report to Gandhamasika that the task assigned to Vaijravana has been duly carried out. 15 Act VI: The main scene opens with the entry of Citrangada, Mallika and their retinue including Kapinjala, Devalaka, and Magadhika. Citrangada is curious to know how a clever girl like Mallika felt attracted towards an insignificant trader like Makaranda, leaving a Vidyadhara-prince like him. On her behalf Devalaka informs him that it was because Makaranda had bewitched her by the use of magic spells. Owing to his bewitchment,

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16 Mallikamakaranda and since that very day she began to disrespect her mother, hate her husband (Citrangada), disregard her female friends, throw away the means of decoration, and get angry with her servants. Day before, Gandhamusika, performing some rite, removed that bewitchment and restored Mallika to normalcy. Consequently, she now loves her husband, is affectionate towards her mother, female friends, and so on. Citrangada does not know how to repay his indebtedness to Gandhamasika. Mallika now gives expression to the spontaneous bond of love between the blessed (herself and Citrangada). Citrangada pays high compliments to Mallika's ravishing beauty. He has, however, some reason to believe that Mallika still secretly loves Makaranda and admonishes her. Now Manorama arrives there conveys the message of Gandhamusika to Mallika as follows: "Everything has gone all right as per plan and it suits your desire. Now, with your husband you go through the Kautuka-ceremonies' preceding marriage. Mallika then asks her: "Where is now our revered mother Gandhamnsika? She replies "Where you know." Thereupon Citrangada flares up: "That trader urchin is still nearest to you? Devalaka tells him: "When Mallika has begged your pardon for the offence committed by her, it is not proper for you to speak tauntingly to her. He however intermittently continues to taunt her in relation to Makaranda. Mallika angrily wishes to go away from Citrangada Just then Tamarasa enters the stage and asks her not to go. He further says "Gandbamusika and Candralekha have directed you and Citrangada, both as follows: "To the south of the 'Siddhayatana' there is a cave by name Tamoraj. Kadamba, the lord of Yaksas, who waits upon, Lord Varisepa resides there in the form of his idol. Both of you should go there." Citrangada says: "The muharta for our marriage is fast approaching. Will it be proper on our part now to go there? Tamarasa says in reply "First the marriage will take place there and then here." Citrangada angrily says: "Are we to go through marriage-ceremony twice?" Tamarasa coolly replies "I am only a messenger. You better ask Gandhamusika and Cand. ralekha". Devalaka clarifies: "It is a custom prevalent among the Vidyadharas-first to marry the bride to the Kadambaka Yaksa and then to the bridegroom." Citrangada says: "If it be a family custom then I have nothing to say. Here we come." They then walk about and reach the Siddhayatana and then the Tamoraji. Because of intense drakness it is not possible for Citrangada to recognise the persons gathered there. Tamarasa guides him in the matter. As directed by Gandhamusika, Mallika and Citrangada bow down to (the idol of) the lord of Yaksas Vaisravana becomes the attendant of Yaksaraja and Manorama of Mallika. Citrangada and Kapinjala act as witnesses. Tamarasa, Devalaka, and Magadhika are sent to the palace to keep ready the material for the marriage ceremony of Citrangada. They go off the stage.

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Introduction 17 A Batu (boy, lad, chap) arrives on the scene and says to Gandhamusika "It is now time for the wedding." As directed by Gandhamusika, Citrangada and Candralekha offer Mallika in marriage to the lord of the Yaksas. They join the hands of the lord of the Yaksas and Mallika. Just then Devalaka arrives on the scene and says : "It is time for Citrangada's wedding now; after the 'pani-mccana' (releasing of the hands by the bride and the birdegroom, the opposite of 'pani-grahana') ceremony you all come quickly to the palace." Gandhamusika asks Citrangada to lift up (the idol of) the Yaksara ja and make him and Mallika to circumaru bulate the sacred fire. Citrangada is surprised to find that i he touch of Yaksaraja's body is just like the touch of a human body. Gandhamusika says "The idol is created by gods out of celestial earth; so what you say is quite possible." She then says to Candralekha 'promise to pay something to the Yaksaraja for releasing Mallika's hand". Candralekha offers to pay 1000 gold coins. The Yaksaraja angrily says "Nonsense! Is it proper to release the hand of one's wife ?" All are surprised to hear the Yaksaraja speaking in human voice. Taking a lamp near the Yaksaraja Candralekha discovers to her amazement that the Yaksaraja is no other than Makaranda himself. She says to Gandhamusika "Revered lady, what is all this ?" Being pressed by all, Vaigravana discloses the plot. I was obliged by Makaranda by restoring to me my original form. Out of love for me Manorama propitiated Gandhamusika who arranged to send Makaranda for acting as the Yaksaraja at the time of the wedding. Removing the idol of Kadamba I asked Makaranda to take the place of the idol. The rest all of you already know. In this matter Gandhamusika is not at fault, nor Manorama, but I am at fault". Citrangada says, "You too are not at fault as you are the crest-jewel amongst the great and grateful men". Gandhamusika admires Citrangada for his noble words. She impresses upon Candralekha to accept the meritorious Makaranda as son-in-law without bothering about the family from which Makaranda hails or the qualities he possesses. Candralekha is reconciled to the wedding of her daughter, Mallika, with Makaranda, brought about by the revered Gandhamusika. Gandha musika asks Makaranda : "What further favour can I bestow on you?" He says: "Is there any further favour than this? However, with your favours my desires are accomplished". Gandhamusika joyfully says, "Through the favour of Lord Jina (lit. of the feet of Lord Jina) may you (first) obtain glorious success as bright as the rays of the pleasing moon (also Ramacandra) and the petals of Kunda flower and (then) may you obtain ever-lasting freedom (from Karman, i e. Moksaliberation)". Ramacandra, using mudralankara. cleverly suggests his own name in the concluding verse pronouncing blessing on the hero of the play.

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18 Mallikamakaranda Characters There are in all twenty-four characters in the play but only five of them arrest our attention prominently as they have their own marked individuality. The rest of them, although they exhibit one or the other individual trait, do not make any lasting impression on our mind. Although Makaranda's character is not attractive in the extreme like Carudatta's, still it is quite attractive. Like the conventional hero he is not a paragon of virtue. He is a perfect man of the world. Although born of a wealthy and highly pious merchant he squanders away all his inherited wealth by gambling. In the prime of youth he starts visiting prostitutes. He frankly speaks of these vices before others including Tapasa Kumara whom he takes to be Mallika's brother (but who, in fact, is Mallika in disguise). He is however full of repentance and resolves to lead a virtuous life afresh. He is the milk of buman kindness, ever ready to help people in distress. On being separated from his beloved he is ready to end his life. When he learns of his beloved's sad plight and her tortures at the hands of her own mother and finds himself helpless to rescue her he is again ready to kill himself hoping to be united with her in heaven at least. These incidents demonstrate how true and deep his love for Mallika is. He is bold, resourceful and readywitted. He is more than a match for Citrangada in their verbal contests. He is a devout Jain remembering Lord Jina whenever faced with unsurmountable difficulties. Not less attractive is Mallika. Mortally afraid of being abducted by some unknown agency, she wishes to commit suicide. By mere chance Makaranda saves her. The two fall in love with each other at first sight. Mallika strongly hates her mother, refers to her (mother's) misconduct even to her face as she (her mother) insists on getting her (Mallika) married to Citrangada, a Vidyadhara prince. Her love for Makaranda is true and profound for even after knowing that he was in his early life given to gambling and in the prime of youth he was visiting prostitutes, she continues to love him with the same intensity as before. She is outspoken, sarcastic, when occasion demands, and witty in her conversation with her mother or Citrangada. She outright repulses Citrangada's advances and overtures. When he threatens to kill Makaranda she intervenes and asks him to kill her first. She does not mince words and fearlessly and candidly tells Citrangada that she is determined not to marry him but Makaranda. At the bidding of Gandhamusika (a Parivrajika-nun) she only pretends to love Citrangada and outwardly shows readiness to marry him. Gandhamusika dupes him and Candralekha (the mother of Mallika) and succeeds in her plans to marry Mallika to Makaranda.

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Introduction 19 Compared with Makaranda, the Hero, Citrangada, his rival fares badly. He is a Vidyadhara prince possessing great treasures. Candralekha is determined on marrying her own daughter, Mallika, to him. Mallika's repulsion of him and preference for Makaranda outrages his sense of his own importance for he believes that his position as Vidyadhara prince and his wealth entitle him to receive Mallika's love. He is no match for Mallika or Makaranda in wordy or verbal warfare. His threat of killing Makaranda to frighten Mailika into loving him and not that contemptible man' miserably fails. He displays some practical, worldly wisdom when he speaks of the one-sided love and consequent mental torture', or when he says, "It is not correct or proper to use force when the desired object could be achieved by peace or negotiations". The fact however remains that he is not shrewd enough to see through the plot of Gandhamusika or judge men and women correctly. Candralekha, although she belongs to the class of semi-divine Vidyadharas, has all the attributes of a mortal being. Blinded by passion she enjoys the delights of love with a forester youth. She deserts her new-born daughter. Her misconduct invites the wrath of her husband and parents and is disowned by them. She is bept on marrying her daugher to a very rich Vidyadhara prince. She tries every means - persuasion, punishment, threats but her daughter remains firm in her resolve to marry her man, Makaranda. She is hard-hearted and attempts to remove her daughter's lover from the scene by killing him but she fails in her attempt. She unabashedly invites Vaisravana to enjoy love's dalliance with her. Ultimately, when the young lovers are married she is forced to acquiesce in their marriage. Compared with Kalidasa's Parivrajika in Malavikagnimitra or Bhavabhuti's Kamandaki in Malti-Madhava Gandhamusika pales into insignificance. Ramacandra depicts her as 'Prakarinayaka'. She is held in high esteem by Candralekha and the Vidyadhara-prince, Qitrangada, the powerful suitor of Mallika. Manorama, wife of the merchant Vaisravana, who is extremely grateful to Makaranda for restoring the 'Parrot' to his original form as Vaigravana propitiates Gandhamusika. At her request she agrees to bring about the union of Makaranda with Mallika. Apparently she takes upon herself the task of doing away with Makaranda and marrying Mallika to Citrangada but secretly devises a plot to get the lovers united. She succeeds in her plot. Candralekha and Citrangada have no option left but to acquiesce in the lovers' union.

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20 Mallika-Makaranda: A Prakarana The 'Nataka' (heroic comedy is the highest of the ten main forms or types of drama. 'Prakaraya' (the bourgeois comedy, the social play) stands next to it in rank. These two are, in the true sense of the word, the fullfledged rapakas'. The earliest 'prakarana', available-although in fragmentsto us is Asvaghosa's Sariputra-prakarana or (its fuller title) Saradvati putraprakarana 1 It has nine acts. Next to this piece, we have Sadraka's Mrcchakatika, a unique 'prakarapa' drama finding place in the world literature. Next to Mycchakatika we have Bhavabhuti's prakarana drama, the wellknown Malati-Madhava. The two 'prakarana' dramas, Tarangadatta and Puspadusituka, are known only from quotations, cited from them by some writers on Sanskrit Dramaturgy. The authors of the Natyadarpana quote from the following less known 'prakaraca' dramas-Anangasena-Harinandiprakaranam of Suktivasakumara, Rohait-Mrganka-(prakarapam), Kaumudi Mitrananda" (-prakaranam) and Mallika-Makaranda(-prakarapam) Ramacandra himself. Singabhupala, the author of the Rasarnavasudhakara, cites from Kamadatta and describes it as a Dhurta prakarapa Unfortunately the work has not survived. Mallikamakaranda There is a servile redaction of the same idea as that of the MalatiMadhava of Bhavabhuti in the Mallika-Maruta,1 wrongly thought to be Dandin's. Really it is the work of Uddandin or Uddandanatha, the court poet of the Zemindar of Kukkutakroda or Calicut in the middle of the 17th century A.D. The writers on dramaturgy define the type of drama called 'Prakarana". Almost all the later theorists follow Bharata in their definitions of Prakarana. The Abhinava-bharati, the renowned commentary of Bharata's Natya-sastra, and the Natvadarpana which closely follows the Abhinavabharati in its exposition of their own Karikas (of course, based on the Natyasastra) help us a good deal in understanding and appreciating Bharata's definition of Prakarana '. We may note here the characteristics of a of 1 Keith The Sanskrit Drama, (pp. 80-83.) 2 Ibid, pp. 131-142; Dasgupta: A History of Sanskrit Literature, Vol. I, pp. 239-248 3 Keith The Sanskrit Drama, pp. 187-203. Dasgupta: A History of Sanskrit Literature, Vol. I, pp. 280-298 4 Introduction (Sanskrit) to the Natyadarpana, p. 42 5 Ibid, p. 47 6 lbid, p. 32 7 Ibid, p. 55 8 Ed. Muni Punyavijaya, Jaina Atmananda Granthamala, Bhavnagar, 1917 9 Text published for the first time in Sambodhi, Vol. 7, April, 1978-January 1979, Nos. 1-4 10 Keith The Sanskrit Drama, p. 221, pp. 257-258 Dasgupta: A History of Sanskrit Literature, Vol I, p. 474, p. 686

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Introduction 21 'prakarana in the light of the works of Bharata, Abhinavagupta and the authors of Natyadarpana: (i) Its subject-matter is invented by the poet. It is not derived from the Ramayana, the Mahabharata, or any of the Puranas. It should be adopted from the Brhatkatha of Gugadhya (e.g., Maladeva and his life) or from earlier poetic works in which the subject-matter is framed at his good pleasure by the poet (e.g., Samudradatta and his Doings). The playwright may effect necessary changes-additions, omissions or modifications. -o accord with the development of the sentiment or characterisation of the main characters. (ii) Its hero too should be invented. He should be a Brahmana, merchant, counsellor, a priest (purohit), minister or leader of a caravan (who has fallen on evil days). He should be neither an exalted king nor a god. There should be no place for enjoyment associated with a harem which is appropriate to a king nor for a chamberlain. It may employ a slave in place of a chamberlain, a Vita in place of a Vidusaka, and the chief of a mercantile guild in place of a minister. (iii) The heroine of a prakarana may be a manda-kulastri (=mandagotrangana), a lady not of a great family or a lady whose character is not above reproach, or a courtesan or both. If the plot leads to the attainment of any one of the four principal objects of human life (purusarthas) suited to a householder then a kula-stri alone should be introduced as, for example, Nandavant in the play Pus padusitaka (now lost). If contrary be the case, a courtesan may be introduced as a heroine. If the hero be a Vita then both a kula-stri and a courtesan should be introduced. The poet, however, should take care to see that the two heroines never meet in the course of the drama. A prakarana with a 'kula-stri' as heroine is courtesan as heroine it is pure; and with both the 'Samkirna'. (iv) The hero's life should abound in incidents and situations that give rise to variety of sentiments. The governing sentiment of the prakarana should, however, be the erotic one. All other sentiments should be made subservient to the dominant or ruling or governing sentiment. pure, so too with a types of heroine it is (v) In accordance with a verse in the Natyagastra, like the Nataka it should have not less than five nor more than ten acts. As regards the remaining characteristics they are as in the Nataka. In other words, Junctures, Introductory Scenes, Sentiments and the like are as in the Nataka.

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22 Mallikamakaranda Mallika-Makaranda answers this description. The subject-matter is, as will be evident from the detailed summary of the plot given above, not drawa from the Ramayana, the Mahabharata or mythology. It is at once novel and invented by the poet. The hero, Makaranda who is a merchant's son and who has lost all his ancestral wealth by gambling and who in the prime of youth frequented prostitutes and who is now full of repentance belongs to the middle class of society. The heroine Mallika is 'manda-kulastri', a lady not of a great family as she happens to be the illegitimate daughter horn of her mother Candralekba, a Vidyadhara queen and a Kirata youth. The ruling sentiment of the play is the spontaneous love at first sight between Mallika and Makaranda and after undergoing many hardships, calamities and almost unsurmountable obstacles the two lovers are united. Naturally, the erotic sentiment prevails throughout the play and the sentiment of fear, of heroism and the marvellous arising out of a variety of incidents serve only to strengthen the principal erotic sentiment. The play has six acts which accords perfectly with the rule of the Sastra. It would thus seem that the play fulfils all the requirements of a prakarana, The Poet's Personality as revealed by his Works Ramacandra is the reputed author of a hundred works including no less than eleven dramas. When one studies thoroughly and deeply all the writings of a poet one might be able to infer his personality more or less correctly. It may even then be hazardous to infer the man from his works if the author keeps throughout a purely objective attitude. But one will not go far wrong in the case of a self-conscious poet like Bhavabhuti, Rajasekhara or our author, Ramacandra. An attempt is made here to have a mere glimpse of Ramacandra's personality from his play Mallika-Mokaranda and the Prologues and the Epilogues of a few other plays of his that are so far published and of his Natyadarpana (in collaboration with Gunacandra). Ramacandra was a devout Jain1 and a devoted pupils of the great Acarya Hemacandra. He was proficient in the three sciences 3 : Grammar, 1 At the commencement of his works he pays homage to the Jinas or their Speech. 2 He speaks with reverence of his great Acarya : 2767-9410-Afri-F1-enfaufdal zrIhemacandrapAdAnAM prasAdAya namo namaH / / 3 He calls himself Vidyatrayicanam' in his prologue to Raghuvilasa, and 'Traividya Vedin' in the introductory portion of the Natya-darpana-vivarana. The three Vidyas', meant by Ramacan dra are : 276CSEH-97138-167588- 27; vAgvilAsastrimArgo nau pravAha iva jAhanuja: 11

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Introduction 23 Logic and Poetics (including Dramaturgy). He was indefatigably engaged in creative, literary activity4 writing poems or plays or 'stotra's or scientific works. It is perfectly understandable if one takes pride in his literary art and learning. Ramacandra, however, goes a step further and indulges in boasting. 5 He declares : "There are many great poets like Murari who diligently write plays that excel in striking modes of speech only, whereas he alone is expert in writing plays, imbued with sentiments which are the very soul (the essence) of drama." Generally, the works (of other poets), like sugar-cane, progressively deminish in rasa (1 sentiment 2 juice) but Ramacandra's whole work grows progressively sweeter and sweeter still.? He proudly declares : 1 The good sayings (suktis= subhasitas) of Ramacandra 2 the spring 3 melodious songs 4 Freedom and 5 union with one's beloved person-these five (things) are veritable showers of joy. 8 It seems that in the days of Ramacandra there was an army of poetasters who thrived on the poetic works of their predecessors. They unabashedly committed literary theft and passed the poems of their predecessors with some changes here and there as their own. Naturally, people, in general, were fed up with them and did not trust them at all; on the contrary they held these poetasters in utter contempt. Probably this charge of plagiarism was levelled, by some of his contemporary critics, against Ramacandra. He stoutly defends himself against this baseless and mischievous charge in the Prologues to Nala-Vilasa and Mallikamakaronda. The relevant dialogue 4 He calls himself. Acumbita-kavya-tandram' (Prologue to Raghuvilasa ) and "Visirna -kavya-nirmana-tandra' (Prologue to Kaumudi mitrananda). He refers to his firm resolve to compose original works in his Prologue to Mallika-Maka randa (1. 8). 5 Read : #fa: 102 14: 999#efa: |--Nalavilasa 1.2. prabandhAnAdhAtuM navabhaNitivaidagdhyamadhurAn kavIndrA nistandrA: kati nahi murAriprabhRtayaH / Rte rAmAnnAnyaH kimuta parakoTI ghaTayituM rasAn nATaya prANAn paTuriti vitako manasi naH / / -Ibid I. 3 --Kaumudi 1. 3 prabandhA ikSuvat prAyo hIyamAnarasA: kramAn / kRtistu rAmacandrasya sarvA svAduH pura: puraH / / -Ibid I. 4 -Kaumudi I, 4 -Satyahariscandra I. 4 suktayo rAmacandrasya vasantaH kalagItayaH / svAtantryamiSTayogazca pamcete harSavRSTayaH / / ---Satya hariscandra I, 5 -Nirbhayabbima I. 2

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24 Mallikamakaranda between the Assistant and the Stage-Manager that occurs in the Prologue to Nalavilasa may be reproduced here : Nata (= Assistant). (Reflecting) Sir, is this poet himself a creative play wright or just a borrower ? Sutradhara (=Stage-Manager) : In this matter the poet himself has already given a reply : "We compose poems with words and senses in accordance with the dictates of our own poetic genius-Creative genius Let them say that we imitate others (or commit literary theft). This is the way of talking (pre. valent among people): They say that the moon- lotuses which bloom even on the day of 'amavasya' (the night of new moon, when the sun and the moon dwell together, the 15th day of the dark half of every lunar month) have bloomed en account of the contact of the rays of the moon (though it is easy to see that there could be no moon-rise that day)."9 Moreover, finding that people love poems which defy any logical connection between its words and their senses the poet became dejected and said : They generally like poetry which is uneven with naturally crooked sense clothed in old and extremely blunted words. We cannot persuade ourselves to follow this course. This thought always troubles our mind." In the Prologue to Mallikamakaranda too he raises this issue and silences his crities. 1 * It also seems that some people professing to guard jealously the dignity and high position of 'muni's-specially Jain munis - must have severely criticised Ramacandra, for writing plays portraying the sentiments of love, laughter, etc. For peace or quie titude is of the essence to the munis and the erotic and the comic sentiments are harmful to maintain and develop the attitude of quieti{ude. A common man too is puzzled to find a 'muni', who has renounced the world, depicting scenes of love between young men and women and describing approvingly the charms of young beautiful damsels. I be Prologue to Mallika-Makaranda tries to meet this criticsm. The relevant dialogue is reproduced here below : Natah : (disdainfully) Sir, the 'muni's are solely devoted to peace or quieti tude and owing to the resultant wisdom they employ their dignified speech solely in the exposition of dharma; otherwise they naintain rigid silence. They are absolutely unworthy of writing plays imbued with sentiments like the erotic, the comic and the heroic. Sutradhara : 0 worthy friend, now, you speak things which betray that you do not have the cleverness of (even) a villager ! 9 Nala-vilasa I. 7 and 8 10 Mallika-makaranda I, 7 and 8

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25 Introduction The whole world knows that sama (peace or quietitude) is the very essence of great sages (monks). (Don't you however forget the fact that) although gods are born in heaven they move about in all the three worlds, 11 The suggestion is: 'Muni's (sages, monks) too should occasionally leave the high pedestal and come down on earth and should write plays and appreciate them when staged. Just as the gods do not lose their godhead or divine nature simply because they move about in the three worlds even so the 'muni's who write plays and aesthetically appreciate them do not lose their sageness or monkhood. It is, however, doubtful if this reply silenced Ramacandra's critics. Another striking trait of his personality was his love of freedom (here on earth as well freedom from the cycle of birth and death). He frankly says that he would anyday prefer the free life of a street-dog to the overlordship of the three worlds, that is dependent on another.19 At another place he observes: "If there be life-long freedom useless is heaven and the wealth of this world18 A hurried glance at the epilogues to his plays would immediately bring to our notice his intense desire for freedom from the cycle of birth and death,14 Although Ramacandra had renounced the world he had well retained his aesthetic sense. He had read and mastered thoroughly the plays of the great poets (like Bhasa, Kalidasa, Sudraka and Bhavabhuti).15 He had, it seems, good knowledge of the arts of singing, music and dance and he was very well conversant with the ways of the world. 16 His aim in writing the 11 zamastasvaM munIndrANAM jAnate tu jagantyapi / janmeva divi devAnAM vihAro bhuvaneSvapi // 12 svatantra deva bhUyAsaM sArameyo'pi vartmani / mAsma bhUvaM parAyattastrilokasyApi nAyakaH // 13 svAtantryaM yadi jIvitAvadhi sudhA svarbhUrbhuvo vaibhavaM Nalavilasa II. 2(C) 14 Read ajAtagaNanAH samAH paramataH svatantro bhava / prApya svAtantrya lakSmIM mudamatha vahatAM zAzvata yAdavendraH / prApya svAtantryalakSmImanubhavatu mudaM zAzvatI bhImasenaH / AsAdya yazolakSmIM parAM svatantrAzcira bhUyAH / 15 Read mahAkaviniyadvAni dRSTvA rUpANi bhUrizaH / 3 16 Read na gIta vAdya nRtajJa lokAsthitivido na ye / svayaM ca kRtvA svopajJa nATayalakSma] vivRNvadde || Natyadarpana (Introductory v, n. 2) -Nalavilasa -Satyahariscandra -Yadavabhyudaya -Nirbhayabhima -Kaumudi, Mallikamakaranda abhinetuM ca kartuM ca prabandhAMste bahirmukhAH // Tbid von 3

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26 Mallikamakaranda different kinds of play was to impress upon the people that they should always follow the right path. 17 Ramacandra intrudes on his own work and indulges in self-praise or admiration. His self-consciousness is apparent in remarks like (i) vAgmI khadavasi etAvateva bhavato vAcAM vilAsena vayamatyantamAmoditAH / 28 (ii) aho, bhaya - kautukakArI kathAsaMnivezaH 119 (iii) aho kautukakArI kathAsaMnivezaH * 120 Such remarks reveal Ramacandra's egotism. Ramacandra's firm faith in the inexorable law of Karman finds expression in his plays. For example, we have the following passage : bhinna bhinna vartmani saMbhaviSNavaH sarve'pi jantavastestaiH zubhairazameva karmabhi: / vibhinna. rUpadezAnAM janmAntareSu janmina kasya kenAbhisambandhaH 191 The personality of Ramacandra that emerges mainly from his play Mallikamakaranda and the Prologues and Epilogues of some other plays, is certainly magnetic. Ramacandra as a Dramatist If we take into consideration consideration merely the merely the total number of plays written by a Sanskrit dramatist Ramacandra, with his eleven plays, stands next only to Bhasa who is believed to have written thirteen plays. In the galaxy of Sanskrit dramatists, Ramacandra is a star of the second magnitude only. It would be unfair, however, to compare him with the early master dramatists like Bhasa, Sadraka, Kalidasa or Bhavabhati. He may very well be compared with later dramatists of the decadent period like Murari, Rajasekhara, and Jayadeva (with his Prasannaraghava). A close and critical study of the available plays of Ramacandra would show that he equals if not excels them. Here it is proposed to judge him as a dramatist with reference to his play Mallika-Makaranda. The story of the play is invented by the poet himself. It is based on the time-worn theme of love triumphant over many obstacles. Makaranda, a merchant's son, who was in his early life a gambler and who frequented prostitutes, later becomes full of repentance and resolves to lead a virtuous life afresh. He is the hero of the play. He saves the damsel Mallika from 17 Read durmedhasAM hi nyAyye vartmani vRtyarthaM kavayo'bhineya-prabandhAn prathamanti / Jbid, p. 106 18 Amukha to Mallika-Makaranda (p.1) 19 Mallika-Makaranda (p.27) 20 Ibid, (p.38) 21 Mallika-Makaranda, (p,52). A passage of similar import occurs in Nalavilasa (p. 82).

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Introduction 27 committing suicide. She loves him and he returns her love. It is thus a case of love at first sight. The path of their love is full of obstacles. Overcoming these obstacles the two lovers are united towards the end of the play. Their story forms the main plot (adhikarika vastu'). The story of Manorama and Vaisravana forms the sub-plot ('pataka'). For, the hero Makaranda restores Vaisravana, who was transformed into a parrot (by Candralekba) to his original form. Both Vaisravana and his wife Manorama are very grateful to him. They, on their part, plan to win the favour of Gandhamasika, a (Jain) nun and through her grace get the two lovers married. The incident ot Gandhamasika who, through clever intrigue helps Makaranda and Mallika get married constitutes what is technically called 'prakari' for she comes in only to help the hero and heroine without any expectation or a gooa turn in return. It would seen that the poet has skilfully intertwined the main plot and the sub-plot. A hurried glance at the story summarised act by act would show that though it treats of a time-worn theme, it is at once very interesting and original. The poet has succeeded in portraying the principal characters of Mallika, Makaranda, Candralekha, Citrangada (and Gandhamusika) investing each one of them with a distinct individuality. 29 The minor characters among the twenty-four in all are such as would hardly linger in the reader's memory. The poet is proficient in portraying the sentiments of love, heroism and wonder. The love at first sight between the lovers grows more firm and secure. Makaranda continues to love Mallika even after knowing the fact that she was born as an illegitimate child; and Mallika too loves him as before even after knowing that Makaranda was given to gambling and that he was frequenting prostitutes in his prime of youth. Ill-treatment and even flogging and the temptations offered by Citrangada, the Vidyadharaprince. who woos her, fail to change Mallika's mind. Imprisonment and threats of death by the Vidyadhara-prince have no effect at all on Makaranda. The two lovers are prepared to face death as they hope they would be united in heaven. In the concluding act when everybody (excepting the members of the plot, contrived by Gandhamusika) is under the impression that Makaranda has been finished to death and that Mallika and Oitrangada are about to be married to each other they find, to their surprise, that Mallika and Makaranda are married and that Candralekha and Citrangada are out-manouvred by Gandbamusika. The sentiment of love is the governing sentiment of the play. The sentiments of fear, heroism and wonder are portrayed as subservient to the sentiment of love. The sentiment of wonder is mainly depicted in the Conclusion.' Ramacandra rightly says in his Nalavilasa : "Rasa is of the 22 Vide the section on Characters supra

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28 Mallikamakaranda essence of a drama. Those who are fond of showing their skill in figures of word and sense even in compositions to be staged and neglect rasa way rightly be called as learned men but not dramatists : In a dramatic composition a striking variety of incidents (and metres) does not deserve so much praise as rasa does. A mango, though lovely with ripeness, afflicts you if it be devoid of rasa (juice)".23 He strictly adheres to the well-known rules of dramaturgy : "One should not make the Subject-matter too disconnected by the excessive (use of) Sentiment, nor should one overwhelm the Sentiment with the Subjectmatter, figures of speach and laksanas". One sentiment, either the Heroic or the Erotic, is to be made the prevalent sentiment; all the other Sentiments (should be made) subordinate. The Marvellous Sentiment should be employed (only) in the Conclusion".9 The Midnight scene showing Mallika's attempted suicide, Makaranda rushing to save her and shampooing her breast when she falls in a swoon in the first act and the marriage-scene between Mallika and the idol of of Kadambaka, the chief of Yaksas in the Tamoraji valley in the last act would prove highly successful and tremendously popular even on a modern stage. The play reveals the poet's skill in presenting lively and brilliant dialogues unfolding the traits of the speakers involved. The dialogues between Yuvati (=Mallika) and Makaranda (pp. 7-8, p. 21). Suka and Makaranda (pp. 38-40), Citrangada and Makaranda (pp. 41-42), Capdralekha and Mallika (pp. 47-48) are instances in point. We may now turn to his defects. The scene of the action in the first two acts of the play is the Pancasaila-dvipa whereas in the remaining five Acts it is the mountain Ratnasanu (=Meru), the region of the Vidyadharas, 23 rasaprANo nATayavidhiH / varthabandhavaidagghIvAsitAnta:karaNA ye punarabhineyeSvapi prabandheSu rasamapajahati vidvAMsa eva te na kavayaH / / na tathA vRttacitrI bhalAdhyA nATaye yathA rsH|| fa91cqayqanufa a1277 !! - VI. 23 R macandra's statement fragu azufafu:' reminds one of Bharata's dictum: afe tale #fast: yaaa24 na cAtirasato vastu dUraM vicchinnatAM nayet / rasaM vA na tirodadhyAdU vastvalakAralakSaNaH // ekI raso'GgIkartavyo vIraH zRGgAra evaM vA / aGgamanye rasAH save kuryAnnirvahaNe'dU bhutam / -Dasarupaka III. 33-34

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Introduction It is not made clear why Gandhamusika, the nun, and her party, who are human beings go to the heavenly region of Vidyadharas, and what made Candralekha and Citrangada (themselves Vidyadhara and Vidyadhari) repose full faith in this nun, a human. Again, when 'mere disguise' would have served the purpose we do not see any point in Ramacandra representing the Vidyadhari queen Candralekha as transforming Mallika into a male form by the use of a magic pill. Again, the action is dependent to a great degree on accident ; Candralekha through mere accident loses her power of flying through the sky. Regaining that power after six-months' austerities she, being sex-starved, enjoys love's dalliance with a Kirata youth. With her newly-acquired lore she could have reached her home within no time and enjoyed love's dalliance with her own husband. Her new-born babe she deserts. By sheer chance the merchant Jinadatta comes across this deserted newly-born child and entrusts it to the care of his wife Bandhusundari. Makaranda accidentally saves Mallika from killing herself by hanging from a tree. Mallika is mysteriously and unseen, taken away by force from Makaranda who was keeping guard. Makaranda, at the separation from his beloved wants to put an end to his life by throwing himself into the sea when by the merest chance he is lifted up by a 'Bharunda'bird and thrown down on the mountain Ratnasanu (=Meru). By mere chance he comes across TapasaKumara whom he takes to be Mallika's brother but who, in fact, is Mallika herself transformed by the use of a magic pill by her mother. On learning about the sad and miserable plight of his beloved and finding himself unable to help her out Makaranda wants to end his life but is prevented from doing so by a divine vaice. By sheer chance Makaranda is saved from being crushed to death under a huge slab of stone hurled down by Candralekha with a view to killing him. Again Makaranda who is about to be killed by Citrangada is saved by the timely arrival of a messenger from the nun Gandhamusika. The element of chance cannot be entirely ruled out of a drama, as out of life, but its frequent occurrence severely taxes our credulity and is surely a reflection on the poet's dramatic art. The poet does depict a few situations and give passages which contain the element of irony. The meeting between Tapasakumara and Makaranda and the incident of Mallika's marriage with the (idol of the) Yaksara ja and the conversation between Citrangada and Makaranda (towards the end of Act IV) attest to the poet's fine sense of irony. The play, as a whole, however, is devoid of humour and the poet tries to make up for it by introducing the element of the supernatural. Another defect of Ramacandra is his lack of sense of proportion. He jhus indulges in sentimental prolixity by putting six verses in the mouth

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30 Mallikamakaranda of Citrangada to describe the beauty of the heroine in the concluding Act of the play. Exuberance or preponderence of verse in the play also attests to his lack of sense of proportion or restraint - although it is possible to seek justification for the dramatist in his models like Mrochakatika and Malali Madhava. Ramacandra's Style Vaidarbhi and Gaudi are the two main kinds of style. The distinguishing features of the Vaidarbhi style are clearness (clarity, lucidity, perspicuityprasada) and sweetness (madhurya). The quality of clearness causes the sense to become intelligible on merely hearing the words. The quality of sweetness is produced by the use of consonants other than cerebrals, with their appropriate nasals, 'y' and 'n' with short vowels, and no compounds or short compounds. The characteristic of the Gaudi style is force or strength or vigour (o jas). It results from the use of compound letters, doubled letters, conjuuct consonants of which 'r' forms part, cerebrals other than 'n palatal and cerebral sibilants, and long compounds and high-sounding expressions. No poet, in fact, can confine himself entirely to only one kind of style. He has to employ one or the other style in consonance with the sentiments to be portrayed. The Vaidarbhi style is appropriate in the sentiments of love jn enjoyment (sambhoga Sragara), pathos (Karuna), love in separation (vipralambha-ssrgara) and calm (santa). The Gaudi style is appropriate in the sentiments of heroism, fury and wonder (vira, bhayanaka, raudra, and adbhuta). The sentiments in Mallika-Makaranda are mainly those of love, heroism, horror and wonder. Excepting some passages, both in prose and in verse, and some dialogues in the Vaidarbhi style, the play as a whole is written in the Gaudi style. He has a large command of the Sankrit vocabulary. The language is, as a rule, dignified. Whatever be his meaning, Ramacandra generally writes with force. His style is forceful and powerful and not polished or graceful. The story of Mallika-Makaranda centres round the spontaneous love, at first sight, between the two lovers Mallika and Makaranda. Usually the sentiment of love is portrayed by poets in the Vaidarbhi style. But as the path of love between these two lovers never runs smooth and is beset with difficulties, dangers and calamities the poet has, in the main, employed the Gaudi style. There is hardly any scope for the depiction of the sentiment of laughter. The one-sided love of Citrangada for Mallika giving rise to the comic sentiment, the ironical conversation between Citrangada and Makaranda, and the final scene of marriage between Mallika and Makaranda (representing Candralekha and Citrangada as duped) are only exceptions. Some of the passages, both in prose and verse lack

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Introduction 31 simplicity and intelligibility and can be fully comprehended only after careful study and a good deal of reflection. In quite a few cases the difficulty arises on account of scribal blunders. In this regard the attention of the readers is drawn to the following verses I. 20, V. 3, V. 8, VI. 14, VI. 17. To modern taste Ramacandra is naturally attractive when he is simple and not grandiose or pompous or inflated as he can be when he chooses. The dialogues, barring the Amukha, and a good many elegant and attractive verses are simple and easily intelligible. The verbal contest between Citrangada and Makaranda (towards the close of Act IV) is at once brief and brilliant. The dialogue between Candralekha, Mallika and Tamarasa (pp. 46-48) is also splendid. Ramacandra uses a large number of figures of speech to decorate his style (Vide the parisistam-7 to the present edition). He is very fond of arthantaranyasas and subhasitas. A few of these may be reproduced here : (i) sarvA''pi mahatI siddhiH klezAntaritasaMbhavA / (ii) athavA vyasanAndhamevedaM jagat / -I. 9 -p. 13 (iii) na vIkSate yogyatAmicchA / II. 20 -III 10 (iv) sati jIvite kathacida ghaTate kiJcit punaH preyaH (v) mahAvyasana saMpAte'pi dustyajA: gaNinAmasava: / (vi) argalA rakSaNe strINAM prItireva nirargalA / (vii) anirvahaNe hi prArambho nIcatAM prakAzayati / (viii) kathAspi pApIyasAM puMsAM mahate kaluSAya prabhavati / -p. 33 -IV. 2 p. 38 P. 28 -v. 16 -vi. 14 -vi. 15 (ix) prAyeNa nIcaratayo vanitAH / (x) alpIya so'pi samaye saphala prayatnaH / (x1) aho nAnAvicAra jagat / In this play Ramacandra employs a large number of (Vide Parisistam-6 to this edition). He greatly favours loka' which is suitable for rapidity and directness of style. The Prakrit passages show Ramacandra's proficiency in Prakrit. He occasionally introduces vernacular words in tha Sanskrit speeches. Thus he writes af, n: 1 p. 13. The word 'Katari' is used in Apabhramia in the sense of "acaryam'; 'Caraya pratikalam pratyaha-vajtargalah'-III. 7 where Ramacandra, it would seem, uses the Prakrit root 'Cura' (to reduce to powder, pulverise, crush). The form 'vidhyapya' is probably due to Prakrit influence for in Prakrit we have the root vijjha meaning to extinguish. On p. 63 we have the expression madana-kadakam. 'Kadagam' (or 'Kadakam') is a Prakrit form of 'Katakam'. The forms vaccha, vacchara (p. 14) for Sanskrit 'vatsa' and 'vatsara' are, as they stand, Prakrit.

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32 Mallikamakaranda Ramacandra adopts four or five verses (vide Parisistam-5 to the edition) from Bhartphari's Srngarasataka. It is rather curious that he should adopt the verses in this way without giving any indication of their source. The play contains a few situations and scenes which strongly remind us of their counterparts in the works of Ramacandra's predecessors like Bana, Harsa, Bhavabhuti, and Bhatta Narayana (Vide Notes). It contains verbal reminiscences of a few earlier texts. Ramacandra has quite a few readymade verses which he repeats in his plays, probably following in the footsteps of Bhavabhuti. Some Technical Terms in the Sansk rit Drama 1. Nandi : Most Sasnakrit dramas open with a verse (or verses) of the form of a salutation or benediction, which is usually suggestive of the story of the drama, followed by the remark, 'At the close of the Nandi the Sutradhara enters'. But in Bhasa's dramas we find the play begun with these words, and a verse or verses following. Visvanatha adopts as the definition of Nandi what is recited in praise of a deity, Brahmana, King or the like, and is accompanied by a benediction, consisting of twelve inflected words (with nominal or verbal endings) or eight lines (quarter-verses); Abinavagupta, however, permits of a greater variety of forms. In Visvanatha's view the Nandi is part of the preliminaries (Purva-ranga), and it must be preserved, however much these are shortened. The Nandi is recited by the Sutradhara (or Sthapa ka) behind the curtain, and then he enters on the stage. It is called Nandi because it is a source of delight to the gods. 2. Sutradhara ; The name Sutradhara literally means 'the holder of the string' and perhaps indicates his origin from the 'puppet show wherein the puppets or dolls are made to perform by holding and pulling the strings attached to them. Or the name Sutradhara denotes him as primarily the architect of the theatre, the man who secures the erection of the temporary stage. He is the principal stage-manager or director who arranges the cast of characters, instructs them in their art (Natyacarya). For this high position as Sutradhara (Natyacarya) "his qualifications were to be numerous; he was supposed to be learned in all the arts and sciences, to be acquainted with the habits and customs of all lands, to combine the completeness of technical knowledge with practical skill, and to be possessed of all the normal qualities which an Indian genius can enumerate. To him falls not merely the very imoprtant function of introducing the play, but also of taking one of the chief parts. He is normally the husband of one of the actresses (nati), who aids in the opening scene.'

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Introduction 3. Amukha: Immediately after the preliminaries (Parvaranga), according to the Natyasastra, another person, similar in appearance and qualities to the Sutradhara, is to enter and introduce the play, a function which gives him the style of introducer, Sthapaka. But later on, these preliminaries were considerably shortened, and the Sutradhara alone performed both the functions of the preliminaries and the prologue (amukha, prastavana, sthapana). The essential feature of the prologue is a dialogue between the stage-director and his attendant, or rather, his Assistant (pariparivika) or an actress (Natr-who happens to be his wife) the Vidusaka on some personal business which indirectly hints at the drama. This dialogue propitiates the audience by verse or verses alluding to the subject of the play, mentions the name of the author and the play. The mode of connexion between the prologue and the play is given by Dhananjaya as threefold and by Visvanatha as fivefold; and accordingly the 'amukha' (prastavana) is said to be three-fold or five-fold. Of the three (or five) varieties of this prologue we are concerned with the Kathodghata for the prologue of Mallika-Makaranda is of this varietyin which a character in the play catches up the words (or their sense) of the stage-manager (or director) and enters on the stage from behind the curtain. 33 4. Viskambhaka: It is essential that the events or matters as are appropriate for presentation must be presented in Acts. The events described must not be disconnected. It is neither necessary nor usual that Act should follow Act without interval. To reveal to the audience the events during such intervals the Natyalastra permits a choice of five forms of scenes of introduction (arthopaksepaka) which serve also to narrate things, whose performance on the stage is forbidden. One of these five is Viskambha or Viskambhaka, an explanatory scene. It is so called from its concisely compressing (fa+VeSFF) into a short space those subordinate parts of the story, not enacted before the spectators, but a knowledge of which is quite essential to the comprehending of the action of the play. It serves to explain the events or incidents that have already taken place or are about to take place in (the near) future. It is generally performed by not more than two persons, never of chief rank. It is pure (suddha) if the performers are of middle rank and speak Sanskrit; mixed (Samkirna) when the characters are of middie and inferior class and use also Prakrit. It may be used, at the beginning of a drama where it is not desired to arouse sentiment at the very outset. 5. Nepathye (From behind the scene or the curtain): The word nepathya means (i) the curtain: (ii) the dressing room or green-room; (iii) the toilet or decoration, (iv) the actor's costume. As stage-direction it means 'from

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Mallikamakaranda behind the scene'. It is used (i) when a character is represented as speaking. while approaching the stage but before actually entering on the stage and (ii) when the utterance of a character, whose entrance on the stage is not required, is to be made known to the characters who are present on the stage. 34 6. Prakasam (Aloud) when the speech is to be heard by all those on the stage, and of course by the audience the actors speak aloud. 7. Svagatam or Atmagatam (Aside, to one self): When the speech is to be heard by the audience alone and not by any actor on the stage, the actor speaks to himself. 8. Janantikam and Apavarya (Apavaritam): Janantikam (a private conversation) is a mutual conversation in the presence of other actors by shutting out the others in the middle of the story by the hand with three fingers raised, the thumb and ring finger being curved inwards. Apavaritam (or Apavarya aside) is a secret told to another by turning around to him. It is understood to be heard only by the actor addressed to. Both these stage-directions are, however, indifferently or indiscriminately used by the Sanskrit play-wrights. These speeches are of course meant to be heard by the audience as well. 9. Akase (In the air): When one actor alone, without another actor on the stage pretends to see somebody in the distance, and speaks in the air "Do you say so?" or the like, as if hearing something, though it is really not spoken, that is called conversation with imaginary persons. This device of (speech in the air) is employed with a view to carrying forward the action of the drama but at the same time economising characters. This device is frequently used in the Bhana (or Monologue) the actor speaks in the air, repeating answers supposed to be received. 10. Karpe evameva: With a view to avoiding repetition (if what is whispered in the ear is already known to the audience) or if the plot or plans are going to be unfolded later, the concerned actor whispers into the ear of another actor (who is also concerned) "it is like this" or "it is so." At the instance of Prof. D. D. Malvania, formerly Director, and Dr. N. J. Shah, the present Director, L. D. Institute of Indology, Ahmedabad I gladly undertook the work of writing a Critical Introduction and Critical and Comparative Notes to Mallika-Makaranda, the text of which was already and ably edited by the late lamented Muniri Panyavijayaj Maharaja. I personally knew this distinguished scholar and saint and held him in great reverence. I therefore readily accepted the suggestion of completing the work

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Introduction 35 left unfinished by him. I tender my sincere thanks to Prof. D. D. Malvania, Dr. H. C. Bhayani and Dr. N. J. Shah for their keen interest in my work and their useful suggestions in tackling a few knotty phrases and lines from the text. I tender grateful thanks to Prof. R. B. Athavale who spared time for me for discussing with him some tough passages from the text of the present play. In conclusion, I pay my tearful tribute to my wife-who is no more. In spite of her serious illness, she had encouraged me to continue the critical study of this play. -V. M. Kulkarni

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// jinA jayantu jitamohAH // prabandhazatakartR - mahAkavi - zrIrAmacandraviracitaM mallikAmakarandanATakam // OM namaH zrIsarasvatyai // mallikAvizadAM lakSmIM prApa yaH zivasambhavAm / pratyUhavyUhato muktaM taM jinezamupAsmahe // 1 // (nAndyante ) sUtradhAraH - ( savinayamaJjaliM mUrdhani vidhAya ) ho samAjalokAH ! kSaNamekamavadhAnamAdhAya sakalabAla-gopAlAGganAhRdayasaMvAdinIM vipazviccakravAlacetacamatkArakandakandalana kAdambinIM samAkarNayata vitIrNasa karNakarNa koTara sudhAdhArAbhiSekAM madIyAM vijJaptikAmekAm - - paTubhirapi nopasarpati caTubhirayaM niSprayojano lokaH / tat kimapi zikSaNIyaM prayojanaM yena jagato'pi // 2 // tat punarjanmasahasropArjita puNya naipuNyairniHzeSasAMsArikaprayojanaprarohakSamAM bhagavatIM lakSmImanukUlitavadbhirbhavadbhiH zikSitameva / yataH dvayaM dvayasya sampatti (tte) rbI jamAdyamakhaNDitam / saMsArakarmaNAM lakSmIH prazamaH zivazarmaNAm // 3 // ato'haM lakSmIlavalAbhazraddhAgrahilAntaHkaraNo nirantarAvalokanairnATayadarzanasukhavimukhAnAmapi bhavatAmArAdhanAya pravRtto'smi / ( AkAze karNa dattvA ) kimAdizata ? | vAgmI khalvasi etAvataiva bhavato vAcAM vilAsena vayamatyantamAmoditAH / satyam, na jAnImaH prabandhadarzane kimapi bhaviSyati ? iti / ( saharSam ) aparAM tahi vijJApanAmekAmAkarNayata rasapIyUSapUra pUrNacetasaH sumedhasaH puraskRtya mahAkavayo nATyaprabandhAnAbadhnanti / na punaH kalagItikAminIbhyo'pi

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mahAkavizrIrAmacandraviracita vimukhAn mahAsubhaTotsAhadarzane'pi aromAJcakaJcukAn mAtR-pitR-bhrAtR-sutavipattAvapyanArdramAnasAn, nirvyAjasevake'pyasvIkRtavAtsalyAn pASANasuhRdo durmedhasaH / ( AkAze ) kiM bUtha ? bhoH ! kimetAbhirbhaNitibhiH? akuTilameva prakAzaya vivakSitamartham / eSa tahi zravaNaparuSamapyakuTilameva vijJApayAmi - 2 nIrasAnAM puro nATayaM durjanAnAM padAtitAm / grAmyANAM vAgmitAM kurvan hAsyo brahmA'pi jAyate // 4 // ( pravizya saroSaH ) naTaH bhAva ! sarvataH prasiddhavaidagdhyAn azeSara sikAvataMsAn sabhyamizrAn alIkavAcAlatayA prakopayase / vimuJca bahubhASitAm / paryAlocaya kimapi prabandhamabhinayAya | -- sUtradhAraH - ( sabhayam ) mArSa ! mA kopIH, avijJAtasabhyapragalbho'haM bhUyobhUyaH pralapitavAn / vinA'bhiprAya daurAtmyaM nAparAdho'pi garhitaH / AcAryo vANi-pANibhyAM tADayannapi pUjyate // 5 // prabandhavizeSaM punaH prathamameva paryAlocya sabhyAnupasthito'smi / kaH punarasau ? | naTaH 1 sUtradhAraH vidyAtrIsa nisarganadISNacetaso niHzeSacakravartticakracUDAratnAMzupuJjapiJjaritapAdapIThasya saptArNavIkUlasaGkrAntakAntayazasaH zrImadAcAryahemacandra [sya ] ziSyeNa prabandhazatakAriNA rAmacandreNa viracitaM mallikA makarandAbhidhAnaM nATakaM nATayitavyam / naTaH - ( sAvajJam ) bhAva ! prazamarasikavaiduSyeNa dharmadezanAvidhAnaikapragalbhavAco vAcaMyamAH zRGgAra- hAsya-vIrapramukharasamayAnAmanarhAH khalu nATyaprabandhAnAm / sUtradhAraH - mArpa ! sAmprataM grAmINacAturIvandhyamabhidadhAsi / zamastattvaM munIndrANAM jAnate tu jagantyapi / janmaiva divi devAnAM vihAro bhuvaneSvapi // 6 // naTa: - ( saroSam ) - paropanItazabdArthAH svanAmnA kRtakIrttayaH / nibandhAro'dhunA tena vizrambhasteSu kaH satAm // 7 //

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mallikAmakarandanATakam / sUtradhAraH-(sAvaSTambham ) atrArthe svayameva kavinA durmedhasAM mukhabandhaH kRtH| kAvyairyatra kaviprathA dhanalavakrItairapi prApyate gumphaklezamupAsituM kRtadhiyAM kastatra kAle kramaH ? / granantastadapi prabandhakusumAnyAjanma khidyAmahe kupyAmo vyasane ciraM viracite kasmai parasmai vayam ? // 8 // ( nepathye) sAdhu bho bharata ! sAdhu, bAndhavocitaM samayocitaM zrAvitavAnasi / sUtradhAraH - kathameSa makarandanepathyavAhI bharato bhAratImAsmAkInAmanumodate ? / naTa:- bhAva ! tvarasva tvarasva, saMrabdhAH sarvato'pi raGgopajIvinaH, samutsuko'haM manaHsamIhitAmarthasiddhimAsAdayituM saamaajikebhyH| [sUtradhAraH-] mArSa ! mA tvrisstthaaH| sarvA'pi mahatI siddhiH klezAntaritasambhavA / vidyAvadhUTimApnoti soDhA kAya-manaHklamAn // 9 // (nepathye ) iyaM punarupazrutirasmAkaM vadhUlAbhapurassarAM mahArthasiddhisampattiM pizunayati / sUtradhAraH - mArSa ! tadalaM vAcAM vistareNa / ehi, krnniiyaantrmnutisstthaamH| ( iti niSkrAntau / ) // Amukham // tataH pravizati makarandaH) makarandaH - paramArtho'yam - ___ "kupyAmo vyasane ciraM viracite kasmai parasmai vayam ?" na nAma dyutakArAH sabhiko vA prasahya mAM dUrodarakarmaNi vyApArayanti / tadatra prAcInajanmasahasropAjitAni duSkarmANyevAparAdhyantiH na cAham , na ca bAhyo lokH| (sAzcaryam ) kaupInaM vasanaM kadannamazanaM zayyA dharA pAMzulA jalpo'zlIlagiraH kuTumbakajano vezyAH sahAyA vittaaH|

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mahAkavizrIrAmacandraviracita vyApArAH paravaJcanAni suhRdazcaurA mahAnto dviSaH prAyaH saiSa durodaravyasaninAM saMsAravAsakramaH // 10 // tathApi dyutakArasya paapdhvaantaandhcetsH| zakre'pi raGkasaGkalpo dyUtakarmaparAGmukhe // 11 // ( sapazcAttApam ) tathAvidhAyA vizuddhavaMzotpattestathAvidhazrutAdhyayanasya tasyAzca gurUpadezaparamparAyAH sa eSa doSanizzeSamUlaM mahApuruSagahito vyApAraH phalamabhUt / tadahametasya vyasanaparamparApAtrasya pApIyasaH svAtmanaH zastrAbhighAtena kaNThapAzapradAnena vA prAyazcittamAdhAsyAmi / yadi vA: prAyazcittaM naye vRttiH shlaaghymshlaaghykrmnnH| zastrAdibhistu pazcatvamAtatAyiviceSTitam // 12 // tat tAvadetasya sahakArazAkhAkulAyanilInakokilAbandivRndo SyamANavasantamahArAjAvatArasya vikAzipATalApaTalagandhasambandhabandhuritagandhavAhanipIyamAnapurapurandhrIsuratasamparAyakhedasvedAmbhaso madhyamadhyAsya mahodyAnasya triyAmAmetAmativAhayAmi / prabhAtabhUyiSThAyAM cAsyAM dyUtakAradRSTisaJcAraparihAreNa kimapi sthAnAntaramAzritya kulinocitamAcariSyAmIti / ( puro'valokya ) kathamidaM dIpradIpaprabhAprakAzitaM devatAyatanam ? madhye ca bhagavataH paJcabANasya pratimA ? / ( savinayaM praNamya) zambhu-svayambhu-harayo hariNekSaNAnAM yenAkriyanta satataM gRhakumbhadAsAH / vAcAmagocaracaritrapavitritAya tasmai namo bhagavate kusumAyudhAya // 13 // ( karNa dattvA ) kathaM maJjIrajhAtkAraH ? / (vimRzya ) na tAvadetasyAM nagaradavIyasyAM kuharaviharamANakarAlavyAlabhISmAyAmArAmabhUmau dasyupracArasamucite ca nizIthasamaye manuSyakAminIsaJcAraH sambhavati / tadanena vanadevatAcaraNamaJjIraraveNa bhAvyam / (tataH pravizati pUjApaTalahastaceTIdattahastAvalambA kRpANapANinA puruSeNAnugamyamAnA sarvAGgINAbharaNA yuvatiH / ) makarandaH - (vilokya ) nizcitamiyaM dIpajyotiSA mAmavalokya na kimapi

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mallikAmakarandanATakam / svairamAcariSyati, tadahaM vidhyApya pradIpaM dvArAjirarohiNaH sahakArasya tale tirodadhAmi / ( tathA karoti ) yuvatiH - 'halA baMdhule ! kimajja vigayapaIvujjoyaM bhayavao gambhaharaM ? hImANahe ! kahaM aMdhayAre pUrya karissaM ? / makarandaH - kim 'adya' iti bruvANA dhruvamiyamanyadA nizIthe samAyAti ? / puruSaH - bhartRdArike ! zatazo vAsareSu dRSTapUrvA te bhagavataH paJcabANasya pratimAH tato yathAdRSTasmaraNamavayaveSu vimuJca vikacavicakilasranaH / yuvatiH-(sakhedam ) ajja ! suhido si tumaM, sumaresi savvaM pi / ahaM uNa mahAdukkhabhArabhiMbhalamANasA appANaM pi na saMbharAmi / tA ciTuMdu puuovgrnnaaii| makarandaH - ( sAzcaryam ) IdRze'pi nepathyaprakArasaMsUcite mahAvibhave mahAduHkhopanipAtaH ! daridraH kSutpipAsAbhyAM vighnaa-''dhi-vyaadhibhirdhnii| prAyeNa lokaH sarvo'pi zokasaGkulamAnasaH // 14 // yuvatiH - ( sAnaM praNamya ) bhayavaM paMcabANa ! asaraNassa vihalarUvavihavassa jaNassa suNehi vinnatiM / esa carama vinnavIyasi / . makarandaH - (sAzaGkam ) 'azaraNa' iti bruvANA niSpratIkAramapAyamAtmanaH sUcayati; 'caramam' iti ca prANaparityAgapizunaM vcH| yuvatiH aNavarayaM pUAhiM tuTTo si kahaM pi jai mahaM deva ! / rakkhijjasu tA majjhaM tarevi eyArisamaNatthaM // 15 // makarandaH- kaH punarasAvanarthaH ? yatra prANaparityAgo'pi priyaGkaraH / ceTI:-bhaTTidArie ! kerisA tujjha erisA nivveyagambhiNI vinnattI ? samI hiMdaM kiM pi maMgalaM patthesu / 1 sakhi bandhule ! kimadya vigatapradIpoddyotaM bhagavato garbhagRham ? aho kaSTaM kathamandhakAre pUjAM kariSyAmi / 2 Arya ! sukhito'si tvam , smarasi sarvamapi / ahaM punaH mahAduHkhabhAravihvalamAnasA AtmAnamapi na smarAmi / tat tiSThantu pUjopakaraNAni / / 3 bhagavan paJcabANa ! azaraNasya viphalarUpavibhavasya janasya zRNu vijJaptim , eSa carama vijnypyse| 4 anavarataM pUjAbhiH tuSTo'si kathamapi yadi mahyaM deva !! rakSeH tad mAM dattvA etAdRzamanartham / / 5 bhartRdArike ! kIdRzI tava IdRzI nirvedagarbhiNI vijJaptiH ? samIhitaM kimapi maGgalaM praarthy|

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mahAkavizrIrAmacandraviracita yuvati:- edaM jjeva dANi me samIhidaM maMgalaM / makarandaH - samIcInamAha duHkhiteyaM yuvatiH / idaM kRtyamakRtyaM vA kAla- dezavyapekSayA / parAsorAtmajasyApi dahanaM maGgalakriyA // 16 // yuvatiH - (sakhedam ) 'dutthA paravvasA vAhiyA ya aMdhA ya piyavittAya / kaha nAma lahijja suhaM ? na hujja bhayavaM jai kayaMto // 17 // puruSaH- bhartRdArike ! idAnImanarthasaMsUcikA kA'pi te manovRttiH / taduttiSTha vrajAmaH saudham / upanayAmi tvAM mAtA- pitRbhyAm, tayorantike yaducitaM tad vidadhyAH / yuvati:- (sAvahitthaM vihasya) 'ajja ! savvao vi bhIruAhiM amhArisAhiM vilayAhiM kiMpi aNatthaM kIradi ?, tA kiM alIyasaMbhAvaNAhiM attANayaM kilesesi ?; vacca, ANesu kudo vi paIvaM / baMdhule ! tumaM pi ANesu dIhiyAo kamalAI, jeNa mammahaM pUemi / (ubhau niSkrAntau) makarandaH - etau dhruvametayA kapaTena bahiH pravAsitau, tadahaM sAvadhAno bhavAmi / api nAmeyamAtatAyinI kimapyavAcyamAcaret / yuvatiH - (sahakAramUlamAgatya ) bhayavaM aNaMga ! paDivAsaramArAhieNa vi tumae na kiMpi me kadaM paDikayaM / tA iyANi asarisaM sAhasa kuNatI sakkhI va dAva havijjAsu / ( sahakArazAkhAyAM kaNThapAzamAbadhnAti / ) (tArasvaram ) ho puruSa ! hA puruSa !, halA bandhule ! halA makarandaH 1 etad eva idAnIM me samIhitaM maGgalam / 2 duHsthA: paravazA vyAdhitAva andhAzca priyaviyuktAzca / kathaM nAma labheta sukhaM ? na bhaved bhagavAn yadi kRtAntaH // 13 Arya ! sarvato'pi bhIrukAbhiH asmAdRzIbhiH vanitAbhiH ko'pi anarthaH kriyate ? tat kiM alIkasambhAvanAbhiH AtmAnaM klezayasi ? vraja, Anaya kuto'pi pradIpam / bandhule ! tvamapi Anaya fara: kamalAni yena manmathaM pUjayAmi / 4 bhagavan anaGga ! prativAsaramArAdhitenApi tvayA na kimapi me kRtaM pratikRtam, idAnIM asadRzaM sAhasaM kuvaityAH sAkSI api tAvad bhaveH / tad

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mallikAmakarandanATakam / bandhule ! epA yuvayoH svAminI vipadyate (-iti bruvANo'silatayA kaNThapAzaM chintti|) (yuvatimUcchitA patati, makarandaH vastrAJcalenopavIjya hRdayaM saMvAhayati / tataH pravizati sambhrAntaH saceTIkaH puruSaH / ) puruSaH- (nibhRtamAlokya) kathaM bhartadArikAyA vakSasi vihitAsanastaskaraH ko'pi nepathyamAkarSati ? bhavatu, kRpANena mUrdhAnametasyApanayAmi / (punarvimRzya) kathamandhakAraprAgbhAreNa strI-puMsayovibhAgaH ko'pi lakSyate ? / ceTI-'tAya ! muMca muMca sAmiNi, dehi me pANabhikkhaM, giNha AharaNAI / makarandaH -(ubhau prati) [na]vagataparamArthoM yuvAM vyAharataH / nAhaM cauro jAro vaa| puruSaH-tarhi kimetat ? kathaya / yuvatiH-(cetanAmAsthAya svagatam ) esa ko vi AharaNaloheNa maha jIviyaM avaharidukAmo takkaro / (prakAzam ) mahAbhAya ! giNha eyANi me aahrnnaaii| aNNaM pi de daviNajAyaM bahuyaramuvaNayassaM / karehi eyAe asidheNuAe kaMThavIDhammi jIvidesakammaM, jeNa dukkhamukkho hodi / makarandaH-bhavatu, kariSyAmi kaNThapIThe jIvitezakarma; kintu bhujapaJjarapAzena, na punrsidhenukyaa| bandhulA-mahAbhAya ! pasIya[du] bhayavaM mammaho / edAe asaMghaDiyANurUvajIvidesAe saha bhaTTidAriyAe bhodu de evaM jaMpiyaM pamANaM / makarandaH -(puruSaM prati) vidhAtuM sampado hartumApadazca na nizcayaH / manastu me sadA'pyanyaduHkhasaGkrAntidarpaNaH // 18 // tat kathaya kenAnarthajAtena vihvalIkRteyaM kaNThapAzavaizasaM kRtavatI ? / puruSaH-mahAbhAga ! yadyapyandhakAre na ko'pyAkArastavopalakSyate tathApyamunA kaNThapAzacchedavyApAreNa mahattvazaMsinA vyAhAreNa jJAtamanyaduHkhasaGkrAnti 1 tAta ! muJca mucca svAminIm , dehi me prANabhikSAm , gRhANa AbharaNAni / 2 eSa ko'pi AbharaNalobhena mama jIvitaM apahartukAmaH taskaraH / mahAbhAga ! gRhANa etAni me AbharaNAAna / anyad api te draviNajAtaM bahutaramupaneSyAmi / kuru etayA asidhenvA kaNThapIThe jIvitezakarma, yena duHkhamokSo bhavati / 3 mahAbhAga ! prasIda[tu] bhagavAn manmathaH / etayA asaGghaTitAnurUpajIvitezayA saha bhartRdArikayA bhavatu te etad jalpitaM pramANam /

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mahAkavizrIrAmacandraviracita darpaNaste hRdayam / anartha punarimametasyAH pitarAveva prmaarthenaavgcchtH| tataH kiM tubhyamAvedayAmi ? / makarandaH -(yuvatIM prati) pRcchannasaMstuto gopyamazaktaH kopamAvahan / viraktAM ca striyaM gacchan hAsyaM kasmai na yacchati? // 19 // tathApi cirasaMstutamiva me bhavatyAmantaHkaraNaM na kimapi kRtyAkRtyamAlocayati / tato yadi samucitaM tadA prakAzaya vyasanamAtmanaH, vigaNaya mAmAtmIyam / yadi ca vijJAtavyasanaheturahaM na pratIkAramayatnamAdadhAmi tadAnImasAravAdinamakulInaM ca jaaniiyaaH| yuvatiH- (svagatam ) 'mamAvi edammi keNAvi kAraNeNa paramapimmabhiMbhala hiyayaM, tA kahemi vasaNaM / bhodu dAva / (prakAzam ) sAmatthAbhAveNaM akaesu paoyaNesu ko roso ? / vasahesu duddhamahiyaM naesu ko nAma nivveo ? // 20 // makarandaH - (sAkSepam ) kathaM punarvyasananivRttAvasmAkaM sAmarthyAbhAvamavagacchasi ? / yuvatiH - attaNo appaDiyAreNa vasaNeNaM avagacchAmi / makarandaH -bhadre ! anabhijJA'si mahApuruSavyApArANAm / paNIkRtaprANasampadAM hi mahaujasAM kiM nAma sAdhyamasAdhyaM vA ? / puruSaH-mahAbhAga ! bADhamupapannamabhihitavAnasi / kimuta vyasanamahArNavanimagna iva me bhavAnapi pratibhAti / kathamaparathA nirjanapracArAyAmArAmabhUmau nizIthasamaye dasyuriva nilInastiSThasi ? / / makarandaH-sAdhu vijJAtavAnasi, tathApi na tvayA vyasanavRttAntamahaM praSTavyaH / sukhaM prakAzyate dauHsthyaM prAcyamArUDhavaibhavaiH / ArUDhadauHsthyaiduHkhe na prAcInaM vaibhavaM punaH // 21 // 1 mamApi etasmin kenApi kAraNena paramapremavihvalaM hRdayam , tat kathayAmi vyasanam / bhavatu tAvat / sAmarthyAbhAvena akRteSu prayojaneSu ko roSaH ? / vRSabheSu dugdham ahitaM nayeSu ko nAma nirvedaH ? // 2 AtmanaH apratIkAreNa vyasanena avagacchAmi /

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mallikAmakarandanATakam / yadi punarbhagavAn vidhiranukUlatAM yAsyati kadAcit [tadA] tava bhartR dAri]kAyAH puraH sarvamAvedayiSyAmi / bandhulA-'aTTidArie ! adikAlo bhodi, nivedehi vasaNamedassa.. mhaannubhaavss| yuvatiH-bandhule ! 'viulassa vi uvayArassa purisasIhassa dddddhmhilaao| paccuvayAraM mannaMti dehadANAo na hu ahiyaM // 22 // bandhulA-tado kiM ? / yuvatiH- ahaM dANi dehadANaM pikAumasamatthA, tadA kathaM vasaNaM payAsemi ? kahaM ca edAo vasaNapaDiyAramahilasemi ? / puruSaH-bhartRdArike ! pratyupakArAnapekSamupakArakatvametasya mahaujasaH; tatA mA zaGkiSThAH, prakAzaya vyasanam / yuvatiH-(makarandaM prati) pagAsayAmi vasaNaM, paDhamaM puNo edaM suNesu / makarandaH -(saharSa samIpatarIbhUya) kiM tat ? / yuvatiH-'vigghabahulAo rayaNIo, asamatte vi kahApabaMdhe vihaDaNAvAo ko vi saMbhave / makarandaH-(sAkSepam ) tataH kim ? / yuvatiH-"tado ArAmasaMghaDaNAhinnANaM gihANa me edaM kuMDalajuyalaM / makarandaH- (sapramodamAtmagatam ) kathamasmatprANasampadAM grahaNasatyaGkAramiyamupanayati ? / (prakAzam ) bhadre ! ko nAma priyajanasya prasAdaM nAbhimanyate ? / 1 bhadArike ! atikAlo bhavati, nivedaya vyasanametasya mahAnubhAvasya / 2 vipulasya api upakArasya puruSasiMhasya dagdhamahilAH / pratyupakAraM manyante dehadAnAd na hi adhikama // 3 tataH kim ? / 4 ahaM idAnIM dehadAnaM api kartumasamarthA, tataH kathaM vyasanaM prakAzayAmi ? kathaM ca etasmAd vyasanapratIkAramabhilaSAmi ? / 5 prakAzayAmi vyasanam , prathamaM punaH etad zRNu / 6 vighnabahulA rajanyaH, asamApte'pi kathAprabandhe vighaTanApAyaH ko'pi sambhavet / 7 tataH ArAmasaGghaTanAbhijJAnaM gRhANa me etat kuNDalayugalam /

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mahAkavizrIrAmacandraviracita ( yuvatI kuNDalayugalamarpayati / ) puruSaH -(sabhayamAtmagatam) prAtaretasyAH pitA prasAdhanasaMkhyAM mayi gave[Si]pyate, tataH ko'yamanarthaH / bandhulA -( sabhayaM svagatam ) 'kiM mae pabhAe bhaTTiNIe purao uttaraM kAyavvaM ? / puruSaH -( saroSam ) bhartRdArike ! keyaM svecchAcAritA? kimidaM vaNikkumArikAcAraviruddhaM parapuruSAya kuNDalapradAnam ?; tadahaM padAtilokamAnIya kuNDalamAdAsye / (-ityabhidhAya niSkrAntaH / ) ___bandhulA-bhaTTidArie ! savvaM pi edammi duDhe saMbhAvIyadi, tA lahuM kahesu vsnnN| (nepathye) eSA tasya padapaddhatirupavanaM pravizati / tataH pradIpajyotiSA madhyamavalokayata / (sarve sabhayamAkarNayanti) bandhulA - bhaTTidArie ! edassa dudrussa evaM viyaMbhiyaM / makarandaH -( svagatam ) nizcitaM mamAnupadaM kitavAH samAyAtAH / na cAtra me pratibhayam / sUtradhArAbhihitopazrutizlokAnusAreNa zubhodarko'yaM mmopvnprveshH| yuvatiH - ajja ! kiM mae dANi kAdavvaM ? / makarandaH - braja tvamupavanapAzcAtyadvAreNa svabhavanam / punarahaM prAta(? zva)stvayA nizIthe'tra gvessnniiyH| (yuvatiH sabandhulA niSkrAntA / ) __ makarandaH -kathaM mAM dApajyotiSA dRSTavantaH kitavAH ? / bhavatu, kAmAyatanapAzcAtyabhAge tirodadhAmi ! ( iti niSkrAntAH sarve / ) // prathamo'GkaH // 1 // shriiH|| 1 kiM mayA prabhAte bhAH purataH uttaraM kartavyam / 2 bhartRdArike / sarvamapi etasmin duSTe sambhAvyate, tad laghu kathaya vyasanam / 3 bhartRdArike ! etasya duSTasya etad vijRmbhitam / 1 Arya / kiM mayA idAnI kartavyam ? /

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dvitIyo'GkaH / ( tataH pravizati ceTI / ) [ceTI-] 'taM kiM pi kAmiNINaM kattha vi pimmaM jaNammi nivvaDai / jhijjati jeNa DajhaMti jeNa jeNaM vivajjati // 1 // ( pravizya) korakaH - lavaGgike ! kimadya viSAdinIva dRzyase ? / ceTI-mahAbhAya ! kiM kadhayAmi maMdabhAiNI ? / ajjaM khu dAhajarAbhibhUdAe bhaTTidAriyAe aTThamaM diNaM vaTTadi / sA khu na jaMpadi, na kIladi, na bhujadi, NavaraM hatthaggaviinnakavolamUlA [ ciTThadi] / [korakaH -] kim ? / ceTI -piyajaNassa virho| korakaH - aho ! Azcaryam / IdRze'pi vyasanopanipAte bhartRdArikAyA virhH| roge'pi viprayoge'pi zoke'pi vyasane'pi ca / kSut-pipAsA-smarAH prAyo vimuzcanti na dehinam // 2 // kva punaH prasthitA'si / / ceTI-dAhovasamaNatthaM dIhiyAo kamalAI ANeduM / (-ityabhidhAya niSkrAntA / ) korakaH -( parikramya uccaiHsvaram ) bho bhoH zreSThino brahmadattasya parijanAH ! dInArapaJcazatIpadAnapUrvakaM bhartRdArikApahArarakSaNAya bhramayata sarvataH purapatheSu paTaham / 1 tat kimapi kAminInAM kutrApi prema jane sajAyate / kSIyante yena dahyante yena yena vipadyante // 2 mahAbhAga ! kiM kathayAmi mandabhAginI ? adya khalu dAhajvarAbhibhUtAyA bhartRdArikAyA aSTamaM dinaM vartate / sA khalu na jalpati, na krIDati, na bhunakti, navaraM hastApravidattakapolamUlA [tiSThati / 3 priyajanasya virahaH / 4 dAhopazamanArtha dIpikAtaH kamalAni Anetum /

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mahAkavizrIrAmacandraviracita ( nepathye ) bhramitaH purapatheSu paTahaH / pratijJAtaM caikena kitavena bhartRdArikApahArarakSaNam / korakaH - bhavatu, tarhi zreSThine vijJApayAmi / ( iti parikrAmati / vilokya) kimayaM zreSThI sadharmacAriNyA bandhusundaryA samaM kimapi paryAlocayannasti / ( tataH pravizati zreSThI bandhusundarI ca / ) zreSThI - priye ! mAsma vRthA viSAdamAtathAH / zriyA zaktyA ca sAdhye'rthe siddhyabhAve manaH klamaH / ubhAbhyAmapyasAdhye tu kA nAma paridevanA ? || 3 || tathApi sarvasvapradAnenApi putrIrakSaNArthaM prayatnamAdhAsyAmi / vyasane mahatyapi samullasite nirupAyatA khalu na yuktimatI / jaladheragAdhamapi vAri naraH pravigAhate samadhiruhya tarIm // 4 // bandhumatI - ( sAsram ) 'ajjautta ! savvo vi esa bAlakAlA do vacchAparipAlaNApayAso vihalo bhavissadi / zreSThI - priye ! vidhiniyogo'yamazakyapratIkAro locane nimIlya soDhavya eva / 12 na sa mantro na sA buddhiH na ca doSNAM parAkramaH / apuNyopasthitaM yena vyasanaM pratirudhyate // 5 // Arya ! sampanno rakSakaH / korakaH zreSThI korakaH - kitavaH ko'pi - zreSThI - yadi kitavo rakSakaH, sampannaM tarhi prayojanam / vyasanAndhA hi prANavyayenApi dhanArthaM prayojanaM sAdhayanti / kaH punastasyAtrAgamane kAlavilambaH ? / - kaH punaH sampannaH 2 / ( pravizya ) sundarakaH - Arya ! rakSakasya dyUtakArA rAjAjJayA'trAgamanaM niSedhayanti / zreSTI ( sAkSepam ) asmatpratigRhItasya rakSakasya dyUtakArANAmaMtrAgamanapratiSedhane zaktirasti ? | 1 Aryaputra ! sarvo'pi eSa bAlakAlAd vatsAparipAlanAprayAsaH viphalo bhaviSyati /

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mallikAmakarandanATakam / sundarakaH - avazyamasti / zreSThI-kena hetunA / sundarakaH -uttamarNatvena / zreSThI -( vihasya ) sundaraka ! upapannamabhihitavAnasi / ( vimRzya ) vraja tvam, RNapradAnamaGgIkRtya kitavaiH sahA''naya rakSakam / (sundaro niSkrAntaH / ) (tataH pravizati paJcaSairvRtakArai'to makarandaH / ) zreSThI -( vilokya svagatam ) aho ! AkArasaundaryam , aho ! zarIralakSaNAnAM prazastatA, kaTari ! gateH prAgalbhyam / ( punaH sajugupsam ) sarveSAmapi lakSaNAnAM durodrvysnmntraayH| athavA vyasanAndhamevedaM jagat / kecida bhojanabhaGgibhirnaradhiyaH kecit purandhrIparAH / kecinmAlyavilepanaikarasikA gItotsukAH kecana / ke'pi yatakathA-mRgavya-madirA-tAmbUla-zastronmukhAH kecida vAji-gajokSayAna-sadanA-'patyA-''sanavyAkulAH // 6 // bhavatu / (prakAzam ) idamAsanamAsyatAm / ( sarve makarandaM parivRtyopavizanti / ) zreSThI - (vimRzya dyUtakArAn prati ) bhavata kSaNamekaM davIyAMso yUyam / dyUtakArAH -( sAkSepam ) ayamasmAbhiranaGgabhavanapRSThanilIno nizIthasamaye mahatA prayAsena prAptaH / tadidAnImaramAsu nedIyodezasthiteSveva sarvametena vidhAtavyam , bhavadbhividhApayitavyaM ca / zreSThI - kimetena bhavatAM deyam ? / yUtakArAH - dInArapaJcazatAni / zreSThI -aho ! sadRzaH kthaasnniveshH| asmAbhirapyetAvadevAsya deyam / tato vrajata yUyam , prAtarvayaM bhavatAmenamarpayAmo deyaM vA / yadi vA kimetena vaNijAM samucitena kuTilabhaNi tena ? / etasyA kAradarzanenaiva vayamAvarjitAH / prayojanaM yathA-tathA vA'stu / deyamasmAbhirbhavatAM prAtardeyamiti / dyUtakArAH - zreSThin ! pramANaM vayam ? / aGgIkRto vidhiH ?, vrajAmo vayam ? /

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mahAkavizrIrAmacandraviracitaM zreSThI - avazyaM mamANam , vrajata yUyam / __(bUtakArA niSkrAntAH / ) zreSThI - kimabhidhAno bhavAn ? / makarandaH - makarandAbhidhAno'smi / zreSThI - avazyamanuSThAtavyaH pratijJAto'rthaH / makarandaH - kA sandehaH ? / zreSThI -asti mantrajA zarIrajA vA kA'pi kSudropadravadrAviNI zaktiH / makarandaH - asya paryanuyogasya prayojanasiddhireva samAdhAnam / zreSThI -( vimRzya sakaruNam ) mahAbhAga ! mahApuruSocitAM tAmetAmAkRtimanAkulatAM vinayasampattiM ca vilokya tadetasminnapAyazatasaGkIrNe vacchAparihAranivAraNAkarmaNi na prabhavAmi bhavantaM vyApArayitum / tadadyApi vimRza prayojanavaiSamyam , vicintaya jIvitasya sandeham , vigaNaya dhanasya pAMzupAyatAm / uttiSTha, prayAhi svaM sthAnam / asmadantike vyApArAntaraM kimapyAdadhAnaH kAlamativAhaya / __bandhusundarI- 'puttayA ! vacca tuma, jIva ciraM, maha vacchAe jaM vihiNA lihiyaM taM bhvissdi| .. makarandaH - nAhaM tAdRzo yAdRzaM yUyaM vicintayata, tat kimarthamapAyasampAtasandarzanena santrAsayata mAm ? / api ca svIkRtApAyasampAtaH sarvA siddhiM vigaahte| yuddhe hi prANasApekSo vipakSaiH paribhUyate // 7 // tato vimucya kAtaratAM prathayata sauSThavam / kathayata kiM mayA vidheyam ? kasya vidheyam ? kadA vidheyam ? / / (zreSThI bandhusundaryA mukhamavalokayati / ) bandhusundarI - mahaMto edassa avaTuMbho, tA aNuTThIyadu samIhidaM / zreSThI -asmadvacchAyA nizIthasamaye devatApahAranivAraNaM tvayA vidheyam / yAvat prayojanaM sannidhIyate tAvat kathAmekAmAkarNaya - itaH saMvaccharAda gate SoDaze vacchare prAtarAvazyakakaraNAya gRhopavanaM gato'ham / makarandaH - tatastataH / / 1 putraka ! vraja tvam, jIva ciram , mama vatsAyA yad vidhinA likhitaM tad bhaviSyati / 2 mahAn etasya avaSTambhaH, tad anuSThIyatAM samIhitam /

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mallikAmakarandanATakam | 15 zreSThI - tadaharjAtAM nAmAGkitamahArghyaGgulIyakaprasAdhitapANipallavAM masTaghusRNarasalikhitAkSara bhUrjakaNDakamaNDitasavyetarakalAcikAM utphullamallikAviTapacchAyAyAM kanyakAme kAmadrAkSam / ( sarve savismayamAkarNayanti / ) makarandaH tatastata: ? / zreSThI - atyadbhutaprasUtaprabhUtapramodamedurAntaHkaraNazcAhaM 'kimetat ?' iti camatkAratirohitavidheyanirNayA nistaraGgeNa cakSuSA kSaNamekaM tAM vIkSitavAn / ( savinayam ) tatastata: ? / korakaH - zreSThI - anantaraM ca mahatA prayatnena pANipallavAbhyAmAdAya tAmetasyA bandhusundaryAH samupanItavAn / mallikAcchAyAyAM prApteti sA mallikAnAmnA vyupadizyate / - bandhusundarI - ' devadApasAdaM mannaMdIe mae vitaNayANivvi se seNaM vacchalleNaM ittiyaM kAlaM jAva paripAlidA / makarandaH (svagatam ) nizcitamiyaM durAcArasaJjAtagarbhAyAH kasyAzcid vidyAdharyAH putrI / (prakAzam ) kiMnAmAGkitAnyaGgulAyakAni ? kimakSaraM ca bhUrjakaNDakam ? - iti jJAyate ? | zreSThI - jJAyate, nirUpayatu ca bhavAnapi / ( aGgulIyakAni bhUrjakaNDakaM ca samarpayati / ) makarandaH -( aGgulIyakAnyavalokya) kathaM mahArAjavainateyanAmAGkitAnyaGgulIkAni ? | (bhUrjakaM ca vAcayati / ) SoDazavarSAnte caitrakRSNacaturdazyAM punariyaM mayA pariNetAraM rakSitAraM ca vyApAdya prasabhamapaharttavyA / makarandaH -( sabhayamAtmagatam ) anISatkaraM nivAraNamasmAdRzairetasyA divyakanyakAyAH / tathApi pratijJAparityAgastrapAmAvahati / ( prakAzam ) aGgulIyakabhUrjakaNDakAvalokanena jJAtam ' asukaro'yaM vidhiH ' / tathApyasti me mAntrikI zaktiH, tato [na] bhavadbhiH prayojananiSpattisandehaH kAryaH / zreSThI - bhavadAkAradarzanasamaye'pi asmAbhinirNIto'yamarthaH / 3 devatAprasAdaM manyamAnayA mayA'pi tanayAnirvizeSeNa vAtsalyena iyantaM kAlaM yAvat paripAlitA /

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mahAkavizrIrAmacandraviracita ___makarandaH -(svagatam ) mahAsAhasaikasAdhyo'yamoM na bAhyamADambaramapekSate / tathApi tadavazyamAdheyam / payAMsi bhUruhAM heturna punargarjitAravaH / mAghe tathApi garjanti kSobhAya janacetasAm // 8 // (prakAzam ) Arya ! anAdisiddhe mImAMsA vizvavartmani kA satAm ? / rUpajIvAH striyaH sRSTAH pumAMso na punaH katham ? // 9 // zreSThI - prastutamabhidhIyatAm / / makarandaH -prastutamidam-'mantramaNDala pUjApUrvakaM sarvamanuSThAnam' iti bhavatAmapi prasiddham / ato maNDalopakaraNeSu vicAro naH kartavyaH / zreSThI -avazyaM karttavyaH / makarandaH -tarhi samAnayata sadyaHprasUtavyAghrIkSIram , sampAdayata vindhyacamarIzRGgagorocanAm , Dhaukayata vAneyagajaprathamadAnavAri / zreSThI - avaziSyate kimapi ? / makarandaH -avaziSyate SoDazavarSadezIyakhalvATapuruSacitAvahniH / zreSThI -( ziro dhUnayitvA) asukarasaGgha[Ta]naH sarvo'pyupakaraNaprapazca:, vizeSato vahnirayam / bhavatu, ko'tra bhoH ! ? / (pravizya ) sundarakaH - eSo'smi / ( zreSThI sundarasya karNe evameva ) (sundaro niSkrAntaH / ) zreSThI -yAvadupakaraNAni sannidhIyante tAvadAgacchata yUyaM vacchAyA mallikAyAH samIpam / halA lavaGgike ! gatvA brUhi vatsAm-samayo'yamasmadAgamanasya / (nepathye) 'samao vaTTadi tA edu tAdo / ( sarve gRhopavanamupavizanti / ) ( tataH pravizati virahAvasthAM nATayantI mallikA lavaGgikAprabhRtikazca parivAraH / ) * 1 samayo varttate tad etu tAtaH /

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mallikAmakarandanATakam / mallikA -'halA lavaMgike ! avaNehi vacchatthalAdo naliNIvattAI, karehi sahANesu me nivsnnaaii| dehi me hatthAvalaMbaNaM jeNa aMbAe tAdassa ya abbhuTThANaM karemi / zreSThI -vatse ! paryaGkasthitA yathAsukhamArastra / mAsmAbhyutthAne klezamAtathAH / ( makarandaM prati, aparaM prati ) dAhajvareNa sarvAGgINamabhibhUtAyAstadetadaSTamaM dinaM vatsAyA etsyaaH| makarandaH - (svagatam ) keyUrANi mRNAlajAni kucayoH zrISaNDavAricchaTAH / * zayyA bAlasarojinIdalamayI hAro'pi rmbhodbhvH| aGgaM sAndrajalArdramaGgaNabhuvo mallIvitAnAJcitA veSaH saiSa viyogarogaviSamAmasyA dazAM zaMsati // 10 // mAtA-pitarau punrphaarduHkhmaavedytH| tat kimidaM parasparaviruddham ? / mallikA-(makarandamavalokya svagatam ) 'edassa dehalahi~ kAuM vihiNA virammiyA viraI / iharA kaha kassa vi natthi ittha eyArisaM rUvaM ? // 11 // (punaH saspRham) 'jai kaha vi raI picchijja eyamasarisasarIrasuMderaM / siDhilIkarijja tA tammi pimmagaMThiM agaMgammi // 12 // "ahavA vavasAo cciya purisANamaNuvamo maMDaNaM sriirss| rUvaM pi puNo jai hujja tA jiyaM hariNanayaNAhiM // 13 // 1 halA lavaGgike ! apanaya vakSaHsthalAd nalinIpatrANi, kuru svasthAneSu me nivasanAni / dehi me hastAvalambanaM yena ambAyAH tAtasya ca abhyutthAnaM karomi / 2 etasya dehayaSTiM kRtvA vidhinA viracitA viratiH / / itarathA kathaM kasyApi nAsti atra etAdRzaM rUpam ? // 11 // 3 yadi kathamapi ratiH prekSeta etamasadRzazarIrasaundaryam / __ zithilIkuryAt tat tasmin premagranthi anaGge // 12 // 4 athavAvyavasAya eva puruSANAmanupamo maNDanaM zarIrasya / rUpamapi punaH yadi bhavet tad jitaM hariNanayanAbhiH // 13 //

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mahAkavizrIrAmacandraviracita makarandaH - ( saspRham ) cakSurvASpavikajjalaM karatalavyAsaGgakhaNDaguti gaNDazrIradharaH kharaH prasRmaraiH sUtkAratAromibhiH / AhArapratirodhakIkasasirAmAtrA ca gAtrAvani dRSTiM prINayate tathApi sudatI lekheva zItatviSaH // 14 // mallikA - ( svagatam ) 'ammo !, uvavaNadiTTapurisapimmakIlidaM pi me hidayaM kadhaM puNo puNo edammi vaccadi ? / avi ya esa kila loyANaM pavAdo annattha rAgiNIo raccaMti na vammahe vi mhilaao| ruccai na NAma rAyA vi tavaNarattANa naliNINaM // 15 // so uNa mahaM dANi vivarIdo jaado|| bandhusundarI-vacche ! satthA hohi / esa de savvaM pi sarIraviyaNa dAhajjaraM ca avnnissdi|| zreSThI - priye !atyalpamabhidadhAsi, devatApahAramapyeSa vatsAyA apaneSyate / mallikA - ( sAkSepam ) 'tAda ! edeNaM jjeva avaharidA / kiM devadA avaharissadi ? / banthusundarI - ( sAzaGkam ) annautta ! kiM esA IdisaM lajjAyaraM jaMpadi / zreSThI - priye ! mA bhaiSIH, dAhajvarAbhibhavenAtsvamAyitamidam / bandhusundarI-(sadainyam ) puttayA ! esA maha dhUyA tuma samappidA, tahA kahaM karehi jahA nivvuI lahai / 1 Azcaryam , upavanadRSTapuruSapremakIlitamapi me hRdayaM kathaM punaH punaH etasmin vrajati ? / api ca eSa kila lokAnAM pravAdaH - anyatra rAgiNyaH rajyante na manmathe'pi mahilAH / rocate na nAma rAjA'pi tapanaraktAbhyo nalinIbhyaH // 15 // sa punaH mama idAnIM viparIto jAtaH / 2 vatse ! svasthA bhava, eSa te sarvAmapi zarIravedanAM dAhajvaraM ca apaneSyate / 3 tAta ! etena eva apahRtA / kiM devatA apahariSyati ? / 4 Aryaputra ! kiM eSA IdRzaM lajjAkaraM jalpati ? / 5 putraka ! eSA mama putrI tubhyaM samarpitA, tathA kathaM kuru yathA nirvRtiM labhate /

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mallikAmakarandanATakam / makarandaH - (svagatam ) na kevalaM tvayA, anayA'pyAtmA me smrpitH| (punaH savidhAdam ) dhig mAM kRtaghnam, nanvahamupavanadRSTayA yuktyA satyaGkAritaH kathametAM spRhayAmi ? / (prakAzam ) amba ! sarvamapyahamAdhAsye yadi maNDalopakaraNAni sannidhAsyante / bandhusundarI- 'halA baMdhule ! kiM ajja vi na suMdarao samAgacchadi ? / makarandaH - (sAzaGkamAtmagatam ? ) bandhuleti zabdaH zrutapUrvaH, svaro'pyayaM mallikAyAstAdRzo yAdRzastasyA vipinyossitH| tato yadi saiveyaM tadA sammukhInaH sa bhagavAn virazciH / prayojanaM caitadAtmIyameva / (punaH sAbhilASaM mallikAmavalokya svagatam ) calakamalavilAsAbhyAsinI netrapatre daza[na]vasanabhUmibandhujIvaM dunoti / smarabharaparirohatpANDimAgUDharUDhagutivijitamRgAGkA modate gaNDabhittiH // 16 // (pravizya sundaraka upakaraNAnyupanayati / ) makarandaH - upavizatu nivasitasadazaikavasanAGgI mallikA, yena puro maNDalamArabhyate / mallikA - ( sAttvikabhAvAn nATayantI) aMba ! dehi me hatthAvalaMbaNaM jeNa uDemi / bandhusundarI - (makaranda prati ) puttayA ! edAe purado vi tumaM hatthAvalaMbaNaM, taM dANiM pi hohi / ( makarandaH saromAJcaM malllikAmutthApya pUrvAbhimukhImupavezayati / ) mallikA- (svagatam ) tAdiso edassa hatthaphaMso jAdiso maha hiyarya: saMvAhayaMtassa uvavaNapurisassa / sAhasa pi tAdisa jjeva / tA kiM nedaM ? / makarandaH - ( maNDalamAdhAya svagatam ) 1 halA bandhule ! kiM adyApi na sundarakaH samAgacchati ? / 2 amba ! dehi me hastAvalambanaM yena uttiSThAmi / 3 putraka ! etasyAH purato'pi tvaM hastAvalambanam, tadidAnImapi bhava / 4 tAdRza etasya hastasparzaH yAdRzaH mama hRdayaM saMvAhayataH upavanapuruSasya / sAhasamapi tAdRzameva / tat kiM nu idam ? /

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20 mahAkavizrIrAmacandraviracitaM kRtrimaiDambarairbAhyaH zakyastoSayituM janaH / AtmA tu vAstavaireva hRto'yaM parituSyati // 17 // tadayaM bAhyo lokaH sAhasaM yAdRzaM tAdRzaM vA mayi sambhAvayatu, mama punarAtmA'pi duHkharakSaNIyaH / tadetasminnavasare'haM paJcaparameSThinamaskArasmaraNenA''tmano rakSA karomi / (prakAzam ) Arya ! maNDaladhUpArthamupanayata nirguNDikApatrANi yAvadahaM dhyAnamAdadhe / ( dhyAnaM nATayati / ) ( pravizya bandhulA nirguNDIpatrANyupanayati / makarandaH kSaNena maNDalaM praNamya kuNDalAbhyAM pUjayati / sarve savismayamAlokayanti / ) zreSThI - ( apavArya ) sundaraka ! kimidam ? / sundarakaH - tadevedam, yanmayA vipinAdAgatena yuSmabhyamAveditam / zreSThI- sambhavati kitavasya cauryakarma / korakaH - ( apavArya ) Arya ! mahataH karmaNaH sAmpratamArambhAH , tadadhunA na kimapi vktvym| aparAdho'pi soDhavyo vAJchitArthavidhAyinaH / dahannapyagninA tundaM gulmibhiH pUjyate bhiSak // 18 // mallikA - ( apavArya ) 'bandhule ! diTTa kiM pi tumae ? / bandhulA - taM diThaM jaM maNorahehiM pi na diLaM / mallikA -"tA jIyati malliyAe bhAgaheyAI / zreSThI - ( apavArya bandhusundarI prati ) priye ! uttiSTha, sAdhaM vrajAmaH / vymevaanyormllikaa-mkrndyorbaahyaaH|| bandhusundarI- ajjautta ! jaM turva bhaNAsi taM saccaM, puravaM pi baMdhulAe IdisaM kiM pi maha kahidaM / makarandaH - rajaniridAnIm , apasaratu bAhyo lokaH / mallikAbhAgadheyairasmAbhizcAtra sthAtavyam / ( mallikA-makarandavarja sarve niSkrAntAH / ) 1 bandhule ! dRSTaM kimapi tvayA ? / 2 tad dRSTaM yad manorathairapi na dRSTam / 3 tad jIvanti mallikAyA bhAgadheyAni / 4 Aryaputra ! yat tvaM bhaNasi tat satyam , pUrvamapi bandhulayA IdRzaM kimapi mama kathitam /

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mallikAmakarandanATakam / mallikA - 'bhada ! kudo de kuMDalasaMpattI ? | makarandaH yato bhavatI bandhulA ca jAnAti / - mallikA - 'ajjautta ! mae kuMDalacchaleNa appA tuha samappido | makarandaH - kuNDalacchalena tvayA''tmA mA samarpitaH mayA tu chalaM vinA'pi tubhyam / mallikA - ajjautta ! suNehi me egaM painnaM- ahaM tumaM pariNemi, kumArI ciTThAmi / makarandaH ? 1 - 4 ( sAkSepam ) sahasrazo vijJAtasyArthasya kiM phalam mallikA: - edaM phalaM, jadhA puNo puNo me dANi dAhiNaM nayaNaM paDiphuradi tadhA jANe avassaM avahAreNa bhodavyaM, tado tae jIvidapavAsa karaNaM avaharaNa nibbaMdho [vA ] na kAyavvo / makarandaH - ( sAkSepam ) priye ! kimidamanucitamabhidadhAsi ? | hRtasya jIvitasyAsya nizcayena pravAsitA / > pravAsazcet priyasyArthe tataH kiM nAma vaizasam ? // 19 // mallikA - ajjautta ! karehi me pasAdaM, esa de purao nibaddho aMjalI, siTilehi sAhasa, jIvaMtANaM puNo vi saMgamo bhavissadi / (nepathye nUpuradhvaniH / mallikA AkarNya vepate / makarandaH paJcaparameSThinamaskArayannasidaNDamAkarSati / ) ( nepathye ) tvamasi rakSitA pariNetA vA ? / are ! makarandaH ahaM pariNetA rakSitA ca / ( nepathye ) aho ! Azcaryam, vidyAdharakanyakAyA manuSya kITaH pariNetA rakSitA ca / - 21 1 bhadra ! kutaH te kuNDalasamprAptiH ? | 2 Aryaputra ! mayA kuNDalacchalena AtmA tubhyaM samarpitaH / 3 Aryaputra ! zRNu me ekAM pratijJAm ahaM tvAM pariNayAmi, kumArI vA tiSThAmi / 4 etat phalam, yathA punaH punaH me idAnIM dakSiNa nayanaM pratisphurati tathA jAnAmiavazyaM apahAreNa bhavitavyam, tatastvayA jIvitapravAsakaraNaM apaharaNanirbandho [ vA ] na karttavyaH / 5 Aryaputra ! kuru mayi prasAdam eSa te purataH nibaddhaH aJjaliH, zithilaya sAhasam jIvatoH punarapi saGgamo bhaviSyati /

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22 mahAkavizrIrAmacandraviracitaM makarandaH - kimAzcaryam ? yAvat kuraGganetrA taruNI taruNasya dAsyamAdhatte / vRddho'pi tAvadicchati na vIkSayate yogyatAmicchA // 20 // api ca pRthivyAM vIrabhogyAyAM lakSmyAM cApalyasaMspRzi / striyAM cAzaMkyarakSAyAM kasya kiM nAma nocitam ? // 21 // (nepathye) tarhi prayatnamAdadhIthAH, iyametAmapaharAmi / vatse ! mAsma viSAdinI bhUH / ehi tvaritataram, tvAmahaM vidyAdhararAjamahiSImAdhAsyAmi / / mallikA - 'hA ajjautta ! hA tAda ! hA aMba ! esA asaraNA keNAvi avaharijjAmi / ( iti pralapantI tirodhatte / ) makarandaH - kathamapahRtA priyA ? hA piye mallike ! tvadapahAraduHkhasAkSI pApIyAn / ( mUchati / punazcetanAmAsthAya ) kathamahaM durAtmA bhagnapratijJaH svamAsyaM mallikAmAtApitrodarzayAmi ? / tadanenaivopavanapAzcAtyadvAreNa mirgatya priyApremocisamAdadhAmi / ( iti niSkrAntaH / ) // iti dvitIyo'GkaH // 2 // 1 hA Aryaputra ! hA tAta ! hA amba ! eSA azaraNA kenApi apahiye /

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tRtIyo'GkaH (tataH pravizati cettii|) ceTI - ( sAzcaryam ) 'aNurAo cciya daiesu ghaDai sohggcNgimgunnaaii| caMdu cciya jaNai maNIsu kaThiNabaMdhesu salilAI // 1 // (pravizya ) devalakaH - mAgadhike ! kathaM subhASitAdhyayanavAcAlavaktrakuharA'si / ceTI - 'ajja devalaya ! kiM kahemi ? vicittAo maNovittIo / tAdisaM pi vijjAhararAyakumAraM bhattAraM malliA na paDivajjadi / devalakaH - anyatra baddharAgA sambhAvyate / ceTI - sAhu viNNAyaM / ( punaH karNe evameva / ) devalakaH - aho ! prakRtyaiva kupAtre nirbandhaH strIlokasya / ceTI- ajja ! mA evaM Aisasu / taM ciya paramattheNaM ramaNijjaM jattha hiyyviisaamo| harisaMti asoyalayA jeNaM pAyappahArehiM // 2 // devalakaH - idAnIM citrAGgadaH kimanutiSThati ? / ceTI- 'vicittehiM viNayakamme hiM vicittAhiM pasAhaNadANapainnAhiM paDidiNaM pasAdedi, paraM na malliyA pasIyai / devalakaH - bhadre ! 1 anurAga eva dayiteSu ghaTayati saubhAgyacaGgimaguNAn / candra eva janayati maNISu kaThinabandheSu salilAni // 2 Arya devalaka ! kiM kathayAmi ? vicitrA manovRttayaH, tAdRzamapi vidyAdhararAjakumAraM bhartAraM mallikA na pratipadyate / 3 sAdhu vijJAtam / 4 Arya ! mA evaM Adiza / tad eva paramArthena ramaNIyaM yatra hRdayavizrAmaH / hRSyanti azokalatAH yena pAdaprahAraiH // 2 // 5 vicitraiH vinayakarmabhiH vicitrAbhiH prasAdhanadAnapratijJAbhiH pratidinaM prasAdayati. paraM na mallikA prasIdati /

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24 mahAkavizrIrAmacandraviracitaM akANDako pino bharttaranyAsaktezca yoSitaH / prasattizcetasaH kartuM brahmaNA'pi na zakyate // 3 // bhavatu, devI candralekhA kimAdizati ? | ceTI - 'avi mArissaM, na uga annassa paDivAdayassaM ti Aisai / devalakaH - mallikAyAH kIdRzo nirbandha : ? | ceTI - 'avi marissaM, na uNa avaraM pariNayassaM ti nirbandhaH / devalakaH - tadevaM sambhAvyate unmattaprema saMrambhAdArabhante[ 'tra kAminaH 1 ] 'tatra pratyUhamAdhAtuM brahmA'pi khalu kAtaraH // 4 // tadalamanayA mImAMsayA / aparamAzcaryamAkarNaya - khecarANAmapi durlabhAyAmasyAM bhUmau prAtaH siddhAyatane mayA manuSyo dRSTaH / ceTI - 'devalaya ? taM ciya maNussaM gavesiDhuM bhaTTiNIe caMdalehAe pesida hi / tA kattha so ciTThadi ? | devalakaH - vilokaya gatvA, eSa siddhAyatane tiSThati / ahamapi mallikAyA divyaphalAnyupanayAmi / ( iti niSkrAntaH / ) // viSkambhakaH // ( tataH pravizati sampAtamUrcchito makarandaH / ) ( cetanAmAsthAya vilokya ca savimarzam ) makarandaH svapnaM kiM nu ?, kimindrajAlamathavA kiM cetaso vibhramo ?, doSaH ko'pi kimeSa me nayanayorvizvaikasammohakRt ? / pAtAle tridive'tha kiM samabhavajjanmAntaraM me'varaM ?, kossmi ? kAsmi ? kimasmi karma vidadhat ? kSipto'smi nAtra ca 1 // 5 // ( sarvato nirUpya ) 1 api mArayiSyAmi, na punaH anyasmai pratipAdayiSyAmIti Adizati / 2 api mariSyAmi, na punaH aparaM pariNeSyAmi / 3 devalaka ? tameva manuSyaM tiSThati ? | gaveSayituM bhaTTinyA candralekhayA preSitA'smi / tat kutra sa

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mallikAmakarandanATakam / etAH kinnaragItayaH zrutipathAmodaM yathA kurvate kSaumAkalpamayacchadacchavijuSaH zAkhA yathA zAkhinAm / AzAH zakrazarAsanaivanasaromANikyarodhomahaH( haiH ?) kirmIrAstanute yathA ratimayI seyaM tathA svargabhUH // 6 // bhavatu, parikramAmi / ( puro'valokya ) kathamidaM vItarAgapratimAprasAdhitamadhyabhAgaM devatAyatanam ? AcakSate hi zAzvatikAni divyabhUmiSu siddhAyatanAni siddhaantvidH| (saprazrayaM praNamya sAzramaJjalimAdhAya) zrInirvANapurAdhinAtha ! bhagavannastokalokatrayI zokoddhAradhurINa ! vizvajanatAsaGkalpakalpadruma ! / asmAsu praNataikavatsala ! kRpApAtreSu tAMstAMzciraM kAmAn pUraya cUraya pratikalaM pratyUhavajrArgalAH // 7 // ( nepathye ) 'avarehi vi kUvajalehi na huna jIvaMti mAmi ! vlliio| jalaharajalasittANaM kA vi [ya] avarA muhacchAyA // 8 // makarandaH - ( AkarNya ) kathameSa mallikAzabdAnusArI dhvniH:1| (punarnepathye) vallahajaNavirahINaM pANapavAso vi bAhirI kiriyaa| saMtAva-ruNNa-gahilattaNAi puNa kittiyaM kammaM ? // 9 // makarandaH - nizcitamayaM virahavyathAbhirmaraNonmukhAyA mallikAyA dhvamiH / yadi vA jIvitamapi tasyAstapasvinyAH sandigdham, kiM punardhvaniH ? / (vilokya) yeyaM parAcInavadanA puSpa-phalAnyupacinoti mRgAkSI tasyAH paridevanadhvanirayam / bhavatu, samIpIbhUya sambhASayAmi / kathamiyaM tiryagavalokayantI mAM bhUyobhUyastarubhistirodhatte ? bhavatu, padAnusAreNAnugacchAmi / 1 aparairapi kUpajalaiH na khalu na jIvanti sakhi ! vallyaH / jaladharajalasiktAnAM kA'pi ca aparA mukhacchAyA // 8 // 2 vallabhajanavirahiNAM prANapravAso'pi bAhyA kriyA / santAparuditagrathilatvAdi punaH kiyat karma ? // 9 //

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mahAkavizrIrAmacandraviracitaM ( tataH pravizati latAgRhasthastApasakumAraH manoramA ca / ) tApasaH - (sAzcaryamAtmagatam ) aho ! janmAntaradRzyasyArthasyAtraiva nidarzanam / utpAteSu mahatsvapi sumedhasA jIvitaM na hAtavyam / sati jIvite kathaJcid ghaTate kiJcit punaH preyaH // 10 // makarandaH - ( vilokya) kathaM tApasakumAraH atyanta sadRzAvayavastasyA mallikAyAH ?, jAne mallikAM parivRtya vedhasA'yaM ghaTitaH / bhavatu, praNamAmi / (" iti praNamati / ) tApasakumAraH makarandaH ( upavizya sAbhilASaM svagatam ) aho ! gAtrasya saundaryam, aho ! vAcAM vidagdhatA / aho ! madhyasya tucchatvam, aho ! zroNevizAlatA // 11 // tApasakumAraH - kuto bhavAnasmin divyajanasamucitasaJcAre ratnasAnau samAyAtaH ? / 26 makarandaH sAmprataM siddhAyatanAt parataH punarahamapi na jAnAmi / manoramA - ( sopahAsam ) parado AgamaNe ahaM kahissaM / makarandaH ( saspRhamAtmagatam ) amumakRta yadaGganAM na vedhAH sa khalu yazasvitapasvinAM prabhAvaH / trijagati kathamanyathA kathAspi svasti, samIhitamApnuhi, manorame ! Asanamupanaya / - kSatatamasAM tapasAM padaM labheta ? // 12 // ( prakAzam ) bhagavan ? aparicitamapi ciraparicitamiva me hRdayam, tataH kimapi praSTumabhilaSAmi / tApasakumAraH na nAma sarvANi karmANi paricayamapekSante / kSaNadRSTe'pi kutrApi dRDhaM saGghaTate manaH / bAlastadAtvajAto'pi jananyAH snihyati stane // 13 // makaranda: na sarvakAmukApekSaM strINAM daurbhAgyalAJchanam / himAnI zAkhinAM dveSyA yavastambasya tu priyA // 14 // 1 parataH Agamane ahaM kathayiSyAmi /

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___27 mallikAmakarandanATakam / tApasakumAraH - ( sAkSepam ) ko'syAbhibhASitasya prastutenAbhisambandhaH / makarandaH - ayaM sambandhaH-prakAzyamapi na sarvAMpekSam / tato yadi mayi prasIdati bhagavAn , tadA samAdizatu - kamabhijanaM svajanmanA pavitritavAnasi ? kimarthaM ca viSayasukhopabhogye vayasi sarvAGgINasubhage ca vapuSi mahAklezamaya: so'yamaGgIkRtastapovidhiH / tApasakumAraH - mahApuruSa ! satyaM prakAzya evAyamarthaH / tathApi mamAnta:karaNamativihvalamidAnIM kenApi hetunA, vAcyamavAcyaM vA na kizcid vivecayati / tataH zaNu, kathayAmi-vaitAdhyAcalasya dehaikadezo ratnasAnunAmA girirayam / manoramA - 'tado kiM ? / tApasakumAraH- rathanUpuracakravAlanagarasyAdhipatervainateyanAmno vidyAdhararAjasya prathamamahiSI jandralekhA, tadetasya vAriSeNanAmnA zAzvatikena bhagavatA jinezvareNa sambhAvitagarbhabhAgasya siddhAyatanasya zikharAtilaGghanena tadAtvavismRtanabhogamanavidyA sadyo ratnasAnAviha papAta / makarandaH - aho ! bhaya-kautukakArI kthaasnniveshH| tApasakumAraH - khecarAdhipatyavirahaviSAdinI ca viSayAnapahAya vidyAprasAdhanArtha pANmAsikaM tApasavratamiha latAgRhe gRhItavatI / manoramA - 'tado tado ? / tApasakumAraH - vratasamAptau prasannAyAM ca vidyAyAM ciraparityaktakusumAyudhAndhalamAnasA kirAtayuvAnamekamupabhuktavatI / (manoramA salajjamadhomukhI bhavati / ) makarandaH - bhagavan ! atIva vrIDAkaramAcaritaM tayA / yadi vA tAvanmahattvaM pANDityaM kulInatvaM vivekitA / yAvajjvalati nAGgeSu hataH paJceSupAvakaH // 15 // tApasakumAraH - pUrvaduSkarmapAkena sabjAtagarbhA prasUtamAtraiva taM garbhamalpIyasA mahAryeNa nepathyAkalpena saMyojya -(ityokte tUSNImbhavati / ) 1 tataH kim ? / 2 tataH tataH ? /

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mahAkavizrIrAmacandraviracita makarandaH - ( sotsukam ) tataH kiM kRtavatI ? / / tApasakumAraH -paJcazaile, nahi nahi atraiva pravardhitavatI / makarandaH - (svagatam ) nizcitamayamataH paraM kRtrimamabhidadhAti, tad jAne spno mallikA / darzitAni ca paJcazailAdhivAsinA zreSThinA brahmadattena mahArAjavainateyanAmAGkitAnyaGgulIyakAni / anena punamallikAsodareNa bhAvyam / tApasakumAraH - sa garbhaH punaraham / viSayANAM vizeSatazva strINAM duHkhahetutAM vijJAya tapovidhimaGgIkRtavAnasmi / / makarandaH -bhagavan ! ataH paramanubhavaviruddhamabhidadhAsi / nAmnA'pi yatra sudRzAM paramaH kalaGkaH tasmai namaH zivapathAya na tasya cintA / saMsAravama'ni punaH sudRzo vihAya vidmo na kiJcidanaghasya sukhasya bIjam // 16 // ( tApasakumAraH sAttvikabhAvAn nATayannadhomukhastiSThati / ) manoramA - ( tApasaM vilokya svagatam )' nUNaM so esa puriso jaM caMdalehA vAvAidumicchati / bhodu, puro jAva jANissaM / ( prakAzam ) tumaM pi kiM pi apaNo caridaM kahesu / makarandaH -bhadre ! khecarANAM caritazrAvaNe manujakITAnAmasmAdRzAmAkaNitaM caritaM kimadhikamAzcaryamAviSkaroti ? tathApi zruNu - suvarNadvIpavAsI jinadattanAmA kramAgatAdbhutavaibhavaH paramadhAbhikaprakANDaM vaNigasti / manoramA -'tado tado ? _makarandaH - tasya caika eva caramavayaHprasUto bAlyAdapi durodarapravAsitapitRsampattijaTharapiTharIbharaNamAtre'pi pratyahaM paramukhaprekSo makarandanAmA sUnuraham / tApasakumAraH - ahaha ! dushcritsnniveshH| vyasanaM saujanyavatAM kArkazyaM yoSitAM zriyAM cltaa| kArpaNyaM kSoNibhRtAM catvAri vidhAturadhamAni // 17 // manoramA - 1 nUnaM sa eSa puruSa: yaM candralekhA vyApAdayitumicchati, bhavatu, puro yAvad jJAsyAmi / tvamapi kimapi AtmanaH caritaM kathaya / 2 tataH tataH /

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mallikAmakarandanATakam | 29 'acchariyaM te vi jiyaMti te vi pahasaMti te vi kIlaMti / uyarabharaNe vi picchaMti niccamavarANa je vayaNaM // 18 // makarandaH yauvanArambhe ca savjAtavezyAvyasano'ham / tApasakumAraH ( serSyA roSam ) ataH paramazravyacarito'si mA puro 1 vyAhRthAH / jAtyandhAya ca durjanAya ca jarAjIrNAkhilAGgAya ca grAmINAya ca duSkulAya ca galatkuSTAbhibhUtAya vA / yacchantISu manoharaM nijavapurlakSmIlavazraddhayA paNyastrISu vivekakalpalatikAzastrISu rajyeta kaH ? // 19 // makarandaH bhagavan ! anucitamabhidadhAsi / jagato'pi yadiha nindyaM tad yAsAM dharmakarmavadanindyam / tAsAM paNahariNadRzAM gaveSyate kimaparaM zreyaH 1 // 20 // api ca Agantukena kArya ghanasalilaM paNavadhUvazIkaraNam / eteSu triSu zakto brahmA'pi na nirNayaM kartum // 21 // ( tApasakumAraH saroSamanyato'valokayati / ) moramA - bhayavaM ! pasIya pasIya, purao suNehi / - makarandaH - ( savinayam ) bhagavan ! ko'yamasmAsu daivahatakeSu so'yamaprasAdAtirekaH ? / prasIda, duHzravamapi nirbhAgyazekharasya me zrRNu caritaleza vaizazam / tApasakumAraH ( sAvajJam ) tarhi tvaritataramAvedaya, atikramati madhyA isavamasamayaH / makarandaH kApaTikavRttitayA ca jJAtiSu sthAtumazakyaH suvarNadvIpamapahAya paJcazaila dvIpamAzrito'smi / - tApasakumAraH - samucitamAcaritam / sthAtuM tejasvinA zakyaM na jAtiSu gatazriyA / astApAstavapurbhAsvAn nabhastena vimuJcati // 22 // 1 Azcarya te'pi jIvanti te'pi prahasante te'pi krIDanti / udarabharaNe'pi prekSante nityamapareSAM ye vadanam / / 18 / / 2 bhagavan / prasIda prasIda, purataH zRNu /

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mahAkavizrIrAmacandraviracitaM makarandaH - (sabASpam ) paJcazaile ca kuto'pi vallabhAjanataH kenApi mahIyasAmazrAvyeNa vidhinA vipryuktH| tApasakumAraH - (sAzaGkam ) tataH kim ? / makarandaH - maraNArthamAtmAnamambhodhau pAtayannekamAyAtaM bhAruNDapakSiNamadrAkSam / tataH paramAtmAnaM siddhAyatanopavane vilokitavAnasmi / tApasakumAraH - (svagatam ) nizcitamayaM mAMsalubdhena bhAruNDapakSiNA ratnasAnAviha smaaniitH| makarandaH - tataH prasIda, samAdiza me virahavahnidandahyamAnavapuSaH kimapi maraNopayikam / (nepathye) gRhANaiAd devyA samupanAta divyaphalanikaram / tApasakumAraH - aparamapi kimapi prayojanam ? / devalakaH - yo'yaM martyaH samAyAtaH sa kimAkRtiH ? kimAsannazca ? iti parijJAtumaparaM prayojanam / tApasakumAraH - ( saroSam ) etena kiM jJAtena ? / devalakaH - ( sAkSepam ) amuM praznaM nAhamarhAmi, kintu devI cndrlekhaa| (-ityabhidhAya niSkrAntaH / ) - tApasakumAraH - ( vAmAkSisphuraNamabhinIya apavArya ca ) manorame ! yathA'yaM devalakaH sAkSepavAdI tathA jAne devI candralekhAtaH ko'pyapAyo makarandasyAsya pratyAsannaH / tat kathaya kimadhunA samucitamAdhAtum ? / . (pravizya ) mAgadhikA - (sambhrAntA ) 'accAhidaM accAhidaM / tApasakumAraH - ( sabhayAzaGkam ) vizrabdhamabhidhIyatAm , kasya atyAhitam ? / ( mAgadhikA karNe evameva / ) tApasakumAraH - ( sakampam ) aho ! mayi niranurodhA mAtA / (vimRzya ) 1 atyAhitaM atyAhitam /

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mallikAmakarandanATakam / dijanmanaH kSamA mAtuSaH prItiH paNastriyaH / / niyoginazca dAkSiNyamariSTAnAM catuSTayam // 23 / / ( punaH sadainyam ) mAgadhike ! mama tvmmbaaprtikRtiH| ahamidAnIM bhavatsAhAyakenaiva vyasanAmbhodhimatilavayiSyAmi / tato vitarkaya kamapyupAyametasya mama jIvitasya paritrANAya / mAgadhikA - 'saMpadaM siddhAyayaNAvatthANameva uvAo / tApasakumAraH - samucitamAha bhavatI, na prabhavanti siddhAyatanasthAyinAM kssudropdrvaaH| makarandaH - ( svagatam ) yathA'yaM tApasaH sadainyaM mAmavalokayati tathA jAne mama kimapyaniSTamupasthitam / (prakAzaM sAvaSTambham ) bhagavan ! bhavati dRSTe hRdayavallabhA dRSTA / kRtArtho'ham / ataH paraM kuto'pi pritraannmbhilssaami| mRtyave baddhakakSasya kiM me devI kariSyati ? / kimAdhattAM patiH kSudro martyasya phalanistRSaH // 24 // tApasakumAraH - kimAyattaM te jIvitam ? / makarandaH - etAvantaM kAlaM kRtAntAyattam, sAmprataM tvadAyattam / tApasakumAraH - uttiSTha, tarhi vraja siddhAyatanam / yadiyaM mAgadhikA kArayati tadeva tatrasthitena tvayA kartavyam / (mAgadhikayA * saha makarando niSkrAntaH / ) (nepathye vyomataH zilApAtaH / ) ubhau - ( vilokya satrAsam ) kimidam ? / ( pravizya devalakena dattahastAvalambA ) candralekhA - AH pApa manuSyakITa ! dvIpAntarasthitAyA api madvatsAyAH pRSThaM na muJcasi ? idAnImanubhavatu duvinayasya phalam / ( devalakam ) zilAyA adhobhAgAdAkarSaya durAtmAnametam , yena mRtamapi svahastena mArayAmi / devalakaH - ( zilAmukSipya ) devi ! na ko'pyadhastAdasti / candralekhA - ( savailakSyam ) tarhi niSphalo'yaM shilaapaatpryaasH| gataH 1 sAmprataM siddhAyatanAvasthAnameva upAyaH /

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32 mahAkavizrIrAmacandraviracitaM kvApi durAtmA manuSyakITaH / halA manorame ! madhyasthitA'smadvayApArANAM vighA - tamAsUtrayasi ? | ( manoramA vepate / ) tApasakumAraH ( saroSam ) amba ! kimenaM niraparAdhaM mahAtmAnaM vyApAdayasi ? / mAmeva hRdayasantApahetuM durapatyaM vyApAdaya / candralekhA AH pApe ! solluNThavAdini ! kaumArakuliTe ! yadi te vyApAdanasamIhA tadAnImeSA pUrayAmi / ( tApasaM kezairgRhItvA ) devalaka ! gRhAai duSTaparicArikAm ( ityabhidadhAnA sadevalakA niSkrAntA / ) // tRtIyo'GkaH // 3 //

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caturtho'GkaH / (tataH pravizati siddhAyatanastho makarandaH / ) makarandaH-(sAzcaryam ) mahAvyasanasampAte'pi dustyajAH prANinAmasavaH / yadidAnI mallikAtulyAkAraM tApasakumAraM dRSTvA punarjIvitumabhilapati me hRdym| iSTairapi viyuktasya kSapitasyApi zatrubhiH / niLUnAvayavasyApi na mRtyuH prANinaH priyaH // 1 // tadahamidAnImapahAya mahAklezAnArambha-parigrahAn , AdhAya manaHsamAdhim, tasyaiva tApasakumArasyAbhyaNe vratamAcarAmi yena paralokagatasyApi me mallikA priyA saGghaTate / (vimRzya) punaH kathaM candralekhA mAmabhikrudhyati ? / nizcitamiya mallikAM brahmadattabhavanAdapahRtavatI |taavdymrthoN mAgadhikAyAH sphuTo bhaviSyati / ( nepathye ) 'hA miyaMkavayaNe! hA sarojanayaNe! hA paDivannavacchale bhaTTidArie! kahi si dANiM ? dehi me paDivayaNaM / hA nikaruNe caMdalehe ! keriso esa de niyayammi avaccammi paccUhakaraNasaMraMbho ? / makarandaH - kathameSA mAgadhikA pralapati ? / (pravizya ) mAgadhikA - 'ajja mayaraMda ! piccha malliyAe bhaTTidAriyAe kIdisaM savuttaM ? / makarandaH - ( sasambhramam ) mAgadhike ! harSa-viSAdayorantare tiSThAmi / mallikAsannAmazravaNAt prahRSTo'smi / apAyazaGkayA punarviSaNNo'smi / tat kathaya kimatra kvApi mallikA'sti ? / mAgadhikA - esA malliyA paMcaselAo avaha riya guliyApaogeNaM purisarUvaM kAUNa layAhare caMdalehAe vimukkA citttthdi| 1 hA mRgAGkavadane ! hA sarojanayane ! hA pratipannavatsale bhartRdArike ! kutra asi idAnIm ? dehi me pratibacanam / hA niSkaruNe candralekhe ! kIdRza eSa te nije apatye pratyUhakaraNasarambhaH ? / 2 Arya makaranda ! pazya mallikAyA bhartRdArikAyAH kIdRzaM saMvRttam ? / / 3 eSA mallikA paJcazailAd apahRtya guTikAprayogeNa puruSarUpaM kRtvA latAgRhe candralekhayA vimuktA tiSThati /

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mahAkavizrIrAmacandraviracitaM makarandaH - upapannamidam / kathitaM ca tApasena-sa punargarbho'hameva / (punavimRzya ) mAgadhike ! kimiti puruSarUpaM kAritA mallikA ? / mAgadhikA - 'avareNa avahArarakkhaNatthaM / makarandaH - ( sAkSepam ) / argalA rakSaNe strINAM prItireva nirargalA / padAtipariveSastu patyuH klezAya kevalam // 2 // bhavatu, tataH kiM tasyAH sAmpratam ? ( mAgadhikA uccaiHsvaraM pralapati / ) makarandaH - mAgadhike ! kathaya kathaya, paryAkulo'smi / mAgadhikA - "kiM kahemi maMdabhAiNI ? malliyAe dANi jIvidassa vi saMdeho vaTTadi / sA khu layAharAo caMdalehAe sabhavaNaM neUNaM tumaM samaraMtI kasAghAdehiM taaddidaa| makarandaH - mAgadhike ! mAM smarantI kazAbhirabhitADitA priyA / hA priye mallike ! matpremagrahilA mahAklezAnanubhavasi / ( vimRzya ) mAgadhike ! vraja tvam / brUhi caramametat priyAm-smatavyastvayA kadAcinmahAklezahetuSu smaryamANeSu nirbhAgyazekharaH so'ham / __ mAgadhikA - 'mahAbhAya ! kIsa attANayaM mille si ? ___ makarandaH -- mAgadhike ! na kimapi vaktavyastvayA / sAmpratamahaM na zaknomi priyAparitrANAkSamo'haM jIvitum / ( utthAya sAsraM devatAM praNamya ) bhagavan ! janmAntare'pi me sulabhadarzano bhUyAH / ( asidhenukayA''tmAnamatihantumArabhate, vilokya ) do stambha iva me / (AkAze) ko'yaM siddhAyataneSu prANAbhighAtaH ? / mAgadhikA - mahAbhAya ! divyAe vAyAe ko vi tumaM vAredi / 1 apareNa apahArarakSaNArtham / 2 kiM kathayAmi mandabhAginI ? mallikAyA idAnIM jIvitasyApi sandeho vartate, sA khalu latAgRhAt candralekhayA svabhavanaM nItvA tvAM smarantI kazAghAtaistADitA / 3 mahAbhAga ! kasmAdAtmAnaM muJcasi ? / 4 mahAbhAga ! divyayA vAcA ko'pi tvAM vArayati /

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mallikAmakarandanATakam / (punarAkAze) puNya[sya] samidhaH satya-dayA-dAna-prazAntayaH / astrA-'gni-kaNThapAzAstu dehaduHkhAya kevalam // 3 // makarandaH - ( savIDamupavizya ) tatastataH / mAgadhikA - 'ahaM dANi bhaTTidAriyAe edAI vatthA-''haraNAI samappidaM kiMci kahiduM ca tuhaM samIve pesida mhi / ( vastrANi kaTakAni ca samarpayati / ) makarandaH - kuta etAni prAptAni priyayA ? / mAgadhikA - *cittaMgadeNa aNukUliduM dinnANi / makarandaH -- (saharSAzcaryam ) . taruNAntarAdavAptaM samarpayantI prasAdhanaM patyuH / taruNIyaM dizati mudaM mudhA sudhA sA purastasyAH // 4 // ( sapramodamutthAya paridadhAti / punaH sautsukyam ) mAgadhike ! kathaya miyAsandiSTaM vAcikam / anubhavatu cirAdayaM viprayogAnalAbhitapto janaH pramodakaNikAm / mAgadhikA-'tumaM jjeva me paI / appA uNa tae lahuNA haviya cittaMgadAo rakkhidavyo / jado so kuNai kiM pi pacchA taNuAi paresu jo samatthesu / govattalahuM appaM kappiya hariNA hao kaMso // 5 // esa bhaTTidAriyAe saMdesI / avaraM ca na pahavaMdi siddhAlayanivAsINaM dridaaii| tado tae idha ujeva ciTThidavvaM / aduvA kA vi virahavaseNaM araI bhodi tadA edassa ujjANakelisarovarassa kUlakaccheNa kolidavvaM / ( ityabhidhAya niSkrAntA / ) 1 ahamidAnIM bhartRdArikayA etAni vastrAbharaNAni samarpayituM kiJcit kathayituM ca tava samIpe preSitA'smi / 2 citrAGgadena anukUlayituM dattAni / 3 tvameva me patiH / AtmA puna: tvayA laghunA bhUtvA citrAGgadAd rakSitavyaH / yataH___ sa karoti kimapi pazcAt tanUyate pareSu yaH samartheSu / goSatvalaghu AtmAnaM kalpayitvA hariNA hataH kaMsaH // 5 // eSa bhartRdArikAyAH sandezaH / aparaM ca na prabhavanti siddhAlayanivAsinAM duritAni / tatastvayA iha eva sthAtavyam / athavA kA'pi virahavazena aratiH bhavati tadA etasya udyAnakeli. sarovarasya kulakacchena krIDitavyam /

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3 mahAkavizrIrAmacandraviracita makarandaH - ( sAzcaryam ) prANAnapi vimuzcanti nibaddhaprItayaH striyaH / vidvAMso'pi jugupsante tAstathApi kutUhalam // 6 // (AtmaveSamavalokya ) evaMvidhenApi divyAkalpanepathyena hRdayabhedinA va paTunA caTusahasreNa mallikA citrAGgadaM na kAmayate / tAH santi kiM na zatazaH ? zatazo'pi pumbhi rabhyarthitAH smarapadAni na yAH smaranti / te santi naiva punareNavilocanAnAM nAmnA'pi ye pratikalaM vilayaM na yAnti // 7 // ( Urdhvamavalokya ) lalATantapanastapano bAdhate'GgAni, marmabhedI dharmaH virahAnalazca / bhavatu, kSaNamekamudyAnakelisaraHkUlakaccheSu viharAmi / (iti parikAmati / samantato'valokya saharSam ) dAtyUha-kurkuTa-kapijala-cakravAka.. sAraGga-bhRGgakalakUjitamaJjukujAH / udyAnakelisarasItaTaphullamallIvallIgRhAGgaNabhuvo ramayanti cetaH // 8 // . (punarmallikA smRtvA sautsukyam ) AsyaM hAsyakaraM zazAGkayazasA bimbAdharaH sodaraH pIyUSasya vacAMsi manmathamahArAjasya tejAMsi ca / dRSTirviSTapacandrikA stanataTI lakSmInaTInATayabhU raucityAcaraNaM vilAsakaraNaM tasyAH prazasyAvadheH // 9 // api cedAnI viyogarogAbhitApaviklavAyAH priyAyAH - vaktraM pANimilatkapolaphalakaM netre ca padmAmbuje gAtreSu pratikarma jarjara[ra ?]saM vAcaH shlthaarthaanvyaaH| tasyAH smerasarojasundaradRzaH zaGke dizaH sarvataH khelanmaccaritaprazastisubhagastambhAGkitoraHsthalAH // 10 // ( punaH karNaM dattvA ) kathaM paJcamodgArasAraH samApatati gItAmRtAsAraH ? / anyonyaM viSayANAM guru-laghubhAvo na ko'pi yadi nAma / anyeva tadapi reSA gItInAM kAminInAM ca // 11 //

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mallikAmakarandanATakam / ( punaH sajugupsam ) gItamapi raktakaNThairudghaTitaM prItaye kila na yeSAm / pASANasodarANAM teSAmeSo'JjalirbaddhaH // 12 // (puro'valokya) kathamitaH khecara zivirasannivezaH ko'pi ? / ( vAmAkSi - sphuraNamabhinIya. ) nizcitamatra tena citrAGgadena bhAvyam / tadanyato vrajAmi / ( iti parikramya ) kathamidaM sarvato mANikyaprabhApuJjapiJjaritadigantaraM nirmAnuSapracAraM puraH saudham ? / bhavatu, pravizya vilokayAmi / ( nepathye ) mahAbhAga ! nivarttasva nivarttasva / kena duSTadaivena prerito mahApApanidhAnaM saudhamidamadhirohasi ? - makarandaH ( sakautukam ) kathamayaM saudhAGgaNapaJjarasthaH zuko vyAharati / / tat kathaM vAmAkSisphuraNamapIdamasmAkaM zubhodarkAya ? | asambhAvyArthalAbhAntA vipat sampattisodarA | viSaM hi vyAdhividhvaMsi pIyUSapratihastakaH // 13 // ( tataH pravizati yathAnirdiSTaH zukaH 1) zukaH bho bho mahAbhAga ! nivartasva nivartasva / 37 - makarandaH ( sAvaSTambham ) bhoH ! mA bhaiSIH, vizrabdhaM brUhi / sva-parApAyanivarttanakSamo'ham / tato yadi zakunta eva tvaM SaTucaduvyAhArastadAnIM kimAzraryam ? | atha vyAjAntaraM kimapi tadA prakAzaya paramArtham / paryAkulo'smi zravaNotkaNThayA / zukaH - vyAjAntaramevedam, pratIkArAsambhavena punaraprakAzyam / marakandaH - mamAlpatvadarzanena pratIkArasambhavamabhidadhAsi tadA bhrAnto'si / .] karma tadAdadhAti atyadbhutaM [.. svalpo'pi ko'pi mahatAmapi yanna sAdhyam / karpUrapUraNavidheradhikAM vahanti - tAmbUlato vadanavAriruhANi lakSmIm // 14 // zukaH - samAkarNaya tarhi - vaibhalanagaranivAsI vaizramaNanAmA sAMyAtriko manoramayA sadharmacAriNyA samaM mahArghya - vicitrabhANDanibhRtaM yAnapAtramadhirUDhaH /

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mahAkavizrIrAmacandraviracitaM makarandaH - tatastataH ? / zukaH - pAraparUDhaprauDhanAnAjAtIyavAneyavRkSadidRkSayA yAnapAtra[sthayA manoramayA samaM bhUmau samuttIrNavAn / makarandaH - tatastataH ? / zukaH - vilokayaMzca kokilAkulakulAyasamRddhakakSAn anekatilaka-campaka -punnAganAgamAgraharAn upatyakAvRkSAn , ekAmanekAnaryaprasAdhanaprabhAmAgbhAraduravalokAvayavavivekAmadhujaratI vanitAmapazyat / makarandaH - aho ! kautu[ka]kArI kthaasnniveshH| zukaH - udIritaH svagatazca paramAdaraM darzayantyA tayA svabhavanamidamAnItaH / anukUlitazca taistaizcATukAraiH taistairdivyaphalarasAhArai testairanekadarzanIyadivyapradezopadarzanaiH taistaiH khecarajanocitaprasAdhanavidhAnaiH kiyantyapi dinAni / makarandaH - ( satvaram ) tataH kim ? / zukaH - ekadA ca dhavalayati saudhAMsave mahasi dikcakravAlaM candrazAlAyAM paryaGkaniSaNNastayA vRSasyantyA sambhogArthamatyarthamabhyarthitaH / makarandaH - ( sajugupsam ) anucitamataH paraM zrotum / kathA'pi pApIyasAM puMsAM mahate kaluSAya prabhavati, tathApi vyAhara / anirvahaNe hi prArambho nIcatAM prakAzayati / zukaH - sa ca vItarAgavacanazravaNapavitritAtmA paradAraparihAravratamanurundhAno rimsumapi tAM dUramapakarNitavAn / makarandaH - ( sAnandam ) stutyacarito'si vaizravaNa !, eSa te praNAmArtha bddho'jliH| zukaH - anantaramasau ' tadAtvapallavitakopATopapATalAkSI -'are pApa ! yAvajjIvamanubhava paJjaracArakAdhivAlavaizasam, paripAlaya paradAraparihAravratam' -iti vyAharantI kenApi cUrNaprayogeNa taM mahAtmAnaM zukaM kRtavatI / sa cAhaM daivahatakaH / tAM punarmanoramAM prathamadivasa eva puruSAkAradhAriNyAH svaduhituH paricArikAM vihitvtii| makarandaH - sA punaridAnI khecarI kva vartate ? /

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39 mallikAmakarandanATakam / zukaH - idAnIM sA vaibhalanagarataH samAgatAyA gandhamUSikAbhidhAnAyAH parivAjikAyA Azrame saparivArA tiSThati / makarandaH - yadi vaibhalanagarataH samAyAtA parivrAjikA tahi sA tavApi paricitA smbhaavyte| zukaH - ( niHzvasya ) pabjarasthasya me paricayaH kiM kurute ? / makarandaH -sAmprataM pAnAzanacintAM kaste karoti ? / zukaH - pratyAsannazibiranivAsI khecarIprArthitazcitrAGgadaH kumAraH / makarandaH - mahAbhAga ! sampattirasya rohantI bhAgyAnAM mukhamIkSate / svazaktitolanaM nAma mAhAtmyaM tu mahAtmanAm // 15 // tato yadyasya pApIyasaH parvaNaH kimapi pratividhAnamasti tadA prakAzaya, yena svshktimaavisskromi| zukaH - ( sanirvedam ) arthitvamekaM nIcatvamarthitvamanIcatA / doSA guNAzca ye tvanye te kuTumbakametayoH // 16 // api ca - tRNeSvapi gavAdInAM vedhasA vIkSya gauravam / ekAntalaghupakSArthamarthino nirmitAH punaH // 17 // tadahamatrArthe na kimapi tvayA vaktavyaH / pakSibhAvavaizasAt paraprArthanAvaizasaM pApIyastaraM me pratibhAti / / makarandaH - mahAbhAga ! paramArthamabhihitavAnasi / arthI pitA'pi santApamAdhatte kiM punaH paraH ? / pIyUSasAgarasyApi pUraH plAvayati prajAH // 18 // kintu - arthitve'pi vayaM tatra jAnImo gauravaM param / yatrArthalAbhaH ko'pi syAt parakAryakriyAkSamaH // 19 // tadalaM viSAdena / zukaH - asti pratividhAnam , paramazakyAnuSThAnam /

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mahAkavizrIrAmacandraviracitaM makarandaH - kiM tat ? / zukaH - bhUmijAtasya krsprshH| makarandaH - kathaM tarhi azakyAnuSThAnam ? / zukaH - iha khecaragirau bhUmijanmano'sambhavAt / makarandaH - yadyapyasambhAvyastat kathamahamatra ? / zukaH -Arya ! kiM nAmAlIkAzvAsanAbhiH pratArayasi ? vidyAdharaveSadarzanAdeva jJAtam- na bhavAn bhUmijanmA / / (makarandaH vihasya zukaM paJjarAdAkarSati / ) zukaH - ( AtmAnamavalokya ) kathaM vaizravaNo'smi ? / (punaH savinayam ) Arya ! niSkAraNavatsala ! tvayA'hamevamupakRtaH kaM pratyupakAramAdadhAmi ? / makarandaH - ayameva sAmprataM pratyupakAraH, vraja tvaM siddhAyatanam / anyathA yadi candralekhA samAyAsyati tadAnIM kamapyapAyamAdhAsyati / manoramAdarzanamapi tatra sthitasya sambhAvyate / ahamapi saudhamadhyamavalokya samAgata eva / (zuko niSkrAntaH / ) (nepathbe) kapijala ! zukArtha gRhItAni dADimaprabhRtIni phalAni tvayA ? / makarandaH - ( sAzaGkam ) kathaM sA candralekhA'bhyupaiti ? / ( punaH sabhayam ) bhUyo bhUyo vAmAkSisphuraNamapAyaM mahAntaM pizunayati / (nepathye) kapijala ! upanItavastrAbharaNA priyA kimasmAsu patipadyate ? / kapiJjala: - kumAra ! tat pratipadyate yada vairiSu / makarandaH - yathA'yaM paruSasvarastathA nizcitamamunA citrAGgadena bhAvyam / ( nepathye) tat tAvadAstAM kAminyo na yat sAdhyA dhanairvinA / dhanairapi na yat sAdhyA tatra kizcida vicintyatAm // 20 // makarandaH - brajAmi nirapAyaM saddhAyatanam ( iti parikAmati / ) (tataH pravizati kapiJjaladattahastAvalambazcitrAGgadaH / ) citrAGgadaH -kapijala ! upanaya zukAya phalAni /

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mallikAmakarandanATakam | kapiJjala : - kumAra ! kasmai upanayAmi ? nA''ste pajare zukaH / citrAGgadaH - ( sabhayam ) kimidAnImuttaraM vidheyamasmAbhizcandralekhAyAH / ( punaH sammukhInaM makarandamavalokya) kapiJjala ! ko'yam ? / kapiJjalaH :- ( veSamavalokya ) kumAra ! so'yaM yuSmatpremapratyUhaH / citrAGgadaH ( saroSam ) are ! kastvam ? | - makarandaH ( svagatam ) ahaM vaNigmAtramekAkI ca / ayaM vidyAdharaH saparicchadazca / strInimittaM ca vairam / tadavazyameva upasthito me mRtyukAlaH / tadidAnIM kiM dainyajalpitaiH ? / api ca mAnino mAninastAvad yAvada yAnti na dInatAm / saMsadeta na bandhaM yaH kezarI kezarI hi saH // 21 // (prakAzam ) tvamapi hi kaH ? / citrAGgadaH - ( sakrodham ) are vAcATa kirATa ! mAM pRcchasi ? ahaM vidyAdharakumArazcitrAGgadaH / - makarandaH (sAkSepam ) ahaM tarhi vidyAdharacakravarttikumAro makarandaH / kapiJjalaH - are vaNikkITa ! zauNDIryamedurAMsasthalena kSatravaMzAvacUlena kumAreNa saha spardhase ? | makarandaH - are padAtisArameya ! anabhijJo'si paramArthavartmanAm / varNAnapekSaM zauNDIryaM sattvamAtre niSIdati / sattvaM tu vaNijespi syAnna syAt kSatre'pi na ( ? ca) kvacit // 22 // citrAGgadaH ( saroSam ) are mukhara ! matpriyAmabhilaSataste daivaM prati -- 41 -- kUlam / makarandaH ( saroSam ) tavApi matpriyAmabhilaSato devaM pratikUlam / citrAGgadaH ( nepathyamupalakSya) are ! matpriyAyA nepathyaM paridadhataste pratyAsIdati mRtyusamayaH / makarandaH ( sopahAsam ) amunaiva nepathyalAbhena nizcitaM mayA sA priyA tatrabhavato bhavataH, na punarmama / 6

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mahAkavi zrIrAmacandraviracita citrAGgadaH - (svagatam ) upahasati mAmayaM durAtmA vaNikITaH / tadidAnImeva karomi kRtAntAtithim / athavA nayAmi mallikAyAH samIpam / pazyantyAzca tasyAstaravAriNA pAtayAmyasya mUrdhAnam, yena sA pratibhayena mAM pratipadyate / yadi vA sAmaprayogasAdhye [na] daNDaprayogaH / tataH prathamamupazAntayAmyenam / ( prakAzam ) mahAbhAga ! 42 zabdAH kathaJcit sarve'pi bAhyavAcyAvagAhinaH / ored dhairyamityeSa zabdastvAtmaikagocaraH // 23 // tato vismitA vayaM tavAmunA manaHsauSThavena / tadataH paraM mitramasi naH / yanmitrocitaM tadasmAsu vidadhyAH / makarandaH (svagatam ) karpUraprabhavasyApi pradIpasyAsitA maSI / vidviSo vinatasyApi priyamAyAti vipriyam ||24|| ( prakAzam ) mahApuruSa ! vayamapi vismitAstavAmunA manaH sauSThavena / tadataH paraM mitramasi naH / yanmitrocitaM tadasmAsvapi vidadhyAH / citrAGgadaH are manuSyApasada ! nirvyAjamapi savyAjaM vyAharasi 2, anubhavedAnI kuTilatAyAH phalam / eSA samApyate te jIvitakathA / ko'tra bhoH ? | ( pravizya kRpANapANiH ) I 1 puruSaH - eSo'smi / citrAGgadaH - are karAla ! kezairgRhItvA durAtmAnamenaM ziviramupanaya / vayaaft gandhamUSikAyA Azrame vAmaH / ( iti niSkrAntAH sarve / ) // caturtho'GkaH // 4 //

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// pnycmo'ngkH|| ( tataH pravizati manoramA / ) manoramA - ( sapramodam ) 'jIvadu ciraM mayaraMdo, jeNa esA me paibhikkhA dinnA / tA dANi mae mayaraMdassa vi pANehiM pi piyaM kAyavyaM / tado tahA kahaM pi aMbaM gaMdhamUsiyaM pasAdaissaM jadhA sA mayaraMdasta maNorahaM sNpaaddedi| bhaNidaM ca ajja-: uttaNa vesamaNeNa-gaccha tuma, jadhA vinnavesu aMbAe gaMdhamUsiyAe paNAmakahaNapuvvaM tuha vuttaM / taM dANi tahiM gacchAmi / ( iti purA'valokya ) kadhaM devalao edi ? / (tataH pravizati devalakaH / ) devalakaH - ( saviSAdam ) asantRptA vipadyante vibhavasya vipazcitaH / ratasya rAjakAminyaH svasthasya khalasevakAH // 1 // vRthA mahyaM devI candralekhA kupyati / kimahaM mahAtmAnamenaM nirAgasaM makarandaM vyApAdayituM zakromi ? bhartRdArikAM mallikA kazAbhirabhitADayituM prabhavAmi ?, yadi ca devI candralekhA prAtikUlyamanayorudvahati tadAnImanArya karma svayameva kathaM, nAcarati ? / ( punaH sakautukam ) na raveH kumudAni sudhAkare [ca] kamalAni dadhati saGkocam / dagdhAnAM sarasInAM yathA tathA vyasanamAkAlam // 2 // yadi mallikA candralekhAmanukUlayati tadA makarandena viyujyate / atha makarandamanunayati tadA candralekhayA kadarthyate / tadavazyamanayA martavyam / manoramA - 'ajja devalaya ! keNa mariyavvaM ? / 1 jIvatu ciraM makarandaH, yena eSA me patibhikSA dattA / tad idAnIM mayA makarandasyApi prANairapi priyaM kartavyam / tataH tathA kathamapi ambAM gandhamRSikA prasAdayiSyAmi yathA sA makarandasya manorathaM sampAdayati / bhaNitaM ca AryaputreNa vaizramaNena-gaccha tvam , yathA vijJapaya ambAya gandhamUSikAyai praNAmakathanapUrva tubhyaM uktam / tad idAnIM tatra gacchAmi / kathaM devalaka aiti ? / 2 Arya ! devalaka ! kena matavyam ? /

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mahAkavizrIrAmacandraviracita devalakaH - bhartRdArikayA mallikayA / manoramA -'kiM ti ? / devalakaH - pAnA'zanatyAgAt / manoramA - ( sabhayam ) malliyAe Idiso aNattho vaTTadi ? / devalakaH - anartha iti kimucyate ?, candralekhAyAM viruddhAyAM yajjIvati mallikA tat kautukam / vaDavAmukhe mahaujasi virAmavimukha jvalatyudaradhAnni / kSAratvaM kiyadudadheH zuSyati yanaiSa taccitram // 3 // tad vrajAmyahaM devyAdezena citrAGgadamAkArayitum / manoramA - 'ajja devalaya ! kahaM uNa esA malliyA paMcabANasamANarUvaM pi vijjAharaM varaM na paDivajjadi ? / devalakaH - ( sAkSepam ) manorame ! bahirmukhA'si premakathAnAm / yada yasya nAbhirucitaM na tatra tasya spRhA manojJe'pi / ramaNIye'pi sudhAMzau na nAma kAmaH sarojinyAH // 4 // atrArthe citrAGgadaH punarupAlabhyaH, yaH premavimukhAM striyamabhilapannAtmAnaM klezayati / manoramA - *sAhu jaMpidaM tumae, jammaMtaralakkhaparUDhadukkharukkhassa tinni sAhAo / sevA khalesu vihavo paresu pimmaM apimmesu // 5 // padyate 1 kimiti / 2 mallikAyA IdRzaH anartho vartate ? / 3 Arya devalaka! kathaM punaH eSA mallikA paJcabANasamAnarUpamapi vidyAdharaM varaM na prti| 4 sAdhu jalpitaM tvayA, janmAntaralakSaprarUDhaduHkhavRkSasya tisnaH zAkhA: / sevA khaleSu vibhavaH pareSu prema apremasu // 5 // api ca-yat kila ullasati dRDhaM anurAgaparAGamakheSa anarAgaH / tadeva viSaM viSaM punarmathanabhavaM tasya pratibimbam // 6 // tadidAnIM kathaya-kutra mallikA vartate ? /

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mallikAmakarandanATakam / avi ya jaM kira ullasai daDhaM aNurAyaparammuhesu aNurAo / taM ciya visaM visaM uNa mahaNabhavaM tassa paDibiMbaM // 6 // tA dANi kahesu - kahiM malliyA ciTThadi ? / devalakaH - eSA saudhopavane tiSThati / manoramA -'gaccha tuvaM cittaMgadasamIve, ahaM gaMdhamUsiyaM paNamidaM gacchAmi / ( iti niSkrAntau ) ||visskmbhkH // ( tataH pravizati yathAnirdiSTA mallikA mAgadhikA ca / ) mallikA - ( sakhedam ) 'mAgahie ! kittiyamittaM diNaM ? / mAgadhikA - 'pabhAyasamao vaTTadi / mallikA-"mAgahie ! jANasi kiM pi pauttiM ajjauttassa myrNdss| mAgadhikA - (svagatam ) "jai vittataM kahissaM tA dANiM jjeva sA jIviyaM caissadi / bhodu / ( prakAzam ) jANAmi - asthi siddhAlae maNoramAe tuha pimmakahAhiM aasaasijjNto| __mallikA - 'mAgahie ! tae dANiM amayacchaDAhiM ahisittA; caMdaNarasehi aNulittA, caMdakiraNehiM NivvAvidA / puNo vi bhoyaNaM viNA vi kittiyAI diyahAI jIvissaM / mAgadhikA - bhaTTidArie ! karesu bhoyaNaM / cayasu nibbaMdhaM / kIsa pisuNajaNasaMtAvehiM attANayaM kilAmesi ? / 1 gaccha tvaM citrAGgadasamIpe, ahaM gandhamUSikAM praNantuM gacchAmi / 2 mAgadhike ! kiyanmAnaM dinam ? / 3 prabhAtasamayo vartate / 4 mAgadhike ! jAnAsi kAmapi pravRtti Aryaputrasya makarandasya ? / 5 yadi vRttAntaM kathayiSyAmi tad idAnImeva sA jIvitaM tyakSyati / bhavatu / jAnAmiasti siddhAlaye manoramayA tava premakathAbhiH AzvAsyamAnaH / / mAgadhike ! tvayA idAnIM amRtacchaTAbhiH abhiSiktA, candanarasaiH anuliptA, candrakiranirvApitA / punarapi bhojanaM vinA'pi kiyanti divasAni jIviSyAmi / ___ 7 bhartRdArike ! kuru bhojanam / tyaja nirbandham / kasmAt pizunajanasantApaiH AtmAnaM klamayasi ? /

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mahAkavizrIrAmacandraviracita mallikA - 'mAgahie ! na me ko vi pisuNo jaNo, ahaM jjeva savvassa pisuNA / avi ya - avagaNiyavvA vallahasuhatthiNA pisuNaloyasaMtAvA / maMDaNalolAu sahati daMtacUDApavesaduhaM // 7 // kiMca - jaM ki pi aMbAe caMdalehAe samIhidaM taM karomi / (nepathye) 'vacche ! kiM samIhidaM ? / mAgadhikA- ( vilokya ) kadhaM devI caMdalehA ? / (pravizya tAmarasena dattahastAvalambA ) candralekhA - vacche ! kiM samIhidaM ? / mallikA - maha maraNaM / candralekhA - (saviSAdaM tAmarasaM prati ) meghAnAM tadazeSatApaharaNaM tat pUraNaM jAhnavI mukhyadvIpavatIzatasya tadatha prArohaNaM bhUruhAm / tenaikena varAkacAtakatRSAmadhvaMsanenAbhavad yadavRddhayarthamaho ! guNaughavimukho doSaikadRSTijanaH // 8 // tat tAdRzaM garbhodvahana-prasavaklezavaizasam , tadazraddheyaM mahApuruSasya brahmadattasya vezmani paripAlanArtha mocanam , sa eSa rAjalakSmIvizeSakeNa vidyAdharakumAreNa saMyojanaprayAsaH, sarvametena vaNikkITaviyojanena viphalatAM nayati saiSA me putrI mllikaa| tAmarasaH - ( apavArtha ) devi ! zithilayatu ucitazcitrAGgadasaGgamAgrahaH / 1 mAgadhike ! na me ko'pi pizuno janaH, ahameva sarvasya pizunA / api ca avagaNayitavyA vallabhasukhArthinA pizunalokasantApAH / maNDanalolAH sahante dantacUDApravezaduHkham // 7 // kiJca - yat kimapi ambAyAzcandralekhAyAH samIhitaM tat karomi / 2 vatse ! kiM samIhitam ? / 3 kathaM devI candralekhA ? / 4 vatse ? kiM samIhitam ? / 5 mama maraNam /

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mallikAmakarandanATakam / yadyataH paraM kSutpipAsAklAntAyA bhartRdArikAyAH kimapyamaGgalaM jAyate tadAnIM mahAn jnaapvaadH| candralekhA - ( sAkSepam ) bhUyAMso'pavAdAH santi / ayamapi teSAmekadeze niSIdatu / tAmarasaH - ( svagatam ) parityaktasatIvratAyAH karmazacetaso'syAH kA'pavAdAbhizaGkA ? / tAmasI januSA'ndhasya yadindu-tapanAvapi / bhagnabrahmavratasyaivaM kRtyA-'kRtyAtigaM jagat // 9 // candralekhA - svairavRttitayA tAvadahaM jJAtilokena bahiSkRtA, tadataH paramapavAdaH kamaparamapAyamupaneSyate ? / tAmarasaH - ( svagatam ) satyaM mahAdevI, abhizakate jano'yaM janApavAdAdapAyasaJjanakAt / aparaM janApavAdaM tu manyate vyomapuSpamiva // 10 // ( prakAzam ) devi ! duhitari na cittakaThorabhAva [ucitaH] / candralekhA - vatse ! kiM mAM mAtaramAtmIyAmavajAnAsi / pratipadyasva mAm / pravartastra svakartavye, yena taducitAM sAmagrI karomi / ___ mallikA - (saroSam ) 'paDivannA tuma mae veriNI / payaTTA'haM kAyavve maraNe ! karehi maraNasamucidaM sAmaggi / candralekhA - ( sAkSepam ) AH pApe ! ninimittavairiNi ! niranarodhe ! kRtaghne ! tvAmahaM garbhe dadhAnA pitR-zvasurakulAbhyAM nirvAsitA satI nirmAnuSapracAre vanecaravRttyA ratnasAnau klezamanubhavAmi / tadidAnI evaM mAM vakroktibhiruttejaya si ? / mallikA - 'aMba ! nAhaM kilesakAraNaM, kiMtu aNAyAro kAraNaM / candralekhA - ( tAmarasaM prati ) pazyannasi duhiturmama marmodghaTanAm / mAgadhikA - ( saroSaM mallikA prati ) bhaTTidArie ! paDihadA si tumaM / juttaM te jaNaNIpavAyapasaMsaNaM ? / 1 pratipannA tvaM mayA vairiNI / pravRttA'haM kartavye maraNe / kuru maraNasamucitAM sAmagrIm / 2 amba ! nAhaM klezakAraNam, kintu anAcAraH kAraNam / 3 bhartRdArike ! pratihatA'si tvam / yuktaM te jananIpravAdaprazaMsanam ? /

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48 mahAkavizrIrAmacandraviracitaM tAmarasaH - bhartRdArike ! miyAnurodhAda badhnAti vipriye'pi jano manaH / paGkabhAjo'pi harSAya varSAH sasyAbhilASiNAm // 11 // tato mAturanurodhena badhAna vipriye'pi citrAGgade hRdayam / / mallikA - 'ajja tAmarasa ! jaM tumaM bhaNAsi taM jjeva ahaM kurNatI ciTThAmi / tAmarasaH - ( sapramodam ) kiM tata? / mallikA - ajjauttassa mayaraM dassa aNuroheNa vippiyatthe vi mariyanve baddhaM me hiyayaM / candralekhA - ( saduHkhamAtmagatam ) akRtyaM phalavada yeSAM te'pyazlAghyA mahAtmanAm / nAma tebhyaH punaryeSAmakRtyamapi niSphalam // 12 // idaM tAvanmadIyamazlAghyaM yat kirAtasambandhena garbhasambhUtiH / idAnIM puna: svecchayA duhita-jAmAtRsukhamapi nAsti / (prakAzam ) tAmarasa ! virama virama vacanaklezAt, ataH paraM patirevAsyAzcitrAGgadaH sarvamAdhAsyati / (nepathye) atrArthe kaH sandehaH ? / candralekhA - kathaM prApta eva kumAraH ? / tadehi tAmarasa ! bhagavatIM gandhamaSikAM pazyAmi / ( iti satAmarasA niSkrAntA / ) ( tataH pravizati citrAGgadaH kapiJjalaprabhRtikazca parivAraH / ) citrAGgadaH - ( saviSAdam ) dampatyoH pAkSikAt premNaH premAbhAvaH sukhAvahaH / ekakarNasthatADaGkAdatADakaM mukhaM varam // 13 // tadidAnIM niSpremANametAM vanitAmabhilapato manaHprayAsamAtrameva prmaarthH| (punaH sakautukam ) yathA puMsAM striyaH striNAM pumAMso viSayastathA / tathApi satvarAH prAyaH pumAMso na punaH striyaH // 14 // 1 Arya tAmarasa ! yat tvaM bhaNasi tadeva ahaM kurvatI tiSThAmi / 2 Aryaputrasya makarandasya anurodhena vipriyArthe'pi martabye baddhaM me hRdayam /

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mallikAmakarandanATakam / yadevaM pratimuhuH pariNayanasamutsuko'hameva, na punareSA yoSit / ( mAgadhikA vilokya siMhAsanamupanayati / ) citrAGgAdaH -( samupavizya mallikA prati ) mithyAgrahaM zithilaya grathile ! nirudhya krodhaM vicArapadavISu mano nidhehi / vidyAdharAH ka ca nabhobhavanAvacUlAH ? _smarAkSi ! bhUmikRmayaH ka ca te manuSyAH ? // 15 // mallikA - (saroSam ) 'nahobhavaNAvaMcUlattaM pakkhINaM pi sulahaM, kiM dANi teNa ? / sohaggaM khu mihuNanibaMdhaNaM, taM puNa tuhaM natthi / / citrAGgadaH - pakSikalpo'ham ? durbhagazca ? / mallikA - ( sakhedam ) kahidaM me| kiM puNo puNo pucchasi / na sakkemi tumae mUlamahiseNaM samaM khuhA-pivAsAhiM kilaMtA puNo puNo mNtiduuN| ( kapiJjalaH salajjamadhomukho bhavati / ) citrAGgadaH - mAM mallike ! kRsumabANamapAsya hAsya vrIDA-viSAdajanaka vaNija zrayantI / prAyeNa nIcaratayo vanitAstamenaM __ lokapravAdamavivAdamihA''ddhAsi // 16 // mallikA - 'loyapavAyaM nicchiyaM karemi pamANaM / tumaM puNa bhaMjesi / paramahelaM maM ahilasasi / citrAGgadaH - ( sopAlambham ) spRhayati puruhUtasyApi yAM vAmanetrA tribhuvanamahanIyAM tAmimAmaGgalakSmIm / vaNiji kRpaNaratne nikSipantI mRgAkSi ! prathayasi caturANAM kiM viSAdaM manassu ? // 17 // 1 nabhobhavanAvacUlatvaM pakSiNAmapi sulabham, kimidAnIM tena ! / saubhAgyaM khalu mithunanibandhanam, tat punaH tava (tvayi) nAsti / 2 kathitaM mayA / kiM punaH puna: pRcchasi ? / na zaknomi tvayA zUlamahiSeNa samaM kSudhApipAsAbhyAM klAntA punaH puna: mantrayituma / 3 lokapavAdaM nizcitaM karomi pramANam / tvaM punaH bhnkssi| paramahilAM mAM abhilaSase /

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mahAkavi zrIrAmacandraviracitaM mallikA - 'jai aMgalacchi vaNiyammi nikkhevemi tA viyaDDhajaNamaNassa visAo / aha tumammi nikkhevemi tA maha maNassa / kiMca - savtrassa vi jaNassa appA vallaho, na uNa paro / tA tumaM jjeva kahesu, kiM dANiM karemi ? | citrAGgadaH - kimetAbhirvakroktibhiH ? / avalambarava dIrghadarzitAm / vicintaya vidyAdharalakSmIsaubhAgyam / anutiSTha yadabhidhatte janayitrI / ( mallikA niHzvasya tUSNImAste / ) kapiJjalaH - svAmini ! pratyuttareNa prasIda | ( mallikA saroSamAste / ) 50 citrAGgadaH - ( sadainyam ) ayi kuvalayanetre ! dehi vAcaM prasIda praNayiSu vada mugdhe ! kosprasAdApavAdaH ? / svayi sudati / vadantyAM jIvitaM yauvanazrIlalitamatha dhanaM vA cArimA vA mude naH // 18 // mAgadhikA - kumAra ! 'apANa lAhavaM ciya virama visesesu aNuNayaparANaM / baMdhuaNacADaNeNa ya na NAma jIvaMti gayapANA // 19 // kapiJjalaH - kumAra ! satyamAha mAgadhikA / tadidAnIM viramyate'muSmAdadhyavasAyAt / pariNayatAmiyaM vaNijam / anubhavatu manuSyadAsyam / ( citrAGgadaH kapiJjalasya karNe evameva / ) ( kapiJjalo niSkrAntaH / ) citrAGgadaH - ( sAkSepam ) mallike ! kIdRzaste manonizvayaH ? / mallikA - 'mayaraMdaM pariNemi, na tumaM, esa me nicchao / ( tataH pravizati karAlena gRhItakezapAzaH sandAnitabhujo makarandaH kapiJjalazca / ) 1 yadi aGgalakSmIM vaNiji nikSipAmi tadA vidagdhajanamanasaH viSAdaH / atha tvayi nikSipAmi tadA mama manasaH / kiJca - sarvasya janasya AtmA vallabhaH, na punaH paraH / tat tvameva kathaya, kimidAnIM karomi ? | 2 AtmanAM lAghavameva viramasva vizeSeSu anunayaparANAm / bandhujanacATanena ca na nAma jIvanti gataprANAH ||19|| 3 makarandaM pariNayAmi, na tvAm eSa me nizcayaH /

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mallikAmakarandanATakam / makaranda - ( sAvaSTambham ) kapijala ! mallikApremajAlena nibaddhAvayavasya me / bhujayo rajjubandho'yaM pIDAM brIDAM karotu kAm ? // 20 // api ca manyAvahe prabhurayaM jaladhirvidhAtuM ___ ratnAnyadhaH zirasi kalpayituM tRNAni / tAM ratnatAM ca tRNatAM ca nisargasiddhA meSAM punaH sthagayituM niyataM varAkaH // 21 // sa eSa te patimallikA-makarandayorjIvitamapahartumalambhUSNuH, svabhAvasiddhaM hRdayasambandhaM punarapahattu tapasvI / mallikA - ( vilokya sAstram ) 'hA diva ! kiM nedaM ? / ajjauttoM maha kAraNeNaM kIdisaM avatthaM gado ? tti / mAgahie ! annArisaM kiM pi tumae kahidaM / mAgadhikA - bhaTTidArie ! dANi appA vi me vimharido vaTTadi / makarandaH priye ! mA rodIH / kiyadetat ? / aparamapi tvadarthavyasanaM me maGgalAya / ( mallikA tArasvaraM pralapati / ) citrAGgadaH - are mApasada ! jAtyantarasthitavatI janakApradattA__ manyasya yoSitamimAmavalambya mohAt / bhAgyArjitaM vijahato nijajIvitavyaM stokA'pi kA'pi na vaNijyakalA tavAsti // 22 // makarandaH - are khecarakITa ! mandabuddhe ! lokavyavahArANAmupari lpavase ? / prANAn kAryAntareNApi gacchato hatakAnamUn / priyArtha tyajato brUhi kA na me'sti vaNikkalA ? // 23 // 1 hA deva ! kimidam ? / AryaputraH mama kAraNena kIdRzI avasthAM gataH ? iti / mAgadhike ! anyAdRzaM kimapi tvayA kathitam / 2 bhartRdArike ! idAnIM AtmA'pi mayA vismRto vartate /

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- mahAkavizrIrAmacandraviracita ____ mallikA - ( sAvaSTambham ) 'ajjautta ! mAredu esa tumaM, jai tumae mArideNaM ahaM edassa bhavAmi / __ citrAGgadaH - mugdhA'si dugdhamugdhanetre ! mugdhA'si / kRtAntAtithau kRte satyetasminnavazyaM me bhavatI iti / tathA bhavatyA api nAyaM manuSyakITaH / tataH ko'yamanAtmanIno vidhirupakrAntastvayA ? / mallikA - jai dANi na bhavissadi tA jammaMtare vi bhavissadi esa me pii| ___ kapiJjalaH - bhadre ! saralahRdayA'si / bhinnabhinnavartmani sambhaviSNavaH sarve'pi jantavastaistaiH zubhairazubhairvA karmabhiH / vibhinnarUpadezAnAM janmAntareSu janminAM kasya kenAbhisambandhaH ? / tato vimuJca kadAgraham, pratigRhANa vidyAdharakumAram, vilokaya vimAnapragrIvAdhirUDhA marUDhaprauDhasaubhAgyasampadA saridarNava-ziloccaya-dvIpAntarANAM rAmaNIyakAni / (mallikA saroSaM tUSNImAste / ) citrAGgadaH - ( sAvahelaM makarandaM prati) vihAya vitathAgrahaM virama garhitAdhvanaH prayAhi padamAtmanaH prathaya jivikAM kAmapi / vibodhaya kathaJcana smitasarojanetrAmimAM truTadvikaTakandharo bhavasi kiM kRtAntAtithiH ? // 24 // makarandaH - ( saromAJcam ) sa eSa mama satpathaH padamiyaM ca me.mallikA kimanyadiyameva me nikhilasampadA jIvikA / vibuddhamanayA punaH saha mayA prayANaM divi stharasva nigRhANa mAM pariNaya svakAntAmimAm // 25 // citrAGgadaH- ( saroSam ) are manuSyakITa ! vAcATa ! yadevaM mAM vakroktibhiH prasabhamupahasasi, tadupasthitaste matyukAlaH / makarandaH - ( sAvaSTambham ) kimidamayuktam ? 1 Aryaputra ! mArayatu eSa tvAm, yadi tvayA mAritena ahaM etasya bhavAmi / 2 yadi idAnIM na bhaviSyati tadA janmAntare'pi bhaviSyati eSa me patiH /

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mallikAmakarandanATakam | ApadAM skandhamAyojya stabdhAH sarvatra mAninaH / rAjadaNDaM hi pazyanto dhanaM muSNanti dasyavaH ||26|| citrAGgadaH - ko'tra bhoH ! ? / upanaya kRpANam / ( pravizya puruSaH kRpANamupanayati / ) mallikA - 'mAgahie ! utthAvehi maM / ajjauttassa mayaraMdassa paDhamaM appANaM vAvAmi / ( punaH svayamutthAya parikarabandhamAdAya ) ajjauttassa para logamaggalaggassa esA ahaM purovattiNI / mAgadhikA - kahemi evaM uvAliMga ( 2 ) gaMdhamU siyAe / ( iti niSkrAntA / ) citrAGgadaH - ( kRpANamutkSipya ) ayamayamupaiSi jivitAntaM taruNakRpANavilUnakaNThapIThaH / smara kimapi karAlakAlavaktrabhrukuTikuTIlu TitAsurAzu daivam ||27| makarandaH ( saromAJca savinayaM praNamya ) maitrI pramoda - kAruNya- mAdhyasthyamahitodayam / smarAmi klezanAzAya vItarAgapadadvayam ||28|| 53 mallikA ( citrAGgadaM prati ) mahAbhAya ! mamaM vAvAsu aNatthakAriNi, pacchA edaM / ( iti kandharAM praguNayati ) ( pravizya ) mAkandaH kumAra ! bhagavatI gandhamUSikA tvAmAdizati / citrAGgadaH - ( kRpANaM vimucya aJjalimAdhAya ) kimAdizati bhagavatI ? | mAkandaH * smarasi kAmapyAtmanaH pratijJAm ? | - citrAGgadaH ( kSaNaM vimRzya ) na kAmapi smarAmi / mAkandaH 'vyApAdyaH sarvo'pi vItarAgapratimAmupadarzya vyApAdanIyaH ' iti smarasi pratijJAmAtmanaH ? | citrAGgadaH - aho ! manmathAndhasya me pramAdaH, yadahaM hyastanadinapratijJAmapi na smarAmi / ( punaH savinayam ) mAkanda ! brUhi gandhamUSikAM bhagavatIm - trAto'haM 1 mAgadhike ! utthApaya mAm / Aryaputrasya makarandasya prathamaM AtmAnaM vyApAdayAmi / Aryaputrasya paralokamArgalagnasya eSA ahaM purovartinI / 2 kathayAmi etat ........ gandhamUSikAyai / ....... 3 mahAbhAga ! mAM vyApAdaya anarthakAriNIm pazcAdetam /

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54 mahAkavizrIrAmacandraviracita bhavatyA bhraSTapratijJo narakakuharAt / tataH svayamevA''gatya darzaya vItarAgapratimAtasmai vadhyAya / ( pravizya ) gandhamUSikA - kumAra ! kimidamaparyAlocitakAritvam ? keyamadIrghadazitA ! | ( punarapavArya ) kimetena varAkeNa vyApAditena ? | ahamevainaM vyApAdya mallikAmanurAgiNIM vidhAya tvadekazaraNamAdhAsye / / citrAGgadaH - mahAprasAdaH | ( ityabhidhAya saparikaro niSkrAntaH / ) gandhamUSikA - mAkanda ! AyatabandhanaM makarandaM mallikAM ca gRhItvA tvaritataramAgaccha / ( iti niSkrAntAH sarve / ) // paJcamo'GkaH // 5 //

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// SaSTho'GkaH // (tataH pravizati mAkandaH / ) mAkandaH - ( saviSAdam ) hA mahAsattva ! hA pratipannavatsala ! hA kRtajJacUDAmaNe makaranda ! kyAsi ? dehi me prativacanam / ( punarvimRzya ) na khalu durAsmanAM strINAM kRtyamakRtyaM vA kimapyasti / aparathA nirAgaso makarandasya vipriyamAcarantyA bhagavatyAH ko vicAraH ! kA vA mahIyasI prayojanasiddhiH / yadi candralekhA kenApi durAgraheNA''nmanaH pratipanthitAmudvahati makarande tataH kimAyAtaM gandhamUSikAyAH ? satAM dunoti cetAMsi mArga svArthe'pi laDyan / laGghayatyaparasyArthe yaH punastasya kiM bruve ? // 1 // athavA kimanayA prabhukRtyamImAMsayA ? / nivedayAmi vaizravaNaprasAdhitAM prayojanasiddhiM bhagavatyai / ( parikrAmati / puro'valokya ) kathamito'bhyupaiti tAmarasaH / (tataH pravizati tAmarasaH ) tAmarasaH - etAH kuraGgakadRzaH pramadasya bIja mAyaM yathA yadi tathA sthiracetasaH syuH / tasmai purANaparikalpitagauravAya ko nAma nirvRtisukhAya tadA yateta ? // 2 // (punaH saviSAdam ) aho ! pAriplavatA strINAm , aho ! kSaNikatA premNAm, aho ! bhaGguratA pratijJAnAm / yadidAnI tAni tAdRzAni makarandanimittaM pAnA'zanatyAjanAni, tAni tAdRzAni citrAGgadaM pratikUlAcaraNAni, tAni ca candralekhAM prati marmo iTTanAgarbhANi vipriyabhASitAni, sarvathA vismRtya mallikA punajarjAtajanmeva ciraprarUDhaprauDhapremeva citrAGgadamanunayati / protsAhitavatI ca makarandaM vyApAdayituM candralekhAM gandhamUSikAM ca / athavA dadAti rAgiNI prANAnAdatte dveSiNI punaH / rAgo vA yadi vA dveSaH ko'pi lokottaraH striyaH // 3 //

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mahAkavizrIrAmacandraviracita 'sa punaridAnI makarandaH kva vartate ?' iti jJAyate ? / mAkandaH - ( upasRtya ) sakhe tAmarasa ! idAnIM yathA makarando vartate tathA zaNu, kathayAmi / tAmarasaH - sakhe ! samAsataH prathamaM tAvadAcava, prANAnAM kuzalaM na vA ? / mAkandaH - kathaM na kuzalaM pratijJAtavatyAM citrAGgadavivAhaM bhagavatyAM gandhamUSikAyAm ? / tAmarasaH - etAvataiva bhavato vakroktivyAhAreNa parijJAtaH samAsataH paramArthaH / tathApi savistaramAveda ya / __ mAkandaH - atItarajanInizIthe gandhamUSikAyAH samAdezena makarandamahaM siddhAyatanasthAya bhaginIpataye vaizravaNAya upanItavAn / tAmarasaH - kimiyaM gandhamUSikAyA manoramA bhAgineyI ? / ata eva gandhamUSikA vaizravaNe prasAdavatI / prastutamabhidhIyatAm / mAkandaH - sa ca vaizravaNastadAnImeva taM makarandaM tamoguhAyAM kRpANena (itya- . okte tUSNImAste / ) tAmarasaH - mahAn vaizravaNaH, mahatI ca bhagavatI gandhamUSikA, tannimittamanAryamidamAcacAra / mAkandaH - ( sAkSepam ) kimevamadhaturocitaM vacaH prapaJcayasi ? / akRtyamAcaratyeva sarvaH prANa-dhanecchayA / mahAneSo'mahAneSaH saiSa bhedo'nyavastuSu // 4 // tAmarasaH - tat kimatrArthe dhanalAbhaH ko'pi ? / . mAkandaH - sakhe ! kiM mamAnena prabhukaulInaprakAzanena ? tat kathaya kva prasthito'si ? / tAmarasaH - mallikayA citrAGgadAkAraNAya prepito'smi / mAkandaH - vana tahi, ahamapi gandhamUpikAyAH savidhamadhitiSThAmi / ( iti niSkrAntau / ) // viSkambhakaH // / tataH pravizati citrAGgado mallikA ca, kapiJjala-devalaka-mAgadhikAprabhRtikazca parivAraH)

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mallikAmakarandanATakam / citrAGgadaH - ( mallakAmAlokya savinayam ) aGgaM zirISamRdu kAJcanakumbhazomAM muSNAtyayaM stanayugastabakAvalepaH / caH sudhAmupahasanti jalodbhavAM tAM kenAsi puSpadhanuSo'pi na manmathAya ! // 5 // (punaH sopAlambham ) priye ! vidagdhajanaprakANDaM tatrabhavatI bhvtii| tataH kathaM pAmarajanopalakSye'pi vizeSato bADhaM vyAmUDhA'si ? / kva cAmI vayaM vidyAdharAH ? kva cAyaM kirATakITa: ? / apriyabhASitvaM prathama dorbhAgyakAraNam, kutastataH pratibAndhavaM vipriyANi bhASitavatI ? / mallikA - ( salajjam ) 'devalaya ! [kahaya] ajjauttassa kAraNaM / devalakaH - kumAra ! iyaM bhartRdArikA paJcazailadIpopavane durAtmanA vaNikITena kenApi mantra-tantravidhinA vyaamohitaa| kapiJjalaH - tatastataH / devalakaH - tataH prabhRti mAtaramavajAnAti, varayitAramasUyati, sakhojanamavagaNayati, prasAdhanamahastayati, parijanamabhikrudhyati / citrAGgadaH - tatastataH ? / devalakaH - hyastane dine ca bhagavatyA gandhamUSikayA kenApi karmaNA vyAmohapratyUhamapanIya svAsthyamAnItA satI mAtari varayitari sakhIjane prasAdhane parijane ca nirvyAja snihyati / citrAGgandaH - ( saharSam ) kapijala ! kena karmaNA bhagavatyA vayamAnRNyaM gamiSyAmaH / mallikA - "ajjautta ! dhannA khu dANi ahayaM bhayavaIe psaaenn| sahajaggirANa sahasovirANa sahaharisa-soyavaMtANa / nayaNANa va dhannANaM AjammamakIttimaM pimma // 6 // citrAGgadaH - priye priyaMvade! 1 devalaka ! [kathata] Aryaputrasya kAraNam / 2 Aryaputra / dhanyA khalu idAnIM ahaM bhagavatyAH prasAdena / sahajAgRtRNAM sahasvapitRNAM sahaharSa-zokavatAm / nayanAnAmiva dhanyAnAM Ajanma akRtrimaM prema // 3 //

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58 mahAkavizrIrAmacandraviraci samparkaparvaNi sudhAM vapuSi kSarantI satyaM sudhAMzukiraNaiH parikalpitA'si / marmANi marmarakaNairvirahe bhinatsi tenAsi vihnighaTitetyapi me vitarkaH // 7 // mAgadhikA - kumAra ! 'nikkAraNa pimmagahilliyAo mahilAo jANa gehammi / tANa maNuANa maNuattaNe vi devattariddhIo // 8 // kapiJjalaH - mAgadhike ! atyalpamabhidadhAsi / mallikAyAM devatvamiti laghvI mAtrA / citrAGgadaH - ( saspRham ) mRde tasyai baddhaH karatalayugenAjJjalirayaM yA klRptA'si tvaM manasijavadhUTIpratikRtiH / savedhA durmedhAH khalu punaramArga kavigirAM vidhAya tvAM cakre na kila nijakAntAM sudati / yaH // 9 // ( mallikA salajjamadhomukhI bhavati / ) citrAGgadaH - api ca candramukhi ! abhAgyadoSaH sa rasAtalasya na zeSakanyA bhavatI yadAsIt / ta(? tva) dvaktracandre'sati tatra sAndra tamosnyathA kutra padaM labheta ? // 10 // mallikA ( sAttvikabhAvAnabhinoya ) ajjautta ! vaNiyataNayA ahayaM aNarihA IdisANaM vinnANANaM / citrAGgadaH - ( sAkSepam ) mRgAkSi ! nAdyApi durbhASitebhyo viramasi ? yAtA kAmagavI divaM vyapahRtA kAdambarI dAnavainItA sA'pi suraiH sudhA zritavatI lakSmIrmurAreruraH / itthaM svairavihArazAlini sutAvarge sutAkautukI bhUyastvAmajaniSTa viSTapadRzAM pIyUSamambhonidhiH // 11 // p 1 niSkAraNapremagrathilA mahilA yeSAM gRhe / teSAM manujAnAM manujatve'pi devatvarddhayaH // 8 // 2 Aryaputra ! vaNiktanayA ahaM anarhA IdRzAnAM vijJAnAnAm |

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mallikAmakarandanATakam / ( mallikA'nyato'valokayati / ) citrAGgadaH - mRgAkSi ! kathaM dikSu cakSuSI nikSipasi ? madvaktramAlokaya / mallikA - 'ajjautta ! attaNo duccaridAI samaraMtI na sakkemi tuma pikkhihuuN| citrAGgadaH - ( saromAJcam ) ayi ! jagati vadantyAM premagarbha bhavatyA dhruvamavagatalajjAH kokilA vyAharante / sati ca tava mukhendau niSkalaGke sadaiva pramadamayamagacchannabburAzirjaDAtmA // 12 // mallikA - 'ajjautta ! khamesu savyamavaraddhaM, avaraM tuha caraNikkasaraNA citrAGgadaH - ( saharSagarvam ) zatapatralAkSi ! adyAbhUvaM khacaragaNanApAtramadyAsmi dRSTaH ___ santuSThAbhyAM stimitamanasA vedhasA locanAbhyAm / devasyApi drahiNa-murajitpArvatIzastutAMheH kAmasyAdya dhruvamakaravaM stokamIrSyAbhiSekam // 13 // api ca kalakaNThIkaNThi ! zAstre tvayi trijagato vijayakazauNDe vikhyAtadhAmni hatake masaNAvalokaH / mathnAti kiM na haravairamayaM manobhUralpIyaso'pi samaye saphalaH prayatnaH // 14 // ( nepathye ) "sAhu jaMpidaM kumAra ! tumae sAhu / mallikA - ( vilokya ) 'kadhaM esA manoramA ? / (pravizya ) manoramA - sAhu jaMpidaM kumAra ! tumae sAhu / ( mallikA prati ) bhaTTidArie ! bhayavaI tuma aadisdi| 1 Aryaputra ! AtmanaH duzcaritAni smarantA na zaknomi tvAM prekSitum / 2 Aryaputra ! kSamasva sarvamaparAddham, aparaM tava caraNaikazaraNA aham / 3 sAdhu jalpitaM kumAra ! tvayA sAdhu / 4 kathameSA manoramA 1 / 5 sAdhu jalpitaM kumAra ! tvayA sAdhu / bhartRdArike ! bhagavatI tvAM Adizati /

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6 . mahAkavizrIrAmacandraviracita mallikA - ( savinayam ) 'kimAdisadi bhayavaI ! / manoramA - 'samayavaseNaM sabo vi payatto tuha maNorahANurUvo sNvutto| tA aNuhavasu tuma vareNa samaM kouakmmaaii|| citrAGgadaH - ( sAkSepam ) manorame ! bhagavatIprasAdeneti vaktavyam , na punaH samayavazena / mallikA-maNorame ! kahiM dANi bhayavaI aMbA ya ciTThadi ? / manoramA - jattha tuma jANAsi / citrAGgada:-( sotprAsam) asti vnnigddimbhste'bhyntrH| devalakaH - kumAra ! aparAdhakSamaNAyAM kimucitaM marmodghATanam ? / citrAGgadaH - devalaka ! sAdhu zikSitA vayam / labhyamasmatto bhavatA kimapi pAritoSikam (punamallikA prati saviSAdam) rAdhAM gopabhavAmakAmayata tAM lakSmI ca yAdo'bhajat kaMsAriH puruSottamaH sa bhagavAn loke tathApi zriye / zrIvidyAdharavaMzamauktikamaNiM tvAM vAJchato dveSTi naH __ preyAMste sa punarvaNika kathamaho ! nAnAvicAraM jagat ? // 15 // mallikA - ajjautta ! jai tumaM vaNiyanAmagahaNaM karesi tA ahaM gamissaM / (iti gantumicchati) (nepathye) tiSTha bhatadArike ! mA gaaH| mallikA -'kahaM esa tAmaraso maM vAredi ? / (pravizya) tAmarasaH - tiSTha, bhartRdArike ! mA gaaH| mallikA - kiM ti ? / 1 kimAdizati bhagavatI ? / 2 samayavazena sarvo'pi prayatnaH tava manorathAnurUpa: saMvRttaH / tadanubhava tvaM vareNa samaM kautukakarmANi / 3 manorame ! kutra idAnIM bhagavatI ambA ca tiSThati ? / 4 yatra tvaM jaanaasi| 5 Aryaputra! yadi tvaM vaNignAmagrahaNa karoSi tad ahaM gamiSyAmi / 6 kathaM eSa tAmarasaH mAM vArayati / 7 kimiti ? /

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mallikAmakarandanATakam / tAmarasaH - bhagavatI gandhamUSikA devI candralekhA ca yuvayorityAdizati / ubhI - (savinayam) kim ? / tAmarasaH - asti dakSiNena siddhAyatanasya tamorAjI nAma kandarI / citrAGgadaH - tataH kima ? / tAmarasaH - bhagavadvAriSeNapAdapadmopasevI kAdambanAmA yakSAdhipatiH pratimArUpeNa tAmadhivasati, tatastatra yuvAbhyAmAgantavyam / citrAGgadaH -pratyAsIdati lagnasamayaH, kimAvayostatrAgamanamucitam ? / tAmarasaH -prathamaM tatra lagnama, anantaramatra / citrAGgadaH - (sAkSepam / ) tat kimAvayordviH pariNayanavidhiH / tAmarasa: - kumAra ! sandezaharo'haM nAsya paryanuyogasya pAtrama, kimata gandhamUSikA candralekhA ca / / (citrAGgadaH mallikAmukhamavalokayati / ) devalakaH - kumAra ! vidyAdharANAmIdRzaH kulaacaarH| citrAGgadaH - kIdRzaH? devalakaH - prathamaM kanyakAyAH kAdambakaH pANiM gRhNAti / tataH pANiparvaNo'nantaraM vrH| citrAGgadaH - yadi kulAcArastarhi mudrito vicaarprcaarH| kRtaM kAlavila. mbanena / ete vayamAgacchAmaH / ( iti sarve parikrAmanti / ) tAmarasaH - kumAra ! tadidaM siddhAyatanam , seyaM dakSiNatastamorAjI / citrAGgadaH - ( sAzaGkam ) priye mallike ! kathamidAnI pramodAvasare vAma cakSuH sphurati ? / tAmarasaH - andhakAraprAgbhAradurlakSyaviSamonnatapravezapradezA tamorAjI, tataH sthapuTAbhighAtenApi bhaavym| citrAGgadaH - yadyetAvAneva sAmpratamudaH, tarhi baddhAvadhAnaH pravekSyate / tAmarasaH - ita itaH / (sarve madhyapravezaM nATayanti) citrAGgadaH - kathaM dIpajyotiSA'pi na tAdRzaH prakAzo yAdRzena vispaSTA rUpavyaktirbhavati / tAmarasaH - kumAra ! iyaM bhagavatI gandhamUSikA, iyaM devI candralekhA,

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mahAkavizrIrAmacandraviracitaM iyaM maGgalakalazAdhyAsitA vivAhavedI, iyaM ca sammukhInA yakSAdhipateH pratimA, etau ca manoramA-vaizramaNau / ( tataH pravizanti yathAnirdiSTAH sarve / ) gandhamUSikA-vatsa citrAGgada ! vatse mallike ! praNamatAM bhavantau bhagavantaM yakSAdhirAjam / (ubhau sabahumAnaM praNamataH / ) (manoramA smitvA mallikAmukhamavalokayati / ) mallikA - 'hiyaya ! samassasa samassasa / maNorahA vi de ittiyaM bhUmi na saMpattA / vaizravaNaH - bhagavati ! ahamidAnIM yakSasyAnucaraH / manoramA-jai evaM tA bhaTTidAriyAe ahayaM / citrAGgadaH - (sahAsam) bhagavati ! kimidAnIM mayA vidheyam ? / gandhamUSikA - kumAra ! tvayA kapijalena ca sAkSiNA bhAvyam / (punarvimRzya) tAmarasa ! braja tvaM devalaka-mAgadhikAbhyAM saha saudhatalam / vidhehi kumAravivAhocitAM sAmagrIm / (iti tAmaraso devalaka-mAgadhikAbhyAM saha niSkrAntaH / ) (pravizya) baTuH - ( gandhamUSikAM prati ) bhagavati ! lagnasamaya idAnIm / samApyatAM kautukavidhiH, pratirudhyatAM kolAhalaH, avadhIyatAM jhllriijhaatkaarH|| gandhamUSikA - candralekhe ! vidhehi vadhU-varasya prokSaNAdikAM kriyAm / manorame ! upanaya dadhi-dUrvA-'kSatAdIni / ( ubhe kurutaH / ) gandhamUSikA - vaizravaNa ! paridhApaya sadRzAnyaMzukAni yakSAdhirAjam, badhAna madanakaDakaM dakSiNakalAcyAm / , (vaizravaNaH sarvamAcarati / ) gandhamUSikA - kumAra ! candralekhe ! phalArthadAnapUrvakaM upanayatAM yakSAdhirAjAya mallikAm / citrAGgada : - (praNamya) bhagavan ! pariNaya mallikAmetAm / candralekhA - bhagavan ! pradattA mayA tubhyaM vatsA / tathA prasIda yathA yAvajjIvamavidhavA bhavati / 1 hRdaya ! samAzvasihi / manorathA api te iyatI bhUmi na smpraaptaaH| 2 yadi evaM tad bhartRdArikAyA aham /

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mallikAmakarandanATakam / (nepathye) eSa idAnIM lgnsmyH| gandhamUSikA - vaizravaNa ! praguNaya yakSAdhirAjasya dakSiNaM karam / (candralekhAM prati) tvaM punarmallikAyAH / (ubhau tathA kurutH|) - (nepathye jhllriijhaatkaarH|) puNyAhaM puNyAham (-ityuccArayati / ) (citrAGgada-candralekhe vadhU-varasya pANo yojayataH / manoramA maGgalAni gAyati / ) (pravizya ) devalakaH - (gandhamUSikA prati) bhagavati ! citrAGgadalagnasamaya idAnIm / tataH pANimocanAmAdhAya tvaritataramAgacchata yUyama-iti mauhartikAH zaMsanti / gandhamUSikA - ( sasambhramaM citrAGgadaM prati) utkSipya yakSarAjaM mallikayA saha pradakSiNIkArayata bhagavantamAzuzukSaNim / citrAGgadaH - (tathA kRtvA) bhagavati ! yakSarAjasya manuSyazarIranirvizeSaH shriirsprshH| gandhamUSikA - kumAra ! svargabhUmimRttikAbhirdevanirmiteyaM pratimA / tataH sambhAvyate sparzasaubhAgyam ! (punazcandralekhAM prati) prayaccha yakSarAjAya pANivimocanArtha kimapi / candralekhA - (praNamya) paramezvara ! vimucca vatsAyAH pANim / dAsyAmi tubhyaM suvarNasahasrAbharaNam / yakSaH - (sAkSepam) kimidamakulInocitaM vyAharasi ? kimucitaM sadharmacAriNyA vimocanam ? / sarve - (sasambhramaM) kathamayaM sAkSAd yakSarAD manuSyavAcA vadati ! / candralekhA - (dIpaM sannidhApya) kathameSa makarandaH ? na kAdamba: ? / bhagavati ! kimidam ? / gandhamUSikA - vaizravaNa ! kimidam ? / vaizravaNaH - bhagavati ! nAhamapyavagacchAmi / citrAGgadaH - (viSAdam) kapijala ! kimidamasmAkaM brIDAkaraM karma ? / kapijalaH - kumAra ! indrajAlamiva dRzyate / candralekhA - (vaizravaNaM prati) jAtaM yad bhAvyam, kiM mAM pratArayasi ? / abhayaM te, kathaya paramArtham / |

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mahAkavizrIrAmacandraviracitaM gandhamUSikA sArthavAha 2 mA bhaiSIH / akutobhayo bhUtvA prathaya yathAvasthitAM kathAm / vaizravaNaH - ahamanena makarandena pakSibhAvanarakAduddhRtya vADhamupakRtaH / matprItyA ca manoramaya bhagavatI prasAditA / bhagavatyA ca vivAha sUtraNAmupadizya sthApanAvyAjena makarando'yaM mahyamupanItaH / mayA ca kAdambapratimAmapanIya makarando nivezitaH / ataH paraM yadabhUt tad bhavatAmapi pratyakSam / tadatra karmaNi bhagavatI nAparAdhyati, na ca manoramA, vaizravaNa eva kevalam / citrAGgadaH - mahApuruSakRtajJa cUDAmaNerbhavato'pi kosparAdhaH / gandhamUSikA sAdhu kumAra ! sAdhu / mahatAmayameva vAcAM vikramaH / yathA bhAvi purA vastu tathA sarvasya vRttayaH / ityavetya mahAtmAno nApakAriSu roSiNaH // 16 // (punazcandralekhAM prati) 64 -- -- vAtyAbhirvA prajAbhirvA prabhAbhirvA kharatviSaH / bhavedyathA tathA grISme sarasaH zoSitAM bhramaH // 17 // yauvane sarvatrApi duhitaro mAturanAyattAH / tatacitrAGgade makarande vA jAmAtari kaste vizeSaH / guNagotrAdhikyabhASaNaM punaranucitam / puNye guNazca gotraM ca na puNyaM guNagotrayoH / tadvicArastataH puMsi puNyazAlini matsaraH // 18 // mallikA saMbhogabhAgyaM makarandasya na citrAGgadasya / tataH kRtaM viSAdena / candralekhA - bhagavatIsUtrite karmaNi ko viSAdaH / gandhamUSikA - ( makarandaM prati ) ki te bhUyaH priyamupakaromi / makarandaH ataH paramapi priyamasti ? | tathApi bhagavatIprasAdAnAM paryAptakAmaH / gandhamUSikA - ( saharSam ) jinapatipadaprasAdAnna (nnu) rAmacandrAMzukundadalavizadA- / mAsAdya yazolakSmIM parAM svatantrAM ciraM bhUyAH // 19 // (iti niSkrAntAH sarve ) // SaSTho'GkaH // // samAptamidaM mallikAmakarandAnidhAnaM nAma nATakam // kRtiriyaM zrI hemacandrAcAryacaraNasuzrUSAbhiratasya prabandhazatakartuH zrIrAmacandrasya /

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OMr . WWW mallikA-makarandasthapadyAnAM mAtRkAvarNakrameNAnukramaNI padyapratIkam ___ aMke padyam pRSTham padyapratIkam aMke padyam pRSTham akANDakopino bhatara 3. 3 24 idaM kRtyamakRtyaM vA 1.16 akRtyamAcaratyeva iSTairapi viyuktasya akRtyaM phalavad yeSAM utpAteSu mahatsvapi 3.10 26 aGga zirISa mRdu kAJcana 6. 5 47 unmattapremasaMrambhAd 3. 4 24 acchariyaM te vi jiyaMti 3.18 etAH kinnaragItayaH zrutipathA 3.6 aNavarayaM pUAhiM .. 1.15 etAH kuraGgakadRzaH 6. 2 55 aNurAo cciya daiesu .. 3. 1 23 edassa dehalaTTi 2.11 17 atyadbhutaM [kaThina ]karma 4.14 37 kapUraprabhavasyApi adyAbhUvaM khacaragaNanA kAvyairyatra kaviprathA dhanalava 1.8 3 anAdisiddha mImAMsA 2. 9 16 kupyAmo vyasane ciraM viracite 3.8 (caturthaH 3 annattha rAgiNoo 2.15 18 caraNaH) anyonyaM viSayANAM ... 4.11 kRtrimaiDambarairbAhyaH 2.17 20 aparAdho'pi soDhavyo 2.18 20 kecidbhojanabhaGgibhirnaradhiyaH 2. 6 13 appANa lAhavaM ciya 5.19 keyUrANi mRNAlajAni kucayoH 2.10 abhizaGkate jano'yaM 5.10 kaupInaM vasanaM kadannamazanaM 1.10 abhAgyadoSaH 6.10 58 kSaNadRSTe'pi kutrApi amumakRta yadaGganAM na vedhAH 3.12 kSaumAkalpamayacchadacchavijuSaH / ayamayamupaiSi jIvitAntaM 5.27 gItamapi raktakaNThair 4.12 ayi kuvalayanetre cakSurbASpavikajjalaM 2.14 ayi jagati vandatyAM calakamalavilAsA argalA rakSaNe strINAM jai kaha vi raI picchijja 2.12 arthitvamekaM nIcatvam 4.16 jagato'pi yadiha nindya 3.20 arthitve'pi vayaM tatra 4.19 39 jaM kira ullasai daDhaM arthI pitA'pi santApam / 4.18 39 jammaMtaralakkhaparUDha avagaNiyavvA vallaha jAtyantarasthitavatI 5.22 51 avarehi vi kUvajalehi jAtyandhAya ca durjanAya ca jarA 3.19 asaMtRptA vipadyante jinapatipadaprasAdAn 6.19 asaMbhAvyArthalAbhAntA taM kiM pi kAmiNINaM 2.1 11 Agantukena kArya 3.21 29 taM ciya paramattheNaM 3. 2 ApadAM skandhamAyojya tat tAvadAstAM kAminyo 4.20 AsyaM hAsyakaraM zazAGkayazasAM 4, 9 36 tathApi dyUtakArasya 1.11 1.12 26 25 27 2.16 19 29 W 4 . c

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66 mallikA-makarandasthapadyAnAM mAtRkAvarNakrameNAnukramaNI 2.20 C 12 4.22 3.14 padyapratokam aMke padyam pRSTham taruNAntarAdavAptaM tAmasau januSA'ndhasya tAvanmahattvaM pANDityaM 3.15 27 tAH santi kiM na zatazaH tRNeSvapi gavAdInAM 4.17 dadAti rAgiNI prANAn dampatyoH pAkSikAt premNaH 6.13 48 dAredraH kSutpipAsAbhyAM 1.14 dAtyUhakurkuTakapi 4.8 dutthA paravvasA vAhiyA ya 1.17 dvayaM dvayasya sampatti (te) 1. 3 dvijanmanaH kSamA mAtuH 31 na ravaH kumudAni sudhA na sa mantro na sA buddhiH na sarvakAmukApekSaM 26 nAmnA'pi yatra sudRzAM 3.16 28 nikkAraNapimmagahilliyAo nIrasAnAM puro nATya 1. 4 paTubhirapi nopasarpati 1. 3 payAMsi bhUruhAM hetur 2. 8 paropanItazabdArthAH 1. 5 puNya[sya] samidhaH satya 35 puNye guNazca gotraM ca 6.18 pRcchannasaMstuto gopyam 1.17 pRthivyAM vIrabhogyAyAM 2.21 22 prANAn kAryAntareNApi 5.23 prANAnapi vimuJcanti prAyazcittaM naye vRttiH 1.12 priyAnurodhAd bannAti 6.11 48 manyAvahe prabhurayaM 5.21 51 mallikApremajAlena 5.20 mallikAvizadAM lakSmI 1. 1 mAnino mAninastAvad 4.21 41 mAM mallike kusumavANa mithyAgrahaM zithilaya 6.15 padyapratIkam aMke padyam pRSTham meghAnAM tadazeSatApaharaNaM 6. 8 maitrIpramodakAruNya 6.28 53 mRtyave baddhakakSasya 3.24 31 mRde tasyai baddhaH karatala yathA puMsAM striyaH strINAM . 5.14 yathA bhAvi purA vastu . 6.16 yad yasya nAbhirucitaM yAtA kAmagavI divaM vyapahRtA 6.11 yAvat kuraGganetrA rAdhAM gopabhavAmakAmayata tAM 6.15 roge'pi viprayoge'pi 2. 2 11 vaktraM pANimilatkapolaphalakaM 4.10 vaDavAmukhe mahaujasi varNAnapekSaM zauNDIya vallahajaNavirahINaM vavasAo cciya purisANa 2.13 vAtyAbhirvA prajAbhirvA 6.17 vidhAtuM saMpado hartum 1.18 viulassa vi uvayArassa, 1.22 vinAbhiprAyadaurAtmya 1. vihAya vitathAgraha 5.24 vyasane mahatyapi samullasite 2. 4 vyasanaM saujanyavatAM 3.17 zabdAH kathaJcit sarve'pi zamastattvaM munIndrANAM zambhusvayambhuharayo .1.13 zAstra(zastre) tvayi trijagato 6.14 zriyA zaktyA ca sAdhye'rthe 2.3 zrInirvANapurAdhinAtha bhagavan 3. 7 sa eSa mama satpathaH 6.25 satAM dunoti cetAMsi sampattirasya rohantI saMparkaparvaNi sudhAM sarvApi mahatI siddhiH 1.9 3 sahajaggirANa sahasovirANa "

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mallikA-makarandasthapadyAnAM mAtRkAvarNakrameNAnukramaNI padyapratIkam aMke padyam pRSTham padyapratIkam aMke padyam pRSTham sAmatthAbhAveNaM sthAtuM tejasvinA zakyaM 3.22 27 sukhaM prakAzyate dauHsthyaM svapnaM kiM nu kimindrajAlamathavA 3. 6 so kuNai ki pi pacchA svIkRtApAyasampAtaH 2. 5 14 spRhayati puruhUtasyApi 5.17 17 hatasya jIvitasyAsya 2.17 21 1.28 1.28

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The Prologue At the beginning of the act we have the Amukha' (=Prastavana, Sthapana) the Prologue, which commences with the usual benedictory stanza. It is customary with Sanskrit writers to open their works with a salutation or benediction. It is called 'Mangala'. It is credited with the power of removing obstacles and leading to completion of the work undertaken In dramas it takes the form of Nandr The dramatist is a votary of Jainism. Naturally enough he pays homage to Lord Jina. CRITICAL AND COMPARATIVE NOTES ACT I P. 1 V. I: We wait upon (or worship) that Lord Jina who is free from all impediments and has attained the glory which is born of Final Beatitude and which is as bright-white as Mallika (Jasmine flower). The use of the word Mallika suggests the name of the heroine. Kind. A vocative particle corresponding to, 'ho' 'hallo'. In dramas it is mostly used as a form of address by characters of the middle class; haMho mhaNa mA kuppa (aho brAhmaNa, mA kupya - Mudra. I. 18-19). The Natyasastra, however, when setting forth the elaborate etiquette as to, the mode of addressing lays down: mArSo bhAveti vaktavyaH kiJcidUnastu mArSakaH / samAno'tha vayasyeti haMho haNDeti vAdhamaH // nA. zA. 17.74 Abhinavagupta's comment reads : adhamairjanaiH samAno'dhama eva, haMho haNDe iti vA saMbhASyaH / It is also interesting to find that the Natyadarpana of our author (with Gunacandra as his collaborator) lays down: nIco haMDe tu pAmaraiH (4.52 ) and adds in the Vetti : pAmarenIcaiH punarnIce eva haMDezabdenopalakSaNAdare ! haMho ! ityAdinA ca vAcyaH / In the present play the Sutradhara addresses the spectators (members of the assembly) as One is tempted to remark 'Ramacandra here nods'. cakravAla:-lam cakravAla:-Da A circle; 'cakravAlaM tu maNDalam' ityamaraH / , - kandalana Sprouting from kanda we have the denom. kandalayati. 'kandalana' - from

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Critical and Comparative Notes eft A row of clouds; the denom base we have the abstract noun. 'kAdambinI meghamAlA' ityamaraH / sakarNa sakarNakoTaraM The hollow or the auditory passage of ear which is gifted with hearing, listening" 69 V. 2 Even with clever (sweet and pleasing) words of flattery the people are not attracted towards you (lit. do not approach you) unless they are first told of the purpose. Therefore the world needs to be instructed about some purpose or the other. V. 3 Two things are the basic or primary and unbroken causes (lit. seeds of attaining the two corresponding effects one, wealth in the case. of (success in) worldly deeds and two, tranquillity or peace in the case of the bliss of Final Beatitude. lakSmIlavaM With my heart full of hope of obtaining a little wealth; lava this word (often at the end of comp.) is used in the sense of a particle, drop, small quantity, a little. fa. Taking, accepting, taking interest in, inclined to (in comp), possessed by (an evil spirit, a demon). Here in the present context it is used in the sense of 'yukta' (posssessed of). AkAze karNa dattvA ' Directing the ear', Listening in the air. P. 2 rasapIyUSa.... pASANasuhRdo durmedhasaH / "Great poets compose their plays keeping in view intelligent, sensitive and appreciative spectators or men of taste (rasikas) and not the dull-headed and stone-hearted men who are averse to even sweet song (and music) and lovely or loving women, who are not thrilled (lit, are without the armour or garb of, that is, are not covered with horripillation) .even when they watch the (deeds of) heroic dynamism of great warriors, who remain absolutely unmoved even when dire calamities visit their own parents, brothers (and sisters) and children and who are not at all kind even to their own faithful or honest servants. In this passage Ramacandra sets forth the qualities expected of a man of aesthetic taste (rasika) and condemns the insensitive, unappreciative spectator (arasika). V. 4 Even god Brahma would become a butt of ridicule if he to stage a play in front of insensitive spectators or if he were to serve the wicked or if he were to exhibit his eloquence in front of the rustic or vulger people. bhAva A learned or venerable man, a term of address in dramas in the sense of 'O worthy Sir, Your Honour'. An assistant of the manager of

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Mallika-Makaranda the play addresses tha manager as 99 and the manager (ar) addresse the assistant (naTa, pAripArvaka or pAripAzvika),as mArSa or mAriSa : mAnyo bhAveti vaktavyaH kiJcidUnastu mArSakaH / --nA.zA. 17.74 bhAvo'nugena sUtrI ca mAtyetena so'pi ca / sUtradhAraH pAripArvakena bhAva iti vaktavyaH / sa ca sUtriNA mArSa iti / __ --dazarUpaka 2.69 sUtrI bhAvo'nugenAsau, tena mArSaH samaH sakhA / sUtrI sUtradhAro'nugenAnucareNa kA bhAvazabdena saMbhASyaH / asAvityanugaH sUtradhArAt kiJcid nyUnaguNastena sUtradhAreNa mArSa ityabhidhAtavyaH / --nATyadarpaNa 4.51 (189) . sabhyamizrAn - The learned, respectable members of the assembly; mizra is an bonorofic title and the word so formed with #% affixed at the end, is always used in the plural : pUjye mizrapadaM nityaM bahuvacanAntam / ' mArSa(=mAriSa) iti naTasaMbodhanam / mRSyatIti marSaNAnmArSaH (-mAriSaH) irregularly formed from mRSU 1st or 4th conj to bear patiently. bahubhASitA Talkaliveness, garrulousness. prabandha-badhyate kAvyavastu asmin asau bandhaH a composition, poetic work; prakRSTaH bandhaH prabandhaH an excellent composition. V. S In the absence of bad intention even a crime is not blamable (or fit to be condemned). A precepter, even if he hurls abuses at and kicks his pupils, is still honoured (by all). vidyAtrayI The trayI stands for the three Vedas taken collectively (RgyajuH sAmAni f. trayI vai vidyA Rce yajUSi sAmAni-zatapathabrAhmaNa) The title pada-vAkya-pramANa-jJa of 'padavAkyapramANajJo bhavabhUtiH') would indicate that trayI vidyA also stands for Grammar, Logic and Mimamsa vyAkaraNam , nyAyaH, mImAMsA) Ramacandra and Gnsacandra, declare at the close of their Natyadarpana that they are versed in Grammar, Logic and Poetics (zabdalakSma-pramAlakSma-kAvyalakSma-kRtazramaH / ) In the Introduction to his Raghu-vilasa he speaks of himself as vidyAtrayIcaNam It is, therefore, reasonable to draw the conclusion that by fagna Rama. candra wants us to understand these sciences (Grammar, Logic and Poetics.) This conclusion is further strengthened by the following verse at the end of the a paying homage to Acarya Hemacandra : zabda-pramANa-sAhitya-chando-lakSmavidhAyinAm / zrIhemacandrapAdAnAM, prasAdAya namo namaH // nA. da. pR 192 No doubt, this verse speaks of an additional science Metrics. But it may be included in a broader category of poetics as it is closely connected

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Critical and Comparative Notes 71 with it. Acarya Hemacandra's contributions to these branches of knowledge are well-known; Siddhahema-sabdanusasana (Grammar), Kavyanusasana (Poetics), Chandonusasana (Metrics) and Pramana-Mimamsa (Logic and Dialectics). -faut-774760#ta: (or 47-) whose mind is experienced or clever, i.e. who is proficient by nature (or birth) in the production (af) of (works relating to) the three sciences. The phrase may also mean who is proficient in composing works relating to the three sciences and imparting them (aet) to his pupils. The expression 'sarganisarga' occurs in the naiSadhIyacaritaH ......... ayaM affaat GEET: 1 (9.48) The commentator Narayana explains it as affaqiy: svabhAvo vA / Antoiat: Harara grojarai HAER: unufai (feu a) The seven oceans taken collectively, TEFERIZarffa - Ramacandra proudly refers to himself as the author of one hundred works. But only some of these works are available today and some are known by their names only. Some others might have been lost irretrievably. It is possible to take the word 'eta' in the expression to stand for a very large number (and not literally to mean one hundred). Aff-Tartar a4- - A drama in which afro and HT figure as the hero and the heroine : afect Are at 3 fra i atza mallikAmakarandam / mallikAmakarandam abhidhAnaM yasya tat mallikAmakarandAbhidhAna nATakam / It is curious that the playwright who himself is a dramaturgist of repute should refer to this work as a alam when in reality or actuality it is a 54TT. In the Natyadarpana the authors clearly call it a HTUT when they quote from it with the introductory remark : yathA vA'smadupajJe mallikAmakarande prakaraNe 4 : The anomaly could be explained by understanding that the word arz is used here in its general sense of a play (69#) and not in its technical sense. A3 Disdainfully, scornfully STATE : ... gea - Monks who (otherwise) maintain rigid silence but speak confidently and eloquently when delivering sermons - as they are expert in appreciating the Santa rasa are totally unqualified to compose plays which abound in such rasas (sentiments) as the erotic, the comic and the heroic. Possibly such objections might have been actually raised during the lifetime of Acarya Hemacandra and Ramacandra,

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72 grAmINacAturIvandhyam abhidadhAsi - cleverness found (even) in a villager ! Mallika-Makaranda V. 6 All the (three) worlds (perfectly) know that tranquillity or peace (sama) is the very characteristic (tattvam, essence) the very life for the monks or sages. (Do not however fail to see that) gods are born in heaven but they move about even in the three worlds. You say something which is devoid of saroSam Angrily, in anger V. 7 At this time these days there are authors (or poets) who borrow words and ideas (from earlier poets) and thereby attain fame. Consequently, how can the good people trust them? This verse, with the 4th quarter changed as anafa,' occurs towards the close of the Natyadarpana and in the Introduction of Kaumudi-mitrananda. - P3 Haughtily, Proudly; the foolish people) are sealed i.e. they are silenced. : :-The mouths (of the silly, V 8 The idea of this stanza is: It is easy to win fame as poet by poems purchased with paltry sum. We, however, who are intent on taking great pains to compose poems do not take to that easy road to winning fame. Throughout our life we have been taking great pains in composing poetic works. How can we get angry with any one else when we are given to this bad practice over ages? ---- This verse reminds us of Visakhadatta's line: af ar arifa$?ngbhavati klezamasmadavidho vA Mudra. IV.3-d. ef also Nalavilasa I 8. aq Behind the curtain. The etymology of this word is doubtful. According to one derivation is traced back to fa n. the eye, or fa the leader, and qe (fat gaf qe'). It means (1) the curtain (2) the tiring or dressing room for actors (cf. gaisageway end rage) (3) the toilet or decoration (safa yf: 1) (4) the actors' costume which makes him look like kama, Sha, etc. (rAmAdivyaJjako veSo naTe nepathyamucyate / bharata) The device of making a character speak from behind the curtain (q) is used for two purposes One, when the speech of a character, whose enterance on the stage is not necessary, is to be made known to the characters on the stage, he is made to speak from behind the curtain. This way we have economy of Patras Two, when a character speaks while arriving on the stage, his speech is also from behind the curtain ().

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Critical and Comparative Notes V. 9 Every great success is attended with troubles. One who bears patiently physical and mental fatigue (or exhaustion) wins the bride (or the youog woman or wife) in the form of Vidya (Knowledge, Lore). oquet - aufer (f) or quet (f) means "a young wife or woman'. Lexicographers give the meaning as a daughter-in-law'. The word ayat has been used by Bhavabhuti in his Mahaviracarita V. 17(cd) ; rathaM vadhUTImAropya pApaH kvApyeSa gacchati / soDhA (from Bearing patiently)-'One who bears patiently'. This word is already used by Rajasekhara in his Balaramayana 344 : Monier-Williams says : 'A kind of super-natural oracular voice (answering questions about future events, and supposed to be uttered by an idol after mystic invocations'. V. S. Apte's Dictionary explains It as follows : 'A supernatural voice heard at night and personified as a nocturnal deity revealing the future; naktaM nirgatya yatkiJcicchubhAzubhakareM vacaH / zrUyate tadvidu/rA devapraznamupazrutim // --hArAvali The arratas says Squfa is the same as 4992 'consulting the gods', consulting the wishes---delivered as omens--of the gods. The chance sounds or words (good or evil) heard while walking out at night and indicating the fulfilment or otherwise of one's object, are regarded as 39 fa or $999." , tadalaM vAcAM vistareNa / Usually the phrase alamativistareNa' (and occasionally, afarasita') is used by the dramatists. It means 'enough of prolixity'. The prolixity refers to the singing and dancing that accompanies the performance of the Nandi and elaborate series of other preliminaries which are expected to be performed before the actual drama begins, which however the Sutradhara says, he does not want to go through. If he were to go through the entire elaborate series of preliminaries the assembly or audience would get completely tired. He, therefore, cleverly drops the other items of the "Purvaranga' and thus does not try their patience. As soon as he arrests the attention of the audience he is keen to present the play proper. With the exit of the Sutradhara and the Nata the Amukha (or Prastavana) comes to a close. kupyAmo vyasane ciraM viracite kasmai parasmai vayam / This is the fourth quarter of the above verse 1.8 forming the speech of the Sutradhara, Makaranda, a character of the play, catches up and 10

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Mallika-Makaranda repeats these words of the Satradbara as he enters and applies them to his own case This mode of connection between the Prelude (or Prologue) and the opening of the play proper is called Kathodgbata. It is defined by Dhananjaya as follows: svetivRttasamaM vAkyamartha vA yatra sUtriNaH / gRhItvA pravizet pAtraM kathodghAto dvidhaiva saH // - dazarUpaka 3.5 Visvanatha defines it thus : sUtradhArasya vAkyaM vA samAdAyArthamasya vA / bhavetpAtrapraveza cetkathodghAtaH sa ucyate // - sAhityadarpaNa 6.35 The Amukha (=Prastavana) of Mallika-Makaranda is of the Kathodghata type, which occurs "when the words of a character entering the stage contain either a repetition of what Sutradhara has said before or a reference to the purport of his speech." P. 4. V.10. Generally this is the way of life of persons who are given to gambling : A small strip of cloth (Kaupinam, "langoti' in Marathi) is their dress; bad food (Kadannam) is what they eat; the earth covered with dust, is their bed; obscene talk is their conversation; prostitutes are their kinsmen (or members of their family); rogues or cheats are their compa-. nions; practising fraud on others is their occupation; thieves are their friends; and the great men are their foes. V.IT. Even then a gambler, blinded by the darkness of sin would consider even Indra, who is averse to gambling as a beggar (ranka, m.). 474deg which is the source of all evils. v.12 A commendable atonement for a person of reprehensible deeds is to act in accordance with the norms of right conduct. Meeting death by the use of a weapon etc. is an act befitting a desperado (atatayin). raarfa - Endeavouring to kill some one (lit. one whose bow is drawn to take another's life); a murderer, a desperado (a person who commits a henious crime such as a thief, ravisher, murderer, incendiary a felon, etc.) : agnido garadazcaiva zastronmatto dhanApahaH / kSetradAraharazcaitAn SaD vidyAdAtatAyinaH // - zukranIti ACT' qualifies Taar, it means : (Of the park) with the advent of the Spring - King, proclaimed by the host of bards in the form) of the cukoos resting in the nests on the branches of mango-trees,

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Critical and Comparative Notes 75 vikAzipATalApaTala Another adjective qualifying 'mahodyAna' (of the great park) with the perspiration due to exhaustion (or fatigue) caused by lovoencounters (or sports) on the person of the city-ladies (or damsels) being drunk (i.e. dried up) by wind pleasing on account of its contact with the fragrance of the heap of the red 'lodhra' flowers that were opening or blooming. afqazi (Tea) (Bowing down) modestly V.13 We pay homage to that venerable flower-arrowed god of love, who is sanctified (?) by his exploits which are beyond words, who made the gods Siva, Brahmadeva and Visnu eternally the servile workers - drudges (lit. 'drawers of water') in the houses of the deer-eyed ladies (Parvati, Sarasvati and Laxmi), This stanza is adopted from Bhartshari's Srngarasataka (V.No 1). Wc have a variant reading vicitritAya in place of pavitratAya. The reading 'pavitriar does not suit the context. 'fafafaiz' is at once significant and eminently suits the context. "Who is wonderful by' - 'who causes wonder' - is its meaning. The following extract from the commentary on TKITEICAO (Nirnaya Sagar ed 1925) may be read with profit : yena makaradhvajena zaMbhusvayaMbhuharayo haraviriJcimurArayaH / saMhArasRSTisthitikartR tvena sakalabhuvanAdhIzvarA apIti bhAvaH / hariNekSaNAnAM hariNavanmanoharalocanAnAM pArvatIsarasvatIzrIdevInAM satatam / gRhe kumbhadAsA jalakumbhabhAravAhakabhRtyA akriyanta tAsu tAdRGmohamutpAdya tathA vidheyIkRtA ityarthaH / kimutAnya iti bhAvaH / ardhanArIzvaratvAcchaMbhoH, svayaMbhuvazca sarasvatIniketanIkRtamukhatvAt, harervakSaHsthalasthApitalakSmIkatvAccaivamuktamityavagantavyam / ata eva vAcAmagocaraM avAGmanasagocaraM yazcaritra' mAhAtmyaM tena vicitravatkRto vicitritastasmai / atyantAzcaryakArakAyetyarthaH / 519250 (A young woman - gafa:) who is being aided or helped on; who has been given a helping hand by her servant carrying in her band a baskot containing the requisites for the worship of a god. P. 5. faery Having extinguished; some take the root to be fata some others, fa+vtar. Probably it is a wrong Sanskritisation of the Prakrit root fa 1 (fa+VAT) aqedo Indicated by her special costume V.14 A poverty-stricken man is overpowered with grief on account of hunger and thirst; whereas a rich man, on account of obstacles, mental pain and physical (=bodily) pain. Generally all the people (without exception) are overpowered with grief for one reason or another.

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Mallika-Makaranda V.15 If, O god (of love) you are somehow pleased with me on account of the uninterrupted worship that I offered you then protect me by hastening a calamity or danger of this kind in my case. This gatha is a little obscure. The Editor renders the Prakrit form father in the gatha by TaT in its Sanskrit rendering (chaya). Obviously this rendering does not suit the context. The above translation presumes the Sanskrit rendering afar The immediately preceding speech of 7 and the immediately succeeding speech of his (*: Catara: ? 47 StorySiis ET: 1) lead us to translate the gatha the way we have done. The other speeches of the ea, the gala and the ge4 that follow support this our interpretation. The gala (Areal the heroine) is mortally afraid of her being abducted in the near future by some unknown agent (later on we know it is candralekhA, the wife of the vidyAdhara king vainateya, and mother of mallikA-the yuvati) and contemplates to kill herself by hanging with a view to escaping the fear of the unknown'. To her suicide is preferable to the danger of forcible abduction by an unknowo agent. P 6. V. 16 This is to be done or not to be done is to be determined having regard to the place and the time. Crematiom of one's own son, when dead, is a religious ceremony (or auspicions rite or act) v. 17. The distressed, the dependant, the diseased, the blind, the people, separated from their beloveds-how could these people attain happiness if the venerable god of death were not there? algfri faat (Outwardly) laughing so as to conceal her feelings; bhavahitthayA (=AkAragopanena) sahitaM yathA syAt tathA / 'avahitthAkAragopanam' iti haimH| arteat Loudly, shouting with a loud or shrill sound. P. 7. fuqarolaz Observing covertly-unperceived. (377422TT) TTTT:A large quantity, heap, multitide, profuseness; here dense darkness. Aegh The costume (the upper garment, bodice ?) 1955 Tage streetrar sifar' When the yuvati makes this request to Makaranda she uses the word jIviteza in the sense of yama, antaka. When however Makaranda replies FTCh 703417 Sillasta ... STETTIA....' he uses it in the sense of th:, TTT:, Mat: (a lover). We find the use of this pun on the word 'illa de' in Kalidasa's Raghuvams'a (XI 20): TAHF87 o aifeat .... fqqaf F# E Mallinatha observes siliqdateral, grote TFA 1 The Bulabodhini (commentary on Kayyrprakasa) says "sifa ait

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Critical and Comparative Notes PARTI" sfa dat:" | (P. 378). YFdeg YATI: qai Y545TH I YF95pkia 977: Y95FTTTT: 1 The yuvati requests Makaranda to kill ber by cutting off her neck with the sword. or knife He replies 'I shall closely embrace you by putting the noose of my arms round your neek." V. 18 There is no firm resolve on my part about removing or overcoming dangers or calamities (of others) and making money But my mind ever serves as a mirror for the reflection of others' unhappiness (or agony) or troubles. vaizasam-vizasati hinastIti vizaso ghAtukaH / pacAdyac / vizasasya karma vaizasam / yuvAfacalcogli3: 1 Destruction, slaughter, butchery, murder. After Kalidasa (Kumara. IV. 31) and Bhavabhuti (Uttararama. IV. 24, VI. 40) Ramacandra uses this rather obscure or rarely used word. P8. V. 19 If an unfamiliar person desires to know another's closelyguarded secret, if an impotent (or weak) person gets angry, and if a person hankers after a woman who is free from worldly attachment-whom does he not cause to laugh ? He causes laughter to one and all - he becomes a laughing-stock. V. 20 If on account of want of capacity the desired objects are not secured, what cause is there for getting angry ? (Nature) has not laid mill in a bull. What place is there for disgust in regard to (Nature's) scheme or design ? The meaning of the second half of this gatha is rather obscure. The translation follows the Sanskrit Chaya. Dr H, C. Bhayani would like to read the second half as : vasahesu duddhamahiyaM na esu ko nAma nivveo // (TAg ga-fed a, gg at ara fa fa 11" With this emendation the second half may be translated as : "We do not get milk and buttermilk from bulls. What cause is there for disgust ? quila To the very mighty (heroes), who have staked their precious lives, what indeed is unattainable (lit. attainable or unattainable) ? This sentence distantly reminds one of FEITT....farfor a 150gft: alfag -- Kirata I. 19 V. 21 Persons who (were first poor and) afterwards attain to prosperity easily disclose their former poverty - distressed circumstances. But persons

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18 Mallika-Makaranda who have fallen on evil days disclose (if at all) their former magnificence or wealth with great difficulty. Ramacandra's observation is perfectly right. For the fact is get CITY STIH ... TES: I. 10 or, Jaama gara geag Thanh (fanto) III. 21) The printed text reads in the second half "Tea" This reading however does not yield good sense. The above translation presumes the reading " " This reading perfectly suits the context. P. 9. V. 22 When a good turn is done to them by eminent men or heroes (even) accursed women consider giving up their body (surrendering themselves) to them as the highest requital of the obligation. (THESOTHI ) T a rT - 'Earnest money' - something in the present case 'a pair of ear rings) given in advance as an earnest or security for the performance of a contract; Mallinatha thus en plains the word ETT: kriyate'neneti kAraH / karaNe ghny| satyasya kAraH satyaMkAraH satyApanam | cikorSitasya kAryasyAvazya kriyAsthApanArtha parahaste yaddIyate sa satyaGkAraH / kriyAdau satyadAAya prAgdIyamAno mUlyaikadezazca / 'klIbe satyApanaM satyaGkAraH satyAkRtiH striyAm ityamaraH / 'kAre satyAgadasya' iti mumAgamaH / kirAta0 (11.50) ghaNTApathavyAkhyAyAm / P. 10 Fag far ? .... 03355797? What is this wanton or irresponsible behaviour (of yours)? What is this present of your pair of earrings to a stranger against the code of conduct laid down for a merchant's daughter ? THC#: a happy outcome, lucky result, consequence. Hufa uses the expression kalyANodaka (in his Uttara. IV. 17-18) kintu kalyANodaka bhaviSyatIti / Act II P 11. V. 1 Women desperately fall in love with some one whereby they waste themslves, torment themselves and ultimately die (or perish). 6727- With the lowest part of her cheek placed on (or supported with her finger (fara the tip of the hand, finger). The Sanskrit rendering vidatta (of viiNNa) is rather unusual. Generally viiNNa is rendered into Sanskrit as faalut, V.2 Generally hunger, thirst and love continue to oppress. (lit. do not leave) a person even when he suffers from some disease or separation (from his beloved kinsmen) or is overpowered with sorrow or is a victim of some calamity.

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Critical and Comparative Notes ar (fr. denarius) A particular gold coin. qarTo - "Announce through the streets of the town by the beat of drum that the person who would protect the princess from being abducted would receive the gift of five hundred dinara's." P. 12. fuit A legal wife, a legally married wife. V. 3. When the desired object is capable of being accomplished through wealth or strength and if we fail to accomplish it our mental distress is (perfectly) understandable. But when it is impossible to achieve through either of these means what occasion is there for any lamentation ? ___ 'kA nAma paridevanA' This quarter reminds one of 'tatra kA paridevanA' (Bhagavad-gita II. 28. d) V 4 Even when a great calamity stares us in the face helplessness. is not justified (lit. does not stand to reason). Getting into a boat a man enters even the unfathomable waters of an ocean. tad failed (=tad stefani) = ano quietly. courageously (lit. shutting up your eyes to the external world). This is, according to Kuvalayananda Lokokti-alamlkara. Kalidasa too uses it an Atocar Uttaramegha, v.50 V.5. There is no magic spell, no knowledge, no strength of arm whereby an impending calamity visiting an unlucky person (or rather, brought about by former sins) could be averted. ET Apa Men blinded by a vice accomplish, for the sake of money, the desired aim or purpose even at the cost of life. P. 13. Azf This word is not recorded in the Sanskrit dictionaries. The Praktit Dictionary (PSM) records it as an Apabhramsa word. It ocucrs in the sense of '3112A' in an Apabhramsa verse cited by Hemacandra in his Prakrit Grammar (VIII. iv. 350). Ramacandra uses it in his other dramas (Nalavilasa, Kaumudimitrananda) as well in the same sense of strani'. athavA vyasanAndhamevedaM jagat / Or rather this world is certainly blinded by some vice or another. V. 6. Some are given to eating various kinds of delicious food; some others are addicted to women; some find pleasure in flowers and cosmetics, some are fond of singing; some are interested in gambling, hunting, drinking liquor, chewing betel (with areca-nut parings) or handling arms; still some others are intentiy engaged in (or busy with) horses, elephants, bullock-carts, houses, children, and seats.

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80 Mallika-Makaranda fac atrag: this part of the stanza breaks the symmetry. Dr. Bhayani would like to emend the text to kecid hRtadhiyaH / yadi vA kimetena vaNijAM samucitena kuTilabhaNitena - or rather what is the use of this (insincere or fraudulent or) dishonest speech fit for a trader (or to which traders are accustomed.) P. 14. TEE9To The usual Sanskrit spelling is car. Traer is changed to vacchA in Prakrit. prayojana. The difficult nature (vaiSamya) of the aim to be achieved. dhanasya pAMzuprAyatA Wealth that resembles dust. V.7. One, who is fully prepared to meet the impending danger, attains to complete success. For a person who is very cautious about his own safety in battle is (easily) defeated by his enemies. (Cf. for the first half : HIE : afaqafa (Fortune favours the brave). Mscchakatika IV,5-6 * fags Grammar demands that the form should be 'Fayey'. Esta (ar), #993 (Fatra) and Jan (Fiat) these forms show the influence of Prakrit. Probably they are due to the scribl's own habit of pronouncing tsa as ccha. * Tra54977. TUTTO For answering the call of nature. P. 15. tadaharjAta Born on the very day. bhUrjakaNDakamaNDitasavyetarakalAcikA With her right fore-arm decorated with a piece of birch-leaf--(the leaf on which words were written in soft saffron-juice). The meaning of the word 4054 is rather obscure. The Sanskrit Dictionaries record the word #103 but not the word 203. A few lines below we get the following sentences : Tabant ca bhUrjakaNDakam'; agulIyakAni bhUrjakaNDakaM ca samarpayati'; and bhUrjakaM (bhUrjakaNDaka) ca vAcayati / Decafra yr affaait ferati 641974 FAHRaat keeping in mind these references the term us is translated as a piece of birch-leaf. Dr. Bhayani on the strength of the Prakrit Dictionary (PSM, p. 210) which records the Prakrit word kaNDaya in the sense of 'tAvIja, gaNDA' would like to understand by the word kaNDaka 'an amulet'. camatkAra....vIkSitavAn / For a moment I saw that baby (girl) with a steady (or fixed) gaze as I could not decide what to do owing to the overpowering sense of wonder. P. 16. V. 8 It is the (rain-)water which is the cause of (the growth of) trees and not the thundering of clouds. In the month of Magha, however, clouds thunder only to agitate the minds of people,

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Critical and Comparative Notes 81 V. 9 What scope is there for inquiry (or investigatior) when the universal path of the good is eternally established ? Women, earning their livelihood by (selling) their lovely person, are created (by God or Nature); but how is it that such men too are not created ? (It is absolutely useless to discuss this point for the reason given in the first half.) Russia Tor-Requisites for a (charmed) circle. : Milk of a tigress recently delivered, fanito Bright yellow pigment (1991) from the horns of a Camari (Camara=A kind of deer) living in the Vindhya (forest). n i The first flow of ichor or the juice that exudes from the teoples of the forest or wild elephant. geta Fire from the funeral pyre of a bald-headed youth about 16 years old. ou gaan - This is a stage-direction. (It means "Whispers in the ear' Read the following from Natyadarpasa (p. 30): uktatvAd vakSyamANatvAda, bhUyaH kAryAd yaducyate / tat kaNe zrAvayed yena, na yAti punaruktatAm // ___ ukta pUrva vakSyamANaM puraH prakAzyamAnaM, prayojanavazAda bhUyo'pi yad vRttamucyate tatU punaruktatAbhayAt pAtrasya karNe kaviH zrAvayet / tathA ca dRzyate 'kaNe evameva' / P.17, AT A TA TATAPTI: I Don't take the trouble of rising (from your bed) to do honour (to us). V 10 Her bracelets are made of lotus-fibres, her breasts are contindously being sprinkled with sandal-water, her bed is made of tender lotusleaves; her necklace too is made of (the interior of) plantain tree; her body has (i.e. she wears) an excessively wet garment; her courtyard is graced with the canopy of Jasmine creepers; this dress of hers Indicates her dangerous condition on account of the malady of separation (from her lover). V. 11. Having created his lovely (lit. slender) figure the Creator (methinks) stopped further creation. Otherwise how is it that there is no such lovely or handsome figure (form) to be seen here ! AFTER Longingly. V. 12. If somehow Rati were to see this incomparably lovely form, I am sure, she would slacken her bond of love for Madana ! V. 13 Resolution or determination (or human effort) is itself an incomparable ornament decorating men (lit. men's form, body). If in addition they possess handsome form then the ladies (with whom they fall in love) have really triumphed. 11

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Mallika-Makaranda The word 31997: really speaking qualifies alq' The translation presumes the reading '31948 (qualifying foga'.) If the printed reading be correct then we will have to translate as. "incomparable resolution or determination (or human effort)" P.18. V.14 Her eyes have their collyrium washed away by her tears; the splendour of her cheeks is partly obscured on account of the close contact with the palm of her hand; her lower lip has become rough on account of her loud and continuous sighs; her bodily figure is reduced to bones and veins on account of her opposition to take food. Nevertheless this lovely maiden (lit. having handsome teeth) like the crescent moon pleases the eye. sudatI---danta necessarily becomes datR (=data ) when it is preceded by a numeral or indicating age, or when ths whole compound forms a feminine name (agfe aty ga .fai arforfa 9181989 and, 4181983) at frar TFT 95, yat (i, e. youthful) fem. mrat 9914: (= #ff:) A proverb, popular saying V. 15 Women who are full of love (for their own lovers) do not fall in love with others including even the god of love (Kama, Cupid). Nalinis (lotus-plants), devoted to the sun, really do not like even the (nectar-rayed) moon. P. 19 gifta: (For HIE17 read the explanatory note supra). That Mallika has given me. her pair of ear-rings in advance as an earnest or security for the performance of the contract of purchasing my precious self (vide p-9) v. 16 This verse is repeated by, the poet in his Nalavilasa (II. 5), Kaumudi-( VIII.8) and Raghuvilasa (V, 5): . The petals of her eyes imitate the graceful gestures of a tremulous lotus. Her lower lip excels (lit. torments) the flower of Bandhujiva (a .plant with a red flower which opens at mid-day and withers away the next morning). Her broad (or beautiful) cheeks which surpass (lit. conquer) the moon in their lustre which was deeply rooted but now concealed by their paleness due to excessive love. " ana - - - Afers " The intention of Makaranda in giving this direction is obviously to have as full a view as possible of her natural loveliness, Ramacandra must have drawn inspiration from Kalidasa, who in his Malavikagnimitra (I. 19-20) directs through Parivrajika : afratgalbhivyaktaye viralanepathyayoH pAtrayoH pravezo'stu / sAttvikabhAvAn nATayantI-Gesticulating involuntary states-the sAttvikabhAvas are a kind of stars. They are mentioned separately by Bharata as they are

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Critical and Comparative Notes harder to feign. It is easy to imitate delight but more difficult to make one's hair stand on end (TAS) either in fear or in pleasure. The alfa as are eight in number: stambhaH svedo'tha romAJcaH svarabhaGgo'tha vepathuH / vaivarNyamazru pralaya ityaSTau sAttvikAH smRtAH // 1 paralysis 2 perspiration 3 horripilation 4 faltering voice 5 trembling 6 change of colour 7 tears and 8 fainting. P. 20 V. 17 It is possible to please strangers (or outsiders) by artificial pomp (show) but one's own self (3744 STICHT) is pleased only when it is captivated or attracted by real or existing things. q5aufgatari -The five classes of souls known as siddhas, arhats acaryas, upadh yayas and sadhus are called the 9574afet'.s or the five dignitaries or the five supreme ones of Jainism. To these, the most popular Jaini nvocation is addressed many times every day by pious Jaing : ART arihatANaM / namo siddhANaM / namo AyariyANaM / namo uvajjhAyANaM / namo loe savvasAhaNaM / "I bow to the Arhais, I bow to the siddhas, I bow to the acaryas, I bow to the upadhya yas, I bow to all the sadhus in the world." The siddhas are the souls who have attained liberation from the cycle of birth and death. TETS are the souls who have attained omniscience but have not yet discarded the last vestments of human body. The remaining three are in a higher spiritual condition than other men, Acar ya is the head of the monks. Upadhyava is a teaching saint. Sadhu is an ascetic or monk simply. This salutation to the five digoitaries is credited with the power of destroying all sin and is regarded as the most excellent mangala. V 18 Even the crime of a person, who is engaged in securing one's desired object should be tolerated. Men with diseased spleen honour a physician who even burns their protuberant belly, with fire. ala: A stranger, foreigner, an outsider P 21 a... sferoj nga afanyfa-Throbbing of the right eye is regarded, in the case of women, as an evil omen. sitaat: gatfu AKH (1) lgat daHU HI feafa cf the following : HI S8 la Trac 1 46841Hss ( arail 4 8. q. 80EUR-4c) (38-) (ii) gra stasaarire 72 anotarefa 1 -- tarant, 997

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Mallika-Makaranda TETO-TETO FC Tufa&rett at Would be a better reading, and would yield a happy sense. V 19 This accursed life is verily to depart (sooner or later) from this body. If it departs in saving one's own beloved, what is wrong there? P 22 Just as the deer-eyed damsel works as a (willing) slave to her young man even so an old man works as a (willing) slave to his young wife. For desire does not wait to see what is proper (or not proper). V 21 When the earth is fit to be enjoyed by the valiant hero (alone), when wealth is (by nature) so very fickle, and when it is difficult to protect one's wife, what is not proper (to be done) and for whom ? (That is everything is proper (to be done) for every body or anybody. Act III P 23 Cf with V I the following: eso so cia dahaesu ghaDai sohggcNgimgunnaaii| at Fast 505 Grotte sigurarag aferers' (?) 11 ---Kaumudi III. 9 The words in bold types need to be corrected as : "HVE ferata 's In our text too '#ffor' should be corrected to far. The verss may be translated as follows: Vi It is love itself that effects good fortune and beauty among lovers. It is the moon herself that produces water in Candrakanta manis (moonstones) which are hard or compact (by nature). Cf. zala feATTHIC : Uttara-VI. 128 Malati I. 24d, fafaa HTTP:-The dispositions of the mind are diverse (in nature). This sentence reminds one of Bharavi's famous line : Flag' aa a argent fa fafae9r: FOTO -Kirata I. 37 PET a ... allery-"Oh, by their very nature women are intent or bent on loving (bad or) unworthy persons. V 2 That alone is truly beautiful where one's mind finds (complete) rest or repose. For the Asoka trees, when kicked (by young damsels) blossom and thus indicate their joy. fa -(polite conduct, good manners) 'advances,' courting. Setelafazr-Means of decorating (sargn), gifts and promises. P. 24 V. 3 It is not possible even for God Brahman to propitiate the mind of a husband who is quick tempered or hot tempered (lit. who, for

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Critical and Comparative Notes 85 no cause, suddenly gets angry) and of a woman who has (fallen in love with some one else or) her mind fixed on some one else. This verse is repeated by Ramacandra in his Nalavilasa (IV.7) V. 4 The Editor supplies the missing words in the first half of this verse [s:]. As Ramacandra has adopted this verse from Bharthari's Srigarabataka (V.75, N.Sed) We could better adopt the reading available there ( yadaGganAH) : When women through impetuosity (or flurry) of intoxicated love set about some task, even god Brahman is indeed unable (lit. is afraid) to place. an obstacle in their way. (Then what to talk of others 7) Ramacandra budhendra thus comments on this vesse unmatteti / aGganAH striya unmato'yutkaTo yaH premA anurAgastasya saMrambhAt saMbhramAt / 'saMrambhaH saMbhrame kope' iti vizvaH / yat karma Arabhante vihitamavihitaM vA kartumuyuJjanta ityarthaH / tatra karmaNi pratyUhaM vighnam / 'vigno'ntarAyaH pratyUhaH ' ityamaraH / AdhAtuM kartuM brahmApi kimutAnya iti bhAvaH kAtaraH sabhayaH / asamarthaH khandivatyarthaH / anivAryanizcayAnAmanAvRtAnAmAno ko yA nivAraviteti bhAvaH / anuSTup / cetanAmAsthAya vilokya ca savimarzam - Regaining consciousnesss looking all around) and thoughtfully. V. 5 The opening quarter of this verse strongly reminds one of Dusyanta's words:" --Sakuntala VI. 10a and of the King's speech in Ratnavalt (IV. 19) a afasta fa Prefazoren The verse may be translated as follows: "Is this a dream? Or is it jugglery? Or is it a delusion of the mind? Or is it a defect of my eyes causing utter or absolute confusion regarding this whole world? Or to is it my another birth (emending the texts world (patala) or in heaven? Who am I? Where doing (now)? And who has thrown me up here? P. 25: (:) The reading suggested in the printed text is not at all happy as it does not construe itself well or is incompatible in the present context. The original reading is all right. The second half of the verse may be construed sa follows: vanakharomANikyarAdhAmahaH zakrazarAsane (upalakSitAH) AzAH yathA kirmIrAstanute tathA seyaM ratimayI svargabhUH / The whole verse may be translated as follows: sq) in the nether am I? What am I Since these songs of the Kinnaras delight the ears, since the branches of the trees possess the beauty of leaves made of silken garments and ornaments and since the lustre of the jewelled banks of the forest lakes renders the quarters, marked by rain-bows, variegated I (am led to) conclude

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Mallika-Makaranda that this must be the delightful heavenly region. AcakSate... siddhAntavidaH - Thosd who are conversant with the sacred literature (faara- Canonical literature) of the Jains say that in heavenly regions there are temples dedicated, ta ever-lasting Jina idols. saprazrayaM praNamya - Bowing down respectfully; sAsram With tears and aJjalimAthAya folding hands V. 7 O supreme lord of the city of liberation, O revered one, you who are foremost in removing the profound grief of the three worlds, O you who are the wish-yielding tree satisfying the desires of mankind, O you who are exclusively or chiefly compassionate to your humble devotees, satisfy for a long time all those desires of ours who deserve your mercy and every moment pound the adamantine bars/bolts (ara:) in the form of impediments. V. 8 It is not that the creepers do not live, o friend, by ordinary water drawn from wells. However, the outward beauty of the creepers, sprinkled with rain-water, is altogether different i.e. indescribable. V. 9 In the case of persons, separated from their beloved ones, even death (lit. the departing of life) is (just or only) an external act. In comparison with death, of what consideration are such things as torment or agony (1), lament (f) or relentlessness or obstinacy (sfer) ? [That is these things are of no account-are worthless,] P.26 Even in the midst of great calamities a wise person should not end his life. For, if one be alive, somehow some good comes his way-happens to him Cf. the second half of this verse with Valmiki's famous verse; ( kalyANI bata gAtheyaM laukikI pratibhAti mA / gla zamazal az dwarzfq 11) -Ramayana, Sundarakanda XXXIV.6 Or 'jIvana hi dhIro'bhimataM kiM nAma na yadApnuyAt / Or jIvannaro bhadrazatAni pazyet / kathaM tApasakumAraH.. paTitaH / This observation of Makaranda is very striking in that the Tapasa-kumara is Mallika herself who has been transformed into a male form by Candralekha, her mother, by means of magic pill (Read Act IV pp. 33-34) V. II "O, the loveliness of his (i.e. a r who is no other than Mallika, the heroine) body or figure! O, the cleverness of his speech! O, the slenderness of his waist! and O, the broadness of his buttocks or hips!" A fine instance of the sentiment of wonder.

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Critical and Comparative Notes ratnasAnu:-Name of the mountain Meru: 'meruH sumeruhemAdrI ratnasAnuH surAlayaH' ityamaraH / V.12 That the Creator did not make him a pretty woman is really speaking due to the influence of successful ascetics. Otherwise, how could even mention about austerities destroying sins find scope in the three worlds ? - aparicitamapi ciraparicitamiva me hRdayam-.-- That Tapasa-Kumara, who is no other than Mallika, is of course. very familiar to him. for a long time. na nAma....paricayamapekSante-Every action or work does not indeed demand fami liarity. _Cr. avijJAte'pi bandhau hi balAd prahlAdate manaH / -kirAta. XI. 8 v. 13 One's mind is firmly. fixed on something although it is , seen only for a moment. Even a recently or newly born child is fond of its mother's breast. V. 14 In the case of women the stigma of not being liked by one's lover does not attach to them with reference to all lovers. A mass of snow (himAno) is hated by trees but loved by a sheaf or barley corn. . daurbhAgya-Mallinatha when commenting on 'saubhAgya' (priyeSu saubhAgyaphalA hi cArutA / kumAra V.I) praphrases it as "priyavAlalabhyam' Following him we may take daurbhAgyam to mean just the oppisite of saubhAgyam priyavAllabhyam i... priyadveSyatA or or priyadveSyatvam P.27 kamabhijanaM...tapovidhiH? Such passages remind one of Bana's style in his Kadambari 'aho bhayakautukakArI kathAsannivezaH / ' In his Nirbhayabhimavyayoga' Ramacandra has a similar sentence : aho bhayakautukakArI kathArasaH / (p.5) "The arrangement of situations or incidents in the plot excites fear and admiration." The poet pats himself on his back for his skill in plotconstruction. v.15 One will preserve one's greatness, learning, nobility and power of discriminating between good and bad until the fire of the accursed Cupid (fit. the five-arrowed, god of love) does not torment his body-frame. This verse is adopted by Ramacandra from Bhartshari's Srngarasaraka (v. 76) The Sanskrit commentator comments on this verse as follows: tAvaditi / mahattvaM mahAnubhAvatvam, pANDityaM prAjJatvam, kulInatvaM mahAkulaprasUtatvam / kulAtkhaH' iti khprtyyH| vivekitA kartavyAkartavyavicAracaturatvaM ca, tAvata, tAvatparyantameva bhavatIti zeSaH / yAvat hato nIcaH azlAdhyatApAdakatvAnnikRSTaH / paJca aravindAdaya iSavo bANA yasya

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88 Mallika-Makaranda saH paJceSurmadanaH sa eva pAvako'gniH aGgeSu na jvalati' nAvirbhavati / na saMtApayatItyarthaH / tAvaditi saMbandhaH / tadanantaraM ko vA mahattvAdiguNaviziSTa iti bhAvaH / 'aravindamazokaM ca cUtaM ca navamallikA / nIlotpalaM ca paJcate paJcabANasya sAyakAH' ityamaraH / atra madane amitvarUpaNAdekadezavarti rUpakam / anuSTup // V. 16 Our salutation to the path of final beatitude where even mentioning the name of pretty women incurs the greatest stigma. Let us not think of it. But in the course of worldly life excepting pretty women we do not find any other source of pure happiness. paramadhArmikaprakANDam -'prakANDam' at the end of a compound it denotes anything excellent of its kind : 'matallikA macarcikA prakANDamuddhatallajau prazastavAcakAnyamUni' ityamaraH / The Sid. Kau. says : "prazaMsAvacanaizca" (paannini| 2 / 1 / 66)...... gA-matallikA / gomcrcik| / goprakANDam / gavoddhaH / gotallajaH / prazastA gaurityarthaH / " These five words (matallikA etc.), all of which denote excellence, retain their own gender invariably;as prazastaH mahAvIraH mahAvIraprakANDam / darodara -Who squanderd (lit exiled, banished) paternal wealth by gambling. jaTharapiTharadeg Even in feeding the belly. (lit. the pot of belly) 'poTAcI khaLagI' in Mar. In Bhartrhari's Vairagya-sataka (V. No. 22) we find the last quarter containing the expression jaTharapiTharI (jaTharapiTharI dUSpUreyaM karoti viDambanAm / ) Possibly this expression Ramacandra might have adopted from Bhart paramukhaprekSaH 'Looking , at another's face', i.e. depending (entirely) on another. V. 17 The four vilest or meanest things created by God Brahman are : 1 the vices of the good people, 2 the hard-hearted nature of women, 3 the fickleness of wealth and 4 the meaness of kings. V. 18 It is a wonder (How strange it is) that even those persons who even for support of their life ever depend on others (lit. look up to the faces of others) continue to live, laugh aloud, and play (games or) amuse themselves. seAroSam with jealous anger. V. 19 Ramacandra adopts this verse from Bhartshari's Sragaras ataka (V. No. 57). It may be translated as follows :V. 19 What wise man can possibly find pleasure in loving a prostitute a woman who, with the mere hope of gaining a little money, sells her

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Critical and Comparative Notes 89 lovely person (even) to a man blind by birth, or a man who is foulmouthed or scurrilous, (durmukha -or a man who is hideous or ugly), or a man whose whole body (that is, who) is worn out with age, or a villager, or a man of low origin or a man who suffers from leprosy (in which blood and pus trickle). What man indeed can love a prostitute - this knife - this scythewho cuts down the divine wish-yielding creeper in the form of the power of discrimination ? Ramacandra - Budhendra comments on this verse as follows : paNyaGganAgahaNaM kurvannigamayati jAtyandhAyeti / jAtyandhAya janmaprabhRtyavasannadRze puruSAya ca duSkulAya ca durmukhAya mukharAya / bahugadya bhASaNadUSitavadanAyetyarthaH / 'durmukhe mukharAbaddhamukhau' itymrH| yadvA duSTaM vyAdhyAdinA jugupsitaM durgandhayukta vA mukhaM yasya tasmai / jarayA visrasayA jIrNAni zithilAni kRzAni vizlathasaMbandhAni ca akhilAGgAni karacaraNAdyazeSAvayavA yasya tasmai ca / grAmINAya grAmAntarAdAgatAya ajJAtakulagotrAya pAnthAya cetyarthaH / kiMbahunA galatsra samAnaM kuSThaM kuSThajanitapUyaraktAdi tenAbhibhUtAya garhitAya ca / lakSmIlavazraddhayA saMpallezaprAptyAzayA manoharam atisundaraM nijavapuH svazarIraM yacchantISu apaMyantISu / cumbanA leSaNadantanakhavaNAdisaMbhogArtha tadadhInaM kurvtiivityrthH| ..... tathA vivekaH kartavyAkartavyavicAraH / sa eva kalpalatikA tasyAH zastrISu charikAsu / vivekcchedkriivityrthH| vivekasyApyakhilArthasaMghaTakatvAt kalpalatikArUpaNamavagantavyam / 'syAcchastrI cAsiputrI ca churikA cAsidhenukA' itymrH| . . . paNyatrISu vezyAGganAsu kaH pumAn / vivekarahito'pItyarthaH / rajyeta anurakto bhavet / na ko'pItyarthaH / 'vArastrI gaNikA vezyA sulAvaNyAGganApi ca' iti vaijayantI / zArdUlavikrIDitam / V. 20 What is reprehensible for the world is in the case of courtezans praiseworthy like a religious duty. What other virtue is to be expected of them ? V. 21 Whether a stranger could do a particular job (karyam - work, business, duty), whether it would rain, and whether a courtezan could be won over - in regard to these three things even god Brahman would be unable to decide (correctly). V. 22 It is not possible for a spirited man, who has lost his wealth, to live in his community. This is precisely why the sun with his orb discarded (or condemned, or driven away or thrown off) to the setting moun. tain leaves the sky. HIGO3deg At present no such bird is found to exist in India. Whether it once did exist in India or whether it is an imaginary or mythological bird, it is difficult to say. This is frequently mentioned in the Jain Sutras. It is also mentioned in the Vasudevahindi and the Pancatantra. It occurs as a standard of comparison in point of extreme carefulness or 'watchful. 12

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90 Mallika-Makaranda RCBS (37847ar). It is generally spelt as #1803 but occasionally as it's too. Acarya Hemacandra (Desigamamala VI. 108) informs us 18 GTH #TFE3'. In the commentaries on Jain Sutras the bird is described as follows : bhAruNDapakSiNaH khyAtAH tripadA martyabhASiNaH / dvijihvA dvimukhA caikAdarA bhinnaphalaiSiNaH // In the fifth "Tantra' of the Pancatantra we read : ekAdarAH pRthagyovAH anyonyaphalabhakSiNaH / asaMhatA vinazyanti bhAraNDA iva pakSiNaH // In short, it is a bird with one 'belly', two 'necks, three 'legs', two mouths,' eating the same fruit. virahavahni -Whose body is intensely burning (daMdahyamAna-pres. part. from the frequentative of Va to burn) with the fire of separation. tifea - "A great danger, misfortune or calamity. Strictly speaking the word ought to be feat. The second 37 seems to be lengthened on the analogy of the word farata (which is really equal to fagf )'_Vikramorvasiyam-Notes to (P.78) by Devadhar and Patwardhan. A. B. Gajendragadkar (Venisamhara, 3rd ed. p. 294) however says: "Explain the word as ala ya wale which one very much takes to one's heart; or as atyantamAdhIyate tannivAraNArtha mano doyate yasmin. which one tries very much to avoid." BEI I AR faratrat Alat | Oh, how disregardful is my mother to me! Cf, with this : TFT-37E Facgarfaat ARSA: 1 Ratnavali IV, 3-4 P. 31 V. 23 Forgiveness of a Brahmana, hatred of a mother, love of a courtezan and courtesy of a master--these form a set of four evils or misfortunes. hala.... Saugat:-[Even) minor misfortunes (or calamities or troubles) do not overpower those persons who dwell in Jain temples. aa, Hafa ceguJHT 29T-As the Tapasakumara was none else than Mallika (who was transformed into a male by Candralekha, her mother, by using a magic pill) his beloved, this statement of Makaranda is literally true. V. 24 What will the queen do to me who am ready to face death? What can a vile (cr mean) master do to a person who is free from desire ? 972 =deg74=26ft) One who has girded up his loins i.e. one who is ready or prepared. faran (=felsor) a Desireless, satisfied, free from desire

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Critical and Comparative Notes 91 - literally means a worm, an insect. But it is also a term expressive of contempt and in this sense generally it is used at the end of compounds); SO HEztita means a wretched man' HEART: yg 7 afa-'qg sa' means 'to stop following somebody.' The sentence therefore means : 'you (still) follow my daughter ? This is a popular saying. 9a zahfg Tag ATTATH-Although dead I shall kill him with my own hand, This too is a popular saying. Hanh Embarassingly, perplexedly. P 32 Fefferar (Standing in between) Interfering you sabotage our plans ? Act IV P 33 E46710 - Even when great calamities befall men they find it difficult to give up their life. For seeing this Tapasakumara I have again got a desire for life. Cf AMT (TOTT TEATSSERTA ) #TATEET: 1 ani de gafa #sifarisle: age: -Ratnavali IV 16-17 Vi Death is not welcome to a man even when he is separated from his beloved people or even when he is mortally wounded by his enemies or even when his limbs (say, hands and feet) are completely severed (or cut off or chopped off). Hata - Hearing the good or beautiful name (of Mallika) P 34 V2 Unimpeded or unrestricted love alone is the (real) bolt or bar (i.e. fence) for protecting women. Acting the role of a guard (lit, surrounding as a bodyguard or dressing as a foot-soldier) only brings misery to the husband. fag-, -- STEEL would have been a better reading, although there is not much difference in meaning between the two forms. P 35 V3 Truthfulness, compassion, charity and tranquility--these are the faggots (unique causes) of religious merit. The use of a weapon or fire or noose (round the neck) (for putting an end to one's life) on the other hand only (or simply) leads to physical pain or agony. ang: lit. fuel or sacrificial sticks for the sacred fire. Cf for its use : dhRtiH kSamA dayA zaucaM kAruNya vAganiSThurA / mitrANAM cAnabhidrohaH saptaitAH samidhaH zriyaH // --A&Tha 4. 620

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Mallika-Makaranda Abhinavagupta comments on the use of the word samidhU thus : sa micchabdArthasyAtra sarvathA tirskaarH| asambhavAt / samicchabdena ca vyaGagyo'rtho'nanyApekSalakSmyuddIpanakSamatvaM saptAnAM vaktrabhipretaM dhvanitam / dhvanyAlokalocana 3. pR 290 (bAlapriyA AvRttiH) V4 This young damsel offering to her lover (husband) the means of decoration obtained from a different young man (really) gives pleasure. In comparison with her that ambrosia (the beverage of the gods) is in vain (is useless). gat Har 'By becoming small or unimportant or less prominent V 5 In the face of powerful enemies he who becomes small does something remarkable afterwards. Making himself small as a cowherd (boy) Hari (later) killed Kamsa. Hari-Visnu, who in his eighth incarnation was born as a cowherd boy and known as Krsna, 7 quafia fagsyfarfgai gfafa-Dangers (or calamities) do not prevail over persons who dwell in the Jain temples. This sentence is almost the repetition of a fa fagraartaat g ar: 1 p.31, supra. V 6 Women with their love firmly fixed (on their lovers) give up even their (precious) life (for the sake of their lovers.) In spite of this fact tha) the learned despise women. How strange ! V7 Are there not such women in hundreds who, although courted by men in hundreds of ways, do not (even) think of love (lit. do not remember signs or tokens of love). On the contrary there are no such men at all who do not every moment melt away even by the (more) mention of the names of the fawn-eyed ones. lalATaMtaphnastapano viharAmi Cf makarandaH (upamRtya) / sakhe lalATaMtapastapati tapanaH / tadasminnudyAne muhUrtamupavizAvaH ! --mAlatI 1-19-20 V8 This verse is also to be found in Nala-Vilasa (1. 12). It may be translated as follows: The bowers charming with the sweet warbling of the water-crows, the cocks, the Cataka or Tittira birds, the ruddy-geese, the cuckoos (saranga), the bees, and the park , pleasure lake, the arbours of Jasmine creepers fully grown on the banks, and the court-yard-ground delight my heart. v 9 Mallika is the last limit of excellence or eminence or beauty - her face puts to shame (lit. ridicules) the moon and fame (as regards brilliance); her bimba-like lower lip is the uterine brother of (i.e. resembles) ambrosia; her words are the dazzling lustre of the sovereign ruler Kama (Cupid, the god. of love); her eye is the moon-light to the world: ber sloping breasts

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Critical and Comparative Notes 93 are the stage for the actress of Laksmi (royal glory) and her behaviour keeping in with decorum is the graceful sport. Incidentally, it may be noted that this verse is cited in Natyadarpasa with the introductory remark : "o ama asla 9#TU 777:"-- V. 10 (My beloved's) face has its broad cheek iesting on the palm of her hand; and her eyes resemble red lotuses; the decoration (applying of sandalpaste, etc.) of her body is worn out or dried up; her speech is syntactically Topse; and I think that my beloved, with beautiful eyes resembling blooming, lotuses, views in all directions her own breast marked with beautiful columns of panegyrics deseribing my sportive or playful exploits, The second half of this verse is somewhat obsecure. It probably refers to the exploits of Makaranda, the hero, who saved Mallika, the heroine, by frustrating her attempt to commit suicide by cutting off the noose round her neck with a sword and when she fell down unconscious he fanned her by the end of his garment and shampooed her breast - her heart by removing her bodice. Makaranda now fancies that Mallika in her love-lorn condition must be mentally viewing in every direction this particular exploit of his. P 36 e... Targar art: Cf writte Barris q5qhstTart: 9gagafa marPOTATT: 1 Nala. III-11-12 V 11 Even though there is indeed no relative importance or value between various objects of sense the fact remains that the (melody of) songs and lovely women at once stand out from amongst the rest of the objects. V 12 I bow down to them (!) who are like stones (lit. who are uterine brothers of stone i.e. who are absolutely insensitive) and who are not delighted even after hearing the sweet warbling of cuckoos ! For a somewhat similar idea Cf : na gItazAstramama'jJA na tattvajJAzca ye kila / apaurapazudezyebhyastebhyaH pumbhyo namo namaH // AstAM mama parijJAnaM yeSAM gItaspRhA'pi na / karaGgebhyo'pi hIneSu mayatvaM teSu vaizasam // -nala.3.10-11 y 13 A calamity which ultimately eads in inconceivable acquisition of wealth (for you) is a uterine sister of wealth in other words, is indeed wealth itself). The poison, which destroys (or cures) diseases, is a proxy of ambrosia.

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94 Mallika-Makaranda V 14 In the first quarter we may fill in the gap with the word Afon, or 75 or ta . The verse may be translated as follows:- "Even some small man achieves an extraordinary and (equally) difficult task which is impossible to be achieved by the great. The face-lotuses bear greater beauty than the tambula when camphor is added to it!" P 38 TT gert TifaT: I 'Oh the arrangement of incidents (or the construct of the plot) is (really) marvellous' ! The sentence, no doubt relevant to the context, indicates the poet's habit of peeping in his own drama. ' TSQ 9 ai g'ai haat mala"--This sentence reminds one of Kalidasa's sentence (Kumara. V.83) a s Theatshiya Tutfa afarga T: # 9197171 and of Magha's famous Arthantaranyasa (Sisupala. II. 40 cd); sf 9791HSHATE ga: 1 The poet's following sentence fatago F rerai #grafa' distantly reminds one of the line 'Firaugagar afgafa' (Mudra. II. 17) fty- fag: flig:, al apakarNitavAn- The word apakarNita appears to be formed on the analogy of 379&ffaa. V 15 This verse occurs in Kaumudimitrananda (II. 8) also It may be translated as follows : His increasing wealth is a standing testimony to his good fortune. The greatness of the high-souled ones lies indeed in measuring their own strength, 998 91919: q : fafe afaquafa-If there be any remedy against this vile or wretched 'happening' incident or event. V 16 Making entreaty or preferring a request is the chief (defect called) lowness or baseness or inferiority and pot preferring a request is the highest merit called superiority. All other merits and defects are the offsprings of these two. V 17 Finding that cows and other cattle have regard for grass the Creator again created beggars as a standard of extremely light things. Cf. aurela Ferrera 24/24: 1-garao quan and, fitgaf bhavati hi laghuH pUrNatA gauravAya |-megh 20 V 18 Even (one's own) father making entreaty causes torment (or anguish) then what to talk of others ? The flood of even the ocean of nectar inundates (or overflows) the people.

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Critical and Comparative Notes 95 V 19 We however see one good point (lit. great dignity or respectability) even in 'begging' if it results in acquisition of wealth that is capable of achieving another's work. V 20 . Let us leave alone these beautiful women who cannot be won over without (the use of) money. You better think of those women who cannot be won over even with (the use of) money. P 41 V 21 The spirited are truly so called so long as they do not evince low-spiritedness or pitiable condition. That lion who does not allow himself to be captured is a true lion. V 22 Pride (or haughtiness) does not depend on "Varna' (principal caste or one's caste). It depends on 'sattva' (inherent power, the stuff of which a person is made). This 'sattva' may be found even in a merchant and may not be found even in a warrior (a member of the military or second caste). Cf &are FF FERIE I 4594 | Veni. IIL 37 The quarrel-scene between Karna and Asvatthaman (Venisamhara Act III), must have provided some hints to Ramacandra when he was portraying the quarrel-scene between Citrangada and Makaranda. P 42 'ATASUTAT 03947:'- there are Upayas or means of success against an enemy: 1 Saman-Conciliation (or Negotiation) 2 Danam-Bribery 3 Bhedah - Sowing dissensions in the ranks of the enemy and 4 DandahPunishment (or open attack or war). These four Upayas are to be employed in that very order. If the desired object or aim can be achieved by employing Samas, it is obvious, one should not employ'danda' (open attack). V 23 All the words in a language) somehow convey the external sense only. But words like fortitude in the face of adversity (or calamity) apply to the inner soul only (and not to the body.) V 24 The (lamp-black or) soot of a lamp arising out of even camphor is dark. The pleasing (or agreeable) speech of even as humble enemy turns out to be uopleasant (or disagreea ble). Act V P 43 V 1 The learned men, who are not satisfied with wealth, perish; royal wonnen who are not satisfied with sexual union perish; and the servants of a healthy wicked master perish. V 2 Do not the night-lotuses contract during the day, and the sunlotuses during the night ? In whatever way (172T) the pitiable lakes suffer

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96 Mallika-Makaranda misfortune (or find themselves in evil predicament) day and night. Cf. alagafafa agafaroverai : Vikra morvasiyam III, 16 cd P 44 V 3 With the submarine fire, possessed of great splendour in its interior and burning incessantly how much water is (really) dried up? That no water is dried, is indeed) strange (or surprising). V4 Ramacandra adopts this verse from Bhartphari's Srngarasataka (Bharatiya Vidya Bhavana, Bombay, ed., 1959) Wbatever one does not like, one has no eager desire or longing for it even if it be beautiful. The lotus-plant ( atal- with its lotuses blooming during the day) has indeed no longing for even the beautiful moon. Dhanasara's gloss on this verse reads as follows : Rafaat afhofaa a tatra manojJe'pi padArthe tasya spRhA na bhavati vAJchA na syAt / amumevArtha kavidRSTAntena draSyati / nAma iti saMbodhane / sarojinyAH kamalinyAH sudhAMzau candrara/si kAmo na bhavati ullAso na syAt (? Hafa) fa gaisit ? quasfoi V 5 The three branches of the tree of sorrow grown over lacs of births are: I Taking service with the wicked (masters) 2 wealth belonging to your enemy and 3 entertaining love for those who do not at all give any response. P 45 V 6 Falling deeply in love with those who are averse to love, is the real poison, the poison churned out of the ocean is only its reflection (semblance or image). P 46 V 7. One desiring one's lover's happiness should disregard the distress or torment by the wicked people. Women longing for decoration (quietly) put up with pain caused when putting on ivory bangles. Dr. Bhayani would like to interpret the 'Fraestera' as given above in the translation. He informs me "Here aggi=heavy broad ban les made of ivory. gUjarAtI 'hAthIdAMtano cUDo' One who makes ivory bangles is called ' T' in Gujarati." I am thankful to Dr H. C. Bhayani for his interpretation. It is however equally possible to interpret it with Prof. R.B. Athavale as follows: "Women fond of tattooing (usato) bear the pain of the puncturing of their skin (for marking it with indelible patterns by inserting pigments in punctures) with a (sharp) ivory needle." V8 The clouds completely remove the (scorching) heat (of the sun); they fill huodreds of rivers like Ganga with water; they cause the sprouting of the trees. But by their not quenching the thirst of the poor Cataka bird--by this one fault only--all those good qualities have been wasbed

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Critical and Comparative Notes 97 out! Oh, how people ignore a host of good qualities and are fault-finding (by oature) ! In this interpretation we are required to understrnd vRddhi by viparItalakSaNA in the opposite sense of ar or 137. I would venture however to hazard a conjecture that the genuine reading was yavyRddhayartha0, vya'ddhi (meaning ill luck, misfortune, non-prosperity). has been corrupted into 'fe' by the scribes. 'That one fault has proved the ill luck or misfortune of the clouds', makes good sense. In a number of verses dealing with ara (and #9) we get references to the tax who is farer T', 'afsa que qua fer una maata #94', 'fararkte fikir25017964 4721a49 50 anziah i etc. Naturally the poet in the present verse refers to this one fault of the clouds 'which is not merged into the number of good qualities' in contrast to Kalidasa's statement: get fe a I r a faqafa (Kumara I. 3). The use of the word atraat in the sense of 'a river is rather unusual. P 47 V. 9 As the moon and the sun are dark to a man who is bornblind, even so for a person who has violated the vow of chastity the (whole) world is (as if) beyond good and evil deed. (That is, such a person simply does not bother about the good or bad nature of anything he does). V, 10 This person (referring to Candralekha) dreads a public scandal that invites a danger or calamity. Any other scandal she (simply) considers as 'a skyflower'-as an impossiblity - as non-existing. a hi af 15 hafa--you excite (or inflame) me by your crooked speech or innuendoes ! afazarsfe Tw=farrzarsfe you are frustrated, foiled, beaten off. The expression corresponds to 'H' in Marathi. P 48 V. It Out of regard for one's dear person one sets one's heart even on a disagreeable (thing or) individual. Rains, although they give rise to mud, are a source of delight to those who are desirous of a (bumper) crop. V. 12 Even those persons whose crime (The criminal deed) bears fruit are not worthy of praise by the high-souled ones. We bow down to them whose crime (? good deed) even does not bear fruit. V. 13 When compared with one-sided love in matrimony-one has to admit--even want of love conduces to happiness. A face unadorned with a 13

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98 Mallika-Makaranda 'tatanka' (a large ear-ring) is preferable to a face with a tatanka adorning one ear only ! cf with this verse the first half of Malavika III. 15 staratexfogat: prasidhyatA samAgamenApi ratirna mAM prati / V.14 As women are the object of love for men, even so men are the object (of love) for women. However in matter of love it is men, and not women who are, generally speaking, very impatient. Cf with this verse Raghuvilasa IV. 13; zaranikaraM varSatyapi bhagavati madane ghane'pi ca premNi / prAyeNa strI kathamapi dhairya na jahAti puruSa iva // V.15 O Obstinate girl, give up your obstinacy; controlling your anger direct your mind to proper thoughts. What a world of difference is there, O you with blooming eyes, between the Vidyadharas, who are the crestjewel of those flying in the sky and men who are (only) worms living on the earth? Ha a fahar94-Fortunateness (consisting in a man's apd woman's securing the favour and firm devotion of each otber) depends on the pair or couple. Mallinatba's gloss on aluste runs as follows : 3 UHA I , at agar: yra ga 9:Megha. 29 and TTU fatetun Kumara. V.1. Tafer (?) This (compound) word does not yield any coherent, logically satisfying sense. It is the Sanskrit equivalent of path of the original Prakrit word. But it is not the genuine reading but a scribal error and needs to be corrected to 24' (FYSAET) in the light of Ramacandra's own use of this expression in his Nala-Vilasa : (i) faq=-a HUNG Apel zaferit ...(#AEon Arar f erla1) g 24 (ii) vidUSaka-jai esA thUlamahisI kaDiyarDa naccAvaMtI mamovari paDedi, tA dhuvaM maM mAredi / ( yadyeSA sthUlamahiSI kaTitaTaM nartayantI mamopari patet tadA dhruvaM mAM mArayet / )-pR 24 These two passages leave us in no doubt that the original reading in our text must also have been thUlamahiseNa (sthalamahiSeNa ). sthUla means "fat' 'corpulent', 'burly.' V.16 O Mallika, rejecting me who am (a veritable) god of love you accept a trader who causes ridicule, shame and dejection. "Women are generally devoted to the low-born" --this popular saying you indeed sub. stantiate (lit. you make or render incontrovertible ).

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Critical and Comparative Notes 99 .17 Even Indra's wife, with lovely eyes, hatkers after your physical beauty which is incomparable (lit-illusti ious) in all the three worlds. Depositing this (unsurpassed) beauty with that trader, whe is the prince among misers (lit the jewel among misers) why do you, o fawn-eyed one, cause dejection or sorrow in the miods of the shrewd ones (or the sharp-witted or the clever ) ? P 50. ri gara BH 4: 7 ga: 97: To every person his own self is dear and not another's self. Cf the Subhasita : #19: $64 964: 1 V.18 o lotus-eyed one, reply to me, be pleased. Please tell me, o beautiful one, why this scandal in regard to showing a favjur to suitors ? O you with handsome teeth, when you will start speaking (with us), life, the prime of youth, gracefulness of gait (lalita n), wealth or charm (carima)--these things will give us delight. V.19 For us who are intent on propitiation there is humiliation only. The dead do not indeed come back to life by the flattery of their kinsmen. V.20 What pain or shame can this tying of my arms by rope cause to me who am already bound by the bond (or tie ) of Mallika's love (for me ) ? V.21 We agree that the ocean is able to put the jewels at its bottom and settle grass on its surface. But it is certainly helpless in hiding their innate qualities of jewelness' and 'grassness'. cf with this verse Bhartshari's Nitisatakam (v 14) for a similar thought : ambhojinIvanavihAravilAsameva haMsasya hanti nitarAM kupito vidhAtA / na tvasya dugdhajalabhedavidhau prasiddhAM vaidagdhyakIrtimapahartu masau samarthaH // hqa a qfa: (0 Kapinjala, ) this your master STEFHET: ( = my in v. 21 ) able aurat ( = acl*: in v. 21 ) helpless. V.22 (Citrangada addresses Makaranda-o vile man, ) you do not have an iota of the trader's art for you, through infatuation are about to give up your own life acquired through good fortune in return for another's betrothed virgin who belongs to an altogether different pecies and who is not offered to you by her parents (lit father ). Hart 2....caq." O you wretched aerial spirit (= Vidyadhara ; et

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100 Malika-Makaranda also means a bird ), O you blockhead (slow-witted, simpleton) you to lecture me on the course or ways of the world! V.23 This wretched life is to end one day) in connection with some affair or the other. If I give it up for the sake of my beloved, tell me, whether I have not the unique trader's art. P.52 TUETTA - In Uttararamacarita (111. 23 d) we have anyrytar grada ger' and Malatimadhava (111. 16.b) Farga 9 7 graag f or " ... Harut:" | Cf for this philosophical thought the following two passages : (i) rudatA kuta eva sA punarbhavatA nAnumRtApi labhyate / 9789991 199startani faqat fg afgai 11 Raghu VIII. 85 (ii) CATATH agfafa5954 ... 7 Fiata: 17 9TEIT#hitafafhale i anyAmeva svakarmaphalaparipAkopacitAmasAvavazo nIyate karmabhUmim |-kaadmbryaa candrApIDakRtaM mahA vetAsAntvanam . V. 24 Giving up your improper persistence (or useless obstinacy) desist from (following ) the forbidden or vile path (garbitadhvanah). Go to your place; take up some means of livelihood; somehow enlighten this girl with eyes like expanded lotuses. With your large (or broad) neck falling asunder why do you wan' to become the guest of Death (Yama, the god of death)? V. 25 This is my right path (satpathah) -corrector virtuous conduct ); this Mallika is my abode (padam): what else ? She herself is the source (lit. the livelihood) of all my wealth; she has already decided (lit known) to accompany me to heaven. Hurry up, punish me and marry this your wife. P. 53 V. 26 Shouldering calamity, the spirited are at all times firm. The bandits (even) seeing the king's sceptre (i. e. knowing full well that punishment would be inflicted by the king ) steal wealth (riches). A g safari-(?) fagig (ataifa gaa.... TETET 1) The reading 'galfari' is certainly a wrong one. It makes no sense. The genuine reading must be, I feel, gafasi ( 39fara ) which means 'a portent boding misfortune'. V. 27 Here, here now, with she neck cut off (seversed off by a new sword you'll meet death. Remember (therefore) quickly some deity, with your life being robbed by the curved eyebrow on the face of the dreadful God of Death. v. 28 I call to mind (remember, the pair of feet of the Lord Jina (Vitaraga) for rerroving my suffering-the pair of feet whose darsaoa'

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Critical and Comparative Notes (sight) is venerable on account of [such excellences as] friendship (maitrs), joy (pramoda), compassion (karunya) and impartiality (madhyasthya), Act VI P. 55 V. I A person who even for one's own sake crosses the right path pains the good (lit. the minds of the good). But what shall I say of him who crosses it for the sake of another ? 101 V. 2 Just as these deer-eyed ones are the primary cause of pleasure even so if they were to be firm-minded (steady in thought or resolve, resolute) then who indeed would strive for the happiness of liberation ? V. 3 A woman full of passion gives up her life (for the sake of her lover ). But a hostile woman (a woman full of hate ) takes his iife. A woman's love or hatred is indescribably extraordinary. This verse is repeated by Ramacandra by Ramacandra in his Raghuvilasa (IV.12). Cf Bharthari's Srngarasataka (V. No. 44) for a similar thought : nAmRtaM na viSaM kiJcidekAM muktvA nitambinIm / Bangazar zeal factar fazeu || P. 56 V. 4 Every one performs an improper thing out of a desire to save one's life or secure wealth. This one is great or this one is small this distinction is true in all other cases. P. 57. V. 5 Her body is as delicate as a Sirisa flower; the ointment of her pair of cluster (? jar-)like breasts excels in beauty the golden jars; her speech surpasses (lit. laughs at or derides or ridicules) that nectar born of water (in point of sweetness). For what reason you are not the object of Madana's love? stana 0 means ointment (or paint or pigment or paste smeared on the breasts of women ). of 'avalepastu garne syAllepane bhUSaNe'pi ca' iti vizvaH / fa Casts off, throws away (means of) decoration. V. 6 The spontaneous love between the blessed (or fortunate) ones persists throughout their life like the (instinctive) love between the pair of eyes which are simultaneously awake, simultaneously sleep and simultaneously experience joy or simultaneously suffer grief. For a somewhat similar thought of the well-known subhasita: karAviva zarIrasya netrayoriva pakSmaNI / avicArya priyaM kuryAt tanmitraM mitramucyate //

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102 Mallika-Makaranda P. 58 v. 7 (Since) you pour out (emit or stream forth or ooze) nectar on my person during our union (or contact) I guess that you are, indeed. fashioned out of the rays of the moon (the moon-light) but during our separation since you pierce (my) vital parts with sparks (kana) of the fire of the chaff (or husk of corn) I guess that you are fashioned out of fire. V. 8 Those men, in whose houses dwell women who are firmly attached (to them) on account of their genuine (or spontaneous) love, even though they are human beings, enjoy divine glory. mallikAyAM devatvamiti ladhvI mAtrA-To say that Mallika is divine is an understatement (lit. a small measure). It is however to be noted that the expression 'geal RIST' is used in the appropriate sense in Mudraraksasa (I. 19-20). caraH-ajja, avaro kkhu amaccarakkhasassa piavaasso kAatthA saaDadAso NAma / cANakyaH-(vihasyAtmagatam ) kAyastha iti ladhvI mAtrA / tathApi na yuktaM prAkRtamapi ripumavajJAtum / In this context geeft wat is used in the sense of a small measure' (nothing very important) and indicates contempt for the Fif2774 community, from which hailed many a scribe. V. 9 Here I fold my hands (to pay respects to) the clay out of which you the (veritable) image (or copy) of Kamadeva's bride, were fashioned, The creator is really a blockhead since having created you of such superb beauty which is beyond the description of poets he did not take you as his wife, o beautiful one. ( gfa a youthful la 'y having handsome teeth). V. 10 It is the ill-luck of the nether world that you were not born as the daughter of Sesa. Otherwise, with the moon of your face always present how could dense darkenss have found place there in the nether world) ? The translation presumes the reading 27ofa. The printed text reads q safa. With that reading we will have to translate the second half as follows: "In the absence of the moon of your face there is dense darkness (in the nether world); otherwise where could the dense darkness find a place ?" This way of understanding the verse is not quite happy. aforu...faraoT -- I am only a merchant's daughter, and I do not deserve such high compliments paid by you. v. 11 The cow of plenty (Franetala:) went to heaven; the demons took away the spirituous liquor (all-wine); the gods took away the nectar

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Critical and Comparative Notes 10} (g ), Laksmi ( ) resorted to Visnu's chest. With his daughters thus roaming at pleasure, the ocean vehemently desirous of ( float) a daughter, again created you, the nectar for the eyes of the world. P 59 V. 12 Oh, with you thus speaking words charged with love on this earth the shameless cuckoos warble. With the spotless moon of your face ever present, this ocean not having flood-tide all the time is indeed inanimate (upintelligent, block head, and also, 'consists of water oply'). The translation presumes the reading 'aa97a1:' in place of the printed reading "TATTISJAT:'. In the printed text the fourth quarter reads gacchannamburAzi. The translation however presumes the reading gacchannAmvurAzi. V.13 Today I have become fit to be counted among the aerial spirits - the Vidyadharas; today the creator with his mind struck with wonder has seen me with his eyes pleased. Today for a short while I made Kamadeva (the god of love, Cupid) envy me (lit. I bathed him with envy for a short while) - that Kamadeva whose feet are praised by the gods Brahmadeva, Visnu and Siva. V.14 This god of love of dim sigbt possesses in you a weapon skilled in gaining victory and of renowned lustre. Why is it then that he does not take vengeance upon Siva (who had burnt him to ashes). The efforts of even a very small (i.e insignificant) person, made at the right time, bear fruit. The translation presumes the readings 'n' instead of 'F') and gaan (instead of as the printed readings do not yield a coherent sense. Cf with 14.d : 4 RE 09481f $ap 1--Ata s. 83 (E) P.60 479 There is a pun on the word 'samaya'; accordingly the phrase would mean (i) Through the influence of time (ii) In accordance with the engagement or agreement (or the plan devised). V.15 That Lord Purusottama (=Visnu), 'the slayer of Kamsa' i.e. Krsna (the eighth incarnation of God Visnu) longed for that Radha who was born of a cowherd, and was attached to Laksmi a marine or aquatic animal; still in this world he is believed to conduce to prosperity or glory, But you hate me, the best among the race of Vidyadharas (also, the pearl-jewel in the bamboo of the race of the Vidyadharas), longing for you as wife; that trader, on the contrary, is dearer to you; how to explain this? Oh, the states (or tendencies) of mind are of varied forms (strangely shaped),

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104 Mallika-Makaranda The general statement anfaati FTT' at once reminds one of Bharavi's statement : fafater: 3 Patay:' (Kirata 1.37-commencing with SATA as a arqet fag). af FSTETTrafg ugat fa=TTIFIT:-- "If it be the peculiar or proper duty of a family or caste (start=a duty or custom peculiar to a family or caste) then we have nothing to say." (gffa: fazlaart:' this idiom reminds one of 'vAcastato mudritAH' in the stanza opening with "atyuccAH paritaH Entfa forzy:" and cited in Kuvalayananda. P.62 A Peal's words "fega...sfazi u 7 IT!" remind us of the words of sAgarikA:-hiaa samassasa samassasa / maNoraho vi de etti bhUmi Na gado / (ratnAvalI II immediately following the verse fa qfaat etc.) The context demands that the play-wright should have given the stage direction ( Atmagatam ) before the words "hiyaya' etc. The reading referaqa' does not seem to be very happy. Probably the original reading might have been lag . This conjecture finds support in the play "Kaumudi" (of our own author) 3tanaga 1979 gait SAI (p. 36). In the Uttararamacarita (II. 24.a) we have a reference to as's in 375:-'aca: geare 4387 nyerya:'. 37 and 37 both mean the same thing: A respectful offering or oblation to a god or venerable person. The ingredients of this offering are : ApaH kSIraM kuzAgraM ca dadhi sarpiH sataNDulam / yavaH siddhArthakA caiva aSTAGgo'rghaH prakIrtitaH / / This eightfold 'argha', however, does not include 'phala' (fruits). P.63 gourg quia--( 3784 for 376 ) A happy or auspicious day. HOT ata qe -this convention would explain the repetition. The data fara' in the iwo plays 'Kaumudi" and "Mallika' has many items in common and the language too is remarkably identical at a number of piaces. P.64 V.:6 [verybody already comes to develop the states of mind leading to things that are to happen in future. Knowing this (truth) the high-souled ones do not get angry with the evil-doers. V.17 Just as there is an illusion that the lake is dried up because of whirl-winds (storms) or (its use by) the whole community or the rays of the hot-rayed sun even so in summer too there is such an illusion.

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Critical and Comparative Notes los The sense of this stanza as it stands is not at all clear. To get som, sense out of it, the translation presumes the reading entfgar A:'. If the verse be repeated elsewhere by the dramatist we might get variant readings to arrive at somewhat reasonably good sense. 14... HITTAJA-In all places (or at all times) daughters in their prime of life are independent of (or uncontrolled by) their mothers. V.18 Merit (90) and the (noble) family is are to be found in punya (religious or mora) merit). There is no 'virtue' in either merit (por) or (noble) family m -as such. To think that way amounts to jealousy towards a meritorious person. V.19 Obtaining, through the favour of Lord Jina, glorious fame as bright as the rays of the beautiful moon (18-2-4-37 I) and the petal of the white water-lily (said to open at noon-rise) may you become independent for a long time (or may you for a long time attaia independence of all Karman i.e, complete liberation from the cycle of birth and death). The poet deliberately introduces his own name in this concluding stanza. So this concluding verse may be looked upon as an instance of the figure of speech called 'mudra'. The verse forms the sandhyanga called Kavyasamhara. 4

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prathamaM pariziSTam :- mallikAmakaranda nATakazabdasaMgrahaH AGglabhASAyAm arthaH A ray, beam of light Who suddenly gets angry The whole body A beautiful woman Was accepted A foot A mountain Adorned, graced with A court-yard, an enclosed space Folding the hands together and raising them to the head in supplication or salutation, hence a mark of respect or salutation. Transgression Extremely agitated, purturbed, distressed A great calamity, danger Short-sightedness A very bad thing The Supreme lord A Lord, ruler, king, sovereign Inhabiting, settled in With her face downwards Half an aged woman Pure, spotless A host of calamities pRSThAGkaH 2 24 29 26 27 59 27 17 4 21 2 2 2 3 ~ ? ? N ? ~ 27 27 30 54 28 25 27 28 27 38 28 7 2 52 38 15 23 17 23 45 zabdaH aMzuH akANDako pan akhilAGgam aGganA aGgIkRtaH aMghriH ahiH acalaH acita (PP.) ajiram aJjaliH atilaGghanam ativivalam atyAhitam adIrghadarzitA adhamam adhinAthaH adhipatiH adhivAsin adhomukhI ardhajaratI anagham artha-jAta anarhaH anAtmanInaH nirvahaNam anISatkaram Not worthy of Not adapted to oneself, Not for the Leaving incomplete [benefit of self Not easy, i.e.,very difficult to be accomplished anutiSThati ( anu + / sthA) Does anupama (a.) anurAgaH anulipta (p. p. ) Incomparable, matchless, best, most excellent Love Anointed, smeared, besmeared, covered

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titulu mind it and hundit mallikAmakarandanATakazabdasaMgrahaH 2107 25 anusArI ( anusArin a. ) Following antaHkaraNam The mind andhala (a). Blinded apakarNitavAn (He) threw away, repelled 26 aparicitam Not familiar, intimate or acquainted with aparyAlocitakAritvam Acting inconsiderately, imprudence apavArya 'Aside to another' . 42 apasada: An outcast, a low man; usually at the end of comp. in the sense of 'vile', 'wretched', 'accursed' apaharaNam Taking or carrying away by force, abduction apahAraH apahastayati Throws away, repels apahAya Abandoning, giving up, leaving apAyaH A calamity, danger apuNyopasthitam (A calamity) visiting one on account of one's sin aprasAdAtirekaH Height of disfavour aprasAdApavAdaH (This) scandal, blame or reproach of disfavour abhighAtaH Striking, smitting abhijanaH High or noble family abhijJAnam A sign or token of recognition abhidadhAsi(abhidhA ) To say, speak, tell abhinIya (Mostly occuring in stage-directions--37ft+vat to act, to represent or exhibit dramatically, to gesticulate) abhibhASitam (p.p.) Speech, utterance, words, addressing abhibhUta Overpowered by, suffering from abhilaSAmi (abhi+ laghu) ro wish, desire, long for +abhiSekaH Bathing or sprinkling with water abhisaMbandhaH Connection abhyarNam Proximity, vicinity abhyAsinI (abhyAsin Practising, repeating, hence imitating) abhyutthAnam Rising from a seat (through politenss) to do honour, rising in honour of ambApratikRtiH Counterpart, substitute, hence like mother

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108 Mallika-Makaranda 3. 35 ambodhiH aratiH argalA alambhUSNuH alIkAzvAsanam alpIya avacUla: avalepaH avaSTambhaH avAcyam avihA azokalatA Receptacle of waters, the ocean Dissatisfaction, dulness, languor Bolt, bar Able, Competent False assurance, Cheering up. (Compar. Cf alpatara) a. Smaller, less A crest, an ornament worn on the head Anointing (with sandal paste) Courage, resolute or firm determination Improper to be uttered 27 57 Asoka is the name of a tree having red flowers said, according to the convention of poets, to put forth flowers when struck by ladies with the foot decked with jingling anklets. The word 'lata' is added by the poet with a view to corresponding with women (striloka referred to earlier.) azravya azrAvya Uofit to be heard asidhenuH asidhenukA A knife a-sukaraH asaMstutaH astApAstavapuH __ astoka (a.) Not easy, that is, very difficult to be done, Not practicable, not feasible Not acquainted, not familiar (With the orb thrown off on) the setting mountain (Fa: Setting or Western mountain behind which the sun is supposed to set.) Great, violent, intensive, not slight or little. pp (371+1 to hear, to listen to) Dress (A+kR Caus. AkArayati, To call near invite to a place) A stranger, new comer, guest P.p. (A+ car To act, practise, do) AkarNita AkalpaH AkArayitum AgantukaH Acarita

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mallikAmakarandanATakazabdasaMgrahaH iog ur 25 24 bhAdiza (a+a/far To lay down, prescribe, teach) (ajalim) AdhAya (A+ dhA) Folding his hands AnRNyam Aquittance of debt or obligation Atmagatam (A stage direction Atmagatam or svagatam) To himself' (dAsyam) Adhatte (A+VdhA) Renders service ApadA (f.) A misfortune, Calamity Apnuhi (ApU) Obtain, get AmodaH Joy, pleasure, delight AyAta P.P.(A+VyA) Come, arrived Arabhante (A+ rabh ) Begin, commence, set about, undertake ArambhaparigrahaH Undertaking ArAmaH A garden, grove analsia p.p. (2+1+V75T) (We are) propitiated, or attracted AvazyakakaraNam Answering the call of nature AviSkaroti (Avis+/ To manifest or make visible, show, display AzAH quarters bhAzazukSaNiH fire AzvAsyamAnaH(A+Wzvas Caus. to console, comfort, cheer up) who is being consoled p.p. (A+ dhi To resort to for protection) Asanam A seat AsthAya (A+ sthA To resort to, assume) bhAsmAkIna a. Our, ours indrajAlam Magic, Conjuring, jugglery. . -ukSa (ukSan m. An ox or a bull, changed to ukSa in some comp.) uttamarNatvam (uttamarNaH A creditor tasya bhAvaH uttamarNatvam) Being a creditor uttejayasi (u+/tij Caus. To exite, instigate) utpAtaH (An unusual or startling event boding) Calamity utsvapnAyitam (utsvapna-utsvapnAyate Den.A. To talk in one's sleep, dream, through uneasiness) bhAdhita 20

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Mallika-Makaranda 4.4 udaradhAmni (vaDavAmukhe) (In the sub-marine fire) having lustre in its interior udarabharaNam Feeding the belly, support of life udakaH Result, consequence, final outcome udIstiH Was spoken to, (was. honoured) uddhAra Drawing out, removing, deliverance udyAnakelisaraH ] udyAnakelisarasI A pleasure-lake in a garden 24 25 11 38 unmatta Frantic, man, intoxicated (maraNa+) unmukha On the point of (Death) upakaraNam Material, means upacinoti (upa+Nci To collect, gather) upanipAtaH Approaching, coming near upatyakA A land at the foot of a mountain, low land upadrava-(-drAviNI zaktiH ) Power of putting to flight calamities, troubles upanaya (upa+ nI To bring near, fetch) upapannam (upa+/pad) Right, fit, proper upabhuktavatI (upabhukta+vat+I) (f.) She enjoyed upabhogya (upa+Vbhuja) To be enjoyed upalakSya [As regards a thing) to be easily) observed upavanam A garden, grove, a planted forest upavIjya (59+walt Having fanned, having cooled by fanning upazrutiH Hearing chance sounds (to consult the wishes, delivered as omens; of the gods) upArjita (upa+ a ) Acquired, gained upAlabhyaH (Deserves) to be blamed .. Urmi A row or line eNavilocanA (=mRganayanA) The deer-eyed one aupayikam (aupayikamupAyam / vinayAditvAt svArthe Thak / upAyA dbhasvatvaM ca / ) upAya eva aupayikam | A means kaccha:-ccham Bordering region, bank, a marsh kaJcukA A dress, garb, robe kaTari (Adopted from Apabhramsa meaning Azcaryam) How wonderful 18 13

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mallikAmakarandanAdanazabdasaMgrahaH - Mr kaThinabandhaH A hard structure kaDakam (usually spelt as kaTakam) A bracelet of gold kaNThapAzapradAnam Putting the noose on the neck (by han ging) kaNThapITham Gullet or throat kaNDakam (=kANDaH, kANDam) A piece, part, postion, fragment kathA'pi Even mention kathAsannivezaH The arrangment or construction of plot kadannam (kad a substitite of ku+annam) Bad food The partical *is often used as first member of comp, and expresses the senses of badness, littleness. etc. of anything. kadAgrahaH Bad or improper persistence or attachment kandalana (kandalaH, kandalam A new shoot or sprout) sprouting kapijjala: The Cataka bird; the Tittiri bird kalakUjitam Sweet and indistinct cooing, warbling kalagItiH (1) Sweet song (music) kalAcikA (6) kalAcI (1) The fore-arm kalpadrumaH A (heavenly) tree supposed to grapt all desires, A (heavenly) wish-yielding tree. kalpalatikA A creeper supposed to grant all desires kazaH A whip [kazAghAtastADitA She was flogged] kAtaraH Afraid, nervous kAdambarI (= surA) Spirituous liquor or wine-one of the four teen jewels churned out of the ocean kAdambinI A row of clouds kAmaH Wish, desire kAmuka A lover kArkazyam Hard-heartedness, sternness, cruelty' kArpaTikavRttiH Mode of leading life as a parasite or a rogue kArSaNyam Wretchedness kAmamavI (gavI f. of gava a substitute for go) kAmadhenuH The cow of plenty, a heavenly cow yielding all desires-One of the jewels churned out of the ocean Mv

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12 Mallika-Makaranda 18 17 kAAman m. A lover, a lustful person kAryam Work kitava A rogue kinnara (-gotayaH) [Songs of] Kinnaras. Kinnara is a my: thical being with a human figure and the head of a horse. The Kinoaras are noted for their divine music, kimAkRtiH of what appearance (is he) ? kimAsannaH Whom has he approached ? (or, where is he? kiyat karma or what consideration ? i.e., of no accou* nt, worthless kirAta-yuvA A Kirata youth; Kirata is a member of a degraded mountain tribe who live by hunting, a mountaineer kirmIra a. Variegated. spotted kIkasam A bone kucaH The female breast kujaH-5jam A bower, an arbour kuNDalayugalam A pair of ear-rings kutaH From where, whence kupAtram An unfit person A cock kulAyaH-yam The nest of a bird kusumAyudhaH Lit. the flower-arrowed god of love-Kama or Madana; love kuSTha:-STham Leprosy kuharA-ram A cavity, hollow A well kUlam A bank, sbore kRtaghna (a.) Ungrateful kRtAnta. Yama, the god of death (karomi kRtAntAtithim I send him as a guest to the god of death, i.e, I kill him) kRtrima (a) Artificial, pot spontaneous kRpaNaratnam The jewel among the misers, or the low or mean, i. e., the most miserly or the meanest kurkuTaH kUpaH 20.

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mallikAmakarandanATakazabdasaMgrAH 113 kRpApAtram keyUram kautukakarmANi kautukakArI kaupIna 32 kaumArakuliTA (?kulaTA) 28 25 rur kramAgata (bAhyA) kriyA kSaNadRSTe'pi kSatatamasA (tapasAm) kSapita p.p. kSamaNA 33 A person worthy of compassion A bracelet worn on the upper arm, an armlet The ceremonies (with the marriage-thread, etc.) preceding a marriage Creating curiosity or wonder A small piece of cloth (usually a small strip, Langoli' in Marathi) worn over the privities Maidenly or virgia 'Kulata'-an unchaste woman. Kaumara is a derivative word from "Kumara' with the addition of the aN pratyaya; kumAradevasyedamiti kaumAram / Descended or inherited lineally, hereditary (Eternal, outward) act or action In a thing seen only for a moment (Cf austerities) which have destroyed sin (from-/kSap caus) Thrown, cast (A Sanskrit equivalnent of Chat found in Jain Prakrit literature)= HT pardon or forgiveness p.p.( kSip) Thrown, hurled Minor misfortunes or calamities (kSoNi bibharti iti kSoNibhRt / ) A king Silken cloth, woven silk Whose lustre is eclipsed, covered Hard or rough An aerial spirit, Vidyadhara (khe carati iti khecaraH, alukU-samAsaH) *A wall-like cheek', an excellent, i.e. broad and expansive cheeks (prazastau gaNDau gaNDabhittI 'prazaMsAvacanaizca' (pANiAna 2-1-66) iti samAsaH / B'auty of the cheek (gandhaM vahati iti gandhavahaH 0 called because it wafts odour) The wind . kSipta S 25 kSudropadravAH kSoNibhRt kSaumaH-mam khaNDadyutiH khara (a.) khecaraH (khacaraH also) gaNDabhittiH gaNDazrIH gandhavAha (also)gandhavaha) oc

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Mallika-Makaranda 29 26 25 8. 25 Ad W WW 0.00AMAA garbhagRham "An inner apartment, the body of a house', The sanctuary or body of a temple garmabhAgaH The sanctuary or body of a temple galatkuSTha:-STham (galat samAnaM kuSThaM kuSThajanitapUyaraktAdi) One of the 18 varieties of ! prosy gaveSayitum Fromw gaveSa 10P To seek, hunt for, gaveSyate Search or inquire for gAtram The body gAtrAvaniH A figure giriH A mountain gItiH A song guTikAprayogaH Use of a magic pilt gurulaghubhAvaH Relative iniportance or value gulmin (1.) Having a di.eased spleen gRhItavatI She adopted or observed or unde took gopyam (What is) to be kept secret, a secret prathilatvam (also grahilatvam ) Obstinacy prathilA (also mahilA) An obstinate or relentless lady grahaNa Buying or purchasing grahika (a.) Filled with, having, possessed of ghaTita (p.p.) Fashioned or Formed ghaTate ( ghaTa 1 A To take place, te possible) To fashion, form ghana: A cloud Heat, (the hot season) ghusUNa-rasaH Saff.on-juice cakram A circle cakravartina An emperor cakravAkaH The ruddy goose cakravAla:-lam A group, multitude, mess cazima (caGgaH zobhana-dakSayoH |-vishvprkaashH / cakyate tRpyate yena manaH sa caGgaH / 'caGgaM cAru' - hemacandra dezInAmamAlA) Beauty caTuH,caTu 0. kind or fastering words candrazAlA ('candrazAlA zirogRham' iti halAyudhaH / ) A rcom on the top of a house camatkAraH Wonder dharmaH W

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mallikAmakarandanATakazabdasaMgrahaH iis 28 caramavayaH (prasUta:) caramam 28 caritam 28 calatA cATanam cATukAra cAturI cApalyam cArimA 22 ciraparicita cira-parityakta cUDAramnam cUray cUrNaprayogaH ceTI (Born in) old age (ind) At last, at the end, last Life, adventures, stery, history Fickleness, unsteadiness Plessing or agreeable words, sweet speech or flattery Skill, dexterity Fickleness, unsteadiness (pRthvAdibhya imanijvA / pANini 5. 1. 122) (cAru+imanica ) Loveliness, beauty Familiar, acquainted with since long Left, abandoned for a long time A jewel worn on the top of the head, a crest-jewel (Sanskrit root (cUrNaya, cUray through the influence of Prakrit) To reduce to powder, pound Use of magic powder A female slave or servant Consciousness Mind A leaf A pretext, guise Beauty, splendour, brilliance Lustre, light A pretext, guise (udarakoSThikA) (The pot, pan of) the belly 1. Stupid, unintelligent, cold-natured 2. made up of water (=janasamUhaH / grAmajanabandhumahAyebhyastala (pANini 4.2.43 iti talUpratyayaH) Community Public scandal Blind from birth, born blind Another life Worn out A cloud cetanA cetas cchalaH cchaviH cchAyA (=kAntiH) chala:-lam jaThara (piTharI) jaDAtmA janatA janApavAdaH januSAndhaH janmAntaram jarjara (rasa) jaladharaH 25

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116 3 27 27 29 7 20 18 25 27 42 12 48 27 6 z 22 25 20 27 29 15 25 62 42 46 jadapaH jalpitam jAtyandha (a.) jAra: jinezvaraH jIrNa (a.) jIviteza Dambara tapanaH tapasvinI tapovidhiH takhAri (m.) tarI (f.) taskara: tApasatratam tArasvaram tirodadhAmi tirodhatte tiryagaya lokayantI tundam (n.) tUSNI (bhavati) tejasvin (a ) trapA trayI dakSiNa (kalAcI) daNDaprayogaH Mallika-Makaranda danta cUDApraveza Talk, speech Born blind A thief, robber arg:(usually spelt as are:) An ornament for the ear, a large ear-ring A vow of an ascetic A paramour, gallant, lover An Arhat of the Jains, Lord Jina Old, worn out, decayed 1 A lover, husband 2 An epithet of yama Show, pomp ( tapatIti tapanaH sUryaH / nanyAdityAyupratyayaH ) The Sun ( tapasvin a poor miserable, helpless, pitiable) Poor wretched woman Mode of life of austerities A one-edged sword A boat ( tArasvara a Having a loud or shrill sound) Loudly tiras (ind) ta/ dhA To cenceal Looking obliquely The belly, a corpulent or protuberant belly tuSNI (ind. ) + bhU To remain silent The powerful, heroic, strong, haughty Shame (in a bad sense ) A triad Right fore-arm Use of punishment (open attack), the last of the four Expedients (Upayas), Saman, conciliation or Negotiation 2 Danam Bribery 3 Bhedab, sowing dissensions and 4 Danda, Punishment -these are the four means of success against an enemy. See Note on p. 96

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mallikAmakarandanATakazabdasaMgrahaH iii dandahyamAna (vapuSaH) 3 davIyAMsaH 16 . . . c dazanavasana(bhUmiH) dasyuH dAtyUhaHdAhajvaraH dikcakravAlam divyakalpa(nepathya) dIrghadarzitA dIrghikA dopra (a.) dInAraH duHkha(rakSaNIyaH) durapatyam durAtmA (durAtman m.) duritAni durodaram durmedhAH (dume dhas m.) durlama (a.) . 20 32 42 MNS N Frequentative of /daha dandahya; 'mAna' is the present participle termination; From 144 irregular comparative of 7 distant =dazana-chadaH, vAsas (n.) A lip A thief, robber, bandit The gallioule or water-crow Inflammatory fever 1. The horizon 2 The whole world Divine dress Farsightedness A long or oblong lake; a well or lake Shining, brilliant, radiant [in general A particular gold coin 'With great difficulty or trouble' A bad child, off-spring A rascal, villain, scoundrel (du+itam-duritam) sins Gambling, playing at dice A dunce, dull-headed man, block-head Difficult to be attained or to be found, rare. Misconduct (A dwelling-place of) ill conduct Difficult to be heard, Not worth hearing, not praiseworthy A bad or low family Difficult to be abandoned A temple Preaching of or instruction in religion An attendant upon an idol, a low Brahmana who subsists upon the offerings made to an idol Slender body 111-fated, luckless, ill-starred (As if my) hands have become immobile, inflexible 28 durvinayaH duzcarita (saMnivezaH) duHzravam duSkulam dustyajaH (a.) devatAyatanam (dharma-) dezanA devalakaH (devalaH) 27 dehayaSTiH daivahataka (a.) doH stambhaH (iva me) 34

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118 Mallika-Makaranda 26 dauHsthyam daurAtmyam daurbhAgyam dvIpavatI (dvIpavatva.) dveSya (pot. p.) dhurINaH (m.) dhvAntam nadISNaH nabhogamanavidyA nabhobhavanAvacUla: Poverty, miserable condition or state Wickedness Ill-luck, inisfortune A river Hateful, disagreeable One who is av to bear a burden Darkness [nadyAM snAti kauzaleneti nadISNaH / supi'-(pANini 3-2-4) iti yogavibhAgAt kapratyayaH / 'ninadIbhyAM snAteH kauzale' (pANini 8-3-89) iti Satvam / taraGgiNItaraNakuzalaH / Bathing in rivers, Knowing the dangerous spots in rivers, their depth, course, etc. Herce] Experienced, Clever The lore or supernatural power of flying in the sky The ornament of the semi-divine beings who dwell in the sky A lotus-plant (From nATayati, Caus of V nada, to act, gesticulate, represent dramatically) 1. A heap 2. A suitable gift (From nibandhR, Author, Composer) Ind. Secretly, Covertly, Unperceived An order, Command, Unkind towards, regardless of Vitex Negundo [nigaDo, rAnanigaDI (kALyA phulAcI) in Marathi] Obstinacy, insisting upon, pertinacity The chief or head of the unfortunate, [i.e. One who is most unfortunate] One whose limbs are chopped or cut off Final liberation, eternal bliss p.p. (was) poured out, (was) sprinkl.d over Eternal bliss, Infinite bliss of libaration Free from deceit, honest, sincere 18 nalinI nATayantI nikaraH nibandhAraH nibhRtam niyogaH niranurodha (a.) nirguNDikA nirguNDI nirbandhaH nibhAgyazekhara 33 25 45 nilUnAvayavaH nirvANam nirvApita nitisukham nirvyAja (a.) . 42

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mallikAmakarandanATakazabdasaMgrahaH 14 nivasita p. p. nivAraNA(=nivAraNam) nizIthaH nedIyasa (a.) nepathyAkalpa pakSikalpa: 13 20 paJcaparameSThinamaskAra' Worn, put on keeping back, preventing Midnight (Comp. of antika) Nearer, very near Dress or costume and ornament 'Almost like' nearly equal to a bird [Kalpa' is a termination added to nouns and adjectives in the sense of 'a little less than', 'almost like', 'nearly equal to') Salutation to the five digoitaries of the Jains : 1 Arhats 2 Siddhas 3 Acaryas 4 Upadhyayas and 5 Sadhus A total of five hundred (dinaras) (952g: -an epithet of the god of love; he is so called because he has five arrows : aravindamazokaM ca cUtaM ca navamallikA / nIlotpalaM ca paJcaite paJcabANasya sAyakAH // ) The fire of love A prison in the form of a cage A harlot, prostitute, courtezan 11 27 paJcazatI paJceSupAvakaH / paJjaracArakA paNavadhUH0 paNahariNadRza papastrI paNIkRtaprANasaMpadAm padapaddhatiH 0padaviH -vI. f. padAtitA padAtisArameyaH padaMlam papAta parataH paramadhArmikaprakANDam of those who have stacked their precious lives A line or row of foot-steps A way, road, path, course (fig. also). Working (or Rendering Service) as a servant A dog of a servant (A worthless servant), A surly servant To find place From Npat to fall (Perfect 3rd per sing) Further, more than, beyond, after (with able) The best among the highly pious or virtuous persons (prakANDam at the end of comp. means "anything excellent or proninent of its kind') truth, reality (Lit. 'looking at another's face,' i. e.,) Dependent upon anothes 28 paramArthaH paramukha prekSaH

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Mallika-Makaranda paralokamArgalagnaH parAcInavadanA parAsu (a.) parikalpita p. p. parikramAmi parijanaH pariNayatAm pariNayanam (n.) paridevanA paridhApaya paripAlanA (f.) parirohat parivAraH One who is on way to the other or future world, one who is (soon or) about to die. With her face averted, i, e., turned in an opposite direction One whose vital spirit is departed, dead Created, fashioned (pari + / kram ) To walk about, walk round (in dramas) Attendants, followers, servants taken collectively (pari + nI to marry) Let (her) marry The act of leading round, (esp.) leading the bride round the fire, marriage, marrying Lamentation, Complaint, bewailing (pari + / dhA Caus To cause a person to wrap round or put on) Protection, Care, nurture, fostering, nourishing (pari+V ruha IP to grow) Growing, developing Train, retinue, attendants or followers collectively (aft N 19. A. to turn round) Transforming A female ascetic ( parivrAjaka is a wandering religious mendicant, ascetic of the fourth and last religious order; who has renounced the world) A bed, Couch, Asking, questioning, censure, reproach (From parvan a period) (From qa a festival, an occasion of joy) (pavitrata from pavitra - Sinctified) (pAMzula a. Dusty, covered with dust) One-sided A heap, multitute of the red lodhra flowers The pale - white or yellowish--wbite colour A foot-stool A Kick (The opposite of pANigrahaNam) freeing of the (bride's) hand parivRtya parivrAjikA (f.) . Ad W S cWANWGMAc8 paryaka paryanuyogaH (m.) (pApIyasaH) parvaNaH (saMparka-) parvaNi pavitritavAn pAMzulA(f.) pAkSika 0pATalApaTala. pANDimA pAdapITha:- Tham pAdaprahAraH pANimocanam 19

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mallikAmakarandanATakazabdasaMgrahaH 121 44 pAnAzanatyAgaH pApIyat a. pApIyAn pAmarajana pAritoSikam pAriplavatA pArvatIza pAzcAtya (dvAram) pASANasuhRd pASANasodaraH pijarita (a.) pitRsaMpattiH pipAsA pizunayati pIyUSa:-Sam purandhrI (f.) Renouncing food and drinks (Comp. of pApa) Worse, more vile or wicked (Nom. sing. of pApIyas Foolish or stupid A present, reward Fickleness, tremulousness Siva, the lord of Parvati Western Lit, "Having a kind heart like a stone, i. e. Stone-hearted Lit, A uterine brother of stone, fig., stonehearted Reddened Paternal wealth Thirst (Den. from pizuna) Indicates Nectar, ambrosia An elderly married woman, a respectablo matron Determined in Puranas The Supreme lord of the town of final libaration) The Highest or Supreme Being, an epithet of Visnu or Krsna, Cf. yasmAtkSaramatIto'hamakSarAdapi cottamaH / ato'smi loke vede ca prathitaH puruSottamaH // -bhagavadgoptA, 15. 16 'One who is invoked by many, an epithot of Indra Going before or in front The god of love A basket containing articles of worship from pUra 10U. (strictly the caus of . ) To fulfil, satisfy ind. Aloud, audibly (used as a stage direction in dramas; opp. Atmagatam) purANaparikalpita (nirvANa)purAdhinAtha: puruSottamaH puruhUtaH purovartinI (.) puSpadhanus m. pUjApaTala pUraya 25 prakAzam ___16

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Mallika-Makaranda prakAzyam prakRtiH pragalbhavAk (prauDhavacanaH) praNataikavatsalaH pratArayasi pratikarman n. (prasAdhanamU) pratikalam pratikRtam P.p. pratikRtiH pratigRhANa pratigRhIta pratijJA pratidinam To be brought to light or made manifest Natural disposition, temper, nature Bold in speech, eloquent 'Speaking confidently or proudly Who is exclusively kind or compassionate towards (those who bow down to him i..) his devotees (from pra+tR caus. To cheat, deceive) Personal decoration, dress, toilet ind. At every moment, constantly, perpetually Returned, repaid A likeness, Picture, an image (prati + V prahU 9 V) Accept Accepted A vow, solemn declaration (dine dine iti pratidinam / avyayI) Day by day daily, every day Towards kinsmen, relations, relatives (and friends) Prohibiting, preventing A danger An idol, A statue (From prati + pad To accept, take to) (From prati + V pad caus. To give, present) Hostility, enmity Who is kind or compassionate towards those who resort or betake themselves to him n. An answer, reply pratibAndhavam pratiSedhanam pratibhayam pratimA pratipadyate pratipAdayiSyAmi pratipanthitA pratipannavatsala 39 prativacanam pratividhAnam (pratividhiH) pratimuhuH pratihatA('si tvam) 17 A remedy, means of counteracting ind. Again and again, repeatedly (you are) hostile, struck against, foiled frustrated, (something like hAtmelI in Marathi) A deputy, an agent, substitute, proxy pratihastakaH

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mallikAmakarandanATakazabdasaMgrahaH iis pratyAsIdati pratyUhaH prathayata prapaJcayasi prabhAtabhUyiSThAyAm prabhAvaH prabhu(kRtya) prabhukaulInaprakAzanam 55 pramadaH pramANam 13 53 pramAdaH pramodaH pramodakaNikA (prati+A + / sad) is near, proximate,' has approached Impediment, obstacle, hindrance (From /prath 10.uTo show, manifest display) (From the Den. of prapaJcaH to show forth, display) When it is almost day-break Power, influence A lord, master Exposing, disclosing or making known the improper act or bad or scandalous conduct of the master Joy, pleasure, delight Authority, One whose word is an authority A mistake, blunder, negligence, over-sight Joy, delight, rejoicing, pleasure A drop of or a small or minute particle (kaNikA) of joy Departure (from this world) to heaven Accomplishment of one's purpose Full-grown and fully developed She reared me or brought me up Journeying to the other world, Slaying oneself, suicide Respect, hence 99944 respectfully or modestly (from N praccha 6 P to ask) Favour, clearness, (here rather, making pleased, propitiating, soothing) Favour Ornament (Means of decoration) (nepathyavidhAnam) prasAdhanasya vidhAnam The putting on or arrangement of dress Ornamented, decorated with (from pra+ sad To be pleased) Flowing forth, streaming forth prayANaM (divi) prayojanasiddhiH prarUTaprauDha pravadhitavatI pravAsaH pravAsitA prazrayaH praSTum inf prasattiH f. prasAdaH prasAdhanam prasAdhanavidhAnam 15 prasAdhita p.p. prasIdati prasUmara a.

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Mallika-Makaranda 7. prastutam prasthita p.p. prAgbhAraH The matter in hand, the subject under discussion or consideration (9+ F To set out) A large quantity, heap, multitude, flood here, thick, close, or profuse (darkness) The foremost, chief, principal The boldness (of his gait) i.e. his majestic or imposing or proud gait Previous, former AT: (=99:) (gateH) prAgalabhyam 91714 a. Sega. prANapravAsaH a: : a. preyAn afga: p.p. prokSaNam 22 protsAhitavato ( attinigaff) Death ind. At day-break, at dawn, early in the morning (Compr. of 2) Dearer, more beloved, or agreeable -m. A lover, husband Nom. sing. of dak (Compr. of 2) Dearer Despatched (on an errand) Sprinkling with water, Consecration by sprinkling She invited, instigated qe (from 1 A To Icap, jump) You should talk about the course or ways of the world ? (What an irony ?) Desireless, satisfied Having the girdle girded on, one who has girded up his loins, i.e., ready, prepared. Having the desire fixed on, enamoured, impassioned Imperative 2nd Pers. sing of want 9 P, To bind. Present 3rd Pers. sing. of Val 9 P, to bind. A plant with a red flower which opens at mid-day and withers away the next. morning Pleasant (from YT, pleasant, beautiful, charming) phalanistRSa mfn. 16 a. TIIT a. badhAna bamAti bandhujIvaH argfa a.

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. mallikAmakarandanATakazabdasaMgrahaH 125 90 afeje (m.f.) One who turns his face away, in different to af a. Young, not full-grown or developed bAyavAcyAvagAhin Comprehending the external sense (only) aral (f ) External, outer faratut: (farajart: Tat:) The lower lip resembling the (ripe) Bimba fruit (which is ruddy or cherry) 2017 (m.) The Creator, the first deity of the sacred Hindu Trinity, to whom is entrusted the work of creating the world bhagavan Voc. sing of HTI (revered, holy) - an epithet applied to gods etc. 49 m. is an epithet of Visnu, of Siva, of Jina, and of Buddha. Here, of course, it refers to Jina (1759- )*** In the present context it probably stands for varieties of food, choice kinds of food, delicacies Hagfazi mfn One who has broken a promise, faithless Hacaa mfn One who has violated one's vow of chastity, celibacy bhaTTinI A queen (not crowned), a princess (often used in dramas by maid-servants In address ing a queen) Ha: An actor, a stage-player bhAgadheyam =bhAgaH, dheya being added svArthe or without any change or addition of meaning, acc. to the Vartika HITETA at 4: ! Fortune, good fortune or luck bhAgineyI A sister's daughter bhANDam Goods, merchandise, wares bhAratI Speech bhAruNDa A particular bird; Hemacandra says: bhAruMDayammi bhoruDao (dezInAmamAlA) bhAva (In dramas) A learned or venerable man, worthy man (A term of address) Paripars. vika (a principal actor) who is an assistant to the Sutradhara usually addresses him

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126 Mallika-Makaranda 47 5 bhAravAn bhISma a. bhUyAMsaH bhUyobhUyaH ind. bhUruhU m. (bhUrjaka)NDakam manju a. maNDanalolA a. 46 maNDalamAdhAya 44-45 mathanabhava a. as Bhava i.e. 'Sir, 'your honour'. Cf. 'sUtrI naTena bhAveti tenAsau mAriSeti ca / And mAnyo bhAveti vaktavyaH kiJcinnyUnastu mAriSaH / Nom. sing. of bhAsvat m. the sun Terrible, dreadful, frightful Nom. plu. of 2 meaning numerous Again and again A tree An amulet (made of birch bark) Lovely, beautiful, charmiog Longing or anxious for, eager for, eagerly desirous of (lola) decoration (maNDana) Drawing the so-called charmed circle (The charmed circle is usually drawn by a conjurer, juggler or magician) Arising or produced from the churning (of the ocean) The middle part (Here it refers to the garbhagRham of the temple) (kITa: A worm, an insect; when used at the end of comp. it expresses contempt; the expression te therefore means 'A wretched or contemptible man' Vide the explanation of Hals given above -One who sits apart, a low man; usually at the end of comp. in the sense of 'vile', 'wretched', 'accursed' hence the whole expression means :) A vile or wretched man Workiog of the mind, disposition Excellence of one's mind Use of spells and charms Cupid, the god of love A kind of Jasmine Lamp-black, soot 25 madhyabhAgaH manujakoTa: manuSyakITaH manuSyApasadaH (apasadaHapa dUraMsIdati asau) 23 manovRttiH f. mana:sauSThavam mantra-tantra-vidhi: manmathaH (manaH mathanAtIti mallI f. maSI f. 18 17

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15 51 58 47 25 27 27 48 37 53 55 27 30 25 53 24 2 49 24 masRNa a. martyAsadaH muraH, murmuraH marmonA mahaH mahA kleza (mayaH) mahA. mahAtman a mahApApa (nidhAnam ) mahAbhAgaH a mahAsattvaH ( prathama ) mahiSI mahIyas a mAdhyasthyam mArayiSyAmi mArSaH (mAriSaH ) mithyAgrahaH mImAMsA mallikAmakarandanATakazabdasaMgrahaH Unctuous, oily, soft ( martyaH = a mortal, man, person; expression is equivalent to recorded above. 127 hence ) the manuSyApasadaH ( = tuSAgni: fire of the chaff or husk of corn) Chaff-fire (marmodghaTTanam - marmamedaH) Disclosing the secrets or vulnerable points of another. Light, lustre (Full of) great suffering, distress, troubles Valuable, precious High-souled, high-minded, magnanimous, noble 1 (A receptacle or place of ) a great sin, a henious crime. Cf. : brahmahatyA surApAna steyaM gurvaGganAgamaH / mahAnti pAtakAnyAhustatsaMsargazca paJcamam || - manusmRti 11-54 2 Any great sin, or transgression 1 Illustrious, distinguished, glorious 2 Very fortunate or blessed (An epithet of Kubera but in the present context it simply means :) A great or eminent man (First, foremost ) queen More powerful, stronger (compar. of mahat ) A ruby (mAdhyastham also ) impartiality Fut. 1st Press sing of the caus. base of N to die, perish A principal actor; originally it means a respectable man. Cf. mAnyo bhAveti vaktavyaH kiccinnyUnastu mAriSaH / False (or Improper) persistence Deep reflection, inquiry, investigation

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128 Mallika-Makaranda 24 19 13 mukhabandhaH kRtaH mukhara a. mUcchita p. p. mRgAGka: mRgavyam mRgAkSI * medura. a. mauhartikaH yazolakSmI 3. 3 yAdas D. yAnapAtram ranopajIvin rakta p. p. 18 37 raktakaNThaH m ratnasAnu: ramaNIya a. rambhodbhava rasikAvataMsa 17 (The stupid people were) silenced Talkative, garrulous, loquacious Fainted, Fell in a swoon The moon The Chase, hunting A fawn-eyed or deer-eyed woman Full of, covered with An astrologer The treasure of fame The aquatic animal A ship, boat An actor Enamoured, impasioned, attached, affected with love The cuckoo (a. sweet-voiced) Name of the mountain Meru Pleasant, delightful, lovely, charming Produced from a plantain tree The topmost man of taste, sensitive spector The moon Loveliness, beauty acc. to the Panini's sutrayopadhAdgurUpeottamAdana 5-1-132 A dam A particle, a small quantity, a little of wealth Trifling, trivial, insignificant, unimportant (account, consideration mAtrA) A bower surrounded with creepers, an arbour (Usually lalATa tapaH tapatIti lalATaMtapa: who scorches or burns the forehead cf. lalATaMtapastapati tapanaH / mAlatIbhAdhava I. 19-20 A stain, stigma, a mark of ignominy The moon's crescent, a streak of the moon rAjA (rAjan m.) rAmaNIyakam rodhaH lakSmIlagaH lavI (mAtrA) latAgRham lalATaMtapanaH lAJchanam (zItatviSaH) lekhA 18

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mallikAmakarandanATakazabdasaMgrahaH 129 49 lokapravAda vaNikkITa m. vadana-vAriruham vapus . vayas n. varayitR m. vajrArgalA . varNAnapekSa a. vallIf. vazIkaraNam .. Lit. popular talk, general rumour, current report but in the present context it is most probably used in the sense of 'a proverb, popular saying'. (koTa, lit. a worm or insect; it is a term expressive of contempt, generally at the end of comp. So the expression means) A wretched and contemptible merchant A lotus-like face A body Age (youth, the prime of life) A suitor, lover An adamantine bolt, bar Independent or irrespective of (bhanapekSa) a caste (varna, especially the four principal castes : brAhmaNa kSatriya, vaizya and zUdra) A creeper, a creeping or winding plant Subduing or bewitching, especially by charms, incantations, etc. The hem of a garment Eloquence Ad orator, an eloquent man A sage (an ascetic or a monk) who maintains or practises rigid silence Agarrulous (or talkative vAcATa) trader (or merchant kirATa). ATa and Ala-these matvarthIya (showing possession) affixes are attached to vAcU in the sense of speaking much or speaking badly. vAcATa (or vAcAla) therefore means prattler, a garrulous or talkative person talkative, garrulous (vide note above) A storm, hurricane, whirl-wind, stormy or tempestuous wind, vastrAJcala m. vAgmitA f. vAgmin m. vAcaMyamaH m. vAcATakirATa m. 23 64 vAcAla a, vAtyA 17

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Mallika-Makaranda vAmAkSisphuraNam -vAriSeNa m. vaktra (kuharam) vaDavAmukha: vaNikkalA. vaNiDimbhaH The throbbing of the left eye (an evil omen in the case of men) An eternal (a permanent, perpetual) Jina idol (The cavity or hollow of) the mouth The sub-marine fire The trader's or merchant's art 'A merchant-lad', 'a merchant urchin'; the word Dimbha: has also the sense of an idiot, a fool, a blockhead The trader's or merchant's art Blown, expanded, opened (With) the collyrium washed away (by tears); devoid of collyrium Overcome with, afflicted by Full of, rich, abounding in impediments or obstacles vANijyakalA vikaca a. vikajjala0 viklava a. vighnabahula a. vicakilaH vicitra a. vijita. p.p. vitathAgrahaH vitAna. m.n. A kind of jasmine Diverse, various, varied, manifold Conquered, subdued, defeated False (or foolish) obstinacy Spreading out, or canopy (of jasmine plants) Given vitIrNa. p. p. vidagdhatA . vidyAtrayI 2 Cleverness (Generally refers to the triple sacred science'--the three Vedas but Ramacandra has in mind the three sciences, viz of Grammar vyAkaraNa zAstra), logic(nyAyazAstra) and poetics (kAvyazAstra) A class of demigods or semi-divine beings (Doubtful from? Gerund of (vi+Vdhyai Caus vidhyApayati-te) Extinguishing vidyAdhara vipApya

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mallikAmakarandanATakazabdasaMgrahaH 131 12 vidhi (-niyogaH) (azrAvyaH) vidhiH vinayakarma . viparIta a.. vipazcit m. vipina . viprayogAnalAbhitaptaH (cetasaH) vibhramaH ocs (The decree of) fate, (A mysterious lit. not to be heard) Means, mode, way Polite conduct, good manners, acts of courtesy False, untrue A learned or wise man A wood, a forest, a grove Tormented by the fire of separation Aberration, disturbance or derangement of of mind, madness, insanity (Amara spells it as faftfa:) One of the the twenty names of the god' Brahman The fire of separation (the same as faguta nala above) Being separated from one's beloved mistress (or wife) or lover Eternally, continually, ceaselessly, uninterruptedly viraciH virahavahniH virahin a. virAmavimukham vivAhavedI vivekaH (zroNeH) vizAlatA vizrabdham ind. A kind of raised spot or piece of ground in the middle of a courtyard shaped like vedi and prepared for weddings etc. Discrimination, judgment, discretion The broadness, largeness, expansiveness (of buttocks, or hips) Confidently, fearlessly, without fear or hesitation Trust, Confidence Causing absolute infatuation regarding the whole world The pleasures of sense ( from fagilea a.). - Dejected, dismayed, sad, disconsolate The moonlight to the world vizrambhaH vizvaikasaMmohakRt 27. viSayasukham viSAdinI f. viSTapacandrikA

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Mallika-Makarandu viDvalIkRta vItarAga m. vIrabhogya a. vRddhayartham Distressed, afflicted (by what calamities or misfortunes) (A Jina, Tirthankara or Arhat) who has conquered or subdued his passions To be enjoyed by heroes or warriors For cutting (ufe generally means growth, increase in wealth. prosperity but here the context demands, if the reading be genuine, that it should be understood in the sense of 'cutting' as we do in the case of nAbhivadhana 26 vedhas m. vaitAvyAcalaH vaidagbhyam vaiduSyam vaizasam (prayojana-) vaiSamyam 14 A creator, name of Brahman, the creator of the universe The mountain (acala) called vaitAvya (=vaidagdha, vaidagdhI, vidagdhatA) Dexterity, cleverness, wit, intelligence Learning, wisdom Outrage, calamity, distress, misery The great difficulty (of achicving the desired aim or goal) Pain, agony, anguisb, distress (vi + apa + VhR) Taken away The ocean (in the form of) a (serious) calamity or misfortune A disguise or an assumed or different form to be killed Gerund of the causal form of NvyApAd (vyApAdayati) to be killed or destroyed .vyathA p. p. vyapahRta vyasamAmbodhiH vyAjAntaram vyApAdanIya m.fn. vyApAdya m.fn. 53 vyAmohaH vyAla: vyAsaGga vyAhAraH vyupa(? vyapa)dizyate vyUhaH Mental confusion, bewilderment A snake (Close adherence) speecb, utterance is named A multitude, host, an army

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mallikAmakarandanATakazabdasaMgrahaH 133 vyuddhayartham 57 vyobhapuSpam 1. . vIDAkaram zaMsati zakrazarAsanan. zAstro zAkhin m. zAzvatika a zithilIkR zirISa (mRdu) (vyU ddhiH f. non-prosperity, ill-luck, a misfor. tune +3721) This is an emendation from vRddhayartham , see supra (khapuSpam =gaganapuSpam or kusumam ) 'Sky-flower,' used figuratively to denote an impossibility. Cf. the four impossibilities in the wellknown subhASita : mRgatRSNAmbhasi snAtaH zazazRGgadhanurdharaH / eSa vandhyAsuto yAti khapuSpakRtazekharaH / / Shameful (FromWzaMsa 1P) Indicates, bespeaks, shows' (=indracApam =indradhanuH) A rain-bow A knife A Tree (having branches) Eternal, permanent, perpetual To give up, abandon, to slacken, to relax (Delicate like) a flower of ferite tree (regarded as the type or standard of delicacy) Hurling down of (or the falling down of) a slab of stone or rock A mountain Happiness or Bliss (zarman n.) of Final Beatitude (zivam n) The moon Future result of which is auspicious A bulky (sthUla) buffalo (mahiSaH), a term of abuse expressing the meaning of 'a stolid, dule or thick-headed or pig-headed or stupid fellow' The Daughter of q- a celebrated serpent said to have one thousand heads and represented as forming the couch of fers or as supporting the entire world on his bead Pride, arrogance, haughtiness The act of heating zilApAta: ziloccaya m. zivazarma 10 zItatviSu zubhodakaH / zula(? sthUla)mahiSaH zeSakanyA 41 zauNDIryam n. zrAvaNam n.

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134 lika-Makaranda zritavatI 25 21 zrISaNDa:--NDam zrutipathaH zreyaH m. zreSThin zroNiH zlathArthAnvayA (vAk) 28 26 36 (From fet lu pp. fwa) Resorted to; Rested on, Devoted (herself) to Sandal-wood The range of the ear, the range of hearing Virtue, moral or religious merit The head or president of a mercantile guild The hips, the buttocks (The speech with) the logical connection of words in it being very loose, incoherent Sixmonthly, half-yearly Agitated, excited Vehemence, agitation, flurry (from saM+/vaha Caus. to shampoo, to gently rub the hand along the body) (lit. touching) Characterised by, possessed SANmAsika a. saMrabdha p.p. saMrambhaH savAhayati 0saMspRza m.fn. of sakampam sakarNakarNa saMghaTate saMghaTana 1. satyaGkAraH satyaGkAritaH With tremor, trembling The ear (gifted with the power of hearing); the attentive ear (sam + ghada 1A) Is United Union, meeting (kriyate'neneti krH| karaNe ghaDU / satyasya kAraH satyaEIT: 1) Something given in advance as an earnest or security for the performance of a contract, carnest money(an in Marathi) (From satyaGkAraH vide above) With fright Strength, courage, vigour, the stuff of which a person is made With dejection A legal wife, legally married wife (With hands) bound together, tied, fettered) 'is in doubt', doubtful Construction, arrangement (of the plot) . Attended by a retinue, train satrAsam 41 sattvam sadainyam sadharmacAriNI saMdAnita bhuja) pp saMdigdham p.p. (kathA)saMnivezaH saparicchadaH 25 27

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saptArNavI 30 saprazrayam sabASpam sabhayAzaGkam sabhikaH sabhyaH sabhyamizrAH samAjalokAH samidhaH samIpIbhUya mallikAmakarandanATakazabdasaMgrahaH 135 (saptAnAm arNavAnAM samAhAraH dvigu)The seven oceans (collectively) Respectfully (Affectionately) With tears With fear and apprehension The keeper of a gambling house A member of assembly, a spectator The learned, respectable men; mizra is an honorofic title signifying honour or respect and the word so formed with fast affixed at the end is used in the plural (pUjye mizrapadaM nityaM bahuvacanAntam / ) Members of Assembly, Spectators (lit. fuel or sacrificial sticks for the sacred fire) The unfailing causes or sources (From (samIpI +/bhU to become near) Getting near Wish, longing, desire Swift descent, fall Imagination, supposition, assumption Whose adytum (garbhagRhama . gAbhArA in Marathi) is honoured by the word of the Jinas (From the pass-base of caus. of saM+bhU-saMbhAvaya To be (thought) possible or probable) . Agitated, excited Bewilderment, confusion, infatuation A lotus-plant With rage, in anger, angrily In composing (sarga) and imparting (nisarga) (Lovely) in each and every limb Bashfully, with bashfulness Time for bathing, for purificatory ablution Reflecting, pondering, thoughtfully Modestly Embarrassingly, perplexedly Artful, fradulent, false, cunning, deceitful samIhitam saMpAtaH saMbhAvanA saMbhAvita saMbhAvyate 30 24 saMbhrAnta P.P. saMbhohaH sarojinI saroSam *sarga-nisarga. sarvAGgaNi(subhaga) salajjam savanasamayaH savimarzam savinayam savailakSyam sabyAja 27 12

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136 15 35 18 37 27 30 28 26 42 29 6 30 26 27 21 * 25 24 45 18 18 savyetara savrIDam saspRham sAMyAtrikaH sAkSepam sAkSepavAdI sAttvikabhAva sAbhilASam sAmaprayogaH sAvajJam sAvahittham sAzaGkam sAkharyam sAdham (? sAkham ) sahAyakam siddhAntavidaH siddhAyatanam siddhAlayaH-yam ( kIkasa ) sirAmAtrA sudatI Mallika-Makaranda Right Bashfully Longinly, With a yearning A sea-trader 1 Interrupting (2 sometimes if is used in the sense of Tauntingly") Speaking tauntingly or ironically or abusively (One of the kinds of as in poetry) An externa indication of internal feeling or emotion. The number of these ar is given as eight : stambhaH svedo'tha romAthaH svarabhaGgo'tha vepathuH / vaivarNyamatra pralaya ityaSTau sAtvikAH smRtA // Longingly Use of conciliation, negotiation (One of the four as or means of success against an enemy, the other three being dAna, meda, daNDa. Disdainfully, scornfully Concealing (her) feelings - avadditthayA sahitaM yathA syAt tathA / "avahityAkAra gopanam" iti hemaH / With apprehension With amazement, wonder With tears Assistance, help, aid (fara at the end of comp, Knowing) Conversent with, versed in sacred canonical textbooks or doctrines An eternal temple with the idol of Varisena in its adytum ( garbhagRham ) A Jain temple Same as siddhAyatanam above kokasam a bone sirA vein, artery) Only a skeleton (From sudat @ zobhanA dantA asya sudan, sudatI f. i.. youthful) Having handsome teeth, a pretty woman

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28 44 4 29 ~ ~ ~ ~ ~ am 18 29 28 26 ' 36 sodaraH (pIyUSa sya ) sopahAsam solluNThavAdimI 14 rA 26 53 23 51 * sopAMsa (1) sauSThavam svagatam (yava) stamba 61 19 5 14 15 26 sudRz f. surdhAnaH 18 surataparAyaH suvarNadvIpa m. n. sarakAra seyaroSam sotsukam stabdha PP. strIlokaH ( latAgRha - ) stha 18 sthayitum Inf. svapuTa0 smaraH srajaH svapnam svargabhUH svasti ind svasthA ( bhava) mallikA makarandanATa kazabdasaMgrahaH A pretty woman (nectar-rayed) the moon as the supposed repository of nectar 137 The love-encounter (spot) the encounter or sport of amorous dalliance or sexual plea sure (Golden island) proper name of an island (according to Jain geography) Producing the 'sat' sound, sighs With jealous anger Eagerly curiously, With eagerness A uterine brother (of i.e. similar to nector) With derision vAdin a; speaking sarcastically, ironically. tauntingly (From suryA ) Moonlight (lit. The lustre consisting of the necter-rays) Goodness, excellence (of one's mind) To himself A clump, cluster, a sheaf of (barley) corn Firm, stubborn Women-folk stha a. (at the end of comp.) Standing or seated (in the arbour ) from the caus. of V sthag to hide, conceal, cover Unevenly raised, elevated and depressed Love Plu. of af. A chaplet, wreath of garland [of flowers, especially one worn on the head. A dream Heaven, the celestial world (A particle meaning 'May it be well with (one'), hail ! (Be) of case, comfortable

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138 Mallika-Makaranda 90 svecchAcAritA Et ind. halA ind. [from Farar m.acting as one likes, doing what is right in one's own eyes) Behaving according to one's own free will. A vocative particle corresponding to 'ho,''hello'. Io dramas it is mostly used as a form of address by characters of the middling class Vocative particle used in addressing a female friend (only in theatrical language) Support of the hand from var 3P To leave, abandon give up, forsake Laughable, ridiculous A mass or collection of snow Rest or repose of one's heart From NET 4P to be delighted, be pleased or glad, exult or rejoice The previous day, yesterday hastAvalamvanam araq pp.p. . RE hAsya a himAnI hRdayavizrAmaH hRSyanti 23 23 53 hyastanadinam

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1 2 3 1 2 3 4 1 2 dvitIyaM pariziSTam : mallikAmakarandanATakAntargatAni mahAkavizrIrAmacandrasya subhASitAni ramaNIyatA taM ciya paramattheNaM ramaNijjaM jattha hiyayavIsAmo / harisaMti asoyalayA jeNaM pAyappahArehiM // ( tad eva paramArthena ramaNIyaM yatra hRdayavizrAmaH / hRSyanti azokalatAH yena pAdaprahAraiH // ( iti cchAyA ) anyonyaM viSayANAM gurulaghubhAvo na ko'pi yadi nAma / anyaiva tadapi rekhA gotInAM kAminInAM ca // yad yasya nAbhirucitaM na tatra tasya spRhA manojJe'pi / ramaNIye'pi sudhAMzau na nAma kAmaH sarojinyAH // nIrasAnAM puro nATyaM durjanAnAM padAtitAm / grAmyANAM vAgmitAM kurvan hAsyo brahmA'pi jAyate // rasikAra sikau rasapIyUSapUra pUrNacetasaH sumedhasaH puraskRtya mahAkavayo nATaya prabandhAnAbadhnanti / na punaH kalagItikAminIbhyo'pi vimukhAn mahAsubhaTotsAhadarzane'pi aromAJcakaJcukAn mAtR-pitRbhrAtR - sutavipattAvapyanArdramAnasAn nirvyAjasevake'pyasvIkRtavAtsalyAn pASANasuhRdo durmedhasaH / - pR. 1-2 gItamapi raktakaNThairudghaTitaM prItaye kila na yeSAm / pASANasodarANAM teSAmeSo'jJjalirbaddhaH // 4.12 prema taM kiMpi kAmiNINaM kattha vi pimmaM jaNammi nivvaDai / jhijjati jeNa Dajjhati jeNa jeNaM vivajjati // [ tat kimapi kAminInAM kutrApi prema jane saMjAyate / kSIyante yena dahyante yena yena vipadyante // - iti cchAyA ] - 1.4 prazamarasika vaiduSyeNa dharma dezanAvidhAnaikapragalbhavAco vAcaMyamAH zRGgAra- hAsya- vIra - pramukharasamayAnAmana rhAH khalu nATaghaprabandhAnAm / [ nahi nahi ] zamastattvaM munIndrANAM jAnate tu jagantyapi / janmaiva divi devAnAM vihAro bhuvaneSvapi // roge'pi viprayoge'pi zoke'pi vyasane'pi ca / kSutU-pipAsA - smarA: prAyo vimuJcanti na dehinam // - 3. 2 - 4. 11 -5.4 - 1.6 -2.1 -2.2

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Mallika-Makaranda - 3.. -3... annattha rAgiNIo raccaMti na vammahe vi mhilaao| [ruccai ma NAma rAyA vi tavaNarattANa bhaliNINaM // anyatra rAgiNyaH rajyante na manmathe'pi mahilAH / rocate na nAma rAjA'pi tapanaraktAbhyo nalinIbhyaH // -iti cchaayaa| aNurAo ricaya daiesu ghaDai sohggcNgimgunnaaii| caMdu cciya jaNai maNIsu kaDhiNabaMdhesu salilAI // | anurAga eva dayiteSu ghaTayati saubhAgya-caGgima-guNAn / candra eSa janayati maNoSu kaThina-bandheSu salilAni // -iti uchAyA ] unmattapremasarambhAdArabhante yadaGganAH / tatra pratyUhamAdhAtuM brahmApi khalu kAtaraH / / [lloko'yaM bhartRharikRtazRGgArazatakAd(75 uddhRtaH / ] ballahajaNavirahINaM pANapavAso vi bAhirI kiriyA / saMtAva-ruNNa-gahilattaNAi puNa kittiya kammaM // [ghallabhajanavirahiNAM prANapravAso'pi bAhyA kiyA / saMtApa-rudita-prahilatvAdi puna: kiyat karma // iti cchAyA / / ] tAvanmahattvaM pANDityaM kulInatvaM vivekitA / yAvajjvalati nAGgeSu hataH paJceSupAvakaH / [ loko'yaM bhartRharikRtazRGgArazatakAd (7)uddhRtaH / ] argalA rakSaNe strINAM prItireva nirargalA / padAtipariveSastu patyuH klezAya kevalam / / jammaMtaralakkhaparUDhadukkharukkhassa tinni sAhAo / sevA khalesu, vihavo paresu, pimma apimmesu // [janmAntaralakSArUDhaduHkhavRkSasya tisraH zAkhAH / sevA khaleSu vibhavaH pareSu prema apremasu // iti cchAyA // ] jaM kira ullasai daDhaM aNurAyaparammuhesu aNurAo / taM ciya visaM visa uNa mahaNabhavaM tassa paDibiMbaM // [yat kila ullasati dRDhaM anurAga-parAGmukheSu anurAgaH / tadeva viSa viSa punarmathanabhava tasya pratibimbam / / iti cchAyA // priyAnurodhA badhnAti vipriye'pi jano manaH / pakabhAjo'pi harSAya varSAH sasyAbhilASiNAm / / -5.11 dampatyoH pAkSikAt premNaH premAbhAvaH sukhAvahaH / ekakarNasthatADaGkAdatADakaM mukhaM varam // -5.13 yathA pusAM striyaH strINAM pumAMso viSayastathA / tathApi satvarAH prAyaH pumAMso na punaH striyaH // -5.14 -5.2

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mallikAmakarandanATakastha-subhASitAni 11 sohagga khu mihuNanibaMdhaNa / [saubhAgya khalu mithunanibandhanam / iti cchAyA // -5.15-16 (pR 49) 15 dadAti rAgiNI prANAnAdatte dveSiNI punaH / rAgo vA yadi vA dveSaH ko'pi lokottaraH striyaH // -6.3 sahajaggirANa sahasovirANa sahaharisa-soya vaMtANa / nayaNANa va dhannANa Ajammamakittima pimma / / [saha-jAgaritRNAM saha-svapitRNAM saha harSa-zokavatAm / nayanAnAmiva dhanyAnAm Ajanma akRtrima prema // iti cchAyA // ] 6.6 zambhu-svayambhu-harayo hariNekSaNanAM yenAkriyanta satataM gRhakumbhadAsAH / vAcAmagocaracaritrapavitritAya tasmai namo bhagavate kusumAyudhAya / / -1 13 [bhartRhariviracitazRGgArazatakAd (1) uddhRtaH zloko'yam / ] striyaH aho prakRtyaiva kupAtre nirbandhaH strIlokasya / 3.1-2, (pR 23) nAmnA'pi yatra sudRzAM paramaH kalaGkaH tasma namaH zivapathAya na tasya cintA / saMsAravamani punaH sudRzo vihAya vidmo na kiJcidanaghasya sukhasya bIjam // -3.16 vyasana saujanyavatAM kArkazya yoSitAM zriyAM calatA / kArpaNyaM kSoNibhRtAM catvAri vidhAturadhamAni || -3.17 prANAnapi vimuJcanti nibaddhaprItayaH striyaH / vidvAMso'pi jugupsante tAstathApi kutUhalam // 4.6 tAH santi kiM na zatazaH zatazo'pi pumbhi. rabhyarthitAH smarapadAni na yAH smaranti / te santi naiva punareNavilocanAnAM nAmnApi ye pratikala vilaya' na yAnti // -4.. tat tAvadAstAM kAminyo na yat sAdhyA dhanavinA / dhanairapi na yat sAdhyA tatra kiJcid vicintyatAm // - 4.20 prAyeNa nIcaratayo vanitAH.......-5.16 (tRtIyaH pAdaH) na khalu durAtmanAM strINAM kRtyamakRtya vA kimapyasti / -6. (pR. 55 5.3-4) etAH kuraGgakadRzaH pramadasya bIjamAdyaM yathA yadi tathA sthiracetasaH syuH /

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142 10 11 1 ra 3 1 2 3 Mallika-Makaronda tasmai purANaparikalpita gauravAya ko nAma nirRtisukhAya tadA yateta / - 6.2 nikkAraNa pimmaga' halliyAoM mahilAoM jANa gehammi / tANa maNuANa maNuattaNe vi devattariddhIo // [ niSkAraNapremagrahilA mahilA yeSAM gRhe / teSAM manujAnAM manujatve'pi devatvarddhayaH / / iti cchAyA / / - 6.8 ] yauvane sarvatrApi duhitaro mAturanAyattAH / - 6.17-18 ( pR. 64 ) vezyAH jAtyandhAya ca durjanAya ca jarAjIrNAkhilAGgAya ca grAmINAya ca duSkulAya ca galatkuSTAbhibhUtAya vA / yacchantISu manoharaM nijavapurlakSmIlavazraddhayA paNyastrISu vivekakalpalatikAzastrISu rajyeta kaH // [bhartahariviracita zRGgArazatakAd (57) uddhRto'yaM zlokaH / ] - 3.19 jagato'pi yadiha nindyaM tad yAsAM dharmakarmavadanindyam / tAsAM paNahariNadRzAM gavedhyate kimaparaM zreyaH // - 3.20 dvijanmanaH kSamA mAturdeSaH prItiH paNyastriyaH / niyAginazca dAkSiNyamariSTAnAM catuSTayam // - 3.23 dyUta-vyasanam na nAma dyUtakArAH sabhiko vA prasahya mAM durodarakarmaNi vyApArayanti janmasahasropArjitAni duSkarmANyevAparAdhyanti na cAham na ca bAhyo lokaH / - tadatra prAcIna pR. 3 kaupIna vasana kadannamazana zayyA dharA pAMzulA jalpo'lIlagiraH kuTumbakajano vezyAH sahAyA viTAH / vyApArAH paravaJcanAni suhRdazcaurA mahAnto dviSaH prAyaH saiSa durodaravyasaninAM saMsAravAsakramaH // tathApi dyUtakArasya pApadhvAntAndhacetasaH / zakre'pi raGkasaMkalpo dyUtakarmaparAGmukhe // 1.10 - 1.11 karmavAdaH bhinnabhinnavartmani saMbhaviSNavaH sarve'pi jantavaratairataiH zubhairazubhairvA karmabhi: / vibhinnarUpadezAnI janmAntareSu janminAM kasya kenAbhisaMbandhaH / - 5.23-24 ( pR 52 ) udarapUraNadUSaNama acchariya te vi jiyaMti te vi pahasaMti te vi kIla'ti / uyarabharaNe vi picchati niccamavarANa je vayaNa' // [ bhAzvaryaM te'pi jIvanti te'pi prahasanti te'pi krIDanti / udarabharaNespi prekSante nityamapareSAM ye vadanam // iti cchAyA // ] 3.18

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143 mallikAmakarandanATakastha-subhASitAni saMkIrNasubhASitAni 1) dvayaM yasya saMpatte/jamAdyamaNDitam / saMsArakarmaNAM lakSmIH prazamaH zivazarmaNAm / / ----1.3 2) vinA'bhiprAyadaurAtmyaM nAparAdha 'pi garhitaH / AcAryo vANi-pANibhyA tADayannapi pUjyate / / -1.5 sarvA'pi mahatI siddhiH klezAntaritasaMbhavA / vidyAvadhaTImApnoti soDhA kAya-manaHklamAn / / -1.9 prAyazcittaM naye vRttiH lAdhyamalApakarmaNaH / zastrAdibhistu paJcatvamAtatAyiviceSTitam / / --1.12 idaM kRtyamakRtyaM vA kAladezavyapekSayA / parAsorAtmajasyApi dahanaM maGgalakriyA / / --1.16 dusthA pararuvasA vAhiyA ya aMdhA ya piyaviuttA ya / kaha nAma lahija suhaM ? na huja bhayavaM jai kyto||[ duHsthA: paravazA vyAdhizca andhAzca priyaviyuktAzca / kathaM nAma labheta sukhaM ? na bhaved bhagavAn yadi kRtAntaH / / [iti cchAyA 1.17] 7) pRcchannasaMstuto gopyamazaktaH kopamAvahana / viraktAM ca striyaM gacchan hAsyaM kasmai na yacchati / / --1.19 sAmathAbhAveNa akaesu paoyaNesu ko roso / vasahesu dunchu mahiyaM naesu ko nAma nivveo / / [sAmarthAbhAvena akRteSu projaneSu ko roSaH / vRSabheSu dugdham ahita nayeSu ko nAma nirvedaH 1 // iti chAyA- 1.20] sukha prakAzyate dauHsthyaM prAcyamAruDhavaibhavaiH / ArUDhadauHsthyaidu.khena prArca na vaibhavaM punaH / / -1.21 zriyA zaktyA ca sAdhye'rthe siddhayabhAve mana:klamaH / ubhAbhyAmapyasAdhye tu kA nAma paridevanA / / --2.3 svIkRtApAyasaMpAtaH sarvA siddhiM vigAhate / yuddhe hi prANasApekSo vipakSaiH paribhUyate // --27 12) payAsi bhUkahAM heturna punargarjitAravaH / mAghe tathApi garjanti kSeAbhAya janacetasAm / / --2.8 vavasAo ciya purisANAmaNuvamo maDaNa sarIrasma / rUvaM vi puNo jai hujjatA jiya hariNanayaNAhi // vyavasAya eva puruSANAmanupamo maNDana zarIrasya / / rUpamapi puna: yadi bhavet tada jitaM hariNanayanAbhiH / / iti cchAyA / -2.13] 14) kRtrimaiDambarairbAhyaH zakyastoSAyituM janaH / AtmA tu vAstavareva hRto'yaM parituSyati / / -2.17

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144 Mallika-Makaranda 15) aparAdho'pi soDhavyo vAJchitArthavidhAyinaH / dahannapyagninA tundaM gulmibhiH pUjyate bhiSakU / / -2.18 yAvat kuraGganetrA taruNI taruNasya dAsyamAdhatte / / vRddho'pi tAvadicchate na vIkSate yogyatAmichA / / -2.20 pRthivyAM vIrabhogyA lakSmyAM cAralyasaMspRzi / striyAM cAzakyarakSAyA kasya kiM nAma nocitam // -2.21 akANDakopino bhataranyAsaktezca yoSitaH / prasatticetasaH kartuM brahmaNA'pi na zakyate // -3.3 19) utpAteSu mahatsvapi sumedhasA jIvita na hAtavyam / sati jIvite kathaJcid ghaTate kiJcit punaH preyaH // 3.10 kSaNadRSTe'pi kutrApi dRDhaM saGghaTate manaH / bAlastadAtvajAto'pi jananyAH snihyati stane // -3.13 sthAtu tejasvinA zakya na jAtiSa gatazriyA / astApAstavapurbhAsvAn nabhastena vimuJcati // -3.52 puNyasya samidhaH satya-dayA-dAna-prazAntayaH / astrA'gni-kaNThapAzAstu dehaduHkhAya kevalam / / -4.3 23) mAnino mAninastAvad yAvada yAnti na dInatAm / saMsaheta na bandha yaH kezarI kezarI :hi saH // 4-21 24) varNAnapekSaM zauNDIrya satvamAtre niSIdati / sattvaM tu vaNije'pi syAnna st kSatre'pi ca kvacit -4.22 25) kapUraprabhavasyApi pradIpasyA satA maSI / vidviSo vinatasyApi priyamAyAti vipriyam // -4.24 26) asaMtRptA vipadyante vibhavasya vizcitaH / ratasya rAjakAminyaH svasthasya khlsevkaaH|-5.1 ApadAM skandhamAyojya stabdhAH sarvatra mAninaH / rAjadaNDaM hi pazyanto dhana muSNanti dasyavaH // -5-26 mallikAmakarandasthasUktayaH 1 paTubhirapi nopasarpati caTubhirayaM niSprayojano lokaH |-pR 1 2 paNIkRtaprANasaMpadAM hi mahaujasAM kiM nAma sAdhyamasAdhyaM vA |-pR 8 3 vyayasanAndhA hi prANavyayenApi dhanArtha prayojanaM sAdhayanti |-pR 12 4 athavA vyasanAndhamevedaM jagat / pR 13 5 jIvaMtANa puNo vi saMgamo bhavissadi / (jIvatoH punarapi saGgano bhavizya ta / iti cchayA / -pR 21

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mallikAmakarandanATakastha - subhASitAni 6 kiM kahemi 1 vicittAo maNovittIo / [ kiM kathayAmi ? vicitrA manovRttayaH / iti cchAyA / ] pR 23 7 AcakSate hi zAzvatikAni divyabhUmiSu siddhAyatanAni siddhAntavidaH / - 25 8 na nAma sarvANi karmANi paricayamapekSante / - pR 26 9 na prabhavanti siddhAyatanasthAyinAM kSudropadravAH / pR 31 10 na pahavaMdi siddhAlaya nivAsINaM duridAi / [na prabhavanti siddhAlayanivAsinAM duritAni / iti cchAyA |] pR 35 11 kathAspi pApIyasAM puMsAM mahate kaluSAya prabhavati / pR 38 pR 38 12 anirvahaNe hi prArambho nIcatAM prakAzayati / 13 yadi vA sAmaprayogasAdhye na daNDaprayogaH / 14 aho guNaughavimukho doSaikadRSTirjanaH / pR 42 -pR 46 15 samvassa vi jaNassa appA vallaho, na uNa paro / [sarvasyApi janasya AtmA vallabhaH, na punaH paraH / iti cchAyA / ] - pR 50 16 akRtyamAcaratyeva sarvaH prANadhanecchayA / - pR 56 17 mallikAyAM devatvamiti ladhvI mAtrA / - pR 58 18 alIyaso'pi samaye saphalaH prayatnaH / - pR 59 19 aho nAnAvicAra jagat / - pR 60 20 yadi kulAcArastarhi mudrito vicArapracAraH / pR 61 145

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tRtIyaM pariziSTam (3) prabandhazatakAri - mahAkavi - zrIrAmacandrasya nUtanakAvyanirmiti viSaye darpoktiH (a) nadaH - ( saroSam ) sUtradhAra - ( sAvaSTambham ) atrArthe svayameva kavinA durmedhasAM mukhabandhaH kRtaH / kAvyairyatra kaviprathA dhanakrItairapi prApyate api ca- paropanItazabdArthAH svanAmnA kRtakIrtayaH / nibandhAro'dhunA tena vizrambhasteSu kaH satAm // (A) sUtradhAraH - ( vihasya ) prakaraNasyAsya sarasatAyAM kimucyate / yataH -- prabandhAnAdhAtu navabhaNitivaidagdhyamadhurAn kavIndrA nistandrAH kati nahi murAriprabhRtayaH / Rte rAmonnAnyaH kimuta parakoTo ghaTayitu rasAn nATyaprANAn paTuriti vitarko manasi naH / / praznantastadapi prabandhakusumAnyAjanma vidyAmahe kupyAmo vyasane ciraM vicarate, kasmai parasmai vayam // - mallikA 9.7, 8 gumphaklezamupAsitu kRtadhiyA kastatra kAle kramaH / nada : (i) sUtradhAraH - ( sapramodam ) aparaM ca - pravandhA ikSuvatprAyo hIyamAnarasAH kramAt / kRtistu rAmacandrasya sarvA svAduH puraH puraH // naTaH- bhAva, etasyAM rAmacandrakRtau saMbhAvyate ko'pi sAmAjikAnAM rasAsvAdaH / sUtradhAra :- mAriSa, saMbhAvyata iti kimucyate / yataH - prabandhAnAdhAtuM navabhaNitivaidagdhyamadhurAn kaviH kAvye rAma: sarasavaca sAmekavasatiH kavIndrA nistandrAH kati nahi murAriprabhRtayaH / Rte rAmAnnAnyaH kimuta parakoTo ghaTayituM rasAn nATyaprANAn paTuriti vitarko manasi naH // prabandhA ikSuvavat prAyo hIyamAnarasAH kramAt / kRtistu rAmacandrasya sarvA svAduH puraH puraH // - -- kaumudI 1.3-4 ( vimRzya ) bhAva, ayaM kaviH svayamutpAdaka utAho paropajIvakaH /

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147 nUtana-kAvya-nirmiti-viSaye mahAkavi-zrIrAmacandrasya darpoktiH sUtradhAra :- atrArthe tenava kavinA dattamuttaram - janaH prajJAprAptaM padamatha padArtha ghaTayataH parAdhvAdhvanyAn naH kathayatu girA vartaniriyam / amAvAsyAyAmapyavikalavikAsIni kumudA-- nyayaM lokaracandravyatikaravikAsIni vadati // api ca zapathapratyeyapada-padArthasaMbandheSu pratimAdadhAnaM janamavalokya jAtakhedena tenedaM cAbhihitam - spRhAM lokaH kAnye vahati jaraThaiH kuNThitatamai vaicobhirvAcyena prakRtikuTilena sthapuTite / vayaM vIthiM gADhuM kathamapi na zaktAH punarimA miyaM cintA cetastaralayati nityaM kimapi naH // nala0 1. 2-8 I) sUtradhAra :- ....( vihasya ) sarasatAyAM kimucyate prabandhasya / yataH - vyutpattirmukhameva nATakaguNavyAse tu kiM varNyate __ saurabhyaprasavA navA bhaNitirapyastyeva kAcit kvacit / yaM prANAn dazarUpakasya sa karotkSepaM samAcakSate sAhityopaniSadvidaH sa tu raso rAmasya vAcAM param / / kiM ca / prabandhA ikSuvaraprAyo hIyamAnarasAH kramAt / kRtistu rAmacandrasya sarvA svAduH puraH puraH // api ca / ko'pyeSa vaH paramaharSotsavo vartate / tadavadhIyatAM kSaNamekam / sUktayo rAmacandrasya vasantaH kalagItayaH / svAtantryamiSTayogazca paJcaite harSavR( sa )TayaH // satyaharizcandranATake 1.3-5 3) sUtradhAra :- --- akANDaprasannacetasA vedhasA tatrabhavatAM bhavatAM so'yamidAnomupanItaH pramodaprakarSaH / yata: U ) sUktayo rAmavandrasya pUrNenduH kalagItayaH / svAtantryAmiSTayogazca paJcaitA harSa vR ( sa ) STayaH // nirbhayabhImavyAyogaH 1.2 prANAH kavitvaM vidyAnAM, lAvaNya mava yoSitAm / vidyavedino'pyasmai, tato nityaM kRtaspRhAH // akavitvaM parastAvat kalaGkaH pAThazAlinAm / anya kAvyaiH kavitvaM tu kalaGkasyApi cUlikA // nATyadarpaNavivRtiprArambhe, 9,11(22)

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148 Mallika-Makaranda paropanItazabdArthAH svanAmnA kRtakIrtayaH / nibaddhAro'dhunA tena ko nau klezamaveSyati // zabdalakSma-pramAlakSma-kAvyalakSma-kRtazramaH / vAgvilAsastrimArgo nau, pravAha iva jAnujaH // nATyadarpaNavivRtiprAnte 2,4 e) vidvAnapi yathA hAsyaH parakAvyaiH kavirbhavan-binastotre ai) paJcaprabandhamiSapaJcamukhAmakena vidvanmanaHsadasi nRtyati yasya kIrtiH / vidyAtrayocaNamacumbitakAvyatandraM kastaM na veda sukRtI kila rAmacandrama // raghuvilAse 1.3

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pariziSTam - 4 mahAkavizrIrAmacandraviracita katipaya nATakAnAM rasagrahaNam ( 1 ) sa rAmaH kaviruddAmaH prabandhAdhi prabadhya yaH / priyAM camatkRtiM pratyAharati prANayati kSamAm // -- mANikyacandrasUriH (zAntinAthamahAkAvye) (2) kavinobhASAbhitra samRddha che, sarva vaidarbhI rAti che paTale yAMcA paNa saralatA mAdhurve prasAda sAraM jagAya che. paNa mAnavasyabhAvanA je gaMbhIra nirUpaNatho, koi mahAna mahAna satyanA darzanathI, ke rasanI koi parA koTiyo kavio amaratva prApta kare che te to AmAM nathI emaja kahevu joie. kavionA prathama vargamAM Ane na mUkI zakAya paNa gUjarAtanA 13 mA sekAmAM Avu nATaka lakhAyuM bhajavAyu paNa haze tene mATe gujarAta magarUra jarUra thaI zake. - rAmanArAyaNa pAThaka saMzodhaka, khaMDa 3, nalavilAsa nATaka (jaina sAhitya aMka 2, ahamadAbAda 1983) (Free Translation: The poet's vocabulary is rich. He employs throughout the play the Vaidarbhi style. Naturally, when reading, it reveals the qualities of simplicity, sweetness, and lucidity. But it must be said that it fails to display a profound knowledge of human nature or his vision of great Truth, or his power of developing rasa to its zenith the qualities which entitle a poet to immortality. True, he cannot be placed in the rank of first-rate poets but such a play could be written and might have been even staged in the 13th century is a matter of which Gujarat can be legitimately proud.) - - 3) Ramacandra, pupil of the great Hemacandra.. wrote, besides other plays, the Kaumudimitrananda in ten Acts. The work is wholly undramatic and is really the working up in the form of a play of a number of Katha incidents, presenting a result not unlike the plot of a modern pantomime... The work is, of course, wholly without interest other than that presented by so many marvels appealing to the sentiment of wonder in the audience. -- Keith : The Sanskrit Drama, pp. 258-259. It (Kaumudi-mirananda) is typical of the later play of this kind in having a complicated series of narrative, rather than dramatic, incidents..... The story resembles those of Dandin's Dasakumara-Carita, and the author might have done well if he had attempted to write in the same strain and

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Mallika-Makaranda form; for there is not much merit in the play as a dramatic piece, nor is it remarkable on the poetic side. -De 150 History of Sanskrit Literature, pp. 475-76 The other (than Ksemendra) polymath Ramacandra, pupil of the Jain Acarya Hemacandra, has left behind Nalavilasa, a Nataka in seven acts, on the well-worn story of Nala, and the Nirbhaya-bhima, a one-act Vyayoga on the story of the slaying of the Baka demon; but both are laboured compositions by one who was well-versed in dramaturgic rules." Ibid, p.465 4) Thus Kaumudi-mitrananda on the whole does not make a very impressive drama or a specially noteworthy specimen of th: class of Prakaranas as one finds there a mere assemblage of many incidents and motifs of wonder and danger. - Dr. V. Raghawan: The Social Play in Sanskrit, p.12 5) "Ramacandra seems to have been inspired to build his plays on the classical model. The influence of the masters is unmistakable...... It is in this respect (of characterisation and motivation of actions and events) that Ramacandra's plays appear to be weak. Some of his motivation is not fully convincing; and so his characterization suffers. The principal characters in his plays appear to have no will of their own. They seem to lack perspective and judgment. The minor characters are usually built conventional lines and hardly any one of them would linger in our memory. At the same time it must be made clear that Ramacandra appears a lesser artist only in comparison with the masters. He has enough sense of drama to build scenes that have emotional interest and dramatic tension. He has an eye for dramatic construction too; though his causal links are weak or unconvincing sometimes." -Two plays (Nirbhaya-Bhima-Vyayoga and Nalavilasa-n ataka) of Ramacandra: An Aesthetic Study by G.K. Bhat. 6) It is recommended that the readers may read with profit Rama. candra as a Dramatist and Poet' (pp,223-244) from the Natyadarpana of Ramacandra and Gunacandra: A Critical Study by Dr. K. H. Trivedi, pub, by L.D. Institute of Indology, Ahmedabad, 1966.

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pacamaM pariziSTam (5) zrI bhartRharikRtazRGgArazatakAt mallikAmakarandanATake samuddhRtAH katipayAH zlokAH (1) zambhu - svayambhu - harayo hariNekSaNAnAM yenAkriyanta satataM gRhakumbhadAsAH / bAcAmagocaracaritrapavitritAya tasmai namo bhagavate kusumAyudhAya // (2) tAvanmahattva pANDityaM kulInatvaM vivekitA / / yAvajjvalati nAGgeSu hataH paJceSurAtrakaH / / (3) jAtyandhAya va durjanAya ca jarAjIrNAkhilAGgAya ca grAmINAya ca duSkulAya ca galatkuSThAbhibhUtAya vA / yacchantoSu manoharaM nijavapurlakSmIlavazraddhayA paNyastrISu vivekakalpalatikAzastrISu rajyeta kaH // raghuvilAse ca kaumudImitrANande ca - mallikA 1.13 tulanAH zRGgArazatakam. 1. vaktra candra vilAsi paGkajaparIhAsakSame locane - mallikA 3.15 tulanAH zraGgArazatakam. 76 (4) yad yasya nAbhiruci na tatra tasya spRhA manojJe'pi / ramaNIye'vi sudhAMzau na nAma kAmaH sarojinyAH || - mallikA 3.19 tulanAH zrRGgArazatakam. 57 varNaH svarNamapAkariSNuralinIM jiSNuH kacAnAM cayaH / vakSojAvibhakumbhavibhramakarI gurvI nitambasthalI - mallikA 5.4 tulanA : zrRGkhArazatakam. 105 vAcAM mArdavamujjvalaM yuvatiSu svAbhAvikaM maNDanam // -raghu. 2.6 - kaumudI 709 tulanAH zrRGgArazatakam. 5

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SaSThaM pariziSTam (6) mahAkavizrIrAmacandrasya nATakAntareSu samupalabhyamAnAH mallikAmakarandanATakasthAH katipayAH zlokAH gadyAMzAzca 1) suvarNadvIpavAsI jinadattanAmA kramAgatAdbhutavaibhavaH paramadhArmikaprakANDaM vaNigasti / mallikA0 pR.27 kautukamaGgalanagarAdhivAsinaH kramAgatAdbhutavaibhavasya jinadAsanAmnaH paramadhArmikaprakANDasya vaNijo mitrANandanAmA sUnuraham / -kaumudI pR 8 paropanItazabdArthAH svanAmnA kRtakIrtayaH / nibandhAro'dhunA tena vizrambhasteSu kaH satAm / / -mallikA0 1.7 paropanItazabdArthAH svanAmnA kRtakIrtayaH / / nivaddhAro'dhunA tena vizrambhasteSu kaH satAm ||-kaumudii 1.5 3) vidhAtu saMpado hartumApadazca na mizcayaH / / manastu me sadA'pyanyaduHkhasaMkrAntidarpaNaH ||-mllikaa* 1-18 kaumudI. 2.6 4) na sa mantro na sA buddhiH na ca doSNAM parAkramaH / apuNyopasthitaM yena vyasana pratirudhyate ||-mllikaa 2.5 -jalavilAsa 1.9 . 5) dAsyUha-kurkuTa-kapijalacakravAka.... ... ... .... ... ... ... ramayanti cetaH // - mallikA. 4.8 -nala0 1.12 6) cakSurbASpavikajjalaM ... lekheva shiittvissH|| - mallikA0 2.14 - kaumudI0 10.9 7) calakamalavilAsAbhyAsinI netrapatre ... ... modate gaNDabhittiH / / -mahilakA0 2.16 -kaumudI0 8.8 -nala0 2.5 -raghu0 5.5 8) aNurAo cciya daiesu .... .. kaDhiNavaMdhesu salilAI ||-mllikaa0 3.1 eso so cciya daiesu .... ... vANIsu (? maNIsu) kaDhiNavadhisu (1 kaDhiNavaMdhesu) salilAI / kaumudI 3.9 9) saMpattirasya rohantI bhAgyAnAM mukhamIkSate / svazaktitolana nAma mAhAtmyaM tu mahAtmanAm / / -mallikA0 4.15 saMpat parasya rohantI bhAgyAnAM sukha(? mukha)mIkSate / ... mahAtmanAm ||-kaumudii0 2.8

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153 zrIrAmacandrasya nATakAntareSu samupalabhyamAnAH zlokAH gadyAMzAzca 10) akANDakopino bhartu .... brahmaNA pina zakyate ||-mllikaa0 3.3 ~mala0 4.7 11) kathaM paJcamodgArasAraH samApatati gItAmRtAsAraH |-mllikaa0 4.10-11 jAnIhi kutastyo'yaM paJcamodgArasAraH samucchalati gItAmRtAsAraH |-nl0 3.11-12 12) bhadre saralahRdayA'si / bhinnabhinnavarmani saMbhaviSNavaH sarve'pi jantavastaistaiH zubhairazubharvArmabhiH / vibhinnarUpadezAnAM janmAntareSu janminAM kasya kenaabhisNbndhH| -mallikA0 5.23-24 api ca mugdhe ki pAvakadagdhaiH sa eva priyaH prApyate / taistaiH zubhairazubhairvA karmabhibhinnavartinIsaMcariSNavaH sarve jntvH| -nala0 7.6.7 13) hiyaya ! samassasa samassasa / maNorahA vi de ittiyaM bhUmi na saMpattA / --mallikA 6.15-16 (pR. 62) hiyaya ! samassasa samassasa / maNorahA vi de ittiyaM bhUmi na saMpattA / --raghu. 8.26-27 (pR. 83) 14) lamasamaya idAnIm, samApyatA kautukavidhiH / pratirudhyatA kolAhalaH, avadhIyatAM jhallarI jhAtkAraH / ....vidhehi vadhUvarasya prokSaNAdiko kriyAm / ...upanaya dadhi-dUrvAkSatAdIni / ....phalArtha(? phalArdha)dAnapUrvakam upanayatAM yakSAdhirAjAya mallikAm / ....tathA prasIda yathA yAvajjIvamavidhavA bhavati / ....mallikayA saha pradakSiNIkArayata bhagavantamAzuzukSaNim / ___ mallikA (pR. 62-63) arghadAnapUrvakaM prayaccha putrI jAmAtre / .... ....lagnasamaya idAnIm, tata: samApyatAM kautukavidhiH / pratirudhyatAM kolAhalaH / avadhIyatAM jhallarIjhAtkAre (? jhAtkAraH) / .......( sarve sAnandaM vadhUvarasya zirasi dUrvAkSatAdIni prakSipanti / ) ....... (vadhUvaraM prati) pradakSiNIkurutAM bhagavantaM pariNayanasAkSiNamAzuzukSaNim / -kaumudI 3. 14-15 (pR. 36) 15) .... .... ....rAmacandrAMzukundadalavizadA- / mAsAdya yazolakSmI parAM svatantratAM ciraM (? svatantrazciram) bhUyAH // --mallikA06.19 .... .... ....saMtaptArAmacandrakaravizadAm / AsAdya yazolakSmI parAM svatantrazciraM bhUyAH // ---kaumudI 10.18

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saptamaM pariziSTam (7) mallikA-makaranda-nATake prayuktAnAM vRttAnAM sUcI-patram 1. anuSTup zloka : loke SaSThaM guru jJeyaM sarvatra laghu paJcamam / dvicatuHpAdayoha svaM saptamaM dIrghamanyayoH / / 1. 1, 3, 4, 5, 6, 7, , 11, 12, 14, 16, 18, 19, 21 2. 2, 3, 5, 7, 8, 9, 17,18 19 3. 3, 4, 11, 13, 14, 15, 22, 23, 24 1. 1, 2, 3, 6, 13, 15, 16, 17, 18, 19, 20, 21, 22, 23. 24 5. 1, 9 11, 12, 13, 14, 20, 23, 26, 28 6. 16, 17, 18 (sAkalyena : 61) 2. AryAH -- yasyAH pAde prathame dvAdazamAtrAstathA tRtIye'pi / aSTAdaza dvitIye caturthake paJcadaza sA''ryA // 2. 20 3. 10, 17, 20, 21 4. 4, 11, 12 6. 19 ( sAkalyena : 14) 3. pAhA (gAthA): paDhamaM bAraha mattA bIe aTThArahehiM saMjuttA / jaha paDhamaM taha tI paMcadasavihUsiA gAhA // ["AryA' eva gAthetyucyate prAkRte / ] 1. 15, 17, 20, 22 2. 1, 11, 12, 13, 15 3. 1, 2, 8, 9, 18 5. 5, 6, 7, 19 (sAkalyena : 21)

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vRttAnAM sUcIpatram 155 4 upendravajrA : upendravajrA jatajAstato gau / 6. 10 ( sAkalyena : 1) 5 pramitAkSarA : pramitAkSarA sajasasaiH kathitA / (sAkalyena : 1) 6 vasantatilakA: uktA vasantatilakA tabhajA jagau gaH / 1. 13, 3. 16 4. 5. 8, 14 5. 15 16, 21, 22 6. 2, 5, 7, 14 (sAkalyena : 13) 7 mAlinI : nanamayayayuteyaM mAlinI bhogilokaH / 5. 15, 18 6. 12 ( sAkalyena ; 4) 8 pRthvI : jasau jasayalA vasugrahayatizca pRthvI guruH / 5. 24, 25 (sAkalyena : 2) 9 mandAkrAntA : madokAntAmbudhirasanago bhanau tau gayagmama / 6. 13 (sAkalyena : 1) 10 zikhariNI : rasarudvaizchinnA yamanasabhalA gaH zikhariNI / (sakalyena : 1)

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156 Mallika-Makaranda 11 zArdUlavikrIDita : sUryA vaiyadi maH sajau satatagA: zArdUlavikrIDitam / 1. 8, 10 2. 6, 10, 14 3. 5, 6, 7, 19 4. 9, 10 6. 1, 3, 4, 11, 15, ( sAkalyena : 17) 12 puSpitAgrA (athavA) aupacchandasika : ayuji nayugarephato yakAro yuji ca najo jaragAzca puSpitAyA / 3. 12 (sAkalyena : 2)

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aSTamaM pariziSTam (8) mallikAmakarandanATakagatA alaGkArAH kAvyaprakAzoktalakSaNasahitAH (1) sAdharmya mupamA bhede / 2.14, 2.36, 4.9, 5.10, 6.6 saMbhAvanamathotprekSA prakRtasya pareNa yat / 4.10 tad rUpakamabhedo ya upamAnopameyayoH / 1.8, 1.18, 3.15, 4.2, 4.3, 4.9 (4) prakRta yanniSidhyAnyat sAdhyate sA tvapahanutiH / (anyatra tasyAropA : paryastApahanutistu saH / -kuvalayAnande) (5) aprastutaprazaMsA yA sA saiva prastutAzrayA / (6) nigIryAdhyavasAnaM tu prakRtasya pareNa yat / prastutasya yadanyatvaM yadyarthoktau ca kalpanam / / kAryakAraNayoryazca paurvAparyaviparyayaH / vijJeyA'tizayoktiH sA 1.4, 6.2, 6.11, 6.13 (7) dRSTAntaH punareteSAM sarveSAM pratibimbanam / 1.6, 3.24, 4.13, 4.18, 4.24, 5.9 (8) sakRvRttistu dharmasya prakRtAprakRtAtmanAm / sava kriyAsu bahISu kArakasyeti dIpakam / / 1.15, 1.19, 3.3, 3.15, 1.1, 5.1 (9) niyatAnAM sakRddharmaH sA punastulyayogitA / 1.3 (10) upamAnAd yadanyasya vyatirekaH sa eva saH / 2.16, 4.9, 4.17, 4.20 5.20, 65, 6.12 (11) vizeSoktirakhaNDeSu kAraNeSu phalAvacaH / (12) sAmAnyaM vA vizeSo vA tadanyena samarthyate / yatra so'rthAntaranyAsaH sAdhayeNetareNa vA / / 1.5, 1.9, 1.14, 1.16, 1.20, 2.4, 2.7, 2.15, 2.18 1.20, 3.1, 3.2 3.13, 3.14, 3.22, 4.5, 4.14,

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i8 Mallika-Makaranda 4.11, 4.22, 5.4, 5.7, 5.8, 5.11, 5.13, 5.19, 5.26, 6.4, 6.14, 6.15 (13) virodhaH so'virodhe'pi viruddhatvena yadvacaH / 1.21, 3.16, 4.7, 4.15, 4.23 (14) kAvyaliGgaM hetorvAkyapadArthatA / 1.2, 2.10, 3.6, 3.10, 1.19, 5.7, 6.9, 6.16 (15) paryAyoktaM vinA vAcyavAcakatvena yadvacaH / 4.12, 5.17 (16) udAttaM vastunaH saMpata mahatAM copalakSaNam / (17) tatsiddhihetAvekasmin yatrAnyattatkaraM bhavet / samuccayo'sau 1.10, 2.14, 3.17, 3.23, 5.5, 6.17 (18) vizeSaNairyatsAkUtairuktiH parikarastu saH / 5.28, 6.12 (19) sama yogyatayA yogo yadi saMbhAvitaH kvacit / (20) kvacid yadativaidhAnna zleSo ghaTanAmiyAt / kartuH kriyAphalAvApti vAnarthazca yad bhavet / / guNakriyAbhyAM kAryasya kAraNasya guNakriye / krameNa ca viruddha yat sa eSa viSamo mataH / / 5.15, 5.22 (21) sUcyArthasUcanaM mudrA prakRtArthaparaiH padaiH / 1.1, 6.18 (22) lokapravAdAnukRtirlokoktiriti bhaNyate / 2.15, 5.16 (23) varNasAmyamanuprAsaH / 1.3, 2.5, 2.14, 3.5, 5.22, 6.77 --kuvalayAnande

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(37) (38) (38) (pR38) (38) (pR41) navamaM pariziSTam (9) mallikAmakaranda-nATake mahAkavizrIrAmacandreNa prayuktAnAM virala dRSTAnAm abhinatrazabdAnAM sUcI sakarNakarNakoTara (pR1) pASANasodaraH pASANasuhRdaH (2) pratihastakaH mukhavadhaH (13) prAgraMhara jhAtkAraH (14) vRSasyantI vaizasam (pR7) apakarNitavAn satyakAra: (19) vAcATakirATaH kaTari (pR13) taravAriH kalAcikA (pR15) bahirmukhA gAtrAvaniH (pR18) dantacUDApraveza satyaGkAritaH (19) vRddhi (artham ) DambaraH (20) kRpaNaratnam jIvitapravAsakaraNam (pR21) aprasAdApavAdaH caGgima (23) cArimA grahilatvam (25) cATanam paramadhArmika prakANDam (pR28) dugdhamugdhanetrA paramukhaprekSaH (pR28) rAmaNIyakam aprasAdAtirekaH (pR29) kRtAntAtithiH nirbhAgyazekharaH (pR29) upaliGgam aupayikam (pR30) pAriplavatA kaumArakulaTA (pR32) apahastayati pahilA (pR33) marmuraH guTikAprayogaH (pR33) zatapatralAkSI pramoda-kaNikA (pR35) IrSyAbhiSekaH dAtyUhaH (pR36) madanakaDakam raktakaNThaH (pR37) kalAcI (42) (44) (pR46) (46) (pR49) (pR50) (pR50) (pR50) (52) (pR52) (pR52) (pR53) (pR55) (pR57) (58) (pR59) (pR59) (pR62) (pR62)

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dazamaM pariziSTam (10) nATaka viSayaka-katipaya pAribhASikazabdAH (lakSaNasahitAH ) prakaraNam : ( a ) yatra kavirAtmazaktyA vastu zaraM raM ca nAkaM caiva / autpattikaM prakurute prakaraNamiti tad budhairjJeyam // yadanAmAhA kAvyaM prakarotyabhUtaguNayuktam / utpannacIjavastu prakaraNamiti tadapi vijJeyam // yannATa mayoktaM vastu zarIraM ca vRttibhedAzca / taraprakaraNe'pi yojyaM salakSaNaM sarvasandhiSu tu // vipravaNiksacivAnAM purohitAmAtyasArthavAhAnAm ! caritaM yannaikavidhaM jJeyaM tatprakaraNaM nAma // nodAttanAyakakRta na divyacaritaM na rAjasaMbhogam / bAhyajana saMprayuktaM tajjJeyaM prakaraNaM tajjJaiH // dAsaviTa zreSThitaM vezAstryupacArakAraNopetam / mandakulastrIcaritaM kAvyaM kArya prakaraNe tu // saciva zreSThabrAhmaNa purohitAmAtyasArthavAhAnAm / gRhavArtA yatra bhavenna tatra vezyAGganA kAryA // yadi vezayuvatiyuktaM na kulastrIsaGgamo'pi syAt / atha kulajanaprayuktaM na vezayuvatirbhavettatra // yadi vA kAraNayuktyA vezakulastrIkRtopacAraH syAt / avikRtabhASAcAraM tatra tu pAThyaM prayoktavyam / / nATyazAstram 18.45-53 (A) atha prakaraNe vRttamulAdyaM lokasaMzrayam / amAtyavipravaNijAmekaM kuryAcca nAyakam // dhIraprazAnta sApAyaM dharmakAmArthatatvaram / zeSaM nATakavat saMdhipraveza rasAdikam // nAyikA tu dvidhA netuH kulastrI gaNikA tathA / kvacidekaiva kulajA vezyA kvApi dvayaM kvacit // kulajAbhyantarA bAhyA vezyA nAtikramo'nayoH / AbhaH prakaraNaM tredhA saMkIrNa dhUrta saMkucam // (i) prakaraNaM vaNigU - vipra - saciva - strAmyasaGkarAt / mandagotrAGganaM divyAnAzritaM madhyaceSTitam // dazarUpakam 3. 39-42

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nATyaviSayakapAribhASikazabdAH 161 -nATyadarpaNam 2.1-4 dAsa-aSThi-viTayukta klezADhyaM tacna saptadhA / kalpyena-phala-vastUnAmeka-dvi-tri-vidhAnataH / / kulastrI gRhavArtAyAM, paNyastrI tu viparyaye / viTe patyau dvayaM tasmAda, ekaviMzatidhA'pyadaH / / atrAkalApyaM purA klaptaM yadvA'nArSamasadguNam / zeSaM nATakavat sarvaM kaizikIpUrNatAM vinA // nAndI (a) AzIrvacanasaMyuktA nityaM yasmAt prayujyate / devadvijapAdInAM tasmAnnAndIti saMjJitA / sUtradhAraH paThettatra madhyamaM svaramAzritaH / nAndI padaidizabhiraSTabhirvA'pyalaGakRtAm / / namo'stu sarvadevebhyo dvijAtibhyaH zubhaM tathA / jitaM somena vai rAjJA zivaM gobrAhmaNAya ca // brahmottaraM tathaivAstu hatA brahmadviSastathA / prazAstvimAM mahArAjaH pRthivIM ca sasAgarAm / / rASTra pravardhatAM caiva raGgasyAzA samRdhyatu / prekSAkartumahAndharmo, bhavatu brahmabhASitam / kAvyakarturyazazcAstu dharmazcApi pravardhatAm / ijyayA cAnayA nityaM prIyantAM devatA iti / / nAndIpadAntareSveSu hyevamAryeti nityazaH / vadetAM-samyaguktAbhirvAgbhistau pAripAzvikau // evaM nAndo vidhAtavyA yathAvallakSaNAnvitA / nATyazAstram (a) deva-bhUga-bhA-bhartR-mukhyAnAM maGgalAbhidhA / nityA rUpamukhe nAndI, padaiH SabhirathASTabhiH / / mukhyagrahaNaM sarasvatI-kavi-prabhRtInAmupalakSaNArtham / maGgalAbhidhA ra bhUtaguNokIrtanamAzIvacanaM vA / nityA evaMvidharUpaiva, ...... avazyambhAvAda vA nityatvama. zeSANAM raGgAGgAnAM nAvazyaMbhAvaH, aharaha: prayojyatvAd vA nityatvam / yAvaddhi rUpakasyAbhinayastAvadeSA nAndI prayoktavyaiva / rUpakasya nATakAdermukhe prArambhe nAndI prayogasthAnakathanametat / nAndotvaM ca maGgalAbhidhAyAH pratyUhApasAraNena samRddhijanakatvAt / padAni vAkyAGgAni / kecit tu 'pUrNavAkyApekSayA'vAntaravAkyAni padAni' ityAhuH / .... nAndI svavazyambhASitvAnmaGgalAbhi ca zubhakRtyArambhasyeti lkssitaa| ata

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162 Malllika-Makaranda eva kavayo rUpakArambhe 'nAndyante sUtradhAraH' iti paThanti / yatra tu kavikRtA nAndI na dRzyate, strApi raGgasUtra gAkartRkRtA draSTavyA / nAndIpAThakAzca sUtradhAra-sthApakapAripAzvikA iti / -nATyadarpaNam 3.1. nandati devatA asyAm, nandanti devatAH asyAm , nandayati devatAM devatAH vA, iti nAndI / nandiH AnandaH, devatAyAH devatAnAM vA, tasyA: iyaM nAndI / athavA nandaH (AnandaH devatAyAH devatAnAM vA) eva nAndaH / prajJAdibhyo'N DiDDhANaaiti Gop / nAndI / nandanti sAmAlikAH asyAm, nandayati sAmAjikAn iti vA nAndI / / -azvatthAmAcAryaH ("veNIsaMhAra"-AvRttI) Amukham naTI vidUSako vApi pAripAzvika eva vA / sUtradhAreNa sahitAH saMlApaM yatra kurvate // citrairvAkyaiH svakAryotthairvIthyaGgairanyathApi vaa| Amukha tattu vijJeyaM budhaiH prastAvanApi vA / / udghAzyaka: kathodghAtaH prayogAtizayastathaH / pravRttakAvalagite paJcAGgAnyAmukhasya tu / / .... ..... .... .... .... sUtradhArasya vAkyaM vA yatra vAkyArthameva vA / gRhItvA pravizet pAtraM kathodghAtaH sa kIrtitaH // (a) eSAmanyatamaM zliSTaM yojayitvArthayuktibhiH / pAtragranthairasaibAdhaM prakuryAdAmukhaM tataH / / -nATyazAstram 20.30,31,33,35,38 (A) sUtradhAro naTI brUte mArSa vAtha vidUSakam // svakArya prastutAkSepi citroktyA yattadAmukham / prastAvanA vA tatra syuH kathorAtaH pravRttakam / / prayogAtizayazcAtha vIthyaGgagAni trayodaza / tatra kathodghAta: svetivRttasamaM vAkyamarthaM vA yatra sUtriNaH / gRhItvA pravizet pAtraM kathodghAto dvidhaiva saH / / --dazarUpakam 3.7-10 tidUSaka-naTI-mAH, prastutAkSI bhASaNam / sUtradhArasya vakrokta-spaSToktairyat tadAmukham / / vAkyArtha-samayAhvAnairbhAvoktaiH pAtrasaGkramaH / -nAyaTdarpaNam 3.3-4

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nATyaviSayakapAribhASikazabdAH 163 sUtradhAraH caturAtodyaniSNAto'ne bhASAsamAvRtaH / nAnAbhASaNatattvajJo nItizAstra rthatatvavit / / nAnAgatipracArajJo rasabhAvavizAradaH / nATyaprayoga-nipuNo nAnAzilpakalAnvitaH / / chandovidhAnatattvajJaH sarvazAstravicakSaNaH / tattadgItAnugalayakalAtAlAvadhAraNaH // avadhAnaprayoktA ca yoktRNAmupadezakaH / evaMguNagaNopetaH sUtradhAge'bhidhIyate / -mAtRguptAcAyaH nATayopakaraNAdIni sutramityabhidhIyate / sUtraM dhArayatItyarthe sUtradhAro nigadyate / / AsUtrayan guNAn netuH kaverapi ca vastunaH / raGgaprasAdhanaprauDhaH sUtradhAra ihoditaH // nATyasya yadanuSThAnaM tat sUtraM syAt sabIja km| rajadaivatapUjAkRt sUtradhAra udIritaH / / vartanIyakathAsUtraM prathamaM yena sUcyate / raGgabhUmi samAsAdya sUtradhAraH sa ucyate // nATyoktayaH (a) dUrasthAbhASaNaM yatsyAdazarIranivedanam / / parokSAntarita vAkyamAkAzavacanaM tu tat / tatrottarakRtairvAkyaiH saMlApaM saMprayojayet // nAnAkAraNasaMyuktaiH kAvyabhAvasamutthitaiH / hRdayastha-vaco yattu tadAtmagatamiSyate // savitarka ca tad yojyaM prAyazo nATakAdiSu / nigUDhabhAvasaMyuktamapavAritakaM smRtam / / kAryavazAdazravaNaM parzvagatairyajjanAntikaM tat syAt / hRdayasthaM savikalpaM bhAvasthaM cAtmagatameva / / iti gUDhArthayuktAni vacanAnIha nATake / janAntikAni karNe tu tAni yojyAni yoktRbhiH / / pUrvavRttaM tu yatkArya bhUyaH kathyaM tu kAraNAt / karNapradeze tadAcyaM mAgAttatpunaruktatAm / /

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164 Mallika-Makaranda (A) hastamantarita kRtvA tritAkaM prayoktRbhiH / janAntikaM prayoktavyamaravAritakaM tathA / / -nATyazAstram 25.8-92,94 nATyadharmamapekSyaitat punarvastu vidheSyate / / sarveSAM niyatasyaiva zrAvyamazravyameva ca / savazrAvyaM prakAzaM syAdazrAvyaM svagataM matam // dvidhAnyannATyadharmAkhyaM janAnta pavAritam / tripatAkAkareNAnyAnapavAyarA katham // anyonyAmantraNaM yat syAjjanAnte tajjanAntikam / rahasya kathyate'nyasya parAvRtyApavAritam / / ki bravoSyevamityAdi vinA pAtraM bravIti yat / zrutvevAnuktamapye kastatsyAdAkAzabhASitam / / - dazarUpakam 1.63-60 (i) prakAzaM jJApyamanyeSAM, svagataM svahRdi sthitam / parAvRtya rahasyAkhyA'nyasmai tadaSavAritam // tripatAkAntaro'nyena, jalyo yastajjanAntikam / AkAzoktiH svayaM-prazna-pratyuttaramapAtrakam / / uktatvaHd vakSyamANatvAd, bhUyaH kAryAd yaducyate / tat karNe zrAvayed yena, na yAti punaruktatAm / / uktaM pUrva vakSyamANaM puraH prakAzamAnaM, prapojanavazAd bhUyo'pi yad vRttamucyate tat punaruktatAbhayAt pAtrasya karNe kaviH zrAvayet / tathA ca dRzyate 'kaNe evameva' / -nATyadarpaNam 1.12-13,16 (savivaraNam) viSkambhakaH madhyamapuruSainityaM yojyo viSkambhako'tra tattvajJaH / saMskRtavacanAnugataH saMkSepArthaH pravezakavat / / zuddhaH saMkIrNo vA dvividho viSkambhako'pi kartavyaH / madhyamapAtraH zuddhaH saMkIrNo nIcamadhyakRtaH // pravezakaH aGkAntarAlavihitaH pravezako'rthakriyAM samabhivISa / saMkSepAttandhonAmAnAM caiva kartavyaH / / --nATyazAstram 18.54-55-56 vRttavatiSyamANAnAM kathAMzAnAM nidarzakaH / saMkSepArthastu viSkambho madhyapAtraprayojitaH //

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nATyaviSayakapAribhASikazabdAH 165 ekAnekakRtaH zuddhaH saMkIrNo nIcamadhyamaiH / tadvadevAnudAttoktyA nIcapAtraprayojitaH / pravezo'GkadvayasthAntaH zeSArthasyopasUcaH // --dazarUpakam 1.59-61 aGkAnahasya vRttasya trikAlasyAnura anA / saMkSipya saMskRtenoktiH aGkAdo madhyamairSamaiH // zuddho viSkambhakastatra, saMkIrNo nIcamadhyamaiH / aGkasaMdhAyakaH zakyasaMdhAnAtItakAlavAn / evaM pravezako nIcaiH, parAthai : prAkRtAdinA / etau prabhUtakAryatvAt, nATakAdicatuSTaye / --nATyadarpaNam 1.23-25

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zuddhipatram MAm 4 10 pUrabhi haM ho 6 14 22 7 3 (chAyA) 8 24 m h 1. 20 evaM paThitavyam - pR. paM. evaM paThitavyam tarhi 43 2 (chAyA) gandhamUSikA vadhUTI ___43 2 (chAyA) vaizravaNena dyatakArAH...dugedara0 zuSyati yannaiva takArasya 44 6 (chAyA) tisraH mahApuruSagaMhito karkaza paJcatva 47 20 zvazura kulIno 47 21 vakrokti mAM tvarayitvA 48 26 strINAM 48 2 (chAyA) martavye kusuma AbharaNAni 5. 4 avalambasva 0:khena nisargasiddhA-- puNo 51 23 palavase svabhavanam jIvikA dIpa0 52 25 mRtyukAla: nirNayo durAgraheNA''tmanaH lIyakAnika 55 20 citrAGgada prati pratikUlA bhavenoM 56 24 57 15 prasAdhanamapahastayati yato 583 samarpitaH 58 4 vali vIkSate bhavatyAM kaDhiNa omapagata candralekhA gacchannAmbu paramadhArmika 59 18 zastra tvayi 0 vaizasam 62 2 vaizravaNau hA nikkaruNe 62 1 (chAyA) samAzvasihi samAzvasihi bhodi 62 23 madanakaTaka makarandaH 63 28 (saviSAdam ) tarhi akutobhayo pratipadyate 64 21 kiM te bhUyaH siddhAyatanam 64.26 svatantrazcira tarhi 18 18 2. 19 mamara0 22 3 23 4 27 12 28 19 s` s` s` 37 22 40 20 40 26

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Jan Education r ational For Pilvale Patel Use Only