Parshvabhyuday

Author(s): Jinsenacharya, M G Kothari
Publisher: Gulabchand Hirachand Doshi
Catalog link: https://jainqq.org/explore/001704/1

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jina se nA ceM pAzvabhyudaya saM. - mo. gau. koThArI te & Personal Use Only

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zrIjinasenAcAryaviracitaM pArdhAbhyudayam saMpAdaka em. e. ityupapadadhArI, bhANDArakarapAritoSikavijetA mo. gau. koThArI mUlyaM dazarUpakANi

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prakAzaka zrI. gulAbacaMda hirAcaMda kaMsTrakzana hAUsa, baeNlArDa isTeTa, muMbaI 1. mudraka bhAU lakSmaNarAva kokATe, hanumAna presa, 718, sadAziva, puNe 2.

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PREFACE While preparing this edition of the Parsvabhyudaya, I have done my level best to make it meet the latest requirements: Below every stanza its construction is given. A commentary written in Sanskrt by me is also given below the construction. Then follows translation of the stanza in English. In the end exhaustive explanatory notes in English are given. The text of the Meghaduta as found in the Parsvabhyudaya is also separately printed with variants in the end. In the introduction I have, quoting internal and externa evidences, tried to fix the date of Acarya Jinasena, and to corroborate my inference, the copper-plate inscription from Sanjana inscribed in the year 793 of the salivahana saka era is also printed separately after the introduction. I have tried to render the text into English as literally as possible and to give the explanatory notes exhaustively according to my capacity. To make the text intelligible I have done my utmost and have tried to avoid strained interpretation. I feel constrained to make it clear that to make the sense of the line or lines adopted from the stanza of the Meghaduta harmonize with the context of the Parsvabhyudaya, I have resorted to grammar and dictionaries, the only possible sources of help. Notwithstanding my going out of the way I have to say that the text of the Meghaduta as found in the Parsvabhyudaya is mastly trustworthy for none of the stanzas, stamped as spurious and not found in the texts adopted by Vallabha of the 10th century and Daksinavarta of the 13th century is incorporated with the Parsvabhyudaya by Acarya Jinasena who is historically placed in the second half of the 7th century and in the beginning of the 8th century of the Christian era.

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II My efforts, I hope, will be very useful to the average student wishing to understand the text and to appreciate its author. I would like to request the scholars to go through the work at least once and to appreciate the charm of the work and the vivid imagination of the great poet who is found to have highly and impartially praised the Meghaduta, the work of Kalidasa, a non-Jain author. I must heartily congratulate Sjt. Gulabchan Hirachand, Construction House, Belard Estete Bombay 1 upon his acceptance of the request made for the publication of this work, the late pleader Sjt. Nemchandji Gandhi of Osmanabada and Shriman Seth Raoji Devachand Shah, (Nimbargikar ) of Sholapur, upon their generous contributions of Rs. 1000/= and Rs. 2000/respectively for the publication of this work. Lastly, I must offer heart-felt thanks to Mr. S. L. Kokate for the co-operation he gave me and for his promptitude and courteous behaviour. 1 August 1965 Phaltan Shukrawar 3. M. G. KOTHAR).

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INTRODUCTION THE DATE OF THE POET Some scholars who have edited the works of Acarya Virasena and Acarya Jinasena have tried to ascertiain the dates of both the Acaryas. These scholars seem to have attached imporatance to the views propounded by historians. My line of thinking being somewhat different from that of those scholars, the conclusion arrived at by me does not coincide with those of them. In the following lines, I have made my mind to throw light upon my arguments which help me to determine the date of Acarya Jinasena and also of his preceptor. Being helpful to us to determine the date of Acarya Jinasena, I think it necessary to give the information about the life of Puspadanta, the great poet who wrote Mahapuranu in Apabhramsa language. Mahapuranu, Nayakumaracariu and Jasaharacariu are the three works written by Puspadanta. In the Mahapuranu Bharata, who served under Krsnaraja and his son as minister general and in the Nayakumaracariu and the Jasaharacariu Nanna, the son of Bharat, are glorified by the great poet. King Krsnaraja resided in the city of Manyakheta, his capital. Being ministers of Krsnaraja and his son, Bharata and his son Nanna also resided there. It will be seen later on who this king Krsnaraja was. Both Bharata, the noble and his noble son, Nanna, are described by Puspadanta as his patrons. Bharata is described as having been the commander of the army of king Vallabha in the stanza - aisa <Page #7
(2) vaMzo yena pavitratAmiha mahAmAtyAhvayaH prAptavAn zrImadvallabharAjazaktikaTake yazcAbhavannAyakaH // , found in the Prasasti of Mahapuranu. In the line khyAto bandhuH kavInAM bharata iti kathaM pAntha jAnAsi no tvam // 15 // of a stanza of the Prasasti of Mahapuranu, Bharata is described as the brother of poets. In the stanza tIvrApaddivaseSu bandhurahitenakena tejasvinA santAnakramato gatA'pi hi ramA kRSTA prabhoH sevayA / yasyAcArapadaM vadanti kavayaH saujanyasatyAspadaM so'yaM zrIbharato jayatyanupamaH kAle kalau sAmpratam // Bharata is described as having been reduced to poverty and as having regained his property by serving his master. Nanna extended his patronage to the great poet, Puspadanta, generously as his father did. He served under king Vallabha as a minister entrusted with the duty of looking after the domestic affairs of the king. In the Prasasti - suhatuMgabhavaNavAvArabhAraNivvahaNavIradhavalassa koMDillagottaNahasasaha rassa payaIe sommassa // 1 // kuMdanvAganbhasamubbhavassa siribharahabhaTTataNayassa jasapasarabhariyabhuvaNoyarassa jiNacaraNakamalabhasalassa // 2 // aNavara yara iyavara jiNa harassa jiNabhavaNapUryANirayassa jiNasAsaNAyamuddhAraNassa muNidiNNadANassa // 3 // kalimalakalaMkaparivajjiyassa jiyaduvihavairiNiya rassa kAruNNakaM daNavajalaharassa dINajaNasaraNassa // 4 // NivalacchokIlAsaravarassa vAesariNivAsassa jissesaviu savijjAviNoryANirayassa suddha hiyayassa // 5 // given at the end of the Nayakumaracariu, Puspadant, the author of the work, is found to have described Nanna as belowNanna, the minister, was entrusted with the duty of looking

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(3) after the domestic affairs of king Subhatunga. He was gentle by nature. His fame had spread in all the quarters. He used to worship the feet of Jina. He used to erect temples dedicated to Jinas. He was the pleasure-lake of the goddess in the form of the glory of a king.' King Subhatunga, referred to in the Prasasti given above, seems to be the father of king Krsnaraja after whom the family of king Krsna might have been designated or possibly Subhatunga might have been another name of King Krsnaraja. According to some scholars, Mahapuranu of Puspadanta was commenced in the year 959 A. D. i. e. in the year 881 of the Salivahana Saka era and was completed in 965 A. D. i. e. in the year 887 of the Salivahana Saka era. The Nayakumaracariu and the Jasahara cariu were written by the poet after the completion of the Mahapuranu. In the Nayakumaracariu he is described as Nannakannabharana by the poet. In these two works the poet is found to have glorified Nanna, his patron and the noble son of Bharata. In the stanza 1 andbasandq arag fex qatatqazi pAtIndrAyudhanAmni kRSNanRpaje zrIvallabhe dakSiNAm / gai &fincafawyfa za acanfees, qei [ alufori ? ] atstunafanosci auga ait azigsafa 11 found at the end of the Harivamsapurana of Acarya Jinasena, it is clearly stated that the work was completed in the year 705 of the Salivahana Saka era. In this stanza, the author has referred to king Indrayudha, who belonged to the Ayudha dynasty of Kanauja, and to Sri-Vallabha, the son of king Krsna of the Rastrakuta dynasty. Similarly it has referred to king Vatsaraja, a descendant of the Gurjara-Pratihara dynasty, having he city of Avanti (i. e. Ujjaini) as his capital. The auther has

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(4) clearly stated that king Indrayudha ruled over the northern part of India, Sri-Vallabha alias king Krsna over the southern part and king Vatsaraja, the king of Avanti, over the eastern part of India. The valorous king of Kanauja, Yasovarma by name, was the founder of a large empire which did not last long. The victorious emperor, Lalitaditya of Kasmira, had defeated Yasovarma, the king of the Ayudha dynasty and had annexed the territory of Kanauja to his empire. After 760 A. D. i. e. the year 682 of the Salivahana Saka era when the descendants of Lalitaditya, who had been in power then, had been enfeebled, the rulers of Kanauja had become independant again. When Vinayaditya, a descendant of Lalitaditya, had recovered strength, a king of the Ayudha dynasty, Vajryaudha by name, had been ruling in Kanauja. When Vinayaditya Jayapida had conquered Kanauja, most probably Vajrayudha, who had been succeeded by Indrayudha, had been in power. Indrayudha had been on the throne according to Acarya Jinasena, the author of the Harivamsapurana, at the time when he had completed his work in the year 705 of the Salivahana Saka era i. e. in 783 A. D. Similarly, king Vatsaraja of the Gurjara-Pratihara dynasty is also described by the same author as a king reigning in the city of Ujjaini, his capitel. As king Indrayudha and king Vatsaraja are described as the contemporaries of Sri-Vallabha, the son of Krsnaraja, king Sri-Vallabha deserves to be identified with king Dhruvaraja who had assumed the names Dharavarsa and Nirupama also. According to historians and inscriptions it was this king Dhruvaraja who had defeated Indrayudha and Vatsaraja. I, therefore, have arrived at the conclusion that king SriVallabha referred to in the Prasasti of the Harivamsapurana is none else but king Dhruvaraja. On the ground of the reference made in the stanza. kalyANaiH parivardhamAnavipula zrIvardhamAne pure zrIpAivalayanannarAjavasato paryAptazeSaH purA / For Private & Personal.Use Only

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(5) qzzigitafcm9zigafaasica1da1ada (?) zAnteH zAntagRhe jinasya racito vaMzo harINAmayan // found in the Prasasti of the Harivamsapurana of Jinasena, to Nanna, who is referred to by Puspadanta in his Nayakumaracariu and Jasaharacariu, I am inclined to identify king Krsna referred to in the stanza fafraegriqazumfafzuzfassanfzfu zinafe i dhavalahara siha rihayame hauli paviula maNNakheDaNayari // and king Vallabha referred to in ' vallabhaNariMdagha ramayarAsu' with king Krsnaraja and his son, king Sri-Vallabha respectively referred to in the Prasasti of the Harivamsapurana. Though in the Tivarakhed plates of the Rastrakuta dynasty one king Nannaraja is found to have been referred to, he is found to have been referred to as Nandaraja in the Multai plates. This king is found to have been described as believing in the non-Jain religion. Nanna, referred to in the Prasasti of the Harivamsapurana, is a devout Jain, for the temple, dedicated to Parsva, is described as having been built by himself. The adjectives aNavarayaraiyavarajiNaharassa and NivalacchIkIlAsa ravarassa, qualifying siribhara* imply that Nanna used to construct Jain temples and was as good as a king. It can be, therefore, inferred that Nanna, referred to in the Prasasti of the Harivamsapurana, is not different from that Nanna who is glorified by Puspadanta in his Nayakumaracariu and Jasaharacariu. Now let us see who king Sri-Vallabha and his father, king Krsnaraja were. The Rastrakuta copper-plate inscription of the year 836 of the Salivahana Saka era, from Navasari, mentions the name Nirupama which is one of the names of the king SriVallabha, the son of king Krsnaraja, the copper-plate inscription of the year 862 of the Salivahana Saka era from Deoli (Vardha) and the copper-plate inscription of the year 880 of the Salivahana Saka era from Karhad refer to two names Nirupama and Kali

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(6) Vallabha of the same king, and the copper-plate inscription of the year 793 of the salivahana saka era from Sanjana gives two names Dharavarsa and Nirupama of the same king. According to historians king sri-Vallabha was called Dhruvaraja. From this it can be inferred that king Sri-Vallabha had assumed the names Nirupama, Kali-Vallabha, Dharavarsa and Dhruvaraja. The copper-plate inscriptions from Navasari, Deoli, and Karhad mention that the name of the father of king sri-Vallabha or Dhruvaraja was Kssparaja, while the one from Sanjana states that he was called Akalavarsa. From this it can be inferred that king Vallabha referred to by Puspadanta and king sriVallabha referred to in a stanza of the Prasasti of the Harivamsapurana must have been identical with king Dhruvaraja alias Dharavarsa and that king Krsnaraja referred to by Puspadanta, the author of Mahapuranu and Jinasena, the author of the Harivamsapurana, identical with king Akalavarsa who is referred to in the copper-plate inscription from Sanjana. . Puspadanta is found to have glorified Bharata and his son in his works and Acarya Jinasena, the author of the Harivamsapurana is found to have referred to Nanna as a person who erected the temple dedicated to Parsva Jina where the work of the Harivamsapurana was commenced. From this it can be surmised that Purspadanta preceded Acarya Jinasena, the author of the Harivamsapurana. We cannot say with certainty that, at the time of the completion of the Harivamsapurana, Nanna was alive. It is certain that Bharata, the father of Nanna, was not alive then. Under these circunstances, the dates of Acarya Virasena and Acarya Jinasena, the author of Adipurana, whose works are referred to by Puspadanta who, as it is seen, was prior to Acarya Jinasena, the author of the Harivamsapurana, Puspadanta, Bharata, Nanna and king Krsparaja alias Akalavarsa, deserve to be pushed back to the period prior to the year 705 of the salivahana Saka era.

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(7) In the following stanzas - yasyottuGagamataGagajA nijamadastrotasvinIsaGagamAdgADagaM vAri kalaGakitaM kaTa muhuH pItvA'pagacchattaSaH / kaumAraM ghanacandanaM vanamA patyustaraGagAnilaH mandAndolitamastabhAskarakaracchAyaM samAzizriyan // 29 // dugdhAbdhau giriNA harau hatasukhA gopIkucokhaTTanaH pace bhAnukarabhidelimavale vAsAvasaDakocane / yasyoraHzaraNe prathIyasi bhujastambhAntarottambhitasthairye hArakalApatoraNaguNe zrIH saukhyamAgAcciram // 30 // akAlavarSabhUpAle pAlayatyakhilAmilAm tasminvidhvastaniHzeSadviSi vIghayazojuSi // 31 // found in the Prasasti of the Uttarapurana, king Akalavarsa is highly glorified by Acarya Lokasena, the author of the Prasasti. In my opinion, king Akalavarsa, glorified in the stanzas of the above-referred to Prasasti and king Akalavarsa, who, as seen above, was the father of king Druvaraja alias Dharavarsa, are not two different individuals but identical, for king Akalavarsa, glorified by Acarya Lokasena, is described by the same author as the successor of king Amoghavarsa. This king Amoghavarsa cannot be the son of king Govinda I]I alias king Jagattunga. King Akalavarsa referred to in the Prasasti of the Uttarapurana, king Akalavarsa referred to in the copperplate inscription from Sanjana, king Krsparaja or subhatunga referred to by Puspadanta in his works and king Krsnaraja referred to in the Prasasti of the Harivamsapurana are identical. The inference that the dates of the great poet Puspadanta and others should be pushed back to the period prior to the year 705 of the salivahana saka era, militates against what is stated in the Prasasti of the Uttarapurana. The Prasasti of the Uttarapurana was, according to some scholars, written by Acarya Gunabhadra himself. According to other scholars, the first

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( 8 ) twenty-seven stanzas were written by Acarya Gunabhadra himself and the remaining stanzas were written by Acarya Lokasena, the disciple of Acarya Gunabhadra. Whatever it may be, the completion of the Prasasti was effected in the year 820 of the salivahana saka era as stated in the Prasasti itself. The Prasasti was completed when king Akalavarsa was ruling. Under these circumstances, it is very difficult to push the date of king Akalavarsa who was on the throne in the year 820 of the salivahana saka era back to the period prior to the year 705 of the salivahana saka era. Is not this problem insoluble ? In my opinion, this problem is not insoluble. I do not think that the Prasasti was written by Acarya Gunabhadra himself or that the first twenty-seven stazas were written by Acarya Gunabhadra and the remaining stanzas by Acarya Lokasena. In my opinion the whole of the Prasasti was written by one author only. It was Acarya Lokasena who wrote it. Had all the stanzas of the Prasasti or the first twenty-seven stanzas of it been written by Acarya Gunabhadra, he could not have employed the Imperfect form pra in the stanza, pratyakSIkRtalakSyalakSaNavidhividyopavidyAtigaH siddhAntAbyavasAnayA na janitaprAgalbhyavRddhaddhadhIH / nAnAnUnanayapramANanipuNo'gaNyairguNabhUSitaH frou: Tuwzgferagittaturfega: 11 88 11 of the Prasasti of the Uttarapurana. I, therefore, think that the first twenty-seven stanzas were not written by Acarya Gunabhadra. Moreover, it can be inferred that at the time when the Prasasti was written Acarya Gunabhadra might not be alive. The fact, that the remaining portion of the Prasasti was written by Acarya Lokasena, is admissible. As I have arrived at the conclusion that the first twently-seven stanzas could not have been written by Acarya Gunabhadra, then those stanzas must have been written by some one else. In my opinion the other person is none else but Acarya Lokasena himself.

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(9) Though in the stanza - zakanupakAlAbhyantaraviMzatyadhikASTazatamitAbdAnte / / maGagalamahArtha kAriNi piGagalanAmani samastajanasukhade / / 35 // the word saka is employed, it cannot be a determining factor, for it is found to have been used along with the words fa77, zAlivAhana and gupta of which the first two are the names of kings and the last of a dynasty. These kings are described as 276793 i.e. epoch-makers. Under these circumstances the year 820 may be taken as the year of the Vikrama era. Thus I have come to the conclusion that the completion of the Prasasti was eflected in the year 685 of the salivahana saka era. The verbal form a implies that when the Prasasti was written Acarya Gunabhadra was not alive, though he was seen by Acarya Lokasena, his disciple, under the rulegate afara siat: 79463fara siafaqe 15 704:'[ ., 69. 7., p. 112, Benarasa edition]. It is, therefore, clear that before the year 685, Acarya Gunabhadra had expired. As we have pushed the date of the great poet, Puspadanta, back to the period prior to the year 705 of the Salivahana saka era, and that of Acarya Gunabhadra back to the period prior to the year 685 of the salivahana saka era, they might have been contemporaries and so the great poet, Puspadanta might not have referred to Acarya Gunabhadra or he might not have thought it necessary to refer to him or his work on account of Acarya Gunabhadra's work being inferior to that of Acarya Jinasena. Now, let us see whether the word saka is employed along with the words vikrama, zAlivAhana and gupta. Acarya Yativrsabha is found to have used the word 74 to imply both the Vikrama era and the Salivahana era. Of the following two Gathas - vIrajiNe siddhigade causadaigisaThivAsaparimANe kAlamhi adikkate uppaNNo etma sagarAo // 1496 // NivANe vIrajiNe chanvAsasadesu paMcavarisesu / paNamAsesu gadesuM saMjAdo sagaNivo ahavA // 1499 //

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(10) the first tells us that when 461 years had elapsed after Mavavira Jina had attained salvation, a saka king had been born. We know that between the era of the Viranirvana and the era of king Vikrama, there is a difference of 470 years. I think this Gatha refers to king Vikrama. If what I think is correct the word proterant may be taken as referring to king Vikrama. From this it can be inferred that king Vikrama also was called sakaraja in the days of Acarya Yativrsabha. The second Gatha refers to king salivahana for the difference between the Viranirvana Samvat and salivahana saka Samvat is of 605 years and this Gatha tells us that after 605 years had elapsed after Lord Mahavira had attained salvation a Saka king had been born. From this it can be inferred that in the days when Acarya Yativisabha was alive king Vikrama as well as king salivahana was called saka-king, for each one of them had made an epoch. There was a dispute on the point of the date of Acarya Akalamka long since. The word 77, used in conjunction with the word fan in the stanza vikramArkazakAbdIyazatasaptapramAjuSi / FT-544549farat ala atat a Hali was the point on which hot discussions took place. The compound vikramArkazakAbdIyazatasaptapramAjuSi clearly states that the year 700 is of the Vikrama era. Here also the word 7% is used in conjunction with the word fazar and it refers to the year of the Vikrama era and not io that of the salivahana era. Some scholars were bent upon considering the year to be of the salivahana era. After some time when a reference to Siddhiviniscaya was found in Nandisutra-curni written by sri Jinadasagaai Mahattar, a learned scholar, the debate was calmed down. This Curni was written in the year 598 of the salivahana era. i. e. in the year 733 of the Vikrama era. The date of of this Curni was fixed by Muni Jinavijayaji with the help of a palm-leaf manuscript of the same work. As the Carpi was com

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(11) pleted in the year 733 of the Vikrama era, the year 700 was to be accepted as belonging to the Vikrama era. From this one has to arrive at a conclusion that the word does not invariably refer to the year of the Salivahana era and that whenever it is used in conjuction with the word vikrama or vikramArka, it refers to the year of the Vikrama era. In the northern part of India time was and is recorded according to the Vikrama era generally. In the same way Acarya Jinasena is found to have designated a certain king of the Gupta dynasty Saka king. In the stanza gurjara narendra kIrterantaH patitA zazAka kazubhbhrAyAH / gupteva guptanRpateH zakasya mazakAyate kIrtiH // found in the Prasasti of the Jayadhavala commentary written by Acarya Jinsena, a certain king of the Gupta dynasty is referred to as saka king. History also supports this statement. It can, therefore, be said that the title Saka was applied to any king who made an epoch from the time of Acarya Yativrsabha to that of Acarya Jinasena at least. From this it can be imferred that though in the Prasasti of the Uttarapurana the word is employed, it does not invariably imply the year of the Salivahana Saka era. It may be taken to imply the year of the Vikrama era also. Now, let us turn to the dates of Acarya Virasena and his disciple, Acarya Jinasena. The transcription of the original manuscript was completed in the year 738 of the Salivahana Saka era. The original of the commentary was transcribed by some Malideo, a general of some king, Nrpagandodeo by name. As the transcription was completed in the year 738 of the Salivahana Saka era, the completion of the original work must have been effected at least two years earlier than the year 738. The scribe was a general. I, therefore, think that the work of transcribing could not have been carried on simultaneously with the work of composition of the Dhavala which might have required a period

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(12) of 25 years for its completion, for it was not possible for a peron like Malideo, who was a general, to accompany the author of the Dhavala, who, being a sage, must not have stayed at one place for years together. As the completion of the transcription was effected in the year 738 of the Salivahana Saka era, and so, as the completion of the original manuscript must have been effected some years before the year 738, the year 738 of the $alivahana Saka era cannot be acknowledged either as the year of the completion of the work or as the year of the Salivahana Saka Moreover, one of the Gathas of the Prasasti of the Dhavala clearly states that the Dhavala commentary was completed in the year 738 of the Vikrama era. era. The work of transcribing the Jayadhavala commentary was completed, according to Pt. Lokanathaji, the late Sastri, in the year 758 of the Salivahana Saka era. The stanza ekAntaSaSTisamadhikasaptazatAbdeSu zakanarendrasya samatIteSu samAptA jayadhavalA prAbhRtavyAkhyA / / 11 / / of the Prasasti of the Jayadhavala clearly states that the work was completed in the year 759 of the Saka king. How could the scribe have completed the work of transcribing the original manuscript of the Jayadhavala in the year 758 of the Salivahana Saka era, when the work was completed by the author himself in the year 759 of the Saka king? I, therefore, have arrived at the conclusion that the word does not imply king salivahana and that the year 759 belongs to the Vikrama era and not to the Salivahana Saka era. Some of the scholars argue that if the years 738 and 759 are acknowleged as the years of the Vikrama era, historians will be thrown into perplexity. I do not think so, for the information gathered by historians being inadequate they could not ascertain the dates of the kings of the Rastrakuta dynasty and their chronological order. Up to the year 1941 A. D. they were in the dark about Bharata, the noble minister and his noble

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(13) son, Nanna. Even now they, it seems, do not know that Acarya Jinasena, the author of the Harivamsapurana, which was completed in the year 705 of the salivahana saka era, has referred to Nanna. Indrayudh who stayed in the city of Kanauja, his capital, upto the years 715 of the salivahana saka era approximately and Vatsaraja of the Gurjara-Pratihara dynasty. When the historians themselves are in the dark about the dates and the chronological order of the kings of the Rastrakuta dynasty, I do not know how far their objection to my inference is tenable. Does not ancient history get changed when some new and adequate information is supplied to historians ? Can a historian insist upon the correctness of his inferences when he is short of adequate information ? The copper plates of the Rastrakutas from Tivarakheda, wherein king Dantidurga, who was, according to the copperplate inscriptions from Sanjana, succeeded by king subhatunga, the predecessor of king Akalavarsa, is found to have been referred to, were inscribed in the year 553 of the salivahana saka era. These copper-plates seem to be inscribed for the first time since the date of installation of king Dantidurga. It seems that he had expired in the year 601 of the salivahana saka era and had been succeeded by king subhatunga who, most probably, might have assumed the titles Nrpatunga and Amoghavarsa. The king of the Rastrakuta dynasty referred to in the Prasasti of the Dhavala commentary seems, most probably, just the same king Dantidurga. In the said Prasasti. he is referred to as king Jagattunga. According to the same Prasasti king Boddanaraya succeeded king Jagattunga. If king Jagattunga is just the same king Dantidurga, then king Boddanaraya must have been none else but king subhatunga who is described as having succeeded king Dantidurga in the copper-plate inscriptions from Sanjana. This king Boddanaraya is most probably indentical with king Amoghavarsa who is referred to in the Jayadhavala Prasasti and

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(14) in the Parsvabhyudaya by Acarya Jinasena, the disciple of the author of the Dhavala Commentary. This king Amoghavarsa alias king Nopatunga is just the same king subhatunga, who is described as the successor of king Dantidurga in the copperplate inscriptions from Sanjana. As king sri-Vallabha, referred to in the Prasasti of Harivamsapurana, being described there as the contemporary of king Indrayudha of the Ayudha dynasty of Kanauja and king Vatsaraja of the Gurjara-Pratihara dynasty of Avanti, is king Druvaraja alias Dharavarsa and as in the same Prasasti he is described as ruling in the southern part of India, his father king Kssnaraja must have been alive at least in the year 700 of the salivahana saka era. According to historians king Dhruvaraja had come to the throne in the year 694 of the salivahana Saka era si. e. 772 A.D.). King Kssnaraja, the father of king Dhruvaraja, therefore, deserves to be identified with king Akalavarsa who is described as the predecessor and father of king Dharavarsa alias king Dhruvaraja. This king Akalavarsa is glorified and described in the Uttarapurana Prasasti as the successor of king Amoghavarsa. As king Krsnaraja, being the father and predecessor of king Dharavarsa alias Dhruvaraja, is identified with king Akalavarsa, king Amoghavarsa alias Nipatunga, being the predecssor of king Akalavarsa as described in the Uttarapurana Prasasti, deserves to be identified with king subhatunga who is described as the successor of king Dantidurga in the copper-plate inscrip tions from Sanjana. The period of the rule of king Amoghavarsa alias king subhatunga and king Krsparaja alias king Akalavarsa, must fall between the year 601 and the year 694 of the salivahana Saka era. King Amoghavarsa might have ruled from the year 601 to the year 635 of the Salivahana saka era and king Akalavarsa from the year 635 to the year 694 of the same era approximately. I, therefore, have come to the conclusion that the period to be assigned to Acarya Jinasena must fall between the years 576 and 635 of the salivahana saka era approximately.

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(15) Puspadanta, the author of the Mahapuranu, has referred to the Dhavala and the Jayadhavala of Acarya Virasena and Acarya Jinasena respectively in his Mahapuranu. Acarya Virasena and his disciple Acarya Jinsena, therefore, must have belonged to the period prior to that of Puspadanta. He is not found to have referred to Acarya Gunabhadra, the worthy desciple of the worthy preceptor Acarya Jinasena. In my opinion, the Uttarapurana was being written and was not completed when Puspadanta was engaged in composing his Mahapuranu. This is why, I think, Puspadanta could not have referred to the Uttarapurana. This Uttarapurana must have been commenced when king Amoghavarsa was on the throne. Puspadanta is found to have referred to king Krsnaraja, who according to some scholars, was called Akalavarsa. Acarya Lokasena is found to have referred to this king in the Prasasti of the Uttarapurana. From this it can be inferred that Acarya Lokasena, and Puspadanta, the great poet, were contemporaries. Puspadanta has referred to Bharata, the noble minister, and his noble son, Nanna who had been serving king Akalavarsa in the capacity of ministers. In my opinion, therefore, Puspadanta, Acarya Lokasena, king Akalavarsa, ministers Bharata and Nanna must have been contemporaries. Acarya Jinasena, the author of the Harivamsapurana, is found in his work to have referred to Nanna, the son of Bharata, who used to build temples. As shown above, Puspadanta, Bharata, Nanna and others were contemporaries. At the time of the completion of the Harivamsapurana king Krsnaraja alias king Akalavarsa might not have been alive, for the author of the Harivamsapurana is found to have referred to him as the father and predecessor of king sri-Vallabha alias king Dhruvaraja who was then in power and ruling over the southern part of India. As in the year 705 of the Salivahana Saka era king Akalavarsa and also Bharata, who is not referred to in the Harivamsapurana were not alive, they might have lived some years before the comple

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(16) tion of the Harivamsapurana i. e. before the year 705 of the salivahana saka era. The author of the Harivamsapurana has also referred to Indrayudha, a king of the Ayudha dynasty of Kanauja and Vatsaraja, a king of the Gurjara-Pratihara dynasty of Avanti. The dates of these two kings and that of the author of the Harivamsapurana concur. King Indrayudha and king Vastaraja were defeated by king Dhruvaraja, the son of king Krsnaraja alias king Akalvarsa after the year 705 of the salivahana saka era. It can, therefore, be inferred that the date to be assigned to Puspadanta, Bharata, Nanna and king Kisnaraja alias king Akalavarsa must be pushed back to the period prior to that of the year 705 of the salivahana saka era. As Puspadanta is found to have referred to the Dhavala and Jayadhavala of Acarya Virasena and Acarya Jinasenia respectively and as the date to be assigned to Puspadanta and others deserves to be pushed back to the period prior to the year 705 of the salivahana saka era, the date to be assigned to the completion of the Jayadhavala must be prior to that of Puspadanta. Jinasena, the author of the Harivamsapurana, has, in his work, highly praised Parsvabhyudaya. Some of the scholars consider it to be the first work of Acarya Jinsena, the author of the Jayadhavala. They might have formed their opinion like this to avoid anachronism. I have found different opinions of different historians regarding the dates, chronological order of the kings of the Rastrakuta dynasty and their mutual relations. Under these circumstances, having no other alternative left, I am coerced into relying upon other evidences I could gather. At the end of his work, Parsvabhyudaya, Acarya Jinasena is found to have given the following stanza -- zrIvIrasenamunipAdapayojabhaGagaH zrImAnabhUvinayasenamunigarIyAn / taccoditena jinasenamunIzvareNa kAvyaM vyadhAyi pariveSTitameghadUtam //

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(17) On seeing some portion of the Adipurana, written by Jinasena, Acarya Virasena, his preceptor, might have conferred upon him the title of Acarya. When Acarya Vinayasena, one of the desciples of Acarya Virasena, came to see Jinasena's Adipurana, a thought might have occured to his mind to inspire Acarya Jinasena to write Parsvabhyudaya and so he might have pressed Jinasena to write the said work. When the Parsvabhyudaya was written, the sage who impelled him to write the work, might not have been alive, for Jinasena himself has said that Vinayasena was the desciple of Acarya Virasena. From this it can be inferred that the Parsvabhyudaya was written after the Adipurana. The work of Adipurana was undertaken by Acarya Jinasena when the Dhavala commentary was completed, for Jinasena is found to have made obeisance to the Dhavala and to his preceptor, the author of the Dhavala in the following words fagraiqfaaqrai faungHzyzifaza | manmanaH sarasi stheyAnmRdupAdakuzezayam // 57 // qasi xirai axa difa a fayfammE I dhavalIkRtaniHzeSabhuvanAM navamImyaham // 58 // [ Adi parva 1 ] Acarya Jinasena had to give up the work of writing the Adipurana, for, being ordered by his old and infirm preceptor, who could not continue writing the Jayadhavala commentary, he had to undertake the work of completing the Jayadhavala. Under these circumstances, it was not possible for him to undertake the work of writing the Parsvabhyudaya. Moreover, he is found to have mentioned the name of king Amoghavarsa in the Prasasti of the Jayadhavala commentary and at the end of his Parsvabhyudaya. The said king's name is not found mentioned in any one of the colophons of the Adipurana. I, therefore, have come to the conclusion that king Amoghavarsa either had not approached Acarya Jinasena or he had been just enthroned. It is said that, the Parsvabhyudaya being the first work 2

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(18) of the author, king Amoghavarsa's name was not mentioned in it. It was inserted in it after the completion of the Jayadhavala commentary was effected. I am unable to agree with this view. Had Acarya Jinasena inserted king Amoghavarsa's name in the Parsvabhyudaya after the completion of the Jayadhavala commentary, what might have prohibited him from adding the name of the same king to the colophons of the Adipurana ? I, therefore, hold that the Parsvabhyudaya is the last work of Acarya Jinasena. The date to be assigned to Acarya Jinasena should, therefore, be pushed back to the period prior to that of Jinasena, the author of the Harivamsapurana i. e. prior to the year 700 of the salivahana saka era at least. It is shown above that the work of the Adipurana was undertaken by Acarya Jinasena after the completion of the Dhavala was effected. The whole work of the Jayadhavala had required a period of twenty-one years for its completion. One-third part of the work was written by Acarya Virasena. This portion might have required at least seven years approximately for its completion. This much period might have been required for writing 42 Parvans of the Mahapurana. Taking this calculation into consideration, it can be inferred that the work of the Harivamsapurana, consisting in 66 cantos, might have required eleven years approximately for its completion. The work, therefoie, might have been begun in the year 694 of the salivahana saka era i. e. in 772 A. D. The stanza, yAmitAbhyudaye pArzvajinendraguNasaMstutiH / svAmino jinasenasya kIti sar3akIrtayatyasau // , therefore, might have been written in the year 694 of the Salivahana saka era i. e. in 772 A. D. At the time when this stanza was written i. e., at the time when the work of the Harivamsapurana was undertaken by the author, the fame of

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(19) Acarya Jinasena, the author of the Parsvabhyudaya, had spread very widely. This fame might have required about 25 years for its spread. I, therefore, hold that up to the year 669 of the Salivahana Saka era i. e. 747 A. D. the manuscripts of the Parsvabhyudaya might have been circulated widely among scholars of the then period. The circulation of the work might have been completed before that period even. This is how, the date of Parsvabhyudaya goes back to the period prior to that of the year 705 of the Salivahana saka era by at least 36 years. I, therefore, think that the date to be assigned to Acarya Jinasena, the author of the present work, deserves to be pushed back at least to the middle of the seventh century of the Salivahana Saka era. It has been shown before that Puspadanta, the great poet, belonged to the period prior to that of Acarya Jinasena, the author of the Harivamsapurana and that poet is found to have referred to the Dhavala and the Jayadhavala. Acarya Vrrasenal and his desciple, therefore, must have belonged to the period prior to that of Puspadanta. The text of the Prasasti of the Dhavala being corrupt, it itself does not help us to determine the date of the completion of the Dhavala commentary. Yet with the help of the date of the completion of the Jayadhavala, one can come to some conclusion regarding the date of the completion of the Dhavala. The Jayadhavala, according to its Prasasti, was completed in the year 759. We know that one-third of the Jayadhavala commentary was written by Acarya Virasena himself and the remaining two-third portion was written by Acarya Jinasena. The whole work of the Jayadhavala commentary must have required a big period to be spent on it. Moreover, Acarya Virasena being the preceptor and an old contemporary of Acarya Jinasena, the date of the completion of the Dhavala commentary must be pushed

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(20) back to the period prior to the year 759 by some years. In the stanza aDatIsamhi sAsiya vikkamarAyamhi esa saMgaramo / ... // of the Prasasti of the Dhavala the word watafiz is already there. Keeping the year 759, in which the completion of the Jayadhavala was effected, in mind, one can determine the year to be 738. It cannot be said that the year referred to in the stanza is 638, for there cannot be a difference of 156 years between Acarya Virasena and Acarya Jinasena, the immediate desciple of Acarya Virasena, So, in my opinion, the year 738 to be assigned to the completion of the Dhavala, is correct. It is to be decided that whether the year belongs to the Vikrama era or not. Most of the scholars, who have tried to fix the dates of Acarya Virasena and his desciple, Acarya Jinasena, hold that the year belongs to the salivahana saka era. I do not think that this opinion is beyond question. In my opinion, the year belongs to the Vikrama era. We have seen that, owing to the reference to king Indrayudha, king Vatsaraja and minister Nanna, the noble son of minister Bharata, made by Jinasena, the author of the Harivamsapurana, in his work, there is no other alternative left but to push back the dates of Puspadanta, Bharata, Nanna, king Ksssaraja alias Akalavarsa, Acarya Gunabhadra and his revered preceptor Acarya Jinasena to the period prior to the year 700 of the salivahana saka era. The opinion that the year 759 is of the salivahana saka era, does not hold good. In my opinion, therefore, the year 759 should be taken to be belonging to the Vikrama era. Taking this view into consideration, the year 738 also should be considered as belonging to the Vikrama era which is clearly stated in the Prasasti of the Dhavala commentary by the author himself. In my opinion, therefore, the completion of the Dhavala commentary was effected in the year 738 of the Vikrama era i. e. in the year 603 of the salivahana saka era. When it is proved that the Parsvabhyudaya is the last work of Acarya Jinasena and when the work is referred to in the

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(21) Harivamsapurana of Acarya Jinasena of the Punnata Gana, completed in the year 705 of the salivahana era, the year 759 cannot be acknowledged as the year of the Salivahana Saka era. Moreover, the Jayadhavala commentary was completed in Vatagrama, the modern Baroda according to most of the scholars. The city of Baroda is situated in the northern part of India i. e. in Gujarata. There is, therefore, every possibility of the year 759 being of the Vikrama era, for there, in Gujarata, even now as in the past, the Vikrama era, is current. As the salivahana Saka era is generally current in the southern part of India, the Vikrama is current in the northern part. There is, therefore, no harm in acknowledging the year 759 as belonging to the Vikrama era. The dates to be assigned to the Dhavala, the Adipurana, the Jayadhavala, the Parsvabhyuadaya, the Uttarapurana, the Mahapuranu and the Harivamsapurana are as below, The date of the completion of the Dhavala "" "" 99 ** 99 35 99 35 d. "" "" 99 "" "" 99 39 33 "" "" "3 "" 39 "" 99 33 "3 "" 39 dw "" 55 35 "" 95 55 23 59 39 99 27 S. Saka 603 i.e.681 A.D. 610 688 A.D. 624,, 702 A.D. 626 704 A.D. 667 735 A.D. 680 758 A.D. 705 783 A.D. Adipurana Jayadhavala Parsvabhyudaya Uttarapurana Pr. Mahapuranu Harivamsapurana "" wr dw "" 99 99 99 "" >> 99 ACARYA JINASENA'S LIFE There is no source from which sufficient information about the life of Acarya Jinasena can be gathered. The Prasasti of the In Jayadhavala provides very scanty information about his life. the Prasasti the author has not referred to the names of his No reference to the author's caste or class is found in The author has kept us in the dark about his native place. In the Prasasti it is stated that the author had joined a group of parents. it. ""

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(22) Sages which was under the guidance of Acarya Virasena before his ears were pricked i. e. when he was in his childhood. He had observed celebacy from his very childhood to the end of his life. He was neither very beautiful nor very clever. Intellect, calmness, and modesty were the qualities implanted by nature in him. His body was very thin. He had acquired thorough knowledge of the Jain philosophy. He had spent his whole life: in acquiring knowledge. By the learned he was called knowledge incarnate [ jJAnapiNDaH ]. His intellect, as stated in the Prasasti, had been very mature when he had undertaken the work of writing the Jayadhavala commentary. This statement made by himself, is due to his modesty. The following extract of some stanzas from the Prasasti deserves to be quoted here. tasya ziSyo'bhavacchramAJjinasenaH samiddhadhIH aviddhAvapi yatkaNauM viddhau jJAnazalAkayA / / 27 / / yasminnAnna bhavyatvAnmuktilakSmIH samutsukA / svayaM varItukAmeva zrotIM mAlAmayUyujat // 28 // yenAnucaritaM bAlyAdbrahmavratamakhaNDitam / svayaMvara vidhAnena citramUDhA sarasvatI / / 29 // yo nAtisundarAkAro na cAticaturo muniH / tathA'pyananyazaraNA yaM sarasvatyupAcarat // 30 // zrIH zamo vinayazceti yasya naisargikA guNAH / sUrInArAdhayanti sma, guNaMrArAdhyate na kaH // 31 // yaH kRzo'pi zarIreNa na kRzo'bhUttapoguNaiH / na kRzatvaM hi zArIraM guNaM reva kRzaH kRzaH / / 32 // yo nAgrahItkapilikA ( ? ) nA'pyacitta yadaJjasA tathA'pyadhyAtma vidyAndhaH paraM pAramazizriyat // 33 // jJAnArAdhanayA yasya gataH kAlo nirantaram / tato jJAnamayaM piNDaM yamAhustatvadarzinaH // 34 //

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(23) HIS CONTEMPORARY KING King Amoghavarsa was the contemporary of Acarya Jinasena and of Acarya Gunabhadra, the desciple of Acarya Jinasena. He was the son of king Govinda III alias Jagattungadeva and was called Boddanaraya at home. Nopatunga, sanda, Sarva, Atisayadhavala, Viranarayana, Pethvivallabha, Maharajadhiraja, Laxmivallabha, Bhattara and Paramabhattaraka were the titles assumed by him. He was very brave and lived a very long life and ruled for 63 years. According to historians he had come to the throne in 814 A. D. (the year 736 of the s. saka era), and reigned up to 878 A. D. (the year 799 of the s. saka era). It is determined by some scholars that Acarya Jinasena had expired in 843 A. D. (the year 765 of ihe s. saka era). King Amoghavarsa had been on the throne when Acarya Jinasena had expired. He had renounced attachment to the worldly life and had abdicated his throne in 878 (the year 800 of the s. Saka era), when Acarya Gunabhadra had been alive. On account of his exceeding munificence and his great attachment to administering justice to the people justified his reputation as Amoghavarsa. Read the following stanza -- athiSu yathArthatAM yaH samabhISTaphalAptilabdhatoSeSu / vRddhi ninAya paramAmamoghavarSAbhidhAnasya // [Copper-plate Ins.; Indian Antiquary, XII-181] He had been very much devoted to Acarya Jinasena. Read the following stanza of the Prasasti of the Uttarapurana - yasya prAMzu nakhAMzujAlavisaraddhArAntarAvirbhavatpAdAmbhojarajaHpizaGagamukuTapratyagraratnadyutiH / saMsmartA svamamoghavarSanRpatiH pUto'hamotyalaM sa zrImAJjinasenapUjyabhagavatpAdo jaganmaGagalam // 9 // He had been very learned and used to patronize the learned. He had written a work, Prasnottaramalika by name, in Sanskrt

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(24) when he had renounced attachment to worldly life. He had also written a book called Kavirajamarga, a work on rhetorics, in Kannada language. The city of Manyakheta was his capital. It was very beautifully built. He used to bestow donations amply to Jain temples and monasteries. The big commentary on sakatayana was named after his name Amoghavarsa. The Dhavala and the Jayadhavala commentaries also were designated after his name Dhavala or Atisayadhavala. A stanza from the Ganitasastra, written by Mahaviracarya, mentions that he had been a staunch follower of the Jain faith. Read the following stanza vidhvasta kAntapakSasya syAdvAdanyAyavedinaH / and 7995mEu qala AFC SAAR 11 I am unable to accept this information as thoroughly correct, for it goes against the dates of Acarya Virasena and Acarya Jinasena, given in the Prasastis of the Dhavala and the Jayadhavala commentaries. In my opinion, king Amoghavarsa, referred to in the Prasasti of the Jayadhavala and in the colophons of the Parsvabhyudaya, is not that king who was the son of king Govinda III alias Jagattunga. He was the predecessor of king Akalavarsa, the father of king Dharavarsa alias king Dhruvaraja who was the contemporary of king Indrayudha, the descendent of the Ayudha dynasty of Kanauja and king Vatsaraja, the descendant of the Gurjara-Pratihara dynasty of Avanti, and who is referred to in the Prasasti of the Harivamsapurana, which was completed in the year 705 of the s. Saka era. In support of this view, I think it necessary to turn to the four copper-plate inscriptions from Sanjana, Navasari, Karhada and Deoli. The Sanjana copper-plates were inscribed in the year 793 of the salivahana Saka era when king Amoghavarsa, the son of king Govinda III who was designated as king Prabhutavarsa and king Jagattunga also. The copper-plates from Navasari were inscribed in the year 826 of the salivahana

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(25) Saka era, those from Karhada in the year 880 and those from Deoli in the year 882 of the same era. The genealogy set forth by the copper-plate inscription from Sanjana refers to king Prachchakaraja as the first king in the lineage of the Rastrakuta dynasty and to king Govindaraja I as the second king. The copper-plate inscriptions from Navasari, Karhada and Deoli do not refer to these two individuals at all. The Karhada and Deoli copper-plates are found to have referred to king Ratta and king Rastrakuta as the first and the second in the lineage. The Navasari copper-plates refer to Dantidurga as the first king and are found to have omitted the names of king Prachchakaraja, king Govindaraja I, king Ratta and king Rastrakuta. The Karhada aud the Deoli copper-plates omit the names of king Prachchakaraja and his successor king Rastrakuta, king Karkaraja and king Indraraja who are described as the successors of king Govindaraja I in the Sanjana copper-plates and king Ratta and king Rastrakuta referred to in the Karhada and the Deoli inscriptions, seem to be identical respectively. King Dantidurga is referred to in all the four copper-plate inscriptions, but king Subhatunga is not found to have been referred to in the Navasari, the Karhada and the Deoli inscriptions as he is found in the Sanjana copper-plate inscription. In the Sanjana copper-plate inscription he is described as to have defeated a Calukya king and deprived him of his kingdom. According to the same copper-plate inscription, the king who had succeeded king Subhatunga was Akalavarsa. According to the remaining three inscriptions king Dantidurga had been succeeded by king Krsnaraja, his uncle. The Sanjana copper-plate inscription, being older than the remaining three copper-plate inscriptions and being of king Amoghavarsa, the son of king Govinda III alias king Jagattunga deserves to be relied upon more than the remaining three inscriptions. King Akalavarsa, being the father of king Dharavarsa alias king Dhruvaraja, is none else but .

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(26) Krsnaraja. It is this king who is found to have been glorified in the Prasasti of the Uttarapurana, referred to in the Prasasti of the Harivamsapurana of Acarya Jinasena and glorified in the works of the great poet, Puspadanta. This king Krsnaraja had been succeeded by his son king Prabhutavarsa alias king Govindaraja II, who, owing to his mind being absorbed in worldly enjoyments, had allowed his younger brother king Dhruvaraja alias Nirupama and Dharavarsa, to take the reins. The stanzas, to which numbers 12, 13, 14 and 15 are assigned in the Sanjana copperplate inscription, describe king Dhruvaraja. He is not described through those stanzas as having massacred his enemies. He is not described as having reinstated any one of his enemies after inflicting crushing defeats upon them. The following four stanzas, to which numbers 16, 17, 18 and 19 are assigned, glorify the son of king Nirupama but do not mention his name. It seems that his name was king Amoghavarsa. King Tribhuvanadhavala is described in the stanza - aizicisaIaadu agi a a qfa faq: ye gaar u fagaraqi xrnatascolefa: 11 36 11 [Sanjana C-Inscription] as having released the hostile kings who had been incarcerated by king Amoghavarsa. The inimical kings had been liberated on the occasion when a son, Sarva by name, had been born to him. This king Amoghavarsa seems to be the son of king Dharavarsa and the father of king Tribhuvanadhavala. This king Amoghavarsa, the son of king Nirupama alias king Dharavarsa, is described through the four stanzas referred to above as having defeated his servants who had sided with his enemies, and as having reinstated them. Similarly, he, being compassionate at heart, is described as having reinstated his enemies also after defeating them. The following nine stanzas [20 to 28] are found as having described king Tribhuvanadhavala. Some

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(27) scholars hold that king Govindaraja III, king Tribhuvanadhavala and king Amoghavarsa who is shown as having been the son of king Nirupama are identical. I am unable to agree with thisview. If it is held that the stanza - duSTAMstAvatsvabhRtyAJjhaTiti vighaTitAnsthApitAnyezapAzAna yuddha yuddhvA sa baddhvA viSamataramahokSAnivogrAnsamagrAn / muktvA sAntirAtmAvikRtipariNato vADavAgni samadraH #1*1 [ #1 ? ] 1 #q1afa gafea amuua UI CHIT 11 809 11 [ Sanj. Ins. ] as well as the stanza -- sa nAgabhaTacandraguptanapayoryazo'yaM, raNeSvapahArya dharyavikalAnathonmIlayat / yazojanaparo nRpAnsvabhuvi zAlisasyAniva, ga:garfafoggia92 ga girarafa 11 ppt [ Sanj. Ins. ] describes one and the same king, then the learned author of the inscription would have to be held guilty of describing the same: quality of the same person twice over in different words. In my opinion, the son of king Nirupama and king Tribhuvanadhavala are two different individuals. King Tribhuvanadhavala seems to be the successor of the son of king Nirupama. King Tribhuvanadhavala and king Prabhutavarsa alias king Jagattunga [i. e. king Govindaraja III ] also are two different individuals. sarva, the son of king Tribhuvanadhavala, and king Govindaraja III might have been identical. It was, according to the Sanjana copper-plate inscription, this king Tribhuvanadhavala who had defeated king Nagabhata, king Candragupta, king Dharmapala and king Cakrayudha. The other three copper-plate inscriptions mention that king Govindaraja III was the son of king Nirupama. King Amoghavarsa, according to all the copper-plate inscriptions, was the son and successor of king Govindaraja III. As the copper-plate inscription from Sanjana is found to have referred to two kings assuming the title * Amoghavarsa', the son of king -

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(28) Govindaraja III cannot be said to be the first king assuming the title` Amoghavarsa'. One of these two kings seems to be the son of king Nirupama alias king Dhruvaraja. None of these two kings can be acknowleged as the contemporary of Acarya Jinasena, for both of them belonged to the period posterior to that of Acarya Jinasena, the author of the Harivamsapurapa. King Amoghavarsa, who is referred to in the Prasasti of the Jayadhavala and in the colophons of the Parsvabhyudaya by Acarya Jinasena, is identical with none of the two kings, assuming the same title, and referred to in the copperplate inscription from Sanjana. It is argued that the date of Acarya Jinasena, the author of the Parsvabhyudaya, cannot be pushed back to the period prior to that of Acarya Jinasena, the author of the Harivamsapurana, on the ground of the Parsvabhyudaya being referred to in the Harivamsapurana, for oa that ground Acarya Jinasena, the author of the Parsvabhyudaya, may, at the most, be acknowledged as the contemporary of the author of the Harivamsapurana. According to those who argue like this, the Adipurana and the Jayadhavala commentary were written after the year 738 of the salivahana saka era, for in the Adipurana the Dhavala commentary, which was completed in the year 738 of the salivahana saka era, is referred to. I think that this argument is fallacious. The Parsvabhyudaya, being referred to in the Harivamsapurana, must have been written in the year 700 of the salivahana saka era, for the HarivamSapurana itself was completed in the year 705 of the salivahana Saka era. The work of Adipurana, which is found to have referred to the Dhavala commentary which was, according to those who argue as above, completed in the year 738 of the salivahana saka era, must have been undertaken by the author after the year 738 of the same era. Can it be said that the author of the

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(29) Parsvabhyudaya had been indolent throughout the period of 38 years [i. e. from 700 to 738 ] ? An author like Acarya Jinasena, having thorough mastery of Sanskat language, endowed with the capacity of writing excellent poetry and possessing extraordinary intellect cannot be held guilty of indolence. I think that the Parsvabhyudaya could not have been written first and could not have got the name of king Amoghavarsa inserted in the colophons of it. Had the author of the Parsvabhyudaya inserted the name of king Amoghvarsa after the completion of the Jayadhavala commentary, what might have forbidden him from inserting the name of the king referred to above in the colophons of the Adipurana ? The Parsvabhyudaya, therefore, must have been the last work of Acarya Jinasena. If it is acknowledged that the Parsvabhyudaya was the last work of the author, his date deserves to be pushed back to the period prior to the year 700 of the salivahana saka era. Under these: circumstances, the date of king Amoghavarsa, who is said to have come to the throne in the year 736 of the Salivahana saka era, deserves to be pushed back to the period prior to the year 700 of the salivahana Saka era. It cannot be said with certitude that the name of king Amoghavarsa was inserted into the colophons of the Parsvabhyudaya after the completion of the Adipurana and the Jayadhavala. commentary, for the stanza - iti viracitametatkAvyamAveSTaya mecaM bahuguNamapadoSaM kAlidAsasya kAvyam / malinitaparakAvyaM tiSThatAdAzazAGaka bhuvanamavatu devaH srvdaa'moghvrssH|| , having the name of king Amoghavarsa referred to in it, cannot be proved to have been interpolaled in the Parsvabhyudaya. The word gfa, employed in the stanza, refers to the bygone four cantos. It was obligatory on the part of the author to mention that the work covered all the stanzas of the Meghaduta, an excellent work of Kalidasa, for had he not mentioned it, he

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(30) would have been guilty of borrowing the lines of the Meghaduta. Under these circumstances it cannot be said that the stanza, quoted above, was interpolated after a long time since the date of the completion of the Parsvabhyudaya. In my opinion, therefore, the conclusion, that the Parsvabhyudaya was the last work of the author, is most probably correct. The inference that the dates of Acarya Jinasena and king Amoghavarsa deserve to be pushed back to the period prior to the year 700 of the salivahana Saka era, is, therefore, most probably correct. Moreover, in the stanza -- kalyANaH parivarSamAnavipulazrIvardhamAne pure zrIpAvaliyanannarAjavasato paryAptazeSaH puraa|| 979eTeaftFitten Afragtful Hama (?) zAntaH zAntagRhe jinasya racito vaMzo harINAmayam // the author of the Harivamsapurana has mentioned the name Nanna, who had patronized Puspadanta, the great poet. This Nanna had been the minister of king Krsnaraja, the predecessor of king Dhruvaraja alias king Dharavarsa. It seems that this Nanna was not alive at the time of the completion of the Harivamsapurana. Moreover, the author of the Harivamsapurana is not found to have mentioned the name of Bharata, the father of Nanna. I, therefore, infer that poet Puspadanta and his patrons Bharata and Nanna and king Klsnaraja deserve to be assigned a date prior to the year 705 of the salivahana saka era i. e. 783 A. D. It also seems that king Krsnaraja whose name is mentioned by the author of the Harivamsapurana in the stanza, 71959 og at 9......' was also not alive in the year 705 [ 783 A. D. ), for his son, sri-Vallabha, is described by the author as having been on the throne at the time of the completion of the Purana. This king Kssnaraja, the father of king Sri-Vallabha seems to be that king under whom Bharata

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(31) and Nanna had served as ministers. If Bharata and Nanna are assigned the period prior to the year 705 [ 783 A. D. ), then Puspadanta, the great poet, also deserves to be assigned the date similar to that of Bharat and Nanna. Poet Puspadanta has referred to the Dhavala and the Jayadhavala of Acarya Virasena and Acarya Jinasena respectively. On account of this reference to the two works, Acarya Virasena, Acarya Jinasena and king Amoghavarsa, the desciple of Acarya Jinasena deserve to be assigned a date prior to that of king Kisnaraja, the father of king Dhruvaraja who had come to the throne in the year 701 of the salivahana saka era. King Klsparaja had expired in the year 694 of the salivahana saka era. According to the Prasasti of the Dhavala, king Boddanaraya alias king Amoghavarsa, had been on the throne in the year 593 of the salivahana saka era. He had come to the throne in the year 736 of the Vikrama era i, e. in the year 591 of the salivahana saka era. One copperplate which was got inscribed by king Dantidurga, the predecessor of king subhatunga who was the father of king Krsparaja alias king Akalavarsa, records the year 553 of the Salivahana saka era as the date of the inscription. From this it can be inferred that king Dantidurga was on the throne upto the year 591 of the salivahana saka era. Similarly it can be inferred that king Dantidurga might have assumed the title Jagattunga and king Subhatunga might have assumed the titles Amoghavarsa and Nopatunga. Boddanaraya might have been the domestic name of king Amoghavarsa. In my opinion, therefore, king Amoghavarsa, the son of king Govindaraja III, was not the first king of that name, but the third one, king subhatunga and the son of king Nirupama being the first and the second king respectively assuming that very title. I have come to the conclusion that king subhatunga, who might have assumed the title "Amoghavarsa', was the contemporary of Acarya Jinasena and king Dantidurga who

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(32). might have assumed the title' Jagattunga was the contemporary of Acarya Virasena. ACARYA JINASENA'S WORKS (i) Adipurana - Adipurana is a part of the Mahapurana. It consists of about 42 Parvans. The remaining portion of the Mahapurana is written by Acarya Gunabhadra, the desciple of Acarya Jinasena. Adipurana is a store of apophthemns. It can be said that Adipurana is a Purana as well as a Mahakavya, for almost all the characteristics of a Mahakavya are found in it. It is full of sentiments and figures of speech. The language and the ideas conveyed by the language of the Adipurana are very pleasant. The flow of the language is very smooth like that of water having no hindrance. The wonderful imaginative capacity is inherent in the author of the work. The following stanzas are worthy of being quoted here. yathA mahArghya ratnAnAM prasUtirmakarAlayAt / tathaiva sUktaratnAnAM prabhavo'smAtpurANataH // 16 // sudurlabhaM yadanyatra cirAdapi subhASitam / sulabhaM svairasaprAhyaM tadihAsti pade pade / / 17 // dharmo'tra muktipadamatra kavitvamatra tIrthe zinAM caritamatra mahApurANe / yadvA kavIndra jinasena mukhAravinda niryadvacAMsi na manAMsi haranti keSAm // 38 // yadi sakalakavIndra proktasUktapracArazravaNa sarasa cetAstattvamevaM sakhe syAH / kavibara jinasenAcArya vaktrAra vindapraNigaditapurANAkarNanAbhyarNakarNaH / / 41 / / uttarapurANaprazastau lokasenAH / The work of writing this Adipurana was undertaken by Acarya Jinasena at the time when the Dhavala commentary was completed by Acarya Virasena, the preceptor of the author of the Parsvabhyudaya. (ii) Jayadhavala-the Jayadhavala is a commentary written on the Kasayapahuda and the Cunnisutta. The commentary

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(33) consists of a portion measuring 60,000 Aaustubh stanzas. This commentary explains 180 Gathas of the Kasayapahuda of Acarya Gunadhara. The portion of the commentary measuring 20,000 Anustubh stanzas was written by Acarya Virasena and the remaining portion measuring 40,000 Anustubh stanzas was written by Acarya Jinasena. It is written in Sanskrt and Prakrt. It deals with the passions of living beings. (iii) Parsvabhyudaya- This is the present work of the author dealing with the troubles created by Sambarasura, the brother of the former birth of Parsva. Sufficient information about this work will be provided at a later stage. (iv) Vardhamana-purana--The authorship of this work is ascribed to Acarya Jinasena by Acarya Jinasena, the author of the Harivamsapurana. The stanzas, clearly stating that the Parsvabhyudaya and the Vardhamanapurana were the works of Acarya Jinasena, run as follows yA'mitAbhyudaye pArvajinendraguNasaMstutiH svAmino jinasenasya kIti saGakIrtayatyaso / / 40 / / baddhamAnapurANodyadAvityoktigabhastayaH prasphuranti girIzAnAH sphuTasphaTikabhittiSu // 41 // freingeroi- [ ATP] Scholars have neither found it out nor known its whereabouts. Under these circumstances, it is very difficult to say something about it. On the ground of its title it can only be said that the work deals with the life of Lord Mahavira. ACARYA JINASENA'S SCHOLARSHIP On going through the various works written by Acarya Jinasena, our author, I have arrived at the conclusion that the author of the present work had attained masterly knowledge of and enviable proficiency in various branches of learning. He was proficient in the sciences of logic, philosophy, language, poesy,

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(34) Karma-philosophy and theosophy, His mastery of grammar is also worthy of note. His poetical works abound in sentiments, figures of speech and apposite and pithy sayings. JINASENA, THE GRAMMARIAN The various grammatical forms found in the Adipurana and the Parsvabhyudaya demonstrate the fact that Acarya Jinasena was very proficient in the science of Grammar. The grammatical forms pepIyasva, parisaritaM ( 164), vastraknopaM ( 1/66 ), abhraMlihAgraM (2/2), saJcicISu: ( 22 ) payasi pItinaH (224), doSAmanye (2 / 5 ), sAMrAviNa (26), viribdhaH (27), antarvaNaM ( 28 ), utpazyAH (2 / 10 ), vandArUNAM (2113),sugandhaH (229), pratyudyAsuH (2 / 30), puputrIyiSubhyAM, viriracayiSu (2 / 31), madhye jalam ( 2137), sItApUraM pravarSan ( 2 / 42), adhvanInaH ( 2 / 44 ), Azu gatvA ( 2 / 52), kSAlanam ( 2 / 52), madhye gagaM ( 2 / 55), carmapUraM pUrNa: (2 / 57) riracayiSavaH (2 / 67), vititanuSubhiH (2267), jainagehAnupAtaM upagatavatI (2 / 76), titapasiSavaH (2283), adhikSoNi (2/96 ) zakrammanyAH (2 // 109), raMramyante ( 2 / 110 ), jigaliSu (2 / 113), zayyotthAyaM dhAvamAnA : (2115), pamphulIti ( 36 ), jAghaTIti ( 3 / 11), puSpodgandhiH ( 3|13 ), bahutithIM ( 3 / 21 ), didhyAsoH ( 3 / 26 ), dhyAyaM dhyAyaM ( 3339 ), dhUmayaSTI - yamAnAm ( 3 / 49 ), matsyalola lulantI ( 3 / 53), kAmapAtrAyitA ( 3 / 53 ), vAvahI mi (4|13 ), anupadI ( 4 / 24 ), strIkAmyan ( 4|52 ), vairakAmyan ( 452), sajUkRtya ( 4/53), found in the present work are sufficient to prove his mastery of grammar. The forms pazya and utpazyAmi found in the stanza pazyAmuSminnavakisalaye ... ( IV 30 ) and used under the rule ' pracaye vA sAmAnyArthe ' prove his proficiency in the science of In this context the stanza grammar. sUtrakramaH sphuTo'trAsti vyakto varNakramo'dhyayam / kramo'bhAvyAnubandhasya pratyAhAra ivAstyaho || 155 / / from the 7th Parva of Adipurana is note-worthy. It means Here [ in this picture ] the method in which it is designed, the method in which it is painted and the method in which the past and the present incidents are arranged resemble that of the arrangement of aphorisms, of letters and of the indicatory letters, "

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(35) intended to denote some peculiarity of the group of letters to which they are attached, excluding the indicatory letters , E, # and those attached to the pieats and terminations, in the orderly series of pratyAhArasUtras." pratyAhAra-The comprehension of several letters or affixes into one syllable, effected by combining the first letter of a Sutra with its final indicatory letter, or in the case of several Sutras, with the final letter of the last member. The word TEATETT is explained as 'PUTETT: 375 3furciantfapt viziSTAnupUrvIko viziSTAnubandhakazcAkSarasamAmnAyaH pratyAvhiyante sakSipyante auf affrfafa mat' (ft. fq. 1. ) F ETT:- An aphorism formed by conjunction of the last indicatory letter with the first. 24:(i) the method of designing; (ii) the method of arranging aphorisms [ THIETTES ]. qui 74:- (i) the method of painting; (ii) the method of arranging letters in a particular order in the TETETT aphorisms. The order of the aphorisms and of the letters of the FATETT aphorisms, being free from any fault, cannot be changed. If the order of the aphorisms 375 3T I EFI eong| aiauca / is changed by placing aiuN after aiauca the aphorism -- svasyA'bhAvyo'tparo'Nudit will be vitiated, for R, lu, e, o, II, and 317 will have to be dropped from the list of vowels referred to in the aphorism (959FETTET) 3 . Similarly, if the places of g and 3 are interchanged, then 3 will have to be dropped from the list of vowels, referred to by TF employed in the aphorisms 'iko yaNaci' and ' igyaNaH samprasAraNam ', and thus the letter u, even when followed by 5 and 37, will not be changed to a and the letter a will not be changed to 3. From this it has become clear that there can be no possibility of any change of the order of the FFTTETTETS and even of the letters, forming part of the STEHETTITs. It is implied by the stanza that the design and the painting of the picture are so appropriate and perfect that there is no need of any change. 3T37177279:-(i) The series of incidents that took place in the past and have taken place in the present birth; (ii) the final indicatory letters other than the indicatory

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(36) letters , & and and those attached to the substitutes (atlets) and the terminations. HTU-(i) Future; (ii) the substitutes, terminations and augments having the indicatory letters , e and # attached. 377777-(i) incidents; (ii) the indicatory letter. The aphorism FEATSHIRTSETTIsfaa means "the vowels , T, 3 and the letters to which the indicatory letter 3 is attached, excluding substitutes, terminations and auguments having the indicatory letters f, g and attached and any letter having the indicatory letter I attached, suggest letters belonging to the same class." By the standard of comparison the author implies that the picture was depicted in such a way that it made as if a statement in brief of the incidents of the past and the present. On the ground of this evidence I have arrived at the conclusion that the author seems to have studied most probably the southern edition of the these grammar, for the aphorism svasyA'bhAvyo'tparo'Nudit is not found in the northern edition and the 197747, in which this word 7104 is found, was being prepared then when the Adipurana was being prepared. From the information, given above, one can easily come to the conclusion that Acarya Jinasena had acquired profound knowledge of grammar. There are many other internal evidences to prove his proficiency in grammar. JINASENA, THE POET The Adipurana and the Parsvabhyudaya reveal Acarya Jinasena's extra-ordinarily vivid imagination. On coming accross various poetic sentiments manifested and various figures of speech employed by him in his two poetic works, the Adipurana and the Parsvabhyudaya, I have arrived at the conclusion that Acarya Jinasena was proficient in manifesting various poetic sentiments and employing various figures of speech. He is found thoroughly proficient in writing verses consisting of words pleasing the ear simply by their sound and adept in composing poetry impregnate

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(37) with ideas pleasing the hearts of the appreciators of the beauty and the charm of poetry. His language is lucid, conveying new and pleasing ideas, and animating the power of reasoning. The definition of Kavya given by him differs from those given by other rhetoricians. Through the following stanzas, Jinasena has expressed his view regarding the nature of poetry. kaverbhAvo'thavA karma kAvyaM tajjanirucyate / tatpratItArthamagrAmyaM sAlaGakAramanAkulam / / 94 / / kecidarthasya saundaryamapare padasauSThavam / vAcAmalaGakriyAM prAhustadvayaM no mataM matam // 95 / / sAlaGakAramupArUDharasamudbhUtasauSThavam / anucchiSTaM satAM kAvyaM sarasvatyA mukhAyate // 96 / / aspssttbndhlaalitympetrsvttyaa| na tatkAvyamiti grAmyaM kevalaM kaTu karNayoH // 9 // suzliSTapadavinyAsaM prabandhaM racayanti ye| zrAvyabandhaM prasannAthaM te mahAkavayo mtaaH|| 98 // .......... zabdarAziraparyantaH svAdhIno'rthaH sphuTo rsH| sulabhAzca praticchandAH kavitve kA daridratA // 101 // " By the experts kAvya (poetry ) is etymologised as the ideas or the work [i. e. composition ] of a poet. A poetic work consists in conveying delightful meaning, being void of obscenity, possessing figures of speech, and being deprived of defects of composition [viz. padadoSa, padAMzadoSa, vAkyadoSa, rasadoSa and arthadoSa ]. Some say that the import conferring delight [ to the hearts of those who are appreciators of merits ) is the ornament of speech, while others say that the employment of words [ consisting in soft consonants ], giving pleasure, beutifies the speech; but in my opinion the import, giving delight, and the words, conferring delight upon the readers form an ornament of speech. A poem of the learned possessing figures of speech, thoroughly impregnate

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(38) with sentiments, having beauty sprung up, not adopted, resembles the utterances of the goddess of learning. That which does not touch the grace of composition, which is void of sentiments, is. not a poem; but it is obscene and only unpleasant to the years. Those, who compose poems, consisting in words involving puns, pleasing to the ears, impregnate with meaning easily intelligible, are regarded as great poets. [94-98 ). When the vocabulary is endless [ or unlimited ], when the subject for description is in hand, when the sentiments are obvious [ to mind ], when resemblances are easy of attainment, what is ill supplied in the case. of composing poetry ?" The following extract corroborates the statement made by Acarya Jinasena in his work that in the days when the Acarya was alive various rhetoricians took different views regarding the nature of poetry. iha hi tAvadbhAmahodbhaTaprabhRtayazcirantanAlaGakArakArAH pratIyamAnamarthaM vAcyopaskArakatayA'laGakArapakSanikSiptaM mnynte| tathAhi-paryAyoktAprastutaprazaMsAsamAsoktyAkSepavyAjastutyupameyopamAnanvayAdI vastumAtraM gamyamAnaM vAcyopaskArakatvena 'svasiddhaye parAkSejaH parArtha svasamarpaNaM' iti yathAyogaM dvividhayA bhaGagyA pratipAditaM tH| rudraTena tu bhAvAlaGakAro dvidhaivoktH| rUpakadIpakApahanutitulyayogitAdAvupamAdyalaDakAro vAcyopaskArakatvenoktaH / utprekSA tu svayameva pratIyamAnA kthitaa| rasavatpreyaHprabhRtau tu rasabhAvAdirvAcyazobhAhetutvenoktaH / taditthaM trividhamapi pratIyamAnamalaGakAratayA khyApitameva / vAmanena tu sAdRzyanibandhanAyA lakSaNAyA vakroktyalaGakAratvaM bruvatA kazciddhvanibhedo'laGakAratayavoktaH; kevalaM guNaviziSTapadaracanAtmikA rItiH kaavyaatmtvenoktaa| udbhaTAdibhistu guNAlaGakArANAM prAyazaH sAmyameva sUcitaM, viSayamAtreNa bhedapratipAdanAtasaGaghaTanAdharmatvena cesstteH| tadevamalaGakArA eva kAvye pradhAnamiti prAcyAnAM matam / vakroktijIvitakAraH punarvadagdhyabha jhagIbhaNitisvabhAvAM bahuvidhAM vakroktimeva prAdhAnyAt kAvyajIvitamuktavAn, vyApArasya prAdhAnyaM ca kAvyasya pratipede / abhidhAnaprakAravizeSA eva cA'laGakArAH / satyapi tribhede pratIyamAne vyApArarUpA bhaNitireva kvisrmbhgocrH| upacArabakrAdibhiH samasto dhvaniprapaJcaH sviikRtH| kevalaM uktivaicitryajIvitaM kAvyaM, na vyaGagyArthajIvitabhiti tadIyaM darzanaM vyavasthitam / bhaTTanAyakena tu vyaGagyavyApArasya prauDhoktyA'bhyupagatasya kAvyAMzatvaM

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(39) avatA nyagbhAvitazabdArthasvarUpasya vyApArasyaiva prAdhAnyamuktam / tatrApyabhidhAbhAvakatvalakSaNavyApAradvayottIrNo rasacarvaNAtmA bhogAparaparyAyo vyApAraH prAdhAnyena vizrAntisthAnatayA'GagIkRtaH / dhvanikAraH punarabhidhAtAtparya lakSaNAsyavyApAratrayottIrNasya dhvananadyotanAdizabdAbhidheyasya vyaJjanavyApArasyA'vazyAbhyupagamyatvAdvyApArasya ca vAkyArthatvAbhAvAdvAkyArthasyaiva ca vyaGagyarUpasya guNAlaDakAropaskartavyatvena prAdhAnyAdvizrAntidhAmatvAdAtmatvaM siddhAntitavAn / vyApArasya viSaya mukhena svarUpapratilambhAt tatprAdhAnyena prAdhAnyAtsvarUpeNa viditatvAbhAvAdviSayasyaiva smgrbhrshissnnutvm| tasmAdviSaya eva vyaGagyanAmA jIvitatvena vaktavyaH yasya guNAlaGakArakRtacArutvaparigrahasAmrAjyam / rasAdayastu jIvitabhUtA nA'laGakAratvena vAcyAH; alaGakrArANAmupaskArakatvAt, rasAdInAM ca prAdhAnyenopaskAryatvAt / tasmAdvyaGagya eva vAkyArthIbhUtaH kAvyajIvitamityeSa eva pakSo vAkyArthavidAM sahRdayAnAmAvarjakaH vyaJjanavyApArasya sarvairanapahUnutatvAttadAzrayeNa ca pakSAntarasyA'pratiSThAnAt / yattu vyaktivivekakAro vAcyasya pratIyamAnaM prati liGigatayA vyaJjanasyAnumAnAntarbhAvamAkhyat tat vAcyasya pratIyamAnena saha tAdAtmyatadutpattyabhAvAdavicAritAbhidhAnam / tadetatkuzAgradhiSaNaH kSodanIyamatigahanagahanamiti neha prtnyte|| - alaGakArasarvasve rAjAnakaruyyakaH / Acarya Jinasena, in my opinion, seems to have been of the opinion that a composition consisting in various metres can be entitled as a fou only when it charms the hearts of those who are capable of appreciating merits. According to him, employment of pleasing words, conveyance of attractive ideas, adoption of various figures of speech, importing sentiments, diction etc. are only the means of making the composition capable of having the occult power of delighting those who are appreciators of merits. Anyhow, a poetic composition must be capable of giving pleasure to the hearts of the qualified. Some illustrations of zabdacitrakAvya are given below for providing information to the learned who are proficient in the science of rhetorics. kA kaH zrayate nityaM kA kI suratapriyAm / kA nane vadedAnI ca rakSaravicyutam // 241 / / [ kAmukaH zrayate nityaM kAmukI suratapriyAm / kAntAnane vadevAnI caturakSaravicyutam // 241 // ] [ekAkSaracyutakapAdakam / ]

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(40) tavAmba ki vasatyantaH kA nAstyavidhave tvayi / kA hanti janamAnaM vadAdyayaMjanaiH pRthak // 242 // [ tuk, zuk, ruk.] varAzaneSu ko rucyaH ko gambhIro jalAzayaH / kaH kAntastava tanvaGagi vadAdivyaJjanaH pRthak // 243 // [ sUpaH, kUpaH, bhUpaH.] kaH samutsRjyate dhAnye ghaTayatyamba ko ghaTam / vRSAndazati kaH pApI vadArakSaraH pRthak // 244 // [palAlaH, kulAlaH, bilAla..] sambodhyase kayaM devi kimastyartha kriyApadam / zobhA ca kIdRzi vyomni bhavatIdaM nigadyatAm // 245 // [' bhavati,' nirdakAlApakam ] jinamAnasanAkokonAyakAcitasatkamam / kamAhuH kariNaM coddhalakSaNaM kIdRzaM viduH / / 246 // [ 'suravaradaM,' bahiApikA ] bho ketakAdivarNena sndhyaadisjussaamunaa| zarIramadhyavarNana tvaM siMhamupalakSaya / / 247 // [ 'kesarI' antApikA ] kaH kIdRga na nRpairdaNDayaH kaH khe bhAti kuto'mba bhIH / bhIroH kIdRgnivezaste nAnAgAravirAjitaH // 248 // [ AdiviSamamantarAlApakaM praznottaram ] tvattanno kAmba gambhIrA rAjJo dolamba AkutaH / kIdRk kinnu vigAThavyaM tvaM ca ilAdhyA kathaM satI // 249 / / [ nAbhiH, AjAnu, gAdhi kaM, nAbhirAjAnugA; bahirAlApakamataviSamaM praznottaram ] tvamamba recitaM pazya nATake surasAnvitam / svamambare citaM vaizyapeTakaM surasAnvitam / / 251 // [gomUtrikAbandhaH] mude'stu vasudhArA te devtaashiisttaambraa| stutAdeze nabhAtAdhA vazIze svasvanastasu // 253 // mu de| stu va su dhA rA te / va tA | zI | statA | mba rA | tA de | ze / na / bhAtA dhA va zIze sva | sva | na / sta su -

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(41) These illustrative stanzas and so many other stanzas found in his poetic works prove his extraordinary capacity for composing poetry and his extraordinarily vivid imagination. JINASENA, THE LOGICIAN Jinasena is also a logician of renown. In his Adipurana, he is found to have argued away the reasons given by the opponents to prove the stand taken by them. His arguments are, indeed, irrefutable. He has criticised various schools of thought and succeeded in thrashing out the truth. He is found to have tried his level best to transfer his thoughts, based on correct thinking and established on the ground of several means of knowledge, to others with a desire not to defeat but to correct them. On thinking deeply on the doctrines propounded by the Jain scholars, he pinned his faith on Jainism. He seems to have studied deeply the works, dealing with various subjects treated logically, of his predecessors. Similarly, it can be inferred from various internal evidences found in his work that he possessed knowledge of the tenets promulgated and advocated by various schools of thought. JINASENA, THE PHILOSOPHER Acarya Jinasena was a staunch supporter of the Jain theory of Non-Absolution [1]. With the help of this theory, he is found to have achieved success in deciding various debatable points and in examining correct nature of things, living as well as non-living. He was also a staunch supporter of moral philosophy. He is found to have deeply studied the principles of human conduct. A close study of the Adipurana helps to gather evidence for his knowledge of moral philosophy. His every story is meant for teaching some or other moral principle. To preach moral principles, it seems, was his motto. From this point of view, his endeavours, are praise-worthy.

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(42) JINASENA, THE ADEPT IN KARMA-PHILOSOPHY Acarya Jinasena was profoundly proficient in Karmaphilosophy. In the Jayadhavala commentary he is found to have dealt prominently with anger, pride, fraud and greed which He stigmatise knowledge, the specific characteristic of the soul. has equalized himself with his predecessor in writing the Jayadhavala commentary in such a way that his work cannot be distinguished from that of his predecessor, Acarya Virasena, his preceptor. It is not necessary to give information of the Karma-philosophy in detail. THE PARSVABHYUDAYA [Though one of the best poetic works, this Parsvabhyudaya, a scholarly work of Acarya Jinasena, is set aside and not read by the scholars of the past and the present, like the works of Asvaghosa, a Buddhist poet, who, according to some scholars, preceded Kalidasa, the great poet who is said to have borrowed some ideas from his work and improved upon them. If I am correct, I think that this work and the works of other poets like Asvaghosa were and are set side by the scholars of the present on account of motiveless malignity cherished by them. Most probably, they might have allowed malicious thoughts to absorb their hearts owing to those works being written by poets, deserving great renown, who had pinned their faith upon the principles disagreeing with those promulgated by their Acaryas. I, hereby, request them to renounce all the malicious thoughts that might have engrossed their hearts and to enjoy charm by reading the present work carefully. ] The author of the present work is found to have adopted one or two lines from the Meghaduta of Kalidasa and to have himself composed the remaining lines. This is how the entire work of Kalidasa is subjected to the process of what is recognised as Samasyapurti. There are a few other works written

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(43) by other poets on this line. They are not found to have adopted every line from the Meghaduta. Only the last line of every stanza is adopted by them. The simple story of the Meghaduta is altogether changed and another incident of Parsva's harassment caused by sambara is stated in a very scholarly manner. Thus the whole work of the Meghaduta is. incorporated with the Parsvabhyudaya by Acarya Jinasena. CANTO-WISE CONTENTS OF THE POEM IN DETAIL Stanzas 1-8:-These are introductory stanzas meant for describing the incidents that had taken place in the former birth of Parsva who had been then called Marubhuti and had been the younger brother of Kamatha who had been named 'sambara' later on at the time when Maruhbuti had been born as a son of Ugrasena, the king of Benaras. Sambara, while roaming in the sky through an aerial car, saw Parsva who was engrossed in meditating upon His soul. While moving in the sky his aerial car stopped on account of the supernatural power of the great Sage. Sambarasura recognized Parava as his enemy of the former birth with whom he had come into antagonism on account of his being banished by king Aravinda under whom he had been serving as a minster, for his misbehaviour. On being inflicted punishment of banishment, Kamath, who had been driven out, had approached a particular river and practised penance on its bank fraudulently. He had been so much engrossed in meditation that he had been unable to remember the beautiful residence of ascetics where he had stayed. Afterwards, he had spent some summer days on the Bhutacala mountain, having groves of trees grown there, schorched up by the forest conflagration. His younger brother, Marubhuti, had wandered and wandered through forests, crossed rivers and climbed mountains in search of His brother, Kamatha, for months together. He had been too much emaciated owing to the grief caused by His separation from His brother. He, climbing mountains, crossing rivers and

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(44) wandering through forests with a great difficulty, had seen His brother after some days in a cave high up on a mountain. When He had met His brother, He had found his body darkened owing to the smoke rising up from the ignited fuel. He had lain prostrase at the feet of His brother. His brother, burning with anger, had not glanced at Him. Stanzas 9-60:-These stanzas describe sambara's attitude, his affected affection towards the sage, his affected speech and efforts to enter into conversation with Him. sambara, the inconsiderate rascal, cherishing ill will and desirous of killing the great Sage, having stood before Him with a great difficulty, got absorbed in thinking for a long time. He thought that, as at the sight of clouds the hearts of the happy even get disturbed, he would disturb the tranquility of the mind of the Sage by means of creating clouds roaring continuously and then kill Him cruelly. He, thinking thus, asked the Sage whether He concentrated His mind upon the liberated soul or upon some person staying abroad and desirous of embracing Him. On thinking like this, he, determined on harassing Him, . created clouds on all the sides of the Sage angrily, just as they are created in the sky just a little time before the advent of the monsoon i. e, before the month of sravana, with a desire to deprive the Sage of His life. On seeing the assemblage of clouds, giving out flashes of lightning and thundering loudly, spread in all the quarters round about the Sage, sambarasura, wishing to make Him abandon the continued efforts bringing about a good deal of welfare of His soul, suddenly poured out showers of rain. Giving forth roaring sound like those of a lion along with the thunderings of clouds, the demi-god, very fond of destruction, tried to intimidate the Sage. He did not utter affectionate words to welcome Him. Though far inferior to the Sage from every point of view, sambara did not take into consideration his incapacity to vie with Him and brought disgrace

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(45) upon himself. disguise of a fact that He Though the Sage did not He approached the Sage under the cloud and without giving due consideration to the was unconquerable, implored the Sage for a fight. monsoon was brought into existence magically, the deviate from His right course, for only the timid get excited whenever they come into contact with the sentient and the nonsentient. The heavy showers of rain poured down by the dark clouds, though unbearable, could not make the Sage bend down on the ground. Sambara, desirous of exciting the mind of the Sage, opened his mouth to say that he recognized Him, as the one who had suffered death for the sake of himself (i. e. Sambara) and had served under king Arvinda as a minister. He said that he had been insulted by Him in many ways on account of his being addicted to adultery and so he thought it unwise on his part to catch the opportunity of taking a bloody vengeance upon the Sage. He caught the opportunity and requested the Sage for a fight. Afterwards he requested the Sage to undergo death by the strokes of his sword and to enjoy happiness with the heavenly damsels after death and asked Him to convey his message to his beloved in case He found that He was incpaable to enjoy heavenly bliss. Sambara suggested that the Sage should agree to undergo death, for He could not be able to fight with him or could not accept to act as messenger owing to His being humiliated therby. After undergoing death, the Sage, acording to him, should visit the city of Alaka. While taking His way to heaven, he said, the heavenly damsels would look at Him when He would have soared high up in the sky and the wives of the travellers, gladdened at the sight of a cloud, would see Him from beneath, seated in a celestial car along with the damsels embracing Him. In case the Sage thought that He was strong enough to kill anyone of the foremost of the resolute warriors, he himself would make a stand against Him and fighting a battle successfully would attain fame and wealth, very dear to

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(46) himself. Even on hearing the lengthy speech, the Sage kept silence and did not give up meditation at all. He might have been, according to him, very courageous or might have been womanish or timid. According to him, the sage, a libidinous one, having no property, must have been remembering secretly that unchaste woman spoiled by himself [i. e. sambara ] in the former birth. He asked the sage whether He, gone abroad along with King Arvinda, rdemembered that He had gone away abandoning her [i. e. Vasundhara] alone in her very childhood just after the marriage ceremony and on returning had seen her alive but transferred to His brother [ or had seen her, the wife of the brother of Kamatha, alive ). It had been a matter of great wonder to himself, sambara said that she, who had been separated from Him after marriage, though desirous of having sexual intercourse, had not been illegally connected with any one other .than Himself and yet had been alive. It had been a matter of great wonder to himself, sambara said, that he had enjoyed objects of sense-organs when he had been separated from Him [i. e. Marubhuti ). Afterwards he said that love cherished by him for Him had been dispelled from his heart owing to the reproach heaped upon him and that reproach slowly goaded him into killing the Sage. Then he requested the Sage to give up meditation and to give him the pleasure of fighting a battle. He said that if He underwent death, the heavenly ladies would compete with one another for having Him for a husband, the Vidyadhara females would wait upon Him in the sky when He would be going His way leading to heaven, and the female cranes, drawn up into lines, thinking Him to be a cloud full of water, would be waiting upon Him. He told the Sage, looking at the untimely clouds, disturbing the unmatched tranquility of the mind of the Sage, to hear their terrible thundering sounds inaking the peacocks dance, the earth productive and having mushrooms grown up and to behold

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(47) swans whitening all the quarters, moving slowly in all the quarters in the sky, warbling and eager to leave for the Manasa lake on hearing the charming thundering sounds of clouds resembling those of the monsoon. Afterwards, he assured the Sage that those swans, flying in the sky, become anxious on account of the new clouds, possessing bits of the shoots of lotus stalks as provendor for journey, would accompany Him, desirous of going to the abode of the lord of the Yaksas, up to the Kailasa mountain, and the flamingos, moving slowly, resorting to the sky along with Him, would become his associates in the sky and said that if He were desirous of attaining heaven, He should be ready for a fight instantly and bid farewell to the mountain where He was practising penance. He told Him that he should remember the liberated souls for when a great calamity befalls, remembrance of dieties is generally expected or should resort to the Ramagiri mountain, for a warrior who comes into contact with it, gets all his sin washed off. He asked him to give up repentance and to be affectionate towards him and embrace him and in case He did not comply with the suggestion made by Him, he asked Him to be ready immediately for a fight whereby he would throw Him into the jaws of the god of death. He urged Him to abandon the way leading to salvation preached by lord Jina and to follow the other one shown by him so that He would hear a message of his beloved. He showed Him, two paths, one of which was circuitous and the other straight. In his opinion, though one of the two paths was circuitous, it would lead Him happily to the destination. He asked him to go by the circuitous way. He said He, moving like a cloud in the sky, would be looked at by the females of Vidyadharas and would be looked by them as if a peak of a mountain carried off very high up in the sky by the wind. He thought that His act of assuming the form of a cloud with a desire to imitate him would be proper on the part of the Sage when he, clad in a brilliant armour, would be

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(48) behaving like a black cloud. He, transformed into a cloud, looked at with great fear by the simple women of gods, Siddha by name, doubting His downfall, should go His journey quickly. He, desirous of moving at His will to enjoy heavenly pleasures, transformed into a celestial form of a cloud and fulfilling desires of women by emitting flashes of lightning, he said, should, with His face turned northwards, fly up very quickly from that place and go His journey. The Sage, he said, should not be afraid of transgressing mountains, crossing impassable rivers and inaccessible regions for He was capable of moving through the sky and so He should proceed on His joroney and quell the pride taken by the quarter-elephants in the bigness of their trunks. He was asked by the demi-god to endure one blow of his sword struck against his breast, hard like an adament. Owing to the blood gushing out of His breast on account of the heavy blow, His body would assume excessive beauty like that of a black cloud rendered beautiful by the lustre of the flashes of lightning. If He did not agree with the proposal referred to above, He should bear one charge of an arrow assigning beauty to him like that of Visnu, clad in clothes like those of a milkman, possessing a blue-dark complexion and having his body decorated with shining feathers of a peacock. Stanzas 61-118 :These stanzas describe the route to be travelled over by the Sage, transformed into a cloud, with the distinctive peculiarities of the temporary stoppages as below : On ending the talk about a fight, he said that the Sage, transformed into a cloud, should fly up to the sky from the spot where they were to traval the route leading to heaven and told Him that He would be looked at by farmers vigilently thinking that the fruit of the agricultural labour depended on Him (i. e. upon the Sage transformed into a cloud). He, surrounded by successive flashes of lightning, possessing lustre like that of the shining rainbow pleasant owing to the grave thundering sounds given out, possessing complexion resembling black collyrium,

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(49) wet with oil, drunk by the eyes of the village women that would be full of affection felt through the pleasure enjoyed by them owing to the discharge of the drops of water, should, he said, proceed on hurriedly. Casting His glance at all the provinces, worthy of being enjoyed sight of, dispelling the troubles of those living in the country regions of those provinces and having ascended the elevated ground, the fields whereon being ploughed very recently, would be emitting fragrance, He should hasten to pass over the region that would be in the vicinity, very delightfully. If he were anxious to enjoy the sight of the country side, then, having wandered a little beyond the river, He should deeply drink in the regions situated in the southern direction with His eyes and then, He, possessing high speed, should proceed on again by the way leading to the north. The mountain, Amrakuta by name, possessing extraordinary height, shining owing to the brilliant rivulets flowing downwards, welcoming Him through winds shaking the skirts of the forests grown on the slopes, would bear Him, who would be fatigued very much owing to the long journey, very high upon his head [ i. e. the topmost part ), owing to His having dispelled the distress of its forests caused by conflagration by pouring heavy showers of rain. The mountain would be bearing couples of Siddha gods, fatigued by journey, keeping their lutes aside and enjoying the pleasure derived from coition inside the caves carved into the rocks, when He, approached in the vicinity, would be discharging drops of water moistening clothes, like the clouds in the rainy season. That lofty mountain would certainly receive Him, his dear friend, through the tall trees grown upon his summits, when He would be approcaehing him to take rest. Though He would not have been his friend, he, resembling the excellent in showing affection towards others, would have rendered service to Him, for mountains show affection toward him, with regard to whom they express satisfaction. The mountain, worthy of being resorted to, having his lofty summits 4

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(50) occupied by the ladies of the sky-wanderers, having his beautiful summits worthy of being resorted to by sages deserving liberation in the future, a deserving place for the growth of creepers and shrubs furnished with flowers, having his skirts covered over with wild mango trees glistening owing to their fruits, would impel Him to hasten up for taking rest in the near future. When He, resembling (in colour ) an oiled braid of hair, would have ascended the summit of the Amrakuta mountain, He would excite various doubts as "Is this, occupying the middle part of this mountain, a black serpent with his body turned in a circular form or Has this mountain worn a garland of blue lotuses ? " in the hearts of the simple ladies of the Vidyadharas. When He, settling just for a moment upon a cavern of that mountain, Amrakuta, assuming charming beauty like that of a saphire very often, would certainly become worthy of being looked at by the heavenly couples as a thin delicate piece of the sky reached the earth owing to its being abandoned by the heaven. The mountain, dark in the middle part, variagated in the lower part on account of various flowery trees grown up there, assuming white colour in the remaining expansion of the surface and looking like the breast of the earth, would assume extreme beauty worthy of being praised by the couples of gods at the time when He, possessing deep blue splendour, would assume the form of a garland. He, having stayed for a moment on the mountain, having bowers of creepers made use of by the wives of the forest wanderers, would have an opportunity to see the Kinnara-females, possessing beautiful buttocks, having large teeth, possessing long and acquiline noses, moving slowly on account of the heaviness of their fleshy and elevated breasts, and having their nails loosened on account of their being bruised by stones. Having left the caverns, He should anyhow go away from the mountain and with motion rendered speedy owing to the water being discharged, should not postpone His departure. Having

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(51) gone in the northern direction, He would see the Narmada, having the edges of her banks rent assunder by the strokes of the tusks of the forest elephants, having her banks occupied by the crowds of birds giving out charming notes, split up at the foot of the Vindhyas rendered uneven by stones, as a well-arranged big necklace worn by the earth. He would see delightfully the Narmada having her flow scattered in the vicinity of the forests grown on the slopes of the mountain, having her foam increased owing to the dashes of her flow against the skirts of her banks, .abounding in fish, having a series of waves brought into being by the agitation caused by the elephants dwelling on the slopes of the mountain, and looking like decoration on the body of an elephant formed in variously coloured stripes. He, freed from all desires since a very long time, should imbibe the water of the Narmada, scented by the fragrant ichor of wild young elephants and offered as if by them throwing it up with their trunks. If He did not agree with what sambara said, He, having poured forth showers of rain, should imbibe that water of that river which would not at all be worthy of being rejected owing to its being dashed against her rocks and so thrown up thereby. Imbibing that water of that river, incessantly beaten by the strokes of the trunks of elepants and having its force arrested by the groves of Jambu-trees, resembling the water of rivulets dashing against rocks, worthy of being craved for by sages owing to its being void of insects, pleasing to taste, fragrant and cool, He should proceed on. He, stabilized owing to His being substantial inside, having the fatigue of His journey dispelled [mitigated) thoroughly, should, having taken in her water, resume His journey in the sky with His progress unimpeded, so that the wind carrying water, though more powerful, might not be able to carry Him away suddenly. He travelling far off, should take in water of various rivers again and again on every one of His ways and having completely given up emptiness ensuring lightness, should become

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(52) full whereby He would become steady. The wives of those, gone abroad, would infer the arrival of their lovers on seeing the Nipa-flowers, green and brown owing to the half-grown filaments. He should visit the forest region situated in the interior part of the Vindhyas, the mountaineers wherein would be able to infer His approach on seeing mushrooms grown there and the plantaintrees, with their first buds manifested on account of the discharge of the drops of His water, grown in the marshes. The travellers would become capable of knowing immediately His unseasonable approach on hearing in the forests the cries of the delighted peacocks, on seeing their charming dances with their plumages expanded, and on smelling the fragrant odour of the earth in the burnt-up forests. The bees with their eagerness roused to action, flying collectively into the interior parts of forests on account of their being attracted by the fragrance of flowers, the antelopes rushing in the bowers on account of their being attracted by the fresh sprouts shooting forth, the Cataka birds rushing towards the burnt up forests, would be ascertaining, in accordance with their capacity, the path of Him discharging drops of water. On seeing the balance of His mind effected for meditation, noticed then, impenetrable by hundreds of strategies devised by sambara himself to disturb it, he looked up to it as merely dulness of Him who, under the disguise of a cloud, would be desirous of going very speedily with a very great courage for the sake of his beloved. He doubted that He would delay on every mountain, become fragrant on account of Kakubha-fiowers, having the regious of its peaks washed off by fresh clouds, resounding with the cries of the dancing peacocks as if offering Him welcome, bearing very high up on its top waters of springs for His feet and that He, accepting reception on every mountain, borne on their heads like a dear friend and greeted with notes rendered into words meant for welcoming by peacocks ascending the tops of mountains through

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(53) eagerness for Him at the time of his arrival though devoid of worldly attachment, would become unable to proceed on. sambara was unable to think that He, though given a welcome, would determine to proceed on immediately conniving at the host of peacocks, noisy on account of cries given out through eagerness, anyhow flying up easily, having His approach wellnigh, manisfesting intense affection for Him (and) possessing a soft heart. The Dasarna country, having the fences of its gardens rendered white owing to the flowers of Ketaka plants burst open at the points of buds, with its fields of rice filled up with water rendered turbid on account of His proximity, having beautiful gardens, would at once fall in the range of His eyesight when He would not have travelled far off from the vicinity of the Vindhyas. The border lands of that country, endowed with a charm attracting the eyes, having corns cropped up and cuckoos silenced, having trees occupying high position in its villages overcome with the efforts of birds, eating domestic oblations, for building their nests, would be having their surroundings changed into new ones when He, on His approach in the vicinity, would have discharged drops of water. On His arrival the regions of its gardens having on their borders Jambu-groves become dark owing to their ripe fruits, endowed with beauty on account of excellent trees rubbing against the surface of the sky with the ends of their tall branches rich in fruits, would be overcrowded with various birds engaged in building up their nests. Thus the Dasarna country, rendered muddy at the time of the arrival of Him, possessing excessive brilliance owing to the flashes of lightning, thundering while pouring showers of rain, setting the peacocks that would be highly pleased to dance again and again, verily would have the swans staying there only for a few days (i. e. would be leaving soon for the Manasa lake). On approaching there, He should visit the capital of that country

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(54) which was as good as a navel (i. e. situated at the centre of that: country), having its appellation - Vidisa' well-known in all the quarters over, the beauty as if of the earth incarnate enhanced owing to its ramparts (or to the sala trees), inviting Him as if very much again and again from a long distance through the topmost parts of the mansions with hands in the form of flags set in motion by the wind [ or with the hand - like flags set in motion by the wind ). On reaching the capital of the Dasarpa country, He, cherishing a strong desire, sitting silently for a moment on the uppermost part of a mansion, having His body performed by delightful smokes of incense rising up in yolumes through lattices, inspecting harlots cherishing strong desire for cohabitation, would immediately reap the fruits of lustfulness. Sambara thought that He would be enjoying full rest on reaching there He would be drinking, in a manner charming owing to the thunderings near the banks, water, which would be sweet;. fragrant, tasteful, cool and perfumed by the petals of the blue: water-lilies scattered over by the wind, of the oblong lakes. possessing white lotuses. For the sake of His maintenance, He should drink water, possessing mobile ripples, of the Vetravati, the wator of which would be resembling her face with the eyebrows Knity, very tasteful, turbid owing to its being ruffled by the fish moving sportively, abounding in lumps of foain formed on the banks by the: chickens of birds. Drinking the pure water a little in that river, making it as if a means of subsistence, spending a day on the: uppermost part of a certain mansion of His liking, perceiving the sports of the citizens worthy of being enjoyed the sight of He, at the end of the day, should make a halt on the mountain known as Nicaih in order to take rest. He, with His doubt [ or fear ] dispelled, enlightening the quarters with the brightly burning torches in the form of the flashes of lightning, should, throughout the whole of that night, resort to that mountain

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(55) [i. e. Nicaih ], the bordering regions of the table-lands of which would be impregnated with the sweet smell of the perfumes used at the time of cohabitation by the women of Siddha gods, having the hair, in the form of Kadamba-trees with their flowers fully blown, of its body erect on account of its contact with Him. That mountain, manifesting the sexual enjoyment of the citizens through the bowers possessing presents of flowers and emitting sweet smell of the perfumes used at the time of sexual enjoyment by the courtezans, rising high up in the sky to seize [ or eclipse ] as if from below the collection of planets with the ends of all the rocks, would be bringing Him pleasure the very moment He would reach there [i. e. the mountain ). He should cherish a praiseworthy good will towards that mountain, rubbing against the surface of the sky with the ends of its rocks and revealing to Him the violent juvenility of the couples engaged in sports through the stone-abodes having their interior parts covered over with flowery beds, possessing garlands slipped off in the course of sexual enjoyment. Having taken rest on that mountain, having its uppermost part beautiful, attractive owing to the roars of the rivulets falling down from its peaks, having its low lands over-crowded with. trees grown all over, He should proceed on sprinkling with fresh water-drops the clusters of buds of the jasmine-creepers grown on the banks of the Vananadi [ or forest-streams). He, become familiar for a moment by affording shade with the faces of the womeo plucking flowers, having their ear-lotuses faded on account of their being affected while getting rid of the perspiration on their cheeks, being compassionate, should not go very speedily across the lands extending on the banks of the river covered over with flowery thickets. The way, though circuitous, is highly approved in the world when it brings an unprecedented advantage. Though the way would be circuitous for Him, started in the northern direction, it wouid be possible, indeed, to go by

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(56) the way passing through a forest having Kasa-grass in the biginning and Arjuna-trees at the end. He should not, therefore, turn His face away from intimated familiarity with the uppermost parts of the mansions of Ujjayini. If He would not be pleased with the eyes of the city-damsels with their outer corners unsteady, dazzled by the flashes of lightnings, forming the victorious unfailing arrows of the god of love having a very wide range, piercing the vital parts of bodies, discharged by means of bows in the form of their intimately familiar eye-brows, he [ Sambara ] would deem that He would be deprived of His eyes. He, seeing the flow of the Nirvindhya to which He would have evinced His emotions inexpressibly, which would be possessing rolling eyes in the form of wallowing fish, having a girdle in the form of birds chirping loudly on account of the agitation of the waves, manifesting her navel in the form of eddies, moving in a way charmful owing to her stumblings, should proceed on His journey. On His way, having approached, He should imbibe the water of the Nirvindhya [ or enjoy her love ], manifesting as if clearly her eagerness for Him without any articulate expression displaying the arrival of her relative [i. e. the Sage transformed into a cloud] bashfully turning round a little, for love-gesture in regard to their lovers is the first expression of love of women. On the way of Him who should have passed beyond her [i. e. Nirvindhya ], the Sindhu, on account of her having very little water assuming the form of a braid-like stream and assuming lustre pale owing to the old dry leaves dropped down from the trees grown on her banks, would be seen as if inviting Him through the charming chirpings of the rows of swans like a bold woman with her garment loosened. He, a fortunate one, should adopt the remedy by which that one [i. e. the Sindhu 1, emaciated, pale, possessing braid-like stream on account of the scantiness of her water, making as if a sweet speech with a view to

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(57) solicit Him through the chirpings of swans, suggesting His good fortune by her state of separation [ from Him), would give up her emaciation. Though, on the way, there would be a possibility of having various emergent occupations, He, having completed immediately the remaining journey through fear of His main purpose being defeated, and having reached the country, called Avanti, possessing in the villages old people well-acquainted with the stories of persons that had attained liberation, should proceed on to the big city of Visala abounding in wealth [ or glory). sambara said that there was no necessity of describing that city, highly praised by the whole world, possessing excellent glory, the eternal abode of the goddess of wealth [or glory ], the only source of happiness ( or wealth ], an unparalleled shining piece of the residents of heaven gone down to the earth owing to the fruit of their good deeds being reduced to a very small scale of measure. There in that city of Visala, the wind, bending the lofty trees grown in the gardens, very cool owing to the disturbance of waves, prolonging the shrill notes of cranes [ or swans ) indistinct yet sweet owing to the cranes being intoxicated, fragrant owing to its association with the perfume of the lotuses [ lotus-buds ] burst into flowers, blew along with the masses of the drops of water at day-break. The breezes blowing there from above the Sipra, cool on account of blowing through the waves, carrying masses of sprays, setting the gardens in motion, displaying the buzzings of gladdened bees speaking gallantly like a lover requesting his beloved for sexual enjoyment, agreeable to the body, dispell, he said, the fatigue of women caused by. enjoyment. The well-informed people residing in the city, according to him, entertain their relatives went there on a visit as- "Here, oh friend ! it is reported that the king of the Vatsas and the Murundas, a veteran warrior, destroyed the elementary divisions which are described as the daughters of the Karman, the ferocious enemy of the soul

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(58) possessing perfect knowledge [ concealed under the cover of Karman ); here where women are regaling their children by means of narrations and mirth, was the grove of Tala-trees possessing golden colour [ or possessing coolness ); here, it is reported, an elephant imitating the bodily form etc. of the Nalagiri ( mountain named after king Nala who had sanctified it with his foot-prints ) butting against the mountain with his mountain-like body, destroying, like the angry god of death, the wild beasts or elephants, like the wind destroying clouds, wandered about, having uprooted the post (meant for tying him ] through rashness." On seeing in that city jewels worthy of being turned into various ornaments, imitating the beautiful bow of Indra brought into being by the streaks of sunlight, and on seeing the structures of corals arranged in the shops on the bazzar roads ( or in the markets for sale ), the oceans, he said, are looked upon as having only water remaining behind ( in them ). Having reached that city, a place abouading in excellent prosperity [ or a place of excellent mechanism and fine art ), having taken full rest on the uppermost parts of the mansions, having had recourse to His strong desire for making a stay in the heavens through its mansions, He, having His body increased in volume owing to the aromatic smoke used for hair-toilet issuing forth from the lattices, having presents offered by the domestic peacocks in the form of dances accompanied with songs through brotherly love, become tired at heart by the fatigue caused by the jouney, having removed the fatigue on the mansions of the city resounding with the deep pleasant sounds of the musical instruments, and having entertainments consisting in songs attended with music and dancing arranged always in them, perfumed with the fragrance of flowers and marked with red dyes applied to the feet by the beautiful ladies, would give up in no time [ or without delay ) necessarily the strong desire cherished by Him for the heavenly mansions (or the mansions in the heaven).

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(59) Canto-II :-On taking rest just for a moment, He, possessing body having resplendent and darkish colour (complexion), looked at with respect by the crowds of citizens owing to His possessing the lustre like that of the neck of the lord of cobras, should roam about with a desire to enjoy the beauty of the city of Visala putting the city of Indra to shame by its glory. First of all, He, desirous of attaining religious merit, should visit the temple laughing as it were at the beauty of the Kailasa mountain, touching the sky with its uppermost part, whitening a region of the sky, dedicated to lord Jina, the master of all the three worlds, the conqueror of passions (or the lord of sages practising austere penance ), bringing sexual passion into subjection, and destroying infatuation which is one of the enemies in the form of eightfold Karmans. He, moving round in a manner causing the garden to shake, scattering showers of water like those of flowers, turning the thundering sound rumbling like that of a kettledrum into a hymn of praise, should worship lord Jina with the waters of the Gandhavati, fragrant on account of the polleps: of blue-lotuses, possessing lofty waves moving very violently es moving very violently on account of their being disturbed by the wind. He, when He would have drunk very sweet and pure water in other lakes etc. possessing fragrant, cool and pure water, would not be gratified by those waters of the Gandhavati pungent ( or fragrant } owing to the unguents, perfumed powders etc. of the young. ladies engaged in water-sports. sambara told him that had Hebeen desirous of seeing the very wonderful conference of the dead, He, on approaching the Mabakala forest at any time: except night, should wait there for a while for the meetings of the dead are always convened even in day-time, resembling a night owing to the darkness caused by the flights of vultures: soaring in the sky and that He should, until the sunset, make a, halt in the immediate proximity, abounding in noises terrorising the owls having their hootings impeded inside the interior parts

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(60) of the extensive hollows of hundreds of old trees, extremely formidable owing to the intumescence of the dead bodies, and terrible owing to the full-grown and pervading howlings of female jackals. There, He, acting as a drum, beaten at the time of worship performed by magicians in the evening, by means of His pleasing sounds of thunder, towards the assemblage of magicians wearing washed clothes, armed with spears, moving on the cremation ground uttering incantations, rigidly observing the rites prescribed for the sake of attaining magical skill, would attain praiseworthy honours. In the interior part of that forest, he said, there was a temple dedicated to lord Jina, known by the name Kalakala Jinalaya traditionally owing to the confused noise of prayers, and the abode of good sages. After performing worship of Lord Jina with drums, in the form of thunders, sounded, He would fully obtain remuneration of His loud rumbling thunders. On reaching that temple there in the forest, He, with the drops of water discharged sportively, should moisten the clever courtezans, wearing girdles jingling on account of the movements of their feet, going slowly, possessing beautiful necks, having their bodies covered over with drops of perspiration given off through exertion at the end of songs sung in chorus at the time of worship performed in the evening. There in that temple, He should see those courtezans wearing jingling anklets studded with jewels, singing loudly in keeping with the graceful movements of their feet, possessing graceful movements of their eyebrows turned upwards, looking upwards, sprinkled over twice or thrice with drops of fresh sprays of water discharged by Him, possessing nimbleness [ or extra-ordinary beauty, having their hands fatigued on account of waving Camaras possessing 'handles covered over with the lustre of jewels. Those courtezans, there, on obtaining from Him the first drops of rain water, the marks ( wounds made by the nails at the time of sexual enjoyment, would look at Him, sat on the upper part of the .

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(61) roof of the temple dedicated to Jina, possessing body enlightened by the red lustre of evening and by lightning, as a beautiful canopy spread in the sky. Moreover, those courtezans, frightened by His thunders, cherishing doubt as 'what is this ?;' having their faces turned aslant a little, having dangling necklaces rolling on their tremulous breasts, would cast on Him their beautiful side-glances which would be as much long as the rows of bees. On entering upon a discourse with reference to the musical instruments, He, proficient in manifesting His devotion to Jina, revealing resonant sounds of drums in the form of His rumbling thunders, descended circuitously upon a grove of trees possessing very tall and big branches, should, keeping silence, listen to the hymns of praise recited by sages engaged in praying. At the time when He would be listening to the prayers, He, expanding His bodily form in the sky, worshipping Jina by waving lights in the form of lightnings very gladly, assuming the evening-lustre red like that of a fresh Japa-flower, would be looked at again and again as if cherishing fondness for the worship of the Lord. Worshipping, like Indra, Jina, the protector of animals, possessing excellent beauty becoming manifest of its own accord, having His body endowed with a new form modified according to His liking or with lustre like that of the neck of a peacock, winning high praise expressed with a cry well done, well done !' at the time of the performance of a dance, should not give up His very strong desire for the fresh flowers of Nagakesara. He, after performing a dance, with His devotion noticed for a long time with her eyes rendered motionless owing to their rolling being subsided by Bhavani | Saci ), highly praised by her before her husband in the words as "This one is not terrible but beautiful,' possessing a very beautiful form, should make the actress, the agreeable lightning, dance on the platform in the form of the sky beautiful on account of the scattered flowers in the form of stars. Having perceived the .

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(62) beauty of the temples situated in the Mahakala forest and having performed the evening-rites in that temple, He should move about in that city seeing amorous sports of the women going slowly to the residence of their lovers for the sake of having nocturnal sexual enjoyment. The women, cherishing strong desire for males, highly inflamed by passion, would not be able to go alone to the places of appointment, when He, who would have blockaded the heavenly path, would be giving out roaring thunders and when the royal roads would have the light obstructed by the masses of very pitch darkness at night. He should not be very noisy while giving forth thunders and should contract immediately His expanse. The act of impeding is looked upon favourably by the wicked and not by the noble-minded. He, a benevolent one, should help the distressed. By means of flashes of lightning shining like a gold-streak on a touch-stone He should point out the earth to those that would be distressed. If at all He would be ardently desirous of giving forth thunders for the sake of ridiculing, He should roar very slowly as charmingly as the jingling of anklets and as the internal inarticulate murmuring uttered at the time of cohabitation. He should not pour showers of heavy rain and should not be noisy with thunder at the time of pouring down rain on account of the women there being timid. He, enjoying fragrance of the incense burnt at the time of the noxturnal cohabitation, having His beloved, the lightning, fatigued owing to her emitting flashes of light again and for a long time, possessing a very expansive bodily form, having roamed for a long time over the city and having spent that whole night on the upper part of some mansion-gallery having pigeons asleep, should enjoy happiness. Though the momentary familiarity with the city of Ujjayini surpasses the [ life-long ] stay in the heavens, He, giving up His fondness for the city and dispelling enmity with him [i. e. Sambara | by entering into friendship ( with him ), should cover the remaining

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(63) portion of His travel when the sun would be seen again the next norning. The sun would not be seen when he [ the sun ) would be obstructed by Hin [i. e. the Sage having His body transformed into a cloud ). Dissipation of misery of women would not be possible owing to the disappearance of the sunlight caused by Him. In the morning when the sun would rise, the tears of women treacherously disappointed by their lovers would be alleviated by their affectionate lovers. He, therefore, should quit the path of the sun quickly. A friend should necessarily feel sorry for the severe pressure of pain on the other [ friend ). The Sage, having His body transformed into a cloud, being a friend, should not put obstacles in the acquaintance of the sun with the lotus-creeper, his beloved. He [ the sun ] too, come back to remove the tears in the form of dew-drops from the face in the form of the lotus of the lotus-creeper might be very angry when He would be obstructing the hand-like rays of the sun. He should not dishonour that beautiful river because of her being very deep [intentionally uncommunicative ). On approaching the river, He should enjoy the water [ love ) of her whose behaviour with reference to Him would be extremely pure [ flawless ]. In the pure waters which are as if the pure heart of the Gambhira river, His self, under the guise of a reflected image also, naturally charming, would gain entrance. That river, expressing her whole-hearted love for Him, therefore, as if giving out sportive smiles originating from the sprays, would, thus, manifest her love for Hi . It would not be deserving on His part to neutralize immodestly her glances in the form of the beautiful springings up of the fish, white like the lilies. He would come to know the excess of her sexual enjoyment from the prominent buttocks in the form of sandy beaches possessing charming jinglings of a resplendent zone in the form of the rows of chirping birds. His departure would not be possible when

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(64) He, on resorting to her, whose adjoining regions would be covered with flowery creepers spreading there, who would be manifesting her passion abounding in love by removing the blue garment in the form of water, slipped off the buttocks in the form of her banks, attained, as though being held by her hand, to the blades of canes growing in her waters, would be stretching out Himself (or would be lying at full length ). None, acquainted with sexual enjoyment, woul be capable of giving up a woman having her hips laid bare (or uacovered ). That wind, pregnant with fragrance, drunk by elephants in a manner charming owing to the low gruff sound produced in the apertures of their trunks, charming on account of its contact with the odour emitted by the earth sending out vapour on account of His discharge of rain, would convey Him, who would be trying to proceed on from that place after having crossed the river anyhow, to the interior part of a forest. A cool breeze of wind, ripening the sylvan figs, rich in fragrance, exerting like a dear friend, prompt to dissipate weariness of Him who would be fatigued and who would be desirous of approaching the Devagiri mountain on proceeding a little, would be blowing gently. He, with His body formed into a flower-cloud, should perform ablution with showers of flowers moistened with the waters of the heavenly Ganges, of Skanda, whose feet were worshipped by Isa (the lord of the north-eastern direction ) and his beautiful beloved with a desire to make him their son, who would be desirous of performing worship of Jina with great devotion in his house, and who had his residence permanently situated there (i. e. onthe Devagiri mountain ). On seeing that sinless Skanda always engaged in worshipping the Lord of Jinas who had rid themselves of birth, oldness and death and who would be worthy of being worshipped by the heavenly gods, He also would be getting Himself transformed into that lustre (i. e. the sun ), the foremost of the large number of the heavenly bodies ( i. e. stars ), .

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(65) found inherent in the fire, presented by the sky carrying the glorions moon with a view to protect the earthly living beings. Even the peacock, - the conveyance of Skanda, satisfied on receiving through ears His thundering pleasing to the ears, a dropped feather of whom possessing circles formed by streaks of lustre Bhavani, owing to her affection towards him taken by her into a relationship of a son, had put on her ear in such a way as to make it come into contact with the petal of the blue lotus, would give out crackling sounds in response to His thundering. First of all, He should perform deserving and excellent worship of Skanda who owed his birth of the excellent righteousness purifying all the worlds.. Thereafter, He should cause the peacock, the offspring of the purifier [Pavaka), having the angles of his eyes rendered more bright by the lustre of the captivating moon, to dance by His thunderings deepened on account of their being reverberated by the mountain (Devagiri]. Having worshipped that god [i. e. Skanda ) sprung up from a lake, worthy of being worshipped by the crowds of people of the world, winning the name [ saravanabhava ] owing to his being sprung up from a lake called Dharna [righteousness) which is pleasing to the heart, clear, and expansive [or deep), He, that would have travelled some portion of the distance of His way, having His path left unclosed by moving astray by the couples of the Siddha gods possessing sutes through fear of the drops of water [ or owing to their being afraid of the drops of water impairing the usefulness of their lutes ), should proceed on immediately, On departing from the Devagiri mountain and having approached the Carmanvati, possessing dirt in her stream owing to the rivulets ( or streams ) incessantly pouring into her, who is the infamy come into being owing to the slaughter of the daughters of Surabhi [ i. e. cows 1, spreading through the mouths of people and bringing itself into the shape of a river [i. e. the Carmanvati]

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(66) on the earth, He, washing her off by holy waters and honouring her (the river ) as the fame [of Rantideva), should have recourse to her [i. e. the Carmanvati ). In that river there when He, the spoiler of the complexion of Krsna, descended to take up her water, would be having for a momeot His reflection in full, dissipating the pride of the hide of a black antelope, in the water of her pool formed by accumulated water, Sambarasura thought that the name Carmanvati given to that river was absolutely deserving. The sky-wanderers would verily regard the current, as transparent as [ or transparent on account of ] the diffusion of the moon-light, of the river [ Carmanvati ), though broad, looking thin on account of its being at a long distance, as a white silken upper-garment of the earth possessing blue colour in the middle part, when, in the vicinity there, He, possessing complexion similar to that of Rahu, would be taking in water. The sky-wanderers would verily be looking upon Him, with His body encircled with a leathera thong in the form of lightning, with His body darkened like smoke, charming to His rumbling sounds, absorbing water, as a black leatharn bag meant for drawing water sustained between heaven and earth by the heavenly women for the sake of making sport. When He, possessing complexion as dark as that of a blue lotus, would, for a moment, be hanging over the stream of the river [ Carmanvati ), carrying on rivalry with the rays of the moon, the gods, casting their glances at a very long distance, would certainly be looking from the uppermost part of the sky upon the current as a single string of pearls worn by the earth having a big saphire at its centre. Having thus sported in the water there for a moment like a celestial elephant [i, e. Airavata ), He, moving on the heavenly way, having crossed the Carmanvati, should proceed on seeing the charming sports of the waters possessing multitudes of waves roused up by forcible wind and well-acquainted with the movements like those of the creeper-like eyebrows.

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(67) Pouring incessantly heavy showers of rain in the forest on the creepers, grown on the northern bank, bearing full-blown flowers, having bees diffused in thein, so as to fill the furrows cut in the soil by ploughs to their utmost capacity, He, become delightful on account of His being honoured by the women of Dasapur, with their dark and variegated lustre shooting up from the eyes owing to their lifting up of the eye-lashes, should proceed on speedily from that place. Proceeding on His way in the sky, and making His round form the object of the glances, black and - variegated in the intereior, depriving the bees following the tossings of Kunda-flowers of their beauty, of the eyes of the wives of those gone abroad, He should do what would be dear to them by inspiring confidence in them regarding the arrival of their lovers. Making His round form the object of the glances cast by the ladies of the city of Dasapura, as long as the arrows, leading to victory, of the god of love, moving fast on that way where He would be gaining the fruit of His journey fortunately in full He should proceed on without making any delay. Then, in that way, 'He, beholding various beautiful countries with eagerness, pouring showers of rain everywhere in the fields of corn, on the mountains, in the vicinity of rivers, and on the dry land there, and plunging into the Brahmavarta country by His shadow, should enjoy hospitality afforded by the country. He should betake Himself [ or have recourse ] to the region of Kurus, indicative of the battles fought by the Ksatriyas whereby many rivers had been rendered turbid by the blood of the armies of the Kurus, and where the sons of Pandu, carrying weapons achieving success, made a counter-attack through fear caused by their being afraid of the sin incurred by slaughtering the enemies. In a moment, He should pass over that land of warriors, well-known in the whole world, indicating the valour of the military tribes [ i. e. Ksatriyes ] by acts of checking advance ( or progress ] of formidable warriors, where Arjuna,

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(68) the warrior, armed with the Gandiva-bow, poured ( discharged ) volleyes of hundreds of sharpened arrows on the faces of warriors, like Him, pouring showers of rain over the lotuses. In the vicinity of it that holy land even, wherein, after the disappearance of Krsna, the plough-bearer [ Baladeva ) resorting to the mode of life of a great sage deprived of aspiration for kingdom, having renounced liquor of the god of love in the form of the eyes of Revati, giving pleasure longed-for, stayed for practising penance, should verily be resorted to by Him. Those regions, worthy of being worshipped by men, to which the plough-bearer, averse to take any part in the battle out of his showing as much affection towards his subjects as shown towards. his relatives, got initiated into monkhood, roaming on this earth had betaken himself, would at first bring in merit only on seeing those and on going round those would at once purify Him. He, the gentle one, though dark only in complexion, having imbibed those waters of the Saraswati which are plunged into by virtuous inen [ or which are pervaded by the reflexions of stars etc.], which are very pure, excellent, pleasing to the heart, destroying immediately sin committed in the age called Kali and which resemble chaste women, would become pure inside. [or He, though pure at heart, would become dark only in complexion ( and not impure at heart.)]. Sambara said that the rivers originating from the principal mountains [ 175 ] have become known by the name heavenly rivers' while other rivers bear their names owing to their being their representatives. As asked by sambaia to visit holy places, He should visit the Ganges, falling down from the Himalayas, resembling the Lords of mountains, near Kanakhala. He, leaving her immediately after plunging into her water, should not disregard her only because of her being a small river, since according to the learned even a representative of a holy land is a purifier. He should, therefore, worship the Ganges, possessing sweet water, forming the flight

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(69) of steps leading to heaven for the sons of Sagara, so known owing to the practice based on convention, He should take the river for that very one who, having her hands in the form of waves clinging to the moon, possessing white complexion, having as if laughed at the crooked formation of eye-brows by the masses of foam, is described to have taken hold of the hair of the idol of lord Arhat, the first God belonging to the Goddess Ganga, existing at the place over which the water, flowing down from the Himavat mountain, falls. To mitigate the exhaustion caused by His journey, He, hanging on, like a heavenly elephant, by His hinder part in the sky, should make up his mind the very moment He would be reaching below to drink her water which is sweet, pure, transparent, oozing out of the snowy rocks, charming and rendered fragrant by the smell of the pollens of flowers falling down in the forests grown on her banks. If He would not be distressed by the strong desire to drink water I or by excessive thurst ] and if He, having the fatigue of His journey. removed by keeping silence for a moment, pouring showers of rain, would make up His mind to drink in a slanting manner abundent water of her [ the Ganges ] on account of its being pure like a transparent crystal, He should settle Himself on the large and deep pool of water occupying the central part of the Ganges. He, diffusing lustre like that of sapphire throughout His body, should wait only for a moment, though He would have drunk up abundent water. She would thereby become charming as if having a union with the Yamuna brought about at a wrong place owing to His image proceeding hurriedly in her flow of water [ Or she, owing to His image proceeding hurriedly in her flow of water, would become as charming as she herself having her own stream united with that of the Yamuna at a wrong place ). He, thus filled up with charming water to His utmost capacity like a leathern bag meant for holding water, proceeding on a little, should sit on a

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(70) hill at the foot of the mountain, Himalaya, enjoying sight of the expanse of the beautiful forests grown in the adjoining regions of the mountain having its rocks perfumed by the fragrance of the musk of the musk-deer sitting on them. Afterwards He, transformed into a cloud, having taken rest on reaching the mountain called Himalaya, white with snow, the source of that very river of gods white like her own fame, calling Him as if near with the tall trees grown on its peak rising high up in the sky, should look at it. Attracted by the indistinct and charming cracklings of peacocks given out through joy manifested, looking in every bower of creepears at the masses of snow looking like solid curd, resting on its peaks having ascended it for the sake of removing His exhaustion of the journey, He would possess a charm comparable to that of the mud dug up by the white bull of the three-eyed one [ i, e. Rudra ). If He would not approach it pouring heavy showers of rain at the same time when the wind would be blowing, the fire produced by the friction of the branches of the Sarala-trees, would certainly be able to infuse spirit into Him, emaciated owing to the fatigue of His journey, with His body enfeebled by His upward movement on the way running through the ranges of the mountain, to resume His journey by the clustered columns of smoke generated by the trees grown in the forests. The sylvan fire, destroying by its flames the large bushy tails of the Camaris, would not, owing to His being in its proximity, damage that lord of mountains, possessing beautiful forests, with its borders scattered over with thousands of juicy plants, having its body as if armoured on account of its being covered over with the masses of snow from its foot to the uppermost part of its peaks. If the fire of lightning, originating from Him at once, would cherish a desire to burn out the Himalaya, with its forests possessing masses of snow, then in that case He should make Himself capable of soothing the mountain fully by

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(71) means of thousands of showers of His water, for the riches of the noblest have their purpose effected by the alliviation of the sufferings of suffering mortals. He should not give out very loud thundering sounds there in the caverns of the mountain so that the sarabhas, there, become ill-mannered owing to their being proud of their valour, possessing rapidity in their act of jumping high up in anger, who might be suddenly surprising Him, keeping out of their way, only to tear down their own bodies, might not have any fear, depriving them of their lives, from Him. If those beasts, exceedingly deprived of intellectual qualities, exerting only for tearing down their own bodies, would possibly surprise Him on account of their passion being excited by His thunderings, then He should put them to rout by heavy hail-storms. As devotion only is described as the excellent means of destroying sin, He, bowing down in devotdion, should circumambulate the foot print of Lord Jina, the preceptor of all the three worlds, distinctly manifested on a stone there, worthy of being worshipped by a god wearing a crown bearing a mark of the crescent-moon, worshipped by the demigods that are highly respected. May He, on seeing which the devotees with their sins shaken off completely establish a holy place of Siddhas [ the souls attaining salvation] after the abandonment of their bodies, become purified. Those who have able to attain the In the vicinity full faith in the foot-print, would become everlasting position attained by hosts of sages. of the foot-print, the bamboos, being filled with wind, desirous of having as if a discourse upon the musical instruments, would be producing sweet sounds indeed. The victory over the three bodies would be sung there by the Kinnara Ladies, devoted very much, desirous of worshipping Jina, the lord of the world. If His thundering sound would be echoing in the valleys like the sound of a drum in the drum itself when the bamboos would be giving out deep and very loud sounds clearly at the time of

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(72) praying Jina, and the Kinnara ladies would be singing loudly the victory over the three bodies in a manner producing confused noise, there the concert of the protector of living beings [i. e. Jina] would be indeed made perfect. Having passed over all the beautiful scenes of the regions adjoining to the Himalaya mauntain, He should take the Kraunca defile which is in the proximity of it, which is conjectured as the gate for the swans and as the path of the glory of Parasurama in the works of the learned, ignorant of the facts, for the door, carved into the rocks of the caves of the Vijayardha mountain by means of the sceptre of a Cakravartin. He, who renounced all the worldly attachments, appearing beautiful owing to His horizontal length, should, on account of His having determined to go to the Himalayas, the abode of many wonders, proceed through the Kraunca defile to the northern direction. Like a big black serpent coming out of a hole, He, resembling the black foot of sage Visnukumara raised high up for pounding down Bali, should immediately rush out of the defile of that mountain. On rushing out of the defile of that mountain like a volume of smoke and having gone further high up, He should become the guest of the Kailasa mountain which resembles the loud laughter of the three-eyed god [i. e. the lord of the north-east direction ] gathered into a heap every day at the time of the beginning [ or performance ] of a dance in front of the image of the first lord, on account of the foamy flows, possessing lustre whiter than that of milk, rushing down on all sides, and owing to the lofty peaks white like lotuses, which has stood overspreading the sky, which has its parts in the form of its peaks raised high up like the arms of the ten-mouthed one [i. e. Ravana], which possess big rocks appearing to the advantage owing to their being beset with big and white crystals, and which serves as a mirror for the heavenly damsels sambara believed that the mountain, white like a piece of a tusk of an elephant cut off very

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(73) Tecently, looking beautiful on account of the surrounding regions [in the case of the moon-pleasing to the eyes owing to her halo), possessing banian trees, would be assuming beauty like that of the moon, resorted to by Rahu desirous of eclipsing, when He, possessing colour like that of collyrium mixed with oil and wellcrushed, would be resorting to its slopes, sambara thought that there would be a display of the incarnation of the ten-mouthed one [i. e. Ravana ) when He would have ascended the plateau round about the peak of the mountain and that the beauty, worthy of being looked at with steady eyes, of that mountain would be like that of the plough-bearer [ i. e. Balarama] with his black garment placed on his shoulder when He would have ascended the uppermost part of its side. If, on arriving there, should the white-complexioned one ( i. e, the wife of the lord of the north-east direction ), supported with hand by the lord of the north-cast direction resembling Rudra, after throwing off his serpent serving as a bracelet [ or twisted into a circular form ], be moving about on foot on Him resembling a pleasure-mountain built up with emeralds high up in the sky, He should not give out a thundering sound so that she should not be distressed through fear of a black-serpent. If the wife of Indra, desirous of performing worship with devotion to god, happens to be there while visiting temple after temple dedicated to Jina, at that time, He, moving in front of the wife of the lord of the north-east direction, having His body shaped into a flight of steps with His water caused to be constrained inside, should serve as a staircase for her to ascend the jewelled slopes. The heavenly damsels, taking into consideration that future staie beautiful on account of the discharge of the internal water, would surely transform Him sitting very silently on the top of the peak discharging water owing to the strokes of the bracelets beset with diamonds, into a shower bath. The heavenly damsels, dragging Him here and there like a leathern bag [ meant for holding water ] filled up : .

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(74) with water of a lake below, would be diverting themselves, Sambara said that if there could be no deliverance from them of Him, secured by them at the time when there would be excessive heat, He should intimidate there, engaged in sport, by His thundering sounds harsh to the ears. Afterwards having carried out various performances, there, with them, He, having release from them with a great difficulty, reduced by the wind to the state of His body having wounds inflicted, imbibing the water generating golden lotuses, of the Manas lake, conferring the pleasure of possessing a face-cloth for a moment on Airavata, should divert Himself again on the mountain. Sambara addressed Him that He, dwelling on the golden peaks of the pleasure-mountains, beholding there the seats of cohabitation existing in the bowers of creepers meant for the heavenly damsels for coition, shaking off the sprouts, resembling thin silken garments, of the wish-fulfilling tree by His breezes, pleasing and. possessing various movements, should enjoy that lord of mountains. He, as if tied down by leathern straps owing to His body being encircled with the rope-like lightning, having stayed there on the Kailasa mountain for a long time, should go down from that mountain, with a desire to secure what is expected by Him, upon the city of Alaka, the abode of the best of Yaksas, with its white garment in the form of the Ganges fallen off on its slopes, as on a lover's lap, when the breezes of wind would be blowing slowly. Sambara said that He, the wanderer-at-will, experiencing the pure nature of the pure soul through repeated practice of concentration upon the pure nature of the soul, knowing all the knowables, possessing pure knowledge, roaming over the whole of the world, possessing foresight, would not know well the city of Alaka, known in the whole world, the source of wealth [ or a place where wealth is acquired in abund-- ance], unless He would see it actually. The cify of Alaka, thin

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(75) king that the sages desirous of practising penance for the attainment of salvation might be harassing themselves and would have no interest for her and questoning the superiority of the abode of the liberated souls to herself, possessing seven-storied lofty mansions, would give an ironical smile, as white as the moon, in the form of the discharge of water in the rainy season, That city, according to Sambara, bears an assemblage of clouds, discharging showers of drops of water, produced in the rainy season, possessing a rain-bow, formed by the ends of the rays of jewels: shooting upwards, having cranes in the form of the rows of flags moving in all directions in the sky, with the uppermost parts of her palaces scraping the clouds, like a noble woman free from pride, with her curly hair encircled with the nets of pearls. The mansions in the city, constructed by putting emeralds especially, possessing pleasure-mountains in their vicinity, having beautiful women, possessing multicoloured pictures, having rising volumes of smoke of incense coming out of the groves of pine trees and spreading on all sides, are quite competent to display always the rainy season, looking dark on all sides, pervading the sky, possessing flashes of lightning and decorated with rainbows respectively. In that city the drums, beaten in the temples for the purpose of the evening musical performance, causing the peacocks, noisy with their cracklings, to dance, making the swans, giving out notes exciting pity, distressed by their earnest desire for the Manasa lake, make, in all the seasons other than the monsoon, a noise, resembling the deep thundering of clouds, excessively. There the expansive mansions, having their uppermost parts expansive, with beatings of drums, possessing lamps in the form of jewels, having floors studded with jewels prominently, having their uppermost parts scraping the clouds, are quite competent to stand comparison with an assemblage of clouds scattered in all directions, giving out deep thunders, with their forms decorated with the lustre of lightnings, posessing

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(76) water inside and lofty respectively. The mansions in that city, Sambara said, are capable of establishing similarity with masses of autumnal clouds with the lofty parts of their uppermost divisions white like snow, with oceans with their waters dashing against their shores [ or with oceans with tides having their waters rising high up ), with the deep sounds of the musical instruments, with the principal mountains with the parts of their walls shining with the spread of the rays emitting from the gems and with Him with their various special features. There the scented cosmetics, scattered here and there in their beds owing to the pearls rubbing against their breasts having their circumjacent parts raised up owing to their being pressed by their husbands embracing them, turned into mud by the drops of sweat exuding on account of the efforts, moistening interior parts of their beds, suggest the exhaustion increased at the end of their sexual enjoyment of the women closely embraced in the arms of their husbands. There the bright rays, penetrating through nets of interloping threads ( or hanging like a mass of threads ], propagating not very densely, of the moon, not going out of her right way, the lord of night, occupying the crown, put on the head having hair collected like matted hair, of the husband of the white-complexioned lady [i. e. of the lord of the north-east direction ), would be able to remove at once the bodily fatigue of the couples caused by sexual enjoyment. When the young ladies there, desirous of going alone to the abodes of their lovers at midnight, wearing ornaments, concealing by wrapping themselves in black garments, pining with love, would be resorting to the bazaar roads giving up the ways deviating from the right paths when the darkness would be dispelled by the rays of the moon brilliant owing to the removal of the obstruction caused by Him. There the excellent moon-stones of the roofs of the mansions, exuding pure drops of water owing to the downpour of rays of the moon and so washing off the regions in the

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(77) immediate proximity of the pleasure-gardens near the mansions, for, as it were, offering water for washing feet in secret, destroy completely at night the fatigue of the passionate women caused by moving on the untrodden path. In that city the royal roads are found covered over with the beautiful Mandara flowers resembling the signs of the blessed state of wifehood, fallen down from their curly hair owing to the agitation caused by the gait of the love-lorn women going unfairly owing to their frequent stumbles for the sake of nocturnal sexual enjoyment on finding their lovers delaying. In the garden, there, the abode of sexual enjoyment of the couples resting in bowers of flowery creepers is pointed out by the skirts of their beds possessing blue ornaments in the form of blue lotuses worn on the crowns of their heads, scented by perfumes used at the time of sexual enjoyment, having bees spread all over, and by lotuses, possessing gold-like colour, slipped off their ears and reduced to pieces. There in the city of Alaka the abodes of sexual enjoyment of the couples sporting near the forests grown on the banks of the Ganges, constructed on the sandy beaches, scattered over with flowers, are suggested by a large number of fruits assuming lustre red like that of saffron, by nets of pearls, and by necklaces the strings of which are broken owing to the expanse of the circumjacent regions of their breasts. The path in that city, traversed at night, of love-lorn ladies is indicated at the time of the rise of the sun by flowers scattered here and there owing to their being dropped down from the braided hair slackened owing to their being tossed by their gait, possessing bees, imitating the discharged arrows of the flowerarrowed god and by the lack-dyes deposited on the ground by their feet. According to Sambara, the city has no other standard of comparison in the whole of the world even owing to its being

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(78) created by the creator having his mind centred on all the standards of comparison. In that city resides the lotus-aboded one I i. e. Laxmi ) and there the subjects possess treasures, and have tears arisen in their eyes on account of joy aud not on account of anything else. The residents of the city who are subservient to none other than him or her who over-lords her or his heart, are not distressed by any sort of disappointment other than that of arising from humiliation caused by the beloved ones, have no ties other than the one of hope for their union with the assemblage of their beloved ones, have no torments other than the one arising from the flower-arrowed one brought about by the union yet to be effected with their beloved ones [ or by the absence of their union with their beloved ones l. Not a single man indeed is found there begging, wretched and deprived of wealth owing to the existence of the nine treasures of Kubera fulfilling all desires and also there is no possibility of any separation except in cases of love-quarrels, as righteousness, having decorated her, the beautiful one, actually inhabits her [ i. e. the city ). For the city, possessing prosperities aspired after, Indra desires very much, the residents there immediately forget the city of Indra, nothing other than the fear of departure from the city provokes anxiety there and no age, indeed, other than youth exists there in case of the lords of wealth, the conquerors of death. As the trees, there, ever flowering, noisy owing to the intoxicated bees, beautiful by the sprouts, attained to prosperity, free from deterioration, give flowers blossoming in all the six seasons simultaneously, they { i. e. the trees 1, owing to their co-existence with the wish fulfilling trees, possess properties similar to those of the wishfulfilling trees. The forest-creepers, taught as if the duty of those wish-fulfilling trees owing to their being in the proximity of those trees, are able to offer various beautiful flowers, and the lotuscreepess, there, bearing lotuses always, having girdle-like circular figures formed by the rows of swans, eulogised by bees, are

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(79) made as if to stand comparison with those sylvan creepers. The domestic peacoks therein, highly pleased with the sounds, resembling the thunderings of clouds, of the drums beaten always, having multi-coloured plumages, resembling the moveable treasures produced by means of various jewels, possessing evershining tail, having their necks raised up for the sake of giving out crackling notes, play Tandava dances very much in accordance with the time of music. In the mansions of that city, white owing to their being covered over with sticking plaster, considering themselves to be the moonlight incarnate, laughing at the abode of gods with their prosperity, possessing topmost parts raised high up, the evenings charming owing to the obstruction of the course of darkness being removed by constantly spreading moonlight, are enjoyed by the lords of Yaksas along with their beloveds. sambara thought that Laxmi, the goddess of beauty, flushed with shame on seeing the bodies, naturally beautiful regarded as most excellent in all the three worlds, of the belles of that city, would certainly throw off immediately the lotusflower held in the hand as a play-thing, remove the particular construction of semi-blossomed Kunda-flowers beset in her curly hair after uprooting her hair. The beauty of the faces of the women residing in that city, rendered white with the pollens of the Lodhra-flowers by themselves again and again, highly appreciating the beauty manifested by the glory of winter-season, made elegant by glittering moon-light in the form of the white lustre of smiles of the women, free from all drawbacks, spotless, would laugh at the beauty of the moon. As the female Yaksas there have put fresh Kadamba-flowers in their luxuriant hair on their heads, and the charming Sirisa-flowers on the ear even when there are ornaments, prepared to their liking, brought forth by the wish-fulfilling trees, any insignificant thing must have been dear to them owing to their being attached to the love for novelties. In the city, as there are lotuses in the hands of ladies,

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(80) Kunda-flowers associated with Kurabaka-flowers are put in their proper places, the pollens of Lodhra-flowers are applied to the expansive breasts, beautiful Sirisa-flowers are put on the ears, and the Nipa-flowers, put forth at the time of His advent are placed at the parting lines of their hair by the ladies of the city, there the beauty or pleasure generated by the combination of the six seasons is clearly manifested. Those Yaksas, there, who fancy themselves to be Indras, having gone to the mansions resplendent like fully developed autamnal moonlight, those who have lost their conrtol over themselves owing to their being lovelorn having gone with their young beloveds to the lofty ones endowed with the warmth of wealth, those who have all the longings fulfilled having gone to the mansions of crystal, amuse themselves. The lords of wealth (the Yaksas ), there, associated with their most beautiful wives, with their passions intensified, resorted to the courtyards, covered with pavement of sappire, of the mansions decorated with flowers in the form of reflected luminaries, giving enlivening pleasure [ or emitting fragrance of liquor ], with their surfaces whitened by moonlight, have sexual enjoyment again and again. There the beautiful-eyed ones, with the corners of their eyes manifesting passion, taking deligst in sexual intercourse, manifesting knittings of their eyebrows in cxcess, able to act the part of a preceptor teaching the secrets of sexual enjoyment to their lovets in privaey, do not enjoy wine, coming forth from the wish-fulfilling trees leading on to sexual intercourse, as if on account of the futility of the preceptorship when the desired object is in onc's own possession. In every house, there, a festival in honour of Jina is celebrated by the subjects of Kubera, desirous of attaining religious merit [ or cherishing desire for happiness ), through love for religion, with heavenly [ or charming 1 pounded sandalwood, rice, fragrant flowers, incense and light in company with songs [ sung by many voices etc ), while kettle-drums, prodncing deep noise like

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(81) that of Him, are being gently beaten, There the beautiful garments of the beautiful women, with their lower lips red like the Bimba fruit, loosened owing to the untying of the knots tying together the ends of garments worn by them round their buttocks, wishing to slip slowly down the navel with a desire to show the youths the abode of the origination of passion [ or the abode provoking passion), are seen as if sustained anyhow by the stringlike girdle. In that city, shame of women disappears first and then the drops of perspiration drop down when their lovers snatch away passionately with their tremulous hands the beautiful silken garments resembling water possessing waves ( ripples ) circular like girdles, covering sandy beaches resembling the protuberant hips, owing to their being encircled by zones, covering hips resembling the sandy beaches, with their knots tying the ends of the garments loosened [ relaxed ] and possessing beauty similar to that of the beautiful face-cloth of an elephant. There the newly married ones [ brides ), with their eyes turning inside sportively when their garments are snatched away by their lovers with their hands through excessive passion, running after having got up from their beds, and having even reached near jewel lamps, possessing height or strongness owing to the rays emanating from them, are unable to extinguish them with the wind breathed out of their mouths. There the handfuls of powder, consisting of the ingredients of perfumes, scattered for obstructing the glances of the youths cast on all sides of the buttocks of the beautiful women, bewildered on account of their being flushed with shame, have their hurls rendered futile on account of their having fallen from their tremulous sprout-like hands in the intermediate region. In that city the clouds, loaded with water, carried to the uppermost parts of the seven-storeyed mansions by the propelling wind. variegated owing to their being spread over with the multicoloured rays by the jewels, imitating the bow of god Indra, having their existence in the vicinity of the clouds on account of their

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(82) being beset within the floors of the uppermost part of the mansions, assume in abundance the beauty of a beautiful canopy in the sky. There the assemblage of autumnal clouds, resorting to the uppermost parts of the mansions, discharging thin lines of spreading sprays in large quantities, being as if frightened on account of their causing damage to the paintings with drops of water in the very presence of the people looking at it, immediately disappears. Canto-III- In that city, clouds like Him, owing to their high speed, entered into the interior part of the uppermost roofed terraces, turned somehow into smaller shapes ( or forms ], skilled in imitating the irruption of the volumes of smoke, fall out shattered into pieces through windows as though having their fears roused at the sight of the couples there, engrossed in taking great pleasure in sexual enjoyment. The Yaksas there, attended upon by the breezes rendered cool by the waters of the Mandakini, having their heat warded off by the shadows of the Mandara-trees grown in the forests grown along the banks, are, along with their better-halves, always interested in sporting in the vicinity of the pleasure-mountains possessing groves of plantaintrees coloured like gold. The maidens there, bringing into existence another womanly world, the excellent buds of beauty, the triumphal banners of the fish-bannered god desirous of conquering, courted by the gods, play with jems, worthy of being concealed by throwing handfuls of golden sands. The attendants of Kubera there, possessing inexhaustible treasures in their houses ( i. e, mansions ), having left to be satisfied with [or resting satisfied ), along with the Kinnaras, possessing sweet voice, singing loudly the glory of Kubera, announce clearly the maturity of Karmans [ offering objects agreable to desire ], bound with soul on account of the meritorious acts done intentionally in former births. There the passionate attendants of Kubera, awakened by the shrill and deep sounds of tabor, possessing love *

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(83) for bees, accompanied by celestial women playing the harlot, engaged in conversation, enjoy the outer garden exciting passion [ or fulfilling desires ), known as Vaibhraja. In the city the grove of wishfulfilling trees procreate in abundance for the righteous beautiful [ or multi-coloured ) garments, liquor capable of giving instructions to the eyes in connection with charming movements, the blossoming of flowers along with sprouts, a variety of ornaments, the looged-for objects of enjoyment worthy of being enjoyed for all times and producing happiness. There the wish-fulfilling tree alone generates the complete decoration of women, delicious food, juice agreeable to taste, a variety of garlands, a lute, beautiful garments so prepared as to agree with one's natural taste, scented cosmetic, lac-dye worthy of being applied to the lotus-like feet. The horses, there, with their foreparts moving and the hoofs attaining a high speed, having as if dislike for touching the earth, dark-green like leaves, claim to be as good as the horses of the sun, and the elephants, resembling Him pouring showers of rain on account of His being dashed against the others, owing to their rut flowing down on account of their being in rut, lofty like mountains, slow of pace, rival as if very much with the lords of elephants presiding over the quarters. The foremost warriors, come into antagonism with the ten-mouthed one in the battle, repudiating desire for ornaments owing to the scars of wounds inflicted upon them by swords, have no position at all, where other sages, possessing wealth in the form of knowlege like Him, are under a spell of love on account of their being pierced through by the arrows in the form of the glances cast by the love-lorn ladies. He should visit and see that city, a place where feelings of love are excited. The statement .it is a place where god of love, generally, does not wield a bow having bees for its string through fear provoked on knowing the god, the friend of the lord of wealth, dwelling actually there'is falsely made by the people

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(84) there. Though it is incorrect on account of the job of the god of love being done by the glances of the clever women, not missing their mark, the lustful persons, with their eyes turned straight to the lovers with the knittings of their eyebrows, it may possibly be correct as the whole of the description given by the poets, not informed [ or not knowing the facts 1, is quite possible owing to its being in conformity with the pattern proposed by poetics. If He would think that none could believe in the description given at length by sambara himself and doubt that whether it would be correct or otherwise, He, sambara said, should verily settle His belief. His ancestral palatial building would be discernible from a long distance from the palace of the lord of wealth on account of the lofty archway looking beautiful owing to the Indra's bow formed by the rays emanating from the jewels inlaid in the door. In the garden there stands a young Mandara tree, giving out fragrance of flowers, having delicate foliage, possessing charm owing to the songs sung by bees, having pleasant shadow, possessing in the vicinity of its basin a mould of a fawn made by plastering, reared up by sambara's wife as an adopted son, bent down owing to the clusters of flowers worthy of being plucked by hand [ i. e. within reach of hand ]. Sambara said he is neither a demon nor a god, neither a Kinnara nor a Pannaga; he is the Guhyaka, a resident of the city of Kubera. In the garden there is a tank, having a flight of steps built of emerald slabs, abounding in full-blown lotuses resembling those made of gold and having long stalks resembling those made of Vaidurya gems, owned by sambara himself.' Sambara asked Him that He should take the beautiful tank, neutralizing heat with the pollens of lotuses, having water spreading wide, possessing waves in abundance, the swans having fixed their residence in the waters of which with their distress dispelled do not anxiously call to their mind the Manasa lake though near at hand even on seeing Him, to be the divulgence of his Karman.

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(85) in the adjoining region, crowded with groves of trees, of his mansion, there is something else worthy of being described, whereby He would repose much more confidence in himself, not known to Him and that is a pleasure-hill on its bank, with its peak built with beautiful sapphires, worthy of being looked at owing to the golden plantain trees forming its hedge, sambara said that on seeing Him, with lightning emitting sudden transitory blaze in His sides, he remembered that very pleasure-hill, the abode of sexual enjoyment, possessing a form lofty like that of the Ratikar mountain, dark-blue, having a golden enclosure at its foot, dominating over his mind that day, with a tremulous heart, as it was a favourite of his beloved. He, therefore, with His fear dispelled by his words, having decided what would be beneficial to Himself, scaring away the crow settling upon a holy bathing place [ i. e. dispelling doubt from His holy and pure mind ), should have His mind firmly fixed upon his words. His beloved [i. e. Vasundhara ], built slenderly, youthful, having pointed teeth, possessing lower lips red like ripe Bimba fruit, was in that city; He would find her there. She, for the sake of whom both sambara and Parsva had come into antagonism with each other in the former birth, sprung from a Kinnara family, then dwelt there. She, of a thin waist, having eyes resembling those of a frightened deer, possessing a deep navel, pining with love, remembering Him, a noble one, was found by him in tears. Brought into subjection by the god of love [i. e. subdued by passion ), she, with her speed slowed down owing to the wight of her buttocks, bent down a little owing to her breasts, was seen oft-times going away from the place where the moon-stone-slab was lying when her eye-sight was obstructed by tears gathered in her eyes at the time when she was engrossed in meditating upon Him represented in drawing with a desire to look at Him with His friend, upon a moon-stone-slab. Having gone there, she, the first-rate of the Creator's creations of young women in the whole

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(86) class of the Kinnara-women, wearing diverse costumes and manifesting various feminine gestures indicative of amorous sentiments, attractive like Rati herself, reduced to the state bringing her into subjection to the strong emotion of love, should be ascertained by Him. He should identify her, a faithful one having her mind restraianed through vows, having no enthusiasm for a person other than Him, attained to the age of maidenhood amongst her female friends, cherishing a strong desire for His arrival, reduced to helplessness through passion, having a curb put upon her speech, brought to her senses by the fans in the form of tender leaves of the fresh plantain-trees brought by her female friends, speaking at random indistinctly, standing on the verge of death, the lonely one, subjected to severe strain owing to the separation caused by being far away by him who was just ike Him, her beloved, owing to their mutual resemblance, like. Ithe lonely female Cakrawaka owing to her beloved being far away On the authority of His brother's utterances she is my second soul, He should not think otherwise of her. On his going there, the young one, looking beautiful owing to her moon-like face reposed in her sprout-like hand, meditating upon Him alone day and night owing to her desire [or attachment to] for Him, might have surely attained to the state in which death alone was left out owing to His separation from her, when those days, become long owing to her being lovesick, would be passing away. Sambara thought that her body, with its upper part bent down a little owing to the burden of her corpulent breasts, having the beauty of her lotus-like face spoiled by the heat of the puffs of breath, emaciated on account of the mental disturbance caused by anxiety, casting dull side-glances, deprived of pleasure, might have become changed in form like a lotus-creeper blighted by frost. Her face, imitating the disc of the moon, with eyes swollen owing to her crying bitterly, with lower and upper lips having their colouer changed owing to the hotness of the muliplicity of

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(87) sighs, might have been changed owing to the sleep of hers, thinking constantly upon a union with Him for many nights, being broken. The face, reposed in her hands, not fully discernible owing to the tresses of her hair dangling about her face, of hers, meditating upon Him on closely embracing a pillow with soft surface, having all her limbs let loose on the expansive bed on account of her separation from Him, sambara thought, might be in a state gloomy like that of the moon having her lustre spoiled by His approach near her, that both the red Asoka, with its folliage swinging with to-and-fro motion, and the beautiful Kesara [ Bakula ), standing close by the bower of Madhavi creepers surrounded with the hedge of Karabaka plant, upon which His beloved of the former birth, sambara's wife's associate, attends simultaneously, would be able to dispel the distress of that fawn-eyed one. He should take those two trees, standing in the garden attached to Sambara's house, with their basins formed by his wife in company with him, and attended upon by His former associate, very dear to Him, to be the only source exciting passion. One of the two trees referred to above, under the pretext of longing, longed for a kick given by her left foot, and the other for the wine in her mouth. Moreover, a golden roosting-perch, the root, firmly fixed in her mind, as if of death decided by her to be brought about on account of her being separated from Him, inlaid at the bottom with jewels having lustre like that of the bamboos not ripened very much, having its top occupied by a peacock, with a crystal slab, would be seen standing between them. Taking for a inatchless banner as if of the flower-arrowed god the roosting-perch on which, at the time of sunset, roosts the peacock, His friend of the former birth, made to dance by Sambara's wife keeping time with the clappings of her hands, rendered charming by her jingling bracelets, love-sick ladies worshipped it; also that faithful spinster, crying very much, worshipped it with a desire to secure Him.

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(88) Between her and Gambara's young lady there existed a relation of inseparable friendship; he therefrom had come to know that, in his house, she had been involved in distress; he had been a right resident in that house. He addressed the sage that by means of those distinctive marks committed to memory, and on seeing the figures of Samkha and Padma represented by drawing lines on the sides of the door, He would find out his house. Under the then cirumstances, Sambara thought that his house would not surely have maintained its charm on account of his separation, as his wife by that time would have been engrossed in getting rid of her tresses and his servants even, very slow in doing their jobs, would have been abstaining from speech, and the lotuses there would not have continued to possess their beauty after the sunset as they did before the sunset. Believing in his words, He, having quickly assumed a form like that of a cub of an elephant for the sake of moving rapidly, seated on the aforesaid pleasure-mountain with a beautiful peak ( or with a peak serving as a pleasure-abode ), should have a look, in that garden, at that beloved one, invloved in mental anguish with reference to Him, overwhelmed with grief provoked by separation from Him. If she would not be found there. she. reduced to that would be dwelling in the inner aparment of the house standing in the interior part of the garden. To see her, who was longed for, secretly, it would deserve Him to let His glance in the form of the flash of lightning, possessing very scanty brilliance, bearing resemblance to the gleaming of a row of fire-flies, enter the house. Sambara said that she, engaged in worshipping, on having attained to the idols of Gods taking vows, prescribed by the codes compiled by sages, for the sake of attaining Him or portraying a resemblance of Sambara found in Him, manifesting emaciation caused by separation from her, conceived by fancy, familiar to her long since, impressed on her mind, and known formerly or drawing a likeness of Him afterwards, and looking

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(89) with her eyes, opened, moistened with tears, with a great difficulty or asking the encaged sarika, taken by her to be one belonging to the period prior to the immediate past, in a sweet voice I hope, O beautiful one! you remember your master for you were His pet [or I hope, you, your master's pet, remember Him],' or having laid a lute on her lap with an unclean garment, mutterIng, with her hair tossing about, a melody, with a desire to sing, with reference to Him, assuming the hereditary appellation of Sambara's family, a song, having words arranged in a particular order, sung in a mournful [ elegiac ] strain, displayed in a voice whipping up emotion [ or feelings of compassion] and expressing deep anxiety or stroking gently the lute with the ends of her fingers delicate like flowers on wiping off anyhow the strings moistened with tears dropping down from her eyes or forgetting time and again the melody though constructed by herself on account of the display of vain anxiety caused by her repeated meditation upon His arrival or drawing figures on the ground by means of the flowers placed at the threshold for counting the remaining months, become calculable even in the regeneration owing to the intrinsic power attained through godhood so as to display as if the occasions of her deaths committed to memory or enjoying in a dream the pleasure of sexual connection, realised as though in action, with Him, the working of which is portrayed in mind, owing to the feelings of sexual intercourse being implanted in her mind or being pacified by her friends through fear roused by her being unconscious, would be falling within the range of His eyesight first-those are mostly the means of alleviating miseries adopted by ladies during the period of separation from their lovers. Being engaged owing to the conversations with her female friends consisting in pleasant words and other things, forming the means of mitigating mental worries, Sambara thought that the separation would not be distressing her with mental sufferings by day as much as it would be afflicting

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(90) her, by night, His beloved, having no pastime, afflicted far too heavily, continuously remembering Him, deposited by her in her heart, owing to her sleep being dispelled. For the purpose of consoling her by his messages of that type, conformable to truth, revealing His sublimity, He, standing by the window of the house, should, at mid-night, direct His eyes to-wards her, a chaste woman, neither awake nor asleep like a lotus-creeper [ neither blossomed nor having its petals closed ] on a cloudy day, having her limbs lying disorderly, unhappy even in the flowery bed, afflicted excessively by mental worries, lying on ground floor, resembling one drawn in a picture, love-begotten passion embodied in human form, emaciated owing to mental distress, resting on one side of her body on her bed of separation, resembling the form of the moon having only one digit remaining on the eastern horizon, wearing a beautiful garland placed on the bosom to alleviate misery, passing that very night long owing to the separation from Him, with hot tears, dropping down, restraining the eyelashes, gathering again and again, causing sleeplessnes not allowing to go to sleep ], which [night ] had been passed by his beloved in the presence of His beloved like a moment along with him [sambara] in enjoyments at will causing delight, throwing aside verily again and again her tress, dangling about her cheeks, coarse owing to her taking simple baths, the spot as if of the moon in the form of her face bearing a form like that of a deer separated [ from the moon in the form of her face ], exhaling lukewarm sighs, afflicting her sprout-like lower lip, indicative of her internal pangs, desirous of getting sleep the scope for which would be stemmed by a gushing flow of tears from her eyes on account of her thinking How could a union with me, though effected in a dream, of my beloved, having his love-sickness intensified, with his misery become violent on account of his being separated from me, residing in a remote country, be effected actually of its own accord ?,' abusing that

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(91) single braid of her hair which was to be untied by Him, with His misery alleviated, after having effected a union of them two, the separations incarnate [ or embodied in flesh ] at the end of the period of the outlawry, which hair had to be remembered by him to have been tied into a single braid without a garland on the first day of the separation in the birth remotest from the then one, by her hand with its nails unpared pushing aside repeatedly from the region of the cheek that single braid of hair, resembling the resorted bodily form of Rahu finding pleasure in eclipsing the moon in the form of her face, possessing darkness like that of the sky, resembling a line of smoke of fire in the form of the god of love, dishevelled owing to its being touched, rough and irregular, excited for pained] at heart on withdrawing the couple of her eyes turned in the direction of the rays of the moon, cool(r) like nectar, entered through the windows in search as if of the beloved relatives approached there, in order to receive them [i.e. the rays ] out of previous liking for them and turned back straightway, owing to the eye-lashes being heavy with the drops of tears shutting her eyes troubled over and again by fatigue caused by going and coming frequently when the moon would be penetrating her rays through the windows. That frail woman, rejecting food, possessing an emaciated body, with ornaments discarded, placed repeatedly on the region of the bed with great distress, with pale cheeks moistened with tears dropping down from her eyes, would be able to occasion Him, with His mind's equilibrium disturbed, to attain to that state. She, extremely happy, wallowing like a fish near her bed, reduced to the state of helplessness owing to her tremulous sighs, with passion excited, would surely make Him shed tears in the form of fresh water, for every one, compassionate by nature, is generally stirred to tears. sambara said that he thought that the mind of His female friend would be saturated with affection for himself, an elderly one, in company with his beloved, having regarded affection as that for

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(92) the elderly relatives. Owing to this and to his habitation in company with her, His beloved, sambara had come to know the calamity that had befallen her. He, therefore, had conjectured her to have undergone that state in the period of the incomparable separation. sambara told Him, an affectionate one, that He should ascertain the whole of his statement, urged by the matter at issue, made recently by him in His presence to gain his ends, to bet rue; for a thought of self-importance did not allow him to become loquatious, sambara desired that she, possessing beautiful teeth [i. e. in the prime of her age ], first of all fixing her lovely eyes, with their side-glances prevented by the tresses, devoid of collyrium, and moreover having the graceful movement of the eyebrows forgotten owing to her renouncement of intoxicating juice, upon Him the very moment she would see Him, should bring happiness to Him obeying his order. He told him that He, with His mind determined to dispell His soul from His body, should, relying on his truthfulness, visit the city of Kubera to enjoy her. According to him the eyes of the fawn-eyed one, moving side-ways in the upper parts when He, become ready to convince Himself of the statement made by sambara, would be Dear, would attain resemblance to the beauty of blue lotuses, set in motion owing to the disturbance of the fish ( i. e. owing to the pretty kettle of the fish ). Canto 1V :- By sambara's beloved, his second soul, that had been sent as a message, in a way charming to her affection for Him, to Him owing to His being her second soul, owing to His making a choice of whatever was new, and owing to His being noble. sambara said that He should hurry up to carry it into effect. Every work of hers, his relative, would be brought into effect by Him, assuming the form of a cloud after His separation from His body, caused by the wounds inflicted by his sword. sambara asked the sage where He would get off safely, when he would have got angry. With strokes of his drawn sword he

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(93) would certainly make its end pass through Him. His decision, made to renounce the net of pearls familiar long since through the contrivance of fate, would not be at all capable of holding His vital airs together. That sword of his, he said, had attained steadiness in the process of rending asunder the frontal globes on the foreheads of the troops of elephants of enemies, playing the conquerors in battles, the arm of the goddess of the brave, deserving gentle rubbings by his hands after the destruction of the strong bodies of those strongly desirous of quaffing blood had been brought about, must have been heard by Him. Even the heavenly warriors had been intimidated when he had unsheathed his sword. He said he used to connive at those who were not brave. He interrogated the sage whether He did not feel ashamed of confronting him in hostility. He said his thigh, resembling the stem of a plantain-tree, reddish owing to its being annointed with its own juice, on account of its being red owing to the wounds inflicted by his sword, would tremble in front of his sword. He, a would-be cloud, considering Himself a man of sound learning, Himself should tell whether at that time when in the society of warriors the faces of men were stigmatised owing to their self-respect being offended by the proud enemies, the soveriegn power of those, holding up their heads with pride, would enjoy the pleasure of sleep. Having set aside that state of His mind, afraid of his arrival, deprived of His grasping capacity, reducing Him to the state of sleeplessness, obstructing the working of His vital airs, He, averse to thundering, becoming steadfast in the mid-course of fighting, should, sambara said, become a better warrior or have patience for a period of three hours. He said that He should not be afraid of him when he, the force of whose thunderlike roar would be troubling the heavenly warriors, would have wielded a sword to give a fight. The goddess of the brave would not cease to exist at the time of an attack. He desired that her love for Him, for sambara or

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(94) for anyone else, considering himself to be a warrior, the object of her love, should not be lost in any way. He addressed Him He is altogether free from worldly attachment; in this world there is nothing that can excite fear in Him. He questioned Him whether He, revered by all living beings, was also afraid of coming into contact with the bodies of women. He observed that the best of warriors, dstermined to go on war, give suddenly close emhraces to their beloved wives with ties formed round the necks of their wives with their creeper-like arms. Sambara asked Him that He, having roused to action the deteriorated goddess of valour resorting to His body, through the agency of His arm in the form of exertion, should be perfectly qualified [ or strong enough ) for a fight, said that new clouds, having delighted the earth, troubled very much by the heat of the summer season, by means of wind rendered cool by the sprays of their water, verily announced Giving protection to the refugees is the duty of the good, and asked Him to furnish His fame, resembling a beautiful creeper embellished with flowers, by means of sprays of water in the form of His exertions for a fight.' It was, he said, the tradition of the elavated [ the great ). He also stated that the season of new clouds refreshed the earth, having its beauty spoiled, along with the fresh buds of the Malati-creepers. He addressed the Sage, a would-be cloud, that, coming into antagonism with him [ i. e. Sambara ] in the van of battle, He, undergoing pain caused by wounds inflicted upon Him by his sword, with the duration of His life come to an end, attaining heaven, decorated with the lustre of jewels come into being in conjuction with Him, should reduce a certain celestial woman with her eyes fixed upon a window, occupied by Him, of a vihicle shining with lustre, to a state of complete satisfaction [ or to a state of her passion being completely satisfied ). Had it been determined by Him, altogether free from fear on account of His boldness flown very high [ i. e. excessive boldness ), then He, cherishing a very strong desire to

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(95) engage Himself in a combat and having His sword unsheathed, should slacken His constant practice of meditation, and having repudiated taciturnity, He, uttering words in the form of thundering sounds, should begin to talk to the proud lady very eloquently and boldly. If at all, in the case of the frightened one, of the one who would be looked upon as a soldier having no weapon or of the one who considers himself womanish, of the one fallen down at the feet, of the one swearing a solemn oath by touching feet, he, the contemptible one, would wield a weapon, then, he said that He should hold him, a cloud, the dear friend of lord Kubera, guilty of assassination. If He, sambara said, were a bit fond of continuing His worldly life further for giving pleasure to the young woman; His beloved, [or for deriving pleasure from the young woman dear to Him ], He, with His self-conceitedness dissipated by raising His hands and embracing his feet, should not be afraid of him. He requested Him not to think otherwise of him, approached Him with her message, kept in mind. He looked at Him in open-mouthed wonder when he saw that even the rainy-season, the only representative of the dark, pervading the sky, expediting the masses of those gone abroad, moving laboriously on their ways to homes to keep the lives of their better-halves from falling off, and brought into being at once by him by means of black clouds, was at once brought to nothing by the Sage through the agency of His soul-power. On seeing the asse.nblage of fresh clouds, able to render the minds of travellers anxious for untying the hair, twisted into single unornamented braids and allowed to fall on their backs, of their beloved wives, by means of deep and charming thunders, dispersed though brought into being by himself, he thought that it was very difficult to agitate the Sage, possessing superhuman power manifested in Himself, possessing complete and flawless knowledge, having His mind concentrated upon salvation, and absorbed in deep thinking. He, the demi-god, thinking thus, excess

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(96) svely fond of combating, spoke again to the Sage thus the iuperhuman power, resembling Laxmi, of the brave, freed from the tortures causing disturbance in mind [ or caused by the god of love ], looking at you from beneath a sylvan tree where she is sitting, resembles the chaste woman, Sita ( the daughter of the king of Mithila ], looking, with her face raised up, at the son of king Pavana, from benenth a wellknown tree grown in the garden, of the city of the ten-mouthed one, where she had sat. sambara said that in a battle fought by Him and by sambara himself when, He, completing the number of best warriors, having dispelled fear, would be having recourse to the battle-field, then the goddess of the brave, with her heart throbbing owing to her yearning for Him, on seeing and greeting Him, displaying her love for Him, would surely resort to Him the very moment He would have recourse to the battle-field. He addressed Him, an impassive one, that as His ears did not listen to a charming speech made by him with reference to a filght, with its implication quite clear, he thought His ears were aflicted by winds blowing verp harshly. He asked Him to take that song sung by women, when hcard by Him, to be a medicine curing deafness [i. e. an antidote against deafness ] and said that by using that medicine He would have His ears capable of perceiving sounds. He said that their song worthy of being given audience, their eye-gladdening beauty worthy of being perceived, the fragrance of their mouths worthy of being drunk, their body worthy of being touched and smelt, would be the very suitable means of rousing His passion. Those women, he said, had come from His beloved and so to meet them would be as good as meeting His beloved actually, for arrival of friends coming from one's own beloved is a little less than actual meeting. He requested Him that in his name and to benefit Himself, He should, for that reason, immediately, highly respect the garments of those women, delicate like young and tender foliage, the charming

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(97) Tambula in their mouths and their love for Him and told Him to give up that well-known pious conduct of sages, void of pleasure and consisting in fruitless strenuous efforts. He saidThe way to final beatitude is pursued by the greatest of sages verily for the sake of attaining pleasure. Pleasure is divided into two varieties, the first of which is attained through heavenly damsels while the other is inherent in the superhuman power in the form of salvation. Salvation is far away. The other one is very easy to attain and worthy of being enjoyed. Even another person, a learned companion of yours residing in a hermitage situated on the mountain, Ramagiri by name, will proclaim thus.' He said that inasmuch as the riches resemble a flash of lightning owing to their fickleness, the worldly enjoyments perish certainly the very moment they are experienced. His better half of the former birth, separated from Him then, much distressed owing to the absence of stability in the mind of His beloved [ or in the loving person, void of bodily strength] would inquire of Him after His health [ or welfare ]. As the object of enjoyment had, he said, presented itself without any efforts on His part, He should give up indifference and as the tiger-like death, following on the heels to make search for its prey, wishes to do evil thing, He should verily desire for a long-life and prosperity, for this very thing is to be necessarily desired for with reference to the living beings whom calamities befall in an easy manner. He asked Him to look at the female, who had been in the prime of her youth and had been just referred to above, His beloved of the former birth, that had arrived there and said that she would give Him pleasure by embracing, with her body which had been emaciated, abundantly heated and which had drops of tears fallen upon it from her eyes and longing produced for a person dear to itself, His body which was thin, heated and which had a flow of tears dropping down from His eyes and which had cherished incessant longing for a person dear to itself. The young 7

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(98) female [ or the concourse of young females], having her [ or its ] day of love-making merged into the long past, rendered shameless by passion intensified too much, fearing Him [ or apprehensive of coming in the nearest proximity to Him ], intolerent of delay, staying at a distance, with her path leading to Him blocked up by inimical fate, would, he said, experience Him [ i. e. would take delight in cohabiting with Him] through fancies which would be worthy of being experienced by oneself in whose mind they arise. He asked Him to look to the female or to the concourse of females, which had been eager just then, owing to an ardent desire for a touch of His face, to tell in His ears what could have been spoken out articulately in the presence of friends, struck with wonder on account of non-attainment of even a bit of love from Him, served Him from a distance. Sambara said that the transmutation of the minds of those women, melliftuous owing to love, assuming the appellation Kama, gone beyond the range of ears, not seen by eyes, incessantly known in the world as intelligible through amorous gestures, said through him as follows-"Oh mendicant ! with your mind absorbed in found and abstract meditation, what kind of meditation, having no concrete object, are you practising thus ? Oh sage ! call to your mind the physical frame of a beautiful woman in the Syama-creeper, her glances in those of the frightened doe, the charm of her face in the moon, and her tresses in the plumages of peacocks. We see in these young and tender sprouts the loveliness of our palms, in this grove of Kurabaka plants bearing red flowers the brightness of our nails, in these clusters of blossoms shooting out of creepers bearing flowers the grace of our smiles and in the very slender ripples of rivers the graceful movements of our eyebrows. Oh cruel Laxmi in the form of penance as this semblance of ours as described above, worthy of being meditated upon, bearing fruit in the form of actual pleasure, fulfilling the desires of mendicants, is seen clearly pro

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(99) pervading all objects, your semblance, helping to prescribe fruitless meditation with reference to sages, is not found decidedly in a single object even. Ah ! fie upon the stupidity of the sage ! for this sage, not knowing you as one of bad conduct, has become constantly attached to you and does not show favour to us, and having painted you on a slab of stone in the form of the modification of his mind by means of feelings of love resembling the mineral dyes, like a beloved enraged while dallying, remembers you. Oh sage ! be pleased, have compassion upon me ( or us ], cast a momentary glance at me [ or us l. Mostly, a sage is the very milk of compassion [ or Mostly, a sage has the activities of his mind rendered tender through compassion ). Give up your meditation a little until I desire to make myself prostrate at your feet along with sweet words meant to request you for enjoy.nent. To speak out the mind, oh lord ! my eyesight is obscured by luke-warm tears gathering up incessantly when I, with delight and great attachment, look at your picture sketched in my mind, attracting minds of lascivious women, on painting it with a desire to look at to mitigate the misery caused by the feelings of love.. When the god of love, reduced to a poignant state, pains my body by means of floral arrows and torments it constantly very much in the bed, made of a variety of flowers,1, whom separation causes sharp pain, could not keep company with you in a dream even. Cruel Fate does not allow our association even in a dream. My female friends, confounded much, mutually laughing gently with compassion on seeing me wishing to get up with my arms stretched in the sky for the purpose of embracing you very closely, by reason of knowledge, acquired in a dream, of your approach, have recourse to me when my dream ceases to remind me of the activities that took place in my dream. Owing to the possibility of my being robbed of the embrace, carried into effect by you, having feelings of love risen in your heart and secured by me with a great difficulty in

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(100) dream-visions come into being on account of my contact with sleep, the god of love renders extremely unbearable the experience of separation by ineans of disturbances, associated with prolonged plaintive cries, of my sleep caused again and again at short intervals, and brought into being by mental worries. It is not that the drops of tears, as big as pearls, of the sylvan dieties, seeing various gestures, treasured up in our bodies secretly by the god of love, displayed to have an everlasting familiarity with you, do not fall in abundance on the foliage of trees. Meditating upon you, the rescuer of my life, as 'How could the night, consisting in long watch-periods, during which my beloved husband, separated from me by fate, is far away, be reduced to a moment as it were ? I, with my heart distressed by the feelings of love, am yearning for you very much like the distressed female Cakravaka. I have been constantly having in my mind the thought How, in all the states of my mind caused by the feelings of love, could the day have moderate heat with reference to me who a.n not able at all to bear even the diffusion of the moonlight ?', brought to effect by all the anxieties caused by the god of love, since the first embrace of my lord. During the period when the excessive force of passion excessively distresses me by causing anxieties, my mind becomes attached to and absorbed in meditating upon you, possessing beautiful eyes. My mind, thus reduced to the twofold state, praying for what is difficult to obtain, is rendered helpless by' exceedingly poignant agonies caused by the separation from you. I, having control over myself lost owing to the feelings of love and tremulous through fear, asked the breezes from the Himalayas, on having destroyed at once the folds of shoots of the Devadaru-trees, become fragrant on account of crickling drops of their milky juice, started moving in the southern direction and come into my vicinity, for fresh in. formation about you. As that, which is intimately acquainted with esteemed object endowed with excellent qualities, becomes

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(101) necessarily the cause of exciting passion in women, those breezes from the Himalayas, thinking that your body might, very possibly, have been touched previously by these, are embraced by me through love for your body, Oh valiant one ! give, therefore, a short but agreeable reply. Do not disappoint me. If at all it pleases you, you should say-' Oh beautiful one ! contemplating mentally very much, I am holding me up by myself; so do not, on your part, have recourse to nervousness at all events'." The demon, thus giving maltreatment to the sage through a woman (or women), had his efforts turned futile very soon; on the contrary he had become sorrowful. To whose lot does invariable ( or absolute ) happiness or unalloyed misery fall ? One's state goes up and down after the manner of the periphery of a wheel. The autumnal season, desirous, as if, of speaking loudly"The ban put upon my advent has come to an end as Visnu has got up from his serpent-bed', had set in when the superhuman power in the form of pure and perfect knowledge had sprung up in the sage, and when the demon, desirous of throwing on the head of the Sage, had uplifted a mountain. The autumnal season, spreading in all directions her laughter in the form of moonlight to deride, as it were, the unwise course of the demon's conduct in misery, preventing openly as if the advent of the summer-season through the clearness of all quarters, with the words- Oh you ! who are clever, with both of your eyes shut [ i. e. with your hot rays contracted ], remove them [ your rays ] to other months,' had set in. The lord of serpents, directed by his shaking seat, making use of his Avadhi ( a particular modification of knowledge ), said to his beloved wife- Having gone to-day we shall first of all worship the lord and then, during the night having the mature moonlight, we, both of us, shall enjoy those very various desires of ours multiplied by the feelings of love springing up in our minds on account of our loneliness'. At the time when the celestia

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(102) It car of that lord of serpents, having celestial cars scattered on all sides, had a drum beaten in it, some follower of his looked at his own beloved wife with a smile and said again-" Oh fortunate! just recently, you, clinging to my neck, having fallen asleep on the bed, awoke crying loudly for some reason or other. You remembered the incident which had taken place in the dream and again I thought that you, desirous of taunting me, showing yourself as if angry with me a little, concealed it from me. was told by you, laughing inwardly, to me, asking you again and again- Oh you, inflamed with love-feelings! you were beheld by me in a dream pleasing some woman. The demi-god, on seeing the lord of serpents with his beloved standing near Lord Jina with best material for worshipping, had begun to withdraw through fear and had been prohibited from withdrawing by the lord of serpents, Dharana, thus- Knowing me to be one doing good from this evidence in proof of my being virtuous, oh gentleman ! you need not withdraw. In the former birth you were a dear brother of whole blood of this lord. In that birth you, wishing to have sexual intercourse with his wife and so wishing to come in to antagonism with him, killed this perforce. That wicked deed of yours, perpetrated through foolishness, was not put up with by you even. On the strength of malicious gossip, do not disbelieve me only on account of the redness of my eyes.' Afterwards, that king of serpents, absorbed in devotion to Him, having rebuked that demon again and again and taking him along with himself, made, with devotion, a low obeisance to the two feet of the Lord. People speak of affections to be deteriorating during the period of separation. It is inexplicable, for affections, however, owing to non-enjoyment, having longing intensified in respect of objects desired for, get turned into heaps of affections [ i. e. become intensified ]. The king of serpents began to pray succintly-" Oh Lord! devotion to you, though insignificant, produces bliss in abundance. So, having conciliated ""

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" (103) this, the female serpent, the female friend of mine, favourable to me, distressed at the time when we deserted you first, we, desirous of attaining bliss, have come to you. This devotion to you, through the magnanimity of which I, along with my beloved, secured this dignity which is very difficult to attain, and on account of which I, with a desire to worship with devotion, giving up rambling excursion, returned from that mountain having an excavated temple dedicated to Vrsabha Jina possessing three eyes in the form of right belief, right knowledge and right conduct, is for the welfare of me, performing your worship. Therefore, oh Lord! may this devotion to your feet, bestowing excellent prosperity, bring me all pleasures in this life and even in the life to come next. Enough of the unions with my beloved and of words, even, sent along with a means of recongnition, referring to those unions, intensifying my eagerness for those unions owing to the sin committed by me in my former births. Oh sage! I again implore you who are praised by gods; be pleased and cast a glance, agreeable owing to compassion, at this demon, in whom feelings of devotion to you are intensified; prop up this life [ of him ], enfeebled like a Kunda-flower in the morning, desirous of flying away from his body owing to the affictions of his mind caused by repentance." 2 That lord of serpents, at the end of the prayer, at that time, with all his mouths opened, verily desirous of speaking to the Sage- Oh omniscient! I hope that this friendly service to me has been decided upon by you', holding upon His head through devotion the row of his hoods, expanding it very much, made it serve like an umbrella. The beloved of the lord of serpents, having her hair dangling, eyes fickle and face like the moon, speaking out-Oh! what a great courage! I cannot imagine even your courage indeed because of your rejecting to cut the mountain of the demon [ i. e. uplifted by the demon ] to pieces, nothwithstanding your being in possession of strength capable of doing it', produced a very beautiful umbrella.

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(104) The demon, with his enmity abandoned, found his protector in the Lord, having His splendour increased in the shadow of the hood and the umbrella, having perfect and flawless knowledge manifested, and 'having a lecturehall constructed for Him by Kubera. He said "Oh Lord! if you, though silent, give us bliss desired for, on request, like an amalgamated cloud giving water to the Cataka-birds, and if the devotee gets his purpose desired for achieved certainly through you, the excellent friend of the fortunate people, it is better. Do the desire-fulfilling trees bear fruits for the sake of the world through words? Bringing into effect only the purpose desired for is a reply of the good to the supplicants. I, put to shame in abundance, committing sin, burning at heart with enmity, am trying to stand before you with a great difficulty. Manifest your utmost compassion dear to me and improper in your opinion owing to your renunciation of attachment to your body even, on my request. Oh Lord! showing compassion to all living beings, I, bent down with modesty, request you now piteously to deliver me, devoid of any protection, merciless, characterised by fraud brought to climax, cherishing wicked desires, fallen at your feet through repentance, from sin either through good-heartedness or through a feeling of compassion towards me because of my being overwhelmed with grief." The demon, called Kamatha in his former birth, making amends for the misdeeds perpetrated by himself, said again- " Oh Lord! resembling a cloud showering down water in the form of righteousness, like a new cloud, having splendour increased by the rainy-season, making happy all the living beings of this world, overspread with umbrella-like big unfolded hoods of the lord of serpents, roam about over agreeable regions. Oh friend, Jina Parsva, absorbed in meditation! may the various operations of the speech, carried, through ignorance, into effect, setting at nought the moral conduct, of me, bowing down to your feet

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(105) devoutedly, as well as the misdeeds perpetrated by me, the nature of which is censured, be rendered fruitless through favour of your feet ! Similarly, may not separation of me from right knowledge be carried into effect even for a moment !' In the presence of the lord of serpents, when the lord of demons, Kamatha, was supplicating thus with his head bent down through devotion, the feeling of enmity, roused up ere long, certainly disappeared from his heart, inflamed with repentance, in the guise of tears dropping down incessantly. Afterwards, the multitudes of gods, along with the wish-fulfilling trees, shaken up by the fragrant winds, discharged flowers in showers. At that time, the sky, pervaded with celestial cars, flying up closely, appeared as if besmeared with fresh clouds. The earth, with heat diminished by the falls of abundantly fragrant water discharged by clouds, having hordes of bees scattered over, became comforted, and in the sky, the sonnd of kettle-drums, beaten secretly with palms of their hands by gods, became excessively heightened charmingly. The lords of gods, bowing down, worshipped Jina, whose supernatural power was, thus, known to all, and who enjoyed universal sovereigaty owing to attaining completely the flawless nature of His soul. Ascetics, who abandoned residing in forests, having given up their former course of conduct, bent down through devotion to Him, approached Him in whom they found their protector. Critical Apprecation The contexture of the Meghaduta is highly appealing to the hearts of the appreciators of poetical charm. Being endowed with excellence, it has attracted a very large number of appreciators of merits and is widly read and highly esteemed by scholars of great renown. To Kalidasa, its celebrated author, it has given a very long life lasting up to the existence of the sun and the moon, shining brilliantly in the sky. Though most pleasing and attractive it is, it is small and has no plot as such. Its language, style, striking thoughts and sentiment of love have immortalized -

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(106) itself. Though small in size, it is indeed voluminous, for it is packed up with lucid and charming language, striking thoughts and sentiment of love. The sentiment of pathos and the tender emotions are described in this poem admirably through the Mandakranta metre which is specially fitted to describe journeys, rainy season and pitiable conditions. This work is diversified with appealing apophthegms scattered here and there. The various places of interest like mountains, cities, rivers are astonishingly and accurately described. The changes brouglit about in nature by the advent of the monsoon are masterly portrayed by the great poet, Kalidasa, the best of all poets. Though the sentiment of love is found to have drawn near to the very verge of the obscene, the high level is, on the whole, maintained. In the first half of the journey of the cloud, the poet has described the cloud as one playing the lover. While describing the speech addressed by the Yaksa to the cloud-messenger to worship Mabakala, Carananyasa etc., the poet is found referring to his own belief. Though the city of Alaka is described conventionally, the Yaksa's mansion is so graphically described that it rises up before the mind's eye of the reader. The Yaksa's wife and her amusements are described in such a way that the sentiment of pathos is extremely evoked. The picture of a stran t is conventionally depicted by the poet and placed before us. This part appeals very powerfully to the reader. The description of the message which is described as being given by the Yaksa himself to his wife is an unparalleled master-piece of the poetic work of Kalidasa. The Yaksa is described as describing, first of all, the thoughts, concerning his wife, constantly launting his mind and the misery experienced by him, owing to his separation from his beloved. His mental excitement, caused by his separation from his beloved, is described so great that owing to the tears gathering in his eyes, he is deprived of his capacity of drawing a picture similar to his wife's form on a slab and so :

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(107) + is of enjoying the pleasure of union with her even in a picture. The sylvan dieties are moved to tears owing to the sympathy they felt for him, but he, the unfortunate one, does not find any means of removing his grief. No other alternative being left he makes up his mind to bear up patiently and expects his beloved to follow in his footsteps. Lastly, the Yaksa is described as referring to an incident that took place in strict privacy. The poet ends with an expression of a wish- "May you not be separated even for a moment from your beloved ! The reader says * Amen' and feels sorry for not having the poem longer than what it is. This Meghaduta is incorporated with the Parsvabhyudaya by Acarya Jinasena. By writing this work, the author has proved his vivid imagination to be superior to that of Kalidasa. On going through the present work, all the impartial scholars will be convinced of the superiority of the Parsvabhyudaya to: Kalidasa's work. The scope for the author's Imagination being limited very much, the author seems to have been forced to have recourse to grammar to express his ideas precisely in short and to Sanskrt lexicons to find out different meanings of the expressions of Kalidasa with a view to bring the expressions into harmony with the changed context.

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SANJANA PLATES OF AMOGHAY ARSA I, SAKA SAMWAT 793. AUM| sa vo'vyAdveghasA dhAma yannAbhikamalaM kRtam / harazca yasya kAntendukalayA kamalaGakRtam // 1 // anantabhogasthitiratra pAtu vaH pratApazIlaprabhavodayAcalaH / su- (zu-) rASTrakUTocchritapUrvavaMzaja : sa vIranArAyaNa eva yo vibhuH // 2 // tadIyavIryAyatayAdavAnvaye krameNa vA viva ratnasaJcayaH / babhUva govindapatirbhuvaH prasAdhanaH (no) pRcchakarAja- (nanda)-naH / / 3 / / babhAra yaH kaustubharatnavisphuradgabhastivistIrNamurusthalaM tataH / prabhAtabhAnuprabhavaprabhAtataM hiraNmayaM merurivAbhitastaTam // 4 // manAMsi ya-(trA)-t trAsamayAni santataM vacAMsi yatkIrtivikartanAnyapi / zirAMsi yat pAdanatAni vairiNAM yazAMsi yattejasi ne zuranyataH // 5 // dhanussamutsAritabhUbhRtA mahI prasAritA yena pathuprabhAvinA / mahaujasA vairitamo nirAkRtaM pratApazIlena sa karkarAprabhuH // 6 // indrArAjastato'gRhaNAd yshcaalukynRpaatmjaaN| rAkSasena vivAhena raNe kheTakamaNDape // 7 // tato'bhavaddantighaTAbhimardano himAcalAdAsthita setusiimtH| khalIkRtodvattamahIpamaNDalaH kulAgraNIryo bhuvi dantidurgarAT // 8 // hiraNyagarbha rAjanya rujjayanyAM yadAsitaM / pratihArIkRtaM yena gurjarezAdirAjakam // 9 // svayaMvarIbhUtaraNAGagaNe tataH sa niyaMpekSaM zubhatuGagavallabhaH / cakarSa cAlukyakula-(zrI)-zi-(ya)-yaM (va) balAt vilolapAlidhvajamANabhAriNaH // 10 ayodhyasi-(bhA)-hAsana cAmarojita-(smi)-sitratAtapatro'pratipakSa rAjabhAk / akAlavarSoM hatabhUparAjako babhUva rAja- (riSi) -SirazeSapuNyakRt // 11 / / tataH prabhUtavarSobhUt dhArAvarSastataH zaraiH / 'dhArAvarSAyitaM yena saGagrAmabhuvi bhUbhujA // 12 // yuddheSu yasya karavAlanikRttazatrumUrdhanA-(Ga)-m kvossnnruciraasvpaanm(tH)ttH| AkaNThapUrNajaTharaH paritRptamRtyuH udgArayanniva sa kAhaladhIranAdaH // 13 //

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(109) gaGgAyamunayormadhye rAjJo gauDasya nazyataH / lakSmIlIlAravindAni zvetacchatrANi yo' ha - ( re ) - rat // 14 // vyAptA - (ss ) - vizvAmbharAntaM zazikaradhavalA yasya kIrtiH samantAt preGakhacchaGakA limuktAphalazata zapharAne kaphenomi - (ru) - rUpa: pArAvArAnyatIrottaraNamaviralaM kurvatIva prayAtA svargaM gIrvANahAradviradasurasariddhArtarASTracchalena // 15 // prApto rAjyAbhiSe - ( ka ) - kaM nirupamatanayo (ya) ya: svasAmantavargAt sveSAM sveSAM padeSu prakaTamanuna- ( ye ) - yaiH sthApayiSya- (na) - nazeSAn / 'pitrA yUyaM samAnA' iti giramaraNInmantrivargastrivargo dyuktaH kRtyeSu dakSaH kSitimavati yadonmokSayanbaddhagaGgagam / / 16 / / duSTAMstAvatsvabhRtyAn jhaTiti vighaTitAn sthApitAnyezapAzAn / yuddhe yuvA sa badhvA viSamataramahokSAnivogrAnsamagrAn / muktvA sArdrAntarAtmA vikRtipariNatI vADavAgni samudraH kSobho (nA) mA bhUdvipakSAniva punariva tAnbhUbhRto yo babhAra // 17 // upagatavikRtiH kRtaghnagaGago yaduditadaNDapalAyano'nubandhAd vyapagatapadazRGakhalaH khalo yaH sanigalabandhagalaH kRtaH sa yena // 18 // zrImAndhAtA vidhAtuM pratinidhiraparo rASTrakUTAnvayazrIsArAM sArAmaramyapravitatanagaragrAmarAmAbhirAmAm / urvImurvIzvarANAM makuTamakarikA zliSTapAdAravindaH / pArAvAroruvArisphuTaravarazanAM pAtumabhyudyato yaH / / 19 / / navajaladharavIradhvAnagambhIrabherI ravabadhiritavizvAzAntarAlo ripUNAm / paTuravapadaDhakkAkAhalottAlatUrya tribhuvanaSavalasyodyogakAlasya kAlaH // 20 // bhUbhRnmUni sunItapAdavisaraH puNyodayastejasA kAntAzeSadigantaraH pratipadaM prAptapratAponnatiH / bhUyo yo'pyanuraktamaNDalayutaH padmAkarAnandito mArtaNDaH svayamuttarAyaNagatastejonidhirduHsahaH // 21 // sa nAgabhaTacandraguptanRpayorya zoryaM hAryaM dhairyaM vikalAnathonmIlayat / yazorjanaparo nRpAnsvabhuvi zAlisasyAniva / punaH punaratiSThipatsvapada eva cAnyAnapi // 22 //

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(110) himavatparvatanirjha rAmbu turaga: pItaM ca gAGagaM gajaH dhvanitaM majjanataryakaidviguNitaM bhUyo'pi tatkandare / svayamevopanatau ca yasya mahatastau dhrmckraayudhau| hima- (vAn )- vatkotisarUpatAmupagataH tatkItinArAyaNaH / / 23 / / tataH pratinivRtya tatprakRtibhRtyakarmetyayaM pratApamiva narmadAtaTamanuprayAtaH punaH / sakozalakaliGagaveGagiDahalaur3akAnmAlavAn vilabhya nijasevakaiH svayamabUbhujad vikramaH / / 24 / / pratyAvRttaH prAtirAjyaM vidheyaM kRtvA revAmuttarAM vindhyapAde / kurvandharmAnkIrtanaH puNyavRndaradhyaSThAttAM svocitAM rAjadhAnIm // 25 // maNDalezamahArAjasarvasvaM yadabhUrbhuvaH / mahArAjaH zarva svAmI bhAvI tasya suto'jani / / 26 / / yajjanmakAle daivajJairAdiSTaM viSahA bhuvam / bhokteti himavatsetuparyantAmbudhimekhalAm // 27 // yoddhAro 'moghavarSeNa baddhA ye ca yudhi dviSaH / muktA ye vikRtAsteSAM bhasmataH zRGakhaloddhRtiH // 28 // tataH prabhUtavarSaH san svasampUrNamanorathaH / jagattuGagaH sa merurvA bhUbhRtAmupari sthitaH / / 29 / / udatiSThadavaSTambhaM bhaktuM dravilabhUbhRtAM / sa jAgaraNacintAsthamantraNabhrAntacetasAm // 30 // prasthAne na hi kevalaM pracalati svacchAditAcchAditA dhAtrI vikramasAdhanaiH sakaluSaM vidveSiNAM dveSiNAm / lakSmIrapyuraso lateva pavanaprAyAsitA yAsitA dhUlina~va dizo'gamadripuyazassantAnakaM tAnakam // 31 // trasyatkevaLapANDyacaulikanRpassampallavaM pallavaM pramlAni gamayankaliGagamagadhaprAyAsako yAsakaH / garjadgurjaramaulizauryavilayo' laGakArayankArayan / udyogastadanindyazAsanamatastadvikramo vikramaH / / 32 // nikRtivikRtagaGagaHzaJkhalAbaddhaniSThA mRtimayuranukUlA maNDalezA svabhRtyAH / virajasamabhitenuH yasya bAhyAlibhUmi parivRtimanuviSTayA veGaginAthAdayo'pi // 33 //

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(111) rAjAmAtyavarAviva svahitakAryAlasyanaSTo haThAddaNDenaiva niyamya mUkabadhirAvAnIya helApure / laGakAntaH kila tatprabhu (:) pratikRto kAJcImupetau ttH| kIrtistambhanibhau zivAyatanake ye neha saMsthApitau // 34 // vyAptA kIrtistriloki nijabhuvanabharaM bhartumAsItsamarthaH putrazcAsmAkamekaH saphalamiti kRtaM janma dharmairanekaiH / ki kartuM stheyamasminniti vimalayazaHpuNyasopAnamArga svargaprottuGagasaudha prati yadanupama: kIrtimevAnuyAtaH // 35 // bandhUnAM bandhurANAmu citanijakule pUrvajAnAM prajAnAM / jAtAnAM vallabhAnAM bhuvanabharitasatkIrtimUrtisthitAnAm / bAta kIti salokAM kalikaluSamatho hantumanto ripUNAM zrImAn siMhAsanastho budhanutacarito'moghavarSaH prazAsti // 36 // trAtuM namrAn vijetuM raNazisi parAn prArtha kebhyaH pradAtuM niryoDhaM rUDhisatyaM dharaNiparivaDho nedazo'nyaH [samarthaH] / itthaM protthAya sAtha pRthuravapadaDhakkAdimandrapraghoSo yasyendrasyeva nityaM dhvanati kalimaladhvaMsino mandrirAgre / / 37 // dRSTvA tannavarAjyam [ji] tabRhaddharmaprabhAva napaM bhUyaH SoDazarAjyavatkRyugaprArambha ityAkula: / nazyannantaranupravizya viSamo mAyAmayo'sau kali: sAmantAnsacivAnsvabAndhavajanAnakSobhayatsvIkRtAn // 38 // zaThamantraM pravidhAya kUTazapatharIza svatantrA (:) na svayaM vinihatyocitayuktakAripuruSAnsa svayaMgrAhiNaH / parayoSiduhitA svaseti na punarbheda: pazUnAmiva prabhurevaM kalikAla (mi) ityavasitaM sadvRttamudhRtaH // 39 //

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(112) GENEALOGY OF THE RASTRAKUTA DYNASTY ACCORDING TO THE INSCRIPTONS FROM :Sanjana saka 793 Navasari $826 Deoli s. 862 Karhada s. 880 Pracchakaraja Dantidurga Rattaraja Rattaraja Govindaraja Krsnaraja Rastrakuta Rastrakuta Karkaraja Nirupama Dantidurga Dantidurga Indraraja Jagattunga Krsnaraja Krsparaja Dantidurga Srivallabha Govindaraja Govindaraja subhatunga Klsnaraja Nirupama Jagattunga Nirupama Akalavarsa Jagattunga Jagattunga Prabhutavarsa Indraraja Nrpatunga Nrpatunga Krsnaraja Krsnaraja Dharavarsa alias Nirupama Tribhuvanadhavala Jagattunga Jagattunga sarva Indraraja Indraraja Amoghavarsa Amoghavarsa Prabhutavarsa alias Jagattunga Amoghavarsa Govindaraja Govindaraja Amoghavarsa Jagattungatmaja Krsnaraja Krsnaraja Srivallabha Amoghavarsa Akalavarsa

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(113) A COMPARATIVE STUDY OF COPPEREPLATE INSCRIPTIONS IN BRIEF:In an inscription Acarye Akalamka is referred to as having heen engaged in a hot discussion with the Budhist scholars in the year 700 of the Vikrama era. This means that the discussion took place in the year 562 of the salivahana saka era. The Tivarakheda copper-plate, referring to king Dantidurga had been inscribed in the year 553 of the salivahana saka era. One of the rock-inscriptions clearly mentions that in the days when Akalamka had been engaged in hot discussions with various scholars belonging to various schools of thought, some king, Sahasatunga by name, had been on the throne. The word Tunga, in my opinion, infallibly refers to a king of the Rastrakuta dynasty and that king was, most probably, Dantidurga who might have had assumed the title Jagattunga also, for Acarya Virasena who had completed his Dhavala commentary in the year 738 of the Vikrama era i. e. in the year 600 of the salivahaDa saka era. According to the same Acarya, king Jagattung alias Sahasatunga and Dantidurga, had been succeeded by some king, named Boddaparaya. This king Boddanaraya seems to be the same king who had assumed the titles Amoghavarsa, subhatunga and Nypatunga, for Acarya Jinasena is found to have referred to king Amoghavarsa, Acarya Mahavira to NTpatunga and the great poet, Puspadanta, to subhatunga. The year 679 of the salivahana saka era, inscribed in the Antroli-Chharoli ( Surat ) copper-plate, does not seem to be correct. Acarya Jinasena, the author of the Harivamsapurana, is found to have referred to srivallabha, the son of king Klsparaja and to Indrayudha of Kanauja and king Vatsaraja, a descendant of the Gurjara-pratihara dynasty, in his Harivamsapurapa which was completed in the year 705 of the sallvahana saka era. In this year Srivallabha alias Dhruvaraja and Dharavarsa was on the throne. The above-referred-to copper

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(114) plate mentions two names of the successors of king Dhruvaraja. From this it can be inferred that the date inscribed on the said copper-plate must belong to the period posterior to the year 705 of the salivahana saka era. The reason advanced against the date 679 inscribed on the above-referred to copper-plate by Dr. D. R. Bhandarkar is, in my opinion, rather unsound. His argument runs as- One howerer is confronted with the difficulty that whereas under this supposition we have the date 679 for Karkka, we have saka 675 for his grandson, Dantidurga, supplied by his Samanagadha charter. This difficulty is not insuperable because there are reasons to doubt the genuineness of this last record.' Dr. D. R. Bhandarkar seems to have held that the A. Chh, copper-plate had been inscribed by king Karkkaraja, the grandfather of king Dantidurga. I am unable to agree with this view, for it could not have been possible for Karkkaraja to mention the names of king Dhruvaraja and his son, who were removed from him six and seven degrees respectively. I think, therefore, that king Karkkaraja, who got the copper-plate ved, is that king who had succeeded king Dhruvaraja and so the date 679 inscribed on the Copper-plate is most probably incorrect. Moreover, the date 675 inscribed on the Samanagadha plate is also incorrect, for it goes against the date 553 inscribed in the copper-plate from Tivarakheda and against the dates of king Amoghavarsa and his predecessor king Jagattunga alias Dantidurga given by the well-known Jain scholars. Moreover, Dr. D. R. Bhandarkar is found in his article, dealing with the coppor-plate inscription from Sanjana, to have omitted the name of king Akalavarsa alias king Krsparaja which is found referred-to in the Sanjana copper-plate inscription as well as in the Uttarapurana Prasasti and in one of the works, of Puspadanta, the great poet. According to the copper-plate inscriptions from Navasari, Deoli and Karhada, king Kesparaja had been the successor of

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(115) king Dantidurga while according to the one from Sanjana king Subhatunga, who had been the predecessor of king Akalavarsa, had been the successor of king Dantidurga. All the four inscriptions do not agree with one another in giving the lineage of the kings of the Rastrakuta dynasty. Of these four and of some other copper-plate inscriptions, the Sanjana copper-plate inscription is, in my opinion, more authentice, for the information provided by it agrees with that provided by the well-known Jain scholars.

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sarga pahilA :

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// zrIpArzvanAthAya nmH|| pArthAbhyudayam / bAlaprabodhinyA sametam / prathamaH srgH| zrIpArzva zuklayogAgnidagdhakarmendhanaM prabhuM / daityopasargajetAraM nAmaM nAmaM karomyahaM // zrIpArthAbhyudayasyA'sya vyAkhyAM baalprbodhiniiN| prtibhaabhaarbhunsyaa'mndaanndvidhaayinH|| atha bhagavAn zrIjinasenAcAryaH kavikulatilakAyamAnakAlidAsaviracitameSadUtasamAkRSTacetAH 'AzIrnamaskriyAvastunirdezo vA'pi tanmukhaM' iti vacanamanusRtya vastunirdezena bhagavatkathAM prastauti - zrImanmUrtyA marakatamayastambhalakSmI vahantyA yogaikAgyastimitatarayA tasthivAMsaM nidadhyau / pArtha daityo nabhasi viharan baddhavareNa dagdhaH / kazcit kAntAvirahaguruNA svAdhikArAtpramattaH // 1 // anvayaH- kAntAvirahaguruNA baddhavaireNa dagdhaH svAdhikArAt pramattaH nabhasi viharan kazcit daityaH marakatamayastambhalakSmI vahantyA yogaikAgyastimitatarayA zrImanmUrtyA tasthivAMsaM pArzva niddhyo| shriimnmuu]tyaadi| kAntAvirahaguruNA / kAnteva kAntA / tasyAH jAtaH virahaH viyogH| myuurvyNskaaditvaatsmaasH| vipralambha ityarthaH / tena guruNA vRddhi prAptenAta eva durbharaNetyarthaH / 'gurustu gISpatI zreSThe gurau pitari durbhare' iti shbdaarnnve| tasya pUrvabhave yasyA viraho jAtaH sA tasya dharmapatnI nAsIt, api tu bhrAtRjAyA 1 svAdhikArapramattaH

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[ pArdhAbhyudaye aasiit| bhAryAtvenAGgIkRtAyAstasyAH rAjAjJayA tasya viraho jAtaH / rAjJA daNDitaH saH svabhrAtrA vairaM babandha / baddhavareNa / baddhaM viracitaM ca tat vairaM zAtravaM ca baddhavairaM / tena baddhavareNa / tena vRddhiMgatena dagdhaH prArabdhakrodhAgnijvalanakriyaH / prajvalitakrodhAmirityarthaH / svAdhikArAt / svasya yaH adhikAraH prabhAvaH aizvarya sAmarthya vA / tasmAt / 'hetau kA' iti hetvarthe kA (pnycmii)| svAdhikAreNa devabhavasulabhaprabhAveNa hetubhUtena pramattaH unmattaH jAtaH saH nabhasi vyomni viharan vihAraM kurvan / vyomni viharati stiityrthH| kazcit daityH| kazcidityanena tasya dailyasya zambarAsurasya kSudratvaM dyotyte| daityaH iva daityH| tasya zambarasya devatve satyapi duSTAbhisandhitvAt daitytvenolekhH| 'devapathAdibhyaH' itIvArthasya kasyos / marakatama ystmbhlkssmii| marakatasya vikAraH mrktmyH| 'mayaDbhakSyAcchAdane' iti vikAre mayaT / bharakatamaNinirmitaH ityrthH| marakatamayazcAsau stambhazca marakatemayastambhaH / tasya lakSmIH zobhA saundarya vA mrktmystmbhlkssmiiH| tAM / vahantyA dhaaryntyaa| yogekaagystimittryaa| ekaM ca tat agraM ca dhyeyo'rthaH ekAgraM / tasya bhAvaH aikAgyaM / dhyAnaikanatAnatvamityarthaH / yogasya dhyAnasyaikAgyaM yogaikAgyaM / yoganimittamaikAgyaM vA yogaikAgyaM / shaakpaarthivaaditvaatsmaasH| prakRSTaM stimitA acaJcalA stimittraa| atyarthe nizcaletyarthaH / 'stimito'caJcale klinne' iti vizvaH / yogakAmyeNa stimitatarA yogaikaagystibhittraa| tayA / 'yogaH sannahanopAyadhyAnasaGgatiyuktiSu' / 'ekatAno'nanyavRttirekAnyekAyanAvapi / ' ityamaraH dhyAnakatAnatvAnnizcalatarayetyarthaH / zrImanmUrtyA / zrIH saundaryamasyAH asti bhUmneti shriimtii| 'bhUmanindAprazaMsAsu nityayoge'tizAyane / saMsarge'stivivakSAyAM bhavanti mtubaadyH|' iti bhUmni matup / striyAM DI ca / zrImatI cAsau mUrtizca zarIraM zrImanmUrtiH / "puMvadyajAtIyadezIye' iti puMvadbhAvaH / 'striyAM mUrtistanustanUH' ityamaraH / tsthivaaNsN| sthitamityarthaH / 'liTaH kasukAnau' iti liTaH sthAne vasuH / 'varayaikAjyasaH' iti kasAviT / kAyotsargAsanena sthitaM pArzvanAthAbhidhaparamatIrthakaraM / nidadhyo prekSAJcakre / kartari liT / atra kAntAyAH jAtaH yaH vipralambhaH zambarasya sa zApahetuka ityavaseyaM / atra kAvye ' prATpravAsavyasane mandAkrAntA virAjate' iti vacanamanusRtya sarvatra mandAkrAntAvRttaM prayuktam / tallakSaNaM yathA - 'mandAkrAntA jaladhiSaDagaimbhauM nato tAdgurU cet' iti / A cortain (frivolous ) god, who was like a demon, who was inflamed with passion excited by his former enmity set to work vigorously on account of lis separation from lis Leloved paramour (not wifo ), and

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prathamaH sargaH ] who was of acromonious temper owing to his celestial power, saw Pars'va in a stan ling posture with his very beautiful boly assuming the beauty of a pillar carved out of emerald, and extremely motionless on account of the concentration of his mind caused by his being engrossed in deep meditation. tanmAhAtmyAtsthitavati sati stre vimAne samAnaH prekSAJcakre bhrukuTiviSamaM labdhasaJjJo vibhAgAt / jyAyAnbhrAturviyutapatinA prAk kalatreNa yo'bhUt zApenAstaGgamita mahimA varSebhogyeNa bhartuH // 2 // anvayaH - tanmAhatmyAt sve vimAne sthitavati sati vibhAgAt labdhasaJjJaH samAnaH, prAk viyutapatinA bhrAtuH kalatreNa yaH jyAyAn ( zApaH ) abhUt ( tena ) varSabhogyeNa bhartuH zApena astaGgamitamahimA bhrukuTiviSamaM prekSAJcakre / 8 , L , tanmAhAtmyAdityAdi / tanmAhAtmyAt / tasya bhagavataH pArzvajinezvarasya prabhAvAt / prabhAveNetyarthaH / mahAMzcAsAvAtmA ca mahAtmA / mahAtmano bhAvo mahAtmyaM / tasmAt / patyanta purohitAderNyaH iti bhAve yaH / yasya NittvAt 'hRtyacAmAdeH " ityAderaca aip / AG mahato jAtIye ca' ityAG / sve svakIye / zambarAsurasvAmi ityarthaH / vimAne vyomayAne / 'vyomayAnaM vimAno'strI ' ityamaraH / sthitavati - sati stambhitatvAt sthite sati / tiSThati sma sthitavAn / 'taH iti bhUte ktavatustyaH / 'yadbhAvAdbhAvagatiH' iti Ip / vibhAgAt vibhaGgAvadhijJAnAt / labdha saJjJaH saJjAtapratyabhijJAnaH / yaH dhyAnaikatAnaM bhagavantaM marubhUticaraM svavairiNaM pratyAbhijJAtavAnityarthaH / samAnaH sAbhimAnaH / ' vA nIcaH' iti sahasya saH / prAk pUrvasmin bhave / viyutapatinA / viyutaH vipralabdhaH pRthagbhUtaH proSitatvAt patiH yasya / tena / kalatrazabdaH nityanapuMsakaliGgaH / marubhUteryuddhArtha proSitattvAt tasya proSitabhartRkatvaM / bhrAtuH marubhUteH / kalatreNa bhAryayA vasundharayA / kalatraM zroNibhAryayoH ityamaraH / yaH jyAyAn mahattaraH / ' vRddhasya ' iti jyAdezaH / ' jyAyAn' iti IyasaH At / mahattaraH ityarthaH / zApaH vahirniSkAsanarUpaH daNDaH / abhUt bhavati sma / bhartuH aravindamahArAjasya / varSabhogyeNa / varSANi bhogyena anubhavanIyena varSabhogyeNa / kAlAdhvanoravicchede iti ip / 3 8 4 sau " iti nasya NaH T zApena bahirniSkAsanadaNDena / - "

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[ pArzvAbhyudaye astamadRzyatAM 6 " astaGgamita mahimA / vilayaM vA gamitaH prApita: mahimA aizvarya gauravaM vA yasya saH / mahato bhAvo mahimA | pRthvAderveman ' iti iman tasya bhAvaH ' ityasminnarthe / bhrukuTiviSamaM / zrukuTyA asaumyayA dRzA viSamaM bhayajanakaM yathA syAt tathA / ' bhruvo'cca kuTikuMse ' ( zA. ) iti kuTayuttarapadasya bhrUzabdokArasya praH ( hrasvaH )| prekSAJcakre adrAkSIt / IkSa darzane ityasya dhoH liDvatkRJo yoge ' sarorijAde: ' iti 'liDvakRJi iti cAm / " 4 When, owing to his superhuman power, his aerial car was brought to a standstill (in the sky ), he, who recognised Him through a despicable means of cognition, who was very proud, whose glory was caused to disappear by the severe punishment inflicted on him in his former birth by the king (Aravinda) to which he was subjected for years and years together and which was conditioned by his brother's wife whose husband was separated from her, looked with frown very passionately.. > yo nirbhaH paramaviSamaighATito bhrAtari sve baddhvA vairaM kapaTamanasA hA ! tapasvI tapasyAm / sindhostIre kaluSaharaNe puNyapaNyeSu lubdho yakSazcakre janakatanayAsnAnapuNyodakeSu || 3 || anvaya :-- yaH paramaviSamai nirbhatsa: ghATitaH ( saH ayaM ) yakSaH svabhrAtari vairaM badhvA puNyapaNyeSu janakatanayAsnAnapuNyodakeSu lubdhaH sindhoH tIre kaluSaharaNe. tapasvI hA ! kapaTamanasA tapasyAM cakre / yo nirbharityAdi / yaH paramaviSamaiH / paramAzca te viSamAzca paramaviSamAH taiH / atizayenA'runtudairityarthaH / nirbhatsaiH / nirbhartsanaM nirbhasaH / taiH / dhikkArairiti bhAvaH / ghATitaH paraM duHkhaM prApitaH purAnniSkAsito vA / hantyarthasya curAdikasya ghaTadhAtoH ktAntaM rUpaM / babhUvetizeSaH / saH ayaM varNyaviSayaH yakSaH svabhrAtari svatrandhau vairaM badhvA vairaM viracya puNyapaNyeSu puNyena puNyavadbhirvA paNyeSu kretuM yogyeSu / grAhyeSvityarthaH / janakatanayAsnAnapuNyodakeSu / janakasya janakAbhidhAnasya rAjJaH tanayA duhitA sItAbhidhAnA / tasyAH snAnairavagAhanaiH puNyAni pavitrANi paramapativratA saMspazasaJjAtapAvitryANi udakAni salilAni tathoktAni / teSu / lubdhaH abhilASukaH / 'lubdhobhilASukaH' ityamaraH / sindhoH nadyAH / ' sindhurnA sariti 8

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prathamaH sargaH] striyAM' ityamaraH / tIre kUle / kaluSaharaNe pApApaharaNArtha / "hetau sarvAH prAyaH ' iti hetAvIp / tapasvI gRhItadIkSaH / tapaso'santatvAt ' vinasmAyAmedhAstrajaH / iti matvarthe vin / tapaH asya astIti tpsvii| pApApanodanAtha gRhItadIkSaH ityarthaH / hA hanta / 'hA viSAdazugartiSu ' itymrH| kpttmnsaa| kapaTena yuktaM manaH kapaTamanaH / tena kapaTamanasA / tapasyAM tapazcaraNaM / ' romanthatapa:zabdavairakalahAbhrakaNva. meghAt kRtri' iti karotyarthe kyaDi 'astyAt' iti tyAntatvAddhorastyaH / cakre vihitavAn / mAyAnidAnayuktena manasA vidhIyamAnaM tapo na pApani raNanibandhanamiti manasi vidhAyoktaM 'kathaM pApApaharaNAbhisandhipUrvakaM gRhItadIkSo'pi kamaThaH kapaTayuktena manasA vidhIyamAnena tapasA pApApanuttaye'laM syAt ? iti / sa tAdRzena tapasA pApakarmaiva babandheti bhAvaH / This Yaksa, wl:o lal been subjected to severe pain Ly hcaping very serere reproaches (upon him), who had been greedy of the waters which had been rendered holy hy the baths taken by the daughter of Janaka and which the meritorious alone could have, and wlo had becomo an ascetic with a view to dispel or purge off sin, had, coming into antagonism with luis (very) brother, practised penance on the banks of a river alas with a mini full of pious fraud. tasyAstIre muhurupalavAnUzoSaM prazuSyan ___ udAhussan paruSamananaH pazcatApaM tapo yH| kurvana sma smarati jaDadhIstApasAnAM manojJAM snigdhacchAyAtaruSu vasati rAmagiryAzrameSu // 4 // anvayaH- yaH jaDadhIH upalavAna, UrdhvazoSaM prazuSyan , tasyAH tIre udbAhuH san paJcatApaM tapaH muhuH kurvan paruSamananaH rAmagiryAzrameSu snigdhacchAyAtaruSu tApasAnA manojJo vasatiM na smarati sma / tasyAstIre ityAdi / upalavAn / upalo'syA'stItyupalavAn / gRhItopala: . ityarthaH / --tadasyA'stIti matuH' iti matormakArasya ' mamojhayo matorvo'yavAdeH' iti vakAraH / ' ugidacAM dhe'dhoH' iti num / 'atvaso'dhoH 'ityuGo dIH / urvazoSaM prazuSyan zarIroparitanamastakAdyavayavAn Atapena santApayan / 'arve zuSpUreH' iti Nam / tasyAH pUrvoktAyAH nadyAH tIre rodhasi udbAhuH san

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[ pArzvabhyudaye UrdhvabhujaH san / udgatau bAhU yasyaH saH / basaH / muhaH vAraMvAraM / 5JcatApaM tapaH / paJca tApAH agnayaH yasmin iti paJcatApaM / bsH| pAvakapaJcakamadhyasthitirUpaM tapaH / kurvan caran vidadhAnaH / yaH prussmnnH| paruSaM nirdayaM mananaM vicAraH dhyAnaM vA yasya saH / basaH / jaDadhIH mandadhIH / heyopAdeyavivakA vikalaH ityarthaH / rAmagiryAzrameSu / rAmagireH AzrameSu tapazcaraNayogyasthAneSu / AzrAmyanti tapasyanti asminnityAzramaH / snigdhacchAyAtaruSu / chAyApradhAnAH taravAH chAyAtaravAH / nameruvRkSAH ityarthaH / zAkapArthivAditvAtsamAsaH / 'chAyAvRkSo nameruH syAt' iti zabdArNave | snigdhAzca te chAyAtaravazca snigdhacchAyAtaravaH / teSu / snigdhAH sAndrAH 'snigdhaM tu masTaNe sAndre' iti shbdaarnnve| tApasAnAM tapasvinAM / tapo'syA'stIti tApasa: / 'aNa' ityaN / manojJA manoharAM / vasatiM nivAsa / 'vahivasyartibhyazca' ityauNAdiko'tiH / na smarati sma smRtiviSayatA na ninAya / parokSe vartamAnasya smazabdasya prayuktatvAt 'sme' iti laT / 'smrarthadayezAM karmaNi' iti karmaNi tA na, zeSatvenA'vivakSitatvAt / tapoyogyAn rAmagirIsthAna AzramAn vihAyA'nyatra nadyAstIre svadurabhisandhinihnavArtha tapazcaran tAmAzrameSu vasatiM munijanaspRhaNIyAM smRtiviSayatAmapi na ninAyeti bhAvaH / He, a dullard, with a stone lifted ur, rarching the upper paris of his body, with his arms raised ligh up, practising on the banks of that river penance again and again in which the body of the ascetic is exposed to five fires to mortify it, engrossed in cruel tl.ouglits, did not allora. thougt to occur to his mind regarding liis residence in the thick groves of very shadowy Nawr.eru trecs growing in the lermitages situated on the Ramagiri mountain-a residence which was very pleasing to the ascetics. yasmin grAvA sthapuTitatalo dAvadagdhAH pradezAH zuSkA vRkSA vividhavRta yo nopabhogyA na gamyAH / yaH sma zreSmAn nayati divasAzuSkavairAgyahetoH tarimannadrau katicidabalAviprayuktaH sa phAmI // 5 // anvayaH- asmin grAvA sthapuTitatalaH, pradezAH dAvadagdhAH, vRkSAH zuSkAH na upabhogyAH vividhavRtayaH na gamyAH tasmin adrau yaH abalAviprayuktaH saH kAmI zuSkavairAgyahatoH katicit traiSmAn divasAn nayati sma /

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prathamaH sarga] yasminnityAdi / yasmin bhUtAcalAbhidhe'cale / grAvA upalaH / jAtAveka - vacanam / grAvANaH ityarthaH / 'grAvANau zailapASANau' ityamaraH / sthapuTitatalaH viSamonnatatala: / 'sthapuTaM viSamonnataM' iti dhnnyjyH| sthapuTaM viSamonnataM saJjAtaM sthapuTitaM / 'tadasya saJjAtaM tArakAdibhyaHitaH' itiitH| sthapuTitaM talaM yasya sH| vizeSaNasya vizeSyaliGgavacanatvAt viSamonnAtatalAH ityeSa evArtho grAhyaH / pradezA: dAvadagdhAH dAvAminA dagdhAH / vRkSAH trvH| shusskaaH| hetugarbhavizeSaNametat / tena zuSkatvAdityarthaH / na upabhogyAH upabhoktuM yogyAH / nopabhogArhAH ityarthaH / vividhavRtayaH / vividhAH nAnAvidhAH vRtayaH kaNTakaveSTanAni yeSAM te / etadapi hetugarbhavizeSaNameva / tena nAnAvidhakaNTakaveSTanaveSTitatvAdityarthaH / na gamyAH naa'bhigmniiyaaH| nopagamanIyAH ityarthaH / tasmin adrI parvate / yaH abalAviprayuktaH / abalAyAH svabhrAtRjAyAyAH itvarikAtulyAyAH vasundharAyAH viprayuktaH virahI / saH kaamii| saH svabhrAtRbhAogAmI ata eva kAmI kAmAkulaH / viSayAsaktacittaH / zuSkavairAgyahetoH zuSkaM ca tadvairAgyaM ca zuSkavairAgyaM / tasya hetoH / tadarthamityarthaH / kAmAndhasyojIvitavairabandhasya tapazcarato'pi kathaM vairAgyaM samIcIna nAma, tasya sarAgatvAt ? katicit kAnicit zreSmAn grISmartusambandhinaH divasAna ahAni nayati sma ninAya / grISmasyeme graiSmAH / tAn / ___Ho, that lustful person, who was separated from his beloved, spent, for the sake of shammed subjugation of passions, some suminer days on that mountain, the stones on which had their surfaces elevated and dopressed (i. e. uneven ), the trees on which being dried up wore unworthy of being enjoyed anil on account of having various enclosures - were inaccessible and the regions of which were scorched up by the sylvan fire [ or forost-conflagration. ]. yaM cA'nviSyan vanamatha nadImuttarArohazailAn ___ atyuddhAntazciramanuzayAdAtRbhaktaH kanIyAn / zokAdehe katicidavazAdatyanUcAnavRttyA ... nItvA mAsAn kanakavalayabhraMzariktaprakoSThaH // 6 // ... anvayaH -- yaM ca anuzayAt anviSyan bhrAtRbhaktaH avazAt zokAt deheM atyanUcAnavRttyA kanakavalayabhraMzariktaprakoSThaH kanIyAn katicit mAsAn nItvA vanaM nadI atha uttarArohazailAn ciMra atyubhrAntaH /

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[ pArzvAbhyudaye yaM cetyAdi / yaM ca jyeSTha bhrAtaraM anuzayAt pazcAttApAt anviSyan gaveSayan bhrAtRbhaktaH jyeSThe bhrAtari bhaktiyuktaH / kanIyAn yavIyAn / ayamasmAdanayorvA prakRSTaH yuvA kanIyAn / 'yuvAlpayoH kan vA ' iti kan / ' guNAGgAdveSTheyasU' itIyas / avazAt zokAt anadhInAt duHkhAt / dehe zarIraviSaye atyanUcAnavRttyA / anUcAnaH bratasampannaH / tapasvItyarthaH / anUcAnamatikrAntA'tyanUcAnA / 'prAtyavapariniH pratyAdayaH kAntAdyarthe ' iti prAdiH saH / ' kartarya nUcAnaH ' iti vaceranupUrvIt kartari kArake kAnanipAtaH / atyanRcAnA cAsauvRttizca atyanUcAnavRttiH / tayA / 'puMvadyajAtIyadezIye iti puMvadbhAvaH / aparimitaduHkhAkrAntatvAt zarIrasya dhAraNapoSaNayoradattAvadhAnaH ityarthaH / tapasvI saMyamasidhdyarthamanazanAditratamAcarannapi tadarthameva dehadhAraNamAvazyakamiti manyamAno'nnapAnAdi sevate / ayaM tu svabhrAtRviyogaduHkhAkulitAntaHkaraNaH zarIre nirviNNaH kRzataratanurjAtaH / kRzataratanutvAcca tatprakoSThAdvalayabhraMzo jAtaH iti bhAvaH / katicit mAsAn nItvA yApayitvA vanaM vaneSu nadIM nadISu uttarArohazailAn unnatatarArohANAM zailAnAmupari atyudbhAntaH atyartha babhrAma | In search of whom, the younger brother, who was devoted to (lis elder brother), and whose fore-arin was deprived of a golden bracelet owing to its being slipped off on account of the treatment he gave to his body being worse than that of an ascetic owing to his grief being unristricted, having passed some months, wandered and wandered in repentence through forests, crossed rivers, and climbed mountains possessing very lofty heights. yaM cA'pazyadbhirivananadIH paryaTanso'pi kRcchrAt adhvazrAntaH katipayatha kairvA sarairadrikuJje / dUrAddhUmapratatavapuSaM nILalezyaM yathoccaiH ASADhasya prathamaM divase meghamAzliSTasAnum // 7 // anvaya :- girivananadIH kRcchrAt paryaTan adhvazrAntaH saH api ASADhasya prathamadivase AzliSTasAnuM meghaM yathA dhUmapratatavapuSaM nIlalezyaM yaM ca katipayathakaiH vAsareH adrikuJje dUrAt uccaiH apazyat / yaM cetyAdi / girivananadIH / girayazca vanAni ca nadyazca girivananadyaH 1 1 prazamadivase

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prathamaH sargaH ] tAH girivananadIH / kRcchrAt mahatA kaSTena / paryaTana paribhraman / adhvazrAntaH adhvanA paribhramaNena zrAntaH khinnaH saH api marubhUtiH api / ASADhasya / ASADhyA candropetayA yuktA paurNamAsI ASADhI / 'bhAyuktaH kAlaH' ityaN / 'TiDhDANaJ' iti DI / ASADhI paurNamAsI asminniti ASADho mAsaH 'sA' sminpaurNamAsIti khau ' ityaNa / tasya ASADhasya prathamadivase pratipadine / AzliSTasArnu / AzliSTaM AkrAntaM sAnu prasthaH yena sH| tam / ' snuH prasthaH sAnurastriyAM' ityamaraH / meghaM vArivAhaM / yathA iva / 'va vA yathA tathaivaivaM' ityamaraH / dhUmapratatavapuSa / dhUmena pratataM vyAptaM vapuH yasya saH / taM dhUmapratatavapuSaM / nIlalezyaM nIlavarNa duSTAbhiprAyaM ca / yaM ca kamaThaM ca / katipayathakaiH / katipayAnAM pUraNAH ktipythaaH| te eva katipayathakAH / 'SaTkatikatipayasya thuk' iti DaTi thuk / taiH ktipythkaiH| kiyadbhirityarthaH / vAsaraiH dinaiH / adrikule| adreH parvatasya bujhe latApihitapradeze / dUrAt dUrapradezAt / uccaiH uccaiHsthAne / apazyat pazyati sma / dadazetyarthaH / ' pAghrAmAsthAmnAdANadrazyati. sartizadasadAM pivajighradhamatiSThamanayacchapazya dhauzIyasIdAH' iti pazyAdezaH / Even lic, climbing mountains, crossing rivers and wandering through forests with a great difficulty anl tired of travelling, saw him, from a distanco high up in a certain cave on a mountain after somo days, with his bo ly darkened owing to its being covered over with snoke anl with his mind engrossed in evil thoughts like, a cloud closely connected with a precipice (or peak of a mountain) on the first day of tle month of Ashadha. yazcAbaddhakuTikuTilarUtaTo jihmavaktraH krodhAvezAjjvaladapadhanoM bhrAtaraM taM vadAnIm ! snehodrekAcaraNapatitaM nA'padRSTivirUkSaM vaprakrIDApariNatagajaprekSaNIyaM dadarza // 8 // anvayaH- yazca Avaddha jhakuTikuTilabhrUtaTaH, jihmavaktraH, krodhAvezAt jvalada. padhanaH apadRSTiH virukSa snehodrekAt caraNapatitaM vaprakrIDApariNatagajaprekSaNIyaM te bhrAtaraM tadAnIM na ddrsh| yazcetyAdi / yazca yaH kamaThazca / AbaddhamhakuTikuTilabhUtaTaH / AbaddhA viracitA

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[ pArthAbhyudaye ca asau rukuTizca Abaddha rukuTiH / 'puMvadyajAtIyadezIye' iti yatvAt pUrvapadasya puMvadbhAvaH / tathA kuTilaH vaH bhUtaTaH bhUpradezaH yasya sH| 'AviddhaM kuTilaM bhugnaM vellitaM vakramityapi ' ityamaraH / jihmavaktaH / jihAM kuTilaM vaktraM mukhaM yasya saH / bsH| jimastu kuTile'lase' ityamaraH / krodhAvezAt / krodhasya amapasya AvezAt udrekAt / jvaladapaghana : / jvalan dahan apaghanaH aGgaM yasya sH| bsH| apahanyate iti apaghanaH / 'ghanAntarSaNapraNapraghANoddhanApaghanAyodhanavighanadrughaNastambadhanaparighopaghnasaGghoghnanighapramadasammadAH' ityapadhano nipAtyate aGga ced bhavati / 'aGga pratIko'vayavo'padhanaH ' itymrH| apadRSTiH / apagatAdRSTiH yasya saH apadRSTiH / virUkSaM / vigataH rUkSaH aprema yasya saH / taM / premaparamityarthaH / yadvA viziSTaH rUkSaH aprema yathA syAttathA / hsH| snehodrekAt snehasya premNaH udrekAt Adhikyena prAdurbhAvAt / caraNapatitaM / caraNayoH pAdayoH patitaM vinatam / vaprakrIDApariNatagajaprekSaNIyaM / vaprakrIDAH utkhaatkelyH| 'utkhAtakeliH zRGgAdyairvaprakrIDA nigadyate ' iti zabdArNave / tAsu pariNataH / 'tiryagdantaprahAraratu gajaH pariNato mataH' iti halAyudhaH / sa cAsau gajazveti yasaH / saH iva prekSaNIyaH darzanIyaH / tam / 'sAmAnyenopamAnam' iti Saso yaso vA / taM bhrAtaraM marubhUtinAmAnaM kanIyAMsaM bhrAtaraM / na dadarza na pazyati sma / krodhAvezAt apadRSTiH sa taM nA'pazyaditi bhAvaH ! He, with his eyebrows crooked on account of their being contractel in wrinkles, with a tortuous face, with his boily burning with the fury of his anger, with his eyes turned elsewhero, did not direct lis oyes towards his affectionate brother fallen at his feet on account of bis excessivo affection for him ( Kamatha ), lovely to look at like an elephant engage in the playful butting against a mound. so'sau jAlmaH kapaTahRdayo daityapAzo hatAzaH smRtvA vairaM munimapaghRNo hantukAmo nikAmam / krodhAtsphUrjanavajalamucaH kAlimAnaM dadhAnaH __tasya sthitvA kathamApa puraH kautukAdhAnahetoH // 9 // . kiJcitpazyanmunipamanaghaM svAtmayoge niviSTaM ... 1 ketakAdhAna hetoH ....

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prathamaH sargaH ] gADhAsUyAM manasi nida dhattadvadhopAyamicchan / krUro mRtyuH svayamiva vahan svedavindUna sa roSAt antarbASpazciramanucaro rAjarAjasya dadhyau // 10 // anvayaH saH asau jAlmaH ; kapaTahRdayaH, daityapAzaH, hatAzaH, sphurjanayajalamucaH kAlimAnaM dadhAnaH, svAtmayoge niviSTaM anaghaM munipaM kiJcit pazyan, manasi gADhAsUyAM nidadhat roSAt svedabiMdUn vahan svayaM krUraH mRtyuH iva apaghRNaH vairaM smRtvA muniM nikAmaM hantukAmaH krodhAt kautukAdhAnahetoH tasya puraH kathamapi sthitvA tadvadhopAyaM icchan antarvASpaH rAjarAjasya anucaraH ciraM dadhyau / - " 8 1 so'yamityAdi / saH asau saH eSaH kamaThacaraH yakSaH / saH yaH pUrvabhave bhagavati vairaM babandha / saH asau vartamAnabhavApekSayA zambarAsuraH / jAlmaH heyopAdeyavivecanasAmarthyavikalaH avimRzyakArI krUraH vA / jAlmaH syAtpAmare krUre jAlmo'samIkSyakAriNi ' iti vizvalocane / kapaTahRdayaH / kapaTayuktaM hRdayaM yasya saH / yadvA kapaTaM hRdayaM yasya saH / kapaTaM kapaTayuktamityarthaH / 'o'bhrAdibhyaH' ityaH matvarthIyaH / daityapAzaH garhArho devaH / ' yApye pAzaH iti garhAyAM pAzaH / hatAzaH nirdayaH / hRtA nirghRNA AzA AkAGkSA yasya saH / sphUrjannavajalamuSaH / jalaM muJcatIvi jalamuk / kvip / navazvAsau jalamuk ca navajalamuk / navo meghaH ityarthaH sphUrjaMzcAsau navajalamuk ca sphUrjannavajalamuk / yasaH / vajranirgho ityasmAddhAtoH zaturvidhAnAdrUpaM / tasya / garjannavameghasyetyarthaH / kAlimAnaM kRSNatvaM kAlasya kRSNavarNasya bhAvaH kAlimA | 6 | pRthvAderveman ' iti bhAve iman / taM kAlimAnaM / dadhAnaH dhatte iti dadhAnaH svAtmayoge / svasya AtmanaH AtmA svabhAvaH svAtmA / tasya yoge dhyAne svAtmayoge / " svajJAtAvAtmani svaM tu triSvAtmIye dhane'striyAm ' iti vizvalocane / AtmA yatno dhRtirbuddhiH svabhAvo brahmava ca ' ityamaraH / ' yogaH sannAhasandhAnasaGgItadhyAnakarmaNi' iti vizvalocane / AtmasvarUpa dhyAne ityarthaH / niviSTaM nimanaM / nivizati sma nimajjati sma niviSTaH / " " tam / anaghaM / na vidyate aghaH pApaM yasya saH anaghaH / tam / munipaM munIzvaraM / kiJcit alpaM / ' kiJcidISanmanAga ityamaraH / pazyan bhAvayan / manasi mAnase / gADhAsUyAM gADhA cA'sau asUyA ca gADhAsUyA / tAM / gADhA dRDhA tItretyarthaH / / ' tItraikAntanitAntAni gADhabAdahadAni ca ityamaraH / asUyA / paraguNeSu doSAviSkaraNaM / nidadhat sthApayan / roSAt krodhAt / sveda bindUn dharmavindUn / 11 C >

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[pArdhAbhyudaye vahan dharan / svayaM AtmA / krUraH nighRNaH / mRtyuH iva yamaH iva / apaghRNaH nirdayaH / apagatA ghRNA dayA yasmAt saH / ' kAruNyaM karuNA ghRNA' ityamaraH / vairaM smRtvA pUrvabhavazAtravaM anudhyAya / muni pArzvajinezvaraM / nikAmaM atyarthe / hantukAmaH hantu icchan / hantuM kAmaH icchA yasya saH / 'samtumo manaHkAme' iti tumo makArasyop / krodhAt amarSAt / kautukAdhAnahetoH hananecchApUrtyartha / kautukamabhilASaH hntumicchaa| tasya AdhAnahetoH pUrtyarthe / AdhAnasya hetu: AdhAnahetuH / tasmAt / hetau kaa| 'kautukaM tvabhilASe'pi kusume narmaharSayoH / paramparAsamAyAte magale cAtizAyini / ' iti vizvalocane / tasya puraH bhagavataH pArzvajinendrasya purastAt / kathamapi mahatA prytnen| 'jJAnahetuvivakSAyAmapyAdi kthmvyym| kathamAdi . tathApyantaM yatnagauravabADhayoH ' ityujjvalaH / sthitvA AsthAya / prajvalitakrodhAgnitvAt saJjAtavepathuH mahatA kaSTena tasya puraH tasthAviti bhAvaH / tadvadhopAyaM / tasya bhagavataH vadhasya hananasya upAyaH sAdhanaM karma vA / taM / icchan abhilaSan / taddhananaM abhilaSannityarthaH / antarbASpaH antrniruddhaashruH| virahavyathAkulitasvAntatvAt astrArdranayano'pi adhunA samarakAle azrumocanamayuktamiti vicAryAntarevAzrUNi stambhitavAniti bhAvaH / rAjarAjasya kuberasya / rAjJAM yakSANAM rAjA prabhuH rAjarAjaH / 'rAjA prabhaunRpe candre yakSe yakSezacandrayoH' iti vizvaH / 'rAjAhaHsakhibhyaSTaca' (pA.) iti Taca / rAjarAjaH kuberH| 'rAjarAjo dhanAdhipaH' ityamaraH / anucaraH sevakaH / sa kamaThacaro yakSaH / ciraM bahuphAlaM / dadhyau dhyAyati sma / 'dhyai cintAyAm' iti dhAtorliT / ' NamerauzAtaH ' ( zA0 ) iti NazaH auz / ____ Tiat this inconsiderate raskal, with a franlulent heart, attending upon Kubera, the wretched demon, cherishing evil desires, assuming darkness of a thundering new clond, considering the sinless lord of sages who was deeply engrossed in meditating upon his own soul to bo trivial, harbouring excessivo, jealousy in his heart, looking like cruel Death himself carrying drops of perspiration, a merciless one, extremely desirous of killing the sage after remembering (his former ) cnmity, shaving stood before him with great difficulty with a purpose to fulfil his desire, expecting to find out a means of his death through anger, with ztcars suppressed inside, meditated for a long time. medhaistAvatstanitamukharairvidhududyotahAsa: cittakSobhAndviradasahazairasya kurve nikurvan /

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prathamaH sargaH ] pazvAccainaM pracalitadhRti hI haniSyAmi citraM meghAloke bhavati sukhino'pyanyathAvRtti cetaH // 11 // anvayaH- ( yataH ) meghAloke sukhinaH api cetaH anyathAvRttiM bhavati (tataH) tAvat nikurvan (ahaM ) stanitamukharaiH vidyuddyotahAsaiH dviradasadRzaiH meghaiH asya cittakSobhAna kurve, pazcAt ca pracalitadhRti enaM hi citraM haniSyAmi / . medhairityAdi / (yataH yasmAt kAraNAt ) meghAloke meghasya Aloke darzane (jAte sati) sukhinaH api kaNThAzleSapraNayijanasaGgatatvAt sukhinaH api cetaH manaH / anyathAvRtti / anyathA anyaprakArA vRttiH pravRttiH yasya tat / 'prakAre thA' iti thaa| sAmAnyApekSayA vizeSanirdezaH prkaarH| 'vRttiH pravRttau vRttau ca kauzikyAdipravartane' iti vizvalocane / bhavati jaayte| (tataH tasmAt ) tAvat Adau 'Arye itastAvadAgamyatAM' ityatra yathA / nikurvan / nikAraM paribhavaM kariSyan / paribhavaM kartumudyata ityrthH| ahaM stanitamukharaiH stanitaiH garjitaiH mukharAH bhayaGkaradhvanayaH / stanitaM garjitaM / 'stanitaM garjitaM meghaniSe' iti vacanAt / mukharAH vAcATAH / garhitadhvanayaH / mukhena vAglakSyate / ninditaM mukhamastyasya mukhrH| 'madhukRSyAdibhyaH khalau' iti ro mukhAt / stanitasaJjanitabhayaGkaradhvanibhirityarthaH / vidyududyotahAsaiH / vidyutAM taDitAM udyotasya hAsaH prakAzaH vidyate yatra / hAsaH vistAro vA / vidyududyotbhaasmaanshriirairityrthH| dviradasadRzaiH krishriiraakaardhaaribhiH| medhaiH jaladaiH / asya bhagavataH pArzvanAthasya / cittakSobhAn / cittasya manasaH kSobhAn prakSobhAn kurve kariSye / 'vartamAnasAmIpye vartamAnavadvA' iti samIpabhaviSyadarthe vartamAnaprayogaH! pazcAt anantaraM ca / pracalitadhRti / pracalitA prakampitA dhRtiH dhairya sthairya vA yasya sH| tam / enaM muniishvrN| hIti harSe / 'hI vismayaviSAdayoH / hI harSe duHkhahetau ca' iti vishvlocne| anena bhagavaddhiMsAnandaM sa jujuSe iti vyajyate / citrN| adbhutaM yathA tathA / adbhutena vidhinetyarthaH / haniSyAmi ghAtayiSyAmi / anena nirvikalpasamAdhinimagnAntaHkaraNaM bhagavantaM pArzvajinaM hantuM sa samarthaH nAsIt iti taM dhyAnAt pracyAvayituM prayatate smeti vyajyate / As at the siglit of clouds the hearts of the happy even get perverted, I, ready to destroy him, shall first create excitement in his licart (or move his heart to strong emotions) with elephant-like clouds, making a continuous roar by thundering and assuming tlie lustre of ile flashes of lightnings, and then put him, whose composuro of mind is destroyed

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14 [ pArzvAbhyudaye (or whose equilibrium of mind is disturbed), to death in a wonderful manner. vyAyanevaM munipamamaNI niSThurAlA pazauNDo bho bho bhikSo bhaNatu sa bhavAn svAntamantarnirundhan / kSINa kleze siSidhuSi matiM kiM nidhatte'Ggitace / kaNThAzleSapraNayini jane kiM punardUrasaMsthe // 12 // evaM dhyAyan niSThurAlApazauNDaH munipaM abhaNIt - bho bho bhikSo ! svAntamantarnirundhan saH bhavAn bhaNatu / kiM kSINa siSidhuSi aGgitattve matiM nidhatte, kiM punaH dUrasaMsthe kaNThAzleSapraNayini jane ( matiM nidhatte ) ? .C anvayaH - 3 dhyAyanni yAdi / evaM uktaprakAreNa dhyAyan cintayan / niSThurAlA pazauNDaH / niSThuraH nirdayazcAsAvAlApoM bhASaNaM ca niSThurAlApaH | yasaH / niSThurAlApe zauNDaH pravINaH niSThurAlApazauNDaH / IzauNDAdibhiH itIppasaH / munipaM munirAjaM abhaNIt provAca / bho bho bhikSo ! he mune ! svAntaM manaH antaH antarAtmani nirundhan prtyvsthaapyn| saH prasiddhaH / dhyAnitvena prasiddhaH ityarthaH / bhavAn / bhaNatu kathayatu / kiM bhavAn kSINakleze / kSINAH vipramuktAH vinaSTAH klezAH klezakarANi karmANi yasya saH / tasmin / kSINAH vinAzaM prAptAH / ' te'Nye ' iti kRtadItvAt kSestatakArasya naH / ye noNo'bhinne' iti nasya NaH / kSINakarmaNItyarthaH / siSidhuSi siddhAvasthAM prApte / 6 8 pidhu saMrAddhau ' ityasmAddhoH parasya liTaH sthAne 'liTaH kkasukAnau ' iti vasuH / vasorvasyoz ' iti bhasya vasorvakArasyoz / 'kvasyaikAjghasaH' iti dhorekActvAt kasau pare iDAgamaH / aGgitattve jIvadravye / aGgamasyAstItyaGgI / sa eva tattvaM dravyaM / tasmin / matiM manaH / nighate ? pratyavasthApayati ? punaH athavA dUrasaMsthe dUradezavartini / dUre saMsthA sthitiryasya saH / tasmin / 'saMsthA nAze vyavasthAyAM vyaktisAdRzyayoH sthitau / saMsthA Rtau samAptau ca care ca nijarASTrage' iti vizvalocane / kaNThAzleSapraNayini jane / kaNThAzleSaM praNayati ityevaMzIlaM asya kaNThAzleSapraNayi / tasmin / 'zIle'jAtau Nin ' iti zIlArthe Nin / atropasarge'Nin kusumAnukAribhiH upajIvibhirityAdivat / upasargabhinna eva supi Niniriti vRttikAraharadattamAdhavAdayaH / tacca bhASyavirodhi / kiM ? marti nidhatte iti zeSaH / bhagavadgarhaNAbhiprAyeNa kamaThaH paryanuyunakti / nAyaM dhyAnaikatAnaH muniH zuddhAtmarUpe ekasminnaye dhyAnaviSaye mano -

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prathamaH sargaH ] niruNaddhi, api tu tayAjena kaJcana kaNThAzleSapraNayinaM janameSa dhyAyatIti kmtthaabhipraayH| ___He, thinking thus, expert in uttering cruel words, asked the lord of sages Oh ascetic! you, confining your mind within yourself, tell : Are you concentrating your mind upon the liberated soul who has destroyed Jis tormenting Karmans or are you concentrating it upon a person, staying abroad anil desirous of embracing your neck ?' ityuktvA'do muhurupavahan nizcitAtmopasargo baddhakrodhaH sarabhasamasau bhImajImUtamAyAM / srAgasAkSInmunipamabhito nomanAgapyasUriH __pratyAsanne nabhasi dayitAjIvitAlambanArthI // 13 // anvayaH- iti adaH uktvA muhuH upavahan asau nizcitAtmopasargaH baddhakrodhaH dayitAjIvitAlambanArthI nomanAk api asUriH asau pratyAsanne nabhasi munipaM abhitaH sarabhasaM bhImajImUtamAyAM lAk anAkSIt / ityuktvetyAdi / iti uktaprakAreNa / ' iti hetau prakAre ca prakAzAdyanukarSayoH / iti prakaraNe'pi syAt samAptau ca nidarzane' iti vishvlocne| adaH tat / uktvA procya / muhuH bahuvArAn / upavahan samIpaM gacchan, yuddhArtha sannaddho bhavan , abhibhavanAtha bhagavataH samIpaM punaH punaH gacchan vaa| asau kamaThacaraH yakSaH / nishcitaatmopsrgH| AtmanaH AtmanA kRtaH upasargaH upaplavaH aatmopsrgH| nizcitaH AtmopasargaH yena saH / ' upasargaH smRto rogabhede copaplave'pi ca ' iti vizvalocane / baddhakrodhaH / baddhaH krodhaH kopaH yena saH / dyitaajiivitaalmbnaarthii| dayitasya sajAtadayastha ajIvitaM maraNaM, tasya AlambanaM upAyaH dayitAjIvitAlambanaM / tat arthayate iti dayitAjIvitAlambanArthI / saJjAtA dayA asyeti dayitaH / 'tadasya sajAtaM tArakAdibhyaH itaca ' iti tadasya sajAtamityarthe itac / pUrvasmin bhave svabhrAtRbhAryAgAmitvAt kruddhena rAjJA nirghATitasyA'yaM marubhUticaraH bhagavAn dayate sma / na jIvitaM ajIvitaM / maraNamityarthaH / dayamAnamapyamuM bhagavantaM ayaM kamaThacaro daityaH jighAMsuriti tasya kRtaghnatvaM vyajyate / yadvA dayitAyAH svapriyAyAH jIvitasya (1) manAsa (2) dayitAjIvitAlambanArthAm ; dayitAjIvitAlambanArtham /

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[ pArzvabhyudaye AlambanamupAyaH dayitAjIvitAlambanaM / tadarthayate iti dayitAjIvitAlambanArthI / svasmAdviyuktAyAH dayitAyAH sandezAbhAve priyaviprayogajanitaduHkhAyAH maraNAdvibhyannasau munipaM yuddhe hatvA tadAtmAnaM sandezaM hArayitvA tA jijIviSatItyarthaH / nomanAk atyartha asUriH apaNDitaH / mUrkhaH ityarthaH / api gardAyAmatra / ' gardAsamuccayapraznazaGkAsambhAvanAsvapi' ityamaraH / pratyAsanne smiipmaagte| nabhasi zrAvaNamAse / 'nabhaH khaM zrAvaNo nabhAH' ityamaraH / na bhAsanaM meghacchannatvAt astyasya nbhaaH| 'samIpe nikaTAsannasannikRSTasanIDavat' ityamaraH / munipaM abhitaH munIzvaraM sarvataH / 'paryabhisarvobhayaistastyaiH' iti ip / sarabhasaM paurvAparyAvicAreNa krodhena vaa| rabhasena paurvAparyAvicAreNa saha vartate yasmin kaNi yathA tathA bhImajImUtamAyAM / mAyAM indrjaalN| jImUtasya mAyA jiimuutmaayaa| bhImA bhayakRt cAsau jImUtamAyA ca / bhiimjiimuutmaayaa| tAM / jIvanasya jalasya mUtaH bandhaH jiimuutH| meghaH ityarthaH pRSodarAditvAtsAdhuH / 'toyaM jIvanamAviSam ' iti 'jImUto'bhraM balAhakaH ' iti ca dhnnyjyH| sAk jhaTiti / 'sAgjhaTityaJjasAnAya drAGmakSu sapadi drute' ityamaraH / anAkSIt / sRjati sma / 'sRja visarge' ityasmAddholuG / Having said that in that way, he, who approached Him again ( to attack him ), who decided to trouble Him himself, who was angry (with Him), who was desirous of finding out a means of his destruction who had entertained sympathy for him (i. e. Kamatha, in his former birth), who was extremely foolish, created passionately an illusion of terrible clouds on all sides of the lord of sages at a time when the montiu of Shravana was about to set in. vidyunmAlAsphuritarucire meghajAte natAze sphUrjadvaje jhaTiti kamaTho vRSTipAtaM sasarja / kALenA'sau kila jalabhRtAM yoginaM taM vitanvan jImUtena svakuzalamayIM hArayiSyan pravRttim // 14 // anvayaH- vidyunmAlAsphuritarucire sphUrjadvane meghajAte natAze sati jImUtena svakuzalamayI pravRtti hArayiSyan taM jalabhRtAM kAlena kila yoginaM vitanvan asau kamaThaH jhaTiti vRSTipAtaM sasarja /

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prathamaH sargaH] vidyunmAletyAdi / vidyunmAlAsphuritarucire / vidyutAM saudAminInAM mAlA paramparA vidyunmAlA / 'AkAlikI kSaNacirvidyuttatpatirambudaH' iti dhnnyjyH| tasyAH sphuritAni sphuraNAni / 'bhAvekto'bhyAdibhyaH ' iti ktaH / taiH rucire dIptimati / 'sundara ruciraM cAru suSamaM sAdhu zobhanam ' itymrH| ruciM kAnti rAti iti ruciraM / sphUrjadvane / sphUrjana nirghoSaM kurvan vajraH yasmin sphUrjadvajraM / tasmin / 'vajro'strI hIrake pavau' ityamaraH / meghjaate| meghAnAM jAtaM samUhaH meghajAtaM / tasmin / ' jAtaM janmaughajantuSu iti vizvalocane / ntaashe| natAH vyAptAH AzAH dizaH yena / tasmin sti| : AzA tRSNadizoH' iti vizvalocane / jImasena meghena / jIvanasya mUta: bandhaH jImUto meghaH / pRSodarAditvAtsaH / 'jImUto'bhraM balAhakaH' iti dhnnyjyH| meghadvAreNetyarthaH / svakulazamayIM / svasya AtmanaH kuzalaM kSemaM kalyANaM svakuzalaM / 'kuzalaM dharmaparyAptikSemeSu triSu zikSite' iti vishvlocne| svakuzalAddhetorAgatA svakuzalamayI / tAM / 'mayaT' iti hetuvAcinaH Agate arthe mayaT ! yadvA svakuzalaM prakRtaM pracuraM asyAmiti svkushlmyii| tAM / 'asmin ' iti Ibarthe prAcurye mayaT / TitvAt ngii| 'tatprakRtokto vA mayaT iti vA mayaT / pravRtti prayatna vyApAra vaa| taM munipasya svargagAminamAtmAnaM / hArayiSyan / hArayituM tyAjayitumicchan / 'syatAsI lalvoH / iti syastyaH / 'valAderiTa ' itIDAgamaH 'hako' iti karmasajJAyA vaikalpikatvAta pakSe kartari tRtIyA / taM munipaM / jalabhRtAM meghAnAM kAlena kRSNavarNena / megheneti zeSa: ' yatazca nirdhAraNaM' (pA.) iti SaSThI / yoginaM sambandhinaM / 'yogaH sannahanopAyathyAnasaGgatiyuktiSu' ityamaraH / vitanvan kurvan asau kamaThaH saH kmtthH| saH kamaThacaro devaH ityarthaH / jhaTiti zIghraM / vRSTipAtaM sasarja sRjati sma / kila alIke / yadvA svakuzalamayI svakSemaviSayiNI pravRtti sandezaM taM munipaM hArayiSyan nAyayiSyan / 'nIvahyoIratezcaiva ' iti vacanAt dvikarmako'yaM dhAtuH / taM tapasvinaM jalabhRtAM kAlena jImUtena yoginaM vitanvan aso kamaThaH jhaTiti vRSTipAtaM sasarja / atra pUrvokto'rthaH' 'pazcAccainaM pracalitadhRti hI haniSyAmi citraM' iti vAkyAbhiprAyAnusAreNa samIcIna eveti pratibhAti / dhyAnAvasthAyAH bhagavantaM pracAlya taM jighAMsan kamaThaH vRSTipAtaM sasati bhaavH| At the time when an assemblage of clouds, shining very brilliantly on account of the successive flashes of lightnings, having the thunderbolt bursting forth in them, had extended over all the quarters that Kamatha, wishing to make Him abandon the continued efforts bringing about a pAzcAbhyudaye...2

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18 [pArdhAbhyudaye good deal of welfare of His soul, falsely bringing about his connection with the darkest of clouds, suddenly poured out showers of rain. evaMprAyAM nikRtimadhamaH kartumArabdha bhUyo ____ mAyAzIlAzcaraparicitAdvairabandhAt prakupyan / sidhdaistaniSkramaNasamaye yogine bhaktinaH ____sapretyapraiH kuTajakusumaiH kalpitArghAya tasmai // 15 // anvayaH- tanniSkramaNasamaye bhaktinanaiH siddhaiH pratyauH kuTajakusumaiH kalpitArghAya tasmai yogine ciraparicitAt vairabandhAt prakupyan saH mAyAzIlaH adhamaH evaMprAyAM nikRti kartu bhUyaH Arabdha / evaMprAyAmityAdi / tnisskrmnnsmye| tasya bhagavataH niSkramaNasamaye / yadA bhagavAn saMsAra parityajya dIkSAyai nizcakrAma tadetyarthaH / bhAktinaH / bhaktyA nanaiH vinataiH / ' namkampismyajaskahiMsadIpo raH' iti zIlArthe rH| guNAnurAgeNa namanazIlairityarthaH / siddhaiH devavizeSaiH / 'pizAco guhyakaH siddho bhUto'mI devayonayaH ' ityamaraH / 'siddhastu nitye niSpanne prasiddha devayoniSu' iti vizvalocane / pratyapraiH navaiH / sarasarityarthaH / 'pratyagro'bhinavo navyaH ityamaraH / kuTajakusumaiH kuTajAnAM girimAlikAnAM kusumaiH puSpaiH / 'kuTajo girimallikA' iti hlaayudhH| kalpitAya / kalpitaH anuSThitaH samarpitaH ardhaH udakASTavidhadravyamayaH yasmai / tsmai| tasmai yogine yoganimagnAya munIndrAya / cirpricitaat| cira abhyastAt vairabandhAt zAtravAnubandhAt prakupyan prakaHNa kupyan / 'krudhaduheAsUyArthAnAM yaM pratikopaH ' ityap / mAyAzIlaH mAyA kapaTaM zIlaM svabhAvaH yasya sH| adhamaH nIcaH / 'adhamau nyUnakutsitau' ityamaraH / 'adhamaH kutsite nyUne' iti vizvalocane / 'anto'vo'dhaso ma:' ityadhasaH sakArasya makAraH / 'avo'dhasoH sa khaM ceti vaktavyam ' iti sasya khe kRte| sati mstyH| evaMprAyAM evaM prakArAM ukta prakArAM / pUrvoktazlokavarNitaprakAreNetyarthaH / nikRti paribhavaM kartuM vidhAtuM Arabdha ArabdhavAn / 'rabha rAbhasye' ityasmAddho DirUpam / That fraudulent wretch, getting very angry on account of the enmity borne in mind by him for a long time with Hin, the mendicant, 1 sampratyauH . .

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prathamaH sargaH ] 19 to whom oblations consisting of fresh Kutaja flowers were offered by the Siddhas, bent down owing to devotion at the time of his giving up this worldly life for getting initiated into monkhood, began to reproach him again in a way as described before. parjanyAnAM dhvanimanu sakaH sphAvayan siMhanAdAn AkrozaiH svairmuniparisarAt tarjayannAzadaityaH / hA dhiGmUDhaM bhagavati munau pUrvabandhau na coccaiH prItaH prItipramukhavacanaM svAgataM vyAjahAra // 16 // anvayaH - - sakaH nAzadaityaH parjanyAnAM dhvaniM anu. siMhanAdAn sphAvayan muniparisarAt svaiH AkrozaiH tarjayan pUrvatrandhau bhagavati munau uccaiH prItaH san prItipramukhavacanaM svAgataM na vyAjahAra (iti) mUDhaM hA dhik / , , parjanyetyAdi / sakaH / kutsitaH saH sakaH / ' kutsitAjJAtAlape' iti kutsAyAM kan / nAzadaityaH / nAzapriyaH daityaH nAzadaityaH / zAkapArthivAditvAtsaH / parjanyAnAM garjatAM meghAnAM / ' parjanyau rasadabdendrau ' ityamaraH / dhvanimanu dhvaninA saha / garjitena sahetyarthaH / 'bhArthe'nunA ' iti sahArthasyAnuzabdasya karmapravacanIyasya prayoge dhvanimiti ip / siMhanAdAn / siMhasya nAdAH iva nAdAH siMhanAdAH / tAn / 'devapathAdibhyaH ' itIvArthasya kasyos / sphAvayan vRddhiM nayan / ' sphAyI vRddhau ' iti dhAtoH Nyarthe ' sphAyo vaH ' iti vAdezaH / muniparisarAt / muneH parisaraH samIpapradezaH muniparisaraH / tasmAt / ' paryantabhUH parisaraH ityamaraH / muniparisare sthitvetyarthaH / ' pyakhe karmAdhAre ' iti pyakhe kA / svaiH svakIyaiH / AkrozaiH zapanadhvanibhiH tarjayan bhartsayan / pUrvabandhau pUrvabhavakanIyoM bhrAtari / bhagavati munau mAhAtmyati yogini / bhagaH mAhAtmyaM asyAstIti bhagavAn / tasmin / vairAgyavati yogini vA / ' bhagaM tu jJAnayogIcchAyazeomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratna - bhAnuSu' iti vizvalocane / ucaiH prItaH / atyartha prItaH santuSTaH uccaiH prItaH / san / prItipramukhavacanaM / prItiH pramukhA yasmiMstat prItipramukhaM / prItipramukhaM vacanaM yasmin tat prItipramukhavacanaM / svAgataM na vyAjahAra / svAgatavacanaM nocivAn / vyAGpUrvasya hRJaH liT / hetyanena duHkha vyanakti / viSAdespi duHkhe'pi zoke ' iti vizvalocane / dhingmuurkh| 'nirbhartsane'pi nindAyAM dhik' iti vishvlocne| ' hAntarAntareNAtidhiksa * mAnikapopAdhizca' iti ip / <

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[ pArdhAbhyudaye . That wretch, a demon, very fond of destruction, increasing his thunderings which were like those of a lion, frightening the sage having stood in His vicinity by his roarings, did not welcome Him with very affectionate words, becoming highly pleased with the sage who had been his brother in the former birth. Alas ! fie upon the fool! kA'yaM yogI bhuvanamAhito durvilayastrazaktiH kvA'sau kSudraH kamaThadanujaH, kemarAjaH kva dNshH| kA''sadhyAnaM ciraparicitadhyeyamAkAliko'sau dhUmajyotiH salilamarutAM sannipAtaH ka meghaH // 17 / / .. anvayaH- durviladdhyasvazaktiH bhuvanamahitaH ayaM yogI ka asau kSudraH kamaThadanujaH ka, ka ibharAjaH ka daMzaH, ciraparicitadhyeyaM AsadhyAnaM ka asau dhUmajyotiH salilamarutAM sannipAtaH AkAlikaH meghaH k| kaaymityaadi| durssilysvshktiH| durviladhyA kRcchreNa viladhyA vilacituM zakyA svasya AtmanaH zaktiH sAmarthya yasya sH| bsH| 'svISaddusi kRcchrAkRcchre khaH' iti kRcchrArthe khaH / anivAryasvAtmasAmarthyaH ityarthaH / bhuvnmhitH| bhuvanena lokatrayeNa mahitaH pUjitaH bhuvnmhitH| trailokyavandanIyacaraNakamalayugala: ityrthH| ayaM yogI ayaM dhyAnanimagnaH munirAjaH / ka kutra / asau saH kSudraH adhamaH } 'triSu krUre'dhame'lpepi kSudraM' ityamaraH / kamaThadanujaH kamaThacaraH daityaH ka kutra / ibhraajH| ibhAnAM gajAnAM rAjA ibhraajH| 'rAjAhaHsakheSTaH' iti TaH / ka kutra / daMzaH vanAmakSikA / 'daMzaH sannAhavanamakSikayorbhujagakSate / doSe'pi khaNDane daMzo daMzo marmaNi ca smRtaH // ' iti vizvalocane / ciraparicitadhyeyaM / ciraM cirakAlaM cirAdvA paricita abhyAsaviSayatAM nItaM dhyeyaM yasya yena vaa| AsaddhyAnaM / AsamantAt zobhanaM Asat / Asat ca taddhyAnaM ca aasdhyaanN| dharmyazuklAdidhyAnamityarthaH / ka kutra / dhUmajyotiH salilamarutAM snnipaatH| dhUmazca jyotizca salilaM ca marut ca dhUmajyotiH. salilamarutaH / teSAM / sannipAtaH saGghAtaH / dhUmajyotiHsalilamarusaGghAtarUpaH meghaH ityarthaH / AkAlikaH aashuvinaashii| 'AkAlikI kSaNacirviAttatpatirambudaH' ityatra. dhanaJjayena yad vidyuta AkAlikIti nAmAntaraM sagRhItaM tad AzuvinAzitvApekSayaiva / 'AkAlikaM ThazcAdyante' iti samAnakAlazabdAt AdyantopAdhikAt ThajaM nipAtyaH, Thazca / samAnakAlasya 'AkAlaH' ityAdezaH / Adyante ityasya Adireva antyaH yasya

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prathamaH sargaH ] gamyate ityarthaH / tathA ca vaktAro bhavanti / adya yasminkAle bhavAn AyAtaH zvaH so'pi tasminneva kAle samAgamiSyati / yadi vA yasminneva kAle kSaNAdau vidyudAderjanma yadi tasminneva kAle vinazyet nAtmalAbhakAlAva' tiSThadityarthaH / AkAlikA AkAlikI vA vidyut AjanmakAlameva bhavantI janmAntaravinAzinI UrdhvamananuvartamAnA evamucyate / evaM dvedhA api Adireva antaH bhavati / athavA nipAtanasyeSTaviSayatvAt samAnakAlasyA''kAlAdezaH / uktaM cA'tra viSaye'bhayanandibhirjanendramahAvRttau " samAnakAlAvAdyantau / asya AkAlikaH stanayiluH ( meghH)| AkAlikI vidyut / yastu prAdilakSaNe se AkAla iSTaH 'AvRttakAlaH ISatkAlaH vA AkAlaH ' iti tasmAt uJca ThazceSyate / AkAlikI AkAlikA vidyut " [jai. ma. vR. 3 / 4 / 103 ] / bhaTTojIdIkSitairapi kaumudyAM 'samAnakAlAvAdyanto yasyetyAkAlikaH / samAnakAlasyAkAla AdezaH / AzuvinAzItyarthaH / ' [1777 / 5 / 2 / 114] meghaH balAhakaH / ka / atra dvayorvaiSamyaM vizadIkRtam / Where this sage, worshipped by all the worlds, possessing soulpower exceedingly difficult to surpass, (and) where this wretched Kamatha, the dovil (or atrociously cruel like a devil ); where the lord of elephants (and) where the gnat; where the excellent meditation with the object of which He was familiarised since very long (and) where the transitory, a compound (or combination) of vapour, fire, water and wind ? kA'yaM devo vilasadaNimAdyaSTabhedasthitarddhi: kAlparddhitvAdgurusurapazuH , kvAdrirAT koplaughH| kkAsyodyogaH ka nu muniguNo durvibhedAH, ka mUka: sandezArthAH ka paTukaraNaiH prANibhiH prApaNIyAH // 18 // anvayaH- vilasadaNimAdyaSTabhedasthitarddhiH ayaM devaH ka alparddhitvAt gurusurapazuH ka ? ka adrirAT ka upalaughaH ? asya udyogaH ka durvibhedAH muniguNAH nu kva ? mUkaH ka paTukaraNaiH prANibhiH prApaNIyAH sandezArthAH kva ? kaaymityaadi| vilsdnnimaadyssttbhedsthitddhiH| vilasantI AvirbhavantI cAsau aNimAdyaSTabhedA aNimAdyaSTaprakArA ca vilsdnnimaadyssttbhedaa| sA cAsau sthitA

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[ pArdhAbhyudave sthitimatI ca / sA Rddhiryasmin / tasmin / yadvA aNimA AdiH pramukhaH yeSAM bhedAnAM te aNimAdayaH / aSTau ca te bhedAzca assttbhedaaH| aNimAdayazca te aSTabhedAzca annimaadyssttbhedaaH| te sthitAH yatra athavA taiH sthitA sthitimatI aNimAdyaSTabhedasthitA / vilasantI cAsau aNimAdyaSTabhedasthitA ca vilasadaNimAdyabhedasthitA / 'puMvadyajAtIyadezIye' iti puMvadbhAvaH / sthitaM sthitiH| 'nabbhAvekto'bhyAdibhyaH' iti ktaH / sthitamasyA astIti sthitaa| 'o'bhrAdibhyaH' iti matvarthIyo'tyaH / vilasadaNimAdyaSTabhedasthitA RddhiH yasya sH| bsH| ayaM devH| ayaM bhagavAn pArzvajinaH / ka kutr| alparddhitvAt / alpA alpapramANA RddhiH yasya saH alparddhiH / tasya bhaavstsmaat| tasya bhAva ityasminnarthe tvH| gurusurapazuH / suraH pazuriva surapazuH / 'vyAghrAdibhirupameyo'tadyoge' iti sssH| guruzcAsau surapazuzca gurusurapazuH / atra guruzabdena tasya pazutvasyA''dhikyaM vyajyate / va kutra / ka kutra / adrirAT / adrINAM rAT rAjA adriraatt| merurityrthH| 'rAjA rAT pArthivakSmAbhRnnRpabhUpamahIkSitaH' ityamaraH / ka kutra / uplaughH| upalAnAM dRzadAM oghaH samuccayaH upalaughaH / 'pASANaprastaramAvopalAdamAnaH zilAdRzat,' 'stomaughanikaranAtavArasavAtasaJcayAH' ityubhayatrA'pyamaraH / asya kamaThacarasya daityasya / udyogaH vyApAraH / kriyetyarthaH / ka kutr| durvibhedaaH| duHkhena vibhidyante iti durvibhedAH / 'svISaddusi kRcchAkRcchre khaH' iti khH| azakyabhedanA ityarthaH / muniguNAH / muneH guNAH munigunnaaH| ka kutra / nu prshne| 'nu pRcchAyAM vikalpe ca' ityamaraH / mUkaH avAk / anena bhagavato dhyAna nimagnatvAt tatkaraNAnAM svakAryakaraNe akSamatvaM dhvnyte| k| pttukrnnaiH| paTUni svakAryakaraNakSamANa karaNAni indriyANi yeSAM taiH| prApaNIyAH praapyitvyaaH| haraNIyAH netuM zakyA ityarthaH / 'zaki liG ca' iti zakyarthe vyo'tra / sndeshaarthaaH| sandizyante iti sndeshaaH| ta evArthAH sndeshaarthaaH| ka / ' sandezaH priyayorvArtA' iti dhnnyjyH| Where this adorable soul whose supernatural power divided into eight parts like minuteness [ aNimAdi] etc., is manifest (and) where that (god) turned into a violent brute on account of possessing superhuman power only partially ? Where the lord of mountains (and) where the heap of stones? Where the exertions of this ( Kamatha and ) where indeed the invincible virtues of the sage? Where the silent (or mute and), where the messages capable of being carried by living beings possessing organs of sense capable of fulfilling their functions. .

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prathamaH sargaH ] . satyapyevaM paribhavapathe yojayan svaM durAtmA matyauddhatyAt svayamupavahana vArivAhacchalena / mAyAyuddhaM munipamupamAkSINako durjayo'yaM .. ityautsukyAdaparigaNayan guhyakastaM yayAce // 19 // anvayaH- evaM sati durAtmA svaM paribhavapathe yojayan matyauddhatyAt svayaM vArivAhacchalena upavahan 'ayaM upamAkSINakaH durjayaH' iti autsukyAt aparigaNayan guhyakaH taM munipaM mAyAyuddhaM yayAce / / satyapyevamityAdi / evaM satyapi durAtmA nIcaH / duSTaH AtmA yasya saH duraatmaa| svaM AtmAnaM / pribhvpthe| paribhavasya parAbhavasya vinAzasya vA panthAH mArgaH pribhvpthH| 'RkpUrappatho't' ityat / yojayan sthApayan / mtyauddhtyaat| mateH buddheH manasaH vA auddhatyAt prakSobhAt kaThoratvAdvA / uddhatasya bhAvaH auddhatyaM / 'rAjapatyantaguNoktirAjAdibhyaH kRtye 'ca' iti bhAve tyaN / svayaM aatmnaa| vArivAhacchalena meghavyAjena / 'chalaM tu skhalite'pi syAt vyAje'picchalamadvayoH' iti vizvalocaneM / upavahana samIpaM gacchan yuddhasannaddho vA bhavan / ayaM bhagavAn / upmaakssiinnkH| upamA upamAnaM kSINaM naSTaM yasya sH| anupamAnaH ityarthaH / 'vAhitAgnyAdiSu' iti saH / durjayaH / duHkhena kRcchreNa jIyate iti durjyH| ajayyaH ityarthaH / iti evN| autsukyaat| yuddhe iSTArthe udyuktatvAt / 'iSTArthodyukta utsukaH' ityamaraH / aparigaNayan avicArayan / guhyakaH kamaThacaraH yakSaH / 'guhyako gopite yakSe' iti vishvlocne| taM munipaM taM muniishvrN| mAyAyuddhaM yyaace| mAyayA viracitaM yuddhaM yayAce yAcate sma / 'TuyAca yAcane' ityasya dvikarmakatvAt 'taM munipaM mAyAyuddhaM yayAce' ityanvayaH / 'duhiyaacirudhiprcchibhikssicitraamupyognimittmpuurvvidhau| bruvizAsiguNena ca yatsacate tadakIrtitamAcaritaM kavinA' iti dvikarmakatvam // ____ Though it was so, the Yaksha, the wretched soul, placing himself in the range of defeat, himself approaching Him under the disguise of a cloud through insolence of his mind, not taking into consideration *This one, having no standard of comparison, is unconquerable,' through eagerness, implored the lord of wages for a fight which was contrived artificially or falsely.

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24 jAtA ramyA sapadi viralairindragopastadA bhUH sevyA kekidhvanitamukharA bhUbhRtAM kuadezAH / yogI tasmiJjaladasamaye prAskhalanAtmadhairyAt kAmArtA hi prakRtikRpaNAzcetanAcetaneSu // 20 // anvayaH - tadA bhUH viralaiH indragopaiH sapadi ramyA jaataa| bhUbhRtAM kekidhvanitamukharAH kuJjadezAH sevyAH ( jAtAH ) / tasmin jaladasamaye AtmadhairyAt yogI na prAskhalat / prakRtikRpaNA hi cetanAcetaneSu kAmArtAH / " jAtetyAdi / tadA tasmin samaye / yadA sa yakSaH bhImajImUtamAyAmasrAkSIt tadetyarthaH / bhUH pRthvI viralaiH pelavaiH / sukumArairityarthaH / indragopaiH raktavarNaiH kITakavizeSaiH prAvRSi jAyamAnaiH / sapadi jhaTiti ramyA ramaNIyA jAtA babhUva / bhUbhRtAM parvatAnAM / kekidhvanitamukharAH / kekinAM mayUrANAM dhvanitaiH dhvanibhiH / ' nabbhAvekto'myAdibhyaH' iti bhAve ktaH nap ca / kekAdhvanibhirirtyathaH / mukharAH vAcAlitAH / ke kAdhvanibhirvAcAlAH kRtA ityarthaH / kuJjadezAH darIpradezAH latAnikuJjabahulAH parvatapradeza vA / kutu na striyAM / nau vatse nikuJje'pi' iti vizvalocane / sevyAH sevituM yogyAH / jAtAH iti zeSaH / arthavazAt vacanavipariNAmaH / tasmin jaladasamaye mAyAnirmitameghe kAle / mAyAnirmitavarSa kAle ityarthaH / AtmadhairyAt AtmanaH manasaH dhIratvAt / ' AtmA brahmamanodehasvabhAva dhRtibuddhiSu' iti vizvalocane / dhyAnaviSayAtmanyaikAgnyAdityarthaH / yogI / yogaH dhyAnaM asyAstIti yogI / dhyAnanimagnastapasvItyarthaH / na prAskhalat AtmadhyAnAnna cyavate sma / prakRtikRpaNAH / prakRtyA nisargataH kRpaNAH kutsitAH / dInAH kAtarAH vigalitadhairyAH ityarthaH / ' kRpaNaH kutsita kumau ' iti vizvalocane / hi eva / yadvA hi yataH hi tAvavadhAraNe ' ityamaraH / cetanAcetaneSu / cetanAzca acetanAzca cetanAcetanAH / teSu / viSayasaptamIyam / kAmArtAH kAmaM ArtAH pIDitAH vikRtAH vA bhavanti / yadvA kAmaH abhilASaH asyA - stIti kAmaH / manaH ityarthaH / 'o'bhrAdibhyaH' ityastyo matvarthIyaH / kAmaH ArtaH yeSAM te kaamaartaaH| vAhitAgnyAditvAt ktAntasya paranipAtaH / vikRtamanaskAH ityarthaH / ye svabhAvato dhIrAH na teSAM manaH cetanAcetanaviSayeSu vikRtimApadyate, svabhAvakAtarANAmeva tatra manovikRteH prAdurbhAvasambhavAt / bhagavataH svabhAvato dhIrodAttatvAn manovikRteH sambhavAbhAvAdAtmadhyAnAtpracyutyabhAvaH iti bhAvaH / 'yogin ' iti praskhale:' iti ca yAca yAcane ' ityasya dvikarmakasya dhoH karmadvayasya pAThau 'satyapyevaM ityatra [ pArzvAbhyudaye 8 8 ,

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prathamaH sargaH ] zloka eva sadbhAvAt tasyottaratrAnvayAsambhavAt prakRtazlokoktavarNanasya kaviproktatvAtkamaThacarayakSaproktatvAsaMbhavAcca prakRtazlokaprayuktAnAM 'tadA' iti ' tasmiJjaladasamaye' iti caiSAM padAnAmanadyatanabhUtArthapratipAdanaparatvAt ' yogin ' iMti 'praskhaleH ' iti ca padayoranadyatanabhUtArthapratipAdanAnarhatvAcca parivartitAvityadhyavaseyaM sudhIbhiH / At that time on account of the delicate Indragopa worms the earth became beautiful at once; the caves of the mountains resounding with the cries of the peacocks became worthy of being resorted to (or being enjoyed). At that time, when there were clouds (in the sky ), the sage, owing to the courageousness of his mind, did not deviate from his right course (i.e. meditation). Those only, who are naturally timid (low spirited ), have their minds disturbed (excited) with respect.to the sentient and the non - sentient. UrdhvakhaM taM munimatighanaiH kAlameghaiH prayukto dhArAsAro bhuvi namayituM nAzakadduHsaho'pi / jAtyAzvAnAmiva bahuguNe bhUbhRtAmugranAmnAM jAtaM vaMze bhuvanavidite puSkalAvartakAnAM // 21 // anvaya :- atighanaiH kAlameghaiH prayuktaH dhArAsAraH duHsahaH api puSkalAvartakAnAM jAtyAzvAnAM bhuvanavidite bahuguNe vaMze jAtaM UrdhvahUM iva puSkalAvartakAnAM ugranAmnAM bhuvanavidite bahuguNe vaMze jAtaM ta Urdhvaju muni bhuvi namayituM na azakat / UrdhvakSumityAdi / atighanaiH atisAndraiH kAlameghaiH kRSNavarNameghaiH / jalapUrNatvAt saMjAtakRSNavarNarityarthaH / prayuktaH vihitaH dhArAsAraH dhArANAM jaladhArANAM AsAraH vegvdvrssH| 'AsAro vegavadvarSam' ityamaraH / duHsahaH api| duHkhena kRcchraNa sahyate iti duHsaddaH / azakyasahana ityarthaH / puSkalAvatakAnAM / puSkalAH nirdoSAH AvartAH lakSaNavizeSAH yeSAM te puSkalAvatakAH / teSAM / 'vizade puSkalAmalam' iti dhanaJjayaH / jalAvartasadRzAkAraH kezaviracitaH lakSaNavizeSaH AvartaH / jaatyaashvaanaaN| jAtyAH kulInAzca te azvAzca jAtyAzvAH / 'jAtyaM kulIne zreSTha'pi' iti vizvalocane / teSAM / bhuvnvidite| bhuvaneSu vidite bhuvanavidite / lokaprasiddha ityarthaH / 'buddhaM budhitaM viditaM manitaM pratipannamavasitAvagate' ityamaraH / 'matibuddhipUjArthebhyaH ktaH' ityAdinA ktAntasya vartamAnArthatve 'ktasya cAdhArasatoH' iti bhuvanazabdasya tAntatAniyamAt samAsaH na syAt 'kartari ktena' iti Saso niSedhAt / bahuguNe / bahavaH *

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26 [pArdhAbhyudaye guNAH azvayogyA yasmin tasmin / vaMze anvaye jAtaM samutpannaM / UrdhvakhaM 'avaMjAnuM / 'UrdhvazurUrdhvajAnuH syAt' ityamaraH / 'vordhvAt' iti UrdhvAt parasya jAnuno vA juH| Urve jAnunI asya uurdhvjH| tam / iva puSkalAvatakAnAM / puSkalaM nirmalaM / zuddhAtmAnamityarthaH / Avartayanti cintayanti iti puSkalAvartakAH / te yeSAM santIti pussklaavrtkaaH| 'o'bhrAdibhyaH' ityaH / teSAM / yeSAM kule zuddhAtmadhyAnAnAM munInAM paramparA AsIt teSAM / ugranAmnAM ugrAbhidhAnAnAM bhuvanavidite lokaprasiddha bahuguNe nAnAguNe vaMze anvaye jAtaM sambhUtaM taM Udhvachu UrdhvajAnuM muni yoginaM bhuvi bhUmau namayituM namrIkartuM / na azakata na zaknoti sma / taM dhyAnA - zayituM samartho nA'bhavaditi bhAvaH / azakaditi svAdigaNagatasya zaknoteluGantasyo ttamapuruSasyaikavacanAntaM rUpaM / The showers of rain poured by the dark clouds, assembled very densly, could not make him, the long- shanked one born in the family of the Ugra Kshatriya clan, cndowed with many good qualities, having a good number of persons that were very learned or had initiated into monkhood, and welknown in the whole world, bend down on the ground like the long - shanked horse, born in the race of excellent horses bcaring auspicious marks, endowed with a large number of good qualities and welknown in the whole world. bhUyaH kSobhaM gamayitumanA: svAntavRttiM munIndo cATatvaM pracikaTayiSu/ramevaM jajRmbhe / bho bho vIra sphuTamiti bhavAn mayyagAdalpamRtyu jAnAmi tvAM prakRtipuruSaM kAmarUpaM maghonaH // 22 // anvaya :- munIndoH svAntavRttiM bhUyaH kSobhaM gamayitumanAH vAcATatvaM pracikaTayiSuH 'bho bho vIra! (yaH) bhavAn mayi alpamRtyu agAt (taM ) tvAM maghonaH kAmarUpaM prakRtipuruSaM sphuTaM jAnAmi' iti evaM dhIraM jjRmbhe|| bhUyaHkSobhamityAdi / muniindoH| muniH induH iva muniinduH| tasya / ' vyAghrAdibhirupameyo'tadyoge' ityupamitasamAsaH / atra munarindutulyatvaM sukhazAntipradatvAt / svAntavRttiM / svAntasya manasaH vRtti pravRttiM / dhyAnakatAnatArUpAmityarthaH / kSobhaM vikRti gamayitumanAH prApayitumicchan / 'samtumo manaHkAme' iti tumo

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prathamaH sargaH] makArasya khaM / vAcATatvaM / vAcATasya vAcAlasya bhAvaH vAcATatvaM / yo nissAraM bahu jalpati sa gardAyAM dyotyAyAM vAcAlo vAcATa iti vA nigadyate / 'kSipyAlATau' iti garhAyAmATaH / pracikaTayiSuH prakaTIkartumicchan / 'sanbhikSAzasvidicchAduH' iti snnntaaduH| bho bho vIra he zUra yaH bhavAn tvaM mayi kamaThacare / alpamRtyu / alpazcAsau mRtyuzca alpamRtyuH / tam / agAt gacchati sma / taM tvAM bhavantaM jAtarUpadhAriNaM / maghonaH indratulyasya / maghavA iva maghavA / anenAravindamahArAjasya maghavattukhyatvaM indrezvaryatvAt / 'devapathAdibhyaH' itIvArthasya kasyos / yadvA maghaH sukhaM asyA'stIti maghavAn / athavA mahaH pUjA asyAstIti maghavAn / svaprajAbhiH pUjita ityarthaH / hasya ghH| " 'zvannukSanplUSanplIhankledanUtrehanmUrdhanmajannayamavizvapsanparijanmAtariSvanmaghavanniti' [u. 165 pA.] / 'maha puujaayaaN'| hasya ghaH vugAgamazca" iti bhaTTojIdIkSitaH / indrtulyaishvrysyaarvindmhaaraajsyetyrthH| yadvA lokairAhatasyAravindamahArAjasyetyarthaH / kAmarUpaM / kAmasya kAmadevasya rUpamiva rUpaM yasya saH / yadvA kAmarUpamiva rUpaM asya kAmarUpaH / tam / 'IbupamAnapUrvasya dyukhaM vaktavyaM' (jai. vA.) iti upamAnapUrvasya rUpazabdasya khaM / prakRtipuruSaM pradhAnapuruSaM / prdhaanaamaatymityrthH| 'prakRtistu sattvarajastamasAM sAmyamAtrake / svabhAvAmAtyapAreSu liGge yonau tathA''tmani' iti vizvalocane / sphuttN| pravyaktaM yathA syAt tathA / 'sphuTo vyakte praphulle ca vyAptavat viSvapi triSu' iti vizvalocane / jAnAmi pratyabhijAnAmi / iti evN| amunA prakAreNetyarthaH / dhiirN| dhairyeNa yathA syAt tthaa| jajRmbhe jRmbhate sma / bhaNituM mukhaM vyAttavAnityarthaH / 'jubhI gAtravinAme' ityasmAliT / He, desirous of displaying his talkativeness with the intention of exciting again the mind of the sage, opened his mouth to say courageously "O you, a brave one, I have evidently recognised you to be the minister, who had died an untimely death on account of me, and who was as beautiful as the god of love. yenA'guSminmavajalanidhau paryaTana naikadhA mAM ___ styarthe svyarthe paribhavapadaM prApipastvaM prmttm| kRcchAllabdhe punariti cirAdvairaniryAtanAyAM tenArthitvaM tvayi vidhiSazAdUrabandhurgato'ham // 23 / / anvaya :---- yena amuSmin bhavajalanidhau paryaTan tvaM syarthe styarthe pramattaM mAM

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... [pArdhAbhyudaye paribhavapadaM ekadhA na praapipH| tema iti punaH vidhivazAt kRcchrAt cirAt labdhe tvayi dUrabandhuH ahaM vairaniryAtanAyAM arthitvaM gataH / yenetyaadi| yena yasmAt kAraNAt amuSmin asmin bhavajalanidhau / bhavaH saMsAraH jalanidhiriva bhavajalanidhiH / 'vyAghrAdibhirupameyo'tadyoge' iti sH| yadvA bhavaH evajalanidhiH bhavajalAnidhiH / tatra / jalanidhiH sAgaraH / saMsArasyAnAdyanantatvAdvipavdyAlAkulatvAcca sAgaropamatvam / paryaTana paribhraman / tvaM vyarthe syarthe kAminyartha / AbhIkSNye dviH / pramattaM unmattaM mAM paribhavapadaM paribhavAvasthAM ekadhA ekena prakAreNa / ' svaividhArthe dhA' iti prakArArthe dhaa| na prApipaH na prApayasi sma / anekadhA prApayasi smetyarthaH / ApayateluDo madhyamapuruSaikavacanam / tena tena kAraNena / iti itthaM / amunA prakAreNetyarthaH / punaH bhUyaH / vidhivazAt daivavazAt / 'niyatirvidhiH ' ityamaraH / kRcchAta mahatA kaSTena cirAt cirakAlena labdhe prApte svayi bhavati marubhUticare bhagavati paarshvnaathe| drbndhuH| dUraH dUraMgataH bndhuH| te pUrvabhavabhrAtA yadvA dUraH bandhuH sambandhI yasya saH / bsH| ahaM kamaThacaro yakSaH / vairaniryAtAnAyAM vairazuddhyarthaM / ' vairazuddhiH pratIkAro vairaniryAtanaM ca sA' ityamaraH / arthitvaM yAcakatvaM gataH praaptH| asmIti zeSaH / As you, moving in the ocean - like world, did not insult me in one way only who had gone mad after females, I, whose relative is abroad request you who are fortunately found after a long time with a great difficulty, for the sake of taking a bloody vengeanco ( upon you ). tasmAdvIraprathamagaNanAmAptukAmastvakaM cet pUrvaprItyA subhaTa ! saphalAM prArthanAM me vidhatsva / kAlAdyAce paramapuruSaM tvA'bhiyAyA'dya yuddhaM yAcyA moghA varamadhiguNe nAdhame labdhakAmA // 24 // anvaya :- tasmAt (he ) subhaTa ! tvakaM vIraprathamagaNanAM AptukAmaH cet pUrvaprItyA me prArthanAM saphalAM vidhatsva / tvAM paramapuruSa adya abhiyAya kAlAt varaM yuddhaM yAce / adhiguNe yAcA moghA na, adhame labdhakAmA na / yadvA adhiguNe moghA yAJA varaM, adhame labdhakAmA varaM na / .: tasmAdityAdi / tasmAt tena kAraNena / tvkN| anukampitaH tvaM tvakaM /

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prathamaH sargaH] 'anukampAtannItyoH' ityanukampAviSayAyAM sAmanItau gamyamAnAyAM kan / vIraprathamagaNanAM / vIreSu prathamaH utkRSTaH iti gnnnaa| tAM / AptukAmaH / AptuM kAmaH yasya saH / 'samtumo manaH kAme' iti tumo makArasya khaM / cet ydi| pUrvaprItyA / pUrvasmin marubhUtibhave yA tava mayi kamaThacare prItirAsIt tyaa| me mama prArthanA yAcanAM vidhatsva kuru / saphalAM kurvityarthaH / jAtarUpadhAritvAdinA'nukampanIyAmavasthAM prApte tvayi vIraprathamagaNanAmAptukAmatvaM na sambhavatyeva / tathApi tvaM vIraprathamagaNanAmAptukAmo'si cet me yuddhArthI prArthanAM saphalAM kurviti tAtparyam / tvA tvAM paramapuruSaM paramaM puruSaM / mahAtmAnamityarthaH / abhiyAya jJAtvA prApya vA adya adhunA kAlAt kAlaM sandhi avakAzaM vA prApya / 'pyakhe karmAdhAre' iti pyakhe kaa| varaM mahat utkRSTaM vA / yuddhaM saGgrAmaM / yAce praarthye| yataH adhiguNe adhikaguNe / guNAdhike ityarthaH / yAcyA prArthanA moghA viphalA na na bhvti| adhame nIce labdhakAmA saphalA na na bhavati / tvamadhiguNo'si cet tvayA me prArthanA'vazyaM sphliikrtvyaa| no cet tAM saphalAM vidhAsyasi tavAdhamatvaM setsyatyeveti bhaavH| yadvA adhiguNe moghA yAJcA varaM, adhame labdhakAmA sA na varaM iti manasi vidhAya tvAM paramapuruSaM jJAtvA tvAM yuddhaM yAce / ataH paramapuruSatvAt tvayA me prArthanA saphalIkartavyeti hRdayam / O you! a veteran soldier, if at all you, therefore, are desirous of your being looked upon as the first among the brave, through your former love for me grant my request. Finding this opportunity, I, taking you to be the highest soul, request you for a good fight. A request made to one possessing superior qualities never turns to ineffectiveness and made to the wretched one to effectiveness. (Or A request made to one possessing superior qualities is rather better, though turned to ineffectiveness, but it, though to effectiveness, is not better when it is made to the wretched one.). jetuM zakto yadi ca samare mAmabhIka prahatya svargastrINAmabhayasubhagaM bhAvukatvaM nirasyan / pRthvyA bhaktyA ciramiha vahan rAjayuddhveti rUDhiM santaptAnAM tvamasi zaraNaM tat payodapriyAyAH // 25 // anvayaH- (he) abhIka samare (mAM) prahRtya santaptAnAM svargastrINAM

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30 [pArdhAbhyudaye abhayasubhagaM bhAvukatvaM nirasyan , pRthvyA bhaktyA 'rAjayuddhvA' iti rUDhiM iha ciraM vahan mAM jetuM yadi zaktaH tat payodapriyAyAH tvaM zaraNaM asi / jetumityAdi / he abhIka kAmuka nirbhaya vA / 'abhIko nirbhayArakavikAmiSu vAcyavat' iti vizvalocane / atra kAmukArthasyA'bhIkazabdasya grahaNameva yuktaM bhAti 'kSINakleze siSidhuSi matiM kiM nidhatte'Ggitattve / kaNThAzleSapraNiyini jane kiM punrsNsthe|' ityatra duSTAbhiprAyeNa kamaThacareNa yakSeNa bhagavato dhyAnakatAnasya kAmukatvasya dhvanitatvAt / kAmukasya samaravyApArAbhilASatvaM na sambhavati tathApi te samaravyApAre'bhilASo'stIti cediti manasikRtyAha samaretyAdi / samare raNe prahRtya astreNa hatvA santaptAnAM tvadvirahasaJjAtaduHkhAnAM svargastrINAM devAGganAnAM abhayasubhagaM abhayAt tvatsamAgamaviSaye kuto'pi bhayAbhAvAt subhagaM zobhanaM bhAvukatvaM sukhitvaM nirasyan pariharan / zubhabhAvArjitapuNyasya jAtarUpadhAritvAt asyAdipraharaNavikalatvAt yuddhabhUmI tava maraNasyA'vazyaMbhAvitvAt tvatsamAgamaviSaye bhayakAraNAbhAvAt samutpadyamAnaM sukhaM tvayA yuddhe mAM dhanatA svarakSaNaM ca kurvatA devabhUyatvamaprApnuvatA nirAkRtaM bhvti| tathA ca syabhilASukasya kAmukasya te striyaH prAptyasambhavAt duHkhameva jAyateti bhAvaH / pRthvyA bhaktyA mahatA premNA / 'raajyuvaa'| rAjAnaM yakSaM yoMdhitavAn iti rAjayuddhvA / yakSayodhakaH ityarthaH / 'rAjasahe yudhikoH' iti kanip / 'rAjA candre nRpe zakre kSatriye prabhuyakSayoH' iti vishvlocne| iti evamprakArAM rUDhiM prasiddhiM iha atra bhuvi ciraM cirakAlaM vahan dharan yadi ca mAM jetuM zaktaH samarthaH / asIti zeSaH / tat tarhi payodapriyAyAH payodasya bhagavadupasargasarjane payodharAkAradhAriNo yakSasya mama priyAyAH preyasyAH tvaM bhavAn zaraNaM rakSitA asi bhvti| 'zaraNaM gRharakSitroH' ityamaraH / tvatpraharaNaprahAraprahRtajIvitasya mama matpriyayA sambhavAt madvirahajanitamAraNAntikaduHkhasya parihRteH tvameva tasyAH prANAnAM rakSakaH bhaviSyasIti bhAvaH / Oh libidinous one, attacking me in the battlefield, if you, dispelling the happiness, which, being free from all fears, is growing vigorously or flourishing, of the heavenly damsels, assuming the famous title - Rajayuddhva' [ rAjayuddhvA ] for a long time with great delight, are able to defeat me, then you are the saviour of the beloved lady of mine who lias assumed the form of a cloud. yAce devaM madasihatimiH prApya mRtyu nikArAt mukto vIrazriyamanubhava svrgloke'psrobhiH|

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prathamaH sargaH] naivaM dAkSyaM yadi tava tataH preSyatAmetya tUSNIM sandezaM me hara dhanapatikrodhavizleSitasya / / 26 // anvayaH-- madasihatibhiH mRtyu prApya nikArAt muktaH (tvaM) svargaloke apsarebhiH vIrazriyaM anubhava ( iti ) devaM yAce / yadi tava evaM dAkSyaM na tataH tUSNIM preSyatAM etya dhanatikrodhavizleSitasya me sandezaM hr| yAce devamityAdi / madasihatibhiH / mama asiH khaGgaH, madasiH / tasya hatibhiH aaghaatH| mRtyu prApya maraNaM samprApya nikArAt paribhavAt muktaH saJjAtamokSaH / 'nikAro viprakAraH syAt' ityamaraH / svargaloke devaloke apsarobhiH devAGganAbhiH saha / devastriyetyarthaH / 'striyAM bahuSvapsarasaH' ityamaraH / vIrazriyaM vIralakSmI anubhava nirviza / saGgrAme saJjAtamRteH svargaprAptirbhavatItyanye tArthikAH / yakSasyAsaJjAtasamyakvAdiyamuktiH samIcInA / yadi tava evaM evaMvidhaM dAkSyaM sAmarthya na nAsti cet tataH tadA tUSNIM joSaM preSyatAM bhujiSyatvaM / 'niyojyakiGkarapreSyaparicArakAH ' ityamaraH / etya samprApya / dhanapatikrodhavizleSitasya / dhanapatiriva dhanapatiH / ' devapathAdibhyaH , itIvArthasya ksyos| kuberasadRzasyAravindamahArAjasya krodhena kopena vizleSitasya preyasyAH dUrIkRtasya me mama yakSasya kamaThacarasya sandezaM vArtA hara naya / matpreyasI prati prApayetyarthaH / yadvA dhanapatiH kuberH| tasya krodhena kopena vizleSitasya vizleSaM viyogaM prApitasya mama yakSasya kamaThacarasya sandezaM vArtA hara naya / dhanapatitulyenAvindamahArAjena vasundharAgamanakodhitena vasundharAyA viyojitasya mama tasyAzca vibhinnadezodbhavAdviyoga. syAnyabhave'pi pUrvavadeva vidyamAnatvAdasaJjAtamIlanatvAt matto viyuktAM tAM mama preyasI prati sandezaM nayeti bhAvaH / I request you that you, got clear away from humiliation by putting an end to your life by the strokes of my sword, should enjoy happiness derived from the highest position of a warrior along with the heavenly damsels in the heavenly world. If you have not got ( if you are devoid of ) such a capacity, then, having become my messengesr silently (i. e. without any grudge ) convey a message of mine whose separation (from the beloved ) is caused by the anger of the Kubera - like King ( Aravinla.)

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32 AdyaH kalpastava na sukaro durghaTatvAnnaM cAntyaH zlAghyo dainyAnmunimata tato madhyakalpAzrayaste zreyAMstasmin sukhamanubhaverapsarobhistaduccaiH gantavyA te vasatiralakA nAma yakSezvarANAm // 27 // yasyAM rAtrerapi ca vigame dampatInAM vidhatte / prIti prAtastananidhuvana glAni muccairharantI / dRSTA sA satatavirahotkaNThitaizcakravAkaiH bAhyodyAnasthitaharazirazcandrikA dhautaharmyA | 28 // anvayaH - durghaTatvAt AdyaH kalpaH tava sukaraH na, dainyAt ca antyaH zlAdhyaH na / tataH he munimata ! madhyakalpAzrayaH te zreyAn / tasmin apsarobhiH uccaiH sukhaM anubhaveH / tat yasyAM (yA ) rAtreH vigame api dampatInAM prAtastana nidhuvana * glAniM uccaiH harantI prItiM vidhatte sA dhautaharmyA bAhyodyAnasthitaharazirazcandrikA satatavirahotkaNThitaiH cakravAkaiH sAkhaM dRSTA yakSezvarANAM alakA nAma vasatiH te gantavyA 4 [ pArzvAbhyudaye , 8 3 AdyaH kalpa ityAdi / durghaTatvAt / duHkhena ghaTayate iti durghaTaM / ' svISadusi kRcchrAkRcchre khaH ' iti khaH / tasya bhAvaH durghaTatvaM / tasmAt / AdyaH prathamaH kalpaH prakAraH jetuM zaktaH ' ityAdizlokena varNitaH / ' kalpo brAhmadine nyAye pralaye vidhizAntayoH ' iti vizvalocane / tava te sukaraH sukhena kriyate iti sukaraH / sukhasAdhyaH ityarthaH / na na bhavati / dainyAt dInatvAt hetubhUtAt ca antyaH ante bhavaH antyaH / caramaH ityarthaH / ' naivaM dAkSyaM ' ityAdi zlokArthena pratipAditaH zlAdhyaH na zlAghanIyaH prazaMsanIyaH na bhavati / tataH tasmAt kAraNAt / he munimata ! anumata ! munibhiH mataH anumataH / tasya kiH / ' mato'cite'pyanumate iti vizvalocane / mana jJAne ' ityasmaddhoH ' taH iti bhUte tasaMjJakaH ktastyaH / manute sma mataH / ' trInmatyacArthazIlpAdibhyaH ktaH' ityAdinA vartamAnArthatve ktasya cAdhArasatoH ' iti tAntatvasya niyamAt sasyA'bhAvaH, ' kartariktena ' ityanena tasya niSiddhatvAt / madhyakalpAzrayaH / madhyazcAsau kalpazca madhyakalpaH / tasya AzrayaH AzrayaNaM / svIkaraNamityarthaH / te tava zreyAn atizobhanaH / ' zreyAn zreSThaH puSkalaH syAt khattamazcAtizobhanaH ' ityamaraH / tasmin madhyakalpAzrayaNe kRte sati, svarge vA apsarobhiH divyAGganAbhiH uccaiH atizayena / atyarthamityarthaH / sukhaM anubhave 8 > C

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prathamaH sargaH] 33 anubhava / tat tasmAt kAraNAt yasyAM alakAkhyanagaryA yA rAtreH nizAyAH vigame avasAne dampatInAM jAyApatInAM / ' dampatI jampatI jAyApatI bhAryApatI ca tau' ityamaraH / jAyA ca patizca jampatI' rAjadantAditvAjjAyAzabdasya jmnipaatH| prAtastananidhuvanaglAniM / prAtarbhavaM jAtaM vA prAtastanaM / 'sAyaMciraMprANepragajheH' iti bhavArthe jAtArthe vA tanaT / prAtastanaM nidhuvanaM maithunaM ca prAtastananidhuvanaM maithunaM ca prAtastananidhuvanaM / 'maithunaM nidhuvanaM ratam' ityamaraH / tasya glAniH AyAsaH / prAtastananidhuvaglAniH / tAm / ' glAjyAho niH' iti bhAve niH / uccaiH atyarthaM harantI vinAzayantI prItiM sukhaM / ' mutprItiH pramado harSaH' ityamaraH / vidhatte janayati / sA dhautahamyoM dhautAni dhavalIkRtAni hoNi prAsAdAH yayA sA dhautahA / bAhyodyAnasthitaharazirazcandrikA bAhyaM ca tat udyAnaM ca bAhyodyAnaM / tatra sthitazcAsau harazca / tasya zirasi zirobhAge sthitA candrikA bAhyodyAnasthitaharazira. zvandrikA / / seva candrikA candrodyotaH / 'devapathAdibhyaH' itIvArthasya kasyos / candrikAyAH prazastataratvakhyApanArtha bAhyodyAnasthitaharazirazcandrikayA sAmyaM varNitamiti vijJeyaM / satatavirahotkaNThitaH satatamavirataM viraheNa svajAyAyAH viyogena utkaNThitaiH saJjAtotkaThaiH / 'satatAnAratAzrAMtasantatAviratAnizam ' iti 'utkaNThokalike same' iti cA'maraH / utkaNThA sajAtA yeSAM te utkaNThitAH / taiH / tadasya saJjAtaM tArakAdibhya itaca' itatic / cakravAkaiH kokaiH / 'kokazcakrazcakravAkarathAGgAhvAyanAmakaH ' ityamaraH / sAsraM azrupAtena saha yathA syAt tathA dRSTA avalokitA sA yakSezvarANAM / yakSANAmIzvarAH yakSezvarAH / teSAM / alakAnAma alakAbhidhAnA vasatiH nivAsasthAnam / 'vasatI. rAtrivezmanoH' ityamaraH / te, tvayA gantavyA yAtavyA / tvayA tatra gantavyamityarthaH 'vyasya vA kartari tA iti kartari vyasya prayogAt / Oh you, praised by sages I the first alternative being very difficult to give effect to is not easy to be achieved by you and the last one is not appreciable owing to humiliation. A recourse to the middle alternative is, therefore, better for you. Enjoy happiness there (in the heaven) along with the heavenly damsels. Alaka, the place of residence of the lords of the Yakshas, wherein the moonlight, very bright like the one emanating from the forehead of Hara staying in the external garden, looked at with tears by the Chakrawaka birds miserable owing to their being continuously separated (from their beloveds ), brightening the palatial buildings pArzvabhyudaye...3

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34 [ pArzvAbhyudaye therein, giving delight to the couples even at the end of night by quelling greatly the langour brought into being by the matitunal sexual enjoyment, should, therefore, be visited by you. matta mRtyuM samadhigatavAn yAsyasISTAM gatIM tAM yasmin kAle vidhutasakalopaplavastvaM sukhena / draSTArosdhoniyamitadRzo divyayopAssatoSAH tvAmArUDhaM pavanapada mudgRhItAlakAntAH // 29 // anvaya :--- mattaH mRtyuM samadhigatavAn vidhutasakalopaplavaH tvaM yasmin kAle tAM iSTAM gatiM sukhena yAsyasi ( tasmin kAle ) pavanapadavIM ArUDhaM tvAM udgRhItAlakAntAH satoSAH divyayoSAH adhoniyamitadRzaH ( satyaH ) draSTAraH / 8 matto mRtyumityAdi / mattaH matsakAzAt mRtyuM maraNaM samAdhigatavAn prAptavAn vidhuta sakalopalavaH / vidhutaH vinAzitaH sakalaH nikhila : upaplavaH utpAtaH yena saH / -- utpAte viplave caiva saiMhikeye'pyupaplavaH' iti vizvalocane / tvaM bhavAn yasmin kAle yadA tAM iSTAM abhilaSitAM AzaMsitAM / 'iSTo nA yAgasaMskArayogayoH RtukarmaNi / klIvaM priyatame pUjye'pyAzaMsite'piM ca' iti vizvalocane / gatiM uttarabhavaM / svargamityarthaH / sukhena Anandena yAsyasi gamiSyasi / tasmin kAle pavanapadvIM pavanasya samIraNasya padavI mArgaH / tAM / panthAnaH padavI sRtiH ityamaraH / AkAzamityarthaH / ArUDhaM prAptaM / tvAM bhavantaM / udgRhItAlakAntAH udgRhItAH UrdhvaM nItAH alakAnAM cUrNakuntalAnAM antAH agrANi yAbhiH tAH / 'alakA cUrNakuntale' iti vizvalocane / satoSAH toSeNa sahitAH / ' vA nIcaH iti sahasya saH / divyayoSAH / divi bhavAH divyAH / divyAzca tAH yoSAzca divyayoSAH / devAGganAH / 'strI nArI vanitA mugdhA bhAminI bhIruraGganA / lalanA kAminI yoSidyoSA sImantinI vadhUH ' iti dhanaJjayaH / adhoniyamitadRzaH / adhaH adhastanapradeze niyamite nizcalIkRte dRzau yAbhistAH / satyaH / draSTAraH prekSiSyante / dRzerluT / tvallAbhasamutsukAH tvAM prekSiSyante ityarthaH / , When you, dying a death brought about by me, with all the evils dispelled, will be going happily to that destined place longed for by you, the satisfied leavenly damsels with the ends of their hair held up, will, with their eyes ( or sight) fixed down, have a look at you, climbed high up in the sky.

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prathamaH sargaH ] 35 divye yAne tridivavanitAliGgitaM vyomamArge sanmANikyAbharaNakiraNadyotitAGgaM tadAnIm / gAM gacchantaM navajaladharAzaGkayA'dhaH sthitAstvAM prokSiSyante pathikavanitAH pratyayAdAzvasantyaH // 30 // anvaya :- tadAnIM vyomamArge divye yAne tridivavanitAliGgitaM sanmANikyAbharaNakiraNadyotitAGga gAM gacchantaM adhaH sthitAH pathikavanitAH navajaladharAzaGkayA pratyayAt AzvasantyaH tvAM prekSiSyante / divye yAne ityaadi| tadAnIM tvadgamanasamaye vyomamArge AkAzamArge 'dyodivau dve striyAmanaM vyoma puSkaramambaraM / nabhontarikSaM gaganamanantaM suravama kham' itymrH| tridivavanitAliGgitaM tridive svarge nivasantyaH vanitAH striyaH tridivvnitaaH| tAbhiH svargastrIbhiH AliGgitaM / upagUDhaM tridivavanitAliGgitaM / devAGganopagUDhamityarthaH 'svaravyayaM svrgnaaktridivtridshaalyaaH| suraloko dyodivau dve striyAM klIbe triviSTapam' itymrH| snmaannikyaabhrnnkirnndyotitaangg| santi zobhanAni ca tAni mANikyAni ca sanmANikyAni / taiH nirmitAni AbharaNAni bhUSaNAni sanmANikyAbharaNAni / teSAM kiraNaiH razmibhiH dyotitAni bhAsvanti aGgAni gAtrANi yasya tm| 'satye sAdhau vidyamAne prazaste'bhyahite'pi san' iti alaGkArastvAbharaNaM' iti caa'mrH| gAM svrgbhuvN| 'svargeSu pshuvaagvndingnetrghRnnibhuujle| lakSyadRSTayA striyAM puMsi gauH' ityamaraH / gacchantaM yAntaM. bhavantaM adhaH bhUmipradeze / sthitAH sthitimatyaH / pathikavanitAH pathikAnAM pAnthAnAM vanitAH striyH| panthAnaM yAti pathikaH / 'pathaSThaT' iti pathizabdAt ThaT / 'pAnthaH pathika ityapi' ityamaraH / 'strI nArI vanitA mugdhA' iti dhnnyjyH| nvjldhraashngkyaa| navazcAsau jaladharazca navajaladharaH navameghaH ityarthaH / tasya AzaGkA sandehaH / navajaladharAzaGkA / tyaa| pratyayAt kAntapratyAgamanavizvAsAt tdaagmnnishcyaadvaa| 'pratyayaH zapathe hetau jnyaanvishvaasnishcye| sannAdyadhInarandhreSukhyAtatatvAcArayorapi' iti vizvalocane / AzvasantyaH AnandinyaH tvAM prekSiSyante bhavantamAlokayiSyante / 'GyuginnaJcoH' iti kii| At that time, the travellers' wives becoming glad owing to their being convinced of their husbands return on account of their having entertained a doubt of a new cloud, will then see you seated in a celestial car in the sky with the damsels embracing you and

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36 [pArzvabhyudaye with your body illuminated by the rays emanating from ornaments studded with jewels. the syAdAkUtaM mama na purataH svasthavIrAgraNIryaH tiSThedekaM kSaNamiti na taM sAmprataM hntumiishH| nanveSo'haM vada bhaTamataH kIrtilakSmIpriyo vA kaH sannaddhe virahavidhurAM tvayyupekSeta jAyAM // 31 // anvaya :- yaH svasthavIrAgraNIH mama purataH eka kSaNaM tiSThet taM sAmprataM hantuM IzaH na iti na ( iti) AkRtaM (te) syAt (cet ) eSaH ahaM nanu ! kaH vA bhaTamataH kIrtilakSmIpriyaH virahavidhurAM jAyAM tvayi sannaddhe ( sati ) upekSeta ? syAdAkUtamityAdi / yaH kazcana puruSaH svsthviiraagrnniiH| svasthaH dhairyavAn / vIreSu zareSu agraNIH zreSThaH viiraagrnniiH| 'grAmAgrAnnIH' iti nasya NaH / svasthazcAsau vIrAgraNIzca svasthavIrAgraNIH / mama pArthAbhidhasya me purataH agre / ' syAt puraH purato'grataH' ityamaraH / tiSThet vaset taM taM puruSaM sAmprataM smprti| zIghramItyarthaH / 'etarhi sampratIdAnImadhunA sAmprataM ' ityamaraH / sampratyeva sAmprataM / svArthe'N / hantuM vinAzayituM / IzaH samarthaH / na iti na / samartho'smyevetyarthaH ' dvau nau prakRtArtha gamayataH' iti nyAyAt / iti te tava AkRtaM abhiprAyaH / 'AkRtamAzayaH' iti . koSaH kSIrasvAmyudhdRtaH / 'svAntamAsvanitaM cittaM ceto'ntaHkaraNaM mnH| hRdayaM vizikhAkRtaM' iti dhnnyjyH| syAt bhavet cet eSaH ahaM eSo'haM pratyakSataH tava purataH tiSThAmi / yadi te svasthavIrAgraNIhananasAmarthyamasti mAmeva jahi / vIrazreSThAstu dUre eva santu / kaH vA bhaTamataH bhaTaiH mataH AdRtaH, bhaTaH iti mataH vaa| kiirtilkssmiipriyH| kIrtizca lakSmIzca kiirtilkssmyau| te priye yasya saH 'priyaH / iti priyazabdasya pUrvanipAtasya vaikalpikatvAt paranipAtaH / kIrtilakSayoH priya iti tApasovA / viraha vidhuraaN| viraheNa vipralambheNa vidhurA duHkhitaa| tAM / 'vidhuraM vikale'nyavat' iti vishvlocne| jAyAM kAntAM tvayi bhavati pArzve marubhUticare sannaddhe sajjIbhUte sati / yuddhArtha kRtaparikare stiityrthH| 'sannaddho varmitaH sajjaH' ityamaraH / upakSeta upekSAM vidadhyAt / matkRtAparAdhajanitena krodhena niSkAsitasya me adyayAvat kIrtilakSmIbhyAM viraho jaatH| adya tvayA'mA yuyutsurahaM yadi tvAM jeSyAmi me kIrtilakSmyoH punaH prAptiravazyaM bhaviSyatIti na tvAmupekSe iti kmtthaabhipraayH| mama

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37 prathamaH sargaH] puraH tiSThantaM svasthavIrAgraNIM zIghraM ghAtayituM samartho'smyeveti yadi te pArzvasya marubhUticarasyAbhiprAyaH, eso'haM tava puratastiSThAmi / ataH mAmeva hantuM yuddhasannaddho zIghraM bhaveti kamaThacaro yakSo dhyAnakatAnaM bhagavantaM yuddhe prerayitukAmaH uvaacetybhipraayH| . If you think you are strong enough to kill without delay the foremost of the resolute ( bold ) warriors who shall stand before you for a moment, here am I indeed ( before you)! What man, looked upon as a warrior (vr highly esteemed by warriors ) to whom Kirti and Laxmi are dear [ or who is the lover of Kirti ( fame ) and Laxmi ( success) or who has Kirti and Laxmi as his belovods ], can connive at his beloved who is distressod by separation when you are ready for giving a fight? zrutvA'pyevaM bahunigaditaM jopamevA'yamAste __ yogIyogAnna calatitarAM pazya dhIratvamasya / strImmanyo vA bhayaparavazaH so'yamAste dhigastu na syAdanyo'pyayamiva jano yaH parAdhInavRttiH // 32 // anvayaH - evaM bahunigaditaM zrutvA api ayaM yogI joSameva Aste; yogAt na calatitarAM; asya dhIratvaM pazya / strImmanyaH vA ayaM / dhigastu / yaH ayaM iva parAdhInavRttiH saH anyaH janaH bhayaparavazaH na Aste ? [ yadvA saH ayaM bhayaparazavaH strImmanyaH vA Aste / dhigastu / yaH anyaH janaH parAdhInavRttiH api ayaM iva nasyAt ] zrutvA'pyevamityAdi / evaM pUrvoktaprakAreNa bahunigaditaM bahu vipulaM nigaditaM bhASitaM zrutvA api zrutipathaM nItvA api ayaM yogI ayaM dhyAnanimanaH muniH| 'tapasvI saMyamI yogIvarNI sAdhuzca pAtu vaH' iti dhnnyjyH| joSameva tUSNImeva Aste vartate / yogAt dhyAnAt / 'yogaH sannAhasandhAnasaGgatidhyAnakarmANa / viSkambhAdiSu sUtre kAvye vizvastaghAtini / care cA'pUrvalAbhe'pi bheSajopAyayuktiSu' iti vizvalocane / na calatitarAM kiJcinmAtramapi cyutaH na bhavati / 'zyenmiGkijhAdAmadravye' iti jhAntAn miGantAdAm / atizayena calati calatitarAM / atizayena na calati na calatitarAM / asya muneH dhIratvaM dhairyazAlitvaM / 'dhIraH syAt puMsi paNDite / dhairyazAlini mande ca triSu' iti vizvalocane / strImmanyaH AtmAnaM striyaM manyate iti strImmanyaH / strI

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38 [ pArzvAbhyudaye 8 , manyaH iti pAThaH bhrAntaH / khaz svazya ityAtmanaH supi vAcimanyateH khaz / khittvAcca 'amekAco'mvat' ityam / yadvA bhASyakAravacanAnurodhena strImanyaH iti pAThenA'tra bhAvyaM striyaH pratvAt mumamorabhAvAcca / vA iva / ayaM marubhUticaraH pArzvaH / dhigastu / 'nirbhartsane'pi nindAyAM dhik ' iti vizvalocane / yaH ayamiva parAdhInavRttiH yathA'yaM dhyAnanimagratvAt dhyeyAdhInamanaskAraH tathA yaH parAdhInavRttiH / parasya adhInA vazA vRttiH vartanaM yasya saH / saH anyaH janaH pArzvAdbhinnaH puruSaH bhayaparavazaH bhayAdhInaH Aste vartate / vartate kim ? api tu na vartate iti bhAvaH / kAkkA yojanIyametat / yadvA saH ayaM pArzvaH bhayaparavazaH bhayAdhInaH strImmanyaH vA iva Aste vartate / dhigastu / yaH anyaH janaH parAdhInavRttiH api ayamiva na syAt / anena parAdhInavRttinA'pi bhayaparavazena na bhAvyaM parAdhInavRtterapi prAkRtasya janasya bhayaparavazatvAdarzanAt / asya tUSNImbhAvaH strIbhAvanibandhanaH iti kamaThAbhiprAyaH / Even on hearing the speech delivered (by me) at length, this sage, observing silence only, does not fall out of meditation by an iota even. See his courageousness. This is like a womanish fellow. What a pity ! Is a man, other than hin, who is not under influence (of anything or overpowered with something) like him, overcome with fear? [ or - This one, overcome with fear, is like a womanish fellow. A man, other than him, though under influence completely, does not resemble this one. ] vittAnighnaH smarapavazAM vallabhAM kAJcidekAM dhyAnavyAjAt smarati ramaNIM kAmuko nUnameSaH / ajJAtaM vA smarati sudatI yA mayA dUSitA''sIt tAM cA'vazyaM divasagaNanA tatpara rAmekapatnIm // 33 // anvayaH nUnaM eSaH vittAnighnaH kAmukaH dhyAnavyAjAt smaraparavazAM kAJcit ekAM vallabhAM ramaNIM smarati / vA yA sudatI mayA dUSitA AsIt tAM divasagaNanAtatrAM ekapatnI ajJAtaM avazyaM smarati / vittAnighna ityAdi / nUnaM nizcayena / ' nUnaM tarphe tu vikhyAtaM nUnaM syAdarthanizvaye ' iti vizvalocane / eSaH ayaM pArzvAbhidhAnaH marubhUticaraH vittAnidhnaH / vitteSu vibhaveSu anighnaH anadhInaH vittAnighnaH / vittaM tu vibhave jJAtakhyAtalabdhavicArite' iti vizvalocane / ' ghaJarthe kavidhAnaM sthApAvyadhihaniyudhyarthaM kartavyam

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prathamaH sargaH ] 39 6 6 (jai. vA. ) iti kaH / ' adhInonighna AyattaH ' ityamaraH / yadvA vittaM vibhavaH AsamantAt atizayena nighnaM dUrIbhUtaM yasmAt saH / parihRtavaibhava ityarthaH / kAmukaH / kAmayate tacchIlaH kAmukaH / 'lappatpadsthAbhUvRSyakamghamaghnaH ukaJ ' ityukaJ / kAmItyarthaH / dhyAnavyAjAt dhyAnacchadmanA / vyAjaH sAdhyApadezayoH' iti vizvalocane / smaraparavazAM kAmavAsanAparatantrAM kAJcit ekAM viziSTAM vallabhAM priyAM ramaNIM striyaM smarati smRtiviSayatAM nayati / ' smrarthadayezAM karmaNi' iti tAyAH zeSe vidhAnAt anyatrArthe karmaNItrApi nAyuktA / vA athavA yA sudatI | zobhanA sujAtA vA dantA asyAH iti sudatI | ' striyAM khau' iti khau striyAM dantasya datR / ' GayugidRnnaJco:' iti GI striyAM / mayA kamaThacareNa dUSitA bhraMzitA AsIt abhavat tAM vasuMdharAbhidhAnAM tadIyAM patnIM / marubhUticarasya pArzvasyetyarthaH / divasagaNanAtatparAM / divasAnAM gaNanA parisaGkhyAnaM divasagaNanA / dinaparigaNanamityarthaH / tatra tatparA AraktA / tAM / ' tatpare prasitAsaktau ' ityamaraH / zApAvasAnasamayaH kimavadhiH iti vicArAsaktetyarthaH / ekapatnI pativratAM parapuruSagAmInIM vA / ekapatnIva ekapatnI / tAM / na paramArthataH ekapatnIM api tu ekapatnIsAdRzyaM vibhAvayantImityarthaH / parapuruSagAminyAH kathamekapatnItvam ? yA mayA dUSitAsIt' iti kamaThacarazambarAsuroktyA 2 " ekapatnIm iti tadvacanamupAlambhAtmakamavaseyam / ( sapatnyAdau ' iti nAdezaH / ekaH patiH yasyAH sA ekapatnI / pativratetyarthaH / 'satI pativratA sAdhvI pativatyekapatnyapi / manasvinI bhavatyAryA , - iti dhanaJjayaH / yadvA ekaH itaraH anyaH svapatyuH patiH yasyAH sA ekapatnI / parapuruSagAminItyarthaH / ekastu syAtriSu zreSThe kevaletarayorapi iti vizvalocane / atra rUDhArthAntarAzrayaNaM vasundharAyAH parapuruSagAminItvAditi vijJeyaM / tasyAH kamaThacaradUSitve'pi marubhUticarAH pekSayA pAtivratyaM sambhavatItyayuktaM marubhUticarasyApi tatkuzIlasevanavijJAnAvirahAt / ajJAtaM paraiH na jJAtaM yathA syAt tathA / avazyaM nizcayena / ' avazyaM nizcaye dvayaM ityamaraH / smarati dhyAnaviSayatAM nayati / jAtarUpadhAriNo'sya parityaktaizvaryatvAt kasyAzcidvallabhAyAH striya eva smaraNena bhAvyaM / sA ca maddUSitA vasundharaiveti kamaThacarayakSAbhiprAyaH / 6 C , , This one, who is a libidinous one and who has renounced property completely, is engrossed, under the pretence of meditation, in surely remembering a certain beloved lady who is overcome with passion or he is remembering secretly that lady, spoiled by me formerly, possessing beautiful teeth, having a person other than

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[pArdhAbhyudaye Him to whom she was married for her husband, engrossed in counting the days. jAnAsi tvaM prathamavayasi svIkRtAM tAM navoDhAM tyaktvA yAsyasyavanipatinA sAkamekAkinI yan / pratyAvRttaH kathamapi satI jIvitaM dhArayantI mavyApannAmavihatagatirdrakSyAsa bhrAtRjAyAm // 34 // anvayaH -- jAnAsi tvaM prathamavayasi svIkRtAM navoDhAM ekAkinI tyaktvA avanipatinA sAkaM yan yAsyasi avihatagatiH pratyAvRttaH kathamapi jIvitaM dhArayantI (ata eva) avyApannAM satI bhrAtRjAyAM drakSyasi ? jaanaasiityaadi| jAnAsi smarasi kim ? prathamavayasi bAlyAvasthAyAM / khagabAlyAdinorvayaH ' ityamaraH / svIkRtAM prAgasvA idAnIM svA kRtA svIkRtA / tAM / viH| navoDhAM navaM UDhA navoDhA / tAM / Uhyate sma UDhA / ekAkinI asahAyAM / ' ekAdAkiMcAsahAye ' ityasahAyArthe Akin / tyaktvA vihAya yan abhiyAtA / 'yat ' iti pAThaM parityajya 'yan ' iti parivartitaH pAThaH svIkRtaH, 'jAnAsi ' 'yAsyasi ' 'drakSyasi' iti ca pAThatrayasya sattvAt , svarthe'yadi lRT ' iti smaraNArtha luTaH prayoge 'yat' ityasya pAThasya zabdazAstravirodhitvAdatra tasyAsambhavAt / avanipatinA aravindamahArAjena sAkaM saha yan gacchan 'sArdha tu sAkaM satrA samaM saha' ityamaraH / yAsyasi agcchH| 'smrarthe'yadi laTa' iti smaraNArtha yadvarjite vAci bhUte'nadyatane vartamAnAddhorlaT / avihatagatiH apratibaddhayazaH phalaH / avihatA apratibaddhA gatiH abhiyAnaphalaM yasya saH / pratyAvRtaH pratyAgataH kathamapi mahatA kaSTena jIvitaM prANAn dhArayantI priyapratyAgamanAbhilASeNa jIvantImityarthaH / ataH eva adhyApannAM amRtAM prajvalitaviyogaduHkhadAhAM vA satI zobhanazIlavatI bhrAtRjAyAM upayamanasaMskArAbhAve'pi bhrAtRpatnIbhAvaM gatatvAt jAyeva jAyA / 'devapathAdibhyaH' itIvArthasya kasyos / bhrAtuH jAyeva jAyA bhrAtRjAyA / tAM / 'satI' iti vizeSaNasya vasundharAyAH bAlye pariNItAyA akSatayonitvAt marubhUtipatnItve'pi kamaThacareNa yaunasambandhasya tasyAH sadbhAve'pi tasyAH satItvamanupahatameveti kamaThacarayakSAbhiprAyaH / atra 'RtAM vidyAyonisambandhAt ' iti tAyA anupprAptaH, bhrAtRzasyandasya RnnantatvAditi cet, na, bhrAtrA pUrvapadabhUtena jAyAyAH dhaya'sya

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prathamaH sargaH] yaunasambandhasya abhAvAdanupo'sambhavAt / bhrAtRzabdenA'tra kamaThacaro lakSyate / kamaThacaragAminyapi vasundharA marubhUticarabhAryA kamaThasya dharmapatnI nAsIt / atastASasena kamaThadharmapatnItvAbhAvaH prakaTIkRtaH / drakSyasi apshyH| svabhAyA~ svabhrAtRkamaThacarabhAryAbhUyaM gtaampshyH| bhrAtRgAminImapazya ityarthaH / Do you remember that you, going along with the lord of the earth (i. e. the King Aravinda ), went away abandoning her who was very recently married and accepted (by you ) in her very childhood and that you, whose progress was not arrested, saw her, who arrosted the escape of her own ) life from her body with a great difficulty and so who was not dead, turned into your brother's chaste wife? citraM tanme yadupayamanAnantaraM viprayuktA __ tvattaH sAdhvI suratarasikA sA tadA jIvati sma / manye rakSatyasunirasanAddhAtumApadgatAnAM AzAbandhaH kusumasadRzaM prAyazo hyaGganAnAm // 35 // anvayaH --- upayamanAntaraM tvattaH viprayuktA sA suratarasikA tadA sAdhvI ( satI) yat jIvati sma tat me citraM / ApadgatAnAM aGganAnAM hi kusumasadRzaM dhAtuM asunirasanAt prAyazaH AzAbandhaH rakSati (iti) manye / citraM tadityAdi / upayamanAnantaraM vivAhottarakAle / tvataH bhavattaH / viprayuktA saJjAtaviprayogA sA vasundharA surtrsikaa| rasaH abhilASaH asyAH astIti suratarasikA / ' ataH iniThanau' iti Than / suratAbhilASA satyapi tadA / viprayogakAle sAdhvI saadhvaacaaraa| anaacritduraacaaretyrthH| yat jIvati sma ajIvat tat me mama citraM vismayAvahaM / 'vismayo'ndutamAzcarya citraM ' ityamaraH / ApadtAnAM ApadaM vipattiM gatAnAM prAptAnAM, ApadA vipattyA gatAnAM prastAnAM vA / ApannAnAmityarthaH / aGganAnAM vanitAnAM / 'strI nArI vanitA mugdhA bhAminI bhIraGganA' iti dhanaJjayaH / hi avadhAraNe / ' hi vizeSe'vadhAraNe' iti vizvalocane / ku.sumasadRzaM sumanastulyaM / kusumavadatisukumAramityarthaH / dhAtuM AtmAnaM manaH ityarthaH / asunirasanAt asUnAM prANAnAM nirasanAt pariharaNAt / parityAgAdityayaH / prAyazaH prAyeNa AzAbandhaH / badhyate anena iti bndhH| AzA eva bandhaH bandhanarajjuH

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[ pArzvAbhyudaye AzAbandhaH / kartRpadametat / rakSati pratibadhnAti / iti manye evamahaM jAnAmi / upayamanAntarakAle suratAbhilASA'pi sA vasundharA tvadvirahe api anAcaritadurAcArA satI yadajIvattanme vismayAvahaM / upayamanAntaraM matsambandhAtpUrve ca yaH virahakAlaH AsIt tasmin sA virahaduHkhitA kAmasantaptA satyapi maraNaM na prApteti mahadAzcarye / tadaivatayA''caritadurAcArayA bhAvyamAsIt / tathApi sA sadAcArasampannaivAsIt / anantaramakAmAnadAhA tvadvirahasyAnAratatvAt durAcAraM siSeve iti kamaThacarayakSAbhiprAyaH / 42 It is a matter of great wonder to me that she, separated from you after marriage, had not, though strongly desirous of having enjoyment (intercourse), been illegally connected with any one other than you and yet had been alive. I think the bond of hope generally prohibits the mind, which is (frail) like a flower, of the ladies involved into distress from expelling their lives (i. c. committing a suicide). taccAzcaryaM yadahamabhajaM tvadviyoge'pi kAmAn prANairAteH kimanukurute jIvaloko hatAzaH / puMsAM dhairya kimuta suhRdAM kiM punaHsaGgamAzA sadyaH pAti praNayihRdayaM viprayoge ruNAddha ? // 36 // anvayaH yat ca ahaM tvadviyoge api kAmAn abhajaM tat Azcarya / prANaiH ArtaH hatAzaH jIvalokaH puMsAM dhairye kiM anukurute ? kimuta suhRdAM ! viprayoge punaH saGgamAzA pAti praNayihRdayaM sadyaH ruNaddhi kim ? tazcAzcaryamityAdi / yat ca ahaM kamaThacaraH tvadviyoge api bhavataH viyoge jAte satyapi kAmAn indriyaviSayAn / 'kAmaH smarecchayoH kAmye ' iti vizvalocane / abhajaM seve sma tat AzcaryaM tat vismayAvahaM / prANaiH manobalaiH asubhiH vA ArtaH duHkhitaH / vikRtamanobalo duHkhitaprANo vetyarthaH / hatAzaH hatA viphalIbhUtA AzA abhilASaH yasya saH / AzA tRSNAdizo:' iti vizvalocane / jIvalokaH saMsArijanaH puMsAM sAmAnyapuruSANAM dhairyaM manastoSaM cAturya dhIratvaM vA kiM anukurute anusati kim ? api tu neti bhAvaH / Artasya puMsaH manastoSaH cAturya dhIratvaM vA vigalati / galitavivekazca kAryAkAryavivekavikalo jAyate / tAdRzazcAhaM tvadviyogaduHkhArtaH san kAryAkAryaviveka vikalatvAt kAmAn abhajaM / maru uu

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prathamaH sargaH] bhUtivirahakAle kamaThasya kAmasevanaM tadAtatvanibandhanamiti svadoSasamarthana karotyatra kamaThacaro yakSaH / kimuta suhRdaaN| yo janaH sAmAnyapuruSANAmapi saraNimanusatmArtatvAnna samarthaH saH sAdhumanaskArANAM mahApuruSANAM cAturya zAntamanaskatvaM cAnukatu kathaM samartho bhavedityabhiprAyamAviSkaroti kamaThacaro yakSaH / viprayoge virahe jAte sati punHsnaamaashaa| 'viprayuktena me punarami samAgamo bhaviSyati' ityabhilASaH / pAti / pAtaH patanaM vihitamArgAccyavanaM asyA'stIti pAti / 'ato'nekAcaH' iti in / vizeSaNa bhrAntaM bhavadityarthaH / praNayihRdayaM / praNayaH prema asyAstIti prnnyi| adantatvAdanekAcaH praNayazabdasya tataH in / praNayinaH hRdayaM praNayihRdayaM / hRdayaM manaH / sadyaH zIghraM / ruNaddhi pratibadhnAti / prapatanAta trAyate kim ? api tu na trAyate ityarthaH / bhavatsaGgamAzA madhdRdaye samutpannA'pi madIyamanaso'dhaHpAtaM pratibadhduM na zaknoti smeti kamaThacaraH svadurAcArasamarthana kartumatra yatate / It is a matter of great wonder that I, though separated from you, enjoyed the objects of sense - organs. Can the world of living beings wlien it is disappointed and when its mental abilities are affected, adapt to the calmness of mind of the ordinary men ? What to that of those who arc affectionate ? Can a hope for reunion withhold at once the heart of the affectionate which is on the point of being failon off (i. e. sunk )? / ityuktA'tho punarapi suraH sAmabhedau vytaaniit| . yo'ntaHsnehastvayi ciramabhUtpUrvabandhostadA me| dhikkArastaM tirayatitarAM tvatkRto'smAn sa hantuM __ manda mandaM nudati pavanazcAnukUlo yathA tvAm // 37 // anvayaH- iti uktvA suraH punaH api sAmabhedau vyatAnIt - atho pUrvabandhoH me antaH yaH snehaH tvayi tadA cira abhUt taM tvatkRtaH dhikkAraH tirayatitarAM / sa (ca) anukUla: pavanaH yathA tvAM hantuM asmAn mandaM mandaM nudti| __ ityuktvetyAdi / iti uktaprakAreNa uktvA procya suraH zambarAsuraH punarapi bhUyo'pi sAmabhedI sAmabhedavacane / syati vairaM sAmayati vA sAma / priyavacanAdityarthaH / sAma sAntvane / bhedanaM bhedaH / dvaidhIbhAvaH ityarthaH 'bhedo dvaidhavizeSayoH /

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[ pArzvAbhyudaye 3 vidAraNe copajApe ca' iti vizvalocane / vyatAnIt vitanoti sma / atho vAkyArambhe / 'athA'tho ca zubhe prabhe sAkalyArambhasaMzaye / anantare ' iti vizvalocane / pUrvabandho pUrvabhavabhrAtuH me mama antaH manasi yaH snehaH yat prema tvayi bhavati tadA pUrvabhavakAle ciraM dIrghakAlaM yAvat abhUt bhavati sma taM snehaM tvakRtaH tvayA vihitaH dhikkAraH tiraskAraH / nikAraH khalIkaraNaM vetyarthaH tirayatitarAM atyantaM tiraskaroti / nihnute ityarthaH / ' iyenmiGkajhAdAmadravye ' iti miGa 'taraptamapau jhaH iti jhAntAdAm / saH snehazca anukUlaH apratikUlaH anurUpaH ityarthaH / pavanaH yathA vAyuriva tvAM bhavantaM hantuM dhAtayituM asmAn naH / mAmityarthaH / mandaM mandaM / ati mandaM / zanaiHzanairityarthaH / nudati prerayati / kRtadhikkAre tvayi zIghraM hantavye'pi prAgbhavIyaH snehaH pratibadhnannapi tvananAya mAM zanaiH zanaiH pavanavat prerayatyeveti kamaThacarayakSAbhiprAyaH / 44 Having said so, the demigod opened negotiations with and employed means of success against Him: The reproach brought upon me by you dispells the feelings of love for you cherished for a long time by me, your brother in the former birth. It ( that reproach ) slowly goads me into kitting you like the favourable wind. tasmAdyogaM zithilaya mune dehi yuddhakSaNaM me dAnAdanyanna khalu sukRtaM dehinAM zlAdhyamasti / zaMsantIdaM nanu vanagajA dAnazIlAstathAbdA vAmazcAyaM nadati madhuraM cAtakaste sagandhaH // 38 // anvayaH tasmAt (he ) mune ! yoga zithilaya; me yuddhakSaNaM dehi / dAnAt anyat dehinAM zlAdhyaM sukRtaM nAsti khalu / idaM nanu dAnazIlAH vanagajAH tathA ( tAdRzAH ) abdAH zaMsanti / ( yaH ) madhuraM nadati (saH) ayaM te vAmaH sagandhaH cAtakaH ca ( idaM zaMsati ) / ------ tasmAdyogamityAdi / tasmAt tasmAt kaarnnaat| yasmAt kAraNAt tvakRtaH dhikkAraH tvAM hantuM mAM prerayati tasmAt kAraNAdityarthaH / he mune bho sAdho ! yogaM svAtmarUpadhyeyaikatAnatvaM zithilaya lathIkuru / zithilaM kuru / pariharetyarthaH / tatkaroti tadAcaSTe iti Nic ' iti Nijantasya dhorlAGa rUpam / ' mRdo dhvarthe NijbahulaM ' "

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prathamaH sargaH ] < 8 iti vA Nic / dhyAnAvasthAM vimuJcetyarthaH / me mahyaM yuddhakSaNaM samarAnandaM / atha kSaNa uddharSo madda Uddhava utsavaH ' ityamaraH / ` he vitara / dAnAt anyat dAnAdbhinnaM / ' svasyAtisargo dAnaM ' iti zAstraktaM dAnalakSaNaM / dehinAM zlAdhyaM prANibhiH prazaMsanIyaM / ' vyasya vA kartari ' iti zlAghyazabdasya vyAntatvAt dehinAmiti tAntasya prayogaH / ' zlAkatthane ' ityasya dhorvyAntaM rUpaM / sukRtaM puNyaM karma / zobhanaM kRtaM karma sukRtaM / nAsti na vartate / khalu eva / khalu syAdvAkyabhUSAyAM khalu vIpsAniSedhayayoH / nizcite sAntvane maune jijJAsAdau khalu smRtam' iti vizvalocane / idaM dAnAt anyat dehinAM zlAghyaM nAstItIdaM / nanu eva / nanu prazne'vadhAraNe / nanvanujJAvitarkA''yamantreSvanunaye nanu ' iti vizvalocane / dAnazIlAH dAnasvabhAvAH / dAnaM madajalaM zIlayanti prAdurbhAvayantIti dAnazIlAH iti gajapakSe | dAnaM jalapradAnaM zIlaM svabhAvo yeSAM te dAnazIlAH iti meghapakSe / vanagajAH AraNyakAH hastinaH / tathA api ca / ' tathA sAdRzya nirdeza nizcayeSu samuccaye ' iti vizvalocane / tatheti samuccaye'tra / abdAH meghAH / ApaH jalaM dadatIti abdAH | zaMsanti prathayanti / prakaTIkurvantItyarthaH / yaH madhuraM nadati yaH madhuraM zabdaM karoti saH ayaM te vAmaH tatra vAmabhAge sthitaH / ( savye hare kAme ghane vitte tu na dvayoH , iti vizvalocane / vAmastu rucake ramye savye vAmasthite'pi ca ' iti zabdArNave / sagandhaH sAmodaH / sAnandaH ityarthaH / C vAma , C dho gandha sambandhalezeSvAmodagarvayoH ' iti vizvalocane / 'sugandhimudi vAmodaH iti vizvalocane / cAtakaH pakSivizeSazca / idaM zaMsatIti zeSaH / Oh sage! give up, therefore, your meditation; give me the pleasure of fighting. Nothing other than munificence is indeed pious and worthy of being highly praised by living beings. The sylvan elephants and the clouds, who are naturally in the habit of giving away, indeed, declare this. This delightful Chataka bird, singing a delightful song on your left side also declares this. yuddhe zauNDo yadi ca bhagavAn vIrazayyAM zritaH syAH svargastrINAmahamahamikAM saMvidhAsyaMstadA tvAm / vidyAdharyo nabhasi vRNate puNyapAkAdvinaGkSyagarbhAdhAnakSaNaparicayAtUna mAbaddhamAlAH // 39 // yadi ca yuddhe zauNDaH, svargastrINAM ahamahamikAM saMvidhAsyan bhaga anvayaH 45 ------

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. 46 [ pArzvAbhyudaye `vAn vIrazayyAM zritaH syAH tadA puNyapAkAt vinaGkSyagarbhAdhAnakSaNaparicayAt nabhasi Avaddha mAlAH vidyAdharyaH tvAM vRNate / yuddhe zauNDa ityAdi / yadi ca yuddhe saGgrAme zauNDaH pravINaH / jyotsnAdaH prayogagamyatvAt zuNDa | zabdAt ' jyotsnAdibhyo'N. ' ityaN / svargastrINAM svargAr3anAnAM ahamahamikA ahamadhikA'hamadhiketi tulyasaundaryAdInAM spardhA | 'brIhyAdibhyaH' iti ThaH / ' mayUravyaMsakAdayazca ' iti saH / ' ahamahamikA tu sA syAt parasparaM yo bhavatyahaGkAraH ' ityamaraH / saMvidhAsyan kArayiSyan / bhagavAn dhyAnaikatAnaH mahAmuniH zrIpArzvajinendraH vIrazayyAM vIrANAM dIrghazayanAdhikaraNabhUtAM samarabhUmiM / zayiteM asyAmiti zayyA | vIrANAM zayyA dIrghanidrAnubhavanasthAnaM vIrazayyA / tAM / zritaH AzritaH / prAptaH ityarthaH / syAH bhaveH ! samarabhUmau mRtAnAM vIrANAM tatraivAvadhi zayitatvAt samarabhUmeH vIrazayyeti caritArthaM nAmAntaraM / tena yudhyamAnaH maraNaM prAptazcedbhavAnityarthaH / yuddhe mRtasya te vyomamArgeNa gacchataH vidyAdharastriyaH devastriyazca bhavantamAkAzapradeze seviSyante / tatazca te mahatsukhaM bhaviSyati / svargasukhArthe tapasyataste yuddhabhUmau maraNe jAte sati api tattAdRzameva sukhamutpasyeta / tataH saJjAtasamAdhibhaGgasya samarabhUmau mRtasya sukhaM notpatsyate iti mA maMsthAH / ataH samAdhiM parityajya yuyutsorapi te na kA'pi kSatiriti manasikRtya yuddhasannaddho bhava tvamiti kamaThacarayakSAbhiprAyaH / ' jAtuyadyadAyadau liG ' iti liG yadi zabdasyAtra prayogAt / tadA vIrazayyAzrayaNakAle puNyapAkAt puNyakarmaNaH pAkAt udayAt vinaikSyagarbhAdhAnakSaNaparicayAt / vinaGkSyaMzvAsau garbhazca vinaGkSyadgarbhaH / tasya AdhAnaM sthirIbhAvaH / tasya kSaNaH AnandaH / nirvyApArasthitau kAlavizeSotsavayoH kSaNaH' ityamaraH tasya Anandasya paricayaH vRddhiH / tasmAt / garbhadhAraNottarakAle tasya AdhAnAnantaraM pUrva patanazIlasyAdhunA tvaddarzanakAle sthirIbhavanAt samutpannasya modasya vRddherityarthaH / naza adarzane ' ityasmAddho: ' syatAsI lRlvo:' iti lRTsyatye " nazmajjerjhIla ' iti numi ca rUpam / AbaddhamAlAH / AbaddhAH viracitAH mAlAH paGktayaH yAbhistAH / viracitapaGktayaH kaNThaviracitapuSpamAlAH vetyarthaH / vidyAdharyaH vidyAdharastriyaH / tvAM bhavantaM nabhasi vyomni vRNate seviSyante / 'vartamAnasAmIpye vartamAnavadvA ' iti vartamAnasAmIpye vartamAnaprayogaH / . 6 If at all you, setting a competition between the heavenly ladies (i. c. damsels ) afoot, skilled in warare ( or a vetaran warrior ), will have recourse to the battle-field which forms a bed for warriors (i. e. "

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prathamaH sargaH] battle-field where warriors die while fighting), then the Vidyadhara females, forming rows in the sky, on account of the enhancement of their joy derived from the sustainment of the embryo that used to fall off orring to the ripening of the Karman conditioned by their good deeds, will wait upon you. mUrchAsuptaM tridazanihitAmlAnamandAramAlaM tUryadhAnastanitamukharaM divyayAnAdhirUDhaM / dyAmudyantaM sajalajaladAzaGkayA''baddhamAlA: seviSyante nayanasubhagaM khe bhavantaM balAkAH // 40 // anvayaH-- mUrchAsuptaM tridazanihitAmlAnamandAramAlaM divyayAnAdhirUDhaM nayanasubhagaM tUryadhvAnastInatamukharaM dyAmudyantaM bhavantaM sajalajaladAzaGkayA AbaddhamAlAH balAkAH khe seviSyante / mUchetyAdi / mUrchAsuptaM mUrcchayA matprahArasaJjanitamohena suptaM prazAntacaitanyAviSkArasAdhanIbhUtakriyatvAt suptaH iva suptaH tam / tridshnihitaamlaanmndaarmaalN| tridazaiH devaiH nihitA gale nikSiptA amlAnAnAM pratyagrANAM mandArANAM kalpavRkSakusumAnAM mAlAH dAmAni yasmin saH / tam / 'amarA nirjarA devAstridazA vibudhezvarAH' itymrH| mandArANAM mandArakusumAnAM ityarthaH / 'puSpamUle bahulam' iti puSpatyasyos / 'mandAraH pArijAtakaH / santAnaH kalpavRkSazva' ityamaraH / nayanasubhagaM / nayanayoH netrayoH subhaga AnandajanakatvAnmanoharaM / divyyaanaadhiruuddhN| divi bhavaM jAtaM vA divyaM / 'yuprAtpratyapAgbhyAM yaH' iti jAtabhakyorarthayoH yH| divyaM ca tadyAnaM vAhanaM ca divyayAnaM / tat adhirUDhaH divyayAnAdhirUDhaH / tam / tuurydhvaanstnitmukhrN| tUrya dundubhitulyamAnaddhaM vAdya / tasya dhvAnAH dhvanayaH eva stanitAni garjitAni taiH mukharaH vAcAlitaH garjitadhvaniyuktaH yathA syAt tthaa| isaH / marubhUticarasya pArzvabhagavataH yuddhe hatasya sataH svargagamanakAle devasantADitadundubhyAnaddhavAdyavizeSadhvAnAnAM garjitatulyatvAt taddhvanibhiH sarjitaM yathA syAt tathA / hasaH / dhAM svargabhuvaM AkAzamArga vA udyantaM udgacchantaM bhavantaM pArthAbhidhAnaM tvAM sajalajaladAzaGkayA jalena saha sajalaH / sajalazcasau jaladaH meghazca tasya AzaGkayA sandehena / ayaM jaladaH sajalaH bhavediti sNshyen| AbaddhamAlA: / AbaddhAH viracitAH mAlAH paGktayaH yAbhistAH / balAkAH / balAhakAn meghAn kAyantIti balAkAH / bisakaNThikAH ityarthaH / 'balAkA bisakaNThikA' ityamaraH / khe AkAze / seviSyante bhjissynte| .

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[pArdhAbhyudaye The female cranes, drawn up into lines ownig to their doubting you for a watery cloud when you, seated in a celestial car, would be flynig high up in the sky accompanied with the sounds of drums which would resemble your thundering, would be waiting upon you, enjoynig sound sleep caused by a swoon, wearing a garland of Mandar flowers and delightful to the eye. yogin pazyaMstvadatuladhRterbhaGgahetUn payodAM. stadgambhIradhvInatamapi ca zrotumarhasyakALe / kekodgrIvAzikhariSu ciraM nartayedyanmayUrAn kartuM yacca prabhavati mahImucchilIndhrAmavandhyAm // 41 // anvayaH- api ca yogin / tvadatuladhRteH bhagahetUn payodAn pazyan ; yat kekodgrIvAn mayUrAn zikhariSu ciraM nartayet ca mahIM ucchAlIndhrAM avandhyAM kartuM prabhavati tat gambhIradhvanitaM akAle zrotumarhasi / __ yoginityAdi / api ca kiM ca yogin bho dhyAnanimagna tapasvin / tvadatuladhRteH / atulA nirupamA cA'sau dhRtiH zamazca atuladhRtiH / tava atuladhRtiH tvadatuladhRtiH / tsyaaH| bhaGgahetUn / bhaGgasya nAzasya prakSobhasya hetavaH kAraNAni / prakSo. bhajananakAraNAni / payodAn mayA vikriyotpAditAn meghAn pazyan avlokyn| yata gambhIragarjitaM kekodagrIvAn / kekayA mayUradhvanivizeSeNa hetunA udgrIvAn unnamitakandharAn / udgatA grIvA kandharA yeSAM tAn / 'kekA vANI mayUrasya' iti 'atha grIvAyAM zirodhiH kandharetyapi' iti cA'maraH / meghAloke kekodbhAvanArthamunnamitakandharAnityarthaH / mayurAn bahiNaH ciraM cirakAlaM nartayet nRtyaM kArayet / nATayedityarthaH / yat ca ucchIlIndhrAM udgatakavakAM / kavakaM viDutkarajaM chatrAkAradhAri malinavarNa vanaspativizeSarUpaM / 'zilIndhrastu pumAnmInabhede vRkSaprabhedayoH / zilIndhra kavace rambhA puSpatripuTayorapi' iti vishvlocne| 'viDjAni kavakAni ca ' iti kazcit / "taduktaMnimittanidAne 'kAlAbhrayogAduditAH zilIndhrAH sampannasasyAM kathayanti dhAtrIm" iti meghadUtakAvyaTIkAyAM mallinAthaH / avandhyAM saphalAM / ' vandhyo'phalo'vakezI ca' itymrH| kartuM vidhAtuM prabhavati sAmarthyasampannaM bhavati / tat gambhIra* dhvanitaM / gambhIraM ca taddhvanitaM ca gmbhiirdhvnit| akAle prAvaTkAlAdanyasmin kAle zrotuM zravaNAya arhasi yogyo bhavasi / mayA'kAle vikriyotpAditAnAM meghAnAM

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prathamaH sargaH ] 49 garjitaM zrotuM yogyo bhavasi / te meghAH mayA bhavantaM dhyAnAt pracyAvayituM utpAditAH, na prAvRTkAlabhavAH iti bhagavantaM gambhIragarjitaiH sajalairakAlabhAvitaiH kRSNavarNairbhISaNairmedhaiH pIDayitumicchoH kamaThacarayakSasyA'bhiprAyo'yam / Moreover, oh sage! you, seeing the clouds causing disturbance of your unmatched tranquillity of your mind, deserve to hear out of season the terrible thundering that would make the peacocks dance with their necks raised upwards for crying for a long time on the mountains and that which has the capacity of making the earth, having mushrooms grown up and productive. pazyotrastA dhavalitadizo mandamandaM prayAntaH zyante'mI gaganamabhito mandasAnAH svanantaH / baddhotkaNThodvigalitamadAH prAvRSeNyAmbudAnAM tacchrutvA te zravaNasubhagaM garjitaM mAnasotkAH // 42 // anvayaH we - prAvRSeNyAmbudAnAM zravaNasubhagaM tat garjitaM zrutvA mAnasotkAH baddhotkaNThodvigalitamadAH uttrastAH mandamandaM prayAntaH ghavalitadizaH amI mandasAnAH gaganaM abhitaH svanantaH dRzyante pazya / pazyetyAdi / prAvRSeNyAmbudAnAM / prAvRSi bhavAH prAvRSeNyAH / 'prAvRSa eNyaH iti eNyatyaH / prAvRTkAlabhavAH ityarthaH / prAvRSeNyAH iva prAvRSeNyAH / ' devapathAdibhyaH' itIvArthasya kasyos / pUrvazlokoktasya ' akAle ' iti pAThasya darzanAt kamaThacareNa teSAmakAle eva bhagavantaM pIDayituM vikriyarvyutpAditatvAt prAvRSeNyatvAsambhavAt prAvRgheNyatulyatvaM teSAM vyutpattyA pradarzitamityavaseyam / prAvRSeNyAH prAvRTakAlabhavAzca te ambudA meghAzca prAvRSeNyAmbudAH / teSAM / zravaNasubhagaM / zravaNayoH AnandapradatvAt subhagaM manoharaM / zravaNAnandajananamityarthaH tat akAlajanitameodbhAvitaM garjitaM stanitaM / garjanadhvanimityarthaH / zrutvA zravaNaviSayatAM nItvA / mAnasotkAH / mAnase mAnasAbhidhAne sarasi utkAH utkaNThitAH / ' syAdutka unmanA ' ityamaraH / kAlimAGkitasajalajaladadarzanajanitaprAvRTkAlabhrAntyA uttaradiksthitaM mAnasasaraH gantumunmanAyitAH ityarthaH / baddhotkaNThAdvigalitamadAH / baddhayA viracitayA utkaNThayA unmanAyitena / mAnasaM saraH gantuM saJjAtayotkaNThayetyarthaH / tayA udvigalitaH naSTaH madaH AnandaH yeSAM te / ' utka ThokAlike same. ' ityamaraH ' mado mRgamade madhe dAnamudgarvaretAsa' iti vizvalocane / pArzvAbhyudaye...4 1

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[ pArzvAbhyudaye uttrastAH bhayAkulAH / mandamandaM / mandaprakAraH mandamandaH / mandamandAH yathA syustathA mandamandaM / mandaprakAreNetyarthaH / 'prakAreNa guNoktervA ' iti guNokteH prakAre'rthe dvaidhIbhAvaH yavacca kArya / prayAntaH gacchantaH / dhavalitadizaH dhavalayati dhavalaM karoti / ' tatkaroti tadAcaSTe' iti Nic / dhavalayati sma dhavalitAH zubhrIkRtAH / dhavalitAH zubhrIkRtAH dizaH kASThAH yaiste dhavalitadizaH / ' valakSo dhavalo'rjunaH' iti ' dizastukakubhaH kASThAH' iti cAmaraH / abhI ete mandasAnAH haMsavizeSAH / gaganaM abhitaH gaganaM paritaH / gagane sarvAsu divityarthaH / ' paryabhisarvobhayaistastyaiH ' ityabhitaH ityasya tastyAntatvAt tadyoge ip / svanantaH dhvaniM kurvantaH / dRzyante avalokyante / dRkpathamavatarantItyarthaH / pazya avalokaya / kamaThacareNA'kAle vikriyadayatpAditAnAM meghAnAM prAvRSeNyameghatulyatvAt saJjAtaprAvRTkAla bhrAntayaH haMsA: mAnasamabhigantumunmanAyitAH ityarthaH / anena prAvRSeNya meghatulyAmbudadarzanajanitabhrAntihaMsAnAM mAnasArthamunmanAvitAnAmuDDIyAkAze gatvA dhvanatAM vyAvarNanena kAlavarNa meghairAkrAntatvAnnabhastalasya tatkAlasya varSAkAla tulyatvaM dhvanitamityavaseyam / 50 Behold those swans, eager for the Manasa-lake on hearing that thundering sound, delightful to the ears, of the clouds which are like those of the autumnal season, terror-striken, with their delight dispelled on account of the eager desire cherished by them, moving very slowly, whitening the quarters, are seen warbling in all directions of the sky. te cA'vazyaM navajaladharairunmanIbhUya haMsA matprAmANyAttava jigamiSordhAma yakSezvarANAM / saGgacchante pathi jalamucAmApatantaH samantAt AkailAsAdisa kisalayaccheda pAtheyavantaH // 43 // anvayaH - matprAmANyAt yakSezvarANAM dhAma jigamiSoH tava AsamantAt jalamucAM pathi ApatantaH bisa kisalayacchedapAtheyavantaH te ca haMsAH navajaladharaiH unmanIbhUya AkailAsAt saGgacchante / te cAvazyamityAdi / matprAmANyAt pramANasya bhAvaH prAmANyaM / prAmANyaM satyavAditvamityarthaH ' pramANamekateyattAdetiyantRpramAtRSu / satyavAdini nitye ca maryAdAhantuzAstrayoH iti vizvalocane / mama prAmANyaM satyavAditvaM matprAmANyaM / tasmAt / yakSezvarANAM / yakSANAM guhyakAnAM IzvarAH adhipatayaH yakSezvarAH / teSAM / atra AdarArthe bahuvacanam / "

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prathamaH sargaH] tena yakSezvarasya kuberasyetyarthaH / dhAma nivAsasthAnam / 'dhAma razmau gRhe dehe prabhAvasthAnajanmasu' iti vishvlocne| jigamiSoH gantumicchoH / 'tumIcchAyAM dhorvop' iti san dhozcoe / tava te AsamantAt sarvAsu dikSu / sarvataH ityarthaH / jalamucAM meghAnAM / jalaM muJcantIti jalamucaH / kim / pathi mArge ApatantaH uDDIyamAnAH / biskislychedpaatheyvntH| bisAnAM mRNAlAnAM kisalayAni agrANi pallavAH bisakisalayAni / 'mRNAlaM bisaM' iti 'pallavo'strI kisalayaM' iti cA'maraH / teSAM cchedAH zakalAH eva pAtheyaM visakisalayacchedapAtheyaM / pathi sAdhu pAtheyaM / 'pathyatithivasatisvapaterTa' iti DhaJ / tadastyeSAmiti biskislycchedpaatheyvntH| 'na karmadhArayAnmatvarthIyaH bahuvrIhizcettadarthapratipattikaraH' ityatra 'visakisalayacchedapAtheyAH' ityasya babIheH karmadhArayArthapratipattikarasya. sadbhAvAt matvIyasya vatoH prayogaH prAmAdikaH pratibhAti / malinAthastu bisakisalayacchedaiH pAtheyavantaH ityUcivAn / te ca haMsAH mAnasasaronivAsinaH zubhrApadhanAH pakSivizeSAH / navajaladharaiH navaiH navyairavigalitajalatvAjjalabhArananaiH jaladharaiH meghaiH unmniibhuuy| anunmanasaH sampadyamAnAH bhUtvonmanIbhUya / utkaNThitAH bhuutvetyrthH| AkailAsAt kailAsAbhidhaparvataparyantaM / kailAsaparvataM yAvadityarthaH / 'AmaryAdAbhividhyoH' iti maryAdAyAmAtra / 'kA''DA'bhividhimaryAde' ityADA yoge maryAdAyAM kaa| saGgacchante saGgatAH bhaviSyanti / 'gamo sampracchistracchizruvidRzaH' iti daH / maraNAnantaramalakAmArgeNa svargabhuvaM yiyAsoste haMsAH AkailAsAt sahAyI bhUtAH mArge tvAmAnandakandalitasvAntaM vighAsyantIti bhAvaH / Those swans, flying in the sky, the way of the clouds on all sides of you who would be desirous of going to the aboclo of the lord of the Yakshas on tho ground of my truthfulness, possessing bits of the shoots of lotus-stalks as provendor for the journey, would, having become anxious on account of the new clouds, surely accompany you up to the Kailas mountain. sphItotkaNThAvigalitamadA mandamandAyamAnA mUkIbhUtAH skhlitgyo'nunmukhaassnttaayaa| tvAmanvete pavanapadavImAzrayanto'nurUpAH sampatsyante nabhasi bhavato rAjahaMsAH sahAyAH // 44 //

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[ pArdhAbhyudaye ___ anvayaH- sphItokaNThAvigalitamadAH mandamandAyamAnAH mUkIbhUtAH skhalitagatayaH anunmukhAH santatAzAH tvAM anu pavanapadavIM AzrayantaH anurUpAH ete rAjahaMsAH nabhasi bhavataH sahAyAH smptsynte| sphiitetyaadi| sphiitoknntthaaviglitmdaaH| sphItAH vRddhi prAptAH zca tAH utkaNThAH unmanAyitAnica sphiitotknntthaaH| tAbhiH vigalitAH vilayaM prAptAH madAH indriyadarpAH mudaH yeSAM te / hetugarbhametadvizeSaNaM / teSAM sphItotkaNThatvAdvigalitamadatvAt mandamandAyamAnatvaM vyaJjayati / mandamandAyamAnAH / mndiibhuutgtyH| mandaprakAraH mandamandaH / 'prakAre guNoktevA' iti guNokteH prakAre'rthe dvaidhIbhAvaH yavacca kAryam / amandamandaH mandamandaH bhavati mandamandAyate / 'DAulohitAdibhyaH' iti kyaH lohitAderAkRtigaNatvAt / 'kyaSo vA' iti daH / zAnacca / mUkIbhUtAH / amUkAH vAcAlAH api mUkAH bhUtAH sampannAH mUkIbhUtAH / mUkabhUyaM prAptAH / 'avAci mUkaH ' ityamaraH / 'mUkastvavAGmato dIne ' iti vizvalocane / skhalitagatayaH skhalitAH saskhalanAH gatayaH gamanAni yeSAM te skhalitagatayaH / gamane sajAtaskhalanAH ityarthaH / anunmukhAH nykkRtmukhaaH| udgataM mukhaM yeSAM te unmukhAH / na unmukhAH anunmukhAH / adhoniyamitadRzaH ityarthaH / santatAzAH / samantAt tatAH vyAptAH AzAH dizaH yaH te snttaashaaH| vyAptadiGmaNDalAH ityarthaH / tvAM anu tvayA saha / 'bhArthe'nunA' iti ip / pvnpdviiN| pavanasya prabhaJjanasya padavI gamanamArgaH / tAM / vyomamArgamiti bhaavH| AzrayantaH / prApnuvantaH / anurUpaH svattulyarUpAH / bhavantamanukurvANAH ityarthaH / 'pazcAtsAdRzya-yoranu' ityamaraH / 'anu svanukrame hIne pazcAdarthasahArthayoH / AyAme'pi samIpArthe sAdRzye lakSaNAdiSu ' iti vizvalocane / yathA bhavAn mokSasukhaprAptyartha saJjAtokaNThaH san vigalitAtmamohanasvabhAvakrodhAdikavAyaH tathA te rAjahaMsAH api vRddhiMgatayotkaNThayA vilInAnandathavaH / bhagavatpakSe madazabdaH krodhAdInAmupalakSaNamityavaseyam / 'mado mRgamade madye dAnamudgarvaretasi' iti vizvalocane / yathA bhavAn mokSArthaM ghRtamunitratatvAt mandamandAyamAnaH saMsAravardhanISu kriyAsu mandatamodyamaH tathA ete rAjahaMsAH api mandamandAyamAnAH kAmonmAdatvAdalasagamanAH / yathA bhavAn thyAnanimagnatvAt mUkIbhUtaH virata. vacanavyApAraH. upalakSaNena parihRtendriyavyApAraH tathA te haMsAH kAmasantaptatvAt vyaktazabdAyitAH / yathA bhavAn AsannatamamokSatvAtskhalitagatiH skhalitAH vinaSTAH gatayaH nArakA digatayaH yasya saH / ] vinaSTacaturgatibhramaNaH, tathaite rAjahaMsAH

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prathamaH sargaH ] kAmonmAdAdeva skhalitagamanAH sIdhupAnonmattagatayaH / yathA bhavAn dhyAnaikatAnatvAt anunmukhaH anunnamitamukhakamalaH tathaite rAjahaMsAH itavIryatvAdanunmukhAH adhomukhAH / yathA bhavAn tyaktaparigrahatvAt santatAzaH [ samantAt tatA parihRtA AzA tRSNayena saH ] parihRtaviSayAzaH tathA ete haMsAH api santatAzAH vyAptadiGmaNDalAH / yathA bhavAn pavanapadavIM [ pavanI zuddhA cA'so padavI mArgazca ] ratnatrayarUpA zuddhamokSamArgAzritaH tathA ete rAjahaMsAH api pavanapadavIM AkAzamArgamAzritAH / ata eva te rAjahaMsA: anurUpAH tvattulyadharmANaH iti bhAvaH / ete rAjahaMsAH abhI haMsapakSivizeSAH / rAjAnaH eva haMsAH yoginaH rAjahaMsAH / ' haMsaH sUryamalayoH / kRSNe'GgavAte nirlobhanRpatau paramAtmani // yogimantrAdibhede ca matsare tura* gAntare ' iti vizvalocane / rAjahaMsAH iva rAjahaMsAH / ' devapathAdibhyaH ' iti ivArthasya kasyos / 'rAjahaMsAstu caraNailohitaiH sitAH / malinairmallikAkSAste dhArtarASTrAH sitetaraiH ityamaraH / yathA paramayoginaH bhagavattulyatvAt tadanukUlAH tathA ete rAjahaMsAH api tathAtvAdeva tadanukUlAH ityartho'nyatra grAhyaH / nabhasi AkAze bhavataH tava sahAyAH sayAtrAH / ' sahAyastu sayAtre syAt ' iti zabdArNave / sampatsyante bhaviSyanti / The royal swans, having their delight dispelled owing to the enhancement of their longings, having a very slow movement (flying very slowly ), keeping silence, possessing staggering motion ( going unsteadily), having their faces turned downwards, spreading all over the quarters, resembling you and resorting to the sky (lit. having recourse to the way of wind) along with you, would become your associates in the sky. 53 bhoktuM divyazriyamanumatAM yAtukAmo dyulokaM kAlakSepAduparama raNe maGkSu sannadya bhikSo / nAmutra spRhayasi dive yazca saMrakSati tvAM ApRcchasva priyasakha mamuM tuGgamAliGgya zailam // 45 // anvayaH he bhikSo ! divyazriyaM bhoktuM dyulokaM yAtukAmaH raNe makSu sannA kAlakSepAt uparama / yena amutra dive spRhayasi yazca tvAM saMrakSati ( taM ) amuM priyasakhaM tuGgaM zailaM AliGgya ApRcchasva / bhoktumityAdi / he bhikSo yate abhimatAM abhISTAM divyazriyaM svargabhavAM

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[pArdhAbhyudathe zriyaM / divi bhavA divyA / divyA ca asau zrIzca divyazrIH / tAm / bhoktuM manubhavituM dyuloka svargabhuvaM yAtukAmaH gantumanAH / yAtuM gantuM kAmaH abhilASaH yasya saH / 'samtumo manaHkAme' iti tumo makArasya khaM / raNe yuddhArtha / 'hetau sarvAH prAyaH' iti hetAvIp / makSu zIghraM / 'makSu zIghra bhRzArthe'pi maGgha tattve'pi kutra. cit' iti vizvalocane / sannA sajaH bhUtvA / kAlakSepAt kAlayApanAt uparama virama / kAlayApanaM mA kArSIrityarthaH / yena zailena hetubhutena amutra bhavAntare / 'pretyA'mutra bhavAntare' ityamaraH / dive svargAya / 'suraloko dyodiyau dve' ityamaraH / spRhayasi abhilaSasi / ' spRhervepsitaM' ityap / yazca yaH zailazca tvAM saMrakSati nivAsaM datvA tvAM janasammardajanitakolAhalaprAdurbhAvitamanaHkSobhAt trAyate / svazirasi svaguhAsu vA strIpazuSaNDhAdivikalAsu sthAnaM datvA tvAM dhyAnabhraMzAt trAyate ityarthaH / yattadonityasambandhAt 'ta' iti padasyAtrAdhyAhAraH kAryaH / taM amuM zailaM / priyasakhaM priyamitraM / priyaH sakhA yasya saH priyasakhaH / 'priyaH' iti priyazabdasya pUrva prayogaH / 'rAjAhaH sakheSTaH' iti TaH samAsAntaH / tuGgaM unnataM zailaM dharAdharaM AliGgya upaguhya / AzliSyetyarthaH / AspRcchasva mAM gamanArthamanujAnIhi iti pRSTvA sabhAjanaM kuru / ' atha dve AnandasabhAjane' ityamaraH / 'nupracchaH' iti AparvakatvAtpracchedaH / Oh sage being desirous of going to the heavenly region to enjoy ibe prosperous life of heaven longed for by you, abstain from losing time by being ready for a fight very soon; bid farewell (say good-bye) to this lofty mountain, your dear friend, ly embracing him, through whom you are longing for the heaven and who protects you. bhUyazcAnusmara siSidhuSaH kAryasiddhyai prayatya prAyeNeSTA mahati vidhure devatAnusmRtirnaH / siddhikSetraM zaraNamathavA gaccha ta rAmazailaM vandyaiH puMsAM raghupatipadairaGkitaM mekhalAsu // 46 // snAto dhautAmbaranivasano divyagandhAnuliptaH stragvI dntcchdvircitaarkttaambuulraagH| khaDgI yuddhe kRtaparikaraH kSAlitAga:parAgaH ___ kAle kAle bhavati bhavato yasya saMyogametya // 47 / /

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prathamaH sargaH ] anvayaH- bhUyazca kAryasiddhyai prayatya siSidhuSaH anusmara / naH mahati vidhure prAyeNa devatAnusmRtiH iSTA / athavA kAle kAle bhavataH yasya saMyogaM etya yuddhe kRtaparikaraH khaDgI kSAlitAgaHparAgaH snAtaH dhautAmbaranivasanaH divyagandhAnuliptaH sragvI dantacchadaviracitAraktatAmbUlarAgaH bhavati taM puMsAM vandyaiH raghupatipadaiH mekhalAsu aGkitaM siddhikSetraM taM rAmazailaM zaraNaM gcch| bhUyazcetyAdi yugmam / bhUyazca punazca / kAryasiddhyai / kAryasya siddhiH sAphalyaM kAryasiddhiH / tasyai kaarysiddhyai| kAryasiddhiM kartumityarthaH 'dhvarthavAcoDa rthAtkamaNi' iti karmaNyam / prayatya prayatnaM vidhaay| siSidhuSaH siddhAn tapasvivizeSAn samprAptamuktIn vA / siddhAvasthA prAptAnityarthaH / 'vidhu saMrAddhau' ityasmAddhoH parasya liTa: sthAne ' liTAkasukAnau' iti kasuH / ' vasorvasyoz' iti bhasya vasoryakArasyoz / 'kasyaikAjyasaH ' iti dhorekAcvAt kasaupare iDAgamaH / anusmara anucintanaM kuru / naH asmAkam / mahati vidhure mahatyAM vipattI prAptAyAM satyAM / 'vidhuraM tu pravizleSe pratyavAye'pi tanmatam ' iti vishvlocne| prAyeNa bAhulyena / devatAnusmRti: / devatAnAmanusmRtiH anusmaraNaM devatAnusmRtiH / devatAsmaraNamityarthaH / iSTA aaryairbhilssitaa| kAryasiddhyai siddhAditapasvivizeSamAtrasmaraNaM paryAptaM / mahatyAM vipattau tu na tatsmaraNaM paryAptaM, api tu devatAnAmeva smaraNaM mahadbhiriSTaM vihitaM / vijayAnarUpakAryasiddhyartha siddhavizeSANAM tava smartavyatve'pi mayA saha yuyutsAste mahatI vipattirduSparihArA avazyaM bhavediti devatAsmaraNamapi tvayA'vazyaM kartavyaM, anyathA tava vinAzo'vazyaM bhavediti kamaThacarAbhiprAyaH / athavA yadvA kAle kAle bhavataH pratikAlaM vidyamAnasya / sarvathA sataH ityarthaH / yasya rAmazailasya saMyoga sambandhaM etya prApya / kssaalitaagHpraagH| AgasaH pApasya parAgaH rajaH karmaskandhAH 'AgaHparAgAH / ' AgAH pApArAdhayoH' iti 'parAgaH puSparajasi snAnIyAdo rajasyapi / vikhyAtAvuparAge'pi candane parvatAntare' iti ca vizvalocane / kSAlitAH kSayaM kSayopazamaM upazamaM vA prApitAH AgaHparAgAH yena saH kSAlitAgaH parAgaH / yuddhe saGgrAmArthaM / ' hetau sarvAH prAyaH ' iti hetAvIp / kRtaparikaraH / kRtaH baddhaH parikaraH yena saH / yuddhArtha kRtasannAhaH ityarthaH / khaDgI / khaDgaH nistriMzaH asya astIti khaDgI / nistriMzabhRdityarthaH / 'khaDgaH khaDgini nistriMze khaDgizRGge jinAntare' iti vizvalocane / snAtaH kRtasnAnaH dhautAmbaranivasanaH dhautaM ca tat ambaraM kArpAsaM ca dhautAmbaraM / 'ambaraM rasakArpAsavyomarAgasugandhake

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56 [ pArzvAbhyudaye iti vizvalocane / dhautaM kArpAsavastramityarthaH / tadeva nivasanaM paridhAnIyaM yasya saH / dhautAmbaraparidhAnIyaH ityarthaH yadvA nivasati paridhatte iti nivasanaM / kartari yuT / dhautAmbaraM nivasanaH dhautAmbaranivasanaH / divyagandhAnuliptaH / divi bhavaH divyaH / divyazcAsau gandhazca divyagandhaH / tena anuliptaH anucarcitAGgaH divyagandhAnuliptaH / sragvI / srag mAlA asya astIti sragvI / ' mAyAmayAmedhAsraktapo'so vin' iti matvarthIyo vin / dantacchadaviracitAraktatAmbUlarAgaH / dantacchadayoH adharottaroSThayoH viracitaH nikSiptaH AraktaH atiraktavarNaH ISadraktavarNaH vA tAmbUlasya rAgaH yasya saH / bhavati sampadyate / upapAdukadevabhUyaM prApnotIti bhAvaH / taM zailaM rAmAbhidhaM puMsAM - puruSANAM vandyaiH vandanArhaiH / aryairityarthaH / vyasya vA kartari ' iti tA / raghupatipadaiH / raghupateH dAzaratheH rAmasya padaiH caraNaiH mekhalAsu parvatanitambeSu / ' kAJcyAM zailanitambe ca khaDgabandhe ca mekhalA / mekhalA kaTideze ca ' iti vizvalocane / aGkitaM cihnitaM / saJjAtadAzarathicaraNacihnamityarthaH / siddhikSetraM siddheH dhyAnasya kSetraM sthAnaM / tvaddhyAna siddhisthAnamityarthaH / siddhirni SpattiyogayoH / sadvyAkhyAbheSaje siddhiH siddhirvRddhyAkhyA bheSaje ' iti vizvalocane / taM prasiddhaM rAmazailaM rAmagiriM zaraNaM rakSitAraM gaccha prApnuhi / ( ( I Moreover, bring deligently to your mind the liberated souls for the sake of fullilling your undertaking. Our remembrance of dieties at the time of great calamity is highly approved. Or approach the Rama mountain, the protector, a place of penance ( meditation ), marked on the summits (or slopes) by the footprints of the lord of Raghus' worthy of being adored by men, coming in contact with which, the eternal one, a swordsman girding up his loins for drifting into a war, the dirt of his sinful Karman being washed off, gets himself transformed into one that has taken a bath, worn a garland and has his lips decorated with a red dye of tambul ( i. c. gets himself transformed into godhood ). pazcAttApAdvayuparatimaho mayyapi prItimehi bhrAtaH prauDhapraNa pulako mAM nigRha svedorbhyAm / aa auf janitA zlAghanIyA janaiH stAt snehavyaktizciravirahajaM mukhato bASpamuSNam // 48 // * aho bhrAtaH pazcAttApAt vyuparatiM ehi, mayi api prItiM [ ehi ]; anvayaH

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prathamaH sargaH] prauDhapraNayapulakaH [tvaM ] svado* mAM nigUha / tat ciravirahaja, uSNaM bASpaM muJcataH te snigdhe mayaki janitA snehavyaktiH janaiH zlAghanIyA stAt / . pazcAttApAdityAdi / aho bho bhrAtaH pUrvabhavabandho pazcAttApAt anuzayAt vyuparati virAmaM ehi gaccha / 'dhyapAye dhruvamapAdAnaM' iti dhyapAyadarzanAt 'kA'pAdAne' ityapAdAne kaa| pazcAttApadagdhahRdayatvaM vimuJceti bhAvaH / mayi api tvajjAyAgAmini tvadapakArake garhite mayi api / api gardAyAmatra / ' api sambhAvanAzAGkApraznagahIsamuccaye / api yuktapadArtheSu kAmakArakriyAsvapi' iti vizvalocane / prItiM praNayaM ehi prApnuhi / tvadapakArake mayaki kamaThacareM yakSe vairabandhaM pravimucya praNayI bhaveti tAtparyam / prauddhprnnypulkH| praNayakRtaH pulakaH romAJcitaM praNayapulakaH / prauDhaH prakarSeNa vRddhiMgataH praNayapulakaH yasya saH / saJjAtavipularomAJcatanurityarthaH / 'prAdUhoDhoDhyeSaiSye' iti prAdaibUDhe parataH / tvaM svadoyA svabAhubhyAM mAM jyeSThabhrAtaraM mAM nigRha aashlessy| tat tasmAddhetoH / AliGganAddhetorityarthaH / ciraviraha / ciraM virahaH ciravirahaH / tasmAjjAyate iti ciravirahajaM / dIrghakAlavipralambhasambhUtamityarthaH / uSNaM koNaM bASpaM azru / 'bASpamUSmAzru' ityamaraH / muzvataH netrayoH pAtayataH te tava snigdhe snehini / premapare bhrAtari mayItyarthaH / mayaki mayi / 'yuSmadasmadoH supo'bhausi' ityasmadaH subantasya prAkTerak / janitA utpaaditaa| kRtetyarthaH / snehavyaktiH / snehasya premNaH vyaktiH praadurbhaavH| snehAvirbhAvaH ityarthaH / janaiH lokaiH / shlaaghniiyaa| zlAdhituM yogyA zlAghanIyA zlAghAre / prazasyetyarthaH / stAt bhavatu / bhagavantaM dhyAnAt pracyAvayituM sAma prayuJjAnasya kamaThacarayakSasyeyamuktiH / Oh brother ! abstain from repenting (i. c. give up repentance ) and have affection towards me even; you with the hair of your body bristling embrace me with your arms so that the manifestation of affection, towards me by you, shedding hot tears on account of the separation of long duration for me, the affectionate one, may highly be praised by the people. kiM vA vairIndhanadahi mayi prauDhamAnastvameta nAbhipreyAH kimaparamaho no vilambana tiSTha / tvAmayaivAntakamukhabilaM prApayAmi tvakaM me mArga mattaH zRNu kathayatastvatprayANAnurUpaM // 49 //

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. 58 .. [pArdhAbhyudaye anyaya :-vA prauDhamAnaH mayi vairIndhanadahi etat na abhipreyAH kiM ? ki aparaM ? no vilambena tiSTha / tvAM adya eva antakamukhabilaM prApayAmi / me kathayataH tvatprayANAnurUpaM mArga mattaH tvakaM aannu|| kiM vetyAdi / vA athavA / prauddhmaanH| prauDhaH vRddhiMgataH mAnaH abhimAnaH balagarvaH yasya sH| vRddhiMgatagarvaH ityarthaH / 'prAdUhoDhoDhyaSaiSye' iti prAdUDhe parataH aip / tvaM bhavAn marubhUticaraH pArzvanAthaH mayi kamaThacare yakSe mayi / vairIdhanadahi / vairI eva indhanaM dAhya vairIndhanaM / taddahatIti vairIndhanadhak / kim / tasmin / vairIndhanadAhaka mAmanAdRtyetyarthaH / ' tA cA'nAdare' ityanAdare Ip / etat pUrvoktaM kiM na abhipreyAH na abhijaaniiyaaH| nAbhipreyAzcenna kSame'hamityabhiprAyaH / 'azraddhAmarSe liG' ityamarSe liG / kiM aparam kimanyat ? kimanyadatra vaktavyAmiti bhAvaH / no vilambena tiSTha! akAlahInaM yuddhArtha sannaddho bhava / kAlayApanaM mA kurvityarthaH / tvAM bhavantaM adyaiva asminneva dine / antakamukhabilaM / antakasya kRtAntasya mukhaM bilamiva antakamukhabilaM / kRtaantmukhvivrmityrthH| prApayAmi preSayAmi / gamayAmItyarthaH / tvayi kRtAntamukhavivaraM mayA prApite sati svargamabhimukhIbhUya prasthitasya te| tvatprayANA. nurUpaM / tvat tava prayANasya anurUpaM anukUla mArga svargagamanapadavIM me mama kathayataH prItapAdayataH mattaH matsakAzAt / tvk| anukampitaH tvaM tvakaM / 'yuSmadasmadoH supo'bhosi' iti yuSmado vAntAt prAkTarak / zaNu karNagoMcaratAM prApaya / 'mArge'grahAyaNe vATe kastUrIviSayorapi' iti vizvalocane / yadi tvaM maduktamurarIkartuM necchasi tvAM. svargAtithibhUyamidAnImeva prApayAmIti bhedanItiM prayuGkte kamaThacaraH / Or, would you, with your pride fully developed (puffed up with pride ) not be willing to accept thuis, even though I have the capacity for reducing the fuel in the form of enemies to ashes, then I would not bear it. What else then ? Do not delay at all. ( Be ready very soon for a figlit ). I shall just to-day drive you into the caviiy of (formed by ) the jaws of the god of death. Learn from me the path fit for your journey while I wonld be describing it. zreyomArgAna hi jinamatAbhraMzitasyaika eva mArgo'sahyAdasukhaviSadheArakAttArako yaH / taM muktvA te zrutisukhapadaM vacmi yatra priyAyAH sandezaM me tadanu jalada zroSyasi zravyabandham // 50 //

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prathamaH sargaH] anvayaH- jinamatAt zreyomArgAt bhraMzitasya yaH asahyAt nArakAt asukhaviSadheH tArakaH ( saH ) mArgaH ekaH eva na hi / taM muktvA. te zrutisukhapadaM (mArga) bacmi, yatra tadanu meM priyAyAH zravyabandhaM sandezaM zroSyasi / zreyomArgAdityAdi / he jalada megha / naigamanayApekSayA dravyanikSapApekSayA vAdhyAnanimanasya bhagavataH maraNAnantaraM yakSAbhiprAyeNa jaladAkAradhAritvasyAvazyambhAvitvAt jaladatvenotprekSaNam / bhaviSyanmeghetyarthaH / jinamatAt / jinaiH tIrthakarairahadbhi : matAt abhimatAt prastutAdvA / zreyomArgAt / AtmanaH saMsArabandhanAdvimocya muktI vyavasthApakatvAnmAGgalyamayatvAdratnatrayasya shreyomaargtvenaabhidhaanm| zreyasaH sAMsArikaduHkhAbhAvAyAH avasthAyAH mArgaH anveSaNasAdhanaM zreyomArgaH / tasmAt / smygdrshnjnyaancaaritrmyaanmokssmaargaadityrthH| bhraMzitasya bhraMzaM prApitasya / pracyAvitasyetyarthaH / yaH mArgaH asahyAt aparisoDhavyAt / nArakAt / narake bhavaH nArakaH / tasmAt / asukhAviSadheH / asukhaM duHkhameva viSaM kAlakUTaM yatra dhIyate saH asukhaviSadhiH / duHkhaviSasAgaraH ityarthaH / tasmAt / duHkhasya viSavadvikArakatvAdviSatulyatvam / yadvA duHkhasyanArakIyasyAviSahyatvAddustaratvAddastarajaladhitulyatvamatrAvaseyam / tArakaH / tArayatIti tArakaH / uttaraNopAyaH ityarthaH / saH mArgaH padavI adhvA vA / ekaH eva na hi advitIyaH eva na bhavati khalu / zreyomArgaH jinoktamArgAdanyaH nekavidhaH eva, api tvanekavidhaH eva, api tvanekavidhaH so'sti / taM jinopadiSTaM zreyomArga muktvA vihAya / jinoktamArgopadezaM na karomi, api tu tadbhinnAnAmanekeSAmekaM mArgamupadizAmIti kamaThacarAbhiprAyaH / te bhavataH / shrutisukhpdN| zrutyoH zravaNayoH sukhaM zrutisukham / tasya padaM kAraNabhUtaM / krnnyoraanndjnnmityrthH| mArga vacmi kathayAmi / yatra yasmin mArge tadanu tadanantaraM / mArge prasthAnAnantaramityarthaH me mama priyAyAH preysyaaH| zravya bandhaM / zravyaH zrotavyaH zravaNAIH bandhaH zabdavinyAsaH yasya sH| tam / sandezaM vAcikaM / zroSyasi zrutipathaM neSyasi / jinoktamokSamArgamanurarIkurvatAM jainetarASAMzreyomArgAH bahavaH / teSAmanyatamamasahyanArakaduHkhAttArakaM kaJcana sukhapradaM mArgamupadizAmi / sa ca te zrutisukhakaraH syAt / jinoktamArga parihRtya tena maduktena mArgeNa gacchataste duHkhaparihAraH sukhaprAptizca bhaviSyatIti tvaM jinoktaM mArga muktervimucya yuddhasannaddho bhava / yuddhe mRtasyA'pi te zreyaHprAptirbhaviSyatIti kamaThacarazambarAsurAbhiprAyaH / Oh you, a would be cloud, the path, saving from drowning in the unbearable ocean of hellish misery and leading to the final beautitude,

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60 [pArdhAbhyudaye is not only one in respect of him who is deviated from the path prescribed or highly valued by the Jinas. Excludnig that one, I shall describe you one, pleasing to the ears, where on you would hear a message of my beloved couched up in words agreable to hear. tatrA'pyeko'nRjurRjurataH ko'pi panthAstayoryo - vakro'pi tvA nayati sukhatastaM zRNu procyamAnam / nAnApuSpadrumasumanasAM saurabheNAtateSu khinnaH khinnaH zikhariSu padaM nyasya gantAsi yatra // 51 // yasminnamyAH kRtakagirayaH sevyasAnupradezAH nAnAvIrudvitatisubhagAH puSpazayyAcitAntAH / tena vrajyA tava sukhakarI, tatra yAyAH sukhena kSINaH kSINaH parilaghupayaH srotasAM cobhabhujya // 52 // anvayaH-tatra api ekaH panthAH anRjuH| kaH api ataH RjuH / tayoH vakraH api yaH tvA sukhataH nayati / yasmin sevyasAnupradezAH nAnA virudvitatisubhagAH puSpazayyAcitAntAH ramyAH kRtakagirayaH, yatra ca khinnaH khinnaH nAnApuSpadrumasumanasA saurabheNa AtateSu zikhariSu padaM nyasya gantAsi, taM procyamAnaM zRNu / tena tava vrajyA sukhakarI (syAt ) / tatra kSINaH kSINaH (tvaM) srotasAM parilaghu payaH upabhujya sukhena yaayaaH| tatrApItyAdi yugmam / tatra api jinoktamArgAdbhinnAnAM mArgANAmanekatve'pi ekaH kazcidanyatamaH panthAH mArgaH / anRjuH kuTilaH / RjuH saralaH / na RjuH anRjuH / kaH api kazcana anyatamaH mArgaH api ataH asmAt kuTilAnmArgAt RjuH saralaH / tayoH kuTilAkuTilayorgiyoranyataraH vakraH api kuTilaH san api yaH tvA bhavantaM sukhataH sukhena nayati abhISTasthAna prApayiSyati yasmin yatra mAgeM / sevyasAnupradezAH / sevyAH sevituM yogyaaH| arhArthe vyaH / sAnUnAM zRGgANAM pradezAH saanuprdeshaaH| 'sAnuH zRGge budhe'raNye vAtyAyAM pallave pathi' iti vizvalocane / sevyAH sAnupradezAH yeSAM te sevysaanuprdeshaaH| nAnAvIrudvitatisubhagAH / nAnA anekavidhAH vIrudhaH latAH nAnAvIrudhaH / tAsAM vitatayaH paGktayaH samUhAH vA / tAbhiH subhagAH

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prathamaH sargaH ] 61 " 6 manoharAH / ' latAyAM viTape vIrudhU' iti vizvalocane / puSpazayyAcitAntAH / puSpANAM puSpaiH vA viracitA zayyAH zayanIyAni puSpazayyAH / tAbhiH AcitAH channAH antAH prAntapradezAH yeSAM te / 'AcitAstu cite channe saGgRhIte ciliGgakaH / AcitaH zakaTonmeye palAnAmayutadvaye ' iti ' anto nAze manohare / svarUpe'ntaM mataMklIvaM na strI prAnte'ntike triSu ' iti ca vizvalocane / ramyAH manoharAH kRtakagirayaH / krIDArtha vinirmitAH adrayaH / yatra ca yasmin kuTile mArge ca / khinnaH khinnaH bhRzaM atyarthe / parizrAntaH san / kSINasAmarthyaH san ityarthaH / ' prAgbhRzAbhIkSNAvicchede ' iti bhRzArthaM dviH / nAnApuSpadrumasumanasAM / nAnA anekavidhAzca te puSpadrumAH kusumavRkSAH nAnApuSpadrumAH / teSAM sumanasaH puSpANi / tAsAM / 'sumanAH puSpamAlatyoH striyAM dhIre sure pumAn' iti vizvalocane / saurabheNa sugandhena / surabhiH eva saurabhaM / tena saurabheNa / surabhizvampake caitre vasante gandhake kavau / svarNe jAtIphale cA'bje triSu madyasugandhayoH / khyAte ca strI tu zallakyAM surabhI mAtRbhedayoH ' iti vizvalocane / AtateSu / A samantAt tateSu vyaaptessu| nAnApuSpadrumasumanassaugandhyAkrAnteSvityarthaH / zikhariSu parvatAdhityakA parvatapradezeSu vA padaM caraNaM nyasya sthApayitvA gantAsi gamiSyasi / ' syatAsI lRsvoH (lRlroH ) ' iti luTi tAstyaH / taM anRjuM mArge procyamAnaM kathayitumupakrAntaM / zRNu zravaNAtithitAM prApaya / tena kuTilena tena mArgeNa tava marubhUticarapArzvasya vrajyA gamanaM / ' brajyA'TATyA paryaTanam ' ityamaraH / brajyajaH kyap ' iti bhAve kyap / sukhakarI saukhyajananI / syAditi zeSaH / tatra tasmin kuTilavartmani kSINaH kSINaH atyarthaM kSINaH / jalavarSaNAdatyarthaM kRzatanutvaM prAptaH / atrA'ni bhRzArthe dviH / tvaM srotasAM pravAhANAM parilaghu gurutvadoSavikalaM payaHpAnIyaM upabhujya upayujya / pItvetyarthaH / sukhena zramahInaM yAyAH gaccheH / yA prApaNe' liG prApaNamiha gatiH / C " C Of those even, one way is crooked and a certain one is straight. Of those two, learn from me about the one, which is being deseribed, though crooked, which would lead you happily, on which there are beautiful artificial hills charming on account of the groves of various creepers, the regions of which are crammed with floral beds, the sloping regions of which are worthy of being enjoyed, and on which you would be going stepping on mountains pervaded with the fragrance of the flowers of various flowery trees whenever you would be very tired. Your journey by that way will bring delight to you. Make your journey

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62 [ pArzvAbhyudaye by that way very happily enjoying the very light waters of currents whenever you would be growing very much emaciated. kAmaM yAyAH pathi nigadite kAmagatyA vimAnaM prItyArUDhaH prathitamahimA vArivAhIva bandho / dRSTodyogo nabhasi virahana khecarIbhistvamuccai - radreH zRGga harati pavanaH kiMsvidityunmukhIbhiH || 53 // anvayaH - -bandho ! pavanaH adreH zRGgaM uccaiH harati kiMsvit ? iti unmu 'khIbhiH khecarIbhiH dRSTodyogaH tvaM kAmagatyA vimAnaM ArUDhaH prathitamahimA vArivAhI i nabhasi viharan nigadite pathi kAmaM yAyAH / 8 kAmamityAdi / he bandho bhrAtaH / prAgbhavApekSayoktiriyamityavaseyam / pavanaH vAyuH adreH parvatasya zRGgaM sAnu uccaiH urdhvaM harati nayati / vAhayatItyarthaH / kiMkhit kim ? kiMviditi vitarke / iti evaM zaGkAkulAbhiH ataH eva unmukhIbhiH / udgataM mukhaM unmukhaM / tadastyAsAmityunmukhyaH / tAbhiH / unnatamukhIbhirityarthaH / svAGgAnIco'sphoGaH ' iti GI / khecarIbhiH vidyAdharamugdhAGganAbhiH / khe caratIti khecaraH / vidyAdharaH vihAyogatiH / ' caro'T' ityAdhAre vAci careraT TitvAGkSI ca / vihAyogatibhirvidyAdharastrIbhirityarthaH / dRSTodyogaH dRSTaH udyogaH urdhvagamanaM yasya saH / dRSTordhvagItaratyarthaH / tvaM bhavAn / kAmagatyA vimAnaM / kAmaH asya astIti kAmaH / manaH ityarthaH / kAmasya manasaH gatiH vegaH kAmagatiH 'o'bhrAdibhyaH ' ityo matvarthIyaH / kAmagatiH iva kAmagatiH / ' devapathAdibhyaH' itIvArthasya kasyos / kAmagatyA kAmagatijJApyatyarthaH / ' yenAGgavikAretthambhAvau ' iti itthambhAve bhA ' zikhayA TumadrAkSIcchetacchatreNa bhUpatiM / kezavaM zaGkhacakrAbhyAM tribhirnetraiH pinAkinam |' ityatra yathA / manojavamityarthaH / vimAnaM vyomayAnaM / prItyA pramodena ArUDhaH Aruhya vimAne sthitaH / prathitamahimA / prathitaH prasiddhiprAptaH mahimA mAhAtmyaM yasya sa: / ' pRthvAderveman ' itImaMstyaH / vArivAhI iba / vAri jala voDhuM zIlamasya vArivAhI | zIlArthe Nin / jaladaH ivetyarthaH / nabhasi AkAze viharan vicaran nigadite pUrvapratipAdite pathi mArge kAmaM yethecchaM / ' kAmaM prakAmaM paryAptaM nikAmeSTaM yathepsitam ' ityamaraH / yAyAH gaccheH / Oh brother! you, whose upward movement would be looked at by

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prathamaH sargaH ] the females of Vidyadharas with their faces turned upwards, thinking * Is the wind carrying off the peak of a mountain very high up ? ', with your greatness displayed, moving in the sky like a cloud, should go, getting delightfully into an aerial car possessing as much unrestrained spoed as you liko, at your own will by the way described above. mayyAmuktasphuritakavace nIlameghAyamAne manye yuktaM madanukRtaye vArivAhAyitaM te| meghIbhUto braja laghu tataH pAtazaGkAkulAbhiH dRSTotsAhazcakitacakitaM mugdhasiddhAGganAbhiH // 54 // anvayaH- Amuktasphuritakavace mayi nIlameghAyamAne (sati) madanukRtaye te bArivAhAyitaM yuktaM manye / tataH meghIbhUtaH pAtazaGkAkulAbhiH mugdhasiddhAGganAbhiH cakitacaMkitaM dRSTotsAhaH laghu vraja / mayItyAdi / Amuktasphuritakavace / sphuritaH sphuritatejaskazcAsau kavacaH vAravANazca sphuritakavacaH / ' kavacaH vArabANe syAt paTahe gardabhANDake' iti vizvalocane AmuktaH baddhaH dhRtaH vA sphuritakavacaH yena sa AmuktasphuritakavacaH / tasmin / 'AmuktaH pratimuktazca pinaddhazcApinaddhavat' iti 'urIcchadaH kaGkaTako'jagarakavaco'. striyAm' iti cA'maraH / mayi kamaThacare zambarAsure mayi / niilmeghaaymaane| nIlaH nIlavarNaH cA'sau meghaH nIlameghaH / nIlameghaH iva AcaratIti nIlameghAyamAnaH / tasmin sati / 'DAulohitAdibhyaH ' iti kyam / 'vAkyaSaH' iti daH / zAnac / madanukRtaye / mama anukRtiH AkArAnukaraNaM madanukRtiH / tasyai madanukRtaye / madAkRtyanukArArthImityarthaH / te marubhUticarasya pArzvanAthasya bhavataH / vArivAhAyitaM / vAri jalaM vahatIti vArivAhaH iva AcaratIti vArivAhAyate / karmaNi ktaH / meghAkRtidhAraNamityarthaH / yuktaM yogyaM manye sambhAvayAmi / tataH te vArivAhAyitatvasyocitatvAt / meghIbhUtaH / 'ameghaH meghaH sampadyamAnaH bhavatIti meghIbhavati / meghIbhavati sma meghIbhUtaH / ' kRmvastivyoga'bhUtatadbhAva sampadyakartari cviH' iti cviH / pAtazaGkAkulAmiH / pAtasya patanasya zaGkA bhayaM pAtazakA / tayA AkulAH vyastAH vyagracittAH / taabhiH| 'vyaste tvapraguNAkulau' ityamaraH / mugdhsiddhaanggnaabhiH| siddhAnAM devayonivizeSANAM aGganAH zobhanAstriyaH siddhaagnaaH| 'strI nArI vanitA mugdhA bhAminI bhIrAnA / halanA kAminI yoSidyoSA sImantinI vadhUH' iti dhana

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[pArzvabhyudaye ayaH / aGgAni kalyANAni asyAH sntiitynggnaa| lakSNaviSuNAGganA' ityaGgAnnaH nipAtitaH / mugdhAH mUDhAzca tAH siddhAGganAzcamugdhasiddhAGganAH / tAbhiH / 'sundare vAcyavanmugdho mugdho mUDhe'pi vAcyavat ' iti vizvalocane / cakitacakitaM / cakitaprakArAH cakitacakitAH yathA syustathA / 'prakAre guNokteH' iti dvaidhiibhaavH| bhayAkulitAH bhUtvetyarthaH / dRSTotsAhaH / dRSTaH avalokitaH utsAhaH udyamaH urdhvagamanaM yasya saH / 'utsAhastUdyame sUtratantAvapi pumAnayam' iti vizvalocane / tvaM laghu zIghra vraja gaccha / I think your behaviour like that of a clond (i. e. assumption of the form of a cloud ) with a view to imitate me would be but quite proper on your part when I, clad in a brilliant mail (arinour ), would be behaving like a black cloud. You assuming the form of a cloud, looked at with great fear by the simple Siddha-women rendered unhappy by the doubt cherished by them of your downfall, should go your journey quickly. tasmAdvidyutprasavasamaye prApya siddhiM vadhUnAM sadyaH kRtvA samucitamado divyajImUtarUpam / divyAnbhogAn samanubhavituM kAmukaH kAmacAre sthAnAdasmAtsarasaniculAdutpatodaGmukhaHkham // 55 // anvayaH- tasmAt adaH samucitaM divyajImRtarUpaM kRtvA vidyutprasavasamaye vadhUnAM siddhi prApya divyAn bhogAn samanubhavituM kAmacAre kAmukaH sarasaniculAt asmAt sthAnAt udaGmukhaH (san ) khaM sadyaH utpata / ... tasmAdityAdi / tasmAt mugvasiddhAGganAbhiH pAtazaGkAkulatvena dRSTatvAt adaH tat proktaM samucitaM suyogyaM / 'ucitaM tu samaJjase | anumatyAM mitAbhyastajJAteSu triSu ca triSu' iti vizvalocane / divyajImUtarUpaM / divyaM divibhavamataH eka valgu sundaraM jImUtasya meghasya rUpamAkArastam / jIvanasya jalasya mUtaH bandhaH jiimuutH| pRSodarAditvAt sAdhuH / 'divyaM tu valagau divibhave'nyavat' iti 'jImUto jalade zake ghoSe'pi vRddhijIvini / devatADe'pi jImUto jImUtaH parvate'pi ca ' iti ca vishvlocne| kRtvA viracya vidyutprasavasamaye taDidutpattikAle vadhUnAM kAntArthinInAM saGketa yAtukAmAnAM strINAM / 'vadhUH snuSAyAM bhAryAyAM vadhUoSinnavADhayoH / zaTyAM ca sAri

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prathamaH sargaH] 65 vAyAM ca spRkkAyAM ca matA vadhUH' iti vizvalocane / siddhiM saGketAbhiprApaNakAryasiddhi prApya prApayya / antarbhAvitaNyarthatvAtprApayyetyarthaH / saGketAbhiprApaNarUpaM kArya niSpatti gamayitvetyarthaH / 'siddhiniSpattiyogayoH / sadvyAkhyAbheSaje siddhiH siddhivRdhdyAkhyabheSaje' iti vizvalocane / yadvA'bhilaSitArthaniSpatti vidhAyetyarthaH / divyAn divibhavAnnata eva manoharAn bhogAn sukhAni sukhotpAdakAnpaJcendriyaviSayAnvA / ' puMsi bhogaH . sukhe'pi syAdahezca pa.NakAyayoH / nivaze gaNikAdInAM bhojane pAlane vane' iti vizvalocane / yadvA svargastrINAM nivezAn iti svayaMstrIbhiH viSayasukhAnIti vA'bhiprAyaH / samanubhavituM anubhUtigocaratAM netuM / bhoktumityarthaH / kAmacAre svairavihArArtha / 'hetau sarvAH prAyaH' iti hetAvIp / kAmukaH abhilASukaH tvaM / sarasaniculAt / sarasAH pratyayAH ArdAH vA niculAH hijalAH sthalavetasAH yasmistasmAt / "niculastu nicole syAniculo hijaladrume' iti vishvlocne| 'vAnIre kavibhede syAniculaH / sthalavetase' iti zabdArNave / asmAt sthAnAt yatra bhagavAn dhyAnakatAnaH AsIt tasmAt sthAnAt / yadvA yatra bhagavAn mugdhasiddhAGganAbhiH cakitacakitaM dRSTastasmA* sthAnAt / udaGmukhaH udIcInamukhaH san khaM AkAzaM sadyaH sapadi / 'sadyaH sapadi tatkSaNe' ityamaraH / utpata udgaccha / alakAyA udIcInatvAt udaktAt prasthAna kurvitybhipraayH| yastatAH mugdhasiddhAGganAH bhavatpAtazaGkAkulAzcakitacakitAstatastasmAtsarasanicula.sthAnAdalakAmabhiyiyAmurudIcInamukhIbhUya zIghrataramane gaccha yena tAsa bhayAkulIkRtasvAntAnAM bhavatpAtazaGkAjanitaM bhayaM vidrutaM syAditi kamaThacarayakSAbhiprAyaH / ___You, desirous of moving (or travelling) at your own will to enjoy the most excellent heavenly pleasures, having assumed that proper and celestial form of a cloud and having fulflled the desires of women at the time of manifesting the flashes of lightning, should, with your face turned northwards, fly up in the sky very quickly form that place overgrown with fresh Nichula grass for that reason (i. e. for your being looked at with a fear of your down fall by thesimple beautfiful women of the Siddhas. ) to go your journey. digbhyo bibhyatkathamiva pumAnbhIlukastatra gacche___ dullayAdrIviSamasarito durgamAMzca pradezAn / tanmA rodIja sunipuNaM vyomamArgAnusArI diGnAgAnAM pathi pariharansthUlahastAvalepAn // 56 / / pArzvabhyudaye...5

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[pArzvabhyudaye anvayaH-digbhyaH bibhyat bhIlukaH pumAn adrIn viSamasaritaH durgamAn ca pradezAn ulaya tatra kathamiva gacchet ? tat mA rodIH / vyomamArgAnusArI (tvaM) pathi diGnAgAnAM sthUlahastAvalepAn pariharan sunipuNaM vajra / digbhya ityAdi / digbhyaH dizAbhyaH bibhyat bhItiM prApnuvan bhIlukA bhIruH / 'bhIrubhIrukabhIlukAH ' ityamaraH / 'bhyaH krukluko ' iti kluk / pumAn manuSyaH adrIn parvatAn viSamasaritaH / viSamAH durgAzca tAH saritaH nadyaH viSamasaritaH / durgamAn ca durladhyAn / duHkhena gamyante iti durgamAH / tAn / pradezAn sthAnAni / dugaTATavIsthAnAnItyarthaH / ullaGya atItya tatra tasmin kamaThacarazambarAsurapradarzitamArge kathamiva gacchet kathaM gantuM zaknuyAt ? 'zaki liG ca ' iti zakyarthe liG / kathamapi gantuM na zaknuyAditi bhAvaH / yasya svabhAvabhIroH bhayakAraNAbhAve'pi digbhyo'pi bhayaM jAyate tasyAdyAdidurgadezarUpabhayakAraNe vidyamAne sati tenAnRjunA mArgeNa kathamapi gamanaM na sambhavatItyabhiprAyaH / tat tasya bhayakAraNasya vidyamAnatvAt svasya bhIrutvAt tatra gamanaprasaGgamanulakSya mA rodIH rodana mA kuru / tava gaganagAmitvAt bhayakAraNAnAM ca bhUpradezasthitatvAt nAstyatra viSaye rodanakAraNamiti kamaThacarAbhiprAyaH / vyommaargaanusaarii| vyomaiva vyomni vA mArgaH vyomabhAgaH / tamanusaratIti vyomamArgAnusArI / AkAzamArgeNa gantuM kSamaH ityarthaH / tvaM pathi mArge diGnAgAnAM diggajAnAM / sthUlahastAvalepAn / sthUlAnAM pIvarANAM hastAnAM zuNDAdaNDAnAM avalepAH garvAH / tAn / 'avalepastu doSe syAdrve lepe ca saGgame' iti 'dvayostu hasto nakSatre hastaH karikare kare / saprakoSThAtatakare hastaH kezAtparazcaye' iti ca vishvlocne| pariharan kharvIkurvan / dUrIkurvannityarthaH / sunipuNaM / kSema yathA syAttathA vraja gaccha / yadyapi bhIrutvAttena mArgeNa gantumakSamA bhavAn tathApi bhavata AkAzagAmitvAttasya mArgasya tAdRzatve'pi na te kathamapi kuto'pi bhayaM sambhavediti bhAvaH / / How can a timid onc, afraid of the quarters (even ), travel by that ( way ) while travelling whereon he has to transgress mountains, cross impassable rivers and inaccessible regions ? Do not lament for that reason. You possessing the capacity of moving through the sky, proceed on without any injury being done to you, quelling, on your way, the pride taken by the quarter-elephants in the bigness of their trunks. En

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prathamaH sargaH] prasthAne te viracitamitastoraNaM nUnamuccaiH kAJcIdAma zlathitamathavA svargalakSmyAH kimetat / varNopannaM dhanuruta samAvirbhavatyatyudagraM ratnacchAyavyatikara iva prekSyametatpurastAt // 57 // nUnaM bhUmyAntaritavisaraM bhogimUrdhanyaratna___ jyotizcakraM viyati kimito dRzyate bhUmirandhrAt / prAyeNedaM dinakarakarAzliSTameghAzritaM yada valmIkApAtprabhavati dhanuHkhaNDamAkhaNDalasya // 58 // anvaya :-( yat ) etat purastAt ratnacchAyavyatikaraH iva samAvirbhavati tat te prasthAne uccaiH viracitaM nUnaM toraNam ? athavA etat svargalakSmyAH zlathita kAJcIdAma kim ? uta (etat ) atyudagraM varNopaghnaM dhanuH, nUnaM (yat ) itaH bhUmirandhrAt viyati dRzyate (tat) bhUmyA antaritavisaraM bhogimUrdhanyaratnajyotizcakraM kim ? yat idaM valmIkAnAt prabhavati tat prAyeNa dinakarakarAzliSTameghAzritaM AkhaNDalasya dhanuHkhaNDam / prasthAne ityAdi yugmam / yat etat idaM purastAt agre| 'purastAt prathame prAcyAmagratIrthapurArthayoH' iti vizvalocane / ratnacchAyavyatikara iva / ratnAnAM maNInAM chAyAH satkAntayaH ratnacchAyaM / 'chAyA bahUnAM ' iti chAyAntaSatvAnnaptvam / ekaratnacchAyAyAH ekatvAdyatikarasyA'sambhavAt pUrvapadasyabahutvam / 'ratnacchAyAvyatikaraH' iti pAThe tu pUrvapadoktaratnArthasya bahutve'pi 'senAsurAcchAyAzAlAnizA vA' iti chAyAntasya SasaH pUrvapadoktArthabAhUlye'pi naptvasya vaikalpikatvAnnaptvabhAvaH / 'chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / pratibimbe'rkakAntAyAM tathA paGktau ca pAlane' iti vizvalocane / ratnacchAyAnAM vyatikaraH vyatiSaGgaH ratnacchAyAvyatikaraH / ' bhavedyatikaraH puMsi vyasanavyatiSaGgayoH' iti vizvalocane / saH iva prekSya prekSaNA ! ' tRjcyAzcoha' itya 'rthavyaH / te tava megharUpadhAriNaH marubhUticarasya / prasthAne gamanakAle / samAvirbhavati prAdurbhavati / 'prasthAnaM gamanaM gamaH' ityamaraH / tadetat / uccaiH unnataM yathA syAt tathA biracitaM AracitaM nUnaM vitarke / saMzaye ityarthaH / 'nUnaM tarke'rthanizcaye' ityamaraH / toraNaM dvArabhUSaNaM AmrapatrapuSpAdiviracitaM maGgalakArye yaddavArAgre nibadhyate tat / ratnacchAyanyatikara iva prekSaNAImidaM purastAd dRzyamAnaM kiM toraNamutAnyatkiJcit iti

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[pAzrvAbhyudayeH dviSThatvAtsaMzayasya kiJcitsAdRzyanibandhanatvAtsaMzayo'yam / athavA kiMvA / dvitayAM koTiM saMzayasya vyAcaSTe / etat agrato dRzyamAnamidaM svargalakSamyAH divyAzriyaH / divibhavAyAH lakSmItulyavibhramAyAH aGganAyAH iti vArthaH / zlathitaM zithilIbhUtaM kAJcIdAma mekhalAdAma / 'kAJcI tu mekhalAdAmni nIvRdantaraguJjayoH' iti vizvalocane / kAJcI dAma mAleva kAJcIdAma / kim prshne| 'ki praznakutsayoH' iti vizvalocane / ratnacchAyavyatikara iva prekSaNIyasya darzane jAte sati saJcatasaMzayasya jijJAsorayaM praznaH / prekSyamANasya tasya ratnakhacitakAJcIdAmnA tulyatvAdasaJjAtanirNayasya saMdihAnasya 'kimidaM kAJcIdAma' iti praznaH ityabhiprAyaH / uta vikalpe vitarke thaa| 'uta prazna vitarke'rthe' pyutAtyarthavikalpayoH' iti vizvalocane / etat atyudagraM / Urdhvamagramasya ugraM / ucchritamityarthaH / atyudapramatyucchritamityarthaH / 'uccatrAMzUnnatodagrocchritAstuGge' ityamaraH / varNopaghnaM / varNarupahanyate sAmIpyena gamyate iti varNopaghnaM / 'ghanAntarghaNoddhanApadhanopanasaGghoddhanighaM mUrtidezAtyAdhAnAGgAsannagaNazastanimitte' ityupapUrvAddhanterAzraye'bhidheyekaH nipAtyate ghnazca / nAnAvidhavarNAzritamityarthaH / dhanuH caapH| kim ? nUnaM vitarke / itaH asmAt bhUmirandhrAt / bhUmeH bhuvaH randhra bilaM bhUmirandhaM / tatmAt / viyati AkAze dRzyate dRkpathamavatarati tat tasmAt bhUmyA medinyaa| antaritavisaraM / antaritaH vyava hitaH visaraH prasaraH yasya tat / visaraH prasaraH puMsi visaro nikurambake' iti vizvalocane / bhogimUrdhanyaratnajyotizcakraM / bhogaH phaNaH asya astIti bhogii| phaNAbhRt / 'puMsi bhogaH sukhe'pi syAdahezca phaNakAyayoH' iti 'bhogI bhogAnvite sarpa grAmaNyAM rAzi nApite' iti ca vizvalocane / bhoginaH phaNAbhRdindrasya mUrdhanyAni mUrti bhavAni ca tAni ratnAni maNayaH bhogimUrdhanyaratnAni / 'dehAGgAt ' iti bhavArthe yaH / teSAM jyotiSAM tejasAM cakraM iva cakraM / valayamityarthaH / 'jyotistArAmibhAjvAlA dRkSutrA. dhvarAtmasu' iti vaijayantI / ' cakraM sanye rathAGge'pi AmrajAle'mbhasAmbhrame / kulAlakRtyaniSpattibhANDe rASTrAstrabhedayoH' iti vizvalocane / kim ? yat idaM yadetat valmIkAnAt / valmIkasya vAmalUrasya agramU-bhAgaH valmIkAgraM / tasmAt / 'valmIko vAmalUre syAnmunirogavizeSayoH' iti vizvalocane / 'vAmalUrazca nAkuzca valmIkaM punapuMsakaM' ityamaraH / prabhavati prAdurbhavati tat prAyeNa bAhulyena / dinakarakarAzliSTameghAzritaM / dinakarasya sUryasya karaiH kiraNaiH AzliSTaH AkrAntaH dinakarakarAzliSTaH / sa cA'sau meghazca / tamAzritaM / AkhaNDalasya zacIpateH / 'saGkrandano duzcayavanasturASAmeghavAhanaH / AkhaNDalaH sahasrAkSaH RbhukSAH' ityamaraH / dhanuHkhaNDam / dhanuSaH khaNDaM dhanuHkhaNDaM / " indracApaM kila vakSmIkAntarvyavasthitamahAnAgaziromaNikiraNasamUhA

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prathamaH sargaH] tsamutpadyate / 'sUryasya vividhavarNAH pavanena vighaTTitAH sAbhre / viyati dhanuHsaMsthAnAH ye dRzyante tadindradhanuH // " iti varAhamihiraH / nizcayAnteyaM sndehaalngkRtiH| 'syAtAM viSayatadvantau sandehaviSayau kaveH / sAdRzyAtsanmadyatAtra sandehAlaGkRtirmatA // zuddhA nizcayagarbhA ca nizcayAnteti sA tridhaa| zuddhA yathA ca sandehamAtraparyavasAyini / ' itylngkaarcintaamnnau| Is this, that is being manifested very high up in the sky in front of us and that is worthy of being enjoyed sight of like a commixture of the lustres of various jewels, a garland tied high up at the time of your departure (or a canopy, a lofty construction erected at the time of your departure ) or is this the loosened girdle of the celestial Laxmi (the heavenly beautiful lady or the beauty of heaven in-carnate) or is this a multicoloured low ? Is this, that is being seen emanating from this hole of the earth and rising high up in the sky, verily a prismatic circlo formed by the lustre issuing from the head-jewel of a cobra de capello, the expansion of which is prevented by the eartb ? That this which originates from the top of the ant-hill is,most probably, a piece of Indra's bow resorting to the clouds intermixed (or intermingled ) with the rays of the sun. khaDgasyaikaM kathamapi dRDhaM me sahasva prahAraM vakSobhAge kulizakaThine procchaladraktadhAram / vidyuddaNDasphuritarucinA vAridasyeva bhUyo yena zyAmaM vapuratitarAM kAntimApatsyate te // 59 // anvayaH- kulizakaThine vakSobhAge procchaladraktadhAra meM khaDgasya ekaM dRDhaM prahAraM kathaM api sahasva, yena te zyAmaM vapuH vidyuddaNDasphuritarucinA vAridasya vapuH iva atitarAM kAnti bhUyaH aaptsyte| - khaDgasyetyAdi / kulizakaThine / kulizasya vajrasya iba kaThine karkaze / durbhadye ityarthaH / 'kulizaM pavau' iti vizvalocane / 'vajramastrI syAt kulizaM bhiduraM paviH' ityamaraH / vakSobhAge / vakSaH uraH eva bhAgaH ekadezaH zarIrasya / tasmin / 'bhAgo rUpArthakAMzayoH / ekadeze ca bhAgye ca vipUrvastu vibhaJjane' iti vizvalocane / procchaladraktadhAram / procchalantI raktasya rudhirasya dhArA pravAhaH yena yasmAt vA hetubhUtAt / me mama khaDgasya nistriMzasya / 'khaDgaH khaDgini nistriMze khaDgizRGge

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[pArzvabhyudaye jinAntare' iti vizvalocane / ekaM dRDhaM grahAraM ekaM sthUlaM AghAtaM / ' syAd dRDhaH sthUlabalinoH dRDhaM bADhapragADhayoH' iti vizvalocane / kathamapi mahatA kaSTena api sahasva anubhava / yena procchaladraktadhAreNa prahAreNa te marubhUticarasya pArzvasya zyAma kRSNavarNaM / ' zyAmastu harite kRSNe prayAgasya vadrume / pike payodhare vRddhadArake'pi pumAnayam / zyAmavarNe haridvaNe ' iti vizvalocane / vapuH zarIraM / vidyudaNDasphuritarucinA vidyudeva daNDaH vidyuddaNDaH / vidyuddaNDasya daNDAkAradhAriNyAH vidyutaH sphuritA prajvalitA yA ruciH tejaH / tena / vAridasya meghasya vapuH iva atitarAM adhikatarA kAnti zobhAM bhUyaH bAhulyena Apatsyate prApsyati / Endure anyhow one heavy stroke of my sworil, making your blood gush out on your breast which is as lard as an adamant, by which your body would assume beauty exceedingly like that of a cloud possessing the lustre of the flashes of lighting, zaGkorekaM prahRtamathavA dhatsva zarAgraNI, picchopAgrapratatiruciraM yena zobhA'dhikA te / krIDAhetoviracitatanorindranIlatviSaH syAd barheNeSa sphuritarucinA gopaveSasya viSNoH / / 60 / / anvayaH---athavA zUrAgraNIH picchopAgrapratatiruciraM me zaGkoH eka prahRtaM dhatsya, yena sphuritarucinA baheNa krIDAhetoH viracitatanoH indranIlatviSaH gopaveSasya viSNoH iva te adhikA zobhA syAt / zaGkorityAdi / athavA kiMvA zUrAgraNIH vIrazreSThaH / zUrANAM agraNIH agresaraH zUrAgraNIH / picchopAgrapratatiruciraM / ruciM zobhA rAti samantAdatte iti ruciraM zobhAvahaM / ' ruciricchA rucA ruktA zobhAbhiSvaGgayorapi ' iti vizvalocane / picchasya upAgraM agropAntapradezaH picchopAgaM / picchopAgrasyeva pratatiH viracanA picchopAgrapratatiH / tayA ruciraM zobhAvahaM / mayUrabopAgre yA viracanA tayA tulyA bANAgrasthopAnte yA viracanA tayA zobhAvahamityarthaH / me mama zaGkoH bANasya / 'zakuH kIle zive saGkhyAyAdo'strabhidi kilbiSe' iti vizvalocane / taccAstraM nArAca eva 'vA puMsi zalyaM zaGkurnA' ityamarokteH / ekaM prahRtaM ekaM prahAraM AghAtaM / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / dhatva dhehi / sahasvetyarthaH / yena prahRtena

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prathamaH sargaH] zarIrAntaH pravizya sthitena nAgacena sphuritarucinA prakaTitakAntinA baheNa mAyureNa picchena krIDAhetoH krIDAyAH kRte viracitatanoH alaGkRtasvazarIrasya / vizeSeNa racitA alaGkRtA tanuH zarIraM yena yasya vA tasya / indranIlatviSaH harinmaNitulyakAnteH haritulyanIlakAntervA / indrasyeva nIlA haridvarNA sviT kAntiH yasya saH / yadvA indranIlasyeva harinmaNeH iva tviT kAntiH yasya saH / gopaveSasya AbhIraveSasya / ballavaveSadhAriNaH ityarthaH / gopasya AbhArasya veSaH iva veSaH yasya saH / yadvA gopasyeva veSaH yasya saH / ' IbupamApUrvasya dyukhaM gatArthatvAt ' ityupamAnapUrvapadasya gatArthatvAdyabhUtasya veSazabdasya khaM / viSNoH iva baladevabhrAtuH zAGgiNa iva te bhavataH adhikA zobhA syAt adhikaM zobhamAno bhaviSyasItyarthaH / 'pratatiktatau tatau' iti vizvalocane / tvayi prahRtatvAt tvaccharIrapraviSTa zakuM motpATaya / tena tvaccharIrapraviSTena nArAcena gopaveSasya viSNoriva te zobhA adhikA syAditi tAtparyam / ___Or, oh ! you, the foremost of warriors, should bear, thus only one charge of my arrow, assigning beauty owing to its construction like that of the hinder part of the eye of the peacock's feather, by means of which your beauty, like that of Vishnu, clad in clothes like those of a. milkman, possessing a bluc-dark complexion, having his body decorated for the sake of sports with shining feathers of a peacock, would be enhanced. AstAM tAvatpraharaNakathA svaryayA'jyaM tavA'yaM mArgaH svoM viyadabhipateH prAgamuSmAtpradezAt / jImUtatvaM dadhadanugataH kSetriNAM dRSTipAtaiH tvayAyattaM kRSiphalamiti bhUvilAsAnabhijJaiH // 61 // anvayaH-yayA svaH tava ajya sA praharaNakathA tAvat AstAM / ayaM svarjaH mArgaH / 'kRSiphalaM tvayi Ayatta' iti bhUvilAsAnabhijJaiH kSetriNAM dRSTipAtaiH anugataH jImUtatvaM dadhat amuSmAt pradezAt viyat abhipateH / AstAmityAdi / yayA praharaNakathayA svaH svargaH / 'svarge pare ca loke svaH' ityamaraH / tava ayaM tvayA prApaNIyaM / 'vyasya vA kartari' iti vyAntaprayoge katari. tA / sA praharaNakathA sA yuddhavArtA / prahriyate asmin iti praharaNaM / yuddhamitrArthaH / 'karaNAdhAre cAnaT' ityAdhAre'naT / yadvA prahriyate'neneti praharaNamAyudhaM / karaNe'na'tra /

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[ pArzvAbhyudaye : nAyudhavArtetyarthaH / pUrvazlokoktA 'me sahasva prahAraM ' ityevaMjAtIyA''yudhakathA | 'AyudhaM tu praharaNaM ' ityamaraH / tAvat AstAM idAnIM pariharatu bhavAn / ayaM svarja H mArgaH yaH bhavantaM svarga prApayiSyati sa mArgaH ayaM / svarjaH svarge jAyate iti svarjaH / kRSiphalaM / kRSiH ilAdinA bhuvaH karSaNaM / tasyAH phalaM sasyotpattyAdikaM / tvayi bhavati AyattaM adhInaM / ' adhIno nighna AyattaH' ityamaraH / halAdinA kSetreSu kRSTeSvapi bhavatkRpAmantareNa sasyotpattyasambhavAtkRSiphalaM bhavadadhInameva / iti iti hetoH / ' iti hetau prakAre ca prakAzAdyanukarSayoH ' iti vizvalocane / bhrUvilAsAnabhijJaiH / bhruvoH bhrukuTyoH vilAsAH saGkocavikrAsAdikrIDAH / tAsAM anabhijJaiH jJAnena vikalaiH / ajJAtasaGkoca vikAzaiH / animiSairityarthaH / kSetriNAM kSetrAjIvAnAM kRSIvalAnAM / dRSTipAtaiH nAyanairvyApAraiH / anugataH anusRtH| jImUtatvaM meghatvaM / jIvanasya mUtaH bandhaH jImUtaH / pRSodarAditvAtsAdhuH / dadhat dhArayan / meghAkArapariNatistvaM / amuSmAt pradezAt etasmAt bhuvo bhAgAt / viyat abhipateH AkAzapradezaM pratyabhimukhIbhUya tatra gaccheH / 72 Let the talk of a fight by means of which heaven is to be attained be aside for a while. This is the way leading to the heaven. First of all, you, assuming the from of a cloud followed by the farmer's eyes ignorant of the sportive movements of the eyebrows with the idea that the fruit of the agricultural labour is dependent on you, should fly up to the sky from this place. vidyunmAlAkRtaparikaro bhAsvadindrAyudhazrIrudyanmandrastanitasubhagaH snigdhanIlAJjanAbhaH | zIghraM yAyAH kRtakajalada tvatpayobindupAtaprItisnigdhairjanapada va dhUlocanaiH pIyamAnaH // 62 // anvayaH he kRtakajalada ! vidyunmAlAkRtaparikaraH, bhAsvadindrAyudhazrIH, udyanmandrastanisubhagaH, snigdhanIlAJjanAbhaH, tvatpayobindupAtaprItisnigdhaiH janapadabadhUlocanaiH pIyamAnaH ( tvaM ) zIghraM yAyAH / ----- vidyudityAdi / he kRtakajalada bho kRtrimamegha / anaisargikamegha / prakRtameghasya marubhUticarapArzvajinAvikAratvena kalpitatvAtkRtakatvam / jaladetitaJjJAvidhAnaM bhAvinaigamanayApekSaM dravyanikSapApekSaM vA / vidyunmAlAkRtaparikaraH / vidyutAM saudAmanInAM mAlA paramparA vidyunmAlA / tayA kRtaH vihitaH parikaraH vyatiSaGgaH yena saH / vidyu

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prathamaH sargaH] nmAlAzliSTasvedahaH ityarthaH / bhAsvadindrAyudhazrIH bhAsvarendradhanussaundaryaH / bhAsvataH dIpyamAnasya indrAyudhasya indradhanuSaH zrIriva zrIH yasya saH / 'IbupamAnapUrvasya dyukhaM gatArthatvAt ' iti yukhaM / udyanmandrastanitasubhagaH prAdurbhavatA gambhIragarjitena manoharaH / udyat prAdurbhavat mandraM gambhIraM ca tatstanitaM garjit udyanmandrastanitaM / tena subhagaH manoharaH / 'kalo mandrastuH gammIre' ityamaraH / stanitaM stanaH garjitadhvaniH / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / snigdhanIlAJjanAbhaH tailArdIkRtanIlarasAJjanavarNaH / snigdhaM tailArdIkRtaM ca tannIla kRSNavarNa aJjanaM rasAJjanaM snigdhanIlAJjanaM / tasya AbhA iva AbhA prabhA yasya saH / pUrvavadyukham / tvatpayobindupAtaprItisnigdhaiH bhavajjalapRSatpatanasaJjanitaprItiprAptasnehaiH tava payaH tvatpayaH / tvatpayasa: bindavaH pUSanti tvtpyobindvH| teSAM pAtaiH saJjanitayA prItyA snigdhAH AvibhUtasnehAH / taiH / janadapavadhUlocanaiH dezIyastrInayanaiH / janAnAM padaM sthAnaM janapadaH / puMstvaM lokAt ! janapadavAstavyAH vadhvaH janapadavadhvaH / tAsAM locanaH nynaiH| pIyamAnaH nitarAM sAdaraM viikssymaannH| tvaM zIghraM jhaTiti yAyAH gaccheH / jAnapadavadhUkRtAtithyatvAttatra kAlayApanaM mA kArSIriti bhAvaH / Oh artificial cloud ! you, intermingled with the diffusion of the successive flashes of lightnings, possessing lustre of the shining Indra's bow, pleasant owing to the production of grave thunderings, possessing an appearance like that of collyrium wetted with oil, drunk by the eyes of the village women that would be full of affection felt through the pleasure enjoyed by them owing to the discharge of the drops of your water, should proceed on liurriedly. dRzyAndezAJjalada sakalAnprekSya siMhAvalokAt___ tatratyAnAM janapadabhuvAM tApamAhRtya pazcAt / prItyAsannaM janapadamimaM laGghayAlaM vilambya sadyaHsIrotkaSaNasurabhikSetramAruhya mAlaM // 63 // anyayaH-- he jalada ! sakalAn dRzyAn dezAn siMhAvalokAt prekSya tatratyAnAM janapadabhuvAM tApaM AhRtya pazcAt sadyaH sIrotkaSaNasurabhikSetraM mAlaM Aruhya imaM AsannaM janapadaM prItyA laGghaya, vilambya alam / dRshyaanityaadi| he jalada ! megha sakalAn nikhilAn dRzyAn darzanArhAn /

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[ pArzvAbhyudaye 3 'tRjvyAzcAheM ' ityahArthaM vyatyaH / dezAn viSayAn siMhAvalokAt siMhavatpazcAdavalokya | siMhasyevAvalokaH siMhAvalokaH / tasmAt / yadvA etya avalokyate asminnityavalokaH / avalokanasthAnamityarthaH / ' puMkho ghaH prAyaH ' ityAdhAre ghaH / siMhasya avalokaH avalokasthAnaM siMhAvalokaH / tasmAt / atyunnatasthAnAdityarthaH / unnatatamAtsthAnAt sakalAn prekSyetyarthaH / prekSya avalokya tatratyAnAM tatra bhavAnAM tatra jAtAnAM vA / ' kvAmehAvistarUyAttyatca iti zeSArthe tyac / janapadabhuvAM / janapade deze bhavantIti janapadabhuvaH / teSAM / jAnapadAnAmityarthaH / tApaM USmANaM duHkhaM vA AhRtya parihRtya / vinivAryetyarthaH / pazcAt anantaraM sadyaH sIrotkaSaNasurabhikSetraM tatkSaNe halaphAlaprakRSTatvAt tvajjalabindupAtAdrIkRtatvAt janitasaugandhyakSetraM / sadyaH tatkSaNa eva sIreNa halaphAlena utkaSaNaM karSaNaM sadyaH sIrotkaSaNaM / tena surabhINi janitasaurabhANi kSetrANi kedArANi yatra tat / sIrastu lAGgale puMsi sAro dinapatAvapi ' iti vizvalocane / ' kSetraM zarIre dAreSu kedAre siddhasaMzraye ' iti vizvalocane / mAlaM unnatabhUpradezaM / 'mAlamunnatabhUtalam' ityutpalamAlAyAm / Aruhya ullutya imaM AsannaMjanapadaM pratyAsannamamuM dezaM prItyA pramodena laGghaya atikrAmasva / vilambya alaM vimbaM mA kArSIH / 'niSedhe'lakhalvoH ktvA ' iti niSedhArthe'lamaH prayoge ktvA / ( 8 74 Oh cloud casting your glance backwards like a lion at all the provinces worthy of being enjoyed sight of and having dispelled the troubles of those that live in the country regions forming the constituent parts of those provinces, and afterwards having ascended the elevated part of the ground the fields whercon being ploughed very recently would be emitting fragrance, you should pass over the region that is in the vicinity very delightfully; you should not delay at all. 1 dyautsukyaM tava janapadaprekSaNe dIrghakAlaM pratyAvRttasvaviSayaraterasti bhikSo kadAcit / tatpepIyasva parisaritaM dakSiNAzAM bhramitvA kiJcitpazcAdadvraja laghugatirbhUya evottareNa / / 64 // anvayaH - bhikSo, yadi dIrghakAlaM pratyAvRttasvaviSayarateH tava janapadaprekSaNe kadAcit autsukyaM asti tat parisaritaM kiJcit bhramitvA dakSiNAzAM pepIyasva / pazcAt laghugatiH bhUyaH uttareNa eva braja /

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prathamaH sargaH] yadItyAdi / bhikSo mune! yadi cet dIrghakAlaM mahatkAlaM yAvat / 'kAlAdhvanoravicchede' iti ip / pratyAvRttasvaviSayarateH vinaSTaviSayAkAGkSasya / pratyAvRttA dUrIbhUtA vinaSTA svasya viSayaratiH viSayAkAGkSA viSayAsAktirvA yasya sH| tasya / tava bhavataH / janapadaprekSaNe janapadAvalokanArtha / 'hetau sarvAH prAyaH' iti hetAvIp / janapadAnAM nIvRtAM (dezAnAM ) prekSaNaM avalokanaM jnpdprekssgN| tasmin / kadAcit kacitkAle autsukyaM unmanAyitatvaM (utkaNThA vA) asti bhaviSyati / 'loTi hetau' iti vayati laT / tat tarhi parisaritaM saritaM nadI varjayitvA / atra parizabdo varjanArthaH / 'pari''doSAkhyAne'pi varjane' iti vishvlocne| tasyAtra vajanArthatvaM tu sasya harUpatvAt varjanArthenaiva pariNA hasasya zabdazAstreNa vihitatvAt / 'paryapAbahirazcaH' iti varjanArthasya parizabdasya subantena saH vihitaH / etatsUtravyAkhyAyAM yat 'paritrigata vRSTo devaH / pari trigartebhyaH' ityudAhRtaM tatra 'pari trigartebhyaH' ityatra 'trigartebhyaH' ityasya kAntatvaM 'vajrye'paparibhyAM' ityanenaiva sambhavati, nAnyathA / ato'tra hasatvAtparizabdaH varjanArtha eva grAhyaH / tatazca 'parisaritaM" ityasya 'saritaM varjayitvA' ityartha eva samIcInaH, na 'saritaM saritaM pari' iti, asya zabdazAstravirodhitvAt / kizcit kiyat bhramitvA paribhramya / aTitvetyarthaH / dakSiNAzAM dakSiNAM dizaM / 'AzA tRSNAdizoH' iti vishvlocne| pepIyasva cakSuSA paunaH punyena pAnaM kuruSva / 'pIJ pAne' iti dhAtoH yaGi loT / pazcAt anantaraM laghugatiH zIghragAmI / 'laghu kSipramaraM drutaM' ityamaraH / bhUyaH punaH uttareNa eva uttaradizA eva / 'vaino'dUre'kAyAH' ityenaH / braja gaccha / Oh sago I if a strong desiro ever arose in you, from whom the desire for enjoying the objects has disappeared since very long, for enjoying the sight of the country-side, then having wandered over a little beyond the river, you should deeply drink in ( with your eyes ) the regious situated in the southern direction and then, you, possessing high speed, should proceed on again by the way leading to the north (or running in the northen direction ). vakSyatyuccaiH pathagatiparizrAntitAntaM nitAntaM tuGgo'driH svairbahuvilasitainijharairAttakAntiH / pratyudyAto dhutataTavanopAntadezairmarudbhiH tvAmAsAraprazamitavanopadravaM sAdhu mUrnA // 65 //

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[ pArzvAbhyudaye anvayaH bahuvilasitaiH svaiH nirjharaiH AttakAntiH, dhutataTavanopAntadezaiH marudbhiH pratyudyAtaH nitAntaM tuGgaH adriH AsAraprazamitavanopadravaM pathagatiparizrAntitAntaM tvAM mUrdhnA uccaiH sAdhu vakSyati / 76 C vakSyatItyAdi / bahuvilasitaiH vividhazobhaiH vividhakAntibhiH vividhakrIDanaiH vA / bahu nAnAvidhaM vilasitaM vilAsaH zobhA kAntiH krIDanaM vA yeSAM te / taiH / nabhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / 'vilAso hAvalIlayoH' iti vizvalocane / svaiH svakIyaiH / * svo jJAtAvAtmani svaM tu triSvAtmIye dhane'striyAm ' iti vizvalocane / nirjharaiH jalapravAhaiH / ' pravAho nirjharo jharaH > ityamaraH / AttakAntiH AttA urarIkRtA kAntiH tejaH yena saH / upAttatejaskaH ityarthaH dhutataTavanopAntadezaiH prakampitataTavanasamIpapradezaiH / dhutAH prakampitAH taTavanasyo - pAntadezAH samIpapradezAH yaiH / taiH marudbhiH samIraNaiH / marutaH sAdhanIkRtyetyarthaH / yadvA marudbhiH sahetyarthaH ' sahArthe bhA' iti bhAyAH sahArthatvAt / pratudyAtaH sabhAja - yituM pratyudgataH / nitAntaM atyantaM / atizayenetyarthaH / ' tItraikAntanitAntAni gADhavADhadRDhAni ca ityamaraH / tuGgaH unnataH adriH kazcana parvataH AsAraprazAtavanopadravaM dhArAvRSTijalena dUrIkRtadavAgnisaJjanitaduHkhaM / AsAraH dhArApAtaH / , dhArAsampAta AsAraH ityamaraH / tena prazamitaH prazAnti nItaH vanAnAM araNyAnAM upadravaH dAvAgmikRtopadravaH yena saH / anena meghasya kRtopakAratvaM dhvanitaM / pathagatiparizrAntitAntaM mArgagamanajanitaparizramadUnaM / pathagatiH mArgakramaNaM / tasmAt jAtA parizrAntiH parizramaH tayA tAntaH dUnaH tam | tvAM bhavantaM mUrdhnA zirasA uccaiH unnataM yathA syAt tathA sAdhu samyaktayA vakSyati voDhA / vahelRT / uddhariSyatItyarthaH / , The mountain, possessing extra-ordinary height, assuming lustre on account of its rivulets possessing abundant brilliance, welcoming you through winds that would be shaking the skirts of the groves growIL on the slopes, would bear you well very high who would be fatigued very much by the journey, upon his head (i. e. top), owing to your having dispelled the distress of its forests by means of showers. " - tvayyAsanne viralaviralAn prAvRSeNyodabindUn vastrakropaM visRjati tathA'pyazmavezmodareSu / siddhadvandvaM suratarasikaM prAntaparyastavINaM vakSyatyadhvazramaparigataM sAnumAnAmrakUTaH // 66 //

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prathamaH sargaH ] . 77 anvaya :~ tathA api Asanne tvayi viralaviralAn prAvRSeNyodabindUn vastrakopaM visRjati sati AmrakUTaH sAnumAn adhvazramaparigataM prAntaparyastavINaM suratarasikaM siddhadvandvaM azmaveSmodareSu vakSyati / tvayItyAdi / tathA api tathA hi / Asanne samIpatAM gate tvayi bhavati viralaviralAn virlprkaaraan| viralaprakArAH viralaviralAH / tAn / viralatvenetyarthaH / 'prakAre guNoktevA' iti prakArArthe dviH / prAvRSeNyodabindun varSAkAlajalabindutulyapRSanti / prAvRSi bhavAH prAvRSeNyAH / 'prAvRSa eNyaH ' iti eNyo bhavArthe / asya meghasyA'kAlikatvAttadvindUnAM prAvRSeNyatvaM na sambhavati / tathApi teSAmakAlabhavameghavRSTodabindUnAM prAvRSeNyabindutulyatvamAcikhyAsuH mahAkaviH prAvRSeNyavizeSaNena vizinaSTi / ataH prAvRSeNyAH iva prAvRSeNyAH ityartho grAhyaH / ' devapAdibhyaH' itAvArthasya kasyos / udakasya bindavaH udabindavaH / 'manyaudanasaktubinduvajrabhArahAravIvadhagAhe' iti udakasyoMdAdezaH dhubhUtabindudravyasya pUryatvAbhAve'pi / prAvRSeNyAzca te udabindavazva prAvRSeNyodabindavaH / tAn / vastranopaM / vastraM yAvatA kopitaM ArdamAtraM bhavati tAvadeva nAdhikamityarthaH / 'celArthe kopeH' iti varSapramANe nopayaterAdrIkaraNACNNam / visRjati sati varSati sati / yadbhAvAdbhAvagatiH' iti Ip / AmrakUTaH AmrakUTAbhidhAnaH / AmrAH AmravRkSAH kUTe sAnupradeze yasya sH| 'kUTo'strI rAzipUridambhamAyAnRteSvapi / tucche'drizRGge sIrAGge yantrAyodhananizcale' iti vizvalocane / * sAnumAn parvataH / sAnUni kUTAH asya santIti sAnumAn / 'sAnuH zRGga budhe'raNye vAtyAyAM pallave pathi ' iti vizvalocane / adhvazramaparigataM mArgazramavyAptaM / mArgazramakhinnamityarthaH / adhvanaH mArgasya zramaH adhvazramaH / tena parigataM vyApta adhvazramaparigataM / prAntaparyastavINaM samIpapradezasthApitavINAvAdyaM / prAnte samIpapradeze paryastA tyaktA vINA yena tat / suratarasikaM anubhUyamAnasuratasukhaM / rasaH sukhaM asya astIti rasikaH / 'ata iniThanau' iti tthn| suratasya rasikaM suratarasikaM / nidhuvanasukhaprItamityarthaH / siddhadvandaM devavizeSayugalam / 'yugmaM dvandaM yamaM dvaitaM' iti dhanaJjayaH / azmavezmodareSu zilAnikhAtasamrAkArasthAnamadhyeSu / azmanAM zilAnAM vezmAni azmaveimAni / teSAM ureSu madhyapradezeSu / vakSyati voDhA / vahelRT dhArayiSyati / tatra siddhayugalaM guhAyAM pravizya suratarasamanubhavattvadAgamanaM sUcayiSyatIti bhAvaH / Moreover, in the same way, the mountain Amrakuta would bear a couple of Siddha Gods, fatigued by journey, keeping their lutes

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[ pArzvAbhyudaye aside and enjoying the pleasure derived from coition in the interior of the caves carved into the rocks, when you, approached in the vicinity, would be discharging drops of water, moistening clothes, like those in the rainy season. 78 tvAmuttuGgaiH zikharatarubhiH saGgrahISyatyavazyaM vizrAntyarthaM priyamupagataM so'calastuGgavRttiH / prAptaM kAle praNayinamaho kartumarhatyapAzaM na dro'pi prathama sukRtApekSayA saMzrayAya || 67 // anvayaH vizrAntyarthaM upagataM tvAM priyaM saH tuGgavRttiH acalaH uttuGgaiH zikharatarubhiH avazyaM saGgrahISyati / kAle saMzrayAya prAptaM praNayinaM aho ! kSudraH api prathamasukRtApekSayA apAzaM kartuM na arhati / " tvamityAdi / vizrAntyarthaM vizramAya upagataM prAptaM tvAM bhavantaM priyaM mitraM saH tuGgavRttiH unnatAvasthAM prAptaH pakSe unnatapuruSatulyasamudAcAraH / tuGgA unattA vRttiH kAyikI sthitiH yasya saH / pakSe tuGgAnAM mahApuruSANAM vRttiH samudAcAraH iva vRttiH yasya saH / ' IbupamAnapUrvasya khaMgatArthatyAt / acalaH AmrakuTAbhidhAnaH pUrvavarNitaH bhUdharaH / uttuGgaiH unnataiH zikharatarubhiH adhityakA bhUdezaprarUDhavRkSaiH / zikhare bhUdharasya unnatatamapradeze prarUDhAH vRkSAH / taiH / tAvatra bhA / avazyaM nizcayena saGgra hISyati sabhAjanaM kariSyati | AtithyaM vidhAsyatItyarthaH / kAle samucitasamaye saMzrayAya / saMzrayaNArthaM prAptaM AgataM praNayinaM mitraM / aho vicAre / aho prazne vicAre syAt ' iti vizvalocane / vicAryatAmiti bhAvaH / kSudraH api svalpaH api / anuttuGgavRttirapIti bhAvaH / -- kSudra svarUpAdhamakrUrakRpaNeSvabhidheyavat' iti vizvalocane / prathamasukRtApekSayA pUrvakRtopakArApekSayA / apAzaM nirAzaM yA apagatA vinaSTA AzA abhilASeo yasya saH / taM / vinaSTAkAGkSAmityarthaH / kartuM vidhAtuM / na arhati na yogyo bhavati / pUrvakRtopakAraM saMsmRtyAzrayAbhilASeNa samprAptaM mitraM vinaSTAkAMkSaM kartuM nArhati kSudro'pi janaH AzrayapradAnena tadabhilASaM mitraM saphalIbhUtAbhilASaM karoti / kiM punastuGgavRttervaktavyam ? sa tu tathA'vazyameva karoti / ayamAmrakUTa: svabhAvatastuGgavRttitvAdbhavantamavazyaM sabhAja - yiSyatitI bhAvaH / That lofty mountain would certainly receive you, his dear friend, through the tall trees grown upon his summits, when you would be

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prathamaH sargaH] approaching him for taking rest. Taking into consideration previous favours, an insignificant person even does not deserve to disappoint au affectionate friend approached for the sake of refuge at a proper time. manye maitrI gurubhiracalairidAnAmahAryA __ yaM pratyete vidadhati dhRti, tasya te bandhukRtyaM / kuryAda dri zamasuhRdo'tyuttamasnigdhavRttiH ___ prApte mitre bhavati vimukhaH kiM punaryastathoccaiH // 68 // anvayaH-- vAridAnAM gurubhiH acalaiH maitrI ahA- manye / yaM prati ete dhRti vidadhati, tasya te asuhRdaH api uttamasnigdhavRttiH adriH bhRzaM bandhukRtyaM kuryAt / yaH punaH tathA uccaiH (saH) mitre bhavati prApte vimukhaH kim ? manya ityAdi / vAridAnAM meghAnAM gurubhiH mahadbhiH unnatakAyaizca acalaiH nagaiH / parvatairityarthaH / maitrI mitratvaM ahA- azakyaparihArAM / hartuM vinAzayituM zakyate iti hAryo / 'zaki liG ca' iti zakyarthe vyaH / na hAryA ahAryA / tAm / manye jAnAmi / yaM bhavantaM prati ete acalA ghRti santoSaM vidadhati hRdaye kurvanti, tasya tAdRzasya te tava asuhRdaH api mitrabhAvamaprAptasya sataH api / uttamasnigdhavRttiH mahApuruSavat snehAIvRttiH / uttamAnAmiva snigdhA snehArdA vRttiH vartanaM yasya saH / adriH AmrakUTAcalaH bhRzaM atyartha bandhukRtyaM bandhunA karaNIyaM sabhAjanAdikaM kuryAt kariSyatIti sambhAvaye / 'kSiprAzaMzoktau lling|' ityAzaMsAyAM liG / yaH AmrakUTAcalaH punaH / anenAdrisAmAnyAdAmrakUTasya viziSTatvaM dhvanyate / tathA tvAmityAdipUrvazlokoktaprakAreNa uccaiH unnataH / tuGgavRttiH svayamuttamo vA / saH AmrakUTAcalaH mitre suhRdi bhavati tvayi prApte saMzrayaNArthamAzrite sati / tvayi saMzrayANArtha tamAmrakUTamAzrite satItyarthaH / vimukhaH parAGmukhaH kis kimartha / 'syAt' iti zeSaH / bhavAdazi suhRdi prApte'suhRdo'pi bandhukRtyaM kurvannAmrakUTAcalaH te. bandhukRtyamavazyaM kariSyatIti bhAvaH / I think that the friondship of the clouds with the magnanimous mountains is such that it cannot be shaken off. To you, with whom they (mountains) are satisfied, the mountain, affectionate like the excellent, would have rendered sorvico, even though you would not have been

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[pArthAbhyudaye his friend. Why would he, who is magnanimous as described above, have his face turned away at the arrival of you, his friend ? sevyaH so'driH khacaravanitAdhyAsidodaprazRGgaH ___ tvAM vizrAntyai tvarayati purA rmysaanuprdeshH| siddhopAsyaH kusumitalatAvIrudhAM sannivezyaH channopAntaH pariNataphaladyotibhiH kAnanAmnaiH // 69 // anvayaH- khacaravanitAdhyAsitodagrazRGgaH, ramyasAnupradezaH, siddhopAsyaH, kusumitalatAvIrudhAM sannivezyaH, pariNataphaladyotibhiH kAnanAnaiH channopAntaH sevyaH saH adriH purA tvAM vizrAntyai tvarayati / / sevya ityAdi / khacaravanitAdhyAsitodaprazRGgaH vidyAdharAGganoSitatuGgazRGgaH / udagrANi udgatAgrabhAgAni ata evonnatAni ca tAni zRGgANi sAnUni udagrazRGgANi / khe carantIti khacarAH / 'caro'T' ityaT / vihAyogatayaH vidyAdharAH / teSAM vanitAH striyaH tAbhiH adhyAsitAnyuSitAni udagrazRGgANi yasya saH / ramyasAnu pradezaH subhgshikhraagrbhaagH| ramyAH subhagAH sAnUnAM prasthAnAM pradezAH agrabhAgAH yasya sH| siddhopAsyaH devavizeSasamAzrayaNIyaH mokSamArgaratazramaNa-munijanajanasaMsevyaH vaa| siddhAH devavizeSAH AsannamuktizramaNamunijanA vaa| taiH upAsyaH AzrayaNAH / upAsituM yogyAH upAsyAH / 'tRvyAzcoI' ityahA~rthe vyaH / kusumitalatAvIrudhAM utphullapuSpANAM latAvIrudhAM / kusumitAH snyjaatpusspaaH| 'tadasya saJjAtaM tArakAdibhya itaH' itItastyaH / latAH vallayazca vIrudhaH gulmAzca latAvIrudhaH / kusumitAzca tAH latAvIrudhazca kusumitalatAvIrudhaH / tAsAM / yadvA latAnAM vIrudhaH viTapAH zAkhAH latAvIrudhaH / 'latAyAM viTape vIrut ' iti vizvalocane / sannivezyaH saMzrayaNAIH / sannivezaH iti pAThenAtrabhAvyAmiti pratibhAti / tasya ca ' samAzrayaH' ityarthaH snggraahyH| pariNataphaladyotibhiH pariNataH pakkaiH phalaiH dyotante prakAzante iti prinnphldyotinH| taiH / kAnanAnaiH kAnane vane saMrUdvaiH ApreH AmravRkSaiH / 'araNyaM kAnanaM vanaM' iti dhnnyjyH| channopAntaH saMvRtasamIpapradezaH / channaH saMvRtaH upAntaH pArzva yasya saH chnnopaantH| sevyaH saMzrayaNAIH / saH adriH aamrkuuttaaclH| purA nikttbhaavini| 'purA bhaavipuraannyoH| prabandhe nikaTe'tIte' iti vizvalocane / tvAM bhavantaM vizrAntyai vizramArtha tvarayati tvarAM kArayiSyati / 'purAyAvatorlaT' iti purAzabdaprayogAt nikaTabhAvini laT /

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prathamaH sargaH ] 81 That mountain, worthy of being resorted to, the lofly peaks of which are occupied by the ladies of those who roam in the sky (i. e. sky-wanderers ), the regions of the summits of which are beautiful, which are worthy of being resorted to by the particular heavenly gods (or by the sages who would attain liberation certainly in the future), a deserving place for the growth of creepers and shrubs furnished with flowers ( or an excellent abode of flowery creepers and shrubs ), the skirts of which are covered over with the wild mango-trees glistening with ripe fruits, would impel you to hasten up for taking rest in the near future. kRSNAhiH kiM valayitatanurmadhyamasyAtizete kiMvA nIlotpalaviracitaM zekharaM bhUbhRtaH syAt / ityAzaGkAM janayati purA mugdhavidyAdharINAM tvayyArUDhe zikharamacalaH snigdhaveNIsavarNe // 70 // anvayaH -- snigdhaveNI va tvayi zikharaM ArUDhe (sati) acala: ' valayitatanuH kRSNAhiH asya madhyaM adhizete kim ? vA bhUbhRtaH nIlotpalaviracitaM zekharaM syAt kim ? ' iti AzaGkAM mugdhavidyAdharINAM purA janayati / kRSNAhirityAdi / snigdhaveNIsavarNe tailAbhyaktakabarIsadRzavarNe / snigdhA tailArdrIkRtA cAsau veNI kabarI ca snigdhaveNI / ' puMvadyajAtIyadezIye' iti yatvAtpuMvadbhAvaH / tayA samAnaH tulyaH varNaH yasya saH / tasmin / ' samAnasya dharmAdiSu ' iti samAnasya khAdezaH / tvayi bhavati zikharaM AmrakUTa bhUdharasAnuM ArUDhe sati zikharabhAgaM prApte srati / ' yadbhAvAdbhAvagatiH' iti Ip / acalaH AmrakUTaparvataH / valayitatanuH maNDalAkAra pariNAmitasvakAyaH / valayitA maNDalAkAreNa pariNAmitA tanuH zarIraM yena yasya vA / kRSNAhiH kRSNavarNaH sarpaH / kRSNazcAsAvaddizca / asya AmrakUTAcalasya madhyaM madhyabhAgaM adhizete tiSThati kim ? ' adhizIsthAsAM karma ' ityadhipUrvazIGa AdhArasya karmatvaM / vA athavA bhUbhRtaH AmrakUTAcalasya nIlotpalaviracitaM nIlavarNakamalanibaddhaM / nIlaM nIlavarNa ca tat utpalaM kuvalayaM ca nIlotpalaM / nIlotpalaiH viracitaM nibaddhaM nIlotpalaviracitaM / zekharaM mAlyaM / zikhAsvApIDazekharAH ityamaraH / syAt kim bhavet kim ? iti evaMvidhAM AzaGkAM saMzayaM mugdhavidyAdharINAM mUDhavidyAdharayoSitAM / mugdhAH mUDhAzca tAH vidyAdharyazca mugdhavidyAdharyaH / tAsAM / pArzvAbhyudaye... 6 "

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[pArzvabhyudaye purA bhavadArohaNAnantaraM nikaTabhaviSyati janayati janayiSyati / 'purAyAvatorlaT ' iti nikaTabhaviSyati laT / The mountain would excite a doubt. Is this, occupying the middle part of this ( mountain ), a black serpant with his body turned into a circular from (i. e. encircling the middle part of this mountain with his coiled body ) or is this a garland made of blue lotuses, of the mountain (i. e. has this mountain worn a garland of blue lotuses )?' in the hearts of the simple ladies of Vidyadharas just after when you, having resemblance in colour with an oiled braid of hair, would have ascended the summit ( of the mountain, Amrakuta ) adhyAsInaH kSaNamiva bhavAnasya zailasya kuJja lakSmI ramyAM muhurupaharaMnindranIlopalasya / khenonmukto bhuvabhiva gataH zlakSNanirmokakhaNDo nUnaM yAsyatyamaramithunaprekSaNIyAmavasthAm // 71 / / anvayaH- indranIlopalasya ramyAM lakSmoM mahaH upaharan asya zailasya kuJja kSaNaM iva adhyAsInaH bhavAn khena unmuktaH bhuvaM gataH zlAnirmokakhaNDaH iva amaramithunaprekSaNIyAM avasthAM nUnaM yAsyati / ___ adhyAsIna ityAdi / indranIlopalasya harinmaNeH / indraH iva nIlaH indrniilH| indranIlaH eva upalaH indranIlopalaH / tasya / ramyAM ramaNIyAM / lakSmI kAnti / 'lakSmIH zrIriva sampatto padmAzobhApriyadguSu' iti vizvalocane / upaharana upavahan / upaharatIti upaharan / zatR / asya zailasya AmrakUTAbhidhAnaparvatasya / kukhaM darI nikuJja vA / 'kulaM tu na striyAM / hanau vatse nikuJje'pi' iti vizvalocane / kSaNaM iva alpakAlaM adhyAsIna adhitiSThin / 'kamaivAdheH zIGsthAsaH' ityadhipUrvasya zIDaH AdhArasya karmatvaM / tathA 'karmaNIp' iti karmaNaH ip / bhavAn meghAkArapariNataH bhavAn pArzvaH / khena svargeNa / 'khamAkAze divi sukhe buddhau saMvedane pure / zUnyavadindriyakSetre kuzAhalaphale kvacit ' iti vizvalocane / unmuktaH parityaktaH / bhuvaM bhUmi gataH prAptaH zlakSNanirmokakhaNDaH iva sUkSmaH AkAzakhaNDaH iva / nirmokasya vyomnaH khaNDaH zakalaM nirmokakhaNDaH / "nirmoko vyoMmni sannAhe mocane sarpakaJcuke ' iti vishvlocne| lakSNaH sUkSmazcAsau nirmokakhaNDazca shlkssnnnirmokkhnnddH| 'sUkSmaM zlakSNaM dabhraM kRzaM tanu'

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prathamaH sargaH] ityamaraH / amaramithunaprekSaNIyAM devayugalairavalokanIyAM / amarANAM devAnAM mithunAni yugmAni amaramithunAni / taiH prekSaNIyAM avalokanAhIM / 'tRjvyAzcAhe ' iti vyo'rhArthe / avasthAM dazAM nUnaM avazyaM / 'nUnaM syAdarthanizcaye' iti vizvalocane / yAsyati prApsyati / You, assuming the charming beauty of a saphife again and again, settling upon the cavern of that mountain (Amrakuta ) for a while, would certainly attain to a state worthy of being looked at by the heavenly couples like a thin delicate piece of the sky reached to this earth being abandoned by the heaven. tvayyAnIlatviSi girirasau zekharatvaM dadhAne zobhAmeSyatyamaramithunazlAghanIyAM tadAnIm / nAnApuSpadrumazabalitopatyakaH sotimAtra madhye zyAmaH ratana iva bhuvaH zeSavistArapANDuH / / 72 // anvayaH-~-madhye zyAmaH nAnApuSpadrumazavalitopatyakaH zeSavistArapANDuH AnIlaviSi tvayi zekharatvaM dadhAne bhuvaH stanaH iva saH asau giriH tadAnI amara mithunazlAghanIyAM zobhA atimAtraM eSyati / .. tvayItyAdi / madhye madhyabhAge zyAmaH kRSNavarNaH nAnApuSpadrumazabalitopatyakaH naanaavidhpusspvRksscitritpryntprdeshH| nAnA nAnAvidhAH puSpadrumAH nAnApuSpadrumAH / taiH zabalitA zabalA citravarNA kRtA upatyakA paryantapradezaH yasya saH / zabalayati zabalavarNa karoti sma shblitaa| 'tatkaroti tadAcaSTeM' iti Nica tatazca ktaH / 'citra kirmIrakalmASazabalatAzca kabure' ityamaraH / 'upatyakAnerAsannA bhUmirdhvamadhityakA' ityapyamaraH / zeSavistArapANDuH avaziSTabhUvyAse paanndduvrnnH| zeSaH madhyapradezAdanyo 'vaziSTaH yaH vistAraH bhuvo vyAsaH tatra pANDuH haritavarNaH / 'vistAro vistRtAvapi' iti vizvalocane / 'pANDuH kuntIpatau site' ityapi vizvalocane / AnIlatviSi samantAnnIlavarNe tvayi / A samantAnnIlA nIlavarNA tviT kAntiH yasya saH AnIlatviT / tasmin / tvayi meghAkArapariNAmitasvadehe bhavati pArzve zekharatvaM mAlyatvaM dadhAne vahamAne / tatparvatabhUSaNamAlArUpatAM vahamAne tvayItyarthaH / bhuvaH vasundharAyAH stanaH iva payodharasadRzaH asau giriH asau AnnakUTAcalaH / tadAnIM yadA bhavAn AmrakUTA

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[ pArzvabhyudayaH calamAsyarUpatAM voDhA tasmin kAle amaramithunazlAghanIyAM devayugalaprazaMsAhIM / amarANAM devAnAM mithunaH yugalaiH zlAghanIyAM zlAghayituM prazaMsituM yogyAM / arthei vyaH / / zobhA saundarya atimAtraM nirbharaM / 'atimAtrodgADhanirbharam' ityamaraH / eSyati prApsyati / This mountain, dark at the centre, variagated in the lower part by the various flowery trees ( grown there ) and whitish in the remaining expansion of the surface, looking like the broast of the earth when you, possessing deep blue splendour, would be assuming the form of a garland, would at that time, assume extreme beauty worthy of being very highly praised by the couples of heavenly gods. ramyazroNIrvikaTadazanAH prathinIrghaghoNAH pInottuGgastanataTabharAnmandamandaM prayAntIH / grAvakSuNNaprazithilanakhA vAjivaktrAH prapazyeH tasmin sthitvA vanacaravadhUbhuktakubje muhUrtam // 73 / / anvayaH- vanacaravadhUbhuktakule tasmin muhUrta sthitvA ramyazroNI: vikaTadazanAH prothinIH dIrghaghoNAH pInottuGgastanataTabharAt mandamandaM prayAntIH grAvakSuNNa prazithilanakhAH vAjivaktrAH prapazyaH / rmyetyaadi| vanacaravadhUbhuktakuJja AraNyakavadhUpabhuktakubje / vane carantIti vanacarAH AraNyakAH / 'caro'T' ityaH / teSAM vadhUbhiH bhuktAni kuJAni latAmaNDapAH yatra / ' nikuJjakujau vA klIve latAdipihitodare' itymrH| tasmin AmrakUTaparvate muhUrta kSaNamAtra sthitvA adhiSThAnaM kRtvA / vizramyetyarthaH / ramyazroNI: manoharakaTipazcAdgAgAH / ramyA ramaNIyAH zroNayaH kaTipazcAdbhAgAH yAsa taaH| 'kaTinitambaH zroNizca jaghanam' iti dhanaJjayaH / vikaTa dazanAH vizAlaradanAH sudatyo vA / vikaTAH vizAlAH azvaradanatulyAH azvamukhItvAt dazanAH radanAH yAsAM taaH| yadvA vizAlAH sundarAH iti / 'vikaTo vikarAle syAdvizAle sundare vare' iti vizvalocane / prothinIH azvaghoNAkAranAsikAH vRttanAsAntapradezAH vaa| prothaH azvaghoNA / prothAH AsAM santIti prthiniiH| 'vRttaH nAsAntapradezaH prothaH' ityamarakozaTIkAyAM kssiirsvaamii| dIrghaghoNAH lambanAsikAH / dIrghAH ghoNAH nAsikApradezAH yAsAM tAH diirghghonnaaH| lalATaparyantAdinAsAgrAntaH nAsikApradezaH ghoNA / pInotugatanaTabharAt

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prathamaH sargaH] mAMsalonnatakucataTabhArAt / pInAH mAMsalAzca te uttuGgAH udagrAzca pAnottuGgAH / stanAnAM mAMsalatve'pi tuGgatvaM sambhavatyevIta na niyamaH, vRddhAstanAnAM mAMsalatve'pyanunnatatvadarzanAt / ataH stanakAThinyasUcanArtha uttuGgavizeSaNamityavaseyam / pInottuGgAnAM stanataTAnAM bharaH bhAraH / tasmAt / mandamandaM mandaprakAraM / maMdagatyetyarthaH ' ' prakAre guNoktervA' iti dviH / prayAntIH gacchantIH / mandagamanA ityarthaH / prAvakSuNNaprazithilanakhAH upalazodaprazlathanakharAH / grAvabhirupalaiH kSuNNAH saJjAtakSodAH ata eva prazithilA prazlathAH nakhAH pAdAGgulyagrajAH yAsAM tAH / vAjivaktrAH azvamukhyaH / kinnayaH ityrthH| prapazyeH prekSiSyase / Staying for a short time on it, the bowers of creepers whereon are made use of by the wives of the forest-wanderers, you would see the women of the Kinnaras ( the women having their faces like that of a torse), possessing beautiful buttocks, having large (long) teeth, possessing long and acquiline noses, moving slowly on account of the heaviness of their fleshy and clevated breasts, and having their nails loosened on account of their being bruised by stones. tasmAdadreH kathamapi bhavAnmuktakuJjaH prayAyAt ramyasthAnaM tyajati na mano durvidhAnaM pratIhi / kAlakSepaM visRja garimAlambanaM yAhi sadyaH toyotsargadrutataragatistatparaM varma tIrNaH / / 74 // anvayaH--- muktakuJjaH bhavAn tasmAt adreH kathaM api prayAyAt / durvidhAnaM manaH ramyasthAnaM tyajati ( iti ) pratIhi / toyotsargadrutataragatiH tatparaM varma tIrNaH garimAlambanaM kAlakSepaM visRja / sadyaH yAhi / tasmAdityAdi / muktakujaH muktAH prasthAnArtha parihRtAH kuJjAH AmrakUTaparvatanikuJjAH yena saH / bhavAn meghAkArapariNataH pArzvastvam / tasmAt adreH yaM bhavAn saMzrayArtha prAptaH tasmAt AmrakUTAbhidhAnAt bhUdharAt / kathamapi yena kenApyupAyena prayAyAt pragacchet / yataH durvidhAnaM durArAdhyaM durvijayyaM / duHkhena kRcchreNa vidhIyate vazIkriyate iti durvidhAnaM / 'svISaddasi kRcchAkRcchyoH khaH' iti kRcchrArthe khaH / manaH mAnasaM / ramyasthAnaM ramaNIyabhUpradezaM na tyajati na vimuJcati iti pratIhi jAnIhi / toyotsargadutataragatiH jalotsargajanitANimnA zIghrataragamanaH / toyasya

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[ pArdhAbhyudaye utsarga ga varSeNa drutatarA zIghratarA gatiH gamanaM yasya saH / tatparaM AmrakUTAduttaraM / tasmAdAmrakUTAt paraM uttaraM / vartma mArga / tIrNaH tarItumArabdhavAn / AdyakarmaNi ktaH kartari c| garimAlambanaM gaurvaanibndhnN| garimA gurorbhAvaH / 'pRthvAderveman' itImani 'TeH' iti TeH khaM 'bahulaguruvRddhatRpradIrghavRndArakANAM baMhigarvavarSitrapdrAghavRndAH' iti garAdezazca / garimA AlambanaM nimittakAraNaM yasya tam / kAlakSepaM kAlayApanaM / kAlasya kSepaH yApana kAlakSepaH / taM / visRja parihara / sadyaH zIghraM / yAhi gaccha / Having left the caverns or bewers, you should anyhow go away from that mountain. Be assured that the mind, difficult to be prevailed upon, does not leave a beautiful sight. You, with your motion rendered more speedy, beginning to traverse the path beyond it (i. e. the mountain ) should give up delay caused by your heaviness ( and ) start immediately. gatvodIcI bhuva iva pRthu hArayaSTiM vibhaktAM vanyebhAnAM radanahatibhibhinnaparyantavanAm / vInAM vRndairmadhuravirutairAttatIropasevAM revAM drakSyasyupalaviSame vindhyapAde vizIrNAm // 75 / / anvayaH -- udIcI gatvA vanyebhAnAM radanahatibhiH bhinnaparyantavaprAM, vInAM madhuravirutaiH vRndaiH AttatIropasevAM, upalaviSame vindhyapAde vizarNIi revAM bhuvaH vibhaktAM pRthu hArayaSTiM iva drakSyasi / gatvetyAdi / udIcI uttarAM dizaM / 'uttarA dik udIcI syAt' itymrH| gatvA prApya / vanyebhAnAM AraNyakAnAM gajAnAM / vane jAtAH vanyAH / vanyAzca te ibhAH gajAzca vnyebhaaH| 'ibhaH stambaramaH padmI' ityamaraH / radanahatibhiH dantaprahAraiH / radanAnAM dantAnAM hatibhiH prahAraiH / bhinnaparyantavamAM vidAritAgratIrAM / bhinnaparyantau vau tIrau yasyAH sA / 'vaprastAte'striyAM tIre tu kSetracayareNuSu' iti vizvalocane / yadvA bhinnAH vidAritAH paryantavaprAH paryantasthitareNucayAH yasyAH saa| tAm / vInAM pAkSiNA madhuravirutaiH / madhurANi virutAni dhvanayaH yeSAM taiH / zrutimanoharArAvaiH / madhura AruvadbhirityarthaH / aatttiiropsevaaN| AttA svIkRtA tIrayoH (Ipa) upasevA nivAsaH yasyAH sA / madhurArAvaiH vihagavRndaiH tIrabhUmau kRtavasatikAmityarthaH / upalaviSame pASANasthapuTite / upalaiH pASANaiH viSamaH sthapuTitaH nimnonnataH upalaviSamaH /

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prathamaH sargaH] tasmin / vindhya pAde vidhyaadriprtyntprvte| 'pAdo'strI caraNe mUle turIyAMze'pi diidhito| zailapratyantazaile nA' iti vishvlocne| vizIrNA vizeSeNa vidIrNA revAM narmadAbhikhyAM nadI bhuvaH bhUdevyAH vibhaktAM viziSTaviracanAM pRthu mahatI hArayaSTiM iva hAra iva drakSyasi netraviSayatA neSyasi / vihAyasA viharato manasi bhUhArayaSTikalpanAM janayantI narmadAM bhavAn drakSya tIti bhaavH| ___Having gone in the northern direction, you would see Reva (i. c. Narmada ), having the edges of hanks rent asunder by the strokes of the tusks of the forest elephants (or having the adjoining mounds of earth cut asunder by the strokes of the tusks of the forest-elephants ), having her banks worshipped or occupied by the crowds giving out de lightful notes, split up at the foot of the Vindhyas rendered uneven by stones, as a well-arranged big necklace worn by the earth. tAM tasyAdrarupataTavanaM viprakIrNapravAhAM tIropAntaskhalanaviSamodvattaphenAM samInAM / pazya prItyA giritaTagajakSobhabhinnormimAlAM bhakticchedairiva viracitAM bhUtimaGge gajasya / / 76 / / anvayaH-- tasya adreH upataTavanaM viprakIrNapravAhAM, tIropAntaskhalanaviSamovRttaphenA, samInA, giritaTagajakSobhabhinnormimAlAM bhakticchedaiH gajasya aGge viracitAM bhUtiM iva (lakSyamANAM) tAM prItyA pazya / tAmityAdi / tasya adreH / vindhyAcalasya / upataTavanaM taTavanasamIpe taTavane vaa| taTavanasya samIpe upataTavanaM / 'jhiH subbyuddhyRddhyarthAbhAvAtItyasampratizabdakhyAtipazcAdyathAyugapatsampatsAkalyAnte' iti samIpArthe subarthe vA hsH| viprakIrNapravAhAM ativizAlapravAhAM / tIropAntaskhalanaviSamovRttaphenAM / tIrayoH upAnte skhalanena vRkSopalAdipratibandhajanitagatiskhalanena viSamaM yathA tathA udvRtto pravAhoparitanabhAgaM prAptaH phenaH DiNDIraH yasyAH sA tAm / samInAM sahamInAM / anena vizeSaNena taTavanasamIpa eva narmadAyAH gambhIratvaM dhvanyate, anyathA pravAhavegena tatra matsyAnAmasambhavanivAsatvAt / giritttgjkssobhbhinnormimaalaaN| giritaTazca gajAzca giritttgjaaH| gajazabdasyAlpActvepi alpAcpUrvanipAtazAstrasyAnityatvAtparanipAtaH / yadvA giritaTabhavAH gajAH giritttgjaaH| teSAM kSobhaiH bhinnA viracitA vIcInAM kallolAnAM mAlA paramparA yasyAM

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[ pArzvAbhyudaye sA / tairbhinnA vinaSTA vIcimAlA yasyAM seti vyAkhyAne giritaTabhavagajAnAM kSobhairiti vigraha evorarI kartavyaH giritaTasaJjanitakSobhairvIcimAlAbhaGga svAsambhavAt gajakRtakSobhaireva tatsambhavAt / bhakticchedaiH varNavinirmitacitrAkRtivibhAgaiH / bhaktInAM varNaviracitamanoharAkRtInAM chedAH vibhAgAH / taiH / gajasya aGge gajazarIre viracitAM vinirmitAM bhUrti iva mAtaGgAGgAramiva tAM narmadAM prItyA santoSeNa pazya prekSasva / zIghraM drakSyasi / 'liG caurdhvamauhUrtike' iti aurdhvamauhUrtikArthe ' adhISTe' iti sambhAvanAyAM vA loT / ' bhUtirmAtaGgazRGgAre bhasmasampattijanmasu ' iti vizvalocane / 88 I hope, you would see delightfully the river, Narmada, having her flow scattered or increased abundantly in the vicinity of the forests grown on the slopes of that mountain, having her foam increased vehcmently owing to the dashing of her flow against the skirts of her banks, abounding in fish, having series of waves brought into being by the agitation of the elephants dwelling on the slopes of the mountain (Vindhya) (or having her water stirred into series of waves by the elephants and on account of the slopes of the mountain), and looking like decoration on the body of an elephant, formad in variously coloured stripes. dattaM vanyairiva kalabhakaiH puSkareNotkSipaM dbhiH prAyogyaM te munimata ciraM vAsanAvAsitasya / grAvakSuNNoccalitamathavA tvaM harevaryavArya yasyAstiktairvanagajamadairvAsitaM vAntavRSTiH // 77 // anvayaH * bho munimata ! tiktaiH vanagajamadaiH vAsitaM puSkareNa utkSipadbhiH vanyaiH kalabhakaiH dattaM iva ( vAri) ciraM vAsanAvAsitasya te prAyogyaM / athavA grAvakSuNoccalitaM avArya tasyAH vAri vAntavRSTiH tvaM hareH / - dattamityAdi / bho munimata / muniriti mataH abhimataH munibhirmataH vA munimataH / tasya sambodhanaM / tiktaiH sugandhibhiH surabhibhiH / 'tikto rasasugandhayoH iti vizvalocane / vanagajamadaiH / vane bhavAH gajAH hastinaH vanagajAH / teSAM madaiH dAnavAribhiH vAsitaM saJjanitasaugandhyaM / surabhIkRtamityarthaH / 'vAsitaM vihagArave / dAne triSveva vasanaveSTite surabhIkRte ' iti vizvalocane / puSkareNa guNDAgreNa / ' puSkaraM vyomni pAnIye hastihastAmrapadmayoH / rogoragauSadhidvIpatIrthabhede'pi sArase / kANDe khaDGgaphale vAdya

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prathamaH sargaH] bhANDavaktre ca puSkaram' iti vizvalocane / utkSipadbhiH UrdhvaM kSipadbhiH vanyaiH vanebhavaH kalabhakaiH karizAvakaiH / kalabhAH eva kalabhakAH / svArthe kH| 'kalabhaH karizAvaka :' ityamaraH / dattaM iva vitIrNa iv| narmadAjalasya svayaM grahaNe dezabhaGgarUpAcauryamahAvratAticArabhayaM te'sti cet, na tat tvayA svayaM grAhya / tattu Urca prakSipadbhiH karizAvakaidattamiveti tadgrahaNe na ko'pi doSaH / punazca karitatkalabhakAntaHsaJcArasaJjanitakSobhatvAt hastihastipotahastasantADitatvAcca prAsukatvAtte prayogayogyamasti / ato'pi tadgrahaNe nAsti ko'pi doSaH / tasya tAdRzasya prAsukatve'pi puSkarAntargatamalamalinIkRtatvAdazuddhatvAnna tadgrAhyaM yatInAmiti cet, prAvakSuNNoccalitamata eva prAsukatvAnnadIpradattatvAccAvAryamapariharaNIyaM jalaM tvayA grAhyamevetyagre vakSyatyatraiva / ciraM cirakAlaM yAvat / vAsanAvAsitasya parityaktecchasya ubuddhecchasya vaa| vAsanA A samantAt vAsitA dUrIkRtA yena saH / vAhitAgnyAditvAtsaH / yadvA vAsanayA abhilASeNa vAsitasya kRtasaMskArasya / jalArtha saJjAtAbhilASasyetyarthaH / yadvA AvAsitA saMskRtA ubuddhA vA vAsanA icchA yasya sH| vAhitAmnyAditvAtsaH / te tava muneH prAyogya prayogArha / upayogayogyamityarthaH / prayoge sAdhu prayogyaM / prayogyameva prAyogyaM / 'tatra sAdhuH' iti yaH svArthiko'N ca / athavA tadapi na grAhyamiti cet, pAvakSuNNoccalitaM tasyAH vAri avaary| taveti zeSaH / grANi grAvNA vA kSuNNaM viditaM ata evoccalitaM AkAzapradeze utkrAntaM prAvakSuNNoccalitaM / grAvNA pASANena kSuNNatvAt prAsukaM uccalitatvAcca nadyA svayaM dIyamAnamiti prAsukatvAdattAdAnadoSarahitatvAcca tasyAH narmadAnadyAH vAri jalaM avArya doSAduSTatvAttvayA apariharaNIyaM, api tu tava grAhyameva tat / ata eva vAntavRSTiH kRtavarSaH tvaM bhavAn hareH gRhANa / tvaM gRhiSyasIti saMmbhAvaye / 'adhISTa' iti sambhAvanAyAM loT / Oh! a recognised sage, the water ( of the Narmada) scented by the fragrant ichor of wild young elephants and offered as if by the wild elephants throwing it up with their trunks, deserves to be utilised by you who are free from desires since a very long time. If you do not agree upon what I say, you, having poured forth showers, should accept that water of that river which is not at all worthy of being rejected owing to its being dashed against her rocks and so thrown up thereby. tatsvAdIyaH surabhi ziziraM prArthanIyaM munInAM nirjantutvAdupalanipatannirjharAmbha:prakAzam /

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[pArdhAbhyudaye tasyAH kSuNNaM vanakarikarAdhaTTanairapyajatraM jambUkuJjapratihatarayaM toyamAdAya gaccheH // 78 // anvaya :-vanakarikarAghanaiH ajasraM kSuNNaM api jambUkuJjapratihatarayaM upalanipatAnArAmbhaHprakAzaM nirjantutvAt munInAM prArthanIyaM tasyAH tat svAdIyaH surabhi ziziraM toyaM AdAya gaccheH / tadityAdi / vnkrikr|ghttttnaiH / vanakariNAM AraNyakAnAM gajAnAM karAH zuNDAdaNDAH vanakarikarAH / teSAmAghaTTanaH pratADanaiH / ajasraM anavarataM kSuNNaM mardita api jambUkuJjapratihatarayaM / jambUnAM jambUvRkSANAM kujaiH nikujaiH pratihataH vinitaH pratibaddhaH rayaH vegaH yasya tat / uplniptnniraambh:prkaashN| upale pASANe nipatatIti upalanipatat / nirjharasya pravAhasya ambhaH pAnIyaM nirjharAmbhaH / upalanipatat ca tannirjharAmbhazca upalanipatannirjharAmbhaH / tenAmbhasA tulyam / nirjantutvAt janturahitatvAt / prAsukatvAdityarthaH / munInAM munijanaiH prArthanIyaM prArthanAha / 'vyasya vA katari' iti tA kartari / 'tRjvyAzcAhe' ityarhArthe vyaH / tasyAH narmadAyAH tat prasiddha svAdIyaH svAdutaraM / mdhurtrmityrthH| 'guNAgAdvaSTheyasU'itIyas / surabhi saugandhyabandhuraM ziziraM zItalaM toyaM jalaM AdAya sagRhya gaccheH yAyA / Taking that water of that river, incessantly beaten by the strokes of the trunks of elephants and having its force curbed (restrained ) by the groves of Jambu trees, resembling the water of rivulets dashing against rocks, worthy of being craved for by the sages owing to its being void of insects, pleasing to the taste, fragant and cool, you should procced on. hRtvA tasyA rasamapahatAzeSamArgazramastvaM vyomavrajyAM punaravihataprakramA snddhiithaaH| prAptasthairya sapadi jalavAnapyasau yadgarIyAn - antaHsAraM ghana tulayituM nA'nilaH zakSyati tvAm // 79 // anvaya :--he ghana ! apahRtAzeSamArgazramaH tvaM tasyAH rasaM hRtvA avihataprakramAM vyomatrajyAM punaH sandadhIthAH, yat jalavAn garIyAn api asau anilaH antaHsAraM prAptasthairya tvAM sapadi tulayituM na zakSyati /

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prathamaH sargaH] hRtvetyAdi / he dhana megha apahRtAzeSamArgazramaH dUrotsAritanikhilAdhvakhedaH / apahRtaH dUrotsAritaH vinAzitaH azeSaH nikhilaH mArgazramaH adhvaklamaH yena yasya vaa| tvaM bhavAn tasyAH revAparAmidhAnAyAH narmadAyAH rasaM jlN| 'rasaH svAde'pi tiktAdau zRGgArAdau drave viSe / pArade dhAtuvIryAmburAge gandharase tanau' iti vizvalocane / hatvA ApIyorIkRtya vA avihataprakramA avihatatatparamArgagamanAM / avihataH apratibaddhaH prakramaH tatparavartmani zIghragamanaM yasyAM saa| vyomavrajyAM vihaayogti| vyomniAkAze jyA gamanaM vyomatrajyA / tAm / punaH bhUyaH / sandadhIthAH samyagdhatsva / yat yasmAt jalavAn jalagarbhaH / jalamasyAstIti jalavAn / astyarthe matuvartho vatpratyayaH / garIyAn gurutaraH / 'guNAGgAdveSTheyasU' iyisi 'TeH' iti TeH khaM 'bahulaguru-' iti garAdezazca / api asau anila : prabhaJjanaH antsaarN| antaH sAraH balaM yasya saH / taM / balavantamityarthaH / prAptasthairya / prApta sthairya sthiratvaM yena sH| tN| tvAM bhavantaM tulayituM uddhRtyApanetuM na zakSyati samarthaH na bhaviSyati / Oh cloud ! you, stabilizod owing to your being substantial inside, with the fatigue of your journey dispelled thoroughly, should, having taken in her water, resume your journey in the sky with its progress unimpeded, so that the wind carrying water, though more powerful, might not be able to carry you away suddenly. mArge mArge punarapi jalAnyAharestvaM dhunInAM yena sthemA bhavati bhavato vIra dUraM pryaatH| utsRjyAlaM laghimaghaTitAM riktatAmadhi pUrNo riktaH sarvo bhavati hi laghuH pUrNatA gauravAya / / 80 // anvaya :--vIra ! mArga mArga tvaM punaH api dhunInAM jalAni AhareH, laghimaghaTitA riktatA alaM utsRjya pUrNaH edhi, yena dUraM prayAtaH bhavataH sthamA bhavati / sarvaH riktaH hi laghuH bhavati, pUrNatA gauravaya (bhvti)| mArga ityAdi / vIra shuur| mArge mArge pratimArga tvaM bhavAn meghAkArapariNatiH pArzvaH punaH Apa bhUyo'pi dhunInAM nadInAM / ' taTinI hrAdinI dhunI' ityamaraH / jalAni salilAni AhareH gRhANa / laghimaghaTitAM janitalaghimAnaM / ghaTitA laghimA yayA saa| aNimajananImityarthaH / 'vAhitAgnyAdiSu' iti saH / laghobhAvaH laghimA / 'pRthvAderveman itImani TeH' iti Tikham / riktatAM sAravaikalyaM / alaM .

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92 [ pArzvAbhyudaye paryAptaM / atizayeneti yAvat / 'alaM bhUSaNaparyAptizaktivAraNavAcakam' ityamaraH / utsRjya parihRtya / tyaktvetyarthaH / pUrNaH ApUritajalaH edhi bhava / 'as bhuvi' ityasya ghoH loTi rUpam / yena ApUritajalatvAdinA dUraM daviSThadezaM prayAtaH pravasataH sthemA sthiratvaM / bhavati bhaviSyati / ' pRthvAderveman ' iti sthirazabdAdimani ' priyasthirasphirAyAderaH' iti sthirAvayavasyekArAdivarNasaGghAtasya avaM / sarvaH riktaH sarvaH sAravikalaH hi nizcayena / avazyamityarthaH / ' hi vizeSe'vadhAraNa' iti vizvalocane / laghuH gauravazUnyaH pakSe udvAhyaH bhavati jAyate / pUrNatA sasAratvaM gauravAya mahimne pakSe gurutvajanitaniSprakampyatvAya / bhavati jAyate iti zeSaH / ' klRpyarthevikAre ' ityap / pUrNatA gauravarUpavikArabhAvena pariNamate / gauravaM pUrNatAyAH pariNAma ityarthaH / sarvasya pUrNasya gauravaM bhavati riktasya ca lAghavamiti manasikRtya riktatAM parityajya yadi gauravaM bhajase tadA garIyAnapi prabhaJjanaH svIkRtamArgAtpracyAvyAnyatra bhrAmayituM na zakSyatIti tAtparyam / Oh brave! you, travelling far off, should take in (receive, attract ) the waters of various rivers again and again on every one of your ways, (and) having completely given up emptiness ensuring lightness, should become full, by which you would become steady. Everying . empty verily becomes light (insignificant ) and fulness ensures heaviness ( significance, steadiness ). kAryAlliGgAt svayamadhigatAta kAraNasyA'numAnaM rUDhaM yeSAM tadiyamabhimA yuktarUpeti manye / tvatsAnnidhyaM yadanumimate yoSitaH proSitAnAM nIpaM dRSTvA haritakapizaM kesa rairardharUDhaiH // 81 // anvaya :-- yat proSitAMnA yoSitaH ardharUDhaiH kesaraiH haritakApezaM nIpaM dRSTvA tyatsAnnidhyaM anumimate, tat svayaM adhigatAt kAryAt liGgAt kAraNasya anumAnaM yeSAM rUDhaM teSAM iyaM abhimA yuktarUpA iti manye / kAryAdityAdi / yat yasmAt kAraNAt proSitAnAM dezAntaragatAnAM / yoSitaH striyaH / 'nAnAkAryavazAdyasyAH dUradezaM gataH patiH / sA manobhavaduHkhArtA bhavet 'proSitabhartRkA' iti proSitAlakSaNam / 'strInArIvanitA mugdhA bhAminI bhIruraGganA /

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1 prathamaH sargaH ] 93 lalanA kAminI yoSidyoSA sImantinI vadhUH / ' iti dhanaJjayaH / ardharUDhaiH ISadaiH / ekdeshodbhuutaiH| aMzarUDhairityarthaH / 'ardha samAMzake klIbamardhaH khaNDe pumAnapi ' iti vizvalocane / ardhaH rUDhaH yasya saH / ' vAhitAgnyAdiSu' iti ktAntasya paranipAtaH / kesaraiH kiJjalkaiH / ' kesaro bakule siMhacchaTAyAM nAgakesare / punnAge'strI tu kiJjalke syAttu hiMguni kesa raM' iti vizvalocane / haritakapizaM zyAmalaM / haritaM ca tat kapizaM ca haritakapizaM / ' varNo varNaiH' iti varNavAcinaH varNavAcinA yasaH / haritaM pAlAzavarNa / kapizaM kRSNalodditaM / ' pAlAzo harito harit, iti 'zyAvaH syAtkArazo dhUmradhUmalau kRSNalohite ' iti cA'maraH / patrANAM haridvarNatvAt haritatvaM tatpuSpANAM ca yAvatvAt kapizatvaM nIpasyeti haritakapizamiti vizeSaNaM tasya / nIpaM sthalakadambakaM / atra jAtAvekavacanaM / tena nIpAnityarthaH / nIpAnityasya nIpakusumAnItyarthaH ' puSpamUleSu bahulam' iti niyamamanusRtyop kRtaH na sAdhuH nIpakusumAnAM kRSNalohitamAtratvAtteSAM haridvarNatvAbhAvAt / 'nIpo valikadambe syAnnIlavajjulabandhane' iti vizvalocane / dRSTvA saMlakSya tvatsAnnidhyaM bhavatsAmIpyaM anumimate vyAptyA nizcinvanti / varSAkAlanIpapuSpitatvayoravinAbhAvAt nIpapuSpitatvasya varSAkAlasAnnidhyAdanyathAnupapatteH varSAkAlAgamaM jJAtvA bhavatsAnnidhyaM nizcinvantIti tAtparyam / tat tasmAtkAraNAt svayaM hetvantarAzrayaNamantareNa / pratyakSeNa hetoH sAdhyenAvinAbhAvaM svayaM nizcityetyarthaH / mahAnase dhUmadhanaJjayayo rastitvamavalokya dhUmasya dhanaJjayenAvinAbhAvaM nizvitya parvatAgre dhUmavalayadarzanAt pUrva svayaM nizcitAttatra dhanaJjayasadbhAvo yathA'numIyate tathA svayaM nizcitAddhetoH kAraNAnumAnaM kriyate iti tAtparye / adhigatAt svayaM pratyakSeNa nizcitAt kAryAt kAryarUpAt liGgAt hetoH / lInaM indriyAgocaramarthaM gamayatIti liGgaM / kAraNasya kAryotpattihetoH anumAnaM anumitiH / atra bhAve'naT / bhavatIti mataM yeSAM rUDhaM prasiddhaM teSAM nyAyazAstranipuNAnAM iyaM eSA abhimA abhimataM / abhiprAya ityarthaH / yuktarUpA atyarthaM yuktA samIcInA / ' prazaste rUpaH ' iti prazaMsAyAM rUpaH / manye jAnAmi / As the wives of those that have gone abroad infer your approach on seeing the Nipa flowers, green and brown on account of the half-grown filaments I think that view of those that the inference of the cause is made on the ground of a probans in the form of its effect which is determined by ( the inferer ) himself ( i. e. without the help of some other probans ) quite correct (lit. quite proper ). madhye vindhyaM vanabhruvamiyA yatra dRSTvA zilIndhrAn

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[ pArzvabhyudaye adhyArUDhAnanuvanamamI parvatIyA mnussyaaH| tvAmAyAtaM kalayitumalaM tvatpayobindupAtaiH AvirbhUtaprathamamukulAH kandalIzcAnukaccham / / 82 // anvayaH- yatra anuvanaM adhyArUDhAn zilIndhrAn anukacchaM ca tvatpayobindupAtaiH AvirbhUtaprathamamukulAH kandalIH dRSTvA amI parvatIyAH manuSyAH tvAM AyAta kalayituM alaM ( tAM ) madhyevindhyaM vanabhuvaM iyaaH| madhyavindhyamityAdi / yatra vindhyAcalAveSTitAyAM vanabhuvi anuvanaM vane / * jhiH sub - ' iti subarthe hasaH / adhyArUDhAn samutpannAn / zilAndhrAn / kavakAn / ' zilIndhaM kavake rambhApuSpatripuTayorapi ' iti vizvalocane / anukacchaca anUpe / jalaprAyapradeze ityarthaH / ' kacchaH zailAdisImani | naukAne tunnake'nape paridhAnAJcalAntare' iti vizvalocane / ' jalaprAyamanUpaH syAtpuMsi kacchastathAvidhaH ' ityamaraH / 'jhiH sub - ' iti subartha eva hasaH / tvatpayobindupAtaiH tvatpAthaHpRSatpAtaiH / tava payaH tvatpayaH / tasya bindUnAM pRSatAM kaNAnAM pAtaH patanaM / taiH / AvirbhUtaprathamamukulAH prakaTIbhUtaprathamotpannakuDmalAH / AvirbhUtAH prakaTIbhUtAH prathamAH prathamaM prAdurbhUtAH mukulAH yAsAM taaH| kandalIH bhUkadalIH / 'droNaparNI snigdhagandhA kandalI bhUkadalyapi' iti shbdaarnnve| dRSTvA avalokya amI te parvatIyAH parvate jAtAH / 'parvatAnma] , iti mArthe parvatAcchaH / manuSyAH mAnavAH / tvAM bhavantaM AyAtaM samprAptaM kalayituM anumaatuN| kaladhAtoH kavikAmadhenutvAdanumAtumityayamarthaH kalayitumityasya / alaM samarthAH bhavanti / tAM tAdRzIM madhyevindhyaM vindhyasya madhye sthitAM / vindhasya madhye madhyevindhyaM / 'pAremadhye'ntastayA' iti saH / vanamuvaM vanabhUmi iyAH yAyAH / You should visit the forest region situated in the interior of the Vindhyas where the mountaineers are able to infer your approach on seeing mushrooms grown in the forests and the plantain trees, with their first buds manifested by the discharge of drops of your water, grown in the marshes. tvAmAsannaM sapadi pathikA jJAtumarhantyakAle zrutvA kekAdhvanimanuvanaM kekinAmunmadAnAm /

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prathamaH sargaH ] bakSepa nItamapi ca prekSya teSAM salIlaM dugdhAraNyeSvadhikasurabhiM gandhamAghrAya corvyAH // 83 // anvaya :- anuvanaM unmadAnAM kekinAM kekAdhvaniM zrutvA api ca teSAM salIlaM barhakSepa naTitaM prekSya dagdhAraNyeSu ca urvyAH adhikasurabhiM gandhaM AghrAya tvAM akAla Asanna sapadi jJAtuM pathikAH arhanti / 1 tvamityAdi / anuvanaM vaneSu / ' jhiH sub - ' ityAdinA vibhaktyarthe hasaH / unmadAnAM unmattAnAM AnandakandalitasvAntAnAM vA / udgataH madaH garvaH hRrSaH vA yeSAM / teSAM / kekinAM mayUrANAM / kekA dhvanivizeSaH astyeSAmiti kekinaH / kekAdhvaniM mAyUraM dhvaniM / kekA eva dhvaniH kekAdhvaniH / taM / ' kekA vANI mayUrasya ' ityamaraH zrutvA zrutiviSayatAM nItvA / api ca / teSAM ca mayUrANAM ca baIkSepaM picchotkSepaM barhANi utkSapaM bahatkSepaM / ' svAGge'dhruve ' ityadhruve ivante vAci dhorNam / yasminvi - naSTe sati prANinAM maraNaM na bhavati tadadhruvaM svAGgaM / barheSu vinaSTeSu satsu mayUrANAM maraNaM na bhavatIti te'dhruvasvAGgabhUtAH / teSu vAkSvatra dhorNam / naTitaM nartanaM / nRtyamityarthaH / prekSya avalokya / dagdhAraNyeSu ca / dagdheSu dAvAgnibhraSTeSu ca teSu araNyeSu ca / urvyAH pRthivyAH | adhikasuramiM samadhikasaiaugandhyaM / gandhaM parimalaM / AghrAya nAsikayopAdAya tvAM bhavantaM akAle varSAkAlAdanyasminkAle AsannaM sannidhau prAptaM / sapadi jhaTiti jJAtuM AkalayituM pathikAH pAnthAH / panthAnaM yAti pathikaH / pathaSTaT' iti yAtyarthe Thad | arhanti yogyAH bhaviSyanti / 95 The travellers would become capable of knowing immediately your unseasonable approch on hearing in the forests the cries of the delighted peacocks, or seeing their charming dances with their plumages expanded, and on smelling the more fragrant odour of the earth in the burnt-up forests. puSpAmodairaviralamamI sampatanto vanAnte bautsukyAta sarasavidalatkandalaizvAnukuJjam / dagdhAraNyasthala parimalaizvAnukRSTA yathAsvaM sAraGgAste jalalavamucaH mUcayiSyanti mArgam // 84 // suyAt puSpAmodaiH ( anukRSTAH ) vanAnte aviralaM sampatantaH anvayaH---

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96 [ pArzvAbhyudaye amI sAraGgAH, ( baddhautsukyAt ) sarasavidalatkandalai: ( anukRSTAH ) anukuJjaM ( aviralaM sampatantaH amI sAraGgAH ), ( baddhautsukyAt ) dagdhAraNyasthalaparimalaiH ( anukRSTAH dagdhAraNyasthaleSu aviralaM sampatantaH amI sAraGgAH ) jalalavamucaH te mArge yathAsvaM sUcayiSyanti / puSpetyAdi / baddhautsukyAt saJjAtatkaNThyAt / baddhaM saJjAtaM ca tat autsukyaM autkaNThyaM ca baddhautsukyaM / tasmAt hetoH / puSpAmodaiH kusumagandhaiH / puSpANAmAmodAH / taiH / anukRSTAH AkRSTAH / vanAnte vanamadhyapradeze / aviralaM nirantaraM sapatantaH uDDIya gacchantaH / amI te / sAraGgAH bhramarAH / sarasavida latkandalaiH / vidalantaH prAdurbhavantazca te kandalAH navAGkurAH vidalatkandalAH / sarasAzca te vidalatkandalAzca / taiH / anukRSTAH / anukuJjaM kuJjeSu / ' jhi: sun -' iti vibhaktyarthe hasaH / aviralaM sampatantaH amI sAraGgAH kuraGgAH / dagdhAraNyasthalaparimalaiH dAvadagdhavanasthalaparimalaiH / dagdhAni dAvadagdhAni araNyasthalAni dagdhAraNyasthalAni / teSAM parimalaiH / anukRSTAH 1 aviralaM sampatantaH amI sAraGgAH cAtakAH / jalalavamucaH salilakaNavarSukasya / jalalavAn muJcatIti jalalavamuk / kvip / te tava mArga adhvAnaM yathAsvaM yathocita sUcayiSyanti pizunayiSyanti / vanAnte sampatanto bhRGgAH, kuJjeSu sampatantaH kuraGgAH, dagdhAraNyeSu sampatantazca cAtakAH meghajalalavAkRSTAH tatra tatra sthAneSu te gatiM vizunayiSyantIti bhAvaH / Those bees, with their eagerness roused to action, flying in collections into the interior of forests on account of their being attracted by the fragrance of flowers, those antelopes, (with their eagerness roused to action), rushing into the bowers on account of their being attracted by the fresh sprouts shooting out, those Chataka birds, (with their eagerness roused to action), running towards the burnt-up forests. owing to their being attracted by the fragrant odours of the burnt up forests, would be ascertaining ( lit. indicating ) in accordance with. their capacities, the path of you discharging drops of water. gambhIratvaM yadidamadhunA lakSyate dhyAnahetoH saGkSobhANAM viracanazatairapyadhRSyaM madIyaiH / taddRSTvA'haM tava ghanatayA mAndyamevA'tidhairyAd utpazyAmi drutamapi sakhe matpriyArthaM yiyAsoH // 85 //

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prathamaH sargaH] 97 anvayaH--- sakhe / dhyAnahetoH yat idaM gambhIratvaM adhunA lakSyate tat madIyaiH saGkSobhANAM viracanazataiH api adhRSyaM dRSTvA matpriyArtha ghanatayA atidhairyAt drutaM api yiyAsoH tava mAnyaM eva ahaM utpazyAmi / gambhIratva mityAdi / sakhe he mitra dhyAnahetoH dhyAnasya nirvikalpasamAdheH hetoH / dhyAnasiddhyarthamityarthaH / yat idaM gambhIratvaM prazAntamanaskatvaM / nAnAvidhopasargarupadrute'pi mayA bhavati bhavato yadidamakSubdhasvAntatvaM adhunA idAnItane kAle lakSyate avalokyate tat gambhIratvaM madIyaiH mAmakInaiH / mama ayamiti chaH / saGkSobhANAM saJcAlanopAyAnAM viracanazataiH api prayojanazataiH api / viracanAnAM vidhAnAnAM prayojanAnAM zatAni / taiH avRSyaM adharSaNIyaM / anabhibhavanIyamityarthaH / dRSTA vilokya matpriyArtha madIyAyAH preyasyAH kRte ghanatayA dhRtameghAkRtitvena atidhairyAt AzritavipulasAhasatvAt drutaM api zIghramIpa yiyAsoH yaatumicchoH| yAtumicchati yiyAsati / ' tumIcchAyAM dhorvom' itIcchAyAM kRtasya tuma upa saMzca / sannantAccAsmAt 'sanbhikSAzasvindicchAdaH' ityuH / tasya / tava bhavataH mAndyaM mandatvaM / jaDatvamityarthaH / eva / avadhAraNAthAyamevakAraH / etena mAndyAdanyasya bhAvasya parihAro bhavati / ahaM kamaThacaraH zambarAsuraH utpazyAmi tayAmi / manye ityarthaH // Having seen this balance of your mind effected for your meditation, which is being noticed at present, to be quite impenetrable by hundreds of strategemes devised by me to effect its disturbance, I look up to it as merely the dulness of you who, under the disguise of a cloud, are desirous of going speedily with a very great courage for the sake of my beloved. bhUyazcAhaM navajaladharAdhautasAnupradeze nRtyatkekidhvanimukharita svAgataM tanvatIva / pAdyaM coccarvahati zirasA nirjharAmbho'bhizaGke kAlakSepaM kakubhasurabhau parvate parvate te // 86 // anvayaH-- bhUyaH ca navajaladharAdhautasAnupradeze nRtyatkekidhvanimukharite svAgataM tanvIta iva, zirasA ca pAdyaM nijharAmbhaH uccaiH vahati, kakubhasurabhau parvate parvate te kAlakSepaM abhishngk| pArzvabhyudaye...7

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[ pArzvAbhyudaye bhUyazcetyAdi / bhUyazva punazca navajaladharAdhautasAnupradeze navyajaladaprakSAlitazikharabhUbhAge / navAH apratnAH / navAzca te jaladharAH meghAzca navajaladharAH / taiH AdhautAH samantAt prakSAlitAH sAnoH zikharasya pradezAH bhUbhAgAH yasya saH / tasmin / nRtyatkakidhvanimukharite naTanmayUrake kArAvavAcAlite / nRtyantaH naTantazca te kekinaH mayUrAzca nRtyatkekinaH teSAM dhvanibhiH kekArAvaiH mukharitaH vAcAlitaH / tasmin / mukharaM vAcAlaM karoti mukharayati / ' tatkaroti tadAcaSTe ' iti Nic / mukharayati sma mukharitaH / saJjAtamaukharyaH ityarthaH / svAgataM prAghUrNakasabhAjanaM tanvati iva vidadhati iva / tanoti vidadhAtIti tanvan / tasmin / zirasA ca mUrdhnA ca pAdyaM pAdArthamudakaM / ' pAdyAdhyai iti nipAtaH / nirjharAmbhaH pravAhapAnIyaM / jharodakamityarthaH / uccaiH unnataM yathA syAttathA / vahati dhArayati sati / kakubhasurabhau arjunakusumasugandhe / kakubhAnAM kakubhakusumAnAM surabhiH sugandhaH yatra saH kakubhasurabhiH / ' puSpamUle bahulam' iti puSpatyasya ' prANyoSadhivRkSebhyo'vayave ca ' iti avayavArthe prayuktasyA'NaH ' bhayaDvA'bhakSyAcchAdane ' iti tadartha eva vihitasya mayaTo vos / ' rudradruH kakubho'rjunaH ' ityamaraH / tasmin / parvate parvate pratiparvataM / vIpsAyAM dviH / te bhavataH kAlakSepaM kAlayApanaM abhizaGke sandiha / sandehaviSayatAM nayAmi // , 98 Moreover, I doubt that you would make delay on every mountain, fragrant on account of the Kakubha flowers, having the regions of its peaks washed off by fresh clouds, resounding with the cries of the dancing peacocks, offering you as if welcome, bearing very high up on its top waters of springs for your feet. niHsaGgo'pi vrajitumanalaM tatra tatra kSitidhe labdhAtithyaH priya iva bhavAnudyamAnaH zirobhiH / abhyudyAtaistvadupagamanAdunmanIbhUya bhUyaH zuklApAGgaiH sajalanayanaiH svAgatIkRtya kekAH // 87 // anvayaH bhUyaH tatra tatra kSitighre labdhAtithyaH khadupagamanAt unmanIbhUya kekAH svAgatIkRtya abhyudyAtaiH sajalanayanaiH zuklApAGgaiH priyaH iva zirobhiH uhyamAnaH bhavAn niHsaGgaH [ san] api brajituM analam / niHsaGge'pItyAdi / bhUyaH punaH tatra tatra kSitighre sarvatra parvateSu / pratiparvatamityarthaH / kSitiM bhuvaM dharatIti kSitibhraH parvataH / tasmin / labdhAtithyaH -

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prathamaH sargaH] prAptAtithayaH / labdhaM prAptaM AtithyaM AtitheyaM yena saH / atithyarthamAtithyaM / 'Nyo'titheH' iti NyaH / 'atithirnA gRhAgate' iti ' kramAdAtithyAtitheye atithyarthe'tra sAdhuni' iti cA'maraH / 'AvezikaM vipazcidbhirAtithyamabhidhIyate' iti kAtyaH / 'AtithyaM syAdatithyartha AtithyamatithiM viduH' iti zAzvataH / tvadupagamanAt tava samIpagamanAt unmanIbhUya sotkaNThAH bhUtvA / anunmanasaH unmanasaH bhUtvonmanAbhUya / 'kRbhvastivyoge'tattattve sampattari cviH' iti cviH| ccau pare ca 'manoruzcakSuzvetorahorajasaH khaM' iti manaso'ntyasya sakArasya kham / 'halaH Ik' iti Ikca / kekAH mAyUrAndhvanIn "kekA vANI mayUrasya' ityabhidhAnAt / svAgatIkRtya kekAsu svAgatavacanamAropya / asvAgataM svAgataM kRtvA svAgatIkRtya / svAgatavacanatAmupanIya / abhyudyAtaiH tvatsabhAjanArthamudgataiH / sajalanayanaiH saashrunetraiH| jalena sahitAni sajalAni / sajalAni naya: nAni yeSAM taiH zuklApAGgaiH mayaraiH / 'mayUro barhiNo bahI zuklApAGgaH zikhAvalaH ' iti yAdavaH / priyaH iva mitramiva zirobhiH mUrdhabhiH uhyamAnaH dhriyamANaH / uhyate iti uhyamAnaH / bhavAn tvaM / niHsaGgaH api parityaktabAhyAbhyantaraparigrahaH api vrajituM gantuM analaM asamarthaH / sarvatra parvateSu labdhAtitheyatvAt kAlayApanaM vidhAsyasIti bhaavH| Moreover, you, given a hospitable reception, borne on their heads like a dear friend by peacocks ascending the tops (of mountains ) through eagerness ( for you ) at the time of your arrival and welcoming you, though devoid of attachments, would become unable to proceed on. tasyotkaNThAvirutimukharasyotpatiSNoH kathaJcita pratyAsannatvadupagamanasyA'ntarArdrasvabhAve / snehavyaktiM tvayi ghanayataH kekivRndasya manye pratyudyAtaH kathamapi bhavAngantumAzu vyavasyet // 88 // anvaya:- utkaNThAvirutimukharasya kathaJcit utpatiSNoH pratyAsannatvadupamanasya tasya kekivRndasya ArdrasvabhAve tvayi snehavyAktiM ghanayataH pratyudyAtaH (sataH) api bhavAn Azu gantuM vyavasyet ( iti ) manye / tasyetyAdi / utkaNThAvirutimukharasya unmanAyitajInatakekAdhvanivAcAli

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[pArdhAbhyudaye tasya / utkaNThayA unmanAyitena janitAH virutayaH kekArAvAH utkaNThAvirutayaH / tAbhiH mukharasya vAcAlitasya / kathaJcit kathaM kathamapi utpatiSNoH sliilmutpttH| sAdhUtpatatItyutpatiSNuH / 'bhUbhrAjyalaGghanirAkRJprajanotpacotpatonmadarucyapatrapavR. dhsahacara iSNuH' iti sAdhvarthe iSNuH / pratyAsannatvadupagamanasya samIpabhavatprApteH / tava upagamanaM tvadupagamanaM / pratyAsannaM sutarAM samIpaM tvadupagamanaM yasya saH / tasya tatparvatasthitasya / kekivRndasya mayUrasaGghAtasya / AsvabhAve mArdavAvilAntaH . karaNe / ArdraH mArdavAvilaH svabhAvaH svarUpaM yasya saH / tasmin / tvIya bhavati / snehavyakti premAvirbhAva dhanayataH dhanIkurvataH / dhanaM karoti ghanayati / 'tatkaroti tadAcaSTe' iti Nic / yadvA ' mRdo dhvarthe NijbahulaM' iti Nic / ghanaM saandrmityrthH| 'ghanaM syAtkAMsyatAlAdivAdye madhyamatANDave / ghanastu meghe mustAyAM vistAre lohamudgare / kAThinye cAtha kaThine sAndre'pi ca ghanastriSu ' iti vizvalocane / pratyudyAtaH sataH api pratyudgacchataH sataH api / sbhaajnaarthmbhimukhmaaptntmpynaadRtyetyrthH| 'tA cA'nAdare' ityanAdare tA / bhavAn tvaM Azu jhaTiti gantuM gamanAya vyavasyet nizcinuyAt iti kathaM kena prakAreNa kasmAdvA kAraNAt manye jAne / How can I think that you, though welcomed, would determine to proceed on immediately conniving at the host of peacocks, noisy on account of the cries given out through eagerness, anyhow flying up well, having your approach well-nigh, intensifying the manifestation. of affection for you who possess a soft heart ? vindhyopAntAttava gatavato nAtidUre dazArNAH ramyArAmA nayanaviSaye sampatiSyanti sadyaH / tvatsAnidhyAt kaluSitapayaHpUrNazAleyavaprAH / pANDucchAyopavanavRtayaH ketakaiH sUcibhinnaiH // 89 // anvaya :- sUcibhinnaiH ketakaiH pANDucchAyopavanavRtayaH tvatsAnnidhyAt kaluSitapayaHpUrNazAleyavaprAH ramyArAmAH dazArNAH vindhyopAntAt atidUre na gatavataH taka nayanaviSaye sadyaH sampatiSyanti / vindhyetyAdi / sUcibhinnaiH agrabhAge vikasitaiH / bhinnAH vidalitAH vikasitAH sUcayaH agrANi yeSAM te / taiH| 'vAhitAgnyAdiSu' iti saH / yadvA sUciSu mukulAgreSu minnAH vidalitAH sUcibhinnAH / taiH / 'ketakIkusumAgreSu sUciH

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prathamaH sargaH ] 101 syAt' iti zabdArNave / ketakaiH ketkiikusumaiH| 'puSpamUle bahulam ' iti ketakI - gulmAvayavabhUtakusumArthapratyAyakasya 'mayaDvA'bhakSyAcchAdane' iti mayaTaH us / pANDucchAyopavanavRtayaH shubhrvrnnopvnmttvaarnnaaH| pANDuH zubhravarNA chAyA kAntiH yeSAM te pANDucchAyAH / upavanAnAM grAmArAmANAM vRtayaH mattavAraNAni upvnvRtyH| pANDucchAyAH zubhravarNAH upavanavRtayaH mattavAraNAni yeSAM te pANDucchAyopavanavRtayaH / 'prAkAro varaNaH sAlaH prAcInaM prAntato vRtiH ' ityamaraH / tvatsAnnidhyAt bhava: tpratyAsatteH / tava sAnnidhyaM pratyAsattiH tvatsAnnidhyaM / tasmAddhetubhUtAt / kaluSitapayaHpUrNazAleyavaprAH jmbaalaavilslilprpuuritshaalyutpttikssetraaH| kaluSaM jambAlAvilatvAnmalinaM kRtaM kaluSitaM / 'mRdo dhvarthe NijbahulaM ' iti Nica / kaluSayati kaluSaM karoti sma kaluSita / nnijntaatktH| kaluSitaM ca tat payaH pAnIyaM ca kaluSitapayaH / tena pUrNAH prapUritAH zAleyAH vaprAH kSetrANi yatra / ' vaprastAte'striyAM tIre tu kSetracayareNuSu' iti vizvalocane / zAleyAH zAlInAM kSetrANi / ' zrIhizAlerDas' iti kSetrArthe DhaJ / zAlyutpattibhUmayaH ityarthaH / 'kaluSo'naccha AvilaH' iti, 'kSetraM beheyazAleyaM bIhizAlyudbhavocitaM ' iti caa'mrH| zAlyudbhavocitAH ityartho'tra saGgrAhyaH / ramyArAmAH ramaNIyodyAnabhUmayaH / ramyAH ramaNIyAH ArAmAH udyAnAni yatra / dazArNAH dazArNAbhidhAnaH janapadaH vindhyopAntAt vindhyAkhyAcalAsannapradezAt / vindhyasyopAntaH AsannaH pradezaH vindhyopAntaH / tasmAt / atidUre daviSThadeze na gatavataH aprAptasya / atra vartamAne ktavatuH / tava meghAkArapariNatasya bhavataH / nayanaviSaye netragocare / nayanayornatrayorviSayo gocaraH nynvissyH| tasmin / sadyaH sapadi / sampatiSyanti samprApsyanti / The Dasharna country, having the fences of its gardens possessing a whitish lustre on account of the flowers of Ketaka plants burst open at the points of the buds, having the fields of rice filled up with water turbid on account of your proximity, laving beautiful gardens, would at onco fall in the rango of your eyesight when you would not have travellod far off from the vicinity of the Vindhyas. teSAmAviSkRtajalalave tvayyupAsanavRttau sImodezA nayanasubhagAH sAmisaMrUDhasasyAH / saJjAyeranavaparikarA mUkapuskokilAzca nIDArambhairgRhabalibhujAmAkulagrAmacaityAH // 90 //

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102 [pArdhAbhyudaye anvayaH- upAsannavRttI tvayi AviSkRtajalalave teSAM sImoddezAH sAmisaMrUDhasasyAH mUkapuMskokilAH gRhabalibhujAM nIDArambhaiH AkulagrAmacaityAH ca nayanasubhagA: navaparikarAH saJjAyeran / teSAmityAdi / upAsannavRttau atyAsannabhUpradeza prApte / upAsannA pratyAsannA vRttiH vartanaM yasya saH / tasmin / tvayi bhavati / AviSkRtajalalave vRSTasalilakaNe / jalasya salilasya lavAH kaNAH jalalavA: / AviSkRtAH prAdurbhAvitAH jalalavAH salilalavAH yena saH / tasmin sati / 'yadbhAvAdbhAvagatiH' iti Ip / teSAM dazArNAnAM sImoddezAH dazArNasImAntapradezAH / sImnAM maryAdAnA uddezAH pradezAH sImoddezAH / 'maryAdAyAM striyAM sImAkSetre ghATe sthitAvapi' iti vizvalAMcane / sAmisaMkhDhasasyAH ISadutpannasasyAGkurAH / sAmi ISat saMrUDhAni samutpannAni sasyAni stambakarINi tRNAni yatra / 'sAmi nindArdhayoH' iti vizvalocane / mUkapuskokilAH avaagbndivihnggmaaH| pumAMsazca te kokilAH bandivihaGgamAzca puskokilAH / mUkAH avAcaH puskokilAH yatra te mUkapuMskokilAH / 'mUkastvavAGmato dIne' iti vishvlocne| tvadAgame cUtAGkurotpattinimittavasantakAlApagamabhrAntyA kokilAH cUtAGkurAsvAdakadhAyakaNThAH santo'pi madhurArAvaM parityajya mUkIbhAvaM gamiSyantIti bhAvaH / anenAyaM cUtAGkurotpattyanukUlavasantartusamayaH iti gamyate / gRhabalimujAM kAkAdigrAmapakSiNAM / gRhabaliM gRhakRtAyAH pUjAyAH upahAraM bhuJjantIti gRhabAlabhujaH kAkAdayo grAmapakSiNaH / teSAM / 'balizcAmaradaNDe'pi karapUjopahArayoH' iti vizvalocane / nIDArambhaiH kulAyaviracanArtha kriyamANairudyamaiH / nIDArtha ArambhAH udyamAH nIDArambhAH / taiH / 'nIDaM sthAne kulAye'strI samIpe tu sapUrvakaH ' iti 'Arambha udyame darpa tvarAyAM ca vadhe'pi ca ' iti ca vizvalocane / AkulagrAmacaityAH saGkIrNagrAmoddezyapAdapAH / grAmeSu caityAni uddeshypaadpaaH| grAmeSu caityAni uddezyapAdapAH unnatabhUpradezotpannAH pAdapAH grAmacaityAni / AkulAni grAmacaityani yatra AkulagrAmacaityAH / ' caityamuddezyapAdape' iti vizvalocane / nayanasubhagAH netrAkarSiNaH / nayanayoH subhagAH manohArAH / svasaundaryAkRSTajananayanAH ityarthaH / navaparikarAH navaparivArAH navyArambhAH vaa| navaH nUtanaH parikaraH yeSAM te navaparikarAH / yadvA navAH parikarAH ArambhAH yeSu te nvprikraaH| ' parikaraH paryaGkaparivArayoH' ityamaraH / atraiva TIkAyAM ' samUhArambhayoH gAtrikAbaMdhe ca (parikaraH)' iti kSIrasvAminoktaM / vasantakAle'pi prAvRTkAlocitArambhasambhAradarzanAt saH kAlaH navArambhaH / dazArNasImoddezeSu navArambhasambhAradarzanAtte'pi

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prathamaH sargaH ] 103 navArambhAH / ataH 'navaparikarAH ' ityasya 'navArambhAH' ityeSa evArthaH samIcInaH / saJjAyeran sambhaviSyanti / The border lands of that country, endowed with a charm attracting the eyes, having corns cropped up, cuckoos silenced, having trees occupying high positions in their villages overcome with the efforts of birds, eating domestic oblations (i. e. crows, sparrows etc. ), for building their nests, would have their surroundings changed into new ones when you, on your approach in the vicinity, would have discharged drops of water. bhayasteSAmupavanabhuvastuGgazAkhAgraghaSTa. vyomotsaGganijataruvarairAttazobhAH phlaaddhyaaH| sampadheranvividhavihagairAkulA nIDakRdbhiH tvayyAsanne pariNataphalazyAmajambUvanAntAH // 91 / / anvayaH-bhUyaH tvayi Asanne pariNataphalazyAmajambUvanAntAH, tuGgazAkhAgraghRSTavyomotsaGgaH nijataruvaraiH AttazobhAH, phalADhyAH teSAM upavanabhuvaH nIDakRdbhiH vividhavihagaiH AkulAH sampadyeran / bhUya ityAdi / bhUyaH punaH tvayi bhavati Asanne samIpaM prApte sati / 'yadbhAvAdbhAvagatiH' iti Ip / prinntphlshyaamjmbuuvnaantaaH| pariNatAni pakkAni ca tAni phalAni ca pariNataphalAni / taiH zyAmAni kRSNavarNAni haridvarNAni ca tAni jambUvanAni ca / tai antAH ramyAH / yadvA pariNataphalaiH zyAmAni jambUvanAni yatra te prinntphlshyaamjmbuuvnaaH| pariNataphalazyAmajambUvanAH antAH prAntAH pratyAsanna pradezAH yAsAM tAH / anto nAze manohare / svarUpe'ntaM mataM klIbaM na strI prAnte'ntike triSu' iti vizvalocane / tuGgazAkhAgraghRSTavyometsaGgaH unnatataraviTa pAgrasaghRSTAkAzapRSThapradezaiH / tuGgaH samuttuGga samunnataiH zAkhAnAM viTapAnAmagraiH antyAvayavaiH dhRSTaH sammRSTaH vyomnaH AkAzasya utsaGgaH talaM pRSThapradezaH yaiH te / taiH / nijataruvaraiH udyAnodbhavaiH taruvaraiH vRkSazreSThaiH / svakIyaiH mahadbhistarubhirityarthaH : AttazobhAH prAptasaundaryAH / AttA urarIkRtA zobhA yAbhistAH AttazobhAH / phalADhyAH phalegrahitarusamRddhAH, vipulaphalAH vA / teSAM dazArNAnAM upavanamuvaH udyAnabhUmayaH nIDakRdbhiH kulaaykRdbhiH| nIDaM kulAyaM karoti viracayatIti nIDakRt /

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104 [ pArzvAbhyudaye kvip / 'nIDaM sthAne kulAye'strI samIpe tu sapUrvakaH' iti vizvalocane / vividha bihagaiH nAnAvidhaiH vihAyogatibhiH pakSibhiH / ' game khackhaDDAH 2 iti DaH / AkulAH saGkIrNAH / vyAtAH iti yAvat / sampadyeran sampatsyante / bhaviSyantItyarthaH / Moreover, on your arrival the regions of their gardens possessing on their borders Jambu groves dark with ripe fruits, endowed with beauty on account of the excellent trees rubbing against the surface of the sky with the ends of their tall branches, rich in fruits, would be overcrowded with various birds engaged in building up their nests. anvayaH iti visaladvidyududdAmahAse muktAsAraprakaTitakhe unmadAnAM kekinAM nRtyArambhaM muhuH ghaTayati bhavati abhyarNe ( sati ) udbhutapaGkAH dazArNAH nUnaM katipayadinasthAhiMsAH sampatsyante / ityabhyarNe bhavati vilasadvidyaduddA mahAse muktAsAraprakaTitarave ke kinAmunmadAnAm / nRtyArambhaM ghaTayati muhurnUnamuddhatapaGkAH sampatsyante katipayadinasthAhiMsA dazArNAH // 92 // , ityabhyarNe ityAdi / iti evaMprakAreNa / vilasadvidyududdA mahAse / vilasantI prAdurbhAvitacAkacakyA cAsau vidyut saudAmanI ca vilasadvidyut / seva uddAmaH vikaTaH hAsa: hAsyaM prakAzaH vA yasya saH / tasmin / hasanaM hAsaH / 'svayo vA iti vaikalpike'ci pakSe ' bhAve ' iti ghaJ / muktAsAraprakaTitarave / muktaH vyutsuSTazcAsau AsAraH vegavatI vRSTizca muktAsAraH / tatra prakaTitaH prAdurbhAvitaH ravaH garjidhvaniH yena saH / prakaTayati sma prakaTitaH / ' mRdo dhvarthe NijbahulaM ' iti NijantAtktaH / 6 - AsArastu prasaraNe dhArAvRSTau suhRdvale ' iti vizvalocane / unmadAnAM AvirbhUtAmandAnandAnAM / udgataH AvirbhUtaH madaH amandAnandaH yeSAM te / teSAM / kekinAM mayUrANAM / meghanAdAnulA sinAmityarthaH / nRtyArambhaM nartanodyamaM / ' ArambhaH udyame darpe tvarAyAM ca vadhe'pi ca' iti vizvalocane / ' syAdabhyAdAnamuddhAta ArambhaH ' ityamaraH / muhuH asakRt / ghaTayati janayati ! ghaTayati janayatIti ghaTayan / tasmin / 'salaTa: ' iti samprati kAle zatRtyaH / bhavati tvayi / abhyarNe sati antike samIpapradeze sati / upakaNThA'ntikAbhyarNA'bhyagrA apyabhito'vyayaM ' ityamaraH / ' yadbhAvAdbhAvagatiH , '

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prathamaH sargaH] 105 iti Ip / udbhUtapaGkAH prAdurbhUtakardamAH / kardamitAH ityarthaH / dazArNAH tadAkhyaH janapadaH / nUnaM nizcayena / 'nUnaM syAdarthanizcaye' iti vizvalocane / katipayadi. nasthAyihaMsAH / kA saGkhyA mAnameSAM kati / 'kimazca syeDatizca' iti DatirmAne vartamAnAkimaH / tataH ayacpugAgamazca / katipayeSu eva dineSu sthAyinaH katipayadinasthAyinaH / katipayadinasthAyinaH haMsAH yeSu le katipayadinasthAyihaMsAH sampatsyante bhaviSyanti / katipayazabdaH stokArthaH / atra nanu se 'dinakatipayaM' iti katipayazabdenottarapadena bhAvyaM, na pUrvapadena 'poTAyuvatistokakatipayagRSTidhenuvazAvehabaSkayaNIpravaktRzrotriyAdhyApakadhUrterjAtiH' ityArambhasya vizeSaNaparanipAtArthatvAditi cet, na, asya zAstrasya prAyikatvAdvizeSaNasya pUrvanipAtasyA'pi sambhavAt jAtezva paranipAtasya / evamevAha mallinAtho'pi meghadUtakAvyaTIkAyAm / Thus the Dasharna country, made muddy on the arrival of you, possessing excessive brilliance due to the lightning emitting flashes, sending forth roars while pouring showers of rain, setting the peacocks that would be highly pleased to dance again and again, verily would have the swans staying ( there ) for a few days. gatvA pazyeH pavanavicalatketuhastairabhIkSNaM dUrAduccairbhavanazikharairAhvayantImiva tvAm / sAlodagrAM zriyamiva bhuvo rUpiNI nAbhibhUtAM teSAM dikSu prathitavidizAlakSaNAM rAjadhAnIm // 93 // anvayaH- pavanavicalatketuhastaiH bhavanazikharaiH tvAM darAt abhIkSNaM uccaiH AhvayantI iva, bhuvaH rUpiNI iva sAlodanAM zriyaM, nAbhibhUtAM, dikSu prathitavidizAlakSaNAM teSAM ( dazArNAnAM ) rAjadhAnI gatvA pazyaH / gatvetyAdi / pavanavicalatketuhasteH smiirnnsnycrtketukauH| ketavaH dhvajAH eva hastAH karAH ketuhastAH / pavanena samIraNena vicalantaH saJcarantaH pavanavicalantaH / pavanavicalantaH ketuhastAH yeSAM te / taiH / bhavanazikharaiH saudhavalAbhibhiH bhavanAnAM sodhAnAM prAsAdAnAM zikharANi valabhayaH zRGgANi unnatatarapradezAH vA / taiH / tvAM bhavantaM durAt dUradezAt abhIkSNaM satataM uccaiH atyartha AhayantI iva AkArayantImiva bhuvaH pRthivyAH rUpiNI iva / prazastaM rUpaM AkRtirasyAH astIti rUpiNI /

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106 [ pArzvAbhyudaye tAm / zarIrAkAradhAriNIM / matvarthIyaH in / matvarthazcAtra prazaMsA saMsargo vA / sAlodayAM sAlena prAkAreNa udagrAmaunnatyaM prAptAM zriyaM zobhAM lakSmI vA / nAbhibhUtAM zarIrasthanAbhikamalamiva dazArNamadhyabhAgasthAyinIM dikSu sarvAsu dizAsu prathitavidizA lakSaNAM / prathitaM prasiddhiM prAptaM vidizeti lakSaNaM abhidhAnaM yasyAH sA / tAM / ' lakSaNaM nAmni cihna ca rAmabhrAtari lakSaNaH ' iti vizvalocane / teSAM dazArNAnAM rAjadhAnIM / dhIyate asyAM iti dhAnI | nivAsasthAnamityarthaH / ' karaNAdhAre cAnaT ' ityAdhAre anaT / rAjJaHdhAnI rAjadhAnI / atra tAyAH kRdyogalakSaNatvAtsaH / uktaM vArtikakRtA kAtyAyanena ' kRdyogalakSaNA SaSThI samasyate' iti / pradhAnanagarImityarthaH / 'pradhAnanagarI rAjJAM rAjadhAnIti kathyate' iti zabdArNave / gatvA prApya pazyeH avalokayeH / Having approached you should see the capital of that country which is as good as a navel (i. e. situated at the centre of it), with its appellation Vidisha well-khown in all the quarters over, the beauty as if of the earth incarnate magnified owing to its rampart (or to the Sala trees), inviting you as if very much again and again from a long distance through the topmost parts of the mansions with the hands in the from of flags set in motion by the wind (or with the hand-like flags set in motion ). saudhotsaGge kSaNamupaniSattRSNa tUSNIM niSaNNo jAlodgIrNaiH surabhitatanurdhUpadhUmairmanojJaiH ! vArastrINAM nidhuvanaratiM prekSamANastvamenAM gatvA sadyaH phalamapi mahatkAmukatvasya labdhA // 94 // anvayaH --- upaniSattRSNa tvaM enAM gatvA sodhotsaGge kSaNaM tUSNIM niSaSNaH jAlodgIrNaiH manojJaiH dhUpadhUmaiH surabhitatanuH vArastrINAM nidhuvanaratiM prekSamANaH kAmukatvasya mahat api phalaM sadyaH labdhA / saudhetyAdi / upaniSattRSNa samutpannAbhilASa / upaniSIdati ityupaniSat / kvip / upaniSat tRSNA abhilASaH yasmin asau upaniSattRSNaH / tasya kiH / tvaM bhavAn enAM vidizAbhidhAnAM rAjadhAnIM gatvA samprApya saudhotsaGge hayaparitanatale / saudhAnAM harmyANAM prAsAdAnAM vA utsaGge valabhipradeze saudhotsaGge / kSaNaM

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prathamaH sargaH] 107 alpakAlaM yAvat / 'kAlAdhvanoravicchede ' iti ip / tUSNIM maunamAzritya sukhena vA niSaNNaH vizramArthamupaviSTaH jAlodgINa: gavAkSaniSThayUtaiH / jAlAt gavAkSAt jAlena vA udgINaiH viniHsRtaiH / udgIrNazabdaprayogo'tra kAvye grAmyaH iti cet, na, goNyA vRttyA tasya vyapAzrayAt mukhyavRttyA tavyapAzrayasya grAmyatvAya kalpanAt / taduktaM daNDinA 'niSThyUtodgIrNavAntAdi gauNavRttivyapAzrayaM / atisundaramanyatra grAmyakakSAM vigAhate / ' iti / manohaH manoharaiH dhUpadhUmaiH kRpITayoniprakSiptavAsayogajanitadhUmaiH / surabhitatanuH sanitasaugandhyazarIraH / surabhitA surabhi sugandhi kRtA / 'mRdo dhvarthe NijbahulaM' iti karotyarthe mRdaH Nic / yadvA surabhiH sugandhaH saJjAtaH asyAH surabhitA / 'tadasya saJjAtaM tArakAdibhyaH itaca' iti itac / vArastrINAM vArAGganAnAM / veSAjIvAnAM vezyAnAM / vArasya lokanikAyasya strI vaarstrii| yadvA 'vAre rAjadevAdisevAkrame strI vArastrI ' iti kssiirsvaamii| 'vArastrI gaNikA vezyA rUpAjIvA' itymrH| nidhuvanarati suratakrIDAM suratasukhaM vA / nidhuvane maithune surate ratiH AsaktiH sukhaM vA nidhuvnrtiH| tAM / ratirityasya krIDetyabhidheyam / 'maithunaM nidhuvanaM rataM' itymrH| prekSamANaH avalokayan / kAmukatvasya vilAsitvasya ratilAmpaTyasya vA / 'vilAsI kAmukaH kAmI strIparo ratilampaTaH ' iti zabdArNave / 'laSpatpadrthAbhUvRSzakamgamaghnaH ukaJ' ityukaJ / / kAmayate iti kAmukaH / kAmukasya bhAvaH kAmukatvam / mahat. api gurvapi phalaM dhUpadhUmavAsitatvAdikaM sadyaH jhaTiti labdhA lapsyase / prApsyasItyarthaH / Oh, afflicted with a strong desire ! on reaching this ( capital ), you, sitting silently for a moment on the uppermost part of a mansion (or of the palace ), having your body perfumed by delightful smokes of incence (rising up in volumes ) through lattices, inspecting the strong desires cherished by the harlots for cohabitation, would immediately reap the fruits, though very rich, of lustfulness. vizrAntiste subhaga vipulA tatra yAtasya manye kalArAeM surabhi ziziraM svaccha mukullapadmam / vAtAkIrNaiH kuvalayadalairvAsitaM dIpikAmbhaH tIropAntastanitasubhagaM pAsyasi svAdu yatra // 95 // anvaya :- (he) subhaga ! yatra kahArAta surabhi ziziraM svacchaM utphulapar2yA

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108 [ pArzvAbhyudaye vAtAkIrNaiH kuvalayadalaiH vAsitaM svAdu dIrghikAmbhaH tIropAntastanitasubhagaM pAsyasi tatrayAtasya te vipulA vizrAntiH ( iti ) manye / " 6 vizrAntirityAdi / he subhaga saubhaagybhuussit| zobhanaM bhagaM yazaH mahAtmyaM vA yasya saH / kiH / bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratnabhAnuSu ' iti vizvalocane / yatra yasyAM vizAlAnagaryAm / kalArAGkaM saugandhikacihnaM / ' saugandhikaM tu kahAraM halakaM raktasandhyakam' ityamaraH / zuklavarNametatsurabhi saJjAtasauramaM ziziraM zItalaM svacchaM sutarAM nirmalaM / prasannamityarthaH / ' acchaH svacche'nyaliGgaH syAt' iti vizvalocane / utphulapadmaM vikasitapadmAlaGkRtaM / utphullAni vikasitAni padmAni yasmiMstat / triphalA vizaraNe' ityasmAddhoH 'ti' iti takArAdau parato'taH utvaM tatakArasya ca ' samudaH ' iti lo nipAtitaH / vAtAkIrNaiH prabhaJjanene tastato vikIrNaiH / vAtena AkIrNAni vAtAkIrNAni / taiH / kuvalayadalaiH kamalacchadaiH / kuvalayAnAM kamalAnA dalAni chadAH / taiH / 'dalaM parNe chadaH pumAn' ityamaraH / vAsitaM surabhitaM svAdu madhuraM dIrghikAmbhaH krIDAsaraH salilaM / ' vApI tudIrghikA ' ityamaraH / dIdhaiva dIrghikA / khau kan / ' vArvAri kaM payo'mbho'mbu' iti dhanaJjayaH / tIropAntastanitasubhagaM / tIrasya taTasya upAntaH samIpapradezaH tIropAntaH / tatra stanitaM alpagarjita / tena subhagaM manoharaM yathA syAt tathA / 'UrdhvamuJcalitakaNThanAsikaM dRGkRtaM stanitamalpaghoSavat' iti mallinAthoddhatalakSaNAt stanitamityasyAlpagarjitamityarthaH / pAsyasi pAnaM kariSyasi / pibaterlaT / tatra tasyAmalakAnagaryAm / yAtasya gatavataH te bhavataH vizrAntiH vizramaH vipulA mahatI / syAditi zeSaH / iti evaM manye jAnAmi / c Oh fortunate one! you, I think, would be enjoying full rest on reaching there where you would be drinking in a manner charming owing to the thunderings near the banks, water, which is sweet, fragrant, tasteful, cool and perfumed by the petals of the blue water-lilies scattered over by the wind, of the oblong lakes, possessing white lotuses and having blown lotuses, pAtavyaM te rasika surasaM prANayAtrAnimittaM tasyAM lIlAsphuritazapharA ghaTTanairAttapaGkam / rodhaH prAnte vihagakala bhairbaddha DiNDIrapiNDaM bhrUbhaGgaM mukhamiva payo vetravatyAJcalomiM // 96 //

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prathamaH sargaH] anvaya : - (bho) rasika ! surasaM lIlAsphuritazapharAghaTanaiH AttapaGka, vihagakalabhaiH rodhaHprAnte baddhaDiNDIrapiNDaM vetravatyAH sabhrUbhaGga mukhaM iva calomi payaH tasyAM prANayAtrAnimittaM te pAtavyam / pAtavyamityAdi / bho rasika sarasa ! rasaH AnandaH viSayAbhilASaH zabdaH stanitarUpaH vA asya astIti rasikaH / kiH / ' ataH iniThanau' iti matvarthe Than / tena sAnandaH viSayAbhilASavAn sastanitaH vetyarthaH / sursN| zobhanaH rasaH AsvAdaH ruciH yasya tat / madhuramityarthaH / lIlAsphuritazapharAghaTTanaiH / lIlAyai krIDAM kartu sphuritAH saJjAtacAJcalyAH liilaasphuritaaH| te ca te zapharAH matsyAzca / ' zapharo'nimipastimiH' iti dhnnyjyH| teSAM AghaTTanaiH saGghaH AttapaGka jambAlAvilam / AttaH gRhItaH paGkaH jambAlaH vena tat / AvilatvanimittabhUtavegavaHpravAhAbhAve'pi tajalamalinatvaM bhrAmyacchaphanikarasaGgharSa nibandhanamiti bhAvaH / vihagakalabhaiH pakSizAvaiH rodhaHprAnte tIrasamIpapradeze / 'kUlaM rodhazca tIraM ca pratIraM ca taTaM triSu' itymrH| bddhddinnddiirpinnddN| baddhAH viracitAH DiNDIrANAM phenAnAM piNDAH grAsAkAraviracanAH yatra tat / kUlaGkaSavAH / pravAhAbhAvADDiNDIrapiNDaviracanAsambhavAt tatra nadItIre zubhrapatatrizAvakrIDAkRtajalakSobhasaJjanitaDiNDIrapiNDAnAM saridrodhaHpradezaprakrIDapANDuvarNapatatrizAvAnAM piNDAkArANAM vA darzanAt tatra DiNDIrapiNDasadbhAvakalpanamaucityamAvahatItyadhyavaseyam / vetravatyAH tannAmasaritaH sabhrUbhaGga bhrukuTibhaGgaviracanAsahitaM mukhaM iva preyasyAnanamiva calomi cltkllolmaalN| calAH caJcalAH UrmayaH vIcayaH yatra tt| payaH pAnIyaM tasyAM vetravatI. nadyAM prANayAnAnimittaM prANAnAM rakSaNArtham / jalamantareNa jaladasya prANayAtrAyAH asambhavAt prANayAtrAnimittamityuktam / te tava / tvayetyarthaH / kartarIyaM tA / pAtavyaM tatpAnaM kartavyam / 'vyasya vA kartari ' iti tA kartari / Ob impassioned one! for the sake of your maintenance, you should drink the water there (in that river ), possessing mobile ripples, of the Vetravati which would be resembling her face with the eyebrows kuit, very tasteful, turbid owing to its being ruffled by the fish moving sportively, abounding in lumps of foam formed on the banks by the chickens of birds. pItvA tasyAM salilamamalaM jIvikAMkRtya kiJcita nItvA'hastvaM kvacidanumate harmyapRSThe niSaNNaH /

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[ pArzvAbhyudaye dRSTvA dRzyaM vilasitamado nAgarANAM dinAnte nacaiirAkhyaM girimadhivasestatra vizrAntihetoH // 97 // anvayaH- - tvaM tasyAM amalaM salilaM jIvikAMkRtya kiJcit pItvA kacit anumate harmyapRSThe niSaNNaH ahaH nItvA nAgarANAM adaH dRzyaM vilasitaM dRSTvA dinAnte vizrAntihetoH nIcairAkhyaM giriM adhivaseH / 110 , patvityAdi / tvaM bhavAn tasyAM vetravatInadyAM amalaM nirmalaM salilaM jalaM jIvikAMkRtya jIvikAM jIvanasAdhanamiva kRtvA / 'jIvikopaniSadive ' itIvArthe kRJi tisaJjJA / tisaJjJatvAccAsya 'pyastivAkse ktva' iti ktvAtyasya yaH / kiJcit svalpaM pItvA ApIya / atra svalpasalilapAnopadezaH vipulasalilapAnajanitajAina meghazIghragatipratibandhaH mA bhUditi kRta iti jJeyam / kvacit kasmiMzcit anumate bhavatsammate harmyapRSThe dhaninivAsa pRSThabhAge / harmyasya dhaninivAsasya pRSThe pRSThabhAge nivAsoparitanapradeze / ' harmyAdi dhaninAM vAsaH ityamaraH / niSaNNaH upaviSTaH ahaH dinaM nItvA yApayitvA nAgarANAM nagare bhavAnAM / nagaravAsinAmityarthaH / adaH tat dRzyaM darzanA / ' tRjvyAzcArthe ' ityarddhArthe vyaH / vilasitaM vilAsaM / vibhramamityarthaH / dRSTvA avalokya dinAnte divasAvasAnakAle / sAyAhne ityarthaH / vizrAntihetoH zramApanayanArtham / yogirAjena svopajJaTIkayAM vizrAmahetoriti pAThaH saGgRhItaH / vizrAnteH hetoH vizrAntihetoH / ' hetau sarvAH prAyaH' iti hetau tA / vizrAmetipAThasyApANinIyatve'pi 'vizramo vA' iti vipUrvasya zrarghaJi vihitasyai pratiSedhasya "vaikalpikatvAttasya samIcInatvamavaseyaM, cAndrAdibhirapi tasya samarthitatvAt / nIcairAkhyaM nIcairabhidhAnaM / nIcairiti AkhyA yasya saH nIcairAkhyaH / taM / giriM bhUdharaM adhivaseH 'nivAsaM kuru / ' vaso'nUpAdhyAGa : ' iti karmatvavidhAnAdAdhArasya ' karmaNIp ' iti ip / Drinking the pure water a little therein (in that river) making it as if a means of subsistence, spending a day on the uppermost part of a certain mansion of your liking, perceiving the sports of the citizens worthy of being enjoyed sight of, you, at the end of the day, should make a halt on the mountain known as Nichaih in order to take rest. tvaM sevethAH zikhariNamanuM tAM nizAM muktazako vidyuddAmasphuritaruci maddIpikAdyotitAzaH /

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prathamaH sargaH ] siddhastrINAM ratiparimalairvAsitAdhityakAntaM tvatsamparkAtpulakitamiva prauDhapuSpaiH kadambaiH // 98 // anvayaH- siddhastrINAM ratiparimalaiH vAsitAdhityakAntaM prauDhapuSpaiH kadambaiH tvatsamparkAt pulakitaM iva amuM zikhariNaM vidyuddAmasphuritarucimaddIpikAdyotitAzaH muktazaGkaH tvaM tAM nizAM sevethAH / 6 1 6 , tvamityAdi / siddhastrINAM devavizeSa yoSitAM / siddhAH devavizeSAH teSAM striyaH siddhastriyaH / taasaam| ratiparimalaiH ratikrIDAsaJjAtasurabhimAlyagandhAdiparimardanotthahRdyagandhairatidUvyApibhiH / rateH parimalAH vimardotthAH janamanoharAH gandhAH / taiH / 'vimardotthe parimalo gandhe janamanohare' ityamaraH / ' bhavetparimalazcittahArigandhavimardayoH / ratAmardasamunmIladaGgarAgAdisaurabhe ' iti vizvalocane / vAsitAdhityakAntaM surabhitaparvatoparitanabhAgaprAntapradezaM / vAsitaH surabhitaH adhityakAyAH parvatoparitanabhUmeH antaH prAntapradezaH yasya tam / ' upatyakAdhitya ke ' ityadhirUDhArthe'dhestyaH striyAmitvAbhAvazca / parvatamadhyArUDho dezaH adhityaketyarthaH / ' upatyakAdrerAsannA bhUmirUrdhvamadhityakA ' ityamaraH svarUpe'ntaM mataM klItraM na strI prAnte'ntike triSu' iti ' vAsitaM vihagArave / jJAne triSveva vasanaveSTite surabhIkRte ' iti ca vizvalocane / prauDhapuSpaiH pravRddhapuSpaiH / ' pravRddhaM prauDhamIritam' ityamaraH / ' prAdUhoDhoDhyeSaidhye ' iti prAdUDhe parataH aip / kadambaiH nIpavRkSaiH / nIpa- priyaka kadambAstu haripriyaH ityamaraH / paraH kadambaH prAvRSeNyaH kAdambaryo halipriyaH / nIpo dhUlikadambo'nyaH suvAso vRttapuSpakaH ' ityapi kazcidAha / ' kadambaM nikurumbe syAnnIpasiddhArthayoH pumAn' iti vizvalocane | tvatsamparkAt bhavatsambandhAt / pulakitaM iva romAJcitamiva / pulakaH romAJcaH saJjAtaH asya pulakitaH / tam / ' tadasya saJjAtaM tArakAdibhyaH itaH ' iti itaH / amuM taM zikhariNaM parvataM / zikharANi santyasyeti zikharI / matvarthIyaH iniH / vidyuddAmasphuritarucimaddIpi kA dyotitAzaH / mAlya tulyacaJcalAsphUrjathukAntimaddIpikA prakAzitadimaNDalaH / dAmeva vidyut vidyuddAma / tasyAH sphuritAni sphUrjathavaH eva rucimatyaH kAntimatyaH prabhAsvarAH dIpikAH / tAbhiH dyotitAH prakAzitAH AzAH dizaH yena saH / muktazaGkaH parihRtasaMzayaH parityaktabhayaH vA / zaGkA trAse vitarke ca' iti vizvalocane / tvaM bhavAn / tAM nizAM tAM rAtriM / 'kAladhvanoravicchede ' iti ip / sevethAH bhajasva / tatra nivAsaM kurvityarthaH / C 6 6 You, with your doubt (or fear ) dispelled, enlightening the quar 1.11

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112 [ pArzvAbhyudaye ters with the brightly burning torches in the form of the flashes of lightning, should, throughout the whole of that night, resort to that mountain, the bordering regions of the table-lands of which would be pregnant with the sweet smell of the perfumes used at the time of copulation by the women of Siddha gods, having the hair in the form of Kadamba trees with flowers full-blown, of its body erect on account of its contact with you. so'sAvadrirbhavatu nitarAM prItaye te samagragrAvopAyaigrahagaNamivopagRhItuM khamudyan / bhogodrekaM kathayati latAvezmakaiH sopahAraiH yaH paNya strIratiparimalodgAribhirnAgarANAm / / 99 // anvayaH yaH paNyastrIratiparimalodvAribhiH sopahAraiH latAvezmakaiH nAgarANAM bhogodrekaM kathayati saH samagragrAvopAyaiH grahagaNaM upagRhItuM iva khaM udyan asau adriH te nitarAM prItaye bhavatu / - sa ityAdi / yaH nIcairAkhyaH giriH paNyastrIratiparimalodgAribhiH / paNyastrINAM rUpAjIvAnAM gaNikAnAM ratau ratikrIDAyAM yaH parimalaH rataparimardasamucchalanmAvyAGgarAgAdisaurabhaM tamudgiranti AvirbhAvayantIti tathoktAni tAni / taiH / paNyAH dhanapradAnena kreyAH striyaH paNyastriyaH / 'gaNikA lajjitA vezyA rUpAjIvA vilAsinI / paNyastrI dArikA dAsI' iti dhanaJjayaH / sopahAraiH upahRtapuSpAdisaGkulaiH / 'vA nIcaH ' iti sahasya sAdezaH / upahriyate sabhAjanArthaM dIyate ityupahAraH / latAvezmakaiH latAvinirmitavezmAkAramaNDapaiH paiH| latAkuJjarityarthaH / nAgarANAM nagare bhavAnAM / nagaranivAsinAmityarthaH / ' tatra bhavaH' ityaN / bhogodrekaM bhogAtirekaM / kathayati nivedayati / AviSkarotItyarthaH / saH nIcairabhidhAnaH giriH / samagraprAvopAyaiH / samagrANAM grAvNAM upalAnAM upAgraiH agrabhAgaiH / svazikharAgrabhAgdagrabhAgairityarthaH / grahagaNaM uDugaNaM / grahANAM samUhRmityarthaH / upagRhItuM kavalayituM bandigrAhaM gRhItuM vA / iva / utprekSAyAmatrevazabdaH prayuktaH / khaM AkAzapradezaM udyan udgacchan asau saH / pUrvamupavarNito'yaM vA adriH zailaH te tava nitarAM atyartha prItaye AnandAya bhavatu bhaviSyati / tatprAvyuttarakSaNe eva so'driH prItaye bhaviSyatIti bhAvaH / ' liG caurdhvamauhUrtike ' ityordhvamau - hUrtike'theM loT /

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prathamaH sargaH ] 113 That mountain, manifesting the excess of the sexual enjoyment of the citizens through the bowers possessing presents of flowers and emitting sweet smell of the perfumes used at the time of sexual enjoyment by the courtezans, rising high up in the sky to seize (or eclipse) as if from below the collection of planets with the ends of all the rocks, would be bringing you pleasure entirely the very moment you reach there (or the mountain ). premAmuSmistava samucitaM viddhi zaile zilAyaiH vyomotsaGga parimRjati vA puSpazayyAcitAntaiH / srastasragbhirnidhuvanavidhau krIDatAM dampatInAM uddAmAni prathayati zilAvezmabhiyauvanAni // 100 // anvayaH - zilAH vyomotsaGgaM parimRjati, kIDatAM dampatInAM nidhuvanavidhau srastasragbhiH puSpazayyAcitAntaiH zilAvezmabhiH uddAmAni yauvanAni prathayati vA amuSmin zaile tava samucitaM prema viddhi / premetyAdi / zilAH zikharAgrabhAgabhAggrAvAgrabhAgaiH / zilAnAM grAvNo agrANi agrabhAgAH zilAgrANi / taiH / vyomotsaGgaM AkAzatalaM / vyomnaH AkAzasya utsaGgaH talapradezaH vyomotsaGgaH / tam / parimRjati spRzati / parimRjati iti parimRjan / tasmin / 'salaya:' iti zatRtyaH / krIDatAM krIDAnimannAnAM / krIDantIti krIDantaH / teSAm / pUrvavacchatRtyaH / dampatInAM jAyApatyoryugalAnAM / jAyA ca patizca dampatI / ' rAjadantAdo' iti jAyAzabdasya dambhAvo nipAtitaH / ' dampatI jampatI jAyApatI ' ityamaraH / nidhuvanavidhau maithunopasevanavidhau / ' nidhuvanaM surate kampane'pi ca' iti vizvalocane / 'vidhividhAne daive ca' ityamaraH / ssrastasragbhiH / trastAH vigalitAH srajaH mUrdhamAlAH yeSu tAni srastasrajJji / taiH / ' srastaM dhvastaM bhraSTaM skannaM pannaM cyutaM galitaM ' ityamara: / ' mAlyaM mAlA - srajau mUrdhni' ityamaraH / sRjyate iti srak / 'RtvidgadhRksradviguSNigaJcuyujikruJcaH ' iti kvyanto nipAtaH / ' kityasya kuH ' iti kvityAntasya dhoH kuH / puSpazayyAcitAntaiH puSpaviracitazayanIya vyAptamadhyadezaiH / puSpANAM zayyAH puSpazayyAH / tAbhiH AcitaH vyAptaH channaH vA antaH madhyadezaH yeSAM tAni / taiH / Acitastu cite channe saGgrahIte triliGgakaH ' iti vizvalocane / zilAve mabhiH parvatapASANanikhAtagRha / kAranivezaiH akRtakagirigahvaraiH vA / uddAmAni pArzvabhyudaye...8

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114 [ pArzvAbhyudaye anirbandhAni amaryAdAni vA / niraGkuzAnItyarthaH / yauvanAni tAruNyAni prathayati AviSkurvati / prathayati AviSkurute iti prathayan / tasmin 'salaTaH iti zatRtyaH / vA tathA / atra samuccaye / amuSmin zaile nIcairnage tava samucitaM sAmaJjasyaghaTitaM / tvadarddamityarthaH / prazastam / prema snehaM viddhi anubhava / sa te samucitapremAviSkArAvara iti tvayA tasmin priyasuhRdi premAviSkartavyamiti bhAvaH / You should know this mountain rubbing against the surface of the sky with the ends of its rocks and revealing to you the violent juvenility of the couples engaged in sports through the stone-abodes having their interior parts covered over with flowery beds, possessing garlands slipped off in the course of sexual enjoyment, cherishes a good will that is proper for you. ramyotsaGge zikharanipatannirjharArAvahRdye paryArUDhamaparigatopatyake tatra zaile / vizrAntaH sanvaja vananadItIrajAnAM nivizva - anvayaH ramyotsaGge zikharanipatannirkSarArAvahRdye paryArudadrumapariMgatopatya ke tatra zaile vizrAntaH san vananadItIrajAnAM udyAnAnAM yUthikAjAlakAni navajalakaNaiH niSiJcan vraja / C nudyAnAnAM navajalakaNairyUthikAjAlakAni // 101 // - 1 ramyetyAdi / ramyotsaGge ramyakUTAgradeze | ramyaH ramaNIyaH utsaGgaH kUTAyadeza yasya sH| tsmin| ramaNIyAdhitya ke ityathaH / zikhara nipatannirjharArAvadye prastha prapatatpAthaH pravAhasaMrAvaramaNIye / zikharAt sAnupradezAt nipantataH prapatantaH zikharanipatantaH / teca te nirjharAH pAthaH pravAhAH / teSAmArAvaiH saMrAvaiH praskhalanajanitadhvanibhiH hRdyaH hRdayapriyaH / tasmin ! hRdayasya priyaH bandhanaM vA hRdyaH / ' janyavazyadharmyadhenuSyAmUlyahRdyagArhapatyAH' iti yatye ' hRdayasya hRllekhANyalA se ' iti hRdayasya hRdAdezaH / paryArUdadrumaparigatopatyake sarvataH saMrUDhaviTapitativitataparyantabhUmau / paritaH sarvataH ArUDhAH saMrUDhAH sutarAM vRddhiGgatAH paryArUDhAH / te ca te drumA viTapinaH vRkSAzca / taH parigatA sarvato vyAptA upatyakA paryantabhUryasya saH / tasmin / 'upatyakAdhitya ke ' iti parvatAsannadezArthe nipAtaH / parvatamupAsannadezaH upatyakA / paryantabhUrityarthaH / tatra zaile tasminnIcairAkhye nage vizrAntaH san parihRtAdhvagatipari

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prathamaH sargaH ] 115 zramaH san / vananadItIrajAnAM vananadItyAkhyAyAH vane pravAhinyAH vA saritaH tIre kUle jAtAnAM / vananadyAH tIre prarUDhAnAM / udyAnAnAM upavanAnAM yUthikAjAlakAni gaNikAko nikuramvANi / yUthikAyAH magadhadezodbhavAyAH gaNikAparAbhidhAnAyAH puNyagandhAyAH jAlakAni kulAni / yUthikAlakSaNaM yathA yUthikA bAlapuSpA ca puNyagandhA guNojvalA / gaNikA cAramoTA ca zikhaNDI zvetayUthikA / ' iti / 6 jAlakaH kora ke dambhaprabhede jAlinIphale / girisAre jalaukAyAM' iti ca vizvalocane / navajalakaNaH nUtanaiH jalabindubhiH / ' kaNo'tisUkSme dhAnyAMze ' iti vizvalocane / niSiJcan ArdrAkurvan vraja gaccha / Taking rest on that mountain, having its uppermost part beautiful, attractive owing to the roars of the rivulets falling down from its peaks, having its low-lands overcrowded with trees grown all over, you should proceed on sprinkling with fresh water-drops the clusters of buds of the jasmine creepers grown on the banks of the Vananadi ( or forest rivers ). G adhyArUDhe tapati tapane puSpagulmAva kIrNAM tasyAstIrakSitimatipaternAtivegAddayAluH / gaNDasvedApanayana rujAklAntakarNotpalAnAM chAyAdAnAtkSaNaparicitaH puSpalAvImukhAnAm // 102 // anvayaH --- adhyArUDhe tapane tapati ( sati ) gaNDasvedApanayana rujAklAntakarNIpalAnAM puSpalAvImukhAnAM chAyAdAnAt kSaNaparicitaH dayAluH ( tvaM ) tasyAH puSpagurumAvakIrNI tIrakSitiM nAtivegAt atipateH / 6 " adhItyAdi / adhyArUDhe vyomamaNDalamadhyamAzrite tapane sahasrakiraNe tapati sati prakharatara kiraNotsarge kurvati sati / yadbhAvAdbhAvagatiH iti Ip / gaNDasvedApanayana rujAklAntakarNotpalAnAM kapolatalalIna svedasalilavilayana vidhAnajanitasaGkuzAmlAnakarNakamalAnAM / gaNDe kapolatale sveda: tigmaruciprakhara kara nikarajanitadharmandivaH gaNDasvedaH / tasyApanayane pramArjane apanayanena pramArjanena vA yA rujA upatApaH tayA aklAntAni ISanmalAnAni karNotpalAni karNakamalAni yAsAM taaH| tAsAm / rujA ruk pIDetyarthaH 'SidbhidAdibhyo'G' iti bhAve'kartari striyAmaG / aaklaantaaniitytraangiissdrthe| karNotpalAni mukhasaundaryavivRddhyarthaM karNe dhAryamANAni kamalAni / puSpa *

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[ pArzvAbhyudaye " 1 lAvImukhAnAm / puSpANi lunantIti puSpalAvyaH / 'karmaNo'N' ityaN | strItvAt ( iTiDDhANaJThaNThaJaH' iti GI ca / tAsAM mukhAni / teSAM / chAyAdAnAt chAyAyAH AtapAbhAvarUpAyAH dAnAt vitaraNAt / chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / pratibimbe kAntAyAM tathA paGktau ca pAlane ' iti vizvalocane / svedodabindvAplutamukhInAM tigmaruciprakhara karanikaraprasaraM svazarIravistAreNa pratibadhya chAyApradAnaM meghasya sambhavatItyabhipretyAha kavizchAyAdAnAditi / kSaNaparicitaH kSaNamAtraM kSaNamAtreNa vA jAtaparicayaH / dayAluH kRpAluH / kAruNikaH ityarthaH / ' nidrAtandrAzraddhAzIGdayaspRhigRhipaterAlu:' iti matvarthe AluH / tvaM bhavAn tasyAH vananadyAH / puSpagulmAvakIrNAM / puSpotpAdakaiH latApratAnatRNAdisaGghAtaiH karNo vikarNI | gurumA dak-stamba - senAzca' ityamaraH / ' stambo'tra latApratAnatRNAdisamUha: ' iti kSIrasvAmI / puSpalatAdipihitodarA mityarthaH / tIrakSitiM taTabhUmiM / nAtivegAt mandamandaM / nAtivegAdityaluksaH / anativegAt ativegaM vihAyetyarthaH / yadvA ativegAt na abhipaterityanvayaH / atipateH gaccheH / mandamandAyamAnaH brajetyarthaH / ativegena gamanAt puSpalAvInAM chAyAdAnaM na sambhavet / tena ca tvaddayAlutvaM vyAhataM syAditi bhAvaH / ' 116 You, become familiar for a moment by affording shade with the faces of the woman plucking flowers, having their ear-lotuses faded on account of their being afflicted while getting rid of the perspiration on their cheeks, being compassionate, should go not very speedily accross the lands covered over with flowery thickets. C vakro'pyadhvA jagati sa mato yatra lAbho'styapUrvo yAtuM zakyaM natu vanapathAt kAsikAgrArjunAntAt / vakraH panthA yadapi bhavataH prasthitasyottarAzAM saudhotsaGgapraNayavimukho mA sma bhUrujayinyAH // 103 // anvaya :-- yatra apUrvaH lAbhaH asti saH adhvA vakraH api jagati mataH / uttarAzA' prasthitasya bhavataH panthAH yadapi vakraH ( tadapi ) kAsikAgrArjunAntAt vanapathAt nanu yAtuM zakyam / ( tataH ) ujjayinyAH saudhotsaGgapraNayavimukhaH mA sma bhUH / vakraH ityAdi / yatra yatra mArge apUrva: aprAptapUrvaH lAbhaH adhikaM phalaM / lAbho'dhikaM phalaM ' ityamaraH / asti vartate saH adhvA saH panthAH vakraH api

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prathamaH sargaH] kuTilaH anRjuH api jagati loke mataH janaiH AdRtaH bhavati / uttarAzAM udIcI dizaM / uttarA udIcI cAsau AzA dik ca tAM / prasthitasya gantumArabdhavataH / Adya. karmaNyatra ktaH / bhavataH tava panthAH mArgaH yadapi yadyapi vakra: ArjavavikalaH tadapi kAsikAgrArjunAntAt |kaamaanaaN kANDekSaNA samUhaH kaasikm| 'hastikavacyacittAcca ThaN' iti samUhArthe ThaN / ' kAsaH kANDekSuruddiSTaH' iti kssiirsvaamii|tthaanyH 'ikSugandhaH syAt ikSuraH kokilAkSakaH kAsaH kANDakSuruddiSTaH kAkekSurvAyasekSukaH' ityuddhRtamamarakozaTIkAyAM kssiirsvaaminaa| kANDakSuzca ikSusahakkANDatvAt / yadvA kaashHtRnnvishessH| 'kAzate kAzaH kokilAkSaparyAyaH / ikSugandhetyeke ' iti kSIrasvAmI amarakozaTI. kAyAmevAnyatra / kAsikamagre yasya saH kAsikAmaH / arjunAH kakubhavRkSAH ante yasya saH arjunAntaH / ' arjunaH pArthakakubhakArtavIryazikhaNDiSu ' iti vizvalocane / kAsikAnazvAsAvarjunAntazca kAsikAgrArjunAntaH tasmAt / vanapathAt AraNyakAmAgot / 'RkpUrappatho't' ityatsAntaH / vanapathamAruhyetyarthaH / 'pyakhe karmAdhAre' iti kA pyakhe / nanu anunaye / ' nanu praznAvadhAraNe / nanvanujJAvitarkAyamantraSvanunaye nanu ' iti vizvalocane / yAtuM gantuM zakyam / tataH ujjayinyAHtadAkhyanagaryAH saudhotsaGgapraNayavimukhaH / viparItaM viruddhaM vA mukhaM yasya saH vimukhaH / saudhAnAM sudhAdhavalitAnAM hANAM utsaGgeSu uparitanabhAgeSu yaH praNayaH paricayaH tasya vimukhaH praangmukhH| 'praNayaH syAtparicaye yAjJyAyAM sauhRde'pi ca' iti yAdavaH / mAsma bhUH na bhavetyarthaH / * sasme laG ca ' iti sasme mAGi vAci bhavataluG / ' luGlaGalaGyamAAT' iti luG imAGyoge'DAgamapratiSedhaH / The way, though circuitous, is highly approved in the world when it brings an unprecedented advantage. Even though the way would be circuitous for you, started in the northern direction, it is possible, indeed, to go by the way passing through a forest having sugar-capelike grassfields (or forests of Kasha grass ) in the beginning and Arjuna trees at the end. Have not, therefore, your face turned away from intimate familiarity with the uppermost parts of the mansions of Ujjayini jaitrairvANaiH kusumadhanuSo dUrapAtairamothaiH __ mrmaavidbhidRddhpricitbhruudhnuryssttimuktaiH|

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118 [ pArzvAbhyudaye vidyuddAma sphuritaca kitairyatra pauraiGganAnAM lolApAGgairyadi na ramase locanairvaJcitaH syAH // 104 // anvaya : -- yatra paurAGganAnAM vidyuddAmasphuritacA kataiH lolApAGgaiH kusumaghanuSaH dRDhaparicitabhrUdhanuryaSTamuktaiH marmAvidbhiH amoghaiH dUrapAtaiH jaitraiH bANaiH yadi na ramase ( tadA ) locanaiH vaJcitaH syAH / < 1 jaitrairityAdi / yatra ujjayinInagaryo paurAGganAnAM nAgarayoSitAM / pure bhavAH paurAH / ' tatra bhavaH' ityaN / paurANAM nAgarANAM aGganAH sundarastriyaH paurAGganAH / tAsAm / lakSmaNaviSuNAGganAH ' iti nipAtaH / zobhanAni aGgAni yasyAH sA aGganA / vidyuddAmasphurita carkitaiH / vidyut dAma iva vidyuddAma / tasyAH sphuritAni sphUrjitAni taiH cakitaiH pradIptaiH / lolApAGgaiH lolAzvalAH satRSNAH vA apAGgAH netrAntAH yeSAM te taiH / yadvA lolAzca caJcalAzca te apAGgAH netrAntadezAzca lolApAGgAH / taiH / ' apAGgau netrayorantau ' iti 'lolazcalasa tRSNayoH ' iti cAmaraH / ' apAGgastvaGgavikale netrAnte tilake pumAn' iti 'lolaH satRSNacalayostripu' iti ca vizvalocane / kusamadhanuSaH paJcavANasya / kusumAnyeva dhanuH yasya saH / tasya / vasantartuprAdurbhUtanAnAvidhasurabhisumadarzanasaJjanitatvAnnidhuvanAbhilASarUpakAmasya tajjananasAdhanAnAM AyudhatvopacAre tajjanitakAmasya api kusumadhanurityAdilokavyavahAraH aupacArika evetyavaseyam / dRDhaparicitadhanuyaSTimuktaiH dRDhaM paricitAH bhruvaH bhrukuTya eva dhanuryaSTayaH / tAbhiH muktA tasyA muktA vA / taiH / kAmAkulalalanAjanamukhaviracitavikaTabhrukuTidhanuryaSTikAdarzanAtkAmotpatteryUnAM bhrukuTyAH dhanuryaSTitvena nirdezaH | marmAvidbhiH / marmANi sandhisthAnAni / vidhyatIti vigh / kvip / marmaNAM vigh marmAvigh / ' nahivRtivRSivyadhirucisahitanau kau vAggeH iti kvitrante pare vAco marmazabdasya dI: / amoghaiH saphalapAtaiH / pAtamAtreNa svakAryaM kAmotpAdanarUpaM viddhdbhiH| na moghAH viphalAH amoghAH / taiH / ' moghaM nirarthakaM ' ityamaraH / dUrapAtaiH / dUre pAtaHyeSAM te duurpaataaH| taiH| yuvahRdayAnAmatisUkSmatvAdindriyAgocaratvAddUratvaM / daviSThadezasthitAnAmarthAnAmindriyAgocaratvAdeva dUratvaM vyavasthApyate / ataH dUgzabdenAtrAtisUkSmaM yuvahRdayaM graahym| jaitraiH jayanazIlaiH jetetra jaitraH / jetRzabdasya tRnnantatvAt 'prajJAdibhyaH' ityaN / ten jetRbhirityarthaH / bANaiH zaGkubhiH yadi cet na ramase AnandakandalitasvAntaH na bhaviSyasi tadA locanaiH netrAbhyAM / vaJcitaH vikalaH syAH asIti sambhAvaye / sambhAvanAryA liG / , Jain.Education International

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prathamaH sargaH] 119 If you would not be pleased with the eyes of the city-damsels with their outer corners tremulous ( unsteady ), dazzled by the flashes of lightnings, the victorious unfailing arrows of the god of love having a very wide range, piercing the vitals of bodies, discharged by means of bows in the form of their intimately familiar eye-brows, then I would deem that you are deprived of your eyes (i. e. that you have no eye for appreciating the beauty of the outer corners of the eyes of the beautiful ladies of the city and so are incapable of taking delight in their eyes.) srotaH pazyan vraja pathi luThanmInalolAyatAkSyAH nirvindhyAyAH kimapi kimapi vyaJjitAkUtavRttiH / vIcikSobhastanitavihagazreNikAcIguNAyAH saMsarpantyAH skhalitasubhagaM darzitAvartanAbhaH // 105 // anvayaH----pathi luThanmInalolAyatAkSyAH vIcikSobhastanitavihagazreNi kAJcIguNAyAH darzitAvartanAbheH skhalitasubhagaM saMsarpantyAH nirvindhyAyA kimapi kimapi vyaJjitAkUtavRttiH srotaH pazyan aja / srotaH ityAdi / pathi ujjayinImArge / lutthnmiinlolaaytaakssyaaH| luThantaH udvartamAnAH mInAH matsyAH luThanmInAH / te eva lole caJcale Ayate dIrgha akSiNI yasyAH sA luThanmInalolAyatAkSI / tasyAH / 'svAGgAnnIco'sphoGaH' ityatrAnuvRttena vetyanena vyavasthitavibhASayA sphoGo'pi svAGgAnnIcaH GI vaikalpikaH prApto'tra / viicikssobhstnitvihgshrennikaaciigunnaayaaH|viiciinaaN kSobheNa stanitAHkRtasvanAH vihagAH haMsAdipakSiNaH viicikssobhstnitvihgaaH| teSAM zreNiH paGktiH / saiva kAJcIguNaH yasyAH sA / tasyAH / kAJcIguNaH rasanA / 'strIkaTyAM mekhalA kAJcI saptakI rasanA tathA' ityamaraH / darzitAvartanAbhaH / darzitaH AviSkRtaH AvartaH ambhasA bhramaH eva nAbhiH yayA sA / tsyaaH| skhalitasubhagaM / skhalitena skhalitagatyA subhagaM manoharaM yathA syAttathA / saMsarpantyAH gacchantyAH nirvindhyAyAH tadabhidhanadyAH / vindhyAnnigatA nirvindhyA / tsyaaH| 'prAtyavapariniHpratyAdayaH gataklAntakRSTaglAnakrAntasthitAdiSu vevbhApkebbhiH' iti prAdiH saH / kimapi kimapi avyaktavarNa vyaJjitAkUtavRttiH prakaTIkRtasvAbhiprAyaH / vyaJjitA AviSkRtA AkUtasya abhiprAyasya

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120 [pA bhyudaye vRttiH yena saH / tAsthyAt manaso'pi AkRtatvaM / tena prakaTitamanovyApAraH ityrthH| srota: pravAhaM pazyan avalokayan vraja gaccha / You, seeing the flow of the Nirvindhya, to which you would have evinced your emotions inexpressibly, which would be possessing rolling eyes in the form of wallowing fish, having a girdle-string in the form of birds chirping loudly on account of the agitation of the waves, manifesting her navel in the form of eddies, moving in a way charmful owing to her stumblings, should proceed on your journey. tvayyautsukyaM sphuTamiva vinA'pyakSarairvyaJjayantyAH kiJcillaJjAvalitamiva sandarzitAptAgamAyAH nirvindhyAyAH pathi bhava rasAbhyantaraH sannipatya strINAmAdhaM praNayavacanaM vibhramo hi priyeSu // 106 // anvayaH- pathi sannipatya akSaraiH vinA api sphuTaM iva tvayi autsukyaM / vyaJjayantyAH kiJcillajAvalitaM iva sandarzitAptAgamAyAH nirvindhyAyAH rasAbhyantaraH bhava, hi ( yataH ) strINAM priyeSu vibhramaH AdyaM praNayavacanam / svayItyAdi / pathi ujayinyAH mArge sannipatya tAM nirvindhyAnIM prApya akSaraiH vinA api zabdAnuccAraNapUrvakaM api sphuTaM iva pravyaktamiva tvayi bhavati / bhavadviSaye ityarthaH / autsukyaM utkaNThAM vyaJjayantyAH vyaktIkurvatyAH kiJcilajAvalitaM / kiJcidISat lajayA brIDayA apatrapayA AvalitaM svazarIravakrIbhavanaM yathA syAt tathA / nirvindhyAnadyAH vakrimANamapekSyotprekSitametat / iva ivazabdo'yamatrotprekSAyAM prayuktaH / sndrshitaaptaagmaayaaH| sandarzitaH prakaTIkRtaH Aptasya bAndhavasya AgamaH AgamanaM yayA sA / tasyAH / basaH / atra bAndhavAbhidheyAptazabdena priyasya grahaNaM kartavyam / nirvindhyAyAH nirvindhyAsaritaH rasAbhyantaraH ApAtasalila: anubhUtazRGgArarasajanitAnubhAvavyabhicAribhAvaH vA / rasaH jalaM zRGgArAdirvA abhyantare yasya saH / bhava tannadIrasaM samyaktayA'nubhava / hi yataH strINAM aGganAnAM priyeSu viSaye vibhramaH nAbhisandarzanAdirUpaH vilAsaH AcaM Adau bhavaM / praNayavacanaM prArthanAvAkyaM praNayagarbhAkyaM vA / 'praNayaH premavizambhaprazrayaprasare'rthane ' iti vizvalocane / kAminInAM lajjAlutvAt saJjAtasvAbhiprAyavivakSANAmapi tadarthagarbhavacananyAhAre sAmarthyAbhAvAttAH svAbhiprAyaM nAbhipradarzanAdirUpaivilAsareva vyaJjayantIti tvayA

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prathamaH sargaH ] 121 nirvindhyAkRtaprArthanamantareNApi tadraso'nubhavanIyaH, tathA nAbhisandarzanAdinA rasapradAnAyasya svAbhiprAyasya tadarthagarbhavacanoccAraNamantareNA'pyAviSkRtatvAdityabhiprAyaH / On your way, having approached, imbibe the water of the Nirvindhya (also enjoy her love'), manifesting (expressing) as if clearly her eagerness for you without any articulate expression displaying the arrival of her relative (i. e. you, her lover ) bashfully turning round a little, for love-gesture in regard to their lovers is the first expression of love of women. haMsazreNIkalavirutibhistvAmivopAhvayantI dhRSTA mArge zithilavasanevAGganA dRzyate te / veNIbhUtapratanusalilA tAmatItasya sindhuH pANDucchAyAtaTaruhatarubhraMzibhirNipaNaiH // 107 // anvaya :- tAM atItasya te mArge veNIbhUtapratanusalilA taTaruhataru-zibhiH jIrNapaNaiH pANDucchAyA sindhuH dhRSTA zithilavasanA aGgAnA iva haMsazreNIkalavirutibhiH vAM upAhvayantI iva dRzyate / haMsetyAdi / tAM nirvindhyAbhidhAnAM nardI atItasya atikrAntasya te tava mArge adhvani veNIbhUtapratanusalilA aveNI veNI bhavati sma veNIbhUtaM / veNI iva veNI / 'devapathAdibhyaH' itIvArthasya kasyos / nAtra veNIMzabdasya vizeSyabhUtasalilaliGgatvaM sambhavati 'yuktabasi liGgasaGkhye' iti talliGgasya vidhAnAt, yathA caccA puruSaH / ataH aveNIveNIzabdayoH salilavizeSaNatve'pi na taliGgatvaM sambhavati / tena ca 'aveNI veNI bhavati sma ' ityeva vaktavyaM, na 'aveNi veNIbhUtaM ' iti, zabdazAstravirodhAt / ataH 'aveNi veNIbhUtaM veNyAkAraM ' iti mallinAthoktizcintyA / 'kRbhvastivyoge'tattattve sampattari cviH' iti ciH| 'dIzvyakRddre' iti diiH| 'veNI tu kezabandhe jalasrutau' iti yAdavaH / ikArAntaveNizabdAzrayaNe tu visargalopAbhAvaH prasajyate / aluptevArthakapratyayasya veNIzabdasya grahaNe tu tatsrotasaH kezavinyAsasadRzAkArArthAnavAptiH / sroto'rthagrahaNe tu virUpaprayogAsambhavaH / veNIbhUtaM pratanu salilaM yasyAH saa| tatsalilasya pratanutvaM prAptasya veNIbhUtatvakalpanamiti bhAvaH / taTaruhatarubhraMzibhiH taTayoH rohantIti taTakahaH /

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122 [pArdhAbhyudaye 'jJAkRguprIguGaH kaH' iti ruherigutvaatkH| yadvA rohatIti ruhaH / pUrvavatkaH / taTayoH ruhaH yeSAM te taTaruhAH / ' taTayo rahA ye taravaH ' iti mallinAthoktidunirvahA / taTaruhAzca te taravazca taTaruhataravaH / tebhyaH bhrazyantIti taTaruhatarubhraMzIni / taiH / jIrNapaNaiH / jIrNAni ca tAni parNAni ca jIrNaparNAni / taiH / zuSkaparNaiH jIrNatvAcchithilitabandhatvAdadhogalitaiH pANDucchAyaiH parNarityarthaH / pANDucchAyA pANDuvarNA / pANDuH sitA cchAyA kAntiH varNo vA yasyAH sA pANDucchAyA / jIrNaparNaprapatanaprAdurbhUtapANDurimno'pi tasyAH virahAvasthAsaJjanitavaivarNyamatra dhvanitamityavaseyaM / sindhuH sindhvAbhidhAnA nadI / 'sindhurabdhau nade dezabhede nA sariti striyAM' iti vizvalocane / 'tAmatItasya' ityasya sthAne 'asAvatItasya' iti pAThAntaramurarIkRtya asau pUrvoktA sindhu dI nirvindhyA ityuktvA sindhunirvindhyayoraikyaM vyavasthApitavAn malinAthaH / prakRtapAThAnusAreNa tu tayorbheda eva saMlakSyate / kazmIravAhinaH sindhunadasya nAtra sambhavaH iti kRtvA tena pAThAntaramAzritya sindhunirvindhyayoraikyaM vyavasthApitaM,kintu tadajJAnavilasitameva nirvindhyAgambhIrayomadhye sindhvabhidhAnAyAHsvalpasarita: vidymaantvaat| ataH 'tAmatItasya' ityeSa eva pAThaH smiiciintvaatsmaashrynniiyH| dhRSTA avinItA lokaviruddhavRttitvAdviyAtA vA / zithilavasanA zlathavastrA parityakta. paridhAnIyA vA aGganA iva kAminIva haMsazreNIkalavirutibhiH iMsAnAM zreNyaH paGkatayaH haMsazreNyaH / tAsAM kalAH gambhIrAH virutayaH ArAvAH / tAbhiH / atra haMsazabdaH haMsaka pAdakaTakaM smArayati, 'haMsavatkAyati zabdaM karotIti haMsakaH' iti tannirukteH / tvAM bhavantaM upAhvayantI iva samIpaM zabdayantI iva dRzyate lakSyate / On the way of you who would have passed beyond her (Nirvindhya ), the Sindhu, on account of her having very little water assuming the form of a braid-like stream and assuming lustre pale owing to the old dry leaves dropped down from the trees grown on her banks, would be seen as if inviting you through the charming chirpings of the rows of swans like a bold woman with her garment loosened. kSAmA''pANDuH pratanusalilA veNikAM dhArayantI haMsasvAnariva vidadhatI prArthanAcATumeSA / saubhAgyaM te subhaga ! virahAvasthayA vyaJjayantI kAya yena tyajati vidhinA sa tvayaivopapAdyaH // 108 //

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prathamaH sargaH] 123 anvayaH- he subhaga ! kSAmA ApANDuH pratanusa lilA veNikAM dhArayantI haMsasvAnaH prArthanAcATuM vidadhatI iva virahAvasthayA te saubhAgya vyaJjayantI eSA yena vidhinA kAryaM tyajati saH tvayA eva upapAdyaH / kSAmetyAdi / he subhaga puNyabhAk ! kSAmA kRzazarIrA ApANDuH ISatpANDuvarNA / 'pANDuH kuntIpatau site' iti vizvalocane / pratanusalilA / prakarSaNa tanu aharSa salilaM yasyAH sA / svalpajaletyarthaH / vennikaaN| alpA veNI kezabandhaH veNikA / veNI tu kezabandhe jalasrutau iti yAdavaH / kutsitAjJAtAlpe' iti aspArthe kac / veNikA iva veNikA jalasratiH veNikA / tAM / yadvA veNiriva veNikA / tAM / ' ive khupatikRtyoH kaH' iti sAdRzyArthe kaH / dhArayantI / haMsasvAnaH marAladhvanibhiH prArthanAcATuM prArthanAyAM suratArtha kriyamANAyAM yAJAyAM cATuH priyavacanaM prArthanAcATuH / taM / vidadhatI iva / vidadhAtIti vidadhatI / zatatyaH striyo GI c|virhaavsthyaa virahasya yallakasya avasthA dazA / tayA / 'viyogo madanAvasthA viraho yalakaM viduH' iti dhnnyjyH| te tava saubhAgyaM puNyavatvaM mAhAtmya vA / ' bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratnabhAnupu' iti vizvalocane / tathA ca 'aizvaryasya samagrasya dhairyasya yazasaH shriyH| vairAgyasyAtha mokSasya SaNNA bhaga itIraNA' ityapyAhuH / ' hRtsindhubhage dvayoH ' iti bhage parataH pUrvottara yordvayoH padayorep / vyaJjayantI AviSkurvatI / vyaJjayatIti vyaJjayantI / zatRtyaH num striyAM GI ca / puNyodayamantareNa pumAMsamaGganAH na kAmayante / yataH sindhuriyaM tvAM kAmayate tatastvaM puNyabhAgiti bhAvaH / anenAsyAH sindhoH kAminItvaM dhvanyate / eSA sindhunadI yena vidhinA yena vyApAreNa / ' vidhividhAne daive'pi' ityamaraH / kAzyaM kRzatnutvaM tyajati pariharati saH vidhiH vyApAraH tvayA eva bhavatA eva upapAdyaH vidheyaH / kartavyaH ityarthaH / yathA preyAn nidhuvanavidhinA svapreyasI santarpya tatkAyaparihAranimittatAmeti tathA tvaM vardhaka enAM varSAjalapradAnena santarpya tyaktatanukAzyAM vidadhyAH iti bhAvaH / atra pUrvatra ca zloke veNIzabdaprayogeNa sindhunadyAH proSitabhartRkatvaM dhvanitamityavaseyaM / Oh fortunate one ! by you alone should be adopted the remedy by which this one, emaciated, pale, possesing a braid-like stream on account of the scantiness of her water, making as if a sweet speech with a view to solicit you through the chirpings of swans, suggesting

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pArzvabhyudaye your good fortune by her state of separation ( from you ), would give up her emaciation. satyapyevaM pathi bahuvidhe saMvidhAnAnuSar3e mukhyasvArthapratihatibhayAdAzu gatvA'dhvazeSam / prApyAvantInudayanakathAkovidagrAmavRddhAn pUrvoddiSTAmupasara purI zrIvizAlAM vizAlAm // 109 // anvayaH- pathi evaM bahuvidhe saMvidhAnAnuSaGge sati api mukhyasvArthapratihatibhayAt avazeSa Azu gatvA udayanakathAkovidagrAmavRddhAn avantIn prApya zrIvizAlA vizvAlA pUrvoddiSTAM purI upasara / __ satItyAdi / pathi avantImArge evaM uktaprakAreNa bahuvidhe nAnAprakArake saMvidhAnAnuSaGge vidheyavidhAnaprasaktau / saMvidhAnAnAM vidheyakarmaNAM anuSaGgaH prasaktiH tasmin / sati api / 'yadbhAvAbhAvagatiH' iti Ip / prApte satyapItyarthaH / mukhyasvArthapratihatibhayAt pradhAnabhUtasvaprayojanavighAtamIteH / hetau kA / svasya svakIyasya arthaH prayojanaM svArthaH / 'arthaH prayojane citta hetvabhiprAyavastuSu / zabdAbhidheye viSaye syAnivRttiprakArayoH ' iti vizvalocane / mukhyaH pradhAnabhUtazcAsau svArthazca mukhyasvArthaH / tasya pratihatiH vighaatH| tasyAH bhayaM / tasmAt / vighAtasya bhayahetutvAt kaa| adhvazeSa avaziSTa panthAnaM / adhvanaH zeSaH adhvazeSaH / tam / Azu zIghraM gatvA atikramya / udayanakathAkovidagrAmavRddhAn / urdhvagAmimuktajIvetihAsakuzalagrAmavRddhAn / ut Urdhva ayanaM gamanaM yeSAM te udayanAH mokSazilAM prati prasthitAH tatratyAH janAH / muktAH ityrthH| atrodayanazabdasya kAlavyatikramaprasaGgAt udayanarAjArthagrahaNamayuktaM pAzrvodayanayoH samasamayasambhavitvAbhAvAdudayanarAjasya vIrasamayasambhavitvAcca / ataH prokta evArthaH atra grAhyaH / udayanAnAM tatratyAnAM prAktanakAlabhAvinAM muktAnA yAH kathAH aitihyAni tAsAM kovidAH tajjJAnakuzalAH udynkthaakovidaaH| vidantIti vidAH / 'jJAkagRprIguGaH kaH' iti viderigutvAtkaH / okaso vedyasya sthAnasya vidAH kevidAH / oksH| ovarNanAzAt pRSodarAdayaH' iti saadhuH| uktaM ca-'varNAgamo varNaviparyayazca dvau cAparau varNavikAranAzau / dhUnAM tadarthAtizayena yogastaducyate paJcavidhaM niruktaM ' // atrodAharaNAni yathA-' bhavedvarNAgamAddhaMsaH siMho varNaviparya. yAt gUDhotmA varNavikRteH vrnnnaashaatpRssodrm|| udayanakathAkovidAH grAmavRddhAH

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prathamaH sargaH ] 125 " yeSu tAn / avantIn avantInAmajanapadAn prApya zrIvizAlAM sampadaH nivAsabhUmiM / zriyaH sampadaH viziSTAH vividhAH zAlA: nivAsasthAnAni zrIvizAlAH / tAH santyasyAH zrIvizAlA / ' o'bhrAdibhyaH ' ityaH / tAM / 'zAlA vezmani vezmaikapradeze skndhshaakhye|H iti vizvalocane / vizAlAM vizAlAparAbhidhAnAmujjayinIM / 'vizAlAJjayinI same ' ityutpalaH / pUrvoddiSTAM pUrvoktA / pUrva uddiSTAM niveditnaamdheyaaN| 'saudhotsaGga praNayavimukho mA sma bhUrujjayinyAH' iti ' vakro'pyadhvA' iti ca ( 1 103 ) zlokayoH niveditanAmadheyAmityarthaH / purIM nagarI upasara gaccha / 8 Though, on your way, there would be, thus, a possibility of having various emergent occupations, you, having completed immediately the remaining journey through fear of your main purpose being defeated, (and) having reached the Avanti country possessing in the villages old people well-versed with the stories regarding persons that had attained liberation, should proceed on to the big city called Visbala abounding in wealth ( or glory ), already referred to above. vyAyalaM bhuvanamahitAM tAM purImuttamArddha lakSmyAH zazvannivasanabhuvaM sampadAmekasUtim / svalpIbhUte sucaritaphale svargiNAM gAM gatAnAM zeSaiH puNyaiH hRtamiva divaH kAntimatkhaNDamekam // 110 // anvaya : bhuvanamahitAM, uttamarddhi, lakSmyAH zazvannivasanabhuvaM, sampada ekasUrti, sucaritaphale svaspIbhUte gAM gatAnAM svargiNAM zeSaiH puNyaiH divaH hRtaM ekaM kAntimat khaNDa iva tAM purIM vyAvarNya alam / vyAvarNetyAdi / tAM vizAlAparAbhikhyAM ujjayinIM bhuvanamahitAM bhuvanena tAtsthyAt tatratyaiH nikhile: janaiH mahitAM pUjitAM stutiviSayatAM nItAM uttamArddha utkRSTazvaryavatIM / uttamA utkRSTA RddhiH aizvaryaM yasyAH sA / tAm / uktaM ca- 'Rddhi vRddhiH sukhaM siddhI rathAGga maGgalaM vasu / RddhisRSTA yugaM yogyaM lakSmIH sarvajanapriyA // ' iti / lakSmyA zriyaH zazvannivasanabhuvaM zAzvatikaM nivAsasthAnaM / sampadAM zriyAM ghanAnAM vA ekasUrti eka advitIyAM sUrti utpattisthAnaM / 'ekastu syAtriSu zreSThe kevaletara - yorapi ' iti vizvalocane / sUyate'syAmiti sUtiH / sucaritaphale / sucaritasya puNyasya zubhakarmaNaH vA phalaM sucaritaphalaM / tasmin / sucarita phalamatra svargasukhopalakSaNam /

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126 [ pArzvabhyudaye svalpIbhUte svalpatAM / gate gAMbhuvaM / 'gaurilA kambhinI kSamA' itymrH| gatAnAM / prAptAnAM svargiNAM svargabhuvAM devAnAM avaziSTaiH puNyaiH sukRtaiH divaH svargAt hRtaM apanItaM bhuvi AnItaM ca eka bhuktAvaziSTaM anyat kAntimat ujjvalaM / kAntirasyAstIti kAntimat / tadasyA'stIti matuH' iti matuH / vaNDaM iva zakalaM iva tAM purI ujjayinI vyAvarNya varNayitvA alaM paryAptam / 'niSedhe'laMkhalvoH ktvA' iti kvaa| Enough of describing that city, highly praised by the whole world, possessing excellent glory, the eternal abode of the goddess of wealth (or glory ), the only source of happiness or wealth, an unpararalleled sbioing piece of heaven stripped off on account of the remaining portions of merit of the residents of heaven gone down to the earth owing to the friut of their good deeds being reduced to a very small scale or measure. yasyAmuccairupavanatarUnnAmayanmAtarizvA vIcikSobhAdadhikaziziraH saJcaratyakaNaudhaiH / dIrghAkurvanpaTu madakalaM kUjitaM sArasAnAM pratyUSeSu sphuTitakamalAmodamaitrIkaSAyaH // 111 // anvayaH- uccaiH upavanatarUn nAmayan , vIcikSobhAt adhikaziraH, sArasAnAM paTu madakalaM kUjitaM dI/kurvan, sphuTitakamalAmAdemaitrIkaSAyaH mAtarizvA yasyA pratyUSeSu apkaNaughaiH saJcarati / yasyAmityAdi / uccaiH unnatatarAn upavanatarUn ArAmodbhUtAn tarUn / nAmayan prahvIkurvan / natAn kurvnnityrthH| vIcikSobhAt kallolaprakSobhAt / vIcInAM kallolAnAM kSobhaH uccalanaM tasmAt / prabhajanocalitajalajanitakallolatvAdityarthaH / adhikaziziraH / adhikaM atyarthaM ziziraH zItaH adhikaziziraH / tuhinakaNavAhivAto yathA'dhikazizirastathA vAyUccAlitasalilotyakallolaprAkSaptazIkarAsAravAhitvAjanitAdhikautya ityarthaH / sArasAnAM pakSivizeSANAM / 'sAraso maithunI kAmI gonardaH puSkarAhvayaH ' iti yAdavaH / 'sArasaH pakSicandrayoH ' iti vizvalocane / yadvA sArasAnAM haMsAnAM / 'cakrAGgaH sAraso haMsaH' iti zabdArNave / paTu prasphuTam / madakalaM madena kalaM madhurAvyaktaM / 'kalastu madhurAvyaktaHzadve'jIrNe kalaM site' iti vishvlocne| 'paTurvAgmini nIroge tIkSNe dakSe sphuTe triSu ' ityapi vizva

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prathamaH sargaH] 127 locane / kUjitaM stanitaM / dIrghAkurvan / adIrgha dIrgha sampadyamAnaM karotIti dIrghA. karoti / dIrdhIkarotIti dI/kurvan / 'sallaTaH' iti sati shtRtyH| 'kRbhvastiyoge'tattattve sampattari cviH' iti cviH / sphAvayan vRddhiM nayanvetyarthaH / sphuTitakamalAmodamaitrIkaSAyaH / sphuTitAni vikasitAni ca tAni kamalAni utpalAni sphuTitakamalAni / teSAmAmodaH sugandhaH / tena yA maitrI mitratvaM / saMsarga ityarthaH / tayA kaSAyaH surbhitH| kaSAyaH surabhigandhaH asya astIti kaSAyaH / 'o'bhrAdibhyaH' ityH| 'astrI kaSAyo niryAse rase rakte vilepane / aGgarAge sugandhe tu triSu syAlohite'pi ca' iti vizvalocane / mAtarizvA prabhaJjanaH / mAtari vyomni zvasiti mAtarizvA sadAgatiH vAyuH / ' zvasanaH sparzano vAyuH mAtarizvA sadAgatiH' itymrH| yasyAM nagaryo vizAlAkhyAyAM / pratyUSeSu aharmukheSu / divasArambhe ityarthaH / 'pratyUSohamukhe puMsi pratyUSo vasudaivate' iti vizvalocane / akaNogheH / apAM jalasya kaNAH bindavaH apknnaaH| teSAM oghAH smuuhaaH| taiH / 'oghaH pAthaHpravAhe ca samUhe ca pumAnayam' iti vizvalocane / saJcarati pravahati / vAtItyarthaH / Where the wind, bending the lofty trees grown in the gardens, very cool owing to the disturbance of waves, prolonging the shrill notes of cranes (or swans ), indistinct yet sweet owing to their being intoxicated, fragrant owing to its association with the perfame of the lotuses burst into flowers, blows along with the masses of the drops of water at day-break. kallolAntarvalanaziziraH zIkarAsAravAhI __ dhUtodyAno madamadhulihAM vyaJjayan siJjitAni / yatra strINAM harati surataglAnimaGgAnukUla: ziprAvAtaH priyatama iva praarthnaacaattukaarH|| 112 // anvaya :- yatra kallolAntarvalanaziziraH, zIkarAsAravAdI, dhUtodyAnaH, madamadhulihAM ziJjitAni vyaJjayan , priyatamaH iva prArthanAcATukAraH aGgAnukUla: ziprAvAtaH strINAM surataglAni harati / kalloletyAdi / yatra vizAlAkhyAyAM nagaryA kallolAntarvalanaziziraH vIcyantarapradezabhramaNajanitazItasparzaH / kallolAnAM vIcInAmantaHmadhye valanaM bhrmnn|ten ziziraH zItasparzaH / zIka rAsAravAhI vAtapraNunnAmbukaNAn vahan / zIkarAH vAta

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128 [ pArzvabhyudaye praNunnAH ambukaNAH / 'zIkaraH sarale vAtaniHsRtAmbukaNeSu ca ' iti vizvalocane / AsArA: prsraaH| oghAH ityarthaH / zIkarANAM vAteritAmbukaNAnAM AsArAH prsraaH| tAn vaha tIti shiikraasaarvaahii| dhUtodyAnaH prakampitopavanaH madamadhulihAM AnandinAM bhramarANAM / madAH mdinH| madaH harSaH astyeSAmiti madAH / 'o'bhrAdibhyaH' ityo matvarthIyaH / madhu lihantIti madhulihaH / madAH harSitAH madhulihaH bhramarAH madamadhulihaH / teSAM / siJjitAni rasitadhvanIn avyaktAn / vyaJjayan prakAzayan / priyatamaH iva valabhaH iva | prArthanAcATukAraH prArthanAyAM suratayAcanArthe cATuH priyavacanaM prArthanAcATuH / taM karotIti praarthnaacaattukaarH| 'karmaNo'N' ityaN / nidhuvanavidheranantaraM punaH prAdurbhUtasuratAbhilASaH punaH suratabhogaprAptyarthaM svapreyasI prArthayan yathA priyavacanaM prayunakti tathA priyavacanaM prayojayan aGgAnukUlaH aGganAnAM aGgAnAM zarIrANAM anukUlaH sukhasparzaH / ziprAvAtaH ziprAsalilosthitakallolAntarapradezavAhI vAtaH vAyuH / ziprAgrahaNamatra zaityadyotanArthe / strINAM yoSitA nidhuvanavidhijanitaklamaklinnAnAM surataglAniM pUrvanidhuvanajanitazramaM harati dUramapasArayati / Where the breeze (blowing ) from above the Sipra, cool on account of its blowing through the waves, carrying the masses of sprays, setting the gardens in motion, displaying the buzzings of the gladdened bees, speaking gallantly like a lover requesting his beloved for sexual enjoyment, agreeable to the body, dispels the fatigue of women caused by enjoyment. tIkSNasyA'reH sa kila kalahe yuddhazauNDo muruNDa: . pradyotasya priya ! duhitaraM vatsarAjo'tra jahe haimaM tAladrumabhavanamabhUdA tasyaiva rAzaH hAsAlApairiti ramayati strIjano yatra baalaan||113|| zailaM zailapramitavapuSA pIDayannunmadiSNUna nighnan vyAlAna kupitasamavartIva megha marudvat / atroddhAntaH kila nalagiriH stambhamutpATya darpA dityAgantUn ramayati jano yatra bandhUnabhizaH // 114 // anvaya :-'priya ! saH yuddhazauNDaH muruNDaH vatsarAjaH kalahe pradyotasya tIkSNasya areH duhitaraM atra kila jahe / yatra strIjanaH bAlAn hAsAlApaiH ramayati

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prathamaH srgH| 129 (tasmin ) atra (pradeze) tasya eva rAjJaH haimaM tAladrumavanaM abhUt ' iti, ' zaila. pratimavapuSA zailaM pIDayan ' megha marudvat unmadiSNUna vyAlAn kupitasamavartI iva nighnan nalagiriH dAt stambhaM utpATaya atra uGgrAntaH kila ' iti (ca) yatra abhijJaH - janaH AgantUn bandhUn ramayati / tIkSNasyetyAdi / priya he mitra yuddhazauNDaH yuddhavidyAnipuNaH / yuddhe zauNDaH yuddhazauNDaH / ' Ip zauNDaiH' iti Ip / muruNDaH muruNDAnAM raajaa| muruNDaH lampakadezaH iti hemacandraH / muruNDAnAM rAjA muruNDaH / 'up colAdeH' iti rAjapratyayasyo / 'sarvatra bahathup' iti, 'svabhAvataH paJcAlAdizabdena rASTra rAjA cA'bhidhIyate' iti coktaM mahAvRttau / vtsraajH| vatsAnAM rAjA zAsitA vtsraajH| 'rAjAhaHsakhibhyaSTaH iti TaH sAntaH / atra vatsarAjazabdena udayanasya grahaNaM neSTaM muruNDaH iti vizeSaNAt muruNDAdhipatitvAbhAvAdudayanasya tasya muruNDadezAdhipatvAbhAvAdbhagavacchrIpArzvanAthatIrthakaraparamadevasamasamayavartitvAbhAvAcca / ato'nenAnyena kenacidudayanarAjapUrvavartinA pArzvasamakAlasammavena kauzAmbIpatinA bhAvyamiti suspaSTatAmATIkate / kalahe yuddhe / yadvA AtmakarmaNoranyonyaM vijigISvoH anAdeH kAlAtpravRtte yuddhe / pradyotasya prakRSTaH pragataH vA dyotaH AtmatejaH yasya sH| tasya / praadivsH| zuddhanizcayApekSayA prakRSTatejasaH AtmanaH tIkSNasya ugrasya / bhayaGkarasyetyarthaH / areH shtroH| kareirityarthaH / duhitaraM duhitatulyakarmaprakRtiM / dogdhi pitarAviti duhitA / dogdhItyanena pitrodhanamapaharatItyartho rUDho yaugiqazca / karmaprakRtayo'pi svajanakasyAtmanaH svaM AtmasvarUparUpaM dhanamapaharatItikarmaprakRteH duhitrA tulyatvaM / duhiteva duhitA / krmprkRtiH| 'devapathAdibhyaH' itIvArthasya kasyos / duhitaramityekavacanaM jAtinibandhanamiti duhitaramityasya duhitaH ityarthaH / tena sarvAsAM karmaprakRtInAM grahaNaM kartavyam / atra ujjayinyAH ksmiNshcidbhuuprdeshe| kileti vArtAyAM / jahve vinAzitavAn / iti evaM yatra yasmin (pradeze) strIjanaH striyaH bAlAn svArbhakAn hAsAlApaiH hAsaiH AlApaizca ramayati vinodayati tasmin pradeze atra tatpradezasthe'smin sthAne tasya eva rAjJaH vatsamuruNDAnAmadhipateH eva haimaM zaityayuktaM suvarNavarNa vA tAladumavanaM tAladrumANAM pronnatavRkSavizeSANAM vanaM kAnanaM abhUt AsIt iti evaMprakAreNa / zailapratimavapuSA shailtulyshriirenn| zailapratimaM zailAnukAri vapuH zarIraM zailapratimavapuH / tena / 'pratimA'nukRtau dantabandhane'pi ca dantinAm ' iti vizvalocane / yadvA zailena pratimIyate iti zailapratimaM / 'pratimAnaM pratibimbaM pratimA pratiyAtanA praticchAyA' ityamaraH / zailaM parvataM pIDayan mardayan / megha marudvat yathA pAva bhyudaye 9

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130 [ pArzvAbhyudaye c marunmeSaM nihanti tathA nighnan / 'supa ive' iti gajamarutoInana kriyAtulyatvAt upamAnabhUtAt subantAnmaruto vattyaH / unmadiSNUn unmadiGkRn / ' bhuubhraajyltRnyprjnotpcotpte|nmdrucyptrpvRdvRddhshcr iSNuH' iti iSNuH sati kAle / ' unmadiSNustUnmaditA' ityamaraH / vyAlAn duSTagajAn zvApadAn vA / C vyAlaH zaThe bhujaGge ca zvApade duSTadantini' iti vizvalocane / kupitasamavartI iva krodhAndhAntakavat / 'samavartI paratarAT' ityamaraH / nighnan ghAtayan / nalAgerIH damayantIzodhArthaM caGkramyamANena nalanRpatinA caraNavinyAsena pavitrIkRtatvAdrAmagirivat nalagiririti khyAti - mApannaH prAkkAlabhavaH parvatavizeSaH / nalagiririva nalagiriH / nalagirizarIrAkArarUpAdimAn gajavizeSaH / yadvA nalagirirityAkhyAtaH pAkazAsanasya stamberamaH / sa iva nalagiriH gjvishessH| 'devapathAdibhyaH' itIvArthasya kasyos / darpAt balavattvAbhimAnAt / ' darpo / bhavedahaGkAre darpo mRgamade'pi ca ' ityamaraH / stammaM AlAnastambhaM / gajabandhanArthaM nikhAtaM stambhamityarthaH / utpATya AmUlAduddhatya udbhAntaH udbhramati sma / kila vArtAyAm / iti ca evaM ca yatra vizAlAyAM abhijJaH prAcInaitihyakovidaH / janaH lokaH / AgantUn AgatAn / atithInityarthaH / ' syurAvezika AganturatithirnA gRhAgate' ityamaraH ' Atithyo'tithirAgantu: ' iti mAlA ca / bandhUn bAndhavAn ramayati vinodayati / athavA pradyotasya tejasvinaH / prakRSTa dyotaH tejaH yasya saH / tIkSNasya zatrubhavaGkarasya areH paripanthinaH kasyacidrAjJaH priyaduhitaraM priyAtmajAM vatsamuruNDAdhipatiH atra ujjayinIviSaye'tra sthAne jaDDe hRtavAn / atra meghadUtakArAbhipretArthaparivartanaM kAlavyatikramanirAsArthamavaseyaM sudhIbhiH / Wherein the well-informed people entertain their relatives come there on a visit as : ' Here, oh friend ! it is reported, did the king of the Vatsas and the Murundas, a veteran warrior in a fight, destroy the elementary divisions, which are like daughters, of the Karman, the ferocious enemy of the soul possessing perfect knowledge (under the cover of Karman); here where women are regaling their children by means of mirth and narration, was the grove of Tala trees, possessing a golden yellow colour ( or possessing coolness ); here, it is reported, did an elephant immitating the bodily form etc. of the Nalgiri (mountain named after the king Nala who sanctified it with his foot-prints), butting against the mountain with his mountain-like body, destroying like the angry god of death the wild beasts or elephants like the wind destroying clouds, wander about, having uprooted the post (meant for tying him ) through rashness.

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prathamaH sargaH] 131 yasyAM bibhratyavanipapathA ratnarAzInudagrAJ zUrponmeyAJjaladhaya ivApItatoyA yugAnte / hArAMstArAstaralaguTikAnkoTizaH zaGkazaktIH zaSpazyAmAnmarakatamaNInunmayUkhaprarohAn // 115 // anvayaH-yasyAM avanipapathAH yugAnte ApItatoyAH jaladhayaH iva zUrponmeMyAn udagrAn ratnarAzIn taralaguTikAn tArAn hArAn koTizaH zaGkhazuktIH, unmayUkhaprarohAn zaSpazyAmAn marakatamaNIn bibhrati / yasyAmityAdi / yasyAM ujayinInagaryo avanipapathAH rAjamArgAH / avanI pRthvIM pAtItyavanipaH raajaa| tasya panthAnaH mArgAH / tAn / 'RkpUrappatho't ' ityatsAntaH / yugAnte yugakAlAvasAne / pralayakAle ityarthaH / 'prazastarathasIrAGgaM yugme'pi syAtkRtAdiSu / yugaM hastacatuSke'pi vRddhinAmauSadhe'pi ca' iti vizvalocane / ApItatoyAH zoSitajalAH / jaladhayaH iva sAgarAH iva / jalaM dhIyate'sminniti jldhiH| zurponmeyAn / bhUpaiH prasphoTanaiH unmAtumarhantIti zakyante iti vA zUrponmayAH / tAn / ' tRjbyAzcAha ' iti arthei / tyaH / 'zaki liG ca ' iti zakyArthe vyaH / 'prasphoTanaM zUrpamastrI' ityamaraH / udagrAna atyunitAn / udgatAni agrANi prAntapradezAH zikharAkArabhAgAH yeSAM tAn / ' agraM triSu pradhAne syAdagraM mUrdhAdikAdiSu / purastAtpalamAne ca bAte'pyAlambanAntayoH' iti vizvalocane / ratnarAzIn maNisamUhAn / ratnAnAM maNInAM rAzayaH puJjAH samUhAH ratnarAzayaH / tAn / ' rAzistu puJja puMsyeva tathA meSavRSAdiSu' iti vizvalocane / taralaguTikAn madhyagamahAratnAn / taralAH bhAsurAH hAramadhyagAH guTikAH mahAratnAni yeSAM te / tAn / 'taralazcaJcale khaDge bhAsure triSu puMsi tu / hAramadhyamaNau' iti vizvalocane / ' piNDe maNau mahAratne guTikA baddhapArade ' iti zabdArNave / tArAn zuddhamauktikavataH / tArAH zuddhamauktikAH santyasya taaraaH| tAn / 'tAro muktAdisaMzuddhau taraNe zuddhamauktike' iti vizvalocane / 'o'bhrAdibhyaH' itytyo| matvayaH / hArAna muktaavliiH| koTizaH / koTi koTi kottishH| 'syekAdvIpsAyAM' iti vIpsAyAM zas / zaGkhazuktIH / zaGkhAzca zuktayazca muktAsphoTAzca zaGkhazuktayaH / tAH shngkhshuktiiH| ibbahuvacanam / 'zuktiH zaGkhanakhe zaGkha muktAsphoTe'pi kambuni' iti vizvalocane / unmayUkhaprarohAn mayUkhAH kiraNAH prarohAH aGkurAH iva mayUkhaprarohAH / ' kiraNo'sramayUkhAMzugabhAstaghRNirazmayaH' ityamaraH / 'vyAghrAdibhirupameyo'tadyoge' iti mayUkhopameyasya prarohopamAnena saH sAmAnyayoge, vyAghrAderA

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[ pArzvAbhyudaye ( " kRtigaNatvAt / udgatAH mayUkhaprarohAH yeSAM tAn / zaSpazyAmAn / zappaM bAlatRNamiva zyAmAH haridvarNAH / tAn / zappaM bAlatRNaM klIvaM zaSpastu pratibhAkSaye ' iti zyAmastu harite kRSNe prayAgasya vaTadrume / pike payodhare vRddhadArake'pi pumAnayaM / zyAmavarNe haridvarNe triSu' iti ca vizvalocane / sAmAnyenopamAnaM ' iti sAmAnya - vAcinA zyAmazabdena sahopamAnasya zaSpazabdasya saH / marakatamaNIn harinmaNIn ' gArutmataM marakatamazmagarbho harinmaNiH ' ityamara: / bibhrati dhArayanti / , C , 132 Wherein, the royal roads (or main streets), resembling the oceans with their water drunk up at the time of the destruction of the worlds, possess lofty heaps of jewels worthy of being measurad with winnowing-baskets, with faultless * ( or genuine ) pearls, and with big jems at their centres, crores of conches, shells and emeralds as green as young grass and shooting their rays upwards. bhUyo nAnAbharaNaracanAyogyaratnapravekAJjyoti lekhAracitarucimacchakracApAnukArAn / dRSTvA yasyAM vipaNiracitAnvidrumANAM ca bhaGgAn saMlakSyante salilanidhayastoya mAtrAvazeSAH // 116 // anvaya :-- bhUyaH yasyAM vipaNiracitAn jyotirlekhAracitarucimacchakracApAnukArAn nAnAbharaNaracanAyogya ratnapravekAn vidrumANAM bhaGgAn ca dRSTvA salilanidhayaH toyamAtrAvazeSAH saMlakSyante / bhUya ityAdi / bhUyaH punaH yasyAM vizAlAkhyanagaryo vipaNiracitAn / vipaNiSu paNyavIthikAsu racitAn prasAritAn / 'vipaNistu striyAM paNyavIthyAmApaNapaNyayoH' iti vizvalocane / jyotirlekhAracitaruci macchakracApAnukArAn | - jyotiSAM tejasAM lekhAH rAjyaH jyotirlekhAH / ' jyotirbhadyotadRSTiSu' ityamaraH / ' lekhArAjIlipiSvapi ' iti vizvalocane / tAbhiH racitaH rucimAn kAntimAMzcAsau zakrasyendrasya cApaH dhanuzca / tasyAnukAraH anuhAraH sAdRzyaM vidyate yeSAM te / tAn / anuhAro'nukAraH syAt ' ityamaraH / nAnAbharaNaracanAyogya ratnapravekAn / nAnA anekavidhAnyAbharaNAni alaGkArAH bhUSaNAni nAnAbharaNAni / teSAM racanA / tasyA yogyAH ratnapravekAH ratnottamAH / tAn / ratnAnAM pravekAH anuttamAH zreSThAH atizobhanAH vA / 'klItre pradhAnaM pramukhapravekAnuttamottamAH ' ityamara: / vidrumANAM pravAlamaNInAM "

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prathamaH sargaH ] 133 bhaGgAn racanAvizeSAn / bhaGgaH bhaktiH racanAvizeSo'styeSAmiti bhaGgAH / tAn / 'o'bhrAdibhyaH' ityatyaH / ca samuccaye dRSTvA avalokya salilanidhayaH pAthodhayaH / samudrA ityarthaH / toyamAtrAvazeSAH / toyameva toyamAtraM / ' mAtraT ' iti mAne'vadhAraNArthe mAtraT / 'mAtraM kAtsnye'vadhAraNe ' iti vizvalocane'marakoze ca / toyamAtraM toyameva nAnyatkiJcidratnAdikamavazeSo yeSAM te toyamAtrAvazeSAH / saMlakSyante tAM nagarImava lokamAnairjanairanumIyate / tannagarIpaNyavIthikAracitAni ratnAdInyavalokya ratnAni samudrAnpramuSya tatra nagaryo sthApitAnIti sAgarAH muSitaratnAditvAttoyamAtrAvazeSAH jAtA ityavalokamAnastAM nagarIM janaiH kalpyate iti bhAvaH Moreover, on seeing in which the best jewels, worthy of being turned into various ornaments, imitating the beautiful Indra's bow, brought into being by the streaks of sunlight, and the structures of corals arranged in the shops on the bazaar roads (or in the markets for sale), the oceans are looked upon as having only water remaining behind ( in them ). vizramyoccairvalabhiSu purIM prApya tAmuttamArddha svargAvAsa praNayamurarIkRtya saudhaistathA'syAH / jAlodgIrNairupacitavapuH kezasaMskAradhUpai bandhuprItyA bhavanAzikhibhirdattanRttopahAraH // 117 // svaHsaudheSu praNayamacirAtsaMhariSyasyavazyaM mandrAtodyadhvaniSu satatArabdhasaGgItakeSu / havasyAH kusumasurabhiSvaSvakhinnAntarAtmA nItvA khedaM lalitavanitApAdarAgAGkiteSu // 118 // itya moghavarSaparamezvaraparamaguruzrI jinasenAcAryaviracitameghadUtaveSTite bhagavatvasyavarNanaM ( ? ) nAma prathamaH sargaH / anvaya :-- tAM uttamArddhaM purIM prApya, valabhiSu uccaiH vizramya tathA asyAH saudhaiH svargavAsapraNayaM urarIkRtya, jAlodgIrNaiH kezasaMskAradhUpaiH upacitavapuH, bhavanAzakhibhiH bandhuprItyA dattanRttopahAraH mandrAtodyadhvaniSu satatArabdhasaGgItakeSu, kusumasura - bhiSu, lalitavanitApAdarAgAGkiteSu asyAH harmyeSu, adhvakhinnAntarAtmA ( tvaM ) khedaM nItvA svaH sodheSu praNayaM acirAt avazyaM saMhariSyasi / 3 pArzvAbhyudaye

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134 [ pArdhAbhyudaye vizrabhyetyAdi / tAM prasiddhAM / uttamardUi uttamA anuttamA RddhiH sukhaM yasyAH sA / uktaM ca - 'RddhivRddhiH sukhaM siddhI rathAGga maGgalaM vasu / RddhipuSTA ( sRSTA) yugaM yogyaM lakSmIH sarvajanapriyA' iti / purI vizAlAnAmadheyAM nagarI prApya gatvA valabhiSu saudhoparitanabhAgeSu / 'AcchAdanaM syAdvalabhigrahANAM' iti halAyudhaH / uccaiH nitarAM vizramya adhvakhedApanayanArtha sthitvA / tathA tenaiva prakAraNa asyAH vizAlAyAH saudhaiH sudhAdhavalaprAsAdaiH / 'hetau sarvAH prAyaH' iti hetau bhaa| svargAvAsapraNayaM / svarge AvAsaH nivAsaH nivAsasthAnaM vaa| tatra praNayaH prema AkAGkSA vA / tam / urarIkRtya svIkRtya / 'cciDAjUAdyanukaraNaM' iti kriyAyoge tisajJA / tasyAM ca lyap / jAlodrINaH gavAkSebhyo niHsRtH| 'jAlastu kSArakAnAyagavAkSe dambhavRkSayoH ' iti vizvalocane / jAlebhyo jAlairvA udgINaH udvAntaH kezasaMskAradhUpaiH / kezAnAM saMskAraH alaGkaraNaM kezasaMskAraH / ' samparyupAtkuH suDbhUrSe' iti samaH parasya kRJaH suDbhUSArthe / kezasaMskArasya dhUpAH kezasaMskAradhUpAH taiH| dhUpAnAM kezasaMskArArthatve'pi yUpasya dAruvikAratvAdvikAryavikArakabhAvasadbhAvAdyathA yUpAya dAru yUpadAruriti saH tathA saMskArasya dhupavikAratvAbhAvAdvikAryavikArakabhAvAbhAvAnnApsaH, api tu tAsa eva / upacitavapuH paripuSTadehaH / upacitaM paripuSTaM vapuH dehaH yasya saH / bhavanazikhibhiH gRhamayUraiH bandhuprItyA / bandhau bandhuriti vA prItyA premNA dttnRttophaarH| nRttaM nRtyaM eva upahAraH upAyanaM / nRttazabdaH puliGgo'pi kozAntareSu labhyate / ' nRttaH syAnatane krimau' iti vizvalocane 'upAyanamupagrAhyamupahArastathopadA' ityamaraH / dattaH nRttopahAraH yasmai iti dattanRttopahAraH / mandrAtodyadhvaniSu / mandrAH AtodyAnAM vAdinavizeSANAM dhvanayo yeSu / teSu / satatArabdhasaGgItakeSu / satataM nirantaraM ArabdhaM saGgItakaM yeSu / 'gItaM vAdyaM nartanaM ca trayaM saGgItamucyate' iti saGgItakalakSaNam / kusumsurbhissu| kusumAnAM surabhiH saugandhyaM iva surabhiH yeSAM / teSu / 'IbupamAnapUrvasya dyukhaM gatArthatvAt ' iti yukhaM / 'surabhizcampake caitre vasante gandhake kavau / svarNe jAtIphale cA'bje triSu mdysugndhyoH| khyAte ca' iti vizvalocane / lalitavanitApAdarAgAGkiteSu / lalitAH sundaryazca tAH vanitAH striyaH lalitavanitAH / 'lalitaM hArabhede syAtriSveva laliteSTayoH' iti vizvalocane / 'lalitaM triSu sundaram' iti shbdaarnnve| tAsAM pAdayoryo rAgaH lAkSArasaH Alaktakaraso vA tena aGkiteSu cihiteSu asyAH .vizAlAyAH hamryeSu ibhvabhavaneSu / zrImatAmAlayaSvityarthaH adhvkhinnaantraatmaa| adhvanA mArgakramaNasaGklezena khinnaH saJjAtakhedaH zrAntaH antarAtmA antaHkaraNa yasya saH / tvaM khedaM zramaM nItvA apanIya / apasAryetyarthaH /

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prathamaH sargaH] - 135 svaHsaudheSu svargaharyeSu / praNayaM tIbrAmAkAGkSA acirAt zInaM avazyaM nizcayena saMhariSyasi parihariSyasi / svargavAstavyanivAsabhUtAlayebhyo'pi vizAlAvAstavyadhanijanasaudhAnAM saundaryAdyapekSayA''dhikyamatra prakaTitamiti bhAvaH / iti zrIpArvAbhyudaye muktenduvarmaviracitAyAM bAlaprabodhinyAkhyAyAM vyAkhyAyAM zaThakamaThakRtabhagavavadupasargavarNanaM nAma prathamaH sargaH / . Having reached that city, a place abounding in excellent prosperity (or a place of excellent mechanism and fine art), having taken full rest on the uppermost parts of the mansions, having had recourse to your strong desire for making a stay in the heavens through its mansions, you, having your body increased in volume owing to the aromatic smoke used for hair toilet issuing forth from the lattices, having presents offered by the domestic peacocks in the form of dances accompained with songs through brotherly love, become tired at heart by the fatigue caused by the journey, having removed the fatigue on the mansions of the city, resounding with the deep pleasing sounds of the musical instruments, having entertainments consisting in songs attended with music and dancing arranged always in them, perfumed with the fragrance of flowers, marked with red dyes applied to the feet by the beautiful ladies, would give up in no time (or without delay ) necessarily the strong desire (cherished by you ) for tho heavenly mansions ( or celestial buildings).

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dusarA *** 88,

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atha dvitIyaH sargaH / vizramyA'tha kSaNamiva bhavAn paryaTetsandidRkSuH / zobhAM tasyAH zatamakhapurI hepayantyAH svabhUtyA / snigdhazyAmaM vapurupavahannAgarANAM phaNAbhR-- dbhartuH kaNThacchaviriti gaNaiH sAdaraM vIkSyamANaH / / 1 / / - anvayaH-atha kSaNamiva vizramya snigdhazyAmaM vapuH upavahan , phaNAbhRdbhartuH kacchaviH iti nAgarANAM gaNaH sAdaraM vIkSyamANaH, svabhUtyA zatamakhapurI hepayantyAH tasyAH zobhA sandidRkSuH bhavAn paryaTet / / .. vizramyetyAdi / atha anantaraM ujayinInagarIprAptyanantaramityarthaH / 'athA'tho ca zubhe prazne sAkalyArambhasaMzaye / anntre'pynythaatvpraarthvitthaarthyoH|' iti vizvalocane / kSaNamiva alpakAlamAtrameva / ' ivena saha nityasamAso vibhaktyalopazca' itIvena saha nityasamAsaH / vizramya zramApahAraM vidhAya / zramaparihArArtha tatra kSaNapramANakAlaM yAvadeva tvayA tatra sthAtavyaM, nA'dhikakAlaM, vilambasambhavAdityabhiprAyapradhAnoktiriyaM kamaThacarazambarAsurasya / snigdhazyAmaM satejaskaM zyAmavarNa ca / snigdhaM ca tat zyAmaM ca snigdhazyAmaM / 'varNoM varNaiH' iti saH / vapuH zarIraM / upavahana dharan / phaNAbhRdbhartuH / phaNAH sphaTAH vibhratIti phaNAbhRtaH / nAgA ityarthaH / teSAM bhartA'dhipatiH tasya / kaNThacchaviH / kaNThasya kandharAyAH chaviH iva cchaviH kAntiH yasya saH / iti asmaaddhetoH| nAgarANAM nagaravAsijanAnAM / gaNaiH samUhai / 'gaNaH samUhe pramathe saGkhyAsainyaprabhedayoH' iti vizvalocane / sAdaraM AdareNa sahitaM yathA syAt tthaa| vIkSyamANaH avalokyamAnaH / svabhUtyA svakIyenaizvaryeNa / 'bhUtirmAtaGgazaGgAre bhasmasampattijanmasu' iti vizvalocane / zatamakhapurI indranagarImamarAvatyabhidhAnAM / zatamakhasya zatamanyorindrasya purI rAjadhAnIbhUtAM ngrii| upayalyAH lajjAlutvaM prApayantyAH / svasampatpradarzanajanitendrapurIlajjAyAH vizAlAnagaryA ityarthaH / tasyAH vizAlAbhidhAnAvAH nagaryAH / zobhA saundarya / sandidRkSuH saJjAtataddarzanAmilApaH / sandraSTumicchuH sandidRkSuH / 'tumIcchAyAM dhorvop' iti san 'sanbhikSAzaMsAduH' ityuzca / bhavAn tvaM / paryaTet / nagaraM parito'TATyAM vidhehi / yadi te tannagarIdidRkSA'sti, ekasthAnasthitiko mA bhUH, tasmAntanagaravaimavadarzanAsambhavAditi bhAvaH /

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dvitIyaH sargaH ] 137 You, having takon rest just for a moment, possessing body having resplendent and darkish complexion, looked at with respect by the crowds of citizens owing to ( your ) possessing the lustre like that of the neck of the lord of cobras ( hooded-snakes), should roam about with a desire to enjoy the beauty of it (i. e. Vishala ) putting the city of Indra to shame by its glory. pUrva tAvaddhavalitanabhobhAgamabhraMlihAgraM kailAsAdrizriyamiva hasanmohazatronihantuH / kArINAM vijitamadanasyA'rhataH saJcicIpuH puNyaM yAyAtribhuvanagurordhAma caNDezvarasya // 2 // anvayaH- puNyaM saJcicISuH ( tvaM) pUrva tAvat karmArINAM mohazatroH nihantuH vijitamadanasya caNDezvarasya tribhuvanaguroH arhataH dhavalitanabhobhAgaM abhraMlihAyaM kailAsAdrizriyaM hasat iva dhAma yAvAH / pUrvamityAdi / puNyaM sukhajanakaM zubhaM karma / 'puNyaM tu sukRte dharme triSu madhyamanojJayoH' iti vizvalocane / yasmin kRte sati bhaviSyati sukhamupajAyate tat karma puNyamityabhidhIyate / sazcicISuH saJcetumicchuH / puNyakarmasaJcayArthe jAtAbhilASa ityarthaH / 'saJcicIrghaH' iti pAThasya prAmAdikatvAttaM parihRtya ' saJcicISuH / iti pATho'trAsmAbhirurarIkRtaH santyAtpUrvasyA'co dItvadarzanAddhoH 'hanyacAM sani' ityajantatvAddhalantasya dItvAsambhavAccaratezva halantatvAt / 'tumIcchAyAM dhorvop' iti sani tuma upi ca 'sanbhikSAzaMsAduH' ityuH / tvaM pUrva prathamaM / AdAvityarthaH / tAvat / atra tAvacchabdo'vadhAraNArthaH / tenaadaavevetyrthH| 'yAvattAvacca sAkalye'vadhau mAne'vadhAraNe' ityamaraH / karmArINAM karmazatrUNAM / karmANi jJAnAvaraNAdInyevArayaH zatravaH karmArayaH / teSAM / tessaamnytmsvetyrthH| 'yatazca nirdhAraNaM' iti sssstthii| mohazatroH mohanIyAkhyasya zuddhAtmasvabhAvapidhAyakasyAta eva paripanthinaH karmaNaH / moha eva zatruH mohazatruH / tasya / atra mohazabda uplkssnnaarthH| tena ghAticatuSkasyAtra grahaNaM kartavyam / tatazca paripanthibhUtaghAticatuSkasyetyarthaH / ghAticatuSkapratighAtamantareNAhatpadaprAptyasambhavAdana cA'hatpadaprayogadarzanAnmohazabdasyopalakSaNArthatvaM saGgrahItamanyathA chadmasthavItarAgagrahaNApatteH / nihantuH ghAtakasya / vijitamadanasya parAjitakAmasya / ghAtisaGghAtAnyatamadarzanacAritramohaprakAramohanIyasya nimUlakASaM kaSitatvA : -

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138 . [ pArdhAbhyudaye dvedodayAsambhavAdvijitamadanatvamasya bhagavato'hato'vaseyam / caNDezvarasya ugratapasAM prAgraharasya krodhaadidrvybhaavkrmhnturg| caNDAnAM krodhAdikaSAyANAmISTa iti caNDezvaraH / yadvA caNDAnAmugratapasAmIzvarazcaNDezvaraH / caNDamugratapo'syA'stIti caNDaH / 'o'bhrAdibhyaH ' ityaH / caNDAnAmIzvaraH zreSThazcaNDezvaraH / yadvA caNDa zIghragAminmedhetyarthaH / atra cezvarapadena bhagavadartho graahyH| caNDIzvarasyeti pAThe tu caNDamugratapo'. syA'stIti caNDI / anekAcvAdadantatvAcca brIhyAdivadintyaH / caNDinAmugratapasAM munInAmIzvaro'graNIzcaNDIzvaraH / tasya / yadvA krodhAdidravyabhAvakarmahananAccaNDIzvaro rudraH iva caNDIzvaraH / 'devapAdibhyaH' itIvArthasya kasyos / tribhuvanaguroH bhuvanatrayavartijIvAnAmupadezadAnena sAkSAt paramparayA ca saMsAranibandhanAjJAnagandhakAranAzakatvAdgururUpasya bhagavataH / 'guzabdastvandhakAraH syAdruzabdastannivArakaH ' ityuktergurorajJAnAndhakAranivArakatvamavaseyam / trayANAM bhuvanAnAM samAhArastribhuvanam / yadvA trailokyAdhipateH / arhataH bhagavato jinendrasya / arhatItyarhan / anantajJAnadarzanavIryAdicatuSTayamadhigantumarhatItyarhana bhagavAjinendraH / zatRtyaH / tasyArhataH / dhavalitanabhobhAgaM dhavalIkRtavyomapradezaM / dhavalitaM dhavalIkRtam / 'mRdo dhvarthe giz2a bahulaM' iti Nici ktaH / nabhaso bhAgo nabhobhAgaH / dhavalito nabhobhAgo yena tad dhavalitanabhobhAgaM / abhraMlihAyaM abhraGkapazikharAyam / abhramAkAzapradezaM leDhItyabhraMlihaM / 'vahAbhre lihaH' iti khaz / abhraMlihaM agramanto yasya tat / 'agraM triSu pradhAna syAdagraM muurdhaadhikaadissu| purastAtpalamAne ca bAte'pyAlambanAntayoH // ' iti vizvalocane / 'puro'dhikamuparyagrANi' ityamaraH / kailAsAdizriyaM aSTApadAcalazobhAm / ke jale lasanamasya kailAsaH / sa evA'driH kailAsAdriH / tasya shriiH| tAm / hasadiva upahAsaM kurvANamiva / ivazabdo'trotprekSAyAm / dhAma mandiraM / 'dhAma razmau gRhe dehe prabhAvasthAnajanmasu' iti vizvalocane / yAyAH gaccheH / / First of all, (you ), desirous of coming into possession of religions merit, should have recourse to the temple ( visit the temple ), laughing as it were at the beauty of the Kailasa mountain, touching with its uppermost part the sky, whitening a region of the sky, of the Arhat, the master of all the three worlds, the conqueror of passions (or the lord of sages practising austere penance ), bringing sexual passion into subjection, ( and ) destroying infatuation which is one of the enemies in the form of ( eightfold ) Karmans.

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dvitIyaH sargaH] 139 taM sevethAH kRtaparigatiAkiranpuSpavarSa stotrIkurvan stanitamabhito dundubhisvAnamandram / vAtodadhUtairanibhRtatarairuttaraGgaiH payobhi dhUtodyAnaM kuvalayarajogandhibhirgandhavatyAH // 3 // anvaya :-( tvaM ) kRtaparigatiH, puSpavarSe vyAkiran, dundubhisvAnamandraM stanitaM stotrIkurvan , gandhavatyAH vAtoddhataiH anibhRtataH uttaraGgaiH kuvalayarajogandhibhiH payobhiH taM dhUtodyAna sevethaaH| tamityAdi / tvaM kRtaparigatiH kRtapradakSiNaH / paritaH abhitaH gatiH gamanaM parigatiH / kRtA vihitA parigatiH pradakSiNaM gamanaM yena saH / puSpavarSa puSpamiva puSpaM / puSpANAM varSaH puSpavarSaH / taM / vyAkirana vikiran / yadvA dhRtodyAnaM puSpavarSe vyAkiran / udyAnaM vidhUya puSpavRSTiM vikirannityarthaH / dundubhisvAnamandraM bherIdhvanivadgambhIraM / dundubhebhairyAH svAno dhvaniH dundubhisvAnaH / tadvanmandraM gambhIraM dundubhisvAnamandram / 'dundubhidaityabharyoH strI vazabindutrike dvyeN|' iti vizvalocane / 'svAnanirghoSanirhAdanAdanisvAnanisvanAH' iti 'mandrastu gambhIre' iti cA'maraH / stanita garjitaM stotrIkurvan stotratA prApayan / prAgastotramidAnI stotraM karotIti stotrIkurvan / 'kRbhvastivyoMge'bhUtatadbhAve sampadyakartari ciH' iti ciH / svarjidhvaninA bhagavataH stavanaM kurvannityarthaH / gandhavatyAH gandhavatyabhidhAyAH nadyAH vAtoddhRtaiH samIraNasamIritaiH / vAtena vAyunoddhatairUz2a prApitaiH / anibhRtataraiH caJcalataraiH / nibhRto'capalaH / anibhRtacapalaH / anibhRtatarAH cnycltraaH| taiH| uttaraGgaiH utthitakallolaiH / usthitAH taraGgAH kallolA yeSu taiH| kuvalayarajogandhiAbhiH kuvalayAnAM kamalAnAM rajAMsi parAgAH kuvalayarajAMsi / kuvalayarajasAmiva gandho'sya kuvalayarajogandhi / taiH / 'vopamAnAt' iti gandhasthaH / payobhiH salilaiH / taM arhantaM / dhUtodyAnaM dhUtamudyAnaM yathA syAttathA / udyAnaM vidhUyetyarthaH / udyAnavidhUnanenAttagandho bhUtvetyabhiprAyaH / sevethAH bhajethAH / yadvA dhUtodyAnaM kRtaparigatiH / pradakSiNAvasare tanmandiraparisarasthodyAnaM prAgvidhUya pradakSiNAM kurvityarthaH / / You, moving round in a way causing the garden to shake, scattering showers of water like those of flowers, turning the thundering sound rumbling like that of a kettle-drum into a hymn of praise, should worship Him with the waters of the Gandhavati, fragrant on

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140 [ pArzvAbhyudaye account of the pollens of blue-lotuses, possessing lofty waves, moving very violently on account of their being disturbed by the wind. satyanyasmin surabhizizirasvacchatoyahRdAdau nAnAsvA payasi pavite pItinastvadvinodaH / vyAdhUtaistaiH kathamiva bhavedvAribhirgandhavatyAH to krIDAnirata yuvatisnAnatiktairmarudbhiH // 4 // anvayaH * anyasmin surabhizizirasvacchatoyahRdAdau nAnAsvAda pavite sati payasei pItinaH tvat marudbhiH vyAdhUtaiH toyakrIDAniratayuva tisnAnatiktaiH taiH gandhavatyAH vAribhiH vinodaH kathamiva bhavet ? / , satItyAdi / anyasmin gandhavatyabhikhyAyAH sarito bhinne surabhizizirasvacchato yaha dAdau sugandhizItala nirmalasalilapasvalataDa [gAdau / surabhi sugandhi ca tat ziziraM zItalaM ca surabhiziziraM / surabhiziziraM ca tat svacchaM nirmalaM surabhizizirasvacchaM / surabhizizirasvaccha toyaM yeSAM te / surabhizizirasvacchatoyazcAso hadazva surabhi - zizirasvacchatoyahRdaH / saH AdiH yasya saH / tasmin / khaJjakubjAdivatsaH / nAnAsvAdau nitarAM svAduni / A atyarthe svAdu ruciraM AsvAdu / na AsvAdu anAsvAdu / 'naJo'n ' ityan / ' aci' iti sanakArasyAnaH zravaNam / na anAsvAdu nAnAsvAdu / ' punarna se naJaH prakRtibhAvaH' iti mahAvRttikAra bhagavadabhayanandivacanAdanAsvAduzabdasyAjAditve'pi ' aci' iti sanakArasyAnaH zravaNaM na sambhavati / yadvA nA svAdu nAsvAdu / nA nAsvAdu nAnAsvAdu / svAdvevetyarthaH / pavite pUte sati samIcIne payasi jale pItinaH pAnaM kurvataH / svAdiSTa pUtaM samIcInaM ca jalaM pibata ityrthH| ' iSTAdeH' itIn / ' ktenkarmaNi' iti karmaNi Ip / tvat tava / ' tvamau tyadyau caike ' iti yuSmadastAyA ekavacanAntaM rUpaM / marudbhiH samIraNaiH vyAdhUtaiH prkmpitaiH| janitaprakampairityarthaH / toyakrIDAniratayuvatisnAnatikkaiH jalakrIDAsaktayuvatiprayuktasnAnIyadravyajanitasaurabhaiH / toyakrIDAyAM jalakrIDAyAM niratAnAM vyApRtAnAM yuvatInAM taruNInAM snAnena snAnIyena candanAdidravyeNa tiktaiH sugandhibhiH / ' snAnIye'bhiSave snAnaM ' iti yAdavaH / tikto rasasugandhayoH iti vizvalocane / taiH prasiddhaiH gandhavatyAH gandhavatInAmanadyAH vAribhiH jalaiH vinodaH sukhaM santoSo vA kathamiva kena prakAreNa bhavet jAyeta ? na kathamapi jAyeteti bhAvaH / gandhavatIjalapipAsunA tvayA tatra sthitvA vilambo na kartavya ityabhiprAyavatedamuktaM zambarAsureNa / "

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dvitIyaH sargaH ] 141 How, possibly, would you, when you would have drunk very sweet and pure water in other lakes etc. possessing fragrant, cool and pure water, be gratified by those waters of the Gandhavatl which are pungent (or fragrant ) owing to the unguents, perfumed powders etc. of the young ladies engaged in water-sports? draSTuM vAJchA yadi ca bhavati pretagoSThIM vicitrAM tiSThAtiSThanna parinipataddhabaddhAndhakAre / doSAmanye'pyahani nitarAM pretagoSThIti rAtre - rapyanyasmiJjaladhara ! mahAkAlamAsAdya kAle // 5 // anvayaH (he ) jaladhara ! yadi ca vicitrAM pretagoSThIM draSTuM vAJchA bhavati uparinipatadgRdhabaddhAndhakAre doSAmanye ahani api nitarAM pretagoSThI iti rAtreH anyasmin api kAle mahAkAlaM AsAdya atiSThan tiSTha / G " draSTumityAdi / he jaladhara vArivAha ! yadi ca vicitrAM AzcaryAvahnAM / atyadbhatAmityarthaH ' citraM tu karburAdbhutayostriSu ' iti vizvalocane / pretagoSTIM pizAcasabham / preto bhUtAntare mRte ' iti ' goSThI sabhAyAM saMlApe ' iti ca vizvalocane / pizAcasambhASaNamiti vA'rthaH / draSTuM avalokayituM vAJchA abhilASaH bhavati asti tarhi upari nipatadgRdhabaddhAndhakora mahAkAlavanoparitanavyomapradeze uDDayamAnaiH gRdhaiH pretapalAzanapakSivizeSaiH viracitAndhatamase / upari mahAkAlAkhyakAnanoparitanA kAzapradeze nipatantaH uDDayamAnAH ye gRdhrAH taiH baddhaH viracitaH andhakAraH tamaH yasmin / tasmin / doSAmanye rAtrisaMkAze / doSAM rAtrimAtmAnaM manyate iti doSAmanyaM / tasmin / ' khaz svasya ' iti khaz | zittvAcchyaH / khitaH paratvAt 'mumacaH ' iti mumAgamaprApteH doSAzabdasya jhitvAt pratyAkhyAnaM ' khityajheH kRti-' iti tasya jhitvAdeva pratvapratiSedhazca / ahani dine api nitarAM atizayena pretagoSThI pizAcasaMlApaH / astIti zeSaH / iti tasmAt kAraNAt / ' iti hetau prakAre ca prakAzAdyanukarSayoH iti vizvalocane / rAtreH doSAyAH anyasmin api kAle dine'pi mahAkAlaM tadabhidhAnaM vanaM AsAdya prApya atiSThan kAlayApanAmavidhAya tiSTha Assva / divA'pyandhatamasAvaguNThitatvAdvanasya mahAkAletyabhikhyA / andhatamasAvaguNThitatvAtpizAcasabhasya divA'pi sambhavAdrAtrisamayaparyantaM vilambyalamiti zambarAsurAbhi , prAyaH / --

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142 [ pArzvAbhyudaye Oh cloud! if you are desirous of seeing (or hearing) the very wonderful conference ( or talk ) of those that are dead, then appro ching the Mahakala forest at any time other than night-time, you should wait there only for a while because the meetings of those that are dead are always held even in day-time which, being dark owing to the flights of vultures above, is as good as night. tasmAjjIrNadrumazatabRhatkoTarAntaH prabaddhadhvAnolaka pratibhayarave pretazophAtiraudre / tasyopAnte pariNata zivArabdhasAMrAviNAye sthAtavyaM te nayanaviSayaM yAvadatyeti bhAnuH // 6 // anvayaH tasmAt yAvat bhAnuH te nayanaviSayaM atyeti ( tAvat ) tasya jIrNadrumazatavRhatkoTa rAntaH prabaddhadhvAno lukapratibhayaraye pretazokAtiraudre pariNatazivArabdhasAMrAviNa upAnte sthAtavyam / " tasmAdityAdi / tasmAt yasmAtkAraNAddivA'pi pretagoSThIdarzanazravaNe sambhavataH tasmAtkAraNAt / yAvat yAvatA kAlena / atra mAnArthe yAvacchandaH / ' yAvanmAne' vdhaarnne| sIni kAnyeM paricchide' iti vizvalocane / bhAnuH sahasrarazmiH te tava nayanaviSayaM netragocaraM / nayanayoH netrayoH viSayaH gocaraH nayanaviSayaH / tam / ' viSayo gocare deze indriyArthe'pi nIvRti' iti vizvalocane / atyeti atikraamti| tAvatA kAlena tasya mahAkAlavanasya / jIrNadrumazatabRhatkoTarAntaHprabaddhadhvAnolUkapratibhayara ve jIrNavRkSazatavRhadvilAntarviracitadhvanipecakabhayaGkaraNvano / jIrNAzca te drumAzca jIrNadrumAH / teSAM zataM jIrNadrumazataM / atra saGkhyAvAcI zatazabdaH vaipulyArthe prayuktaH / bRhato vizAlAzca te koTarAH niSkuhAzca bRhatkoTarAH / jIrNadrumazatasya bRhatkoTarA : jIrNadrumazatabRhatkoTarAH / teSAmantarmadhye prabaddhaH niruddhaH dhvAnaH dhvaniH yeSAM te / te ca te ulUkAH pecakAH / teSAM pratibhayAH bhayajanakAH ravAH dhvanayaH yasmin / tasmin / ulUkAnAmapi bhayajanakAH dhvanayastatra santIti bhAvaH / niSkuhaH koTaraM vA nA ityamaraH / ' ulUkaH pecakre zakre kuruyodhe'pi sammataH iti ' klIvaM pratibhayaM bhItau vAcyavatta bhayAnake ' iti ca vizvalocane / ' bhayaGkaraM pratibhayaM ' ityamaraH / pretazophAtiraudre zavazvayathunA'tibhayaGkare / pretAnAM zavAnAM zophenAtiraudre atibhayaGkare / ' zophastu zvayathuH zothaH ' ityamaraH / pariNata zivA " 3

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dvitIyaH sargaH ] 143 rabdhasArAviNo pariNataiH pravRddhaiH mahattva prAptaiH zivAbhiH kroSTrIbhiH ArabdhaiH kRtaiH sAMrAviNaiH prasaraNakriyayA digantavyApibhiH dhvanibhiH ugre bhayAnake / 'raudraM tUmamamI triSu' ityamaraH / 'zivA jhATAmalApathyAkroSTrAsaktuphalAsu ca' iti vizvalocane / 'min vyAptau' iti sampUrvAdrauterjina nabbhAve vyAptau / kriyAguNAbhyAM kAsnyena vyAptA. vityarthaH / 'Ajino'N' iti svArthi ko'N / 'hRtyavAdeH' iti jiti hRtyasya paratvAdAderaca aip / upAnte samIpabhUmau sthAtavyaM / tvayeti zeSaH / You, therefore, should, until the sun passess beyond the range of your eyes, make a halt in the immediate proximity, abounding in noises terrorising the owls with their hootings impeded inside the interior of the extensive hollows of hundreds of old trees, extremely formidable owing to the intumescence of the dead bodies, terrible owing to the full grown and pervading howlings of female jackals. vidyAsiddhiM prati niyamino dhautavastrasya mantrai haphuGkAraiH pitRvanamabhi bhrAmyataH svairviribdhaiH| pUjAmAptAsyanaghamadhuraiH sAdhakaughasya tasmin kurvan sandhyAbalipaTahatAM zUlinaH zlAghanIyAm // 7 // anvayaH- tasmin vidyAsiddhi prati niyaminaH, dhautavastrasya, hraphuGkAraiH mantraiH pitRvanaM abhi bhrAmyataH, zUlinaH sAdhakaughasya svaiH anaghamadhuraiH viribdhaiH sandhyAbalipaTahatAM kurvan zlAghanIyAM pUjAM AptAsi / vivetyAdi / tasmin mahAkAlavane vidyAsiddhiM prati mantravidyAniSpattimuddizya / mantravidyAsiddhyarthamityarthaH / niyaminaH tinaH / niyamo vratamasyA'stIti niyamI / tasya niyaminaH / 'ata iniThanau' itIn / dhautavastrasya prakSAlitavasanasya / dhautAni prakSAlitAni vastrANi vasanAni yasya saH / tasya / hUMphuGkAraiH haMphukArabIjAkSarasvarUpaiH mantraiH devAdisiddhinibandhanavAkyavizeSaiH / pitRvanaM ami smazAne / 'smazAnaM syApitRvanaM' ityamaraH / bhrAmyataH bhramaNaM kurvataH zUlinaH zUlavataH / zUlamasyA'stIti zUlI / tasya / 'ata iniThanau' itIn / 'zUlaM mRtyau dhvaje nA tu yoge na strI rugastrayoH' iti vizvalocane / sAdhakaughasya mantrArAdhakanikAyasya / oghaH pAthaH pravAhe ca samUhe ca pumAnayam' iti vizvalocane / svaiH svakIyaiH anaghamadhuraiH anavadyapriyaH / anaghAni niravadyAni ca tAni madhurANi priyANi ca anaghamadhurANi / taiH /

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144 [pArzvabhyudaye 'madhuro rasavatsvAdupriyeSu triSu vAcyavat ' iti vizvalocane / viriSaiH dhvanibhiH / 'kSubdhasvAntadhvAntalamamliSTaghuSTaviribdhaphANTabADhaparivRDhaM manthamanastamaHsattAvispaSTAvizabdasvarAnAyAsabhRzaprabhau' iti ktAntasya virindhazabdasya dhvanyarthasya nipAtaH / vipUrvasya re Do'niTtvamitvaM ca / vizabdairiti pAThe tu svAbhiprAyanivedanaiH zabdarityartho graahyH| tadA ca tasya mantrairiti padenAnvayaH kAryaH / proktazca vizabdapadArthaH 'zabdenAbhiprAyanivedanaM vizabdanaM' iti mhaavRttikaaroktipraamaannyaatsnggrhiitH| vizabdairiti mudritapAThamapahAyA' smAbhiryogirAjaviracitaTIkAyAM zabdasiSAdhayiSayoddhataM sUtramavalokya vizabdapadasya ktAntatvAbhAvaM vijJAya prayuktaH pAThaH ktAnta iti yogirAjoktiM manasi vidhAya viribdhapadasya ktAntatvaM vilokya 'kSubdha' ityAdisUtrasya vizabdapadasiddhinibandhanatvamanavalokya, tatra sUtre dhvanyarthakaktAntaviribdhazabdaM nipAtitaM dRSTA viribdhairiti pAThaH svIkRtaH, tatpadAbhAve tatsUtroddhRtervaiphalyaprasaGgAt / sandhyAbalipaTahatAM sAndhyapUjAvasare paTahasyArthakriyAM kurvan sampAdayan / paTahazabdasya rUDhizabdatvAt 'bhAve tvatala' iti taltyavidhAne jAtyabhidhAnameva prayojakam / garjidhvaninA paTahakArya kurvannityarthaH / zlAghanIyAM prazaMsAhA~ pUjA sammAnaM AptAsi labdhAsi / luTo madhyamapuruSekavacanam / 'balizcAmaradaNDe''pi karapUjopahArayoH' iti vizvalocane / There, you, acting as a drum beaten at the time of worship pergormed (by magicians ) in the evening by means of your flawless pleasing sounds of thunder ) towards the assemblage of magicians, wearing washed clothes, armed with spears, moving on the cremation qround (i e. necropolis ) uttering incantations consisting in and $, rigidly observing the rites prescribed for the sake of attaining magical skill, would attain praiseworthy honours. tatrA'styantarvaNamapabhiyAmAsitaM sanmunInAM jainaM vezma stutikalakalAdAttatannAmarUDhi / taM sevitvA stanitapaTahairucaradbhistvamuccai rAmandrANAM phalamavikalaM lapsyase garjitAnAm // 8 // anvayaH-- tatra antarvaNaM apabhiyAM sanmunInAM AsitaM, stutikalakalAt AttatannAmarUDhi jainaM vezma asti / taM uccaradbhiH stanitapaTahai: sevitvA garjitAnAM avikalaM uccaiH phalaM tvaM lapsyase /

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dvitIyaH sargaH ] 145 . tatretyAdi / tatra mahAkAlavane antarvaNaM vnmdhybhaage| vanasyAntaH antarvaNaM / 'pAremadhye'ntastayA vA' iti hasaH / 'prAgre'ntarniHzarekSuplakSapIyUkSAkAyAmrakhadirAt' iti vananakArasya nnH| apabhiyAM vItabhItInAM / apagatA vinaSTA bhIyaM yeSAM te'pabhiyaH / teSAM / praadivsH| ' bhItirbhAH sAdhvasaM bhayaM' ityamaraH / sanmunInAM AgamAnusAricA. ritratvAt satAM munInAM AsitaM AsanaM / nivAsasthAnamityarthaH / atreme Asate smetyaasitN| 'AdhAre cAdyarthAcca' ityAdhAre ktaH / 'ktasyAdhArasatoH' ityAdhArArthakaktatyAntAsitazabdaprayoganibandhanA tA sanmunInAmiti padasya / stutikalakalAt munIzvara. saGgItastutijanitakalakaladhvaneH / 'stavaH stotraM stutirnutiH' iti 'kolAhalaH kalakalaH' iti cAmaraH / AttatannAmarUDhi gRhiitklkljinaalyaabhidhaanprsiddhi| AttA gRhItA tasya kalakalasya nAmno'bhidhAnasya rUDhiH prasiddhina tat / jainaM jinasvAmikaM , jinasyedaM jainam / ' tasyedaM ' ityaNa / vezma mandiraM / ' gRhaM devodavasitaM vezma sadma niketanam ' ityamaraH / asti vidyte| taM bhagavantaM jina / uccarAdbhaH ninddbhiH| stanitapaTahaiH garjidhvanirUpaiH paTahaiH / 'paTahastu samArambhe na strI paTahamAnake' iti vizvalocane / ' stanitaM garjitaM meghani?Se rasitAdi ca ' ityamaraH ! sevitvA ArAdhya garjitAMnA nirghoSANAM avikalaM sampUrNa uccaiH utkRSTa phalaM lAbhaM 'phalaM tu sasye hetUtthe phalake vyuSTilAbhayoH / jAtIphale'pi kaGkole mArgaNAgre'pi na dvayoH' iti vizvalocane / tvaM bhavAn lapsyase prApsyate / labheH kartari laT / In the interior part of that forest, there is a temple dedicated to Jina, known by that name (i. e. Kalakala Jinalaya ) traditionally owing to the confused noise of prayers, the seat (or abode ) of good sages. Worshipping Him with drums in the form of thunders sounded, you would obtain remuneration in full of your loud rumbling thunders, sAyAhne cettadupagatavAn dhAma tatkAlapUjA saGgItAnte zramajalakaNarAcitAGgIH suknntthii| mandaM yAntIzcaturagaNikAH zIkaraiH satrayestvaM pAdanyAsakaNitarasanAstatra lIlAvadhUtaiH // 9 // anvayaH -- tatra sAyAhne tat dhAma upagatavAn cet tatkAlapUjAsaGgItAnte zrama- jalakaNaiH AcitAGgIH sukaNThIH mandaM yAntIH pAdanyAsakvaNitarasanAH caturagaNikAH lIlAvadhUtaiH zIkaraiH tvaM sannayaH / pArthAbhyudaye...10 . .

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146 [ pArdhAbhyudaye sAyAhna ityAdi / tatra mahAkAlavane sAyAhne sndhyaasmye| sAyaM ca tat ahazca sAyAhnaH / vizeSaNasavidhiH / 'ebhyo'ho'hnaH' iti jhisjnyksaayNshbdaatprsyaahshbdsyaahnaadeshH| asya cAhlAdezasya kRtamakArakhasAyazabdapUrvasyA'pi Dau pare'pi 'sthivisAyAvA'hnasyAhan Dau' ityahannAdezasya vaikalpikatvAdahlAdezasya sthAne'hanna vihitH| tat kalakalajinAlayAkhyaM dhAma mandiraM / 'dhAma razmau gRhe dehe prabhAvasthAnajanmasu' iti vishvlocne| upagatavAna gataH cet yadi tarhi tatkAlapUjAsaGgItAnte sAnthyapUjAsaGgItAvasAne / sa cAsau kAlazca tatkAlaH / sAyAhnaH ityarthaH / sAyAhne kriyamANA. yA pUjA tasyAH saGgItasyAnta'vasAne tatkAlapUjAsaGgItAnte zramajalakaNaiH zramajanitasvedajalabindubhiH aacitaagii| AcitAni vyAptAni aGgAni gAtrANi yAsAM taaH| ibbahuvacanam / sukaNThIH / zobhanAH kaNThAH yAsAM tAH / sphoGgakaNThayorDIvidhAnaM kathamiti cet 'nAsikodarauSThajakudantakarNazRGgAGgagAtrakaNThAt ' iti sUtreNa tadvidhAnAt / mandaM zanaiH yAntIH gcchntiiH| yAntIti yAntyaH / taaH| zatRtyaH / striyAM 'thugidRnnaJcoH' iti ddii| pAdanyAsakvaNitarasanAH / pAdanyAsaiH caraNanikSepaiH kvANatAH kRtadhvanayaH rasanAH kAJcIdAmAni yAsAM tAH / kaNaterdhitvAt 'dhigatyarthAcca' iti kartari ktaH / caraNavinyAsajanitadhvanimekhalA ityarthaH / 'strIkaTyA mekhalA kAJcI saptakI rasanA tathA' ityamaraH / caturagaNikAH pavyaH veshyaaH| 'dakSe tu caturapezalapaTavaH sUtthAna uSNazca' iti 'vArastrI gaNikA vezyA' iti cA'maraH / liilaabdhuutaiH| lIlAyai krIDAyai avadhUtaiH vyAdhUtaiH / prakSiptairityarthaH / 'lIlA hAvAntare strINAM kelau khelAvilAsayoH' iti vizvalocane / krIDAthai prakSiptairiti bhAvaH / 'sAdhanaM kRtA bahulaM' ityatra bahulagrahaNAtsampradAna kArakamapi kRtA samastaM bhavati / zIkaraiH pRSadbhiH / jalabindubhirityarthaH / tvaM sannayeH saMyogaM kuru / If you would reach that temple there (i. c. in that forest ) in the evening, you should kring the drops of water, discharged sportively, in contact with the clever courtezans, wearing girdles jingling on account of the movements of their feet, going slowly, having beautiful necks, having their bodies covered over with drops of perspiration given off through exertion at the end of songs sung in chorus at the worsbip performed at that time ( i. e. in the evening ). __ tAstatrAharmaNibhayaraNanUpUrAH paNyayoSAH prodgAyantIH sullitpdnyaasmudbhvilaasaaH|

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dvitIyaH sargaH ] 147 pazyotpazyA navajalakaNadvitrasiktA vilolA ratnacchAyAkhacitavalibhizcAmaraiH klAntahastAH // 10 // anvayaH -- tatra aharmaNimayaraNanapurAH sulalitapadanyAsaM prodgAyantIH, uddhavilAsAH, utpazyAH, navaMjalakaNikAdvitrasiktAH, vilolAH, ratnacchAyAkhacitavalibhiH cAmaraiH klAntahastAH tAH paNyayoSAH pazya / tA ityAdi / tatra mahAkAlavanAntarbhAgasthakalakalajinAlaye aharmaNimayaraNannUpurAH sUryakAntamaNighaTitavaNanmaJjIrAH / aharmaNiH sUryaH ivAhamaNiH 'devapAdibhyaH ' itIvArthasya kasyos / aharmaNevikArA ahamaNimayAH / ' mayaDA'bhakSyAcchAdane ' iti vikAre mayaT / sUryakAntamaNinirmitA ityrthH| raNantaH kaNantaH / zabdAyamAnA ityarthaH / raNantazca te nUpurAzca raNannapurAH / nUpurAH mnyjiiraaH| 'maJjIroM nUpuro'striyAm ' itymrH| ahamaNimayAH raNannUpurAH yAsAM tAH / sullitpdnyaasN| sutarAM lalitA manoharaH sulalitaH / padAnAM caraNAnAM nyAsaH prakSepaH padanyAsaH / sulalitaH padanyAsaH yasmin karmaNi tat / yadvA sulalitAnAM lalitAnAM lAlityaguNopetAnAM padAnAM summiGantarUpANAM nyAsaH prayoga yasmin karmaNi tat / zobhanapAdavikSepapUrvakaM vipulalAlityaguNopetasummiGantapadAni prayujya vA prodgAyantIH prakarSeNoccaiH svareNa gAnaM kurvANAH / uddhvilaasaaH| bhruvorvilAsaH bhrUvilAsaH / udgataH prakarSa prApto bhrUvilAsoM yAsAM tAH / utpazyAH / udUrva pazyantIti utpazyAH / ' pArAdhamAdheDdRzaH zaH ' iti gau vAci dRzeH zaH / 'pAghrAdhmAsthAmnAdANdRzyartizadasadAM pibajidhradhamatiSThamanayacchapazyachaMzIyasIdAH' iti pazyAdezaH / navajalakaNikAdvitrasiktAH / navaM meghavRSTaM bhuvamaprAptatvAnnavyaM ca tajjalaM salilaM ca navajalaM / dvitrANi siktAni secanAni dvitrasiktAni / dve vA trINi vA dvitrANi / 'syiH sujvArtha' iti vikalpe sthisajJAvAci basaH / atra kriyApravRttidarzanAdvikalpArtho grAhyaH, na saMzayArthaH tatra kriyApravRttyasambhavAtsaMzayasyAnirNayarUpapratibhAsatvAt / dve vA trINi vA dvitrANItyatra DaH / DittvAdacontyAdilakSaNAyASTeH kham / navajalakaNikAbhiH dvitrANi siktAni secanAni yAsA tAH navajalakaNikAdvinasiktAH / siktaM secana / nabbhAva kto'bhvAdibhyaH' iti bhAve ktaH nap ca / vilolAH caJcalAH atizayena zobhamAnA vaa| viziSTA lolA zrIH yAsAM tAH vilolAH / 'lolA jihvAMzriyoH' iti vishvlocne| ratnacchAyAkhacitavalibhiH ratnAnAM chAyA ratnacchAyaM / ' chAyA bahUnAM' iti ratnAnAM bAhulyAcchAyAntasyAsya pasya

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148 [ pArzvabhyudaye nap / tena AkhAcatA rUSitA vyAptA vA valayazcAmaradaNDAH yeSAM te / taiH / 'valizcAmaradaNDe'pi karapUjopahArayoH' iti vizvalocane / 'valizcAmaradaNDe carmaNi' iti vizvaH / cAmaraiH prakIrNakaH / bAlavyajanairityarthaH / klAntahastAH / klAntAH saJAtaduHkhAH zrAntAH vA hastAH pANayaH yAsAM tAH / daizikanRtyasUcanametat 'dukUladaNDikAmAlAkhaGgacAmaragolakaiH / hastasaJcAribhiH kuryuttaM taddezikaM smRtam / ' ityukteH| dezAntare dhRtaprakIrNakA eva paNyAGganAH nRttaM kurvanti / tAH jinAlaye nRttaM kurvANAH paNyAGganAH pazya vilokaya / There ( in that temple ), you should see those courtezans wearing jingling anklets made up (or studed with) of jewels ( lit. sun-crystals), singing loudly in keeping with the graceful movements of their feet, possessing graceful movements of their eye-brows turned upwards, looking upwards, sprinkle over twice or thrice with drops of fresh sprays of water ( discharged by you ), possessing nimbleness (or extraordinary beauty ), having their hands fatigued on account of ( waving ) the Camaras possessing handles covered over with the lustre of jewels. tvAM tatrA'rhadbhavanavalabherU bhAge niSaNNaM sandhyArAgaccharitavapuSaM vidhududbhAsidaNDam / drakSyante tA viracitamiva vyomni lIlAvitAnaM vezyAstvatto nakhapadasukhAn prApya varSAprabindUn // 11 // anvaya :- tatra tAH vezyAH tvattaH navapadasukhAn varSAgrabidUna prApya arhadbhavanavalabheH UrvabhAge niSaNNaM sandhyArAgacchuritavapuSa vidyududbhAsidaNDaM tvAM vyAmni viracita lilAvitAnaM iva drakSyanti / svAmityAdi / tatra kalakalajinAlaye tAH jinAlathe nRttaM kurvANAH veshyaaH| rUpAjIvAH tvattaH tvatsakAzAt nakhapadasukhAn suratasamaye janitAnAM nakhatraNAGkAnAM sukhakarAn / nakhapadAni nakhajanitavraNacihnAni / teSAM sukhaM zarma yebhyaste / tAn / vyadhikaraNo basaH / vrssaaprbindun| varSAyAH vRSTeH ye agrabindavaH prathamabindavaH tAn / prApya samadhigamya / arhadbhavanavalabheH arhanmandiracchAdanasya / arhato jinasya bhavanaM mandiraM arhadbhavanam / tasya valabhizchAdanaM / tsyaaH| 'gopAnasI tu valabhI chAdane vaRdAruNi' ityamaraH / UvabhAge upribhaage| niSaNNaM upaviSTam / sandhyArAgaccharitavapuSa / sandhyAyA rAgaH raktimA sandhyArAgaH / tena cchuritamizritaM vapuH yasya saH /

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dvitIyaH sargaH ] 149 -" tam / vidyududbhAsidaNDaM / udbhAsate iti udbhAsI / vidyutA udbhAsI daNDaH zarIraM yasya saH / tam / -- daNDazcaNDAzoH pAripArzvike / daNDaH sainyavyUhabhede mAnabhede dame yme| manthAne'zve 'bhimAne ca koNadaNDaprakANDayoH / vigrahe ca grahe yajJe laguDe'sti mato'striyAm // iti vizvalocane / tvAM vyomni AkAze viracitaM nirmitaM lIlAvitAnaM vilAsadRSyaM iva drakSyanti prekSiSyante / Those courtezans, there, on obtaining from you the first drops of rain water, pleasing to the marks ( wounds ) made by the nails ( at the time of sexual enjoyment), would look at you, sitting on the upper part of the roof of the temple dedicated to Jina, possessing body enlightened by the ( red ) lustre of evening, possessing ( or having ) body enlightened by lightning, as a beautiful canopy spread in the sky. bhUyazca tvatstanitacakitAH kiMsvidityAttazaGkAH kiJcittiryagvalitavadanAstatra paNyAGganAstAH / baddhotkampastanataTaluThallolahArA : salIlAna AmokSyanti tvayi madhukara zreNIdIrghAnkaTAkSAn // 12 // anvaya :- bhUyazca tatra tvatstanitacakitAH, ' kiMsvit' iti AttarAGkAH, kiJcittiryagvalitavadanAH, baddhotkampastanataTaluThallolahArAH tAH paNyAGganAH tvayi salIlAn madhukarazreNidIrghAn kaTAkSAn AmokSyanti bhUyazcetyAdi / mUyazca punazca tatra kalakala jinAlaye tvatstanitacakitAH yuSmadgarjitena bhItyAkrAntasvAntAH kiMsviditi kimidamiti AttazaGkAH gRhItasandehAH / sandehadolAyitamanaskAH / ityarthaH / kiJcittiryagvalitavadanAH ISadvakrIbhUtamukhAH / kiJcidISattIryagvalitAni vakrIbhAvaM gatAni vadanAni mukhAni yAsAM tAH / baddhotkampastanataTaluThallolahArAH bhItiracitavepathustanapradezaluThaccalamAlAH / baddhaH bhItyA viracitaH utkampaH vepathuH yayostau baddhotkampau / tau ca tau stanataTau ca / tayorluThanta upAvartamAnAH lolAzcaJcalAzca hArAH mAlAH yAsAM tAH / tAH jinAlaye nRttaM kurvANAH paNyAGganAH paNyastriyaH / vezyA ityarthaH / tvayi bhavati salIlAn lIlayA zriyA sahitAn madhukarazreNidIrghAn bhramararAjivi dIrghAn / madhukarANAM bhramarANAM zreNI rAjiriva dIrghAH AyatAH / tAn / kaTAkSAn dRSTikSepAn 'apAGgo netrayorante kaTAkSopAGgadarzane ' ityamaraH | AmokSyanti AvarjiSyanti / kSepsyantItyarthaH /

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[ pArzvAbhyudaye Moreover, the courtezans, there, frightened by your thunders, cherishing doubt as ' what is this? ', having their faces turned aslant a little, having dangling necklaces rolling on their tremulous breasts, would cast on you their beautiful side-glances which would be as much long as the rows of bees. 150 itthaM bhaktiprakaTanapaTustatra cAtodyagoSTIM kRtvA mandrastanitamuravadhvAnamAvirvitanvan / vandArUNAM zRNu sunibhRtaH stotrapATha munInAM pazcAduccairbhujataruvanaM maNDalenA'bhi lInaH // 13 // anvayaH - pazcAt ca tatra itthaM bhaktiprakaTanapaTuH AtodyagoSThIM kRtvA mandrastanitamuravadhvAnaM Avirvitanvan uccairbhujataruvanaM abhi maNDalena lInaH : vandArUNAM munInAM stotrapATha sunibhRtaH ( san ) zRNu / itthamityAdi / pazcAt anantaraM ca tatra kalakalAjinAlaye itthaM uktaprakAreNa bhaktiprakaTanapaTuH jinaguNAnurAgaprakAzananadISNAtaH / bhakterjinaguNAnurAgasya prakaTane prakaTIkaraNe / prakAzana ityarthaH / paTuH nadISNAtaH / kuzala ityarthaH / AtodyagoSThIM tatAvanaddhaghana suSirabhedAtodyaviSayaM sambhASaNaM / ' tataM caivA'vanaddhaM ca ghanaM suSirameva ca / caturvidhaM tu vijJeyamAtodyaM lakSaNAnvitam ' iti bharatamuniviracite nATyazAstre / tacca vAditrAparanAmakam / ' tataM vINAdikaM vAdyaM AnaddhaM murajAdikaM / vaMzAdikaM tu suSiraM kAMsyatAlAdikaM dhanaM / caturvidhamidaM vAdyaM vAditrAtodyanAmakam / ' ityamaraH / Atodyasya vAdyasya goSThI saMlApaH / tAm / ' goSThI sabhAyAM saMlApe' iti vizvalocane / AtodyaviSayakaM saMlApamityarthaH / kRtvA vidhAya / mandrastanitamuravadhvAnaM gambhIragarjitamurajadhvaniM / mandraM gambhIraM ca tat stanitaM meghanirghoSazca mandrastanitaM / muravasya murajasya dhvAnaH dhvaniH / mandrastanitameva muravadhvAnaH mandrastanitamurajadhvAnaH / taM / 'kalo mandrastu gambhIre' iti ' stanitaM garjitaM meghanirghoSe rasitAdi ca' iti cAmaraH / avivitanvan AviSkurvan / prakaTIkurvannityarthaH / ' prakAze prAdurAviH syAt' ityamaraH uccairbhujataruvanaM unnatazAkhAyukta vRkSakAntAram / uccairmahAntazca te bhujAH zAkhAH yeSAM te uccairbhujAH / te ca te taravazca / teSAM vanaM kAntAram / bhujazabdo'tra zAkhAvAcI abhi / abhiratra vibhaktyarthaH / tenonnatazA khAyuktavRkSavanoparitanabhAge ityarthaH / maNDalena maNDalAkAreNa / maNDalAkAraM bhramitvetyarthaH / lInaH sthitaH / vandAruNAM vandana

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dvitIyaH sargaH] 151 zIlAnAM / 'zRvRndAdAruH' iti zIlArthe ArustyaH / munInAM tapasvinAM / stotrapAThaM stutipaThanaM sunibhRtaH sutarAM vAcaMyamaH san zRNu zrutiviSayaM nayasva / And afterwards, having entered upon a discourse with reference to the musical instruments, you, proficient in manifesting your devotion thus, revealing resonant sounds of drums in the form of your rumbling thunders, descended circuitously upon a grove of trees possessing very tall and big branclies, should, becoming silent, listen to the hymns of praise recited by sages engaged in praying. tasminkAle jaladharapathe svaM vitatya praharSA-- dviaaddiipairjinmuphrnbhktibhaaraavnmrH| draSTAsi tvaM dadhadiva muhuH svAmisevAnurAgaM sAndhyaM tejaH pratinavajapApuSparaktaM dadhAnaH // 14 // anyathaH- tasmin kAle jaladharapathe svaM vitatya bhaktibhArAvanamraH praharSAt vidyuddIpaiH jinaM upaharana, pratinavajapApuSparaktaM sAndhyaM tejaH dadhAnaH svAmisevAnurAgaM dadhat iva tvaM muhuH draSTAsi / tasminnityAdi / tasminkAle stotrazravaNasamaye jaladharapathe vyomamArge / jaladharANAM meghAnAM panthAH mArgaH jaladharapathaH / 'RkpUrappatho't' ityakAraH sAntaH / svaM AtmAnaM vitatya vistRtya / AtmanaH zarIrasya vistAraM kRtvetyarthaH / bhaktibhArAvanamraH bhaktyatizayena vinataH / bhakterjinAnurAgasya bhAraH atizayaH bhktibhaarH| tenAvanamnaH vinataH bhaktibhArAvanamraH / bhArabharazabdo smaanaarthoN| 'bharastvatizaye bhAre' iti vizvalocane / ' namkampismyajaskahiMsadIpo raH' iti zIlAdau rH| praharSAt prakRSTasantoSAt / prakRSTaH harSaH santoSaH prhrssH| tasmAt / vidyuhiipaiH| viyataH eva dIpAH vidyuddIpAH / taiH / jinaM jinezvaraM / upaharan pUjayan / jinezvarasyApacitiM vidadhAnaH ityarthaH / pratinavajapApuSparaktaM pratyagrauDrapuSpAruNaM / pratinavAni pratyagrANi japApuSpANi oDrapuSpANi pratinavajapApuSpANi / tAnIva rktmrunnN| 'sAmAnyeno. pamAnaM' iti sssH| 'oDrapuSpaM japA' itymrH| sAndhyaM sndhyaabhvN| tejaH dIptim / dadhAnaH vahan / svAmisevAnurAgaM / svAmino bhagavato jinezvarasya sevAyo anurAgaH prItiH svAmisevAnurAgaH / taM / dadhat iva dadhAnaH iva tvaM bhavAn draSTAsi dkssissyse|

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152 [ pArzvabhyudaye ___At that time (i. e. when you would be listening to the prayars), you, expanding your bodily form in the sky, worshipping Jina by waving lights in the form of lightnings very gladly, assuming the evening lustre red like that of a fresh Japa flower, would be looked at again and again as if cherishing fondness for the worship of the Lord. bhakti kurvazatamakha ivA''virbhavadivyarUpa zcitrAM vRttiM svarasaracitAM zaikhinI vA manojJAM / kaNThacchAyAM svavapuSi vahanmA sma yan sAdhuvAdaM nuttArambhe hara pazupaterA nAgAjinecchAm // 15 // anvaya :- zatamakhaH iva pazupateH bhakti kurvan , AvirbhavaddivyarUpaH, svarasaracitAM dvivyAM vRttiM manojI zaikhinI kaNThacchAyAM vA svabapuSi vahana, nRttArambhe sAdhuvAdaM yan ArdranAgAjinecchAM mA sma hara / bhaktimityAdi / zatamakhaH iva saudharmendraH iva pazupateH ahiMsAdharmopadezena prANigaNarakSaNaparasya bhagavato jinendrasya / pAtIti ptiH| pazUnAM bhRgAdiprANimAtrasya patiH paataa| tasya / bhakti guNAnurAgaM kurvan vidadhAnaH / janmAdi. kalyANakAle yathA saudharmendro bhagavato jinendrasya sahasranAmoccAraNena bhakti vidadhAti tathA bhakti kurvannityarthaH / AvirbhavadvivyarUpaH Avirbhavat prakaTIbhavat divyaM rUpaM yasya sH| svarasaracitAM svecchAvihitAM / svasya AtmanaH rasena abhilASayA / icchayetyarthaH / racitAM kRtAM / divyAM mnohaarinniiN| 'divyaM tu valgau divibhave'nyavat' iti vizvalocane / vRtti avsthaaN| pariNatimityarthaH / manojJAM saundaryabandhurA zaikhinI maayuurii| zikhinaH mayUrasyeyaM shaikhinii| tAm / kaNThacchAyAM grIvAkAnti / kaNThasya grIvAyAH chAyA kAntiH knntthdyutiH| taam| vA c| svavapuSi svazarIre -vahan dharan / nRttArambhe nRttodyame / nRttakriyAviSaye nRttakAle vetyarthaH / 'ArambhaH udyame darpa tvarAyAM ca vadhe'pi ca ' iti vishvlocne| sAdhuvAdaM prazaMsA / 'sAdhu, sAdhu' iti vAdaH sAdhuvAdaH / tam / yan / prApnuvan / ArdranAgAjinecchAM ArdranAgakesarakusumecchAM jalapUrNameghAnAM prabalAmicchAM vaa| ArdrAH pratyagrANi nAgakesarAH naagkesrkusumaani| 'puSpamaleSu bahulaM' iti puSpapratyayasyo / teSAM A samantAt jinA jitvarI icchA ArdranAgAjinecchA tAM / yadvA AHH jalaparipUrNAH nAgAH meghAH ArdranAgAH / teSAM AjinAM atizayena jitvrii| tIvAmityarthaH / icchAM jinapUjanA

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dvitIyaH sargaH ] 153 bhilASaM / mA sma hara viphalAM mA kuru / 'sasme laG ca' iti sasme mAGi luGlaDovidhAne kRte satyapi 'smeM loT' iti preSe'dhISTe vA loT / preSaH balAnniyogaH / adhISTamicchA / pratyagranAgakesarakusumArthI tvadIyAM icchAM, pratyagranAgakesaramUlAnAM tvajalArthomicchAM, jalaparipUrNAnAM tvAdRzAmanyeSAM meghAnAM jinendrapUjanecchAM mA viphalAM kuru / jalavRSTayA nAgakesarakusumambandhinI svAmicchAM nAgakesaramUlAnAM svajalAmicchAM vA saphalAM kuru / tanmandiraM vihAyAkAzamArgeNAlakAM yiyAsurjalavRSTiM kRtvA zIghraM yAyA ityarthaH / yadvA''tmAnaM tanmadirAdapasArya tvAdRzo'nyAnmeghAJjinapUjanAvasaraM pradAyAnato' lakAdhvani zIghra bajeti bhaavH| Worshipping the protector of animals (i. e. Jina ) like Indra, possessing excellent beauty becoming manifest (of its own accord ), having your body endowed with a new form modified according to your liking (i. e. taste ) or with lustre like that of the neck of a peacock, winning high praise expressed with a cry of well done, well done' at the time of the performance of a danco, do not give up your very strong desire for the fresh flowers of Nagakesara ( Mesua Roxburghii ) ( for worship ) ( or do not frustrate the strong desire of the fresh or young Nagakosara trees ). nATyaM tanvansuruciratanurnATaya vyomaraGge tArApuSpaprakararucire saumyavidyunnaTI tAM / nAyaM raudro mRduriti ciraM sAdhuvAdaiH priyAnte zAntodvegastimitanayanaM dRSTabhaktirbhavAnyA // 16 // anvayaH- nATyaM tanvan 'na ayaM raudraH (api tu) mRduH' iti priyAnte sAdhuvAdaiH bhavAnyA zAntodvegastimitanayanaM ciraM dRSTabhaktiH, suruciratanuH, tArApuSpaprakararucire vyomaraGge tAM saumyavidyunnaTI nATaya / .. nATyamityAdi / nATyaM gItavAditrAnugataM nRtyaM / 'tANDavaM naTanaM nATyaM lAsyaM nRtyaM ca nartane / tauryatrikaM nRtyagItavAdyaM nATyamidaM trayam' ityamaraH / 'nATya tauryatrike lAsye' iti vizvalocane / tanvan vidadhAnaH 'na ayaM raudraH (api tu) mRduH' ayaM nRtyaM kurvANo na rodraH bhayaGkaraH, api tu mRduH manoharaH / 'mRdvatIkSNe triSu lakSNe' iti vizvalocane / iti amunA prakoraNa / ' iti hetau prakAre ca prakAzAdyanukarSayoH' iti

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154 [ pArdhAbhyudaye vizvalocane / priyAnte svapatisamIpe / svaprItibhAjanasaudharmendrasakAze ityarthaH / sAdhuvAdaiH 'sAdhu sAdhu' iti prshNsaaprairvcnaiH| 'janodAharaNaM kIrti sAdhuvAdaM yazo viduH' iti dhanaJjayaH / 'sAdhUnAM satpuruSANAM vAdaH sAdhuvAdaH / kuzalo yogyo hitazca sAdhurucyate' itymrkiirtiH| atra cArvarthe sAdhuzabdaprayogaH / 'sAdhuddhiSike puMsi cArusajanayostriSu' iti vizvalocane / bhavAnyA zacyA indrANyA vA / bhavaH zreyaH aNimAdyaSTavidhamaizvaryamasyAstIti bhavaH / indra ityarthaH / 'bhavaH zrIkaMThasaMsArazreyaHsattAptijanmasu' iti vishvlocne| tasya patnI strI vA bhavAnI / indrANItyarthaH / 'varuNabhavazarvaradrendramRDAt' iti puMyogAt DI Anuk ca / tayA zAntodvegastimitanayanaM / zAntaH prazamaM gatazcAsau udvega usamazca zAntodvegaH / zAntodvegena stimite stabdhatvaM prApte ca zAntodvegastimite / zAntodvegastimite nayane yasmin karmaNi syAttathA / hasaH / tvadviracitanATyadidRkSayA tatraikasminnane baddhatvAtprazamitacalane; tata eva ca stimite nyane kRtvetyarthaH / 'udvega ujhUme' itymrH| ovijI bhayacalanayorityasmAddhorghaJ / udvego bhayamityanye / nATyaM vitanvato meghasya raudratvAbhAvAt bhayAsambhavAcchAntodvaigetisAmAsikapadasthodvegazabdasya bhayamityartho'nyatra grAhyatvaM nAtivartate / ciraM cirakAlaM yAvat / dRSTabhAktiH dRSTA'valokitA bhaktiH jinaguNAnurAgaH yasya saH / dRSTabhAktiriti pAThaH zAstraviruddhaH 'ruyuktapuMskAdanUrekArthe'priyAdau striyAm' iti dRSTazabdasyokta. puskatve'pi bhaktizabdasya priyAdigaNapAThe paThitatvAt pUrvapadasya puMstvAsambhavAt / dRDhaM bhaktiryasyAsau dRDhabhaktirityAdivadapyasya prakRtasya pAThasya sAmaJjasyaM na ghttte| 'dRDhaM bhaktirasya dRDhabhaktiH, zobhanabhaktirityAdau na pUrvapadaM strIliGgamiti / tena priyAdau dyau pUrvasya TAbAzaGkA na kartavyA' iti mahAvRttikAroktyanusAreNApi prakRtapAThasya samIcInatvaM ghaTAmaTenna veti vayaM na jAnImaH / suruciratanuH / sutarAM rucirA manojJA tanuH kAyaH yasya saH / suzobhanazarIra ityarthaH / tArApuSpaprakararucire / tArA eva puSpANi / teSAM prakaraH vikIrNakusumasamUhaH tArApuSpaprakaraH / 'prakaro nikurambe syAtprakIrNakusumAdiSu' iti vizvalocane / tena ruciro manojJaH / tasmin / vyomarage / vyomaiva raGgo nRttasthalaM! tasmin / 'raGga trapuNi raGgo nA roge vRttasthale raNe' iti bhaaskrH| tAM prasiddhA / saumyavidyunnaTI / vidyudeva naTI vidyunnaTI / saumyA manojJA'nugrA vA vidyuvaTI saumyavidyunnaTI / to / 'saumyo'tha vAcyavat / bauddha manorame'nugre pAmare somadaivate' iti vizvalocane / nATaya nartaya / Performing a dance, you, with (your) devotion noticed for a long time with (her) eyes rendered motionless owing to their rolling being

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dvitIyaH sargaH] 155 subsided by Bhavani (zacI), highly praised before her beloved husband in the words as "This one is not terrible but beautiful', possessing a very beautiful form, should make the actress, the agreeable lightning, dance on the plat-form in the form of the sky beautiful on account of the scattered flowers in the form of stars. AlokyaivaM zriyamatha mahAkAladevAlayAnAM kRtvA sAndhyaM samucitavidhi cAtra bhUyo nagaryAm / lIlAM pazyanvihara zanakai rAtrisambhogahetoH gacchantInAM ramaNavasatiM yoSitAM tatra naktam // 17 // anvayaH-- atha evaM mahAkAladevAlayAnAM zriyaM Alokya atra bhUyaH sAndhyaM samucitavidhi ca kRtvA tatra nagayoM naktaM rAtrisaMbhogahetoH ramaNavasatiM zanakaiH gacchantInAM yoSitAM lIlAM pazyan vihara / AlokyetyAdi / atha nRtyavidhAnAntara / 'athA'thA ca zubhe prazne sAkalyArambhasaMzaye / anantare'pi' iti vizvalocane / evaM proktaprakAreNa mahAkAladevAlayAnAM mahAkAlAbhidhavanasthAjanendramandirANAM zriyaM saundarya / 'zrIlakSmIbhAratIzobhAprabhAtu saraladrume / vezItravargasa pattau zeSApakaraNe matau ' iti vizvalocane / Alokya nayanAtithitAM nItvA atra jinendramandire bhUyaH punaH / ' bhUyastu syAtpunaH punH| anavyayaM prabhUtArthe ' iti vizvalocane / sAndhyaM sandhyAsamayasambandhinaM / sandhyAyAM bhavaM sAndhyam / samucitavidhi ca bhagavato'hato yogyaM vidhi vidhAnaM / kriyAmityarthaH / cakaro'trApyarthe jJeyaH / kRtvA vidhAya / tatra nagaryAm / naktaM rAtrau / 'nattaM ca rajanAviti' ityamaraH / rAtrisambhogahetoH / rAtrau kriyamANaH sambhogaH strIsaGgaH rAtrisambhogaH / 'rate bhoge ca sambhogaH sambhogI jinazAsane' iti vizvalocane / tasya hetuH / tasmAt / ramaNavasAta priyanivAsasthAnaM / ' ramaNastu priye smare' iti -- vasatiH syAnnizAvezmAvasthAne'pyahaMdrAzrame' iti ca vizvalocane / zanakaiH zanaiH / gacchantInAM / gacchatIti gacchantI / bahuvacanam / yoSitAM strINAM / ' lalanA kAminI yoSidyoSA sImantinI vadhUH ' iti dhanaJjayaH / lIlA zRGgArAdikrIDAM pazyan avalokayan vihara vihAraM kuru /

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[ pArzvAbhyudaye Afterwards, having perceived thus the beauty of the temples situated in the Mahakala forest, and again having perforned the evening rites here ( i. e. in this temple ), move about in that city seeing amorous sports of the women going slowly to the residence of their lovers for the sake of having nocturnal sexual enjoyment. 156 garjatyuccairbhavati pihitavyomamArge ramaNyo gADhotkaNThA madanavivazAH puMsu saGketagoSThIm / ekAkinyaH kathamiva ratau gantumIzA nizIthe ruddhAloke narapatipathe sUci bhedyaista mobhiH // 18 // - anvayaH - - pihitavyomamArge bhavati uccaiH garjati nizIthe narapatipathe sUcibhedyaiH tamobhiH rudvAloke puMsu gADhotkaNThAH madanavivazAH ramaNyaH ratau saGketagoSThI ekAkinyaH gantuM kathamiva IzAH ? garjatItyAdi pihitavyomamArge pracchAditAkAzAdhvani / pihitaH pracchAditaH vyomamArgaH AkAzapathaH yena saH / tasmin / ' dhAJnadyoH ' iti dhAJi parato'perAdeH kham / 'vaSTi bhAguriralopamavApyorupasargayoH ' iti vA'llopaH / bhavati tvayi uccaiH mahAntaM dhvanimuccArya garjati garjidhvaniM kurvati / satIti zeSaH / 'yadbhAvAdbhAvagatiH' itI | nizIthe rAtrau / 'nizIthastu nizAmAtrArdharAtrayoH ' iti vizvalocane / narapati* pathe rAjamArge / narapateH rAjJaH panthAH narapatipathaH / ' RkpUrappathot' iti sAnto'tyaH / sUcibhedyaiH atinibiDaiH / tamobhiH timiraiH / rudvAloke pratibaddhaprakAze / " Aloko darzane'pi syAdudyote bandibhASaNe ' iti vizvalocane / puMsu puruSaviSaye / gADhotkaNThAH saJjAtatItrautsukyAH / ' tItraikAntanitAntAni gADhavADhadRDhAni ca ' iti ' utkaNThAtkAlike same ' iti cAmaraH / ' tatprAptIcchAM sasaGkalpAmutkaNThAM kavayo 'viduH ' ityapyAhuH | madanavivazAH kAmavAsanAdhInamanaskArAH ramaNyAH striyaH ratau nidhuvanakrIDAhetoH / ' hetau sarvAH prAyaH iti tAvIp / saMketagoSThIM saGketaniketanaM / samayasthAnamityarthaH / ekAkinyaH asahAyAH / ' ekAdazviAsahAye ityasahAyArthe'trAkin / GI ca / gantuM prAptuM kathamiva kena prakAreNa IzAH samarthAH / tA ekAkinyaH samartha na bhaviSyantItyarthaH / " How could the women, cherishing strong desire for males, highly inflamed by passion, be able to go alone to the places of appointment,

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dvitIyaH sargaH ] when you, who would have blockaded the heavenly path, would be giving out roaring thunders and when the royal roads would have the light obstructed by the masses of very pitch darkness at night? tasmAnoccaiyaniSu ca bhavA''DambaraM saMharAzu pratyUhAnAM karaNamasatAmAdRtaM nonnatAnAM / kartavyA te sujana vidhure pratyutopakriyA''sAM saudAmanyA kanakaMnikaSasnigdhayA darzayorvIm // 19 // anvayaH- tasmAt dhvaniSu uccaiH na bhava ADambaraM ca Azu sahara / pratyUhAnAM karaNaM asatAM AtaM, na unnatAnAM / pratyuta (he) sujana AsAM vidhure upakriyA te. kartavyA / kanakanikaSasnigdhayA saudamanyA urvI darzaya / tasmAdityAdi / tasmAt / yataH saGketagoSThI nizIthe gantumasamarthAH bhavipyanti tataH / dhvaniSu dhvanyuccAraNaviSaye uccaiH mahAn na bhava mA bhava / mandamandadhvanirbhavetyarthaH / nIcarbhaveti pAThastu samIcInaH / ADambaraM ca prapaJca ca / dhvanimahattvamityarthaH / ' ADambaraM karIndrANAM garjite tUryanisvane / samArambhe prapaJce ca racanAyAM ca dRzyate' iti vizvalocane / Azu zIghraM saMhara dUrIkuru / pratyUhAnAM vighnAnAM / 'vighno* ntarAyaH pratyUhaH' itymrH| karaNaM vidhAnaM asatAM durjanAnAM AhataM priyaM / 'Ahata sAdare'pi syAtpUjite'pyabhidheyavat' iti vizvalocane / na unnatAnAM na sajanAnAM / bhavatIti zeSaH / pratyuta pakSAntare he sujana bho sAdho / he bhadrapuruSetyarthaH / AsAM vanitAnAM vidhure viSadi pravizleSe vA / 'vidhuraM tu pravizleSe pratyavAye'pi tanmatam ' iti vizcalocane / upakriyA upakRtiH te tava / tvayetyarthaH / ' vyasya vA kartari' iti tA / kartavyA vidhAtavyA / knkniksssnigdhyaa| nikaSyate'treti nikaSaH / 'gocarasaJcaravahanajavyaja saGkramApaNakhelabhagakapanikaSanigamAH' ityAdhAre dhAnto nipaatH| kanakasya nikaSo nikaSopala: knknikssH| nikaSasya kaSapaTTiketyarthaH / nikaSitakanakarekhAyAH kaSapaTTikAsthiItakatvAnikaSetyAbhikhyA na doSAvahA / tena nikaSasya kaSollikhitasuvarNarekhAyA atra grahaNam / sa iva snigdhayA tejasvinyA vaa| snigdhayetipadasya tejasvyarthagrahaNe, 'sAmAnyanopamAna' iti sH| snigdhaM tejaH asyA astIti snigdhA / 'osbhrAdibhyaH ' ityatyaH / yadvA tasya snidhaM teja iva snigdhaM yasyAH sA / 'IbupamAnapUrvasya yukhaM gatArthatvAt ' iti vA saH / yadvA tasyeva snigdhA manohAriNIti vA

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158 [pArdhAbhyudayaH vigrhH| tavA / saudAmanyA vidyutA / sudAmnA adriNA meghena vaikadik saudaamnii| "sudAmA tvambude girau' iti vizvalocanaH / ' ekadik' iti bhAntAdekadigarthe samAnadigarthe yathAvihitaM tyaH / aNityarthaH / 'anaH' iti sudAmaniti zabdasyAnnantatvAdANi pare'pi TikhAbhAvaH / urvI bhUmiM darzaya prakAzaya / prakAzitAM kurvityarthaH / andhatamase sthapuTitabhUbhAgadarzanAsambhavAtpAtazaGkAkulatvAttAyAM mArga darzayetyarthaH / Do not, therefore, be very noisy, while giving forth thunders and . contract immediately ( your ) expanse. The act of impeding is looked upon favourably by the wicked and not by the noble-minded. Oh benevolent one ! you should help those distressed ones. By means of flashes of lightning shining like a gold streak on a touch-stone point out the earth to those. krIDAhetoryadi ca bhavato garjanenotsukatvaM mandaM mandaM stanaya vanitAnUpurArAvahRdyam / tAsAmantarmaNitasubhagaM sambhUtAsAradhAraH toyotsargastanitamukharo mA ca bhuurviklvaastaaH||20|| anvayaH-- yadi ca krIDAhetoH bhavataH garjanena utsukatvaM vanitAnUpurArAvahRdyaM tAsAM antarmaNitasubhagaM mandaM mandaM stanaya; sambhRtAsAradhAraH toyotsargastanitamukharaH ca mA bhUH, tAH viklavAH / krIDetyAdi / yadi ca pkssaantre| 'pakSAntare cedyadi ca' itymrH| krIDAhetoH krIDArtham / krIDAyAH parIhAsasya hetoH kAraNAt kriiddaahetoH| 'dravakeliparIhAsAH krIDA lIlA ca narma ca' itymrH| garjitadhvanijInatabhItiyoSitkRtakolAhaladidRzyetyabhiprAyaH / bhavataH tava / garjanena garjidhvaninA / utsukatvaM utkaNThitatvaM / garjidhvanijanane tadarthe vautsukatvamityarthaH / vanitAnUpurArAvahRdyaM / vanitAnAM yoSitAM nUpurAH maJjIrAH vanitA napurAH / nArImaJjIrAH / teSAmArAvA zvanayaH / shinyjitaaniityrthH| te iva hRdyaM manoharaM yathA syAttathA / hRdayasya priyaM bandhanaM vA hRdyam / 'janyavazyadharmyadhenuSyAmUlyahRdyagArhapatyAH' iti yAnto nipAtaH yatye ca parataH 'hRdayasya hRlekhANyalAse' iti hRdayasya hRd / tAsAM yoSitAM / antrmnnitsubhgN| nidhuvanakriyAyAmuccArito'nakSaro dhvanivizeSo antarmaNitaM / tadvadiva subhagaM manoharaM yathA syaattthaa| mandaM mandaM zanai zanaiH / stanaya garjitadhvani kuru / smbhRtaasaardhaarH| AsArasya

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dvitIyaH sargaH] vegavadvarSasya dhArAH savAH AsAradhArAH / 'AsArastu prasaraNe dhArAvRSTau suhRbale' iti 'dhArA paGktau dravadravyasrave'zvagatipaJcake / ... / ... dhArAbhyAse nutAvapi' iti ca vizvalocane / sambhUtAH niSpAditAH AsAradhArAH vegavadvarSajanitasravAH yena saH / toyotsargastanitamukharaH / toyotsargaH jalavRSTiH / stanitaM garjitaM / garjanadhvanirityarthaH / toyotsargazca stanitaM ca toyotsargastanite / tAbhyAM mukharaH vAcAlaH toyotsargastanitamukharaH / stanitazabdasyAlpActvAtpUrvanipAte prApte'pi paranipAtaH pUrvanipAtazAstrAnityatvanibandhana ityavaseyaM / yadvA, toyAtsarge jalavRSTikAle yat stanitaM garjanAdhvaniH tena mukharaH iti vA vigrahaH / ca / co'tra smuccye| 'caH pAdapUraNe pakSAntare cA'pi samuccaye / anvAcaye samAhAre'pyanyonyArthe'vadhAraNe' iti vizvalocane / mA bhUH mA bhava / tAH striyaH / viklavAH bhIravaH / tAsAM bhIrutvAdityarthaH / atra vAvibhaktirhato 'heto sarvAH prAyaH' iti vacanAt / yadvA hetugarbhametadvizeSaNam / 'viklavate kAtarIbhavati viklavaH' iti kSIrasvAmI svopajJAyAmamarakozaTIkAyAm / If at all you are ardently desirous of giving forth thunders for the sake of ridiculing, roar very slowly as charmingly as the jingling of anklets and as the internal inarticulate murmuring uttered at co-habitation. Do not pour showers of heavy rain and do not be noisy with thunder at the time of down-pour of water; for thoy are timid. bhrAntvA kRtsnA purabhiti ciraM rAtrisambhogadhUpai labdhAmodaH sukhamanubhava tvaM garIyAnazeSAm / tAM kasyAzcidbhavanavalabhI suptpaaraavtaayaaN| nItvA rAjI ciravilasanAt khinnavidyutkalatraH // 21 // anvaya :- rAtrisambhogadhUpaiH labdhAmodaH ciravilasanAt khinnavidyutkalatraH garIyAn tvaM iti kRtsnA puraM bhrAntvA suptapArAvatAyAM kasyAJcit bhavanavalabhau tAM azeSAM rAtrI nItvA sukhaM anubhv| bhrAntyetyAdi / rAtrisambhogadhUpaiH nizIthe kriyamANe sambhoge strIsamAgame upayuktaidhUpaiH / rAtrau nizIthe kriyamANaH sambhogaH strIsaGgaH raatrismbhogH| 'rate bhoge ca sambhogaH sambhogo jinazAsane ' iti vizvalocane / tatropayuktAH dhUpAzcandanAgurvAdisugandhidravyacUrNAni / taiH / labdhAmodaH samprAptasaugandhyaH / labdhaH samprAptaH AmodaH parimalaH yena saH / 'sugandhimudi vA''modaH' iti vizvalocane /

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[ pArzvAbhyudaye 8 ciravilasanAt dIrghakAlaM yAvatsaJjanitaprakAzatvAt / vidyutaH kSaNarucikatve'pi dIrghakAlaM yAvat paunaHpunyenoddAmahAsaprakaTanAditi bhAvaH / khinnavidyutkalatraH zrAntasaudAmanIbhAryaH / vidyut saudAmanyeva kalatraM bhAryA vidyutkalatraM / khinnaM zrAntaM vidyutkalatraM yasya saH khinnavidyutkalatraH / ' kalatraM bhUbhujAM durgasthAne'pi zroNibhArthayoH ' iti vizvalocane / garIyAn gurutaraH / prakRSTo gururvetyarthaH / ' guNAGgAdveSTheyasU' itIya si bahulagurUrUvRddhatRpradIrghavRndArakANAM baddigarvarvarSitrap drAghavRndAH ' iti gurorgarAdezaH / tvaM bhavAn / iti uktaprakAreNa kRtsnAM nikhilAM puraM nagarIM bhrAntvA paribhramya / tasyAM nagaryo nikhilAyAM paribhramaNaM vidhAyetyarthaH / suptapArAvatAyAM / suptAH nidrAmudritalocanAH pArAvatAH kalaravAH yasyAM sA / tasyAM / pArAvataH kalarave zaile markaTatendave ' iti vizvalocane / kasyAzcit kutracit bhavanavalabhau / bhavanasya prAsAdasya valabhiH gRhAcchAdanaM bhavanavalabhiH / tatra / ' valabhI chAdane vakradAruNi ' ityamaraH / ' paTalAghArI vaMzapaJjaro valabhI, valabhyAzvaDA vA / vala saMvaraNe' iti kSIrasvAmyamaraTIkAyAm / ' AcchAdanaM syAdvalabhirgRhANAM ' iti halAyudhaH / tAM azeSAM rAtrIM tAM nikhilAM nizIthinIM nItvA yApayitvA sukhaM Ananda anubhava anubhUyAH / anubhUtiviSayatAM prApayetyarthaH / " 160 You, enjoying fragrance of the incense used at the time of the nocturnal cohabitation, having your beloved, the lightning, fatigued owing to her emitting flashes of light again and again for a long time, possessing a very expansive ( bodily ) form, having roamed for a long time over the city and having spent that whole night on the upper part of some mansion-gallery having pigeons asleep, should enjoy happiness. yadyapyasyAM kSaNaparicayaH svargavAsAtizAyI tatrAsssakti sapadi zithilIkRtya vairaM ca yogAt / dRSTe sUrye punarapi bhavAn vAhayedadhvaziSTaM mandAyante na khalu suhRdAmabhyupetArthakRtyAH // 22 // anvayaH yadyapi asyAM kSaNaparicayaH svargavAsAtizAyI [ tathApi ] tatra Asakti yogAt vairaM ca zithilIkRtya punarapi sUrye dRSTe bhavAn adhvaziSTaM vAhayet / suhRdAM abhyupetArthakRtyAH na khalu mandAyante /

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dvitIyaH sargaH] yadyapItyAdi / yadyapi asyAM etasyAmujjayinyabhidhAnAyAM nagarthI kSaNaparicayaH / kSaNaM kSaNamAtrakAlaM yAvat paricayaH saMsargaH kSaNaparicayaH / alpakAlaparimANaH sambandha ityarthaH / svrgvaasaatishaayii| svarge nAke devanivAse vAsaH svrgvaasH| taM atizete iti svrgvaasaatishaayii| 'zIle'jAtau Nin' iti zIle Nin / tathApi tatra tasyAM nagaryA kSaNaparicaye vA / AsaktilAmpaTyam / yogAt / yoga saMbandhaM saGgati mitratvaM vA prApya / 'pyale karmAdhAre' iti pyakhe kA / 'yogaH sannAhasandhAnasaGgatidhyAnakamaNi / viSkambhAdiSu sUtre ca dravye vizvastaghAtini / care cApUrvalAbhe'pi bheSajopAyayuktiSu' iti vizvalocane / zatrAvapi mitrabhAvamAzrityetyarthaH / vairaM ca zAtravaM ca / zithilIkRtya / azithilaM zithilaM zlathaM kRtvA zithilIkRtya / 'viDAjUryAdyanukaraNaM' iti tisaMjJattvAt 'tikAGduH' iti SasaH, tisatvAcca 'pyastivAkse ktvaH' iti ktvAtyasya pyaH / svargavAsAtizAyinyapi tatra kSaNaparicayaM Asakti mayi vairabandhaM parityajya mitrabhAvaM ca prApyAnyupetasuhRdayaMkRtvo bhavAnalakAgamanaviSaye vilambaM mA kurviti bhAvaH / api tu punarapi bhUyo'pi sUrya marIcimAlini dRSTe nayanaviSayatAM * prApte sati bhavAn tvaM adhvaziSTaM / adhvanaH AkrAntamArga vihAya ziSTaH zeSaH adhvaziSTaH / tam / AkrAntorvaritaM mArgamityarthaH / vAhayet gacchet / suhRdAM mitrANAM / 'atha mitraM sakhA suhRt' ityamaraH / abhyupetArthakRtyAH jriikRtmitrpryojnnisspaadnaaH| arthasya prayojanasya kRtyA kriyA arthkRtyaa| 'arthaH prayojane citte hetvabhiprAyavastuSu' iti vizvalocane / 'kRtyA kriyAdevatayostriSu bheye ghanAdiSu' ityapi tatraiva / iSTaprayojananiSpAdanamityarthaH / 'kriyAyAM karaNe kRtyA, yathA-kAM kRtyAmakArSIH' iti kSIrasvAmI / tena kRtyetyasya karaNaM vidhAnaM sampAdanamityarthaH / 'kuH zazva' iti kyap / sApekSaH so'yaM gamakatvAttasyArthasya 'sApekSatve'pi gamakatvAtsamAsaH' ityasya zAstra. vihitatvAt / na khalu naiva / 'khalu syAdvAkyabhUSAyAM khalu vIpsAniSedhayoH / nizcite sAntvane maune jijJAsAdau khalu smRtam ' iti vizvalocane / mandAyante mandAH alasAH bhavanti / 'mandastundaparimRja AlasyaH zItako'laso'nuSNaH ' ityamaraH / amandAH mandAH AlasyAH bhavantIti mandAyante / 'bhRzAdezcavyo staH' iti kyaG 'DAulohitAdibhyaH kyam' iti kyam vA vyarthe mandazabdasyobhayatra paThanAt / Though the familiarity, lasting for a moment, with this ( city ), surpasses the ( life-long ) stay in the heavens, you,, giving up your fondness for the city and dispelling enmity (with me) by entering pArthA bhyudaye...11

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162 [ pArdhAbhyudaye into frindship (with me), should cover the remaining portion of your travel when the sun would be seen again ( the next morning ). rUddhe bhAnau nayanaviSayaM nopayAti tvayA'sau bhAso bhaGgAdadhanirasanaM mA sma bhUttvantriImatam / tasminkAle nayanasalilaM yoSitAM khaNDitAnAM zAnti neyaM praNayibhirato vama bhAnostyajAzu // 23 // anvayaH-- tvayA bhAnau ruddhe asau nayanaviSayaM na upayAti / tvanimittaM bhAsaH bhaGgAt aghanirasanaM mA sma bhUt / tasmin kAle khaNDitAnAM yoSitAM nayanasalilaM praNayibhiH zAnti neyam / ataH bhAnoH vama Azu tyaja / . ruddhe ityAdi / tvayA bhavatA bhAnau marIcimAlini ruddha svazarIravistAreNA' bhitaH vyApte sati asau sUryaH nayanaviSayaM netragocaraM / nayanayoH netrayoH viSayaH gocaraH nynvissyH| tam / na upayAti na prApnoti / ghanAghanazarIravistAraNa sarvataH sUryabimbe pihite sati vyavadhAnanihnatatvAt nayanagocaratAM na prApnotIti bhaavH| tvannimitaM bhavannimittena bhAsaH prakAzasya / sUryAtapasvetyarthaH / bhaGgAt vinAzAt / bhavaccharIravistAravyAptaravibimbatvAt tadAtapavinAzAdityarthaH / aghanirasanaM duHkhavinAzaH / 'pApe'ttau vyasane cA'ghaM ' iti vizvalocane / 'aMho duHkhavyasaneSvadhaM ' itya. maraH / 'syAnnirAse nirasanaM vadhe niSThIvane tathA' iti vishvlocne| 'pratyAkhyAnaM nirasanaM pratyAdezo nirAkRtiH' itymrH| mA sma bhUt mA sma bhavat / na bhaviSyatIti bhaavH| 'sasme laG ca ' iti sasme mAdi lung| 'luGlaGlaGyamAGAT' iti mADo yogAdatrADAgamapratiSedho luGi prto'pi| ravibimbasya bhavatA nihnatatvAt sUryAtapAbhAvAt rAtrisambhramAt svapriyatamavidhIyamAnaprArthanAcATvasambhavAt khaNDitAnAM duHkhopazamo na sambhavediti bhAvaH / 'bhAso'bhaGgAdaghanirasanaM mA sma bhUstannimittaM' iti parivartite pAThe Azrite 'bhAsaH abhaGgAt aghanirasanaM [bhavati, tvaM] tannimittaM mA sma bhUH' itynvyH| bhAsaH sUryAtapasya abhAt avinAzAt / prAdurbhUtatvAditi bhaavH| bhaGgAditi pAThe tu prAdurbhAvAdityarthaH, bhaGgazabdasya vircnaarthtvaat| aghanirasanaM duHkhprihaarH| bhavatIti shessH| udayazikharizikharArUDhasahasrAcirvakIrNamarIcimAlAlakRte bhUmaNDale' nyAsambhogacihnitasvapatidarzanodbhataduHkhadurmanAyamAnabhAminIduHkhaprazamanAbhilASaH paradAragAmI sannapi tatpriyatamazcATukArakSamAyAcanapAdapatanAyupAyaiH taduHkhaprazamanaM karotItya

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dvitIyaH sargaH ] 163 bhiprAyaM manasikRtya 'bhAso'bhaGgAdaghanirasanaM' iti kavyuktirityavaseyam / tasmin kAle pUrvazlokapradarzite sUryadarzanakAle khaNDitAnAM itvArakAparigRhItAparigRhItAdyanyatamAgamanacihnAGkisvapriyatamadarzanajanitayakaSAyitAnAM yoSitAM strINAM / ' prArzvameti priyo yasyA anyasambhogacihnitaH / sA khaNDiteti kathitA dhIrairIyakaSAyitA ' iti sAhityadarpaNe vizvanAthaH / nayanasalilaM nayanayorAvirbhUtamazrujalaM praNayibhiH priyatamaiH zAnti zamanaM neyaM netavyam / zAntisalilazabdayorivantatvaM nayaterdvikarmakatvAdavaseyam / ataH khaNDitAnayanAzrujalopazamanAvasarapradAnahetoH bhAnoH sUryasya vartma mArga Azu zIghraM tyaja muJca / sahasrakiraNa kiraNakalApamArgAvarodhakastvaM mA bhUrityarthaH / The sun would not fall in the range of sight, when he would be obstructed by you. Dissipation of misery (of women) would not be possible owing to the disappearance of the sun-light caused by you, At that time (i. e. in the morning when the sun rises), the tears of women treacherously disappointed ( by their lovers ) are to be allevia - ted by their affectionate lovers - so, quit ( or go away from ) the path of the sun quickly. anyaccAnyavyasanavidhureNA''rya mitreNa bhAvyaM tanmA bhAnoH priyakamalinIsaMstavaM tvaM nirundhAH / prAleyAsraM kamalavadnAtso'pi tu nalinyAH pratyAvRttastvayi kararudhi syAdanalpAbhyasUyaH // 24 // anvayaH - anyat ca Arya ! mitreNa anyavyasanavidhureNa bhAvyaM; tat tvaM bhAnoH priyakamalinIsaMstavaM mA nirundhAH / nalinyAH kamalavadanAn prAleyAkhaM hartu pratyAvRttaH saH api tvayi kararudhi analpAbhyasUyaH syAt / anyazcetyAdi / anyat c / bhavannimittena dinamaNikiraNaughAnAM pratyAhatatvAtkhaNDitAnAM yoSitAM duHkhanirasanaM na bhaviSyatItyekaM dUSaNamabhidhAya tanmArganirodhe dUSaNAntaraM darzavitumanyaccetyAha / Arya satAM pUjya mitreNaM suhRdA / 1 mitraM sakhyau khaiau pumAn' iti vizvaleocane / anyavyasanavidhureNa anyavipattiduHkhitena / anyasya vyasanaM vipattiH anyavyasanaM / ' vyasanaM tvazubhe saktau pAnastrImRgayAdiSu / devAniSTaphale pAke vipattau viphlodyme|| saktimAtre sucaritAdbhraMze kopajadUSaNe / ' iti vizvalocane / tena vidhuraH vikalaH / duHkhitaH ityarthaH / ' vidhuraM tu pravizleSe pratyavAye'pi tanmataM /

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164 [pArdhAbhyudaye vidhurA tu rasAlAyAM vidhuraM vikale'nyavat // ' iti vizvalocane / tena / bhAvyaM avazyaM bhavitavyam / 'orAvazyake' ityuvarNAntAdbhUdhorAvazyake dyotye pyH| sUryasya mitraH iti nAmAntaraM / tacca mitratvaguNanibandhanamityabhipretya mitreNa suhRdbhAvAGkitasvAntenAnena bhAnunA'nyavipattivikalenAvazyaM bhavitavyamanyathA mitratvavyAhateH / yadvA, ayaM mitro bhAnuH anyApattivikalo jAtaH eveti suspaSTaM bhAtIti bhAvaH / tat yasmAtkAraNAdayaM bhAnuH paraduHkhadukhitaH pratibhAti tasmAtkAraNAt / tvaM bhavAn bhAnoryumaNeH priyakamalinIsaMstavaM priyanalinIparicayaM / priyA hRdayagrAhiNI cA'sau kamalinI nalinI ca priyakamalinI 'priyastu triSu hRdye syAddhave vRddhauSadhe pumAn' iti vishvlocne| 'puMvadyajAtIyadezIye' iti yttvaatpuNvdbhaavH| tasyAH saMstavaH paricayaH / taM / 'saMstavaH syAtparicayaH' itymrH| mA nirundhAH mA sma nivArayatu / nalinyAH kmlinyaaH| nalAni kamalAni santyasyAH iti nalinI / tsyaaH| 'nalaM tu sarasIrahe' iti vishvlocne| 'puSkarAddeze' iti nalazabdAdini pare 'jAterayozUdrAt' iti striyAM Go / yadvA 'ato'nekAcaH' itIni pare striyAM GI / kamalavadanAt nalinAnanAt / kamalaM nalinameva vadanamAnanaM kamalavadanaM / tasmAt / prAleyAsraM nIhArarUpamazrujalaM / pralayAdAgataM ' tataH AgataH ' ityaNi 'kekayamitrathupralayAnAM yAderiy' ityaNo NittvAdyakArAderiy / prAleyamevAsramazru prAleyAstraM / 'anu netrAmbu rodanaM cAtramanu ca' ityamaraH / hata apanetuM pratyAvRttaH punarAgataH saH api saH bhAnuH api tvAye meghAkAradhAriNi bhavati kararudhi kiraNavyavadhAyake sati / karAn kiraNAn hastasadRzAnkiraNAnvA. ruNaddhIti kararudh / kip / karAH hastAH iva karAH kirnnaaH| 'devapathAdibhyaH' itIvArthasya kasyos / analpAbhyasUyaH vipulmtsrH| analpA adhikA abhyasUyA guNeSu doSAropaNakriyA vidyate yasya saH / syAt bhavet / prAktanadinAvasAnakAle AtmAnaM vimucyAnyatra gataM svapriyatamaM dinamANaM dRSTrekiSAyitA praru. ditA netrANi gAlayatIti matvA pratyAgacchato dyumaNestadanApanunudiSoH kiraNAnkarAkArAn mA nirundhA ityaabhipraayH| 'nirundhAH' iti laGantamadhyamapuruSaikavacanam / . Moreover, Oh noble one I a friend should necessarily feel sorry for the severe pressure of pain on the other. You should not, therefore, put obstacles in the acquaintance of the sun with the lotus-creeper, his beloved. He too, come back to remove the tears in the form of dew-drops from the face in the form of the lotus of the lotus-creeper, might be not a little angry when you would be obstructing ( his) hand-like rays.

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dvitIyaH sargaH] 165 gambhIreti tvamapi subhagAM tAM dhunI mA'vamaMsthAH gatvA tasyA rasamanubhava tvayyaMtisvacchavRtteH / gambhIrAyAH payasi saritazcetasIva prasanne chAyAtmA'pi prakRtisubhago lasyate te pravezam // 25 // anyayaH-- tvaM api tAM subhagAM dhunI gambhIrA iti mA avamasthAH / gatvA tvayi atisvacchavRttaH tasyAH rasaM anubhava / gambhIrAyAH saritaH cetasi iva prasanne payasi te prakRtisubhagaH chAyAtmA api pravezaM lapsyate / gammIretyAdi / tvaM api bhavAnapi tAM prasiddhAM subhagAM manoharAM / zobhanaM bhagaM saundaryamasyAH subhgaa| taaN| 'bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratnabhAnuSu' iti vizvalocane / dhunI ndiiN| 'taraGgiNI zaivalinI taTinI hRAdinI dhunii| srotasvinI dvIpavatI sravantI nimnagA''pagA' ityamaraH / gambhIrA iti agAdheti / agAdhatvAdityarthaH / itIti hetAvatra / ' iti heto prakAre ca prakAzAdyanukarSayoH ' iti vishvlocne| mA avamaMsthAH mAvajJAsIH / tasyAH avajJA mA kurvityarthaH / 'luGalaGluGyamAGAT' iti mAGyogasadbhAvAdaDAgamo'tra pratiSiddhaH / gatvA tAM gambhIrAkhyAM nadI prApya tvayi bhavadviSaye atisvacchavRtteH sunirmalamateH / ati prakarSaNa svacchA nirmalA vRttiH samudAcAraH matiH vA yasyAH sA / tasyAH / tasyAH gambhIrabhidhAnAyAH saritaH rasaM jalaM / atra rasazabdena gambhIrAyAH anurAgo'pi dhyanyate / anubhava anubhUtiviSayatAM nayasva / gambhIrAyAH saritaH gambhIrAbhidhanimnagAyAH cetasi iva manasi iva prasanne nirmale payasi pAnIye te tava prakRtisubhagaH svabhAvasundaraH / prakRtyA svabhAvena subhagaH sundaraH prakRtisubhagaH / 'sundare'dhikabhAgyAMze udite tttvaasre| turIyAMze zrImati ca subhagaH' iti zabdArNave / chAyAtmA api pratibimbarUpaM zarIraM api / 'chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / prativimbe'rkakAntAyAM tathA paGktau ca pAlane' iti 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti ca vizvalocane / pravezaM lasyate prApsyati / . Even you should not dishonour that beautiful river (only) because of her being very deep. Having approached (her), you should enjoy the water (love) of her whose behaviour with reference to you is extremely pure ( flawless ). In the pure waters which are as if the

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166 [ pArzvAbhyudaye pure heart of the Gambhira river, your self, under the guise of a reflected image also, naturally charming, would gain entrance. tasmAdevaM praNayaparatAM tvayyabhivyaJjayantI lIlAhAsAni vidadhatI sA dhunI zIkarotthAn / tasmAdasyAH kumudavizadAnyarhasi tvaM na dhairyAmoghIkartuM caTulazapharodvartanaprekSitAni // 26 // anvayaH - tasmAt zIkarotthAn lIlAhAsAn vidadhatI iva sA dhunI evaM tvayi praNayaparatAM vyaJjayantI ( bhavet ) tasmAt asyAH kumudavizadAni caTulazarodvartanaprekSitAni dhairyAt moghIkartuM tvaM na arhasi / tasmAdityAdi / tasmAt tataH / svacetasi pravezapradAnAdityarthaH / zIkarotthAn niHsRtAmbukaNotpannAn / ' zIkaraH sarale vAte niHsRtAmbukaNeSu ca ' iti vizvalocane / lIlAhAsAn / lIlAyuktAH savilAsAH kelau kRtAH vA hAsA : lIlAhAsAH / tAn / vidadhatI iva kurvANeva sA dhunI sA gambhIrAbhidhAnA nadI / evaM proktaprakA - reNa tvayi bhavati praNayaparatAM premaparatvaM vyaJjayantI AvirbhAvayantI / bhavediti zeSaH / tasmAt premaparatvaprakaTIkaraNAt asyAH gambhIrAkhya saritaH kumudavizadAni / kumudAnIva kamalAnIva vizadAni dhavalAni kumudavizadAni / kamaladhavalAnItyarthaH / 'vizadaH pANDure vyakti' iti vizvalocane / ' sAmAnyenopamAnaM ' iti sAmAnyavAcinA vizadazabdena sahopamAnabhUtakumudazabdasya SasaH kumudaza pharodvartanaprekSitayorvaizadyasya sAdhAraNadharmatvAt / caTulazapharodvartanaprekSitAni / caTulAni zIghragatIni zapharANAM matsyAnAmudvartanAnyulluNThitAnyeva prekSitAni vilokanAni / ' triSu syAccaTulaM zIghraM - ' iti vizvaH / etAvataiva gambhIrAnadyAstvayyanurAgo vyajyate / dhairyAt dhASTarthAt / auddhatyAditi bhAvaH / moghIkartuM viphalIkartuM / amoghAni moghAni viphalAni kartu moghIkartum / cicaH / moghastu niSphale dIne ' iti vizvalocane / tvaM bhavAn na arhasi na yogyo bhavati / dhUrto mA bhUtvamiti bhAvaH / enAM tvayi raktAM vihAyAnyatrAraktAyAmArakto mA bhUtvamiti tAtparyam / < That river, expressing her whole-hearted love for you, therefore, as if giving out sportive smiles originating from the sprays, would, thus, manifest her love for you. You do not, therefore, deserve to

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dvitIyaH sargaH] neutralize immodestly her glances in the form of the beautiful springings up of the fish which are as white as the lilies. jJAsyasyuccaiHpulinajaghanAduccaratpakSimAlA bhAsvatkAJcImadhurarANatAta kAmasevAprakarSam / tasyAH kizcitkaradhRtamiva prAptavAnIrazAkhaM . hRtvA nIlaM salilavasanaM muktarodhonitambam // 27 // tAmutphullapratatalatikAgUDhaparyantadezAM __ kAmAvasthAmiti bahurasAM darzayantIM niSadha / prasthAnaM te kathamapi sakhe lambamAnasya bhAvi jJAtAsvAdo vivRtajaghanA ko vihAtuM smrthH|| 28 // anvayaH- uccaratpakSimAlAbhAsvatkAJcImadhuraraNitAt uccaiHpulinajaghanAt tasyAH kAmasevAprakarSe jJAsyasi / sakhe! muktarodhonitambaM prAptavAnIrazAkhaM kiJcit karadhRtaM iva nIlaM salilavasanaM hRtvA bahurasAM kAmAvasthAM iti darzayantI utphullAtatalatikAgUDhaparyantadezA tAM niSadya lambamAnasya te prasthAnaM api kathaM bhAvi ? kaH jJAtAsvAdaH vivRtajaghanAM vihAtuM samarthaH ? jJAsyasItyAdi shlokdvym| uccrtpkssimaalaabhaasvtkaanyciimdhurrnnitaat| udUrdhva caratAmuDDIyamAnAnAM uccaratAM svanatAM vA pakSiNAM patatriNAM mAlA paGktiH uccaratpakSimAlA / saiva bhAsvatkAJcI tejasA sphurantI razanA / tasyAH madhuraM zrotrapriya raNitaM kANaH yatra tat / tasmAt / hetAvatra kA / pakSe uccaratpakSiNAM mAleva mAlA uccaratpakSimAlA / 'devapathAdibhyaH' itIvArthasya kasyos / tayA yuktA bhAsvatkAJcI / tasyAH madhuraM raNitaM yatra tat / tasmAt / kaNakiGkiNIjAlanibaddhamAlAlaGkRtabhAsvatkAJcIdAmazrutipriyakaNitAdityarthaH / uccaiHpulinajaghanAt / unnatA. tpulinarUpAtkaTibhAgAt pakSe unnatapulinatulyakaTipradezAt / uccairunnataM pulinaM saikatameva jaghanaM kaTiH / tasmAt / pakSe pulinamiva pulinaM / 'devapathAdibhyaH' itIvArthasya kasyos / pulinamiva jaghanaM / pulinajaghanaM / uccairannataM pulinajaghanaM / tasmAt / 'jaghanaM vanitAzroNIpuromAge kaTAvapi ' iti vizvalocane / 'toyosthitaM tatpulinaM' ityamaraH / 'tattaTaM toyAt krameNotthitaM pulinaM, pulo mahattvamasyAstIti' iti kssiirsvaamii| tasyAH gambhIrAyAH nadyAH kAmasevAprakarSa maithunasevanodrekaM / kAmasevAyAH sambhogakrIDAyAH prakarSaHudrekaH /

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168 [pArdhAbhyudaye tam / jJAsyasi adhigamiSyasi | bhAsvatkAJcIdAmazrutimadhurakaNitAdunnatajaghanAddhetoryathA kAminyAH nidhuvanasevanotkarSaH vijJAyate tathA svanatpakSimAlArUpabhAsvatkAJcIdAmamadhurarasanAdunnatAtpulinarUpajaghanAddhetostasyAH gambhIrAnAmadheyanadyAH kAmasevanotkarSaH asyAH astIti tvaM jJAsyasIti bhAvaH / sakhe mitra muktarodhonitambaM parityaktataTakaTikaM / rodhastaTameva nitambaH kaTIcakraM rodhonitambaH / 'kaTIcakre nitambaH syAcchikhariskandharodhasoH' iti vizvalocane / 'kUlaM rodhazca tIraM ca pratIraM ca taTaM trissu'| ityamaraH / muktaH parityaktaH rodhonitambaH yena tat / prAptavAnIrazAkha / vAnIrasya jalavetasasya zAkhA samIpapradezaH pallavaH vA vAnIrazAkhA / prAptA AzritA vAnIrazAkhA yena tat prAptavAnIrazAkhaM vAnIrasamIpapradezAzritaM sadityarthaH / kizcit ISat karadhRtaM iva kareNa dhRtamiva / hastAvalambitamivetyarthaH nIlaM nIlavarNa salilavasanaM jalarUpaM vastraM / salilameva vasanaM salilavasanam / pakSe salilamiva vsnN| dukUlaH ityrthH| tat / hRtvAapanIya bahurasAM vipulAnurAgAM / bahurvipulo raso'nurAgo yasyAH sA / tAm / 'rasaH svAde'pi tiktAdau zRGgArAdau drave viSe / pArade dhAtuvIryAmburAge gandharase tanau' iti vizvalocane / kAmAvasthA madanodrekajanitAmavasthAM iti uktaprakAreNa darzayantI AvirbhAvayantI utphullprttltikaaguuddhpryntdeshaaN| utphullaH samphullaH pratataH prasRtaH utphullprttH| 'jiphalA vizaraNe' ityasmAddhoH 'ti' iti takArAdau tye parato'ta uttvaM 'samudaH' iti phullanipAtastasya dhorudaH paratvAt / tAzca tAH latAH vallayaH / tAbhiH gUDhaH pracchannaH paryantadezaH yasyAH sA / tAm / pakSe utphulle yonideze pratatA prasRtA utphullprttaa| sA cAsau latikA muktAmAlA cotphullapratatalatikA / 'utphulaH karaNe strINAmuttAne vikace'nyavat' iti vizvalocane / tayA gUDhaH pracchannaH paryantadezaH yoneH pratyAsannaH dezaH yasyAH sA / tAm / tAM gambhIrAkhyAM nadI niSadha avalambya / samAzrityetyarthaH / lambamAnasya jalAdAnAddIrghAkRtasvakAyasya pakSe viSayasukhAnubhavArtha dIrghAkRtasvakAyasya te tava prasthAnaM tasmAtsthAnAnniSkramaNaM / prayANamityarthaH / api kathaM bhAvi kena prakAreNa bhvissyti| apItyatra prabhe / 'api sambhAvanAzaGkApraznagIMsamuccaye' iti vishvlocne| kAmAturANAM kAryAntare zItakatvamavazyambhAvIti matvA bhavataH kAmAturatvasampatteH tato'gre zIghra prasthAnaM na sambhavediti bhAvaH / kaH jJAtAsvAdaH anubhUtasambhogazRGgArarasaH vivRtajaghanAM anAvRtajaghanAM vihAtuM parityaktuM samarthaH zaktisampannaH / na kopItyarthaH / kAmAvasthAM nAbhijaghanAdinA vyaJjayantI kAminI dRSTvA kAmukastAM vihAyAnyatra gantumasamartho bhavati yathA tathA salilavasanamapahRtya

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dvitIyaH sargaH ] 169 . svarodhonitambapradarzanena kAmAvasthAM vyaJjayantImAzritya lambamAnasya te prayANaM na sambhavediti zambarAsurAbhiprAyaH / You would come to know the excess of her sexual enjoyment from the prominent buttocks in the form of sandy beaches possessing charming jinglings of a resplendent zone in the form of the rows of chirping birds. Dear friend! how would your departure be possible when you, on resorting to her, whose adjoining regions would be coverd over with flowery creepers spreading there, who would be manifesting her passion abounding in love by removing the blue garment in the form of water, slipped off the buttocks, in the form of her banks, attained, as though being held by her hand, to the blades of canes growing in her waters, would be stretching out yourself (or would be lying at full length ) : Who, become acquainted with sexual enjoyment, would be capable of giving up a woman having her hips laid bare ( or uncovered ) ? uttIryAM kathamapi tato gantumudyacchamAnaM tvAmunneSyatyanuvanamasau gandhavAhaH sugandhaH / tvanniSyandocchasi tava sudhAgandhasamparkaramyaH srotorandhradhvanitamadhuraM dantibhiH pIyamAnaH // 29 // anvayaH-- amUM kathamapi uttIrya tataH gantuM udyacchamAnaM tvAM tvanniSyadocchusitavasudhAgandhasamparkaramyaH dantibhiH srotoranghradhvanitamadhuraM pIyamAnaH asau sugandhaH gandhavAhaH tvAM anuvanaM unneSyati / uttIryetyAdi / amUM tAM gambhIrAkhyAM nadIM kathamapi mahatA kaSTena uttIrya ullaGghya tataH tasmAdgambhIrAnadIpradezAt gantuM yAtuM udyacchamAnaM udyamaM kurvANaM / prayatamAnamityarthaH / tvAM bhavantaM tvanniSyandocchu sitavasudhAgandhasamparkaramyaH / tava niSyandaH vRSTiH tvanniSyandaH / tena ucchasitA ucchUnA / vijRmbhitetyarthaH / sA cAsau vasudhA bhUmizca / ' puMvadyajAtIyadezIye ' iti puMvadbhAvaH / tasyAH gandhaH AmodaH / -- gandho gandhakasambandhalezeSvAmodagarvayoH ' iti vizvalocane / tasya samparkeNa sambandhena / saMsargeNetyarthaH / ' samparkaH syAnnidhuvane saMsarge sparzane'pi ca' iti vizvalocane / ramyaH manoharaH / dantibhiH gajaiH srotoranpradhvanitamadhuraM / srotasaH nAsikAyAH

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[pArdhAbhyudaye randhaM vivaraM srotorandhaM / srotorandhre nAsikAkuhare yaddhvanitaM zabdaH tena madhuraM yathA syAttathA / 'sroto'mbuvegendriyayoH' ityamaraH / indriyavAcinA srotaHzabdena nAsikA'tra lakSyate / yadvA srotorandhe karNavivare yaddhvanitaM samIraNapAnadhvaniH tena madhuraM yathA syaattthaa| 'sroto'mbuleze karNe ca sroto dehazirAsvapi' iti vizvalocane / pIyamAnaH AghAyamANaH / meghavarSocchusitavasudhAsugandhaloMbhena nAsikAkuhareNAghrAyamANaH ityarthaH / asau eSaH sugandhaH surabhiH / zobhanaH gandhaH yasya sH| 'supUtyutsurabherguNe gandhasyaH' ityasya basatvAdikArAdezena sAntena bhAvyAmiti cet, na, sAntavidharanityatvAdgandhazabdasya dravyavacanatvAdvA / zobhanAH gandhadravyakaNAH santyasyeti sugndhH| gandhavAhaH samIraNaH / gandhaM sugandhaM vahatIti gandhavAhaH / 'karmaNyaN' iti karmaNi vAci dhoraN / 'pRSadazvo gandhavaho gndhvaahaa'nilaa''shugaaH| samIramArutamarujagatprANasamIraNAH' itymrH| tvAM bhavantaM anuvana vne| 'jhiH sub-' ityAdinA vibhaktyarthe hasaH / unneSyati prApayiSyati / This wind, pregnant with fragrance, drunk by elephants in a manner charming owing to the low gruff sound produced in the apertures of their trunks, charming on account of its contact with the odour emitted by the earth sending out vapour on account of your discharge of rain, would convey you, who would be trying to proceed on from that place after having crossed the river anyirow, to the interior part of a forest. gatvA kiJcicchramaparijuSastvatklamacchedadakSaH pratyudyAsuH priysuhRdivaaruuddhsaugndhyyogH| nIcairvAsyatyupajigamiSodevapUrva giriM te zIto vAtaH pariNamayitA kAnanodumbarANAm // 30 // anvayaH- kiJcit gatvA devapUrva giri upajigamiSoH zramaparijuSaH te priyasuhRt iva pratyudyAsuH tvaklamacchedadakSaH ArUDhasaugandhyayogaH kAnanodumbarANA pariNamayitA zItaH vAtaH nIcaiH vaasyti| gatvetyAdi / kizcit ISadUraM gatvA yAtvA devapUrvaM devazabdapUrva / devazabdaH pUrvasmin yasya saH / tam / giri parvataM / devagirimityarthaH / upajigamiSoH upagantumicchoH / 'samikSAzaMsAduH' iti sannantAdga

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dvitIyaH sargaH ] .171 merutyaH / zramaparijuSaH zramayuktasya / zrAntasyetyarthaH / zramaM zrAnti parijuSate iti zramaparijuT / tasya / kip ! te tava priyasuhRdiva priyamitramiva pratyudyAsuH prytmaanH| prayatnaM kurvANaH ityarthaH / pratyudyasaterauNAdikaH uN / tvaklamacchedadakSaH tvacchramapariharaNatatparaH / tava klamaH zramaH tvaklamaH / tasya cchede pariharaNe dakSaH caturaH analasaH vA tvaklamacchedadakSaH / 'dakSaH syAdakSiNabhuje pragalbhe'nalase triSu' iti vizvalocane / ArUDhasaugandhyayogaH snyjaatsaurbhsmprkH| ArUDhaH samutpannaH sauganthyena saurabhyeNa yogaH samparkaH yasya saH / 'yogaH sannAhasandhAnasaGgatidhyAnakarmaNi' iti vizvalocane / kAnanodumbarANAM / kAnaneSu vaneSu udumbarANi udumbaraphalAni kAnanodumbarANi / teSAM / udumbarasya jantuphalasyAvayavaH phalaM udumbaram / 'upphale' iti phalatyasyop / 'udumbaro jantuphalo yajJAGgo hemadugdhakaH ' ityamaraH 'pariNamayitA paripAcayitA / pariNamayati paripAcayatIti prinnmyitaa| 'ghaTAdikagevanujanIjRSsnasknasaMjyamo'paryapaskhatkamacamyamaH pro'mjyostu dIrvA' iti Nau pare praH / zItaH zaityayuktaH vAtaH vAyuH nIcaiH mandaM vAsyati vakSyati / A cool breeze of wind, ripening the sylvan figs, rich in fragrance, exerting like a dear friend, prompt to dissipate weariness of you who would be fatigued and who would be desirous of approaching the Devagiri mountain on proceeding a little, would be blowing gently. IzomAbhyAmapacitapadaM taM puputrIyiSubhyAM pUjAM jainI viriracayiSu svaukAsa prAjyabhaktyA / . tatra skandaM niyatavasatiM puSpameghIkRtAtmA puSpAsAraiH snapayatu bhavAnvyomagaGgAjalAH // 31 // anvayaH-taM puputrIyiSubhyAM IzomAbhyAM apacitapadaM, svaukasi prAjyabhaktyA jainI pUjAM viriracayiSu, tatra niyatavasati skandaM puSpamedhIkRtAtmA bhavAn vyomagaGgAjalArdaiH puSpAsAraiH snapayatu / IzetyAdi / taM skandAkhyaM devavizeSaM puputrIyiSubhyAM AtmanaH putraM kartumicchubhyAM 'kyajajhimaH' ityAtmanaH ibantAdicchAyAM kyac 'tumIcchAyAM dhorvop' iti tumIcchAyAM san tumazcop c| IzomAbhyAM uttarapUrvAdikpatitadaGganAbhyAM / IzaH uttarapUrvAdikpatiH / umA kAntiH asyAH astIti umA / saundaryasampannA dikpate

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172 [ pArzvAbhyudaye 1 rbhAryA / apacitapadaM / apacita prArcita pade caraNe yasya saH / tam / svaukasi svagRhe / svasyA'tmanaH oko gRhaM svaukaH / tatra svaukasi / 'okastvAzrayasadmanoH ' . iti vizvalocane / prAjyabhaktyA mahatyA bhaktyA prAjyA mahatI cAsau bhaktibhajanaM ca prAjyabhaktiH / tayA / ' prabhUtaM pracuraM prAjyamadabhraM bahulaM bahu ' ityamaraH jainIM jinendrasambandhinIm / jinasyeyaM jainI / tAm / aN GI ca / pUjAM saparyo viriracayiSu viracayitumicchu / ' tumIcchAyAM dhorvopU' iti sannicchAyAM tumazcop / tatra devagirau niyatavasatiM nizcitanivAsaM / niyatA nizcitA vasatirnivAsaH yasya saH / tam / skandaM tadabhidhAnaM kaJciddevavizeSam / skandati vighnAnapaharatIti skandaH vighnaharaH kazciddevavizeSaH / tam / puSpameghIkRtAtmA kusumavarSukamerghAkRtasvakAyaH / puSpANAM meghaH puSpameghaH / apuSpameghaH puSpameghaH kRtaH AtmA zarIraM yena saH / cviH / AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane / devayonisambhUtatvAdvaikriyikavigrahasampannatvAdviracitapuSpopAdAnakAraNajAtakAryabhUtazarIraH ityarthaH / bhavAn tvaM vyomagaGgAjalArdraiH AkAzagaGgAnadIjalArdrIkRtaiH / unnatatarahimavatkulAcalodbhUtatvAdgaGgAyAH vyomagaGgeti nAmAntaramityavaseyam / vyomagaGgAyAH AkAzagaGgAyAH jalena ArdraiH ArdratAM nItairityarthaH / puSpAsAraiH puSpadhArAsampAtaiH ' dhArAsampAta AsAraH ityamaraH / snapayatu abhiSicatu | abhiSecanaM karotvityarthaH / " " You, with your body formed into a flower-cloud, should perform ablution, with showers of flowers moistened with the waters of the heavenly Ganges, of Skanda, whose feet are worshipped by Isa (the lord of the north eastern direction) and his beautiful beloved with a desire to make him their son, who is desirous of performing worship of Jina with great devotion in his house, and who has his residence permanently situated there (i. e. on the Devagiri mountain ). pUjyaM devairjina patimajaM pUjayantaM sadainaM dRSTvA pUtaM tvamapi bhavatAdevavRnde divA'gnyam / rakSAhetornavazazibhRtA vAsavInAM camUnA matyAdityaM hutavahamukhe sambhRtaM taddhi tejaH // 32 // anvayaH devaiH pUjyaM ajaM jinapatiM sadA pUjayantaM pUtaM enaM dRSTvA (yat) devavRnde agryaM, (yat) hutavahamukhe ( vidhate ), (yat) vAsavInAM camUnAM rakSAhetoH navazazibhRtA divA sambhRtaM, tat atyAdityaM tejaH tvaM api bhavatAt / -

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dvitIyaH sargaH] pUjyaM devairityAdi / devaiH divibhvaiH| dIvyantIti devAH vA / pacAdyac / amerityarthaH / pUjyaM apaceyaM / pUjAhamityarthaH / pUjAM apaciti arhatIti pUjyaH / tam / ajaM janmarahitam / na vidyate jA utpattiryasya saH ajH| 'jaH syAjavini jodbhUtau' iti vizvalocane / jAzabdasyopalakSaNArtha vAjjarAmaraNayograhaNaM, naSTaghAtikarmacatuSkatvAjarAmaraNavikalatvAttasya / jinapati aSTAdazadoSAnkarmodayajanitAJjayantIti jinAH pramattAdiguNasthAnavartinaH ekdeshjinaaH| teSAM ptiH| tam / 'jinastvaIti buddhe'tivRddhajitvarayostriSu' iti vizvalocane / sadA sarvakAle pUjayantaM tatpUjAM kurvANaM / ata eva pUtaM pavitraM / 'pUtaM pavitre zabde ca triSu syAbahulIkRte' iti vizvalocane / pAvanamiti vA / enaM / skandAbhidhAnaM devaM dRSTvA vilokya yat tejaHdevavRnde devanikAye / divi AkAze bhavantIti devaaH| grahanakSatraprakIrNakatArakAH jyotiSkadevAH / teSAM vRnde nikAye / agnyaM parAyaM / utkRSTamityarthaH / 'parAAgraprAgraharaprAgyagrIyamagriyaM' ityamaraH / yat hutavahamukhe / hutaM vahatIti hutavahaH / hutabhugamirityarthaH / tasya mukhaM vaktraM / tatra / atra mukhazabdasyopalakSaNArthatvAtsarveSAmavayavAnAM grahaNaM, tejaso'nau sarvatra vidyamAnatvAt / yattejo'nau sarvatra zarIre vidyate tattejaH ityarthaH / yat vAsavInAM / vasUni dhanAni santyasyAmiti vAsavI / 'jyotsnAdibhyo'Na' ityaNa 'ijhaTiDDhANaJ-' iti striyAM kI ca jyotsnAdInAM prayogagamyatvAt / vAsavI vasundharetyarthaH / vAsavInAmiti bahuvacananirdezaH bhUvibhAgabAhulyajJAnapArthaH / bhuubhaagsthitaanaamityrthH| camUnAM prANinAM / camati annodakaM sevate iti camUH / 'kRSicanitanidhanisarjikharjibhya UH' ityANAdikaH 'camu adane' ityasmAddhAtorUH / rakSAhetoH rakSAyAH kAraNena / rakSArthamityarthaH / 'hetau sarvAH prAyaH' iti hetuzabda prayogAttA hetvarthe / jIvikArjanArthAyAH prANigaNapravRtteH sUryAtapadarzane sambhavAt IryAyAM sUkSmajantusaMrakSaNasya tadAtape satyava sambhavAcca sUryatejasaH prANigaNarakSArthatvamihAbhipretamityavaseyam / navazazibhRtA / navaM prazastaM zazinaM bibhartIti navazazibhRt / kkip / tayA / nUyate iti navaH / prazastaH ityarthaH / divA vyomnA sambhRtaM saGgrahItaM / tat pUrvavarNita / atyAdityaM devatejaso'pyadhikataraM / AdityAnamarAnatikrAntamatyAdityaM / 'AditeyA diviSado lekhA aditinndnaaH| AdityA Rbhavo'svapnA amAM amRtAndhasaH' itymrH| prAtyavapariniHpratyAdayoM gatakAntakRSTaglAnakrAntasthitAdiSu vebhApkebhiH' iti prAdiribantena saha SasaH / tat prasiddha tejaH sUryAtaparUpaM tvaM api bhavAnapi bhavatAt bhava / 'tuhyotAdvA' iti loTo madhyamapuruSakavacanatyasya hetAdAziSyarthe / bhavitetyasya tRtIyapuruSaikavacanaluTtyAntatvAtkartuzca madhyamapuruSArthatvAd bhrAntatvAd

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174 [ pArdhAbhyudaye 'bhavatAt' iti loTo ruupmsmaabhirurriikRtm| 'tRca' iti tRjantasya bhavitRzabdasyApi parihAraH kRtaH, vAkyasyA'pi sopaskAratvaprasaGgAdvartamAnArthakatvAca tasya / Having seen this sinless one always engaged in worshipping the lord of Jinas who have rid themselves of birth, oldness and death, and who are worthy of being worshipped by the heavenly gods, you also, I hope, would be getting yourself transformed into that lustre (i. e. the sun ), the foremost of the large number of the heavenly bodies ( lit. gods; i. e. stars etc ), found inherent in the fire, presented by the sky carrying the glorious moon with a view to protect the carthly living beings. so'pi tvattaH zrutipathasukhaM garjitaM prApya bI tuSTaH kekAH prativikurute vAhanaM tasya bhartuH / jyotilekhAvalAya galitaM yasya baha bhavAnI putrapremNA kuvalayadalaprApi karNe karoti // 33 // anvayaH - yasya galitaM jyotilekhAvalayi bahe bhavAnI putrapremNA kaNe kuvalayadalaprApi karoti saH api tasya bhartuH vAhanaM bIM tvattaH zrutipathasukhaM garjitaM prApya tuSTaH kekAH prativikurute / sopItyAdi / yasya mayUrasya galitaM kalApakalApAt cyutaM jyotirlekhAvalAye / jyotiSAM tejasA lekhAH rekhAH rAjayo vA jyotilekhaaH| 'lekhA rekhArAjIlipiSvapi' iti vizvalocane / tAsAM valayAni maNDalAkArAH asya santIti jyotilekhAvalayi / 'ato'nekAcaH' iti in / baha picchaM / 'baha mayUrapicche'pi dalepi syAnnapuMsakam' iti vishvlocne| bhavAnI rudrANI / bhavasya rudrasya patnI bhavAnI / 'varuNabhavazavarudvendramRDAt' iti puyogAt GI bhavatyAnukca / putrapremNA / rudrarudrANIbhyAM skandasya putratvenAbhilaSitatvAtsAkSAttattanayatvAbhAvAtkRtakatanayatvAcca 'putraH iva putraH' iti luptevArthakakatyasya grahaNam / putra premA snehaH putrapremA / tena / putrIyite skande yaH premA tena hetunA tadvAhanabhUtamayUrasya baha karNe zrotrapradeze kuvalayadalaprApi / kuklayasya kamalasya yaddalaM patraM tat prApnotIti kuvaladalaMprApi / karNajAhavinivezitakuvalayadalasamIpa sthApayitvA tadyogi karoti viddhAti / yadvA kuvalayadalaM prApnoti yatra saH kuvalayadalaprAp / kim / tatra kuvalayadalaprApi karNe karoti / yatra karNajAhe kuvalayadalaM sthApyate

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dvitIyaH sargaH ] tatra karNapradeze tadvaI nivezayatIti bhAvaH / saH api tasya skandAbhidhAnavighnahara - devavizeSasya bhartuH vibhoH vAhanaM yAnabhUtaH / nityanapuMsakaliGgatvAt napuMsakatvam / barhI mayUraH / barhANi picchAni santyasyeti bahIM / 'ato'nekAcaH' iti in / tvattaH bhavatsakAzAt / zrutipathasukhaM / zrutyoH zrotrayoH panthAH zrutipathaH / 'RkpUrappatho't ' ityakAraH sAntaH / zrutipathasya zrotravivarasya sukhaM sukhakaraM zrutipathasukhaM / garjitaM stanitaM prApya labdhvA / zrutvetyarthaH / tuSTaH santuSTaH san kekAH ke kAravAn / 'kekA vANI mayUrasya' ityamaraH / prativikurute pratyuktirUpeNa janayati / tvagarjitaM zrutvA kekAravAn kurute ityarthaH / Even that peacock, the conveyance of that lord ( Skanda ), satisfied on receiving (through ears) your thundering pleasing to the ears, a dropped feather of whom possessing circles formed by streaks of lustre, does Bhavani ( lit. the beloved of the Rudra ), ( owing to her affection towards him taken by her into a relationship of a son, put on her ear in such a way as to make it come into contact with the petal of the blue lotus, gives out crackling sounds in response ( to your thundering ). yaH saddharmAtsakalajagatAM pAvakAllabdhajanmA tasya prItyA prathamamucitAM satsaparyA vidhehi / dhautApAGgaM harazazirucA pAvakestaM mayUraM pazcAdadrigrahaNagurubhirgarjitairnartayethAH // 34 // 175 anvaya- yaH sakalajagatAM pAvakAt saddharmAt labdhajanmA tasya prItyA ucitAM satsaparyA prathamaM vidhehi / pazcAt harazazirucA dhautApAGgaM pAvake: taM mayUraM adrigrahaNagurubhiH garjitaiH nartayethAH / ya ityAdi / yaH skandAbhidhAno devaH sakalajagatAM sakalAnAM jagannivAsinAM lokAnAM / jagatAmityanena tannivAsinAM lokAnAM grahaNaM, tAtsthyAlokAnAM jagadyapadezAt / pAvakAt / punAtIti pAvakaH / ' NvatRc ' iti NvaH / saddharmAt zobhanAddharmAt / saMzcA'sau dharmazva saddharmaH / tasmAt / labdhajanmA prAptasambhavaH / labdhaM prApta janma sambhavaH yena saH labdhajanmA / tasya puNyodayAdevabhUyaM prAtasya skandasya prItyA anurAgeNa / bhaktyetyarthaH ucitAM yogyAM / tadamityarthaH / satsaparyAM

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176 [ pArzvabhyudaye samIcInAM pUjAM / ' sapazciAhaNAH samAH ' itymrH| prathamaM pUrva / vidhehi kuru / pazcAt anantaraM harazazirucA / zazinazcandramasaH ruk udyotaH zaziruk / harA manoharA cAsau zaziruk ca harazaziruk / haratyadhaM duHkhImati harA / pacAdyac striyAM TAp ca / ' puMvadyajAtIyadezIye' iti puNvdbhaavH| tayA harazazirucA / yadvA harasya pUrvottarasyAH dizaH svAminaH yaH zazI tasya rucA kAntyA / jyotsnayetyarthaH / dhautaapaag| dhautau dhavalIkRtau apAGgau netrAntau yasya saH / tam / 'apAGgau netrayorantau' ityamaraH / pAvakeH pAvakasya dharmasya putrApatyaM pAvakaH / 'iJataH' ityapatyArthe iJ / tasya / mayUraM kalApinaM / skandasya vAhanabhUtaM kekinamityarthaH / adrigrahaNagurubhiH / adreH devagireH grahaNena gahvare saGkramaNena gurubhiH gauravaM praaptaiH| pravRddharityarthaH / garjitaiH garjidhvanibhiH nartayethAH nATaya / nRtyaM kArayetyarthaH / 'mayUraH nRtyati' ityatrANyantAvasthAyAM 'nRtI gAtravikSepe' ityasya dhe|rmayUraprANikartRkatvANNyantAvasthAyAM NyantAddhoH 'nA'No dheH prANikartRkANNe' iti dasya pratiSedhAnmaM / nRtyatezcalanArthatvAt 'calyadyarthAt ' iti NyantatvAtprAptaM maM na bhavati -- pAdamyAGyasparimuharucinRddheDvadvasaH ' iti dasya vidhAnAt / First of all, you should perforin deserving and excellent worship of him who owes his birth to the excellent righteousness purifying all the worlds. Thereafter, you should cause the peacock of the offspring of the purifier (pavaka ), with the angles of (his ) eyes rendered (more ) bright by the lustre of the captivating moon, to dance by (your ) thunderings deepened on account of (their) being reverberated by the mountain ( Devagiri). hRdye svacche sarasi vipule dharmasaJjJe bhavatvA llabdhAbhikhyaM bhuvanajanatAmAnanIyaM vrajA''zu / ArAdhyainaM zaravaNabhavaM devamullAGghatAvA siddhadvandvairjalakaNabhayAdvINibhirmuktamArgaH // 35 // anvayaH- hRdye svacche vipule dharmasajhe sarasi bhavatvAt labdhAbhikhyaM bhuvanajanatAmAnanIyaM enaM zaraghaNabhavaM devaM ArAdhya ullaGkitAdhvA, jalakaNabhayAt vINibhiH siddhadvandvaiH muktamArgaH Azu vraja /

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dvitIyaH sargaH] 177 hRdyetyAdi / hRdye| hRdayAya hitaM sukhakara hRdy| 'prANyaMgarathakhalayavamASavRSabrahmatilAdyaH' iti hRdayasya prANyaGgatvAddhi tArthe yaH / ye paratazca 'hRdayasya hRllekhANyalAse' iti hRt / svacche nirmale / nirdoSe ityarthaH / vipule pRthule bhagAdhe vaa| 'vipulaH pRthule'gAdhe merupazcimaparvate' iti vishvlocne| dhrmsjnye| dharmaH iti sajJA'bhidhAnaM yasya tasmin / ' sajJA nAmani gAyatryAM cetnaarviyossitoH| arthasya sUcanAyAM ca hastamastakalocanaiH' iti vizvalocane / sarasi taDAge / 'sarastoyataDAgayoH' iti vizvalocane / bhavatvAt labdhajanmatvAt / samudbhUtatvAdityarthaH / labdhAbhikhyaM labdhasajhaM / labdhA prAptA abhikhyA sajJA vikhyAtirvA yena sH| tam / 'abhikhyA tu yaza kIrtizobhAvikhyAtinAmasu' iti vishvlocne| muvanajanatAmAnanIyaM / janAnAM samUhaH jntaa| 'gajagrAmajanabandhusahAyAttal ' iti samUhArthe tal | bhuvanAnAM jagatAM janatA bhuvanajanatA / tayA tasyAH vA mAnanIyaM pUjyaM / enaM skandAkhyaM / zaravaNabhavaM / zaraM jalaM vanyate sevyate'tra zaravaNaM / 'zaraM vanaM kuzaM nIraM toyaM jIvanamaviSam' iti dhnnyjyH| yadvA zarANAmudakAnAM vanaM jharaH zaravaNaM / 'prAgre'ntarniHzarekSuplakSapIyUkSAkAAmrakhadirAt' iti vananakArasya nnH| tatra bhavatIti, tatra bhavaH janma yasyeti vA zaravaNabhavaH / tm| 'bhavaH zrIkaNThasaMsArazreyaHsattAptijanmasu' iti vishvlocne| devaM svAminaM ArAdhya pUjayitvA ulladhitAdhvA atikraantmaargH| ullaGvitaH atikrAntaH adhvA mArgaH yena sH| jalakaNabhayAt salilabindupAtabhIteH / jalasya kaNAH lavAH bindavaH jlknnaaH| tebhyaH bhayaM / tasmAt / hetau kaa| vINibhiH vINA vallakiH asyA'stIti vINI / 'ato'nekAcaH' iti in / taiH / siddhadvandaiH siddhAnAM devavizeSANAM dvandvAni mithunAni siddhadvandvAni / taiH| 'dvandvaM tuM mithune yugme dvandvaH kalahaguhyayoH' iti vizvalocane / muktamArgaH parihRtamArgapratibaMdhaH Azu zIghra vraja yaahi| Having worshipped this god, sprung up from a lake, worthy of being worshipped by the crowds of people of the world, winning the name (Saravanabhava) owing to his being sprung up from a lake called Dharma ( righteousness ) which is beautiful, clear, (and) expansive (or deep), you, that would have travelled some portion of the distance of your way, having your path left unclosed ( by moving astray) by the couples of the Siddha gods possessing lutes through fear of the drops of water (or owing to their being afraid of * the drops of water impairing the usefulness of their lutes ), should proceed on immediately. pArthAbhyudaye...12

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178 [ pArzvAbhyudaye gatvA tasmAdaviralagalannirjharAntarmalAM tAM prApyAskIrti janavadanajAM kSAlayanpuNyatoyaiH / vyAlambethAH surabhitanayAlambhajAM mAnayiSyan srotamUrtyA bhuvi pariNatAM rantidevasya kIrtim // 36 // anvayaH - - tasmAt gatvA aviralagalannirjharAntarmalAM, surabhitanayAlambhajAM janavadanajAM bhuvi srotomUrtyA pariNatAM rantidevasya akIrti to prApya puNyatoyaiH kSAlayan ( tAM) kIrti mAnayiSyan vyAlambethAH / 1 , gatvetyAdi / tasmAt devagireH / gatvA yAtvA / taM devagiriM vimucyA'grato gatvetyarthaH / aviralagalannirjharAntarmalAM / aviralaM satataM galadbhiH prapatadbhiH nirjharaiH prapAtaiH prakhavaNairvA antaH madhye pravAhaM malaH jambAlAdirUpaH yasyAH sA / tAm / ' utsaH prasravaNaM vAripravAhI nirjharo jharaH , ityamaraH / surabhitanayAlambhajAM / surabheH kAmaghenoH tanayAH sutAH surabhitanayAH / gAvaH ityarthaH / tAsAM AlambhAdvizasanAt jAyate iti surabhitanayAlambhajA / tAM / ' surabhirgavica striyAM ' ityamaraH / Ala mbhanamAlambhaH vizasanamityarthaH / ' AlambhapiJjavizaraghAtonmAthavadhA api ' ityamaraH / ' ghaJkhe ca ge:' iti labhergipUrvasya numAgamaH / janavadanajAM / janAnAM vadanAni mukhAni janavadanAni / tebhyo jAyate iti janavadanajA / tAm / bhuvi jagatyAM srotomUrtyA pravAhAkAreNa / strotasaH pravAhasya mUrtiH zarIraM strotomUrtiH / tayA / ' strota indriye nimnagAraye / ' ityamaraH / ' sravati strotaH / syaH pravAho lakSaNayA strotaH iti kSIrasvAmI / ' mUrtiH kAye'pi kAThinye mRtyuyAcitayormatam ' iti vizvalocane / pariNatAM avasthAntaraM prAptAM / rantidevasya dazapurAdhipatermahArAjasya / yaduktaM atha prIto rAjA pazunivahamAlabhya vidhinA / bahUnIje yajJAnbahumatipadaM bhU-diviSadAm // vizastAnAM tasyAM makhabhuvi pazUnAmayutazaH / sravantI sasyande kSatajavisaraizvarmaMgalitaiH // carmaNvatIti tava kIrtiranantakIrteH zazvatpunAtu dharaNIM saridAtmaneti' iti rantidevacarite / akIrti surabhisahasrAlambhajamayazaH tAM prasiddhAM carmaNvatInadIM prApya AsAdya puNyatoyaiH pAvanodakaiH / puNyAni pAvanAni toyAni jalAni puNyatoyAni / taiH / tIrthodakairityarthaH / kSAlayan prakSAsya vizodhayan tAM nadIM kIrti yazaH mAnayiSyan sambhAvayitumicchan / kSiprAzaMsoktau laTlaG' ityAzaMsAyAmicchAyAM laTilaTo vA'nitau zatRzAnau' iti zatRtyaH / rantidevasya kIrtiretannadI srotorUpeNa C *

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dvitIyaH sargaH] pariNatA'stItveSA tasya mahArAjasya kIrtireveti smbhaavynnityrthH| vyAlambethAH AzrayethAH / tannadyAzrayaM kurvityrthH| 'purA kila rAjJaH rantidevasya gavAlambheSvekatra sambhRtAdraktaniSyandAcarmarAzeH kAcinnadI sasyande / sA carmaNvatItyAkhyAyate' ityuktaM malinAthena meghadUtaTIkAyAm / gosahasravizasanajanitAM akIrti srotomUrtyA pariNatAM carmaNvatI vijJAya tAM prApya puNyatoyaiH prakSAlya vizodhayan iyaM rantidevasya kIrtirUpA' stIti tAM sambhAvayitumicchaMstAmAzrayethAH iti tAtparyam / Having departed from that (i.e. the Devagiri mountain ) and having approached her (i.e. Charmanvati) who possesses dirt in her stream owing to the rivulets (or streams ) incessantly pouring into her, who is the infamy, come into being owing to the slaughter of the daughters of Surabhi ( i.e. cows ), spreading through the mouths of people and bringing itself into the shape of a river (i. e. the Charmanvati) on the earth, you, washing her off by holy waters and honouring her ( the river ) as the fame (of Rantideva), should have recourse to her (i. o. the Charmanvati). tasyA madhyejalamupacitAmbhonikAye muhUrta __ chAyAM kRSNAjinamadaharAM sandadhAne samagrAm / manye yuktaM sariti sutarAM tatra carmaNvatIti tvayyAdAtuM jalamavanate zArgiNo varNacaure // 37 // anvayaH-- tatra sariti zAGgiNaH varNacaure tvayi jalaM AdAtuM avanate tasyAH madhyejalaM upacitAmbhonikAye kRSNAjinamadaharAM samagrAM chAyAM muhUrta sandadhAne ( sati tasyAH ) ' carmaNvatI' iti ( abhidhAnaM ) sutarAM yuktaM manye / __tasyA ityAdi / tatra sariti tasyAM carmaNvatyabhidhAnAyAM nadyAM zAgiNaH kRSNAbhidhAnasya blbhdrbhraaturnaaraaynnsy| zRGgasya vikAraH zAGgaM / ' tasya vikAraH' ityaNa / zAre dhanurityarthaH / tadasyAstIti zAhI / 'ato'nekAcaH' itIn / tasya zANiH / pItAmbaranivasanasya govindsyetyrthH| 'daityAriH puNDarIkAkSI govindo grudddhvjH| pItAmbaro'cyutaH zAGgI vizvakseno janArdanaH ' ityamaraH / vrnncaure|

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180 [ pArzvAbhyudaye < varNasya kAntezcauraH tadanujJAmantareNa tatkAntigrAhakatvAdatra meghasya cauratvam / nArAyaNa savarNaH ityarthaH / tasmin | tvayi bhavati / jalaM carmaNvatIsalilaM AdAtuM gRhItuM avanate nicarAgate tasyAH carmaNvatyAH madhyejalaM jasamadhyadeze / ' pAremadhye'ntastayA ' iti tAntena hasaH madhyazabdasyaitvanipAtazca / madhyaM jalasya madhyejalaM / jalamadhyabhAge ityarthaH / upacitAmbhonikAye saJcitavArAzau / saJcitajalasamUhe ityarthaH / ' vArvAri kaM payo - bho'mbu pAtho' salilaM jalaM ' iti dhanaJjayaH / ' nidigdhopacite... ( same )' ityamara: ' nikAyastvAtmavezmanoH / sadharminivahe lakSye sahatAnAM ca melake ' iti vizvalocane / upacitAnAM ambhasAM salilAnAM nikAyaH saMhatiH upacitAmbhonikAyaH / tasmin / kRSNAjinamadaharAM kAlavarNacarmagarva kharvayantIm / kRSNaM kAlAyasavarNatvAtkAlavarNaca tadAjanaM carma ca kRSNAjinaM / tasya madaM garva haratIti kRSNAjinamadaharA / tAm / samagrAM sampUrNa chAyAM pratibimbaM / chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / prativimbre'rkrakrAntAyAM tathA paGktau ca pAlane ' iti vizvalocane / muhUrta kSaNamAtrakAlaM yAvat / sandadhAne prayacchati sati / tajjalanikAye svAtmani pratibimbite stiityrthH| tasyAH nadyAH 'carmaNvatI ' iti abhidhAnaM phalakavatIti nAmadheyaM / payaHpatitatvadAkArapratibibasya varNAkRtyAdinA phalaka tulyatvAttvatprativimbavatyAstasyAzcarmaNvatIti nAmadheyaM sutarAM atizayena yuktaM yogyaM samIcInaM vA / yuktarUpamityarthaH / manye jAnAmi / carma phalakaM asyAH astiti carmaNvatI / 'carmaNyatyaSThIccakrIvatkakSIva drumaNkt ' iti nadInAmni carmaNaH parasya matornuDAgamo nipAtitaH mRdantasya ca nasya kham / 'aTkupvAGnumzarvyavAye'pi' iti nasya NaH / phalakasya carmamayatvAccarmeti saJjJA / yadvA yathA carmamayatvAtphalakasya carmasaJjJAvidhAnaM tathA carmamayatvAt ' carmodare pUre:' iti sUtravihitaNamantasya carmapUramityasya ' carma pUrayitvA ' ityarthasya darzanAcca carmazabdasya hRtyarthakatvamapyatra sambhavati / tena carmaNvatItyasya dRtimatItyartho grAhyaH / tatra carmaNvatIsariti kAlavarNavikRtabhavaccharIrapratibimbadarzanAtprativimbitabhavaccharIrasya ca hatitulyatvAttasyAzcarmaNvatIti saJjJAkaraNaM samIcInamiti zambarAsurAbhiprAyaH / In that river there when you, the spoiler of the complexion of Krsna, descended to take up her water, would be having for a moment your reflection in full, dissipating the pride of the hide of a blackantelope, in the water of her pool formed by accumulated water, I would think that the name Charmanvati given to that river is absolutely deserving.

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dvitIyaH sargaH ] tvayyabhyarNe harati salilaM tatra rAhossavarNe nUnaM jyotsnAvisaravimalaM tarkayeyurnabhogAH / madhye nIlaM sitamiva dukUlottarIyaM pRthivyAH tasyAH sindhoH pRthumapi tanuM dUrabhAvAtpravAham // 38 // anvayaH -- rAhoH savarNe tvayi tatra abhyarNe salilaM harati ( sati ) tasyAH sindhoH pRthuM api tanuM jyotsnAvisaravimalaM pravAhaM nabhogAH pRthivyAH madhye nIlaM sitaM dukUlottarIvaM iva nUnaM tarkayeyuH / 6 181 6 , 6 $ tvayItyAdi / rAhoH vidhuntudasya / tamastu rAhuH svarbhAnuH saiMhikeyo vidhuntudaH ityamaraH / rahayati candrArkAviti rAhuH / savarNe samAnakAntau / samAnasya dharmAdiSu ' iti samAnasya sAdezaH / samAnaH varNaH kAntiH yasya saH / tasmin / atha puMsyeva varNaH syAtstutau rUpayazoguNe / rAge dvijAdau muktAdau zobhAyAM citrakambale || ' iti vizvalocane / tvayi bhavati / tatra carmaNvatInadyAM abhyarNe samIpapradeze / nadIsamIpapradezamAgatyetyarthaH / salilaM jalaM harati AtmasAt kurvati sati / haratIti haran / tasmin / tasyAH carmaNvatyAH sindhoH nadyAH / sindhurabdhau nade dezabhede nA sariti striyAm' iti vizvalocane / pRthuM api mahAntaM api dUrabhAvAt dUradezasthitatvAt tanuM svalpazarIrAkAratayA pratibhAsamAnaM jyotsnA visaravimalaM candrikAprasaranirmalaM / jyotsnAyAH candrikAyAH visareNa visaravadvA vimalaM vigatamalaM / nirmalamityarthaH / dvitIyapakSe ' sAmAnyenopamAnaM ' iti basaH / visaraH prasare puMsi visaro nikurambake ' iti vizvalocane / pravAhaM srotasaM nabhogAH khecarAH / nabhasA gacchantIti nabhogAH vihAyazvarAH / khagAH ityarthaH / ' gameH khackhaDDAH ' iti gamerDa: / pRthivyAH bhUmeH madhye madhyadeze nIlaM nIlavarNa sitaM dhavalavarNa dukUlottarIyaM kSaumasaMvyAnaM sUkSmavAsarUpaM vA saMvyAnaM / 'dukUlamadvayoH kSaume dukUlaH sUkSmavAsasi ' iti vizvalocane / dukUlaM dukUla eva voMttarIyaM dukUlouttarIyam / " saMvyAnamuttarIyaM ca ityamaraH / iva vA / nUnaM nizcayena tarkrayeyuH sambhAvayeyuH / atra nadIpravAhasya nIlamadhyamabhAgena sitottarIyeNa sAdRzyaM jyotsnAvisaravimalapravAhapatitameghapratibimbatvAdityavaseyam / , The sky-wanderers would verily regard the current, as transparent as (or transparent on account of) the diffusion of the moon

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182 [pArdhAbhyudaye light, of the river ( Charmanvati), though broad, looking thin on account of its being at a long distance, as a silken white uppergarment of the earth possessing blue colour in the middle part, when, in the vicinity there, you, possessing complexion similar to that of Rahu, would be taking in water. vidyudvIvitatavapurSa kAlikAkarburAGga tvAmAmandradhvanitasubhagaM pUryamANaM payobhiH / krIDAhetoH zitimiva dRrti svarvadhUbhirvimuktAM prekSiSyante gaganagatayo nUnamAvajyaM dRSTIH // 39 // anvayaH- vidyudvIvitatavapuSaM kAlikAkarburAga, AmandradhvInatasubhagaM, payobhiH pUryamANaM tvAM svarvadhUbhiH krIDAhetoH vimuktA siti dRti iva gaganagatayaH dRSTIH AvayaM nUnaM prekssissynte| vidyudityAdi / vidyudvavitatavaghuSaM / vidyut saudAmanyeva varSI nadI vidyudvarSI / vardhate dIrghAbhavati carmarajjutvAdvI' iti kSIrasvAmI / tayA vizeSeNa tataM vyAptaM vapuH zarIraM yasya saH / tam / vidyudvaratrAsaMvyAptadehamityarthaH / 'naddhI varSI varatrA syAt' ityamaraH / kAlikAkarburAGgaM / kAlikayA kAyena karburaM citramaGgaM zarIraM yasya saH |tm / 'citraM kirikalmASazabalaitAzca karbure' ityamaraH / yadvA kAlikeva romAvalIva vAyasIva, meghajAlamiva, dhUma iva, navanIrada iva vA karburamaGgaM yasya saH / tam / kRSNavarNazarIramityarthaH / 'kAlikA caNDikAyAM syAdyoginIbhedakArNyayoH / pazcAddAtavyamUlye ca pttolkltaantre| romaaliidhuumriimaaNsiikaakiivRshcikptrke| ghanAvalAvalaM dhUmaprabhede nvniirde||' iti vizvalocane / AmandradhvanitasubhagaM ISadgambhIrastanitamanoharaM / A ISat mandraM gambhIraM AmandraM / 'mandrastu gambhIre' ityamaraH / Amandradhvanitena subhagaH / tam / payobhiH salilaiH pUryamANaM bhriyamANaM / pUryate iti pUryamANastam / jalamAtmasAtkurvANamityarthaH / tvAM bhavantaM / svarvadhUbhiH svargAGganAbhiH krIDAhetoH krIDArtha / hetuzabdaprayoge tA / vimuktAM kAcitAM zikyitA vA ziti mecakavarNAm / kRSNAmityarthaH / 'zitI dhavalamecako' ityamaraH / 'ziJ nizAne, mecakaH kRSNaH ' iti kSIrasvAmI / hati iva jalodaJcanaM carmamayaM pAtraM iva / 'moTa, pakhAla' iti mahArASTrayAm / gaganagatayaH nabhazcarAH siddhvidyaadhraadyH| vihAyasi gatirgamanaM yeSAM te / ' avayoM

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dvitIyaH sargaH ] 183 bahuvrIhirvyadhikaraNo janmAyuttarapada : ' ( kAvyA. sU. 5 - 2 - 19 ) iti vAmanaH / dRSTIH nayanAni Avarjya parivartya / netraparivartanaM kRtvetyarthaH / nUnaM avazyaM / 'nUnamavazyaM nizcaye dvayam' ityamaraH / prekSiSyante avalokayiSyanti / ambaracAriNaste dhUmravarNatvAtkhecarAstvAM svadRSTIH parivartyavalokayantaH kUpodara | jalAdaJcanatrarmamayapAtramiva sambhAvayeyuriti bhAvaH / The sky-wanderers would verily be looking upon you, with your body encircled with a leathern thong in the form of lightning, with your body darkened like smoke, charming owing to your rumbling sounds, absorbing water, as a black leathern bag meant for drawing water sustained (between heaven and earth) by the heavenly women for the sake of making sport. adhyAsIne tvayi kuvalayazyAmabhAsi kSaNaM vA sindhorasyAH zazadharakaraspardhinaM tatpravAham / drakSyantyagrA dhruvamanimiSA dUramAvarjya dRSTIH ekaM muktAguNamiva bhuvaH sthUlamadhyendranIlam // 40 // anvayaH. asyAH sindhoH zazadharakaraspardhinaM tatpravAhaM kuvalayazyAmabhAsi tvayi kSaNaM vA adhyAsIne sthUlamadhyendranIlaM bhuvaH ekaM muktAguNaM iva animiSAH dRSTIH dUraM Avarjya agrAt dhruvaM drakSyanti / - adhItyAdi / asyAH varNyaviSayabhUtAyAH sindhoH carmaNvatyAkhyAyAH nimnagAyAH zazadharakaraspardhinaM zazadharasya kSapAkarasya karaiH kiraNaiH spardhate sAmyamAtanute iti zazadharakaraspardhI / tam | kSapAkarakarAkArasadRzamityarthaH / tatpravAhaM / saH sarvajana - prasiddha zvAsau pravAhaH srotazca tatpravAhaH / tam / kuvalayazyAmabhAsi nIlotpalanIlavarNe / kuvalayaM nIlotpalam / kuvalayasyAbjatvasAmAnye'pi sAmAnyasya vizeSavRtteH nIlotpalatvamarthato vijJeyam / 'syAdutpalaM kuvalayamatha nIlAmbujanma ca ' ityamaraH / kuvalayamiva zyAmA nIlA kuvalayazyAmA / ' sAmAnyenopamAnaM ' iti saH / kuvalayazyAmA bhAH ruk yasya kuvalazyAmabhAH / tasmin / ' bhAH prabhAve ruci striyAm ' iti vizvalocane / tvayi bhavati kSaNamiva kSaNamAtrakAlaM yAvat adhyAsIne Asthita sati / -- karmaivAdheH zIGkasthA''saH ityadhipUrvasya zIGa AdhArasya karma ,

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184 [pArdhAbhyudaye tvam / sthUlamadhyendranIlaM / sthUlaH mahAn madhyaH muktAguNamadhyadezasthitaH 'madhya nyAyye'vakAze ca madhyaM madhyasthite triSu' iti vizvalocane / sthUlaH madhyaH indranIlo maNivizeSaH yasya sH| tam / madhyadezasthitasthUlakAyendranIlamaNikamityarthaH / bhuvaH pRthivyAH ekaM ekayASTikaM muktAguNaM iva mauktikanibaddhasaramiva animiSAH surAH / 'sure matsye'pyanimiSaH sure matsye'nimeSavat' iti vizvalocane / dRSTIH nayanAni dUraM AvayaM vyApArya / prkssipyetyrthH| agrAt unnatatarAdAkAzapradezAt dhuvaM avazyaM 'dhruvaM tu nizcite tarke nityanizcalayostriSu' iti vizvalocane / drakSyanti vilokayiSyanti / nIlotpalatulyanIlimAlakRtakArya carmaNyatIveNyAM pratibimbitaM bhavantaM hAramadhyamaNinIkAzaM gaNayitvA taM pravAhaM 'bhuvo hArayaSTirivAyaM pravAhaH' iti sarkayiSyantIti tAtparyam / When you, possessing complexion as dark as that of a blue lotus, would, for a moment, be hanging over the stream of the river ( Charmanvati ), carrying on rivalry with the rays of the moon, the . gods, casting their glances at a very long distance, would certainly be looking from the uppermost part of the sky ) upon the current as a single string of pearls worn ( lit. of ) by the earth having a big sapphire at its centre. evamprAyAM salilavihRtiM tatra kRtvA muhUrta vArAM puNyAM suragaja iva vyomamArgAnusArI / lIlAM pazyan prajavipavanoddhatavIcIcayAnAM tAmuttIrya vraja paricitabhrUlatAvibhramANAm // 41 // anvayaH- tatra evamprAyAM suragajaH iva salilavihRtiM muhUrtaM kRtvA vyomamArgAnusArI prajavipavanoddhRtavIcIcayAnAM paricitabhUlatAvibhramANAM vArAM puNyA lIlAM pazyan tAM uttIrya prj| evamityAdi / tatra carmaNvatInadyAM evamprAyAM etAdRzIM suragajaH iva airAvataH iva salilavihRti jalavihAraM / salile jale vihRtiH vihAraH krIDA salilavihRtiH / tAm / muhUrta muhUrtamAtrakAlaM yAvat / kRtvA vidhAya / vyomamArgAnusArI vihAyasA gacchan / vyomnaH vyomaiva vA mArgaH vyomamArgaH / tamanusaratIti vyomamArgAnusArI /

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dvitIyaH sargaH ] 185 J 'zIle'jAto Nin' iti zIlArthe Nin / prajavi pavanAdUtavacIcayAnAM / prakRSTaH javaH vegaH pravaH / ' vege javo vegini vAcyavat' iti vizvalocane / 'ato'nekAcaH ' ityastvarthe in javazabdasyAnekatvAt / prajavI vegavazcAsau pavanazca prajavipavanaH / tena vAyunA uddhUtAH utkampitAH vIcInAM cayAH samUhAH yatra / teSAM vArAM / ' prajavI javano javaH ityamaraH / paricitabhrUlatAvibhramANAM / bhruvaH latAH iva / 'vyAghrAdibhirupameyo'tadyoge / ' iti zabdasyopameyabhUtasyopamAnabhUtalatAzabdena saH, sAmAnyasyAyogAt / bhrUlatAnAM vibhramAH vilAsAH bhrUlatAvibhramAH / paricitAH vijJAtAH abhyastAH vA bhrUlatAvibhramAH yAbhiH tAH tAsAm / yadvA paricitAH sarvajanavijJAtAH bhrUtAnAM vibhramAH iva vibhramAH yAsAM taaH| tAsAm / 'IbupamAnapUrvasya sukhaM gatArthatvAt iti khaM / vArAM salilAnAM ' vAri kaM payo'mbho'mbu pAtho'Nai salilaM jalaM ' iti dhanaJjayaH / puNyAM manojJAM / ' puNyaM tu sukRte dharme triSu madhyamanojJayo:' iti vizvalocane / lIlAM vilAsaM pazyana vilokayan tAM carmaNvatIM nadIM uttIrya ullaGghya vraja gaccha / 2 Having thus sported in the water there for a moment like a celestial elephant ( Airavata ) you, moving on the heavenly way, having crossed her, proceed on seeing the charming sports of the waters possessing multitudes of waves roused up by forcible wind and wellacquainted with the movements like those of the creeper-like eyebrows. tasyAH sindhoranuvanamudaktIrabhAjAM latAnAmutphullAnAM tatamadhulihAM muktadhAraM pravarSan / sItApUraM vraja laghu tato jAtahArdastu mAnAta pakSmAkSepAduparivilasat kRSNazAraprabhANAm // 42 // tasyAH sindhoH udak anuvanaM tIrabhAjAM utphullAnAM tatamadhulihAM latAnAM muktadhAraM sItApUraM pravarSan tataH tu pakSmotkSepAt uparivilasatkRSNazAra prabhANAM mAnAt jAtaddArdaH laghu braja / anvayaH - -- tasyA ityAdi / tasyAH sindhoH pUrvatra zloke varNitAyAH carmaNvatIsaJjJakAyA nadyAH udak utarasyAM dizi / udIcyA aJcatyantatvAddizi vartamAnatvAdIcantAd digbhyo vAkebbhyo'stAt digdezakAle ' itisUtravihitasyA'stAtaH 'vaino'dUre'kAyAH' itisUtravihitasya cainasya 'aJcerup' ityup / anuvanaM vane / 'jhiH subvyRddhyRddhyarthAbhAvAtItyasa - 6

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[ pArzvAbhyudaye mpratizabdakhyAtipazcAdyathAyugapatsampatsAkalyAnte ' iti Ibarthe hasaH / tIrabhAjAM tIrapradeze virUDhAnAM / tIraM bhajate iti tIrabhAk / teSAM tIrabhAjAM / ' bhajo NviH ' iti supi vAci bhajoviH / utphullAnAM saJjAtakusumAnAM / 'samudaH ' ' iti 'triphalA vizaraNe' ityasya dhoH phullo nipAtitaH udaH paratvAttasya / tatamadhulihAM prasRtabhramarANAM / tatAH prasRtAH madhulihaH madhukarAH yAsu tAH / tAsAm / madhu kSaudraM leDhItI madhuliT / kvip / 'visRtaM vistRtaM tataM' ityamaraH / latAnAM vallarINAM / ' vratatirvallarI latA' iti dhanaJjayaH / muktadhAraM / muktAH aprativadhdAH dhArAH jalasampAtAH yasmin karmaNi tat / sItApUraM sItA: halakRSTAH bhUmayaH yAvatA jalena pUrNAH bhaviSyanti tAvat / varSeyatve' tyotkhaM vA' iti vRSTipramANe'rthe karmaNi vAci pUrayaterNam / 'sItA tu jAnakIvyomagaGgAlAGgalavartmasu ' iti vizvalocane / pravarSan vRSTiM vidadhAnaH tataH tu tasmAt pradezAt tadanantaraM vA / pakSmotkSepAt / pakSmaNAM netralomnAM utkSepaH unnamanaM pakSamotkSepaH / tasmAt / tAvatra kA / netralomonnamanAddhetorityarthaH / ' pakSma locanalomani / pakSma sUtrAdisUkSmAMze pakSma syAtkezare'pi ca' iti vizvalocane / uparivilasat kRSNazAraprabhANAM / upari locanalomnAmutkSepAdUrdhvabhAge vilasantyaH kRSNazArAH prabhAH yAsAM tAH / tAsAM / dazapuravAstavyAnAM strINAmityarthaH / kRSNAzca tAH zArAH kRSNaraktasitAzca kRSNazArAH / ' kRSNa raktasitAH zArAH' iti yAdavaH 'zArastu zatrule vAte' iti vizvalocane / 'varNo varNaiH' iti saH / zArazabdAdeva kRSNavarNatvasiddheH punarapi kRSNapadopAdAnaM doSAvahamiti cet na, tasya kRSNavarNaprAdhAnyapratipAdanArthatvAt / mAnAt mAnaM prApya / mAnaM sammAnaM pUjAM vA prApyetyarthaH / ' pyakhe karmAdhAre' iti prApyeti pyAntasya khe karmaNi kA / ' mAnaM pramANe prasthAdau mAnazcittonnatau grahe / mAnaH syAdapi pUjAyAM ' iti vizvalocane / jAtahArdaH jAtAnandaH / jAtaM hArde prema Anando vA yasya saH / hRdayasya bhAvaH hArdam | hArdai prema AdandaH / ' premA nA priyatA hArdai prema snehaH ityamaraH | 'hRdayapuruSAda se' iti bhAve'N / aNi ca ' hRdayasya hRllekhANyAlAse ' iti hRdAdezaH / proSitasvabhartRpratyAgamanakAlajijJAsayA meghAgamanavilokitukAmAbhirbhavadavalokanajanitasanteASAbhirvihitAtsammAnAjAtAmandAnando bhavAnityarthaH / laghu zIghraM vraja yAhi / 186 Pouring incessantly heavy showers of rain in the forest on the creepers,grown on the northern bank, bearing full-blown flowers, having bees diffused in them, so as to fill the furrows cut in the soil by ploughs to their utmost capacity, you, beccme delightful on account of your being honoured by the women (of Dasapur), with their dark

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dvitIyaH sargaH ] 187 and variegated lustre shooting up from the eyes owing to their lifting up of the eye-lashes, should proceed on speedily from that place. gacchanmArge priyamupahareH prANanAthopayAnapratyAzvAsAdviyati sudRzAM kRSNazArodarANAm / lakSIkurvan pathikavanitAlocanollAsakAnAM kundakSepAnugamadhukara zrImuSAmAtmabimbam // 43 // anvayaH viyati mArge gacchan kRSNazArodarANAM kundakSepAnugamadhukara zrImuSAM pathikavanitAlocanollAsakAnAM AtmabimbaM lakSIkurvan sudRzAM prANanAthopayAnapratyAzvAsAt priyaM upahareH / < 3 gacchannityAdi / viyati AkAze mArge adhvani gacchan prayAn kRSNazArodarANAM / kRSNaM ca tat zAraM ca kRSNazAraM / ' varNo varNaiH ' iti yasaH / kRSNazAraM udaraM madhyabhAgaH yeSAM te / teSAm / " kRSNasArodarANAM / kRSNasArasyeva mRgavizeSasyeva udaraM yAsAM tAsAm / -- kRSNasArarurunyaGkuraGkuzambararoddiSAH ityamaraH / talodarINAmityarthaH " iti yadyogirAjenoktaM tanna samIcInaM, talodarINAmityasya ghaTAkArodarINAmityarthakatvAtkAvya saundaryahAneH / kundakSepAnugamadhukara zrImuSAM / kundAni mAdhyakusumAni / ' mAdhyaM kundaM ' ityamaraH / kundAni kundakusumAni / puSpamUle bahulaM iti puSpatyasyos / teSAM kSepaH itastatazcalanaM / tamanugacchantIti tasyA'nugAH anusAriNo vA kundakSepAnugAH / te ca te madhukarAH madhulihazca / teSAM zrIH saundarye / tAM muSNantIti / kvip / teSAm / samIraNanunnakunda kusumakSepAnusAribhramaradezIyAnAmityarthaH / pathikavanitAlocanollAsakAnAM / pathikAH panthAna prayAntaH / ' pathaSThaT' iti yAtyarthe ThaT / pathikAnAM proSitatvAtpathi caratAM vanitAH striyaH pathikavanitAH tAsAM locanAni nayanAni / teSAM ullAsakAH bilAsA : prakSepAH prabhAH vA / teSAm tAsa vA / ullAsaH evaM ullAsakaH / teSAm proSitabhartRkakAminInayanaprabhANAmityarthaH / AtmabimbaM naijaM maNDalAkAraM zarIraM lakSIkurvan gocaratAM nayan / alakSaM lakSaM karotIti lakSIkurvan / sudRzAM proSitabhartRkANAM kAminInAM prANanAthopayAnapratyAzvAsAt svapriyakara pratyAgamanavizvAsamutpAdya / prANanAthasya priyakarasya upayAnaM pratyAgamanaM / tasmin pratyAzvAsaH vizvAsaH / tasmAt / tamutpAdyetyarthaH / ' pyakhe karmAdhAre ' iti pyAntasya khe kRte karmaNaH 3

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188 [pArdhAbhyudaye kaa| priyaM abhISTaM / 'abhISTe'bhIpsitaM hRdyaM dayitaM vallabhaM priyam' ityamaraH / upahareH vidhehi| You, proceeding on your way in the sky, and making your round form the object of the glances of the eyes of the wives of those gone abroad-glances, black and variegated in the interior, depriving the bees following the tossings of the Kunda-flowers of their beauty, should do what is dear to them by inspiring confidence in them regarding the arrival of their lovers. tasminnadhvanyanaticirayannadhvanInaH prayAyAH yasminyAtrAphalamavikalaM lapsyase daivayogAt / - jaitreSUNAmiva hRdizayasyAyatAnAM svabimba pAtrIkurvandazapuravadhUnetrakautUhalAnAm // 44 // anvayaH-- hRdizayasya jaitreSUNAM iva AyatAnAM dazapuravadhUnetrakautUhalAnAM svabimbaM pAtrIkurvan yasmin daivayogAt avikalaM yAtrAphalaM lapsyase tasmin adhvani adhvanInaH (tvaM ) anaticirayan pryaayaaH| ... tasminnityAdi / hRdizayasya kAmasya / hRdi hRdaye manasi vA zete hRdizayaH / 'AdhAre' ityAdhAre vAci zIDo'nyaH / 'hRccittabukkayoH klIya ' iti vizvalocane / tasya / hRdizayaH manasijaH / kAmaH ityarthaH / jaitreSUNAM iva jetRvANAnAmiva / jaitraiva jaitraM / prajJAditvAdaN / AyatAnAM dIrghANAM / 'sudUre dIrghamAyato' ityamaraH / dshpurvdhuunetrkautuuhlaanaaN| dazapura rantidevasya rAjadhAnI / tatra vidyamAnAnAM vadhUnAM strINAM netrakautUhalAnAM netrAbhilASANAM / sAbhilASadRSTInAmityarthaH / 'kutUhalaM kautuke syAtriSu zaste kutUhalaM' iti vizvalocane / 'strI nArI vanitA mugdhA bhAminI bhIruraGganA / lalanA kAminI yoSidyoSA sImantinI vadhUH // ' iti dhanaJjayaH / svabimbaM svazarIraM pAtrIkurvan gocarIkurvan yogyaM kurvan vA / 'yogyabhAjanayoH pAtraM ' itymrH| yasmin yatra mArge dekyogAt zubhakarmodayavazAt / lAbhAntarAyakarmakSayopazamAdityarthaH / ' ' daivaM diSTaM bhAgadheyaM bhAgyaM strI niyatividhiH' ityamaraH / avikalaM sampUrNa / na vikalaM avikalaM / vikalaM naSTAMzam / yAtrAphalaM prayANaphalaM / 'yAtrA'nuvRttau gamane yApane devatotsave ' iti vizvalocane / lapsyase adhigamiSyasi tasmin adhvani tasmin varmani adhvanInaH shiighrgmnH|

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dvitIyaH sargaH ] 189 adhvAnaM alaM gAmI adhvanInaH / ' khazcAdhvAnaM ca ' iti khaH / tvaM anaticirayan / aticiraM karoti aticirayati / ' mRdodhvarthe NijbahulaM ' iti Nic / na atici - rayatIti anaticirayan / ISaccirayanniti tAtparyam / alpakAlaM tatra tiSThannityarthaH / prayAyAH gaccha / You, making your round form the object of the glances cast by the ladies of the city of Dasapur, as long as the arrows, leading to victory, of the god of love, moving fast on that way where you would be gaining the fruit of your journey fortunately in full, should proceed on without making any delay. ramyAndezAniti bahuvidhAnsAdaraM vIkSamANaH dezAtithyaM vrajatu sa bhavAMstatra tatrA'pi varSan / sasyakSetre giriSu saritAmantike ca sthale ca brahmAvarte janapadamatha cchAyayA gAhamAnaH // 45 // anvayaH atha iti bahuvidhAn ramyAn dezAn sAdaraM vIkSamANaH, tatra tatra api sasyakSetre, giriSu, saritAM antike ca sthale ca varSan, brahmAvarte janapadaM chAyayA gAhamAnaH saH bhavAn dezAtithyaM vrajatu / ramyAnityAdi / atha anantaraM / 'athA'tho ca zubhe prazne sAkasyArambhasaMzaye / anantare'pi ' iti vizvalocane / iti evaM proktaprakAreNa bahuvidhAn nAnAprakArAn / bahUvyaH vidhAH prakArAH yeSAM te bahuvidhAH / tAn / 'vidhA prakAre Rddhau ca gajAnne vetane vidhau ' iti vizvalocane / ramyAn manoharAn dezAn janapadAn sAdaraM prItisahitaM yathA syAttathA 'jhi: sub- ' iti isaH / ' he'kAle' iti sahasya saH / vIkSamANaH avalokayan / vIkSate iti vIkSamANaH / tatra tatra api tasmiMstasminnapi / vIpsAyAM dviH / sasyakSetre kedArAdau giriSu bhUdhareSu saritAM nadInAM antike ca samIpadeze ca sthale ca akRtrimAyAM bhUmau ca varSan vRSTiM kurvan brahmAvarta brahmAvarta - nAmadheyaM janapadaM dezavizeSaM / ' sarasvatIdRzadvatyordevanadyoryadantaraM / taM devanirmita deza . brahmAvarta pratyakSate ' iti manuH / ' pumAJjanapado deze tathA janapado jane ' iti vizvalocane / chAyayA AtapAbhAvarUpayA pratimUrtyA / ' chAyA svAdAtapAbhAve ' iti vizvalocane / gAhamAnaH pravizan / AkAzapradezasthitatvAtsvarUpeNAvagAhanAsambhavA

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190 [ pArzvAbhyudaye cchAyArUpayA svapratimUrtyA taM dezaM pravizanniti bhAvaH / saH bhavAn saH tvaM dezAtithyaM brahmAvartajanapadasyAtithitvaM vrajatu gacchatu / brahmAvartajanapadasyAtithirbhavatu bhavAniti bhAvaH / yadvA AtithyaM atithisatkAraM vrajatu adhigacchatu anubhavatu vA / dhAtUnAmanekArthatvAdarthabhedaH / Then, in this way, you, beholding various beautiful countries with eagerness, pouring showers of rain everywhere in the fields of corn, on the mountains, in the vicinity of rivers, and on the dry land (terra firma) there, and plunging into the Brahmavarta country by your shadow, should enjoy hospitality afforded by the country. yasminnadyaH kSatajakaluSAH kauravINAM camUnAM prAvartanta pratiyuyudhire yatra cAmoghazastrAH / pANDoH putrAH pratihananataH pApabhItAH sazaGkaM kSetra kSatrapradhanapizunaM kauravaM tadbhajethAH // 46 // anvayaH - yasmin kauravINAM camUnAM kSatajakaluSAH nadyaH prAvartanta yatra ca amoghazastrAH pratihananataH pApabhItAH pANDoH putrAH sazaGkaM pratiyuyudhire tat kSatrapradhanapizunaM kauravaM kSetraM bhajethAH / 1 , yasminnityAdi / yasmin kurukSetre / kauravINAM kurusvAmikAnAM / kurUNAmiyaM kauravI / aNU GIca striyAm / tAsAm / kurUNAM rAjA kuruH / tasyeyamiti kauravI / tAsAm / ' puruSadvayaJmagadhakaliMga sUramasAdaN' iti rAjArthasthANaH ' upacolAdibhyaH -' ityup / kurusambandhinInAM vA / yadvA kurorapatyAni kuravaH / 'puruSadvayaJ ityapasyArthasyANaH 'upacolAdibhyaH' ityup / kurUNAM nivAsaH janapadaH kuravaH 'janapada usiti nivAsArthasya tyasyos / kurunivAsinamityarthaH / ' kururnRpAntare bhakte kuruH zrIkaNThajAGgale ' iti vizvalocane / camUnAM senAnAM / kSatajakaluSAH lohitAvilAH kSatAdmaNAjAtaM kSatajaM / tena kaluSAH AvilAH kSatajakaluSAH / ' kaluSaM kilviSe klI. mAvile kaluSaM triSu' iti vizvalocane / nadyaH saritaH / prAvartanta prAdurabhUvan / yatra ca yasmiMzca kurukSetre amoghazastrAH saphalAyudhAH / amoghAni saphalAni zastrANi AyudhAni yeSAM te amoghazastrAH / ' moghastu niSphale dIne ' iti vizvalocane / pratihananAt prANihiMsanAt pApabhItAH prANihiMsAjanitapApAdbhItAH / pApAt kilbiSAt bhItAH

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dvitIyaH sargaH ] 191 saJjAtabhayAH pApabhItAH / pANDoH pANDurAjasya putrAH tanayAH sazaGkaM zaGkayA bhItyA sahitaM yathA stAttathA / ' zaGkA trAse vitarke ca' iti vizvalocane / pratiyuyudhire pratiyudhyante sma / tat kSatrapradhanapizunaM kSAtrasaGgAmasUcakam / kSatrANAM kSatriyANAM pradhanaM yuddhaM kSatrapradhanam / ' pradhanaM dAruNe saGkhye ' iti vizvalocane / tasya pizunaM sUcakaM kSatrapradhanapizunaM / 'pizuno nArade puMsi khalasUcakayostriSu' iti vizvalocane / kauravaM kururAjasatkaM / kurUNAmidaM kauravaM / kururAjasvAmikamityarthaH / kSetraM viSayaM / bhajethAH / kurukSetraM prayAyAH ityarthaH / I 1 1 You should betake yourself (or have recourse) to the region of Kurus, indicative of the battles fought by the Kshatriyas whereby many rivers were rendered turbid by the blood of the armies of the Kurus, and where the sons of Pandu, carrying weapons achieving success, made a counter-attack through fear caused by their being afraid of the sin incurred by slaughtering (the enemies). vIrakSoNIM bhuvanaviditAM tAM kSaNena vyatIyAH kSAtraM tejaH pratibhayabhaTastambhanaiH sUcayantIm / rAjanyAnAM zitazarazatairyatra gANDIvadhanvA dhArApAtaistvamiva kamalAnyabhyavarSanmukhAni // 47 // anvayaH - yatra dhArApAtaiH kamalAni tvaM iva gANDIvadhanvA zitazarazataiH rAjanyAnAM mukhAni abhyavarSat tAM pratibhayabhaTastambhanaiH kSAtraM tejaH sUcayantIM bhuvanaviditAM vIrakSoNIM kSaNena vyatIyAH / , vIrakSoNImityAdi / yatra kurukSetre dhArApAtaiH jaladhArApravarSaNaiH / dhArANAM jaladhArANAM pAtAH pravarSaNAni dhArapAtAH / taiH kamalAni nalinAni tvaM iva bhavAniva gANDIvadhanvA arjunaH / gANDIvaM parvA'syAstIti gANDIvaM / ' gANDayAdibhyaH iti matvarthIyo vatyaH / gANDIvaM parvavadityarthaH / gANDIvaM dhanurasya gANDIvadhanvA / 'dhanuH khau ' iti base khau dhanuH zabde prayoktavye'pi keSAJcinmatena tasya vaikalpikatvAdvasAddhanuHzabdAntAdan / zitazarazataiH niziteSusamUhaiH / zitA tIkSNAca te zarAH bANAzca shitshraaH| teSAM zatAni / taiH / zatazabdo'tra bAhulyavacanaH / ' zo tanUkaraNe ' ityasmAtkiti kte parataH chazca vA ' iti it / zitastejita ityartha / rAjanyAnAM kSatriyANAM / rAjJaH apatyaM rAjanyaH | 'jAtau rAjJaH iti jAtau gamyamAnAyAM 1 8 "

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[pArdhAbhyudaye rAjanazabdAdapatyArthe yaH / ye paratazca 'ye'Do' iti TikhAbhAvaH / pratipakSiNAM kSatriyANAmityarthaH / 'mUrdhAbhiSakto rAjanyaH bAhujaH kSatriyo virAT' ityamaraH / mukhAni AnanAni abhyavarSat abhimukhaM vRSTiM cakAra / niziteSuzatapAtaisteSAM pratipakSiNAM kSatriyANAmAnanAni cicchedeti bhaavH| tAM kurubhUmi pratibhayabhaTastambhana bhayaGkarayoddhaNAmabhimukhAgamanasya prtibndhnaiH| pratibhayAH bhayaGkarAzca te bhaTAH yoddhArazca prtibhybhttaaH| ' bhayaGkaraM pratibhayaM raudraM tUgramamI triSu' ityamaraH / teSAM stambhanaH teSAmabhimukhamabhiyAnasya pratibandhaiH kSAtraM kSatriyajAtiviSayakaM sahaja tejaH balaM prabhAvaM parAkrama vaa| 'tejaH parAkrame dIptau prabhAve balazukrayoH' iti vizvalocane / sUcayantI pishunyntiiN| darzayantImityarthaH / bhuvanaviditAM bhUmaNDalaprasiddhAM / bhuvanena tAsthyAttannivAsibhirjanaiH viditAM jJAtAM / 'viditaM jJAte' iti vizvalocane / vIrakSoNI vIrabhuvaM / vIrotpattisthAnaM raNabhUmi vetyarthaH / kSaNena kSaNamAtreNa vyatIyAH ullaGgaya / tasyAH bhayaGkaratvAttatra ciraM mA tiSTheti bhaavH| In a moment, you should pass over that land of warriors, wellknown in the whole world, indicating the valour of the military tribes (i. e. Ksatriyas) by the acts of checking the advance (or progress ) of formidable warriors, where the warrior armed with the Gandiva bow (i. e. Arjuna ) poured ( discharged ) volleys of hundreds of sharpened arrows on the faces of warriors, like you, pouring showers of rain over the lotuses. puNyakSetraM tadapi bhajanIyaM hi tasyopakaNThe yasminso'sthAttapasi halabhUta praattraajrssivRttH| zAGgiNyastaM gatavati mahIniHspRho manmathIyAM hitvA hAlAmabhimatarasAM revatIlocanAkAm // 48 // anvayaH- zAhmiNi astaM gatavati saH mahIniHspRhaH, prAttarAjarSivRttaH abhimatarasAM revatIlocanAGkAM manmathIyAM hAlAM hitvA yasmin tapasi asthAt tat tasya upakaNThe puNyakSetraM api hi bhajanIyam / .. puNyakSetramityAdi / zAjhiNi nArAyaNe / zRGgasya vikAraH dhanuH shaanggm| tadasyAstIti zAI 'ato'nekAcaH' iti in / astaM vilayaM gatavati prAptavati / yadbhAvA

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dvitIyaH sargaH] dbhAvagatiH' itop / saH prasiddhaH mhiiniHspRhH| mahyA bhUmau nispRhaH aashaavshaatiitH| vinaSTabhUmyAzaH ityarthaH / prAttarAjarSivRttaH svIkRtamunIndrAcAraH / prAttaM svIkRta rAjarSeH vRttaM AcAraH yena saH / 'triSu vRttaM tu carite' iti vizvalocane / halabhRt blraamH| halaM lAgalaM bibhartIti halabhRt / halAyudhaH ityrthH| revatIramaNo rAmaH kAmapAlo halAyudhaH' ityamaraH / abhimtrsaaN| abhimataH abhISTaH rasaH zRGgArAdiH AnandaH vA yasyAH saa| tAm / abhimatazRGgArAdirasamAvirbhAvayantImityarthaH / revatIlocanAGkAM revatInayanalakSaNAM / revatyAH halikAntAyAH locane nayane revatIlocane / 'revatI halikAntAyAM tArAbhede'pi mAtRSu' iti vizvalocane / te eva aGko lakSaNaM yasyAH saa| tAm / 'aGko rekhAyAM cihnlkssmnnoH| nATakAdiparicchedotsaGgayorapi ruupke| citrayuddhe'ntike mantau sthAnabhUSaNayorapi / ' iti vizvalocane / mnmthiiyaaN| manmathasyeyaM manmathIyA / tAm / 'vA nAmnaH' iti nAmnaH dusajJatvAt ' dozchaH' iti chaH / mnmthsmbndhiniimityrthH| hAlAM surAM / 'hAlA madye nRpe' iti vishvlocne| hitvA parityajya yasmin puNyakSetre tapasi tapazcaraNArtha / ' hetau sarvAH prAyaH' iti hetAvIp / asthAt atiSThat tat prasiddhaM tasya kurukSetrasya upakaNThe samIpe vidyamAnaM / 'upakaNThAntikAbhyAMbhyagrA' ityamaraH / puNyakSetra tIrthasthAnaM api hi avazyaM / 'hi vishesse'vdhaarnne| hi pAdapUraNe hetau' iti vishvlocne| bhajanIyaM sevanIyam / taveti zeSaH 'tAM kSaNena vyatIyAH' iti mayokte satyapi kurukSetropakaNThadezasthitaM tIrthakSetraM vihAyAgragAmI mA bhUriti zambarAsurAbhiprAyaH / In the vicinity of it that holy land even, wherein, after the disappearance of Krsna, the plough-bearer ( Baladeva), resorting to the mode of life of a great sage (or royal sage ) deprived of aspiration for kingdom ( lit. the earth ), having renounced liquor of the god of love in the form of the eyes of Revati, giving pleasure that is desired for, stayed for practising penance, should verily be resorted to by you. tAste puNyaM vidadhati purA bhUmayo dRSTamAtrAH vandyAH puMsAM parigamanatastvAM punantyeva sdyH| pRthvImenAM sa kila viharannAttadIkSaH prajAsu bandhusnehAtsamaravimukho lAgalI yAH siSeve // 49 / / anvayaH- prajAsu bandhusnehAt samaravimukhaH, AttadIkSaH, enAM pRthvI vihapAzrvAbhyudaye....13

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194 [ pArzvabhyudaye ran saH lAgalI yAH siSeve tAH puMsAM vandyAH bhUmayaH dRSTamAtrAH purA te puNyaM vidadhati parigamanataH tvAM sadyaH punanti eva / tAH ityAdi / prajAsu janatAyAM / 'prajA santAnalokayoH' iti vishvlocne| bandhusnehAt bandhupremNaH / bandhau bAndhave iva snehaH prema bandhusnehaH / tasmAt / prajAnAM bAndhavatulyatvAt tAsu yatprema tasmAt / 'bandhurvadhUbhrAtari bAndhave' iti vishvlocne|smrvimukhH yuddhaparAGmukhaH / prajAhiMsanabhayAt parityakyasAmparAyaH ityarthaH / samarAt yuddhAt vimukhaH parAGmukhaH smrvimukhH| AttadIkSaH gRhItamunidIkSaH / AttA gRhItA dIkSA munidharmaH yena saH / enAM imAM pRthvI bhUmaNDalaM viharan paryaTan saH lAgalI saH halA. yudhaH balarAmaH / ' lAgalaM kusumAntare / gRhadAruvizeSe ca sire tAle ca lAgalaM' iti vizvalocane / lAGgalaM sIraH asyAstIti lAGgalI / 'ato'nekAcaH' iti in / yAH bhUmayaH siSeve sevate sma tAH bhUmayaH puMsAM puruSANAM vandyAH vndniiyaaH| 'vyasya vA katari' iti tA / puruSaiH vandanIyAmityarthaH / bhUmayaH bhuvaH dRSTamAtrAH dRSTAH eva / 'mAtraM kAnye'vadhAraNe' iti vizvalocane / purA prathamaM te tava puNyaM zriyaM kalyANa zubhaM vA vidadhati kurvanti / kariSyantItyarthaH / 'purAyAvatorlaT' iti bhaviSyatyarthe laTa parigamanataH pradakSiNIkaraNAt tvAM bhavantaM sadyaH sapadi punanti eva pavitrIkariSyantyeva / 'vartamAnasAmIpye vartamAnavadvA' iti samIpabhaviSyatyarthe laT / Those regions, worthy of being worshipped by men, to which the plough-bearer, averse to take any part in the battle out of his showing as much affection towards his subjects as shown towards his relatives, got initiated into monkhood, roaming on this earth, betook himself, would at first bring in merit only on seeing those and on going round it (or on arrival ), would at once purify you. sadbhistIrNAH pravimalatarAH puSkalAH suprasannAH hRdyAH sadyaH kalimalamuSo yAH satInAM sdRkssaaH| kRtvA tAsAmadhigamamapAM saumya sArasvatInAM antaHzuddhastvamapi bhavitA varNamAtreNa kRSNaH // 50 // anyaya :- sadbhiH tIrNAH, pravimalatarAH, puSkalAH, suprasannAH, hRdyAH, sadyaH kalimalamuSaH, satInAM sadRkSAH yAH, tAsAM sArasvatInAM apAM adhigamaM kRtvA (he) saumya varNamAtreNa kRSNaH api tvaM antaHzuddhaH bhavitA /

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dvitIyaH sargaH] 195 __ sadbhirityAdi / sadbhiH sajanaiH, grahanakSatraprakIrNakatArakAdibhirvA tIrNAH plAvitAH adhigatAH vyAptAH vA / pratiphalitagrahanakSatrAdibimbAH sajanaplAvitAH vetyarthaH / ' drAtasya to no'matpamUcchauM' iti tarateH parasya tatasya naH / nasya ca NakAraH / pravimalatarAH pracuranairmalyAH / 'guNAGgAdvaSTheyasU' iti taraH pravimalazabdasya guNa mabhidhAya dravye pravartanAt / prakRSTAH pravimalAH prvimltraaH| sArasvatIrApo vihAyAnyAsAM tAsAM nairmalyApecayApakRSTatvAtsArasva tInAmapAM pravimalataratvamabhivyaJjitam / puSkalAH atizayena prazasyAH / zreyAn zreSThaH puSkalaH syAt ' ityamaraH / suprasannAH sphaTikaprabhAH / sutarAM prasannAH vizadAH suprasannAH / hRdyAH hRtpriyAH / 'hRdyastu vazakadvedamantre vRddhyAkhyabheSaje / syAcchetajIrake hRdyaM hRtpriye hRdve triSu' iti vizvalocane / 'hRdayastha hRllekhANyalAse' iti ye parataH hRdayasya hRdAdezaH / sadyaH tAkSaNe eva / 'sadyaH sapadi tatkSaNe' ityamaraH / kalimalamuSaH paramparayedaMyugInapApApahAriNyaH / kalimalaM kalikAleritaprANigaNavihitaduSkarmajanitapApaM muSNanti apaharantIti klimlmussH| taaH| kim / satInAM ekapatnInAM sadRkSAH samAnAH / samAnA iva dRzyante sadRzAH / 'karmaNIve tyadAdyanyasamAne dRzaSTak sak ca' iti karmaNIvArthe sak 'ghaTTagadRzakSe' iti dRkSe paratazca samAnasya saH / 'vAcyaliGgAH samastulyaH sadRkSaH sadRzaH sahaka' ityamaraH / yA: apaH sarasvatInadyAH tAsAM sArasvatInAM sarasvatInadyAM pravAhinInAM / sarasvatyAH imAH sArasvatyaH / tAsAm / apAM salilAnAM adhigamaM sevanaM kRtvA vidhAya he saumya subhaga varNamAtreNa varNenaiva / ' mAtra kAtsnye'vadhAraNe' iti vizvalocane / kRSNaH zyAmaH api tvaM bhavAn antaHzuddhaH antarAtmani zuddhaH pUtaH / antaH Atmani zuddhaH pavitrA vigalitapApakarmA vA antaHzuddhaH / bhavitA bhavan / bhaviSyasItyarthaH / kRdantaM dhAtutvaM na jahAtIti paribhASAnusAreNa 'vartamAnasAmIpye vartamAnavadvA' iti AsannabhaviSyatyarthe tRjantasya bhavitRzabdasya prayogaH 'NvultRcau' iti tRc vaikalpikaH / tvamasi bhavitA' iti yogirAjorarIkRtaH pATho'pi samIcInaH / Ogentle one ! you, though dark only in complexion, having imbibed those waters of the Sarasvati which are plunged into by virtuous men (or which are pervaded by the reflexions of stars etc. ), which are very pure, excellent, pleasing to the heart, destroying immediately sin committed in this age called Kali and which resembla chaste women, would become pure inside, [ or you, though pure at

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196 [ pArzvabhyudaye heart, would become dark only in complexion (and not impure at heart.)]. yAstA nadyaH kulagiribhavAH svadhunIrUDhibhAjaH tAsAmetAH pratinidhitayA tatsamAkhyAH kunadyaH / tIrthAloke tvamupasara tAM jAhnavIM yanmayoktaM __taramAdcche ranukanakhalaM zailarAjAvatIrNAm // 51 // .. anvaya :- yAH nadyaH kulagiribhavAH tAH svardhanIrUDhibhAjaH / etAH kunadyaH tAsAM pratinidhitayA tatsamAkhyAH / 'tIrthAloke tvaM upasara' iti yat mayA uktaM tasmAt anukanakhale zailarAjAvatIrNA tAM jAhnavIM gaccheH / yAH ityAdi / yAH nadyaH yAH saritaH kulagiribhavAH himavannabhidhakulA.. calasamudbhUtAH / kulagirau himavati bhavaH janma yAsa tAH kulagiribhavAH / vyadhikaraNo basaH / 'avo bahuvAhiya'dhikaraNo janmAyuttarapadaH ' iti vAmanaH / * himavanmahAhimavanniSadhanIlarukmizikhariNo varSadharaparvatAH' iti tattvArthamahAzAstroktAH ghaT kulAcalAH / anyazAstrApekSayA tu ' mahendro malayaH sahyaH zuktimAn RkssvtH| vindhyazca pAriyAtrazca saptaite kulaparvatAH' iti sapta te| tAH gaGgAsidhvAdayo nadyaH / svardhanIruDhibhAjaH svastaraGgiNIprasiddhimatyaH / svardhanI devanadI vyomasarit vA iti rUDhiM prasiddhiM bhajante vahantIti svardhanIrUDhibhAjaH / 'bhajo viH ' iti NviH / yAH himavadAdikulAcalasambhUtayastAsAmevAtyunnataprasthapradezodbhatatvAt vyomataraGgiNyabhidhAnavatvena prasiddhiH, nAnyAsAM tatsamAnanAmnAmapi tadudbhUtisthAnabhUtasAnupradezAnAM tAdRgaunnatyAbhAvAt / etAH kulAcaletaradharaNIdharonnatatazikharAgrasamudbhUtAH gaGgAsindhvAditattusyAbhidhAnAH kunadyaH svalpasaritaH / kulAcalonnatatamazikharAgrabhAgasambhUtagaGgAsindhvAdinadyAyAmAvistArApekSayaitAsAM tadabhidhAnabhAjAmapi taragaNInAM svalpAyAmavistAravattvAtkunadyaH iti vyapadezaH ityavaseyam / 'alpe' iti korISadathatvasya jJApakam / 'ku nindAyAmISadarthe kilbiSe vAraNe'pi ca' itivishvlocne| tAsAM. kulAcalasambhavAnAM vAhinInAM gaGgAsidhvAdInAM pratinidhitayA kulAcalodbhUtagaGgAsidhvAdipratikRtirUpatvAt / pratinidhIyate pratinidhimukhyasadRzI bhavati / 'pratimAnaM pratibimbaM pratimA pratiyAtanA prticchaayaa| pratikRtirarcA puMsi pratinidhirupamopamAnaM syAt' ityamaraH / tatsamAkhyAH kulAcalasambhUtagaGgAsindhvAditulyA AkhyA nAmadheyaM yAsAM

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dvitIyaH sargaH ] 197 3 6 tAH / yadvA te gaGgAsindhU iti samAkhye nAmanI yAsAM tAH / tIrthAloke tIrthadarzanArthe nadIpAtadarzanArthe / puNyakSetradarzanArthaM / tannadIprapAtadarzanArthaM tannadImahApAtradarzanArthe `vetyapyartho'tra grAhyaH / 'tIrthe zAstrAvatArayoH / punnykssetrmhaapaatropaayopaadhyaaydrshne| RSijuSTe jale yajJe jAtau ca vanitArtave' iti vizvalocane / ' hetau sarvAH prAyaH ' iti hetAvIp / tvaM bhavAn upasara gacchatu iti yat yasmAtkAraNAt / ' hetuvadyarthayostu yat' iti vizvalocane / mayA kamaThacarazambarAsureNa uktaM kathitaM ' puNyakSetraM tadapi bhajanIyaM ( pA. 2 / 48 ) ityatra / tasmAt tasmAt kAraNAt / anukanakhalaM kanakhalasamIpa - pradeze / ' samIpe ' iti samIpArthe vartamAnasyAnossubantena saha hasaH / zailarAjAva zailarAja himAlayAvatIrNI / zailaH rAjeva zailarAjaH / ' vyAghrAdibhirupa meyo'tadyoge ' iti sAmAnyAyoge rAjazabdenopameyena saha SasaH vyAghrAderAkRtigaNatvAt / yadvA zailAnAM rAjA zailarAjaH / zailazreSThaH ityarthaH / tasmAdavatIrNA'dhaH patantI / tAm / , rAjAhaH sakheSTaH iti TaH sAntaH himavadityabhikhyayA kulAcArAcalebhyaH unnatataratvAcca himavatkulAcalatulyatvAt himAlayasya zailarAjAbhidhAnaM yuktarUpam / zailarAjaH iva zailarAjaH / ' devapathAdibhyaH' itIvArthasya kasyos / himAlayasya himavatkulAcalAnnapragbhUtatvAdanyebhyo dharAdharebhyaH unnatatvAcca zailarAjAbhidhAnamupacaritamityavaseyam / tAM prasiddhAM mAnasasaraH sambhavAM jAhnavIM gaGgAM gaccheH yAyAH / atra loke gaGgAdInAM yatsvardhunIrUDhibhAktvamuktaM tat ' pUrvAparau toyanidhI vagAhya sthitAmivadabhidhAnakulAcalAtsamudbhUtAnAmeva na pUrvAparatoyanidhyanavagAhino himAlayAsamudbhUtAnAm / kAlidAsenA'pi 'astyuttarasyAM dizi devatAtmA himAlayo nAma nagAdhirAjaH / pUrvAparau toyanidhI vagAhya sthitaH pRthivyA iva mAnadaNDaH iti kumArasambhavAdyazloke himAlayasya pUrvAparatoyanidhyavagAdditvamuktam / vidyamAnastu himAlayo na pUrvAparatoyanidhyavagAhI / atastatsamudbhUtAnAmapi gaGgA sindhvAditaraGgiNInAM kathaM svardhunIrUDhibhAktvaM sambhavati ? ato'tra zlekei yaduktaM kavinA tadasmanmatena nAsamaJjasam / 1 " " 8 Those rivers that have their origins from the principal mountains have become known by the name heavenly rivers, These rivers bear their names owing to their being their representatives. As I asked you to visit the holy places, you should visit the Ganges, falling down from the mountain Himalaya, resembling the Lords of mountains ( i. e. kulAcalas ), near Kanakhala.

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198 [pArdhAbhyudaye mopekSiSThAstvamupanadiketyAzugatvA pravizya prAhustIrthapratinidhimapi kSAlanaM kazmalAnAm / tA sevethAH subhaga surasAM lokarUDheH pratItAM janoH kanyAM sagaratanayasvargasopAnapaGktim / / 52 / / anvayaH-- (he) subhaga ! upanadikA iti pravizya AzugatvA tvaM mA upekSiSThAH [yataH ] tIrthapratinidhi api kazmalAnAM kSAlanaM prAhuH / lokarUDheH pratItA jahnoH kanyAM sagaratanayasvargasopAnapaGkti surasAM tAM sevethaaH| metyAdi / he subhaga ! suzrIka / zobhanaM bhagaH zrIryasya saH subhagaH / tasya kiH / 'bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmaritnabhAnuSu' iti vizvalocane / upanadikA iti svadhunIsAdRzyamAvahantI mahattvAyAmApekSayA svalpeyaM nadIti pravizya saGkrAntapratibimbAtmatvenAvagAhya AzugatvA shiighrgaamii| pravezAnantaraM zIghraM tAM vimucya gacchannityarthaH / Azu zIghraM gacchatIti AzugatvA / ' manvanvanibvicaH kacit ' iti vanip / tvaM bhavAn mA upekSiSThAH upekSA mA kRthAH / IkSerluGantamadhyamapuruSaikavacanam / 'luGlaGlaGyamAGAT' ityaDAgamapratiSedhaH mAGyogasadbhAvAt / yataH tIrthapratinidhi api puNyakSetrapratinidhibhUtamapi kazmalAnAM pApAnAM / kSAlanaM nirNejakaM / kSAlayatIti kSAlanaM / 'vyAnaDbahulam ' iti kartaryanaT / prAhA UcuH / AcAryAH iti zeSaH / jainabauddhacArvAketaradArzanikApekSayedamuktamityavaseyam / lokarUDheH lokasaGketAddhetubhUtAt pratItAM prasiddhimitAM jahanoH janunRpateH kanyAM tanayAM / jalAplAvitajanuyajJabhUmitvAtkruddhena janunApIya zrotreNodgIrNatvAdgaGgAyAH janukanyAtvamiti paurANikAH / sagaratanayasvargasopAnapakti / sagarasya tanayAH putrAH sagaratanayAH / teSAM svargArohaNArtha viracitAM sopAnapati sopAnaparamparAbhUtAm / kapilamahasA'marSApluSTAn pituH pitAmahAn ( prapitAmahAn ) tArayitumAcIrNatIvratapasyo bhagIratho bhAgIrathImadha AninAyeti paurANikI kathAmanusRtyedamuktamityavaseyam / surasA svAdujalAM / zobhanaH jihvAsantarpaNaH rasaH jalaM yasyAH sA / tAm / ' rasaH svAde'pi tiktado zRGgArAdau drave visse| pArade dhAtuvIryAmburAge gandharase tanau' iti vizvalocane / tAM gaGgAM sevethAH ArAdhaya / O beautiful one ! you, leaving her immediately after plunging into her water, should not disregard her only tecause of her being a small

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dvitIyaH sargaH ] 199 river; since the learned say that even a representative of a holy land is a purifier from sins (impurities). You should worship the daughter of Jahnu, possessing sweet water, forming the flight of steps to heaven for the sons of Sagara, so known owing to the practice based on convention. tAmevainAM kalaya saritaM tvaM prapAte himAdreH gaGgAdevyAH pratinidhigatasyAdidevasya bhartuH / gaurI vakrabhrukuTiracanAM yA vihasyeva phenaiH zambhoH kezagrahaNamakarodindulagnosiMhastA // 53 // anvayaH - yA indula mohistA, gaurI, phenai: vakrabhrakuTiracanA vihasya iva himAdreH prapAte gaGgAdevyAH pratinidhigatasya zambhoH Adidevasya bhartuH kezagrahaNaM akarot tAM eva enAM saritaM tvaM kalaya / + tAmityAdi / yA himavatkulAcalazikharasthapadmAkhyasarassambhUtA gaGgA bhidhAnA mahAnadI indula mormihastA candramovimAna saMlagnakallolakarA / indau candramasi lagnAH saJjAtasambandhAH UrmayaH kallolA eva hastAH karA: yasyAH sA / samutthitacandramovimAnaspRgabhraGkaSavIcirityarthaH / gaurI zubhravarNA / gaGgAsalilasya dugdhopamatvAdvaiauravarNatvam / gauraH zvetavarNaH asyAH astIti gaurI / ' gaurAdibhyaH iti striyAM GI / 'gauraH puMsi nizAkare / gauraH pItAruNazvetavizuddheSvabhidheyavat' iti vizvalocane / phenaiH I DiNDIrapiNDaiH / ' DiNDIro'bdhikaphaH phenaH ' ityamaraH / vakrabhrukuTi racanAM / bhrukuTyoH racanA bhrukuTiracanA / vakrA kuTilA cA'sau skuTiracanA ca vakrabhrukuTiracanA | tAm / yadvA gaurIvakrabhrukuTi racanAM / gauryAH gauravarNAyAH striyaH vaktre mukhe yA bhrukuTi - racanA svapatiparastrIgAmitvavijJAnAtsaJjAtAmarSAyAH gauravarNastriyaH yadbhrUbhaGgakaraNaM tat vihasya iva avahasyeva himAdreH himavatkulAcalasya prapAte jalaprapatanasthAnabhUte gau / 'prapAto nirjhare kRcchre patanAvaTayorapi ' iti vizvalocane / gaGgAdevyAH gaGgAkuTa vAsinyAH devyAH / himavatkulAcalasya gaGgAjalaughaprapatasthAnabhUte prapAte gaGgAbhidhAnA devatA gaGgAkUTe nivAsaM karoti / tasyAH devatAyAH pratinidhigatasya pratibimbarUpasya / gaGgAdevIsvAminIkasyAkRtrimapASANapratimArUpasya zambhoH arhataH / ' arhatpinAkinau zambhU' iti dhanaJjayaH / zaM sukhaM bhavatyasmAditi zambhuH / zaM zuddhAtmasukharUpo bhavatIti vA zambhuH / mitaMdvAdayaH' iti zambhuzabdo nipAtitaH / ' viprazamo'khau DuH .

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[ pArzvAbhyudaye iti pUrvAdbhuvI Duva / tasya / Adidevasya AdibrahmaNaH RSabhezvarasya bhartuH trailokyAdhipateH / kezagrahaNaM akarot indulamormihastena jinabimbamUrdhadezaviracitajaTAjUTaM jagrAha / gaGgAdevI prAsAdazikharastha kamalakarNikAsthitajaTAjUTAlaGkRtAdidevapratibimbamUrdhni gaGgAmahAnadI papAteti tAtparyam / tAM eva tAM mahatIM gaGgArnadImeva enAM saritaM enAM gaGgAbhidhAnAM tatpratinidhirUpAM taraGgiNIM tvaM bhavAn kalaya abhinItAt / eSA mAnasasarassambhUtA gaGgAbhidhAnA yA nadI sA mahAgaGgAnadyeveti tvayAbhimantavyamiti bhAvaH / 200 Take this river for that very one who, having her hands in the form of waves clinging to the moon, possessing a white complexion, having as if laughed at the crooked formation of eye-brows by the masses of foam, took hold of the hair of the idol of lord Arhat, the first God (Tirthakara-) belonging to the goddess Ganga, existing at the place over which the water, flowing down from the Himavat mountain, falls. svAdu svacchaM zuci himazilA sambhavaM hAri nIraM prAptamodaM taTavanapatatpuSpa kiJjalkavAsaiH avazrAnti rathayitumadhaH prAptamAtro'dhyavasyeH tasyAH pAtuM suragaja iva vyomni pazcArdhalambI // 54 // anvayaH - adhvanAnti rathayituM tasyAH svAdu, svacchaM, zuci, himazilA - sambhavaM, hAri, taTavanapatatpuSpa kiJjalkavAsaiH prAptAmodaM nIraM adhaH prAptamAtraH vyomni pazcArdhalambI suragajaH iva pAtuM adhyavasyeH / svAdvityAdi / adhvazrAnti mArgAkramaNakhedaM / adhvanaH mArgAkramaNasya zrAntiH zramaH adhvazrAntiH / tAm / thayituM zithilIkartuM / apanetumityarthaH / tasyAH bhAgIrathyAH / svAdu suruciraM svacchaM nirmalaM zuci sphaTikopamaM pavitra vA himazilAsambhavaM prAleyapASANaniSyandi / himasya prAleyasya zilA himazilA / tasyAH sambhavaH janma yasya tat / vyadhikaraNo basaH / hAri manoharam / ' hRdyaM hAri manoharaM ca ruciram ' iti halAyudhaH / saTavanapatatpuSpA kaJjalkavAsaiH / taTe tIre vidyamAnaM vanamaraNyaM taTavanaM / tatra patanti ca tAni puSpANi kusumAni ca taTavanapatatpuSpANi / teSAM kiJjalkAH kesarAH / teSAM vAsaiH gandhaiH /

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dvitIyaH sargaH ] 201 'killalkaH kesaro'striyAm' ityamaraH / prAptAmodaM labdhasaugandhyaM / prAptaH labdhaH AmodaH saugandhyaM yena tat / ' sugandhimudi vAmodaH ' iti vizvalocane / nIraM salilaM zaraM vanaM kuzaM nIraM toyaM jIvanamabviSam' iti dhanaJjayaH / adhaH adhastAt prAptamAtraH prAptaH eva san / yasminkSaNe'dhastAtprAptaH syAH tasminneva kSaNe ityarthaH / vyomni AkAzapradeze pazcArdhalambI lambamAnapazcArdhabhAgaH / pazcAdardha pazcArdha / pRSodarAditvAtsAdhuH / pazcArdhena lambate iti pazcArdhalambI | vyomapradezasthitapazcArdhabhAgaH jalonmukhapUrvakAya bhAgazcetyarthaH / suragajaH iva devadantivat pAtuM pAnArtha adhyavasyeH nizcinuyAH / manasi kurvityarthaH ! To mitigate exhaustion caused by your journey, you, hanging on, like a heavently elephant, by your hinder part in the sky, should make up your mind the very moment you would be reaching below to drink her water which is sweet, pure, transparent, oozing out of the snowy rocks, charming (and) made fragrant by the smell of the pollens of flowers falling down in the forests grown on her banks. tIvrodanyAzramaparigato na tvakaM cettadAnIM tUSNIM sthitvA kSaNamiva gatAdhvazramo jAtavarSaH / madhyegaGgaM hRdamadhivaserbhUri tasyAH prapAtuM tvaM cedacchasphaTikavizadaM tarkayestiryagammaH // 55 // anvayaH-- tvakaM tIvrodanyAzramapagitaH na cet, kSaNaM iva tUSNIM sthitvA gatAdhvazramaH jAtavarSaH tvaM tasyAH acchasphaTikavizadaM bhUri ambhaH tiryak prapAtuM tarkayeH cet, tadAnIM madhyegaGgaM hRdaM adhivaseH / tIvretyAdi / tvakaM tvaM / ' yuSmadasmadoH supo'dhosi' iti TeH prAgak / tIvrodnyAzramaparigataH tIkSNapipAsAjanitaduHkhavedanAparigataH / tIvrA tIkSNA cAsau udanyA pipAsA ca tIbrodanyA / udanyA udakecchA / 'kSuttRGgarddhe'zanAyodanyadhanAyaM ' iti kyajanto nipAtaH / ' udanyA tu pipAsA tRT tRSA ' ityamaraH / tasyAH zramaH tRDutpanna duHkhasaMvedanaM / tena parigataH AkrAntaH / na cet yadi na syAH / kSaNaM iva kSaNamAtraM tUSNIM joSam / vAcaMyamatvena maunitvena vetyarthaH / sthitvA AsthAya / gatAdhvazramaH vinaSTamArgakhedaH / jAtavarSaH janitavRSTiH / jAtaH varSaH vRSTiH yasmAt saH / yadvA jAtaH ityasyAsyAntarbhAvitaNyarthatvena grahaNe janitaH ityarthaH / jAtaH janitaH varSaH bRSTiH yena saH / tvaM bhavAn

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202 [ pArzvabhyudaye tasyAH bhAgIrathyAH acchasphaTikavizadaM nirmalasphaTikavaT vizuddhaM / acchaH nirmalazvAsau sphaTikazca acchasphaTikaH / tadvat vizadaM vizuddhaM / 'sAmAnyenopamAnaM' iti sH| hetugarbhavizeSaNametat / tenAcchasphaTikavizuddhatvAddhetorityarthaH / bhUri vipulaM ambhaH jalaM tiryak tirazcInaM yathA syAttathA prapAtuM pAtuM tarkayeH manasi kuryAzcat yadi, tadAnIM tasminkAle / tItyarthaH / madhyegA gaGgAyAH madhye madhyabhAge / 'pAramadhye' ntastayA' iti hasaH / hRdaM hRde'gAdhajale / 'tatrAgAdhajalo hRdaH' ityamaraH |adhivseH tiSTha / ' vaso'nUpAdhyAGaH' iti IbAdhAre / . If you would not be distressed by the strong desire to drink water (or by excessive thirst and ) if you, having the fatigue of your journey removed by keeping silence for a moment, pouring showers of rain, would make up your mind to drink in a slanting manner abundent water of her (the Ganges ) on account of its being pure like transparent crystal, settle yourself, then, on the large and deep pool of water occupying the centre of the Ganges. tiSThatvekaM kSaNamiva bhavAnindranIlasya lakSmI mAtanvAnaH svavapuSi bhRzaM pItatoyo'pi yena / saMsarpantyA sapadi bhavataH srotasi cchAyayA sA syAdasthAnopagatayamunAsaGgamevAbhirAmA // 56 // anvaya :- svavapuSi indranIlasya lakSmI AtanvAnaH bhavAn bhRzaM pItatoyaH api eka kSaNaM iva tiSThatu yena srotasi sapadi saMsarpannyA bhavataH chAyayA sA asthAnopagatayamunAsaGgamA iva abhirAmA syAt / tiSThatvitya di / svavapuSi svshriireN| svasya AtmanaH vapuH zarIraM svavapuH / tasmin / indranIlasya nIlavarNamaNivizeSasya / indraH iva nIlaH indranIlaH / atra nIlazabdaH kRSNavarNArthaH grAhyaH meghasya jalaprapUrNasya kRSNatvAt / 'kRSNe nIlA'sitazyAmakAlazyAmalamecakAH' ityamaraH / gArutmatAkhyamaNerityarthaH / lakSmI zobhAM tejo vA / 'lakSmIH zrIriva sampattau padmAzobhApriyaGguSu' iti vizvalocane / AtanvAnaH vistArayitA viracayan vA / bhavAn tvaM bhRzaM atyartha pItatoyaH api pItapAnIyaH api / pItaM sevitaM toyaM pAnIyaM yena saH / eka kSaNaM iva kSaNamAtraM tiSThatu agrataH gamanAt viramatu yena kSaNamAtraM yAvadavasthAnena srotasi gaGgAnadI

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dvitIyaH sargaH] 203 pravAhe sapadi zIghraM saMsarpantyA pracalantyA bhavataH tava cchAyayA pratibimbena / 'chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / pratibimbe'rkakAntAyAM tathA paGktau ca pAlane' iti vizvalocane / sA gnggaandii| asthAnopagatayamunAsaGgAmA iva / asthAnaM gaGgAyamunAsthAnAt prayAgAkhyAdbhinnaM sthAnaM asthAnaM / 'tatsAdRzyamabhAvazca tadanyatvaM tadalpatA / aprAzastyaM virodhazca naarthAH SaTprakIrtitAH' ityanyArthe natra / asthAne upagataH prAptaH yamunAsaGgamaH yayA saa| bhAgIrathItyarthaH / sA iva / abhirAmA manoharA syAt bhavet / bhAgIrathIzubhravarNANasi pratiphalitatvadAkArasya yamunA!varNasavarNatvAt meghacchAyAkulAyAH gaGgAyAH prayAgAdanyatrApi kAlindIsamAgamasampattiriti tAtparyam / You, diffusing lustre like that of sapphire throughout your body, should wait only for a moment, though you would have drunk up abundent water. She would thereby become charming as if having a union with the Yamuna brought about at a wrong place owing to your image moving speedily through her flow of water (Or - She, owing to your image proceeding burriedly in her flow of water, would become as charming as she herself having her own stream united with that of the Yamuna at a wrong place.) puNyAmbUnAmiti bhRtitaraM carmapUraM prapUrNaH / kiJcidgatvA himavadacalasyA'nupAdaM niSIda / tatparyante vanaparikaraM prekSaNIyaM prapazya nAsInAnAM surabhitazilaM nAbhigandhaimagANAm / / 57 // anvayaH- iti puNyAmbUnAM bhRtitaraM carmapUraM prapUrNaH kiJcit gatvA himavadacalasya anupAdaM tatparyante AptInAnAM mRgANAM nAbhigandhaiH surabhitazilaM prekSaNIyaM vanaparikara prapazyan niSIda / punnyaambuunaamityaadi| iti evaMprakAreNa puNyAmbUnAM manojJasalilAnAm / 'puNyaM tu sukRte dharme triSu madhyamanojJayoH' iti vizvalocane / 'prapUrNaH' iti pAThasya vartamAnArthakaktAntatvAt 'ktasyAdhArasatoH' iti tA / puNyAni manojJAni ca tAni ambUni jalAni ca puNyAmbUni / teSAm / puNyAmbubhiAratyarthaH bhRtitaram / bhRtiH bharaNam / 'striyAM ktiH ' iti bhAve'kartari striyAM ktiH / prakRSTA bhRtiH bharaNaM yathA

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204 [pArthAbhyudaye syAttathA / ' dvivibhajye taraH ' iti prakRSTe taraH |crmpuurN prapUrNaH dRtirivaH prapUrNaH carma dRtiH carmamayatvAttasyAH / cameva prapUrNaH sambhRtaH carmapUraM prapUrNaH / 'karmaNi ceve' iti pUreNampUrareva dhoranuprayuktatvAt / ' carmodare pUreH' iti NamaH parakAlekakartRkatvasyAprAkaraNikatvAdAnarthakyam / kizcit ISat gatvA prakramya himavadacalasya himAlayAkhyasva bhUdharasya anupAdaM pratyantaparvate / 'jhiH sub-' iti Ibarthe hasaH / 'pAdo'strI caraNa mUle turIyAMze'pi dIdhitau / zailapratyantazaile nA' iti vizvalocane / tatparyante himavadacalapratyantapradeze / AsInAnAM niSaNNAnAM mRgANAM kastUrImRgANAM nAbhigandhaH kastUrikAgandhaiH / nAbheH kastUrikAyAH gandhAH nAbhigandhAH / taiH / 'nAbhirnA kSatre cakravartini / dvayoH pradhAnacakrAntaH prANyaDreSu made striyAm ' iti vizvalocane / ' mRganAbhirmaMgamadaH kastUrI' ityamaraH / 'nAbhiH pradhAne kastUryA made ca kvacidIritA' iti vizvaH / murabhitAzalaM surabhIkRtaprastaraM / surabhitAH surabhIkRtAH zilAH prastarAH yasya tat / surabhitAH surabhIkRtAH / ' mRdo dhvarthe NijbahulaM' iti NijantAtktaH / prekSaNIyaM manoharaM vanaparikaraM vanavistAraM / 'vRndaprAbhavayozcaiva paryaGkaparivArayoH / Arambhe ca paristAre bhave parikarastathA' iti kozAntare / prapazyan avalokayan niSIda upaviza / ' Sadla. vizaraNagatyavasAdaneSu' ityasya dhoH 'pAghrAdhmAsthAmnAdANadRzyartizadasadAM pibajighradhamatiSThamanayacchapazyachaMzIyasIdAH ' iti sIdAdezaH / loT / Thus, you, filled up with charming water to your utmost capacity like a leathern bag meant for holding water, proceeding on a little, should sit on a hill at the foot of the mountain, Himalaya, enjoying the sight of the expanse of the beautiful forests grown in the adjoining regions of the mountain having its rocks perfumed by the fragrance of the musk of the musket-dear sitting on them. vizramyA'tho ghana ghanapathollaGghikUTaM himAGka pazyodaH zikharatarubhistvAbhivopAntayantam / svasyAH kitairiva vidhuruco nAkabhAjAM sravantyA stasyA eva prabhavamacalaM prApya gauraM tuSAraiH // 58 // anvayaH-- atho dhana ! vizramya ghanapatholaGkUiTaM udagraiH zikharatarubhiH tvAM

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dvitIyaH sargaH] 205 upAntayantaM iva, svasyAH kIrteH iva vidhurucaH tasyAH nAkamAjAM sravantyAH eva prabhavaM tuSAraiH gauraM himAkaM acalaM prApya pazya / vizrabhyetyAdi / atho anantaraM / 'athA'tho ca zubhe prazne saaklyaarmbhsNshye| anantare'pi ' iti vizvalocane / he ghana megha vizramya mArgazramamapanIya ghanapatholladhikUTaM AkAzolaDizikharaM / ghanasya meghasya panthAH ghanapathaH / AkAzamityarthaH / 'RkpUrappathot' ityatsamAsAntaH / 'dyaurAkAzamantarikSaM meghavAyupatho'pi' iti dhanaJjayaH ghanapathamullaGghayatIti ghanapatholadhi / tatkUTaM zikharaM yasya saH / tm| udagraiH ucchritaiH / 'uccaprAMzUnnatodagraprocchritAH' itymrH| zikharatarubhiH shikhrotpnnvRkssH| tvAM bhavanta upAntayantaM iva upAnte samIpe AhvayantaM / upAnte AhvayatItyupAntayati / upAntayatIti upAntayan / tam / ' mRdo dhvarthe Nijbahulam' iti Nic / tatazca shtRtyH| tamiva / utprekSAyAmatrevazabdaH / svasyAH svakIyAyAH kIrteH iva yazasaH iva vidhurucaH dhavalavarNAyAH / vidhozcandramasaH rugiva rugyasyAH sA / tsyaaH| 'IbumAnapUrvasya dyukhaM gatArthatvAt ' iti zukham / tasyAH prasiddhAyAH nAkabhAjAMsavantyAH devataraGgiNyAH / gaGgAyAH ityarthaH / na vidyate akaM duHkhamatreti nAkaH svargaH / 'akaM duHkhAghayoH' iti vizvalocane / 'AkAze tridive nAkaH' ityamaraH ! nAkaM bhajate iti nAkabhAk / 'bhajo NviH ' iti nnviH| teSAM nAkabhAjAM sravantyAH eva nimnagAyAH eva / 'lavantI nimnagA''pagA' ityamaraH / prabhavaM udgamasthAnaM / prabhavatyudgacchatyasmAditi prabhavaH / tam / 'prabhavo janmahetau syAdapAMmUle parAkrame / prabhavaH kiMvadantInAM saJcAragatikArake' iti vizvalocane / tuSAraiH himasaMhatibhiH 'avazyAyastu nIhArastuSArastuhinaM himaM / prAlaya mihikA cA'tha himAnI himasaMhatiH' itymrH| gauraM dhavalakAyaM / 'sito gaurovalakSaH' ityamaraH / himAGka himAlayAbhidhAnaM / ' aGko rekhAyAM cihnalakSmaNoH" iti vizvalocane / acalaM bhUdharaM prApya gatvA pazya avalokaya / Afterwards, 0 cloud I having taken rest, you, on reaching the mountain called Himalaya, white with snow, the source of that very river of gods white like her own fame, calling you as if near with the tall trees grown on its peaks, with its peaks rising above in the sky, should look at it. AruhyAvirmadakalamayurAravaiH kRSyamANaH kuJja kuJja dadhi ghanamiva prekSamANo himAnIm /

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206 vakSasyadhvazramavinayane tasya zRGge niSaNNaH zobhAM zubhratrinayanavRSotkhAtapaGkeopameyAm // 59 // [ pArzvAbhyudaye anvayaH- AvirmadakalamayUrAkhaiH kRSyamANaH kuJje kuJje ghanaM dadhi iva himAnIM prekSamANaH adhvazramavinayane tasya zRGge Aruhya niSaNNaH zubhratrinayanavRSotkhAtapaGkApamayAM zobhAM vakSyasi / " 1 AruhyetyAdi / AvirmadakalamayUrAravaiH / AviH prAdurbhUtaH madaH AnandaH AvirmadaH / ' prAkAzye prAdurAviH syAt' ityamaraH / mado mRgamade madye dAnamudgarvaretasi ' iti vizvalocane / tena kalAH madhurAvyaktAH AvirmadakalAH / ' kalastu madhurAvyaktazabde'rja'rNe kalaM site ' iti vizvalocane / mayUrANAmAravAH mayUrAvAH / AvirmadakalA : mayUrAvA : AvirmadakalamayUrAravAH / taiH / kRSyamANaH apahriyamANamanaskaH ku ku pratikuJjaM / pratilatA bhavanamityarthaH / vIpsAyAM dviH / ghanaM piNDIbhUtaM / sAndrIbhUtamityarthaH / ' kAThinye cAtha kaThine sAndre'pi ca ghanaM triSu' iti vizvalocane / dadhi iva dadhivat | himAnIM himasaMhati / ' himAnI himasaMhatiH' ityamaraH / uru himaM himAnI / ' 'hamAraNyAdurau ' iti mahatyarthe himazabdAt GI AnukU ca / prekSamANaH 'vilokayan / adhyazramavinayane dezabhramaNajanitazramaparihArArthaM / adhvano dezaparibhramasya zramaH khedaH adhvazramaH / dezaparibhramaNajanitaH zramaH ityarthaH / tasya vinayanaM parihAraH 'adhvazramavinayanaM | 'karaNAdhAre cAnaT' iti bhAve'naT / Ivatra hetau 'hetau sarvAH prAyaH ' iti / yadvA'dhvazramasya vinayanaM parihartR adhvazramavinayanaM / ' vyAnaD bahulaM ' iti kartaryanaT / evaMkRtavyAkhyAnasyAsya sAmAsikapadasya zRGgei' ityasya vizeSaNatvamabhyUhyam / tasya himavadadreH zRGge sAnau Aruhya ArohaNaM kRtvA / tamiti zeSaH niSaNNaH upaviSTaH zubhratrinayanavRSeotkhAta paGkopameyAM dhavalaraudravRSabhotkhAtajambAlenopamAnAham | trinayanasya tryambakasya rudrasyezAna digindrasya vRSaH vRSabhaH trinayanavRSaH / `zubhraH dhavalavarNazcAsau trinayanavRpazca zubhratrinayanavRSaH / tena utkhAtaH zRGgAgravidAritazcAsau paGkazca / tena sahopameyAM upamAtuM yogyAM / ' tRjvyAcA ' ityarthe vyaH / zobhAM saundarya vakSyasi voDhAsi / vahaterlaT / trinayanetyatra ' prAkpadasthAt khau' iti prAptasya nakArAdezasya 'kSumnAdyanteSu' iti pratiSedhaH kSumnAdezakRtigaNatvAt trinayanetyasya tatrAntarbhAvAt zrInandiharinandyAdivat / 1 " , You, attracted by the indistinct and charming cracklings of peacocks given out through joy manifested (by the peacocks on

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dvitIyaH sargaH] 207 listening to the thundering sounds of you, the cloud ), looking in every bower of creepers at the masses of snow looking like (or resembling ) solid curd, resting on its peak on having ascended (it) for the sake of removing (your ) exhaustion of the journey, would possess a charm comparable to that of the mud dug up by the white bull of the threeeyed one (i. e. Rudra ). adhvakSAmaM zithilitatarnu zailamArgAdhirohAtvAmaulladhye ghaTayitumasau zaknuyAdeva vahniH / dhUmaiH sAndrairvanaviTapijaina tivarSannupeyAH tvaM ce dvAyau sarati saralaskandhasamaTTajanmA // 60 // anvayaH- tvaM vAyau sarati ativarSan na upeyAH cet saralaskandhasaGghaTTajanmA asau vahniH vanaviTapijaiH sAndraH dhUmaH adhvakSAmaM zailamArgAdhirohAt zithilitatarnu tvAM auladhye ghaTayituM zaknuyAt eva / adhvakSAmabhityAdi / tvaM bhavAn vAyau samIraNe sarati vahati sati / saratIti saran / tasmin / 'yadbhAvAdbhAvagatiH' itIp / ativarSan ativRSTiM vidadhAnaH / ativarSatIti ativarSan / na upeyaaH| himavadacalasamIpaM na gacchezcet yadi tadA srlskndhsngghjnmaa| saralAH pItadAravaH / devadArudrumAH ityarthaH / 'pItadruH saralaH pUtikASThaM cA'tha drumotpalaH' ityamaraH / saralAnAM skandhAH prakANDAH mahatyaH zAkhAH srlskndhaaH| 'skandhaH kAyaprakANDayoH' iti vizvalocane / teSAM saGkaTTanenAnyonyasaGgarSaNena janma utpatiH yasya saH / vyadhikaraNo'pyayaM baso'vayoM janmottarapadatvAt 'avayoM vyadhikaraNo bahuprIhirjanmAyuttarapadaH' ityukteH / asau vahniH eSa dhanaJjayaH vanaviTapijaiH araNyatarusambhUtaiH / vanaviTapibhyo vanyavRkSebhyo jAtAH sambhUtAH vanaviTapijAH / taiH / 'vRkSo mahIruhaH zAkhI viTapI pAdapastaruH' ityamaraH / sAndraH ghnH| 'sAndraM triSu ghane mRdA' iti vizvalocane / dhUmaiH dhUmanAtaiH / adhvakSAmaM prayANAyAsakRzIkRtakAyam / adhvanA prayANena kSAmaH kSINatanuH adhvakSAmaH / tam / 'kSo maH, iti kSAyatestatakArasya mAdezaH / zailamArgAdhirohAt / zailasya bhUdharasya mArgaH panthAH zailamArgaH / tatra tasya vA ArohaH ArohaNaM zailamArgAdhirohaH / tasmAddhatubhUtAt / hetAvatra kaa| zailamArgAdhirohaNenetyarthaH / zithilitatarnu durbalatarnu / zithilatA zithilIkRtA tanuH zarIraM yasya saH / tam / zithilayati zithilIkaroti sma zithilitA /

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208 [ pArdhAbhyudaye 'mRdo dhvarthe NijbahulaM' iti Nici ktaH / tvAM bhvntN| aulladhye avazyamullaGghanIye mArge / 'vyA' ityAvazyakArthasya gamyamAnatvAd vyAH / ullaGghya : evauladhyaH / svArthiko'N / ghaTayituM preyituM mArgakramaNArtha balAdhAnaM kartuM vA zaknuyAdeva samarthaH bhavedeva / nizcayena samartho bhaviSyatItyarthaH / tamiti pAThe tasya himAcalamityarthaH 'ativarSan taM na upeyAzcet' ityanvayazca / If you would not approach it pouring heavy showers of rain at the same time when the wind would be blowing, the fire, produced by the friction of the branches of the Sarala (pine ) trees, would certainly be able to infuse spirit into you, emaciated owing to the fatigue of your jouruey, with your body enfeebled by your upward movement on the way running through the ranges of the mouutain, to resume your jouruey by the clustered columns of smoke generated by the trees grown in the forests. AzRGgAgraM kavacitamivArUDhamUrti himAnyA tvatsAnidhyAdupahitarasaizvauSadhInAM shsraiH| AkIrNAntaM sarasagahanaM zailarAja na cainaM bAdhetolkAkSapitacamarIbAlabhAro davAgniH // 61 // anvayaH- himAnyA AzRGgAgaM kavacitaM iva ArUDhamUrti, upahitarasaiH oSadhInAM sahastraiH ca AkIrNAntaM, sarasagahanaM ca enaM zailarAjaM uskAkSapitacamarIbAlabhAraH davAmiH tvatsAnnidhyAt na bAdheta / aashRnggaaymitydi| himAnyA himasaMhatyA / ' himAnI himasaMhatiH ' . ityamaraH / ' himAraNyAdurau' iti mahatyarthe himazabdAt DI Anuk ca / AzaGgAgraM zikharAmamabhivyApya / 'AG maryAdAbhividhyoH' iti abhividhAvAGatra / '.paryapAGna. bahiraJcaH ' iti saH / kavacitaM iva kavacAcchannImava ArUDhamUrti samantAdvyAptadehaM / A samantAt rUDhA adhyAsitA mUrtiho yasya saH / tam / 'mUrtiH kAye'pi kAThinye mRtyuyAcitayormatam ' iti vizvalocane / AgUDhamUrtimiti pAThe tu samantatazchannavigrahamityarthaH / upahitarasaiH dhRtAmbubhiH / atyktaardiibhaavairityrthH| 'rasaH svAde'pi tiktAdau zRGgArAdau drave viSe / pArade dhAtuvIryAmburAge gandharase tanau' iti vishvlocne| oSadhInAM phalapAkAntajAtInAM sahasraH anekadezazatakaiH ca

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dvitIyaH sargaH] 209 AkIrNAntaM vyAptaparyantapradezaM / AkIrNaH vyAptaH antaH paryantadezaH yasya saH / tam / 'anto nAze manohare ! svarUpe'ntaM mataM klIbaM na strI prAnte'ntike triSu' iti vizvalocane / sarasagahanaM ca anAzyAnakAnanaM / sarasaM manojJaM aparityaktArdIbhAvaM vA gahanaM kAnanaM yasya saH / tam / 'gahanaM kAnanaM vanaM ' ityamaraH / enaM etaM zailarAja parvatazreSTha / 'rAjAhaHsakheSTaH ' iti TaH saantH| ulkAkSapitacamarIbAlabhAraH / ulkAH jvAlAH ' ulkA jvAlA' iti kSIrasvAmI / tAbhiH kSapitAH kSayaM prApitAH camaryaH mRgavizeSAH / tAsAM bAlabhArAH kacasamUhAH camarIbAlabhArAH / ulkAbhiH kSapitAH camarIbAlabhArAH yena saH / davAgniH vanapAvakaH / 'davo dAvazca puMsyeva vane'pi vanapAvake' iti vizvalocane / davaH eva agniH davAmiH / tvatsAnnidhyAt tava sAmIpyAt / na bAdheta na pIDayet / The sylvan fire, destroying by its flames the large bushy tails of the Camaris, would not, owing to your being in its proximity, damage this, the lord of mountains, possessing beautiful forests, with its borders scattered over with thousands of juicy plants, having its body as if armoured on accouat of its being covered over with the masses of snow from its foot to the uppermost part of its peaks. tvatto niryansa yadi sahasA vidyuto jAtavedAH prAleyAdi satuhinavanaM nirdidhakSettadA svaiH / arhasyenaM zamayitumalaM vAridhArAsahasra rApannArtiprazamanaphalAH sampado huttamAnAm // 62 / / anvayaH- tvattaH sahasA niryan vidyutaH jAtavedAH yadi satuhinavanaM prAleyAdriM nirdidhakSet tadA svaiH vAridhArAsahastaiH enaM alaM zamayituM arhasi, hi (vataH ) uttamAnAM sampadaH aapnnaartiprshnphlaaH| tvattaH ityaadi| tvattaH bhavataH sakAzAt sahasA zIghra niryan nirgacchan / prAdurbhavannityarthaH / vidyutaH saudAmanyAH jAtavedAH dhnnyjyH| 'anirvaizvAnaro vahirvItahotro dhanaJjayaH / kRpITayonijvalano jAtavedAstanUnapAt' ityamaraH / vaidyuto'mirityrthH| yadi satuhinavanaM sahimavanaM / tuhinena saha satuhinaM / satuhinAni vanAni yasya saH satuhinavanaH / tam / 'avazyAyastu nIhArastuSArastuhinaM himaM / prAleyaM mihikA ca' ityamaraH / prAleyAdi himAdriM / nirdidhakSet niHzeSeNa dagdhumicchet / pArzvabhyudaye....14

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210 [ pArdhAbhyudaye dahatessannantAliG / tadA tasminkAle svaiH svakIyaiH vAridhArAsahasraH jaladhArANAM sahastaH / sahasrasaGkhyAkAbhiH vAridhArAbhirityarthaH / enaM prAleyAdi alaM atyartha zamayituM dAvadahanajanitAloSasambhUtatadartimapanetuM arhasi yogyo bhavasi / hi yataH / 'hi pAdapUraNe hetau' iti vizvalocane / uttamAnAM mahattamAna sampadaH samRddhayaH ApannArtiprazamanaphalAH ArtAtiprazamanaprayojanAH / ApannAnAmApadupahatAnAM yAH artayaH duHkhasaMvedanAni tAsAM prazamanaM pariharaNameva phalaM prayojanaM yAsAM tAH / bhavataH vArisampattiyuktatvAtprAlayAdravidyujanitajAtavedovihitaploSatvAdApadupahatatvAtsampannena bhavatA tadartiravazyaM parihartavyeti bhAvaH / enamityanena jAtavedaso grahaNamayuktaM tasyAnApannatvAt taddaHkhaprazamanasyAsambhavAt / ataH eva mallinAthAdiTIkAkRtkRtavyAkhyAnaM cintyam / * If the fire of lightning, originating from you all at once, would cherish a desire to burn out the Himalaya with its forests possessing (masses of ) snow. then in that case you deserve to soothe it (the mountain ) fully by means of thousands of showers of your water; for the riches of the noblest: ( the best ) have their purpose effected by the alleviation of the sufferings of suffering mortals. moccaistatra stanitaninadAnadrikuJja tathAstvaM maiSAM tvadbhayamasuharaM zauryadarpoddharANAm / ye sarambhotpatanarabhasAsvAGgabhaGgAya tasmin muktAdhvAnaM sapadi zarabhA rakhayeyubhavantam // 63 // - anvaya :- tasmin saMrambhotpatanarabhasAH ye zarabhAH muktAvAnaM bhavantaM svAGgabhaGgAya sapadi laGyeyuH [ teSAM ] zauryadaddharANAM eSAM tvat asuharaM bhayaM mA bhUt [iti ] tatra adrikujhe uccaiH stanitaninadAna tvaM mA tathAH / metyAdi / tasmin himavadraui saMrambhotpatanarabhasAH kopoccalanarabhasAH / / saMrambheNa prayatnAvezena kopena vA utpatanamuccalanaM sarambhotpatanaM / 'saMrambhaH sambhrame kope' iti zabdArNave / saMrambhotpatanai rabhaso vego yeSAM te saMrambhotpatanarabhasAH / 'harSe vege ca rabhasaH' iti vizvalocane / ye zarabhAH aSTApadAkhyAH mRgavizeSAH / 'zarabhaH zalabhe cASTApade prokto mRgAntare' iti vizvaH / muktAvAnaM parityakta

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dvitIyaH sargaH] 211 zarabhotplavanamArga / muktaH parityaktaH adhvA zarabhoccalanamArgaH yena saH / tam / bhavantaM tvAm / svAGgabhagAya svazarIravighAtArthe / svasya AtmanaH ahaM zarIraM svAGgam / tasya bhaGgaH vighAtaH svAGgabhaGgaH / svAagAni bhngktumityrthH| 'tumarthAdbhAve' ityap / sapadi zIghraM laghayeyuH abhidraveyuH / teSAM zauryadarpodhurANAM zauryAbhimAnoddhatAnAm / zoryasya vIryasya darpaH abhimAnaH shorydrpH| tena uddhraannaamuddhtaanaam| eSAM zarabhANAM tvat tvattaH / tvatsakAzAdityarthaH / asuhara prANaharaM / prANaghAtakamityarthaH / asUna prANAn haratIti asuharaM / 'karmaNyaNa' ityaN / 'pusi bhUmnyasavaH prANAH' ityamaraH / bhayaM bhItiH mA bhUt na bhavatu / luGi rUpam / 'luGlaGluGyamADhAT ' iti luGi mAGyoge'DAgamaprItaSadhaH / 'mADi luk' iti mArayoge luG / iti hetoH tatra himAcale adrikuraje girigaDvare uccaiH mahataH svanitAnanadAn garjitadhvanIn / 'zabde ninAdaninadadhvanidhvAnaravasvanAH' itymrH| tvaM bhavAn mA tathAH mA kuru / luGo daH / 'tanu vistora' ityasmAddhoH thAsi parataH serup / 'hanmanyamamnamUgamvanatitanAdeIkhaM jhali' iti tanudhorDasya khaM yAsthakArasya jhalatvAt / You should not give out very loud thundering sounds there in the caverns of the mountain so that the Sarabhas, there, become ill-mannered owing to their being proud of their valour, possessing rapidity in their act of jumping high up in anger, who might be suddenly surprising you, keeping out of their way, ( only ) to tear down their own bodies, might not have any fear, depriving them of their lives, from you. yadyapyete stanitarabhasAdutpateyubhavantaM tairyagyonA bhRzamapadhiyaH svaanggbhnggknisstthaaH| . tAnkurvIthAstumulakarakAvRSTipAtAvakIrNAn keSAM na syuH paribhavapadaM niSphalArambhayatnAH // 64 // anvayaH- yadi ete bhRzaM apadhiyaH svAGgabhaGgakaniSThayaH tairyagyonAH stanitarabhasAt bhavantaM utpateyuH api [tadA] tAn tumulakarakAvRSTipAtAvakIrNAn kurvIthAH / niSphalArambhayatnAH keSAM paribhavapadaM na syuH ! yadItyAdi / yadi ete zarabhAH bhRzaM atyarthaM apadhiyaH vinssttsmiiciinjnyaanaaH| apagatA vinaSTA dhIH buddhiH yeSAM te apadhiyaH / prAdivasaH / svAga

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212 [pArdhAbhyudaye bhanaukaniSThAH svaanggbhnyjnaikvyaapaaraaH| svaM svakIyaM aGgaM zarIraM svAGgaM / tasya bhagaH bhaJjanameva ekA advitIyA niSThA vyApAraH yeSAM te | 'niSThA nirvhnisspttinaashaantotkrssyaacne| kleze' iti vizvalocane / niSThAzabdo'tra kleshaarthkH| klezazabdazca vyavasAyArthopi dRzyate / . ' klezo roge'pi rogAdau vyavasAye ca dRzyate' iti vizvalocane / tairyagyonAH tiyagyonerAgatAH / tiryagyonijA ityarthaH / '-tataH AgataH' ityAgatArthe'N / stanitarabhasAt tvarjitadhvanitaddhakrodhAt bhavantaM tvAM utpateyuH abhidraveyuH tadA tAn zarabhAn tumula karakAvRSTipAtAvakIrNAn / karakAH varSopalAH / 'karakA tu dhanopale ' iti vizvalocane / karakANAM dhanopalAnAM vRSTiH varSe karakAvRSTiH / tasyAH pAtaH patanaM karakAvRSTipAtaH / tumula: dAruNazcAsau karakAvRSTipAtazca tumulkrkaavRssttipaatH| tena avakIrNAH pradrAvitAH / tAn / kurvIthAH kuruSva / vidhau ling| tathA hi -niSphalArambhayatnAH / Arabhyante ityArambhAH / karmANi ityarthaH / teSu yatnAH udyogAH ArambhayatnAH / niSphalAH viphalAH / asiddhaprayojanAH ityrthH| niSphalAzca te ArambhayatnAzca nissphlaarmbhytnaaH| 'niSphalA ArambhayatnaH yeSAM te niSphalArambhayatnAH' iti yogirAjakRtaM vyAkhyAnaM 'ke' iti pAThasya saMgrahe kriyamANe'samaJjasam / keSAM paribhavapadaM keSAM puMsAM tiraskArAspadaM na syuH na bhveyuH| sarveSAM tiraskArAspadaM bhveyurityrthH| If these beasts, exceedingly deprived of intellecual qualities, exerting only for tearing down their own bodies, would possibly surprise you on account of their passion being excited by your thunderings, then you should put them to rout by heavy hail-storms; whose attempts at doing what they have undertaken would not become an object of contempt when rendered futile ! tatra vyaktaM dRSadi caraNanyAsamardhendumaule - ..... rayaM bhartustribhuvanagurorarhataH satsaparyaH / zazvatsiddharupahRtabAli bhaktinamraH parIyAH pApApAye prathamamuditaM kAraNaM bhaktireva // 65 // anvayaH-- tatra dRSadi vyaktaM, ardhandumauleH arya, satsaparyaiH siddhaiH zazvat

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dvitIyaH sargaH] 213 'upahRtabaliM bhartuH tribhuvanaguroH arhataH caraNanyAsaM bhaktinamraH [san ] parIyAH [yataH] pApApAye bhaktiH eva prathamaM kAraNaM uditaM / tatretyAdi / tatra himavati dRSadi zilAyAM / 'pASANaprastaragrAvopalAzmAnaH zilA dRSat' ityamaraH / vyaktaM prakaTam / ardhendu mauleH| ardhaH khaNDabhUtaH indurivenduH cihnabhUtaH yatra yasya vA ardhenduH / ardhazabdasyAtra khaNDavAcitvAtsamAMzavAci. tvAbhAvAtpuMstvena nirdezaH samAMzavAcina eva ' ardhe nae ' iti ' same'rdham' iti vA naptvena nirdezAt / 'ardha samAMzake klIvaM ardhaH khaNDe pumAnapi ' iti vizvalocane / indurivendurityatra 'uz carcArthadhvajacitre' iti dhvajArthe cihnArthe vidhIyamAnasya kasyos / tenArdhendurityasyArdhenducihnaH ityarthaH / uktaM ca- 'arcAsu pUjanArthAsu citrakarmadhvajeSu ca / ive pratikRtI nAzaH kRto devapathAdiSu' iti, 'matsyAzvapuSpANi ca tArakAzca candrArdhacandrAzca patatriNazca / tasminnivArthe usamAcarejjJaH prAsAdagulmArkamayA mRgAzca' iti ca / ardhenduheliH kirITaM yasya sH| tasyArdhendumaulerardhenducihnAGkitakirITadhAriNo devavizeSasya vA / 'cUDA kirITaM kezAzca saMyatA maulavastrayaH' ityamaraH / 'maulidhammila. cuuddyoH| kirITe'pi' iti vizvalocane / acya pUjyaM / 'vyasya vA kartari' iti tA / kirITadhAriNA devavizeSeNa pUjyamityarthaH / satsaparyaH satparicayaH sadahaNervA / satI samIcInA saparyA paricaryA zuzrUSA vA yeSAM te / taiH / saparyAzando'rcArtho'pi / 'saparyA'rcA'rhaNA samAH' ityamaraH / siddhaiH devayonivizeSaiH / 'siddhastu nitye niSpanne prasiddha devayoniSu' iti vizvalocane / zazvat sarvakAlaM upahRtabaliM vihitapUjAvidhi / upahRtaH kRtaH baliH pUjAvidhiH yasya saH ! 'balizcAmaradaNDe'pi karapUjopahArayoH / saindhave'pi ' iti vishvlocne| bhartuH trailokyAdhipateH tribhuvanaguroH tribhuvanAjJAnanivArakasya / uktaM ca 'guzabdastvandhakAraH syAdruzabdastanivArakaH' iti / trayANAM bhuvanAnAM samAhAraH tribhuvanaM / 'rAt' iti striyAM prAptasya GItyasya 'tyapAtrAdyat' ityakArAntasyApi bhuvanazabdasya pAtrAdau paThitatvAt pratiSiddhatvAt ': samAhAre ' iti nap / tribhuvanasya guruH tribhuvanaguruH / tasya / arhataH bhagavato jinendrasya caraNanyAsaM pAdanyAsaM / nyasyate nikSipyate iti nyAsaH / pratiSThitacaraNadvayamityarthaH / ' caraNo'strI bacAdau mUle'pi padagotrayoH / caraNaM bhramaNe'jhau syAt ' iti vizvalocane / bhaktinamraH bhaktyA namanazIlaH san / ' namkampiramyajaskahiMsadIpo raH' iti zIle rH| bhaktibhArAvanataH sannityarthaH / parIyAH paritaH, iyAH yaayaaH| pradakSiNayetyarthaH / arhaccaraNavinyAsaM prdkssinniikurvityrthH| yataH

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211 [pArdhAbhyudaya pApApAye pApakarmanAzakarmaNi bhAktaH eva jinendrasevaiva / 'bhaktirvibhAge sevAyo" iti vizvalocane / prathama mukhya kAraNaM nidAnaM uditaM niveditam / prAcAryairiti zeSaH / As devotion only is described as the excellent means of destroying sin, you, bowing down in devotion, should circumambulate the foot print of the lord, Jina ( Arhat ), the preceptor of all the three worlds, distinctly manifested on a stone there, worthy of being worshipped by a god wearing a crown bearing a mark of the crescent-moon, worshipped by the demigods that are highly respected. yasmindRSTe karaNavigamAdUrdhvamuddhUtapApAH / siddhakSetraM vidadhati padaM bhaktibhAjastamenam / dRSTA pUtastvamapi bhavatAdvai, punrduurto'muN| kalpiSyante sthiragaNapadaprAptaye zraddadhAnAH // 66 // anvayaH- yasmin dRSTe uddhRtapApAH bhaktibhAjaH karaNavigamAt UrdhvaM siddhakSetra vidadhati / enaM padaM dRSTvA tvaM api pUtaH bhavatAt / amuM dUrataH zraddadhAnAH sthiragaNapadaprAptaye kalpiSyante / . yasminnityAdi / yasmin bhagavadahazcaraNanyAse dRSTe avalokite sati / 'yaddhAvAdbhAvagatiH' iti Ipa / uddhRtapApAH vigalitakarmamalakalakAH / uddhRtaM vigalitaM pApaM karmamalakalaGkaH yeSAM te uddhRtpaapaaH| bhaktibhAjaH paramArthabhUtAptAgamatapobhRnddhAnajuSastattvArthazraddhAnajuSoM vA / bhakti zraddhAnaM bhajante sevante iti bhaktibhAjaH / 'bhajo NviH' iti NviH / karaNavigamAt UvaM dravyamokSAdanantaraM / karaNasya gAtrasya zarIrasya vigamaH vilayaH AtmanaH pRthagbhAvaH karaNavigamaH / tasmAt / Urdhva anantaraM / 'karaNaM sAdhakatame kAryakAyasthakarmasu / kriyAyAmindriye kSetre karaNaM bAlavAdiSu / gItAGgAhArasaMvezakriyAbhede'pi cessyte|' iti vishvlocne| 'kSetra zarIre dAreSu kedAre siddhasaMzraye' ityapi vizvalocane eva / siddhakSetraM siddhasaMzrayaM / siddhigatigamanasthAnamityarthaH / vidadhati kunti / enaM etat padaM arhacaraNanyAsasthAnaM dRSTvA vilokya tvaM api bhavAnapi pUtaH vigalitakarmamalakalakatvAcchuddhaH bhavatAt bhava / 'tuhyorDsa - tAdvA' ityAziSi he tAt / amuM bhagavadaIncaraNanyAsa dUrataH atyarthaM zraddadhAnAH ... zraddhAnaM kurvANAH / bhajamAnAH ityarthaH / 'tiro'ntauM' iti prayogAt zradantarorgiva

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dvitIyaH sargaH] 215 vRttiH iti mahAvRttikArokteH zrato gitvam / sthiragaNapadaprAptaye / gaNAnAM AcIrNatIvratapasyAnAM munisaGghAtAnAM padaM sthAnaM mokSaH zuddhaparyAyo vA gaNapadaM / sthiramavinazvaraM ca tadgaNapadaM ca sthiragaNapadam / zuddhaparyAyasyAvinazvaratvAsthirotavizeSaNam / tasya prAptaye tatprAptuM / ' dhvarthavAco'rthAtkarmaNi sthAninaH' ityap / kalpiSyante samarthAH bhaviSyanti / May you, on seeing this ( foot-print), on seeing which the devotees with their sins shaken off completely establish a holy place of Siddhas (the souls attaining salvation ) after the abandonment of their bodies, become purified. Those, having full faith in this, would be able to attain the everlasting position attained by hosts of sages. tasyopAnta riracayiSavo nUnamAtodhagoSThI zabdAyante madhuramanilaiH kIcakAH pUryamANAH / tatrAsevAM vititanuSubhirlokabharturjinasya saMraktAbhitripuravijayo gIyate kinnarIbhiH // 67 // anvayaH-- tasya upAnte AtodyagoSThI riracayiSavaH anilaiH pUryamANAH kIcakAH nUnaM madhuraM shbdaaynte| tatra lokabhartuH jinasya AsevAM vititanuSubhiH saMraktAbhiH kinnarIbhiH tripuravijayo gIyate / tsyetyaadi| tasya bhagavadarhaccaraNanyAsasya upAnte samIpe AtodhagoSThI vAditraviSayakaM smbhaassnnN| AtodyaM caturvidha vAdya / 'caturvidhamidaM vAdyaM vAditrAtodyanAmakam' itymrH| tasya goSThI nAnoktisampannA sabhA / ' samajyA pariSadgoSThI sabhAsamitisaMsadaH / AsthAnI klIvamAsthAnaM strInapuMsakayoH sadaH' ityamaraH / 'gAvo nAnoktayastiSThantyasyAmiti goSThI' iti kSIrasvAmI / tAm / riracayiSavaH racitumicchavaH 'tumIcchAyAM dhorvopa' itIcchAyAM sani 'sanbhikSAzaMsAduH' ityuH| anilaiH vAyubhiH pUryamANAH dhmAyamAnAH kIcakAH veNavaH / 'veNavaH kIcakAste syurye svanantyaniloddhatAH' ityamaraH / nUnaM madhuraM manozaM yathA syAttathA zabdAyante zabda kurvanti / ' zabdAdeH kRtri' iti zabdAdibantAtkarotyarye kyaG / tatra bhagavadarhacaraNanyAsasamIpapradeze lokabhartuH trilokAdhipateH jinasya arhataH AsevAM bhakti vititanuSubhiH vitnitumicchubhiH| kartumicchubhirityarthaH / 'tumIcchAyAM dhorvop' itIcchAyAM

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216 [pArdhAbhyudaye sani ' sanbhikSAzaMsAduH' ityuH / saMraktAbhiH sAtizayabhaktibhAgbhiH / kinnarIbhiH kinnrstriibhiH| 'vyantarAH kinnarakimpuruSamahoragagandharvayakSarAkSasabhUtapizAcAH' iti. sUtroktadevavizeSastrIbhirityarthaH / tripuravijayaH audaariktaijskaarmnnshriirtryvijyH| anAdikAlasambaddhazarIratrayajihIrSayA tapasyatastattyAga eva tajjayaH / moksspraaptirityrthH| trayANAM purANAM zarIrANAM samAhAraH tripuraM / 'rAt' iti striyAM prAptasya Dotyasya 'styapAtrAdyat' ityakArAntasyApi purazabdasya pAtrAdau paThitatvAtpratiSiddhatvAt 'ra: samAhAre' iti nap / 'puraM pATaliputre syAdgRhoparigRhe gRhe / puraM dehe guggulau tu puraH puri puraM na naa| dazapUrvastu vAleye' iti vishvlocne| tasya vijayaH parAjayaH / abhibhavo damanaM vetyarthaH / 'syiH samAhAre razcAkhau' iti trizabdasya saGkhyAvAcinaH subantottarapadena saha rsH| ___In the vicinity of it, the bamboos, being filled with wind, desirous of having a discourse upon the musical instruments, produce sweet sounds indeed. The victory over the three bodies is sung there by the Kinnara ladies, devoted very much, desirous of worshipping Jina, the lord of ihe world. veNuSveSu sphuTamiti tadA mandratAraM dhvanatsu prodgAyantISyatikalakalaM tajayaM kinnarISu / nihIMdI te murava iva cekandarISu dhvaniH syAt saGgItArtho nanu pazupatestatra bhAvI samastaH // 68 // anvaya :- tadA eSu veNuSu iti sphuTaM mandratAraM dhvanatsu, kinnarISu tajayaM atikalakalaM prodgAyantISu te dhvaniH murave iva kandarISu nirhAdI syAt cet, tatra pazupateH saGgItArthaH nanu samastaH bhAvI / veNuvityAdi / tadA bhagavadarhacaraNanyAsArAdhanAvasare eSu teSu tatratyeSu veNuSu maskareSu / kIcakeSvityarthaH / iti pUrvazlokoktaprakAreNa / 'vaze tvaksArakaritvacisAratRNadhvajAH / zataparvA yavaphalo veNumaskaratejanAH' ityamaraH / 'iti hetau prakAre ca prakAzAdyanukarSayoH / iti prakaraNe'pi syAtsamAptau ca nidarzane' iti vizvalocane / sphuTaM pravyaktaM mandratAraM / mandraH gambhIrastArotyuccaH dhvaniH yathA syAttathA mandratAraM / 'kalo mandrastu gambhIre tAro'tyuccaistrayastriSu / nRNAmurasi madhyastho dvAviMzatividho dhvaniH' ityamaraH / dhvanatsu dhvani kurvANeSu / kinnarISu kinnarastrISu

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dvitIyaH sargaH ] " < 6 kinnara kanyakAsu vA / gandharvastrISu gandharva kanyakAsu vetyarthaH / puMyogAdajyeSThAdibhyaH iti striyAM GI / kinnarasya bhAryA kanyA vA kinnarI / atra kinnara kanyAtvamaupacArikaM devAnAM vaikriyikazarIradhAritvAtkanyAdyapatyAsambhavAt / puMyogenAtra janyajanakabhAvo'pi gRhyate / uktaM ca tattvabodhinIkAraiH- sa [ puMyogaH ] ceha dampatibhAva eveti nAgrahaH, kintu janyajanakabhAvo'pi gRhyate, saGkoce mAnAbhAvAt' iti / tajjayaM tripuravijayaM gAyantISu gAnaM kurvANAsu satISu / ' yadbhAvAdbhAMvagatiH ' itIp / kandarISu darISu / vA strI tu kandaro daryAmaGkuze puMsi kandara: ' iti vizvalocane / nirhrAdI pratidhvanan syAt bhavet cet yadi tatra bhagavadarhaccaraNanyAsasamIpapradeze / pazupateH prANigaNasaMrakSakasya bhagavato'rhataH / pazavaH zreyomArgAnabhijJAH prANinaH / 'pazumRgAdau prama pazumArikAtmani / ajJAne chAgamAtre'pi ' iti vizvalocane / zuddhajJAnasvabhAvasya karmAvRtatvAdajJatvAtprANinAM saMsAriNAM pazutvamityUhyam / pazUn ajJAnAn prANinaH pAtIti bhagavato'rhataH pazupatitvaM / ' pAti patiH / pAterDatiH ( u. 497 ) iti kSIrasvAmI / pazUnAmajJAnAnAM prANinAM patiH pAtA pazupatiH / tasya / uktaM cAzAdharairanagAra varmAmRte ' zreyomArgAnabhijJAniha bhavagahane jAjjvala duHkhadAva- / cakre caGkamyamANAnaticakitamimAnuddhareyaM varAkAn // ityArohatparAnugraharasavikasatprakramopAttapuNyaprakrAntaireva vAkyaiH zivapathamucitAJ zAsti yo'rhan sa no'vyAt // ' iti / saGgI tArthaH saGgItavastu / ' tauryatrikaM tu saGgItaM nyAyArambhe prasiddhake / tUryANAM tritaye ca iti zabdArNave / ' arthaH prayojane citte hetvabhiprAyavastuSu / zabdAbhidheye viSaye syAnnivRttiprakArayoH iti vizvalocane / saGgItamevArthaH saGgItArthaH / nanu khalu samastaH samagraH / sampUrNaH ityarthaH / bhAvI bhaviSyati / ' gamyAdirvatsryati' iti gamyAdau paThitaH ' bhuvazca' iti NinA sAdhitaH bhAvItizabdaH : bhaviSyatyarthe sAdhuH / kathaM bhagavato'rhataH pazupatiriti saJjJA sambhavatIti nA'zaGkanIyaM, tasyAjJaprANigaNapAtutvAttannAmnaH gauNatvAt / " " 21 If your thundering sound would be echoing in the valleys (or caves) like the sound of a drum in the drum itself when the bamboos would be giving out deep and very loud sounds clearly as described above at the time of praying Jina, and the Kinnara ladies would be singing loudly the victory over the three bodies in a manner producing a confused noise, there the concert of the protector of living beings (i. e. Jina ) would indeed be made perfect. "

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218 [ pArzvAbhyudaye prAyAderupataTamatikramya tAMstAnvizeSAn tasyAsdUre kukavitAkalpitaM tatpratIyAH / haMsa dvAraM bhRgupatiyazovartma yat kauzvarandhra daNDenAssvaSkRtamiva guhAdvArakaM vaijayArdham // 69 // anvaya --- prAleyAdreH upataraM tAn tAn vizeSAn atikramya tasya adUre kukavikavitAkalpitaM haMsadvAraM bhRgupatiyazovartma yat krauJcarandhaM tat daNDena AviSkRtaM vaijayA guhAdvArakaM iva pratIyAH / , : prAleyetyAdi / prAleyAdreH himAlayAbhidhAnadharAdharasya upataDhaM taTasamIpapradeze / ' jhiH sub' ityAdinA samIpArthe hasaH / tAMstAn sarvAn / vIpsAyAM dviH / vizeSAn draSTavyArthAn / 'vizeSo'vayave dravye draSTavyottamavastuni ' iti zabdArNave / atikramya dazaiM darzamullaGghya tasya himavadacalasya adUre prAntapradeze kukavi kavitAkalpitaM / kavayaH vidvAMsaH, na kAvyakaraH eva / 'kaviH zukre'pi vAlmIke sUrau kAvyakare pumAn' iti vizvalo - cane / 'paNDitaH sUrirAcAryaH' iti dhanaJjayavacanAt ' dhImAnsUriH kRtI kRSTirlabdhavarNo "vicakSaNaH' ityamaravacanAzca paNDitArthAbhidheyaH sUrizabdaH / ataH kavizabdo'pi vidvada-rthavacanaH / kutsitaH kaviH kukaviH / alpajJAnanibandhanA ajJAnAnibandhanA vA kutsetyavaseyaM sudhIbhiH / naiva sA paramatanindAnibandhanA / ajJAnadoSAzrayaH kaviH kukavirityarthItrAbhimataH / kavairviduSaH karma kavitA | vidvadviracito grantha ityarthaH / kukaveH kavitA kukavitA / tasyAM tAbhirvA kalpitaM kalpanAmAtreNa jalpitam / na paramArthasaditi bhAvaH / jinAgamAnabhijJavidvajana kalpanA zilpijalpitamityarthaH / haMsa dvAraM hasAnAM mAnasasaraH prasthAyinAM dvAraM gamanamArgaH bhRgupatiyazovartma jAmadagnyayazaHpravRttikAraNaM / bhRgUNAM bhRgukulotpannAnAM patiH zreSThaH iti, bhRguH zivaH patiH IzvaraH yasya saH iti vA bhRgupatiH / jAmadagnyaH ityarthaH / ' bhRguH zukre prapAte ca jamadagnau prapAtini ' iti vizvalocane / ' ibhya ADhyo dhanI svAmI tvIzvaraH patirizitA' ityamaraH / bhRgupateH bhRgvIzituH yazaH kIrtiH bhRgupatiyazaH / tasya vartma prasaraNamArgaH / yat krauJcarandhraM krauJcasya himAlayasya dakSiNadizi vartamAnasya kasyacitparvatavizeSasya randhraM vivaraM tat daNDena SaTkhaNDabharatabhUmaNDalajigISayA vijayArdhettiradigvartikhaNDa traya jigamiSayA vijayArdhadharAdharakandarastha pihitadvAraM vibhitsunA cakravartinA prayuktena svakIyadaNDaratnena AviSkRtaM udghATitaM vaijayArtha vijayArdhabhUdharAGgabhUtaM / vijayArdhasyedaM vaijayArthe / vaijayArthamiti pAThastu nAsmAbhirUrIkRtaH,

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dvitIyaH sargaH ] 219 asamaJjasatvA tadarthagrahaNe'smAkaM buddhimAndyAtsAmarthyAbhAvAdvA / 'vai jayArthe ' iti pAThastu yathAkathaJcidgrAhyaH / guhAdvArakaM iva ajJAtaM guhAdvAraM / ' kutsitAjJAtApe' iti kajajJAtArthe / aidaMyugInajananAM taddarzanasAmarthyAbhAvAttasyAjJAtatvamiti bhAvaH / kandaradvAramivetyarthaH / pratIyAH jAnIhi / Having passed over all the beautiful scences of the regions adjoining to the Himalaya mountain, you should take the Kraunca defile which is in the proximity of it, which is conjectured as the gate for the swans and as the path of the glory of Parasurama in the works of the learned, ignorant of the facts, for the door, carved into the rock of the cave of the Vijayardha mountain by means of the sceptre (of a Cakravartin ). bahvAzvarye himavati kRtAlokanatvAdasaGgaH tenodIcIM dizamanusarestiryagAyA mazobhI / kRSNaH sarpo guruvi girergahvarAniSpatAzu zyAmaH pAdo baliniyamane'bhyudyatasyeva viSNoH // 70 // anvaya bahnAzcarye himavati kRtAlA kanatvAt asaGgaH tiryagAyAmazobhI [ tvaM ] tena udIcIM dizaM anusare: / guruH kRSNaH sarpa iva [ gahvarAt ] baliniyamane abhyudyatasya viSNoH zyAmaH pAdaH iva gireH gahvarAt Azu niSpata ! badhvityAdi bahvAzvarye bahuvismayAvaha dRzyasampanne / bahUni AzcaryANi vismayAvahAni dRzyAni yasmin / tasmin himavati himAlayAbhidhAne nagAdhirAje / ' hetau sarvAH prAyaH' iti tAvIp / himAlayaM prAptumityarthaH / kRtAlokanatvAt kRtavimarzatvAt kRtaavdhaarnntvaadvaa| kRtanizcayatvAdityarthaH / asaGgaH prityktvaahyaabhyntrprigrhH| tiryagAyAmazobhI tirazrInaderyeNa zobhamAnaH / tiryak tirazcInazvAsAvAvAmo dairdhya ca tiryagAyAmaH / tena zobhate iti tiryagAyAmazobhI / ' zIle'jAtau Nin ' iti zIlArthe Nin / tvaM tena krauJcAkhyagirikviramArgeNa udIcIM dizaM uttaradizaM anusare: anugaccha / guruH mahAkAyaH kRSNaH sarpaH iva kRSNavarNoragaH iva / kRSNakAyamahoraga ivetyarthaH / gahvarAt bilAditi zeSaH / baliniyamane balimardane / balimardanakAle - balimardanArtha vetyarthaH / abhyudyatasya kRtonnAmasya viSNoH bhagavataH prAptarddhikasya viSNukumArAbhidhAnamunirAjasya zyAmaH kRSNavarNaH pAdaH iva caraNaH iva gireH

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220 { pArdhAbhyudaye krauJcAbhidhAnabhUdharasya gavarAt vivarAt / 'darI tu kandaro vA strI devakhAtavile guhA / gaDvaraM ' ityamaraH / Azu zIghraM niSpata nirgaccha / vairaniryAtanAbhiprAyeNa jinamunizatasaptakamanimukhe prakSeptukAmasya balinAmaviprasya pramardanAthai dhRtavAmanAkRti narddhibhAjA viSNukumArAbhidhena munIzvareNa pAdadviyatena pUrvAparatoyanidhimadhyasthabharata. bhUmaNDalabhuvamAbhivyApya tRtIyaH pAdaH unnAmitaH AsIditi paurANikI kathA / You, who have renounced all the worldly attachments, appearing beautiful owing to your horizontal length, should, on account of your having determined to go to the Himalayas, the abode of many wonders, proceed through the Kraunca defile to the northern direction. Like a big black serpent ( coming out of a hole ), you, resembling the black foot of the sage Visnukumar raised high up for the pounding down of Bali, should immediately rush out of the defile of that mountain. tasmAddhamapracaya iva niHsRtya zailasya randhrAd gatvA covaM dazamukhabhujocchAsitaprasthasandheH / zubhrAdabhrasphaTikaghaTanAzobhigaNDopalasya kailAsasya tridazavanitAdarpaNasyAtithiH syaaH||71|| . kSIrAdacchacchavibhirabhitaH proccalanirjharaughaiH ___ zRGgocchrAyaiH kumudavizadairyo vitatya sthitaH kham / nRttArambhe pratikRtigatasyAdibhartuH purastAda -- ___ rAzIbhUtaH pratidinamiva tryambakasyATTahAsaH // 72 // anvaya :- zailasya tasmAt randhrAt dhUmapracaya iva niHsutya Urdhva ca gatvA kSIrAt acchacchavibhiH abhitaH proccalannirjharaughaiH kumudavizadaiH zRGgonDrAyaiH pratikRtigatasya AdibhartuH purastAt pratidinaM nRttArambhe rAzIbhUtaH tryambakasya aTTAhAsaH iva khaM vitatya yaH sthitaH tasya dazamukhabhujocchAsitaprasthasandheH zubhrAdabhrasphaTikaghaTanAzobhigaNDopalasya tridazavanitAdarpaNasya kailAsasya atithiH syaaH| . tasmAdityAdi / zailasya krauJcasamAkhyAtabhUdharasya tasmAt prAktanazlokopavarNitAt prasiddhAdvA randhrAt vivarAt / cakravartidaNDaratnavidAritavaijayAdhaguhAdvArasadharmaNaH krozcAkhyagirigahvarAdityarthaH / dhUmapracayaH iva dhUmarAziriva / dhUmasya pracayaH

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dvitIyaH sargaH ] 221 < rAziH dhuumprcyH| niHsRtya bahirnirgatya UrdhvaM ca gatvA vyomamArgapradeze ca saGkramya kSIrAt payaso'pi acchacchAvabhiH sphaTikatulya nirmalakAntibhiH / acchasya sphaTikasya cchaviriva cchaviH kAntiH yasya saH / ' IbupamAnapUrvasya sukhaM gatArthatvAt ' iti dyukhm|' acchAvyayamAbhimukhye acchasphaTikayoH pumAn / acchaH svacche'nyaliGgaH syAt' iti vizvalocane / abhitaH paritaH / sarvataH ityarthaH / prozcalanirjharaughaiH pravahatsaphenapAthaH pravAhaH / nirjharAH saphenAzca te oghAH pAthasAM pravAhAH nirjharaughAH / sUryAzva phenakarpAsatuSavahniSu nirjharaH ' iti 'oghaH paramparAyAM syAdbhutanRtyopadezayoH / oghaH pAthaHpravAhe ca samUhe ca pumAnayam' iti ca vizvalocane / nirjharA phenAH santyasyeti nirjharaH / ' o'bhrAdibhyaH ' iti matvarthe'tyaH / proccalantaH pravahantazca te nirjharaughAzca proccalannirjharaughAH / taiH / kumudavizadaiH / kumudAni sitakamalAnIva vizadeH zubhracchAyaiH 'site kumudakairave' ityamaraH / 'vizadaH pANDure vyakte' iti vizvalocane / 'sAmAnyenopamAnaM ' iti sssH| zrRMgocchrAyaiH zikharotsedhaiH / zRGgANAM zikharANAM ucchrAyAH utsedhAH / taiH / 'nagAdyAroha uchrAyaH utsedhazvocchrayazca saH ' ityamaraH / pratikRtigatasya pratibimbAtmakasya AdibhartuH bhagavataH Adijinezvarasya purastAt agrataH / agrabhAge ityarthaH / pratidinaM pratyahaM / dine dine pratidinaM / nRttArambhe nartanaprArambhakAle / ' lAsyaM nRttaM ca nartane ' ityamaraH / rAzIbhUtaH puJjIbhUtaH / arAziH rAziH bhavati sma rAzIbhUtaH / tryambakasya IzAnAdagindrasya rudrasya vA / trINi ambakAni yasya saH tryambakaH / tasya / aTTahAsaH maddattaro hrAsaH / ' aTTAvatizayakSaumau ' iti yAdavaH / ' aTTAhAso mahattare ' iti vidagdhacUDAmaNau / iva vA khaM AkAzaM vitatya vyApya sthitaH tiSThan / tasya dazamukhabhujocvAsitaprasthasandheH / daza dazasaGkhyAkAni mukhAni AnanAni yasya saH dazamukhaH / rAvaNaH ityarthaH / tasya bhujAH bAhavaH / te iva ucchAsitAH urdhvaM prApitAH prasthasandhayaH zikharabhAgAH yasya saH / tasya / ' kaTako'strI nitambo'dreH snuH prasthaH sAnurastriyAm ' ityamaraH / ' sandhiH puMsi suraGgAyAM randhrasaGghaTTane bhage / sandhibhAMge'vakAze'pi vATasajJe'pi puMsyayam ' iti vizvalocane / zubhrAdubhrasphaTikaghaTanAzobhigaNDopalasya / zubhrAH zuklavarNAzca te adabhrAH sthUlAzca zubhrAdabhrAH / 'adabhraM bhUri bhUyiSTham' iti dhanaJjayaH / zubhrAdabhrAzca te sphaTikAzca zubhrAdabhrasphaTikAH / teSAM ghaTanA anuvedhaH / tayA zobhante iti zobhinaH zobhamAnAH ityarthaH / ' zIle'jAtau Nin' iti zIlArthe Nin / zubhrAdabhrasphaTikaghaTanAzobhinaH gaNDopalAH sthUlopalAHyasya sH| tasya / gaNDAH varAH / sthUlAH ityarthaH / ' gaNDastu piTake yogabhedekhaGgikapo

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222 [ pArzvAbhyudaye layoH / vare pravIre cihne ca vAjibhUSaNabudbude ' iti vizvalocane / gaNDAzca te uphlAzca gaNDopalAH / gaNDazailAstu cyutAH sthUlopalAH gire: ' ityamaraH / vidazavanitA. darpaNasya | tridazAH devAH / ' amarA nirjarA devAstridazAH vibudhAH surAH' ityamaraH / teSAM vanitAH striyaH tAsAM / darpaNasya darpaNatulyasya / darpaNaH iva darpaNaH / 'devapathAdibhyaH ' itIvArthasya kasyos || devastrIdarpaNAyamAnasyetyarthaH / kailAsasya aSTApadAparAbhidhAnasyAdreH / atithiH prAghUrNikaH syAH bhaveH / ' atithirnA gRhAgate, ' ityamaraH / kailAsAcala pradezaM braja / Having rushed out of the defile of that mountain like a mass of smoke and having gone further high up, be you the guest of the Kailasa mountain which resembles the loud laughter of the three-eyed god (i. e. the lord of the north-east direction ) gathered into a heap every day at the time of the beginning (or performance) of a dance in front of the image of the first lord, on account of the foamy flows, possessing lustre whiter than that of milk, rushing down on all sides, and owing to the lofty peaks white like lotuses, which has stood overspreading the sky, which has its parts in the form of its peaks raised high up like the arms of the ten-mouthed one (i. e. Ravana), which possesses big rocks appearing to the advantage owing to their being beset with big and white crystals, and which serves as a mirror for the heavenly damsels. utpazyAmi tvAyai taTagate snigdhabhinnAJjanAbhe zobhAmadrervaTatarumato maNDalabhrAjitasya / sadyaH kRtadviradaradanacchedagaurasya tasya prAleyAMzorgrasitumanasA rAhuNevAzritasya // 73 // ---- anvayaH - snigdhabhinnAJjanAbhe tvayi taTagate [ khati ] vaTatarumataH maNDalazrAjitasya, sadyaH kRttadviradaradanacchedagaurasya, prasitumanacA rAhuNA Azritasya prAleyAMzoH iva tasya adreH zobhAM utpazyAmi / utpazyAmItyAdi / snigdhabhinnAJjanAbhe masuNamarditakajjala kAntau / " snigdhaM vAtsalyasampanne cikkaNe'pyabhidheyavat bhinnaM vAcyavadanyArthe dArite saGgate sphuTam ' , " snigdhaM masRNaM / cikkaNamityarthaH / iti vizvalocane / bhinnaM mardita /

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dvitIyaH sargaH ] 223 C , 8 iti vizvalocane / snigdhaM ca tadbhinnaM ca snigdhabhinnaM / aJjanaM kajjalaM / snigdhabhinnaM ca tadaJjanaM ca snigdhabhinnAJjanaM / tasya Abheva kAntiriva AbhA yasya saH / tasmin / IbupamAnapUrvasya dyukhaM gatArthatvAt ' iti dyukham | tvayi bhavati meghe taTagate himAcalanitambadezaM prApte sati / taTo nitambadezaH / girikaTakamityarthaH / vaTatarumataH nyagrodhapAdapavataH nyagrodhapAdapazobhino vA / vaTatarurnyagrodhapAdapo'sminnastIti prazastaH vaTatarurasminnastIti vA vaTatarumAn / tasya / ' tadasyAstyasminniti matuH ' ityastivivakSAyAM prazaMsAyAM vA matuH / uktaM ca bhUmanindAprazaMsAsu nitya yoge'tizAyane / saMsarge'stivivakSAyAM prAyo matvAdayo matAH ' iti / maNDalabhrAjitasya pariradhigatabhUpradezena bhrAjitasya rAjitasya / bhrAjamAnasyetyarthaH / pakSe maNDalena prabhAmaNDalena bhrAji - tasyaityarthaH / ' maNDalaM nikurumbepi deze dvAdazarAjake / kuSThAhibhede paridhau cakravAle ca maNDalam / maNDalaM syAnmaNDala ke sArameye tu maNDala: ' iti vizvalocane / sadyaH kRttadviradaradanacchedagaurasya / dvo radau bahirnirgatau dantau yasya saH dviradaH / gajaH ityarthaH / dviradasya radanaH dantaH dviradaradanaH / sadyaH kRttaH pratyagrakhaNDitazvAsau dviradaradanazca sadyaHkRttadviradaradanaH / tasya cchedaH khaNDaH iva gauraH zubhravarNaH / tasya / ' sAmAnyenopamAnaM ' iti saH / pratyagrakhaNDitagajadantabhaGgavacchubhravarNasyetyarthaH / prasitumanasA / grasituM kavalIkartu manaH yasya saH / tasya sammona : kAme ' iti manasi paratastumo makArasya kham | rAhuNA svarbhAnunA Azritasya kRtAzrayasya / saJjAtasaMyogasyetyarthaH / prAleyAMzoH himAMzoH / candramasaH ityarthaH / iva vA / candramastulyasyetyarthaH / tasya adreH tasya himAcalasya zobhAM saundarye utpazyAmi zobhA bhaviSyatIti tarkayAmIti bhAvaH / " I believe that the mountain, white like a piece of a tusk of an elephant cut off very recently, looking beautiful on account of the surrounding regions (in the case of the moon-pleasing to the eyes owing to her halo ), possessing banian trees, would be assuming beauty like that of the moon, resorted to by Rahu desirous of eclipsing, when you, possessing colour like that collyrium mixed with oil and wellcrushed, would be resorting to its slopes. tvayyArUDhe zikharamabhito'dhityakAM tasya manye pArzvagre vA punarapi dazAsyAvatAraprapaJcam / lIlAmadreH stimitanayanaprekSaNIyAM bhavitrI sanyaste sati halamRto mecake vAsasIva // 74 //

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221 [pArdhAbhyudaye __ anvayaH- tasya zikharaM abhitaH adhityakAM tvayi ArUDhe [ sati ] dazAsyAvatAraprapaJcaM manye / punaH api pArkhAgre vA [ tvayi ArUDhe ] mecake vAsasi aMsanyaste sati halabhRtaH iva stimitanayanaprekSaNIyAM adreH lIlAM bhavitrI [ manye ] . tvayItyAdi / tasya / kailAsasya zikharaM prasthapradezaM abhitaH sarvataH / 'paryabheH sAbhaye' iti sarvArthe'bhestasestas / 'paryabhisarvobhayastastyaiH' ityabhinA tastyAntena yoge ib / adhityakAM bhUdharovaMbhuvaM / ' upatyakAdhityake' iti parvatAdhyArUDhapradezArthe nipAtaH / ' upatyakAnerAsannA bhUmirUvamadhityakA' ityamaraH / tvayi bhavati / ArUDhe UdhrvabhUmiM prApte sati dazAsyAvatAraprapazcaM dazAnanAkArAvirbhAvanaM / daza dazasaGkhyAkAni AsyAnyAnanAni yasya saH dazAsyaH / dazAnanaH rAvaNaH ityarthaH / tasyAvatAro dehaakRtiH| tasya prapaJcaH AvirbhAvaH / tam / manye jAnAmi / punaH api pAne vA pAzrvoparibhAge vaa| tvayyArUDhe satIti zeSaH / mecake kRSNavarNe / 'mecakaH zyAmale barhicandre dhvAnte'tha mecakaM / vAcyavatkRSNavarNe syAt ' iti vizvalocane / vAsasi vastre aMsanyaste bhujazirasi nyaste / aMse bhujazirasi nyastaM sthApitaM aMsanyastaM / tasmin / 'skandho bhujaziro'so'strI' ityamaraH / sti| astIti san / tasmin / 'yadbhAvAdbhAvagatiH' iti Ip / halabhRtaH balarAmasya / halaM lAiAlaM bibhartIti halabhRt / kim / 'nIlAmbaro rohiNeyastAlAko musalI halI / saGkarSaNaH sIrapANiH kAlindIbhedano balaH' ityamaraH / stimitanayanaprekSaNIyAM nirnimeSanayanAvalokanIyAM / stimitAbhyAM stabdhatA prAptAbhyAM nayanAbhyAM netrAbhyAM prekssnniiyaa'vloknaahii| tAm / 'tRvyAzcAheM' ityArthe vyaH adreH kailAsaparvatasya lIlAM zobhA bhavitrI bhvissyntiiN| manye iti zeSaH / kailAsAcalasya tAdRzI zobhA bhaviSyatIti tarkayAmIti zambarAsurAbhiprAyaH / I believe that there would be a display of the incarnation of the ten-mouthed one [ i. e, Ravana ] when you would have ascended the plateau round about the peak of the mountain and that the beauty, worthy of being looked at with steady eyes, of that mountain would be like that of the Plough-bearer [i. e. Balaram ] with his dark garment placed on his shoulder when you would have ascended the uppermost part of its side. tasminhitvA bhujagavalayaM zambhunA dattahastA samprApyAccairviracita ivAnIlaratnastvayIyam /

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dvitIyaH sargaH] 225 krIDAzaile yadi ca viharetpAdacAreNa gaurI mA sma sphUrjaH, sitiphaNibhayAnmA sma saGktedinI bhUt // 75 / / anvayaH- bhujagavalayaM tasmin hitvA zambhunA dattahastA iyaM gaurI samprApya AnIlaratnaiH uccaiH viracite krIDAzaile iva tvayi yadi ca pAdacAreNa viharet sitiphaNibhayAt saGkledinI mA sma bhUt [ iti] mA sma skUrjaH / ___ tsminnityaadi| bhujagavalayaM / bhujagaH eva valayaM kaTakaM bhujagavalayaM / yadvA bhujagaH valayamiva bhujagavalayaM / vlyaakaarprinnaamitsvkaaymityrthH| 'vyAghrAdibhirupameyo'tadyoge' ityupamAnabhUtavalayazabdenopameyabhUtabhujagazabdasyopamitasamAsAkhyaH saH / bhujairgacchatIti bhujagaH / 'gameH khackhaDDAH' iti DaH / DittvAcAbhasyApi TerlopaH / tasmin kailAsAcale hitvA tyaktvA zambhunA rudratulyenezAnadigIzena / zambhuriva shmbhuH| 'devapathAdibhyaH' itIvArthasya kasyos / dattahastA vitIrNahastAvalambanA / dattaH vitIrNaH hastaH karaH yasyAH yasyai vA saa| iyaM eSA gaurI gaurIsahazI gaurAgI vezAnadigindrabhAryA / gaurIva gaurii| 'devapathAdibhyaH' itIvArthasya kasyos / 'yuktavadusi liGgasaGkhye' iti striilinggnirdeshH| samprApya samAgatya / AnIlaratnaiH atinIlavarNaiH gArutmatAkhyairmaNivizeSaiH uccaiH atyunnatakailAsazikharasamIpavyomadeze viracite kalpite krIDAzaile iva tvayi krIDAdrisamAkAre bhavati yadi ca cet ca pAdacAreNa caraNagamanena viharet saJcAraM vidadhyAt sitiphaNibhayAt kaalorgbhiitH| sitiH kAlavarNaH / 'sitI dhavalamecako' ityamaraH / sitizcAsau phaNI ca sitiphaNI / tasmAttasya vA bhayaM / tasmAddhetoH / salledinI mAnasaduHkhavatI / saGkledaH mAnasa duHkhamasyA astIti sngkledinii| mA sma bhUt iti na bhavatviti mA sma sphUrjaH garjitadhvani mA kuru / sphUrjaterlaGmadhyamapuruSaikavacanam / 'sasme laG ca ' iti laG luG ca / 'luGlaGTTaGyamADhAT' ityaDAgamapratiSedhaH / And if, on arriving there, should the white-complexicned one, supported with hand by the lord of the north-east direction resembling Rudra, after throwing off his serpent serving as a bracelet (or twisted into a circular form), be moving about on foot on you resembling a pleasure-mountain boilt up with emeralds high up in the sky, you should not give out a thundering sound so that she should not be distressed through fear of a black-serpent. pArzvabhyudaye....15 .

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226 [pArdhAbhyudaye indrANI cedupagatavatI jainagehAnupAtaM __ tasminnijyAM racayitumanA devabhaktyA tdaasyaaH| bhagIbhaktyA viracitavapuH stambhitAntarjalaughaH sopAnatvaM kuru maNitaTArohaNAyAmacArI // 76 // anvaya :- devabhaktyA ijyAM racayitumanAH indrANI jainagehAnupAtaM upagatavatI cet tadA stambhitAntarjalaughaiH bhagIbhaktyA viracitavapuH agracArI maNitaTArohaNAya asthAH sopAnatvaM kuru / . indrANItyAdi / devabhaktyA arhataH zraddhAnena ijyAM arhaccaraNasaparyA / yajanamijyA / 'vrajyajaH kyap' iti bhAve kyap / racayitumanAH racayituM kartuM manaH abhiprAyaH yasyAH saa| 'samtumomanaH kAme' iti manasi parataH tumo makArasya kham / indrANI purandarabhAryA / 'varuNabhavazavarudrendramRDAt' iti GI striyAmAnuk ca / jainagehAnupAtaM pratijinendramandiramanupatya / jainagehaM jainagehaM anupatyAnupatya jainagehAnupAtaM / vIpsAyAmAbhIkSNye ca dviH| 'kzipatpadskandAM vyApyAsevye' iti Nam / upagatavatI cet prAptavatI cet tadA tasminsamaye stambhitAntarjalaughaiH ghniikRntaatHslilsmuuhaiH| 'oSaH paramparAyAM syAdrutanRtyopadezayoH / oghaH pAthaHpravAhe ca samUhe ca pumAnayam' iti vizvalocane / bhagIbhaktyA sopaanaakaarvircnyaa| viracitavapuH klpitsvkaayH| viracitaM kalpitaM vapuH zarIraM yena sH| agracArI purogaH / punaH punaH agre caratIti agracArI / 'tAbhIkSNye ' iti NinnAbhIkSNye / maNitaTArohaNAya ratnakhacitataTamArohu~ / maNInAM taTaM mnnitttN| tasya ArohaNaM / tasmai / maNitaTArohaNArthamityarthaH / asyAH indrANyAH sopAnAvaM sopAnakarma kuru vidhehi / sopAnasya bhAvaH sopAnatvam / ArohAvarohAvasare caraNasyAvakAzapradAnaM sopAnasya bhAvaH ityrthH| sopAnAkArapariNAmitasvazarIrAvayave saJcarantyAH purandarabhAryAyA avakAzaM dehItyarthaH / If the wife of Indra, desirous of performing worship with devotion to god, happens to be there while visiting temple after temple dedicated to Jina, at that time, you, moving in front of her, having your body shaped into a flight of steps with your water caused to be constrained inside, should serve as a staircase for her to ascend the jewelled slopes.

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dvitIyaH sargaH ] antastoyoccalanasubhagAM bhAvinIM tAmavasthAM manvAnAstAssunibhRtataraM sAnudeze niSaNNam / taMtrAvazyaM valayakulizoddhaTTanodgIrNatoyaM neSyanti tvAM surayuvatayo yantradhArAgRhatvam // 77 // anvaya :- antastoyoccalanasubhagAM tAM bhAvinIM avasthAM manvAnAH tAH surayuvatayaH sunibhRtataraM tatra sAnudeze niSaNNaM valaya kulizoddhaTTanodgIrNatoyaM tvAM yantradhArAgRhatvaM avazyaM neSyanti / 227 antarityAdi / antasto yozcalanasubhagAM / antastvadvapurantarbhAge yattoyaM salilaM tasyoccanena bahirnirgamanena / galanenetyarthaH / subhagAM manoharAM / tAM viziSTAM bhAvinI bhaviSyakAlasambhavAM / vRSTayuttarakAlasambhavAmityarthaH / avasthAM pariNatiM . manvAnAH vicAragocaratAM nayantyaH tAH surayuvatayaH tridazayoSAH sunibhRtataraM sunizcalataraM tatra sAnudeze kailAsAcalaprasthapradeze niSaNNaM upaviSTaM valaya kulizoddhaTTanodgIrNatoyaM kaGkaNakhacitavajraprahArodvAntasalilaM / valayAnAM kaGkaNAnAM kulizAni vajrANi valayakulizAni / kaGkaNakhacitAH vajramaNayaH ityarthaH / yadvA valayAnyeva kulizAni valayakulizAni / taisteSAM vA udghaTTanAni prahArAH / tairudgIrNamudvAntaM / utsRSTamityarthaH / toyaM salilaM yena saH / tam | tvAM bhavantaM / yantradhArAgRhatvaM zilpikalpitasAdhananiHsRtAH dhArAH AsArAH yantradhArAH / tAsAM gRhatvaM geddatvaM / neSyanti gamayi - dhynti| unmuktajalapravAhaM yantradhArAgRhaM nIradhArAsArasaGkulaM bhavati tathA surAGganAkaGkaNaprahAra jarjaritazarIrastvamapi muktadhArAsAro bhaviteti bhAvaH / 1 Those heavenly damsels, taking into consideration that future state beautiful on account of the discharge of the internal water, would surely transform you, sitting very silently there on the top of the peak discharging water owing to the strokes of the bracelets beset with diamonds, into a shower-bath. AkarSantyo timiva sarastoyapUrNAmadhastAt krIDiSyanti tridazavanitAstvAmitazcAmutazca / tAmyo mokSo yadi tava sakhe dharmalabdhasya na syAt / krIDAlolA: zravaNaparuSairgarjitairbhISayestAH // 78 //

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228 [pArdhAbhyudaye anvayaH- adhastAt sarastoyapUrNo dRti iva itaH ca amutaH ca tvAM AkarSantyaH tridazavanitAH krIDiSyanti / sakhe / tAbhyaH dharmalabdhasya tava mokSaH yadi na syAt tAH krIDAlolAH zravaNaparuSaiH garjitaiH bhISayeH / __ AkarSantyaH ityAdi / adhastAt avarasmin bhaage| 'astAti' ityadharazabdasyAdhbhAvo'stAti prtH| sarastoyapUrNA- kAsArAmbhaHsambhRtAm / sarasaH kAsArasya toyaM pAnIyaM sarastoyaM / tena sampUrNA sambhRtA / tAm / iti iva kUpAdijalonnayanaprayojanaM carmaghaTa iva / ' moTa' iti mahArASTrathAM / itaH ca amutaH ca atrAmutra ca / 'sArvavibhaktikastasiH' iti tasiratra Ibarthe / tvAM bhavantaM AkarSantyaH nayantyaH tridazavanitAH surAGganAH krIDiSyanti krIDAM vidhAsyanti / sakhe ! bho mitra tAbhyaH tridazayoSAbhyaH dharmalabdhasya auSaNyAlabdhAtmalAbhasya / auSNyAlabdhajanmanaH ityrthH| dharmAdauSNyAlabdhaM lAbhaH yasya sH| tasya / 'nanmAve kto'bhyAdibhyaH' iti bhAve ktaH na ca / yadvA dharme prAvRTkAle'pi nirvAtAvasthAyAM yaH dharmaH USmakAla: tasmin labdhaH prAptaH tasya tava / tava bhavataH / mokSaH vimocanaM yAda na syAt na bhavecet tadA tAH devAGganAH krIDAlolAH kriiddaasktaaH| 'lolA jilAzriyorlolaH satRSNacalayostriSu' iti vizvalocane / ibbahuvacanam / zravaNaparuSaiH krnnktthoraiH| zravaNAnAM karNAnAM paruSAH niSThurAH shrvnnprussaaH| 'paruSaM karbure rukSe triSu niSThuravAcyapi' iti vizvalocane / garjitaiH stanitadhvanibhiH / bhISayaH traasyH| gArjadhvaninA tAsu bhayaM jnyetyrthH| 'bhAyayaH' iti pAThaM svIcikIrSoH 'bhISayaH' iti pAThaM ca parijihIrSoH 'atra henubhayAbhAvAdAtmanepadaM SugAgamazca na' iti mallinAthasyokticintyA, meghasya sAkSAtprayojakatvAbhAvAt bhayakAraNatvAbhAvAdUrjitadhvanerbhayakAraNatvAca datvapratiSedhasambhave'pi vyAkaraNAntareSu 'kuJcikayanaM bhISayati' iti pratyudAharaNepi ghugAgama. darzanAt SugAgamasya datvAbhAvepi No parataH sadbhAvAt / ato 'bhISayaH' iti vidhiliGmadhyamapuruSaikavacanatyAntaH pATho'pi smiiciinH|| The heavenly damsels, dragging you here and there like a leathern bag (meant for holding water ) filled up with water of a lake below, would be diverting the mselves. O friend ! if there could be no deliverance from them of you, secured by them at the time when there would be excessive heat, you should intimidate them, engaged in sport, by your thundering sounds harsh to the ear.

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dvitIyaH sargaH] 229 kRcchrAnmukto vividhakaraNaistatra ratvA'tha tAbhi bhUyaH zaile vihara gamito vAyunA''ptavaNAGgam / hemAmbhojaprasavi salilaM mAnasasyA''dadAnaH kurvankAmaM kSaNamukhapaTaprItimairAvaNasya // 79 // anvayaH- atha tatra tAbhiH vividhikaraNaiH ratvA kRcchrAt muktaH vAyunA AptatraNAGga gamitaH, mAnasasya hemAmbhojaprasavi salilaM AdadAnaH, airAvaNasya kSaNamukhapaTaprItiM kAma kurvan zaile bhUyaH vihr| .. kRcchAdityAdi / atha anantaraM tatra kailAsAcale tAbhiH tridazayoSAbhiH vividhakaraNaiH nAnAvidhAGgahAraiH nAnAvidhasaMvezakriyAbhedaiH vaa| 'karaNaM sAdhakatame kAryakAyasthakarmasu / kriyAyAmindriye kSetre karaNaM bAlavAdiSu / gItAGgahArasaMvezakriyAbhede'pi cepyate' iti vishvlocne| rantvA krIDitvA kRchAt kaSTAt / 'stokAlpakRcchrakatipayAtkaraNe kA vA'sattve' iti kA / muktaH parihRtapratibandhaH / vAyunA samIraNena bhAptavaNAga prAptavaNazarIraM / AptaH vraNaH yena tat / AptasraNaM ca tadaGgaM zarIraM ca bhAptatraNAGga / tat / ip / 'anmntike| gAtropAyApradhAneSu pratIke'pyaGgavatyapi' 'iti vizvalocane / gamitaH prApitaH mAnasasya mAnasAkhyasarasaH hemaambhojprsvi| hemAmbhojAni suvarNakamalAni prasUte iti hemaambhojprsvi| 'pre sUjorin ' iti zIlArthe in / salilaM jalaM AdadAnaH svIkurvan / AgRhNanityarthaH / airAvaNasya abhramuvallabhasya / 'airAvato'bhramAtahairAvaNAbhramuvallabhAH' itymrH| airAvatAkhyasyendragajasyetyarthaH / kSaNamukhapaTaprItiM / kSaNaM kSaNamAtrakAlaM yAvat mukhapaTena mukhAvaraNavastreNa prItiriva prItiH / tAm / mukhapaTanibandhanA mukhapaTajanitA vA yA prItiH tatsadRzI prItimityarthaH / 'devapathAdibhyaH' itIvArthasya kasyos / 'yuktavadusi liGgasaGkhye' iti upmaanbhuutyuktvaalinggsngkhye| gajendramukhAgrabhAge kSaNasthityA mukhapaTajanitAnandatulyaM sukhaM janaya, tAdRzamukhAgrabhAge sthite sati airAvaNasya mukhapaTabhrAntijanitAnandasambhavAditi bhaavH| kAmaM atyarthaM kurvan janayan zaile kailAsAcale bhUyaH punaH vihara saJcara / Afterwards, having carried out various performances, there, with them, you, having release from them with a great difficulty, reduced by the wind to the state of your body having wounds inflicted, imbibing the water, generating (producing) golden lotuses, of the Manasa

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230 [pArdhAbhyudaye ( lake ), conferring the pleasure of possessing a face-cloth for a moment on Airavata, should divert yourzelf again on the mountain. krIDAdrINAM kanakazikharANyAvasaMstatra pazyan svargastrINAM nidhuvanalatAgehasambhogadezAn / dhunvankalpadrumakisalayAnyaMzukAni svavAtaiH nAnAcaSTarjalada lalitanirvizestaM nagendram // 80 // anvayaH--- jalada | krIDAdrINAM kanakazikharANi Avasan, tatra svargastrINAM nidhuvanalatAgehasambhogadezAn pazyan, nAnAceSTeH lalitaiH aMzukAni kalpadrumakisalayAni dhunvan taM nagendra nirvisheH| ___krIDAdrINAmityAdi / jalada he megha ! krIDAdrINAM krIDAzailAnAM kanakazikharANi suvarNasAnUni Avasan ArUDhavAn / ' vasonUpAdhyAH ' ityAdhAre ip / tatra kailAsAcale svargastrINAM tridazayoSitAM nidhuvanalatAgehasambhogadezAn nidhuvanArthAni latAgehAni vallarInirmitabhavanAni nidhuvanalatAgehAni / teSu ye sambhogadezAH sambhogArtha viracitAni sthAnAni / tAn / pazyan avalokayan / nAnAceSTaiH. bhuvidhkriiddaiH| nAnA bahuvidhAH ceSTAH digvidikSu vahanAdirUpAH krIDAH yeSAM taiH| lalitaiH shriirpriyH| 'lalitaM hAvabhede syAtrimveva laliteSTayoH' iti vizvalocane / svavAtaiH svIyaiH smiirnnaiH| svAH svIyAH vAtAH samIraNAH svvaataaH| taiH / 'svo jJAtAvAtmani svaM tu triSvAtmIye dhane'striyAm ' iti vizvalocane / atra vAtasya svIyatvaM svAgamanakAlajanitatvAdityavaseyam / aMzukAni sUkSmavastratulyAni / aMzukAnIvAMzukAni / ' devapathAdibhyaH' itIvArthasya kasyos / 'yuktavadusi liGgasaGkhye' iti kRtevArthakakosoM'zukazabdasya prakRtivalliGgasaGkhye / 'aMzukaM vastramAtra syAtparidhAnottarIyayoH / sUkSmavastre nAtidIptau' iti zabdArNave / kalpadrumakisalayAni kalpavRkSapallavAn / kalpadrumANAM kalpavRkSANAM kisalayAni pllvaaH| tAni / ibahuvacanam / dhunvan kampayan / vidhuunynnityrthH| taM prasiddha nagendra nagAdhirAjaM nirvize: samupabhukSva / yadvA nAnAceSTeH lalitaiH kriidditH| 'nA bhAvabhede strInRtye lalitaM triSu sundare / astriyAM pramadAgAre krIDite jAtapallave' iti zabdArNave / taM nagendra nirvizeH / ____o cloud ! you, dwelling on the golden peaks of the pleasure-mountains, beholding, there, the seats of cohabitation existing in the bowers

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dvitIyaH sargaH ] 231 of creepers meant for the heavenly damsels for coition, shaking off the sprouts, resembling thin silken garments, of the wishfulfilling tree by your breezes, pleasing and possessing various movements, should enjoy that lord of mountains. vidyuddAmnA valayitatanustatra vadhyeva rUddho dIrgha sthitvA sarati pavane mandamandaM dinAnte / tasmAdavatara purIM sveSTakAmo dhanIzAM tasyotsaGge praNayina iva srastagaGgAdukUlAm // 81 // anvavaH- vidyuddAmnA valayitatanuH vardhaya ruddhaH iva tatra dIrghe sthitvA dinAnte pavane mandamandaM sarati tasmAt adreH praNayinaH iva tasya utsaGge srastagaGgAdukUlAM dhanIzAM purIM sveSTakAmaH avatara / vidyudityAdi / vidyuddAmnA vidyullekhayA / vidyudeva dAma vidyuddAma / tena vidyu* ddAmnA / valayitattanuH valayIkRtazarIraH / AveSTitakAyaH ityarthaH / valayitA viracitavalayA tanuH zarIraM yasya saH / ' mRdo dhvarthe NijbahulaM ' iti Nic / atra hetau vA, ' hetau sarvAH prAyaH ' iti vacanAt / tena valayitatanutvAdityarthaH / vardhaya carmamayyA rajjvA / ' vardhate dIrghIbhavati carmarajjutvAdvartrI ' iti kSIrasvAmI / 'naddhI vartrI varatrA syAt ' ityamaraH / ruddhaH iva pratibaddhaH iva tantra kailAsaparvate dIrghaM suciraM sthitvA avasthAnaM vidhAya dinAnte dinAvasAnakAle / sAyAhne ityarthaH / pavane samIraNe mandamandaM mandaprakAreNa | mandatavetyarthaH / mandaprakAraH yathA syAttathA mandamandam / 'prakAre guNokva' iti prakAre'rthe dviruktiH / sarati pravahati sati / 'yadbhAvAdbhAvagatiH ' iti Ip / tasmAt kailAsAt adreH parvatAt praNayina iva priyatamasyeva / priyatamasyotsaGge'Gke iva tasya kailAsasya utsaGge Urdhvatale / ' utsaGgo muktasaMyoge sakthinyUrdhvatalespi ca ' iti mAlatImAlAyAm / srastagaGgAdukUlAM vigalitagaGgArUpazubhravastrAM / srastaM vigalitaM zarIrAnniHsRtya pRthagbhUtaM gaGgA evaM dukUlaM zubhravastraM yasyAH sA / tAm / atra gaGgAjalasya zubhravarNatvAttasyAM dukUlatvamAropitamityavaseyam / pakSe srastaM gaGgeva gaGgAtukhyaM dukUlaM yasyAH sA / tAm / ' dukUlaM sUkSmavastre syAduttarIye sitAMzuke iti zabdArNave / svapriyatamAGkadezavigalitasitAMzukAyAH striyaH upamAnatvaM svapriyatamakailAsAcalordhvatalagatagaGgA rUpazubhrAMzukAyAH alakApuryAzcopameyatvamityavaseyaM / svapriyatamakailAsAcalotsaGgapradezavigalitagaGgArUpasitAMzukAmalakApurImityarthaH / gaGgA dukUlaM 7 C

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232 [pArdhAbhyudaye zubhravastramivetyupamitasamAsaH / ... / anyatra tu gaGgaiva dukUlam' iti mallinAthavacanaM cinnyaM, arthavaiparItyaprasaGgAt / alakApurIpakSe upamitasamAsagrahaNe dukUlopamAnagaGgAyAH eva svapriyatamotsaGgapradezavigalanApattirna gaGgArUpAMzukasya, gaMgAyA eva prAdhAnyAt / asminvakSe 'gaGgaiva dukUlaM' itivigrahavacanoktArthagrahaNameva yuktarUpaM, AropyAropaviSayayostAdAtmyAdhyAsAdAropaviSayasyAnihnavAt / anyatra strIviSaye tu 'gaGgaiva duklaM' itivigrahavacanapratipAditArthagrahaNamadhyayuktaM, gaGgAyAH strIvasanatvAsambhavAt / ato'tra pakSe 'gaGgava dukUlaM' iti vigrahaH eva samIcInaH / gaGgeva gaGgA / 'devapathAdibhyaH' itIvArthasya kasyos / 'yuktavadusi liGgasaGkhye' iti luptevArthakakasya gaGgAzabdasya strIliGgatvam / dhanIzAM yakSezvarANAM / mahatAM yakSANAmityarthaH / dhaninAM yakSANAM Izate iti dhanIzaH / kim / teSAm / yadvA dhanI kuberaH IT yeSAM te dhniishH| teSAm / purI alkaabhidhaanngrii| sveSTakAmaH svAbhilaSitamAptukAmaH svasya AtmanaH iSTa AzaMsita sveSTaM / ' iSTo nA yAgasaMskArayogayoH RtukarmaNi / klIbaM triSu priyatame pUjye'pyAzaMsite'pi ca' iti vizvalocane / sveSTaM kAyamate iti sveSTakAmaH / 'zIlI. zikSamkAmyAcarabhakSaNaH' iti karmaNi vAci NaH / yadvA sveSTe svAbhilaSite svapriye vA kAmaH abhilASaH yasya saH iti ghajantena basaH / avatara niicrgcch| You, as if tied down by leathern straps owing to your body being encircled with the rope-like lightning, having stayed there on the Kailasa mountain ) for a long time, should go down from that mountain, with a desire to secure what is expected by you, upon that city (of Alaka ), the abode of the best of the Yaksas, with its white garment in the form of the Ganges fallen off on its slopes, as on a lover's lap, when the breezes of wind would be blowing slowly in the evening. dRSTAdhyAtmasthitiradhigatAzeSavedyaH savidyaH . yogAbhyAsAdbhuvanamakhilaM sazcarandUradarzI / lakSmyA sUrti bhuvanaviditAM tAM purIM tatra sAkSA nna tvaM dRSTvA na punaralakA jJAsyase kAmacArin / / 82 // anvayaH-kAmacArin / yogAbhyAsAt dRSTAdhyAtmasthitiH adhigatAzeSavedyaH savidyaH akhila bhuvanaM saJcaran dUradarzI tatra lakSmyAH sUti bhuvanaviditAM alakAM purI tvaM punaH sAkSAt na dRSTvA tAM na jnyaasyse| .

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dvitIyaH sargaH] 233 ___dRssttetyaadi| kAmacArin bho yathecchavihArin / kAmaM yathecchaM caratIti kaamcaarii| tasya kiH / 'zIle'jAto Nin' iti zIle Nin / yogAbhyAsAt pauna:punthena samAcaritAddhyAnAt / hetAvatra kaa| punaH punaH krnnmbhyaasH| 'yogaH sannAhasandhAnasaGgatidhyAnakarmaNi' iti vizvalocane / dRSTAdhyAtmasthitiH anubhUtazuddhAtmasvabhAvaH / dRSTA anubhUtA adhyAtma sthitiH yena sH| Atmani adhi adhyaatm| bhAtmanItyarthaH / adhigatAzeSavedyaH jJAtanikhilajJeyArthaH / adhigatAni jJAtAni azeSANi nikhilAni vedyAni zeyArthAH yena sH| vishvdRshvetyrthH| savidyaH sampAditakevalajJAnaH / vidyayA sahitaH svidyH| 'vA nIcaH' iti sahasya sH| akhilaM sakalaM muvanaM bhUmaNDalaM saJcaran viharan dUradarzI sUkSmAntaritadUrArthAnAM sAkSAdRSTA / tatra himazikharizikhare lakSmyAH sampadaH sUrti prabhavasthAnaM bhuvanaviditAM bhUmaNDale prasiddhiM gatAM alakApurI bhalakAbhidhAnAM yakSanagarI tvaM bhavAn punaH bhUyaH sAkSAt pratyakSataH na dRSTA apazyan / pazyatIti dRSTA / 'manvankanibvicaH kvacit ' iti knim| tAM alakAM na jJAsyase na vetsysi| anumAnabalAtsampAditAlaMkApurIjJAno'pi tatsAkSAddarzanamantareNa tAM yathArthatayA vijJAtumasamarthosIti tAM sAkSAdvilokayetyavijJAtAjanAgamarahasyazambarAsurAbhiprAyaH / O wanderer-at-will! You, experiencing the pure nature of the pure soul through repeated practice of concentration (upon the pure nature of the soul. knowing all the knowables, possessing pure knowledge, roaming over the whole of the world, possessing foresight (or knowing all the periodically and spatially remote objects ), would not know well the city of Alaka, there, known in the whole world, the source of wealth (or a place where wealth is acquired in abundance ), unless you would see it actually. nirvANArtha titapasiSavo'mI svayaM klezayanti vyarthodyogA mayi tu vitRSaH, kinnu matto'dhikaM tat / ityAkUtAdvihasitamivAmbhomucAminduzubhraM ____ yA vaH kAle vahati salilogAramuccairvimAnA / / 83 // anvayaH-- yA uccairvimAnA 'nirvANArtha titapasiSavaH vyarthodyogAH amI svayaM klezayanti; mayi tu vitRSaH; kiMnu tat mattaH adhikam ?' iti AkUtAt vaH ambhomucA kAle induzubhaM salilodgAra vihasitaM iva vahati /

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234 [pArzvabhyudaye nirvANArthamityAdi / yA alakAbhidhAnA nagarI uccairvimAnA unnatasaptabhUmikaprAsAdA / uccaiH unnatAH vimAnAH saptabhUmikAH prAsAdAH yasyAM sA / 'vimAno vyomayAne'strI saptabhUmau gRhe'pi ca ' iti vizvalocane / nirvANAthe mokSaprAptyartham / 'nirvANa nivRtau mokSe stambhane gajamajane' iti vizvalocane / titapasiSavaH tapastaptumicchavaH / 'tapa santApe' ityasmAddhoH 'tumIcchAyAM dhorvop' iti sani tadantAt 'sanbhikSAzaMsAduH' ityuH / vyarthodyogAH viphalaprayatnAH / vyarthAH viphalAH udyogAH prayatnAH yeSAM te / amI ete pAdiyo yoginaH / svayaM aatmnaa| ' svayamAtmanA' itymrH| AtmAnaM klezayanti AyAsayanti / mayi alakAnagarIviSaye tu punaH vitRSaH vigtaabhilaassaaH| vigatA tRT icchA yeSAM te| 'icchA kAGkSA spRhehA tRD vAJchA lipsA manorathaH' itymrH| santIti shessH| kinnu kinviti prazne / 'kinnu prazne vitarke ca' iti vizvalocane / tat nirvANaM mattaH matsakAzAt adhikaM utkRSTaM / iti evaMvidhAt AkUtAt abhiprAyAt / vaH ambhomucA kAle yuSmAkaM medhAnAM kAle / varSAkAle ityarthaH / induzubhraM candravaddhavalaM salilodgAraM jalavarSe / 'sAmAnyenopamAnaM ' iti saH / salilAnAM jalAnAM udgAraH varSaH / tam / vihasitamiva upahAsamiva / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / vahati dhArayati / 'kiM nirvANaM matto'pyutkRSTataraM yato'mI pAdiyo yogino mAM vihAya tatprAptyartha prayasyanti ?' ityabhiprAyaM manasikRtya sA nagarIndudhavalasalilAsAramiSaNa tAnupahasantIva tvadavalokanaviSayatAM yAsyatIti shmbraasuraabhipraayH| That city, possessing seven-storied lofty mansions, would give an ironical smile, as white as the moon, in the form of the discharge of water in the days of you, the cloud (i. e. in the rainy season ), owing to her taking thought : ' These sages, exerting for nothing, desirous of practising penance for the attainment of salvation, are harassing themselves; they have no interest for me; is the abode of the liberated souls superior to me ?' saudheyAgrergaganapariSatketumAlAbalAkaM ratnodagradyutiviracitendrAyudhaM prAvRSeNyam / dhatte yA'sau sajalakaNikAsAramabhraMlihaiH svaiH muktAjAlagrathitamalakaM kAminIvAbhravRndam / / 84 // anvaya :- yA asau muktAjAlapathitaM alakaM kAminI iva svaiH abhraMlihaiH

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dvitIyaH sargaH ] 235 saudheyAtraiH gaganapariSatketumAlAbalAkaM ratnodapradyutiviracitendrAyudhaM prAvRSeNyaM sajalakaNikAsAraM abhravRndaM dhatte / saudheyArityAdi / yA asau alakApurI muktAjAlagrathitaM muktA. viracitAnAyasanhabdhaM / muktAnAM mauktikamaNInAM jAlena AnAyena athitaM sandRbdhaM / 'mukto mokSagate'pyuktastriSu muktA tu mauktike' iti 'jAlastu kSArakAnAyagavAkSe stambhavRzayoH' iti ca vizvalocane / 'grathitaM granthitaM dRbdhaM ' ityamaraH / alakaM cUrNakuntalaM / jAtAvekavacanam / 'kuberasyAlakapuryAmalakacUrNakuntale' iti vizvalocane / kAminIva lalaneva / 'lalanA kAminI yoSidyoSAM sImantinI vadhUH' iti dhanaJjayaH / svaiH svakIyaiH abhraMlihaiH abhrNkssaiH| abhraM leDhIti abhraMliT / taiH| 'vahAbhre lihaH' iti khaza khittvAnmumAgamazca / saudheyApraiH prAsAdAgrabhAgaiH / prAsAdazikharerityarthaH / saudhAnAmimAni saudheyAni / saudheyAni ca tAnyagrANi saudheyAgrANi / 'agraM triSu pradhAne syAdagraM mUrdhAdhikAdiSu / purastAt palamAne ca bAte'pyAlambanAntayoH' iti vizvalocane / gaganapariSatketumAlAbalAkaM / gagane AkAzadeze paritaH sarvataH sIdanti calantIti ggnprissntH| te ca te ketavaH dhvajAzca / teSAM mAlA paGktiH eva balAkAH pakSivizeSAH yasya tat / ratnodgradyutiviracitendrAyudhaM / udgatAni agrANi koTayaH yAsAM tAH udagrAH / udagrAzca tAH dyutayazca udgrdyutyH| ratnAnAM udagradyutayaH rtnodprdyutyH| tAbhirviracitaM indrAyudhaM indradhanuryasmistat / prAvRSeyaM prAvRTkAlabhavaM / 'prAvRSa eNyaH' iti bhavArthe ennyH| sajalakaNikAsAraM / jalakaNikAH jlbindvH| teSAM AsAraH varSaH jalakaNikAsAraH / tena sahitaM / 'vA nIcaH' iti sahasya saH / / abhravRndaM meghasamUha / 'jImUto'bhraM balAhakaH' iti dhanaJjayaH / dhatte dharati / That city bears a mass of clouds, discharging showers of drops of water, produced in the rainy season, possessing a rain-bow formed by the ends of the rays of jewels shooting upwards, having cranes in the form of the rows of flags moving in all directions in the sky, with the uppermost parts of her palaces scraping the clouds, like a noble woman [ free from pride, with her ] curly hair encircled with nets of pearls. yatrAnIlaM harimaNimayAH kSudrazailA nabhogaM prodyadevadrumaparisaraddhapadhUmAnubandhAH /

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236 prAsAdAzca prathayitumalaM sarvadA meghakAlaM vidyutvantaM lalitavanitAH sendracApaM sacitrAH // 85 // [ pArzvAbhyudaye anvayaH - yatra AnIlaM harimaNimayAH, nabhogaM kSudrazailAH, vidyudvantaM lalitabanitAH sendracApaM sacitrAH, prodyaddevadrumaparisaraddhUpadhUmAnubandhAH prAsAdAH meghakAlaM sarvadA prathayituM alam / 7 " yatretyAdi / yatra alakAnagaryo AnIlaM A samantAnnIlaM kRSNavarNe / meghakAlamiti zeSaH / harimaNimayAH prAdhAnyena nIlamaNiviracitAH / prAsAdAH iti zeSaH / ' prakRte mayaT ' iti mayaT / nabhogaM nabhasi AkAze gacchatIti nabhogaH / tam | AkAzadezasthitaM meghakAlamityarthaH / kSudrazailAH krIDAzailavantaH / kSudrAH svalpAH zailAH parvatAH yeSu te kSudrazailAH / atra ( gaGgAyAM ghoSaH ityAdAviva prAsAdoparibhAgasthitirUpaM mukhyArthe bAdhitvA tatsamIpabhUpradezasthitirUpo'nyo'rtho lakSaNayA labhyo grAhyaH, ' mukhyArthabAdhe tadyoge rUDhito'tha prayojanAt / anyortho lakSyate yatsA lakSaNA''ropitA kriyA' iti mammaTavacanAt / vidyutvantaM taDitvantaM / aciraprabhAyuktamityarthaH / ' matvarthe stau ' iti takArAntavidyudabhidhAnasya matvarthe tye parataH bhasaJjJatvAtpadasaJjJatvAbhAvAt ' jhalo jaz jhazi ' iti jhazi parato'pi jaz na bhavati / saudAmanIyuktaM meghakAlamityarthaH / lalitavanitAH manoharAGganAH / lalitAH manoharAH banitAH lalanAH yeSu te prAsAdAH / sendracApaM sendrAyudhaM / indracApena sahitaH sendracApaH / taM meghakAlam / ' tena saheti tulyayoge ' iti basaH / vA nIcaH' iti sahasya sAdezaH / sacitrAH sAlekhyAH / ' citraM tu karburAdbhutayastriSu / citramAlekhyatilaka - vyomasu syAnnapuMsakam ' iti vizvalocane / saha citraiH sacitrAH prAsAdAH / prodyadevaDuma parisaradhUpadhUmAnubandhAH / devadrumAH devadArudrumAH / tebhyaH paritaH sarvataH saran nirgacchan devadrumaparisaran / sa cAsau dhUpadhUmazca / tasya anubandhAH AnupUrvyaH rAjayaH vA / prodyantaH udgacchantaH devadrumaparisaradhUpadhUmAnubandhAH yebhyaH te / prAsAdaparisarodbhUtadevadrumANAmatra grahaNaM lakSaNayA kartavyaM prAsAdAgre drumotpattyasambhavAt / prAsAdAH harmyANi sarvadA sarvakAlaM prathayituM prakaTayituM / alaM sAmarthya sampannAH / bhavantIti zeSaH / ' alaM bhUSaNaparyAptizaktivAraNaniSphale ' iti vizvalocane / 8 Wherein the mansions, constructed by putting emeralds especially, possessing pleasure-mountains in their vicinity, having beautiful women, with multicoloured pictures, having rising volumes of smoke of incense

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dvitIyaH sargaH ] 237 coming out of the groves of Pine trees and spreading on all sides, are quite competent to display always the rainy season, looking dark on all sides, pervading the sky, possessing flashes of lightning ( and ). decorated with rain-bows. proccaiH kekAravamukharitAnnartayanto mayUrAn ha~sAnudyatkaruNa virutAnmAna se mlAnayantaH / Parsaid vidadhatitarAM devadhiSNyeSu sandhyA saGgItAya prahatamurajAH snigdhaparjanyaghoSam // 86 // anvayaH -- yatra kekAravamukharitAn mayUrAn proccaiH nartayantaH, udyatkaruNavirutAn haMsAna mAnase mlAnayantaH devadhiSNyeSu sandhyAsaGgItAya prahRtamurajAH snigdhaparjanyaghoSaM akAle vidadhatitarAm / procairityAdi / yatra yasyAmalakApurvI kekAravamukharitAn kekAdhvanivAcA - litAn / 'kekA vANI mayUrasya ' ityamaraH / kekAH eva AravAH dhvanayaH kekAravAH / taiH mukharitAn mukharIkRtAn / vAcAlitAnityarthaH / ' mRdo dhvarthe NijbahulaM ' iti Nic / Nici ktazca / mayUrAn kekinaH / procaiH atyarthe nartayantaH nATayantaH / udyatkaruNavirutAn uccaratkaruNAravAn / karuNAni karuNAjanakAni ca tAni virutAni kUjitAni ca karuNavirutAni / udyanti karuNavirutAni yebhyaH te udyatkaruNavirutAH / tAn / haMsAn marAlAn mAnase mAnasasarovarArthe mlAnayantaH utkaNThAjanitaduHkhavataH kurvANAH devadhiSNaSu devamandireSu / ' dhiSNyaM sadmani nakSatre sthAne zaktau ca na dvayoH' iti vizvalocane / sandhyAsaGgItAya sandhyAsamaya vidhIyamAnasaGgItArthe / sandhyAsu vidhIyamAnaM saGgItaM sandhyAsaGgItaM / tasmai / tadarthamityarthaH / prahatasurajAH tADitamRdaGgAH / prahRtAH tADitAzca te murajAH mRdaGgAzca prahRtamurajAH / snigghaparjanyaghoSaM gambhIrameghadhvanitulyadhvAnam / snigdhaH gambhIraH parjanyaH meghadhvaniH snigdhaparjanyaH / ' parjanyo vAsave maigha-dhvanau ca dhvanadambude ' iti vizvalocane / snigdhaparjanyaH iva snigdhaparjanyaH | snigdhameghadhvanitulyaH ityarthaH / ' devapathAdibhyaH' itIvArthasya kasyos / snigdhaparjanyazvAsau ghoSaH dhvanizva / taM / akAle varSAkAlAdbhinnakAle / tadanyArthe natra vijJeyaH / vidadhatitarAM atizayena kurvanti / ' dvivibhajye tara H ' iti tadantAnmiGaH < jhyenmihijhAdAmadravye ' ityAm /

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238 [pArdhAbhyudaya Wherein the drums, beaten in the temples for the purpose of the evening musical performance, causing the peacocks, noisy with their cracklings, to dance, making the swans, giving out notes exciting pity, distressed by their earnest desire for the Manasa ( lake;), make, in all the seasons other than the monsoon, a noise, resembling the deep thundering of clouds, excessively. yatrAkIrNa vitatazikharAH, sAnakA mandraghoSa vidyudbhAsA viracitatarnu ratnadIpAnuyAtAH / saudhAbhogAstulayitumalaM zazvadoghaM ghanAnA . mantastoyaM maNimayabhuvastuGgamabhraMlihAnAH / / 87 / / anvayaH- yatra AkIrNa vitatazikharAH, mandraghoSa sAnakAH, vidyudbhAsA viracitatarnu ratnadIpAnuyAtAH, antastoyaM maNimayabhuvaH, tujhaM abhralihAyAH, ghanAnAM oghaM zazvat tulayituM saudhAbhogAH alam / yatretyAdi / yatra alakAnagayA~ AkANaM prAvRSi samantAt prasRtaM meghavRndaM / A samantAt kIrNa prasRtaM AkIrNam / vitatazikharAH vistRtAgrabhAgAH / vitatAni vistRtAni zikharANi agrabhAgAH yeSAM te saudhaabhogaaH|' vitataM tuM mataM vyApte vistRte'pyabhidheyavat ' iti vishvlocne| zikhA cUDA valabhI asyAstIti zikharaM / mandraghoSaM gambhIragarjitadhvani / mandraH gambhIraH boSaH garjitadhvaniH yasya saH meghossH| tam / 'ghoSaH kAMsye'mbudhvanau / ghoSaH syAddhoSakAbhIranisvanAbhIrapaliSu' iti vizvalocane / 'mandrastu gambhIre' ityamaraH / sAnakAH samRdaGgadhvanayaH saudhAbhogAH / 'mandraghoSaM' iti ghanaughavizeSaNadarzanAtsAnakazabdasya samRdaGgadhvanayaH iti lAkSaNikorthotra grAhyaH / 'AnakaH paTahe bheo mRdaGge dhvanadambude' iti vizvalocane / vidyudbhAsA vidyudaatpen| vidyutaH taDitaH bhAH AtapaH vidyudbhaaH| tayA / viracitatanuM alaGkRtazarIraM / viracitA alaGkRtA tanuH zarIraM yasya sH| taM ghnaughm| ratnadIpAnuyAtAH ratnarUpadIpAnugatAH ratnamayadIpAnugatAH vA / tAdRzadIpasahitAH / antaratoyaM antargatajalaM ghanaughaM / maNimayabhuvaH maNiprakRtabhUmayaH / maNibhiH prAdhAnyena kRtAH bhuvaH bhUmayaH yeSAM te saudhAbhogAH / 'prakRte mayaT' iti mayaT / tuGga unnatAkAzapradezasthitaM ghanaghi abhraMlihAyAH abhraGkavAgrabhAgAH saudhAbhogAH / abhraM megha lihanti kAnti spRzAnti veti abhraMlihAni / abhraMlihAnyagrANi agrabhAgAH yeSAM te / 'vahAbhre lihaH' iti khaz / khittvAt 'mumacaH'

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dvitIyaH sargaH ] 239 iMti mumAgamaH / ghanAnAM meghAnAM odhaM samUhaM / 'oghaH pAthaH pravAhe ca samUhe ca pumAnayam' iti vizvalocane / zazvat satataM tulAyituM samIkartuM saudhAbhogAH saudhavistArAH / mahAntaH saudhAH ityarthaH / alaM paryAptAH samarthAH / bhavantIti zeSaH / Wherein the expansive mansions, having their uppermost parts expansive, with beatings of drums, possessing lamps in the form of jewels (or possessing jewels serving as lamps or jewel-lamps ), having floors studded with jewels prominently, having their uppermost parts scraping (or touching) the clouds, are always quite competent to stand comparison with an assemblage of clouds scattered in all directions, giving out deep thunders, with their forms decorated with the lustre of lightnings, possessing water inside and lofty ( respectively ). kUTocchrAyaistuhina vizadai: zAradAnambudaughAn mandrAtodyadhvanibhirudadhInuccaradvAravelAn / ratnodazubha sararucirairmittibhAgaiH kulAdrIna prAsAdAstvAM tulayitumalaM yatra taistairvizeSaiH // 88 // anvayaH yatra tuddinavizadaiH kUTocchrAyaiH zAradAn ambudaughAn mandrAtodyadhvanibhiH uccaladvArivelAn udadhIn, ratnodaMzuprasa ra ruciraiH bhittibhAgaiH kulAgIn, taiH taiH vizeSaiH tvAM tulavituM prAsAdAH alam / - 6 " kUTetyAdi / yatra alakApUrvI tuhinavizadaiH prAleyatulyadhAvasyaiH / tuhinaM prAleyamiva vizadAH dhavalAH / taiH / ' avazyAyastu nIhArastuSArastuhinaM himaM / prAleyaM mihikA ca' ityamaraH / ' vizadaH pANDare vyakte ' iti vizvalocane / kUTocchrAyaiH zikharotsedhaiH / nagAdyAroha ucchrAyaH utsedhazvocchrayazca saH ityamaraH / kUTAnAmucchrAyAH utsedhAH kUTocchrAyAH / taiH / zAradAn zaradbhavAn / zaradi bhavantIti zAradAH / tAn / tatra bhavaH' ityaN / ambudaughAn meghasamUhAn / mandrAtodyadhvanibhiH gambhIravAdyadhvInIbhaH / mandrAH gambhIrAzca te AtodyAnAM tUryAdivAdyAnAM dhvanayaH AravAH / taiH / uccaladvAravelAn UrdhvagajalataTAn / uccalat UrdhvaM gatvA pratighAta kurvat vAri yatra tAH uccaladvArayaH / uccaladvArayaH velAstaTAH yeSAM te / tAn 'jaladhijalavikAre velA, taTe'pyupacArAt, vela calane ' iti kSIrasvAmI / yadvA uccaladvilolakallolIbhavadvAri yAsAM tAH / uccaladvArayaH velAH jalavikArAH yeSAM te / tAn / jala z

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[ pArzvAbhyudaye prakSobhajanitollolakallolAnityarthaH / udadhIn sAgarAn / ratnodazuprasararuciraiH ratnodgatakiraNavistAramanoharaiH / ratnebhyaH udgatAH aMzavaH kiraNAH ratnodaMzavaH / teSAM prasareNa vistAreNa rucirAH kAntimantastejasvinaH / taiH / bhittibhAgaiH bhittidezaiH kulAdrIn kulaparvatAn taistaiH nAnAvidhaiH vizeSaiH dharmaiH tvAM bhavantaM tulAyituM samIkarte prAsAdAH harmyANi alaM paryAptAH / samarthAH ityarthaH / santIti zeSaH / 240 Wherein the mansions are capable of establishing similarity with masses of autumnal clouds with the lofty parts of their uppermost divisions white like snow, with oceans with their waters dashing against their shores (or with the oceans with tides, having their waters rising high up) with the deep sounds of the musical instruments,, with the principal mountains with the parts of their walls shining with the spread of the rays emitting from the gems [and] with you with their various special features. paGkIbhUtAH zramajalakaNairAdrata prastarAntA baddhotkaNThastanataTaparAmRSTavarNAvizIrNAH / sambhogAnte zramamupacitaM sUcayantyaGgarAgAH yatra strINAM priyatamabhujeocchasi tAliGgitAnAm // 89 // anyayaH: - yatra priyatamabhujocchA sitAliGgitAnAM strINAM zramajalakaNaiH paGkIbhUtAH AdritaprastarAntAH baddhotkaNThastanataTa parAmRSTavarNAvizIrNAH aGgarAgAH sambhogAnte upacitaM zramaM sUcayanti / paGkIbhUtAH ityaadi| yatra alakApu priyatamamujocchrAsitAliGgitAnAM svapriyatamabAhupAzadRDhIkRtapariSvaGgANAM / priyatamAnAM bhujAH bAhavaH priyatamabhujAH / taiH ucchrAkhitAni ApyAyitAni dRDhIkRtAni AliGgitAni AliGganAni yAsAM tAH / tAsAm / strINAM yoSitAM zramajalakaNaiH zramajanitasvedajalabindubhiH / atra zramo nidhuvanavidhinibandhanaH ityavaseyam / paGkIbhUtAH paGkabhAvaM gatAH / apaGkAH paGkAH sampannAH paGkIbhUtAH / -- kRbhvastiJyoge 'tattattve sampattarittviH' iti cviH / cvAvItvam / Adrita prastarAntAH / ArdritAH ArdrAH kRtAH / mRdo dhvarthe Nijbahulam' iti . Nic / ktazca / prastarAntAH zayyAdezAH / prastarANAM zabdAnAM antAH dezAH prastarAntAH / prastRNAtIti prastaraH / zayyetyarthaH / ' anto nAze manohare / svarUpe'ntaM mataM 8

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dvitIyaH sargaH] 241 klIbaM na strI prAnte'ntike triSu' iti vishvlocne| baddhotkaNThastanataTaparAmRSTavarNAvikArNAH sampIDitodgatapArzvadezastanataTaghRSTamauktikaiH samantAdvikIrNAH / baddhau sampIDitau ca tau utkaNThau udgatasamIpasthaparidhipradezau ca bddhotknntthau| tau ca to stanataTau ca / tAbhyAM parAmRSTAH ghRSTAH varNAH stanataTa dvayAntarAlasthitamAlAmauktikAH / taiH A samantAcchayyAyAM vikIrNAH prsRtaaH| yadvA tAdRzastanaTasaGgharSajanitAGgarAgasaMzleSA varNAH mauktikAH yste| tAdRzAbhyAM stanataTAbhyAM hetubhUtAbhyAM parAmRSTAHjanitopadehIkRtAH varNoM: mautikAH yaiH te| vikIrNA sarvataH prasRtAH / aGgarAgAH prasAdhanavilepanAni / 'samAlambho'GgarAga prasAdhanavilepanam' iti dhanaJjayaH / sambhogAnte nidhuvanavidhyavasAne upacitaM vRddhiGgataM zramaM AyAsaM sUcayanti pizunayAnta / The scented cosmetics, scattered ( here and there in their beds ) owing to the pearls rubbing against their breasts having their circumjacent parts raised up owing to their being pressed by their husbands embracing them ), turn into mud by the drops of sweat exuding on account of the efforts, moistening interior parts of their beds, suggest the exhaustion, increased at the end of their sexual enjoyment, of the women, closely embraced in the arms of their husbands. yasyAmindoranaticarato nAtisAndraM patanto - gaurIbhaturviracitajaTAmaulibhAjo mayUkhAH netuM sadyo vilayamamalAH zaknuyurdampatInA maGgaglAniM suratajanitAM tantujAlAvalambAH // 90 // / anvayaH-- yasyAM gaurIbhartuH viracitajaTAmaulibhAjaH anaticarataH indoH nAtisAndraM patantaH amalAH tantujAlAvalambAH mayUkhAH dampatInAM suratajanitAM aGgaglAni sadyaH vilayaM netuM zaknuyuH / yasyAmityAdi / yasyAM alakApuryAM gaurIbhartuH nizAnAthasya / 'gaurI tu pArvatInamakanyayorvaruNastriyAM / nadIbhidyAminIpiGgArocanImApriyaGguSu' iti vizvalocane / yadvAmedinIpatitulyasyezAnadigadhipateH / yadvA gaurI gauravarNezAnadigindrapatnI / tasyAH bhartuH / ' devapAdibhyaH' itIvArthasya kasyos / ' yuktavadusi liGgasaGkhthe / vircitjttaamaulibhaajH| vizeSeNa racitA nibaddhA cAso jaTA ca viracitajaTA / mUrdhAparinibaddhagranthirityarthaH / vicitajaTeva mauliH kirITaM viracitajaTA pArzvabhyudaye....16

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242 [ pArzvAbhyudaye 6 " mauliH / yadvA viracitAH likhitAH jaTAH vRkSazAkhAkAracitrANi yasyAM sA viracitajaTA / ' us racArthadhvajacitre ' iti citrakarmaNyabhidheye vartamAnAjjaTAzabdAtkasyos / yukta vadukhi liGgasaGkhye ' iti jaTAzabdaprakRtivaliGgam / puMvadyajAtIyadezaye / iti puMvadbhAvAbhAvaH jaTAzabdasya nityastrIliGgatvAduktapuMskatvAbhAvAt / sA cAsau moliH kirITaM ca virAcitajaTAmauliH / tAM bhajate iti viracitajaTAmaulibhAk / tasya / 'bhajo NviH' iti nnviH| anaticarataH svamArgAtikramamakurvataH anatizIdhyAyinaH vA / indoH candramasaH / nAtisAndraM patantaH viralaviralaM prasRmarAH amalAH zubhrAH / amalA kamalAyAM syAdamalaM vizade'bhrake ' iti vizvalocane / tantujAlAva lambAH tantujAlena tantuvinirmitAnAyadvAreNa pravizantaH tantujAlavadavalambamAnAH vA / tantUnAM jAlamA nAyaH tantujAlaM / tena avalambaH pravezaH yeSAM te / yadvA tannUnAM jAlaM samUhaH tantujAlam / tadiva avalambaH AlambanaM tantujAlAvalambaH / so'styeSAmiti tantujAlAvalambAH / ' obhrAdibhyaH' iti matvarthIyo'tyaH / mayUkhAH kiraNAH / 'kiraNo' C mayUkhAM zugabhastighRNirazmayaH' ityamaraH / dampatInAM jAyApatIyugalAnAM / jAyApatI dampatI / rAjadantAditvAjjAyAzabdasya jaMdamityetAvAdezau / suratajanitAM nidhuvanavidhijanitAM aGgalAniM zarIrazramaM sadyaH zIghraM vilayaM netuM vinAzayituM zaknuyuH samarthAH bhaveyuH / Wherein the bright rays, penetrating through nets of interlooping threads (or hanging like a mass of threads), propagating not very densly, of the moon, going not out of her right way, the lord of night, occupying the crown, put on the head having hair collected like matted hair, of the husband of the white-complexioned lady (i. e. of the lord of the north-east direction ), would be able to remove at once the bodily fatigue of the couples, caused by sexual enjoyment. ekAkinyo madanavivazA nIlavAsovaguNThAH prAptAkalpA ramaNavastIryAtukAmAstaruNyaH / yatrApAste tamasi vipaNArAzrayantyutpathebhyastvatsaMrodhApagamavizaderindupAdairnizIthe // 91 // anvayaH yatra nizIthe tvatsaMrodhApagamavizadaiH indupAdaiH tamasi apAste ekAkinyaH madanavivazAH nIlavAsovaguNThAH prAptAkalpAH ramaNavasatIH yAtukAmAH taruNyaH utpathebhyaH vipaNIH Azrayanti / --

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dvitIyaH sargaH] 243 eketyAdi / yatra alakAyAM nizIthe ardhraatre| 'ardharAtranizItho dvau dvau yAmapraharau samau' ityamaraH / tvatsaMrodhApagamavizadaiH tvtkRtprtibndhvigmnshubhaiH| svasaMrodhaH tvatkRtaH prtibndhH| tasya apagamaH dUrotsaraNaM / tena vizadaiH nirmalaiH zubhairvA / indupAdaiH candrakiraNaiH / 'pAdo'strI caraNe mUle turIyAMze'pi dIdhitau / zailapratyantazaile nA' iti vizvalocane / tamAsa tamisne / 'tamisra timiraM tamaH' ityamaraH / apAste parihRte / ekAkinyaH ashaayaaH| 'ekAdAkizvAsahAye' ityasahAyArthe ekazabdAdAkin / madanavivazAH kaamaaturaaH| viSayavAsanAdhInamanaskAH ityarthaH / nIlavAso'vaguNThAH niilvrnnvnaavgunntthitshriiraaH| nIlaM nIlavarNa vAsaH vastraM / nIlavAsaH eva avaguNThaH zarIrAvaguNThanasAdhanaM yAsAM tAH niilvaaso'vgunntthaaH| * vAsastu vasane khyAtamoSThe dazanapUrvakaM' iti vishvlocne| avaguNThyate'neneti avaguNThaH / 'pukhau ghaH prAyaH' iti karaNe ghaH puMsi sajJAyAm / prAptAkalpAH parihitAbharaNAH / prAptAH labdhAH parihitAH AkalpAH AbharaNAni yAbhiH / taaH| 'Akalpavezo nepathyam' itymrH| ramaNavasatIH priyatamanivAsasthAnAni / yAtukAmAH gntumnsH| 'samtumormanaHkAme' iti tumo makArasya kham / taruNyaH yuvtyH| utpathebhyaH unmArgebhyaH / kApathAnvimucyetyarthaH / vipaNIH pnnyviithikaaH| 'vipaNistu striyAM paNyavIthyAmApaNapaNyayoH' iti vishvlocne| Azrayanti prApnuvanti / prvishntiityrthH| When young ladies, desirous of going alone to the abodes of their lovers at midnight, wearing ornaments, concealing by wrapping themselves in black garments, pining with love, would resort to the bazar roads giving up the ways deviating from the right paths when the darkness would be dispelled by the rays of the moon brilliant owing to the removal of the obstruction caused by you. tAsAM pAdyaM vitaritumivopahare niSkuTAnAM __ dhautopAntA bhavanavalabherindupAdAbhivarSAt / yasyAM rAtrau zramamapathake prastutAH kAmukInAM vyAlumpanti sphuTajalalavasyandinazcandrakAntAH // 92 // anvayaH-- yasyAM tAsAM upahvare pAdyaM vitarituM iva indupAdAbhivarSAt sphuTajala

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244 [ pArdhAbhyudaye lavasyandinaH, niSkuTAnAM dhautopAntAH, bhavanavalabheH prastutAH candrakAntAH rAtrau apathake kAmukInAM zramaM vyAlumpanti / tAsAmityAdi / yasyAM alakAnagaryA tAsAM yuvatInAM upavare rahasi / 'upaharaM samIpe syAdrahomAtre'pyupahvaram' iti vizvalocane / pAdyaM pAdodakaM / pAdArthamudakaM pAdyaM / 'pAdyArthe' yatyAnto nipAtaH ye ca pAdasya pdbhaavaabhaavaaH| 'pAdyaM pAdAya vAriNI' ityamaraH / vitarituM iva dAtumiva indupAdAbhivarSAt shiitrshmirshmybhivRsstteH| indozcandramasaH pAdAH razmayaH indupaadaaH| 'pAdo'strI caraNe mUle turIyAMze'pi diidhitau| zailapratyantazaile nA' iti vishvlocne| teSAM abhivarSaH varSaNaM / tasmAt / 'varSamastrI varSaNe'nde jambUdvIpe ghane pumAn' iti vizvalocane / sphuTajalalavasyandinaH nirmlslilknnvrsskaaH| sphuTAH nirmalAzca te jalalavAH salilakaNAH sphuTajalalavAH / tAn syandante srAvayantIti sphuTajalalavasyandinaH / niSkuTAnAM ' gRhodyAnAnAM / 'niSkuTastu gRhodyAne syAtkedArakapATayoH' iti vizvalocane / dhautopAntAH prakSAlitasamIpadezAH / dhautAH prakSAlitAH upAntAH samIpadezAH yaiH te / bhavanavalabheH prAsAdopariSThabhAgasya / prAsAdopariSThabhAganibaddhAH ityarthaH / 'gopAnasI tu valabhI chAdane vakradAruNi' ityamaraH / prastutAH prazastAH candrakAntAH candrakAntamaNipASANAH rAtrau nizAyAM apathake rAjamArgAdanyasmiJjanatAzAte pathi / 'coravATa' iti mahArASTrayAm / kAmukInAM janitanidhuvanasevanAbhilASANAM / kAmasantaptAnAmityarthaH / 'kuNDagoNasthalabhAjanAgakuzakAmukakabarakaTAt pAtrAvapanAkRtrimAzrANAsthUlAyasariraMsukezavezazroNau' iti kAmukAt striyA hii| kAmukI riraMsurityarthaH / 'vRSasyantI tu kAmukI' ityamaraH / zramaM mArgAyAsaM / vyAlumpanti pariharanti / Where the excellent moon-stones of the roofs of the mansions, exuding pure drops of water owing to the downpour of rays of the moon (and so ) washing off the regions in the immediate proximity of the pleasure-gardens near the mansions for as it were offering water for washing feet in secret, destroy completely at night the fatigue of the passionate women on the untrodden path. saMlakSyante cirayati manovallabhe kAminInAM gacchantInAM skhalitaviSamaM raatrismbhoghetoH| saubhAgyAGkariva vilasitarAtatA rAjamArgAH

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dvitIyaH sargaH] 245 ___ gatyutkampAdalakapatitairyatra mndaarpusspaiH||93 // - anvayaH- yatra manovallabhe cirayati rAtrisambhogahetoH skhalitaviSamaM gacchantInAM kAminInAM gatyutkampAt alakapatitaiH, vilasitaiH saubhAgyAGkaH iva mandArapuSpaiH rAjamArgAH AtatAH saMlakSyante / saMlakSyante ityaadi| yatra alakApurvI manovallabhe manaHpriye ! manasaH hRdayasya vllbhH| tasmin / priyatame ityrthH| cirayati kAlayApanaM kurvati / stiitishessH| 'yadbhAvAdbhAvagatiH' iti Ip / 'mRdo dhvarthe NijbahulaM' iti Nic karotyarthe / ciraM karoti ciryti| rAtrisambhogahetoH nizAmaithunopasevanArtham / rAtrau kriyamANaH sambhogaH nidhuvanasevanaM raatrismbhogH| tasya hetoH| tdrthmityrthH| hetuzabdaprayogAdatra kaa| skhalitaviSamaM viklavagativiSamaM / skhalitena viklavagatyA viSamaM azlakSNaM yathA syAttathA / gacchantInAM prayAntInAM kAminInAM riraMsustrINAM / vRsssyntiinaamityrthH| gatyutkampAt gatijanitavepathoH alakapatitaiH cUrNakuntalagalitaiH / 'alakAcUrNakuntalAH' itymrH| vilasitaiH vizeSeNa zobhamAnaiH maGgalaiH vA saubhAgyAGkaH iva subhagatvacihnaH iv| 'aGko rekhAyAM cihnalakSmaNoH' iti vizvalocane / saubhAgyasya subhagatvasya aGkabhUtAni cihnabhUtAni saubhAgyAGkAni / taiH / ' saubhAgyaM subhagatve syAdyogabhede pumAnayam' iti vizvalocane / mandArapuSpaiH devtruvishesskusumaiH| 'paJcaite devataravo mandAraH paarijaatkH| santAnaH kalpavRkSazca puMsi vA haricandanam' ityamaraH / rAjamArgAH narendrAdhvAnaH AtatAH saMstRtAH / vyAptAH ityarthaH / saMlakSyante sandRzyante / Wherein the royal roads are found covered over with the beautiful Mandara flowers resembling the signs of the blessed state of wifehood, fallen down from their curely hair owing to the agitation caused by the gait of the love-lorn women going unfairly owing to their frequent stumbles for the sake of nocturnal sexual enjoyment on finding their lovers delaying. yatrodyAne kusumitalatAmaNDapeSu sthitAnAM zayyopAntairvitatamadhupairAttasambhogagandhaiH / nIlottaMsainidhuvanapadaM sUcyate dampatInAM - kluptachedaiH kanakakamalaiH karNavibhraMzibhizca // 94 //

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246 [pArdhAbhyudaye anvayaH-vatra udyAne kusumitalatAmaNDapeSu sthitAnAM dampatInAM vitatamadhupaiH Attasambhogagandhai : nIlottaseH zayyopAntaH karNavibhraMzibhiH klaptacchedaiH kanakakamalaiH ca nidhuvanapadaM sUcyate / yatretyAdi / yatra alakAnagaryo udyAne ArAme kusumitalatAmaNDapeSu pusspitvlliivircitgRhessu| kusumitAH saJjAtapuSpAH / ' tadasya saJjAtaM tArakAdibhya itaH' itItaH / kusumitAH sakhAtapuSpAzca tAH latAH vallayazca kusumitalatAH / tAsAM maNDapAH gRhANi / teSu / sthitAnAM sthitimatAM dampatInAM / jampatInAM / kAmukakAmukIyugalAnAmityarthaH / vitatamadhupaiH visRtvarabhramaraiH / vitatAH vizeSeNa tatAH visRtvarAH madhupAH bhramarAH yatra taiH / AttasambhogagandhaiH gRhItasambhogakAlaprayuktagandhadravyaiH / AttAH gRhItAH sambhogagandhAH yaiH te| taiH / sambhogasya gandhAH gandhadravyANi sambhogagandhAH / sambhogakAlaprayuktagandhadravyANItyarthaH / nIlottaMsaiH nIlotpalaracitazirobhUSaNaiH / nIlAH nIlotpalakalpitatvAnnIlavarNAH uttaMsAH zirobhUSaNAni yatra / taiH / zayyopAntaiH zayanIyasamIpapradezaiH krnnvibhrNshibhiH| karNAbhyAM vibhrazyantIti karNavibhraMzinaH / taiH / klaptacchedaiH kRtkhnnddH| klatAH kRtAH chedAH khaNDAH yeSAM te / taiH / kanakakamalaiH suvarNavarNasarojaiH / kanakAnIva kanakAni / kanakAni suvarNavarNatvAttattulyAni ca tAni ca kamalAni ca knkkmlaani| 'devapathAdibhyaH' itIvArthasya kasyos / caH smuccye| yadvA kanakavinirmitakamalAnIva kamalAni kanakakamalAni / nidhuvanapadaM maithunopasevanasthAnaM sUcyate jJApyate / Where in the garden, the abode of sexual enjoyment of the couples resting in bowers of flowery creepers is pointed out by the skrits of their beds possessing blue ornaments worn on the crowns of their heads, scented by the perfumes used at the time of sexual enjoyment, having bees spread all over, and by lotuses, possessing gold-like colour slipped off their ears and reduced to pieces. mandAkinyAstaTavanamanu krAMDatAM dampatInAM puSpAstIrNAH pulinaracitA yatra smbhogdeshaaH| saMsUcyante bahutaraphalaiH kuGkumAraktazobhai. muktAjAlaiH stanaparisaracchinnasUtraizca hAraiH // 95 // anvayaH- yatra kuGkumAraktazobhaiH bahutaraphalaiH, muktAjAlaiH, stanaparisaracchi

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dvitIyaH sargaH ] 24 nnasUtreH hAraiH ca mandAkinyAH taTavanaM anu krIDatAM dampatInAM puSpAstIrNAH pulinaracitAH sambhogadezAH saMsUcyante / mandAkinyA ityAdi / yatra alakAbhidhAnAyAM kurarAjadhAnyAM kuGkumAraktazobhaiH kAzmIrajanmavadraktakAntibhiH / kuGkumaM kAzmIrajanma / kuGkumasya AraktA raktavarNA zobheva zobhA kAntiryeSAM taiH / bahutaraphalaiH vipulataraphalaiH / muktAjAlaiH muktAmANAvaracitaiH AnAyaiH / stanaparisaracchinnasUtraiH urojavistArabhagnatantubhiH / stanayoH urojayoH parisaraH vistAraH stanaparisaraH / tena cchinnAni sUtrANi tantavaH yeSAM te / taiH / hAraiH mauktikasaraiH / caH samuccaye mandAkinyAH gaGgAyAH / " mandAkinI viyadgaGgA ' ityamaraH / taTavanaM taTaruhavanaM anu samIpe / anoH karmapravacanIyatvAdi / ' anu tvanukrame hIne pazcAdarthasahArthayoH ! AyAme'pi samIpArthe sAdRzye lakSaNAdiSu ' iti vizvalocane / krIDatAM viharatAM dampatInAM jAyApatInAM / jAyAyA dambhAvaH / puSpAstIrNAH kusumAcchannAH / puSpaiH kusumaiH AstIrNAH pracchannAH / pulinaracitAH sikatAsu nirmitAH / ' toyotthitaM tat pulinaM ' ityamaraH / sambhogadezAH maithunopasevanapradezAH / saMsUcyante suSThu jJApyante / Wherein the abodes of sexual enjoyment of the couples sporting near the forests grown on the banks of the Ganges, constructed on the sandy beaches, scattered over with flowers, are suggested by a large number of fruits assuming lustre red like that of by saffron, by nets of pearls, and by necklaces the strings of which are broken owing to the expanse of the circumjacent regions of their breasts. gatyAyAsAdgalitakabarI bandhamuktaiH sabhRGgaiH kIrNaiH puSpaiH kusumadhanuSo bANapAtAyamAnaiH / lAkSArAgaizvaraNanihitairapyadhikSoNi yasyAM naizo mArgaH saviturudaye sUcyate kAminInAm // 96 // anvayaH - yasyAM gatyAyAsAt galitakarIbandhamukteH kIrNaiH sabhRGgaiH kusumadhanuSaH bANapAtAyamAnaiH puSpaiH adhikSoNi caraNanihitaiH lAkSArAgaiH api kAminInAM naizaH mArgaH savituH udaye sUcyate / gatItyAdi / yasyAM yakSAdhiparAjadhAnyAM gatyAyAsAt gamanajAtazramAddheto'

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248 [pArdhAbhyudaye galitakabarIbandhabhuktaiH shlthiibhuutkeshveshmuktaiH| kacaryAH kezavezasya bandhaH viracanA kaariibndhH| galitaH zlathIbhUtazcAsau kabarIbandhazca galitakavarIbandhaH / tasmAt muktaiH galitaiH / kANa: AstIrNaiH sabhaH bhrmrshitaiH| bhramarAkANaiH ityarthaH / kusumadhanuSaH puSpadhanvanaH kAmasya bANapAtAyamAnaiH shrpaatsngkaashaiH| bANapAtaH iva AcaratIti baannpaataayte| zAnac / 'kyaG ca ' iti gauNAdAcAre'rthe kyaG / puSpaiH kusumaiH / adhikSoNi bhUmau / 'jhiH saba'- ityAdinA subarthe hsH| caraNanihitaiH lAkSArAgaliptatvAccaraNayugalairbhUmau sthApitaiH / lAkSArAgaiH alaktakarasarAgaiH / api kAminInAM rirasunArINAM naizaH nizibhavaH mArgaH adhvA savituH bhAnoH udaye udayasamaye sUcyate prakaTIkriyate / Wherein the path, ( traversed) at night, of love-lorn ladies is indicated at the time of the rise of the sun by flowers scattered here and there owing to their being dropped down from the braided hair, slackened owing to their being tossed by their gait, possessing bees, imitating the discharged arrows of the flower-arrowed god (i. e. of the god of love ) and by the lac-dyes deposited on the ground by their feet. manye yasyA jagati sakale'pyasti naupamyamanya tsarvopamyapraNihitadhiyA vedhasA nirmitaayaaH| yAmadhyAste kamalanilayA sampadazca prajAnA- mAnandrotthaM nayanasalilaM yatra nA'nyairnimittaiH // 97 // anvayaH - saupamyapraNihitadhiyA vedhasA nirmitAyAH yasyAH sakale api jagati anyat aupamyaM nAsti [iti ] manye / yAM kamalanilayA adhyAste / [ yAM] ca prajAnAM sampadaH [ adhyAsata ] / yatra nayanasalilaM AnandotthaM, na anyaiH nimittaiH / manye ityAdi / sarvopamyapraNihitadhiyA sarvopamAnadattAvadhAnadhiSaNena / sarvANi ca tAni aupamyAni upamAnAni ca saupamyAni / teSu praNihitA dattavadhAnA dhIH zemuSI yasya saH / tena / vedhasA brahmaNA / nirmitAyAH prAdurbhAvitAyAH / atra vedhasA nirmitatvaM kavisamayamanusRtyoktaM, na yuktyanuzAsanamanusRtyeti manasi vidheyam / yasyAH alakAyAH sakale api jagati nikhile'pi bhUmaNDale aupamyaM upamAnArha vastu / upmaanmityrthH| nAsti na vidyate iti manye zambarAsuro'haM jAne / yAM yasyAM

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dvitIyaH sargaH] 249 alakAyAM kamalanilayA kamalAlayA lakSmIH adhyAste nivasati / 'karmaivAgheH zItya saH' ityadhipUrvasya zIGaH AdhArasya karmasaMjJatvAt 'karmaNIp' iti ip / yAM ca yasyAmalakAyAM ca prajAnAM tannivAsi janAnAM sampadaH shriyH| adhyAsate iti zeSaH / athavA 'arthavazAdvibhaktyAdivipariNAmaH' iti nyAyena bhuvcnnirdeshH| yatra alakAyAM nayanasalilaM netrAzrujalaM AnandotthaM AnandajanitaM na anyaiH nimittaiH nAnyanimittajanitaM / Anandavyatiriktanimittajanitamazru tatratyajananayanAbhyAM na vigalati / tatratyAH janAH amandAnandakandalitasvAntA eveti bhaavH| Which, I think, has no other standard of comparison in the whole of the world even owing its being created by the creator having his mind centred on all the standards of comparisons; wherein resides the lotus-aboded one (i. e. Laxmi) and wherein the treasures of the subjects exist, wherein tears arise in the eyes on account of joy and not on account of any other causes. yatratyAnAM na paraparatA cittabhartuH paratra nAnyo bhaGgaH praNayini jane mAnabhaMga vihAya / nA'nyo bandhaH priyajanatayA saGgamAzAnubandhA nnAnyastApaH kusumazarajAdiSTasaMyogasAdhyAt // 98 // anvayaH-- yatratyAnAM cittabhartuH paratra paraparatA na, praNayini jane mAnabhaGga vihAya anyaH bhaGgaH na, priyajanatayA saGgamAzAnubandhAt anyaH bandhaH na, iSTasaMyogasAdhyAt kusumazarajAt (tApAt ) anyaH tApaH na / _yatratyAnAmityAdi / yatratyAnAM alakApurInivAsinAM / yatra bhavaH yatratyAH / 'kAmehAvistastrAtyaca' iti tyac / cittabhartuH manoharAt / cittaM manaH vibharti AkarSatIti cittabhartA / manoharAt mnohaarinnyaashcetyrthH| paratra anyatra / manoharaM puruSaM manohAriNI striyaM ca vimucyAnyatra / paraparatA paravazatA na nAsti / praNayini jane priyatamajanaviSaye mAnabhaga abhimAnacyutiM vihAya vimucya anyaH paraH bhagaH abhimAnadhvaMsaH na nAsti / alakAvAsinAM priyatamajanakRtaH eva mAnabhaGgaH, nAnyanimittaH ityarthaH / priyajanatayA priyajanasamUhena / janAnAM samUhaH janatA / 'gajagrAmajanabandhusahAyAttala' iti samUhArthe janazabdAttal / priyA cAsau janatA ca

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250 [pArdhAbhyudaye priyajanaMtA / tayA / saGgamAzAnubandhAt mIlanAzAbandhAt anyaH bandhaH anyabandhanaM na nAsti / iSTasaMyogasAdhyAt priyasaMyogAsiddhAt / iSTaiH priyaiH saMyogaH sambandhaH iSTasaMyogaH / saH sAdhyaH asiddhaH yasmin tasmAt / priyatamasaMyogasyAsiddhatvAnmadanajvarotpatterjAyamAnAttApAdityarthaH / kusumazarajAt madanAjjAya. . mAnAt tApAt anyaH bhinnaH tApaH na / madanajanyatApAdanyasya tatrAsambhavaH iti bhaavH| The residents of which are subservient to none other than him (or her ) who overlords her (or his ) heart, are not distressed by any sort of disappointment other than that arising from humiliation caused by the beloved ones, have no ties other than the one of hope for their union with the assemblage of their beloved ones, h torments other than the one arising from the flower-arrowed one (i. e. the god of love ) brought about by the union yet to be effected with their beloved ones ( or by the absence of their union with their beloved ones). yatrAkalpAnidhiSu sakalAneva sampAdayatsu . nArthI kazcinna khalu kRpaNo nApi niHsvo jano'sti / dharmaH sAkSAnivasati satI yAmalaGkRtya yasmA nApyanyatra praNayakalahAdviprayogopapattiH // 99 // anvayaH- yatra nidhiSu sakalAn eva AkalpAn sampAdayatsu kazcit janaH arthI nAsti, na khalu [ kazcit ] kRpaNaH asti, nA'pi [ kazcit ] niHsvaH [ asti ]; yasmAt yAM satI alaGkatya dharmaH sAkSAt nivasati [tasmAt tatra ] praNayakalahAt anyatra viprayogopapattiH api nA'sti / yatretyAdi / yatra alakAyAM nidhiSu navasaGkhyAkeSu nidhAneSu sakalAneva nikhilAneva AkalpAn saGkalpAn / abhilASAnityarthaH / sampAdayatsu pUrayatsu kazcijjanaH kazcana janaH arthI mArgaNaH / yAcakaH ityarthaH / nAsti na vidyate / na khalu na hi kazcijjanaH kRpaNaH dInaH asti vidyate / nA'pi naiva kazcijjanaH niHsvaH nirdhanaH / 'niHsvastu durvidho dIno daridro durmato'pi saH' ityamaraH / asti vidyate / yasmAt yataH kAraNAt yAM alakAM satI zobhanAM alaGkRtya bhUSayitvA dharmaH nItidharmaH sAkSAt pratyakSeNa nivasati Avasati tasmAt kAraNAt tatra puryo

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dvitIyaH sargaH] 251 praNayakalahAdanyatra premakalahaM vimucyAnyasminviSaye viprayogopapattiH api virahaprAptirapi nAsti na vidyate / Wherein not a single man indeed is found begging, wretched and deprived of wealth owing to the existence of the [ nine ] treasures [ of Kubera ] fulfilling all desires; also there is no possibility of any separation except in cases of love-quarrels, as righteousness, having. docorated her, the beautiful one, actually inhabits her. yasyai zakraH spRhayatitarAmiSTasarddhibhAje. __yatrAsInAH zatamakhapurI vismarantyeva sdyH| nAnyIcantyaM viharaNabhayAdyatra mRtyuJjayAnAM vittezAnAM na ca khalu vayo yauvanAdanyadasti // 100 // anvaya :- iSTasarvaddhibhAje yasyai zakraH spRhayatitarAM; yatra AsInAH sadya: eva zatamakhapurI vismaranti; yatra viharaNabhayAt anyat na cintvaM; yatra mRtyuMjayAnAM vittezAnAM yauvanAt anyat vayaH na khalu asti / yasyAmityAdi / iSTasarvarddhibhAje abhilaSitanikhilaizvaryayuktAyai / sarvAzca tAH Rddhayazca sarvarddhayaH / iSTAH abhilaSitAH priyAH vA ca tAH sarvarddhayazca iSTasarvarddhayaH / tAH bhajati iti iSTasarvArddhabhAk / tsyai| ' bhajo NviH' iti yiH / yasyai alakAyai / 'spRhepsiMta' iti spRheH karmaNaH vaikalpikI sampradAnasajJA / sampradAnatvAccAp / zakraH indraH / 'jiSNurlevarSabhaH zakraH shtmnyurdivsptiH| sutrAmA gotrAbhidvajI vAsavo vRtrahA vRSA' ityamaraH / spRhayatitarAM atyarthamabhIpsati / 'inmiGijhAdAmadravye' iti jhAntAnmiGaH Am / atra prakRSTArthe jhaH / yatra alakAyAM AsInAH sthitimantaH janAH sadyaH eva zIghrameva zatamakhapurI idranagarI / zatamakhasyendrasya purI zatamakhapurI amarAvatI / tAm / vismaranti smRtiviSayAdapanayanti / luptatasmRtayaH bhavantItyarthaH / yatra alakAyAM viharaNabhayAt alakAM vihAyAnyatrAnabhilaSitAdgamanAjAyamAnAdbhayAt viharaNaM alakAM vihAyAnyatra gamanaM / tasmAdyadbhaya tasmAt / yadvA vihiyate'treti viharaNaM / mArgaH ityarthaH / tatra yadbhayaM bhayasthAnaM tasmAt 'karaNAdhAre cAnaT' ityAdhArArthe'naT ' / bibhyate'treti bhayaM / bhavasthAnamityarthaH / / 'puMkho ghaH prAyaH' ityAdhArArthe ghaH / viharaNAd bhayaM viharaNabhayaM / tasmAt / enAma

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252 [ pArzvAbhyudaye 8 kAM vidyAyAnyatrAlakAvatsukhAbhAvAnnAnyatra gamanaM tatratyairjanairabhilaSitaM / atastato'nyatra gamane sukhavaJcitatvaprasaGgAdanyatra gamanAtteSAM bhayaM jAyate / tasmAdbhayAdityarthaH / anyat kiJcit na cintyaM na cintA hai / na cittodvegajanakamityarthaH / cintayituM yogyaM cintyaM / 'tRjvyAzcArhe ' ityarthe vyaH / yatra alakAyAM mRtyuJjayAnAM mRtyunirodhAnAM / mRtyuMjayati niruNaddhIti mRtyuJjayaH / bhRtRvRjidhAridamtapsahaH khau ' iti khac / 'mumacaH ' iti mumAgamaH / vittezAnAM yakSANAM / ' vittAdhipaH kuberaH svAtprabho dhanikayakSayoH ' iti zabdArNave / yauvanAt tAruNyAt anyat bhinnaM vArdhakyAdikaM vayaH avasthAvizeSaH / vastu yauvane bAlyaprabhRtau vihage vayAH ' iti vizvalocane / na khalu asti naiva vidyate / " For which, possessing all prosperities aspired after, Indra desires very much; the residents of which immediately forget the city of Indra (i. e. Amaravati, the capital of Indra ); in which nothing other than the fear of departure (from her) provokes anxiety, and wherein indeed no age other than youth exists in the case of the lords of wealth (i. e. Yaksas ), the conquerors of death. nUnaM kalpadrumasahacarAstatsadharmANa ete saJjAtAH syuH SaDRtukusumAnyekazo yatpradadyuH / akSINaddhiM dhruvamupagatAH pallavollAsitA ye yatronmattabhramara mukharAH pAdapA nityapuSpAH // 101 // anvaya -- yatra akSINaddhi dhruvaM upagatAH pallavollAsitAH unmattabhramaramukharAH nityapuSpAH ye pAdapAH yat SaDRtukusumAni ekazaH pradyuH (tat) ete kalpadrumasahacarAH nUnaM tatsadharmANaH saJjAtAH syuH / nUnamityAdi / yatra alakApu akSINaddhiM kSayavikalAM samRddhiM dhruvaM nizcayena upagatAH prAptAH pallavollAsitAH kisalayaiH samupajAtasaundaryAH / pallave: kisalayaiH ullAsitAH saJjAtazobhAH unmattabhramaramukharAH puSparasa sevanajanitAnandabhramaravAcAlitAH / unmattAH madhurasapAnamattAzca te bhramarAH madhulihazca unmattabhramarAH / taiH mukharAH vAcAlitAH / unmattabhramaranikarAH iti pAThasaGgrahe tu unmattAH madhurasapAnasaMtuSTAH bhramarANAM nikarAH samUhAH yatra taiH iti vigrahaH / nityapuSpAH sadAkusumAH 1 nityaM puSpANi yeSAM te nityapuSpAH / ye pAdapAH ye vRkSAH / yat yasmAt kAraNAt

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dvitIyaH sargaH] 253 SaDRtukusumAni vasantAdiSaDRtusaJjAtAni pusspaanni| SaTsu vasantAdiSu RtuSu jAtAni kusumAni SaDRtukusumAni / ekazaH ekakAlaM / yugapadityarthaH / pradadhuH vitreyuH| tat tasmAt kAraNAt / ete pAdapAH kalpadrumasahacarAH kalpavRkSasahavAsinaH / saha carantIti shcraaH| karapadrumANAM sahacarAH klpdrumshcraaH| kalpadrumasahacAritvAdityarthaH / 'hetau sarvAH prAyAH' iti hetau vA / nUnaM tarke / saMbhAvaye ityarthaH / 'nUnaM tarke tu vikhyAtaM nUnaM syAdarthanizcaye' iti vishvlocne| tatsadhANaH kalpadrumatulyasvabhAvAH kalpadrumatulyAcArAH vA / teSAM kalpadrumANAM sadharmANaH samAnAcArAH samAnasvabhAvAH vA 'samAnasya dharmAdiSu' iti samAnasya saH / 'dharmAtkevalAdan ' ityan / 'dharmaH syAdastriyAM puNye dharmo nyAyasvabhAvayoH / upamAyAM yamAcAravedAnte'pi dhanuSyapi / yAge yoge'pyahiMsAyAM somape'pi kvacinmataH' iti vizvalocane / saJjAtAH sambhUtAH syuH bhaveyuH / sarvartujAyamAnakusumapradAnAttatsahacAritvAccaite pAdapAH tattulyAcArAH tattulyasvabhAvA vA jAtA iti tarkayAmIti bhAvaH / As the trees, wherein, ever-flowering, noisy owing to the intoxicated bees, beautified by the sprouts, attained to prosperity, free from deterioration, give flowers blossoming in all the six seasons simultaneously, they, owing to their co-existence with wish-fulfilling trees, I think, possess properties similar to those of the wish-fulfilling trees. tatsAnnidhyAdiva vanalatAH zikSitAstanniyogaM __nAnAbhedaM vitaritumalaM tAzca divyaM prasUnam // tAbhiH spardhAmiva ca gamitA yatra bhRGgopagItA haMsazreNIracitarazanA nityapadmA nalinyaH // 102 // anvayaH- yatra tatsAnnidhyAt tanniyogaM zikSitAH iva tAH ca vanalatAH nAnAbheda divyaM prasUnaM vitarituM alam / yatra ca bhRGgopagItAH haMsazreNIracitarazanAH nityapadmAH nalinyaH tAbhiH spardhA iva gamitAH / / tadityAdi / yatra alakAbhidhAnayakSarAjarAjadhAnyAM tatsAnnidhyAt kalpavRkSasAmIpyAt / teSAM kalpavRkSANAM sAnnidhyaM sAmIpyaM tatsAnnidhya / tasmAt / kalpavRkSAsAmIpyAddhetorityarthaH / tanniyogaM kalpavRkSovadheyaM / abhilaSitapradAnarUpaM vidheyaM kartavya

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254 [pArthAbhyudaye mityarthaH / teSAM kalpavRkSANAM niyogaH kartavyaM tanniyogaH / tam / zikSateH karmatvAdibatretyavadheyam / zikSitAH iva pAThitA: iva / tAzca AliGgitakalpadrumAH vanalatAH vanodbhavAH valayaH / nAnAbhedaM bahuprakAram / nAnA bahavaH bhedAH prakArAH yasya tat / divyaM divibhavam / divibhavatvAdatisundaramityarthaH / 'divyaM tu zapathe bAle lavaGgakusume'pi c| divyA'malakyAM divyaM tu valgau divibhave'nyavat ' iti vizvalocane / prasUnaM kusumam / jAtAvekavacanam / tena kusumAnItyarthaH / vitarituM pradAtuM / vivaritubhiti pAThasyAsamaJjasatvAt vanalatAnAM kalpavRkSaniyoga zikSitatvAdabhilaSitapradAtRtvasyAbhipretatvAdvitaritumitipAThaparivartana kRtamiti vijJeyaM sudhIbhiH / alaM samarthAH / 'alaM bhUSaNaparyAptizaktivAraNaniSphale ' iti vizvalocane / yatra ca yasyAmalakAyAM ca bhRGgopagItAH bhRGgaiH guJjAsvarupazlokitA haMsazreNIracitarazanAH marAlamAlAkAlpitamekhalAkalApAH / haMsapaGktyA citaparimaNDalAkAraracanA ityarthaH / 'strIkaTyA mekhalA kAJcI saptakI razanA tathA ' ityamaraH / haMsAnAM marAlAnAM zreNyaH paGktayaH haMsazreNyaH / tAbhiH racitAH kRtAH razanAH maNDalAkAraracanAH yAsu taaH| nityapadmAH nityaM satataM 'padmAni kamalAni yAsAM tAH / yadvA nityA kSayavikalA padmA lakSmIH zobhA yAsAM taaH| nalinyaH pdminyH| tAbhiH vanalatAbhiH nAnAvidhadivyakusumapradAbhiH spardhAmiva tulyabalavirodharUpavipratiSedhamiva / tulyabalavirodhaH vipratiSedhAkhyaH spardhA / tAm / gamitAH prApitAH / yathA nAnAbhedadivyakusumavitaraNakSamAH vanalatAstathatA nalinyo'pIti bhAvaH / haMsazreNIracitaracanAH iti pAThe tu haMsazreNIbhiH racitAH vihitAH racanAH nAnAvidhA AkRtayo yatra tAH ityartho grAhyaH / Wherein the forest-creepers, taught as if the duty of those ( wishfulfilling trees ) owing to their being in the proximity of those (trees), are able to offer various beautiful flowers, and wherein the lotuscreepers, bearing lotuses always having girdle-like circular figures formed by the rows of swans, eulogised by bees, are made to stand .comparison with those ( creepers). yasyAM nityaprahatamuravAmbhodanAdaiH pratItA nRtyantyuccarviracitalayaM taannddvaishcitrpicchaaH| nAnAratnariva ca nidhayo nirmitA jaGgamAste kekotkaNThA bhavanazikhino nityabhAsvatkalApAH // 103 / /

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dvitIyaH sargaH] 255 anvayaH- yasyAM nityaprahatamuravAmbhodanAdaiH pratItAH, citrapicchAH, nAnAratnaH nirmitAH jaGgamAH nidhayaH iva ca te nityabhAsvatkalApAH kekotkaNThAH bhavanazikhinaH tANDavaH viracitalayaM uccaiH nRtyanti / - yasyAmityAdi / yasyAM alakAnagaryo zambarAsuranivAsasthAnabhUtAyAM nityapraha tamuravAmbhodanAdaiH satatAbhihatamurajAnAM ambhodanAdasaGkazanAdaiH / nityaM prahatAH abhihatAH nityprhtaa| nityaprahatAzca te muravAH murajAzca nityaprahatamuravaH / teSAM ambhodAnAM meghAnAM nAdAH garjitadhvanayaH iva nAdAH dhvnyH| taiH / ambhodAnAM nAdA iva nAdAH / pratItAH prahRSTAH / 'pratItaH sAdare khyAte hRSTe dRSTe' virakSaNe / pratIta ete jJAta ca' iti vishvlocne| citrapicchAH manoharabahabhArAH vividhavarNabahabhArAH vA / 'citraM tu karburAdbhatayostriSu' iti vishvlocne| citrANi adbhatAni picchAni kalApAH yeSAM te citrapicchAH / nAnAratnaH bahuprakArai ratnaiH nirmitAH vihitAH jaGgamAH saJcAriNaH nidhayaH iva zevadhiriva / 'nidhirnA zevadhiH' ityamaraH / ca / co'tra samuccaye / te bhavanazikhinaH / nityabhAsvatkalApAH sttprkaashmaanbhbhaaraaH| nityaM satataMbhAsvantaH prakAzayuktAH kalApAH bANi yeSAM te / kekotkaNThAH kekAdhvanyuccAraNArtha unnamitakandharAH / kekAbhiH udgataH unnati prAptaH kaNThaH yeSAM te / bhavanazikhinaH gRhasahasAnAH gRhamayUrA ityryH| tANDavaiH nRtyaiH| 'tANDavaM tRNanRtyayoH' iAte vishvlocne| viracitalayaM / viracitaH layaH nRtyAdisAmyaM yasmin karmaNi yathA syaatttaa| 'layo nRtyAdisAmye syAdvinAzAzleSayolayaH' iti vizvalocane / uccaiH atyartha nRtyanti nartanaM kurvanti / Wherein the domestic peacocks, highly pleased with the sounds, resembling the thunderings of clouds, of the drums beaten always, having multi-coloured (or wonderful ) plumages, resembling the moveable treasures produced by means of various jewels, possessing evershining plumages, having their necks raised up for the sake of giving out crackling notes, play Tandava dances very much in accordance with the time of music. .. jyotsnamanyeSvamaravasatiM vyAhasatsu svabhUtyA - haryeSudyadvalabhiSu sudhApaGkadhauteSu ysyaaH| nirvizyante nidhibhugadhipaiH strIsahAyavitanva

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256 pArdhAbhyudaye nityajyotsnApratihatatamovRttiramyAH pradoSAH // 104 // anvayaH- sudhApaGkadhauteSu jyotsnaMmanyeSu svabhUtyA amaravasatiM vyAhasatsu udyadvalabhiSu yasyAH haryeSu vitanvannityajyotsnApratihatatamovRttiramyAH pradoSAH strIsahAyaH nidhibhugadhiH nirvizyante / ___ jyotsnammanyeSvityAdi / sudhApaGkaTauteSu sudhAsadharmakhanijadravyajAnatazubhravarNarAgIvazeSavinimapitajambAladhavalIkRteSu / sudheva sudhA / ' devapathAdibhyaH' itIvArthasya kasyos / ' yuktavadusi liGgasaGkhye' iti yuktavAlaGgam / tasyAH paGkena jambAlena kardamena dhautAH dhavalIkRtAH / teSu / jyotsnammanyaSu / jyotsnAmAtmAnaM manyante iti jyotsnammanyAH / teSu / 'khaz svasya' iti svasya supi vAci manyateH khaz tasya khittvAt 'khityajheH kRti ' iti jyotsnAzabdasyAntyasyA''taH pratvaM 'mumacaH' iti mumAgamazca / zItakiraNakiraNakalApAyamAneSvityarthaH / svabhUtyA svaizvaryeNa / 'bhUtirmAtaGgazRGgAre bhasmasampattijanmasu' iti vizvalocane / svasyA''tmanaH bhUtiH sampattiH svabhUtiH / tayA / amaravasatiM nirjaranivAsaM / svargabhuvamityarthaH / vyAhasatsu tadupahAsa kurvatsu / udyadvalAbhiSu pronnatatadupariSThabhAgeSu / yasyAH alakAnagaryAH / hamryeSu prAsAdeSu / dhaninAM gRheSvityarthaH / vitanvannityajyotsnApratihatatamovRttiramyAH prasaraNazIlasArvakAlikakaumudIpratibaddhAndhatamasapravRttisubhagAH / nityA sArvakAlikI cAsau jyotsnA kaumudI ca nityajyotsnA / nitanvatI prasaraNazIlA cAsau nityajyotsnA ca vitnvnnityjyotsnaa| tayA pratihatA pratibaddhA tamovRttiH andhakArapravRttiH tayA ramyAH manohAriNyaH / atra jyotsnAyA nityatvamalakAyA amaravasatinirvizeSatvAdityavaseyam / pradoSAH rjniimukhsmyaaH| 'pradoSo rajanImukham' itymrH| strIsahAyaiH nArIsahacaraiH / striyaH nAryaH sahAyAH sahacaryaH yeSAM te / nidhibhugadhipaiH yakSAdhipatibhiH / nidhInnavasaGkhyAkAn bhuJjantIti nidhibhujH| vip / nidhibhujAM adhipAH adhipatayaH nidhibhugadhipAH / taiH / yadvA nidhibhuka adhipaH yeSAM te nidhibhugadhipAH / taiH yakSarityarthaH / nirvizyante anubhavagocaratAM nIyante / In the mansions of which, white owing to their being covered with sticking plaster, considering themselves to be the moonlight (incarnate), laughing at the abode of gods with their prosperity, possessing topmost parts raised high up, the evenings, charming owing to the obstruction of the course of darkness by constantly spreading moonlight, are enjoyed by the lords of Yaksas along with their beloveds.

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dvitIyaH sargaH] 257 dRSTvA yasyAH prakRticaturAmAkRti sundarINAM trailokye'pi prathamagaNanAmIyuSI jaatljaa| manye lakSmIH sapadi visRjedeva saMlucya kezAn __ haste lIlAkamalamalake bAlakundAnuviddham // 105 // anvaya:-- yasyAH trailokye api prathamagaNanA IyuSI sundarINAM prakRticaturAM AkRti dRSTvA jAtalajA lakSmIH kezAn saMlucya haste lIlAkamalaM, alake bAlakundAnuviddhaM sapadi visRjet eva (iti) manye / / dRssttetyaadi| yasyAH alakApuryAH bailokye api lokatraye api / trayo lokAH eva trailokya / 'bheSajAdibhyaSTayaNa' iti svArthe TayaN / prathamagaNanAM / prathamA utkRSTA iti gaNanA prathamagaNanA / tAm / IyuSI gatavatIm / 'vassadiNzroH kasuH' itINaH liTaH ksuH| krAdiniyamAdiTi dvitvam / dhurUpasya 'yaNiNaH' iti yaNAdezaH / casya 'kitINo dIH' iti dItvam / kasorugittvAt 'kyugihannaJcoH / iti striyAM kii| sundarINAM aGganAnAM prakRticaturAM svabhAvasundarIM / akRtrimasaundaryayuktAmityarthaH / prakRtyA svabhAvena caturA manohAriNI prkRticturaa| tAm / 'prakRtistu sattvarajastamasAM sAmyamAtrake / svabhAvAmAtyapaureSu liGge yonI tathA''tmani iti vizvalocane / AkRtiH rUpaM zarIraM vA / 'AkRtiH kAyarUpayo : ' iti vizvalocane / dRSTA vilokya / jAtalajjA sakhAtabrIDA / 'mandAkSa hIstrapA brIDA' ityamaraH / jAtA samutpannA lajjA hIH yasyAH sA / lakSmIH padmA kmlaalyaa| zrIrityarthaH / 'avI-tantrI-tarI-lakSmI-dhI-hI-zrINAmuNAdiSu / api strIliGgajAtInAM silopo na kadAcana' iti zarvavarmaviracitakaumAravyAkaraNaTIkAyAmuktam / kezAn ziroruhAn saMlucya utpATya haste hastAgre dhRtaM lIlAkamalaM krIDAkokanadaM zobhAyuktamaravindaM vA / lIlA krIDA zobhA vaa| 'lIlA hAvAntare strINAM kelo.khelAvilAsayoH' iti vizvalocane / lIlArtha krIDAthai svasaundaryAbhivRddhyarthe vA kamalaM padmaM lIlAkamalam / yadvA lIlayA zobhayopalakSitaM kamalaM lIlAkamalam / alake cUrNakuntale / 'alakaJcUrNakuntale' iti vizvalocane / bAlakundAnuviddham ardhonmIlitamAdhyakusumaviracitaracanAvizeSaM, kundakusumahIberAracitaracanAvizeSaM vA / anuviddhaM anuvedhH| 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / kundaH maadhykusumvllrii| 'kundo mAdhye pumAMzcakre bhramau nidhisuradviSoH' iti vizva pArzvabhyudaye....17

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258 [ pArdhAbhyudaye locane / kundakusumaM kundaM / 'puSpamUleSu bahulamup' iti puSpatyasyop / bAlAnyonmIlitAni ca tAni kundAni kundakusumAni ca bAlakundAni / teSAmanuviddhamanuvedhaH viracanAvizeSaH / tat / yadvA bAlakundayoranuviddham / 'bAlaH puMsi zizau keze vAjivAraNavAladhau / mUrkhe'pi bAlo bAlaM tu hrIbere punapuMsakam' iti vizvalocane / bAlaM hrIbaraM ca kundaM kundakusumaM ca bAlakunde / pratyekazo'tra jAtAvekavacanam / tayoranuviddhaM racanAvizeSaH / tat / sapadi zIghraM / 'drAG maGgha sapadi drute' itymrH| visRjedeva parityajedeva / iti manye jAne / I think that Laxmi ( the goddess of beauty ) flushed with shame on seeing the bodies, naturally beautiful, regarded as most excellent in all the three worlds, of the belles of which, would certainly throw off immediately the lotus-flower held in the hand as a play-thing, remove the particular construction of semi-blossomed Kunda flowers beset in her curly hair after uprooting her hair. yatra strINAM smitarucilasajjyotsnayA''baddhazobhA prAleyAMzoH zriyamupahasatyastadoSA'kalaGkA / bhUyo lakSmI himamahimajAM mAnayantIbhirAbhi___ nItA lodhraprasavarajasA pANDutAmAnanazrIH // 106 // anvayaH-yatra smitarucilasajjyotsnayA AbaddhazobhA, astadoSA, akalaGkA, himamahimajAM lakSmI mAnayantIbhiH AbhiH lodhraprasavarajasA bhUyaH pANDutAM nItA, strINAM AnanazrIH prAleyAMzoH zriyaM upahasati / / yatretyAdi / yatra alakAyAM smitarucilasajjyotsnayA mRduhaaskaantiruupprkaashmaanenducndrikyaa| smitaM mRduhAsyaM / tasya ruciH kAntiH smitaruciH / saiva lasantI zobhamAnA prakAzamAnA vA jyotsnA cndrprkaashH| tyaa| AbaddhazobhA viracitasaundaryA / AbaddhA viracitA zobhA saundarya yasyAH saa| Ananazriyo vizeSaNametat / smitarucau lasajjyotsnAropaH smitarucidhAvalyAnivandhanaH, dhAvalyasya smitarucicandrikayoH sAdhAraNatvAt / astadoSA parityakyoparAgAstaMgamanAdidoSA, svotpattau rAtrisaMbandhavikalA vA / jyotsnA tu astadoSA na sambhavatyeva, doSAmantareNa tadutpattyasambhavAt sUryAcandramA prakAzayoH sahabhAvAsambhavadarzanAt ca / ato jyotsnAyAH doSAzritajIvanAt , Ananazriyazca doSAnAdhisatvAdAnanazriyastasyAH AdhikyAttatkRtacandrikopahAsasAmaJjasya

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dvitIyaH sargaH] 259 ghaTata eveti bhAvaH / astAH parihRtAH doSAH yayA sA / pakSe astA parihatA doSA rAtriH yayA sA astadoSA / akalakA nissklngkaa| jyotsnAyAH sakalar3ayonitvAsikalakatvAttasyAH AnanazriyaH AdhikyaM siddhm| ataH AnanazrIsampAditaH jyotsnopahAsaH sAmaJjasyamahati / himamahimajAM hemantaosAmarthyajanitA / himasya zItoM mahinA prakarSeNa jAtA himamahimajA / tAm / lakSmI zobhA / 'lakSmIH zrIriva sampatto padmAzobhApriyaGguSu' iti vishvlocne| vanopavanazobhAmityarthaH / mAnayantIbhiH satkurvantIbhiH AbhiH tatratyastrIbhiH lodhrprsvrjsaa| lodhrAlodhrakusumAt prasavaH utpattiryasya tallodhraprasavaM / tacca tadrajazca / ten| lodhrkusumprbhvpraagsaadhnenetyrthH| 'gAlavaH zAbaro loghaH' iti 'syAdutpAde phale puSpe prasavo garbhamocane' iti cAmaraH / 'prasavo garbhamokSe syAvRkSANAM phlpusspyoH| paramparAprasaGge ca lokotpAde ca putrayoH' iti ' rajaH parAge reNau tu rajavadRzyate rajaH' iti ca vizvalocane / bhUyaH punaH punH| 'bhUyastu syAt punaHpunaH / anavyayaM prabhUtArthe ' iti vishvlocne| pANDutAM zaukhyaM nItA prApitA strINAM yoSitAM AnanazrIH mukhasaundarya prAleyAMzoH zItAMzoH / candramasaH ityarthaH / zriyaM zobhA / jyotsnAmityarthaH / upahasati parihasati / Wherein the beauty of the faces of the women ( residing in that city ], rendered white with the pollens of the Lodhra-flowers by themselves again and again, highly appreciating the beauty manifested by the glory of winter-season, made elegant by glittering moon-light in the form of the white lustre of smiles (of the women ), free from all drawbacks, spotless, would laugh at the beauty of the moon. yatrAkalpe svaruciracite kalpavRkSaprasUte satyeva syAtpriyamabhinavaprItimAdRtya kiJcit / yakSastrINAM yadupanihitaM tAbhirAttAnurAgaM cUDApAze navakurabakaM cAru karNe zirISam // 107 // anvayaH- yatra svaruciracite kalpavRkSaprasUte Akalpe sati eva tAbhiH cUDApAze AttAnurAgaM navakurabakaM, karNe cAru zirISaM yat upanihitaM tat yakSastrINAM abhinavaprItiM AdRtya kiJcit priyaM syAt / / yatretyAdi / yatra alakAyAM svaruciracite svacchandAnatikrameNa vihite / svasva AmanaH ruciH icchA svaaciH| 'ruciricchA racA rastA zobhA

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260 [ pArzvAbhyudaye bhiSvaGgayorapi ' iti vizvalocane / tathA tadAnukUlyena racite vihite / kalpavRkSaprasUte kalpavRkSAjjAte / kalpavRkSAt kalpapAdapAt prasUtaH jAtaH kalpavRkSaprasUtaH / tasmin / Akalpe bhUSaNe / yadvA svaruciracite Akalpe kalpavRkSaprasUte satyevetyanvayaH / satyeva satyapi tAbhiH tatratyAbhiH strIbhiH / yakSastra bhirityarthaH / cUDApAze kezabandhe / ' cUDAvalayabhede syAcchikhAyAM valabhAvapi ' iti ' pAzaH pakSAdivandhe syAccayArthastu kacAtparaH / chAtrAdyante ca nindArthaH karNAnte zobhanArthakaH' iti ca vizvalocane / AttAnurAgaM gRhItalauhityaM navakurabakaM pratyagrakurabakakusumaM / ' tatra zoNe kurabakam ityamaraH / kurabakaM vasantartusambhavaH puSpavizeSaH / navaM pratyagraM ca tat kurabakaM ca navakurabakam / karNe karNapAze cAru manoharaM zirISaM mukumArapuSpavizeSaM / ' zirISastu kapItanaH ' ityamaraH / zirISaM grISmartusambhavaH puSpavizeSaH / yat yasmAt kAraNAt upanihitaM sthApitaM tat tasmAt kAraNAt yakSastrINAM yakSayoSitAM abhinavaprarti Ahatya | abhinavaprItyapekSayetyarthaH / abhinave prItiH ruciH abhinavaprItiH / tAm / Ahatya apekSya / kizcit tucchaM vastu priyaM priyaMkaraM syAt bhavet / kalpapAdapapradatte' nabharaNe satyapi tAsAM yakSastrINAmabhipriyatvAttacchAnyapi zirISakuravakAdIni puSpANi priyaMkarANi tatra bhaveyuriti bhAvaH / As the female Yaksas wherein have put fresh Kadamba flower in their luxuriant hair on the head, and the charming Sirisa on the ear even when there are ornaments prepared to their liking, brought forth by the wish-fulfilling trees, any insignificant thing must have been dear to them owing to their being attached to the love for novelties. pANau padmaM kuravakayutaM svocite dhAni kunda lodhro reNaH stanaparisare hAri karNe zirISam / vyaktivyaktaM vyatikaramaho tatra SaNNAmRtUnAM sImante ca tvadupagamajaM yatra nIpaM vadhUnAm // 108 // anyayaH- yatra vadhUnAM pANau padma, svocite dhAnni kuravakayutaM kundaM, stanaparisareM launo reguH karNe hAri zirISaM, sImante ca tvadupagamajaM nIpaM tatra SaNNAM RtUnAM , vyatikaramahaH vyaktivyaktam /

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dvitIyaH sargaH] pANAvityAdi / yatra yasyAmalakAyAM badhUnAM sImantinInAM 'yoSA sImantinI vadhUH' iti dhanaJjayaH / pANau haste padmaM kamalaM / ' kamalaM nalinaM padmaM saroja sarasIruhaM' iti dhnnyjyH| 'paJcazAkhaH zayaH pANiH' ityamaraH / padmAnAM zaradijatvAccharaliGgametat / svocite svayogye / kundakusumasaMsthApanayogye ityarthaH / dhAgni sthAne / kezakalApe ityarthaH / 'dhAma razmau gRhe dehe prabhAvasthAnajanmasu' iti vizvalocane / kurabakayutaM lohitamahAsahAsumanassahitaM / 'tAMbaDI sevaMtI' iti mahArASTrayAm / 'kurabakaH puMsi zoNajhiNTikA'mlAnabhedayoH' iti vizvalocane / 'amlAnastu mahAsahA / ... tatra zoNe kurabakaM' ityamaraH / kundaM mAdhyakusumaM / 'kundo mAdhye pumAMzcakre bhramau nidhisuradviSoH' iti vizvalocane / kundasya kusumaM kundaM / ' puSpamUleSu bahulaM' iti puSpapratyayasyop / stanaparisare urojapradeze / 'bhavetparisaro daivopAtte mRtyupradezayoH' iti vizvalocane / lodhraH lodhrakusumajaH / lodhra lodhrakusume jAtaH lodhraH / tatra jAtaH' ityaN / reNuH dhUlyaNuH / parAgaH ityarthaH / jAtAvekavacanamiti parAgAH ityarthaH / ' reNudhUlyaNuparpaTe' iti vizvalocane / 'kundo mAdhye' iti vacanAkundAnAM mAghodbhavatvAcchaiziratvAcchiziraliGgatvam / lodhrakusumAnAM hemantartuprabhavatvAddhamanatvAddhamantaliGgatvam / atra pramANaM 'navapravAlodgamasasyaramyaH praphullalodhraH paripakvazAliH / vilInapadmaH prapatattuSAroM hemantakAlaH samupAgataH priye // ' iti / karNe karNapAze / zrotrapradeze ityarthaH / hAri saundaryasampanna zirISaM zirISapuSpaM / zirISasumanasAM grISmadbhavatvAvSmatvAdgrISmaliGgatvam / sImante ca kezaveze ca / ziroruhapaddhatAvityarthaH / 'sImantaH keze' iti sImno'nte pare prnipaatH| tvadupagamajaM bhavadupagamane jAtaM / praavttkaalodbhvmityrthH| nIpaM kadambakusumam 'atha sthalakadambake / nIpaH syAtpulakaH zrImAnprAvRSeNyo halipriyaH' iti shbdaarnnve| nIpakusumAnAM prAvRTkAlodbhavatvAtprAvRSeNyatvAtprAvRTkAlaliGgatvam / kuravakayutamityuktaH kurabakakusumAnAM vsntlinggtvaadvsnttorpi grahaNaM kartavyam / tatra alakAyAM SaNNAmRtUnAM vasantAdInAM ghaNNAmRtUnAM vyatikaramahaH anyonyAnupravezajanitaH utsavaH AnaMdaH / vyatikaraH vyatiSaGgaH anyonyAnupravezaH / tasya mahaH utsavaH vyatikaramahaH / 'bhavedyatikaraH puMsi vyasanavyatiSaGgAyoH' iti 'mahastUtsavatejasoH' iti ca vizvalocane / vyAktivyaktaM vyaktyA pRthagAtmatayA spaSTatayA vA vyaktaM prakaTIbhUtam / Where there are lotuses in the hands of ladies, Kunda flowers associated with Kurabaka flowers are put in their proper places, the pollens of Lodhra flowers are applied to the expansive breasts, beautiful

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262 . [pArdhAbhyudaye Sirisa flowers are put on the ears, and the Nipa flowers, put forth at the time of your advent, are placed at the parting lines of their bair, there the beauty (or pleasure ) generated by the combination of the six seasons is clearly manifested. zakrammanyAH pariNatazaracandrikAnirmalAni prottuGgAni praNayavivazAH svApateyoSmavanti / AkrIDante priyayuvatibhiH sarvakAmAbhitRptA yasyAM yakSAH sitamANimayAnyetya harmyasthalAni // 109 / / anvayaH- yasyAM zakrammanyAH yakSAH pariNatazaraccadrikAnirmalAni, praNayavivazAH priyayuvatibhiH prottuGgAni svApateyoSmavanti, sarvakAmAbhitRptAH sitamaNimayAni harmyasthalAni etya AkrIDante / zakramityAdi / yasyAM alakAyAM zakrammanyAH zakramAninaH / zakramAtmAnaM manyante iti zakrammanyAH / 'khazasvasya' iti svasya supi vAci manyateH khaGga, tasya khitvAcca 'mumacaH' iti mumAgamaH / yakSAH guhAH pariNatazaraccandrikAnirmalAni sakalakalazAradakalAnidhikaumudIvimalAni / pariNatA pUrNatAM prAptA zaraccAndrakA zaratkAloditasampUrNacandracandrikA pariNatazaraccandrikA / seva nirmalAni vizadAni / adabhrazubhravarNAnItyarthaH / hAryasthalAnyetyati zeSaH / praNayavivazAH madayitnumadanamathitamanaskAratvAdvinaSTasajJAH / viSayAzAvazAdhInAH ityarthaH / praNayena vivazAH praNayasya vA vivazAH praNayavivazAH / priyayuvatibhiH priyAGganAbhiH saha prottuGgAni unnatatamAni svApateyomavanti dhanoSmasampannAni / svApateyaM dhanaM / svapatau sAdhu svApateyaM / 'pathyatithivasatisvapate' iti sAdhvarthe svptishbdaai|svaaptysyossmaa svaapteyossmaa| sa prazastaH nityaM vA eSAmastIti svaapteyossmvaant| prazaMsAyAM nityayoge vA matuH / dAridyazItakadaMzajanitAtivikalAni dhanajanitasukhasAdhanasampannAnItyarthaH / sarvakAmAbhitRptAH saphalIkRtasakalAbhilASAH / sarve ca te kAmAH abhilASAzca srvkaamaaH| abhitRptAH sarvakAmAH yeSAM te / vaahitaagnyaaditvaatsH| sitamaNimayAni sphaTikamaNipASANavinirmitAni / vikAre prAcurye vA mayaT / harmyasthalAni prAsAdabhUmIH etya samprApya AkrIDante krIDAM kuvAnta / / Wherein those Yaksas, who fancy themselves to be Indras, having

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dvitIyaH sargaH] 263 gone to the mansions resplendent like fully developed autumnal moonlight, those who have lost control over themselves owing to their being love-lorn having gone with their yonng beloveds to the lofty ones endowed with the warmth of wealth, those who have all the longings fulfilled, having gone to the mansions of crystal, amuse themselves. yatra jyotsnAvimalitatalAnyAzritAH kuTTimAni prAsAdAnAM harimaNimayAnyAsavAmodavanti / raMramyante draviNapatayaH pUrNakAmA nikAmaM jyotizchAyAkusumaracanAnyutsamastrIsahAyAH // 110 // anvayaH- yatra jyotsnAvimalinatalAni harimaNimayAni AsavAmodavanti jyotizchAyAkusumaracanAni prAsAdAnAM kuTTimAni AzritAH pUrNakAmAH uttamastrIsahAyAH draviNapatayaH nikAmaM rmynte| yatretyAdi / yatra alakAnagIM jyotsnAvimalita talAni kaumudIzuklIkRtapRSThapradezAni / jyotsnayA kaumudyA vimalitAni zuklIkRtAni jyotsnAvimalitAni / 'mRdo dhvarthe NijbahulaM' iti karotyarthe Nij / NijantAcca bhUtArthe ktaH / jyotsnA. vimalitAni talAni pRSThapradezAH yeSAM taani| harimaNimayAni indranIlamaNinirmitAni / vikArArthe'tra mayaT / AsavAmodavanti uttejanasugandhidravyavanti / AsavAH uttejanAzca te AmodAH sudandhidravyANi ca AsavAmodAH / yadvA AsavAmodaH madyasaugandhyaM / so'styeSAmityAsavAmodavanti / 'sugandhimudi vAmodaH ' iti vizvalocane / jyotiichAyAkusumaracanAni tArakAnikaraprativimbakusumAlakRtAni / jyotiSAM grahanakSatraprakIrNakatArakANAM chAyAH pratibimbAni jyotishchaayaaH| 'jyotistArAmibhAvAlAdRkputrArthAdhvarAtmasu' iti vaijyntii| 'chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / pratibimbe'rkakAntAyAM takSa paGktau ca pAlane' iti vizvalocane / jyotizchAyA eva kusumaracanAni yatra / kusumAnAM racanAni kusumaracanAni / prAsAdAnAM hANAM kuTTimAni aGgaNasthAni kAntopalaghaTitAni kuTTimAni AzritAH saMzritAH pUrNakAmAH vRddhiMgatakAmavAsanAH uttamastrIsahAyAH salalitalalanAH draviNapatayaH yakSAH nikAmaM yathecchaM raMramyante atyartha ramante / atyartha ratikrIDAniratAH bhavantItyarthaH / Wherein the Yaksas [ lit. the lords of wealth ] associated with their most beautiful wives, with their passions intensified, resorted to

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264 [. pArzvAbhyudaye the courtyards, covered with pavements of sapphire, of the mansions, decorated with flowers in the form of reflected luminaries, giving enlivening pleasure (or emitting fragrance of liquor ), with their surfaces whitened by moonlight, have sexual enjoyment again to their full satisfaction. lolApAGgAH surasarasikAH pronnatabhrUvikArAH prANezAnAM rahasi madanAcAryakaM kartumIzAH / Faratasrthe viphalamiti vA vAmanetrA na yasyAmAsevante madhu ratiphalaM kalpavRkSaprasUtam // 111 // anyayaH- yasyAM lolApAGgAH surasarasikAH pronnatabhrUvikArAH rahasi prANezAnAM madanAcAryakaM kartuM IzAH vAmanetrAH ' arthe svAdhIne [sati madanAcAryakaM ] viphalaM ' iti vA kalpavRkSaprasUtaM ratiphalaM madhu na Asevante / " lolApAGgA ityAdi / yasyAM alakAbhidhAnAyAmailavilanagaryo lolApAGgAH tRSNanetrAntAH taralanayanAntapradezAH vA / lolAH satRSNAH calAH vA apAGgAH netrAntAH yAsAM tAH / ' lolA jihvAzriyorlolaH satRSNacalayostriSu' iti ' apAGgastvaGgavikale netrAnte tilake pumAn' iti ca vizvalocane / surasarasikAH sambhogazRGgArarasAbhijJAH / surasaH zRGgArarasaH / tasya rasaH svAdaH anubhavaH surasarasaH / so'styasyAH sA surasarasikA / * atonekAcaH ' iti Than / ' rasaH svAde'pi tiktAdau zRGgArAdau drave viSe / pArade dhAtuvIryAMgrAge gandharase tanau / raso ghRtAdAvAhArapariNAmodbhave'pi ca iti vizvalocane / pronnata bhrUvikArAH vRddhiNgtbhruubhnggaaH| pronnatAH unnatiM prAptAH / vRddhiGgatAH ityarthaH / bhruvobhrukuTyoH vikArAH bhrUvikArAH / pronnatAH vikArAH yAsAM tAH / rahasi vivikte ratikrIDArthaM vA / 'tacce guhye rate rahaH ' iti vizvalocane / prANezAnAM prANanAthAnAm / prANAnAmIzate iti prANezAH / teSAm / madanAcAryakaM mAnmathamAcAryakam / madayati madaM kAmodrekaM janayati iti madanaH / ' mRdA dhvarthe Nijbahulam' iti Nic / vyAnaD bahulam ' iti kartaryanaT / madanaH eva AcAryaH madanAcAryaH / tasya bhAvaH karma vA madanAcAryakam / 'yoGo rUpottamAdbhuj ' iti vuJ / madanAcArya vatkAmodrekajananakarmetyarthaH / kartuM vidhAtuM IzAH samarthAH vAmanetrAH kAmukyaH / vAme sundare netre yasyAH sA vAmanetrA / ' nitambinyabalA bAlA kAmukI vAmalocanA | bhAmA tanUdarI 'zamA sundarI yuvatI calA ' iti dhanaJjayaH / arthe prayojane nidhuvanasevanarUpeM phale / 8

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dvitIyaH sargaH ] ' arthaH prayojane citte hetvabhiprAyavastuSu / zabdAbhidheye viSaye syAnnivRttiprakAramoH iti vizvalocane / svAdhIne svAyatte sati / svasyAtmanaH adhInaM Ayatta svAdhInaM / tasmin / icchodbodhamAtreNa kalpavRkSAnttatprasUteH phalasya svAdhInatvamiti bhAvaH / viphalaM niSphalaM / madanAcAryakamiti padamadhyAhAryam / tena madanAcAryakaM viphalamiti bhAvaH / iti vA ityasmAddhetoreva kalpavRkSaprasUtaM kalpapAdapaprabhavaM ratiphalaM smaroddIpanaM / ratiH maithunopasevanaM phalaM pariNAmaH yasya tat / ' tAlakSIrasitAmRtAmalaguDonmattAsthi* kAlAhavadArvindradrumamoraTekSukadalI gulmaprasUnairyutam / itthaM cenmadhu puSpabhayupacitaM puSpadrumUlAvRtaM kvAthena smaradIpanaM ratiphalAkhyaM svAduzIta madhu' iti ratiphalAkhyamadhulakSaNaM madirANavAkhyagranthAdudhdRtaM mallinAthena meghadUtaTIkAyAm / madhu maireyaM / 'madhu puSparase kSaudre madyakSIrA'psu na dvayoH / madhurmadhUke surabhau caitre daityAntare pumAn / jIvAzAke striyAmevaM madhuzabdaH prayujyate ' iti vizvalocane / na Asevante na pivanti / gehe gehe dhanadasacivairyatra dharmAnurAgAt divyairgandhaiH surabhikusumaiH sAkSatairdhUpadIpaiH / saGgItAdyairapi jinamaho vartyate puNyakAmai stvadgambhIradhvaniSu madhuraM puSkareSvAhateSu // 112 // Where the beautiful-eyed ones, with the corners of their eyes manifesting passion, taking delight in sexual intercourse, manifesting knittings of eyebrows in excess, able to act the part of a preceptor teaching the secrets of sexual enjoyment to their lovers in privacy, do not enjoy wine, coming forth from the wish-fulfilling trees, leading on to sexual intercourse, as if on account of the futility of the preceptorship when the desired object is in one's own possession. 265 , anvayaH - yatra gehe gehe dharmAnurAgAt puNyakAmaiH dhanadasacivaiH svagambhIradhvaniSu puSkareSu madhuraM AhateSu divyaiH gandhaiH surabhikusumaiH sAkSataiH dhUpadIpaiH saGgItAdyaiH api janamahaH vartyate / ityAdi / yatra dhanadarAjadhAnyAM gehe gehe pratigehUM dharmAnurAgAt dharmabhaktyA | dharme parAparaniHzreyasasampAdake ratnatrayadharme anurAgaH bhaktiH / tasmAddhetoH / puNyakAmaiH puNyAbhilASavadbhiH / puNyaM kAmayante iti puNyakAmAH / taiH / dhanadasacivaiH kuberasya bhRtyairmantribhizca / dhanadasya kuberasya sacivAH bhRtyAH mantriNazca / taiH / ' sacivo

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266 [ pArzvAbhyudaye bhRtyamantriNoH' iti vizvalocane / tvadgambhIradhvaniSu tvanmandragarjitadhvaninibhadhvAneSu / gambhIraH mandrazcAsau dhvanirdhvAnaH gambhIradhvaniH / tava gambhIradhvaniriva gambhIra - dhvaniH yasya saH / teSu / ' IbupamAnapUrvasya dukhaM gatArthatvAt' iti saH / puSkareSu vaadybhaannddmukhessu| -- puSkaraM vyomni pAnIye hastihastAgrapadmayoH / rogoragauSadhidvIpatIrthabhede'pi saarse| kANDe khaDDaphale vAdyabhANDavaktre ca puSkaram ' iti vizvalocane / madhuraM zrutimanoharaM yathA syAttathA / AhateSu pratADiteSu satsu / yadbhAvAdbhAvagatiH' iti Ip / divyaiH valgubhiH divibhavairvA 'divyaM tu valgau / divibhave'nyavat' iti vizvalocane / gandhaiH ghRSTamalayajacandana vizeSaiH surabhikusumaiH saugandhyabandhuraiH sumanobhiH sAkSataiH sahataNDule: dhUpadIpaiH saGgItAdyaiH api nRtyagItavAditrAdibhizca jinamahaH 'jinendrapUjotsavaH / 'mahastUtsavatejasoH ' iti vizvalocane / vartyate vidhIyate / Wherein in every house a festival in honour of Jina is celebrated by the subjects of Kubera, desirous of attaining religious merit (or cherishing desires for happiness), through love for religion, with heavenly ( or charming ) pounded sandal-wood, rice, fragrant flowers, incense and light in company with songs sung by many voices etc., while kettle-drums, producing deep noise like that of you, are being gently beaten. vAsaH kSaumaM jigaliSu zanairnUnamAdeSTukAmaM yanAM kAmaprasavabhavanaM hAri nAbheradhastAt / arata kimapi vidhRtaM lakSyate kAminInAM nIvIbandhaka chusita zithilaM yatra bimbAdharANAm // 113 // anvayaH-- yaMtra bimbAdharANAM kAminInAM nIvIbandhocchrAsatazithilaM yUnAM hAri kAmaprasavabhavanaM nUnaM AdeSTukAmaM nAbheH adhastAt zanaiH jigaliSu kSaumaM vAsaH kAcIdAnA kimapi vidhRtaM lakSyate / vAsa ityAdi / yatra alakAbhidhAnAyAM vaizravaNanagaryo bimbAdharANAM patrabimbikA phala tulyaraktavarNAdharANAM kAminInAM kAmAbhitaptAnAM yoSitAM nIvIbandhochvAsa tazithilaM jaghanavasanagranthivizleSazlathIbhUtaM / nIvyAH jaghanavasanasya guNIkRtasya bandhaH granthiH nIvIbandhaH / ' nIvI paripaNe granthau strINAM jaghanavAsasi' iti vizvaH | tasya ucchUSitamucchrAsaH vizleSaH tena zithilaM zlathIbhUtaM / ' navbhAveM kto'bhyAdibhyaH >

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ditIyaH sargaH] 267 iti bhAve ktH| yUnAM taruNAnAM hAri manoharam / 'hRdyaM hAri manoharaM ca ruciraM' iti hlaayudhH| kAmaprasavabhavanaM kAmotpattisthAnam / kAmasya nidhuvanasevanAmilASasya prasavaH utpattiH / tasya sthAnam / nUnaM nizcayena / AdeSThukAmaM pradarzayitukAmaM / AdeSTuM pradarzayituM kAmaH abhilASaH yasya tat / 'samtumo manaHkAme' iti tumo makArasya kham / nAbheH adhastAt nAbheradhobhAge zanaiH mandaM mandaM jigaliSu galitumicchu / 'tumIcchAyAM dhorvop' iti san / 'sanbhikSAzaMsAduH' ityuH / kSaumaM dukUlaM / 'kSomaM syAdatasIvastre kSaumamaTTadukUlayoH' iti vizvalocane / vAsaH vastraM kAzcIdAnA razanayA kimapi kathamapi vidhRtaM jaghanAdadhaH patanAt rakSitaM lakSyate dRshyte| Where the beautiful garments of the beautiful women, with their lower lips red like the Bimba fruit, loosened owing to the untying of the knots tying together the ends of the garments worn by them round their buttocks, wishing to slip slowly down the navel with a desire to show the youths the abode of the origination of passion (or the abode provoking passion ), is seen as if sustained anyhow by the string-like girdle. yasyAM kAmadvipamukhapaTacchAyamAtrastanIvi zrImacchroNIpulinavaraNaM vAri kAzcIvibhaGgam / pUrva lajjA vigalati tato dharmatoyaM vadhUnAM kSaumaM rAgAdanibhRtakareSvAkSipatsu priyeSu // 114 // anvayaH- yasyAM kAmadvipasukhapaTacchAyaM, AsrastanIvi zrImat zroNIpulinavaraNaM kAJcIvibhaGga vAri, kSaumaM anibhRtakareSu priyeSu rAgAt AkSipatsu vadhUnAM lajjA pUrva vigalati, tataH dharmatoyam / ysyaamityaadi| yasyAM alakAbhikhyAyAmekapiGgalanagaryA kAmadvipamukhapaTacchAyaM madanadviradanamukhavastrakAnti / kAmasya madanasya dvipaH gajaH kAmadvipaH / tasya mukhapaTaH mukhAlaGkArabhUtaH pttH| tasya cchAyeva cchAyA kAntiH zobhA yasya tat / batA dvipasya mukhapaTaH dvipamukhapaTaH / kAmaH kAmyaH / manoharaH ityarthaH / 'kAmaH smarenchayoH kAmye kAma retonikAmayoH' iti vishvlocne| kAmazcAsau dvipamukhapaTazca kaamaadvipmukhpttH| tasya cchAyeva cchAyA zobhA yasya tt| AsrastanIvi lathI

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268 [pArzvabhyudaye bhuutniivi| AsrastA zlathIbhUtA nIvI strIkaTIvastragranthiH yasya tat / 'nIvI tu strIkaTIvastragranthau mUladhane striyAm' iti vizvalocane / zrImat pracurazobhAyuktaM / atra prAcurye matuH / zroNIpulinavaraNaM unnatatvAtpulinatulyazroNIprAvaraNaM / zroNI jaghanaM pulinaM saikatamiva zroNIpulinaM / 'vyAghrAdibhirupameyo'tadyoge' iti saH / 'kaTinitamba oNI ca jaghanaM' iti dhnnyjyH| pakSe zroNIva pulinaM zroNIpulinaM / zroNIpulinayoraunatyasAdhAcchoNyA upamAnatvamavaseyam / zroNIva zroNI / 'devapathAdibhyaH' itIvArthasya kasyos / 'yuktavadusi liGgasaGkhye' iti yuktavAliGgam / tasya varaNaM AvarakaM / vRNotIti varaNam / 'vyAnabahulam ' iti kartaryanaT / kaTitaTAkArapulinAvarakamityarthaH / kAJcIvibhaGga razanAviracanaM / kAJcyAH razanAyAH vibhaGgaH viracanA yatra tat / jalapakSe kAJcIsadhIcInavividhataraGgaM / vividhAH bhaGgAH taraGgAH vibhnggaaH| kAJcyaH iva kaanycyH| 'devapathAdibhyaH' iti ivArthasya kasyos / kosi ca yuktavalliGgama, / kAJcyAkArasadRgvalAkArAvavidharaGgattaraGgamityarthaH / vAri vArIva vaari| salilatulyamityartha / kSImaM dukUlaM / anibhUtakareSu sakampahasteSu / anibhRtAH madanamadajInatave thukrAntAH karAH hastAH yeSAM teSu / priyeSu priyatameSu rAgAt nidhuvanasevanAbhilASasampAdanArtha AkSipatsu dUramutsArayatsu vadhUnAM kAminInAM lajjA hIH pUrva prathamaM vigalati vilayaM yAti tataH tadanantaraM dharmatoyaM svedasalilaM / vigalati nipatIti shessH| Wherein, shame of women gets dislodged first and then the drops of perspiration drop-down when their lovers snatch away passionately with their tremulous hands the beautiful silken garments resembling water, possessing waves ( ripples ) circular like girdles, covering sandy beaches resembling the proturberent bips, owing to their being encircled by zones, covering hips resembling the sandy beaches, with their knots tying the ends of the garments loosened ( relaxed ) and possessing beauty similar to that of the beautiful face-cloth of an elephant. AkSipteSu priyatamakarairaMzukeSu pramohA dantIlAtaralitadRzo yatra nA'laM nvoddhaaH| zayyotthAyaM vadanamarutA'pAsituM dhAvamAnA acistuGgAnabhimukhamapi prApya ratnapradIpAn / / 115 // anvayaH- yatra priyatamakaraiH pramohAt aMzukeSu AkSipteSu antarlIlAtaralita

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dvitIyaH sargaH] 269 dRzaH navoDhAH zayyotthAyaM dhAvamAnAH astuiGgAn ratnapradIpAn abhimukhaM prApya api (tAn ) vadanamarutA apAsituM na alam / __ AkSipteSvityAdi / yatra rAjarAjarAjadhAnyAmalakAyAM priyatamakaraiH prANezazayaiH / prANanAthahastairityarthaH / pramohAt kAmavAsanodayodrekajanitaprakRSTabhrAnteH / pramodAditi pAThAntare tu rtisukhaanubhuutihetorityrthH| aMzukeSu ambareSu / 'celaM nivasanaM vAsazvIramambaramaMzukam' iti dhanaJjayaH / AkSipteSu parihRteSu stsu| antalIlAtaralitahazaH / lIlayA taralitAH saJjAtacAJcalyAH liilaatrlitaaH| antaH lIlAtaralitAH dRzaH yAsAM taaH| navoDhAH navapariNItAH vadhvaH zayyotthAyaM dhAvamAnAH zayyAyAH utthAya priyakarakarAkSiptanivasanaparidhAnamaGgAnaGgastanajaghanAdismarasandIpanAvayavapidhAnaprayojanamavazyakAyamakRtvA satvaraM prapalAyamAnAH / ' tvayaMpAdAne ' iti tvarAyAM dhorNamapAdAne vAci / arcistuGgAn alpatve'pi svamayUkhaistuGgatvaM prAptAn / arcibhirmayUkhaiH tuGgAH arcistuGgAH / tAn / ratnapradIpAna ratnarUpAn pradIpAn / ratnAnyeva pradIpAH rtnprdiipaaH| tAn / abhimukhaM sammukhaM prApya api gatvA api tAn vadanamarutA mukhasamIraNena apAsituM nirvApayituM na alaM na samarthAH / Where, the newly married ones (i.e. brides ), with their eyes turning inside sportively when their garments are snatched away by their lovers with their hands through excessive passion, running after having got up from their beds, (and) having even reached near jewellamps, possessing height owing to the rays (emanating from them), are unable to extinguish them with the wind breathed out of their mouths. vastrApAye jaghanabhabhito dRSTipAtaM nirorbu yUnAM klapsA surabhiracitA yatra mugdhAGganAnAm / kampAyattAtkarakisalayAdantarAle nipatya hImUDhAnAM bhavati viphalapreraNA cUrNamuSTiH // 116 // anvayaH- yatra vastrApAye hrImUDhAnA mugdhAGganAnAM jaghanaM abhitaH yUnAM dRSTipAtaM nirorbu klaptA surabhiracitA cUrNamuSTiH kampAyattAt karakisalayAt antarAle nipatya viphalapreraNA bhavati / vasApAye ityaadi| yatra vaizravaNanagaryAmalakAyAM vastrApAye kaTIvastrApagame

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[ pArzvAbhyudaye hI mUDhAnAM lajjAvikalI kRta heyopAdeyatyAgopAdAnajJAnazaktInAM mugdhAGganAnAM ' 6 1 sundarINAM / sundare vAcyavanmugdho mugdho mUDhe'pi vAcyavat' iti vizvalocane / jaghanaM abhitaH kaTipradezaM sarvataH / paryabhisarvobhayaistastyaiH ityabhinA tatyAntena yoge ip / yUnAM tAruNyataralAtmanAM puruSANAM dRSTipAtaM kaTAkSanikSepa niroddhuM pratibaddhuM klRptA nikSiptA surabhiracitA saugandhyabandhuradravyaveinirmitA / cUrNamuSTiH kSuNNadravyamuSTiH mpAyantAt vepathumataH / ' adhIno nighna AyattaH ityamaraH / kaTivastrApaharaNajanitakrIDAprabhavavepathoH ityarthaH / karAkasalayAt kisalayakomalakarAt / karaH kisalayaH iva kara kisalayaH / tasmAt / antarAle kararatnadIpayorantarAlapradeze nipatya patitvA viphalapreraNA yuvakaTAkSanikSepa nirodhalakSaNa phalavikalaprakSepavyApArA / viphalA dRSTinirodhaphala vikalA preraNA prakSenakriyA yasyAH sA / bhavati jAyate / 270 Where the handfuls of powder, consisting of the ingredients of perfumes, scattered for obstructing the glances of the youths cast on all sides of the buttocks of the beautiful women, bewildered on account of their being flushed with shame, have their hurls rendered futile, on account of their having fallen from their tremulons sprout-like hands in the intermediate region. " pratyAsannaiH zikharakhacitairunmayUkhairvicitrai citrA ratnairnabhasi vitatAH zakracApAnukAraiH / bibhratyuccaiH sajalajaladA sadvitAnasya lIlAM netrA nItAH satatagatinA yadvimAnAprabhUmIH // 117 // anyayaH- netrA satatagatinA yadvimAnAgrabhUmIH nItAH, zikharakhacitaH pratyAsannaiH zakracApAnukAraiH ratnaiH vicitraiH unmayUkhaiH vitatAH citrAH sajalajaladAH nabhasi sadvitAnasya lIlAM vibhrati / I pratyAsannairityAdi / nelA prerakeNa / nayati prerayatIti netA / tena / satatagatinA sadAgatinA / vAyunetyarthaH / ' pavanaH pavamAnazca vAyurvAto'nilo marut / samIraNo gandhavAhaH zvasanazca sadAgatiH // namasvAn mAtarizvA ca caraNyurjavanastathA / prabhaJjanaH' iti dhnnyjyH| yadvimAnAgrabhUmIH alakAnagarI saptabhUmikagRhAgrabhAgbhUmI: / basyAH alakAyAH vimAnAH saptabhUmikAni gRhANi yadvimAnAH / ' vimAno vyomayAne'strI

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dvitIyaH sargaH] 271 saptabhUmau gRhe'pi ca ' iti vizvalocane / teSAM agrabhUmayaH upariSThAH bhUmayaH / tAH / nItAH prApitAH zikharakhacitaiH haagrbhaagbhuunibddhH| zikhareSu gRhAgrabhAgeSu khacitAni nibaddhAni zikharakhacitAni / taiH| 'zikharaM zailavRkSAne kaTApulakakoTiSu' iti vizvalocane / pratyAsannaiH saptabhUmikagRhAgrabhAgabhAgbhUmikhacitatvAttadagrabhAgabhAgbhU- . myuparitanAkAzapradezagAmijaladasannidhau sthitaiH zakacApAnukAraiH AkhaNDaladhanuH kANDAnukAraiH / zakrasyendrasya cApaH dhanuHkANDaM zakracApaH / tamanukarotIti zakracApAnukAraH / taiH / 'karmaNyam' iti karmaNi vAci kRJo'nupUrvAdaN / ratnaiH maNibhiH vicitraiH kcuraiH| vividhavarityarthaH / 'citraM tu karburAgatayostriSu' iti vishvlocne| unmayUkhaiH udgataiH myuukhaiH| udgatAH ratnebhyaH utkrAntAH mayUkhAH unmayUkhAH / taiH / krnnbhuutairityrthH| 'prAtyavapariniHpratyAdayaH gatakrAntakRSTaglAnakrAntasthitAdiSu' iti SasaH / vitatAH vyAptAH / ataH eva citrAH vividhavarNAkrAntavapuSaH sajalajaladAH jalasahitAH meghAH nabhAsa AkAzadeze sadvitAnasya smiiciinsyollocsy| 'vitAnaM riktmndyoH| triSu na strI vitAnaM syAdvistArollocayormakhe' iti vizvalocane / lIlAM zobhAM bibhrati dhArayanti / The clouds, loaded with water, carried to the uppermost parts of the seven-storeyed mansions of which (i. e. of the city of Alaka) by the propelling wind, variegate i owing to their being spread over with the multi-coloured rays by the jewels, imitating the bow of god Indra, having their existence in the vicinity of the clouds ) on account of their being beset within the floors of the uppermost parts of the mansions, assume in abundance the beauty of a beautiful canopy in the sky. adhyAsInA bhavanavalabhiM zAradI meghamAlA ytraa''muktprtnuvisrcchiikraasaardhaaraa| bhItvevA'laM vrajati vilayaM pazyatAmeva sAkSAt AlekhyAnAM svajalakaNikAdoSamutpAdya sadyaH // 118 // ityamoghavarSaparamezvaraparamaguruzrIjinasenAcAryaviracitameghadUtaveSTite pArzvabhyudaye bhagavatkaivalyavarNanaM nAma dvitIyaH sargaH / anvayaH- yatra bhavanavalami adhyAsInA AmuktapratanuvisaracchIkarAsArabhArA

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272 [ pArzvabhyudaye zAradI meghamAlA sAkSAt pazyatA eva AlekhyAnAM svajalakaNikAdoSaM utpAdya alaM bhItvA iva sadyaH vilayaM vrajati / ___adhyAsInetyAdi / yatra dhanadanagaryAmalakAyAM bhavanavalAbhaM gRhAcchAdanopariSThabhAgaM / 'valabhI chadirAdhAro' iti hemacandraH / adhyAsInA adhisstthitaa| 'kamaivAdheH zIthAsaH' ityadhipUrvasya zIGaH AdhArasya krmsNjnyaa| 'karmaNIp' iti ip| AmuktapratanuvisaracchIkarAsAradhArA / pratanavaH svalpaparimANAzca te visarantazca pratanuvisarantaH / te ca te zIkarAH vAteritAH ambuknnaaH| teSAM AsAraH santataM patanaM / tasya dhaaraaH| AmuktAH pratanuvisaracchIkarAsAradhArAH yayA saa| 'zIkaro'mbakaNAH sRtAH' itymrH| 'vAtAstaM vAri zIkaraH' iti kAtyaH / ' dhArAsampAta AsAraH' ityamaraH / zAradI zaratkAlasambhavA / meghamAlA meghapaGktiH / sAkSAt pratyakSaM pazyatAM eva avalokayatAM eva / sAkSAt pazyato janAnanAdRtyetyarthaH / 'tA cA'nAdare' ityanAdare taa| AlekhyAnAM tdbhvnbhittilikhitsccitraannaaN| 'citraM likhitarUpADhyaM syAdAlekhyaM tu yatnataH' iti zabdArNave / svajalakaNikAdoSaM svasalilabindukRtavarNamizraNAdidoSaM utpAdya vinirmAya alaM atyartha bhItvA iva bhayamAzrityeva sadyaH zIghraM vilayaM vinAzaM brajati prApnoti / iti zrIpArvAbhyudaye muktenduvarmaviracitAyAM bAlaprabodhinyA. khyAyAM vyAkhyAyo zaThakamaThakRtabhagavadupasargavarNanaM nAma dvitIyaH sargaH / Where the assemblage of autumnal clouds, resorting to the uppermost parts of the mansions, discharging thin lines of spreading sprays in large quantities, being as if frightened on account of their causing damage to the paintings with drops of water in the very presence of the people looking at it, immediately disappears.

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2 sarga tisarA ht 11 pArzvabhyudaye....18

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atha tRtIyaH sargaH vegAdantarbhavanavalabheH sampraviSTAH kathaJcit sUkSmIbhUtAH suratarasikau dampatI ttryaa| zaGkAspRSTA iva jalamucastvAdRzA yatra Ale dhUMmodgArAnukRtinipuNA jarjarA niSpatanti // 1 // anvayaH--yatra vegAt bhavanavalabheH antaH sampraviSTAH kathaJcit sUkSmIbhUtAH bhUmoTrArAnukRtinipuNAH tatra (bhavanavalabhau) suratarasikau dampatI dRSTvA zaGkAspRSTAH iva svAdRzAH jalamucaH jAlaiH jarjarAH ( santaH) niSpatanti / - vegAdityAdi / yatra alakAbhidhAyAM vaizravaNarAjadhAnyAM vegAt rabhasAt zIpratayetyarthaH / bhavanabalabheH gRhopariSThasAcchAdanagRhasya / bhavanasya prAsAdasya valamiH sAcchAdanamupariSThaM gRhaM / tasyAH / antaH antarbhAge sampraviSTAH labdhapravezAH kathaJcit yena kenA'pi prakAreNa sUkSmIbhUtAH zarIrAkAravistAraM parityajya parigRhItadehalAghavAH dhUmodgArAnukRtinipuNAH jAlodgIrNadhUmAkArAnukaraNanadISNAtAH / dhUmasya udgAraH jAlamukhena bahiniHsaraNaM dhUmodgAraH / tasya anukRtiH anukaraNaM / tatra nipuNAH kuzalAH dhUmogArAnukRtinipuNAH / tatra bhavanavalabhI suratarasiko nidhuvanakrIDAjanitAmandAnandanimagnau / rasaH AnandaH asya astIti rasikaH / 'ato'nekAca' iti tthn| surate nidhuvanakrADIyAM rasikau suratarasikau / yadvA suratasya rasaH suratarasaH / so'syAstIti suratarasika / tau| anekActvAt Than / dampatI jmptii| jAyApatI ityrthH| dRSTA nayanAtithitAM nItvA / vilokyetyarthaH / zaGkAspRSTAH bhyaakulaaH| zaGkayA bhItyA spRSTAH jnitsprshaaH| 'zaGkA trAse vitarke ca' iti 'maNidoSe bhaye trAsaH' iti ca vizvalocane / iva vA svAdRzAH tvatsadRzAH / tvamiva dRzyate tvaadRshH| 'karmaNIve tyadAdyanyasamAne dRzaSTak sak ca' iti Tak / jalamucaH meghaaH| jalaM muJcatIti jalamuk / 'vip' iti vip / jAlaiH gvaakssaiH| gavAkSebhyaH ityarthaH / 'jAlastu kSArakAnAyagavAkSe dambhavRkSayoH' iti vizvalocane / jarjarAH zakalIkRtakAyAH santaH niSpatanti bhavanavalabheH bahiH gacchanti / Where, clouds like you, owing to their high speed, entered into the interior of the uppermost roofed terraces, turned gometow into

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276 [ pArzvAbhyudaye smaller shapes (or forms), skilled in imitating the erruption of the volumes of smoke, fall out shattered into pieces through windows as though having their fears roused at the sight of the couples there, engrossed in taking great pleasure in sexual enjoyment. strIbhiH sArdhaM kanakakadalISaNDabhAjAmupAnte krIDAdrINAM nidhibhugadhipA yatra dIvyantyabhIkSNaM / mandAkinyAH salilaziziraiH sevyamAnA marudbhiH mandArANAM taTavanaruhAM chAyayA vAritoSNAH // 2 // anvayaH - yatra mandAkinyAH salilaziziraiH marudbhiH sevyamAnAH, taTavanaruhA~ mandArANAM chAyayA vAritoSNAH, nidhibhugadhipAH strIbhiH sArdhaM kanakakadalISaNDabhAja krIDAdrINAM upAnte abhIkSNaM dIvyanti / strIbhirityAdi / yatra alakAnAmanagaryAM mandAkinyAH gaGgAyAH / avazyaM mandaM akati kuTilagatyA gacchatIti mandAkinI / 'AvazyakAdhamarye Nin ' iti Avazyakasya gamyamAnatvANin / tatazca GI / yadvA mandaM akinI mandAkinI / mayUravyaMsakAditvAtsavidhiH / salilaziziraiH jalazItalaiH / salilena jalena zizirAH zItalAH salilazcizirAH / taiH / marudbhiH samIraNaiH / vAyubhirityarthaH / sevyamAnAH vihitazuzrUSAH / sevyante iti sevyamAnAH / taTavanaruhAM tIradezasthavanarohiNAM / taTe tIre vanAni taTavanAni / tatra rohantIti taTavanaruhaH / teSAM / 'kvip' iti kip / 'kUlaM rodhazca tIraM ca pratIraM ca taTaM triSu' ityamaraH / mandArANAM sauradrumANAM madhudrumANAM vA / 'mandAraH pArijAtakaH' iti 'paJcaite devataravaH mandAraH pArijAtakaH' iti cAmaraH / 'mandAraH sindhure dhUrte madhudrau dhUrtakAmino:' iti vizvalocane / chAyayA anAtapena | chayati chinatti santApaM chAyA / cho chedane / 'chAyA syAdAtapAbhAve satkAntyutkoca kAntiSu)pratibimbe'rkakAntAyAM tathA paGktau ca pAlane iti vizvalocane / vAritoSNAH duuriikRtossnnaaH| chinnAtapAH ityarthaH / nidhimugadhipAH yakSAH / nidhIn navasaGkhyAkAn bhunaktIti nidhibhuk / kuberaH ityarthaH / ' kvip' iti kipU / nidhibhuk adhipaH yeSAM te nidhibhugdhipaaH| rAjarAjAnucarAH ityrthH| strIbhiH yoSidbhiH sArdhaM sAkaM kanakakadalISaDa bhAjAM suvarNavarNAbhakadalI vRndayuktAnAM / kanakakadalInAM SaNDaH vRndaH cayaH vA kanakakadalISaNDaH / tAn bhajate iti / teSAm / 'bhajo NviH / 'padmAdivRnde SaNDo'strI SaNDaH syAdgopatau caye' iti vizvalocane / kadalI mocA / 'kadalI vAraNabusA rambhA mocAMs

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tRtIyaH sargaH] 277 zumatpha lA' itymrH| krIDAdrINAM krIDAprayojanasiSAdhaviSayA nirmitAnAM parvatonnatamRttikotkarANAM / kRtakAcalAnAmityarthaH / upAnte samIpapradeze abhIkSNaM satataM / sarvakAlamityarthaH / dIvyanti krIDAnta / krIDAM kurvantIti bhAvaH / Where the Yaksas ( lit. those who have Kubera for their king or ruler ), attended upon by the breezes rendered cool by the waters of the Mandakini, having their heat warded off by the shadows of the Mandara trees grown in the forests grown along the banks, are, along with their better-balves, always interested in sporting in the vicinity of the pleasure-mountains (or of the mountains serving as an abode of pleasure ), possessing groves of plantain-trees, coloured like gold. saundaryasya prathamakalikA strImayIM sRSTimanyAM vyAtanvAnA jayakadalikA mInaketorjigISoH / anveSTavyaiH kanakasikatAmuSTinikSepagUDhaiH sakrIDante maNibhiramaraprArthitA yatra kanyAH // 3 // anvayaH - yatra saundaryasya prathamakalikA strImayIM anyAM sRSTiM vyAtanvAnAH, jigoSoH mInaketoH jayakadaMlikAH, amaraprArthitAH kanyAH kanakasikatAmuSTinikSepagUDhaiH anveSTavyaiH maNibhiH saGkIDante / / saundaryasyetyAdi / yatra alakApuryo saundaryasya subhagatvasya / manoharasvasyetyarthaH / prathamakalikAM anupameyakorakarUpAM strImayIM strIpradhAnAM strIbahulAM vA / 'asmin ' iti ' samUhavacca bahuSu tayoH' iti vA mayaT / striyaH pradhAnAH pracurAH vA asyAmiti striimyii| taam| TisvAt DI striyAm / anyAM vidyamAnAjagato bhinnAM / adRSTapUrvAmityarthaH / vyAtanvAnAH kurvaannaaH| vyAtanvantIti vyAtanvAnAH / prakaTIkurvantya ityarthaH / jigISoH jetumicchoH / 'tumIcchAyAM dhorvop' iti san 'sanbhikSAzaMsAduH' iti sannantAduzca / mInaketoH makaradhvajasya / kAmadevasyetyarthaH / jayakadalikAH jyptaakikaaH| 'kadalIbhapatAkAyAM patAkAyAM mRgAntare / rambhAyAM cA'tha kadalI pRznyAM DimbyAM ca zAlmalau' iti vizvalocane / amaraprArthitAH nirjarAbhilaSitAH / amaraiH nijairaiH prArthitAH abhilaSitAH / anena tAsAM saundaryAtizayo dhvanyate, devAGganAbhyo'pi tAsAM sundarataratvamantareNa devaiH prArthitatvAsambhavAt / kanyAH

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274 [pArzvabhyudaye yakSANAM kumArikAH / 'kanyA kumArikAnAryo rAzibhedauSadhIbhidoH' iti vizvalocane / kanakasikatAmuSTinikSepagUDhaH kanakavatInAM sikatAnAM vAlukAnAM yAH muSTayaH tAsAM nikSepaH gUDhAH saMvRtAH / taiH sauvarNasikatAmuSTiprakSepanihitIratyarthaH / ataH eva anvaSTavyaiH anvessnnaaH| tRvyAzcAhe' ityahAthai vyH| maNibhiH ratnaiH saGkrIDante krIDAM kunti / 'samo'kUje' iti sampUrvAt krIDaH daH tasya kUjanArthavaikalyAt / gaDhamaNyAbhidhayA daizikyA krIDayA samyak krIDAM kurvantItyarthaH / 'ratnAdibhirvAlukAdau guptedraSTavyakarmabhiH / kumAribhiH kRtA krIDA nAmnA guptamaNiH smRtA / rAsakrIDA gUDhamaNigupta kelistu lAyanaM / picchakandukadaNDAdyaiH smRtA daizikakelayaH // iti shndaarnnve| Where maidens, bringing into existence another womanly world ( or world abounding in women), the excellent bud of beauty, the triumphal banners of the fish-bannered god desirous of conquering, courted by the gods, play with gems, worthy of being searched for, being concealed by throwing handfuls of golden sands. iSTAn kAmAnupanayati yaH prAktanaM puNyapAkaM taM zaMsanti sphuTamanucarA rAjarAjasya tRptaaH| abhayyAntarbhavananidhayaH pratyahaM raktakaNThai ___ rudgAyadbhirdhanapatiyazaH kinnarairyatra sArdham // 4 // anvayaH- yatra akSayyAntarbhavanidhayaH tRptAH rAjarAjasya anucarAH raktakaNThe: dhanapatiyazaH udgAyadbhiH kinnaraiH sArdhaM yaH iSTAn kAmAn upanayati taM prAktanaM puNyapAkaM sphuTaM zaMsanti / iSTAnityAdi / yatra alakAnagaryo akSayyAntarbhavananidhayaH ashkyaanusstthaankssybhvnaantrgtnvnidhaanaaH| kSetuM zakyAH kSayyAH / 'kSijyoH zaktau' iti zaktyarthe kSereco'ya / na kSayyAH akSayyAH / bhavanasya antaH antarbhavanaM / 'pArama'dhyentastayA' iti hsH| bhavanAntIga ityarthaH / akSayyAH antarbhavanaM nidhayaH yeSAM te akSayyAntarbhavananidhayaH / tRptAH jAtasantoSAH / rAjarAjasya kuberasya / rAjA yakSANAM rAjA rAjarAjaH / 'rAjAhaHsakheSTaH' iti TaH saantH| 'kuberasvyambakasakho yakSarAD guhyakezvaraH / manuSyadharmA dhanado rAjarAjo dhanAdhipaH' ityamaraH / anucarAH sevakAH raktakaNThaiH madhurasvaraH / raktaH madhuraH kaNThaH kaMThadhvaniH yeSAM te / taiH / dhanapatiyazaH kauverI kIrti / dhanapateH kuberasya yazaH kIrtiH dhanapatiyazaH / tt| udgAyadbhiH uccaiH

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tRtIyaH sargaH ] 279 gAyadbhiH / ' devagAnasya gAndhAragrAmatvAttArataraM gAyadbhirityarthaH ' iti meghadUtaTIkAyAM mallinAthaH / kinnaraiH kavisamayaprasiddhaiH gAyakairdevavizeSaiH sArdhaM sAkaM / sahetyarthaH / yaH puNyapAkaH iSTAn abhilaSitAn kAmAn kAmabhogAn upanayati janayati prApayati vA taM prAktanaM prAgbhave samutpannaM puNyapAkaM puNyaphalaM / prAgbhavopArjitapuNya krmphlmityrthH| sphuTaM pravyaktaM yathA zaMsanti stutiviSayatAM nayanti / Where the attendants of Kubera, possessing inexhaustible treasures in their houses (i. e. mansions), having nothing left to be satisfied with (or resting saiisfied), along with the Kinnaras, possessing sweet voice, singing loudly the glory of Kubera, announce ( declare ) clearly the maturity of the Karmans (offering objects agreeable to desire), bound with soul on account of the meritorious acts done intentionally in former births. yasyAM mandrAnakapaTuvai badhitA vittabhartu tyA bhRGgaiH samamupahitaprItayaH kAmadAyi / vaibhrAjAkhyaM vibudhavanitAvAramukhyA sahAyAH baddhAlApA bahirupavanaM kAmino nirvizanti // 5 // anvayaH - yasyAM mandrAnakapaTuravaiH bodhitAH, bhRGgaiH samaM upahitaprItayaH, vibudhavanitAvAramukhyAsahAyAH, baddhAlApAH, kAminaH, vittabhartuH bhRtyAH vaibhrAjAkhyaM kAmadAyi bahirupavanaM nirvizanti / " yasyAmityAdi / yasyAM vaizravaNanagaryAmalakAyAM mandrAnakapaTuravaiH gambhIrapaTupaTaharaH / mandrAH gambhIrAH / ' mandrastu gambhIre ' ityamaraH / paTavaH tIkSNAzca te ravAH dhvanayazca ptturvaaH| 'paTurvAgmini nIroge tIkSNe dakSe sphuTe triSu / paTuH puMsi paTole strI chatrAyAM lavaNe paTu' iti vizvalocane / Anakasya paTahasya paTuravAH AnakapaTuravAH / mandrAH AnakapaTuravAH mandrAnakapaTuravAH / AnakaH paTahe bheryo mRdaGge dhvanadambude ' iti vizvalocane / bodhitAH vidrAvitanidrAH bhRGgaiH SaTpadaiH samaM saha upahitaprItayaH mitratvamupagatAH / janitamitrabhAvAH ityarthaH / vibudhavanitAvAramukhyA sahAyAH devAGganAvArastrIsahagAminIkAH / vibudhAH devAH / ' amarA nirjarA devAstridazA vibudhAH surAH' ityamaraH / teSAM vanitAH striyaH / ' strI nArI vanitA mugdhA' iti dhanaJjayaH / apsarasaH ityarthaH / tAH eva vAramukhyAH vArastriyaH / ' vArastrI gaNikA vezyA rUpAjI 1

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280 [ pArdhAbhyudaye vA'tha sA janaiH / satkRtA vAramukhyA syAt kuTTanI zambhalA same' ityamaraH / tAH sahAyAH sahagAminyaH yeSAM te| yadvA tAbhiH saha ayaH gamanaM yeSAM te / baddhAlApAH viracita. saMlApAH viracitagoSThayaH vaa| kAminaH prAdurbhUtakAmavAsanAH vittabhartuH dhanadasya bhRtyAH anucarAH vaibhrAjAkhyaM vaibhrAjanAmadheyaM / caitrarathasya kuverodyAnasya nAmAntaramidam / kAmadAyi kAmavAsanodbhAvakaM abhilaSitapradAnena santoSajanakaM vA / bahirupavanaM bAhyodyAnaM nirvizanti anubhUtigocaratAM nayanti / Where the passionate attendants of Kubera, awakened by the shrill and deep sounds of tabor, possessing love for bees (fond of bees), accompained by celestial women playing the harlot, engaged in conversation, enjoy the outer garden, exciting passion (or fulfilling desires ), known as Vaibhraja. yasmin kalpadrumaparikaraH sarvalokopabhogyA niSTAnbhogAnsukRtini jane zamphalAnpamphulati / vAsazcitraM madhu nayanayovibhramAdezadakSaM puSpoddhedaM saha kisalayabhUSaNAnAM vikalpam // 6 // anvayaH- yasmin kalpadrumaparikaraH citraM vAsaH, nayanayoH vibhramAdezadakSaM madhu, kisalayaiH saha puSpodbheda, bhUSaNAnAM vikalpaM, iSTAn sarvakAlopabhogyAn zamphalAn bhogAn sukRtini jane pamphulIti / . yasminnityAdi / yasmin vaibhrAjAkhyavanapradeze kalpadumaparikaraH devadrumapracayaH / kalpadrumANAM parikaraH smuuhH| 'samUhArambhayoH pragADhagAtrikAbandhe ca parikaraH' iti kSIrasvAmyamaraTIkAyAm / tathA coktaM- vRndaprAbhavayozcaiva paryaGkaparivArayoH / Arambhe ca paristAre bhave parikarastathA // ' citraM manoharaM nAnAvarNa vaa| vAsaH vastraM / na yanayoH netrayoH vibhramAdezadakSaM kaTAkSopadezadAne caturaM / vibhramANAM kaTAkSANAM netraparivartanavidhInAM vA AdezaH upadezaH anuzAsana vA / tatra dakSaM nipuNaM vibhramAdezadakSaM / madhu madyAGgAbhidhAnakalpavRkSapradattaH anutpannajanturAzI rsvishessH| sa eva madhvabhidhAnaM dhatte / kisalayaiH pallavaiH saha samaM puSpodbhadaM puSpaprasUti bhUSaNAnAM alaGkArANAM vikalpaM vizeSa iSTAn abhikAGkitAn sarvakAlopabhogyAn sarvappabhogArhAn / sarveSu kAledhUpabhogyAn upabhoktuM yogyAn / zamphalAn

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tRtIyaH sargaH] 281 sukhajanakAn / zaM sukhaM phalaMti niSpAdayantIti zamphalAH / zami vAci khutvAbhAvAd dhoraTtyaH / 'zamyastho dhoH khau' iti prApto'tyaH pratiSiddhaH / bhogAn bhogvissyaan| bhogyAnityarthaH / sukRtini jane puNyabhAgjanArthe / sukRtaM puNyaM asya astIti sukRtI / 'ato'nekAcaH' iti in / 'hetau sarvAH prAyaH' iti Ip / pamphulIti atyathai niSpAdayati / phaldhoIli piti ge 'yad turustobahulaM' iti pito gasya IDAgamaH / 'carphalAmuccAtaH' iti casya nugAgamo dhoruGo'tazcotvam / ' nazvApadAnte jhali' iti nuko'nusvAraH / atyartha phalati niSpAdayatItyarthaH / pamphalItIti pATo bhrAntaH, yadi yaGkupi ca dhoruDo'ta uttvasya vidhAnAt / In which the grove of wishfulfilling trees procreate in abundance for the righteous beautiful (or multi-coloured) garments, liquor capable of giving instructions to the eyes in connection with charming movements, the blossoming of flowers along with sprouts, a variety of ornaments, the longed-for objects of enjoyment worthy of being enjoyed for all times ( and ) producing happiness. rucyAhAraM rasamabhimataM sragvikalpaM vipaJcI mAhAryANi svaruciracitAnyaMzukAnyaGgarAgam / lAkSArAgaM caraNakamalanyAsayogyaM ca yasmin ekaH sUte sakalamabalAmaNDanaM kalpavRkSaH // 7 // anvayaH- yasmin ekaH kalpavRkSaH rucyAhAraM, abhimataM rasa, sragvikalpaM, vipaJcI, svaruciracitAni AhAryANi aMzukAni, aMgarAgaM, caraNakamalanyAsayogyaM lAkSArAgaM sakalaM ca abalAmaNDanaM suute| rucyAhAramityAdi / yasmin caitrarathAparAbhidhAne vaibhrAjAkhyavanapradeze ekaH kalpavRkSaH ekaH devadrumaH rucyAhAraM svAdyamAhAraM / rucyaH svAdyazcAsau AhAraH bhojanaM ca rucyAhAraH / tam / abhimataM abhISTaM rasaM rasavizeSa sragvikalpaM mAlAprakAraM vipaJcI vllkiiN| 'vINA tu vallakI / vipaJcI, sAtu tantrIbhiH saptabhiH parivAdinI / tataM vINAdikaM vAdyaM' ityamaraH / svaruciracitAni svecchAnirmitAni / svA svIyA ruciH icchA svaruciH / 'ruciricchA rucA ruktA zobhAbhiSvaGgayorapi' iti vizvalocane / AhAryANi manohArINi aMzukAni vastrANi aGgarAgaM saugandhyabandhuraM vilepanaM caraNakamalanyAsayogyaM kamalopamacaraNavinikSepArha / caraNe kamale

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282 [pArdhAbhyudaye iva caraNakamale / tatra nyAsaH nikSepaH / tasya yogyaH / tam / lAkSArAgaM alaktakarasarUpaM raJjanadravyaM / rajyate anena iti rAgaH / raJjanadravyamityarthaH / lAkSA alaktakaH eva rAgaH raJjanadravyaM lAkSArAgaH / tam / 'lAkSA rAkSA jatu klIve yAvo'lakto drumAmayaH' ityamaraH / sakalaM ca samastameva abalAmaNDanaM yoSitAM prasAdhanasAdhanaM sate janayati / AhArAdikaM prANadhArya, mAlAdikaM kaNThadhArya, vallakI karNAkarNanIyAM, aMzukAni kaTidhAryANi, aGgarAgaM dehadhArya, lAkSArAgaM caraNadhArya kalpavRkSaH ekaH eva yataH janayati tatastasya sakalAbalAlaGkArajanakatvaM prasidhyatIti bhaavH| 'kacadhArya dehadhArya paridheyaM vilepanaM / caturdhA bhUSaNaM prAhuH strINAmanyacca daizikam' iti rasAkare / Wherein the wish-fulfilling tree alone generates the complete decoration of women, delicious food, juice agreeable to taste, a variety of garlands, a lute, beautiful garments so prepared as to agree with one's natural taste, a scented cosmic, lac-dye worthy of being applied to the lotus-like feet. bhUmiM spraSTu drutamukhakhurA gahlamAnA ivA'mI patrazyAmA dinakarahayaspardhino yatra vAhAH / mandAkrAntA digibhavibhubhiH spardhamAnA ivocaiH zailodagrAstvamiva kariNo vRSTimantaH prabhedAt // 8 // anvayaH- yatra drutamukhakhurAH bhUmi spraSTuM gahamAnAH iva patrazyAmAH amI vAhAH dinakarahayaspardhinaH, prabhedAt tvaM iva vRSTimantaH zailodagrAH mandAkrAntAH kariNaH digibhavibhubhiH uccaiH spardhamAnAH iva / bhUmimityAdi / yatra alakApuryA drutamukhakhurAH pracalatpUrvakAyAH vegvcchphaashc| drutamukhAzca te drutakhurAzca drutamukhakhurAH / gatimattvAccalapUrvakAyAH vegavakhurAzcetyarthaH / bhUmi bhuvaM spraSTuM sparzanAya gahamAnAH iva garhamANAH iva / 'galAdInAM bahulam' iti bAhulakasya vidhAnAt sampradAnasyApravRttau 'vuNtumlaT kriyAyAM tadarthAyAM' iti tum / patrazyAmAH palAzavaddharitavarNAH amI te vAhAH ashvaaH| 'vAho'zvasturago vAjI' iti dhnnyjyH| dinakarahayaspardhinaH dinkrturgsdRshaaH| dinakarasya sUryasya iyAH turagAH dinkrhyaaH| taiH spardhante samatAM yAntIti dinakarahayaspardhinaH / vyomasaJcArAdyapekSayoktiriyam / prabhedAt anyonyapratighAtAt, pakSe madodbhedajanitanAvAt / tvaM iva bhavAniva vRSTimantaH janitavRSTayaH / yathA'nyonyapratighAtAt meghAH

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tRtIyaH sargaH] 283. vRSTiM janayanti tathA madodbhedAtkariNo'pi madavRSTiM janayantIti bhAvaH / zailodaprAH alvduntshriiraaH| zailavadudagrAH unnatAH shailodgraaH| mandAkrAntAH. mandamandagatavaH / mandaM AkrAntaM AkramaNaM gamanaM yeSAM te mandAkrAntAH / 'nabhAve kto'bhyAdibhyaH' iti bhAve nm| kariNaH gajAH digibhavimubhiH diggajazreSThaiH / digibhAH diggajAH eva vibhavaH digibhavibhavaH / taiH| uccaiH atyartha spardhamAnAH spadhI kurvantaH / santIti zeSaH / tulyabalAdibhirvirodhaH spardhA / Where the horses, with their foreparts moving and the hoops. attaining a high speed ( at full speed ), having as if dislike for touching the earth, dark-green like leaves, claim to be as good as the horses of the sun, and the elephants, resembling you pouring showers of rain. on accouut of your being dashed against the others, owing to their rut flowing down on acconnt of their being in rut, lofty like mountains, slow of paco, rival as if very much with the lords of elephants presiding over the quarters. manye te'pi smaraparavazAH kAminIdRSTibANe rjAyeranye tvamiva munayo dhIdhanA yatra ke'mI / yodhAgaNyaH pratidazamukhaM saMyuge tasthivAMsaH pratyAdiSTAbharaNarucayazcandrahAsatraNAkaiH // 9 // anvayaH- yatra anye munayaH ye tvaM iva dhIdhanAH te amI kAminISTibANaiH smaraparavazAH jAyeran (tatra) candrahAsatraNAGkaH pratyAdiSTAbharaNarucayaH saMyuge pratidazamukhaM tasthivAMsaH amI yodhAgraNyaH ke ? manye ityaadi| yatra vaizravaNarAjadhAnyAmalakApuryA anye itare munayaH tapodhanAH ye tvaM iva bhavAniva dhIdhanAH jJAnasampadaH / dhIH jJAnameva dhanaM yeSAM te dhIdhanAH / te amI kAminISTibANaiH kAminIkaTAkSabANaiH / kAminInAM kAmAkulAnAM strINAM dRSTayaH kaTAkSA kaaminiidRssttyH| tAH eva bANAH iSa vastaiH / smaraparavazAH kAmAkula cittaaH| smarasya kAmasya paravazAH vshNgtaaH| jAyeran bhaveyuH tatra candrahAsavraNAH dazamukhakhaDkRtavraNacihnitaH / candrahAsasya rAvaNasvAbhikakhaGgasya khaDasAmAnyasya vraNAH candrahAsatraNAH / te eva aGkAH cihnAni yeSAM te / taiH / 'candrahAso dazagrIvakhar3e khar3e ca dRzyate' iti vizvalocane / pratyAdiSTAbharaNarucayaH parityaktAlaGkArakAGkSAH / w

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284 [ pArzvAbhyudaye pratyAdiSTAH pratyAkhyAtA AbharaNasya rucayaH icchAH yAbhistAH / saMyuge yuddhe / raNabhUmAvityarthaH / pratidazamukhaM dazamukhapratipanthipakSe / daza mukhAni yasya saH dazamukhaH rAvaNaH / dazamukhaM prati abhimukhaM pratidazamukhaM / 'lakSaNenAbhimukhye'bhipratI ' iti Abhimukhye'rthe pratizabdasya lakSaNavAcinA saha hasaH / tasthivAMsaH pUrvakAle sthitAH / tasthuriti tasthivAMsaH / vasuH / amI te yodhApraNyaH yuyudhAnAgresarAH / yodhAnAM agraNyaH yodhAgraNyaH / agre nayatIti agraNIH / ' kvip' iti kvip / 'grAmAgrAnnIH ' iti nInakArasya NaH / ke kiyantaH / yatra dhIdhanamunayo'pi kAmavAsanA vyAkulIbhUtamanasaH bhavanti tatrApratyAkhyAtakaSAyANAM yodhAgresarANAM kA kathA ? te tatra avazyaM smaraparavazAH bhaveyuriti bhAvaH / Of what account would there be the foremost warriors, come into antagonism with the ten-mouthed one (i. e. Ravana) in the battle (lit. stood against the ten-mouthed one in the battle), repudiating desire for ornaments owing to the scars of wounds inflicted (upon them) by swords (or by the Chandrahasa), where other sages, possessing wealth in the form of knowledge like you, are under a spell of love on account of their being pierced through by the arrows in the form of the glances cast by the love-lorn ladies ? kAmasyaivaM prajananabhuvaM tAM purIM pazya gatvA mithyA loko vadati jaDadhIrnanvidaM lokamUDham / matvA devaM dhanapatisakhaM yatra sAkSAdvasantaM prAyazcApaM na vahati bhayAnmanmathaH SaTpadajyam // 10 // anvayaH - yatra dhanapatisakhaM devaM sAkSAt vasantaM matvA bhayAt manmathaH SaTpadajyaM cApaM prAyaH na vahati ( iti ) loka: mithyA vadati / nanu idaM lokamRDham / evaM kAmasya prajananabhuvaM tAM purIM gatvA pazya / kAmasyetyAdi / aa kauryA dhanapateH kuberasya sakhA dhanapatisakhaH / devaM trinayanaM rudraM sAkSAt pratyakSeNa / vasantaM sthitimantaM matvA jJAtvA bhayAt rudrAdbhIteH manmathaH kAmadevaH / mananaM 8 sAkSAt " mat / cetanetyarthaH / hanmanyamramnamgamvanatitanAderDakhaM jhali ' iti Dakhe tuk rAjadhAnyAM ghanapatisakhaM kuberamitra 1 ( rAjAhaH sakheSTaH ' iti SAt TaH / > pratyakSatulyayoH ityamaraH / tam /

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tRtIyaH sargaH ] 285 > , manAtIti mathaH / mattaH manasaH mathaH manmathaH / madano manmatho mAraH pradyumno maniketanaH / kandapa darpako'naGgaH kAmaH paJcazaraH smaraH ityamaraH / SaTpadajyaM bhramaramaurvIkaM / SaTpadAH bhramarAH eva jyA maurvI yasya saH / tam / ' SaTpada bhramarAlayaH ' iti 'maurvI jyA ziJjinIguNaH iti cAmaraH / cApaM kodaNDaM prAyaH bAhulyena na vahati na dhArayati iti lokaH janaH [ prAyaH bAhulyena ] mithyA asatyaM vadati kathayati / nanu nizcayena | nanu prabhe'vadhAraNe ' iti vizvalocane / idaM alakAvAsinaH rudrasva bhayAt kAmaH kusumakodaNDaM na dhArayatItIdaM lokamUDhaM lokAnAM bhramaH pramAdaH vA / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / tena mauDhyamityarthaH / evaM proktaprakAraNa kAmasya kAmavAsanAyAH prajananabhuvaM utpattisthAnabhUtAM tAM purIM alakAkhyAM tAM prasiddhAM nagarIM gatvA prApya pazya pratyakSeNa vilokaya | 6 Visit and see that city, a place where feelings of love are excited The statment * It is a place where god of love, generally, does not wield a bow having bees for its string through fear provoked on knowing the god, the friend of the lord of wealth, dwelling actually there, ' is falsely made by the people. This is silliness, indeed, of the people. syAdvA satyaM kukaviracitaM kAvyadharmAnurodhAt satyapyevaM sakalamuditaM jAghaTItyeva yasmAt / sabhrUbhaGgaprahitanayanaiH kAmilakSyeSvamoghaistasyA''rambhazcaturavanitAvibhramaireva siddhaH // 11 // vA sabhrUbhaGga prahitanayanaiH, kAmilakSyeSu amoghaiH caturavanitAvibhramaiH eva tasya ArambhaH siddhaH iti evaM api yasmAt kukaviracitaM sakalaM uditaM kAvyadharmAnurodhAt jAghaTIti eva ( tasmAt tat ) satyaM syAt / anvayaH - -- syAdityAdi / vA athavA sabhrUbhaGgaprahitanayanaiH sabhrakuTiviracana prayuktadRSTibhiH / bhuvaH bhrakuTyAH bhaGgaH viracanA bhrUbhaGgaH / tena sahitaM yathA syAt tathA sabhrUbhaGgam / 'jhiH sub-- ' ityAdinA yaugapadye hasaH / sabhrUbhaGga prahitAni prayuktAni nayanAni dRSTayaH yeSu taiH / kAmilakSyeSu / kAminaH kAmAkulAH eva lakSyANi kAmilakSyANi / teSu / amoghaiH saphalaprakSepaiH caturavanitAvibhramaiH eva caturakAminIjanadRgantavilAsaiH / caturAH kuzalAzca tAH vanitAzca caturavanitAH / tAsAM vibhramAH,

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286 [pArdhAbhyudaye dRgantajAtakaTAkSAdirUpA vilaasaaH| taiH eva / 'vibhramastu vilAse syAdvibhramo bhrAntihAvayoH' iti vizvalocane / 'hAvaH zRGgArabhAvAptau ramyoktismitIkSitaM' iti nAmyazAstre / 'kaTAkSaM kekarApAjhaM vibhramastasya vaikRtaM ' iti dhanaJjayaH / 'hAvo mukhavikAraH syAt bhAvazcittasamudbhavaH / vilAso netrajo zeyo vibhramo'tra dRgantayoH' iti dhanaJjayanAmamAlAbhASye / tasya madanasya ArambhaH kAmijanaveghanavyApAraH siddhaH siddhi prAptaH / saphalatAmitaH ityarthaH / iti evaM sati api alakAyAM kAmijanavedhananyApAravati kAme satyapi yasmAt yataH kAraNAt kukaviracitaM / alpajJAH kavayaH kukavayaH, korISadarthatvAt / kavisamayavittve'pi yAthArthyAvaditvAtkavInAmatra kukavatvimadhyavaseyam / ato'tra kaveH kutsitatvaM na grAhya, api tu alpajJatvameva, kavikulagurukAlidAsaviracitameghadUtAkhyakAvyasya apadoSatvasya vidhAnena virodhApatteH / 'matvA devaM' ityAdi yat kAlidAsenoktaM tat kavisamayAnurodhAdevatyavaseyam / kathaM AlaMbanavibhAvAbhAve netrakaTAkSa vikSepAAddIpanavibhAvAbhAve ca madano'moghAyudhAghAtaH syAt ! kathaM vA kAmadevasya kAmilakSyavedhanakriyAbhAve satyapi AlambanavibhAve netrakaTAkSAdInAM kAmilakSyeSvamoghatvaM sambhavet ? kathaM ca puruSANAM kAmAbhAve kAmitvaM sAbhavet ! ataH nAlakAyAM madanAnAvAsaH sambhavati / ataH pUrvazlokokto'bhiprAyo janAnAM mithyeveti bhaavH| kukavinA rAcitaM kalpitaM kukaviracitam / sakalaM uditaM sakalaM varNanaM / udita uktiH / 'nannAve kto'bhyAdibhyaH' iti ktaH nap ca / kAvyadharnAnurodhAt kAvyazAstroktaniyamAnukUlyena jAghaTIti eva bhRzaM ghaTata eva / 'dhoryaG bhRzAbhIkSNe'zubhruceH' iti bhRzArthe baG / 'halo yaH' iti yaGaH yakArasya khaM / 'yaGaporepa dyIkadAhAkaH' iti casya dIH / yaGturustobahulam ' iti IDAgamaH / tasmAt tat manmathAbhAvasya pratipAdanaM satyaM syAt kathaJcit satyaM bhavet , na sarvathA / alakAyAM yaH madanAbhAvaH uktaH sa kAvyazAstrasiddhAntApekSayA yathArthaH syAt , paramArthasatvApekSayA tu na tayeti bhAvaH / 'matvA devaM' ityAdizlokaTIkAyAM ' yadanayaMkaraM pAkSikaphalaM ca tatprayogAdvaraM nizcitasAdhanaprayogaH iti bhAvaH ' iti yanmallinAthenoktaM tadvijJAtuM aMhaM na samarthaH / kiM madanaprakSitAnAM bANAnAM nArthakriyAkAritvam ? kiM teSAM svalpaphaladAyitvameva ! madanasya bhayAkulasya niSkriyatve kAminIkaTAkSaprakSepaH kathaM sAdhyasiddhinibandhanam ? ato malinAthoktiH lokArtha vizadIkartuM nAlamiti me matiH / Though it is so (i. e. incorrect) on account of his (i. e. of the god of love ) job being done by the graceful movements of the limbs themselves of clever women ) glances, themselves, of the clever women,

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tRtIyaH sargaH ] 287 not missing their mark (or not wide of their mark), the lustful persons, with their eyes turned straight (to the lovers) with the knittings of their eyebrows, it may possibly be correct as the whole of the description given by the poets, not informed (or not knowing the facts), is quite possible owing to its being in conformity with the pattern proposed by poetics. syAdAkA bahunigaditaM kastavedaM pratIyAt sadvA'sadvA taditi nanu bhoH pratyayaM te karomi / tatrAgAraM dhanapatigRhAduttareNA'smadIyaM dUrAlakSyaM surapatidhanuzcAruNA toraNena // 12 // 6 anvayaH idaM taba bahunigaditaM kaH pratIyAt / tat sat vA asat vA ? ' iti ArekA syAt / nanu bhoH te pratyayaM karomi / tatra surapatidhanuzcAruNA uttareNa toraNena dhanipatigRhAt dUrAt lakSya asmadIyaM agAraM ( vartate ) / - syAdityAdi / idaM pUrvavarNitaM tava bhavataH bahunigaditaM bAhulyena pratipAdanaM kaH pratIyAt visrambheta ? na ko'pItyarthaH / tat bahunigaditaM sat vA satyaM vA asat vA mithyA vA iti evaMvidhA ArekA sandehaH syAt bhavanmanasi utpadyeta / nanu nizcayena bhoH mune te bhavataH pratyayaM visrambhaM karomi niSpAdayAmi / tatra alakApuryAM surapatidhanuzcAruNA indradhanussundareNa / surANAM devAnAM patiH surapatiH indrH| tasya dhanuH kodaNDaM iva cAru manoharaM / tena / yadvA surapatidhanuSA hetubhUtena cAru / tena / toraNadvArakhacitamaNikiraNotkarotsargajanitena kodaNDAkAreNa manohareNa / uttareNa unnatatareNa toraNena baddirdvAreNa dhanapatigRhAt vaizravaNaprAsAdAt dUrAt dUradezAt lakSyaM dRzyaM asmadIyaM asmatsvAmikaM / asmAkamityarthaH / dozchaH' iti cha, asmanchandasya ' tyadAdi ' iti dusaJjJatvAt / agAraM gRhaM vartate iti zeSaH uttareNa iti pAThasya "vaino'dUre'kAyAH ' itisUtroktanatyAntatvagrahaNe ' ip cainena ' iti sUtrAnusAreNa ' dhanapatigRhAt ' iti pAThasya sthAne 'dhanapatigRhAn ' iti ibantena pAThena bhAvyaM, anyathA kAntapAThasyAnAryatvaprasaGgAt / kAnto'yaM pAThaH bahuSu prAktanaMpratiSu dRkpathamavatarati / atra viSaye " kathaM tarhi ' tatrAgAraM dhanapatigRhAduttareNA'smadIyam ' iti ? uttareNetyetad 'dUrAlakSyaM surapatidhanuzcAruNA toraNena ' iti toraNasamAnAdhikaraNaM tRtIyAntaM na tvenavantamityAhuH " iti tattvabodhinyAmuktam / 5 "

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288 [pArdhAbhyudaye. 'uttareNa' iti bhAntasya 'toraNena' iti bhAntapadena sAmAnAdhikaraNye na kA'pi kSatiH, toraNasya dUrAlakSyatve tadunnaterhetubhUtatvAt / ato'tra niraGkuzAH kavayaH' ityuktina smaashrynniiyaa| If you have a doubt who can helieve in this, the description given at length by you? . Is it correct or otherwise?' O sir! I shall verily settle your belief. Our ancestral palatial building, discernible from a long distance from the palace of the lord of wealth on account of the lofty archway looking beautiful owing to the Indra's bow (formed by the rays emanating froin the jewels inlaid in the door) puSpodgandhiMdukisalayo bhRGgasaGgItahArI sAndracchAyaH slildhrnnopaantpustainnshaavH| yasyodyAne kRtakatanayo varddhitaH kAntayA me hastaprApyastabakanamito bAlamandAravRkSaH // 13 // anvayaH- yasya udyAne puSpodgandhiH, mRdukisalayaH, bhRGgasaGgItahArI, sAndracchAyaH, saliladharaNopAntapustaiNazAvaH, me kAntayA vardhitaH kRtakatanayaH, hastaprApyastabakanamitaH bAlamandAravRkSaH (asti)| puSpodgandhirityAdi / yasya bhAsmAkInagRhasya udyAne ArAme pusspodgndhiH| udgataH gandhaH yasya sa udgandhiH / 'supUtyutsurabherguNasya gandhasyeH' iti basatvAdgandhasyaH sAntaH / puSpaiH udgandhiH pusspodgndhiH| saJjAtapuSpatvAtprAdurbhUtasaurabhaH ityarthaH / mRdukisalayaH komalapallavaH / mRdUni sukumArANi kisalayAni pallavAni yasya sH| 'pallavo' strI kisalaya' itymrH| bhRnggsnggiithaarii| bhRGgAH bhrmraaH| teSAM saGgItaM guJjAravaH saGgItopamaH / bhRGgaguJjAravasya manohAritvAtsaGgItopamatvamatrAvaseyam / saGgItamiva snggiitm| 'devapathAdibhyaH' itIvArthasya kasyos 'yuktavadusi liGgasaGkhye' iti napuMsakatvam / tena hArI manoharaH bhRGgasaGgItahArI / sAndracchAyaH niviDacchAyaH / sAndrA nibiDA cchAyA yasya saH / saliladharaNopAntapustaiNazAvaH / salilaM dharati dhriyate vAnena iti saliladharaNaM / 'vyAnaD bahulaM' iti kartari karaNe vA'naT / AlavAlamityarthaH / pusyate abhimRdyate mRdatra pustaM / lepyakarmetyarthaH / 'pustaM tu pustake klIva vijJAne lopyakarmaNi' iti vishvlocne| pustaM lepyakarma asya astIti pustH| 'o'bhrAdibhyaH' ityaH / lepyakarmavinirmitaH ityarthaH / eNazAvaH mRgshishuH|

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tRtIyaH sargaH ] 289 'kRSNasAra rurunyaGkura Gkuza mbararauhiSAH / gokarNa pRsstainnyere| hitAzcamaro mRgAH' ityamaraH / ' pAteH pAko'rbhako DimbhaH pRthukaH zAvakaH zizuH ' ityamaraH / saliladharaNasya upAntaH saliladharaNopAntaH / tatra pustaH eNazAvaH yasya saH saliladharaNopAntapustaiNazAvaH / eNasya zAvaH pRthukaH eNazAvaH / pustazcAsau eNazAvazca pustaiNazAvaH / AlovAlopAntapradezasthitalepyakarmanirmitamRga zizurityarthaH / me mama kAntayA vallabhayA varddhitaH vRddhiM nItaH / jalakhalavigalitagomayAdipradAnena vRddhiM nItaH ityarthaH / kRtakatanayaH putrIkRtaH hastaprApyastabakanamitaH hastApaneyagucchabhAranamrIkRtaH / hastena prApyAH apaceyAH hastaprApyAH / te ca te statrakAH gucchAzca / taiH namitaH namrIkRtaH / bAlamandAvRkSaH taruNaH kalpataruH / astIti zeSaH / In the garden of which there stands a young Mandara tree, giving out fragrance of flowers, having delicate foliage, possessing charm owing to the songs sung by bees, having pleasant shadow, possessing in the vicinity of its basin a mould of a fawn made by plastering, reared up by my wife as an adopted son, bent down owing to the clusters (of flowers) worthy of being plucked by hand (i. e. within reach of hand). nAshaM daityo na khalu divijaH kinnaraH pannago vA vAstavyo'haM dhanadanagare guhyako'yaM madIyA | vApI cA'sminmarakatazilAbaddha sopAnamArgA maiH sphItA vikacakamale dIrgha vaidUryanAlaiH // 14 // anvayaH - ahaM na daityaH, na khalu divijaH, kinnaraH pannagaH vA; ayaM ahaM dhanadanagare vAstavyaH guhyakaH / asmin ca marakatazilAbaddhasopAnamArgA, dIrghavaidUryanAlaiH haimaiH vikacakamalaiH sphItA madIyA vApI [ asti ] | netyAdi / ahaM na daityaH asuraH / na khalu naiva divijaH devaH / kinnaraH devayonivizeSaH pannagaH vA nAgadevaH vA / nAsmIti zeSaH / ayaM ahaM eSo'haM dhanadanagare 1 kuberarAjadhAnyAM alakAyAM vAstavyaH nivasan / kRtanivAsaH ityarthaH / ' vyAnaDbahulam ' iti kartari vyaH / guhyakaH yakSaH / asmin ca asmadIyagRhodyAne ca marakatazilAbaddhasopAnamArgA gArutmatazilA viracitasopAnaparamparA / marakataH gArutmataH / tasya zilAbhiH pASANaiH AbaddhAni sopAnAnyeva mArgaH yasyAH sA / ' gArutmataM marakataM ' pArzvAbhyudaye....19

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290 [pArdhAbhyudaye ityamaraH / dIrghavaidUryanAlaiH / vaidUryANi ca tAni nAlAni ca vaidUryanAlAni / dIrghANi vaidUryanAlAni yeSAM tAni dIrghavaidUryanAlAni / taiH / vidUrAt parvatAt prabhavatIti vaidUryo mnniH| 'vaidUryaH' iti parvatavAcinaH vidUrazabdAvyaH nipAtitaH / 'vaiDUryaH' iti pAThaH bhraantH| " tataH prabhavatIti anuvartate / vidUrazabdAcyo bhavati / aNopavAdaH / vidrAt prabhavati vaidUryo maNiH / yadi prathamaM bhavati prabhavatItyucyate vAlavAyAgireraso prabhavati, na virAnagarAt / kathaM tatastyopattiH ? evaM tarhi -'vAlayAyo vidUraM ca prakRtyantarameva vA / naivaM tatreti ced brUyAt jitvarIvadupAcaret / ' vAlavAyastyaM labhate vidUramAdezaM ca / yathA zivAdiSu vizravaHzabdo vizravaNaravaNAdezau aNaM ca labhate / prakRtyantarameva vA vAyavAyasya viduurshbdH| avyavikanyAyena vidUrAdeva tyaH / naivaM tatreti ced brUyAt jitvarIvadupAcaret / yathA vANijAH vArANasI jitvarIti maGgalArthamupAcaranti evaM vAlavAyo'pi upacArAdvidUrazabdenoktaH / athavA vidUrAdeva maNitvena prabhavati / " ityuktaM jainendramahAvRttau / tatvabodhinIkArairapi "vaidUrya iti dantyamadhyo'yaM zAdvalavat, na tu nalavanmUrdhanyamadhyaH / nanvatrArthAsaGgatiH / bAlavAyaparvatAdasau prabhavati, vidUranagare tu saMskriyate / satyam / ata eva samAhitaM bhASye / 'bAlavAyo vidUraM ca prakRtyantarameva vaa| na vai tatreti cedvyAjitvarIvadupAcaret' iti / asyA'rthaH / bAlavAyazabdaH pratyayaM labhate vidUra-(rA)-dezaM ca, sUtre paThitenAdezAnurUpaH sthAnI bAlavAyazabdaH AkSipyate / yathA zivAdiSu paThitAbhyAM vizravaNaravaNAdezAbhyAM anurUpaH sthAnI vizvavaszabdaH AkSipyate, yathA vA 'paddanna-' ityAdau padAdyAdezAnurUpaH sthAnI pAdadantAdirAkSipyate tadvat // prakRtyantarameveti / vidUrazabdo nagarasyeva parvatasyA'pi vAcako'stItyarthaH / evaM cA'sminpakSe 'bAlavAyAtprabhavati' iti vigrahe vidUrazabdapratyayaH iti vyAkhyAnaklezo neti bhaavH| na vA iti / vaizabdo'kSamAM dyotayati / tatra parvate vidUrazabdo'prasiddhaH iti cedvyajitvarIvayavaharet / niyatapuruSApekSo hi vyavahAro dRzyate, yathA vaNija eva vArANasI jitvarIti vyavaharanti evaM vaiyAkaraNA evAdriM vidara iti" iti uktaM / uktaM cAnyenA'pi kenacit " viDUragrAme hyayaM saMskriyamANo maNitayA tataH prathamaM prabhavati / bAlavAyAttu parvatAdasau prabhavanna maNiH, kintu pASANaH / yadA tu jAyamAnatArthaH prabhavazabdaH tadA bAlavAyazabdasya vyH| tatsanniyoge viDUrA deshshciinpaatyte| vAlavAyaparyAya eva viDUrazabdaH / pratiniyataviSayAzca rUDhayaH iti vaiyAkaraNAnAmeva prasiddhiH" iti / vaidUryasya vikAraH vaidUrya / vaidUrya iva vaidUrya / vaidUryavikAro'tra vaidUryamaNiraciMtAH alaGkArAH / vaidUryamaNijanitAlaGkaraNAnIva nAlAni vaidUryanAlAni / atra vaidUryanAlayoH sArUpyaM sAvarNAdityavaseyam / zabdArNavazAkaTAyanayoH 'vaiDUryaH' ityeva

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tRtIyaH sargaH 291 sUtritaM / haimaiH suvarNasavarNaiH / hemnaH vikAraH avayavo vA haimaM / haimamiva haimaM / 'hamAdibhyo'J' ityaJ / vikacakamalaiH vikasitasarasIruhaiH / sphItA vyAptA madIyA mAma. kInA / 'dozchaH' iti chaH / vApI dIrghikA / astIti zeSaH / I am neither a demon nor verily a god; neither a Kinnara nor a Pannaga. I, this person, am the Guhyaka, a resident of the city of Kubera. In it (i. e. in the garden), there is a tank, having flight of steps built of emerald slabs, abounding in full-blown lotuses resembling those made of gold and having long stocks resembling those made of Vaidurya ( gems ), owned by me. tAM jAnIyAH kamalarajasA dhvastatApAM tatApAM matpuNyAnAM sRtimiva satIM vApikAM vistRtormim / tasyAstoye kRtavasatayo mAnasaM sannikRSTaM nAdhyAsyanti vyapagatazucastvAmapi prekSya haMsAH // 15 // anvayaH - yasyAH toye kRtavasatayaH vyapagatazucaH haMsAH tvAM prekSya api sannikRSTaM mAnasaM na adhyAsyanti, tAM kamalarajasA dhvastatApAM tatApAM vistRtomi satIM vApikAM matpuNyAnAM sRrti iva jAnIyAH / 8 tAmityAdi / yasyAH dIrghikAyAH toye salile kRtavasatayaH vihitAdhivAsAH / kRtA vihitA vasatiH adhivAsaH yaiH te / vyapagatazucaH vItazokAH / vyapagatAH vigalitAH zuca zokAH vyapagatazucaH / 'manyuzokau tu zuk striyAm' ityamaraH / haMsAH marAlAH tvAM bhavantaM prekSya api vilokyApi sannikRSTaM samIpadezasthitaM / adhvazramamantareNa prApyamityarthaH / mAnasaM mAnasAbhidhAnaM saraH na adhyAsyanti notkaNThayA smariSyanti / " AdhyAnamutkaNThApUrvakaM smaraNam' iti kAzikAyAm " iti malinAtheoktam / tAM vApikAM kamalarajasA sarojarajasA dhvastatApAM naSTagrISmAtapAM / dhvastaH naSTaH tApaH grISmAtapaH yasyAH sA / tAm / tatApAM vistRtasalilAM / tatAH vistAraM prAptAH ApaH yasyAH sA tAm / vistRto maiM vizAlakallolamAlAkulAM / vistRtAH UrmayaH yasyAH sA / tAm / satIM zobhanAM vApikAM dIrghikAM matpuNyAnAM mama sukRtAnAM sRtiH iva saraNimiva / ' sRti strI gamane mArge kupUrvA nikRtau sRtiH iti vizvalocane / jAnIyAH jAnIhi / ,

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[ pArzvAbhyudaye Take the beautiful tank, neutralizing (nullifying) heat with the pollens of lotuses, having water spreading wide, possessing ample waves, the swans having fixed their residence in the waters of which with their distress dispelled do not anxiously call to their mind the Manasa lake (though) near at hand even on seeing you, to be the divulgence of my Karman (bound with my soul through good acts done by me in my former births.) 292 anyaccAsminnupavanadhane madgRhopAntadeze syAdAkhyeyaM mayaki sutarAM pratyayo yena te syAt / tasyAstIre vihitazikharaH pezalairindranIlaiH krIDAzailaH ThaH kanakakadalIveSTanaprekSaNIyaH // 16 // anvayaH - asmin upavanaghane madgRhopAntadeze anyat ca AkhyeyaM syAt yena mayaki te sutarAM pratyayaH syAt / tasyAH tIre pezalaiH indranIlaiH vihitazikharaH kanaka kadalIveSTanaprekSANayaH krIDAzailaH ( asti ) / 6 ArAmaH C anyadityAdi / asmin etasmin upavanaghane kRtrimaiH vRkSasamRhaiH nirantare / upavanaM kRtrimaH vRkSasamUhaH / taiH ghanaH nirantaraH upavanadhanaH / tasmin / syAdupavanaM kRtrimaM vanameva tat' ityamaraH / karaNena nirvRttaH kRtrimaH vRkSasamUhaH / samIpa vanasya upavanam, tulyatvena naikTyAt ' iti kSIrasvAmI / ' kAThinye cA'tha kaThine sAndre'pi ca ghanastriSu ' iti vizvalocane / madgRhopAntadeze AsmAkInagRhasamIpapradeze / mama gRhaM madgRhaM / tasya upAntadezaH / tasmin / anyat va aparaM api AkhyeyaM varNanArha syAt asti yena varNanArheNa mayAka ajJAte mayi te tava sutara atyarthaM pratyayaH visrambhaH syAt bhavet / tasyAH dIrghikAyAH tIre tIrapradeze pezalaiH manoharaiH / saundaryayuktairityarthaH / ' pezalo rucire dakSe cAruzIle'pi vAcyavat ' iti vishvlocne| indranIlaiH indranIlamaNivizeSaiH vihitazikharaH racitasAnuH / vihitaM racitaM zikharaM zRGgaM yasya saH / kanakakadalIveSTanaprekSaNIyaH suvarNasavarNarambhArabdhAvaraNadarzanIyaH / kanakakadalInAM veSTanenAvaraNena prekSaNIyaH darzanIyaH / krIDAzailaH krIDAprayojanaH parvataH / astIti zeSaH / In the adjoining region, crowded with groves of trees, of my mansion, there is something else worthy of being described, whereby

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tRtIyaH sargaH] you will repose much more confidence in me, not known to you, and that is a pleasure-hill on its bank, with its peak built with beautiful sapphires, worthy of being looked at owing to the golden plantain trees forming its hedge. ratyAdhAro ratikara ivottuGgamUrtirvinIla: __ zailo mUle kanakaparidhirme mano'dyA'nuzAsat / maddehinyA priya iti sakhe cetasA kAtareNa prekSyopAntasphuritataDitaM tvAM tameva smarAmi // 17 // anvayaH - sakhe ! upAntasphuritataDitaM tvAM prekSya (yaH ) ratyAdhAraH ratikaraH iva uttuGgamUrtiH, vinIlaH, mUle kanakaparidhiH, me manaH adya anuzAsat taM eva madhinyAH priyaH iti kAtareNa cetasA smarAmi / ratyAdhAra ityAdi / sakhe bho mitra ! upAntasphuritataDitaM prAntapradezaprakaTitakSaNAceM / upAnte prAntapradeze sphuritA cakAsitA taDit saudAmanI yasya saH / tam / tvAM bhavantaM prekSya vilokya yaH ratyAdhAraH ratikrIDAsthAnaM / ratikaraH iva ratikaradharAgharaH iva uttuGgamUrtiH atyunnatakAyaH / uttuGgA atyunnatA mUrtiH zarIraM yasya sH| 'mUrtiH kAye'pi kAThinye mRtyuyAcitayormatam' iti vizvalocane / vinIlaH vizeSeNa niilvrnnH| mule parvatopAsannadeze / upatyakAyAmityarthaH / kanakaparidhiH kiMzukacaMpakanAgakesarAdivRkSapariveSTitaH sauvarNaparidhirvA / me manaH mama manaH adya anuzAsat AkarSan / taM eva krIDAzailaM eva maddehinyAH asmadIyagRhiNyAH priyaH iti abhimato'stIti hetoH kAtareNa prakampitena cetasA manasA smarAmi smRtiviSayatAM nayAmi / Oh friend I on seeing you, with lightning emitting sudden transitory blaze in your sides, I remember that very pleasure-hill, the abode of sexual enjoyment, possessing a form lofty like that of the Ratikara mountain, dark-blue, having a golden enclosure at its foot, dominating over my mind today, with a tremulous heart, as it was a favourite of my beloved. tanme vAkyAdapagatabhayastvaM vyavasyA''tmanInaM tIrthe dhvAkSa sthitamapanudansyAH sthirAtmA madukte /

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294 [ pArdhAbhyudaye tatraivA''ste tava ca dayitA lapsyate labdhajanmA tanvI zyAmA zikharidazanA pakkabimbAdharoSThI // 18 // anvayaH---tat me vAkyAt apagatabhayaH tvaM AtmanInaM vyavasya tIrthe sthita dhvAkSaM apanudan madukte sthirAtmA syaaH| tanvI zyAmA zikharidazanA pakkabimbAdharoSThI tava dayitA tatra eva Aste (tvayA tatra eva sA) lapsyate ca / tadityAdi / tat tasmAt kAraNAt me mama vAkyAta vacanAt hetubhUtAt apagatabhayaH viitbhiitiH| apagataM apakrAntaM bhayaM yasya sH| tvaM AtmanInaM vyavasya AtmahitaGkaraM nizcitya / Atmane hitaM AtmanInaM / 'bhogadyAtmanbhyAM khaH' iti khaH / tIrthe puNyakSetravatpavitre manasi / tIrtha puNyakSetraM / tIrthamiva tIrtham / 'tIrtha shaastraavtaaryoH| puSyakSetramahApAtropAyopAdhyAyadarzane' iti vizvalocane / sthitaM sthitimantaM / vidyamAnamityarthaH / dhvAkSaM kAkatulyaM saMzayaM / kAkasya saMzayAtmatvAsaMzayasyAtra dhvAGgatvenAbhidhAna / sNshymityrthH| apanudan pariharan madukte madIyavacane sthirAtmA vyapagatasaMzayamanaskaH / sthiraH viparItobhayakoTyoradolAyamAnaH AtmA manaH yasya sH| 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane / syAH bhaveH / madvacane sandehaM mA kArSIriti bhAvaH / tanvI komalAGgI kRzAGgI vaa| 'guNokteruto'kharusphoDaH' ityukArAntAttanuzabdAkI guNavacanatvAt tasya / zyAmA aprasUtA strii| aparityaktakanyAbhAvetyarthaH / 'aprasUtAGganAyAM ca zyAmA somalatauSadhe' iti vizvalocane / yadvA yauvanamadhyasthetyarthaH / 'zyAmA yauvanamadhyasthA' ityutpalamAlAyAm / shikhridshnaa| zikharANi koTyaH eSAM santIti zikhariNaH / 'ato' nekAcaH' iti in / zikhariNaH koTimantaH dazanA dantAH yasyAH sA zikharidazanA / 'zikharaM zailavRkSAgre kakSApulakakoTiSu / pakkadADimabIjAbhamANikyazakale'pi ca' iti vizvalocane / etenAsyAH saubhAgyaM svapatyurAyuSkaratvaM vibhAvyate / uktaM ca sAmudrike -'snigdhAH samAnarUpAH supaGktayaH zikhariNaH zliSTAH / dantA bhavanti yAsAM tAsAM pAde jagatsarvam // tAmbUlarasarakte'pi sphuTabhAsaH smodyaaH| dantAH zikhariNo yasyAH dIrgha jIvati tatpriyaH // ' iti / pakkabimbAdharauSThI prinntvimbikaaphltukhyaadhrausstthii| pakkaM pariNataM ca tat bimbaM bimbikAphalaM ca pakvabimbaM / pakkaM bimbikAphalaM raktavarga bhavati / tadiva adharoSThaH yasyAH sA pkkbimbaadhrausstthii| 'otvoSThayorvA se pararUpam ' iti pararUpasya vaikalpikatvAtprakRtaH 'pakkabimbAdharauSThI' iti pATho'pi sAdhIyAn / 'nAsikodarauSThajaGghAdantakarNazRGgAGgagAtrakaNThAt' iti ddii| tava bhavataH dayitA

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tRtIyaH sargaH ] 295 priyA tava eva alakApuryAmeva Aste vidyate / tvayA tatraiva sA lapsyate ca prApsyate eva / You, therefore, with your fear dispelled (or apprehension subsided) by my words, having decided what is benificial to yourself, scaring away the crow settling upon a holy bathing place (i. e. dispelling doubt from your holy and pure mind ), should have your mind firmly fixed upon my words. Your beloved ( i. e. Vasundhara ), slenderly built, youthful, having pointed teeth, possessing lower lips red like ripe Bimba fruit, is in that very city; you will find her there. yasyA hetostava ca mama ca prAgbhave'bhUdvirodhaH tatrotpannA nivasati satI sA'dhunA kinnarANAm / dRSTA saumyaM sajalanayanA tvAM smarantI smarAtI madhye kSAmA cakitahariNIprekSaNA nimnanAbhiH // 19 // anyayaH prAgbhave yasyAH hetoH tava ca mama ca virodhaH abhUt sA adhunA kinnarANAM satI utpannA tatra nivasati / madhye kSAmA, cakitahariNIprekSaNA, nimnanAbhiH, smarAta saumyaM tvAM smarantI sA sajalanayanA dRSTA / -- yasyA ityAdi / prAgbhave prAktanajanmani yasyAH vasundharAcaryAH hetoH kAraNAt tava ca mama ca AvayoH virodhaH zAstravaM abhUt bhavati sma sA vasundharAcarI adhunA idAnIntanakA kinnarANAM satI utpannA kinnaradevajAtau labdhaprAdurbhUtiH tatra alakAnagaryo nivasati / madhye avalana | kaMTIpradeze ityarthaH / kSAmA kSINA / kRtrI1 bhUtA ityarthaH / ' kSo maH ' iti kSAyatestatakArasya mAdezaH / madhyekSAmA ' iti pAThe tu 'ghe kati bahulam ' iti Ipo'nup cakitahariNIprekSaNA bhItiprakampitamRganayanA / cakitA bhayaprakampitA cAsau hariNI mRgI ca cakitahariNI / tasyAH prekSaNe iva nayane yasyAH sA / tanvItyAdivizeSaNairasyAH padminItvaM saMsUcyate / taduktaM ratimaJjaryo - ' bhavati kamalanetrA nAsikAkSudrarandhrA, aviralakucayugmA cArukezI kRzAGgI / mRduvacanasuzIlA gItavAdyAnuraktA, sakalatanu suvezA padminI padmagandhA' iti / tathaiva coktaM ratirahasye 'cakitamRgadRzAbhe prAntarakte ca netre ' iti / nimnanAbhiH gambhIranAbhiH / anena nAbhigAmbhIyannArINAM madanodrekaH saMsUcyate / smarAta kAmapIDitA saumyaM manoharAkAraM tvAM

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296 [ pArdhAbhyudaye bhavantaM smarantI smRtiviSayatA nayantI sA vasundharAcarI kinnarI sajalanayanA azrujalAvilanayanA dRSTA mayA vilokitA / She, for the sake of whom we both of us had come into antagonism with each other in the former birth, sprung from a Kinnara family ( or born as one belonging to the race of Kinnaras), now dwells there. She, of a thin waist (or thin in the middle ), having eyes resembling those of a frightened deer, possessing a deep navel, pining with love, remembering you, a noble ( or a beautiful) one, was found by me with her eyes become full with tears ( i. e. was found in tears ). dRSTA bhUyaH smaraparavazA candrakAntopalAnte dhyAyantI tvAM sahasahacaraM sandidRkSulikhitvA / yAntI tasmAnnayanasalilaidRSTimArge niruddhe / zroNIbhArAdalasagamanA stokanamrA stanAbhyAm // 20 // anvayaH- zroNIbhArAt alasagamanA, stanAbhyAM stokanamrA, smaraparavazA, sahasahacaraM tvAM sandidRkSuH candrakAntopalAnte likhitvA dhyAyantI nayanasalilaiH dRSTimArge niruddhe tasmAt yAntI (sA) bhUyaH dRSTA / dRSTetyAdi / zroNIbhArAt nitambagauravajanitabhArAt alasagamanA mndmndgtiH| alasa mandaM gamanaM yasyAH sA / stanAbhyAM urojAbhyAM / aviralakucAbhyAmityarthaH / stokanamrA ISadavanatapUrvakAyA / stokamISat namrA natapUrvakAyA stokanamrA / smaraparavazA nidhuvanasevanAzAvazA / smarasya kAmasya paravazA adhInA smrprvshaa| kAmavAsanAdhInacetaskA ityarthaH / sahasahacaraM samitraM / sahacareNa sahitaH sahasahacaraH / tam / 'vA nIcaH' iti sakArAdezasya vaikalpikatvAt sahazabdazravaNaM yathApUrvam / tvAM bhavantaM sandidRkSuH sandraSTumicchuH / 'tumIcchAyAM dhorvop' iti sani 'sanbhikSAzaMsAduH' ityuH| candrakAntopalAnte candrakAntopalapRSThe / likhitvA rekhAbhiH tvadAkAraM nirmApya dhyAyantI vilokayantI nayanasalilaiH virahaduHkhajanitanayanAzrujalaiH dRSTimArge dRkpathe niruddhe saMvRte sati / 'yadbhAvAdbhAvagatiH' iti Ip / tasmAt candrakAntapASANAt yAntI niSkAmantI sA bhUyaH dRSTA sA vasundharAcarI kinnarI vAraMvAraM mayA nayanAtithitAM niitaa|

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tRtIyaH sargaH] Brought into subjection by the god of love (or subdued by passion ), she, with her speed slowed down owing to the weight of her buttocks, bent down a little owing to her breasts, was seen oft-times going away from there (i. e. the place where the moon-stone-slab was lying ), when her eyesight was obstructed by the tears gathered in her eyes at the time when she was engrossed in meditating upon you represented in drawing with a desire to look at you with your friend, upon a moon-stone-slab. kAmAvasthAmiti bahutithIM dhArayantI tvayA'sau jJeyA sAkSAdatiriva manohAriNI tatra gatvA / nAnAvaSe bahuvilasite kinnarastrIsamAje yA tatra syAyuvativiSayA sRSTirAdyeva dhAtuH // 21 // anvayaH -- tatra nAnAvaSe bahuvilasite kinnarastrIsamAje yA dhAtuH yuvativiSayA AdyA sRSTiH iva syAt sA asau iti bahutithIM kAmAvasthAM dhArayantI sAkSAt ratiH iva manohAriNI tatra gatvA tvayA zeyA / ___ kAmAvasthAmityAdi / tatra alakAnagoM nAnAveSe bahuvidhanepathyabhUSite / nAnA bahuvidhAH veSAH vastrAlaGkArAdayaH yasya tasmin / bahuvilasite anekavidharamyoktismitavIkSite / bahUni bahuvidhAni vilasitAni hAvAH yasya tasmin / vilasitaM vilaasH| 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / 'vilAso hAvalIlayoH' iti vishvlocne| 'hAvaH zRGgArabhAvAptI ramyoktismitavIkSitaM / zaGgAraprauDhimA helA hevAko yauvane hi yH|' 'priyasyAnukRtirlIlA zliSTA vAgveSaceSTitaiH' iti nATyazAstre bhrtmuniH| kinnarastrIsamAje yakSastrIsamavAye yA vasundharAcarI dhAtuH vedhasaH / kavisamayAnukUleyamuktinaM siddhAntapaddhatimanusRtya / yuvativiSayA yuvtismbndhinii| yuvatistaruNI / sA viSayaH gocaraH yasyAH sA yuvtivissyaa| 'viSayo gocare deze indriyArthepi nIvRti' iti vizvaleocane / AdyA prathamabhUtA sRSTiH utpattiH iva syAt bhavet sA asau sA eSA iti etasmAddhetoH bahutithIM bhUyiSThAm / atyudriktAmityarthaH / 'bahupUgagaNasaGghasya tithuk ' iti vaipulyapUraNe'rthe DaTi tithuk| 'inTiADaNaJ-' iti TittvAt DI / bahuzabdo'tra vaipulyArthavacanaH, na saGkhyArthavacanaH / bahorvaipulyasya pUraNI bhutithii| tAm / kAmAvasthAM kAmavAsanAjanitAmavasthAM / kAmasya avasthA dshaavishessH|

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298 [ pArzvAbhyudaye tAm / dhArayantI vibhrANA sAkSAt ratiH iva pratyakSabhUtA ratidevIva manohAriNI saundaryasampannA tatra alakAnagarIM gatvA prApya tvayA bhavatA jJeyA netrendriya pratyakSeNa jJAtavyA / Having gone there, she, the first-rate of the Creator's creations of young women in the whole class of the Kinnara-women, wearing diverse constumes [and] manifesting various feminine gestures indicative of amorous sentiments, attractive like Rati herself, reduced to the state bringing her into subjection to the strong emotion of love, should be ascertained by you. sAdhvIM citte vidhiniyamitAmanya pauMsne nirAzAM kanyAvasthAM tvadupagamane baddhakAmAM sakhInAm / bhrAturvAkyAtpraNayavivazAM tvaM vitayanyathA'laM tAM jAnIyAH parimitakathAM jIvitaM me dvitIyam / / 22 / / sakhyAnItaiH sarasakadalIgarbhapatropa vIjyaiH labdhAvAsAM kimapi kimapi gliSTavarNa lapantIm / zIrNaprAyAM virahavidhurAmAvayorbaddhasAmyA harIbhUte mIya sahacare cakravAkImivaikAm // 23 // anvayaH --- sAdhvIM citte vidhiniyamitAM, anya pauMsne nirAzAM, sakhInAM kanyAvasthAM tvadupagamane baddhakAmAM, praNayavivazAM parimitakathAM, sakhyAnItaiH sarasakadalIgarbhapatropavIjyaiH labdhAzvAsAM, kimapi kimapi milaSTavarNa lapantIM zIrNaprAyAM, AvayoH baddhasAmyAt sahacare dUrIbhUte ekAM cakravAka iva mayi dUrIbhUte virahavidhurAM ekAM tAM tvaM jAnIyAH / ' jIvitaM me dvitIyaM ' iti bhrAtuH vAkyAt anyathA vitarya alam / h sAdhvImityAdi zlokadvayam / sAdhvIM akSatazIlasampannAmata evaikapatnImityarthaH / ' satI pativratA sAdhvI pativalye kapatnyapi ' iti dhanaJjayaH / citte manasi vidhiniyamitAM zAstroktavratavidhiniyantritavikArAM / zAstroktatratAdyAcaraNaniyantritazRGgArarasajamanovikArAmityarthaH / anya pauMsne svapatibhinnapuruSe / puMsaH bhAvaH pauMsnaM / ' tye vA ' iti tvatye viSaye naST / pauMsnaM puruSatvaM asya astIti pauMsnaH / o' * bhrAdibhyaH' ityatyaH / anyaH paunaH anya pauMsnaH / tasmin / nirAzAM AzAvazAtItAM sakhInAM sakhISu / nirdhAraNe tA / kanyAvasthAM kumaaryvsthaam| tvadupagamane bhavadA 8

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tRtIyaH sargaH] 299 gamane baddhakAmAM sAbhilASAM / baddhaH kAmaH abhilASaH yayA saa| tAm / praNayavivazAM kAmavAsanayA hetubhUtayA agatikA / praNayAt praNayena vA vivazA agatikA prnnyvivshaa| tAm / parimitakathAM niyamitavAcaM / vAcaMyamAmityarthaH / sakhyAnItaiH sakhIbhirAnItaiH sarasakadalIgarbhapatropavIjyaiH pratyagrarambhAntargatapatravIjanaiH / sarasA pratyagrA cAso kadalI rambhA ca srskdlii| tasyAH garbhapatrANi eva upviijyaani| taiH| upavIjyate anena iti upvaajy| 'vyAnabahulaM' iti karaNe vyH| upavIjairiti pATho'pi samIcInaH / upavIjyate'neneni upavAjaH / tairupavIjaiH / 'puMkhA ghaH prAyaH' iti karaNe ghaH / labdhAzvAsAM vicchinnaklamAM pratyAgatacaitanyAM vA / labdhaH punaH prAptaH AzvAsaH caitanya yayA sA / kimapi kimapi asambaddhaM milaSTavaNaM avyaktavarNaM / mliSTAH varNAH yathA syuH tathA / mliSTAH avyaktAH ityarthaH / 'mliSTaM syAdvAcyavanmAne mliSTamavyaktabhASaNe' iti vizvalocane / vyatArthatvAdasmatparivartito'yaM paatthH| mudritapAThastu zliSTavarNamityAstA tasva sNyuktvrnnmityrthH| padasthasaMyuktasarvavarNoccAraNamavyaktaM yathA bhavati tatheti bhAvaH / lapantIM bruvaannaaN| zIrNaprAyAM apacitaprAyagAtrayaSTiM AvayoH tava mama ca baddhasAmyAt janmajanitAkArasAdRzyAt sahacare priyakare dUrIbhUte proSite ekA ekaakiniiN| advitiiyaamityrthH| cakravAkI iva cakravAkakAntAmiva sahacare shcrtulye| sahacaraH iva sahacaraH / tasmin / dUrIbhUte proSite mayi zambarAsure virahavidhurAM virahadukhitAM ekA ekAkinI tvaM jAnIyAH jAnIhi / 'jIvitaM me dvitIyaM' iti bhrAtuH bandhoH vAkyAt anyathA anyaprakAreNa vitarya saJcitya alaM paryAptam / 'jIvitaM me dvitIyaM' iti bhrAturmama vacanAt sA vasundharAcarI kinnarItvariketi mA maMsthAH iti bhaavH| You should identify her, a faithful one having her mind restrained through vows, having no enthusiasm for a person other than you, attained to the age of maidenhood amongst her female friends, cherishing a strong desire for your arrival, reduced to helplessness through passion, having a curb put upon her speech, brought to her senses by the fans in the form of tender leaves of the fresh plantain trees brought by her female friends, speaking at random indistincty, standing on the verge of death, the lonely one, subjected to severe strain owing to the separation caused by being far away by me who am just like you, her beloved, owing to our mutual resemblance, like the lonely female Cakrawaka owing to her beloved being far away. On the authority of your brother's utterances ' ( she is) my second soul,' you should not think otherwise of her (lit. enough of thinking otherwise of her ).

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300 mayyAyAte karakisalayanyastavaktrendumugdhA tvAmevAharnizamabhimanAzcintayantI viyogAt / yAtA nUnaM bata tava dazAmAzu martavyazeSAM gADhotkaNThAguruSu divaseSveSu gacchatsu bAlA // 24 // anvayaH mayi AyAte eSu gADhotkaNThAguruSu divaseSu gacchatsu karArAkesala - yanyastavaktrendumugdhA, abhimanAH tvAM eva aharnizaM cintayantI bAlA tava viyogAt bata martavyazeSAM dazAM nUnaM yAtA [ bhavet ] | mItyAdi / mayi zambarAbhidhAne guhyake AyAte alakAM vimucyA'trAgate eSu eteSu / gADhotkaNThAguruSu tIvrayA utkaNThayA dIrghIbhUteSu / divaseSu dineSu gacchatsu vyatIyamAneSu kara kisalayanyastavaktrendumugdhA kisalaya komalakaratalanihitacandropamamukhamanoharA / karaH kisalayaH iva kara kisalayaH / ' sAmAnyenopamAnaM ' iti saH / tatra nyastaH vaktrenduH kara kisalayanyastavaktrenduH / vaktramevenduH vaktrenduH / tena mugdhA manoharA / abhimanAH sotkaNThamanAH tvAM eva bhavantaM eva aharnizaM divAnizaM cintayantI dhyAnaviSayatAM nayantI bAlA taruNI tava bhavataH viyogAt virahAt / virahajanitaduHkhenetyarthaH / bata hanta / C bata khede | 'kRpAnindA santoSA'' mantraNAdbhute' iti vizvalocane / martavyazeSAm maraNAvaziSTAM / navamImityarthaH / martavyaM maraNaM zeSaM yasyAH sA / tAm / dazAM avasthAM nUnaM nizcayena yAtA prAptA / bhavediti zeSaH / wi On my coming ( here ), the young one, looking beautiful owing to her moonlike face reposed in her sprout-like hand, meditatiug upon you alone day and night owing to her desire (or attachment) for you, might have surely attained to the state in which death alone is left out owing to your separation ( from her ), when these days, become long owing to her being love-sick, are passing away. [ pArzvAbhyudaye tasyAH pInastanataTabharAtsAminamrAgrabhAgA nizvAsoSNa pradavita mukhAmbhojakAntirvirUkSA | cintAvezAttanurapacitA sAlasApAGgavIkSA jAtA manye ziziramathitA padminIvAnyarUpA // 25 // pInastanataTabharAt sAminamrAgrabhAgA, nizvAsoSNa pradavitamukhAmbhoja anyayaH

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tRtIyaH sargaH] 301 kAntiH, cintAkzAt apacitA, sAlasApAGgavIkSA virukSA tasyAH tanuH ziziramathitA padminI iva anyarUpA jAtA (bhavet iti ) manye / / __ tasyA ityAdi / pInastanataTabharAt mAMsalorojataTabharAt / pInau mAMsalo ca to stanataTau ca pInastanataTau / tayoH bharaH bhAraH piinstntttbhrH| tasmAt / hetAvatra kaa| 'bharastvatizaye bhAre' iti vizvalocane / sAminamrAgrabhAgA iissdvintorvbhaagaa| sAmi ISat namraH nataH agrabhAgaH UrzvabhAgaH yasyAH sA / iissdvntpuurvkaayetyrthH| ' namkampismyajaskam hiMsadIpo ra: ' iti H / nizvAsoSNapradavitamukhAmbhoja kAntiH nizvAsoSmajanitaglAnimukhakamalazobhA / nizvAsasya uSNaH USmA nishvaasossnnH| tena pradavitA saJjAtapradavA mukhAmbhojakAntiH yasyAH sA / pradavaH glAniH dAhaH vA saJjAtaH asyAH sA / ' tadasya saJjAtaM tArakAdibhyaH itaH' itItaH / pradUyate'neneti pradavaH / 'puMkhau ghaH prAyaH' iti karaNe ghH| mukhamambhoja kamalamiva mukhAmbhoje / tasya kAntiH zobhA tejaH vA / 'sAmAnyenopamAna' iti saH / yadvA mukhamevAmbhojamiti vigrahaH / cintAvezAt cintAnimajanAt / cintAyAM AvezaH nimajjanaM cintAyAH AvezaH AkramaNaM vA cintaaveshH| tasmAt / apacitA kRzIbhUtatanuH / sAlasApAgavIkSA saalskttaakssnikssepaa| apAGgena netrAntena vIkSA darzanaM apAGgavIkSA / kaTAkSaH ityrthH| 'apAGgau netrayorantau kaTAkSo'pAGgadarzane' ityamaraH / alasena sahitA sAlasA / sahasya sAdezaH / sAlasA apAGgavIkSA yasyAH sA saalsaapaanggviikssaa| virukSA galitasaundaryA vigalitAnandA vaa| vizeSeNa rUkSA galitasaundayo virukssaa| 'rUkSastvapremNyacikaNe' itymrH| tasyAH dhRtakinnarIrUpAyAH vasundharAcaryAH / tanuH zarIraM ziziramathitA zizirartupIDitA tuSArapIDitA vA padminI iva kamalinI iva / kamalavallarIva / anyarUpA prinntpuurvaakRtiH| anyat rUpaM zarIrAkAraH yasyAH saa|' ruupmaakaarsaundrysvbhaavshloknaannke| nATakAdau mRge granthAvRtau ca pazuzabdayoH' iti vishvlocne| jAtA sambhUtA / bhavet iti manye tarkayAmi / I think that her body, with its upper part bent down a little owing to the burden of her corpulent breasts, having the beauty of her lotus-like face spoiled by the heat of the puffs of breath, emaciated on account of the mental disturbance caused by anxiety, casting dull sideglances, deprived of pleasure, might have become changed in form like a lotus-creeper afflicted (blighted ) by frost.

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302 nidrApAyAdrajaniSu muhustAvakaM samprayogaM didhyAsoH syAdvadanamaparaM tvindubimbAnukAri / [ pArzvAbhyudaye nUnaM tasyAH prabalaruditocchUna netraM bahUnAM nizvAsAnAmaziziratayA bhinnavarNAdharoSTham // 26 // anvayaH - rajaniSu muhuH tAvakaM samprayogaM didhyAsoH nidrApAyAt indubimbAnukAri, prabalaruditocchUnanetraM, bahUnAM nizvAsAnAM aziziratayA bhinnavarNAdharoSThaM tu tasyAH vadanaM nUnaM aparaM syAt / , 8 > nidrApAyAdityAdi / rajaniSu nizAsu muhuH punaH punaH / paunaHpunyenetyarthaH / tAvakaM tvadIyaM / tava ayaM tAvakaH / tam / ' tavakamamakamekArthe ' ityaJ akaDAdezazca / samprayogaM saMyogaM / saGgamamityarthaH / didhyAsoH dhyAtumicchoH / C 'tumIcchAyAM ghorvop' iti san / sanbhikSAzaMsAduH ityuH / nidrApAyAt svApApagamAt / nidrAyAH svApasya apAyaH apagamaH nidrApAyaH / tasmAddhetoH / tAvatra kA / riraMsAyAH hetoH tasyAH vRSasyantyAH stvayAmA muhurmuhuH saMyogamabhilaSantyAH nizAsu nidrAyAH vidravAddhetorityarthaH / kAminAM kAminInAM vA kAmavAsanA kulasvAntAnAM vidrANAvasthA jAyate iti janaprasiddham / indubimbAnukAri candrabimbasadRzaM / indozcandramasaH bimbaM maNDalaM indubimbaM / tadanukarotIti indubimbAnukAri / 'zIlesjAtau Nin ' iti Nin / prabalaruditocchUnanetraM prabala rodanajanitazothanayanaM / prabalaM bahulaM ca tadruditaM rodanaM ca prabalaruditaM / tena ucchUne janitazothe netre nayane yasya tat / 'Tuozvi gativRddhyoH' ityasmAddhorodittvAtktasya takArasya ' oditaH ' iti naH / zvadyateryajAditvAdyaNaH iki pUrvarUpe ca halo yaNikaH' iti yaNigantasya dI: 1 bahUnAM vipulAnAM nizvAsAnAM ucchrAsAnAM aziziratayA auSNyena / kAmAbhilASajanitAntastApoSmaNetyarthaH / bhinnavarNAdharoSThaM vicchAyAdharottaroSThaM / bhinnaH vikRti prAptaH varNaH cchAyA yayoH to bhinnavarNoM / vikRtaraktavarNAvityarthaH / adharazcauSThazcAdharoSThau / oSThazabdo'trottaroSThArthavacanaH, adharazabdasAnnidhyAt / ( oSThazabdaH ) ' adharasAnnidhyAduttarauSThe'tra vartate' ityamaraTIkAyAM kSIrasvAmI / bhinnavarNo adharauSTho yasya tadbhinnavarNAdharauSTham / ' oSThAdharau tu radanacchadau dazanavasasI ' ityamaraH / tu pAdapUraNe / tu pAdapUraNe bhedAvadhAraNasamuccaye / pakSAntare niyoge ca prazaMsAyAM vinigrahe' iti vizvalocane / tasyAH vasundharAcaryAH kinnaryAH vadanaM mukhaM nUnaM nizcayena aparaM rUpapariNateH pUrvasmAdrUpAdrUpAntaratAM prAptaM syAt bhavet / 6 6

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tRtIyaH sargaH 7 303 Her face, imitating the disc of the moon, with eyes swollen owing to her crying bitterly, with lower and upper lips having their colour changed owing to the hotness of the multiplicity of sighs, might have been changed owing to the sleep of hers, thinking constantly upon a union with you for many nights, being broken. tvAM dhyAyantyA virahazayanAbhogamuktAkhilAyAH zaGke tasyA mRdutalamavaSTabhya gaNDopadhAnam | hastanyastaM mukhamasakalavyakti lambAlakatvA wwww dindordainyaM tvadupasaraNakliSTakAnterbibharti // 27 // anvayaH - virahazayanAbhogamuktAkhilAyAH mRdutalaM gaNDopadhAnaM avaSTabhya tvAM dhyAyantyAH tasyAH lambAlakatvAt asakalavyakti hastanyastaM mukhaM tvadupasaraNakliSTakAnteH indoH dainyaM bibharti [ iti ] zaGke / tvamityAdi / virahazaya nAbheogamuktAkhilAGggyAH virahasaMvedanajanitaduHkhena zayyAvistAre nyastanikhilagAtrAyAH | zayanasya zayyAyAH AbhogaH prasaraH zayanAbhogaH / tatra muktAni nyAsIkRtAni zayanAbhogamuktAni / akhilAni ca tAni aGgAni ava - yavAH cAkhilAGgAni / viraheNa zayanAbhoge muktAni virahazayanAbhogamuktAni / tAni tAdRzAni akhilAGgAni yayA sA / tasyAH / virahazayanaM dampatIdvandvazayanAna zayanaM 1 virahazayanasyAbhogaH prasaraH virahazayanAbhogaH / tatra muktAni nyastAni akhilAnyaGgAni yayA sA tasyAH / mRdutalaM sukhasparzapRSThabhAgaM / mRdu sukhasparzaM talaM pRSThabhAgaH yasya tat / ibekvcnm| gaNDopadhAnaM kapolopadhAnIyam / gaNDasya kapolasya upadhAnaM sthApanAdhAraH gaNDopadhAnam / upabarhamityarthaH / avaSTabhya gADhamAliGgya tvAM bhavantaM dhyAyantyAH dhyAnaviSayatAM nayantyAH tasyAH vasundharAcaryAH kinnarakanyakAyAH lambAlakatvAt snehAbhyaJjanAdisaMskArAbhAvena lambamAnAlakatvAt / asakalavyakti asampUrNAbhivyakti | na sakalA sampUrNA asakalA | asampUrNetyarthaH / asakalA vyaktiH abhivyaktiH prakAzaH yasya tt| hastanyastaM karakamalanikSiptaM / haste nyastaM nyAsIkRtaM hastanyastaM mukhaM vadanam / tvadupasaraNAkliSTakAnteH bhavadIyena upasaraNena zizirakiraNakiraNaprasAraNamArgoparodhena mlAnacchAyasya / tava upasaraNaM tvadupasaraNaM / tena kliSTA mlAnA kAntiH udyotaH jyotsA vA yasya saH / tasya / indoH candramasaH dainyaM durdazAM / durdarzanatvamityarthaH bibharti dhArayati iti zaGka sambhAvayAmi / I

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304 [ pArdhAbhyudaye The face, reposed in her hands, not fully discernible owing to the tresses of her hair dangling [about her face ], of hers, meditating upon you on closely embracing a pillow with soft surface, having all her limbs let loose on the expansive bed on account of [ her ] separation [ from you ], I think, might be in a state gloomy like that of the moon having her lustre spoiled by your approach near her. tasyAH pIDAM rahayitumalaM tau ca manye mRgAkSyAH madhinyAH saha sahacarI sevate yo dvitIyA / raktAzokazcalakisalayaH kesarazcAtra kAntaH pratyAsannau kurabakavRtermAdhavImaNDapasya // 28 // anvayaH-atra calakisalayaH raktAzokaH, kAntaH kesaraH ca [ iti ] yo kurabakavRteH mAdhavImaNDapasya pratyAsannau manehinyAH sahacarI [ tava ca] dvitIyA saha sevate tau ca tasyAH mRgAkSyAH pIDAM rahayituM alaM [ iti ] manye / __ tasyA ityAdi / atra gRhodyAne calakisalayaH pracalatpallavaH raktAzokaH raktavarNaprasavaprasuH smaravardhanaH azokaH / lohitavarNaprasUnaprasavitA'zokaH smaravardhanaH ityuktmshokklp| "prasUnakairazokastu zveto rakta iti dvidhA / bahusiddhikaraH zveto rakto'tra smaravardhanaH ' ityazokakalpe darzanAt" iti saJjIvanyAM mllinaathH| kAntaH manoharaH / 'kAnto ramye priye triSu ' iti vishvlocne| kesaraH ca bakulazca / 'kesaro bakule siMhacchaTAyAM nAgakesare / punnAge'strI tu kicalke syAttu hiMguni kesaram' iti vizvalocane / iti yau ashokkesrau| kurabakavRteH aruNapuSpajhiNTikAveSTanasya / kurabaka eva vRtiH veSTanaM yasya / tasya / 'kurabakaH puMsi zoNAjhaNTikA'mlAnabhedayoH' iti 'vRtirvivaraNe vATe veSTite varaNe vRtam' iti ca vizvalocane / mAdhavImaNDapasya vAsantIlatAmaNDapasya / madhau vasante bhavA mAdhavI / ' tatra bhavaH' ityaN / 'iTiDANa' iti striyAM DI / uktaM ca- ' atimuktA mAdhavI ca suvasanto vnaashryH| atimuktaH kAmukazca maNDako bhramarotsavaH' / iti / 'atimuktaH puNDrakaH syAd vAsantI mAdhavI. latA' ityamaraH / 'mAdhavI / madhUtthazarkarAmadyakuhanISvatimuktake' iti vizvalocane / pratyAsannau samIpavartinau madgahinyAH mama kalatrasya / 'bhAyA jAyA janiH kulyA kalatraM gehinI gRham ' iti dhanaJjayaH / sahacarI vayasyA / 'vayasyAlI sahacarI sadhrIcI savayAH sakhI' iti dhnnyjyH| saha caratIti sahacarI / 'caro'T' ityat /

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tRtIyaH sargaH] 305 TitvAstriyAM DI. / tava ca dvitIyA vasundharAcarI patnI / 'dvitIyA tithibhitpalyoH pUraNe'pi dvayostriSu' iti vishvlocne| saha samaM / yugapadityarthaH / ' sahazabdastu sAkalyayogapadyasamRddhiSu / sAdRzye vidyamAne'pi sambandhe'pi saha smRtam' iti vizvalocane / sevate upacarati / tau ca azokakesagai ca tasyAH tava bhAryAyA vasundharAcaryAH mRgAkSyAH mRgnynaayaaH| mRgasyeva akSiNI yasya saH mRgaakssH| 'svAGgAdve'kSisakthnaH' iti ttH| TitvAstriyAM kii| mRgAkSI / tasyAH / pIDAM vipralambhajanitaduHkhaM rahayituM parihartuM alaM samarthau iti manye sambhAvaye / And I think both the red Asoka, with its foliage swinging with to-and-fro motion, and the beautiful Kesara ( Bakula ), standing close by the bower of Madhavi creepers surrounded with the hedge of Kurbaka (plants), upon which your beloved (of the former birth), my wife's associate, attends simultaneously, are able to dispel the distress of that fawn-eyed one. kAmasyaikaM prasavabhavanaM viddhi tau maniveze mahinyA viracitatalau sevanIyau priyaayaaH| ekaH sakhyAstaSa saha mayA vAmapAdAbhilASI kAGkatyanyo vadanamadirAM dauhRdacchamanA'syAH // 29 // anvayaH- manniveze mayA saha madgahinyA viracitatalI, tava priyAyAH sakhyA sevanIyau tau kAmasya ekaM prasavabhavanaM viddhi / [ tayoH ] ekaH dauhRdacchadmanA asyAH vAmapAdAbhilASI, anyaH [ asyAH ] vadanamadirA kAGkSati / kAmasyetyAdi / maniveze mahopavanapradeze madvivAhasamaye vA / mama nivezA maaniveshH| tasmin / atra lakSaNayA gRhodyAnadeze ityarthaH grAhyaH, gaGgAyAM ghoSaH ityasya gaGgAtIre ityarthavat, gRhadeze talaviracanAyAH asambhavAt / yadvA nivezazabdaH vivAhArthavacanaH / 'nivezaH zibire puMsi tathodvAhavinAzayoH ' iti vizvalocane / mayA saha mayA zambarayakSeNa samaM magohinyA mama bhAryayA viracitatalau vircitaadhaarau| viracitAlavAlau viracitavediko vetyarthaH / ' svarUpAdhArayostalam' iti vizvalocane / viracite tale yayoH to vircittlau| tava bhavataH priyAyAH preyasyAH sakhyAH sahacAriNyAH sevanIyau upacaraNIyau / 'vyasya vA kartari' iti kartari tA / tava priyayA sakhyA sevniiyaavityrthH| tau azokakesarI kAmasya kaamvaasnaayaaH| riraMsAyAH pArzvabhyudaye...20

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306 [ pArzvabhyudaye ityarthaH / eka advitIya / anupameyamityarthaH / yadvA mukhyamityarthaH / 'eke mukhyAnyakevalAH' ityamaraH / prasavabhavanaM utpattisthAnam / 'prasavo garbhamokSe syAvRkSANAM phlpusspyoH| paramparAprasaGge ca lokotpAde ca putrayoH' iti 'bhavanaM bhAvasAnoH' iti ca vishvlocne| viddhi jAnIhi / tayoH azokakesarayoH ekaH raktAzokaH / azokakesarayoranyataraH raktAzokaH evaikazabdena grAhyaH, tasyaiva nArIcaraNAghAtAbhilASitvAt / dohRdacchadmanA dohavyAjena / dauhRdasya dohadasya chadma vyAjaH dauhRdacchadma / ten| dohadaM vRkSAdInAM puSpotpattinimitta saMskArakadravyam / 'tarugulmalatAdInAmakAle kuzalaiH kRtaM / puSpAdyutpAdakaM dravyaM dohadaM syAttu takriyA' iti shbdaarnnve| 'kapaTo'strI vyAjadambhopadhayazchadmakaitave' itymrH| asyAH vasundharAcaryAH kinnarakanyakAyAH vAmapAdAbhilASI svycrnnaabhighaataabhilaassukH| vAmaH savyazcAsau pAdazcaraNazca vAmapAdaH / tamabhilapatItyabhilASI / 'zIle'jAtau Nin ' iti Nin / anyaH itrH| kesaraH ityarthaH / asyAH vadanamadirAM AsyopAttavRSyarasagaNDUSasekaM kAGkSati abhilaSati / strIvAmapAdAbhyAghAtaH azopuSpaprasavAnimittaM vRSyarasagaNDpasekazca kesarakusumaprabhavaheturiti kvismyprsiddhm| uktaM ca - 'strINAM sparzAt priyaGgurvikasati bakulaH sIdhugaNDUSasekAt / pAdAghAtAdazokastilakakurabako vIkSaNAliGganAbhyAm // mandAro narmavAkyAt paTumRduhasanAcampako vaktravAtAt / cUto gItAnnamerurvikasati ca puro nartanAt karNikAraH // ' alakAyAmazokakesaravRkSabAhulyasambhave'pi yatrA'prasUtakusumau tau tadevAsmadIyamagAramiti zambarAsurAbhiprAyaH / You should take those, standing in the garden attached to my house, with their basins formed by my beloved (or wife ) in company with me, ( and ) attended upon by your (former ) associate, (very) dear to you, to be the only source generating (exciting) passion. One ( of the trees referred-to above ), under the pretext of longing, longs for a kick given by her left foot, ( and the other for tho wine in her inouth. mUlaM vocamanasi nihitaM lakSyate tvadviyogA-- ttasyA sAdyAdhyavasitamRterbahINAdhiSThitAgrA / tanmadhye ca sphaTikaphalakA kAzcanI vAsayaSTi dle baddhA maNibhiranatiprauDhavaMzaprakAzaiH // 30 // anvayaH-tanmadhye ca [yA ] tvadviyogAt tasyAH manasi adya uccaiH -

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tRtIyaH sargaH ] 307 nihitaM adhyavasitamRteH mUlaM vA sA anatiprauDhavaMzaprakAzaiH maNibhiH mUle baddhA, bahiNA adhiSThitAgrA sphaTikaphalakA kAJcanI vAsayaSTiH lakSyate / I mUlamityAdi / tanmadhye ca tayoH azokakesaravRkSayoH madhyabhAge / tayoH azoka kesarayoH madhyaM madhyabhAgasthitaH pradezaH tanmadhyaM / tatra / 'madhyaM nyAyye'vakAze ca madhyaM madhyasthite triSu / lagnake'pyadhame madhyamastriyAmavalagnake' iti vizvalocane / yA tvadviyogAt tvattaH tava vA viyogAddhetoH tasyAH vasundharAcaryA: kinnara kanyakAyAH manasi hRdaye adya idanIntanakAle uccaiH atyarthe nihitaM nikhAtaM adhyavasitamRteH nizcitasya maraNasya / adhyavasitA nizcitA cA'sau mRtirmaraNaM ca adhvasitamRtiH / tasyAH / mUlaM kAraNaM ziphA vA / vAivasA kAJcanI vAsayaSTiH anatiprauDhavaMzaprakAzaiH anativRddhimatkIcakaprakAzasaMkAzacchAyaiH / vahanti sma UDhAH / prakarSeNa UDhAH prauDhAH vRddhi prAptAH ityarthaH / prAdUDhe parataH 'prAdUhoDhoDhyeSaiSye' ityUtaH aip / atizayena prauDhAH atiprauDhAH / na atiprauDhAH anatiprauDhAH / ISadvRddhimantaH ityarthaH / anatiprauDhAzca te vaMzAH kIcakAzca anatiprauDhavaMzAH / teSAM prakAzaH iva prakAzaH yeSAM te / taiH / 'IbupamAnapUrvasya dyukhaM gatArthatvAt' iti kham / maNibhiH gArutmatamaNizilAbhiH mUle nikhanyamAnayaSTiparyantadeze baddhA paritaH racitavedikA barhiNA mayUreNa / barhaH kalApaH asya astIta barhIIM / tena / adhiSThitAmA adhiSThitordhvabhAgA / adhiSThita vyAptaM ayaM upariSThaH antaH yasyAH sA / sphaTika phalakA sphaTikamaNimayAdhiSThAnaphalakA / sphaTikaM sphATikamabihulaM phalakaM asti yasyAH sA / bahavaH sphaTikAH sitamaNayaH santyasyeti sphaTikam | 'obhrAdibhyaH' ityevAtyaH matvarthIyaH / kAJcanI suvarNaghaTitAM / kAJcanasya vikAraH kAJcanaM / ' tasya vikAraH' ityaN / 'iTikANaJ-' iti striyAM GI / vAsayaSTiH nivAsasthAnabhUtaH daNDuH / lakSyate dRggocaratAM yAti / dRzyate ityarthaH / Moreover, a golden roosting perch, the root, firmly fixed in her mind, as if of death decided [ by her ] to be brought about on account of her being separated from you, inlaid at the bottom with jewels having lustre like that of the bamboos not ripened very much [not very mature], having its top occupied by a peacock, with a crystal slab, is seen standing between them. tAM kAminyaH kusumadhanuSo vaijayantImivaikAM matvArcanti prabalaruditA sApi sAdhvI tvadAptyai /

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308 [pArdhAbhyudaya tAlaiH zijAvalayasubhagaiH kAntayA nartito me ___yAmadhyAste divasavigame nIlakaNThaH suhRtaH // 31 // .. anvayaH - me kAntayA zikSAvalayasubhagaiH tAlaiH nartitaH vaH suhRd nIlakaNThaH divasavigame yA adhyAste tAM kusumadhanuSaH ekA vaijayantI iva matvA kAminyaH arcanti / prabalaruditA sA sAdhvI api tvadAptyai [ tA arcati / tAmityAdi / me mama kAntayA dayitayA / 'vallabhA preyasI preSThA ramaNI dayitA priyA / iSTA ca pramadA kAntA caNDI . praNayinI tathA' iti dhnnyjyH| zikSAvalayasubhagaiH shikssaavdlymnohreH| ziJjAvanti valayAni ziJjAvalayAni / zAkhAvRkSavatsamAsaH / zikSA bhUSaNadhvaniH / bhUSaNAnAM tu ziJjitaM' ityamaraH / 'vidbhidAdibhyo'G' iti bhAve'kartaryaG / yadvA zikSApradhAnAni valayAni iti vigrahaH / teH subhagAH manoharaH / taiH / 'ziJji avyakte zabde' ityasya dhAtorAtmanepaditvAttataH zatRpratyayasyAsambhAvAt 'ziadalayasubhagaiH' iti pAThaH na sAdhutAmAvahati / tAlaiH karatalakRtAsphoTaH gAnakAlakriyAmAnairvA / gAnakAlasya kriyayA AvApaniSkramAdikayA mAnaM paricchedakaM pratiSThAhetustAlaH / gAnakriyAyAH kAlaniyamaheturvA tAlaH / ' gItakAlakriyAmAne tAlA khaDDAdimuSTiSu / tAlaH syAtkAMsyaracitavAdyabhANDAntare tathA / karAsphAre karatale tAlaM tu haritAlake' iti vizvalocane / nartitaH nATitaH vaH bhavataH sahata prAgbhavasambandhi mitraM nIlakaNThaH shikhnnddii| 'mayUro barhiNaH kekI zikhI praavRssikstthaa| nIlakaNThaH kalApI ca zikhaNDI' iti dhanaJjayaH / nIlaH kaNThaH yasya saH nIlakaNThaH / divasavigame dinAvasAne / sAyAhne ityarthaH / yAM vAsayaSTiM adhyAste adhitisstthti| 'kamaivAdheH zIsthAsaH' ityAdhArasya karmasajJatvAt 'karmaNAp' iti ip / tAM vAsayaSTiM kusumadhanuSaH puSpadhanvanaH kAmasya / ekA advitIyAM mukhyAM vA vaijayantI iva patAkAmiva / 'dhvaja patAkA ketuzca cihnaM tadvaijantyapi' iti dhanaJjayaH / matvA vijJAya kAminyaH kAmAkulAH yossitH| 'lalanA kAminI yoSidyoSA sImantinI vadhUH' iti dhnnyjyH| arcanti saparyA kurvanti / prabalaruditA prabalaM rudantI / prabalaM ruditaM rodana yasyAH saa| sA vasundharAcarI kinnarakanyakA / sAdhvI api ekapatnI api / pativratetyarthaH / anena tasyAH zIlabhraMzAbhAvaH prkttiikRtH| 'satI pativratA sAdhvI pativalyekapalyapi / manasvinI bhavatyAryA' iti dhanaJjayaH / tvadAptyai bhavatsamprAptyarthaM tAM vAsayaSTimarcatIti zeSaH / 'arthavazAdvibhAktivipariNAmaH' iti nyAyAdarcantItyasya arcatIti pariNamanaM vA /

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tRtIyaH sargaH] 309 Taking for a matchless banner as if of the flower-arrowed god the roosting perch on which, at the time of sunset, roosts the peacock, your friend of the former birth ), made to dance by my wife keeping time with the clappings of the hands, rendered charming by her jingling bracelets, love-sick ladies worship it; also that faithful spinster, crying very much, worships it with a desire to secure you. prItistasyA mama ca yuvatenirvivekA; tato'haM jAnAmyenAM vyasanapatitAM madgRhe; tacaro'ham / / ebhiH sAdho hRdayanihitairlakSaNairlakSayethAH ___ dvAropAnte likhitavapuSau zaGkapadmau ca dRSTvA / / 32 // anvayaH- tasyAH mama ca yuvateH nirvivekA prItiH [asti ]; tataH ahaM enA madgRhe vyasanapatitAM jAnAmi; taccaraH aham / [ tataH bho] sAdho emiH hRdayanihitaiH lakSaNaiH, dvAropAnte likhitavapuSau zaGkhapadmau dRSTvA ca [ madgRhaM ] lakSayethAH / prItirityAdi / tasyAH vasundharAcaryAH kinnarakanyakAyAH mama ca madIyAyAzca yuvateH trunnyaaH| mama bhaaryaayaashcetyrthH| 'yUnastiH' iti tiH / 'taruNI yuvatiH same' ityamaraH / 'nitambinyabalA bAlA kAmukI vaamlocnaa| bhAmA tanUdarI rAmA sundarI yuvatI calA' iti dhnnyjyH| nirvivekA aviyojyaa| vivekAdviyogAnniSkrAntA nirgatA nirvivekA / prItiH maitrii| astIti zeSaH / tataH yasmAtkAraNAt madbhAryAkinnarakanyakayoravibhedyA maitrI tasmAtkAraNAt / ahaM enAM vasundharAcarI kinnarakanyakA madgRhe mAmakIne'gAre vyasanapatitAM devAniSTaphale duHkhe vipattau vA nimagnAM / vyasane devAniSTaphale vipattau vA patitA nimanA vysnptitaa| taam| 'vyasanaM tvazubhe saktau pAnastrImRgayAdiSu / daivAniSTaphale pAke vipattau viphalodyame // saktimAtre sucaritAdbhaze kopajadUSaNe' iti vizvalocane / jAnAmi avaimi| yataH taccaraH ahama sadgRhacaro'ham / yato'haM madgRhavAstavyaH tato'haM sA vyasanapatiteti madgRhiNImukhena nAnAmi / tacca tasyAH duHkhaM tvadvipralambhajanitam / atastatra tvayA'vazyaM gantavyamiti kmtthcrshmbraasuraabhipraayH| tataH bho sAdho meghAkArapariNatasvakAyamune / 'tapasvI jyamI yogI varNI sAdhuzca' iti dhnnyjyH| ebhiH pUrvavarNitaiH hRdayanihitaiH manasikRtaiH / pUrvoktAni toraNAdIni pratyabhijJAnasAdhanAni manasikRtyetyarthaH / lakSaNaH alakAsthitAnyagRhAsAdhAraNairabhijJAnaliGgaH dvAropAnte dvArapArzvayoH likhitavapuSI

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[ pArzvAbhyudaye piSTakAdeivarNalikhita rekhAjanitAkRtI / likhite rekhAjanite vaputrI AkRtI yayoH tau / zaGkhapadmau zaGkhapadmAbhidhAnau nidhivizeSau / ' zaGkhaH kambulalATAsthinakhInidhiSu na striyAm ' iti ' padmo'strI padmanAle'bje vyUhasaGkhyAntare nidhau / padmake nAgabhede nA ' iti ca vizvalocane / dRSTvA ca avalokya ca madgRhaM lakSayethAH abhijAnIhi / T 310 Between her and my young lady there exists a relation of inseparable friendship; I therefrom have come to know that, in my house, she is involved in distress ; I am a right resident in that (house of mine). O sage! by means of these distinctive marks, therefore, committed to memory (lit. stored up in your heart) and on seeing the figures of Samkha and Padma represented by drawing lines on the sides of the door, you would find out my house. tasyA duHkhaprazamanavidhau vyApRte matkalatre mukIbhUte'pyanucarajane mandamandAyamAne / kSAmacchAyaM bhavanamadhunA madviyogena nUnaM sUryApAye na khalu kamalaM puSyati svAmabhikhyAn // 33 // anvayaH - - matkalatre tasyAH duHkhaprazamanavidhau vyApRte, mandamandAyamAne anucarajane api mUkIbhUte adhunA bhavanaM madviyogena nUnaM kSAmacchAyaM [ syAt ]; sUryApAye kamalaM svAM abhikhyAM na khalu puSyati / tasyA ityAdi / matkalatre mahinyAM / mama kalatraM gehinI matkalatraM / tasmin / bhASa jAyA janiH kulyA kalatraM gehinI gRham ' iti dhanaJjayaH / tasyA vasundharAcaryAH kinnarakanyakAyAH duHkhaprazamanavidhau tvadviyogajanitaduHkhopazamana kriyAyAM / duH tvadviyogajanitAdheH prazamanamupazamanaM duHkhopazamanaM / tasya vidhiH kriyA duHkhaprazamanavidhiH / tasmin / ' vidhirvedhasi kAle nA vidhAne niyatau striyAm ' iti vizvalocane / vyApRte nimane | mandamandAyamAne mandaprakArodyame / mandaprakAraH mandamandaH / mandasadRzaH ityarthaH / ' prakAre guNoktervA ' iti dvitvam / mandamandaH zItakaH iva Acara - tIti mandamandAyamAnaH / tasmin / ' kyaG ca' ityAcAre'rthe kartuH kyaD / zItakAcAre ityarthaH / anucarajane api sevakajane api mUkIbhUte vAcaMyamatvaM prApte | amUkAH mUkAH sampannAH mUkIbhUtAH / cviH / adhunA sAmpratakAle / ' etarhi sampratIdAnI - madhunA sAmprataM tathA' ityamaraH / bhavanaM madIyamagAra madviyogena matpravAsajanitavi J

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tRtIyaH sargaH ] yojanena nUnaM sambhAvanAyAmatra / ' nUnaM ta'rthanizcaye' ityamaraH / vAmacchAyaM syAditi sambhAvaye ityarthaH / kSAmacchAyaM kSINazAbhaM / matpravAsena pramodApAyAtkSINazobhamityarthaH / syAditi zeSaH / yatra gRhiNIjanaH duHkhApanayanakriyAyAM vyApRtaH anucarajanazca mandodyamaH jAtaH, yacca kSINazAbhaM tadeva me gRhamiti nizcinuyAH iti bhaavH| sUryApAye marIcimAlinyastaMgate sati kamalaM padmaM svAM svakIyAM AbhikhyAM zobhA / ' abhikhyA tu yazaHkIrtizobhAvikhyAtinAmasu' iti vishvlocne| na khalu puSyati na khalUpacinoti / dhumaNivigame kamalamiva pativirahitamagAraM lIlAvikalaM jAyate ityarthaH / Under the present circumstances, I think that my house would not surely have maintained its charm on account of my separation, as my wife (by this time ) would have been engrossed in getting rid of her distress (and my ) servants even, very slow in doing their jobs, would have been abstaining from speech; surely, on setting of the san, the lotus does not continue to have its beauty (as it does before sunset). pazyAmuSyAmupavanabhuvi preyasIM tAM dadhAnA mAdhiM tvatto virahavidhurAM madvacaHpratyayena / gatvA sadyaH kalabhatanutAM zIghrasampAtahetoH krIDAzaile prathamakathite ramyasAnau niSaNNaH // 34 // anvayaH-~~ zIghrasampAtahetoH sadyaH kalabhatanutAM gatvA prathamakathite ramyasAno krIDAzaile niSaNNaH virahavidhurAM tvattaH Adhi dadhAnAM tAM preyasI madvacaHpratyayena amuSyAM upavanabhuvi pshy| pshyetyaadi| zIghrasampAtahetoH tvaritagamananimittaM / zIghrastvaritazcAsau sampAto gamanaM ca zIghrasampAtaH / tasya hetuH shiighrsmpaathetuH| tasmAt tasya vaa| 'hetau sarvAH prAyaH' iti hetuzabdaprayoge kA tA vA / 'sampAtaH patane vege praveze vedasaMvide' iti zabdArNave / sadyaH tvaritaM / jhttitiityrthH| kalabhatanutAM karipota. vatsvalpazarIrAkAratAM / yathA gajarAjApekSayA gajapotasya svalpazarIrAkAratA tathA tanutarazarIrAkAratA yA tAmityarthaH / kalabhasya dvipapotasya tanuriva tanuryasya saH / tasya bhAvaH / tAm / yadvA kalabhasyeva tanutA svarUpazarIrAkAratA / tAm / gatvA prApya / prathamakathite pUrvoktena 'anyaccAsmin' ityAdinA zlokena varNite ramyasAnau manohara

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312 [pArdhAbhyudaye zikhare krIDAIprasthe sacampakapAdapazaGge vA / ramyaH manoharaH krIDAI: sacampakapAdapaH vA sAnuH zaGgaM yasya sH| tasmin / ramyaH manoharaH ratikrIDAIH vaa| 'rama krIDAyAM' ityasmAddhorahArthe ' tRjvyAzcAhe' iti vyatyaH / ramyAH campakapAdapAH santyasyeti rmyH| 'o'nAdibhyaH' ityatyaH matvarthIyaH / ' ramyaM triSu mnorme| ramyA vibhAvarI ramyaH puMsi campakapAdape' iti vizvalocane / 'snuH prasthaH sAnurastriyAm' ityamaraH / 'sAnuH zRGge budhe'raNye vAtyAyAM pallave pAthi' iti vizvalocane / krIDAzale krIDAhetoH parvate niSaNNaH upaviSTaH san / 'Sadla vizaraNagatyavasAdaneSu' ityasmAddhostatakAre parataH 'drAttasya to no'matpamUcho ' iti tatakArasya pUrvasya ca dasya natvaM / ' sado'prataH' itINantAdH parasya sadeH sakArasya SatvaM / 'ro no No'bhinne' iti nasya Natvam / virahavidhurAM viyogajanitaduHkhAM / 'vidhuraM vikale'nyavat' iti vizvalocane / tvattaH tvayi viSaye / tvamadhikRtyetyarthaH / 'sArvavibhaktikastasiH' iti tasiratra viSayasaptamyarthe / Adhi mAnasI pIDAM / 'pusyAdhizcittapIDAyAM pratyAzAyAM ca bandhake / vyasane cApyadhiSThAne' iti vizvalocane / dadhAnAM dhArayantI / tAM preyasI prakarSaNa priyAM tAM kinnarakanyakAM madvacaHpratyayena madvacane vizvasya / mama vacaH vacanaM madvacaH / tasmin pratyayaH vishvaasH| tena / amuSyAM asyAM upavanabhuvi udyAnabhUmau pazya prekSasva / Believing in my words, you, having quickly assumed the forma like that of the cub of an elephant for the sake of moving rapidly, seated on the aforesaid pleasure-mountain with a beautiful peak [or with a peak having Champaka-trees grown on it or with a peak serving as a pleasure-abode ], should have a look, in that garden, at that beloved one, involved in mental anguish with reference to you, overwhelmed with grief provoked by separation ( from you ). no cedantargRhamadhivasetsA dazAmudrahantI gUr3ha dRSTuM samabhilaSitAM tAM tadA tatstha eva / ahasyantarbhavanapatitAM kartumalpAlpabhAsaM ___ khadyotAlIvilasitanibhAM vidhudunmeSadRSTim // 35 // ... anvayaH- no cet, tadA dazAM udvahantI sA antaryahaM adhivaset / samabhilaSitAM tAM gUDhaM dRSTuM tatsthaH eva alpAlpabhAsaM khadyotAlIvilasitAnibhAM vidyudunmeSadRSTiM antarbhavanapatitAM kartuM arhasi /

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tRtIyaH sargaH ] 313 no cedityAdi / no cet upavanabhuvi sA na bhavecet tadA tarhi dazAM virahavaidhuryavatImavasthAM udvahantI dhArayantI sA vasundharAcarI kinnarakanyakA antargRhaM udyAnAntargata gRhaM, gRhAntargataM gRhaM madhyegRhaM vA / antargataM gRhaM antargRhaM / yadvA gRhasyAntaH antargRham | ' pAremadhye'ntastayA ' iti hasaH / nAyaM tAsaH, tAse tAntasya pUrve nipAtanAt atra ca tasyottaratra nipAtadarzanAt / subarthe'yaM hasaH / tena tasya ' gRhe ' ityarthaH / AdhArasya karmasaJjJAprAtau tu ' antargataM gRhaM ' ityeSa eva saH, na hasaH / adhivaset tiSThet / ' vaso'nupAdhyAGaH ' ityadhipUrvasya vasaterAdhArasya karmasaJjJA / tatazca ' karmaNIpU' iti ip / samabhilaSitAM abhikAGkSitAM / abhISTAmityarthaH / tAM kinnarakanyakAM gUDhaM pracchannaM / aprakAzamityarthaH / dRSTuM vilokayituM tatstha eva krIDAzaile sthitaH eva alpAlpabhAsaM alpajAtIyaprakAzAM / alpAlpA alpaprakArA bhAH prakAzaH yasyAH sA / tAm / alpAlpA alpajAtIyA ityarthaH / ' prakAreguNokteva' iti dvaidhIbhAvaH / khadyotAlIvilAsitanibhAM jyotiriGgaNapaGktiprakAzasaGkAzAM / khadyotAH jyotiriGgaNAH / ' khadyoto jyotiriGgaNaH' ityamaraH / indragopeko jyotirmAlI kITamaNizceti khadyotasya nAmAntarANi / khadyotAnAmAlI paGktiH khadyotAlI / -- vIthyAlirAvaliH paGktiH zreNI ' ityamaraH / tasyAH vilasitaM vilAsaH prakAzaH / 'nabbhAve kto'bhyAdibhyaH ' iti kto nap ca / tena nibhAM sadRzIM 1 vAcyaliGgAH samastulyaH sadRkSaH sadRzaH sadRk / sAdhAraNaH samAnazca syuruttarapade tvamI / nibhasaGkAzanIkAzapratIkAzopamAdayaH ityamaraH / vidyudunmeSadRSTiM vidyudvilAsadRSTiM / vidyutaH kSaNaruceH unmeSaH kSaNadyutiH vidyudunmeSaH / sa eva dRSTiH IkSaNaM vidyudunmeSadRSTiH / tAm | antarbhavanapatitAM antargRhe patitAM / antargata upavanAntargataM bhavanaM gRhaM antarbhavanam / tatra patitA labdhapravezA antarbhavanapatitA / tAm / kartuM vidhAtuM arhasi yogyo bhavasi / krIDAzikharizikharasthaH eva antargRhanivAsAM tAM kinnara kanyakAM dRSTukAmaH tasminnantargRhe mandodyotavatIM vidyudunmeSarUpAM svadRSTi nikSipatAditi bhAvaH / " 2 If she would not be found there, she, reduced to that state, would he dwelling in the inner apartment [of the house standing in the interior part of the garden ]. To see her, who is longed-for, secretly, it would deserve you to let your glance in the form of the flash of lightning, possessing very scanty brilliance, bearing resemblance to the gleaming of a row of fire-flies, entor the house. Aloke te nipatati purA sA balivyAkulA vA tvatsamprAptyai vihitaniyamAn devatAbhyo bhajantI /

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314 buddhyArUDhaM ciraparicitaM tvadrataM jJAtapUrva matsAdRzyaM viratanu vA bhAvagamyaM likhantI || 36 || AlikhyAsto bhavadanukRtiM cakSurunmIlya kRcchrA tpazyantI vA sajalanayanaM, prAktanIM manyamAnA / pRcchantI vA madhuravacanaM sArikAM paJjarasthAM kaccidbhartuH smarasi rasike tvaM hi tasya priyeti // 37 // utsaGge vA malinavasane saumya nikSipya vINAM gADhotkaNThaM karuNavirutaM vipralApAyamAnam / magotrAGkaM viracitapadaM geyamudrAtukAmA [ pArzvAbhyudaye tvAmuddizya pracaladalakaM mUrcchanAM bhAvayantI // 38 // tantrIrArdrA nayanasalilaiH sArayitvA kathazcit svAGgalyagraiH kusumamRdubhirvallakImA spRzantI / dhyAyaM dhyAyaM tvadupagamanaM zUnyacintAnukaNThI bhUyo bhUyaH svayamapi kRtAM mUrcchanAM vismarantI // 39 // zeSAnmAsAnviradiva sasthApitasyA'vadhervA janmAnyatve'pyadhigatimitAn devabhAvAnubhAvAt / vinyasyantI bhuvi gaNanayA dehalI muktapuSpaiH smRtyArUDhAn sphuTayitumiva svAtmano mRtyu sandhIn // 40 // buddhyadhyAsAt svapana iva vispaSTabhUyaM tvayA'mA sambhogaM vA hRdayaracitArambhamAsvAdayantI / mUrcchAsuptA sabhayamathavA''zvAsyamAnA sakhIbhiH prAyeNaite ramaNAviraheSvaGganAnAM vinodAH // 41 // [ SaDbhiH kulakam ] anvayaH - saumya ! balivyAkulA, tvatsamprAptyai devatAbhyaH vihitaniyamAn bhajantI vA buddhyArUDhaM ciraparicita jJAtapUrvaM tvadvataM virahatanu bhAvagamyaM matsAdRzyaM likhitI vA, ataH bhavadanukRti Alikhya cakSuH unmIlya sajalanayanaM pazyantI vA paJjarasthAMsArikAM prAktanIM manyamAnA 'rasike / bhartuH kaccit smarasi tvaM hi tasya priyA' iti madhuravacanaM pRcchantI vA, malinavasane utsaGge vINAM nikSipya gADhotkaNThaM karuNavirutaM

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tRtIyaH sargaH ] 315 vipralApAyamAnaM viracitapadaM geyaM magotrAGkaM tvAM uddizya udgAtukAmA mUrcchanAM pracaladalakaM bhAvayantI, kusumamRdubhiH svAGgulyagre nayanasalile: ArdrAH tantrIH kathaJcit sArayitvA vallakIM AspRzantI, tvadupagamanaM dhyAyaM dhyAyaM zUnyacintAnukaNThI svayaM kRtAM api mUcrchanAM bhUyaH bhUyaH vismarantI, devabhAvAnubhAvAt janmAnyatve api adhigatiM itAn virahRdivasasthApitasya avadheH zeSAn mAsAn smRtyArUDhAn svAtmanaH mRtyusandhIn sphuTavituM iva dehalImuktapuSpaiH gaNanayA bhuvi vinyasyantI vA, svapane hRdayaracitArambhaM sambhoga buddhyadhyAsAt tvayA amA vispaSTabhUyaM iva AsvAdayantI vA, athavA mUrcchAsuptA strIbhiH sabhayaM AzvAsyamAnA purA te Aloke nipatati / ramaNaviraheSu aGganAnAM prAyeNa ete vinodA: / " Aloke ityAdi saumya zAntAntaraGga sAdho / 'budhe saumyo'tha vAcyavat / bauddhe manorame'nugre pAmare somadevate' iti vizvalocane / 'kasomATTyaN' iti devatArthe somazabdAdvyaN / sundarAdyartheSUpacArAdvyaN / balivyAkulA proSitabhartRpratyAgamanArthaM pUjopahAreSu devatArAdhaneSu vA vyApRtA / baliSu vyAkulA vyApRtA balivyAkulA / 'balicAmaradaNDe'pi karapUjopahArayoH / saindhave'pi baliH strI tu jarasA zlathacarmaNi / kukSibhAgavizeSe ca gRhakASThAntare dvayoH' iti vizvalocane / tvatsamprAptyai bhavatsamprAptyarthaM / bhavantaM prAptumityarthaH / dhvarthavAco'rthAtkarmaNi' ityap / devatAbhyaH devatAH prApya 'pyasve karmAdhAre' iti pyakhe karmaNi kA / bhagavatpratimApAdamUlaM samprApyetyarthaH / yadvA devatAH iva devatAH / 'devapathAdibhya' itIvArthasya kasyos / 'yuktavadukhi liGgasaGkhye ' iti prakRtivalliGgasaGkhye / jinendrAdidevatulyAH ye gurujanAH tebhyaH / tAdRggurujanasakAzAdityarthaH / vihitaniyamAn zAstroktAni vratAnItyarthaH / vihitAH zAstrakAraiH pratipAditAH niyamAH bratAni / 'niyamo nizcaye bandhe yantraNe saMvidi vrate iti vizvalocane / bhajantI vA sevamAnA vA / buddhyArUDhaM manasi kRtasaMskAraM / buddhau manasi ArUDhaM kRtArohaNaM / mnsikRtmityrthH| ciraparicitaM cirAt prAptaparicayaM / suciramabhyastamityarthaH / jJAtapUrva pUrvameva jJAnaviSayatAM prApitaM / pUrva jJAtaM jJAtapUrva / ' ktaH' iti ktAntasya pUrve prayogaH bstvaat| tvadgataM tvAM gataM / bhavadviSayakamityarthaH / 'iptacchritAdibhiH' iti gatena saha saH / viraha tanu vipralambhajanitatAnavaM / viraheNa tvattaH viyogena tanu janitatAnavaM / bhAvagamyaM abhiprAyajJeyaM / tasyAH tvattaH virahasya dIrghakAlabhAvitvAttvatkArthasya samprati tadddRggocaratAmagatatvAtsambhAvanamAtreNa tvatkArthasyotprekSyatvamityarthaH / ye ye gatyarthAste te jJAnArthAH iti nyAyena gamyamityasya jJeyamityartho jJeyaH / 'bhAvaH svabhAvaceSTA'bhiprAyasattvAtmajanmani / bhAvaH kriyAyAM lIlAyAM padArthe'bhinayAntare / jantau budhe vibhUtau ca nATyoktyA

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[pArdhAbhyudaye paNDite'pita' iti vizvalocane / matsAdRzyaM madIyapratikRtitulyAM tvadIyAM pratikRti / mama sAdRzyaM praticchandakamiva sAdRzya matsAdRzyaM / 'devapathAdibhyaH' itIvArthasya kasyosa / 'yuktavadusi liGgasaGkhye' iti prakRtivaliGgasaGkhye / " yadyapi sAdRzyaM nAma prasiddhavastvantaragataM AkArasAmyaM tathApi pratikRtitvena vivakSita, itarathA aalekhytvaasmbhvaat| akSayyakoze 'Alekhye'pi ca sAdRzya' ityabhidhAnAt" iti meghadUtaTIkAyAM mallinAthaH / etadvyAkhyAnaM 'AlikhyA'to bhavadanukRti' ityuktimanusRtya kRtamityavaseyaM sudhIbhiH / likhantI vA kacitphalakAdau viracayantI vaa| virahajanitaduHkhIvanodanopAyatvAt proSitabhartRpraticchandakasya tatvacitphalakAdau viracayantI vasundharAcarI proSitabhartRkatvAtsA viyoginI kinnarakanyaketi bhAvaH / ataH anantaraM bhavadanukRti tvadIyapraticchandakaM / bhavataH tava anukRtiH anukAraH sAdRzyaM bhavadanukRtiH / tAm / Alikhya kacit phalake vinyasya cakSuH nayanaM unmIlya uddhATya sajalanayanaM sAzrunetram / bASpAkulacakSuSetyarthaH / jalenAzruNA sahite sjle| 'vA nIcaH' iti sahasya sbhaavH| sajale nayane yasminkarmaNi yathA syAtAM tthaa| pazyantI vA avalokayantI vA / paJjarasthA pakSibandhanagRhasthAm / zyenAdihinebhyaH saMraNavArtha pazibandhanagRhe sthApitAmityarthaH / sArikAM pakSiNIvizeSAm / prAktanI vasundharAcarIkAlabhAvinIM / prAk marubhUtibhAvasundharAkAle jAtA bhavA vA praaktnii| tAm / 'sAyaMciraMpAhaNepragejheH' iti jAtArthe bhavArthe vA tanaTa / TittvAstriyAM kii| manyamAnA pratyabhijAnatI / manyate iti manyamAnA / rasike saundaryavati jJAnavati vaa| rasaH saundarya jJAnaM vA'styasyAH rsikaa| bhartuH patyuH svAminaH vA kazcit smarasi smRtiviSayatAM nayasi kaccit / tvaM me bhrAtaraM te svAminaM ca marubhUtiM smarasIti me'bhiprAyaH / 'kaccit kAmapravedane' ityamaraH / 'kAmapravedanamiSTaparipraznaH' iti kSIrasvAmI / atrodAharaNaM-' kaccijjIvati me mAtA kaccijjIvati me pitA / mArAvida tvAM pRcchAmi kaccijjIvati pArvatI // ' iti / 'smrarthadayezAM karmaNi' iti taa| tvaM bhavatI hi yataH hetoH tasya mama bhartuH priyA abhimatA iti amunA prakAreNa madhuravacanaM madhuroktyA / madhuraM vacanaM yathA syAttathA / pRcchantI vA anuyuJjAnA vA / malinavasane maladUSitavAso'vaguNThite / malinaM malImasaM maladUSitaM vasanaM vAva: yasya / tasmin / 'malAdImasazca' iti malAnmatvarthe inaH / kaccaracIvaraparidhAna kinarakanyakAyA virahanibandhanamiti khyApanArtha malinavasane iti vizeSaNam / utso angke| 'utsaGgacihnayoraGkaH' ityamaraH / vINAM vallakI nikSipya nidhAya gADhotkaNThaM atyadhikacittodvegaM / gADhA atyadhikA tItrA vA utkaNThA cittodvegaH yasmin / tat /

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tRtIyaH sargaH ] 317 * 1 C tIvracittodvegavyaJjakamityarthaH / karuNavirutaM hRdayamA hisvaraM / karuNAni hRdayagrAhINi virutAni svarAH yasya tat / virutAni virAvAH / ' nabbhAve kto'bhyAdibhyaH' iti ktaH nap ca / karuNAvyaJjakasvaramityarthaH / vipralApAyamAnaM karuNarasapradhAnagItAyamAnaM / vipralApaH ivAcaratIti vipralApAyate / ' kyaG ca ' iti AcAre kyaG / vipralApAyate iti vipralApAyamAnam / viracitapadaM summiGAdipadaracanAvizeSayuktaM / vizeSeNa racitAni padAni yasya tat / geyaM gItaM magotrAGkaM madIyakulabhUSaNaM / mama gotraM kulaM magotraM / ' gotraH kSoNIdhare gotraM kule kSetre ca nAmni ca / sambhAvanIyabodhe'pi vitte vartmani kAnane ' iti vizvalocane / tasya aGkaH bhUSaNaM magotrAGkaH / tam / ' aGko rekhAyAM cihnalakSmagoH / nATakAdiparicchedotsaGgayorapi rUpake / citrayuddhe'ntike mantau sthAna bhUSaNayorapi ' iti vizvalocane / yadvA gotrasya kulasya aGkaH lakSma nAmadheyaM gotrAGkaH / mama gotrAGkaH ik gotrAGkaH yasya saH / tam / ' IbupamAnapUrvasya sukhaM gatArthatvAt' iti dyubhUtagotrAGkapadasya khm| tvAM bhavantaM uddizya lakSIkRtya udgAtukAmA uccairgAtumabhilaSantI / uccaiH tArasvareNa gAtuM kAmaH abhilASaH yasyAH sA / ' samtumormanaH kAme ' iti kAme parataH tumo makArasya kham / mUrcchanAM ArohAvarohakramavizeSasthApitasvarAM gItikAM / mUrcchanAlakSaNaM yathAkramAtsvarANAM saptAnAmArohazcAvarohaNaM / sA mUrcchatyucyate grAmasthA etAH sapta sapta ca ' iti / pracaladalakaM sAlakacalanaM / prakarSeNa calantaH vilolA: alakAH kuntalAH yasminkarmaNi yathA syustathA / bhAvayantI antarjalpantI / devayonisambhUtatvAdgAndhAragrAmamantarjarUpantItyarthaH / taduktaM - ' SaDjamadhyamanAmAnau grAmo gAyanti mAnavAH / na tu gAndhAranAmAnaM sa labhyo devayonibhiH' iti / kusumamRdubhiH kusumasamamArdavaiH / kusumAnIva mRdUni kusuma mRdUni / taiH / ' sAmAnyenopamAnaM' iti SasaH / svAGgulyapraiH svAGgulyaprabhAgeH / svAH svIyAH aGgulyaH svAGgulyaH / tAsAmagrANi svAGgulyagrANi / taiH svAGgulyamaiH / nayanasalilaiH netrAmbukaNaiH / nayanayoH netrayoH salilAni azrubindavaH nayanasalilAni / taiH / ' pAtho'rNaH salilaM jalaM ' iti dhnnyjyH| ArdrAH klinnAH / ' Ardra sAI klinnaM timitaM stimitaM samunnamuttaM ca ' ityamaraH / tantrIH vINAtantUn / 'tantrI syAdvallakI guNe ' iti vizvalocane / kathaJcit kenApi prakAreNa / kRcchreNetyarthaH / sArayitvA pramRjya vallakIM vINAM / 'vINA tu vallakI / vipaJcI, sA tu tantrIbhiH saptabhiH parivAdinI' ityamaraH / AspRzantI ISatspRzantI tvadupagamanaM tavAgamanaM dhyAyaM dhyAyaM abhIkSNaM dhyAtvA / pUrvAgreprathamAbhIkSNye khamuJ ' ityAbhIkSNyArthe khamuJ / zUnyacintAnukaNThI niHsAramanastApAnugatakaNThasvaravatI / zUnyA asArA cA'sau cintA manastApazca zUnyacintA / tayA anugataH 8

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318 [ pArdhAbhyudaye kaNThaH kaNThotpannaH svaraH yasyAH sA / ' nAsikodarauSThajaGghAdantakarNazRGgAGagAtrakaNThAt ' iti striyAM DI / svayaM AtmanA kRtAmapi viracitAmapi mUrcchanAM ArohAdikramavizeSasthApitasvarAM gItikAM bhUyo bhUyaH punaH punaH vismarantI mUchanAviracanAkAlajanitasmRtyubodhakasaMskArobodhaM tvadupagamanacintananimamamanaskatayA'kurvantI / devabhAvAnubhAvAt devatvajanitamAhAtmyAt / devasya bhAvaH devabhAvaH / devatvamityarthaH / tasya anubhAvaH mAhAtmyaM / tasmAt / 'anubhAvaH prabhAve syAnnizcaye bhAvasUcake' iti vizvalocane / devatvajanitaprabhAvAdityarthaH / janmAnyatve api janmAntaratve'pi / janmanaH bhavasya anyatvaM bhinnatvaM janmAnyatvaM / tasmin / anekajanmabhirantaritatve'pi adhigati itAn pramiti prAptAna / phalabhUtajJAnAvasthAM prAptAnata eva parigaNitAniti bhAvaH / virahadivasasthApitasya viyogadinabalAnizcitasya / virahasya viyogasya divasaH virahadivasaH / tena tasmAdvA sthApitasya nizcitasya aSadheH antasya / virahArambhAntayorantarAlavartinaH vipryogkaalprmaannsvetyrthH| zeSAn mAsAn gatAvaziSTAnmAsAn smRtyArUDhAn buddhyArUDhAn / smRtiH buddhiH / 'smRtistu dharmazAstre syAt smaraNe dhIcchayorapi' iti vizvalocane / tatra ArUDhAH kRtasaMskArAH smRtyaaruuddhaaH| tAn / buddhikRtadhAraNAnityarthaH / svAtmanaH svdehsy| svasya AtmA dehaH svaatmaa| tasya / 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vishvlocne| mRtyusandhIn maraNakAlAn / 'sandhiH puMsi suraGgAyAM randhrasaGkaTane bhage / sandhirbhAge'vakAze'pi vATasajhe'pi puMsyayam' iti vizvalocane / sphuTAyituM iva prakaTIkartumiva / dehalImuktapuSpaiH budhnodumbaranyAsIkRtakusumaiH / dehalyAM budhnodumbare muktAni nyAsIkRtAni dehalImuktAni / tAni ca tAni puSpANi dehalImuktapuSpANi / taiH / ' gRhAvagrahaNI dehalI' ityamaraH / 'budhnodumbarAmiti sabhyo'rthaH' iti kSIrasvAmI / gaNanayA ekadvyAdiparisaMkhyAnena hetubhUtena / parigaNanArthamityarthaH / bhuvi bhUtale vinyasyantI vA nikSipantI vA / svapane svApadarzane / 'svapnaH svApadhIdarzane' iti vizvalocane / hRdayaracitArambha manaHsaGkalpavihitopakramaM / hRdaye manasi racitaH saGkalpavihitaH ArambhaH upakramaH yasya saH / tam / yadvA manovyApArajanitAliGganacumbanAdivyApAramityarthaH / sambhogaM nidhuvanakriyAM / 'rate bhoge ca sambhogaH sambhogo jinazAsane' iti vizvalocane / buddhyadhyAsAt buddhijanitabhrAnteH / svapne yathArthasambhogAbhAve'pi buddhyA tatsadbhAvaprakalpanAt ityarthaH / tvayA amA bhavatA samaM vispaSTabhUyamiva spaSTataratveneva / vizeSeNa spaSTaM vispaSTaM / vispaSTabhavanaM vispaSTabhUyaM / vizeSeNa spaSTA kriyA yathA syAttatheti bhAvaH / sAkSAnmaithunopasevanamivetyarthaH / AsvAdayantI vA

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tRtIyaH sargaH ] 319 anubhavaviSayatAM nayantI vA / 'bhUyahatyAgnicityA bhAve' iti bhAve bhUyanipAtaH / athavA kiMvA mUrcchAptA mUrcchayA nidrANA / mUrcchayA mohena suptA nidrANA mUrcchAsuptA | mohanidrAvazaMgatA mohena nidrAmudritalocanA vetyarthaH / sakhIbhiH AlIbhiH bhayaM bhItyA / bhayena sahitaM yathA tathA sabhayaM / tanmaraNabhayAdityarthaH / AzvAsyamAnA vidhIyamAnavikhambhA purA yadA tvamalakAM bhaviSyati prApsyasi tadA prathamaM Aloke darzane nipatati patiSyati / tvannayanagocaratAM yAsyatIti bhAvaH / ' purAyAvatorlaT ' iti vartsyatyarthe laT / kathametA uktA avasthAH bhaveyuriti sambhAvita - mityArekAmarthAntaranyAsena pariharati ramaNAvi raheSu kAntaviyogeSu / ramaNAdvirahaH ramaNavirahaH / teSu / aGganAnAM lalanAnAM / 'strI nArI vanitA mugdhA bhAminI bhIruraGganA iti dhanaJjayaH / aGgAni kalyANAnyasyAH santi aGganA / lakSmaNAviSuNAGganAH iti nipAtaH / prAyeNa bAhulyena ete pUrvoktAH vinodA: virahajanitaduHkhApanayanopAyAH / etairAsaktisaGkalpamUrcchAdyA avasthAH uktAH / T , ( O gentle one! she, engaged in worshipping, on having attained to the idols of Gods taking vows prescribed [by the codes compiled by sages] for the sake of attaining you or portraying a resemblance of me found in you, manifesting emaciation caused by separation [ from her ], conceived by fancy, familiar to her since long, impressed on her mind, and known formerly or drawing a likeness of you afterwards, and looking with her eyes, opened, moistened with tears, with a great difficulty or asking the encaged Sarika, taken by her to be one belonging to the period prior to the present one, in a sweet voice 'I hope, O beautiful one I do you remember your master, for you were his pet [ or I hope, you, your master's pet, remember him ]', or having laid a lute on her lap with an unclean garment, muttering, with her hair tossing about, a melody, with a disire to sing, with reference to you, assuming the hereditary appellation of my family, a song, having words arranged in a particular order, sung in a mournful ( elegiac ) strain, displayed in a voice whipping up emotion [or feelings of compassion] (and) expressing deep anxiety or stroking gently the lute with the ends of her fingers delicate like flowers on wiping off anyhow the strings moistened with tears from her eyes or forgetting time and again the melody though constructed by herself on account of the display of vain anxiety caused by her repeated meditation upon your arrival or drawing figures on the ground by means of the flowers placed at the "

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320 [pArdhAbhyudadhe threshold for counting the remaining months, become calculable oven in the regeneration owing to the intrinsic power attained through gock hood so as to display as if the occasions of her deaths committed to memory or enjoying in a dream the pleasure of sexual connexion, realised as though in action, with you, the working of which is portrayed in mind, owing to the feelings of sexual intercourse ) being implanted in her mind or being pacified by her friends through foar roused by her being unconscious, will fall within the range of your eyesight first these are mostly the means of alleviating miseries adopted by ladies during the period of separation from their lovers. sakhyAlApaiH sukhavirutibhistadvinodaistathA'nyaH savyApArAmahAna na tathA pIDayedviprayogaH / svApApAyAdhRdayanihitaM tvAmajasraM smarantI zaGke rAtrau gurutarazucaM nirvinodAM sakhIM te // 42 // anvayaH- [ yathA ] rAtrau svApApAyAt hRdayanihitaM tvAM ajasraM smarantI gurutarazucaM nirvinodAM te sakhIM [ viprayogaH pIDayet ] tathA ahani sukhavirutibhiH sakhyAlApaiH tathA anyaH tadvinodaiH savyApArAM viprayogaH na pIDayet [ iti ] zaGke / skhyaalaaprityaadi| yathA rAtrau nizAyAM svApApAyAt nidrAvigamAt / svApaH nidraa| tasya apAyaH apagamaH / tasmAt / hetAvatra kaa| hRdayanihitaM hRdaye sthApitaM / hRdaye manasi nihitaH sthApitaH hRdayanihitaH / tam / tvAM bhavantaM / ajalaM anavarataM / 'nityAnavaratAjasraM' ityamaraH / smarantIM smRtiviSayatA nayantI / dhyAyantI- . mityarthaH / guruvarazucaM tiivrtrduHkhsNvednaaN| atizayena gurvI gurutarA / gurutarA zuk zokaH yasyAH saa| tAm / guruzabdasyoktapuMskatvAt 'tasAdau' iti puMvadbhAvaH / nirvinodAM virahajanitaduHkhApanayanavinodavyApArarahitA te bhavataH sakhI preyasI vasundharAcarI kinnarakanyakA vi yogaH viyogaH pIDayet bAdheta tathA tena prakAreNa ahAna dine sukhavirutibhiH sukhotpaadkshbdaiH| zobhanAni khAnIndriyANyasmin sukhayati vA sukham / sukhAH sukhAvahAH virutayaH zabdAH yeSAM te| taiH / sakhyAlApaiH AlInAmAbhASaNaiH / 'svAdAbhASaNamAlApaH' itymrH| tathA api ca / 'tathA sAdRzyanirdezanizcayeSu samuccaye' iti vizvalocane / anyaiH sakhyAlApebhyo bhinnaH tadvinodaiH virahajanitaduHkhApanayanopAyaiH savyApArAM virahajanitaduHkhApanayanavinodavyApAranimannA

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tRtIyaH sargaH] 321 viprayogaH vipralambhaH na pIDayet na bAdheta iti zake sambhAvaye'haM kamaThacara: zambarAsuraH / Being engaged owing to the conversations with her female friends consisting in pleasant words and other things, forming the means of mitigating mental worries, I think that the separation would not be distressing her with mental sufferings by day as much as it would be afflicting her, your beloved, having no pastime, afflicted far too heavily, continuously remembering you, deposited[by her] in [ other ] beart, owing to her sleep being dispelled. evamprAyaistvayi subhagatAM vyaJjayadbhiryathAthai-- matsandezaiH sukhayitumataH pazya sAdhvI nishiithe| paryastAGgI kusumazayane nissukhAmAdhiruddhAM tAmunnidrAmavanizayanAM sadmavAtAyanasthaH // 43 // citranyastAmiva savapuSaM manmathIyAmavasthA mAdhikSAmAM, virahazayane sanniSaNNakapArthAm / tApApAstyai hRdayanihitAM hArayaSTiM dadhAnAM, prAcImule vanumiva kalAmAtrazeSAM himAMzoH // 44 // matkAminyA praNayarasikaH sannidhau tvatpriyAyA nItA rAtriH kSaNamiva mayA sAmicchAratairyA / nidrAdviADarmuhurupacitaiH pakSmarudbhirgaladbhi stAmevoSNavirahamahatImazrubhiryApayantIm // 45 // antastApaM prapizunayatA svaM kavoSNena bhUyo nizvAsenA'dharakisalayalezinA vikSipantIm zuddhasnAnAt paruSamalakaM nUnamAgaNDalamba vizliSTaM vA hariNaracitaM lAnchanaM tanmukhendoH // 46 // madvizleSAdupahitazuco dUradezasthitasya prANezasya svayamanucitAnaGgabAdhasya jAtu : matsaMyogaH kathamupanamet svapnajo'pIti nidrA mAkAGkSantI nayanasalilotpIDaruddhAvakAzAm // 47 // pArthAbhyudaye...21

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322 Adhe baddhA virahadivase yA zikhA dAma hitvA janmanyasmAdavyavahitatare veNikA smaryamANA zApasyAnte vigalitazucA tAM mayodveSTanIyAM svAM nindantIM virahavapuSAM saGgamaM vA vihAya // 48 // tAM vaktrendugrasanarasikAM rAhumUrti zritAM vA, vyomacchAyAM madanazikhino dhUmayaSTIyamAnAm sparzakliSTA mayabhitanakhenA'sakRtsArayantI [ pArzvAbhyudaya gaNDAbhogAtkaThinaviSamAmekaveNIM kareNa // 49 // pAdAnidora mRta zizirA khAlamArgapraviSTAniSTAnbandhUniva mRgayituM saMzritAn saGgrahItum / pUrvapratyAgatamabhimukhaM sannivRttaM tathaiva pratyAhRtya svanayanayugaM cetasA dhUyamAnAm // 50 // bhUyobhUyaH zizirakiraNe svAnkarAJjAlamArgerAtanvAne punarapi gatAbhyAgataiH klizyamAnam / khedAccakSuH salila gurubhiH pakSmabhizchAdayantIM sA'hrIva sthalakamalinIM naprabuddhAM nasuptAm // 51 // [ navabhiH kulakam / ] anvayaH- ataH paryastAGgIM, kusumazayane niHsukhAM, AdhiruddhAM, avanizayanAM, citranyastAM iva, manmathIyAM savapuSaM avasthAM, AdhikSAmAM, virahazayane sanniSaNNaikapArzvA, prAcImUle himAMzoH kalAmAtrazeSAM tanuM iva, tApApAstyai hRdayanihitAM hArayaSTi dadhAnAM tvatpriyAyAH sannidhau mayA sArdhaM praNayarasikaiH icchArataiH yA rAtriH matkAminyA kSaNaM iva nItA tAM eva virahamatIM [ rAtriM ] nidrAdvibhiH muhuH upacitaiH pakSmarudbhiH galadbhiH uSNaiH azrubhiH yApayantIM svaM antastApaM prapizunayatA kavoSNena adhara kisalaya klezinA niHzvAsena tanmukhendoH hariNaracitaM vizliSTaM lAJchanaM vA zuddhasnAnAt paruSaM AgaNDalambaM alakaM nUnaM bhUyaH vikSipantIM madvizleSAd upahitazucaH dUradezasthitasya anucitAnaGgabAdhasya prANezasya svapnajaH api matsaMyogaH kathaM jAtu svayaM upanamet iti nayanasalilotpIDaruddhAvakAzAM nidrAM AkAGkSantoM, yA asmAt vyavahitatare janmani Adye virahadivase dAma hitvA veNikA zikhA baddhA (iti) mayA smaryamANA tAM svAM zApasya ante viravapuSAM vaH saGgamaM vidhAya vigalitazucA ( tvayA)

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tRtIyaH sargaH] 323 udveSTanIyAM nindantI; vaktrendugrasanarasikAM zritAM rAhUmUrti vA, vyomacchAyAM, madanazikhinaH dhUmayaSTIyamAnAM, sparzakliSTAM, kaThinaviSamAM tAM ekaveNI ayamitanakhena kareNa gaNDAbhogAt asakRt sArayantI; saMzritAn iSTAn bandhUn mRgayituM iva jAlamArgapraviSTAn amRtazizirAn indoH pAdAn pUrvaprItyA saGgrahItuM abhimukhaM gataM tathaiva nivRttaM sat svanayanayugaM pratyAhRtya cetasA dhUyamAnAM, zizirakiraNe svAn karAn jAlamArgaH bhUyobhUyaH AtanvAne gatAbhyAgataiH khedAt punaH api klizyamAnaM cakSuH salilagurubhiH pakSmabhiH chAdayantI [ataH eva ] sAbhre ahni sthalakamalinI iva naprabuddhAM nasuptAM tAM sAdhvI evamprAyaiH tvayi subhagatAM vyaJjayadbhiH yathArthaiH matsandezaiH sukhayituM nizIthe sadmavAtAyanasthaH pazya / evamprAyarityAdi / ataH asmAt kAraNAt / rAtrau virahajanitaduHkhApanayanopAyAbhAvAdityarthaH / paryastAgI vyatyastAvayavAM / paryastAni itastato'kramavinyastAni aGgAnyavayavAH yasyAH sA / tAm / virahajanitaduHkhAkulitatvAd vyatyastAvayavAmityarthaH / kusumazayane puSpazavyAyAM nissukhAM saukhyavikalAM / kusumazavyAyAH kAmoddIpakatvAttajanitaduHkhApanayanopAyAbhAvAcca tatrA'pyalabdhazArIramAnasasukhAmityarthaH / AdhiruddhAM duHkhAkrAntamanaskAM / AdhinA mAnasyA vyathayA ruddhAM parivRtAM AdhiruddhAM / ' bandhaka vyasanaM cetaHpIDA'dhiSThAnamAdhayaH' itymrH| avanizayanAM bhuumishaayinii| avaniH bhUmiH eva zayanaM zayyA zayanasthAnaM vA yasyAH sA / tAm / avanI zete iti avnishynaa| tAm / 'dharA vasumatI dhAtrI kSamA vizvambharA'vaniH' iti dhnnyjyH| zayyAyAM zayane svapatismRtijanitavirahavyathAsambhUtibhItyA parityaktatUlakalpitAnalpatarUpAmityarthaH / zIyate'treti zayanaM / 'karaNAdhAre cA'naTa ' ityAdhAre'naT / tena zayanamityasya shyniiymityrthH| citranyastA iva citralikhitAmiva / prayuktasvamatikauzalacitrakArAlikhitanayanAbhirAmAlelyamiva nayanAbhirAmamUrtimityarthaH / manmathIyAM madanasya / manmathasyeyaM manmathIyA / tAm / ' dozchaH ' iti chaH / savapuSAM sazarIrAM / vapuSA sahitAM savapuSAM / avasthAM dazAM / sAkSAdupAttazarIrAM kAmAvasthAmiti vAcyArthaH / pravRddhakAmavAsanAmiti tAtparyArthaH / AdhikSAmAM duHkhAkrAntamanaskatayA kRzIbhUtavArIrAM / AdhinA mAnasikyA vyathayA kSAmA kssiinnshriiraa| tAm / 'kSo maH' iti kSAyatestatakArasya mAdezaH / virahazayane virahazayyAyAM / virahe virahakAle zIyate'treti virahazayanam / tasmin / sanniSaNNekapAzvA samAzritasvazarIraikabhAgAM / sanniSaNNaH samAzritaH ekaH pArzvaH zarIrAvayavavizeSaH yasyAH sA / tAm / virahazayyAsamAzritazarIraikAva

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. 321 [pArdhAbhyudaye yavAmityarthaH / paJcabANabANAyamAnatvAtkAmodrekajanitadehadAhaprazamanAbhilASavinirmitakusumazayanasyApadhanaikadezena samAzritatadekadezamAtrAmiti bhAvo'tra samAzraNIyaH / prAcImUle udayazikharizikharaprAntapradeze / prAcyA pUrvasyAM dizi mUlaM utpattisthAnamiti prAcyAH pUrvasyAH dizo mUlamiti vA prAcImUlam / tasmin / himAMzoH candramasaH / himAH zItalAH aMzavaH razmayaH yasya saH himAMzuH / tasya / himarazmezcandramasaH ityarthaH / kalAmAtrazeSAM / kalAmAtraM kalaiva zeSaH avaziSTo bhAgaH yasyAH sA / tAm / kRSNapakSe vigalitapaJcadazakalatvAdavaziSTaikakalAmityarthaH / tanuM iva zarIrasadRzIM / kRSNapakSe vigalitapaJcadazakalo'vaziSTaikamAtrakalazcandramAH pratyUSe udathAcalaprasthapRSThabhAgaM samAzritaH sanyathA AsannasUryodayatvAnnistejaskastathA virhdaahdgdhtvaattejovaiklymaashritaamitybhipraayH| 'kalAmAtrazeSAM' ityatra mAtraTpratyayaH pramANArthakaH / tApApAstyai tApApanuttaye / tApasya virahajanitadehadAhasyApAstiH apanayanaM tApApAstiH / tasyai / tApamapAsitumityarthaH / 'dhvarthavAco'rthAtkarmaNi' ityam / hRdayanihitAM hRtpradeze sthApitAM / hRdaye vakSodeze nihitA nyAsIkRtA hRdynihitaa| tAM / hArayaSTiM hAraM / yaSTizabdaparo'pi hArazabdo hArArtha eva / 'yaSTiH zastrAntare hAre hAre hArAtpare'pi ca / bhAGgyiAM ca madhuparyo ca dhvajadaNDe tu puMsyayam / ' iti vishvlocne| dadhAnAM dhArayantI / virahadahanajanitadAhopazamanambhavedityabhiprAyeNa svavakSodeze dhRt-| hArAmityarthaH / tvatpriyAyAH / marubhUticarastha pArzvasya tava priyA preyasI tvatpriyA tasyAH / sannidhau samIpe / sAmIpye satItyarthaH / mayA kamaThacareNa zambarAsureNa mayA / sAdhaM samaM / praNayarasikaiH premarasayuktaiH / premajanitAnandAnubhavasahitaiH / 'praNayaH premavizrambhaprazrayaprasare'rthana' iti vizvalocane / icchArataiH yathAkAmaM nidhuvnsevnaiH| icchayA icchAnukUlyena kRtAni ratAni maithunasevanAni icchAratAni / taiH / zAkapArthivAditvAtsaH madhyamapadalopadarzanAt / rataM ratiH / 'nabbhAve kto'bhyAdibhyaH / iti bhAve kto nap ca / yA rAtriH yA nizA matkAminyA mama zambarAsuraguhyakasya kAminyA kAmAkulacittayA bhAryayA kSaNaM iva samayamAtrakAlaH iva / kSaNazabdaH ubhayaliGgaH / nItA yApitA / tAM eva yA nidhuvanasevanAprarUDhAmandAnandasyandinI rAtriH zambarAsurapalyA samayamAtrakAla iva zIghratamaM yApitA tAmeva / virahamahatI laghvImapi viraheNa hetubhUtena mahattvena dIrdhatvena pratIyamAnAm / viraheNa mahatI virahamahatI / tAm / rAtri nidrAdvibhiH nidrAdveSTubhiH / nidrAM dveSTAti nidrAdviD / taiH / 'vip' iti kim / muhuH vAraMvAraM upacitaiH utpadya vRddhiMgataiH pakSmarudbhiH pakSmANi

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tRtIyaH sargaH ] 325 1 8 rodhayadbhiH / pakSmANi pakSmalomAni rundhantIti pakSmarudhaH / taiH / kip / 'pakSma locanalomani / pakSma sUtrAdisUkSmAMze pakSma syAtkezare'pi ca' iti vizvalocane / galadbhiH sravadbhiH uSNaiH uSNIbhUtaiH azrubhiH akhaiH / 'netrAmbu rodane cAsramazru ca' ityamaraH / yApayantIM gamayantIM / yAterNyantAcchanRtyaH / ' hrIvlIrIknUyyatikSmAyyAtAM pugNAvev' iti Nau pare pugep ca / svaM svakIyaM / 'svo jJAtAvAtmani svaM tu triSvAtmIye dhane'striyAm ' iti vizvalocane / antastApaM hRdayagataM virahAnalajanitaM tApaM / antargatastApo'ntastApaH / tam / prapizunayatA prakarSeNa sUcayatA / ' pizuno nArade puMsi khalasUcakayostriSu' iti vizvalocane / pizunaM sUcakamanukarotIti pizunayati / sUcayatItyarthaH / ' mRdo dhvarthe NijbahulaM ' iti Nica 'kaNDDAderyak' iti yagvA kaNDvAderAkRtigaNatvAt / tataH zatRtyaH / kavoSNena ISaduSNena / ' kavaM coSNe ' ityaspArthe ko kavAdezaH uSNazabde pre| -- koSNaM kavoSNaM mandoSNaM ' ityamaraH / adhara kisalayaklezinA palavopamAdharoSThaprabAdhanena / adharaH adharoSThaH kisalayaH iva adhara kisalayaH / sAmAnyenopamAnaM ' iti saH / adharakisalayaM klezayati kliznAtIti vA adhara kisalayaklezI / tena / USmavattvAt pallavatukhyAdharoSThaklezajanakatvaM niHzvAsasyeti bhAvaH / klizyaterNyantAkliznAteraNyantAdvA 'zIle'jAtau Nin' iti zIlArthe Nin / niHzvAsena niHzvasitena tanmu khendoH tasyAH vasundharAcaryAH kinnarakanyakAyAH AnanacandramasaH / mukhamevenduzcandramAH mukhenduH / tasyAH mukhenduH tanmukhenduH / tasya / hariNaracitaM hariNazarIrAkAraracanAvizeSa | racitaM racanA / ' navbhAve kto'bhyAdibhyaH ' iti bhAve ktaH nap ca / hariNasya racitaM racanAvizeSaH hariNaracitaM / hariNaracitamiva citaM yasya saH hariNaracitaH / 1 tam ' IbupamAnapUrvasya sukhaM gatArthatvAt ' iti sukham / hariNazarIrAkArasadRzaracanAvizeSamityarthaH / vimliSTaM pRthaktayA'vasthitaM / tanmukhendraGgatAmaprAptamityarthaH / lAJchanaM vA aGkaH iva / zuddhasnAnAt tailAbhyaJjanavikalAtsnAnAddhetoH / virahiNyAstailAbhyaJjanAdeH pratiSiddhatvAttadvikalasnAnasya zuddhatvamuktam / paruSaM mRdusparzazUnyaM / kaThinasparzamityarthaH / " carabaTa ' iti mahArASTrayAm / AgaNDalambaM kapolamabhivyApya lambamAnaM | AgaNDamAkapolam / kapolamabhivyApyetyarthaH, AGo'bhividhyarthatvAt ' AGmaryAdAbhividhyoH ' iti / lambate iti lambaH / pacAdibhyo'ca ' ityac pacAderAkRtigaNatvAt / AgaNDaM lambaH AgaNDalambaH / 'sup supA ' iti saH / alakaM cUrNakuntalAn / jAtAvekavacanam / 'alaka cUrNakuntale' iti vizvalocane / nUnaM avazyaM / ' nUnaM tarke tu vikhyAtaM nUnaM syAdarthanizcaye ' iti vizvalocane / bhUyaH punaH punaH / vikSipantIM dUramutsArayantIM / madvizleSAt madviyogAt / mattaH 8

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126 [ pArzvAbhyudaye 6 3 basundharAcaryAH kinnarakanyakAyAH vizleSaH viyogaH madvizleSaH / tasmAddhetoH / upahitazucaH saMrUDhaduHkhasya / upahitA saMrUDhA zuk yasya saH / tasya dUradezasthitasya anAsannadezasthitikasya | anucitAnaGgabAdhasya aprazastakAmavAsanodrekajanitapIDasya | anucitA aprazastA tIvrataratvAd anaGgasya kAmasya madanasya bAdhA pIDA yasya saH / tasya prANezasya prANanAthasya / prANAnAmISTe iti prANezaH / tasya svapnajaH api svapnAvasthAyAM jAyamAnaH api / anAsannadezasthAyitvAtpriyakarasya mithunIbhAvamantareNa sAkSAtsambhogAsambhavAcca svapnajaH api ityuktam | matsaMyogaH mayA samaM saMyogaH mithunIbhavanarUpaH kathaM kena prakAreNa jAtu upanamet sampanno bhavet iti asmAddhetoH nayanasalilotpIDa ruddhAvakAzAM nayanajalotpatanapratiSiddhAvasarAm / nayanayoH salilaM nayanasalilaM / nayanasalilasyotpIDaH utpatanaM nissaraNaM nayanasalilotpIDaH / tena ruddhaH pratibaddhaH avakAzaH avasaraH yasyAH sA / tAm / nayanayoH salilotpatatena jAtapratibandhAmityarthaH / nidrAM svApaM AkAGkSantIM abhilaSantIm / virahajanitaduHkhotpAditasalilasamAkrAntatvAnnayanayoH tataH prapalAyamAnAM nidrAmA kAkSantImityarthaH / duHkhaviniHsRtasalilanayanasya mudritanayanatve'pi nidrA vidrAvitA bhavatIti sarvajanaprasiddham / yA zikhA asmAt etasmAddivasAt vyavahitatare antaritatare janmani prAktane bhave Adhe prathame virahadivase viyogadine / yasminviraho jAtastasmindine ityarthaH / dAma veNibhUSaNabhUtAM mAlAM hitvA parityajya veNikA ekaveNIsadRzI / ekaveNyAkAretyarthaH / ive khupratikRtyoH kaH iti khAvivArthe kaH / zikhA cUDA baddhA viraciteti mayA kamaThacareNa zambarAsureNa mayA smaryamANA smRtiviSayatAM nIyamAnA tAM svAM tAM svakIyAmekaveNIbhUtAM zikhAM zApasya ante aravindamahArAjadattadaNDabhogakAlAvasAnasamaye virahavapuSAM vaH viyogamUrtInA yuzmAkam / viyogamUtyaryuvayorityarthaH / saGgamaM vidhAya saMyogaM kRtvA / saMyogavidheranantaraM vigalitazucA vItazokena / tvayetyarthaH / vigalitA vinaSTA zuk zokaH yasya saH / tena vigalitazucA / udveSTanIyAM unmocanAhI ! udveSTitumunmocayituM yogyA udveSTanIyA | tAm / jyAcA ityahArthe vyaH / nindantIM gahalamAnAM / kutsayantImityarthaH / vaktrendugrasana1 rasikAM vadanacandramAsIkaraNa kriyAnaipuNyavatIM / vaktramevenduzcandramAH vaktrenduH / tasya grasanaM grAsIkaraNaM / tatra rasikAM jJAnavatIM sAnandAM vA / zritAM mukhendoH samIpaM prAptAM rAhumUrtiM vA rAhuzarIraM iva AnandajananyAH mukhakAnterapahArakatvAdrAhuzarIreNa tasyA sAdharmyamityabhiprAyaH / vyomacchAyAM AkAzaprakAzasaMkAzakAzAM / vyomnaH AkAzasya , ' 3

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tRtIyaH sargaH ] 327 cchAyeva cchAyA yasyAH sA / tAm / 'IbupamAnapUrvasya sukhaM gatArthatvAt ' iti < , " kham | madanazikhinaH madanAgneH / madanaH kAmaH eva zikhI abhiH madanazikhI / tsy| 'zikhI ketugrahe vahnau mayUre kukkuTe zare / balIvarde bake vRkSe pratibhedasacUDayo: ' iti vizvalocane / dhUmayaSTIyamAnAM daNDAkAradhUma rekhAprakhyAm / dhUmaH yaSTiH iva dhUmayaSTiH / dhUmayaSTirivAcaratIti dhUmayaSTIyate / dhUmayaSTIyate iti dhUmayaSTIyamAnA / tAm / ' kyaG ca' iti kartuH kyaG gauNAdAcAre'rthe / sparzakliSTAM sparzaparyastAM 1 sparzatrAhusyajanitAvyavasthAmityarthaH / kaThinaviSamAM / kaThinA mArdavavikalA cAsau viSamA sthapuTitA ca kaThinaviSamA / tAm / zikhApAruSyamatra sneho padehAbhAvanibandhanaM tadvaiSamyaM ca kaGkatikAkaraNavijaTIkaraNAbhAvakAraNaka mityavaseyam / khaJjakubjAdivatsaH / khaJjakubjaH ityatra kubjazabdasya prAdhAnyavivakSAyAM vizeSatvApattau ' vizeSaNaM vizeSyeNeti' iti yasaH yathA bhavati tathA viSamAzabdasya prAdhAnyavivakSAyAM vizeSyatvasampatteH ' vizeSaNaM vizeSyeNeti iti yasaH / tAM virahRprathamadivase viracitAM ekaveNI ekIbhUtAM virahavyathAvyaJjanIM veNIM kezaranAvizeSaM / 'veNI nadInAM saGge syAtkezabandhAntare'pi ca / devatADe'pi veNI strI ' iti vizvalocane / pUrva - kAlai kasarva jaratpurANanava kevalaM yazcaikAzraye iti yasaH / ekA cAsau veNI ceti tadvigrahaH / ayamitanakhena akRttanakhena / ayamitAH akRttAgrAH nakhAH punarbhavAH yasya tena / kareNa hastena gaNDAbhogAt kapolavistArAt / gaNDasya kapolasya AbhogaH vistAraH paripUrNatA gaNDAbhogaH / tasmAt / ' Abhogo vAruNacchatre yatnapUrNatvayorapi ' iti ' gaNDastu piTake yogabhede khaGgikapolayoH / vare pravIre cihne ca vAjibhUSaNabudbude ' iti ca vizvalocane / asakRt vAraMvAraM / paunaH * punyenetyarthaH / sArayantIM dUrIkurvANAM / prathamayApasAraNakriyayApasRtAmapyekaveNa kapolatalasthitAmeva manyamAnA virahajanitacittavibhrameNa muhurmuhurapAkurvANAmityarthaH / anena cetaso vaikalyaM saMsUcyate / saMzritAn kRtaMsaMzrayAn iSTAn abhimatAn bandhUn bAndhavAn mRgAyatuM iva anveSayitumiva jAlamArgapraviSTAn gavAkSadvAreNa kRtapravezAn / 'jAlastu kSArakAnAyagavAkSe dambhavRkSayoH iti vizvavilocane 1 amRtazizirAn amRtamivAmRtena vA zizirAn zItAn indoH candramasaH pAdAn kiraNAn / ' pAdo'strI caraNe mUle turIyAMze'pi dIdhitau / zailapratyantaraule nA ' iti vizvalocane / pUrvaprItyA pUrvapremNA / viyogapUrvakAle yathA''nandakarAste'bhavan tathA virahakAle 'pyAnanda niSyandinaste bhaveyurityabhiprAyeNeti bhAvaH / saGgrahItuM sabhAjayituM sevituM vA abhimukhaM sammukhaM gataM yAtaM tathaiva tenaiva prakAreNa nivRttaM ,

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328 [pArdhAbhyudaye pratyAgataM sat svanayanayugaM svakIya netrayoryugalaM pratyAhRtya apahRtya / viyogapUrvakAle janitAnandaniSyandAH zizirakarakiraNAH viyogakAle'pi pUrvavadeva netrayorAnandaM janayeyurityabhiprAyeNendupAdasaGgrahArthamabhimukhaM gataM nayanayugalaM candrapAdAnAM duHkhotpAdakatvamanubhUya tatkAle eva pratyAgatamapahRtya cetasA manasA dhUyamAnAM kampamAnAm / dUyamAnAmiti pAThenAtra bhAvyaM tasya ca pADyamAnAmityartho grAhyaH / zizirakiraNe sudhAsUtau / candramasItyarthaH / zizirAH zItalAH kiraNAH karAH yasya saH / tasmin / svAn, svakIyAn / 'svo jJAtAvAtmani svaM tu - triSvAtmIye dhane'striyAm' iti vizvalocane / karAn mayUkhAn / 'karastu pANipratyAyazuNDArazmighanopale ' iti vizvalocane / jAlamArgaH gavAkSavivaradvAraiH / 'jAlastu kSArakAnAyagavAkSe dambhavRkSayoH' iti vishvlocne| bhUyobhUyaH punaH punaH AtanvAne vistAryamANe gatAbhyAgataH gamanAgamanaiH / gataM gamanaM ca abhyAgataM AgamanaM ca gatAbhyAgataM / taiH / khedAt viSAdAt punaHapi klizyamAnaM punarapi pIDyamAnaM cakSuH nayanaM salilagurubhiH jalajaDaiH / salilena azrujalena gurUNi jaDAni / taiH| pakSmAbhiH locanalomabhiH / 'pakSma locanalomani / pakSma sUtrAdisUkSmAMze pakSma syAtkesare'pi ca' iti vizvalocane / chAdayantI AvRtAM kurvANAM ata eva sAbhre meghasahite / 'ghanAghano ghano megho jImUto'bhraM balAhakaH' iti dhanaJjayaH / ahi dine / durdine ityarthaH / sthalakamalinI iva sthalanalinImiva naprabuddhAM avikasitAM / durdinasya ghanAghanAkrAntavyomapradezatvAtsUryakarAkrAntyasambhavAdyathA sthalakamalinI na vikasati tathA sA na vikasati sma / na hAdata ityrthH| sAdhvIpakSe'nAhAditAmiti bhAvaH / namuptAM asuptAM / durdinasya meghAcchAditAntarikSatvAdapi sUryApAyAbhAvAdyathA sthalapadminI mukulabhAvaM nAzrayati tathA sApi mukulabhAvaM nAzrayati sma / azrujalajaDapakSmabhiH ardhapracchAditanayanAyAH ardhamukulitakamalayA sthalakamalinyA sAdharmyamatra pradarzitam / tAM vasundharAcarI kinnarakanyakAM sAdhvI sacchAlasampannAM evamprAyaH evaMprakAraiH / evaMprAyairityAdikapUrvagAmizlokoktaprakArairityarthaH / tvayi bhavadviSaye subhagatAM saubhAgya vyaJjayAdbhiH prakaTIkurvadbhiH yathAthaiH arthagarbhaH matsandezaiH madIyaiH vAcikaiH sukhayituM hrAdayituM nizIthe ardharAtre nizAyAM vA / 'nizIthastu nizAmAtrArdharAtrayoH ' iti vishvlocne| sabhavAtAyanasthaH saudhagavAkSe sthitaH san pazya vilokaya / iSTakathanena tAM sukhayetyarthaH / taduktaM ratnAkare - ' sakhI dhAtrI ca pitarau mitradUtazukAdayaH / sukhayantISTakathanasukhopAyairviyoginIm // ' iti /

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gaira: #:] 329 For the purpose of consoling her by my messages of such kind, conformable to truth, revealing your sublimity, you, standing by the window of the house, should, at mid-night, direct your eyes towards her, a chaste woman, neither awake nor asleep like a lotus-creeper [ neither blossomed nor having its petals closed ] on a cloudy day, having her limbs lying disorderly, unbappy [ even ] in the flowery bed, afflicted excessively by mental worries, lying on ground-floor, resembling one drawn in a picture, love-begotten passion embodied in human form, emaciated owing to mental distress, resting on one side [ of her body ) on her bed of separation, resembling the form of the moon having only one digit remaining on the Eastern horizon, wearing a beatiful garland placed on the bosom to alleviate misery, passing that very night long owing to the separation from you, with hot tears, dropping down, restraining the eyelashes, gathering again and again, causing sleeplessness [ not allowing to go to sleep ), which [ night ] was passed by my beloved in the presence of your beloved like a moment along with me in enjoyments at will causing delight, throwing aside verily again and again ber tress, dangling about her cheeks, coarse owing to her taking simple baths, the spot as if of the moon in the form of her face bearing a form like that of a deer separated [from the moon in the form of her face ], exhaling lukewarm sighs, afflicting [ her ] sprout-like lower lip, indicative of her internal pangs, desirous of getting sleep the scop for which would be stemmed by a gushing flow of water [i. e. tears ] from her eyes on account of her thinking. How could a union with me, though effected in a dream, of my beloved, having his love-sickness intensified, with his misery become violent on account of his being separated from me, residing in a remote country, be effected ( actually ) of its own accord ?, abusing that [single ] braid of her hair which has to be untied by you, with your misery alleviated, after effecting a union of you two, the separations incarnate ( or embodied in flesh ] at the end of the period of the outlawry, wbich hair is being remembered by me to have been tied into a single braid without a garland on the first day of the separation in the birth remotest from the present one, by her hand with its nails unpared pushing aside repeatedly from the region of the cheek that single braid of hair, resembling the rosorted bodily form of Rahu finding pleasure in eclipsing the moon in th- form of her face, possessing darkness [ or colour ] like that of the sky, resembling a lipe of smoke of fire in the form of the god of love, dishevelled owing to its being

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[pArdhAbhyudaye touched, rough and irregular, excited [ or pained ] at heart on withdrawing the couple of her eyes turned in the direction of the rays of the moon, cool like nectar, entered through the window-ways in search as if of the beloved relatives approched [ there ], in order to receive them [ i. e. the rays ] out of previous liking for them and turned back strichtway, owing to the eye-lashes being heavy with water [ i.e. tears ] shutting her eyes troubled over and again by fatigue caused by going and coming frequently when the moon would be penetrating her rays through the window-ways. sA sannyastAbharaNamabalA pelavaM dhArayantI vItAhArA nayanasalilairAplutApANDugaNDam / zayyotsaGge nihitamasakRduHkhaduHkhana gAtraM tvAmapyantavicalitadhRti tAM dazAM netumarhet // 52 // anvayaH-vItAhArA, sannyastAbharaNaM, pelavaM, nayanasalilaiH AplutApANDugaNDaM, duHkhaduHkhena zayyotsaGge asakRt nihitaM gAtraM dhArayantI sA abalA antarvicalitadhRti tvAM api tAM dazAM netuM arhat / setyaadi| vItAhArA vinaSTabhojanA / vizeSeNa itaH naSTaH AhAraH bhojanaM yasyAH sA vItAhArA / 'AhAro bhojane puMsi syAdAharaNahArayoH' iti vizvalocane / viyogajanitaduHkhAkrAntamanaskatvAttyaktAnnAdicaturvidhAhAretyarthaH / sannyastAbharaNaM parihRtAlaGkAraM / alaGkAraparihAropyatra viyogajanitaduHkhanibandhanaH eva / pelavaM kRzIbhUtam / 'ghana nirantaraM sAndraM, pelavaM viralaM tanu' ityamaraH / nayanasalilaiH netrayugalagaladasrajalaiH AplutApANDugaNDaM ArdrAkRteSatpANDukapolam / A samantAtplutau ArdratAM gatau ApANDU ISatpANDurimAnau gaNDau kapolau yasya tat / 'gaNDastu piTake yogabhede khaDgikapAlathAH / vare pravIre cihne ca vAjibhUSaNabubude / iti vizvalocane / duHkhaduHkhena duHkhaprakAreNa / 'prakAre guNoktervA' iti prakAre'rthe dviH| zayyotsaGge zayanatale / zayanoparItyarthaH / asakRt bahuvAraM / zayyArohaNAvarohaNe pUrvAnubhUnaratismRtinibandhane / nihitaM sthApitaM gAtraM zarIram / ' gAtraM gajAgraja vAdivibhAge'pyaGgadehayoH' iti vizvalocane / dhArayantI vahamAnA sA abalA sA durbalA kinnarakanyakA vasundharAcarI antarvicalitadhRti antaHprakampitadhairyam / antaH vicalitA prakampitA dhRtiH dhairya yasya sH| tam / 'dhRtirdhAraNasantuSTidhairye yogAntareDa

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tRtIyaH sargaH] 331 dhvare' iti vizvalocane / tvAM api bhavantaM yoginamapi tAM kinnarakanyakAdazAsadRzI dazAM avasthAM / viitaahaartvaadyvsthaamityrthH| netuM prApayituM arhet samarthA bhavet / ... That frail woman, rejecting food [ or meal ], bearing an emaciated body, with ornaments discarded, placed repeatedly on the region of the bed with distress, with pale cheeks moistened with water [ tears ] dropping down form the eyes, would be able to occasion you, with your mind's stable equilibrium disturbed, to attain to that state. zayyopAnte bhRzamapasukhA matsyalolaM lulantI baddhotkampazvasitavivazA kAmapAtrAyitA sA / tvAmapyanaM navajalamaya mocayiSyatyavazya prAyaH sarvo bhavati karuNAvRttirAdrAntarAtmA // 53 // anvayaH- bhRzaM apasukhA zayyopAnte matsyalolaM lulantI baddhotkampazvasitavivazA kAmapAtrAyitA sA navajalamayaM asaM tvAM api avazyaM mocayiSyati / karuNAvRttiH sarvaH prAyaH ArdrAntarAtmA bhavati / zayyetyAdi / bhRzaM atyarthaM apasukhA sukhavarjitA / duHkhitetyarthaH / apagataM sukhaM yasyAH sA apasukhA / 'apa syAdapakRSTArthe varjanArthe viparyaye / viyoge vikRtI caurye harSanirdezayorapi' iti vishvlocne| zayyopAnte zayyAyAH paarshvbhaage| matsyalolaM lulantI matsya iva luThantI / ' karmaNi ceve' iti kartari vAci Nami. vArthe tasyaiva dhoranuprayuktatvAt / bddhotkmpshvsitvivshaa| baddhaH janitaH utkampa: prakampaH yasyAM sA / zvasitena zvAsena vivazA avazyamAnasA zvasitavivazA / baddhokampA cAsau zvasitavivazA ca baddhotkampazvasitavivazA / zvasitavivazetyasya prAdhAnyavivakSayA 'vizeSaNaM vizeSyeNeti' iti sH| 'puMvadyajAtIyadezIye' iti puNvdbhaavH| yadvA baddhaH janitaH utkampaH yasya yasmin vA tat / tena zvasitena vivazA baddhokampazvasitavivazA / kaampaatraayitaa| kAmasya riraMsAyAH pAtraM bhAjanaM kAmapAtraM / kAmapAtramivAcarati sma kaabhpaatraayitaa| saMjAtariraMsetyarthaH / rimsAsamutpattastasyA baddhotkampazvasitavivazatetyadhyavaseyam / sA vasundharAcarI kinnrknykaa| navajalamayaM navyasalilarUpaM astraM azru / Asramiti vA paatthH| 'asramAsrazca pulligo kleze ca rudhire'zruNi' iti vaijayantI / tvAM api bhavantamapi mocayiSyati / 'dvikarmasu pacAdInAmupasaGkhyAnam ' iti muceH pacAditvAdvikarmakatvam / karuNAvRttiH dayAmayo'ntaHkaraNavyApAraH / karuNAyA vRttiH vyApAraH yatra saH krunnaavRttiH| yadvA karuNA

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332 [ pArzvAbhyudaye vRttiH yasya saH / sarvaH sarvaH janaH prAyaH bAhulyena ArdrAntarAtmA savASpAntaHkaraNaH bhavati jAyate / sakaruNatvamantareNa antarAtmana ArdratvaM na sambhavati / tvaM ArdrAntarAtmA, atastvayA sakaruNenAvazyaM bhAvyam / sakaruNatvAttasyAstAM tathAvidhA - mavasthAM dRSTvA tava nayanayorAbaddhadhAramazru nipatiSyatIti bhAvaH / nanu mahAkavizvakSuHprItisamAkhyA mAdimAmavasthAmupekSya manaH saktyAdyavasthAntarANyeva kiM varNyaviSayatAM ninAyeti cet, ucyate / prathamadarzanAtpUrvamasaJjAtaparasparadarzanayoreva cakSuH prItistambhavati, na punaH pUrvaM jAtadarzanayoH samutpannaprAgbhavasmRtervA / vasundharAcaryAH kinnarakannakAyAH samupajAtaprAgbhavasmRtitvAt cakSuH prItyAkhyaprathamamadanAvasthA na sambhavatIti na sA'tra varNiteti vijJeyam / uktaM ca ' ratyulAsasamudbhavAH khalu dazAvasthAzca cakSurmanaH - / prItyAsaktiyugaM punarbhuvi tathA saGkarUpako jAgaraH // samproktA tanutA tathA ca viSayadveSastrapAnAzanaM / moho mUrcchanamapyato mRtiriti proktA dazA vicyutaiH ' // iti / 8 She, extremely unhappy, wallowing like a fish near a bed, reduced to the state of helplessnees owing to her tremulous sighs, with passion excited, would surely make you shed tears in the form of fresh water; everyone compassionate by nature, is generally stirred to tears [ or has his inner heart moistened, ]. bandhuprItiM gurujana ivAhatya kAntAdvitIye ja ne sakhyAstava mayi manaH sambhRtasnehamasmAt / saMvAsAcca vyatikaramimaM tattvato vedmi tasmAditthambhUtAM prathamavirahe tAmahaM tarkayAmi // 54 // anvayaH - kAntAdvitIye mayi gurujane bandhuprItiM iva Ahatya tava sakhyAH manaH sambhRtasnehaM jAne / asmAt saMvAsAt ca imaM vyatikaraM tattvataH vedmi; tasmAt prathamavirahe tAM ahaM itthambhUtAM tarkayAmi / bandhuprItimityAdi / kAntAdvitIye sahajAnau / kAntA dvitIyA yasya sva kAntAdvitIyaH / tasmin / mayi kamaThacare zambarAsure mayi gurujane jyeSThajane / gururjyeSThazcAsau janazca gurujanaH / tasmin / bandhuprItiM iva bAndhavAnurAgamiva Ahatya vigaNayya tava bhavataH sakhyAH preyasyAH manaH antarAtmA sambhRtasnehaM saJcitAnurAgaM / sambhRtaH saJcitaH snehaH anurAgaH yasmiMstat / ' premA nA priyatA hArdai prema sneho'tha

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333 tRtIyaH sargaH] dohadaH' itymrH| jAne avami / asmAt snehajJAnAddhetoH saMvAsAt ca sahavAsAcca imaM enaM vyatikaraM vyasanaM / 'bhavedvyatikaraH puMsi vyasanavyatiSaGgayoH' iti vizvalocane / tattvataH yAthArthena veni jAnAmi / tasmAt tataH kAraNAt prathamavirahe advitIye viyoge / prathamaH advitIyazcAsau virahaH viyogazca prathamavirahaH / tasmin / dIrghakAlamanubhUtiviSayatvAdaviSahyaduHkhotpattinimittatvAcca virahasva prAthamyamatrAvaseyam / tAM vasundharAcarauM kinnarakanyako ahaM itthambhUtAM pUrvavarNitAvasthAmApannAM tarkayAmi utprekSe / I think that the mind of your female friend is saturated with affection for me, an elderly one, along with my wife [ in company with my beloved ], having regarded it (affection) as that for the elderly, relatives; owing to this and to my habitation in company with her [ your beloved ] [ or our cohabitation ], I know the calamity befallan her [ accurately ]; I, therefore, conjecture her to have undergone this state in the period of the incomparable separation. tanme satyaM sakalamuditaM nizcinu svArthasiddhyai snigdhAM vRttiM manasi ghaTayan yena sAdhyAnuviddham / vAcAlaM mAM na khalu subhagammanyabhAvaH karoti pratyakSaM te nikhilamavirAdAtaruktaM mayA yat // 55 // anvayaH- [he ] bhrAtaH yat sAdhyAnuviddhaM nikhilaM mayA te pratyakSaM svArthasiddhyaiH / acirAt uktaM sat me sakalaM uditaM manasi snigdhAM vRtti ghaTayan satyaM nizcinu yena khalu subhagammanyabhAvaH mAM vAcAlaM na karoti / nahityAdi / he bhrAtaH bho sahodara yat sIdhyAnuviddhaM siSAdhayiSitapraNunaM / sAdhyena siSAdhayiSitena anuviddhaM praNunnaM sAdhyAnuviddham / nikhilaM sakalaM mayA kamaThacareNa zambarAsureNa te tava pratyakSaM samakSaM svArthasiddhayai svAbhipretaprayojanasiddhyarthe acirAt sadyaH uktaM kathitaM tat me mama sakalaM sarva uditaM kathanaM / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / manasi hRdaye snigdhAM snehamayI vRtti pravRtti ghaTayan janayan viracayan vA satyaM anyUnamanatiriktaM yAthAtathyamaviparItaM niHsandehaM ca nizcinu avadhAraya / yena yataH kAraNAt khalu subhagammanyabhAvaH sujanamAnitvaM / subhagamAtmAnaM manyate subhagammanyaH / tasya bhAvaH subhagammanyabhAvaH / 'khaza svasya' iti khaz / khittvAt 'mumacaH' iti mumaagmaa| mAM vAcAlaM

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334 [ pArzvAbhyudaye jaspArka | ' syAjjaspAkastu vAcAlo vAcATo bahugarhyavAk' ityamaraH / ' ziSyAlATo' ityAlaH / na karoti na vidadhAti / ahaM mahAnasmIti kalpanA zilpikalpito bhAvo me jalpAkatvaM pratibadhnAti / manmAhAtmyApekSayA na me ito'dhikaM vaktumicchAsti, tato mAhAtmyahAnisambhavAt / " bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratnabhAnuSu ' iti vizvalocane / O brother ! you, with an affectionate mind, should ascertain the whole of my statement, urged by the matter at issue [or impelled by the object of attaining what is to be attained ], made recently by me in your presence to gain my ends, to be true [accurate ]; for a thought of self-importance does not allow me to become loquations. bhUyaH prItyai bhavatu sudatI sA madAjJAkRtaste snigdhaM cakSustvayi nidadhatI dRSTamAtre purA yat / ruddhApa iGgaprasaramalakairaJjana snehazUnyaM pratyAdezAdapi ca madhuno vismRta bhrUvilAsam // 56 // anvayaH-- tvayi dRSTamAtre purA yat alakaiH ruddhApAGgaprasaraM, aJjanasnehazUnyaM, api ca madhunaH pratyAdezAt vismRtabhrUvilAsaM [ tat ] snigdhaM cakSuH nidadhatI sA sudatI madAjJAkRtaH te bhUyaH prItyai bhavatu / bhUya ityAdi / tvayi marubhUticare tvayi pArzve dRSTamAtre AlokitamAtre purA prathamaM / bhaviSyadAsanne ityarthaH / yat alakaiH kuntalaiH / kuTilakezairityarthaH / ruddhApAGgaprasaraM pratibaddhanetrAntapradezagamanaM / apAGgapradezaprasarapratirodhAtkaTAkSavikSepavikatvaM dhvanitamityavaseyam / ' apAGgastvaGgavikale netrAnte tilake pumAn' iti vizvalocane / ' prasarastu visarpaNam ' ityamaraH / aJjana snehazUnyaM akRtAJjanasaMskAraM / 'aJjanasyAkSikajalasya sauvIrasya vA snehaH dehaH aJjanasnehaH / tena zUnyaM vikalam / " aJjanaM tu rasAJjane / akSikajalasauvIre giribhede'pyathAJjane ' iti vizvalocane / api ca kiJca madhunaH ratiphalasya maireyAbhidhavRSyarasasya / madhu puSparase kSaudre -madyakSIrApsu na dvayoH / madhurmadhUke surabhI caitra daityAntare pumAn / jIvAzAke striyAmeva 'madhuzabdaH prayujyate / ' iti vizvalocane / pratyAdezAt pratyAkhyAnAt / parityAgA-dityarthaH / 'pratyAdezo nirAkRtiH ' ityamaraH / vismRta bhrUvilAsaM vismRtabhrUbhaGgam / avovilAsaH bhUvilAsaH / bhrUbhaGgaH ityarthaH / vismRtaH bhrUvilAsaH yena tat / yadvA 8

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tRtIyaH sargaH] 335 ruddhApAGgaprasaratvasya virahanimittatvAdalakairitItthambhUtalakSaNe bhA / tato'lakairityasyAlakairlakSitamiti bhAvaH / sAlakamityarthaH / alakAnAmakRtasaMskAratvAnnetrapradeze lambAmAnatvAt sAlakatvam / 'yenAGgavikAretthambhAvau ' iti bhA / tat snigdhaM bAtsalyasampanna / premavyaktiyuktamityarthaH / 'snigdho vAtsalyasampanne cikkaNe'pyabhidheyavat ' iti vizvalocane / cakSuH nayanaM yat yataH tvAya bhavati pArce nidadhatI nizcalIkurvantI / 'purAyAvatorleT' iti laT / tat tataHsA vasundharAcarI kinnara kanyakA sudatI / sujAtAH dantAH asyAH sA sudatI / 'vayasi dantasya datR' iti dantasya datR ityayamAdezaH, vayaso gamyamAnatvAt / madAjJAkRtaH sandezaharaNaviSayiNIM mamAjJAM kurvataH / mamAjJA madAjJA / tAM karotIti madAjJAkRt / tasya / te bhavataH bhUyaH dIrghakAlopabhogyavirahAnantaraM punaH prItyai premNe *AnandAya vA bhavatu bhUyAt / May she, with beautiful teeth [i. e. in the prime of her life ], first of all fixing her lovely eyes, with their side-glances prevented by the tresses, devoid of application of collyrium, and moreover having the graceful movement or the amorous play ] of the eyebrows forgotten owing to her renouncement of intoxicating juice, upon you the very moment she would see you, be for the happiness of you (or bring happiness to you ], obeying my order. . matprAmANyAdasunirasane nizcitAtmA tvamenAM bhoktuM yAyA dhanadanagarI tatpramANAya saje / tvayyAsanne nayanamuparispandi zaGke mRgAkSyA mInakSobhAJcalakuvalayazrItulAmeSyatIti // 57 // ityamoghavarSaparamezvaraparamaguruzrIjinasenAcAryaviracite meghadUtaveSTitaveSTite zrIpArzvabhyudaye bhagavatkaivalyavarNanaM (1) nAma tRtIyaH sargaH / . anvayaH- asunirasane nizcitAtmA tvaM enAM bhoktuM matprAmANyAt dhanada. nagarI thAyAH; tatpramANAya saje tvayi Asanne [ sati] mRgAkSyAH uparispandi nayanaM mInakSobhAt calakuvalayatulAM eSyati iti zaGke / madityAdi / asunirasane svpraannvypropnne| asUnAM prANAnAM nirasanaM nirAsaH vyaparopaNaM asunirasanaM / tatra / ' puMsi bhUnyasavaH prANAH' ityamaraH / "sthAnirAse nirasanaM vadhe niSThAvane tathA' iti vizvalocane / Atmavadhe ityrthH|

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336 [pArdhAbhyudaye nizcitAtmA kRtanizcayaH / nizcitaH nirNItaH AtmA manaH yasya saH / sanizcayamanAH ityarthaH / 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane / tvaM marubhUticaraH pArzvastvaM / enAM vasundharAcarauM kinnarakanyakAM bhoktuM ratyanubhUtiviSayatAM netuM matprAmANyAt madvacanaM pramANIkRtya / maduktau vizvasyetyarthaH / mama prAmANyaM satya vAditvaM matprAmANyaM / tasmAt / matprAmANyamurarIkRtyetyarthaH / ' pyakhekAMdhAre ' iti pyAntasya khe kamaNi kA / 'pramANamekateyattAhatiyantRpramAtRSu / satyavAdini nitye ca maryAdAhantRzAstrayoH' iti vizvalocane / dhanadanagarI kuberarAjadhAnI alakAkhyA / dhanadasya kuberasya nagarI dhndngrii| tAm / 'dhanado dAtari zrIde' iti vizvalocane / yAyAH gaccheH / tatpramANAya maduktavacanAvisaMvAditvaM nirNetum / tasya maduktavacanastha pramANaM tatpramANaM / tasmai / maduktaM pramANayitumityarthaH / 'dhvarthavAco'rthAtkarmaNi' iti ap karmaNi / saje upasthite sannaddhe vA tvayi bhavati Asanne samIpaM prApte sati mRgAkSyAH hariNanayanAyAH / ' svAGgAnIco'sphoGaH' iti striyAM GItyasya vaikalpikatvAnna kii| mRgasyevA'kSiNI nayane yasyAH sA / tsyaaH| uparispandi upariSTabhAge tirazcInaM parivartamAnam / nayana netraM jAtAvakavacanatvAnnetre ityarthaH / mInakSobhAt zapharakRtodvartanAt / calakuvalayazrItulA sakampotpalazobhAtulyatAM / 'calazcalAcale kampe ' iti ' tulA rAzau palazate tulytaamaanbhedyoH| bandhAtha gRhadArUNAM pIThikAyAM sabhAjane // ' iti ca vizvalocane / calAni ca tAni kuvalayAni ca calakuvalayAni / teSAM zrIH shobhaa| tayA tulA sAdRzya / taam| 'tulyArthI' iti bhaa| atra sAdRzyavAcitvAttulAzabdasya tadyoge'pi bhAsaH / eNyati iti gamiSyatIti zaGke trkyaami| ___ iti zrIpArzvabhyudaye muktenduvarmaviracitAyAM bAlaprabodhinyAkhyAyAM vyAkhyAyAM zaThakamaThakRtabhagavadupasargavarNanaM nAma tRtIyaH sargaH / You, with your mind determined to dispell [ or destroy ] the soul [ or misery ], should, relying on my truthfulness, visit the city [ capital ] of Kubera to injoy her. I think that the eyes of the fawneyed one, moving sideways in the upper parts when you, ready for convincing yourself of it [ of the statement made by me ), would be near, would attain resemblance to the beauty of blue lotuses, set in motion owing to the disturbance of the fish [i. e. owing to the pretty kettle of the fish ].

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sarga cavathA

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atha caturthaH sargaH / sandiSTaM ca praNayamadhuraM kAntayA me dvitIyaiH prANaiH prANA navanavavaraH sanniti tvAM pratIdam / tatkartutvaM tvaraya laghu naH kiM kimevaM na kuryA vAmazcAsyAH kararuhapadairmucyamAno madIyaiH // 1 // anvayaH -- nava 1 me dvitIyaiH prANaiH kAntayA ' [ tvaM asyAH ] prANAH, navavaH, san ' iti tvAM prati idaM praNathamadhuraM sandiSTaM / tat kartuM tvaM tvaraya / madIyaiH kararuhapadaiH mucyamAnaH vAmaH [ tvaM ] naH asyAH kiM kiM evaM laghu na kuryA: 1 | " " sandiSTamityAdi / me mama dvitIyaiH dvayoH pUraNaiH / ' dvestIyaH iti syipUraNe'rthe dvizabdAttIyaH / prANaiH asubhiH / niyaMtaliGgavacanatvAtpulliGga bahuvacanatyAntatve'pi prANairitipadasya kAntayetistrIliGgaikavacanatyAnta vizeSyapadavizeSaNatvamadoSArham / madvitIyaprANabhUtayA mama kAntayetyarthaH / tvamasyAH vasundharAcaryAH kinnara kanyakAyAH prANAH prANabhUtaH / atrA'pi vibhinnaliGgavacanayoH vizeSyavizeSaNabhAvaH pUrvavadeva | navanavavaraH abhinavapriyaH / navanavaM navaprakAraM varaM abhISTaM yasya saH / ' prakAre guNoktervA ' iti prakAre'rthe guNoktedvaidhIbhAvaH yavacca kAryam | devAdvate varaH zreSThe triSu klIvaM manAk priye ' ityamaraH / yadvA navanavaM navaprakAraM vRNotIti zIlaM yasya saH navanavavaraH / ' hetu zIlAnulomye'zabdazloka kalahagAthAvairacATusUtramantrapade ' iti karmaNi vAci zIle'rthe'T / san sAdhuH prazastaH vA / ' satye sAdhau vidyamAne prazasta'bhyarhite ca sat' ityamaraH / ' satsAdhau vidyamAne'pi prazaste pUjite triSu ' iti vizvalocane / iti iti hetoH / iti hetau prakAre ca prakAzAdyanukarSayoH / iti prakaraNe'pi syAtsamAptau ca nidarzane ' iti vizvalocane / tvAM prati bhavantamuddizya / ' mAtrArthe cAbhimukhye ca prakAze ca smRtaM prati' iti vizvalocane / pratizabdasya karmapravacanIyatvAccAmitIvibhaktiH / idaM etat praNayamadhuraM praNayena premNA madhuraM subhagaM yathA syAttathA / prItisubhagamityarthaH / sandiSTaM bhASitam / sandizyate smeti sandiSTaM / tat sandezadvAreNa kathitaM kartavyaM kartuM vidhAtuM tvaM bhavAn tvasya tvarAM karotu | mRdo dhvarthe NijbahulaM ' iti 8 " pArzvAbhyudaye... 22 "

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338 [ pArzvabhyudaye karotyarthe tvarAzabdANic / tvarayetyasya NijantadhAturUpatve 'AtmAnaM ' itIbantaM padamadhyAhAryam / madIyaiH mAmakInaiH / mamedaM madIyaM / taiH / matkRtarityarthaH / macchabdasya tyadAdiSu pAThAt 'tyadAdeH' iti dusajJakatvAd dozchaH ' iti chaH / kararuhapadaiH khddgkRtvrnnaangkH| kararuhaH khaDgaH / tasya padAni cihnAni / taiH / khddgaaghaatjnittrrityrthH| mucyamAnaH zarIrAtpRthavikrayamANaH / khaDgaprahArajanitavraNa kRtamRtirityarthaH / vAmaH dhRtapayodharazarIrAkAraH / ' vAmaH savye hare kAme dhane vitte tu na dvayoH' iti vizvalocane / 'vAmaM dhane puMsi hare kAmadeve payodhare / valgupratIpasavyeSu triSu' iti medinyAm / maddhetihatijanitavraNakRtamRtyanantaramupAttamudirazarIrAkAro marubhUticarastvaM naH asmAkaM / asmatsambandhinyAH ityarthaH / asyAH etatsambandhi kiM kiM kiM kiM kArya evaM proktaprakAreNa ladhu zIghraM / 'laghu kSipramaraM drutaM' ityamaraH / na kuryAH na viddhyaaH| api tu tatsambandhi sarvameva kAryaM kuryAH eveti bhaavH| ____Even by my beloved, my second soul, this has been sent as a message, in a way charming to her affection for you, to you owing to your being second soul of her (of your beloved ), owing to your making a choice of whatever is new, [ and ] owing to your being noble; you should hurry up to carry it into effect. What work l or what is it ] of hers, our relative, which you, [ assuming the form of ] a cloud [ after ] your separation [ from your body ] caused by the wounds inflicted by my sword, would not bring into effect ? bhobho bhikSo mayi saharuSi va prayAsyasyavazyaM tvAmuddhatipraNipatanakaiH sArayiSye tadanam / na prANAnsvAnghaTayitumalaM tAvako nirNayo vA muktAjAlaM ciraparicitaM tyAjito daivagatyA // 2 // anvaya :-- bho bho bhikSo mayi saharuSi [ sati ] ka prayAsyasi ? uddhetipraNipatanakaiH tadagraM tvAM avazyaM sArayiSye / ciraparicitaM muktAjAlaM daivagatyA tyAjitaH tAvakaH nirNayaH svAn prANAn ghaTayituM na vA alam / bho bho ityAdi / bho bho bhikSo he yogin / AbhIkSNye dviH / bhositi sakArAnto nipAtaH / 'odAdyo'zi' iti reryaH / 'hali' iti azi hali parataH yakArasya kham / mayi zambarAsure mayi saharuSi sakope sati / 'yadbhAvAdbhAvagatiH' itI / ' vA nIcaH' iti sahasya sabhAvasya vaikalpikatvAdatra na sabhAvApattiH / ka

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339 caturthaH sargaH] kutra prayAsyasi gamiSyasi / uddhetipraNipatanakaiH unnAmitazastraprapAtaiH / udgatA cAsau hetizca uddhetiH / tasyAH praNipatanakaiH prapAtaiH / 'hetiAlArphatejasoH / striyAM zastre'pi ' iti vizvalocane / tadanaM hetyagraM / zastrAgramityarthaH / tvAM bhavantaM avazya nizcayena sArayiSye gamayiSyAmi / tvaccharIrAntaH praveza kArayiSyAmIti bhAvaH / sRdhAtorgamyarthatvAt -- jJAgamyadyarthadRzdheH' iti aNyantasya tasya kartuH tadagrasya Nau karmasajJA / ciraparicitaM cirakAlaM yAvadanubhUtiviSayatAM nItaM muktAjAlaM muktAmaNiviracitamAnAyAkAra maJcakopariSThAtsthApanayogyaM jAlakaM / 'motyAcI jALI' iti mahArASTrayAm / ' jAlastu kSArakAnAyagavAkSe dambhavRndayoH' iti vizvalocane / atra muktAjAlamiti padamupalakSaNArthe ' kAkebhyo daghi rakSyatAm ' ityAdivat / tena rAjaizvaryasya grahaNam / rAjJa aizvaryamityartho grAhyaH / devagatyA daivakRtayA gatyA'vasthAvizeSeNa / karmajanitena vizeSaNetyarthaH / pratyAkhyAnAvaraNakaSAyacatuSkakSayopazamajanitenAvasthAvizeSeNeti jainAbhimatakarmasiddhAntApekSayA'yamarthaH / 'gatirdazAyAM gamane jJAne yAtrAbhyupAyayoH / nADIvraNe saraNyAM ca gatirjanmAntare'pi ca ' iti vizvalocane / tyAjitaH parihAritaH / tyajeya'ntAtkarmakatIra ktaH / dvikarmasu pacAdInAmupasaGkhyAnAttyajerdvikarmakatvam / tAvakaH tvadIyaH / ' tavakamamakamekArthe ' ityekArthe'Ji parato yussmdstvkaadeshH| nirNayaH nizcayaH svAna svakIyAn / ' svo jJAtAvAtmani svaM tu triSvAtmIye dhane'striyAm ' iti vizvalocane / prANAn asUna ghaTayituM tava zarIre ekatrAvasthApayituM na vA alaM naiva samarthaH / Osage ! where would you get off ( sofely ), when I would have my wrath stirred up? With strokes of my drawn ( uplifted ) sword I will certainly make its end pass through you. Your decision, made to renounce the net of pearls [ i. e. royal insignia ] familiar since long through the contrivance of fate, is not at all capable of holding your vital airs together. kiM te vairidviradanaghaTAkumbhasambhedaneSu prAptasthamA samaravijayI vIralakSmyAH karo'yam / nA'smatkhaDgaH zrutipathamagAdraktapAnotsavAnAM sambhogAnte mama samucito hastasaMvAhanAnAm // 3 // anvayaH- vairidviradanadhaTAkumbhasambhedaneSu prAptasthamA, samaravijayI, vIralakSmyAH

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340 . [ pArzvabhyudaye karaH, raktapAnotsavAnAM sambhogAnte mama hastasaMvAhanAnAM samucitaH ayaM asmatkhaDgaH te zrutipathaM na agAt kim / kimityAdi / vairidviradanaghaTAkumbhasambhedaneSu dviSatkumbhikumbhasthalasambhedanakriyAsu / vairaM zAtravamastyasyeti vairI / 'ato'nekAcaH' iti in / 'ripo vairisapatnAridviSaveSaNaduhRdaH' ityamaraH / dvau radanau dantau yasya saH dviradanaH / gajaH ityarthaH / vairiNAM sapatnAnAM dviradanAH gajAH vairidviradanAH / 'dantI dantAvalo hastI dvirato'nekapo gajaH' ityamaraH / teSAM ghaTA samUhaH / 'kariNAM ghaTanA ghaTA' ityamaraH / tasyAH kumbhAH gajamUrdhAMzAH / 'kumbho rAzyantare / samAdhau gajamU(ze kumbhakarNasute viTe' iti vizvalocane / teSAM sambhedanAni vidAraNakriyAH / teSu / prAptasthemA labdhasthairyaH / prAptaH labdhaH sthamA sthairya yena sa:prAptasthemA / ' pRthvAderveman ' iti bhAve imani 'priyasthirasphirAyAderaH' iti sthirazabdAvayavabhUtasyekArAdevarNasaGghAtasyA'tvam / sama vijayI saGgrAmavijayazIlaH ! samaraM vijetuM zIlamasyeti smrvijyii| 'pribhuujikssivishriinnvmaavythaabhymH| itAn zIlArthe / 'astriyAM samarAnIkaraNAH kalahavigraho' ityamaraH / vIralakSamyA: jayalakSmyAH / vIrANAM lakSmIH zrIH vIralakSmIH / tsyaaH| 'lakSmIH zrIriva sampattI padmAzobhApriyaGguSu' iti vizvalocane / samaravijayaH eva vIrANAM yuddhadhurandharANAM lkssmiiH| karaH hastabhUtaH / raktapAnotsavAnAM rudhirapipAsUnAm / raktasya rudhirasya pAnaM raktapAnaM / tatra utsavaH icchAprasaraH yeSAM te / teSAm / 'utsavo maha utsedha icchAprasarakopayoH' iti vizvalocane / sambhogAnte saccharIrapradhvaMsanakriyAvasAne / samIcInAnAM yuyudhAnazarIrANAM nAzakriyAyAH avsaankaale| samIcInaH bhogaH zarIraM sambhogaH / sambhogAnAM antaH vinAzaH sambhogAntaH / tasmin kAle / sambhogavinAze kRte satItyarthaH / 'anto nAze manohare ' iti vizvalocane / mama me hastasaMvAhanAnAM karakRtamardanAnAM / karakRtakhaDgazarIramardanAnAmityarthaH / 'saMvAhanaM tu bhArAdevAhane'pyaGgamardane' iti vizvalocane / samucitaH sutarAM yogyaH / ayaM haste kRtaH asmatkhaDgaH AsmAkInaH karavAlaH te tava zrutipathaM zravaNagocaratAM / zrutyoH zravaNayoH panthAH zrutipathaH / tam / 'RkpUrabdhUH patho't ' ityatsAntaH / na agAt kiM nAyAsIrikam / 'asmatkaragRhItakaravAlamAhAtmyaM tvacchravaNagocaratAM na prAptaM kim ' iti zambarAsurIyaH praznaH / Did not this sword of ours, attained to steadiness [ or become steady or constant ] in the process of rending asunder the frontal

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caturthaH sargaH 341 globes on the foreheads of the troops of elephants of enemies, playing the conquerer in battles [ i. e. winning battles ], the arm of the goddess of the brave, deserving gentle rubbings by my hands after the destruction of the strong bodies of those strongly desirous of quaffing blood [ or taking delight in quaffing blood ] is brought about, fall within the range of your ears ? asyugINe mayi surabhaTAste'pi bibhyatyasabhyaH kastvaM sthAtuM bhaNa mama puraH kiM na jiheSi bhiksso| bhAvatko'yaM madasivitatAkhaNDanAttatpurastAda yAsyatyUruH sarasakadalIstambhagaurazcalatvam // 4 // anvayaH- asyudgINe mayi te surabhaTAH api bibhyati; asabhyaH kaH ? bhiksso| bhaNa, mama puraH sthAtuM tvaM na jihveSi kim ? madasivitatAkhaNDanAt ayaM sarasakadalIstambhagauraH bhAvatkaH UruH tatpurastAt calatvaM yAsyati / asyudgINa ityAdi / asyudgINe nisskoshiikRtkrvaale| udgIrNaH asiH khaDgaH yena saH asyudgIrNaH / 'ktAcAstraM' iti ktAntAdatravAcino'sizabdasya pUrvanipAtaH / mayi zambarAsure kozAbahiniSkAsite khaDDe / mayA uddhate satItyarthaH / te prasiddhAH surabhaTAH api vibudhayoddhAro'pi bibhyati bhItiprakampitAH bhavanti / asabhyaH kaH ? niryaH kiyAn / yatra asyudgIrNe mayi vibudhayoddhAro'pi bhItyA akampante tatra nirvIryasya kA katheti bhAvaH / saha bhAnti tejasA prakAzante asyAmiti sbhaa| tejasvinAM samAjaH / tatra sAdhuH sabhyaH / 'tatra sAdhuH' iti sAdhvarthe yaH / na sabhyaH asabhyaH / aprazastaH sabhyaH ityarthaH / atrAprAzastyArtha naJ / bhikSo yate bhaNa bahi / bhikSate iti bhikSuH / 'sanbhikSAzaMsAduH' ityuH / mama puraH mamAgre sthAtuM avasthAtuM na jiheSi kiM na lajase kim ? 'hrI lajjAyAM' ityasmAlaTi rUpam / madasivitatAkhaNDanAt madIyakaravAlavidhAsyamAnakhaNDanAddhetoH / mama asiH khaDaH madasiH / tena vitataM vidhAtumArabdhaM AkhaNDanaM vidAraNaM tasmAt hetubhUtAt / asAvuddhate khaNDanakriyArambhaH prakaTIbhavati, na khaNDanakriyAbhinivRtiH / khaNDanakriyAnabhinivRtAvapi tasyAH upacArAdbhUtakAlena sAmAnAdhiraNyaM vidhAya ' kartari cArambhe ktaH' iti ktastyo'tra vihitaH / yadvA madasinA kRtAt khaNDanAdityarthaH / ayaM eSaH sarasakadalIstambhagauraH kadalIdalavidalanaprauDharasAktatatstambhavadraktavarNaH / madasikRtakhaNDanajanitazoNitenAttazoNavarNasyoroH svarasAktatvAjanitazoNavarNena kadalI

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342 pArthAbhyudaye stambhenaupamyamatreti bhAvaH / rasena sahitaH sarasaH / svarasAktastambhanibhakAyaH ityrthH| sa cAsau kadalIstambhazca srskdliistmbhH| sa iva gauraH raktavarNaH sarasakalIstambhagauraH / 'sAmAnyenopamAna' iti saH / 'gauraH pItAruNazvetavizuddheSvabhidheyavat' iti vizvalocane / bhAvatkaH bhavadIyaH / 'bhavataSThaNchaz' iti ThaNi 'dosisusugazazvadakasmAttaH kaH' iti bhavatastakArAntatvATThasya kaH / UruH sakthi / 'sakthi klIve pumAnUruH' ityamaraH / tatpurastAt khdd'aagre| tasya khaDasya purastAdane tatpurastAt / calatvaM sakampatvaM yAsyati gmissyti| Even those welknown heavenly warriors feel afraid whenever I get my sword unsheathed; what, then, of his who is not heroic? [ or who is not well-disposed in the meetings of the brave ?] O sage ! tell [ me ]; don't you feel ashamed of confronting [ or facing ] me in hostility ? This your thigh, resembling the stem of a plantain-tree redish owing to its being annointed withe its [own] juice on account of its being red owing to the wounds inflicted by my sword, will tremble in front of it (i. e. my sword ). yasminpuMsAM paribhavakalaGkAGkanaM syAdvipakSA dvIrAlApe sati madavato vIragoSThISu vaktram / vidvanmanyo bhaNatu sa bhavAneva mAnonnatAnAM tasminkAle jalada yadi sA labdhanidrAsukhA syAt // 5 // anvayaH-yasmin vIragoSThISu vIrAlApe sati madavataH vipakSAt puMsAM vaktraM paribhavakalaGkAGkanaM syAt tasmin kAle jalada ! vidvanmanyaH bhavAn eva bhaNatu yadi mAnonnatAnAM sA labdhanidrAsukhA syAt / / - yasminnityAdi / yasmin yasmin kAle vIragoSThISu vIrasabhAsu vIrasambhASaNeSu vA / vIrANAM zUrANAM goSThI sabhA vIragoSThI / tAsu / ' goSThI sabhAyAM saMlApe ' iti vizvalocane / vIrAlApe sati vIraviSayakAyAM kathAyAM satyAM / vIrANAmAlApaH AbhASaNaM vIrAlApaH / tasmin sati / vIraviSayake sambhASaNe kriyamANe satItyarthaH / madavataH svasAmarthya nibandhanAbhimAnavataH / madaH mAnaH asya astIti madavAn / tataH / vipakSAt zatroH / viruddhaH pakSaH vipakSaH / tasmAt / 'dvivipakSAhitAmitradasyuzAtravazatravaH' ityamaraH / puMsAM puruSANAM vaktraM mukhaM paribhavakalaGkAGkanaM tiraskArakalaGkacihnitaM / paribhavaH tiraskriyaiva kalaGkaH paribhavakalaGkaH / saH aGkanaM cihaM yasya tat / 'anAdaraH paribhavaH parIbhAvastiraskriyA'

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caturthaH sargaH] - 343 itymrH| paribhavajanitApavAdacihnAGkitamityarthaH / ' kalaGko'Gke kAlAyasamale doSApavAdayoH ' iti vizvalocane / syAt bhavet / tasmin kAle mukhasya paribhavakalaGkAGkanakAle / he jalada dhRtameghazarIrAkAra marubhUticara yate / atra bhAvinaigamanayApekSayA zambarAsureNa bhagavato jaladeti sajJA kRtA, rAjaputrasya rAjAbhidhAnavadityavaseyam / vidvanmanyaH vidvanmAnI / vidvAMsamAtmAnaM manyate iti vidvanmanyaH / 'khaz svasya' iti manyateH khazi 'mumacaH' iti mumAgamaH na prApnoti halantatvAt / bhavAn eva tvameva bhaNatu brUhi / yadi cet mAnonnatAnAM abhimAnajanitacittasamunnatInAM / mAnena abhimAnena unnatAH samunnatacittAH mAnonnatAH / teSAm / sA lakSmIH / vIrazrIH / vIrANAmanatizayaM sAmarthyamityarthaH / 'zaktau tu sA striyAm / iti medinyaam| labdhanidrAsukhA praaptsvaapsukhaa| nidrAyAH svApasya sukhaM nidrAsukhaM / labdhaM prApta nidrAsukhaM yayA sA labdhanidrAsukhA / syAt bhavet / vIrazriyA virAjitAnAM parasparAlApe paribhUtAnAM satAM sAmarthya kadApi nArthakriyAkRtvAbhAvavadbhavati / tvamapi vIro mayA nirbhasito'si / atastvayA mayA sAkaM yoddhaM baddhaparikareNa bhAvyamiti kamaThacarazambarAsurAbhiprAyaH / 0 [ would-be ] cloud ! you, considering yourself a man of sound learning, yourself should tell whether at that time when in the society of warriors the faces of men are stigmatized owing to their self-respect being offended by the proud-hearted enemies, the sovereign power of those, holding up their heads with pride, would enjoy the pleasure of sleep. yA te buddhirmadupacaritAdvibhyatI luptasaJjJA mUkAvasthAM tvayi vidadhatI rundhatI sattvavRttim / sAvaSTambhaM bhava bhaTataro vArdhayuddhe'sthiraH sa nAvAsyainAM stanitavimukho yAmamAtraM sahasva // 6 // anvayaH- madupacaritAt bibhyatI, luptasajJA, tvayi mUkAvasthAM vidadhatI, sattvavRttiM rundhatI yA te buddhiH [ tAM] enAM sAvaSTambhaM anvAsya stanitavimukhaH ardhayuddhe sthiraH san bhaTataraH bhava, vA yAmamAtraM sahasva / yetyAdi / madupacaritAt tvatsamIpaM mamAgamanAt / hetau kA / vibhyatI bhayavihvalA bhavantI / luptasaJjJA naSTacetanA / hitAhitaprAptiparihArayorguNadoSavicAraNAtmikA saJjJA / luptA vilayaM prAptA saJjJA hitAhitaprAptiparihArayorguNadoSavicArAtmakaM

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344 [ pArzvAbhyudaye [ jJAnaM yasyAH sA / tvayi bhavati mUkAvasthAM vAcaMyamatvaM / avAktvamityarthaH / 'mUkasvavAGmato dIne ' iti vizvalocane / vidadhatI kurvANA / sattvavRtti prANAnAM pravRtti / prANavyApArabhityarthaH / 'sattvaM jantuSu na strI syAtsattvaM prANAtmabhAvayoH / dravye bale pizAcAdau sattAyAM guNavittayoH / svabhAve vyavasAye ca sattvamityabhidhIyate ' ' vRttiH pravRttau vRttau ca' ityubhayamapi vizvalocane / dhairya vA / rundhatI pratibadhnantI / yA te yA tava buddhiH matiH / manaH hRdayaM vetyarthaH / tAM enAM buddhiM sAvaSTAmbhaM dhairyeNa anvAsya prazAmya parihRtya vA stanitavimukhaH garjitaparAGmukhaH parihRtagarjanaH ityarthaH / ardhayuddhe ardhasaGgrAme sthiraH nizcalaH / asthiraH iti pAThe prakSubdhaH ityarthaH / san bhavan bhaTataraH vIrataraH / ( bhaTaH syAtpuMsi vIre ca vizeSe pAmarasya ca' iti medinyAM / prakRSTaH bhaTaH ityarthaH / ' dvivibhajye taraH ' iti taraH / bhava / saGgrAmabhIrurmA bhUrityarthaH / vA kiMvA yAmamAtraM praharapramANakAlaM yAvat / ' dvau yAmapraharau samau ' ityamaraH / sahasva titikSasva / praharapramANakAlAdeva saGgrAmaH pUrNatAmeSyatIti bhAvaH / Having set aside courageously this state of your mind, afraid of my arrival, deprived of grasping capacity, reducing you to the state of speechlessness, obstructing the working of your vital airs [or obstructing the course of your courageous conduct (or behaviour )], you, averse to thundering, becoming steadfast [ or violent ] in the midcourse of fighting, should become a better warrior or have patience for a period of three bours. mA bhUdbhItistava surabhaTatrAsigarjorjite'si prApte yoddhuM mayi kimabhiyAne mRtirvIralakSmyAH / vIrammanye tvayi mayi tathA'nyatra vA premabhaGgo mA bhUdasyAH praNayini jane svamalabdhe kathaJcit // 7 I anvayaH - surabhayatrAsigajoMrjite mayi yoddhuM asiprApte tava bhItiH mA bhUt abhiyAne vIralakSmyAH mRtiH kim ? vIrammanye tvayi tathA mayi anyatra vA praNayini jane svapnalabdhe asyAH premabhaGgaH kathaJcit mA bhUt / - metyAdi / surabhaTatrAsigajarjite amaravIrabhayajanakagarjibale / surabhaTAn trAsayituM bhAryAyitu zIlaM yasya tat / ' zIle'jAtau Nin ' iti zIle'rthe trasa terNyantANNin / garjasya UrjitaM balaM garjojitam / garjaH taDitvatstanitamiva garjaH / surabhaTatrAsi

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caturthaH sargaH] 345 goMrjitaM yasya saH / tasmin / mayi yodhuM samprahartuM asiprApte gRhItakaravAle / prAptaH sampAditaH gRhItaH vA asiH yena saH / 'ktAcAstra' iti pUrva ktAntAdasizabdasya nipAtaH / tava bhavataH bhItiH bhayaM mAbhUt mA sma jani / abhiyAne AkramaNakAle vIralakSmyAH vIrasAmarthyasya / vIrANAM lakSmIH zrIH vIralakSmIH / vIrazauryasyetyarthaH / mRtiH vinAzaH kiM bhavati kim / AkramaNakAle vIrANAM sAmarthya naiva vilayamIyate iti bhAvaH / vIrammanye vIramAnini / AtmAnaM vIraM zUraM manyate iti viirmmnyH| 'khaz svasya' iti khazi prApte 'mumacaH' iti mumaagmH| tvayi marubhUticare pArzvanAthe tathA mayi kamaThacare mayi zambarAsure anyatra vA anyasmin vA praNayini premavati jane loke svapalabdhe svapnaprApte / asyAH vIralakSmyAH premabhaGgaH prItivinAzaH kathaJcit kenApi prakAreNa mAbhUt mA sma jani / 'mAGi luG' iti mAG yoge luG / Do not be afraid of me when I, the force of whose thunderlike roar troubles the heavenly warriors, wield a sword to give a fight. Does tbe goddess [ the supermost strength (i. e. supermost valour)] of the-brave cease to exist (or give way ) at the time of an attack? Let not her love for you, for me or for any one else, considering oneself to be a warrior, the object of her love, secured in a dream, be lost in any way. nissaGgastvaM na hi bhuvi bhayasyA'GgamaGgAGgasaGgAt kiMvA jIvanmataka bhavato'pyasti bhIraGganAnAm / kRtvA yuddhe vidadhati matiM nanvime yodhamukhyAH sadyaH kaNThacyutabhujalatAgranthi gADhopagUDham // 8 // anvayaH- aGga ! tvaM nissaGgaH / bhuvi [ te ] bhayasya aGgaM na hi / . vA jIvanmataka ! aGganAnAM aGgasaGgAt bhavataH api bhIH asti kim ? ime yodhamukhyA: yuddhe matiM kRtvA kaNThacyutabhujalatAgranthi gADhopagUDhaM sadyaH nanu vidadhati / nissaGga ityAdi / aGga sambodhane / uktaM ca - 'kSipre ca punararthe ca saGgamAsUyayostathA / harSe sambodhane caiva hyaGga zabdaH prayujyate // ' iti / tvaM bhavAn / nissaGgaH saGgarahitaH / niSparigrahaH ityarthaH / bhuvi bhuvane te bhayasya bhIteH aGgaM upAyaH / 'azro deze'Ggamantike / gAtropAyApradhAneSu pratIke'pyaGgavatyapi' iti vizvalocane / na hi naiva / astIti shessH| ' hi vizeSe'vadhAraNe' iti vizvalocane /

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346 [pArdhAbhyudaye vA kiMvA jIvanmataka prANigaNaiH dhyAnaviSayatA niitH| kiH / jIvadbhiH mataH jIvanmataH / jIvanmataH eva jIvanmatakaH / tasya kiH / aGganAnAM strINAM / ' strI nArI vanitA mugdhA bhAminI bhIruraGganA' iti dhanaJjayaH / aGgasaGgAt zarIrasparzAt bhavataH api tavA'pi bhIH bhayaM asti kim vidyate kim / nissaGgasya bhayotpattikAraNAsambhavAttava nissaGgasya nArIzarIrasparzajanitena bhayena na kadApi bhAvyamiti bhAvaH / ime atratyAH yodhamukhyAH vIrAgraNyaH / yodhAnAM mukhyAH pradhAnAH yodhamukhyAH / yuddhe yuddhaM jetuM matiM kRtvA nirNayaM vidhAya / kaNThacyutabhujalatAgranthi knntthprdeshvircitltaakaarbhujbndhnN| kaNThe cyutA viracitA bhujalatayoH granthiH bandhanaM yasmin / tat / gADhopagUDhaM gADhAliGganaM / gADhaM ca tadupagUDhaM ca gADhopagUDhaM / upagUDhaM upagRhanam / AliGganamityarthaH / 'nabhAve kto'bhyAdibhyaH' iti bhAve ktaH nap ca / sadyaH jhaTiti nanu nizcayena / 'praznAvadhAraNAnujJAnunayAmantraNe nanu' ityamaraH / vidadhati kurvanti / yuddhe kRtamatayo'pi yodhamukhyAH mRtibhItimapasAryAGganAliGganasaGgatamAnasikabhAvataraGgasaGgAH bhavanti, tava tu maraNottarakAle'GganAGgAliGganaprApteravazyambhAvitvAnmaraNabhayamapasAryameva, anyathA nissaGgasyA'pi te'GganAGgasaGgabhayaM bhavatIti doSaH Apatet / atastvayAvazyameva yuddhasannaddhena bhAvyamiti zambarAsurAbhiprAyaH / / Well, sir ! you are altogether free from attachment to worldly ties. In this world there is nothing that could excite fear in you. Osir ! are you, reverd by all living beings, also afraid of coming into contact with the bodies of women ? Verily these, the best of warriors, having made their mind for battle, verily give suddenly close embraces ( to their beloved wives ), having ties formed with their creeper like arms round necks ( of their beloved wives). lakSmI kSINAM svavapuSi satImudyamAkhyena doSA protthApyA'laM bhava yughi satAmAzritAnugraho'rthaH / zaMsantIdaM nanu navadhanA dharmataptakSatAM mAM protthApyainAM svajalakaNikAzItalenA'nilena // 9 // anvayaH- svavapuSi satI kSINAM lakSmI udyamAkhyena doSA protthApya yudhi alaM bhava / navaghanAH dharmataptakSatAM enAM mAM svajalakaNikAzItalena anilena protthApya 'AzritAnugrahaH satAM arthaH ' [ iti ] idaM nanu zaMsanti /

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caturthaH sargaH] lakSmImityAdi / svavapuSi AtmIyazarIre satI vidyamAnAM samIcInAM vA kSINAM kSAmatAM prAptAM / kRzIbhUtAmityarthaH / 'kSyaH' iti kRtadItvAtkSestatakArasya nH| 'pro no No'bhinne' iti nasya nnH| lakSmI vIrtha / udyamAkhyena prayatnAbhidhena / udyamaH prayatnaH eva AkhyA abhidhAnaM yasya sH| tena / doSA baahunaa| 'bhujabAhU praveSTo doH' itymrH| protthApya saJjIvya / yudhi yuddhe / yuddhaM kartumityarthaH / alaM samarthaH / 'alaM bhUSaNaparyAptizaktivAraNaniSphale' iti vizvalocane / bhava bhavatAt / bhavaccharIraniSThaM sAmarthya bhavatastapaArAdhanAnimagnamAnasatvAdyadyapi kSAmatAmitaM tathApi tatprayatnena prabodhya yuddhAya zakto bhavatAdbhavAnityabhiprAyaH zambarAsurasya / navadhanAH bhUtanameghAH / navAH nUtanAzca te dhanAH meghAzca navadhanAH / naveti ghanavizeSaNaM teSAM sali. lasaGkalatvakhyApanArtham / dharmataptakSatAM grISma tApasantrastAM / dharmasya grISmartoH taptaM tApaH dharmataptaM / 'dharmaH syAdAtape grISme USmasvedajale'pi ca ' iti vizvalocane / taptaM tApaH / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH na ca / tena kSatA sntrstaa| tAm / yadvA dharmeNa USmaNA taptA dharmataptA / sA cA'sau kSatA ca dharmataptakSatA / tAm / enAM kSamA medinI / 'gotrA kuH pRthivI pRthvI kSamA'vanirmedinI mahI' itymrH| svajalakaNikAzItalena svavArizIkarazItalena / svaM svakIyaM jalaM vAri svajalaM / meghAdhikaraNaniSThaM jlmityrthH| tasya kaNikAbhiH zIkaraiH zItalaH svjlknnikaashiitlH| tena / kaNaH eva kaNikA / 'kaNo'tisUkSme dhAnyAMze' iti vizvalocane / anilena samIraNena protthApya hAdayitvA AzritAnugrahaH saMzritarakSaNaM / AzritAnAM AzrayAthemAgatAnAM anugrahaH abhyupapattiH sNrkssnnaadiruupaa''shritaanugrhH| 'vimardanaM parimalo'bhyupapattiranugrahaH' itymrH| satAM sajjanAnAM arthaH kartavyaM iti idaM etat nanu eva / 'nanu praznAvadhAraNe' iti vizvalocane / zaMsanti sUcayanti / tvadAzritAyAstapaArAdhanayA kSAmatAmitAyAH vIralakSmyAstvayA prayatnena tAM saJjIvyAvazyamevAnugraho vidheyaH ityUcivAn tathA ca kRte prabuddhayA tayA sahakRto marubhUticaraH pArthaH samarAjire kRtAvataraNaH san svhetihtivissytaamessytiitybhipraayvaanychmbraasurH| Having roused to action the deteriorated goddess of valour resorting to your body, through the agency of your arm in the form of exertion, be perfectly qualified [or powerful ] for a fight. New clouds, having delighted this earth, troubled very much by the heat of the summer season, by means of wind rendered cool by the sprays of their water, verily announce 'Giving protection to the refugees is the duty of the good.'

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348 [pArdhAbhyudaye kIrti ca svAM kuru kusumitAM svodyamAmbuprasekaiH sadallI vA pradhanaviSayairulatAnAM kramo'yam / kuryAt kino navajalamucAM kuMkSatAntAmanehA pratyAzvastAM samamabhinavairjAlakairmAlatInAm // 10 // anvayaH- svAM kIrtiM ca sadvallI vA pradhanaviSayaiH svodyamAmbuprasekaiH kusumitAM kuru / ayaM unnatAnAM krmH| navajalamucA anehA kSatAntAM kuM mAlatInAM abhinavaiH jAlakaiH samaM pratyAzvastAM no kuryAt kim ? kIrtimityAdi / svAM AtmIyAM / ' svo jJAtAvAtmani svaM tu triSvAtmIyedhane'striyAm' iti vizvalocane / kIrti yazaH / 'kIrtiryazasi vistAre prasAde'pi ca kardame' iti vizvalocane / co'tra samuccaye / sadvallI vA zobhanAM latAmiva / 'vallI tu vratatirlatA' ityamaraH / samIcInA zobhanA cAsau vallI latA ca sdvllii| tAM / vA ivArthe'tra / ' upamAyAM vikalpe vA' ityamaraH / pradhanaviSayaiH yuddhagaucaraiH / yuddhasambandhibhirityarthaH / ' viSayo gocare deze indriyArthe'pi nIti / prabandhAdyasya yo jJAtaH sa tasya viSayaH mRtH||' iti vishvlocne| 'pradhanaM dAruNe taGkhye' ityapi tatraiva / pradhanaM yuddhaM viSayaH gocaraH yeSAM taiH / svodyamAmbuprasekaiH svIyaprayatnajalasiJcanaiH / svaH svIyazcAsau udyamaH prayatnazca svodyamaH / sa evAmbu salilaM / tasya prasekAH siJcanAni / taiH / kusumitAM saJjAtapuSpA / puSpitAmityarthaH / tadasya saJjAtaM tArakAdibhyaH itaH' iti saJjAtArthe itaH |kuru vidhehi / ayaM eSaH unnatAnAM aunnatyabhAjAM / mahatAmUrdhvagAminAM cetyarthaH / kramaH paripATI / 'kramaH zaktiparI. pATI calane kampane'pi ca ' iti vizvalocane / navajalamucAM nUtanataDidvatAM / jalaM muJcantIti jalamucaH / meghAH ityrthH| vip / navAH nUtanAzca te jalamucazca nvjlmucH| teSAm / anehA kAlaH / varSatuprArambhakAle prAdurbhUtAH meghAH ityarthaH / 'RduzanaspurudaMzo'nehasAM' ityanehasaH sau parataH Gan / kSatAntAM kSatamanoharasvarUpAM / kSato vidhvastaH antaH manoharaM svarUpaM yasyAH saa| tAm / 'anto nAze mnohre| svarUpe'ntaM mataM klIvaM na strI prAnte'ntike triSu' iti vishvlocne| kuM mediniiN| 'kuH zabde nA bhuvi striyAm ' iti vizvalocane / mAlatInAM jAtInAM / 'mAlatI jAtiyuvati-' iti vizvalocane / abhinavaiH pratyauH jAlakaiH korakaiH / 'jAlakaH korake dambhaprabhede jAlinIphale' iti vizvalocane / samaM saha pratyAzvastAM punarujIvitAM / zvaseH kartari ktaH / 'japtazvastApacitazca' itIDAgamavikalo nipAtaH /

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caturthaH sargaH] 349 no kuryAt kim na karoti kim / api tu karotyevetyarthaH / yuddhaM kRtvA svakIrti vRddhiM nayasvetyarthaH / ___And furnish your fame, resembling a beautiful creeper, with flowers, by means of sprays of water in the from of your exertions for a fight. This is the tradition of the elevated. Does not the season of new clouds refresh the earth, having its beauty spoiled, along with the fresh buds of the Malati creepers ? matprAtIpyaM samarazirasi prApya dRSTAvadAnaH kSINAyustvaM kuru suravadhUM kaanycidaapuurnnkaamaaN| . dyAmArohansahajamaNibhAbhUSito'mbhoda yAne vidyudarbhe stimitanayanAM tvatsanAthe gavAkSe // 11 // ___ anvayaH- ambhoda ! samarazirasi matprAtIpyaM prApya dRSTAvadAnaH kSINAyuH dyAM Arohan sahajamaNibhAbhUSitaH tvaM vidyudgarbhe yAne gavAkSe tvatsanAthe stimitanayanAM kAJcit suravadhU ApUrNakAmAM kuru / ___ madityAdi / ambhoda megha / naigamanayApekSayA meghetyabhidhAnaM, sambhASaNakAle pArzvabhagavato'nupAttameghAkAratvAt / samarazirasi raNAgrabhAge / 'astriyAM samarAnIkaraNAH kalahavigraho' ityamaraH / 'zirastu mastake senAprabhAge'syapradhAnayoH' iti vizvalocane / matprAtIpyaM mama pratikUlatAM / pratIpaH pratikUlaH / tasya bhAvaH prAtIpyaM / paripanthitvamityarthaH / 'pratikUlaM tu vilomamapasavyamapaSThuraM / vAmaM prasavyaM pratIpaM pratilomamapaSTu ca ' iti haime'bhidhAnacintAmaNau / prApya adhigamya / dRSTAvadAnaH anubhUtamadasikRtakhaNDanakarmA / dRSTamanubhUtamityarthaH, dhAtUnAmanekArthatvAt / avadAnaM khnnddnN| 'avadAnaM matamiti vRttakarmaNi khaNDane' iti vizvalocane / dRSTaM anubhUtaM avadAnaM madasikRtatvaccharIrakhaNDanaM yena saH / 'dRSTAvadhAnaH' iti yogirAjasvIkRtapAThe'pi pUrvokta evArthaH / parivartitapAThasya suspaSTatayA'rthavAcakatvAtsa eva sviikRtH| avadhAnazabdaH sAhasArthavAcako yathA tathA'vadAnazabdo'pi / 'avadhAnaM tu sAhasam ' iti dhanaJjayaH ' sAhase dvau / avadhIyate'vadhAnam / avadAnaM ca ' iti nAmamAlATIkAkArazca / kSINAyuriti pAThasyottaratrAvyavadhAnena darzanAd -- dRSTAvadAnaH' iti pAThasya sAdhutvAtsa evorarIkRtaH / kSINAyuH vinaSTamanuSyajIvitakAlaH / madasighAtakRtatvaccharIrakhaNDanena mRtimitaH ityarthaH / 'AyurjIvitakAlo, nA jIvAturjIvanauSadham'

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350 [pArdhAbhyudaye itymrH| dyAM suralokaM / 'suraloko dyodivau'ityamaraH Arohana ArohaNaM kurvan / svargArohaNaM kurvANaH ityarthaH / sahajamaNibhAbhUSitaH upapAdazayyAyAM janmakAle eva jAtAnAM maNInAM bhAbhiH a'tibhiH bhuussitH| saha jAtAH janmakAle zarIreNa saha prAdurbhUtAH ye maNayaH teSAM bhAbhiH dutibhiH bhUSitaH samalataH / devAnAM yadA upapAdazayyAyAM janmabhavati tadaiva taccharIrAlaGkariSNUni bhUSaNAnyapi sambhavantIti jainasamayaH / tvaM paarshvH| vidyudgarbha prakRSTatejasvini / dyotate iti dyut / viziSTA cAso dyut ca vidyut / prakRSTaM tejHityrthH| vidyut garbhaH antasthaH yasya tadvidyudgarbha / tasmin / prakRSTatejoyukte ityrthH| yAne vAhane / vimAne ityarthaH / Iyate gamyate'neneti yAnaM / devayAnasya vimAnarUpatvAdyAnazabdasya vimAnaparyAyatvenA'tra grahaNam / gavAkSe vimAnAvayavabhUte jAlake tvatsanAthe sati tvayA sahite sati / 'sanAthaM prabhumityAhuH sahite cittatApini' iti zabdANeve / stimitanayanAM tvadrapAvalokanajanitavismayAGkitasvAntatvAdvItacAJcalyanayanAM / 'stimitaM vItacAJcalye'pyAdrIbhUte'pi vAcyavat ' iti vizvalocane / 'stimito nizcalAIyoH' iti medinyAm / kAJcit kAJcana suravadhU devAGganAM ApUrNakAmAM sampUrNAbhilASAM / saphalecchAmityarthaH / kuru vidhehi / yadartha tvaM tapaH kuruSe sA devAGganA maddhatihatijanitamaraNena prAptasvargAvAsena tvayA svayameva saGgameSyatIti tvayAvazyameva yuddhasannaddhena bhAvyamiti zambarAsurAbhiprAyaH / O cloud I coming into antagonism with me in the van of battle, you, seeing my heroic achievements [ or undergoing pain of wounds (inflicted by my sword)], with the duration of your life come to an end, attaining heaven, decorated with the lusire of jewels come into being in conjunction with you, should reduce a certain celestail woman with her eyes fixed upon a window, occupied by you, of a vibicle shining with lustre, to a state of complete satisfaction or to a state of her passion being completely satisfied ]. yadyetatte'dhyavasitamatiprauDhamAnoddharasya dhyAnAbhyAsaM zithilaya tato yoddhakAmo nikAmam / asyutkhAtaH paTutaragiraM projjhya vAcaMyamatvaM vaktuM dhIraM stanitavacano mAninI prkrmethaaH||12|| anvayaH---- yadi atiprauDhamAnoddharasya te etat adhyavasitaM tataH nikAmaM

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caturthaH sargaH] 351 yodhukAmaH asyutkhAtaH dhyAnAbhyAsa zithilaya; vAcaMyamatvaM projjhya stanitavacanaH mAninI paTutaragiraM dhIraM vaktuM prakramethAH / . yadItyAdi / yadi cet atiprauDhamAnoddharasya atizayena vRddhi prAptena mAnena nirbhayasya / atiprauDhaH atizayena vRddhi prAptazcAsau mAnazcittasamunnatizca atiprauDhamAnaH / 'prAdUhoDhoDhyeSaiSye' iti prAdUDhe parataH aip / tena uddharaH nirbhayaH / tasya / te tava etat ' kAJcit suravadhU ApUrNakAmAM kuru' ityetadvacaH anusatuM adhyavasitaM nizcayaH / madvacanAnusAreNa kAJcana devAGganAmApUrNakAmAM kartuM yadi bhavatA nizcayaH kRtaH iti bhAvaH / tataH tarhi nikAmaM paryAptaM / yathepsitamityarthaH / kriyAvizeSaNametat / 'kAmaM prakAmaM paryApta nikAmeSTaM yathepsitaM' ityamaraH / yoddhakAmaH yuyutsuH| 'samtumormanaHkAme' iti tumo makArasya kham / asyutkhAtaH udgIrNakhaDgaH / utkhAtaH kozAbahiniSkAsitaH asiH khaDgaH yena sH| 'ktAccAstraM' ityastravAcino'sizabdasya ktAntAtpUrva prayogaH basatvAt / dhyAnAbhyAsaM ekAgracintAnirodhalakSaNasya dhyAnasyAbhIkSNyaM / dhyAnasya samAdheH abhyAsaH punaH punaH karaNamAbhIkSNyaM vA dhyAnAbhyAsaH / tam / zithilaya zlathaM kuru / ' mRdo dhvarthe NijbahulaM' iti zithilazabdAtkarotyarthe Nij / nikAmamiti kriyAvizeSaNasya 'nikAmaM zithilaya' ityevamapyanvayo vidheyaH / vAcaMyamatvaM tUSNIMbhAvaM / vAcaM yacchati nigRhvAtIti vaacNymH| vAcaM nigRhya yo maunenAste sa vAcaMyama ityabhidhIyate / tasya bhAvaH vAcaMyamatvaM / maunitvmityrthH| 'vAcaMyamo vratI' iti vAkpUrvAdyameH khac amazcAnup / progya parityajya stanitavacana: garjitazabdaH / stanitaM garjitaM vacanaM zabdaH yasya saH / 'stanitaM garjitaM meghanirghoSe rasitAdi ca' ityamaraH / stanitavacanairityarthaH / 'vaktuM dhIraiH stanitavacanaiH ' iti pAThAntaram / tadapi samIcInam / mAninI praNaya kopavartI / dIrghakAlikavipralambhajanitakopavatImityarthaH / ' pramadA mAninI kAntA lalanA ca nitambinI' ityamaraH / mAnaH praNayakopaH asyAH astIti maaninii| tAm / kAcidevAGganA cirAtvayyAsaktamatistvatto'prAptaratisukhA satI tubhyaM kupitAstIti bhAvaH / paTutaragiraM atipaTTI vAcam / atizayena paTTI paTutarA / sA cAso gIzca paTutaragIH / tAm / pracuracAturyasampannAM vAcamityarthaH / yadvA paTutarA gIH yasmin karmaNi yathA syAt tatheti kriyAvizeSaNatvamapyastha sambhavati / dhIraM nirbhayatayA dRDhatayA vA / tasyAH purastAttvayA nirbhayatayaiva vaktavyaM tvadvacanasya kAtaratve tayA tasya mithyAtvena grahaNaprasaGgAt / dRDhatayetyarthagrahaNe tadanAzvAsanaprasaGgaparihAraH / vaktuM

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352 [pArdhAbhyudaye bhASituM prakramethAH Arabhasva / 'propAtsamarthAt ' iti prAtsamarthAtkramerdaH / samarthatvamatrAdikaGgiIkaraNanibandhanam / If this is determined by you, altogether free from fear on account (your ) boldness flown very bigh, then you, cherishing a very strong desire to engage (yourself ) in a combat and having (your ) sword unsheathed, should slacken ( your ) constant practice of meditation; having repudiated taciturnity you, uttering words in the form of thundering sounds, should begin to talk to the proud lady very eloquently and boldly. bhIte zastraM yadi bhaTamate vAvahImyastrazUnye strImmanye vA caraNapatite kSINake vA sa kazcit / pAdaspRSTayA zapathayati vA jAtu hiMsAM bhujiSyaM bhartumitraM priyamabhidhe viddhi mAmambuvAham // 13 // anvayaH-bhIte, astrazUnye bhaTamate, strImmanye vA, caraNapatite, kSINake vA, pAdaspRSTayA zapathayati vA yadi jAtu zastraM sa kazcit ( ahaM) vAvahImiH bharnuH priyaM mitraM ambuvAhaM mAM hiMsAM bhujiSyaM vidhida iti abhidadhe / / - bhIte ityAdi / bhIte bhayavyAkule astrazUnye agrahItazastrapANau / astreNa zUnyaH riktaH astrazUnyaH / tasmin / 'zUnyaM tu vazikaM tucchariktake' ityamaraH / bhaTamataH bhaTairAhataH 'bhaTaH' iti khyAti prAptaH vA / bhaTaiH mataH bhaTamataH / matazabdasya bhUte ktAntatvAdbhAsaH / nAyaM matazabdaH vartamAne ktAntaH / tena bhaTazabdasya samastatvAt 'jInmatyarthazIlyAdibhyaH ktaH '. iti sUtravihitaktatyAntena sasya 'kartari ktena' iti sUtreNa pratiSiddhatvAt / pUrva bheTerAhatasyAstravikalasya zambarAsuroktikAle paramArthasadbhaTatvasyAbhAvAt ktAntasya bhUtArthakatvAdbhaTamatazabdasya bhAsasvagrahaNamevocitaM pratibhAti / strImmanye vA strImAnini vA / strImAtmAnaM manyate strImmanyaH / tasmin / 'khara svasya' iti khaz / tasya ca khittvAt ' mumacaH' iti mumaagmH| khityajheH kRti' iti pratvasya prAptAvapi strIzabdasyaikAcvAt 'amekAcoDa mvat' iti sUtreNAmIva kAryasya vidhAnAtpratvasya pratiSedhaH / caraNapatite maccaraNavisRSTApaghane / caraNau patitaHcaraNapatitaH / tasmin / ' iptaschritAdibhiH ' iti patitena caraNAvitIbantapadasya SasaH / kSINake vA kSINatejasi vaa| kSINaH kaH dyotaH tejaH yasya saH kSINakaH / tasmin / ' ko brahmAnilasUryAgniyamAtmadyotabahiSu' iti vizvalocane /

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caturthaH sargaH ] 353 yadvA kSINazarIre ityartho'pyatra grAhyaH / pAdaspRSTayA caraNasparzanena / pAdayoH spRSTiH pRktiH pAdaspRSTiH / pAdasparzanamityarthaH / tayA / zapathayati vA zapathaM kurvati vA / zapathaM karoti zapathayati / 'mRdo dhvarthe Nijbahalam ' iti zapathazabdAddhvarthe Nici zatRtyaH / yadi cet jAtu kadAcit / 'kadAcijjAtu' ityamaraH / zastraM astraM sa kazcit sa kSudro'haM vAvahImi atyarthaM paunaHpunyena vA vahAmi dhArayAmi / 'dhoryaG bhRzAbhIkSNe'zubhaceH' iti bhRzArthe paunaHpunyArthe vA yaG / tasya ca 'yaGa up' ityup / ata idaM yakubantarUpam / tarhi bhatuH rAjarAjasya kuberAsyasya svAminaH priya mitraM hitaM sakhAyaM ambuvAhaM ambuvAhAkAradharaM shmbraasurN| ambu vahatIti ambuvAhaH / meghaH ityrthH| ambuvAhaH iva ambuvAhaH / 'devapathAdibhyaH' itIvArthasya kasyos / tm| mAM zambarAbhidhaM kamaThacaramasuraM hiMsA bhujibhyaM hiNsaadossbhaaj| bhuGkte iti bhujiSyaH / sevamAnaH ityarthaH / viddhi jAnIhi iti abhidadhe iti bravImi / hiMsAdoSabhayAdazastrapANau tvayi nAhaM zastraM voDhumicchAmi / ato yuddhasannaddho bhaveti bhaavH| If at all, in the case of the frightened, of the one who is looked upon as a soldier having no weapon or of the one who considers himself to be a woman, of the one fallen down at the feet, of the one swearing a solemn oath by touching feet, I, the contemptible one, wield a weapon, then I say that you should hold me, a cloud, the dear friend of the lord ( i. e. Kubera ), guilty of assassination. tanmA bhaiSIvihatagarimA hastamutkSipya pAdA vAzliSya tvaM mama yadi ca te jIvane'styutsukatvam / kizcitprItyai priyayuvatito mA'nyathA tvaM gRhImA .. tatsandezairmanAsi nihitairAgataM tvatsamIpam // 14 // anvayaH-- priyayuvatitaH prItyai yadi jIvane te kiJcit utsukatvaM asti tat tvaM hastaM utkSipya mama pAdau AzliSya vihatagarimA mA bhaiSIH / manasi nihitaiH tatsandezaH tvatsamIpaM AgataM mAM tvaM anyathA mA gRhIH / tadityAdi / priyayuvatitaH priyayuvatyAH / priyA cAsau yuvatizca priyyuvtiH| tasyAH / 'yUnastiH ' iti yuvanzabdAstriyAM tiH / 'puMvadyajAtIyadezIye' iti puMvadbhAvaH / atra tasiH kArthe tArthe vA, taseH sArvavibhaktikatvAt / prItyai pramoda pArzvabhyudaye...23

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354 [ pArdhAbhyudaye prAptuM janayituM vA / ' dhvarthavAco'rthAt karmaNi' iti dhvarthavAcaH karmaNyap / taseH kArthatve priyayuvatyAH sukhaM prAptumityarthaH / tattArthatve ca priyayuktyA manasi sukhaM janayitumityarthaH / ' mutprItiH pramado harSaH pramodAmodasammadAH' ityamaraH / yadi cet jIvane jIvite te bhavataH kizcit ISat utsukatvaM prasaktatvaM / 'prasitotsukAvabaddhairbhA ca' ityutsukena yoge Ip / asti vidyate tat tarhi / hastaM karaM utkSiya udyamya mama madIyau pAdau caraNau AzliSya upaguhya vihatagarimA vinssttaamaahaatmyH| vihataH vinAzaM nItaH garimA mahimA yasya yena vA saH / guruzabdAt 'pRthvAderveman' iti bhAve'rthe imani parataH 'bahulagurUravRddhatRpradIrghavRndArakANAM baMhigarvavarSitrapdrAghavRndrAH' iti tasya sthAne garAdezaH / tvaM bhavAn mA bhaiSIH bhayAkrAntasvAnto mA bhuuH|' mAGiluG' iti mAGo vAktvAddholaGi 'luGlaGlaGayAmAGAT' iti goraDAgamapratiSedhaH mAGayogasadbhAvAt / manasi svAntaHkaraNe nihitaiH nivezitaiH tatsandezaiH rAjarAjarAjadhAnIsthitabhavatpriyapatnIvasundharAcaryA preSitairvAcikaiH tvatsamIpaM bhavatsakAzaM AgataM prAptaM mAM zambarAbhidhAna kamaThacaraM mAM tvaM bhavAn anyathA anyaprakAreNa / shaatrvaakraantsvaanttvenetyrthH| mA gRhI: mA jAnIhi / astrazUnye samAliGgitamacaraNayugale tvayi na zastraM voDhAsmIti tvaM bhaiSIH / prAmbhavIyabhavatpriyAGganAsampreSitasandezaM manasi nidhAya bhavatsanidhimAgataM mAM mitraM viddhIti zambarAsurAbhiprAyaH / evaM sAmavacanaiH zambarAsuraH bhagavatsamAdheH bhaGga cikIrSati ityavaseyam / ____If you are a bit fond of continuing [ your worldly] life [further] for giving pleasure to the youg woman, your beloved, [ or for deriving pleasure from the young woman, dear to you ], you, with your self-conceitedness dissipated by raising your hands [ and ] embracing my feet, need not be afraid [ of me ]; do not think otherwise of me, approched you with her message, kept in mind. sadyaH klaso jaladasamayo yo mayA kAlameghai rAruddhadhurvyavadhi sahasA so'pyanenAtmazaktyA / dhvAntasyaiva pratinidhiraho yoSitAM jIvanArtha yo vRndAni tvarayati pathi zrAmyatAM proSitAnAm // 15 // anvayaH-- aho ! yaH yoSitAM jIvanArtha pathi zrAmyatAM proSitAMnA vRndAni tvarayati, yaH (ca) dhvAntastha eva pratinidhiH AruddhadyuH jaladasamayaH mayA kAlamedhaiH sadyaH klaptaH saH api anena AtmazaktyA sahasA vyavadhi /

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caturthaH sargaH] 355 sadya ityAdi / aho mahadAzcaryam / ' aho hIti vismaye ' ityamaraH / yaH jaladakAlaH / yoSitAM strINAM jIvanAtha prANadhAraNArthaM / proSitabhartRkANAM vipralambha * janitamaraNAvasthAnAM prANadhAraNArthamityarthaH / pathi adhvani zrAmyatAM mArgAkramaNajanitakhedakhinnAnAM proSitAnAM nAnAkAryavazAddaradezaM gatAnAM vRndAni samUhAn / 'samudAthaH samudayaH samavAyazcayo gaNaH / striyAM tu saMhRtivandaM nikuramvaM kadambakaM' itymrH| tvarayati satvaraM gamayati / 'calyadyarthAt' iti maM / yaH (ca) dhvAntasya eva timirasyaiva pratinidhiH mukhyadhvAntasadRzaH / 'pratimAnaM pratibimba pratimA pratiyAtanA praticchAyA / pratikRtirarcA puMsi pratinidhirupamopamAnaM syAt' ityamaraH / AruddhadyuH kaalmeghvyaaptnbhodeshH| AruddhA kAlameghaiH vyAptA dyauH nabhodezaH yasmin yena vaa| sH| 'dyodivau dve striyAmabhraM vyoma puSkaramambaram / nabho'ntarikSa gaganamanantaM suravartma khaM' itymrH| jaladasamayaH varSAkAlaH / mayA zambarAsureNa kAlameghaiH kArNAyasatulyakAlavarNameghaiH sadyaH sapadi klaptaH viracitaH saH api sa tAdRzopi jaladasamayaH anena dhyAnakatAnena munivareNyena AtmazaktyA svAtmasAmarthena sahasA atatiM nirmitikAlamAtre eva vA / 'tatkAlamAtre sahasA sahasA''kasmike'pi ca ' iti vizvalocane / vyavadhi vyacchedi / 'vadha hiMsAyAM' ityasmAdvipUrvAddhorliG / kAlAyasakAlavarNakAlameghajanitaH prAvRTkAlo'nena janitamAtra evAtmasAmarthena vilayaM nIta ityaho Azcarya mahaditi zambarAsuraH svasAmaryotpannAkharvagarvo'pi manasi vicintayatIti vijJeyam / Ah ! even the rainy-season ( monsoon), the representative of the dark alone, pervading the sky, expediting the masses of those gone abroad, moving laboriously on their ways [ to homes ] to keep the lives of their better-halves from falling off, [ and ] brought into being at once by me by means of black clouds, is at once brought to nothing by this through the agency of his soul-power. so'yaM yogI prakaTamahimA lakSyate durvibhedo vidyAsiddho dhruvamabhimanA yanmamApyAttanAzA / kartuM zaktA navadhanaghaTA yA manAMsyadhvagAnAM mndrsnigdhairdhvnibhirblaavnnimokssotsukaani|| 16 // anvayaH- yA adhvagAnAM manAMsi mandrasnigdhaiH dhvanibhiH abalAveNimokSo

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356 [ pArzvAbhyudaye 3 sukAni kartuM zaktA [sA] mama api navaghanaghaTA yat AttanAzA [ tat ] ayaM saH prakaTamahimA vidyAsiddhaH dhruvaM abhimanAH yogI durvibhedaH lakSyate / 6 , so'yamityAdi / yA navaghanaghaTA adhvagAnAM pathikAnAM / adhvAnaM gacchatItvadhvagaH / 'adhvanIno'dhvago'dhvanyaH pAnthaH pathika ityapi ' ityamaraH / manAMsi cetAMsi mandrasnigdhaiH gambhIraiH zrutimadhuraizca / mandrAH gambhIrAzca te snigdhAH zrutimadhurAca mandrasnigdhAH / taiH / mandrastu gambhIre ' masRNaM snigdhaM ityubhayatrApyamaraH / kubjakhaJjAdivat ' vizeSaNaM vizeSyeNeti ' iti saH / dhvanibhiH garjitaiH / abalAveNimokSotsukAni svasvakamanIyakAminI kezabandhavizeSamocanotkaNThitAni / abalAnAM svIyasvIyakamanIyakAminInAM veNayaH kezabandhavizeSAH abalAveNayaH / svakrAntavirahasaMsUcanArthamabalA bhirekaveNivizeSarUpaH kezabandho viracyate iti sarvajanaprasiddham / 'veNI nadInAM saGge syAtkezabandhAntare'pi ca / devatADe'pi veNI strI ' iti vizvalocane / tAsAM mokSo mokSaNam / mocanamityarthaH / tatra utsukAni saJjAtotkaNThAni / kartuM vidhAtuM zaktA sAmarthya sampanA sA mamApi mAyayA mayaika viracitA'pi / navAyA ghanAghanaghaTAyA matkartRkatvAdanyena kenacidapi vinAzayitumazakyatvepi sAnena vinAzaM prApitetyAbhiprAtho'pinA vyajyate / navaghanaghaTA prAvRTkAlArambhe zaranikarasambhRtA / navA pratyagrA ghanaghaTA vArivAhAnAM samUhaH / ghanAnAM meghAnAM vaTA samUhaH ghanaghaTA | navA cAsau ghanaghaTA ca navaghanaghaTA / yadvA navAH pratyagrAH prAvRDArambhakAle sambhUtatvAcca ghanA meghAH navaghanAH / teSAM ghaTA samUhaH navaghanaghaTA / yat ysmaatkaarnnaat| AttanAzA svIkRtivinAzA / vilayaM prAptetyarthaH / tasmAtkAraNAt ayaM saH sa eSaH / munirityarthaH / prakaTamahimA AvirbhUtamAhAtmyaH / prakaTaH AvirbhUtaH mahimA mAhAtmyaM yasya sa prakaTamahimA | prakaTIbhUtAlaukika sAmarthyaH ityarthaH / madIyamAyAprAdurbhAvitapratyagraghanaghaTAyAH kenacidapyaprakaTitamahimnA'vinAzyatve'pi vinAzadarzanAdayamavazyameva prakaTItAlaukikasAmarthya iti kamaThacarazambarAsurAbhiprAyaH / vidyAsiddhaH prakaTIbhUtazuddhajJAnaghanaikasvabhAvaH / vidyA AtmasvabhAvabhUtaM zuddhamAtmajJAnaM siddhaM pUrNatvena prakaTatAM prAptaM yasya saH / ' vAhitAgnyAdiSu iti saH / dhruvaM mokSaM / dhruvaH klIbe zive zaGkau munau yoge vaTe vasau / dhruvaM tu nizcite ta nityanizcalayostriSu ' iti ' zivo hare yogabhede vede kIle'pi vAluke / guggule puNDarIkadrau zivaM mokSe sukhe jale ' iti ca vizvalocane / dhruvazabdasya yogasukharUpArthadvayamapyatra sambhavati / abhimanAH abhigataM mano yasya saH / praparNavadavasaH / atiprasa ". f

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caturthaH sargaH] 357 ktamanAH ityarthaH / yogI nirvikalpasamAdhisamabhirUDhamanasko muniH durvibhedaH nirvi. kalpasamAdheH kssttprcyaavyH| 'svISadusi kRcchrAkRcchre khaH' iti khaH / tyasya khittve'pi pUrvapadasya jhittvAnna mum / lakSyate jJAyate / dRzyate ityarthaH / : Is this assemblage of fresh clouds, able to render the minds of travellars anxious for untying the hair, twisted into single unornamented braid and allowed to fall on their backs, of their beloved wives, by means of deep and charming thunders, has, though brought into being by myself, dispersed, this very sage, having superhuman power manifetsed in himself, possessing complete and flawless knowledge, having his mind concentrated upon salvation, absorbed in deep thinking, seems very difficult to be agitated. ityAdhyAyanpunarapi muni so'bhaNIdyuddhazauNDo vIrazrIstvAmiha vanatarau manmathAklezamuktA / pazyantyAste dazamukhapurodhAnavRkSe satI syA dityAkhyAte pavanatanayaM maithilIvonmukhI sA // 17 // anvayaH - iti AdhyAyan ' [yA ] manmathaklezamuktA tvAM pazyantI iha vanatarI Aste sA vIrazrIH AkhyAte dazamukhapurodyAnavRkSe pavanatanayaM [ pazyantI ] unmukhI satI maithilI iva syAt ' iti yuddhazauNDaH saH punarapi muniM abhaNIt / ___ itiityaadi| iti pUrvazlokoktaprakAreNa / 'iti hetau prakAre ca prkaashaadynukrssyoH| iti prakaraNe'pi syAtsamAptau ca nidarzane' iti vishvlocne| AdhyAyana vicintayan / yA vIrazrIH manmathAklezamuktA manaHsthairyabhraMzajanakaduHkhavikalA kAmavAsanAkartRkakkezarahitA pazcabANonmuktapauSpabANazalyajanitavedanAnAkulA vA / mananaM mat / cetanetyarthaH / 'hanmanyamramnamgamvanatitanAdekhaM jhali' iti khm| Gakhe ca tugaagmH| mathnAtIti mthH| mato manaso mathaH manmathaH / mnomnthnkRdityrthH| manmathazvAsau Aklezo duHkhaM manmathAklezaH / tena muktA mnmthaakleshmuktaa| yadvA manmathasya kAmadevasyAklezena muktA rahitA / ' madano manmatho mAraH pradyumno mInaketanaH / ' ityamaraH / ' manmathaH kAmacintAyAM kAmadevakapitthayoH' iti vizvalocane / vIrazyabhISTasya bhavataH sAmIpyAdvipralambhAsambhavAttvatsamAgamopalabdhedRDhapratyayAttanmanasi kAmacintAyA aprAdurbhAvAtkAmacintAjanitaduHkhaprAdurbhAvAsambhavAttasyA mnmthaakleshmukttvmvseym| tvAM bhavantaM marubhUticaraM pArzvanAthayogIndraM pazyantI vilokayantI iha atra vanatarau

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358 [ pArdhAbhyudaye vanatastale / atra vanataroranetanabhAge ityartho na vivakSitaH, vRkSAdhobhAgasthitamaithilyopamitatvAttasyAH vIrazriyaH / atastastha mukhyArthaM bAdhitvA tarutalarUpastAktaH pradezo'tra lakSaNayA grAhyaH / Aste tiSThati lA tvadabhilASAkulamanaskA vIrazrIH zrIriva shriiH| vIrANAM zrI viirshriiH| AkhyAte lokapurANaprasiddha dazemukhapurodyAnavRkSe laGkAnagaDaMpavanavRkSatale / tacchAyAyAmityarthaH / daza dazasaGkhyAkAni mukhAni vadanAni yasya saH dazamukhaH / rAvaNa ityarthaH / bahurUpiNIvidyAsampannatvAdrAvaNasya dazAnanatvaM purANaprasiddham / tasya puraM laGkA nAma raajdhaanii| tasyodyAnavRkSa upvntrodhstnprdeshe| atrApi maithilyAstarvadhastanapradezasthiteH purANe prasiddhatvAdasya padasya lakSaNayA vRkSAdhastanapradezarUpo'rthoM grAhyaH / pavanatanayaM pavanaJjayamahArAjAtmajaM kAmadevaM hanUmantaM vilokayantI unmukhI ukAmitamukhI / bandigrAhaM gRhItAyA maithilyAssvamuktivicArAkrAntatvAdadhomukhyA hanUmaddarzanArthammukhonnamanamabhipretyonmukhIti vacanamatra samIcInameva / 'svAGgAntrIco'sphoGaH' iti striyAM kii| udgataM mukhaM yasyAH sonmukhii| satI sAdhuzIlA / ekapatnItvAttasyAH satItvam / maithilI iva mithilAdhipaterapatyaM strIva / mithilezvarakanyA sItetyarthaH / seva / syAt bhavati / iti anena prakAreNa / yuddhazauNDaH yuddhe prasaktaH zauNDaH / 'Ip zauNDAdibhiH ' itIbantastha yuddhapadastha zauNDena saha SasaH / yuddhe pravINaH ityarthaH / yuddhaprasaktamatiH sa zambarAsura iti bhAvaH / saH kamaThacaro'suraH punarapi muni pArzvajinendraM abhaNIt bhaNati sma / . He, thinking thus, excessively fond of combating [ or skilled in fighting ], spoke again to the sage thus - the superhuman power resembling Laxmi, of the brave, freed from the tortures causing disturbance in mind [ or caused by the god of love ], looking at you from beneath a sylvan tree where sbe is sitting, resembles the chaste woman, Sita [ the daughter of the king of Mithila ], looking, with her face raised, at the son of Pavana ( Hanuman), from beneath a welknown tree grown in the garden of the city of the ten-faced one [ i. e. Ravana], where she sat. saGkhye saGkhyAM subhaTaviSayAM pUrayannasmadIye hitvA bhItiM tvamadhizayito vIrazayyAM yadA syaaH| pratyAsIdatyapihitarasA vIralakSmIstadaiSA tvAmutkaNThocchasitahRdayA vIkSya sambhAvya caiva // 18 //

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caturthaH sargaH] 359 anvaya :- asmadIye saGkhye subhaTaviSayAM saGkhyA pUrayan tvaM yadA bhIti hitvA vIrazayyAM adhizayitaH syAH tadA tvAM vIkSya sambhAvya ca utkaNThocchu sitahRdayA apihitarasA eSA pratyAsIdati / saya ityaadi| asmadIye AsmAkIne / asmAkamidamasmadIyam / tasmin / asmadastyadAditvAt 'tyadAdiH' ityanena dusajJatvAd 'dozchaH' iti chaH / saGkhye yuddhe / sampUrvasya cakServadhArthatvAtsaGkhyazabdo yuddhaarthH| saJcakSate'sminsaGkhyam / 'yuddhamAyodhanaM janyaM pradhanaM pravidAraNaM / mRdhamAskandanaM saGkhyaM samIkaM sAmparAyikam' ityamaraH / subhaTaviSayAM zUrasainikasambadhinI saGkhyAM gaNanAM pUrayan pUrNatA prApayan tvaM bhavAn yadA yasminkAle bhAti bhayaM hitvAM parihRtya vIrazayyAM vIrazayanam / vIrocitazayanamityarthaH / vIrAH zUrAH yuyudhAnAH zerate'syAmiti vIrazayyA / tAm / adhizayitaH prasuptaH / ' karmovAdheH zIthAsaH' ityadhipUrvasya zIGaH AdhArasya karmatve 'karmaNIp' iti ip / syAH bhaveH / bhaviSyasItyarthaH / tadA tasminkAle tvAM bhavantaM vIkSya vilokya sambhAvya ca satkRtya ca utkaNThocchrasitahRdayA tvadarzanajanitItsukyena vikasitacittA / utkaNThayA tvaddarzanajanitautsukyena ucchRsitaM vikasitaM hRdayaM cittaM yasyAH sA / apihitarasA prkttiikRtaanuraagaa| na pihitaH pracchAditaH apihitaH / apihitaH prakIkRtaH rasaH anurAgaH yayA saa| 'rasaH svAde'pi tiktAdau zRGgArAdau drave viSe / pArade dhAtuvIryAmburAge gandharase tanau' iti vizvalocane / eSA vIrazrIH tvAM pratyAsIdati eva sunizcita pratyAsatsyati / 'vartamAnasAmIpye vartamAnavadvA' iti vartasAmIpyAdbhaviSyarthe laT / samarAjiramAzritaM bhavantaM zaurya zIghraM zrayiSyati / ato yuddhAsannaddho bhaveti zambarAsurAbhiprAyaH / In a battle that will be offered by you and me, when you, completing the number of best warriors, having abandoned fear, will be having recourse to the battle-field, then this [i. e. the goddess of the brave], with her heart throbbing owing to her yearning for you, on Seeing and greeting yon, displaying her love [ for you], will surely resort to you very soon [ i. e. the very moment you will have recourse to the battle-field ). manye zrotraM paruSapavanaiSitaM te maduktAM vyaktAkUtAM samaraviSayAM saGkathAM no shRnnoti|

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360 tatpAruSyapraharaNamidaM bheSajaM viddhi geyaM zroSyatyasmAtparamavahitaM saumya ! sImantinInAm // 19 // anvayaH saumya ! te zrotraM maduktAM vyaktAkRtAM samaraviSayAM saGkathAM no zRNoti (iti) paruSapavanaiH dUSitaM manye / idaM sImantinInAM geyaM avahitaM pAruSyapraharaNaM paraM bheSajaM viddhi; asmAt tat zroSyati / [ pArzvAbhyudaye - 1 , C " manye ityAdi / saumya ! he sAdho ! he anugra iti vA / bhagavaddhadayakSobhajananasamathairnAnAvidhairuccAvacairupAyairnitarAM kamaThacareNa zambarAsureNa pIDitasya sato'pi bhagavato'spRSTakrodhatvAtsaumyetyuktiH kamaThacarasya yathArthabhAvapradyotinI / somo devatAsyeti saumyaH / ' kasomATTTyaNa' iti devatArthe TyaN / anugrArthe tvayaM zabda upacArA1 prayujyate / budhe saumyo'tha vAcyavat / bauddha manorame'nugre pAmare somadaivate // iti vizvalocane / te tava zrotraM zravaNendriyaM maduktAM mayA kathitAM vyaktAkUtAM vizadAbhiprAyAM / vyaktaH vizadaH AkUtaH abhiprAyaH yasyAH sA / tAm / samaraviSayAM yuddhasambandhinIM / samaraH raNaH viSayaH gocaraH yasyAH sA / tAm / ' astriyAM samarAnIkaraNAH kalahavigrahau' ityamaraH / ' viSayo gocare deze indriyArthe'pi nIvRti | prabandhAdyasya yo jJAtaH sa tasya viSayaH smRtaH || ' iti vizvalocane / saGkathAM samIcInaM bhASaNaM no na zRNoti AkarNayati yatastataste zrotraM paruSapavanaiH niSThuraprabhaJjanaiH / paruSAH niSThurAH vyAghAtakRtazca te pavanAH prabhaJjanAzca paruSapavanAH / taiH / " paruSaM karbure rUkSe triSu niSThuravAcyapi' iti vizvalocane / nabhasvadvAtapavana pavamAnaprabhaJjanAH / prakampano mahAvAto jhaJjhAvAtaH saMvRSTika: ' ityamaraH / dUSitaM janitadUSaNaM / ' doSo Nau ' iti duSeNa parata uGa Ut / iti manye jAne / idaM gIyamAnaM sImantinInAM yoSitAM / bhavatkAntopAntAtsamAgatAnAM strINAmityabhiprAyaH / 'strI yoSidabalA yoSA nArI sImantinI vadhUH ityamaraH / sImantaH kezavezo'styasyA sImantinI / geyaM gAyanam / ' geyastu triSu gAtavye geyaH syAddvAyane pumAn' iti vizvalocane / padasvaratAlAvadhAnAtmakaM gAndharvarAgagItyAdirUpaM gItamityarthaH / avahitaM zravaNagocaratAM nItaM sat pAruSyapraharaNaM paruSapavanAghAtajanitaM zrotrendriyazravaNasAmarthyapratiddantu yacchravaNayoH pAruSyaM naiSThurya tasya prakarSeNa parihartR / atra pAruSyapadena zravaNayorbadhirimA grAhyaH / praharatIti praharaNam / 'vyAnabahulam ' iti kartaryanaT / paraM anuttamaM / sAdhiSThamityarthaH / bheSajaM auSadhaM / bheSaM rogabhayaM jayatIti bheSajaM / ddH| ' bheSajaiauSadhabhaiSajyAnyagado jAyurityapi ' ityamaraH / viddhi jAnIhi / asmAt 6 " 1

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caturthaH sargaH ] . 361 pAruSyapraharaNAdyarUpA prajAt / tat te zravaNendriyaM zroSyati zabdaM svagocaratAM . neSyati / O you, an impassive one! as your ears do not listen to a char ming speech, made by me with reference to a fight, with its implication qnite clear, I think your ears are afflicted by very harsh winds [ i.e. by winds blowing very barshly ]. Take this song of women [i.e. sung by women), when heard by you, to be a medicine curing deafness;by using this medicine your ears will perceive sounds. zravyaM geyaM, nayanasubhagaM rUpamAlokanIyaM, peyastAsAM vadanasurabhiH, spRzyamAghrAyamaGgam / kAmAGgaM te samucitamidaM saGgamaM sAnubandhaM . kAntopAntAtsuhRdupagamaH snggmaatkinyciduunH||20|| anvayaH- tAsAM zravyaM geyaM, nayanasubhagaM AlokanIyaM rUpaM, peyaH vadanasurabhiH, spRzya AghrAyaM aGgaM te samucitaM kAmAjhaM; idaM sAnubandhaM saGgamaM kAntopAntAt suhRdupagamaH saGgamAt kiJcit uunH| zravyamityAdi / tAsAM tvakAntAyAH upAntAt samupAgatAnAM sImantinInAM zravyaM zravaNAha / ' tRjcyAzcAhe ' ityahAthai vyH| manohAri vaa| 'zrAvyaM hRdya manohAri' ityamaraH / geya gAnam / 'geyastu triSu gAtavye geyaH syAdgAyane pumAn ' iti vizvalocane / nayanasubhagaM nayanAbhirAmaM / nayanayoH netrayoH subhagaM abhirAma nayanasubhagam / AlokanIyaM AlokanAham / rUpaM saundaryam / 'rUpamAkArasaundaryasvabhAvazlokanANake / nATakAdau mRge granthAvRttau ca pazuzabdayoH // ' iti vizvalocane / peyaH paanaahH| vadanasurabhiH mukhasauramaM spRzyaM sparzanArha AghrAya AghANAI aGgaM zarIraM / 'aGgamantike / gAtropAyApradhAneSu pratIke'pyaGgavatyapi ' iti vizvalocane / te tava samucitaM nitarAM yogya kAmAGga kAmotpattisAdhanam / idaM etadneyAdikaM sAnubandhaM nirantarAyam / sAkSAdityarthaH / anubandhaH antarAyAbhAvaH / anubandhenAntarAyAbhAvena sahita sAnubandham / saGgamaM anyonyamilanam / saMgamazabdo napuMsaliGgo'pi vartate / 'saGgamaM zatamAnA'rmazambalAvyaya. tANDavam ' ityamaraH / kAntopAntAt kAntAsamIpAt / kAntAyAH upAntaH samIpaM kAntopAntaH / tasmAt suhRdupagamaH suhRdAmAgamanam / kAntAyAH mitrIbhUtAnAM

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362 [ pArdhAbhyudaye siimntiniinaamaagmnmityrthH| saGgamAt anyonyaM sAkSAdyanmilanaM tasmAt kizcit ISat UnaH nyUnaH / kAntAsaGgamasadRzaH ityarthaH / etAH kalakaSThyaH, AlokanIyasaundaryAH, susaurabhavadanAH, spRzyAghrAyazarIrAH bhavatkAntAyA upaantaatsmupaagtaaH| etAstvayi kaamotpttenimittbhuutaaH| etAsAmupagamaH kAnteva samAgamasukhajananaH, tasya kaamotpttinibndhntvaat| ataH kAntopAntAttatsuhRdupagamaH ataH sAkSAtkAntAsamAgamasama eva, kAntAsamAgamavattasyApi kAmotpattinimittatvAt / atastvayA kAntAsamAgamArthamAcaryamANaM tapo vihAya geyAdAvatra dattAvadhAnena bhAvyamiti shmbraasuraabhipraayH| ___Their song (or singing ) worthy of giving audiance, their eyegladdening beauty worthy of being perceived, their fragrance of (their) months worthy of being drunk, their body worthy of being touched and smelt are the very suitable means of rousing your passion. This is actually (directly) meeting together, (for) arrival of friends coming from one's own beloved is a little less than an actual meeting. tasmAdvAsaH kisalayamRdu tvaM mukhasthAyi divyaM tAmbUlaM ca praNayamacirAyoSitAM mAnayoccaiH / vyarthaklezAM visRja virasAmAryavRttiM munInAM tAmAyuSmanmama ca vacanAdAtmanazcopakartum // 21 // anvayaH - AyuSman mama vacanAt ca AtmanaH upakartuM ca tasmAt yoSitAM kisalayamRdu vAsaH, mukhasthAyi divyaM tAmbUlaM, praNayaM ca acirAt uccaiH mAnaya; munInAM vyarthaklezAM tAM virasAM AryavRtti visRja / tasmAdityAdi / AyuSman jaivAtRka ! 'jaivAkRtaH syAdAyuSmAn ' itymrH| mama vacanAt ca mdiiyokteH| mduktimnusRtyetyrthH| AtmanaH svasya upakartuM ca hitaM sampAdayitum / svahitaM kartumityarthaH / tasmAt kAntopAntAt suhRdupagamo yataH kAntayA saGgamAtkiAJcadanastataH / yoSitAM aGganAnAm / 'strI nArI vanitA mugdhA bhAminI bhIruraGganA / lalanA kAminI yoSidyoSA sImantinI vadhUH ' iti dhanaJjayaH / kisalayamRdu kisalayaM pallava iva mRdu komlN| pallavavatkomalamityarthaH / 'pallavo'strI kisalayam' ityamaraH / 'sAmAnyenopamAnaM' iti saH / vAsaH vastram / 'vastramAcchAdanaM vAsazcalaM vasanamaMzukam' ityamaraH / mukhasthAyi mukhe abhIkSNaM tiSThatIti

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caturthaH sargaH ] 363 mukhasthAyi / mukhe sthitamityarthaH / ' vratAbhIkSNye ' ityAbhIkSNye gamyamAne Nin / divyaM divi jAtaM bhavaM vA divyam / atizayenotkRSTamityarthastasyAlaukikatvena pratipAdanAt / 'suprAtpratyapAgbhyAM yaH ' iti zeSe'rthe yaH / tAmbUlaM sudhApUga karpUrakazmIrajayuktatAmbUlI patranibaddhAM carvitAM vITikAm / praNayaM ca ratiH / premetyarthaH / acirAt zIghraM uccaiH atyarthaM mAnaya sambhAvaya / munInAM tapodhanAnAM tAM lokaprasiddhAM vyarthaklezAM vyartho viphalaH klezaH parISahajayArtha prAvRDAdau tarutalAdipradeze niSadanena janitaM zArIraM mAnasaM ca duHkhaM yasyAM sA / tAm / samyakcAritrArAdhanajanitasaukhyasya pAralaukikatvAdapratyakSatvAttadarthAcaritatapazcaraNajanitaklezAnAM vaiphalyamiti kamaThacarazambarAsurAbhiprAyaH / virasAM vigalitAnandAM praNayavikalAM / karuNA vikalAM vA / municaryAyA: kAyaklezavA husyAdAnandavaikasyaM strIsamparkavaikasyAtpraNayavikalatvaM zarIraklezakaratvAcca virasatvamadhyavaseyam / AryavRtti satAM pUjanIyAM caryAm / aryate sadbhiH pUjyate ityAryA | AryA'bhyarhitetyarthaH / ' puMsyAyeM savidalle syAdAryastvabhyarhite triSu ' iti vizvalocane / sA cAsau vRttizcaryA ca AryavRttiH / tAm / visRja parihara | municaryaM parityajya strIsabhbhogajanitasukhamanubhavetyasurAbhisandhiH Oh long-lived one in my name and to benefit yourself you should, for that reason, immediately, highly respect the garments of those women, delicate like young and tender foliage, the charming. Tambul in their mouths and their love [ for you ]; you should give up. that welknown pious conduct of sages, void of pleasure [and ] consi sting in fruitless strenuous efforts. zreyomArgaH kila munivaraiH sevyate mokSahetoH saukhyaM dvedhA surayuvatijaM muktilakSmyAzrayaM ca / dUre mukti: sulabhamitaratsevyamanyo'pi vidvAn brUyAdevaM tava sahacaro rAmagiryAzramasthaH // 22 // anvayaH - zreyomArgaH munivaraiH saukhyahetoH kila sevyate / saukhyaM surayuvatija muktilakSmyAzrayaM ca [ iti ] dvedhA / dUre muktiH / itarat sulabhaM sevyaM [ ca ] | anyaH api rAmagiryAzramasthaH tava vidvAn sahacaraH evaM brUyAt / C zreyomArga ityAdi / zreyAmArgaH niHzreyasaprAptisAdhanaH saMyamaH / zreyo niHzreyasAmRtam' ityamaraH / etadanayorasmAdvA prazasyaM zreyaH / prazasyasya zraH 4 "

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364 [ pArzvAbhyudaye 6 , 1 itIyasau prazasyasya zrAdezaH / mAyaite'nviSyate'neneti mArgaH / zreyasaH niHzreyasasya mArgaH anveSaNasAdhanabhUtaH saMyamaH zreyomArgaH / bhedAbhedaratnatrayAtmako mokSamArga ityarthaH / munivaraiH saMyamizreSThaiH / munInAM muniSu vA varAH zreSThAH munivarAH / taiH / 'devAvRte varaH zreSThe triSu klIbaM manApriye ' ityamaraH / saukhyahetoH nirupadhisukhaprAptyartham / sukhameva saukhyam / tasya hetoH / sukhaprAptyarthamityarthaH / ' hetau sarvAH prAyaH ' iti tA / kila sambhAvanAyAm / 'kila tvarucau vArtAyAM sambhAvyAnunayArthayoH ' iti vizvalocane / sevyate svIkriyate / saukhyaM sukhaM surayuvatijaM surAGganA sambhogasamutpannaM muktilakSmyAzrayaM ca mokSAvasthAsamutpannaM ceti / muktimokSaH kRtsnakarmavipramokSalakSaNaH / saiva lakSmIramAnuSamanantaM vIryAdikaM / saiva AzrayaH yasya tat / dvedhA dviprakAram / dUre sthalakAlApekSayA surayuvatisambhogajasukhApekSayA ca davIyasI / muktiH karmabandhavyapagamajanitA zuddhAvasthA'nantasukhaprasUH / itarat muktisukhAdanyatsurayuvatisambhogajanitaM sukhaM sulabhaM akRcchralabhyam / sevyaM sevanArham / sevituM yogyaM, na tyAjyamityarthaH / anyaH api tvatto bhinnastvatsajAtIyo'pi munivaraH rAmagiryAzramasthaH rAmagiriparvatasthAzramanivAsaH / rAmagirau ya Azramastatra nivasanazIla ityarthaH / tava bhavadIyaH vidvAn jJAnI sahacaraH satIrthyaH munIndraH evaM surayuvatijaM sukhaM sulabhaM sevyaM cetyevaM brUyAt kathayiSyati / muktisaGgamajanitasukhasya davIyastvAtsAkSAdanubhUyamAnatvAsambhavAnniratizayAyAsasAdhyatvAcca tat parityajya tvayA surayuvatijasukhasthAnAyAsasAdhyatvAtsAkSAdatraiva bhave zIghramanubhavituM zakyatvAdapAyApAyAcca tadeva tvayA sevanIyamiti kamaThacarazambarAsurAbhiprAyaH / The way to final beatitude is pursued by the greatest of sages verily for the sake of attaining pleasure. Pleasure is divided into two varieties, the first of which is attained through heavenly damsels while the other is inherent in the superhuman power in the form of salvation. Salvation is far away. The other one is very easy to attain [and] worthy of being enjoyed. Even another person, a learned companion of yours, residing in a bermitage situated on the mountain, Ramagiri by name, also will proclaim thus. vidyudvallIvilasitanibhAH sampadazcaJcalatvAt labdhAbhogAH niyatavipadastatkSaNAdeva bhogAH / tasmAllokaH praNayini jane sthAsnubhAvavyapAyAt avyApannaH kuzalamabale pRcchati tvAM viyuktaH // 23 //

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caturthaH sargaH ] 365 anvayaH-- - [ yasmAt ] caJcalatvAt sampadaH vidyudvallIvilasitanibhAH, labdhAbhogAH bhogAH tatkSaNAt eva niyatavipadaH, tasmAt abale praNayini jane sthAsnu - bhAvavyapAyAt avyApannaH viyuktaH lokaH tvAM kuzalaM pRcchati / 6 " " > vidyudityAdi / yasmAt kAraNAt caJcalatvAt asthiratvAt sampadaHdhanAni / dhanadhAnyakupyabhANDAdaya ityarthaH / vidyudvallIvilasitanibhAH taDillatA-sphuritasadRzAH / vidyudvasyAsta DillatAyAH vilAsitaM sphuraNaM vidyudvallIvilasitaM / vilasitaM vilAsaH / sphuraNamityarthaH / 'nabbhAve kto'myAdibhyaH' iti ktaH / tannibhAstattasyAH / ayaM nibhazabdastusthArthassa evottarapadatvena rUDhastena tena nibhaH ityevaM vAkye na prayojyaH / ' vAcyaliGgAH samastulyaH sadRkSaH sadRzaH sadRk / sAdhAraNaH - samAnazca syuruttarapade tvamI || nibhasaMkAzanI kAzapratIkAzopamAdayaH / ityamaraH / labdhAbhogAH prAptAnubhavAH / labdhaH prAptaH AbhogaH anubhavo yeSAM te labdhAbhogAH / bhoktrA bhuktAH ityarthaH / bhogAH nirvezAH nirvezaviSayAH vA / ' puMsi bhogaH sukhe'pi - syAdazva phaNakAyayoH / nirveze gaNikAdInAM bhojane pAlane dhane // iti vishv-locne| bhujerabhyavahArArthAtkauTisyArthAcca ghaJ / tatkSaNAdeva muktyanantarottarasamaya eva / niyatavipadaH nizcitavinAzAH / bhuktyanantarottarakAle vinAzinaH ityarthaH / niyatA nizcitA vipadvinAzaH yeSAM te niyatavipadaH / vipadyate vinazyatIti vipad / sampadAdibhyaH krip ktiH iti vipadyaterbhAve striyAM chin / bhuktyavyavahitottarakAle vinazanazIlAH ityarthaH / tasmAt tataH kAraNAt abale zarIrasAmarthyavikale / anazanAvamodaryAdibAhyatapaAcaraNajAtazArIradaurbasye bhavati pArzve praNayini jane patnIca vasudharAyAM viSaye praNayitAM gacchati jane bhavati / bhavadviSaye ityarthaH / sthAsnubhAvavyapAyAt sthiratvAbhAvAt / yathA'nye bhogAH bhogaviSayAH vA bhogAvyavahitottarakAle nizcitavinAzAstathA bhavato'pi tadbhogaviSayatvAttvadvinAzAzaGkayA. vigalitcittasthairyatvAditi hetozcetasaH sthairyavyapagamAddhetorvA / sthAsnuH sthitizIlaH / lAbhUsthio snuH' iti tiSThatezzIlArthe gsnuH / sthAsnuH sthitizIlazcAsau bhAvazva sthAsnubhAvaH / tasya vyapAyAdapagamAt / vinAzAdityarthaH / sampadAM vidyullIvilasitanibhatvasya bhogAnAM ca nizcitavinazvaratvasya darzanAnmanaH sthairyasya vyapagamAdvetyapyarthAntaramatrohyam / avyApannaH bhRzaM duHkhitaH / vyApannaH AkulIbhUtaH / duHkhitaH ityarthaH / aprazastaM kutsitaM yathA tathA vyApannaH avyApannaH / atyarthaM duHkhitaH ityarthaH / yadvA vyApannaM vyApAdaH | antarbhAvitaNyarthasya grahaNasyAnukUlo'yamarthaH / 8 C , 4

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366 [ pArzvabhyudaye avyApannaH ityasya bhavadviSayakapApAzayavikalaH iti vArthaH / viyuktasya drohAdipApAzayasambhave'pi tvatto viyuktAyAstvatpatnIcaryAstvadviSayako na drohAdipAparUpabhAvanAtmakaH AzayaH iti bhaavH| 'vyApAdo drohacintanaM ' itymrH| viyuktaH tvatto viyogaM prApto duHkhAkulaH san lokaH janaH / bhavatpatnItyarthaH / tvAM bhavantaM kuzala bhavataH kSemamArogyaM ca pRcchati anuyuGkte / jijJAsate ityarthaH / 'duhi yAci rudhi precchi' ityAdinA pRcchaterdvikarmakatvam / Inasmuch as the riches resemble a flash of lightning owing to their fickleness [ inconstancy ], the worldly enjoyments, when experienced, perish certainly the very moment they are experienced, a separated person [ i. e. your better half of the former birth separated from you then ] much distressed owing to the absence of stabilty in the mind [ of your beloved or ] in the loving person who is void of [ bodily ] srength, inquires of you after your health [ or welfare ]. tadbhoktavye svayamupanate zItakatvaM samujjhe rmRtyuvyAghro drutamanupadI vAmamanvicchatItaH / AyuSmattvaM kuzalakalitaM nanvihAzAdhi nityaM pUrvAzAsyaM sulabhavipadAM prANinAmetadeva // 24 // anvayaH- tat bhoktavye svayaM upanate zItakatvaM samujjheH / drutaM anupadI mRtyuvyAghraH vAma anvicchati / itaH kuzalakalitaM AyuSmattvaM iha nanu AzAdhi / sulabhavipadAM prANinAM etadeva nityaM pUrvAzAsyam / tadityAdi / tat yasmAtkAraNAttvAM tvadIyaM kuzalaM pRcchati tsmaatkaarnnaat| bhoktavye bhogA: / prAktanabhave devareNa bhuktatvAtsA vasundharAcarI yadyapi bhraSTazIlA''sIttathApyadhunAtanabhave'kSatayonitvAttasyAH paradAratvAbhAvAdastyeva bhogAItvamati kamaThacarazambarAsurAbhiprAyaH / svayaM upanate svayameva tvatsamIpaM samAgate sati tvaM zItakatvaM AlasyaM / zItaM mandaM kArI zItakaH jaDaH / alasaH ityarthaH / zItakasyAlasasya bhAvaH zItakatvamalatvan / 'zItakoSNako kAriNi' iti kAriNyarthe ko nipAtitaH / samujjheH parityajatAt / dutaM zIghraM anupadI anupdmnvessttaa| padasya pazcAdanupadaM / 'jhiH subvvRddhyRddhyarthAbhAvAtItyasampratizabdakhyAtipazcAdyathAyugapatsampatsAkalyAnte' iti pazcAdarthe hasaH bhAvapradhAnaH / anupadamanveSTA'nupadI / 'pArzvakAyaHzUlika

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cathartuH sargaH J dANDAjinikAnupadyanveSTA ' ityanupadItyanveSTari nipAtaH / mRtyuvyAghraH vyAghratulyaH mRtyuH / mRtyurvyAghraH iva mRtyuvyAghraH / ' vyAghrAdibhirupameyo'tadyoge ' iti saH vAmaM pratIpaM / pratikUlamityarthaH / ' vAmau vasgupratIpau' ityamaraH / " vAmo vaktre manohare' iti ghanaJjayaH / abhilaSati kAGkSati / yathA vyAghraH svabhakSyasya pratikUla maraNamabhikAGkSati tathA'yaM mRtyurmartyasya pratIpaM maraNamabhilaSatIti bhAvaH / itaH etasmAtkAraNAt / yato mRtyurmartyasya maraNamabhilaSati tataH ityarthaH / kuzalakalitaM kSemasahitam / ' paryApti-kSema - puNyeSu kuzalaM zikSite triSu ' ityamaraH | AyuSmattvaM diirghjiivitvm| jaivAtRkatvamAyuSmattvamityanarthAntaratvam / atra bhUmnyarthe matuH / iha atra bhoktavyaviSaye nanu nizcitaM / nanvatrAvadhAraNe / nanu praznAvadhAraNe / nanvanujJAvitarkamantreSvanunaye nanu ' iti vizvalocane / AzAdhi kAGkSatAt / AzAsvicchAyAmityasya dhorloTi rUpam / sulabhavipadAM prayatnAnupasthApitopaplavAnAM / kAraNamantareNa yeSAM pApakarmodayenAnarthAH prAptAsteSAmityarthaH / prANinAM dehinAM viSaye etadeva kuzalakalitamAyuSmatvameva nityaM satataM pUrvAzAsyam prathamamAzaMsanIyam / vyAH' ityAvazyakatvasya gamyamAnatvAdvyaH / etadbhoktavyajana viSayaM kuzalaM tvayAsskAGkSaNIyamiti zambarAsurAbhiprAyaH / 6 f As the object of enjoyment has presented itselt [without any efforts on your part ], you should give up indifference. As the tiger-like death, following on the heels to make search [ for its prey ], wishes to do evil thing, you should verily desire for a long-life along with prosperity, for this very thing is to be necessarily desired for with reference to the living beings whom calamities befall in an easy manner. saipA bAlA prathamakathitA pUrvajanmapriyA te pazyAyAtA rahasi parirabhyA'numodaM nayettvAm | aGgenAGgaM tanu ca tanunA gADhataptena taptaM sAstreNAsradravamaviratotkaNThamutkaNThitena // 25 // 367 anvaya :-- [ yA ] prathamakathitA [ yA ] te pUrvajanmapriyA sA eSA bAlA AyAtA; pazya / [ sA ] tanunA gADhataptena sAsreNa utkaNThitena [ svena ] aGgena tanuM - adravaM aviratotkaNThaM [ te ] aGgaM rahasi parirabhya tvAM anumodaM nayet / saiSetyAdi / yA prathamakathitA pUrvaM varNitA / pUrvaM zlokavarNitetyarthaH / yA te tava

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368 [ pArzvAbhyudaye 6 " pUrvajanmapriyA prAgbhavIyA kAntA / prAcInabhavasambandhinI kAntetyarthaH / sA eSA bAlA, navayauvanA'GganA AyAtA samprAptA / pazya vilokasva / sA tanunA viralena i kRzenetyarthaH / tanuH keze'pi virale svaspamAtre'pi vAcyavat ' iti vizvalocane / gADhatasena nitAntaM santaptena / 'tItraikAntanitAntAni gADhavADhadRDhAni ca' ityamaraH / sAstreNA sAzruNA / 'asramazru ca ityamaraH / utkaNThitena saJjAtasvAnandajana - nacaJcuzarIrAntaraprAptyabhilASeNa svena aGgena zarIreNa tanu kRzaM / virahajanitakAryamityarthaH / taptaM udIrNazRGgArarasatvena samutpannamadanajvaraM astradravaM virahaduHkhajanitagaladazrujalaklinnam / asrANAM dravaH asradravaH / so'syAstIti aladravam / 'o'bhrAdibhyaH' iti matvarthIyo'pratyayaH / aviratotkaNThaM svAnandajanananipuNazarIrAntaraprAptyarthaM satataM tIvrAbhilASAkulaM te aGgaM zarIraM rahasi ekAnte parirabhya AliGgya tvAM 'bhavantaM anumodaM pramodaM nayet neSyati / prApayiSyatItyarthaH / Look, this female, in the prime of her youth, referred-to just before, your beloved of the former birth, has arrived. She will give you pleasure by embracing with (her ) body emaciated, greatly heated, possessing drops of tears [ fallen upon it from her eyes], having longing produced [ for a person beloved to itself ], [your] body which is thin, heated, having a flow of tears [ droppidg down from your eyes] and having incessant longing produced [ for a person beloved to itself ]. dUragADhapraNayadivaso manmathenA'tibhUmi nIto vibhyatvadabhisaraNAdutsukaH strIjanastvAm | uSNochrAsaM samadhikatarocchrAsinA dUravartI saGkalpaistairvizati vidhinA vairiNA ruddhamArgaH // 26 // anvaya :- dUragADha praNaya divasaH, samadhikatarocchAsinA manmathena atibhUmiM nItaH, tvadabhisaraNAt vibhyat, utsukaH, dUravartI, vairiNA vidhinA ruddhamArgaH strIjanaH uSNocchrAsaM tvAM taiH saGkaspaiH vizati / dUretyAdi / dUrAgADhapraNaya divasaH ApraNaya divasAdvyatI tadIrghakAlaH / praNayasya premArAdhanasya divasaH / praNayadivasaH / dUre dUrabhUte parokSAtItakAle AmAdaH nimagnaH duuraagaaddhH|duuraagaaddhH praNayadivasaH yasya sH| samadhikatarocchvAsinA samadhikataraH ucchAsI

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caturthaH sargaH] 369 vRddhimAn samadhikatarocchAsI / tena / ucchAsaH vRddhirastyasyocchAsI / 'ato'nekAcaH' itInmatvarthe / ' ekAkSarAtkRto jAteH saptamyAM ca na tau (Thenau ) smRtau ' [ pA. ma. 5 / 2 / 115] / manmathena kAmena kAmAbhilASeNa vA / 'madano manmatho bhAraH pradyumno mInaketanaH' ityamaraH / atibhUmi atikrAntamaryAdatvaM nItaH prApitaH / unmAdAvasthAM prApayya nirlajAvasthAM prApitaH / ApraNayadivasAddAghIyasaH kAlasya vyatItatvAt kAmAbhilASasya tIbratAmitatvAdeSa strIjano'hrIko jAtaH iti zambarAsurAbhisandhiH / tvadabhisaraNAt bibhyat tvadabhisaraNaviSaye bhayAkulaH / tvAM pratyabhisaraNaM tvadabhisaraNam / tasmAt bibhyat zaGkamAnaH / 'bhItrArthAnAM bhayahetuH' iti bhayahetorapAdAnatvAd 'apAdAne paJcamI' iti paJcamI / vivRddhamadanAvasthayA nirlajatAM prApito'pi bhayAkulatvAttvAmabhisartuM na zaknoti / kAntArtha saGketaM yAtu. kAmayA lajAvadbhayamapi tyAjyaM, tatyAge kRte satyeva kAntaM pratyabhisaraNasya smbhvaat| taduktaM bharatena -"hitvA lajAbhaye :zliSTA madanena madena ca / abhisArayate kAntaM sA bhavedabhisArikA // ' utsukaH vilambitamasahamAnaH / 'kAlAsahanamautsukyaM cetastApattvarAdikRt' ityalaGkAracintAmaNau / dUravartI tvatsamIpadezAdISaddare vrtmaanH| bhayAkulatvAtvadantikamAgantumasamarthatvAdISaddare vartamAnaH ityarthaH / vairiNA zatrubhUtena / 'samadhikatarocchAsinetyasya vairiNetyanenAnvaye samadhikataramucchAsayituM viyojayituM zIlamasyeti samAdhikatarocchAsI / tena / ' zIle'jAtau Nin ' iti Nin' / vidhinA devena rUddhamArgaH pratibaddhAdhvA / tatsamIpagamanamArgasya niSpratyUhatvepi vidhijanitabhayAkulitasvAntatvAttasya strIjanasya tvatsamIpaM gantumasamarthatvAtpratipanthidaivajanitapratyUhatvAnmArgasya vidhiruddhatvamabhyUhyam / strIjanaH samAgatA strI / uSNocyAsa virahajvarasantaptatvAduSNocchrAsaM tvAM bhavantaM taiH svasaMvedyaiH saGkalpaiH manorathaiH vizati nirvizati / saGkalpanirmitena tvayA saGkalpaireva ratisukhamanubhavatIti bhAvaH / yadvA strIjanaH ityasyAGganAsaGghAta ityartho grAhyaH, mAyAmayasya lalitalalanAsamUhasya kamaThacarazambarAsureNa kalpitatvAt / This young female [ or this concourse of young females ], baving its day of love-making merged into the long past, rendered shameless [ or insolent ) by passion intensified too much, fearing to meet you for apprehensive of coming in the nearest proximity to you], intolerant of delay, staying at a distance, with her path [ leading to you] blocked up by inimical fate, experiences you ( i. e. takes delight in cohabing pArvAbhyudaye...24

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370 [pArdhAbhyudaye with you ] through those fancios [i. e. through the fancies which are worthy of being experienced by oneself in whose mind they rise ). so'yaM tvattaH praNayakaNikAmapyalabdhvA vilakSo dUrAtsevAM tava vitanute pazya sArtho vadhUnAm / zabdAkhyeyaM yadapi kila te yaH sakhInAM purastAt karNe lolaH kathayitumabhUdAnanasparzalobhAt // 27 // anvaya :- yat kila sakhInAM purastAt zabdAkhyeyaM api [ tat ] AnanasparzalobhAt te karNe kathayituM yaH lolaH abhUt saH ayaM vadhUnAM sArthaH tvattaH praNayakaNikAM api alabdhvA vilakSaH dUrAt tava sevAM vitanute, pazya / so'yamityAdi / yat pratipAdanIyo viSayaH kila khalu sakhInAM vayasyAnAM . purastAt agrataH / 'pUrvAdharAvarANAM puradhavo'si' 'astAt' ityastAdastAti ca parataH pUrvasya parAdezaH / zabdAkhyeyaM api zabdoccAraNapUrvakaM pratipAdayituM yogyamapi / zabdaiH sthAnaprayatnAbhyAmuccairuccAritaizzabdaiH AkhyeyaM prtipaadnaaiim| 'tRvyAzcAhe' ityArthe vyasaJastyaH / tat sa pratipAdanIyo viSayaH AnanasparzalobhAt tvanmukhasamparkagRdhnutAyAH / Ananasparza bhAvatkamukhasamparke lobhAdgRdhnutAyAH AnanasparzalobhAt / tvadadhararasapAnalauDyAdityarthaH / te bhavadIye karNa zrotre | zravaNabilasannidhau svamukhaM nItvetyarthaH / kathayituM pratipAdAyituM / yaH vadhUnAM samUhaH lola: satRSNaH / ' lolazcalasatRSNayoH' ityamaraH / abhUt bhavati sma / saH ayaM vadhUnAM yoSitAM / ' lalanA kAminI yoSidyoSA sImantinI vadhUH' iti dhanaJjayaH / sArthaH vRndaH / ' sArthaH syAdvaNijAM vRnde vRndamAtre'pi dRzyate ' iti vizvalocane / tvattaH bhavAsakAzAt praNayakaNikAM api premNaH lezamapi / ' godhUmacUrNe kaNikaH striyAM sUkSmAgnimanthayoH ' iti vizvalocane / 'kaNikA'lpakaNaH godhUmapiSTaM ca ' ityamaraTIkAyAM kSIrasvAmI / alabdhvA anavApya vilakSaH vismayAnvitaH / niSpratipattirityarthaH / pratipatterabhAvAjAtavismaya ityartho vA / dUrAt tvatsamIpe vartamAno'pi tvatsamIpataraM pradezamaprApya / tava bhavataH sevAM zuzrUSAM vitanute karoti / pazya nayanayorgocaratAM nayatAt / Look here, this ( very ) concourse of young ) females which was ( just ) eager, owing to an ardent desire for a touch of (your) face, to tel into your ear what could be indeed spoken out in

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caturthaH sargaH ] 371 words in the presence of friends, struck with wonder on account of non-attainment of even a bit of love from you, serves you from a distance. yo'sau strINAM praNayamadhuro bhAvagamyo'dhikAraH kAmAbhikhyAM dadhadavirataM lokarUDhA prsiddhiH| so'tikrAntaHzravaNaviSayaM locanAbhyAmadRSTa stvAmutkaNThAviracitapadaM manmukhenedamAha // 28 // anvayaH- yaH asau kAmAbhikhyAM dadhat zravaNaviSayaM atikrAntaH, locanAbhyAM adRSTaH, praNayamadhuraH adhikAraH [ yasya ca ] bhAvagamyaH [iti ] avirataM lokarUDhA prasiddhiH saH manmukhena utkaNThAviracitapadaM idaM Aha / / yo'sAvityAdi / yaH asau strINAM kAminInAM kAmAbhikhyAM 'kAmaH' iti sajJAM dadhat bibhrANaH zravaNaviSayaM zrotragocaraM / zravaNayoH karNayoH viSayaH gocaraH zravaNaviSayaH / tam / atikrAntaH atItaH / locanAbhyAM nayanAbhyAM adRSTaH darzanaviSayatAmaprApitaH / anavalokitaH ityarthaH / praNayamadhuraH praNayena premNA madhuraH mAdhuryayuktaH / AnandasyandItyarthaH / madhu mAdhuryam / tadasyAsminvA'stIti madhuraH / "madhukRSyAdibhyo khalau' iti matvarthIyo / 'madhuro rasavatsvAdupriyeSu triSu vAcyavat' iti vishvlocne| 'svAdupriyau ca madhurau' ityamaraH / adhikAraH mAnasaH prinnaamH| yasya ca bhAvagamyaH bhAvaiH svilaasairbhinyairgmyo'numeyH| zRGgArarasasyAntahRdayamutplavamAnatvAdindriyAgocaratvAtsavilAsaiH kAmukInAmabhinayairgamyatvamiti bhAvaH / iti avirataM avicchinnakAlaM lokarUDhA loke pracalitA / sarvalokasammatetyarthaH / prasiddhiH prakhyAtiH / saH praNayamadhuro mAnasaH pariNAmaH / pariNAmapariNAminoH kathaJcidabhinnatvAtkAmavAsanAkulitasvAntaH kAminIjanaH ityarthaH / manmukhena madvAreNa utkaNThAviracitapadaM utkaNThayA utkalikayA viracitAni padAni suptiGantarUpANi vAkyAni vA yasmistat / 'padaM vAkye pratiSThAyAM vyavasAyApadezayoH / pAdAtacihnayozzabde sthAnatrANAdhrivastuSu' iti vishvlocne| idaM vakSyamANaM ' yogin ! yogapraNihitamanAH' ityAdikaM Aha bravIti / That transmutation of the minds of women, which is mellifluous owing to love, which assumes the name Kama, which has gone beyond the range of ears, which is not seen by eyes, and which is incessantly

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372 [ pArzvAbhyudaye known in the world to be intelligible through amorous gestures, says through me, their mouthpiece, this (i. e. the following), the words [ or sentences ] in which are arranged by longing. yogin ! yogapraNihitamanAH kiMtarAM dhyeyazUnyaM dhyAyasyevaM, smara nanu dhiyA'dhyakSa vedyaM mataM naH / zyAmAsvaGga, cakitahariNIprekSite dRSTipAtaM, vaktracchAyAM zazini, zikhinAM barhabhAreSu kezAn // 29 // anvayaH - * yogin ! yogapraNihitamanAH evaM kiMtarAM dhyeyazUnyaM vyAyasi ? nanu naH mataM adhyakSavedyaM aGgaM zyAmAsu, dRSTipAtaM cakitahariNIprekSite, vaktracchAyAM zazini, kezAn zikhinAM baIbhAreSu dhiyA smara / , yoginnityAdi / he yogin dhyAnanimagnacetaska / yogo dhyAnamasyA'stIti yogI / tasya kiH / ' yogaH sannahanopAya- dhyAna-saGgati yuktiSu ' ityamaraH / ' ato'nekAcaH ' itIn / ' tapasvI saMyamI yogI varNI sAdhuzca pAtu vaH' iti dhanaJjayaH / yogapraNihitamanAH dhyeyaikAgraniruddhacetaskaH | yoge dhyAne praNihitaM sthApitaM manaH yena saH / evaM zrImanmUtyeMtyAdizlokoktaprakAreNa kiMtarAM indriyapratyakSAvedyaviSayANAM samprajJAtAsamprajJAtameghanAdasamAdhirUpANAM kiMviziSTaM ! kimo jhAntAt 'jhyenmiGkSajhAdAmadravye ' iti Am / dhyeya zUnyaM indriyAgrAhyadhyAnaviSayavikalaM dhyAnaM / zUnyaM riktam / ' zUnyaM tu vazikaM tucchariktake' ityamaraH / dhyAyasi cintayasi / dhyAnaviSayasyendriyagrAhyatvAbhAvAttattucchAbhAvAt kiMviziSTAM samAdhimadhirUDho'sIti bhAvaH / nanu ayi yogin naH mataM AvAbhyAM bahvAdRtam / 'dvau cAsmado'nupAdhau " ityasmado bhutvm| 'jInmatyarcArthazIlyA dibhyaH ktaH' iti sati kAle ktaH / 'ktasyAdhArasatoH ' iti sati kAle'tra ktasya pratyuktatvAttA / adhyakSavedhaM indriyArthasannikarSajanitajJAnavijJeyaM aGgaM zarIraM zyAmAsu priyaGgulatAsu / prINanakSama saukumAryAdisAdhAraNyAcchyAmAyAH manohAriNyAH viziSTastriyo'GgaM priyaGgulatAyAM smareti bhAvaH / priyaGguH priyavallI ca phalinI kuJjinI priyA / vRkSA govandanI zyAmA kArambhA varNabhedinI iti kSIrasvAmiTIkAyAm / zyAmAkhyastrIlakSaNaM yathA " zIte sukhoSmasarvAGgI grISme yA sukhazItalA / taptakAJcanavarNAbhA sA strI zyAmeti kathyate // dRSTipAtaM nayanopAntavilokitA didRgvyApAraM cakitahariNIprekSite bhayAkulaiNInayanayoravalokanavyApAre / kAminIbhayAkulaiNInayanayozcAzvasyasya sAdharmyAtkamanIya 8 - C , Jajn Education International

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caturthaH sargaH ] 373 kAminIjananayanavyApAra bhItyAkulasvAntaiNInayanavyApAre smaretyabhiprAyaH / vaktracchAyAM vadanaMsaundartha zazini candramasi / mukhacandramasoH kAntisAmyAtkAminImukhakAnti candramaH kAntyAM smaretyarthaH / kezAn kuntalAn zikhinAM zikhAvalAnAM / mayUrANAmityarthaH / 'mayUro barhiNo bahIM nIlakaNTho bhujaGgabhuk / zikhAvala: zikhI kekI meghanAdAnulAsyapi' ityamaraH / zikhA zikhaNDinazcUDA'styasya zikhI mayUraH / 'tundAdibIherilazca' itIn / 'zikhA zikhAyAM cUDAyAM cUDAyAM ca zikhaNDinaH' iti vizvalocane / barhamAreSu picchakalApeSu / 'baha mayUrapicche'pi dale'pi syAnnapuMsakam ' iti vizvalocane / kuntalabahabhArayorvaipulyamArdavAdidharmasAdharmyAtkAminIkuntalAnbarhamAreSu smaretyAkUtam / dhiyA manasA smara dhyAyatAt / ' smrarthadayezAM karmaNi' iti zeSe tAyA vihitatve'pi zeSatvenAtra vivakSAyA abhAvAdiSkarmaNaH / pUrvadRSTasaMskArodbodhanibandhanatvAtsmRteH smRtirUpatvAddhyAnastha samprajJAtAdisamAdhiviSayasyendriyaissannikarSAsambhavAttadviSayagrahaNasyAzakyatvAttatsaMskArasambhavAnupapatteH smR. tyutpluterabhAvAtproktadhyAnasyAzakyAnuSThAnatvAdadhyakSavedyaM strIrUpaM tvaM dhyAyasveti kamaThacarazambarAryabhiprAyaH / Oh mendicant ! with your mind absorbed in profound and abstract meditation, what kind of meditation, having no concrete object, are you practising thus ? Oh sage ! call to your mind the physical frame (of a beautiful woman ) in the Syama creeper, ( her) glances in those of the frightened doe, the charm of her face in the moon, (and her ) tresses in the plumages of peacock -- all this is highly considered by both of us and is perceptible through sense-organs. . pazyA'muSminnavakisalaye pANizobhAM, nakhAnAM - chAyAmasmin kurabakavane saprasUne, smitAnAm / lIlAmudyatkusumitalatAmaJjarISvasmadIyA- mutpazyAmi pratanupu nadIvIciSu bhUvilAsAn // 30 // anvayaH-- asmadIyAM pANizobhA amuSmin navakisalaye [pazya], nakhAnAM chAyAM asmin saprasUne kurabakavane [ pazya ], smitAnAM lIlAM udyatkusumitalatAmaJjarISu [ pazya], bhUvilAsAn pratanuSu nadIvIciSu paztha, utpazyAmi /

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[ pArzvAbhyudaye , < " pazyetyAdi / asmadIyAM asmatsambandhinIM / madIyAmityarthaH / ' tyadAdiH ityasmado dusaJjJatvAd ' dozcha: ' iti chaH / pANizobhAM karatalasaundarya amuSmin etasmin navakisalaye pratyagrapallave / navaM pratyagraM ca tat kisalayaM pallavazva navakisalayam / tasmin / ' pratyagro'bhinavo navyo navIno nUtano navaH ' pallavosstrI kisalayam' ityubhayatrA'pyamaraH / pazya / nakhAnAM kararuhANAM chAyAM kAnti / chAyA syAdAtapAbhAve satkAntyutkoca kAntiSu / pratibimbe'rkakAntAyAM tathA paGktau ca pAlane ' iti vizvalocane / asmin etasmin saprane sakusume / ' prasUnaM kusumaM sumam ' ityamaraH / kurabakavane / kurabakaH raktapuSpaH kuraNTakajAtIyaH oSadhivizeSaH / taduktaM- ' pItaH kuraNTako jJeyo raktaH kuravakaH smRtaH / ' iti / ' saireyAkhyA jhiNTI aruNapuSpA cet kurabako'sau ' iti kSIrasvAmI / tasya vane kAnane / kurabakakAnane ityarthaH / pazya / smitAnAM mandahAsAnAM / syAdAcchuritakaM hAsaH sotprAsaH sa manAk smitam ' ityamaraH / lIlAM cArutAM zobhAM vA / udyatkusumitalatAmaJjarISu kusumitAnAM puSpitAnAM latAnAM udyatsUdgacchatsu maJjarISu kusumastabakeSu / pazya / bhrUvilAsAn bhrukuTivibhramAn / pratanuSu svaspAsu nadIvIcisu taraGgi - NItaraGgeSu pazya vilokayetyutpazyAmi vilokayAmi / atra ' grAmamaTa nagaramaTa girimaTa ityevAhamaTAmi' ityAdivat pANizobhAM, nakhacchAyAM smitalAlAM, vilAsAMceti karmaNAM pracayasya darzanAt ' pazya' iti ' bhRzAbhIkSNye loT tasya hisvau vA tadhvamostathArthe ' ityanuvRttau ' pracaye vA sAmAnyArthe ' iti kAlasAmAnye vikalpena loTaH prayogaH / pANizobhAM pazya, nakhacchAyAM pazya, smitalAlAM pazya, vilAsAn pazya * ityevAhamutpazyAmi / vAvacanAtpakSAntare pANizobhAM pazyAmi, nakhacchAyAM pazyAmi, smitalIlAM pazyAmi, bhrUvilAsAn pazyAmi ityevAhamutpazyAmIti pazyetyasyArthaH / ahamanekatra matsAdRzyaM pazyAmIti zambarAsuramukhena vadataH cadhUsArthasyAbhiprAyaH / asmadIyAmiti sArthagatavadhUbahutvApekSayautpazyAmIti ca vadhUsArthakatvApekSayetyabhyUhyam / , 374 We see in these young and tender sprouts the loveliness of our palms, in this grove of Kurabaka plants bearing (red) flowers the brightness of our nails, in these clusters of blossoms shooting out of creepers bearing flowers the grace of our smiles [and] in the very slender ripples of rivers the graceful movements of our eyebrows. [ We see our semblance in many objects. ] 3

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caturthaH sargaH] sAdRzyaM naH sphuTamiti yathA dRzyate sarvagAmi dhyeyaM sAkSAtsukhaphalamidaM yoginAM kAmadAyi / mithyAdhyAtermuniSu vidhaye he tapolakSmi tadvad - hantakasthaM kacidapi na te caNDi sAdRzyamasti // 31 // anvayaH- he caNDi tapolakSmi / iti dhyeyaM, sAkSAtsukhaphalaM, yoginAM kAmadAyi idaM naH sAdRzyaM yathA sphuTaM sarvagAmi dRzyate tadvat muniSu mithyAdhyAteH vidhaye te sAdRzyaM kvacit ekasthaM api hanta na Asti / .. sAdRzyamityAdi / he ayi caNDi santApajanike / hiMsra niSThure vetyrthH| 'bhaveccaNDI tu pArvatyAM hiMsrakopanayoSitoH' iti vizvalocane / sAkSAtsukhaphalatvAbhAvAtpAralaukikasya tajanitasukhasyendriyAgocaratvAdbAhirabhyantaratapasa AyAsamAtrAtmakatvAttapolakSmyAzcaNDIti vizeSaNaM vadhUsArthAbhiprAyApekSayA yathArthamavaseyam / tapolakSmi tapaH padme / tapaH eva lakSmIH tpolkssmiiH| kiH / iti anantarapUrvazlokoktaprakAreNa dhyeyaM dhyAtuM yogyaM sAkSAtsukhaphalaM sukhAtmakapratyakSaphalajanakaM / indriyabhogyasukhapradamityarthaH / sAkSAt pratyakSabhindriyagrAhyaM sukhameva phalaM yasya tat / 'pratyakSavAcakaH sAkSAtsAkSAttulyArthavAcakaH' iti vishvlocne| 'sAkSAtpratyakSatusyayoH' itymrH| yoginAM dhyAninAm / yogaH dhyAnamasyAstIti yogii| 'ato'nekAcaH' itIn / yaM kAmaM hRdi nidhAya dhyAyanti yoginastatkAmapradamityarthaH / kAmadAyi icchitapradam / kAmamicchitaM dadAtItyevaM zIlamasya kAmadAthi / ' zIle'jAtau Nin / ' iti Nin / 'kAmaH smarecchayoH kAmye kAmaM retonikAyayoH / sammate syAdanumatau kAmamityetadavyayam ' iti vizvalocane / idaM pANizobhAdikaM / sAmAnye naMpusakam / naH asmAkaM sAdRzyaM sadharmatvam / asmatpANizobhAdidharmasamAno dharmoM gunnvishessH| yathA yena prakAreNa sphuTaM spaSTatvena sarvagAmi sarvasminbAhyArthe gacchatItyevaM zIlamasyeti srvgaami| bahuvidhavAhyArthe vidymaanmityrthH| 'zIle'jAto Nin ' iti zIle Nin / dRzyate dRkpathamavatarati tadvat tathA muniSu yogiSu / mananAnmuniH / teSu / munInadhikRtya . munijanaviSaye vA / mithyAdhyAteH viphldhyaansy| mithyA niSphalA dhyAtiH dhyAnam / dhyAnasya mithyAtvaM viphalatvAdviphalatvaM cendriyagrAhyasukhaphalAbhAvAt / dhyAtiH dhyAnam / dhyAyateH 'striyAM ktiH' iti ktiH / vidhaye vidhAnaM kartum | 'tAdarthe ' ityap / pracodayitumityarthaH / te tava / tapolakSmyAH ityarthaH / sAdRzyaM sAdharmyam / tvadrUSA

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376 [pArvAbhyudaye disadRzaM rUpAdikamityarthaH / kvacit ekasthaM api kvacidekasminnapi kurabakAditulye vastuni hanta na asti nAstIti nizcitam / 'dAne nizcaye ca hantakAraH' ityamaraTIkAyAM kSIrasvAmI / Oh cruel Laxmi in the form of penance ! as this our semblance as deseribed [ in the former stanza] above, worthy of being meditated upon, bearing fruit in the form of actual pleasure, fulfilling the desires of mendicants, is seen clearly pervading all [i. e. many external ] objects [ lit. all-pervading ], your semblance, I helping ] to prescribe fruitless meditation with reference to sages, is decidedly not found in a single object even. hA dhiG maDhi ! yadayamRSipaH tvAmasAdhvImajAnan tvayyAsaktiM muhurupagato'smAsvanAdaryabhUca / cetomayyAM yadanukamitAM dhyAyati preyasIM vA tvAmAlikhya praNayakupitAM dhAturAgaiH zilAyAm // 32 // anvayaH- hA ! mUDhiM dhik ! yat ayaM RSipaH tvAM asAdhvI ajAnan tvayi muhuH Asakti upagataH asmAsu ca anAdarI abhUt , yat [ca ] anukamitAM praNayakupitAM preyasI vA tvAM dhAturAgaiH cetomayyAM zilAyAM Alikhya dhyAyati / hetyAdi / hA zoke / 'hA viSAde'pi duHkhe'pi zoke' iti vizvalocane / mUDhiM mUrkhatAM / 'striyAM ktiH' iti ktiH| dhik dhigastu / dhigatra nindaayaam| 'nirbhartsane'pi nindAyAM dhik' iti vizvalocane / 'hA'ntarA'ntareNAtidhinikaSAsamayAbhizcopAdhau' iti ip / yat yasmAtkAraNAt ayaM nAsAgrAhitalocanaH dhyAnakatAnaH eSa RSipaH munIzvaraH tvAM bhavatI tapolakSmI asaadhviiN| asAdhuzIlAm / hInAcaraNAmityarthaH / aprazastA sAdhvI asAdhvI / natrAprAzastye, 'tatsAdRzyamabhAvazca tadanyatvaM tdlptaa| aprAzastyaM virodhazca nArthAH SaT prakIrtitAH' ityukteH| ajAnan anavagacchan tvayi bhavatyAM tapolakSamyAM muhuH zazvat / 'muhuH punaH punaH zazvadIkSNamasakRt samAH ' ityamaraH / AsaktiM abhinivezaM / anurAgamityarthaH upagataH praaptH| asmAsu ca asmadviSaye ca / vadhUsArthaviSaye prAmbhavIyatvadvadhUviSaye mayi vaa| anAdarI AdarazUnyaH / nirvyapekSaH ityarthaH / aadrosyaa'stiityaadrii| 'ato'nekAcaH' iti matvarthIyaH in / na AdarI

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caturthaH sargaH] 377 anAdarI / abhUt bhavati sma / yat ca yatazca anukamitAM baddhaprIti / kAminA baddhAnurAgAmityarthaH / praNayakupitAM praNayakriyAyAM saJjAtakopAm / kRtAlIkakopAmityartha / preyasI vA dayitAmiva tvAM bhvtii| tapolakSmImityarthaH / dhAturAgaiH dhAturAgasadRzaiH sAnurAgaiH mAnasaiH pariNAmaiH / dhAtureva gairikAdireva rAgaH lohitavarNaH dhaaturaagH| dhAturAgaH iva dhaaturaagH| 'devapathAdibhyaH' itIvArthasya kasyos / 'dhAtuH kriyArthe zukre'pi viSayeSvindriyeSu ca / zleSmAdirasaraktAdibhUtAdivasudhAdiSu // manaHzilAdike lohe vizeSAdvairike'sthini' 'rAgo'nurAgamAtsarye klezAdau lohitAdiSu / gAndhArAdau nRpe nAge' ityubhayamapi vizvalocane / yadvA dhAtorAtmanaH rAgaiH anurAgaH / anurAgarUpaiH pariNAmairityarthaH / cetomayyAM manonirmitAyAm / 'mayaDvA'bhakSyAcchAdane' iti vikAre mayaT / manasA nirmitAyAmityarthaH / zilAyAM zilAsadRzyAM manobhUmikAyAm / zilApaTTakasadRze manonirmita paTTake ityrthH| zileva zilA / tasyAm / 'devapathAdibhyaH' ityanena 'ive khupratikRtyoH kaH' ityanena vihitasyevArthasya kasyos / Alikhya manasi citrayitvA / tvatpratikRti manasi vinirmAyetyarthaH / dhyAyati smRtiviSayatAM nayati / yathA kazcitpraNayI praNayakrIDAyAM kRtakRtakakopAM dUrIbhUtAM preyasI gairikAdipArvateyaraJjanadravyaiH zilApaTTake cilikhya tAM dhyAyati tathA'yaM yogIzvaraH cetonirbhite zilApaTTake'nurAgarUpairmAnasaiH pariNAbhaizcintayitvA'mAdhvImapi tAM tapolakSmI zazvaddhyAyatItyarthaH / tAdRzImapi tAM dhyAyato yogino mUrkhatAM dhigAstviti 'vadhUsArthasyAbhiprAyaH / Ah ! fie upon the stupidity of the sage ) ! for this sage, not knowing you to be ill-behaved, has become constantly attached to you and does not show favour to us; [ and ] having painted you on a slab of stone in the form of the modification of his mind by means of feelings full of love resembling to the mineral dyes, like a beloved [ loved by her lover and ] enraged while dallying. bho bho sAdho mama kuru dayAM, dehi dRSTiM, prasIda, prAyaH sAdhurbhavati karuNArdIkRtasvAntavRttiH / yogaM tAvacchithilaya manAk prArthanAcATukAraiH * AtmAnaM te caraNapatitaM yAvadicchAmi kartum // 33 // anvayaH- bho bho sAdho ! prasIda, mama dayAM kuru, dRSTiM dehi / sAdhuH prAyaH

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378 [pArdhAbhyudaye karuNArTIkRtasvAntavRttiH bhavati / yAvat prArthanAcATukAraiH AtmAnaM te caraNapatitaM kartuM icchAmi tAvat yogaM manAk zithilaya | _ 'bho bho' ityAdi / bho bho he ! naitau zabdau sakArAntau kintvokArAntauM jhisajJau / sAdho yogIzvara prasId prasannamanAH bhava / mama dayAM kuru mamAsmAkaM vA dayasva / mAmasmAnvA karuNAbhAjanaM vidhehi / dRSTiM dehi mayyasmAsu vA dRSTipAtaM vidhehi| sAdhuH yogI prAyaH bhUyasA karuNArTIkRtasvAntavRttiH anukmpaamRduukRtaantHkrnnvyaapaarH| karuNayA'nukampayA ArcIkRtA mRdkRtA svAntavRttiH antaHkaraNavyApAraH yasya yena vA saH / prAganArdA samprati ArdrA sampadyamAnA kriyate smA'' kRtA / 'kRbhvastiyoge'bhUtatadbhAve sampadyakartari ciH ' iti cviH / anukampopazamitAntaHkaraNavyApAra ityarthaH / yAvat yAvatkAlam / caraNapatanakAlAvadhItyarthaH / prArthanAcATukAraiH suratavyApArArthakriyamANapriyavacanaprayogaiH / kriyate kaarH| kriyetyarthaH / ' mAve ' iti ghaJ / cATuH priyavacanaM / cAToH priyavacanasya kArAH kriyAH cATukArAH priyavacanaprayogA ityarthaH / taiH / prArthanAyAM suratayAccyAyAM cATukArAH priyavacanaprayogAH / taiH / AtmAnaM svaM te bhavato yoginaH caraNapatitaM sASTAGgapraNataM / caraNayoH patitaM praNataM caraNapatitaM / katu vidhAtuM icchAmi abhilaSAmi / tAvat tAvatkAlam / caraNapraNamanakAlAvadhItyarthaH / yogaM dhyAnaM manAk ISat zithilaya zlathIkuru ! tyajatAdityarthaH / sASTAGgapraNatikAlaM yAvaddhyAnakriyAM vimucya mAmasmAnvA vilokayeti bhAvaH / Oh sage ! be pleased, have compassion upon me [ or us ], cast a momentary look ( at me or us ). Mostly, a sage is the very milk of compassion [ lit. Mostly, a sage has the activities of his mind rendered tender through compassion ]. Give up your meditation a little until I desire to make myself prostrate at your feet along with sweet words meant to request you for enjoyment. tvatsAdRzyaM manasi guNitaM kAmukInAM manohRta kAmAbAdhAM laghayitumatho draSTukAmA vilikhya / yAvatprItyA kila bahurasaM nAtha pazyAmi koSNa raspaistAvanmuhurupacitaiSTirAlupyate me // 34 // anvayaH- atho nAtha ! kAmukInAM manohRt manasi guNitaM tvatsAdRzya

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caturthaH sargaH ] 379 kAmAbAdhAM ghayituM draSTukAmA vilikhya yAvat prItyA bahurasaM pazyAmi tAvat muhuH upacitaiH koSNaiH atraiH me dRSTiH kila Alupyate / tvatsAdRzyamityAdi / atho pratijJAyAm / nAtha svAmin kAmukInAM vRSasyantInAM / kAmayate tacchIlaH kAmukaH / ' laSpatpadsthAbhUvRJzRkamUgamdhnaH ukaJ ' iti zIle ukaJ / 'kuNDa goNasthalabhAjanAgakuzakAmukakabarakaTAt pAtrAvapanAkRtrimAzrANAsthUlAyasariraMsukezavezazroNI ' iti riraMsvarthe kAmukazabdAt striyAM GI / kAmukI riraMsurityarthaH / anyatrArthe kAmuketi / ' vRSasyantI tu kAmukI' ityamaraH / manohRt manohAri / manasa AkarSaNaM vidadhat / manAsa hRdaye guNitaM cintitaM / manasA vimRSTamityarthaH / curAdigaNagato guNayatirAmantraNArthaH / AmantraNaM ca cintnm| tvatsAdRzyaM bhavadIyA pratikRtiH kAmAbAdhAM kAmodrekajanitAM madanajanitAM vA pIDAM laghayituM laghvI kartum / laghu alpaM karoti laghayati / tum / ' mRdo dhvarthe Nijbahulam' iti karotyarthe Nic / draSTukAmA didRkSuH / draSTuM kAmaH yasyAH sA draSTukAmA / ' samtumonAme' iti kAme parasya tumaH kham / vilikhya citrayitvA yAvat yadA / prItyA premNA modena aikAmyeNa vA / ' prItiH smarasutAyogabhedayoH premamodayoH ' iti vizvalocane / bahurasaM mahatA premNA modena vA / bahuH rasaH prema modo vA yasminkarmaNi yathA syAttathA / pazyAmi nayanagocaratAM nayAmi / tAvat tadA muhuH avicchinnaM punaHpunarvA upacitaiH pravRddhaiH koNaiH kavoSNaiH / ISaduSNairityarthaH / " kavaM coSNe ' ityuSNe parataH koH kAdezaH / ' koSNaM kavoSNaM mandoSNaM kaduSNaM triSu tadvati' ityamaraH / astraiH azrubhiH / asramazru ca ' ityamaraH / me mama vadhUsArthasya dRSTiH nayanaM kila niyataM Alupyate Atriyate / 6 To speak out the mind, oh Lord! my eye-sight is obscured by luke-warm tears gathering up incessantly when I, with delight and great attachment, look at your picture designed (sketched) in my mind, attracting minds of lascivious women, on painting it with a desire to look at to mitigate the misery caused by the god of love [ or by the feelings of love ]. tIvrAvasthe tapati madane puSpabANairmadaGgaM talpe'nalpaM dahati ca muhuH puSpabhedaiH praklapte / tIvrApAyA tvadupagamanaM svamamAtre'pi nAsspaM

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[ pArdhAbhyudaye krUrastasminnapi na sahate saGgamaM nau kRtAntaH // 35 // anvayaH- tIvAvasthe madane madaGgaM puSpabANaiH tapati puSpabhedaiH ca praklapte taspe anaspaM muhuH dahati [ sati ] tIvApAyA [ ahaM] svapnamAtre api tvadupagamanaM na ApaM / krUraH kRtAntaH nau saGgamaM tasmin api na sahate / tIvetyAdi / tItrAvasthe aruntudasthitau / tIvrA aruntudA avasthA sthitiH yasya saH / tasmin / janitakAmAyAM manovasthAyAmaruntudatAM prAptAyAM satyAmityarthaH / madane kAmadeve / 'madanaH smaradhattUravasantadrumasikthake' iti vizvalocane / madaGgaM madIyaM zarIraM / puSpabANaiH pauSpaiH zaraiH tapati pIDayati sati / 'unmAdana zocanaM ca tathA sammohanaM viduH / zoSaNaM mAraNaM caiva paJcabANA manobhuvaH' iti madanabANA avasthAvizeSajanakAH / puSpamedaiH ca puSpANAM prkaaraiH| nAnAvidhaiH puSpairityarthaH / puSpANAM bhedAH vizeSAH puSpabhedAH / taiH / 'bhedo dvaidhavizeSayoH / vidAraNe copajAte' iti vizvalocane / praklapte viracite talpe zayanIye / 'taspaM kalatre zayyAyAM talpamadde'pi na dvayoH' iti vishvlocne| analpaM bhRzaM muhuH paunaHpunyena dahati madanajvaramutpAdya dehadAhaM janayati sati tIvApAyA duHkhadavipralambhA / tItraH marmavyathAjanakaH apAyaH vipralambhaH yasyAH sA / aruntudavirahetyarthaH / ahaM svapnamAtre'pi svapnAvasthAyAmapi / kiM punarjAgaryAvasthAyAm / tvadupagamanaM tvadIyasamIpAgamanam / tvattvadIyaM upagamanaM samIpAgamanaM tvadupagamanam / na ApaM nApnavam ! ApnoteluGi rUpam / krUraH dayApAyavAn / vinaSTAnukampatvAdistra ityarthaH / kRtAntaH yamo daivamazubhakarma vA / 'kRtAnto yamasiddhAntadaive'pyazubhakarmaNi ' iti vizvalocane / nau AvayoH saGgama samAgama saMyoga vA tasmin api svapnamAtre'pi na sahate na titikSate / na mrssytiityrthH| jAgaryAyAM tvadupagamanamasambhavIti hetoH svapnAvasthAyAM tvadupagamanajanitasukhamAbhilaSamANA'yaha kAmodrekavazAdanaspatUlatalpagatA satyapi vidrAvitanidrA na svapnamAtre'pi tallabhe ityaho me'zubhakarmodaya iti kAmukyabhiprAyaH / When the god of love, reduced to a poignant state, pains my body by means of floral arrows and schorches [ torments ] it [i. e. my body ] constantly "very much in the bed, made of a variety of flowers, I, whom seperation causes sharp pain, could not have your company [ or could not keep company with you] in a dream even;

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cartuH sargaH] 381 cruel Fate does not allow [ lit. tolerate ] our association even then [i. e. in a dream even ]. mAmAkAzapraNihitabhuja nirdayAzleSaheto ruttiSThAsuM tvadupagamanapratyayAtsvamajAtAt / sakhyo dRSTvA sakaruNamRduvyAvahAsIM dadhAnAH kAmonmugdhAH smarayitumaho saMzrayante vibuddhAm // 36 / / anvayaH-- svapnajAtAt tvadupagamanapratyayAt nirdayA zleSahetoH AkAzapraNihitabhujaM uttiSThAsuM mAM dRSTvA kAmonmugdhAH sakaruNamRduvyAvahAsIM dadhAnAH sakhyA smarayituM aho mAM vibuddhA saMzrayante / mAmityAdi / svapnajAtAt svApajAtAt / svapne svApe jAta utpannaH svapnajAtaH / tasmAt / tvadupagamanapratyayAt bhavatsamIpaprApaNajJAnAt / tvAmupagamanaM samIpaprApaNaM tvadupagamanam / tasya pratyayaH jJAnam / tasmAt / hetau kA / 'pratyayaH zapathe hetau jJAnavizvAsanizcaye / sannAdyadhInarandhreSu khyAtatvAcArayorapi / iti vizvalocane / nirdayAleSahetoH gADhAliGganArtham / niSkrAnto dayAyAH nirdayaH / 'prAtyavapariniHpratyAdayo gatakAntakRSTaglAnakrAntasthitAdiSu venmApkebhiH' iti krAntArthe SasaH / nirdayazcAsAvAzleSa AliGganaM ca nideyAzleSaH / tasya hetuH / tasmAttasya vA / 'heto sarvAH prAyaH' iti kA tA vA / AkAzapraNihitabhujaM. AkAza nirviSaye vyomni praNihitau prasAritau bhujau bAhU yasminkarmaNi yathA tathA / vyomapradeze bhujau prasAryetyarthaH uttiSThAkheM utthAtumicchum / 'sanbhikSAzasvidicchAduH' iti snnntaaduH| mAM dRSTvA mAM vilokya kAmonmugdhAH atyarthavimUDhAH / kAmamatyartha unmugdhA vimUDhAH kAmonmugdhAH / vipulahasanAdvigalitAtmavattAH ityrthH|| skrunnmRdussyaavhaalii| parasparasya hasanaM vyAvahAsI / 'karmavyatihAre JaH' iti kartavyatihAre striyAM bhAve nyH| 'ajino'N' iti AntAtsvArthe'N striyAM kI ca / mRdvI cAsau vyAvahAsI ca mRduvyAvahAsI / 'puMvadyajAtIyadezIye' iti puMvadbhAvaH / sakaruNA karuNayA anukampayA sahitA sakaruNA / sakaruNA cAsau mRduvyAvahAsI ca. sakaruNamRduvyAvahAsI / tAm / dadhAnAH kurvANAH / dadhatIti dadhAnAH sakhyaH vayasyAH smarayituM smRtiviSayatAM nAyayituM aho vAkyAlaGkAre mAM vibuddhAM vidrutanidrAM mAM / prabuddhAmityarthaH / saMzrayante Azrayante / samIpamAgacchantItyarthaH / /

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382 [ pArzvAbhyudaye vyAvahAsIM kurvANAnAM sakhInAM kAruNyaM kAmukyavasthAnibandhanaM vyAvahAsyA mRdutvaM ca kAmukyAH svApabhaGgAbhAvanimittamityavaseyam / My female friends, confounded very much, mutually laughing gently with compassion on seeing me wishing to get up with my arms stretched in the sky for the purpose of embracing you closely [lit. mercilessly ], by reason of knowledge, acquired in a dream of your approch, have recourse to me when my dream [or sleep ] ceases to remind me [ of the activities taking place in my dream ]. nidrAsaGgAdupahitaratergADhamAzleSavRtte rlabdhAyAste kathamapi mayA svapnasandarzaneSu / vizleSassyAdvihitaruditairAdhijairAzubodhaiH kAmossahyaM ghaTayatitarAM vipralambhAvatAram // 37 // anvayaH nidrAsaGgAt svapnasandarzaneSu kathaM api labdhAyAH upahitarateH te gADhaM AzleSavRtteH vizleSaH syAt iti vihitaruditaiH AdhijaiH AzubodhaiH kAmaH vipralambhAvatAraM asahyaM ghaTayatitarAm / 8 8 nidretyAdi / nidrAsaGgAt svApasaGgamAt / svApasamparkAt / nidrayA svApena saGgaH samparkaH nidrAsaGgaH / tasmAt / hetau kA / svapnasandarzaneSu svapnamArgeSu svapnajJAneSu vA | svapna eva sandarzanaM mArgaH svapnasandarzanam / teSu / ' darzanaM dRzi darpaNe / svapne vartmani buddhau ca zAstradharmopalabdhiSu ' iti vizvalocane / yadvA svapnajJAneSvityarthaH / svapne sandarzanAni jJAnAni svapnasandarzanAni / teSu / darzanaM samaye zAstre dRSTau * svapne'kSiNa saMvidi ' iti zabdArNave / yadvA spapne svapnadarzane sandarzanAni saMvidaH svapnasandarzanAni / teSu / svapnaH svapnavIsvApadarzane ' iti vizvalocane / kathamapi : mahatA kaSTena labdhAyAH prAptAyAH / gRhItAyAH ityarthaH / upahitarateH janitaprIteH / upahitA janitA ratiH prItiH yasmin saH / tasya / te tava gADhaM dRDhamaviralaM vA / - AzleSavRtteH AliGganavyApArasya / AzleSasyAliGganasya vRttiH vyApAraH / kriyetyarthaH / tasyAH / vizleSaH viyogaH / apagama ityarthaH / syAt bhavet / 'sambhAvye'lamyarthAt ' -iti sabhAvanAyAM liG / vizleSaH sambhavedityarthaH / iti ataH / ' iti hetau prakAre ca - prakAzAdyanukarSayoH / iti prakaraNe'pi syAtsamAptau ca nidarzane ' iti vizvalocane / vihitaruditaiH kRtarodanaiH / vihitAni kRtAni ca tAni ruditAni rodanAni ca

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caturthaH sargaH] 383 vihitaruditAni / taiH / ruditaM rodanam / 'nabhAve kto'bhyAdibhyaH' iti ktaH / AdhijaiH manaHpIDAyAH jAtaH / AdheH mAnasyAH pIDAyAH jAyante iti aadhijaaH| taiH / DaH / ' puMsyAdhizcittapIDAyAM pratyAzAyAM ca bandhake / vyasane cApyadhiSThAne' iti vizvalocane / AzubodhaiH zIghraprabo? : / zIghranidrAvidravairityarthaH / ' satvaraM capalaM tUrNamavilambitamAzu ca' ityamaraH / bodho jAgara ityarthaH / kAmaH kAmadevaH / madanaH ityarthaH / vipralambhAvatAraM viyogotpatti viyogAnubhUtiM vaa| asahya azakyasahanaM / soDhuM zakyaM sahyam / na sahyamasahyam / 'zaki liGca' iti zakyarthe vyAH / ghaTayatitarAM atizayena karoti / atyarthamasahyaM karotItyarthaH / 'jhyenmikiMjhAdAmadravye' iti miGaH parAjjhAntAdAm / jhazvAtizAyane'rthe / Owing to the possibility of [ my ] being robbed of the embrace, carried into effect by you, having feelings of love risen in your heart, and secured by me with a great difficulty in dream-visions came into being on account of my contact with sleep, the god of love renders extrembly unbearable the experience of separation by means of disturbances, associated with prolonged plaintive cries, of my sleep caused again and again at short intervals, and brought into being by mental worries. tAM tAM ceSTAM rahasi nihitAM manmathenA'smadaGge tvatsamparkasthiraparicayAvAptaye bhAvyamAnAm / pazyantInAM na khala bahazo na sthalIdevatAnAM muktAsthUlAstarukisalayeSvathulezAH patantiM // 38 // anvayaH- manmathena asmadaGge rahasi nihitAM tvatsamparkasthiraparicayAvAptaye bhAvyamAnAM tAM tAM ceSTAM pazyantInAM sthalIdevatAnAM muktAsthUlAH azrulezAH tarukisalayeSu khalu bahuzaH na patanti [ iti ] n| tAM tAmityAdi / manmathena kAmena / mananaM maccetanA / --hanmanyamramnamgambanatitanAdekhaM jhali' iti kham tuk ca Dakhe / manAtIti mathaH / mato manasaH mathaH manmathaH / 'madano manmatho mAraH pradyumno mInaketanaH / kandarpo darpako'naGgaH kAmaH paJcazaraH smaraH' ityamaraH / asmaGage mAnakIne zarIre rahasi ekAnte nihitAM prasthApitAM / nyAsIkRtAmityarthaH / tvatsamparkasthiraparicayAvAptaye bhavadIyasaMsargasthAsnusaMstava.

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384 [pArdhAbhyudaye prAptyarthaM / tava samparkaH saMsargaH tvatsamparkaH / tasya sthiraH sthAsnuzcAsau paricayaH saMstavazca tvtsmprksthirpricyH| tasyAvAptiH / praaptiH| tasyai / 'dhvarthavAco'rthAtkarmaNi' iti karmaNyap / bhAvyamAnAM prakaTIkriyamANAM tAM tAM nikhila ceSTA aGgavikSepAtmakamabhinayaM pazyantInAM sAkSAtkurvantINAM sthalIdevatAnAM vanadevatAnAM / sthasyakRtrima sthalam / vnmityrthH| 'kuNDagoNasthalabhAjanAgakuzakAmukakabarakaTAt pAtrAvapanAkRtrimAzrANAsthUlAyasariraMsukezavezazroNau' ityakRtrimArthe sthalazabdAstriyAM kii| muktAsthUlAH mauktikamaNaya iva pribRNhitkaayaaH| muktAmaNyAkArA ityarthaH / azrulezAH netrAmbubindavaH tarUkisalayeSu pAdapapallaveSu / 'pallavo'strI kisalayaM' ityamaraH / tarUNAM kisalayAni pravAlAH tarukisalayAni / teSu / anena vanadevatAnAM kAmukIduHkhAvalokanajanitA mAnasI pIDA vyajyate / khalu nizcaye / 'khalu syAdvAkyabhUSAyAM khluviipsaanissedhyoH| nizcite sAntvane maune jijJAsAdau khalu smRtam' iti vizvalocane / bahuzaH bhUrizaH na patanti [iti] na; api tu patantItyarthaH / dvau nau prakRtArtha gamayata itinyAyena prakRtArthagamanAtpatantItyarthaH / naddhayasya prayogo nizcaye cet , tarhi khaluzabdaprayogo vAkyAlaGkAre grAhyaH / atra pAdapapravAleSu nayana. jalabindupAtena kAmukyA maraNAbhAvaH sUcitaH, azrUNAM kSitau patanena maraNAdInAmeva saMsUcanAt / taduktaM-'mahAtmagurudevAnAmazrupAtaH kSitau ydi| dezabhraMzo mahaddaHkhaM maraNaM ca bhavebruvam // ' iti / Not indeed do not drops of tears, big like pearls, fall in abundance on the foliage of trees, of the sylvan dieties, seeing various gestures, treasured up in our bodies secretly by the god of love, displayed to have an everlasting acquaintance with your association [i. e. to have an everlasting familiarity with you ]. sakSipyeta kSaNamiva kathaM dIrghayAmA triyAmA prANAdhIze vidhivighaTite dUravartinyabhISTe / itthaM kAmAkulitahRdayA cintayantI bhavantaM prANArakhaM zvasimi bahuzazcakravAkIva taptA // 39 // anvayaH- 'vidhivighaTite abhISTe prANAdhIze dUravartini dIrghayAmA triyAmA kSaNaM iva kathaM sakSipyeta ?' itthaM kAmAkulitahRdathA prANArakhaM bhavantaM cintayantI taptA cakravAkI iva bahuzaH zvasimi /

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caturthaH sargaH ] 385 6 saGkSipyetetyAdi / vidhivighaTite pApena daivena viyojite / vidhinA devena vighaTitaH viyojitaH vidhivighaTitaH / tasmin / ' vidhirvedhasi kAle nA vidhAne niyatau striyAm' iti vizvalocane / abhISTe samabhilaSite / AbhimukhyeneSyate' bhISTam / 'abhISTe'bhIpsitaM hRdyaM dayitaM vallabhaM priyam / ' ityamaraH / priye ityarthaH / prANAdhIze prANanAthe / prANAnAmISTe prANAdhIzaH / tasmin / dUravartini dUradezasthite sati / dIrghayAmA / dIrghA yAmAH praharAH yasyAH sA dIrghayAmA | prahare saMyame yAmaH' iti vizvalocane / triyAmA nizA | AdyantayorardhayAmayordinavyavahArAt triyAmA rAtriH / ' nizA nizIthinI rAtristriyAmA kSaNadA kSapA' ityamaraH / kSaNaM iva kSaNamAtramiva / ' kSaNaH syAdutsave kAlabhedAvasaraparvasu ' iti vizvalocane / kathaM kena prakAreNa saGkSipyeta laghUkriyeta / itthaM etena prakAreNa / ' kathamitthaM ' iti prakArarthe thaM kimidametaddbhyaH / kAmAkulitahRdayA madanajanitabhrAntyAkulacittA / kAmena madanena kAmavAsanayA vA AkulitaM AkulaM vyastaM kRtaM hRdayaM cittaM yasyAH sA / prANarakSaM prANasaMrakSakam / prANAnArakSatIti prANarakSaH / tam / 'nakhamucAdayaH ' iti kaH / bhavantaM tvAM cintayantI dhyAyatI tatA virahAnaladagdhA cakravAkI iva cakravAkavaniteva bahuzaH bhUrizaH / bhUrItyarthaH / 'bahvarUpArthAcchas kArakAdveSTAniSTe ' iti zas / zvasimi zvasanaM vidadhe / 6 Ban * How could the night, with long watch-periods, be reduced to a moment as it were during the period in which my beloved lord, separated [ from me ] by fate, is far away ? ' - Meditating upon you, thus, the rescuer of my life, I, with my heart distressed by the god of love [ or by the thoughts of love ], am yearning [ for you ] very much like the [ distressed] female Chakravaka. jyotsnApAtaM mama viSahituM notarAM zaknuvantyAH sarvAvasthAsvaharapi kathaM mandamandAtapaM syAt / AcittezaprathamaparirambhodayAdityabhIkSNaM dhyAyAmIdaM madanaparatA sarvacintAnidAnam // 40 // anvayaH -- jyotsnApAtaM viSahituM notarAM zaknuvantyAH mama ahaH api sarvAvasthAsu mandamandAtapaM kathaM syAt iti idaM madanaparatAsarvacintAnidAnaM AcittezaprathamaparirambhodayAt abhIkSNaM dhyAyAmi / pArzvAbhyudaye... 25

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[ pArzvAbhyudaye I , 6 8 , jyotsnetyAdi / jyotsnA pAtaM candrikA visaraM / jyotsnAyAzcandrikAyAH pAtaH visaraH jyotsnApAtaH / tam / jyotiH prakAzo'styasyAM jyotsnA candraprakAzAkhyA / jyotiSa uGaH khaM nazca khuviSaye / viSahituM soDhuM notarAM zaknuvantyAH atyarthamazaknuvantyAH ' iyenmiGkajhAdAmadravye iMti jhaH parAjjhAntAdAm / mama madIye viSaye ahaH api divaso'pi sarvAvasthAsu madanajanitAsu sarvAsu dazAsu / vizeSaH kAliko'vasthA ityamaraH / mandamandAtapaM mandaprakAra sUryaprakAzam / mandamandaH mandaprakAraH AtapaH sUryaprakAzaH yasmiMstat / mandamandaH mandaprakAraH ityarthaH / -- prakAre guNotktervA ' iti prakAre'rthe dviruktiH / kathaM kena prakAreNa syAt bhavet iti evaM / itiratra prakArArthe / iti hetau prakAre ca iti vizvalocane / idaM ' sarvAvasthAsvahaH mandamandAtapaM kathaM syAt' ityetat madanaparatAsarvacintAnidAnaM kAmavAsanAjanitanikhila cittodvega nimittakam / madanaH kAmaH paraH yasyAH sA madanaparA / madananiSThetyarthaH / tasyA bhAvaH madanaparatA / sarvAzca tAzcintAzca sarvacintAH / cintAzabdo guNamuktvA tadAzrayabhUtAM kAmuka vaktIti saH guNavacanaH / tAzca madanaparatayA kRtA iti madanaparatAyAH sarvacintAnAM kAryakAraNabhAvaH / ataH sAmarthyAt "bhA tatkRtArthenonaiH ' iti saH / madanaparatayA sarvacintAH madanaparatAsarva cintAH / tAH nidAnaM kAraNaM yasya tat madanaparatA sarvacintAnidAnam | AcittezaprathamaparirambhodayAt prANanAthakRtaprathamAliGganakAla maryAdIkRtya tata uttarakAlam / prANanAthakRtaprathamAzleSa kAlamArabhyAdhunAtanakAlaM yAvadityarthaH / cittasya manasa ISTe iti cittezaH / tasya yaH prathamaH AdyaH parirambhaH AliGganaM cittezaprathamaparirambhaH / tasyodaya utpattiH / AGatra maryAdAyAm / ' kA''GA'mividhimaryAde ' iti kA''GA yoge / 'papAbahiraJcaH ' iti subantena sahA''GaH saH | abhIkSNaM satatam | avicchinnamityarthaH / dhyAyAmi cintayAmi / bhartRkRtaprathamaparirambhakAlamArabhyAdhunAtanakAlaM yAvat ' ahaH api sarvAvasthAsu mandamandAtapaM kathaM syAt ? ' ityavicchinnakAlaM cintayAmIti kAmukyabhiprAyaH / eSA mAyAmayI strI ahaM vasundharAcarI marubhUticarapatnI ' iti prakaTIkartukAmA''cittezetyAdi mithyaiva brUte, mithyodyamantareNAsya dhyAnabhraMzo'zakyavidhAna ityabhiprAyeNa / , L 386 d , How, in all the states of my mind caused by the feelings of love, could the day, even, have moderate heat with reference to me who am not able at all to bear the diffusion of the moon-light? In this way I have been constantly thinking of this, brought into

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caturthaH sargaH] 387 *effect by all the anxieties caused by the god of love, since the first embrace of my lord. kAmAvezo mahati vihitotkaNThamAbAdhamAne tvayyAsAktaM gatamanugataprANametaddvayaM ca / itthaM cetazcaTulanayane dulabhaprArthanaM me gADhoSaNAbhiH kRtamazaraNaM tvadviyogavyathAbhiH // 41 // anvayaH- mahati kAmAveze vihitotkaNThaM AbAdhamAne caTulanayane tvayi AsaktiM gataM anugataprANaM ca / itthaM etadvayaM durlabhaprArthanaM me cetaH gADhoSNAbhiH tvadviyogavyathAbhiH azaraNaM kRtam / __ kAmetyAdi / mahati bRhati / vipule ityrthH| 'vizaGkaTaM pRthu bRhadvizAlaM pathalaM mahat ' ityamaraH / kAmAveze kAmaprAbalye / kAmasya madanasya AvezaH prAbalyaM prabhAvo vA kaamaaveshH| tasmin / vihitotkaNThaM utkaNThAM jnyitvaa| vihitA janitA utkaNThA utkalikA yasmin kaNi yathA syaattthaa| 'utkaNThotkalike same' itymrH| AbAdhamAne pIDAM janayati sti| caTulanayane manoharanayane tvayi bhavati AsaktiM gataM abhiniviSTaM anugataprANaM ca kSINazaktikaM tvaddhyAnAnukUlasvarUpa vaa| anugataH kSINaH prANaH mananasAmarthya yasya tat / yadvA anugataH tvayyAsaktaH prANaH mananAkhyaM svarUpaM yasya tat / itthaM tvadAsaktatvAnugataprANatvaprakAreNa etadvayaM etat svayyAsaktatvamanugataprANatvaM cetyetadvayaM vidyate yasya tat / durlabhaprArthanaM duSprApyayAcanaM durlabhayAcanaM vA / duHkhena labhyate iti durlabham / "svISaddusi kRcchrAkRcchre khaH' iti khaH / durlabhaM triyAmAyAH kSaNamiva laghUbhavanaM, ahnazca sarvAsvavasthAsu mandamandAtapasvena bhavanaM cetyAdirUpaM prArthayate iti durlabhaprArthanam / 'vyAnaDbahulam' iti kartaryanaT / yadvA durlabhA kRcchUlabhyA prArthanA yasya tat / me mama cetaH manaH gADhokSaNAbhiH atidAruNAbhiH / gADhaM bADhaM bhRzaM nitAntaM uSNAbhiH daarunnaabhiH| 'tInakAntanitAntAni gADhabADhadRDhAni ca' itymrH| uSati dhtiivossnnaa| tItrA dAruNA vetyrthH| tvadviyogavyathAbhiH bhvdviyogvednaabhiH| tvatto viyogastvadviyogaH / tasya vyathAH duHkhAni tvadviyogavyathAH / tAbhiH / 'duHkhaM prasUtije klIve pIDA bAdhA ca vedanA' iti mAlAyAm / 'pIDA bAdhA vyathA duHkhamAmanasyaM prasUti' ityamaraH / azaraNaM agatikaM nirAzrayaM vA kRtaM vihitam /

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388 [pArdhAbhyudaye During the period when the excessive force of passion excessively distresses by causing anxieties, [ my mind ] becomes attached to and absorbed in meditating upon you, possessing beautiful eyes. My mind, thus, reduced to this two-fold state, praying for what is difficult to obtain, is rendered helpless by exceedingly poignant [ sharp ] agonies caused by the separation from you. tAnaprAkSaM madanavivazA yuSmadIyapravRtti pratyAvRttAn himavadanilAn kAtarA matsamIpam / bhittvA sadyaH kisalayapuTAndevadArudmANAM ye tatkSIrarutisurabhayo dakSiNena pravRttAH // 42 // anvayaH- devadArudrumANAM kisalayapuTAn sadyaH bhittvA tatkSIrasutisurabhayaH ye dakSiNena pravRttAH tAn matsamIpaM pratyAvRttAn himavadanilAn madanavivazA kAtarA [ ahaM] yuSmadIyapravRtti aprAkSam / tAnityAdi / devadArudmANAM pAribhadrakavRkSANAm / taduktaM - 'devadAru smRtaM dAru surAhavaM kilimaM ca tat / snehaviddhaM mahAdAru bhadradAvindradAru ca // devakASThaM bhadrakASThaM pUtikASThaM ca dAru ca / suradAvindravRkSazca tathaivAmaradAruca // ' iti / 'zakrapAdapaH pAribhadrakaH / bhadradArudrukilimaM pItadAru ca dAru c| pItakASThaM ca sapta syurdevadAruNyatho dvayoH' itymrH| kisalayapuTAn pravAlagarbhAn sadhaH sapardi 'sadyaH sapadi tatkSaNe' ityamaraH / bhittvA vidArya tatkSIrasrutisurabhayaH tatkSIraniSyandajanitasaugandhyAH / teSAM devadArudrumANAM kSIrasutibhiH kSIraniSyandaiH surabhayaH sugandhayaH / atra kSIrazabdo'rkadugdhavavRkSaniryAsavacanaH / ye himavadanilAH dakSiNena dakSiNamArgeNa / 'prakRtyAdibhyaH' iti bhaa| pravRttAH pracilatAH tAn anilAn matsamIpaM matsamIpapradezaM pratyAvRttAn pratyAgatAn himavadanilAn prAlayAcalasambandhino vAtAn madanavivazA madanena hetunAnAtmavatI kAtarA ssaadhvsaa| 'adhIre kAtarastraste bhIrubhIrukabhIlukAH' ityamaraH / ahaM yuSmadAyapravRttiM bhavasambandhinaM vRttAntam / 'pravRttivRttivRttAntapravAheSu pravartane' iti vizvalocane / aprAkSaM apRccham / praccha zIpsAyAmityasya dholuGi rUpam / I, having control over myself lost owing to the god of love [ or owing to the feelings of love ] (and) tremulous through fear [ or discouraged ], asked the breezes from the Himalayas, on having destroy

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caturthaH sargaH] 389 ed at once the folds of shoots of the Devadaru-trees, become fragrant on account of trickling drops of their milky juice, start moving in the southern direction and come into my vicinity, for fresh information about you. iSTe vastunyatiparicitaM yattadapyaGganAnAM prIteheturbhavati niyataM yattvadaGgAnurodhAt Aligyante guNavati mayA te tuSArAdrivAtA: pUrva spRSTaM yadi kila bhavedaGgamebhistaveti // 43 // anvayaH- iSTe guNavati vastuni yat atiparicitaM tadapi aGganAnAM yat niyataM prIteH hetuH bhavati [ tat ] ebhiH tava aGgaM yadi kila pUrva spRSTaM bhavet iti tvadaGgAnurodhAt te tuSArAdrivAtAH mayA AliGgyante / / iSTe ityAdi / iSTe aGganAbhirabhilaSite guNavati prshstgunne| prazastAH guNAH asya santIti guNavat / tasmin / prazaMsAyAmatra mtuH| vastuni dravye yat anyadvastu atiparicitaM prAptadRDhaparicayaM tadapi prAptadRDhaparicayamanyadvastvapi aGganAnA sundarINAM / aGgAni kalyANAnyasyAH sntiitynggnaa| 'lakSmaNaviSuNAGganAH' iti nipaatH| yat yasmAtkAraNAt niyataM nizcayena prIteH Anandasya premNo vA hetuH kAraNaM bhavati, tasmAtkAraNAt ebhiH etaistuSArAdrivAtaiH tava bhavadIyaM ajhaM zarIraM yadi kadAcit kileti sambhAvanAyAM pUrva pUrvasminkAle spRSTaM saMzliSTaM bhavet syAt iti ataH kAraNAt / ' iti hetau prakArArthe ' iti vizvalocane / tvadaGgAnurodhAt bhavaccharIrAnurAgAt / tava aGgaM zarIraM tvadaGgam / tatrAnurodhaH anurAgaH tvadaGgAnurodhaH / tasmAt / te tuSArAdrivAtAH te himavadanilAH mayA kAmukyA AliGgyante aashlissynte| As that, which is intimatly acquainted with esteemed object ondowed with excellent qualities, becomes pecessarily the cause of delight [ or of exciting passion ] in women, those breezes from the Himalayas, thinking that your body might, very possibly, have been touched previously by these, are embraced by me out of regard for your body [ or through love for your body ]. tanme vIra prativacanakaM dehi yukta, vRthAzAM mA kArSIrmA yadi ca rucitaM te tadAbhASyametat /

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390 nanvAtmAnaM bahu vigaNayannAtmanaivA'valambe tatkalyANi tvamapi nitarAM mA gamaH kAtaratvam // 44 // [ pArzvAbhyudaye anvayaH - tat vIra me yuktaM prativacanakaM dehi, mAM vRthAzAM mA kArSIH, yadi ca te rucitaM tadA 6 nanu bahu vigaNayan AtmAnaM AtmanA eva avalambe, tat kalyANi tvaM api nitarAM kAtaratvaM mA gamaH ' [ iti ] etat te AbhASyam / 8 tadityAdi / tat tasmAtkAraNAt vIra bhI zUra / yuvatijanakaTAkSaviddhahRdayatve'pi vikArAnAkrAntacittatvAdbhagavato'tra zUratvam / bhagavataH suzIlatvadarzanAtsamAkRSTAyAH kAmukyAH svAbhilASavaiphalyasyAzakya parihAratve'pi punaH kriyamANaprayAsAnurUpaM vacanam / me yuktaM ucitam / matprArthanAnukUlamityarthaH / ' yuktaM syAducite yuktaM saMyute'pyabhidheyavat ' iti vizvalocane / prativacanakaM svarUpaM pratyuttaram / ' kutsitAjJAtAspe kan ' ityaspArthe kan / yadyapi vistareNa vaktuM necchasi, tathApi tvayA madAzApUrtyarthaM svarUpaM tvavazyaM vaktavyamiti kAmukyabhiprAyaH / dehi dattAt / mAM vRthAzAM viphalAzAm / vRthA viphalA AzA'bhilASo yasyAH sA / tAm / 'vRthA. nirarthakA'vidhyoH ' ityamaraH / mA kArSIH mA kRthAH / ' mAGi luG ' iti mAGi vAci luG / luGlaGlRGyamAGA'T' ityatra mAGyogasadbhAvAdaDAgamapratiSedhaH / yadi ca cetca te tatra rUcitaM abhipretaM tadA tarhi nanu bho priye / nanvatrAmantraNe / praznAvadhAraNA'nujJA'nunayA''mantraNe nanu ' ityamaraH / bahu vipulaM vigaNayan paryAlocayan AtmAnaM svaM AtmanA eva svenaiva / ' prakRtyAdibhyaH' iti bhA / avalambe dhArayAmi / svagopanaM karomi / bhaviSyati priyayA samAgamasya sambhavAt mayA prANatyAgo na vidheya iti bahu paryAlocya nirNAyAsminkAle'nyAlambanAbhAve'pi jIvitaM dhArayAmIti bhAvaH / tat tasmAt kAraNAt he kalyANi bhadre / ' bahvAdeH ' iti striyAM GI / tvamapi bhavatyapi nitarAM sutarAM / atyantamityarthaH / kAtaratvaM bhIrutvasambhrAntatvaM vA / 'adhIre kAtarastraste bhIrubhIrukabhIlukAH ' ityamaraH / mA gamaH mA gaccha / mAGA yuktatvAdaDAgamapratiSedhaH / iti te tvayA AbhASyaM vaktavyam / C vyasya vA kartari ' iti tA / 6 Oh valiant one ! give, therefore, a short but proper [ agreeable ] reply. Do not disappoint me. If at all it pleases you, you should say this Oh beautiful one [ or auspicious one! ], contemplating mentally very much, I am holding me up by myself; so, do not, on your part, have recourse to nervousness at all events.

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caturthaH sargaH] 391 evaMprAyAM nikRtimasuraH strImayImAzu kurvan vyarthodyogaH samajani munau pratyutA'gAtsa duHkham / kasyaikAntaM sukhamupanataM duHkhamekAntato vA nAcairgacchatyupArI ca dazA cakranemikrameNa // 45 // anvayaH-- asuraH munI evaMprAyAM strImayIM nikRtiM kurvan Azu vyarthodyogaH samajani pratyuta saH duHkhaM agAt / kasya ekAntaM sukhaM upanataM ekAntataH duHkhaM vA? cakranemikrameNa dazA nIcaiH upari ca gacchati / evaMprAyAmityAdi / asuraH daityaH / 'asuraH dAnave sUrye' iti vizvalocane / munau muniviSaye / muniM viSayIkRtyetyarthaH / evaMprAyAM evaMvidhAM strImayIM striyaH AgatAm / striyaH prAptAmityarthaH / mAyAmayIM striyamutpAdya tadvAreti bhAvaH / 'mayaT ' iti tata Agate'rthe mayaTa / TisvAt GI / nikRti bhsnN| apakAramityarthaH 'nikRtirbhartsane kSepe' iti vizvalocane / kurvan vidadhAnaH Azu zIghra vyarthodyogaH viphalaprayAsaH / vyarthaH viphalaH udyogaH utsAhaH prayAso vA yasya saH / samajani jAtaH pratyuta punaH parantu vA saH dAnavaH duHkhaM pIDAM agAt agacchat / prAptaH ityrthH| kasya kasyAtmanaH ekAntaM nitAntamaparivartanIyaM vA / eko nizcitaH antaH atra ekAntam / 'tIkAntanitAntAni gADhabADhadRDhAni ca' ityamaraH / sukhaM saukhyaM upanataM prAptaM ekAntataH ekAntena / nizcayenAparivartanIyatvena vetyarthaH / tasessArvavibhaktikatvAttatIyArthe'tra tsiH| duHkhaM vA duHkhamapi / upanatam / cakranemikrameNa rathAGgAntaparipATyA / cakraM rathAGgam / 'cakraM sainye rathAGge'pi AmrajAle'mbhasA bhrme| kulAlakRtyaniSpattibhANDe raassttraastrbhedyoH|" iti vizvalocane / tasya nemiH antaH cakranemiH / nemishckraantH| 'cAkAcI dhAva athavA pATA' iti mahArASTrayAm / 'nemiH kUpatrikAyAM syAccakrAnte tinizadrume' iti vizvalocane / tasya kramaH pripaattii| tena / 'kramaH zaktiparIpATIcalane kampane'pi ca ' iti vizvalocane / dazA avasthA nIcaiH adhaH upari ca ardhvaM ca gacchati yAti / apakRtikAle sukhAyamAno'pyasuro bhagavato dhyAnakatAnatayA vikAravaikalyaM dRSTvA''tmano viphalaprayAsatvaM jJAtvA duHkhito'bhavaditi bhAvaH / The demon, thus giving maltreatment to the sage through a woman [ or women ], had his efforts turned futile very soon; on the contrary be became sorrowful. To whose lot does invariable (or

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392 [ pArdhAbhyudaye absolute ] happiness or unalloyed misery fall ? One's state goes up and down after the manner of the periphery of a wheel. yasminkAle samajani muneH kevalajJAnasampa dyasmindaityo girimudaharanmUrdhni cikSepsurasya / tatkAle sA zaradudabhavadvaktukAmeti voccaiH zApAnto me bhujagazayanAdusthite zArGgapANau // 46 // anvayaH-- yasmin kAle muneH kevalajJAnasampat samajani, yasmin daityaH asya mUni cikSepsuH giri udaharat tatkAle 'zAGgapANau bhujagazayanAt utthite me zApAntaH' iti uccaiH vaktukAmA vA sA zarat udabhavat / yasminnityAdi / yasmin yatra kAle samaye / caitramAse iti bhAvaH / muneH bhagavataH zrIpArzvanAthasya kevalajJAnasampat kevalabodhasampattiH / sasarvaparyAyANi dravyANi yadbalAjjJAyante tajjJAnaM kevalamityabhidhIyate / samajAna prAdurabhUt / sarvaghAtikarmakSayAdAvirabhUditi bhAvaH / yasmin yatra kAle daityaH zambarAsuraH asya bhagavataH zrIpArzvajinendrasya mUrdhni zirasi cikSepsuH ksseptumicchuH| 'sanbhikSAzaMsvindicchAduH' iti snnntaaduH| giriM bhUdharaM udaharat uddhRtavAn ta kAle tasmin kaale| tdetyrthH| zAgapANI vissnnau| zRGgasya vikAraH zArGgam / zRGgavinirmitaM dhanurityarthaH / 'hemAdibhyo'J' iti vikArArthe'J / zAGgaM pANau yasya saH zAGgapANiH nArAyaNaH / 'ktAccAstra' iti basattvAdasyAstravAcinazzArGgazabdasyebantAtpUrva nipaatH| bhujagazayanAt uragazayyAyAH / bhujagaH uragaH zeSAkhyaH eva pakSe dharaNAkhyaH eva zayanaM zayyA bhujagazayanam / tasmAt / utthite sati me mama zaradaH zApAntaH pratibandhAntaH / zApasya pratiSedhasya pratibandhasyAnto'vasAnaM zApAntaH / iti evaM uccai tArasvareNa vaktukAmA vA vaktumabhilaSantIva / vaktuM vadituM kAmaH abhilASaH yasyAH sA vaktukAmA / vaktumabhilASavatItyarthaH / 'samtumormanaHkAme' iti tumo makArasya kham / vAzabdotrevArthe / sA zarat sa zaratatkAlaH udabhavat aunnatyaM prApat prAdurabhavadvA / yasminkAle bhagavati kevalajJAnasampadAvirabhUttasmizcaitramAsasamaye zarakAlaH prAdUrabhUt / bhagavataH pArzvanAthasya zAIpANivannIlakAyatvAt / 'ayaM zAgapANireva' iti zaradRtau bhrAntiH samajAyata / tasmiMzca bhagavati maNDalAkAraviracanajanitazayanAkArAddharaNAkhyabhujagazarIrAtkevalajJAnotpattau jAtAyAmUrdhvamAkAzapradeze'

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caturthaH sargaH ] . 393 ranimAtraM samutthite 'bhagavataH zAGgapANerbhujagazayanAtsamutthitatvAdayaM kArtikamAsa eva ' iti bhrAntyA caitramAsaM kArtikamAsatvena gRhitvA caitramAsa eva zaratprAdurabhavaditi bhAvaH / bhagavataH zirasi prahAM yadA zambarAsuro dharAdharamujahAra tadaiva bhagavati kevalajJAnaM zuddhAtmasvabhAvabhUtamAvirabhUdityavaseyam / The autumnal season, desirous of speaking out loudly as if - The ban put upon my advent has come to end as Visnu [ the wielder of the Sarnga bow ] has got up from [ bis ] serpent - bed ', set in when the superhuman power in the form of pure and perfect knowledge sprang up in the sage, [ and ] when the demon, desirous of throwing on the head of this [ sage ], uplifted a mountain. jyotsnAhAsaM dizi dizi zarattanvatI prAdurAsI- daityasyA'sya prahasitumivAjJAnavRttiM durantAm / vaimalyena sphuTamiti dizAM rundhatIvoSNakAlaM mAsAnanyAngamaya caturo locane mIlayitvA // 47 // anvayaH- asya daityasya durantAM ajJAnavRttiM prahasitumiva jyotsnAhAsaM dizi dizi tanvatI dizAM vaimalyena 'caturaH (tvaM) mIlayitvA locane anyAn mAsAn gamaya' iti uSNakAlaM sphuTa rundhatI iva zarad prAdurAsIt / jyotsnetyAdi / asya zambarAkhyasya kamaThacarasya daityasya dAnavasya durantAM duSpariNAmAM duSTasvarUpAM vaa| duSTaH duHkhajanakatvAt antaH pariNAmaH yasyAH saa| yadvA duSTaM antaM svarUpaM yasyAH sA / tAm / 'antaM vizuddha vyApte syAdanto nAze manohare / svarUpe'ntaM mataM klIyaM na strI prAnte'ntike triSu' iti vizvalocane / ajJAnavRtti jJAnazUnyAM kriyAm / na vidyate jJAnaM samyagjJAnaM yasyAM sA ajnyaanaa| ajJAnA cAsau vRttiH kriyA vartanaM vA cAjJAnavRttiH / tAm / mithyAjJAnajanitAM kriyAmityarthaH / prahasitumiva upahAsAspadIkartumiva / upahAsyatAM gamayitumivetyarthaH / jyotsnAhAsaM kaumudIhasitaM / jyotsnA kaumudyeva hAsaH hAsyaM jyotsnAhAsaH / tam / dizi dizi pratidizam / sarvAsu dikssvityrthH| tanvatI vitanvAnA / vistAraM nayantItyarthaH / dizAM kASThAnAM vaimalyena nairmalyena caturaH paTuH tvamuSNakAlaH / 'dakSe tu caturapezalapaTavaH sUtthAna uSNazca' ityamaraH / mIlayitvA nimIsya ana. valokyetyarthaH / atra kArtikamAse'nAkSipyeti bhAvaH / caitramAsasyottarAyaNagatvAduSNa

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394 [ pArzvAbhyudaye > " , kAlatve'pi tatra dharaNAkhyabhujagendraviracitamaNDalAkArazarIrazayanAdUrdhvadeze utthitaM bhagavantaM dRSTvA 'ayaM zAGgapANireva zayanAdutthitaH ato'yaM kArtikamAsa eva iti bhrAntyA kArtikamAsatvamadhyAsya zarat ' mA tvamatra dRSTikSepaM kuru; locane'nyAn kArtikamAsAdbhinnAnmAsAn prApaya ' ityuSNakAlamuvAcetyabravIditibhAvaH / pakSe samAkRSyetyarthaH / locane nayane / pakSe mayUkhAn / locane iva locane / ' devapathAdibhyaH itavArthasya kasyos / ' yuktavadukhi liGgasakhye ' iti dvivacanatvaM napuMsakaliGgatvaM ca / prakAzanakriyAsAdharmyA locanamayUkhAnAmanyonyasamAnatvam | anyAn caitramAse' dhyastAtkArtikamAsAdbhinnAn mAsAn gamaya prApaya iti evaM uSNakAlaM USmAgamakAlam / uSNaH uSNagoH sUryasya kAlaH AtapasamayaH uSNakAlaH / yadvA uSNaH sUryAtapaH bhUmnA'styasyeti uSNaH / ' o'bhrAdibhyaH ' iti bhUmArthe matvarthIyo'tyaH / sa cAsau kAlazvoSNakAlaH / kharakaraprakaravyAtikAlaH ityarthaH / anenottarAyaNa kAlaH saMsUcyate / taduktam -' mAnormakarasaGkrAnteH SaNmAsA uttarAyaNaM / karkAdestu tathaiva syAt SaNmAsA dakSiNAyanam || ' iti / sphuTaM vyaktaM rundhatIva pratibandhaM kurvANeva zarad RtuvizeSaH prAdurAsIt AvirabhUt / prakaTatAmayAdityarthaH / The autumnal season, spreading [ diffusing ] in all directions [her ] laughter in the form of moon-light to deride, as it were, the unwise course of this demon's conduct resulting in misery, [ season ] preventing openly as if the advent of the summer-season through the clearness of all quarters, with the words * Oh! [ you ] who are clever or agreeable, with both of your eyes shut [with your hot rays contracted], remove them [ your glances ] to other months, appeared [ set in ] . jAtAkampAsananiyamitaH sAvadhirnAgarAjaH kAntAM smA''ha prathamamadhipaM pUjayAvo'dya gatvA / pazcAdAvAM virahaguNitaM taM tamevAbhilASaM nirvekSyAvaH pariNatazaraccandrikAsu kSapAsu // 48 // anvayaH - jAtA kampAsana niyamitaH sAvadhiH nAgarAjaH kAntAM Aha sma ( adya gatvA prathamaM adhipaM pUjayAvaH, pazcAt pariNatazaraccandrikAsu kSapAsu virahaguNitaM taM taM eva abhilASaM nirvekSyAvaH / jAtetyAdi / jAtAkampAsananiyamitaH prakampitaviSTarapracoditaH / jAtaH

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caturthaH sargaH ] 395 8 AkampaH vepathuH yasya tajjAtAkampam / jAtAkampaM ca tadAsanaM viSTarazca jAtA kampAsanam / tena niyamitaH prayojitaH pracoditaH jAtA kampAsananiyamitaH / sAvadhiH avadhijJAnasahitaH / avadhyA sahitaH sAvadhiH / upayuktAvadhijJAnaH ityarthaH / nAgarAjaH dharaNAkhya uragarAT / nAgAnAmuragANAM rAjA nAgarAjaH / rAjAhaHsakheSTaH ' iti sAntaSTaH / kAntAM svakAminIM bhoginIM Aha sma abravIt / AsanaprakrampanenopayuktasvIyAvadhijJAnena bhagavataH kevalajJAnasampadamAvirbhUtAM vijJAya bhoginIM svakAminImAddeti bhAvaH / adya idAnIM gatvA yAtvA prathamaM Adau adhipaM bhagavantaM pArzvajinendram / bhogino bhoginyAzca prAktanajanmani maraNakAle paJcanamaskAramantraM zrAvayitvA bhagavAMstayorubhayorhitaM kRtavAniti bhagavatastayo - rAdhipatyamiti bhAvaH / bhagavatkRtamupakAraM saMsmRtya nAgarAjo bhagavantamadhipatvena nirdiSTavAn / pUjayAvaH tadapacitiM kariSyAvaH / vartamAnasamIpatvAdbhaviSyArthe vartamAnavatprayogaH / pazcAt anantaraM pariNatazaraccandrikAsu pracitazAradIyakaumudISu / pariNatAH pracitAH zaraccandrikAH zAradIyakaumudyaH yAsu tAH / tAsu / 'candrikA kaumudI jyotsnA' ityamaraH / kSapAsu rAtriSu / ' nizA nizIthinI rAtristriyAmA kSaNadA kSapA ' ityamaraH / virahaguNitaM viraheNa bahulIkRtaM taM tameva sarvameva abhilASaM icchAM AvAM tvaM cAhaMca nirvekSyAvaH bhokSyAvahe / anubhavagocaratAM neSyAva ityarthaH / vizaterlaT / 'nirvezo vetane bhoge nirdezo mUrcchane'pi ca ' iti vizvalocane / The lord of serpents, directed by the shaking seat, making use of [his] Avadhi [ a kind of knowledge ] said to his beloved wifeHaving gone to-day we shall first of all, worship the Lord, [ and ] then, during the night having the mature autumnal moon-light, we, both of us, shall enjoy those very various desires [ of ours ] multiplied by the feelings of love springing up in our minds on account of our lonliness. 6 prasthAne'sya prahatapaTahe divyayAnAvakIrNe kazcitkAntAM tadanugajanaH sasmitaM vIkSate sma / bhUyazcAha tvamasi zayane kaNThalagnA purA me nidrAM gatvA kimapi rudatI sasvaraM viprabuddhA // 49 // yattadvattaM smarasi subhage mAmupAlabdhukAmA manye tvatkupitamiva me darzayantI prapAsi /

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396 [ pArdhAbhyudaye sAntasiM kathitamasakRtpRcchato'si tvayA me dRSTaH svame kitava ramayankAmapi tvaM mayeti // 50 // anvayaH- divyayAnAvakIrNe asya prasthAne prahatapaTahe [ sati ] kazcit tadanugajanaH kAntAM sasmitaM vIkSate sma, bhUyaH ca Aha- "subhage ! tvaM purA zayane me kaNThalagnA nidrAM gatvA kimapi sasvaraM rudatI viprabuddhA asi; yat vRttaM tat smarasi; mAM upAlabdhukAmA tu me ISat kupitaM iva darzayantI prapAsi [ iti manye; asakRt pRcchataH me he kitava kAmapi ramayan tvaM mayA svapne dRSTaH asi' iti tvayA sAntahosa kathitam / " prasthAna ityAdi yugmam / divyayAnAvakIrNe svarvimAnaiH samantAtkIrNe / divi bhavAni divyAni / yAnAni vAhanAni / divyAni ca tAni yAnAni divyayAnAni / taiH ava samantAt kIrNa veSTitaM divyayAnAvakIrNam / tasmin / asya dharaNendrasya prasthAne prasthAnasAdhanIbhUte vAhane / prasthIyate'neneti prasthAnam / ' karaNAdhAre cAnaTa' iti karaNe'naT / prahatapaTahe sati pratADitAna ke sati / prahatAH pratADitAH paTahA AnakA yasmistat / tasmin / 'AnakaH paTaho'strI syAt ' ityamaraH / kazcit kazcana tadanugajanaH dharaNendrasevakaH / anugacchatItyanugaH / bhRtyaH ityarthaH / 'bhRtyo'tha bhRtakaH pattiH padAtiH padago'nugaH' iti dhanaJjayaH / kAntAM svakAminI sasmitaM hAsapUrvakaM / smitaM kRtvetyarthaH / smitena sahitaM yathA syaattthaa| vIkSate sma vilokayAmAsa / bhUyazca punazca Aha brUte he subhage kasyANi ! tvaM bhavatI purA nikaTAtIte kAle / 'purA bhAvipurANayoH / prabandhe nikaTe'tIte' iti vizvalocane / zayane zayanIye me mama kaNThalanA AzliSTakaNThA / kaNThe lagnA kaNThalagnA / nidrAM gatvA nidrAM prApya kimapi kenApi nimittena sasvaraM sazabdaM / uccairityarthaH / rudatI vilpntii| rodanaM kurvantItyarthaH / viprabuddhA unnidrA asi bhavasi / ' laT' iti purAzabde vAci bhUte'nadyatane'rthe laT / yat vRttaM svapne yadupasthitaM tat smarasi tattvamasmaraH / pUrvavalaT / mA tvatpriyakaraM mAM upAlandhukAmA adhikSeptukAmA / upAlabdhuM adhikSeptuM kAmaH icchA yasyAH sA / 'santumormanaHkAme' iti tumaH kham / tu punaH me mama ISat svalpaM kupitamiva kopamiva / 'nabbhAve kto'bhyAdibhyaH' iti ktaH / darzayantI prkaashyntii| prapAsi praapaaH| pUrvavadatrApi laT / iti manye amanye / atrApi tathaiva laT / asakRt anekavAraM pRcchataH yAcamAnasya me mama he kitava unmatta vaJcaka vA / ' kitavaH puMsi dhatture mattavaJcakayorapi ' iti vizva

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cathartuH sargaH] locane / kAmapi kAminIvizeSaM ramayan sukhayan tvaM bhavAn mayA bhavatkAntayA svapne dRSTaH avalokitaH asi bhavasi iti evaM tvayA bhavatyA sAntassaM samandahAsam / mandaM hsitvetyrthH| antarhAsena mandahAsena sahitaM yathA syAttathA / kathitam pratipAditam / At the time when the celestial air of this [lord of serpents ], having celestial cars scattered on all sides, had drum beaten in it, some follower of bim looked at his own beloved wife with a smile and said. again-" Oh fortunate one ! just recently, you, clinging to my neck, having fallen asleep on the bed, awoke crying loudly for some reason or other; you remembered the incident which had taken place in the dream; and again I thought that you, desirous of taunting me, showing yourself as if angry with me a little, concealed it from me; it was told by you, laughing inwardly, to me asking you again and again- Ob you, inflamed with love feelings ! you were beheld by me in a dream. pleasing some [ woman ]." dRSTvA'hIndraM sthitamadhijinaM satsaparya sajAni prArabhe'sau sabhayamasuro muktazailo'payAtum / ruddhazcaivaM dharaNapatinA bho bhavAnmA'payAsI detasmAnmAM kuzalinamabhizAnadAnAdviditvA // 51 // anvayaH - satsaparya sajAni ahIndra adhijinaM sthitaM dRSTA muktazailaH asuraHsabhayaM apathAtuM prArebhe; etasmAt abhijJAnadAnAt mAM kuzalinaM viditvA bho bhavAn, mA apayAsIt [iti ] evaM dharaNapatinA ruddhaH ca / dRSTetyAdi / satsaparya samIcInapUjanadravyam / akSatAdidravyANAmapi pUjanArthatvAtsaparyAtvenAbhidhAnam / satI samIcInA saparyA'pacitiH yasya sH| tam / akSatakusumAdisamIcInapUjAdravyahastamityarthaH / ' pUjA namasthA'pacitiH saparyA'rcA' haNAH samAH ' itymrH| sajAni sabhAryam / jAyayA panyA sahitaH sajAniH / 'jAyAyA niG' iti jAyAzabdasya niG / ahIndraM nAgendram / adhijinaM sthita jinendrAbhimukhIbhUya sthitaM dRSTvA vilokya muktazailaH parityaktabhUdharaH asuraH zambarAbhidhAno daityaH / sabhayaM bhItyA / bhayena sahitaM yathA syAttathA / apayAtuM apagantuM / * phlAyitumityarthaH / prArebhe Arabhate sma / etasmAt anantarottarazloke nirUpyamANAt .

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398 [ pArzvAbhyudaye asmAt abhijJAnadAnAt pratyabhijJAnasAdhanabhUtavRttAntapratipAdanAt / abhijJAyate' 'neneti abhijJAnaM / ' karaNAdhAre cAnaT' iti karaNe'naT / tasya dAnaM pratipAdanam / tasmAt / hetvarthe kA | mAM nAgarAjaM kuzalinaM kSemaMkaraM viditvA jJAtvA bho bhavAn he zambarAsura tvaM mA'payAsIt mA palAyasva / bhavacchabdayogAduttamapuruSapratyayAntaH prayogaH / mAGA yuktatvAdaDAgamapratiSedhaH / iti evaM abhijJAnadAnavacanena dharaNapatinA dharaNendreNa ruddhaH ca palAyanAnnivAritazca / This demon, on seeing the lord of serpents with bis beloved, stan ding in the vicinity of Lord Jina with best material for worshipping, began to withdraw through fear and was prohibited [ from withdrawing ] by the lord Dharana, thus -- knowing me to be one doing good [or to be a virtuous man or to be a gentleman ] from this evidence [ i. e. the information given in next staza ] in proof [ of my being a virtuous man ], oh gentleman, you need not withdraw [ or .you should not withdraw ]. devasyA'sya priya sahajakaH pUrvajanmanyabhrastvaM strIkAmyaMstaM prasabhamavadhIrvairakAmyaMstadainam / tatte mauDhyAtkRtamanucitaM marSitaM na tvayA'pi mA kaulInAdasitanayane mayyAvizvAsanI bhUH // 52 // anvayaH - pUrvajanmani tvaM asya devasya priyasahajakaH abhUH / tadA strIkAmyan vairakAmyan [ tvaM ] enaM taM prasabhaM avadhIH / mauDhyAt anucitaM te tat kRtaM tvayA api na marSitam | [ ataH ] asitanayane mayi kaulInAt avizvAsanI mA bhUH / devasyetyAdi / pUrvajanmani prAktanabhave tvaM bhavAn asya devasya asya bhagavato marubhUticarasya pArzvajinendrasya priyasahajakaH priyasodaryaH / saha jAtaH sahajaH / svArthe kapratyayaH / priyazcAsau sahajakazca priyasahajakaH / abhUH babhUvitha | tadA tasminbhave strIkAmyan marubhUtipatnIM vasundharA jigamiSuH / striyaM marubhUteH patnImAtmanaH icchatIti strIkAmyan / " svepaH kAmyaH ,, ityAtmanaH icchAyAM kAmyaH / vairakAmyan vairAyitumicchan / vairaM marubhUtAvAtmanaH icchatIti vairakAmyan / yathApUrvaM kAmyaH / tvaM enaM pArzvajinendraM taM marubhUticaraM prasabhaM haThAt / yuktAyuktama 1

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caturthaH sargaH] 399 vicArAtyarthaH / avadhIH ahn| mauDhyAt ajJAnAt anucitaM aucityavikalam / ayuktamityarthaH / 'ucitaM tu samaJjase / anumatyAM mitA'bhyastajJAteSu triSu ca triSu' iti vizvalocane / / te tava tat vasundharAbhilASarUpam / kRtaM karma | kRtyamityarthaH / 'nabhAve kto'bhyAdibhyaH' iti ktaH / tvayA api bhavatA api na marSitaM na soDham / etasmAdabhijJAnadAnAt asitanayane mayi raktanayane mayi nAgarAje / na siMta zubhraM asitN| paryudAsena sitetaradityarthaH / nayanayornAgarAjAvayavabhUtatvAllakSaNayA'sitazabdena raktavarNo'tra grAhyaH / tena asite rakte nayane yasya so'sitnynH| tasmin / kaulInAt parIvAdAt lokavAdAdvA / ' kolInaM tu parIvAde kulInatve kukarmaNi / guhyepi saGgare'pi zvabhujaGgapazupakSiNAm / ' iti vishvlocne| lokavAdenAtrApavAdArthoM grAhyaH / avizvAsanI vizvAsazUnyaH / ' karaNAdhAre cAnaT ' iti nabbhAve vidhIyamAnenAnaTpratyayena vizvAsanamiti zabdaH siddhaH / na vizvAsanamavizvAsanam / anaTaSTitvAnnAtra striyAM GI, api tu 'ato'nekAcaH' iti matvarthe in / avishvaasnmstysyetyvishvaasnii| mA bhUH mA sma bhavaH / mAGA yukttvaadddaagmprtissedhH| avizvAsanI bhUH ityasya vyantatve'pi na kA'pi kSatiH / prAk anavizvAsana idAnImavizvAsano mA bhaH / atrApyaDAgamaH pratiSiddha eva / tathApi pUrvoktava rUpasiddhissamIcInA, dvitIye vyAkhyAne prAktanIyavizvAsanasyAzakyasamarthanatvAt / raktAkSA uragA na vizvAsanAA~ iti lokApavAdamAtreNa na tvayA mayi vizvAsastyAjya iti bhaavH| In the former birth you were a dear brother of whole blood of this Lord. In that birth you, wishing to have [ sexual intercourse with ] his wife [ and so ] wishing to have enmity with him, killed this porforce. That wicked deed of yours, perpetrated through foolishness, was not put up with by you even. On the strength of malicious gossip, do not be distrustful towards me, having [ my ] eyes red. dhikkRtyainaM muhuratha sajUkRtya taM so'hirAjo bhaktyA bhartuzcaraNayugale praannmtsnehnighnH| snehAnAhuH kimapi virahe hAsinaste'pyabhogA- . diSTe vastunyupacitarasAH premarAzIbhavanti // 53 // anvayaH- atha enaM taM muhuH dhikkRtya sajUkRtya saH ahirAjaH bhartuH caraNa

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400 [pArdhAbhyudaye yugale snehanighnaH bhaktyA prANamat / [ yat ] virahe snehAna hAsinaH AhuH [ tat ] kimapi / te abhogAt iSTe vastuni upacitarasA [ santaH ] premarAzIbhavanti / dhikkRtyetyAdi / atha anantaraM / 'athA'tho ca zubhe prazne sAkalyArambhasaMzaye / anantarepi' iti vizvalocane / enaM zambarAsuraM taM pUrvabhavavairiNaM muhuH asakRt / 'muhuH punaH punaH zazvadabhIkSNamasakRt samAH' ityamaraH / dhikkRtya sadhikkAraM nirbha ye / 'sAkSAdAdyavi' iti sAkSAdAdigaNAntargatatvA kRSi tisjnyaa| sajakRtya sahAyIkRtya / shkRtvetyrthH| 'viDAjUAMdyanukaraNaM' ityUryAdigaNatvAtsatarityasya sahArthasya tisjnyaa| ' isusorbahulam' iti sakhe sajakRtyetirUpaM tadabhAve ca sajU:kRtyeti / dvAvapi pAThau samIcInau / tena sahetyarthaH / saH dharaNendrAkhyaH ahirAjaH uragarAT / 'rAjAhaHsakheSTaH / ' iti saantssttH| bhartuH bhagavataH pArzvajinendrasya caraNayugale paaddvye| paadyorityrthH| snehanighnaH prnnyaadhiinH| snehe nighnaH snehanighnaH / praNayAdhIna ityarthaH / nighnaH aayttH| 'adhIno nidhana Ayatto'svacchando gRhyako'pyasau' ityamaraH / nihanyate nighnaH / 'sthAdibhyaH kaH' iti kaH / prANamat praNamati sma / atra snehanighnaH ityanena nAgendratadindrANyoH sarpayugalacarayoH marubhUticareNa bhagavatA pArzvajinendreNa kRta upakAraH dhvnyte| yat virahe viprayogakAle snehAn praNayAn hAsinaH hasanazIlAn / hasanasvabhAvAnityarthaH / 'zIle'jAtau Nin' iti zIle Nin / AhuH bruvanti tat kimapi avacanAIm / vaktumayogyamityarthaH / yataH te api snehAH api abhogAt bhogAbhAvAt / prasajyapratiSedhe'tra na / abhuktatvAdityarthaH / iSTe abhilaSite vastuni viSaye upacitarasAH santaH prcitaanuraagaaH| pravRddhatRSNA ityrthH| upacita pracitaH pravRddhaH rasaH rAgaH yeSAM yeSu vA te upcitrsaaH| 'rasaH svAde'pi tiktAdau zRGgArAdau drave viSe / pArade dhAtuvIryAmburAge gandharase tanau // raso ghRtAdAvAhArapariNAmodbhave'pi ca' iti vishvlocne| premarAzIbhavanti gADhasnehatvamApnuvanti / nAtra snehapremNoravasthAbhedAdanyonya bhinnatvamapi tvanAntaratvameva, ubhayorapi devatAratibhAvArthaparatvAt / premarAzIbhavantIti padena snehasya gADhatvamAnaM vyajyate / prAgapremarAzayaH idAnIM bhagavadbhogIndrayugalayorviprayogakAlAnantaramasminsAkSAddarzanakAle premarAzayaH sampadyamAnAH bhavanti / 'kRmvastiyoge'tattatve sampattari viH' iti viH| Afterwards, that king of serpents, absorbed in devotion [ to Him or absorbed in affection for Him ], having rebuked this [ demon ] again and again [ and ] taking him along with himself, made, with

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caturthaH sargaH] 401 devotion [ devoutly 1, a low obeisance to the two feet of the Lord. They [ people ] speak of affections to be deteriorating during the period of seperation; [ but it is ] inexplicable. Those [ affections ], however, owing to non-enjoyment, having longing heightened [ intensified ] in respect of objects desired for [ of beloved objects ] get turned into heaps of affection [ i. e. become intensified ]. sakSepAcca stutimuragarAT kartumArabdha bhartuH zreyassUte bhavati bhagavanbhaktiralpApyanalpam / zreyaskAmA vayamata ito bhoginI no'nukUlA mAvAsyanAM prathamavirahe zokadaSTAM sakhI te // 54 // anvayaH- uragarAT saGkSapAt bhartuH stutiM ca kartuM Arabdha - ' bhagavan bhavati aspA api bhaktiH analpaM zreyaH sUte / ataH prathamavirahe zokadaSTAM naH anukUlAM enAM sakhI bhoginI AzvAsya te vayaM zreyaskAmAH [santaH] itaH [prAptAH / / ___ saGkSapAdityAdi / uragarAT nAgarAjaH / rAjate iti rAT / kip / sakSepAta samAsena bhartuH bhagavataH zrIpArzvajinendrasya stutiM ca stavaM ca karta vidhAtuM Arabdha Arebhe / luGi rUpam / bhagavan bho svAmin bhavati tvayi alpA api stokA'pi bhaktiH bhajanaM / sevetyarthaH / 'bhAktirvibhAge sevAyAm / iti vizvalocane / analpaM vipulaM zreyaH maGgalaM puNyaM vA / 'zreyastu maGgale dharme' iti vizvalocane / sUte janayati / ataH etasmAtkAraNAt / prathamavirahe prAthamika virahe / zokadaSTAM zokenAtyantaM pIDitAm / zokena duHkhena daSTA atyantaM pIDitA zokadaSTA / tAm / prAktane bhave paJcAmitapaH samAcaratA kamaThacareNa tApasenAmisandhukSaNe kriyamANe kASThAntargatasvazarIrANAmasmAkaM deheSu dagdheSu paJcatvaM prAptAnAM bhavatastadA prathamo viraho jAtaH / tasminkAle zokAkrAntAm / naH asmAkaM anukUlA anurUpAM enA etAM sakhIM mamAlI bhoginI bhogavatI patnI AzvAsya zAntayitvA te bhasmIbhUtazarIrAH vayaM tvadbhaktibhAjaH zreyaskAmAH zreyobhilASiNaH santaH / zreyase kAmaH icchA yeSAM yeSu vA te / itaH atra bhavacaraNayossamIpaM prAptAH / prAktanabhave bhavacaraNasAmIpyamAtreNa devabhUyaM gatatvAdasmAbhiH 'bhavatyalpApi bhaktiranaspaM zreyaH sUte' iti vijJAyAto'pyadhikataraM zreyo'smAkaM bhUyAditi manasi vidhAya bhaktinamrAH vayaM bhavacaraNayugalaM pUjayitukAmAH atra prAptAH smaH ityabhiprAyo'surasya / pArzvabhyudaye...26

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[ pArzvAbhyudaye The king of serpents began to pray succintly- Oh Lord! devotion to you, though insignificant, produces bliss in abundance. So, having conciliated this, the female serpent, the female friend of mine, favourable to me [ i. e. not going against me ], distressed at the time when we deserted you first [ or when we got separated from you first ], we, desirous of attaining bliss, have come here. 402 saiSA sevAM tvayi vidadhataH zreyase me durApaM yanmAhAtmyAtpadamadhigataM kAntayA'mA mayedam / yasmAccainaM tadanucaraNenA'hamujjhanvihAraM tasmAdadvestrinayavRSotsvAtakUTAnivRttaH // 55 // anvayaH---- yanmAhAtmyAt mayA kAntayA amA idaM durApaM padaM adhigataM, yasmAt ca tadanucaraNena ahaM vihAraM ujjhan trinayana vRSotkhAtakUTAttasmAt adreH nivRttaH, sA eSA tvayi sevAM vidadhataH me zreyase / , saiSetyAdi / yanmAhAtmyAt yasyAH bhakteH prabhAvAt / yasyAH mAhAtmyaM yanmAhAtmyam / tasmAt / mayA nAgarAjena / kAntayA palyA bhoginyA amA saha / ' amA saha samIpe ca ' ityamaraH / idaM etat durApaM durlabhaM / duHkhena kRcchreNa Apyate iti durApam / ' svISasi kRcchrAkRcchre khaH iti khaH / padaM nAgendrapadam / ' padaM vAkye pratiSThAyAM vyavasAyApadezayoH / pAdAtacihnayozzabde sthAnatrANAGghrivastuSu || ' iti vizvalocane / adhigataM prAptam / yasmAt ca yanmAhAtmyAcca tadanucaraNena bhaktyanukUlAcaraNena hetunA / bhaktyanukUlamAcaritu mityarthaH / ahaM nAgarAjaH vihAraM lIlArthakaM bhramaNaM ujjhan pariharan trinayanavRSotkhAtakUTAt ratnatrayAtmaka vRSabhajinamandirayuktazikharAt / trINi nayanAni samyagdarzanajJAnacAritralakSaNAni yasya sa trinayanaH / vRSo vRSabho'syA'stIti vRSaH / vRSabhalAJchanaH AdijineMdra ityarthaH / o'bhrAdibhyaH ityaH | trinayanacAsau vRSazca trinayanavRSaH / yadvA trINi samyagdarzanAditrayarUpANi nayanAni trinayam / tadeva vRSaH AtmadharmaH yasya sa trinayanavRSaH / ' vRSo mUSakadharmayoH / vRSabhe vAsake zreSThe rAzau zRGgbhyAM ca zukale | zukre puruSabhede'pi ' iti vizvalocane / kUTaH zikharamasyAstIti kUTam / sazikharaM mandiramityarthaH lakSaNayA'tra grAhyaH / utkhAtaM ukhAtya nirmitam / 'o'bhrAdibhyaH ' ityo matvarthIyaH / trinayanavRSAyotkhAtaM kUTaM sazikharaM mandiraM yatra saH / tasmAt / tasmAt 8 "

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caturthaH sargaH] 403 adreH kailAsAdreH nivRttaH pratyAgataH sA dharaNendrapadapradAyinI eSA bhaktiH tvayi bhavati sevAM bhaktiM vidadhataH kurvataH me mama dharaNendrasya zreyase kalyANAya syAditi zeSaH / vidadhati vidadhate ceti bahuvacanatipratyayAntapadadvayasvaikavacanasubantakartRpade'. bhyayAsambhavadarzanAt 'vidadhataH ' iti kRdantaM pAThamurarIkRtya vyAkhyAnaM kRtam / That this devotion to you, through the magnanimity of which I along with my beloved, secured this dignity which is very difficult to attain, and on account of wbich I, with a desire to worship with devoa tion, giving up rambling excursion, returned from that mountain having an excavated temple dedicated to Vrsabha Jina possessing three eyes ( in the form of right belief, right knowledge and right conduct ], is for the welfare of me, performing your worship. tanme deva zriyamuparimAM tanvatIyaM tvadanyo bhaktirbhUyAnikhilasukhadA janmanIhA'pyamutra / kAntAsaGgairalamaghavazAgRdhanutAM vardhayadbhiH sAbhijJAnaM prahitavacanaistatra yuktairmamA'pi // 56 // anvayaH-- tat deva ! uparimAM zriyaM tanvatI iyaM tvadayoH bhaktiH iha janmani amutra api me nikhilasukhadA bhUyAt / kAntAsaGgaiH tatra yuktaiH api aghavazAt mama gRdhnutAM vardhayadbhiH sAbhijJAnaM prahitavacanaiH apam / / tadityAdi / tat tasmAt kAraNAt deva bhagavan uparimAM uparitanI / uttamAmityarthaH / dhiyaM sampadaM tanvatI tanvAnA / dadAnetyarthaH / iyaM eSA tvada GghayoH bhavaccaraNakamalayoH / tava achI caraNau tvadachI / tayoH / ' achiH pusyeva caraNe mUle'pi ca mahIrahe' iti vizvalocane / bhaktiH sevA iha asmiAt janmani bhave amutra api paraloke api meM mama nikhilasukhadA sarvaprakArakasukha dAyinI bhUyAt bhavatvityahaM pArthaye / kAntAsaGgaiH kAminIsaMsargaH tatra kAminIsaMsargaviSaye yuktaH api sambaddhaizca / kAminIsaMsargaviSayasambaddharityarthaH / aghavazAna cAritramohanIyAkhyapApakarmodayAddhetoH mama mAmakInAM gRdhnutAM abhilASukatAM / kAntAsaGgaviSaye lubdhatAmityarthaH / 'gRdhnustu gardhanaH / lubdho'bhilASukastRSNak samau lolupalolubhau' ityamaraH / 'trasgRdhdhRSakSipaH knuH' iti knutthH| gRdhnoH bhAvaH gRdhnutA / tAm / vardhayadbhiH vRddhi praapyaadbhiH| sAbhijJAnaM pratyabhijJAnasAdhanasahitaM / abhijJA

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404 [pArdhAbhyudaye yate pratyabhijJAyate'neneti abhijJAnam / tena sahitaM yathA syaattthaa| yogapadye hasaH / sahazabdo yogapadyasampatsAkalyAntoktiSu vartate / ' he'kAle ' iti sahasya saH / 'jhiH sub' iti hasaH / prahitavacanaiH preSitavAcikaiH / prahitAni preSitAni ca tAni vacanAni vAcikAni prahitavacanAni / taiH / alaM paryAptam / 'prakRtyAdibhyaH ' iti nissedhvcnaalNshbdpryogaanissidhymaanaadbhaa| anAdicAritramohodayajanitAntaraGgabahiraGga ceSTitarUpANyaGganAGgasaGgakrIDitAni tadabhilASavRddhikArINi ca tadviSayakANi vacanAni tvadbhaktyA nikhilasukhAnyadhijigamiSurahaM parityajya bhavaccaraNakamalApacitidattacitto bubhUSAmIti bhAvaH / Therefore oh Lord ! may this devotion to your feet, bestowing. excellent prosperity, bring me all pleasures in this life and even in the life to come next. Enough of the unions with my beloved and of words, oven, sent along with a means of recognition, referring to those [ unions ], intensifing my eagerness [ for those unions ] owing to. the sin [ committed by me in my former births ]. bhUyo yAce suranuta mune tvAmupArUDhabhaktau daitye cA'sminpraNayamadhurAM dehi dRSTiM prasIda / cittodvegairanuzayakRtazcAsya gAtrAtprapitsu prAtaHkundaprasavazithilaM jIvitaM dhArayedam // 57 // anvayaH-- bho suranuta mune tvAM bhUyaH yAce prasIda, asmin ca upArUDhabhaktau daitye praNayamadhurA dRSTiM dehi; anuzayakRtaiH cittodvegaiH prAtaHkundaprasavazithilaM idaM gAtrAt prapitsu jIvitaM dhAraya / bhUya ityAdi / bho suranuta mune he vandArunirjarapraNutacaraNakamala sAdhoM tvAM bhavantaM bhUyaH punaH yAce prArthaye prasIda prasanno bhava / asmin ca etasmin zambarAsurAbhidhAne kamaThacare ca upArUDhabhaktau vivRddhsevaabhaave| upArUDhA vRddhi prAptA bhaktiH sevAbhAvaH yasmin saH / tasmin / daitye asure praNayamadhurAM anukampAmadhusrAviNIM / praNayasubhagAmityarthaH / dRSTiM dehi darzana deyaaH| tasmin sAnukampAM dRSTiM nikSipyAH ityarthaH / anuzayakRtaiH pazcAttApavihitaiH / anuzayena pazcAttApena kRtAH vihitAH anushykRtaaH| taiH| 'dIrghadveSAnutApAnubandheSvanuzayaH pumAn' iti vishvlocne| cittodvaigaiH svakRtAparAdhasmRtijanitairmAnasarbhathaiH / cittasya manasaH udvegA udvejanAni.

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cartuH sargaH ] 405 bhayAni cittodvegAH / taiH / ovijI bhayacalanayorityasmAdupasarga pUrvAddhani rUpam / 6 udvega udbAhulake pumAnudvejane'pi ca / bhavedudgamane cA'yamudvegaM mukIphale ' iti vizvalocane / prAtaHkundaprasavazithilaM pragetanakundakusuma zlakSNam / prAtaH pragetanakAle yaH kundaprasavaH sa iva zithilaM zlathabandhanam / 'prasavo garbhamokSe syAdvRkSANAM phalapuSpayoH / paramparAprasaGge ca lokotpAde ca putrayoH ' iti vizvalocane / ' sAmAnyenopamAnam ' iti saH / idaM etat gAtrAt asya zarIrAt / ' gAtraM gajAgrajaGghAdivibhAge'pyaGgadehayoH ' iti vizvalocane / prapitsu prapatitumicchu / ' sanbhikSAzaMsvindicchAduH iti sannantAduH / jIvitaM prANAn dhAraya prapatanAnnivArayasva / nivArayatviti prArthaye iti bhAvaH / svakRtAgassmaraNajanitAnutApAtpApAdbhItezca kamaThacarazambarAsura - zarIrAtprapatanonmukhAnasya prANAnanukampAmadhusrAviNyA dRSTyA vilokya prapatanAnnicArayasveti bhAvaH / Oh sage praised by gods, I again implore you; he pleased and cast a glance agreeable owing to compassion, at this demon, in whom [ feelings of ] devotion [ to you ] are intensified; prop up this life [ of him], enfeebled like a Kunda flower in the morning, desirous of flying away from his body owing to the afflictions of his mind caused by repentance. stutyante'sau vyaracayadiva cchatramuccaiH phaNAliM bharturbhaktyA dadhadadhiziraH svAM vitatya pramodAt / vyAttairvaktrairbhuvamiti muniM vaktukAmastadAnIM kaccitsaumya ! vyavasitamidaM bandhukRtyaM tvayA me // 58 // " anvayaH- ' saumya ! kacit idaM me bandhukRtyaM tvayA vyavasitaM ' iti vyAttaiH caktraiH tadAnIM muniM dhruvaM vaktukAmaH asau stutyante bhaktyA svAM phaNAli uccaiH vitatya pramodAt bhartuH adhiziraH dadhat chatraM iva vyaracayat / stutyante ityAdi / saumya budha anuya vA / budhetyanena bhagavataH kevalajJAnitvaM dhvanyate'nugretyanena ca praNaSTakaSAyacaRtvaM ca / ' budhe saumyo'tha vAcyavat / bauddhe manorame'nugre pAmare somadaivate ' iti vizvalocane / kaccit kAmapravedane / idaM praNayamadhurAM dRSTiM dehItyAdinoktaM me mama bandhukRtyaM bandhukAryam / bhagavadbhaktibaddha - ce taskatvAddharaNendrasya bhagavadvandhutvam / svajanakAryamityarthaH / ' sagotrabAndhavajJAtibandhu 1

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406 [pArdhAbhyudaye svasvajanAH samAH' ityamaraH / tvayA bhagavatA pArzvanAthena bhvtaa| vyavasitaM nizcitam / bhavataH svajanena mayA dRSTidAnAdikArya prArthitaM bhavatA kartuM nizcitamityAzAse / iti anena prakAreNa vyAttaiH vivRtaiH vaktraiH mukhaiH tadAnIM tasmin kAle muni bhagavantaM pArzvajinendraM vaktukAmaH vaktumicchan / 'samtumArmanaHkAme ' iti tumaH kham / asau dharaNAkhyo nAgarAjaH stutyante stavanAvasAnakAle bhaktyA anurAgeNa svAM svakIyAM phaNAli phaTATopaM / phaNAnAM phaTAnAM AliH AvaliH phaNAliH / tAm / uccaiH atyarthaM vitatya vistArya pramodAt praharSeNa bhartuH bhagavataH pArzvasya adhiziraH zirasi / ' jhiHsub-' ityAdinA vibhaktyarthe hasaH / ddhat dadhAnaH / dhArayannityarthaH / chatramiva Atapatramiva vyaracayat vyararacat / viracitavAnityarthaH / phaNAsthA chatrakArya kArayAmAseti bhAvaH / ____ This [ lord of serpents ], at the end of the prayer, at that time, with all his mouths opened, verily desirous of speaking to the sage Oh omniscient ! I hope that this friendly service to me has been decided upon by you', holding upon His head through devotion the row of his hoods, expanding it very much, made it serve like an umbrella. devI cA'sya pracaladalakA lolanenduvaktrA divyaM chatraM vyaracadaho dhairymityaalpntii| daityasyA'dreryadabhidalanaM zaktiyoge'pi kartu pratyAdezAnna khalu bhavato dhIratAM kalpayAmi // 59 // anvayaH-'aho dhairyam ! yat daityasya adreH abhidalanaM kartuM zaktiyoge api pratyAdezAt bhavataH dhIratAM na khalu kalpayAmi' iti AlapantI pracaladalakA lolanetrA induvaktrA asya devI ca divyaM chatraM vyaracayat / devItyAdi / aho vismaye / ' aho hIti vismaye' ityamaraH / dhairya dhIratA / asthAzcarthakaraM dhairyamityarthaH / yat yasmAt kAraNAt daityasya zambarAbhidhAnasyAsurasya adreH bhagavataH zirasi pAtitumutthApitasyAcalasya abhidalanaM kartuM zakalIkartuM zaktiyoge api zaktimatve'pi / zaktyA sAmarthena yogaH sambandhaH zaktiyogaH / tasmin satyapi / pratyAdezAt pratyAkhyAnAt / daityAdyabhidalananirAkaraNAdityarthaH / 'pratyAkhyAnaM nirasanaM pratyAdezo nirAkRtiH' ityamaraH / bhavataH pArzvajinendrasya tava dhIratAM dhairya na kalpayAmi manasA'pi na cintayAmi iti evaM -

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caturthaH sargaH] AlapantI bhASamANA pracaladalakA lolAlakA / pracalantaH lolAH alakAH cUrNakuntalAH yasyAH sA pracaladalakA / lolanetrA caJcalAkSI / lole caJcale netre akSiNI yasyAH sA / 'svAGgAnnIco'sphoGaH ' iti sphoGtvAGyAH pratiSedhaH / induvaktrA candravadanA / induzcandraH iva vaktraM mukhaM yasyAH sA / asya dharaNAkhyasya nAgarAjasya devIca devajAtIyA kAntA ca divyaM atimanoharaM / divi bhavaM divyam / chatraM AtapatraM vyaracayat araracat / racayati smetyarthaH / And the beloved of this, having her hair dangling, eyes fickle and face like the moon, speaking out- Oh! what a great courage! I cannot imagine [even ] your courage indeed because of your rejecting to cut the mountain of the demon to pieces, notwithstanding your being in possession of strength capable of doing it', produced a very beautiful [ lit. celestial ] umbrella. tacchAyAyAM samadhikaruciM devamutpannabodha baddhAsthAnaM zaraNamakRta tyaktavairaH sa daityH| zreyo'smabhyaM samabhilaSitaM vArivAho yathA tvaM niHzabdo'pi pradizasi jalaM yaacitshcaatkebhyH|| 60 // pratyutkIrNo yadi ca bhagavanbhavyalokaikamitrAt tvattaH zreyaH phalamabhimataM prApnuyAdeva bhaktaH / pratyuktaiH kiM phalati jagate kalpavRkSaH phalAni ? pratyuktaM hi praNayiSu satAmIpsitArthakriyaiva // 61 // . anvayaH- saH tyaktavairaH daityaH tacchAyAyAM samadhikaruciM utpannabodhaM / baddhAsthAnaM devaM zaraNaM akRta / he bhagavan ! [ yadi ] pratyutkIrNaH vArivAhaH cAtakebhyaH jalaM yathA, yAcitaH [ san ] niHzabdaH api asmabhyaM samabhilaSitaM zreyaH pradizasi, yadi ca bhavyalokakamitrAt tvattaH bhaktaH abhimataM phalaM prApnuyAt eva, [ tarhi ] zreyaH / kalpavRkSaH phalAni jagate kiM pratyuktaiH phalati ? praNayiSu IpsitArthakriyA eva hi satAM pratyuktam / tacchAyAyAmityAdi yugmam / saH zambarAbhidhAnaH tyaktavairaH parityaktazAtravaH daityaH asuraH tacchAyAyAM phaNAchatrayoH chAyAyAm / chAyA'nAtapaH / tayoH

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[ pArzvAbhyudaye 8 " phaNAchatrayoH chAyA nAtapaH tacchAyA / tasyAm / chAyA syAdatapAbhAve satkAntyutkocakAntiSu / pratibimbe'rkakAntAyAM tathA paGktau ca pAlane || ' iti vizvalocane / samadhikaruci adhikatara kAntim / ' ruciricchA rucA ruktA zobhAbhiSvaGgayorapi / ruk zobhAyAM ca kiraNe striyAmapi manorathe || ' iti vizvalocane / utpannabodhaM AvirbhUta kevalajJAnam / AtmanazzuddhajJAnaghanaikasvabhAvatvAttajjJAnasyotpattyasambhavAdutpattizabda AvirbhavanArthavacana eva grAhyo lakSaNayA / utpannazabdasAnnidhyAdAtmanazca jJAnasAmAnyatvAdbodhazabdaH kevalarUpajJAnavizeSavacana ityabhyUhyam / baddhAsthAnaM pAkazAsanAjJAkArikubera viracitasamavasaraNam / baddhaM viracitaM AsthAnaM sabhAmaNDapaH yasya sa baddhAsthAnaH / tam | AsthIyate'tra pAriSadyairityAsthAnam | karaNAdhAre cAnad ityAdhAre'naT | devaM bhagavantaM pArzvanAthatIrthaMkaraM zaraNaM rakSitAram / ' zaraNaM gRharakSitroH zaraNaM rakSaNe vadhe ' iti vizvalocane / akRta akarot / he bhagavan kevalajJAnin / bhagaM prazastaM jJAnamastyasyeti bhagavAn / prazaMsAyAmantra matuH / ' bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratnabhAnuSu // ' iti vizvalocane / yadi pratyutkIrNaH rAzIbhUtaH vinazvaro vA jina pakSe kevalajJAnayuktaH / vArivAhaH balAhakaH / megha ityarthaH / vAri vahatIti vArivAhaH / karmaNyaN / cAtakebhyaH jalaraJjebhyaH jalaM yathA vArIva / yathA yAcitaH rAzIbhUtaH ghanaH niHzabdaH api cAtakebhyaH jalaM pradizati tathetyarthaH / yAcitaH san prArthitaH san tvaM niHzabdaH api vAcaMyamatAM prAptaH api / vAgyato'pItyarthaH / asmabhyaM mahyam / 3 dvau cAsmado'nupAdhau ' iti bahuvacanam / samabhilaSitaM abhikAGkSitaM zreyaH kalyANaM maGgalaM vA / abhyudayaniHzreyasasampadamityarthaH / ' zreyastu maGgale dharme ' iti vizvalocane / pradizasi dadAsi yadi ca bhavyalokaikamitrAt ratnatrayAtmapariNatiyogya puruSazreSTha mitrAt / ratnatrayAtmanA bhUyate'neneti bhavitumarhatIti bhavatIti vA bhavyaH / ' janbhUgo yo vA' iti yaH / bhavyAH ratnatrayadhAraNayogyAzca te lokAH janAH bhavyalokAH / teSAM ekaM zreSThaM kevalaM mitraM bhavyalokaikamitraM / tasmAt / < ekastu syAtriSu zreSThe kevaletarayorapi ' iti vizvalocane / tvattaH bhavataH pArzvajinendrAt / bhaktaH bhaktibhAk abhimataM abhilaSitaM phalaM lAbham / phalaM tu sasye hetUtthe phalake vyuSTilAbhayoH / jAtIphale'pi kakole mArgaNAgre'pi na dvayoH // syAt phalaM triphalAyAM ca' iti vizvalocane / prApnuyAdeva nizcitaM labheta tarhi zreyaH jyAyaH / prazasyataram / C prazasyasya zraH itIyasi pare prazasyasya zrAdezaH / yadi bhavAn vAcaMyamo'pi zreyaH pradizasi yadi ca bhakto'bhimataM phalaM tvatto nizcayena labheta tadA tvadIyaM vAcaMyamatva 8 408

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caturthaH sargaH ] 109 manyasmAcchreyaH iti bhAvaH / kalpavRkSaH saGkalpapUraNaH devadrumaH phalAni abhikAGkSitAni jagate lokAya / janebhyo dAtumityarthaH / kiM pratyuktaiH phalati kiM prativacanaiH phalegrahitAM yAti / praNayiSu savinayaM prArthiSu IpsitArthakriyA eva abhikAGkSitaphalaniSpAdanameva / IpsitaH abhilaSitaH arthaH prayojanaM phalaM iipsitaarthH| tasya kriyA niSpAdanamIpsitArthakriyA / 'arthaH prayojane citta hetvabhiprAyavastuSu / zabdAbhidheye viSaye syAnivRttiprakArayoH' iti vizvalocane / hi hetau nizcaye vaa| yasmAtkAraNAt nizcayato vA / ' hi vizeSe'vadhAraNe / hi pAdapUraNe hetau' iti vizvalocane / satAM satpuruSANAM pratyuktaM prativacanam / uttaramityarthaH / That demon, with enmity abandoned [ abandoning enmity ] found his protector in the Lord, having his splendour increased in the shadow of those, having perfect and flawless knowledge manifested, and having a lecture-hall constructed [ for Him by Kubera ]. Oh Lord ! if you, though silent, give us bliss desired for, on request, like an amalgamated cloud giving water to the Chataka birds, and if the devotee gots his purpose, desired for, achieved certainly, through You, the excellent [ or matchless ] friend of the fortunate people, it is better. Do the desire-fulfilling trees bear fruits for the sake of the world through words [i. e. replies ] ? Bringing into effect only the purpose, desired for, is a reply of the good to the supplicants. sahIkaste kathamapi puro vartituM saGghaTe'haM dUrAdvaktuM nikRtibahulaH pApakRdvairadagdhaH / saujanyasya prakaTaya parAM koTimAtmanyasaGgAt etatkRtvA priyamanucitaM prArthanAdAtmano me // 62 // anvayaH - sahrIkaH nikRtibahulaH pApakRt vairadagdhaH ahaM te puraH vartituM kathamapi sngghtte| vaktuM dUrAt / Atmani asaGgAt [ te ] anucitaM [ me] priyaM etat me prArthanAt kRtvA AtmanaH saujanyasya parAM koTiM prakaTaya / sahrIka ityAdi / sahrIMkaH salajaH / hriyA lajayA sahitaH sahIkaH / 'RnmoH ' iti kapa / 'ke'NaH' iti pratva prApte 'na kapi' iti pratvasya nissedhH| nikRtibahulaH apkaarbhulH| nikRtirapakAro bahulaH pracuraH yasminyasya vA / kRtabahapakAraH ityarthaH / pApakRt pApakarmakaraH / pApaM pApakarma karotIti pApakRt / kvip /

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410 [ pArzvAbhyudaye " " ( piti kRti tuk iti prAntatvAt vipaH pitvAttasminpare tuk / vairadagdhaH vairadagdhahRdayaH / vairaM zAtravam / tena dagdhaH / yadvA pApakRtA vaireNa dagdhaH / ahaM zambarAbhidhAnaH daityapAzaH / te bhavataH puraH agrataH vartituM sthAtuM kathamapi mahatA kaSTena saGghaTe prayate / vaktuM bhASituM dUrAt dUre astu / Atmani svazarIre / svazarIraviSaye ityarthaH / AtmA brahmamanodehasvabhAvadhRtibuddhiSu iti vizvalocane / asaGgAt AsaktyabhAvAt te anucitaM ayogyaM me priyaM rucitaM patalU anantarottarazlokoktaM kArya me mama prArthanAt yAcanAddhetoH kRtvA vidhAya AtmanaH svastha saujanyasya sAnukampatvasya parAM koTiM AtyantikaM prakarSe / ' koTiH saGkhyAntarA prayoH / atyutkarSaprakarSAzrikArmukAgreSu ca striyAm ' iti vizvalocane / prakaTaya prakaTIkuru / ' mRdo dhvarthe Nijbahulam' iti karotyarthe Nic / I, put to shame, possessing wickedness in abundance, committing sin, burning at heart with enmity, am trying to stand before you with a great difficulty. Let alone speaking with you! Manifest a climax of your compassion by doing this [ which is described in the next stanza ], dear [ to me and ] improper [ in your opinion ] owing to your renunciation of attachment to your body [even ], on my request. , atrANaM mAmapaghRNamatiprauDhamAyaM durIhaM pazcAttApAccaraNapatitaM sarvasattvAnukampa / pApApetaM kuru sakaruNaM tvA'dya yAce vinamraH sauhArdAdvA vidhura iti vA mayyanukrozabuddhyA // 63 // anvayaH sarvasattvAnukampa ! vinamraH ahaM tvA adya sakaruNaM yAce | sauhArdAt vA, vidhura iti mayi anukrozabuddhyA vA atrANaM apaghRNaM atiprauDhamAyaM durIhaM pazcAttApAt caraNapatitaM mAM pApApetaM kuru / atrANamityAdi / sarvasattvAnukampa prANimAtre dayAzIla / sarvANi ca tAni sattvAni prANinaH sarvasattvAni / teSu anukampA yasya saH sarvasattvAnukampaH / tasya kiH / ( sattvaM jantuSu na strI syAtsattvaM prANAtmabhAvayoH / dravye bale pizAcAdau sattAyAM guNavittayoH || svabhAve vyavasAye ca sattvamityabhidhIyate ' iti vizvalocane / vinamraH atyarthaM vinataH / ' namkampismyajaska mhisadIpo raH' iti raH / ahaM kamaThacaraH zambarAsuraH tvA bhagavantaM pArzvajinendraM adya adhunA sakaruNaM sadainyaM / dInatayetyarthaH .

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caturthaH sargaH] 411 karuNayA dainyena sahitaM yathA syAttathA / ' he'kAle' iti sahasya saH / 'jhiH sub-' ityAdinA hsH| yAce praarthye| sauhArdAdvA suhRdbhaavaadvaa| audAryAdityarthaH / suhRdo bhAvaH sauhArdam / zobhanaM hRdayaM yasya saH suhRdayaH / suhRdayasyedaM sauhArdam / 'kacchAdeH' ityaNi pare 'hRdayasya hRllekhANyalAse' iti hRdayasya hRdAdezaH / hRdi pare ca ' hRsindhubhage dvayoH' iti dvayorapi padayoraim / yadvA 'suhRdduhRnmitrAmitre' ityanena nipAtitAtsuhRcchabdAt 'kacchAdeH' ityANi pare 'hRtsindhubhage dvayoH' ityubhayorapyaip / vidhuraH iti pApabhayAkrAntatvAt kRtapApajanitaduHkhAkulatvAdvA / ayaM pApabhItaH duHkhAkulaH veti manasi vidhAyetyarthaH / 'vidhuraM tu pravizleSe pratyavAye'pi tanmatam / vidhurA tu rasAlAyAM vidhuraM vikale'nyavat ' iti vizvalocane / mayi mayaki anukrozabuddhyA vA anukampAmayena manasA / 'kRpA dayA'nukampA syAdanukrozopi ' ityamaraH / atrANaM azaraNam / 'trAtaM trANaM rakSitamavitaM gopAyitaM ca guptaM ca ' ityamaraH / na vidyate trANaM zaraNaM rakSitA yasya saH atrANaH / tam / trAyate iti trANaH / 'vyAnaD bahulam ' iti kataiyanaT / yadvA nAsti trANaM rakSaNaM yasya sH| tam / apaghRNaM nirdayam / akaruNamityarthaH / 'kAruNyaM karuNA ghRNA' ityamaraH / atiprauDhamAyaM ativRddhakapaTabhAvaM / atyarthaM prauDhA vRddhiM gatA mAyA kapaTAcaraNaM kapaTabhAvo vA yasya saH / tam / durIhaM duSTAbhilASam / duSTA IhA abhilASaH yasya saH / tam / pazcAttApAt anutApAt / kRtAparAdhasmRtijAnatamAnasasantApAdityarthaH / caraNapatitaM pAdayorAnatam / caraNau patitaH caraNapatitaH / caraNAvitIbantaM patitapadena samastam / 'iptacchritAdibhiH' iti SasaH / mAM zambarAsuraM pApApetaM pApAnmuktam / pApAdapetaH apagataH paapaapetH| tam / ' kA bhyAdibhiH' iti pApAditi kAntaM padamapetapadena samastam / kuru vidhehi / Oh Lord I showing compassion to all living beings, I, bent down with modesty, request you now [ lit. to-day ] piteously.--' Deliver me, devoid of any protection, merciless, characterized by fraud brought to climax, cherishing wicked desires, fallen at your feet through repentance, from sin either through good-heartedness or through a feeling of compassion towards me because of my being overwhelmed with grief. itthaGkAraM kamaThadanujaH svApakAraM pramArjana bhUyaH smA''ha prakaTitamahAbhogabhogIndragUDhaH /

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412 [ pArdhAbhyudaye lokAhalAdI nava iva ghano deva dharmAmbu varSa niSTAndezAnvicara jalad prAvRSA sambhUtazrIH // 64 // anvayaH- kamaThadanujaH itthaGkAraM svApakAraM pramArjana bhUyaH Aha sma - 'deva jalada prAvRSA sambhRtazrIH navaH ghanaH iva dharmAmbu varSan lokAlAdo prakaTitamahAbhogabhogIndragUDhaH iSTAn dezAn vicr| . itthakAramityAdi / kamaThadanujaH kamaThacarAsuraH itthaMkAraM anena prakAreNa / pUrvazlokoktaprakAreNetyarthaH / itthamiti zabdasya kRprayogAbhAve yo'rthastasyaiva kRJprayoge'pi vidyamAnatvAt 'kRto'nyathaivakathamityasvanarthAt' iti prayuktAt kRtrA khmuny| svApakAraM kRtapUrva svakIyaM aparAdham / svasya svakRtaH apakAraH bhagavacchirasi dRSatpAtanastrImayanikRtyAdirUpaH aparAdhaH svaapkaarH| tam / pramArjan prakSAlayan bhUyaH punaH Aha sma abravIt / deva bhagavan pArvajinendra jalada meghsmaan| jaladaH iva jaladaH / tasya kiH / 'devapathAdibhyaH' itIvArthasya kasyos / saddharmAmRta. varSakatvAjjaladati sambodhanaM samIcInam / prAvRSA vrssaakaalen| pravarSetIti prAvRT / 'nahivRtivRSivyadhirucisahitanau' iti gerdiiH| sambhRtazrIH pracitazobhaH / samantA bhRtA prapUritA zrIH zobhA yasmin saH sambhRtazrIH / 'zrIlakSmIbhAratIzobhAprabhAsu saraladrume / vezatrivargasampattau zeSApakaraNe matau' iti vizvalocane / navaH natnaH ghanaH iva jImUtaH iva / meghaH ivetyarthaH / dharmAmbu dharmajalam / dharma evAmbu dharmAmbu / ysH| 'vAri kaM payo'mbho'mbu pAtho'rNassalilaM jalaM' iti dhnnyjyH| varSana siJcan lokAhalAdI jnsntossjnnsvbhaavH| lokAn AhlAyatItyevaM zIlaM lokaanglaadii| 'zIle'jAtau Nin' iti zIlastha gamyamAnatvANin / prakaTitamahAbhogabhogIndragUDhaH prkttiikRtvipulphttaattopphnniindrsNvRtshriirH| prakaTitaH prakaTIkRtaH / 'mRdo dhvartha Nij bahulam' iti Nic / tadantAt ktaH / bhogaH phaNaH / 'puMsi bhogaH sukhe'pi svAdahezca phnnkaayyoH| niveze gaNikAdInAM bhojane pAlane dhane' iti vizvalocane / bhogI nAgaH / bhogaH phaNaH asyAstIti bhogii| 'bhogI bhogAnvite sarpa grAmaNyAM rAjJi naapite|' iti vishvlocne| gUDhaH sNvRtH| mahAMzcAsau bhogazca mhaabhogH| prakaTitaH mahAbhogaH yena saH prakaTitamahAbhogaH / bhogI indraH iva bhogiindrH| 'vyAghrAdibhirupameyo'tadyoge' iti sssH| prakaTitamahAbhogazcAsau bhogIndrazca / tena gUDha : saMvRtordhvakAyaH / iSTAn anurUpAn dezAn janapadAn vicara vihr| vihAraM kurvityarthaH / 'kAlAdhvabhAvadezaM vA'karma dhInAM' iti dezAnityasya karmatvam /

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caturthaH sargaH] 413 The demon, formerly Kamatha, thus making amends for misdeeds. perpetrated by himself, said again- ' Oh Lord, resembling a cloud showering down water [i.e. rain ] in the form of righteousness, like a new cloud, baving splendour increased by the rainy season, making happy all the living beings of this world, overspread with [ umbrellalike ] big unfolded hoods of the lord of serpents, roam about over agreeable regions. yattanmauDhayAbahuvilasitaM nyAyamullaGgya vAcA tanme mithyA bhavatu ca mune duSkRtaM ninditasvam / bhaktyA pAdau jina vinamataH pArzva me tatprasAdAta __ mA bhUdevaM kSaNamapi sane vidyutA viprayogaH // 65 // anvayaH- mune jina pArzva sakhe / bhaktyA pAdau vinamataH meM tatprasAdAt yat mauDhayAt nyAyaM ulaGadhya me vAcAM bahuvilasitaM tat mithyA bhavatu, ninditasvaM [ me ] duSkRtaM ca [ mithyA bhavatu] / evaM kSaNaM api vidyutA viprayogaH mA bhUt / __yadityAdi / mune dhyAnaikatAna / mnnaaddhyaanaiktaantvaanmuniH| tasya kiH / jina aSTAdazaprakArakakSudhAdidoSavijetaH arhan / aSTAdazadoSAn kSutpipAsAdAJjayatIti jinaH / tasya kiH| pArzva bhagavan pArzvanAtha / sakhe mitra / kamaThacarasya zambarAbhidhAnasyAsurasya vivAntabhagavadviSayakavairatvAttatkRtaM 'sakhe' iti bhagavadviSayaka sambodhanametannyAyyameva / bhaktyA anurAgeNa pAdau bhavatazcaraNau vinamataH praNamata: me zambarAsurasya mama tatprasAdAt tayorbhavatazcaraNayoH prasAdAdanugrahAt yat mauDhyAt darzanamohanIyodayajanitAdajJAnAt / nyAyaM ullaGghya sAdhuvRttamatikramya me mama duvRttasya kamaThacarasya zambarAsurasya vAcAM AlapitAnAM bahuvilasitaM bahuprakAraM ceSTitam / bahu vividhaprakAraM ca tadvilasitaM ca ceSTitaM bahuvilasitam / nAnAvidhAzceSTAH. ityrthH| tat nAnAvidhaM vAcAmanyAyyaM ceSTitaM mithyA niSphalaM bhavatu bhUyAt ninditasvaM pratikrAntasvarUpaM / ninditaH garhitaH svaH AtmA svarUpaM yasya tat / 'svo jJAtAvAtmani' iti vizvalocane / me duSkRtaM ca / pApakarma ca / duSTaM kRtaM karma duSkRtam / duSkarmetyarthaH / mithyA bhavatu iti shessH| evaM anenaiva prakAreNa kSaNamapi kSaNamAtrakAlamapi vidyutA AtmasvabhAvabhUtena jJAnena / dyotate prakaTIkaroti AtmasvarUpamiti svaparAviti vA dyut / kim / viziSTA dyut prakAzaH jJAnaM vidyut / AtmasvabhAvabhUtaM samyagjJAnamityarthaH / tena

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414 [ pArzvAbhyudaye vidyutA / viprayogaH viyogaH mA bhUt na bhavat / 'luGlaGlaGamAGAT ' ityaDAgamapratiSedhaH / Oh friend Jina Parsva, absorbed in meditation! may the various operations of the speech, carried, through ignorance, into effect, setting at nought the moral conduct, of me, bowing down to your feet devoutedly, as well as the misdeeds [ perpetrated by me ], the nature of which is censured, be rendered fruitles through favour of your feet ! Similarly, may not separation of me from right knowledge be carried into effect even for a moment ! anunayati satItthaM bhaktinamraNa mUrdhnA kamaThadanujanAthe nAgarAjanyasAkSAt / dhruvamanuzayata sAdvairabandhazcirAttaH sma galati nijacittAtsantatAzrucchalena // 66 // anvayaH--- - nAgarAjanyasAkSAt kamaThadanujanAthe bhaktinamreNa mUrdhnA itthaM anunayati sati anuzayataptAt nijacittAt cirAttaH vairabandhaH santatAzrucchalena dhruvaM galati sma / 1 anunayatItyAdi / nAgarAjanyasAkSAt sarpAdhirAjasamakSam / nAgAnAM rAjanyaH nAgarAjanyaH / tasya sAkSAt samakSaM nAgarAjanyasAkSAt / rAjJaH apatyaM rAjanyaH / 'jAtau rAjJaH' iti jAtau ye pare ' ye'Ga ' iti Tikham / kamaThadanujanAthe kamaThacaradaityAdhipe / danujAnAM daityAnAM nAthaH danujanAthaH / kamaThaH eva danujanAthaH kamaThadanujanAthaH / tasmin / 'yadbhAvAdbhAvagatiH ' iti Ip / bhaktinamreNa anurAga'vinatena / bhaktyA'nurAgeNa namraH vinataH bhaktinamraH / tena / 'namkampismyajaskamhisadIpo ra:' iti raH / mUrdhnA zirasA itthaM anena prakAreNa anunayati sati prArthayamAne sati / anunayatItyanunayan prArthayamAnaH / tasmin sati / praNAmAdinA vinayamAdadhati sati ityarthaH / anuzayataptAt pazcAttApena santaptAt nijacittAt svahRdayAt cirAttaH ciragRhItaH / cirAt cirAtItakAlAdAttaH gRhItaH cirAttaH / vairabandhaH vairaviracanam / vairasya zAtravasya bandhaH viracanaM vairabandhaH / santatAzrucchalena avicchinnAzrudhArAvyAjena | santatAnyavicchinnAnyazrUNi santatAzrUNi / teSAM chalaM vyAjaH / tena / dhruvaM nizcayena galati sma acyoSTa | agaladityarthaH /

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cartuthaH sargaH] 415 In the presence of the lord of serpents, when the lord of demons, Kamatha [ by name in his former birth ], was supplicating thus with his head bent down through devotion, the feeling of enmity roused up cre long, certainly disappeared from his own heart, inflamed with repentance, in the guise of tears dropping down incessantly. atha surabhisamIrAndolitaiH kalpavRkSaH samamamaranikAyAH puSpavRSTiM vitenuH aviralanipatadbhiH svarvimAnairniruddhA navajaladaviliptevekSyatA'sau tadA dyauH // 67 // anvayaH - atha surabhisamIrAndolitaiH kalpavRkSaiH samaM amaranikAyAH puSpavRSTiM vitenuH / tadA aviralanipatadbhiH svarvimAnaiH niruddhA asau dyauH navajaladavilitA iva IkSyata / __athetyAdi / atha anantaraM surabhisamIgandolitaiH sugandhigandhavAhaprakampitaiH / surabhayaH sugandhayazca te samIrAH gandhavAhAzca surbhismiiraaH| taiH AndolitAH prakampitAH / taiH / kalpavRkSaH devadramaiH samaM sAkaM / yugapadityarthaH / amaranikAyAH daivsmaajaaH| devAnAM nikAyAH samAjAH samUhAH devnikaayaaH| nicIyate nikAyaH / ' cityAvAsAGgopasamAdhau ca kaH' iti cerghaJ cakArasya ca kkaaraadeshH| 'nikAyastvAtmavezmanoH / sadharminivahe lakSye saMhatAnAM ca melake' iti vizvalocane / puSpavRSTiM kusumavarSa vitenuH cakruH / tadA tasminsamaye aviralanipatadbhiH nirantaroDDayanaiH / nipatati uDDayate iti nipatan / taiH| aviralaM nirantaraM nipatantaH uDDayamAnAH aviralanipatantaH / taiH / svarvimAnaiH divyayAnaiH / svargIyomayAnarityarthaH / "svarge pare ca loke svaH' ityamaraH / nirUddhA nirantaraM vyAptA asau eSA dyauH ambaram / 'dyodivau dve striyAmabhraM vyoma puSkaramambaram ' ityamaraH : navajaladaviliptA iva pratyagrajaladharadigdheva / navaH pratyagrazcAsau jaladaH jaladhara: navajaladaH / tena viliptA digdhA / IkSyata adRzyata / Afterwards, the multitudes of gods, along with the wish-fulfilling trees, shaken up by the fragrant winds, discharged flowers in showers. At that time, that sky, covered up with celestial cars, flying up closely. appeared as if besmeared with fresh clouds.

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416 sapadi jaladamuktaiH sAndragandhAmbupAtaiH madhupagaNa vikIrNairAzvasatkSmA kSatoSmA | viyati madhuramuccairdundubhInAM ca nAdaH surakaratalagUDhAsphAlitAnAM jajRmbhe // 68 // [ pArzvAbhyudaye anvayaH- jaladamuktaiH madhupagaNavikarNaiH sAndragandhAmbupAtaiH kSatoSmA kSmA sapadi Azvasat viyati ca surakaratala gUDhAsphAlitAnAM dundubhInAM nAdaH madhuraM uccaiH jajRmbhe / sapadItyAdi / jaladamuktaiH jaladharavisRSTaiH / meghebhyaH patitairityarthaH / madhupagaNavikIrNaiH vikIrNamadhuliGgaNaiH / madhu pivatIti madhupaH / madhupAnAM madhupAyinAM gaNAH madhupagaNAH / te vikIrNAH yatra / taiH / ' vAhitAmyAdiSu ' iti ktAntasya paranipAtaH / sAndragandhAmbupAtaiH niviDasaurabhyajalavRSTibhiH / sAndraH niviDaH gandhaH yeSAM tAni sAndragandhAni / sAndragandhAni ca tAnyambUni jalAni ca / teSAM pAtAH vRSTayaH / taiH / kSatomA vinaSTottApA / kSataH vinaSTaH USmA uttApaH yasyAH sA / kSmA bhUmiH sapadi jhaTiti Azvasat sukhitA babhUva / viyati ca vyomni surakaratalagUDhAsphAlitAnAM tridazahastatalaiH rahasi tADitAnAm / surANAM devAnAM karatalAni pANitalAni surakaratalAni / taiH gUDhaM AsphAlitAH tADitAH / teSAM tAsAM vA / yadvA suraiH devaiH karatalaiH gUDhaM rahasi AsphAlitAH / teSAM tAsAM vA / dundubhInAM bherINAM / ' bherI strI dundubhiH pumAn' ityamaraH / nAdaH dhvaniH madhuraM zrutisukhaM yathA syAttathA / uccaiH atyatha jajRmbhe vRddhiM jagAma / The earth, with heat diminished by the falls of abundantly fragrant water discharged by clouds, having hordes of bees scattered over, became comforted, and in the sky, the sound of kettle-drums, beaten secretly with palms of hands by gods, became cxcessively heightened charmingly. iti viditamahArddhaM dharmasAmrAjyamindrAH jinamavanati bhAjo bhejire nAkabhAjAm / zithilitavanavAsAH prAktanIM projjhya vRttiM zaraNamupayayustaM tApasA bhaktinamrAH // 69 // www.jainejibrary.org

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cartuH sargaH] 417 anvayaH- iti viditamaharddhi dharmasAmrAjyaM jinaM avanatibhAjaH nAkabhAjAM indrAH bhejire | zithilitavanavAsAH tApasAH prAktanI vRttiM projjhya bhaktinamrAH [ santaH ] taM zaraNaM upayayuH / ___ itItyAdi / iti anena prakAreNa / anantarapUrvazlokoktaprakAreNa sAtizayairityarthaH / viditamahArddha nikhilalokavijJAtamahaizvaryam / mahatI cAso RddhiH yogazaktizca maharddhiH / 'RddhiH syAdoSadhIbhede yogazaktau ca bandhane' iti vizvalocane / 'AG mahato jAtIye ca' iti mahataH AGAdezaH / viditA jJAtA lokaiH maharddhiyasya saH viditamahArddhaH / tam / 'viditaM svIkRte jJAte' iti vizvalocane / vizvajanavijJAtaprabalathogazaktimityarthaH / dharmasAmrAjyaM zuddhajJAnaghanaikasvabhAvAtyartharAjamAnatvam / dharmeNAtmasvabhAvena samantAdrAjata iti dhrmsmraatt| 'kip' iti ki / tasya bhAvaH dharmasAmrAjyaM / tadasyAstIti dharsasAmrAjyaH / tam / ' o'bhrAdibhyaH / ityo matvarthIyaH / yadvA dharmasya sAmrAjyaM vidyate yasya saH dharmasAmrAjyaH / tam / jinaM bhagavantaM pArzvajinam / avanatibhAjaH praNatibhAjaH / avanati praNatiM bhajate iti avanatibhAk / te | 'bhajo NviH' iti NviH / nAkabhAjAM svargiNAm / na vidyate'kaM duHkhaM yatra sa nAkaH / 'akaM duHkhAghayoH ' iti vizvalocane / nAka bhajante iti nAkabhAjaH / pUrvavaNiH / indrAH zakrAH / 'indraH zakrAtmasUryeSu yoge'pi' iti vizvalocane / devAdhipataya ityarthaH / bhejire sissevire| zithilitavanavAsAH zlathIkRtavipinanivasanAH / vane vAsaH vanavAsaH / zithilitaH zithilaH kRtaH / 'mRdo dhvarthe Nijbahulam' iti karotyarthe Nic / Nici ca ktH| zithilitaH parityaktaH vanavAsaH yaste / AtmasvarUpacintanamantareNa mukterasambhava iti jAtapratyayAssantaH vanavAsa paritatyajuriti bhAvaH / parityaktavipinAdhivAsabuddhayaH ityarthaH / tApasAH paJcAmayo dhRtavratAH prAktanIM dhRtapUrvA paJcAmitapazcaraNAdirUpAM vRttiM AcaraNaM prAjjhya parityajya bhaktinamrAH santaH anurAgeNa namanazIlAH / ' namkampi-' ityAdinA ratyaH / taM bhagavantaM pArzvajinendraM zaraNaM rakSitAraM upayayuH shishriyire| kAyaklezAdirUpasya tapaso vaiyarthya vinizcitya bhagavadAcaritaM tapo labdhukAmAH tapomahimnA samprAptamahodayaM pArzvajinendraM svarakSaNArthamupajagmuriti bhAvaH / ___ The lords of gods, bowing down, worshipped Jina, whose supernatural power was, thus, known to all, and who enjoyed universal sovereignty owing to attaining completely the [ flawless ] nature of His soul. Ascetics, who abandoned residing in forests, having given pArzvabhyudaya...27 /

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418 [ pArdhAbhyudaye op their former course of conduct, bent down through devotion [ to Him ], approached Him in whom they found their protector. iti viracitametatkAvyamAveSTaya megha bahuguNamapadoSaM kAlidAsasya kAvyam / malinitaparakAvyaM tiSThatAdAzazAGka bhuvanamavatu devassarvadAmoghavarSaH // 70 // anvayaH- iti bahuguNaM apadoSaM, malinitaparakAvyaM kAlidAsasya kAvya AveSTya viracitaM etat [ malinitaparakAvyaM ] kAvyaM AzazAGka tiSThatu / amoghavarSaH devaH sarvadA bhuvanaM avtu| ___itItyAdi / iti anena prakAreNa / pUrvoktaprakAreNetyarthaH / bahuguNaM vipulaguNaM / bahavo vipulAH guNAH rasotkarSakAriNo mAdhuryAdayo yasmistat / rasotkarSakArimAdhuryAdiguNavaipulyasaGkulamityarthaH / apadoSaM apagatAH rasApakarSakAriNaH doSAH yasmAttat / kAvyarasApakarSakAridoSakulavikalamityarthaH / malinitaparakAvyaM malinIkRtAnyakAvyasandohaM / malinitaM malinIkRtam / 'mRdo dhvarthe Nij bahulam' iti mRdo dhvarthe Nic / tadantAcca ktaH / malinitAni para kAvyAni yena tat / kAlidAsasya bhAratavarSaprasiddhasya kAlidAsAbhidhAnasya mahAkaveH kAvyaM meghadUtasajhaM khaNDakAvyaM AveSTaya AdI madhye ante vaikAM paGkti paGktidvayaM vopasthApya viracitaM vihitaM etat pArzvabhyudayAkhyaM kAvyaM malinitaparakAvyaM mahAkAvyaM AzazAGka yAvaccandramasaM tiSThatAt tiSThatu / 'tuhyorDsAt ' iti torAziSi GtAt / bahuguNamityAdivizeSaNatrayaM pAbhyudayAkhyakAvyaviSaye'pi yojanIyam / amoghavarSaH rASTrakUTavaMzyo baGkApurarAjadhAnIvAstavyo'moghavarSAbhidhAnaH mahArAjaH, pakSe saphalavRSTiH / amoghaH saphalaH varSaH vRSTiH yasya saH / devaH rAjA pakSe meghaH / 'devo rAzi sure medhe devaM syAdindriye matam / ' iti vizvalocane / sarvadA sarvakAlaM bhuvanaM jagat avatu rakSatAt / atra prArthanAyAM loT / May this poem, intertwined thus with a line or two of each of the stanzas of Kalidasa's poem, abounding in merits, void of faults, [ and ] defiling all other poems, exist until the existence of the moon. May the cloud [ otherwise, the king], pouring showers of rain growing crops [ otherwise, Ameghavarsha ] protect [ rule ] the earth always.

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caturthaH sargaH] zrIvIrasenamunipAdapayojabhRGgaH zrImAnabhUdvinayasenamunigarIyAn / tacoditena jinasanamunIzvareNa kAvyaM vyadhAyi pariveSTitameghadUtam // 71 // ityamoghavarSaparamezvaraparamaguruzrIjinasenAcAryaviracitameghadUtaveSTitaveSTite pA - bhyudaye bhagavatkaivalyavarNano nAma caturthaH sargaH // 4 // anvaya- zrIvIrasenamunipAdapavAjebhRGgaH zrImAn garIyAn vinayasenamuniA abhUt / taccoditena jinasenamunIzvareNa parivaSTitameghadUtaM kAvyaM vyadhAyi / zrItyAdi / zrIvIrasenamunipAdapayojabhRGgaH zriyA jJAnatapolakSaNayopalakSitaH vIrasenaH zrIvIrasenaH / sa cAsau munizca / tasya pAdAveva payoje zrIvIrasenamunipAdapayoje / tatra bhRGgaH iva bhRnggH| 'devapathAdibhyaH' itIvArthasya kasyos / zrImAn tapolakSmIrUpA zrIrasyAstIti zrImAn / garIyAn gurutrH| Iyasi gurorgarAdezaH / vinayasenamuniH vinayasenAbhikhyastapasvI abhUt babhUva / taccodi. tena vinayasenamunipravarapreritena jinasenamunIzvareNa jinasenAcAryeNa pariveSTitameghadUtaM meghadUtAkhyakhaNDakAvyapariveSTitam / paritaH veSTitaM AkrAntaM meghadUtaM tadAkhyaM kAlidAsaviracitaM kAvyaM yena tat / kAnyaM sargabaddhaM mahAkAvyaM vyadhAyi vyaraci / viracitamityarthaH / iti zrIpArvAbhyudaye muktenduvarmaviracitAyAM bAlaprabodhinyAkhyAvAM tadvyAkhyAyAM ca bhagavatkavalyavarNano nAma caturthaH srgH| There was a sage, Vinayasena by name, resembling:a bee hovering on the lotuses in the form of the feet of the revered sage, Virsena by name. This poem, covering the whole of Meghadata., was written by Acharya Jinsena who was impelled by him [ the rovered Vinayasena ).

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NOTES

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NOTES CANTO I Background-For proper understanding of the present text, it is found necessary to give the background of the story. The Puranas, though mythicised by modern, especially by European, scholars, are fully believed in by us, the genuine Indians, who are not impressed upon by the mal-treatment given to our Puranas by some European scholars with a view to suppress Indian religions and support the spread of christianity for the purpose of establishing their empire on sound basis. The Jain Puranas describe the lives of 63 great personalities. The revered Parshva is one of those great personalities. The history of His former births, as described in the Puranas, runs as follows: In the pre-historic period, a king, Aravinda by name, ruled over some part, called , of India, the then Bharata. He used to stay in Podanapura, the metropolis of the country. Kamatha and Marubhuti, born of Vishvabbuti and Anudari, were allotted ministerial posts by the king, Aravinda. Of them Kamatha was the elder and Marubhuti the younger. Kamatha was married to Varuna, and Marubhuti to Vasundhara. Once upon a time, Marubhuti had accompanied his master, Aravinda, the king, who had launched an attack against Vajravirya, his enemy, to subdue him. Seizing the opportunity, Kamatha succeeded in seducing Vasundhara, his brother's wife, through his own wife, Varuna and stained her by adultery. On returning, after gaining victory over his enemy, the king, before entering into the capital, was informed of the misdeed that had been perpetrated by Kamatha. This news of the misdeed of Kamatha excited passion in the king's mind. He inflicted severe punishment of banishment upon the adulterate (i. e. Kamatha) and ordered his servants to banish bim from his kingdom. Kamatha, become red-hot with anger, left the kingdom for a forest where he himself got initiated into monk-hood.

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(828) On his return, Marubhuti, on coming to know the news of his brother's banishment, left the capital with a desire to make search for his brother. On finding out his whereabouts, he approached his brother and to pacify his anger, fell at his feet. The very sight of Marubhuti poured oil on fire. Kamatha, with bis passion ablaze, throw the stone, which he had held upon his head, upon Marubhuti and killed him. Thus Marubbuti, in his various later births, was murdered by Kamatha in his various regenerations. At the end of the series of deaths and rebirths, Marubhuti was again born of Brahmi and the great king Visvasena, the ruler of the the territory of Kashi, in the city of Varanasi. That was the last incarnation of Marubhuti. In that incarnation, he was called Parshvanatha, the 23rd Tirthakara of the Jain school of thought. The soul of Kamatha also, having wandered in this world for a very long portion of time through a series of deaths and rebirths, was born as Shambarasura. While travelling by a heavenly car, he met with Parshvanatha, engrossed in deep meditation. On seeing Him, he, with his spirit of hostility provoked, harassed Him excessively. This poem describes the ways and means of harassment, adopted by the Asura, called Shambara. This poem is called Parshyabhyudayam. TFT 8924g: Bhara: pArzvIbhyudayaH / abhedApacoraNAbhyudayavarNanAtmakatvAdetatkAvyaM pArzvabhyudayam / As this poem describes the harassment caused by Kamatha and through it the elevation of the soul of Parshvanath, the poem is metaphorically called pingazi Stanza 1 -- HT*CHAFFHZEht agazar qualify the noun > THEzi. By the word #769-, the poet implies that the complexion of the body of Parsva resembled the colour of emeralds i. e. the complexion of the body was greenish. marakatasya vikAraH marakatamayaH / Here, the termination mayaT is affixed to the word marakata under the rule 'mayaDvAbhakSyAcchAdane' in the sense of lant, transformation. ATHTnet FAFH2 FR5982FIFA: 1 This is a que compound. 1737 : TTH I ICth:4:1 tAm / yadvA tasya lakSmIriva lakSmIH / tAm / 'devapathAdibhyaH' itIvArthasya kasyos / "Fragie le ageT gia gia THEET I According to the second. explanation, the beauty of the complexion of the body is compared to the beautiful colour of emeralds. The elision of the termination to

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(425) . implying - semblance' is according to the rule 'devapathAdibhyaH '.zrImanmUrtyAsi means "beauty'. The termination ha is affixed to the word sfi to express copiousness of beauty under 'bhuumnindaa--'| zrImatI cAsau mUrtizca zrImanmUrtiH / tayA / Here the compound is karmadhAraya. The feminine form that is changed to sfiam in the compound under the rale 'puMvadya jAtIyadezIye.' The instrumental case of zrImanmU- as well as of vahantyA and stimitatarayA is in the sense of itthambhUtalakSaNa under the rule 'itthambhUtalakSaNe tRtIyA.' The second line implies that the sage was absorbed in deep meditation. yogaikAgnyastimitatarayA- yogasya dhyAnasya yoganimittaM vaikAgyaM yogaikAgyam / ekaM apraM dhyAnaviSayo yasya tadekAnam / tasya bhAva aikArayaM-concentration of mind on one point or object. yoga %D dhyAna = meditation. According to the aphorism 'kAyavAGmana karma yogH|' na may mean also activities of bodies, speech and mind. In case this sense of huo is accepted 01974 will have to be taken to mean ekApracintAnirodha. This sense is supported by the word stimita. yogaikAra-yeNa stimitatarA yogaikAgyastimitatarA / tyaa| tAdRzyA zrImanmUrtyA ityarthaH / stimitatarArendered motionless extremely. tasthivAMsaM-sthitam / This is a Perfect Participle formed by affixing the termination ag under the rule 'liTaH ksukaanau'| nidadhyau- looked steadfastly at. Third person singular of nidhye. baddhavairaNa dagdhaH - inflamed with passion. This reference to the antagonism reminds us of his punishment of banishment inflicted upon him by the king who had got angry with him on account of his concubinage which is referred to in the introductory passage. FlatvirahaguruNA - kAnteva kAntA / tasyAH virahaH / tena guruH gaurava prAptaH / tena / <Page #557
( 426 ) also reads svAdhikArAtpramattaH instead of svAdhikArapramattaH / dakSiNAvarNa himself has said that the reading svAdhikArapramataH is kRcchralabhya. 1 * a Stanza 2. * tanmAhAtmyAt- mahAMzcAsAvAtmA ca mahAtmA / karmadhArayasamAsaH / The word mahat, when used in a karmadhAraya compound, is changed to mahA under the rule AG mahato jAtIye ca / ' mahAtmano bhAvaH mAhAtmyam | The termination Nya ( ya ) is affixed to the word mahAtmA under the rule ' patyanta purohitAderNyaH / ' tasya bhagavato mAhAtmyaM tanmAhAtmyaM / tasmAt / sthitavati sati - when brought to a standstill. This locative absolute is used under the rule ' yadbhAvAdbhAvagatiH / ' The word sthitavat is formed by affixing the termination to the Past Participle in the sense of past tense under the rule ' taH / ' tiSThati sma sthitavAn / tasmin / vibhAgAt vibhaGgajJAnAt / vibhAga:-a means of illusive cognition or a despicable means of cognition. labdhasaJjJa: - labdhA saJjJA pratyabhijJAnaM munIzvaranAmadheya vA yena saH - knowledge by means of which one can recognise objects seen before or one who has apprehended the name of. samAna:-puffed up with pride mAnena darpeNa sahitaH samAnaH / viyutapatinAvidyutaH patiH yasya yasmAt vA=from whom her husband is separated. jyAyAn= mahattaraH [ tIvrataraH ityarthaH ] = severe. varSabhogyeNa = varSANi bhogyena = which had to be undergone at all events for years together. undergo at all events the punishment inflicted upon The Kamatha had to him by the king. of the Meghaduta had to experience the curse for one year only. , the last letter of the compound, is changed to "I under the rule sakau ' . The word zApa here means punishment and not a curse. 8 - nirbhatsa :- by heaping reproaches upon. paramavISamai :Stanza 3 very severe. ghATita: - subjected to severe pain or banished. sve bhrAtari vairaM baddhvA -coming into antagonism with his very brother. The words ghATitaH and refer to the punishment inflicted upon Kamatha by the king and to the animosity of Kamatha against Marubhuti whose wife he had seduced. This stanza describes the incidents that took place in the fomer births of Marubhuti and Shambarasura. kaluSaharaNe - to purge off sin. This locative form is used to imply reason' under the rule hetau sarvAH prAyaH ' | This word may be taken as an adjective qualifying the noun tIre. kaluSasya haraNaM kaluSaharaNaM / tasmin / The genetive case of " 6

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(427) the word kaluSa implies that kaluSa is karma of haraNa, a kRdanta form, which does not give up the functioning of a verb under the rule kRdantaM dhAtutvaM na jahAti / haratIti haraNaM-The termination anaT which is affixed to the root hR implies the sense of a subject under the rule 'vyAnaD bahulam / '. The dissolution kaluSasya haraNaM of the compound kaluSaharaNa is possible under 'kartRkarmaNAH kRti' / puNyapaNyaSu-paNituM yogyaM paNyam / puNyena puNyavadbhirvA paNya puNyapaNyam / puNyamastyasya punnyH| 'o'bhrAdibhyaH' ityo matvarthIyaH Here the possessive termination 34 is affixed to the word gout under the rnle 'o'bhrAdibhyaH' / janakatanayAsnAnapuNyodakeSu- The waters which nad been rendered holy by the baths taken by the daughter of the king, Janaka.janakasya tanayA jnktnyaa| sItetyarthaH / tasyAH snAnaiH puNyAni pavitrANi ca tAnyudakAni jalAni ca / teSu / lubdhaH -greedy of. Though Kamatha had got himself initiated into monkhood, he used to practise penance fraudulantly. He, therefore, instead of purging off sin, committed sin. ___Stanza4-jaDadhI:-dullard. jaDA jJaptikriyAyAM mandA dhIH buddhiH yasya saH / upalavAn-having a stone. upalaH asya astIti upalavAn / Here the possessive termination AL, affixed to the word 397 under the rule 'tadasyAstIti matuH', is changed vat under the rule ' mamoGjhayo matorvos yavAdeH / ' UrvazoSaM prazuSyan parching the upper parts of his body. Here the termination TH is affixed to the root 34 which is preceded by the word Urdhva under the rule ' UrdhvaM zuSpUreH' / udbAhuH =with his arms raised high up. udgato bAhU yasya saH / paruSamananaH = absorbed in cruel thoughts. paruSaM mananaM yasya saH / paruSa-cruel. rAmagiri-This mountain is identified with rAmaTeka which is near nAgapUra by some scholars and by others with the rAmagaDa hill in Central Provinces. snigdhacchAyAtaruSu-snigdhAzca te chAyAtaravazca snigdhacchAyAtaravaH / teSu = in the groves of Namera trees possessing thick shadows. This may also be taken as an adjective qualifying rAmagiyA~zrameSu and may be dissolved as snigdhAH chAyAtaravaH yeSu te / teSu / tApasAnA manojJAattracting the attention of ascetics. Kamatha, practising penance, was so much absorbed in meditation that he did not remember even his residence in the hermitage situated on the mountain rAmagiri. Stanza 5 - This stanza describes the mountain area where Kamatha was practising penance. sthapuTitatala: - having uneven surface.

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( 428 ) " sthapuTaM viSamonnataM saJjAtaM sthapuTitam -- Here the termination itaH is affixed to the word ge under the rule tadasya saJjAtaM tArakAdibhyaH itaH / The surfaces of the stones were uneven. zuSkAH is a hetugarbhavizeSaNa and so it means zuSkatvAt / zuSkAH vRkSAH na upabhAgyAH = the_trees, being dried up, were not worthy of being enjoyed. vividhavRtayaH also is a hetugarbhavizeSaNa and so it means vividhavRtitvAt vividhavRtayaH vRkSAH na gamyA:--the trees on account of having various enclosures were not accessible. This line may be construed otherwise also. zuSkAH vividhavRtayaH vRkSAH na gamyAH na upabhogyA : - the trees being dried up and having various enclosures were neither accessible nor worthy of being enjoyed. zuSkavairAgyaheto:for the sake of feigned asceticism or for the sake of shammed subjugation of passions. zuSka - feigned, shammed zuSkaM kRtakaM ca tadvairAgyaM sannyAsazca zuSkavairAgyaM / tasya hetoH / ' hetau kA ' iti kA ( paJjamI ) / kAmI - lustful person. Though Kamatha had initiated himself into monkhood to subjugate his passion he did not control it. His asceticism is, therefore, properly called (feigned). He is said to have initiated himself into mokhood through passion that was provoked by the punishment of banishment inflicted on him by king Arvinda for his misbehaviour. abalAviprayuktaH - separated from Vasundhara who was not his wife. As in the absence of her husband, Vasundhara was unable to resist the plan arr anged by Kamatha to seduce her, the word or may refer to her. Stanza 6 anviSyan - making search for. atyudbhrAntaH- The root always governs the accusative of a noun meaning a place." uttarAroha zailAn - mountains possessing lofty heights. uttaraH unnatataraH ArohaH yeSAM te uttarArohAH / te ca te zailAH ca uttarArohazailAH / tAn / bhrAtRbhaktaH - bhrAtuH bhaktaH = devoted to his ( elder ) brother. kanIyAn - younger. ayamasmAdanayorvA yuvA kanIyAn / The word yuvan is changed kan when the terminations Iyas and iSTha are affixed to it under the rule ' yuvAlpasya kan vA / . avazAt zokAt = owing to unristricted grief. atyanUcAnavRttyA - on account of the treatment, given to the body, being worse than that of an ascetic. anUcAna an ascetic. This word is derived from the root vac, preceded by the preposition anu. vac, having the preposition anu prefixed to it, is changed to anUcAna, having the termination kAna (Ana) affixed to it under the rule kartaryanUcAnaH ' / anUcAnaH vratopapannaH = an ascetic observing vows. anUcAnaM atikrAntA atyanUcAnA / prAdiH / atyanUcAnA "

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(429) cAsau vRttizca atynuucaanvRttiH| tayA / . kanakavalayabhraMzariktaprakoSThaH- whose wrist was deprived or devoid of a golden bracelet owing to its being slipped off. kanakavalayasya suvarNakaGkaNasya bhraMzena pAtena riktaH zUnyaH prakoSThaH mANibandhaH yasya saH / Marubhuti, who was too much emaciated, wandered. very much for a very long time for making search for his brother. While wandering he had renounced food, and so, was reduced very much. Stanzar-girivananadI:- girayazca vanAni ca nadyazca girivananadyaH / tAH girivananadI:-acce pl. katipayathakaiH- katipayAnAM pUraNAH ktipythaaH| te eka ktipythkaaH| taiH| kiyAdbhirityarthaH / The termination thuk (tha) is affixed to the word katipaya in the sense of pUraNa under the rule ' SaTkatikatipayasya thuk'| Adrikule - kuJjaH-(1) a bower, (2) a cave. adrikuja means either 'a cave on a mountain' or ' a place overgrown with plants or creepers.' dhUmapratatavapuSa - having his body darkened owing to its being covered over with smoke. Kamatha was practising paJcAgnitapa. A person, practising this kind of penance, gets fire enkindled round his body and gets the upper part of his body heated by the scorching heat of the sun. dhUmena dhUmyayA pratataM vyAptaM vapuH zarIraM yasya saH / . nIlalezyaM - wearing dark complexion internally and externally both.sar means both complexion and feeling. kaSAyodayarajitA yogapravRttirlezyA / This lezyA is divided into dravyalezyA and bhAvalezyA. bhAvalezyA implies tainted feeling and Fotzat complexion. A body may wear one complexion and feeling another. Both body and feelings may wear one complexion also.His body wore darkish complexion owing to its being covered over with clouds of smoke and feelings also wore dark complexion at the very sight of Marubhuti with whom he had come into antagonism. ASADhasya prathamadivase- On the first day of bhASADha. This description being of the remotest former birth, the reading Fethie az does not contradict 'zApAnto me bhujagazayanAdusthite zAGgapANau ' ( 4 / 46 ) and 'mAsAnanyAgamaya caturo locane mIlayitvA' (4 / 47). The reading prathamAdevase is attacked by some scholars on the ground that the period between the first day of 371917 and the eleventh day of tin exceeds by ten days the period suggested by 'anyAnmAsAngamaya caturo locane mIlAyitvA / '. and that the reading pratyAsanne nabhAsa (dayitAjIvitAlambanArthI) becomes meaningless and another reading prazamadivase is suggested in the place of prathamadivase. But the change does not mend matters at all. By the alteration the period

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(830) This period also In this case, I is on the other hand reduced to three and ten days. cantradicts 'mAsAnanyAngamaya caturo locane mIlayitvA / '. would like to suggest a remedy. The singular number of the original reading prathamadivase should be taken as jAtyekavacanaM and accordingly should be interpreted as prathama divaseSu. Similarly the word prathama should be taken to mean * earlier. ' 'Then the meaning of the compound would be fin the earlier days of the month of ASADha. ' In this way the interpretation would help us to imply that the saw the cloud on the eleventh day of ASADha. This is how the difficulty may possibly disappear. The second objection raised against this reading could also be answered. The word pratyAsatti need not be taken to imply avyavahitapratyAsannatva necessarily. It implies only proximity of time. This proximity may be apekSika (i. e. dIrghakAlApekSayA ). This is how, in my opinion, the reading sa need not be replaced by another reading prazamadivase . Stanza 8AbaddhabhrukuTikuTilabhUtaTaH = with his eyebrows crooked on account of their being contracted in wrinkles. His passion, at the sight of Marubhuti, was so much provoked that, while expressing disapprobation upon Marubhuti, his eyebrows had become crooked very .much. AbaddhA cAsau bhrukuTica AbaddhabhrukuTiH / tayA kuTilaH bhUtaTaH yasya saH AbaddhabhrukuTikuTilabhUtaTa: / jihmavaktraH- with a tortuous face. jihmaM kuTilaM vaktraM AnanaM yasya saH / krodhAvezAt- owing to the fury of anger. jvaladapaghanaH = with his body burning. apaghanaH = body. 'apaghanaH iti nipAtyate aGgaM cedbhavati / ' [ jai. ma. vR. ]. Though, grammatically, the word apaghana means ' a limb ', it is used in the sense of ' body ' by poets. avayavAvayavinoH samavAyasambandhAdavayavagrahaNe'vayavino'pi grahaNam / lauhoddhanaghanaskandhAM lalitApaghanAM striyaM / ' ( bhaTTi 7/62 ). snehodrekAt - on account of exce-- ssive affection. apadRSTi:( 1 ) whose eyesight is directed elsewhere, ( 2 ) whose eyes express ill feelings or will virUkSaM- affectionate. The 8 word virUkSaM may also be taken as an adverb modifying the verb and may be taken to mean ' dispassionately vizeSeNa rUkSaM yathA syAttathA / vaprakrIDApariNatagajaprekSaNIyam - charming to look at like an elephant engaged in the playful butting against a mound vaprakrIDAH = utkhanana kelayaH =

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( 431 ) 8 ' utkhAtakeliH zRGgAdyairvaprakrIDA the play of butting against a mound. nigadyate ' iti zabdArNave / pariNataH assuming a particular posture. tiryagdantaprahArastu gajaH pariNato mataH / 1. iti halAyudhaH / vaprakrIDAyAM vaprakrIDAsu vA pariNataH vaprakrIDApariNataH / sa cAsau gajazca / sa iva prekSaNIyaH / tam / ' sAmAnyenopamAnam / ' iti samAsaH / 2 Stanza 9 - 10 |jAsmaH = inconsiderate rascal. jAsmaH syAtpAmare krUre jAlmo'samIkSyakAriNi ' iti vizvalocane / By the previous six_stanzas, the incident that took place in the former life is described. From stanza 9 onwards the incident that took place in the life of Parsvanatha is being described kapaTahRdayaH = having his heart guilty of fraud. kapaTaM kapaTayuktaM hRdayaM yasya saH / kapaTaM asyAstIti kapaTam | Here, the possessive termination is affixed to the word under the rules bhrAdibhyaH / daityapAzaH the wretched demon. Here, the termination pAza is affixed to the noun daitya in the sense of gardA under the rule ' yAnye pAzaH / '. hatAza:- cruel hatA nirghRNA AzA icchA yasya saH = chori*.shing ill will. svAtmayoge in meditating upon the nature of his own soul. svasya AtmanaH AtmA svabhAvaH svAtmA / tasya yogaH dhyAnakarma / tasmin / niviSTaM = absorbed, engrossed. apaghRNaH - cruel apagatA ghRNA yasmAt saH / nirdayaH ityarthaH / hRntukAmaH = desirous of killing. hantuM vizasituM kAmaH yasya saH / Here the word being followed by the word, the letter of tum is dropped under the rule 'samtumormanaH kAme / ' kautukAdhAnahetoH = for fulfilling his desire. kautukasya abhilASasya AdhAnaM samAdhAnaM kautukAdhAnam / tasya hetuH / tasmAt / hananAbhilASaparipUrtyarthamityarthaH / antarvASpa:- having his tears suppressed inside. He, recollecting his separation from his Vasundhara, was on the point of weeping tears bitter of remorse, but, thinking it inauspicious, at the time of a combat, he suppressed them inside. rAjarAjasya anucaraH resembling the demi-god attending upon Kubera. Kamatha was not himself an attendant of Kubera, but he resembled him in behaviour. rAjarAjaH - rAjJAM yakSANAM rAjA svAmI rAjarAjaH / kubera ityarthaH / anucaraH- resembling an attendant anucaraH iva anucaraH / Here the termination ka, implying similarity, is dropped - - = C

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( 432 ) under the rule 'devapathAdibhyaH / ' dadhyau = meditated, thought. At the very sight of Parshvanath, he recollected his former enmity with Him at once and wishing to find out a means to murder Him, meditated for a long time. Stanza 11- meghAloke = at the sight of clouds, meghasya AlokaH darzanaM meghAlokaH / tasmin / anyathAvRtti = perverted, anyathA anyaprakArA vRttiH pravRttiH yasya tat / nikurvan = ready to destroy stanitamukharaiH making a frightening roar continuously, stanitaiH garjitaiH mukharAH bhayaGkaradhvanayaH / taiH / ninditaM mukhamastyasya mukharaH / Here, the termination ra is affixed to the word mukha under the rule 'madhukRSyAdibhyaH ravalau' vidyududyotahAsaiH = assuming the luster of the flashes of lightnings, vidyutaH zamnAyAH udyotaH sakampA prabhA vidyududyotaH / tasya hrAsaH prakAzaH yatra / pracalitadhRtiM : = whose calmness of mind is disturbed. Stanza 12-- evaM dhyAyan - thinking thus, Thinking that he, as described in the last stanza, would first disturb the tranquility of His mind by means of thundering sounds of clouds and then murder Him, he made a speech. niSThurAlApazauNDo = expert in or addicted to uttering cruel words. niSThuraH nirdayazcAsau AlApaH bhASaNaM ca niSThurAlApaH / tatra zauNDaH prasaktaH pravINaH vA niSThurAlApazauNDaH | This is a saptamItatpuruSa compound under IpzauNDAdibhiH / '. svAntaM antarnirundhan = confining ( your ) mind within (yourself). siSidhuSi = the liberated soul. This is a Perf. Part. derived from the root sidhU by affixing the termination kvasu (vas ) under the rules ' liTaH kaTukAnau, vasorvasyos' and kvasyaikAjghasaH / '. kaNThAzleSapraNayini - having the desire of embracing by the neck. Kamatha put these questions with a desire to censure Him. C the rule "" " Stanza 18 -- nizcitAtmopasarga:- who decided to trouble Him himself, AtmanaH AtmakartRkaH ( svakartRkaH ) upasargaH upasarjanaM AtmopasargaH / nizcitaH AtmopasargaH yena saH / baddhakrodhaH = who was angry* baddhaH viracitaH krodhaH yena saH // dayitAjIvitAlambanArthI - who was desirous of finding out the means of destruction of Him who had entertained sympathy for him or wishing to sustain the life of his beloved wife. The first interpretation is correct and preferable to the second. dayitaH = showing -

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(433) sympathy for or having compassion on, saJjAtA dayA asya dayitaH| Here, the termination ita: is affixed to the word dayA in the sense of saJjAta under the rule ' tadasya saJjAtaM tArakAdibhya itaH / ' ajIvitaM = jIvitAbhAvaH / maraNamityarthaH / = destruction, murder, death. Alambana = upAya:- the means: dathitasya ajIvitaM dayitAjIvita / tasya AlambanamupAyamarthayate iti dayitAjIvitAlambanArthI | The word tadvadhopAyamicchan , employed in the 10th stanzas supports this interpretation. This word implies that Kamatha was not grateful to Him who had shown compassion Himself though he had been guilty of perpetrating a misdeed, The other interpretation is not preferable to this. The second interpretation implies that Kamatha thought that Vasundhara, alive in her later life, might be yearning for affection for him and so he was in search of an expedient to send her a message with a desire to save her life. no manAgapyasUriH- who was extremely foolish. pratyAsanne nabhasi- at a time when the month of zrAvaNa was about to set in. nabhas = the month of zrAvaNa. It is better to constrae the two words as Fie ala and interpret the construction as ' in the region of the sky which was in the proximity of the sage. munipaM abhitaH = on all sides of the lord of sages. The word abhitaH governs the Accusative case under the rule ' paryabhisarvobhayaistasyaiH / '. sAk = immediately. asAkSIt = sRjati sma = created. Aorist 3rd person singular, stana.14-vidyunmAlAsphuritarucire = shining very brilliantly on account of the successive flashes of lightnings. vidyutAM mAlA paramparA vidyunmAlA / tasyAH sphuritAni sphuraNAni / taiH rucire dIptimati // natAze = extended over all the quarters. jImUtena = through a cloud. svakuzalamayoM hArayiSyan pravRttim = to make Him abandon the continued efforts bringing about a good deal of welfare of His soul. svastha AtmanaH kuzalaM kSema kalyANaM svakuzalaM / svakuzalAddhetoH AgatA, svakuzalaM prakRtaM pracuramasyAM vA svakuzalamayI / ta| Here, the termination mayaT is affixed to the word svakuzala in the sense of aa: 3717a: under the rule' azt' or in the sense of prAcurya under the rule 'asmin ' or 'tatprakRtoktau vA mayaT / ': pravRtti = pArzvabhyudaya ... 28

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(838) offorts. Citie = wishing to make (Him) abandon. The words taM and pravRttiM are the objects of hArayiSyan , jalabhRtAM - The Genetive case is in the sense of fagitt under the rule 'gast lagizi' ( 910 ). glina = arian = having connection with. In case the phrase jImUtena svakuzalamayI pravRtti hArayiSyan ' is translated as -- wishing to make the cloud convey a message, implying his well-being', the word Fiqda will have to be explained otherwise. This wina will havo to be taken as the tranformation of the sage after His death which the semi-god wished to bring about. But, this interpretation put upon the phrase does not harmonize with the context so well as the first interpretation. According to this interpretation Kamatha's intention may possibly be explained as foilows. Kamatha wished to murder the sage so that he might assume the form of a cloud through which he wishod to send a message implying his well-being to his beloved, Vasundhara, born as a heavenly being. How one could conjecture that Kamatha was sure about the transformation of Parshva's body into a cloud after His murler ? How is it possible to think that kamatha was yearning for the love of Vasundbara, his beloved when his mind was absorbed in thinking out the means of murdering the sage to take a bloody vengeance upon the Him? When in the last stanza Kamatha is described to have created Atiqadigt, we capnot decidedly say that the period of time was that of the rainy season. This period refers to the month of a 7 when Parsvanatha attained to the state of a Wacaa. Acharya Gunabhadra, the desciple of our author, bas mentioned that on the 14th day of the dark fortnight of the month of az, Parsvanatha attained to the state of a Wasalita I. 'Isaiauregia gainean FHNU tritayaM caitramAsasya kAlapakSe dinAdime || 143 // bhAge vizAkhanakSatre caturdazyAM HEIGT: 1 9791964aaia 591517123147' Il ?88 11 (3. q. qa 3). It being an odd time, there is the least possibility of love-thought being roused in the heart of Kamatba. So in my opinion the second interpretation does not befit the context. Stanza 15 - TAAT = at the time of his giving up this worldly life for getting initiated into monkhood. facaftigaa borne

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(435) in minl by him for a very long time. ciraM paricitaH ciraparicitaH / tasmAt / . prakupyan = getting very angry with. The root kup governs the Dative case under the rule ' krudhaduheAsUyArthAnAM yaM prati kopaH' / mAyAzIlaH = fraudulent. mAyA kapaTaM zIlaM yasya saH / evamprAyAM = evamprakArAM = in a way as described before. nikRti - reproach, mal-treatment. Arabdha = began. Aorist 3rd person singular of A + rabha. 'ayaM prAyeNAparvaH' iti vaiyAkaraNAH / Stanza 16- sakaH = That wretch. kutsitaH saH skH| Here, the termination kan is affixed in the sense of kutsA under the rule kutsitA. jJAtAho' / nAzadaityaH = fond of destruction. nAzapriyaH daityaH nAzadatyaH / parjanyAnAM=of the thundering clouds, 'parjanyau rasadabdendrau' ityamaraH / dhvanimanu%3D along with the thundering [ of the clouds ]. The karmapravacanIya ' anu' governs the accusative case when it is used in the sense of a& under the rule ' bhArthe'nunA' | The line should be interpreted as * increasing his roarings resembling to those of a lion along with the thunderings of clouds.' sphAvayan = increasing. This word is derived from the causal, derived under the rule '591311 a:', of the root 79171 by affixing the termination zatR to it.. muniparisarAt = having stood in the vicinity of the sage. Stanza 17 - 187cal = the excellent meditation. 371 Harald pUrNatven sat samIcInaM dhyAnaM AsaddhyAnam / ciraparicitadhyeyaM = the object of which is familiar since long. ciraM cirakAlaM cirAdvA paricita dhyeyaM yasya tat / AkAlikaH = transitory, momentary. The word AkAlika is derived from the word galas which is cbanged to 37177125 when the termination ThaJ or Tha is affixed to it under the rule 'AkAlikaM ThazcAdyante / ' bhuvanamahitaH - worshipped by all the three worlds. bhuvanena mahitaH pUjitaH bhuvnmhit:| durviladhyasvazaktiH - possessing soul-power exceedingly difficult to surpass. duHkhena kRcchreNa vilacyA vilaGghanIyA vilacituM zakyA svasya AtmanaH zaktiH sAmarthya yasya saH / His soul-power was so much

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(83EUR) increased that it was exceednigly difficult to surpass. The first two lines show a vast contrast between the sage and the demi-god, Kamtha. The last two lines imply that the demi-god was unable to distract the mind of the great sage from the deep meditation in which he was engrossed by means of a cloud which is transitory ond a compound of vapour, light, water and wind, lacking consciousness. The sage, experiencing the pure soul, being convinced of the indestructibility of bis: soal, had no fear of any sort from the terrible clouds brought into being by the demigod. The poet implies that the demigod was so much foolish as not to understand the position correctly. Stanza 18 -- 371WAT, HIEAI, TAI, SINAT, 9117, 914112, fiica and alatea are the eight supernatural powers. All these eight powers were possessed by the great sage, while the demi-god possessed them partially. Though partially in possession of these powers the god bad become a violent brute. TIETTET ..... Sinhal:---- This contrast between the two shows that the exertions of the god did not succeed in disturbing the tranquility of the mind of the great sage. Et *:--The sage was not boreft of his speech from bis very birth. Being absorbed in meditation, His sense organs were unable to fulfil their functions. Though the god spoke at ler gth, His ears did not perceive the words of the god and so there was no possibility of the message being conveyed by Him. Stanza 19 - Agria i. e. though he was far inferior to Him in all respects. The god's act of imploring the Lord for a fraudulent' fight was as good as inviting a calamity to befall himself, for, the sage being superior to him in all respects, bis defeat was cock-sure. AC1917-owing to his mind being agitated through anger of being cruel ( lit, harsh ). 399EUR7-approaching or becoming ready (for a fight. ). The god, enraged at the very sight of the sage, got so much aborbed in the thought of battling aganist the sage that he could not take into consideration the fact that He was superior to himself in all respects. Thus, he himself courted a calamity to befall himself. The word algiye does not imply' a shom fight ', for the god wanted to take a bloody vengeance on Him as he had done in the former birth by throwing a heavy stone upon Him while He was engaged in making appeals to him to give up anger. The word, therefore, must be taken to

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( 427 ) C mean a fight contrived fraudulently.' The root Accusatives under the rule' fa a l'. tadA 1 Stanza 20at that time (i. e. when the sky was overspread with clouds ). When the rainy season sets in, delicate worms come into being and peacocks begin to cry. The minds of ordinary people become perturbed, when they see worms, come into being, and perceive the cries of peacocks, for lovethoughts are excited by them. The mind of the sage was not perturbed at all, though worms had come into being, and cries of peacocks were given out when a false rainy season was brought into existence by the demi-god, for he was an extra-ordinary human being. The line ' kAmArtA hi prakRtikRpaNAzcetanAcetaneSu ' being placed in a different context, deserves to be interpreted otherwise so as to fit in that context. As the interpretation those, whose minds are excited by love-feelings, are naturally incompetent with respect to [i. e. to distinguish between ] the sentient and the non-sentient' does not agree with this context, the line has to be interpreted as: Those only, who are naturally timid [low-spirited], have their minds disturbed [excited] with respect to the sentient and the non-sentient.' The generation of-worms, beautifying the earth, and the cries of peacocks resounding the caves of the mountains, could not, in any way, distract the mind of the great sage from his deep meditation the pure nature of his soul, for He was not a man of low spirits. - for. The two readings yogin and praskhale: are changed to yogI and prAskhalat, for both of them do not agree with the context. kAmArtAH - savikAramanasaH having minds disturbed (excited). :- whose minds are naturally unsound. upon - rain. duHsahaH = Stanza 21 - 3/4a$?a: = (1) assembled very densly (2) surpassing ordinary clouds. prayuktaH poured. := the showers of unbearable. *1: -- (1) bearing auspicious marks. gomo: faciai: anaai: caufadar: aPt a gonziaam: 10' faua yonlAmalam' itei dhanaJjayaH / jalAvartasadRzAkAra: kezaviracitaH lakSaNavizeSaH AvartaH / In this sense, this compound-word is to be construed with governs two

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(836) (2) persons ineditatiog over and over again upon the pure soul. puSkalaM nirmalamAtmAnaM Avartayanti punaH punaH dhyAyantIti pussklaavrtkaaH| te yeSAM #aila 96719
: 1 The possessive termination et is affixed to the word geprestad under the rule '311591eza: '. In this sense this word is to be construed with SHINIH. Fratel: -- excellent horses. jAtyAH kulInAzca te azvAzca jaatyaashvaaH| 'jAtyaM kulIne zreSThe'pi' iti vizvagia i Feat: = long-shanked. Fica gigai 37 raia wan: 1 The word FIT, when preceded by Fica in a compound, is changed to I optionally under the rule 'aisaia '. The heavy showers of rain were not able to make the sage, meditating in a standing posturo, bend down. In Meghaduta the word gogojasniai refers to the race of clouds, while here it refers to the races of noble korses and the 31 clan of which the sage was born. Stanza - 22- pairat:-(1) of the moon-like sage. (2) of the greatest of the sages. Falfaliti-- the action of the mind. Here the action is nothing else but the concentration of mind upon the nature of the pure soul. bhUyaH-- again. svAntavRttiM kSobhaM gamayitumanA:- desirous of frustrating the functie ning of mind (i. e. concentration of mind ), The of the termination T of a IAa is dropped when the Tara is followed by manas and kAma under the rule ' samtumomanaHkAme'. kSobha- distraction, disturbance. alq1cra-talkativeness. Dianziag :- desirous of display. ing. This is a desiderative form having the termination 3 affixed to it ander the rule ajagaziitaigagie: '. 7912 at 37797g |-- who had died an untimely death on account of meer at my hands. maghonaH- of the king aravinda who resembled the god, Indra. kAmarUpaas beautiful as the god of love. FJAFT ETA ET JET 8: | S ages. the minister. maghonaH prakRtipuruSaM - serving as minister under the king Bitare, resembling Indra. Kamatha, the demi-god, is shown bere trying to excite the passion of the sage by reminding Him of the death which He had died at bis hand. He thought that by reminding Him of the incident that had taken place in the former birth in which the sage had served the king Aravinda as a minister and when his wife

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(439) ghasundharA had been ravished by Kamatha, the sage Parshva would be moved to strong emotion cansing him to battle with himself (i... Kamatha). Stanza-28- bhavajalanidhau-bhavaH jalanidhiriva bhavajalanidhiH / This is an upamitasamAsa under the rule ' vyaaghraadibhirupmeyo'tdyoge'| This compound may be dissolved as bhavaH eva jalanidhiH bhavajalanidhiH / karmadhArayaH / ekadhA - ekena prakAreNa. The termination dhA is affixed to the numeral eka in the sense of ' mode' (prakAra) under the rule 'syarvidhArtha dhA' / dUrabandhu :- dUraH bandhuH yasya saH / paurvadehiko bhrAtA | or dUraH bandhuH sambandhI yasya saH / dUrabandhuH = (1) having brotherly relation in the former birth; (2) whose relative is abroad. atiqaiqarat = for tbe sake of taking a bloody vengeance upon. Stanza-24 - svakaM = anukampitaH tvaM tvakam / Hore the termination FAI is affixed to grad to imply conciliation under the rule 'anukampAtannItyoH ' / AptukAma: desirous of obtaining. Here the of tum is dropped under the rule ' samtumomana kaame'| kAlAt == finding an opportunity. kAlaM sandhi avakAzaM vA prApya | Here, kAlaM, the object of prApya, is changed to kAlAt, the word prApya being dropped under the rule 'pyakhe karmAdhAre / abhiyAya = having approched. The demi-god is using propitiatory words with a desire to goad the sage into becoming ready for a fight. Stanza.25 - abhIka = (1) libidinous, (2) fearless. 'abhIko nirbhayakrUrakavikAmiSu vAcyavat' itivizvalocane. prahRtya = having attacked. abhayasubhaga = amiable owing to fearlessness. bhAvukatvaM = the state of happiness. bhaktyA = with delight. rAjayuddhvA - making the Yaksha fight [i. e. engaging the Yaksha in 'a contest ]. rAjAnaM yakSa yodhitavAn iti raajyuvaa| Here the termination kanim is affixed to the root yudhU , imply ing causative sense, when it is preceded by the word 1157 under the rule ' rAjasahe yudhikoH ' / rUDhi--popularity. payodAprayAyA:= of the beloved of me, assuming the form of a cloud. payoda iva pratikRtiH payodakaH / The termination ka is affixed to the word payoda in the sense of pratikRti,

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(440) under the rule' ive khupatikRtyoH kaH '. This ka is dropped under the rule 'devapAdibhyaH'. payodapratikRteH mama priyAyA ityrthH| In the Meghaduta, the word 9212 is in the Vocative case. Here, it is compounded with the word (2191: to make it suit the context. The demi-god himself being the speaker here cannot use the word 9817 in the Vocative case. Stanza. 26 - dAkSya - capacity, ability. preSyatAmetya-becoming my messenger. tUSNI = silently. dhanapatikrodhavizleSitasya - separated through anger by the Kuber-like king, Arvinda. dhanapatiH kuberH| dhanapatiH iva dhanapatiH dhanAdyaizvaryasampannatvAt / Here again, the termination ka, expressing the sense of similarity, is dropped under the rule 'devapathAdibhyaH ' / dhanapateH krodhaH kamaThadurAcArazrutijInaptaH deg krodhH| tena vizleSitaH vizlaSaM praapitH| tasya | On receiving the news of Kamatha's misbehaviour, the king, got angry very much with him, exited bim. This punishment of banishment inflicted upon him, separated him both from bis legal wife and Vasundhara, contaminated by him and proved very fatal to koth, Kamatha and Marubbuti. Stanzas 27-28 - AdyaH kalpaH = the first alternative or way. durghaTa = very difficult to carry into offect. This alternative is given vent to through jetuM zaktaH & etc. zlAghyaH = appreciable. dainyAt = owing to bumiliation. Serving as a messenger is certainly humiliating on the part of the sage. This alternative is expressed by neva dAkSya, madhyakalpAzrayaH - recourse to the middle alternative. This alternative is revealed by yAce devaM. tasmin = madhyakalpe Azrite sati, svarge vA = (i) on having recourse to tho middle alternative; ( 2 ) in the heaven. Joa: = splendid, excellent. The following construction is preferable to the one given below the two stanzas ~ yasyAM satatavirahotkaNThitaiH cakravAkaiH sAsaM dRSTA, dhautahA, prAtastananidhuvanaglAni uccaiH harantI bAhyodyAnasthitaharazirazcandrikA rAtreH vigame api dampatInAM prItiM vidhatte (sA) alakA nAma yakSezvarANAM vasatiH te gantavyA ca / - And you should necessarily visit the residence of Yakshas, Alaka by name, wherein, the moonlight, emanating from the head of Shiva residing in the external garden,

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(888) looked at with tears by the Chakrawaka birds, become uneasy on account of the continuous ( uninterrupted) separation, brightening the palatial buildings, quelling greatly the matutinal langour of sexual enjoymont, gives delight to the couples even at the end of night. gaalazatsioga: Fara: HET TET -- The uneasiness was caused by being continuously separated from their better-halves. In the sanskrit classical literature it is welknown that the male and the female Chataka-birds aro, in the moon-lit fortnight, separated from each other. The city of Alaka, being always lit by the moonlight emanating from the phase of the moon, situated on the head of Shiva who constantly dwells in the external gardens of that city, the Chataka birds were automatically deprived of the opportunity of meeting their betterhalves and so they were always uneasy and had to shed tears. siagizi - which illumined the palatial buildings of the city. giaifa dhavalIkRtAni hANi prAsAdatulpAH gRhAH yayA saa| prAtastanAnadhuvanaglAniM = H aara #997 do: Festa: 371918: lagaaraufa:- the langour brought forth by sexual enjoyment, stafaat arai lagaarstiae yrafaalangargila: | arg i The drooping state, to which couples were reduced in the morning by their sexual enjoyments, was nullified by the moonlight spreading all over the city of Alaka. JuITTATERACTETR 176 71-the moonlight resembling the light of the phase of the moon on the head of Shiva staying in the external garden. The city of Alaka was always brightened by light that resembled the light of the moon on the head of Shiva. arg z aggia a alegria falar 612 | tasya zirasi sthitA candrikA baayodyaansthithrshirshcndrikaa.| candrikeva candrikA From this it can be inferred that the city was illumined by the rays of light emanating from precious stones with which the palatial buildings there were studded. Meghaduta reads 0 qocalaragraf. This reading does not agree with the present context. The reading, therefore, is split up as 0 775#1 BITEFTI. It is the moonlight and not the city, that separates the cakravAka and the cakravAkI from each other. yakSezvarANAm - of the best of Yakshas. yakSA IzvarAH iva yakSezvarAH / This word implies that the Yakshas staying there resembled kings on account of their being

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(442) affluent, wealthy and great. The plaral, according to some scholars, is used to imply bahumAna. This compound may also be dissolved as yakSANAmIzvarAH yksseshvraaH| It may be dissolved also as yakSA eveshvraaH| 'Izvaro dhanasampanne zive vyAdhini manmathe' iti vizvalocane. rAtreH vigame bhapi- even nt the end of night. The moonlight delighted the couples even at the ends of nights i. e. even though they were not enjoying sexual iotercourse. te =tvayA. The indeclinable ca is used here in the sense of samuccaya, The demi-god means to say that the sage should first derive sexual pleasure in the heaven and then he should necessarily visit 39371, the city of Yakshas. Stanza-29-matto mRtyu samadhigatavAn =put to death by me. iSTI gati yAsyasi = you will become incarnate in a different body longed for by you. vidhutasakalopaplavaH = with all the evils dispelled. vidhutaH sakalaH upaplavaH pApakarma yena saH / adhoniya mitadRzaH = with their eyes fixed downwards. adhaH niyamite dRzau yAmistAH I Splitting up the word as adhaH niyamitahazI, the indeclinable aMdha: can also be construed with draSTArara.divyayoSAH-devAGganA:heavenly damsels. divi bhavAH jAtA vA divyAH / tAzca tA yoSAzca divyayoSAH / satoSAH- satisfied. draSTAraH = prekSiSyante = will look at you. pavanapadavI - the sky. pavanasya vAyoH padavI panthAH pavanapadavI / tAm / 'panthAnaH padavI sRtiH' itymrH| udgRhItAlakAntAH =with the ends of their hair held up. udgRhItAH UrdhvaM nItvA nayanAbhyAMH dUrIkRtAH alakAntAH cUrNakuntalAgrANi yaabhistaaH| ____stanza-30-divye yAne = in a celestial vihicle. tridivavanitA. liGgitaM = embraced by heavenly damsels. tridive svarge nivasantyaH vanitAH striyaH tridivvnitaaH| tAbhiH AligiGgitaM upagUDhaM tridivavanitAliGgitam / sanmANikyAbharaNakiraNadyotitAGgaM = with (your ) body illuminated by the rays emanating from the ornaments ( worn by the heavenly damsels ) studded with jewels. santi zobhanAni ca tAni mANikyAni ca snmaannikyaani| taiH nirmitAni khacitAni vA AbharaNAni bhUSaNAni sammANikyAbharaNAni / teSA kiraNaiH razmibhiH dyautitAni bhAsvanti aGgAni gAtrANi yasya sH| tam / gAM - to the heaven. navajaladhagazaGkayA = through a doubt of a new cloud. navaH pratyAzcAsau jaladharazca nvjldhrH| tasya AzaGkA sandehaH / tyaa| It is implied

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(443) that the sage, travelling throngh the sky, after being put to death, by a celestial car, will, his body being illumined by the rays emonating from tho ornaments worn by the embracing damsels, be looked upon as a new cloud. 379: 14at:- stood below i. e, on the earth. qiialaat: = the travellers' wives. pathikAnAM pAnthAnAM vanitAH pathikavanitAH / panthAnaM yAti pathikaH = The termination ThaT ( ika) is affixed to the word pathin under the rule 'pathaSThaT '. pratyayAt = on account of being convinced of. 371948742: = becoming glad; making themselves comfortable. Stanza-31-AkRta = a feeling. svasthavIrAgraNIH = the foremost of the resolute or confident warriors. svastha = resolnte, confident, firm. vIreSu agraNIH vIrAgraNIH = The foremost of the warriors. svasthazcAmA vIrAgraNIzca svsthviiraagrnniiH| sAmprataM = without delay, immediately. bhaTamataH = highly esteemed by warriors. kIrtilakSmIpriyaH = to whom kIrti and lakSmA are dear. kIrtizca lakSmIzca kIrtilakSmyau / te priye yasya sH| This compound may also be dissolved as- kIrtirevalakSmIH kIrtilakSmIH / sA priyA yasya saH / The word priya is placed at the end of the compound under the rule 'priyaH'. virahavidhurAm - distressed by separation. viraheNa viyogena vidhurA pIDitA duHkhitA virahavidhurA / tAm / 'vidhura vikale'nyavat' iti vizvalocane / The demi.god means to say that be, banished by the King through anger on account of the offence committed by him against Marubhuti, was deprived of both siia and ZEH since long before. In case he wins victory in the fight with the sage he would be reunited with the two. Taking this into consideration, the demi-god is trying to provoke the sage to anger so that he may take up arms. Stanza-32-na calatitarAM = does not move at all. atizayana calati calatitarAM. The form calati ending in tara has Am affixed to it under the rule 'jhyenmiGkijhAdAmadravya' / strImmanyaH= AtmAna striyaM manyata gia alcara:=womanish, effeminate, showing the qualities befitting a woman. Here, the termination khaz ( a ) is affixed to man , preceded by strI under the rule '15 svasya' and m is affixed to strI under 'amekAco'mvat / parAdhInavRttiH-parasminnadhInA vRttiH yasya saH= one whose mode of action is under the influence of someone else.

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(8985 Stanza-33- * = surely. 19: = this sage. fapta: = who is not under the influenco of woalth i. e. who has renounced wealth. laag fayang ST1767: saula: fazifa s7: | #1!: = a libidinous one = #AITT: 1 271763|1a = under the pretence of meditation. FAT929 overcome with passion. Fcaetotaracqti = engrossed in counting days. #cat =a porfectly chaste woman [i. o. unchaste woman. ] This word implies censure. A woman, spoiled by a person other than her husband, cannot be chaste. 31750 = certainly, agilea: = fag 37/aTuia 312: 3pavla: = who is not absorbed in self-experience. In my opinion this interpretation suits the context well. The demi-god thinks that the object upon which the sage is meditating is not the nature of his pure soul but some passionate lady dear to him. In bis opinion, the lady, upon whom the sage has fixed his mind, must have been that one who had been spoiled by himself in the former birth. Stanza-34- As the incident referred to in this stanza had taken place in the remote past and as the two verbal forms hafa and Seaf are of the future tense, the root 71, from which the verbal form giaith is derived, must be taken to mean to remember under the rule Enisait a l'. Under this very rule, the use of it in the present context is not possible. The word gh, therefore, is changed to the In the remote past Marubhuti, leaving along his beloved behind, had accompanied the king, Aravinda, who had marched out of his kingdom for offensive operation. In his absence, Kamatha, his elder brother, had seduced Vasundhara, Marubliutis wife, through his own wife and contaminated her. Shambara, formerly Kamatha, is described here as reminding the sage, Parsva, tbe former Marubliuti, of the incident. The two words aaf yasrat imply that Vasundhara had become thoroughly attached to Kamatha. Stapza-35-This stanza describes Kamatha representing the picture of his and his brother's former life. His reference to the former life of Parshva is purposeful. By reminding the sage of his wife's love-sickness, he is trying to effect his purpose of disturbing the sage, absorbed in deep meditation.

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Stanza 36-Here, the demi-god, is depicted as trying in some other way to disturb the sage. He is trying to abstract his attention from tbe object of his meditation by means of infusing affection for himself into His beart. He says that though, in the former birth, he had enjoyed objects of senso organs even when he had been separated from his brother, he had done so not through willingness but through his being mentally affected and disappointed. He tries to impress upon the mind of the sage that, at that time, he had no other alterpative but to do that i. e. he was so much grieved at beart by his being separated from his dear brother that his brain had become quite incapable of finding out any other means for alleviating his sorrow. Stanza 37--This stanza describes the demi-god as to have been trying to propitiate the sage as well as to have been usiog opprobrious and atrocious language against him so that he night be able to abstract Him from His deep meditation. He says that his heart bad been saturated with affection for the sage at that time when be bad had brotherly relation with Marubhuti, but at present that affection is disappearing altogether from his heart owing to his being extremely defied by the sage by observing silence. Moreover, that defiance, he says, goads him into killing the sage. This use of pleasing and atrocious language made by him, he thinks, would help him in achieving success in abstrating the wind of the sage from his deep meditation. Stanza 38- = (1) a pious deed, (2) merit. 198itor: - (i) emitting rut ( 17998 ), (2) giving out, munificent, splendidly bountiful. C1H Hus tilauica siguiania sia gravisi: nia gausia, 27oC e a Foggia alias quaisia. The sylvan elephants emitting rut, and the clouds, pouring water declare that nothing other than munificence is pious and praiseworthy. The Chataka birds, drinking drops of water poured by clouds delightfully also declare this. Both the donor and the donee declare munificence as a praisewerthy pious deed. Shambarasura means to say that, munificence being a praiseworthy pious deed, tko sage should give a fight and make him delightful. Through praise of munificence, the demi-god tries to disturb the sage and goad him into giving a fight so that he might be able to put an end to the life of the great sage.

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(888) 'skilful ' " Stanza-39-The word as, meaning governs the Locative case under the jJApaka Sutra ' IpzauNDai : ' vIrazayyA - the battle -field which forms a ted for warriors (i. e., a battle- field where warriors die while fighting)--competition. 'ahamadhikA ahamadhikA' iti tulyasaundaryAdInAM strINAM spardhA ahamahamikA. Here, under the rule :, the termination () is affixed. This compound is formed under the rule ' mayUravyaMsakAdayazca vinaGkSyagarbhAdhAnakSaNaparicayAton account of the intensification of their joy sprung up in their hearts on account of the sustainment of their embryos which used to fall off or .which would be on the point of being fallen off. -joy, aintensification. AbaddhamAlA: - forming rows. The compound may also mean -- wearing garlands '. AbaddhAH kaNThe kRtAH mAlAH puSpamAlAH yAbhistAH / The Vidyadharis, wearing garlands through joy, springing up in their hearts owing to the sustainment of their embryos caused by the merit g) attained by them by seeing you. This interpretation put upon the compound is not preferable to the one that is accepted in the translation of this stanza, for that interpration is in keeping with the reading. ahamahamikAm. Stanza 40-i-sleeping as through swoon. The demigod means to say that the sage would be sleeping as if through swoon, caused by the blows received by the sage at his hands. suptaH nidrAmudrAGkitaH iva suptaH mUrcchIsuptaH / tam / tridazanihitAmlAnamandAramAlaMwearing a garland of fresh Mandara flowers pnt round his neck by heavenly beings. The demi-god moans to say that the gods, with a desire to welcome the sage when he will be ascending the heaven after being put to death by him in a fight for which he is requesting the sage, will put a garland of fresh Mandara-flowers roundh is neck. Here, the word means Mandara flowers and not FR trees. The termination, affixed to the word to make it imply the sense of flower, is dropped under the rule 'puSpamUle bahulam ' divyayAnAdhirUDhaM seated in a celestial car; who will have a seat occupied in a celestial car. - delightful to the eyes (of the gods). Being born as 1

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(889) a god in a heavenly car, the demi-god means to say that the sage bord as a god will look very beautiful and very pleasing to the eyes of the gods. The arealaagri- in accompaniment with sounds of drums resembling the thundering of clouds. At tho time of the arrival of the sage in the heaven, the gods will beat drums to welcome the sage and produce sounds resembling the thunderings of clouds and thus arouse doubt of thundering of clouds in the hearts of the cranes. 3714%ATZI:those that will draw up into lines. 72181:- In the heaven there is, accou rding to the Jain seripturos, no possibility of the existence of cranes, which belong to the middle world. The word 43191, therefore, must be taken to mean heavenly beings assuming forms of cranes, the worldly creatures. Stanza 41- In the world of poets, it is generally accepted that the appearance of clouds excites passion in the hearts of youths. Sambarasura means to say that the appearance of the illusory clouds might have caused love-thoughts to spring up in the heart of the sage apd might have abstracted His mind from the deep meditation in which His inind was absorbed. Taking this into consideration, he asked the sage to listen to the thunderings of the clouds, making the peacocks dance with tbeir necks raised upwards with a desire to give out cries, and baving the capacity of making the earth, having mushroom grown up, productive. # 217... ATED -Growth of mushrooms, it is said, indicates fall of rain and gond growth of crops. Stanza 42- JEFEAT::- intimidated. yasalcat: --whitening all the quarters. Orgogjiaarat of the clouds which resemble those that float in the sky in the rainy-season. We remember that the clouds appearing in the sky are illusory and not real, because of their being produced by the demi-god for the purjose of barrassing the sage. These could, therefore, caunot be taken to be those floating in the sky in the rainy season and so must be taken as those resembling those of the monsoon. giecioglitaal ga glagoziazi: 1 Errozijadi sangu:Having their delight dispelled on account of the eager desire cherished by them. 784 3770gal giariea: AT: 37197 cata i The swans swimming joyfully in the transparent waters of lakes and rivers, become dejected at the advent of the rainy season, because of the

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(448) thoughts, occuring to their minds, of the possibility of the waters being rendered turbid by being mixed with the rain-water, rendered turbid by being mixed with mud, and fly up high in the sky with a desire to return to the Manasa-lake, their original abode, the water of which is never rendered turbid owing to its being encircled with snowy land, even when the rain-water gets mixed up with it. The swans, on seeing the illusory clouds floating in the dark cloudy sky, thought of the advent of the rainy season and flew high up in the dark cloudy sky in swarms and rendered all the quarters white. They, on hearing the thundering of clouds, became terrified, and thought of leaving the country side for the Manasa-lake. Sambarasura asks the sage to enjoy the sight with a view to disturb Him. mandamandaM = mandaprakAreNa -- slowly. The word manda is reduplicated under the rule aai. The word is used here " :-~thundering, adverbially. 171: =1:-swans. mAnase utkA utkaNThitAH :-- eager for the Manasa-lake. The existence of The modern explorers have actully come across swans is not a myth. these birds, living there. Stanza 43- matpramANyAton the ground of my truthfulness. faning-wishing to go. This is a verbal noun derived from the desiderative of the root gam by affixing the termination u. AkailAsAtup to the Kailasa-mountain. Saftas-q-possessing bits of the shoots of lotus-stalks as provendor for their journey. fai quai kisalayAni agrANi pallavAH bisakisalayAni / teSAM chedAH zakalAH eva pAtheyaM bisa kisalayacchedapAtheyam / tadastyeSAmiti bisa kisalayacchedapAtheyavantaH / If the is taken as a gaii, there is no need of affixing the termination H. In my opinion, therefore, the affixture of the termination is not necessary. Mallinatha dissolves this compound as - kisalayacchedaiH pAtheyavantaH / pAtheya - provindor. pathi sAdhu pAtheyam | The termination is affixed to the word 9 under the rule * qeqa!2981azqPa. Sambarasura means to say 'Oh sage, you, on your journey to Alaka, will have a very good company of these swans, eating shoots of lotus plants. " compoun

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(888) Stanza 44 :- JTFEHT:- (1) white swans having red feet; (2) sages possessing spiritual strength." TFTP a a fa 4yakSayoH' 'haMsaH sUryamarAlayoH / kRSNe'GgavAte nirlobhanRpato paramAtmani // yogiAralicua a ACHI trai' gia gaia lapiga I The sages may be taken as a standared of comparison and the swans as a thing to be compared with. All the adjectives qualifying TIHEH swans ) may also be taken as qualifying sages. EmiatipogliatiSaACI: -- (. having delight dispelled owing to the enhancement of their longings ( for approaching Manasa-lake ); ( 2 ) those that have given up pride etc. with an ardent desire ( for attaining salvation. ). #24719flat:moving slowly. mandaprakAraH mandamandaH / The word is reduplicated under the rule qari quladaf i'. 3742: A-CAR: uzaja Aragai The termination 724 is affixed to the word AGATT under the rule + gluaiseaza: ' and the Atmanepad termination a is affixed under the rule '7291 ar' | The swans, owing to their being passionate or to their unwillingness to leave the country-sido for the Manasa-lake, are described as moving slowly. On the other hand, the sages are described as motionless owing to their desire to avoid sin causing mundane life, Hazar: -- keeping silence. Falsating: -- (1) possessing staggering motion, (2) having their rebirths avoided. ofa:- (1) motion, (2) other birth. plaaniat taa TTA ITATS f491931:1716170 acuai anjarraisiu a gia faiza. Eraalan: ( 1 ) spreading all over the quarters, (2) having all the worldly desires dissipated. 371911: 1 (1) quarters, ( 2 ) desires. 9999 (1) tho sky, (2) upright path ( to salvation, ). This resemblance of the swans to the sages is meant for showing that the company of swans is quite deserving with reference to the great sage, Parsva, The resemblance of the swans to the sage Parsva, also can be very easily established. It is implied by the demi- god that the sage, assuming the form of a cloud, will have a very good and deserving company when he will be on his journey to Alaka to carry a message to the beloved of the demi-god. grannych...

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(840) Stanza 45. Trans77 heavenly prosperity. That longed-for. atq$19:- desirous of going. The 7 of 28, being followed by F1A, is dropped under the rule "AFTAIAA:FIA.' ACLI=immediately, very soon, gal - becoming ready: ica Egea The object of the verb spRhayasi is put in the Dative case under the rule 'spRhervepsitam'. Stanzas 46-47:- Frisace for accomplishment of the end aimed at by you. id@YT: the liberated souls. This is an Accusative plural form of the word alga, a noun derived from the verba fagy by affixing the termination my which is affixed in the sense of the past perfect under the rule 'izst: kerral, which has its a dropped under the rule galatai, and wbich has preceding it under the rule f lega: '. Sambarasura means to say "Oh sage, meditate upon the liberated souls to achieve success in your undertaking i. e. battle.' alleart:9717: etioa: 3717 ga qaror: 9 8:one who has washed off the dirt in the form of sinful Karman. al- one who wears a garland. iti - (1) a place where penance is practised ( by sages ), ( 2 ) a place where salvation is attained by sagos. ' leitar oqitiainet:' gia fassaaa. Stanza 48 : 9019119:--- repentance. Dlaguaychi having the hair of body fully bristling through joy. Sambarasura is requesting the Sage to embrace him joyfully. This request, made by him, is a conciliatory means employed to distract the mind of the Sage from His deep meditation. He is found to have been straining his every nerve to disturb the Sage whose mind is deeply absorbed in meditation. ( fata ). Stanza 49:- IcAa:- ac: qid Ta: #19: 952: Ja :baving pride fully developed; puffed up with pride. Tbis adjective. qualifying the demi-god, implies that he has become extremely, arrogant owing to the superhuman power, he possessed. He was quito ignorant of the supermundne power, possessed by the great Sage Parsya, aagatie - (47) reducing the fuel in the form of

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(848) enemies to ashes, aer ca ad ganga i agentia aftr974 IETI aftaal The demi-god means to say that no enemy can stand his attack. If the sage is not, he means to say, willing to accept the terins proposed by bim He will have to undergo a severe punishment inflicted upon Flim by him. i er:- This potential form implies anger under the rule. ' 3791&TAT '. This is another means employed by the demi-god to terrify the Sage and achieve success against Him.. Stanza 50 :- 72- As the Sage is not described as one that has assumed the form of a cloud, the Vocative form oa should bo considered as to have been used taking into consideration the form of a cloud which is going to be assumed by the Sage in future after his death that will be brought about by the demi-god. Generally, a son of a king is called a king by people because of the certainty of his becoming a king in the future. The demi-god is sure of the death of the great Sage and of His assumption of the form of a cload and so the irse of the Vocative form 706 is quite proper from his point of view. The demi-god is described to be telling the Sage to give up the deep meditation in which bis mind is absorbed and which is described by the Jinas as a sure path to salvation. He means to say that the way in which he is practising penance for the attainment of eternal bliss, is not the only means of attaining supermundane bliss. In his veiew, there are many ways of attaining supermundane bliss. To die the death of a warrior on the battlefieid is one of those. It is, therefore, he says, better on the part of the Sage to give ap the meditation and to die the death of a warrior on the battle-field. Salari: the path to salvation, lea:- one who is deviated (from the path. ). ag. after that. 91274a couched up in words agreeable to hear. 717 17 38 aiaqu: from the store of poison in the form helish misery. The bliss which is referred to here by the demi-god is mundane and not supermundane, Stanzas 51-52- fan: jani extremely tired. The redup lication of the word itaa: implies intensification of tiredness 'under the rule '91997 &oazja'. sagigiza:-* artificial hills. Fail: ERAT a iza: qsais ganjica: 1 Quaggea:-- the sloping Jain Education nternational

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(452) regions or the table lands of which are worthy of being enjoyed sAnUnAM zikharANAM pradezAH adhityakA vA sAnupradezA: / sevyA sAnupradezAH yeSAM te vyasAnupradezAH / nAnAvIrudvitatisubhagAHcharming on account of the_groves of various creepers. nAnA anekavidhAH vIrudhaH latAH nAnAvIrudhaH / : tAsAM vitatayaH paGktayaH samUhAH vA / tAbhiH subhagAH manoharAH / puSpazayyAcitAntAHthe regions of which are crammed or pervaded with floral beds. puSpANAM puSyairvA viracitA zayyAH puSpazayyAH / tAbhiH AcitAH channAH antAH prAntapradezAH yeSAM te / kSINaH kSINaHvery much emaciated. The word kSINa is reduplicated under the rule ' prAgbhRzAbhIkSNavicchede '. The demigod is again using pleasing words to allure and distract Him from his deep meditation. Stanza 53:- unmukhIbhiH = with their faces turned upwards. udgatAni mukhani santyAsAmiti unmukhyaH / tAsAm / The feminine termination is affixed to the word unmukha under the rule 'svAGgAnnIco'sphoDa: khecarIbhiH- by the females of Vidyadharas. khe AkAze caratIti khecaraH The termination aTU is affixed to cara under the rule ' caroT ' as it is preceded by the recipient, khe. dRSTodyogaHwhose upward movement is looked at kAmagatyA vimAnaM - aerial car possessing speed like that of mind. The Instrumental case implies the sense 'endowed with the qualities of ' under the rule 'yenAGgavikAretthambhAvau. ' The word kAmagatyA may be construed with the verb yAyAH also. vArivAhin - a cloud vAri jalaM voDhuM zIlamasyeti vArivAhI / -------- ----- 3 Stanza 54:- Amuktasphuritakavace- clad in a brilliant armour. AmuktaH pinaddhaH dhRtaH sphuritaH sphuritatejaskaH kavacaH yena saH / tasmin / AmuktaH put on; worn. kavacaH - armour 'urazchadaH kaGkaTako jAgaraH kavaco'striyAm ' ityamaraH / nIlameghAyamAne - behaving like a black cloud nIlazcAsau meghazca nIlameghaH / nIlameghaH ivAcaratIti nIlameghAyamAnaH / The termination kya (ya) is affixed to the word af in the sense to behave like ' under the ' DAjlohitAdibhyaH ' On wearing an armour, the demi-good looked like a cloud. madanukRtaye --- to imitate me. vArivAhAyitaM - hiehaving like rule * "

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( 453 ) a cloud i. e. assuming the form of cloud vAri jalaM vahatIti vArivAhaH / The termination aN is affixed to vah, under the rule ' karmaNyaN', as it is preceded by its object vAri vArivAhaH meghaH ivAcaratIti vArivAhAyate / vArivAhAyate sma vArivAhAyitaM / bhAve ktaH / meghIbhUtaH - assuming the form of a cloud, ameghaH meghaH sampadyamAnaH bhavatIti meghIbhavati / meghIbhavati sma meghIbhUtaH / This is a cci form pAtazaGkAkulAbhiH- rendered unhappy owing to the doubt or fear of your downfall. pAtasya zaGkA bhayaM pAtazaGkA / tayA AkulAH vyastAH vyagracittAH pAtazaGkAkulAH / tAbhiH / dRSTotsAhaHwhose upward movement is seen. utsAha :- going forward or upwards. utsaddU - to go forward. utsadd + ghaJ = utsAhaH / " Stanza 55 :- vidyutprasavasamaye - at the time of generating or emanating lightning vidyutaH saudAmanyAH prasavaH utpattiH vidyutprasavaH / tasya samayaH kAlaH / tasmin / vadhUnAM- of newly married women. vadhUryoSinnavoDhayoH iti vizvalocane. Women, who are just married, cherish an ardent desire of meeting their husbands. The word may be taken to mean also an abhisArikA " a young woman desirous to go to meet her lover or keeping an appointment made by him,' as it is used in company with the words vidyutprasavasamaye, divyajImUtarUpa and siddhi siddhim - fulfilment. Here it means 'fulfilment of the desires of young women to meet their lovers (under protection of darkness by showing them light to koop them on their proper way. ' ). jImUta - a cloud. kAmacAredesirous of moving at one's own will. Here the Locative case is used to imply 'purpose.' kAmuka :- desirous sarasaniculAt- having fresh nicula grass. udaGmukhaH - with face turned northwards. udak uttarasyAM dizi mukhaM yasya saH / udIcInamukha ityarthaH / The demi-god means to say: The simple women of the Siddhas are afraid of your falling down. You, with your face turned in the northern direction, desirous of moving at your own will, should fly up in the sky very quickly from that place, having Nichula grass grown up. By your departure from that place, their hearts will be freed from the fear caused by the doubt of your falling down.' Stanza 56 - digbhyaH bibhyat-- afraid of the quarters. bhIlukaH -

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(3498) Limid.' TEHFHIC : ' TAT: 1 faqaafta:-- impassable or unfor dable rivers or rivers flowing very vebemently. ETA- inaccessible THAITiJari-moving through the sky. ziua guifia ar Apf:az]AATTI: tamanusaratIti vyomamArgAnusArI | Here Sambara means to say that as the sage, assuming the form of a cloud, can move easily in the sky, He (the sage) need not worry about the unfordable rivers and inaccessible regions. 91on the way. Pagaliai - of the quarter-elephants. pariharan- quolling. sthUlahastAvalepAn- pride taken in the bignoss of their trunks or ornamentation of the big trunks. Fyang etag gogtaieg lainmitAH avalepAH varNikAdravyavinirmitavividhAkArAlaMkArAH / tAn / sunipuNaMperfectly; carefully; without any injury being inflicted ( upon You). Stanzas 57-58 grkala--in front of. 7773317aajat:- a commixtury of lustres of various jewels; an intermixture of lustres emanating from verious jewels. la ait:- a commixture or an intermixture. Tajat Hoflat grat: Arrag: Tiga147 | The compound is in the neuter gender owing to the number of the jewels, from which lustres emanate, being large, under rule' giat agaia'. Almost all the present editions of Meghadata read Tinaslajantaht:. This reading, though grammatically correct, is, in my opinion, not proferable to the one found in the Parsvabhyudaya. This reading, found in the present editions of the Meghaduta, is grammatically correct under the rule qaratia1910aifani ar', but it does not decidedly imply plurality. of the jewels from which multicoloured rays emanate. We all of us know that a rainbow is a commixture of many and various colours. - lovely to the sight, beutiful to look at. Haljatasa- becomes manifest or obvious to the eye. gegla, at the time of departure. ge: jaga- tied high up in the sky, acci- a garland.' AENDEFairie a Carlo FT THAT@#191 skiteatri i Brend- loosened. kAJcIdAma- a girdle. atyudagraM- very tall. varNopanaM- with colours thrast into i. e. multi-coloured. sprattalaai, the expansion of which is prevented. sraita: sualca: aquaat ar faat: qat: (expansion ) 957

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( 455 ) tt| bhogimUrdhanyaratnajyotizcakram - a prismatic circle formed by the lustre emanating from the head-jewel of a cobra de capello. bhogaH a hood of a cobra. bhogaH phaNaH asyAstIti bhogI / nAgarAjaH ityarthaH / mUrdhanya - (1) formed in the head; ( 2 ) most excellent mUrdhni bhavaM mUrdhanyam | The termination ya is affixed to the word mUrdhan under the rule ' dehaGgAt' / mUrdhanyAni ca tAni ratnAni mUrdhanyaratnAni / bhoginaH mUrdhanyaratnAni bhogimUrdhanya ratnAni / teSAM / jyotiSAM cakraM samUhaH iva cakraM bhogimUrdhanya ratna jyotizcakram / prAyeNa - most probably. dinakarakarA zliSTameghAzritaM - resorting to the clouds intermixed with the rays of the sun. dinakarasya meghasya karAH marIcayaH dinakarakarAH / taiH AzliSTaH AkrAntaH saMzliSTaH dinakara kara rAzliSTaH / sa cAsau meghazca / tamAzritaM / tena prAptasaMzleSasambandhamityarthaH / The following extract from the work of Varahamihira, being very useful, is quoted below:- indracApaM kila basmIkAntarvyavasthitamahAnAgaziromaNi kiraNasamUhAt samutpadyate / " sUryasya vividhavarNAH pavanena vighaTTitAH sA / viyati dhanuHsaMsthAnAH ye dRzyante tadindradhanuH / ' Stanza 59 - kulizakaThine -- as hard as an adamont. kulizaM vajramiva kaThinaM karkazaM kulizakaThinam / tasmin / procchaladraktadhAram - making blood gush out. procchalantI bahirucchalantI raktasya rudhirasya dhArA pravAhaH yena yasmAdvA hetubhUtAt / ' dhArA paGktau dravadravyasrave'zvagatipaJcake / khaDgAdInAM mukhe senAgrimaskandhapurAntare || bhRGgArAdezca nAlAyAM dhArAbhyAse nutAvapi / haridrAnizayozca ' iti vizvalocane / kathamapi - anyhow vidyuddaNDasphuritarucinA - possessing the lustre of the flashes of lightning vidyuddaNDasya daNDAkAradhAriNyAH vidyutaH sphuritA prajvalitA yA ruciH tejaH vidyuddaNDasphuritarucistathA / yadvA vidyuddaNDasya sphuritaM sphuraNaM vidyuddaNDasphuritam / 'nabbhAve kto'bhyAdibhyaH' iti ktaH nap ca / tasya rucistejastayA / bhUyaH - abundantly. Stanza 60 - picchopAprapratatiruciraM - assigning beauty owing to its construction like that of the hinder part of the eye of the peacock's feather. picchasya mayUrapicchasya upAgraM agropAntapradeza: picchopAnam / picchopAgrasya pratatiriva pratatiH yasya saH picchopAgrapratatiH / tathA ruciraM manoharam / yadvA picchopAgrasyeva pratatiH viracanA picchopAgrapratatiH / tayA ruciraM zobhAvaham /

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zUrAgraNIH an arrow. the foremost of warriors. zaGkaH kIle zive saGkhyAyAdo'strabhidi kilbiSe ' iti vizvalocane / prahRtaM - charge. prahRtaM prhaarH| nabbhAve kto'myAdibhyaH' iti kto bhAve na ca / dhatsva = boar sphuritarucinAshining. sphuritA ruciryasya tena / viracitatano: - having his body decorated. vizeSeNa racitA alaGkRtA tanuH zarIraM yamya yena vA / indranIlatviSaH - possessing dark-blue complexion like that of a sapphire. indranIlasya harinmaNeH tviT kAntiri viDayasya saH / tasya / gopaveSasya = clad in clothes like those of a milkman gopasya veSaH iva veSaH yasya saH / tasya / The demi-god, " ( 456 ) C Sambara, means to say: 'Do not eradicate the arrow discharged by me and pierced into your body. Thereby your body will look more beutiful like that of the body of Visnu, clad in clothes like those of a milkman. Stanza 61 stra: - heaven. praharaNakathA. the talk of a fight. prahite'sminniti praharaNam / The termination anaT is affixed to prahR in the sense of ' a recepient ' under the rule ' karaNAdhAre cAnaT ' / praharaNasya kathA prhrnnkthaa| AstAM tAvat - let it be aside for the present. svarja: - leading to the heaven. bhUvikArAnabhijJaH -ignorant of the sportive movements of the eyebrows. bhruvoH bhrukuTayoH vilAsAH saMkocavikAMsAdikrIDAH / tAsAmanabhijJaiH jJAnena vikalaiH / ajJAtasaGkoca vikAzaiH / animiSairityarthaH / kSetriNAM - of the farmers. hphu- Stanza 62 - kRta kajalada : - an artificial cloud. vidyunmAlAkRtaparikaraHintermingled with the diffusion of the successive flashes of lightnings. vidyutAM saudAmanInAM mAlA paramparA vidyunmAlA / tayA kRtaH vihitaH parikaraH vyatiSaDGgaH yena saH / bhAsvadindrAyudhazrIH - possessing lustre like that of the shining Indra's bow. bhAsvataH dIpyamAnasya indrAyudhasya indradhanuSaH zrIriva zrIryasya saH / udyanmandrastanitasubhagaH pleasant owing to the production of grave (deep, rumbling) thunderings. udyat prAdurbhavat mandraM gambhIraM ca tat stanitaM garjitaM ca udynmndrstnitm| tena subhagaH manoharaH / snigdhanIlAJja nAma: - possessing an appearance like that of collyrium wetted with oil. snigdhaM tailArdrIkRtaM ca tannIlaM kRSNavarNe ca sgghinIlam / tacca tadaJjanaM ca snigdha

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(457) nIlAJjanaM / tasya AbhevAbhA prabhA yasya sH| tvatpayobindupAtaprItisnigdhaiH - full of affection felt through the pleasure enjoyed by them owing to the discharge of the drops of your water. tava payaH tvtpyH| tvatpayasaH bindavaH pRSanti tvatpayovindavaH / teSAM pAtaiH saJjanitayA prItyA pAtAnAM prItyA vA snigdhAH AvirbhUtasnehA / taiH| Stanza 68- sadyaHsIrotkaSaNasurabhikSetraM - where the fields, being ploughed very recently ( by means of ploughs ), emit fragrance. sIraH - halaphAlaH - ploughshare. sadyaH pratyagraM sIreNa halaphAlena utkaSaNaM karSaNaM sadyaHsIrotkaSaNam / tena surabhINi janitasaurabhANi kSetrANi kedArANi yatra tat / mAlaM - elevated ground. Stanza 64-dIrghakAlaM - for a long time; since very long. pratyA. vRttasvaviSayarataH - (1) from whom the desire for enjoying tho objects has disappeared; (2) to whom the desire for enjoying the objects of sense-organs has returned (i. e. in whom the desire for enjoying the objects of senses has made its appearance again.) pratyAvRttA dUrIbhUtA (dhAtUnAmanekArthatvAt ) vinaSTA, punaH pAdurbhUtA vA svasthAtmIyasya viSaye deze ratiH prema svasya vAtmanaH viSayaratiH idriyaviSayabhogAkAGkSA yasya saH / autsukyaM- a strong desire. parisaritaM- beyond the river. This is an avyathIbhAva compound under the rule 'paryapAbahiraJcaH '. Here pari is used in the sense of 'abandonment'. dakSiNAzA- southern direction. pepIyasva- paunaHpunyena bhRzaM vA pAnaM kuru-drink deeply. laghugatiH- possessing high speed. uttareNa- (1) leading to the north; (2) by the north (i. e. by the way running just in the northern direction.) Stanza.65- bahuvilasitaiH- possessing extra-ordinary brilliance or beauty. vilasita-vilAsa:- (1) brilliance; (2) beauty; (3) movement. 37177ifra:- assuming lustre or beauty. Fifa:- (1) loveliness, beauty; (2) lustre, brilliance. dhutataTavanopAntadezaiH- shaking the skirts of the groves grown on the slopes. dhutAH prakampitAH taTavanasya upAntadezAH samIpapradezAH yaiH / taiH / pratyudyAtaH- (1) risen from. seat as a mark of respect to greet or welcome; (2) risen bigh up. AsAraprazamitavanopadravaM- one who has dispelled the distress of its forest .

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( 458) by means of showers AsAraiH dhArAsampAtaiH prazamitaH prazAntiM nItaH vanAnAM araNyAnAM upadravaH dAvAmikRtopadravaH yena saH / pathagatiparizrAntitAntaM - fatigued very much by the journey. pathagateH parizrAntyA tAnto dUnaH / tam / tAnta p. p. derived from the root to be exhausted or fatigued. vakSyati- will bear. -- 6 Stanza 66-- viralaviralAn - a few, a little. viralaprakArAH viralaviralAH / tAn / The word virala is reduplicated to imply the sense of prakAra under the rule ' prakAre guNoktervA ' prAvRSeNyodabindUn - drops of water like those falling in the rainy season. prAvRSi bhavAH prAvRSyeNyAH | The termination is affixed to the word 1 under the rule prAvRSa eNya: '. As, at the time, when the sage was harrased and asked to perform a jurney, there was no rainy season, the drops of water did not possess the nature of the drops of water that fall in the rainy season. It is, therefore, necessary to exlpain the word prAvRSeNya as prAvRSeNyAH iva prAvRtreNyAH under the rule ' devapathAdibhyaH ' prAvRSeNyAzca te udavindavazva prAvRSeNyodavindavaH / tAn / udakasya bindavaH udabindavaH / The word udaka is changed to 3 under the rule ' manthaudanasaktubhinduvajrabhArahAravI vadhagAhe'. vastraknopaM - moistening clothes only. The termination Nam is affixed to kne pa, preceded by the word meaning ' clothes and acting as an object of knopa, under the rulo 'celArthe knope: ' tattvabodhinI explains this yathA varSaNe celAni zabdAyante tathA vRSTaH ityarthaH / anye tu knuzrI zabde unde ca, undI kledane, klidU ArdrAbhAve, ityevaM knopamiti Namulantasya prakRtyarthaM paryAlocya yathA varSaNena celAnyArdrIbhavanti tAvad vRSTa iti vyAcakhyuH / adhvazramaH parigataM - fatigued by journey. adhvanaH mArgasya zramaH adhvazramaH / tena parigataM vyAsaM adhvazramaparigatam / suratarasikam - enjoying the pleasure of coition. prAntaparyastavINam - keeping lates aside prAnte samIpapradeze paryastA tyaktA sthApitA vINA yena tat / azmavezmodareSu - in the interior of the caves carved into the rocks. azmanAM zilAnAM vezmAni azmavezmAni / teSAmudareSu madhyapradezeSu / 28 3

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(459) Stanza 67- tuGgattiH - (1) lofty; ( 2 ) whose behaviour is very noble. tuGgA unnatA vRttiH kAyikI sthitiH yasya sH| pakSe tuGgAnAM mahApuruSANAM vRttiH samudAcAraH iva vRttiH yasya sH| zikharatarubhiH - through the tall trees grown upon the summits. saGgrahISyati - will welcome you.. prathamasukRtApekSayA - taking into consideration previous favours. apAzadisappointed. apagatA vinaSTA AzA abhilASaH yasya sH| yadvA apagatA dUrIbhUtA AzA yasmAt sH| prAdibahuvrIhiH / The demi-god means to say that .the lofty mountain behaving nobly like a noble man will surely welcome the sage. Stanza 68- ahAryo - which cannot be shaken off. hartuM vinAzayituM zakyate iti hAryA / na hAryA ahAryA / tAm / yaM prati ete 'dhRtiM vidadhati 'tasya te asuhRdaH uttamasnigdhavRttiH adriH bandhukRtyaM kuryAt - Sambara means to say~ 'All the mountains are satisfied with you, yourself being a cloud That also is a mountain and moreover, noble and affectionate in behaviour. That will surely render you service in spite of the absence of your friendship with him.' asuhRdaH api - though not in a friendly relation with him. bandhukRtyaM - friendly or brotherly service. uccaiH - (1) bigb; ( 2 ) noble. stanza 69.- khacaravanitAdhyAsitodanazRGgaH - the lofty poaks of which are occupied by the ladies of the sky-wanderers. khe carantIti khacarAH - sky-wanderers. khacarANAM vanitAH khcrvnitaaH| vidyAdharastriyaH ityarthaH / tAbhiH adhyAsitAni uSitAni udaprANi zRGgANi yasya sH| udgatAni agrANi sAnavaH yeSAM tAni udagrANi / ramyasAnupradezaH - the regions on the summits of which are beautiful. sAnUnAM zikharANAM pradezAH saanuprdeshaaH| ramyAH sAnupradezAH yasya saH rmysaanuprdeshH| siddhopAsyaH -- which is worthy of being resorted to by the particular heavenly gods or by sages. siddhaiH devavizeSeH AsannamuktizramaNamunijanairvA upAsyaH AzrayaNIyaH / 'siddhastu nitye niSpanne prasiddha devayoniSu' iti vishvlocne| kusumitalatAvIrudhAM sannivaizyaHa desorving place for the growth of creepers and shrubs furnished with flowers. kusumitAH snyjaatkusumaaH| The termination ita is affixed to

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(460) the word kusuma in the sense of ' tadasya saJjAtaM ' under the rule. 'tadasya saJjAtaM tArakAdibhyaH itaH' / latAH vallaryazca vIrudhaH gulmAzca ltaaviirudhH| kusumitAzca tA latAvIrudhazca kusumitalatAvIrudhaH / tAsAm / tAbhirityarthaH / As the potential participle is used here, the subject is used here in the Genetive case under the rule 'vyasya vA kartari'. sannivezyaH - worthy of being resorted to. pariNataphaladyotibhiH -glistening with ripe fruits; appearing beautiful owing to ripe fruits. pariNatAni pakkAni ca tAni phalAni ca pariNataphalAni / taiH dyotante prakAzante iti pariNataphaladyotinaH / taiH| unnopAntaH - the skirts of which are covered over with. channaH saMvRtaH upAntaH pArzva bhAgaH yasya sa channopAntaH / purA - in the near future. 'purA bhAvipurANayoH ' iti vizvalocane / tvasthati - tvarI kArayiSyati- will impel (you) to hasten op. The present form sarafa is used in the sense of future owing to the use of the word purA under the rule. "purAyAvatAleT'. Stanza 70- snigdhaveNIsavarNe- having resemblance in colour with a braid of oiled hair. snigdhA abhyaktatelA cAsau veNI kabarI ca snigdhavaNI / samAnaH tulyaH varNaH yasya saH svrnnH| snigdhaveNyA savarNaH snigdhvenniisvrnnH| The word samAna, being followed by the word varNa, is changed to sa under the rule ' samAnasya dharmAdiSu.' valayitatanuH -- zikharamadhyabhAgaM paritaH valayitA valayIkRtA tanuH yena saH - who has encircled the middle part of the peak of the mountain with his body. nIlotpalIvaracitaM- made of blue lotuses. zekharaM- a garland. mugdhavidyAdharINAM - of the simple ladies of Vidyadharas. Sambara means to say='when the cloud will resort to the middle of the peak of the mountain, the simple ladies of Vidyadharas will doubt whether it is a dark serpant encircling the middle part of the peak or a garland of blue-lotuses. . Stanza 71- upavahan - assuming. kuJja - cavern. adhyAsInaH - settling. The word 3787THI: governs the accusative case of the AdhAra of the act of settling under the rule ' karmaivAdheH zIthAsaH.' khanonmuktaH - abandoned by the heaven. zlakSNanirmokakhaNDaH - a thin delicate piece of the sky. lakSNa - thin. nirmoka - the sky. nirmokasya vyomnaH

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(461) khaNDaH zakalaM nirmokakhaNDaH / 'nirmoko vyomna sannAhe mocane sarpakaJcuke' iti vizvalocane / zlakSNazcAsau nirmokakhaNDazca zlakSNanirmokakhaNDaH / amaramithunaprekSaNIyAMworthy of being looked at by the heavenly couples. 378719 garat mithunAni yugmAni amaramithunAni / taiH prekSaNIyA avalokanAre / taam| Stanza.72- nAnApuSpadrumazavalitopatyakaH - having its lower part variagated by various flowery trees. nAnA nAnAvidhAH puSpadrumAH kusumitAH vRkSAH naanaapusspdrumaaH| taiH zabalitA citravarNA kRtA upatyakA paryantapradezaH yasya saH / zabalayati zabalavaNaM karoti sma shblitaa| zeSavistArapANDuH - whitish in. the remaining expansion of the surface. zeSaH madhyapradezAdanyaH avaziSTaH yaH vistAraH bhuvaH vyAsaH tatra pANDuH / yadvA zeSazcAsau vistArazca zeSavistAraH / zeSavistAraH pANDuH yasya sH| AnIlaviSi- possessing deep blue splendour.. A samantAnIlA nIlavarNA sviT kAntiH yasya saH AnIlasviT / tasya | amaramithunazlAghanIyAM - worthy of being very highly praised by the couples of heavenly beings. amarANAM mithunAni yugmAni amaramithunAni / taiH teSAM vA lAghanIyA zlAghayituM prazasituM yogyaa| tAm / atimAtraM - extremely. .. Stanza73-vanacaravadhUbhuktakule - the bowers of creepers whereon are made. use of by the wives of the forest-wanderers or the bowers on which are used by the wives of the forest-wanderers-- vane carantIti vanacarAH / teSAM vadhUbhiH pratyagrapariNItAbhiH strIbhiH bhuktAni bhogaviSayatAM nItAni kulAni latAmaNDapAH yatra yasya vA / tasmin- on that mountain. ramyazroNI:- possessing beautiful buttocks., ramyAH ramaNIyAH zroNayaH kaTipazcAdbhAgAH yAsA tAH / taaH| vikaTadazanA:-having large teeth. vikaTAH vizAlAH azvaradanatulyAH dazanAH radanAH yAsa tAH / yadvA vizAlAH sundarAH iti / 'vikaTo vikarAle syAdvizAle sundare vare' iti vizvalocane / prothinIH(1) possessing acquiline noses; ( 2 ) possessing poses like that of a horse, prothAH AsAM mantIti prothinyaH / tAH prothiniiH| 'vRttaH nAsAntapradezaH prothaH' ityamarakozaTIkAyAM kSIrasvAmI / . dIrghaghoNAH - possessing long noses. dIrghA ghoNA nAsikApradezAH yAsAM tAH dIrghaghoNAH / tAH / lalATaparyantanAsAgrAntaH nAsikApradezaH ghoNA / pInottuGgastanabharAt-owing to the heaviness of their fleshy and elevated breasts. pInA mAMsalAzca te uttuGgAH udagrAzca

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(462) piinottunggaaH| pInottuGgAnAM stanataTAnAM bharaH bhAraH / tasmAt / mandamandaM slowly mandaprakAreNa / mandagatyetyarthaH / prAvakSuNNaprazithilanakhAH- having their nails loosened on account of their being bruised by stones, grAvabhiH upalaiH kSuNNAH saJjAtakSodAH ata eva prazithilAH prazlathAH nakhAH pAdAgukhyagrajAH yAsA tAH / vAjivaktrA :- the women of the Kinnaras or women of the class of Kinnaras.. Stanza. 74-muktakuJjaH--who has left the caverns or the bowers. durvidhAnaM-difficult to be prevailed upon. toyotsargadrutataragati:-whose gait is more speedy owing to the discharge of water. toyasya utsargeNa drutatarA zIghratarA gatiH gamanaM yasya saH / sadyaH- immediately. tatparaM- beyond it. tasmAdAmrakUTAt paraM uttaraM tatparaM / tIrNa:- who has begun to traverse. This past participle is used here in the sense of 31181% i.e. beginning. garimAlambanaM- cansed by heaviness. garimA pracurajalapUrNatvAdgurubhArAkAntatvaM AlambanaM nimittakAraNaM yasya saH / tam / kAlakSepa---- passing away time. kAlasya kSepaH yApanaM kAlakSepaH / tam / Stanzars-udIcI- in the northern direction. vanyebhAnA- of the forest elephants. vane bhavAH vanyAH / vanyAzca te ibhA gajAzca vnyebhaaH| teSAm / radanahatibhi:-- by the strokes of the tusks. radanAnA dantAnAM hataya: prahArAH radanahatayaH / tAbhiH / bhinnaparyantavAM- the edges of the banks of which are rent asunder. bhinno paryanto yayosto bhinnaparyanto / bhinnaparyanto vo tIre yasyAH saa| tAm / yadvA bhinnAH vidAritAH paryantavaprAH paryantasthitaraNucayAH yasyAH sA / tAm / vInA- of the birds. madhuravirutaiH-giving out delightful notes. madhurANi zrutisukhAni vistAni dhvanayaH yeSAM tH| AttatIropasevAMhaving her ( its ) banks worshipped or occupied. 89191 Faixar SFIT ET vA tArayoH taTadvaye upasevA nivAsa: apacitiH upAsanA vA yasyAH sA / tAm / upalaviSame- rendered uneven on accoant of stones. upalaiH pASANakhaNDa: viSamaH sthapuTitaH nimnonnataH uplvissmH| tasmin / vizIrNA- rent asunder. vibhaktAM - well-arranged. Stanza76-upataTavana-in the vicinity of the forests grown on the slopes. taTavanasya samIpe taTavane vA upataTavanaM / This is an Avyayibhava com-,

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( 463 ) pound implying vicinity or the sense of the Locative case. viprakIrNapravAhI - having her flow scattered or increased abundantly. viprakIrNaH prasRtaH ativizAlaH vA pravAhaH yasyAH sA / tAm / tIropAntaskhalanaviSamovRtta phenAMhaving her foam increased vehemently owing to the dashing or stumbling of her flow against the skirts of her banks. tIrayoH taTayoH upAnte skhalanena vRkSopalAdipratibandhajanitagatiskhalanena viSamaM yathA syAttathA udvRttaH pravAhoparitanabhAgaM prAptaH phenaH DiNDIrapiNDaH yasyAH sA / tAm / samInAabounding in fish. giritaTagajakSobha bhinnormimAlAM - - having series of waves brought into being by the agitation caused by the elephants dwelling on the slopes of the mauntain or having her water stirred into series of waves by the elephants and on account of the slopes of the mountain. giritaTazca gajAzca giritaTagajAH / yadvA giritaTabhavAH gajAH giritaTagajAH / teSAM kSobhaiH bhinnA viracitA vIcInAM kallolAnAM mAlA paramparA yasyAM sA / bhakticchedaiH viracita --- made by means of variously coloured stripes. bhaktInAM varNaviracitamanoharAkRtInAM chedAH vibhAgAH bhaktichedAH / taiH / bhUtidecoration of an elephant, 'bhUtirmAtaGgAGgAre bhasmasampattijanmasu ' iti vizvalocane / > Stanza 77 - tiktaiH - fragrant. vanagajamadai: - by the ichor of wild 'young elephants. vAsitaM - made fragrant ' vAsitaM vihagArave / dAne triSveva vasanaveSTite surabhIkRte iti vizvalocane / puSkareNa-- with their trunks. 'puSkaraM vyomni pAnIye hastihastAgrapadmayoH ' iti vizvalocane / kalabhakaiH -- by the cubs of elephants. bAsanAvAsitasya - free from all desires. vAsita - a p. P. form derived from the root vas- 10u. -- (i) to cut off, (ii) to hurt, .injure. vAsanA icchA A samantAt vAsitA dUrIkRtA yena saH / The p. p.form vAsita is placed after the word vAsanA under the rule. 'vAhitAgnyAdiH '. This compound may also be solved as AvAsitA saMskRtA ubuddhA vA vAsanA icchA yasya saH / In this case also, the rule vAhitAgnyAdiH , is applicable. prAyogyaM - deserving to be utilised prayoge upayoge sAdhu prayogyaM / prayogyameva prAyogyam. The termination ya and after it the svArthika termination aN are affixed to the word prayoga under the rule 'tatra sAdhuH '. 6

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(464 ) grAvakSuNNozcalitaMrisen high up owing to its being dashed against the rocks ( of the river ). Stanza 78--ajasraM - incessantly. vanakarikarA ghaTTanaiH - by the strokes of the trunks of elephants vanakariNAM vanyAnAM gajAnAM karAH zuNDAdaNDAH vanakari karAH / teSAmAghaTTanAni pratADanAni / taiH / kSuNNaM - beaten. P. P. of V kSud. jambUkuJjapratihatarayaM -- the force of which is curted ( restrained) by the groves of Jambu trees. jambUnAM jambUvRkSANAM kuJjaH nikuJjaH pratihataH vighnitaH pratibaddhaH rayaH vegaH yasya tat. / upalanipatannirjharAmbhaHprakAzaM - resembling or clean like the water of rivulets dashing against rocks. upale pASANe nipatIti upalanipatat / nirjharasya pravAhasya ambhaH pAnIyaM nirjharAbhaH / upalanipatat ca tat nirjharAmbhazca upalanipatannirjharAmbhaH / tenAmbhasA prakAzaM tulyaM tadiva prakAzaM nirmalaM vA upalanipatannirjharAmbhaH prakAzam / prArthanIyaM - worthy of being craved for. The word being the subject of the root 12 and the word being a potential participal, the word vyasya vA kartari '. svAdIyaH is used in the Genetive case under the rule very pleasing to the taste, possessing very pleasing taste. The comparais affixed to the word tive termination under the rule 8 guNAGgAdveSTheyasU. Stanza 79-- apahRtAzeSamArgazramaH - with the fatigue of journey dispelled thoroughly apahRtaH dUrotsAritaH vinAzitaH azeSaH nikhila : mArgazramaH adhvaklamaH yena yasya vA / rasaM -water. hRtvA - having taken in. avihRtaprakramAMwith 1 progress unimpeded. avihataH apratibaddhaH prakramaH tasmAt parasmin vartmani zIghragamanaM yasyAM sA / tAm / vyomatrajyAM - journey in the sky. vyomni AkAze brajyA gamanaM vyomavrajyA / tAm / sandadhIthA: - resume antaH sAraM - substantial inside. antaH sAraH balaM yasya saH / tam / tulayituM - to carry you away. Stana 80 mArge mArge on every way. dhunInAM - of rivers. ladhimaghaTitAM ( 1 ) ensuring lightness; ( 2 ) ensuring frivolity. ghaTitA laghimA agauravaM [ laghutA ] anarthakatvaM vA yayA sA / laghorbhAvaH laghimA | This word is derived from the word laghu by affixing the termination iman under the rule ' pRthvAderveman' and by dropping 3 under the rule ' Te: ', "

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( 886 ) The compound may be dissolved - as quat gizat also. IE dissolved thus it will mean brought about by swiftness ( rapidity ) This interpretation is not preferable to the one given above for the following reasons. (1) Speedy movement does not empty the cloud. (2) It cannot be bronght into harmony with the implication of the next line of the Stanza. Emptiness of the cloud is the cause of its rapidity ( at ) just as poverty of man is the cause of his miserable state. Raaai - emptiness. FH - steadiness, stability. The word Fiat is derived from the word itut by affixing the termination iman under the rule pRthvAdervaman and by affixing ira before iman affixed to it under the rule. 'igaityti e 97iqicT: ' Stanza 81 ilgari - of those that have gone abroad. Balad: -balf-grown. Soat: - on account of the filaments. zlaplaat - green and brown. Esta a aq fai a gitarai ala - the flowers of tbe a tree. At the time of the approach of clouds, Nipa trees blossom. On seeing the Nipa-trees blossoined the wives of those who go abroad infer the approach of clouds. The blossoming of the Nipa-trees serves as a dea (reason ) in inferring the approach of clouds. The e is established by perceiving the relation of invariable concomitanc@ of the go with the 81877 elsewhere. The approach of clouds invariably follows the blossoming of the Nipa-trees. F#769 - quite correct. The termination 59: is affixed to the word 97a in the sense of 719574 (praiseworthiness ) under the rule a 49:,' S ATA - view. Stanza 82 -- 377971 - in the forest. This is an 375gatura compound in the sense of the Locative case. 3729116611-grown. I 291amusbrooms. 3712785 in the marshes; in the low lands watery at ali times. 'kacchaM zailAdisImani / naukAGge tunnake'nUpe paridhAnAJcalAntare' iti vizva iza This also is an 370zl 19 compound in the sense of the Locative case. tvatpayobindupAta:- by the discharge of drops of your water. tava payaH tvatpayaH / tasya bindUnAM pRSatAM kaNAnAM pAtaH patanaM / taiH / AvibhUtaprathamamukulA:having their first buds manifested, patar: qaziyar: ggar: 998 IC pAvabhyuidaye 30

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( 166 ) bhUtAH mukulAH yAsAM tAH / kandalI : - plantain trees. parvatIyAH - mountain eers parvate jAtAH prvtiiyaaH| 'The termination cha( Itha ) is affixed to the word parvata in the sense born in the mountainous region' under the rule qaarnmatyeM, ' madhye vindhyaM in the interior part of the Vindbyas. farazu neg madhyavindhyam / In this avyayIbhAva compound the word madhye is placed before the word fat which is put in the Genitive case while dissolving the compound_under the rule ' pAremadhye'ntastavA. - of the in the forests. unmadAnAM ke kinA Stanza 83delighted peacocks. udgataH madaH AnandaH yeSAM te unmadAH / bardakSepaM with their plumages expanded. barha kSepaM barhakSepaM / baI, the first member of the compound, being () an impermanent part of the peacock's body and being used in the Accusative case owing to its being the object of kSip the termination Nam ( am ) is affixed to q under the rule 6 " www " s'. As, though dropped from the body of the peacock, does not bring about the death of the peacock, it forms an impermanent() part of the peacock's body. This impermanent part must be the member of the compound when the termination U is affixed to the root following the first member. afta wa dance. dagdhAraNye in the forests burnt by conflagration. - inopportune, untimely, unseasonable. : - travellers. -? aia pathikaH / The termination ThaT ( ika ) is affixed to pathin to imply the sense of all under the rule pathaSThaT. C 3 - Stanza 84 -- owing to their eagerness roused to action baddhaM ca tadau sukyaM autkaNThyaM ca baddhautsukyam / tasmAt / sampatantaH - flying. - bees. Here the word 1 is taken to mean bees' because they are discribed as to have been attracted by the fragrance of flowers. Elephants, deer and the Chataka-birds are not attracted by fragrance and are nowhere described as having attraction for fragrance of flowers. Kalidasa also has taken the word : to mean when it is construed with the line 'nIpaM dRSTvA haritakapizaM kesarairardha * bees G

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( 467 ) 6 6 khaidai:. ' Acharya Jinasena has construed 'tvatsAnnidhyaM yadanumimate yoSitaH proSitAnAM ' with the above-given line of the Meghaduta. The second qine of this stanza deserves to be construed as- - baddhautsukyAt sarasavidalakandaH anukRSTAH anukuJjaM aviralaM sampatantaH amI sAraGgAH / ' sarasavi-dalatkandalaiH by the fresh sprouts shooting out vidalantaH prAdurbhavantazca te kandalAH navAGkurAzca vidalatkandalAH / sarasAzca te vidalatkandalAzca sarasa vidlskndlaaH| taiH| anukuJjaM - rushing into or towards ( or near ) the bowers, This is an Adverbial compound in the sense of Locative case or vicinity. Here the word : is to be taken to mean antelopes,' because thes are described here as to have been attracted by the fresh sprouts. Elephants and Chataka-birds are never attracted by fresh sprouts and are nowhere described as having been attracted by fresh sprouts Kalidasa also has taken the word sAraGgAH to mean ' antelopes' when it is construed with the line 'AvirbhUtaprathamamukulAH kandalIzcAnukaccham'. Acharya Jinasena has construed ' parvatIyAH manuSyAH tvAmAyAtaM kalayitumalaM tvatpayo bindupAtaiH ' with the above-given line of the Meghaduta. The .third line of this stanza should be construed as ' baddhautsukyAt dagdhAraNyasthalaparimalaiH anukRSTAH dagdhAraNyasthaleSu aviralaM sampatantaH amI sAragAH / dagdhAraNyasthalaparimalaiH by the fragrant odours of the forests burnt up. dagdhAni dAvAgninA dagdhAni araNyasthalAni dagdhAraNyasthalAni / teSAM parimalaiH / Here the word : is to be taken to mean Chataka-birds,' because bees, antelopes and elephants are not attracted by the fragrance of the forest lands schorched by the sylvan fire and are described nowhere as having been attracted by it. Kalidasa has also taken the word sAraGgAH to mean ' Chataka-birds' when it is construed with the line ' dagdhAraNyeSvadhikasurabhiM gandhamAghrAya corvyAH '| Acharya Jinasena has construed tvAmAsannaM sapadi pathikA jJAtumarhantyakAle ' with the line given just discharging drops of water. yathAsvaM - according to " - above. jalalavamucaH their capacities. - Stanza 851 adhRSyaM going.yAtumicchuH yiyAsuH / The termination tum affixed to yA is dropped impenetrable. jai: desirous of - ---

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( 468 ) and the termination when san is affixed to it to imply ' desire ' and then the termination u is affixed to it under the rule 'sanbhikSAzaMsvindicchAdu:' / 'The word yiyAsu is a desiderative form. The root yA, followed by the termination is reduplicated and the B1 of the reduplication is changed to under the rule sanyataH ' / mAndyaM - dulness, laziness, slowness. ( Stanza 86--navajaladharAdhaiAtasAnupradeze - having the regions of its peaks washed off by fresh clouds. navAzca te jaladharAH meghAzca navajaladharAH / taiH AdhautAH samantAt prakSAlitAH sAnoH zikharasya pradezAH bhUbhAgAH yasya saH / tsmin| nRtyatkekidhvanimukharite - resounding with the cries of the dancing peacocks* nRtyantaH naTntazca te kekinaH mayUrAzca nRtyatkekinaH / teSAM dhvanibhiH kekArAvaiH mukharitaH vAcAlitaH nRtyatkekidhvanimukharitaH / tasmin / kakubhasurabhIfragrant on account of the Kakubha - flowers. kakubhAnAM kakubhakusumAnAM surabhiH sugandhaH yatra saH / tasmin / vakubh - flowers of Kakubha - trees. parvate parvata 1 | 1-on every mountain. Rs Stanzas 87 -tatra tatra kSitighre - on all mountains. kSitiM bhuvaM dharatItI kSitighraH parvataH / tasmin / labdhAtithya:- who has received hospitality. labdhaM prAptaM AtithyaM atithisatkriyA yena saH / unmanIbhUya - becoming eager anunmanaH unmanasaH bhUtvonmanIbhUya | The termination cci is affixed to the word unmanas under the rule kRbhvastiyoge'tattattve sampattari cicaH | When it is followed by the termination, the of the word is dropped under the rule ' manoruzcakSuzcetora horajasaH khaM ' and the vowel a, preceding the letter, is replaced by the vowel under the rule hala: Ika. kekAH svAgatIkRtya - having turned their cries into speech meant for welcoming. This is also a vi form . sajalanayanaiH -- with their eyes full of tears ( owing to their feelings of joy. ) zuklApAGgai: - by the peacocks. " Stanza 88H--utkaNThAvirutimukharasya - noisy on account of the cries given out through eagerness. utkaNThayA unmanAyitena janitAH virutayaH 'ke kArAvAH utkaNThAvirutayaH / tAbhiH mukharasya vAcAlitasya / utpatiSNoH - flying up skilfully. The termination : is affixed to the word in the sense "

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(469) . of -- skillod in ' under the rule ' bhUbhrAjyalaGkanirAkRjanAtpacotpatonmadarucyapatrapavRdhsahacara issnnuH'| pratyAsannatvadupagamanasya-having your approach wellnigh. tava upagamanaM svasamIpAgamanaM tvdupgmnm| pratyAsannaM sutarAM samIpaM tvadupagamanaM yasya tat / tasya / kekivRndasya- of the host of the peacocks. kekinoM vRnda kekivRndam / tasya / AIsvabhAve-possessing a soft ( merciful ) heart. ArdraH mArdavAvilaH svabhAvaH svarUpaM yasya sH| tasmin / snehavyakti-manifestation of affection. ghanayataH-intensifying. ghanaM sAndraM karoti ghanayati / zatR / The termination Nic is affixed to the word ghana under the rule 'tatkaroti tdaacsstte'| pratyudyAtaH sataH api -- conniving at it though welcoming you. pratyudyAta :- welcomed. The last line may also be construed as followspratyudyAtaH bhagavAn kathamapi Azu gantuM vyavasyet ( iti) manye and should be interpreted as- I think that you, welcomed ( by the peacocks), should determine (or try ) to go immediately any how. Stanza 89:-sUcibhinnaiH-- burst open at the points of the buds. bhinnAH vidalitAH vikasitAH sUcayaH sUcyAkArANi agrANi yeSAM te / taiH / This compound is of the anleapzatia class. This compound may be dissolved also as sUciSu kusumAgreSu bhinnAH vidalitAH suucibhinnaaH| taiH| 'ketakIkusumAgreSu sUciH syAt ' iti shbdaarnnve| ketakaiH---the flowers of the Ketakaplants. pANDucchAyopavanavRtayaH-having the fonces of its gardens possessing white lustre. viyate'nayA vRtiH| pANDaH zubhravarNA chAyA kAntiH yAsAM tAH paanndducchaayaaH| upavanAnAM grAmArAmANAM vRtayaH mattavAraNAni yeSAM te paanndducchaayopvnvRtyH| kaluSitapayaHpUrNazAleyavaprAH - having the fields of rice filled up with water terbid on account of your proximity. kaluSaM jambAlAvilatvAnmalinaM kRtaM kaluSitam / kaluSayati kaluSaM karoti sma kaluSitaM / NijantAtktaH / kaluSitaM ca tat payaH pAnIyaM ca kaluSitapayaH / tena pUrNAH prapUritAH zAleyAH vaprAH kSetrANi yatra te| zAleyAH - fields in which rice is grown. zAlInAM prarohaNaM kSetraM zAleyam / The termination DhaJ ( eya) is affixed to the word zAli under the rule 'brIhizAleDhA.' ramyArAmAH-having beautiful gardens. ramyAH ramaNIyAH ArAmAH udyAnAni yatra / vindhyopAntAt-from the adjoining parts of the Vindhyas.

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(570) - Stanza90-upAsannavRtto - on your approach in the vicinity. upAsannA pratyAsannA vRttiH vartanaM yasya saH / tasmin / AviSkRtajalalave-when you would have discharged drops of water. jalasya lavAH jalalavAH / AviH SkRtAH prAdubhauvitAH jalalavAH yena sH| tasmin / sImoddezAH-the border lands. sImnAM maryAdAnAM uddezAH pradezAH siimoddeshaaH| sAmisaMrUDhasasthAH- having crops halk grown. sAmi ISat saMrUDhAni samutpannAni sasyAni stambakarINi tRNAni yatrA mUkapuMskokilA:- silenced cuckoos. mUkAzca te puMskokilAzca mUkapuskokilAH / gRhabalibhujAm-eating domestic oblations (i. e. crows, sparrows etc.) gRhabaliM gRhe kRtAyAH pUjAyAH upahAraM bhuJjantIti gRhabalibhujaH kAkAdayo grAmapakSiNaH / teSAm / 'balizcAmaradaNDe'pi karapUjopahArayoH' iti vizvalocane / yadvA balibhujaH kAkAdayaH / gRhe pAlitAH tiSThantaH vA balibhujaH gRhblibhujH| teSAm / nIDArambha:- with the efforts for building nests. AkulagrAmacaityA :-having trees, occupying. high positions in their villages, overcome with. AkulAni vyAptAni grAmacaityAni yatra / grAmeSu caityAni uddezapAdapAH unnatabhUpradezotpannAH pAdapAH grAmacaityAni / ' caityamuddezyapAdape ' iti vizvalocane / navaparikarA:-- having their surroundings changed into new ones. navaH parikaraH yeSAM te nvprikraaH| yadvA navAH parikarAH ArambhAH yeSu te navaparikarAH / * Stanza91-pariNataphalazyAmajambUvanAntA :--having on their borders Jambu groves possessing dark colour owing to their ripe fruits. pariNatAni pakkAni ca tAni phalAni ca pariNataphalAni / taiH zyAmAni ca kRSNavarNAni haridvarNAni ca tAni jambUvanAni ca pariNataphalazyAmajambUvanAni / taiH antAH rmyaaH| yadvA pariNataphalaiH zyAmAni jambUvanAni yatra te pariNataphalazyAmajambUvanAH pariNataphalazyAmajambUvanAH antAH prAntAH pratyAsannapradezAH yAsAM tAH / 'anto nAze manohare / svarUpe'ntaM mataM klibaM na strI prAnte'ntike triSu' iti vizvalocane / tuGgazAkhAgraghRSTavyomotsau :--rubbing against the surface of the sky with the ends of their tall branches. zAkhAnAM agrANi zAkhAgrANi / tuGgAni ca tAni zAkhAgrANi ca tunggshaakhaagraanni| vyomnaH AkAzasya utsaGgaH talaM pRSThapradezaH vyomotsaGgaH / tuGgazAkhApraiH ghRSTaH parimRSTaH vyomotsaGgaH yaiH te tuzAkhAgraghRSTavyomotsaGgAH / taiH| nijataruvaraiH-on aceount of their excellent treos. tarUNAM vRkSANAM varAH zreSThAH truvraaH| 'devADhate varaH zreSThe triSu klIbaM manAk.

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(471) priye' ityamaraH / nijAH svakIyAH taruvarAH nijataruvarAH / taiH / AttazobhAHthose- that have assumed beauty i.e endowed with beauty. AttA urarIkRtA zobhA saundarya thAbhistAH AttazobhAH / phalADhyAH - abounding in or rich in fruits phalaiH ADhyAH samRddhAH phalAnyAH / nIDakRdbhiH -- building nests. nIlaM kulAyaM karotIti nIDakRt / vip / taiH / 'nADaM sthAne kulAye'strI samApe tu sapUrvakaH' iti vizvalocane / AkulAH - overcrowded. ' Stanza 92- vilasIdvAduddAmahAse - possessing excessive brilliance due to the lightning, emitting flashes. vilasantI prAdurbhAvitacAkacakyA cAso vidyut saudAmanI ca vilasadvidyut / saiva uddAmaH vikaTaH hAsaH hAsyaM prakAzaH vA yasya saH / tasmin / muktAsAraprakaTitarave - sending forth -roars while pouring showers of rain. mukta : vyutsRSTazcAsau AsAraH vegavatI vRSTizca muktaasaarH| tatra prakaTitaH prAdurbhAvitaH ravaH garjidhvaniH bindrAsArapAtajanitadhvanivizeSaH vA yena saH / yadvA muktenAsoraNa prakaTitaH prakaTIkRtaH dhvaniH yena saH / athavA muktAsArazcAsau prakaTitaravazca muktAsAraprakaTitaravaH / kiMvA muktA iva muktAH / muktAkArAH jalabindava ityarthaH / muktAnAmAsAraH muktAsAraH / muktAsAraiH muktAsAre muktAsAraNakALe vA prakaTitaravaH / tasmin / AsAraNamAsAraH / atra kriyAsAmAnyasvarUpe bhAvArthe 'bhAve ' iti ghaJ / ' AsArastu prasaraNe dhArAvRSTau suhRdbale ' iti vizvalocane / unmadAnI - highly pleased. udgataH AvirbhUtaH madaH amandAnandaH yeSAM te / tessaam| 'mado mRgamade madya dAna-mud-garva-retasi / ' iti vizvalocane / udbhutapaGkAHhaving mud formed (by the showers of rain discharged by the cloud.) udbhUtaH samutpannaH paGkaH yeSu te / katipayadinasthAyihaMsAH - having the swans staying ( there ) for a few days (only ). katipayeSu eva dineSu sthAyinaH sthitimantaH ktipydinsthaayinH| katipayadinasthAthinaH haMsAH yeSu te katipayadinasthAyihaMsAH / katipayazabdaH stokArthaH / Stanza98- pavanIvacalatketuhastaiH - with hands in the form of flags, set in motion by the wind. ketavaH dhvajAH eva hastAH karAH ketuhstaaH| pavanena samIraNena vicalantaH saJcarantaH pvnviclntH| pavanavicalantaH ketuhastAH yeSAM te| taiH / bhavanazikharaiH - through the topmost parts of the mansions. bhavanAnAM saudhAnAM prAsAdAnAM zikharANi valabhayaH zRGgANi unnatatarapradezAH vA bhavanazikharANi / taiH / abhIkSNam - again and again , always. rUpiNI

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(472) incarnate, assuming beautiful form. sAlodo - magnified owing to its ramparts. sAlena prAkAreNa udagrA udgatAgrabhAgA sAlodagrA / tAm / yadvA sAlasya udgatAni agrANi sAlodagrANi | tAni santyasyAH iti saalodyaa| tAm / 'o'bhrAdibhyaH' iti mtvrthiiyo'tyH| nAbhibhUtA- as good as a navel (i. e. situated at the centre of the country.) nAbhisadRzIM / bhUta- resembling. 'triSu prApte vivRtte ca bhUtaM syAnnyAyyasatyayoH / upamAne pRthivyAdau pizAcAdau same triSu' iti vizvalocane / nAbhiH - (1) navel; (2) principal. 'nAminA kSatre cakravartini / dvayoH pradhAnacakrAntaprANyaGgeSu made striyAm' iti vishvlocne| prathitavidizAlakSaNAm - with its appellation Vidisa well-known. Stanza 94 :-upaniSattRSNa-afflicted with a strong desire. upaniSat hRdaye upaniSIdantI tRSNA abhilASaH yasya saH upaniSattRSNaH / tasya sambodhanam / saudhotsaGge - on the uppermost parts of mansions or palaces. saudhAnAM sudhAdhavalitAnAM hANAM prAsAdAnAM vA utsaGgaH valabhipradezaH saudhosaGgaH / tasmin / taduparitanabhAge ityarthaH / jAlodgINa :- sent out by lattices i. e. rushing out or rising up through lattices. jAlAdgavAkSAjjAlena vA udgINa: viniHsRtaiH viniHsAritaiH vaa| surabhitatanu :- having (your) body perfumed. surAbhitA sugandhitA janitasaurabhyA kRtA tanuH zarIraM yasya saH / yadvA surabhiH sugandhaH saJjAtaH asyAH surabhitA / 'tadasya saJjAtaM tArakAdibhya itc|' iti itc| 'surabhizvampake caitre vasante gandhake kavau / svarNe jAtIphale cAbje triSu madyasugandhayoH / khyAte ca strI tu zallakyAM' iti vizvalocane / vArastrINAM- of the harlots. vArasya lokanikAyasya strI vArastrI / tAsAM vArastrINAm / 'samUhe nivaha-vyUha-sandoha-visarabrajAH / stomauSa-nikaravAta-vAra-saGghAta-saJcayAH' ityamaraH / yadvA 'vAre rAjadevAdisevAkrame strI vArastrI' iti kSIrasvAmI / nidhuvanararti- strong desires for cohabitation. nidhuvane maithune surate ratiH AsaktiH sukhaM vA nidhuvanaratiH / tAm / 'mataM bhavennidhuvanaM surate kampane'pi ca ' iti vizvalocane / Stanza.95-subhaga - Oh fortunate one ! zobhanaM bhagaM yazaH mAhAtmyaM vA yasya sH| tasya sambodhanaM / kalArAGka- possessing white lotuses. kArANi aGkaH yasya tat / yadvA kahArANi aGke pRSThatale yasya tat kahArAGkam /

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(473) kahArAta - having white and fragrant lotuses on its surface. kalAraM - a white lotus emitting fragrance. ' saugandhikaM tu kalAraM hallakaM raktasandhya kam' ityamaraH / 'aGko rekhAyo cihnlkssmnnoH| nATakAdiparicchedotsaGgayorapi rUpake' iti vizvalocane / utphullapadmaM - having blown lotuses. utphullAni vikasitAni padmAni yasmistat / vAtAkIrNaiH- scattered over by the wind. vAtena AkANoni pratidizaM nirgamitAni apanunnAni vA vAtAkIrNAni / taiH / kuvalayadalai :- by the petals of the blue water-lilies. kuvalayAnAM kamalAnAM dalAni chadAH kuvalayadalAni / taiH / tIropAntastanitasubhagam - in a manner charming owing to the thundering (gurgitation ) near the banks (of the oblong lakes ). tIrasya taTastha upAntaH samIpapradezaH tiiropaantH| tatra stanitaM stokagarjitaM / tena subhagaM.manoharaM yathA syAttathA / 'UrdhvamuccalitakaNThanAsikaM hukRtaM stanitamarUpaghoSavat ' iti mallinAthoddhRtalakSaNAstanitamityasyAspagarjitamityarthaH / Stanza. 96- sika-(1) oh impassioned one !(2) oh you giving out low thundering! rasaH AnandaH, viSayAbhilASaH, zabdaH stanitarUpaH vA asya astIti rasikaH / sambodhanam / The termination Than ( ika ) is affixed to the word rasa under the rule 'ata iniThano.' rasika may also mean 'ob you,, full of waters !' 'rasaH svAde 'pi tiktAdau zRGgArAdau drave visse| pArade dhAtuvIryAmburAge gandharase tanau' iti vizvalocane / surasaM- very tasteful. lIlAsphuritazapharAghaTTanaiH - owing to its being ruffled by the fish moving sportively. lIlAyai krIDo kartuM sphuritAH saJjAtacAJcalyAH lIlAsphuritAH / te ca te zapharAH timayaH ( matsyAH ) ca / 'zapharo'nimiSastimiH' iti dhanaJjayaH / teSAmAghaTTanaiH sngghrssaiH| yadvA lIlayA krIDayA hetubhUtayA sphuritAni prAdurbhUtAni zapharANAmAghaTTanAni / taiH / lIlAsphuritazapharAghaTTanaiH - owing to the movements of the fish effected while playing. yadvA lIlayA sphuritAnAM prAdurbhAvitacAJcalyAnAM zapharANAmAghaTTanairAghAtaH lIlAsphuritazapharAghaTTanaiH - owing to the dashes (against the earthen banks of the river ) of the fish moving sportively. AttapaGka - tarbid, which has carrid off mud with it. AttaH gRhItaH paGkaH jambAlaH yena tat / vihagakalabhaiH - by the chickens of birds. kalabha - a chicken. rodhaHprAnte -- on the region of the banks. rodhasaH tIrasya prAntaH rodhaHprAntaH / tatra / 'kUlaM rodhazca tIraM ca ' ityamaraH / baddhaDiNDIrapiNDaM- in

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( 474 ) which lumps of foam are formed. baddhAH viracitAH DiNDIrANAM phenAna piNDAH grAsAkAra viracanAH yatra tat / sabhrUbhaGgam -- having eyebrows knit. bhruvorbhaGgaH viracanaM bhrUbhaGgaH / tena sahitaM sabhrUbhaGgam / calormi possessing mobile ripples. calAH caJcalAH UrmayaH vIcayaH yatra tat / prANayAtrAnimittaM - for the sake of maintenance. Stanza 97 -- jIvikAkRtya - making (it) as if a means of subsis tence. In my opinion, the word fat is grammatically incorrect. Though the old edition of pArzvAbhyudayam, edited and published by Pt. Pannalal Bakliwal reads jIvikAMkRtya, the roading should be replaced by jIvikAkRtya. The word jIvikA, having the root kR placed after it in the sense of iva, it is termed as gati under the rule 'jIvikopaniSadive' Owing to its being termed gati, the termination pya ( hayap according to Panini) is affixed to the root instead of I, under the rule pyastivAkse ktvaH Stanza 98 siddhastrINAM - of the women of Siddha-gods. siddhAnAM devavizeSANAM striyaH siddhastriyaH / tAsAm / ratiparimalai : - with the sweet smell of perfumes used at the time of copulation. rateH parimalAH vimardotthAH janamanoharAH gandhAH | taiH / parimala is that particular odour which emanates from perfumes which are used at the time of sexual intercourse and spreads only when the lover and the loved embrace and press each other. ' vimardotthe parimalo gandhe janamanohare ' ityamaraH / ' bhavetparimalazcittaddArigandhavimarddayoH / ratAmardasamunmI ladaGgarAgAdisaurabhe ' iti vizvalocane / vAsitAdhityakAntam The bordering regions of the table-lands of which are made fragrant. vAsitaH surabhitaH adhityakAyAH parvatoparitanabhUmeH antaH prAntapradezaH yasya tam / 'upatyakAdrerAsannA bhUmirUrdhvamadhityakA ' ityamaraH / prauDhapuSpaiH - having flowers full-blown or having abundant growth of flowers. 'prauDhAni puSpANi yeSAM taiH / vidyuddAmasphuritarucimaddIpikAdya titAzaH - enlightening the quarters with the brightly burning torches in the form of the flashes of lightnings. vidyut dAma iva vidyuddAma / tasyAH sphuritAni sphUrjathavaH eva rucimatyaH kAntimatyaH prabhAsvarAH dIpikAH / tAbhiH dyotitAH prakAzitAH AzAH dizaH yena sH| muktazaGkA: - with (your) fear dispelled. nizAM - throughout " " -

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( 475 ) the whole night. The Accusative case is meant for implying 'thoroughness of the night' under the rule kAlAdhvanoravicchede. * , Stanza 99 - paNyastrIratiparimalodvAribhi :-emitting sweet smell of the perfumes used at the time of sexual enjoyment by the courtezans. 'paNyastrINAM rUpAjIvAnAM gaNikAnAM ratau ratikrIDAyAM yaH parimalaH rtiprimrdsmucchlnmaasyaanggraagaadisaiaarbhN| tamudviraMti AvirbhAvayantIti tathoktAni tAni / sopahArai:possessing presents. bhogodrekaM - excess of the sexual enjoyment. samagragrAvopAyaiH-with the ends of all the rocks, prAvNAM upalAnAM upAgrANi agrabhAgAH grAvopAyANi / samagrANi grAvopAgrANi samagragrAvopAgrANi / taiH / upagRhItuM - to seize or eclipse. udyan - rising high up. with the ends of rocks. zilAnAM Stanza 100 - zilAyaiH grAvNAmagrANi zilAgrANi taiH / vyomotsa the surface of the sky. vyomnaH AkAzasya utsaGgaH talapradezaH vyomotsaGgaH / tam / parimRjati rubbing ( against ). 'This is a Locative absolute nidhuvanavidhau - in course of sexual enjoyment. nidhuvanasya maithunasya vidhiH vidhAnaM nidhuvanavidhiH / tatra / srastasragbhiHpossessing garlands which slipped off srastAH vigalitAH srajaH mUrdhamAlAH yeSu zilAvezmasu tAni srastasrAJji / taiH / puSpazayyAcitAntai:- having their interior parts covered over with flowery beds. puSpANAM zayyAH puSpazayyAH / tAbhiH AcitaH vyAptaH channaH vA antaH madhyadezaH yeSAM tAni taiH / zilAvezmabhiH - through the stone-abodes. uddAmAni yauvanAni prathayati revealing the voilent juvenility. tava samucitaM prema a good will that is proper for you. Stanza 101 - ramyotsaGge - having its uppermost part beautifulramyaH ramaNIyaH utsaGgaH kUTAgradezaH yasya saH / tasmin / zikharanipatannirjharArAvahRdyeattractive owing to the roars of rivulets falling down from its peaks. zikharAtsAnupradezAt nipatantaH prapatantaH zikharanipatantaH / te ca te nirjharAH pAthaH pravAhAH / teSAmArAvaiH saMrAvaiH praskhalanajanitadhvanibhiH hRdyaH hRdayapriyaH / tasmin / paryArUDha drumaparigatopatya ke having its low lands overcrowded with trees paritaH sarvataH ArUDhAH saMrUDhAH sutarAM vRddhiMgatAH paryArUDhAH 1 te ca te drumAH viTapinaH vRkSAzca / taiH parigatA sarvato vyAptA upatyakA paryantabhUryasya grown all over. saH / tasmin / vananadItIrajAnAM grown on the banks of the Vananadi - -- -------- tomm - - -

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( 476 ) ( or forest streams ) vananadItyAkhyAyAH nadyAH vane pravAhinInAM saritAM vA tIre kule jAtAnAm / yUthikAjAlakA ni the clusters of buds of the jasmine Creepers. yUthikAyAH magadhadezodbhavAyAH gaNikAparAbhidhAnAyAH puNyagandhAyAH - jAlakAni kuDmalAni / jAlakaH korake dambhaprabhede ' iti vizvalocane / - Stanza 102 - gaNDasvedApanayana rujAklAntakarNotpalAnAm - having their ear-lotuses faded on account of their being afflicted while getting rid of the perspiration on their cheeks. gaNDe kapolatale svedaH tigmaruciprakharakara - nikarajanitagharmabindavaH gaNDasvedaH / tasyApanayane pramArjane apanayanena pramArjanena vA yA dajA upatApaH tathA AklAntAni ISanmalAnAni karNotpalAni yAsAM tAH / tAsAm / puSpalAvImukhAnAm -- to the faces of the women plucking flowers. puSpANi lunantIti puSpalAbyaH / tAsAM mukhAni / teSAm / kSaNaparicitaH - become familiar for a moment. puSpagurumAva kI covered over with flowery thickets. puSpotpAdakaiH latApratAnatRNAdisaGghAtaiH avakIrNA vikIrNA / tAm / Stanza 103 kAsikAgrArjunAntAt - having sugarcane-like grassfileds (or forests of Kasha grass) in the beginning and Arjuna trees at the end, phAsikam - a grove of Kasa kAsAnAM grass. krANDekSUNAM samUhaH kAsikam | The termination ThaN ( ik ) is affixed to the word kAsa in the sense of ' samUha' under the rule 'hastikavacyacittAcca ThaN.' kAsika kAsikAni vA agre prArambhe yasya saH kAsikAgraH / arjunAH kakubhavRkSAH ante yasya sa arjunAntaH / kAsikAgrazvAsAvarjunAntazca kaasikaagraarjunaantH| tasmAt / vanapathAt - by the way passing through a forest. bane panthAH vanapathaH / tasmAt / the word pathin when it stands at the end of & compound, is changed to patha under the rule 'RkpUrappatho't. ' The Ablative case of the word vanapatha is due to the disappearance of the vyabanta form Aruhya under the rule 'pyakhe karmAdhAre' | The word vanapatha is the object of the syavanta form Aruhya. saudhotsaGgapraNayavimukhaH with face turned away from intimate familiarity with the uppermost parts of the mansions. viparItaM viruddhaM vA mukhaM yasya saH vimukhaH / saudhAnAM sudhAdhavalitAnAM harmyANA utsaGgeSu uparitanabhAgeSu yaH praNayaH paricayaH tasya vimukhaH parAGmukhaH / 'praNayaH syAtparicaye yAcyAyAM sauhRde'pi ca ' iti yAdava : /

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paurAGganAnAM Stanza 104 (1 ) of the beautiful women of citizens; ( 1 ) of the city-damsels. pure bhavAH paurAH / nAgarAH ityarthaH / teSAM aGganAH sundarastriyaH / tAsAm / yadvA pure bhavAH paurthaH / pauryazca tAH aGganAH paurAGganAH / karmadhAraya samAsatvAtpaurIzadvasya puMvadbhAvaH / vidyudvAmasphuritacakitaiHdazzled by the flashes of lightnings. vidyut dAma iva vidyuddAma / tasyAH sphuritAni sphUrjitAni / taiH cakitaiH padIptaiH prakAzena pratihataiH / lolApAGgaiHwith the eyes having their outer corners tremulous ( unsteady). lolAzcaJcalAH satRSNA vA apAGgAH netrAntAH yeSAM taiH / yadvA lolAzcaJcalAzca te apAGgAH netrAntadezAzca lolApAGgAH / kusumadhanuSaH of the god of love. kusumAnyeva dhanuH yasya saH / tasya / dRDhaparicitadhanuryaSTimuktaiH - discharged by means of bows in the form of their intimately familiar eyebrows. dRDhaM paricitAH bhUruvaH bhrakuTyaH eva dhanuryaSTayaH / tAbhirmuktAH tAbhyaH muktA vA / taiH / marmAvidbhiH piercing the vitals of bodies. marmANi sandhisthAnAni / vidhyatIti vigh / marmaNAM vigh marmAvidh | The ending n of the word , when it is followed by a form is dropped under the rule 'gamAdInAM kau' and the vowel a, preceding n which is dropped, is lengthened under the rule ' nahivRtivRSivyadhirucisahitanau kau vAggeH / dUrapAtaiH - having a very wide range, falling far away. dUre pAtaH yeSAM te / taiH / jaitraiH - victorious, jetaiva jaitraH / jetRzabdasya tRnnantatvAt ' prajJAdimya:' ityaN / tena jetRbhirityartha: / 1 - - ( 477 ) Stanza 105 luThanmInalolAyatAkSyAH - possessing large rolling. eyes in the form of wallowing fish. luThantaH udvartamAnAH mInAH matsyAH luThanmInAH / te eva lole caJcale Ayate dIrghe akSiNI yasyAH sA luThanmInalolAyatAkSI / tasyAH / vIcikSeobhastanitavihagaNazroNikAJcIguNAyAH having a string-like girdle in the form of a row of birds chirping louldly on account of the agitation of the waves. vIcInAM kSobheNa AloDitena stanitAH kRtasvanAH vihagAH haMsAdipakSiNaH vIcikSobhastanitavihagAH / teSAM zroNaH paGktiH / saiva kAJcIguNaH yasyAH sA / tasyAH / kAJcIguNaH rasanA | darzitAvartanAbheH manifesting her navel in the form of eddies. darzitaH H -

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( 478 ) prakaTitaH AvartaH ambhasAM bhramaH eva nAbhiH yayA sA / tasyAH / skhalitasubhagaM - in a way charmful owing to her stumblings (i. e. stumbling movements ). skhalite skhalitagatyA vA subhagaM manoharaM yathA syAttathA / saMsarpantyAHmoving, flowing. vyaJjitAkUtavRttiH to whom your emotions would be evinced by you. vyaJjitA AviSkRtA AkUtasya svAbhiprAyasya vRttiH pravRttiH yena saH / yadvA AkUtaM rAgAdibhAvaH astyasyeti AkUtaM / manaH ityarthaH / ' o'zrAdibhyaH' iti matvarthIyo 'tyaH / AkUtasya vRttiH pravRttiH AkUtavRttiH / vyaJjitA AkUtavRttiH manasaH rAgAdirUpaH vyApAraH yena saH / Stanza 106 pathi - on your way. sannipatya - having approached. kiJcilajjAvalitaM-turning round a little bashfully. kiJcidIpat lajjayA brIDayA apatrapayA AvalitaM svazarIravakrIbhavanaM yathA syAt tathA / nirvindhyAnadyAH vakrimANamutprekSyoktametadityavaseyam / sandarzitAptAgamAyAHdisplaying the arrival of a person, standing in close relation with her. - sandarzitaH prakaTIkRtaH Aptasya dRDhasambandhasya AgamaH AgamanaM yayA sA | tasyAH / atra bAndhavAbhidheyAtazabdena priyasya grahaNaM kartavyam / rasAbhyantaraH ( i ) imbibing water; ( ii ) having love at heart. rasaH jalaM zRGgArAdirvA abhyantare udare manasi vA yasya saH / abhyantara - ( 2 ) mind. vibhrama:- love-gestures. (1 ) the interior part; .C - --- * that Stanza 107 veNI bhUtapratanusalilA - having her very little water assuming the form of the braid of hair. veNIbhUtaM veNyAkArapariNataM pratanusalilaM yasyAH sA / aveNI veNI bhavati sma veNIbhUtaM / veNI iva veNI / devapathAdibhyaH' itIvArthasya kasyos. The word veNI, here, means which is like the braid of hair. The termination, implying ' resemblance ' is dropped under the rule ' devapathAdibhyaH '. It must be kept in mind here that the word it, after dropping the termination, does not get its gender and number changed under the rule ' yuktavadukhi liGgasaGkhye'. Water of a stream or a river never gets changed into the braid of hair and so, the word off must be taken to mean ' that which resembles a braid of hair. When a river is full, - -

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the stream does not assume the form of a braid of hair. It assumes this form only when the stream is reduced very much. The edition of the Meghaduta, in which I came accross the reading stato afora in the Mallinatha's commentary, might have given the wrong form through oversight. The present compound can be dissolved as austra veNIsadRzaM pratanusalilaM yasyAH sA, for the word bhUta implies * resemblance' also. az EEZESTITIW: - droping down from the trees grown on her banks. azit: jie ati azke: azaeis a 0372 azazata: 1 ara: 79rafia azakaszania i ara: 1 . Stanza 108 - FIAT - emaciated. This is a past participle derived from the root ( to decrease ) by affixing the termination a which is changed to #under the rule' TA: '. qaga - possessing a very small quantity of water. prakarSaNa tanu alpaM salilaM jalaM ETI: qni ar l an aiuasi - a stream resembling a thin braid of hair. 3@qr auf alo#1. The termination is affixed hear to imply * thinness' under the rule caaigiaitu '. This form may be explained also as-aluiiza aid #1.Here the termination is affixed to the word veNi to imply resemblance under the rule 'ive khupratikRtyoH kaH'. This word ends either in short or long &, ami sut= ( 1 ) braid of hair, ( 2 ) a stream of water. Toalais - sweet words used with a view to request for having sexual enjoyment. aljarat grad - Arrr Fiat Fis: fuqaga aparata: 1 a 1 In this stanza, the river, Sindhu, is resembled to a love-sick woman whose lover or husband is gone abroad ( @ah#1). Visvanatha, in his Sahitya.darpana, has defined the word proSitabhatRkA as below- 'nAnAkAryavazAdya591 tai na: gia: 1 a hajhagiajai Harnligandt 11' Sambara means to say that the sage, assuming the form of a clond, should pour showers of rain and make the river void of thinness. This act of the sage, is resembled to that of a lover who, through sexual intercourse, satisfies his beloved and removes all the causes, bringing

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(480) about her emaciation. The first two lines clearly express her resemblance to a woman, separated from her beloved. Stanza 109- saMvidhAnAnuSaGgaH - a possibility of having various emergent occupations. saMvidhAnAnAM vidheyakarmaNAM anuSaGgaH prsaaktiH| tasmin / mukhyasvArthapratihatibhayAt - through fear of your main purpose being defeated. svasya svakIyasya arthaH prayojanaM svArthaH / mukhyaH pradhAnabhUtazvAso svArthazca mukhyasvArthaH / tasya pratihatiH vighAtaH / tasyAH bhayam / tasmAt / udayanakathAkovidagrAmavRddhAn - having old villagers well-versed with the storios of prersons that had attained liberation. ut UrdhvaM ayanaM gamanaM yeSAM te udayanAH / This word may be : explained also as - udUrdhva gacchantIti udayanAH | Here, the termination anaTa is affixed to ut + i to imply the sense of kartR under the rule 'vyAnaD bahulam '. udayanAH mokSazilAM prati prasthitAH muktatvAdunmuktadehatvAvaMgamanasvabhAvatvAtsiddhAvasyAM prAptAH tatpUrvakAlabhAvinastatratyAH janAH teSAM yAH kathAH tAsAM kovidAH tjjnyaankushlaaH| udayanakathAkovidAH grAmavRddhAH yeSu tAn / King Udayana was not contemporaneous with Parsva. He, according to the Jain scriptures, was contemporaneous with Mahavira, the last Tirthakara. Parsva was removed two centaries before Mahavira. Under these circumstances, it is very difficult to take the word 3697 to mean' king Udayana. 'To avoid this anachronism, I have taken the word Jaga to mean a liberated soul '. zrIvizAlAM- abounding in wealth or glory. zrIH-(i) wealth, (ii) beauty, (iii) glory. ' zrIlakSmIbhAratIzobhAprabhAsu saraladrume / vezatrivargasampattau zeSApakaraNe mato' iti vizvalocane / zriyA vizeSeNa zAlate zobhate iti zrIvizAlA / yadvA zriyaH zriyA vA upalakSitAH vividhAH zAlAH nivAsasthAnAni yatra sA | yadvA zrIvizAlA santyasyAH zrIvizAlA / The possessive termination a is affixed to the word zrIvizAlA under the rule 'o'bhrAdibhyaH' ('arzaAderaH ' pA0 ). vizAlA- This is another name of ujjAyanI. 'vizAlA vindravAruNyAmujjayinyAM ca dRzyate' iti vizvalocane. . Stanza. 110-bhuvanamahitAM- highly praised or aggrandized by the whole world. bhuvanena tAsthyAt tatratyaiH nikhilaiH janaiH mahitAM bhuvane vA

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( 481 ) the mahitAM pUjitAM stutiviSayatAM nItAm / uttamArddha - possosing excellent glory. uttamA utkRSTA RddhiH aizvaryaM vibhavo vA yasyAH sA / tAm / ekasUtim only source. ekA kevalA / advitIyetyarthaH / ekA advitIyA sUtiH utpattisthAnaM ekasUtiH / tAm / sUyate asyAmiti sUtiH / atrAkartari kArake ' striyAM ktiH ' iti fa: The termination fata (fa) is affixed to the root in the sense of the Locative case under the rule ' striyAM ktiH ' svarUpIbhUte - reduced to a very small measure. asvalpaM svalpaM sampadyamAnaM bhavati sma svaspIbhUtam / tasmin / The city of vizAlA is described by the demi-god as a very beautiful piece torn off the heaven and brought down to the earth owing to the remnants of merits of the gods, gone down to the earth. This description implies that the city is as beautiful and attractive as the heaven and that the citizens are as much happy as the heavenly beings owing to their being extremely prosperous. Sambara mean's to say that the city resembles the heaven, the abode of gods, in all respects. Stanza 111. very lofty or tall. When construed with 1, the word should be taken to mean 'very much' and when construed with mAtarizvA, it should be taken to mean ' powerful (i. e. blowing with a loud noise ).' nAmayan - bending. This is a present participle derived from the causal of the root nam, vIcikSobhAt - owing to the disturbance of waves. vIcInAM kSobhaH vIcikSobhaH / tasmAt / The wind, blowing in the city, was very cool owing to the cold drops of water scattered by the waves of the Sipra disturbed by blowing wind. adhikaziziraH - adhikaM atyartha ziziraH zItalaH adhikaziziraH / sArasa (1) swans, (2) cranes paTu - shrili. 'paTurvAgmini nIroge tIkSNe dakSe sphuTe triSu' iti vizvalocane. madakalaM - indistinct but sweet owing to their being intoxicated. The birds, floating on the surface of the water of the Sipra, were in the prime of life. Being disturbed by the waves of the river, they gave out shrill notes which were indistinct and sweet owing to their being intoxicated on account of their being in the prime of life. kUjitaM - kUjanaM notes. dIrghakurvan - prolonging, - pArzvAbhyudaye 31 uccaiH - -

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(482) extending in spatial length. adIrgha dIrgha karotIti dI(kurvan - Thisias ci form. sphuTitakamalAmodamaitrIkaSAyaH - fragrant owing to its association with the perfume of the lotuses burst into flowers. sphuTitAni vikasitAni ca tAni kamalAni utpalAni ca sphuTitakamalAni / teSAmAmodaH sugandhaH / tena yA maitrI mitratvaM / saMsargaH ityrthH| tayA kaSAyaH surmitH| kaSAyaH surabhigandhaH asyAstIti kssaayH| 'o'bhrAdibhyaH' ityH| kaSAya - fragrance. Here the word means 'fragrant.' mAtarizvA - wind. pratyUSeSu - at day-breaks. apkaNaudhaiH- along with the masses of drops. apAM kaNAH apknnaaH| teSAM oghAH samUhAH apknnoghaaH| taiH| stana.112- kallolAntarvalanaziziraH- cool on account of its blowing through waves. kallolAnAM vIcInAM antaH madhye valanaM bhramaNaM kallolAtarvalanam / tena ziziraH zItasparzaH / zIkarAsAravAhI -- carrying masses or howers of sprays. zIkarA: - drops of water. AsArAH - masses, collections. zIkarANAM AsArAH prasarAH zIkarAsArAH / tAn vahatIti shiikraasaarvaahii| dhUtodyAnaH - setting the gardens in motion. dhUtAni prakampitAni udyAnAni upavanAni yena saH / madamadhulihAM-'of the gladdened bees. madAH mdinH| madaH harSaH astyeSAmiti mdaaH| 'o'bhrAdibhyaH' iti matvarthIyo'tyaH / Here the termination 37 is affixed to the word He in the sense of `possession": madha leDhIti madhuliT / teSAM madhulihAm / madAzca te madhulihazca madamadhulihaH / teSAm / siJjitAni - buzzings. prArthanAcATukAraH - speaking gallantly like a lover requesting his beloved for *sexual enjoyment. prArthanA suratArthA yaaccaa| tatra cATuM karotIti prArthanAcATukAraH / 'karmaNo'Na' ityaNa / aGgAnukUlaH - agreeable to the body. aGgAnAM gAtrANAM anukUlaH / sukhasparzakhAdAyoraGgAnukUlyamityavaseyam / ziprAvAtaH ---- the wind or breezes from the Sipra. Generally, the name of this river is spelt as siprA. ziprA or jan is that river on the bank of which the city of Visala is situated. 'siprA tu saridantare' iti vizvalocane. stanza 113-114- yuddhazauNDaH - skilled in fighting. yuddhe prasaktaH zauNDaH yuddhazauNDaH. This is a Tatpurusha compound, formed under

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(863) the rule g atis:'. The word 99#a: is dropped while forming the compound. The sentence 'vRtta prasaktikriyAyA antarbhAvAdaprayogaH' deserves to be committed to memory. JF03: - the raler of the Muruadas. AGUSIAI TIF ggos:! The termination implying the sense a king' is dropped under the rule 'upa colAdeH / muruNDAH - a country to the north-west of India. ATTE: - the ruler of the Vatsas. Jeet: - a country having atat as its capital. The word 8157, though ending in 377, is declined as a noun ending in 37 under the rule Jifieafare: ' We cannot take the word qila: to mean the famous king 3847 for he belonged to the period posterior to that of Mahavir between whom and Parshva a period of two hundred years had elapsed. Mahavir belonged to the period later than that of Parshva. Moreover, there is no historical evidence to prove that king Udayana had raled over the Murundas. There being no other alternative, we must take the word aasta to mean some king other than Udayna, though Kalidasa is found to have referred to Udayana himself in bis Meghaduta. E - in a battle. The word fiese must be taken to refer to the struggle of a soul against the superior numbers of enemies in the form of Karmans. Teata - of the soul possessing perfect knowledge. 188: gia: ar a: 3Ticaaa: 3927 9: 1 alfqgatie: I Though the word geha is taken by Kalidasa to refer to the father of 9189Cal and the father-in-law of Udayana, it must be interpreted otherwise to make the sense agree with the present text. Like Udayana, his father-in-law, qala, also was not contemporaneous with 913. It is, therefore, better to accept the above-given sense of this word. ATETEO STT: - of the ferocious come ci ai - which are like daughters. According to the Jain Scriptures, the Karman is divided into various parts. The various parts, being offshoots of Karman, are compared here with daughters,

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(484) C Though the number of the word it is singular, it should be taken to mean 'a number of daughters' for the singular number of the word implies jAti. duhiteva duhitA | Here, the termination inplying resemblance is dropped under the rule devapathAdibhyaH '. The number and the gender is retained as before under the rule ' yuktavadusi liGgasaGkhye '. kila as it is traditionally reported. The word is used to show (i) possessing yellow colour like ya with his mountain destroyed. tradition. gold, (2) possessing coolness. 397 - harassing, like body i. e. with his body as big as a mountain. - like the wind. butting against. (1) wild, (2) in - rut. --(1) wild beasts, (2) wicked elephants. Fiqaa$?adi - the angry god of death. nalagiriH (1) an elephant resembling the Nalagiri mountain. (2) an elephant resembling the elephant of Indra. nalagiriH iva nalagiriH / Nalagiri is either a name of a mountain or of the elephant of Indra. The elephant referred to here in this stanza cannot be taken to be that of the king, Pradyota, who didn ot belong to the period of Parshva. The form f is not grammatically correct. It ought to have been as nalAgiriH, for the last vowel of the word nala, which is followed by the word ff, is lengthened under the rule 'vanagiryoH saJjJAyAM koTara kiMzukAdInAm ' ( pA0 ) Both the Jainendra and the support this. aJjanAgiriH / nalAgiriH / ' (jai. ma. vR. ) ' aJjanAgiriH / nalAgiriH / sAlvAgiriH ityAdayaH / anyatra... aJjanagiriH / ' ( zA. ci. 2 / 2 / 93 ). To avoid this difficulty, 1 form. Modern scholars hold that it may be taken as an this stanza is a later interpolation on the ground that this stanza is not read by Vallabha and Dakshinavarta in their editions of Meghaduta, but in my opinion it cannot be said that this stanza is an interpolation as it is found in the Parshvabhyudaya of Jinasena who belonged to the period prior to that of Vallabha and Dakshina 6 varta. - -- -

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(485) Stanza 115 - 3701299911: - royal roads (i. e. main streets). avanipasya panthAnaH avanipapathAH / The word pathin , when used at the end of a compound, is changed to 94 and declined as a word ending in a under the rule 'RkpUrappatho't '. yugAnte - at the time of the destruction of the world. ApItatoyAH - with water drunk up. ApItaM toya yeSAM te aapiittiiyaaH| zUrponmeyAn -deserving to be or capable of being measured with winnowing baskets. zUrpaH prasphoTanaiH unmAtumarhanti zakyanta iti vA shuurponmeyaaH| tAn / udagrAn - lofty. taralaguTikAn - having big precious stones as the central gem. taralAH bhAsurAH hAramadhyagAH guTikAH mahAratnAni yeSAM te| tAn / tarala - put at the centre of a necklace. guTikAH - big precious jewels. tArAn = zuddhamauktikavataH - having faultless [ or genuine ] pearls. koTizaH -by crores, by tens of millions. koTiH koTiH koTizaH / Here, the termination zas is affixed to the word Flic to imply repetition of the number to which it is affixed under the rule 'syekAdvIpsAyAm '.zaGkhazuktIH -conches and shells. zaGkhAzca zuktayazca shkhshuktyH| tAH shngkhshuktiiH| dvitIyAyAH bahuvacanam / unmayUkhaprarohAn - shooting sprout-like rays upwards. mayUkhAH prarohA iva mayUkhaprarohAH / udgatAH mayUkhaprarohAH yeSAM tAn / prarohAH - sprouts. Here, mayUkha, the subject of comparison is compounded with TIE, the standard of comparison, under the rule 'vyAghrAdibhirupameyo'tadyoge'. zaSpazyAmAna - as green as young grass. zaSpa - young grass. zyAma-green-coloured. zaSpaM bAlatRNamiva zyAmAH haridvarNAH shsspshyaamaaH| Here, zaSpa, the standard of comparison, is compounded with 1417, the generic property, under the rule 'sAmAnyenopamAnam '. makaratamaNIn - emerald gems. Some modern scholars are of the opinion that the stanza 'hArAMstArAn-', being not read by vallabha and dakSiNAvate, is a later interpolation by some one, wishing to furnish a more detailed description of Ujjayini. But in my opinion, this view doos not hold good as this stanza is found in this work of Jinasena who was chronologically prior to both ash and dakSiNAvarta.

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(486) Stanza 116-bhUyaH - moreover. vipaNiSu paNyavIthikAsu racitAH prsaaritaaH| tAn / vipaNiracitAn - arranged in the shops on the bazar roads. jyotilekhAracitarucimacchaRcApAnukArAn - immitating the beautiful bow of Indra, brought into being by the streaks of sunlight. titaat sUryakiraNAnAM lekhAH rAjayaH jyotilekhaaH| tAbhiH racitaH nirmitaH rucimAn kAntimAMzcAsau zakrasyendrasya cApaH dhanuzca / tasyAnukAraH anuhAraH sAdRzyaM vidyate yeSAM te / tAn / nAnAbharaNaracanAyogyaratnapravekAn - The best jewels, worthy of being turned into various ornaments. nAnA anekavidhAni AbharaNAni bhUSaNAni nAnAbharaNAni / teSAM racanA ghttnaa| tasyAH yogyAH ratnapravekAH ratnottamAH / tAn / ratnAnAM pravekAH anuttamA zreSThAH atizobhanAH vaa| toyamAtrAvazeSAH - having only water remaining behind (in the oceans ). Stanza 114-118 - STAIS - abounding in excellent prosperity. uttamA utkRSTA RddhiH sukhaM aizvarya lakSmIrvA yasyA yasyAM vA / saa| tAm / valabhiSu = on the uppermost parts of the mansions. uccaiH vizramya% taking abundant rest. The word uccaiH can be construed with valabhi, but as a means the uppermost part of a mansion', it is construed with vizramya. svargAvAsapraNayaM - ardent desirs for staying in the heavens. svarge AvAsaH nivAsaH nivAsasthAna vA svargAvAsaH / tatra praNayaH prema AkAGkSA vA svargAvAsapraNayaH / tam / urarIkRtya = svIkRtya = having recourse to. jAlodgINaiH = jAlaniHsRtaiH = issuing forth from the lattices. jAlebhyo jAlaivA udgIrNAH udvAntAH niHsRtAH jaalodgiirnnaaH| taiH| kezasaMskAradhUpaiH = owing to the aromatic smoke used for hair-toilet. 191 DEFIT: alaGkaraNaM kezasaMskAraH / kezasaMskArasya dhUpAH kezasaMskAradhUpAH / taiH | The word saMskAra is derived from sam + kR by adding s before kR under the rule 'samparyupAtkuH subhUSe' / upacitavapuH = having body increased in volume. upacitaM paripuSTaM vapuH dehaH yasya saH / bhavanazikhibhiH = by the domestic peacocks. bandhuprItyA- through brotherly love. bandhau prIti: bndhupriitiH| tayA / dattanRttopahAraH = having presents offered in the form of dances. nRttaM nRtyaM eva

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(487) upahAraH upAyanaM nRttophaarH| dattaH nRttopahAraH yasmai sa dattanRttopahAraH / upahAraH = a present. mandrAtodyadhvaniSu = resounding with the deep pleasing sounds of the musical instruments. mandrAH zrutisukhAH AtodyAnAM vAdinavizeSANAM dhanayaH yeSu te| teSu / mandra = pleasing to the ears. Atodya = musical instrument. This compound is an adjective qualifying the noun Etzig. satatArabdhasaGgItakeSu = having entertainments consisting in songs attended with music and dancing arranged always in them. satata nirantaraM ArabdhaM saGgItakaM yeSu / This adjective also qualifies the noun haryeSu. 'gIta vAdya nartanaM ca trayaM saGgItamucyate' iti saGgItakalakSaNam / kusumasurabhiSu = perfumed with the fragrance of flowers. kusumAnAM surabhiH sugandhaH yeSu te / teSu / yadvA kusumaH surabhINi kusumasurabhINi / teSu / yadvA kusumAnAM surabhiH saugandhyaM iva surabhiH yeSAM yeSu vA / teSu / ' IbupamAnapUrvasya (khaM gatArthatvAn' iti jhukham / lalitavanitApAdarAgAGkiteSu - marked with red dyes applied to the feet by the beautiful ladies. lalitAH sundaryazca tAH vanitAH striyazca lalitavanitAH / tAsA pAdayoryo rAgaH lAkSArasaH Alaktakaraso vA tena aGkiteSu cihniteSu / . adhvakhinmAntarAtmA = whose mind is fatigued with the journey. adhvan = (1) a journey; (2) an attack. antarAtmA = mind. adhvanA mArgakramaNaklezena khinnaH saJjAtakhedaH zrAntaH antarAtmA antaHkaraNaM yasya sH| The Meghaduta reads adhvakhedaM nyethaaH| khedaM nItvA - having removed the fatigue. Instead of this reading Meghaduta reads pazyan lakSmIm / svaHsodheSu = for the heavenly mansions. svar (indiclinable)- heaven, paradise. praNayaM = ardent desire. saMhariSyasi = you will give up. Sambarasura means to say having arrived Alaka, oh Sage! you will give up your ardent desire to see heavens, though you are practising penance for those. The city of Alaka is so beautiful and so prosperous that you will think it better to stay there, instead of attaining to heavens.' This is how Sambara is trying to induce him to give up practising penance and goad him into giving a fight with himself so that he may be able to take a bloody vengeance upon Him by pntting Him to death while fighting with Him.

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CANTO II Stanza-1- TIITA - having resplendent and darkish complexion. feate a aa a ff19T1AR I TYS: - of the lord of the cobras ( hooded-sriakes ). 807 agla: - owning to ( your ) possesing the lustre like that of the neck ( of the lord of cobras ). kaThasya kandharAyAH chaviH iva cchaviH kAntiH yasya saH / nAgarANAM gaNaH - by the crowds of citizens. nAgaraH = a citizen. zatamakhapurI- the city of Indra. zataHAFA TanTargeo gti 37979jafizat gria i Tarrat - putting to shame. alat: - wishing to see. Hrsgihang aroget: - Sambarasura means to say that when tho sage, assuming the form of the cloud, would be roaming about over the city, the citizens would be looking at him with great respect and the sage wonld be having a look at the beauty and prosperity of the city and so he asks the sage not to stay at one place but to roam over the beautiful city which surpasses the city of Indra in beauty and prosperity. This also is one of the means adopted by the demon to distract the mind of the Sage, who is deeply absorbed in ineditating upon the pure nature of the soul. Stanza-2 ganig: - wishing to attain. This is a Desiderative form derived from sam + ci under the rule 'sanbhikSAzaMsAduH'. The Nirnayasagar edition reads Aiga: which , being ungrammtical, is not accepted by me. Hiziat - of the enemies in the form of Karmans. The Kurmans are troated as enemies of the soul as the nature of the soul is perverted owing to its being in conjunction with them incessantly from time immemorial and baving no beginning. Though the Karmans do not deprive the sonl of its pure inherent property (knowledge ), yet they pervert it by their being coexistent with it. The Genitive case implies nidhAraNa (soperating one out of many ). mohazatroH - of the enomy in the form of moha. mohakarma is one of the eight Karmans and causes the soul to err and embarrasses it. Tert: - of Him who destroys. Hero Fagga does not imply complete destruction. It implies the deprivation of the property of the Karman. The Jain school of thought

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(489) never believes in utter destruction' (atyantAbhAva-tucchAbhAva) of anything that exists. caNDezvarasya - (1) of the lord of sages practising austere penance; (2) of the conqueror of passions. caNDAnAM krodhAdikaSAyANAmISTe iti caNDezvaraH / yadvA caNDAnAmugratapasAmIzvarasazreSThazcaNDezvaraH / caNDamugraM tapo'syAstIti caNDaH / 'o'bhrAdibhyaH' ityH| caNDAnAmIzvaraH shresstthshcnnddeshvrH| The Mochadita reads also caNDIzvarasya. Daksinavarta refers to this reading as below :- caNDezvarasya, idaM mahAkAlaniketanezvarasya devasthAbhidhAnamiti kecit / anye raudrAkAratvAccaNDezvarapadaM prayuktamiti vadanti / In my commentary I have explained this reading in the following words - caNDIzvarasyeti pAThe tu caNDamugratapo'syA'stIti caNDI / anekAntvAdadantatvAcca briihyaadivdintyH| caNDinAmugratapasA muniinaamiishvro'grnniishcnnddiishvrH| tasya / yadvA krodhAdidravyabhAvakarmahananAcaNDIzvaraH rudraH iva caNDIzvaraH / 'devapathAdibhyaH' itIvArthasya kasyos / tribhuvanaguroH- of the lord of all the three worlds. dhavalitanabhobhAga- that which has whitened a region of the sky. dhavalita- which has rendered white.dhavalitaH dhavalaH kRtaH / dhavalitaH dhavalIkRtaH nabhobhAgaH yena tat dhavalitanabhobhAgam / abhraMlihAgraM - touching the sky or clouds witb its uppermost part. The termination khaza ( a ) is afixed to lii under the rule 'vahAbhre lihA' as it is preceded by the word abhra, meaning (i) a cloud; (ii) the sky. abhraM megha AkAzapradezaM vA leDhIti abhraMliham / abhraMlihaM agaM antaH yasya tat / kailAsAdrizriyaM - the beauty of the Kailasa mountain. kailAsAdreH zrIH kailaasshriiH| tA kailAsazriyam / dhAman - a temple: - Stanza.s:- kRtaparigatiH - who has moved round the (temple). paritaH abhitaH gatiH gamanaM parigatiH / kRtA vihitA parigatiH pradakSiNaM gamanaM yena sH| puSpavarSe vyAkiran - (i) scattering or pouring drops of water resembling flowers; ( ii ) scattering flowers (of flowery trees or creepers beaten by showers of water discharged by the clouds.). puSpANIva puSpANi / teSAM varSaH vRssttiH| yadvA vRSTajalAghAtapAtitakusumavarSeNetyarthaH / dundubhisvAnamandraM - rumbling like that of kettle-dram. dundubhebhaiyAH svAno dhvani dundubhisvAnaH / tadvanmandraM gambhIraM dundubhisvAnamandram / stanitaM - thundering sound.

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(490) vAtoddhRtaiH - disturbed by the wind. vAtena vAyunA uddhRtAH UrdhvaM prApitAH vAto ddhRtaaH| taiH / samIraNasamIriterityarthaH / anibhRtataraiH-moving very violently. kuvalayarajogandhibhiH - fragrant on account of the pollens of blue-lotuses. kuvalayAnAM kamalAnAM rajAMsi parAgAH kuvalayarajAMsi | kuvalayarajasAmiva gandho'sya kuvalayarajogandhi / taiH | The termination s is affixed to the word gandha, which is preceded by the word $95477:, the standard of comparision, under the rule 'vopamAnAt '. I This word may be explained also as kuvalayarajasaH gandhAH aspaH asmin. Here, the termination s in affixed to the word gandha under the rule' arca'. According to this explanation, the word means "slightly possessing fragrance of the pollens of blue lotases.' Stanza 4__UTHIETIETTEPogaleciai - in lakes etc. possessing fragrant, cool and pure water. surabhi sugandhi ca tat ziziraM zItalaM ca surabhiziziram / surabhiziziraM ca tat svacchaM nirmalaM ca surabhizizirasvacchaM / surabhizizirasvacchaM toyaM yasya saH / surabhizizirasvacchatoyazvAsau hradazca surbhishishirsvcchtoyhrdH| sa AdiH yasya sH| tasmin / nAnAsvAdau = very sweet. This word forms. an adjective qualifying the noun payasi.A atyartha svAdu AsvAdu / na AsvAdu anaasvaadu| na anAsvAdu naanaasvaadu| atyantaM svAdvavetyarthaH / The naarthaka na is changed 3771 as it is followed by a word, having a vowel at its beginning, under the rule 'naJo'n '. This is how the word anAsvAdu is formed. In the word nAnAsvAdu, the naJarthaka na is not changed to an, though it is followed by a word, having a vowel' at its beginning, for this is a compound implying nagation and compounded again with a word implying nagation. The naJarthaka na, when compounded with a compoud implying nagation, is not changed to an, though the word na, implying nagation, is followed by a word, having a vowel at its beginning. Acharya Abhayanandi, the author of the work jainendramahAvRtti, has in his commentary obsereved 'punarnese naJaH prkRtibhaavH'| This compound may be dissolved also as nA svAdu nAsvAdu / mA nAsvAdu nAnAsvAdu / svAdvevetyarthaH / . The word nAnAsvAdo, a Locative form, reminds us that the form is of a masculine noun. How, then, cap it be said that the word is an adjeo

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( 491 ) * 6 or " " " tive qualifying que? As a rule, an adjective and the noun it qualifies must bo samAnAdhikaraNa, i. e. must possess the same number and the same gender. The stanza yaliGgaM yadvacanaM yA ca vibhaktirvizeSyasya / talliGgaM tadvacanaM sA ca vibhaktirvizeSaNasyApi || also mentions the same thing. In my opinion, this difficulty does not arise, for all can be a Locative form of the word possessing nouter gender according to Devanandi and Panini both. The aphorisms bhAdau voktapuMskaM puMvat' (jai.) and tRtIyAdiSu bhASitapuMskaM puMvadrAlavasya' (pA0 ) support the above referred to view. A word, possessing masculine, feminine and neuter genders and implying one and the same meaning, is called uktapuMska. The word bhASitapuMska or uktapuMska is defined as eka eva hi yaH zabdaH triSu liGgeSu vartate / ekamevArthamAkhyAti taddhi bhASitapuMsakam // yannimittamupAdAya puMsi zabdaH pravartate / klIbavRttau tadeva syAduktapuMskaM taducyate || pIlurvRkSaH phalaM pIlu pIlune, na hi pIlave / vRkSe nimittaM pIlutvaM, tajjatvaM tatphale punaH // uktaH pumAn yasmin arthe taduktapuMskam / tadasyAstIti hRtpratyayo'tra bodhyaH / napi tu phalavyApyajAtiH vRkSavizeSaprabhavatvaM taditi bodhyam / evaM ca puMsi pIluzabdasya vRkSatvavyApyajAtiH vRkSe pravRttinimittam / In the mahAvRtti, Abhayanandi has explained this technical term as 'uktaH pumAn yena tulye pravRttinimitte'rthe taduktapuMskaM zabdarUpaM gRhyate / tena bhinnapravRttinimittasya puMsi napuMsakazabdasya vikalpo na bhavati / pIlune phalAya / pIluzabdasya vRkSe samudAyaH pravRttinimittaM, phale tu tadavayavaH / ' [ jai. ma. vR. 5 / 1 / 53 ]. The explanation of this word given by the author of tattvabodhinI runs as follows : ; yadyatra bhASitaH pumAn yena zabdena sa bhASitapuMskaH zabdaH iti vijJAyeta, tadA pIlune ityAdAvatiprasaGgaH syAt, ato vyAcaSTe pravRttinimittaikya iti / ayaM bhAvaH / bhASitaH pumAn yasmin arthe tadbhASitapuMskaM pravRttinimittaM tadasyAstIti arzaAditvAdac / tenaikasmin pravRttinimitte bhASitapuMskaM yacchandasvarUpaM tallabhyata iti / ' Now the word nAnAsvAdu being 34g it is also declined in the Locative case as a word ing masculine gender under the rule * bhAdo voktapuMskaM puMvat '. The forms 1 6 possess ------

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( 492 ) nAnAsvAdau and nAnAsvAduni are therefore, gramatically correct. pavite - purified, cleansed. payasi pItin = drinking water. pItamanena payaH pItI payasi / The termination in is affixed to the past participle pIta under the rule ' iSTa|deH'. The Accusative case of payaH, the object of pItin, is changed to the Locative case under the rule ' ktenkarmaNi'. tvat = tava = your. This is a form possessing Genitive case of n, derived under the rule ' tvamau tyadyau caike.' Abhayanandi, in his commentary on the aphorism 'stramAveke'has given this form. [ tvAm / maam| tvat / mat / tvayi / mayi / ]. toyakrIDAniratayuvatisnAnatiktaiH pungent (or fragrant) owing to the unguents, perfumed powders etc. (perfumery) of the young ladies, engaged in water-sports. toyakrIDAyAM jalakrIDAyAM niratAnAM vyApUtAnAM yuvatInAM taruNInAM snAnena snAnIyena candanAdidravyeNa tiktaiH sugandhibhiH / snAyate'neneti snAnIyaM / ' karaNAdhAre cAnaT' iti karaNe'naT / snAnaM = Perfumery. vinodaH gratification* = = very wonderful. Stanza 5:--jaladhara .as a prince is called King by not tranformed into a cloud vicitrAM meetings or conversations of those that are dead or of the ghosts. preta ( 1 ) doad, ( 2 ) ghost. goSThI = ( 1 ) a meeting, ( 2 ) a conversation. uparinipatadgRdhrabaddhAndhakAre pervaded with darkness formed by vultures .flying above. upari Urdhvapradeze nipatadbhiH gRnaiH baddhaH viracitaH andhakAraH tamaH yasmin / tasmin / doSAMmanye which is as good as night. doSAM rAtrimAtmAnaM manyate iti doSAmanyam / tasmin / doSAH [ = a night. atiSThan - waiting for a little while. ISattiSThan atiSThan / O cloud. Sambara calls the sage jaladhara, people, though the body of the sage is | pretagoSThIM = the - = Stanza 6:- jIrNa marAtabRhat koTarAntaH pratraddhadhvAno lUka pratibhayarave abounding in noises terrorizing the owls or abounding in terrorizing noises of the owls with their hootings impeded inside the interior of the exetensive hollows of hundreds of old trees. jIrNAzca te drumAzca jIrNadrumAH / teSAM zata zatAni vA jIrNadrumazataM jIrNadrumazatAni =

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( 493 ) bA | bRhataH vizAlAzca te koTarAH niSkuhAzca bRhatkoTarAH / jIrNadrumazatasya gRhakoTarAH jIrNadrumazata bRhatkoTarAH / teSAmantarmadhye pravaddhaH niruddhaH kRtaH vA dhvAnaH dhvaniH yeSAM yaiva te / te ca te ulUkAH pecakAH / teSAM pratibhayAH bhayajanakAH ravAH dhvanayaH yasmin saH / tasmin / pratibhayaM terrorising. pretazophAtiraudre = extremely formidable owing to the intumnescence [swelling up ] of the dead bodies pretAnAM zavAnAM zophena zvayathunA atiraudraH atibhayaGkaraH / tasmin / zophaH = swelling up, intumescence. pariNata zivArabdhasAMrAviNogre =terrible owing to the fully developed and pervading bowlings of female jackals. pariNataiH pravRddhaiH mahattvaM prAptaiH zivAbhiH kroSTrIbhiH ArabdhaiH kRtaiH sAMrAviNaiH prasaraNa kriyayA digantavyApibhiH dhvanibhiH umre bhayAnake / sAMrAviNAni - pervading howlings. samantato ravaNaM sAMrAviNaM / The termination sin is affixed to the root sam + rau in the sense of of * complete pervasion ' under the rule 'trin vyApto'. The form, thus derived, possesses neuter gender and implies bhAva (kriyA). After affixing the termination, the termination is again affixed under the rule ' maJino'N '. As the form, thus derived, possesses neuter gender, the f with the preceding vowel is to be dropped under the rule ':'; but as the termination T, affixed to the word, does not imply the sense an offspring, the with its preciding vowel need not be dropped under the rule ' anapatye'NInaH '. This is how the word sAMrAviNaM is derived. < Stanza 7 :- vidyAsiddhiM prati for the sake of attaining knowledge of magic. niyaminaH - rigidly observing the prescribed rites. niyamaH = bratam / 'niyamo nizcaye bandhe yantraNe saMvidi vrate ' iti vizvalocane / huMphuGkAraiH mantraiH pitRvanaM abhi bhrAmyataH = moving all over the cremation ground uttering incantations consisting in hu~ and phuM. abhi being a karmapravacanIya, goveras the Accusative case and implies bIpsA ( vyAptumicchA ) under vIpsetthambhUtalakSaNe'bhine ' / zUlI - one armed with spears 6 , the rule sAdhakaughaH = the assemblage of magicians. anaghamadhuraiH viribdhaiH = -

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( 494 ) 66 6 by means of flawless pleasing sounds. viribdhaiH = dhvanibhiH / The Nirnayasagar edition reads fau. I have changed this reading to fata: on the ground of fP$?'s commentary. The sentence kSubdhasvAntadhvAnta ' ityAdinA dhvanau vizabdeti ktAnte sAdhuH ", found in the commentary, clearly implies that word which he wishes to explain is a la form and fa is not a - form [i. e. past participle ]. Moreover, the Sakatayana, from which Yogiraja is found to have been quoting often, has not made mention of this word in the aphorism * kSubdhasvAntadhvAnta - The word vizabda does not mean dhvani. Taking into consideration all the points referred to above, I have come to the conclusion that the word must be replaced by some other word which must be a past participle and which must mean af. The Chintamani commentary on the AI is helpful to us in fixing the exact reading. While .explaining the aphorism ' kSubdhasvAnta', the commentator, yakSavarmA, has referred to a word fulfilling the above-mentioned conditions. The word is . explained by him as 'rebhe rebhec zabde ityasya vA / vipUrvasya itvaM ca vi ( ra 1 ) ribdhaH dhvanirityarthaH / Ia the aphorism of zabdArNava, the word avizabda is found, but it is given as the meaning of the word E. Somadeva has explai.ned the word viribdha ' viribdhaH svaraH / vipUrvasya rebhaGo 'nitvamitvaM c|.' Abhayanandi has explained it as ' viribdha iti nipAtyate svara - razcet virebhitamanyat itvameto nipAtanAt / .' Jinedrabuddhi explains this word in his kAzikAvivaraNapaJjikA as -' viribdhamiti / atrApyekArasyettvamapi nipAtyate | svarazcediti / svarazabdo'tra dhvanau vartate / ' sandhyAbalipaTahatAM kurvan : acting as a drum beaten at the time of worship perfomed in the as = evening. 8 Stanza 8 :- antarvaNaM - in the interior part of the forest. This is .an avyayIbhAva compound formed under the rule ' pAremadhye 'ntastathA vA. ' vanasyAntaH antarvaNam | The na of vana is chaged to Na under the rule ' prAgre'-ntarniH zarekSuplakSapIyUkSA kAryAmrakhadizat / ' abhiyAM fearless. apagatA vinaSTa - bhIrbhayaM yebhyaH yeSAM vA te / teSAm / This is a prAdibahuvrIhi compound. AvitaM

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( 495 ) = a seat atre Asate smetyAsitam / The termination kta is affixed to the root As in the sense of AdhAra under the rule ' AdhAre cAdyarthAcca '. The Genitive case is possessed by the word under the rule ktasyAdhArasato:' / stuti kalakalAt = owing to the confused noise of prayers. AttatannAmarUDhi = known by the name traditionally. AttA gRhItA tasya kalakalasya nAmnaH abhidhAnasya rUDhiH prasiddhiH yena tat / stanitapaTa haiH with drums in the form of thunders sounded stanitAnyeva paTahAH stanitapaTahAH / taiH / . Stanza 9 sAyAne in the evening. tatkAlapUjAsaGgItAnte - at the end of songs sung in chorus at the worship performed at that time. sa cAsau kAlazca tatkAlaH / sAyAhnaH ityarthaH / sAyAne kriyamANA yA pUjA tasyAH saGgItasyA'nte'vasAne tatkAlapUjAsaGgItAnte / AcitAGgIH - having their bodies covered over with. AcitAni vyAptAni aGgAni gAtrANi yAsAM tAH / ( Accusative plural form ). sukaNThI possessing beautiful necks or charming voice. kaNTha - (1) a neck, (2) a voice. 'svare'pi kaNThastu gale pArzve zasyazabdayoH' iti vizvalocane. The feminine termination GI is affixed to aGga and kaNTha, compounded with other words, under the rule nAsikodarauSThajaGghAdantakarNazRGgAGgagAtrakaNThAt ' / pAdanyAsakkaNitarasanAH wearing girdles jingling on account of the movements of their foot pAdanyAsaiH caraNanikSepaiH kaNitAH kRtadhvanayaH rasanAH kAJcIdAmAni yAsAM tAH / lIlAvadhUtaiH = discharged for sporting or discharged sportively. lIlAyai lIlayA vA avadhUtaiH vyAdhUtaiH / prAkSitairityarthaH / ' sAdhanaM kRtA bahulam' ityatra bahulagrahaNAtsaMpradAnaM kArakamapi kRtA samastaM bhavati / . - -- - ZAM Stanza 10-- aharmANamaya raNannUpurAH wearing jingling anklets made up of ( or studded with ) jewels ( lit, sun-crystals ) aharmaNiH sUryaH iva ahrmnniH| The word aharmeNi originally means ' the sun.' As the termination implying resemblance is dropped under the rule ' devapathAdibhyaH the word : means 'sun-crystal' which resembles the sun in emitting rays and heat. aharmaNervikArAH aharmaNimayAH / . The termination mayaT is 3 3

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(496) affixed to the word STEHT in the sense of modification under the rule 'mayaDvA'bhakSAcchAdane'.aharmaNimayAH sUryakAntamaNinirmitA ityrthH| raNantaH kvnnntH| zabdAyamAnAH ityarthaH / raNantazca te nUpurAzca raNannUpurAH / aharmaNimayAH raNannUpurAH yAsAM tAH / nUpurAH - anklets. sulalitapadanyAsa -(i) in keeping with the graceful movements of their feet ; ( 2 ) employing pleasing words. sutarAM lalitaH manoharaH sullitH| padAnAM caraNAnAM nyAsaH prakSepaH pdnyaasH| sulalitaH padanyAsaH yasmin karmaNi yathA syAt tathA / This is an avyayIbhAva compound. This compound may be dissolved also as - gaisarat siosarat lAlityaguNopetAnAM padAnAM summiDantarUpANAM nyAsaH prayogaH yasminkarmaNi tat / zobhanapAdavikSepapUrvakaM vipulalAlityaguNopetasummiGantAni padAni prayujya vetyarthaH / urrurat:-singing loudly, Vigorar: - possessing graceful movements of their eyebrows. dhruvorvilAsaH bhrvilaasH| udgataH prakarSa prAptaH bhrUvilAsaH yAsAM taaH| utpazyAH - looking upwards. udUrdhvaM pazyantIti utpazyAH | The termination za (a) is affixed to the root dRza, it being preceded by an upasarga, under the rule 'pAghrAdhamAdheTdRzaH zaH'. The termination za being zit, the root dRz is changed to pazya under the rule * pAghrAdhmAsthAmnAdANDazyatizadasadAM pibjighrdhmtisstthmnycchpshychNshiiysiidaaH|'. navajalakaNikAdvitrasiktaH - sprinkled over twice or thrice with drops of fresh sprays of water ( discharged by the cloud). navaM meghavRSTaM bhuvamaprAtvatvAca navyaM ca tajjalaM salilaM ca navajalam / navajalasya kaNikAH bindavaH nvjlknnikaaH| dve vA trINi vA dvitrANi / navajalakaNikAbhiH dvitrANi siktAni yAsa taaH| siktAni secanAni / 'nabhAve kto'myAdibhyaH' iti bhAve ktaH na ca / dvitrANi is bahuvrIhi compound formed under the rule 'syiH sujvArthe / vilolAH = (1) possissing nimbleness; (2) possessing extraordinary beauty. ratnacchAyAkhacitavalibhiH -- possessing handles covered over with the lustre of jewels. ratnAnAM chAyA ratnacchAyam / The jewels, from which lustre emanetes, being in agreat number, the compound having chAyA at its end, is formed under the rule ' chAyA bahUnAm' and under this very rule the word 3191 is changed to 3121 and is declined as a noun possessing neuter gender. ratnacchAyena AkhacitA rUSitA vyAptA vA

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(497) valayaH cAmaradaNDAH yeSAM te / taiH / valiH = a handle of a cAmara. klAntahastA: = having their hands fatigued. klAntAH saJjAtavedanAH zrAntAH vA hastAH pANayaH yAsA taaH| This refers to the national or provincial dance which is defined as --dukUladaNDikAmAlAkhAcAmaragolakaiH / hastasaJcAribhiH kuryunattaM taddezikaM smRtam // stanza 11- nakhapadasukhAn - pleasing to the marks (wounds) made by the nails ( at the time of sexual enjoyments ). gelat qa11 cinAni vraNAGkAH nakhapadAni / nakhajanitavraNAGkAH ityarthaH / teSAM teSu vA sukhaM yebhyastAn / This compound may also be dissolved as - nakhapadeSu sukhAH sukhahetavaH nkhpdsukhaastaan| In this case the word sukha is taken to mean sukhahetuH according to zabdArNavakoza. "sukhahetau sukhe sukham" iti zabdArNave. varSAnabindUn - the first drops of rain-water. varSAyAH vRSTeH varSasya agrabindavaH AdyapRSatkAH varSAprabindavaH / tAn / ahaMdbhavanavalabheH UrzvabhAge = on the upper part of the roof of the temple dedicated to Jina. ahaMtaH jinasya bhavanaM mandiraM jinabimbamandiraM adbhavanam / tasya valabhiH chAdanaM adbhvnvlbhiH| tsyaaH| sandhyArAgacchuritavapuSam = possessing body enlightened by the (red ) lus. tre of evening. sandhyAyAH rAgaH raktimA sandhyArAgaH = the red colour seen in the sky in the evening. sandhyArAgeNa churitaM mizritaM vapuH zarIraM yasya saH / tam / The word churita is a participle derived from the root chur (i) to envelop; (u) to intermix. Taggallagos = having body enlightened by a lightning or lightnings. udbhAsate iti udbhaasii| vidyutA udbhAsate vidyududbhaasii| vidhududbhAsI daNDaH zarIraM yasya sH| tam / yadvA udbhAsI cAsaudaNDazca udbhaasidnnddH| vidyudeva udbhAsidaNDaH yasmin saH / daNDaH- (i) a body; (ii) a flash of lightning resembling a stick. This compound may be dissoloved also as jaga: ubhAsI daNDaH iva daNDaH yasmin sH| tam / . lIlAvitAnam = a canopy or tent erected for the sake of sexual pleasure. Stanza 12-- factalwaarkat: = frightend by your thundering sounds. tava stanitaM garjitaM tvatstanitam / tena cakitAH bhItAH svstnitckitaaH| AttazaGkAH = become doubtful. AttA gRhItA zaGkA sandehaH yAbhiH taaH| pArzvabhyudaye 32

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( 498 ) sandehadolArUDhamanaskArA ityarthaH / kiJcittiryagvalitavadanAH = with their faces turned aslant a little. kiJcit ISat tiryak jihmaM valitaM ghUrNitaM vadanaM mukhaM yAbhistAH / baddhotkampastanataTaluThallolahArAH = having dangling necklaces rolling on their breasts baddhaH bhItyA viracitaH utkampaH vepathuH yayoH tau baddhakam / tau ca tau stanataTau ca / tayoH luThanta upAvartamAnAH lolAH caJcalAzca hArAH mAlA yAsAM tAH / madhukara zreNidIrghAn (as much long as the rows of bees. madhukarANAM bhramarANAM zreNiH paGktiH iva dIrghAH madhukara zreNidIrghAH / tAn / Length, being & common property found in both the rows of bees and the glances, the standard of comparision (i. e. madhukara zreNi ) is compounded with, the common property under the rule " sAmAnyenopamAnam ' / . kaTAkSAn = side-glances. AmokSyanti = would cast. Meghadata reads AmokSyante. Both the readings are gramma tically correct. = = Stanza 13 - bhaktiprakaTanapaTuH =proficient in manifesting devotion. bhakteH jinaguNAnurAgasya prakaTane prakaTIkaraNakriyAyAM paTuH nadISNAtaH bhaktiprakaTanapaTuH / AtodyagoSThIM : a discourse with reference to the musical instruments. Atodyasya vAdyasya goSThI saMlApaH / tAm / AtodyaM - a musical instrument. goSThI : a discourse, conversation. mandrastanitamuravacvAnam = resonant sounds of drums in the form of rumbling thunders. mandraM gambhIraM ca tat stanitaM meghanirghoSazca mndrstnitm| muravasya murajasya dhvAnaH dhvaniH mukhadhvAnaH / mandrastanitameva muravadhvAnaH mandrastanitamuravadhvAnaH / tam / Avirvitanvan = revealing. 'prakAze prAdurAviH syAt' ityamaraH / uccairbhujataruvanaM = a grove of trees possessing very tall and big branches. uccaiH unnatAH bhujAH zAkhAH yeSAM te uccairbhujAH / uccairbhujAzca te taravazca uccairbhujataravaH / teSAM vanamuccairbhujataruvanam / yadvA uccairbhujAH taravaH yatra uccairbhujataru tacca tadvanaM ca uccairbhuja The word implies here the sense of the Locative case. maNDalena = circuitously. lInaH = descended. vandArUNAM = of those who are accustomed to praying. Here, the termination 1 is affixed to the word vRnda in the sense of 'habit under the rule ' zUvandAdAru: '.

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( 499 ) Stanza 14-- jaladharapathe = in the sky. jaladharANAM meghAnAM panthAH jaladharapathaH / The word pathin, being at the end of a compound, has the terimination at ( a ) affixed to it under the rule 'RkpUrappatho't '. bhaktibhArAvanamraH bent down under the burden of pious faith or devotion. bhakteH jinAnurAgasya bhAraH atizayaH bharaH vA bhaktibhAraH / tena avanamraH vinataH bhaktibhArAvanamraH / pratinavajapApuSparaktaH = red like a fresh Japa flower. pratinavAni pratyayANi japApuSpANi oDrapuSpANi pratinavajapApuSpANi / tAnIva raktamaruNam / sAndhyaM = coming into being in the evening. svAmisevAnurAgam = fondness for the worship of the lord* svAminaH bhagavataH jinezvarasya sevAyAM pUjAyAM anurAgaH prItiH svAmisevAnurAgaH / tam / C Stanza 15- zatamakhaH Indra. zataM makhAH indradhvajAdayo yAgAH asya zatamakhaH / makhaH = a sacrifice. yajJaH savo'dhvare yAgaH saptatanturmakhaH Rtu: ' ityamaraH / pazupateH = of the protector of living beings. pazUnAM suranaratiryakprANinAM patiH pAtA pazupatiH / ' pazUnAM suranaratirazcAM patiH zivaH zreyaskaratvAt' iti kSIrasvAmI. Lord Jina also, boing zreyaskara, can be called pazupatiH according to this explanation of the word. AvirbhavaddivyarUpaH possessing excellent beauty, becoming manifest ( of its own accord ). Avirbhavat prakaTIbhavat divyaM sundaraM rUpaM AkAraH yasya saH / ' rUpamAkArasaundaryasvabhAva zlokanANake / nATakAdau mRge granthAvRttau ca pazuzabdayoH' iti vizvalocane / ' divyaM tu vahagau divibhave'nyavat' iti vizvalocane / svarasaracitAM = modified according to your liking . svasya AtmanaH rasena abhilASeNa racitA kRtA svarasaracitA / tAm / vRttiM = modification. zaikhinIM = of a peacock. ArdranAgAjinecchA (1) desire for the fresh flowers of Nagakesara; (2) the strong desire of roots of the Nagakesara trees; (3) the strong desire of other clouds abounding in water. ArdrAH sarakhAH nAgAH nAgakesara kusumAni, tanmUlAni, meghAH, nAgakesaravRkSA vA ArdranAgAH / tadarthA teSAM vA AjinA atizayena jitvarI ( tItretyarthaH ) icchA abhilASaH / tAm / nAga = : ( 1 ) flowers of Nagakesara; (2) roots of Nagakesara; ( 3 ) a Nagakesara tree; ( 4 ) a cloud. nAgaH pannagapunnagA C = S

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(500) nAgakesaradantiSu / nAgadantaka-jImUta-mustake krUrakarmaNi' iti vizvalocane / 'jinastvarhati buddhe'tivRddha-jitvarayostriSu' iti vizvalocane / citro = wonderful. Sambara means to say that the sage assuming the form of a cloud should discharge water and thus being light should go on his journey hastily. Stanza 16-nATyam - a dance accompanied with instrumental music and singing. 'tANDavaM naTanaM nATyaM lAsyaM nRtyaM ca nrtke| totrika nRtyagItavAdyaM nATayamidaM smRtam' ityamaraH / priyAnte = before her beloved husband; in the presence of her beloved husband. Halal = the wife Indra. named zacI. bhavaH zreyaH aNimAdyaSTavidhamaizvaryamasyAstIti bhvH| 'o'bhrAdibhyaH' ityatyo mtvrthiiyH| indraH ityarthaH / bhavasya patnI strI vA bhvaanii| indrANItyarthaH / . To derive a feminine form, the feminine termination GI, to which the augment Anuk (An) is prefixed, is affixed to the word bhava under the rule 'varuNabhavazavarudrendramRDAt '. zAntodvegastimitanayanam = with ( her) eyes rendered motionless owing to their rolling being subsided (or stopped). zAntaH prazamaM gatazcAsau udvegaH udbhramazca shaantodvegH| zAntodvegena stimite stabdhatvaM prApte zAntodvegastimite / zAntodvegastimite nayane yasmin karmaNi yathA syAtAM tathA / dRSTabhaktiH = whose devotion is noticed. There are different opinions about the correctness of this compound-word. Though I have given expression to my opinion, I think it necessary to quote Mallinatha here. ""dRSTabhaktiH ' iti kathaM rUpasiddhiH, dRSTazabdasyaM 'striyAH puMvat-' (pA. sU. 6 / 3 / 34) ityAdinA puMvadbhAvasya durghaTatvAt 'apUraNIpriyAdiSu' iti niSedhAt bhaktizabdasya priyAdiSu pAThAt ?." iti, tadetaccodyaM dRDhabhaktiriti zabdamAzritya prativihitaM gaNavyAkhyAne dRDhaM bhaktirasyeti napuMsakaM pUrvapadaM, adAyanivRttiparatve dRDhazabdAliGgavizeSasyAnupakAritvAtstrItvamavivakSitamiti / bhojarAjastu- " 'bhaktau ca karmasAdhanAyAm ' ityanena sUtreNa 'bhajyate sevyate' iti karmArthatve 'bhavAnIbhaktiH ' ityAdi bhavati / bhAvasAdhanAyAM tu 'sthirabhaktibhavAnyAM' ityAdi bhavati" ityaah| tArApuSpaprakararucire = beautiful on account of the scattered

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(501) flowers in the form of stars. tArA eva puSpANi tArApuSpANi / teSAM prakara: vikIrNasamUhaH tArApuSpaprakaraH / tena ruciraH mnojnyH| tasmin / 'prakaro nikurambe syAt prakIrNakusumAdiSu' iti vizvalocane / vyomaraGge - on the platform in the form of the sky. vyomaiva raGgaH nRttasthalaM vyomaraGgaH / tasmin / saumyavidyunnaTIm - the actross in the form of the agroeable lightning. 9112 - (1) agreeable; (2) beautiful; (3) not formidable. vidyudeva naTI vidyumnttii| saumyA cAsau vidyunnaTI ca saumyvidyunnttii| tAm / Stanza 17 - lIlAm - amorous sports. mahAkAladevAlayAnAM - of the temples situated in the Mabakala forest or of the very old temples or of the temples dedicated to great gods. mahAkAle tadAkhyavane yAni devAnAM AlayAni gRhANi teSAm / yadvA mahAn kAlaH yeSAM tAni mhaakaalaani| mahakAlAni ca tAni devAlayAni ca mahAkAladevAlayAni / teSAm / yadvA mahAn kAlaH yeSAM te mahAkAlA / mahAkAlAzca ye devAH vRSabhAdayaH jinendrAH mhaakaaldevaaH| teSAmAlayA: mandirANi / teSAm / Stanza 18- pihitavyomamArge - when the heavenly path would have been blockaded or pervaded (by you), pihitaH pracchAditaH vyomamArgaH AkAzapathaH yena sH| tasmin / Here, the a of the preposition api, which is profixed to the root dhA, is dropped under the rule 'dhAnahyapeH' or 'vaSTi bhAguriralopamavApyorupasargayoH'. nizIthe- at night. 'nizIthastu nizAmAtrArdharAtrayoH' iti vizvalocane / narapatipathe- the Royal roads. Here, the word 9147, being placed at the end of a compound, has the termination at affixed to it, under the rule 'RkpUrappatho't.'. sUcibhedyaiH - very pitch lit. worthy of being pierced by a needle. sUcyA bhedyAni vedhyAni suucibhedyaani| taiH| ruddhAloke - having light obstructed. ruddhaH pratibaddhaH AlokaH prakAzaH yasmin / tasmin / puMsu gADhotkaNThAH - cherishing strong desire. for males. gADhA tIvrA utkaNThA saGkalpaH prAptIcchA yAsa taaH| madanavivazAH - who have lost control over themselves owing to passion. madanena samutpannena kAmAbhilASeNa vivazAH svAnadhInamanaskArAH mdnvivshaaH| rato- for sexual enjoy ment. saGketagoSThI - to the place of appointment; to the place fixed for sexual intercourse. IzAH - able.

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(502) Stanza. 19-ADambaraM = (1) expansion; (2) amplification. ADambara sahara - stop your expansion or amplification. 'ADambara karIndrANAM garjite tUryanisvane / samArambhe prapaJce ca racanAyAM ca dRzyate' iti vishvlocne| vidhure - at the time when distressed. kanakanikaSasnigdhayA - shining like a gold-streak on a touch-stone. 1999: - a streak or line of gold made on a touch-stone. Though the word F-14.0 is derived by affixing the termination | to the root ni + kaS in the sense of AdhAra under the rule 'gocarasaJcara-', it may be taken to mean a stroak of gold on a touch-stone' also, as the line of gold is drawn on a touch stone (vAtsthyAt). snigdha = shining, glistening. 'snigdhaM tu masRNe sAndre ramye klIve ca tejasi' iti shbdaarnnve| kanakasya nikaSaH kaSapaTTe vihitA rekhA kanakanikaSaH / sa iva snigdhA prakAzamAnA kanakanikaSasnigdhA / tayA / This is an upamitasamAsa formed under the rule 'sAmAnyenopamAnam '. Mallinatha explains the word nikaSa as 'kanakasya nikaSaH nikaSyate iti vyutpatthA nikaSaH uplgtrekhaa| tasyeva snigdhaM tejaH yasyAstayA / ' This explanation in not supported by either Panini or any other grammarian. saudAminI - lightining. Stanza 20-krIDAhetoH - for the sake of ridiculing. krIDAyA: parIhAsasya hetuH kAraNaM krIDAhetuH / tasmAt / krIDA- ridicule. 'dravakelIparI hAsAH krIDA lIlA ca narbha ca' ityamaraH / napurArAvahRdyaM = as charmingly as the jingling of anklets of women. vanitAnAM yoSitAM nUpurAH maJjIrAH vnitaanpuraaH| teSAmArAvAH dhvanayaH / zijitAni ityrthH| te iva hRdyaM manoharaM yathA syaattthaa| This is an Avyayibhava compound. antarmaNitasubhagaM - as charmingly as the internal inarticulate murmuring sound uttered at cohabitation. mANitam - an inarticulate murmuring sound uttered at cohabitation. antarmaNitaM nidhuvanakriyAyAmuccarito'nakSaro dhvanivizeSaH / tadvadiva subhagaM manoharaM yathA syAt tathA / This also is an Avyayibhava compound. sambhRtAsAradhAraH - pouring showers of heavy rain. sambhRtAH niSpAditAH AsArasya vegavadvarSasya dhArAH sravAH yena saH / 'AsArastu prasaraNe dhArAvRSTI suhRdbale' iti vishvlocne| toyotsargastanitamukharaH -noisy with

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( 503 ) thunder at the time of down-pour of water. toyasya jalasya utsargaH vRSTiH toyotsargaH / stanitaM garjitam / toyotsargazca stanitaM ca toyotsargastanite / tAbhyAM mukharaH vAcAlaH toyotsargastanitamukharaH / stanitazabdasyArUpActvAtpUrvanipAte prApte'pi paranipAtaH pUrvanipAtazAstrAnityatvanibandhana ityavaseyam / yadvA toyotsarge jalavRSTikAle yat stanitaM garjanadhvaniH tena mukharaH iti vA vigrahaH / viklavAH timid. 6 Stanza 21 - rAtrisambhogadhUpaiH - owing to the aromatic smoke issuing from incense burnt at the time of nocturnal cohabitation. sambhogaH raatrismbhogH| tatra dagdhebhyaH candanAgurvAdisugandhidravyacUrNebhyaH vinirgataiH dhUpaiH / dhUpadhUmairityarthaH / labdhAmodaH enjoying fragrance or joy. labdhaH prAptaH AmodaH saugandhyaM modo vA yena saH / sugandhimudi vA''moda:' iti vizvalocane / ciravilasanAt - owing to her emitting flashes of light again and again for a long time. ciraM dIrghakAlaM vilasanaM prakAzamAnatvaM ciravilasanam / tasmAt / khinnavidyutkalatraH - whose beloved in the form of lightning is fatigued. vidyudeva kalatraM vidyutkalatraM / khinnaM vidyutkalatraM yasya saH / garIyAn - possessing a very expansive (bodily) form. The word is changed to under the rule bahula gururuvRddhatR pradIrghavRndArakANAM baMhigarvarvarSitra drAghavRndAH ' / when the termination Iyas is affixed to it under the rule guNAGgAdveSTheyasU'. suptapArAvatAyAM " 1 where pigeons lie asleep. suptAH nidrAvazaM gatAH pArAvatAH kalaravAH yasyAM sA / tasyAm / bhavanavalabhau - on the upper part of some mansion-gallery. bhavanasya prAsAdasya valabhiH AcchAdanaM bhavanavalabhiH / tatra / * Stanza 22 - kSaNaparicayaH momentary familiarity. kSaNaM kSaNamAtrakAlaM yAvat paricayaH saMsargaH kSaNaparicayaH / svargavAsAtizAyI - surpassing the (life-long) residence in the heavens. svarge vAsaH nivAsaH svargavAsaH tamatizete iti svargavAsAtizAyI / Asakti - fondness. yogAt - by entering into friendship. yogaM sambandhaM saGgatiM mitratvaM vA prApya | Here the Ablative case of the word implies the dropping of a pyAnta ( syabanta ) form under 'pyakhe karmAdhAre ' zithilIkRtya - slackening or dispelling. This is a fcca form. adhvaziSTaM the remaining portion of the journey the rule - -

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(408) or way. alpha - should traverso or go over. Byggapirait: those who have promised to effect (or serve) the purpose. 378177 prayojanasya kRtyA kriyA niSpAdanaM vA arthkRtyaa| abhyupetAH svIkRtAH arthakRtyAH 9: A pragaracar: 1 591 - carrying into effect. Though this compound stands in need of some other word (i. e. GECIAL), it is admissible, as it implies the required sense, under the rule 'seca sia ITA*arzenia: 1'. 793 Aralra - never get slack. Stanza 23 - HU 512 - owing to the disappearance of the sunlight. Sambara means to say that owing to the sun-light being obstructed by the cloud, the women of the city would mistake day for night and thus would be miserable owing to the absence of their lovers speaking agreeable and sweet words etc. To avoid this wretched state of the minds of the women of the city, he means to say that the cloud should not obstruct the rays of the sun by its expansive bodily form. In the commentary I have suggested a different reading which I need not discuss here. F ara gufarh: ta 29This is a passive construction, and so ale need not be taken in the Accusative case. In the active construction being it, both the direct and indirect objects must possess Accusative case. HTFA awould not possibly take place. Though the form ETHT, having its 37 dropped under the rule ' EAGIZ', belongs to Aorist, it may be taken to imply the sense of future tenso, as the rule 'REA SE ' connotes exception to all other #17s (i. e. to all other tenses. ). alesar - a woman whose husband or lover has been guilty of infidelity and who is, therefore, angry with him. Visvanatha describes her in his S. D. as- SAra iga JETIT STILAIHDiga: 1 al alugara kathitA dhIrairIyAkaSAyitA // '. Stanza 24 - 37772gpalagio H127 - should necessarily feel sorry for the severe pressure of pain on the other. 377444 bara faali: 377267Haal da fayt: fie: I grea: re: 1 aal. This is an imper

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(505) sonal passive ( bhAve prayoga) construction. priyakamalinIsaMstavaM- acquaintance with (his) beloved lotus-creeper. priyA hRdayagrAhiNI cAsau kamalinI nalinI ca priya kmlinii| tasyAH saMstavaH paricaya: priyakamalinIsaMstavaH / tam / 'saMstavaH syAt paricayaH' ityamaraH / prAleyAtraM - tears in the form of dewdrops. prAleyaM nIhAraH eva asaM azru prAleyAsram / kamalavadanAt - from the face in the form of the lotus. kamalameva vadanaM kamalavadanam / tasmAt / kararudhi - obstructing rays. karAn kiraNAn ruNaddhIti kararudh / kipa / tasmin / anarUpAbhyasUyaH - not a little angry or enraged or indignant. anaspA vipulA abhyasUyA krodhaH vidyate yasya so'nspaabhysuuyH| Stanza 25- subhagAm - (1) very beautiful; (2) very wellknown or well-reputed. zobhanaM bhagaM zrIH zobhA yazo vA yasyAH sA subhgaa| tAm / 'bhagaM tu jJAnayonIcchAyazomAhAtmyamuktiSu / aizvaryavIryavairAgyadharmazrIratnabhAnuSu / / ' iti vizvalocane / 'sundare'dhikabhAgyAze udite tttvaasre| turIyAMze zrImati ca subhagaH' iti zabdArNave | dhunI- a river. mA avamaMsthAH -do not dishonour. avamaMsthAH is an Aorist form having the aDAgama dropped under the rule 'luGlaGlaGyamAGAT' for it is accompanied with the word mA. atisvacchavRttaH - whose behaviour is extremely pure. atizayana svacchA vRttiH yasyAH sA atisvcchvRttiH| tasyAH / vRttiH - (1) state, condition; (2) course of conduct, behaviour; (3) maintenance, means of subsistence. rasaM - (i) water; (ii) love. gambhIrAyAH saritaH cetasi iva prasanne payasi - in the pure waters which are as if the pare heart of the Gambthira river. chAyAtmA- body in the form of a reflected image. It is implied that in the heart in the form of pure water of the Gambhira, the body of the cloud, her lover, would gain entrance and so the cloud should not disregard her by avoiding her. Stanza 26-zIkarotthAn - originating from the sprays. lIlAhAsAn - sportive smiles. praNayaparatA vyaJjayantI - expressing her whole - hearted love. kumudavizadAni - as white as the lilies. kumudAnIva kamalAnIva vizadAni dhavalAni kumudavizadAni / caTulazapharodvartana prekSitAni - glances

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(506) in the form of the peautiful springings op of the fish [ Saphara ). caTulAni zIghragatIni zapharANAM matsyAnAM udvartanAni ulluThitAni eva prekSitAni vilokanAni. Stanza 27, 28- uccaratpakSimAlAbhAsvatkAJcImadhuraraNitAt - possessing charming jinglings of a resplendent zone in the form of the rows of chirping birds. udUrdhvaM caratAmuDDIyamAnAnAM uccaratAM svanatAM vA pakSiNA patatriNAM mAlA paGktiH uccaratpakSimAlA / saiva bhAsvatkAJcI tejasA sphurantI rshnaa| tasyA madhuraM zrotrapriyaM rANitaM kANaH yatra tat / tasmAt / hetAvatra kaa| pakSe uccaratpakSiNAM mAleva mAlA uccrtpkssimaalaa| 'devapathAdibhyaH' itIvArthasya kasyos / tayA yuktA bhAsvatkAJcI / tasyAH madhuraM raNitaM kvANaH yatra tat / tasmAt / uccaiHpulinajaghanAt - from the prominent buttocks in the form of sandy beaches. uccaiH unnataM pulinaM saikatameva jaghanaM kttiH| tasmAt / pakSe pulinamiva pulinaM / ' devapathAdibhyaH' itIvArthasya kasyos / pulinamiva jaghanaM pulinajaghanam / uccaiH unnataM dhulinajaghanam / tasmAt / 'jaghanaM vanitAzroNIpurobhAge kaTAvapi' iti vizvalocane / ' toyotthitaM tatpulinaM' ityamaraH / kAmasevAprakarSam - the excess of sexual enjoyment. kAmasevAyA sambhogakrIDAyAH prakarSaH udrekaH kAmasevAprakarSaH / tam / muktarodhonitambaM - dropped down from the battocks in the form of her banks. rodhaH taTaM eva nitambaH kaTIcakraM rodhonitmbH| 'kaTIcakre nitambaH syAcchikhariskandharodhasoH' iti vizvalocane / muktaH parityaktaH rodhonitambaH yena tat / prAptavAnIrazAkham - attained to the blades of canes growing in her water. prAptA AzritA vAnIrazAkhA yena tat / vAnIraHa kind of water-side plant with naked slender tapering pitb-filled stems; a kind of rush. salilavasana - a garment in the form of water. salilameva jalameva vasanaM vastraM salilavasanam / pakSe salilamiva vasanam / bahurasAM - (1) abounding in love. (2) possessing water in abundance. rasa:(1) love; (2) water; (3) beauty; (4) pleasure. bahuH vipulaH rasaH anurAgaH jalaM saundarya sukhaM vA yasyA saa| tAm / kAmAvasthAM - the state of passion being stirred or the state of boing impassioned. darzayantI -- manifesting. utphullapratatalatikAgUDhaparyantadezAm - whose adjoining regions are covered over with flowery creepers spreading there. utphullAH

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(507) samphullAH pratatAH prasRtAH utphullprttaaH| tAzca tA latAH valayaH / tAbhiH gUDhaH pracchannaH paryantadezaH yasyAH saa| tAm / pakSe-utphulle yonideze pratatA prasRtA utphullapratatA / sA cAsau latikA muktAmAlA cotphullapratatalatikA / tayA gUDhaH pracchannaH paryantadezaH yoneH pratyAsanna : dezaH yasyAH saa| tAm / utphullaH - the female organ of generation. 'utphullaH karaNe strINAmuttAne vikace'nyavat' iti vizvalocane / latikA - (1) a small creeper; (2) a string of pearls. tAM niSadya- (1) recling or laying (your ) body in a position horizontal to her (i. e. the Gambhira); (2) having recourse to. lambamAnasya -- (1) of him who has stretched his body on account of imbibing water; (2) of him who has streched his body for sexual enjoyment. jJAtA. svAdaH - become acquainted with sexual enjoyment. vivRtajaghanAm - a woman having her hips laid bare. vivRtaM anAvRtaM jaghanaM kaTipazcAdbhAgaH zroNIpurobhAgaH vA yasyAH sA / tAm | 'jaghanaM vanitAzroNIpurobhAge kaTAvapi ' iti vizvalocane. Stanza 29 -- 275 - that river Gambhira. 3& AIA - making strenuous efforts; exerting strenuously. This present participle is derived from the root udyam. tvaniSyandocchrasitavasudhAgandhasamparkaramyaH - charming or agreeable on account of its contact with the odour emitted by the earth sending out vapour on account of your discharge of rain. tava niSyandaH vRSTiH tvaniSyandaH / tena ucchasitA ucchUnA / vijRmbhitetyarthaH / sA cAso vasudhA vasundharA ca / tasyAH gandhaH aamodH| tasya samparkeNa sambandhena / saMsargeNa ityarthaH / ramyaH manoharaH / nAsikAyAH sukhakaraH ityarthaH / 'gandho gandhakasambandhalezeSvAmodagarvayoH' iti vishvlocne| strotorandhradhvanitamadhuram - in a manner charming owing to the low graff sound produced in the apertures of their trunks. strotasaH nAsikAyAH randhaM vivaraM srotorandhram / srotorandhre nAsikAkuhare yaddhvanitaM zabdaH tena madhuraM yathA syAttathA / 'sroto'mbuvegendriyayoH' itymrH| According to Amarasimha, the word srotas means 'an organ of sense ' ( indriya). In the present context, the word must be taken to mean nose.' The compound may be taken to mean - - in a manner charming owing to the grunting sound entering into the

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(508) ears [ of the listeners ]. The word srotas means also ' an ear.' 'sroto'mbuleze karNe ca sroto dehasirAsvapi' iti vizvalocane. pIyamAnaH - which is being imbibed or inhaled. sugandhaH - fragrant, possessing particles of fragrant substances. zobhanAH gandhadravyANavo'sya sugandhaH / The word gandha, being preceded by su and being a quality, ought to have the termination s affixed to it under the rule 'supUtyutsurabherguNe gandhasyeH ', but as in the present case the word 1777 does not imply a quality but a fragrant substance, the rule referred to above does not hold good and so the Antara termination need not be affixed to it. The following extract from the mahAvRtti supports this explanation. 'asti dravyavacanaH / tadyathA gandhAn pinaSTIti / tayo mukhyo guNavacanastasya grahaNam / teneha na bhavati / zobhano gandho'sya sugandha ApaNikaH / ' [jai. 4 / 2 / 136 ]. Moreover, the samAsAntavidhi does not hold good always (anitya ). gandhavAhaH -- wind. anuvana - in the forest. This is an Avyayibhava compound. Stanza 30- devapUrva. giri - This devagiri is identified by scholars with gans, which is situated in the southwest of Jhansi. This round about way of description is resorted to by many poets. upajigamiSoH - wishing to approach. This is a Desiderative form derived from upa + gam by affixing u to it under the rule 'saMnbhikSAzaMsthindicchAduH', zramaparijuSaH - fatigued. zramaM zrAnti parijuSate sevate iti zramaparijuT / kvim / tasya | pratyudyAsuH - exerting (to welcome ). Though according to Yogiraja, tbis is a Desiderative form, I am unable to agree with him. In my opinion this word is derived from gia +36 + yas by affixing an uNAdi termination to it. This is an avyutpannoNAdi form. svaklamacchedadakSaH - prompt to dissipate your fatigue. tava klamaH zramaH klezaH vA tvaklamaH / tasya cchede pariharaNe dakSaH caturaH analasaH vA tvklmccheddkssH| ArUDhasaugandhyayogaH - rich in fragrance. [lit. whose union with fragrance has come into being 7. ArUDhaH samutpannaH saugandhye na saurabhyeNa yogaH samparkaH saGgatirvA yasya sH| kAnanodumbarANAM pariNamayitA - ripening the sylven figs. kAnaneSu vaneSu udumbarANi udumbaraphalAni kAnano ........ . . . . . ."

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(509) dumbarANi / teSAm / Seeing the word pariNamayitA, employed in this stanza, I have accepted the word udumbara, meaning 'a fig' and not udumbaraH meaning 'a fig tree,' for ripening of fruits is possible and not of trees. Fruit being a part of a tree, the res - termination is dropped under the rule 'uphphale'. pariNamayitA - ripening; ripener. nIcaiH - gently. vAsthati - will blow. Stanza. 31 --- puputrIyiSubhyAm - wishing very much to adopt.. AtmanaH putraM icchati putriiyti| Here, the termination kyac (ya) is. affixed to the word 97 as the subject of gaisia wishes for that which is expressed by the noun (i. e. putra), under the rule 'kyajajhimaH.' putrIyitumicchati puputrIyiSati / Here, the termination san is affixed to. putrIyati and the termination tum is dropped under the rule 'tumIcchAyAM ghorvopa'. The termination san being affixed to putrIyati- the letter pu. is reduplicated. IzomAbhyAm - Iza is the presiding diety of the northeast. JAT is his better-half. & may be taken to mean 'a god resembling Iza (rudra) under the rule 'devapathAdibhyaH '. Under the samerule, umA also may be taken to mean a woman resembling umA, the wife of rudra. umA also means a beautiful women'. apacitapadaM - whose feet are worshipped. viriracayiSu - wishing to perform. This is a participle derived from the desiderative of vi + raca by affixing the termination 3, under the rula 'sanbhikSAzaMsAvandicchAduH'. puSpameghIkRtAtmA - who has his body changed into a cloud. puSpANi santi asya puSpaH / 'obhrAdibhyaH' ityo matvarthIyaH / puSpazcAso meghazca puSpameghaH / yadvA puSpANAM meghaH puSpameghaH / apuSpameghaH puSpameghaH sampadyamAnaH kRtaH pusspmeghiikRtH| puSpameghIkRtaH AtmA zarIraM yasya yena vA saH puSpameghIkRtAtmA / 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane. vyomagaGgAjalAH - moistened with the waters of the heavenly Ganges. The Ganges, being originated from the top of the Himavat mountain, which, according to. the Jain scriptures, is. taller than the region of the sky where the clouds float, is called ZITATETI. The cloud, having its body changed into flowers, cannot

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(510) have water to moisten the flowers and so, it has to use the water of the Ganges for moistening the flowers. The demigod, being ignorant of the fact that the sage is not an ordinary sage but a Jain Tirthakara who never worships other Tirthakaras even, asks the great sage to .perform worship of an ordinary diety, skanda. . Stanza. 32- ajaM - who has got rid of next birth. na vidyate jA utpattiryasya so'jH| jA - birth; rebirth. 'jaH syAjavini jodbhUtau' iti vizvalocane. agratham - excellent. hutavahamukheM - found inherent in the whole body of fire. hutaM vahatIti hutvhH|. The word huta, being the object of the verb acia, ought to have the termination 39 T affixed to it under the rule ' karmaNyaNa', but as the root vaha belongs to the pacAdi. gaNa which is an AkRtigaNa, the termination ac is affixed to it. The following extract from lustramiyat supports the above-given explanation. 'jArabharA / zvapacA / anayoH 'karmaNyaNa' prAptaH | The words jArabharA and zvAcA are explained as - jAraM bibharti, zvAnaM pacatIti vigrahaH / Mallinatha explains this as - 'vahatIti vahaH / pacAdyaca / hutasya vahaH hutavahaH vaniH / tasya mukhe|'. The word mukha must be taken to imply all other limbs and the body even of the fire, for fire does not possess lustre in .one part only but in the whole of its body. vAsavInAM camUnAm - of the .earthly living beings: vasUni dhanAni santyasyAmiti vAsavI | This word resembles the word vasundharA. The termination aN is affixed to the word vasu under the rule "jyotsnAdibhyo'Na' and the tormination GI is affixed to the word bAsava under the rule 'iTiDDhANaJ-'. We must remember that the words of the jyotsnAdi group are prayogagamya, camati annodakaM sevate iti camUH / camUH - a living being. Here the auNAdika termination U is affixed to the root cam (-to eat) under the rule 'kRSicamitanidhanisarjikhajinya UH'. navazazibhRtA divA -by the sky carrying the glorious *moon. navaH prazastazcAsau zazI ca navAzI / taM bibhartIti navazazibhRt / kim| tayA | This adjective implies that though the sky carries the moon, it maintains also the lustre which surpasses that of heavenly gods. The

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(511) lustre referred to here is that lustre which emanates from the San, for it is this lustre by which we can see insects and protect those. 37721dityaM = surpassing that of gods ( heavenly beings). AdityAn amarAn atikrAntaM atyAdityam / This is a prAditatpuruSa compound formed under the rule 'prAtyava-'. bhavatAt - be transformed into, have that. This is a second person singular form of the Imperative derived under the rale 'tuhyoDUtAdvA'. The Nirnayasagara edition reads bhavitA instead of bhavatAt. If bhavitA is taken as a verbal form, it cannot agree with vam, for it is derived by affixing the termination of the third person singular of the First Fature. If it is taken as a present participle, derived from the root 4, it does not agree with the meaning of the tanza. This present participle may possibly be taken to imply near future ' under the rules 'vartamAnasAmIpye vartamAnavadvA' and 'kRdantaM dhAtutvaM na jahAti'. Stanza. 38-galitaM - dropped down. jyotirlekhAvalayi - possessing circles formed by streaks of lustrous colours. Fullani anat lekhAH rekhAH rAjayo vA jyotilekhaaH| 'lekhA rekhArAjIlipiSvapi' iti vizvalocane / tAsAM valayAni maNDalAkArAH asya santIti jyotilekhAvalayi / Here, the possessive termination in is affixed to the word jyotirlekhAvalaya under the rule ' ato'nekAcaH'. bhavAnI - the wife of bhava (Iza), the presiding diety of the north-east. bhavasya IzAkhyasya uttarapUrvadikpateH patnI bhavAnI. kuvalayadalaprApi-(1) coming into contact with a blue lotus. (2) where a petal of a lotus is placed. (3) coming into contact with her eye resembling a petal of a lotus. (1) kuvalayasya kamalasya dalaM kuvalayadalam / tat prApnotIti kuvalayadalaprApi / (2) kuvalayadalaM prApnoti yatra saH kuvalayadalaprAp / kvip / tatra kuvalayadalaprApi karNe / (3) kuvalayadalamiva kuvalaya dalam / kuvlydlaakaarnetrmityrthH| 'devapathAdibhyaH' itIvArthasya kasyos / 'yuktavadusi liGgasaGkhye' iti yuktavalliGgasaGkhye / kuvalayadalaM kamaladalAyataM netra prApnoti iti kuvalayadalaprApi / When the third explanation is accepted, the adjectival compound is to be construed with barham . zrutipathasukhaM -

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( 512 ) pleasing to the ears. zrutyoH zrotrayoH panthAH zrutipathaH / The termination at is affixed to the word pathin, standing at the end of a compound, under the rule RkpUrappatho't' zrutipathasya zrotravivarasya sukhaM sukhakaraM 8 zrutipathasukham / prativikurute - gives out crackling sounds in response ( to your thundering sounds). Here, the peacock is described as the conveyance of the god Skanda. come into " Stanza 34-- sakalajagatAM pAvakAt saddharmAt labdhajanmA being from (owing to) excellent righteousness purifying all the worldly living beings. punAtIti pAvakaH / Here, the termination " ( aka ) is affixed to the root pU under the rule tRc ' saMzcAsau dharmazca saddharmaH / tasmAt / labdhaM prAptaM janma yena saH labdhajanmA / prItyA - delightfullyucitAM proper, deserving. satsaparyo - a good worship. satI samIcInA saparyA pUjA satsaparyaM / tAm / ' saparyAMzcArhaNA samAH , ityamaraH / harazazirucA by the lustre of the captivating moon. zazinaH candramasaH ruk udyotaH zaziruk / harA manoharA cAsau zaziruk ca harazaziruk / tayA / haratyaghaM duHkhamiti harA / pacAdyac striyAM TAp ca / puMvadyajAtIya dezIye' iti harazazirucA / yadvA harasya pUrvottarasyAH dizaH svAminaH yaH kAntyA / jyostnayetyarthaH / ghautApAGkaM - having the angles of (his) eyes rendered bright. dhauto ghavalIkRtI apAGgau netrAnto yasya saH / tam / 'apAGgau netrayerantau ' ityamaraH / pAvakeH of the offspring of the purifier. pAvakasya zodhakasya dharmasya putrApatyaM pAvakiH / ' iJataH' ityapatyArthe iJ / tasya / . karmabaddha, it is called pAvaka. As " f As righteousness purifies souls that are Skanda's being born as a god was due to his being righteous in his former birth, he is described as the son of, the purifying righteousness. Here, the word 91, having at its end, has the 34 termination iJ (i) affixed to it under the rule iJataH ' adrigrahaNagurubhiH - deepened on account of being roverberated by the mountain (Devagiri). adreH devagireH grahaNena gahavare saGkramaNena gurubhiH gauravaM prAptaiH / The thundering sound of the cloud, being taken over by the caves of the mountain, would be deeponed. nartayethAH you should cause to 8 -- -- --- puMvadbhAvaH / tathA zazI tasya rucA

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(513) dance. The verb IT, which is an intransitive verb, has to be conjugated in the Parasmaipada when the termination of the causal is affixed to it, under the rule 'nANo dheH prANikartRkANNeH ' owing to its subject being a living being. Similarly, under the rule 'calyadyAt', the root nRt , having the termination of the causal affixed to it, as it implies calanakriyA, has not to be conjugated in the Parasmaipada. But as this root is specially mentioned by the rule ' pAddamyAG --' this root is to be conjugated in the Parasmaipada, when the termination of the causal is affixed to it. Stanza.35- hRdye- beautiful. hRdayasya hitaM sukhakara hRdyam / hRdaya, being a part of the body of a living being, the termination , implying the sense ' wholesome', is affixed to it under the rule 'prANya GgarathakhalayavamASavRSabrahmatilAdyaH ' and is, owing to its having the termination ya affixed, changed to hRt under the rule -- hRdayasya hRllekhANyalAse'. vipule - (1) expansive, (2) deep. labdhAbhikhya - which has won the name. labdhA prAptA abhikhyA sajJA vikhyAtirvA yena saH / tam / bhuvanajanatAmAnanIyam - worthy of being worshipped or honoured by the crowds of people of the world. janAnAM samUhaH janatA / The termination tal (tA) is affixed to the word jana in the sense of 'crowd ' under the rule 'gajagrAmajanabandhusahAyAttala'. bhuvanAnAM jagatAM janatA bhuvanajanatA / tayA tasyAH vA mAnanIyaM pUjyam / zaravaNabhavam - springing up from a lake where water is drunk or where zara, a kind of grass (growing in water ), has grown. zaraH tRNajAtivizeSaH asti abhistat / 'o'bhrAdibhyaH' ityo mtvrthiiyH| zaraM sazaraM vanamudakaM yasya tat zaravaNaM / tatra zaravaNe sarasi bhavaH janma yasya sH| tam / pakSezRNAti AtmaguNAn hanti iti shrH| AtmaguNaghAtakaM krmtyrthH| zarAH aSTavidhakamANi / vanute jayati iti vnH| pacAdyac / zarANAM vanaH vijetA shrvnnH| tasmAt bhavaH janma yasya sH| zaravaNabhavaH - born owing to righteousness which destroys Karmans. This compound may also be explained as - zaraM jalaM vanyate sevyate'tra zaravaNaM / 'zaraM vanaM kuzaM nIraM toyaM jIvanamaviSam' iti dhnnyjyH| yadvA zarANAM udakAnAM vanaM jharaH zaravaNam / . pAzrvAbhyudaya 33 ,

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(514) The 7 of the word 99, which is preceded by the word 7, is changed to Na under the rule 'prAgre'ntarniHzarekSuplakSapIyUkSAkAyAmrakhadirAt / tatra bhavatIti, tatra bhavaH janma yasyeti vA zaravaNabhavaH / tam I Mallinatha dissolves this compound as - zarA bANatRNAni / 'zaro bANe bANatRNe' iti zabdArNave / teSAM vanaM zaravaNam / 'pranirantaHzara -' ityAdinA Natvam / tatra bhavo janma yasya taM zaravaNabhavam / 'avayo bahuvrIhiya'dhikaraNo janmAyuttarapadaH' iti vAmanaH / avayosgatikatvAdAzrayaNIyaH ityarthaH / ullavitAdhvA -- one who made journey of some length. ullavitaH atikrAntaH adhvA mArgaH yena saH / ullaGghayitumArabdhaH ullaSitaH / AdyakarmaNi ktaH / jalakaNabhayAt - through fear of the drops of water. jalasya kaNAH bindavaH jalakaNAH / tebhyaH bhayam / tasmAt / vINibhiH - possessing lutes. vINA'syA'stIti vINI / 'bIhyAdibhyaH' iti in / Here. the termination in is affixed to the word vINA under tho rule 'vrIhyAdibhyaH'. siddhadvandvaiH - by the couples of the Siddha gods. siddhAnAM devavizeSANAM dvandvAni yugalAni siddhadvandvAni / taiH| muktamArgaH - having path left unclosed. muktaH parihRtapratibaMdhaH kRtaH mArgaH adhvA yasya sH| Stanza 36 - stlacesitala FAHSIA -- possossing dirt in her stream owing to the rivulets (or streams ) incessantly pouring into her. aviralaM satataM galadbhiH prapatadbhiH nirjharaiH prapAtaH prasravaNaiA antaH madhyepravAhaM malaH jambAlAdirUpaH yasyAH sA / tAm / surabhitanayAlambhajAM - come into being owing to the slaughter of the daughters of Surabhi. surabheH kAmadhenoH tanayAH sutAH surbhitnyaaH| gAvaH ityrthH| tAsAM AlambhAt vizasanAt jAyate iti surabhitanayAlambhajA / tAm / janavadanAM - spreading through the mouths of people. janAnAM vadanAni mukhAni janavadanAni / tebhyo jAyate iti jnvdnjaa| tAm / srotomUyA pariNatAM - bringing itself into the shape of arriver. srotasaH pravAhasya mUrtiH zarIraM srotomuurtiH| tyaa| srotaHzarIrAkAraNetyarthaH / rantidevasya - rantideva is the name of a king of the lunar race. He was the sixth king in descent from Bharat according to Hindu mythology. Hindu mythology describes him as a very. pious and benevolent king. He had spent his enormous wealth in performing

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-sacrificos. The number of animals slaughtered by him in sacrifices was so great that a river of blood originated from their hides. The river was called carmaNvatI. He slaughtered animals also for use in his kitchen. 'atha prAto rAjA pazunivahamAlabhya vidhinA, bahUnIje yazAnbahumatipadaM bhuu-divissdaam| vizastAnAM tasyAM makhabhuvi pazUnAmayutayaH, savantI sasyande ksstjvisraishcrmglitaiH| carmaNvatIti tava kIrtiranantakIrteH zazvatpunAtu dharaNI saridAtmaneti / ' iti rntidevcrite|. Sambara means to say that the Charmanyati, being infamy incarnate of king faca, should be washed by the cloud and purified so that she should be treated by people as fame incarnate of the king. Stanza-37-zANiH - of Krsna. zRGgasya vikAraH zAGgam / zAGgam - a product of horn. Here, the termination aN, implying the sense of product, modification,' is affixed to the word TET under the rule ' tasya vikAraH'. zAGgamasyAstIti zAGgI / Here, the possessive terminution in is affixed to the word zAGga under the rule 'ato'nekAcA'. zAGgI - one who wields a product of horn (i. e. a bow ). Krsna wielded this bow and so he is called the it. quiait: - the robber of the complexion. varNasya cauraH varNacauraH / . madhyejalaM - in the water. jalasya madhye madhye jalam / This is an Avyayibhava compound formed under the wile 'pAremadhye'ntastayA'. upacitAmbhonikAye - in the pool formed by accumulated water. upacitAnAM ambhasAM nikAyaH saMhatiH upcitaambhonikaayH| tasmin / nicIyate iti nikaayH| Here, the termination ghan, implying rAzIkaraNa (upasamAdhi), is affixed to the root ci and the letter ca is changed to ka under the rule ' cityAvAsAMgopasamAdhau ca kaH'. kRSNAjinamadaharAm - depriving the hide of a black antelope of its pride. kRSNaM kAlavarNa ca tadajinaM carma ca kRSNAjinam / tasya madaM garva haratIti kRSNAjinamadaharA / tAm / chAyAm - reflection. 'chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / pratibimbe'rkakAntAyAM tathA paGktau ca pAlane' iti vizvalocane /

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' ( 516 ) carmaNvatI iti sutarAM yuktam is absolutely deserving. In marathi, the word 8 the name Charmanvati given to that river carman - ( 1 ) a shield, ( 2 ) a water bag. means pakhAla, moTa'. The stanza implies that the river, as she possesses the reflection of the cloud, resembling a shield or a water-bag used for drawing water (form a well, deserves to be called carmaNvatI. - 8 the rule Stanza 38. . rAhoH savarNe - possessing colour or complexion similar to that of Rahu. samAnaH varNaH kAntiH yasya sa savarNaH / The word samAna, when followed by words of dharmAdi class, is changed to sa under samAnasya dharmAdiSu ' jyotsnA visaravimalaM as transparent as (or transparent on account of) the diffusion of the moonlight. jyotsnAyAH visaravad visareNa vA vimalaM vigatamalam / nirmalamityarthaH / Hore, the word jyotsnA visara, the standard of comparison, is compounded with the word fa, implying the common property, under the rule ' sAmAnyenopamAnam'. nabhogAH - sky-wanderess. namasA vihAyasA gacchantIti nabhogAH / dukUlottarIyam - a silken white garment, upper garment. dukUlaM - a silkon garment. dukUla: thin garment. uttarIyam ban uppe garment. dukUlamadvayoH kSaume dukUlaH sUkSmavAsasi' iti vizvalocane. The current of the river is compared with a white garment having its interior part possessing dark colour owing to its interior surface baving the dark-coloured body of the cloud reflected in it. Stanza 39 - vidyudvarbhAvitatavapuSam with the body encircled with a leathern thong in the form of lightning vidyut saudAmanyeva varSI vidyudva / ' vardhate dIrghIbhavati carmarajjutvAdvarSI ' iti kSIrasvAmI / tayA vizeSeNa tataM vyAptaM vapuH zarIraM yasya saH / tam / vidyudvaratrAsaM vyAptadeha mityarthaH / ' nadbhrU vartrI varatrA syAt ' ityamaraH / kAlikA karburAGgam - with body darkened like smoke.. kAlikayA kAryeNa karburaM citramaGgaM zarIraM yasya sH| tam / 'citraM kimarakasmASazabalaitAzca karbure' ityamaraH / yadvA kAlikeva romAvalIka, vAyasIva, meghajAlamiva, dhUma iva, navanIrada iva vA karburaM zabalaM aGgaM yasya saH / C - -

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(517) tam / kRSNavarNakAyamityarthaH / kAlikA - (1) a row of hair, (2) a female crow; (3) an assemblage of clouds; (4) smoke; (5) a new cloud Amandradhvanitasubhagam - charming owing to rambling sounds of thundering. A ISat mandraM gambhIraM Amandram / 'mandrastu gambhIre' itymrH| Amandradhvanitena subhagaH aamndrdhvnitsubhgH| tam / vimuktAm - sustained. zitiM - black. 'zitI dhavalamecako' ityaraH / 'ziJ nizAne, mecakaH kRSNaH' iti kSIrasvAmI / iti - a leathern bag meant for drawing water. gaganagatayaH - the sky-wanderers. gagane vihAyasi gatiH gamanaM yeSAM te gaganagatayaH / 'avayoM bahuvrIhiya'dhikaraNo janmAyuttarapadaH' iti vaamnH| dRSTIH AvayaM - changing the direction of their eye-sight. The sky-wanderers as. Sambara says, will look upon the cloud, floating in the sky, as a leathern bag meant for drawing water from a well. Stanza. 40-zazadharakaraspardhinam - rivalling with the rays of the moon. zazadharasya kSapAkarasya karaiH kiraNaH spardhate sAmyamAtanute iti zazadharakaraspardhI / tam / kSapAkarakarAkArasadRzamityarthaH / kuvalayazyAmabhAsi - possessing *colour or complexion as dark as that of a blue lotus. kuvalayaM nIlakamalam / tadiva zyAmA nIlA kuvlyshyaamaa| Here, the word kuvalaya, the standard of comparison, is compounded with the word 1917, implying the common property, under the rule 'sAmAnyenopamAnam '. kuvalayazyAmA bhAH ruk yasya saH kuvalayazyAmabhAH / tasmin / 'bhAH prabhAve ruci striyAm ' iti vizvalocane / adhyAsIne - hanging over. adhyAsIna, being a kRdantaM form and a kRdanta form being treated as a root under the rule ' kRdantaM dhAtutvaM na jahAti', governs the Accusative case (tatpravAha) under the rule 'kamaivAdheH zIGsthA''saH '. sthUlamadhyendranIlam - having a big sapphire at the centre. sthUlaH mahAkAyaH madhyaH muktAguNamadhyadezasthitaH indranIlaH maNivizeSaH yasya sH| tm| 'madhyaM nyAyye'vakAze ca madhyaM madhyasthite triSu' iti vizvalocane / animiSAH - gods. 'sure mastye'SyanimiSaH' iti vizvalocane / agrAt - from the uppermost part of the sky. dhruvaM - certainly. The stream of the river, having the body of the cloud possessing colour

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( 518 ) dark like that of a lotus, reflected in itself, would be looked upon as a necklace. having a big sapphire at its centre, worn by the earth. - Stanza 41 - salilavihRti a sport in water. _ salile jale vihRtiH vihAraH krIDA salilavihRtiH / tAm / vyoma mArgAnusArI moving on the heavenly way. vyomni vyomnaH vyomaiva vA mArgaH vyomamArgaH / tamanusaratIti vyomamArgAnusArI / prajavipavanoddhUtavIcIcayAnAM - possessing multiudes of waves roused up by forcible wind. prakRSTaH javaH vegaH prajavaH / prajavaH prakRSTo vegaH asya astIti prajavI | Here the word prajava, having a at its end and possessing many vowels, has the termination affixed to it under the rule ' ato'nekAcaH ' prajavI vegavAMzcAsau pavanazca prajavipavanaH / tena prajavinA vAyunA udbhUtAH utkampitAH nirmApitA vA vIcIna! ullolakallolAnAM cayAH samUhAH yatra / teSAM vArAm / ' prajavI javano java: ityamaraH / paricitabhrUlatAvibhramANAm well-aquainted (i. e. intimately acquainted) with the movements like those of the creeper-like eye-brows. bhruvaH latA iva | As the word latA does not imply a common property and as it is a standard of comparison, the word, the subject of comparison, is compounded with the word under the rule ' vyAghrAdibhirupameyo'tadyoge ' bhrUlatAnAM vibhramAH vilAsAH bhrUlatAvibhramAH / pariracitAH vijJAtAH abhyastAH vA bhrUlatAvibhramAH yAbhiH tAH / tAsAm / yadvA paricitAH sarvajana - vijJAtAH bhrUlatAnAM vibhramAH iva vibhramAH yAsAM tAH / tAsAm / vArAm of the waters. The word a possesses neuter as well as feminine gender. puNyAm charming. " puNyaM tu sukRte dharme triSu madhyamanojJayoH ' iti vizva locane. - Stanza 42 * udak- in the northern direction. The word udak, on account of its having at its end, cannot have the termination astAt affixed to it under the rule " acerup' though it is to be affixed under the rule 'digbhyo vAkebbhyo'stAt digdezakAle'. Even the termination ena which is affixed under the rule 'vaino'dUre'kAyAH " 2 is not to

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(519) be affixed to this word. 'aJcyantAddikzabdAdanabhidhAnAnna bhavati / ' (mahAvRtti on IV-1-99). anuvanaM - in the forest. tIrabhAjAm - grown on the bank. tIraM bhajata iti tIrabhAk / teSAM tIrabhAjAm / utphullAnAm - bearing full-blown flowers. tatamadhulihAm - having bees diffused in them. tatAH prasRtAH madhulihaH bhramarAH vAsu tAH / tAsAm / 'visRtaM vistRtaM tataM ' ityamaraH / muktadhAram -- pouring rain incessantly. muktAH apratibaddhA dhArAH jalasampAtAH yasminkarmaNi / This is an Adverbial compound. sItApUrama - so as to fill the furrows cut in the soil by ploughs to their utmost capacity. sItAH halakRSTAH bhUmayaH yAvatA jalena pUrNAH bhaviSyanti tAvat / 'sItA tu jAnakIvyomagaGgAlAGgalavamaMsu' iti vizvalocane / The root pUra (10 u.), being preceded by its object sItA, has the termination Nam affixed to it under the rule 'varSeyattve'syotkhaM vA'. The verb pUrayati, having " affixed to it under this rule, connotes the quantity of rain found by measuring by means of the mcasure implied by its object. pakSmotkSepAt - owing to lifting up of the eye-lashes. pakSamA netralomnAM utkSepaH unnamanaM pkssmotkssepH| tasmAt / uparivilasatkRSNazAraprabhANAm - of the women (of Dasapur) having their dark and variegated lustre shooting up from the eyes. upari locanalomnAM utkSepAt UrzvabhAge vilasantyaH kRSNazArAH prabhAH yAsAM tAH / tAsAm / dazapuravAstavyAnAM striinnaamityrthH| kRSNAzca tAH zArAH kRSNaraktasitAzca kRssnnshaaraaH| 'kRSNaraktasitAH zArAH' iti yAdavaH / 'zArastu zabale vAte' iti vizvalocane / mAnAt - on being honoured. mAna sammAnaM pUjAM vA prApya | The object of the syabanta form 91627 possesses the Ablative case when the taasa is dropped, under the rule 'pyakhe karmAdhAre'. 'mAnaM pramANe prasthAdI mAnazcittonnatI grheN| mAnaH sthAdapi pUjAyAM' iti vizvalocane / jAtahAH - become delightful, happy. jAtaM hArdai prema AnaMndo vA yasya sH| The word hRdaya, not compounded with any other word, has the termination 3947 affixed to it under the rule "hRdayapuruSAdase' and is changed to hRd when it has the termination aN affixed to it under the rule ' hRdayasya hRlekhANyalAse'.

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(520) Stanza 43- kRSNazArodarANA - black and variegated in the interior. kRSNaM ca tat zAraM ca kRSNazAram / kRSNazAraM udaraM madhyabhAgaH yeSAM te / teSAm / This way of dissolving the compound is possible only when this compound is accepted as an Adjective qualifying pathikavanitAlocanAllAsakAnAm . When this is accepted as qualifying sudRzAm , meaning 'of beautiful eyes, this compound is to be dissolved as- kRSNazAra udara madhyabhAgaH yAsA taaH| tAsAm / . Though the word udara, standing at the end of this compound, forms part of the body, the air termination ST which is optionally affixed under the rule 'svAGgAnnIco'sphoGaH', is not affixed to it. kundakSepAnugamadhukarazrImuSAm -depriving (lit. robbing) the bees following the tossings of the Kunda-flowers or lotuses of their beauty. kundAni kundakusumAni kamalAni vA / teSAM kSepaH itastatazcalanam / tamanugacchantIti, tasyA'nugAH anusAriNa: vA kundkssepaanugaaH| te ca te madhukarAH madhulihazca / teSAM zrIH saundarya / tAM muSNantIti / kim / teSAm / This compound, being adjectival, qualifjes 91917. This may be taken as qualifyng sudRzAm also. kundaM - a Kund-flower. kundaH - a lotus. In my opinion the word for should be taken to mean "a lotus' and not 'a Kundaflower, for bees are described as not hovering over Kunda-flowers, for gathering honey. pathikavanitAlocanollAsakAnAm - of the glances or sportive movements of the eyes of the wives of the travellers. pathikAH panthAnaM prayAntaH / pathikAnAM proSitatvAtpathi caratAM vanitAH striyaH pthikvnitaaH| tAsAM locanAni nayanAni / teSAM ullAsakAH vilAsAH prakSepAH prabhAH vaa| teSAm / ullAsa eva ullaaskH| teSAm / In my opinion the following interpretation is preferable to the one given above. It runs thus of the sportive movements of the eyes of the travelling women.' panthAnaM gacchantI strI pathikI - a travelling woman. pathikyazca tAH vanitAzca pathikavanitAH / pathikyaH striyaH ityarthaH / This being a karmadhAraya compound, the termination se is not to be affixed to the word "19# under the rule 'puMyogAdyajAtIyadezIye'. pathikavanitAnAM locanAnAM ullAsakAH vilAsAH

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(521) pthikvnitaalocnollaaskaaH| teSAm | When this compound is taken as an Adjective qualifying sudRzAm -- this is dissolved as- 'locanAnAM ullAsakA vilAsAH yAsu / tAsAm / This compound may also mean - brightening or cheering up the eyes of the travelling women.' ullAsayatIti ullaaskaa| Atmabimbam - your round form. lakSIkurvan - making. the object of; making the target of. prANanAthopayAnapratyAzvAsAt - by inspiring confidence in them regarding the arrival of their lovers or beloved husbands. prANanAthasya priyakarasya upayAnaM pratyAgamanaM samIpAgamanaM vaa| tasmin pratyAzvAsaH vizvAsaH / tasmAt / tamutpAdyetyarthaH / / Stanza 44- hRdizayasya - of the god of love. hRdi hRdaye manasi vA zete hRdizayaH / The termination a is affixed to zI on account of its being preceded by a noun ET possessing Locative case, under the rale 'AdhAre'. 'hRccittabukkayoH klIba' iti vizvalocane / jaitreSUNAm - the arrows by means of which success is achieved. dazapuravadhUnetrakautUhalAnAm - of the glances cast by the ladies of the city of Dasapur. dazapuraM rantidevasya rAjadhAnI / tatra vidyamAnAnAM vadhUnAM strINAM netrakautUhalAnAM netrAbhilASANAm / sAbhilASadRSTInAmityarthaH / yadvA dazapuranivAsistrIjananetrAbhivyaJjitavismayAnAmityarthaH / dazapuravadhUnetrakautUhalAno AtmabimbaM pAtrIkurvan - making your body an object quite proper for exciting wonder that is expressed by the eyes of the ladies residing in the city of Dasapur, the capital of king Rantideva. dazapura is an ancient city. By research scholars it is identified with modern Mandasor which is situated in the western region of Malwa. adhvanInaH - moving fast. adhvAnaM alaMgAmI adhvanInaH / The termination kha (Ina ) is affixed to the word adhvan in the sense * going after, following in proper manner' under the rule 'khazcAdhvAnaM ca'. anaticirayan - not making any delay. Stanza.45- brahmAvarta - is that region which is to the northwest of Hastinapur and is between the Sarasvati and the Drsadvati. It is near the Kurukshetra where the great Mahabharata war was

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(522) fought. sarasvatIdRzadvatyordevanadyoryadantaram / taM devanirmitaM dezaM brahmAvarta pracakSate // .. [ manu]. Stanza 46- kSatajakaluSAH - rendered turbid by the blood. kSatAbaNAjjAyate iti kSatajam / lohitamityarthaH / tena kaluSAH AvilAH ksstjklussaaH| 'kaluSaM kilbiSe klIbamAvilaM kaluSe triSu' iti vishvlocne| amoghazastrAH - carrying unfailing weapons. amoghAni saphalAni zastrANi AyudhAni yeSAM te amoghazastrAH / ' moghastu niSphale dIne' iti vishvlocne| pratihananataH pApabhItAH - afraid of the sin incurred by slaughtering. pratihananataH on account of slaughtering. pratiyuyudhire - made a counter-attack. kSatrapradhanapizunam - indicative of the battles fought by the Ksatriyas. kSatrANAMkSatriyANAM pradhanaM yuddha kSatrapradhanam / 'pradhanaM dAruNe saGkhye' iti vizvalocane / tasya pizunaM sUcakaM kSatrapradhanapizunam / 'pizuno nArade puMsi khalasUcakayostriSu' iti vizvalocane / Stanza 47-dhArApAtaiH - by means of discharges of showers. dhArANA jaladhArANAM pAtAH utsargAH dhaaraapaataaH| teH| gANDIvadhanvA - Arjuna. gANDI parvA'syAstIti gANDIvam | The possessive termination va is affixed to the word gANDI under the rule ' gANDayAdibhyaH '. gANDIvaM dhanurasya gANDIvadhanvA | In the Bahuvrihi compound the word dhanus is placed at the end of the compound only when the compound implies 'a designation' under the rule 'dhanuH kho'. This implies that when the compound implies 'a designation,' the termination anaG ( an ) also is affixed to the word dhanus. zitazarazataiH - by means of hundreds of sharpened arrows. zitAH tIkSNAH ca te zarAH bANAH ca shitshraaH| teSAM zatAni / taiH / rAjanyAnAM - of the warriors. rAjJaH apatyaM raajnyH| The termination ya, implying ' race' is affixed to the word rAjan under the rule 'jAto rAjJaH '. When the termination ya is affixed to the word rAjan , an of the word is not dropped under the rule 'ye'Do'. 'mUrdhAbhiSikto rAjanyaH bAhujaH kSatriyo virAT' itymrH| pratibhayabhaTastambhanaiH - by the acts of

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(523) checking or arressting the advance (or progress) of formidable warriors. pratibhayAH bhayaGkarAzca te bhttaaH| teSAM stambhaneH abhimukhamabhiyAnasya prtibndhaiH| 'bhayaGkaraM pratibhayaM raudraM tUgramamI triSu' itymrH| bhuvanaviditAm - wellknown in the wholo world. bhuvanena tAtsthyAttannivAsibhirjanaiH viditAM jJAtAm / 'viditaM jJAte' iti vizvalocane / vIrakSoNI - the land of warriors. zafat: - you should pass over. Stanza 48- mahIniHspRhaH - void of aspiration for kingdom (lit. the earth). mahyAM bhUmau niHspRhaH spRhAvikalaH / AzAvazAtItaH ityarthaH / vinaSTabhUmyabhilASaH iti bhaavH| prAttarAjarSivRttaH - resorting to the mode of life of a great sage. rAjarSiH - a man of the Ksatriya. caste who, by his pious life and austere devotion, comes to be regarded as a sage. rAjA RSiriva raajrssiH| prAtta - a past participal derived from pra+ A + dA by affixing the terimination kta (ta) to it. prAttaM parigRhItaM rAjarSeH vRttaM AcAraH yena sH| * triSu vRttaM tu carite' iti vizvalocane / abhimatarasAm - giving pleasure that is desired for. abhimataH abhISTaH rasaH zRArAdiH AnandaH vA yasyAH sA / tAm / abhimataM zaGgArAdirasamAnandaM vA''virbhAvayantImityarthaH / revatIlocanAGkAm - in the form of the eyes of Revati. revatyAH locane nayane revatIlocane / te eva aGkaH lakSaNaM yasyAH sA / tAm / manmathIyAM - of the god of love. hAlAm - liquor, wine. Here, the eyes of Revati, the wife of Balarama, are compared with liquor, for like liquor, Revati's eyes intoxicated Balarama by inspiring passion in his heart. ferar - renouncing, having given up. It is implied that Revati was. so beautiful that whenever she fell into the range of Balarama's eyesight, passion was excited in his heart. Balarama, though extremely attached to Revati, his beloved wife, owing to his being attracted by her beauty, had to give her up, when he had made bis mind to get. himself initiated into monkhood for getting rid of sin (i. e. Karman.) The words revatIlocanAGko manmathIyAM hAlAM hitvA imply the abandonment

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( 524 ) of Revati by Balarama, who got initiated into monkhood and practised austere penance. bhajanIyam should be resorted to. Stanza 49 - prajAsu bandhusnehAt - out of his showing as much affection towards his subjects as shown towards his relatives or brother. bandhau bAndhave iva snehaH prema bandhusnehaH / tasmAt / prajAnAM bAndhavatulyatvAttAsu yatprema tasmAt / ' bandhurvadhUbhrAtari " bAndhave iti vizvalocane / samaravimukhaH averse to take part in the battle samare yuddhe vimukhaH parAGmukhaH samaravimukhaH / AttadIkSaH got initiated into monkhood. AttA gRhItA dIkSA munidharmaH yena saH / Stanza 50 -- sadbhiH tIrNAH - plunged into by virtuous men or pervaded by the reflexions of stars etc, san - (1) a virtuous man; ( 2 ) a star etc. puSkalAH excellent. suprasannAH transparent hRdyAH pleasing to the heart. kalimalamuSaH - destroying sin committed in this age called Kali. kalimalaM muSNantIni kalimalamutraH / Stanza 51. . kulagiribhavAH - originating from the principal mountains. kulagirau himavati bhavaH utpattiH yAsAM tAH / svardhunIrUDhibhAjaH - known by the name ' heavenly rivers. ' svardhunI devanadI vyomasaridvA iti rUDhiM prasiddhiM bhajante vahantIti svardhunIrUDhibhAjaH / The rivers that originate from the mountains, known as kulagiris, topmost in the known world, are known as " heavenly rivers. ' pratinidhitayA owing to their being representatives. The present rivers named the Ganges and the Sinhu, though originating from the Himalayas, represent those rivers originating from the Himavat, because they are smaller in length and breadth than those kunadya: - small rivers. Here, ku implies smallness. anukanakhalam . . - near_Kanakhala. Here, anu, implying ' vicinity' is compounded with the word kanakhala under the rule ' samIpe'. This is an Adverbial compound zailarAjAvatIrNAm - falling down from the Himalayas zaila: rAjeva zailarAjaH / yadvA zailAnAM rAjA zalarAjaH / tataH avatIrNA'dhaHpatantI / tAm / Himalaya, being loftiest of all the mountains - - - -

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( 525 ) other than the Kulachalas, is called G. Kanakhala, is a hill near Haradwar. fast, for Stanza 52- upanadikA - a small river resembling the great one. nadImupagatA upanadI / aSpA upanadI upanadikA pravizya In my opinion the reading fa is preferable to the reading the act of plunging into her water cannot be the cause of her being. disregarded by the cloud. This interpretation is supported by the second line of this stanza. This line, therefore, should be translated 'you, moving on hurriedly, should not disregard her by avoiding plunging into her water.' AzugatvA moving on hurriedly. Azu zIghraM gacchatIti AzugatvA / Here, the termination vanip is affixed to the ' manvankvanibvicaH kvacit '. root under the rule mA upekSiSThAH / iaiaiia - the representative of a holy land - do not disregard. kSAlanam the purifier. Here, the termination 2 is affixed to the root kSazh under the rule "vyAnaDbahulam ' to denote the subject of the verb to which it is affixed. kazmalAnAm - kazmala sin, impurity. rUDhe: pratItAm - known owing to the belief handed down from the ancestors to posterity. The Ganges, say the mythologists, is the daughter of king Jahnu, who drank her up through anger roused in him by the river by plunging the sacrificial ground into water and reproduced her through his ear. Being reproduced by the king, the river is traditionally called jahroH kanyA. sagaratanayasvargasopAnapaGktim - the flight of steps to heaven for the sons of Sagar. Enze azarat svargasya sopAnapaGktim / svargAvAsisAdhanabhUta sopAnaparamparAmityarthaH / Sagara's sons, who were reduced to ashes through anger by the sage, Kapila by name, were admitted to heaven after their ashes were purified by the holy waters of the Ganges. Read the following stanza from Bhavabhuti's Uttara--Ramacharitam - turagavicayavyagrAnurvIbhidassagarAdhvare kapilamahasAmarSAt pluSTAnpituzca pitAmahAn / ataNitatanUtApaM taptvA tapAMsi bhagIratho bhagavati tava spRSTAnadbhizcirAdudatItarat // [ Act I]. as - www -

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(526) Stanza. 53- indulamormihastA- having her hands in the form of waves clinging on to the moon. indo candramasi lagnAH saJjAtasambandhAH UrmayaH kallolA eva hastAH karAH yasyAH saa| This compound implios that the waves of the Ganges were so lofty that those appeared to be as it touching the moon in the sky. Nie - possessing or wearing white complexion, white-coloured. Her water being white or pure she is described as gaurI. gauraH zvetavarNaH asyAH astIti gaurI / . This feminine form is derived by affixing the termination DI (I) to the word gaura under the rule 'gaurAdibhyaH'. 'gauraH puMsi nishaakre| gauraH pItAruNazvetavizuddheSvAbhidheyavat' iti vizvalocane. phenaiH - by the masses of her foam. vakrabhRkuTiracanAM - the crooked formation of eye-brows. bhRkuTyoH racanA bhRkuTiracanA / vakrA kuTilA cAsau bhrukuTiracanA ca vakrabhRkuTiracanA / tAm / * The reading gaurIvaktrabhukuTiracanAm also is acceptable. gauryAH gauravarNAyAH striyAH vaktre mukhe yA bhrukuTiracanA svapatiparastrIgAmitvavijJAnAtsaJjAtAmarSAyAH gauravarNastriyAH yadbhUbhaGgakaraNaM tat / tAm / The river is compared, on account of her water being white, to a wbite-complexioned woman and her waves, being crooked, with the crooked eye-brows of the woman. gaGgAdevyAH - Ganga, according to the Jain seriptures, is the presiding diety of the river. She, it is said, lives where the Ganges falls from the mountain, Himvat. There where the Ganges falls, is an idol of Jina. Upon that idol, the Ganges falls. sijaigua: - assuming a form resembling that of Jina. pratinidhi prativimbaM gataH prAptaH prtinidhigtH| tasya / zambhoH - of Jina. 'arhatpinAkino zambhU' iti dhnnyjyH| This kRdanta form is generally explained as zaM sukhaM bhavati asmAt iti zambhuH / It seems that Bhattoji does not agree with this explanation. The extract from kaumudI 'zambhuH / antarbhAvitaNyartho'tra bhUH' supports what is said above. Read the following extract from tattvabodhinI - "zaM sukhaM bhAvayatIti zambhurityAbhyupagamenAha - antarbhAvitati / zaM bhavati sukhasvarUpo bhavatIti zambhurityanye / zaM bhavatyasmAditi vyutpattistu apAdAne DupratyayAbhAvA

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(527) cintyati mAdhavaH / Kshiraswami explains this as - zaM bhavatyasmAditi shmbhuH| mitvaaditvaadddduH| In may opinion the explanation zaM zuddhAtmasukharUpo bhavatIti zambhuH is preferable to zaM sukhaM bhavatyasmAditi shmbhuH| krezagrahaNaM akarot - took hold of the hair. Here, the word kezagrahaNa, implies that the stream of the Ganges fell directly upon the head of the image of lorl Jina. Sambarasura means to say that the Ganges referred to bere should be taken as the Ganges described in the Jain scriptures and should be accepted as holy as the one originating from the Himavat mountain. Laugh is poetically treated as white and so the white foam floating on the stream of the river is described as the laugh. Stanza 54- adhvazrAnti zlathAyituM - to mitigate exhaustion caused by journey. adhvan -- distance traversed or to be traversed. himazilAsambhavam -- oozing out of the snowy rocks. himastha prAleyasya zilA himshilaa| tasyAH sambhavaH janma yasya tat / vyadhikaraNo bsH| taTavanapatatpuSpakiMjalkavAsai: -- by the smell of the pollens of flowers falling .down in the forosts grown on her banks. taTe tIre vidyamAnaM vanamaraNya taTavanam / tatra patanti ca tAni puSpANi kusumAni ca taTavanapatatpuSpANi / yadvA taTavane taTasamIpasthapradezaprAptajale patanti ca tAni puSpANi ca taTavanapatatpuSpANi / 'zaraM vanaM kuzaM nIraM toyaM jIvanamaviSam' iti dhnnyjyH| teSAM kiJjalkAH kesraaH| teSAM vAsaiH gandhaiH / 'kijalkaH kesaro'striyAm ' itymrH| prAptAmodaM -- which has attained fragranco i. e. made fagrant. prAptaH labdhaH AmodaH saugandhyaM yena tat / 'sugandhimudi vA''modaH' iti vizcalocane / adhaH prAptamAtra:the very moment you would be reaching below. prAptamAtra: - when just reached. pazcAdhalambI - hanging on by (your) hinder part in the sky. lambamAnapazcArdhabhAgaH / pazcAdadha pazcArdham / pRssodraaditvaatsaadhuH| pazcArdhana lambate iti pazcArdhalambI / adhyavasthaH - make up you mind. [Potential second person singular of adhi + ava + so ]. adhyavaso -- to determine.

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( 528) Stanza 55- tvakaM-you. Here, the am o tvam is dropped and aka is affixed to tva under the rule 'yusmadasmadoH supo'bhosi'. tIvodanyAzramaparigataH -- distressed by the strong desire to drink water or distressed by excessive thirst and exertion. tIkSNA tItrA cAso udanyA pipAsA ca tatriodanyA / tasyAH zramaH tRDutpannaduHkhasaMvedanaM tInodanyAzramaH / yadvA tIvrodanyA ca zramazca / tena tAbhyAM vA parigataH AkrAntaH tiinodnyaashrmprigtH| udakaM sadyaH eva pAtumicchA udanyA / 'udanyA tu pipAsA tRT tRSA' ityamaraH / gatAdhvazramaHhaving the fatigue of your journey removed or dissipated. gataH vinaSTaH adhvanaH zramaH yasya sH| vinaSTamArgakramaNajAtazrama ityarthaH / jAtavarSaH - pouring showers of rain. jAtaH varSaH vRSTiH yasmAt sH| yadvA jAtaH ityasyAntabhAvitaNyarthatvena grahaNe janitaH ityarthaH / jAtaH janitaH varSaH vRSTiyana sH| acchasphaTikavizadamU -- pure like the transparent crystal. acchaH nirmalazcAsau sphaTikazca acchasphaTikaH / tadvat vizadaM vizuddham / tiryak -- ina slanting manner. HETIMETI -- occupying the central part of the Ganges. gaGgAyAH madhye madhyegaGgam / This is an Adverbial compound formed under the rule 'pAremadhye'ntastayA'. hRdaM - the large and deep pool of water. 'tatrAgAdhajalo hradaH' itymrH| Stanza.56- asthAnopagatayamunAsaGgamA- having a union with the yamunA brought about at a wrong or a different place. asthAnaM gaGgAyamunAsaGgamasthAnAt prayAgAkhyAdbhinnaM sthAnaM asthAnam / asthAne upagataH prAptaH yamunayA saGgamaH yayA sA | Sambara means to say that the Ganges, possessing the image of the cloud moving hurriedly, would look like united with the Yamana at a place other than the city of Prayaga. Stanza 57 - puNyAmbUnAm - with charming waters. puNyAni manojJAni ca tAni abUni jalAni ca puNyAmbUni / teSAm / puNyAmbubhirityarthaH / The reading 1991; being a present participle derived from the root pra+pUra by affixing the termination kta under the rule 'matibuddhi pUjA

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( 529 ) 3 rthAMca ' ( jai. 2 2 | 166 ) governs the Genitive case under the rule ' ktasyAdhArasatoH '. Read the following - ktayoge kartari tA prAptA 1 na jhita - ' ityAdinA pratiSiddhA bhavatItyanena punarvidhIyate / cakAro'nuktasamuccayArthaH / bhRtitaram - to the utmost capacity. bhRtiH bharaNam / 'striyAM ktiH' iti bhAve'kartari striyAM ktiH / prakRSTA bhRtiH bharaNaM yathA syAttathA / carmapUraM prapUrNaH filled up like a leathern bag meant for holding water, Here, the termination is affixed to the root on account of its being preceded by its object and follwed by the same root under the rule ' karmaNi cetre ', carmeva prapUrNaH sambhRtaH carmapUraM prapUrNa: / The rule ' carmodare pUreH is not applicable here, though the root is preceded by its object, as it is followed by the same root pUr anupAdam - on a hill at the foot of the mountain (i. e. Himavat). This is an Adverbial compound formed under the rule 'jhi: sub- ' anupAdaM pratyantaparvate / ' pAdo'strI caraNe mUle turIyAMze'pi dIdhito / zailapratyantazaile nA' iti vizvalocane. nAbhigandhaiH - by the fragrance of the musk of the musk-deer nAbheH kastUrikAyAH gandhAH nAbhigandhAH / taiH / nAbhiH pradhAne kastUrthI made ca kvacidAritA ' iti vizvaH / surabhitazilam - the rocks of which are perfumed. surabhitAH surabhIkRtAH saJjAtasurabhayo vA zilAH prastarAH yasya tat / Here, the termination Nic is affixed to the word surabhi under the rule ' mRdo dhvarthe Nijbahulam | This word may be explained as saJjAtaH surabhiH yAsAM tAH surabhitAH / Here, the termination : is affixed to the word f under the rule < tadasya saJjAtaM tArakAdibhyaH itaH '. ( Stanza 58 - ghanapathollaGghrikUTam - having peaks rising above in the sky. ghanAnAM panthAH ghanapathaH / tamullaGghayatIti ghanapathollaGghi / tat kUTaM zikharaM yasya saH / tamU / 'dyaurAkAzamantarikSaM meghavAyupatho'pi vA ' iti dhanaJjayaH / upAntayantam - calling near upAnte samIpe AhvayatIti upAntayati / upAntayatIti upAntayan / tam / The termination Nic is affixed to the word upAnta under the rule ' mRdo dhvarthe Nij bahulam' and then the termination zatR. vidhurucaH - moon-white, moonshiny. vidhozcandramasaH rugiva rugyasyAH pArzvabhyudaye 34

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(530) saa| tsyaaH| himAGkam - Himalaya by name. himaM akaH abhidhAnaM cihna vA yasya saH / tam / Stanza59-AvirmadakalamayUrAravaiH - by the indistinct and charming cracklings of peacocks, given out through joy manifested. AviH prAdurbhUtaH madaH AnandaH aavirmdH| 'prAkAzye prAdurAviH syAt' ityamaraH / 'mado mRgamade madye dAnamudgarvaretasi' iti vizvalocane / tena kalAH madhurAvyaktAH aavirmdklaaH| 'kalastu madhurAvyaktazabde'jIrNe kalaM site' iti vishvlocne| mayUrANAmAravAH mayUrAravAH / AvirmadakalAH mayUrAravAH AvirmadakalamayUrAravAH / taiH / kuJja kuJja - in overy bower of creepers. ghanaM -- solid. himAnI - the masses of snow. uru himaM himaanii| 'himAnI himasaMhatiH' itymrH| Here the termination GI, implying 'massiveness', is affixed to the word TEA to which 3717 is added before the termination DI, under the rule 'himAraNyAdurau'. adhvazramavinayane - (1) for the sake of removing exhaustion of the journey; (2) removing exhaustion of the fourney. adhvanaH dezATanasya zramaH khedaH adhvazramaH / dezaparibhramaNajanitaH zramaH ityarthaH / tasya vinayanaM parihAraH adhvazramavinayanam / Here, the termination wat is affixed to laai to imply .action' under the rule 'karaNAdhAre cA'naTa'. This compound can be dissolved as adhvazramasya vinayanaM parihartR adhvazramavinayanam / . Here, the termination anaT is affixed to vinI to imply its subject under the rule 'vyAnaDbahulam '. This compound, having the word vinayana, meaning 'remover', at its end should be taken to qualify the noun zRGge. zubhratrinayanavRSotkhAtapaGkopabhayAm - comparable to that of the mud dug up by the white bull of the three-eyed one (i. e. Rudra). trinayanastha tryambakasya rudrasyezAnadigindrasya vRSaH vRSabhaH trinayanavRSaH / zubhraH dhavalavarNazcAsau trinayanavRSazca zubhratrinayanavRSaH / tena utkhAtaH zRGgAgravidAritazcAsau paGkazca / tena sahopameyAM upamAtuM yogyAm | The first na of nayana is not changed to Na undar the rule 'kSumnAdyanteSu' as the word trinayana is to be included in the 'kSumnAdigaNa which is an AkRtigaNa, though the word trinayana is a saMjJA

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and though the word 7247 is preceded by the word Ft, having 3 causing na to be changed to Na under the rule 'prAkpadasthAtkhau '. 'avihitalakSaNaH NatvapratiSedhaH kSumnAdiSu draSTavyaH' / [je. ma. 5 / 4 / 117]. Stanza-60- saralaskandhasaGghaTTajanmA- produced by the friction of the branches of the Sarala (pine) trees. saralAH pItadAravaH / devadArudrumAH ityrthH| 'pItadruH saralaH pUtikASThaM cAtha drumotpalaH' itymrH| saralAnAM skandhAH prakANDAH mahatyaH zAkhAH srlskndhaaH| 'skandhaH kAyaprakANDayoH' iti vizvalocane / teSAM sacaTTanenAnyonyasaGgharSaNena janma utpattiH yasya sH| This compound, owing to its having the word HI at its end, though a vyadhikaraNabahuvrIhi, is not to be abandoned, according to vAmana who says 'avyo vyadhikaraNo bahuvrIhirjanmAdyuttarapadaH ' / vanaviTapijaiH - generated by the trees grown in the forest. vanaviTapibhyaH vanyavRkSebhyaH jAtAH sambhUtAH vnvittpijaaH| taiH / sAndraH - clustered. adhvakSAmam - emaciated owing to the fatigue of journey. adhvanA mArgAkramaNazrameNa kSAmaH kSINatanuH adhvakSAmaH / tam / kSAma - emaciated. This is a past participle derived from the root kSe by affixing the termination kta, the ta . 1 which is changed to ma mnder the rule 'kSo maH'. zailamAgAdhirohAt - by upward movement on the way running through the ranges of the mountion. zailasya bhUdharasya mArgaH panthAH shailmaargH| tatra tasya vA ArohaH ArohaNaM zailamArgAdhirohaH / tasmAt hetubhUtAt / shailmaargaadhirohnnenetyrthH| zithilitatanum - with body emfeebled or unnerved. zithilitA zithilIkRtA tanuH zarIraM yasya sH| tm| zithilayati zithilIkaroti sma shithilitaa| aulaye - ( the way) on which one has to procebd at all events. The termination vya (ya), forming a potential participle, is affixed to get to imply the sense 'at al events', under the rule 'vyAH'. ulajhyaH evAlayaH / Though the termination aN is affixed to the word ulaya, the meaning of the word remains unchanged. ghaTAyatuM - to propel... Stanza-61- himAnyA - with the masses of snow. AzRGgAgram- from its foot to the uppermost part of its peaks. zRGgasya zikharasya

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( 532 ) * agraM agrabhAgaH zRGgAgram / zRGgAtraM zikharAgramabhivyApya AzRGgAmam | Here, the particle AG (A) implies 'complete pervasion or inclusion under the rule ' AGmaryAdAbhividhyoH '. Here, the particle AG (A) is compounded with 1, a noun, and an Adverbial compound is formed under the rule ' paryapAya hiraJcaH ' kavacitam - covered over with an armour. kavacenAcchannaM saJjAtakavacaM vA kavacitam | The first explanation is possible when the Instrumental case of the word fe is taken to imply that the word - acts as a subject and the second one, when the same case is taken to imply -- a means ' ( sAdhana ) . (1) kavacayati kavacamiva AcchAdayati sma kavacitam / ' mRdo dhvarthe Nijbahulam' iti Nici ktaH / (2) saJjAtaM kavacamasya kavacitam / ' tadasya saJjAtaM tArakAdibhya itaH ' itItatyaH / ArUDhamUrti having its body thoroughly pervaded or covered. A samantAt rUDhA adhyAsitA mUrtirdeho yasya saH / tam / ' mUrtiH kAye'pi kAThinye mRtyuyAcitayormatam ' iti vizvalocane / upahitarasaiH - juicy, possessing juice. upahitaH svasmin AhitaH rasaH jalaM yaiH / taiH / atyaktAdrabhAvairityarthaH / oSadhInAm - of the plants which perish after yielding crop or fruits. AkIrNAntam - with borders scattered over with. AkIrNaH vyAptaH antaH paryantadezaH yasya saH / tam / anto nAze manohare / svarUpe'ntaM mataM klIbaM na strI prAnte'ntike triSu ' iti vizvalocane. sarasagaddanam possissing beautiful forests. sarasaM manojJaM aparityaktAdrabhAva vA gahanaM kAnanaM yasya saH / tam / uskAkSapitacamarIbAlabhAraH - destroying by its flames the large bushy tails of the Chamaris. ulkAH jvAlAH / ulkA jvAlA' iti kSIrasvAmI / tAbhiH kSapitAH kSayaM prApitAH camarINAM mRgavizeSANAM bAlabhArAH kacasamUhAH yena saH | davAgniH - sylvan fire. davaH (1) a forest. (2) a sylvan fire. vo dAvazca puMsyeva vane'pi vanapAvake ' iti vizvalocane / davAgbhiH vanAgnirityarthaH / yadvA davaH vanapAvaka eva agniH davAgniH / 1 " * 8 Stanza 62 jAtavedAH fire. satuhinavanam - with forests having (masses of ) snow. tuhinena tuSAreNa saha satuhinam / satuhinAni vanAni yasya saH satuddivanaH / tam / prAleyAdriM - the Himalayas. prAleyam - - -

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( 533 ) snow. prAleyamasyAstIti prAleyaH / 'o'bhrAdibhyaH' ityo matvarthIyaH / prAleyazvAsau adriH parvatazca prAleyAdriH / tam / nirdidhakSet- would cherish a desire to burn out. Potential third person singular of the Desiderative of nirdah. ApannArtiprazamanaphalAH - having their purpose effected by the alleviation of the sufferings of suffering mortals ApannAnAM ApadupahatAnAM yAH artayaH duHkhasaMvedanAni tAsAM prazamanaM pariharaNameva phalaM prayojanaM yAsAM tAH / Stanza 63 saMrambhotpatanarabhasAH possessing rapidity in their act of jumping high up in anger saMrambheNa prayatnAvezena kopena vA utpatanaM uccalana saMrambhotpatanam / ' saMrambhaH sambhrame kope' iti zabdArNave / saMrambhotpatane bhaso vego yeSAM te saMrambhotpatanarabhasAH / ' harSe vege ca rabhasaH ' iti vizvalocane / muktAdhvAnam -- keeping out of way. muktaH parityaktaH adhvA zarabhoccalanamArgaH yena saH / tam / svAGgabhaGgAya to tear down their own bodies. svastha AtmanaH aGgaM zarIraM svAGgam / tasya bhaGgaH vighAtaH svAGgabhaGgaH / tasmai / svAGgAni bhaGktumityarthaH / zauryadarpoddhurANAm - become ill-mannered owing to their being proud of their valour. zauryasya vIryasya darpaH abhimAnaH zauryadapaH / tena uDurANAmudbhUtAnAm / tvat from stanitaninadAn - thundering sounds. mA tathA: you should not give out. According to some scholars, the word means a gross-hopper' in the present context; but it is very difficult to agree with this view. The grosshoppers, being winged, cannot fall down and break their limbs. Moreover, the word at shows that Jinasena also took the word to mean aSTApada '. you. < Stanza 64 - apadhiyaH void of intellectual qualities. apa gatA dhIH buddhiH yeSAM te apadhiyaH / svAGgabhaGgai kaniSThAH exerting only for tearing down (or breaking) their own bodies (or limbs). svaM svakIyaM aGgaM zarIraM gAtraM vA svAGgam / tasya bhaGgaH bhaJjanameva ekA advitIyA niSThA vyApAraH yeSAM te / ' niSThA nirvahaniSpattinAzAntotkarSayAcane / kleze ' ' iti vizva

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(534) locane / niSThAzabdo'tra klezArthakaH / klezazabdazca vyavasAyArthopi dRzyate / 'klezo duHkhe'pi rogAdau vyavasAye'pi dRzyate ' iti vishvlocne| tairyagyonAH - beasts: Fara acHata - on account of their passion being excited by thunderings. stanita - thundering. rabhasaH - anger, tumulakarakAvRSTipAtAvakIrNAn - put to rout by heavy showers of hail-stones. karakAH vrssaaNplaaH| 'karakA tu ghanopale' iti vishvlocne| karakANAM dhanopalAnA vRSTiH varSa krkaavRssttiH| tasyAH pAtaH patanaM krkaavRssttipaatH| tumulaH dAruNazcAsau karakAvRSTipAtazca tumulkrkaavRssttipaatH| tena avakIrNAH prdraavitaaH| tAn / niSphalArambhayatnAH -- attempts at doing rendered futile. Arabhyante iti ArambhAH / karmANi ityarthaH / teSu yatnAH udyogAH aarmbhytnaaH| niSphalAH viphlaaH| asiddhaprayojanAH ityarthaH / niSphalAzca te ArambhayatnAzca nissphlaarmbhytnaaH| Some of the manuscripts of the Meghaduta read ke vA na syuH paribhavapadaM, some ke vA na syuH paribhavaphalA: and some keSAM na syuH paribhavapadaM. When niSphalArabhbhayatnAH is taken as a vahuvrIhi compound, it should be construed with ke vA, but when it is construed with keSAM, the compound should be taken as a karmadhAraya and not as a bahuvrIhi. Stanza 65 - dRzadi vyaktam - distinctly manifested on a stone. ardhendumole: ayam - worthy of being worshipped by a god wearing a crown bearing a mark of the crescent-moon. ardheH khaNDabhUtaH induriva induH ciDhnabhUtaH yatra yasya vA sa ardhenduH / ardhazabdasyAtra khaNDavAcitvAtsamAMzavAcitvAbhAvAtpuMstvena nirdezaH, samAMzavAcina eva 'ardha nap' iti 'same'dhaiM' iti vA naptvena nirdezAt / 'ardha samAzake klIbaM ardhaH khaNDe pumAnapi' iti vishvlocne| indurivendurityatra 'us ra dhvajacitre' iti dhvajArthe cihnArthe vidhIyamAnasya kasyos 'devapayAdibhyaH' iti vaa| tenArdhendurityasyArdhenducihnaH ityarthaH / uktaM ca - 'arcA pUjanArthAsu citrakarmadhvajeSu ca / ive pratikRto nAzaH kRto devapathAdiSu' iti, 'matsyAzvapuSpANi ca tArakAzca candrArdhacandrAzca patatriNazca / tasminnivArthe usamAcarejjJaH prAsAdagurumArkamayA mRgAzca' iti c| ardhenduH maulika

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(535) kirITaM yasya saH / tasyArdhendumaulerardhenducihnAGtikirITadhAriNaH devavizeSasya vaa| 'cUDA kirITa kezAzca saMyatA maulayastrayaH' itymrH| ' maulirdhammilacUDayoH / kirITe'pi' iti vishvlocne| adhaH - a part. ardham - one half exactly equal to the second half. The word induH means here 'a mark resembling the moon.' Here, the termination ka, connoting dhvaja (cihna), affixed to the word indu under the rule 'ive khu pratikRtyoH kaH' is dropped under the rule 'us ra rthadhvajacitre' or under the rule 'devapathAdibhyaH'. mauliH - a crown. The person referred to here as one wearing a crown being a mark of a part of the moon, is a god. The word ardhendumauli, being a subject of aya', which is a potential participa l, has the Genitive singular termination affixed to it under the rule 'vyasya vA kartari'. satsaparyaiH siddhaiH zazvat upahRtabalim - always worshipped by the demi-gods that are bighly respected. satsaparyaH -- (1) bighly honoured, (2) the worship performed by whom is good. satI samIcInA saparyA pUjA paricaryA zuzrUSA vA yeSAM te| taiH| siddhaiHby the demigods. zazvat - always. upahRtabalim - whose worship is performed. upahRtaH kRtaH baliH pUjAvidhiH yasya sH| yadvA upahRtaH arpitaH baliH pUjopahAraH yasmai sH| tam / upahAraH pUjopakaraNam / 'baliH pUjopahArayoH' iti yAdavaH / baliH - worship. tribhuvanaguroH - of the lord of the three worlds. trayANAM bhuvanAnAM samAhAraH tribhuvanam , the word tribhuvana, being a samAhAradvigu compound ought to have the termination GI affixed to is under the rule 'rAt; but the word being included in the pAtrAdigaNa, the termination DI is not to be affixed to it under the rule 'strya pAtrAdyat '. Under the rule 'ra: samAhAre', it is to be treated as an ajantanapuMsakaliGga noun. parIyAH- go round, circumambulate. Stanza 66_5629191: - those who have shaken off their sint (i. e. Karmans). uddhRtaM vigalitaM pApaM karmamalakalaGkaH yeSAM te udbhUtapApAH / bhaktibhAjaH - devotees. karaNavigamAdUdhvam - after the separation of the body from the soul. karaNastha gAtrasya zarIrasya vigamaH vilayaH AtmanaH pRtha .

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. (536) gbhAvaH karaNavigamaH / tasmAt / 'karaNaM sAdhakatame kAryakAyasthakarmasu / kriyAyAmindriye kSetre karaNaM bAlavAdiSu // gItAGgahArasaMvezakriyAbhede'pi cessyte|' iti, 'kSetraM zarIre dAreSu kedAre siddhasaMzraye' iti ca vizvalocane / siddhakSetram - a holy place of those who attain salvation. pUtaH bhavatAt - may you become purified. bhavatAt - sec. per. sin. of the Imp. of the root. bhU. dUrataH zraddadhAnAH - having full faith in. zraddadhAnAH - Mallinath has explained this word as - zraddadhAnAH vizvasantaH purussaaH| zraddhA vishvaasH| Astikyabuddhiriti yAvat / 'zradantarorupasargavadvRttirvaktavyA' (pA. sU0 3-3-196 vA.) iti zranpUrvAddadhAteH zAnaca / sthiragaNapadaprAptaye - to attain the everlasting position attained by hosts of sages. gaNAnAM AcIrNatIvratapasyAnAM munisaGghAnAM padaM sthAnaM mokSaH zuddhaparyAyo vA gaNapadam / sthiramavinazvaraM ca tad gaNapadaM ca sthiragaNapadam / zuddhaparyAyasyAvinazvaratvAtsthiretivizeSaNam / tasya prAptaye tat prAptum / Stanza 67- AtodyagoSThIm - a discourse upon the musical instruments. Atodya caturvidhaM vaadym| 'caturvidhamidaM vAdyaM vAditrAtodyanAmakam ' ityamaraH / tasya goSThI nAnoktisampannA sbhaa| 'samajyApariSadgoSThIsabhAsamitisaMsadaH / AsthAnI klIbamAsthAnaM strInapuMsakayoH sadaH' ityamaraH / 'gAvo nAnoktayastiSTantyasyAmiti goSThI' iti kssiirsvaamii| tAm / riracayiSavaH - wishing to arrange. racayitumicchavaH riracayiSavaH / This participle is derived from the Desiderative of the root rac. zabdAyanta-produce sounds. zabda kurvanti shbdaaynte| vititanuSubhiH - desirous of performing (worship). vitanituM icchavaH vititanuSavaH / This participle also is derived from the Desiderative of the root vi + tan, saMraktAbhiH - devoted very much. fatih: - These beavenly female beings are described as very fond of singing. tripuravijayaH - victory over the three bodies. trayANAM purANAM zarIrANAM audArikataijasakAmeNAkhyAnAM samAhAraH tripuram / tasya vijayaH parAjayaH abhibhavaH damanaM vA tripuravijayaH / 'puraM dehe guggulau tu puraH puri puraM na nA' iti vizvalocane | At the time of attaining salvation, the soul gets rid of the three bodies which automatically get destroyed.

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(537) Stanza 68 - veNuSu -the bamboos. mandratAram - very deeply and loudly. mandraH gambhIraH tAraH atyucaH yathA syaattthaa| 'kalo mandrastu gambhIre tAro'tyucaistrayastriSu / nRNAmurasi madhyastho dvAviMzatividho dhvaniH // ' itymrH| tajjayaM - the victory over the three bodies. atikalakalam - in a manner producing a confused sound. kandarISu - in the valleys. Manuscripts of the Moghadata read kandarAsu, and kandareSu. 'vA strI tu kandaro dAmaGkuze pusi kandaraH' iti vizvalocane / . nihAdI-reverberating. pazupate: - of the protector of living beings. pazUnAmajJAnAnAM prANinAM patiH pAtA pshuptiH| 'pazupa'gAdau prathame pazurmAsArikAtmani / ajJAne chAgamAtre'pi' iti vizvalocane / pAti ptiH| 'pAteDatiH' (pA0 u0 497). sagItArthaH - a concert. bhAvI - will become. bhaviSyatItyarthaH / Stanza 69 -prAleyAdreH upataTaM - in the regions adjoining to the Himalaya mountain. vizeSAn - the beautiful scenes. 'vizeSo'vayave dravye draSTavyottamavastuni' iti zabdArNave / kukavikavitAkalpitam - conjectured in the works of the learned, ignorant of the facts. kavayaH vidvAMsaH, na kAvya karAH eva / 'kaviH zukre'pi vAlmo ke sUrau kAvyakare pumAn' iti vishvlocne| kutsitaH kaviH kukviH| alpajJAnanibandhanA vA kutsetyavaseyaM sudhiibhiH| naiva sA paramatanindAnibandhanA / ajJAnadoSAzrayaH kaviH kukvirityrthotraabhimtH| kaveH viduSaH karma kavitA / vidvadviracito granthaH ityarthaH / kukaveH kavitA kukavikavitA / tasyAM tAbhirvA kalpitaM kalpanAmAtreNa jalpitaM, na paramArthasaditi bhAvaH / jinAgamAnabhijJavidvajjanakalpanAzilpijalpitamityarthaH / iMsadvAram - the gate for the swans. haMsAnAM mAnasasaraH prasthAyinAM marAlAnAM dvAraM gamanamArgaH / This word can he explained otherwise also. haMsasya nirlobhanRpateH bharatezvarasya vijayA?ttaradigvartikhaNDatrayavijigISoH dvAraM gmnmaargH| King Bharat, the son of vRSabhezvara, though desirous of conquering all the six parts ok bhAratavarSa, was void of avarice. The kings, though dethroned after their being conquered by Hid, were enthroned again by him. Though a king, be was not attached to the worldly life at all. 'haMsaH sUryamarAlayoH / kRSNenavAte nilobhanRpatau paramAtmani / yogimantrAdibhede ca matsare turagAntare' iti

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(538) vizvalocane / In keeping with this interpretation, this word should be construed with vaijathArdha guhAdvArakam / bhRgupatiyazovarlsa - the path of the glory of Parasurama. bhRgUNAM bhRgukulotpannAnAM patiH zreSThaH iti, bhRguH zivaH patiH IzvaraH yasya saH iti vA bhRgupatiH / jAmadagnyaH ityrthH| 'bhRguH zukra prapAte ca jamadagnau prapAtini' iti vishvlocne| 'ibhyaH ADhyaH dhanI svAmI tvIzvaraH patirIzitA' itymrH| bhRgupataH jAmadagnyasya yazaH kIrtiH bhRguptiyshH| tasya vama prasaraNamArgaH / This compound can be explained otherwise also. bibharti asimaSikRSisevAzilpavANijyarUpeNa SaDvidhena karmaNA prajAH pAlayatIti bhRguH / vRSabhajinaH ityarthaH / bhRguH patiH svAmI (IzvaraH) yasya saH bhRguptiH| bharatezvara ityarthaH / tasya yazasaH vartma bhRgupatiyazovarma / In keeping with this interpretation, this word should be construed with vaijayadhi guhAdvArakam / AviSkRtam - prepared by cutting or broke opened or penetrated by breaking. vaijayAdham - of the Vijayardha mountain. guhAdvArakam - the unknown door carved into the rock of the cave. This door was unknown to all other than king Bharat. The termination is affixed to imply the sense unknown to the word TEICIT under the rule 'kutsitAjJAtApe'. Stanza 70-4691 - abounding in wonders, an abode of many wonders. bahUni AzcaryANi vismayAvahAni yasmin / himavati kRtAvalokanatvAt - on account of your having determined to go to the Himalayas. kRtamavalokanaM vimarzaH avadhAraNaM nizcayo vA yena sH| tasya bhAvaH kRtAvalokanatvaM / tasmAt / yadvA kRtaM kartumArabdhaM avalokanaM yena saH kRtaavloknH| tasya bhAvaH kRtAvalokanatvam / tasmAt / asaGgaH - (1) who has renounced all the worldly attachments. (2) alone. na vidyate saGgaH parigrahaH anyadhanasAhacarya vA yasya saH / The first interpretation agrees with the monkhood of Parsva, while the second, with the cloud, the transformed state of the body of the sage. lazo21 ARTIH - looking beautiful owing to the horizontal length. tiryak tirazcInazcAsau AyAmaH deyaM ca tiryagAyAmaH / tena

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( 539 ) zobhate iti tiryagAthAmazobhI / ' zIle'jAtau Nin ' iti zIlArthe Nin / baliniyamane - ( 1 ) for the pounding down of Bali; ( 2 ) at the time of pounding down Bali. baleH niyamanaM baliniyamanam / tasmin / balimardana kAle balimardanArtha vetyarthaH / viSNoH of the sage Visnukumar. This alludes to the transformation of the body of the sage Visnukumar into a dwarf. Bali, the minister, was, being defeated in a hot discussion that had taken place between him and a Jain monk, was hurt at heart. Some days after, when he met with a host of sages, he, on remembering the former incident, got very angry and made his mind to offer all the monks in a sacrifice. The head of the host of the sages came to know that the sage Visnukumar possessed some supernatural power. He sent for Visnukumar. Visnukumar got himself transformed into a dwarf, approached Bali and begged of him for land that could be covered by his three steps. After securing from Bali that much land, the dwarf began to grow bigger and bigger and covered the whole of the earth by one step, sky by the second and by the third, put on his head, sunk him into the nether world. w like a mass or a column or dhUmapracayaH / acchacchavibhiH Stanza 71-72 - dhUmapracayaH iva a cloud of smoke. dhUmasya prakRSTaH cayaH samUhaH possessing or wearing white lustre or colour. acchA nirmalA | zubhretyarthaH / acchA nirmalA chaviH kAntiH varNaH vA yeSAM te / taiH / This compound is to be construed with proccalannirjharaughaiH, for it describes the streams. proccalannirjharaudha: - on account of the foamy flows. nirjharaH - foam. oghaH a flow, a stream, a rivulet nirjharAH saphenAzca te oghAH pAthasA pravAdAzva nirjharaughAH / ' sUryAzva phenakarpAsatuSavahniSu nirjharaH' iti ' oghaH paramparAyAM syAddbhutanRtyopadezayoH / oghaH pAthaH pravAhe ca samUhe ca pumAnayam' iti ca vizvalocane / nirjharAH phenAH santyasyeti nirjharaH / ' o'bhrAdibhyaH ' iti matvarthe'tyaH / proccalantaH pravahantazca ta nirjharaughAzca proJcalanirjharaughAH / taH / I would like to -

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(540) change this reading to procchlnijhrodhaiH| As streams or rivalets naturally flow, there is no need of the adjective proccalat , qulifying the noun Agha. On the other hand, foam gathers on the surface of water when . it runs very speedily. Foam cannot gather on the surface of a stream flowing very slowly and calmly. To connote speed of the stream, I would like to change the reading to procchalannirodhaH. This compound may he dissolved as - procchalantaH nirAH phenAH yeSu te procchlnirjhraaH| te ca te oghAzca procchlnniraadhaaH| yadvA prakarSeNa uccalantaH dhAvantaH nirjharAH phenAH yeSu te / teca te oghAzca proccalannijharodhAH / taiH / kumudavizadaiH - white like lotuses, lotus-white. kumudAni sitakamalAnIva vizadaiH shubhrcchaayaiH| 'site kumudakairave' ityamaraH | The word vizada, implying common property, is compounded with the word $92, the standard of comparison under the rule 'sAmAnyenopamAnamU'. The poaks of the mountain are, owing to their being covered over with snow, are described as wearing white colour like that of white lotuses. zRGgAcchrAyaH - owing to the lofty peaks; *owing to the height of peaks. zaGgANAM sAnUnAM ucchrAyA utsedhaaH| taiH / 'nagAdyAroha ucchrAyA utsedhazcocchrayazca saH' ityamaraH / aTTahAsaH - loud laughter. -- aTTAvatizayomau' iti yAdavaH / 'aTTAhAso mahattare' iti vidagdha cUDAmaNau / dazumukhabhujocchAsitaprasthasandheH - which has its parts in the form of its peaks raised high up like the arms of the ten-mouthed one (i. e. Ravana). daza dazasaGkhyAkAni mukhAni AnanAni yasya saH dshmukhH| rAvaNaH ityarthaH / tasya bhujAH bAhavaH / te iva ucchrAsitAH UrdhvaM prApitAH prasthasandhayaH zikharabhAgAH yasya saH / tasya / 'kaTako'strI nitambA'dreH snuH prasthaH sAnurastriyAm' ityamaraH / ' sandhiH puMsi suraGgAyo randhrasaGghaTTane bhge| sandhirbhAge' vAze'pi vATasajhe'pi pusyayam' iti vizvalocane / Mallinatha dissolves this compound as - dazamukhasya rAvaNasya bhujaibAhubhiH ucchAsitAH vizleSitAH prasthAna sAmUnAM sandhayaH yasya sasya / This explanation i tin keeping with Hindu mythology. There are different versions of this incident. ( 1 ) Ravana

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( 541 ) was a great devotee Sankara. He did not take food before worshipping Siva. Once he thought that it was better to carry the Kailasa to Lanka than to go to the Kailasa every day for worshipping god Siva. He, therfore, made his mind to carry the Kailasa to Lanka. He went to the Kailasa and began to eradicate the mountain with his twenty hands. Parvati was stricken with fear. Sankara pressed the moutain down under which Ravana was pinned down. (2) Once, while flying in an aerial car on the Kailasa, Ravana was peremptorily asked by Nandi to stop. Ravana, become angry, tried to eradicate and lift up the Kailasa with his hands. By pressing the mountain with his toe, Siva pinned Ravana down. Being prayed by Ravana, Sive relieved him from his uncomfortable position. Jain seriptures do not make mention of this incident. zubhrAdabhrasphATikaghaTanAzobhigaNDopalasya - possessing big rocks appearing to the advantage owing to their being beset with big and white jewels. zubhrAH zuklavarNAzca te adabhrAH sthUlAzca zubhrAdabhrAH / adabhraM bhUri bhUyiSTham' iti dhanaJjayaH / " " bhUyiSThaM puruhaM bhUyo bhUryadabhraM puru sphiram' iti hemacandraH / zubhrAdabhrAzca te skaTikAzca zubhrAdabhrasphaTikAH / teSAM ghaTanA anuvedhaH / tayA zobhante iti zobhinaH / zobhamAnAH ityarthaH / ' zIle'jAtau Nin ' iti zIlArthe Nin / zubhrAdabhrasphaTikaghaTanAzobhinaH gaNDopalAH sthUlopalAH yasya saH / gaNDAH varAH / sthUlA ityarthaH / yadvA gaNDaH hastimastakaM / gaNDaH iva gaNDaH / hastimastakasadRzaH ityarthaH / gaNDa: hastimastakA kRtizcAsau upalaH prastarazca gaNDopalaH / parvatAccyutaH sthUlakAyaH prastaraH ityarthaH / ' gaNDastu piTake yogabhede khaGgikapolayoH / vare pravIre cihna ca vAji - bhUSaNabudbude ' iti vizvalocane / ' grAvA zilopalo gaNDazailAH sthUlopalAzcyutAH iti hemacandraH / gaNDopalAH gaNDazailAH / parvatAccyutAH sthUlopalAH ityarthaH / tridazavanitAdarpaNasya - serving as a mirror for the heavenly damsels. tridazAH devAH / ' amarA nirjarA devAstridazAH vibudhAH surAH ityamaraH / teSAM " - 1

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(542) vanitAH striyaH tAsAm / darpaNastha darpaNatulyasya / darpaNaH iva darpaNaH / 'devapathAdibhyaH' itIvArthasya kasyos / devstriidrpnnaaymaansytyrthH| tisraH utpAdavyayadhrauvyAkhyAH dazAH avasthAH yeSAM te tridazAH / duHkhAdInAmanyAsA dazAnAM deveSu sadbhAvAsambhavAtteSAM tridshtvmityrthH| The explanation of the word tridaza, given by Mallinatha is as follows - trirdaza parimANameSAmastIti tridazAH / 'saGkhyayAvyayA - ' (pA0 2 / 2 / 25) ityAdinA bahuzrIhiH / 'bahuprIhau saGkhyeye Daja - ' (pA0 5 / 4 / 73 ) ityAdinA samAsAnto Dajiti kssiirsvaamii| As the gods are numerically thirty-three, as the word laat implies only thirty gods and as the word trAyastriMza, denoting the number thirty-three, is grammatically correct, it is very difficult to agree with the explanation given by Mallinatha and Kshirasvami. The word FTITUT can be derived as follows- trayastriMzati jAtAH trAyastriMzAH | This word is derived under the rule 'dRSTe sAmani jAte ca yo'nyo'N vA DidvidhIyate / tIyAdIkA ca vidyAyAM vRddhAdaGkavadiSyate' / (jai. ma. vR. 3 / 2 / 72 vA0) or under the rule 'jAte cAnyo'Na DidvA.' So, in my opinion, the explanation ' janma. sattAvinAzAkhyAstisro dazA yeSAM te tridazAH' is reasonable and so correct. According to the convention of poets E18 is white and so the Kailasa, being snow-white, is aptly compared with or represented as the loud laughter of Siva. Stanzars-snigdhabhinnAJjanAme-possessing colour like that of collyrium mixed with oil and well-crashed, snigdhaM masUNaM / cikkaNamityarthaH / "snigdhaM vAtsalyasampanne cikkaNe'pyabhidheyavat' iti vizvalocane / bhinnaM marditam / "minnaM vAcyavadanyArthe dArite saGgate sphuTam' iti vizvalocane / taTagate- resorted to it slopes. taTaM gataH prAptaH taTagataH / tasmin / vaTatarumataH - possessing banian trees; having big banian trees grown on it. maNDalabhrAjitasya - (1) looking beautiful on account of the surrounding regions; (2) looking beautiful on account of its being round; (3) pleasing to the eyes owing to her balo. The first two meanings are possible when this word qualifies 3.:, and the last one when it qualifies ajoutati:,

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( 543 ) sadyaH kRttadviradaradanacchedagaurasya - white like a piece of a tusk of an elephant cut off very recently. dvau radau bahirnirgatau dantau yasya saH dviradaH / gajaH ityarthaH / dviradasya radanaH dantaH dviradaradanaH / sadyaH kRttaH pratyagrakhaNDitazcAsau dviradaradanazca sadyaH kRttadviradaradanaH / tasya cchedaH khaNDaH iva gauraH zubhravarNaH / tasya / ' sAmAnyenopamAnaM ' iti saH / pratyagraskhaNDitadantidantabhaGgavacchubhravarNasyetyarthaH / grasitumanasA desirous of eclipsing. grasituM kavalIkatu mana H yasya saH / tena / Here, the letter of J is dropped under the rule 'sam mormanaH kAme'. Both the moon and the mountain are maNDalabhrAjita and sadyaH kRttadviradaradanacchedagaura. 8 Stanza 74 - abhitaH on both sides; on all sides. This word is used here as an Adverb with the Accusative case under the rule paryabhisarvobhayaistastyaiH ' adhityakAM the plateau. ' upatyakAdrerAsannA bhUbhi rUrdhvamadhityakA ' ityamaraH / dazAsyAvatAraprapaJcam - - a display of the incarnation of . `the tenmouthed one [ie, Ravana ]. daza dazasaGkhyAkAni AsyAni AnanAni -yasya saH dazAsyaH / dazAnanaH rAvaNaH ityarthaH / tasya avatAraH dehAkRtiH / tasya prapaJcaH AvirbhAvaH / tam / mecake - dark-coloured. 'mecakaH zyAmale cindre dhvAnte'tha mecakaM / vAcyavatkRSNavarNe syAt' iti vizvalocane / stimitanayanaprekSaNIyAm stimitAbhyAM worthy of being looked at with steady eyes. stabdha prAptAbhyAM nayanAbhyAM netrAbhyAM prekSaNIyA avalokanAha / tAm / It is meant that the mountain would look like Ravana when surrounded " by the cloud at its top and like Balarama, with his dark garment placed on his shoulder when the uppermost part of its side would be ascended by the cloud. Stanza 75 - bhujagavalayam - serpent serving as a bracelet (or twisted into circular form ); serpent-bracelet, bhuz2agaH eva valayaM kaTakaM bhujagavalayam / yadvA bhujagaH valayamiva bhujagavalayam / valayAkArapariNAmitasvakAyAmityarthaH / zambhunA - by the lord of the north-east direction resem -

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( 544 ) bling Rudra (i. o. Sambhu ). zambhuriva zambhuH / dattahastA supported with hand. dattaH vitarNiH hastaH karaH yasyai yasyAH vA sA dattahastA / gaurI - The white-complexioned wife of the lord of north-east direction; the wife of the lord of the north-east direction resembling gaurI ( i. e. pArvatI ). AnIlaratnaiH with emeralds possessing dark-blue colour. sitiphaNibhayAt through fear of a black-serpent. sitiH kAlavarNaH / "sitI dhavalamecakau ' ityamaraH / sitizvAsau phaNI nca sitiphaNI / tasmAttasya vA bhayaM / tasmAddhetoH / This word may be construed astvayi sitiphaNibhayAt yadi ca pAdacAreNa saJcaret / Being afraid of the Kailasa where the lord of the north-east direction threw his serpentbracelet, the goddess would not move on the Kailasa mountain, but on the cloud, resembling a pleasure-mountain, owing to its wearing dark complexion. How could the wife of the lord of the north-east direction take a walk on the Kailasa, where her lord threw the serpent-bracelet to dispel her fear? Her walk along with her husband is possible only on the pleasure-mountain in the form of the cloud. Though going on a walk of a couple has become a usual practice in Europe, it seems to have its origin in India. - Stanza 76- * devabhaktyA with devotion to god. ijyAM - worship. The word is derived from the root by affixing the termination under the rule vrajyajaH kyap and by changing the letter with its vowel to, owing to the termination being kit, under the rule 'svabvacchvyAdeH kiti' indrANI - the wife of Indra. indrasya patnI indrANI. This word is derived by affixing the termination GI to the word indra and by adding AnU before GI under the rule ' varuNabhavazarvarudrendramRDAt ', jainagehAnupAtam - visiting temple after temple dedicated to Jina. 'janagehUM jainagehaM anupatya anupatya jainagehAnupAtam / vIpsAyAmAbhIkSNye ca dviH / Here, the termination Nam is affixed to the 2 8

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(545) root 90 preceded by the preposition 397 in the sense of pervasion and repetition ' under the rule 'vizapatpadkandA vyApyAsevye '. stambhitAntarja319: - with the mass of your water caused to be constrained inside. stambhitaH dhana kRtaH antarjalasya oghaH samUhaH yena saH / yadvA stambhitaH dhanAbhAvaM prApitaH antarjalasya oghaH samUhaH yasya saH / 'oghaH paramparAyo syAd drutanRtyo. padezayoH / oghaH pAthaHpravAhe ca samUhe ca pumAnayam ' iti vizvalocane / bhaGgIbhaktyA - by forming divisions like stops, by dividing into steps. bhaGgI sopAnamiva bhaGgI / bhaGgIva sopAnakArA bhaktiH vibhajanaM bhaGgIbhaktiH / tthaa| viracitavapu:- with your body shaped or transformed into. viracita vapuH yena yasya vA saH viracitavapuH / agravArI-moving in front of. punaH punaH agre caratIti agracArI | The termination Nin is affixed to imply the sense of 'repetition' to the root car under the rule'batAbhIkSNye'. mANataTArohaNAyato ascend the jewelled slopes. maNInAM taTaM mANitaTam / tasya tatra vA Aro. haNam / tasmai / maannitttaarohnnaarthmityrthH| sopAnatvaM kuru - serve as a staircase. sopAnasya bhAvaH karma vA sopAnatvam / ArohAvarohAvasare caraNasthAvakAzapradAnaM sopAnasya bhAvaH kama vetyrthH|| Stanza-77-antastoyoccalanasubhagAm - beautiful on account ok the discharge of the internal water. antaH meghavapurantarbhAge yattoyaM salilaM tasyoccalanena bahinirgamanena / galanenetyarthaH / subhago manoharAm / bhAvinIm - future bhaviSyakAlasambhavAm / munibhRtataram - very silently; sunizcalataram. valayakulizodghaTanodgINetoyam - discharging water owing to the strokes of the bracelets beset with diamonds; valayAnAM kaGkaNAnAM kulizAni vajrANi valayakulizAni / kakaNakhacitAH vajramaNayaH ityarthaH / 'hAdinI vajramastrI syAtkulizaM bhidura paviH' ityamaraH / 'punAti paviH, hIrakasya pavisajhayA prasiddha. tvAt ' iti kSIrasvAmI / ata eva kulizazabdasya horakArthavAcakatvam / yadvA valayAnyeva kulizAni valayakulizAni / teH teSAM vA udghaTTanAni prahArAH terudgINa udvAntam / utsRSTamityarthaH / toyaM salilaM yena saH / tam | Mallinatha's explanation of this word runs as followe:-'valayakulizAni kaGkaNakoTayaH / zatakoTivAcinA kulizAbdena koTimAtraM lakSyate / tairughaTTanAni prahArAsterudgIrNa mutsRSTaM toyaM yena tm|' pArvAbhyudaye 35 .

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(546) Stanza-78- sarastoyapUrNAm - filled up with water of a lake. sarasaH kAsArasya toyaM pAnIyaM sarastoyam / tena pUrNA sambhRtA / taam| dRtimU - a leathern bag meant for holding water. itazcAmutazca - here and there. dharmelabdhasya - secured by them at the time when there would be excessive heat; secured in the hot season. dharmAdoNyAlabdhaM lAbhaH yasya sH| tasya / yadvA dharme prAvRTkAle'pi nirvAtAvasthAyAM yaH dharmaH USmakAlaH tasmin labdhaH prAtaH tasya tava / yadvA dharme nidAghe [grISma ] labdhaH dharmalabdhaH / krIDAlolA:engaged in sport; longing for sport. krIDAyAM lolAH AsaktAH krIDAlolAH / zravaNapaH - harsh to the ear. Stanza-79-vividhakaraNaiH - having carried out various performances. vividhAni nAnAprakArANi karaNAni aGgahAgaH saMvezakriyAH vA vividhakaraNAni / taiH / 'karaNaM sAdhakatame kAryakAyasthakarmasu / kriyAyAmindriye kSetre karaNaM bAlavAdiSu / gItAGgahArasaMvezakriyAbhede'pi ceSyate' iti vizvalocane / karaNaM aGgahAraH-gesticulation, movements of the limbs, a dance. AptavaNAGgaM gamitaH - reduced to the state of your body having wounds inflicted. AptaH vraNaH yena tat AptatraNam / AptavaNaM ca tadaGgaM zarIraM ca AptapraNAgaM / ' aGgamantike / gAtropAyApradhAneSu pratIke'pyaGgavatyapi' iti vizvalocane / hemAmbhojaprasavi - generating: (producing) golden lotuses. hemAmbhojAni suvarNakamalAni prasUte iti hemaambhojprsvi|. The termination in is affixed to the root 1, on account of its being proceded by the preposition 4, under the rule 'pre sUjorin '. kSaNamukhapaTaprItimU - the pleasure of possess. ing a face-cloth for a moment. kSaNa kSaNamAtrakAlaM yAvat mukhapaTena mukhAvaraNa. vastreNa prItiriva prItiH / tAm / mukhapaTanibandhanA mukhapaTajanitA vA yA prItiH tatsazI priitimityrthH| gajendramukhAgrabhAge kSaNasthityA mukhapaTajanitAnandatulyaM sukhaM janaya, tAdRzamukhAgrabhAge sthite sati airAvaNasya mukhapaTabhrAntijanitAnandasambhavAditi Hja: 1. The cloud, reduced by the wind to the state of bis body baving wounds inflicted, may indulge in innocent amusements, like enjoying various dances performed by the ladies or taking a walk along with the ladies across the mountain or drinking water in the Manasa lake or making fun of Airavana.

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(547) Stanza-80-krIDAdrINAM - of the pleasure-hills. kanakazikharANyAvasan - dwelling on the golden peaks. nidhuvanalatAgehasambhogadezAn - the seats of cohabitation existing in the bowers of creepers meant for the heavenly damsels for coition. nidhuvanArthAni latAgehAni vallarInirmitabhavanAni nidhuvanalatAgehAni / teSu ye sambhogadezAH sambhogArtha viracitAni sthAnAni / tAn / nAnAceSTaiH - possessing various movements. nAnA bahuvidhAH ceSTAH digvidikSu vahanAdirUpAH krIDAH yeSAM taiH| This compound, dissolved as above, being an adjective, qualifies faala: 1 When dissolved as - Alai Aziaan: ceSTAH aGgahArA yeSu tAni / taiH1, the compound should be taken as an adjective qualifying llitH| nAnAceSTaiH - possessing various gesticulations (of dancing ladies ). lalitaH- (1) pleasings (2) a pleasure house, a house wherein women sport, dance etc. lalitAni nRtyAdikrIDitAni santyasminniti lalitam / 'o'bhrAdibhyaH' iti mtvrthe'tyH| The words aiara e: aisai, of which the word sida: is explained as above, should be construed with quash. The Instrumental case implies the state of the lord of mountains. These two words may also be construed with taM nagendra nirvizeH. nAnAceSTeH lalitaiH taM nagendra nirvizeHyou should enjoy the mountain by means of sports displaying various movements. svavAtaiH - by your breezes. svAH svIyAH vAtAH samIraNAH svvaataaH| atra vAtasya svIyatvaM svAgamanakAlajanitatvAtsvamitratvAdvaityavaseyam / aMzukAni- resembling thin silken garments. aMzukAni sUkSmavastrANi iva aMzukAni / nirvizeH - enjoy. Stanza-81-vidyuddAmnA - with the rop-like lightning. vidyudeva dAma vizuddAma / tena / valayitatanuH - whose body is en&ircled. valayitA viracitavalayA tanuH zarIraM yasya sH| vayoM - by means of a leathern strap or rope. mandamandaM - slowly. mandaprakAraH yathA syAttathA / mndtyetyrthH| utsaGge - (1) on the upper part; (3) on the lap. sastagaGgAdukUlAm - (1) with its white garment in the form of the Ganges fallen off; (2) with its garment white like the Ganges owing to the colour of the garment being white like the Ganges ) fallen off. Here, the city of Alaka is

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( 548 ) compared to a passionate lady, the mountain to a lover, the slops of the mountain to the lap of a lover and the Ganges to a white garment worne by a passionate lady. The falling off of the river on the slope of the mountain is described as similar to the slipping of a garment of a passionate woman off her body and falling on the lap of her loving husband. srastaM vigalitaM zarIrAnniHsRtya pRthagbhUtaM gaGgA eva dukUlaM zubhravastraM yasyAH sA / tAm / pakSe srastaM gaGgeva gaDga tukhyaM dukUlaM yasyAH sA / tAm / dukUlaM sUkSmavastre syAduttarIye sitAMzuke ' iti zabdArNave / dhanIzAM desirous of securing what is expected by you. iti svaSTakAmaH | < sveSTakAmaH Stanza - 82 - yogAbhyAsAt through repeated practice of concentration. yogasya dhyAnakarmaNaH abhyAsaH punaH punaH karaNaM yogAbhyAsaH / tasmAt / dRSTAdhyAtmasthitiH - experiencing the pure nature of the pure soul dRSTA anubhUtA adhyAtmaM sthitiH yena saH / Atmani aghi adhyAtmam / AtmanItyarthaH / adhigatAzeSavedyaH who has known all the knowables; omniscient; possessing infinite knowledge. adhigatAni jJAtAni azeSANi vedyAni jJeyArthIH yena saH / vizvadRzvetyarthaH / savidyaH - possessing pare knowlodgo. vidyayA kevalajJAnena sahitaH savidyaH / dUradarzI - possesring foresight ( or knowing all the periodically and spatially remote objects). dUrAn kAlasthalApekSayA daviSThAnarthAn pazyati jAnAtIti dUradarzI / sUkSmANAmantaritAnA cArthAnAmindriyAgrAhyatvAddUratvamavaseyam / sUtam - the source. apa zyan / pazyatIti ST 1 ' manvanakvanibvicaH kvacit' iti kvanip / alakAM sAkSAt dRSTvA na jJAsyase (iti) na - It is not that you will not know the city of Alaka on seeing it actually (or with ycur naked eye. ). Bre - uccavimAnA Stanza-83possessing seven-storied lofty mansions. uccaiH unnatAH vimAnAH saptabhUmikAH prAsAdAH yasyAM sA / nirmANArthe titapasiSavaH desirous of practising penance for the attainment of salvation. nirvANaM - salvation.. ' nirvANaM nirvRtI mokSe stambhane gajamajane ' iti vizvalocane / titapasiSavaH is a desiderative form derived from the - G w of the yakSas. sveSTaM kAmayate -

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(549) denominative tapasthati, which is derived from the word tapas by affixing the termination kyac to it under the rule 'tapasaH kyaca'. titapasiSavaH tapastaptumicchavaH / tapasyateH 'tumIcchAyAM dhorvop' iti sani tadantAt 'sanbhi kSAzaMsAduH' ityuH / vyarthodyogAH - whose efforts are neutralized. vyarthAH . viphalAH udyamAH prayatnAH yeSAM te / vitRSaH - having no interest. mayi vitRSaH / taking no interest in me. vigatA tRT icchA yeSAM te vitRssH| 'icchA kAjhA spRhehA tRD vAJchA lipsA manorathaH' ityamaraH / induzubhram - white like the moon. vihasitam - an ironical smile. salilodgAram - the discharge of water. The city of Alaka means to say that as the abode of the linerated soul is not known to any worldly being, who can assure that the efforts of the sages will be turned futile ? Under these circumstances, the sages ought to have taken interst for the city. ___Stanza. 84- muktAjAlagrathitam - encircled with nots of poarls. muktAnAM maktikamaNAnAM jAlena grathitaM sanhabdham / jAlaM AnAyamiva jAlam / AnAyasadRzaM strIkeSabhUSaNamityarthaH / jAlam - a kind of ornament worn in the hair. alakam - curly hair. 'kuberasyAlakA puryAmalakasUrNakuntale' iti vizvalocane / abhraMlihai: - scraping the clouds. abhraM leDhIti. abhraMliT / taiH / sodheyAprai: - with the uppermost parts of her palaces or mansions. sodhAnAmimAni saudheyAni / saudheyAni ca tAnyagrANi saudheyAgrANi / 'agraM triSu pradhAne sthAdagraM mUrdhAdhikAdiSu / purastAtpalamAne ca bAte'pyAlambanAntayoH' iti vizvalocane / gaganapariSatketumAlAbalAkam - having cranes in the form of the rows of flags moring in all directions in the sky. gagana AkAzadeze paritaH sarvataH sIdanti calantIti ggnprissntH| gaganapradeze vicalantaH ityarthaH / gaganapariSantazca te ketavaH dhvajAzca / teSAM mAlA paGktiH eva balAkAH pakSivizeSAH yasya tat / 'Sadla vizaraNagatyavasAdaneSu' iti SadladhogatyarthatvAtsIdatezcalanArthatvam / ratnodagrAtiviracitendrAyudham - possessing a rain-bow formed by the *ends of the rays of jewels shooting upwards. udgatAni agrANi koTayaH yAsAM tAH udgraaH| udagrAzca tAH yutayazca udagrAtayaH / ratnAnAM udagrAtayaH ratnodagradyutayaH / tAmiviracitaM indrAyudhaM indradhanusmistat / prAvRSeNyam - produced in the rainy season. prAdRSi bhavaM prAvRSeNyam / sajala kaNikAsAram -

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(990) discharging showers of drops of water. 3 101: giacca: 1 aat 31181t: q: 53*10*18jt: 1 ga pital. The clouds, floating in the sky over the city of Alaka, being of the monsoon, cannot have rainbows formed in them by the rays of the sun, owing to the sun being covered over with clouds. But those clouds, Sanibara says, do possess rainbows formed by the rays emanating from the jewels, inlaid in the uppermost parts of the palatial buildings erected in the city of Alaka. The fluttering boppers, hoisted on the tops of the buildings, played the role of the cranes in the clouds. The assemblage of clouds, intermingled with the rainbows formed by the 'rays of jewels, resembles a net of pearls worn in the hair by a noble woman. Stanza 85 - laic - dark on all sides. 318raja sis 3praia coquial. This word may be explained as - 341 garaia ila: nIlavarNaH yatra sH| sandhyAprakAzatusyatvAnmeghAvRtAmbarasya prAvRTkAlasyAnIlatvamakahaq i dana: 391211a: I aH - The rainy season, when the sky is overspread with clouds, has the sunshine chunged into twilight which is rather darkish. E TAAST: - (palaces or palatial buildings) abounding in emeralds ( inlaid in the walls). The bluish rays, emanating from the eneralds, being similar to the twilight-like light, display always the advent of the rainy-season in the city of Alaka. 7H107 - (the rainy season ) pervading the sky. 71 31171 7galia A#127:1 agi GISI: - possessing pleasure-bills in their vicinity. gar: 77891: alat: parvatAH yeSu te kSudrazailAH / atra 'gaGgAyAM ghoSaH' ityAdAviva prAsAdoparibhAgasthitirUpaM mukhyArtha bAdhitvA tatsamIpabhUpradezasthitirUpo'nyorthoM lakSaNa yA labhyaH Dia: 1 The pleasure hills, adjoining the palatial buildings and forming parts of those, pervade the sky with their peaks, like the clouds asst mbling in the sky in the rainy-seuson. So, the pleasur-bills display always the advent of the rainy-season in the city of Alaka. vidyudantaM - possessing flashes of lightning. lalitavanitA: -- having beautifal women. Zizai: Haigt: algar: zsar: ag d l Owing to the extraordinury beauty of the ladies residing in the palatial buildir gs, the palatial buildings are described as displaying the rainy-season like the

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(551) lightnings shining in the clouds assembling in the sky in the rainy season. sendracApam - having rainbows; indracApena indradhanuSA sahitaH sendrcaapH| tam / sacitrAH - possessing multicoloured pictures. saha citraiH sacitrAH / The palatial buildings, possessing multicoloured pictures, always diplay monsoon in the city like the multicoloured rain-bow. The multicoloured pictures painted on the walls of the palatial buildings are compared with the multicoloured rainbows. prodyaddevadrumaparisaradhUpadhUmAnubandhAH - having rising columns of smoke of incense coming out of the groves of Fine trees and spreading on all sides. devadrumAH devadAru. drumaaH| tebhyaH paritaH sarvataH saran nirgacchan devadrumaparisaran / sa cAsau dhUpadhUmazca / tasya anubandhAH AnupUrvyaH rAjayaH vaa| prodyantaH udgacchantaH devadrumaparisaradhUpadhUmAnubandhAH yebhyaH te| prAsAdaparisaroddhRtadevagumANAmatra grahaNaM lakSaNayA kartavyaM, prAsAdAme drupotpattyasambhavAt / Stanza 86- kekAravamukharitAn - noisy with their craklings. kekAH eva AravAH dhvanayaH kekAravAH / taiH mukharitAn mukharIkRtAn / vAcAlitAnityarthaH / udyatkaruNavirutAn - giving out notes exciting pity. karuNAni karuNAjanakAni ca tAni virutAni kUjitAni ca karuNavirutAni / udyanti karuNavirutAni yebhyaH te udytkrunnvirutaaH| tAn / mlAnayantaH - distressings 'rendering afflicted by strokes of grief. mlAnAn duHkhitAn kuvANAH / snigdhaparjanyaghoSam - a noise or sound resembling the deep thundering of clonds. snigdhaH gambhIraH parjanyaH meghadhvaniH snigdhprjnyH| 'parjanyo vAsave meghadhvanau ca dhvanadambude' iti vishvlocne| snigdhaparjanyaH iva snigdhaparjanyaH / snigdhaparjanyazcAsau ghoSaH dhvanizca snigdhaparjanyaghoSaH / tm| akAle - in all the seasons other than the monsoon. vidadhatitarAm - make exceedingly. Stanza 87- AkarNim - scattered in all directions. A samantAt kIrNaH prasRtaH aakrnniH| tm| ghanAnAmogham / vitazikharAH - having (their) uppermost parts expansive. vitatAni vistRtAni zikharANi agrabhAgAH yeSAM te saudhAbhogAH / 'vitataM tu mataM vyAte vistRte'tyabhidheyavat' iti vizvalocane / zikharam - top. mandraghoSam - giving out deep thunders. mandraH gambhIraH ghoSaH garjitadhvaniH yasya saH meghaughH| tam / 'ghoSaH kAMsye'mbudhvanau /

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( 552 ) < 'mandrastu gambhIre ' ghoSaH svAdghoSakAbhIranisvanAbhIrapaliSu' iti vizvalocane / ityamaraH / sAnakAH - having beatings of drums. mandraghoSaM ' iti ghanaughavizeSaNadarzanAtsAna kazabdasya C 'samRdaGgadhvanayaH' iti lAkSaNiko'rtho'tra grAhyaH / ratnadIpAnuyAtAH possessing lamps in the form of jewels (or possessing jewels serving as lamps or possesssng jewel-lamps. ) ratnAnyeva dIpAH ratnadIpAH / taiH anuyAtAH anugatAH ratnadIpAnuyAtAH / saudhAbhogA ityasya vizeSaNam | ogha - an assemblage. tulayituM - to stand comparison with. sauvAbhogAH the expansive mansions. white like snow, snow-white. " Stanza 88-gieniana: tuhine prAyamiva vizadAH dhavalAH / taiH / avazyAyastu nIhAratuSArastuhinaM himaM / prAleyaM mihikA ca' ityamaraH / ' vizadaH pANDare vyakte ' iti vizvalocane / kUTocchrAye: - with the lofty parts of their uppermost divisions. kUTAna ucchrAyAH utsedhAH kUTocchrAyAH / taiH / zAradAn autumnal. zaradi bhavAH zAradAH / tAn / mandrAtodyadhvanibhiH with the deep sounds of the musical instruments mandrAH gambhIrAzca te AtodyAnAM tUryAdivAdyAnAM dhvanayaH AravAH / taiH / uccaladvArivelAn with the waters dashing against the shores. uccalat UrdhvaM gatvA pratighAtaM kurvat vAri yatra tAH uccaladvArayaH / uccaladvArayaH belAstaTAH yeSAM te / tAn / ' jaladhijalavikAre velA, taTe'pyupacArAt, vela calane ' iti kSIrasvAmI / yadvA uccaladvilolakallolIbhavadvAri yAsAM tAH / uccaladvArayaH velAH jalavikArAH yeSAM te / tAn / jalaprakSobhajanitollolakallolA nityarthaH / ratnodaMzuprasararucirai: - shining with the spread of the rays emitting from the ratnebhyaH udgatAH aMzavaH kiraNAH ratnodaMzavaH / teSAM prasareNa vistAraNa rucirAH kAntimantaH tejasvinaH / taiH / gems. - - - Stanza 89 - priyanamabhujockAsitAliGgitAnAM - closely embraced in the arms of their husbands. priyatamAnAM bhujAH bAhavaH priyatamabhujAH / taiH ucchAsitAna ApyAyitAni dRDhIkRtAni pragADhAni vA AliGgitAni AliGginAni yAsAM tAH / tAsAmU / zramajalakaNaiH on account of the efforts. < by the drops of sweat exuding paGkIbhUtAH turned into mud. paGka Barding

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( 553) bhAvaM gtaaH| apakkAH paGkAH sampannAH pngkiibhuutaaH| ArdritaprastarAntA: - moistening the interior parts of their beds. ArdritAH AH kRtAH prastarAntAH zayyAmadhyadezAH yaiH te / prastarANAM zayyAnAM antAH madhyadezAH prstraantaaH| prastRNAtIti prastaraH / zayyetyarthaH / baddhotkaNThastanataTaparAmRSTavarNAvikIrNAHscattered ( here and there in their bede ) owing to the pearls rubbing against their breasts having their circumjacent parts raised up owing to their being pressed (by their husbands embracing them). baddhau sampIDitau ca to utkaNThau udgatasamIpasthaparidhipradezau ca bddhotknntthau| 'kaNThastu gale pAzve zalyad-zabdayoH' iti vishvlocne| tau ca to stanataTau c| tAbhyAM parAmRSTAH ghRSTAH varNAH stanataTadvayAntarAlasthitamAlAmauktikAH / 'atha puMsyeva varNa:syAtstutau rUpayazoguNe / rAge dvijAdo muktAdau zobhAyAM citrakambale' iji vizva locane / taiH A samantAt vikIrNAH prasRtAH / yadvA tAdRzastanataTasaGgharSajanitAGgarAgasaMzleSA varNAH mauktikAH yaiH te| vikIrNAH sarvataH prsRtaaH| vizIrNAH iti pATho'pi samIcInaH, stanataTAdizarIrabhAgAtpRthagbhUtvA prastare patitAH ityetAdRgartha tvAt / The treasts of the ladies, very closely embraced by their husbands, being pressed very much, caused the pearls of the necklaces dangling on their breasts to rub against their breasts. Being thus rubbed, the cosmetics become separated from their breasts and foll down in the beds and lay scattered here and there. The reading fasiroti: is also good. aGgagagAH - the scented cosmetics. 'samAlambho'Ggagagazca prasAdhanavilepanam' iti dhanaJjayaH / sambhAgAnte - at the end of sexual enjoymont. upacitaM - increased. Stanza 90-gaurIbhartuH - (1) of the lord of night; (2) of the lord of the north-eastern direction resembling a king; (3) of the lord of thie, the wife, resembling the wife of Siapkara, of the lord of the north-eastern direction; (4) of the lord of Parvati. gauryAH nizAyAH bhartA nAthaH gaurIbhartA / yadvA gauyAH medinyAH bhartA gaurIbhartI / saH iva gaurIbhartA / yadvA gauryAH pArvatyAH bhartA gaurIbhartA / sasya / 'gaurI tu pArvatInamakanyayorvaruNastriyAM / nadIbhidyAminIpiGgArocanIkSmApriyaGguSu' iti vizvalocane. If the first interpretation is accepted, the word gaurImatuH should be taken as an

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(554) adjective qualifying Srai:. If the next three interprations are accepted, the word nigrag: should be construed with sati, and the Genitive. case should be taken to imply svasvAmibhAvasambandha, gaurIbhartuH indoH - (1) of the moon of the lord of the north-eastern direction; (2) of the mioon of Lord Shankara. The moon is described in the Hindu mythology as occupying a place over the head of Lord Shankara. viracitajaTAmaulibhAjaH-(1) wearing a crown having branches of trees depicted on it. (2) occupying the head (of Shanbbu) having matted hair tied together (on it). (3) occupying the crown worn on the head having matted hair. If the first interpretation is acceptou, the word viracitajaTAmolibhAja: should be taken as an adjective qualifying indoH / According to the Jain scriptures, the moon wo see is an aerial car by means of which the god moon moves in the sky. This god wears a crown on his head. IE the second interpretation is accepted, the word viracitajaTAmolibhAja: should be taken as an adjective qualifying gArIbhartuH, meaning of the lord of Gauri (i. e. Parvati).' If the third interpretation is accepted the word should be taken as an adjective, qualifying gaurIbhartuH, meaning of the lord of Gouri, the wife of the god IzAna.' Here the word gorI means 'the wife of the god izAna who resembles Parvati in beauty. (1) viracitAH citritAH jaTAH zAkhAkRtayaH yatra sA viracitajaTA / sA cAso mauliH zirobhUSaNaM kirITAkhyaM vircitjttaamoliH| tAM bhajate sevate iti viracitajaTAmaulibhak / tasya / (2) viracitA ekatra baddhA jaTA eva mauliH kirITaM viracitajaTAmauliH / tAM bhajate dhArayatIti viracitajaTAmaulibhAk / zambhurityarthaH / tasya / (3) viracitajaTAM mauli kirITaM bhajate iti viracitajaTAmolibhAk / tasya / anaticarataH -(1) not going out of her right way; (2) not giving up ther place (i. e. the head of Shambhu or the crown of the lord of the north-eastern direction). (3) not moving very speedily. nAtisAndra patantaH - diffusing not very densly. amalA: - white 'amalaM vizade'bhrake' iti vizvalocane. tantujAlAvalambAH - penetrating through nets of interloping threads (or hanging like a mass of threads). tantUnAM jAlaM AnAyaH tantujAlam / tena avalambaH pravezaH yeSAM te / yadvA tantUnAM jAlaM samUhaH tantujAlam / tadiva avalambaH AlambanaM tntujaalaavlmbH|

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( 555) so'styeSAmiti tntujaalaavlmbaaH| 'o'bhrAdibhyaH' iti matvarthIyo'tyaH / suratajanitAm - caused by sexual onjoyment. Stanza 91- nizIthe - at midnight. tvatsaMrodhApagamavizadaiH -- bright owing to the removal of the obstruction caused by you. tvatsarodhaH tvayA kRtaH pratibaMdhaH / tasya apagamaH dUgetsaraNaM / tena vizadAH dIptimantaH nirmalAH zubhAH vaa| taiH| ekAkinyaH - having no company; madanavivazAH - pining with love. nIlavAso'vaguNThAH - wearing blue or black garments. nIlaM ca tadvAsazca nIlavAsaH / tadeva avaguNThaH zarIrAvaguNThanasAdhanaM yAsA tAH nIlavAso'vaguNThAH / The ladies of the city of Alaka, wishing to go stealthily to the abodes of their lovers, wear blue or black garments to conceal their movements in the dark nights. atal 29t: - wearing ornaments. prAptAH labdhAH parihitAH AkalpAH AbharaNAni yAbhiH / ar: 'Akalpavezau nepathyam' ityamaraH.' utpathebhyaH - (giving up) bad paths (like lanes). vipaNIH - bazar roads. 'vipaNistu striyAM paNyavIthyAmApaNapaNyayoH' iti vizvalocane. The love-lorn ladies of the city of Alaka, stealing out of their rooms to go to the abodes of their lovers, give up going stealthily by lanes and begin to move on the bazar road to dispel doubts of other citizens about their misconduct. Stanza-92-upavare - in secret. 'upavaraM samIpe syAdrahomAtre'. pyupavaram' iti vizvalocane / pAdyam - water for washing feet. 'pAdyaM pAdAya vAriNi' itymrH| 'pAdyaM payasi ninye ca' iti vishvlocne| indupAdAbhivarSAt - owing to the downpour of rays of the moon. indozcandramasaH pAdAH razmayaH indupaadaaH| teSAmabhivarSaH varSaNam / tasmAt / 'pAdo'strI caraNe mUle turIyAMze'pi dIdhitau' iti 'varSamastrI varSaNe'nde. jambUdvIpe ghane pumAn' iti ca vishvlocne| sphuTajalalavasyandinaH - eruding pure drops of water. sphuTAH nirmalAzca te jalalavAH udabindavazca sphuttjllvaaH| tAn syandante sAvayanti iti sphuttjllvsyndinH| syand - to pour forth. niSkuTAnAM - of the pleasure-gardens near the mansions. 'niSkuTastu gRhodyAne syAtkedArakapATayoH' iti vizvalocane / dhautopAntAH - washing off the regions in the immediate proximity. dhautAH prakSAlitAH upAntAH samIpapradezAH yaiH te|

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( 556 ) apathake on the untrodden path. rAjamArgAdanya prastutAH excellent. smiJjanatAjJAte pathi / kAmukInAm kAmukI of the passionate ladies. riraMsuH / ' vRSasyantI tu kAmukI ' ityamaraH / The city of Alaka is describod here as abounding in magnificient buildings, having moonstones beset in the uppermost parts. As the moon pours her rays upon the moonstones, those begin to ooze. The water oozing out of the moon-stones, falls down so as to wash off the regions of the pleasure-gardens, adjoining the palatial buildings. The passionate ladies of the city, moving on had paths, take advantage of this water to wash their feet secretly and dispel their fatigue. for the sake of nocturnal rAtrisambhogahetoH Stanza 93. sexual enjoyment. skhalitaviSamaM gacchantInAm - going unfairly owing to their frequent stumbles skhalitena viklavagatyA viSamaM azlakSNaM yathA syAttathA / gatyutkampAt - owing to the agitation caused by the gait, saubhAgyAGkaH iva - resembling the signs of the blessed state of wifehood. saubhAgyasya subhagatvasya aGkabhUtAni cihnabhUtAni saubhAgyAGkAni / taiH / ' aGko rekhAya cihnalakSmaNo:' iti, 'saubhAgyaM subhagatve syAdyogabhede pumAnayam ' iti ca vizvalocane vilasitaiH beautiful. AtatAH covered over with. Stanza 94 - kusumitalatAmaNDapeSu - in bowers of flowery creepers. kusumitAH saJjAtakusumAH / tadasya saJjAtaM tArakAdibhyaH itaH ' itItaH / kusumitAH saJjAtapuSpAzca tAH latAH vasyazca vusumitalatAH / tAsAM maNDapAH gRhANi / teSu / vitatamadhupai: - having bees spread all over. vitatAH vizeSaNa tatAH visRtvarAH madhupAH bhramarAH yatra zayyopAnte / taiH / AttasambhogagandhaiH ww - encolate - - sambhoscented by the perfumes used at the time of sexual enjoyment. Agasya gandhAH gandhadravyANi sambhoga gandhAH / sambhogakAlaprayukta gandhadravyANItyarthaH / AptAH gRhItAH sambhogagandhAH yaiH zayyopAntaiH te / teH / nIlottaMsaH - possessing blue ornaments worn on the crowns of the heads (of the ladies engaged in sexual enjoyment.) nIlA: nIlotpalakalpitatvAnnIlavarNAH uttaMsAH zirobhUSaNAni yatra zayyopAnte / taiH / zayyopAntaiH by the skirts of beds. zayyAyAH zayanIyasya upAntAH zayanIyasamIpapradezAH zayyopAntAH / taiH / karNavibhraMzibhiH slipping off the ears. karNAbhyAM vibhrazyantIti karNavibhraMzinaH / taiH / kanakakamalaiH 1 Bulg

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(557) -- by lotuses possessing gold-like colour. kanakAnIva kanakAni / kanakAni suvarNavarNatvAttattulyAni ca tAni kamalAni ca kanakakamalAni / yadvA kanakavinirmitakamalAnIva kamalAni kanakakamalAni / valuptacchedaiH - reduced to pieces. kluptAH kRtAH rachedAH khaNDAH yeSAM te / taiH / nidhuvanapadaM - the abode of sexual enjoyment. Stanza. 95-kuGkumAraktazobhaiH - assuming lustre (colour) red like that of saffron. kuGkuma kAzmIrajanma / 'atha vuDkumaM / kAzmIrajanmAsnizistra' ityamaraH / vuDkumasya AraktA raktavarNA zomeva zobhA kAntiH yeSAM taiH / yadvA kuGkumamiva AraktA kuGkummAraktA / DkumAraktA zobhA kAntiH yeSAM taiH| bahutaraphalaiH - by a large number of fruits. bahutarANi vipulatarANi ca tAni phalAni ca bahutaraphalAni / taiH| muktAjAlaiH - by nets of pearls. jAlAkAra. muktAmaNiviracanaiH / muktAnAM jAlaM AnAyAkAraH strImiH keSeSu dhAryamANaH racanAvizeSaH muktAjAlam / taiH| stanaparicchinnasU - the strings of which are broken or cut off owing to the expanse of the circumjacent regions of the breasts. stanayoH urojayoH parisaraH vistAraH stanaparisaraH tena / cchinnAni sUtrANi tantakaH yeSAM te / taiH / Mallinatha dissolves this compound as - stanayo: parisaraH pradezaH / tatra chinnAni sUtrANi yeSAM te| parisaraH - width. paritaH sara: saraNaM prasaraNaM prisrH| The pearl necklace, being caught between two breasts, expanding in all directions owing to their being pressed very much by the lovers while closely embracing, tas its string cut into pieces. Halla-211: - of the river Ganges flowing bigh up in tho sky. 'mandAkinI viyadgA ' ityamaraH / taTavanamanu - neer the forests grown on the banks. graediqi: - scattered over with flowers .goa: Fah: AstIrNAH pracchannAH tatAH vA pusspaastiirnnaaH| pulinaracitAH - prepared in the gandy beeches. pulineSu toyotthitasikatilapradezeSu racitAH nimitaaH| 'tIyosthitaM tat pulinam' ityamaraH / sambhogadezAH - the abodes of sexual enjoyments Stanza 96- gatyAyAsAt - owing to the exertion or trouble. caused by their gait; (by their laborious gait.) gateH AyAsaH gatyAyAsaH / tasmAt / galitakabarIbandhamuktaiH -- dropped down from the slackened braids

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(558) of hair. kabaryAH kezavezasya bandhaH viracanA kbriibndhH| 'kabaraM lavaNe'mle ca zAkakezabhidoH striyAm' iti vishvlocne| galitaH zlathIbhUtazcAsau kabarIbandhatha galitakabarIbandhaH / tasmAt muktaiH galitaiH / kusumadhanuSaH - of the flower-arrowed god; of the god of love. 2109ataala: - imitating the discharged arrows. bANapAtaH iva AcaratIti bANapAtAyate / zAnac / adhikSoNi- on the ground. kSoNyAmadhi adhikSaNi. This is an Adverbial compound. caraNanihitaiH - deposited by the feet. caraNaiH pAdaiH nihitAH bhUmau sthApitAH / a: 1 AT: - to be traversed by night; nocturnal. Stan za 97 - Baiqrasiuicalgar - whose mind is centred on all the standards of comparison. sarvANi ca tAni aupamyAni upamAnAni ca sarvopamyAni / teSu praNihitA dattAvadhAnA dhIH zemuSI yasya yena vA sH| tena / kamalanilayA - the lotus-aboded one (i. 8. Laxmi). kamalaM nilayaM nivAsabhUmiH yasyAH sA / Stanza-98-cittabhatu:-of the attractive one (man ar woman). citta bibharti haratIti cittabhartI / tasya tasyAH baa| paraparatAexceeding subservience to others. paratA - subservience. parasmin paratA paraparatA / yadvA parA mahatI paratA adhInatA paraparatA / mAnabhaGgaH - humiliation. mAnasya abhimAnasya bhaGgaH mAnabhaGgaH / priyajanatayA - with the assemblage of the beloved ones or of those who are dear. janAnAM samUhaH janatA / 'The termination tal (tI) is affixed to the word jana to imply an 'assemblage,' under the rule 'gajagrAmajanabandhusahAyAttala'. priyA cAso janatA janasamUhazca priyajanatA / priyajanAnAM samUhaH ityrthH| tayA / saGgamAzAnubandhAt anyaH - other than the one of hope for [ their ] union. saGgamasya mIlanasya AzA AkAGkSA saGgamAzA | tasya anubandhaH / tasmAt / iSTasaMyogasAdhyAtbrought about by the onion yet to be effected with their beloved ones. kusumazarajAdanyaH - other than the one arising from (owing to) the flower-arrowed one (i. e. the god of love). kusumazarAt madanAkhyazRGgArAvasthAyAH jAyate iti kusumazarajaH / tasmAt / - Stanza99-AkarUpAn - desires. praNayakalahaH - love-quarrel. 'viprayogopapattiH - possibility of separation. viprayogasya viyogasya upapattiH -sambhavaH zakyatA vA viprayogopapattiH / /

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(559) Stanza. 100 - iSTasarvadhibhAje - possessing all prosperities desired for. sarvAzca tAH RddhayaH vaibhAvAni ca sarvarddhayaH / iSTAzca tAH sarvarddhayazca iSTasarvarddhayaH / tAH bhajate iti iSTasarddhibhAk / tasyai / spRhayatitarAm - cherishes ardent desire for. AsInAH - residents. zatamakhapurIm - the city of Indra. zatamukhasya indrasya purI zatamakhapurI / tAm / amarAvatImityarthaH / viharaNabhayAt - through fear of departure (from her ). cinatyam - provoking anxiety. mRtyuJjayAnAm - of those who are the conquerors of death. mRtyuM jayati niruNaddhIti mRtyuJjayaH / teSAM mRtyuJjayAnAm / vittezAnAM - of the lords of wealth (i. e. Yakshas ). 'vittAdhipaH kuberaH syAtprabhau dhanikayakSayoH' iti vizvalocane.. Stanza. 101- akSINaddhi - prosperity having no decay or free from deterioration. akSINA kSayavikalA cAso RddhiH aizvaryaM ca akssiinnddhiH| tAm / pallavolAsitAH - shining or looking beautiful owing to the sprouts. pallavaiH kisalayaH ulAsitAH tejasvitAM mItAH pallavollAsitAH / unmattabhramaramukharAH - noisy owing to the intoxicated or extremely delighted bees. unmattAH madhurasapAnena mattAH saJjAtAnandAH vA unmattAH bhramarAH / taiH mukharAH vAcAlitAH / nityapuSpAH - overflowering. ekazaH - simultaneously. kaspadrumasahacarAH - coexisting with wish-fulfilling trees. saha carantIti sahacarAH / kalpadrumANAM sahacarAH klpdrumshcraaH| tatsadharmANaH - possessing properties similar to those of the wish-fn]filling trees. Stanza. 102 - bhRgopagItA: - eulogised by bees. bhRGgaH bhramaraiH upagItAH upazlokitAH bhRGgopagItAH / sazreNIracitarazanAH - having girdlelike circular figures formed by the rows of swans i.e. having a girdle formed by rows of swans i. e. encircled with rows of swans. Quaf. marAlAnAM zreNyaH paGktayaH haMsazreNyaH / tAbhiH racitAH kRtAH razanAH kAJcyA yAsu tAH / razanAH iva razanAH / maNDalAkAraracanAvizeSaH ityarthaH / nityapadmAH - (1) always bearing lotuses; (2) always looking beautiful. fari satata padmAni kamalAni yAsA tAH / yadvA nityA kSayavikalA padmA lakSmIH zobhA

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( 560 ) yAsAM taaH| The Nirnayasagara edition of pArzvAbhyudaya reads haMsazreNIracitaracanAH / I interpret this reading as - ' having various figures. formed by the rows of swans. haMsazreNIbhiH racitAH vihitAH racanAH nAnAvidhAH AkRtayaH yatra tAH / Stanza - 103 - nityaprahatamuravAmbhodanAdaiH with the sounds, resembling the thunderings of clouds, of the drums always beaten. nitya prahRtAH abhihatAH nityaprahRtAH / nityaprahRtAzca te muravAH murajAzca nityaprahatamuravAH / teSAM ambhodAnAM meghAnAM nAdAH garjitadhvanayaH iva nAdAH dhvanayaH / taiH / pratItAH - highly pleased. pratItaH sAdare khyAte hRSTe dRSTe virakSaNe / pratIta ete jJAte ca ' iti vizvalocane. citrapicchA: - possessing multicolou red plumages or feathers. citrANi mecakAni adbhutAni vA picchAni kalApAH yeSA te / 'citraM tu karburAdbhutayostriSu' iti vizvalocane / nityabhAsvapossessing evershining plumages. nityaM satataM bhAsvantaH prakAzayuktAH kalApAH barhANi yeSA te / kekotkaNThAH / having their necks. raised up for the sake of giving out crackling notes. kekAbhiH udgatAH unnati prAptAH kaNThAH yeSAM te / viracitalayaM - in accordance with the time of music. viracitaH layaH nRtyAdisAmyaM yasmin karmaNi yathA syAt tathA / 'layo nRtyAdisAmye syAdvinAzAzleSayorlayaH / ' iti vizvalocane. kalApAH 8 ---- " - Stanza - 104 - sudhApaGkadhauteSu - white owing to their being covered with sticking plaster. sudheva sudhA dhavalavarNatvAt / sudhAyAzvarNalepasya paGkena jambAlena kardamena dhautAH dhavalIkRtAH / teSu / jyostnaMmanyeSu - considering themselves to be the moonlight (incarnate ). jyotsnAmAtmAnaM manyante iti jyotsnaMmanyAH / teSu / zItakiraNa kiraNakalApAyamAneSvityarthaH / udyadvalabhiSu - possessing topmost parts raised high up. vitanvannityajyotsnApratihatatamovRttiramyA: - charming owing to the obstruction of the course of darkness being removed by the constantly spreading moonlight. nityA sArvakAlikkI cAsau jyotsnA kaumudI ca nityajyotsnA / vitanvatI prasAraNazIlA cAso nityajyotsnA ca vitanvannityajyotsnA / tayA pratihatA pratibaddhA tamovRttiH andhakArapravRttiH tathA ramyAH manoharAH / pradoSAH

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AN (561) evenings. 'pradoSo rajanImukhaM' ityamaraH / strIsahAyaH - having women for their companions. striyaH nAryaH sahAyAH sahacaryaH yeSAM te| nidhibhugadhipaiH(1) by the lords of Yaksas; (2) by those having Kubora for their lord. nidhIna navasaGkhyAkAn bhuJjantIti nidhibhujaH / kim / nidhibhujA adhipAH matipatayaH nidhibhugadhipAH / taiH| yadvA nidhibhuk kuberaH adhipaH yeSAM te nidhibhugadhipAH / taiH / yakSarityarthaH / Stanza.105-prathamagaNanA IyuSIm - regarded as most excellent. prathamA utkRSTA iti gaNanA prathamagaNanA / tAm / IyuSIm is a perfect participle derived from the root I by affixing the termination kasu (vas) under the rule ' vassadiNzroH kasuH'. prakRticaturAma - naturally beautiful. prakRtyA svabhAvena caturA manohAriNI prkRticturaa| tAm / akRtrimasaundaryayuktAmityarthaH / lIlAkamalam - (1) the lotus-flower held in the hand as a play-thing. (2) a beautifal lotus. lIlA krIDA zobhA vA / lIlArtha krIDAthai svasaundaryAbhivRddhyarthaM vA kamalaM padmaM liilaakmlmuu| yadvA lIlayA zobhayA upalakSitaM kamalaM lIlAkamalam / bAlakundAnuviddham - the particular construor tion or interweaving of semi-blossomed Kunda-flowers. bAlAnyoMnmIlitAni ca tAni kundAni kundakusumAni ca bAlakundAni / teSAmanuviddhamanuvedha: viracanAvizeSaH / tat / yadvA bAlakundayognuviddham / 'bAlaH puMsi zizau ke vAjivAraNabAladhau / mUrkhepi bAlo bAlaM tu hIbere punapuMsakam / ' iti vizvalocane / bAlaM hIberaM ca kundaM kundakusumaM ca bAlakunde / pratyekazo'tra jAlAvekavacanam / tayoranuviddhaM racanAvizeSaH / tt| ardhonmIlitamAdhyakusumaviracitaracanAvizeSa, kundakusumahIberAracitaracanAvizeSaM vaa| Stanm-106-smitarucilasajjyotsnayA- by glittering moonlight in the form of the white lustre of smiles. smitaM mRduhAsyaM / tastha ruciH kAntiH smitruciH| saiva lasantI zobhamAnA prakAzamAnA vA jyotsnA candraprakAzaH / tayA / AbaddhazobhA - made elegant. AbaddhA viracitA zobhA saundarya yasyAH yasyAM sA / astadoSA - (1) free from all drawbacks; with all drawbacks removed. (2) having no relation with night. astAH parihatAH doSAH yayA saa| pakSe astA parihRtA doSA rAtriH yathA sA astdossaa| pAcIbhyudaye 36

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akalakA - spotless. na vidyate kalaGkaH yasyA saa| himamahimA - the beauty manifested by the glory of winter-season. himasya zItatoMH mahimnA prakarSeNa mahimnaH prakarSAt vA jAtA himmhimjaa| taam| mAnayantIbhiH - by those highly appreciating. lodhraprasavarajasA - with the pollens of Lodhra-flowers. lodhrAlodhrakusumAt prasavaH utpattiryasya tallodhraprasavam / tacca tadrajazca / tena / yadvA lodhrANAM prasavAH kusumAni lodhrprsvaaH| teSAM rajaH praagH| tena / lodhrakusumaprabhavaparAgasAdhanenetyarthaH / 'prasavo garbhamokSe syAddhRkSANAM phlpusspyoH| paramparAprasaGge ca lokotpAde ca putrayoH' iti, 'rajaHparAge reNau tu rajavadRzyate rajaH' iti ca vizvalocane / prAleyAMzoH -- of the moon. upaisati - laughs at. The beauty of the faces of the ladies of the city of Alaka always laughs at and would laugh at the beauty of the moon, when you would be reachiug the city. ___stanza-107-svaruciracite - prepared to their liking. svastha AtmanaH ruciH icchA svruciH| 'ruciricchA rucA ruktA zobhAbhiSvaGgayorapi' iti vizvalocane / tathA tadAnukUspena vA racite vihite| kalpavRkSaprasUte - brought forth by the wish-fulfilling trees. kalpavRkSAt kalpapAdapAt prasUtaH jAtaH kalpavRkSaprasUtaH / tasmin / 'kalpavRkSaH saGkalpapuraNAt' iti kssiirsvaamii| AkalpaHan ornament. 'AkalpaveSau nepathyaM' itymrH| 'veSo hi vastrAlaGkAramAsyaprasAdhanairaGgazobhA' iti kSIrasvAmI / cUDApAze - in the luxuriant hair on the head. kezakalApaH cUDApAzaH / 'cUDA valayabhede syAcchikhAyAM valabhAvapi' iti 'pAzaH pakSAdibandhe syAMccayArthastu kacAtparaH / chAtrAdyante ca nindArtha: karNAnte zobhanArthakaH' iti ca vizvalocane / AttAnurAgam - possessing red colour. AttaH gRhItaH anurAgaH lauhityaM yena tat / navakurabakam - fresh Kadamba flower. navaM pratyagraM ca tat kurabakaM kurabakakusumaM ca navakurabakam | 'tatra zoNe kurabakam' ityamaraH / kurabakaM vasanta sambhavaH : puSpavizeSaH / zirISam - . the Sirisa flower. zirISa grISmartusambhavaH puSpavizeSaH / abhinavaprItiM Ahatya - owing to their being attached to the love for novolties. abhinave nUtane prItiH ruciH abhinvpriitiH| tAm / Ahatya apekSya / kiJcit - uny insigni. ficant thing.

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(563) Stanza 108- padmam - a lotus which grows in the autumnal season ( zarad ). kurabaka - a flower, growing in the vernal season (vasanta, the spring). kundaM - a flower growing in the vernal season ( fafera, comprising the two months Magba 'and Plalguna). DETI reNuH - the pollens of Lodhra flowers. The Lodhra flower suggests the hemanta season, comprising the two months mArgazIrSa and poSa, 'navapravAlodmasasyaramyaH praphullalodhraH pripkvshaaliH| vilInapadmaH prapatattuSAraH hemantakAla: samupAgataH priye // zirISa - zirISa flower, suggests the hot season (grISmatuM) comprising the two montes jyeSTha and ASADha. nIpaM- nIpa flower suggests the rainy season comprising the two months 371916 and zrAvaNa. SaNNAM RtUnAM - of the six seasons, The six seasons are enumerated as -- 'zizirazca vasantazca grISmo varSA zaraddhimaH'. In the city of Alaka, there are all the six seasons throughout the whole year. one season does not follow the other one, as all of them set in simultaneously in every month of the year there. vyatikaramahaH - the beauty or pleasure generated by the combination (of the six seasons). vyatikaramahaH - vyatikaraH vyatiSaGgaH anyonyaanuprveshH| tasya tena janitaH vA mahaH utsavaH vyatikaramahaH / 'bhavedvyatikaraH puMsi vyasanavyatiSaGgayoH' iti, 'mahastUtsavatejasoH' iti ca vishvlocne| vyAktivyaktam - clearly maniFested. vyaktyA pRthagAtmatayA spaSTatayA vA vyaktaM prakaTIbhUtam / Stanza-109-zakrammanyAH - considering themselves to be Indras. zakramAtmAnaM manyante iti shkrmmnyaaH| pariNatazaraccandrikAnirmalAniresplendent like fully developed autumnal moon-light. pariNatA pUrNatA prAptA zaraccandrikA zaratkAloditasampUrNacandracandrikA prinntshrccndrikaa| seva nirmalAni vizadAni / adabhrazubhravarNAnItyarthaH / sakalakalazAradakalAnidhikaumadIvimalAni haryasthalAnIti bhAvaH / praNayavivazAH - who have lost control over themselves owing to their being love-lorn. praNayana vivazAH praNayasya vivizAH vA praNayavivazAH / mdyitnumdnmthitmnskaartvaadvinssttsjnyaaH| viSayAzAvazAdhInAH ityarthaH / svApateyoSmavanti - possessing warmth of wealth. svApateyaM dhanam / svapatI sAdhu svApateyam | The termination DhaGga ( eya)

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(564) is affixed to the word svapati under the rule 'pathyatithivasatisvapaterda'. svApateyasyoSmA svApateyodhamA / saH prazastaH nityaM vA eSAmastIti svApateyo'mavanti / prazaMsAyAM nityayoge vA mtuH| dAridyazItakadaMzajanitArtivikalAni dhanajanitasukhasAdhanasampannAnItyarthaH / sarvakAmAbhitRptAH - who have all their longings fulfilled. so ca te kAmAH abhilASAzca srvkaamaaH| abhitRptAH sarvakAmAH yeSA te| vAhitAmayAditvAtsamAsaH / sitamaNimayAni - built up with crystal or moon-stones. sitamaNiH - (1) a crystal; (2)a moon-stone. Stanza.110 - jyotsnAvimalitatalAni - with their surfaces whitened by moon-light. jyotsnayA kaumudyA vimAlatAni zuklIkRtAni jyotsnAvimalitAni / jyotsnAvimalitAni talAni pRSThapradezAH yeSA taani| harimaNimayAni - covered with pavements of sapphires. harimANiH - nIlamaNiH - a sapphire. AsavAmodavanti - giving enlivening pleasure (or emitting fragrance of liquor). Asuvati uttejayati iti AsavaH / uttejanAzca te AmodAH sugandhidravyANi ca bhaasvaamodaaH| yadvA AsavAmodaH madyasaugandhyam / so'styeSAmityAsavAmodavanti / 'sugandhimudi vAmodaH' iti vizvalocare / jyotizchAyAkusumaracanAni - decorated with flowers in the form of reflected luminaries. jyotiSI grahanakSatraprakIrNakatArakANAM chAyAH pratibimbAni jyotishchaayaaH| jyotistArAmibhAjvAlAhaputrAryAdhvarAtmasu' iti vaijayantI / chAyA syAdAtapAbhAve satkAntyutkocakAntiSu / pratibimbe'kAntAyo tathA paGktau ca pAlane' iti vizvalocane / jyotizchAyA evaM kusumaracanAni yatra / kusumAnAM racanAni racanAH vA kusumaracanAni kusumaracanAH vA kuTTimAni - pavements.. pUrNakAmAH - (1) with passions intensified, having passions strongly excited (2) having their passion fully satisfied. pUrNa: balavAn kAmaH suratakrIDAbhilASaH yeSAM te / yadvA suratakrIDAbhilASeNa pUrNAH ityarthaH / vAhitAmayAditvAtsamAsaH / uttamastrIsahAyAH - associated with most beautiful ladies, uttamAzca tAH striyazca uttamastriyaH / tAH sahAyAH yeSAM te uttamastrIsahAyAH / raMramyante - (I) have sexual enjoyment very much; (2) short very much. This is a frequentative form derived from the root. rama. stanza 111-lolApAGgAH - (1) with the corners of their eyes manifesting passion; (2) with the corners of their eyes vacillaking. lolAH satRSNAH calAH vA apAGgAH netrAntAH yAsa taaH| 'lolA

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jihAzriyoolaH satRSNacalayostriSu' iti 'apAGgastvaGgavikale netrAnte tilake pumAn ' iti ca vizvalocane / surasarasikAH - taking delight in sexual intercourse. surasaH zRGgArarasaH / tasya rasaH svAdaH anubhavaH surasarasaH / so'styasyAH sA surasarasikA / The possessive termination Than is affixed to the word surasarasa under the rule ' ato'nekaacH'| 'rasa: svAde'pi tiktAdau zRGgArAdau drave viSe' iti vizvalocane / pronnatabhUvikArAH - manifesting knittings of eyebrows in excess. pronnatAH prakarSeNa unnatiM prAptAH pronntaaH| vRddhiMgatAH ityarthaH / bhruvoH bhRkuTyoH vikArAH bhuuvikaaraaH| pronnatA bhrUvikArAH pAsA taaH| rahasi - (1) in privacy. (2 ) for baving sexual enjoyment. ' tattve guhya rate rahaH' iti vizvalocane / prANezAnAm - the lovers. prANAnAmIzate iti praanneshaaH| teSAm / madanAcAryakam - the part of a preceptor teaching the secrets of sexual enjoyment. madayati madaM kAmodrekaM janayati iti madanaH / 'mRdo dhvarthe Nijbahulam' iti Nic / 'vyAnaD bahulam' iti kartaryanaT / madanaH eva AcAryaH madanAcAryaH / tasya bhAvaH karma vA madanAcAryakam / yadvA madane ratikrIDAkaraNAbhilASajananakArye AcAryaH madanAcAryaH / madanAcAryasya bhAvaH karma vA madanAcAryakam | The word madanAcArya, having penultimate ya which has a long vowel A preceding it, has the termination buJ ( aka), implying bhAva or karma, afixed to it under the rule 'ye Go rUpottamAvuJ'. vAmanetrAH - The beautiful-eyed ladies. svAdhIne- svasmin. adhInaH svAdhInaH / tasmin | As the word adhIna is included in the allogjia group, it is compounded with a word possessing Locative case under the rule' allogifaih: 1 This compound is to be diesolved as adhi svasmin svAdhInam under the rule ' saptamI zauNDaiH'. If this compound is dissolved as above, under the rule "saptamI zoNDaiH' the termination kha ( Ina) is affixed to the word aghi under the rule 'aSaDakSAzitagvalaMkarmAlapuruSAdhyuttarapadAtkhaH' . pA. 2079 (5 / 4 / 7)] kalpavRkSaprasUtam - come forth from the wish-fulfilling trees. kalpavRkSAt prasUtaM kalpavRkSaprasUtam / When the ladies themselves are able to attract their rs towards themselves for sexual enjoyment, there is no need of taking wine to make themselves able to attract them. The ladies of the city are so beautiful that they can themselves attract their lovers towards them and there is, therefore, no need of employing othe means for the purpose.

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Stanza 112-gehe gehe - in every house. dharmAnurAgAt - through love for religion. dharme anurAgaH bhaktiH dharmAnurAgaH / tasmAddhetoH / puNyakAmaiHdesirous of attaining religious merit or cherishing desires for happiness. puNyaM sukRtaM manozaM sukRtaphalaM vA kAmayante puNyakAmAH / taiH / The termination Na (a) is affixed to the root kAm which is preceded by its object, under the rule 'zIlIkSIkSamkAmyAcarbhakSaNaH' / dhanadasacivaiH - by the servants of Kubera or along with Kubera. dhanadasva sacivAH sahAyAH dhRtyAH mantriNaH vA dhanadasacivAH / taiH| yadvA dhanadaH sacivaH sahAyaH yeSAM te / taiH / 'mantrI sahAyaH sacivau' ityamaraH / 'sacivo bhRtvamantriNoH' iti vizvalocane / dhanadasacivaiH puNyakAmaiH - by subjects, along with Kubera, desirous of attaining religious merit. tvadgambhIradhvaniSu- producing deep sound or noise like that of you. gambhIraH mandrazcAsau dhvaniH dhvAnazca gambhIradhvaniH tava gambhIradhvaniriva gambhIradhvaniH yasya saH / teSu / 'IbupamAnapUrvasya grukhaM gatArthatvAt ' iti basaH / puSkareSu-puSkara - a kettle-drum. 'puSkaraM vyomni pAnIye hastihastAgrapadmayoH / rogoragauSadhidvIpatIrthabhede'pi sArase | kANDe khagaphale vAdyabhANDavaktre ca puSkaram' iti vizvalocane / jinamahaH - a fostival in honour of Jina. mahaH - (1) a festival; (2) worship. Stanza 118-bimbAvarANAm-bimbAdharA-a lady with her lower lips red like the Bimba fruit; having Bimba-like lower lips, kAminIa beautiful woman. nIvIbandhocchrasitazithilam - loosened owing to the untying of tho knots tyiog together the ends of the garments worn by them round their buttocks and loins. nIvI - an underwear. jaghanavasanama - 'nIvIparipaNe granthau strINAM jaghanavAsasi' iti vizvaH / It seems that in thosd days women used to wear underwears upon wbich they wore Saris. nIvyAH bandhaH anthiH nIvIbandhaH / tasya ucchasitamucchAsaH vizleSaH tena zithilaM zlayIbhUtaM / 'nabbhAve kto'bhyAdibhyaH' iti bhAve ktaH na ca | Owing to the knots of the underwears being untyied, the upper garment worn by the ladies became loosened. hAri - attractive. kAmaprasavabhavanam - the abode of the origination of (or the abode provoking passion.). kAmasya nidhuvanesavanAbhilASasya prasavaH utpattiH kAma prasavaH / tasya sthAnam / AdeSu

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( 567 ) kAmam desirous of showing. AdeSTuM pradarzayituM kAmaH abhilASaH yasya tat / jigaliSu - wishing to slip down. galitumicchu jigaliSu / This is a Deside-- -p rative form derived from the root by affixing the termination under the rule ' tumI cchAyAM dhorvop' and then affixing the termination u to the sannata form under the rule ' sanbhikSAzaMsAduH '. kSaumaM - a garment. kAJcIdAmnA - by a string-like girdle. kathamapi - anyhow -- 2 6 Stanza 114. kAmadvipamukhapaTacchAyam - possessing beauty similar to that of the beautiful face-cloth of the elephant of the god of love. kAmasya madanasya dvipaH gajaH kAmadvipaH / tasya mukhapaTaH mukhAlaGkArabhUtaH paTaH / tasya cchAyeva cchAyA kAntiH zobhA yasya tat / yadvA dvipasya mukhapaTaH dvipamukhapaTaH / kAmaH kAmyaH / manoharaH ityarthaH / kAmaH smarecchayoH kAmye kAmaM retonikAmayoH iti vizvalocane / kAmazvAsau dvipamukhapaTazca kAmadvipamukhapaTaH / tasya cchAyeva cchAyA zobhA yasya tat / AsrastanIvi - with their knots tying the ends of the garments loosed ( relaxed ) a little. AsrastA ISat zlathIbhUnA nIvI strI+TIvastragranthiH yasya tat / 'nIvI tu strIkaTIvastragrantho mUladhane striyAm iti vizvalocane / zrImat - very beautiful. zrIH pracurA'syAstIti zrImat / atra prAcurye matuH / zroNIpulinavaraNam (1) covering hips resembling the eandy beaches. zroNI jaghanaM pulinaM caikatamiva zroNIpulinam / tasya varaNaM AvaraNaM zroNIpulinavaraNam / (2) covering sandy beaches resembling the proturberent hips. zroNIva pulinaM zroNIpulinam / zroNI pulina yoraunnatyasAdharmyAcchrocyA upamAnatvamavaseyam / zroNIva zroNI / * devapathAdibhyaH' itIvArthasya kasyos / ' yuktavadusi liGgasaGkhye ' iti yuktavalli -- Ggam / tasya varaNaM Avakaram / vRNotIti varaNam / 'vyAnabahulam ' iti kartaryanaT / 'kaTitaTA kAra pulinAvarakamityarthaH / kAJcIvibhaGgam - (1) encircled by zones. kAccyAH razanAyAH vibhaGgaH viracanA yatra tat / ( 2 ) possessing waves (ripples) circular like girdles. vividhAH bhaGgAH taraGgAH vibhaGgAH / ' bhaGgastaraGgarugbhede dagbhe jayaviparyaye ' iti vizvalocane / ' bhaGgastaraGga UrmirvA striyAM bIcirathormiSu ' ityamaraH / kAJcyaH iva kAJcyaH / ' devApyAdibhyaH' itIvArthasya kasyos / kosi ca yuktavalliGgam / kAJcyAkAra sahagvartulAkAra vividharaGgattara gamityarthaH / vAri - (1) resembling water. bArIva vAri / salila tulyamityarthaH / ( 2 ) covering (the body ). vAryate saMvAryate'neneti vAri / anibhRtakareSu -

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( 568 ) with tremulous hands. anibhRtA: madanamadajanitavepathukrAntAH karAH hastAH yeSAM te / teSu / na nibhRtAH stabdhAH anibhRtAH / rAgAt - passionately. gharmatoyam - the drops of perspiration. away. Stanza 115 - pramodAt - Through excessive passion. The lovers had lost their common sense owing to their being overpowered by excessive passion. antarlIlAtaralitadRza: - with their eyes turning inside sportively. The newly married ladies of the city flush with shame and turn their eyes inside when their husbands, overpowered by excessive passion, snatch away the garments worn by them and make them naked. lIlayA taralitAH saJjAtacAJcasyAH lIlAtaralitAH / antaH lIlAtaralitAH dRzaH yAsAM tAH / aMzukeSu AkSipteSu - when the garments are snatched navoDhAH the recently married ladies. zayyotthAyaM dhAvamAnAH running away speedily after having got up from their beds. zayyAyAH utthAya zayyotthAyam | When 'speed' is implied, the termination Nam is affixed to a root, preceded by a noun possessing the termination of the Ablative case, under the rule ' tvaryapAdAne ' acistur3agAn possessing height owing to the rays ( emanating from the lamps. ) . arcirbhiH mayUkhaiH tuGgA: arcistuGgAH / tAn / The newly married ladies of the city, deprived of their garments by their husbands, flush with shame so much that they, instead of taking up garments to wrap their bodies in, get suddenly out of their beds and run speedily towards the jewellamps to extinguish them. But unfortunately they cannot put them out. - Stanza 116 vastrApayi when the garments are removed. vastrANAM vasanAnAM apAyaH apagamaH vastrapAyaH / tasmin / hI mUDhAnAM - of those who are bewildered on account of their being flushed with shame. hiyA lajjayA mUDhAH homUDhAH / tAsAm / rajA vikalIkRta heyopAdeyatyAgopAdAnazaktInAmityarthaH / mugdhAGganAnAm - of the beautiful women. mugdhA: sundaryazca tAH aGganAH striyazca mugdhAGganAH / tAsAm / ' sundare vAcyavanmugdho mugdho mUDhe'pi vAcyavat' iti vizvalocane / jaghanaM abhitaH on both or all sides of buttocks valaptAH- scattared. prakSiptA / surabhiracitA - consisting of the ingredients of perfumes. surabhiNA sugandhidravyeNa racitA vinirmitA surabhiracitA / - - -

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cUrNamuSTiH- handfuls of power. kampAyattAt - kampAyatta - tremulous. kampe AyattaH kampAyattaH / tasmAt / karakisalayAt - from their sprout-like (i.e. tender, delicate) hands. karaH kisalayaH iva krkislyH| tasmAt / antarAlein the intermediate region. viphalapreraNA - have their hurls rendered futile. viphalA dRSTinirodhaphalavikalA preraNA pakSepakriyA yasyAH saa| Stanza-117- netrA satatagatinA - by the propelling wind. netrA prerakeNa | nayati pregyatIti netaa| tena / satatagatinA sadAgatinA / vaayunetyrthH| 'pavanaH pavamAnazca vAyuAto'nilo marut / samIraNo gandhavAhaH zvasanazca sdaagtiH| nabhasvAn mAtarizvA ca crnnyurjvnstyaa| prabhaJjanaH' iti dhnnyjyH| yadvimAnAprabhUmI:to the uppermost parts of the seven-storied mansions of which. TEAT: alakAyAH vimAnAH saptabhUmikAni gRhANi yadvimAnAH / teSAM agrabhUmayaH upariSThAH bhUmayaH / tAH / zikharakhacittaiH - on account of their being best within the floors of the uppermost arts of the mansions. zikhaneSu gRhAnabhAgeSu khaci. tAni nibaddhAni zikharakhacitAni / taiH / zaRcApAnukAraiH - imitating the bow of god Indra. zakrasya indrasya cApaH dhanuHkANDaM shRcaapH| tamanukarotIti shRcaapaanukaarH| taiH| The root kR preceded by the preposition anu, being preceded by its object 19919, has the termination 3T affixed to it under the rule 'karmaNyaNa'. vicitraiH - multi-coloured. 'citraM tu kaburAdabhutayostriSu' iti vizvalocane / unmayUkhaiH - by the rays emanated or originated from. udgatAH ratnebhyaH utkrAntAH mayUkhAH kiraNAH unmayUkhAH / taiH| faaar: - spread over with. Taar: - (1) variegated. (2) wonderful. sadvitAnasya lIlAm- the teauty of a beautiful canopy. vitAnaM-acanopy. 'vitAnaM riktamandayoH / triSu na strI vitAnaM sthAdviratAro locayomakhe' iti vizvalocane. Stanza 118 - 3781alai: - resorted to. This is a present participle derived from the root 3918. The root 3718, preceded by the preposition adhi, governs the Accusative case under the rule 'kamavAdheH zIthAsaH'. AmuktapratanuvisaracchIkarAsAradhArA - discharging thin lines of spreading sprays in large quantities. pratanavaH svalpaparimANAzca te visarantazca

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( 570 ) " " " pratanuvikharantaH / te ca te zIkarAH vAteritAH ambukaNAzca / teSAmAsAraH santataM patanaM / tasya dhArA: / AmuktAH pratanuvicchIkrAsAradhArAH yayA sA | zIkaro'mbukaNAH sRtAH' ityamara: / ' vAtAstaM vAri zIkara: ' iti kAtyaH / dhArAsampAta AsAraH ityamaraH / ' AsArastu prasaraNe dhArAvRSTau suhRdvale ' iti vizvalocane / zAradI antumnal. zaradi bhavA zAgdI / ' tatra bhavaH 'iTiDDhANaJ - ' ityaN iti GI ca / meghamAlA - The assemblage of clouds sAkSAt pazyatAm disregarding the presence of those looking at the clouds. Here, the Genative case of the word pazyatAm, implies 'disregard under the rule " tA cAnAdare'. AlekhyAnAM svajalakaNikAdoSa utpAdya - causing damage to the paintings with the drops of their water. svasya AtmanaH jalaM svajalam / tasya kaNikAH bindavaH / tAsAM doSaH / kaNikAkRtaH doSaH ityarthaH / tam | , ww 114

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CANTO III Stanza 1-vegAt - speedily. bhavanavalabheH antaH - into the interior of the uppermost roofed terraces (or towers). valami-bhI- the tower. In this sense this word is usod in Malatimadhava of Bhavabhuti. 'dRSTvA dRSTA bhvnblbhiitunggvaataaynsthaa'| ( Mal. I. 15). The other reading. antarbhavanavalabhi, giving the meaning of the Locative case on account of its being an Avyayibhava compound, is also appropriate to the contexto I would like to prefer this reading to the one printed in the text. yogirAja - accepts this reading instead of antarbhavanavalabhi. kathaJcit - anyhow. sUkSmIbhUtA:- turned into smaller shapes. asUkSmAH bRhatkAyAH sUkSmAH svarUpAkArAH sampannAH suukssmiibhuutaaH| The clouds, possessing expansive bodiesr skrink into smaller dimensions while entering into the interior parts of the towers through windows. dhUmodgArAnukRtinipuNA:- skilled in imitating the eruption of the volumes (cr columns) of smoke; expert in imitating the smoke-escape. dhUmasya udgAraH jAlamukhena bahiniHsaraNaM dhUmodgAraH / tasya anukRtiH anukaraNam / tatra nipuNAH kuzalAH dhUmodgArAnukRtinipuNAH / tatra - in the top-terraces. suratarasiko - engrossed in taking great pleasure in. enjoyment. rasaH AnandaH asya astIti rasikaH / surate nidhuvanakrIDAyo rasiko suratarasikau / yadvA suratasya rasaH suratarasaH / so'syAstIti suratarasikaH / to| zaGkAspRSTAH iva - as though having their fears ronsed. zaGkayA bhItyA spRSTAH jnitsprshaaH| 'zaGkA trAse vitarke ca' iti 'maNidoSe bhaye trAsaH' iti ca vizvalocane / jAlaiH - through windows. gavAkSebhyaH gavAkSamukhaiA ityarthaH / 'jAlastu kSArakAnAyagavAkSe dambhavRkSayoH' iti vishvlocne| jarAH - shattered into pieces. Stanga2-salilaziziraiH- cool by the waters. salilena zizirAH slilshishiraaH| taiH / taTavanamhAma - grown in the forests grown along the banks taTe tIre vanAni taTavanAni / tatra rohantIti taTavanarahaH / teSAm / 'kUlaM roSazca tIraM ca pratIraM ca taTaM triSu' ityamaraH / mandArANAM - of the Mandara

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(572) trees. 'mandAraH pArijAtakaH' iti 'paJcaite devataravaH mandAraH pArijAtakaH' iti cAmaraH / 'mandAraH sindhure dhUrte madhudrI dhUrtakAminoH' iti vizvalocane / chAyayA vAritoSNA :- having their heat warded off by the shadows. chAyayA anAtapena / 'chAyA syAdapAbhAve satkAntyutkocakAntiSu / pratibimbe'rkakAntAyAM tathA paGktau ca pAlane' iti vizvalocane / nidhibhugadhipAH - Yakias. nidhInnavasaGkhyAkAn bhunaktIti nidhibhuk / nidhibhuk adhipaH yeSAM te nidhibhugadhipAH / rAjarAjAnucarAH ityarthaH / kanakakadalISaNDabhAjAm - possessing groves of plantain-trees, coloured like gold. kanakakadalInAM suvarNAbhamocAnAM SaNDaH vRndaH cayaH vA kanakakadalISaNDaH / tAn bhajate iti teSAm / 'padmAdivRnde SaNDo'strI aNDaH svAddopatI caye' iti vizvalocane / kadalI-mocA -aplantain-tree. kadalI vAraNabusA rambhA mocAM'zumaraphalA' ityamaraH / krIDAdrINAm - of the pleasure-hills. abhIkSNaM - always. Stauza3-prathamakalikAm - the excellent bud of beauty. prathamA anuttamA kalikA korakaH prthmklikaa| tAm / anupameyakorakarUpAmityarthaH / strImayIm - womenly (i. e. abounding in women). striyaH prakRtAH asyAmiti striimyii| tAm / This may be explained also as - striyaH strIsamUhaH asyAmiti strImathI / tAn / The termination mayaT is affixed to the word strI in the sense of plurality under the rule 'samUhavacca bahuSu tyoH'| Carligt:~ of himn who is desirous of conquering. This is a Desiderative form derived from the root is, meaning to conquer, to win. Alamat: - of the fish-bannered god i. e. the god of love. jayakadalikA:- the trium phal banners; banners used to celebrate triumph. kadalikAH - banners. 'kadalIbhapatAkAyaryA patAkAryA mRgAntare / rambhAyAM cA'tha kRdalI pRznyAM DimbyAM ca zAramalau' iti vizvalocane. amaraprArthitAH -longed for or courted by the gods. amaraiH nirjaraiH prArthitAH abhilaSitAH abhyarthitAH vA amaraprArthitAH / anena tAsAM saundaryAtizayo dhvanyate, devAGganAbhyo'pi tAsA sundarataratvamantareNa devaiH prArthitatvAsambhavAt / kanakasikatAmuSTinikSepagUDhaiH - concealed by throwing Imndfuls of golden sands ; hidden by depositing in golden sands. kanakaM astyasyAmiti knkaa| kanakAca tA: sikatA: vAlukAzca kanakasikatAH kanaka

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( 573 ) Sairat aarti muSTayaH tAsAM nikSepaiH gUDhAH saMvRtAH / taiH / sauvarNasikatA muSTiprakSepani gUhitairityarthaH / anveSTavyaiH - worthy of being searched for ; which are to be searched for. akSayyAntarbhavana nidhayaH V Stanza 4 possessing inexhaustible treasures in their mansions. kSetuM zakyAH kSayyAH / kSayyAH which can be exhausted. The word means deserving exhaustion or destruction. na kSayyAH akSayyAH / bhavanasvAntaH antarbhavanam | antarbhavanaM - in the mansions. This is an Avyayibhava compound formed under the rule 'pAremadhye' ntastayA '. akSayyAH antarbhavanaM nidhayaH yeSAM te akSayyAntarbhavananidhayaH / rAjarAjasya - of Kubera. rAjJAM yacANAM rAjA rAjarAjaH / 'kuberastryambakasakho yakSarADguhyakezvaraH / manuSyadharmA ghanado rAjarAjo dhanAdhipaH ' ityamaraH / raktakaNThaiH possessing sweet voice. raktaH madhuraH kaNThaH kaNThadhvaniH yeSAM te / taiH / dhanapaMttiyazaH The glory of Kubera. kAmAn - objects longed for. puNyapAkaM - maturity of the auspicious Karmans. prAktanam - bound with soul in. former births. - Stanza 5 - mandrAnakapaTuravaiH bodhitAH - awakened by the shrill and deep sounds of tabor. mandrAH gambhIrAH / mandrAH deep. 'mandrastu gambhIre ' ityamaraH / paTavaH tIkSNAzca te ravAH dhyanayazca paTuravAH / ' paTurvAgmini nIroge tIkSNe dakSe sphuTe triSu / paTuH puMsi paTole strI chatrAyAM lavaNe paTu' iti vizvalocane / Anakasya parahasya paTuravAH / AnakapaTuravAH / mandrAzca te AnakapaTuvAzca mandrAnakapaTukhAH taiH / ' AnakaH paTahe bheryo mRdaGge dhvanadambude' iti vizvalocane / upahitaprItayaH possessing love for bees (fond of bees ). upahitA janitA prItiH yaiH te / vibudhavanitAvAramukhyAsaMhAyAH accompanied by celestial - - 8 Gu / , women playing the harlot; with celestial women, lovely harlots as their companions. vibudhAH devAH amarA nirjarA devAstridazA vibudhA surAH ityamaraH / teSAM vanitAH striyaH / ' strI nArI vanitA mugdhA ' iti dhanaJjayaH / apsarasaH ityarthaH / tAH eva vAramukhyAH vArastriyaH / ' vArastrI gaNikA vezyA rUpAjIvA'tha vA janaiH / satkRtA vAramukhyA syAt kuTTanI zambhalA same' ityamaraH / tAH sahAyAH sahagAminyaH yeSAM te / yadvA tAbhiH saha aya: : gamanaM yeSAM te / "

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(574) baddhAlApAH - ongaged in conversation. baddhAH viracitAH AlApAH saMlApAH yo te| vittabhartuH - of Kubera. kAmadAyi - exciting passion or fulfiling desires. - Stanza6- kalpadrumaparikarAH - The groves of wish-fulfilling trees. kalpadrumANAM kalpavRkSANAM parikaraH smuuhH| 'samRhArambhayoH pragADhagAtrikAbandhe ca parikaraH' ityamaraTIkAyAM kssiirsvaamii| tathA coktaM - 'vRndaprAbhavayozceSa paryaGkaparivArayoH / Arambhe ca paristAre bhave prikrstthaa|' citram - (1) beautiful; (2) multicoloured. nayanayoH vibhramAdezadakSam - capable of giving instructions to the eyes in connection with charming movements vibhramANAM kaTAkSANAM netraparivartanavirdhAnAM vA AdezaH upadezaH anuzAsanaM vaa| tatra dakSaM nipuNaM vibhramAdezadakSam / madhu - liquor. puSpodbhedaM - the blossoming of flowers. bhUSaNAnAM vikalpaM - a variety of ornaments. iSTAn - longed-foE. sarvakAlopabhogyAn - worthy of being enjoyed for all times or in all the seasons. sarveSu kAleSu RtuSu upabhogyAn / upabhoktuM yogyAH srvkaalopbhogyaaH| tAn / zamphalAn - bringing happiness; yielding fruits in the form or happiness. zaM sukhaM phalantIti zampalAH / tAn / yadvA zaM sukhaM phalaM pariNAmaH yeSA te zamphalAH / tAn / bhogAn - objects of enjoyment. sukRtini jane - for tho righteous. sukRtaM puNyaM asya astIti sukRti / tasmina sukRtini / pamphulItiprocreates in abundance. This is a Frequentative form derived from the root fees. The form 9r9ia is grammatically incorrect, for the a of phal is changed to u under the rule 'caphailAmuccAtaH' while deriving the Frequentative form from the root phala. . stanzan-rucyAhAraM-delicious food. rucyA AsvAdyazcAso AhAra! bhojanaM ca rucyAhAraH / tam / abhimataM rasaM - juice agreeable to taste. sragvikalpaM - a variety of garlands. vikalpaH - sort, varity. vikalpaH - prakAraH, vizeSaH, bhedaH / vipaJcIm -2 lute. 'vINA tu vllkii| vipaJcI, sA tu tantrIbhiH saptabhiH privaadinii| tataM vINAdikaM vAdya' ityamaraH / svaruciracitAni -60 prepared as to agree with one's natural taste. svA svIyA ruciH icchA svruciH| 'ruciricchA rucA ruktA zobhAbhiSvaGgayorapi' iti vizvalocanesvarucyA svecchAnukUlyena racitAni nirmitAni svarucirASitAni / AhAryANi

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(575) beautiful. aGgarAgam - scented cosmetic. caraNakamalanyAsayogyam - worthy of being applied to the lotus-like feet. caraNe kamale iva crnnkmle| tatra nyAsaH nikSepaH / tasya yogyaH / tam / sakalaM ca abalAmaNDanam - the complete decoration of women. Stanza8-drutamukhakhurAH - with their foreparts moving and the toofs attaining a high speed (at full speed ). drutamukhAzca te drutakhugazca drutamukhakhurAH / mukhAni khurAzca mukhakhurAH / drutAH gatimantaH mukhakhurAH yeSo te drutamukhakhurAH / bhUmi spraSTuM galDamAnAH iva - having as if dislike for touching the eartb. galha - to censure. patrazyAmA: - dark-green like leaves. patrANIva zyAmAH ptrshyaamaaH| vAhAH - horses. 'vAho'zvasturago vAjI' iti dhnnyjyH| dinakarahayaspardhinaH - rivalling with the horses of the Sun; as good as the horses of the Sun. prabhedAt - (1) on account of being dashed against the others; (2) owing to their rut flowing down on account of their being in rut. prabhedAt - anyonyapratighAtAt, pakSe madodbhedajanitastrAvAt / vRSTimantaH - pouring showers. zailodagrAH - lofty like mountains. zailaH iva udagrAH unnatAH zailodanAH / mandAkrAntAH -slow of pace. mandaM AkrAntaM AkramaNaM gamanaM yeSAM te mandAkrAntAH / digibhavibhubhiH- with the lords of elephants presiding over the quarters. digibhAH diggajAH eva vibhavaH prabhavaH digi. bhavibhavaH / taiH / yadvA ibhavibhavaH gajapatayaH / dizAM ibhavibhavaH digibhavibhavaH / di sq8hai: - rivalling ; standing comparison with. * Stanza 9siaat: - possessing wealth in the form of knows ledge. dhIH jJAnameva dhanaM yeSAM te dhiidhnaaH| kAminISTibANaiH - by the arrows in the form of the glances cast by the love-lorn ladies. Frihajai FIAT kulAnAM strINAM dRSTayaH kaTAkSAH kAminIdRSThayaH / tAH eva bANA: iSavaH / taiH| smaraparavazAH - under a spell of love. smarasya kAmasya paravazAH vazaMgatAH / candra-.. 21940118: i - owing to the soars of wounds inflicted (upon them) by Swords (or by the Chandrabasn). candrahAsasya rAvaNasvAmikakhaDgasya khaDgasAmAnyasa vA praNAH kSatAni cndrhaastrmaaH| teSAM te eva vA aDkA cihnAni yeSAMta / tH| 'candrahAso dazagrIvakhaDge khaDge ca dRzyate' iti vishvlocne|

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(576) pratyAdiSTAbharaNarucayaH - repudiating desire for ornaments. pratyArdiSTAH pratyAkhyAtAH AbharaNeSu rucayaH icchAH yAbhistAH / saMyuge - in the battle. pratidazaha afegaia: - come into antagonism with the ten - monthed one; stood against the ten-mouthed one (i.e. Ravana). daza mukhAni yasya saH dazamukhaH / rAvaNaH ityarthaH / dazamukhaM prati abhimukhaM pratidazamukham / tasthivAMsaH - a perfect participle derived from the root 141 by affixing the termination kasu (vas) to it. yodhAgraNyaH - the foremost of warriors. ke - of what account? Stanza.10-dhanapatisakhaM - the friend of the lord of wealth. dhanapateH kuberasya sakhA mitraM dhanapatisakhaH / tam | The word sakhin, being at the end of the compound, has in replaced by a under the rule * rAjAha:sakheSTaH'. SaTpadajyam - having bees for its string. SaTpadAH bhramarAH eva jyA maurvI yasya sH| tam / lokamUDham - silliness of the people. lokAnAM mUDhaM mohaH bhramaH pramAdaH vA lokamUDham / kAmasya prajananabhuvam - a place where feelings of love are excited. This stanza may be construed and interpreted as: -- yatra dhanapatisakhaM devaM sAkSAt vasantaM matvA bhayAt manmathaH SaDpadajyaM cApaM prAyaH na vahati tAM purI jaDadhIH lokaH evaM (pUrvazlokoktaprakAraNa) kAmasya prajananabhuvaM mithyA vadati / nanu idaM lokamUDham / " The dull-witted people wrongly say as described above that city, wherein the god of love does not wield a bow, baving bees for its string, through fear provoked on knowing the god, the friend of the lord of wealth, to be dwelling there actually, is a place where feelings of love are excited (or a place of origination of feelings of love). This is, indeed, silliness of the people." People say that the city of Alaka is a place where feelings of love are excited. But this statement made by the people does not deserve to be believed in, for owing to the god Sankara actually staying there, the god of love is afraid of taking bis bow in his hand. Stanza.11-sabhrabhaGgaprahitanayanai: - with the eyes or. glances turned or cast straight (to the lovers) with knittings of their eye brows: bhravaH bhukuTathAH bhaGgaH viracanA bhUbhaGgaH / tena sahitaM yathA syAt tathA sabhrUbhaGgam / sabhrUbhaGgaM prahitAni prayuktAni nayanAni netrANi dRSTayo yeSu taiH / kAmilakSyeSu - marks in the form of the lastful persons. kAmina:

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(577) kAmAkulAH pumAMsaH eva lakSyANi kAmilakSyANi / teSu / amogheH - not missing or not wide of. agraigaifayga: - by the glances of the clever or beautiful women. caturAH kuzalAH manoharAH vaa| caturAH ca tAH vanitAzca caturavanitAH / tAsAM vibhramAH dRgantajAtakaTAkSAdirUpA vilAsAH / taiH / "vibhramastu vilAse syAdvibhramo bhrAntihAvayoH' iti vizvalocane / 'hAvaH zrRMGgArabhAvAptI ramyoktismitavIkSita' iti nATyazAstre / 'kaTAkSaM kekarApAGga vibhramastasya vaikRtaM' iti dhanaJjayaH / 'hAvo mukhavikAraH syAt bhAvazcittasamudbhavaH / vilAso netrajo zeyo vibhramo'tra hagantayoH ' iti dhanaJjayanAmamAlAbhASye / evaM sati apithough it is so i. e. though the work of the god of love is done by the glances cast by the beantiful ladies of the city. kukIvaracitaM sakalaM uditam - the whole of the description given by the poets (or learned people ) not informed (or not knowing the facts). alpajJAH kavayaH kukavayaH, korISadarthatvAt / kavisamayavittve'pi yAthArthyAvaditvAtkavInAmatra kukavitvamadhyavaseyam / ato'tra kaveH kutsitatvaM na grAhya, api alpajJatvameva / The word kukavi should be taken to mean a poet not well informed and not a bad or ignorant poet.' Even Kalidasa, while describing the city of Alaka, is fonnd to bave described the youths and the young ladies of the city as having been the targets of the flowery arrows discharged by the god of love. Jinasena means to say that the discription may be correct on account of its being in conformity with the pattern proposed by poetics, but the work of the god of love being done by the glances cast by the beautiful ladies of the city, the god of love cannot be said to have been wielding his flowery bow to discharge flowery arrows even in the presence of god Rudra eternally staying there, in the vicinity of the city. sakalaM uditaM - the whole of the description. tasyAM puryA kAmijanamanovedhanAdikArya kAma: karotItyarthakaM yaduktaM tatsakalamuditam / The description that the god of love pierces minds of the youths and the young ladies of the city with his flowery arrows is referred to here. kAvyadharmAnurodhAt - owing to its being in conformity with the pattern proposed by poetics. kAvyasya dharmaH kAvyadharmaH / tasya anurodhaH AnukUlyaM / tasmAt / kAvyadharmAH - the special characteristics of poetry. jAghaTIti eva - becomes possible very much. The word galia is a Frequentative form derived from pAbhyuidaye 37

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(578 ) the word ghaT / satyaM syAt may possibly be correct or true. The Nirnayasagar edition and the commentary of Yogiraja read instead of ; but as the reading does not agree with the context I do not think it possible to accept the reading. The sentence :: fear found in the previous stanza and the word found in this stanza clearly show that the statement made in this stanza is alternative and in apposition to the one made in the previous stanza. The sentence referred to above and the word I found in this stanza help us in determining the reading correctly. Though the statement that the god of love does not wield his flowery bow, made by the people, is false, owing to the amorous gestures of the youths and the young ladies of the city being actually seen, it may also be true for the work of the god of love is seen being done by the glances of the beautiful ladies of the city and not by the god of love himself. This being the import of the previous stanza and of the present one, the reading, in my opinion, is preferable to the reading found in the Nirnayasagara edition and in the commentary of Yogiraja. I shall Stanza 12 bahunigaditaM - the description given at length; the lengthy description. doubt pratyayaM te karomi surapatidhanuzcAruNA settle your belief or conviction; I shall convince you. beautiful owing to the Indra's bow or looking as beautiful as the Indra's bow (i. e. rainbow ). surANAM devAnAM patiH surapatiH indraH / tasya dhanuH kodaNDaM iva cAru manoharaM / tena / yadvA surapatidhanuSA hetubhUtena cAru / tena / toraNadvArakhacitamaNikiraNotkarotsargajanitena kodaNDAkAreNa manohareNa / uttareNa (1) very lofty; (2) excellent. aioa * on account of the archway. - from the palace of Kubera. According to Mallinatha, the word uttareNa is enappratyayAnta and so it governs the Accurative case under the rule 'ar fiar' (91). From this point of view he reads dhanapatigRhAn in place of dhanapatigRhAt I cannot agree with this view. Mallinatha seems to have forgotten the word, used by Panini in bis aphorism -- enabanyatarasyAmadUre'paJcamyAH '. The commentary of Bhattoji - - - -

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(579) upon this aphorism runs as follows:- uttarAdibhyaH enab vA syAd avadhyabadhimatoH sAmIpthe / paJcamyantaM vinA / From this extract it becomes very *clear that the termination enam is affixed to a word like uttara, dakSiNa etc. only when two objects are near each other. The word I used by Kalidasa in this stanza shows that the mansion of the Yaksa is away from the palace of Kubera and so the word does not help as in accepting the word 3TTIT as one having the termination gaf affixed to the word 3777 under the rule given above. Mallinatha himself does not seem to have felt sure about his explanation. The following extract from his commentary is worthy of being read carefully. "athavA 'uttareNa' iti nainappratyayAntaM kintu 'toraNena' ityasya vizeSaNaM tRtIyAntam / dhanapatigRhAduttarasyAM dizi yattoraNaM bahiraM tena lakSitamityarthaH / " The word 377 does not mean 'northern direction'. The word Jati means * northern direction '. The word GTRIOT cannot be said to be a gaiarra form of the word uttara and so the mansion of the guha ( yakSa ) cannot be said to have been in the north of the palace of Kubera. Read the following extract from tattvabodhinI - "kathaM tarhi 'tatrAgAraM dhanapatigRhAduttareNA'smadIyam' iti ? uttareNetyetat 'dUrAlakSyaM surapatidhanuzcAruNA toraNena' iti toraNasamAnAdhikaraNaM tRtIyAntaM, na tvenbntmityaahuH|" It is clear, therefore, that the word uttareNa is not enappratyayAnta. The two words dhanapatigRhAt and dUrAt exclude us from considering the word as one having the termination pag affixed to it. Stanza 13 - goalsfos: - giving out fragrance of flowers, udgataH gandhaH yasya saH udgandhiH / The samAsAnta termination i is affixed to the word 7777, owing to its being proceded by the word 37, under the rule 'suputyUtsurabheH gandhasyeH ' / puSpaiH udgandhiH puSpodgandhiH / sAtapuSpatvA. prAdurbhUtasaurabhaH ityarthaH / mRdukisalayaH - having delicate foliage. mRdUni sukumArANi kisalayAni pallavAni yasya sH| 'pallavo'strI kisalayaH' ityamaraH / bhRGgasaGgItahArI - possessing charm owing to the songs sung by bees. bhRGgAH bhramarAH / teSAM saGgItaM guJjAravaH saGgItopamaH / bhRgagujAravasya manohArisvAtsaGgItopamatvamatrAvaseyam / saGgItamiva saGgItam / ' devapathAdibhyaH' iti

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(580) pArthasya kasyos , 'yuktavadusi liGgasaGkhye' iti napuMsakatvam / tena hArI manoharaH bhRngmaasnggiithaarii| sAndracchAyaH - having intense or pleasing shader sAndra - (1) intense; (2) pleasing. sAndrA nibiDA sukhadA vA cchAyA anAtapaH yasya saH / saliladharaNopAntapustaiNazAva: - possessing in the vicinity of its basin a mould of a fawn made by plasterning. salilaM dharati dhriyate vAnena saliladharaNam / 'vyAnaD bahulam' iti kartari ' karaNe cA'naT' iti karaNe vA'naT / AlavAlamityarthaH / pusyate abhimRdyate mRdatra pustam / lepyakarmetyarthaH / 'pustaM tu pustake klIbaM vijJAne lepyakarmaNi' iti vizvalocane / pustaM lepyakarma asva astIti pustaH / 'o'bhrAdibhyaH' ityaH / lepyakarmavinirmitaH ityarthaH / eNazAvaH mRgazizuH / ' kRssnnsaarrurunyngkurngkushmbrrohissaaH| gokarNa pRSataiNazyarohitAzcamaro mRgAH' ityamaraH / 'potaH pAko'rbhako DimbhaH pRthukaH zAvakaH zizuH' ityamaraH / saliladharaNasyopAntaH saliladharaNopAntaH / tatra pustaH lepyakarmavinirmitaH eNazAvaH yasya saH saliladharaNopAntapustaiNazAvaH / eNasya zAvaH pRthukaH eNazAvaH / pustazcA eNazAvazca pustaiNazAvaH / AlavAlopAnta prdeshsthitlepykrmvinirmitmRgshishurityrthH| kRtakatanayaH - an adopted son. kRtakaH anaurasaH api putratvenorarIkRtaH tanayaH kRtakatanayaH / putrIyitaH ityarthaH / hastaprApyastabakanamitaH - bent down owing to the. clusters (of flowers) worthy of being plucked by hand. hastena prApyAH apaceyAH hastaprApyAH / te ca te stabakAH gucchAzca / taiH namitaH namrIkRtaH / Stanza 14-marakatazilAbaddhasopAnamArgA - having a flight of steps built of emerald slabs. marakataM gArutmatam / tasya zilAmiH pASANakhaNDai: AbaddhAni viracitAni sopAnAni eva mArgaH yasyAH saa| 'gAruDatmataM marakata' ityamaraH / dIrghavaidUryanAlaiH - having long stalks resembling those made of Vaidnrya. vaidUryANi ca tAni nAlAni ca vaidUryanAlAni / dIrghANI vaidUryanAlAni yeSAM tAni dIrghavaidUryanAlAni / taiH / vidUrAt prarvatAt prabhavatIti vaidayoM maNiH / haimaiH - resembling those made of gold. hemnaH vikAraH avayavo yA haimam / haimamiva haimam / Stanza 15-kRtavasatayaH - residing. kRtA vihitA vasatiH adhivisaH yaH te / vyapagatazucaH - who have their distress dispelled. vyapagatAH vAgalitAH zucaH zokAH vyapatzucaH / 'manyuzoko tu zuk miyAm' ityamaraH / na

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(581) adhyAsyanti-do not anxiously call to their mind. dhvastatApAM- neutralizing heat. dhvastaH naSTaH tApaH grISmAtapaH yasyAH sA / tAm / yadvA dhvastaH itya: sthAnta vitaNyarthatvamurarIkRtya dhvastaH vinAzitaH tApaH grISmAtapajanitapariNAmaH yayA seti vigrahaH kAryaH / tatApAM - having water spreading wide; possessing abundant water. tatAH vistAraM prAptAH ApaH yasyAH saa| tAm / The Nirnayasagar edition reads dhvastatApAntatApAm. This compound is to be dissolved as - tApaH AtapaH antaH dharmaH yasya saH tApAntaH / grISma rityrthH| tApAntasya grISmoMH tApaH tApAntatApaH / dhvastaH naSTaH tApAntatApaH yasyAH saa| tAm / yadvA dhvastaH vinAzitaH tApAntatApaH sUrakharakaranikarAhatatatratyajanasantApa: yayA sA / tAm / vistRtormim - possessing ample or expansive wavesvistRtAH UrmayaH yasyAH sA / tAm / The Nirnayasagar edition of pAzvAbhyudaya and some editions of Megbaduta read alter in place of det. Stanza16-upavanaghane - intensified with groves of trees. upavanaM - an artificial forest. 'ArAmaH syAdupavanaM kRtrimaM vanameva tat' ityamaraH / upavanaH kRtrimaiH vanaiH vRkSasamUhairvA dhanaH sAndraH (nirantaraH) upavanadhanaH / tasmin / madgRhopAntadeze - in the adjoining region of my mansion. mama gRha madgRham / tastha upAntadezaH samIpasthaH pradezaH madgRhopAntadezaH / tasmin / AkhyeyaM - worthy of being described. AkhyAtumahamAkhyeyam / mayaki - in me not known to you. ajJAte mayi mayaki | Sambara means to say that though both of them had a brotherly relation in their former births, Parshwa, could not recognize bim for He bad forgotten His brotherly relation with him owing to passage of a very long interval of time between their past and present births. pratyayaH - confidence. tasyAH tIre - on the bank of that tank. pezalaiH - possessing beauty; attractive. indranIlaiH - sapphires. pezalaH indranIlaiH vihitazikharaH - having its peak built with beautiful sapphires. krIDAzailaH - a pleasure-hill. krIDArthaH zailaH kriiddaashailH| kanakakadalIveSTanaprekSaNIyaH - worthy of being looked at owing to the golden plantain trees forming its hedge. kanakakadalInAM suvarNavarNasavarNavAraNabusAnAM veSTanaM kanakakadalIveSTanam / tena prekSaNIyaH prekSaNAIH / The beauty of the pleasure.

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bill is enhanced owing to its being surrounded by a hedge (or a compound) of golden plantain-tress. Sambara, as described in this stanza, is, through the description of bis native place, trying his best to convince the sage of the information that His beloved is residing there and thus to distract His mind from meditation with a view to goad Him into giving a flight wherein he would be able to kill Him and take a bloody vengeance upon Him on account of whose wife he was inflicted a punishment of banishment by the then King Aravinda, under whom he and his brother, Marubhuti, bad served in their former births. He is exerting to distort His mind which is deeply absorbed in meditation by hook or by crook. Stanza 17 - 3917azystaitaa - having lightning emitting sudden transitory blaze in (your) sides ; having flasbes of lightningsin your sides. upAnte prAntapradeze sphuritA sphuraNaM prAptA taDit saudAmanI yasya 8: 1 a l Fragr: - the abode of sexual enjoyment. a: lagaagaaFrey 391891: 317201 viagra 791912: 1 pia: - cohabitation, sexual. enjoyment. faar: - a mountain of this name. This mountain is found described in the Jain Scriptures. 335d - possessing a lofty form; having its body very lofty. 3TETT gaaazi gra: agi cu a: 3TLETIfa:1 FS Farafia: - having a golden enclosure at its foot; having at its foot an enclosure consisting of Palasa-trees. A 4a: 347 TIET -- dominating over my mind to-day. Sambara means to say that ou looking at Him, the Sage, who would be having His bodily form transformed into a cloud after His death brought about by a blow of his missile, reminds him of the lofty pleasure-bill, having an enclosure formed by Palasa trees on all sides of it, very dear to bis beloved, on account of the flashes of lightning bursting suddenly iuto view in the fringes of the cloud. His heart, he means to say, is trembling, for the image of his beloved is standing before his mind's eye owing to the remembrance of the pleasure-bill. This is also another way of convincing the the sage of his being a bona fide resident of the place where Vasundhara, joined with Him in wedlock in His former birth, resides.

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(583) Stanza 18 - apagatabhayaH - who has his fear dispelled. apagataM apakrAntaM bhayaM bhItiH yasya yasmAdvA saH / AtmanInaM vyavasya - having decided what is beneficial to yourself. Hore, the termination kha (Ina ) is affixed to the word Atman in the sense - beneficial [ to oneself ] ' under the rule 'bhogavAtmanbhyAM khaH / tIrtha sthita dhvAkSaM apanudan - scaring away the crow settling upon a holy bathing place (i. e. dispelling doubt from your holy and pure mind.). tIrtha puNyakSetraM iva tIrtham / The word tIrtha implies mind which is naturally as pure and holy as a holy place. dhvAkSaM - acrow. dhvAMkSaH iva dhvAGkSaH / tam / A crow is a doubt incarnate. The word sale, therefore, implies doubt. The termination denoting similarity is dropped under the rule 'devapathAdibhyaH ' / sthirAtmA syAH - have your mind firmly fixed. sthiraH AtmA manaH yasya saH sthirAtmA / 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane. tanvI - (i) slenderly built; (ii) delicate. UIAT - a young girl who bas not delivered a child. 'aprasUtAGganAyAM ca zyAmA somalatauSadhe' iti vizvalocane / zikharidazanA - having pointed teeth. zikharANi koTayaH eSAM santIti zikhariNaH / zikhariNaH koTimanta : dazanAH dantAH yasyAH sA shikhridshnaa| 'zikharaM zailavRkSAgre kakSApulakakoTiSu / pakkadADimabIjAbhamANikyazakale'pi ca' iti vizvalocane / Possession of pointed teeth indicates fortunateness of a woman and the long life of her husband. 'pakadADimabIjAbhaM mANikyaM zikharaM viduH' iti halAyudhaH / 'snigdhAH samAnarUpAH supaGktayaH zikhariNaH zliSTAH / dantA bhavanti yAsA, tAsAM pAde jagatsarvam | tAmbUlarasarakte'pi sphuTabhAsaH samodayAH / dantAH zikhariNo yasyAH dIrgha jIvati tatpriyaH // ' iti sAmudrikazAstre / pakvabimbAdharauSThIpossessing lower lips red like ripe Bimba fruit. pakaM pariNataM ca tat bimbaM bimbikAphalaM ca paMcabimbam / pakaM bimbaM raktavarNa bimbikAphalamiva adharaH adhastanaH oSThaH yasyAH sA. pakkabimbAdharauSThI / The reading pakkabimbAdharoSThI is also grammatically correct under the rule 'otvoSThayoH se vA prruupm'| The feminine termination GI (I) is affixed to the word oSTha, the last member of the compound, under the rule 'nAsikodarauSThajavAdantakarNazRGgAGgagAtrakaNThAt' / 'oSThau nirbaNau snigdhau nAtisthUlau na romshau| rakto

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(584) bimbaphalAkArau dhanaputrasukhapradau' iti sAmudrikazAstre / Sambara says- The great sage should believe in him. The young girl, residing in The city of Alaka, married to Him in her and His former birth is very fortunate, for she possesses pointed teeth and Bimba-fruit-like lips. He, therefore, getting himself transformed into a cloud after His death brought about by him in a fight, should visit the city of Alaka, and meet her there. Stanza 19- kinnarANAM satI utpannA - born as one belonging to the race of Kinnaras. madhye kSAmA - one having a thin waist; thin in the middle. The reading madhyekSAmA is also correct, for it is an Aluk compound formed under the rule "Se kRti bahulam' / cakitahariNIprekSaNA - having eyes resembling those of a frightened doe. cakitA bhayaprakampitA cAsau hariNI mRgI ca cakitahariNI / tasyAH prekSaNe nayane iva nayane yasyAH sA cakitahariNIprekSaNA / nimnanAbhiH - possessing a deep novel. nimnA gambhIrA nAbhiH udarAvartaH yasyAH sA | The adjectives tanvI etc. indicate that she belongs to the first class of the four classes into which women are divided. The padminI is defined in the work called ratimaJjarI as - 'bhavati kamalanetrA nAsikAkSudrarandhrA, aviralakucayugmA cArakezI kRzAGgI / mRduvacanasuzIlA gItavAdyAnuraktA, sakalatanusuvezA padminI padmagandhA // ' smarAtoM - pining with love. smareNa kAmavAsanayA ArtI pIDitA smarArtA / saumyaM - a noble or a beautiful one. sajalanayanA - with her eyes become full with tears. sajale azrujalasahite nayane netre yasyAH sA | Sambara, reminding Him of basundharA, who had joined herself with Him in wedlock in her former birth, describes her present state to see whether He, through compassion for her, gives up meditation in which his mind is absorbed. stanza 20-zroNIbhArAt alasagamanA - slow in gait owing to the weight of her buttocks. zroNyAH nitambabimbastha bhAraH gauravaM zroNIbhAraH / tasmAt / alasaM mandamandaM gamanaM gatiH yasyAH sA / Her buttocks are so big that she cannot walk speedily. stanAbhyAM stokanamrA - bent down a little owing to her breasts. stokaM ISat namrA avanatA stoknmraa| Her breasts are so fleshy that owing to their weight she has to bend down a little,

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smaraparavazA - brought into subjection by the god of love or subdued by passion. samarasya kAmasya paravazA adhInA smaraparakzA / sahasahacaraM tvAM sandidRkSuH -- desirous of seeing you in company with your friends. sahacaraiH mitraiH sahitaH sahasahacaraH / tam / As the change of saha to sa is optional under the rule ' vA nIcaH', the word saha is not changed to sa here. sandidRkSuH is a Desiderative form derived from the root sam + dRz by affixing the termination u under the rule 'snbhikssaashsvindicchaaduH'| candrakAntopalAnte - upon a moon-stone-slab. Her gait slowed down owing to the weight of her big buttocks, ber bending down a little owing to her fleshy thick breasts, her being brought into subjection by the god of love, her desire to see the great sage along with His friends, her act of representing the sage in drawing upon a moonston-slab with a desire to look at Him, and ber departure owing to her eyes being obstructed by tears gathered in her eyes are described here by Sambara with a desire to rouse passion in the heart of the sage and to disturb His mind engrossed in deep meditation Stanza 21-nAnAveSe - wearing diverse costumes. nAnA bahuvidhAH vaSAH vasrAlaGkarAdayaH yasya / tasmin / bahuvilasite - manifesting various feminine gestures indicative of amorous sentiments. bahuni bahuvidhAni vilasitAni hAvAH lIlAzca yasya / tasmin / hAva means a charming speech, a charming smile and charming glances meant for the attain*ment of love sentiment. 'hAvaH zRGgArabhAvAptau ramyoktismitavIkSitaM' iti nATayazAstre / lIlA is the charming imitation of the lover's speech, dress and movements. 'priyasyAnukRtilIlA zliSTA vAgveSaceSTitaiH ' iti nATayazAstre, kinnarastrIsamAje - in the whole class of Kinnara-women. bahutirthI kAmAvasthAM dhArayantI - reduced to the state bringing her into subjection to the strong emotion of love. bahutithIM - strong. In the sense of completion the termination DaT (a) is affixed to the word bahu under the rule 'tasya pUraNe DaT ' and the augument tithuk is affixed to the word bahu before the termination DaT under the rule 'bahupUgagaNasaGghasya tithuk' / The ferninine termination is affixed to the word agiay under the

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( 586 ) * rule ' iTiDDhANaJ - ' bahvInAM pUraNI bahutithiH / tAm / This description of the most beautiful young lady is also meant for distracting the mind of the great sage. I C Stanzas 22 & 23 - sAdhvIM a faithful or chaste woman. # satI pativratA sAdhvI pativaratyeka patnyapi ' iti dhanaJjayaH / citte vidhiniyamitAm - vidhibhiH zAstroktavratAdividhAnaiH having her mind restrained by vows. niyamitA niyantritA / tAm / anyapasne nirAzAm - having no enthusiasm for a person other than the Sage. anya: pauMsnaH anyapauMsnaH / tasmin / puMsaH bhAvaH pauranam / . This is an abstract noun derived from the word puMs by affixing the termination naST ( na ) to it under the rule ve vA '. pauMsnaM puruSatvaM asya astIti paurana: / The word paurana is derived from the word: pauMsnaM by affixing the possessive termination a under the rule 'o'nAdibhyaH ' / . The word paurana implies also a group of men (male human beings)'. The word means 'male human being'. These two word are_derived under the rule 'strIpuMsAnnaNTsnaNT vataH / puMsaH apatyaM pumAn pauMsnaH / anyasmin pauMsne puruSe puruSasamUha vA anyapasne / nirgatA 1 vinaSTA AzA abhilASaH yasthA sA / tAm / skhInAM kanyAvasthA - attained to the age of maidenhood amongst her female friends. tvadupagamene baddhakAmAm -- cherishing a strong desire for your arrival tvadupagamane tvadugamanaviSaye ityarthaH / baddhaH viracitaH kAmaH abhilASaH yayA sA / praNayavivazAm reduced to the state of helplessness through passion or owing to passion. praNayAt praNayena kAmavAsanodrekeNa vivazA agatikA praNayavivazA | tAm / parimitakathAm - having a curb put upon her speech. parimitA atyartha maryAdIkRtA kathA bhASaNaM yayA sA / tAm / saraskadalIgarbhapatreopavIjyai: - by means of fans in the form of tender internal leaves of the fresh plantaintrees or in the form of fresh internal leaves of the plantain-trees. BLAI pratyagrA cAsau kadalI rambhA ca sarasakudalI / tasyAH garbhapatrANi eva upavajyAni vyajanAni / taiH / yadvA sarasAni kadasyAH garbhapatrANi eva upavIjyAni / taiH / upavIjyate anena iti upavIjyam / upavIjyaM a fan. This word is derived from the root 31 by affixing the termination in the sense of an 1 cut

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(587) instrument under the rule ' vyAnaD bhulm'| The reading upavIjaiH is also correct. upavIjyate anena iti upavIjaH / This word is derived from the root upavIja by affixing the termination | under the rule 'puMkhau paH prAyaH' / labdhAzvAsAm - come or brought to her senses. labdhaH punaH prAptaH AzvAsaH caitanyaM prabodho vA yayA sA / tAm / kimapi kimapi mliSTavaNe lapantI - speaking at random indistinctly. kimapi kimaki - incoherent; absurdi. mliSTavarNam - indistinctly. mliSTAH varNAH yathA syustthaa| mliSTAH avyaktAH ityarthaH / 'mliSTaM syAdvAcyavanmAne mliSTamavyaktabhASaNe' iti vizvalocane / The nirNasAgara edition reads zliSTavarNam | As the reading zliSTavarNam , meaning conjunct consonants,' does not agree with the context, I have changed the reading to mliSTavarNam . zIrNaprAyAM - standing on theverge of death. bAhulyena zIrNA shiirnnpraayaa| tAm / The word zIrNaprAyAM literally means 'too much emaciated.' The word 914 implies 116EUR9. 'prAyo bhUmnyantagamane' ityamaraH / 'prAyaH pumAnanazane mRtyubAhulyayostathA' iti vizvalocane / AvayoH baddhasAmyAt - owing to our mutual resemblance. baddhaM ca tatsAmyaM ca baddhasAmyaM / tasmAt / This discription of the young lady is also meant for distracting the mind of the Sage. The young lady is described to have been grieved very much at the departure of Kamatha, whom she, owing to his resemblance to her husband of the former birth, took for her husband. Stanza24- gADhotkaNThAgurudhU divaseSu gacchasu - when these days, become long owing to her being love-sick, are passing away. gADhA prabalA cAsau utkaNThA svapatigamanautsukyaM ca gADhotkaNThA / tayA guruSu dI(bhUteSu / karakisalayanyastavaktvendumugdhA - looking beautiful owing to her moon-like face reposed in her sprout-like hand. karaH kisalayaH iva karakisalayaH / tatra nyastaH vaktrenduH karakisalayanyastavaktvenduH / vaktramevenduH / tena mugdhA manoharA karakisalayanyastavaktvendumugdhA / 'sundare vAcyavanmugdho mugdho mUDhe'pi vAcyavat' iti vizvalocane / abhimanAH - very anxious. martavyazeSAm - in which death alone is left out. martavyaM maraNaM zeSa avaziSTaM yasyAH sA / tAm /

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( 588 ) Stanza 25 pInastanataTabharAt - owing to the burden of her corpulent breasts pInau mAMsalo ca tau stanataTau ca pInastanataToH / tayoH bharaH bhAraH pInastanataTabharaH / tasmAt / ' bharastvatizaye bhAre' iti vizvalocane / sAminamrAgrabhAgA with its upper part bent down a little. sAmi ISat namraH nataH agrabhAgaH UrdhvabhAgaH yasyAH sA / ' sAmi nindArdhayoH ' iti vizvalocane / sAminamra bent half agrabhAgaH - mukhAmbhojakAntiH .< C * the upper part nizvAsoSpApradavitahaving the beauty of her lotus-like face spoiled by the heat of the puffs of (her ) breath. nizvAsasya uSNaH USmA nizvAsoSNaH / uSNaH syAdAtape grISme vAcyavattaptadakSayoH ' iti vizvalocane / tena pradavitA, lAnIkRtA prakarSeNa dUrIkRtA vA mukhAmbhojakAntiH yasyAH sA / mukhamevAmbhoja kamalaM mukhAmbhojam | pradavaH glAniH dAhaH vA saJjAtaH asyAH sA / pradUyate'neneti pradavaH / The word is derived from the root by affixing the termination under the rule puMkhau ghaH prAyaH '. The compound mukhAbhoja may also be dissolved as mukhamambhojaM kamalamiva mukhAmbhojaM under the rule vyAghrAdibhirupameyo'tadyoge ' cintAvezAt - on account of the mental disturbance caused by anxiety. faraiat Hia: nimajjanaM cintAyAH AvezaH AkramaNaM vA cintAvezaH / tasmAt / Aveza : - ( 1 ) complete absorption ; ( 2 ) taking possession ; ( 3 ) coming into being, arising apacitA emaciated. This is a p. p. derived from the root apaci (apa + ci). apa+ci to deteriorate. sAlasApAGgavIkSA casting dull sideglances. apAGgena netrAntena vIkSA avalokanaM apAGgavIkSA | vIkSaNaM vIkSA kaTAkSaH ityarthaH / ' apAGgau netrayorantau kaTAkSo'pAGgadarzane ' ityamaraH / alasena sahitA sAlsA | sAlasA apAGgavIkSA yasyAH sA sAlasApAGgavIkSA / virUkSA deprived of pleasure vizeSeNa rUkSA galitasaundaryA vigalitAnandA vA virUkSA | ' rUkSo vRkSAntare premazUnyakarkaza yo triSu iti vizvalocane / ' rUkSastva premNya cikkaNe ityamaraH / ziziramathitA - afflicted (blighted ) by frost. zizireNa ziziratunA tuSAreNa vA mathitA pIDitA ziziramathitA / zizirastu Rtau puMsi tuSAre zItale'nyavat' iti vizvalocane / anyarUpA changed in form. anyat pUrva - " J " / rUpamAkAra saundaryasvabhAva zloka smAt zarIrAt bhinnaM rUpaM zarIrakAraH yasyAH sA Satra | nATakAdau mRge granthAvRttau ca pazuzabdayoH ' iti vizvalocane / Sambara - - - - -

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(589) means to say that the young lady, described hitherto, would not be recognised by the Sage, for she must have been changed altogether owing to her separation from Him for a long time. The word sAlasA91641a1871 can be split up as at 3138191&nateat and the pronoun at can be constructed with sAminamrAgrabhAgA etc. The compound alasApAGgavIkSA should be dissolved as alasA acaJcalA apAGgavIkSA yasyAH sA / alasApAGgavIjhA - casting languishing side glances. Stanza. 26 - tAvakam - your. tava ayaM tAvakaH / tam / samprayogaunion. didhyAsoH - wishing to think ; thinking constantly. dhyAtumicchu: didhyAsuH / tasya / This is a Desiderative form derived from the root dhye. nidrApAyAt - owing to her sleep being disturted or broken. nidrAyAH apAyaH apagamaH vinAzaH vA nidrApAyaH / tasmAt / The sleep of the young lady, desirous of having sexual intercourse, might have been broken, on account of her wish to have sexual intercourse with the great Sage, to whom she was married in her former birth. indubimbAnukArI - imitating the disc of the moon. indoH candramasaH bimbaM maNDalaM indubimbam / tat anukarotIti indubimbAnukArI / prabalaruditocchUnanetram - with eyes swollen owing to her crying bitterly. prabalaM bahulaM ca tat ruditaM rodanaM ca prabalaruditam / tena ucchne janitazothe netre nayane yasya tat / bahUnAM nizvAsAnAM aziziratayA - owing to the hotness of the multiplicity of sighs. aziziratA - hotness. . bhinnavarNAdharoSTham - with lower and upper lips having their colour changed. bhinnaH varNAntaratvaM prAptaH vikRti prAptaH vA varNaH chAyA yayoH to bhinnavau~ / bhinnavarNI adharoSThI yasya tat bhinnavarNAdharauSTham / Stanza 27 - virahazayanAbhogamuktAkhilAGgyAH - having all her limbs let loose on the expansive bed on account of her separation from you or having all her limbs let loose on the expansion of a bed meant for the separated. zayanasya zayyAyA AbhogaH prasaraH zayanAbhogaH / tatra muktAni nyAsIkRtAni zayanAbhomamuktAni / akhilAni ca tAni aGgAni avayavAH ca akhilAGgAni / viraheNa zayanAbhoge muktAni akhilAGgAni yayA sA / tasyAH /

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(590) yadvA - virahazayanaM dampatIdvandvazayanAnaha zayanam / virahazayanasyAbhogaH prasaraH virahazayanAbhogaH / tatra muktAni nyastAni akhilAni aGgAni yayA saa| tasyAH / Being separated from her lover, she, according to Sambara, might have thrown her body, having all its limbs enfeebled (unnerved), on a cushion (bed) accommodating one individual only. From this it can be inferred that she would have been very much unnerved owing to her separation from her lover long since. mRdutalaM - having soft surface. mRdu sukhasparza talaM pRSThabhAgaH yasya tat / gaNDopadhAnam - a pillow. gaNDakya kapolasya upadhAnaH sthApanAdhAraH gaNDopadhAnam / yadvA gaNDaH kapolaH upadhIyate'treti gaNDopadhAnam / 'karaNAdhAre cAnaT ' ityAdhAre'naT / lambAlakatvAt - owing to the traces of hair dangling ( about her face ). lambAH lambamAnAH alakAH cUrNakuntalAH yatra tat lambAlakam / tasya bhAvaH lamvAlakatvam / tasmAt / asakalavyakti - not fully discernible. na sakalA sampUrNA asakalA / asampUrNetyarthaH / asakalA vyaktiH abhivyaktiH prakAzaH yasya tat / tvadupasaraNa kliSTakAntaH - having her lustre spoiled by your approach near her. tava upasaraNaM tvadupasaraNam / tena kliSTA mlAnA kAntiH udyotaH jyotsnA vA yasya sH| tasya / denya - gloominess. Sambara means to say that the young lady, being separated from you long since, having her heart concentrated upon the Sage, her lover, throwing her underved body upon a single bed and lying restlessly there, embracing her pillow to express as if her desire ' to have a close embrace, might be having her face, placed on the palms of her hands, not fully visible owing to the tresses hanging ( about her face), wearing the gloominess of the moon whose lustre has been spoiled by the approach of clouds near her. This verbal portrait of the youthful girl is given by Sambara to excite passion in .the heart of the great Sage. The poor fellow, Sambara, does not seem to be aware of the thorough control of the Sage on his mind. This dsecription of the young girl denotes the absorption of her mind in anxiety. Read the following stanza ---- adhikaratalakarUpaM karipatasyApakelI, parimalananimIla spANDimA gaNDapAlI / sutanu kathaya kasya vyaJja. yatyajaseva, smaranarapatilIlAyauvarAjyAbhiSekam //

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Stanza 28 calakisalayaH The red beautiful. 6 with foliage swinging to and fro calAH caJcalAH kisalayAH pallavAH yasya saH / raktAzokaH Asoka. This Asoka - tree is described as an excitant of passion. Mallinatha has quoted the following stanza in his commentary, called saMjIvanI, on Meghaduta. prasUna kairazokastu zveto rakta iti dvidhA / bahusiddhikaraH zveto rakto'tra smaravardhanaH // kAntaH 'kAnto ramye priye triSu' iti vizvalocane / kesaraH The Bakula-tree. 'kesaro bakule siMhacchaTAyAM nAgakesare / punnAge'strI tu kiJjalke syAttu hiGguni kesaram // ' iti vizvalocane. kurabakavRteH - surrounded with the hedge of Kurabaka plants or having the enclosure of Kurabaka plants. kuravakaH kurabakAH vA eva vRtiH veSTanaM yasva tasya / kurabakaH puMsi zoNajhiNTikAmlAnabhedayoH ' iti ' vRtirvivaraNe vATe veSTite varaNe vRtam' iti ca vizvalocane / mAdhavImaNDapasya of the bower of Madhavi creepers. mahinyAH sahacarI ( tava ca ) dvitIyA saha sevate upon which ( she ), my wife's associate and your wife (of the former birth) attends simultaneously. Sambara means to say that the young lady described in previous stanzas is the female friend of his better-half and the wife of the Sage to whom she was married in His former birthe. dvitIyA wife. 'dvitIyA tithimityoH pUraNe'pi dvayostriSu' iti vizvalocane / sevate mRgAkSyAH attends upon, serves. of that fawn-eyed one. rahayituma to dispell; to cause to abandon. Sambara means to say that the youthful Kinnara girl, distressed very much owing to her being separated from the Sage long since, might be amusing herself with the two trees upon which she attends every day. HAVE ( 591 ) - M -- - - Stanza 29 manniveze (1) standing in the garden attached to my dwelling place; (2) at the Time of my marriage ceremony. nivezaH ( 1 ) an abode, a house, a dwelling; (2) marriage. mama nivezaH mannivezaH / tasmin / As it is impossible to have a tree planted in a house, we must, by I, take the word somewhere in the region adjoining to the dwelling Sambara, for, according to the definition of lakSaNA, Suggested by the original word, must be related to the original sense -of the criginal word. mama nivezaH vivAhaH mannivezaH / tasmin / tasmina kAle to denote a place of the demi-god, the other sense, -

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(592) ityarthaH / 'nivezaH zibire puMsi tathodvAhavinAzayoH' iti vizvalocane / mayA saha - in company with me. viracitatalau - which have their basins formed. viracite tale AlavAlau vaidike vA yayoH tau viracitatalau / ' svarUpAdhArayostalam' iti vizvalocane / talaM - laH - (1) a basin round the foot of a tree; (2) a support. kAmasya ekaM prasavabhavanaM viddhi - you should take (those two trees) to be the only or main source generating (i.e. exciting ) passion. prasavasya utpatteH bhavanaM sthAnaM prasavabhavanam / ekaM - (1) second to none; (2) main. 'eke mukhyAnyakevalAH' ityamaraH / 'ekastu syAt / triSu zreSThe kevaletarayorapi' iti vizvalocane / ekaH - This numeral refers to the red Asoka and not to the Bakula tree, for the word vAmapAdAbhilASI qualifies it. According to the convention of the poets (kavisamaya), it is the Asoka tree alone that blossoms when kicked by a beautiful woman. Read the following verse - strINA sparzApriyaGgurvikasati bakulaH siidhugnndduusssekaat| pAdAghAtAdazokastilakakurabako viikssnnaalinggnaabhyaam|| mandAro narmavAkyAt paTumRduhasanAccampako vaktravAtAt / cUto gItAnnamerurvikasati ca puro nartanAtkarNikAraH // dauhRhacchadmanA - under the pretext of longing. dauhRdasya dohadasya chadma vyAjaH dauhRdacchadma / tena | Read the following stanza :tarugulmalatAdInAmakAle kuzalaiH kRtam / puSpAdyutpAdaka dravyaM dohadaM syAttu tkriyaa| Alagiarizaloft - longing for a kick by her left foot; desirous of being kicked by her left foot. vAmaH savyaH ca asau pAdazca vAmapAdaH / taM abhilaSatIti vAmapAdAbhilASI | Sambara is described in the bygone stanzas as to have made a statement regarding the chastity of the Kinnara girl. It is construed as mayA saha ekaH vAmapAdAbhilASI. This statement made by Sambara is bound to go against his former statement (i. e. the statement made by him in stanzas 22 & 23 of this canto). Taking this into consideration, I have, notwithstanding the fault of dUrAnvaya, constructed the couple of words, mayA saha with madgahinyA. Stanza. 30- tanmadhye - between the two (trees). tayoH azokakesaravRkSayoH madhyaM madhyabhAgasthitaH pradezaH tanmadhyaM / tatra / 'madhyaM nyAyye'vakAze ca madhyaM madhyasthite triSu / lagnake'pyadhame madhyamastriyAmavalagnake' iti vishvlocne|

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( 593 ) C tvadviyogAt - on account of being separated from you. tvattaH tava vA viyogaH tvadviyogaH / tasmAt / adhyavasitamRteH of death decided ( by her ). adhyavasitA nizcitA jJAtA vA mRtiH maraNaM adhyavasitamRtiH / tasyAH / mUlaM (1) The cause ; ( 2 ) the root. anatiprauDhavaMzaprakAzaiH having lustre or colour like that of bamboos not ripened very much [not very mature ]. prakarSeNa UDhAH prauDhAH / vRddhiM prAptAH ityarthaH / atizayena prauDhAH atiprauDhAH / na atiprauDhAH anatiprauDhAH / ISadvRddhimantaH ityarthaH / anatiprauDhAzca te vaMzAH kIcakAzva anatiprauDhavaMzAH / teSAM prakAzaH iva prakAzaH yeSAM te / taiH / adhiSThitAgrA - having its top occuied. adhiSThitaM vyAptaM ayaM upariSThaH antaH yasyAH sA / sphaTikaphalakA having a crystal slab; having a slab studded with & number of crystals. bahavaH sphaTikAH sitamaNayaH santi asyeti sphaTikam | sphaTikaM sphaTikamaNibahulaM phalakaM asti yasyAH sA / yadvA sphaTikastha phalakaM astyasyAH sphaTikaphalakA | asbhrAdibhyaH' ityatyaH matvarthIyaH / kAJcanI - golden, made of gold. kAJcanasya vikAraH kAJcanam / tasya vikAraH' ityaN / striyAM GI ca / vAsayaSTiH a roosting perch. The roosting perch reminds her of her being a woman of noble birth, the crystal slab of her being a pure-minded chaste woman and the perching of a peacock upon the crystal slab of her being seduced by Kamatha, her husband's brother of the former birth and of her throwing herself into the arms of her paramour, Kamatha. Being reminded of her misconduct of the former birth which led to her separation from her husband, she has lost her hope of getting herself reunited with her husband and sees no alternative other than death. The roosting perch is, therefore, described as the root cause of her taking decision of death. Being reminded of this incident that had taken place in her former birth, she is extremely distressed at heart and is drawing very near to the verge of death. " - - - - Stanza 31. me kAntayA ziJjAvalayasubhagaiH tAlaiH nartitaH - made by my wife to dance keeping time with the clappings of the hands. zikSAvalayasubhagai:-- rondered charming by her jingling bracelets. ziJjAvanti dhvaniyuktAni valayAni zikSAvalayAni / zikSA a jingling sound of ornaments. pArzvAbhyudaye 38 -

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(488) 9at iftista' AT: 1 This compound may also be dissolved as IIiga1a1fa asalla fazia aia. As the root fa5a, being Atmanepadin, cannot have termination Ja ( 212 ) affixed to it, the reading Rasuah: is not acceptable. Omaaa: gh: HAIETI: 1 a: 1 9: GET - your friend. Notwithstanding the implication, 914aara179 fA, given by me in the commentary, it is better to take the word a: as implying the Sage, that would have worne the plight of a cloud. q: YET - making friends with you, the clouds. aida: - made to dance. Fleid: - a peacock. 'Heti aleg: et aigigneau11 13*05: 141 a lauli'gla qaza: l igaalazA - at the time of Sunset. yAM nIlakaNThaH adhyAste - upon which the peacock roosts or settles for sleep. Fg7979: - of the flower-arrowed god i. e. god of love. Farat - the banner. qat - matchless, 926aidar - crying very much. prabalaM ruditaM rodanaM yasyAH sA / Having lost all hopes of her reunion with her husband, sho, crying very much, worships the roosting perch like other love-sick ladies with a desire to have herself reunited with her bsuband of the former birth. alcar - a chaste woman. Stanza 32 - athi: AH gaa: a higaa ulia: - between her and my young lady there esists a relation of inseparable friendship i. e. she and my young lady have become intimate friends. laiaat inseparable. vivekAt viyogAt niSkrAntA nirgatA nirvivekA / tataH ahaM enAM ATTE changiaat hanh - I therefrom have come to knuw that, in my house, she is involved in distress or on account of that (i. e. on account of their being intimate friends ) I have come to know in my house that she is involved in distress. It is implied that Sambara came to know from his beloved who is her intimate friend that she is extremely unhappy. If the word madgRhe is explained as madgRhamiva madgRhaM / aithal the implication of the sentence would be as - The house of the lady, wherein she is languishing from grief, being as good as the house of Sambara, Sambara, who had free access to the pining lady,

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( 595 ) came to know that the Kinnara girl is extremely unhappy owing to her longing for her reunion with her husband. vyasanapatitAM involved in distress. vyasane daivAniSTaphale vipattau vA patitA nimagnA vyasanapatitA / tAm / Sambara means to say that the Sage, on assuming the form of a cloud after his death, should visit Alaka and see her. taJcaraH - (1) rosi ding in it; (2) going there. ebhiH hRdayanihitaiH lakSaNaiH by means of these distinctive marks committed to memory. lakSaNaM a distinctive mark. hRdayanihitaiH - committed to memory. hRdaye nihitAni hRdayanihitAni / "taiH / madgRhaM lakSayethAH you would recognise or find out my house or her house resembling my house. - Stanza 33 matkalatre tasyAH duHkhaprazamanavidhau vyApRte-as my wife would have been engrossed or engaged in getting rid of her distress. duHkhaprazamanavidhau in the work of alleviating sorrow. duHkhasya tvadviyogajanitasya AdheH prazamanaM upazamanaM duHkhaprazamanaM / tasya vidhiH kriyA duHkhaprazamanavidhiH / tasmin / ' vidhirvedhasi kAle nA vidhAne niyatau striyAm' iti vizva- locane / vyApRta - engrossed, engaged. mandamandAyamAne anucarajane api mUkIbhUte as the servants even, very slow in doing their jobs, would have been abstaining from speech. mandamandAyamAne become very slow. - mandaprakAraH mandamandaH | The word manda is reduplicated under the rule * prakAre guNoktervA to denote 'mode'. mandamandaH zItakaH iva AcaratIti - mandamandAyamAnaH / tasmin / anucarajanaH the servants. mUkIbhUtaH become -silent. kSAmacchAyam the charm of which is diminished. kSAmA kSINA chAyA zobhA yasya tat / Sambara means to say that the house wherein the mistress would be found engaged in mitigating sorrow of the Kinnara girl, the servants very slow in doing their jobs and tongue-tied, and which would have its charin diminished on account of its master being absent from it, should be considered by the Sage, transformed into a -cloud, as belonging to herself. sUryApAye when the sun sets or dis appears. abhikhyAM beauty, charm. ' abhikhyA tu yazaH kIrtizobhAvikhyAtinAmasu ' iti vizvalocane / svAM abhikhyAM na puSyati increase its beauty or does not maintain its beauty. does not - - SAMS - - -

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(596) Stanza.34- zIghrasampAtahetoH- for the sake of moving rapidly. zIghraH tvaritaH ca asau sampAtaH gamanaM ca zIghrasampAtaH / tasya hetuH shiighrsmpaathetuH| tasmAt tasya vA / 'sampAtaH patane vege praveze vedasaMvide' iti shbdaarnnve| yadvA zIghrasampAta eva hetustasya tasmAdvA / zIghragamanArthamityarthaH / sadyaH - quickly. kalabhatanutAM gatvA - having assumed the form like that of the cub of an elephant. kalabhasya dvipapotasya tanuriva tanuH yasya saH / tasya bhAvaH kalabhatanutA / tAm / yadvA kalabhasyeva tanutA svalpazarIrAkAratA / tAm / ramyasAno - having a beautiful peak or having a peak possessing Champaka-trees grown on it or having a peak serving as a pleasure-abode. ramyaH manoharaH ratikrIDAhaH sacampakapAdapaH vA sAnuH zikharaM yasya saH / tasmin / ramthAH campakapAdapAH sannyasyeti ramyaH / 'o'bhrAdibhyaH' ityatyaH matvarthIyaH / ' ramyaH triSu manohare / ramyA vibhAvarI ramyaH puMsi campakapAdape' iti vizvalocane / 'snuH prasthaH sAnurastriyAm ' ityamaraH / 'sAnuH zRGge budhe'raNye vAtyAyAM pallave pathi' iti vishvlocne| krIDAzaile - on the pleasure-mountain. krIDAprayojanaH zailaH krIDAzailaH / tasmin / virahavidhurAma - overwhelmed with grief provoked by separation (from you). viraheNa vidhurA duHkhapIDitA virahavidhurA / tAm / 'vidhuraM vikale' nyavat' iti vizvalocane / tvattaH - with reference to you. tvattaH tvAmadhikRtyetyarthaH / Adhi - mental anguish. puMsyAdhizcittapIDAyAM prazaMsAyAM ca bndhke| vyasane cA'pyadhiSThAne' iti vizvalocane / madaca pratyayena - believing in my words. mama madIyaM vacaH vacanaM madvacaH / tasmin pratyayaH vizvAsaH / tena / 'pratyayaH zapathe hetau jJAnavizvAsanizcaye / sannAdyadhInarandhreSu khyAtatvAcArayorapi' iti vizvalocane / amuSyAM vanabhuvi - in that garden. Sambara means to say that the Sage, transformed into a cloud, should first quickly assume the form as small as that of a young one of the elephant for moving rapidly, and resting on the pleasure-hill which is described before, should perceive her, involved in the mental anguisb, in that garden planted near his dwelling. Stanza 35-no cet - if she would not be found there. yadi upavane tvadRSTipathaM nAktaret iti bhAvaH / tadA - then. dazAM udvahantI - reduced to that state. virahavedhuryavatImavasthAM dhArayantI / antargahaM adhivaset -

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(597 ) would be dwelling in the inner apartment [of the house standing in the interior part of the garden]. antagRhaM - (1) in the house standing in the interior part of the garden; (2) in the inner apartmont of the house; (3) in the house. antaham - (1) udyAnAntargataM gRhaM, (2) gRhAntargataM gRhaM, (3) madhyegRhaM vA / antargataM gRhaM antargaham / yadvA gRhasya antaH madhye antagRham | This is an Avyayibhava compound formed under the rule 'pAremadhye'ntastayA vA' / samabhilaSitAM - who is longed-for. gUDhaM - secretly. tatsthaH eva - staying only there i. e. withont leaving the peak of the pleasure-hill. 34891842718 - possessing very scanty brilliance. 37891697 alpaprakArA bhAH prakAzaH yasyAH sA / tAm / khadyotAlIvilasitanibhAm - bearing resemblance to the gloaming of a row of fire-fies. Cela - a fire-iy. 'khadyotAH jyotiriGgaNAH / khadyotAnAM AlI paGktiH khadyotAlI / 'khadyoto jyotirikSaNaH' ityamaraH / sasthAH vilasitaM vilAsaH prakAzaH / tannibhA tatsadRzI / tAm / The extract given below gives a list of words meaning similarity. ivavAyathAsamAnanibhatulyasaGkAzanIkAzapratirUpakapratipakSapratidvandvapratyanIkaviroghisaksadRkSasadRzasamasaMvAdisajAtIyAnuvAdipratibimbapraticchandasarUpasammitasalakSaNAmasapakSaprakhyapratinidhisavarNatulitazabdAH kalpadezIyadezyavadAdi. pratyayAntAzca candraprabhAdizabdeSu samAsazca / 'druhyati nindati hasati pratigarjati saMruNaddhi dhikkurute / anuvadati jayati ceya'ti tanute'sUyati kathardayati // spardhate dveSTi muSNAti vigRhNAtyadhirohati / tamanveti padaM dhatte kakSA tasya vigAhate / / tacchIlamanubadhnAti taniSedhati lumpati / lakSmI sA'nukarotIndurAsthalakSmI smRcchti||' ityAdyAH zabdAH sAdRzyavAcakAH / vidyudunmeSadRSTim / your glance in the form of the flash of lightning. vidyutaH kSaNaruceH unmeSaH kSaNamAtrakAlavartinI dyutiH vidyudunmeSaH / sa eva dRSTiH IkSaNaM vidyudunmeSadRSTiH / tAm / antarbhavanapatitAM - fallen in the internal part of the house. antargataM upavanAntargataM bhavanaM gRha antarbhavanam / yadvA bhavanasyAntaH antarbhavanam / bhavane ityarthaH / antarbhavane antarbhavanaM vA patitA antarbhavanapatitA / tAm | Sambara means to say that if the young Kinnara girl is not found in the garden, the Sage, transformed into cloud, should not leave the pleasure-bill and go to the place where his house stands to see her; but He, remaining on the pleasure-hill where

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(598) apon He, seated Himself should cast His glance in the form of the flasb of lightning, possessing very scanty brillance, into the palatial building to see her. According to him, if the Sage-the cloud, sends forth very brilliant flashes of lightning, there is every possibility of her being intimidated very much. To avoid this contingency, the Sage, he means to say, seated on the pleasure-hill, should cast his glances in the form of very mild flashes of lightning, see the young Kinoara girl pining for Himself, her lover, and then siezing a suitable opportunity, should enter the splendid building wherein that Kinnara girl lives. Stanza. 36, 37, 38, 39, 40, 41- saumya - 0 gentle one ! 'budhe saumyo'tha vAcyavat / bauddha manorame'nugre pAmare somadaivate ' iti vizvalocane / balivyAkulA - engaged in worshipping. baliSu pujopahAreSu devatArAdhaneSu vA vyAkulA vyApRtA balivyAkulA / 'balizcAmaradaNDe'pi kara pUjopahArayoH / saindhave'pi baliH strI tu jarasA zlathacarmaNi || kukSibhAgAvizeSe ca gRhakASThAntare dvayoH' iti vizvalocane / tvatsamprApya - for the sake of attaining you. tava samprAptiH adhigamaH tvatsampAptiH / tasyai / bhavantaM prAptumityarthaH / devatAbhyaH - on having attained to the idols of gods. devatA - an idol of god. The terminatian ka affixed to a word to imply pratikRti (pratimA - idol) under the rule 'ive khu pratikRtyoH kaH' is dropped under the rule 'devapathAdibhyaH ' / Read - arcAsu pUjanArthAsu citrakarmadhvajeSu ca / ive pratikRtI nAzaH kRto devapathAdiSu' // vihitaniyamAn bhajantI - taking vows prescribed by the codes compiled by sages. vihitAH zAstrakAraiH vidheyatvena pratipAditAH niyamAH pratAni vihitaniyamAH / tAn / 'niyamo nizcayo bandhe yantraNe saMvidi vrate' iti vizvalocane / buddhyArUDhaM - impressed on ter mind. buddhau manasi ArUDhaM kRtA- . rohaNa / manasi kRtamityarthaH / ciraparicitaM - familiar since long. cirAt ciraM vA paricitaM prAptaparicayam / suciramabhyastamityarthaH / jJAtapUrva - known formerly. tvadgataM :- found in you. tvAM gataM tvadgatam | bhAvagamyam - conceived by fancy. bhAvena bhAvasya vA gamyaM adhigamanIyaM bhAvagamyam / bhAvaH abhiprAyaH / 'bhAvaH . svabhAvaceSTIbhiprAyasattvAtmajanmani' iti vizvalocane / bhAvena manasA vA gamyaM bhAvagamyam / bhAvagamyam - knorable through mind.

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(599) virahatanu - emaciated by separation. viraheNa vipralambhena tanu kRzaM virahatanu / matsAdRzyam - my resemblance. bhavadanukRtiM Alikhya - drawing a likeness of you. bhavataH tava anukRtiH anukAraH sAdRzyaM bhvdnukRtiH| tAm / sajalanayanaM - with eyes moistened with tears. sajale nayane yathA syAtAM tathA / paJjarasthAM - encaged. sArikA - This sArikA may possibly be that bird which is called mainA in Marathi. prAktanI - belonging to the period prior to the present one i. e. belonging to the period when Marubhuti and Vasundbara had been in a relation of husband and wife. manyamAnA - believing, supposing. rasikA - (1)a beautiful one; (2) one possessing knowledge. rasaH saundarya jJAnaM vA'styasyAH rasikA / bhartuH kacit smarasi - I hope, you remember your master ; Do you remember your master? Here, the word 177, the object of the verb 57, is put in the Genitive case under the rule 'smrarthadayezAM krmnni'| The indeclinable kaccit expresses the desire, wish or hope of the speaker. 'kaJcit kAmapravedane' ityamaraH / 'kAmapravedanamiSTaparipraznaH' iti kSIrasvAmI / Read - kaccijIvati me mAtA kaccijIvati me pitA / mArAvida tvAM pRcchAmi kaJcijIvati pArvatI // ' madhuravacanaM - in a sweet voice, in sweet words. madhuraM vacanaM yathA sthAttathA / malinavasanewearing an unclean garment. malinaM malImasaM maladUSitaM vasanaM vAsaH yasya tat / tasmin / utsaGge - on her lap. vINAM - a lute. nikSipya - having laid. gADhotkaNThaM - expressing deep anxiety. gADhA atyadhikA tIvrA vA utkaNThA cittodvegaH yasmin / tat / tiibrcittodvegvynyjkmityrthH| karuNavirutaM - displayed in a voice whipping up emotion (or feelings of compassion.]. karuNAni hRdayagrAhINi virutAni svarAH yasya tat / karuNAvyaJjakasvaramityarthaH / vipralApAyamAnam - sung in or imitating a mournful (elegiac ) strain. vipralApaH ivAcaratIti vipralApAyate / vipralApAyate iti vipralApAyamAnam / viracitapadam - having words arranged in a particular order. vizeSeNa racitAni padAni summiGantAdIni yasya yasmin vA tat / geya - a song. madgotrAGka - assuming the hereditary appellation of my family or the ornament of my family. gotra - a family. aGkaH - (1) ornament; (2) name, appellation. mama gotraM madgotraM / magotrasya aGkaH bhUSaNaM madgotrAGkaH / tam / yadvA

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(600) gotrasya kulasya aGkaH lakSma nAmadheya gotrAGkaH / mama gotrAGkaH iva gotrAGkaH yasya saH madotrAGkaH / tam / - 'gotraH kSoNIdhare gotraM kule kSetre ca nAni ca / sambhAvanIyabodhe'pi vitta varmani kAnane' iti 'aGko rekhAyAM cihnalakSmaNoH / nATakAdiparicchedotsaGgayorapi rUpake / citrayuddhe'ntike mantau sthAnabhUSaNayorapi ' iti ca vizvalocane / tvAM uddizya - with reference to you. udgAtukAmA - desirous of singing loudly. uccaiH tArasvaraM gAtuM kAmaH abhilASaH yasthAH sA / mUrcchanAa melody, a melodious song consisting in a duly regulated rise and fall of sounds. It is defined as - kramAt svarANAM saptAnAmArohazvAvarohaNa / sA mUrchatyucyate grAmasthA etAH sapta sapta ca // . pracaladalakaM - in a way in which hair toss to-and-fro. prakarSeNa calantaH vilolAH alakAH kuntalAH yasminkarmaNi yathA syuH tathA / bhAvayantI - muttering; singing inerticulately. kusumamRdubhiH - (with fingers ) delicate like flowers. mRdutvaM - ( delicacy) being the common property, this compound is formed under the rule 'sAmAnyenopamAnam' / kusumAnIva mRdUni kusumamRdUni / taiH / svAGgulyauH - with the ends of her fingures. svAH svIyAH agukhyaH svAgulyaH / tAsAmagrANi svAGgulyagrANi / taiH / nayanasalilai: - with tears dropping down from her eyes. nayanayoH netrayoH salilAni azrubindavaH nayanasalilAni / taiH / ArdrAH - moistened. tantrIH - the strings of a lute. 'tantrI syAdalakIguNe' iti vizvalocane / kathaJcit - anyhow. sArayitvA - stroking ; wiping off. vallakI - a lnte. AspRzantI - touching a little. dhyAyaM dhyAyaM - meditating repeatedly. The termination khamuJ (am ) is afixed to the root dhye to imply repetition under the rule 'pUrvAgreprathamAbhIkSNye khamuJ' / zUnyacintAnukaNThI - whose sound is overwhelmed with or accompained by vain anxiety. zUnyA asArA cAsau cintA manastApazca zUnyacintA / tayA anugataH kaNThaH kaNThotpannaH svaraH yasyAH sA / ' svare'pi kaNThastu gale pArzve zalyadruzabdayoH' iti vizvalocane / devabhAvAnubhAvAt - owing to the intrinsic power attained through godhood. devasya bhAvaH devabhAvaH / devatvamityarthaH / tasya anubhAva mAhAtmyaM devabhAvAnubhAvaH / tasmAt / 'anubhAvaH prabhAve syAnnizcaye bhAvasUcake iti vizvalocane / janmAnyatve api adhigatiM itAn - become known even in

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( 601 ) occasion. 8 AtmA brahmamanodehasvabhAva other birth; become calculable even in the regeneration. janmanaH bhavasya anyatvaM bhinnatvaM janmAnyatvam / tasmin / virahRdivasasthApitasya calculated ( determined) on or from the day of separation. virahRdivase virahadivasAt vA sthApitasya virahRdivasthApitasya / avadheH (1) of the end ; ( 2 ) of the period (interving between the beginning and the end of the period of her separation from her lover ). zeSAn mAsAn the remaining months. smRtyArUDhAn committed to memory. smRtau buddhau ArUDhAH kRtasaMskArAH smRtyArUDhAH / tAn / ' smRtistu dharmazAstre syAt smaraNe dhIcchayorapi ' iti vizvalocane / mRtyusandhIn - the occasions of deaths. Since the day of her separation from her lover she had undergone various deaths upto this present birth. sandhiH ' sandhiH puMsi sugGgAyAM saGghaTTane bhage / sandhirbhAge'vakAze'pi vATasa zepi puMsyayam // ' iti vizvalocane / svAtmanaH of her body. svasya AtmA dehaH svAtmA / tasya / dhRtibuddhiSu' iti vizvalocane / sphuTayituM as if to display. dehalImuktapuSpaiH by means of the flowers placed at or on the threshold. dehasyAM bunodumbare muktAni nyAsIkRtAni (nihitAni ) dehalImuktAni / tAni ca tAni puSpANi ca dehalI muktapuSpANi / taiH / ' gRhAvagRhaNI dehalI ' ityamara: / ' bunodumbara miti samyo' the: ' iti kSIrasvAmI / gaNanayA for counting. svapane - in a dream. 'svapnaH svApadhAdarzane ' iti vizvalocane / hRdayaracitArambham the working of which is portrayed in mind hRdaye manasi racitaH saGkalpavihitaH ArambhaH upakramaH yasya saH / tasmin / sambhogam - sexual intercourse. 'rate bhoge ca sambhogaH sambhogo jinazAsane ' iti vizvalocane / buddhyadhyAsAt - owing to the false impression upon mind. buddhe : adhyAsaH atasmiMstadbhAvaH buddhyadhyAsaH / tasmAt / amAwith. vispaSTabhUyaM iva clearly i. e. actually vizeSeNa spaSTaM vispaSTam / vispaSTabhavanaM vispaSTabhUyam / vizeSeNa spaSTA kriyA yathA syAttathA / vispaSTabhUyaM = vispaSTatvam / This form, being used here as an adverb, means, 'clearly i. c. actually '. The word, derived from the root by affixing the termination kyap, is joined to the word vispaSTa, a subanta, under the rule 'bhUyaddatvA'gnicityA '. AsvAdayantI enjoying. mUrcchAsuptA - unconcious. mUrcchayA mohena suptA nidrANA mUrcchAsutA / sabhayam - through fear. bhayena sahitaM yathA syAt - - - - - --

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(802) tathA / AzvAsthamAnA - who is being pacified. ramaNaviraheSu - during the period of separation from their lovers. giao - mostly. lantar: - the means of alleviating miseries. The words Alqua gras denote that the young Kinnara girl is a chaste women. The following stanza defines a chaste woman - naissa aigar ze alda Afeat 331 1 a al lhaa giat ar stat giaaar ll The young Kinnara girl, portryaing in her mind the resemblance to the state of her husband, is described here by Sambara as engaged in worsbipping the dieties praying them to unite herself with her husband of the former birth before long and as unable to finish her work of portraying Him owing to her being overpowered with emotion while going on with the work of portraying. On portraying the resemblance to your state and opening her eyes with a great difficulty to look at it with eyes baving tears gathered, she might be asking in sweet words the encaged Sarika "Do you remember my husband, for you were very dear to Him?'. She is described as having all her attempts to divert herself by singing a song glorifying her husband, rendered miserably futile. The very moment she would be commencing to play on the lute, placed on her lap baving a dirty garment, tears would be gathering in her eyes owing to the memory of her husband and would be beginning to fall on account of her recollecting how she used to sing such songs along with her husband in the former birth, on the strings, moistening them and rendering incapable of producing usual sounds. After the adjustment of the strings, she would be beginning again to sing the song, but she, owing to her mind being fully absorbed in meditating upon her husband, separated from her in her far remote former birth, forgetting what she would be singing, would not have been able to recollect that song even with great effort. Sambara says that she might be counting the number of her deaths by drawing figures by means of flowers placed on the threshold of her house from the date of her separation from her husband and that she might be having sexual enjoyment with the Sage, her husband of the former birth, in a dream and might be swooned with pain.

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( 603 ) by night. svApApAyAt Stanza 42 rAtrau owing to her sleep being dispelled svApa: nidrA / tasya apAyaH apagamaH svApApAyaH / tasmAt / sambara means to say that she, owing to her being absorbed in meditating upon you from whom she is separated, might have been passing away sleepless nights. hRdayanihitaM deposited in heart [i. e. committed by her to memory ]. hRdaye manasi nihitaH sthApitaH hRdayanihitaH / tam / ajasram continuously. 'nityAnavaratAjasraM ' ityamara: / gurutarazucam afflicted far too heavily; deeplygrieved. atizayena gurvI gurutarA / gurutarA zuk zokaH yasyAH sA / tAm / nirvinodAm - having no pastime; deprived of means of pleasure ; deprived of pleasure. vinodAnnirgatA niSkrAntA nirvinodA / tAm / sukhavirutibhiH - consisting in charming words or sounds. sukhAH sukhAvaddAH virutayaH svanAH yeSAM te / taiH / sakhyAlApaiH owing to the conversationswith female friends. sakhInAM AlInAM AlApAH AbhASaNAni sakhyAlApAH / taiH / 6 syAdAbhASaNamAlApaH ityamaraH / tadvinodaiH - forming the means of mitigating it ( i. e. mental worry.). tasya virahajanitaduHkhasya vinodAH apanayanopAyAH tadvinodAH / taiH / savyApArAM engaged in an activity. vyApAreNa virahajanitaduHkhApanayanavinodavyApAreNa sahitA sakhyApArA / tAm / viprayogaH separation. Sambara means to say that, by day, she, being engaged in conversation, charming to the ear, with her female friends, and being engaged in employing other means to mitigate her misery, might not have been destressed very much as she might have been distressed by night owing to her being sleepless, owing to her remembering her husband of the former birth, Marubhuti who has got initiated himself into monk-hood in the present birth, owing to her being extremely distressed and owing to her being deprived of the means of mitigating misery, and so the Sage, assuming the form of a cloud, should see her. This description of the young Kinnara girl is given by Sambara with a desire to distract the mind of the Sage from meditation. He thinks that the feeling of love, when roused to the highest degree, overwhelms all other feelings arising in the mind of a person. This is how the demi-god, Sambara, is found to have been - B S z Apar - --

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( 604 ) trying his utmost to distract the mind of the great Sage from meditation in which He is deeply engrossed to enable himself to deprive the Sage of His present life and thus to exact bloody vengeance upon Him. Stanzas 43, 44, 45, 46, 47, 48, 49, 50, 51 stAGgIm - having her limbs lying disorderly. paryastAni itastataH akramavinyastAni aGgAni avayavAH yasyAH yayA vA sA / tAm | Owing to her being distressed very much by her separation from her husband, she had her limbs lying disorderly. kusumazayane - in the flowery bed; in the bed prepared by spreading flowers or spread with flowers. kusumAnAM zayanaM kusumazayanam / tasmin / yadvA kusumAni santi asmin iti kusumam | 'o'bhrAdibhyaH ' ityatyo matvarthIyaH / kusumaM ca tacchayanaM ca kusumazayanam / tasmin / kusumaviracitazayane vikIrNakusume vA zayane ityarthaH / nissukhAm - unhappy. As according to the poetical convention, the feelings of love are provoked by a flowery bed when it is resorted to by a love-sick person, the love-sick lady lying in the flowery bed, is described here as having been deprived of mental and physical pleasure. AdhiruddhAm afflicted by mental worries. AdhinA mAnasyA vyathayA ruddhA parivRtA AdhiruddhA / tAm / ' bandhakaM vyasanaM cetaH pIDAdhiSThAna mAdhayaH ' ityamaraH / avanizayanAm lying down on the ground. avaniH bhUmiH eva zayanaM zayyA zayanasthAnaM vA yasyAH sA / tAm / zIyate'treti zayanam / ' karaNAdhAre cAnaT' ityAdhAre'naT | Sambara means to say that through fear of revival of the memory of her enjoyment with her husband in the former birth, the young Kinnara girl would not be resorting to her bed, but would be lying on the ground. fazzazai ga resembling one drawn in a 'picture. This phrase implies that she is either as beautiful as or motionless as one drawn in a picture. This phrase may also qualify the noun avasthAm. manmathIyAM savapuSaM avasthAm the plight of love-begotten passion embodied in human form vapuSA sahitA savapuH / tAM savapuSam / manmathasyeyaM manmathIyA / tAm / avasthA plight. AdhikSAmAm - emaciated owing to mental distress. AdhinA pIDayA kSAmA kSINA AdhikSAmA / tAm | This word implies that owing to - mAnasyA - - - parya -

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(605) her mental distress she is very much reduced bodily. virahazayane sanniSaNNakapAvAm - resting on one side [ of her body ] on her bed of separation. virahe virahakAle zIyate'treti virahazayanam / tasmin / pArzvaH - vam = the region of the ribs. sanniSaNNaH samAzritaH ekaH pArzvaH zarIrAvayavavizeSaH yasyAH sA / tAm / 'bAhumUle ubhe kakSau, pArzvamastrI tayoradhaH' ityamaraH / The flowery bed, though described in the science of poetry as a means of alleviating distress caused by passion when the loved and the lover are not separated from each other, cannot serve as a means of alleviating distress when one of the couple is separated from the other. The young Kinnara girl, being separated from her lover, cannot wholely resort to the flower-bed as she thinks it incapable of alleviating her mental as well as physical distress. prAcImUle himAMzoH kalAmAtrazeSAM tanuM iva - resembling the form of the moon having only one digit remaining on the Eastern horizon. giaige - on the Eastern horizon. grazit gazeti dizi mUlaM utpattisthAnamiti, prAcyAH pUrvasyAH dizaH mUlaM AdyaM iti vA prAcImUlam / prAcIdigAdyabhAge ityarthaH / 'mUlamAdyaziphApArzvakuLe mUle'pi tArake' iti vizvalocane / himAMzoH - of the moon. himAH zItalAH aMzavaH razmayaH yastha saH himAMzuH / tasya / candramasaH ityarthaH / kalAmAtrazeSAm - having only one digit remaining. kalAmA kalaiva zeSaH avaziSTaH bhAgaH yasyAH saa| tAm / Here, the emaciated body of the Kinnara girl having one region of ribs resting on the bed of separation is compared with the moon having only one digit remaining occupying space on the Eastern horizon. Like the last digit of the moon, rising in the eastern direction, and having its charm lost owing to the rising sun, tne body of the young Kinnara girl, emaciated owing to her being separated from her lover, has lost its charm, though she is naturally very beautiful. Read - kRSNapakSe vigalitapaJcadazakalo'vaziSTaikamAtrakalazcandramAH pratyUSe udayAcalaprasthapRSThabhAgaM samAzritaH san yathA''sannasUryodayatvAnnistejaskastathA virahadAhadagdhatvAttejovaikalyamAzritAmityarthaH / tApApAstyai hRdayanihitAM hArayaSTiM dadhAnAm - wearing a beautiful garland placed on her bosom to alleviate misery. tApApAstyai - to alleviate misery. tApasya virahajanitadehadAhasyApAstiH apanayanaM taapaapaastiH|

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(606) tasyai / tApamapAsitumityarthaH / hRdayanihitA - placed on the bosom - hRdaye vakSasi nihitA sthApitA hRdayanihitA / tAm / hArayaSTiM - a garland. The word . hAra, though compounded with the word yaSTi, means 'a garland'. 'yaSTiH zAstrAntare hAre hAre hArAtpare'pi ca / bhAkyoM ca madhupayAM ca dhvajadaNDe tu puMsyayam' iti vizvalocane / dadhAnAM - wearing. dhatte iti ddhaanaa| tAm / tvapriyAyAH sannidhau - in the presence of your beloved. [lit. in the vicinity of your beloved ). As the great sage was neither married nor had a beloved, the word tvapriyAyAH must be taken to refer to the beloved who had been married to Him in the former birth when He had borne the name, marubhUti. tava marubhUticarasya pArzvasya priyA preyasI tvapriyA / tasyAH / sannidhau - in the vicinity. mayA sArdhaM - with me. Sambara, here, refers to the fact that he and his beloved enjoyed sexual intercourse oven when she was present in his house. praNayarasikaH - possessing joy origina"ting from feelings of love or passion. praNayaH premA eva rasaH iti, praNayasya rasaH AnandaH iti vA praNayarasaH / sa eSAmastIti praNayarasikAni / taiH / 'ato'nekAcaH' iti Than / 'praNayaH premavisrambhaprazrayaprasare'rthane' iti vishvlocne| icchArataiH - in enjoyments at will. icchayA icchAnukUlyena kRtAni ratAni maithunasevanAni / taiH / As the internal word Faila is dropped in the compound, the compound word must belong to the zAkapArthivAdi class. rataM - sexual enjoyment. .matkAminyA - by my beloved. mama kAminI matkAminI / tayA / kAminI - a passionate women. kSaNaM iva - like a moment. Sambara means to say that his passionate wife engaged in deriving delight from sexual enjoyment throughout the whole night, used to pass that night like a moment. Though a night is long enougb, Sambara's wife thought it as short as a moment when she was deeply engrossed in having sexual enjoyment with her lover. nItA - passed. tAM eva - that very night. virahamahatIm - long owing to separation [ from her beloved, the Sage]. viraheNa vipralambhena mahatI dIrghayAmA virhmhtii| tAm / nidrAdvibhiH - causing sleeplessness ; [ lit. hating sleep]. nidrA dveSTIti nidrAdviD / taiH / kipa' iti ki / yadvA nidrAyAH dviT nidrAdviT / taiH / The tears gathering

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( 607 ) in the eyes of the young Kinnara girl and not allowing her to sleep are described here as the enemies of sleep. muhuH upacitaiH - gathering again and again. pakSmarudbhiH restraining the eyelashes. pakSmANi pakSmalomAni rundhantIti pakSmarudhaH / taiH / kvip / 6 pakSma locanalomani / pakSma sUtrAdisUkSmAMze galadbhiH pakSma syAtkezare'pi ca' iti vizvalocane. dropping down. uSNaiH azrubhiH with hot tears. 'netrAmbu rodane cAsamazru ca' ityamaraH / yApayantIM passing. This is a feminine form of the present participle derived from the causal of the root I. Sambara means to say that the young Kinnara girl thought that night, during which Sambara's beloved enjoyed the pleasure of sexual intercourse, and which she thought to be similar to the duration of a moment, to be very long owing to her being separated from her lover and to her passion being provoked intensly on account of Sambara's wife's enjoying the pleasure derived from sexual intercourse even when the girl was in vicinity to her. svaM antastApaM prapizunaindicative of her internal pangs. svaM - her own. 'svo jJAtAvAtmani yatA - -- FRO - svaM tu triSvAtmIye ghane'striyAm ' iti vizvalocane, antastApaM internal misery or pangs. " , antargatastApaH antastApaH / tam / hRdayagataM virahAnalajanitaM tApamityarthaH / prapizunayatA indicative. pizunaM sUcakamanukarotIti pizunayati / prakarSeNa pizunayatIti prapizunayan / tena / Here the termination Nic under the rule ' mRdo dhvarthe Nijbahulam' or the termination yak under the rule 'kaNDvAderyak' is affixed to the word pizuna, ' pizuno nArade puMsi khalasUcakayo striSu ' iti vizvalocane / kavoSNena lukewarm. Here, the word ku meaning 'a little' is changed to owing to its being followed by the word under the rule ' kavaM coSNe ' ' koSNaM kavoSNaM mandoSNaM' ityamaraH / adhara kisayaklezinA afflicting [ her] sprout-like lower lip. adharaH - adharoSThaH kisalayaH iva adharakisalayaH / taM klezayati klibhAtIti vA adharakisalayaklezI / tena / USmavatvAtpallavatulyAdharoSThaklezajanakatvaM niHzvAsasyeti bhAvaH / The word kisalaya implies tenderness of her lower lip. The compound adhara kisalaya is formed under the rule 'sAmAnyenopamAnam ' " vyAghrAdibhirupameyo'tadyoge. ' niHzvAsena 3 or by means of exhaling breath. tanmukhendoH of the moon in - -

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(608) the form of her face. mukhamevenduzcandramAH mukhenduH| tasyAH mukhenduH tanmakhenduH / tasya / This compound implies that her face is extremely charming like the moon. hariNaracitam - bearing a form like that of a deer. racitaM = racanA - form, construction. hariNasya racitaM racanAvizeSaH hariNaracitam / hariNasya racitamiva racitaM yasya saH hariNaracitaH / tam / hariNazarIrAkArasadRzaracanAvizeSamityarthaH / vizliSTaM - separated. pRthaktayA'vasthitam / tanmukhendraGgatAmaprAptamityarthaH / lAJchanaM vA - the spot as if; resembling the spot. zuddhasnAnAt paruSaM - coarse owing to her taking simple baths. She, owing to her being separated from her husband, is described as having abandoned the use of oil while taking a bath. virahiNyAstailAbhyaJjanAdeH pratiSiddhatvAttadvikalasnAnasya zuddhatvamuktam / paruSam - coarse. AgaNDalambam - dangling about her cheeks. AgaNDamAkapolaM lambaH lambamAnaH AgaNDalambaH / tam / alakaM - a tress ; a lock of hair. bhUyaH - again and again. vikSipantIm - throwing or removing aside. Sambara means to say taht the young girl has abandoned using oil while taking bath on account of her being separated from her lover; she removes again and again the locks of her hair dangling about her cheeks and assuming the form of a deer of the moon, from her moon-like face by means of her luko-warm exhaling breaths, troubling her tender lower lips and indicating her mental distress. madvizleSAt - on accouut of his being separated from me. mattaH vasundharAcaryAH kinnarakanyakAyAH vizleSaH viyogaH madvizleSaH / tasmAddhetoH / vizleSaH - separation. upahitazucaH - having his love-sickness intensified ; of him who has become miserable. upahitA saMrUMDhA zuk yasya saH / yadvA upahitA prAptA zuk yaM saH / tasya / dUradezasthitasya - residing in a remote country. dUraH dUravartI cAsau dezazca dUradezaH / tatra sthitaH dUradezasthitaH / tasya / anucitAnaGgabAdhasya - whose suffering caused by the god of love is increased or improper. anucitA aprazastA tIvrataratvAt vRddhi prAptA vA anaGgasya kAmasya bAdhA pIDA yasya sH| anucitA - (1) improper; (2) increased. The word anucitA, giving second meaning, is to be taken

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(809) as derived from the root anu+ci by affixing the termination ta (kta) to it. 9102154 - of him who has commanding influence over my soal. 917171ae gia quUET: 1 ata | Fagg: Spiu - though effected in a dream. matsaMyogaH kathaM jAtu upanamet - how could a union with me be effected ? nayanasalilotpIDaruddhAvakAzAm - the scope for which would be stemmed by a gushing flow of water [i. e. tears ] or which is deprived of an opportunity by a flow of water sent forth by eyes. 7972: afoss nayanasalilam / nayanasalilasya utpIDaH utpatanaM nayanasalilotpIDaH / tena ruddhaH pratibaddhaH avakAzaH avasaraH yasyAH saa| tAm / nidrAM AkAGkSantIm - desirous of getting sleep; longing for sleep. The young Kinnara girl, owing to her hope for sexual intercourse being lost on account of her being spatially and periodically separated from her husband, is desirous of enjoying sleep wbich is obstructed by tears gathering again and again in her eyes, for she thinks that her union with her husband would possibly be effected at least in a dream. yA asmAt vyavahitatare Forfa apie jazeicah in ierar at991 RIEI 4G1 - tied into a single braid without a garland on the first day of the separation in the former birth remotest from the present one. zgaitaat Fra - in the remotest birth. Aye virahadivase - on the first day of separation. dAman - 8 garland. af#1 - a single braid. aa: gaio: ga ato: afort. Here the termination is affixed to the word a lot to denote its resemblance to the single braid under the rule ' ive khupratikRtyoH kaH'. zikhA - a mass of bair on the head. 71974 r. - at the end of the period of outlawry (of Sambara). Sambara means to say that the single braid of the Kinnara girl is to be untied at the end of the period during which he has to undergo the punishment inflicted upon him in his former birth by the King, Aravinda by name. lazeagat a: - of you two, the separations incarnate (or embodied in flesh ]. By the word fateagat, it is inplied that the Sage, Marubhuti of the former life, and the Kinnara girl, Vasundhara of the former life, have become extremely miserable owing to their being separated from each other. pArzvabhyudaye 39

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(610) virahaH viprayogaH eva vapuH yeSAM te virhvpussH| teSAM virahavapuSAm / saGgamaM vidhAya - having brought about the union [ of you two]. vigalitazucAwbo has his misery alleviated. vigalitA vinaSTA zuk zokA yasya saH / tena vigalitazucA / udveSTanIyAm - which has to be untied [by you]; worthy of boing untied. udveSTitumunmocayituM yogyA udveSTanIyA / tAm / 'tRjavyAzcAhe ' ityArtha vyaH / nindantIm - abusing. vaktrenduprasanarasikAM zritAM rAhumUrtimiva - resembling the resorted bodily form of Rabu finding pleasure in eclipsing the moon in the form of her face. vaktramevenduzcandramAH vaktrenduH / tasya grasanaM grAsIkaraNaM / tatra rasikAM jJAnavatI sAnandAM vA / zritAM mukhendoH samIpaM prAptAM / rAhumUrti vA rAhuzarIramiva / rAhoH mUrtiH zarIraM raahumuurtiH| tAm / vA iva / AnandajananyAH mukhakAnterapahArakatvAdrAhuzarIreNa tasyA saadhrmymityrthH| The single braid, dangling on the moon-like face of the Kinnara girl, being darkcoloured is compared with the dark-complexioned body of Raha, who is described as dark-complexioned and very fond of eclipsing the disc of the moon. Tahagiat - possessing darkness like that of the sky, vyomnaH AkAzasya cchAyeva cchAyA kAntiH yasyAH saa| tAm / madanazikhinaH dhUmayaSTIyamAnAm - resembling a line of smoke of fire in the form of the god of love. madanaH kAmaH eva zikhI agniH madanazikhI / tasya / 'zikhI ketugrahe vahnau mayUre kukkuTe zare / balIva bake vRkSe vratibhedasacUDayoH' iti vizvalocane / dhUmayaSTIyamAnAm - resembling a line of smoke. dhUmaH yaSTiH iva dhUmayaSTiH / dhUmayaSTirivAcaratIti dhUmayaSTIyate / dhUmayaSTIyate iti dhuumyssttiiymaanaa| tAm | sparzakliSTAm - dishevelled owing to its being touched. sparzana kliSTA viprakIrNA sparzaliSTA / tAm / sprshbaahulyjnitaavyvsthaamityrthH| kaThinaviSamA - rough and irregular. kaThinA mArdavavikalA cAso viSamA sthapuTitA ca kaThinaviSamA / tAm / zikhApAruSyamatra snehopadehAbhAvanibandhanaM tadvaiSamyaM ca kaGkatikAkaraNavijaTIkaraNAbhAvakAraNakamityarthaH | The hair of the young Kinnara girl are described as coarse owing to their being deprived of oil and irregular owing to their being uncombed. ekaveNI - the single braid. Having a single braid is a sign denoting misery caused by separation of a lady from .her lover. ayamitanakhena kareNa - by hand with its nails unpared. ayamitA

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( 611 ) as if to search. out of akRttAgrAH nakhAH punarbhavAH yasya tena / Her hand has its nails unpared. gaNDAbhogAt - from the region of her cheeks gaNDasya kapolasya AbhogaH vistAra: paripUrNatA gaNDAbhogaH / tasmAt / ' Abhogo karuNacchatre yatna pUrNatvayorapi' iti ' gaNDastu piTake yogabhede khaGgikapolayoH / vare pravIre cihne ca vAji - bhUSaNabudbude ' iti ca vizvalocane / asakRt - agian and again. sArayantIm - pushing aside. saMzritAn - approached [ there ]. iSTAn bAndhavAn - the beloved relatives. mRgayituM iva jAlamArgapraviSTAn entered through the window-ways. jAla: gavAkSaH eva mArgaH jAlamArgaH / tena praviSTAH kRtapravezAH jAlamArgapraviSTAH / tAn / 8 jAlastu kSArakAnAyagavAkSe dambhavRkSayoH ' iti vizvalocane / amRtazizirAn - cool like nectar. amRtamiva zizirAH zItalAH amRtazizirAH / tAn | This compound is formed under the rule -- sAmAnyenopamAnam ' pAdAn - rays. ' pAdo'strI caraNe mUle turIyAMze'pi dIdhitau / zailapratyantazaile nA' iti vizvalocane / pUrvaprItyA previous liking [ for them ]. saGgrahItum - in order to receive. nivRttaM returned. svanayanayugam her couple of eyes. nayanayoH yugaM nayanayugam / svaM svakIyaM ca tat nayanayugaM ca svanayanayugam / pratyAhRtya - removing; withdrawing. The young Kinnara girl withdrew from the rays her eyes which she had directed towards the rays of the moon with a desire to get delight from them as she did before her separation from her lover as she found that the rays were not delightful to her, for they, instead of delighting her, afflicted her mind cetasA dhUyamAnA excited [ or pained] at heart. I would like to replace the reading at by the reading dUyamAnAm, zizirakiraNe svAn karAn jAlamArgaiH bhUyobhUyaH AtanvAne when the moon would be penetrating her rays again and again through the window-ways. zizirakiraNe - zizirAH zItalAH kiraNAH karAH yasya saH / tasmin / candramasItyarthaH / gatAbhyAgataiH by going and coming. gataM gamanaM ca abhyAgataM AgamanaM ca gatAbhyAgatam / taiH / khedAt - owing to the fatigue. punaH api klizyamAnaM troubled again. salila gurubhi: - heavy with water [ie tears ]. salilena azrujalena gurUNi jaDAni salilagurUNi taiH / pakSmabhiH owing to the eyelashes. chAdayantIM - shutting. sA --- on a cloudy - - Spons D - Beda -

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(612) day. abhreNa meghena sahitaM sAdhaM / tasmin / 'ghanAghano ghano megho jImUto'bhraM balAhakaH' iti dhanaJjayaH / sthalakamalinI iva - like a land-growing lotuscreeper. naprabuddhAM nasuptAm - neither awake nor asleep [neither bloomed nor not bloomed ]. Both the words are cases of supsup samAsa. Her eyes, being half-opened, are compared to the half-bloomed lotuses. sAdhvI - a chaste woman. tvayi saubhAgyaM vyaJjayadbhiH - expressing your fortunateness or revealing your sublimity. 2014: - conformable to truth. matsandezaiH - by my messages. sukhayituM - for the purpose of consoling. nizIthe- at night or at midnight. 'nizIthastu nizAmAtrArdharAtrayoH' iti vizvalocane. sadmavAtAyanasthaH - standing by the window of the house. sadmanaH vAtAyanaM sadmavAtAyanam / tatra sthitaH sadmavAtAyanasthaH / Read the following stanza - sakhI dhAtrI ca pitarau mitradUtazukAdayaH / sukhayantISTakathanasukhopAyairviyoginIm // Stanza 52 - vItAhArA - rejecting food [ or meal ]. vizeSaNa itaH naSTaH AhAraH bhojanaM yasyAH sA / 'AhAro bhojane puMsi syAdAharaNahArayoH' iti vizvalocane / The Kinnara girl, being distressed very much mentally owing to her separation from her lover, renounced food. Hrr2EURTHTOT - having all ornaments abandoned. sannyastAni parihRtAni AbharaNAni yena tat sannyastAbharaNam - By the ornaments, abandoned by the Kinnara girl, only those ornaments are meant which are worn for the sake of decoration and not those like the Mangalsutra, bangles etc. which are abandoned by widows only. The girl has no desire for wearing ornaments for decoration for she is much grieved at heart owing to her separation from her lover. pelavaM - emaciated. The girl has her health deteriorated owing to the renunciation of food and mental worries caused by separation. 'ghanaM nirantaraM sAndraM, pelavaM viralaM tanu' ityamaraH / nayanasalilaiH bhAplutApANDugaNDam - with pale cheeks moistened with water | tears ] dropping down from the eyes. A samantAt pluto AdratAM gato ApANDU ISatpANDurimAno gaNDau kapolo yasya tat / 'gaNDastu piTake yogabhede

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( 613 ) 1 khaGgikapAlayoH / vare pravIre cihne ca vAjibhUSaNabudbude ' iti vizvalocane ! The paleness of her cheeks and their becoming moistened with tears are due to her separation. du:khaduHkhena - with difficulty. duHkhaprakAreNetyarthaH / zayyotsaGge on the region of the bed. zayyAyAH zayanIyasya utsaGgaH pRSThabhAgaH zayyotsaGgaH / tatra / nidditaM - placed. gAtram - body. ' gAtraM gajAgrajaGghAdivibhAge'pyaGgadehayoH' iti vizvalocane / dhArayantI bearing. antarvicalitadhRtim -- with your mind's stable equilibrium disturbed antaH manasi vicalitA prakampitA dhRtiH dhairye yasya saH / tam / 'dhRtirdhAraNasantuSTidhairye yogAntare'vare ' iti vizvalocane / Sambara means to say that the great Sage also would abandon food, become emaciated and pale on his seeing her undergoing that state of mind and body. It is implied by him that the Sage also would be reminded of the separation from her and would be attracted by her youth and beauty which would disturb his mind's equilibrium. Stanza 53 - bhRzaM extremely. apasukhA whose joy has disappeared. apagataM vinaSTaM sukhaM yasyAH sA apasukhA / ' apa sthAdapakRSTArthe varjanArthe viparyaye / viyoge vikRtau caurye harSanirdezayorapi ' iti vizvalocane / This is a prAdibahumIhi compound. zayyopAnte ' near her bed. zayyAyAH zayanIyasya upAntaH samIpradezaH zayyopAntaH / tatra / matsyalolaM lulantI - wallowing like a fish. The word matsya, preceding the root lul, being the subject of the verb lul and the same root 3 being used again, the termination is affixed to the root lulU under the rule ' karmaNi caive.' / lul to roll about. The Kinnara girl, harassed by separation from her lover, cannot sleep on the bed. She throws her body below her bed and rolls about like a fish. baddhotkampazvasitavivazA reduced to a state of helplessness owing to her tremulous sighs or tremulous and reduced to helplessness owing to her breathing passionately. baddhaH janitaH [ racitaH ] utkampaH prakampaH yasyAM - sA / zvasitena zvAsena vivazA avazyamAnasA vihvalA vA zvasitavivazA | vivazo vihvale'pi syAt avazyAtmani ca triSu' iti vizvalocane / baddhotkampA cAso - zvasitavivazA ca baddhotkampazvasitavivazA | This is a Karmadharaya compound " -

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(614) formed under the rule 'vizeSaNaM vizeSyeNeti' and the feminine form baddhotkampA is changed to a masculine form under the rule ' puMvadyajAtIyadezIye' owing to the compound being Karmadbaraya. This compound may also be dissolved as - baddhaH racitaH utkampaH yasya yasmin vA tat baddhokampaM / baddhotkampaM ca tacchasitaM ca baddhotkampazvasitam / tena vivazA baddhotkampazvasitavivazA / kAmapAtrAyitA - behaving like a person worthy of passion i. e. behaving like a passionate person. kAmasya riraMsAyAH pAtraM bhAjanaM yogyA vA kAmapAtram / 'yogyabhAjanayoH pAtraM' ityamaraH / kAmapAtramivAcarati sma kAmapAtrAyitA / sAtariraMsetyarthaH / navajalamayam - in the form of fresh water or consisting in abundant fresh water. navaM navyaM ca tajjalaM ca navajalam / navajalaM prAcuryeNa prAdhAnyena vA kRtamasmin tat navajalamayam / 'asmin ' [za0 4 / 2 / 26 ] iti prakRtArthe mayaT / asram - tears. 'alamAstrazca pulliGgaH kleze ca rudhire'zruNi' iti vaijayantI / mocayiSyati - would make shed tears. The root muc is dvikarmaka. tvAmapi azru mocayiSyati - Notwithstanding his monkhood, the Sage would be caused to shed tears by the miserable state to which the young girl is reduced by her separation from her lover. karuNAvRttiH - compassionate by nature. karuNAyAH vRttiH vyApAra yatra saH karuNAvRttiH / yadvA karuNA karuNAvatI vRttiH antaHkaraNavyApAraH yasya saH karuNAvRttiH / AAntarAtmA - stirred to tears. [ lit. one whose inner heart is moistened. ] ArdraH antarbASpaH antarAtmA antarmanaH yasya sH| If it is construed as sarvaH AntirAtmA prAyaH karuNAvRttiH bhavati this compound can be dissolved as ArdraH komalaH antarAtmA antarmanaH yasya saH / ArdraH - (1) possessing internal tears [ antabASpaH ]; (2) tender. AtmA - mind. Sambara means to say that even the Sage, notwithstanding bis monkhood, would be moved to tears by the plight of the young Kinnara girl to which she is reduced by her separation from her lover and passion for reuniting herself with him. Stanza 54- kAntAdvitIye mayi - for me along with my wife [lit. for me with my wife as the second ]. kAntA dvitIyA yasya saH kAntAdvitIyaH / gurujane bandhuprIti iva - like the fraternal affection for the

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(615) olderly persons. sambhRtasnehaM - saturated with affection. sambhRtaH saJcitaH snehaH anurAgaH yasmistat / 'premA nA priyatA hArda prema sneho'tha dohadaH' itymrH| saMvAsAt - owing to habitation in company with. saM samaM [saha] vAsaH saMvAsaH / tasmAt / 'saM saGgArthe zobhanArthe prahRSTArthasamArthayoH' iti vizvalocane / vyatikaram - a calamity. 'bhavedvyatikaraH puMsi vyasanavyatiSaGgayoH' iti vizvalocane / tattvataH vedmi - I know accurately. prathamavirahe - in the period of incomparable separation. prathama - matchless; incomparable. dIrghakAlamanubhUtiviSayatvAdaviSahyaduHkhotpattinimittatvAca virahasya prAthamyamatrAvaseyam / Sambara means to say that the girl shows affection towards him and his beloved as it is generally shown towards elderly persons and that he knows how an incomparable calamity has befallen her owing to his residing in company with her. He implies that the Sage, giving up meditation should take this state to which she is reduced into consideration and be ready to leave for Alaka, where the girl resides. Stanza 55 - Hla: - O brother This Vocative form is used by the demi-good keeping in view his brotherly relation established between himself and the Sage in their former births when they had been recognised by the names Kamatha iad Marubbuti respectively. sAdhyAnuviddham - urged by the matter at issue [lit. impelled by the object of attaining what is to be attained i. e. intertwined with what is attainable.]. sAdhyena siSAdhayiSitena anuviddhaM grathitaM praNunnaM vA sAdhyAnuviddham / anuviddhaM is a past p. derived from the root anuvyadh. te pratyakSaM - in your presence. svArthasiddhyai - to gain my ends. svaH svakIyaH arthaH prayojanaM svArthaH / tasya siddhiH svArthasiddhiH / tasyai / svAbhipretaprayojanaM sAdhayitumityarthaH / uditaM - statement. snigdhA vRttiM manasi ghaTayan - having affection in mind; having affectionate attitude of mind. itarai - affectionate, vRttiM - attitude. nizcinu - ascertain. subhagammanyabhAvaH - a thought of self-importance ; a thought of myself being amiable. subhagaM sujanaM AtmAnaM manyate iti subhagammanyaH / tasya bhAvaH / mA vAcAlaM na karoti - does not make me loquatious. Sambara means to say that what he has stated should be believed in as true by the Sage. He says that he is unable to say any. thing more owing to his amiableness. Taking into consideration what

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( 616 ) he has stated and believing in it, he means to say that the Sage should give up meditation and be ready to assume the form of a cloud to go speedily to Alaka to meet the young Kinnara girl waiting for an opportunity to reunite herself with her lover, the Sage. you. 6 8 Stanza 56 tvayi dRSTamAtre the very moment she would see alakaiH ruddhApAGgaprasaram - with their side glances prevented by the tresses. ruddhaH pratibaddhaH apAGgayoH netrAntayoH prasaraH visarpaNaM yasya tat / apAGgatvaGgavikale netrAnte tilake pumAn' iti vizvalocane / prasarastu visarpaNam' ityamaraH / aJjanasnehazUnyam - devoid of application of collyrium= aJjanasya akSikajjalasya sauvIrasya vA snehaH dehaH aJjanasnehaH / tena zUnyaM vikalam | snehaH -- application, snointing. 'aJjanaM tu rasAJjane / akSikajjalasauvIre giribhede'pyathAJjane ' iti vizvalocane / madhunaH of intoxicating juice. 'madhu puSparase kSaudre madyakSIrApsu na dvayoH / madhurmadhUke surabhau caitre daityAntareM pumAn / jIvAzAke striyAmevaM madhuzabdaH prayujyate ' iti vizvalocane / pratyAdezAt - owing to renouncement. ' pratyAdezo nirAkRtiH' ityamaraH / vismRta bhrUvilAsam - having the graceful movement [ or the amorous play] of the eyebrows Forgotten. bhruvorvilAsaH bhrUvilAsaH / bhrUbhaGgaH ityarthaH / vismRtaH bhrUvilAsaH yena tat / snigdhaM - lovely. premavyaktiyuktamityarthaH / ' snigdho vAtsalyasampane cikkaNe'pyabhidheyavat' iti vizvalocane. All the four adjectives qualify cakSuH and describe how the chaste woman [i. e. the young Kinnara girl] behaves. nighatI fixing. sudatI with beautiful teeth [i. e. in the prime of her life ]. sujAtAH dantAH asyAH sA sudatI / The word danta, when preceded by words like su and by numerals, is changed to datR (dat ) when .'age' is suggested, under the rule ' vayasi dantasya datR ' . madAjJAkRtaH obeying my orders. mama AjJA madAjJA / tAM karotIti madAjJAkRt / tasya / The Kinnara girl is described here as a chaste woman. Fixing of lovely eyes upon the lover, prevention of side-glances, being devoid of application of collyrium to the eyes, renouncement of intoxicating drugs, and forgetting the movements of eyebrows are the special characteristics of a chaste woman. 8 - -

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(617) Stanza 57 - asunirasane nizcitAtmA - who has made up his mind to dispell his soul or life (from bis body.]. 37aat grottat fazar nirAsaH vyaparopaNaM asunirasanam / tatra / ' puMsi bhUmnyasavaH prANAH' ityamaraH / 'syAnnirAse nirasanaM vadhe niSThIvane tathA' iti vizvalocane / Atmavadhe ityarthaH / nizcitAtmA kRtanizcayaH / nizcitaH nirNItaH AtmA manaH yasya saH / sanizcayamanAH ityarthaH / 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane / matprAmANyAt - relying on my truthfulness. mama prAmANyaM satyavAditvaM matprAmANyam / tasmAt / matprAmANyamurarIkRtyetyarthaH / 'pramANamekateyattAhetiyantRpramAtRSu / satyavAdini nitye ca maryAdAhantRzAstrayoH' iti vizvalocane / tatpramANAya - for convincing. tasya maduktavacanasya pramANaM tatpramANam / tasmai / maduktaM pramANayitumityarthaH / sajje - ready. mRgAkSyAH - of the fawn-eyed one. mRgasyeva akSiNI nayane yasyAH sA / tasyAH / uparispandi - moving side-ways in the upper parts. mInakSobhAtowing to the disturbance of the fish. mInAnAM kSobhaH udvartanam / tasmAt / mInakartRkAkSobhAdityarthaH / calakuvalayazrItulAm - resemblance to the beauty of blue lotuses set in motion. calAni ca tAni kuvalayAni ca calakuvalayAni / teSAM zrIH zobhA / tattulA tatsAdRzyam / tAm / The movements of the eyeballs of the Kinnara girl in the upper parts of her eye-sockets are compared to the beauty of lotuses set in motion by the disturbance of water caused by the pretty kettle of the fish.

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CANTO TY Stanza1- me dvitIyaH prANaiH kAntayA - by my beloved, my second soul. It is quite obvious that the words dvitIyaH prANaiH and kAntayA differ in number and gender. Under the rule 'alegri ugan at a vibhaktivizeSyasya / taliGgaM tadvacanaM sA ca vibhaktivizeSaNAsthA'pi // ' the adjective and the substantive must not differ in gender, number and case, for the gender and number are, as a rule, dependent on the gender and number of the substantive. But as the word 9101 is always declined as a noun possessing masculine gender and as it possesses plural number usually, it cannot have its gender and number changed in accordance with those of the substantive. The following illustrations support the above statement -(1) kozaH kozavataH prANAH prANAH prANAH na bhUpateH / (2) arthapatervimardako bahizcarAH praannaaH| [tvaM asyAH] prANAH - you are her roul. It is implied bere by means of those words that the young lady is so much attached to the Sage that she could not live any longor without Him and so to save her, the Sage should hurry up to arrive at the city of Alaka. navanavavaraH - (1) making a choice of whatever is new; (2) a young bride-groom; (3) best of the youths. navanavaM navaprakAraM varaM abhISTaM yasya saH / yadvA navanavaH navaprakAraH tAruNyataralAtmA cAsau varaH pANigrAhazca navanavavaraH / yadvA navanavAnAM navaprakArANAM taruNAnAM varaH zreSThaH navanavavaraH / yadvA navanavaM navaprakAraM vRNotIti zIlaM yasya saH navanavavaraH / The termination aT (a) is affixed to the root 1, under the rule 'hetuzIlAnulomye " in the sense of zIla, san - noble. praNayamadhuram - in a way charming to her affection for you. praNayena premNA madhuraM subhagaM yathA syAttathA / tvaraya - should hurry up. madIyaH - [ wounds inflicted] by me. kararuhapadaiH - [caused ] by the wounds inflicted by my sword. kararuha - (m.) a sword. pada - a mark i. e. a wound. mucyamAnaH = who is being separated. vAmaH - a cloud. 'vAmaH savye hare kAme ghane vitte tu na dvayoH' iti vizvalocane / 'vAma dhane puMsi hare kAmadeve payodhare / varagupratIpasavyeSu triSu'

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( 619 ) gfa Afta14 | 3g - quickly. Sambara means to say that he himself has not fallen in love with the young lady who is inspired with love of the Sage and so, being a chaste woman, she deserves to be loved by Him [the Sage ]. The affectionate message, conveyed to the Sage by the beloved of Sambara, is due to her intimate friendship with the young lady. According to the demi-god the Sage should not be reluctant to do anything for her. " -- Stanza 2 - mayi saharuSi when I would have my wrath stirred up. ruSA kopena sahitaH saharuT / tasmin saharuSi / The change of saha into under the rule a: being optional, the word is not replaced by the word. Sambara means to say that the Sage could not escape death when his passion would be roused. This is how the demi-god is described here as threatening the Sage with death. uddhetipraNipatanakaiH tadagraM tvAM avazyaM sArayiSye - With strokes of my sword. drawn [ against you], I shall certainly make its end pass through You or cause You to move in front of her. uddhetipraNipatana kaiH with strokes of a sword drawn (against the Sage). udgatA cAsau hetizvaH uddhetiH / uddheti a drawn sword. tasyAH praNipatanakAni prapAtAH / taiH / ' hetivalArkatejasoH / striyAM zAstre'pi ' iti vizvalocane / tadagraM - ( 1 ) its end or edge; (2) in front of her. tasya zastrasya ayaM tadagram / tasyAH alakAnivAsinyAH taruNyAH ayaM tadagram | taruNyabhimukhamityarthaH / sArayiSye I would cause you to move. The second line of the stanza may be interpreted in two ways as above. Sambara means to say that he would pierce the end of his sword through the body of the Sage or that he would make the Sage go towards the young lady residing in the city of Alaka by putting Him to death. sArayiSye Future: first person singular of the causal of the root sR. ciraparicitam - familiar since long. cirAt - long since ; for a long time. paricitam - familiar* muktAjAlaM - a net of pearls i. e. (1) through course or contrivance of fate; : - - - - royal insignia. (2) owing to the state occasioned by fate (i. e. misfortune).

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( 620 ) ghaTa your. * made to give up [p. p. p. of the causal of the root hR.] tAvakaH yitum - to hold vital airs together. Sambara means to say that the Sage's acts of abdicating the throne, getting Himself initiated into monkhood and practising austere penance would not be able to help Him to escape death that would be caused by the death-blows struck by (the demigod) himself with his sword. Stanza 3 * vairidviradanaghaTAkumbhasambhedaneSu in the process of rending asunder the frontal globes on the foreheads of the troops of elephants of enemies. vairiNAM dviradanAH gajAH vairidviradanAH / teSAM ghaTA samUhaH / tasyAH kumbhAH gajamUrghAzAH / teSAM sambhedanAni vidAraNa kriyAH / teSu / dviradana - . an elephant. dvau radanau dantau yasya saH dviradanaH / ghaTA a troop (of elephants). prAptasthemA become steady. prAptaH labdhaH sthemA sthairye yena saH prAptasthemA | The word stheman - is derived from the word sthira by . affixing the termination iman under the rule 'pRthvoderveman '. The letters - , forming part of the word fe, when followed by the termination iman, are changed to a under the rule ' priyasthirasphirAyAderaH ', samaravijayI - playing the conqueror in battles [i. e. winning battles]. samaraM - yuddhaM vijetuM zIlamasyeti samaravijayI / vIralakSmyAH of the goddes of the brave. vIrANAM lakSmIH zrIH vIralakSmIH / tasyAH / lakSmI is the superhuman power of warriors. This power is deified here. raktapAnotsavAnAm - of those who are strongly desirous of quaffing blood [or taking delight in quaffing blood ]. raktasya rudhirasya pAnaM pItiH raktapAnaM / tatra utsavaH icchAprasaraH yeSAM te / teSAm / 'utsavo maha utsedhaH icchAprasarakopayo:' iti vizvalocane / sambhogAnte after the destruction of the strong bodies. samIcInAnA yuyudhAnazarIrANAM nAzakriyAyAH avasAnakAle / samIcInaH bhogaH zarIraM sambhogaH / sambhogAnAM antaH nAzaH sambhogAntaH / tasmin / tasmin kAle ityarthaH / ' anto nAze manohare' iti vizvalocane / mama hastasaMvAhanAnAM samucitaH deserving gentle rubbings by my hands or quite used to gentle rubbings by my hands, hastena saMvAhanaM aGgamardanaM hastasaMvAhanam / teSAm | Sambara means to say that he, with his sword which has massacred a number of warriors - - -

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(621) in various battles fought by him, would slaughter the Sage very easily. The description of the sword of the demi-god is meant for threatening the Sage with death. Stanza4- asyudgINe mayi - Whenever I unsheathe my sword. udgIrNaH asiH khagaH yena saH asyudgIrNaH / tasmin / As the word asi meansa weapon, it is placed before a past participle in a Babuvribi compound under the rule ktAccAstram '. asabhyaH kaH - what then of him who is not heroic. asabhyaH - who is not brave. saha bhAnti tejasA prakAzante asyAmiti sabhA / tejasvinAM samAjaH ityarthaH / sabhAyAM sAdhuH sabhyaH / na sabhyaH asabhyaH / madasivitatAkhaNDanAt - owing to the wounds inflicted by my sword. mama asi khaDgaH mdsiH| tena vitataM vidhAtumArabdhaM AkhaNDanaM vidAraNaM tasmAt hetubhUtAt / sarasakadalIstambhagauraH - as red as the stem of a plantain-tree reddish owing to its being anointed with its [ own] juice. rasena sahitaH sarasaH / sarasaH - anointed with its [own] juice. sarasazcAsau kadalIstambhazca sarasakadalIstambhaH / kadalIstambhaH - the stem of a plantain-tree. kadasyAH mocAyAH stambhaH kANDaH kadalIstambhaH / sarasakadalIstambhaH iva gauraH raktavarNaH srskdliistmbhgaurH| stambhaH - a stem. gauraH - reddish, red. 'gauraH pItAruNazvetavizuddheSvabhidheyavat' iti vizvalocane / Here, the thigh of the Sage which would be rendered red owing to the blood given out by the wounds inflicted by the sword of the demi-god, is compared to a stem of a plaintain tree rendered red by the juice oozing out of the steams of leaves cut off. Sambara means to say that the thighs of the Sage would be trembling owing to the Sage being intimidated on account of the sword, unsheathed by himself. He implies that the Sage would be quite unable to face him in hostility, for the very thought of his thigh being wounded and rendered red by blood oozing out of the wounds that would be inflicted by his sword, would enfeeble bim and make him tremble. This is how the demi-god is described here as tryjpg his level best to rouse the Sage to action. * Stanza 5 - gitgig - in the assemblies of warriors. afttrait zurANo goSThayaH sabhAH vIragoSThayaH / tAsu / goSThI - an assembly, a society,

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(622) vIrAlApe sati - when there would be a conversation regarding warriors or when the warriors would be taking part in the conversation. madavataHmadavAn = excessively proud. bhUnA prAcuryeNa madaH mAnaH asya astIti madavAn / tasmAt - Here the termination vat implies - abundance ' under the rule ' bhUmanindAprazaMsAsu nityayoge'tizAyane / saMsarge'stivivakSAyAM bhavanti matubAdayaH // '. madavataH vipakSAt - by the proud-hearted enemies. paribhavakalaGkAGkanam - stigmatised owing to their self-respect being offended. paribhavaH tiraskriyaiva kalaGkaH paribhavakalaGkaH / saH aGkanaM cihna yasya tat / 'anAdaraH paribhavaH parIbhAvastiraskriyA' ityamaraH / 'kalakoGke kAlAyasamale doSApavAdayoH' iti vizvalocane / jalada - 0[ would-be ] cloud! Though the Sage bas not his body transformed into a cloud, he is called by the demigod by the name of a cloud owing to the demigod's being sure of the transformation of the Sage's body into that of a cloud after the destruction of the Sage's body. vidvanmanyaH - considering himself a man of sound learning. vidvAMsaM AtmAnaM manyate iti vidvanmanyaH / mAnonnatAnAm - of those who hold up their heads with pride. mAnena abhimAnena unnatAH samunnatacittAH maanonntaaH| teSAm / sA - the sovereign power. 'zaktau tu sA striyAm' iti medinyAm / labdhanidrAsukhA - enjoying the pleasure of sleep. Sambara asks the Sage whether he, possessing sovereign power, would like to be censured by other warriors for not taking part in a fight, demanded by Sambara himself and thus tries to move Him to strong emotion 80 that he may be up in arms. - Stanza 6-madupacaritAt bibhyatI-afraid of my arrival. mama upa samIpe caritaM caraNaM AgamanaM madupacaritam / tasmAt / luptasaJjJA - deprived of grasping capacity or mental power. sajJA - the mental power of understanding what is good and what is bad or what is beneficial and what is not. luptA vilayaM gatA sajJA hitAhitaprAptiparihArayorguNadoSavicArAtmaka jJAnaM yasyAH sA / mUkAvasthAM vidadhatI - reducing to the state of speechless*ness. sattvavRttiM rundhatI - obstructing the working of vital airs. sattvasya prANAnAM vRttiH pravRttiH vyApAraH sattvavRttiH / tAm / sAvaSTambhaM - courageously.

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(623) anvAsya - having pacified or set aside. sttanitavimukhaH - averse to thundering. sttanitAt garjitAt vimukhaH stanitavimukhaH / ardhayuddhe - in the mid-course of fighting. bhaTataraH - the best warrior. sahasva - have patience. Sambara asks the Sage to give up fear and become a best warrior and says that if He is not in a position to fight with him, He should wait for a while and see that He is made away with. Stanuar-surabhaTatrAsigoMrjite - the force of whose thunderlike roar troubles the heavenly warriors. surabhaTAn trAsayituM bhAyayituM zIlaM yasya tat | Here, the termination Nin (in ) is affixed to the causal of the root tras under the rule 'zIle'jAtau Nin ' / garjasya stanitastha UrjitaM balaM gaoNrjitam / garjaH taDitvatstanitamiva garjaH / surabhaTatrAsi goMrjitaM yasya sH| tasmin / The roaring sound of the demi-god is resembled to the thunderings of a cloud. mayi yoddhu asiprApte - when I would wield a sword to give a fight. asiprApte - wielding a sword. The word asi, meaning a weapon, is placed before a past participle in this compound which is a bahuvrIhi one, under the rule 'ktAccAstram '. abhiyAne - at the time of an attack. vIralakSmIH -- The goddess of the brave i. e. the super most strength or valour. vIrammanyaH - considering oneself to be a warrior. vIraM zUraM AtmAnaM manyate iti vIrammanyaH / svapnalabdhe - secured in a dream. premabhaGgaH - loss of love. Stanza8- nissaGgaH - void of wordly attachment. saGgAt AsakteH nirgataH nissaGgaH / bAhyAbhyantaraparigraharahitaH ityarthaH / aGgaM - upAyaH kAraNamiti vA - a means, a cause. ' aGgo dezeGgamantike / gAtropAyApradhAneSu pratIke'pyaGgavatyapi' iti vizvalocane / Sambara means to say that the Sage, being void of all worldly attachments, should have no reason to be afraid of anything. jIvanmataka - revered by all living beings. kaNThacyutabhujalatAgranthi - having ties formed with their creeper-like arms round necks (of their beloved wives.). kaNThe grIvAyo grIvAsamIpasthAdhastanazarIrabhAge vA cyutA viracitA bhujalatayoH granthiH bandhanaM yasmin / tat / gADhopa

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( 624 ) gUDhaM - close embrace. gADhaM dRDhaM ca tat upagUDhaM AliGganaM ca gADhopagUDhaM / Sambara means to say that as the best warriors also, setting aside their fear of death, embrace their beloved wives at the time of going the Sage need not be afraid of death when, in his next birth, he would be surely having pleasure of embracing his beloved and in case he fears, he would be guilty of fearfulness. _on_war, Stanza 9 svavapuSi satIm - resorting to your body. kSINAM - deteriorated, emaciated. lakSmIm - the sovereign strength or power. udyamAkhyena doSA - through the agency of an arm in the form of exertion. udyamaH prayatnaH iti AkhyA abhidhAnaM yasya saH / tena / dos arm, arm. 'bhujabAhU praveSTo do: ' ityamaraH / protthApya m.the fore having roused. < - kSatAm , This is a lyabanta form derived from the causal of pra + ut + sthA yuddhe - for a fight. alaM - powerful, able, competent. alaM bhUSaNaparyAptizaktivAraNa niSphale ' iti vizvalocane / Sambara means to say that though the bodily strength of the Sago is reduced owing to His practising austere penance, He should rouse to action, by exerting Himself, His ability and become ready for a fight. navaghanAH new or fresh clouds. gharmataptatroubled very much by the heat of the summer season. gharmasya zrImatauH taptaM tApaH gharmataptam / 'dharmaH syAdape grISme USmasvedajale'pi ca' iti vizvalocane / taptaM tApaH / ' navbhAve kto'bhyAdibhyaH ' iti bhAve ktaH nap ca / tena kSatA santrastA | tAm / yadvA gharmeNa USmaNA taptA gharmataptA / tAm / kSmAM the earth. 'gotrA kuH pRthivI pRthvI kSmAvanirmedinI mahI ' ityamaraH / svajalakaNikAzItalena rendered cool by the sprays of their water. svaM svakIyaM jalaM vAri svajalam | meghAdhikaraNaniSThaM jalamityarthaH / tasya kaNikAbhiH zIkaraiH zItalaH svajalakaNikAzItalaH / tena / kaNaH eva kaNikA / ' kaNo'tisUkSme dhAnyAMze ' iti vizvalocane / anilena - by means of wind. protthApya - having delighted. AzritAnugrahaH giving protection to the refugees or those seeking refuge ( for protection). AzritAnAM AzrayArthamAgatAnAM anugrahaH abhyupapattiH saMrakSaNAdirUpA AzritAnugrahaH / ' vimardanaM parimalo'bhyupapattiranugrahaH } ityamaraH / satAm of the good. arthaH = vratam - duty, object. ' artha: prayojane citte - - -

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hetvabhiprAyavastuSu / zabdAbhidheye viSaye syAnivRttiprakArayoH' iti vizvalocane. nanu = eva - verily.: zaMsanti - announce. Sambara implies that in case the Sage becomes ready for a fight He would be easily destroyed by the heavy strokes of his sword. Stanza.10- svAM kIrtaM - your fame. savalI vA- resembling or like a beautiful creeper. 'vallI tu vratatirlatA' itymrH| vA-resembling or like. 'upamAyAM vikalpe vA' ityamaraH / pradhanaviSayaH - The object of which is a fight. pradhanaM yuddhaM viSayaH gocaraH yeSAM te / taiH / yuddhasambandhibhirityarthaH / 'pradhanaM dAruNe saGkhye' iti 'viSayo gocare deze indriyArthe'pi nIti / prabandhAdyasya yo jJAtaH sa tasya viSayaH smRtaH' iti ca vizvalocane / svodyamAmbuprasekaiH - by means of sprays of water in the form of your exertions. svaH svIyazvAso udyamaH prayatnazca svodyamaH / sa eva ambu salilam / tasya prasekA sinycnaani| taiH / vArvAri kaM payo'mbho'mbu pAtho'NaH salilaM jlm|' iti dhanaJjayaH / kusumitAm - furnished with or bearing flowers. kusumAni sAtAni asyAH kusumitA / tAm / tadasya saJjAtaM tArakAdibhyaH itaH' iti saJjAtArthe itaH / unnatAnAm - of the elevated. kramaH - tradition. 'kramaH zaktiparIpATI calane kampane'pi ca' iti vizvalocane / navajalamucAm - (1) of the new clouds 3 (2) of those sending down fresh water. navAH nUtanAH vipulajalabhRtazca te jalamucaH meghAzca navajalamucaH teSAm / yadvA navaM pratyagraM jalaM muJcantIti navajalamucaH / teSAm / anehA- kAlaH - season. kSatAntAm - baving its beauty spoiled. kSataH vizvastaH antaH manoharaM svarUpaM yasyAH sA / tAm / 'anto nAze manohare / svarUpe'ntaM mataM klIbaM na strI prAnte'ntike triSu' iti vizvalocane / The reading kSatAntAm may also be split up as kSatAM tAm. kSatAM - hurt, injured. This is a p. p. participle of the root kSaNa (-to injure, to hurt). ku - the earth. 'kuH zabde nA bhuvi striyAm ' iti vizvalocane / mAlatInAm - of the Malati-creepers. 'mAlatI jAtiyuvati -' iti vizvalocane / abhinavaiH - fresh. jAlakaiH - buds. 'jAlakaH korake dambhaprabhede jAlinIphale' iti vizva locane / pratyAzvastAm - refreshed. Sambara means to say that the Sage, having His fame as a great warrior on the wane owing to His being devoted to practising austere penance, should try to revive it by pAvAbhyudaye 40

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(626) winning victory in the fight, proposed by him. He says that it is the tradition of the great. Ho tries to persuade the Sage by illustrating that the earth, having lost its beauty owing to the hot season, is refreshed by the rainy season and so invites Him to take up arms. Stanza 11 - 377971 - cloud! Though the Sage has not his body transformed into a cloud He is termed a cloud' by Sambara as he is sure that the Sage would have to transform His body into that of a cloud after He would be murdered by him in the battle proposed by him. samarazirasi - in the van of battle. 'astriyAM samarAnIkaraNAH kalahavigraho ' ityamaraH / 'zirastu mastake senAprabhAge'dhyapravAnayoH' iti vizvalocane / matprAtIpyaM prApya - coming into antagonism with me. pratIpaH pratikUlaH / tasya bhAvaH prAtIpyam / paripanthitvamityarthaH / 'pratikUlaM tu vilomamapasavyamapaSThuraM / vAmaM prasavyaM pratIpaM pratilomamapaSTha ca' iti haime'bhidhAnacintAmaNau / mama prAtIpyaM matprAtIpyam / dRSTAvadAnaH - (1) seeing my heroic achievements ; (2) undergoing pain of wounds. dRSTa - which is undergone. dRSTamanubhUtamityarthaH, dhAtUnAmanekArthatvAt / avadAnaM --- khaNDanaM - cutting; inflicting wounds. 'avadAnaM matamiti vRttakarmaNi khaNDane ' iti vizvalocane / dRSTaM anubhUtaM avadAnaM madasikRtatvaccharIrakhaNDanaM yena sH| Yogiraja, the commentator, reads avadhAna in place of 37231a. This reading also conveys the same meaning. The commentary upon the nAmamAlA of Dhananjaya reads as follows -- 'sAhase dvau / avadhIyate'vadhAnam / avadAnaM ca / 'avadhAnaM tu sAhasam' iti dhanaJjayaH '. kSINAyuH - with the duration of life come to an end. AyuH - duration of life. 'AyurjIvitakAlo nA jIvAturjIvanauSadham ' ityamaraH / dyA Arohan - attaining heaven. sahajamaNibhAbhUSitaH - decorated with the lustre of jewels come into being in conjunction with you. sahajAH saha jAtAzca te maNayazca sahajamaNayaH / teSAM bhaaH| tAbhiH bhUSitaH alaGkRtaH / According to the Jain scriptures the ornaments of gods come into being at the very time when the gods are born in heaven. layri - shining with lustre. yAne - yAnaM - gavAkSaH - a vehicle ; a window. tvatsanAthe - occupied by you. tvayA sanAthe sahite tvatsanAthe / 'sanAthaM prabhumityAhuH sahite

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( 627) - cittatApini' iti zabdArNave / stimitanayanAm - with ner eyes fixed ; whose eyes are fixed. stimite stabdhatAM nIte nayane locane yasyAH sA / tAm / 'stimitaM vItacAJcalye'pyArdrIbhUte'pi vAcyavat' iti vizvalocane / ' stimito nizcalArdrayoH ' iti medinyAm / kAJcit suravadhUM - a certain celestial woman * ApUrNakAmAM kuru you should reduce to a state of complete satisfaction. AsamantAt [ pUrNatvenetyarthaH ] pUrNaH pUrNatA nItaH kAmaH abhilASaH yasyAH sA / tAm / Sambara means to say that the Sage should necessarily be ready for a 'fight, for, when, after His death brought about in the battle, He would attain to heaven, He would be united with the celestial damsel for whose sake He is practising austere penance. Stanza 12 atiprauDhamAnoddhurasya altogether free from fear on account of boldness flown very high. atiprauDha : atizayena vRdhdi prAptazvAsa mAnazvittasamunnatizca atiprauDhamAnaH / tena uddhuraH nirbhayaH / tasya / atipraudaH flown very high, exalted very much. mAnaH - boldness. uDDara - free from fear, bold. adhyavasitam - determination. nikAmaM yoddhukAmaH cherishing a very strong desire to engage (yourself) in a combat. 6 nikAmaM excessively, very much ' kAmaM prakAmaM paryAptaM nikAmeSTaM yathepsitam ' ityamaraH / yoddhukAmaH - cherishing a desire to fight. The m of yoddhum which is followed by the word 1 is dropped under the rule ' samtumormanaHkAme'. asyutkhAta: - having sword unsheathed . asi: utkhAtaH niSkAsitaH yena saH / The word asi, meaning a missile, is placed before the word utkhAtaH, a past participle, under the rule ktAccAstram '. dhyAnAbhyAsaM zithilaya slacken (your) constant practice of meditation. zithilaya [2. per. sing. of the Imp. of zithila ] - This is a nominal verb derived from the word by affixing the termination under the rule -- mRdo dhvarthe Nijbahulam ' vAcaMyamatvam - taciturnity. vAcaM yacchati nigRhNAtIti vAcaMyamaH / vAcaM nigRhya yo maunenAste sa vAcaMyama ityabhidhIyate / tasya bhAvaH vAcaMyamatvam / maunitvamityarthaH / projjhya having repudiated stanitavacanaH uttering words in the form of thundering sounds. stanitaM garjitaM vacanaM zabdaH yasya saH / ' stanitaM garjitaM meghanirgho Sepeda - - "

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(RC) tieana a TAT: | The reading and ait: rafaaaaa: is also good. Alldal - a proud lady. Afaat 40198149dit i ale ales lagaminaiakopayatImityarthaH / 'pramadA mAninI kAntA lalanA ca nitambinI' ityamaraH / A17: Jur2: 2841: zecilia Arlaat i ngarfri - (1) very eloquent speech; (2) very eloquently, gelagat agatti angret ofta agatst: 1 tAm / pracuracAturthasampannA vAcamityarthaH / yadvA paTutarA gIH yasmin karmaNi yathA FEIT alla lomalia atqu7ATZEA grHala I Here the termination as is affixed to the word 95 under the rule 'faianter at:' to imply 'superiority'. r - boldly, firmly. 44#91: - should begin. Here, the Atmanepada termination is affixed to the root 47, owing to its being preceded by the preposition , under the rule Talcanyia '. Sambara means to say that the Sage, wishing to fullfill the desire of a celestial damsel, should give up practising ponance and wield a sword to take part in a fight and then, when He would attain heaven after being killed by him in the fight, He should begin to talk to the proud lady very eloquently and boldly owing to which the celestial damsel would give up her attitude of her impassioned mind towards Him. He implies that the Sago, after being killed in the fight, would attain to heaven, where He would have the opportunity for having sexual enjoyment with the heavenly damsel for the sake of whom Ho is, in his opinion, practising austere penance. This is how the demigod is trying his utmost to disturb the Sage to goad Him into fighting. Stanza 13 -- fa - in the case of the frightened. 3797 HZAT - in the case of the one who is looked upon as a soldier having no weapon. HE: 36ai, 2: Speisla na: a: al Haa: The termination fa is affixed to the root AR to imply the sense of the past tense and not that of the present tenso, for, at the time of the demigod's speech, addressed to the Sage, the Sage could not be placed in the class of soldires. It is, therefore, proper to dissolve the compound as bhaTaiH mataH bhaTamataH and not as bhaTAnAM mataH under the rule

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(629) jInmatyarthazAsyAdibhyaH ktaH / ' strImmanye - in the case of the one whe considers himself to be a woman. strI striyaM vA''tmAnaM manyate itistriimmnyH| tasmin / caraNapatite - in the case of the one fallen down at the feet. kSINake - in the case of the one whose fire of energy is worn away or extinguished. kSINaH kaH dyotaH tejaH yastha saakssiinnkH| tasmin / 'ko brahmAnilasUryAmiyamAtmadyotarhiSu' iti vizvalocane. pAdaspRSTayA zapathayati vA - in the case of the one swearing a solemn oath by touching feet. pAdayoH spRSTiH pRktiH pAdaspRSTiH / tathA / pAdasparzanenetyarthaH / zapathayati vA - swearing a solemn oath. zapathaM karoti zapathayati / zatRtye zapathayanniti / tasmin shpthyti| sa kazcit - the contemptible one. vAvahImi - wield a weapon again and again. This is a form of the Frequentative derived from the root vah - bear, wield. hiMsA bhujiSyam - guilty of assassination or killing. Sambara means to say that the Sage having no weapon in His hand capnot be attacked by him, for attacking persons like the Sage means nothing else but committing sin. This is why the demi-god is trying his level best to rouse the Sage to action. Stanza 14- priyayuvatitaH prItyai - (1) for giving pleasure to the young woman; (2) for deriving pleasure from the young woman. The word yuvati is derived from the word yuvan by affixing the termination ti under the rule 'yUnastiH '. priyA cAso yuvatizca priyayuvatiH / This being a Papa compound, the feminine form firar is changed to a masculine form priya when it is compounded with the word yuvati, under the rule 'puMvadyajAtIyadezIye'. The word priyayuvatita: implies two meanings as (1) of the beloved young woman, and (2) from the beloved young woman, for the termination per implies the senses of all the cases under the rule 'sArvavibhaktikastasiH'. prItyai- (1) for giving pleasure; (2) for deriving pleasure. The Act of living i. e. jIvanakriyA or astitva kriyA being meant for the act of giving or deriving pleasure and the verb, meaning to give or to derive and having the termination THT affixed to it, being physically absent, the object of the verb which is

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(620) the word absent, governs the Dative case under the rule aasia fu yadi jIvane te kiJcit utsukatvaM asti if you are a bit anxious to continue your wordly life. jIvane utsukatvaM is caused to be used in the Locative case owing to the use of the word 3 'under the rule -- prasitotsukAvabaddherbhA ca '. tat then. Sambara means to say that the Sage, in case He wished to give pleasure to or derive pleasure from a certain young woman dear to Him, should raise His hands up and embrace his feet and thus having His self-conceitedness dissipated need not be afraid of him. He implies that in case the Sage becomes subservient to himself, He need not be afraid of him. This is how Sambara is trying to deceive the Sage on whom he wishes to take a bloody vengeance for the punishment inflicted upon him by king Arvinda who had got angry with him for his misconduct. fan having self-conceitedness dissipated. vihataH vinAzaM nItaH garimA mahimA yasya yena vA saH / The word guru, having the termination iman affixed to it under the rule pRthvAderveman', 'is changed to gar under the rule " bahulagurU ruvRddhatRpradIrghavRndArakANAM baMhigarvarvarSitra drAghavRndAH ' tvaM mA bhaiSIH you need not be afraid. An Aorist form of a verb is indeclinable is used in a sentence, under the rule The of the Aorist is dropped under the rule mAGAT,' for it is preceded by the indeclinable mA. mAM grahIH Do not think otherwise of me. C used when the ' mAGi luG ': 6 'luGlaGlaGatha tvaM anyathA mA - C Stanza 15 - C " aho - is an exclamatory particle showing wonder aho hIti vismaye ityamaraH / yoSitAM jIvanArthamH for maintaining lives of women. pathi zrAmyatAM moving laboriously on their ways to homes]. of those gone abroad. This is a p. p. participle derived from the root abroad'. tvarayati - , meaning to go. making move on expeditiously. Though the root is Atm., it is declined as a Par. owing to its having the causal affixed to it, under the rule 'aaia'. fafafa: - termination

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( 631 ) a representative. ' pratimAnaM pratibimbaM pratimA pratiyAtanA praticchAyA / pratikRtiraca puMsi pratinidhirupamopamAnaM syAt' ityamaraH / AruddhadyuH pervading the sky. AruddhA kAlameghaiH vyAptA dyauH nabhodezaH yasmin yena vA / saH / 'dyodivau dve striyAmabhraM vyoma puSkaramambaram / nabho'ntarikSaM gaganamanantaM suravartma kham ' suddenly. AtmazaktyA - ' tatkAlamAtre ityamaraH / klataH - brought into being. sadya: through the agency of his soul-power. sahasA suddenly. sahasA sahasA''kasmike'pi ca' iti vizvalocane / vyavadhi brought to nothing. This is a passive form of the Aorist of the root vi + vadhU. it is described here, in this stanza that the demi-god, Sambara, was struck with wonder when he saw the assemblage of clouds, created by him by employing magic, dispersed by the Sage by means of His soulpower. In reality, the Sage, being deeply absorbed in meditation, did not use His soul-power to disperse the clouds, for a Jain mendicant cannot, as a rule, use his soul-power to escape troubles, created through the agency of His fate. The clouds dispersed on their own account, for the soul-power of the Sage was so strong that the magic, employed by the demi-god, Sambara, could not work. B - Stanza 16 adhvagAnAM of the travellers. adhvAnaM mArge gacchatIti adhvagaH / ' adhvanIno'dhvago'dhvanyaH pAnthaH pathika ityapi ' ityamaraH 1 mandrasnigdhaiH dhvanibhiH - by means of deep and charming thundering sounds. mandrAH gambhIrAzca te snigdhAH zrutimadhurAzca mandrasnigdhAH / taiH / ' mandrastu gambhIre' iti ' masRNaM snigdhaM ' ityubhayatrA'pyamaraH / acalAveNimokSotsukAni - anxious for untying the women's hair twisted into single unornamented braids and allowed to fall on the backs of their beloved wives. abalAnAM svIyasvIyakamanIyakAminInA veNayaH kezabandhavizeSAH abalAveNayaH / svakAntaviraha saMsUcanArthamabalA bhirekaveNivizeSarUpaH kezabandho viracyate iti savajanaprasiddham / 'veNI nadInAM saGge syAtkezabandhAntare'pi ca / devatADe'pi veNI strI ' iti vizvalocane / tAsAM mokSo mokSaNam / mocanamityarthaH / tatra utsukAni saJjAteotkaNThAni | Women, separated from their husbands, used to twist their hair into single unornamented braids, which were untied by their -

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( 632) husbands on their returning home. navaghanaghaTA the assemblage of fresh clouds navA pratyagrA ghanaghaTA vArivAhAnAM samUhaH / ghanAnAM meghAnAM ghaTA samUhaH ghanaghaTA | navA cAso ghanaghaTA ca navaghanaghaTA / yadvA navAH pratyagrAH prAvRDArambhakAle sambhUtatvAcca ghanAH meghAH ca navaghanAH / teSAM ghaTA samUhaH navaghanaghaTA / yat as. AttanAzA - destroyed, dispersed. AttaH svIkRtaH nAzaH yayA sA AttanAzA / prakaTamahimA whose superhuman power is manifested prakaTaH mahimA yasya saH | vidyAsiddhaH __possessing complete and flawless knowledge. vidyA AtmasvabhAvabhUtaM zuddhAtmajJAnaM siddhA pUrNatvena prakaTatAM prAptaM yasya saH / yadvA vidyA siddhA yasya saH | This is a bahubrIhi compound formed under the rule 'vAhitAgnyAdiSu '. dhruvamabhimanAH - having mind concentrated upon salvation. The state of the liberated soul is eternal and so the state is termed as dhruva, abhigataM manaH yasya saH abhimanAH / durvibhedaH difficult to agitate. duHkhena vibhidyate dhyAnAt pracyAvyate durvibhedaH / As the clouds created by the demigod by employing magic have dispersed, the Sage, must have been in possession of superhuman power, for the magic employed by the demigod cannot be nullified by a person who does not possess superhuman power. The demi-god, therefore, infers that the Sage must have possessed superhuman power and knowledge. - - thus. - freed Stanza 17 iti AdhyAyan - thinking thus iti AdhyAyan - reflecting, consulting with himself. manmathaklezamuktA from the tortures causing disturbance in mind [or caused by the god of love ]. mananaM mat / cetanetyarthaH / mathnAtIti mathaH / mato manasaH mathaH manmathaH / manomanthanakRdityarthaH / manmathazvAsau AklezaH duHkhaM ca manmathAklezaH / tena tasmAdvA muktA manmathAklezamuktA / yadvA manmathasya kAmadevasya Aklezena AklezAdvA muktA / ' madano manmatho mAraH pradyumno mInaketanaH ' ityamaraH / manmathaH kAmacintAyAM kAmadeva kapitthayoH ' iti vizvalocane / The goddess of the brave is described here as free from mental worries owing to the presence of the Sage who would have made her undergo pain by His absence from her. vanatarau beneath a Sylvan tree. The word vanatarau should not be taken to mean on the tree', for the goddess of the , 6 - - -

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brave is compared with Sita, sitting beneath a tree. The original meaning on the tree' should be set aside and the secondary meaning * beneath the tree should be accepted on the ground of S T. arrast: - the superhuman power of the brave resembling GEA. sfifia sit: 1 aizrot sit: atteit: 1 Trenta - wellknown. w agtiata" qe - beneath a wellknown tree grown in the garden of the city of the ten-faced one [i. e. Ravana 1. T quagef1f gaisa agalla yasya saH dshmukhH| rAvaNaH ityarthaH / tasya puraM laGkAnAmnI rAjadhAnI / tasya JUTAT 3947 art: 3 akaagaa According to the Jain scriptures Ravana did not possess ten faces. He had secured knowledge of changing his face into ten in number. Maithili is described as sitting under a tree in the Puranas, when Hanuman, the Son of Pavana had gone to Lanka to see her. 999aai - the son of the king called Pavana. According to the Jain scriptures, Hanuman was not born of the wind, but of the King Pavananjaya. 39EUR - with her face raised. udgataM Urdhvadizi valitaM mukhaM yasyAH sA unmukhI I the feminine termination Fi is affixed to the word JFHE to change it into a feminine form under the rule '59151a15916. gasijos: - skilled in fighting. yo siyos: gaza: yasitos: 1 This g laeget compound is formed under the rule ' Ip zoNDAdibhiH'. abhaNIt - This is an Aorist form derived from the root 41. Sambara means to say that, as the goddess of the brave is looking expectantly at the Sage like Maithili looking at Hanumat, the Sage should not disappoint her by refusing to take ap arms. Stanza 18 - JEALTA Uce - in a battle that will be offered by you and me. asmadIye - in that of ours. asmAkamidamasmaga i ago - in a battle. The verb 74, when preceded by the preposition sam , means to kill'. saJcakSate'sminsaGkhya m / 'yuddhamAyodhana janyaM pradhanaM pravidAraNaM / mRdhamAskandanaM saGkhyaM samIkaM sAmparAyikam' ityamaraH / subhaTaviSayAM saGkhyAM pUrayan - completing the number of best warriors.

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(634) subhaTAH viSayaH yasyAH saa| tAm | Sambara means to say that as a war can be fought only when there are at least two warriors, the Sage should play the warrior come into antagonism with himself. vIrazayyA - a battle-field. vIrAH zUrAH yuyudhAnAH zerate'syAmiti vIrazayyA / tAm / adhi. zayitaH - lying or sleeping on. The root zI, preceded by the preposition adhi, governs the Accusative case under the rules 'kamavAdhe zIGsthAsaH ' and ' karmaNIp'. sambhAvya - after getting. utkaNThocchasitahRdayA - with heart throbbing owing to [her] yearning [ for you ]. utkaNThayA tvadarzanajanitItsukyena ucchRsitaM vikasitaM hRdayaM cittaM yasyAH sA / ucchu. sitaM - inspired or animated with hope. apihitarasA - displaying her love [ for you]. pihitaH - concealed. The a is dropped under the rule'vaSTi bhAgurirallopamavApyorupasargayoH', na pihitaH pracchAditaH apihitaH / apihitaH prakaTIkRtaH rasaH yayA yasyAH vA sA apihitarasA / 'rasaH svAdepi tiktAdo zRGgArAdau drave viSe / pArade dhAtuvIryAmburAge gandharase tanau' iti vizvalocane / pratyAsIdati - will resort to you. Sambara means to say that the very moment the Sage resorts to the battle-field, the superhuman power will have recourse to Him." Stanza. 19 - saumya - 0 you, an impassive one ! samaraviSayAM saGkathAM -a beautiful speech with reference to a fight. samara: raNaH viSayaH gocaraH yasyAH sA / tAm / 'viSayo gocare deze indriyArthe'pi nIvRtti / prabandhAdyasya yo jJAtaH sa tasya viSayaH smRtaH' iti vizvalocane / 'astriyAM samarAnIkaraNAH kalahavigraho' itymrH| saGkathAM - a beautiful speech. maduktAM - made or told by me. vyaktAkUtA - with its implication quite clear. AkUtam - implication. vyaktaM vizadaM AkUtaM abhiprAyaH yasyAH sA / tAm / paruSapavanaiH - by very harsh winds or by winds blowing very harsbly. paruSAH niSThurAH vyAghAtakRtazca te pavanAH prabhaJjanAzca prusspvnaaH| taiH / 'paruSaM karbure rUkSe triSu niSThuravAcyapi' iti vizvalocane / 'nbhsvdvaatpvnpvmaanprbhnyjnaaH| prakampano mahAvAto jhaJjhAvAtaH savRSTikaH' ityamaraH / sImantinInAM - of women. 'yoSA simantinI vadhUH' iti dhanaJjayaH / sImantaH kezavezo'styasyAH siimntinii|

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( 635 ) < avahitam - heard. This is a p. p. participal derived from ava + ghA. pAruSyaharaNam - curing deafness. pAruSyaM naiSThurya praharatIti pAruSya praharaNam / The termination, implying the sense of a subject, is affixed to the root pra + hR under the rule vyAnabahulam ' paraM bheSajam - excellent medicine. bheSaM rogabhayaM jayatIti bheSajam / zroSyati will perceive sounds. This is also one of the means employed by Sambara to disturb the Sage's mind. He thinks that the Sage would give up the meditation to listen to the charming songs sung by the women. 8. < a song. eye eyes. Stanza 20 tAsAm of those [ women ] come from your beloved. zravyam - zrotumarham - worthy of being heard i. e. charming* zrAvyaM hRdyaM manohAri ' ityamaraH / Though Amara gives the word zrAvya meaning 'charming' and though it is derived under the rule 'orAvazyake, ' it cannot he said that the word zravya cannot imply the sense that is implied by the word zrAvya, for both avazyazrAvyatva and zravaNArhatva imply attractiveness. The present form is derived by affixing the termination vya under the rule ' tRvyAzcAhe ' geyaM 'geyastu triSu gAtavye geyaH syAdrAyane pumAn' iti vizvalocane. nayanasubhagaM gladdening, giving pleasure to or delighting the nayanayoH netrayoH subhagaM abhirAmaM nayanasubhagam / AlokanIyam - worthy of being perceived. rUpam - beauty. ' rUpamAkArasaundaryasvabhAva zlokanANake / nATakAdau mRge granthAvRttau ca pazuzabdayoH ' iti vizvalocane / peyaH worthy of being drunk. vadanasurabhiH of fragrance of their mouths. spRzyaM worthy of being touchod i. o. pleasing to the organ of touch. AghrAyaM - worthy of being smelt i. e. giving delight to the nose. aGgaM - body. aGgamantike / gAtropAyApradhAneSu pratIke'pyaGgavatyapi ' iti vizvalocane, te samucitaM kAmAGgam - the very suitable means of rousing your passion. samucitaM very suitable. kAmAGgam the cause of passion i. e. a means of rousing passion . kAmasya aGgaM upAyaH kAmAGgam / ' aGgamantike / gAtropAyApradhAneSu ' iti vizvalocane / idaM sAnubandhaM saGgamam - this is actually meeting together or this is your meeting with your heloved without any obstruction or 8 , - - - -- - -

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(38) obstacle. aldara - uninterrupted; having no interruption; un obstructed. Pfare Plan Foti - a little less than an actual meeting or onion. Sambara means to say that the charming song sung by the women, their attractive beauty giving delight to the eyes, the fragrance of their mouths and their delicate and worth-smelling bodies resemble those of the Sage's beloved residing in the city of Alaka, for thoses like those of her, would excite love feelings in the heart of the Sage and moreover, they have come from her. He implies that the Sage should give up meditation in which He bas His mind absorbed with a desire to get Himself united with her, for these women also are, like his beloved, capable of exciting passion in His boart by moans of their songs, their attractive beanty, the fragrance emitting from their mouths and their delicate and worth smelling bodies. He tries to convey to the Sage indirectly that the Sage need not practise austere penance for the person towards whom His mind is directed for the purpose of the Sage could be effected by them like the person placed by Him before His mind's eye. Stauza 21 - AA e qaalt - in my words; believing in what I say. AtmanaH upakartum - to benefit yourself. tasmAt - for that reason i. e. as the arrival of friends, come from one's own beloved, is a little less than actual union i. e. is as good as union or meeting. fasah- delicate like foliage. Frasi 969 Tab AS tage l'aggis ir tasar' EATI I Delicacy being a property commonly found in the garment and the foliage, the standard of comparison, the word 7% implying delicacy, the common property, is compounded with the word fhada, forming the standard of comparison, under the rule 'Araruamah'. are: - a garment. ' Apalca a Jagiya' FEAT: | Jagtte that which is in the mouth. ge abhIkSNaM tiSThatIti mukhasthAyi | The termination Nin is affixed to the root 1 to imply continued repetition under the rule ' aapisual'. The word geraia, therefore, implies continued repetition of chowing

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( 637 ) Tambula. From this it can be inferred that the women, described as come from the heloved of the Sage, chew Tambula repeatedly. divyaM excellent charming. divi bhavaM jAtaM vA divyam / 'divyA''malakyAM divyaM tu. vagau divibhave'nyavat' iti vizvalocane / praNayaM love. acirAt - soon, quickly. uccaiH very much. uccaiH mAnaya you should respect highly. vyarthaklezAm -- consisting in the fruitless strenuous efforts. vyarthaH viphalaH klezaH zArIraM mAnasaM ca duHkhaM yasyAM sA / tAm / virasAM void of pleasure.. vigataH rasaH anurAgaH sukhaM vA yasyAH sA / tAm welknown. AryavRtti the pious conduct of sages. AryA satAM pUjanIyA cAso vRttiH caryA ca AryavRttiH / tAm / AryA praised by the good. 'puMsyAyeM sovidale syAdAryastvabhyarhite triSu' iti vizvalocane, Sambara means to say that the Sage should give up the wellknown pious conduct of Sages, highly praised by the good, for the efforts taken for it are futile owing to its being devoid of pleasure and should highly appreciate the women's garments which are as delicate as the foliage, the delicious Tambula often chewed by them and their love for Him. This is also one of his efforts to disturb the mind of the Sage who is deeply engrossed in meditating upon the nature of his pure soul. - Stanza 22 means of attaining salvation. mArgaH prAptisAdhanaM zreyomArgaH / < - - - zreyomArgaH - the way to final boantitude i. e. the mArgyate aneneti mArgaH / zreyasaH niHzreyasasva zreyo niHzreyasAmRtam' ityamaraH / munivaraiH by the best of the sages. munInAM muniSu vA varAH zreSThAH munivarAH / taiH / 'devAvRte varaH zreSThe triSu klIbaM manApriye ' ityamaraH / saukhyahetoH " for the sake of attaining pleasure. sukhameva saukhyaM / tasya hetoH / sukhaprAptyarthamityarthaH 1 kila verily. 'kila tvarucau vArtAyAM sambhAvyAnunayArthayoH ' ityamaraH / sevyateis persued, or resorted to. surayuvatijam - derived or having its origin. from heavenly damsels. surayuvatibhyaH devAGganAbhyaH jAyate iti surayuvatijam / muktilakSmyAzrayam - inherent in the superhuman power in the form of salvation or having recourse to the goddess Laxmi in the form of salvation. muktimokSaH kRtsnakarmavipramokSalakSaNaH / seva lakSmIH amAnuSaM anantaM - Bang bongw - -

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(638) vIryAdikaM / seva AzrayaH yasya tat / dvedhA - two-fold; devided into two varieties. dUre - away, at a very long distance. itarat - the other, sulabham - very easy to attain. sukhena labhyate iti sulabham / sevya - worthy of being enjoyed, deserving enjoyment, enjoyable. anyaH api - even another person ; even a person other than you. TrafTTAISTATY: - resid. ing in a hermitage situated on the mountain, Ramagiri by name. tava vidvAn sahacaraH - your learned companion. Sambara means to say that the pleasure attained by the soul when he is in the state of liberation, being very difficult to attain, should be given up and the other, derived from the sexual intercourse with the heavenly damsels being very easy to attain even in this state of wordly life, should be enjoyed by the Sage. Stanza. 23 - caJcalatvAt - owing to fickleness [inconstancy]. 8992: - the riches. fagasilacja archi: - resembling a flash of lightning. vidyuballayAH taDillatAyAH vilasitaM sphuraNaM vidyudallIvilasitam / vilasitaM vilAsaH / sphuraNamityarthaH / tannibhAstattulyAH / ayaM nibhazabdastulyArthaH / sa evottarapadatvena rUDhaH / tena 'tena nibhaH' ityevaM vAkye na pryojyH| This word is not to be used in a sentence. It is used in a compound as a last member. Read the following extract - vAcyaliGgAstulyArthAzcete, yathA candranibhaM mukhaM, padmasaGkAzam / niyataM bhAti nibham / samaM kAzate saGkAzaH / AdizabdAcandrapratimaH, pitRrUpaH, AyAsabhUtaH ityAdi / candreNa nibhaH ityAdau na bhavati samAsa evottarapadatvasya ruuddhH|'-kssiirsvaamii. 'vAcyaliGgAH samastulyaH sadRkSaH sadRzaH sadRk / sAdhAraNaH samAnazca syuruttarapade tvamI // nibhasaMkAzanIkAzapratIkAzopamAdayaH' ityamaraH / labdhAbhogAH - which are experienced. labdhaH prAptaH AbhogaH anubhavaH yeSAM te labdhAbhogAH / AbhogaH - (1) enjoyment; (2) completion or fulness. 'Abhogo paripUrNatA' ityamaraH / 'Abhogo vAruNacchatre yatnapUrNatvayorapi' iti vizvalocane / This compound may also be dissolved aslabdhaH prAptaH AbhogaH paripUrNatA yaiste / bhogAH - worldly enjoyments. bhogAH nirvezAH nirvezaviSayAH vA / 'puMsi bhogaH sukhe'pi syAdahezca phaNakAyayoH / nirveze gaNikAdInAM bhojane pAlane dhane' iti vizvalocane. tatkSaNAdeva - The

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(639 very moment they [i. e. the objects of enjoyment or enjoyments) are experienced. niyatavipadaH - perish certainly. niyatA nizcitA vipad vinAzaH yeSAM te niyatavipadaH / vipad - to die, perish. avale - who is deprived of bodily strength. na vidyate balaM zarIrasAmarthya yasya saH / tasmin / sthAsnubhAvavyapAyAt - owing to the absence of stability in the mind. sthAsnuH sthitizIlazcAsau bhAvazca sthAsnubhAvaH / tasya vyapAyaH apagamaH / tasmAt / The word FUTET is derived from the root F41 by affixing the terminagrunu (snu) under the rule 'glAbhUjisthaH granuH'. adhyApannaH - much dis. tressed. aprazastaM kutsitaM yathA syAttathA vyApanna: duHkhitaH avyApannaH / atyathai duHkhitaH ityarthaH | Here, the naJ implies depreciation under the rule 'tatsAdRzyamabhAvazca tadanyatvaM tadalpatA / aprAzastyaM virodhazca nArthAH SaT prakIrtitAH // '. vyApanna - distressed. This word can be explained as -- vyApannaM vyApAdaH / vyApAdaH drohacintanam / 'vyApAdo drohacintanam ' ityamaraH / vyApannaM drohacintanaM na vidyate yasya saH avyApannaH / bhavadviSayakapApAzayavikala: ityarthaH / viyuktasya drohAdipApAzayasambhave'pi tvatto viyuktAyAstvatpatnIcaryAstvadviSayako na drohAdipAparUpabhAvanAtmakaH AzayaH iti bhAvaH / Sambara means to say that the young lady, separated from the Sage and residing in the city of Alaka, thinks of the Sage whose health is much deteriorated owing to the austere penance and, being much distressed owing to the thought occaring to her mind regarding the transitoriness of the objects of enjoyment, inquires the good health of the Sage. Stanza. 24 - bhoktavye - the object of enjoyment i. e. (1) the young lady residing in Alaka or (2) the beautiful ladies described. in the previous stanzas. The word 9714764 may also be taken to mean "an object worthy of being enjoyed.' Sambara means to say that the young lady residing in Alaka, though enjoyed by her busband's brother in her former birth, deserves to be enjoyed by the Sage, who was called Marubbuti in his former birth, for in the present birth she is chaste. He implies that as she is trying to approach Him herself, the Sage should not turn His back upon her, for in the present birth, she, being unmarried and uncontaminated, deserves to be accepted by Him

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(640) and enjoyed. svayaM upanate - when approached of its own accord. upanata - approached. upa samIpe nataM prAptaM upanatam / zItakatvaM amujheH - you should give up indifference or idleness. zItakatvaM - the act of working slowly; indifference. zItakasyAlasasya bhAvaH zItakatvam / zItamiva zItam / mandamityarthaH / zItaM mandaM kArI zItaka: jaDaH / alasaH ityarthaH / zItakasyAlasasya bhAvaH zItakatvamalasatvam / samujjheH - give up. anupadI - following on the heels to make search [ for its prey]. padasya pazcAdanupadam / This is an Avyayibhava compound formed under the rule "jhiH sub...'. anupadamanveSTA anupadI / This word anupadI is a nipAta meaning 'a searcher' formed under the rule 'pArzvakAyaHlikadANDAjinikAnupadyanveSTA'. mRtyuvyAghraH - the tiger-like death or the tiger in the form of death. mRtyuH vyAghraH iva mRtyuvyAghraH / yadvA mRtyureva byAghraH mRtyuvyAghraH / vAmaM anvicchati - wishes to do an evil thing. vAmaM -a forbidden act i. e. an evil deed. anvicchati - wishes. kuzalakalitaM - accompanied with prosperity. kuzalena kSemeNa kalitaM yuktaM kuzalakalitaM / kuzalasahitamityarthaH / AyuSmattvaM - a long life. dIrgha prazasta vA''yurastyasyAyuSmAn / tasya bhAvaH AyuSmattvam / nanu - necessarily. AzAdhi - you should desire. sulabhavipadAm - whom calamities bokall in an easy manner or easily. sulabhAH anAyAsalabhyAH vipadaH yeSAM te sulabhavipadaH / teSAm / pUrvAzAsyam - which is to be desired at first. Sambara means to say that the young lady, approaching the Sage of her own accord, should not be connived at by the Sage, for she is on the point of death on account of her being barassed by the thought of love for the Sage and should wish her a long happy life. He implies that the Sage should give up practising penance and should get Himself united with her. This is also one of his means employed by him to disturb the Sage's mind absorbed in deep meditation described in the stanzas foregone. Stanza 25- prathamakathitA - referred to just before. prathama pUrva kathitA varNitA prathamakathitA / pUrvajanmapriyA - beloved of the former birth. 4101 - (1) a young woman under sixteen years of age;

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(889) (2) a young woman. atar - emaciated. 'ag: essa faze FataAras arsaaa' pfa faitza. Ara aaa - intensely heated. The faard aa #TA Eg|fiaaari tahl titah - having high temperature of body in fever. Her body is highly infested with fever owing to her being love-lorn. aldarrajaai-aia JiGaiteGila ' GIAT: 1 Bieu - possessing drops of tears [fallen upon it from her eyes ). The young lady is so much grieved for her being separated from her lover that she has left no other alternative but to shed tears. Jixiegaa - having longing for a beloved person. Her body is personified here. It is longing for the body of her lover to have a close embrace. di - thin. aa - thrown into fover [owing to his being love-lorn. ]. qE1494 - having drops of tears [ dropping down from eyes. ] plaraic 06 - having incessant longing for [ the body of a beloved]. rahasi - in privacy. tvAM anumodaM nayeta - will give you pleasure. anu. Ha - pleasure, joy. Sambara means to say that not only the young woman but also the Sage being love-lorn, the Sage should allow her to embrace him in privacy to alleviate the pain caused by passion. Stanza 26 - Tigaigaa: - having the day of her love. making morged into the long past. 9979887 Jariga faqa: 994divasaH / dUre dUrabhUte parokSAtItakAle AgADhaH nimanaH dUrAgADhaH / dUrAgADhaH praNayaiaga: ata a: 16909caa: I Sambara means to say that the day, on which this young lady, wife of Marubhuti, his brother of the former birth, fell in love with himself, has merged into the long past so much that it has gone beyond the memory of men. He implies that the Sage should not take into consideration that event which had taken place in the remote past. This compound may also be taken to imply that though the days when she had made love to Marubhuti formerly, have merged into the long past, the young lady does not seem to have forgotten the thoughts of love- for the Sage. The pArzvabhyudaye 41

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(642 ) compound may also be dissolved as dUre dUrAtItakAle agADhAH praNayadivasAH This compound, thus dissolved, may also be taken imply that the days, during winch she made love to Marubhuti, being not merged into the remote past, Her memory with reference to Her love for Marubhuti is fresh. samadhikatarocchrAsinA manmathena atibhUmiM nItaH rendered shameless [or insolent] by passion intensified too much. samadhitarocchrAsI - gotting intensified too much. samadhikataraM atyarthaM ucchvAsI buddhimAn samadhikatarocchrAsI / tena / ucchrAsaH vRddhiH astyasya ucchUAsI | The word being multivoweled, the termination is affixed to it under the rule ' ato'nekAcaH ' atibhUmiM - atibhUmiH - violation of due limits. atibhUmiM nItaH carried to climax; carried or brought beyond due limits i. e. extremely intensified. Sambara means to say that since the days, during which she made love to Marubhuti, a long period having been elapsed, her feelings of love are intensified and so she has become shameless. azfuazuia fara -- afraid of meeting you. This fear may be due to the recollection of her misconduct owing to which king Aravinda had inflicted severe punishment upon Kamathas the present demi-god, Sambara or it may be due to her natural timidity. A love-lorn young woman wishing to meet her lover in privacy must neither blush nor fear. ' hitvA lajjAbhaye zliSTA madanena madena ca / abhisArayate kAntaM sA bhavedabhisArikA' [ bharatanA. ]. The root bhI governs the Ablative case under the rule alat naeg: ' [ 91. ]. utsukaH intolerant of delay. catastApatvarAdikRt ' [ a. ci. ]. Read the following 'amlegantkymi dUravartI staying at a distance. The word af should be taken to mean staying at a short distance, for Sambara is described in the stanza P 1...as to have stated that the young woman has approached there where the Sage is practising penance. Taking the description given in the 25th stanza into consideration, I would like to take the reading as adUravartI, the naJarthaka - $ Baxte

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(643) letter at of which can be taken to mean fa4 under the rule 'tatsAdRzyabhAvazca tadanyatvaM tadaspatA / aprAzastyaM virodhazca naarthA SaT prkiirtitaaH| Thus the third line of this stanza should be read as' googlegre samadhikatarocchvAminA'dUravartI '. The compound samadhikatarocchvAsinA may be construed with a lot and may be taken to mean as possessing the nature of separating very much'. vairiNA vidhinA- by inimical fate. ruddhamArgaH - with her path blocked up. uSNocchAsaM - exhaling hot breaths. The Sage is described here as exhaling hot breaths owing to his being love-lorn. saMkalpaiH - through fancies. vizati - experiences, enjoys. Sambara means to say that the young lady is so much attracted towards the Sage that she, producing the bodily form of the Sage before Her mind's eye, is having sexual intercourse to alleviate excitement of Her heart. The Sage, therefore, he implies, should actually present bimself to her and take part in sexual intercourse with her. Stanza. 27 - sakhInAM purastAt zabdAkhyeyaM api - what could be indeed spoken out even in words in the presence of [their female ] friends. purastAt - in the presence of. The word purastAt is derived from the word get by affixing the termination at under the rule 'digbhyo vAkebhyo'stAt digdezakAle '. The word pUrva is changed to pura, when the termination astAt is affixed to it under the rule 'pUrvAdharAvarANAM puraMdhavo'si' and 'astAti'. zabdAkhyeyaM - worthy of boing spoken out in words [ i. o. loudly]. zabdaiH sthAnaprayatnAbhyAmuccairucArite. zabdaiH AkhyeyaM pratipAnAham / AkhyAtuM pratipAdayituM yogyaM Akhyeyam / 'tRvyAcAhe' ityaharthi vyatyaH / AnanasparzalobhAt - owing to an ardent desire for a touch of [your ) face; through greed or intense desire to touch your face. Ananasparza bhAvaskamukhasamparke lobhAt gRdhnutAyA AnanasparzalobhAt / - tvddhrrspaanlausyaadityrthH| ya: lolaH abhUt - which

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(645) was sager. lola - eager. 'lolazcalastRSNayoH' ityamaraH / saH artha vadhUnAM sArthaH - this very concourse of young women. 'lalanA kAminI yoSidyoSA sImantinI vadhUH' iti dhanaJjayaH / sArthaH - a concourse. 'sArthaH syAdvaNijAM vRnde vRndamAtre'pi dRzyate' iti vizvalocane / tvattaH - from you, praNayakaNikA - a bit of love. praNayasya kaNikA lezaH praNayakaNikA / tAm / 'godhUmacUNe kaNikaH striyAM sUkSmAnimanthayoH' iti vizvalocame / 'kaNikAsrUpakaNaH godhUmapiSTaM ca' ityamaraTIkAyAM kSIrasvAmI / alabdhvA - without attaining. vilakSaH - struck with wonder. 'vilakSo vismayAnvite' itymrH| dUrAt - from a distance. samIpe vartamAno'pi samIpataraM pradezamaprApyetyarthaH / In the stanza tadbhoktavye svayamupanate, it is clearly stated that the concourse of young ladies has approached the Sage. The word ta, therefore, should be taken to mean from a short distance.' tava sevA vitanute - serves you. Sambara means to say that as the concourse of the young beautiful ladies, not having any response from the Sage, is serving the Sage from a short distance, the Sage should not connive at them flereby, he implies that the Sage should give up meditation and should join them to dally with them. This also is one of the means employed by him to disturb the Sage's mind concentrated upon the pare nature of his soul. stanza28- strINAM adhikAraH - the transmutation of the minds of women. kAmAbhikhyAM dadhat - assuming the name Kama. kAmaH iti abhikhyA sajJA kAmAbhikhyA / tAm / dadhat - assuming. zravaNaviSavaM atikrAntaH - gone beyond the range of oars. zravaNayoH karNayoH viSayaH gocaraH zravaNaviSayaH / tam / atikrAntaH - gone beyond. It is well-known that the thoughts, occuring to the mind are not perceived by ears, locanAbhyAM adRSTaH - not seen by eyes. Eyes cannot see objects which are not embodied. The transmutation of the minds of women, being void of bodily form, cannot be seen. praNayamadhuraH - mellifluous owing

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( 645 ) C to love. praNayena premNA madhuraH mAdhuryayuktaH praNayamadhuraH / madhu sweetness. madhu mAdhuryamasyAstIti madhuraH / Here the possessive termination ra is affixed to the word under the rule 'madhukRSyAdibhyo khalau '. bhAvagamyaH - intelligible through or inferable from amorous gestures. bhAvaH amorous gestures. Read nAnAbhinayasambaddhAnbhAvayanti rasAnimAn / yasmAttasmAdamI bhAvA vijJeyA nATyayoktRbhiH [ nA. zA. 7/3 ]. avirataM incessantly. lokarUDhA known in the world, obtaining in the world. prasiddhi: - publicity. saH that transmutation of mind. This pronoun must be taken to mean 'the concourse of the young women' from whom the transmutation cannot be differentiated altogether. manmukhena through mo. utkaNThAviracitapadam - the words or sentences in which are employed by longing [ or love-anguish ]. utkaNThayA utkalikayA viracitAni padAni summintarUpANi vAkyAni vA yasmin tat / ' padaM vAkye pratiSThAyAM vyavasAyApadezayoH / pAdAtacihnayoH zabde sthAnatrANAbhrivastuSu ' iti vizvalocane Sambara means to say that the love-lorn young ladies, being unable to express their thoughts owing to bashfulness, make him their mouthpiece and express their feelings through him. " Stanza 29 - yogin - Oh mendicant ! yogaH dhyAnamasyAstIti yogI / tasya kiH ( sambodhanam ) / ' yogaH sannahanopAyadhyAnasaGgatiyuktiSu ' ityamaraH / The word yoga, being multi-vowelled and having the vowel at its end, has the termination affixed to it under the rule 'ato'nekAca''. 'tapasvI saMyamI yogI varNI sAdhuzca pAtu vaH' iti dhanaJjayaH / yogapraNihitamanAH with mind absorbed in profound and abstract meditation. yoge dhyAne praNihitaM sthApitaM manaH yena saH / kiMtarAM dhyeyazUnyaM dhyAyasi what kind of meditation, having no concrete object, are you practising? What are you meditating upon when there is no object to meditate kiMtarrA upon. Here the termination Am is affixed to tara, following kim, under the rule ' iyenmiGkajhAdAmadravye '. dhyeyazUnyam having the object of meditation non existant. 'zUnyaM tu vazikaM tuccharikta GIM - -

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( 66 ) AvayoH iSTam / naH mataM 1 3 ityamaraH / naH mataM dear to us; approved by us. The word Ha, having the termination 7 affixed to it in the sense of present tense under the rule * siznza!fuafea1fqza: za: being employed, the Genetive plural of is employed here under the rule -- ktasyAdhArasatoH ' adhyakSavedyam - perceptible through sense aa geug organs; to be known through perception. vedyam / ' pratyakSe'dhikkRte'dhyakSaH ' ityamaraH / aGgaM zyAmAsu the physical frame [of a beautiful woman ] in the Syama-creeper. From the point of tenderness, thinness etc. there being similarily between the Syamacreeper and the body of a beautiful woman, the Sage is asked by Sambara to call to his mind the physical frame of a beautiful woman on the basis of his knowledge of the Syama-creeper. It is implied that the Sage, though ignorant of the beautiful bodies of women, should make use of his knowledge of Syama-creepers acquired by him through his movements in the forests where he is practising penance. Here, this reference to the Syama-creeper reminds one of far, one of the many varieties of women. The characteristic qualities of are enumerated as- ' zIte sukhoSmasarvAGgI grISme yA sukhazItalA / taptakAJcanavarNAbhA sA strI zyAmeti kathyate // ' dRSTipAtaM cakitahariNIprekSite - (her) glances in those of the frightened doe. Sambara means to say that the Sage should recollect the beautiful fickle eyes of a beautiful woman on the basis of his knowledge of the beautiful fickle eyes of a frightened doe with which he is well acquainted owing to his residence and movements in a forest. The beautiful eyes of a frightened doe become fickle. By the word aitaciosiaiaa. employed in this stanza, beauty and fickleness of the eyes of a beautiful woman are suggested. afar bhayAkulA cAsau hareiNI mRgI ca cakitahariNI. This being a karmadhAraya compound, the word is changed to when compounded with the word hariNI under the rule ' puMvadyajAtIyadezIye ' cakitahariNyAH prekSitaM prekSaNamavalokana vyApAraH cakitahariNIprekSitam / tatra / vaktracchAyAM zazini

Page #778
( 89 ) the charm of her face in the moon. The charm or lustre of the face of a beautiful woman being similar to that of the moon, the Sage, ignorant of the charm of the face of a beautiful woman, is asked by Sambara to recolleot it on the basis of his knowledge of the charm of the moon. kezAn zikhinA bahabhAreSu - the tresses in the plumages of peacooks. The qualities like massiveness, tenderness eto. of the tresses of a beautiful woman being similar to those of the plumages of peacooks, familiar to the Sage, staying and moving in forests, Sambara asks the Sage to remeber the tresses of a beautiful woman on the ground of bis knowledge of the plumages of poacocks. plaat - of the peacocks. ' ATTI afem ari 1370D 7541 lararas: foret I ATA1Eigetafa' FATHT: 1 achiig - in the plamages. TEINE mayUrapicchAnA bhArAH kalApAH bahabhArAH / teSu / 'baha mayUrapicche'pi dale'pi falajara' fa. According to Sambara, meditation means nothing else but remembrance and remembrance is possible only when the object remembered exists in a material form. The object, meditated apon by the Sage, does not seem to exist in a material form. So, according Sambara, the Sage should give up meditating upon abstract things. Sambara means to say that though the Sage is ignorant of physical frame, glances, the charm or lustre of face, and plumago-like tresses of a beautiful young lady, He should know these things on the ground of his knowledge of the Syama-creepar, fickleness of the eyes of a frightened doe, the charm of the moon and the plumages of peacocks respectively and should give response to the request of the young ladies. Though the word FAT, the second person singular of the root EUR7, is used only once in this stanza, there being a number of objects with which this form is to be construed, it is necessary to construe this form with every object for the completion of sense and so the rulega ar 1977|' becomes applicable here. Under these circumstances, it is necessary to add to the stanza the the group of words ata sa razle.

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(648) Stanza 30- asmadIyAM pANizobhAm - the loveliuess of our palms. asmadIyAM - our. asmAkamiyaM asmadIyA / tAm / The termination cha (Iya) is affixed to the pronoun asmat under the rule 'dozchaH ', for it is included in the FACT Tut which is termed I by Devanandi and & by Panini. The beauty of the palms of the young beautiful ladies being similar to that of the fresh tender sprouts, the ladies mean to say that the Sage, seeing the tender foliago, might have known formerly and should know at present the beauty of their palms. The ladies find the beauty of their palms similar to that of the fresh tender sprouts. If the Sage is ignorant of the beauty of the palms of the young ladies, he should know it with the help of his knowledge of the fresh tender sprouts which he is used to see in the forest where he stays. nakhAnAM chAyA~ - the brightness of our nails. asmin saprasUne kurabakavane [pazya] - in this grove of Kurabaka plants bearing (red) flowers sAsUne - bearing flowers. 'prasUnaM kusumaM sumam' ityamaraH / The Kurabaka plant bears red flowers. The redness of the nails of the beautiful young ladies is similar to that of the Kurabaka flowers, and so they imply that the Sage should know the beauty of their nails through the knowledge of the redness of the Kurbaka flowers. Read the following Extract - taduktaM - 'pItaH kuraNTako zeyo raktaH kurakhakaH smRtaH' iti / 'saireyAkhyA jhiNTI aruNapuSpA cet kurabako'sau' iti kSIrasvAmI / smitAno - of smiles. 'syAdAcchuritakaM hAsaH sotprAsaH sa manAk smitam' ityamaraH / lIlA - the grace. udyatkusumitalatAmaJjarISu - in these lusters of blossoms shooting out of creepers bearing flowers: udyatsu udgacchamu kusumitAno puSpitAnA latAnAM vallarINAM maJjarISu kusumastabakeSu udyatkusumitalatAmaJjarISu / pazyeti zeSaH / saJjAtAni kusumAni sumAnyasyA iti kusumitA / The termination ita is affixed to the word kusuma under the rule ' tadasya saJjAtaM tArakAdibhyaH itaH'. bhUvilAsAn - the graceful movements of eyebrows. pratanuSu nadIvIciSu [pazya ] - in the slender ripples of rivers. The ripples, rising on the

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(889) surface of the river waters owing to the breezes of wind are crooked and move here and there. Seeing this crookedness of the ripples and their movements, the Sage should bring before his mind's eye the crookedness and the movements of the eyebrows of the young beautiful ladies. The use of the word 94 though found once in the stanza, it is to be construed with three objects found in three different sentences. There being many objects in this stanza with everyone of which the word 979 has to be constraed and there being the verb SEYRETA, the verbal form 950, second person singular of the Impe. rative mood, is employed here under the rulegaa a 14172110 . The ladies mean to say through Sambara that they see their beauty in the forest everywhere. They imply that the Sage, residing and moving in the forest must have seen the beautiful objects which are seen by the ladies residing in cities and towns and so on this ground he should know the beauty of boautiful ladies. Stanza 31 - afos 91 SEAT - Oh crual Laxmi in the form of penance. The adjective afos qualifying agize is quite proper from the point of view of the concourse of the young beautiful ladies for the so-called pleasure derived through penance is not enjoyed through sense-organs, that - as described before.'fa fat 1919 91a1aghdat: i la grossa Faia Haina paaala' la Pesamlad i ci - worthy of being thought upon. atliga 24 - bearing fruit in the form of actual pleasure or in the form of pleasure enjoyed through sense-organg. 81917 graei gasi gCA 40% TET 779a19#: 81217 21aigta49194: ' fa fantaa l aan = tiegandala daah I frat Fraaifa - fulfilling the desires of mendicants. #1A1: - (1) desires ; (2) desired objects. #1A7731: 777777 vA dadAtIti evaM zIlamasya kAmadAyi / 'kAmaH smareccheyoH kAmye kAmaM retonikAyayoH / sammate syAdanumatI kAmamityetadavyayam' iti vizvalocane / sphuTam - clearly. adama - pervading all i. e. many external objects. Daftar

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( 650 ) bAhyArthe gacchatItyevaM zIlamasyeti sarvagAmi / bahuvidhavAhyArthe vidyamAnamityarthaH / muniSu mithyAdhyAteH vidhaye with reference to sages. " fruitless meditation. mithyA fruitless, false. dhyAtiH mithyA niSphalA dhyAtiH dhyAnam / tasyAH / kvacit ekasthaM api in some single object even . hanta decidedly. 'dAne nizcaye ca hantakAraH ityamaraTIkAyAM kSIrasvAmI | The concourse of the young beautiful ladies means to say through Sambara that as objects having beauty resembling that of limbs of Laxmi in the form of penance are not found in this world as those having beauty resembling that of the limbs of a beautiful woman are found, it is very difficult or rather impossible to advise sages to try to attain Laxmi in the form of penance for things.unknown are first known through the knowledge of other things resembl ing the unknown and then attained. It is implied that in the absence of knowledge of Laxmi in the form of penance, the Sage should not practise penance for the attainment of that Laxmi, but he should give up practising penance and should enjoy the young beautiful ladies. 8 Stanza 32 hA - ah, alas! hA viSAde'pi duHkhe'pi zakei ' iti vizvalocane. mUrti dhik - fie upon the stupidity. The word mUDha is derived from the root muh by affixing the termination kti [ ti ] to it under the rule 'striyAM kti: '. The word dhik governs the Accusative case under the rule 'hA'ntarA'ntareNAtidhinikaSAsamayAbhizvopAdhau ' RSipaH - the best or the protector of sages. asAvI - ill-behaved. aprazastA sAdhvI asAdhvI | ajAnan not knowing. muhuH constantly. ' muhuH punaH punaH zazvat abhIkSNamasakRt samAH' ityamaraH / Asakti upagataH - ' attached. asmAsu ca anAdarI abhUt - does not show favour to us. anAdarI doing no favour. AdaraH asyAstIti AdarI / The word Adara, being multivowelled, has the termination affixed to it under the rule ato'nekAcaH ' na AdarI anAdarI / anukamitAm - loved by the lover; beloved. SAY " Save - - - to prescribe meditation.

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(651) praNayakupitAm - enraged while dallying. preyasI vA - like a beloved. al - like. Figunt: - by means of feelings of love resembling the mineral dyes. dhAtureva gairikAdireva rAgaH lohitavarNaH dhAturAgaH / dhAturAgaH iva dhAturAgaH / yadvA dhAtoH rAgAH varNAH iva rAgAH mAnasAH premAkhyAH pariNAmAH dhAturAgAH / yadvA dhAtoH AtmanaH rAgAH anurAgAkhyAH mAnasAH pariNAmAH dhaaturaagaaH| tH| The termination ka, implying resemblance, is dropped under the rule 'devapathAdibhyaH'. 'dhAtuH kriyArthe zukre'pi viSayeSvindriyeSu ca / zleSmAdirasaraktAdibhUtAdivasudhAdiSu // manaHzilAdike lohe vizeSAdvairike'sthini' iti ' rAgo'nurAgamAtsarye kezAdau lohitAdiSu / gAndhArAdau nRpe nAge' iti ca vizvalocane / gatazat fasrat - on a slab of stone in the form of the modification of his mind. cetasaH manasaH vikAraH cetomayaH / TittvAt striyAM kii| tasyAm / The termination mayaT (maya) is affixed to the word cetas in the sense of modification under the rule 'mayaDvA'bhakSyAcchAdane' and the termination Huf being fea, the feminine termination it is affixed to the word cetomaya under the rule ' iTiDDhANaJ -'. zileva zilA / tasyAm / Here the termination ka, which is to be affixed to the word zilA under the rule ' ive khupratikRtyoH kA', is dropped under the rule 'devapathAdibhyaH'. Alikhya - having painted [ before the mind's eye]. dhyAyati - thinks upon you or remembers you. The concourse of the young beautiful ladies means to say through Sambara that, just like a lover remembers his beloved, enraged while dallying and separated from him, and painting her resemblance on a slab of stone by means of mineral dyes, the Sago remembers Laxmi in the form of penance on painting her resemblance on a slab in the form of his mind by means of dyo-like thoughts regarding her who is not known by him as a misbebaving woman. The concourse of the young ladies implies that the Sage is foolishly remembering the tapolakSmI , the mis-behaying woman.

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(652) Stanza.38-prasIda prasannaH bhava - be pleased. mama dayo kuruhave compassion on me (or as 3. The living being to be compassionated is used also in the Locative case as mayi dayAM kuru / dRSTiM dehi - cast a glance or look. prAyaH - mostly, generally. karuNAkRtasvAntavRttiH - having the activities of mind rendered tender through compassion ; milk of compassion. karuNayA anukampayA ArdrAkRtA mRdUkRtA svAntavRttiH antakaraNa:vyApAraH yasya yena vA saH / prAganArdo samprati ArdrA AvilA [mRdvI komalA vA] sampadyamAnA kriyate smA''IkRtA / This is a cci form formed under the rule ' kRbhvastivyoge'bhUtatadbhAve sampadyakartari viH '. prArthanAcATukAraiH - along with sweet words meant to request you for enjoyment. kriyate kAraH / kriyetyarthaH / 'bhAva' iti ghaJ / cATuH priyavacanam / 'astrI cATu caTu zlAghA premNA mithyAvikathanam ' ityamaraH / 'cATu caTu premNA zlAghanaM, caTatIti caTeH aNa, un ca / ' ityamaraTIkAyAM kSIrasvAmI / cAToH priyavacanasya kArAH kriyAH cATukArAH priyavacanaprayogAH / taiH / caraNapatitam - prostrate at feet. The concourse of the young beautiful ladies says through Sambara that the person, to whom the concourse of the ladies is attracted, being a Sage and a sage being milk of compassion, should give up meditation at least for a short period of time. This is how Sambara is trying to disturb the Sage's mind by means of enticement. Stanza 34 - 31411 - to speak out the mind. A14 - This word is employed here to imply that, in the opinion of the young beautiful ladies, the Sago alone is able to pacify their passion and none else. In reality, there is no relation of husband and wife between the Sage and the young ladies and yet they call him nAtha, kAmukInI manohRt - attracting minds of lascivious women. kAmukInAM - of lascivious women. First, the word IH is derived from the root kam, by affixing the termination ukaJ under the rule 'laSpatpadrasthAbhUvRSka mgamadhnaH ukaJ ' and then the feminine termination DI is affixed to it to imply the sense of lasciviousness under the rule 'kuNDagoNasthala

Page #784
( 653 ) bhAjanAgakuza kAmukakabara kaTAt pAtrAvapanAkRtrimAzrANAsthalA yasariraMsu kezavezazroNI '. The word kAmukI, therefore means riraMsu (a lascivious woman, a woman wishing to have sexual intercourse). The termination GI is not affixed to the word kAmuka, when it implies desire, in general, to derive a feminine form from it. The word means a woman, < cherishing a desire'. vRSasyantI tu kAmukI ' ityamaraH / manohRt - attracting minds. manAMsi haratIti manohRt / kvip / manasi guNitam thought out in mind, devised or designed (sketched) in mind. azalesan your kAmAbAdhAM laghayitum [or by the feelings of tAm / laghayitum - to picture; a pieture having resemblance to you. to alleviate the misery caused by the god of love love ]. kAmasya AbAdhA mahatI vedanA kAmAbAdhA / to minimise or alleviate. This form is derived from 3 by affixing tho termination Nic under the rule ' mRdo dhvarthe Nijbahulam' and then by affixing the termination tum to the Nijanta from. draSTukAmA cherishing a desire to look at draSTuM kAmaH yasyAH sA / vilikhya - on painting or depicting. prItyA delightfully. bahurasaM -- with great attachment. bahuH rasaH prema modo vA yasmin karmaNi yathA syAttathA / upacitaiH - gathered. muhu:incessantly; constantly. koSNaiH luke-warm. ' koSNaM kavoSNaM mandoSNaM kaduSNaM triSu tadvati' ityamaraH / ataiH tears. AbhiyateM is necessarily obscured. The young ladies mean to say through Sambara that they are very much attracted by the beauty of the Sage and think that they should have an opportunity to dally with him; but, unfortunately the Sage being averse to such misbehaviour, they try to bring before their mind's eye a bodily structure resembling that of the Sage with a desire to look at it to minimise the excitement created in their hearts by feelings of love and fail to have a look at the imaginary figure of the Sage owing to the tears gathering in their eyes on account of their being unable to associate with Him. - - - - tIvrAvasthe Stanza 35 reduced to a poignant state. tImA aruntudA avasthA sthitiH yasya saH / tasmin / madane - the god of love - -

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(654) 'madanaH smaradhattUravasantadrumasikyake' iti vizvalocane / madaGga - my body: mama aGgaM madaGgam / puSpabANaiH tapati - when pains by means ok floral arrows. This is a Locative Absolute formed under the rule 'yadbhAvAdbhAvagatiH '. The five floral arrows of the god of love are enumerated in the following stanza - 'unmAdanaM zocanaM ca tathA sammohanaM viduH| zoSaNaM mAraNaM caiva paJca bANA manobhuvaH // '. They are named as - unmAdana, zocana, sammohana, zoSaNa and mAraNa. unmAdana - that which inebriates. zocana - that which causes griof. sammohana - that which fascinates. zoSaNa - that which emaciates. mAraNa - that which kills. tapati - pains, torments. puSpabhedaiH ca praklupte - made of a variety of flowers. puSpANAM bhedAH vizeSAH puSpabhedAH taiH| 'bhedo dvaidhvishessyoH| vidAraNe copajAte' iti vizvalocane / praklapta - made of. tarUpe - in the bed. 'taspaM kalatre zayyAyAM talpamaTTe'pi na dvayoH ' iti vizvalocane / anarUpaM - very much. muhuH dahati - scorches [i. 8. torments ] constantly very much. IE: - frequently, constantly. alapAyA - whom separation causes sharp pain. tIvraH marmavyathAjanakaH apAyaH vipralambhaH yasyAH sA / aruntudvirhetyrthH| ' tItramatyantakaTuke nitAnte tadvatostriSu' iti vizvalocane / svapnamAtre'pi - even in a dream. kRtAntaH - fate. 'kRtAnto yamasiddhAntadeve'pyazubhakarmaNi' iti vizvalocane / . The concourse of the young ladies means to say through Sambara that, as it is impossi. ble to get united with the Sage actually when awake, the concourse of the young women, desirous to bring about a union with the Sage in a dream, cannot have it even in a dream owing to its being deprived of sleep for having which it is trying by lying in thick bedes This is how the demi-god is again trying to disturb the Sage's mind by means of rousing feelings of compassion in his heart. .. stanza 36- svapnajAtAt - acquired in a dream. svapne svA jAtaH utpannaH svapmajAtaH / tasmAt / tvadupagamanapratyayAt - by reason of knowledge of your approach or of our approch to you. aa cat ar 39gamanaM samIpaprApaNaM tvadupagamanam / tasya pratyayaH jJAnam / tasmAt / hetI kA /

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'pratyayaH zapathe heto jJAnavizvAsanizcaye / sannAdyadhInarandhreSu khyAtasvacArayorapi' iti vizvalocane / nirdayA zleSahetoH - for the purpose of embracing you closely or for the purpose of a close embrace. fa&a: - firm, close [lit. merciless]. dayAyAH niSkrAntaH nirdayaH / dayAzUnyaH ityrthH| gADhAliGga naviSayabhUtavadhUzArIraduHkhajanyadayAmayabhAvApAyavAnityarthaH / nirdayazcAsau AzleSa: AliGganaM ca nirdayA zleSaH / tasya hetuH / tasmAttasya vA / AkAzapraNihitabhujam - with my arms stretched in the sky. AkAze nirviSaye vyomni praNihitau prasArito bhujau bAhU yena yasya vA AkAzapraNihitabhujaH / tam / vadhUsArthamityarthaH / This is an adjectival compound qualifying the pronoun A1. This may be taken as an adverbial compound modifying uttiSThAsuM, a kRdanta form which does not give up the nature of a root under the rule 'kRdanta dhAtutva na jahAti ' and may be dissolved as AkAze vyomni praNihitau bhujau yasminkarmaNi yathA tathA / uttiSThAsuM - wisbing to get up. This is a verbal noun derived from the Desiderative form of the root ut + sthA by afixing the termination u to it under the rule "enbhikSAzaMsvindicchAduH'. kAmonmugdhAHconfounded very much. kAmaM nikAmaM (atyathai) unmugdhAH vimUDhAH kaamonmugdhaaH| vipulahasanAdvigIlatAtmavattAH ityarthaH / sakaruNamRduvyAvahAsIm - natural gentle smile mixed with compassion. karuNayA anukampayA sahitA sakaruNA - accompanied with compassion. mRdu - gentle. vyAvahAsI -"natural smile. Here the termination 57 is affixed to the root ar to imply natural action (parasparakaraNam ) under the rule 'karmavyatihAre ; and owing to the termination 7 being affixed, the termination 39 T is again affixed under the rule 'ajino'N ' owing to which the femine termination GI is affixed under the rule ' iTiDDhANaJ'. When the termination is affixed in the sense of hulaars, the form is always feminine and bas the feminine termination DI affixed to it. mRdvI cAyau vyAvahAsI ca mRduvyA. vahAsI / sakaruNA cAsau mRduvyAvahAsI ca sakaruNamRduvyAvahAsI / tAm / smarathitum - to remind. vibuddhAM - whose dream or sleep has ceased or broken. saMzrayante - have recourse to. The concourse of the young

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women means to say that through Sambara it is so much languishing with love that it finds itself in vicinity to the Sage in its dreams and stretches out its hands in the sky to embrace the Sage closely. Sambara implies that the Sage should not disappoint the young ladies by keeping himself engaged in deep meditation. Stanza 87 - nidrAsaGgAt - on account of (my) contact with sleep , being immersed in sleep. nidrayA svApena saGgaH samparkaH nidrAsaGgaH / tasmAt / svapnasandarzaneSu - in dream-visions. svapnaH eva sandarzanaM mArgaH svapnasandarzanam / teSu / 'darzanaM dRSi darpaNe / svame varmani buddhau ca zAstradharmopalabdhiSu' iti vizvalocane / yadvA svapnajJAneSvityarthaH / svapne sandarzanAmi jJAnAni svapnasandarzanAni / teSu / 'darzanaM samaye zAstre dRSTau svapne'kSiNa saMvidi ' iti zabdArNave / yadvA svapne svapnadarzane sandarzanAni saMvidaH svapnasandarzanAni / teSu / ' svapnaH svapnaMdhIsvApadarzane' iti vizvalocane / kathamapi - with a great difficulty; anybow. labdhAyAH - secured. upahitarateH - causing delight. upahitA janitI zia: sila: ha a: 1 This is an adjectival compound may also be taken as an adjective qualifying AzleSavRtte: and may be dissolved as upahitA janitA ratiH prItiH yayA sA / tasyAH / gADhaM - closely. This adverb modifies AnleSavRtteH. This may be taken to modify the word vizleSaH also. te gADhaM AzleSavRtteH vizleSaH syAt iti - owing to the possibility of the separation or disappearance of your act of embracing. vizleSa:- separation; disappearance. iti - owing to. ' iti hetau prakAre ca prkaashaadynukrssyoH| iti prakaraNe'pi syAt samAptau ca nidarzane' iti vizvalocane / vihitaruditaiH - associated with prolonged plaintive cries, laitaia saila a aifa alatAni rodanAni ca vihitaruditAni / taiH / ruditam - crying. AdhijaiH - bronght into being by mental worries; come into being owing to mental worries. AdheH mAnasthAH pIDAyAH jAyante iti AdhijAH / taiH / ddH| puMsyAdhizcittapIDAyAM pratyAzAyAM ca bandhake / vyasane cA'pyadhiSThAne ' iti vizvalocane / AzubodhaiH - by means of disturbances of sleep caused again

Page #788
(657) and again at short intervals. vipralambhAvatAram - the act of bringing into being or experiencing the separation. vipralambhasyAvatAraH vipralambhAvatAraH / tam / vipralambhaH - separation. asahyaM ghaTayatitarAM - renders extremely unbearable. Here the termination af is affixed to the verbal form ghaTayati to imply excess and Am is affixed to the form ghaTayati having tara afixed to it under the rule 'zyanmiGkijhAdAmadravye'. This stanza describes the grievous state of the young ladies. Stanza 38 - manmathena - by the god of love. 'madano manmatho mAraH pradyumno mInaketanaH / kandarpo darpako'naGgaH kAmaH paJcazaraH smaraH' ityamaraH / asmadaGge rahasi nihitAm - treasured up in our bodies secretly. rahasi - secretly. tvatsamparkasthiraparicayAvAptaye - to have an everlasting acquain. tance with your association [i. e. to have an overlasting familiarity with you]; for the purpose of attaining permanent familiarity with the union with you or with your body. tava tvayA vA samparkaH saMsargaH tvatsamparkaH / tasya sthiraH sthAstuzcAsau paricayaH saMstavazca tvtsmprksthirpricyH| tasthAvAptiH prAptiH / tasyai / tasya prAptiM vidhAtuM taM prAptuM vA ityrthH| bhAvyamAnAm - displayed. bhAvyamAnA prkttiikriymaannaa| tAm / tAM tAm - all various. ceSTAm - gestures. tAM tAM ceSTAm - any gesture. sthalIdevatAnAMof the sylvan dieties. sthalyAH devatAH sthalIdevatAH / Here the termination GI is affixed to the word sthala under :the rule "kuNDagoNasthalabhAjanAgakuzakAmukakabarakaTAt pAtrAvapanAkRtrimAzrANAsthUlAyasariraMsukezavezazroNo' to imply the sense 'uncultivated land'. sthalI - uncultivated land. muktAsthUlAH - as big as pearls. muktAH mauktikamaNayaH iva sthUlAH paribRhitakAyAH muktAsthUlAH / As the word sthUla implies bigness, property common to both, [i. e. the pearls and the tears], the word muktA , the standard of comparision, is compounded with it under the rule 'sAmAnyenopamAnam'. azrulezAH - drops of tears. lezAH - drops. 'lavalezakaNANavaH / ityamaraH / tarukisalayeSu - on the foliage of trees. tarUNAM vRkSANAM kisalayAni pallavAH tarukisalayAni / teSu / 'pallavo'strI kisalayaM' ityamaraH / khalu - pAzcAbhyudaye 42

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(658) certainly, surely. 'khalu syAdvAkyabhUSAyAM khalu viipsaanissedhyoH| nizcite sAntvane maune jijJAsAdau khalu smRtam // iti vizvalocane / bahuzaH - in abundance; abundant. This word may also be construed as bahuzaH tarukisalayeSu and the word bahuza: may be taken to mean bahuSu, as in bahuSu vasati, bahuzaH vasati / Hore the termination zas is affixed to the word bahu under the rule -- bahvalpArthAcchas kArakAdveSTAniSTe.' na patanti [ iti ] na - fall. These two negatives make one affirmative. Sambara meaus to say that the young ladies are so much reduced to a distressing state that even the sylvan deities are made to shed tears. He implies that the Sage should give up meditation and should show mercy to them. Stanza 39- vidhivighaTite - separated by fater vidhinA devena vighaTitaH viyojitaH vidhivighaTitaH / tasmin / 'vidhisi kAle nA vidhAne niyatI striyAm ' ityamaraH / abhISTe - heloved. 'abhISTe'bhIpsitaM hRdyaM dayitaM vallabhaM pritham ' ityamaraH / prANAdhIze - the lover. prANAnAmadhISTe iti prANAdhIzaH / tasmin / dUravartini - staying far away. dUre vartate iti dUrakhatI / tasmin / dIrghayAmA - consisting in long watch-periods. dIrghAH yAmAH praharAH yasyAH sA dIrghayAmA / 'prahare saMyame yAmaH' iti vizvalocane / triyAmAnight. 'nizA nizIthinI rAtristriyAmA kSaNadA kSapA' ityamaraH / kSaNaM iva - a moment as it were. 'kSaNaH syAdutsave kAlabhedAvasaraparvasu' iti vizvalocane / pakSipyeta - could be roduced. itthaM - thus. kAmAkulahitahRdayA - whose heart is distressed by the god of love or by the feelings of love. kAmena madanena kAmavAsanayA vA AkulitaM AkulaM vyastaM kRtaM saJjAtaM vA hRdayaM cittaM yasyAH sA / prANArakSam - the rescuer of life. prANAn ArakSatIti prANAskSaH / tam | The termination ka (a) is affixed to the root rakSa, as it is preceded by a noun, under the rule ' nakhamucAdayaH '. bhavantaM cintayantI - meditating upon you. taptA - distressed. bahuza: - very much. Here the termination zas is affixed to the word bahu under the rule 'baharupAA~cchas

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kArakAdveSTAniSTe'. zvasimi - I yearn. Though a number of editions of Meghadata reads kSaNa iva, the reading kSaNamiva is not incorrect, for the word 97 is both of the masculine and neuter gender. Stanza 40 - vertetanjah - the diffusion of the moon-light. jyotsnAyAzcandrikAyAH pAtaH visaraH jyotsnApAtaH / tam / vihitam - to bear. alazi 117747721T: - not able at all to bear. Here the termination at, with 3917. affixed to it, is affixed to the indeclinable at under the rule 'iyenmiDkiMjhAdAmadravye'. ahaH api'- the day even. sarvAvasthAsu - in all the states of my mind caused by the feelings of love. This compound is interpreted as 'in all periods' by the scholars; but I am unable to agree with this interpretation. From the point of view of a person who is not lovelorn at all, the moon-light is not unbearable at all. The young lady, described by Sambara, thinks it quite unbearable owing to her being love-lorn. All the states referred to here sbould be ascribed to the love-lorn lady and not to the day who is not love-lorn. mandamandAtapam - having moderate heat. mandamandaH mandaprakAra AtapaH sUryaprakAzaH yasmistat / The word manda is reduplicated here, owing to its implying a quality, under the rule 'prakAre guNoktA ', for the reduplication implies prakAra i.. sAdRzya. madanaparatAsarvacintAnidAnam - brought to effect by all the anxieties caused by the state of being absorbed in the feelings of love; carried into effect by all the anxieties caused by the god of love. madanaH kAmaH madajanakaH mAnasaH bhAvaH vA paraH yasyA sA madanaparA / tasthAH bhAvaH mdnprtaa| sarvAzca tAzcintAzca srvcintaaH| madanaparatayA varvacintAH mdnprtaasrvcintaaH| tAH nidAnaM nimittakAraNaM yastha tat madanaparatAsarvacintAnidAnam / Here the word madanaparata thA, possessing the instrumental case, as it is implies the sense 'brought into being' (madanaparatayA kRtAH) is compounded with the word sarvacintAH under the rule 'bhA tatkRtArthenonaH'. AcittezaprathamaparirambhodayAt - since the first embrace of my lord. Lit, since the time of bringing to effect the first embrace of him who governs [ my ] mind. cittezaH - who governs the mind of:

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(660) cittasya manasaH ISTe iti cittazaH / prathamaparirambhaH - the first embrace. prathama zvAsau parirambhaH AliGganaM ca prathaparirambhaH / cittezasya prathamaparirambhaH cittezaprathamaparirambhaH / tasya udayaH utpattiH cittezaprathamaparirambhodayaH / Here the Ablative case OIHICANT is due to the employment of 241, implying the sense of inclusion, under the rule ' kA''GAbhividhimaryAdayoH', and the word A is compounded with the compound word cittezaprathamaparirambhodaya, under the rule ' paryapAGkha hiraJcaH'. abhIkSNaM - constantly; again and again; frequently. Sambara means to say that a young beautiful lady, since the day on which she was first embraced by Maru (the Sage) ber lover, is constantly thinking how the day would have mild lustre in all her states caused by the feelings of love when she would be quite unable to endure the diffusion of the moon-light. ... Stanua41 - mahati kAmAveze vihitotkaNThaM AbAdhamAne - during the period when the excessive force of passion excessively distresses by causing anxieties. mahati - excessive. 'vizaGkaTaM pRthu bRhadvizAlaM pRthulaM mahat' itymrH| kAmAveze - the force of passion; the influence of passion. kAmasya madanasya kAmecchAyAH vA AvezaH prAbalyaM prabhAvo vA kaamaaveshH| tasmin / vihitotkaNThaM - by causing anxieties or uneasiness or longing for a beloved person. vihitA janitA utkaNThA utkalikA yasmin karmaNi yathA syAttathA / 'utkaNThotkalike same' ityamaraH / AbAdhamAne - distressing excessively. A samantAt bAdhamAnaH AbAdhamAnaH / tasmin / This is a Locative Absolute formed under the rule 'yadbhAvAdbhAvagatiH'. caTulanayane - possessing beautiful eyes. caTule manAhara nayane naitre yasya saH caTulanayanaH / tasmin / The Sage being absorbed in deep meditation, his eyes cannot be described as fickle, for in meditation eyes are fixed upon the end of the nose by the meditator. The line nAsAgrAhitalocano dhyAnakatAnaH kaviH supports this point of view. If the word aga is taken to imply * fickleness', the compound should be construed with kAmAveze. Asakti gatam - become attached to. These two words qualify the word cetaH

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(661) which is understood in this sentence. anugataprANaM ca - (1) absorbed in meditating. (2) the power of thinking of which has disappeared anugataH = kSINaH - disappeared. This word implies this meaning under the rule' aiqalpaaiecara '. 9001: - energy; strength. The energy of mind means the thinking power of mind. 'prANA asuSvatha prANe viDvAte'pyanile bale / kAvyajIve ca bole ca' iti vizvalocane / anugataH kSINaH prANaH mananasAmarthya yasya tat / yadvA anugataH tvayyAsaktaH prANaH mananAkhyaM svarUpaM yasya tat / etaddvayam - reduced to this two-fold state. etat tvayyA. saktatvaM anugataprANatvaM ca ityetad dvayaM vidyate yasya tat / durlabhaprArthanam - praying for what is difficult to obtain. durlabhaM - difficult to obtain. duHkhena labhyate iti durlabhaM / Here, the termination kha (a) is affixed to the root lam owing to its being preceded by dus under the rule 'svISa dusi kRcchrAkRcchre khaH'. durlabhaM prArthayate iti durlabhaprArthanam / Here the termination anaT is affixed to the root artha under the rule 'vyAnaD bahulam'. This compound may te dissolved as durlabhA kRcchralabhyA prArthanA yasya tat also. gADhoSNAbhiH tvadviyogavyathAbhiH - by exceedingly poignant (sharp) agonies caused by separation from you. gADhaM bhRzaM uSNAH dAruNAH gaaddhossnnaaH| tAbhiH / ' tInaikAntanitAntAni gADhavADhadRDhAni ca' ityamaraH / tvatto viyogaH vipralambhaH tvadviyogaH / tasya vyathAH duHkhAni tvadviyogavyathAH / tAbhiH / 'duHkhaM prasUtije klIve pIDA bAdhA ca vedanA' iti mAlAyAm / 'pIDA bAdhA vyathA duHkhamAmanasyaM prasUti' ityamaraH / Sambara means to say that the young lady has become helpless owing to her anguish caused by her separation from the Sage and the Sage, therefore, should give up meditation and be kind to alleviate her miseries. Stanza 42- devadArudrumANAM - of the Devadara trees. 'devadAru smRtaM dAru surAvaM kilimaM ca tat / snehaviddhaM mahAdAru bhadradAvindradAru ca // devakASThaM bhadrakASThaM pUtikASThaM ca dAru ca / suradAvindravRkSazca tathaivAmaradAru ca // ' iti kssiirsvaamii| 'zakrapAdapaH pAribhadrakA | bhaddArudrukilimaM pItadAra ca dAra ca / pItakASThaM ca sapta

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syurdevadAruNyatho dvayoH' ityamaraH / kisalayapuTAn - the folds of shoots. tatkSIrasutisurabhayaH - fragrant on account of trickling drops of their milky juice. teSAM devadArudrumANAM kSIrasutibhiH kSIraniSyandaiH surabhayaH sugandhayaH / From the words kisalayapuTAn sadyaH bhittvA - one is inclined to infer that either the wind must have been blowing very forcibly or the sprouts must have been extremely delicate, for the destruction of sprouts would not be possible otherwise. dakSiNena pravRttAH - which started moving [i. e. blowing] in the southern direction. matsamIpaM pratyAvRttAn - which returned [ from the southern direction ] and approsched me. himavadanilAn - the breezes from the Himalayas. madanavivazAhaving control over himself lost. madanena manmathena zRGgArAtmakamAnasapariNAmena vA vivazA viklavA ariSTaduSTadhIH vA mdnvivshaa| 'viklavo vihvalaH syAttu vivazo'riSTaduSTadhIH' ityamaraH / 'vivazo vihvale'pi syAdavazyAtmani ca triSu' iti vizvalocane / kAtarA - tremulous through fear. 'adhIre kAtaravaste bhIru - bhIruka - bhIlukAH' ityamaraH / yuSmadIyapravRttim - fresh information about you. yuSmadIyA bhavadIyA pravRttiH vRttAntaH / taam| 'pravRttivRttivRttAntapravAheSu pravartane' iti vizvalocane / aprAkSaM - I asked. This is an Aorist form derived from the root pracch. From the word pratyAvRttAn it can be inferred that the wind blew from the northern direction to the southern direction. Sambara means to say that the love-lorn lady asked the wind, that blew from the northern to the southern direction and returned to her, for fresh information about the Sage and implies that the Sage, taking into consideration the state of her mind, should have compassion on her and give up meditation to get united with her. Stanza 43- iSTe - esteemed. guNavati - endowed with excellant qualities. Here, the termination mat (vat) is affixed to the word guNa in the sense of prazaMsA under the rule 'bhuumnindaaprshNsaasu...|... bhavanti matuvAdayaH // ' atiparicitam - intimately acquainted. aGganAnAm - of the beautiful ladies. niyataM - necessarily, certainly. 'yadi kila -

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(663) very possibly. samAnArthakazabdadvayaprayogaH saMbhAvanAyA atizayaM prakhyApayati / tvadaGgAnurodhAt - out of regard for your body. tava aGgaM zarIraM tvadanam / tatra anurodhaH anurAgaH tvdnggaanurodhH| tasmAt / Sambara means to say that the young beautiful lady is so much inspired with love for the Sage that she has been trying to embrace the breezes of wind on account of her being under the impression that the breezes might have, very possibly, touched the Sage's body while blowing and implies that for no reason the Sage should connive at her who is so much attached to Him. Stanza 44 ait: - valiant. The Sage is called brave here on the ground of his being unaffected oven when amorous glances are cast at Him by beautiful young ladies. yuktaM - proper, agreeable. prati vacana - a short reply. alpaM prativacanaM pratyuttaraM prativacanakam / Here the termination 777 is affixed to the word afaqa to imply the sense of 'svalpatva' under the rule 'kutsitAjJAtAlpe kan '. mAM vRthAzAM mA kArSIHdo not disappoint me. vRthA viphalA AzA abhilASaH yasyAH saa| tAm / 'vRthA nirarthakA'vidhyoH ' ityamaraH / The word kArSIH is the Aorist form of the second person singular derived from the root . The 27 of the Aorist form 399151: is dropped under the role 'luGlaGlaGyAmAGATa' for it is preceded by mA, an indeclinable implying negation. yadi ca te rucitam - If at all it pleases you. The word a is the Genetive Singular form of grad. It is optionally used in place of an when it is not used in the beginning of a sentence. Read the following line from 799m which runs as dAridyAnmaraNAdvA maraNaM mama rocate na dAridyam / '. The word te may also be taken as the Dative Singular form of goal, which is optionally used in place of tubhyam , under the rule 'ekasya te me'. bahu vigaNayan - contemplating very much. AtmAnaM AtmanA eva avalambe - I am holding me up by myself ; I am standing by myself. Sambara means to say that the young lady thinks that as the union with her lover would

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(664) possibly be brought about in future, there is no necessity of committing a suicide at present, though she is helpless. nitarAM kAtaratvaM mA gamaH - do not have recourse to nervousness at all events; do not be nervous at all. kAtaratvaM - nervousness. 'adhIre kAtaratraste bhIrubhIrukabhIlukAH' ityamaraH / te AbhASyam - The potential participle governs the Genative or. Instrumental case of the subject of the verb from which it is derived, under the rule 'vyasya vA katari'. Stanza 45- asuraH - the demi-god i. e. Sambara. evaMprAyAm - similar to this. evaM IdRgvidhA prAyeNa evmpraayaa| tAm / strImayIM - through a woman. striyAH AgatA prAptA striimyii| tAm / strIdvAreNa kRtAmityarthaH / Here the termination mayaT is affixed to the word strI to imply the sense of tataH AgataH, under the rule ' mayaTa'. nikRti - maltreatment. 'nikRtirbharsane kSepe' iti vizvalocane / nikRtiM kurvan - treating very badly. 'nikRtirbharsane kSepe niHkRtiH zaThazAThayayoH' iti vizvalocane / vyarthodyogaH - having his efforts turned futile. vyarthaH viphalaH udyogaH utsAhaH prayAsaH vA yasya saH / samajani - Aorist 3rd per. sing. of sam+jan. pratyuta - on the contrary; on the other hand. sa duHkhaM agAt - he become sorrowful. ekAntaM - absolute, invariable. aatyntikmityrthH| ekaH nizcitaH antaH atra ekAntam / 'tItraikAntanitAntAni gADhabADhadRDhAni ca' ityamaraH / kasya ekAntaM sukhaM upanatam - to whose lot does invariable [or absolute ] happiness fall ? ekAntataH duHkham - unalloyed misery. cakranemikrameNa - after the manner of the periphery of a wheel. cakraM -a wheel. 'cakraM sainye rathAGge'pi AmrajAle'mbhasA bhrame / kulAlakRtyaniSpattibhANDe rASTrAstrabhedayoH' iti vizvalocane / cakrasya nemiH antaH cakranemiH / nemizcakrAntaH / 'nemiH kUpatrikAyAM syAccakrAnte tinizadrume' iti vishvlocne| cakranemeH kramaH paripATI cakranemikramaH / tena / 'kramaH zaktiparIpATIcalane kampane'pi ca' iti vizvalocane / dazA - state. Sambara, though happy at the time of maltreating the Sage, became very unhappy when he came to know

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the futility of bis efforts employed to disturb the Sage who was not a bit perturbed, notwithstanding his various efforts. . Stanza 46- muneH kevalajJAnasampad samajani - the superhuman power in the form of pure and perfect knowledge sprang up in the Sage or the perfection of pure knowledge was brought to effect in the Sage. sampad - (1) perfection, excellence; (2) treasure. kevalazAnasya kevalajJAnameva vA sampad kevalajJAnasampad / In the Jain scriptures jJAna is divided into five varieties viz. matijJAna, zrutajJAna, avadhijJAna, manaHparyajJAna and kevalajJAna. kevalajJAna is the pure and perfect knowledge capable of knowing all the knowables with all their past, present and future modifications. All the remaining varieties of knowledge do not posses purity and perfection and are not capable of knowing all the knowables with all their modifications, like kevalajJAna. This kevalajJAna forms the uncommon property of the pure and perfect soul. samajani - Aorist 3rd per. sing. of sam + jan. asya mUni cikSepsuH - desirous of throwing on the head of this (Sage). cikSepsuH - This is a verbal noun derived from the Desiderative form of the root fag by affixing the termination u to it under the rule 'sanbhikSAzasvindicchAduH'. giriM udaharat - uplifted a mountain i. e. a piece of rock as huge as a mountain. giriHa mountain-like huge piece of rock. giriH iva giriH / tAm / zAIpANI0NiH - Visnu, Narayana. zAGgaM - made of born. zRGgasya vikAraH zAGgam / zRGgavinirmitaM dhanurityarthaH / Here the termination as is affixed to the word zRGga to imply the sense of modification under the rule ' hemAdibhyo'J'. zAI pANau haste yasya saH zAGgapANiH nArAyaNaH / This being a bahuprIhi compound, the word zAGga, meaning a 'missile', is placed before the noun pANau, possessing Locative case, under the rule ' ktAccAstram'. bhujagazayanAt usthite - when got up from [ his] serpent-bed. bhujagaH uragaH zeSAkhyaH eva, pakSe dharaNAkhyaH eva zayanaM zayyA bhujagazayanam / tasmAt / This is a Locative Absolute formed under the rule 'yadbhAvAdbhAvagatiH '.

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(99) 21915a: - end of the ban. ge: 47TF1A1 - desirous of speaking out loudly, 240 FIA: 3714814: JEIT: All - as if. Ta - the autumnal season. 3487 - sprang op, set in. On seeing the Sage harassed too much by Sambara by pouring heavy showers of rain, Dharana, . god devoted to Parsva, got himself changed into a serpent, twisted his changed body into a circular shape and raised the Sage and put Him on the seat-like circular shape of bis body. On account of this, the autumnal season mistook Parsva, having complexion similar to that of Visnu, for Narayana seated on a seat prepared by Sesa by twisting his body into a circular shape. When pure and perfect knowledge got developed in the Sage from the pre-existing modification of his knowledge, the body of the Sage got raised from the seat prepared by Dharana. When the autumnal season, wbich is personified bere, saw this, she being deceived by this phenomenon, recalled to her memory the fact that whenover Visnu rises from bis serpent-bed, a ban put opon ber advent comes to an end, The Sage attained pure and perfect knowledge and so had His body raised on the serpent-bed in the month of Chaitra. Visnu rises from his serpent-bed in the month of Kartika. Owing to this rising of the Sage like that of Visnu from the serpent-bed and owing to the resemblance of the complexion of the body of the Sage to that of the body of Visnu, the season mistook the Sage for Visnu and the month of Chaitra for the month of Kartika. Owing to this mistake, the poet says, the autumnal season set in in the month of Chaitra. According to Jain scriptures, when Tirthakar attains pure and perfect knowledge all the seasons set in simultaneously. The other thing which deserves to be mentioned here is that of Sambara's misbebaviour. At the time when Parsva attained pure and perfect knowledge, Sambara bad oplifted a piece of rock as huge as a mountain with a desire to throw on the head of the Sage. Stanza 47 - Ja! - resulting in misery. Je: gi apakatvAt sadoSaH antaH pariNAmaH yasyAH sA / yadvA duSTaM antaM svarUpaM yasyAH saa|

Page #798
(667) tAm / ' antaM vizuddhe vyApte syAdanto nAze manohare / svarUpe'ntaM mataM klIbaM na strI prAnte'ntike triSu' iti vizvalocane / It is implied that the demi-god, Sambara, will have to atone for the misdeeds perpetrated by him with reference to the Sage. ajJAnavRttim - the unwise course of conduct; the deed perpetrated through corrupt knowledge, na vidyate jJAna samyagjJAnaM yasyAM sA ajJAnA / ajJAnA cA'sau vRttiH kriyA vartana vA cAjJAnavRttiH / tAm / mithyAjJAnajanitA kriyAmityarthaH / prahasitumiva - to deride as it were. jyotsnAhAsa - laughter in the form of moon-light. jyotsnA kaumadyeva hAsaH hAsya jyotsnAhAsaH / dizi dizi-in every direction; in all directions. tanvatIspreading, diffusing. dizAM vaimalyena - through the clearness of all quarters. caturaH - clever, agreeable. 'dakSe tu caturapezalapaTavaH sUtthAna uSNazca' ityamaraH / locane mIlayitvA - with both the eyes shut; closing both eyes. The autumnal season, which is personified, implies that the summer season, having the hot rays diffused, should not set in, for in the opinion of the autumnal season it was not the month of Chaitra but of Kartika, but should wait for some months more. locane - (1) eyes ; (2) rays resembling eyes. When the termination ka, which is affixed to a word to imply resemblance, is dropped under the rule 'devapathAdibhyaH ', the number and gender of the new word are not changed, but remain as they are of the word to which the termination ka is affixed first and then dropped under the rule 'yuktavadusi liGgasaGkhye '. So the word locane can be taken to imply the additional meaning mayUkhAn, In this context, the phrase locane mIlayitvA should be taken to mean contracting the rays. Ateitical - contracting. 3772117 mAsAn gamaya - remove to months other than the months of kArtika etc. rundhatI iva - preventing as if. prAdurAsIt - appeared, set in. It is implied that at the time when pure and perfect knowledge had become manifest in the Sage, the antumnal and the summer seasons had set in simultaneously.

Page #799
( 668 ) Stanza 48 jAtA kampAsana niyamitaH impelled or directed by the shaking seat jAtaH AkampaH vepathuH yasya tajJAtAkampam / jAtAkampaM ca tadAsanaM viSTarazca jAtA kampAsanam / tena niyamitaH pracoditaH jAtAkampAsananiya - mitaH / The attainment of pure and perfect knowledge by the great Sage became known to the lord of the serpents when he saw his seat shaking. According to the Jain scriptures the seats of all Indras shake whenever a Tirthakara attains pure and perfect knowledge. sAvadhiH - possessing avadhijJAna; making use of Avadhi i. e. knowing through Avadhi. That knowledge through which embodied objects are known is called avadhijJAna. nAgarAjaH the lord of serpents. nAgAnAM rAjA nAgarAjaH / The anU of the word rAjan is changed to a when it stands at the end of a compound under the rule ' rAjAhaH sakheSTa : ' In the former birth when a couple of serpents was on the point of death on account of its being scorched by the flames of fire rising up from a log of wood which was thrown into burning fire by a monk and which had the couple in it, Parsva had muttered the paJcanamaskAramantra in its ears. Through the prowess of the spell the couple was born again as the lord of serpents and his wife. pariNatazarazccandrikAsu having the mature or fully developed autumnal moon-light. pari sarvatra vaipusyena vA natAH prAptAH pariNatAH / pariNatAH pracitAH zarazcandrikAH zAradIyakomudyaH yAsu " tAH / tAsu / kSapAsu - during the nights. ' nizA nizIthinI rAtri striyAmA kSaNadA kSapA ityamaraH / virahaguNitAm - multiplied or intensified by (our) separation. abhilASaM desire. nirvaikSyAvaH we shall enjoy. pUjayAvaH we shall worship. Though the form qua: is of the present tense, it should be taken to imply the sense of near future under the rule 'vartamAnasAmIpye vartamAnavadvA'. www Stanzas 49-50 divyayAnAvakIrNe having celestial cars scattered on all sides. divi bhavAni divyAni / yAnAni vAhanAni / divyAni - - -

Page #800
(669) ca tAni yAnAni ca divyayAnAni / taiH ava samantAt kIrNe veSTitaM divyayAnAvakIrNam / tasmin / prasthAne - the celestial car; a vehicle meant for going. prasthIyate anena iti prasthAnam / prahatapaTahe - having a drum or drums beaten in it. prahatAH pratADitAH paTahA AnakA yasmistat / tasmin / 'AnakaH paTaho'strI syAt' ityamaraH / tadanugajanaH - some follower of him. anugaH - a follower. anugacchatItyanugaH / bhRtya: ityarthaH / 'bhRtyo'tha bhRtakaH pattiH padAtiH padago'nugaH' iti dhanaJjayaH / anugazcAsau janazcAnugajanaH / tasya dharaNendrasya anugajanaH tadamugajanaH / purA - just recently. ' purA bhAvipurANayoH / prabandhe nikaTAtIte' iti vizvalocane / kaNThalamA - clinging to neck. kaNThe lagA kaNThalamA / sasvaraM - londly. svareNa dhvaninA sahitaM yathA syAttathA / viprabuddhA - awoke. asi - This form of the present tense is employed to imply the sense of near past under the root ZT' on account of the word purA being used. smarasi - you remembered. This form of the present tense is also employed under the same rule and for the same reason and the same purpose. upalabdhukAmA - desirous of taunting me. kitavaH - one who is inflamed with love-feelings; a deceiver; a rogue. 'kitavaH puMsi dhattare mattavaJcakayorapi' iti vizvalocane / ramayan - pleasing. sAntahA~sam - laughing inwardly. antosena mandahAsena sahitaM yathA syAttathA. Stanza 51- satsaparyam - having best material for worship; worshipping in a good way. satI samIcInA saparyA apacitiH yasya saH / tm| The word #991 is takon to mean the material for worship, for the material like rice, fruits etc. are meant for worshipping. 'JAL ZAFITpacitiH saparyA'rcA'rhaNA dhamAH' ityamaraH / sajAni - with beloved. jAyayA panyA sahitaH sajAniH / This being a sahabahuvrIhi compound, the letter yA is changed to ni under the rule 'jAyAyA niG'. ahIndram - the lord of serpents, dharaNa by name. adhijinaM sthitam - standing in the vicinity of Lord Jina. jinasya samIpe adhijinam / This is an Ayyayibhava com

Page #801
(670) pound, implying abhyAsa (sAmIpya), formed under the rule 'jhiH sub-'. grada: - who has thrown away the mountain-like huge piece of rock, muktaH parityaktaH zailaH zailasadRzaH mahAn prastarakhaNDaH yena sH| sabhayaM - through fear. bhayena sahitaM yathA syAttathA / apayAtum - to run away. abhijJAnadAnAt - from the evidence forwarded in proof. abhijJAyate aneneti abhijJAnam / tasya dAnaM pratipAdanam / tasmAt / kuzalinam - doing good, a virtuous man. saccAritraH ityarthaH / kuzalaM puNyaM (sadguNaH) astyasyeti kushlii| 'paryApti-kSema-puNyeSu kuzalaM zikSite triSu' ityamaraH / A person, who is virtuous, does what is good. mA apayAsIt - do not run away; do not withdraw. apayAsIt - Aorist 3rd per. sing. of apa+ yA. bhavAn mA'payAsIt = svaM mA'payAsI / palAyasvetyarthaH / Here, a of the Aorist is dropped. Stanza 52 - pUrvajanmani - in the former birth. pUrvasmin janmani pUrvajanmani / priyasahajakaH - a dear brother. saha jAyate sahajaH / bhrAtA / 'samAnodaryasodaryasagayaMsa hajAH samAH' itymrH| svArthe kapratyayaH / priyazcAsau sahajakazca priyasahajakaH / strIkAmyan - wishing to have the wife of Marubhuti; wishing to have sexual intercourse with the wife of Marubhati. striyaM marubhUteH patnI AtmanaH icchatIti strIkAmyan / strIkAmyan is a verbal noun derived from the verb strIkAmyati, which is formed from the noun ali by affixing the termination #1721 to it in the sense that the subject of the verb afinitala wishes for that which is expressed by the noun to which the termination $174 is affixed, under the rule 'caq: 91773 The word til, to which the termination #1797 is affixed, refers to Marubunti's wife, for Kamatha is described here as wishing for a woman though he is married. vairakAmyan - wishing to come into antagonism with. vairaM marubhUtAvAtmanaH icchatIti vairakAmyan / Hore also the termination 1727 is affixed to the word die under the same rule as given above and for the same purpose. prasabhaM - perforce. avadhIH - killed, Aorist 2nd per. sing. of the root han . mauDhyAt - through foolishness.

Page #802
(671) mUDhasya bhAvaH mauDhyam / tasmAt / anucitam - improper, wicked. na ucitaM samaJjasaM anucitam / 'ucitaM tu samaJjase / anumatyAM mitA'bhyastajJAte ca triSu ca triSu' iti vizvalocane. kRtaM - deed. na marSitam - was not put up with. asitanayane - having red eyes. asitaM - other than white i. e. red. na sitaM zubhaM asitaM / In Sanskrt literature serpents are generally described as having red eyes. asite raktavarNe nayane yasya saH / tasmin / kaulinAt - on the strength of malicious gossip. 'kolInaM tu parIvAde kulInatve kukarmaNi / guhye'pi saGgare'pi zvabhujaGgapazupakSiNAm' iti vizvalocane / 'syAtkaulInaM lokavAde yuddhe pazvahipakSiNAm ' ityamaraH / avizvAsanI mA bhUH -do not be distrastful towards me; do not disbelieve me. vizvAsana - inspiring or producing confidence in. This para form is derived from the causal of the root vizvas by affixing the termination anaT to imply the sense of action under the rule ' karaNAdhAre cAnaT '. vizvAsanaM astyasya vizvAsanI / The word la satan being multi-vowelled and having 37 at its end, the possessive termination in is affixed to it under the rule 'ato'nekAcaH'. na vizvAsanI avizvAsanI / It can be explained also as avizvAsanamastyasya avizvAsanI. This is not a feminine form derived by affixing the termination GI under the rule ' iJ TiDDhANaJ-', though the termination anaT is affixed to the causal of the root vizvas. As_suggested by yogirAja, this may be taken as a vi form. He has explained it as prAganavizvAsanaH idAnImavizvAsanaH mA bhUriti / The various editions of Meghaduta that are available read avizvAsinI in the place of avizvAsanI. In my opinion the reading avizvAsanI can serve the purpose of the reading avizvAsinI, if it is explained as bellow. vizvAsayatIti vishvaasnH| Here the termination 879EUR should be taken as affixed under the rule 'vyAnaDU bahulam' to imply tha subject of the verb vizvAsayati and then as baving the feminine termination Sit affixed to it under the rale 'iTiDDhANaJ -' as the termination anaT is dit. Dharana means

Page #803
(672) to say that the demi-god, Sambara, should not disbelieve him on the strength of the scandal that the red-eyed serpents do not deserve to be believed in. Stanza 58 dhikkRtya ' 6 1 having rebuked. This is a fas ( gatisamAsa ) formed under the rule ' tikkAduH ' for dhikkRtya is tisaMjJaka ( gatisaMjJaka ) under the rule ' sAkSAdAdyacvi' This being tisaMjJaka, the termination pya ( syap ) is affixed to the root kR under the rule ' vyaktivAkse ktaH '. sakRtya taking along with. This is also a gatisamAsa. sajuS (rAjU ) with. This is an indeclinable. When this word is compounded with a verb, it is denominated as ti ( gati ) under the rule ' civaDAjUryAdyanukaraNam' and therefore the termination pya (vyap ) is affixed to it instead of the termination l under the rule pyAstabAkse ktaH'. The letter s of the word sajuS is changed to visarga under the sajuSo riH and the fa is optionally dropped under the rule ' isusorbahulam '. Both of the forms sajU kRtya and sajaHkRtya are grammatically correct. The following extract from the mahAvRtti explains this word in two ways. sajUH / saha juSA vartate ' saheti tulyayoge' basaH / vA nIcaH' iti sahasya so bhavati / yadi vA saha juSate iti sajUH / [5|3|76 ]. ahirAjaH the lord of serpents. FazfA$?7: absorbed in devotion; absorbed in affection. snehe nighnaH snehanighnaH / praNayAdhInaH bhaktyazrIno vetyarthaH / nighnaH AyattaH / ' adhInoM nighna Ayatto'svacchando gRhyako'* pyasau ' ityamaraH / nihanyate nighnaH / This word is derived from the root han, preceded with , by affixing the termination under the rule sthAdibhyaH kaH '. virahe snehAn hAsinaH AhuH people speak of affections as deteriorating during the period of separation. hAsinaH rating. kimapi - inexplicable. te abhogAt iSTe vastuni upacitarasAH premarAzIbhavanti - These [affections ], however, owing to non-enjoyment, having longing heightened [ intensified ] in respect of objects desired for, get turned into heaps of affection [i. e. become intensified ]. iSTe vastuni in respect of objects desired for. abhogAt upacitarasaH << " " deterio C -

Page #804
( 673 ) having their attachment intensified owing to non-enjoyment. upacita: pracitaH pravRddhaH rasaH rAgaH yeSAM yeSu vA te upacitarasAH / 'rasaH svAde'pi tiktAdau zRGgArAdau drave viSe | pArade dhAtuvIryAmburAge gandharase tanau || raso ghRtAdAvAhArapariNAmAdbhave'pi ca' iti vizvalocane premarAzIbhavantI get turned into heaps of affection prAgapremarAzayaH idAnIM premarAzayaH sampadyamAnAH bhavantIti premarAzIbhavanti / It is implied that the view of the people, that affection, which is not experienced by the parties separated from each other, deteriorates, is inexplicable, for the affections of Dharana and Sambara for Parsva, inexperienced owing their separation, became intensified instead of deteriorating. Marubhuti i. o. Parsva and Kamatha i. o. Sambara were separated from each other since very long. Similarly Dharana, the serpent of the former birth who had undergone death owing to his being schorched by fire which was ignited by a tApasa, practising paMcAbhitapa, was also seperated from Parsva for some time. Their affection for Parsva, though inexperienced, did not deteriorate, but on the other hand it became intensified. Stanza 54 uragarAT the king of serpents. uragANAM rAT uragarAT / rAjate iti rAT / kvip / This compound may be dissolved as uragaH rADiva uragarAT under the rule 'vyAghrAdibhirupameyo'tadyoge '. saGkSepAt succinctly stutiM kartuM Arabdha began to pray. Arabdha Aorist 3rd per. sing. of H. This root has the preposition prefixed to it generally when declined tvayi aspA api bhaktiH devotion to produces bliss in abund + you though insignificant anarUpaM zreyaH sUte adce. prathamavirahe at the time of first separation; when he get separated first. prathamazvAsau virahazca viyogaH / tasmin / zokadaSTAm - distressed; stung with grief zokena duHkhena daSTA atyartha pIDitA zokadaSTA / tAm / .. pArzvAbhyudaye 43 - - - - -

Page #805
(674) Dharana implies that his wife was very much grieved at the time when he and his wife were separated from the Sage on account of their bodies being scorched by the fire enkindled by a arte by putting a log of wood which he and his wife had entered into. anukUlA - favourable. gai aet - this female friend of mine. Hifitat - the female serpent. AzvAsya - having conciliated. zreyaskAmAH - desirous of attaining bliss; seeking happiness. zreyase kAmaH icchA yeSAM yeSu vA zreyaskAmAH / It is better to explain this word as - zreyaH kAmayate iti zreyaskAmaH / The root kam , being preceded by its object zreyas, has the termination Na (a) affixed to it under the rule 'zIlIkSIkSamkAmyAcakSaNaH '. In the life of the couple of the serpents, their separation from the Sage which was brought to being by their death, was the first. Stanza 55 - 95 AIRTEFATTI - through the magnanimity of which. yasyAH mAhAtmyaM prabhAvaH sAmarthya vA yanmAhAtmyam / tasmAt / mahAn AtmA svabhAvaH yasya saH mahAtmA / 'AtmA brahmamanodehasvabhAvadhRtibuddhiSu' iti vizvalocane / mahAtmano bhAvaH mAhAtmyam / Here the termination TyaNa is affixed to the word HETCAI to form an abstract noun under the rule 'varNadRDhAdibhyaSTayaNa'. kAntayA amA - with the beloved. 'amA saha samIpe ca' ityamaraH / durApaM - difficult to attain. duHkhena kRcchreNa Apyate iti $1194 | Here the termination ( 37 ) is affixed to the root 3719, having dus prefixed to it, under the rule ' svISaddusi kRcchrAkRcchre khaH' padam - dignity. 'padaM vAkye pratiSThAyAM vyavasAyApadezayoH / pAdAtacihnayozzabde sthAnatrANAtivastuSu' iti vizvalocane / tadanucaraNena - behaving in compliance with it [i.e. devotion ]. vihAraM ujjhan - giving up rambling incursion. trinayanavRSotkhAtaTAt adreH nivRttaH - returned from that mountain having an excavated temple dedicated to Vrsabba Jina possessing three eyes [in the form right belief, right knowledge and right conduct. ] trINi nayanAni samyagdarzanajJAnacAritralakSaNAni yasya saH trinayanaH / vRpaH vRSabhaH asya

Page #806
(675) astIti vRSaH / vRSabhalAJchanaH AdijinendraH ityarthaH / Here the possessive termination a is affixed to the word vRSa under the rule 'o'bhrAdibhyaH '. trinayanacAsau vRSazca trinayanavRSaH / yadvA trINi samyagdarzanAditrayarUpANi nayanAni trinayanam / trayANAM nayanAnAM samAhAraH trinayanamiti vigrahaH / tadeva vRSaH AtmadharmaH yasya saH trinayanavRSaH / 'vRSo mUSakadharmayoH / vRSabhe vAsake zreSThe rAzI zRGgyAM ca zukrale / zukre puruSabhede'pi' iti vizvalocane / kUTaH zikharamasyAstIti kUTam / mazikharaM mandiramityarthaH lakSaNayA abhidhayA vA grAhyaH / utkhAtaM utkhAya nirmitm| trinayanavRSasya utkhAtaM kUTaM sazikharaM mandiraM yatra sH| tasmAt / vidadhataH - Instead of this reading the Nirnayasagar edition reads facald. The word lagafa being a plural form, it is very difficult to construe it with any word employed in the stanza. There being no alternative, I have changed it to vidadhataH. stanyas6- uparimo zriyaM tanvatI - bestowing excellent prosperity, qase=ail: sa: - devotion to your feet; worship of your two-feet. bhaktiH - devotion; worship. tvadanyoH - tava atrI caraNo svadadhI / tayoH / 'aghriH puMsyeva caraNe mUle'pi ca mahIrahe ' iti vizvalocane / iha janmani - in this like. amutra api - even in the like to come next. 'pretyAmutra bhavAntare' ityamaraH / nikhilasukhadA - bringing all pleasures. nikhilaM kRtsnaM sukhaM dadAtIti nikhilasukhadA / 'vizvamazeSaM kRtsnaM samantanikhilA'khilAni niHzeSam ' ityamaraH / khilAt zeSAnnirgataM nikhilaM / nimzeSamityarthaH / Here the word nikhilaM may be taken to mean anantaM (infinite) also. The root dA, being preceded by its object nikhilasukha, has the termination ka affixed to it under the rule 'nakhamucAdayaH' and the feminine termination 311. The potential form 7417 implies the sense of request (prArthana) under the rule 'vidhinimantraNAmantraNAdhISTasamprabhaprArthane liG'. kAntAsaGgaiH alam - enough of the unions with my beloved. kAntayA saGgAH kAntAsaGgAH / teH / 'melake saGgasaGgamau' ityamaraH / The word alam being

Page #807
( 676 ) employed here in the sense of prohibition, the word has the termination of the Instrumental case affixed to it under the rule < C , prakRtyAdibhyaH ' tatra yuktaiH prahitavacanaiH alam - enough of the words even, referring to those [unions ]. tatra yuktaiH referring to those. aghavazAt - owing to the sin [ committed by me in my former births ]. mama gRdhnutAM vardhayadbhiH * intensifying my eagerness [ for those unions ]. gRdhnutA eagerness, greediness. ' gRdhnustu gardhanaH / lubdho'bhilASukastRSNak samau lolupalolubhau ' ityamaraH / This word is derived from the root gRdhU by affixing the termination vanu. ( nu) to it under the rule trasgRdhdhRkSipaH knuH ' gRdhnoH bhAvaH gRdhnutA / tAm / sAbhijJAnam with a means of recognition. abhijJAyate pratyabhijJAyate'neneti abhijJAnam | Here the termination anaT is affixed to abhijJA under the rule karaNAdhAre cAnaT to imply the sense of ' a means '. abhijJAnena sahitaM yathA syAttathA / Here the word sadda, implying simultaneity, is changed to sa, under the rule 'heDakAle ', on account of this compound being an Avyayibhava, formed under 'jhi: sub- ' prahitavacanaiH the words or messages sent. Many editions of Meghaduta read this line as sAbhijJAnaprahitakuzalaistadvacobhirmamApi / uparimA zrI : may be taken to mean mokSalakSmI:. This stanza may also be construed as tat deva ! uparimAM zriyaM tanvatI iyaM tvadaGghyoH me bhaktiH nikhilasukhadA bhUyAt / iha janmani amutra api kAntAsaGgaiH tatra yuktaiH api aghavazAt mama gRdhnutAM vardhayadbhiH sAbhijJAnaM prahitavacanaiH alam / Dharana means to say that his devotion to or worship of the feet of Lord Jina should give him every kind of pleasure and should make him capable of renouncing sexual intercourse and conniving at the amorous words even in the present and the future births following the present one. 6 - Stanza 57 gods. surai: vandArunirjaraiH again. upArUDhabhaktau suranuta - praised or worshipped by [heavenly] H nutaH stutaH pUjitaH vA suranutaH / tasya kiH / bhUyaH in whom feelings of devotion are intensified. upArUDhA vRddhiM prAptA bhaktiH sevAbhAvaH yasmin saH / tasmin / praNayamadhurAM - - VICI - --

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(677) agreeable or mellifluous owing to compassion or affection. praNayena premNA bhaktyA namratvena vA madhurA rasavatI priyA vA praNayamadhurA / tAm / 'praNayaH premavizrambhaprazrayaprathane'rthane' iti, 'madhuro rasavatsvAdu priyeSu triSu vAcyavat ' iti ca vizvalocane / dRSTiM dehi - cast a glance. anuzayakRtaiH - caused by repentance. anuzayena pazcAttApena kRtAH vihitAH anuzayakRtAH / taiH / 'dIrghadveSAnutApAnubandheSvanuzayaH pumAn ' iti vizvalocane / cittodvaigaiH - owing to mental affliction. cittasya manasaH udvegA udvejanAni bhayAni cittodvegAH / taiH / udvega udAhulake pumAnudvejane'pi ca / bhavedudgamane cA'yamudvegaM kramukIphale' iti vizvalocane / prAtaHkundaprasavazithilam - enfeebled like a Kunda flower in the morning. prAtaH prAtastanaH yaH kundaprasavaH sa iva zithilaM zlathabandhanaM / 'prasavo garbhamokSe syAvRkSANAM phalapuSpayoH / paramparAprasaGge ca lokotpAde ca putrayoH' iti vizvalocane / Kunda flowers blossom in the evening and in the morning have their conjunction with the creeper so loose as to fall from the creeper. Dharana implies that owing to his repentance for what he did, Sambara's soul is on the verge of flying away from his body like a Kunda flower in the morning, having its conjunction with the creeper loosened so much as to fall * from the creeper. prapitsu - desirous of flying away. This is a verbal noun derived from the Desiderative of the root 9 + 97 by affixing the termination 3 under the rule 'sabhikSAzasvindicchAduH '. Dharana prays the Sage, deeply engrossed in the meditation, to cast a compassionate glance at the demi-god, too much grived at heart, and to save his life from fleeing from his body. Stanza 58 - saumya - (1) possossing pure and perfect knowledge; (2) dispossessing passions. 'budhe saumyo'tha vAcyavat / bauddha manorame'nugre pAmare saumadaivate' iti vizvalocane / kaJcit - This indeclinable is used to express desire. ' kaccit kAmapravedane' ityamaraH / bandhukRtyam - friendly ervice. bandhoH svajanasya kRtyaM kArya bandhukRtyam / 'sagotrabAndhavajJAtisvajanAH

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(678) samAH' ityamaraH / vyavasitam - decided upon; determined. vyAttaH - opened. vaktukAmaH - desirous of speaking. phaNAli - the row of hoods. phaNAnAM phaTAnA AliH AvaliH phaNAliH / tAm / uccaiH vitatya - expanding very much. adhidhiraH - upon the head. This is an Avyayibhava compound employed in the sense of the Locative case under the rule 'jhiHsub-', Dharana expanded his hood very much like an umbrella apon the head of the Sage through his superhuman power to serve Him. Stanza, 59 - aho dhairyam - Oh, what a courage! daityasya adreH abhidalanaM kartum - to shatter the mountain or mountain-like huge piece of rock to pieces. zaktiyoge api - notwithstanding your being in possession of strength, pratyAdezAt - because of rejecting. 'pratyAkhyAnaM nirasanaM pratyAdezo nirAkRtiH' ityamaraH / bhavataH dhIratAM na khalu kalpayAmi - I cannot imagine your courage. iti AlapantI - speaking out thus. pracaladalakA - having her hair dangling. pracalantaH lolAH alakAH cUrgakuntalAH yasyAH sA / divyaM chatraM vyaracayat - produced a very beautiful [ lit. celestail ] umbrella. Stanzas 60-61- tyaktavairaH - who has abandoned enmity. tyaktaM parihRtaM vairaM zAtravaM yena sH| Op seeing the extraordinary superhuman power of the Sage, the demigod had no other alternative but to give up antagonism with the Sage. tacchAyAyAm - in the shadow of those i. a. of the hood and the umbrella. tayoH phaNAcchatrayoH chAyA anAtapaH tacchAyA / tasyAm | 'chAyA sAdAtapAbhAve satkAnyutkocakAntiSu / pratibimbe'kaikAntAyAM tathA paGkatau ca pAlane' iti vizvalocane / samadhikarucim - having increased splendour. samadhikA ruciH kAntiH yasyAH sA / tAm / 'ruciricchA rucA ruktA zobhAbhizvaGgayorapi / ruk zobhAyAM ca kiraNe striyAmapi manorathe' iti vizvalocane / utpannabodham - having perfect and pure knowledge manifested. baddhAsthAnam - having a lecture-hall constructed [ for Him by Kubera ]. baddhaM viracitaM AsthAnaM sabhAmaNDapaH yasya sa baddhAsthAnaH / tam / AsthIyate yatra pAriSadyaiH itthAsthAnam / Here the termination anaT is affixed

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(679) in the sense of AdhAra under the rule ' karaNAdhAre cA'naTa'. A lectureball is constructed by Kubera on being ordered by Indra. Seated on a very tall seat, a Kevalin delivers his lectures. zaraNaM akRta - found his protector in. zaraNaM - a protector. 'zaraNaM gRharakSitroH zaraNaM rakSaNe vadhe' iti vizvalocana. akRta is an Aorist from derived from the root kR. pratyutkIrNaH - (1) amalgamated; (2) possessing pure and perfect knowledge. vArivAhaH - a cloud. vAri vahatIti vArivAhaH / The root vah, being preceded by its object gift, has the termination 3901 affixed to it under the rule 'karmaNyaNa'. niHzabda api - though silent. yAcitaH - requested. samabhilaSitaM zreyaH - bliss desired for. zreyaH - bliss. 'zreyastu maGgale dharme' iti vizvalocane. pradizasi - if you give. bhavyalokaikamitrAt - through the excellent (or matchlees ] friend of the fortunato people, samyagdarzanazAnacAritrAtmakaratnatrayAtmanA bhUyate'nenati, bhavitumarhatIti, bhavatIti vA bhavyaH / bhavyAH ratnatrayadhAraNayogyAzca te lokAH janAH bhavyalokAH / teSAmekaM zreSTha kevalaM vA mitraM bhavyalokaikamitram / tasmAt / 'ekastu sthAttriSu zreSThe kevaletarayorapi' iti vizvalocane / abhimataM phalam - purpose desired for. 'phalaM tu sasye hetUtthe phalake vyuSTilAbhayo / jAtIphale ca kaGkole mArgaNAgre'pi na dvayoH // syAt phalaM triphalAyAM ca' iti vizvalocane / Though observing silence, if the Sage fulfills the desire of His devotee and if He gives bliss to him, His silence. is better beyond doubt. kiM pratyuktaiH phalati - Does it bear fruits for the sake of the world through words (i.e. replies). IpsitArthakriyA - bringing into effect the purpose desired for. IpsitaH abhilaSitaH arthaH prayojanaM phalaM IpsitArthaH / tasya kriyA niSpAdanaM IpsitArthakriyA / 'arthaH prayojane citte hetvabhiprAyavastuSu / zabdAbhidheye viSaye syAnivRttiprakArayoH' iti vizvalocane / praNayiSu - with reference to the supplicants. Stanza.62 - sahrIka - put a shame. hiyA lajayA sahitaH shriikH| The word hrI, ending in long I, being musajJaka has the termination kapa affixed to it under the rule 'RnmoH '. nikRtibahulaH - possessing wicked-. ness in abundance. nikRtiH apakAraH bahulaH pracuraH yasmin yasya vA nikRti

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(680) bahulaH / nikRSTA kRtiH nikRtiH / 'nikRtirbhartsane kSepe nikRtiH zaThazAThyayoH' iti vizvalocane / 'kusUtinikRtiH zATyam' ityamaraH / pApakRt - committing sin. pApaM pApakarma karoti iti pApakRt / vairadagdhaH - burning at heart with enmity; undergoing affliction caused by the evil thoughts of enmity (with the Sage) occuring to bis mind. vairaM zAtravaM / tena dagdhaH / yadvA pApakRtA vareNa dagdhaH dAhaviSayatAM nItaH / The demigod is very much grieved at heart owing to bis failure in taking vengeance upon the Sage. This point of view cannot be accepted as thoroughly correct at the time when the demigod has resorted to the Sage for protection. So, it is better to interpret this compound in some other way so as to make it agree with the present context. In fact, the demigod is repenting for his inimical behaviour with the great Sage for a long time. The words therefore, should be taken to mean' distressed very much owing to his having come into antagonism with [ the great Sage ]'. In my opinion this compound should be taken to be belonging to the vAhitAgnyAdi class and should be dissolved as vairaM zAtravaM dagdhaM vinAzaM prApta yasya saH vairadagdha: and should be interpreted as 'whose enmity (with the Sage) is reduced to nibility'. te puraH vartituM kathamapi saGghaTe - I am trying to stand before you with a great difficulty. bhASituM dUrAt - lot alone speaking [ with you, the Sage] Atmani asaGgAt - owing to your having no attachment to your body. Atman - body. 'AtmA brahmamano' dehasvabhAvadhRtibuddhiSu' iti vizvalocane / anucitam - improper (in the opinion of the Sage ). Doing something for the sake of someone is indeed improper on the part of a great Sage like Parsva who has given up all wordly attachments including the attachment to His body even. priya - dear; agreeable. me prArthanAt - owing to your being requested by me. AtmanaH saujanyasya parAM koTI prakaTaya - manifest the climax of your compassion. saujanyam - compassionatness; parA koTiH - climax. 'koTiH saGkhyAntarAgrayoH / atyutkarSaprakarSAdhikArmukAgreSu ca striyAm' iti vizvalocane. Stanza 63 - sarvasattvAnukampa - showing compassion to all living beings. sarvANi ca tAni sattvAni prANinazca sarvasattvAni / teSu anukampA

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( 681 ) dayA yasya saH sarvasattvAnukampaH / tasya kiH / ' sattvaM jantuSu na strI syAtsattvaM prANAtmabhAvayoH / dravye bale pizAcAdau sattAyAM guNavittayoH / svabhAve vyavasAye ca sattvamityabhidhIyate // ' iti vizvalocane / vinamraH bent down with piteously. compound, sauhArdAt - modesty. tvAM sakaruNaM yAce request you piteously. sakaruNaM karuNayA dainyena sahitaM yathA syAttathA / This being an Adverbial the word saha is changed to sa under the rule 'heDakAle ' through good-heartedness. zobhanaM hRdayaM yasya sa suhRdayaH / suhRdo bhAvaH sauhArdam / tasmAt suhRdayasyedaM sauhArdam | The word hRdaya, when the termi - nation aN is affixed to it under the rule ' kacchAde: ' is changed to hRt under the rule ' hRdayasya hRllekhANyAlAse '. The vowel u of su and the vowel R of hR of the word suhRt take vRddhi under the rule ' hRtsindhubhage dvayoH '. vidhuraH iti because of being overwhelmed with grief vidhura : duHkhAkulaH distressed. 'vidhuraM tu pravizleSe pratyavAye'pi tanmatam / vidhurA tu rasAlAyAM vidhuraM vikale'nyavat' iti vizvalocane / mayi anukrozabuddhyA vA through a feeling of compassion towards me. kRpA syAdanukampA syAdanu kozo'pi ' ityamaraH / anukrozaH compassion. atrANam devoid of any protection na vidyate trANaM rakSaNaM rakSitA vA yasya saH atrANaH / tam / trAtaM trANaM rakSitamavitaM gopAyitaM ca guptaM ca ityamaraH / na vidyate trANaM rakSaNaM trANaH rakSitA vA yasya saH atrANaH / tamU | When trANaM means rakSaNaM ( the act of protecting or the means of protecting), the termination is affixed to the root trA (2 A. ) or trai ' karaNAdhAre cAnaT '. ( 1 A.) under the rule This word : may be derived from the root or by affixing the termination also under the rule 6 8 C " vyAnaD bahulam to imply the merciless. apagatA ghRNA karuNA , subject of the verb trAyate apaghRNam - yasmAt saH aghRgaH / ' kAruNyaM karuNA ghRNA ityamaraH / atiprauDhamAyam - possessing fraud excessively; extremely fraudulent; characterised by fraud brought to climax. ati atyarthaM prauDhA vRddhiM gatA mAyA kapaTAcaraNaM kapaTabhAvo vA yasya saH / durIham - cherishing wicked or ill desires. duSTA IhA abhilASaH yasya saH / tam / pazcAttApAt - through repentance. caraNapatitam - - -- -- --

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(682) fall at the feet, caraNau patitaH caraNapatitaH / tam / pApApetam - delivered from sin. pApAt apetaH apagataH pApApetaH / tam / As the word apeta belongs to the palle class, it is compounded with a noun possessing Ablative case under the rule ' kA bhyAdibhiH '. Stanza.64- kamaThadanujaH - the demon, formerly Kamatha. kamaThaH danujaH kamaThadanujaH / itthaMkAram - thus. The root kR, not changing the sense of the word gou when joined with it, has the termination khamuJ (am ) affixed to itself under the rule 'kRJo'nyathaivaMkathamitthaMsvanarthAt '. 591971 - his own misdeeds; misdeeds perpetrated by himself. Fakt svakRtaH apakAraH bhagavacchirasi dRSTatpAtanarUpaH strImayanikRtyAdirUpazca aparAdhaH svApakAraH / tam / svApakAraM pramArjan - making amends for misdeeds perpetrated by himself. Sambara is described here as atoning for the misdeeds he perpetrated with roference to the great Sage. pramAjen - washing off. jalada - resembling a cloud. jaladaH iva jaladaH / Here the term 50 employed with reference to the great Sage is quite appropriate for he is described here as showering nectar in the form of holy sermons. prAvRSA - by the rainy season. pravarSatIti prAvRT / Here the vowel 37 of the preposition 4, preceding the root X7, is lengthened under the rule 'nahivRtivRSivyadhirucisahitanau'. sambhRtazrI: - having splendour increased. samantAd bhRtA prapUritA zrIH zobhA yasmin sa: sambhRtazrIH / ' zrIlakSmIbhAratIzobhAprabhAsu saraladrume / vezatrivargasampattau zeSApakaraNe matau' iti vizvalocane / navaH ghanaH iva - like a new fresh cloud. dharmAmbu - water in the form of righteousness. dharmaH eva ambu jalaM dharmAmbu / 'vAri kaM payo'mbhombupAthorNassalilaM jalam' iti dhanaJjayaH / varSan - showering, sprinkling; pouring in showers. lokAGlAdI - making happy all the living beings of this world. lokAn trilokIsthajantUn AhlAdayatItyevaM zIlaM lokAGlAdI / zIlasya gamyamAnatvAt 'zIle'jAtau Nin' iti Nin / prakaTitamahAbhogabhogIndragUDhaH - overspread with [ umbrella-like ] big unfolded hoods of the lord of the serponts. Here the great Sage is described as having the big hoods of

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(683) the lord of serpents anfolded and spread like an umbrella over His head. prakaTitaH prakaTIkRtaH / bhogaH - a hood. 'puMsi bhogaH sukhe'pi sthAdahezva phaNakAyayoH / niveze gaNikAdInAM bhojane pAlane dhane' iti vizvalocane / bhogIa serpent; a cobra. bhogaH phaNaH asya astIti bhogii| 'bhogI bhogAnvite apeM grAmaNyA rAzi nApite' iti vizvalocane / gUDhaH saMvRtaH / mahAzcAsau bhogazca mhaabhogH| prakaTitaH mahAbhogaH yena saH prakaTitamahAbhogaH / bhogI indraH iva bhogIndraH / prakaTitamahAbhogazcAsau bhogIndrazca / tena gUDhaH saMvRttIvakAyaH / iSTAn dezAn vicara - roam about over agreeable regions. Stanza 65-bhaktyA pAdau vinamataH - bowing down to your feat devotedly. tatprasAdAt - through favour of (your ) feet. tayoM caraNayoH prasAdaH anugrahaH / tasmAt / mauDhyAt - through ignorance. nyAyaM ullaGghya - setting at nought the moral conduct. nyAyam - good conduct ; righteousness. ullaGghya - disregarding violating. bahuvilasitam - various operations. bahu vividhaprakAraM ca tadvilasitaM ceSTitaM ca bahuvilasitam / nAnAvidhAzveSTA ityarthaH / mithyA bhavatu - may be rendered fraitless. ninditasvaM - the nature of which is censured. ninditaH garhitaH svaH AtmA svarUpaM yasya tat / 'svo jJAtAvAtmani' iti vizvalocane / duSkRtam - a misdeed; misdeeds. vidyutA viprayogaH - seperation from right knowledge. vizeSaNa dyotate antarbhAvitaNyarthatvAt dyotayati prakaTIkaroti AtmasvarUpamiti svaparArthAviti vA vidyut / vip / AtmasvabhAvabhUtaM samyagjJAnamityarthaH / viprayogaH - separation. Stanza.66 - nAgarAjanyasAkSAt - in the presence or before the very eyes of the lord of serpents. nAgAnAM bhoginAM rAjanyaH mUrdhAbhiSikto rAjA nAgarAjanyaH / 'mUrdhAbhiSikto rAjanyaH' ityamaraH / Here, the termination is affixed to the word 1197 to imply the sense of 'race' under the rule 'jAto rAjJaH ' and the an of the word rAjan is not dropped when the termination ya is affixed to it, under the rule 'ye'Gaga'. rAjJaH apatyaM rAjanyaH / tasya sAkSAt samakSaM nAgarAjanyasAkSAt / sAkSAt - in the presence of. kamaThadanujanAthe - the lord of demons, Kamatha ; the lord of demons who was called kamaTha in his former birth or life. danujAnAM

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(684) daityAnAM nAthaH adhipatiH danujanAthaH / kamaThaH eva danujanAthaH kamaThadanujanAthaH / tasmin / This is a Locative absolute formed under the rule ' yadbhAvAdbhAvagaMtiH '. bhaktinapreNa mUnoM - with his head bent down through or owing to devotion. bhaktyA anurAgeNa namraH vinataH bhaktinamraH / tena / anunayati sati - when engaged in supplicating. anuzayataptAt - inflamed with or on account of ropentance. anuzayena pazcAttApena taptaM anuzayataptam / tasmAt / nijAMcattAt - from his own heart cirAttaH - roused up ere long.cirAt cirAtItakAlAt AttaH gRhItaH cirAttaH / vairabandhaH - the feeling of enmity. santatAzrucchalena - in the guise of tears dropping down incessantly. santatAni azrUNi santatAbhUNi / teSAM chalaM vyAjaH / tena / santata- uninterrupted: much. chalaM - guise. ___stanzn.67 - surabhiptamIrAndolitaH - shaken up by the fragrant winds. surabhayaH sugandhayazca te samIrAH gandhavAhAzca surabhisamIrAH / taiH / AndolitAH prkmpitaaH| taiH / kalpavRkSaH - wish-fullfilling trees. amaranikAyaH - the multitudes of gods. amarANAM devAnAM nikAyAH samAjAH samUhAH amrnikaayaaH| 'nikAyastvAtmavezmanoH / saminivahe lakSye saMhatAnAM ca mela ke ' iti vizvalocane / puSpavRSTiM vitenu: - discharged flowers in showers. aviralanipa. tadbhiH - flying up closely or collectively or in crowds. aviralaM nipatantaH aviralanipatantaH / taiH / svarvimAnaiH - with celestial cars. narajaladavilitA iva - as if besmeared with fresh clouds. ikSyata - appeared. I am doubtful about this reading. In my opinion the reading should be * aikSyata, imp. 3rd. per. sing. of the passive of the root ikS. Stanza 68 -jaladamuktaiH - discharged by clouds. jaladaiH muktAH jaladamuktAH / taiH / madhupagaNavikIrNaH - having herds of bees scattered overmadhupAnAM madhupAyinAM gaNAH samUhAH madhupagaNAH / te vikIrNoH yatra te madhupagaNavikIrNAH / taiH / This compound being of the AhitAgnyAdi class the word vikIrNa, a past participle, is placed after the word madhupagaNa in the compound. This compound may be dissolved as madhupagaNaiH vikINoM:

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(685) also.sAndragandhAmbupAtaiH - by the falls of abundantly fregrant water. sAndraH nibiDaH manoharaH gandhaH yeSAM tAni sandrigandhAni / sAndragandhAni ca :tAni ambUni jalAni ca / teSAM pAtAH vRSTayaH / teH / sAndra - (1) abundant; (2) pleasing, agreeable. kSatoSmA - the heat of which is diminished. kSataH vinaSTaH uSmA uttApaH grISmartujanitaH yasyAH saa| kSmA - the earth. sapadi Azvasat - became comforted at once or suddenly. surakaratalagUDhAsphAlitAnAm - beaten secretly with palms of their hands by gods. surANAM devAnAM karatalAni pANitalAni surakaratalAni / taiH gUDhaM rahasi AsphAlitAH tADitAH / teSAM tAsA vaa| 'talastAle tala khaDgamuSTau jyAghAtavAraNe / vane capeTe na strI tu svarUpAdhArayostalam' iti vizvalocane / dundubhInAM - of kettle drums. 'merI strI dundubhiH pumAn ' iti vizvalocane / uccaiH jajRmbhe -- became excessively heightened. madhuraM - charmingly. Stanza. 69 - iti - thus. viditamaharddhim - whose supernatural power was known to all. mahatI cAsau RddhiH yogazaktizca mahaddhiH / 'RddhiH syAdoSadhIbhede yogazaktau ca bandhane' iti vizvalocane. The group at of the word mahat is replaced by A under the rule 'AGmahato jAtIye ca' viditA jJAtA laukeH maharddhiH yasya saH viditamaharddhiH / tam / 'viditaM svIkRte jJAte' iti vizvalocane. dharmasAmrAjyam - who enjoyed universal sovereignty owing to attaining completely the ( flawless ) nature of his soul. dharmeNa AtmasvabhAvena samantAt rAjate iti dharmasamrAT / tasya bhAvaH dharmasAmrAjyam / tadasyAstIti dharmasAmrAjyaH / tam / Here, the possessive termination a is affixed to the word dharmesAmrAjyam under the rule ' o'bhrAdibhyaH'. avanatibhAjaH - bowing down [ through devotion]. avanati praNatiM bhajate iti avanatibhAk / te / nAkabhAjAm - of the heavenly gods. na vidyate akaM duHkhaM yatra sa nAkaH / 'akaM duHkhAghayoH' iti vizvalocane / nAkaM bhajante iti naakbhaajH| bhejire - worshipped. zithilitavanavAsAH - who abandoned residing in forests. vane vAsaH vanavAsaH / zithilitaH parityaktaH vanavAsaH yaH te / zithi. litaH zithilaH kRtH| Here the termination kta is affixed to the nominal root

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(686) farasaia, derived by'affixing the termination 2017 ander the rule' qat dhvarthe Nijbahulam'. Stanza 70- bahuguNam - abounding in merits. bahavaH vipulAH guNAH rasotkarSakAriNaH mAdhuryAdayaH yasmistat / apadoSaM - void of faults. apagatAH rasApakarSakAriNaH doSAH yasmAt / tat / malinitaparakAvyam - defiling all other poems. malinitaM malinIkRtam / malinitAni parakAvyANi yena tat / The adjectives bahuguNaM, apadoSaM and malinitaparakAvyaM qualify kAlidAsasya kAvyaM and etatkAvyaM equally. In Jinasena's view Kalid sa's Meghaduta was an excellent poem, abounding in merits and void of faults. Similarly he was of the opinion that his work also possessed a number of merits and dispossessed all faults. AzazAGkam - until the existance of the moon. tiSThatAt - Here the Imperative termination GtAt is affixed to the root sthA, instead of tu, under the rule 'tuhyoGtAt '. amoghavarSe - The Rastrakuta king, Auoghavarsa by name, was.the disciple of Jinasena, the author of this work. Stanza 71 - zrIvIrasenamunipAdapayojabhRGgaH - resembling a bee hovering on the lotuses in the form of the feet of the revered Sage, Virasena by name. zriyA jJAnatapolakSaNayopalakSitaH vIrasenaH shriiviirsenH| sa cAsau munishc| tasya pAdAveva payoje, pAdau pathoje iva vA zrIvIrasenamunipAdapayoje / tatra bhRGga iva bhRGga / zrImAn - having prosperity in the form of penance. garIyAn -great. taccoditana- impelled by him. pariveSTitameghadUtam - covering the whole of Meghadata. paritaH sAmastyena veSTitaM AkrAntaM meghadUtaM tadAkhyaM kAlidAsaviracitaM kAvyaM yena tat / vyadhAyi - was written. Aor. 3rd per. sing. of the passive of the root lagi. Like the author himself, Vinayaso na was also a disciple of the great Sage, Virasena. This Vinayasena impelled him to write this poem. There is no clue to prove the statement made by Yogiraja at the end of his commentary on this poem. On the other hand Jinasena bimself has clearly stated that it was Vinayasena who impelled him to compose this work and none else.

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( 687 ) APPENDIX-I TEXT OF THE MEGHADUTA WITH VARIANT READINGS. I kazcitakAntAvirahaguruNA svAdhikArAtpramattaH / zApenAstaM gamitamahimA varSa bhogyeNa bhartuH // yakSazcakre janakatanayAsnAnapuNyodakeSu / snigdhacchAyAtaruSu vasatiM rAmagiryAzrameSu // 1 // tasminnadro katicidatralAviprayuktaH sa kAmI / nItvA mAsAnkanakavalayabhraMzariktaprakoSThaH || ASADhasya prathamadivase meghamAzliSTAnuM / vaprakrIDApariNatagajaprekSaNIyaM dadarza // 2 // tasya sthitvA kathamapi puraH kautukAdhAnahetoH / antarvASpazciramanucaro rAjarAjasya dadhyau | meghAloke bhavati sukhino'pyanyathAvRtti caitaH / kaNThAzleSapraNayini jane kiM punardUrasaMsthe || 3 || pratyAsanne nabhaisi dayitAjIvItAlanArthI / jImUtena svakuzalamayIM hArayiSyanpravRttim // sa pratyamaiH kuTejakusumaiH kalpitArghAya tasmai / prItaH prItipramukhavacanaM svAgataM vyAjahAra // 4 // dhUmajyotiH - salilamarutAM sannipAtaH kka meghaH / sandezArthAH ka paTukaraNaiH prANibhiH prApaNIyAH // ityotsukyAdaparigaNayan guhyakastaM yayAce / kAmArtA hi prakRtikRpaNAzcetanAcetaneSu ||5|| jAtaM vaMze bhuvanavidite puSkalAvartakAnAM / jAnAmi tvAM prakRtipuruSaM kAmarUpaM maghonaH || tenArthitvaM tvayi vidhivazAddUrabandhurgato'haM / yAcyA modhoM varamadhiguNe nA'dhame labdhakAmA // 6 // santaptAnAM tvamasi zaraNaM tat payodapriyAyAH / sandezaM me hara dhanapatikrodhavizleSitasya || gantavyA te vasatiralakA nAma yakSezvarANAM / bAhyodyAnasthitahara zirazcandrikA dhautaharmyaM // 7 // tvAmArUDhaM pavanapadavImudgRhItAlakAntAH / prekSiSyante pathikavanitAH pratyayAdazvintyaH // kaH sannaddhe virahavidhurAM tvayyupekSeta jAyAM / na syAdanyo'pyeyamiva jano yaH parAdhInavRttiH // 8 // tAM cA'vazyaM divasagaNanA tatparAmekapatnI / mavyApannAmavihatagatirdrakSyasi bhrAtRjAyAm // AzAbandhaH kusumasadRzaM prAyazo hyaGganAnAM / sadyaHpAti praNayihRdayaM viprayoge ruNaddhi // 9 // 1 svAdhikArapramattaH / 2 prazamadivase / 3 ketakAdhA / 4 tasyAzleSa0 / 5 manasi / 6 0nArthAm; .nArtham / 7 sampratyayaiH / 8deg zArthaH / 90gIyaH / 10 praNayakRdeg / 11 puSkarAvarta0 / 12 vandhyA / 130pateH krodha0 / 140zvasatyaH / 150pyaha

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(688) mandaM mandaM nudati pavanazcAnukUlo yathA tvAM / vAmazcAyaM nadati madhuraM cAtakaste sagandhaH // garbhAdhAnakSaNaparicayAnnUnamA baddhamAlAH / seviSyante nayanasubhagaM khe bhavantaM balAkAH // 10 // kartuM yacca prabhavati mahImucchilIndhrAmavandhyAM / tacchrutvA te zravaNa subhagaM garjitaM mAnasokAH // A kailAsAdvimakisakayacchedapAtheyavantaH / sampatsyante nabhasi bhavato rAjahaMsAH sahAyAH // 11 // ApRcchasva priyasakhamamuM tuGgamAliGgya zailaM / vandyaiH puMsAM raghupatipadairaGkitaM mekhalAsu / / kAle kAle bhavati bhavato yasya saMyogametya / snehavyaktizciravirahajaM muJcato bASpamuSNam // 12 // mArga mattaH zRNu kathayatastvatprayANAnurUpaM / sandezaM me tadanu jalada zroSyasi zravyaMbandham // khinnaH khinnaH zikhariSu padaM nyasya gantAsi yatra / kSINaH kSINaH pariladhu payaH srotasA copabhujya // 13 // adreH zRGga heraiti pavanaH kisvidityunmukhIbhiH / dRSTotsAhazcakitacakitaM mugdhasiddhAGganAbhiH / / sthAnAdasmAtsarasaniculAdutpatodaGmukhaH khaM / diGnAgAnAM pathi pariharan sthUlahastAvalepAn // 14 // ratnacchAyavyatikara iva prekSyametatpurastAt / valmIkApAtprabhavati dhanuHkhaNDamAkhaNDalasya // yena zyAmaM vapuratitarAM kAntimApatsyate te / baheNava sphuritarucinA gopaveSasya viSNoH // 15 // svayyAyattaM kRSiphalamiti bhruuvilaasaanbhijnyaiH| prItisnigdhairjanapadavadhUlocanaiH pIyamAnaH // sadyaH sIrotkaSaNasurabhikSetramAruhya mAlaM / kiJcitpazcA,ja laghugatirbhUya evottareNa // 16 // tvAmAsAraprazamitavanaudravaM sAdhu mU / vakSatyadhvazramaparigataM sAnumAnAmrakUTaH // na kSudro'pi prathamasukRtApekSayA saMzrayAya / prApte mitre bhavati vimukhaH kiM punaryastathoccaiH // 17 // channopAntaH pariNataphaladyotibhiH kAnanAnaiH / tvayyArUDhe zikharamacalaH snigdhaveNIsavaNe / / nUnaM yAsyatyamaramithunaprekSaNIyAmavasthAM / madhye zyAmaH stana iva bhuvaH zeSavistArapANDuH // 18 // tasmine sthitvA vanacaravadhUbhuktakuJja muhuurt| . 1 0stoyagRdhanuH te sagarvaH / 2 0kSamapaNa, sthirapari0 / 3 prekSiSyante / 4 0ndhrAta. patrAm / 5 bhavatA / 6 tAvat / 7 0NAnukUlaM / 8 zrAvyava; zrotrapeyam / 9 0payujya / 10 kiMsvit / 11 vahati pavanaH zRGgamityu / 12 dRSTocchrAya0 / 13 0valehAn / 14 0cchaayaavy| 15 0mAlapsyate te| 16 bhuuvikaaraan| 17 degzvAtpravalayagatiM bhuu0| 18 kinycidevott0| 19 nopaplavaM, degvanopaplavaM / 20 tathoccaH / 21 sarpaveNI / 22 sthitvA tasmin /

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(689) toyotsargadrutataragatistatparaM vama tIrNaH // revAM drakSyasyupalaviSame vindhyapAde vizIrNA / bhakticchedairiva viracitAM bhUtimaGge gajasya // 19 // tasyAstiktairvanagajamadairvAsitaM vAntavRSTiH / jambUkuJjapratihatarayaM toyamAdAya gaccheH // antaHsAraM ghana tulayituM' nA'nilaH zakSyati tvAM / riktaH sarvo bhavati hi laghuH pUrNatA gauravAya // 20 // nIpaM dRSTvA haritakapizaM kesarairardharUdvaiH / AvirbhUtaprathamamukulAH kandalIzcAnukaccham / / dagdhAraNyeSvadhikasurabhi gandhamAghrAya coyAH / sAraGgAste jalavamucaH sUcayiSyanti mArgam // 21 // utpazyAmi drutamapi sakhe matpriyArthe thiyAsoH / kAlakSepaM kakubha. surabhI parvate parvate te // zuklApADaiH sajalanayanaiH svAgatIkRtya kekaaH| pratyuAtaH kathamapi bhavAngantumAzu vyavasyet // 22 // pANDucchAyopavanavRtayaH ketakaiH sUcibhinnaiH / niiddaarmbhaihblibhujaamaakulgraamcaityaaH|| tvayyAsanne pariNataphalazyAmajambUvanAntAH // sampatsyante katipayadinasthAyihaMsA dazArNAH // 23 // teSAM dikSu prathitavidizAlakSaNAM rAjadhAnI / gatvA sadyaH phalamapi mahatkAmukatvasya dhA / / tIropAntastanitasubhagaM pAsyasi svAdu yaMtra / sabhrUbhaGga mukhamiva payo vetravatyA lomi // 24 // nIcairAkhyaM girimadhivasestatra vizrAntihetoH / tvata: mparkAtpulakitamiva prauDhapuSpaiH kadambaiH // yaH paNyastrIratiparimalodgAribhi graannaa-| muddAmAni prathayati zilAvezmabhivinAni // 25 // vizrAntaH santraja vainanadItIrajAnAM niSiJca- nnudyAnAnAM navajalakaNaieNthikAjAlakAni // gaNDasvedApanayanarujAlAntakarNotpalAnAM / chAyAdAnAkSaNaparicitaH puSpalAvImukhAnAm // 26 // vakraH panthA yadapi bhavataH prasthitasyottarAzA / saudhotsaGgapraNayavimukho mA sma bhUrujayinyAH // vidyuddAma phuritacakitaiyaMtra paurAGganAnAM / lolApAGgaiyadi na ramase locanairvaJcitaH svAH // 27 // vIcikSobhastanitavihagazreNikAJcIguNAyAH / saMsarpantyAH skhalita 1 toyotsargAdruta; 0 sargAladhuta0 / 2 jambUkhaNDapra0 / 3 jgdhvaar0| 4 nava. jalamu0 / 5 sanayanajalaiH / 6 pratyuddhAtaH / 7-8 phalamavikalaM kA, phalamatimahat kaa0| 9 labdhvA / 10-11 svAduyuktam / 12 0shcloyaaH| 13 vizrAmahetoH / 14-15 navanadI, naganadI; tIrajAtAni siJcan / 16 panthAstava bhavatu ca prsthit| 17 sphurnn50| 18 tatra / 19 to'si / 20 bhakkaNitavi0 / pAvAbhyudaye 44

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( 690 ) subhagaM darzitAvartanAbheH // nirvindhyAyAH pathi bhava rasAbhyantaraH sannipatya / strINAmAdyaM praNayavacanaM vibhramo hi priyeSu // 28 // veNIbhUtapratanusalilA taumatItasya sindhuH / * pANDucchAyA taTaruhRtarubhraMzibhirjIrNaparNaiH || saubhAgyaM te subhaga virahAvasthayA vyaJjayantI / kArye yena tyajati vidhinA sa tvayaivopapAdyaH // 29 // prApyAvantInudayanakathAkovidagrArbhavRddhAn / pUrvoddiSTAmupatera purIM zrIvizAlAM vizAlAm // svarUpIbhUte sucaritaphale svargiNAM gAM gatAnAM / zeSaiH puNye hRtamiva divaH kAntimatkhaNDa me - kam || 30 // dIrghIkurvan paTu madakalaM kUjitaM sArasAnAM / pratyUSeSu sphuTitakamalAmodamaitrIkaSAyaH // yatra strINAM harati surataglAnimaGgAnukUlaH / ziprAvAtaH priyatama iva prArthanAcATukAraH // 31 // pradyotasya priyaduhitaraM vatsarAjo'tra jahe / haimaM tAladrumavanamabhUdatra tasyaiva rAjJaH || atrodbhrAntaH kila nalagiriH stambhamutpATya darpA-1 dityAgantUnramayati / jano yatra bandhUnabhijJaH || 32 // ddArAMstAstira laguTikAnkoTizaH zaGkhazuktIH / zanazyAmAnmarakatamaNI nunmayUkhaprarohAn // dRSTvA yasyAM vipaNiracitAnvidrumANAM ca bhaGgAn / saMlakSyante salilanidhayastoyamAtrAvazeSAH ||33|| jAlodgIrNairupacitavapuH kezasaMskAredhUpaiH / bandhuprItyA bhavanazikhibhirdattanRttopeM // harmyeSvasyAH kusumasurabhiSvadhvakhinnAntarAtmA / nIlA khedaM lalitavanitApAdarAgAkiSu // 34 // bhartuH kaNThacchaviriti gaNaiH sAdaraM vIkSyamANaH / puNyaM yAyAstribhuvanagurordhAma caNDezvarasya || dhUtodyAnaM kuvalayarajogandhibhirgandhavatyAH / toyatrIDAnireta yuvatisnAnatiktairmarudbhiH || 35 // apyanyasmiJjaladhara mahAkAlamAsAdyakAle / sthAtavyaM te nayanaviSayaM yArvedatyeti bhAnuH // kurvansandhyAba lipaTahRta zUlinaH zlAghanIyA - mAmendrANAM phalamavikalaM lapsyase garjitAnAm || 36 || padanyAsakkaNita 1 rasAbhyantaraM / 2 salilAM / 3 sA tvatItasya / 4 sindhuM / 50cchAyAM; miH zIrNapa0 / 6 vyantIM / 7 vantImuda0 / 8 0 dajJAnavR0 / 9deg manusara / 10 0NyaiH kRtamiva / 11 02dhUmaiH / 12 nRtyopahAraH ; nRttopacAraH / 13 003dhvakhedaM nayethAH / 14 pazyan lakSmI; lakSmI pazyan; nItvA rAtriM; muktvA khedaM; tyaktvA khedaM; nItvA rAtriM rAtriM nItvA / 15 dRzyamAnaH / 16 caNDIzvarasya / 17 0DAvirata0; NDAbhiratayu0; | 18 0bhyeti bhA0 / 19degmAmantrANAM mAmadrANAM / 20 0 nyAsaiH kvaNita -:

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(691) rasanAstatra lIlAvadhUtaiH / ratnacchAyAkhacitavalibhizcAmaraiH klAntahastAH // vezyAstvatto nakhasukhapadAnprApya vrssaagrbinduu-| nAmokSyanti tvayi madhukarazreNidIrghAnkaTavAn // 37 // pazcAduccairbhujataruvanaM maNDalenA'bhilInaH / sAndhyaM tejaH pratinavajapApuSparaktaM ddhaanH|| nRttArambhe hara pazupaterAnAgAjinecchAM / zAntodvegastimitanayanaM dRSTabhaktirbhavAnyA // 38 // gacchantInA ramaNavasatiM yoSitAM tatra naktaM / ruddhAloke narapatipaye sUcibhedyaistamobhiH / / saudAmanyA kanakanikaSasnigdhaMyA darzayorvIm / toyotsargastanitamukharo mA ca bhUrviklavAstAH // 39 // tAM kasyAJcidbhavanavalabhI suptapArAvatAyAM / nItvA rAtrI ciravilasanArikhanna vidyutkalanaH // dRSTe sUrye punarapi bhavAnvAhayedadhvaziSTaM / mandAyante na khalu suhRdAmabhyupetArthakRtyAH // 40 // tasminkAle nayanasalilaM yoSitAM khaNDitAnAM / zAnti neyaM praNayibhirato vama bhAnostyajAzu // prAleyAstraM kamalavadanAtso'pi hartuM nlinyaaH| pratyAvRttastvayi kararudhi syAdanaspAbhyasUyaH / / 41 // gambhIrAyAH payasi saritazcetasIva prasanne / chAyAtmA'pi prakRtisubhago lapsyate te pravezam / / tasmAdasyAH kumudavizadAnyahasi tvaM na dhairyA - / nmoghIkartuM caTulajha pharodvartanaprekSitAni / / 42 // tasyAH kiJcit karadhRtamiva prAptavAnIrazAkhaM / hRtvA nIlaM salilavasanaM muktarodhonitambam / / prasthAnaM te kathamapi sakhe lambamAnasya bhAvi / jJAtAsvAdo vivRtajaighanA ko vihAtuM samarthaH // 43 // tvaniSyandocchusitavasudhAgandhasamparka bhyaH / srotorandhradhvanitamadhuraM dantibhiH pIyamAnaH // nIcairvAsyatyupajigamiSordevapUrvaM girI te / zIto vAtaH pariNamayitA kAnanodumbarANAm // 44 / / tatra skandaM niyatavasatiM puSpameghIkRtAtmA / puSpAsAraiH snapayatu bhavAnvyomagaGgAjalAH // rakSAhetornavazazibhRtA vAsavInAM carbhUnAM / aAdityaM hutavahamukhe sambhRtaM taddhi tejaH // 45 // jyotilekhAvalayi galitaM yaraya bahaiM bhavAnI / pupremNA kavaladalaprApi karNe karoti // dhautApAGga harazazirucA pAvakestaM mayUraM / 1 0yAracita / 2 kaanthstaaH| 3 0mokSyante / 4 nRtyaarmbh| 5 rAtrau / 6 0bachAyayA / 7 tavimukho / 8 mA sma bhuuH| 9 rAtri / 10 lanayanAt / 11 smAstasyAH / 12 nItvA / 13 pulinajaghanA / 14 degvAtaH; puNyaH / 15 vAyuH / 16 vasUnAm / 17 traprItyA / 18 layapada-; dalakSepi /

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( 692 ) pazcAdadrigrahaNagurubhirgarjitairnartayethAH // 46 // ArAdhyainaM zaravaNabhavaM devamullaGghitAdhvA / siddhadvandvairjalakaNabhayAdvINibhirmuktamArgaH / vyAlambethAH surabhitanayAlambhaja mAnayiSyan / srotomUrtyA bhuvi pariNata rantivedasya kIrtim // 47 // tvayyAdAtuM jalamavanate zArGgiNo varNacaure / tasyAH sindhoH pRthumapi tanuM dUrabhAvAtpravAham // prekSiSyante gaganagatayo chainamAvarjya dRSTIH / ekaM muktAguNamiva bhuvaH sthUlamadhyendranIlam // 48 // tAmuttIrya na paricitabhrUlatAvibhramANAM / pakSmotkSepAdupari vilasatkRSNazAraprabhANAm // kundakSepAnugamadhukarazrImuSAmAtmabimbaM / pAtrIkurvandazapuravadhUnetra kautUhalAnAm // 49 // brahmAvarte janapadarbhetha cchAyayA gAhamAnaH / kSetraM kSatrapradhanapizunaM kauravaM tadbhajethAH // rAjanyAnAM zitazarazatairyatra gANDIvadhanvA / dhArApAtaistvamiva kamalAnyabhyavarSa - nmukhAni // 50 // hitvA chAlAmabhimatarasAM revatIlocanAGkAM / bandhusnehAtsamaravimukho lAGgalI yAH siSeve // kRtvA tAsAmadhirgamamapAM saumya sArasvatInA - | mantaH zuddhastvamapi bhavitA varNamAtreNa kRSNaH // 51 // tasmAdgaccheranukanakhalaM zailarAjAvatIrNau / jahnoH kanyo sagaratanayasvargasopAnapaGktim // gaurIvektrebhrukuTiracanA yA viha'syeva phenaiH| zambhoH kezagrahaNa makarodindulagnormihastA / / 52 / / tasyAH pAtuM suragaja iva vyomni valambI / tvaM cedacchasphaTikavizadaM tarkayestiryagambhaH // saMsarpatyA sapadi bhavataH sra etasi cchAyayA se / syAdasthAnopagatayamunAsaGgamevAbhirAmA // 53 // AsInAnAM surabhitazilaM nAbhigandhairmRgANAM / tasyA eva prabhavamacalaM prApya gauraM tuSAraiH // vakSyasyadhvazramavinayane tasya zRGge niSaNNaH / zobhAM zubhratrinayanavRSotkhAtapaGkopameyAm // 54 // tvaM N cedvAyau sarati saralaskandhasaGghaTTajanmA / bAghetoskAkSapitacamarIbAlabhAro davAgniH // arhasyenaM zamayitumalaM vAridhArAsaha sai- / rApannArtiprazamanaphalAH 1 0 yaivaM / 2 dattamArgaH; dattavarmA / 3 0dUramA / 4 deg padamadhazchAyayA; maduH, 5 0 nyabhyaSiJcanmu / 6 bhUtvA kRtvA, chitvA / 7 bandhuprItyA / 8 mabhigama / 90 tvamasi / 10 gaurIM va- / 11 vaktre bhrukuTi / 12 0syaiva phenaiH; syoccaphenaiH / 13 0pUrvArdha / 14 santarpantyA / 150cchAyayAsau / 16 0nopanata | 17 menAbhirAmA | 18 zubhrAM zobhAM tri-; ramyAM zobhAM / 19 0taM cedvAyau /

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( 693 ) sampado hyuttamAnAm // 55 // ye saMrambhotpatanarabhAsAssvoGgabhaGgAya tasmin / muktAdhvAnaM sapadi zarabhA laGghayayurbhavantam // tAnkurvIthAstumulakara kAvRSTipAtaoNvakIrNAn / keSI na syuH paribhavapadaM niSphalArambhayatnAH || 56 // tatra vyaktaM dRzadi caraNanyAsamardhendumauleH / zazvatsidvairupahRtavaliM bhaktinamraH parIyAH / yasmindRSTe karaNavigamAdUrdhvamuddhUtapApAH / ' kalpiSyante sthira gaNapadaprAptaye zraddadhAnAH || 57 // zabdAyante madhuramAnalaiH kIcakAH pUryamANAH / saMraktAbhistripuravijayo gIyate kinnarIbhiH || nirhrAdI" te murakha iva cekaindarISu dhvaniH syAt / saGgItArtho nanu pazupatestaMtra bhAvI sametaH // 58 // prAleyAdrerupataTamatikramya tAMstAnvizeSAn / iMdvAraM bhRgupatiyazovartma karandham || tenodIcIM dizamanusare stiryagAyA mazobhI | zyAmaH pAdo baliniyamane'bhyudyatasyeva viSNoH // 59 // gatvA cordhvaM dazamukhabhujocchchrAsitaprasthasandheH / kailAsasya tridazavanitAdarpaNasyAtithiH syAH // zRGgocchrayaiH kumudavizadeya vitatya sthitaH khaM / rAzIbhUtaH pratidinamiva tryambakasyATTahAsaH ||60 || utpazyAmi tvayi taTagate snigdhabhinnAJjanAbhe / sadyaH kRttadviradaradanaccheda gaurasya tasya || lIlAmadreH stimitanayana prekSaNIyAM bhavitrI - / maMsanyaste sati ilabhRto mecake vAsasIva // 61 // tasminhitvA bhujagavalayaM zambhunA dattahastA / krIDAzaile yadi ca viharetpAdacAreNa gaurI // bhaGgIbhaktyA viracitavapuH stambhitantirjalaughaH / sopAnatvaM kuru maNitaTarohaNAyAmacarI // 62 // tatrAvazyaM 1 ye tvAM muktadhvanimasaddanAH / 2 0kAyabhaGgAya / 3 0 darpotsekAdupari / 4 0yiSyantyalaGghyam / 5 vRSTihAsAva0 / 6 0ke vA na / 7 paribhavaphalA | 8degrupacita; degrupahita0 / 90ddUra0 / 10 0karUpante'sya, saGkarUpate / 11 saMsaktAbhiH / 12 nirhrAdate / 13 0 muraja iva / 14 0 kandareSuH kandarAsu / 15 .nRtyatastatra / 16 0pUrNaH samagraH / 170mupakramya / 180 balivimathanAbhyu0 / 19 tAdarzanasyA | 200tuGgocchrAyaiH / 21 kusuma0 / 22 pratidizamiva, pratinizamiva / 23 0 zobhAmadestimira0 / 24 hitvA tasmin / 25 0 vicaret; hitvA nIlaM / 26 .ntarjalo'syAH / 27 sopAnaM tvaM kuru / 28 0NAyAgrayAyI; sukhapadArohaNAvAgrayAyI; braja sukhapadasparzamArohaNeSu /

Page #825
( 694 ) valayakulizoddhaTTanodgIrNatoyaM / neSyanti tvAM surayuvatayo yantradhArAgRhatvam // tAbhyo mokSo yadi te sakhe dharmalabdhasya na syAt / krIDAlolA: zravaNaparuSai garji"tairbhIrSaiyestAH // 63 // hemAmbhojaprasavi salilaM mAnasasyA'' dadAnaH / kurvan kAmaM kSaNamukhapaTaprItimairAvarNaisya // dhunvankalpadruma kisalayAnyaMzukAni svavAtaiH / nAnAceSTairjalada lalitairnirvizestaM nagendram // 64 // tasyotsaGge praNayina iva srastagaGgAdukUlAM / na tvaM dRSTvA na punaralakAM jJAsyase kAmacArin / / yA vaH kAle vahati sali - logaarmuccairvimaanaa| muktAjAlaprathitamalakaM kAminIvAbhravRndam // 65 // vidyudvantaM lalitavanitAH sendracApaM sacitrAH / saGgItaya prahRtamurajI: snigdhaparjanyaghoSam // antastoyaM maNimayabhuvastuGgamabhraMlihvAgrAH / prAsAdAstvAM tulayitumalaM yatra testairvizeSaiH || 66 // yatra strINAM priyatame bhujeocchrAsitAliGgitAnA- / maGgaglAniM suratajanitAM tantujAlAvalambAH // tvatsaMrodhApagamavizadairindu pAdairnizIthe / vyAlumpanti sphuTa jalalavasthandinazcandrakAntAH || 67 // tyuitkampAdalakapatitairyatra mandArapuSpaiH / laptacchedaiH kanakakamalaiH karNavibhraMzibhizca // muktAjalaiH stanapariseMracchinnasUtraizca hAraiH / naizo mArgaH saviturudaye sUcyate kAminInAm // 68 || AnandotthaM nayanasalilaM yatra nA'nyainimittaiH / nA'nyastApaH kusumazarajAdiSTasaMyogasAdhyAt // nA'pyanyatra praNayakalahAdviprayogopapattiH / vittezAnAM na ca khalu vayo yauvanAdanyadasti // 69 // yatronmattabhramaramukharauH pAdapA nityapuSpAH / haMsazreNIracitarazanA nityapadmA nalinyaH // kekotkaNThA bhavanazikhino nityabhAsvatkalApAH / nityajyotsnApratihatatamovRttiramyAH pradoSAH || 70 || haste lIlAkamalamala ke bAlakundAnuviddhaM / nItA lodhraprasavajarasA 1 0janitasalilodvAramantaH pravezAt; mantaH pravezam / 2 mokSastava yadi / 30 za0 / 4 mayiyestAH / 50 kAmAt / 6 0mairAvatasya / 7 dhunvanvataiH sajalapRSataiH [ degnayanaiH ] kalpavRkSAMzukAni / chAyAbhinnasphaTikavizadaM nirvizeH parvataM tam // vyAnyaMzukAnIva vAtaiH / 8 zeH parvataM tam / 90caivimAnaiH / 10 saGgItArthapra0 / 11 0hRtamuravAH / 12 gambhIragho0 | 130 bhujAliGganocchravAkhitAnAM / 14 0zvandrapAdai0 | 15 nava0 / 16 gatyotkampA0 / 17 patracchedaiH 18 kanakanalinaiH / 19 visaMsibhizca / 20 muktAbhaiH / 21 stanaparimalaiH / stanaparicitacchi0 | 22 0 vyanyasmAt / 23 05nikarAH / 24 0nuvedho / ;

Page #826
( 695 ) pANDutAmAnenazrIH || cUDApAze navakurabakaM cAru karNe zirISaM / sImante ca tvadupagamajaM yatra nIpaM vadhUnAm // 71 // yasyAM yazvAH sitamaNimayAnyetya harmyasthalAni / jyotizchAyAkusumaracanAnyuttamastrIsahAyAH || Asevante madhu ratiphalaM kalpavRkSaprasUtaM / gambhIradhvaniSu madhuraM puSkareSvAhRteSu // 72 // nIvIbandhocchu sita zithilaM yatra bimbAdharANAM / kSaumaM rAgAdanibhRtakareSvAkSipatsu priyeSu // a~rttistuGgAnabhimukhamapi prApya ratnapradIpAn / hrImUDhAnAM bhavati viphalapreraNA cUrNamuSTiH // 73 // netrA nItA satatagatinA yedvimAnAgrabhUmIH / AlekhyAnAM svajala kaNikAdoSamutpAdya sadyaH // zaGkAspRSTA iva jalamucastvAdRzo yaMtre jAlaiH / dhUmodgArAnukRtinipuNoM jarjarA niSpatanti // 74 // mandAkinyAH 'selilaziziraiH sevyamAnA marudbhiH / mandArANAM taTavanaruhAM chAyayA vAritoSNAH || anveSTavyaiH kanakasikatAmuSTinikSepegUDhaiH / saGkrIDante maNibhiramaraprArthitA yatra kanyAH // 75 // akSayyAntarbhavananighayaH pratyahaM raktakaNThe - / rudgAyadbhirdhanapatiyazaH kinnarairyatra sArdham // vaibhrAjAkhyaM vibudhavanitAvAramukhyA sahAyAH / baddhAlApA bahirupavanaM kAmino nirvizanti // 76 // vAsazcitraM madhu nayanayorvibhramAdezadakSaM / puSpodbhedaM saha kisalayebhUSaNAnAM vikalpam // lAkSArAgaM caraNakamalanyAsayogyaM ca 'smin / ekaH sUte sakalamabalAmaNDanaM kalpavRkSaH // 77 || patrazyAmA dinakarahaspardhino yatra vAhAH / zailodagrAstvamiva kariNo vRSTimantaH prabhedAt // yodhAgraNyaH pratidazamukhaM saMyuge tasthivAMsaH / pratyAdiSTAbharaNarucayazcandrahAsavraNAH // 78 // matvA devaM dhanapatisakhaM yatra sAkSAdvasantaM / prAyazcApaM na vahati bhayAnmanmathaH SaTpadajyam || sabhrUbhaGgaprahitanayanaiH ko milakSyeSvamoghaiH / tasyArambhazcaMturavanitAvibhramaireva siddhaH // 79 // taitrAgAraM ghanapatigRhAduttareNA'smadIyaM / 1 0 mAnane zrIH / 2 0 te'pi / 3 racitAnyu0 / 4 0ndhocchvasana0 / 5 yakSAGganAnAm / 6 zvAsaH / 7 vidyuddapAnami0 / 8 0khagatAn / 9 ye vimA0 / 10 sajalakaNikA0; salilakaNikA; navajalakaNaiH / 11 tvAdRzaH / 12 jAlamArgaiH; yantrajAlaiH : / 13 0 nipuNaM / 14 payasi zi0 / 150 gUDhaM / 16 vika hapAn / 17 yasyAm / 18 bhayAt tvAmapi prekSya kAmaH / 19 kAmalakSeSu / 20 caTula / 21 atrA0 / 22 0gRhAnu /

Page #827
(696) dUrAlakSyaM suraipatidhanuzcAruNA toraNena // yasyodyAne kRtakatanayo varddhitaH kAntayA me / hastaprApyastaba kanamito bAlamandAravRkSaH / / 80 // vApI cAsminmarakatazilAbaddhasopAnamArgA / haimaiH sphiito vika,kamalairdIrghavaidUryanAlaiH // tasyAstoye kRtavasatayo mAnasaM sannikRSTaM / nAdhyAsyanti vyapagatazucastvAmapi prekSya haMsAH // 81 // tasyAstIre vihitaizikharaH peshlairindrniilaiH| krIDAzaila: knkkdliivessttnNprekssnniiyH|| madgahinyAH priya iti sakhe cetasA kAtareNa / prekSyopAntasphuritataDitaM tvAM tameva smarAmi // 82 // tanvI zyAmA zikharidazanA pakvabimbAdharoSThI / madhye kSAmA cakitahariNIprekSaNA nimnanAbhiH / / zroNIbhArAdalasagamanA stokanamrA stanAbhyAM / yA tatra sthAyuvativiSayA sRSTirAdhe dhAtuH / / 83 // to jAnIyA~H parimitakathA jIvitaM me dvitIyaM / dUrIbhUte mayi sahacare cakravAkImivaikAm // gADhotkaNThA guruSu divaseSveSu gacchatsu bAlI / jAta manye ziziramathitA padminIAnyarUpI // 84 // bhUnaM tasyAH prabalaruditocchUnanetraM bahUnAM / nizvAsAnAmaziziratayA bhinnavarNAdharoSTham // hastanyastaM mukhamasakalavyakti lambAlakatvAt / indordainyaM tvadupasaraNakliSTa kAnte. bibharti // 85 // raktAzokazcalakisalayaH kesarazcAtra kAntaH / pratyAsannau kurabakavRtermAdhavImaNDapasya / / ekaH sakhyAstava saha mayA vAmapAdAbhilASI / kAGkSatyanyo vadanamadirAM dauhRdacchadmanA'syAH // 86 // tenmadhye ca sphaTikaphalakA kAJcanI vAsayaSTi - / rmUle baiddhA mnnibhirntiprauddhvNshprkaashaiH|| tAlaiH zivalayasubhagaiH kAntayA nartito me / yAmadhyaste divasavigame nIlakaNThaH suhRdH|| 87 // ebhiH sAdho hRdynihitairlkssnnairlkssyethaaH| dvAropAnte likhitavapuSau zaGkhapadmau ca dRSTA / / kSAmacchAyaM bhavanamadhunA madviyogena nUnaM / sUryApAye na khalu kamalaM puSyati 1 surapatidha0 / 2 yasyopAnte / 3 degkavinataH / 4 syUtA / 5 kamalamukulaiH snigdhavai0 / 6 ysyaa0| 7nAdhAsyanti, nAdhyAyanti / 8 yasyA0 ! 9 racitazi, nicitazi / 10 veSTanaH / 11 tatrAste / 12 tiviSaye / 13 rAdyaiva / 14 jAnIyA / 15 baalo| 16 jAtAM / 17 0mathitAM / 18 padminI vA / 19 nyarUpAM / 20 priyAyA / 21 haste nyastaM / 22 tvadanusa, tvadupagamana / 23 prtyaasnnH| 24 dohada, dohl0| 25 tattanmadhye / 26 naddhA / 27 ziadaH, siJjada0 / 28 nartitaH kAntayA me / 29 lakSaNIyaM / 30 mandacchAyaM /

Page #828
(697) svAmabhikhyAm // 88 // gatvA sadyaH kalabhatanutAM shiighrsmpaathetoH| krIDAzaile prathamakathite ramyasAnau niSaNNaH // ahasyantarbhavanapatitAM kartumalpApabhAsaM / khadyotAlIvilasitanibhA vidyudunmeSadRSTim // 89 // Aloke te nipatati purA sA balivyAkulA vA / matsAdRzyaM virahatanu vA bhAvagamyaM likhantI // pRcchantI vA madhuravacanaM sArikA pnyjrsthaa| kaccidbhartuH smarasi rasike tvaM hi tasya priyeti // 90 // utsaGge vA malinavasane saumya nikSipya vINAM / madgotrAGka viracitapadaM geyamudgAtukAmA / tantrIrArdrA nayanasalilaiH sArayitvA kathaJcit / bhUyobhUyaH svayamapi kRtAM mUrcchanAM vismarantI / / 91 // zeSAnmAsAnvirahadivasasthApitasthAvadhervA ! vinyasyantI bhuvi gaNanayA dehalImuktapuSpaiH / / sambhogaM vA hRdyrcitaarmbhmaasvaadyntii| prAyeNaite ramaNaviraha vaganAnAM vinodAH // 92 // savyApArAmahani na tathA paaddydviyogH| zaGke rAtrau gurutarazucaM nirvinodAM sakhI te // matsandezaiH sukhayitumaitaH pazya sAdhvI nizIthe / tAmunnidrAmavanirzayanAM saidmavAtAyanasthaH // 93 // AdhikSAmA virahazayane sanniSaNNaikapAcI / prAcImUle tanumiva kalAmAtrazeSAM himAMzoH // nItA rAtriH kSaNamiva mayA sArdhamicchAratairyA / tAmevoSNaivirahameM haitImazrubhiryApayantIm // 94 // niHzvAsenAdharakisalayaklezinA vikSipantIM / zuddhasnAnAtparuSamalakaM nUnamAgaNDalambama // matsaMyogaiH kathamupanamesvapnajo'pIti nidraa-| mAkAGkSantI nayanasalilotpIDaruddhAvakAzAm // 95 // Aye baddhA viraha divase yA zikhI dAma hitvA / zApasyAnte vigalitazucA tAM mayodveSTanIyAm // sparzakliSTAmaiyamitanakhenA'sakRtsArayantI / gaNDAbhogAtkaThina viSaimAmekaveNI kareNa // 96 // pAdAnindoramRtazizirAJjAlamArgapraviSTAn / pUrvaprItyA 1 tatparitrANahetoH / 2 ratnasAnau / 3 pure / 4 virhtnunaa| 5 madhuravacanAM / 6 nibhRte; girike| 7 tntriimaao| 8 svayamadhikRtAM / 9 gamanadi0 / 10 sprstutsyaav0| 11 0lIdatta / 12 saMyogaM vA; matsambhogaM hR / 13 0ynihitaar| 14 0maasaaptyntii| 15 virahe hyngg| 16 khedayet / 17 madviyogaH / 18 0malaM / 19 degdrAM virahazayanAM / 20 saudhavA0 / 21 sannikIrNekapAzvI; viprakIrNekapA / 22 kSaNa iva / 23 0hajanitairazru0 / 24 vizvAsenA / 25 lambi / 26 matsambhogaH / 27 kathamapi bhavet / 28 shiro| 29 yA / 30 mayodveSTanIyA; mayonmocanIyA / 31 0mpmit| 32 vissmaadek0|

Page #829
gatamabhimukhaM sannivRttaM tathaiva / / khedAccakSuH salilagurubhiH pakSmabhizchAdayantI / sAbhre'hrIva sthalakamalinI naprabuddhA nasuptAm // 97 // sA sannyastAbharaNamabalA pelevaM dhArayantI / zayyotsaGge nihitamasakRdduHkhaduHkhena gAtram || tvAmapyesaM navajalamayaM mocayiSyatyavazyaM / prAyaH sarvo bhavati karuNAvRttirArdrAntarAtmA / / 98 // jAne sakhyAstava mayi manaH sambhRtasnehamasmAt / itthambhUtAM prathamavirahe tAmaha tayAmi // vAcAlaM mAM na khalu subhagammanyabhAvaH karoti / pratyakSaM te nikhilamacirAdbhAtaruktaM mayA yat // 99 / / ruddhApAGgaprasaramalakairaJjanasnehazUnyaM / pratyA. dezAdapi ca madhuno vismRta rUvilAsam // tvayyAsanne nayanamuparispandi zaGke mRgAkSyA / mInakSobhAccalakuvalayazrItulAmeSyatIti // 100 // * vAmazcAsyAH kararuhapadairbhucyamAno madIyaiH / muktAjAlaM ciraparicitaM tyAjito devagatyA // sambhogAnte mama samucito hastasaMvAhanAnAM / yAsyatyUruH sarasakadalIstambhagaurazcalatvam // 101 // tasminkAle jalada yadi sA labdhanidrAsukhA syaa-| devAsyainAM stanitavimukho yAmamAtraM sahasvaM // mA bhUdasyAH praNayini jane" svapnalabdhe kathaJcit / sadyaH kaNThacyutabhujalatAgranthi gADhopagUDham // 102 // protthApyanAM svajalakaNikAzItalenA'nilena / pratyAzvastAM samamabhinavairjAlakairmAlatInAm // vidyudgarbhe stimitanayanAM svatsanAthe gavAkSe / vaktuM dhIraM stanivecano mAninI prakramethAH // 103 / / bhartumitraM priyamabhidadhe viddhi mAmambuvAhaM / tatsandezairmanasi nihitaizeMgataM tvatsamIpam / / yo vRndAni tvarayati pathi zrAmyatAM proSitAnAM / maindrasnigdhenibhirabalAvaNimokSotsukAni // 104 // ityAkhyAte pavanatanayaM mIthalIvonmukhI sA / tvAmutkaNThocchasitahRdayA vIkSya sambhAvya vai // zroSyatyasmAtparamavahitaM saumya sImantinInAM / kauntopAntAtsuhRdupargamaH saGga1 gatamapi tataH 10 / 2 cakSuH khedAt / 3 sjlgu0| 4 pezalaM; komalaM / 5 pyshrRN| 6 jalalava% jlknn| 7 subhagaM manyubhAvaM / 8 sakalama 1 9 vAmaM / 10 manye mInAccala, miinkssobhaakulku| 11 vaasyaaH| 12 ciraviracitaM; navaparicitam / 13 0saMvAhanasya / 14 knkkldliigrbhgaurH| 150danvAsInaH; ttraasiinH| 16 shethaaH| 17 mayi / 18 tAmutthApya / 19 0darbhaH; vidyutkampaH; vidyunnetrH| 20 nihitanayanAM / 21 dhIraH sta, dhIra! sta; dhIradhvanita; dhIrastanita | 22 vcnaiH| 23 priyamavidhave / 24 tatsandezAn / tvatsandezAn / 25nihitAt ; hRdayanihitAt / 26 mantra, saandr| 27 sambhASya / 28 caivam / 29 kAntodantAt ; kAntodantaH / 30 degdupagataH; degdupntH|

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( 699 ) mAtkiJcidUnaH // 105 // tAmAyuSmanmama ca vacanAdAtmanazcopakartuM / brUyAdeva tava sahacaro rAmagiryAzramasthaH || avyApannaH kuzalamabale pRcchati tvAM viyuktaH / pUrvAzAsya sulabhavipadAM prANinAmetadeva // 106 // aGgenAGgaM tanuM ca tanunA gADhataptena taptaM / sAsreNa|sadravamaviratotkaNThamutkaNThitena // uSNocchrAsaM samadhiketarocchvAsinA dUravartI / saGkalpaistairvizati vidhinA vairiNA ruddhamArgaH // 107 // zabdAkhyeyaM yadapi kila te yaH sakhInAM purastA - / karNe lolaH kathayitumabhUdAnanasparzalobhAt // so'tikrAntaH zravaNaviSayaM locanAbhyAmadRSTaiH / tvAmutkaNThAviracitepaida manmukhenedamAha // 108 // zyAmAsvaGgaM, cakitahariNIprekSite " dRSTipatiM / vaktre cchAyAM zazini, zikhinAM barhabhAreSu kezAn // utpazyAmi pratanuSu nadIvIciSu bhrUvilAsAn / intairkasthaM kvacidapi na te caNDi sAdRzyamasti // 109 // tvAmAlikhya praNayakupitAM dhAturAgaiH zilAyA - / mAtmAnaM te caraNapatitaM yAvadicchAmi kartum || asaistAvanmuhurupacitairdRSTirA lupyate me / krUrastasminnapi na sahate saGgamaM nau kRtAntaH // 110 // mAmAkAzapraNihitabhujaM nirdayA zleSa hetoH / labdhAyAste kathamapi bhaiyA svapnasandarzaneSu // pazyantInAM na khalu bahuzo na sthalIdevatAnAM / muktAsthUlAstara kisalayeSvalezAH patanti // 111 // bhaGkSipyeta kSaNamiva kathaM dIrghayomA trimA / sarvAvasthAsvaharapi kathaM mandamandAtapaM syAt // itthaM cetazcaTulanayane durlabhaprArthanaM me / gA~DhoSNAbhiH kRtamazaraNaM svadviyogavyathAbhiH // 112 // bhitvA sadyaH kisalayapuTAndevadArudrumANAM / ye tatkSIrasutisurabhayo dakSiNena pravRttAH // AliGgyante guNavati mayA te 1 0mAyuSmAn / 2 brUyAH / 3 ekam / 4 vidyuktAm ; niyuktaH / 5 pUrvAbhASyaM; pUrvAzAsyaM; bhUtAnAM hi kSayiSu karaNeSvAdyamAzvAsyametat / pratanu ta 7 .gAzrudruta ; 0NAzrudrava0 / 8 dIrghocchvAsaM0 / 90 kakharocchvA0 / 10 tat / 11 0magAdA0 | 12 locanAnAma0 / 130 madRzya; magamyaH | 14 0NThAvirahita0 / 15 prekSaNe / 16 dRSTipAtAt / 17 vakracchAyaM; gaNDacchAyaM / 18 bhrUpatAkAM / 19 0 ntaikasmin ; ntaikasthAm / 20 bhIru / 21 rAlipyate / 22 sati; nizi / 230pyaivaM 0 yeran / 24 kSaNa iva / 25 vyAmAH / 26 triyAmAH | 27 gADhoSmAbhiH / 28 tadviyoga0 / 29 etatkSI0 /

Page #831
( 700 ) tuSArAdrivAtAH / pUrva spRSTaM yadi kila bhavedaGgamebhistaveti // 113 // nanvAtmAnaM bahu vigaNayannAtmanaivA'valambe / tatkasyANi tvamapi nitarAM mA gamaH kAtaratvam // kasthaikAntaM sukhamurpenataM duHkhamekAntato vA / nIcairgacchatyupari ca dazA cakranemikrameNa // 114 // zApAnto me bhujagazayanAdutthite zArGgapANau / mAsAnanyAngamaya caturo locane mIlayitvA || pazcAdAvAM virahaguNitaM taM tamevAbhilASaM / nirvekSyAvaH pariNatazaraccandrikAsu kSapAsu // 115 // bhUyazcAha tvamasi zayane kaNThalagnA purA me / nidrAM gatvA kimapi rudatI saMsvaraM viprabuddhA // sAntarddhAsaM kathitamasakRtpRcchato'si tvayA me / dRSTaH svapne kitava ramayankAmapi tvaM mayeti // 116 // etasmAnmAM kuzalinamabhijJAnadAnAdviditvA / mA kaulInAdasitenayane mayyavizvasanI bhUH // - snehAnAhuH kimapi virahe hA~sinaste'rthe bhogA- / diSTe" vastunyupacitarasAH premarAzIbhavanti // 117 // AzvAsyainam prathamavirahe zorkedaSTAM sakhIM te" / taismAdadvestrinayanavRSotkhAtakUTAnnivRttaH // sAmijJAnaM prahitarvacanaistaMtre yuktermamA'pi / prAtaH kundaprasavazithilaM jIvitaM dhArayedam // 118 // kaccitsaumya vyavasitamidaM bandhukRtyaM tvayA me / pratyAdezAnna khalu bhavato dhIratAM kalpayAmi / / niHzabdo'pi prAdezasi jalaM yacitazcAtakebhyaH / pratyuktaM hi praNayiSu satAmIpsitArthakriyaiva // 119 // etatkRtvA priyamanucitaM prArthanAdAtmano me / sauhArdAdvA vidhura iti vA mayyanukrozabuddhyA || iSTAndezAnvicara jalada prAvRSA sambhRtazrIH / mA bhUdeva kSeNamapi saMkhe vidyutA viprayogaH // 120 // ... 1 pUrvaspRSTaM / 2 na tvAtmAnaM; - nAtmanA nAvalambe | 3 sutarAM / 40mupagataM / 5 zeSAnmAsAnga0 | 6 virahagaNitaM / 7 tamAtmAbhilASaM / 8 tvamapi / 10 pRcchatazca / 11 9 sasvanaM; satvaraM / tvabhogA0 / 18 me; 13 dhvaMsinaste / 14 bhogA; 17 degrahodagrazokAM; * raheNArdrazokAM / svAm | 19 zailAdasmAt tri0 / 20 sAbhijJAnapra0 / 21 degtakuzalaiH / 22 tadvacobhiH; tvadvacobhiH / 23 vyethAH / 24 pratyAkhyAtuM naH pratyAkhyAnAt; pratyAkhyAnaM / 25 tarkayAmi / - 28 nAvartmano me; 26 yAcitaM / 27 priyasamucita prA0 rthanaM cetaso me; rthitaM cetaso me / 30 ca tena te / cakitanayane / 12 15 dRSTe / vizvAsinI / 16 .syaivaM / zailAdAzu tri; 0 manucitaprA0 | 29 kvacidapi /

Page #832
APPENDIX-11 INDEX The first number indicates the number of the canto and the second of the stanza. atrANaM mA 4/63 ityabhyarNe 1192 kUTocchrAyaiH 288 atha surabhi. 4 / 67 ityuktvAdo 1 / 63 kRcchrAnmukta 2 / 79 adhyAsInaH 1171 ityuktvAtho 1138 kRSNAhiH kiM 17.. adhyArUDhe 1102 indrANI ce 2 / 76 krIDAhetoH 120 adhyAsIne 2 / 40 iSTAnkAmAn 314 krIDAdrINAM 2 / 80 adhyAsInA 21118 iSTe vastunyati 4 / 43 kAyaM yogI 117 adhvakSAmaM 2 / 60 IzomAbhyAM 2 / 31 . kAyaM devo 118 anunayati 4166 uttIryA 2 / 29 kSAmA pANDuH 1108 antastoyo 2177 utpazyAmi 2 / 73 kSIrAdaccha 2 / 72 antastApaM 3 / 46 . utsaGge vA 3138 khagasthakaM 1159 anyaccAnya 2 / 24 Urdhvaju taM 1121 gacchanmArga 2 / 43 anyaccAsmin 3 / 16 ekAkinyaH 2191 gatvAyAsAt 2 / 96 asyudgINe 4/4 evamprAyAM 1115 gatvA pazyeH 1193 AkSipteSu 2 / 115 evamprAya salila 2 / 41 gatvA kiJcit 2030 AkarSantyaH 2 / 78 evamprAyaH 3 / 43 gatvA tasmAt 2 / 36. AdyaH kalpaH 1127 evamprAyAM nikRti 4/45 gatvodIcI 175. AruhyAvirmada 2151 kalolAntarva 1 / 112 gambhIreti 225 AlikhyAto 3 / 37 kAmaM yAyA 1153 gambhIratvaM 1985 AlokyaivaM 2 / 17 kAmasyaivaM 3 / 10 garjatyuccaiH 2018 Aloke te 3136 kAmAvasthA 3121 gehe gehe 2 / 112 kAmasyekA 329 AzRGgAgraM 2 / 61 citraM tanme 1 / 35 AstAM tAvat 1961 kAmAveze 4|41 citranyastA 3 / 44 iti vidita 4169 kAryAlliGgAt 181 janmanyasmAt 3148 iti viracita 470 kiJcitpazyan 1 / 10 jAtA ramyA 120 ityAdhyAyan 4 / 17 kiM vA bairIndhana 1149 jAtAkamyA 4 / 48 itthaMkAraM 4/64 kiM te vairIndhana 4 / 3 jAnAsi tvaM 1 / 34 itthaM bhaktiprakaTana 2 / 13 kIrti ca svAM 410 jetuM zakto 1 / 25

Page #833
jaitrairbANaiH 1 / 104 -jJAsyasyuccaiH 2 / 27 jyotsnAM manye 2 / 104 - jyotsnApAtaM 4/40 jyotsnAhAsaM 4/47 taccAzcarya. 1136 tacchAyAyAM 4/60 tantrIrArdrA 3/39 - tanmA bhaiSIH 4|14 tanmAhAtmyAt 12 tanme vAkyAt 3|18 tanme satyaM 3 / 55 tanme kIra prati 4 / 44 tanme deva 4|56 tadbhoktavye 4 / 24 taM sevethAH 2/3 tatra vyaktaM 2 / 65 -tatrA'styantarvaNa 28 tatrApyeko 1151 tatsAnnidhyAdiva 2 / 102 tatsvAdIyaH 1 / 78 tasmAnnocaiH 2 / 19 - tasmAdevaM 2 / 26 tasmAddhUmapra 2 / 71 tasmAdvAsaH 4/21 tasmAjI 2/6 tasmAdvaraprathama 1 / 24 tasmAdyogaM 1|38 tasmAdvidyut 155 tasmAdadreH 1 / 74 tasminkAle 2 / 14 (702 ) tasminnadhvanyanati 2 / 44 tasminhitvA 2 / 75 tasyAratIre 1 / 4 tasyA madhyejalaM 2/37 tasyAH sindhoH 2/42 tasyAH pInastana 3 / 25 tasyAH pIDAM 3 / 28 tasyA duHkha 3/33 tasyopAnte 2/67 tasyotkaNThA 188 tAM tasyAdreH 1 / 76 tAmutphula 2 / 28 tAmevainAM 2 / 53 tAM kAminyaH 3 | 31 tAM jAnIyAH 3 / 15 tAM vaktrendugra 3149 tAM tAM ceSTAM 4|38 tAnaprAkSaM 4 / 42 tAsAM pAdyaM 2/92 tAstatrAharmaNi 2 | 10 tAste puNyaM 2 / 49 tiSThatvekaM 2 / 56 tIkSNasyAreH 1 / 113 todanyA 2155 tIvrAvasthe 4 / 35 te cAvazyaM 1 / 43 teSAmAviSkRta 1 / 90 tvatsAdRzyaM 4 | 34 tvatto niryan 2 / 62 tvayyabhyarNe 2 / 38 tvayyArUDhe 2|74 tvaM sevethAH 1198 tvayyAnIla 1 / 72 tvayyAsanna 1166 tvayyautsukyaM 1 / 106 tvAmAsannaM 1 / 83 tvAmuttuMgaiH 1/67 tvAM tatrAdbhavana 2 / 11 tvAM dhyAyantyA 3 / 27 dattaM vanyairiva 1 / 77 digbhyo vibhvat 1/56 divye yAne 1 / 30 dUrAgADha 4 / 26 dRzyAndezAn 1/63 dRSTAdhyAtma 2/82 dRSTvA yasyAH 2 / 105 dRSTvAhIndraM 6 / 51 devasyAsya 4 /52 devI cAsya 4 /59 draSTA bhUyaH 3 20 draSTuM vAJchA 215 dhikkRtyainaM 4|53 dhyAyannevaM 1 / 12 nATyaM tanvan 2 / 16 nAhaM daityo 3 / 14 nidrApAyAt 3 / 26 nidrAsaGgAt 4|37 nirvANArtha 2/83 niHsaGgo'pi 1187 niHsaGgastvaM 4|8 nUnaM bhUmyantarita - 1158 nUnaM kalpadruma 2101

Page #834
no cedantagRha 3 / 35 paGkIbhUtAH 2 / 89 parjanyAnAM 1 / 16 pazcAttApAt 1 / 48 pazyAmuSyAm 3 | 34 pazyAmuSmin 4 | 30 pazyottrastAH 1142 pANau padmaM 2 / 108 pAtavyaM te 1 / 96 pAdAnindoH 3 / 50 pItvA tasyAM 197 puNyakSetra 2 / 48 putrAmbUnAM 2/57 puSpAmodaiH 1184 puSpodrandhi 3 / 13 pUjyaM devaiH 2 / 32 pUrvaM tAvat 22 pratyAsannaiH 2 / 117 pratyutkIrNo 4/6 1 prasthAne te 1 / 57 prasthAne'sya 4/49 prAleyAdreH 2/69 prItistasyA 3 / 32 premAmuSmin 1100 proccaiH kekA 2286 bandhuprIti 354 bahvAzvarye 270 buddhyadhyAsAt 3 / 41 bhaktiM kurvan 2 / 15 bhIte zastraM 4 |13 bhUmiM traNuM 38 bhUyaH kSobhaM 122 ( 703 ) bhUyazcAnusmara 1146 bhUyazcAhaM 1 / 86 bhUyazca tvatstanita 272 bhUyasteSAm 1 / 91 bhUkho nAnAbharaNa 1 / 116 bhUyaH prItyai 3 / 56 bhUyo bhUyaH 3151 bhUyo yAce 2/57 bhoktuM divya 1/45 bho bho bhikSo 4 / 2 bho bho sAdho 4/33 bhrAntvA kRtsnAM 2 / 21 matkAminyA 3 | 45 matto mRtyu 1 / 29 matpratIpyaM 4|11 matprAmANyAt 3 / 57 madvizleSAt 3 / 47 * madhyevindhyaM 1 / 82 mandAkinyAH 2/95 manye maitrI 1 / 68 manye yasyA 2/99 manye te'pi 3 / 9 manye zrotraM 4/19 mayyAmukta - 1154 mayyAyAte 3 / 24 mAmAkAza- 4/36 mArge mArge 180 mAbhUdbhItiH 4/7 mUrcchA suptaM 1/40 mUlaM voccaiH 3/30 meghaistAvat 1 / 11 moccaistatra 2/63 mopekSiSThAH 2/52 yattadvRttaM 4|50 yattanmauDhyAt 4/65 yatrAnIlaM 2 / 85 yatrAkIrNe 2287 yatrodyAne 2 94 yatratyAnA 298 yatrAkrarUpAn 2 / 99 yatra strINAM 2 / 106 yatrAkalpe 2 / 107 yatra jyotsnA 2 / 110 ye cAnvizyan 16 yaM cApazyat 17 yazcAbaddha 1/8 yaH saddharmAt 2 / 34 yasmin ramyAH 1152 yasminnadyaH 2 / 46 dyotsukyaM 9 / 64 yadyapyete 2164 yadyetatte 4 / 12 yadyapyasya 2 / 22 yasmingrAvA 115 yasmindRSTe 2/60 yasminkalpadruma 326 yasminpuMsAM 4 | yasminkAle sama - 4|46 - yasyAM rAtreH 1126 yasyAmuccaiH 1 / 111 yasyAM bibhratyava - 1 / 115 yasyAmindoH 2 / 90 yasyAM nitya 2 / 103 yasyAM kAmadvipa 2 / 114

Page #835
(704) yasyAM mandrAnaka 3 / 5 / / vizramyoccaiH 11117 sahIkaste 4462 yasyA hetoH 3119 vizramyAtha 2 / 1 sAdRzyaM naH 4 / 31 yasyai zakraH 2 / 100 vizramyAtho 2158 sAyAhne cet 219 yAce devaM 1126 vizrAntiste 1195 sAdhvIM citta 3 / 22 yAstA nadyaH 2051 vIrakSoNI 2147 sA sanyastA 3152 yA te buddhiH 416 vegAdantarbhavana 3 / 1 sevyaH sodriH 1169 yuddhe zauNDo 1 / 39 veNuSveSu 2 / 68. saiSA bAlA 425 yenAmuSmin 1123 vyAvayAlaM 1 / 110 saiSA sevA 4/55 yo nirbhasaH 13 zakraMmanyAH 2 / 109 so'sau jAsmaH 119 yoginyazyan 1 / 41 zaGkorevaM 160 so'sAvadriH 1499 yo'sau strINAM 428 zayyopAnte 3153 so'pi tvattaH 2 / 33 yoginyoga 4 / 29 zeSAnmAsAn 3140 so'yaM yogI 4116 ratyAdhAro 3317 . zailIlapramita 1 / 114 so'yaM tvattaH 4 / 27 ramyazroNIH 1173 zravyaM geyaM 420 saudhotsaGge 1994 ramyAndezAn 2 / 45 zrImanmUrtyA 11 saudheyApraiH 2184 ramyotsaGge 1101 zrIvIrasena 4171 saundaryasya 3 / 3 rucyAhAraM 317 zrutvA'pyevaM 1132 strImiH sArdhaM 3 / 2 ruddha bhAno 223 zreyomArgAt 1150 stutyante - 4158 lakSmI kSINAM 419 ayomArgaH 4 / 22 snAto dhautAmbara-1147 lolApAGgAH 2 / 111 saMkSepAyaH 4154 sphItotkaNThA 1144 vakropyadhvA 1 / 103 saMkSipyeta 4 / 39 syAdAkUtaM 1 / 31 vakSyatyuccaiH 165 sakhyAnItaiH 323 syAdvA satyaM 3 / 11 vastrApAye 2 / 116 sakhyAlApaiH 3 / 42 syAdArekA 3 / 12 vAsaH kSauma 2 / 113 sapadi jalada 4 / 68 vittAnidhnaH 1133 sadbhistIrNAH 250 srotaH pazyan 11105 vidyAsiddhiM 217 satyapyevaM 1119 svaH sodheSu 1 / 118 vidyunmAlA 1 / 14 satyapyevaM pathi 1109 svAdu svacchaM 2 / 54 vidyunmAlAkRtapIra 1 / 62 satyapyasmin 2 / 4 __ haMsazreNIkala - 1107 vidyuddAmnA 2 / 81 saGkhye saGkhyAM 4 / 18 hA dhimUTiM 4 / 32 vidyudvadhrI 2 / 39 sadyaH klapto 4 / 15 vidyudallI 4 / 23 sandiSTaM ca 41 hRtvA tasyAH 1179 vindhyopAntAt 1989 salakSyante 2 / 93 hRdyasvacche 2135

Page #836
APPENDIX III Index [N. :- The first number indicates the number of the canto and the following numbers indicate the numbers of the stanzas of the Parsvabhyudayam, incorporating lines from the Megh.] . akSayyAntarbhavana-III-4-5 jAtaM vaMze-I-21 to 24 aGagenAGaga-IV-25-26 jAne sakhyA -III-54-55 adreH zRGagaM I-53 to 56 . jAlodgINa:-1-117-118 . apyanyasmin-II-5 to8 jyotirlekhA-II-33-34 Adya baddhA-III-48-49 tatra skanda-II-31-32 AdhikSAmAM-III-44-45 tatra vyaktaM-II-65-66 AnandotthaM-II-97 to 100 tatrAvazyaM-II-77-78 ApRcchasva-I-45 to 48 tatrAgAraM-III-12-13 ArAdhya naM-11-35-36 tanmadhyeca-III-30-31 Aloke te-III-36-37 tanvI zyAmA-II-18 to 21 AzvAsyanAM-IV-54 to 57 tasminnadrau-I-5 to 8 AsInAnAM-II-57 to 59 tasmin sthitvA-II-73 to 76 ityAkhyAte-IV-17 to 20 [sthitvA tasmina ] utpazyAmi-I-85 to 88 tasmAdgacche:-II-51 to 53 utpazyAmi-II-73-74 tasminkAle-II-23-24 utsaGage vA-III-38-39 tasminkAle-IV-5 to8 etatkRtvA-IV-62 to 65 tasminhitvA-II-75-76 etasmAnmAM-IV-51 to 53 tasya sthitvA-I-9 to 12 ebhiH sAdho-III-32-33 tasyAH kiJcit-II-27-28 kaccitsaumya-IV-58 to 61 tasyAstiktaiH-I-77 to 80 kartuM yacca-I-41 to 44 tasyAH pAtuM-II-54 to 56. kazcitkAntA-I-1 to 4 tasyotsaGage-II-81 to 84 gacchantInAM-II-17 to 20 tasyAstIre-III-16-17 gatyutkampAt-II-93 to 96 tAM kasyAJcit-II-21-22 ... gatvA cordhva-II-71-72 tAM cAvazya-1-33 to 36 gatvA sadyaH-III-34-35 tAM jAnIyA:-III-22 to 25 gambhIrAyAH-II-25-26 tAmuttIrya-II-41 to 44 channopAntaH-1-69 to 72 tAmAyuSman-IV-21 to 24. pArzvabhyudaye...45

Page #837
(706) teSAM dikSa-I-93 to 96 tvaM cedvAyo-II-60 to 62 tvaniSyando-II-29-30 tvayyAyattaM-I-61 to 64 tvayyAdAtuM-II-37 to 40 tvAmArUDhaM-I-29 to 32 tvAmAsAra-I-65 to 68 tvAmAlikhya-IV-32 to 35 dI/kurvana-I-111-112 ghUmajyotiHsalila-I-17 to 20 nanvAtmAnaM-IV-44-45 niHzvAsenA-III-46-47 nIrAkhyaM-I-97 to 100 nIpaM dRSTvA -I-81 to 84 nIvIbandho-II-113 to 116 nUnaM tasyA:-III-26-27 netrA nItA-II-117-118 patrazyAmA-III-8-9 pazcAduccaH -II-13 to 16 pANDucchAyA-I-89 to 92 pAdanyAsa-II-9 to 12 pAdAnindo-III-50-51 pratyAsanne-1-13 to 16 pradyotasya-I-113-114 prApyAvantIn-I-109-110 prAleyAdreH-II-69-70 protthApyanAM-IV-9 to 12 brahmAvarta-II-45 to 47 bhartuH kaNThacchavi-II-1 to 4 bhartumitra-IV-13 to 16 bhittvA sadya:-IV-42-43 bhUyazcAha-IV-49-50 matvA devaM-III-10-11 manda manda-1-37 to 40 mandAkinyA-III-2-3 mAmAkAza-IV-36 to 38 mArga matta:-I-49 to 52 yatra strINAM-II-89 to 92 yatronmatta-II-101 to 104 yasyAM yakSA-II-109 to 112 ye saMrambho -II-63-64 raktAzoka-III-28-29 ratnacchAyavya-I-57 to 60 ruddhApAga-III-56-57 vakraH panthA:-1-103-104 vApI cAsmin-III-14-15 vAmazcAsyA-IV-1 to 4 vAsazcitraM-III-6-7 vidyudvantaM-II-85 to 88 vizrAntaH san-I-101-102 vIcikSobha-I-105-106 veNIbhUta-I-107-108 zabdAyante-II-67-68 zabdAkhyayaM-IV-27-28 zApAnto me-IV-46 to 48 zeSAnmAsAn-III-40-41 zyAmAsvaGaga-IV-29 to 31 saGakSipyata-IV-39 to41 santaptAnAM--25 to 28 savyApArAM-III-42-43 sA sanyastA -III-52-53 haste lIlA-II-105 to 108 hArAMstArAn-I-115-116 hitvA hAlAM-II-48 to 50 hemAmbhoja-II-79-80

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APPENDIX" IV CORRIGENDA [N. - The first numbers, printed in blook, indicate the numbeos of pages and the following those of the lines. The numbers which'nce printed singly indicate the numbers of lines. ] Canto. I. 2-10 'mayaDvAbhakSyA; 18 ityamaraH / / 3-1 acrimonious; 14 mAgharamyaM / / 20 pratyabhijJA; 4-24 vetizeSaH / / 5-25 jaDaghIH mandabuddhiH; 6-4 degdeyavivekavi-; 6 taravaH chAyAtaravaH; 9 masaNe; 13 deggiristhAna ; 26 va kAmI; 27 yasmin / 8-14 elder ) brother; 9-19 thoughts like a; 11-28 asUyA para; 12-4 ' samatumoma; 13-15 rakhalau'; 14-19 degsyos' 'syos / , 25 degpasarge Nin ; 16-17 out the means, 19 immediately created; 17 7 degjantuSu' iti; 14 bhayaTa ' iti; 30 wishing, through a cloud, ; 18- His connection; 5 sidvaista- 15 navyaH'; 19 prati kopaH; 19-29 degtighinikaSAsamayAbhizcaupAdhau'; 201 2 his roarings along with the thunderings of clouds which were; 3 vicinity, by; 9 jyotiHsalila-, 17 ka kutra; 22 A samantAt ; 28 ThaJ nipAtyaH / / 21-7 degdyantau astha"; 18 the transitory cloud; 22 nu muniguNA; 23-12 bhAve TyaN / ; 27-9 snehanmU-; 29-3 'samtumormanaHkAme'; 30-21 matpriyAyA viyogasya; 33 22 tA' iti; 342 by the matitunal; klIbaM triSu priya-; 26 dying the death; 37-13 yogI yogA-; 18 bhayaparavazaH ; 24 sUtre ca kAvye; 38-1 svasya' ityA-; 5 parasmin ; 20 smaraparavazAM; 39-1 'adhIno nina; 3 kamgamnaH"; 7 karmaNIbapi; 40-16 smaraNArthalaTaH; 19 laT' iti; 20 yazaHphalaH / / 21 dhArayantI; 41-16 upayamanAnantaraM; 43-20 ityuktvA'tho; 44-16 killing you; 45-5 zlAghR katthane; 7 niSedhayoH, 46-29 in warfares 48-12 nartayet yat ca; 21 mayUrAn ; 26 malinAthaH / mahIM bhUmi; 49-9 up, productive; 20 vikriyotpA-; 21 degNyAH prAvRTkAla- 50-9 vikriyotpA-, 22 sAdvisa- 51-18 sahAyI-; 19 vidhAsyantIti; 28

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(708) skhalitagayo; 52-4 prAptAH ca; 21 saJjAtotkaNThaH ; 26 degnmAdaktvAda; 533 AzA tRSNA; 5 cA'sau; 22 degmabhimatAM; 26 abhimatAM divyazriyaM; 54-6 hetubhUtena; 16 Oh sage!; 55-8 siddhAn / / 10 vasyos', 22 'AgaH pApA-56-14 degddhyAkhyabheSaje'; 27 prauDhapraNaya pulako 'svadoAm ; 5725 from me; 59-23 jainetareSAM; 28 a would be cloud; 61-3 triligakaH ; 4 mataM klIbaM; 7 atyarthaM pari; 62-20 jJApyamityarthaH / / 24 vAri jalaM voDhuM, 26 kAmaM yathecchaM; 63-16 'urazchadaH kaGkaTako jAgaraH kavaco'striyAm '; 19 vA kyaSaH'; 21 degkArArthamityarthaH / / 22 vArivAhaH / sa iv...| bhAve ktaH / meghA-; 64-4 guNoktervA'; 18 daGmukhaH kham // ; 65-4 divibhavAnata; 11 niculaH sthala- 16 yatastAH mugdha-; 25 the simple; 668 duraTATavI-; 67-9 iva prekSyaM; 20 nptvaabhaavH|| 68-14 bhUmirandhra / tasmAt ; 16 'visaraH prasaraH; 25 'vAmalUrazca nAkuzca;' 69-3 degsanmatAdyatra, 71-1 mAyUreNa; 7 ' IbupamAnapUrvasya, 22 tvayyAyattaM; 24 AyattaM' 29 karaNe'maDatra / / 73-1 bhAsvarendradha-; 4 garjitaM; 9 degsnehaiH / 7517 paunaHpunyena; 76-12 pratyudyAtaH; 77-3 vezmodareSu; 13 ArdramAnaM; 14 rAgIkaraNA-; 78-15 yukhaM gatA-; 18 saMzrayAya saMzrayAya-; 22 nirAzaM / apaga- 79-19 zaMsoktau; 22 saMzrayaNArtha: 80-3 degdhyAsitodana- 6 kAnanAH 81-4 which is worthy of; 82-13 bhuvamiva; 84-3 zobhAM; 85-21 ramyasthAnaM na tyajati 86-24 tIre yasyA saa|| 87-10 by the crowds of birds giving; 88-16 formed in; 18 rikSapadbhiH 91-5 hRtvA, 29 'pRthvAderveman '; 93-13 varSAkAle nIpa-; 25 Nipa-flowers and trees; 97-12 dhorvopa'; 27 tanvati iva; 99-25 pratyAsannatvadupagamanasya, 27 kathaM manye; 100-5 yasya tat ; 101-4 yAsa tAH pANDucchAyAH / / 103-20 taiH antAH ramyAH; 105-27 AhvayantI; 106-16 the form of; 107-7 surabhiH sugandhiH kRtA / / 108-3 yazaH mAhAtmya 12 kamalAnA; 109-28 jIvikAkRtya; 110-3 jIvikAkRtya; 7 jIvikAkRtya; 112-2 lightnings; 121-12 pANDucchAyA taTa-; 129-13 kAlasambhavena; 18 banamapaharantIti; 130-2 unmaditRRn / 'bhUbhrAjyalakRJ-; 6 'samavartI paretarAT '; 11 'darpo bhaveda-, 131-3 zaGkhazuktIH ; 24 koTiH koTiH; 132-10 and necklaces with faultless; 134-30 antakaraNaM

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(709) . Canto II. 137-17 'saJcicISuH ' iti; 139-29 anibhRtazcapalaH; 140-13 toyaM yasya sH|| 141-3 Gandhvati which are shaken up by the [ forcible ] breezes of wind and; 143-12 full-grown; 14414 pUjA sammAna; 17 formed (by ""); 20 ground; 146-30 progAyantIH 147-4 navajalakaNadvitrasiktAH; 19 nvjlknndvitrsiktaaH| 14811 sprinkled over; 30 churitaM mizritaM; 149-15 karazreNi; 21 degmanaskA ityrthH| 22 yAsa tAH; 26 sahitAn ; 152-11 saracitAM citroM; 17 Avi. rbhavardivya- 18 rasena abhilASeNa; 19 citrAM divyAM manohAriNIm ; 1534 deglAmicchA; 5 tvajalAmicchAM; 154-10 syAtAM tathA / / 25 roge nRttasthale; 155-24 'pyahaMdAzrame'; 157-24 tyabhikhyA na; 27 snigdha; 158-4 degdaNi pare; 10 gold streak; 28 degyAmuccarito; 160-6 degbaMhigarva-; 161-1 nagaryo 162-2 ( the next morning ), those who have promised to offect [ or serve ] the purpose of [ their ] friends, never get slack.; 163-3 degcihnAGkitasva-; 4 anyAsambhoga-; 21 kamalavadanAt; 167-25. jaghanaM pulina-; 170-3 srotorandhra; 171-27 pUrvadikpa-; 28 pUrvadikpatiH; 172-29 ( vidyate ); 173-17 yajJApanArthaH / / 19 kRcamitani- 176-13 ' pAddamyAGyamAGyaspa-; 177-19 'grIhyAdibhyaH' ... / ... / 'dvandvaiH ; 178-17 tayA / srota-; 180-24 rAbhiprAyaH / ; 182-14 'vardhate; 186-3 bhaviH / / 8 'varSeyatve'; 9 degsyotkhaM; 18722 teSAM / tAsAM vA / 23 teSAm / pro-, 189-1 alaMgAmI; 25 dezavizeSaM; 190-20 ' janapada us'; 191-17 degbhyavarSanmukhAni; 23 gANDI parvAs; 194-9 ca sIre tAle ca; 195-3 'drAntasya ... ; 5 prakRSTaM pra-; 6 sAra. svatInA-, 196-25 gaGgAsindhavAdInAM; 197-12 kulAcalAca-; 26 rivers '. 199-9 nobhihastA; 10 vakradRkuTiracanA; 16 degvarNatvam I; 19 degvaktrabhu-; 21 gaurIvaktra; 22 gauravarNastriyAH; 24 gaGgAkUTa-; 25 degghaprapatanasthAna, 29 'mitaMvAdayaH'; 200-9 possessing the; 16 prAptAmodaM; 20118. stiryagambhaH // ; 19 zramaparigataH; 22 supo'bhosi'; 203-4 gaGgAyamunAsaGgamasthAnAt ; 28 degbhirityarthaH / / 204-23 of the musk-deer; 208-21 AzRGgAgramityAdi, 29 anekadazazatakaiH; 209-6 prApitAH / 210-22 zauryadodhurANAM; 212-4 klezo duHkhe'pi; 213-8 'us;

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( 710 ) 214 - 25 arhaccaraNa - 215-22 racayitumi -; 217-5 tripuravijayaM atikalakalaM atizayenakalakalaH kalakaladhvaniH yathA syAttathA 6 prodgAyantISu praka; rSeNa gAnaM itIp / te tava dhvaniH ninAdaH murave iva muraje iva / 218 - 2 kukavikavitAkalpitaM ; 12 na kAvyakarAH ; 17 kukaveH kavitA kukavikavitA |; 221-5 proJcala nirjaraucaiH 27 zobhinaH / 29 bhedekhani ; 223 - 16 saH / tena / ; 25 that of collyrium; 224 - 19 vyaH / 29 'ratnaistvayI; 22 6-6 'rjalaughaH ; 14 'rjalaughaH ghanIkRtAntaH samUhaH / 227-27 gharmalabdhasya 229-5 vividhakaraNaiH; 230-8 lalitaiH svavAtaiH ; 232 - 13 sveSTaM kAmayateH 234 - 6 ' sanbhikSAzaMsvindicchAduH '; 235-7 .syAlakApuryA-; 236 - 25 meghakAlaM prAvRTkAlaM prathayituM 237-15 proH ; 239 - 25 dyadhvanibhiH; 27 tAn / 'jala - 240 - 14 deg rAdrita - 15 * vikIrNAH 19 degrNAvikIrNAH -; 28 zayyAdezAH yaiH te / 241-2 vikIrNAH samprI-; 13 turned into mud; 26 / yadvA me; 242 - 3 ' puMvadyajAtIyadezIye ' iti; 17 interloping; 244 - 11 kaNAH caH 246 - 15 tAni kamalAni ca; 247 - 18 that of saffron, ; 248- 25 dattAvadhAnA; 255-6 nityaprahRtamukhAH / 256 - 17 / vitanvatI 24 tai: / ; 29 darkness being removed by the constantly; 257 - 16 AkRrti rUpaM 258-26 parityaktoparANA-; 260-5 cUDA klaya - ; 15 mabhinavapriya - ; 262-17 hAryasthalA - ; 27 kurvanti / ; 264 - 21 bhruvorbhukuTyoH ; 24 ' mRdo; 25 2 svasmin adhi svAdhInaH / svAyattaH ityarthaH / 9 'duddhRtaM; 10 ' madhurmadhUke; 266 - 2 dhvanirdhvAnaH caH 267 - 4 'samtumormanaH kAme ; 21 deg dvipamukhapaTa - ; 270 - 6 muSTi: kampAyattAt Canto III. ... 275 - 17 krIDAyAM; 18 suratarasikaH ; 276-1 erruption; 278- 3 taiH / ; 6 maNyabhidhayA; 7 ' rAsakrIDA; 282 - 12 taste, scented cosmetic; 14 garahamAnA; 23 galhamAnAH / ' galhAdInAM; 283-7 the hoofs; 25 iSavastaiH / ; 27 deg nyasya vA vraNAH ; 284 - 1 AmaraNeSu rucayaH ; 22 jaDadhIH lokaH; 285-22 evaM sati api; 286-24 madanaprakSiptAna; 288-2 niraGkuzAH ; 21 strI kisalayaH '; 289-2 'potaH ; 4 / AlavAlo -, 9 bAlamandAravRkSaH ; 28 marakataM gArutmataM / 290 < -

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(711) 27 dezazca nipAtyate / / 291-2 mAma-, 6 having a flight; c long stalksi 12 yasyAstoye; 19 zucaH zokAH; 292-21 sutarAM; 293-28 dhvAkSaM; 294-22 ratvaM ca vibhA-; 28 degdharoSThI; 295-18 zAtravaM; 21 'madhyekSAmA '; 22 Ipo'nup / / 296-23 degkSAzasvindicchAduH '; 297-27 'iTiDDhANaJ-'; 298-27 'tve vA'; 300-15 'bata khede kRpA-3 301-12 vA / ' vyAghrAdibhirupameyo'tadyoge'; 302-11 kSAzaMkhindicchAduH'; 303-17 yasyA sA; 304-26 kuTTanIvati- 306-27 bahiNA-; 308-11 manoharAH / / 12 syAsambhavAt / 312-6 krIDAhato; 16 17 assumed a form like that of a cub; 11 tvAmadhikRtya; 315-2 svAGgulyauH ; 316-11 udghATya; 318-20 puSpANi ca; 320-25 kanyako viyogaH pIDa-; 321-7 her, by might, your; 8 in [ her ]; 322-4 vo vidhAya; 22 virahamahatI; 323-24 svvpussN...| 'savapuSaM / ; 326-22 viyogamUrtInA; 26 galhamAnAM; 29 iva / ; 327-13 kezaracanAvizeSaM; 19 khaGgikapolayoH; 329-20 her face; 23 scope; 36 resorted; 330-13 vicalita- 331-6 down from; 331-27 asaM ... / ... / ... pulliMgo; 332-11 dazA- 19 jAne; 333-11 elderly relatives; 334-13 degpAGga-; 336-3 enA; 13 degkatvAdatra Go Canto IV. 338-6 ghane vitte; 339-19 ( safely); 340-7 dvirado': 341-2 conqueror; 22 'sambhikSAzasvindicchAduH'; 342-9 bim who; 13 reddish...with its; 344-6 sAvaSTambha; 345-27 hyaGgazandaH; 346-21 battle, give; 22 creeper - like; 348-8 vAtmIye dhane; 14 dAruNe saGkhye '; 349-4 the form of; 26 dhanaJjayaH 351-26 yadvA; 352-3 on account of; 22 "SiddhatvAt, pUrva; 353-22 grahImA; 26 grahIH; 354-9 vRndAH; 14 mA grahIH; 15 tvaM mA bhaiSIH; 28 proSitAnA; 356-25 siddhA pUrNa- 357-5 travellers; 6 braids and... the back of; 25 duHkhaM caH 358-26 wellknow; 27 had sat; 3599 hitvA; 26 greeting you; 360-10 prayujyate; 12 vyaktaM vizadaM AkUtaM; 361-14 saGgamaM; 16 tvatkAntAyAH 17 zravaNAI; 362-5 'dupagamaH sAkSAt; 9 audience; 22 ' jaivAtRkaH, 363-20 wellknown; 364 |

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( 712 ) 16 brUyAt ; 27 by name will; 365 - 9 ityevaM; 366 - 12 [ of yout beloved or in void of bodily strength ]; 24 miti 26 zItakatvamala 200 to satvam |; 367-16 itself; 368-28 divasa: praNaya - 29 samadhikataraM; 369-26 her day of; 30 cohabiting; 370 - 12 pUrvasya purAdezaH ; tell into; 371-16 deg bhyo rakhalo '; 25 cihnayozzabde; 372 - 22 prayuktatvAttA ]; 24 deg striyA a; 373 - 20 peacocks; 374 - 20 bhrUvilAsAn ; 23 "pekSayotpazyA; 375-5 tapolakSmi / 376 - 5 described; 377-18. 'stviti vadhU - ; 23 resembling the minaral; 24 dallying, remembers you. 379-13. kAme parataH ; 381-22 'mRduvyAvahAsI |; 382-7 approach; 383-4 zIghrabodhaiH ; 12 come; 384 - 2 'vAptiH prAptiH / ; 11 khalu vIpsA -; 385-14 dhyAyantI; 386 - 4 nuvantyAH | 28 the day even; 3 0 brought to; 387 - 3 kAmAveze; 18 duSprApayAcanaM; 388-10 tatkSIrasruti -; 389-2 started moving; 390 - 24 gacchatu / ; 30 all events '. 391-10 striyAH * striyAH ; 392-21 uccaiH; 26 'kAyatvAt 'ayaM; 394 - 4 degditi bhAvaH / 395-16 cAhaM ca; 24 loneliness; 3975 had a drum... of his; 398 - 14 withdraw ]; 399 - 1 vicAryetyarthaH / ; 401-3 of separation; 402 - 10 'nayanavRSo - 20 'caritumityartha: 1; 25 trinayanam / ; 28 utkhAya; 403 - 24 prArthaye; 26 aghavazAt; 4051 'smAdupasarga - ; 15 kunda - flower; 406-7 vyaracayadaho; 40814 jinapakSe; 19 ' dvau ; 410- 26 prANinaH ca 412-19 AhlAdavatI; 414-19 iti na Tikham |; 417-16 pUrvavatriH ;

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