Prakrit Verses in Sanskrit Works on Poetics Part 02

Author(s): V M Kulkarni
Publisher: B L Institute of Indology
Catalog link: https://jainqq.org/explore/006960/1

Page #1

Prakrit Verses
In Sanskrit Works On Poetics
In Two Volumes
Volume II : Translation (with Introduction, Glossary and Notes)
પૂજયપાદ ગુરૂદેવ મુનિરાજ
e nyang mga HERIY-Y .
શાસ્ત્ર સંગ્રહ
By
V. M. Kulkarni, M.A., Ph.D.
आयम्मिसार
सच्ची
SA BHOGILA
FINDOLOGY
AL LEHERG
"HAND IN
INSTITUTO
Bhogilal Leherchand Institute of Indology (a project of Shree vallabh Smarak)
Delhi (Extension Centre, Patan, North Gujarat)

Page #2

About The Volume This volume aims at contributing to a much better understanding and fuller appreciation and enjoyment of Prakrit poetry. It chiefly consists of four parts: Introduction, Translation, Glossary and Notes. (a) The Introduction shows for the first time how Prakrit verses have greatly influenced Sanskrit alaskārikas in the formulation, exposition and elucidation of their theories of Sanskrit poetry. It provides the reader sufficient information in one place, about the Prakrit poetic works from which the alaskārikas have drawn their illustrative verses. It brings out the importance of the Prakrit poetry that was a gold-mine to these writers. It attempts to disabuse the minds of scholars who talk lightly, even contemptuously about Prakrit language and literature. It meets the charge of obscenity against Prakrit poetry which is highly erotic but surely not obscene. (b) The Translation, which is neither free nor literal, aims at accuracy, lucidity and readability. A very large number of illustrative verses — mainly gathās and skandhakas not found in the extant Prakrit works are translated into readable English for the first time. (c) The Glossary, explains mostly the unfamiliar or unusual words with their corresponding Sanskrit terms and English equivalents. (d) The Notes, lay emphasis on the literary beauty of the Prakrit verses and try to explain everything concerning them without which the full import of the verses would not be clear.

Page #3

B. L. Series No. 8
V. M. Kulkarnaeneral Editor
General Editor V. M. Kulkarni, M.A., Ph.D.
Prakrit Verses
In Sanskrit Works On Poetics
In Two Volumes Volume II : Translation (With Introduction, Glossary and Notes)
By
V. M. Kulakarni, M.A., Ph.D. (Formerly Director, Bhogilal Leherchand Institute of Indology, Patan (North Gujarat), and Professor and Head of the Department of Sanskrit (and Prakrit), Elphinstone
College, Bombay, and Director of Languages, Maharashtra State)
BHOSLAL
WOOLOGY
B. L. Institute of Indology
: Delhi (Extension Centre, Patan, N. Gujarat)
LENE
UMITE OK

Page #4

Published by : Pratap Bhogilal Chairman, Governing Council B. L. Institute of Indology, (a project of shree Vallabh Smarak) C/o Shree Atma Vallabh Jain Smarak Shikshana Nidhi, 22nd. Km, G.T.Karnal Road, P. O. Alipur, Delhi 110 036
First Edition 1990 price Rs.
Printed by : Mrs. Shailaja G. Barve Veda Vidya Mudranalaya 41, Bhudwar Peth, Jogeshwari Lane Pune : 411 002

Page #5

Publisher's Note
We are happy to present to the scholars in Indology Volume II of Prakrit Verses In Sanskrit Works On Poetics. It contains Introduction, Translation, Glossary and Notes. This and the earlier Volume we feel confident, should give a comprehensive idea about the richness, excellence and importance of Prakrit poetry and its place in Indian, even world literature.
. We thank Professor V. M. Kulkarni for this stupendous work done single-handed, and earnestly hope that scholarly world will warmly appreciate it. Our thanks are also due to Shri G. G. Barve of Veda Vidya Mudranalaya Pune who has spared no efforts to make the volume attractive.
Bombay 31 March, 1990
Pratap Bhogilal Chairman, Governing Council B. L. Institute of Indology, Delhi

Page #6

मानक्रियाभ्यां मोक्षः।
तमानमेव न भवति
यस्मिन्नुदिते विभाति रागगणः । तमस: कुतोऽस्ति शक्ति
दिनकर-किरणाग्रत: स्थातुम् ॥ रुचीनां वैचित्र्याटजुकुटिलनानापथजुषां
- नृणामेको गम्यस्त्वमसि पयसामर्णव इव ॥

Page #7

SETH BHOGILAL LEHERCHAND
Born: 9th April, 1883
Died: 7th December, 1979 MOTTO IN LIFE Simple living - High thinking'

Page #8


Page #9

General Editor's Preface
It is a matter of no small comfort that within two years of the publication of Prakrit Verses In Sanskrit Works On Poetics Volume I: Text, it has been possible to bring out its companion volume, Volume II : Translation (with Introduction, Glossary and Notes). The translation, which is neither free nor literal, aims at accuracy, lucidity and readability. The Introduction gives sufficient information about the Prakrit poetic works from which Sanskrit alamkarikas (literary critics, thinkers) have drawn their illustrative verses, brings out the importance of Prakrit poetry and meets the charge of obscenity that was brought against Prakrit poetry. The Glossary explains mostly the unfamiliar or unusual words with their corresponding Sanskrit terms and English equivalents. The Notes lay emphasis on the aesthetic beauty of the Prakrit verses and try to explain everything concerning them without which the full import of the verses would not be clear.
It is hoped that this volume will contribute to a much better understanding and fuller appreciation and enjoyment of Prakrit poetry. It goes without saying that it is for the sahrdayas - sensitive and sympathetic readers and critics to judge how far this companion volume fulfils its primary objective.
- General Editor

Page #10

We gratefully acknowledge the substantial financial grant received from the Ministry of Education Central Govertnment, New Delhi, towards the publication of this work.

Page #11

Author's Preface
The publication of this volume, originally planned for 1986, had been delayed by unforeseen and unavoidable contingencies. While in some respects unfortunate, this delay has been of advantage in giving me opportunities for further investigation and improvement and addition of comments on certain difficult passages and restoration of quite a few verses which were to me quite obscure through the help of Professor M. V. Patwardhan, who alas, is no more with us, my learned friend, Dr. H. C. Bhayani, and Professor A. M. Ghatage, my former teacher. I wish to acknowledge here, for which I cannot find words adequate enough, my sense of deep gratitude to them. Even amid the pressure of multifarious duties or project work on hand, they always spared time and energy ungrudgingly to consider difficult and corrupt readings, parts of verses and obscure verses which I referred to them. I have indicated in the notes my indebtedness to them.
Distinctive Features of the Present Edition : The speciality of this edition lies in the following respects: (i) For the first time Prakrit illustrative verses from a score of noteworthy Sanskrit works on Poetics are presented here as a treasury. (ii) a determined effort is made to trace the illustrative verses to their sources as far as possible and these sources are noted just below the concerned Prakrit verses accompanied by their Sanskrit chāyā. (iii) the texts of a very large number of Prakrit verses, especially from Kuntaka's Vakroktijīvita, Bhoja's Sarasvatikanthabharana and Smgăraprakāśa, Ruyyaka's Sahityamīmāṁsā and Sobhakara's Alamkararatnákara have been for the first time, satisfactorily restored in the light of their context, metre, and their general import and I feel confident that the readers who have so far read the text in the corrupt form in the available editions should quickly see the difference to make which obvious I should have placed both the texts side by side. But the constraints of space have prevented me from doing this. The sahrdaya readers should forgive me for this. (iv) However, quite a few verses are restored only tentatively. In the case of these verses, there are possibilities of alternative or even better restorations. (v) Noteworthy variant readings are taken note of and discussed in the Notes. (vi) A considerable number of illustrative verses, Skandhakas drawn from Sarvasena's Harivijaya (now lost) and illustrative găthas not found in Gathāsaptaśati and Vajjālagga, but cited in works like Srrigāraprakāśa, Sarasvatīkanthābharana, Alamkararatnākara, etc., are translated here into readable English for the first time. (vii) An attempt is made

Page #12

in the Introduction for the first time to show how these Prakrit verses have greatly influenced Alarkarikas in their formulation, exposition and elucidation of their theories of Sanskrit Poetry. (viii) The Introduction further provides the reader sufficient information in one place about the Prakrit poetic works from which the Alarkarikas have drawn their illustrative verses. It also brings out the importance of the Prakrit Poetry that was a gold mine to these writers in spite of the fact that the whole range of Sanskrit writings was readily available to them and how Govardhana, whom Jayadeva describes as 'Incomparable in effective erotic description' was irresistibly drawn to imitate in his Aryāsaptaśati Hala's Gathāsaptaśati. (ix) The Introduction further attempts to disabuse the mind of scholars who talk lightly, one may say even contemptuously about Prakrit language and literature by bringing to their notice how great writers of eminence like Bāṇabhatta, Dandin, Anandavardhana, Rajasekhara, etc, have showered unstinted praise on Prakrit poetry. (x) And finally, the Introduction meets the charge of obscenity against Prakrit poetry. It shows that Prakrit Poetry may be highly erotic but surely not obscene.
It remains to thank those who have helped me in my work. My special thanks re due to my freind, Dr. G. S. Bedagkar, formerly Professor of English, at the Elphinstone College, Bombay, and Principal, Vidarbha Mahavidyalaya, Amaravati for his kindly interest in my work. We used to meet twice a week for two hours for over a period of three months for the work of translation. These sessions were highly useful and enjoyable and will remain – for both of us, I hope, – a precious memory. The outcome of these stimulating discussions is the translation presented in this volume.
I express my sincere thanks to Mrs. Sattvashila V. Samant, a very able officer in the Directorate of Languages, Maharashtra State, Bombay, now retired, for her meticulous proof-reading of more than half of this volume during the period when my doctor had advised me not to strain the eyes.
I fully appreciate the willingness of the authorities of the B. L. Institute of Indology, Delhi, to publish this volume as well as my volume I: Text.
Last but not least I have to express hearty thanks to Shri. K. D. Kora, Director, Mahāvīra Jaina Vidyalaya, Bombay for his kindness in loaning to me a number of books from the Vidyalaya Library for my use in preparing these two volumes.
V. M. Kulkarni S, Suruchi Society, Dixit Road Extension, Vile Parle (East), Bombay : 400 057 31 March, 1990

Page #13

Abbreviations
Note: In addition to the abbreviations, listed in the Text Volume I have used the following grammatical and other abbreviations in this companion volume : Volume II, Translation (with Introduction, Glossary and Notes).
-- --- ... -
A. B.G. acc/Acc ad/Adj ady Caus cf./CE
dat Denom Dest
adjective. Prof. A. B. Gajendragadkar Accusative. Adjective. Adverb. Causal. Compare. Deśī or desya. Dative Denominative. Desi-Sabda-Sangraha (in Hindi & Gujarati) ed. by Pt. Bechardas J. Doshi. for example. Femininé. Gähäkosa of Hala, Part II, ed. by Prof. M. V. Patwardhan. Hemacandra's Prakrit Grammar, ed. by Dr. P. L. Vaidya Siddhahema Sabdānuśāsana (Prakrit Vyākaraņa) (in Gujarati) ed. by Pt. Becharadas J. Doshi. The same. that is. Indeclinable. Imperative. Masculine.
f. or fem. • GK
H/ H / Hem
ibid i.e.
ind
imper
.
'm

Page #14

Mar MVP
Nom/nom Onomat
р . Paiya pass
per
Marathi. Professor M. V. Patwardhan. Neuter.
Nominative. --- Onomatopoeic.
present Paiyalacchīnāmamala. passive. person. past passive participle. Present participle. Present passive particip
Pāia-Sadda-mahaņņavo --- Plural.
Singular.
Singhi Jain Series -- Various reading.
P.P.P. Pres part pres pass part PSM pl/plu
sing
SJS

Page #15

Contents
vii-viii ix-x
xi 1-47
1-241 242-286
Publisher's Note General Editor's Preface Author's Preface Abbreviations Contents Introduction Translation Glossary Notes Chapter I Prakrit Verses in Rüdrata's Kävyālamkāra Chapter II Prakrit Verses in Dhvanyaloka with Locana Chapter II Prakrit Verses in Vakroktijīvita Chapter IV Prakrit Verses in Dasarūpaka with Avaloka Chapter V Prakrit Verses in Vyaktiviveka Chapter VI Prakrit Verses in Sĩgäraprakasa Chapter VII Prakrit Verses in Sarasvatīkaņthābharana Chapter VIII Prakrit Verses in Kavyaprakasa Chapter IX Prakrit Verses in Alamkārasarvasva Chapter X Prakrit Verses in Sahityamīmārs Chapter XI Prakrit Verses in Vägbhatalamkara Chapter XII Prakrit Verses in Hemacandra's Kavyānusasana Chapter XIII Prakrit Verses in Kalpalatāviveka Chapter XIV Prakrit verses in Alamkaramahodadhi Chapter XV Prakrit Verses in Vägbhata's Kävyānuśāsana Chapter XVI Prakrit Verses in Visvanātha's Sahityadarpana Chapter XVII Prakrit Verses in Rasārņavasudhakara Chapter XVIII Prakrit Verses in Alamkāraratnākara Chapter XIX Prakrit Verses in Rasagangādhara Chapter XX Prakrit Verses in Viśveśvara's Alamkārakaustubha Appendix I Extracts from Rămadăsa's Commentary on
Setubandha Appendix II (i) Dr. V. Raghavan On Bhoja's Treatment
of nāyaka-näyikas (ii) Natyaśāstra on Vāsaka & Väsakasajja
(ii) Dasarūpaka on Māna, Appendix II Source of Sarvasena's Harivijaya Appendix I Select Bibliography
287-289 290-303 304-309 310-315 316-319 320-539 540-556 557-567 568-577 578-581 582-583 584-594 595-596 597-609 610-612 613-614 615-620 621-645
645 646-664 665-690
691-694
695-696 697-699

Page #16


Page #17

Introduction : Analysed
1. The need for a critical edition 2. Corrupt text 3. Praise of Prakrit poetry in 'Vajjālagga 4. Various poets' praise of Prakrit poetry 5. Poetry in Māhārāştri Prakrit 6. Praise of Prakrit poets 7. Claims of Prakrit poetry 8. How far are the claims of Prakrit poetry just ? 9. Mention of Prakrit literature in works on Poetics 10. No separate work on Prakrit Poetics 11. Influence of Prakrit poetry on Sanskrit poeticians 12. A few illustrative verses 13. Principal theme and governing sentiment 14. Prakrit poetry : highly erotic but not obscene 15. Conclusion

Page #18

Introduction
1. The Need For A Critical Edition :
When scholars of eminence and learned Pandits have edited the various texts on Sanskrit poetics, one should not have felt the need for bringing out a critical edition of “Prakrit Verses In Sanskrit Works On Poetics." With due deference to these learned scholars and Pandits, I cannot help making a remark that Prakrit verses have received far less attention than they deserve. At many places the text is corrupt, sometimes very corrupt.' In some places the Sanskrit Chāyā does not agree with the corresponding Prakrit passages, often partly and sometimes wholly. There is a large number of Prakrit verses drawn as illustrations from works which are lost and are yet to be discovered. In the foot-notes to their texts the editors simply remark 'Durbodhā or avisadā or aspastā iyaṁ gāthā' and express their helplessness rendering the Prakrit gātha intelligible. They only remain content by adding a question - mark when they are confronted with a corrupt reading. Owing to want of sufficient knowledge of Prakrit some perpetrate ludicrous blunders while translating Prakrit verses into English or modern Indian languages, and do injustice to Prakrit poets. It is the duty of modern research scholars to present the text of the Prakrit verses as correctly as possible by undertaking a comparative study. Vigorous efforts must be made to trace their primary sources and where that is not possiblé - on account of the irreparable loss of Prakrit poetic works — to hunt secondary sources such as works on Prakrit Grammar, Prosody and other works on Poetics to find if any of the corrupt verses have been cited in any of these works. References to the primary or secondary sources often help a curious reader to refer to the context in which the verses occur and thus facilitate understanding. Many scholars believed that the number of these Prakrit verses could not be large since a good many of them are repeated from early standard works like Dhvanyāloka and Kavyaprakāśa. When I first undertook the work of restoring the text of the illustrative Prakrit verses I was myself not aware of the stupendous nature of my task. No doubt, a large number of these verses are repeated by various writers on poetics; still the fact remains that the total number of Prakrit verses cited as illustrations far exceeds
1) Vide the section on Corrupt Text, infra.

Page #19

2
.
Prakrit Verses in Sanskrit Works on Poetics
the general belief of scholars. Bhoja's Sarasvatīkanthābharaṇa alone quotes over 380 Prakrit (and Apabhraíša) passages and his Sprigaraprakāśa has earned the enviable distinction of quoting the largest number of Prakrit (and Apabhramsa) verses or passages which come to about 1650 in number. Of all the works on Poetics Śrngāraprakāśa and the Sāhityamīmāṁsā pose a true challenge to one's critical ability, scholarship, patience and industry. For a very large majority of Prakrit (and Apabhraíśa) verses (and passages) are presented in a very corrupt and confounding form – some (of the verses) are indeed corrupt beyond recognition -
I have endeavoured to restore the corrupt Prakrit verses in Srīgāraprakāśa and Sāhityamīmāmśā and other works on Poetics tracing them to their primary or secondary sources. As regards the restoration of such passages there is hardly any room for doubt, for the restoration is based on a substantial basis. But a considerable number of Prakrit verses are such as cannot be traced to their sources, primary or secondary. Their sources are irretrievably lost, and they are not cited in any other work on Poetics, Prosody or Grammar. Naturally, the restoration of such Prakrit passages may not be unanimously or universally acceptable. There is scope for other and more competent and better equipped scholars to suggest better or more meaningful emendations. In spite of my best efforts, over a hundred out of 2896 Prakrit verses (and Apabhraíśa passages) covered in this volume still remain to be restored. I leave these verses to such scholars.
2. Corrupt Text:
The Prakrit text of many verses, is, in many places, corrupt or shows small or big gaps and in some cases it is so hopelessly corrupt that it is unintelligible. In many cases the exact context from which they are drawn is not known and consequently they remain obscure. As the Prakrit text is carelessly transcribed in the Manuscripts, it becomes the responsibility of the editors of these works to present the Prakrit verses as .correctly as possible, by tracing them to their sources or by referring to other works on Poetics (Alamkāra) Grammar or Prosody wherever they are quoted. One must concede, however, that in spite of the best of efforts on the part of editors some verses still remain obscure, as their sources are irretrievably lost and they are not cited elsewhere. Dr. Weber has edited some gāthās from the works on Sanskrit poetics and incorporated them, by way of an Appendix, in his critical edition of Gathāsaptaśati: Uber dap Sapta Satakam des Hala. Dr. A.M.

Page #20

Prakrit Verses in Sanskrit Works on Poetics
Ghatage has corrected some Prakrit verses in the footnotes to his article on Māhārāstri Language and Literature. Dr. A.N. Upadhye has corrected one very obscure Apabhraíša verse from Dhanika's Avaloka on Dasarūpaka which correction is incorporated by T. Venkatacharya? in his paper entitled 'An Appraisal of the Hindi Dasarūpaka' in Journal, University of Gauhati XI: Arts.
Dr. H. C. Bhayani has presented a philological discussion of the Prakrit illustrations cited in Anandavardhana's Dhvanyaloka in his two papers in Gujarati) published in VIDYA, Journal of Gujarat University, Vol. XIII: No.2, August 1970, (pp 9-17) and Vol.XIV:No.1, January 1971, (pp.1-10). He has contributed three papers, devoted to restoration of the Apabhraṁsa passages from Bhoja's Srīgāraprakāśa :
(i) “The Apabhraṁsa Passages From Bhoja's Śrīgāraprakāśa. I-VIII. "The Journal of Oriental Institute Vol.XXV, March-June 1976, Nos. 3-4..
(ii) “Apabhraṁsa Passages From Bhoja's Singāraprakāśa" (IX-XIV), VDYA: Languages Vol. XVII (1) (pp.1-12), January 1976, and
(iii) “The Apabhraṁsa Passages From Bhoja's Śrīgāraprakāśa XV-XXXVI, Bulletin of The Chunilal Gandhi Vidyabhavan, No.20, August 1976 (pp 1-13). He has also contributed, a paper to (MM Dr. P.V. Kane Birth Centenary Volume) Journal of the Asiatic Society of Bombay, Volumes 52-53/1977-78 (New Series): "Restoration of the text of some Corrupt Apabhramsa and Prakrit citations in Dhanika's Avaloka on the Dasarūpaka and in Kuntaka's Vakroktijīvita" ((pp. 49-54). I contributed a number of papers to various Journals with a view to restoring or reconstructing the Prakrit text of a very large number of verses. As the present volume covers all these papers, with corrections of misprints and emendations wherever necessary, I do not list them here. Of the Alamkāra works covered in the present volume Bhoja's Srigāraprakāśa (Coronation Press, Mysore edn in four volumes) and The Sāhitya Mīmāṁsā (Trivandrum Sanskrit Series No. CXIV, 1934)
2) Vide also his edition of the Daśarūpaka with the commetary Avaloka by Dhanika and the sub-commentary Laghutīkā by Bhatta NȚsimha, Introduction: pp xlx-lix, text: pp. 296-299. Note: Pp. 296-297, and Dr Bhayani's paper in MM Dr. P. V. Kane Birth Centenary Volume mentioned infra.

Page #21

Prakrit Verses in Sanskrit Works on Poetics
present the text of Prakrit illustrative verses and passages very carelessly and in a highly corrupt form. Sometimes they present the verses as prose passages ! To give an idea of how corrupt the text is a few typical cases are discussed below:
The passage "Ahape ... anurāo" in Srrigāraprakāśa Vol. I, p.120 has been considered very corrupt. The significant, word 'anurão' and the word 'āśvāsaka' following this passage in the text led me to seek the source of these two verses in Setubandha and I succeeded in tracing the two verses as Setubandha IX. 1 and IX 96 respectively.
The passage "Devaditi luņāhi ... gumariphellaparanya". (?) in Locana on Dhvanyaloka 1.16 was considered extremely corrupt and absolutely unintelligible. The commentator "Bālapriyākara" confesses his inability to restore the original passage. I came across a corresponding passage in Abhinavabharati (vol. I, Ch. VI, p. 305) which reads "Vardhate' lunāhi ... landhā". This too is absolutely corrupt. Parisistam to the Volume (p.383) notes: Dhvanyālokalocanasya tālapatrādarśe ......
"Paluddisi ... dolvapaittha (?)" This, too proved of little use in tracing the original verse. Someśvara's Sarketa on Kāvyaprakāśa (II-14,p.24) quotes part of the relevant passage from Locana wherein the Apabhramsa verse occurs and correctly presents a half of the verse: "Lāvannujjalangu ghari dhollu paitthā”. The whole verse, however, is for the first time cited correctly in Kalpa-latāviveka (p. 123, lines 26-27) as follows:
Dīvadi tellu ņāhi palu drammi gamitthā 1 Lavaņņujjalangu ghari Dhollu paitthā || (Sanskrit chāyā: Dipake tailam nästi palam dramam gaveșitam Lāvaṇyojjvalāngo gļhe priyatamaḥ praviştaḥ IN
One more passage from Locana may be cited here in this connection. Locana (p.176) reads :
"Osuru sumthi... teņa !!"
The text of the first quarter of this Apabhraíśa verse is obviously corrupt. Kalpalatāviveka (p.127, line 17) records the pratīka of this verse as "Usurusumbhiyae".
Deśināmamālā explains “Usurbhiyam tathā usursumbhiyam ruddhagalam rodanam”. In the light of these two relevant and useful suggestions the verse could
Pu

Page #22

Prakrit Verses in Sanskrit Works on Poetics
.
be restored as:
Usurusumbhiye muhu cumbíu jeņa | Amiarasaghontaņu padijāņiu teņa II (Sanskrit chāyā: Ruddhagala rudatyāḥ mukhaṁ cumbitam yena 1 Amstarasaghotanaṁ parijñātam tena II)
A part of the chayā given by the commentator, viz., 'Irsyasrusobhitaya' is inaccurate.
From the commentary of Ratneśvara on Bhoja's Sarasvatīkanthābharaṇa we reproduce for consideration two verses. The first verse is on p.81:
उच्चइ आगमहि आवड्ढ सिजंतरो सपरिआरम् । पाणौपसरन्तमत्ताचंवफलिहचसअम्मुहं बाला ॥ The Sanskrit chāyā, added in the footnotes by the editors is as follows: उच्यारागच्छेरावर्धय सिध्यन्तर : सपरिवारम् । पाणौ प्रसरन्त ............ बाला' इतिच्छाया.
Now, the Prakrit verse which is highly corrupt, especially in its first half, is unintelligible. The Sanskrit chāyā, which is erroneous and incomplete, hardly helps us to understand the import of the verse. The verse, cited as an illustration, is drawn from Vākpati's Gaüdavaho v.no. 690 and reads as follows:
उव्वहइ दइअ-गहिआहरोट्ठ-झिजंत-रोस-पडिराअं । पाणोसरंत-मइरं व फलिह-चसअं इमा बाला ।। [ उद्वहति दयितगृहीताधरोष्ठक्षीयमाणरोषप्रतिरागम् । पानापसरन्मदिरमिव स्फटिकचषकमियं बाला ।। ]
Note: The printed text reads ‘imā vaanam' (Sk. iyaṁ vadanam' in place 'muham bala'. The reading adopted here is supported by Srigaraprakasa (p.623, p.771 & p.1040).
The second verse, which is an excellent example of the corrupt text occurs on p.121 (lines 3-4). It reads as follows:
धवलाइं गलेत्ति धवलेहि अणञ्जणसामलेहिं णिसालआए । णरववत्तकुसुमाइं णहअलाओ ओसरइ ।।
As the passage is extremely corrupt the editors have not added the Sanskrit chāyā. In fact, the text of this passage is a medley of fragmented lines belonging to different gāthās:

Page #23

6
.
Prakrit Verses in Sanskrit Works on Poetics
Some words from the two lines, presented as one verse by the editors, when properly re-arranged, make the second hemistich of a găthā which we come across in Lilavai (Gatha No. 1091):
पचूस-गय-वरुम्मूलियाएँ उड्डीण-ससि-विहंगाए। धवलाई गलंति णिसा-लयाएँ णक्खत्त-कुसुमाइं ॥ (प्रत्यूषगजवरोन्मूलिताया उड्डीन-शशि-विहङ्गायाः । धवलानि गलन्ति निशालताया नक्षत्रकुसुमानि ।।)
In dhavalāim galetti, 'galetti' is obviously a scribal error or misreading of galarti on the part of the editors. Dr. Upadhye, the editor of Līlāvai, says in a foot-note to this gatha : "This gatha is not given by B, but is found only in PJ" (p.164.fn.2). In his Notes on this gāthā (p.372) Dr. Upadhye observes: “This is a beautiful gāthā describing the morning scene and quite independent by itself”. We find that Hemacandra has quoted this to illustrate that 'e' (and 'o') could be short at the end of a pada (छन्दो p. la. Bombay 1912):
एदोतौ पदान्ते प्राकृते हस्वौ वा । पदान्ते वर्तमानावेकोरौकरौ प्राकृत-भाषायां ह्रस्वी वा भवतः । यथा - पचूसगयवरुम्मूलिआए उड्डीणससिविहंगाए ।
धवलाई गलंति निसालयाए नक्खत्तकुसुमाइ ।। ..., उअ ओ (-पो) मरायमरगयसंवलिआ णहयलाउ ओयरइ ।
णहसिरिकंठभट्ठ व्व कंठिआ कीररीछोला (= ०ली) || . हिं इत्येतयोर्हस्वत्वं शब्दानुशासने निर्णीतमिति नेहोच्यते ।
The second quotation 'Ua' etc. comes from the GS (1.75) but the first is not traced there. This gāthā, with its second line read somewhat differently, is found included in the Surasumdari-cariya III.245, where it stands thus :
पचूसगयवरुम्मूलियाए उड्डीणससिविहंगाए । रयणिलयाए गलंति व कुसुमाइ तारयनिहेण ||"
Now a close look at the second gāthā reveals that it contains the two words "nahayalau oyarai" which correspond to “nahaalao osarai" of the medley text of Ratnesvara's Commentary on SK. Still the two padas "dhavalehim ananjana" from Ratneśvara's text remain untraced. But the whole riddle of this medley passage is solved when we turn to Svayambucchandah. Its gāthădividhi reads: हिआरो बिंदुजुओ पावसाणम्मि लहू । छइल्लाण जहा - (हिकारो बिन्दुयुत: पदावसाने लघु: । छइलस्य (? विदग्धस्य) यथा -) धवलेहिं अणंजणसामलेंहिं पेरंततणुअतणुएहिं ।
३० र

Page #24

Prakrit Verses in Sanskrit Works on Poetics
णिद्दाएत्ति उवेंदो गणिहाएहिं अच्छीहिं ॥१.२।। (धवलाभ्यामञ्जनश्यामलाभ्यां पर्यन्ततनुकतनुकैः । निद्रायते उपेन्द्र: गतनिद्राभ्यामक्षिभ्याम् ॥१.२।। एआरो सुद्धो पावसाणम्मि लहू | वम्मउत्तस्य (०स्स) जहा - (एकार: शुद्धः पदावसाने लघुः। वर्मपुत्रस्य यथा-) पचूसगअवरमलिआए उड्डीणससिविहंगाए । धवलाई गलंति णिसालआएँ णक्खत्तकुसुमाइं ।।१.३।। (प्रत्यूषगजवरमृदिताया: उड्डीनशशिविहंगाया: । धवलानि गलन्ति निशालताया: नक्षत्रकुसुमानि ।।१.३।।)
ओआरो सुद्धो पआवसाणम्मि लहू अ । पालित्तस्स जहा - (ओकार: शुद्ध : पदावसाने लघुश्च । पादलिप्तस्य यथा-) उअ पोम्मराअमरगअसंवलिआ णहअलाओ ओवरइ । णहसिरिकंठभट्ठ व्व कंठिआ कीररिछोली ॥१.४।। (पश्य पद्मरागमरकतसंवलिता नभस्तलादवतरति । नभ:श्रीकण्ठभ्रष्टेव कण्ठिका शुकपक्तिः ।)
The context in SK (I. Karika. 123) and Ratnesvara's comments thereon (pp.120-121) leave no doubt that Ratnesvara had in mind these three illustrations.
Bhoja's Srigăraprakāśa cites the highest number of Prakrit passages. The printed text (Mysore edn.) presents a large number of them in a very corrupt form. A few typical examples may be taken up for consideration :
चं छं रवाहिपरोंख० कहवतुग्गघडिआहिआगमसुंधस्सं । चालिअणि क० प० अणुहूआहिविमहं सुअचिअगरुअं ॥
Now, this passage, as presented in the printed text hardly makes any sense. If we keep in mind the context of śāstrābhimana and read the text again and again we get some hints. It speaks of 'parokkha' 'āgama', 'anuhua', 'sua' and we are made to think that the terms are most probably drawn from Nyāya-śāstra, and we are led to emend the corrupt term "camcharkhāhi' to 'paccakkhāhi' and this word serves as a key to trace the corrupt verse to Setubandha IV.27
पचक्खा हि परोक्खं कह वि तुलग्गघडिआहि हि आगमसुद्धं । संचालिअणिकंपं अणुहूआ वि महं सुअं चिअ गरुअं॥ [ प्रत्यक्षात्परोक्षं कथमपि तुलाग्र (? काकतालीय-) घंटितादागम-शुद्धम् । संचालित-निष्कम्पमनुभूतादपि मम श्रुतमेव गुरुकम् (-गुरु) || . (ii) वैरि जंतो पुवंकएहि क०मेहि केहिवराओ

Page #25

Prakrit Verses in Sanskrit Works on Poetics
सुम०छंतो दु०सह जणाणराए जणे परइ । अरंभो जस इमोणीसासाआससोसिअसरीरो परिणाहेकहं होहिइण आणिमो द०ढपे०म०स ।।
- Vol. IV p. 901 These four lines, as printed in the text, lead us to believe that they form the four quarters of one single stanza. On closer look, however, they are seen to be in the Āryā metre (with 12,18,12 and 15 mātrās in the four quarters respectively) and actually form two independent stanzas.
पेरिजंतो पुव्वकएहि कम्मेहि केहिं वराओ । सुहमिच्छंतो दुल्लहजणाणुराए जणो पडइ ।। [ प्रेर्यमाण: पूर्वकृतैः कर्मभि: कैरपि वराकः । सुखमिच्छन् दुर्लभजनानुरागे जन: पतति ।)
This stanza is found in the Līlāvai (V.No.569). As the next verse follows this without any introductory words such as "yathā vā", which Bhoja frequently adds while giving an additional example, one would expect to find this next verse also in the Līlāvas in the same context. The printed edition of the Līlāvai, however, does not contain it. This verse when corrected would read as:
आरंभो जस्स इमो णीसासाआससाससोसिअसरीरो। परिणाहो (? परिणामो) कहं होहिइ ण आणिमो दड्ढ.पेम्मस्स ।। [आरम्भो यस्यायं नि:श्वासायासशोषितशरीर: । परिणाम: कथं भविष्यति न जानीमो दग्धप्रेम्ण: ॥] Now this verse is found quoted in the Vajjālagga with a few variant readings:
आरंभो जस्स इमो आसन्नासाससोसियसरीरो । परिणामो कह होसइ न याणिमो तस्स पेम्मस्स ||
The words underlined present variant readings; hosai and hohihi are just two different forms identical in meaning; na animo and na yānimo are (almost) identical. The reading asannasasa however, is not happy.Ratnadeva, the commentator, renders it as ásannāśvāsa and Prof. M.V. Patwardhan says in his Notes: "आसन्न = आसन्नजण. आसन्नाणं आसन्नजणाणं आसासेहिं (ऊसासेहिं = उच्छ्वासै: ---- ।"
It would be better to read asannūsāsa.” The reading nīsāsāsa of the ŚP is decidedly better and eminently suits the context.
From the point of view of grammatical construction the reading tassa found in the Vajjālagga seems to be more appropriate. The reading daddha-pemmassa

Page #26

Prakrit Verses in Sanskrit Works on Poetics
conveys in a telling manner the viraha-visūrana (distress or sorrow caused by separation) which is being illustrated.
(ii) चंदो वि चंदवअण -p.953
The printed text gives only this much portion of the verse. Nor has the verse been cited in full earlier or later in the text. One is left only with a speculation as to what verse Bhoja must have had in mind. Although the context immediately preceding the printed portion of the verse is not given, we gather from the introductory portion of Chapter XXIX that the intended verse is cited to illustrate priya-sandesah. As duta-sampresanam, etc., are each illustrated with two verses, it is clear that the present incomplete verse and the immediately succeeding one are cited to illustrate 'priya-sandeśaḥ'. A gātha with these very opening words is included by Weber in his edition of Sapta-batakam. It suits admirably the context of
priya-sandeśaḥ. The nāyaka conveys through this dūti a message to the nāyikā. The message contains flattering or coaxing words praising the beautiful moonlike face, lotus-stalk-like arms and blue-lotus-like eyes of the nāyikā. The găthā in full is as follows:
चंदो वि चंदवअणे मुणालबाहालए मुणालाई । इंदीवराइ इंदीवरच्छि तावेंति तुह विरहे ।। [चन्द्रोऽपि चन्द्रवदने मृणालबाहा (बाहु-)लते मृणालानि । इन्दीवराणीन्दीवराक्षि तापयन्ति तव विरहे ।।]
The Sahityamīmāṁsā has been edited very carelessly and the printed text bristles with innumerable errors and corrupt readings. We take up here a few out of 120 passages for discussion: (i) णिभुअं खुणं ससिजइरुवइ --- रस्सुतं पिणि ।
सदं व कआपराहाहिअअ चिअ णिण्हविजंति ।। The text is undoubtly corrupt. When restored it reads as follows:
णिहुअं खु णीससिज्जइ, रुव्वइ राईस तं पि णीसदं । पइम्मि कआवराहे, हिअ-इच्छिआणि बहुविजंति ॥ [ निभृतं खलु नि:श्वस्यते रुद्यते रात्रिषु तदपि नि:शब्दम् ।
पत्यौ कृतापराधे हृदयेप्सितानि हनूयन्ते ॥] (ii) अलअं जणांति दकहकत्थरस्सराहचसरासरीरजीवि ।
अंजणअ आथणअप्पं समअं अह करलाविद्धा (7) ॥

Page #27

10
.
Prakrit Verses in Sanskrit Works on Poetics
Note : The text of this verse is highly corrupt. It is, however, cited in Bhoja's Sarasvatikanthabharana (V.v.no. 13, p.576) and Narendraprabha's Alamkaramahodadhi as an example of rasābhāsa. Metrically these two quotations are imperfect. There the text makes a clear mention of 'Dasakandhara', 'Raghava' and 'Janakasuta' and these names lead us to trace the verse to Setubandha. Although its Nirnayasagar edition does not include it, the Calcutta edition (Rāvanavahamahākāvyam) presents it at XV. 66. K.K. Handiqui (Introduction p.113, Pravarasena's Setubandha, Translation, Prakrit Text Society, Ahmedabad - 9, 1976) rightly observes : “But not a few commentators from different parts of India seem to have rejected it because of the unpleasant idea involving Sītā in the description." पुलअं जणेति दसकंधरस्स राहव-सरा सरीर-अडंता । जणअ-तणआ-पओहर-फंस-महग्घविअ-कर-जुअल-णिव्वूढा ॥ [पुलकं जनयन्ति दशकन्धरस्य राघव-शरा: शरीर-पतन्तः । जनक-तनया-पयोधर-स्पर्श-महर्षित-कर-युगल-नियूंढा: ॥] (iii) 'संरवकुलमि' त्ति स (?) - p.121
Only the pratīka Sarkhakula' is given here, on its basis and taking into consideration the context of "samudre parikajam varnyam' - although lotuses do not
exist in an ocean they should be so described - we identify the intended full verse . . to be:
संख-उल-धवल-कमले, फुड-मरगअ-हरिअ-पत्तभंग-णिहाए । विहुम-मिलिअ-किसलए उहअतडाबद्धसंकमम्मि णलवहे ।। [शङ्खकुलधवलकमले स्फुटमरकतहरितपत्रभङ्गनिघाते । विद्रुम-मिलित-किसलये उभयतटाबद्धसंक्रमे नलपथे ।]
- Setu VIII. 100 (iv) "आसण्णकुडुग्गजण्ण --- वाहिणीगोलो ।" - p.150
This passage, although printed as prose, is really not in prose. Through scribal error four independent gāthas illustrating the festival of navapatrikā are presented as prose. The whole passage is adopted by the author of Sāhityamīmāṁsā from Srigaraprakasa (Ch. XXXIV, pp. 1192-1193, Mysore edition) : (i) आसण्ण-कुडुंगे जुण्णदेउले बहु-जुआण-संकिण्णे ।
थेरो पइ ति मा रुअसु पुत्ति दिण्णासि सुग्गामे ॥ [आसन्नलतागृहे जीर्ण-देवकुले बहुयुवसंकीर्णे । स्थविरः पतिरिति मा रुदिहि पुत्रि दत्तासि सुग्रामे ॥]

Page #28

Prakrit Verses in Sanskrit Works on Poetics - Cf. SP Vol. IV, p. 1192 (i) ता कुणह कालहरणं तुवरंतम्मि वि वरे विवाहस्स ।
जा पंडुणहवआई, होति कुमारीऍ अंगाई ।। [तावत् कुरुत कालहरणं त्वरमाणेऽपि वरे विवाहस्य ।
यावत् पाण्डुनखपदानि भवन्ति कुमार्या अङ्गानि ।।] - Cf SP Vol. IV p.1193, SK V.v.no.311 (iii) कइआ जाआ कइआ णु सिक्खिआ माइआ हअकुमारी ।
तं तं जाणइ सव्वं जं जं महिलाओ जाणांति ।। [कदा जाता कदा नु शिक्षिता मात:, हतकुमारी ।
तत्तज्जानाति सर्वं यद्यद् महिला जानन्ति । - Cf. SP Vol. IV p.1193; GS (W) 825 (iv) तत्थ वि होंति सहीओ पुत्तलि मा रुवसु जत्थ दिण्णा सि ।
तत्थ वि णिउंज-लीला तत्थ वि गिरिवाहिणी गोला | तित्रापि भवन्ति सख्य: पुत्रिके मा रुदिहि यत्र दत्तासि । तत्रापि निकुञ्जलीला तत्रापि गिरिवाहिनी गोदा ॥]
(Cf. Saptasatisara v. no. 78, GS(W) 885. These few examples will give a knowledgeable reader some idea of the stupendous task that restoring corrupt passages involves.
3. Praise of Prakrit Poetry In Vajjalaggam : How do those who do not know how to recite and hear (appreciate) Prakrit poetry, which is (like) nectar (itself) — not feel ashamed while pretending to carry on gossip about the nature of love ?3
The utterances (of fair women), full of half-pronounced (indistinctly uttered) letters, (their) charming and coquettish smiles and (oblique) glances shot through half-closed and half-opened eyes — these to be sure can hardly be understood without an acquaintance with the gathās.*
3) अमयं पाइयकव्वं पढिउं सोउं च जे न जाणंति ।।
कामस्स तत्तवत्तिं कुणंति ते कह न लज्जंति ॥ , [अमृतं प्राकृतकाव्यं पठितुं श्रोतुं च ये न जानन्ति ।
कामस्य तत्त्ववार्ता कुर्वन्ति ते कथं न लज्जन्ते ॥] 4) अद्धक्खरभणियाई नूणं सविलास-मुद्ध-हसियाई ।
अद्धच्छिपेच्छियाई गाहाहि विणा न नजंति ।। [अर्धाक्षरभणितानि नूनं सविलासमुग्धहसितानि । अर्धाक्षिप्रेक्षितानि गाथाभिर्विना न ज्ञायन्ते ॥]

Page #29

12
.
Prakrit Verses in Sanskrit Works on Poetics
In the absence of the găthās adorned with figures of speech, characterised by literary excellences (or adherence to the rules of grammar - laksana), and rendered enchanting by diverse emotions and also in the absence of loving sweethearts, adorned with ornaments, characterised by auspicious physical qualities (laksana) and fascinating with the diverse display of emotions, the mind is very much ill at ease (or is deeply distressed).
This is only too obvious that the hidden meaning of the gathās and the heart of women cannot be followed by men who are devoid of literary appreciation (devoid of emotional excitement), just as riches cannot be obtained in the absence of virtue (practised in a previous life).
The găthă clad in metre, possessing an attractive form, adorned with figures of speech and full of charming utterances, yields pleasure (only) when it is recited, just as a beautiful woman, self-willed, possessing an attractive form, adorned with ornaments and full of pleasing utterances, yields much delight (only) when she is (properly) approached (for amorous dalliance).
Whose hearts are not fascinated (ravished) by the emotional appeal of the găthas, by the coquettish gestrues of women, by the utterances of poets and by the lisping words (indistinct babble) of children ?8
.. 5) सालंकाराहि सलक्खणाहि अन्नन्नरायरसियाहिं ।
गाहाहि पणइणीहि य खिज्जइ चित्तं अइंतीहिं ॥
[सालङ्काराभि: सलक्षणाभिरन्यान्यरागरसिता(का)भिः । ___गाथामिः प्रणयिनीभिश्च खिद्यते चित्तमनागच्छन्तीभिः ॥] 6) एयं.चिय नवरि फुडं हिययं गाहाण महिलियाणं च ।
अणरसिएहि न लब्भइ दविणं व विहीणपुण्णेहिं ।। [एतदेव केवलं स्फुटं हृदयं गाथानां महिलानां च ।
अरसिकैर्न लभ्यते द्रविणमिव विहीनपुण्यैः ।।] 7) सच्छंदिया सरूवा सालंकारा य सरस-उल्लावा ।
वरकामिणि व्व गाहा गाहिजंती रसं देइ ।। [सच्छन्दस्का (स्वच्छन्दिका) सरूपा सालकङ्कारा च सरसोल्लापा ।
वरकामिनीव गाथा गीयमाना (गाह्यमाना) रसं ददाति ॥] 8) गाहाण रसा महिलाण विभमा कइजणाण उल्लावा ।
कस्स न हरंति हिययं बालाण य मम्मणुल्लावा ॥ [गाथानां रसा महिलानां विभ्रमा: कविजनानामुल्लापा: । कस्य न हरन्ति हृदयं बालानां च मन्मनोल्लापा: ।।]

Page #30

Prakrit Verses in Sanskrit Works on Poetics
Faiulure to appreciate the charm of the gathas, of songs (vocal music), of the notes of the lutes and of grown-up ladies—well, that itself is a great punishment.
We never become satiated with the delight which springs from Prakrit poetry, from the utterances of clever people and from the drinking of cool and fragrant water."
Prakrit poetry which is marked by the use of Deśya (provincial, regional) words, which has sweet (pleasing) sounds, which is cast in metrical form, which is graceful and whose sense is clear (sphuta) obvious (vikata) and transparent (prakata). deserves to be studied (read) (by all)."
While Prakrit poetry, charming, full of (lifting word music) adored by young ladies and enriched by the sentiment of love is at hand, who will care to go in for Sanskrit (poetry) ?12
4. Various Poet's Praise Of Prakrit Poetry : (a) Vākpati "The charm of Sanskrit speech blooms in its Prakritic shadow, while the (innate)
9) गाहाणं गीयाणं तंतीसद्दाण पोढमहिलाणं। ..
ताणं चिय सो दंडो जे ताण रसं न याणंति ।। [गाथानां गीतानां तन्त्रीशब्दानां प्रौढमहिलानाम् ।
तेषामेव स दण्डो ये तेषां रसं न जानन्ति ॥] 10) पाइयकव्वम्मि रसो जो जायइ तह य छेयभणिएहिं ।
उययस्स य वासियसीयलस्स तित्तिं न वचामो ॥ [प्राकृतकाव्ये रसो यो जायते तथा च च्छेकभणितैः ।
उदकस्य च वासितशीतलस्य तृप्तिं न व्रजाम: ॥] 11) देसियसद्दपलोट्टं महुरक्खरछंदसंठियं ललियं ।।
फुडवियडपायडत्थं पाइयकव्वं पढेयव्वं ।। [देशीयशब्दप्रवृत्तं मधुराक्षरच्छन्द:संस्थितं ललितम् ।
स्फुटविकटप्रकाटार्थं प्राकृतकाव्यं पठनीयम् ॥] 12) ललिए महुरक्रवरए जुवईजणवल्लहे ससिंगारे । ।
संते पाइयकाव्वे को सक्कइ सक्कयं पढिउं । [ललिते मधुराक्षरे युवितजनवल्लभे सशृङ्गारे । सति प्राकृतकाव्ये क: ष्वष्कते/शक्नोति संस्कृतं पठितुम् ॥]

Page #31

14
.
Prakrit Verses in Sanskrit Works on Poetics
glory of the Prakrit is heightened when touched up by its Sanskritization."
It is only in Prakrit that we can have in an abundant measure, ever fresh themes presented in a rich variety of styles, refreshingly cool and caressingly sweet. This will continue to be till the end of the world. ___All languages merge in it (Prakrit) and emerge (nemti) from it. Waters pour into the sea and flow out of it.15
A peculiar delight which dilates and closes the eyes, thrills the heart, rushes inwards and outwards."16 – Gaüdavaho : v 65, v92, v 93, v94.
(b) Rajasekhara
"Sanskrit compositions are harsh, while a composition in Prakrit sounds so soft. The difference between the two is as between the masculine and the feminine!?” In other words,
13) उम्मिल्लइ लायण्णं पअअ-च्छाआएँ सक्कअ-वआणं ।
सक्कअ-संक्कारुक्करिसणेण पअअस्स वि पहावो ।। [उन्मीलति लावण्यं प्राकृतच्छायया संस्कृतपदानाम् ।
संस्कृतसंस्कारोत्कर्षेण प्राकृतस्यापि प्रभाव: ।।] 14) णवमत्थदंसणं संणिवेस-सिसिराओ वंध-रिद्धीओ ।
अविरलमिणमो आभुवण-बंधमिह णवर पअअम्मि || [नवमर्थदर्शनं संनिवेशशिशिरा बन्धर्दय: ।
अविरलमेतदाभुवनबन्धमिह केवलं प्राकृते ॥] .. 15) सअलाओ इमं वाआ विसंति एत्तो अ णेति वाआओ।
एंति समुदं चिअ ऐति साअराओ चिअ जलाई ।। [सकला इदं वाचो विशन्तीतश्च निर्यन्ति वाच: ।
एन्ति समुद्रमेव निर्यन्ति सागरादेव जलानि ॥] 16) हरिस-विसेसो विअसावओ अ मउलावओ अ अच्छीण ।
इह बहिहुत्तो अंतोमुहो अ हिअअस्स विप्फुरइ ।। [हर्षविशेषो विकासको मुकुलीकारकश्चाक्ष्णोः ।
इह बहिर्मुखोऽन्तर्मुखश्च हृदयस्य विस्फुरति ॥ 17) परुसा सक्कअबंधा पाउअबंधो वि होइ सुउमारो ।
पुरिस-महिलाण जेत्तिअमिहंतरं तेत्तिअमिमाणं ॥ [परुषा: संस्कृतबन्धा: प्राकृतबन्धोऽपि भवति सुकुमारः । पुरुषमहिलयोर्यावदिहान्तरं तावदनयो: ।।]

Page #32

Prakrit Verses in Sanskrit Works on Poetics
You may respect Sanskrit but you will fall in love with Prakrit.
- Karpūramasjari 1.7 Sanskrit speech is praiseworthy whereas Prakrit speech is naturally sweet..."'18
- Balaramayana I.11 It (i.e. Prakrit) is the source of Sanskrit; it dances on the tongues of ladies of lovely eyes;.when one hears it the words of Sanskrit language grate upon one's ears; its prose is easy, does not contain hard letters and has very few compounds; and it is the abode of the god of love...".19
– Bălarāmāyaṇa 1.11 (c) A commentator of Prakrit-Prakāśa
0, how marvellous ! The Prakrit, which is lovely like the moonlike face of the beloved, is fascinating. It sparkles with sūktis (good sayings) imbued with nectar-like
rasas.20
(d) Ajñātakaviḥ Away with Sanskrit poetry and the poets who composed it. For Sanskrit, when read, sounds like tad-tad-tatta' like a house of bamboos on fire.21
18) गिरः श्रव्या दिव्या: प्रकृतिमधुरा: प्राकृतगिरः । 19) यद् योनिः किल संस्कृतस्य सुदृशां, जिह्वासु यन्मोदते
यत्र श्रोत्रपथावतारिणि कटुर्भाषाक्षराणां रस: । गद्यं चूर्णपदं पदं रतिपतेस्तत्प्राकृतं यद्वच -
स्ताँल्लाटौँ ललिताङ्गि पश्य नुदती दृष्टेनिमेषव्रतम् ।। 20) अहो तत्प्राकृतं हारि प्रियावक्त्रेन्दुसुन्दरम् ।
सूक्तयो यत्र राजन्ते सुधानि:ष्यन्दनिर्भरा: ।। 21) उज्झउ सक्कयकव्वं सक्कयकव्वं च निम्मियं जेण ।
वंसहरं व पलित्तं, तडयडतट्टत्तणं कुणइ ।। [उज्झ्यतां संस्कृतकाव्यं संस्कृतकाव्यं च निर्मितं येन ।
वंशगृहमिव प्रदीप्तं तडतडतट्टत्वं करोति ।। Note : Vajjālaggam (v. no. 31 x 3, p. 217) reads dajjhau (Sk dahyatām) for 'ujjhau'
and 'vamsaharammi palitte' (Sk vamsagrhe pradipte) in the second half.

Page #33

16
.
Prakrit Verses in Sanskrit Works on Poetics
The pandita, who replies in Sanskrit when Prakrit poetry is recited, pelts stones at the bed of flowers and destroys it.22
The topic which follows about "Praise of Prakrit Poets" is in a way related to the topic 'under discussion as it contains indirect praise of Prakrit poetry.
5. Poetry In Māhārāştri Prakrit :
Prakrit literature is vast and varied. It is composed in different languages like Ardhämāgadhi, Māhārāștrī, Jain Māhārāstrī, Saurasenī, Jain Saurasenī, Paiśācī and . Apabhramba. I confine myself to poetry in Māhärăştri Prakrit for writers on Sanskrit poetics mostly draw upon poetic works in Māhārāstrī for their illustrations. The principal works in this Prakrit are :
(a) Hala's Sattasai or Saptaśatakam or Gahākoso or better known as Gathasaptaśati (GS) (C. first century A.D., but according to some scholars second or third century A.D.) is the earliest known anthology of Prakrit, to be precise, of Mahārāstrī verses comprising some seven hundred gäthäs. It is the most famous and best known of Māhārāstrī works. Its value as an anthology is high and it also affords evidence to show that Māhārāștrī literature was once very extensive and widespread.24 Its popularity is attested by the large number of commentaries on it and scores of quotations from it in works on Poetics and the use made of it by the Prakrit grammarians. Eminent poets like Bāņa, Uddyotanasūri, Abhinanda and Soddhalaas
22) 415460 Ad fequut Hençut ut si
सो कुसुमसत्थरं पत्थरेण दलिउं विणासेइ ॥ - [प्राकृतकाव्योल्लापे प्रतिवचनं संस्कृतेन यो ददाति ।
स कुसुमस्रस्तरं प्रस्तरेण दलित्वा विनाशयति ॥] 23) A. Weber : Ueber das Saptasatakam des Hala, Leipzing 1870; Das Saptasatakam
of Hala, Leipzing 1881; the Gāthāsaptaśatī, Kavyamala 21, 2nd edn, 1911; Ibid 3rd edn, Bombay 1933. Keith: A History of Sanskrit Literature, Oxford 1928, pp.223 ff.; A.M. Ghatage : Māhārăstri Language and Literature, Journal of the University of
Bombay, IV.6, May 1936. 24) Cf. HTI H3115 $qtontut 13T HISTRATI
STATUT PR3115 HISTORIUT TETUT 11 - GS 1.3 25) Vide, infra, 'Praise of Prakrit poets.'

Page #34

Prakrit Verses in Sanskrit Works on Poetics
bestow high praise on it. And if imitation is an index of popularity we have its imitation in Sanskrit in Govardhana's Aryāsaptaśati which is certainly modelled on Hala's Gathasaptaśati.
The work is divided, as is clear from the title, into seven satakas, centuries, collections of hundred gåthås each, which however differ very much in various MSS. This anthology is mostly erotic. Each gātha presents a miniature picture complete in itself. These găthâs mainly depict village life and the peasantry. The family life of the lower strata of the society is portrayed in its various contexts, but the erotic aspect dominates. These găthas are not specimens of ancient songs of Indians dealing with the joys and sorrows of their lives but only artistic poems closely modelled on them. Next to the gāthas portraying love in its various aspects we have some giving pictures of nature. We also get a few glimpses of the town and court life as some of the gāthas are composed by kings and their court poets. The anthology is rich in maxims and popular sayings and sheds light on the customs and conventions prevalent in those times. There are allusions to divine beings like Siva, Părvatī, Gaurī, Ganapati, Vişņu, Lakşmi, etc and to mythological events from the epics. The references to Vindhya, Sahya and Godā indicate that the locality of the composition of the majority of these gathās, is the Deccan, particularly Māhārāșțra.26
(b) Rāvanavijaya (now lost) : Although this kävya is ranked by Bhoja, and after him, by Hemacandra, as high as Harivijaya and Setubandha, nothing is known about its author or its contents beyond a solitary citation27 by Bhoja in his Srigāraprakāśa and is cited by Hemacandra in his Kavyānusasana.
(c) Sarvasena's Harivijaya28 (now lost) : Sarvasena composed, his Harivijaya in
26) Vide : A.M. Ghatage : Māhārastri Language and Literature Journal of the
University of Bombay, IV, part 6 (pp 19-70) May 1936; Keith: A History
of Sanskrit Literature, Oxford 1928, pp 223 ff.; 27) A.N. Upadhye : Prakrit Literature, Encyclopedia of Literature I, New York 1946. 28) For a detailed study of this work vide my paper: “The Harivijaya of Sarvasena"
first published in the Annals of the Bhandarkar Oriental Research Institute (Diamond Jubilee Volume), pp. 691-710 and now included in Studies In Sanskrit Sahitya-Sastra (pp. 162-179), published by B.L. Institute of Indology, Patan (North Gujarat) PIN : 384 266

Page #35

18
-
Prakrit Verses in Sanskrit Works on Poetics
the first half of the fourth century A.D.,29 about a hundred years earlier than the
bandha. Eminent Sanskrit Alamkārikas. viz. Anandavardhana and Kuntaka 30 speak appreciatively of his Harivijaya, and Bhoja draws verses copiously from it to illustrate various points of poetics in the course of his writing Sarasvatīkanthabharana and Śrngäraprakāśa. Bhoja in his Smgäraprakāśa and following him, Hemacandra in his Kāvyānuśāsana give us the following information about this work : It was āśvāsaka-bandha.' Its prevailing metre was. Skandhaka, (and 'Galitakas' were employed at the end of the Aśvāsakas. It was marked by the word ‘utsāha' in the last verse of each Ăśvāsaka. It contained descriptions of city, mountain, seasons, the sunset, the hero, his vehicle, Garutmat (Garuda), his duta (Satyakah ? Sãtyakih), his (Hari's) march, (against Indra) for securing the Pārijāta tree, his rise in the form of the conquest of the enemy who himself surrenders, drink party and the removal of Satyabhāmā's jealous anger by effort (by Hari by winning from Indra the Pārijāta tree and planting it in front of Satyabhāmā's palace.
By a study of the verses quoted by Anandavardhana and Bhoja from this epic we gather the following information regarding its story :
Hari is the hero of this epic. Rukmini is the senior Gyeșthă) and exalted (udāttā) heroine (nayikā). Satyabhāmā is the junior (kanisthā) and haughty (uddhatā) heroine. Hari offers a garland of fragrant flowers of the celestial Pārijāta tree to Rukmiņi. This arouses the jealousy of Satyabhāmā. Her face, marked with anger,
.
29) Vide Pravarasena's Setubandha tr. by Handique, p.50 30) i) Anandavardhana observes in his Dhvanyaloka (III. 11-12, pp. 335-36):
इतिवृत्तवशायातां कथञ्चिद्रसाननुगुणां स्थितिं त्यक्त्वा पुनरुत्प्रेक्ष्यप्यान्तराभीष्टरसोचितकथोन्नयो विधेय: यथा कालिदासप्रबन्धेषु । यथा च सर्वसेनविरचिते हरिविजये। Abhinavagupta thus explains in his Locana (p.335) : ... हरिविजये कान्तानुनयनाङ्गत्वेन पारिजातहरणादिनिरूपितमितिहासेष्वदृष्टमपि । ü) In his Vakroktijīvita (De's Edn., p.71) Kuntaka ranks Sarvasena along with Kalidasa for his graceful style of composition : एवं सहजसौकुमार्य-सुभगानि कालिदास-सर्वसेनादीनां काव्यानि दृश्यन्ते । तत्र सुकुमारस्वरूपं चर्चणीयम् । iii) The very fact that Bhoja cites scores of verses from Sarvasena's HV to illustrate various points of poetics is eloquent of his high appreciation of Sarvasena's work.

Page #36

Prakrit Verses in Sanskrit Works on Poetics
19
looked beautiful like the moon, marked with its dark spot, and delighted Hari. In order to soften her anger Hari decides to fall prostrate at her feet. Clasping his own crown with both the hands he throws himself down prostrate. Tears of joy fall from her eyes, in spite of her best efforts to check them, on his back. He then promises her to get her the Parijāta tree itself from Indra's garden. He mounts Garuda and sets out on his march against Indra. Now Satyabhāmā, although perfectly confident of Hari's valour, feels greatly worried. This speaks of her deep and abiding love for him.
Hari, in accordance with the rules of state-craft, sends first Satyaka (=Satyaki) his own charioteer (?) as an envoy to Indra. He advises Indra to accept Hari's hand of friendship and honour the Yadavas by gifting away the celestial Pārijāta tree. Indra, however, does not pay any heed to his advice. Then a fight takes place between the two. Hari forces ultimately Indra to surrender and wins the cherished Pärijāta tree from him. Hari, the victorious, returns home with the Pārijāta tree, Satyabhāmā's heart is captivated by the sweet fragrance of the Pārijāta flowers, yet her gaze first rests on Hari and only later on the Pārijāta tree. Hari plants the tree in the garden in front of Satyabhāmā's residence and thus succeeds in removing her sulky wrath. She infers from this gift that Hari's love for her is a thousand times more intense than for Rukmiņi whom he had given only a garland. Rukmiņī has every reason to be angry with Hari for his partiality towards her co-wife but when she meets him only joy and not anger pervades her heart.
It is this episode of Hari's conquest of (Indra and his) Pārijāta tree which accounts for the title Harivijaya of the present epic. The statement of the Dhvanikära that if in a story adopted from a well-known source, the poet is faced with situations conflicting with the intended aesthetic emotion (rasa), he should leave out situations, inventing in their place even imaginary ones, in conformity with the intended rasa ... ... ... as has been done by Sarvasena in Harivijaya, and Abhinavagupta's comment on it in his Locana indicate that the main story of the epic was something different and the conquest of the Pārijāta tree from Indra's custody formed only one - although important - episode in it. The available citations from HV do not throw any light on the principal story but from the references of Bhoja and Hemacandra we may conjecture that it was mainly descriptive and not narrative. As regards its extent, we might further hazard a guess

Page #37

20
.
Prakrit Verses in Sanskrit Works on Poetics
that it contained as many Ăśvāsakas as are found in Setubandha which is modelled on it.
From the citations we find that Harivijaya was composed in a graceful style. Its language and style are, as compared to Setubandha, more easy and less involved.
Like Pravarasena Sarvasena too shows the use of long compounds and figures of speech. Kuntaka's praise for graceful style and Dhvanikara's compliment for imaginative handling of the Pārijāta episode and Bhoja's appreciation of his work (by profusely quoting from it) Sarvasena very well deserves all of them.
(d) Pravarasena's Setubandha also known as Rāvanavaho, (C. first half of the 5th century A.D.): This work is completely available with Sanskrit commentaries Setutattvacandrika (Anonymous, ed. Basak, Calcutta, 1959) and Rāmasetupradīpa (of Rāmadāsa, NS edn, Bombay 1935). There are eight more commentaries which are still unpublished. Some of them are incomplete and fragmentary. The Setubandha deals with a portion of the story of Rāma from the return of Hanumat from Lankā with the whereabouts of Sītā to the death of Rāvaņa, with special emphasis on the construction of the great causeway between the mainland and the island. It follows the story of Rāma as related in the Rāmāyana with only a few minor variations. The designations of the different cantos of the Setubandha listed below from the commentary of Rāmadāsa give an adequate idea of its contents :
1 Rama-prasthanam (Rāma's March) 2 Samudrotkarşah (The Glory of the Ocean) 3. Sugrīva-praudhih (Sugriva's war-like speech and boastful claims of his own powers) 4 Rama-sadgunyam (Rāma's application of the six political expedients-Consecrating Vībhişaņa as the future ruler of Lankā) 5 Samudra-quathaḥ (The boiling rage of the Ocean) 6 Parvatoddhārah (The uprooting of mountains) 7 Setorudyogah (Active preparation for the construction of causeway) 8 Setu-nispattiḥ (The successful building of the causeway) 9 Suvelotkarşaḥ (The glory
31) Rāvanavaho oder Setubandha Prakrit and deutseh herausgegeben von Siegfried
Goldschimidt I. Lieferung : Text, Index. Strassburg, 1880; Second edition, with Rāmadāsa's commentary, Nirnaya Sagar Press, Bombay, 1935; Pravarasena Rāvanavaha-Mahākāvyam edited by Dr. Radhagovinda Basak, Sanskrit College, Calcutta, 1959; Pravarasena's Setubandha, Translated by K. K. Handiqui, Prakrit Text Society, L. D. Institute of Indology, Ahmedabad-9.

Page #38

Prakrit Verses in Sanskrit Works on Poetics
of the Suvela mountain) 10 Kämini-kelih (The gaieties of love of the young women of Lanka) 11 Mãyottamängam (The exhibition of the severed head of Rāma by magic and the lamentation of Sītā and Trijatā's consolatory speech) 12 Sainya-sanghattaḥ (The battle of the two armies of the Vanaras and the Rākṣasas 13 Dvandva-sangrāmaḥ (Single Combats between leaders of the Vanaras and the Rākşasas) 14 Rakşo-Vikşobhaḥ (The convulsions of the Rākşasas) and 15 Sītā-samprāptih (Reunion with Sītā after the slaying of Rāvana).
The Setubandha is the only extant Mahākávya written in Prakrit. Its affinity to the Sanskrit Mahākāvya is one of the main causes of its popularity through the centuries, 32
(e. and f.) Vākpatirăja's Mahumahaviaa (Sk : Madhumathavijaya) and Gaüdavaho (Sk Gaudavadha) — these two poems were composed in the first half of the eighth century A.D. Of these two kavyas, Mahumahaviaa is now lost. Vākpati himself refers to this work in his Gaiļavaho. “How can my robust (flowery) language (employed) in the Madhumathavijaya shrink to the size of a (compact) bud ? (But then) the later blossoming of the wild creepers is much thinner and softer than its first."33
Abhinavagupta while commenting on Dhvanyāloka34 cites the following gātha as: forming a part of Pāñcajanya's speech : “O, (Madhu-matha (-mathana, Vişņu), you
ce as a boar carried with ease the entire terrestrial globe on the tip of your tusk, then how is it that today you find even this (very light) ornament of
32) For its popularity and its influence on writers on Sanskrit poetics vide infra
"Praise of Prakrit Poets” and “Influence of Prakrit Poetry on Sanskrit Writers
on Poetics." 33) 466-f3137-93TIT 9737T 16 UH HOMO GARI
पढमकुसुमाहि तलिणं पच्छा कुसुमं वणलआण || [ मधुमथ [न]-विजयप्रयुक्ता वाक् कथं नाम मुकुलयत्वस्मिन् । berrirati quy TAHIM ]
- Gaüdavaho-60 34) JERIT Hymenout naureling
– Dhvanyaloka II.15, P. 345

Page #39

22
.
Prakrit Verses in Sanskrit Works on Poetics
lotus-fibre too heavy to carry ?"35
The following gāthā in Māhārāștrī, cited by Anandavardhana in his Dhvanyaloka, is most probably drawn from this mahākāvya (now lost). For in its content and expression it has very close resemblance with Gaüdavaho v. no.66. The two gāthās in their translation are as follows:
One, "The literary art of great poets is all conquering. For it causes various ideas to enter the heart (of the reader) and appear (there) in a form which is different, as it were, from their real form.” (Translation by Masson and Patwardhan).36
and two, "What is real appears as unreal and what is unreal appears as if it were real, and (sometimes) a thing appears exactly as it is — these are the ways (prakstayaḥ or padavyah) of good poets." (Translation by Masson and Patwardhan)
Vākpati's second work is available in its entirety. It is a unique historical poem in Maharastri Prakrit. It is a stupendous work comprising over 1200 gathas. It is no doubt a mahākāvya having a wide variety of topics but unlike its prototype Rāvanavaho (better known as Setubandha) it has no divisions called Aśvāsakas. It is just one long, continuous composition with kulakas appearing here and there. The purpose of this poem is to celebrate the glory of his patron, King Yaśovarman, with particular reference to his slaying of the Gauda King. This important event, however, has been only cursorily mentioned in the whole poem.
- 35) लीलादाढगुव्बूढसअलमहिमंडलस्स चिअ अज्ज ।
.' कीस मुणालाहरणं पि तुज्झ गरुआइ अंगम्मि ।
(लीलादंष्ट्राग्रोड्यूटसकलमहीमण्डलस्यैवाद्य ।
.कस्माद् मृणालाभरणमपि तव गुरूयतेऽङ्गे ॥) 36) अतहट्ठिए वि तह संठिए व्व हिअअम्मि जा णिवेसेइ ।
अत्थविसेसे सा जअइ विअड-कइ-गोअरा वाणी ।। (अतथास्थितानपि तथासंस्थितानिव हृदये या निवेशयति ।
अर्थविशेषान् सा जयति विकटकविगोचरा वाणी |) .37) ठिअमट्ठिअं व दीसइ अठिअं पि परिट्ठिों व पडिहाइ ।
जहसंठिअंच दीसइ सुकईण इमाओ पयईओ ॥ (स्थितमस्थितमिव दृश्यतेऽस्थितमपि परिष्ठितमिव प्रतिभाति ।
यथासंस्थितं च दृश्यते सुकवीनामेता पदव्य : ॥) 38) Gaüdavaho by Vākpatirāja, edited with an Introduction, Sanskrit Chāyā,
English Translation, Notes, Appendices, and Glossary by Prof. N.G. Suru, pub. by Prakrit Text Society, Ahmedabad -9.

Page #40

Prakrit Verses in Sanskrit Works on Poetics
23
The principal topics dealt with in this long poem may briefly be touched upon : The opening sixty-one găthas present by way of margalācarana (invocations) word-pictures of the various devatās (divinities) like Brahma, Vişnu, his incarnations, Siva, Gaurī, Kumāra. Pārvatī, Sarasvatī, the Moon, the Sun, the Sea, etc. Verses 62-98 treat of Kavi-prašaísă (Praise of Poets). The poem begins with verse 99 which glorifies his patron, King Yaśovarman; and the verses 100-160 sing of his glory and greatness and how even Indra, who clipped the wings of flying mountains, honours him. The poet then gives a picturesque description of Pralaya. Then follows a description of the lamentable condition of the wives of the King's enemies. Verse 192 informs us of the King's expedition for world-conquest; his visit to the temple of the Vindhyavāsinī Goddess, his reflections at the sight of a dead body, the summer, the rainy season, his slaying of a Magadha King, his victory over a King of the Vangas and a Southern King, the defeat of the Pārasīkas, the march across the Marudeśa (Marwar), the visit to the famous lake in Kuruksetra, the visit to the Mandara mountain and tracts in the North, the desolation of the enemies' cities, the King's amorous dalliance with his beloved, his playful acts of gallantry, etc., are then described (vv 193-796). VV 797-803 give us some details of the poet's personal life. His listeners request him to describe to them how the Magadha King was slain by King Yaśovarman. He agrees, but first describes the ways of the world in 150 găthās. Then he describes his patron King's virtues, the evening, the moon-rise, the Night Life of lovers, the advent of dawn, the sun-rise, and then announces his intention to describe the life of the great king and with this the poem ends.
Vākpatirāja claims that his graceful literary composition is : picturesque, steeped in sentiments, easy to recite, full of substance, of permanent value and brilliant all over.39 His claim is more or less justifiable. He is a master-poet bringing to light all the poetry that is in ordinary things. He is a true poet of nature and his depiction of the rural scene is very charming. He presents mythical events with imagination.
39) 31 frazt a via Oficili a Firda al
थिरमुज्जलं च छाया-घणं च गी-विलसिअं च ।। (आलेख्यं च सरसं च स्पर्शलवणं च सारवच । Privaci a i a facilidi a II) – Gaüqavaho v. no. 801

Page #41

24
.
Prakrit Verses in Sanskrit Works on Poetics
His style is highly cultivated and pregnant with meaning. He chiefly delights in two figures of speech, the Upamā and the Utprekşā. If Kālidāsa is a master of Upamā Väkpati is a master of Utprekșă. His partiality for long compounds detracts, however, from the merits of his otherwise excellent poem. However, he remained unnoticed, for centuries, just because he wrote in Prakrit.
(g) Līlāva40 (Sk. Līlāvati) : is a Kathā (a romance) in Māhārāștrī Prakrit verse. Its composition is assigned to c A.D. 800. The poet does not disclose his name although he gives his father's name as Bhūṣaṇabhatta and his grandfather's name as Bahulāditya (gāthās 19,21 and 23). According to the commentator on this Kathā, however, the word 'Kouhaleņa (Sk Kautūhalena) in gäthā 23 refers to the poet's name (Kaufuhala - Kutūhala).
This Kathā consists of 1333 găthās. At the beginning of the work the poet invokes deities of the Puranic pantheon like Hari, Madhumathana, Gaurī, Candi and others. The main story deals with the love of Hāla, the very famous king of Pratișthāna in Mahārāştra, well-known as a Prakrit poet and renowned for his preference for Prakrit, and Līlāvati, a princess of Simhaladvīpa who is prophesied to make her husband a monarch of the whole world. The main story contains sub-stories of Kuvalāyāvali (daughter of King Vipulāśaya and the celestial nymph Rambhā) and Citrangada, a Gandharva prince, and of Mahānumati (daughter of Alakāpuri and his wife Vasantaśrī, born of the Vidyādhara King Hamsa and his wife Padmā) and Madhavānila, (the son of the Siddha King Malayānila and his queen Kamalā).
It is a secular and romantic poem mostly in gāthās interspersed with prose lines and verses in other metres; its structure is complex like that of Bāņa's Kādambari. The poet himself is the chief narrator, and addresses the entire poem, leaving out Invocation and Introductory portion, to his wife. In the body of the plot the chief characters or their companions are made to unfold various details about themselves, thus supplying the reader, stage after stage, with various threads of the story which get duly joined in the concluding portion of the poem. The ruling sentiment is that of śrngāra (eroticism). The characters drawn from the semi-divine beings like the Vidyādharas, the Siddhas, the Yaksas add the element of the supernatural add the
40) Līlāvai of Koūhala with the Sanskrit Vrtti of a Jain author, edited by Prof.
A. N. Upadhye, Bharatiya Vidya Bhavan, Bombay - 7, 1949 A. D.

Page #42

Prakrit Verses in Sanskrit Works on Poetics
feeling of awe to the admosphere of the poem. Destiny and Chance play a major role in the whole story.
The poems shows close affinity with Brhatkathă in regard to legendary background, characters, motifs, episodes and stray events. The religious back-ground, which is positively saivite, is also not different from that of Brhatkathā. Further, the poem shows influence of literary works like the Abhijñāna-sakuntalam the Vasavadatta, and the Ratnāvali in depicting characters and situations. The literary merits of this poem are certainly high although only a few gāthās from it are cited by Sanskrit writers on poetics.
(h) Visamabanahla : Anandavardhana (c. 850 A.D.), the famous author of Dhvanyaloka, a poet of considerable merit, wrote both in Sanskrit and Prakrit. The only Prakrit work of his that we know is the Visamabanalīlā (now lost). We have only a few gåthas quoted from this work by Anandavardhana himself in his Dhvanyaloka and by Abhinavagupta in his commentary on it called Locana. In one gāthas the poet says : "Merits become merits when they are appreciated by the cultured critics. Lotuses become Lotuses when they are favoured by the rays of the sun." From a reference in Dhvanyaloka and Locana on it we come to know that the work contains speeches of the god of love and his companions like Spring, Youth, Wind from the Malaya mountain, and others.40
39) ताला जाअंति गुणा जाला ते स-हिअएहिं घेप्पंति ।
रइ-किरणाणुग्गहिआइँ होति कमलाइँ कमलाई ।।
तदा जायन्ते गुणा यदा ते सहृदयैर्गुह्यन्ते । रविकिरणानगृहीतानि भवन्ति कमलानि कमलानि ॥]
- Dhvanyaloka II, p. 170 40) यथा वा ममैव कामदेवस्य सहचर-समागमे विषमबाणलीलायाम् ।
– Dhvanyāloka II. pp. 345-346 सहचरा: वसन्त-यौवन-मलयानिलादयस्तै : सह समागमे ।। हुमि अवहत्थिअ-रेहो णिरंकुसो अह विवेअ-रहिओ वि । सिविणे वि तुज्झ समए, पत्तिअ (पा. भे. पत्तिहि) भत्तिं ण पम्हुसमि || (भवाम्यपहस्तितरेखो निरडशोऽथ विवेकरहितोऽपि । स्वप्नेऽपि तव समकं (-सम) प्रतीहि भक्तिं न विस्मरामि |)
- Locana p. 346

Page #43

26
.
Prakrit Verses in Sanskrit Works on Poetics
In another gātha Anandavardhana says: "There is no limit to them and they never look like repetitions; (They stand for) the sportive graces of the beloveds and the meanings of the words of good poets."41
"The heart of the Asuras was solely intent on seizing the Kaustubha jewel which was churned out of the ocean along with the goddess Lakşmi. But the god of love set it on the bimba-like red lower lips of their beloveds."42
From the contents of these găthás and from the title itself : "The Sports of Cupid" it is reasonable to infer that the work must have dealt with the subject of love.
6. Praise of Prakrit Poets:
In his introductory verses to Harşacarita the poet, Bāṇabhatta praises Sātavāhana, also known as Salivahana and Hāla, for his (Gatha) Kośa better known as Gathāsaptaśati in these glowing terms :
Satavahana made a treasury of fine sayings as of jewels, avinasinam (1. immortal; 2. indestructible) agrămyam (1. not vulgar or indecent, i.e. refined; 2. not produced in villages : for jewels are found in the sea or in mines, not in villages) visuddha-jati (1. containing description of nature or objects that are not vulgar; 2. of purest character).43
41) दर्शितमेव चैतद् विषमबाणलीलायाम् -
ण अ ताण घडइ ओही ण अ ते दीसंति कह वि पुणरुत्ता । ... जे विम्भमा पिआणं अत्था वा सुकइवाणीणं ॥
. [न च तेषां घटतेऽवधि:, न च ते दृश्यन्ते कथमपि पुनरुक्ताः । .. ये विभ्रमाः प्रियाणामर्था वा सुकविवाणीनाम् ॥]
– Dhvanyaloka IV, p. 539
42) यथा वा ममैव विषमबाणलीलायामसुरपराक्रमणे कामदेवस्य - :
तं ताण सिरिसहोअररअणाहरणम्मि हिअअमेकरसं । बिबाहरे पिआणं, णिवेसिअं कुसुमबाणेण ॥
तत्तेषां श्रीसहोदरत्नाभरणे हृदयमेकरसम् । बिम्बाधरे प्रियाणां निवेशितं कुसुमबाणेन ॥]
- Dhvanyaloka II, P. 265
43) अविनाशिनमग्राम्यमकरोत् सातवाहन : ।
विशुद्धजातिभि: कोशं रत्नैरिव सुभाषितैः ॥
- Harsacarita I. 13

Page #44

Prakrit Verses in Sanskrit Works on Poetics
Uddyotanasūri, the author of Kuvalayamála, (a unique Campū in Prakrit), extols Hāla (and his (Gathākośa) in these words : "What is the use of composing poetry after the passing away of Hāla (who used to appreciate poetry by generous gifts) and who, like the effect of wine, made even the peasants boast of mastery over beautiful expressions (or skilful in clever conversation and love-play) ?44
The popularity of Gāhāsattasaí can also be seen from the large number of commentatries it gave rise to and the vast number of quotations from it found in. later works on Sanskrit poetics; in this context it is worth noting that Govardhanācārya modelled his Aryāsaptaśati in Sanskrit on Hāla's Găhăsattasai in Prakrit.
Anandavardhana ranks Sarvasena with Kālidāsa when he compliments him for inventing new episodes to supplement the original story and infusing it with a suitable rasa.45.
Abhinavagupta explains in his commentary Locana that he invented the episodes like those of Pārijātaharana and introduced them in his Harivijaya although they have no basis in the Itihāsa. 46
Kuntaka mentions Sarvasena next in order to Kālidāsa as a poet of the Sukumāra (graceful), popularly known as Vaidarbhī, style of composition."
Although Hemacandra assumes Sarvasena to have composed the galitakas, he, following Bhoja, mentions the view that some literary critics regarded these galitakas as interpolations made by self-styled Pandits. If that view is correct Hemacandra's criticism loses all its force. But for this single critical reference Hemacandra is, like
44) Hurg-Pari-STIU-TITAS (9.. allant u s for a कव्वेण कि पउत्थे हाले हाल-वियारे व्व ।।
- Kuvalayamālā P. 3, 11 21-22 45) इतिवृत्तवशायातां कथञ्चिद् रसाननुगुणां स्थितिं त्यक्त्वा पुन: उत्प्रेक्ष्यापि अभीष्टरसोचितकथोन्नयो विधेयः । यथाकालिदासप्रबन्धेषु, यथा च सर्वसेनविरचिते हरिविजये।
– Dhvanyāloka II, pp. 335-336 46) हरिविजये कान्तानुनयनाङ्गत्वेन पारिजातहरणादि निरूपितमितिहासेषु अदृष्टमपि ।
- Locana, P. 335 47) एवं सहजसौकुमार्यसुभगानि कालिदास-सर्वसेनादीनां काव्यानि दृश्यन्ते । तत्र सुकुमार-स्वरूपं चर्चनीयम् ।
- Vakrokti-Jivita I. 52-53, Dharwad edn. p. 66

Page #45

28
.
Prakrit Verses in Sanskrit Works on Poetics
Bhoja, all praise for Sarvasena and his Harivijaya. Like Bhoja he mentions Harivijaya with Rāvanavijaya and Setubandha as the three well known Prakrit mahākāvyas, and mentions it approvingly several times with other well known Sanskrit and Prakrit kavyas, while illustrating the salient features of a mahākavya. Bhoja shows his high esteem for Sarvasena's Harivijaya by drawing on it for exquisite examples on more than forty-five occasions in the course of his exposition of poetics.
Bāṇabhatta eulogizes Pravarasena's Setubandha, like Hāla Sātavāhana's (Gātrā-) Kośa, in eqally glowing terms :
Pravarasena's fame bright like the white water-lily, crossed over to the other shore of the ocean by Setu (1. bridge; 2. his Setu-kāvya composed in Prakrit) like the army of monkeys, glorified with Kumuda, a commander-in-chief of monkeys, crossed over to the other shore of the ocean.48
It is held by some that the Setubandha was composed by Kālidāsa and that Pravarasena was only the patron of that great poet. This tradition itself linking Pravarasena's Setubandha with the name of Kālidāsa speaks volumes for its high literary merit.
Dandī, the renowned author of Kāvyādarśa, bestows high praise on Setubandha when he says: "The Māhārāstrī is the best of all Prakrits. Setubandha (and other poetic compositions) composed in this Prakrit are verily an ocean of jewel-like subhāşitas (fine witty sayings)."49
Two centuries before the Harivijaya of Sarvasena was appreciated by Anandavardhana, the Setubandha was extolled by eminent writers like Bāņa and Dandi. This fact clearly shows that Setubandha was regarded as the best among the Prakrit mahakavyas.
That Setubandha of Pravarasena was well-known in literary circles in Cambodia in the ninth century A.D. is attested by a verse from an inscription of the Cambodian
48) Silat: USTRE SUA ietuvaat
सागरस्य परं पारं कपिसेनेव सेतना ॥
– Harşacarita I. 14
49) HERTETSRAİ HUNİ YEDE ulgoci fag: 1
सागरः सूक्ति-रत्नानां सेतुबन्धादि यन्मयम् ||
- Kāryādarśa I. 34

Page #46

Prakrit Verses in Sanskrit Works on Poetics
King Yasovarman who resigned in the last decade of the ninth century A.D. The verse makes a comparison between Yaśovarman and Pravarasena. The former is also pravara-sena' one that has an excellent army'; but while he built a bridge of piety - dharmasetu - consisting of his religious foundations, the other Pravarasena made only a Prakrit-Setu, which apparently means 'an ordinary bridge', but really means the Setu kāvya composed in Prakrit. So
Numerous Sanskrit commentaries on this Prakrit epic also attest to its immense popularity. (The eminent German scholar Jacobi refers to this work (also known as (Rāvana-vaho) as “The most famous mahākāvya of the Prakrit literature."
The eminent and erudite scholar S.P. Pandit, who first drew the attention of scholars, both in India and abroad, to the Prakrit Kävya (Gaüdavaho) by bringing out its edition, extols it as a 'most excellent poem.'
7. Claims of Prakrit Poetry S.P. Pandit sets forth the claims of Prakrit poetry in these words : 1
"'Prakrit poetry rightly boasts of certain charms which are peculiarly its own. It possesses a softness and sweetness which comes nearer home to us than the artificial adornments in Sanskrit. It justly lays claim to a larger amount of reality of thought and expression than ought to be assigned to later Sanskrit, as nearly the whole of the literautre written in the latter was composed in a language foreign to the writers. And using, as they did, a language rich in forms and conventional phrases and figures, they naturally cared less for personal observation and personal sentiments than did their Prakrit brother poets. The latter, having to use a language less rich, less plastic, less conventional, less used by poets and writers, less learned and less esteemed, had necessarily to study their matter more carefully, in order to make up thereby the deficiencies and the disadvantages attendant upon the use of the vulgar tongues. Accordingly, we find much less conventionalism, less commonplace verse, less ready-at-hand set phrases, set ideas and set sentiments, to suit set circumstances
50) to get to Ettig faquaat i
पर : प्रवरसेनोऽपि जित: प्राकृतसेतुकृत् ।। - Cited by Handiqui in his Introduction to his Translation of Pravarasena's Setubandha, pp. 17-18.

Page #47

30
:
Prakrit Verses in Sanskrit Works on Poetics
in their poetry, than in the Sanskrit compositions of the corresponding class of writers."51
The editors of Jineśvarasūri’s Gāhārayanakosa extol the glory of Prakrit Subhāṣitas, Prakrit Language and Prakrit writers :
"In Sanskrit we find Subhāsitas in abundance. There is no doubt about it. But as Sanskrit was mainly confined to the elite, we almost miss in the Sanskrit Subhāṣitas the wisdom, experience and sentiments of the common man. Prakrit was the language of the people. So, Prakrit language and Prakrit writers had the opportunity to be in close contact with the people. The vista which was almost closed to Sanskrit language and Sanskrit writers was open to Prakrit language and Prakrit writers. This is the reason why those elements that capture the hearts of the common man predominate in Prakrit literary works. Elasticity or suggestiveness of Prakrit language is even greater than that of Sanskrit. This is to be considered a strong point in the world of poetry.
Today, it is not unusual to find common men reciting verses from Bihārisatasai, Vịndasatasai etc. Similarly, in old days the verses from the Gathāsaptaśati of that great Prakrit poet were current among the people. Even farmers, while ploughing their fields, took delight in reciting them. Their hearts were charmed by their recitation. This has been stated by Ac. Uddyotanasūri in the gāthās devoted to the respectful memory of the previous poets, in the beginning of his well known Kuvalayamālākatha (Saka Samvat 701-780 A.D.) The gātha in point is as follows:
forsfa Hastane u arts of a कव्वेण कि पउत्थे हाले हाला-वियारे व्व ॥
The gist of the gātha is : When Hāla whose poetry was on the tongues of even farmers is no more, what is the use of our composing poems ? When the intoxicating effect of the wine is no more, what is the use of meat ?
There is a pun on the word 'kavva' in the gătha. When construed with Hāla, it means "Kavya'. When construed with hālāvikāra, it means 'kravya':52
51) Introduction to Gaudavaho by Vākpati, ed. by ŚP Pandit, B.O.R. Institute,
POONA, 1927 edn, p.11. 52) Introduction to Jineśvarasūri's Gāhārayanakosa, ed. by Pandit Amritial M.:
Bhojak, Nagin J. Shah, Pub. by L.D. Institute of Indology, Ahmedabad - 9. 1975, pp. 8-9

Page #48

Prakrit Verses in Sanskrit Works on Poetics
8. How far are the claims of Prakrit Poetry just ?
The above claims forcefully put forward by S.P. Pandit, and many other scholars whose partiality for Prakrit language and literature is well-known, deserve consideration. These claims are undoubtedly just in the case of Prakrit poetry as represented by Gāthāsaptaśatī, Vajjālaggaṁ and other Prakrit Anthologies. But when we think of poetic works like Setubandha and Gaüdavaho an impartial and dispassionate reader or critic will have to admit that the above claims are, if not preposterous, and wholly unjustified, are at least highly exaggerated and unwarranted. R. Pischell has rightly observed :
"Mahārāstrī is also the language of artificial epics, of which up till now two have been published, the Rāvanavaho and the Gaüdavaho --- They are very strongly influenced by Sanskrit patterns and are written in thoroughly high-flown and artificial language, with unending compounds, as are found in the dramas of Bhavabhūti and occasionally in Mịcchakatika as well. '53
S.P. Pandit explains away Vākpati's partiality for long compounds 'as a vice of the age' and adds in his defence that we must not judge him independently of what the scholarship of his age considered as essential and beautiful. S4 The fact, however, remains that the major portion of the poem is difficult to comprehend even for advanced students of Prakrit without the help of Sanskrit commentary. N.G. Suru's comments regarding the pompous style (of a major portion) of Gaudavaho are apposite :
"When one reads portions of the Poem given in an ornate, highflown style, full of long compounds, one gets the impression that this is all Sanskrit Prakritised by the Poet to cater to the literary tastes of his times. It is Prakrit distorted --- He probably first put his ideas in a Sanskrit draft --- and then dressed them in a Prakrit garb in verse."55
9. Mention of Prakrit Literature in Alamkāra Works
Bhāmahas speaks of three literatures : Sanskrit, Prakrit and Apabhramsa. Dandis speaks of four by adding Miśra to Bhāmaha's list. Rudrata58 alludes to six : 1. Prakrit, 2. Sanskrit, 3. Māgadhī, 4. Paiśācī, 5. Sūraseni (-Saurasenī) and 6. Apabhramsa.
53) Comparative Grammar of the Prakrit Languages, pp. 13-14; italics (ours). 54) Introduction to Gaüdavaho, B.O.R. Institute, Poona, 1927 edition, p. Liv. 55) Introduction to Gaüdavaho, Prakrit Text Series No. 18, 1975, p. xcix 56) Kávyālaskāra 1.16. 57) Kávyādarśa 1.32. 58) Kávyālaskāra II. 11-12..

Page #49

32.
Prakrit. Verses in Sanskrit Works on Poetics
RudrataS9 quotes some of his own Prakrit verses in his Kávyālamkāra. It is Anandavardhana60 who, for the first time, sets the tradition of freely quoting Prakrit verses. He quotes some forty five, a few of his own composition, and others from well-known works, to illustrate various types of Dhvani, Alamkāras, etc. Abhinavagupta, his celebrated commentator follows his lead in his Locana. Dhanika, the well-known commentator of Dasarūpaka quotes some 26 Prakrit verses in his Avaloka. The distinction of quoting hundreds of Prakrit verses in his Sarasvatīkanthābharana and Smgäraprakāśa however, goes to Bhoja. The first work contains over 350 and the second, about 1650 Prakrit verses. Among other reputed Alankärikas, we find Kuntaka, Mahimabhatta, Mammata, Ruyyaka, and his commentator, Jayaratha, Hemacandra, Sobhākara and Viśvanātha quote 15, 28, 64, 15, 38, 80, 163 and 23 Prakrit verses respectively. Some of these are reproduced from Dhvanyaloka and Locana. A large number of verses cited by Bhoja in his two treatises are repetitions.
10. No Separate Work On Prakrit Poetics :
In the History of Prakrit Literature we come across works on Prakrit Grammar, Prakrit Metrics, Prakrit Lexicons, but not on Prakrit Poetics. In his Index of authors and works on Sanskrit Poetics to The History of Sanskrit Poetics, P.V. Kane refers to a solitary work Alamkaradarpana (anonymous) in Prakrit, consisting of 134 ślokas (to be precise, gåthas) treating of poetic figures. Catalogue of Sanskrit And Prakrit Manuscripts, Jesalmer Collection gives a description of a manuscript of this work
59) Kavyalamkāra IV. 11-15, 17-21 60) Dhvanyāloka. 61) Incidentally, it may be noted that Bhoja's classification of Prakrit and Apabhramsa languages is unique. It may be shown in a tabular form as follows:
Prakrit Sahaja Lakṣita
Ślista Sanskrit-sama Deśya Māhārāştra Saurasena Paišāca Māgadha
Apabhramsa
Uttama Madhyama
Kaniştha Āvantya Lāļīya (etc.) Abhira Gaurjara (etc.) Kāśmīra Paurastya (etc.) 62) Compiled by Munishri Punyavijayaji, L.D. Institute of Indology, Ahmedabad-9
(Serial No. 326-2,p.138).

Page #50

Prakrit Verses in Sanskrit Works on Poetics
and reproduces a few gåthâs that occur at the beginning and at the end of the work.“ It is hardly a work of value or importance.
Namisadhu, who wrote his commentary on Rudrata's Kavyālamkara in 1069 A.D. mentions one Hari. When commenting on Rudrata II. 19 he quotes a gātha from Hari
which speaks of eight varieties of anuprasa (vrttis) : .तथा ह्यष्टौ हरिणोक्ताः । यथा - महरं परुसं/फरुसं कोमलमोजस्सिं निठुरं च ललियं च । गंभीरं सामण्णं च अद्धभणिति उ नायचा (? अट्ठ भणिईओ नायव्वा) ॥
They are as follows : 1. sweet (madhura), 2. harsh (parusa) 3. gentle (komala) 4. vigorous (ojasvi) 5. jarring (nisthura) 6. graceful (lalita) 7. deep (gambhira) and 8 common or miscellaneous (sāmânya).
Now, P.V. Kane, in his Index of Authors and Works on Sanskrit Poetics (1951 edn, p.422) makes the following note : "Hari mentioned by Namisadhu on Rudrata's Kāvvälamkāra II. 19 as a Writer on Poetics in Prakrit" (Italics ours).
V. Raghavan, however, writes (Bhoja's Smgaraprakasa, 1978 edn p. 821): "The verse (mentioning eight Anuprāsa varieties, vịttis) is evidently from the preliminary part of the opening chapter of some Prakrit poem by one Hari." (Italics ours).
The nature of the quotation is such as to allow Kane and Raghavan to draw their respective inferences about its source. In the absence of any other supporting evidence it would be rash on our part to accept or reject either inference.
The Anuyogadvārasūtra64 (Anuogaddārāim) which claims to be old (before third
63) The following three gāthās out of the six, reproduced in the Catalogue, expressly
inform us that the work deals with only figures of speech: सव्वाइं कव्वाइ, सव्वाइं जेण होंति भव्वाई । तमलंकारं भणिमोऽलंकारं कुकवि (? रवु कवि-) कव्वाणं ।। अचंतसुंदरं पि हु निरलंकारं जणम्मि कीरंतं । कामिणिमुहं व कव्वं होइ पसण्णं पि विच्छाअं ॥ ता जाणिऊण णिउणं लक्खिज्जह बहुविहे अलंकारे ।
जेहिं अलंकरिआई बहुमण्णिजंति कव्वाइं ॥ 64) Nandisuttam and the Anuogaddaraim, Jaina Agama Series No. 1, Sri Mahavira
Jaina Vidyalaya, Bombay 1968.

Page #51

34
-
Prakrit Verses in Sanskrit Works on Poetics
century A.D. ?) contains a Prakrit passage on nine kāvya-rasas. 65 It is extremely difficult to say whether this passage is adopted from an early independent Prakrit text on Poetics or whether it is composed by the author himself keeping in view Sanskrit texts on Dramaturgy and Poetics. No Prakrit work on Poetics except the later solitary work mentioned above (and Hari's problematic work) is so far known. It is not unlikely that the author of the Anuyogadvārsūtra himself added this passage. The reference to nine kävya-rasas including the (pra-) śānta tempts one to assign the author of this Prakrit passage to post-Udbhata period.
The absence of a Prakrit work of value on poetics needs an explanation which is, however, not far to seek. Notwithstanding the difference in language the alamkarikas (literary thinkers) made no difference between Sanskrit and Prakrit literatures. They studied and appreciated both. Some of them wrote in both Sanskrit and Prakrit. Anandavardhana, the author of the far-famed Dhvanyāloka has written a Prakrit poem called Vişamabāṇalīlā and Rājasekhara, the author of Kāvyamīmāṁsā, a unique work on Sanskrit Poetics, (which does not directly concern itself with the exposition of rasas, guras, or alarkaras, and is rather in the nature of a śikṣāgrantha) has written, among other plays, Karpūramañjarī entirely in Prakrit which is cited as a model of the type of plays called Sattaka. Anandavardhana and all the later ālamkārikas freely cite Sanskrit as well as Prakrit passages to illustrate various points in poetics. The norms laid down in their works were equally applicable to both and, indeed, till recently to literatures even in modern Indian languages like Marathi, Gujarati, Hindi, and so on. Even a scholar of the eminence of Acārya Hemacandra, who has to his credit books on Prakrit grammar and prosody did not feel the necessity of preparing a treatise on Prakrit Poetics. The fact, however, remains that the Sanskrit critical thought took little note of some of the interesting and peculiar aspects of the vast and varied literature in Prakrit. The ālaskārikas, generally speaking, contented themselves merely with quoting Prakrit passages for illustrative purposes or alluding to certain works for illustrating the types of composition.
11. Influence of Prakrit Poetry on Sanskrit poeticians : Although we do not find Prakrit illustrations in the early works on Poetics like
65) Ibid, pp. 121-124.

Page #52

Prakrit Verses in Sanskrit Works on Poetics
Bhāmaha's Kávyālamkāra, Dandi's Kavyadarśa, etc., they clearly state the fact of the existence of Prakrit literature along with Sanskrit and Apabhramsa literature. The absence of Prakrit quotations in their works is due to the practice of composing their own examples instead of quoting examples from the works of other authors. The few Prakrit examples we come across in Rudrata are his own compositions. The fact that over two thousand and eight hundred verses from Prakrit works are cited by later alaskārikas beginning with Anandavardhana is a clear and definite proof of the great influence of Prakrit poetry.
Of all the writers on Sanskrit Poetics it is Anandavardhana who is considerably influenced by the Setubandha and the Gaüdavaho. He and Kuntaka, the author of Vakroktījīvita, frequently use the expression bandhacchāyā (beauty of composition) in expounding their poetical theories. 66 Anandavardhana refers to the objectives of 'bandha-chāyā' and 'ahinavā atthagai' (Sk abhinavā arthagatiḥ, a new range of meaning or the novelty of ideas) mentioned by Pravarasena in his. Setubandha in almost identical language :
"Novelty of ideas as well as great beauty of composition is achieved by adopting a single sentiment as predominant in any poem as a whole."67 Vākpati, taking his cue from Pravarasena, also speaks of new ideas and beauty of composition in his Gaüdavaho 68 before Anandavardhana :
"It is only in Prakrit that we shall have in abundant measure, till (the end) of the world's duration, a presentation of ever fresh themes and a rich variety of
66) अभिनवा पूर्वैरनुक्ता अर्थगति: अभिधेयपद्धति: बन्धच्छायया कृच्छ्रात् संदर्भशोभया दुःखं संपाद्यते । Krsnavipra
on Setu 1.11 ("'It is hard to combine new ideas (lit. a new range of meaning) with beauty of composition.") And, if KITEIT Srlu antet for not farefcrat wala Cour a HESH river gat
Dhvanyāloka IV. 5-6 67) See foot-note (14) supra. 68) Gaüdavaho was composed probably about A.D. 736. The period of
Anandavardhana's literary activity lies between 860-890 A.D.

Page #53

36
-
Prakrit Verses in Sanskrit Works on Poetics
compositions that are cool and pleasing in their arrangement.”69
Anandavardhana quotes Gaüdavaho v.no. 416 to illustrate atyanta-tiraskrta-vacya (dhvani):
"How charming when the clouds reel in the sky; how lovely when in the woods the white Arjuna trees are torn (shaken ?) by great downpours of rain. Though in the sky the moon has lost all pride yet these black nights have a haunting beauty of their own."70 Here the words "reel” and “has lost all pride" are full of suggestion with the literal meaning completely lost. Anandavardhana seems to have quoted another Prakrit. găthă most probably from Vākpati's Mahumahaviaa (Sk Madhumathavijaya) as pointed out earlier."
As pointed out by Dr. Masson and Prof. Patwardhan2 several of Anandavardhana's (or Kārikākāra's) most cherished ideas come from this great poem (Gaüdavaho) : In his Vrtti on kārika 11.16 Anandavardhana observes :"In the case of a poet who is intent upon suggesting rasas and who has imaginative genius (pratibhānavat), even figures of speech which may appear to the reader) difficult (to create) clamour to present themselves to him."
This statement is very similar to Vākpali's observation. "The minds of other (i.e. ordinary) poets wander about frantically searching for subject matter. (But) in the case of great poets the themes themselves rush to their hearts, without any effort
69) Translation adopted from N.G. Suru's edition mentioned in foot-note (7) supra. 70) Translation by J.L. Masson and M.V. Patwardhan in their paper referred to in
f.n. no. 72 infra. गअणं च मत्तमेहं धारालुलिअज्जणा अ वणाई। णिरहंकारमिअंका हरंति णीलाओ अ (?वि) णिसाओ ||
गगनं च मत्तमेघं धारालुलितार्जुनानि च वनानि । निरहङ्कारमृगाङ्का हरन्ति नीलाश्च (? नीला अपि) निशा:।।]
For a brilliant and highly poetic exposition of this gāthā read Locana, p.173. 72) The Dhvanyāloka and the Gaüdavaho, Prof. D. D. Kosambi Commemoration
Volume, Science and Human Progress, Popular Prakashan.

Page #54

Prakrit Verses in Sanskrit Works on Poetics
on their part."73
Again, Anandavardhana's long discussion on anantya, the endlessness of poetic themes, is certainly influenced by Vākpati's some of the fine găthâs dealing with “The praise of poets.'
Anandavardhana's discussion may briefly be summarised as follows:
"For literature (vānī) that is embellished with any one of these varieties (of suggestion) though it reproduces ideas already treated, appears fresh (navatvam). By using rasa in a poem even subjects seen time and again will appear new, just as do trees in the month of March — with the advent of spring. By using dhvani and gunibhūta-vyangya in this manner, there will be no end to the subject matter of poetry as long as there is the gift of poetic imagination.
"By its very nature (even without the help of a suggested sense), the purely denoted, sense is inexhaustible because of differences of circumstance, place, time etc.
If the subject matter (Vastugati) that is diversified according to time, place etc. is used in accordance with (the doctrine of) propriety and is associated with rasa, bhāva, etc.,
“Though assiduously written about by thousands of thousands of (poets similar to) Vacaspati, it cannot be exhausted any more than the primordial matter (Prakrti). of the universe."74
73) Translation by J.L. Masson and M.V. Patwardhan in their paper referred to in
f.n. No. 72 supra. Read Gaudavaho, verse 86 अत्थालोअण-तरला इअर-कईण भमंति बुद्धीओ । अत्थचेअ णिरारंभमेंति हिअअं कइंदाण ।। [अर्थालोकनतरलेतरकवीनां भ्राम्यन्ति बुद्धयः।
अर्था एव निरारम्भमेन्ति हृदयं कवीन्द्राणाम् ॥] 74) 3701 Trno goro Puforat
वाणी नवत्मायाति पूर्वार्थान्वयवत्यपि ॥ दृष्टपूर्वा अपि ह्यर्थाः काव्ये रसपरिग्रहात् । सर्वे नवा इवाभान्ति मधुमास इव द्रुमाः ।।

Page #55

38
.
Prakrit Verses in Sanskrit Works on Poetics
"Earlier poets through the virtue of their times (i.e because they were born in ancient times) were able to wander on virgin paths but some others (i.e. modern poets) are guided on difficult paths by the imitation of the genious of the earlier
Poets."75
"It is true that there is nothing that has not been seen on the well-trodden paths of poetry. But actually this is true for only the very beginnings of the path. All else is new."76 “Glorious is the poet's speech pulsating with inspiration ! Though every day great poets have drained its essence from the beginning of creation yet it still seems as if its seal remains unbroken – in tact (i.e., its riches have barely been tapped.)"77
•
ध्वनेरित्थं गुणीभूतव्यङ्ग्यस्य च समाश्रयात् । न काव्यार्थविरामोऽस्ति यदि स्यात् प्रतिभागुण: ।। अवस्थादेशकालादिविशेषैरपि जायते । आनन्त्यमेव.वाच्यस्य शुद्धस्यापि स्वभावत:।। रसभावादिसम्बद्धा यद्यौचित्यानुसारिणी । अन्वीयते वस्तुगतिर्देशकालादिभेदिनी ।। वाचस्पतिसहस्राणां सहस्रैरपि यत्नतः। निबद्धा सा क्षयं नैति प्रकृतिर्जगतामिव ॥
- Dhvanyaloka. IV. Karikas 2,4,6,7,9& 10. 75) कालगुणा पढमकईहिं भमिअमपरिग्गहेसु मग्गेसु ।
इहरा मईहि हीरंति दुक्करं के वि काणं पि ॥ [कालगुणात् प्रथमकविमिर्धान्तमपरिग्रहेषु मार्गेषु ।
इदानीं मतिभिर्हियन्ते दुष्करं केऽपि केषामपि ॥] 76) Translation by J. L. Masson and M. V. Patwardhan, Ibid, p. 181.
कत्तो णाम ण दिळें सच्चं कवि-सेविएसु मग्गेसु । सीमंते उण मुक्कम्मि तम्मि सव्वं णवं चेअ ।। [कुतो नाम न दृष्टं सत्यं कविसेवितेषु मार्गेषु ।
सीमन्ते पुनर्मुक्त तस्मिन् सर्वं नवमेव ॥] 77) Translation by J. L. Masson and M. V. Patwardhan, Ibid, p. 182.
आसंसारं कइ-पुंगवेहि तद्दिअह-गहिअ-सारो वि । अज्ज वि अभिण्णमुद्दो व्व जअड वाआ-परिप्पंदो ॥ [आसंसारं कविपुङ्गवै: प्रतिदिवस-गृहीत-सारोऽपि । अद्याप्यभिन्नमुद्र इव जयति वाक्परिस्पन्द : 1] -Gaudavaho. 84,85,87.

Page #56

Prakrit Verses in Sanskrit Works on Poetics
Again, Anandavardhana's discussion of prakstyaucitya (propriety in relation to the nature of characters) which is divided into propriety relating to high, middle and low characters as well as propriety relating to divya (divine), mănușa (human) and divya-mănușa characters strongly reminds us of the threefold katha (story): divya, divya-mănuși and mănuși spoken of by the author of Līlavai.78
Further, Anandavardhana's specific reference to Satavāhana's superhuman exploit of going to the netherworld of Nāgas which has been described in Lilával indicates that he knew this Prakrit work and has utilised it in the context of describing Prakrti-aucitya.
The whole discussion would show how, the Prakrit works Setubandha, Gaüdavaho and Līlāvas have greatly influenced Anandavardhana, the greatest writer on Sanskrit Poetics.79 12. A Few Illustrative Verses :
(i) From Gathasaptašati It is extremely difficult, almost impossible to select only a few of the exquisitely beautiful verses selected and cited by the alamkārikas. But as this cannot be avoided I do so with great diffidence.
This anthology is highly popular with the writers on Sanskrit poetics beginning with Anandavardhana. It is, however, Bhoja, the author of Sarasvatikanthabharaṇa and Srgārprakāśa, who most amply quotes the gathās from this anthology. We may refer here to only a few of these quotations :
The maiden in love begs the moon to touch her with the same rays which have
78) --- Praet 26T HORITI तं जह दिव्वा तह दिव्वमाणुसी माणुसी तह चेय ।
- Līlāvai, v. 35 णायज्जुण-भिक्खु-पुरस्सरेण णइ-तीर-संठिओ राया । विजआणंदेण समं विवराहत्तं परिक्तो ।।
- Līlāvai, v. 1021. 79) भावौचित्यं तु प्रकृत्यौचित्यात् । प्रकृतिर्युत्तममध्यमाध्यमभावेन दिव्यमानुषादिभावेन च विभेदिनी |--- ननु
नागलोकगमनादय: सातवाहन-प्रभृतीनां श्रूयन्ते तदलोकसामान्यप्रभावातिशयवर्णने किमनौचित्यं सर्वोर्वीभरणक्षमाणां क्षमाभुजामिति ।
- Dhvanyāloka III. 14-15

Page #57

40
Prakrit Verses in Sanskrit Works on Poetics
touched her lover. 8° Another maiden begs of the night to stay for ever, when the morning comes she will have to bear her lover's departure. The lover who is on his travels bids the thunder and lightning do their worst on him, if they but spare his beloved at home: 82
A tender (-hearted) wife rejoicing at her husband's return does not put on gay dress lest she adds to the grief of her neighbour whose husband has not yet come home.83 One of the loveliest gåthås, steeped in pathos, says:
"When of the two who have long shared joys and sorrows together, one dies, the one that dies is really alive, the other is dead."84 This beautiful sentiment has a distant paralled in Bhāsa's line :
“Vāsavadattā (lit. Mahāsena's daughter) who is dead is not dead if the King (Udayana) has such a soft feeling for her;"85 and also in Bhavabhūti's line, 'He is not dead of whom a beloved thinks, in other words, surely he is not dead who lives in the memory of a loved person. 86
But absence may be a joy where the heart is false; "the faithless one bemoans her unprotected state, and begs her (neighbour-) friend to come to her house, merely to ensure her safety."87 Another gāthā tells us of a naughty wife who pretends to be bitten by a scorpian in order to go to the house of the physician - her paramour. 88
80) 1.16 81) 1.46 82) V1.66 83) I. 39 84) HH-
Ha-grafafc.3.no ITT E-HITI मिहुणाण मरइ जं तं खु जिअइ इअरं मुअं होइ । (HRTBU-G:&- Rarefcet: sista parautant : 1 मिथुनयोर्मियते यत् तत् खलु जीवति इतरन्मतं भवति ।।]
- GS II. 42 85) guraj at Hortaya sangat menargator
- Svapnavāsavadattam VI.9-10. 86) OTT WIRST OF THE T I (au # 346 RUAH: Fra 1]
- Mālatīmādhava V. 24-25 87) GS N. 35 88) H. 37

Page #58

Prakrit Verses in Sanskrit Works on Poetics
Another gātha brilliantly describes the removal of anger of the offended woman; “The wife who is overpowered with sulky wrath at the offence of faithlessness of her husband (suddenly) laughs as their little boy crawls on his father's back, when he falls prostrate at her feet in penitence for his offence.89
Another gåthå presents a graphic picture of a traveller and a maid (who provides water to travellers) who fall in love at first sight : "Looking upwards and with his slender fingers (not tightly closed) the traveller drinks water for long and the girl makes thinner and thinner the already thin stream of water that she pours in the hollow of his hand.90
In another gåtha the poet beautifully brings out Pārvati's 'untutored cleverness' in not allowing Siva to gaze at her unclothed beauty : ___ "In the course of enjoying love's delights Parvati has her garment stripped off; . immediately she closes the pair of Siva's eyes with her tender arms, and closes the third eye of Siva by planting a kiss on it."
This gātha strongly reminds us of Kalidāsa's famous verse from Kumārasambhava.9 The poet of this gāthā, it would seem, has improved upon Kālidāsa's lovely description of the situation.
89) I.12 Note : The translation of many of these gathas is adopted, with slight
changes, from A History of Sanskrit Literature by A.B. Keith. Oxford, 1928,
Pp. 224-25. . 90) उद्धच्छो पिअइ जलं जह जह विरलंगुली चिरं पहिओ ।
पावालिआ वि तह तह धारं तणुइं पि तणुएइ ।। [ऊर्ध्वाक्ष: पिबति जलं यथा यथा विरलाङ्कुलिश्चिरं पथिक :। प्रपापालिकापि तथा तथा धारां तनुकामपि तनूकरोति ॥]
GS II. 61 91) रइकेलि-हिअ-णिअंसण-कर-किसलअ-रुद्ध-णअण-जुअलस्स ।
रुदस्स तइअ-णअणं पव्वइ-परिचुंबिअं जअइ ।। [रतिकेलिहृतनिवसनकरकिसलयरुद्धनयनयुगलस्य । रुद्रस्य तृतीय-नयनं पार्वती-परिचुम्बितं जयति ॥] Cf. शूलिन: करतलद्वयेन सा संनिरूध्य नयने हृतांशुका । तस्य पश्यति ललाट-लोचने मोघयत्नविधुरो रहस्यभूत् ॥]
- Kumārasambhava VII. 7

Page #59

42
-
Prakrit Verses in Sanskrit Works on Poetics
In another gāthā the poet graphically describes how a cow in the cow-shed rubs her eye on the horn of a wicked bull. This description finds a parallel in Kālidāsa's picture in Sākuntala wherein he desires to represent a doe rubbing her left eye on the horn of a black antelope. 92
(ii) From Harivijaya :
Anandavardhana cites the following verse from Harivijaya to illustrate a variety of suggestion. Apparently it describes the advent of spring which causes restlessness in the minds of young people : “Madhu-Lakşmi had bedecked her ears with mango-sprouts; and her mouth carried the sweet fragrance of wine taken in celebration of the (Spring-) festival. Kusuma-śara (the god of love) caught hold of her face, although not offered (i.e. by force) (in order to kiss it). "Here we have a beautiful samäsokti. Bhoja cites the following verses from among many from Harivijaya :
The topic of mānini (The offended woman) is a popular subject in Sanskrit as well as Prakrit poetry. The offence consists in the faithlessness of her lover. Here are a few verses dealing with mānini :
"With a view to giving his beloved (Satyabhima) the highest enjoyment of love's delights, not even conceived of or dreamt of by her, Hari with a smile on his face and with both of his hands holding his mukuta in its place fell at her feet."
“Hari in order to appease the anger of his beloved (Satyabhämā) fell prostrate at her feet; and what a wonder ! Drops of tears of joy, which welled up in her eyes, and which she did her best to suppress fell on his back."
(iii) From Setubandha : Here are a few more examples of mānini (the offended woman) from Setubandha:
"The anger of the proud women, heightened by love, died away slowly in their hearts, gratified for a moment by the entreaties of the lovers, but saddened and perturbed again by the remembrance of the offence given.”
"The young women, who greeted their lovers even without being appeased by them, were abashed when covertly admonished by their maiden friends with severe looks. As they stood scared their lovers knew that they only pretended to be angry."
92) Gathāsaptaśati V. 60 and, --- Le gourmet THU MUGU ni mi I – Śākuntala VI. 17

Page #60

Prakrit Verses in Sanskrit Works on Poetics
[They pretended anger to please their sakhi) (girl friends) who had advised them to practise mâna, and silently reproved them for being cordial to the lovers without waiting to be appeased by them for past offences ]
"They spoke in one way before their maiden friends, and in another way while instructing the messenger girls, and something quite different, excitedly, at the sight of the beloved."93
(iv) From Gaüdavaho :
Here is a verse from Vākpati describing manini : The lady was angry; but when her man held her lower lip between his own lips, the flush of anger began wearing away, like red wine in a crytstal cup which goes on subsiding when sipped, after being seized between the two lips by the drinker (v. no. 690).
13. Principal theme and governing sentiment :
Prakrit verses quoted in works on Alamkāraśāstra are mostly erotic, love in its various phases and stages being the dominant sentiment. No doubt there are some verses cited which contain maxims, popular sayings, subhāṣitas and some others which deal with nature, seasons, etc; and some others expressing heroism. But as a rule Prakrit poems and anthologies from which these verses are drawn deal mainly with love : Young women, the blossoming of love, the messages from young women to their absent lovers, the efforts of a dūti (go-between) to bring about the union of lovers, their actual meeting, - their kisses, embraces, nailmarks, tooth-bites, and actual intercourse are described - the mānini (woman offended), love in separation, the asati (an unmarried woman who is not chaste, or an adulteress, a wanton woman) a puspini, etc., are portrayed with charm in these works. The Prakrit poets are proud of the fact that their poetry mainly deals with love, and that they are mainly interested in evoking the beautiful sentiment of śrrigara.
Impersonality is a striking feature of this love poetry in Prakrit. In his Introduction to An Anthology of Sanskrit Court Poetry Daniel H.H. Ingalls makes the following observation : "In the five hundred or so verses that deal with love in Vidyākara's
93) अन्यदिति 'किं तेन शठेन' इत्यादि सखीजनपुरत: । दूतीजनं संदिशन् चान्यथेति 'यथाशक्ति दयितमानय इति विमुक्तधैर्यं युवतिजनो जल्पति । अन्यदेव दयितदर्शने। सबहुमानमिति भावः ।
- Kulanātha on Setu X. 75

Page #61

Prakrit Verses in Sanskrit Works on Poetics
• 44 -
anthology one will not find the name of a single lover. In Vidyākara's section on villains one finds no villain's name; in the section on good men no individual good man is so identified that we could know him from other good men.94 We know nothing of the personal lives of Sanskrit poets. The persons here have melted into the types of poet. One may remark that impersonality appears in its extreme form in India only in Sanskrit." This observation of H.H. Ingalls with reference to Sanskrit love poetry in Subhāsitaratnakośa is equally true of Prakrit love poetry as represented in Gathāsaptaśati, Vajjālaggaṁ and other Prakrit anthologies.
This preference for the theme of love and the erotic sentiment should be easy to understand on psychological grounds : Love is the most dominant of all feelings, and is easily within the experience of all.” Anandavardhana was fully conversant with human psychology so well expressed by Bhāmaha :
"They (say princes undergoing instruction or pupils in general) study śāstras if they are mixed with sweet pleasurable rasa. Children who first lick honey easily take a bitter dose of medicine."96 Keeping in mind this aspect of human psychology Anandavardhana most probably chose to cite erotic Prakrit găthas to illustrate the theory of dhvani and its varieties. His lead is enthusiastically followed by later alamkarikas, particularly by Bhoja who cited in his two alaṁkāra works about two thousand Prakrit verses.
14. Prakrit Poetry highly erotic but not obscene : In some quarters it is alleged that the ālamkārikas cite Prakrit verses which are
94) Vidyākara's Subhășitaratnakośa translated by Daniel H. H. Ingalls, Harward
University Press, 1965. 95) तत्र कामस्य सकलजातिसुलभतयात्यन्तपरिचितत्वेन सर्वान् प्रति हृद्यता ।
- Abhinavabhārati Vol. I, p. 267 And, HIT: Port forha: goed i
- śrgāra-Prakāśa XIII, p. 565 And also, Ret R HIRUT AUTHafaqurace poteze: Cho AUT TETTHAT:
: - Dhvanyāloka III. 29-30 96) Falcantara ASi Qiyayayout प्रथमालीढमधव: पिबन्ति कटुभेषजम् ।।
- Bhāmaha : Kāvyālaskāra V. 3

Page #62

Prakrit Verses in Sanskrit Works on Poetics
45
full of obscenity and vulgarity and which glorify illicit or clandestine love, as illustrations because the obscenity remains hidden under the garb of the Prakrit language. This allegation, on the face of it, is false. For the very purpose of citing illustrations is defeated if the verses are unintelligible. The fact is that in the classical period there was no compartmentalisation or bifurcation of studies into Sanskrit and Prakrit. The long-standing practice of writing dramas in Sanskrit and Prakrit will easily bear out this statement. Again, eminent Sanskrit writers like Bāna, Dandi, Kuntaka, Anandavardhana, Bhoja have paid handsome tributes to Hāla Sātavāhana, Sarvasena, Pravarasena for their exquisite Prakrit works. This fact corroborates the statement that there was integration of Sanskrit and Prakrit studies. Naturally, the alamkārikas appreciated first-rate Prakrit works and freely drew upon them - as they did in the case of Sanskrit works — for illustrations in their alamkāra works. It is therefore an insult to the intelligence of these alaskārikas to allege that they quoted Prakrit verses with an ulterior motive.
Now let us examine the charge of obscenity against the Prakrit verses. The alamkārikas have defined in their works what constitutes the poetic blemish of obscenity. Use of words which give rise to feelings of shame, of disgust or convey the sense of inauspiciousness is condemned as obscene and vulgar. They have, with their sharp intellect, recorded and denounced as obscene even particular combination of letters giving rise to words meaning the names of the private parts of the human body. So there is no question of defending obscenity in literature - whether Sanskrit or Prakrit.
These Prakrit verses fall into two groups : Those which are highly erotic and those which portray illicit, calandestine or adulterous love..
We must clearly dinstinguish between the erotic and the obscene. The writings of great poets, both Sanskrit and Prakrit, are highly erotic and artistic or poetic. To brand them as obscene, as impatient critics of Prakrit verses do, would mean putting these great works out of the reach of the sensitive sahrdayas. We must not be carried away by highly erotic descriptions and mistake the highly erotic for the obscene. The Prakrit poets, as a rule, remain strictly within the bounds of propriety and refinement and avoid vulgarity and obscenity. According to the European scholars of the Victorian age or nineteenth century Western morals, the descriptions of rati-kalaha (love's battle), the lover's wounding his mistress with nails (nakha-ksata),

Page #63

46
Prakrit Verses in Sanskrit Works on Poetics
and biting her (lower) lip (dantakşata), inverted intercourse where the woman takes the man's position above while the man lies below (viparītarata) depart very far from standards of propriety and taste and therefore are offensive. But Indian rasikas or sahrdayas have all along been enjoying these descriptions; they register their dissent or disapproval only when they overstep the bounds of aucitya (propriety or decorum) according to their standards. Thus Anandavardhana, Kșemendra, and Panditarāja Jagannātha would like to censure Kālidāsa and Jayadeva for frankly describing the amorous sports of Siva and Parvati — the parents of the whole world — and the amours of Rādha and Krsna in Kumārasambhava and Gitagovinda respectively. As far as Gathāsaptaśati is concerned the renowned poet Bāṇabhatta unequivocally states that it is not vulgar (agrāmyam). The verses dealing with cauryarata are fine specimens of dhvani-kavya. There is a class of literary critics who hold the view that art is for the sake of art. According to them we must never mix up aesthetics 'with ethics. In the realm of literature and its appreciation we must be solely guided by aesthetics and we must refuse to be influenced by extraneous considerations of morality and its effect or impact on society. As literary critics our sole duty is to appreciate the beauty of the literary creation and experience aesthetic rapture. To censor passages from works on grounds of morality or their evil influence on Society is the job of law-courts. Viewed in this light the amours of Rādhā and Krsna and the amorous, sports of Siva and Pārvati and the descriptions of Cauryarata in Gāthāsaptaśati would not appear improper or obscene. According to these critics, the theme of art may be anything which has a basis in life; if it is beautifully presented by the poet it is enough for us; we appreciate it whole-heartedly. Dananjaya rightly observes in his Dasarūpa :
"There is nothing in this world, a poetic mind cannot appreciate — may it be beautiful or disgusting, great or mean, terrifying or pleasing, incomprehensible or obvious, real or fictitious."97 In other words, life in all its aspects has a place in literature. It is for the poet to present it in a beautiful form.
97) pri Hutangraena fa
मुग्रं प्रसादि गहनं विकृतं (?विवृतं)च वस्तु । यद्वाप्यवस्तु कविभावकभाव्यमानं ca u Tuhfa al 11 – Dasarūpaka IV. 85

Page #64

Prakrit Verses in Sanskrit Works on Poetics
15. Conclusion :
In conclusion, it may be said categorically that poetic works in Māhārāștri Prakrit exhibit excellences and literary beauty of a high order. They easily bear comparison with their counter-parts in Sanskrit literature. Notwithstanding the differences in language the Sanskrit alamkārikas (writers on Sanskrit Poetics) made no difference between Sanskrit and Prakrit literatures. They appreciated both and freely quoted from both. Some of them like Anandavardhana and Rājasekhara wrote in both. The norms laid down in the Sanskrit works on Poetics are equally applicable to both. That is why even a scholar of Hemacandra's eminence who has to his credit works on Sanskrit and Prakrit grammar and prosody did not feel the necessity of preparing an independent work exclusively dealing with Prakrit poetics. In fact, till recently - before the impact of Western literature and literary criticism was felt - the poetry. in Indian languages like Marathi, Gujarati, Hindi, etc. was being judged by the norms laid down by Sanskrit literary thinkers. So leaving aside the controversey as to whether Sanskrit is the source of Prakrit or vice versa, and realizing that the two languages are closely allied and that the literatures in both of these languages, in spite of their own distinguishing features, bear close affinity we should always strive for integrating the Sanskrit and Prakrit studies. 98
98) I am grateful to the Editors of Sambodhi for their courtesy in allowing me to
incorporate in this Introduction my paper, with some changes, “Prakrit Poetry And Sanskrit Poetics" appearing in Vol. 10 April 1981-January 1982, (pp.145-168)

Page #65

Chapter 1 : RUDRAȚA'S KÁVYĀLAMKĀRA
(WITH THE TIPPAŅA OF NAMISĀDHU) 1. (After) paying homage to the Morning/Evening Twilight bow down to Lord Siva
who received (the divine river) Gangă (descending from the heavens) (in the matted hair) on his head.
or
Bow down to Lord Siva who has received Ganga [in the matted hair) on his head and paid homage to Sandhya [Twilight). 2. According to Hari, Vștti (Diction) is classified into eight kinds : 1. madhura (sweet)
2. parusa (harsh] 3. komala (soft) 4. ojasvini (vigorous) 5. nisthură (rough) 6. lalità (graceful) 7. gabhira (deep or stately) and 8. sāmānyā [(=miśrā) mixed]
(Verses 3-13 are treated in the Notes.), 14. Look, the young ladies shut their eyes and somehow kiss at the old man's lip,
not without unwillingness as one drinks a bitter medicine. .
15. There is no end to the flirtatious ways of the beloved and similarly no end of
variations in the expression of good poets: there can be no repetition in either.

Page #66

Chapter I : DHVANYALOKA (WITH LOCANA)
1. O pious man, move about confidently. That dog has been today killed by the
wild (diptallion that dwells in the dense bushes on the bank of the river Godavari. 2. This is where my mother-in-law sleeps, and here me. Note it well while it is day,
otherwise, being night-blind, O, traveller, you might fall into our beds at night.
was at mgnt.
3. Let all sighs and tears be to my lot alone. You should not share such a fate for
her sake. Please go to her. I know you are here out of sheer considerateness for me.
4. I beg of you first be kind and return. By the bright light of your face you dispel
all darkness and create problems for other women who go out to their rendezvous. 5. Who wil not lose his goat at seeing the lower lip of his beloved (wife). bitten?
O, you, did not pay heed to my warning and insisted on smelling the lotus which had a bee inside; now suffer for it.
6. The dull sorts have no understanding of real merit. They go only by the general
report. The moon-stone surely radiates lustre not at the sight of my beloved's
face, but of the moon. 7. "I remember the heaven when it was without the Parijata tree; Vişņu's bosom
when it was without the Kaustubha gem and Lakşmi (the goddess of wealth); and the great mass of Siva's matted hair when it was without the young moon, all before the churning of the ocean."
8. For translation vide DHV S.No.2 supra. * 9. For translation vide DHV S.No. 5 supra.
10. You may kiss your girl a hundred times, and hug her a thousand times. You
may make love to her again and again. The fact is there is no monotony, in what the lovers do.
11. Wanton women, whether angry or pleased, whether in tears or in smiles, (in
fact,) in whatever state they are they captivate your heart/men's hearts.
12. The blow which her husband gave with the tender (Madhavi Priyamgu or some.
such) creeper on the bosom of his newly-wed wife-, although it was mild, was
1. As translated by K. K. Handiqui

Page #67

Prakrit Verses in Sanskrit Works on Poetics
unbearable to the hearts of his other wives.
(Verse 13 is treated in the Notes.)
14. Merits become merits when they are appreciated by responsive/sensitive critics,
Lotuses become lotuses only when they are favoured by the Sun's rays.
15. The sky overcast with intoxicated/dizzy clouds, the forests with their Arjuna
trees drooping with rain-drops, and the dark blue nights, with the moon, bereft of the pride of its lustre — they do attract us/make restless.
(Verse 16 is treated in the Notes.)
17. These long and strong arms that have spread their fame for the valour with which
they have shattered the hopes and dreams of the enemies and for the generosity in making gifts are almost like (lit. verily) the magnificent elephants that have crushed the lotuses in Mānasa lake and spread the fragrance and match your generosity by their ceaseless oozing from their temples.
18. Caitra at the front of spring keeps all ready the arrows of love tipped with
mango-blossom and sprays of fresh leaves but it does not yet shoot them out at young women - their usual target..
19. Your upstanding breasts, respectfully aided by youth extend a standing ovation,
as it were, to the God of Love.
20. Wearing pea-cock's plumes/tail feathers as ear ornaments, the (young) wife of
the hunter struts around proudly among her rivals/co-wives who are adorned (only) with pearls (supposed to be found in the projections of an elephant's fore-head.)
21. Beauty is the gift of the moon to the night as of the lotusflowers to pond and
of bunches of flowers to creepers and of swans to autumn. Similarly sensitive critics discover beauty in poetic works (and enhance them).
22. The eyes of warriors do not feel excited by their beloveds' breasts anointed
with saffron as by the temples of the enemy's elephants, painted with vermilion.

Page #68

Prakrit Verses in Sanskrit Works on Poetics
23. The demons first set their hearts only on snatching from Vişņu his Kaustubha
jewel. Then the God of Love diverted them to the crescent of their beloveds' lips (lit. beloveds' bimba like lower lips).
24. When the fruit depends on fate what can be done? Yet we say this much:
Although the Aśoka tree does not bear any fruit (according to poetic convention the Aśoka tree does not bear any fruits) its leaves are incomparably beautiful (lit. There are no other leaves comparable with the [red and tender) leaves of the Asoka tree.) [The red Asoka's leaves are not the same as other leaves).
25. Although I have suppressed my anger in my heart and although I have not shown
any sign of it on my face, yet you are trying to win my favour. It is not possible for me to get angry with you, O clever man, even though you are guilty of love's offence against me.
26. I would rather be a dwarfish tree in the woods bereft of leaves than one in human
society who is keen on giving in charity but suffers from poverty/lacks the means.
27. Today at last the moon has achieved similarity with your face that has been
spoilt by jealousy though. He therefore cannot contain himself i.e. the full moon's delight is unbounded (or he has flooded all the (ten) directions with his bright moon-light).
28. O,bee, you may die in your search for a flower lovelier than Mālatī in the Ketaki
bowers filled with thorns; but however much you may wander, you shall never find anything like the Mālati flower.
29. The lotus - beds have not been crushed; nor have the swans been frightened
away, O, friend (or aunt)! Some one has thrown into the village - pond the sky with its face up.
30. The limbs of the daughter-in-law, who was busy with her household work all
of a sudden become limp and sink as she hears the twitter of birds flying away
from the shrubs of cane/water - reeds. 31. Collect the flowers that have already fallen. Do not anymore shake the Sephālika
plant, you farmer's daughter-in-law. For the jingle of your bangles may reach the ears of your father-in-law and something dreadful may happen.
32. For translation vide DHV S.No. (5.1) supra.

Page #69

Prakrit Verses in Sanskrit Works on Poetics
33. Thus people carelessly use the disc of the moon as the standard of comparison
while talking about her cheek. But if one were to examine the truth, one will have to admit that the moon comes out the poorer in the comparison.
34. Time brings to some poison and nothing but poison. Whereas for some others
it is only nectar. For some others it is a mixture of the both and some others receive neither the one nor the other.
35. Quite at the outset of the season Madana (the God of Love) caught hold of
the face of the Goddess of Spring whose ears were decked with mango - blossom which particularly pleases him; it marks the beginning of the festival and its heady
fragrances. 36. O, merchant, how can we have the tusks of elephants and skins of tigers as long
as the daughter-in-law, with her face covered with dishevelled hair is around - the house?
37. For translation vide S. No. (20.9) supra.
38. At one time you carried the whole of the globe of the earth with ease; but how
is it that today even the ornament of lotus-fibre on your person has become so heavy?
39. I may be unfortunate, unruly and even indiscreet, but trust me, even in a dream
I will not forget my devotion to you.
40. Go away! My wretched eyes have been made only to weep. Do not wipe them.
They became drunk at your mere sight and didn't see through your heart.
41. Do not obstruct our path. Go away, 0,boy ! Oh, you are (so) shameless ! We
are not free and have to guard our solitary house !
42. O, boy, go away. Why do you look at me so staringly when I am bathing? Oh,
this Ghāta is just not meant for those who are afraid of their wives.
43. Soon the roads will be impassable even for the cars of the mind'. The ups and
downs will all be submerged under water; movement everywhere will have to be necessarily slow and slower still.
44. On one side the beloved cries and on the other the war - drum roars. The heart
of the warrior is torn between love for her and desire for battle.

Page #70

Prakrit Verses in Sanskrit Works on Poetics
45. Lakşmi is his daughter, Hari (=Vişnu) his son-in-law, Gangā his wife; and Amsta
(nectar) and the Moon are his sons. Ah ! What a family this Mahodadhi (Mighty Ocean) has !
46. O.K., we are unchaste ! Stop (however) deriding us, O, faithful wife ! you have
never defiled your chastity. But like the wife of a certain man (i.e.,you) we have not fallen for that barber.
47. You stupiù fellow, people will make fun of you for fencing this badari(the jujubi
tree) which has grown on the wrong road, which is ugly, and which is without fruit , flowers and leaves !
48. A certain old woman blessed the farmer with the words, "O, farmer, may the
cotton plants grow sky - high (lit. so high as to cross beyond the sky)" and the
daughter - in - law of that farmer's neighbour felt gratified. 49. While the rose - apples (jambū) are fully ripe in the orchards on the banks of
Godāvarī, the daughter-in-law of the ploughman will now have her dress dyed with their juice.
50. "O, brother-in-law, your wife said something (offending) to the lady who has
come as a guest for the festival; and, O, fortunate one, she is weeping in the solitary terrace room. Please go and comfort the poor lady."
51. As the clouds rumble and peacocks stretch out their necks and dance (with joy)
travellers feel gloomy as at night during these (rainy) days. 52. The speech of classical poets is effective (lit. victorious). For it suggests to the
mind of the reader a variety of ideas that appear in altogether new and striking shapes and forms.
53. My son was the one who could make a widow of the elephant's companion
with but one arrow. (But) this wretched daughter - in - law has made him carry quiverful of arrows!
54. O, fortunate one, the side of her body that you accidentally touched as you went
past (her) on the road is still sweating, its hair bristling with excitement and still trembling.
55. Is it proper that you have not even considered giving a rest for one second to

Page #71

Prakrit Verses in Sanskrit Works on Poetics
money which has come to seek refuge with you, the only strong man who can reassure those who are overcome by fear?
56. "Money becomes physically tired from all the moving about from hand to hand
of generous people, and sleeps soundly as it were, in the house of misers."
57. For translation vide Chapter I. (15.1) supra.
58. How can people realise God Janārdana when while reciting His name they dwell
only on 'me and mine'?
59. The breasts of the young maiden gradually swell to stand out in full form and
Madana, the God of Love, chooses them as his gateway to her heart.

Page #72

Chapter III : VAKROKTI-JĪVITA
1. Her beauty is extraordinary (lit. altogether different); the splendour of her
complexion (lit. body) is extraordinary (lit. altogether different); the lovely maiden in the prime of her youth (śyāmā) is not at all the creation of an ordinary Creator.
2. Ever victorious is the poet's speech throbbing with inspiration ! Although every
day great poets have been drawing upon its essence from the beginning of creation (and will continue to do so until the end of this world) yet it seems as if its seal has remained unbroken, its wealth untouched.
3. For translation of this verse vide DHV S.No. (33.12) supra.
4. A great poet (lit. chief or lord of poets)/ an eminent poet, an expert jeweller
and an old (experienced gardener alone know the proper place for words, pearls and gems, and flowers.
(Verse 5 is treated in the Notes.). 6. For translation vide DHV S. No. (15.9) supra. 7. Lordly elephants with their hearts enchanted by the scent of ichor of the quarter
- elephants (mythical elephants which stand in the four or eight quarters of the sky and support the earth) walk about with great difficulty in the forest and poets on the path trodden by classical poets (or great poets like Vyāsa and Vālmīki) which is difficult on account of their striking (or ornate) turns of expression.
8. For translation vide DHV S. No. (21-10) supra.
9. Cāņakya's policy with its six strands and cunning devices forms the noose for
the enemy and succeeds.
10. Bow down to Gauri (=Pārvatī) who embraced/ pressed Hara (= Siva) with her
heavy heaving breasts as she rushed to him in her fright as the mountain (Kailasa) quaked when Rävaņa rudely lifted it by his twenty hands.
11. The idea of even a moment's separation from him wrung from the ladies sighs
which carried the sweet flavour of honey that has been left in their strained hearts by the flowery arrow (of the God of Love).
12. There is not a single thing that has been overlooked in the list of provisions

Page #73

Prakrit Verses in Sanskrit Works on Poetics
Destiny has made for the perpetual journeys of her husband Kāla (Time - God of Death) - the tireless traveller.
(Verse 13 is corrupt and obscure.)
14. Visakhă (a cowherdess of that name) wept, 0, Krsna, with such inarticulate
speech, interrupted by sobs that none ( who witnessed her plight) would ever fall in love with another person even once in a hundred births!
15. For translation vide DHV S. No. (14.8) supra.
(Verse 16 is incomplete and obscure)
(Verse 17 is corrupt and obscure.) 18. With the help of the lamp of tremulous lightning the clouds see during the nights
if any of the ladies separated from their beloveds (still) continues to live (even) after hearing the loud thundering noise.
(Verse 19 is corrupt and obscure.)
20. Victorious, i.e., very fortunate is the third eye of Rudra (i.e.,Śiva) which was
sealed /shut with a kiss by Pārvati, while the pair of his normal eyes were covered by her with her sproutlike (tender) hands, when her garment / clothing was stripped off by him (Rudra = Siva) in the course of amorous dalliance
21. For translation vide VJ S.No. (20.23) supra.
22. Seșa (a celebrated mythological thousand - headed serpent) carrying on his hea
the orb of the earth (ku-valaya) with great ease as a water-lily (kuvalaya) wipeu out the pride of the rest of the people.
23. On the bank of the oblong lake (vāpi, with the reading "tavi' (Sk Tāpi - the river
Tāpī) O, my dear friend, where we go to bathe, there are some thickets (lit. are seen by us). They do not hold us by the hand, nor do they say any thing to
detain us, but they do not allow us to return. 24. For translation vide DHV S.No. (18.9) supra. 25. For translation vide DHV S.No. (43.14) supra.
(Verse 26 is treated in the Notes.)

Page #74

10
Prakrit Verses in Sanskrit Works on Poetics
27. (a)A young girl who slept for a while saw in her dream that her lover had come
to meet her. She became awake but remained in her bed with her eyes closed hoping to see him again and this way she spent the whole day.
27. (b) “She has met her lover in her dream; her whole body has been covered
with horripilation / goose - flesh. Let her obtain the pleasure of hugging him. Please do not wake up her.
28. O charming one, wait for a while till I comfort my heart which is nervous at
the very idea of separation and then speak. Or rather, you may go. What shall we say? . .

Page #75

Prakrit Verses in Sanskrit Works on Poetics
Chapter IV : DASARŪPAKA (WITH AVALOKA)
1. My love is for a person hard to secure; great is my shyness; I am not the mistress of my self. Thus my dear friend, my love is (unequal i.e.,) unfortunate. He is socially high- up. Death seems to be the only way out.
2. Magician (Aindrajālika) addresses the King (the hero) "My lord,
Should the moon be shown on the earth, or a mountain in the sky or fire in water (of the ocean)
or dusk of early night at noon ? Give the command. (Or why waste many words?)
3. This is my solemn assertion. Through the power of my master's spells I can show
to you whatever you desire at heart to see.”
4. Lo and behold - in the case of a high - born virtuous woman her youthful
attractiveness, her loveliness, her amorous actions and graceful gestures take their leave of her when her dear husband departs (on a journey) and they all come back when he comes back home.
5. A smile that is innocent and not coy, a general bearing that is not marked by
deliberately worked up charms and graces and speech that is not calculated to please - these we find in chaste women in blessed homes.
6. Chaste women endowed with qualities like modesty, a complete adornment in
itself, total abstinence even from thoughts about other men and absence of naughtiness, are to be found (only) in the homes of the blessed.
7. The titillations and teasings women use in a game of love are pleasing so long
as they don't let their eye-lids fall shut as a drooping lotus lets its blue petals.
8. Her love for you is properly directed. She simply can't be wrong in making your
choice. In case you don't respond she may even die. Let her - I wouldn't speak to you about her but even death would be such a credit (or glory) to her.
9. Why talk of the madhūka flowers, traveller ? Even if you strip me of my panties
(lower garment from my hips) to whom shall I complain ? We are deep in the forest, the village is far out, and I am alone.
10. Her face is the same, her eyes have remained unchanged, and her youth is the

Page #76

Prakrit Verses in Sanskrit Works on Poetics
same. But all this has been touched into something different by the goddess of love (or; But the goddess of love gives a hint of something different).
11. Look carefully how this young girl that looked freely at everything and spoke
in an uninhibited manner has now changed by the touch of love. She has grown shy and withdrawn.
12. As the curves of her breasts and the movements of her body grew in grace and
her actions looked purposeful her friends wondered whether she was any longer a child.
13. For translation vide DHV S.No. (4.7) supra.
14. She carried out all the household work throughout the day in silence out of her
anger and fell asleep at my feet in spite of her great resentment at my love's
offence. We still remember it (vividly) ! 15. So perfectly did she imitate (her husband) the way he saw, the way he spoke,
the way he dressed and the way he sat that her rivals looked on intensely and excitedly.
16. When the sun is still shining (i.e.before the sunset) the wife holds in her hands
the feet of her husband (lit. the master of the house) and washes them with a smile although he is unwilling (to have them washed).
17. A hot strumpet for a consecrated lawful wife, wine to drink and flesh to eat:
alms for (daily) food and a piece of hide for bed ! Such a Kaula religion who would not love ?
(Verse 18 is treated in the Notes.)
(Verse 19 is treated in the Notes.)
20. For translation vide DHV S.No.(44.14) supra. 21. For translation vide DHV S.No.(1.6) supra.
22. The two in a lovers' quarrel got angry and pretended to be asleep; both stubborn
and haughty listen carefully to each other's laboured breathing + which of the two will hold out ?
23. Not knowing your roguery your wife got angry even when in jest you called

Page #77

Prakrit Verses in Sanskrit Works on Poetics
her by a wrong name; O you rogue, see what your joke did - she really wept! -
24. As she undid the hair of her dear husband from the chains on her anklet in
which they were caught when he had fallen prostrate at her feet she promised that all her anger had gone from her mind.
25. The wife of the man who is about to set out on journey goes from house to
house to know from other women who have already experienced similar agony of separation what secret would help / enable her stand up to the testing moment of her husband's leave - taking.

Page #78

Chapter V : VYAKTIVIVEKA
1. Ever victorious is the poetic speech throbbing (with inspiration) with its seal yet
unbroken, as it were. 2. For translation vide DHV S.No. (2.6) supra. 3. For translation vide DHV S.No. (35.13) supra. 4. For translation vide DHV S.No. (27.11) supra. 5. It was like a mountain with its (best) tree (Parijāta) uprooted. Abandoned by
Laksmī, the goddess of wealth and beauty, it was like a lotus - pool with the flowers blasted by frost. It was like a goblet, emptied of wine. Bereft of the young moon it was like the light of the dark half of the month.'
6. For translation vide DHV S.No. (31.12) supra. 7. For translation vide DHV S.No.(33.12) supra. 8. For translation vide DHV S.No.(5.7) supra. 9. Aren't you a fool, O king, daily to throw away your wealth in such an extravagant
manner just because it pleases you ?
10. For translation vide DHV S.No.(15.9) supra.
11. For translation vide DHV S.No.(21.10) supra. 12. For translation vide DHV S.No.(26.11) supra. 13. For translation vide DHV S.No. (23.10) supra. 14. For translation vide DHV S.No.(14.8) supra. 15. For translation vide DHV S.No.(15.38) supra
1. As translated by K. K. Handiqui (p.11,v.11); he adds in a footnote : "The Pārijāta tree, the goddess of wealth, wine and the moon were taken out of the ocean during the churning."

Page #79

Prakrit Verses in Sanskrit Works on Poetics
16. For translation vide DHV S.No.(24.10) supra
17. The hair of the dark young slender lady which enjoyed a caressing contact with
her hips felt sad as it were at being tied up in a knot above and shed tears.
18. For translation vide DHV S.No.(1.6) supra
19. For translation vide DHV S.No.(14.8) supra 20. For translation vide DHV S.No.(45.15) supra 21. For transltion vide DHV S.No.(3.6) supra. 22. For translation vide DHV S.No.(36.13) supra
23. On the occasion of viparīta - rata ('contrary intercourse' - where the woman
takes the man's position, above while the man lies below) when Laksmī saw Brahmă seated on the navel - lotus (of her husband Visnu) she was overcome with shame and instantly closed the right eye of Vişnu.
(Note : Mammața observes : the term Hari (=Vişnu) suggests the fact of his right eye being the sun — the Purānas describe the sun and the moon as the right and left eyes of Vişnu – hence the closing of that eye suggests sunset, which further suggests the closing of the petals of the lotus and the consequent veiling of Brahmă seated upon it, which lastly suggests the fact that her private parts being rendered invisible to him, her sport of love / love - game would continue unhindered / uninhibited ).
contin
24. For translation vide DHV S.No.(34.12) supra 25. For translation vide DHV S.No.(22.10) supra 26. For translation vide DHV S.No.(18.9) supra 27. For translation vide DHV S.No.(20.9) supra 28. For translation vide DHV S.No.(25.11) supra 29. For translation vide DHV S.No. (* 6.7) supra

Page #80

Chapter VI : ŠķNGĀRAPRAKĀŠA (VOL.I) -
1. The things that we see around do not please the mind as much as when they
are presented in a proper manner in proper words by reputed poets.
2. The whole lot of smouldering smoke making the place dark and your (younger)
brother-in-law standing over there to kiss your mouth, do you think, you will at all finish the work of blowing the fire to flame?
3. The very idea of visiting the daughter of the village - chief in a secluded mountain
village, with its enclosure broken by a wild buffalo thrills me.
(Verse 4 is obscure)
5. Bow down to Vişnu, who is high without being heightened, massive, without
growing in height, pervasive without being extensive, deep without being low / small, infinitesimal without being light, and who is manifest without being precisely known / yet beyond comprehension, inscrutable.
6. Bow down to Siva who has fallen prostrate in front of Gauri (i-e-, Pārvati) to
appease her jealous anger in all his eleven forms - ten reflected in the nails of her ten toes clear as mirrors and himself the eleventh.
7. A feast upon the flesh of fallen men, a thousand pots of fat and a never-ending
drink of blood : May the war go on for hundreds of years.
(Verse 8 : Please note that this passage in Apabhraíba and all other such passages hereafter are left untranslated - V.M.K)
14. (Rāma with the army of the Vānaras crossed the ocean.) After crossing the ocean
the Vānaras beheld the Suvela mountain that seemed to occupy the whole of the southern region and extend over the remaining regions raising its great peaks to overshadow the whole world.
(The following verse concludes the long description of the Suvela mountain.)
1. Note: The translation follows the emended text : "699 - 31T - CHUT - HUKET"

Page #81

Prakrit Verses in Sanskrit Works on Poetics
17
The fervour of the heavenly damsels did not weaken as they frequented the regions of the huge sapphire rocks resonant with the noise of the water - falls cascading down the lofty slopes.
18. (This passage is cited from Bhavabhūti's play called Málati - Madhava and forms
part of a long description of a vicious tiger, who is about to attack Madayantikā, the sweetheart of Makaranda, an intimate friend of Mādhva.)
This vicious tiger is playing the part of the angry god of death : He has put to flight the whole lot of people by his loud and deep growl that comes from his throat - a deep cavern indeed filled with the flesh of men and beasts mangled by first felling the victim by a powerful slap of his paw that is fierce like a thunderbolt - the path on which he walks is all full of blood of the animals he
has overpowered and mauled. 19. For translation vide DHV S.No.(52.16) supra
20. The young bride with plump breasts, amiable in disposition, dark in complexion
and slender in shape, slow in gait, who sees with her bud-like eyes, prevails over her husband (and keeps out other women).
21. For translation vide DHV S.No.(11.8) súpra
22. O brother-in-law, don't you see the series of crescent moons (i.e.crescent moon
like nail-marks) on the breasts of your wife ? Why are you in vain looking at the sky (in which there is a single crescent moon)?
23. How can I meet my lover, dear friend ? Not even in the night it seems possible.
Then the moon will be looking on - that out-caste with the kikkhiri (the symbolic stick carried by the out-caste in his hand for avoiding his touch / contact) of his multitude of rays?
24. Why are you panting, heaving your breasts which are the goblets of your rivals'
jealousy and anger, the globes of loveliness, temples of the elephants in the form of Madana, and the temptations that hunt the minds of men ?
25. Räma somehow passed the rainy season that was (as it were) a night-fall to
the sun of his endeavour, a strong chain restraining the mighty elephant of his anger; and a cage imprisoning the lion of his victory (in the coming war against

Page #82

Prakrit Verses in Sanskrit Works on Poetics
Rāvana).?
26. The real lotus is only in the shape of your hand; the real moon can be seen
only in your face. The lotus (in the pond) is nothing more than a lotus as the
moon (in the sky) is nothing more than the moon. 27. For translation vide DHV S.No.(14.8) supra
29. Who would not be assured of life or if dead brought back to life when prostrate
at (or touched by) Krşna's feet? But this bull Arista died at his hands after all a bull!
30. The lord of gods, Indra, is indeed made of wood since he does not sprout out
young shoots when the farmer's daughter touched him with her hands, tender like lotus - potals.
31. For translation vide DHV S.No.(31.12) supra
32. The young bride's beauty, as it were, sprouts out of her slender hands, sparkles
out of her eyes and swells out of her round breasts.
33. Why should the Night not pine away when she sees in the evening her lover,
the Moon embracing East after kissing the face of the beginning) of the Night-fall and then going in the company Jyotsna (Moon - light) to meet West, his other sweetheart ?
34. For translation vide ŚP S.No.(25.47), and ŚP (24.47) respectively for the first
and second line.
35. For translation vide DHV S.No.(14.8) supra
36. For translation vide DHV S.No.(11.8) supra
37. Because of malicious or mischievous people who like to insert a pestle into a
needle's eye I have not been able to see him, even to look at him, though we live in the same village.
2. Note : "The rainy season is described in the above terms because it completely halted Räma's war - like preparations for Rāvana's defeat and the recovery of his beloved wife Sita.'

Page #83

Prakrit Verses in Sanskrit Works on Poetics
38. For translation vide DHV S.No.(10.7) supra
39. O, maiden messenger, you alone are clever in your profession. You alone know
how (and when) to speak harsh or gentle words. You therefore proceed in such a way that your words will only scratch skin but not tear it open (in other words,"scold him for his infidelity/disloyalty to me but see that he is not estranged from me.")
40. For translation vide DHV S.No.(15.9) supra 41. For translation vide VJ S.No.(1.19) supra
42. O, my dear friend, since (the young beautiful women) are continuously gazing
at you unmindful of the strain to their eyes, don't you seem to be a man of Madana's kidney/ twin brother ?
43. O, friend, you feel composed by a little sandal - paste.
(Verse 44 is treated in the Notes.)
45. What is real appears in literature unreal even as what is unreal appears real;
and (sometimes) a thing is presented as it exactly is. Such are the peculiar ways
of poets. 46. For translation vide DHV S.No.(1.6) supra .47. For translation vide DHV S. No.(2.6) supra.
48. The accursed night is thick with darkness. My husband has set out on a journey
just today. There is no one in the house. O neighbour, remain awake in the night so that we are not surprised.
49. O, bull, (0, paramour) be satisfied with whatever grazing (enjoying) you have
done so far, unnoticed (by any one). Now the farmer seems to be 'husbanding his field' more carefully.
50. For translation vide DR S.No.(9.28) supra
51. , traveller,you who are anxious to see your wife, go by another route. For here
in this accursed village lives a householder's daughter who is, in fact, a snare from which it is very difficult to escape.

Page #84

20
Prakrit Verses in Sanskrit Works on Poetics 52. For translation vide DHV S. No.(31.12) supra 53. O,slender-waisted girl, plant your steps carefully on the ground. Because of your
plump breasts you might crack yourself; the Creator has created you with great care.
54. For translation vide DHV S. No. (4.7) supra.
55. For translation vide DHV S. No. (3.6) supra
56. On the bank of the river Goda the monkey tastes the pungent leaves of mustard
plants, and jumps and growls and beats its belly.
57. For translation vide DHV S.No. (42.14) supra
58. For translation vide DHV S. No. (5.7) supra 59. For translation vide ŚP S.No. (5.44) supra.
60. Dhanyā was true to the name indeed. For when, Krsna lifted the Govardhana
mountain and was busy balancing it on his hand he did not stop gazing at her with a straight eye for a long time.
68. The Goddess (lit. Glory or Splendour) of the Autumn descends on the earth
with one foot placed on the moon and the other on swans flying in the sky and her hands on the lotus-beds.
69. The swirling waters of the Goda and the mid-night of the rainy season alone
have witnessed your good fortune and my rash behaviour.: 70. When, I start writing a letter to my lover the reed pen in my trembling and sweaty
hand does not remain steady enough to draw a single line not to speak of the
opening words of greeting. Please tell me dear friend, how I write to my beloved. 74. What is the use of clothing, or fire, or room (a sheltered residence) to a man
whose body is being covered by the warmth of his wife's breasts ?
76. Long live the God of Love who uses the glances themselves of the lotus-eyed
young women as his bow-string, arrows as well as his bow ! 77. A necklace is an ornament for the breasts, earrings for the ears, a girdle for
hips. But for the eyes nothing better than a pencil of collyrium even in prosperity.

Page #85

ŚRNGĀRAPRAKAŚA-VOL.II
78. My dear young man, let me tell you the truth. Everyone loves his own life but
I shall not be able to live without you, and therefore, even though you are angry with me, I am still trying to appease you.
79. Don't look at him through the corners of your eyes, look at him straight as you
normally do. You will see him better and that will show you as a simple innocent girl.
81. In whatever direction I look, I see you there in front of me as if drawn in a
picture; and the entire circle of directions, as it were, holds in front of me a series of your pictures.
82. Wherever on his body Rāma placed the token of his beloved he shivered with
thrill as if he was being touched by Sītā (herself).
84. If we are not, as your wife is, a model of virtue, may I dear one, tell you why?
There is no other young man (as tempting or as irresistible as you.)
85. When Rāma looked at the sea he noticed Lakşmi to be still there though she
was believed to have departed from it long ago - still a part of the sea as Jyotsnā (Moon-light) is of the Moon or Kīrti (fame) of a worthy man or Prabha (light) of the Sun or a river of a mountain.
86. O friend, your cheeks are ponds of loveliness (as it were), your arms are graceful
and slender, and your eyes are like full-blown blue lotuses and indicate yearning for your lover.
87. Distracted by his anger the old man drives away the crow; tormented by hunger
eats boiled rice; wards off the dog; and hugs his grandson (This is the intended meaning; but the sentence being vitiated by the defect called 'Samkīrṇa'means:
The old man distressed by hunger eats the crow; in a fit of anger throws the boiled rice; hugs the dog and drives away his grand-son.)
88. Seized by the hair my husband is being beaten in broad day-light like a dog
in the very presence of the royal officers; alas, alas, for whose help shall I scream?

Page #86

22
Prakrit Verses in Sanskrit Works on Poetics
89. (Bow down) to Śiva, the lord of pramathas, half of whose body is Parvati's
(lit. has been occupied or pervaded by Parvatī), who has fastened the young crescent moon in the matted hair on his head, placed Gangă on his head and who has done homage to Sandhya (Twilight).
90. A vāpi (a lake, an oblong well) on which a pair of cakravāka birds is closely
sitting together, in which lotuses are fully blown and the surface of which fully conceals/covers the lotus - stalks is a thing of delight like a young bride whose
breasts sport bright yellow pigment. 91. A young bride wearing lovely new bracelets looks beautiful like a Jasmine creeper
with clusters of flowers on which bees are alighting.
92. The village chief got his head shaved, took a bath, ate and then inquired of
the astrologer about the naksatra (lunar mansion, constellation), tithi (lunar day) and våra (day).
93. A young bride on her way to the in-laws, soon after wedding weeps in her
palanquin but is comforted by her brother-in-law who is accompanying her.
94. "Eat poison, drink urine, may you be afflicted by plague, may thunderbolt fall
on you". So curses a mother her baby who has bitten her breast and pushes it off to the ground.
3. Note: This gātha is vitiated by the poetic defect called nyünopama as "the eyes' and 'arms', the upamăna višeşanas, are not mentioned.
4. Note: This gātha is vitiated by the poetic defect called 'adhikopama'as the attribute bees alighting on (the clusters of flowers) qualifying the upamāna
(Kundalata) is superfluous.
5. Note: This gatha is vitiated by the poetic defect called 'Apakrama'.
6. Note: This gåtha is vitiated by the poetic defect called 'Khinna'. The description that a newly wedded girl weeps when leaving home is quite natural, but the brother-in-law who is stranger at the moment comforts her is absolutely unnatural and not convincing at all.

Page #87

Prakrit Verses in Sanskrit Works on Poetics
23
95. Bow down to Hara (.e. Siva) who has reduced to ashes the handsome Madana,
the god of love with the fire of anger -- Hara who is like the Himālaya with Gangă streaming down the broad ridge.
96. Boars dig out musta grass, vultures eat the flesh of the dead, owls strike crows
and crows also strike owls.
97. Whose mind does the lotus not delight? - the lotus springing from the back
of a female tortoise and around which a circle has been formed by swarming bees greedy for its fragrant honey?
98. A poor peasant wipes with a silk-garment the perspiration on the face of his
wife who has carried a very heavy pot of rice.?
99. A certain amount of aggressiveness makes public women fascinating. We rather
prefer the fragrant smell (smoke) of burning sandal to its blazing fire.
100. If Hari, Vrddha and Sāli (king Sālivāhaana, also known as Hāla) (or with the
reading 'Harianda', Haricandra', and king Sālivāhana alias Hāla) and their like are the poets. People like us are only mis-called poets. The term 'hari'is applied to small and big animals like monkeys and frogs and snakes and lions also.
102. Since the border of your garment slipped off and got wet when you descended
the ghāta of the Godā river to bathe, I think you did not really bathe there,
the water being still very clear. 104. O traveller, in this house of a village - chief there is hardly any possibility of
your getting the pleasure of a comfortable bed (also, of enjoying the pleasure of comfortable love-game). If, however, the rising clouds (in the sky) persuade you to stop here - to stay overnight (also, if however, my swelling breasts tempt you to stay overnight) you are very much welcome.
105. May the supremely blessed Umā that assures success in all undertakings grant
us happiness transcending the good and bad, the high and the low !
7. Note : The găthā is cited to illustrate the poetic blemish called impropriety (anaucitya). To describe a poor peasant wearing silken garment is improper.

Page #88

24
Prakrit Verses in Sanskrit Works on Poetics
107. At day-break one can see a layer of lotus pollens spread on the steps leading
to the lake.
- 109. Don't chatter like a parrot in the language of parrots. I am not a wretched parrot
to understand that -- a female parrot knows that language, not me, you rascal! -
110. (The damsel) with breasts of this much / such size a size and petal - like eyes
of this ruch / such a width, has been reduced to this much / such a condition in days of this much number / in such a number of days!
111. May the Goddess of Learning bless us ! May the poets, Vyāsa and others feel
great joy! May the excellent speech of other poets too, so dear to the leanrned, thrive! May the style Vaidarbhi as also Māgadhi and the Pañcall too flash upon us! May the connoisseurs of poetry enjoy these styles as cakora birds enjoy moonlight.
112. The lion was out on a prowl and the cave was empty. The hunter saw his
opportunity and collect the pearls before going away.
118. O proud lady, why are you sitting with your face resting on the palm ? - Your
face dusky with sandal paste, with eyes full of anguish, qverse to smile, withered with (hot) sighs, most melancholy in expresion, and the paint on your
cheeks transfrssed to the palm. 119. O, you, who are most melancholy, may I ask you a question ? (Tell me) why
is the man, without whom you can't live, is deserted ?
(Verse 120 is treated in the Notes.)
121. When her husband's brother / brother - in - law suggested to her that she
should attend to her husband's duties in the palace (lit. take the sword in her hand aud go to the king's palace) instead of him, why did she smile and cast a glance at her bed ?
123. Dear girl, the flour ground for the festival sticking to your breasts, eyes red
with drinking, the lotuses as your decorations and mango - blossoms as your ear - tops, you have indeed brought grace to this village !
124. When the friends of a young bride said to her : "There is a Kusumbha blossom
clinging to your breast and she tried (in her innocence) to remove what, in fact,

Page #89

Prakrit Verses in Sanskrit Works on Poetics
25
were nail - marks, her friends giggled at her simplicity. 125. When the river tank is blazing, a young woman, although addressed, does not
reply; but gets angry with everybody without any (apparent) cause.
126. The young girl casts stealthy looks at the village chief's son who, wearing jambu
leaves as ear - ornament, is moving about and the fair colour of her face suddenly turns dark.
127. In sex - game with experienced women whatever is well - taught brings delight
whereas with young brides whatever is not taught pleases (or thrills)
128. For translation vide DR S.No.(16.31) supra 129. "O, take this, and have a look at it,” – with these words the excited wife
(lit. the wife with her eyes dilated) offered to her husband the badara (jujubi) fruit marked with their son's first pair of teeth.
130. As the daughter-in-law of the ploughman saw the son of the master of the
house standing on the bank of the river Godā, she intentionally chose a path difficult to cross (with a view to obtaining support of his hand and thus coming in physical contact with him.)
131. To be sure whether she was a fairy, the wayfarers would gaze only at the eyes
of the girl, shapely all over-as she scared flocks of parrots from the rice field
which was asked to watch. 132. When the proud lady heard her husband's plea that she should kick him on
the head instead of on heart as she had meant to in her anger, she didnot kick
but she only buryst out into tears. 133. For translation vide ŚP S.No. (5.44) supra 134. Clouds are thundering in the sky; the kadamba trees are in blossom; the
peacocks are dancing; the moonlight has vanished. My friend, the rainy season has come !
136. My dear girl, it is true not only of the bamboo of which excellent bows are
made, but of human beings too. It may be an excellent bamboo of good stock but without proper accompaniment it can't produce the right report-) but if

Page #90

26
Prakrit Verses in Sanskrit Works on Poetics
it has no string (of similar quality)it can't have a proper twang.
139. Drinking from the hollow of his hands at a wayside watering place, the traveller
sees the young woman serving water to him, he lets it run through his fingers to prolong his drinking; the young woman on her part responds by pouring the thin stream still more thin.
140. Under the pretext of the difficult descent to the river Goda she lets her body
fall on his chest. He too holds her close to himself. Who could fault such an act of kindness on his part ?
141. The red dye of her lower lip which overnight was rubbed away by her husband,
was seen the next morning on the faces of her rivals / cowives,
142. As 'the eyes reddened by the early morning bath fail to show the colour of
passion-soft like that of young foliage, even so the eyes dinmed by doting passion fail to show signs of anger in them.
143. If her eyes had not closed on account of the extreme joy at the sight of her
beloved you could not have noticed the blue lotus worn by her on her ear. Could you ?8
144. Just as she looked at you in such a way as to convey her love and affection
for you, in the same way she looked at others also; that is an attempt to hide her special feeling for you.
145. He saw her but she saw him not, though he spoke to her she spoke not; and
when they met she greeted him not. From all these obvious facts shrewd people came but to the correct inference.
147. As he was coming out of his swoon, he fixed his glance angrily on the large
and round breasts of the celestial nymphs mistaking them to be the frontal globes / temples of elephants.
8. : the blue lotus on the young woman's ear wouldn't be detected as its colour would have become merged in the blue colour of her blue-lotus eyes extendig as far as her ears.

Page #91

Prakrit Verses in Sanskrit Works on Poetics
27
· 148. When a flock of parrots resembling the green leaves and red fruit (of a banyan
tree) flew up,the travellers, who approaehed the dried up banyantree, laughed and clapped their hands.
149. That simple- minded (or innocent) deer, was so tormented by accursed mirages
that it turned its face away even from real rivers.
151. The castor plant (Eranda) whose leaves have come out of the wholes of the
hedge, proclaims as it were to the young boys : “Here in this house lives a ploughman's wife/ daughter-in-law with such plump breasts" !
152. The mango-bud is not seen, my friend; the Malaya wind too does not blow.
But my heart feels the approach of the Spring, and longs for my dear husband.
153. Mind, dear friend, you will drag your family to dust by your vakra-ullapa
sarcastic talk and that uprorious laughter showing the whole set of your teeth and that gesticulating body.
154. For translation vide (DHV-) Locana S.No. 7.7 supra 155. Her face is like the moon, her lips like nectar (lit. the sweetness of her mouth
like nectar); but what can her kiss be like, squeezed on her lips by catching hold of her by her hair ?
156. My beloved has lotus like hands, plantain-tree like thighs, blue-lotus-like eyes,
moon-like face, fresh Campaka-like limbs and lotus-stalk-like arms. How is it them that with all these cooling attributes she can still torment me ?
157. His (Rāma's) gaze radiated Laksmana's face, like an adornment (i.e. added
to the lustre of his face by comforting him), dwelt admiringly on Sugrīva's broad chest like his garland of sylvan flowers; on Hanūmat, like his fame (i.e. added to the glory of Hanumat, who was already famous for his brilliant achievements) and was a command to the host / army of Vānaras (apes).
158. As the head when chopped off from the stalk of the neck rolled on the ground
petals of the lips quivered, teeth the filaments of teeth of hung loose, and the
honey of blood streamed forth. with its petals quivering oozing out the sap. 159. Kumbhakarna's reply stirred the venom of Rāvana's anger. He sloughed off
his garment and looked more frightening and deadly.

Page #92

2.8
Prakrit Verses in Sanskrit Works on Poetics
160. In the ocean of the firmament stars coming out of the oysters of the clouds
radiate lustre of pearls along the shore of the night.
161. There rose the columns of smoke, the shock of hair of the rows of trees,
fluttering banners of Madana spreading fragrance, the sailing clouds screening the moon's rays or, the deputies of darkness.
162. When Vişnu awoke his eyes feel on the worthy sight of the sky, a beautiful
lotus as it were, grown from his navel in which Brahmă was born : the white clouds in the sky being its multiple petals and the rays of the sun its filaments..
163. The long day bright with the jewel of the sun in its hood slithered away to
the West sloughing off the oppressive heat of the noon.
164. All the sides of the sky cleared up as if they are the branches of a tree that
have been loaded down in the rainy season and which have now cleared up when autumn came by shaking off the clouds which look like a swarm of bees.
165. There faded the rainbow which adds to the beauty of the sky like the nail-marks
freshly made by the departing rainy season on the bosom of the lady namely the massive clouds who wears them as a sign of love and happiness.
166. The house-wife wiped her face with her hand soiled with soot from the kitchen.
The beautiful face thus looked like the moon that has dark spots on it and seeing that her dear husband started laughing (? The face then looked like the moon (with a dark spot on its surface) and seeing her naturally spotless bright face soiled her husband (felt amused) and started laughing.)
169. For translation vide SP S. No. (33.49) supra.
171. The day falls like a trunk; the sun looks bloody like the throat slit with a knife;
the twilight drips blood; and the darkness rolls away like a severed head, a
black hairy ball. 172. For translation vide ŚP S. No. (32.48) supra.
173. It (The sea) has the volumes of waters just as it has fortitude. It has winged
mountains as it has shoals of whales. It has waves as it has incoming rivers, and numerous substantial qualities as it has gems.

Page #93

Prakrit Verses in Sanskrit Works on Poetics
29
174. As the night deepened his nervousness increased (lit. the watches of the night
vanished with his patience) the advice of his friends, which was not carried out to the end, become effete with his heart. His arms hung limp, as did his spirits; with the shedding of tears his mumblings stopped.
grass-widow, cheer up. These are only the peaks of the Vindhya mountain looking dark because of the soot left behind by the forest - fires in summer and not the first clouds of the rainy season.
176. For translation vide ŚP S. No. (32.48) supra
177. A persen who is dear to you, although he causes suffering does, (in fact), mark
you happy. The breasts of a woman although painfully scratched by her lover feel but a thrill of pleasure.
178. Persons that honestly achieve their objectives and remain silent about them
are indeed few and far between like the trees that yield fruit without the eye-catching flowering.
179. Persons who do good and expect nothing in raturn are indeed few and far
between like the clouds. (But) rarer still are those who, become emaciated in their absence like the river-streams in the absence of clouds.
180. The moon looks beautiful on account of the autumn; the night on account of - the moon; the bed of white lilies (lotuses) on account of the night, the sandy
bank on account of the bed of white lilies (lotuses), and the flocks of swans
on account of the sandy bank. 181. Vibhīşaņa, pleased with Hanūmat’s confidence in him, intimated his resolve
(to join Rāma's side). Sugrīva, thereupon, embraced him so tight that he crushed the bees hidden in the garland of sylvan flowers which was on his chest.
:
182. The daughter of Janaka (i.e. Sīta) fell on the ground with her left breast pressed
on it and the right breast raised and slanting, and the pale cheeks becoming enlarged to the proper limit, being released from the grip of her hands.
184. The mountains indeed are weighty, and the oceans indisputably deep. Even
then I feel not enthusiastic enough to compare them with men of fortitude and

Page #94

Prakrit Verses in Sanskrit Works on Poetics
determination.
185. (Citraratha interrupts Rāvana who was boasting of his prowess :) "There is
no point in boasting, Rāvana, when you can't keep your own resolves. Remember the sum and substance of it all is that no warrior has yet survived the thunderbolt (of Indra)."
186. The village is full of young men; the month of spring has set in; she is in the
prime of youth; her husband is (very) old; there is old wine (in her house) at her disposal. If under the circumstances she does not become unchaste,is she to die then ?
187. Unless, my dear,you teach me a more effective way of being sulky, I really
can't knit my brows when he comes within my sight, nor keep mum when he starts talking and how can I look indifferent when I am really afraid that he might feel hurt : or else this kills me.
188. For translation vide ŚP S. No. (49.52) supra
189. It is only the blessed women that keep the pestle, long, thick and firm, filled
with a metal ring, always ready at hand in their house.
190. When she imagined that she was with her lover and picked up a quarrel for
some old offence or the other her friends pitied her and wept. They didn't make fun of her as (they knew) it was all a figment of her imagination.
191. When asked 'Who are you thinking of ?” She said, 'Who is there to think
of ?' and burst into tears; we too wept (lit. she made us weep out of pity for her.) She was obviously distressed over you (-your indifference towards her.)
192. The Goddess of Spring lounges on the fresh foliage, trips about on the boughs,
flits around among the tops and stands firmly on the blossoms of the Asoka tree.
193. Not only did the campaka flowers look like the flames of lamps but swarms
of bees hovering over them served the purpose of the black ends, of the wicks.
194. As the arrows shot out by Rāma struck the body of Rāvana he felt a great
thrill of joy : he knew that they came from the hands that were privileged to caress the breasts of Jānaki.

Page #95

Prakrit Verses in Sanskrit Works on Poetics
195. The three. folds above the woman's navel are the imprints of the fingers of
Brahmă when he weighed her on his hand to see whether her hips were heavier than her swelling breasts.
196. (Hari, i e. Krsna says :) It fascinates me the colouring which Satyabhāmā's lovely
face gets from her anger over my offence of love - beautiful as the moon looks beautiful with musk-deer.
197. Why shouldn't her waist not pine away? It isn't being visited by the lady's
eyes resembling the petals of a blue lotus. They are being blocked by her big
round breasts ! 198. For translation vide ŚP S. No. (112.64) supra.
199. Listen to the story of the slaying of Rāvana (the poem called Dahamuha-vaha
- Dasamukha-vadha-) -the slaying which ended Sīta's sufferings, which showed Rāma's love (for her) and led to the release of Rāvana's captive gods and pulled out, as it were, a dart rankling in the hearts of the people of the entire universe.
200. (What is that whereby poetical compositions do not captivate your heart ? In
other words) can poetry ever fail to captivate your heart ? It increases your knowledge, brings or wins fame, persuades you to virtues and acquaints you with the lives of the great.
"The best among wise men know all (literary) compositions as being endowed with (or charactersised by) the qualities conveyed by the two words turbid (i.e. difficult to understand) and transparent (lucid) just as they know the heart (mind) (of people) as being endowed with (characterised by) the qualities conveyed by the two words viz; turbid (tainted with passion) and transparent (i.e. calm and tranquil)"10
202. For translation vide ŚP S. No.(123.66) supra
9. 'anurāa-inham also means marked by the word 'anurāga' at the end of each canto. 10. As translated by Prof. M. V. Patwardhan

Page #96

32
Prakrit Verses in Sanskrit Works on Poetics
203. For translation vide DHV S. No. (20.9) supra
206. Madana, the god of love, ever ready with his bow and arrow chooses for his
dwelling the limbs of women, who are in their period, who wear unclean clothes, who have their hair tied into a braid (according to alternative reading, who have applied turmeric paste to their face), and whose broad cheeks are pale white.
207. For translation vide DR-Avaloka S. No.(1-26) supra
208. For translation vide DR.Avaloka. S. No. (2.26) supra
209. I will show you, dancing in the sky, the whole host of gods, headed by Hari,
Hara and Brahman, the lord of the gods, Indra, and a lot of Siddhas, Caranas, and the celestial nymphs.
210. Why waste words ? By my master's spells (lit. by the power of my master's
spells) I will show whatever you desire (lit. whatever you desire at heart to
see).
212. Visnu even today wonders that all the delicate limbs of Laksmī, tender like
the spray of the moon's bulb, should have been left without a scratch by Mt. Mandara. (lit. wonders how is it ---- bulb were not broken to pieces ?)
213. The host of Vānaras, terrified by the sight of the ocean, all of a sudden started
trembling and moving away, felt ashamed and stood motionless and looked on with wide open eyes painted as if in a picture.
214. For translation vide ŚP S. No. (158.74) supra. 215. For translation vide ŚP S. No. (144.71) supra.
216. The glances of the moon-faced damsel, which are lit up by her partially visible
(sparkling) pupils, rolling about sluggishly because of drowsiness and ogling would be difficult to resist even for Kāma, the God of Love.
217. A man all set for a journey, while enjoying, by way of farewell, the pleasure
of pressing and squeezing the buxom bosom of his wife suddenly sees that the day of his journey being a Tuesday or the date, 2,7 or 12 in the lunar fortnight is inauspicious / not propitious,l, welcomes such superstitions as

Page #97

Prakrit Verses in Sanskrit Works on Poetics
33
sources of great joy.
218. The happy sex-game of the previous night has put this young daughter-in-law
to deep sleep so relaxing to her overworked limbs but so tormenting to her rivals in love.
219. You surely wouldn't have been that angry with me (when I rebuked you for
your conjugal disloyalty) if you had only understood the agony of a woman who on waking up in the middle of the night finds her husband's place in the bed empty.
220. Although Satyabhāmā and the other wives of Krşņa were equally hurt,
Satyabhāmā alone was angry and felt jealous; both the feelings were properly related to her love and regard for Krsna. They essentially were reflections of her love.
221. My friend, tell me whether in the early hours of the morning I too had gone out with him. For, that fair one appears altogether different in the mirror.
ŚRNGĀRA PRAKĀŠA (VOLUME II)
222. The moon, as he wanders through the night, loses his lustre in the early hours
of the morning; but you seem to be adding to your lustre after your nocturnal rounds. Is that on account of your wife's (? mistress's) fragrance which you are wearing?
223. Krsna gave to Rukmiņī that garland of celestial (Pārijāta) flowers spreading
fragrant smell and perfume, although not solicited (or requested for) by her, thereby causing pain to Satyabhāmā's heart.
224. If outward show of courtesy pleases and if it is mistaken for true affection
then indeed there is no difference between genuine affection and pretended affection.
225. You are hurt because I gave the celestial flowers to Rukmiņī, but if I were
to bring back the very flowers to gratify you it wouldn't be in keeping with my love for you, my delicate one, nor with my offence.
226. The hunter who has spent himself out on his new young wife yet forces
himself to carry to the forest his unpared bow which has now become for

Page #98

34
Prakrit Verses in Sanskrit Works on Poetics
him too difficult (tough) to stretch or wield or bendhe, being courteous does all this retaining his affection for his earlier wife-all this to retain his first wife's attraction for him (or - all this just not to forfeit his first wife's interest in him)
227. It is now many days since the young (new) wife of the hunter, very proud
of her charming beauty and prime of youth scatters on the roads the parings of his bow as if they are her good fortune and happiness.
228. My limbs feel thin, they move to and fro, feel dried up, perspire and my
skin bristles in his presence. I wouldn't know how these wretched things - limbs - continue to live.
229. A bite-mark on the cheek, neatly done and decorated hair roughly tousled
and eyes (for want of sleep looking dull ‘nidrālasa G S II.48 CF MOEICHERAR) rolling about or unsteady-rall these are signs enough that the God of Love favours much this young bride.
230. The measure of modesty she still maintains even in the most intimate
moments of privacy with him shows that in spite of his efforts to appease her she still feels annoyed with him and wants to show it.
231. For translation vide ŚP S.No. (143.70) supra. 232. You silly little girl, believe yourself, you have already washed your hands
and the red paint is gone; by washing them again and (again) do you think you will be able to wash their coral redness, which is their natural colour?
233. “When did my dear hubsand leave ?" "Only today, my dear.” “How long
does that make ?" "One day." On hearing this the damsel fainted.
234. During early months of her pregnancy she was asked by her friends what
she liked or longed for or doted on, the sweet young woman merely cast a charming glance at her husband.
235. So long as her breasts didn't swell to a shapely form her other limbs remained
neglected by the God of Love. (With the emendation of thutthukkäriaim'to 'dhuddhukkariaim': her other limbs were filled up with youthful passion by

Page #99

35
Prakrit Verses in Sanskrit Works on Poetics
the God of Love .)
236. When her husband, who has given offence talks to her, the young wife refuses
to talk; when he holds her, she trembles; when he kisses her she weeps; when he holds her in an embrace she remains frigid.
237. In the festive gathering the simple - minded girl looked at her prospective
husband in such a way that he first caught hold of her heart and then of her hand.
238. The newly married girl, a spoilt child indeed, today did a mean thing - she
said to her husband : "I am afraid to stay alone at home" and prevented him from leaving the house.
(Verse 239 is obscure.)
(Verse 240 is treated in the Notes.)
241. For translation vide ŚP S. No. (197.83) supra.
242. Lo and behold, loveliness not finding room enough in her slender body is
flowing downwards as perspiration over the staircase, as it were, of the three folds above the navel.
243. When her husband misbehaved (committed offence of love) the poor wife
secretly heaved sighs, wept silently in the nights and kept to herself all desires she had cherished.
244. O,fate, I pray, let my husband be involved with other women because men
who are attached to only one woman fail to appreciate her and can't see defects in other women.
245. They do not heave long sighs, they do not weep, they do not become
emaciated because of separation (from you). Happy indeed are those women who do not madly dote on you-obviously a ladies' man !
246. During our amorous games at night she orders me around and her cheeks
glow with joy - But as the morning comes her head bends low in bashfulness, making it difficult to believe that she is the same beloved.

Page #100

36
Prakrit Verses in Sanskrit Works on Poetics
247. The woman whose husband has long been away on a journey is afraid that
the tears that she sheds in the night as she remembers her beloved husband might fall on the lamp and put it out, therefore she turns her face aside and
leaves it at the front door. 248. For translation vide ŚP S.No. (166.76) supra.
249. Which fortunate man is that whose hands will caress your plump breasts,
Madana's treasure as it were ? He must indeed be a unique tree bearing the friuts of good fortune and his hands the sprays of tender leaves !
250. "My dear, please be kind to me." "But who is angry with you ?" "Why,
you, my beauty," "How can one be angry with a stranger ?” “But who, tell me, is the stranger ?" "Why, my lord, you yourself !" "How?" "Well that is my misfortune" (lit,that is the consequence of my (past) evil deeds.")
251. For translation vide DR. Avaloka S. No. (1.26) supra.
252. Look here, although she has been greatly distressed with her husband, her
jealous anger for her beloved (husband) dwindles like sand slipping through the fingers (let slipping down from the interior of the fist).
253. When his hand touched her, she perspired profusely like a doll made of
moonstone when it is touched by the rays of the moon.
254. Twenty days are already gone. I have counted them by my fingers and toes.
but now with what shall I count ? She says and begins to weep.
255. As the rain - water seeps through the thatched roof which has been disturbed
by the storm (lit. through the openings in the thatched roof of the house, whose grass-roof has been displaced by the stormy wind) and streams down the wall, the simple-minded wife tries to protect with her hands the marks she has made there to count the number of days her husband has been away.
256. When the husband addressed the young new - wed girl by the name of another
woman (just) in jest in the residence of the young newly-wed girl, her eyes moistened with tears—which gave him ever - increasing joy.
257. For translation vide ŚP S. No. (125.66) supra.

Page #101

Prakrit Verses in Sanskrit Works on Poetics
37
258. You need not ask her whether the man she is engaged to marry is dear to
her : Look at the goose-flesh on her skin (romāñca) that should answer you, friends.
(Verse 259 is corrupt and obscure.)
260. Because of the elders around the young bride tried to cover her lips with
her fingers when she saw her husband who is welcome to her, but the fingers wouldn't close.
261. That simple-minded poor girl learnt today in the course of one day languor,
weeping and yawning from the love's offence you had given her.
262. At the touch of her groom the just married young woman closes her eyes
(in rapture), her slender arms thrill in excitement and perspire; languid and bashful, she feels by the presence of the elders around.
263. The firm curves of her stately breasts were worshipped with blue lotuses
which in fact were the eyes as reflected in the freshly made nail-marks on her bosom at which she was having a close look.
264. How marvellous ! His (enviable ) virtues are diverse; they excite jealousy,
inflame passion, render his occasional misbehaviour (love's lapse) acceptable and make separation from him bearable.
265. As the wine in a crystal glass diminishes with every sip, the flush of anger
on the young woman's face wanes as her lover kisses her nether lip. 266. For translation vide ŚP S.No.(216.86) supra.
267. Hypnotized by that Siddha-prince, my wicked eyes misled me to the path
of immodesty. What can we (i.e. I) say to you (now) dear friend ?
268. My dear, having pulled a portion of your garment (caught by me to stop
you from going away in anger) you are departing, please go slowly. You are not heeding that your waist, distressed by the burden of your breasts will break (if you walk so briskly.)
269. There's no point in thinking all this much. O Gajamukha (i.e. Gaņeśa), be
kind to me and let the son of Kubera (lit the lord of wealth), Nalakūbara

Page #102

38
Prakrit Verses in Sanskrit Works on Poetics
be my husband.
270. Dear friend, let me cry today, only today. Tomorrow morning when he will
be setting out on his travels abroad I shall weep no more. I shall be dead by then.
271. O, the noblesse oblige that forces you to accept the two heavy burdens:
getting away from those you love and living with those you hate.
272. The fire of separation, dear friend, is not unbearable - there always is the
hope of reunion – but estranged relations with a beloved living in your neighbourhood are more agonizing than death .
273. Men do prevail over women; O charming one, why should you be ashamed
of having fallen in love with him ? When thus urged by love what indeed can the nobility of descent do?
(Verse 274 is corrupt and obscure.)
275. O charming one, you are only flirting with us, you can't forget your class
and your noble birth. Ordinary people like us live happily.
(Verse 276 is corrupt and obscure.)
277. Mother, I simply can't get cross with him, even pretend to. Even though his
behaviour is not always up to the mark (lit. he has cast aside decent behaviour). These limbs of mine are no longer under my control (or, these limbs of mine are as it were on loan to me, they just don't accept my authority).
278. My heart, burning with the fire of love, brooks no delay and you too, know,
his life is in danger.
279. O Mother, (or Friend) they take away my husband from me like a bowl of
jujube berries from the hands of a blind man, and as if this is not enough they feel jealous of me; it seems the snake has grown a hood also at its tail!
280. You have already burnt my heart and now as I am lying in bed with my
back to you why are you scorching it with your sighs due to remorse?

Page #103

Prakrit Verses in Sanskrit Works on Poetics
39
281. These glances from your (wicked) eyes, turning now towards me, now away
from me, in scorn, as it were uproot my heart, though you are no longer interested in me.
282. What other ornamentations does a young woman abed with her (beloved
husband or) lover need besides roughly tousled hair by his hands and the mouth fragrant with wine?
283. Do not stop her playing that game of Utphullika: that will make her agile
or else her bulky, hips will make her exhausted when she comes to play the game of inverted coitus (later after marrage).
284. What prevents me from welcoming death right now is the disturbing thought
that if I were to die with my mind still stuck on you, in the next birth too I may continue to be attached to you, O charming one.
285. Every good omen that suggested her meeting with you, she preserved in a
knot on her garment. With so many knots on it the garment virtually became an effective amulet against death which she contemplates (or against any evil spirit - pišáca - that might possess her or) against any possible planetary evil.
· 286. Even when the climax of sexual enjoyment was reached, the young wife,
ignorant of such (sexual) matters, yet eager for them wondered whether there was anything else to follow.
287. For translation vide DR Avaloka S. No. (25.34) supra.
288. In an attempt to remove the nail - mark from her bosom the young wife
rubs and washes it, also tries to scratch it off; the silly girl does not seem to know that it has been caused by her husband only.
289. She, in fact, has nothing but good words for you; even when she complains
to the village - girls about how on a certain holiday you smeared mud on her big round breasts with your own hands, she only pretends to be resentful.
(Verse 290 is corrupt and obscure.)
291. All the young men are running after the village chief's daughter who has
taken away the palāśa flower. The whole village is empty of men; for whose help do we shout now?

Page #104

40
Prakrit Verses in Sanskrit Works on Poetics
292. Well, I may at the most, shut my eyes with even both of my hands when
I see him coming but how can I conceal this whole body of mine which will bloom out like a kadamba flower ?
293. When the women singing the wedding songs came to mention the name of
the bridegroom in one such song, look the bride all eager to hear the name of the man and the goose-flesh came out on her body, as if to share her eagerness.
294. For translation vide ŚP S.No (177.78) supra.
295. We (i.e.I) still remember, how my beloved angrily withdrew with flushed
cheeks stuttering out with throbbing lips :''Don't touch me.".
296. For translation vide SP S.No. (219,87) supara.
297. O, look at her miserable situation : she was keen on obtaining the pleasure
of being appeased and courted by her husband, so she concocted some offence of which he was alleged to be guilty but thereby she forced him,
a straightforward man, to wanton ways. 298. Look, friend at that spinster enjoying the utphullikā game which is suited
to gay women who go in for inverted coitus.
299. Tell me, O charming one, O shameless one, which of your lapses I should
forgive the present ones or the past or future ones?.
300. The rural girls playing games so freely dropping off all the usual inhibitions,
dear friend, is that in the very nature of the Spring months ?
301. He was about to set out on his journey and his young wife released him
from her farewell embrace and lowered her creeper like slenuer arms; her bracelets slipped down and fell on his feet like fetters as it were.
302. When the musical instrument announced the arrival of the bridegroom the
bride felt so thrilled and excited that her body could not contain all that profuse perspiration.
303. O, my innocent dear (ajña; with the reading unnama, O my dear, get up)
I am not cross with you. Do embrace me. Why this stupid attempt to placate

Page #105

Prakrit Verses in Sanskrit Works on Poetics
me? I will have nothing to do with jealous anger, which causes grief to you.
304. I carry you in my heart - you and your beloved - you can't be without her.
you ask me why I look so thin and tired. Foolish fellow, you should know that even a mighty bull can't bear too heavy a burden without being thin and tired.
305. Women who can welcome their men home with dances, sighs, tremulous
movements and obvious excitement (lit. who know how to dance, on seeing their lovers (returned from a long journey) with sighs, tremor of the body and horripilation) are fortunate indeed, whereas some women, and I am one of them, on merely seeing our men coming back, forget everything, even ouselves.
306. For translation vide DR-Avaloka S.No. (16.31) supra.
307. It is with great difficulty that one gets a dear lover. When one gets him,
it is difficult to have a real hold over him; and even if you do get such a one and he is not quite what your heart has desired, he is as good as not
got. 308. For translation vide DHV S.No. (40.14) supra.
(Verse 309 is treated in the Notes.)
310. Shocking that you should be planning another journey so quickly — may
be you are fond of hard life. But the curls in my hair which I dressed up only on your return haven't yet become straight !
311. My dear daughter, you need not shed such tears because of old age of your
husband. Your marriage takes you to a beautiful village which is surrounded by woods with dilapidated temples in them and aren't there plenty of young men there?
312. She has indulged in her jealousy and anger so much that her young man
is now to her as good as gone abroad though he is very much in the same village.
313. In the presence of the elders she put on a very brave face at the time of
your departure, but when she, later, closed her eyes tears that were sticking

Page #106

Prakrit Verses in Sanskrit Works on Poetics
to the lashes rolled down.
314. When you see your lover, you are thrilled,when he comes near you tremble,
and when he begins to talk with you, you get drenched with perspiration, when it comes to physical touch you blush.
315. To anoint her lover with sandal powder she in great excitement and all smiles
took a handful of the powder on her trembling palm and look ! it became scented paste!
316. Look ! all the make-up on the bride's face and her other decorations were
spoilt by the profuse perspiration into which she broke and the goose-flesh she had all over as she caught the name of the bridegroom in the wedding
songs which women sang. 317. For translation vide ŚP S. No. (218.87) supra.
318. She did not say a word but her tear - drenched face and her eyes turned
away from all other men did confirm clearly what a handsome man he was.
319. The first ever, non-sensical, incoherent and broken replies the new bride
mumbled indistinctly to the bride-groom's repeated questions find not room enough in his heart.
320. O left eye, if my dear man comes back home today as your twitchings predict,
I shall reward you by keeping the other eye shut and allowing you alone your fill of a look at him.
321. You are a fool, young lady, by easily giving in on just seeing him, you don't
know what a lot of fun and pleasure you have missed. You should have made him fall at your feet and allowed him impetuous and forced kissings!
322. On hearing that the bride-groom, chosen for her, is none other than the one
on whom she had fixed her heart the young girl felt so greatly thrilled that the signs of excitement showed all over her body (lit. the young girl was thick with goose-flesh all over her body). She first bathed herself with perspiration then her friends bathed her with water.
323. Let me ask you, friend, tell me honestly : Do the armlets of all women grow
bigger on their arms, when the beloved is away on a journey?

Page #107

Prakrit Verses in Sanskrit Works on Poetics
324. For translation vide SP S. No. (191.81) supra.
325. O slender one, see. Every round limb of yours has become flat, and every
thin limb has reached the limit of thinness - Why don't you give up your (jealous) anger against your beloved?
326. Even the hard-hearted mother-in-law was moved to tears when she saw the
bangles on both the hands of her daughter-in-law slip down as she bent to touch her feet in reverence - a pathetic looking woman pining for her husband.
327. The vaccuous stares, deep sighs, insipid smiles and foolish mumbling --
surely mean a deep-rooted malady.
328. I shall frown on him, I shall scold him, I shall get away froin him. My dear
friends, I shall do whatever you advise me (lit. say to me), only if I do not meet him in person.
(Verse 329 is incomplete, corrupt and obscure).
330. Well brought up women, feeling bashful at the end of their love-making,
reach out for their garments and when they fail to get them they quickly cover their private parts by embracing the husband.
331. The young (would - be - bride/ bride - to - be) bride may have averted
her face at the mention ofthe name of the bridegroom but the way her brassiers broke at the seams clearly shows her excitement / pleasure.
332. The proud lady does not cause as much distress to me by her complete silence
as by her indifferent words, spoken unfeelingly out of her deeply felt (jealous) anger (annoyance).
333. They are unwavering and steady eyes with which you look at me; you cover
your lip with your lotus-like hand and talk to me; you don't turn your back to me while in bed; even then I am not stupid not to get angry with you O charming one.
334. Other women too have on their beautiful faces eyes brightened with long
and dark lashes; but they don't know how to use them effectively.

Page #108

44
Prakrit Verses in Sanskrit Works on Poetics 335. For translation vide ŚP S. No. (70.55) supra.
336. While in bed with me she turned over to the other side in her anger, but
after a while her mood changed and pretending to be asleep she turned to face me and bumped into me with her big breasts. I still remember that pleasant impact !
337. I am fully aware, dear friend, that my behaviour with him cannot be said
to be proper for a maiden like me—but this accursed love pushes me to the forefront of shamelessness.
338. "No, no! please say it again; I couldn't hear it properly." This is how a young
woman manages to prolong her husband's whisperings in her ears relating to love's delights.
339. Let her have him, aunt, give him to her, she desires him by her heart. Don't
you see she is wasting away in her body? How possibly can there be any one desired by the heart in the case of virgins like us ? Saying thus she fainted.
340. The whole group of her friends started leaving the pleasure-house and the
newly married young girl too, in all her innocence began to follow them. Her husband smiled and stopped her.
341. The stream of her loveliness surges forth with the sheen of liquid gold, boiled
and purified by the fire of love burning inside her and gathers in the globes of her breasts.
342. The wife spreads on the chest of her husband fatigued by his amorous
dalliance with her on a summer afternoon, her mass of moist hair from which flowers are still dropping and which (mass of hair) are still fragrant with the lotions / creams used while bathing.
343. The adorable gentleman / charming one quaffs in one gulp the bitter
decoction, without leaving a drop because it has been cooled by the sweet breath of the lotus-mouth of the lady who has come to inquire after his health.
344. Dear night-prowler, you should not go about at such a time. It is so easy
to notice you like a little lamp in thick darkness.

Page #109

Prakrit Verses in Sanskrit Works on Poetics
45
345. You lucky man, your girl that burns like a blazing flame on account of the
fire within of separtion has attracted by her sweet breath a swarm of bees as smoke.
346. The distinction of being called beautiful should go to our villlage-chief's
daughter : She has set all men staring at her with unblinking eyes, like the gods.
347. For translation vide ŚP S. No. (51.52) supra.
348. The girl has developed a fancy for you on seeing you but she is so shy that
it ends like the desire of a poor person in the mind alone.
349. (Dear) friend, why do you torment us shaking your head thus and answering
all our queries with an inattentive ‘hum', interspersed by your sighs?
(Verse 350 is corrupt and obscure.)
351. Do you think, dear friend, that I shall be able to survive that accursed day
on which he sets out on his journey and that too by this road just outside our yard while I am standing here at this wretched door?
352. The beautiful damsel's perfumed mass of hair-are they the clouds of smoke
rising from the smouldering fire of love or the magic feather brooms to hypnotize the eyes of men or just her proclaiming personal standard celebrating the glory of her youth?
353. For translation vide SP S. No. (221.88) supra
(Verse 354 is corrupt and obscure.)
355. The younger brother-in-law who is most keen on having a look at the full
and firm breasts of the bride holds the Asoka flower (branch?) however difficult it was to catch because she had chosen it?
356. Even as a child this girl, the village-chief's daughter, turns men's heads; you
can imagine what sort of havoc she will play when she grows up-a veritable poison-plant !
357. Look, your brother-in-law is gazing into your eyes, which are still dull after

Page #110

46
Prakrit Verses in Sanskrit Works on Poetics
your siesta on this hot afternoon (lit. in the afternoon of the hot season or the summer) and which indeed show a sparkle of desire in the corners. (Verse 358 is treated in the Notes.)
359. Even to this day, the poor girl preserves (bite-mark) on her cheek the
bite-mark and the encirding hedge of goose-flesh as a precious possession.
360. The young damsel who was frightened (pleasantly surprised?) by a hit with
a creeper in Navalată game made a provocative amorous gesture in such a beautiful mannner that even today young women from house to house would love to learn it.
361. She has sprinkled the road with glances from her lotus-like eyes for your
approach and is now standing in the doorway, her breasts looking like two jars of water, the auspicious symbols of welcome.
362. Dear girl, when you are standing in the doorway waiting for some one with
your face raised a little and breasts standing up firmly, it looks like a sacramental lotus on an auspicious jar of water.
363. You will certainly go to him, O fair one. But do not be in a hurry. Let the
moon grow a little brighter then no one can distinguish your face from the
moonlight like milk poured into milk? 364. For translation vide ŚP S. No. (24.47) supra. 365. In the backyard of the house, young men put up swings well suited to the
shape and size of the young daughter of the village-chief.
366. The winsome young bride smiles sweetly with her lips closed and cheeks
quivering when she notices her brother-in-law desiring her for one more game of love.
(Verse 367 is treated in the Notes.)
368. Dear boy, as she looked again and again at you with her eyes dimmed by
tears what did she not communicate?
369. The girl hallucinated herself that you were standing in front of the swing

Page #111

Prakrit Verses in Sanskrit Works on Poetics
47
on which she was riding with your hands stretched out to hold her and jumped to what avail?
370. The cunning young woman donned and decorated her young brother-in-law
in such a manner that no one would think of offering his daughter to him in marriage. The impression grew that he was a sissy - effeminate.
371. If in this world of men people should say that she has grown emaciated for
that charming young man, should it not be enough for me, dear girl?
372. For translation vide DR-Avaloka S. No. (8.28) supra.
373. My friend, even though my heart is bursting (with love-longing) how can
I show that to him who is impervious to other's sorrows just as a mirror (soiled with dust-or water-vapour) is to reflections?
374. Who has taught the wretched girl—these flirtatous gestures, this winsome
smile and the knack of casting such sidelong glances? 375. The young wife explains for the whole day, to her brother-in-law who is
not quite honourable in intention episodes from the life of Laksmana with the help of the pictures drawn on the walls of her room.
(Verse 376 is treated in the Notes.)
(Verse 377 is corrupt and obscure.)
378. Who is the lucky young man in the village (lit. youth of the village), dear
girl, whom you go to meet at noon even in summer as at mid-night when all people are asleep?
379. Dear girl, you are cleaning with a sharp point the holes in your filigreed
bangles that have been blocked by the turmeric powder with which you bathed yourself on this last day of your monthly period, whom are you going to make happy tonight?
380. Whichever part of my body he stares at with unwinking eyes, I cover it up
and yet wish it to be seen by him.
381. As that young man standing down - stream over there drinks the water that

Page #112

48
Prakrit Verses in Sanskrit Works on Poetics
has been made fragrant by the turmeric powder that I had used, I get a feeling that he is drinking up my heart.
382. Even when the master of the house had refused the traveller overnight
accommodation, the daughter-in-law looked through the corners of her eyes at him in such a bewitching manner that he couldn't but linger in the front court of the house.
383. Who would be interested in the auspicious songs sung by the woman singers
if they (the songs) could not bring in the name of the bride-groom?
384. For translation vide ŚP S. No. (145.71) supra.
(Verse 385 is corrupt and obscure.)
386. As the wanton woman performs in the cotton-field on the auspicious day
the rite (of offering Dūrvă grass, flowers, curds, etc.) to the plough-share her hands tremble because her mind is full of impure desires (e.g. to meet her lover secretly there when the cotton plants grow sufficiently tall).
387. When a girl is marrying a man other than her lover, she has no more hopes
about her life than a bird that has fallen into the hands of a cândala (an outcaste), but none-the less her friends are clever in comforting her.
388. "I have to call on that prince charming of mine tonight in total darkness".
So says the young lady and begins to practise walking blindfold in her house.
389. Who will not, O charming girl, be killed by the arrow of your glance shot
from the bow of the tendril thin (and curved) brow, the arrow that is sharp and fatal and red at its corner?
390. "What shall I do when he comes? What shall I say? what will happen?"
With such thoughts the heart of a young girl is troubled when she is venturing out for the first time, on her date with a young man.
(Verse 391 is treated in the Notes.)
(Verse 392 is treated in the Notes.)
393. My dear girl, as you peep out of the basement of the house, with that lovely

Page #113

Prakrit Verses in Sanskrit Works on Poetics
49
face which has been chaffed by the winter winds and come up with your choli cast off, your admirers keep staring at you exactly as male serpents stare at a female serpent as she comes out of the hole, with her slough cast
off.
394. In the Navalatā game he (the village-chief's son?) struck her on her expansive
breasts with a palāśa creeper; surrounded by young village girls she wanders even to this date in the streets of her village).
395. O, stop clowning, 'brother-in-law'! She is perspiring so much, she is without
any sunshade. But she perspires as much even when it is winter. You needn't move away. Do create some shade for her.
396. You young fool, why should you go on asking this young girl whom she has
chosen as her lover? you should have seen the perspiration on her hand as she stretched it for you to hit it with the navalatā (fresh creeper).
397. You lucky man indeed, look at the way she is secretly gazing at you with
eyes almost popping out of the veil on her face and remains herself screened by her friends.
398. My dear boy, what did the daughter of the village-chief not communicate
to you (even) in the presence of the elders, by the glances she shot at you as she again and again turned her face?
399. Why should you still be trying to wash the mud stain out which has been
put there like decoration by, you know who, and which is perfectly proper during Holi; besides the profuse perspiration from your bosom has already washed it off.
400. The young woman's blue 'choli' is fastened in such a way that a couple of
inches of cleavage is left uncovered thereby providing the youngsters an opportunity to have a look at the small sample of the concealed loveliness.
401. For translation vide ŚP S. No. (123.66) supra.
402. Oh, how I wish it never ends - you over there blowing on the fire,the smoke
making your eyes red and tearful, your breasts heaving up and down, (and my eyes tireless by enjoying the charming scene.)

Page #114

50
Prakrit Verses in Sanskrit Works on Poetics
403. Look, the young lady who takes bath every morning at day-break in the month
of Măgha (corresponding to January-February) doesn't even feel like / think of warming herself at the fire which the farmer has lit, even though she shakes with cold.
404. My dear boy, as you were going away she hopped beside the hedge like
a bird in a cage to find convenient breaks in the hedge through which she could catch a glimpse of you with her restless eyes.
405. All my life and even in the next I shall most humbly worship you, O, God
of Love, if you could right now strike his heart with the same arrow with which you hit mine.
406. She came in front of me and went away but turned around to look at me.
The glances she thus shot at me are indeed the (sharp) arrows of Madana (the God of Love) for me. To others they (the arrows of Madana) may well be anything else (or they may mean nothing to others !)
407. I gave her your message and repeated it many times but still the lady says:
"couldn't hear it clearly, please repeat," and makes me say it again and again.
408. For translation vide ŚP S. No. (144.71) supra. 409. Dear girl, which angry, young man you are appeasing under the pretext of
praying to the sun? prayers and salutations (to gods) surely don't include smiles and sidelong glances.
410. My friend, how old can this wretched girl be? Where did she pick up all
this? She seems to be knowing everything that grown up women are supposed to know.
411. For translation vide SP S. No. (2.43) supra.
412. I am afraid the thickets of reed around and the young men are laughing at
me as they hear the wedding-songs sung for my wedding
413. When I saw him myself, my friend, I could quite understand why they said
that he certainly deserved all the gazing and all the longing. My own tremendous desire was hardly satisfied like the thirst of a man who drinks only in dream.

Page #115

Prakrit Verses in Sanskrit Works on Poetics
51
414. When, friends, you advise me not to think in terms of death and assure me
that I am bound to meet him if I continue to live, I know these words come from rational people in this practical world but the ways of emotional people in love are otherwise.
415. Unfortunate that I am, without attaining my wish I shall perish just like this!
There was not even a scandal about my affair with the farmer's son!
416. For translation vide SP S. No. (69.55) supra.
417. Propriety or no propriety she wanders around all over straining her eyes to
see if she can find you, my dear young man, you, disregarding every other
young man. 418. The farmer's wife mourns that the wild rats have uprooted the sesamum
field; all the plants are strewn on the ground.
419. You are heartless, the poor young woman put on new colourful clothes and
went from house to house carrying the presents (of fruits and sweets), but in fact, her intention was to take a chance of seeing you.
· 420. Although everthing I possessed has been burnt in the fire, I feel no Wy sad
at heart just because he took the pitcher of water straight from my hand in an attempt to put out the fire.
(Verse 421 is corrupt and obscure.)
422. The farmer's son has already plucked the cotton from the boll and yet his
young wife's fingers fumble on the bolls in vain, but look, there is a thick crop of horripilation and an amount of sweat on her hands.
423. The newly married young runs in front (of her brother-in-law, the farmer's
son moves on both the sides (of him), (but always) remains within the range of (his) sight; O, farmer's son with a new (freshly plucked) creeper in hand, pray, give her a gentle rap with it — she who deeply loves you !
(Verse 424 is corrupt and obscure.)

Page #116

Prakrit Verses in Sanskrit Works on Poetics
425. O slender one, wipe your back clean. Brush off the Arkotha leaves sticking
there as you lay in the back-yard of the house or else the watchful eyes of your brother-in-laws' wives will, o simple one, quickly notice and understand
426. “See how he has broken my bangles"- she says to every one, even when
no one has asked her. Miserable as she is, the poor woman is either too simple - minded or too fond of her man (as to tell others admiringly about such strictly private matters).
427. A young bride on her way to the in-laws, soon after the wedding weeps in
her palanquin but is comforted by her brother-in-law with a kiss on her mouth.
428. My friend, today I noticed in the washerman's house the lower garnient of
the son of the master of the house (grhapati-putra) and saw it to my heart's satisfaction (?).
(Verse 429 is corrupt and obscure.)
430. These men about town have a knack of knowing the mother's form from
the daughter's ; so dear girl, though you are still a child, don't go around naked.
431. “The brother-in-law will certainly get married-” hearing this the young
married girl became silent and sulky. Leaving the household work unattended she goes around with head bent low and eyes full of tears.
432. Just to satisfy his craving for the hissing sound that the young woman
produced, the bangle-dealer squeezes the hand of the young daughter in a certain family to push up to the wrist conch-shell bangles, a little too small/ soft / fragile.
433. In spite of there being a number of young men the village was completely
gutted in fire, as if there was no one to save it. That was the mischief played by your (bare) breasts heaving excitedly up and down in panic.
1. Read 'thudumikia' for Khu dukkhia' in the text.

Page #117

Prakrit Verses in Sanskrit Works on Poetics
S3
434. Look at that wife of yours showing off her firm breasts and pride of her
youth. That makes me furious. I desire you out of that feeling and nothing else (or not out of love for you).
435. She had a quarrel with the traveller when he came to her place but she gave
him a bundle of straw stalks to make his bed in the night; however, in the morning when he was gone and she collected the straw-stalks she was weeping (-due to the memories of the love's delights she had with him over-night, although she had a quarrel with him at first).
436. For translation vide ŚP S. No. (151.72) supra.
437. The round and firm breasts of the village maiden, with the only adornment
of a choli dyed in kusumbha colour captivates my heart.
438. Who will tell him (i.e. my lover) that the vicious watch-dog is dead, the
mother-in-law is lying drunk (lit. is intoxicated with festive wine) and the wooden barricade around the house has been broken by the buffalo?
439. The face of the beautiful damsel looks darkish as she blushes - when the
farmer's son at whom she has been looking through the corners of her eyes, walks in front of her, his ear adorned with jambu leaves.
440. Look, the young woman in her impatience flung her gaudy undergarment
on the shrubbery and there it flutters, as if, a banner of her immodesty / sensuality.
(Verse 441 is treated in the Notes.) 442. For translation vide ŚP S. No. (48.52) supra.
443. For translation vide DR-Avaloka S. No. (9.28) supra.
444. You have left her to pine away like that! you have already taught her how
to weep long and how to overstep the bounds of propriety in her behaviour at home. Now, please don't give her up (lit. forget her.)
445. For translation vide ŚP S. No. (130.68) supra.
(Verse 446 is corrupt and obscure.)

Page #118

54
Prakrit Verses in Sanskrit Works on Poetics
447. Alas! We are simply killed by this son of a wayfarer. Whatever wayfarer
he meets/ sees he < Us him with the word “O father!". 448. For translation vide ŚP S. No. (153.73) supra.
(Verse 449 is corrupt and obscure.) 450. Seeing the village-chief's son waving a freshly plucked tender creeper the
limbs of the young damsel, moving about in the village - streets, again come suddenly to life.
451. O fair lady, in spite of having a charming wife that son of the farmer has
become so very emaciated for you that even his jealous wife has undertaken to run errands for him.
452. O ungrateful, shameless one, even today the muddy slushy roads of the village
on which I walked in rainy nights, to meet you, come before my eyes ! 453. From him begin all conversations, they centre round him alone : and they
come to an end in him only. I should therefore conclude, dear friend, chat
here in this village there is just one single young man ! 454. While instructing her messenger she felt so excited at the mere mention of
the name of her charming man that she sweated profusely and went into a trance, as it were, and walked the whole way to his house (lit. the court-yard of the house of her lover himself.)
455. O young boy as you went, to catch your glimpse, she turned her neck so
much that her tears rolled right down the centre of her back.
456. It is only now when the fever of love like poison, is shaking me in a convulsion
that people have started advising me against such an affair. But where were they and why so silent, before it began?
457. When the relatives of the young wife / bride paraded or displayed an
artificially tinged bed-sheet or under - vest (with a view to convincing the people of her unscathed virginity) her former lover looked on with smiling mischievous eyes (as he knew that the claim that it was stained with the blood of her first menstruation was false.)

Page #119

55
Prakrit Verses in Sanskrit Works on Poetics 458. O moon-faced one, from the way you play the Utphullikā game, I can tell
you, you will surely enjoy the pleasure (of inverted coitus) with some charming lucky young man.
459. When the simple-minded young woman rose high on her swing and looked
beyond the enclosure and saw you on the other side she pulled the ropes of the swing hard as if to stop it then and there.
460. For translation vide SP S. No. (425.130) supra.
461. The delicate and dark complexioned damsel rubs herself with the (coarse)
jumbu powder which you had left on one of the steps of the ghāta and enjoys a (leisurely) bath in the Godā.
462. The newly married daughter-in-law conveys to her (younger) brother-in-law
her intensely felt desire for him by the festival lamp, the flame of which flickers on account of her heavy breathing and the nervous rise and fall of her breasts.
463. Seeing a tender creeper in the hand of her (younger) brother-in-law which
he had raised threateningly and fearing a blow from it the newly married young woman got into such graceful gestures that the brother-in-law could not even notice when the creeper dropped from his hand.
464. Her eyes are reddish and dull because of keeping awake (for long at night);
she feels embarrassed because she has put on ornaments in vain – as she has no hope of meeting her lover — the bashful newly married young bride feels, O charming one, ashamed of even her friends!
465. Her expressive eyes and the promising way her breasts are rising into lovely
shape clearly show that she is going to play havoc with young persons when she reaches that charming phase of life (or when she achieves the glory of youth).
466. She, who spends all her time imitating you, does whatever you do, says
whatever you say, and wears whatever you wear (or sees the way you see). She finds the whole long day not long enough.
467. Dear girl, rush away to him without wasting any more time on your make-up

Page #120

56
Prakrit Verses in Sanskrit Works on Poetics
or personal adornment so long as his interest in you is keen - once you let it sag you will lose any approach to his heart.
468. Look, how beautiful is the part of the young woman's breast which has been
left uncovered by her blue choli, like the disc of the moon that is coming slowly out of the rain cloud.
469. Looking forward to the Spring-festival and going about the streets of the
village like this be careful, dear daughter. Some suspicious character may set you a riddle and that will baffle you (floor you).
470. He felt confused as he awkwardly fumbled for the knot of my lower garment;
it had slipped down. I laughed and held him in a tight embrace.
471. On whichever part of the body, the brother-in-law desires to strike her with
a tender creeper, on that part of the young bride's body appears a crop of goose-flesh (lit. long line of horripilation) showing excitement and pleasure.
472. Her friends advised her that she should continue to be jealous and angry.
This she had (carefully) kept in her mind so far but it is now being exposed to the forceful arrows of Madana (the God of Love) that make holes in it and reduce it to tatters.
(Verse 473 is treated in the Notes.)
474. Although the bridegroom is making haste please delay the wedding till the
nail-marks on the body of the bride-to-be grow pale and indistinct.
475. Young man, when I asked your sweetheart whether she really loved you she
swore she didn't and put on such a smile that it made us (i.e. me) weep.
476. If they disapprove, well, let them. People do fuss over the other world. But
as for me, my dear friend, my eyes cannot but turn towards the place where my young man lives — the village-chief's son.
477. How did you go? Did he meet you? What did he say? Did he agree? She
wouldn't stop asking her endless questions.
478. Right under the nose of her husband they took her away to the place of
her lover who is a physician. She pretended to have been stung by a scorpion,

Page #121

Prakrit Verses in Sanskrit Works on Poetics
57
looked pale, threw her hands up and down and sought the support of her friends - clever females, like herself.
479. Her smiles are seductive and her eyes coquettish. Yet, she is still a virgin.
Conclusion: This village has no young man.
480. You didn't know, did you? This is how it was : quite eager to catch at least
a glimpse of you, she climbed up a lofty pile of reed-chairs she had made and tumbled down.
481. What else could she have done to have a look at you : Stretched out on
her toes, she peeped over the hedge and pressed her breasts against it - all in vain.
482. Pretending that the road going down to the river Godā was difficult she let
herself fall on his chest. He too held her close to himself. Who could fault him for such an act of kindness?
483. For translation vide SP S. No. (363.118) supra.
484. That young woman who missed her rendezvous with you is now looking up
and down everywhere in the thickets of reeds as if she is trying to locate the treasure she has buried.
485. My homage to you, O lord of the day, welcome home in the early hours
of the morning after an overnight stay in the other world; resplendent in your body - a red disc, a joy to the eyes of all. Welcome, O jewel of the sky!
Also,
Double entendre: My homage to you, O my lord only by day; welcome home in the early hours of the morning after an overnight stay in the other world, your body aglow with the red paint of other women's bodies, a joy to (others') eyes, welcome, O jewel, shining with the nailmarks (of your women).
486. Tormented by the fire of separation, the young wife of the travelling
tradesman spends the summer months with utmost difficulty. The endless stream of her tears drenches her upper garment.

Page #122

58
Prakrit Verses in Sanskrit Works on Poetics
487. For translation vide ŚP S. No. (217.87) supra.
(Verse 488 is corrupt and obscure.)
(Verse 490 is corrupt and obscure.) 491. For translation vide ŚP S. No. (382. 121) supra. 492. Two identically worded sentences can convey altogether different meanings,
depending on how they are spoken. If affectionately spoken there is one kind
of meaning, but quite another if spoken in a sarcastic tone of voice. 493. For translation vide DR-Avaloka S. No. (7.27) supra. 494. For translation vide DR-Avaloka S. No. (22.33) supra. 495. Being told that the arrows of the eye shot straight from in front don't really
hit, adolescent women train themselves to cast side-long glances. 496. For translation vide ŚP S. No. (49.52) supra. 497. For translation vide DR-Avaloka S. No. (9.28) supra. 498. Of all the dangers in this world which is the most perilous and of misfortunes
the most unbearable? Madana, the God of Love answers the first question; and the second is the enormous misery of separation from the beloved's
tremulous eyes. 499. For translation vide ŚP S. No. (466.138) supra.
500. The lip of the young bride slightly parted in a bashful gentle smile, sporting
a bite-mark which makes her feel embarrassed is looking beautiful with betel
juice. 501. I shall remember her kiss ; she had smeared her face with some coloured
cream; she took care to see that her nose and forehead did not touch mine and cleverly pouted her lower lip for me to kiss.
502. For translation vide ŚP S. No. (359.117) supra.
2. For the text tentatively restored vide Notes, verse 500.

Page #123

Prakrit Verses in Sanskrit Works on Poetics
(Verse 503 is corrupt and obscure.) 504. (Our homage to that Śiva, who during his Tandava dance sends out loud peals
of laughter) The loud peals of Siva's laughter reverberating in the moonlit nights from all sectors of the firmament roll over the heavens like waves of moon-light.'
505. Look, how the young cow shows her pleasure at being the chosen amongst
all the cows in the cow-shed by rubbing her eye-lid (or socket of the eye) on the horn of the wicked bull.
506. For translation vide ŚP S.No. (216.86) supra.
507. The Vánaras shocked out of their wit by the sight of the ocean shook and
trembled, held themselves back and stood motionless with eyes fixed in a wide stare; - all this looked as if a painted picture.
508. As Rāma awoke his eyes, still dull with lingering sleep, peeped out of the
heavy lids and fell on his bow that had seen many battles and has to bear the burden of many more.
509. For translation vide SP S.No. (142.70) supra.
510. You may succeed in reversing the currents of rivers, however deep (lit. as
deep as the ocean), but cannot succeed in persuading resolute men to turn from their goals.
11. The never failing courage of brave warriors aglow with heroism surges up
when thwarted by impediments; just as the ever-flowing streams of great rivers glistening with the lustre of the sun, surge up when obstructed in their course.
512. As they (the Vānaras) looked at the ocean their unsteady eyes became fixed
in a stare as a result of tremendous surprise and wonder, and later rested admiringly on Hanūmat (because he had leaped over the ocean to Lankā.)
3. According to poetic convention laughter is always white.

Page #124

60
Prakrit Verses in Sanskrit Works on Poetics
513. Though it was believed that the ocean was almost impossible to cross, here
was Hanūmat who had not only crossed it and visited regions beyond it but even returned safely; so enthusiasm stirred all the minds that were paralysed with fear, in an imperceptible manner.
514. Indirect knowledge derived from scriptures and conforming to trustworthy
lore, and unshakable although assaulted by rational disputations is, according to me, weightier — more authoritative than even direct knowledge obtained by perception and which fortuitously tallies with truth.
515. You prize friendship with Krşņa, O, Indra, and yet you are reluctant to part
with Pärijäta, the jeweldi.e. best) among trees. Give up this show of naivety and honour the desire of the Yādavas.
516. By asking for just that much land that you can measure only with your three
steps, don't you realize, Vāmana, that this meagre demand not only does no credit to yourself but is also derogatory to me, the mighty Bali?
(Verse 517 is corrupt and obscure.)
518. Her friends are pretty helpless; they cannot speak for me. She has clearly
seen with her own eyes the love's offence I was committing. Naturally it has caused her terrible pain,. Now, Madana (the God of Love) and Moon (light) alone can come to my help and appease her anger in their silent persuasive way.
519. Jānakī does not yield to entreaties, she cannot be tempted even with the riches
of the three worlds; she does not care for any threat of danger to her life. I wonder how I could win her favour!
520. Knowing of the greatness of her husband she (Jānakī) looks down upon the
valour of everybody else. She might, if at all, submit if she were to see the severed head of Raghava (i.e., Rāma).
521. Meanwhile Rāvana, the lord of the Räkşasas, awoke at the end of the sleep
in which he had fallen unmindful of the host of Vānaras, glorious in war, who were standing all along the ramparts of Lankā.
522. For translation vide ŚP S.No. (194.82) supra.

Page #125

Prakrit Verses in Sanskrit Works on Poetics
523. For translation vide ŚP S.No. (212.86supra. 524. Even in front of his mistresses, the name of Sītā, that was very much on
his mind came to the tip of his tongue, in fact, on all ten of them simultaneously-even though he had tried to suppress it.
525. If, they are displeased-well, they are; if they disapprove, let them. I could
not care less. Come along, dear, even while in period, and lie down by my
side. I cannot sleep alone, without you. 526. For translation vide ŚP S. No. (217.87) supra. 527. For translation vide ŚP S.No.(420.129) supra. 528. For translation vide ŚP S.No.(223.89) supra.
529. I will soon get you the celestial (Pārijāta) tree with its leaves moist (or wet)
with spray of the rut of Airāvata, the elephant of Indra, and with its flowers mounted upon by bees greedy of nectar-like honey.
530. Not even for a moment that young beautiful damsel quits my heart but causes
me terrible torment like a feeling of guilt brought about by a sinful act secretly committed.
531. For translation vide ŚP S.No. (470.139) supra. .. 532. All that Śrī Puttisa says deserves to be done. This delightful throbbing of
the eye confirms what 'Sri Puttisa says. 533. For translation vide ŚP S.No.(217.87) supra. 534. For translation vide ŚP S.No. (212.86) supra. 535. These balanced-minded men make no difference between words of praise
and words of censure—especially when they come from lesser men. Similarly
if such men censure them they feel no way bothered. 536. For translation vide ŚP S.No. (230.91) supra. 537. For translation vide ŚP S.No. (244.94) supra. 538. For translation vide ŚP S.No.( 265.98) supra.

Page #126

62
Prakrit Verses in Sanskrit Works on Poetics
539. Either I possess no appealing qualities or my dear man is not appreciative;
perhaps I have no qualities at all or he has a sweetheart who has more of good qualities.
540. For translation vide ŚP S.No.(253.96) supra.
541. Rukmiņī felt highly flattered by her dear husband's visit to her which quite
thrilled her and gave immense pleasure though she had reason to feel displeased with him who still showed on him signs of dalliance with her rival (Satyabhāmā).
542. Although Satyabham, and the other wives of Krşņa were equally hurt,
Satyabhămă alone was angry and felt jealous: both the feelings were proportionately related to her love and regard (for Hari); They (anger and jealousy) essentially are reflections of her love.
543. For translation vide DR-Avaloka S.No. (1.26) supra.
544. My friends, let him call me by her name. What is the use of saying anything
to him (by way of scolding or reproaching him)? let his love be fixed on some woman or the other ( Let us not get angry with him.)
545. When the companions of Pärvatī noticed that Siva had removed for the
pāni-grahana (Wedding) the bracelet of Vasuki's coils from his arm, they felt convinced of love and happiness (good fortune) in her life.
546. She dwells in a house in a public square; she is lovely in her looks, and young
in age, her husband has gone on as long) journey; a woman of easy virtue is her next-door neighbour; and she is herself poverty-stricken. Still she has maintained her moral character.
547. For translation vide DR-Avaloka S.No. (14.30) supra. 548. For translation vide ŚP S.No. (381.121) supra.
549. Couples experience terrible sorrow: they exchange messages of love for each
other which intensify their desire for each other, but these desires necessarily remain unfulfilled.
550. For translation vide ŚP S.No. (129.67) supra.

Page #127

63
Prakrit Verses in Sanskrit Works on Poetics 551. For translation vide ŚP S.No. (380.121) supra.
(Verse 552 is corrupt and obscure ) 553. For translation vide ŚP S.No. (413.127) supra. 554. The bridegroom gazes at his bride's private parts shut by the two panelled
door of the thighs like the wondrous gateway to the heavenly city. 555. For translation vide ŚP S. No. (249.95) supra 556. The lover's eyes that avoid the sweetheart would wander around till they
land the face of her friend. The look in them bears the mystery and longing
of love. 557. How is it possible to prevent your eyes from travelling towards your lover?
Can you stop a greedy cow, a bearer of burdens, from a field of barley corn
that is (temptingly) fresh? 558. It is my strong desire to be loved by you; but I do not know how to go about
it. Please be kind enough to teach me so that you will love me. 559. Young girls are ever so restless in their minds through curiosity. But they
don't know that love's mystery is in themselves alone whose breasts are just
budding into view. - 560. For translation vide ŚP S.No (234.92) supra.
561. For translation vide SP S.No. (419.129) supra. 562. Ah ! how much I am looking forward to the day when the flowers in my
hair are crushed and I ask him about his journey and the hardships it caused
him but only after our love-making is over. 563. For translation vide ŚP S. No (525.149) supra. 564. He holds the neck in tight embrace, plants his kisses on the eyes, takes off
the lower garment – on the first occasion of love - making the bridegroom
spends the night like this only. 565. For translation vide ŚP S. No. (388.122) supra. 566. As a result of inebriation, my dear young man, you are depriving yourself
of the pleasure of kissing your young bride who is in her period and of
passionately (or impetuously) embracing her neck. 567. The early morning sex game was far more delightful than that of the evening:

Page #128

64
Prakrit Verses in Sanskrit Works on Poetics
perfect because the intoxication caused by wine was worn off, and the joy was enhanced by confidence and by the broken girdle-a poor victim of their
overbearing passion. 568. For translation vide ŚP S. No. (338.113) supra.
569. With great difficulty he loosened my arms (tightly clasped round his neck).
like a knot tied up firmly by an ignorant person and I too pulled out my breasts as if they were plunged in his bosom.
570. O young boy (or My dear boy), you claim to be a reading and writing sort
but have learnt nothing, come and embrace me. If it means, according to you, going to hell, we can do it together (with great pleasure !)
571. For translation vide ŚPS. No. (305.106) supra.
572. She caresses his body with hers, feeds her eyes by looking at him, kisses
him and enjoys making love to him till his desire for love is satisfied.
573. Dear girl, rush away to him without wasting any more time on your make-up
(or personal adornment) so long as his interest in you is keen. Once you let it fag (or flag) you'll lose any approach to his heart.
574. For translation vide ŚP S. No. (217.87) supra.
575. I know people are clever, also that I am amidst elderly people; but what
can I do, my friend ? I can't restrain my eyes. They keep turning towards him only.
576. For translation vide ŚP S. No. (69.55) supra. 577. Mādhavānila's mind was full of love for Mahānumati, he embraced her with
his eyes, he kissed her with his eyes, he made love to hes with his eyes
he drank in all her beauty also with his eyes. 578. For translation vide ŚP S. No. (541.151) supra. 579. For translation vide ŚP S. No. (336.112) supra. 580. For translation vide ŚP S. No. (314.108) supra.

Page #129

Prakrit Verses in Sanskrit Works on Poetics
65
581. Charming love and extreme joy broke on her lotus-face so that her eyes
bloomed and closed at the same time.
582. I felt I had come on a wonder, a treasure, a kingdom of heaven, a drink
of nectar when I saw her in the nude. 583. For translation vide ŚP S. No. (319. 109) supra. 584. For translation vide ŚP S. No. (226.90) supra. 585. For translation vide ŚP S. No. (342.114) supra.
586. Salutations to Madhumathana (=Vişnu) who was so stunned by the
unparalleled beauty of Laksmī as she emerged unexpectedly out of the ocean that his hands on the Mandara mountain remained arrested in movement.
587. O cloud, thunder with all your might, over me, alone, I am steel-hearted
enough. But do not kill (with fright) my poor wife whose long tresses hang down her back.
588. For translation vide ŚP S. No. (256.96) supra.
589. Meaningful glances cast at each other and a round of amorous conversation
leading up to an enjoyable sex play during the early hours of the morning positively confirm the love and confidence the couples have for each other.
590. For translation vide ŚP S. No. (128.67) supra.
591. I hit him a blow and hurt my hand. As he was trying to comfort it by blowing
his breath on it, I quietly hugged him round his neck with the other arm.
592. O charming one, don't feel shy. Let me come closer to whisper in your ears.
By sheer good fortune, deserved through many good deeds in previous lives, I have met you on this secluded and narrow path.
593. For translation vide ŚP S. No. (371.119) supra.
(Verse 594 is corrupt and obscure.) 595. For translation vide ŚP S. No. (420.129) supra.
(Verse 596 is corrupt and obscure.)

Page #130

66
Prakrit Verses in Sanskrit Works on Poetics 597. You see, friend, whatever work you undertake, good or bad, does come
to an end, giving you whatever results. But an unhappy love-affair ends not when it ends.
598. Even the sight of the boundary of her native village where the sweetheart
lives fills the lover with rapture, what of the charming and endearing (lit. invaluable) face itself?
599. O charming one, when you come to visit me only as a matter of courtesy,
you delight my heart. How much of an excitement must it be to those whom you visit out of real love !
600. A look at the thighs of the farmer's daughter-in-law, smooth as the stem
of the plantain-tree, made the barber's hands so wet (with sweat) that his nail-parer (or pair of scissors) shook.
601. The prayers that the learned Brāhmaṇa is muttering and chattering on the
ghāta of the river God, will go on and on, without avail, so long as the lovely looking daughter of the washerman is there.
602. The cow-boy who was trying to keep his tryst was so much shaken by the
sidelong glance of the daughter of the master of the house (grhapati) that he didn't realize when the cow that he was milking had gone and the poor fellow was going through the empty gestures out in the air.
603. After enjoying the delights of love with me, he walked away only a step
and came back and embraced me. During that moment's interval I felt I was a grass-widow and that dear husband of mine was a traveller (far out in distant lands).
604. Like some presiding deity of a deserted town she wears on her head, even
now, the wreath which you once placed-there with your hands, though it is now withered and without (any shape or) fragrance.
605. For translation vide ŚP S. No. (451.135) supra
606. Even an aged cow yields milk at the touch of the milkman's hand because
of his dexterity. But, O young boy, it wouldn't be even with difficulty that you will secure a cow that would yield milk at your mere glance.

Page #131

Prakrit Vefses in Sanskrit Works on Poetics
67
607. It is a rare chance indeed that a man of merit should get a wife that matches
his merit with her love, beauty, youth, amorous disposition and wit.
608. For translation vide ŚP S.No. (519.148) supra 609. Out of her profound love for Hari, Śrī (i.e. Lakşmī) treated herself trivially,
when from her own place on Hari's chest she saw him courting angry Satyabhāmā or when she found herself smothered by the hugs of thousands (of dairy-maidens.)
610. (For translation vide SP S. No. (348.115) supra
611. The emotion of love of the high ups is kept so much concealed that nobody
knows about it, whereas the longing for love of the suffering poor like us becomes the gossip of the town.
612. Who wouldn't like to retain her haughty pride and enjoy being flattered and
appeased by her dear man ? But these winter-nights quite undo all our pride.
613. The mango-blossom may not be seen yet, dear friend, the Malaya wind may
not have started blowing, but the longing in my heart tells me the Spring is around.
614. Lucky, she was unconscious because of the fragrance of the kadamba
flowers, and she didn't hear the rumbling in the sky. Otherwise it could have claimed her life.
615. They tell me my husband, that hard-hearted man, sets out on his journey
tomorrow: 0, venerable night, do extend yourself so much that there will be no tomorrow at all.
616. Don't break the news of her husband's arrival to her all of a sudden. She
is already dying of separation. Unexpected joy tends to be fatal and she may succumb to the shock.
617. On the occasion of the first experience of sex how do the different / other
parts of the body react at all ? Yes, they do. Thighs quiver, her face sweats and the heart palpitates with nervousness.
618. At the evening time young women decorate themselves with adornments,

Page #132

Prakrit Verses in Sanskrit Works on Poetics
68
send messages of love through (maiden-friends or) go-betweens (to their lovers), and their somewhat unfulfilled desires revolve in their mind.
619. The evening gave joy to the damsels by bringing their lovers, and the night
by affording the delights of love. But the morning went tediously on.
620. For translation vide ŚP S. No. (344.114) supra.
621. Did the moonlight increase the intoxication or the intoxication increase the
moon-light ? Did the two together intensify erotic passion or perhaps it was the passion that intensified both to the highest degree ?
622. The beloveds were deprived of the pleasure of being appeased by their man;
they couldn't even pain their feet by kicking their lovers. All their anger was dissolved by the moon-light as errand-girls normally do..
623. The tinkling sound of the bangles of the young wife produced at the time
of her bath in the back-yard of the house intensified the longing for sexual pleasure in the son-in-law who has come to the house of his father-in-law in the afternoon.
624. The delicate jingling sound of the bangles on the slender arms of the servants
produced, while they were doing the household work, aroused sex-desire in the couples.
625. Like a dear friend whispering in their ears words of wise counsel, the
mango-blossom, placed on the ear, advises the proud ladies to forget their anger, howsoever justified it might have been.
026. You are indeed fortunate in that you have been embraced by that young
woman who has put on a white garment, who is agitated, who is slow of gait due to her heavy hips and, is in her period and has approached you running.
627. In the meantime, the night that had patched up her quarrel with her husband,
given free scope to her repressed desires and like a friend greatly encouraged her to enjoy the pleasures of sex, passed.
628. When the beloved damsels looked at the wine, the God of Love lifted up
his bow, when in excitement they took it up he bent and slipped the loop

Page #133

Prakrit Verses in Sanskrit Works on Poetics
69
of the bow-string into the notch — ready for use and when they had a
sip he fitted the arrow to the bow aiming at their lovers. 629. As the Palāśa woods around their village drop their leaves and decline in
beauty, the desires and hopes in the minds of the not so very respectable women also wane and decline but they recive again as the woods come into
bloom with fresh sprouts. 630. You see, dear child, that a woman living on the banks of the Godā need
not be trusted to be chaste - the banks that are charming with Aśoka trees
that are perpetually in bloom. 631. Today early in the morning, my friend, some one sang a song remembering,
methinks, his dear sweetheart and that tore up all the wounds caused by the shafts of the God of Love to my heart."
632. Although her husband was under her thumb and the festival was well on
she did not dress up for the occasion out of sheer consideration for her poor neighbour whose husband was still abroad.
633. Of this otherwise worthless world the most precious contents are none but
the young damsels with their gazelle - eyes and their slender waists -- almost breaking under the heavy mass of the plump breasts resembling the temples
of young elephants. 634. Lovers know that to beat the terrible heat of summer the sandal-paste is
not half as effective as a close embrace of the beloved.
635. Those carefully planned sexual unions, marked by repeatedly stimulated
passion can't be as charming as those matings in spontaneous passion, any
where, howsoever and in whatever manner. 636. If she is young, her form, her manner of speaking, her dress - everything
looks extraordinary.
4. The printed text in ŚP and the corrected one on p.168 needs further to be corrected as follows: अज्ज सहि केण गोसे कंपि मणे वल्लहं भरतेण । CHE / 3755 H3TUT -PR1637-3737-CUT-01 sui fill (अद्य सखि केन प्रभाते कामपि मन्ये वल्लभां स्मरता । G:HB/37105 HGT RIES-EG4-AUT-POCHI Mall GS IV 81

Page #134

Prakrit Verses in Sanskrit Works on Poetics
.637. Praise be to the beautiful ladies whose smiles are gentle and hearty (sincere),
whose manner of speaking is soft yet confident and whose eyes assure goodness.
638. The God of Love takes up his bow to help those young women who bathe
during the afternoon, get reddish eyes, and who show their thighs and hips through their wet garments / clothes.
639. When young women get into an erotic mood and do up their hair, their faces
brighten with a soft and charming glow brought on by the amorous disposition, which is softened by bashfulness, natural grace and sweet smile.
(Verse 640 is corrupt and obscure.)
(Verse 641 is corrupt and obscure.)
642. Love games with inexperienced maidens call for repetitious indulgence. They
involve a lot of crushing and rubbing and give added pleasure through the
girl's naive curiosity. 643. For translation vide ŚP S. No. (127.67) supra. 644. For translation vide ŚP S. No. (21.46) supra.
645. Village - maidens with their swelling breasts covered only by a choli dyed
in the pigment of kusumbha flowers captivate the hearts of (even) grown up men during the festival of Madana (the God of Love).
(Verse 646 is corrupt and obscure.)
647. The God of Love takes for his abode the faces of young women with eyes,
touched with a pencil of collyrium, the naturally red lips slightly painted red and are eager for the pleasures of love.
648. For translation vide ŚP S. No. (99.61) supra.
(Verse 649 is corrupt and obscure.)
650. The God of Love with his bow and arrows held ready makes these beloveds
/ women his favourite haunts, who with their thighs quivering in excitement practise inverted coitus, close their eyes in pleasure and let their hair be

Page #135

Prakrit Verses in Sanskrit Works on Poetics
dishevelled.
651. Who can forget his intercourse with his wife that is unartful yet impassioned,
marked by genuine feeling, untouched by flattery and free yet not without modesty?
652. Taunting remarks not unaccompanied by smiles, ostentatious politeness
veiling resentment and quarreling only with tears - these are the ways of
noble ladies. 653. For translation vide ŚP S. No. (206.84) supra
(Verse 654 is corrupt and obscure.)
655. When young women do not stop their sex-play (with their lovers) even when
they have attained the highest) pleasure, thereby we feel that there is something tangible in this mystery of love-making.
656. May the prostitutes be happy with their various arts of love which include
many erotic acts that satisfy the desire for carnal pleasures in many impetuous minds.
657. The daughter of the master of the house (gȚhapati) turned her pair of eyes
towards the stage (or play-house) in such a way that even the actors and the spectators both fixed their gaze on her face.
1658. For translation vide ŚP S. No. (230.91) supra. 659. For translation vide ŚP S. No. (123.66) supra
660. “The actor will dance", the village people will witness (his performance)
and the village-chief will play the role of a Jester (?) provided his daughter,
5. The text may be restored as follows: तह उज्जु पि रसि चडु-परिहीणं पि दिण्ण-सब्भावं । वीसंभे वि (सलज्जं) को घरिणिरअंण संभरइ ।। (तथा ऋजुकमपि रसितं चटु-परिहीणं दत्तसद्भावम् । विश्रम्भेऽपि सलज्जं को गृहिणीरतं न संस्मरति ।)

Page #136

Prakrit Verses in Sanskrit Works on Poe:ics
who is 'notorious for spoiling the performance (by her seductive beauty, arresting the attention of both the actors and the spectators towards herself) does not attend the performance.
661. For translation vide ŚP S. No. (530.150) supra. 662. Those very words that we speak are used by every one else. But when he
speaks them, they enrapture my heart. 663. Other beautiful women too have in their faces oval-shaped eyes with long
lashes and dark balls on their whites but they don't have the art (knack) to use them effectively.
664. The washerman's daughter who spoke charmingly and who had prominent
and quivering breasts made all men stay at the ghāta of the river as if it was their home.
665. You silly woman, aren't you ashamed when you ask me about the life of
my husband? What is the use of abundance of flowers to a maruvaka plant which is all fragrant ?
666. When the young maiden yawns and encircles her lotus-like face with her
languid arms, it looks like the moon with its halo.
667. In this wide world and its thousands of beautiful women she alone has her
(extremely beautiful) right side exactly like the (extremely beautiful) left.
(Verse 668 is corrupt and obscure.) 669. For translation vide ŚP S. No. (155.73) supra. 670. For translation vide ŚP S. No. (41.50) - VJ. S. No. (1.19) supra
671. For translation vide SP S. No. (32.48) supra.
672. The charming woman swells with youth like a river in spate, unsteady,
forceful, captivating and irresistible.
673. (The image of) the woman you love rises / appears imperceptibly in your
mind while you are making love to another woman in whom you may or

Page #137

Prakrit Verses in Sanskrit Works on Poetics
73
may not have noticed any of the peculiarities / qualities of the woman you
love. 674. The washerman's young daughter whose slender waist bends under the
burden of her full bosom (lit. lofty and plump breasts) that shakes with every · movement wrings the hearts of young men as she wrings clothes. 6 675. The eyes of the whole village (i.e. the people of the whole village) suddenly
opened wide and fixed in a motionless stare when the upper garment of the village-chief's daughter became wet with tears and slipped down baring her
breasts to view. 676. On whatever part of her body one's eyes fell they remained fixed there only
with the result that no one has seen her full and whole.
677. For translation vide ŚP S. No. (99.61) supra. 678. For translation vide ŚP S. No. (431.131) supra 679. As I was going over the pleasures of love I had enjoyed with him, there
was a rumbling of the first clouds of the season, I felt it sounded like the drums they beat when a criminal is being led to the place of execution.
680. The first half of the night passed like a brief moment when I lay awake
expecting my dear husband any time (but when he didn't turn up) the second
half was as long as a year for me plunged deep in grief or for me in torment.) 681. For translation vide ŚP S. No. (528.149) supra 682. For translation vide ŚP S. No. (220.87) supra
683. From the courtyard of the house of the hunter's wife a heap of the tiny parings
of (the hunter's) bow fluttered up in a gusty wind, as if it was a banner proclaiming her good fortune !
6. The text of the gāthă may be reconstructed as follows: Acts asiguur37-ent-20-375-YUfA31-my-HUSIT वत्थं सोज्झअधूआ हिअएहिं समं जुआणाणं ॥ (usulat angala-p -F ifa-ya -79-HEZITI वस्त्रं रजकदुहिता हृदयै: समं यूनाम् ॥)

Page #138

74
Prakrit Verses in Sanskrit Works on Poetics
684. The grown up ladies looked at Krsna as (God) Nārāyana, young women as
the consort of Śrī (i.e., Laķşmī) and young girls, out of curiosity just like
that. 685. For translation vide ŚP S. No. (415.128) supra 686. That man, however clever,wanting to be still on the right side of his first
wife goes quite off his mind when he sets his eyes on the charming and graceful movements of his newly wedded second wife.
687. That lady (jaya, v-1. jara-flirt of a woman / adulteress) knows how to conceal
cleverly whatever indecencies she practises so that her name still tops the
list of decent ladies. 688. For translation vide ŚP S. No. (428.131) supra 689. For translation vide ŚP S. No. (144.71) supra 690. For translation vide ŚP S. No. (390.123) supra. 691. For translation vide śP S. No. (484.142) supra 692. For translation vide ŚP S. No. (388.122) supra 693. For translation vide ŚP S. No. (602.162) supra.
(Verse 694 is corrupt and obscure.) 695. For translation vide ŚPS. No. (48.52) supra 696. For translation vide ŚP S. No. (438.133) supra
697. The young woman wearing her stained under-clothes (sanitary napkin) spent
the whole night in a passionate love affair with her borther-in-law but ordered him not to touch her — when the day came.
698. The winnowing basket was burnt; the grams were not fried; the wayfarer
too went away. My mother-in-law started shouting at me. She might as well have played a flute to a deaf person.
699. For translation vide ŚP S. No. (478.141) supra.

Page #139

Prakrit Verses in Sanskrit Works on Poetics
75
700. Whose heart will succeed in resisting a gazelle-eyed damsel's stealthy glance
shot from an eye whose brow has been raised, and reflecting the whiteness
of the teeth that showed themselves in a smile ? 701. The bashful young ladies, afraid of public scandal, passed the whole day
and night in vain in apprehension as to whether their love would be accepted or rejected.
702. The hearts of young bashful women, simmering within, burn like wet wood
with the fire of separation. 703. For translation vide ŚP S. No. (501.144) supra. 704. For translation vide ŚP S. No. (575.157) supra 705. For translation vide ŚP S. No. (398.125) supra. 706. For translation vide ŚP S. No. (397.124) supra.
707. My beloved was within the range of sight, yet I couldn't keep my eyes on
him for long, my friend ! The roads in this wretched village twist and turn like a writhing snake that has been hit with a stick.
708. That man's mistress, whose face has been drenched with her perspiration,
kisses, as if it is his cheek, the yellowing leaf blown towards her by the wind from the banyan tree under which he had often made love to her.
709. Our salutations to those unchaste women into whose mirror-like hearts
whoever comes before them quickly enters.
710. The breasts of the young maidens gradually swell to stand out in full form
and Madana, the God of Love, chooses them as his gateway to their heart.
711. This daughter-in-law of mine ! She has brought disgrace to the family. My
son used to make a kill only with a single arrow but these days he needs two. Look my daughter-in-law, your upstanding breasts have done all this !
(My curses on them!) 712. For translation vide ŚP S. No. (495.143) supra. 713. His complimentary words, free from falsehood, quickly satisfied and relaxed

Page #140

76
Prakrit Verses in Sanskrit Works on Poetics
her even in the absence of physical pleasure. 714. For translation vide ŚP S. No. (381.121) supra.
715. For his sake, my dear friend, I set aside modesty (or sense of shame),
transgressed the bounds of morality and invited defamatory remarks. That one has now become indifferent towards me.
716. As a man becomes more and more senile with age or more and more of
a victim of misfortune or more ungainly, his noble lady's love for him increases.
717. (Note : tentatively it may be translated as follows :) Krşņa, free from longing
for a city-bred maiden's love, remembers (the pleasures of) sexual dalliances
with Rădhā that were straight and full of nothing but genuine love. 718. For translation vide ŚP S. No. (227.90) supra 719. For translation vide ŚP S. No. (382.121) supra. 720. O unfortunate woman, why don't you now raise up your husband who has
fallen prostrate at your feet ? This is just the way love declines from the heart to the feet- declines from the highest pitch to the lowest.
721. Dear friend, today in the course of sexual dalliance with a view to driving
away his disconcertment (vaīlaksyam), I , although not satisfied tightly embraced my lover/ husband who was quite satisfied. .
722. I would much rather be a cândala woman than a prostitute in this world of
men. However genuinely a prostitute may give pleasure to a man, to him
it is just commercial. 723. O Nīlakantha, why are you going away (emending 'gacchasi' to 'dacchasi',
do you see me?) or you who delight the minds of people are you asleep?
Hit by the arrows of the God of Love I have come here to you. 724. While in bed with her husband the adullterous woman imagines him to be
her lover and breaks into perspiration, trembles and feels thrilled : this way she arouses her husband's passion.

Page #141

Prakrit Verses in Sanskrit Works on Poetics
725. For translation vide ŚP S. No. (656.172) supra 726. My friend, look at the wonderful / terrific trick the wife of a man, who
was blind in one eye, once employed; promptly she shut his normal eye by a kiss and let her lover slip out.
727. Is it not that because of this quality that prostitutes are desired? The quality
namely, they have the same expression on their face for the agreeable as
well as the disagreeable.
728. A certain grownup bridegroom proficient in his own job enjoyed the
sex-game with his inexperienced bride in such a way that the bride too enjoyed the sex-game with him as if he was inexperienced.
729. For translation vide ŚP S. No. (280.101) supra
(Verse 730 is treated in the Notes.)
731. Even after the intercourse was over, the harlot kept her private parts
unchanged in the same position and looked at her partner in such an enticing way that erotic feelings flared up in him again.
732. As the days for celebrating his wedding approach nearer, and nearer the
prospective bridegroom engages himself in flattering the mistress of the house (? the would-be mother-in-law) more and more.
(Verse 733 is treated in the Notes.)
734. O, you, who are affectionate towards your husband, in your attempt to pluck
the fruit of kåravelli creepers for your dear husband, you pressed so hard against the creepers of the hedge that their thorns pricked hard your plump breasts. Now, you may have to face the music for it.
735. For translation vide SP S. No. (246.94) supra
736. Clandestine love-affairs become pleasurable when the lamp is blown out by
the breath of the mouth, when the whispered conversation is not without apprehension and when the lips are left without bite-marks through her repeated implorings !

Page #142

78
Prakrit Verses in Sanskrit Works on Poetics
737. At the height of their sexual pleasure well-bred young women feel in their
throats words to express their joy which they would repress out of modesty, but these words finally do come out on their tremulous lips.
738. It is only the fortunate (or the blessed) ones who can see their wives bend
down their faces through modesty at the end of their sexual union and have their lotus-like faces moist with perspiration and look at the husband with half-closed eyes.
739. Even after the intercourse was over and she was busy doing her dishevelled
hair, she gave her lover such an enticing smile that he felt aroused again –
his passion flared up again. 740. For translation vide ŚP S. No. (127.67) supra
741. I felt satisfied, dear friend, when I had him tightly in my arms and my
continuously heaving breasts pressed against his chest.
742. For translation vide ŚP S. No. (655.171) supra
743. The lip is let go to kiss again; the eyes turn away to come back to drink
her beauty again; the embrace is loosened to have a closer one again; and the love-making has a pause so that there is a more passionate one again.
744. For translation vide SP S. No. (282.101) supra. 745. The newly married damsel who is cool like sandal - paste and wet with the
bath she just had, embraces her husband and relieves him at once of both of his torments : the one caused by the (hot) summer and the other by the God of Love.
746. To kiss fair and bright faces of young romantic women on silver - bright
autumn nights as their eyes dilate is only for men that are fortunate.
747. In the Winter season the perspiration of the couples engaged in love-making
tight hugging, is coloured red by the saffron paste with which the breasts
are anointed and it looks like the blood thrown out by Winter. 748. For translation vide ŚP S. No. (74.56) supra.

Page #143

Prakrit Verses in Sanskrit Works on Poetics
79
749. Right now will his sight be restored by reflection in the Magic (Clinical) mirror
: This thought made the young wife thrilled and excited as she gave the mirror to her husband.
(Verse 750 is treated in the Notes.)
(Verse 751 is incomplete and obscure.) 752. For translation vide ŚP S. No. (304.105) supra 753. For translation vide ŚP S. No. (233.92) supra
754. You hard-hearted one, the poor girl day by day is waning like the crescent
moon at the sight of your guilty face which also grows darker and darker like the nights of the dark half of the month.
755. She closed her eyes and imagined that her husband was in her bed with her.
In trying to embrace him, she only held herself with her hands on which the breacelets were hanging loose.
756. On seeing a beloved person that has been difficult to obtain, one becomes
quite limp, confounded, overcome and overwhelmed.
157. Happy? How can — be happy? From the top of that shortish mango-tree
which stands in the front yard of (our) house, there has come out something disastrous (viz. a spray of blossom).
. 758. For translation vide ŚP S. No. (486.142) supra 759. For translation vide ŚP S. No. (679.175) supra.
760. O, friends, why do you tell me that the third quarter of the night has already
passed and that I should go to sleep? The fragrance of the sephālikā makes it impossible for me to sleep. You better go to sleep, all of you, please.
761. In the dead of winter, as the wayfarer wanders homeless and recalls the face
of his wife, his cold disappears and he feels warm enough to perspire, though he has a sprinkling of snow on him.
762. O, you with tremulous eyes, with a moonlike face, with swelling breasts,
with thighs like the trunk of a lordly elephant, with slender waist, the winter

Page #144

80
Prakrit Verses in Sanskrit Works on Poetics
night, although long, is about to end (lit. comes to an end) ! How is it that you still are angry?
763. For translation vide ŚP S. No. (413.127) supra. 764. For translation vide ŚP S. No. (616.165) supra. 765. Those who do not make a show of their authority and behave like servile
slaves when their women are angry and appease them - they alone are the
darlings of women, the others, miserable masters. 766. For translation vide ŚP S.No. (615.164) supra
767. When of the two who have long shared joy and sorrow together and whose
love has grown strong over a long period of time, one dies, it is that one that remains really alive, and the other one dies.
768. Where there is no sleeplessness, no jealousy, no distress, no anger and no
coaxing and cajoling out of genuine affection – love does not exist at all. (or one wonders whether there is any love at all !).
769. Love that has somewhat lost its edge through over-indulgence in erotic
activity, is sharpened again on the whetstone of jealous anger and pride.
4:.
.
770. Do not go out, O, daughter, to collect flowers, Gods are pleased (even) with
a handful of water. The banks of the Godāvarī have undone many reputations.
771. Looking at her husband who was handsome in every way, the faithless young
wife said, "Why hasn't the Creator made him my lover?"
772. She did not give up her (deep) attachment (for her dear husband); even though
she was subjected to humiliation, she shed no tears. With her eyes moist she simply heaved a sigh when she found that her husband had gone.
773. The lady can't make up her mind. Does she tilt the balance in favour of
her pride or prefer to lose her face?
boe
774. Her (Satyabhāmā's) heart was overpowered by joy and owing to the
excitement thus caused, tears gathered in her eyes and in spite of her attempts to supress them, they still rolled down and fell on the back of Hari

Page #145

Prakrit Verses in Sanskrit Works on Poetics
(i.e. Krsna) who was lying prostrate at her feet.
775. "As long as he (dear husband or lover) does not give me the limit (avadhi,
the date of return from journey abroad), as long as he does not loosen the tight hug and I have not the luck to die" - So long I have made myself
firm.
776. For translation vide ŚP S. No. (314.108) supra. 777. For translation vide ŚP S. No. (328.110) supra 778. For translation vide ŚP S. No. ( 321.109) supra 779. Well I may cover eyes with both my hands on seeing him. But how can I
conceal my entire body, covered with goose flesh (with ecstasy) like a kadamaba flower?
780. For translation vide ŚP S.No. (305.106) supra. 781. For translation vide ŚP S. No. (238.93) supra 782. For translation vide ŚP S. No. (256.86) supra 783. For translation vide ŚP S. No. (738.185) supra 784. For translation vide ŚP S. No (.230.91) supra 785. For translation vide ŚP S. No. (560.155) supra 786. For translation vide ŚP S. No. (233.92) supra 787. For translation vide ŚP S. No. (340.113) supra 788. For translation vide ŚP S. No. (323.109) supra 789. For translation vide ŚP S. No. (124.66) supra 790. For translation vide ŚP S. No. (459.137) supra 791. For translation vide ŚP S. No. (186.80) supra
792. Young lady, you desire a very long life; don't you bother yourself with the
rasāyanas which may not be dependable; better take to separation (from your

Page #146

82
Prakrit Verses in Sanskrit Works on Poetics
beloved) so that your days will be as long as yugas.
793. The pleasures which were enjoyed in the company of the lover - those
very pleasures become unpleasant in his absence, my dear friend.
794. For translation vide ŚP S.No. (381.121) supra. 795. For translation vide ŚP S.No.( 372.119) supra. 796. For translation vide ŚP S.No. (451.135) supra. 797. For translation vide ŚP S. No. (321.109) supra. 798. For translation vide ŚP S.No. (768.190) supra. 799. For translation vide ŚP S.No. (542.152) supra. 800. For translation vide ŚP S.No. (413.127) supra. 801. A clever young dairymaid standing amidst a group of dairymaids like herself,
under the pretext of complimenting them on their dancing, kisses them on their cheeks, but in fact kisses Krsna as reflected on their clear skin.
(Verse 802 is corrupt and obscure.)
803. For translation vide ŚP S.No. (81.57) supra.
804. A grownup lady saw a particular young man sitting with his friends and she
closed the petals of a fully blown lotus with her hand to look like a bud. Why did she do this ? (What did she mean by this?).
805. For translation vide ŚP S.No. (151.72) supra. 806. For translation vide ŚP S.No. (484.142) supra.
(Verse 807 is treated in the Notes.) 808. For translation vide ŚP S.No. (235.92) supra.
809. If a man has plenty of wealth and gives away some of it, is there any cause
for surprise in it? But you seem to be passing on to your rivals (your husband's other wives) a lot of distress or misfortune, though you have none

Page #147

Prakrit Verses in Sanskrit Works on Poetics
83
yourself.
810. The poor me lives on the village is nothing more than the palāśa trees; the
memory of the old groves haunts, no mark of our love survives! 811. That flock of parrots in the sky, that group of wayfarers on the road, that
group of deer in the field - none makes any movement whatever - they are all spell-bound by the loud and shrill "chu chu" sound of the girl in
the paddy field (whirling her swing and frightening birds). 812. Love disappears when you don't see the object of your love or when you
see it far too much! It dies also because of malicious gossip, but sometimes
it (love) disappears just like that. 813. For translation vide ŚP S.No. ( 60.54) supra. 814. For translation vide ŚP S. No. (264.98) supra. 815. For your sake, dear boy, that poor girl has been sitting in the porch of her
house across which she has hung a garland of flowers to welcome you. Now
she wilts like the garland. 816. For translation vide ŚP S. No. (70.55) supra. 817. Small in the beginning her breasts like Madhu-mathana (i.e. Vişnu, who
assumed the form of Vāmana, a dwars), grew in size and stature and have now produced three folds on the abdomen, Madhumathana (- Vishnu) having
grown formidable enough to subdue Bali. 818. Victory to the glance of Laksmī that, at the end of the churning of the ocean,
fell on Vişnu like garland during svayamvara (self-choice, the election of a husband by a princess or daughter of a Ksatriya at a public assembly of
suitors). 819. For translation vide ŚP S.No. (746.187) supra. 820. In this forest which is full of tigers (pundarīka), 0, gazelle-eyed one, with
a white parasol (pundarika) in your hand, which while twice-born (a Brāhmana or a bird) are you in search of?
821. Because of the cooing of the pigeons which are resting on the slightly visible
Note: the word pundarika means : i) a white lotus, ii) a white umbrella iii) a tiger iv) white (the colour.)

Page #148

84
Prakrit Verses in Sanskrit Works on Poetics
metallic peg (supporting the dome on the top of the temple -turret), the temple is moaning with pain as if it has been pierced with a pale (sülă = a sharp iron pin or stake, any sharp or acute pain).
822. Look here at the entrance of the temple in this god-forsaken village, the
wayfarer in winter stirred the straw-fire which was dying out and it looked like a bear that has been ripped open.
823. For translation vide ŚP S.No. (344.114) supra.
824. How can you, my friend , possibly live in this accursed village where the
moon-face of the farmer's daughter-in-law is bright enough to dispel darkness and you cannot therefore hold your tryst with your girl and thus have your hopes all dashed?
825. For translation vide ŚP S.No. (386.122) supra.
826. When the young woman sees her brother-in-law chopping down the karanja
tree on the river bank, she feels much distressed - her desire to enjoy the pleasures of love under that tree is now frustrated.
827. For translation vide ŚP S. No. (602.162) supra. 828. When she hears the twitter of the birds as they fly from the water reeds
her usual rendezvous, the young daughter-in-law, engaged in her household chores, feels her limbs limp.
(Verse 829 is treated in the Notes.)
(Verse 830 is treated in the Notes.)
831. You need not feel so weepy and downcast, my dear, because the tall paddy
is soon to be harvested. Look, there you have the thick yellow hemp with its face painted like an actress!
832. For translation vide ŚP S.No. (311.107) supra. 833. For translation vide ŚP S. No. (601.162) supra.
834. The monkey already once stung, slinks away, shakes from a distance the
branch of the Jambù tree, again draws near, growls but does not try to pluck

Page #149

Prakrit Verses in Sanskrit Works on Poetics
85
the jambu fruit, thinking it to be a bumble-bee.
835. For translation vide ŚP S. No. (126.67) supra. 836. The unchaste woman, in the very presence of her husband takes up the
Vetasa (reed-) twig bearing new blossom and presents it to her brother-in-law who is melancholy.
837. For translation vide ŚP S. No. (125.66) supra.
838. The unchaste woman picks up the madhūka flowers — the last of the season
– which have now become difficult to find and weeps while picking them up as if she was collecting the remains of the bones on a funeral pyre of a dead relative.
839. A wanton woman who had a date with her lover in a thicket listens to the
crunching sound as the fallen leaves are being crushed by the feet of the approaching lover.
(Verse 840 is treated in the Notes.)
841. That cotton field, dear friend, has been devastated by cursed frost; think
therefore of something else to make our union possible.!
842. My dear friend, this glory and ornament of our village, this charming bed
of lotus-plants has been ruined by winter – now it looks like a reaped sesamum field.
(Verse 843 is treated in the Notes.)
(Verse 844 is corrupt and obscure.)
845. Seeing her husband sprinkling with water the young karañja plant in the
back-yard of the house, the wife and her younger brother-in-law exchange
!. For text vide Additions (p.5) S. No. (841.20.)

Page #150

86
Prakrit Verses in Sanskrit Works on Poetics
looks and smile significantly.
846. The Murala (river) meanders near our village and at every bend there are
lovely thickets of reeds. Dear brother-in-law, you havn't visited our village nor seen the river, have you?
847. That foolish deer was so tormented by the accursed mirages that it turned
away its face even from real water (of the rivers)!
(Verse 848 is corrupt and obscure.)
849. O, Madhūka tree, forming a dense thicket on the bank of the river Godā,
O, you who are bending under the burden of countless flowers and whose branches are reaching as far as / almost touching the ground below, please listen to my prayer : Don't be in such a hurry to shed your flowers and leaves
(lit. shed (your leaves and flowers) rather slowly). 850. For translation vide ŚP S. No. (708.180) supra 851. O, Banyan tree, you have as it were interned the dark half of the month
in the village square (lit. the central village-yard), the entire village clinging to you (residing around you) over a long distance on all sides, with you at the centre, lives happily in spite of the strict and intolerant chief.
(Verse 852 is corrupt and obscure.)
(Verse 853 is treated in the Notes.)
854. The forceful current of the mountain stream is sweeping down the kadamba
flower, while its filaments are being torn by the whirling water but the bee clinging to it does not give it up, it sinks and comes out of the water with
(Verse 855 is corrupt and obscure.)
856. You are plucking the twigs of the Karañja tree on the bank of the river with
a hope to reach heaven, but O, pious man, your feet are still planted on this earth!
857. Why do you complain that you get no alms in such a big village like ours;

Page #151

Prakrit Verses in Sanskrit Works on Poetics
87
as a matter of fact, O, monk, you should thank your stars you are still alive-you, destroyer of the karanja tree !
858. Apprehending that it would otherwise) be denuded of its leaves by the
wayfarers, the wanton women secretly sprinkled with a solution of turmeric powder (or rice-flour) the leaves of the banyan tree which cast a dense shade.
859. For translation vide DHV S. No. (1.6) supra.
(Verse 860 is corrupt and obscure.)
861. For translation vide ŚP S. No. (629.167).
862. Dear Muralā, if you go on uprooting all trees and groves from your banks,
I am afraid, like the Gangā you will have none but the ascetics there.
863. O, Narmadā, I shall complain to the Ocean, your husband that today setting
aside all decency, you accompanied your lover, the Flood to the reed-bower/ that you were led to the reed-bower by the Flood (your lover)!
864. This is indeed very decent of you ! O, Murală ! You are charming by nature
and your water is cool. You have sent it inside the thicket (where I often meet my lover)!
865. O, Kāveri, where is all that flood-water with which you devastated the bowers
of reeds on your banks ? They (the banks) are now ablaze!
866. The wind rudely shakes the (huge) banyan tree in the village and many pale
coloured leaves fall down and along with them fall the hearts of many wanton women, my friend !
(Verse 867 is corrupt and obscure.)
868. O, you Wood of Reeds, may you live long ! May you also have my span
of life ; you are a friend of wanton women and you are generous with branches and leaves; you provide water around you and even when it is day you make it (look like) early night!
(Verse 869 is treated in the Notes.)
870. Hail Godā! Your banks are full of woods drenched in the first showers of

Page #152

88
Prakrit Verses in Sanskrit Works on Poetics
the season, always fragrant and rich in the honey of flowers.
871. O, You have made me thin ; You have taught me to weep long; you have
emboldened me to be disrespectful; now please don't come to disregard me.
872. (i) It is only some Karmas (done in the past lives) that urge a helpless person
to seek happiness in the love of an inaccessible person.
(ii) We wouldn't know how that love will end—it began thus : deep inhalations drying the whole body and heavy exhalations (with the emended reading : ņīsāsāsāsa).
873. My friend, why do you torment us with your shaking of head and with heavy
sighs interspersed with your indifferent hums at every word (spoken by us) ?
874. This business of love ! It is an altogether different kind of secret, dear (lit.
O, fair one). It shows more when concealed than when revealed.
875. My friend, today while crossing (the river) Muralā I spoke these words to
that young man meaning to tell him that he had failed to keep the
appointment. 876. For translation vide ŚP S. No. (707.179) supra. 877. For translation vide ŚP S. No. (770.191) supra. 878. For translation vide ŚP S. No. (630.167) supra. 879. For translation vide ŚP S. No. (388.122) supra.
(Verse 880 is treated in the Notes.)
(Verse 881 is treated in the Notes.)
882. For translation vide ŚP S. No. (40.50), DIIV S. No. (15.9) supra.
883. What do you think brings lovers close to each other ? – a friend, a
messenger, or a wood-grove on the river-bank ? It is the pitch darkness, a loving friend of all wanton women !
884. For translation vide ŚP S. No. (363.118) supra.

Page #153

Prakrit Verses in Sanskrit Works on Poetics
885. The silk dresses the young women are wearing look so much like the
moonlight that they can embrace their lovers without being noticed at all
by their parents (or elders). 886. That mischievous moon, my dear, is dark on most of his body and only a
small part is left bright. I wonder why the moonlight then is not dark. 887. How much of water in the form of the moonlight the lake of the sky must
be having ? It never comes to an end though it streams down through countless rays of the moon.
888. How can an unfortunate woman like me, Sir (?) have a chance to go out
to meet her lover when that candāla (outcaste) of a moon goes about warning people off the road by hitting the stick of the rays that outcastes carry?
889. What has the moon that has escaped unharmed from the various animals
in the sky such as the Fish, the Crocodile, the Crab, the Bull, the Scorpion and the Lion to fear from Rāhu who, poor fellow, lives only as a severed head ?
890. O, moon, you'll just not be noticed, so long as this thousand-year-old banyan .. tree with its rich foliage and thick shade is overhead.
891. We, women of easy virtue adore you, Rāhu; as an enemy of the moon you
are welcome to us. When as a goblin of clouds you capture him even partially, please see that he doesn't escape.
892. For translation vide SP S. No. (390.123) supra.
893. When the young bride lost her virginity in the thicket by the riverside, the
birds in their embarrassment flew up and flapped their wings to remark (or to say) 'how shameful', 'how shameful' !
894. For translation vide ŚP S. No. (440.133) supra.
(Verse 895 is corrupt and obscure.) 896. For translation vide ŚP S. No. (484.142) supra.
897. The farmer's daughter-in-law plucked a tender leaf of the Vetasa and wore

Page #154

90
Prakrit Verses in Sanskrit Works on Poetics
it on her ear; by a significant smile and glance she conveyed to her brother-in-law that he had failed to keep the appointment.
898. For translation vide ŚP S. No. (263.98) supra. 899. When on the morning after, the young man sees the lotus-face of his
sweetheart flushed with bashfulness, the joy of satisfaction he gets cannot be equalled even by the raptures of his first coitus with her.
900. For translation vide ŚP S. No. (734.185) supra. 901. For translation vide ŚP S. No. (58.54), DHV S. No. (5.7) supra. 902. For translation vide ŚPS. No. (52.53) supra. DHV S. No. (31.12) supra.
903. "Tidy up your clothes, stupid girl. Now, you brother-in-law's little son, get
going. You are slender waisted and from your thin arms no wonder, your bangles are slipping down" said a companion of the girl whose indiscreet love affair she was trying to cover up.
(Verse 904 is treated in the Notes.)
905. While talking to your brother-in-law's wise, the way you try to cover your
lower lip that has been cracked by winter shows, O, you foolish girl, that you are in pain.
907. Then the Master Acala said : If within some days you do not bring to my
feet the courtezan (Devadattā), I shall certainly die.
908. Hey, young man, just a word with you. But then I would rather not say it.
Let her go to blazes ! What do I care for such a fool who thoughtlessly got involved with a heartless fellow like you.
1. 3TTIT ER Utaze, ailes (? at 634-) RRRT YTT37 3a ! तुह कम्म-वावड-तणु-तणुलआएँ गलंति वलआई ।। (सखि धर नेपथ्यं तावद् हतदेवरस्य पुत्रक अपैहि ।
a
f-w19a-ng-Car
Taft Act 11)

Page #155

Prakrit Verses in Sanskrit Works on Poetics
909. For translation vide ŚP S. No. (372.119) supra. 910. For translation vide ŚP S. No. (188.80) supra. ŚPS. No. (49.52) supra. 911. For translation vide ŚP S. No. (464.138) supra.
912. Her jealous husband does not allow her to gather the madhūka flowers at
night. But, my friend, he goes out to gather them himself, extremely simple-minded that he is.
913. For translation vide ŚP S. No. (189.80) supra. 914. For translation vide SP S. No. (665.173) supra.
915. I know he has committed love's offence. I know whatever he says is all false.
But when he starts appeasing me I start considering myself the offender.
916. For translation vide ŚP S. No. (755.188) supra.
(Verse 917 is treated in the Notes.) 918. Sleeplessness caused by separation from you does not let me to have the
joy of seeing you even in a dream and because of the tears I have been In deprived of even the pastime of looking out on the way of your coming back
home.
919. For translation vide ŚP S. No. (417.128) supra. * 920. She (Sakuntalā) showed no regard for her elders, nor did you (O, Duşyanta)
consult any of her people. Each one of you have acted on your own. Is there any room for a third party like me to have any say ?
921. You have been married to an unpleasant looking, jealous and stupid man.
Please, tell me, now, my dear, how you manage to live (with him).
922. You submit to your husband just for the sake of your livelihood but when
it comes to enjoying the real pleasures of sex could you do it, you silly girl, without compromising your moral values?
923. (A dūti addresses a nāyaka:) "O, Son of a farmer, the beauty of the face
of the moon-faced one now imitates the colour of the corn of the Ghanasāli

Page #156

Prakrit Verses in Sanskrit Works on Poetics
paddy. The lady with a slender belly is becoming thinner and thinner. Do what is proper (for her or for the occasion)."
924. O, unkind one, O, you, who are afraid of your wife, O, you, whose sight
is difficult to have, O, you, who are like an insect in a nimba berry, O, you son of the village-chief, the entire village is growing lean because of you.
925-26. “O Gheņțākarāla, return our clothes which you have taken away while
we were bathing. We have to hurry back to heaven. But how can we go, when our clothes to be put on after bath are taken away? If we don't, we are afraid, when the night ends and the day dawns we shall remain here only but changed into stones through Indra's curse."
When the celestial nymphs said this Ghentākarāla (in the Section called the Kalingasenālambha) replied: "I'll return you your clothes only if one of you weds me.”
927. (This passage is in prose and cited from Śakuntala. Priyamvada says to
Sakuntalā :)
Dear friend, it is not proper for you to go - - You owe me two watering of trees. Come then, having freed yourself (from the debt of honour) you'll
go.
928. I am emaciated because of separation. The fire of separation is unbearable.
My life is uncertain (or in a precarious condition). "What message should I send him (my lover) ? My friend, you yourself know what is proper for the occasion or fit to be done. (At all costs bring him here without delay.)
929. For translation vide SP S. No. (39.50) supra
(Verse 930 is corrupt and obscure.)
931. For translation vide ŚP S. No. (70.55) supra
(Verse 932 is corrupt and obscure.) 933. For translation vide ŚP S. No. (454.136) supra 934. For translation vide ŚP S. No. (760.189) supra

Page #157

Prakrit Verses in Sanskrit Works on Poetics
93
935. For translation vide ŚP S. No. (414.128) supra
936. Out of their longing for the pleasure of meeting their lovers they send their
errand girls to them and quickly despatch their own eyes to watch the way.
937. For translation vide ŚP S. No. (362.117) supra
938. He will go to her house ; he will find an opportunity; he will approach her;
he will speak out what he has in his mind. But what kind of response will he get?
939. For translation vide ŚP S. No. (390.123) supra.
940. The messenger has long gone. The question whether he will come or no
swings my heart between life and death.
941. The errand-girl hasn't come back; the moon has risen; even the night is
passing; everything everywhere has gone wrong. What shall we say and to whom?
942. The young women, withdrawing the face from the hand of the maiden friend
(who was adorning it) with the ornamental mark still unfinished, excitedly (or hurriedly) instructed the messenger maidens, who had returned, (regarding the mission to the beloved).
943. The young gay women did not proceed to meet their lovers, nor did they
do their hair nor question the errand-girls (or messenger girls) (about the mission to the beloved). Disappointed (or frustrated or bewildered) by the moonlight, they trembled as they stood stupefied in mind.
944. Although she did not actually say it, her face with the eyes wide open and
drops of perspiration trickling down her cheeks, did tell me that the sexual intercourse has ended.
945. "Look, look, he hasn't turned up" - as she was joking like this, her extreme
joy defied her attempts to hide it, and flowed down her cheeks.
946. Dear girl, this running up and down on my errands has quite tired you, see,
the flowers from your braided hair have slipped off, some have even dropped; please rest a while before you tell me what message my young

Page #158

94
Prakrit Verses in Sanskrit Works on Poetics
man has sent (through you).
(Note: The messenger girl has played her mistress false, betrayed her and enjoyed sex-game with the lover of her mistress).
947. "You have always said you would do my work as if it is your own. You
have remained true to your word and now acted on it" — so said the young lady to her errand-girl (who has slept with the lady's lover).
948. For translation vide SP S. No. (477.140) supra
949. The young women made their messenger-girls repeat several times whatever
their young men had said true or false, though it made them sad.
(Verse 950 is treated in the Notes.)
951. "When the night is so far gone, do you still expect him? Have patience,
he will not come" - this way the messenger girls wanted to put the young women to test. Actually their young men were already there.
952. All along she was busy painting sensational pictures of her meeting with her
lover and when her errand-girl came back from him she stared at her moonlike face and wondered what sort of message it could be and her heart trembled.
953. The sweet words of the lover's joyous message which the errand-girl puts
into the ears of some young (gay) woman enhance the beauty and clarity exactly as a lotus flower when put on the ear does by its sweet juice and fresh and blooming look.
954. As you had suggested I left the house and went to the park where in a dense
arbour that man was trying to divert the sorrows of separation.
955. I couldn't understand what message he wanted me to convey to you as his
words were not clearly spoken and as he faltered over them through his hot (his heavy) sighs.
956. When I am away from you, the moon, the lotus-stalks and the blue lotus
flowers torment me, they remind me of your face, your arms and your eyes.

Page #159

Prakrit Verses in Sanskrit Works on Poetics
95
957. O, dear, with the moon-like face and large eyes, the long night, bright with
moonlight, with its only four watches looks as if it has a hundred in your
separation. 958. For translation vide ŚP S. No. (207.85) supra.
(Verse 959 is corrupt and obscure.)
(Verse 960 is treated in the Notes.)
961. When there was a sudden movement of the servants and whispered words
said something about someone's coming, the young lady, who was expecting her beloved man was so much overcome by nervousness that she could hardly lift her foot.
962. The young woman, who was unable to move ahead on account of her delicate
thighs trembling due to extreme nervousness and was presented by someone was in the meanwhile tightly hugged by her lover.
963. Madayantikā : "Friend, I am also guilty of a breach of trust that you must
needs speak thus? Dear friend, you and Lavangikā are now my very heart."
964. (The first half of this găthā is corrupt and obscure. The second half means:)
It is the errand-girls who restore to life a young woman deeply attached to a (young handsome) man who is difficult to secure.
965. If we didn't have on this earth girls to run errands for us, who act like
cintāmaņi (a fabulous gem supposesd to yield its possessor all desires), who will bring to us the delights of hearing love's messages or the raptures of passionate sex?
· 966. Love's messages (brought by the messenger-girls) are much more delightful
than the union itself.
967. (Note : Sakuntalā addresses this love-letter to Dușyanta :)
"I know not your heart, but, 0, ruthless one, love burns by day and even
at night, these limbs of mine whose desires are all centred on you." 968. For translation vide ŚP S. No. (386.122) supra.

Page #160

96
Prakrit Verses in Sanskrit Works on Poetics
969. For translation vide ŚP S. No. (388.122) supra 970. For translation vide ŚP S. No. (415.128) supra
971. After going half-way the young women turned round to have a look at their
lovers who were now clearly visible in the first rays of the moon-they couldn't launch on their adventures of love in the latter part of the evening but the light of the moon induced them or was the inspiration.
972. Uşā noticed that her left breast was throbbing and as she was thinking to
herself, Citralekhă brought Aniruddha to her boudoir (lady's small private room - sulking place).
(Verse 973 is corrupt and obscure.) 974. For translation vide ŚP S. No. (388.122) supra. 975. For translation vide ŚP S. No. (520.148) supra. 976. As a part of religious vow she goes to the river for early bath in the month
of Māgha. As a pro bono publico you keep bonfires at public city-square.
This is how you met at the Godā-ghāța. You lucky devils'! 977. For translation vide ŚP S. No. (419.129) supra 978. The sharp edges of the love-swords of wedded couples, blunted in the course
of their quarrels are whetted mysteriously on the hone of pride. 979. For translation vide ŚP S. No. (765.190) supra 980. Dear boy, see how capricious is love between man and wife-sudden out
bursts of temper followed by spells of gentle harmony, haughty holdings on to positions no longer true leading to considerable mental torture.
1. HT HIEHRMITT-Hout a fa fauur-quopuit i मिलिआ गोलातूहे दुवे वि तुम्हे खु धम्मिट्ठा ।। (सा माघमासप्रातर्मज्जनशीला त्वमपि दत्तपुण्याग्निः। Aparat marad/ atef 3119 (? safa) yai ag eftet 11)

Page #161

97
Prakrit Verses in Sanskrit Works on Poetics 981. For translation vide ŚP S. No. (768.190) supra 982. The stubborn young bride refuses to talk when her husband who has given
her love's offence, talks to her, remains frigid in his embrace and returns his kiss with an angry look.
983. O, cruel one, seeing your face dark like the Eastern direction (quarter of
the sky) covered with darkness in the course of the dark half of the month is waning day by day.
984. For translation vide ŚP S. No. (494.143) supra. 985. For translation vide ŚP S. No. (333.111) supra
986. Seeing the cowherd engaged in a tête-à-tête (private conversation) with (the
first wife as she was milking the cow or) the dairymaid milking the cow, look how his second wife, newly married to him, angrily undid the tethers of all the calves in the shed.
987. He received the insulting, sarcastic and angry naggings of his mistresses with
an awkward and guilty smile.
988. For translation vide ŚP S. No. (271.99) supra
989. Undeterred by my angry looks, he still comes near, catches hold of my clothes
though I shake him off, and forces a kiss on me though I strike him. Now tell me, how can I deal with such a shameless fellow.
990. For translation vide ŚP S. No. (652.171) supra 991. For translation vide ŚP S. No. (332.111) supra
992. Hum ! O, you shameless one, get away from here, you go and cajole her
who has left this tīlaka mark on your forehead with the red lac on her big toe.
993. Her rising anger, she controlled; when humiliated, she didn't allow a single
tear to drop and when her husband caught hold of her, she without turning her eyes away just heaved a long sigh.
994. Throwing to the winds all norms of polite behaviour and not caring for public

Page #162

98
Prakrit Verses in Sanskrit Works on Poetics
censure you committed love's offence in my very presence and established your lordship over young women'!
995. Tell me, you shameless one, how is it that when you kiss these wretched
cheeks of mine — saffron - mark on my dear friend's forehead becomes wet? You are committing love's offence in my very presence/right under my nose.
996. "He : Please, believe me. She : Believe you : I would never have believed
you if I had not seen the tears that I dropped on your back being broken by all the goose-flesh that grew there.
997. When her husband was describing the (wondrous) beauty of the heroine in
the episode she responded with only a hum - hum. She felt terribly jealous and angry.
998. For translation vide ŚP S. No. (219.87) supra
999. My dear young man, you don't disturb me as much with all these nail-marks
which decorate your body nor by the sleepless look in your eyes (nor by your drowsily blinking) as by the absence of any bite-mark on your lip, you dark-complexioned darling!
1000. You call me by another woman's name and feel embarrassed; What are
you doodling (scratching) here on the floor? That seems to be the woman you love so madly and who is occupying your heart.
1001. Let me have only that much love which you can always give and honestly
give. Not everyone is capable of putting up with an insult to her self - respect by any of her husband's actions.
1002. In a slightly intoxicated state the young woman forgot the offence her lover
had given her and started talking to him, but suddenly felt ashamed of her self remembering the offence and stopped talking, but he (the lover) smiled and comforted her.
ETIUT forcaftill (yafa w
a
1. Emending the printed text to : 9375-JUT
A4 11)

Page #163

Prakrit Verses in Sanskrit Works on Poetics
99
1003. However repentant I was and firmly set against any more such lapses on
my part, she was not convinced and in spite of my long pleadings in our privacy she still presented her face that was distorted by her anger. How much it torments me!
1004. Lovers generally long to hear from their charming women words that move
their hearts but the way she turned her face in anger and spoke, quite broke his heart to pieces.
(Verse 1005 is corrupt and obscure.)
(Verse 1006 is corrupt and obscure.)
1007. You have favoured her (Rukmiņi) with a bunch of celestial flowers and
me (Satyabhāmā) with your visit. You have done favour to both of your women. It looks correct, doesn't it?
1008. Wealth and position command admiration. They are no way bothered by
infamy, they look down upon good things as undesirable and refuse to appreciate good services because they come from the lowly ones.
1009. Her resentful face is flushed red, her speech falters through (infatuation
or) intoxication as well as jealous anger.
1010. Her heart which had tried to conceal her tormenting pain felt helpless as
she came home, tears gathered in her eyes and her lower lip would not stop quivering.
(Verse 1011 is corrupt and obscure.)
1012. The red dye of her lower lip which overnight was rubbed away by her
husband was seen the next morning on the faces of her rivals (co-wives). 1013. For translation vide ŚP S. No. (220.87) supra.
(Verse 1014 is treated in the Notes.)
(Verse 1015 is corrupt and obscure)
(Verse 1016 is corrupt and obscure.)

Page #164

100
Prakrit Verses in Sanskrit Works on Poetics
1017. O, charming one, please tell me whether this is the characteristic of your
celebrated courtesy that you go back to your wives soon after your fresh act of faithlessness?
1018. Granted, O, charming one, that she shines because of her an
and her beauty; and granted that I am without any of such qualities. Does it mean then that any one who is not like her has no business to exist?
1019. As she warned her libertine husband that the woman he had been fond
of all along had detested him, she knew that her own heart was too full of love to entertain any hatred for him (to win his love.)
1020. You regard yourself to be intelligent. You deserve only a flirt who can entice
you with all sorts of blandishment, no way touched by real feeling. Let me stop my love relations with you. I have had enough.
(Verse 1021 is treated in the Notes.) 1022. For translation vide ŚP S. No. (312.107) supra
(Verse 1023 is corrupt and obscure.) 1024. Alas ! my friend, while remaining alive, what have I not seen? My dear
man appeases my anger and I too, with my heart's desires dashed to the ground, allow myself to be appeased !
(Verse 1025 is corrupt and obscure.)
1026. Her heart for a moment felt extremely happy but as the memory of the
earlier offence recurred, quickly regretted its impulsiveness and sank back into indignation.'
1027. The anger of the proud (or self - respecting) women dies away very slowly
indeed. The more they love, the more resentful they feel, and even when they feel, just for a brief while gratified by their lovers' entreaties, they
1. TECUT-H10137-96RH HHR31-16-vinciale131 1
तीए गरुअं (7गरुए) णिसम्मिअं ओअत्तं पि अमरिसे च्चिअ हिअअं ॥ (तत्क्षण-जनित-प्रहर्ष संस्मृतापराध-संघटमानानुशयम् । ARIT Track (?ynda) AquUmH 374TH (?) 3744 a EGUH 11)

Page #165

Prakrit Verses in Sanskrit Works on Poetics
101
quickly feel saddened and perturbed by the remembrance of the old offence.
(Verse 1028 is treated in the Notes.)
(Verse 1029 is corrupt and obscure.)
(Verse 1030 is corrupt and obscure.) 1031. For translation vide SP S. No. (281.101) supra. 1032. You wicked man, you don't hesitate to misbehave and cause pain to a
fruitless (ineffective) and gentle person like me. Well, go ahead and enjoy yourself. Of the duo (two), let only one susser.
1033. For translation vide SP S. No. (284.102) supra 1034. Self-respecting young women look beautiful when at the sight of their
offending men, guilty of infidelity they flare up in indignation and then suddenly feel excited and (nervous or) confused.
(Verse 1035 is corrupt and obscure.) 1036. Stalking away like this, and tugging at the border (or end or hem) of your
upper garment (caught by me to stop you), in such a forceful manner, my dear? Take it easy, do remember your poor waist is already burdened by
your heavy breasts, it will break. · 1037. For translation vide ŚP S. No. (992.227) supra.
1038. For translation vide ŚP S. No. (256.96) supra. 1039. In those days how I would pretend to be hurt and get angry and how you
courted me and cajoled me - I weep now for those days, gone for ever.
Believe me, I am not angry with you. 1040. O, fair one, to mope like this with your face bending over your plump and
ample bosom, listen to what I say : it seems so unwise to waste ourselves
sucking through our youth when you know youth is so short-lived. 1041. For translation vide ŚP S. No. (942.70) supra. 1042. For translation vide ŚP S. No. (773.191) supra

Page #166

102
Prakrit Verses in Sanskrit Works on Poetics
1043. Her lover who was himself sad, mortified and downcast saw her unhappy
face completely clouded by sorrow with its eyes lurid with terrible anger. 1044. An aristocratic young lady is far from giving expression to her feelings of
displeasure, much less show them through her tears. Such feelings just hide deep in her heart (lit. are dissolved by the kulapālikā (or - balika) in her
heart.) 1045. For translation vide ŚP S. No. (295.104) supra 1046. She didn't knit her brows, nor utter a single bitter (or caustic) word; she
didn't withdraw her nether lip when I kissed her nor did she burst out into weeping when I held her in my arms. I knew well enough that she hadn't
forgotten her displeasure-jealous anger. 1047. For translation vide ŚP S. No. (518.147) supra 1048. Young women do not weep so much when they first hear the painful news
of their husband's infidelity as when they actually meet their husband and
find themselves being appeased by them. 1049. For translation vide ŚP S. No. (452.135) supra. 1050. My friend, first sit down--there's not much need to read through the letter.
Stop reading. Husbands who write like this do come back, take it from me. 1051. As a matter of formality that neighbouring woman embraced the guest on
his arrival in the house. But the face of this newly married girl became dark
when her own husband arrived home. 1052. Unfortunate that I am, I turned him down when he tried to gratify me;
but you also let him go thus mortified. You after all love to dance to the
tunes of others. 1053. For translation vide ŚP S. No. (999.229) supra. 1054. For translation vide ŚP S. No. (680.175) supra. 1055. For translation vide ŚP S. No. (485.142) supra. 1056. The young man splashed water in the face of his wife who had quarreled
with him, but she didn't respond in a similar way but disregarded him and engaged herself with her (maiden) friends—this way she caused pain to her

Page #167

Prakrit Verses in Sanskrit Works on Poetics
103
rivals in love.
1057. How much of beauty can jewellery lend to young women when they are
insulted or humiliated in their bedroom? Contentment or inner satisfaction is the only real ornamentation compared to which all the elaborate jewellery is just nothing !
1058. For translation vide SP S. No. (1050.237) supra.
1059. When he comes back after his long journey I shall pour all my anger on
him and then how he will court and cajole me - Most women cherish such desires about their husband but only some are fortunate enough to get them fulfilled.
1060. For translation vide ŚP S. No. (982.226) supra 1061. For translation vide ŚP S. No. (562.155) supra
1062. One drinks even deadly poison if a friend recommends it. So, O, my heart,
be firm. I want you to be at the disposal of stiffness.
(Verse 1063 is corrupt and obscure.)
1064. The young daughter-in-law was spurned by her handsome neighbour. This
has made her bitter and irascible. By making false allegation she may involve you in some false situation. So, my dear boy, be careful.
(Verse 1065 is corrupt and obscure.)
(Verse 1066 is corrupt and obscure.)
1. सहिवअणेणं पिज्जड् हालाहलं विसमपि असज्झं जं। हिअअ अवलम्ब धीरं, दिज्जसि माणस्स एत्ताहे ।। (सखी-वचनेन पीयते हालाहलं विषमप्यसाध्यं यत् । GU,"3facietaetat, CURT ATRISIN 11)

Page #168

104
Prakrit Verses in Sanskrit Works on Poetics
1067. As the night advanced Hari (i.e., Krşņa) who has been separated from his
beloved, saw the moon rising high in the sky as an impending calamity and
as the God of Love threatening with his bow. 1068. Hari (=Krsna) looked at her and found her face very close - offered for
kissing - to his own with terrible distress, anxiety and anger clearly marked on it and the eyes were pretty wild. (Verse 1069 is corrupt and obscure.)
(Verse 1070 is corrupt and obscure.) 1071. We know how much agony she suffered on account of separation: Once
she was trying to say something but the words were completely lost, she
tried to smatter a few but ended in only deep sighs. 1072. Any talk about the good qualities of others, though not a full list of all of
them does come to an end - even if it is an abrupt end. But his talk about his beloved though it makes no mention of the delights of their love-making together, never comes to an end.
(Verse 1073 is corrupt and obscure.) 1074. The rays of the moon, blended with the lustre of the sparkling Kaustubha
gem, which should (normally) have increased her joy actually aggravated her agony and made it just unbearable (because Hari did not offer the celestial Pārijāta flowers to her but simply called on her empty-handed.)
(Verse 1075 is corrupt and obscure.)
1076. The nearer he (Krşņa) approached her (Satybhāmā's) mansion, the deeper
his heart sank in nervousness and the guiltier he felt over the offence he
had given her (lit. his heart sank in serious apprehension and uncertainty). 1077. For translation vide ŚP S. No. (196.82) supra. 1078. For translation vide ŚP S. No. (332.111) supra. 1079. For translation vide ŚP S. No. (230.91) supra 1080. For translation vide ŚP S. No. (762.189). supra 1081. For translation vide ŚP S. No. (591.160) supra 1082. Hari then appeased whatever little anger still was there in her heart by his

Page #169

Prakrit Verses in Sanskrit Works on Poetics
105
conciliatory gesture, viz., falling prostrate at her feet – the feet of his beloved(Satyabhāmā) whose heart was still half - closed against him: he had preferred to give to Rukmini the (celestial) Pārijāta flowers.
(Verse 1083 is corrupt and obscure.) 1084. For translation vide ŚP S. No. (529.149) supra 1085. The angry lady, whose face her husband forcibly raised by pulling her up
by the hair, drinks willy-nilly, little by little, the wine he has brought to
her lips as if it is a medicine (against her sulkiness). 1086. For translation vide ŚP S. No. (224.89) supra 1087. Pretending themselves to be angry with each other, the lovers turned their
faces away from each other and slept a little apart in the bed. But this empty space in between was filled by the hair of both of them that stood erect owing to the thrill of excitement.
(Verse 1088 is incomplete and obscure.) 1089. My dear, why should these oblong eyes of yours be pouring forth tears
tinged with the pigment of your thin collyrium in such a profuse flow? 1090. O, slender- waisted girl, why do you sit and mope like this, the floral
decorations of your ears are crushed, your lustrous lower lip is all blanched by the breath of your mouth and the paintings on your cheek done with
fragrant and colourful material are transferred to the palms of your hands? 1091. Why is it that what you want to say remains unsaid ? It only moves around
inside your mouth, doesn't even get an indistinct utterance though it comes
again and again up to your lips and sets them quivering. 1092. I havn't been faithless to you at all. I low can I ever say anything against
what you say?
Please, therefore, don't say even this — that I have been guilty of breaking faith.
1093. O, my dear, although my love for you is unbroken (or uninterrupted) -
the same all along - although I havn't given you any cause for anger, although I have done nothing unworthy or bad, still there has been a scandal which has caused your displeasure with me - your anger for me.

Page #170

· 106
Prakrit Verses in Sanskrit Works on Poetics
1094. You have not examined the position carefully nor have you shown any
consideration for mutual trust which has grown over the years. You have disregarded our love. You acting like an ordinary person, have been causing
me pain. 1095. For translation vide ŚP S. No. (1021.233) supra
(Verse 1096 is corrupt and obscure.)
(Verse 1097 is corrupt and obscure.) 1098. You may take your own time over it, you may not give up your angry feelings
against me, but please tell me in clear terms whether you think I would be guilty of any such lapse, disregarding this (our deep love)?
(Verse 1099 is corrupt and obscure.) 1100. The course of love is indeed uncertain: if it moves ahead boldly, it is
restrained and pushed back and vice versa. Is there any point in being resentful ? One doesn't really know what to do with such a mood (or
feeling). Such thoughts quite perplex the minds of women. 1101. The eyes of the disillusioned young wife looked for a while painfully at
her rival in love with whom her husband had seriously misbehaved, and
finally settled on her friend. 1102. O, neighbour, stubborn that I am, I wouldn't give up my stupid resentment.
As a result I have lost my sleep, I remain wide awake in the night, unfortunate that I am. (Verse 1103 is corrupt and obscure.).
(Verse 1104 is corrupt and obscure.) 1105. What sort of anger (sulkiness, pride) you can have against a person, a
separation from whom means sleepless nights, pale face and long sighs ?
(Verse 1106 is corrupt and obscure.) 1107. I had freely given myself to you in spite of my friends's warnings—it is
these very pleasures that threaten to endanger my life, now that you are
no longer concerned with me. 1108. I have put up with all the humiliation, I know of my rival's interest in the

Page #171

Prakrit Verses in Sanskrit Works on Poetics
107
offences done to me and I patiently bore the pangs of separation from you. Now, why should you feel bad about it? Really speaking it should be me
- to feel so. 1109. Well, you should remember that young men do hurt the feelings of their
charming lovers right from the beginning and if they show their displeasure, these men become reckless and indulge in their stupidities all the more
shamelessly. 1110. For translation vide SP S. No. (1017.232) supra 1111. For translation vide SPS. No. (1008.230) supra. 1112. Friend, this is just the way love goes, twisting and turning like the tendrils
of a young cucumber plant. O, please, don't turn that moonlike face away
and weep. 1113. Why should you weep and let yourself become thin like this o, shapely -
bodied one (sutanu)? You lose temper with everyone. You should have known what a queer mixture of contradictions love is, can you change it?
(Or, That love is fatal like poison. You can't change its nature, can you ?) 1114. My dear girl, why should you stand with your face turned away from your
dear man when he comes to you ? Really how much of anger can you really show when he can see easily marks of thrill and excitement on your back
and know how well-disposed your heart is towards him? 1115. This fidgetting with your bracelets, this turning down of your face, tears
running drip- drop, your repressed sighs --- Ah, dear, you know very well
how to express your (jealous) anger! 1116. For translation vide ŚP S. No. (321.109) supra 1117. When he fell at your feet, you didn't care to notice him. When he spoke
endearingly, you only scoffed at him; and when he started to leave, you
didn't stop him — say, what you gained by your sulkiness. 1118. Dear girl, if you want to indulge in the pleasure of being wooed back into
appeasement, then shed tears, look angry with your charming man, bui just
for a little while. 1119. Jealous anger, maintained even helplessly (on the advice of friends) yields

Page #172

108
Prakrit Verses in Sanskrit Works on Poetics
JO
plenty of cajoling: the lover falling at your feet, the pleasure of passionate
kissing—and such other pleasures(-0, it is a festival of joy!) 1120. Intoxicated with pride I found some reason (for a quarrel) although in fact
there was none and by abstaining from meeting him (i.e. by avoiding him),
I destroyed our love by my defiant and arroagant attitude. 1121. For translation vide ŚP S. No. (325.110) supra 1122. O, dear girl, O, you may be fortunate, you may be charming, you may
be young, you may be proud, but why do you torment us like a
sandal-creeper, tormented by a snake (a lover)? 1123. Since youth ebbs away like the flood of a river, since days are always on
their feet (i.e. continuously fleeting) and nights too, once gone, never return,
what is the good, my dear girl, of this your accursed sulkiness? 1124. Dear girl, you are maintaining anger without any reason but your whole
body is covered with horripilation—thus you are found out: You are longing
for the pleasure of unrestrained-tight or close-embracing. 1125. She felt appeased by your entreaties and started counting your acts of
misbehaviour; the poor lady broke into weeping because both her hands
didn't have enough fingers to count them all. 1126. For translation vide ŚP S. No. (261.97) supra
(Verse 1127 is corrupt and obscure.) 1128. O, simple, minded girl, he is teasing (lit. deceiving) you by calling you by
the name of some other woman. Don't weep. Look at his eyes; aren't they
dilated, as they look at you? 1129. O, angry girl, don't you see that if he calls you by the name of some other
woman, he only loves to watch your face when your eyes are hopping mad
with jealousy. 1130. For translation vide ŚP S. No. (256.96) supra 1131. Dear boy, don't tease (lit. cheat, deceive) her by calling her by the names
of some other women. She too knows how to return the joke. 1132. For translation vide ŚP S. No. (528.149) supra

Page #173

Prakrit Verses in Sanskrit Works on Poetics
109
1133. As my dear lover plays (on the flute) I dance to his tune, because his love
is inconstant (fickle, unsteady). A creeper winds (entwines) its body round a tree though it is firm (or steady) by nature (She means to say: she has to adjust herself to the changing moods of her lover who is inconstant in his love- just as a creeper adjusts itself to the contours of a tree which is firm or steady.)
1134. The dear one as well as his love who (which) has committed an unbearable
offence (against the other party), who (which) in spite of the serious offence is inclined to appease (the other party) and who (which) proceeded in a self-willed manner (while committing the offence) are both of them [(i) the dear one, (ii) love) looked down upon (by people).
1135. When he looks at me his eyes convey neither jealousy nor anger they are
just blank as if they are looking at a stranger. Now, tell me, is it, possible for us (i.e. me) to avoid pining away?
1136. The lady of the house was aware that her husband who was by her side
in the bed had turned away, was restless and heaving sighs. But when she saw the flame of the bed lamp trembling she suspected him - perhaps
he was thinking of marrying another woman. 1137. For translation vide ŚP S. No. (1126.249) supra 1138. For translation vide ŚP S. No. (485.142) supra 1:139. For translation vide ŚP S. No. (281.101) supra. 1140. For translation vide ŚP S. No. (452.135) supra. 1141. Young women whose dejected looks are just brightening on their lover's
appearing around, feel suddenly overpowered by disillusionment and turn their looks away when they hear themselves addressed with other women's names.
1142. O, gazelle-eyed one, your anger-that was really without any cause and
presented me your face with new grace (or beauty) added to it because of the knitting of eye-brows-has indeed done me today a (great) favour!
(Verse 1143 is treated in the Notes.)

Page #174

110
Prakrit Verses in Sanskrit Works on Poetics 1144. For translation vide ŚP S. No. (992.227) supra. 1145. Her husband's misbehaviour was so unbearable to her that she broke down
for a while but the next moment she regained firmness and the only tear that gathered in her eye did not roll down—it died right there.
1146. She felt weak and her sighs were checked (lit. her sighs were checked on
account of the loss of her firmness); (but soon) her anger against her husband rose sharply and the sighs which became heavy with (drops of) perspiration) became rapid.
1147. While her cheeks were drenched with tears and her lower lip was trembling,
she said with a smile of embarrassment : “Why should I get angry with my husband even now when his love for me has already attained to the state of an oath?” (i.e. his love for me is no longer a reality, but has got to be proclaimed by him on oath?)
1148. The sulky woman without sipping even a drop of wine from the glass which
her lover had given her, passed it on to her dear friend and thus without uttering a word conveyed her protest.
(Verse 1149 is corrupt and obscure.) 1150. For translation vide ŚP S. No. (1090.243) supra.
.
1151. The extraordinary humiliation to which she was subjected in the presence
of her worthy rival in love hurt her so much and so much anger rose in her heart that it could not quite hold it although she had divided it among her friends - it was shared by her friends — who had always shared her joys and sorrows.
1152. When the lover addressed (or called) his beloved by the name of some
other woman, she looked towards her friend, with tears welling in her eyes
and heaved (hot) sighs darkening her nether lip. 1153. For translation vide ŚP S. No. (1108.246) supra
1154. When she, her husband's favourite, was in her period and he visited her,
his other wives noticed the top of his shoulder smeared with the yellow cream from her face and they all wept big tears.

Page #175

Prakrit Verses in Sanskrit Works on Poetics
111
1155. Believe me, O, charming one, you distress me not so much even by your
love's offences (or lapses), as by these courteous utterances divorced from sincerity.
(Verse 1156 is corrupt and obscure.)
1157. The anger of the lady which was pruned by the clever (or skilful) speech
of her maiden friends when intimating to her the love's offence committed by her husband suddenly sprouted again in her eyes and cheeks.
(Verse 1158 is corrupt and obscure.)
1159. For translation vide ŚP S. No. (1017.232) supra. 1160. You aren't at fault, my dear ! My eyes are at fault in this matter; it is these
fickle eyes which enthroned you in my heart which is incapable of
maintaining jealous anger. 1161. For translation vide ŚPS. No. (303.105) supra. 1162. For translation vide śP S. No. (308.106) supra. -1163. For translation vide ŚP S. No. (273.100) supra
1164. “Surely, whether my fever is slight or not how is that a concern of anybody?
O, charming one, inquiring about my health? O, you, still redolent with some excellent fragrance from somewhere? Please don't touch me, only smelling of fever that I am."
1165. For translation vide ŚP S. No. (275.100) supra.
(Verse 1166 is treated in the Notes.)
1167. For translation vide ŚP S. No. (544.152) supra. 1168. For translation vide ŚP S. No. (720.182) supra.
1169. You kind and obliging Fever, thank you, you have brought to me, from
a long distance, a person so difficult to meet, at least to inquire about my health. Now even if you take away my life, you will not be doing me any wrong.

Page #176

112
Prakrit Verses in Sanskrit Works on Poetics
1170. For translation vide ŚP S.No. (271.99) supra.
1171. A good man, striving to accommodate others, maintains an unchanged (i.e.
cheerful) countenance even while dealing with enemies, and though he is his own master, he submits to others because of nobility.
1172. (Note: this verse is identical with verse 1171.) 1173. For translation vide ŚP S. No. (558.154) supra
(Verse 1174 is treated in the Notes.)
1175. Get up, O, charming one when you don't have any feeling in your mind
what is the sense in falling at the feet of this person whose love you have already spurned - you who have defiled yourself
1176. Clever men guard the nobility of birth, endure separation from their wives,
speak pleasing (or flattering) things (about their women). Are they felicitated by women (for these good qualities)?
1177. You put in an appearance at my place, and speak pleasing words (about
me); just that much, O, charming one, constitutes sincere love (in your opinion). Tell me, who ever tears open his heart and shows it to whom? (The suggestion is: her lover is unfaithful to her and makes only an outward show of love.)
1178. You may have, O, charming one, whatever escapades you like. I am willing
to put up with all that. I admire you in my heart for many other virtues and such occasional lapses, believe me, get no room there.
1179. This is my name ! Pray, repeat it. O, charming one, why are you
embarrassed? What have I to do with that name (of mine) which you simply don't like?
(Verse 1180 is treated in the Notes.)
1181. Well, I didn't hear at all, nor O, charming one, did you say anything. Now,
try to remember well and tell me what my name really is.

Page #177

Prakrit Verses in Sanskrit Works on Poetics
113
1182. It is you alone, O, charming one, who have followed the natural (straight
forward, honest) course. Nowadays people have one thing in their mind and another on their tongue.
1183. Here I am, alone, your beloved; she isn't here; don't feel shy, speak without
hesitation. O, charming one, real feelings of love are difficult to express in the presence of the person one hates !
1184. O, charming one, please sleer for a short while; you may then speak
whatever you think proper. With your eyes heavy with drowsiness you are now not able to see things properly.
1185. Dear boy, see how capricious is love between man and wife. Sudden
outbursts of temper followed by spells of gentle harmony, haughtily holding
on to positions no longer true leading to considerable mental torture. 1186. For translation vide ŚP S. No. (768.190) supra. 1187. For translation vide ŚP S. No. (312.107) supra. 1188. For translation vide ŚPS. No. (494.143) supra
1189. O, dark-complexioned one, this mouth, which was risked in bet and lost,
you may kiss a thousand times. But how can you make me - this proud lady-give up her anger?
1190. If my anger, however well justified, has vanished just like that, let it be
on your head, o, arkotha tree ! Why did you burst into blossom so suddenly as that?
1191. O, my heart, you have been freely following your own ways and longing
for a person difficult to secure. You are taking to aerial paths ; Sooner or later, you may be broken to pieces.
(Verse 1192, is treated in the Notes.)
1193. Speak out whatever comes to your mind. Well bear it all. To live and not
to endure can't go together-so far as one's beloved is concerned.
(Verse 1194 is corrupt and obscure.)

Page #178

114
Prakrit Verses in Sanskrit Works on Poetics
1195. For translation vide ŚP S. No. (1032.234) supra 1196. Oh, the path of love twists and turns and is hardly even; it has hardly been
possible for me to sleep comfortably. My husband falls at my feet as often as the legs of our broken bed fall (and that makes me uneasy.)
1197. So long as you do not fall in love with a Ladies' man (bahu-vallabha) which
is the principal source of sorrow and misery, there is happiness and pleasure and no room for restlessness of love.
1198. O, God, if you really are not ill-disposed towards me, then please don't
grant me another birth as a human being, but if you still do then do not make me susceptible to love and if, however, you still make me so, then let it not be for a man difficult to secure.
(Verse 1199 is, for the most part, incomplete and obscure.) 1200. When I don't see him, I recall to mind his thousand and one lapses. But
when I see him, my dear friend, I do not remember even one. 1201. For translation vide ŚP S. No. (915.214) supra
1202. And I said "Don't say so ; dear friend, don't you know that you can meet
the beloved of your heart only if you remain alive."
1203. To go on nursing my anger against him is all right so long as he has not
come within sight. But once he is seen, conversation cannot but take place through the movement of the eye-brows and the rest of the body.
(Verse 1204 is corrupt and obscure.)
1205. For translation vide ŚP S. No. (292.103) supra 1206. When I don't see my beloved, please tell me, my dear friend, to whom
do I show this anger? And even when seen, if I show anger how could
he be my beloved? 1207. For translation vide ŚP S. No.(612.164) supra 1208. For translation vide ŚP S. No. (328.110) supra

Page #179

Prakrit Verses in Sanskrit Works on Poetics
115
1209. Måna has only two letters and priya-sargama many; obviously many should
vanquish the few. However, it all depends on you, my dear friend (whether to maintain anger or welcome your lover.)
1210. Under the influence of wine women, on their own, welcome their offending
lovers in their embrace. In the light of this how could it be said that wine leads only to harmful ends and not pleasing ones?
1211. Victory to Hara (in the ardha-nārīśvara form), the female half of whose
body (i.e. Gaurī = Pārvatī) out of jealous anger parts with the male half of his body but quickly hastens to reunite with it, as Gaurī feels frightened by the loud laughter which comes from the skull that has been revived to
life by the nectar that drops from the crescent of the moon. 1212. For translation vide ŚPS. No. (1190.260) supra
1213. There is one drawback about the city of Pratişthāna - the heady smell
of the jasmine (mallikā) flowers on summer evenings does not allow the proud ladies to enjoy the pleasure of being appeased (by their lovers).
(Verse 1214 is corrupt and obscure.)
1215. My friend, today towards the end of the night, when I was about to indulge
in the pleasure of the great festival of mana (sulkiness, jealous anger), all of a sudden, I heard the crowing of a cock which sounded like the beating of a drum (at the time of taking a criminal to the place of execution.)
1216. As the sun sinks in the West and the night approaches, the evening glow
declines, the anger of the offended ladies also declines in their minds. 1217. For translation vide ŚPS. No. (622.166) supra
1218. The very lady who, when hurt, wouldn't take any notice of the entreaties
of her husband in spite of her friends' advice to do so, would fall at his feet again and again to prevent his going away on long journeys.
1219. Meaning to show nothing more than the formal courtesy, still nursing her
pride, she felt overwhelmed by joy when she actually saw her husband and had nothing but sheer devotion for him.

Page #180

116
Prakrit Verses in Sanskrit Works on Poetics
(Verse 1220 is treated in the Notes.)
(Verse 1221 is corrupt and obscure.)
1222. Her face promises to beam out any time now — the shades of displeasure
are receding, a glow of joy is gradually spreading and the mixture of the
two contrasting moods is increasing the beauty of her face. 1223. For translation vide ŚP S. No. (265.98) supra 1224. For translation vide ŚP S. No. (252.95) supra. 1225. "Here he comes"- this announcement of her maids Satyabhamă only heard,
but even though he was very close to her, she did't see him as her eyes
were dimmed by tears. 1226. As she rose to receive him with usual courtesy, she heaved a deep sigh
which couldn't conceal her nervous feeling nor the tears gathering in her eyes. She was fighting against the memory of an earlier offence he had given her.
1227. The lofty, firm and extensive mountain of pride which, my friend, I had
raised in my mind) did not at all come within the range of the striking power of the thunderbolt of the glance of my beloved husband (i.e. it simply vanished as soon as he appeared on the scene. He was not required to cast
even a glance at me.) 1228. For translation vide ŚP S. No. (1082.242) supra
1229. The jealous anger which my maiden friends had some how introduced in
my heart having found a loophole (in the form of a lapse by my husband),
vanished at the mere sight of my dear husband, like a secret paramour. 1230. Hari was prostrate at her feet and tears as they rolled down Satyabhama's
eyes fell on his back, in spite of her attempts to stop them. But the excitement of joy was so much in her mind that the tears couldn't help rising to her eyes.
1231. Her eyes roving around to catch the glimpse of her beloved husband couldn't
take him in owing to the continuous flow of tears and like a closed lotus they remained shut and were deprived of the pleasure.

Page #181

Prakrit Verses in Sanskrit Works on Poetics
117
1232. As soon as she saw her dear (husband), there spread extreine joy on her
face, marked with coquetry, that was fascinating and charming, and Madana, the God of Love, fixed beautiful Mohana (Infatuating) - one of his five arrows on his flowery bow with its graceful (flowery) string strung.
1233. Let alone what other people are talking about the feebleness of your love
for me). Your own heart can attest to it. 1234. My friends, why do you ask me to show jealous anger? What is the use
of jealous anger in this case ? He has no genuine love for me; any show of anger will be of no avail in this case.
(Verse 1235 is treated in the Notes.) 1236. For translation vide ŚP S. No. (989.227) supra. 1237. The young women who didn't first respond to the conciliatory gestures of
their men, later were overcome with repentance, felt humbled by their genuine love and themselves, started appeasing them, pretending
intoxication as an excuse. 1238. "Do I feel angry or not?" "Don't. Go on with your usual household chores.
Let us wait. Let your guilty man come home.” 1239. For translation vide ŚP S. No. (1002.229) supra
(Verse 1240 is corrupt and obscure.) : 1241. My friend, how is it posible for me to maintain anger against my beloved,
when the nights with the fragrant (magic?) powder of frost in hand (with
lunar rays) make him proud? 1242. For translation vide ŚPS. No. (1189.260) supra 1243. Why should you tickle me to awaken me as if you are my lover? Come,
my dear friend, get into the bed with me and let us be snug together.
1. सहि पाएसु छिवंती पिओ व्व किं वेलवेसि मं सुअंति।
एहि णुमजसु पासे पाउअ-मुहिआ ण मुणिज्जामो || (सखि पादयोः स्पृशन्ती (प्रिय इव) किं वञ्चयसे मां स्वपतीम् । एहि शेष्व पार्श्वे प्रावृत-मुख्यौ न ज्ञास्यावहे ।।

Page #182

118
Prakrit Verses in Sanskrit Works on Poetics
1244. For translation vide ŚP S. No. (336.112) supra. 1245. My friend, pay homage to the feet of the Mānadevată (the Deity of
Jealous-anger) only through whose favour your beloved falls at your feet;
the other devatás (Deities) being ineffective - powerless. 1246. For translation vide ŚPS. No. (1124.249) supra 1247. For translation vide ŚPS. No. (321.109) supra 1248. For translation vide ŚP S. No. (1094.244) supra
1249. Even in the presence of your rival (s) in love and in front of yourself he.
said to you "Be pleased" – Proud lady, what other reward would you expect for the anger you had shown?
1250. She was much ahead of her rival in the charms that make men desire women
and in her love. She caused as much torment to her rival - his other wife, as her husband admired her.
1251. That very residence of hers (i.e. of Satyabhāmā) with the celestial Pārijāta
planted at its entrance and full of the decorative arrangement of its flowers and with attendants plunged in joy, now looked quite different from what it was.
1252. Two moods commingled and enhanced her joy which made her body its
abode: her longing for the celestial Pārijāta tree was satisfied and her dear husband came back resplendent with victory over Indra, the lord of the
gods.
1253. My friend, in this world of mortals there is no lov, at all that is without
deceit. If there were such guileless love, who would be separated from his or her beloved? And if there were such separation who would continue to live?
1254. For translation vide ŚP S. No. (310.) supra. 1255. For translation vide ŚP S. No. (323.) supra 1256. Let him (my dear husband) by his faithlessness fulfil even the unfulfilled

Page #183

Prakrit Verses in Sanskrit Works on Poetics
119
desires of my rivals in love. Look, my dear (husband) returns quite safe without fulfilling the desired object of his many beloveds!
1257. Unequal in suffering was that night (preceding the battle that was to end
in the recovery of Sītā) and the long time that had elapsed as Rāma bore the grief of separation from Sītā—the night which was to continue only for the four watches of that night. (The suggestion is the night seemed to Rāma to be longer than the months of separation from Sītā.)
1258. During my separation from my beloved (husband) she weeps when I weep;
she counts, as I do, the days of his return (from journey); like me she too grows emaciated.' My friend, the love of neighbour's wife is indeed unique – extraordinary
1259. For translation vide DR Avaloka S. No. (4.26) supra
1260. Since Krşņa went away to Mathurā one doesn't know how the water of
Yamunā has become so hot, the cool reed-groves have become so hot, and even the whole river Yamunā has become so hot!
1261. Now, when Hari (Krsna) marched against Indra in order to secure the
celestial tree (Pārijāta), Satyabhāmā, although she had seen (known) his valour, distressed at the great calamity she feared out of great love (for him) , (began to reflect or ponder over) — felt anxious.
.
1263. O friend, who was that accursed fellow who uttered the word 'pravāsa',
journey', (i. e., Who said that her husband intended to proceed on a journey), as a result of which the limbs of the young wife began to languish as if they were poisoned.
1264. For translation vide ŚP S. No. (615.164) supra.
1265. The early hours of the morning show how apt is the epithet 'moon-faced'
as applied to young women from whose faces the beauty has been wiped
1. Please correct the chāyā as "fria STEHT I"

Page #184

120
Prakrit Verses in Sanskrit Works on Poetics
off by the unbearable pangs of impending separation from their beloved husband.
1266. For translation vide SPS. No. (287.102) supra
1267. For translation vide SPS. No. (217.87) supra
1268. "I set out on a journey" - When these words of yours fell on my ears they struck my heart too-your frequent journeys! What sufferings I have not gone through, so far. Poor me!
(Verse 1269 is corrupt and obscure.)
1270. For translation vide SPS. No. (301.105) supra
1271. For translation vide SPS. No. (775.192) supra
1273. Sītā had rested her face on her hand which was covered by her tear-drenched hair; however, that side of the face was illuminated by Rama's gem-studded ring which she was holding in that hand.
1274. Even the terribly burning midday does not torment the wife of a way - farer so much as does the evening, honoured by the wind laden with the fragrance of fresh sirīṣa flowers (perfumed by the fragrance of fresh sīrīṣa flowers brought in by the breeze).
1275. Your (frequent) journeys' out burn my heart quite. To add to that these rising rain clouds fill the sky with darkness and my mind with dismal mood.
1276. Such eyes show the restlessness of noble-born young women that are separated from their lovers greatly swollen, sleepless, from where the collyrium has been wiped out by the profuse tears shed in the privacy of their rooms.
1277. The young lady, pale through restlessness (caused by separation from her husband), her eyes tearful, and rubbed red makes all her household weep. 1278. For translation vide SPS. No. (326.110) supra
1. With the emended reading "artur.”

Page #185

Prakrit Verses in Sanskrit Works on Poetics
121
1279. On the festival day of Pratipad - the first day of the lunar fortnight -
the wife of the wayfarer lights auspicious lamps in the temple of the deity that guards the roads and encircles them with her own bracelets that slip down her arms that have grown thin.
1280. Just in the first forenoon (or half-day) (of her dear man's departure) the
young woman saying to herself - this day is gone, another day is gone, 'a third day is gone,' etc. made each time a vertical mark on the wall of her room and covered it with many such vertical marks.
1281. The wayfarer's wife found that the lamp she had lighted was quickly put
out by her own sighs, long and irresistible, which came in an unbroken row on account of her separation from her beloved husband.
(Verse, 1282 is corrupt and obscure.)
1283. The wayfarer's wife kept both the things when her husband went abroad:
the vow in accordance with her family tradition and emaciation befitting her love for her husband.
1284. The water which the wayfarer's wife drank from the auspicious vessel on
the very first day of his departure on a (long) journey was not exhausted as she continued to weep and shed tears throughout the period of separation.
1285. For translation vide ŚP S. No. (1259.274) supra
(Verse 1286 is corrupt and obscure.)
1287. Every time she tossed and turned about in her bed her bracelets on her
thin hands made a jingling sound which was clearly audible to her attendants who felt assured that she was still alive.
1288. In this hypocritical world the restlessness she feels, her weeping fits and
her thinning body – they are all simulations, put on by clever acting. Genuine love becomes vividly clear like a sharply drawn line only through immediate death following separation.
1289. Let the wife of the wayfarer share the fire of separation that burns in her

Page #186

122
Prakrit Verses in Sanskrit Works on Poetics heart with her rivals in love in the form of (a row of) festive lamps. 1290. For translation vide ŚPS. No. (614.164) supra
1291. The wayfarer's wife, whose heart was engrossed in thoughts about her
husband, forgot to carry water with her but look, she sprinkled the circular path with her (profuse) tears !
1292. The wayfarer's young wife repeatedly rotates / moves or waves, in front
of the guardian deities of the routes / roads, the festive lamp, the flame, of which flickers and is sprinkled with her tears.
1293. For translation vide ŚP S. No. (486.142) supra
1294. The lightning flashes of the clouds flare up on the poor woman, whose
husband has gone on a journey and who is sitting, exhausted by weeping, in her house, the thatch of which has been blown away by the stormy wind.
1295. The young grasswidow, who imagined herself all the while to be in the arms
of her husband and sweated profusely, didn't realize how and when the
winter passed 1296. For translation vide ŚP S. No. (755.188) supra 1297. For translation vide ŚP S. No. (247.95) supra
1298. The mango - groves with their leaves (? branches) bent down with the
burden of sufficiently developed blossom, became unbearable to the eyes of wayfarers.
1299. The moon rose; the ocean too rose and so did the longing stirred by Madana,
the God of Love, in human minds. But to Răma, afflicted by separation, the night appeared oppressivly long.
1301. He (Rama) lived through the breezes of the kadamba groves, saw the sky
screened by clouds, and endured the rumbling sound of thunder; yet, really, he was not sure of his life. (i.e., Rāma somehow passed the rainy season, which is believed to be unbearable to lovers separated from each other, but the advent of the autumn filled him with despair.)
(Verse 1302 is corrupt and obscure.)

Page #187

Prakrit Verses in Sanskrit Works on Poetics
123
(Verse 1303 is corrupt and obscure.)
1304. As if it were a matter opposed to the king one wayfarer whispers hesitatingly to another: "From the point where the mango leaf is, something (i.e. a shoot of mango blossom) has slightly come out."
1305. Rama, separated from Sitä pressed his chin on one end of his bow which curved and the unceasing flow of his tears supplied the string.
1306. The stream of water in the form of the moon-light from the face-moon of his wife that has been lodged in his heart cools the torment (caused by the heat of the midday sun) for the wayfarer even when he proceeds on a journey at midday in the hot season (summer).
1307. The wayfarer smells, caresses, kisses, and presses against his bosom the madhūka flower, and is covered with goose-flesh at its touch, as it resembles the cheek of his dear wife.
1308. For translation vide SPS. No. (587.189) supra.
1309. For translation vide SPS. No. (1257.273) supra
1310. On the first day of his journey the steps of the wayfarer who is proceeding along even a smooth road falter due to the weight of the heavy buttocks of his wife lodged in his heart.
1312. For translation vide SPS. No. (174.77) supra
(Verse 1313 is corrupt and obscure.)
1314. Long and hot sighs, restlessness, and singing falteringly due to weeping is the only diversion to young women living in separation from their men and yet wanting to go on living.
1315. O, Girl, if you want to live long, you don't have to resort to medicines that pretend to prolong life (and prevent oldage): Live apart from your beloved and days will pass (for you) as yugas.
(Verse 1316 is corrupt and obscure.)
1318. People say that in summer nights become shorter; but, in the absence of

Page #188

124
Prakrit-Verses in Sanskrit Works on Poetics
my beloved, why they grow longer, I do not know.
(Verse 1319 is corrupt and obscure.) 1322. For translation vide ŚP S.No. (673.174) supra.
1323. On seeing the first clouds of the rainy season the young woman feels as
if her life is about to jump out to her throat. But her mother-in-law, without engaging herself in anything else takes (utmost) care of her as if she is a powerful restorative to her son.
1324. With the clouds rising all over in the sky the wayfarer's wife felt terribly
despondent about her life. She hung down her face and cast the last tearful looks at her people (or at her child).
1325. For translation vide ŚP S.No. (82.57) supra 1326. The moon is the brother of the hālāhala poison. My friend, who says that
it is the brother of the Nectar ? - For even the light of the moon when it touches me, burns me, torments me !
1327. For translation vide ŚP S. No. (679.175) supra 1328. For translation vide ŚP S.No. (614.164) supra 1329. Let her enjoy the pleasure of a close embrace with her limbs completely
or thickly covered with goose-flesh by her beloved whom she has met in
her dream. Please do not awaken her. 1330. For translation vide ŚP S.No. (616.165) supra 1331. For translation vide ŚP S.No. (632.168) supra
(Verse 1332 is corrupt and obscure.)
1333. Even fake lapses committed by or attributed to her young man, who is away
on a long journey are regularly conveyed to the young wife by her clever friends so that she should endure the separation.
1334. Do not weep, my dear young girl. The first spray of mango leaves, adorned

Page #189

Prakrit Verses in Sanskrit Works on Poetics
125
with the first buds of the season and placed on the top of the auspicious water-filled jar at the time of your dear one's departure, will restrain (or prevent) him from undertaking the intended journey.
1335. My dear girl, these very winds which have begun blowing recently only
- the Malaya winds - and which are capable of stopping or blocking the tears rolling in the open mouth will restrain the beloved one from setting out on a journey, when he comes to take his leave of you.
1337. For translation vide ŚPS. No. (175.77) supra
1338. My friend, believe me, this is not a mass of clouds but the soot of lamp
black produced by the flame of the sun-lamp and stored in the potsherd of the sky over days and falling gently of its own accord.
1339. My friend, the other flowers do not torment me so much as the kadamba.
Surely, ķāma, the God of Love, carries during these days (of the rainy season) his bow loaded with round pebbles in the form of the globular buds.
1341. The clusters of madhavi (jasmine) creepers in the courtyards have become
hurdles for the entrance to the houses. Even the comfort of looking at the homeward path of their men is being denied to the women whose dear ones have gone abroad.
(Verse 1342 is corrupt and obscure.)
(Verse 1343 is corrupt and obscure.)
(Verse 1345 is corrupt and obscure.)
1346. O, wayfarer, the mango trees at the front door of your house are now in
flame-the mango trees whose water-basins around the roots are filled with the tears running down the angry eyes of the housewife.
1347. Whatever letter in her beloved husband's name the grasswidow wrote, that
was washed out by the perspiration that slowed down the path covered by the reed-pen.
1348. Wherever he goes for whatever work, the doubting mind of the young wife

Page #190

126
Prakrit Verses in Sanskrit Works on Poetics
overtakes him, it being the promised day of his return.
(Verse 1349 is treated in the Notes.)
(Verse 1350 is corrupt and obscure.)
1351. When some other wayfarer was coming she began to look at him from
her window thinking that it was 'he'-her own beloved. But seeing his face the grasswidow burst into tears and made her maiden friends too weep.
1353. A young girl saw in her dream that her lover had come to meet her. She
awoke for a fraction of a moment but remained in her bed with her eyes closed hoping to see him again and this way she spent the whole day. (Cf. VJ S.No. 27.25)
1354. For translation vide ŚP S. No.(320.109) supra
(Verse 1355 is treated in the Notes.)
(Verse 1356 is treated in the Notes.)
1357. The wedding bangle so carefully looked after by the grasswidow suddenly
broke (snapped) as the arm of the lady grows thick and fat at the unexpected return of her dear husband.
1358. When the son-in-law arrived, the pretty young girl, newly married and shy,
cast a sidelong glance and there was perspiration all over her body and joy in her heart.
1359. When the newly married girl saw her husband returning home, her bangles,
'expanded through sheer joy and slipped down in the very presence of her elders: she started cursing those poor bangles.
1360. For translation vide SP S.No. (623.166) supra
1364. Sītă was sorrowful when she caught sight of it, and began to tremble as
the demons brought it nearer and fell into a swoon when they said it was Rāma's head.
1365. The ploughman's son, who is deeply distressed because his wife has passed
away, looks at all the places in his house associated with their love-making

Page #191

Prakrit Verses in Sanskrit Works on Poctics
127
as at places from where secret treasures have been dug out.
1366. That horrid woman keeps looking at the necklace for long, weeps
unceasingly, holds it against her bosom - that necklace of my husband.
1367. For translation vide ŚP S. No. (767.190) supra
1368. The noble-born young wife bears with great difficulty her breasts that grew
in size day by day like 'a dung-hill' (?). Being a widow their plumpness is a nuisance (to her).
1369. At her husband's death the unchaste woman wept, with her throat choked
with tears in such a way that even her lover was afraid that she might follow him in death.
1370. Sītā (lit. Janaka's daughter) then fell flat on the ground, her hair dishevelled
and filled with dust, and her breasts pressed (lit. rounded) against the ground, covered with her bosom.
1371. For translation vide SP S. No. (182.79) supra.
1372. Now that you have departed to the other world, to follow you there and
have the pleasure of seeing you should in fact bring me consolation and comfort, but then, the regret is : I haven't yet seen Rāvana killed.
..1373. She (Sītā) didn't shed tears, she couldn't even look at Rama's (severed)
head. Being taken into a swoon, she only fell on the ground helpless like one dead.
1374. Her gaze remained fixed on Rāma's head as before and her tired hand
leaving the cheek rested on her bosom. Motionless like a corpse she just sank to the ground under the weight of her breasts.
1375. Under the severe trauma, she felt too feeble to say anything. She sank to
the ground, with her face covered by her tresses that fluttered on it, and finally she became unconscious.
1376. Her breath almost stopped; the darkness of her sorrow covered her face;
her eyelashes closed a little and the pupils in her eyes rolled upwards as

Page #192

128
Prakrit Verses in Sanskrit Works on Poetics
she got into a swoon.
1377. As the realisation of Rāma's death came to her she fell unconscious, the
pangs of separation disappeared, the grief of his death would not now affect her, a feeling of peace settled on her face and her eyes remained closed.
1378. Her deep breathing out was not noticed through even a slight heaving of
her chest, her big round breasts having concealed it; but her tremulous lip, however, showed that she was coming round.
1379. As she came round she was lying limp and listless on the ground, even
her breath came faintly and her eyes felt the effort of opening wide owing to the heavy tears gathered therein.
1380. The reference to Rāma's love and consideration for her struck her
unbearably like a stroke of lightning and in spite of her firm reslove to put an end to her life, the remembrance of his love sent her into loud and uninhibitd weeping like nothing else.
1381. Sītā (lit. the daughter of Janaka) began to lament giving vent to her grief
for Rāma upon her own body, with her plump and pale breasts stained with blood on account of blows with her own hands.
1382. Sītā [lit. the daughter of Janaka), then suddenly recovering herself, began
to speak again, wiping off the dust on her breasts, with her veņi (braided hair), waving on her bosom.
1383. In her agitation she raised her hands to beat her breasts; but in her fatigue
held them back and they fell on her lap without touching the breasts.
1384. She (i.e., Sīta) could not wipe her face with her distressed hand, which
had turned red, like a new leaf through the exertion of beating the breasts but somehow managed to brush aside the lock of hair on one cheek (to be able to look at the severed head of Rāma).
1385. Hovering between life and death and feeling bewilderd Sītā, the daughter
of Janaka, ignored the advice of Trijatā, but out of her feeling that Trijata's affection for her has been genuine like a friend's sank on her bosom.
1386. As she [i.e., Sītā) reclined sideways on Trijata's bosom, the tears from their

Page #193

Prakrit Verses in Sanskrit Works on Poetics
129
eyes that flowed in a stream, ran over the hair that were pressed on Trijatā's bosom by Sīta's cheek.
1387. Even though the daughter of Janaka (i.e. Sīta) lay outstretched on the ground,
her waist, slim (lit. elongated) with the three fleshy folds on the upper part of her belly entirely smoothed out could not touch it (the ground), since the breasts and hips made the waist uneven !
1388. Devoid of all hope of resting on Rāma's bosom, she (Sītā) lay on the ground
covered with the wavy and disordered hair of her loosened braid (or plait).
1389. When she (i.e., Sītā) rose up after her swoon, her face bore the impression
(or signs) of silent weeping with eyes rolling in different directions, and towards the sky too, wondering what it all could be.
1390. During separation from you, I kept somehow alive in the hope of seeing
you and now I see you only in your severed head. My hopes, although they were nearing fruition, have remained unfulfilled.
1391. (Sītā, overcome by sorrow on account of Rāma's death' laments:) The Earth
will have another lord, and Rājaśrī (Royal Fortune) will pass successively to many other eminent men. Alas! how is it that this terrible (lit. uncommon, unique) widowhood has befallen me?
1392. Suffering is terrible only at first sight; its end is not as terrible (or severe).
Haven't I seen and endured your (i.e., Rāma's) end, something that is disgusting (or abhorrent) to a woman ?
1393. (Sītă, recovering herself began to speak :) "I have endured life among the
demons, and seen, my lord, such an end of yours; but my heart overpowered with disgrace still smoulders but does not burst into a flame."
1394. "Had my life departed right now, it would have been true to say that I
endured separation from you and stayed with the Rākṣasa women as with friends only with the hope to see you."
1395. She (Sītā) gazed at it (Rāma's severed head) once more; and solely intent
on death, looked at Trijatā with tearless eyes and piteously smiled as she said “Suffer me to die" -- (or "take leave of me".. "bid adieu to me.")

Page #194

130
Prakrit Verscs in Sanskrit Works on Poetics 1396. (Sītā says to Trijaļā:) “ Forgive my shameless death, vile because of lack
of love, since I endured separation from Rāma and accepted widowhood with a cruel heart." With these words, she burst into tears.
1397. She (i.e., Sīta) didn't wish tɔ lament any more; she didn't beat her breasts
(lit. body) any more, like an enemy; she didn't shed tears but restrained their flow. She had made up her mind to die.
1398. Her (i.e., Sītā’s) sad eyes, their pupils very much dilated, fixed in a still
stare on the severed head of Rāma, could see it clearly in spite of the tears (lit. were washed but not hindered by her tears).
1399. Immediately after that Trijatā raised Sīta's face with her hands, and
comforted her with sweet words as she lay completely exhausted with lamentation, and her eyes fixed a vacant stare devoid of all feeling.
1400. “Don't weep, wipe your tears away (or off): On your dear husband's
(Rāma's) lap will you weep again, recalling the pangs of separation and with your face leaning on his shoulder you will embrace him.
1401. Soon you will see Rāma (lit. the son of Dasaratha), happy to have his bow
unstrung, serene and free from anger though his face might be worn
(avarugna) and pale on account of separation from you. 1402. Soon Rāma will loosen your hair softened by his moist (because of
perspiration) hands, and the curls (lit. uneven parts) ruffled and raised by his quivering fingers.
1403. If Rāma was dead, how could Rāvana's palace garden be thus deprived
(or shorn) of its beauty with the branches of the trees broken by the wind and the day-lotuses closed by the rays of the moon? (In other words, the fact that the wind and the moon dare mar the beauty of Rāvana's garden establishes that Rāma is still alive and kicking.)
1404. A single Vānara (Hanūmat) reduced the entire city of the demons (i.e.,
Lankā) to such a sorry state (or plight ) that the loud lament reached through all the rows of its houses. How could Rāma's death come about when the

Page #195

Prakrit Verses in Sanskrit Works on Poetics
131
demons are unhurt?
1405. Why are you stupefied when there is a cause for joy seeing as you do the
pleasure-garden (pramadavana) with its trees thrown off or cast away (praviddha) by a single Vānara (I lanūmat) who was only a servant of Rāma - the devastated pleasure-garden which is a witness to the humbling of Rāvana's pride?
1406. Do not underrate the strength (or power) of Rāma's arms. This strength
was tested in the slaying of Vālin. On account of his strength, the ocean, driven by his arrows, granted a land-track (the causeway) across its waters. And on account of this strength Lankā is being besieged.
1407. When you fainted out of your grief, I too lost my head, your limp and
listless body overwhelmed me so much that it quite escaped me that the whole thing was sorcery and necromancy.
1408. Therefore take heart. Let all this inauspicious behaviour (your weeping, etc.)
now stop. Let the 'maya' (deception practised by the demons) - illusion vanish; let it be ignored; it is futile and empty, now that the truth is known.
1409. Knowing your husband to be primeval support of the universe, to be the
one that assumed the responsibility (of protecting the universe), when it was abandoned by the helpless Indra (on account of his defeat by the demons), why do you, (0, Sītā), judge him to be like other men (lit. on par with other men)?
1410. How do you believe that the Earth could hold Rāma's severed and fallen
head, (without unprecedented, voilent physical disturbances like) the overturming of its surface, the waters of the (seven) oceans mingling together and the mountains being displaced?
1411. Rise, give up your sorrow. Wipe your bosom that is soiled with tears. Listen
to me. Shedding tears is inauspicious when one's husband faces a battle.
1412. Why have you, (0, Sītā) no confidence in Rāghava (i.e., Rāma) even now?
He has built a causeway between the Suvela and Malaya mountains before the (very) eyes of the assembled demons and assaulted directly (or stormed) the peaks of the Suvela mountain (on which Lankā stands).

Page #196

132
Prakrit Verses in Sanskrit Works on Poetics
1413. Except Rāma, who else could have confined Rāvana (lit. the Ten-faced one)
within the (rampart or) walls (of Lankā) and deprived him of lustre, with his face dripping with perspiration on account of shame?
1414. Do not despise my affectionate words because I am a rākṣasa woman, O,
Jānaki. Whether in a garden or in a forest it is the fragrant flowers that are picked from creepers.
1415. My dear Jānaki, if Rāma were really dead, of what use would be your
continuing to live? But my heart is depressed (with sorrow) because you are dying even when Rāma is safe and sound.
1416. As my dear lover plays on the flute (or lute) I dance to his tune because
his love is inconstant (or changeful). A creeper winds or bends (its body) round a tree even though it is firm (or rigid).
1417. The farmer buys a bull in exchange for his upper garment, in the wintry
month of Māgha; the breasts of his charming young wife being warm enough like the smokeless fire of the husks of rice.
1418. I am in my period, O, young boy! Do not touch me, you will be shortlived."
"O, gazelle-eyed one, let me die today only. Why delay?" (He means to say he cannot brook even a moment's delay. He is so very overcome with passion.)
1419. The eyes of the master of the house fall upon the face of the maiden friend
of his wife instead of on the wise's face. His eyes convey various amorous playful sports.
1420. At one moment you look withdrawn, the next moment you start laughing
at all women. Come on, dear mistress, let me wipe your (face soiled with)
tears! 1421. For translation vide ŚP S.No. (321.109) supra 1422. For translation vide ŚP S. No. (736.185) supra
1423. O, charming one, you are only feigning sleep. Your eyes are only held shut.
Oh, come on move over, let me be in your bed with you. See, how your whole body bristles with excitement as I plant a kiss on your cheek. Never,

Page #197

Prakrit Verses in Sanskrit Works on Poetics
133
never shall I be late again.
1424. For translation vide SP S.No. (338.113) supra.
1425. The young wife (lit. the adult lady), as it were, proclaimed her (good fortune,
sex-appeal or better) charms by her disregard for a bath; on the day of festivity, even when her rivals in love (co-wives) were decked up with great enthusiasm after a bath.
1426. For translation vide SP S.No. (99.61) supra
1427. "Your brother says that my mouth still smells of wine. (Please see if it
is so.)" with these words the unchaste woman impetuously kisses her (younger) brother-in-law in the very presence of her husband.
1428. For translation vide ŚP S. No. (485.142) supra, 1429. For tranşlation vide ŚP S. No. (342.114) supra. 1430. For translation vide ŚP S. No. (1189.260) supra 1431. For translation vide ŚP S. No. (579.158) supra. 1432. For translation vide ŚP S.No. (687.177) supra
1433. Who can adequately describe the pleasure one enjoys with a courtezan (who
is herself) accomplished in all amorous arts, at a place where the sight of such love games wantonly enjoyed by others excites one and increases such pleasure?
1434. For translation vide ŚP S.No. (637.169) supra 1435. For translation vide ŚPS. No. (74.56) supra 1436. For translation vide ŚP S. No. (686.176) supra 1437. For translation vide ŚP S.No. (128.67) supra. 1438. For translation vide ŚP S.No. (220.87) supra 1439. For translation vide ŚP S.No. (711.181) supra

Page #198

134
Prakrit Verses in Sanskrit Works on Poetics
1440. As the breasts of the hunter's wife go on increasing in their size, the
(following) five (things) become emaciated, namely, 1) her own waist 2) her husband 3) his bow 4) youths in the village and 5) the rivals in love (co-wives).
1441. For translation vide ŚP S.No. (388. ) supra
1442. Dear brother-in-law, you have not visited our village nor have you seen
the river Muralā. At various places it takes turns and at every turn there are reed woods.
1443. For translation vide ŚP S. No. (166.76) supra 1444. For translation vide ŚP S. No. (203.84) supra 1445. For translation vide ŚP S.No. (51.52) supra. 1446. For translation vide ŚP S.No. (556.154) supra 1447. Hostile to me even in her husband's (Rāma's) absence, how will she (Sītā)
be friendly to me (Rāvana) now that her lord (Rāma) has come ? Even otherwise the day-lotus does not desire the moon, then what to say when
the sun is seen in the sky ? 1448. The rays of the moon, however they might try, could not succeed in
annihilating the thick mass of darkness produced by the silhouettes of the trees.
1449. One can easily see that the winter is on its way out and the Lotus plant
has mated with the spring from the way its face is beaming and emanating fragrance.
1450. Will not the Night pine away when she sees her lord, the Moon, in the
company of Jyotsnā at the commencement of the nightfall embracing the East and then going to meet the West (his other sweetheart) ?
1451. When the Sun, who was excessively red in colour (also, who was greatly
in love with) embraced the Western Direction, the Day-Beauty becomes sad (or melancholy or dejected) unable to bear, as it were, the offence given by her beloved husband in her very presence.

Page #199

Prakrit Verses in Sanskrit Works on Poetics
1452. As the cakravāka embraces the love-lorn Lotus-creeper that has stretched out on the watery bed along the bank of the lake and has the face of a fully blown red lotus, he seeks his mate with doleful cries.
135
1453. The rapturous delight of mounting your loins does not fall to the lot of anyone else. Only the golden girdle receives the reward for the penance it has performed through being heated in fire and dipped in water. 1454. For translation vide SPS. No. (1229.268) supra
1455. For translation vide SPS. No. (197.83) supra
1456. The lovely arrangement of her hair leaving tresses slightly loose and the parting line straight and thin, decorated with bright mustard seeds, looks charming.
(Verse 1457 is treated in the Notes.)
(Verse 1458 is treated in the Notes.)
(Verse 1459 is corrupt and obscure.)
1460. Two slender arms stretching out to hold the beloved in an embrace at the entrance of the bedroom sending the plump round breasts in a graceful undulating movement - well, that is a delightful sight.
1461. If you don't want to touch a woman in her period (puspavati), why do you then stand in front of me although I have prevented you ? Now I have touched you with my hands outstretched and itching hands.
1462. If you don't mind, my dear; on one side of the bed, at your feet I'll sleep without touching you; know it well that women in their period are not to be shunned during nights.
(Note: The Prakrit passage which follows verse 1462 (p 1182) is corrupt and obscure.)
(Verse 1463 is corrupt and obscure.)
1464. The happy sex-game of the previous night has put this young wife (or daughter-in-law) to deep sleep, so relaxing to her overworked limbs but

Page #200

136
Prakrit Verses in Sanskrit Works on Poetics
so tormenting to her rivals in love.
1465. For translation vide ŚP S. No. (124.66) supra 1466. For translation vide ŚP S. No. (378.120) supra 1467. For translation vide ŚP S. No. (745.186) supra 1468. Look, at midday even the shadow does not move even slightly but stays
right below the body, as if afraid of the scorching heat of the sun. Therefore, O, wayfarer, why do you not rest (for a while in our house) ?
1469. In the middle of a hot day, the dwarfish mango tree contracted its shadow
only to itself and brought her effortlessly closer to him. 1470. For translation vide ŚP S.No. (638.169) supra. 1471. For translation vide ŚP S.No. (623.166) supra. 1472. For translation vide ŚP S.No. (342.114) supra 1473. For translation vide ŚP S.No. (128.67) supra
1474. The bleak and black Darkness occupied whole of the world — by squeezing
and pushing out the all - pervasive evening twilight exactly as Airavata wholly covered by mud pressed against the golden side of the Meru.
1475. Darkness, even though present everywhere equally (or alike) appeared to
be thinly scattered (sparse) at close quarters, closely crowded a little further, and very dense at a distance, obstructing the free course of vision. (Verse 1476 is corrupt and obscure.)
1478. In the early hours of the evening, when the moon is rising, the East is seen
to be trying to help herself up towards the centre of the sky holding the hands of the moon that is still on the other side of the Suvela range.
1479. The crescent moon looks charming like Madana's (Madana, the God of
Love) slender bow of Asoka or is it a cute little tusk made of a coral or of a frosty patch or of a dimond?
1480. The disc of the moon appeared like the face of the Night whitened by its

Page #201

Prakrit Verses in Sanskrit Works on Poctics
137
rays and decorated by streaks outlining the musk-deer after dispelling the surrounding darkness.
1481. The moon as it rises first looks like a coral, then like a mirror in which
the ruddy face of an excited young girl is reflected and finally competely white.
(Verse 1482 is corrupt and obscure.) 1483. With the darkness dispersed like a rainy day, the partly distinct woods, with
beautiful foliage, appeared to be dripping as the lunar rays fell scatttered through the branches.
1484. Ah! the pleasing touch of the white rays of the rising moon, radiant like
the laughter of a young, charming woman, which looked brownish when on coming in through the round windows, they mingled with the light of the lamps and also dusky on account of the sandal-wood that was burning there.
1486. All the things necessary to welcome him are already at hand and the bed
has been made, still she trys to make it again; the message is carefully couched in correct words and the girl who had started to go to convey it, is stopped again.
1487. She would still have one more sip of wine and another look at herself in
the mirror and ask the messenger girl to repeat over again the talk with the lover; thus repeated, it excited her feeling.
1488. The merry young women apply collyrium to their eyes; fasten girdles on
their waists, and paint a mark with sandal-paste on their forehead; and although they are solely absorbed in thoughts of the raptures of their prospective sexual union with their lovers, they nevertheless feel disturbed by their anxious fears.
1490. As the Night-bride withdrew and the starlets fell from her hair under his
feet, the Daybreak arrived to the announcement of the fragrance of the flowers in tripping steps (or driving away darkness).
1491. As a young woman is leaving the bed with one foot planted on the ground

Page #202

138
Prakrit Verses in Sanskrit Works on Poetics
(at the early hour of the day) and with the lotus-face turned towards the lover at whom she casts a side-glance - still heavy with desire - through the comer of the eye — My, my, what a glance !
1492. The shy young maiden engaged in a game around the salmalt tree, runs
round it (blindfold) and catches hold of her own lover, feels her hands to be moist with sweat as she cries out : "Who is the fellow here ?"
1493. Even to him who does not ask her (about it) she says : "He has smashed
my bangles.” Either the wretched woman is too simple-minded or he is extremely dear to her - poor woman !
(Verse 1494 is corrupt and obscure.) 1495. For translation vide ŚP S. No. (471.139) supra 1496. For translation vide ŚP S. No. (394.123) supra
1497. On whichever part of the body the brother-in-law gives a blow with a tender
creeper, on that part of the young bride's body appears a crop of goose-flesh (as a mark of her joy and deep love for her lover, the brother-in-law).
1498. Others enact a cemetery scene wearing goblin marks, holding offerings of
human flesh, indulging in frightful groans (humkāra)and shrieks (phetkāra). 1499. These gay young women, their bodies painted black like ink and collyrium,
holding a bow and three arrows each, wearing decorations of peacock plumes, create laughter among the people by their disguises of the Pulindas (i.e. Bhillas, mountaineers, wild tribesmen).
1500. These other young girls, playing on the flutes, their garments fluttering about
in their eager excitement make people laugh by their black costume, as they step back, bow to the spectators and give out loud laughter.
1501. Another fawn-eyed girl beats a frightful drum (whose sound is mingled)
with the charming sounds of a tambour (maddala) and with her tender (lit.
creeper-like ) arms swinging alternately, proceeds to perform a callidance. 1502. For translation vide ŚP S.No. (311.107) supra

Page #203

Prakrit Verses in Sanskrit Works on Poetics
1503. For translation vide SPS.No. (474.140) supra 1504. For translation vide SPS.No. (410.127) supra
139
1505. There too you will make friends, my girl (puttali-putrika), where you are given in marriage; don't you weep. There too you could enjoy love-sports in Vañjula (-Aśoka) woods; there too flows the mountain river Godă.
1506. The plump breasts of the farmer's daughter-in-law covered by her beloved with the pollens of kadamaba flower appear to her friends, as they heave up and down, to be bunches of kadamba flowers.
1507. The round breasts of the daughter-in-law, with her eyes closed on account of profuse pollens of the kadamba flowers, are hit with kadamba flowers,and the rest of the people too are hit with the kadamba flowers.
1508. The lover is hit by his beloved with a bunch of kadamba flowers, and the (younger) brother-in-law swoons. The beloved is hit by the lover but her rivals in love experience the pain.
1509. O, Haridraka (-kadamba) tree, fortunate you are in that in spite of the husband looking on your flowers fall on the bosom (lit. surface of the plump and swelling breasts) of the farmer's daughter-in-law.
1510. The lovers take the half-bitten lotus-fibres from the mouths of their beloveds, as if they are the hearts pierced by the arrows of the God of
Love.
1511. Mistaking again and again the sparkle of her teeth to be the lotus fibres held in the mouth by the elder sister-in-law, the (younger) brother-in-law tries to pull them out; at this the sister-in-law, the beloved one, laughs at him.
1512. The farmer's daughter, longing to eat half-roasted green corn, tells the young farmer again and again:" My hand is burnt by the fire for roasting (väage) päkägni?)"
1513. The young bride gives her brother-in-law, with her own hand soiled by tears, first her heart, full of love and tender feelings and then a piece of soft and juicy sugarcane bearing her own tooth-marks.

Page #204

140
Prakrit Verses in Sanskrit Works on Poetics
1514. For translation vide ŚP S. No. (30.48) supra
(Verse 1515 is treated in the Notes.) 1516. The fragrant powder, especially used on the Full Moon Day Festival in the
month of) Aśvina, which with great difficulty, you applied with your own hand to her breasts in the midst of stumbling and intoxicated people became (or turned into) a soft ointment (on account of the perspiration indicating her deep love for you.)
1517. As she, thrilled with joy, and trembling (through excitement) took a handful
of(fragrant) powder, with the intention of besmearing her beloved one, it turned in her hand into scented water (because of the perspiration due to the surging emotion of love.)
1518. On the occasion of the Full Moon Day Festival when the young
brother-in-law went up to his dear sister-in-law to smear her breasts with fragrant powders, a young farmer saw that the powder had become fairly wet. He turned his face aside and gave a wry smile.
1519. There are many festivals but nothing like Dipávali (also popularly known
as Divālī) when you can pretend a visit to see the lights in your beloved's house and have the pleasure of meeting her.
1520. As she moved the festival lamps around in front of his face she felt very
nervous and her heavy breathing flickered the flames of the lamps and thus she revealed to him her secretly cherished love for him.
1521. My dear girl, why should you practise these tortuous rituals, meant for
hermits (?), of worshipping the rising moon? Your face already possesses the beauty that the moon is believed (or supposed) to endow.
1522. The hermits who had offered flowers to you, mistaking your face to be
the moon, left quite abashed (or embarrassed), when they heard your husband's complimentary words to you.
1523. In the (barley) field where the young men saw you rolling about (on the
bed of the shoots of barley) with garments cast off, they became just like a scarecrow kept for frightening away animals (or herds of deer).

Page #205

Prakrit Verses in Sanskrit Works on Poetics
141
1524. The daughter of the master of the house has wallowed on the bed of yava
(barley) plants, and the barley plants have yielded an especially rich crop. Now let the cattle (lit. a herd or multitude of cows ) freely graze in the
field ! 1525. For translation vide ŚP S.No. (399.125) supra 1526. For translation vide ŚP S. No. (123.66) supra. 1527. I am giving you, mango blossom, to the God of Love who has taken up
his bow with a hope that you will be more effective as his arrow than the usual five when he aims at the young wives of the wayfarers, (with the reading pahia-jana-juvai-lakkho.) or in piercing the hearts of lovers (with
the reading kāmiana-hia-dalane). 1528. The ladies carefully decked up for the Festival of Love do not look really
beautiful till the mango blossom with its spray overhanging the cheeks is
not worn in the ears. 1529. For translation vide SP S. No. (459.137) supra. 1530. It is your celestial (or heavenly) dwelling that is, indeed, at fault, O, Moon!
that you are not struck by the lovely) feet of the young charming bride
enjoying swing-ride. 1531. The (charming) damsels hanging on their lovers' necks or the lovers hanging
on their necks, both with heavy limbs, drooping through fatigue drag their
way home. 1532. For translation vide ŚP S. No. (592.160) supra. 1533. O, dear boy, the village is far away, and this row of trees (vanarāji) is dense
with an abundance of leaves. Please don't go, leaving me alone; I am separated from all my girl friends.
1534. That bride wearing on her ear the pair of jujube fruit (supported by one
stalk) which you gave her with your own hand went from the village street straight to her house because she was ashamed of parading the young man's gift before other people (lit. because she was overpowered by bashfulness)'.
1. The fact that she wears the pair of jujube berries - his gift to her -
suggests her deep love for the young man.

Page #206

142
Prakrit Verses in Sanskrit Works on Poetics
1535. O, come. I shall say something on behalf of some (young) woman, O, cruel
one. Or enough! Let her who thoughtlessly made the commencement of
an undertaking die. I shall not say anything. 1536. For translation vide ŚP S. No. (372.119) supra 1537. For translation vide ŚP S. No. (481.141) supra 1538. For translation vide ŚP S.No. (955.221) supra 1539. For translation vide ŚP S. No. (647.170) supra 1540. The lower lip looks beautiful with kissing, the sparkling eyes look beautiful
with heart-felt joy; it is the lover alone who really decorates a young woman.
In vain do young women decorate themselves with other aids of beauty. 1541. A few decorations painted on the face, followed by the lovers' passionate
embrace should be enough for young women whose minds are set on their.
lovers.' 1542. The beauty of the young women who have decorated themselves with aids
of beauty is soiled if they are disrespected by their lovers who make (or fix) appointments with them but fail to keep them. In vain is this external decoration; complete satisfaction alone is the real decoration for young
women. 1543. For translation vide ŚP S. No. (127.67) supra. 1544. For translation vide ŚP S. No. (189.80) supra · 1545. The wanton young women trembled, heaved sighs and rolled their drooping
bodies in the bed. Nobody knew whether they were nervous or scared or
overpowered by passion. 1546. The young women with their due attention to their costume, without their
maiden companions and keen on receiving their lovers, stand inside unperceived and gaze at the pathway by which their lovers are expected to come.
1. With the emendation Pai-muha - hiao' (Sk 'Patimukha-sthita-hrdayah')

Page #207

Prakrit Verses in Sanskrit Works on Poetics
1547. My beloved has drawn in a picture young women whose hearts are affected by the passion of love and are faced with immediate separation; they seem to have turned away from their assumed jealous anger as their goose-flesh (or horripilation) indicates.
143
1548. The young women, with their eyes full of passion look at their lovers without any constraint and their tormented lovers feel tremendously satisfied by these looks which they prize very much in their hearts.
1549. The young women didn't proceed to meet their lovers nor did they do their hair nor ask the messenger girls regarding the mission entrusted to them. Struck by the moonlight, they, with their hearts bewildered, simply trembled.
1550. The young women set out to meet their lovers but grew tired by the long walk; they would have liked to rest for a while but their amorous hearts were so set on meeting their lovers who had already gone ahead to their meeting place that they would not allow themselves any rest.
1551. For translation vide SPS. No. (467.138) supra
1552. For translation vide SPS. No. (1423.303) supra
1553. For translation vide SPS. No. (21.46; DHV. 11.8 supra).
1554. My dear friend, you have always helped me in my difficulties. Your place
is in my bosom. My beloved man is also there. Both of you have overheard what is in my mind. Therefore where is the need of entrusting you with a message?
1555. For translation vide SP S.No. (936.218) supra.
1556. The messages, which the messenger girls bring back from the lovers and convey them to the young women, delight them more than the actual meeting (with their lovers).
1557. When the lovers for some reason turn away from their women, these despondent women who could not take their eyes off their doors, send first their messenger girls to their residence but in their impatience themselves follow them.
1558. For translation vide SPS. No. (971. 224) supra.

Page #208

144
Prakrit Verses in Sanskrit Works on Poetics \ 1559. For translation vide śP S. No. (454. 136) supra
1560. For translation vide ŚP S. No. (1169. 257) supra. 1561. Although the idea of rising from their seats to do honour to their lovers
crossed the mind of the young lovely women (kāmini) who were delighted by their (unexpected) visit, at the very moment of their visit), their bodies (the bodies of the young lovely women) which were languid on account
of intoxication were not able to put it in practice. 1562. At the unexpected arrival of their lovers, the young women, who were
waiting with words of welcome rolling throughout the day in their mouths, felt so overwhelmed by their joy that they couldn't keep to the usual
formalities of reception. 1563. The God of Love supports the drooping arms of the young women which
are tender like stalks of red lotuses and are adorned with garlands as
personal decoration, as they are raised to embrace their lovers. 1564. With 'choli'abandoned to bare the breasts and the jewelled bracelets thrown
away in a gay game of love provoking desire and climaxing in sexual union
the young couple ends in exhausted sleep. May it look beautiful ! : 1565. Young women set aside their golden necklaces from their bosom, lest they
be crushed in an intimate embrace with their lovers: Even merit and strength
may, if it comes to that, be slighted. 1566. When you are undoing the girdle of a coquettish woman, please repeat this
prayer to the God of Love that resides in her heart : "May this be an
auspicious day.' 1567. The God of Love irresistibly takes charge of the persons of young women
as they start removing their anklets, necklaces, ear-tops, bracelets and the
girdles from their bodies. 1568. The lover's hand moves round and round here and there (in the region of
the waist), as if caught in the whirlpool and is unable to move further down. 1569. For translation vide ŚP S. No. (252. 95) supra. 1570. For translation vide ŚP S. No. (265. 98) supra. 1571. For translation vide ŚP S. No. (24. 33) supra

Page #209

Prakrit Verses in Sanskrit Works on Poetics
145
1572. For translation vide ŚPS. No. (1090. 243) supra 1573. For translation vide ŚP S. No. (1089. 243) supra 1574. For translation vide ŚP S. No. (1098. 244) supra 1575. For translation vide ŚP S. No. (224. 89) supra 1576. For translation vide ŚP S. No. (1093. 244) supra 1577. For translation vide ŚP S. No. (1082. 242) supra 1578. With a view to giving his beloved, Satyabhāmā, the rapture of sexual union
far exceeding her wildest of desires, Hari, with a smile on his face, and with both of his hands holding his mukuta (crown) in its place fell at her
feet. 1579. For translation vide ŚP S. No. (774. 192) supra
(Verse 1580 is treated in the Notes.) 1581. For translation vide DHV S. No. (40. 14) supra 1582. As the lover in the course of love-making kisses his beloved's eyes and
goes on kissing them, tears of anger burst through her kiss-sealed lids. 1583. For translation vide ŚP S. No. (1026. 233) supra. 1584. The indistinct (or faltering) speech of the gay (merry) woman in an
inebriated state, which is given up halfway as forgotten, or may be, on account of the sudden remembrance of her young man's grave lapse
causing shame to her, impresses as charming. 1585. For translation vide ŚP S. No. (1134. 251) supra.
1586. For translation vide ŚP S. No. (1100. 245) supra · 1587. For translation vide ŚP S. No. (1226. 267) supra. 1588. The proud lady fixed her eyes on her beloved, and kept on heaving sighs
for long, short gasping sighs, carrying the fragrance of a freshly made wine, weakly heaved—that indicated that the onslaught of Madana, the God of
Love, had now weakened. 1589. Immediately afterwards Satyabhāmā, with perspiration and horripilation
appearing (on her body) due to the pleasure of Hari's holding her by the

Page #210

146
Prakrit Verses in Sanskrit Works on Poetics
hand, without waiting for Hari's adopting the remaining modes of
reconciliation or appeasement, clung to him. 1590. For translation vide ŚP S. No. (1147. 253) supra 1591. For translation vide ŚPS. No. (295. 104) supra. 1592. For translation vide ŚP S. No. (1232. 269) supra 1593. For translation vide ŚP S. No. (1222. 266) supra 1594. For translation vide ŚP S. No. (1007. 230) supra. 1595. For translation vide ŚP S. No. (1108. 246) supra 1596. Her face which was blooming with joy, with cheeks showing excitement
all over, looked more lovely (even though undecorated) than it would have
been with decorations. 1597. For translation vide ŚP S. No. (627. 167) supra 1598. For translation vide SP S. No. (1114. 247) supra 1599. For translation vide ŚP S. No. (1226. 267) supra 1600. For translation vide ŚP S. No. (1210.264) supra 1601. When her beloved violently seized her by her hair, the resentful lady coudn't
speak out what she all the while wanted to say. It transformed itself into
an expression of annoyance. 1602. For translation vide ŚP S. No. (1085. 242) supra. 1603. The young women angrily wiped their lips (as they were forcibly kissed
by their men), but gave free scope to their passion of love, when forcibly
embraced, and became fit, for enjoying the joys of love. 1604. The kissing of the eyes of amorous women, embraced by their lovers, looks
charming - the kissing in which they obliquely turn their faces aside though
their hearts drop the will to resist and feel well-disposed to them. 1605. When Mädhavānila took the hand of the yaksa princess in his hand, she
felt so excited that her hand trembled and almost dripped at the ends of her fingers with perspiration, which looked as if she was offering the right kind of oblation to mark her (first) meeting with her lover.

Page #211

147
Prakrit Verses in Sanskrit Works on Poetics
1606. For translation vide SPS. No. (591. 160) supra.
1607. Seeing the hair on her husband's head stand erect when she has kicked
it, the resentful (or proud) lady lets flow her jealous anger in the form of her tears which were mixed with collyrium.
1608. For translation vide SPS. No. (1185. 260) supra. 1609. For translation vide SPS. No. (1002, 229) supra 1610. For translation vide SPS. No. (277. 100) supra 1611. For translation vide SPS. No. (292. 103) supra 1612. For translation vide S'P S. No. (1237. 270) supra. 1613. For translation vide SPS. No. (1117. 248) supra 1614. For translation vide SPS. No. (1123. 249) supra
1615. I still remember the pleasures which I experienced when I dragged him forcibly by his hair which were wound round my big toe as he silently lay prostrate at my feet (begging to be pardoned).
1616. For translation vide SPS. No. (579. 158) supra
1617. After their quarrel, O, friend, their glances that were shot out under some pretext or the other, by chance met each other and, both of them burst out into laughter.
1619. For translation vide SPS. No. (1225. 267) supra
1620. O, desolate girl, you are just lost in counting the lines which you have drawn on the wall to indicate the length of your lover's absence from home. I am afraid, you stupid one, see how you are missing the chance of welcoming him home right now and felicitating him.
1621. When the arrival of the beloved one from journey abroad was (suddenly) announced, his bride closely embraced her maiden friend (who announced the arrival ?), her throat producing the suppressed cry of joy. 1622. For translation vide SPS. No. (616. 165) supra 1623. For translation vide SPS. No. (1348.289) supra 1624. For translation vide SPS. No. (1356. 290) supra.

Page #212

148
Prakrit Verses in Sanskrit Works on Poetics
(Verse 1625 is corrupt and obscure.) 1626. "Who will congratulate me ?" – "He at whose sight your cheeks are
covered with sweat. What will you give him (?)" — Saying thus the lover embraced me.
1627. When her dear beloved unexpectedly arrived the young lady was so much
blinded by tears of joy and overcome by nervousness that she could hardly
walk a single step. 1629. While Satyabhama was increasingly full of regrets for causing separation
from Hari by her own self, he, on the other hand achieved her desired
object and came back (safe and sound) home (in Dvārakā). 1630. For translation vide ŚP S. No. (541. 151) supra 1631. At the sight of Hari, Satybhāma's heart leaped with joy and her eyes, filled
to the brim with happiness wandered all over with pleasure; both of them
spread on her face an expression of unique grace. 1633. For translation vide SP S. No. (1251.272) supra 1634. The charming looking mistress (Satyabhāmā ?) happy in her own
contentment saw in a mirror in her chamber how her maiden friends and her maids reflected happiness on their faces that were entirely untouched
by grief. 1636. The joy she (Satybhāmā?) felt at the sight of her beloved, who returned
home (safe and sound) after securing the desired object, was so much that her large heart, quite emptied of sorrow, could not quite contain it and it
spread all over around her. 1637. For translation vide ŚP S. No. (1252. 272) supra 1638. O, charming young lady, as you whitewash the wall with your arms raised,
your waist shows the three folds on your belly and you know (young lady),
it torments the hearts of your rivals in love. 1639. O, you with slender waist, as you stretch up your hands to paint the wall,
it appears as if there is on the wall a painting of a lovely aśoka sapling. 1642. Satybhāmā's eyes, tremulous like a swarm of black bees although her heart
was enchanted by the fragrance of flowers, first rested on her beloved (Hari)

Page #213

Prakrit Verses in Sanskrit Works on Poetics
and then only on that celestial (Parijata). tree (that spread the fragrance.) 1643. Then her eyes, lovely likes lotus, overflowing with the feeling of love, and tremulous through (or under the influence of) love, first rested on her dear husband, Hari, and then only on the excellent tree, namely Pärijäta.
149
1645. "Look here at this your own excellent tree (Pārijāta)" when her dear husband uttered these words, indicative of his profound love (for her), her immense satisfaction found free scope to spread (over her whole body). 1646. For translation vide SPS. No. (1250.272) supra
1647. When the delusion ended and the sound of the Vanaras preparing for the battle was heard, Sītā realized the significance of Trijatā's advice (lit. speech) which was prompted by her affection and loyalty to her.
1648. When the young women remember to collect their garments, in their nervous hurry, they don't collect them; even if they collect, they don't care to cover their bodies with them. And even if they do cover their bodies, they don't care to retain them there for long.
(Verse 1649 is corrupt and obscure.)
1650. (In their simple and natural way of life) in the forest a deer and doe earn their food and water on their own. Their love remains unaffected till the end (and they set an ideal for everyone).
1651. For translation vide SPS. No. (297. 104) supra
1652. For translation vide SPS. No, (244. 94) supra
1653. Love which is broken and later patched up but which again suffers a setback on witnessing a fresh case of lapse loses all its taste like water first boiled and later cooled.
1654. For translation vide SPS. No. (1198. 262) supra 1655. For translation vide SPS. No. (1196. 262) supra
...

Page #214

Chapter VII : SARASVATĪKAŅTHABHARANA
1. For translation vide ŚPS. No. (87.58) supra. 2. For translation vide ŚPS. No. (88.58) supra. 3. For translation vide ŚP S. No. (90.59) supra.
For translation vide ŚP S. No. (91.59) supra 5. For translation vide ŚP S. No. (89.59) supra 6. For translation vide śP S. No. (92.59) supra 7. For translation vide ŚP S. No. (93.60) supra 8. For translation vide ŚP S. No. (94.60) supra 9. For translation vide ŚP S. No. (95.60) supra. 10. For translation vide ŚP S. No. (96.60) supra. 11. For translation vide ŚP S. No. (97.60) supra 12. For translation vide ŚP S. No. (98.61) supra
13. How could the earlier poets have failed to observe and note everything whatever
is there on the path they have taken ? This may be true; if, however, the (traditional and conventional) borders be given up (and the horizons of Imagination be widened) all topics would be just new to him (the later poet) too !
14. O, wayfarer, in this village which is a stony place there is hardly any possibility
of your getting the pleasure of a comfortable bed. If, however, the rising clouds persuade (or tempt) you to stay overnight, you sure are welcome. (If, however, seeing my swelling breasts, you want to come here and stay overnight, you are welcome.)
15. For translation vide SP S. No. (265.98) supra. 16. For translation vide ŚP S. No. (32.48) supra.

Page #215

Prakrit Verses in Sanskrit Works on Poetics
151
17. For translation vide ŚP S. No. (99.61) supra. 18. For translation vide ŚP S. No. (100.61) supra.
19. (Please note that this passage in Apabhramsa and all other such passages
hereafter are left untranslated.)
21. For translation vide ŚP S. No. (102.61) supra.
22. (i) As the daybreak – a mighty elephant – uprooted the Night-creeper, the
Moon-bird flew off and the white constellations, the flowers dropped in panic.
(ii) Lo, behold, there comes down from the firmament (the surface of the sky, i.e., the sky) a line of parrots, as if a necklace with rubies and emeralds has dropped from the neck of the Sky-Beauty.
(iii) Upendra (i.e., Visnu or Krsna) is about to sleep, his bright (sparkling white) eyes (naturally) dark even in the absence of collyrium, looking very tiny (taṇua-taņua) at their (outer) corners (i.e., on the point of closing) and appearing like the sleepy (half-closed) eyes of an elephant.
23. For translation vide ŚP S. No. (104. 62) supra 24. For translation vide ŚP S. No. (967.224) supra.
For translation vide ŚP S. No. (7.44) supra 26. For translation vide ŚP S. No. (6.44) supra. 27. For translation vide ŚP S. No. (1527.319) supra.
- 29. You simple (or innocent) girl ! forgo this love of adventure, give up this
excitement (recklessness) O, fair maiden, whose thighs are smooth and cool like a banana plant; my heart is unable to bear the bitter pain of separation from you.
30. Părvatī, the daughter of the mountain clinging like a wish-fulfilling creeper to
Girisa himself a wish-fulfilling tree, is victorious !
(Verse 31 is treated in the Notes.)
32. At daybreak one can see a layer of lotus-pollens spread on the steps leading

Page #216

152
Prakrit Verses in Sanskrit Works on Poetics
to the lake.
34. For translation vide SPS. No. (164.75) supra
(Verse 35 is treated in the Notes.)
36. We curse ourselves for not having a thousand arms like Arjuna (i.e., Sahasrarjuna) or a thousand eyes like Indra or a thousand ears like Vasuki with only two hands to do you homage, only two eyes to see you and two ears to hear your praise, we feel inadequate.
37. For translation vide DHVS. No. (14.8) supra
38. The poets have looked on this world with all its vissicitudes now as a place of deep joy and now just worthless. Glory to them!
39. Don't chatter like a parrot in the language of parrots I am not a wretched parrot to understand that a female parrot alone knows that languge, not me, you rascal! 41. For translation vide SPS. No. (842.201) supra.
43. For translation vide DHV S. No. (12.29) supra
44. For translation vide SP S. No. (24.47) supra
45. The winter evening lighted by a faint moon fills young women with longing, they deck themselves up, send messages to their lovers and pretend to be angry and jealous.
46. For translation SPS. No. (110.63) supra
47. What have I to do with my father who receives homage from crowned kings (lit. Whose feet are touched by the tufts of garlands of flowers worn on their heads by kings)? Or, with my father-in-law, who shares the throne with Indra in the assembly of gods? Those countries, and those mountains and that forest alone are dear to me; there I can do homage to Kausalya's son (Rama) and rejoice.
48. The cloud roared and broke into a big sound like a kettle-drum, while it assaulted the sky and the earth exactly as the flashing streak of lightning directed.

Page #217

153
Prakrit Verses in Sanskrit Works on Poetics
49. They (the Vanaras of Sugrīva) reached the Sahya mountain where the clouds received diverse hues as they rested upon its mineral rocks where brooks burst out of the caves like laughter and the intoxicating fragrance of bakula flowers spreads.
50. Since I saw that most excellent girl with lotus-face and lovely eyes, the moonlight has become blazing hot, the sandal paste feels like poison, the necklace burns (or irritates) like salt rubbed on wounds, the Malaya- breezes scorch the body, lotus fibres pierce like arrows and, the slender body has been on fire, although it is being drenched wet.
51. The sky was filled with smoke as Rama's bow emanated smoke; it flared up with fire as Rama's bow was hooked to the string and reverberated in all directions the sound of the roaring bow.
52. Then spoke Rama drowning the noise of the sea with his voice, and eclipsing its fame with his own fame, its fortitude with his own fortitude, its strength with his own strength, and its firmness with his own firmness.
53. Let him be adored the Moon, the friend of Madana (the God of Love), the decider of the auspicious and the inauspicious, the one who outshines the stars, who is his own pleasure, who reveals the full beauty of the lotuses, who is an unfailing companion of Siva, who brings glitter to the night-lotuses and adorns Siva's matted hair, who rains streams of light and who glides across the heavens in his own grace.
56. For translation vide SPS. No. (121.65) supra.
57. What is a quarter (1/4) of a yojana (a measure of distance equal to four krośas)? (Answer :) a krośa (- koss); What is that which equals two thousand dandas? (Answer :) a kodanda.
58. For translation vide SPS.No. (111.63) supra
60. The lion was out on a prowl, and the cave was empty. The hunter saw his opportunity and collected the pearls before going away.
65. For translation vide SPS. No. (118.65) supra.
66. For translation vide SP S.No. (119.65) supra

Page #218

154
Prakrit Verses in Sanskrit Works on Poetics
67. For translation vide ŚP S. No. (123.66) supra.
(Verse * 68 is corrupt and obscure.) 69. For translation vide ŚP S. No. (124.66) supra. 70. For translation vide ŚPS. No. (5.44) supra 71. For translation vide ŚP S. No. (5.44) supra.
72. Life ebbed out in laboured gasps through the strangulated throat of Arista, the
demonic bull, when he (Krsna) squeezed and twisted the massive bulk of the neck -- none too easy to manage in the fatal grip of his powerful arms.
73. For translation vide ŚP S. No. (125.66) supra 74. For translation vide ŚP S. No. (126.67) supra. 75. For translation vide ŚP S. No. (127.67) supra. 77. For translation vide ŚP S. No. (139.69) supra. 78. For translation vide ŚP S. No. (482.142) supra
79. For translation vide SP S. No. (141.70) supra
80. Fire that burns in the (humble) hut of an outcaste (cândāla) also burns in a
sacrificial enclosure. (Fire does not lose its brilliance whether it burns in a hut of an outcaste or in a sacrificial enclosure of a Brāhmaṇa.) Men in misfortune should not therefore be avoided or shunned.
82. My dear girl, it is not only true of the bamboo cane of which execllent bows
are made but also of human beings. Even though it may be an excellent bamboo material, if it has no string of similar quality, it cannot have a proper twang!
[Note: There is a pun on the word 'vamsa'(i) bamboo (ii) good family), guna (i) string (ii) good or noble qualities, and 'tankāra' (i) twang (ii) fame or
reputation)] 84. For translation vide ŚP S. No. (147.71). supra 85. For translation vide ŚP S. No. (148.72) supra.

Page #219

Prakrit Verses in Sanskrit Works on Poetics
155
86. For translation vide ŚP S. No. (149.72) supra. 88. For translation vide ŚP S. No. (142.70) supra 89. For translation vide ŚP S. No. (143.70) supra 90. For translation vide ŚP S. No. (144.71) supra. 91. For translation vide ŚP S. No. (145.71) supra 93. For translation vide ŚP S. No. (550.153) supra 94. For translation vide ŚP S. No. (128.67) supra 95. For translation vide ŚP S. No. (131.68) supra. 96. For translation vide ŚP S. No. (130.68) supra 97. For translation vide ŚP S. No. (132.68) supra 98. For translation vide ŚP S. No. (134.69) supra. 99. For translation vide śP S. No. (153.73) supra 100. For translation vide ŚP S. No. (613.164) supra. 101. Oil, mixed with a decoction of powdered alambusā (or munditikā, a medicinal
herb) when rubbed on the sagging breasts even of women of declining age after . a nasal wash with water, makes them firm and round. 102. For translation vide ŚP S. No. (151.72) supra 103. For translation vide ŚP S. No. (154.73) supra 104. For translation vide ŚP S. No. (809.196) supra 105. For translation vide ŚP S. No. (155.73) supra. 106. For translation vide ŚP S. No. (156.73) supra.
107. For translation vide SPS. No. (157.74) supra.
108. Dāśarathi, the descendant of Dasaratha, (patronymic of Rāma) somehow passed
the rainy season, that was the nightfall to the sun of his endeavour, a strong

Page #220

156
Prakrit Verses in Sanskrit Works on Poetics
chain restraining the lordly elephant of his indignation, and a cage confining the lion of his victory.
109. For translation vide ŚP S. No. (158.74) supra. 110. For translation vide ŚP S. No. (159.74) supra 111. For translation vide ŚP S. No. (160.74) supra 112. For translation vide ŚP S. No. (161.75) supra 113. For translation vide ŚP S. No. (162.75) supra 114. For translation vide ŚP S. No. (163.75) supra 115. For translation vide ŚP S. No. (164.75) supra. 116. For translation vide ŚP S. No. (165.75) supra
(Note : Sugrīva asks his followers not to be disheartened by Rama's indecision about what should be done to cross over to Lanka.)
117. This faint-heartedness will not last long in Rama exactly as the faint light of
the dawn does not last long in the Sun who has the strength to illumine the whole Earth by his glory and has power over all beings.
118. For translation vide SP S. No. (511.146) supra.
119. Whatever coral-reef the massive column of smoke covered up, pervading like
the virulence of poison turned black, as if it were the Ocean's blood.
120. After they had seen the untraversable ocean (the Vānaras) their natural agility
vanished - their movements were arrested - their eyes fixed in a stare, they looked pale and their courage vanished like lamps in pictures without light or heat.
121. For translation vide ŚP S. No. (166.76) supra
122. Her eyes looked more charming than the petals of a red lotus, reddish on
account of the wine she was drinking as they were reflected in her glass full, of fragrant wine.

Page #221

Prakrit Verscs in Sanskrit Works on Poetics
157
126. For translation vide ŚP S.No. (175.77) supra. 127. For translation vide ŚP S. No. (734.185) supra 128. For translation vide ŚP S. No. (58.54), DHV S. No. (5.7) supra 129. For translation vide ŚP S. No. (1451.307) supra 131. For translation vide ŚP S. No. (32.48) supra 132. For translation vide ŚP S. No. (171.76) supra. 133. For translation vide ŚP S. No. (1451.307) supra. 134. For translation vide ŚP S. No. (32.48) supra
135. My dear boy, you claim to be a reading and writing sort but have learnt nothing.
Come and embrace me. If it means, according to you, going to hell, I say, it does not matter, we can do it together.
136. For translation vide ŚP S. No. (245.94) supra. 137. For translation vide ŚP S. No. (1169.257) supra. 138. For translation vide SP S. No. (304.105) supra 139. For translation vide ŚP S. No. (174.77) supra. :140. For translation vide ŚP S. No. (173.77) supra. 141. For translation vide ŚP S. No. (184.79) supra 142. For translation vide ŚP S. No. (185.79) supra
143. O, lord of the Vānaras, your desire to do well by Rāma by killing Råvana may
actually mean disappointment to him. He has been anxious himself to kill Rāvana.
144. For translation vide ŚP S. No. (186.80) supra : 145. For translation vide SP S. No. (197.83) supra. 146. For translation vide ŚP S. No. (1301.281) supra

Page #222

158
Prakrit Verses in Sanskrit Works on Poetics 147. For translation vide ŚP S. No. (177.78) supra 148. For translation vide ŚP S. No. (178.78) supra 149. For translation vide ŚP S. No. (179.78) supra 150. For translation vide ŚP S. No. (181.79) supra. 151. For translation vide ŚP S. No. (182.79) supra
152. When the mountains were lifted up from their bases, the rivers flowing from
them lost their contact with the Earth and they fell straight down in a cataract and when the mountains were being rushed away the flow of the water fell in a straight long slanting stream.
153. Despondency deprives one of courage, intoxication of youth (deprives one)
of modesty, and love (deprives one) of shame. What then is left for old age which robs one of every precious thing to steady ?
154. The circular expanse of the ocean, with the Mandara mountain placed (or
stationed) at its centre and with its water splashing around looks like the wheel of the sun's chariot which has rolled off because of the very great velocity of the sun's chariot - the wheel with the tip of the axle prominently visible.
155. As the night came to a close, the disc of the moon trembled in the waves below
as if it were the Ocean's heart, too perplexed to know what should be done (i.e., about Rāmā's crossing over to Lankā.)"
156. The poet arranges the words very carefully, looks to the requirements of the
poetic styles, practises alliteration and bearing in mind the sense to be conveyed very carefully completes the poem, just as a thief plants his footsteps carefully, looks on various sides on his way, climbs up to the breach (made by him in
the wall) and taking the stolen goods carefully completes his job. 157. As the Mandara mountain had churned the vast ocean, the Sun churned up
the vast sky in the course of his day's journey when ruddy Sandhyā like wine (madirā)bubbled out, followed by the moon like a goblet (or pitcher) of nectar.
158. The young damsels deck themselves up with lotus fibres and their round breasts
with lotus leaves to tease and excite their lovers.

Page #223

159
Prakrit Verses in Sanskrit Works on Poetics 159. For translation vide ŚP S. No. (192.81) supra 160. For translation vide ŚP S. No. (180.78) supra.
162. When Yasodā said : "Damodara (i.e.Krsna) is still a child", the dairymaid cast
a sidelong glance at Krsna and smiled knowingly.
163. For translation vide ŚP S. No. (57.82) supra
164. The extremity of the base of the Suvela (also called Trikūta) mountain was
not seen even by the lord of serpents (Seșa or Ananta who supports the Earth on its hoods). Its lofty peaks were not reached even by Vişnu, when he grew in form (to humble the pride of the Daitya Bali) and wrest the three worlds from him.
165. Vibhīşaņa pouted his lips and heaved a deep sigh at the possibility of the terrible
calamity for the whole universe, when Rāvana, the invincible on the battle-ground and the immortal gods got locked in a battle.
166. Let my friends tell me (i.e., advise me) how to feign jealous anger towards
my lover, if they wish me to continue to live. (My problem about feigning jealous anger is as follows:) When I see him I simply cannot wear a frown. It is extremely difficult. When he begins to talk, I cannot keep silent. Let my friends advise me how to pretend to be angry so that he will not misunderstand it and feel furious.
· 167. For translation vide ŚP S. No. (189.80) supra 168. For translation vide ŚP S. No. (49.52) supra. 169. For translatioin vide ŚP S. No. (515.147) supra. 170. For translation vide ŚP S. No. (1417.302) supra. 171. For translation vide SP S. No. (505.145) supra. 172. For translation vide ŚP S. No. (194.82) supra
173. As the Rain-Goddess rubbed her capacious payodharas (clouds, breasts) on
his peaks, Vindhya bristled with excitement and the tender shoots of fresh grass appeared all over and Vindhya looked gaily decked.

Page #224

Prakrit Verses in Sanskrit Works on Poetics
160
174. For translation vide SPS. No. (120.364) supra
175. O, lady in captivity, the sound that you heard just now is the clap of thunder
reverberated by the unseasonal clouds and not, as you seem to expect, the twanging sound of your husband's bow-string. Therefore, there is no reason whatever for the excitement that you visibly show on your skin.
176. For translation vide SPS. No. (221.88) supra.
177. For translation vide SPS. No. (190.81) supra 178. For translation vide SPS. No. (992.227) supra 179. For translation vide SPS. No. (616.165) supra 180. For translation vide SPS. No. (217.87) supra. 181. For translation vide SPS. No. (216.86) supra 182. For translation vide SPS. No. (218.87) supra.
183. O, you (young woman), who are an expert in cooking do not feel distressed if the fire does not burn in a flame but fills the kitchen with smoke it has been made fragrant by the sweet smell of the patala flowers that your mouth breathes.
184. The gaze of the hunter's (elder) wife, heavy with tears, rests on the face of the newly-wed (younger) wife hard to look at, as it (the face) has been adorned with the ear-ornament of creeper-like (i.e., tender) parings of the bow of husband.
185. For translation vide SPS. No. (273.100) supra 186. For translation vide SPS. No. (638.169) supra 187. For translation vide SPS. No. (1327.286) supra 188. For translation vide SPS. No. (530.150) supra
189. For translation vide SPS. No. (415.128) supra.
190. On this day of festival, today, ever since she heard her dear husband call her

Page #225

Prakrit Verses in Sanskrit Works on Poetics
161
by a wrong name, she has detested all her ornaments and adornments, she likens them to the garlands on a buffalo that is being led for sacrifice.
191. For translation vide ŚP S. No. (155.73) supra.
192. As the night advanced, Krsna, who was separated from his sweetheart thought
that the moon rose in the sky, as it were to cause him disaster and that the God of Love had as if put the string to his bow.
193. Well, one does not exchange words with another man's wife like me. That
may not be approved by the world. But a glance ? You couldn't help casting
it even at an enemy suddenly appearing before you. 194. For translation vide ŚP S. No. (388.122) supra. 195. For translation vide ŚP S. No. (314.108) supra. 196. For translation vide ŚP S. No. (368.119) supra 197. For translation vide ŚP S. No. (420.129) supra. 198. For translation vide ŚP S. No. (198.379) supra 199. For translation vide ŚP S. No. (466.138) supra. 200. For translation vide ŚP S. No. (1460.308) supra. 201. For translation vide ŚPS. No. (1461.308) supra. 202. For translation vide ŚP S. No. (525.149) supra. 203. For translation vide ŚP S. No. (493.143) supra. 204. For translation vide ŚP S. No. (1423.303) supra 205. For translation vide ŚP S. No. (470.139) supra 206. For translation vide ŚP S. No. (591.160) 'supra. 207. For translation vide ŚP S. No. (256.96) supra. 208. For translation vide ŚP S. No. (22.46) supra.

Page #226

Prakrit Verses in Sanskrit Works on Poetics
162
209. For translation vide SPS. No. (1497.314) supra. 210. For translation vide SPS. No. (1497.314) supra 211. For translation vide SPS. No. (207.85) supra 212. For translation vide SPS. No. (1185.260) supra 213. For translation vide SPS. No. (482.226) supra 214. For translation vide SPS. No. (600.161) supra
215. Seeing the cowherd engaged in a tête à tête with his first wife (as she was milking the cow), look, how his second wife, newly married to him, undid the tethers of all the calves in the shed.
216. For translation vide SPS. No. (545.152) supra
217. For translation vide SPS. No. (265.98) supra.
218. For translation vide SPS. No. (1357.290) supra
219. "Even when my dear consort (or lover) died, I did not die. I, who continued to live, saw (or met) my beloved consort again." With this thought shame and extreme joy together overpowered her heart.
220. For translation vide SPS. No. (978.225) supra
221. Her vacuous stares, deep sighs, stupid smiles and foolish mumblings surely mean a deep-rooted malady (her unfulfilled love for some young man).
222. For translation vide SPS. No. (451.135) supra
223. For translation vide SPS. No. (1126.249) supra
224. When he noticed some resentment in his wife, his mind felt confused on account of his attachment to her and he vacillated between the gloomy mood of the evening twilight and the cheerful mood of the moonlit night.
(Note: However, this rendering is very doubtful.) 225. For translation vide SPS. No. (247.95) supra 226. For translation vide SPS. No. (1306.282) supra

Page #227

Prakrit Verscs in Sanskrit Works on Poetics
163
227. For translation vide ŚP S. No. (1370.292) supra 228. For translation vide ŚPS. No. (1365.291) supra. 229. For translation vide ŚP S. No. (501.144) supra. 230. For translation vide ŚP s. No. (634.168) supra 231. For translation vide ŚP S. No. (1582.328) supra 232. A close embrace, a blast of wind to the tree of sulkiness (i.e., blows off
sulkiness), refreshes the whole body, and raise the curtain on the drama of lovers' union. Dear friend, may such embraces prosper !
233. For translation vide SP S. No. (359.117) supra.
234. My dear daughter, the wind is blowing up your lower garment. Hold it tight
to your thighs. They bear the circular marks of bites. Don't expose your husband who pleases you by his soft and sweet speech to public criticism or censure.
235. For translation vide ŚP S. No. (229.91) supra. 236. For translation vide ŚP S. No. (898.212) supra. 237. For translation vide ŚP S. No. (650.171) supra. 238. For translation vide ŚP S. No. (127.67) supra. 239. For translation vide ŚPS. No. (592.160) supra. 240. For translation vide ŚP S. No. (482.142) supra. 241. The mud with which you smeared the curves of the breast of the ploughman's • daughter-in-law during the spring festival of Holi has not dried even to this
day. It remains wet with her perspiration. 242. For translation vide ŚP S. No. (453.135) supra. 243. For translation vide ŚP S. No. (1496.313) supra 244. For translation vide ŚPS. No. (289.103) supra

Page #228

164
Prakrit Verses in Sanskrit Works on Poetics
245. My dear friend, if he is not your man, why is it that when he is mentioned
your face beams with joy like a lotus at the touch of the sun ? 246. For translation vide ŚP S. No. (454.136) supra. 247. For translation vide ŚP S. No. (477.140) sypra. 248. For translation vide ŚP S. No. (70.55) supra
249. May the hand of Krşņa protect you, — the hand, which however easily might
have lifted the Govardhana mountain, trembled on the breasts of Rādhā out of sheer nervousness at the first ever experience of sex.
250. For translation vide. ŚP S. No. (560.155) supra. 251. For translation vide ŚP S. No. (338.113) supra. 252. For translation vide ŚP S. No. (336.112) supra 253. For translation vide ŚP S. No. (328.110) supra 254. For translation vide ŚP S. No. (1359.291), supra 255. For translation vide ŚP S. No. (603.162) supra 256. For translation vide ŚP S. No. (287.102) supra
257. When, while a man is setting out on a journey a dark-spotted deer only one
eye of which he sees, crosses his path from left to right which is inauspicious, he does not proceed any further at all, how about it when his gazelle-eyed beloved with two tearful eyes encounters him?
258. When her beloved came home while she was in her period, her body perspired,
her thighs tingled with excitement, her undergarment slipped down and her heart
leaped with joy. 259. For translation vide ŚP S. No. (398.125) supra. 260. For translation vide ŚP S. No. (1161.256) supra. 261. For translation vide ŚP S. No. (1059.239) supra

Page #229

Prakrit Verses in Sanskrit Works on Poetics
165
262. For translation vide $P S. No. (767.190) supra. 263. For translation vide ŚP S. No. (145.71) supra. 264. For translation vide ŚP S. No. (245.94) supra.
supra 265. For translation vide ŚP S. No. (233.92) supra. 266. For translation vide SP S. No. (1392.297) supra.
267. Her desire is to bathe in the water of the stream that has flowed from where
he is bathing, whereas his desire is to bathe in the water that has splashed on her round and healthy breasts.
268. For translation vide SP S. No. (381.121) supra.
269. For translation vide ŚP S. No. (372.119) supra.
270. There is a scandal about their relations — that worthy daughter of the farmer
and the master's son. Where is the point in asking whether it (the scandal) is true or false ?
271. For translation vide ŚP S. No. (321.109) supra 272. For translation vide ŚP S. No. (1190.260) supra. 273. For translation vide SP S. No. (768.190) supra 274. For translation vide ŚP S. No. (220.87) supra 275. For translation vide ŚP S. No. (632.168) supra. 276. For translation vide ŚP S. No. (272.99) supra. 277. (What is the use of your living abroad? or) You seem to have learnt not much
from your travels abroad, O, wayfarer!- since you still feel so nervous and jumpy, or else why this looking around, breathing, yawning, singing, crying,
fainting, falling down and smiling ? 278. For translation vide ŚP S. No. (1323.285) supra. 279. For translation vide ŚP S. No. (1377.294) supra.
una

Page #230

166
Prakrit Verses in Sanskrit Works on Poetics
280. For translation vide ŚP S. No. (1391.296) supra.
281. As she walked towards her husband's funeral pyre, he was revived from his
unusually long spell of unconsciousness, and her widow's weeds were transformed into the decoration of a happy wife.
282. The anger of the proud women intensified by love disappeared (or vanished)
after a long time from their hearts, pleased for a moment by the earnest requests of the lovers, but saddened and tormented again by the remembered lapse (or offence).
283. Her husband gazes at her face and she too feels elated by seeing him. He
believed himself to be the most blessed of men and she too believes herself to be the most blessed of women on this Earth.
284. For translation vide ŚP S. No. (979.225) supra. 285. For translation vide ŚP S. No. (225.90) supra. 286. For translation vide ŚP S. No. (1085.282) supra 287. For translation vide ŚP S. No. (310.107) supra. 288. For translation vide ŚP S. No. (1522.318) supra 289. For translation vide ŚP S. No. (1524.319) supra 290. For translation vide ŚP S. No. (123.66) supra 291. For translation vide ŚP. S. No. (459.137) supra 292. For translation vide ŚP S. No. (1492.313) supra 293. For translation vide ŚP S. No. (645.170) supra
294. On the occasion of the Holi festival young maidens take part in running
competitions and desire the farmer's son to smear in mud their entire body with his own hands.
295. The moon-faced girl kicked the aśoka into blossom as a fulfilment of its longing
and freed it from the stigma of barrenness the Creater had put on it, and (proudly) wore in her hair the fresh flower of (the same) aśoka.

Page #231

Prakrit Verses in Sanskrit Works on Poetics
167
296. For translation vide SPS. No. (1528.319) supra.
297. O, Kesara, you sure have won your reward in being lodged like this on the
round breasts of the young lady who is looking up at the tree from the top of which you have leaped and at whose desire she has sprinkled it with wine from her mouth.
298. For translation vide ŚP S. No. (471.139) supra. 299. Her dress slips down; her decorations fade; as she walks, she falters (or
stumbles) when she particpates in the festival dance in honour of Bhūta-Mātěkā (the Divine Mother of all beings ?); O, charming one, do not look at her
(therefore when she dances). 300. For translation vide ŚP S. No. (1506.315) supra. 301. For translation vide ŚP S. No. (474.140) supra 302. For translation vide ŚP S. No. (1510.316) supra. 303. For translation vide ŚP S. No. (30.48) supra. 304. For translation vide ŚP S. No. (1516.317) supra. 305. For translation vide ŚP S. No. (1519.318) supra 306. For translation vide ŚP S. No.(1512.316) supra 307. For translation vide ŚP S. No. (1513.317) supra. 308. Look at these young women playing their water games, their eyes dilated and ·motionless, their cheeks bristling with excitement - they are being hugged by
their lovers from under water ! 309. For translation vide ŚP S. No. (660.172) supra 310. For translation vide ŚP S. No. (1002.229) supra. 311. For translation vide ŚP S. No. (609.163) supra 312. For translation vide ŚP S. No. (21.46); DHV Locana (11.8) supra

Page #232

168
Prakrit Verses in Sanskrit Works on Poetics
313. For translation vide ŚP.S. No. (332.111) supra.
314. The young woman, engaged to watch the paddy crop in the field, grew pale
and hung her head low like the ripening paddy and her anxiety over the eventual end of her secret meetings with her lover dried her up as the paddy she was guarding.
315. If you are not his mistress, then how come that you sleep with your weary
limbs well relaxed like an infant calf that oversucks and stretches out to sleep ? 316. Please note, young man, love however strong it might have been, trickles away
through a period of time if not prevented by occasional meetings, like water
through the scoop of hands. 317. For translation vide ŚP S. No. (716.182) supra. 318. For translation vide ŚP S. No, (541.151) supra. 319. For translation vide ŚP S. No. (713.181) supra. 320. For translation vide ŚP S. No. (710.180) supra. 321. For translation vide ŚP S. No. (635.168) supra. 322. Wherever he (Rāvana) looked he saw her (Sītā) only; Whatever he spoke, he
spoke only her name, and his heart fived by his passion for her made room only for her to the exclusion of every other thought.
323. O, you moon, consisting of nectar, the crest of the sky, the ornamental mark
on the face of the Night, touch me with the self same rays with which you have touched my beloved.. .
324. For translation vide ŚP S. No. 1918.215) supra. 325. For translation vide ŚP S. No. (326.110) supra. 326. For translation vide ŚP S. No. (1072.241) supra. 327. For translation vide ŚP S. No. (417.128) supra. 328. The ever-increasing and severe sorrow caused by separation cannot be brought
to an end except by death.

Page #233

Prakrit Verses in Sanskrit Works on Poetics
169
329. Hold her, hold her firmly, you needn't fear her, she is not possessed by any
evil (spirit or) power, if you see her walking around like this. Her husband is out on a long journey and this clap of thunder has frightened and unnerved
her.
330. For translation vide ŚP S. No. (614.164) supra.
331. For translation vide SPS. No. (270.99) supra. 332. For translation vide SPS. No. (1250.272) supra. 333. For translation vide SP S. No. (333.408) supra. 334. For translation vide SPS. No. (197.83) supra. 335. For translation vide SPS. No. (33.49) supra. 336. For translation vide SPS. No. (1452.307) supra. 337. For translation vide SP S. No. (637.169) supra. 338. For translation vide SPS. No. (51.52) supra. 339. For translation vide SPS. No. (1420.302) supra. 340. For translation vide SPS. No. (1465.309) supra. 341. For translation vide SPS. No. (24.47;364.118) supra. 342. For translation vide SPS. No. (342.114) supra. 343. For translation vide SPS. No. (332.111) supra. 344. For translation vide SPS. No. (1114.247) supra. 345. For translation vide SPS. No. (166.76) supra. 346. For translation vide SPS. No. (151.72) supra. 347. For translation vide SPS. No. (238.93) supra. 348. For translation vide SPS. No. (249.95) supra. 349. For translation vide SPS. No. (686.176) supra.

Page #234

170
Prakrit Verses in Sanskrit Works on Poetics
350. At the sight of the firm round breasts of the beautiful young wife of her
husband, the first wife with her sunken cheeks heaved a sigh.
351. For translation vide ŚP S. No. (244.94) supra. 352. For translation vide ŚP S. No. (230.91) supra. 353. For translation vide ŚP S. No. (1206.263) supra. 354. For translation vide ŚP S. No. (990.227) supra. 355. For translation vide ŚP S. No. (2.43) supra. 356. For translation vide ŚP S. No. (687.177) supra. 357. For translation vide ŚP S. No. (1433.304) supra. 358. For translation vide ŚP S. No. (99.61) supra., 359. For translation vide ŚP S. No. (485.142) supra. 360. For translation vide ŚP S. No. (1052.238) supra. 361. For translation vide ŚP S. No. (806.195) supra. 362. For translation vide ŚP S. No. (680.175) supra. 363. For translation vide ŚP S. No. (128.67) supra. 364. For translation vide ŚP S. No. (363.118) supra. 365. For translation vide ŚP S. No. (175.77) supra.
366. You may have this cloth-big and broad, with long tassels made of hundreds
of threads; if you want you may have your fill of meat; you may indeed please yourself gobbling 'chuhũ chuhü'.
368. I can show you the moon descending on the earth. I can stop the sun's chariot
in the middle of the sky. I can bring here the women of the Yaksas, of the gods, or of the Siddhas — (To tell you the truth) there is nothing in this world which is impossible for me to achieve.
369. The Sinduvara twigs that bear bunches of flowers like small heaps of cooked

Page #235

Prakrit Verses in Sanskrit Works on Poetics
171
rice are my favourites, and so are the heaps of jasmine flowers which are like the strained curds of the buffalo milk.
370. For translation vide SP S. No. (1414.301) supra.
371. This (your) death is worthy of a man. What Rāvana has done is worthy of
a demon like him. Why is it then that I don't become worthy enough to bring about my death ? (Lit. How is it that death worthy of a woman and available at will (by suicide) does not befall me alone ?)
372. For translation vide ŚP S. No. (546.152) supra.
373. He had everything in life so far, his sensuous pleasures, his material comforts,
his grown-up daughter is already in her husband's home and yet his eyes are still full of longing !
374. After having enjoyed five days in the company of her lover, who indeed is
a ladies' man, why should she expect the pleasure of the sixth day also ? She
should know too much of sweet food produces nausea. 375. (Bow down to) Siva - the female half of whose body (in the Ardhanärinateśvara
form), overpowered by love, with the firm round breast excited by pleasure and quivering bashfully, desires to turn round to hold the other half in a close embrace !
376. For translation vide ŚP S. No. (192.81) supra. 377. For translation vide ŚP S. No. (193.81) supra. 378. For translation vide ŚP S. No. (196.82) supra. 379. For translation vide ŚP S. No. (195.82) supra. 380. For translation vide ŚP S. No. (1222.266) supra. 381. For translation vide ŚP S. No. (773.191) supra.
382. The robbers cast their frightened and thirsty eyes again and again on the curves
of the breasts of the matronly lady as on a pitcher of treasure under a watchful eye of a snake.

Page #236

172
Prakrit Verses in Sanskrit Works on Poetics
Chapter VIII : Kåvya-Prakāśa. 1. You said, O, mother, that there are, indeed, no household provisions at home
today. Say then what should be done. The day is not going to stand still (and before long it will be dark).
2. "While winning over the beloved (or fortunate) one every moment, you felt,
dear friend, troubled for my sake. You have exactly done what is worthy and fit to be done out of good feeling and affection for me."
3. Look, the female white crane standing motionless and still on the lotus-leaf looks beautiful like a vessel carved out of an oyster shell on a salver of spotless emerald.
4. For translation vide SP S. No. (110.63) supra. 5. O, friend, with a very big jug of water, I have come here on foot in haste;
exhausted as I am on account of perspiration and breathlessness due to exertion, I shall rest (here) awhile.
6. Sleeplessness, weakness, anxiety and lassitude accompanied by breathlessness
(all this) alas ! affects you also, O, friend, for the sake of me, who am unlucky.
7. At that time you would not look anywhere else—fixing your glance on my cheeks.
Now, I am very much the same, and my cheeks are very much the same, but the glance of yours is not the same.
8. My hard-hearted mother-in-law thrusts on me all the household work; it is only
in the evening that I find respite for a moment, if at all.
9. It is reported that your husband would arrive today just within three hours. Why
are you sitting just like this then ? O, friend, make ready whatever is to be made ready!
10. O, dear, you who are bound to respect the wishes of your elders, what shall
I say to you, unlucky that I am ! You are going on a journey today, you may
go. 11. For translation vide ŚP S. No. (*14.342) supra.

Page #237

173
Prakrit Verses in Sanskrit Works on Poetics
12. "He is a jewel among the lazy bones, foremost among the gay rogues, and O, young daughter, he is possessed of immense wealth." At these words she hung her head down but her eyes dilated with joy.
13. On the battle-ground, he held Victory so firmly by the locks of her hair, that his enemies offered their necks in a close grip of the caves.
14. Seeing the lovers to be impatient for a close and impetuous embrace the anger of the offended women swiftly disppears from their hearts, afraid, as it were, of being squeezed out of their breasts.
15. Glory be to the Goddess of Speech who has taken up her residence in the lotus of the poet's mouth, and who, as a dig as it were at the old fool, Brahmă creates a universe which is altogether different (from the old universe of Brahmā).
16. The Malaya winds as they came down from the mountain slopes of Lanka become feeble since they were swallowed by the rows of fully expanded hoods of female serpents who were exhausted by their sexual enjoyment but were revived by the sighs of the grass-widows and got the energy of youth even though they were still infant.
17. O, friend, on the strength of the support you gave me I maintained my sulky anger but at the sight of my beloved forgot the restraint and the anger slipped from my heart.
18. Seeing the very fresh marks of nails and teeth on your body, my eyes felt rewarded. Don't mistake that red tinge as that of anger.
19. O, charming one, unable to find a place in your heart which is already crowded with a thousand women, for the whole day occupying herself with nothing else (but thoughts about you) she is making her already thin body still thinner.
20. Even though the behaviour of the wicked is always found to be ruthless, the behaviour of the wise (or the self possessed) never alters or changes; it is approved of by their own heart, their (true) friend.
21. "At daybreak your beloved husband's lower lip had become a withered lotus-leaf." On hearing these words the newly-wed girl hung her head down.
22. He (Madana, the God of Love), who brandishes his tender (flowery) bow and

Page #238

174
Prakrit Verses in Sanskrit Works on Poetics
walks about proudly in the moonlit nights, establishes, as it were, his sovereign
rule over the entire world. 23. Even though brushed away by the heart that feels tormented by it, the necklace,
being of pure breed, does not desert its friends, the breasts. 24. The God of Love has, as it were, regained his handsome body in the form of
the black and lovely tresses of the damsel and receiving strength from her
shoulders he wins the battle of sex. 25. O, charming one, tell me the truth about your relation with the newly risen moon
on the full moon night, and also who your beloved lady is - possessed of perfect
beauty -- as the Early Evening (Pradosa-rajani) of the moon ? 26. O, friend, in the very first encounter of your battle of sex, your friend, the close
hug, snapped the intruding necklace; tell me now how did the rest of the love-game then go on.
27. O, friend, as you were almost on your door-step, you turned your face and
looked towards the road and placed the pitcher on your shoulder and started weeping saying - "alas ! alas ! the pitcher is smashed." How did it happen?
28. The (earthen) pitcher, finding that you were distressed and that your eyes were
tremulous thought itself to be too heavy for you and broke by itself under the pretext of being struck against the door.
29. Alas ! that married lady although elderly fascinates your heart like a young bride
- that lady who is fired by the youthful desire for pleasure, is aroused by
moonlight and wine. 30. For translation vide ŚP S. No. (20.23) supra. 31. I am born in a village; and live also in a village; and I do not (at all) know the
ways of the city. Whatever I may be, I do fascinate the husbands of city - women. 32. O, my charming one, thus end those appreciations of merits, those ardent
longings, that love and those beautiful expressions ! 33. For translation vide ŚP S. No. (50.16) supra. 34. For translation vide ŚP S. No. (30.12) supra. 35. For translation vide ŚP S. No. (5.7) supra.

Page #239

Prakrit Verses in Sanskrit Works on Poetics
175
36. For translation vide SP S. No. (2.6) supra.
37. On the occasion of viparīta-rata (Contrary intercourse - where the woman takes
the man's position, man and woman changing places in the act of love), when Lakşmi saw Brahmā seated on the navel lotus of her husband, Vişņu, being intently absorbed in the act of love, suddenly (or quickly) closed the right eye of Vişnu.
38. For translation vide ŚP S. No. (1.6) supra
39. Look at (his accomplishments and) his handsome form. He is simply irresistible.
This is the only defect of his which even the rivals (? my rivals in love) acknowledge.
40. For translation vide ŚP S. No. (369.414) supra. 41. For translation vide ŚP S. No. (14.8) supra. 42. For translation vide ŚP S. No. (39.3) supra.
43. When her paramour came within the range of her vision, while she was amidst
her elders, the daughter-in-law, intent on renouncing everything (all household work) desired to go to the forest.
44. Like a flash she has shot into my heart-she who is never short of excellence.
I see her rolling in my bed. She radiates all over; my speech cannot be without her; and she quickly makes a place for herself in my poems and that naughty girl doesn't remain long out of my mind.
45. O, consort of Siva, let there be in me love for dharma (piety, religious acts);
destroy my desire for birth and rebirth, which has its source in 'tamas'! Thou art my sole refuge; may delusion quickly leave me.
46. Nothing that is seen or heard is comparable, even remotely, to poetry that
provides an abundance of rich food to all senses.
47. For translation vide DHV Locana S. No. (28.11) súpra.
48. The enemy expected the thrill of the battle but quickly turned back (like a
disheartened woman - pratināyikā in his harem) on seeing him place his hand

Page #240

176
Prakrit Verses in Sanskrit Works on Poetics
on his favourite mistress (nãyikā) — his scimitar.
49. Victory (Jayalakşmi - The Glory of Victory) that had always felt indescribable
ecstasy in the touch of your arm, now no longer wears the bright glory. She
has been torn apart from you. She is, in fact, faded out. 50. For translation vide VJ S. No. (1.19) supra.
51. The wealth of misers, the jewels in the hoods of cobras, the mane of lions and
the breasts of maidens of noble families-how can these be touched as long
as they, i. e., the misers, cobras, lions and noble-born maidens, are alive? 52. For translation vide ŚP S. No. (1535.320) supra.
53. Her never-ending sighs become longer with days and nights. Hér jewelled
bracelets slip down as do the streams of tears. In separation from you, O, fortunate one, that distressd maiden's hope of life becomes feeble and so does her slender body.
54. For translation vide ŚP S. No. (23.10) supra.
55. The beauty of the swans is heightened by the lakes, and that of the lakes by
the swans. They (swans and lakes) make each other adorable.
56. For translation vide ŚP S. No. (36.13) supra.
57. What is uneven (perverse or mysterious) ? The path of Destiny. What is difficult
to obtain ? A person who appreciates merit. What is happiness? A good wife. What is unhappiness? Wicked man (or world).
58. They say : He alone feels the pain who has a wound, but this is not true. A
bite-mark is seen on the cheek of the newly-wed girl but the pain is felt by her rivals (in love).
59. O, the glory of the horripilations that covered Krsna's body as he held Yaśoda's
breast in his hands and put his lips to its nipple and remembered how his lips had blown on the Pāñcajanya (his Conch).
60. O, beautiful damsel, first come here and listen to this scandal. O, lady of slender
waist, people are comparing the moon to your face !

Page #241

Prakrit Verses in Sanskrit Works on Poetics
177
61. She dwells in your heart, she alone is in your eyes and in your words. O, charming
one, can there be any room for poor women like us ?
62. O, handsome one, you are fair-complexioned, yet you have tinged my heart
red; and although I have placed you in my so coloured heart, your complexion has not been affected at all.
63. There is no one in this village who would stop this young woman from going
around; she spreads her radiant beauty and 'steals the hearts of young men, she is a thief.
64. As it is deep, as it is full of jewels, and as it is pure in colour, why hasn't this
ocean been made by the Creator of sweet water ?

Page #242

Chapter IX : Alamkårasarvasva with Vimarsint *1. What shall I say? How much can I say? What is the use of saying ? Even
then it will be said. Or rather, shall I say? Have I not said anything to you ? (The suggestion is : "I will die for you, I am dying for you, here I die for you.)
*2. The masters of today are really the masters. What abilities did the ancient
masters have ? Modern masters can brand merit as demerit and pass off
demerits as merit; could the ancients have done it ? *3. Not many men know how to recite Prakrit verses or poems, to string together
Kubja flowers or enjoy bold and grown-up women who are no longer bashful
or timid in the presence of their lords. *4. For translation vide KP S. No. (19.422) supra. *5. For translation vide DHV S. No. (15.9) supra. *6. For translation vide KP S. No. (12.420) supra. *7. For translation vide SK S. No. (14.342) supra. *8. For translation vide DHV S. No. (23.10) supra.
*9. What stirs you most is not the young woman's or) the beloved's unruly mass
of hair which breaks men's hearts but the sword of the enemy glittering dazzlingly at its edge.
(For double entendre see the Notes.)
*10. The adepts in (or masters of) yoga (deep and abstract meditation) entertain
identical idea about (i.e., look with equal eye on) things like a blue lotus, Indra, jugglery, the five organs of sense taken collectively, a large bee and a lord or ruler of men.
(Verse * 11 is treated in the Notes.) 12. For translation vide DHV S. No. (14.8) supra. *13. Bow down to the Lotus that has sprung from Vişnu's navel brilliant like the
wide firmament in which Brahmadeva, the Creator, with swarming bees

Page #243

Prakrit Verses in Sanskrit Works on Poetics
179
covering his body, looks like a spot on the moon. *14. For translation vide ŚP S. No. (667.174) supra. '15. (Note: There is a pun on the name Kumuda - the name of a Vānara warrior
- meaning a night-lotus which blooms in the moonlight.)
"In the moonlight of joy Kumuda burst into laughter even as a night-lotus bursts into bloom, breathing forth a sweet smell, with his lips opening like the petals, and the shimmer of his teeth plain to view like the dense filaments."
*16. "Its waters (The waters of the sea) were abandoned by yonder swan, the moon,
scared by the rain cloud in the shape of the Mandara mountain; and pairs of fish, looking like red geese, lay still on the moss-like emeralds."?
*17. Lovers wiped from the faces of their sulky mistresses not tears as such from
their collyrium - blackened eyes but the patches of moonlight passing through
the sapphires in their necklaces that fell on their faces. 18. For translation vide ŚP S. No. (684.176) supra.
*19. The fresh sprouts on the branches of the trees which are, as it were, dancing
with delight because of their meeting with the winds from Malaya mountain make signs to the Goddess of Spring to call her.
20. For translation vide A-Sarvasva S. No. (4.437) supra. 21. For translation vide ŚP S. No. (293.103) supra.
1. As translated by K. K. Handiqui.
2. As translated by K. K. Handiqui. He adds in a foot-note : "The moon which
left the ocean while it (the sea) was being churned with the Mandara mountain, is fancied as a swan migrating to the Mānasa lake in the rainy season; and the fish taking shelter on the emerald deposits at the bottom during the commotion, are likened to red geese huddlingt gether on the mossy banks of streams."

Page #244

180
Prakrit Verses in Sanskrit Works on Poetics
22. Victorious is the Man-Lion's massive neck with its brownish mane, which is,
as it were, a collection of lightning streaks hanging loose on his neck without the support of the clouds which have been blown off the Lion's roar.
23. For translation vide VS. No. (1.19) supra.
24. The same lower lip of the beloved yields a variety of pleasures : When on request
it submits itself to a kiss, or when a kiss is violently planted on it, and it is still a different kind of pleasure when the lip offers itself voluntarily for a kiss.
(Verse 25 is treated in the Notes.)
*26. When the charming moon-faced young women retire to their bed-rooms, their
usual maids who always accompany them, the jewelled girdles which are the usual companions of their hips and the bashfulness, the usual resident of their hearts, withdraw.
27. The sun is the glory of the sky, rasa of poetry, love of youth, nectar of the
sea and of this earth, you 0, King.
*28. Some pass the course of worldly life-utilize their life in acquiring religious
merit, while some others accumulate material wealth, some however enjoy only sensuous pleasure, but in the case of many others, well, life passes just like that.
29. For translation vide ŚP S. No. (51.431) supra.
*30. Sesa, the king of snakes, resplendent on account of the precious stone in his
hood and your staff-like strong and firm arm with its end, the fingers, decorated with the (spotless) mirrors, your nails, are the two props, O, king, that support the Earth.
*31. There is goose-flesh on the body; the lower lip is quivering and the speech
comes with a hiss: the cold weather has done what a lover normally does.
32. You are balancing on your clean-shaven head a badara-phala (a jujubi fruit)
or berry and on the top of that you are balancing another in a perfectly steady manner, since you are trying, O, foolish ignorant man, to deceive clever people, I think, you are (only) deceiving yourself.

Page #245

Prakrit Verses in Sanskrit Works on Poetics
181
*33. The crescent moon here, as reflected on this fawn-eyed young woman's cheek,
which is marked by a ring of fresh tooth marks, resembles a sarkha-pātra (plate
carved out of an oyster-shell) with its interior reddened with vermilion. *34. The sighs, very soft and fragrant heaved by the beloved women become heavier
and quicker when the breeze carrying fragrance and starting from the Malaya
mountain blows over them. *35. Thousands and thousands of the rays of the sun carrying the atoms of gold
dust from the sides of the Meru mountaion (consisting of gold and jewels)
expand along with the excellent lotus - beds which are laden with fragrance. *36. The swans without the lakes do not look beautiful; and the lakes without the
swans do not look beautiful. These two-the swans and the lakes-only reciprocally heighten their beauty and make themselves great.
37. My dear boy, people are afraid of looking at the slightly yellow red palāśa flowers
on the branches blooming in the spring - month just as they are afraid of rākṣasas (demons) residing in Lankā, feasting on fat, entrails and flesh, and drinking the
blood (of their victims). 38. For translation vide SK S. NO. (*14.342) supra. 39. For translation vide VJ S. No. (12.22) supra.
*40. O, charming one, you alone have taken to this path of the good. These days
people generally mean one thing and say another. 41. O, boy, I must say I am not running errands for her nor do I say that I am
here because she loves you. All that I have to say is that she is on the point
of death and you better rush up to her and save yourself from public disgrace. 42. For translation vide VJ S. No. (28.25) supra. 43. O, charming one, you are intending a journey to a distant place. Please therefore
hold me awhile. No, I would rather you don't. What's the use of it, it will only
delay your going. 44. It may not be on account of a graceful figure or wealth or noble birth or even
virtue or knowledge. Why does one fall in love with some one ? Well, just
like that. 45. In an attempt to entice some body you lost your own heart. Well greedy for

Page #246

182
Prakrit Verses in Sanskrit Works on Poetics
profit you lost even your capital !
46. For translation vide SPS. No. (743.186) supra.
*47. How can this slender young woman who is growing thinner on account of her anxiety possibly reside in your heart in your chest which is broad like Mt Meru and deep like the ocean?
*48. My dear girl, you appear excited with thoughts of secret love-making. What wonder is there, if you steal the heart of your lover? (Not only that) you would also dispel darkness by the mass of bright light of your (moon-) face.
*49. The poison of intoxication caused by some cause or causes (other than knowledge) is removed by knowledge; but if it is caused by knowledge (itself), please say what will remove it?
*50. Self-respect proceeds from merit and merit from service of the good and this opportunity to serve the good is the fruit of credits accumulated in previous lives.
*51. For translation vide SPS. No. (1323.285) supra.
*52. The heavy breathing of some lady on account of the exertion caused by climbing the steps did not stop on the top of the staircase but actually increased by the darśana of Hari.
53. For translation vide KP S. No. (60.434) supra.
*54. Let us bow only to Sleep. What is the use of other goddesses? By her favour alone you can meet your beloved although he is at a far-off place.
55. For translation vide KPS. No. (62.434) supra.
56. For translation vide KP S. No. (57.433) supra.

Page #247

Chapter X (Sahitya - Mīmāṁsā)
1. For translation vide KP S. No. (3.418) supra
(Verse 2 is corrupt and obscure.)
3. O, Kusumbha plant, through your favour may young girls learn how to make inarticulate hissing sounds, murmuring sounds, trembling of the face (mouth ?) and shaking of the hands so briskly as to cause the body to perspire (during sex-game).
4. For translation vide DHV S. No. (2.6) supra.
5. For translation vide SPS. No. (49.52) supra
6. For translation vide DHV. S. No. (4.7) supra
7. For translation vide DR. Avaloka S. No. (9.28) supra.
8. For translation vide SP S. No. (842.201) supra.
9. For translation vide SPS. No. (347.115) supra. 10. For translation vide SPS. No. (51.52) supra. 11. For translation vide DHVS. No. (31.12) supra. 12. For translation vide SPS. No. (53.53) supra. 13. For translation vide VJ S. No. (22.24) supra. 14. For translation vide DHVS. No. (5.7) supra. 15. For translation vide SPS. No. (144.71) supra.
16. For translation SK S. No. (80.355) supra.
17. For translation vide SP S. No. (206.84) supra.
18. For translation vide SP S. No. (772.191) supra. 19. For translation vide SP S. No. (1374.293) supra.

Page #248

184
Prakrit Verses in Sanskrit Works on Poetics 20. For translation vide ŚP S. No. (1267.275) supra. 21. For translation vide ŚPS. No. (413.127) supra. 22. For translation vide ŚP S. No. (1608.332) supra. 23. For translation vide ŚP S. No. (982.226) supra. 24. For translation vide SP. S. No. (175.77) supra.
(Verse 25 is corrupt and obscure.) 26. For translation vide ŚP S. No. (243.94) supra. 27. For translation vide ŚP S. No. (1245.271) supra. 28. For translation vide ŚP S. No. (190.81) supra. 29. (i) "Ananda, how does the tooth-mark come to be there on her nether lip red / ruddy or cherry-like the bimba fruit ?”
"Her lover has sucked in the honey from it and as it were, put his personal seal on it."
(ii) (Verse 29 (ii) is corrupt and obscure.) 30. For translation vide ŚP S. No. (967.224) supra. 31. For translation vide ŚPSN (1527.319) supra. 32. For translation vide ŚP S. No. (6.44) supra. 33. For translation vide ŚP S. No. (7.44) supra. 34. For translation vide ŚP S. No. (Add. 3.1.44) supra. 35. For translation vide ŚP S. No. (30.346) supra. 36. For translation vide ŚP S. No. (106.62) supra.
(Verse 37 is corrupt and obscure.) 38. For translation vide ŚP S. No. (107.63) supra.

Page #249

Prakrit Verses in Sanskrit Works on Poetics
39. For translation vide DHV S. No. (44.14) supra. 40 For translation vide SK S. No. (172.374) supra.
(Verse 41 is corrupt and obscure.)
(Verse 42 is corrupt and obscure.) 43. For translation vide SPS. No. (166.76) supra.
44. For translation vide SK S. No. (164.372) supra.
45. For translation vide SPS. No. (142.20) supra. 46. For translation vide SP S. No. (347.115) supra. 47. For translation vide SP S. No. (550.153) supra.
48. For translation vide SPS. No. (118.67) supra.
185
49. I agree that other rivers too have rows of trees or long tracks of forest (on thei banks), chattering water-owls, and cool water. The river Reva (i. e., Narmada). however, has some unique characteristics (or qualities).
50. For translation vide SPS. No. (174.77) supra.
51. For translation vide SPS. No. (177.78) supra.
52. For translation vide SPS. No. (178.78) supra.
53. For translation vide SPS. No. (81.57) supra.
54. (Note: The second half is obscure. The first half may be translated as follows:
They rightly say that silence is golden (lit. a means of accomplishing everything).
56. For translation vide SPS. No. (180.78) supra.
57. For translation vide SPS. No. (1451.307) suprà.
58. For translation vide SP S. No. (985.226) supra. 59. For translation vide SPS. No. (485.142) supra.

Page #250

186
Prakrit Verses in Sanskrit Works on Poetics 60. For translation vide ŚP S. No. (26.47) supra. 61. For translation vide ŚP S. No. (Add.* 45.1); (and ŚP S. No. 110.63) supra. 62. For translation vide ŚP S. No. (151.72) supra. 63. For translation vide ŚP S. No. (711.81) supra. 64. For translation vide DHV S. No. (36.13) supra. 65. They (the Vanaras) resorted to the mountain streams in which the sandal trees
growing luxuriantly on the banks dipped their heavy branches and which received their fragrance from the ichor of the wild elephants and which were bordered
by paths glistening with lovely grass. 67. For translation vide ŚP. S. No. (504.144) supra.
(Verse 68 is treated in the Notes.) 69. He shouts aloud : “The king should be killed, the king should be killed.” 70. For translation vide ŚP S. No. (638.169) supra. 71. For translation vide ŚP S. No. (459 137) supra. 72. For translation vide ŚP S. No. (151 1.317) supra. 73. For translation vide ŚP S. No. (31 108) supra. 74. For translation vide śP S. No. (1518.317) supra. 75. For translation vide ŚP S. No. (1519.318) supra. 76. i) For translation vide ŚP S. No. (1520.318) supra.
ii) For translation vide ŚP S. No. (645.170) supra. 77. For translation vide ŚP S. No. (399.125) supra. 78. For translation vide ŚP S. No. (123.66) supra. 79. For translation vide ŚP S. No. (1527.319) supra 80. For translation vide ŚP S. No. (1528.319) supra.

Page #251

Prakrit Verses in Sanskrit Works on Poetics
187
81. For translation vide SK S. No. (306.402) supra. 82. For translation vide ŚP S. No. (307.402) supra. 83. For translation vide ŚP S. No. (1498.314) supra. 84. For translation vide ŚP S. No. (1499.314) supra. 85. For translation vide ŚP S. No. (1500.314) supra. 86. For translation vide ŚP S. No. (1501.314) supra. 87. For translation vide SK S. No. (299.401) supra. 88. For translation vide ŚP S. No. (1492.313) supra. 89. For translation vide ŚP S. No. (1493.313) supra. 90. For translation vide ŚP S. No. (1506.315) supra. 91. For translation vide ŚP S. No. (1508.315) supra. 92. For translation vide ŚP S. No. (1509.316) supra. 93. For translation vide ŚP S. No. (832.200) supra. 94. For translation vide ŚP S. No. (1503.315) supra. 95. For translation vide ŚP S. No. (1504.315) supra. 96: For translation vide ŚP S. No. (1505.315) supra. 97. For translation vide ŚP S. No. (1510.316) supra. 98. For translation vide ŚP S. No. (1523.318) supra. 99. For translation vide ŚP S. No. (1524.319) supra. 100. For translation vide SK S. No. (297.400) supra. 101. For translation vide SK S. No. (295.400) supra.
(Note : 102 is incomplete.) 103. For translation vide ŚP S. No. (1495.313) supra. 104. For translation vide ŚP S. No. (1496.313) supra.

Page #252

188
Prakrit Verses in Sanskrit Works on Poetics
105. For translation vide ŚP S. No. (1497.314) supra. 106. For translation vide ŚP S. No. (1514.317) supra. 107. For translation vide ŚP S. No. (308.402) supra. 108. For translation vide ŚP S. No. (660.172) supra. 109. For translation vide ŚP S. No. (1609.332) supra.
(Passage 110 is treated in the Notes.) 111. For translation vide ŚP S. No. (154.73) supra. 112. For translation vide ŚP S. No. (811.196) supra. 113. For translation vide ŚP S. No. (812.196) supra. 114. For translation vide ŚP S. No. (813.197) supra. 115. For translation vide ŚP S. No. (814.197) supra. 116. For translation vide ŚP S. No. (815.197) supra. 117. For translation vide ŚP S. No. (816.197) supra. 118. For transaltion vide ŚPS. No. (817.197) supra. 119. For translation vide ŚP S. No. (818.197) supra. 120. For translation vide ŚP S. No. (746.187) supra.
(Passage 121 is in pali:
Once upon a time, at Vārāṇasī, a great king named Daśaratha renounced the ways of evil; his reign was wise and just. Of his sixteen thousand wives, the eldest, the anointed queen bore him two sons and a daughter — the elder son was named Rāma Pandita (or Rāma, the Wise), the second Lakşmaņa (or Lucky) and the daughter's name was Sītā. After a while, their mother died.)

Page #253

Chapter XI : (Vāgbhațālamkāra)
*1. King Sri Siddharāja, you deserve reputation as a man of adventure. How else
do I explain your assault on my mind which is being constantly riddled with the arrows of the God of Love ?
*2. So long as the rays of the moon have not spread on the earth, you better go
to the park with your face resembling the full disc of the moon.
*3. O, Cătaka (bird), you recite everything, you seem to be quite a scholar ! Please
tell me then when my dear husband would return (from his journey). *4. The (poetic) defect known as 'repetition' (or redundancy) does not apply in the
case of (sacred) study, meditation, austerities, (taking of) medicine, instruction, praise, and offering of donations and singing (the glory of the) virtues of the
good.
'5. The face of the gazelle-eyed maiden darkened when she saw the young man,
the abode of love (?) (moving about) with his ears decorated with strī flowers.
6. O, gazelle-eyed one, look, here is Rāvana with his ten faces terrifying with his
twenty eyes burning red, a moving forest, his twenty arms spreading out (moving) like the trees in it.
7. You, who are a heap of faults, with your mind ever swayed by inebriation, none• theless charming - in your absence she has withered as a moon-lotus does in
the absence of the moon—the maker of the night, the bearer of the stigma of the deer on him (lit. the night - maker with his interior filled with or marked by a deer).
8. Pay homage to the Jinendra - the Arhat (of the Jains), who is free from passions,
who has completely uprooted (or subdued) the four kaşāyas (passions of 1. anger 2. pride 3. deceit and 4. greed) by self-control and whose mind is always pure or tranquil (prasanna) like his body and whose body is always pure or tranquil like his mind.
9. O gazelled - eyed (or large-eyed) one, the swarm of bees rushes towards your
face taking it to be a golden lotus, towards your eyes thinking them be blue lotuses and towards your face always radiant with a smile, thinking it to be a

Page #254

190
Prakrit Verses in Sanskrit Works on Poetics
(white) flower.
10. Those men who have no desire to win fame nor compassion even for a moment
towards those who suffer in life - do they, like the guardians of wealth (dhanayakşa), give wealth even at the time of death ? (Note : The dhanayakşas do not part with wealth even at the time of death. They sit on it like the guardians of wealth.)
11. The young bride, intoxicated with the prime of her youth and tormented by
separation from her husband sings a song in a sweet voice.
12. The moon, born of the same ocean as the kālakūta (deadly) poison, the Malaya
wind coming from the South (the direction of the God of Death), the palāśa that blossoms in the rainy season (also the cannibal demon) - these three are the long travellers' killers.'

Page #255

Chapter XII : (Hemacandra's Kávyānuśāsana)
1. For translation vide DHV S. No. (1.6) supra. 2. For translation vide KP S. No. (37.427) supra. 3. For translation vide DIIV S. No. (2.6) supra. 4. For translation vide ŚP S. No. (442.133) supra. 5 For translation vide ŚP S. No. (188.80) supra. 6. For translation vide ŚP S. No. (50.52) supra. 7. For translation vide ŚP S. No. (51.52) supra. 8. For translation vide DIV S. No. (31.32) supra. 9. For translation vide ŚP S. No. (53.53) supra. 10. For translation vide DHV S. No. (4.7) supra. 11. For translation vide DHV S. No. (3.6) supra. 12. For translation vide ŚP S. No. (999.229) supra. 13. For translation vide DIIVS. No. (5.7) supra. 14. For translation vide DHV S. No. (8.419) supra. 15. For translation vide KP S. No. (9.420) supra. 16. For translation vide KP S. No. (10.420) supra. 17. For translation vide KP S. No. (2.418) supra. 18. For translation vide DHV S. No. (36.13) supra. 19. For translation vide ŚP S. No. (Add.41.1.51) supra.
20. For translation vide KP S. No. (11.420) supra.
21. Greetings to you, O, Moon, the maker of the night (also a mine of defects)

Page #256

192
Prakrit Verses in Sanskrit Works on Poetics
- you, who spoil the glory of the lotus (also, by way of pun, a gentleman by name Kamala), which is full of juice or honey (also love), which is tender (also tender - hearted) by nature, which is bright (also pure), and which is cheerful
in receiving the sun's rays (also friends). 22. For translation vide DHV S. No. (20.9) supra. 23. For translation vide DHV S. No. (18.9) supra. 24. For translation vide DHV S. No. (23.10) supra. 25. For translation vide DHV S. No. (22.10) supra. 26. For translation vide DIIV S. No. (25.11) supra. 27. For translation vide DHV S. No. (27.11) supra. 28. For translation vide DHV S. No. (26.11) supra. 29. For translation vide DHVS. No. (35.13) supra. 30. For translation vide DHV S. No. (17.9) supra. 31. For translation vide KP S. No. (14.421) supra. 32. For translation vide KP S. No. (21.423) supra. 33. For translation vide DHV S. No. (*38.13) supra. 34. For translation vide DHV S. No. (*39.13) supra. 35. For translation vide DHV S. No. (41.14) supra. 36. For translation vide DHV S. No. (42.14) supra. 37. For translation vide KP S. No. (30.425) supra. 38. For translation vide ŚP S. No. (212.86) supra. 39. For translation vide DR S. No. (22.23) supra.

Page #257

Prakrit Verses in Sanskrit Works on Poetics
193
40. "The mind (or heart) of the beloved one, prone to passion (love), as it becomes
agitated (or excited) at the sight of the moon-like face of her dear lover, does not come to rest (i.e., does not become pacified), although the manifestation of physical effects such as perspiration has been restrained through (fear of) its being noticed by the elderly people (near about)."!
41. For translation vide SK S. No. (120.364) supra.
42. “I am straightforward by nature, while his love is wild. My maiden friends are
very shrewd. With this thought she says to them : "please stop, what is the use of applying red paint to my feet?”
43. For translation vide KP S. No. (19.422) supra. 44. For translation vide KP S. No. (43.429) supra. 45. For translation vide DHV S. No. (44.14) supra. 46. For translation vide SK S. No. (3.340) supra.
47. For translation vide SK S. No. (4.340) supra
48. For translation vide SK S. No. (14.8) supra.
49. As the bath ended the young brunette's long tresses that had enjoyed the pleasure
of being in close contact with her hips, wept large drops of tears, as it were, out of fear of now being tied up."
50. For translation vide ŚP S. No. (87.58) supra. 51. For translation vide DHV S. No. (33.12) supra. 52. For translation vide SK S. No. (369.414) supra. 53. For translation vide SP S. No. (92.59) supra. 54. For translation vide KP S. No. (Add 47.1.430) supra. 55. For translation vide DHV Locana S. No. (*28.11) supra.
1. As translated by Prof. M. V. Patwardhan.

Page #258

194
Prakrit Verses in Sanskrit Works on Poetics
56. For translation vide ŚP S. No. (157.74) supra. 57. For translation vide KPS. No. (48.431) supra. 58. For translation vide DIIV Locana. S. No. (*16.7) supra. 59. For translation vide DHV S. No. (21.10) supra. 60. For translation vide KPS. No. (55.433) supra. 61. For translation vide DIIVS. No. (47.15) supra.
62. The seasons give the trees flowers in bloom, tinted by pollen, with the humming
bees glutted with honey, but do not themselves take them away.2
63. For translation vide DHV Locana S. No. (*7.7) supra. 64. For translation vide ŚP S. No. (22.46) supra. 64.1. For translation vide ŚP S. No. (41.50) supra. 65. For translation vide ŚP S. No. (142.70) supra. 66. For translation vide KP S. No. (62.434) supra. 67. For translation vide KP S. No. (53.432) supra. 68. For translation vide ŚP S. No. (102.231) supra.
69. O, you who are enamoured of him by the description (or praise) of his charming
form and qualities, you simply boast but in fact you have never seen him. For had you in fact (or really) seen him, your limbs would no longer have remained so normal or healthy in their condition !
2. As translated by K. K. Handiqui. He adds in a foot-note : "i. e., the stability of the ocean is an irrevocable gift from Rāma himself, considered as Vişnu."

Page #259

Prakrit Verses in Sanskrit Works on Poetics
195
70. For translation vide ŚP S. No. (127.67) supra. 71. For translation vide DHV.S. No. (36.13) supra.
72. Maiden friends, yes, whatever you tell me all that I shall carry out provided
that you succeed in maintainig my firmness, when he arrives.
73. For translation vide KP S. No. (63.435) supra.
74. O, young man, don't climb the pāțali (or pătalā) tree which is very hard and
difficult to climb. How many (young men) in this village has this Pātalā not shaken
to their fall ? 75. For translation vide DR (Avaloka) S. No. (4.26) supra. 76. For translation vide DR (Avaloka) S. No. (16.31) supra. 77. For translation vide ŚP S. No. (466.138) supra.. 77.1. (This verse is obscure.) 78. For translation vide ŚP S. No. (199.83) supra. . 79. For translation vide ŚP S. No. (200.83) supra.
80. For translation vide ŚP S. No. (201.83) supra.

Page #260

Chapter XIII : (Kalpalatăviveka)
1. The Jinas (Conquerors or Victors) teach that human and heavenly pleasures are
only insubstantial like straw or chaff of the grain and that the Jain dharma liberates (its followers) from saṁsāra and leads to eternal bliss.
2. For translation vide KP S. No. (39.428) supra
3. For translation vide SK S. No. (5.340) supra
4. Hearing the 'tap', 'tap'tap' sound of the rain on the leaves of the gourd - creeper,
the traveller's wife, full of deep longing (for her husband who hadn't yet returned home from his journey though the rainy season had set in) burst out weeping.
5. For translation vide Rudrața's Kāvyālamkāra with Namisādhu's Tippaņa S. No.
(*14.4) supra.
6. For translation vide DIIVS. No. (59.18) supra 7-8. For translation vide DHV S. No. (14.8) supra
9. For translation vide DHV S. No. (33.12) supra
10. For translation vide SK. S. No. (2.339) supra.
11. For translation vide SK. S. No. (20.343) supra.
12. For translation vide SK. S. No. (6.340) supra
13. For translation vide SK S. No. (12.341) supra
14. For translation vide VJ S. No. (18.23) supra. 15. For translation vide SK S. No. (7.340) supra 16. For translation vide KP S. No. (44.429) supra 17. For translation vide DHV S. No. (1.6) supra 18. For translation vide DIV S. No. (2.6) supra

Page #261

Prakrit Vesses in Sanskrit Works on Poetics
197
19. For translation vide DHVS. No. (3.6) supra
20. For translation vide DHV S. No. (4.7) supra
.
21. For translation vide KĀŚ S. No. (12.480) supra
22. For translation vide DHV S. No. (5.7) supra
23. For translation vide A'sarvasva S. No. (41.444) supra
24. For translation vide A'sarvasva S. No. (42.444) supra 25. For translation vide DHV S. No. (1.6) supra 26. For translation vide DIIV Locana S. No. (*7.7) supra 27. For translation vide DHV Locana S. No. (*6.7) supra 28. For translation vide DHV S. No. (29.12) supra 29. For translation vide KĀŚ S. No. (42.486) supra 30. For translation vide DIIVS. No. (30.12) supra 31. For translation vide KĀŚ S. No. (43.487) supra 32. For translation vide DIVS. No. (10.7) supra 33. For translation vide DHV S. No. (11.8) supra 34. For translation vide DHV S. No. (12.8) supra.
35. For translation vide DHV Locana S. No. (13.8) supra
36. For translation vide DHV S. No. (14.8) supra
37. For translation vide DHV S. No. (15.9) supra
38. For translation vide DHV Locana S. No. (16.9) supra 39. For translation vide DHV S. No. (17.9) supra 40. For translation vide KĀŚ S. No. (21.482) supra

Page #262

198
Prakrit Verses in Sanskrit Works on Poetics
41. For translation vide DHV S. No. (24.10) supra 42. For translation vide KĀŚ S. No. (20.482) supra 43. For translation vide DHV S. No. (18.9) supra
44. For translation vide DHV S. No. (19.9) supra
45. For translation vide DHV S. No. (20.9) supra 46. For translation vide DHV S. No. (21.10) supra
47. For translation vide DHV S. No. (22.10) supra 48. For translation vide DHV S. No. (23.10) supra 49. For translation vide DHV S. No. (25.11) supra
50. For translation vide DHV S. No. (26.11) supra
51. For translation vide DHV S. No. (27.11) supra 52. For translation vide DHV S. No. (28.11) supra 53. For translation vide DHV S. No. (22.10) supra 54. For translation vide DHV S. No. (23.10) supra 55. For translation vide DHV S. No. (25.11) supra 56. For translation vide DHV S. No. (26.11) supra 57. For translation vide DHV S. No. (27.11) supra 58. For translation vide DHV S. No. (17.9) supra 59. For translation vide DHV S. No. (21.10) supra 60. For translation vide DHV S. No. (29.12) supra 61. For translation vide DHV S. No. (30.12) supra. 62. For translation vide DHV S. No. (31.12) supra

Page #263

199
Prakrit Vecses in Sanskrit Works on Poetics 63. For translation vide DHV S. No. (33.12) supra 64. For translation vide DIIVS. No. (34.12) supra. 65. For translation vide DHV S. No. (23.10) supra 66. For translation vide DIIV S. No. (35.13) supra. 67. For translation vide KP S. No. (26.424) supra 68. For translation vide DIIVS. No. (27.11) supra 69. For translation vide KP S. No. (17.422) supra
70. For translation vide DIIV Locana S. No. (*39.13) supra
71. For translation vide DHV S. No. (21.10) supra
72. For translation vide DIIV Locana S. No. (*38.13) supra
73. For translation vide DIIV Locana No. S. No. (*39.13) supra.
74. For translation vide DHVS. No. (40.14) supra.
.75. For translation vide DIIVS. No. (41.14) supra
76. For translation vide DIIVS. No. (42.14) supra 71. For translation vide DIIV S. No. (43.14) supra 78. For translation vide DIIVS. No. (45.15) supra 79. For translation vide DIIVS. No. (1.6) supra -80. For translation vide DHV S. No. (46.15) supra 81. For translation vide SK S. No. (49.350) supra 82. For translation vide SK S. No. (51.350) supra 83. For translation vide SK S. No. (52.350) supra 84. For translation vide KP S. No. (46.430) supra

Page #264

200
Prakrit Verses in Sanskrit Works on Poetics
(Verse 85 is corrupt and obscure.)
(Verse 86, indicated by the pratīka is not identifiable.) 87. For translation vide VJ S. No. (18.23) supra.
(Verse 88 is corrupt and obscure.) 89. For translation vide VJ S. No. (11.22) supra. 90. For translation vide SK S. No. (111.362) supra. 91. For translation vide SK S. No. (112.362) supra. 92. For translation vide SK S. No. (113.362) supra.
93. For translation vide SK S. No. (115.363) supra.
94. For translation vide SK S. No. (80.355) supra. 95. For translation vide SK S. No. (81.356) supra. 96. For translation vide SK S. No. (163.372) supra. 97. For translation vide VJ S. No. (7.21) supra. 98. For translation vide VI S. No. (4.20) supra. 99. For translation vide A Sarvasva S. No. (27.441) supra. 100. For translation vide KP S. No. (52.432) supra. 101. For translation vide A Sarvasva S. No. (42.444) supra. 102. For translation vide A'Sarvasva S. No. (41.444) supra. 103. For translation vide SK S. No. (142.368) supra. 104. For translation vide SK S. No. (143.368) supra. 105. For translation vide SK S. No. (71.353) supra. 106. For translation vide SK S. No. (72.354) supra.

Page #265

Prakrit Verses in Sanskrit Works on Poetics
201
107. For translation vide KP S. No. (62.434) supra.
(Verse 108, indicated by the pratīka is not identifiable.) 109. For transltion vide SK S. No. (76.354) supra.
110. He (Dhūmrākṣa) prompted by rage rushed forth in his chariot; he was full of
zeal just as he was accompanied by the army of demons; he kept his spirits up just as he held his' banner aloft; and was full of heroism? just as he carried his rancour against the enemy.
111. For translation vide SK S. No. (79.355) supra.
(Verse 112, indicated by the pratika is not identifiable.)
113. For translation vide SK S. No. (150.370) supra. 114. For translation vide SK S. No. (152.370) supra.
115. For translation vide SK S. No. (157.371) supra. : 116. For translation vide SK S. No. (158.371) supra. 117. For translation vide SK S. No. (74.354) supra. 119. For translation vide SK S. No. (117.363) supra. 120. For translation vide SK S. No. (118.363) supra. 121. For translation vide SK S. No. (119.363) supra. 122. For translation vide SK S. No. (120.364) supra.
1. Read dhaaṁ (Sk. dhvajaṁ) for bhuam (Sk. bhūjam)
2. Kulanātha reads paharanam(Sk. praharanaṁ) for vikkamam(Sk. vikramam).
+
+
+

Page #266

202
Prakrit Verses in Sanskrit Works on Poetics,
Chapter XIV : (Alamkāra - mahodadhi)
1. For translation vide KP S. No. (34.426) supra. 2. For translation vide KP S. No. (30.425) supra. 3. For translation vide KP S. No. (41.428) supra.. 4. For translation vide KP S. No. (4.419) supra..
5. For translation vide KP S. No. (1.418) supra..
6. For translation vide KP S. No. (6.419) supra. 7. For translation vide KP S. No. (8.419) supra..
8. For translation vide KPS. No. (9.420) supra..
9. For translation vide KP S. No. (10.420) supra..
10. For translation vide KP S. No. (36.427) supra..
11. For translation vide KP S. No. (2.418) supra..
12. For translation vide KP S. No. (38.427) supra..
13. May that hand of Hari protect you — the hand which supported with ease the
Govardhana mountain (on its little finger) but which trembled through nervousness caused by (their) first ever sexual union when it touched the breast of Rādhikā (i.e., Rādhā, the celebrated gopi, cowherdess (dairymaid) loved by Krşņa).
14. For translation vide SK S. No. (255.391) supra.
15. For translation vide SK S. No. (183.376) supra. 16. For translation vide SK S. No. (120.364) supra. 17. For translation vide SK S. No. (175.375) supra.
18. For translation vide SK S. No. (176.375) supra.

Page #267

Prakrit Verses in Sanskrit Works on Poetics
203
19. For translation vide SK S. No. (199.380) supra.
20. For translation vide SK S. No. (179.376) supra. 21. For translation vide SK S. No. (180.376) supra. 22. For translation vide SK S. No. (177.375) supra. 23. For translation vide SK S. No. (181.376) supra. 24. For translation vide SK S. No. (182.376) supra. 25. For translation vide SK S. No. (172.374) supra. 26. For translation vide SK S. No. (170.374) supra. 27. For translation vide DHV S. No. (15.9) supra. 28. For translation vide DHV S. No. (24.10) supra. :29. For translation vide DHV S. No. (23.10) supra.
30. For translation vide DHV S. No. (22.10) supra. 31. For translation vide DHV S. No. (35.13) supra. 32. For translation vide KP S. No. (21.423) supra.
33. For translation vide KPS. No. (22.423) supra.
34. For translation vide KPS. No. (26.424) supra.
35. For translation vide KP S. No. (28.425) supra. 36. For translation vide KP S. No. (24.424) supra. 37. For translation vide KP S. No. (12.420) supra. 38. For translation vide DHV S. No. (20.9) supra. 39. For translation vide KP S. No. (14.421) supra. 40: For translation vide DHV S. No. (21.10) supra.

Page #268

204
Prakrit Verses in Sanskrit Works on Poetics
41. For translation vide KPS. No. (32.426) supra.
42. For translation vide KP S. No. (33.426) supra. 43. For translation vide KĀŚ S. No. (4.479) supra. 44. For translation vide KĀŚ S. No. (5.479) supra. 45. For translation vide ŚP S. No. (53.53) su, a. 46. For translation vide DHV S. No. (4.7) supra.
47. For translation vide DHV S. No. (5.7) supra.
48. For translation vide KP S. No. (37.427) supra.
49. For translation vide KĀŚ S. No. (42.486) supra. 50. For translation vide KP S. No. (19.422) supra. 51. For translation vide SK S. No. (6.340) supra. 52. For translation vide DHV S. No. (14.8) supra. 53. For translation vide SK S. No. (369.414) supra. 54. For translation vide KP S. No. (44.429) supra. 55. For translation vide KP S. No. (50.431) supra. 56. For translation vide A Sarvasva S. No. (18.439) supra. 57. For translation vide SK S. No. (138.367) supra. 58. For translation vide SK S. No. (139.367) supra. 59. For translation vide KP S. No. (47.430) supra. 60. For translation vide KP S. No. (47.430) supra. 61. For translation vide SK S. No. (85.356) supra.
62. For translation vide SK S. No. (86.357) supra.

Page #269

Prakrit Verses in Sanskrit Works on Poetics
205
63. For translation vide SK S. No. (127.365) supra.
64. For translation vide A'sarvasva S. No. (27.441) supra.
65. For translation vide VJS. No. (4.20) supra.
66. For translation vide SK S. No. (51.431) supra.
67. For translation vide SK S. No. (148.369) supra.
68. For translation vide A sarvasva S. No. (41.444) supra. 69. For translation vide KP S. No. (52.432) supra. 70. For translation vide A'sarvasva S. No. (46.445) supra. 71. For translation vide SK S. No. (77.355) supra. 72. For translation vide KP S. No. (60.434) supra. 73. For translation vide KP S. No. (62.434) supra. 74. For translation vide KP S. No. (56.433) supra. 75. For translation vide KP S. No. (57.433) supra. 76. For translation vide SK S. No. (69.353) supra.
77. For translation vide KPS. No. (64.435) supra.
sypia.
.
78. For translation vide SK S. No. (4.340) supra. 79. For translation vide SK S. No. (3.340) supra.

Page #270

Chapter XV : (Vägbhata's Kävyānuśāsana)
*1. The festal month of Caitra conveys through the sweet cooing of the kokila the
command of the powerful God of Five Arrows : Youth that swells your breasts to roundness lasts for a short while, not more than five or ten days. Therefore
give up your pride (or sulkiness) and look at your lover with an eye of excitement. *2. (King - (To the Jester, aside) :
As she shot, across her ear, sharp sidelong glances through the corners of her eyes, I felt blanched as if I was bathed in liquid camphor or (bright) moonlight or covered with the powder of pearls.
*3. At the moonrise which has filled up (i.e., pervaded) the white buds (of night
blooming lotuses) with the splendour of the moonlight and which buds are laden completely with fragrance, the bee surrounded by a series of blooming petals, producing sweet humming sound tastes (or enjoys) in the oblong wells opposite the mansions the drinking of beverage in the form of the honey in the night - blooming lotuses.
*4. Victory to King Siddharāja (Jayasimha) whose title is ‘kuța-varața' and who has
brought the whole earth by extirpating all other royal dynasties and establishing his own rule.
*5. For translation vide KP S. No. (40.428) supra.
*6. Feelings (portrayed) in lyrical poems, coquettish gestures of young women,
words of the best of poets, the lispings of children ---- whose hearts will fail to be fascinated by them?
*7. For translation vide śP S. No. (87.58) supra. *8. For translation vide DHV S. No. (1.6) supra.
*9. Innuendoes and sidelong glances darting out of leaden eyes ? don't count. In
a village where there are shrewd people even the way you breathe is interpreted
correctly. *10. For translation vide ŚP S. No. (311.107) supra.

Page #271

Prakrit Verscs in Sanskrit Works on Poetics
207
*11. For translation vide DHV S. No. (31.12) supra.
*12. We couldn't care less for you, O, moon, so long as this banyan tree which
provides (thick) shade with its dense leaves and which serves as an ornament
of the entire village continues to exist (lit. shines.) *13. For translation vide KP S. No. (53.432) supra. *14. For translation vide KP S. No. (52.432) supra. *15. For translation vide ŚP S. No. (186.80) supra.
*16. The foulness (also black or dark colour) of a foul man does not go even by
his contact with the good. The deer ever residing on the disc of the moon still remains dark.
*17. For translation vide ŚP S. No. (Add.3.1.44) supra. *18. For translation vide Rudrața S. No. (9.3) supra. *19. For translation vide Rudrața S. No. (10.3) supra.
*20. For translation vide Rudrata S. No. (11.4) supra.
21. For translation vide Rudrata S. No. (12.4) supra.
(Verse *22' is treated in the Notes.)
*23. Ah ! the young maidens do not any longer apply wax to their bimba - like (red)
lips, do not any longer tie up their groomed hair in plaits, nor wear a choli and they have given up using saffron paste on their faces. I dare say, the Spring has burst forth after defeating the Winter.
1. This verse from Devīšataka is first cited by Hemacanadra in his Kavyānuśāsana (P. 332 V. no 497). Vāgbhata, after Hemacandra cites it in the same context.

Page #272

Chapter XVI : (Sähitya-Darpana)
1. For translation vide DHV S. No. (2.6) supra. 2. For translation vide KP S.No. (3.418) supra. 3. For translation vide DR - Avaloka S. No. (6.27) supra.
4. For translation vide DR-Avaloka S. No. (12.29) supra.
5. O, wayfarer, you appear to be thirsty. Why should you wish to go elsewhere?
There is no one to prevent you from having your pleasure here, and quench
yourself.
6. Only that pair of young man and young woman gazing at each other with tearful
and languid eyes stood there for a moment motionless (lit. bereft of consciousness), as if drawn in a picture.
7. My friend, this plait of your thick and curly hair pounds (lit. tears off) my heart
like an iron-rod and stings me like a black and most poisonous female serpent/ cobra.
8. O, fair one, with your heart set on your lover what else could you be occupied
with, sitting pensively like this with your cheek resting on your palm ? you are thus bringing together two irreconcilable factors — the moon (face) and the lotus (palm) !
9. Her whole body stretched on the bed of lotus leaves is absolutely still —
montionless; however, her long and heavy sigh shows that she is still alive. 10. For translation vide ŚP S. No. (1423.303) supra. 11. For translation vide ŚP S. No. (494.143) supra. 12. For translation vide DHV S. No. (1.6) supra. 13. For translation vide KP S. No. (11.420) supra. 14. For translation vide DHV S. No. (18.9) supra. 15. For translation vide KP S. No. (19.422) supra.

Page #273

Prakrit Verses in Sanskrit Works on Poetics
209
16. For translation vide KP S. No. (3.418) supra. 17. For translation vide DHV S. No. (30.12) supra. 18. For translation vide DHV S. No. (5.7) supra.
19. For translation vide DR Avaloka S. No. (1.26) supra.
20. Although you dispel darkness and your rays are welcome to one and all and
you dwell on Pasupati's (i.e., Siva's) head, still you take the lives of women (fallen in love and whose love is not requited).
21. The lady (Sā) turns up, turns down, turns round on the bed, but finds no delight
anywhere; she becomes distracted in her troubled mind out of shame and breaks up in her firmness (dhști)'.
22. The disc of the moon looks like a lump of fresh butter, and its rays cascading
down all over like streams of milk.
23. For translation vide KPS. No. (45.430) supra.
. 24. For translation vide KP S. No. (48.431) supra.
25. For translation vide A Sarvasva S. No. (41.444) supra. 26. For translation vide KPS. No. (57.433) supra. 27. For translation vide DHV S. No. (51.16) supra.
1. As translated by Dr. A. M. Ghatage.

Page #274

Chapter XVII : (Rasārņava-Sudhākara)
1. You unwise one, at midday when the paddyfield was unfrequented and the doe
ate the paddy, how is it that you were away to see Vanavātikā ?
2. What is the use of my father whose feet (lit. tips of toes) are kissed by the kings'
crowns (lit. ends of kings' crowns)? Or what is the use of my father-in-law who shares with Indra his great throne ? Those countries, those mountains, that forest region where to the feet of Rāma, the son of Kausalya, I bow down and where I rejoice are dearer to me - are more precious to me.
3. (Note : Haṁsapadikā had once been the king Dusyanta's favourite, but she had
fallen into neglect. The king was now paying attetion to the senior queen Vasumatī. The younger Hassapadik, therefore taunts the king by resorting to the figure 'Anyokti)
"You unreliable honey - sucker, how could you have forgotten the fresh mango - blossom that you had so avidly enjoyed ? Now you have retired to the bed of a lotus to do nothing ! flippant as you are !
4. For translation vide DR - Avaloka S. No. (16.31) supra.
5. The more the villager's wife / rustic woman babbles under the influence of drink
about things unmentionable, the more the decent young ladies feel embarrassed; they shut their ears and move away.
6. "When my beloved comes back home from his journeys I shall sure cross with
him. Let him then try to appease me" - so said the young lady ; but when she saw him coming back unexpectedly, all her plans slipped out of her mind.
7. Look ! the young wife hears only half of the words that her husband says at the
time of leave-taking and being quite overcome by her feelings, does not exactly know whether to bid him farewell or prevent his departure.
8. When the father-in-law set on fire the thickets near their house, the
daughter-in-law felt so distracted that she could not take in anything that her mother-in-law said in whatever way.
9. She sat with her cheek supported on his palm, with a blank mind. Her stare is

Page #275

Prakrit Verses in Sanskrit Works on Poetics
211
fixed, slightly turned aside and bent down, the eye-balls inside the lashes being contracted.
10. For translation vide ŚP S. No. (501.144) supra. 11. For translation vide SK S. No. (374.415) supra.
12. "The dear one is far above thee (lit. difficult to obtain); my heart, despair".
Ah, how the corner of my left eye throbs somewhat (palpably). How should he, seen after a long time, be approached ? "My lord, helpless that I am, know me to be filled with passion for you."
13. For translation vide SP S. No. (995.228) supra. 14. For translation vide ŚP S. No. (1423.303) supra. 15. For translation vide ŚP S. No. (1615.332) supra.
16. For translation vide A'mahodadhi S. No. (13.513) supra. : 17. For translation vide ŚP S. No. (229.91) supra.
18. Ever bow down to the sexual unions of Rati and Ananga (the Bodiless one) which
know not graceful embraces, which are absolutely devoid of the pomp (? charm) of impetuous kissings and which are without the violence of beatings.
19. For translation vide DR-Avaloka S. No. (1.26) supra.
20. As the peasant ran away from the cotton-field forsaking the girl who had fainted
out of the sheer ecstasy of their sexual act, even believing her to be dead, the cotton shrubs / plants, bent under the burden of their slightly bursting pods, as it were burst out into laughter !
21. For translation vide R. Sudhākara S. No. (20.544) supra. 22. For translation vide KPS. No. (53.432) supra.
23. Here on the earth whom does the God of Love invest with gradually increasing
wantonness or coquetry or charm (vilāsa)?

Page #276

212
Prakrit Verses in Sanskrit Works on Poetics
24. That the bow of Sankara (906 ), whose moon (on the head) is shaking
because of the (waves of) river Ganges (starfareTT:), who is the master of appeasing the great pride of Káma (pra4c498T FURT :) and who gives (a helping) hand (910 Grg :) to the chastising staff of Time (god of death personified = yama) of Brahmā (lit. putting the hand on the Time-staff of the Creator) — the bow, the middle part of which was compressed (3106) by being drawn fully, and the terrible sound of whose bow-string filled the sky, when it broke down (UTCH). its noise being heard, spreading in the three worlds could not be accommodated there.
25. If you, with your seductive, plump and firm breasts and eyes like those of a
frightened gazelle insist on joining the Käpälika sect, what should worldly - minded men do?
26. A hot wench for a consecrated lawful wife, wine to drink and flesh to eat, alms
for (daily) food and a hide for bed ! What more would you have for Kaula Dharma (lit. To whom will this Kaula Dharma not appear beautiful - not appeal)?
(
) and
1. As translated by Dr. A. M. Ghatage (with the readings CCUR
forgio Pregut (Asya:Bryat).
*
*
*

Page #277

Chapter XVIII : (Alamkāra - Ratnākara)
1. For translation vide DHV S. No. (33.12) supra.
2. Out of anxiety a miser guards his wealth, he doesn't speak about it even to his
close relatives or friends; it torments him when it swells in size, like the growing foetus in the womb of a mistress.
3. Friendship with a malicious person vanishes even while it is being made, like a
line drawn on the surface of water. But friendship formed with a good man remains secure like line drawn on a hard stone.
4. This, nowadays is a common experience : a wicked man or even meeting with him spreads corruption as much as the absence of a good man (or of his influence). This is the great contribution of the Age of Kali !
5. In this wide world which has thousands of beautiful women she alone is perfect
in her beauty: the left half of her body is exactly like the right half.!
6. For translation vide DHV Locana S. No. (28.11) supra.
7. Whatever is expected to be caused by Love has been caused by Winter : bristling
skin, quivering lips and stuttering speech.?
8. Ah, the way the young damsels adore you looks as if they worship you with their
eyes - those tremulous, half-shut lotuses. Ilow close are you to the God of Love? 9. For translation vide KP S. No. (25.424) supra.
10. The joy that permeates the heart when enclosed in a passionate embrace of
her lover is the (real) lovely and cool pearl necklace for the neck of a pretty young woman.
1. Cf. ŚPS. No. (667.174) supra.
2. Cf. A'sarvasva Vimarsini S. No. (31.442) supra.

Page #278

214
Prakrit Verses in Sanskrit Works on Poetics
11. How can unpleasant words come out of the mouth of a good mau even though
he is agitated by intense anger ? The rays of the moon cannot but sprinkle nectar even when being swallowed by Rāhu.
12. Even in a trying situation, a leader of men maintains his cool and continues to
bear the yoke of leadership alone. During an eclipse the sun does not use the disc of the moon as a prop.
13. O, angry lady, the red flush on your cheeks and the tips of your ears is now
spreading on the lotus leaves, angerlike lustre, on being hit by the rays of the young sun.
14. The very moment Siva remembers the lovely cheek of Gauri (= Pârvatī) who
agitatedly turned her face away from him, he fetches down the crescent moon from his matted hair and repeatedly looks at it.
15. Your Majesty, looking at the innumerable instances of your goodness which
account for your fame, we thought we saw the very sea of milk! .
16. I gave her your message and repeated it many times but still the lady says "I
couldn't hear it clearly, please repeat” and makes me say it again and again.?
17. O, foolish young girl, of what avail is the lotus worn on your ear as an ornament?
Your darting of one sidelong glance is enough for achieving your aim (lit., is the darting of your sidelong glance (only) slighlty able (to achieve your aim ?)
18. The Creator finds that the full- orbed moon does not quite resemble your face
(and therefore) he breaks it into pieces and means to shape it again differently.
19. Let the Goddess of Sleep alone be worshipped. Of what use are the others ?
For through her favour alone the beloved comes from whatever far off place to make his appearance in a dream.?
2. Cf. ŚP S. No. (407.126) supra. 3. Cf. AʼSarvasva - Vimarsinī S. No. (*54.446) supra.

Page #279

Prakrit Verses in Sanskrit Works on Poetics
215
20. The farmer saw the breasts, arm-pits and hips of his beloved wife through her
threadbare dress as she was pounding grain and thanked his poverty.
21. The moment your bow (? arrow) was taken out of its sheath or quiver, your
enemies resorted to (lit. entered) the mountain caves.
22. For translation vide KP'S. No. (63.435) supra.
23. Rāma somehow passed the rainy season that rendered his valour as dismal as
the night renders the sun; the rainy season restrained his wrath as a strong chain restrains a mighty elephant, the rainy season that retarded his victory in war as a cage retards a lion.
24. For translation vide SK S. No. (232.387) supra.
25. He with the flowers in his crest moving (or tremulous) under the guise of the
dancing for hovering ) bees, was showing himself as having his calamities (or sins) melting away at the mere sight of Krsna (the Slayer of the demon Madhu).
26. For translation vide KP S. No. (18.422) supra.
27. For translation vide KP S. No. (28.425) supra.
28. Waxing youth (or Bloom of youth), wealth, familiarity with beautiful women
(or clever / shrewd people), a devoted wife, and the advent of spring season - these make heaven a fact, the other a myth.
29. (The nāyikā) with her breasts spreading out i.e., flattened) because of the tight
embrace by her beloved in the war of sexual dalliance (vigorous sex-play) holds out her breasts as if they were a pair of defensive shields, out of apprehension of being pierced by (lit. the fall of) the arrows of the God of Love.
30. In summer the Time-warrior desiring relief from heat wears, when passing
through the sky, the pearl necklace and patched garment under the guise of a row of cranes and a cloud.
31. For translation vide KPS. No. (19.422) supra.
32. Lovers wiped from the faces of their sulky mistresses not tears as such from
their collyrium - blackened eyes but the patches of moonlight passing through

Page #280

216
Prakrit Verses in Sanskrit Works on Poetics
the sapphires in their ear-ornaments that fell on their faces.
33. For translation vide A’Sarvasva S. No. (18.439) supra. 34. For translation vide A Sarvasva S. No. (39.443) supra.
35. May the arid desert - region, adorned by the Khadira tree be prosperous (or
flourish) - the Khadira tree which with its abundance of fruits sweet or delicious due to their ripeness satisfies the hunger of travellers.
36. My beloved husband has indeed shamed the moon by his bright fame and
therefore now the moon has started tormenting me with his rays which (to me) are the fierce flames of the forest-fire (lit. me with the massive forest - conflagration under the guise of his moonlight.)
37. It needs merit accumulated during previous lives to come across in this world
a master who can remain free from the influence of slanderers or a poet who is free from jealousy or a treasure trove that is not being guarded by a snake.
38. When the moon with his rays of soft light starts on his travels along the sky-path,
the lotuses close (their petals) and the pleasures of the cakravāka birds come to an end.
39. For translation vide KP S. No. (53.432) supra. 40. The lotus and also the full moon, though (each of them) possessing a moist
interior, and though (each of them) accompanied by clearly perceptible and delightful (or charming) blooming fulness (dilation), cannot bear (or stand) comparison with the clear (bright) face of that beloved of mine.
(Verse 41 is treated in the Notes.)
42. For translation vide A 'Sarvasva-Vimarsini S. No. (37.443) supra.
4. This is an example of the figure Šleșa in which two upamānas of the face of
the beloved are described as being unable to emulate the loveliness of the face of the beloved by using the double - meaning adjectives.

Page #281

Prakrit Verses in Sanskrit Works on Poetics
217
43. For translation vide A 'Sarvasva - Vimarsini S. No. (*43.444) supra.
44. For translation vide A'sarvasva - Vimarsini S. No. (*1.436) supra.
45. For translation vide DHV S. No. (3.6) supra. 46. If you are bent on going, then go; who (on earth) can stop you from going ?
Your departure would cause / spell my death - that is what Destiny has written on my forehead! And that is coming true now.
47. For translation vide DHV S. No. (26.11) supra.
48. For translation vide A 'Sarvasva S. No. (42.444) supra.
49. O, fair one, who are resting your face on the palm of your hand, say what
(alternative) is dear to your heart: the nectar of a close hug of your lover or the poison-flame of jealousy and anger ?
50. This is the month of spring; this poor young girl is the sole cause of heart -
rending grief. “O, young man, who are interested only in wealth, you may go
or stay! 51. For translation vide A Sarvasva - Vimarsini S. No. (*44.445) supra. 52. If you give to others the best part of the wealth you have, what wonder is there?
You however, give to your co-wives what you do not have at all — ill luck and misery 53. Look, from where in the multitude of clouds there arose the roar of thunder,
from there only flashes of lightning appeared. 54. It is remarkable indeed that reputations and fortunes are made or lost on the
sharp edge of your sword which has become sticky with the blood and slippery
with the fat of the enemies you have killed ! 55. A deep moaning (groaning) sound (sītkāra) comes from lovely women when thier
lower lip is being bit, the bite is thus the primary cause but the lover who hears the moaning sound proceeds to bite again in which case the moan/groan is the primary cause.
5. Sīkāra is the sound of the drawing in one's breath in pain.

Page #282

218
Prakrit Verses in Sanskrit Works on Poetics
56. What is the Vindhya mountain without its excellent (or lordly) elephants with
bees indolent because of their ichor ? Without the Vindhya mountain, elephants suffer hundreds of discomfitures !
57. What can you do with a master who has lost in the eyes of his servants all respect
and honour and also with a servant who has fallen low through continuous humiliation or repeated insults ?
58. Liquor diverts mind to thoughts of love, makes all the thin limbs of the beloveds'
bodies heavy and slow but mysteriously enough relieves the beloved ladies of the heavy burdens of jealousy and anger and makes them light in heart.
59. Sulkiness (or pride) over a period of time dies of itself though it is likely to
revive itself again even after a long time. The intoxication of liquor causes women to entertain feelings quite otherwise (It either makes living women get over their jealous anger or sulkiness which they have been nursing for long or arouse it over again when they had almost forgotten it )
60. The day on which the dear husband has promised to return home is very near.
Please deck me up with extra care. Today separation ends whether he comes or not.
61. In the course of the battle the king subdued one section of his enemy's army
but set it free whereas another section he slaughtered. The former won him merit in heaven and the latter fame on earth.
62. As these demons raised their heads swollen in pride and insolence, my head
too sank or hung down in shame.
63. We do honour to Visnu who in his third incarnation (avatāra) placed through
the heavy grunting of the boar, Adivarāha, on the disc of the sun, the stain of mud picked up from the nether world i.e., Pātāla.
64. For translation vide KPS. No. (64.435) supra.
65. “O, charming one! you minutely looked (i.e., gazed) at my face (only) when
my breasts looked up to your face (i.e., only so long as I was in my youthful age and my breasts were turned upwards (i.e., were firm and tough). But now when my breasts have become limp and sagging, your love for me has become

Page #283

Prakrit Verses in Sanskrit Works on Poetics
219
slack (or diluted). Thus your love for me depends on the shape and condition of my breasts. With whom shall I get angry ? (i.e., I can't get angry with you. If your love for me has become slackened and lukewarm , it is my breasts that are to blame for that and not you!)
66. For translation vide DHV S. No. (45.15) supra.
67. Who will benefit from evil or the wealth of the evil ? Only the evil, of course!
Crows alone eat the fruit of nimba, bitter even when ripe.
68. What can you say about liquor ? Its mere auroma inclines the mind to thoughts
of love, sinks jealousy into forgetfulness and rids you of shame!
69. Let warriors greedy for wealth, attack their enemy; but O, lion, by attacking
the (thundering) cloud what do you hope to gain ?
70. Why do you again want to wash off the decoration of mud stuck on your breast
by whom you know there is no harm in it during the spring festival of Holi. Besides, it has already been washed off by the profuse perspiration on the breasts!
71. For translatiivide A'Sarvasva - Vimarsini S. No. (*48.445) supra.
72."While the colour - pastils are operating the whole day in a wonderful way, thev not only do not become eroded (they not only not become smaller and smaller) (because of prolonged, uninterrupted use of the colouring material out of which they are made) but, (on the contrary) they (by śleşa - double entendre -, the curiosity, astonishment, and (restlessness or) unrest in the minds of people) grow ever more and more."
73. They say knowledge is the only protection against the bane of intoxication of
whatever kind, but will any one tell me what is the protection against the intoxication of knowledge itself ?
74. For translation vide A 'Ratnākara S. No. (73.559) supra.
6. Cf. ŚPS. No. (399.125) supra.

Page #284

220
Prakrit Verses in Sanskrit Works on Poetics
75. He is not satisfied if I only let him make love without bringing in the delicacies
of the game: and if however, I do that, I am afraid, he suspects how and where I learnt all that. How can then this poor girl give him satisfaction ?
76. For translation vide SP S. No. (372.119) supra.
77. Whatever you enjoy, my dear (or O, charming one), you owe it to the merit
gained in earlier lives. But enjoyment leads to temptation and exposure to temptation leads to sin. Thus (curiously enough) religious merit produces a cycle that leads to contrary results.
78. The favour which you won by falling prostrate at the feet of your angry wife,
you yourself, O, fool, lost when you called her by a wrong name.
79. Let the sun come up and let the moon go down. What do we gain or lose ?
But then the pity of it is by the same process the lotuses get and grow their beauty.
80. The pleasure of winter is only in the close embraces in which lovers huddle
together. The water - sports with the display of the breasts and hips of women being out of the question (or but the pleaures of enjoying the glimpses of the breasts and the hips during the watersports is lost).
81. The forehead, coloured with the dark paste of musk wondered : Why should
I wish to carry the face which is darkened with the darkish dent caused by bowing down to Siva, the God with three eyes ?
82. My dear girl, what is wrong in eating the leaves of the Pippali when no other
tree has any leaves on them ? (Or when there are no betel leaves, even Pippali leaves may do. What harm is there, my dear girl ?) In a village where there are no strangers to come by, even one's own husband is good enough for the purpose!
83. Women close their eyes out of deep satisfaction that sexual pleasure gives and
the eyes continue to remain closed out of the deep sleep it brings.
84. When fire issued from the third eye on the forehead of Siva, the Crescent Moon
on his head became scared of being scorched but Ganga from Siva's matted hair reassured him.

Page #285

Prakrit Verses in Sanskrit Works on Poetics
221
85. For translation vide A'Ratnākara S. No. (58.557) supra.
86. O, fair one, as you rise higher and higher on your swing, I should imagine that
the moon will soon get its dark spot lighted up (lit. whitened, brightened) by the lustre of your nails (lit. covered with the lustre of your nails).
87. By picking a hole in a naturally pure and bright pearl one may only be introducing
an element of impurity in it or a weak point in it. But the noble attitude would be to put a string in the hole.
Some people look for a point of weakness even in a naturally pure gem and make a hole in it. While other worthy persons turn it to advantage by running a thread through it (the hole).
88. The vacant space — the small gap — between the estranged husband and wife
sleeping in the same bed with their faces turned away from each other was filled by the hair on the body standing erect — through horripilation. Or, the hair on their skin standing erect filled the small gap the lovers had left between the two of them as they out of anger turned their faces against each other and lay on the bed.
89. The heavy pantings a certain lady had after climbing the staircase did not stop
but increased as she caught the sight of Hari (Vişnu, Krsna).
90. The pearls that fell from the necklaces of the young women who played
vigorously on the swings during a festival lent dignity to the drops of perspiration that fell from their bodies.
91. The firm and plump breasts that occupy a very central position have prevented
the upper arms - shoulders - from seeing each other. This fact raises the question: What will such centrally placed hard-hearted persons not do to straightforward persons ?
7. Cf. ŚP S. No. (1087.243) supra.
8. Cf. A 'Sarvasva-Vimarsini S. No. (52.446) supra.

Page #286

222
Prakrit Verses in Sanskrit Works on Poetics
92. When cowards can't secure a firm footing in their own homes, the hero,
embodying all prowess has conquered the whole world encircled by the seven seas.
93. None indeed is completely free from defects and none completely devoid of
merits. There is poison even in the ocean of milk and there are jewels in the hoods of snakes.
94. The king whom she wants to watch walks past her if she stands at the place
but if she means to run alongside owing to the plump breasts and hips, she stumbles!
95. You are fascinated only by the reports of his merits, beauty and qualities. Actually
you have not seen him. You are bluffing that you have. Had you really met' him, all your limbs would have betrayed you!
96. Noticing how the first rain-clouds of the season aggravated the young woman's
illness — her breath almost rattled in her throat -, her mother-in-law gave up every other thing and started taking care of the young woman-her daughter-in-law, as if she was the only medicine to save the life of her son who was out on a journey.'
97. For translation vide SP S. No. (1334.287) supra.
98. Young girl, because your lover has come home after a long time, don't treat
him to jealous anger - otherwise, he who was lost in the fire of separation will be lost again in that manner!
99. The wind from the Malaya mountain that makes even the sandal- creepers coiled
up by bhujangas [(i) serpents (ii) lovers) tremble, how can that wind not make viyoginis - women separated from their men — tremble (restless) ?
(Note: The sandal-trees are here called 'sandal-creepers' so as to make them agree in gender with the viyoginis.)
9. Cf. ŚPS. No. (1323.285) supra.

Page #287

Prakrit Verses in Sanskrit Works on Poetics
223
100. O, charming one, when you come to visit me only as a matter of courtesy,
you delight my heart. How much an excitement must it be to those whom you visit out of real love !
101. Even one spotted deer crossing the path to the right prevents the traveller from
going further on his journey. Then what to talk of when two tearful eyes (resembling the tremulous dark and white-coloured eyes of his beloved one confront him on the eve of his departure ? (He will certainly abandon his
planned journey.)" 102. The bunches of leaves and flowers on the Madhavi creepers in the front yard
have barred the entrance to the house; and they have deprived the women, who are expecting their husbands to return from their journey any time now, of the comfort of watching the homeward path of their return.
103. Thunder, O, cloud, with all your great might only over me – the
avaricious-minded (also, strong or steel-hearted). But do not kill my poor wife who has long hair and who is dissipating in separation. 12
104. Thunder, O, cloud, as much as you please; you too, O, lightning may flash
more frighteningly. This accursed heart of mine which is made of adamant and
is very hard will not indeed burst. 105. For translation vide KP S. No. ( 57.433) supra.
106. For translation vide DIIV S. No. (36.13) supra.
107. "Darling, be kind to me, don't get angry.” “Who is angry with you ?” “O,
fair one you." "How can one get angry with a stranger ?” “Who, pray, is a stranger ?" "My lord, you." "Ilow am I a stranger ?" "That is the fruit of my evil deeds.":13
10. Cf. ŚPS. No. (599.161) supra. 11. Cf. SK S. No. (257.391) supra. 12. Cf. ŚP S. No. (587.159) supra. 13. Cf. ŚPS. No. (250.95) supra.

Page #288

224
Prakrit Verses in Sanskrit Works on Poetics
108. For translation vide DIVS. No. (2.6) supra.
109. His hand that only gave away in charity, stretched out only to receive his sword
whenever difficult battle-fronts needed him.
110. Spread your light elsewhere, O, Moon ! Do not rain it on the sea. My own
house, which is lighted up by the lustre of my wife's face which is a moon, hardly needs you.
111. People's time comes to an end while they think of their mother's breasts that
are white with milk in the early part (of life) and of the young damsel's breasts that are white with sandal - paste in the latter part.
112. Your fame, O, king, travels comfortably around in Amarāvatī, the city of Indra,
the lord of gods, the moat of which has been filled by your army by demolishing its ramparts and made even or levelled.
113. When I'll see my dear man/husband - the very sight of his will delight my
eyes, give happiness and contentment to my heart and shower my limbs with nectar!
114. Do not cast glances at him through a half - closed eye (i.e., don't cast sidelong
glances at him). Look at him straight. You will be able to see him much better and you will be regarded as quite innocent and guileless.
115. The scratches by her nails, the seizing of hair, beating and compressed lower
lip might make one suspect that the angry young woman is expressing her anger and pleasure (of sexual union) at the same time.
116. My dear friend, there are only two remedies for a heart scorched by the fire
of love : Sleep with the lover or with death - longed for (and imminent ?) death.
117. Bow down to either Madhumathana (i.e. Vişnu, Krşņa) or the lower 'lip of the
lotus-eyed ones who is decorated with a tremulous (Kaustubha-) jewel (which i.e., lower lip possesses the lustre imparted by the shining teeth or reflects the light of the teeth), who wears a gleaming yellow garment (which is drunk, that is, kissed in love-sports and is excellent), who wears a garland of wood (or wild-) flowers (which bears a series of tooth - marks caused by the bites in

Page #289

Prakrit Verses in Sanskrit Works on Poetics
225
the course of amorous sports.)
118. At the mere sight of your beloved husband (or lover) your mind becomes pure
as well as impassioned; but how strange! When he falls at your feet you become as hard as adamant!
119. For translation vide SK S. No. (374.415) supra.
120. Eminent men all over try to propitiate you, Lord, with various kinds of offerings
mostly of gold and precious stones and seek nothing but lovely dust on your feet!
121. My friend, as the bee robs the lordly elephant of his ichor, he offers him the
flappings of his ears!
122. The ornamental 'tilaka'mark on your beloved's forehead travelled from there
to your lips (when you kissed her) and from there to my feet (when you fell prostrate at my feet) thus moving from place to place it has made a tortuous journey to achieve a difficult task !
123. See, O Lord, as soon as it has dawned here, beauty has passed from the lamp
to Aruņa (the sun), from the moon and the countless stars to the white or red day-blooming lotuses --- from the night (śyāmā) to the day and from the flocks of cakoras to the assemblages (cakrām) of cakravākas.
123(a). Leaving the depth of the ocean - a mine of jewels - alas ! O, moon, you
are simply going about in the empty void of the sky and wearing yourself
out.
123(b). A wicked master, alas, treats his servant contemptuously by gradually
assigning to him jobs of lower and lower status : First to be by the master's side, then walk in front of him, then somewhere around him, or shifting him out in the compound and finally be his door-keeper (or to the gate outside).
124. The moon is smaller than the sun, the fire is smaller than the moon, the lamp
than the fire, even than that lamp, you are smaller, O, fire-fly ! Still strangely enough, you glitter (or glimmer in light) !

Page #290

226
Prakrit Verses in Sanskrit Works on Poetics
125. O, Fate, if you are favourably disposed towards me, please see that you spare
me from another life in this mortal world, but if you will that I should be in the mortal world please see that I don't fall in love. If however that is your will, let it at least be with a person not difficult to obtain.
126. A good man never gets angry. Even if he gets angry he does not think ill (of
others); and if he thinks ill of anybody, he does not speak it, if he, even then, speaks out, it is not without feeling ashamed of it.
127. It is with great difficulty that one comes across a lovable man. When one gets
him it is difficult to have him in control and even if he is got, he is as good as not got, if he is not as one's heart has wished him to be.
128. O, king, you are the abode or support of good men as a mountain is of clouds,
or an ocean, of mountains or the nether world (pātāla), of oceans.
129. This autumn makes the moon beautiful, the moon the night, the night
night-lotuses, the night lotuses the sandy beach, and the sandy beach the flock of swans.14
130. The thunderbolt strikes the mountains, the mountains with their rocks hurtling
down strike the earth, and the earth in its turn strikes the hoods of Sesa.
131. As a young man playing childish games makes people laugh, even so an old
man indulging in the amorous sports that are meant for the youth.
132. Virtue begets respect; service to the good begets virtues; and flawless religious
merit begets service to the good.
133. The way you torment, O, moon, the proud lady and the way you kill the
wayfarer's wife, surely shows that these two powers / qualities have been indeed given you by the submarine fire and the Kalakūta (deadly) poison (churned out of the ocean and drunk by Siva.)
134. For translation vide KP S. No. (62.434) supra.
14. Cf. ŚPS. No. (180.78) supra.

Page #291

227
Prakrit Verses in Sanskrit Works on Poetics
135. For translation vide SPS. No. (231.91) supra.
136. For translation vide SPS. No. (244.94) supra.
137. You will think highly of Sacī, dear Indra, and regard her as the most beautiful one so long as that World Beauty queen does not come within the range of your sight. 15
138. He alone who can stomach the deadly Kalakūta poison, which is potent enough to kill a human being, will withstand, my friend, the terrible, scathing words of the slanderers (or backbiters).
139. My dear, to whom exactly are you offering homages under the guise of homage to the sun? (Not to the Sun-God surely.) You see homages to gods are not accompanied like this by smiles and sidelong glances.
140. The farmer's son has already picked all the cotton bolls, but look at the young bride's hand which only feels the plants and gets the thrill of excitement and sweats at finger-tips. 16
141. He spoke to her in the midst of other people, by his eyes dilated with joy (or, with people around he spoke to her with his meaningful eyes, big with joy); she too responded to him with her profusely perspiring limbs. (or, she perspired yes.)
142. For translation vide SPS. No. (1423.303) supra.
143. For translation vide KP S. No. (28.425) supra.
144. For translation vide SP S. No. (126.67) supra.
145. For translation vide SK S. No. (56.351) supra.
15. The word 'World' stands for the three worlds taken collectively. 16. SPS. No. (422.129) supra.

Page #292

228
Prakrit Verses in Sanskrit Works on Poetics
146. Seeing the full disc of the moon why did the young woman, whose husband
had gone away on a journey, cast a burning angry glance at Hari's (i.e., Vişņu's) Sudarsana wheel which was drawn in a picture ?
147. Noticing her lover on the road outside the young woman says to her freind !
“Now that the sun is still there, we will go to the river in the evening.” 148. For translation vide KP S. No. (8.419) supra.
149. The young woman who was eager to enjoy inverted coitus, placed her necklace
round the neck of her beloved and said : "There it looks splendid on you"
(or, “Now you look pretty with this necklace round your neck.") 150. You must not hurry (or rush on), dear lady, along that path lest your limbs
are scratched (or pricked) by thorny bushes on that path.
151. In this wild wood, my friend, you should go with your face faded, as it were,
lest the lustre of your face might be robbed by the tagari creeper!
152. "O, master of the house, this one here is seeking asylum, so please protect
(or look after) him." With these words the wanton (or faithless) woman without batting an eyelid quickly makes over (or presents) her paramour to her husband
who returned home all of a sudden (or who unexpectedly came back home). 153. During a sharp-driving shower when one unchaste woman sees her paramour
she would like to wear the garment which was soiled with mud discarding the
one she had on her, under the pretext of going out to wash it. 154. "I am bashful (by nature) whereas his love is wild. My maiden friends are
very shrewd." "O, maiden friend, please stop; what is the use of applying red paint to my feet ?”
155. For translation vide DHV S. No. (5.7) supra. 156. “My dear friend, don't stay in the open space of the mansion as it is exposed
to the wind from the Malaya mountain." "O, simple-hearted girl, as my mind (heart) is captivated by the agreeable fragrance I wish to stay here only."
157. The young mother, tying up her dishevelled hair with one hand and with the
other catching hold of her sārī (lower garment) which is slipping down, pursues her little boy who is running away in fear of the barber.

Page #293

Prakrit Verscs in Sanskrit Works on Poctics
229
158. The herd of cattle, with their faces continually raised somehow enters the village
roads - the herd being scattered (off and on) by the multitude of people set out in the opposite directon (? pratipatha).
159. Flocks of birds that are forced to take an upward slight by the opposing wind,
later drop down from the sky and come to perch on the mountains below. 160. For translation vide ŚP S. No. (602.162) supra. 161. The poor girl wept as long as one could; her body with its stooping limbs thinned
till it couldn't thin any further and she sighed until sighs were no longer possible.
162. Bow to Sūkara (i.e., Varāha, Vişnu's third incarnation) who first sent the demon
Hiranyākša to meet Yama, the God of Death (lit. fire sent within the range of the sight of Yama) and then raised up the Earth (from the bottom of the ocean where it was dragged by Hiranyākşa) and thus brought it within the range of his sight -- recovered it.
163. For translation vide A'Ratnākara S. No. (110.566) supra. 164. For translation vide SP S. No. (634.168) supra. 165. For translation vide ŚP S. No. (155.73) supra.
166. In this world of mortals there is nothing more difficult to bear than death. But
sometimes such a sorrow visits a person that death alone becomes a welcome remedy.
167. May the hand of Kumāra (Kārtikeya) who sucks the breast of Pārvati (in the
famous Ardhanārīśvara form of Siva) — the hand that gropes around for the other breast on the male side, protect you!
168. Govinda (Visnu) in his fifth or Vāmana incarnation humbled (lit. bound)the
demon Bali through trickery and grew bigger and bigger so much (with pride) that the whole of the world could not hold him, isn't it then remarkable that my dear girl who has bound three valis (three folds on her stomach) goes about modestly with her bent head ?

Page #294

230
Prakrit Verscs in Sanskrit Works on Poetics Chapter XIX : Rasagangādhara
1. For translation vide DHV S. No. (1.6) supra.
2. For translation vide KPS. No. (6.419) supra.
3. You damned Brāhmaṇas, you are presenting a false image of yourselves to the
young widows by making beads in the rosaries of the knots tied in freshly cut
darbha grass. 4. For translation vide ŚP S. No. (110.63) supra. 5-6. For translation vide DHV Locana (*28.11) supra.

Page #295

Chapter XX : Alamkārakaustubha
1. For translation vide WS. No. (5.36) supra. 2. For translation vide KPS. No. (3.418) supra.
3. The crescent moon on the first day (of the bright half of the lunar month),
covered by the glow of (evening) twilight, looks, as if it were, a nailmark on
the breast of a young bride glistening translucently through a red silk garment. 4. For translation vide ŚP S. No. (468.139) supra. 5. For translation vide ŚP S. No. (292.103) supra.
6. (They then reached the sea-shore) that was blue with blossoming tamāla trees
and fragrant with groves of cardamom plants in bloom. It (the sea-shore) looked like or seemed to be a streak of ichor of the lordly elephant, the ocean, touched every now and then by its quick-moving or agile or tremulus trunk i.e., the waves.
7. As the ocean remained perfectly unmoved in its profundity (i.e., seemed
unwilling to grant his request to facilitate the crossing), anger took possession of Rāma's face just as an eclipse overtakes the disc of the moon.
8. After his nightlong sojourn the day returned with his face beaming with the
freshness of the morning and stirred the lotus-ponds into blossom just as an .. elephant after having run amuck all through the night returns in the morning
with his face smeared red to disturb the lotus ponds.
9. Having thus restrained Sugrīva Jāmbavat, the son of God Brahmā turned towards
Rāma; just as the dense smoke of the fire of universal destruction, after spreading over the peak of the Meru confronts the sun.
10. Travellers notice a lotus-plant with its stalk torn up (by swans) and are reminded
of their beloved and their arms with loose bangles; they take the lotus-flower, rosy and full of honey for her face flushed with wine, and sweet hum of bees as her babbling words.
11. The Vindhya, darkened by the ashes deposited on it by forest-fire but having
a sprinkling of white clouds around looks beautiful like Madhumathana with the

Page #296

232
Prakrit Verses in Sanskrit Works on Poetics
sprinkling of milk drops splashed on him by the ocean-churning.
12. It (The ocean) had ample space in its appointed place, because it kept within
bounds; but it had not enough space even on the whole earth during the deluge - It was like Vişnu who assumed the form of a Dwarf (the fifth Vāmana incarnation) but later pervaded the entire universe with the bulk of his striding figure — when taking the three steps.
13. In the autumn the thirsty travellers drink (sparkling) clear water in the lake
perfumed with blue lotuses; that water brings to their minds the faces of their beloveds (with their beautiful eyes and fragrant like blue lotuses).
14. Having long enjoyed the capture of heavenly nymphs or maidens, Rāvana has
brought Sītā to Lankā, the abode of the raksasas (demons) just as a poisondestroying plant is brought to a resting place of venomous serpents (to drive them away).'
15. The traveller smells, touches softly, kisses and presses against his bosom the
madhūka flower because of its resemblance with the cheeks of his wife and
look, he is thrilled with joy! 16. For translation vide KP S. No. (46.430) supra.
17. For translation vide SP S. No. (155.73) supra.
18. The disc of the sun resembled the head of a lordly elephant decked with red
chalk, and it was round like the coils of the serpent Vāsuki, coloured by the minerals of the Mandara mountain.?
19. For translation vide DHV Locana S. No. (*28.11) supra. 20. For translation vide ŚP (84.58) supra.
1. Serpents are believed to be unable to endure the smell of certain plants.
2. The gods and demons used the Mandara mountain as a churning rod when they churned the ocean for nectar; and Väsuki they used as a rope coiled round the Mandara mountain with which they churned the ocean.

Page #297

Prakrit Verses in Sanskrit Works on Poetics
233
21. For translation vide Vimarsini on A 'Sarvasva S. No. (33.442) supra.
22. In your separation her face is vacant just like a house bereft of wealth, a spring
from which water has dried, and a cow-pen witout a herd of cattle.
23. Like a disease without a physician (to treat it), like a person reduced to poverty
and staying, imposing himself on his (relatives and) friends, like the prosperity of one's enemy, separation from you is difficult to bear (for me).
24. Struck by Rama's arrow the agitated ocean blazed like a submarine fire and
cleft like a mountain; rumbled like the clouds, and assailed the sky like a gale.
25. Pervading the earth, the mass of darkness seemed to carry everything. It seemed
to push from behind, and hold up in front either side (left or right side) and seemed to grow heavy as it spread overhead.
26. "The pure-rayed pearls, the stars, released from the split oyster-shells, the torn
clouds shone in the ocean of the firmament adhering to its coast, the night."}
27. For translation vide ŚP S. No. (165.75) surpa.
28. “The call of the swans could be heard : it was, as it were the (twanging) sound
of the bow of the god of love; the jingle of the anklets of the goddess of beauty stepping across the lotus-beds; the answering call of the lilies addressed by the
bees."3
29. The Vindhya mountain, being pressed by the Beauty of the Rainy season with
the breasts in the form of the clouds, has his limbs decked or adorned with the horripilation in the form of the new grass-shoots.
30. For translation vide ŚP S. No. (25.47) supra. 31. For translation vide SK S. No. (232.387) supra. 32. For translation vide KP S. No. (13.421) supra.
33. "My beloved and her red lips are so far off; the spring increases my desire;
and I simply can't bear the hum of the bees."
3. As translated by K. K. Handiqui.

Page #298

234
Prakrit Verses in Sanskrit Works on Poetics
34. "He is the laziest of fellows, the biggest of rogues, and the wealthiest of men."
When she heard this she bent her head down and her eyes sparkled with
delight."4 35. For translation vide ŚP S. No. (166.76) supra. 36. For translation vide SK S. No. (330.407) supra. 37. For translation vide ŚPS. No. (1650.338) supra. 38. Those women who have not seen you, O, charming one, they alone can sleep,
can hear what is said, can speak without faltering. They alone are happy or fortunate!
39. O, you Appreciative one ! Shrewd one! Refined one! Judicious one! Indeed, you
are (rightly) called A'śoka (untroubled one, carefree) because even when struck (or hit) with lotus-like foot of the beautiful maiden, you blossom passionately!
40. May he be soiled with dust or smeared with mud, may he be only an eater of
grass, still he alone — the elephant alone – can carry heavy and large. kettle-drums.
41. For translation vide KPS. No. (50.431) supra.
42. His left arm, (thinned or emaciated or) worn by the grief caused by prolonged
separation (from his beloved Sītā), with the scar left by the bow-string drenched and softened by his constant tears, became altogether different as soon as it
held the bow (lit. it became active in contact with the bow). 43. Then came the autumn, the pathway to Sugrīva's fame to the revival of Rāma's
hopes, the cessation of Sīta's tears, and to the final doom of Rāvana.
44. The minds of noble men are like the tops of lofty trees : they bend down with
the burden of fruit but remain erect when without.
4. Cf. For translation KP S. No. (12.420) supra. 5. This is said by a nāyikā who yearns for a nāyaka who is without any personal property and is blamed or censured.

Page #299

Prakrit Verscs in Sanskrit Works on Poetics
235
45. The clouds that emptied themselves of water, the trees that have given up their
fruit, and the hands that have grown weak in that battle - field (lit. that have wielded the sword in the vanguard of the battle) — all deserve praise though they have grown thinner!
46. Merry-making becomes a master (or the rich), jealousy becomes the beloved
mistress, forbearance becomes the strong, speech becomes the wise; but silence becomes only the ignorant!
47. Rāma felt annoyed by the moonlight (lit. Rāma reproached the lunar rays) had
no patience with the flower arrowed god of love and hated the night. Though languid he languished still more. He asked Māruti—“It's my beloved Sită still by any chance alive ?"
48. For translation vide ŚP S. No. (1307.283) supra.
49. The waters of the sea) disappeared in the massed (lames, the sky in the surging
waters enveloped in the massed flames, and the ten directions in the sky flooded with (or spread over or overrun by) the waters.
50. For translation vide ŚPS. No. (791.193) supra.
51. His (handsome) form (always and ever) stands before my eyes. His tender or
gentle touch still clings to my limbs (is permanently imprinted on my body). His speech still lingers in my ears. His heart (mind) rests (is resting) in my heart. Tell me then how fate has separated us!
52. For translation vide ŚP S. No. (663.173) supra.
53. She really knows what is right for her. If her mind is directed towards a worthy
man like you, she couldn't be wrong. But I am not going to say anything for her. If she has to die, let her; perhaps that is the best course for her.
6.Cf. DR-Avaloka S. No. (8.28) supra.

Page #300

236
Prakrit Verses in Sanskrit Works on Poetics
54. The moon-beams are heaped up in the sky, the beams that beautify the ten brides
of the sky (dig-vadhu) without resorting to saffron and sandal, the beams that decorate the Earth without bringing in bracelets and ear-tops, the beams that are really the arrows of Madana (the God of Love) without being the ones that bring about privations or the ones that infatuate.
55. For translation vide ŚP S. No. (1301.281) supra.
56. My friend, I do not (at all) know what charming qualities the kunda - bud lias
so that the bees should desire to drink it with their eyes!
57. Since he set his eyes on that most excellent damsel with a lotus-face and lovely
eyes, the moonlight has become excessively hot, the sandal paste feels like poison, the necklace causes irritation like salt, the night breezes burn the body, lotus - fibres prick like a bunch of arrows, and though wet with water, the slender body is, as it were, on fire.
58. It is strange that she should give this feeling of burning although she has hands
and feet like tender sprouts, eyes like blue lotuses, a face like the moon, and a body like a fresh campaka flower!
59. On being separated from you the poor girl has withered (lit. dried up) although
so full of rasa (sap, youthful vigour) (also because she is full of love for you); she has undergone sufferings although her heart has become insensitive (also, because she is innocent in her heart); she has become white (also, pale) though she is red (also, because she is full of love).
60. The Mahendra mountain trembled and the surface of the earth cracked because
of the commotion caused by the Vānaras. Only the pollen of the flowers in the woods of the Malaya (mountain) did not fly up - it was moistened by the ever-cloudy days.
61. For translation vide SPS. No. (314.404) supra.
62. For translation vide ŚP S. No. (174.77) supra.
7. Cf. SK S. No. (50. 350) supra.

Page #301

Prakrit Verses in Sanskrit Works on Poetics
237
63. For translation vide SP S. No. (1169.257) supra.
64. When the pollen of the lotus on my ear was flown by the wind in my eye and
when you came up to blow it off from the eye and kissed me again and again without feeling satisfied, I was wondering what divine being you have been!
65. I shall worship your feet with my life, O, Madana, God of Love, even during
my next (or future) births, if you just now pierce him (whom I love) with the same arrow with which you have pierced me.
66. For translation vide ŚP S. No. (1417.302) supra.
67. The arrow of Rāma seemed to hit (lit. drop on) the ocean even while it was
being drawn, because the flames emitted suddenly and started from its tip and its power was declared by the agitated waters (i.e., its power in stirring up the ocean was seen even before the arrow dropped on the ocean).
68. "As Vişnu turned over while asleep on the couch of Ananta (-Seșa),the latter
(Ananta) propped its large massive hoods, flattened by the heavy weight, against the mountain, with the lustre of their gems (believed to be in the hoods of serpents) spreading over the foothills."8
69. You see, dear, everything seems to dishearten me : my own innocence,
inexperience in such affairs I am already feeling depressed for being alone, without him, besides I am not a free person. Add to that the time of the night, pitch darkness and dense forest. How do you expect me to set out ?
70. For translation vide ŚPS. No. (546.152) supra.
71. Just today he set out on a journey and just today the streets, city- squares,
temples and our hearts too – all have become empty!
72. For translation vide A 'Ratnākara S. No. (122.568) supra.
73. For translation vide ŚP S. No. (141.70) supra.
8. As translated by K. K. Handiqui.

Page #302

238
Prakrit Verses in Sanskrit Works on Poetics
74. “O, cruel one, how can she share equally with me the good fortune (i.e.,
privilege) of being the object of your love, since you rob her (even) of her name and then give it to me ?"9
75. For translation vide ŚP S. No. (1107.246) supra.
76. My beloved is dangerous like poison in separation, (but) very much like nectar
in union. Has then the Creator used both of them (poison and nectar) simultaneously to create her ?
77. The yakșa under the banyan tree, whose idol used to be formerly placed under
my head by young men - to that very yaksa I am now paying my homage. O, accursed old age, be contented now with the revenge you have taken on me !
78. The captive celestial nymphs, who had, when first brought to Laskā, spurned
for long the demons, even at the risk of their life, accepted them as lovers when they were slain in the battle.
79. Look at her wet face to which her hair has been sticking, look at her eyes that
are washed red while removing the kājala (collyrium) from them, look at the water dripping from her hair which she has collected in her hand, look at the single garment to which she has stripped herself. This mysterious young girl that gives me this shock of surprise, this king of magicians seems to have picked her up from her bath.
80. O, Moon, consisting of nectar, the ornament of the sky, the ornamental mark
on the face of the Night, touch me too, I pray, with the same rays with which you have touched my beloved.
81. You can't call it your own wealth unless you have it in your hand indeed nor
a friend real till he stands by you in your need. Beauty can't be beauty without virtue nor wisdom, wisdom without reighteousness (or goodness).
9. This stanza is ironical.

Page #303

Prakrit Verses in Sanskrit Works on Poetics
239
82. Did the moonlight heighten the intoxication (frenzy) brought by wine ? or, did
the intoxication (frenzy) heighten the effect of the moonlight ? Did both of them heighten the power of passion ? or, did passion bring both to the highest point of perfection ?
83. For translaion vide ŚP S. No. (139.69) supra.
84. O, wayfarer, ask some other hunters' families about the skins of spotted deer.
Our young huntsman does not bend his bow (pull his arrow) against deer!
85. When you massaged her foot, out of sheer joy she left in your hand the reward
of a print of the lacpaint from it; exactly as King Vikramāditya appreciated the defeat of his enemies by leaving a rich reward in his general's hand.
86. As the little boy crawled on his father's back, when he lay at her feet, the mother
couldn't help a smile in spite of her terrible sulkiness (jealous anger).
87. She didn't look straight at him nor talk to him though she is generally
open-minded, she didn't even wish him (as one normally does to a visitor). For clever observers there was but only one conclusion."
88. Your heart is as though full of (or created out of) nectar, and your hands fulfil
the desires of those who are full of desires. O, you, with a moon-face, where then does your enemy-scorching prowess abide ?
89. When the commotion that was caused by the mountains that dropped into the
sea settled, the waters of the sea became calm and still again; the currents that were so disturbed flowed together again (the whirlpools broken up by the mountains formed themselves again). Some rocks still continued to move around in the whirlpools and the water of the ocean that had fled away out of fright resumed its usual place again.
10. Cf. ŚPS. No. (145.71) supra.

Page #304

240
Prakrit Verses in Sanskrit Works on Poetics
90. All at once, the mountains remebered the terror of the thunderbolt, and the Earth
the thrusts of the hooves of the Adi-varāha (Primeval Boar) and the ocean the commotion of the churning – all that had been long forgotten by them."
91. For translation vide ŚP S. No. (1522.318) supra. 92. For translation vide A’Sarvasva-Vimarsins S. No. (17.439) supra.
93. The enraged buffalo licks with his tongue the snake mistaking it to be a stream
of a river; and the snake drinks the buffalo's saliva mistaking it to be a pool of water amidst black rocks.
94. Out with the campaka bud; the juicy yellow turmeric is no good. Even the purest
gold holds no candle to her beauty. It has the softness of the newly risen moon; even a heap of fresh bakula flowers has nothing to show. .
95. The Creator, seeing that the moon, though full-orbed, does not attain to similarity
with your face, breaks it into pieces, as it were, to create it afresh differently.
96. For translation vide ŚP S. No. (363.118) supra.
97. For translation vide AKS. No. (51.591) supra.
98. For translation vide KP S. No. (44.429) supra.
99. The tears streaming down the eyes of his wife radiated the blue lustre of the
dark eyes, the fairness of her cheeks, and the red of her lips. To her husband it looked like a vertical rainbow (as the tears were streaming down her cheeks in straight lines.)
11. The wings of the winged mountains were once clipped/chopped off by Indra with his thunderbolt. In his third Boar-Incarnation Visnu lifted the Earth submerged in the ocean when the Earth received the thrusts of the hooves of the Adi-varāha.)

Page #305

Prakrit Verses in Sanskrit Works on Poctics
241
100. For translation vide ŚP S. No. (381.121) supra. 101. For translation vide ŚP S. No. (343.114) supra. 102. (Rama then spoke---)
"Vibhisana, your wisdom, enriched by your gentle nature, is known to be unimpaired even by your kinship with the demons — the Rākşasas - as the nectar from the ocean was unimpaired even by the snakes having poison in the eyes.
103. For translation vide DIIV S. No. (24.10) supra.

Page #306

Glossary
of
Notable Words
(Note : The figures in the brackets indicate the serial number and the page number respectively. The letter d stands for desi or desya.) अंगारअवार (अङ्गारकवार = मङ्गलवार) (217.87) Tuesday (the day of the planet Mars) - which is supposed to be inauspicious for undertaking a journey. अंतोहुत्तं (अन्तरभिमुखम्) (826.199) internallly, mentally, in the mind. . . अईसंत (अ + दीस = दृश् - अदृश्यमान pres. pass. part.) not being seen; (673.174) see Hem. 8.3. 161 (--दीसइ । वुचइ ॥) अक्खड (आस्खल्) (673.174) to creep, slip, glide in. अक्खाणिआ (आख्यानिका) (28.551) a short legendary story, a myth. अक्खुडिअ (अ + खुडिअ = अखण्डित) (17.9) incessant; see Hem. 8.1.53 (---खुडिओ खंडिओ) अचक्खिअ [अ + चक्खिअ (आस्वादित) अनास्वादित] without tasting. See Hem. 8.4.258; Weber
equates चक्ख with Sk. जक्ष् to eat. Cf. Mar. चाखणे. अचुवयार (अत्युपचार) (652.171) (observing) excessive formality or courtesy. अच्छ (= आस्) (598.161) See Hem. 8.4.215; अच्छउ = आस्ताम् let alone'. (598.161). अच्छिवत्त (अक्षिपत्र = नेत्रपत्र) (1376.293) the eye-lashes. अजस-घोसणा (अयशोघोषणा) (715.181) defamatory or scandalous remarks (about myself)
(were caused to be made by me). अज्जा (आर्या = गृहपति - पुत्री) (32.48) the daughter of the master of house, agrown-up,
adult, young lady. Desi (p.25) records the word 'अज्झा ' in the following
five senses : असइ सुहा णववहया तरुणीस इमाइ तह अज्झा।
अट्टमट्टाइं (अट्टमट्ट - नानाविज्ञान) (1020.232) coquetry, alluring or enticing blandishments. "अट्टमट्टाई an imitative repetitive form having the same meaning and etymology of

Page #307

Prakrit Verses in Sanskrit Works on Poetics
243
Marathi 31150$ (EU) - to show apparent reluctance in the sense of coquetry"
- Dr A. M. Ghatage 31530 d (374) (771.191) 31531 d (34) (1366.292) a wanton or unchaste woman.
Deśī. (p.12) :'31547 37691 3154UTrutsatt richaruat :' 3U1UUT (3771f) (238.93), Adj. not respectable, base, mean. zuia (317) (68.595) name of Seșa, a celebrated mythological thousand-headed
serpent (regarded as the emblem of eternity) sometimes represented as forming the couch and canopy of Vişņu while sleeping during the intervals of creation, - represented sometimes as supporting the entire
world. BUPOÇO (-16) (37-300€ (-ya-l) (25.11) whose face is not angry. 3iforçfd31 (31Aaron = 3RR) (1312.283) fleeting. 31101Red (RG) (41.14) dependent. 3rfürcaf31 (31 + (forcalgut = proctan) (1091.243) not become plain or clear or evident or intelligible. 314314 (317ch+91) (140.70) pity, compassion. 3HYLARUT (374RUT) (281.397). following in death, concremation of a widow, courting death by a widow by burning herself on her husband's funeral pyre. 3/YRT31 (-506) (31721-7674) (199.83) .-i) which (poem) declares (Rāma's) love (for Sītā); ii) A poem, which is marked by the word anurāga (love) (at the end of each canto). BUJET (345+ ) (667.174) to resemble, imitate. 3tuust (345) (1161.256) stupid, ignorant HAT d (978:) (2.6) mother-in-law, Cf. Hrg-1937E-HET- HETI 3771 | Deśī p. 25 v.5).
RYA (3707416) (1359.291) adv. unexpectedly, suddenly. sfer (zat) # d (3700CH, 370741C). (1382.295) ind without a why or a wherefore,

Page #308

244
Prakrit Verses in Sanskrit Works on Poetics
unexpectedly, suddenly, accidentally. अद्दाअ d (=दर्पण) (749.187) a mirror. Cf. Desi (p. 10) 'अदाओ मुकुरे ।' अखंत d (पर्यन्त) (102.61) skirt, border, edge. अद्धरत्तो (अर्धरात्र:) (69.55;576.157) mid-night. अप्पणइअ (अप्रणयित) (223.89) not asked for, unsolicited, not requested for. अप्पाहिअ (संदिष्ट) (1486.312, 928.217) Cr. H.8.4.180 : संदिशे : अप्पाह: । सं + दिश् to give message to, to despatch anyone (acc.) on a message to (dat.) अब्भपिसाअ d (राहु) (891.211) Rahu. Read Desi; p. 21; अब्भपिसाओ राहु : । अब्भुत्त (अभिषिक्त) (102.61) wet, moist, sprinkled. Cf. H. (8.4.14) स्नाते : अब्भुत्त : 1 In his Chando nusāsana (p. 4) while commenting on the gatha "जह ण्हाउं" he observes : अब्भुत्तं अभिषिक्तम् ।। अब्भुत्तण d (प्रदीपन, अभ्युत्तेजन) (43.2) raking or stoking of fire, stimulation; Bhuvanapāla (p. 272) paraphrases it as 'संधुक्षणम्'. Hemacandra lays down : प्रदीप्यतेरेते चत्वार आदेशा वा भवन्ति । संदमइ । संधकइ । अब्भुत्तइ । पलीवइ ।। 18.4.152) अब्भूस (अभ्यूष) (1512.316) a special seasonal preparation, i.e. of fried grains or roasted grains (Bhoja refers to 'Sami-dhanya', 'Suka-dhanya'; these grains, when green, are roasted). अमायंत (अ + मायंत Pres. part. of मा) not being contained. अलिआणल (अलिकानल) (84.561) fire from (the third eye on) the forehead of Siva. अल्लिअइ (आलीयते) (989.227) to come close to, to embrace. Cf. Desi (p. 27) : अल्लियइ - आलीयते उपसर्पति च । See H. 8.4.54; 8.4.139 अलिहिअ (अलिखित) (226.90) unpared, unscraped. अवऊहिअ (अवगूहित ppp. from अव + गुह) (169.76) embraced. अवरिल d (उत्तरीय) (1293.280) upper garment Read Desi. (p. 15) : 'अवरिल्ल' शब्दस्तु उत्तरीयवाचक : |
अवरुंडण d (आलिङ्गन) (80.561) clasping, embracing, an embrace.

Page #309

Prakrit Vesses in Sanskrit Works on Poetics
245
अवरुडिज्जइ (आलिङ्ग्यते) (10.7) अवरुड to clasp, embrace. Read Desi (pp.8-9)
अंकिय-अवरुंडिया अ परिरंभे । --- अवरुंडिअ शब्दस्य --- अयं च यद्यपि क्रियाशब्द : 'अवरुंडई', 'अवरुंडिज्जइ', 'अवरुंडिऊण' इत्यादिप्रयोगयोग्यश्च – तथापि पूर्वाचार्धात्वादेशेषु न पठित: इत्यस्माभिरपि तदनुरोधात् तत्राऽपठित्वेह निबद्ध :। अवरूण्ण (अव-रुदित) (25.11) Not showing any sign of weeping%3; अवरुण्ण is possibly a corrupt form of अणरुट्ठ (अ-रुष्ट). अवसउण (अपशकुन) (217.87) evil omen. अवहत्थिअ (अपहस्तित) (1155.255) - अपहस्तय nominal verb. to dispense with, give up, disregard, throw away or off, push aside. अवहत्थिऊण (75.596; 1107.246) gerund from अवहत्थ, the denom. root अवहत्थ
(= अपहस्तय) having disregarded or ignored. अव्वो (अहह) (1651.338) - 'oh, what a pity', 'how painful !' (See H. 8.2.204.) अहव्वा (अभव्या) (75.560), unfortunate, unlucky. 'अहिसारण (अभिसारण) (1549.323) meeting, rendezvous (of lovers); invitation to a
rendezvous. अहिलेइ (अभि + ली to adhere to, cling to) (119.363) covers up. अहिसारिआ (अभिसारिका) (4.7) : The young woman who steals off at night to visit her lover, a woman who either goes to meet her lover or keeps an appointment made by him : " कान्तार्थिनी तु या याति संकेतं साभिसारिका ।" आअंब (आताम्र) (638.169) reddish आइप्पण d (पिष्टम् उत्सवे गृहमण्डनार्थं सुधाच्छटा च । “तन्दुलपिष्टक्षीरं गृहमण्डनम् आइप्पणं इत्यन्ये । Desi . p.34) (858.204)-(sprinkling the leaves) with water mixed with rice-flour. आइ-वराह (आदि-वराह). 63.557) The First (or Primeval) Boar, an epithet of Visnu
alluding to his third or boar incarnation. आइ-वेअडिअ (आदि-वैकटिक) (4.20) excellent jeweller. आढत्त (आरब्ध) (130.68), - started, began. (1299.281) see H. (8.2.138). आमोडण (आमोटन) (18.45) blow.

Page #310

246
Prakrit Verses in Sanskrit Works on Poetics
आलेहड d (= लम्पट, लोलुप) (2.43) greedy, avaricious, eager. आमलिअ (आमृदित) (562.155) crushed. आसंघ d (आसक्ति / आश्वास) (220.87) attachment, devotion, assurance. आहिआअ (आभिजात्य) (1176.258) nobility of birth. अहिआई (आभिजाति) (1170.257) nobility of birth. आहिँड (आ + हिण्ड्) 222.89 to wander. इहरा ( इयरहा) (इतरथा) ind in another manner, in a contrary manner, on the other hand, else, otherwise. Read H.8. 2. 212 : इहरा इतरथा । उकुरुड d (राशि:) (1366.292) a heap of jewels. Read Desi. (p. 46) 'रासिम्मि उकुरुडी' ।
___ उक्कुरुडी अवकरराशि :। उक्कुरुडो रत्नादीनामपि राशि :। अवकर-राशि means a heap of sweepings'. उक्खडिअ (उत्खण्डित) (158.74;109.361) - Cut off, chopped off. . उग्गाहिअ (उद्ग्राहित) (1584.328) taken up, remembered, intended to be spoken'. उग्गिण्ण (उद्गीर्ण = उत्थापित) (132.68) raised up, brought about (by anger)'. उग्घुण्ण (उचूर्ण) (132.68) (lit. shaken, moved to and fro), raised, thrown up (उत्क्षिप्त) उच्छलिअ (उच्छलित) (672.174) 'inundated', 'over-flowed' (fig.). उच्छिण्ण (-महिला) (स्वैरिणी) (11.8) a wanton woman, an adulteress, a loose or unchaste
woman. Cf. Marathi 'छिनाल स्त्री'. Read Desi (p. 119): छिण्णो तथा छिण्णालो जार :।
(जारेसु छिण्ण - छिण्णाला इत्यत्र) 'जारेषु' इति, एकशेषाद् बहुवचनात् 'छिण्णा छिण्णाली स्त्री' इत्यपि । उच्छुच्छुलेइ (?छुल्लुच्छुलेइ) (उत्कम्पते) (258.392) 'trembles'. उज्जागरअ (उज्जागर) (768.190) sleeplessness, wakefulness, vigil. उट्ठन्दलअ (ओष्ठ-दल (क)) (158.74) the sprout-like or tender lips. उट्ठ-बईस (उत्थोपवेश ? उत्तिष्ठोपविश) (205.84) 'rise and sit'. Cf. Marathi "ऊठ-बैस" उत्तत्थ (उत्त्रस्त) (1497.314) frightened. उत्तम्मिरी from ut - tam (ud- tam p ताम्यति) to be out of breath or exhausted; to lose
heart. उत्तिणिअ (उत्तृणित) (255.96; 1294.280) 'with grass-roof blown or swept away'. उत्तंभण (उत्स्त म्भन) (1.528) lifting, raising, 'swelling up'.

Page #311

Prakrit Verses in Sanskrit Works on Poetics
247
उत्तारिअ (उत्तारित) (1567.325) removed, taken off. उद्धच्छ (ऊर्ध्वाक्ष) (139.69) 'with one's eyes turned upwards'. उद्घमाइअ (उद्भुमाइअ) (व्याप्त, पूरित) (48.349) filled with, pervaded. उद्धर (उद्धर) (1274.276) heavy, full of. उप्पड (उत् + पत्) (56.53) to jump up, spring up. उब्भेसअ (उभेषक) (1523.318) frightening, terrifying. उम्मइअ d (मूढ) (40.14) stupefied, bewildered, indolent. उम्मंथर (?उम्मच्छर d (निरर्गल) (49.521) unrestrained, violent, impetuous, wild. उम्मिल्ल (उन्मील, उन्मीलित) (1379.294) opened. उम्हाअंत (त्थणी) [ऊष्मायमाण (स्तनी)] (74.56) 'having naturally warm breasts'. उरल्लि (?ओरल्ली) d (गलगर्जितम्) (46.18) growl, roaring sound from the throat. Read Desi (p. 60): 'दीहरमहुरझुणीए ओरल्ली' ओरल्ली दीर्घमधुरध्वनि :। उल्लट (उद्वर्तु; उल्लटइ-उद्वर्तते) (538.21) to turn down. उल्लल (उल्ललइ = स्थैर्यं न लभते = नावतिष्ठते) (773.191) to slip aside. उल्लाअइ (आर्दीभवति) (258.392) becomes wet. उल्लीण (उपलीन ? आलीन) (592.160) clung to. उल्लूरण (भजन) (858.204) the act of being plucked or cut उल्लूर d (= छिद्) to pluck,
• ' cut. उव (7उअ) (पश्य) (1291.279) - 'Look'! Read H. उअ पश्य । 8.2.211. उवआर (उपचार) (145.71) courtesy, polite behaviour, (external display of courtesy). उवह (?उअह) (पश्यत) (176.683) Look ! Read Desi (p.41) : उअह त्ति 'पेच्छह' अत्थे । उअह
. पश्यत ।
उवहारिआ d (दोहनकारिका) (986.226) a dairy-maid. उवालंभ (उपालम्भ) (652.171) taunt or reproach. उव्वत्तण (उद्वर्तन) (579.158) changing or turning the sides of the body (in sleep). उव्वरिअ d (अवशिष्ट) (1589.329) the rest'.
_Read Desi (p.52) अहिअ-अवंछिअ-णिच्छिअ-ताव-अगणिएसु उव्वरिअं ।

Page #312

248
Prakrit Verses in Sanskrit Works on Poetics
उव्वरिअं अधिकम् अनीप्सितं, निश्चितं, ताप:, अगणितं चेति पञ्चार्थम् । उव्वाअ d (खिन्न) (1550.323) wearied, exhausted..
Read Desi (p.43) 'खिन्ने उव्वाअ-उत्तंपिया' उव्वाओ तथा उत्तंपिओ खिन्न: । उत्तम्मिखिन्नम्' इत्यन्ये। उव्वासिअ (उद्वासित) (141.70) banished, rubbed away, removed. उविग्गिरी (उद्वेगिनी, उद्विग्ना, उद्वेगशीला) (141.70) one who is afflicted. उविण्ण (उद्विग्न) (591.160) pained, distressed. उव्वेल्ल (उद्वेल = प्रसरणशील) (1298.281) tremulous. उसुरुसुंभिअ (रुद्धगलं रोदनम्) (16.9) choked weeping. Read Desi. (p. 55) ऊसुंभिय - ऊसुरुसुंभिया
य रुद्धगलरुण्णम्मि । ऊसीसअ (उच्छीर्षक = उपधान) (77.597) a pillow. एक्कक्कम d (अन्योन्य) (549.153) reciprocal, mutual. Read Desi. (pp. 56-57); ‘एक्केक्कम अन्नोन्ने'
एक्कक्कम अन्योन्यम् । एक्कमेक्क / एक्कक्क (एकैक) (125.66) (with) every one; see H. on 8.3.1: वीप्सार्थात्पदात्परस्य स्यादे : स्थाने स्वरादौ वीप्सार्थे पदे परे मो वा भवति । एकैकम । एक्कमेक्कं । --- पक्षे एक्केक्कमित्यादि। एदहमेत्त (एतावन्मात्र । एतन्मात्र) (667.174) so extensive, so vast. (रअ-) ओच्छिा (रत-) d केशविवरण । विनंसन (639.169) -विवरण - "brushing, combing, doing
up, dressig the hair' - विप्रेसन - loosening, unfastening of the braided hair. ओढणअ / ओड्ढण d. (उत्तरीय) (285.102) the upper garment; Read Desi (p. 60) : 'ओढणं उत्तरीए' । ओड्ढणं उत्तरीयम् ।
ओणअ (अवनत) (246.94; 9.542) bent down, downcast (गअ +) ओणिअत्तंत (गतापनिवर्तमान) (1385.295) hovering between life and death. ओत्थअ (अवस्तृत) (1273.276) covered with. ओत्थइअ (अवस्थगित) (1378.294) covered with. ओमालिआ (अवमालिका) (604.162) crumpled garland which has become stale and withered; also the flowers offered to a deity (an idol) in worship on the previous day and removed on the next day (निर्माल्य).

Page #313

Prakrit Verses in Sanskrit Works on Poetics
249 ओरत्त (? आरत) - (उपरक्त ? आरत) dyed, coloured red; reddish. Cf. Dess (p. 64) :
ओरत्तो विदारित : गर्विष्ठ : कुसुम्भरक्तश्चेति त्र्यर्थ :। ओरम (उप + रम्) (188.80) to stop, desist, give up. ओरंपिअ (तष्टत्वक्) (184.377); रंप is a substitute for तक्ष् to scrape, pare, hence the parings. ओरल्लि d (दीर्घमधुरध्वनि:) (14.497) continuous sweet sound. ओरुण्णमुही (अवरुदितमुखी) (1324.285) who had a weeping face, i.e. whose face was
___covered with tears. ओलुग्ग (अवरुग्ण) (1401.298) enfeebled, sickly, (lit. broken, torn, अव + रुज्) ओलोअण (अवलोकन) (628.167) a look, glance, looking at, beholding. ओल (आर्द्र) (638.169) wet. Read H.8.1.82.. आर्द्रशब्दे आदेरात उद् ओच्च वा भवत:। उल्लं ।
ओल्लं । --- ओसट्ट (वि + सृप) (945.220) to spread (-PSM). ओसर (अप + स्) (242.93) to flow away. ओसहिअ (-जण) (आवसथिक (-जन) ) (1522.318) an ascetic dwelling in a monastery ओसिअंत pres. part. (अवसीदत्) (1383.295) drooping, sinking down. ओसूसइ i) (अवशुष्यति) (815.197) languishes. Read H. on 8.1.172 :अवापयोरुपसर्गयोरुत इति
विकल्पार्थनिपाते च आदे: स्वरस्य परेण सस्वरव्यञ्जनेन सह ओद् वा भवति । . . ii) ओ सूसइ (ओ शुष्यति) (815.197) 'Look here !' she languishes. ओहम्ग (अवभग्न) (1475.310) broken, obstructed, impeded. ओहसिअ (उपहसित) (190.81) - was held to ridicule, jeered at. ओहि - दिण (अवधि-दिन) (1258.274) the date of return from journey; ओहि (अवधि) limit,
the promised or stipulated day of return from journey after a certain fixed _number of days. कंखिरी fem. of कंखिर (काङ्क्षणशीला) (1315.284) one who is desirous of.. कंठमुही = कंठिआ (कण्ठिका) (1366.292) an ornament for the neck, necklace. कंडुइअपंडुरं (कण्डूयित - पाण्डुरम्) (39.50) (the scratched (skin) becoming white and causing
irritation and uneasiness.

Page #314

250
Prakrit Verses in Sanskrit Works on Poetics कंडुज्जुआ (काण्डर्जुका) (1126.249) straight like an arrow, simple-hearted, straight -
forward.
v. 1. कण्णुज्जुआ (कर्णर्जुका) naive, credulous. कंथा (कन्था) (30.551) a patched garment. कंदोट्ट d (नीलोत्पल) (197.83) a blue lotus.
Read Desi.(p. 69) : उप्पलए कलिम-कंदोट्टा । कलिमं तथा कंदोर्ट नीलोत्पलम् । कअगह (कचग्रह) (155.73) seizure of the (braided) hair. कअवेणिआ (कृतवेणिका) (206.84) one who has twisted her hair into a braid, one who
has plaited the hair. कइम (कतम) (227.90) which (of many). कडप्प d (कटप्र = निकर) (7.535) mass, collection, heap, pile, flock, multitude. कणअ-दो(डो)र (कनक-कटिसूत्र) (1453.307) golden girdle or waist - band Cf. Marathi कडदोरा. Read Desi. (p. 167) : कंचीइ दार-दोरा य ।
____दारो तथा दोरो कटिसूत्रम् । कण्णुल्लीणा (कर्णोपलीना or better कर्णालीना) (592.160;239.388) clinging to someone's ear,
to converse privately - for whispering. कण्णोलिआ d (कर्णावली, अवतंस) (17.549) ear-ornament.
Read पाइअ-लच्छीनाममाला p. 6. v. 52 :उत्तंसो अवयंसो कन्नोली कन्नऊरो य | And Desi.
p.88: चंचु-उत्तंसेसु कण्णोल्ली -- कण्णोल्ली चञ्चुः अवतंसश्च । . कदमिअ (कर्दमित = कलुषित) (8.582), (with the face) decked or soiled. करालिअ (करालित = मध्ये सावकाशीकृत, सान्तराल) (1387.296) - made uneven (lit. rendered formidable, magnified, intensified). करिमरि Voc of करिमरी (= करमरी बन्दी) (175.375) a captive lady बन्दी : a male or female
prisoner. Read Desi.(p.71) करमरी बंदी। (p 72) करमरी हठहृता स्त्री। a woman abducted
by force. कलमकूर (कलमकूर) (5.529) कलम (Kalama) rice of a superior quality; boiled rice.
कलम a sort of rice (sown in May-June and ripening in December - January);
pering.

Page #315

Prakrit Verses in Sanskrit Works on Poetics
251
कूर boiled rice. कलमगोवी (कलमगोपी) (314.404) a (young) woman guarding a paddy field, a female
keeper or warden of the paddy-field. कलहायंती (fem. pres. act. part. from denom कलहाय from the noun कलह) (190.81). काणा-महिला (=काण-महिला) (726.183) The wife of a man blind in one eye. काण means 'one-eyed (person)'; the elongation of the final ain काण is for the sake of metre. कारिल्लअ d (कारवल्ली (फल)) (127.365) The fruit of the creeper called कारव (वे) ली; Cf.
Marathi कारले. काल-उरई (काल-उरगी) (7.535) A female deadly or venomous snake.
Cf. कालसर्प - the black and most venomous variety of the cobra. कालकूड (कालकूट) (133.571) the deadly poison, produced at the churning of the ocean, swallowed by Siva and eausing the blueness of his neck. कालक्खरिअ (कालाक्षरिक) (570.156); कालक्खर (कालाक्षर). - one who can read and decipher (a pupil who has begun to read), a learned man,
a scholar (?) as opposed to अक्षरवर्जित - unlettered, illiterate. कावालिणी (कापालिकी) (25.545) कापालिक (Name of) A Saiva ascetic who carries a human
skull and uses it as a receptacle for his food, hence 191fcct, a female Saiva .! ascetic. किसि-एलाल (कृषि-पलाल) (1.495) : the harvest (corn crop) and dry cut stalks of kinds ____of grain (as material for bedding, thatching, packing). किसोअरि Voc. of किसोअरी (कृशोदरी) (59.53; 60.434) 'O, thin-waisted one', 'o, fair one'. कीस (कस्मात्) (1318.284). Whence; see H. 8. 3. 68 --- किम: -- || किणो। कीस । कम्हा। कुज्ज -(कुसुम) (कुब्ज - कुसुम) (3.436)- a kind of flower; (the flower of Trapa bispinosa) कुडंग d (लतागृहम्) (6.1) A place overgrown with plants or creepers, a bower, an arbour. Read Desi. (p. 80): कुडय-कुडंगा लयाहरए ।
'कुडयं तथा कुडंग लतागृहम्। कुप्पासअ (कूसक) (23.533) a bodice, choli

Page #316

252
Prakrit Verses in Sanskrit Works on Poetics
Tocalfat37 (Coctaifai / Ticht) (716.182) a girl / woman born in a noble family. 905-05 (T-920:?) (4.529) : 8C 'cunnigly clever' or goc = HT; RS = wasp; - a dangerously stinging wasp, hence by laksaņā', 'the powerful lethal injury that (Jayasimha) the king inflicts on his adversaries' – though one must confess, the meaning of his 'biruda'is obscure. Sac d ( -2) (258.392) petticoat, under-garment: Read Desī. (p. 82) Oct जघणवसणे । कूवलं जघनवसनम् । to d (FIAT) (6.512) connected with, relating or belonging to. 22-gren (252T-BFT) (161.75) much or ornamented hair. oys-an (stygiart:) (1516.317) the fragrant powder to be scattered and sprinkled on the body and clothes on the day of full moon (the Holi festival?). auf 31 (?disfu distanluf) (793.194). "vomitting (उद्गीर्ण) what has been eaten (खाद standing for खादित).
This expresion is used to refer to something unpleasant and hence what is meant is that pleasures enjoyed in the company of the lover become unpleasant in his absence" – Dr. A. M. Ghatage.
'eaten first and then regurgitated' and refers to rumination (chewing the cud), a habit in the case of quadrupeds, also called ther in Sanskrit corresponding to raier in Marathi. Thus disfrutarifat would mean "are ruminated", "are recollected”, "are enjoyed in recollection in a nostalgic manner." - Prof. M. V. Patwardhan. "खटुग्गलिआई (after प्रबन्ध ) 'sour belches' खट्ट 'sour' acid' (Guj. खाटुं, H. खट्टा)" - Dr.
H. C. Bhayani. quu 37 (Platch; ejuu 37 (FY10C)) (821.198) a metallic pin or peg; a metallic pole (long,
slender, rounded tapering piece of wood / metal) Cf. Deśī.(p. 91):quu3nt plati
खण्णुओ कीलक : Gure (942) (1338.287) the skull, the half a skull, a bowl, pot, cup. OfA1 (refaa) (70.55) slipping, wobbling (adj. qualifying steunt).

Page #317

Prakrit Verses in Sanskrit Works on Poetics
253 खलीकअ (खलीकृत) (36.553) (खलीकृ to reduce to sediment, crush, hurt, treat ill; खलीकृत
= न्यक्कृत insulted, humiliated, humbled, treated with contempt. खामोअरी (क्षामोदरी) (1639.336) क्षाम = कृश, hence कृशोदरी = तनूदरी a thin-waisted one. खिखिरी d (डुम्बचिह्नयष्टि) (23.47; 888.210) a stick carried by the people of a very low caste - the outcaste - by the men of the lowest and most despised of the mixed tribes, a wooden stick carried by a Cândala to indicate that he is a Cāndala. खीरोअ (क्षीरोद = क्षीरधि = क्षीराब्धि) (11.583) the ocean of milk. खुजंब (कुब्जाम्र) (757.189), the dwarfish, stunted mango-tree. खुट्ट d (तुड्) (629.167) to split, shatter; खुट्टइ (= त्रुट्यति) (21.538) falls short. खुडिउप्पडिअ (खुडिअ d = खण्डित + उप्पडिअ = उत्पतित) (10.583) (the lotus plant with its stalk torn up.) खुण्ण (क्षुण्ण) (1049.237) waded, trampled, trodden. खुत्त (खुप्पिअ (मग्न)) (569.156) sunk, plunged; खुप्प = मस्ज् see H. 8.4.101 d (निमग्न)
(195.82) sunk. खोक्खा (खो खा) मुहल (मुखर) (834.200) (noisy with i.e., -making) agrowling sound. गअवई (गतपतिका = प्रोषितपतिका) (1341.288;1351.289) A woman whose husband has gone
away on a journey. गणिरी (गणनशीला) (1280.277); fem. of गणिर (the young wife) who began counting (the
days gone away since her husband's departure on a journey.) गंधिआ / गंधिरी (गन्ध् + इर = गन्धिर fem. गन्धिरी) (दुर्गन्धवती) foul-smelling, stinking. गब्महरअ (गर्भगृह (क) ) (74.56) sleeping room, an inner apartment. गब्भिणी (गडिभण = गर्भित) = गर्भिता] (825.199) 'filled with', 'full of'. Read H. 8.1.208 :
गर्भितातिमुक्तके ण:। अनयोस्तस्य णो भवति । गम्भिणो । गुरुइअ (गुरूकृत) (1273.276) 'made or rendered heavy'; गरुइआ (गुरूकृता = गौरविता) (1007.230; 332.407;) was highly respected, was highly
___ honoured. गलत्थलिअ or गलत्थिअ d (= क्षिप्त, नुन्न, पीडित) (1406.299) driven (by) or pressed by.

Page #318

254
Prakrit Verses in Sanskrit Works on Poetics
Read Desi.(p. 98) : गलत्थलिओ क्षिप्तः। 'गलत्थिय' इति तु धात्वादेशेषु क्षिपेर्धातो : सिद्धमित्यनेन अर्थनिर्देश: कृतः। See H.8.4.143- which gives गलत्थ as one of the nine आदेश - substitutes for क्षिप्.
Cf. गलहस्तित : lit. 'seized by the throat'. गहकल्लोल d (राहुः) (891.211) name of a demon (daitya) who is supposed to seize the
sun and moon and thus cause eclipses - now famous as one of the nine
planets, Desi.(p. 98) reads गहकल्लोलो राहू । (गहकल्लोलो राहु :)। गहवईअ (ग्रहपति (क)) (891.211) the moon (lit. the chief among planets). गाई (गौ:) (557.154) a cow - see H. 8.1.158 गामउड d (= ग्रामप्रधानपुरुष :) (6.340) the village chief,the leader or chief of a village, or community. DesT (p. 99) reads : गामणी-गामउडो - गामगोहो गोहो - एते चत्वारोऽपि ग्रामप्रधानार्थाः। गुडिआ-धणु (गुटिका - धनु:) (1339.288) a bow shooting round pellets, a bow (i.e., a catapult-like mechanism) loaded with and shooting pebbles of stone, boy's shooting contrivance of forked stick and elastic; Cf. Marathi 'गलोर'. गुणवजिअ (गुणवर्जित) (136.69) (i) devoid of the string (ii) devoid of good noble qualities. गोला (विसमोआर) (गोदा (विषमावतार)) (140.70) (stiff, uneven descent toj the river Goda. गोठ्ठडा (गोष्ठस्था:) (205.84) members of a club or assembly. गोत्त-क्ख लण (गोत्रस्खलन) (78.560) addressing one's wife inadvertently by the name of some other woman (whom one loves); - slipping of the name of a rival woman from the husband's lips when addressing his wife. गोस d (प्रभात) (141.70) daybreak. Read DesT.(p.102) : गोसं गोसगं । गोसं प्रभातम् । गोसर्ग-शब्दो यदि संस्कृत रूढस्तदा तद्भवो गोसग्गशब्द : अन्यथा तु देशी, पर्यायभङ्ग्या त्विहोपात्त:। गोहण (गोधन) (1524.319) cattle. घणसमअ (घनसमय) (25.47) rainy season. घम्मअ (धर्म) (163.75) perspiration, sweat. घर-परोहड (गृह - पश्चिमाङ्गण । गृहपश्चाद्भाग) (623.166) a back-yard of the house. घरिणी (गृहिणी) (166.76) a house-wife.

Page #319

Prakrit Verses in Sanskrit Works on Poetics
255
घरोवअरण (गृहोपकरण) (1.418) - provisions in the house. (उपकरण - anything supporting
_life) : गृहस्य संबन्धि उपकरणम् । उपक्रियते ऽ नेनेत्युपकरणम् । अन्नेन्धनशाकादिसामग्री । घेप्पइ (गृह्यते) (20.538) - is received; घेप्प pass. of घे (ग्रह) H. says ग्रहे: घेप्पः। 8.4.256. चंदणपंक (चन्दन-पक) (634.168) thick sandal paste. चंदिल d(नापित) 1600.161:157.576)a barber; चण्डिल is common to Sanskrit and Prakrit
and means a barber. चंदुजअ (चंदोजय, चंदोज ?) d (कुमुद) (3.529) - night-lotus,the white water-lily; Desi. (p.110) : कुमुयम्मि चंदोजं । चंदोजं कुमुदम् । स्वार्थे के चंदोजयं ।
The commentator on Lilavar (p. 7) observes: 'चंद्रुजुए कुमुदे चन्द्रवंश्यकमले। A. N. Upadhye in his Notes (p. 326) to Līlāvai says : “Trivikrama observes thus (I.iv.121) : चंदोजं रअणिद्धअं कुमुदम् । चन्द्रेण द्योतत इति चंदोजं । रजनिध्वजम् ।" चंदुजोअ (चन्द्रोद्योत) (621.166) moonlight. चइअ (शकित, शक्त) (1373.293) able. चउजामा (चतुर्यामा) (957.222) (night) comprising four parts (of three hours each); जाम = याम = प्रहर a period of three hours. चक्खंत (pres. part. from चक्ख = आस्वादय) (56.53) to lick, taste, chew; the form चक्खिअं
deserves to be compared with the Sanskrit form 'URA . The Marathi root 'चाखणे' seems to be derived from the Prakrit root चक्ख.
चचर or चत्तर (चत्वर) (546.152;70./71.595) a square where four roads meet. चज्जा (त्याज्या ? तुच्छा ?) (120.568) worthless, insubstantial, unimportant. चडुअम्म (चटु-कर्म) (713.181) the act of speaking agreeable or pleasing or flattering
words; flattery. चडुआरअ (चटुकार (क)) (234.387) speaking to please or flatter anyone चणअ (चणक) (698.178) a grain of gram. Cf. Marathi चणा, चणे (baked / parched grains
of gram). चत्त (त्यक्त) (715.181) set aside, abandoned. Read H. 8. 2. 13: त्य: अचैत्ये । चमढिअd (मर्दित) (9.17) crushed.

Page #320

256
Prakrit Verses in Sanskrit Works on Poetics
1.314) a solo afA dance. Cf. afsta dance in Malavikāgnimitra-.
Act I
च्छल (च्छल) (140.70) pretext. चाडुअ [चाटु (क)] (768.190) coaxing utterances, flattery. चात्रग (चातक) (3.476) a bird said to subsist on rain-drops. चित्तलिअ (चित्रित) (1280.277) covered with lines or marks, soiled, tinged. "p.p.p. from
denom. root from चित्तल = चित्त + ल (चित्र), ल being added pleonastically" -M.V.P. चिहुर (चिकुर) (49.488) tresses, the hair of the head.
Read H. 8.1.186 : निकष - स्फटिक - चिकुरे ह: । एषु कस्य हो भवति । चिहुरशब्द : संस्कृतेऽपि
इति दुर्ग: । Kirasvami, the commentator on Amarakosa, also notes this point. चीअ (चिता) (838.201) funeral pyre. चुक्क (-संकेआ) भ्रष्ट (-संकेता) (806.195) चुक्क d (भ्रष्ट, च्युत, वञ्चित) missed. चुण्णइअ (धवलित) (1480.311) whitened. चुण्णमुट्ठि (चूर्ण - मुष्टि) (1517.317) a handful of (sandal or camphor) powder. चुलुचुलुंत pres. part. from चुलुचुल d (स्पन्द्) (स्पन्दमान) (1461.308) to throb, to have an itching sensation चूअ-मउल (चूत-मुकुल) (152.72) mango-bud. . चोरिअ-रमण (चौर्य-रमण (रत)) (*48.445) secret sexual enjoyment. चोरिअ - रमिअ (चौर्य - रत) (736.185) secret sexual enjoyment. . च्छुह (क्षिप्) (153.73) to throw छइल d (= छेक, विदग्ध) (87.599) a shrewd, clever-person. छइल (पुर ? बहुलं (छेक / विदग्ध-बहुल) (9.530) full of shrewd people. छग्गुण (षड्गुण) (9.21) the six expedients to be used by a king in foreign politics; 1 संधि peace 2 विग्रह war 3 यान march or expedition 4 स्थान or आसन halt 5 संश्रत्य seeking shelter 6 द्वैध or द्वैधीभाव duplicity. छण (क्षण = उत्सव) (632.168) a festival, Cf. सण (in Marathi). छाही (छाया) (1468.309) shadow. Read H. 8.1.249 : छायायां ह: अकान्तौ वा । ।

Page #321

Prakrit Verses in Sanskrit Works on Poetics
257 छिक्क d (छुप्त) (626.167) touched. See H. 8.2.138; Desr (p. 122) छित्त - छीएसु छिक्कं
च।
छिण्णाली d (स्वैरिणी) (153.575) an unchaste, wanton woman, Read DeST (p. 119): जारेसु
छिण्ण-छिण्णाला । छिण्णो तथा छिण्णालो जार : 'जारेषु' इति एकशेषाद् बहुवचनात 'छिण्णा छिण्णाली
स्त्री' इत्यपि । छित्त d (=स्पृष्ट) (29.48;166.76) touched. छिप्प d (= स्पृश्) (29.442) to touch. छु / छोक्कारण (छूत्कारण or छूत्करण ? ) (811.196) छु / छोक्कारण “perhaps stands for छूत्कारण
(छूत्करण) corresponding to Marathi छू करणे, to make the sound छू in order to make a dog run away, to chase away some unwanted person or animal. For छूत्करण compare घूत्करण पूत्करण, फूत्करण, थूत्करण, धूत्करण etc. ---you are right
in saying that takut is an onomatopoeic word."-- M.V. Patwardhan. छुरिअ (क्षुरित) (2.528) besmeared, covered -ppp. from छुर to cover, smear, envelop. छूढ (क्षिप्त) (29.12; 43.348) thrown down. छेअ (-रअ) (छेक (-रत)) (635.168) technically perfect (or sophisticated) sexual
___enjoyment. छेज्ज (? छेअ -) (i छेद ii छेक) (156.371) (i) aperture, breach (ii) a kind of alliteration . . called छेकानुप्रास. छेत्त - (क्षेत्र-) सीमा (598.161) the outskirts of the locality or site (of the village). जंगलुग्गार (जागलोद्गार) (18.45)जागल = मांस flesh, उद्गार eructation or belching, hence
the eructation of the flesh. जंभाइअ (जृम्भायित, जृम्भित) (223.385) yawning. जग्गाविअ or जग्गविअ (जागरित) (1102.245) kept awake. जडा (-पब्भार) जटा (-प्राग्भार) (154.73) the great mass of matted hair. जणेइ (caus. pres. 3rd per. sing. of जण, जनयति (177.78) produces, gives. जण्णवाड (यज्ञवाट) (80.355) sacrificial enclosure. जरखंडी (जरा-खण्डिता) (205.84) torm, tattered.

Page #322

258
Prakrit Verses in Sanskrit Works on Poetics
जरा (-परिणअ) (जरा-परिणत) (716.182) enfeebled by oldage. जलरंकु (जलरङ्कु, जलपक्षिन्) (49.457) water-fowl. जामाउअ (जामातृक) (1358.290) a son-in-law. जित्तिअ - तित्तिअ (यावत्-तावत्) (44.520) as much - that much. जिम (a substitute for भुज) (92.59; 6.340) to eat. जीआ (-घाअ) (जीवा - घात) (42.589) the scar left by the bow-string. जुण्ण (-मालार) (जीर्ण / विदग्ध (मालाकार) (4.20) old, experienced (gardener). जुण्ण (जीर्ण) (सुरा).(186.80; 15.531) old (wine). जेत्तिअ (यावत्) (49.52) as much, correlative of तेत्तिअ (तावत्) 'that much,' 'so much' जोक्कार (जयकार : नमस्कार) (139.572) salutation. जोण्हाल (ज्योत्स्नावत्) (700.178) shining, illuminated by the light. झड (शद्) (629.167) to fall, perish, decay, wither. झडि (झटिति) (1157.255) ind. instantly, at once. झडिअ (शीर्ण) (26.11) shorn of leaves. Cf. Marathi (झडणे, झडलेली) झत्ति (झटिति) onomatopoeic, (598.161) instantly, at once. See H. 8. 1.42. झिज्ज (क्षि) (197.83) to become emaciated. ठेर (स्थविर) (186.80) an old (aged) man. डक्क (दष्ट) (834.200) bitten, stung. डंबर (डम्बर) (18.543) m. show, pomp. डोलाइअ (दोलायित) (20.32) swung about (दोलायते -vacillates). ढक्क (=स्थगय) (779.192) to conceal, cover up. ढक्का (= डिण्डिम) (40.589) kettle-drum. ढिल्लाअर (शिथिलादर) (23.533) ढिल्ल (-शिथिल) slack, indifferent; आदर - regard, hence
one who has slackened his regard for. ढुक्कइ ( ढुक्क = ढौक्) (92.563) to offer. दंदल्लd (1 भ्रम् २ गवेष) (28.11) to wander, search; H.8.4.161 records this

Page #323

Prakrit Verses in Sanskrit Works on Poetics
259
as one of the eighteen roots as substitutes for to wander and,
H.8.4.189 records it as one of the substitute roots for a to search. at di (fou, afa) (13.8) a lover, husband. UST-UR-4937 (TR-TECET) (604.162) the presiding or guardian deity of a town. 06-CITE (747-478) (125.66) a bank (i.e., shrubs, etc., on the bank of a river) UfSH d ((**726) apa / elfo) (1452.307) (love-) lorn, distracted or distressed (by
love) URER (RER = RRIERE) (22.440) ‘Man-Lion'; Visnu in his fourth incarnation. 016937 (Tea4T) (124.66) nail-mark (s) (made by her husband on her breasts during
the preceding night). unford ( ) (32.442) a fool. (Tur-) uau [(977-) 719) (101.360) The commentator (p. 387) explains it as
‘nasyam”. The dictionary meaning is 'a sternutatory'. u-ufaur (TY- T) (*13.438) the lotus sprung from the navel (of Vişnu). Port d (aga) (18.584) ad round, circular, n. a circle Deś7.(p.147) : fo3tenci acest
PO3Tent age forslag d (an 3nden for gel) (11.29) to behold, see H.8.4.181. forfa137 (Aufta) (1491.313) chained, bound. forgassut (for3i, an 3149 for get) (112.64; 60.352), gerund form of for37 having seen,
seeing, finding. Pornton (ATA) (21.550) a cover, veil, wrapper, sheath. pomis (-GORTE) (afda-GERTE) (74.493) hard and difficult to climb - Gahākosa (S. No.
469) reads Page for Amis and paraphrases it into Sanskrit as'ARTER' without any support. There is another reading णिकंड (निष्काण्ड). PSMexplains it as 'अवसर-रहित'. We expect a reading to mean: 'without any knots (to serve as foot-holds on
its trunk). Posis (A + FIT an 31 for et, to think of, reflect upon) (11.29) 'taking into

Page #324

260
Prakrit Verses in Sanskrit Works on Poetics
consideration'; while commenting on his sūtra (8.4.6) Hemacandra says: ----
णिज्झाअइ। निपूर्वो दर्शनार्थ : । णिडाल (ललाट) (501.144) forehead. णित्थणइ (निस्तनति) (821.198) shrieks (with pain). णित्थाम (नि:स्थामन्) (adj. of हत्थ) (1287.279) weak (or enfeebled) (hands). णिहालस (निद्रालस) (216.86) sluggish because of drowsiness. णिद्दोसं (निर्दोषम्) (140.70) adv. blamelessly. णिप्पच्छिम) (निष्पश्चिम) (838.201) final, last. णिमिअ (न्यस्त) (82.57, 332.407, 7.419, 19.452) placed, deposited. Read H. 8.4.199:
न्यस: णिम-णुमौ । न्यस्यतेरेतावादेशौ भवत: । णिमइ । णुमइ । णिम्मविअ (= णिम्मिअ) (निर्मित) (53.53; 627.167; 1412.301;) caus. ppp. used in a
_non-causal sense -- created, built. णिम्महिअ (णिम्मह, one of the 21 (आदेश for गम्); so णिम्महिअ = निर्गत = इतस्तत: "सृत) (17.9; 1642.336) gone out, spread out, emanated, come forth, issued from. णिम्मोअ (निर्मोक) (159.74) slough of a snake. णियंसण (निवसन) (37.485) a garment. Read Desi.(p. 147) : णिसंधण-णिअंसणा वत्थे । णिअंधणं
तथा णिअंसणं वस्त्रम् । णिराअ (निरायत) (213.86; 1387.296) wide, outstreciched. णिरंजण (निरञ्जन) (1276.277) without collyrium. णिव्वर (दु:खं कथ्) (1383.259) to tell, describe, relate. णिव्वल (ड) इ (पृथग् भवति, स्पष्टीभवति) (1250.272) becomes separate; becomes clear. णिव्वहण (निर्वहण) (1392.297) sequel, end. णिव्वाल (gerund णिव्वालेऊण = पृथक्कृत्य) (1448.306) perceiving distinctly. . णिव्वोलिअ (अहरं) (मन्यु - मलिनित - (अधरम्) ) (1003.230; 1152.254) (with the lower lip)
soiled because of anger. णिसण्णा (निषण्णा) (1375.293), sank (to the ground).
णिराम्भइ (निषीदति) () rests, reposes.

Page #325

Prakrit Verses in Sanskrit Works on Poetics
261
णिसाणिअ (निशाणित) (769.191) sharpened on the whetting stone. णिसामिअ (श्रुत) (1215.265; 1327.286) heard; Read Desi.: (p. 143) णिसुयं णिसामियं च सुए।
णिसुयं तथा णिसामियं श्रुतम् । णिहुअं (निभृतम्) (162.372; 243.94) silently, quietly, unobserved. णीसहं (नि:शब्दम्) (243.94) inaudibly. णीसर (निस् + सृ) (1468.309) go forth or out. णीसह (नि:सह) (1379.294) weary, weak or powerless. णीसामण्ण (नि:सामान्य) (1391.296) uncommon. णीसास (नि:श्वास) (1379.294) breathing faintly (अपरिस्फुट). गुमज्ज (नि + सद्) (2.6) to sleep, lie. Read H. 8.4.123 : ने: सदो मज्ज :।
नि-पूर्वस्य सदो मज्ज इत्यादेशो भवति । अत्ता एत्थ णुमज्जइ । गुवण्ण d(सुप्त) (1136.251) fallen asleep, slept, sleeping, asleep. Read Desi.(p. 142): णिज्ज - णुवण्णा य सुत्तम्मि । णिज्जो तथा णुवन्नो सुप्त : । णूम d (छादय, गोपय) (765.190) to conceal, hide. See H. Vrtti on 8.4.21 : छदेय॑न्तस्य
एते षडादेशा वा भवन्ति ।। णुमइ नूमइ । णत्वे णूमइ । --- Desi.(p. 149) : ---- अत्र - णूमइ छादयति
इति धात्वादेशेषूक्तमिति नोक्तम् । णेच्छंत (= अणिच्छंत) (अनिच्छत्) (128.67) unwilling. णोमालिआ (नवमालिका) (604.162) a kind of jasmine (Marathi मोगरा); also its flowers. ण्हु (हनु) (243.94) to conceal. तंस (-वलंत) (त्र्यंस-वलद्-) (86.216) turning obliquely. तंस (-वलिअच्छं) [त्र्यंस - (वलिताक्षम्)] (60.54) with his eye turned sideways / obliquely तंबा d (ताम्रा) (171.374) a tawny - coloured young cow. तंबिर (ताम्र) (1276.277) red. तट्टिआ d (वृति:) (291.399) enclosure, hedge. Read Desi. 'तट्टी वईई'; तट्टी वृति : । तणुआअइ (तणुयाय = तनुकाय) (तनुकायते) denom. verb from तणुअ = तनुक - thin, emaciated;
(1440.305) grows lean, is emaciated, wastes away. तणुइअ (तनुकित) - ppp from denom. root from तणुअ = तनुक, slender, thin, lean,

Page #326

262
Prakrit Verses in Sanskrit Works on Poetics
emaciated (226.90) emaciated, grown thin. तणुएइ (तनयति) denom verb. from तनु, thin, small, slender (139.69;19.422) makes
thin or slender. . तण्णाअ d (आर्द्र) (13.542) wet, moist, hence - तण्णाअंत (pres. part) (1402.299) getting wet, 'perspiring.' तत्ति d (चिन्ता) (6.27) reflection, consideration, thinking, thought, concern. तदिअहं (प्रतिदिवसम्) (1.35) everyday, day after day;
Read Desi.(p. 155) : 'तदिअसं अणुदिअसे', तद्विअसं - अदूरविप्रकर्षात् 'तदिअसियं' 'तद्दिअहं'.
इत्यपि - अनुदिवसम्. तम (- पडिहत्थ) (तमस् - darkness + पडिहत्थ = प्रतिहस्त = प्रतिनिधि) (161.75) representative, deputy, (representatives of) darkness. तर (i त्वर, ii शक्) (72.492) i) to hurry, make haste, move with speed; ii) to be able, have power to effect. तल्लd (अल्पसर :) (32.347) a pond. Read Desi.(p. 160): तल्लं पल्ललय-वरुअ-सेज्जासु । तल्लं पलवलं वरुकाख्यं तृणं शय्या चेति त्र्यर्थम् । तालूर d (जलावर्त) (854.203) a whirlpool, eddy. तिअस-कुसुम-दाम (त्रिदश-कुसुम-दाम) (223.89) wreath or garland of celestial flowers. तिकंड-चाव (त्रिकाण्ड - चाप) (1499.314) (holding) a bow and three arrows (each). तिंगिच्छी d (कमलरज:) (32.347) the dust or pollen of lotuses, water-lilies.
Read Desi, p. 157 : तिंगिच्छी तिंगिया य कमलरए । तिंगिच्छी तिंगिया च कमलरज: । तित्तिल (? तत्तिल्ल) d (चिन्तापर, तत्पर) (851.203) diligent, vigilant, watchful. Read Desi.
p. 153 : तत्तिल्लो तल्लिच्छो य तप्परे । तत्तिलो तथा तलिच्छो तत्परः । तित्थ (तीर्थ) (664.173) a river ford, a bathing ghata'. तिमि (-णिवह) [तिमि (-निवह)] (173.77) shoals of whales. तिवलि (त्रिवलि) (242.93) the three folds of skin on the abdomen. तुप्पलिअ d (स्निग्ध, मेक्षित) (1154.254) besmeared (with ghee coloured with turmeric
powder). PSM records तुप्प, तुप्पइअ, तुप्पलिअ, तुप्पविअ as meaning "besmeared with

Page #327

Prakrit Verses in Sanskrit Works on Poetics
263
ghee.' तुलग्ग d (काकतालीय) (17.54; 1617.333) chance, accident unexpected, accidental; Desi. p. 158 : तुलग्गं कागतालीए । तुलग्गं काकतालीयम् । तूह d (तीर्थ) (42.14; 56.53) ford, stairs for landing or for descent into a river, ___bathing-place (ghata in Marathi). त्थाम (थाम - स्थामन्) (587.159) might, strength. त्थेव d (बिन्दुः) (774.192), a drop. Desi.p. 163 : बिंदुए थेवो। थेवो बिन्दुः। 'स्तोकवाचकस्तु 'थेव'
शब्द: 'स्तोक' शब्दभव एव । थणहरिल्ली (स्तनभरवती) (645.170) a young woman having swelling or heavy breasts. थवअ (स्तबक) (1506.315) bunch, cluster. थुडुंकिअ d (दरकुपितवदनसंकोचनं मौनं चेति द्वयर्थम्) (14.30; 547.153) sulky and silent. थुत्थुक्कारिअ (? धुद्धक्कारिअ = उल्लसित ) (235.92) 'made to flare up'. थूलासुअं (स्थूलाभुकम्) (132.68), 'with big tears
थेर (स्थविर) (*14.4) an old man. दंत-क्ख अ (दन्त-क्षत) (229.91) tooth - bite, tooth - mark. दंसण - वलिअ दिशन (-वलित = लग्नं)], engaged (i) in pounding the grains to be unhusked and also (ii) in rubbing (mardana) the vaginal cavity. दप्पुद्धर (दर्पोद्भुर) (62.557) full of pride or arrogance. दस (= दह-) कंधर (दश-कन्धर) (194.82) 'ten - necked', Ravana; Cf. दशकण्ठ, दशग्रीव, दशानन. दाणलेहा (दान-लेखा) (6.582) a streak of ichor. दाविजउ (दीतां) (26.2) 'should be shown'. Read H. 8.4.32 : दृशे : दाव-दंस-दक्खवा :। दावेइ (दर्शयति) (15.421) shows, presents. दासरहि (दाशरथि)(47.25%; 23.550) Rama (a patronymic), adescendant of Dasaratha. दिठि (-णिवाअ) (दृष्टि-निपात) (216.86) 'falling of the sight', look, glance. दिठि-विसहर (दृष्टि-विषधर) (14.584), venomous serpent ('having poison in the eyes',
_ 'poisoning by the mere look' - दृष्टिविष m. a snake).

Page #328

264
Prakrit Verses in Sanskrit Works on Poetics दिहि (धृति) (49.52) satisfaction, joy; बंध दिहिं - be satisfied. See H.8.2.131; दीहर (दीर्घ) (189.80) long. दुक्खुत्तार (दु:खोत्तार) (130.68), difficult to negotiate or walk up or down. दुग्गेज्झ (दुर्ग्राह्य) (26.539) unfathomable. दुठ-वसह (दुष्ट-वृषभ) (171.374) vicious or ferocious or stubborn ox. दुण्णिअ / दूमिअ (दून, पीडित) (86.599) distressed, afflicted, tormented. दुद्दम d (देवर) (23.33) brother-in-law; Desi (p169) 'दुद्दमो दिअरे'। दुप्परिअल्ल (दुष्परिकर्ष = दुराकर्ष) (226.90) 'difficult to stretch or wield';
Desi (p. 173) however records: 'दुप्परिअल्लं असक्के दुउणम्मि तहा अणब्भसिए ।'
दुपरियलं अशक्यम् द्विगुणम् अनभ्यस्तं चेति व्यर्थम् । दुमिअ (धवलित) (86.562) whitened, illuminated; Read H. 8.4.24: धवले: दुमः। .
धवलयतेर्ण्यन्तस्य दुमादेशो वा भवति । --- इति दीर्घत्वमपि । दूमिअं धवलितमित्यर्थ :। दरेहाली (द्विरेफाली) (33.587) a row, series of bees. दुललिअ (दुर्ललित) (238.93) spoilt by fondling, fondled too much. दुव्विसह (दुर्विषह) (216.86) difficult to be bome, intolerable, difficult to endure. दूमिअ (दून) (252.95) tormented, distressed. Read H. 8.4.23: दूडो दूमः। दूसिक्खिअ (दुःशिक्षित) (570.156) overfondled, pampered. देव (दे इति निपात : प्रार्थनायाम्) (4.7; 1564.325) 'pray', 'look here!'
also read H. 8.4.196 दे संमुखीकरणे च r संमुखीकरणे सख्या आमन्त्रणे च दे इति प्रयोक्तव्यम् । दोच (दौत्य) (222.385) the state or function of a messenger. दोणी (द्रोणी) (2.528), the hollow cavity (formed at the top when the petals have slightly
opened.) दोब्बल्ल (दौर्बल्य) (1279.277) weakness. दोलिआ (दोलिका) (7.340) a litter, palanquin, cradle. दोहणी (? दोहलिणी, दोहदिनी) (234.92; 560.155) a pregnant woman having a longing
for anything.

Page #329

Prakrit Verses in Sanskrit Works on Poetics
265
धराहर (धराधर) (1478.311) a mountain. धुअ (धावय) (67.128) to wash.
(धावयति = प्रक्षालयति) धुणीधवअ (धुनीधव) (27.441) an ocean. धुद्धक्कारिअ d (उल्लसित ?) (235.92) 'made to flare up". धूमुप्पीड (धूम + d उप्पीड = राशि, समूह) (161.75) columns of smoke, dense smoke.
Cf. उप्पीड with उप्पील, recorded by H. in his Desi. (p. 51) in the sense of 'संघात'
and 'स्थपुट'. निद्भूम (-मुम्मुर) (निर्धूम-मुर्मुर)[निर्धूम - मुर्मुर (? करीषाग्नि)] (26.516) a somkeless chaff fire. M.
Williams (p. 824) records मुर्मुर m. (onomatapoeic); meaning 'an expiring ember; burning chaff'; Hemacandra records in his Desi (p. 231) : मुम्मुरो करिस - करिसअग्गीसु । -
मुम्मुरो करीषम् करीषाग्निश्चेति व्यर्थ :। पइप्प (-प्रदीप्य) (125.66) to be set on fire (pass). पइरिक d (प्रतिरिक्त, परिरिक्त ?) (230.91), privacy, solitude; Read Desi. p. 204 : पइरिक्क
च विसाले एगंते तह य सुन्नम्मि ।
पइरिक्कं विशालम् एकान्तम्, शून्यम् चेति त्र्यर्थम् । पउत्थ. d (प्रोषित) (24.33; 1571.326) (a heart from which anger) has departed, gone away, vanished. Read Desi p. 203 : पउत्थं घर-प्पवसिएसु । पउत्थं गृहम्, प्रोषितं च । पउत्थपइआ (प्रोषितपतिका) (175.77; 1347.289) a woman whose husband is away on a
___journey, one of the eight types of heroine (nayika) in erotic poetry. पउर (-जुआण) (प्रचुर-युवा) (186.80) (a village,) which abounds in young men. पओस (प्रदोष) (169.76) evening, night-fall, the first part of the night. पंचेसु (पञ्चेषु) (1.528) the five-arrowed God of Love. पचत्थरण (प्रत्यास्तरण) (1388.296) bed. पचूस (प्रत्यूष:) (1265.275) day break, morning, dawn. पच्छओ (पश्चात्) (25.586) from behind (the variant reading मग्गओ (-मग्गो) means the same

Page #330

266
Prakrit Verses in Sanskrit Works on Poetics thing; Cf. Marathi मागून) पज्जुट्ठ [पर्युष्ट= प्रस्फुरित ?)] (1046.237) throbbed. पढेंसुअ (पट्टांशुक) (98.61) an upper garment, especially of silk. पडिउट्ठिअ (प्रत्युत्थित) (192.378) risen to (meet a friend or) encounter a foe. पडिक्खक d (? पडिक्खर) (प्रतीक्षक ? क्रूर) (851.203) strict or harsh. पडिचक्ख (प्रति + आस्वादय) (628.167) to taste, sip. पडिच्छिय (प्रतीष्ट) (1.1; 1396.297) received, accepted. पडिफल (प्रतिफल्) (749.187) to be reflected. पडिसीसअ (प्रतिशीर्षक) (1498.314) a mask. पडिहत्थ (प्रतिनिधि) (112.362), deputy, representative. Read 'प्रतिहस्त: प्रतिनिधौ' - इति विश्वः। - cited by Jagaddhara in his commentary on SK IV. p. 425. पडिहास ( प्रतिभास्) (234.92) to like, please, charm. पडोहर (गृह-पश्चिमाङ्गण) (50.16; 33.426) back-yard. पढमुल्लअ (प्रथम) (560.155; 870.206) first. पणाम ( अर्पय्) (18.9) to offer. Read H. 8.4.39 : अर्पे : अल्लिव-चचुप्प-पणामा :। पत्तल d (तीक्ष्ण) (24.24) sharp. पत्तल (पत्रल) (1533.320) rich in leaves, leafy. Read Desi. p. 182 : पत्तलं --- एते त्रयोऽपि
तीक्ष्णार्था :I, 'पत्तलं कृशम्' इत्यन्ये । पत्तलं पत्रबहुलम् इति तु 'पत्रल' शब्दभवम् । पत्तलेहा (पत्रलेखा) (1480.311) and पत्तालेक्ख (पत्रालेख्य = पत्रलेखा) (1090.243) a decoration
consisting in lines or streaks drawn on the face with musk and other fragrant
substances. पत्तिअ (प्रतीहि) ('39.13) (imper. 2nd pers. sing. from पत्तिअ (प्रति + इ ) believe, trust. पप्पंद (प्रस्पन्द) (1356.290) to throb, quiver. पप्फुरिअ (प्रस्फुरित) (158.74) throbbing. पप्फोड (प्रस्फोटय) (124.66; 76.526) to remove briskly, to whisk off with a jerk. पमहणाह (प्रमथनाथ) (1.1) पमह (प्रमथ) tormentor; name of a class of demons or goblins
attending on Siva, here पमहणाह = Lord of Pramathas, Siva.

Page #331

Prakrit Verses in Sanskrit Works on Poetics
267 पम्माअ (from प्र + म्ल) (116.363) to wither, fade, vanish; the variant reading पव्वाअ
(प्र + म्लै) means the same thing. Read H. 8.4.18 : म्ले : वा - पव्वायौ । पम्हर (प्र + स्मृ) (871.206) to forget. Usually in Prakrit we get the root 'विम्हर', 'पम्हुस'
or 'वीसर' in this sense. Read H. 8.4.75 : विस्मु : पम्हुस - विम्हर - वीसरा :। .
विस्मरतेरेते आदेशा भवन्ति । पम्हुसइ । विम्हरइ । वीसरइ । पम्हुट्ठ d (विस्मृत) (806.195) forgotten. Read Paiya. पम्हुनें विम्हरिअं । p. 24.550. पम्हस (वि + स्मृ) (*39.13) to forget. Cf H. 8.4..75. परम्मुह (पराङ्मुख) (579.158) 'with the face turned away'. पराहुत्त d (पराङ्मुख) (729.184) 'with the face turmed away'. परिअड्डिअ d (प्रकटित) (1283.278) - displayed, evinced, proclaimed. परिघुम्मिर (परिघूर्णनशील) (216.86) rolling about, unsteady (परि + घुम्म + इर - घुम्म an आदेश
for gut: See H. 8.4.117). . परिच्छूढ d (परिक्षिप्त, उत्क्षिप्त) (78.597) rejected. परिठिअ (परि + स्था, परिष्ठित) (1.1) resting. परितत्थ (परित्रस्त) (25.545) frightened. परित (परीत = व्याप्त) (1251.272) filled with, pervaded. परिमूसण (परिमृशन / परिमर्शन) (87.219) act of touching. . परिलिंत (परि + ली to rest on, lurk in) = परिलीयमान), (91.59; 4.340) resting on. परिपा (? आ) लिअ d परिवृत, परिवेष्टित) (1496.313) surrounded. परिवेस (परिवेश) (666.173) a circle, halo of lustre (esp. the halo round the sun and
_the moon). परिसक्क (परि + ष्वष्क्) (63.435) to go, move about. परिहट्ट (परि + घट्ट) (21.538) to press or rub on alll sides. परिहार (परिहार from परि + हृ) (1462.309) shunning, avoiding. परुण (प्ररुदित) (1396.297), 'burst into tears', began to weep, lament. परोहड d (= पडोहर = गृहपश्चिमाङ्गण) (881.209) a backyard; Cf. Marathi परसू, परडे. ____Read Desi. (p. 185) 'पडोहरं पच्छिमंगणए' - पडोहरं गृहपश्चिमाङ्गणम् ।

Page #332

268
Prakrit Verses in Sanskrit Works on Poetics
पलालम्गि (पलाल + अग्नि = पलालाग्नि) (822.198) a straw-fire. पलास (पलाश) (37.443), (i) Palasa flowers (ii) demons (eaters of raw flesh) (पल - raw flesh, अश eater). . पलिअ (= प्रदीपय) (1346.288) cause to flame forth, blaze, burst into flames, burn. पलिप्प (प्रदीप्य) (125.66) to be set on fire, to blaze up, hence पलिप्पमाण (= प्रदीप्यमान)
blazing up, being on fire (passive). पलीव (प्र + दीपय) (729.184), to inflame, to set on fire. पलोट्ट (परि + अस्) (1492.313) to turn round, wallow. पल्हत्थ (पर्यस्त) (8.536) spread, cast about, changed, - in the present context it means
the face resting (on the palm of your hand);
Desi. p. 182 'पल्लत्थो', 'पल्लट्टो' पर्यस्त इति, पर्यस्त-शब्दभवौ। --- इति धात्वादेशेषूक्ता इति नोक्ता :।
See H. 8.2.47 : पर्यस्ते थ-टौ । पर्यस्ते स्तस्य पर्यायेण थटौ भवत :। पल्लत्थो, पल्लट्टो । पव्वा ( म्लै) (241.388) to wither, dry up; Read H. 8.4.18 म्ले: वा-पव्वायौ । पसिअच्छि Voc. (प्रसृताक्षि) (1142.252) with large (lit. extended, spread out) eyes or पसिअ
a kind of deer, hence 9R131778 a maiden with large eyes; or, a gazelle-eyed
one. पसिज्जण (पसज्जण ? = प्रसत्ति = प्रसादन) (980.225) becoming propitious, favourable. पहर (= प्रहार) (591.160) a blow; for shortening of आ in 'हा', See H. 8.1.68 : घवृद्धेर्वा । पहाव (प्र + धाव्) (1461.308) lit 'rush or advance against', 'run towards'. पाअव-रअण (पादप-रत्न) (1645.337) an excellent tree, the best among trees, (Parijata),
(रत्न - anything valuable or best of its kind). पाणउडी (पानकुटी ? चाण्डालकुटी) (80.355; 16.451) the commentater of SK says : पाणपदं
म्लेच्छदेशीयम् । पाने कुटी शौण्डिककुटी वा I a hut or a shop of a Saundika (a distiller
and vendor of spirituous liquor': पाण d (चाण्डाल), उडी (कुटी) the hut of aCandala. पाणद्धि d (रथ्या) (592.160), a street.
Read Desi. pp. 192-193: पाणद्धी रच्छाए' । पाणद्धी रथ्या । पार (शक) (1627.334) to be able to, see H. 8.4.86: शकेश्चय-तर-तीर-पारा :।

Page #333

Prakrit Verses in Sanskrit Works on Poetics
269
पारअ (प्रावारक) (74.56) a garment, warm clothing%3B
See H. 8.1.271: यावत्-तावत्-जीवित-आवर्तमान-अवट- प्रावारक-देवकुल-एवमेवे व :। पारद्धि (पापर्द्धि) (239.388) sin-thriving, hunting, chase. In the present context this
meaning does not suit at all. For the form पारद्धि See H. 8.1.235 : पापर्धी र :। पारिडि (प्रावृति) (66.594;1417.302) an upper garment, a gown. पारोह (प्ररोह) (249.95) sprout or branch of tender leaves.
____For elongation of अ in पा see H. 8.1.44 अत: समृद्ध्यादौ वा । पावालिआ (प्रपापालिका) (139.69; 77.355) a maid or female attendant at a shed or hut
on the road-side containing a reservoir of water for travellers. पासुत्त (प्रसुप्त) (624.166). latent, dormant (lit. fast asleep, here dormant); See H.
8.1.44 for the elongation of अ in पा, cited above under पारोह. पिआमह-तणअ (पितामह - तनय = जाम्बवत्) (9.583) son of Pitamaha (i.e., Brahmā), name
of a monkey-chief. पिउच्छा d (सखी) (866.205) a female friend or companion, a lady's maid; पिउच्छा (पितृष्वस:) (Voc. sing), (*43.348), 'o, paternal aunt' or my friend !' पिट्ट (भ्रंश्) (1341.288) to disappear, vanish, be ruined or lost. पिंडार (पिण्डार = गोप) (215.383) a cowherd, a buffalo- herdsman. पीलण (पीडन) (747.187) the act of pressing (when embracing). पुंडरि (also री)अ (पुण्डरीक) (820.198) (i) a lotus flower (esp. a white lotus) (ii) a white
umbrella (iii) a tiger (iv) adj. white पुढुमिल्ल, पढमिल्ल, पढमिल्लुअ (ग). पढमुल्लअ (प्रथम) (55.556) first. पुण्णाह-मंगल (पुण्याह-मङ्गल) (1566.325) "auspicious ceremony (of sowing cotton-seeds on an auspicious day). पुण्णाह = शुभ-दिवस. मंगल = auspicious religious ceremony (consisting in offering Dūrvă grass, flowers, curds, etc. to the ploughshare)” - M. V. Patwardhan (GK 366 p. 183). पुप्फलाविर / पुप्फलाई (पुष्पलवनशील / पुष्पलावी) (770.191) फुप्फलाविर - a young (gay) boy given
to plucking flowers; पुप्फलाई - a damsel who plucks flowers.

Page #334

270
Prakrit Verses in Sanskrit Works on Poetics
पुप्फवझ्या (= पुष्पवती) (206.84) 'a woman in her courses'. पुरिसाइरी [पुरुषायितशीला (= पुरुषायन्ती = पुरुषायमाणा)] (650.171; 237.388) 'A woman
___practising inverted coitus on her consort'. पुलिण (पुलिन) (180.78) sea-coast, sea-shore. पुलोअ (a substitute for - दृशः प्र + लोक्) (738.185) to see. पुलोइअ (प्रलोकित; दृष्ट) (237.93) 'was seen'. पुस (मृज्, प्र + उछ्) (1411.300) to wipe. पुसिअ (मृष्ट, प्रोञ्छित) ('17.439;32.552) wiped. पुस is given as one of the nine substitutes
_for मृज् - See H. 8.4.105. पूस-वंद (वंद्र) (शुकवृन्द) (148.72;61.523) a flock of parrots; पूस d a parrot. Read Desi.
___p.206 : पूसो हाल-सुगेसुं । पुसो सातवाहन: शुकश्च । पेच्छिरी (प्रेक्षणशीला, पेच्छ + इर = पेच्छिर + ई fem. termination) (738.185) given to seeing,
beholding. पेल्ल (पीडयू, प्रेरय) (25.586) to press. पेल्लण (पीडन, प्रेरण) (217.87; 579.158) pressure, close contact, squeezing, pushing. पेल्लिअ (पीडित, आक्रान्त) (1412.301) beleaguered, overrun, attacked.. पोढवाअ (प्रौढवाद) (1120.248) an arrogant or defiant remark, a bold or arrogant assertion. पोत्ती (पोती, पोतिका) (697.178) cloth, a garment a cloth worm round the hip. पोसिअपइआ (प्रोषितपतिका) (146.574) a wife whose husband is abroad. फर-फलअ (फर-फलक) (29.551) a pair of shields: फर फलक. फलही - वाहण (कार्पास - बीजवपन) (825.199) sowing the seeds of cotton. फिट्ट (भ्रंश) (188.377;21.538) to slip down from or leave; H. (8.4.177) records six
substitutes for I of which one is one. फुट्ट (स्फुट्) (84.58) to break, burst or split open, reveal.' फेक्कार (फेत्कार) (1498.314) shriek, howl. फेल्ल (क्षिप्) (58.87) to throw off, drive away.

Page #335

Prakrit Verses in Sanskrit Works on Poetics
271
बंधइ (-जण) (बन्धकी) (883.209) (connected scil. with many men), an unchaste woman. बलमोडि (बलमोडिअ, बलामोलि) d (बलादामोट्य) (24.441;13.421) forcibly, violently. बलिअ d(= पीन) (235.92) swelling, plump, large, round. Desi p. 209: बप्प-बलिया सुहड
पीणा |---बलिओ पीन:। बलिबंधन (ब/वलि-बंधन) (168.578), (i) binding of Bali, a Daitya, who prided himself
on his empire over the three worlds, by Visnu in his Dwarf-Incarnation. (ii)
forming three folds of skin on the abdomen. बाओल्लिअ (also बाउल्ली) (- पाञ्चालिका) (253.96) a human figure (painted on a wall), doll (Cf. Marathi बाहुली.) Read Desi.pp. 210-211: बहुमुह-बालय-बाउल्ली खल-वणिउत्त-पुत्तियासुंच। --- बाउल्ली पाञ्चालिका। बाह (बाष्प) (174.77) tears. बाहुमूल (बाहु-मूल) (22.46) lit. arm-pit, secondarily, breasts close to them. बाहोल्ल (बाष्पा) (675.175) moist or wet with tears. बिंदुइज्जत (बिन्दूयमान = बिन्दु-कीर्यमाण) (1413.301) being scattered or filled with drops (of .. sweat), 'with sweat dripping (from his face)'. बिब्भम (also विब्भम) (विभ्रम) (144.71) playful or graceful movements of the eyes,
__eye-brows and lips. बीअ (बीज) (84.58), the basic or primary cause. the val. बिल्ल means 'रहस्यम', a secret. बेंट (वन्त) (20.544) the footstalk of a leaf or flower or fruit. The context demands
the reading बोंड (d. कार्पास-फल) - cotton-fruit', cotton-boll. बेबंतओ (? वेवंतओ) (nom. sing. of बेबंत - pres. part. from वेव (वेप्) to quiver) (वेपमान:) - (3.529) quivering or trembling. भज्जिअ (भृष्ट, भर्जित) (698.178) baked, parched, broiled. भंडण d (= कलह) (652.171) a quarrel, dispute, bickering. Read Desi. p. 215: कलह -
आवत्तेसु भंडण - भममुहा | And भंडणं कलह :I Cf. भांडण in Marathi. भर (स्मृ) (190.81) to remember. . भसल (भ्रमर) (56.592) a bee. Read H. 8.1.244 भ्रमरे सो वा । भ्रमरे मस्य सो वा भवति ।

Page #336

272
Prakrit Verses in Sanskrit Works on Poetics भसलो भमरो । and, 8.1.254 : हरिद्रादौ ल:--- भसलो---
भ्रमरे ससंनियोगे एव । अन्यत्र भ्रमरो । भिसिणी (बिसिनी) (3.418) a lotus-plant. See H. 8.1.238. भिसिण/ भिसण d (अव + कृ) (1517.337) to scatter, throw. Note the v. I. “फसलिहिमि =
आच्छुरिष्यामि, अवगुण्ठयिष्यामि (fut. Ist pers. sing. from फसल d to cover, besmear, besprinkle)" is equally good. भुजंग (भुजङ्ग) (99.564) (i) a serpent, snake (ii) a lover, paramour. भूअ-छण (भूत-क्षण) (299.401) the festival of Bhuta-mahotsava or Bhuta mātr or Bhuta
matrka, the same as Pancalanuyana (For details see Raghavan, Festivals---, pp. 98-107). भोइअ d (भोगिन् / भोगिक) (660.172; 851.203) a village-chief, chief of village. Read
Desi. p. 217: भोअ-भोइआ भाडि-गामपवरेसु |--- भोइओ ग्रामप्रधानम् । भोइदेव (? भोगिदेव ? = कृष्ण ?) (1631.335) Krsna (?) There seems to be no support in mythology to understand भोगिदेव as कृष्ण. It is possible to emend the text to सच्चाए वि भोइ (= होइ) देअ (देव-) दंसण° and understand देव in the present context to mean कृष्ण (-देव) ! मअण (मदन) (23.533) bees-wax (used by ladies for their lips cracking due to cold). मअणाहि (मृगनाभि) (81.561) 'deer's navel', musk. मअपंक (मद-/ मृग-पङ्क) (196.82)a thick mass of musk (the dark spots on the moon). मअरद्धअ (मकर-ध्वज) (26.25) the God of Love, Madana, having a fish on his banner,
having the 'makara' for an emblem. मअलंछण (मृग-लाञ्छन) (196.82) 'deer-marked', the moon. मइलंग (मइल + अंग) (-मलिनाङ्ग) (11.583); मलिन = soiled, darkened; (The Vindhya
mountain) darkened (by---) मइलिअ / मलिइअ (मलिनित) (166.76) soiled. मउलाविय (मुकुलीकृत) (804.195) closed and turned into the form of a bud. मउलिअ (मुकुलित) (581.158; 1403.299) closed (and turned into the form of a bud).

Page #337

Prakrit Verses in Sanskrit Works on Poetics
273
मउलेंति (मुकुलन्ति) (203.381) denom. from मउल (Sk. मुकुल) a bud. मज्जिरी (fem. of मज्जिर) = मज्जनशीला (638.169) (A lady) who has had a bath (lit. is
given to bathing). मज्झ (मध्य) (241.93) waist. मडअ (मृतक) (10.341) a dead person, corpse. मडह d (लघु) (1318.284) short. Read Desi. pp. 220-21: लहुम्मि मडहं च । मडहं लघु । मण्णु (मन्यु) (252.95) a lapse, offence. मण्णुअ (मन्युक) (190.81) a lapse, offence. मम्मणुल्लाव (मन्मनोल्लाप) (6.530) indistinct babble, lisping words (of children); For मम्मण .
read H. 8.2.61: न्मो म : । न्मस्य मो भवति । अधोलोपापवाद :! ---मम्मणा मम्मरअ (मर्मरक) (839.201) (onomat.) rustling (as leaves or garments), murmuring a rustling sound. . मरुभूमी (मरुभूमि:) (35.552) a desert, a sandy desert, but मरुभू (plu.) the country called
Marwar. मलअ-गंधवह (152.72) the southern breeze from the Malaya mountain. मल्ल (मल्ल = समर्थ) (22.33) victorious, triumphant, a match for, very strong or powerful. मलिअ d (मलिन) (697.178) unclean, soiled, stained. मसि (मषी) (166.76) "soot formed on the bottoms of cooking utensils". - MVP. महग्घविअ (= महार्घित, पूजित, संमानित) (194.82 ; 25.516) honoured, prized. महमहंत (-लावण्ण) d (pres. part. of महमह) = प्रसरत् (-लावण्यम्) (63.435) ever-new (lit.
spreading). Read H. 8.4.78 : महमहो गंधे। प्रसरतेर्गन्धविषये महमह इत्यादेशो वा भवति । महमहइ मालई । मालई-गंधो पसरइ । गन्ध इति किम् । पसरइ । With reference to lāvanya', however, it would be better to interpret it as 'नवनवीभवल्लावण्याम्' the young maiden whose beauty presents ever newer and
newer forms. महाणस-कम्म (महानस-कर्म) (166.76) work (of cooking food) to be done in the kitchen.

Page #338

274
Prakrit Verses in Sanskrit Works on Poetics
HEITT (Halaf) (1568.325) a large whirlpool, eddy HIGHET (HE-A2A) (5.44; 71.353) crusher or destroyer of Madhu (a demon), Vişnu. HERS ( R) (16.23) enemy of Madhu (a demon). Name of Vişnu-Krsna. A13i (HAET) (722.183) a Cāņdala or Kirāta woman. HT320 d (Hoanit, pred) (242.388) mother's sister, aunt, a female friend. Ar d (voc., ale !) (886.210,887. 210, 912.214) my friend ! HTUIST (H1947) (1189.260) a sulking haughty or angry woman; fem. from HTTST;
STT being a possessive suffix added to nouns. See H. 8.2.159. HURU (= Hafart, H , HA) (132.68; 1085.242) a high-minded or proud woman, a haughty or high-spirited woman (angry through jealous anger). Hufort (9-) 1) a woman possessed of self-respect, strong-minded, resolute, proud
(in a good sense); 2) An angry woman, one oifended with her husband (through
jealous pride). HIA (voc. of writ. d (H ) (876.208) a female friend or companion, a lady's maid;
a el 317470t ar a: Read H. 8.2.195 : H EC EST MET HRT (FIR) (8.341) 1. plague, an epidemic, pestilence; 2. pestilence personified (the
goddess presiding over plagues and identified with Durgā). fatafus31 (INGEBUJHT) (149.72; 86.357) 'deer thirst', mirage, fancied appearance of
water in deserts / sands. 431 (17) (752.188) (3105) 937 - to droop, languish, break down. J553T (gfosfach = 316 3HT) (101.360) Spherantus Hirtus'. ITIL (- 937) yah (- ) (160.74) a mass or heap of pearls. FRA () (1442.305) f. name of a river in the country of the Keralas. TERH (PER) (155.73) the sweetness or nectar of the mouth (or lips). Achtur d (Area, garant) (1617.333) met, united. HTETIT (*) (21.538) to rest,to be pleased; one of the eight substitutes for 24. See
H. 8.4.168.

Page #339

Prakrit Verses in Sanskrit Works on Poetics
275
मोहण (मोहन) (20.544) sexual intercourse. रंग (रङ्ग) (657.172) a stage, play-house, theatre, any place of public amusement. रणरणअ (रणरणक) (47.445; 1288.279) affliction or torment as caused by love. रंभोरु (रंभोरू) (106.361) (a maiden / woman) having thighs like the interior of a plantain
tree, i.e., full, round and hence lovely. रत्ति (रत्तिं accu. of time रात्रिं, रात्रौ) (141.70) during the (preceding) night. रत्तिअंधअ (रात्रि + अन्धक = रात्र्यन्धक) (2.6) night-blind. रवितणय (रवितनय = कर्ण) (*5.476) the ear. राइल्ल (रागिन्, रागयुक्त) (645.170) (madder-) dyed, coloured. राया (राजा, राजन् m. nom. sing.) (36.553) the moon. रिछोली d (पङ्क्ति) (*9.477) a series, line, swarm. Read Desi. p. 234 : रिछोली पंतीए
अ।
रिञ्छोली पङ्क्ति :। रिट्ठ (अरिष्ट) (354.72) the bull demon Arista. Read 'अरिष्टो नाम वृषभाकृति : कंसामात्यो महासुरः।
अरिष्टशब्दस्य आद्याक्षरलोप :।' रुआविअ (रोदित) (191.81) - caus. ppp. of रुअ (रुद) to weep; 'made to weep', were
made to pity. रुइर (रोदनशील) (1351.289) weeping. रुज्ज (रोदन) (1288.279) weeping. रुक्ख (? रुज्ज,रुण्ण) (रोदन) (223.385) weeping. रुण्ण (रुदित) (132.68) ppp. of रुद् to weep, wept. रुव्व (रुद्) (243.94) to weep. For - रुद changing to रुव. Read H. 8.4.226 : रुद-नमोर्वः ॥ अनयोरन्त्यस्य वो भवति । रुवइ --- and for duplication of व read H. 8.4.249 : गमादीनां । द्वित्वम् ||--- रुव्वइ रुविज्जइ--- | रोअण (रोचन, रोचना) (3.340; 79.527) a bright yellow pigmment prepared from the urine
or bile of a cow, a kind of yellow pigment. लंकालय (लकालय) (37.443) (i) लङ्कायां (=शाखायाम्) आलयो येषां ते Those which are resting

Page #340

276
Prakrit Verses in Sanskrit Works on Poetics
on i.e., growing or hanging on the branches (ii) लड़कायां रावणपुर्यामालयो येषां ते “Those who are residing in Lankā, the capital city of Rāvaņa, i.e., the
demons." लज्जालुइणी (लज्जालु:, लज्जावती) (1534.320) “Shy, bashful [लज्जा + आलु + अ (= क) +
gunt) an example of two pleonastic suffixes (3T and guit) added to the possessive
suffix आलु. Cf. सद्धालुइणी St. 417.” – MVP, GK II, p. 144. लडहत्तणअ (= रम्यता, रमणीयत्व) (1.19) beauty. Read Desi. p. 238: लट्टय-लडहा कुसुंभ - रम्मेसु॥
---लडहं रम्यम् । लंबालइया (लम्बालका) (1308.2833; 103.565) (my wife) whose (long) tresses are hanging
loosely (on her back). लीलाइद (लीलायित) (45.18) play, sport. लुंबी d (लता) (1341.288) a creeper; but the context requires us to understand it as
Folch - a bunch of flowers. लुक्क (नि + ली; निलीन) (308.402) concealed; in the sense of निलीन we should expect the form least, and not ges. The radical forms are sometimes used as past participles. Here लुक्क is thus used in the sense of लुक्किय ( = निलीन). Prof. M. V. Patwardhan has pointed out the use of such forms in Vajjālagga; vide his Introduction, p. xli. लेहणिआ (लेखनिका) (1347.289) a reed-pen. लेहणीमग्ग (लेखनी-मार्ग) (70.55) the track of a reed-pen, the line drawn withareed-pen. लेहल (लम्पट) (894.211; 355.411) greedy, lustful, eagerly desirous of. Read Desi. p. 241: लोले लेहडय-लोहिल्ला || And लेहडो तथा लोहिल्लो लम्पट :। . लोअडी (लोमपुटी = कम्बल) (205.84) 'rags' - P. L. Vaidya; 'jari purani lobadi (Gujarati)
- Dr. H. C. Bhayani. लोआववाअ (लोकापवाद) (701.178) public scandal. लोह - हिअअ (लोह - / लोभ - हृदय) (587.159) (1) लोह-हृदय steel - hearted (2) लोभ-हृदय
greedy-minded. -ल्लिअ (= लिप्त) (1303.282) anointed, besmeared.

Page #341

Prakrit Verses in Sanskrit Works on Poetics
277
ल्हसिअ (? = सस्त) लसिअ (लसित) (559.155 slipped [? this reading and meaning) does not suit the context. N.G. Suru rightly reads (दर-) लसिअ - (थणीसु) (दर-लसित-स्तनीषु) and translates "(young girls) “whose breasts are just budding into view." KM, p. 44 and p. 105. वअणिज्ज (वचनीय) (1393.297) censure, blame, disgrace. वइ (वृति) (151.72) enclosure, fence, hedge. वइरिक d (एकान्त) (1276.277) a lonely or solitary place; Cf. पइरिक्क : पइरिक्कं च विसाले एगंते
तह य सुन्नम्मि | Desi. p. 204 वकुल्लाविरी (वक्रोल्लापनशीला) (153.73; 99.359) one who is in the habit of talking crookedly
(i.e., satirically or sarcastically) वच्छअ (वत्सक, तर्णक) (215.383; 986.226) a calf वच्छोमी d (वात्सगुल्मी) (= वैदी) (58.351) the style of the people of वत्सगुल्म (Prakrit वच्छोम), a city in the country of fact. It is the same as tezff style in poetry. वड-जक्ख (वट-यक्ष) (77.597) stone or wooden image of a Yaksa installed under a
Banyan or Indian fig-tree. वंजुला (= वंजुल =) अशोक (630.167) a tree of moderate size belonging to the leguminous
class with magnificent red flowers. वडवग्गि (वडवाग्नि) (133.571) the submarine fire. वणमाला (वनमाला) (157.74; 107.361) a garland of wood-flowers (such as was usually
worn by Krsna). वणराइ (वनराजि) (161.75) a long track of forests. वण्णवसिआ (वर्णवशिता = वर्णनवशीकृता) (95.563) (a maiden or woman) who has become
enamoured of a person by the mere description given by others about his
handsome form. वणे (मन्ये) (562.155) methinks; Bhuvanapala explains मणे as हे सखि (O, friend!)
H.8.2.1205 and) 206 gives four different meanings for the word वणे : 'वणे निश्चय - विकल्पानुकम्प्ये च ।। वणे इति निश्चयादौ संभावने च प्रयोक्तव्यम् ।

Page #342

278
Prakrit Verses in Sanskrit Works on Poetics
(i) Surely or certainly (ii) or (iii) alas ! and (iv) possibly or perhaps. वलग्ग (= आरूढ ) (237.93; 1226.267) mounted; H (8.4.206) gives it as an adesa for
आ + रुह् : आरुहेश्चड-वलग्गौ ॥
आरुहेरेतावादेशौ वा भवत :। चडइ । वलग्गइ । आरुहइ । वलइअ (वलयित) (628.167) strung, bent, enclosed; 'slipped the loop of the bow-string into the notch'. वलहीघर (वलभीगृह) (50.16; 33.426) the topmost part (of a house). वसिर (वसित, वसनशील) (630.167) resident. वहुण्णिआ (= वहुण्णी = ज्येष्ठभार्या) (845.202) elder sister-in-law. वंसुप्पण्ण (वंशोत्पन्न) (136.69) (i) made from a bamboo (ii) born in a noble family. वाअग्गि (? वाणग्गि) (निर्वाणाग्नि) (1512.316) flameless glowing embers of fire. वाउरा (वागुरा) (51.52; 338.408) a net, snare, trap. वारअ (वारक) 15.535) restrainer, opposer, obstacle. वारवालिआ (वारपालिका) (1420.302) a mistress. वालुंकि (वालुङ्की, कर्कटी) (1112.247) a cucumber. वावड (व्यापृत) (144.71) busy with, engaged in. वासअ (वासक) (1542.321) bed-chamber. वासणा (? ण) (? पात्र) (1284.278) a vessel. वासारत्त (वर्षारात्र) (69.55; 134.69; 98.359; 576.157) rainy-season.. वाहित्ता (व्याहृता) (125.66; 257.96) addressed, spoken to. वाही (व्याधस्त्री / व्याध-वधू) (683.176; 1440.305) a hunter's (young) wife. विकढ (वि + कृष्) (1511.316) to drag, pull. विक्खिर (वि + कृ) (227.90) to scatter. विच्छडु d (समूह) (109.361; 158.74) collection, assemblage, or (समृद्धि) abundance,
profusion. विच्छाअ (विच्छाय) (222.89) pale, lacking lustre. विच्छडिअ (विच्छुटित = वियुक्त) (1533.320) separated.

Page #343

Prakrit Verses in Sanskrit Works on Poetics
279
विच्छुह (वि + क्षिप्) (37.49) to insert, push. विज्जुम्मणिआसलाआ (विद्युन्मणिशलाका) (53.556) flashes of lightning. विज्झ (विद्ध) (65.594) pierced, ppp. from विध्. विज्झविअ (विध्यापित) (736.185; 1422.303) extinguished (ppp. of वि + ध्यापय्) (विज्झविअ = निर्वापित) विट्ठि-दिअह (विष्टि-दिवस) (217.87;180.376; 21.515) “(also called भद्रा), the seventh of
the eleven karanas or astrological divisions of a lunar month (supposed to be inauspicious). विठिदियह can also stand for वृष्टि - दिवस (a rainy day). विष्टि also stands for unpaid labour; so विष्टि-दिवस means 'day of unpaid
labour'. विढप्प (a substitute for अर्जु) (200.83), (विढप्पंति = अय॑न्ते = are acquired.) Read H.
8.4.251: अर्जविढप्प :। विणज्जइ (वि + णज्जइ = ज्ञायते) (1545.322) (णजइ pres. pass. 3rd pers. sing. from णा = ज्ञा) to know विणज्जइ = विज्ञायते = is known. Read H. 8.4.252 : ज्ञो णव्व-णज्जौ ।। विणड (वि + नटय, वि + गुप्) (686.176) to be distracted; to agitate, to confound, perplex. विणिअंसण (विनिवसन - विवसन = नग्न) (582.157) unclothed, naked, nude. विणिम्मविअ (caus. p.p.p. of विणिम्म = वि + निर् + मा) to create (656.172) विनिर्मित created - Note the causal p.p.p. is here used in a non-causal sense. विणेति (वि + निर् + इ) (59.18) to come out, 'swell to stand out'. वित्थअ (= विस्तृत = विशाल - त्थणी = स्तनी) (53.53) one possessing large (plump) breasts. विमलिअ (विमर्दित) (1542.321) bruised, pounded, broken. विम्हरिअ (विस्मृत) (3.540) forgotten. Note म्हर is one of the (nine) आदेशs for - स्मृ, स्मर्
See H. 8.4.74. वियइल (विचकिल) (53.522) a kind of jasmine. विरमालण (गोपन ?) (1010.231) concealing, hiding.
H. 8.4.193 however lays down the root विरमाल as a substitute for प्रतीक्ष (प्रति - + ईक्ष्) to wait for, expect, to look forward to.

Page #344

280
Prakrit Verses in Sanskrit Works on Poetics
विरमावेउं (विरमयितुम्) (328:407) to stop, to end. विरलंगुली (विरलाङ्गुलि :) (139.69) with the fingers (of one's hands) loosely held together. विरिक्क (विभक्त) (1151.254) distributed. विलक्खत्तण (विलक्षत्व = वैलक्ष्य) (721.182) embarrassment. विलिअ d (वीडित) (1163.256; 1653.338) ashamed, abashed. विलिओणअ (वीडितावनत) (738.185) ashamed and bent down. विवरीअ-रअ (विपरीत-रत) (149.574) inverted sexual intercourse. विसट्ट विसट्टिअ d (= विकसित) (245.389) expanded, bloomed. विसढ (विश्लथ; व्याकुल) (1409.300) confounded, bewildered, perplexed; relaxed, loose. विसमइअ (विषमय) (34.12; 24.40) poisonous, consisting of poison, (i.e., miserable);
Read H. 8.1.50 : मयट्यइर्वा ॥ मयट्प्रत्यये आदेरत: स्थाने अइ इत्यादेशो भवति वा । विषमय : । विसमइओ। विसमओ ॥ विसम्म (विश्राम्य) (249.95) to rest on.
confused. विसंतुल (विसंष्ठुल) (941.219) unsteady, tottering, confused.
. विसरिअ (विस्मृत) (1377.294) forgotten. विसाहीआ (विशाखा) (14.22) a certain cowherdess by name विशाखा who is referred to
as विसाहा and विसाहिया in Vajjalagga. V. No. 595 and 598 respectively, and
beloved of Krsņa. विसूरण d (खेद) (768.190) sorrow, dejection, sadness; see H. 8.4.132 which lays down
___ जूर and विसूर as substitutes for the root खिद्. विसूरिअ d (खिन्न) (1564.325) wearied, exhausted. विसेसअ (विशेषक) (995.228; 13.542) (i) a mark on the forehead made with sandal,
saffron, etc. (ii) drawing lines of painting on the face with coloured unguents
and cosmetics. विहलंखल (विशृङ्खल; विह्वलाङ्ग) (17.422; 28.425) unbridled, wanton; one whose body
is exhausted and languid. विहाण (विधानं = दैवम्; प्रभातम्, प्रात:) (117.363) (i) Fate Destiny (ii) early dawn.

Page #345

Prakrit Verses in Sanskrit Works on Poetics
281 विहवत्तण (वैधव्य) (1368.292) widowhood. विहि (विधि) (195.82) Creator. वीअ (वीज्) (591.160) to fan.. वीअराग (वीतराग) (8.477) free from passions or affections, dispassionate, desireless,
calm usually applied to Mahāvīra and other Tīrthankaras. बूढ (व्यूढ, ऊढ) (82.57) carried; -'अङ्गेन रोमाञ्च: व्यूढः' - “that limb carried goose-flesh"
i.e., it felt thrilled with delight. वेआर d (प्रतारय) (1064.239; 1128.250) to deceive. Read Desi. p. 265: वेयारियं अवि
पयारिय- कचेसु | वेयारियं प्रतारितम् ।... वेलक्ख (वैलक्ष्य) (639.169) feeling of shame, embarrassment. वेलव d (उपालम्) (1130.250) to tease / taunt. वेला (वेला) (159.74) sea-coast, sea-shore. वेविर (वेपनशील) (70.55) trembling, quivering. वेस-विलया (वेश-वनिता-वेश्या) (656.172) a harlot, prostitute. वोद्रह d (तरुण) (830.199) a young man. Hemacandra in his gloss on 8.2.80 observes. वोद्रहादयस्तु तरुणपुरुषादिवाचका नित्यं रेफसंयुक्ता देश्या एव । वोद्रही d (कुमारी) (3.449) a young girl. वोल d (अति + क्रम) (28.25) to go away. वोलीण d (अतिक्रान्त) (54.17; 1353.290; 1515.117) departed, gone away. सअज्झिd (प्रतिवेशिन, प्रातिवेश्मिक) (48.52) a neighbour; Read Desi. p. 270: 'पडिवेसियए सइज्झो य ।' सअज्झिआ d (प्रतिवेशिनी, प्रातिवेशिका) (1258.274) a neighbouring woman, a woman
neighbour. सअंगाहं (स्वयंग्राह्यम्) (1650.338) obtainable by one's own effort, 'obtainable by each
one's unaided effort'. संकेत (संक्रान्त) (140.70) transferred.

Page #346

282
Prakrit Verses in Sanskrit Works on Poetics संकालुअ (शङ्कावत्) (701.178) fearful, afraid of, full of apprehension. संखवत्त (शङ्खपात्र) ('33.442) plate carved out of an oyster-shell. संखसुत्ति (शङ्ख-शुक्ति) (3.422) 'a shell-like piece carved out of a conch', 'an oyster-shell
having the shape of a conch' संगलिअ (सङ्घटित) (1145.253; 1338.287) 1) assembled, met, (or formed). Read H.
8.4.113 : समो गल: || संपूर्वस्य घटतेर्गल इत्यादेशो वा भवति । संगलइ । संघडइ । संघाडी d (संघाटी ? युगल) (1534.320) 'a pair (of बदर) plums growing from a single spray'. संझा-मअ (? संघासअ (d) = स्पर्धा) (294.400) competition. Read Desi. p. 271 :
'संघासय-समसीसी फद्धाइ' | And, संघासओ तथा समसीसी स्फर्धा | सचविअ (दृष्ट) (142.70; 18.439; 160.576) seen; H. 8.4.181 it records सचव as one
of the 15 adesas for दृश्. And, Desi. p. 273 : 'सचविअं' अभिप्रेतम् । दर्शनार्थ: तु दृशे:
"सचव आदेशसिद्ध :। सचा [सत्या (= सत्यभामा)] (1589.329; 1631.335) another name of सत्यभामा, one of the wives of Krsna. सच्छह d (सच्छाय? = सदृश) (38.486) similar, like. Read Desr (p. 269): सच्छह-सरिसाहुला
सरिसे । सच्छहो तथा सरिसाहुलो द्वौ अपि एतौ सदृशाएँ । संजमिअ d (संगोपित) (611.163) well-guarded, kept secret. Read Desi.p. 272: 'संगोवियम्मि
संजमियं | And, संजमियं संगोपितम् । संझाराअ (सन्ध्या -राग) (3.581) the reddish glow of the evening twilight.
(संझाराउत्थइअ = सन्ध्याराग + ओत्थइअ = अवस्तृत) covered with. संठव (संस्थापय) (632.168) to console, comfort. सणेह (स्नेह) (144.71) love, affection. सत्तावीससंजोअण (= इन्दु) (*2.475) the moon. Read Desi.p. 275 : 'सत्तावीससंजोअणं इन्दुं --'।
And, सत्तावीससंजोअणो इन्दु : । सिंहदेवगणि observes : देशे भवं देश्यम् । यथा- सत्तावीससंजोअण
--- । अत्र सत्तावीससंजोअण - शब्दो देश्यश्चन्द्रार्थे । --(p. 15) सत्थ (सार्थ) (1265.275) significant, having meaning. संदट्ठ d (संलग्न) (554.154) closely attached, united with, tightly closed.

Page #347

Prakrit Verses in Sanskrit Works on Poetics
283 Read Desi.p. 274: संदट्ठयं संलग्नम् - 'क' प्रत्ययाभावे संदहें इति अपि । संदाणिअ (संदानित = संस्पृष्ट) (1370.292) the ground covered (with her bosom). संदाणे (संदानय्) (169.374) to hold back, to be reluctant to part with. संपत्तिआ (= पिप्पली - पत्र) (82.561) Pippala leaf. सब्भाव (सद्भाव) (144.71) good disposition, favourable attitude. संभर (सं + स्मृ) (679.175) to remember. संभरण (संस्मरण) (247.95) recollection, remembrance. समल्लिअ (सम् + आ + ली) (885.210) to approach (stealthily, softly or gently) or embrace. समुक्खअ (समुक्खाअ) (= समुत्खात) (569.156) pulled out, extricated.
For the shortening of आ into अ, read H. 8.1.67:
वा अव्यय-उत्खातादौ अद् आत: । समुप्फुसिअ (संप्रोञ्छित - समुन्मृष्ट (13.451) wiped out समुप्फुस d (समुन्मृज्) to wipe out, rub out – (13.451) wiped out.] समुव्वसिओ (? समुप्फुसिओ) (= संप्रोञ्छित : । समुन्मृष्ट :) (22.24) wiped out. समूसस (समुच्छ्व स ?) (228.90) to breathe heavily or give out sighs. सम्मर (? संभर) (सं + स्मृ) (6.541) to remember, think of. सरअ (शरद् fem.) (180.78) autumn. सलाहिर (श्लाघनशील) (244.389) praising. सवणमाल (स-वनमाल / सव्रण-माल) (117.568) (i) wearing a garland of forest-flowers (said
of Visnu - Krsna) (ii) (lower lip) marked by a series of tooth-bites. संवरण (संवरण) (144.71) concealment. ससि-मणि (शशि / चन्द्रकान्त - मणि) (253.96) the moon-stone. सम्हत्थतालं (सहस्ततालम्) (148.72) clapping their hands. स-हिअअ (सहृदय) (15.22) a connoisseur, a sensitive, sympathetic and appreciative
reader (or spectator). सहिआ (= सहीआ = सखी) (124.66) a female friend, a lady's maid. साणी (शाणी) (220.384) a whetting stone.

Page #348

284
Prakrit Verses in Sanskrit Works on Poetics
सामलिज्जइ (श्यामलायते) (126.67) becomes dark or sombre. सामा (श्यामा) (126.67; 23.440; 144.573)adark woman (who is in the prime of youth):
शीते सुखोष्ण-सर्वाङ्गी ग्रीष्मे या सुखशीतला । तप्तकाञ्चनवर्णाभा सा स्त्री श्यामेति कथ्यते ॥ सामिवलिअ (= अर्ध-वलित) (153.73; 99.359) सामि ind. partially, half; hence, half-turned. सालिवणगोविआ (शालिवनगोपिका) (95.359) a (young) woman, employed to guard or watch
the rice-fields. साह (one of the ten आदेशs, substitutes for कथ्) (10.29) to tell. साहीण (स्वाधीन) (186.80) (i) at one's disposal (ii) ready for use at any moment. साहुली d (वस्त्रम्) (234.387).a garment, 'saree', 'lower garment'. सिक्करिअ (सीत्कृत) (3.449) p.p.p. used as a noun : hissing sound; the sound sit or sit
(supposed to indicate pleasure, pain or applause); śīt or sīt - a sound made by drawing in the breath (to express any sudden thrill of pleasure or pain,
and especially pleasurable sensations during sexual enjoyment). सिक्कार (= सीत्कार) (31.442; 7.547; 55.556) see above सिक्करिअ = सीत्कृत = सीत्कार. सिढिलिअ (शिथिलित) (1371.292) loosed, loosened, slackened, released. सिण्ण (स्विन्न) (70.55) perspired (here used in the sense of perspiring). सिण्णमुही (स्विन्नमुखी) (708.180) having perspiring or sweating face. सिद्धत्थक (सिद्धार्थक m.) (1456.308) white mustard. सिद्ध-नरिद (= सिद्ध - नरेन्द्र - सिद्धराज) (4.529) name of a king of Gujarat. सिप्पिसंपुड (शुक्ति-संपुट) (160.74) oyester - shell. सिमिसिमाअ (- सिमसिमाय) (onomatopoeic, a word of imitative origin) (228.90; 702.179)
to simmer; in a secondary sense: to be in a state of suppressed anger, indignation, to produce the sound 'sim' 'sim', to simmer, seethe, boil very
gently. सिरि-सहोअर (श्री-सहोदर) (*8.437) co-uterine, born of the same womb from which
Laksmi was born, brother of Laksmi. सीभर (शीकर) (49.350) spray.

Page #349

Prakrit Verses in Sanskrit Works on Poetics
285
सीसंत (कथ्यमान) (1556.324) (सीस - सास = कथय) - (are) being told. सुण्ण (शून्य) (190.81) wholly alone or solitary. सुण्णइअ (शून्यीकृत / शून्यित) (219.87) p.p.p. from denom root from (सुन्न-शून्य) - vacated. सुपरिणाह (= अतिस्थूल) (189.80) bulky or big. सुप्प / सुअ (स्वप्) (760.189) to sleep. सुप्प (शूर्प) (698.178) winnowing basket; Cf. Marathi सूप. सुरवहू (सुरवधू) (147.71) celestial damsels / women. सुव्व (pass. base from (सुण = शृ) (615.164) to hear, learn. सुहच्छिआ (सुखासिका) (1215.265) indulging in pleasure. सुहाव - (सुखय denom. verb from सुह (सुख) (598.161) to give pleasure, delight, enchant,
enrapture, hence हावेइ = सुखयति = सुखं करोति । सुहेल्लि (= सुखम्) (217.87; 579.158;1615.332;15.543) pleasure (सुह + इल्लि) = सुख pleasure; Tot is added here pleonastically (Faref). सूअर [शूकर = (आदि-) वराह) (162.577) the first boar, name of Visnu in his third
incarnation. सूईवेह (सूची-वेध) (37.49) a small hole made with a needle or better, the eye of a needle. सूण (शून) (1276.277) P.p.p. from शू (a weak form of श्वि) swelled, swollen. सेअ (स्वेद) (242.93) perspiration, hence स्वेदच्छल = under the pretext of, in the guise
___of perspiration. सेउल्ल (स्वेदार्द्र) (738.185) wet with sweat or perspiration. सेउल्लिअ (स्वेदार्द्रित) (12.341) wet with perspiration. सेओल्लिअ (स्वेदार्द्रित) (98.61) wet with perspiration. सेल-सुआ (शैल-सुता) (1.1; 5.340) daughter of the mountain Himalaya, Parvati. सोत्थि (स्वस्ति) (70.55; 248.390) the first word written in a letter, meaning 'May God
bless you', 'May you prosper', 'May you fare well'. सोमाल (सुकुमार) ('34.443) gentle. सोवाणपंति (सोपान-पक्ति ) (242.93) a staircase; step-ladder.

Page #350

286
Prakrit Verses in Sanskrit Works on Poetics हंसउल (हंसकुल) (180.78) a flock, flight, row of swans. हक्क (= नि + सिध्) (87.58;1.339) to ward off, drive off. हत्थाहत्थि (हस्ताहस्ति) (420.129; 197.379; 122.568) "हत्थाहत्थि (adv.) = हस्ताद् हस्तेन, हस्ताहस्तिकया - by taking with his own hand from my hand"; - by moving from one hand to another (i.e., from one place to another)" -MVP हत्थुल्लअ (हस्ता) (1605.331) wet hand. हरिआल (हरिताल) (831.200) yellow orpiment. हलहलअ d (= औत्सुक्य, कौतुक) (573.157) curiosity, interest. Read Desi p. 294 : 'तुमुलम्मि कोउए हलहलं' and, हलहलं तुमुल: कौतुकं च | Cf. Marathi हळहळ (uneasiness of mind). हल्लफल्ल d (1. औत्सुक्य; 2. शीघ्रता) (1425.303) 1. enthusiasm 2. quickness, speed, rapidity; read : Desi. p. 288 : 'हत्थं हल्लप्फलियं हुलियं सिग्घम्मि', and, हत्थं हल्लप्फलियं हुलियं त्रय: अपि एते शीघ्रार्थाः। "हल्लप्फलियं आकुलत्वम्" इति अन्ये । आकुलत्वम् means perplexity, confusion. हल्लाविअ d (= कम्पित) (1460.308) caused to tremble. हारहाई (? भारवाही = भारोही) (557.154) bearer of burdens. हाआ (? भाआ) (1427.303) a brother. हिअअलूडी (हृदय-लुण्टाकी) (63.435) one who robs, steals, plunders (i.e., captures) the
heart.
हित्थ (त्रस्त) (213.86) terror-stricken. हिमअर (हिमकर = चन्द्र) (133.571) 'the cool-rayed one', the moon. हिरण्णक्ख (हिरण्याक्ष) (162.577) Name of a noted Daitya, twin-brother of Hiranya-kasipu, and killed by Vişņu in his third or Varāha Avatāra. हुरहुराअ (= स्फुरस्फुराय) (737.185) to throb, to come out (on the tremulous lips). हेअंगवीण (हैयङ्गवीन) (22.538) clarified butter prepared from yesterday's milking, fresh
butter. होंत-पहिअ (भवत् / भविष्यत्-पथिक) (25.34) a person who is about to set out or start on
a journey.

Page #351

Notes
Chapter 1 Prakrit Verses In Rudrata's Kävyālaskāra
(with the Tippaņa of Namisādhu)
Note: Keith's perceptive observation regarding Slesa desereves to be quoted here in view of Rudrata's numerous examples of Bhāṣāśleșa
"They (double entendres) have a fatal effect on language; if a double sense is to be expressed, it is impossible for the best of poets to avoid straining meanings, constructions, and word order. The effort leads to constant ransacking of the poetical lexicons extant and turns the pursuit of poetry into an intellectual exercise of no high value to the utter ruin of emotion and thought." – A History of Sanskrit Literature, Oxford, 1928 (p.127)
It has to be admitted that the double entendres including Bháşaśleșa- and Citra (bandha-) kävyas - like khadga-, muraja-, padma-ākāra, etc; are beloved in circles of learned Panditas. Yet the fact remains that they are nothing more than kasta-kāvya. Hence it was thought proper not to waste time in rendering them into English or writing explanatory notes. For the benefit of interested readers however, portions from Namisādhu's commentary are reproduced under serial numbers 3 to 12 - portions that deal with Prakrit language only. For other interpretations they are referred to Namisādhu's commentary on Rudrata's Kávyālaskāra (Nirnaya Sāgara edn, Bombay 1909)
1. This line is the second half of a gātha. So far if has not been possible to trace the whole gātha. Namisādhu cites the line to illustrate the defect (poetic) विवक्षितार्थाप्रतीति: (= विवक्षितार्थाप्रतिपत्ति:) :"अत्र संझं शब्दादनन्तरं 'तत: शब्दमन्तरेण न ज्ञायते किं 'प्रणम्य सन्ध्यां ततो नाथं नमत,' आहोस्वित् 'प्रणतसन्ध्यं नाथं नमत' इति - पृ. ११
2. Please read in the second half of the gāthā H10133 Tecal for the sake of metre.
Dr. Raghavan remarks regarding this gathā : The verse is evidently from the preliminary part of the opening chapter of some Prakrit poem by one Hari"- Bhoja's

Page #352

288
Prakrit Verses in Sanskrit Works on Poetics
Srigaraprakasa (p.835), 1963 edn.
3) Namisadhu explains: प्राकृतस्य तु - काचित् भर्तारमुद्दिश्य सखीमाह - हे सखि, स शूरोऽस्मद्भर्ता मित्रं सुहृदं सङ्ग्रामे रण उद्धरति रक्षति । कीदृशम् । शरैर्बाणैः शबलं कर्बुरम् । तथा मानेन गर्वेण बन्धुरो रम्य: स्वभावो यस्य तं तथाभूतम् । तथासीश्वराणां खड्गयोधिनां दवरमुपतापदम् । तथा सह शरणेन वर्तते यस्तं सशरणं परित्राणार्थिनामार्तिहरम् । यद्येवंविधं तत् किमिति तेनोद्धियत इत्याह - मन्दबलं मन्दमसमर्थं बलं यस्य तं तथाभूतम्। बयोधनादक्षमसैन्यम् । पृ. ४०
8) समर इति । तमहं सूरि वन्दे स्तौमि । कीदृशम् । समरे रणे भीमारम्भं भीषणोद्योगम् । विमलासु कलासु सुन्दरं निर्मलकलाविषये शोभनम् । सरसं शृङ्गारादिरसोपेतम् । तथा सभासु सद:सु सारमुत्कृष्टम् । अत एव सुरगुरुसमं बृहस्पतितुल्यम् । अयमेकत्रार्थे संस्कृतप्राकृतश्लेष:। समसंस्कृतप्राकृतशब्दरचितत्वात् । - पृ. ४३
12. a.) अकलङ्ककुल कलालय, बहुलीलालोल विमलबाहुबल । खलमौलिकील कोमल मङ्गलकमलाललाम लल।।
- Rudrata IV. 23
Namisadhu introduces this gatha with the remark : तत्र षड्योगादिकप्रदर्शनायैकार्थश्लेषमेकमुदाहरणमाह -
He comments on the gatha as follows : अकलङ्केति । हे एवंविध त्वं लल क्रीड। कीदृश । अकलङ्ककुल निर्मलान्वय । कलालय कलावास । बहुलीलालोल प्रचुरविलासलम्पट । विमलबाहुबल प्रकटभुजपराक्रम । खलमौलिकील दुर्जनशिरःशङ्को । कोमल कमनीय । मङ्गलकमलाललाम जयलक्ष्मीचिह्न । अत्रैकस्मिन्नर्थे भाषाषट्कस्यापि समान रूपम् । - पृ. ४५
Incidentally, it may be pointed out that the word मौलि in the expression खलमौलिकील cannot occur in Prakrit in its present form. In Prakrit we have मउलि (or मोलि).
13. This passage is already explained in Vol. I p. 4 - immedately after the text of the Prakrit verse is given.
*14. The text as printed in the N. S. edition (p. 69) is metrically defective in the first half of this gatha :
ता किं पि किं पि ता कहविअव्वो (? कहवि कहवि] अव्वो) निमीलीयच्छीहिं- This gatha is later cited in Kalpalatăviveka; vide KLV S.No. (5.496) supra.
Both Namisādhu and the author of KLV cite this gāthā to illustrate that the gāthā is not vitiated by the defect called Punarukta (Repetition). *15. Namisādhu cites this gāthā to illustrate once again that it is not vitiated by the

Page #353

Prakrit Verses in Sanskrit Works on Poetics
289
defect called Punarukta (Repetition).
The text as printed in the NS edn (p.149) is defective : न हुघट इताणअवही नयने दीसंति कह वि पुणरुत्ता । जेवि सनापियआणं अत्था वा सूकईवाणीए ।।
घटुइ is a misreading for घडइ, ने for ते, and जे वि सनापियआणं for जे बिब्भमा पियाणं
(It is corrected keeping in view its text as presented in Dhvanyāloka IV p. 539. (Vide DHV S.No. (57.18) infra.
Anandavardhana introduces the gatha with the words "दर्शितमेव चैतद् विषमबाणलीलायाम्" and he informs us in his DHV (p. 265) that Visamabanalita is his own work: यथा वा ममैव विषमबाणलीलायाम् ।
Namisadhu adds a significant remark : उद्भटस्तु सर्वत्रात्र पुनरुक्ताभासालंकारत्वमाचष्टे।-p. 69

Page #354

Chapter II Prakrit Verses In Dhvanyaloka
with Locana
1. Anandavardhana (Ananda) cites this găthā to point out how the Vastu-dhvani (the
suggestion of a fact, idea) is totallly different from the vācya (the expressed or denoted sense). Here the vācya is of the nature of injunction or affirmation (vidhi-rūpa) whereas the suggested sense is of the nature of prohibition or negation (nişedha-rūpa). The context is: An unchaste woman who has fixed an appointment with her paramour at the grove on the bank of the river Godāvarī does not want the pious man, who usually goes there to collect flowers, to disturb their secret meeting. But openly she cannot ask him not to visit that grove. Therefore she cleverly suggests to him: “O, pious man, you may now wander freely as the dog of whom you were afraid is killed today by the lion dwelling in the woods on the bank of the river Godā."
Mahimabhatta, the author of Vyaktiviveka, who does not admit suggestion (व्यञ्जना) as a separate शब्द-व्यापार attempts to prove that the so-called व्यञ्जना is nothing but Inference (anumāna).
2. Abhinavagupta (Abhinava) gives the context:
कांचित् प्रोषितपतिका तरुणीमवलोक्य प्रवृद्धमदनाङ्कुरः संपन्न: पान्थोऽनेन निषेधद्वारेण तयाभ्युपगत इति निषेधाभावोत्र विधि :
Here the vācya (expressed sense) is of the nature of prohibition but the suggested sense is of the nature of injunction or affirmation.
Further Abbinava adds: TAHUmts gayahiraha: ARIAH CUSHIYNISICE I 376 एव रात्र्यन्धेति समुचितसमयसंभाव्यमानविकाराकुलितत्वं ध्वनितम् । भाव-तदभावयोश्च साक्ष व्यङ्ग्यस्य स्फुटमेवान्यत्वम् । (पृ. ७१-७२)
वाच्याद्
3. The suggested sense in this gāthā does not stand in the relation of virodha
(contradiction) with the expressed sense (vācya). Here the vidhi 'Tut does not suggest its nisedha (व्रज्याभाव / विध्यभाव); nor is there any suggestion of a different

Page #355

Prakrit Verses in Sanskrit Works on Poetics
291
vidhi. The suggested sense here can neither be termed as far nor as Ade and hence it is termed अनुभयरूप,
Abhinava obseves --- न प्रमादादेव नायिकान्तरसंगमनं तव, अपि तु गाढानुरागात्, येनान्यादृड्मुखराग: गोत्रस्खलनादि च, केवलं पूर्वकृतानुपालनात्मना दाक्षिण्येनैकरूपत्वाभिमानेनैव त्वमत्र स्थित:, तत्सर्वथा शठोऽसीति गाढमन्यरूपोऽयं खण्डितनायिकाभिप्रायोऽत्र प्रतीयते ।-- (पृ. ७३-७४)
4. Here the expressed sense is of the nature of afatet (negation, prohibition) but the
suggested sense is neither of the nature of विधि (injunction) nor of प्रतिषेध (prohibition). Abhinava thus interprets the gatha:
काचिद् रभसात् प्रियतममभिसरन्ती तद्गृहाभिमुखमागच्छता तेनैव हृदयवल्लभेनैवमुपश्लोक्यतेऽप्रत्यभिज्ञानच्छलेन, अत एवात्मप्रत्यभिज्ञापनार्थमेव नर्मवचनं हताश इति । अन्यासां च विघ्नं करोषि तव चेप्सितलाभो भविष्यतीति का प्रत्याशा । अत एव मदीयं वा गृहमागच्छ त्वदीयं वा गच्छावेत्युभयत्रापि (अ) तात्पर्यादनुभयरूपो वल्लभाभिप्रायश्चाट्वात्मा व्यङ्ग्य इयत्येव व्यवतिष्ठते । ।
Abhinava's interpretation however, seems to be far-fetched. Either of the first two interpretations cited by Abhinava (pp. 74.75) may be accepted. In connection with Abhinava's criticism of the two interpretations read Dhvanyaloka (Part I) ed. by Prof. Virkar and Prof. Patwardhana (accompanied by Marathi translation, pp. 114-117).
5. In the above four examples the person to whom the expressed sense and the
suggested sense are addressed is one and the same ( vişayaikya) but the two senses differed in their nature - if one was of the nature of injunction or affirmation the other was of the nature of prohibition or negation and so on (svarūpa - bheda). Now, the present gātha is cited by the author to demonstrate that while the expressed sense is cognised by one person the suggested sense is perceived by a different person and thus there is vişayabheda. This vişayabheda is an additional ground to support the thesis that the (vastu-) dhvani is altogether different and distinct from the vacya - the expressed sense.
Abhinava brings out a variety of suggested meanings in the present găthă each intended for a different individual : ... काचिदविनीता कुतश्चित् खण्डिताधरा निश्चिततत्सविधसंनिधाने तद्भर्तरि तमनवलोकमानयेव कयाचिद् विदग्धसख्या तद्वाच्यतापरिहारायैवमुच्यते । सहस्वेदानीम् इति वाच्यमविनयवतीविषयम् । भर्तृविषयं तु - अपराधो नास्तीत्यावेद्यमानं व्यङ्ग्यम् । सहस्वेत्यपि

Page #356

292
Prakrit Verses in Sanskrit Works on Poetics
च तद्विषयं व्यङ्ग्यम् । --- अद्येयं तव प्रच्छन्नानुरागिणी हृदयवल्लभेत्थं रक्षिता, पुन: प्रकटरदनदंशनविधिन विधेय इति तचौर्यकामुकविषयसंबोधनं व्यङ्ग्यम् । इत्थं मयैतदपहनुतमिति स्ववैदग्ध्यख्यापनं तटस्थविदग्धलोकविषयं व्यङ्ग्यमिति ।
*6. In this stanza the expressed figure of speech is referunt. There is suggestion
of the figure of speech of अपहर्तुति as well as व्यतिरेक in the second half of the गाथा If this suggested figure of अपह्नति / व्यतिरेक is perceived as प्रधान - more prominent than the expressed 3721ffer, then we will have to admit that there is no figure of speech (saṁkara) in this gåthă and that it has to be regarded as a case of अलंकारध्वनि.
7. This (Skandhaka) verse is an example of the figure of speech called अप्रस्तुतप्रशंसा
(second variety, based upon causality, निमित्त - निमित्तिभाव or कार्य-कारणभाव). Here Jámbavat describes the kārya effect viz, his remembering Visnu's bosom when it was without the Kaustubha gem and the goddess of wealth; etc., which is aprastuta irrelevant - this suggests the prastuata relevant cause forutlara (a very long life) etc. Jāmbavat who is long-lived existed even when Kaustubha, Lakşmī and the rest were in the ocean and had not yet been appropriated by Vişnu, etc as a result of the churning of the ocean by the gods and demons.
10. In this gathā the word 'पुणरुत्तं' is used in its secondary sense 'monotony' 'Leing
wearisome through sameness'. The KLV (10.122 11 17.18) comments on this gāthā as follows.
अत्र पौनरुक्त्येन वैरस्यं लक्ष्यते, क्रमश्चोपलक्ष्यते । एवं च क्रमो ऽपि नास्तीत्यर्थः । तथाहि - 'आलिङ्गनादनन्तरं परिचुम्बनम्' इति कामसूत्रम् । इह तु परिचुम्बनमादावुक्तम् ।।
13. The text of this passage as presented in Locana is highly corrupt. It is also cited
in the A. Bh On NS Ch VI p. 305, GOS edn, 1956); there too the text is unintelligible. Appendix I (p. 383) to that volume gives the readings in the MS of the DHV which too are corrupt. The second half of this verse is correctly preserved in Somesvara's Sarmketa (p.24) The KLV however, for the first time gives us the text in its correct form (p123, 11 26-27)' : दीवडि तेल्लु णाहि पलु, दम्मि (? द्रम्मु) गमिट्ठा (? गविट्ठा) । लावण्णुज्जलंगु घरि, ढोल्लु पइट्ठा ।। It may be translated as follows: There was not a drop of oil in the lamp, nor

Page #357

Prakrit Verses in Sanskrit Works on Poetics
293
could I find even a farthing in the house. Exactly at this time came in my lover, his body resplendent with his beauty.
Dr Bhayani wrote to me with reference to this passage and its restoration thus :
"Your chāyā and interpretation of the cited Apabhramsa verse is quite all right so far as I understand. गविट्ठा is a better reading. I think दम्मि is corrupt for द्रम्मु. As you suggest, Tc is probably a measure for fluid - in Gujarati we still have the term 46 (fem) for the same purpose. Taçar is nominative sing form ending in 347 as in later Hindi (Khadi Boli) and also in Marathi etc. We find in Hemacandra's Apa. citations similar admixture of u-forms and a forms (e.g.) बहिणि महारा कंतु)." To my query regarding its metre he adds: "The metre seems to be the आन्तरसमा चतुष्पदी class with 12 + 8 मात्राs. According to Hemacandra (Chando nusāsana 6, 20-15) this would be perhaps नागकेसर (There is always some uncertainty because the last mora is optionally taken to be metrically short or long when it is actually short)".
14. 'कमलाई कमलाइ' (कमलानि कमलानि) - इत्यत्र द्वितीय: कमलशब्द: लक्ष्मीपात्रत्वादिधर्मान्तरशतचित्रतापरिणतं
संज्ञिनमाहेत्यर्थः । - लोचन पृ. १००
लक्ष्मीपात्रत्वं कान्त्याश्रयत्वम् । आदिपदेन विकसितत्वसौरभादिशालित्वं गृह्यते । - बालप्रिया पृ. १००
15. Locana brings out the charming meaning of this gātha thus :
'च' शब्दोऽपिशब्दार्थे । गगनं मत्तमेघमपि न केवलं तारकितम् । धारालुलितार्जुनवृक्षाण्यपि वनानि न केवलं मलयमारुतान्दोलितसहकाराणि । निरहङ्कारमृगाका नीला अपि निशा न केवलं सितकरकरधवलिता:। हरन्ति उत्सकयन्तीत्यर्थः । मत्तशब्देन सर्वथैवेहासम्भवत्स्वार्थेन बाधितमद्योपयोगक्षीबात्मकमख्यार्थेन सादृश्यान्मेघालँ लक्षयता असमञ्जसकारित्वदर्निवारत्वादिधर्मसहस्रं ध्वन्यते । निरहङ्कारशब्देनापि चन्द्रं लक्षयता तत्पारतन्त्र्यविच्छायत्वोज्जिगमिषारूपजिगीषात्यागप्रभृति: । - लोचन, पृ. १७३
16. The first quarter of this Apabhramsa verse in the printed text of Locana is
corrupt. It needs to be corrected keeping in view the following statement in the Desi (p. 55):
ऊसुंभिय - ऊसुरुसुंभिया य रुध्दगलरुण्णम्मि । ऊसुंभियं तथा ऊसुरुसुंभियं रुध्दगलं रोदनम्। Dr Bhayani restores the verse keeping in view the above quotation and the metre Vidyullata (an Antarasama Catuspadi with the scheme 11+10 Matrās (i.e. 10+9

Page #358

294
Prakrit Verses in Sanskrit Works on Poetics
Mātrās in actual practice) (Chando'nušāsana VI 20.28) as follows : "ओसुरुसुंभिआए मुहु चुंबिउ जेण । अमिअरसघोंटाणं पडिजाणिउ तेण ॥
(रुध्दगलं रुदिताया मुखं चुम्बितं येन । अमृतरसनिगरणानि प्रतिज्ञातानि तेन ।)" .
It may be translated as follows:- He alone has tasted nectar-even a mouthful of it - who has kissed the mouth of his sweetheart when she could not even weep aloud, being choked with tears.
For a full discussion read Dr. Bhayani's paper : Pk Usurusumbhia - 'Choked Weeping’ in Vidva, Journal of Gujarat University Vol XVII: A Language Group, January 1971..
17. The printed text wrongly reads चमहिअ for चमढिअ, 'अखंडिअ' for अक्खुडिअ, पसारा for
पसरा and 'प्पलिहाव्विअ' for 'प्फलिह च्चि'.
These readings are supported by Hemacandra's KĀŚ (p. 79) and KLV (p. 138). The reading 'अखंडिअ' represents the attempt of the scribe (?) to bring the Prakrit reading in close agreement with its Sanskrit counterpart. That the original reading must have been "बाहुप्फलिह चिअ गइंदा (बाहुपरिघा एव गजेन्द्रा:) is supported by Anandavardhana's own gloss : अत्र रूपकच्छायानुग्राही श्लेषो वाच्यतयैवावभासते (पृ. २३७) and also by his great commentator's comment: .... प्रसृतप्रताप्रसरा अखण्डितवि (त) रण (= विश्राणन of KLVप्रसरा बाहुपरिघा एव यस्य गजेन्द्रा इति । (प्र. २३८).
18. According to Hemacandra (8.4.39) पणाम is one of the आदेशs (substitutes) for अप्प.
The original reading must have been at quras; some one appears to have changed it to 'दाव अप्पेइ' to bring it nearer its Sanskrit counterpart (तावत् अर्पयति). VV (p. 451) reads 311 quide which is very much nearer 'at ulaş! KĀŚ (p. 72) and KLV (p..144) too support the reading ता पणामेइ.
19. The comments of Abhinava deserve to be read in the original : स्तनौ तावदिह प्रधानभूतौ
ततोऽपि गौरवित: कामस्ताभ्यामभ्युत्थानेनोपचर्यते । यौवनं चानयो: परिचारकभावेन स्थितमित्येवंविधेनोक्तिवैचित्र्येण त्वदीयस्तनावलोकनप्रवृद्धमन्मथावस्थ: को न भवतीति भङ्ग्या स्वाभिप्रायध्वननं कृतम् । तव तारुण्येनोन्नतौ स्तनाविति हि वचने न व्यञ्जकता । - लोचन (प्र. २५६)
20. The reason of the proud bearing of the ey Abhinava explains as follows :
शिखिमात्रमारणमेव तदासतस्य कृत्यम् । अन्यासु त्वासक्तो हस्तिनोऽप्यमारयदिति हि वचनेनोक्तमुत्तमसौभाग्यम्।

Page #359

Prakrit Verses in Sanskrit Works on Poetics
295
रचितानि विविधभड्गीभिः प्रसाधनानीति तासां संभोगव्यग्रिमाभावात् तद्विरचनशिल्पकौशालमेव परमिति atafuifTete GGHIAR Ghita I - 19 (q. 24€ - 40)
"The wearing of peacock plumes by the really is an indication of the hunter's deeper attachment to her, while the wearing of pearls by the senior cowives is an indication of his feeble and lukewarm attachment to them.". MVP Vajjālagga p. 448
21. The moon beams bring greatness to night, lotuses to the lotus plant, bunches
of flowers to creeper, swans, to the glory of autumn and the good (sensitive and sympathetic critics) to poetic works.
We have in this stanza the figure 34HT (Simile) implicit, but all the beauty is centred in the expressed figure called 24 (Illuminator). The present stanza deserves to be called kavya because of this expressed figure Dipaka and Dipaka alone.
22. This is an example of 344TA (Suggested Simile). The eyes of the warriors find
more delight in the temples of elephants (of the enemies) than in the breasts of their beloveds. Consequently the expressed figure in this stanza is Vyatireka (Distinction or Excellence). But there is implicit 34HT (simile) between the temples of elephants and the beloveds' breasts. And because of their similarity the warriors find great delight in pressing (crushing) the temples of elephants - the (suggested) Simile is more prominent and charming.
23. In this example the expressed figure is 3 farina (Hyperbole) or qutu (Succession)
based on 3faterala. The mind of the demons (asuras) was first solely intent on snatching from Visnu his Kaustubha jewel; Kāmadeva (= Madana, the God of Love) placed it then in the bimba-like lower lip of their beloveds.
24. The DHV text reads rez'; but Locana (267) renders it into Sanskrit as 'UCH
W (p. 435) too reads 'Res' but Ruyyaka in his commentary renders it in Sanskrit as 'PUNT. KLV (p. 140) however reads 'ro' and the commentary paraphrases it as 'क्रियताम्', Weber rightly prefers the form कीरउ (क्रियताम्) vide GS (W) 279.
cat3ET (CART) depending on fate. Ti (Caract) or act this much or this.c h = the Asoka tree.

Page #360

296
Prakrit Verses in Sanskrit Works on Poetics
According to poetic convention the Asoka tree does not bear fruits. It has however supperbly beautiful leaves. The word 'phala' is double - meaning.
Having regard to it we have here 'अर्थान्तरन्यासध्वनि'. If however we take the whole sentence into consideration then we have here अप्रस्तुतप्रशंसाध्वनि (The description of the Asoka tree is irrelevant. It leads to the description of some great man who in spite of his best efforts, fails to achieve his objective.) Locana (p. 267) thus explains the अर्थान्तारन्यासध्वनि: -
अशोकस्य फलमाम्रादिवन्नास्ति, कि क्रियताम् पल्लवास्त्वतीव हृद्या इतीयताभिधा समाप्तैव । अत्र फलशब्दस्य शक्तिवशात् समर्थकमस्य वस्तुन: पूर्वमेव प्रतीयते । लोकोत्तरजिगीषातदुपायप्रवृत्तस्यापि हि फलं सम्पल्लक्षणं दैवायत्तं कदाचिन्न भवेदपीत्येवंरूपं सामान्यात्मकम् ।
25. बहुजाणअ (बहुज्ञ) possessed of great knowledge, hence a clever man (धूर्त). In this
gatha too we have अर्थान्तरन्यासध्वनि:
"अत्र बहुज्ञेति आमन्त्रणार्थो विशेषे पर्यवसित: । अनन्तरं तु तदर्थपर्यालोचनाद् यत् सामान्यरूपं समर्थकं प्रतीयते तदेव चमत्कारकारि |---" -- लोचन (पृ. २६८)
26. जाएज्ज (pol- act - 1st pers. sing) (जायेय - may I be born) खुज्ज = कुब्ज dwarfish,
of stunted growth sifc3t = fuf fallen; als = arit generous-hearted, eager to give for helping others. Here we have व्यतिरेकध्वनि: -
___ अत्र हि त्यागैकरसस्य दरिद्रस्य जन्मानभिनन्दनं त्रुटितपत्रकुब्जपादपजन्माभिनन्दनं च साक्षाद् वाच्यं तथाविधादपि पादपात् तादृशस्य पुंस उपमानोपमेयत्वप्रतीतिपूर्वकं शोच्यतायामाधिक्यं तात्पर्येण प्रकाशयति। - ध्वन्यालोक (पृ. २६९).
27. We have here उत्प्रेक्षा-ध्वनि. On the full-moon night the moon has flooded all the
ten directions with his bright moonlight. The speaker of this gātha fancies: "On achieving silmilarity with your face spoilt by jealousy the moon is overjoyed and therefore he cannot contain himself".
28. Here we have अप्रस्तुतप्रशंसाध्वनि Here the भ्रमरवृत्तान्त is relevant. It suggests that some
nobly born lady is scolding her fickle husband who frequents the house of harlots - this suggested sense is irrelevant. This irrelevant suggested sense further suggests the relevant meaning that the speaker of this gāthā who herself is born

Page #361

Prakrit Verses in Sanskrit Works on Poetics
297
in a good family rebukes her own husband who is of the bhramara type.
See Locana on this gatha (pp. 274-275) for a fuller discussion.
29. Here the suggested sense is that the simple - artless girl saw a reflection of the
cloud in the village tank. This suggested sense, however is subordinate to the expressed sense that some one has thrown the sky itself into the village - tank upside down. This expressed sense itself is more charming and appealing and it reveals the extreme naiveness (simplicity or artlessness) of the village - girl in regarding the reflection of the sky in the village - pond as the sky itself thrown into it with its face turned up.
30. Here the directly expressed meaning that she loses all control over her limbs
is more charming than the suggested meaning that her paramour, to whom appointment was given at the bower, has arrived there. Read : अत्र दत्तसंकेत: कश्चिल्लतागहनं प्रविष्ट इति व्यङ्ग्यात् सीदन्त्यङ्गानीति वाच्यं सचमत्कारम् (-KPV. p. 212 also read: अत्र दत्तसंकेतचौर्यकामुकरतसमुचितस्थानप्राप्तिर्ध्वन्यमाना वाच्यमेवोपस्कुरुते । तथा हि गृहकर्मव्यापृताया इत्यन्यपराया अपि. वध्वा इति सातिशयलज्जापारतन्त्र्यबध्दाया अपि अङ्गानीत्येकमपि न तादृगड्गं यद् गाम्भीर्यावहित्थवशेन संवरीतुं पारितम्, सीदन्तीत्यास्तां गृहकर्मसंपादनं स्वात्मानमपि धर्तुं न प्रभवन्तीति । गृहकर्मयोगेन स्फुटं तथा लक्ष्यमाणानीति । अस्मादेव वाच्यात् सातिशयमदनपरवशताप्रतीतेश्चारुत्वसंपत्ति: । लोचने (पृ. २८३)
31. Locana (p.284) paraphrases the Prakrit reading 'visamavirão' into Sanskrit as
visamavipākah' and in the gloss on this gatha it says : तेनात्र विषमपरिपाकत्वं मन्तव्यम्। So the Prakrit reading before Abhinava must have been 'visama-vivão' in place of 'visama-virāvo' Vipāka means 'consequence', virāva - noise, sound. The reading in KĀS (p. 55) ‘avasāņa - virasa' means 'painful or unpleasant or disagreeable in the end. These different readings suit the context all right but 'visama - virāvo' seems to be preferable as it agrees very well with the noun (valaya - saddo) it qualifies. Anandavardhana's comments on this gatha deserve to be quoted here: अत्र ह्यविनयपतिना सह रममाणा सखी बहि:श्रुतवलयकलकलया सख्या प्रतिबोध्यते। एतदपेक्षणीयं वाच्यार्थप्रतिपत्तये । प्रतिपन्ने च वाच्येऽर्थे तस्याविनयप्रच्छादनतात्पर्येणाभिधीयमानत्वात्
पुनर्व्यङ्ग्याङ्गत्वमेवेत्यस्मिन्ननुरणनरूपव्यङ्ग्यध्वनावन्तर्भाव:। - ध्वन्यालोके (पृ. २८४-८५) 33. In the first half the text needs to be corrected as the balahi. It reads the latter
part of the second half as: 'चंदो चंदो विअ वराओ। (चन्द्रश्चन्द्र इव वराक:) ।

Page #362

298
Prakrit Verses in Sanskrit Works on Poetics
KAS (p. 216) reads चिअ (एव) in place of व्विअ (इव). KLV (p.21, p. 157) too reads चिअ (एव) in place of विअ (इव). Locana (p. 293) would appear to support this reading : तथापि यदि परीक्षका: परीक्षन्ते तद्वराक: कृपैकभाजनं यश्चन्द्र इति प्रसिद्धः स चन्द्र एव क्षयित्व-विलासशून्यत्व-मलिनत्वधर्मान्तरसंक्रान्तो योऽर्थ :I KLV (p. 157) makes it perfectly clear:--- तथापि यदि परीक्षक : परीक्षते तद्वराक: कृपैकभाजनं यश्चन्द्र इति प्रसिद्धः स चन्द्र एव । क्षयित्व-विलासशून्यत्व - मलिनत्व - धर्मान्तर- संक्रान्तोऽस्यार्थः । Further, चिअ (= एव) must be
used after a vowel as noted by Dr Bhayani. 34. DHV (p. 296) observes on this gatha as follows:
अत्र दि वाक्ये विषामृतशब्दाभ्यां दु:खसुखरूपसंक्रमितवाच्याभ्यां व्यवहार इत्यर्थान्तरसङ्क्रमितवाच्यस्य व्यञ्जकत्वम् ।
35. The text of this Skandhaka verse is preserved in its correct form in KAS (p.
79) and KLV. (p. 160) In accordance with it the text in DHV is corrected. Locana (p. 298) explains the verse as follows: महार्पण उत्सवप्रसरेण मनोहरसुरस्य मन्मथदेवस्य आमोदश्चमत्कारो यत्र तत् । अत्र 'महार्घ शब्दस्य परनिपात:, प्राकृते नियमाभावात् । छण इत्युत्सवः । असमर्पितमपि गृहीतं कुसुमशरण मधुमासलक्ष्मीमुखम् । मुखं प्रारम्भो वक्त्रं च । तच सुरामोदयुक्तं भवति । मध्वारम्भे कामश्चित्तमाक्षिपतीत्येतावानयमर्थ: कविप्रौढोक्त्यार्थान्तरव्यञ्जक: संपादितः।
अपणामि (असमर्पितम्): पणाम is an adesa for अप॑ or समर्प. This verse belongs to the famous Prakrit epic poem Harivijaya (now lost).
36. KAS (p. 63) reads 'कत्तो अम्हाण वग्घकित्तीओ and जा विलुलिया; W (p. 90) कत्तो अम्हाण
वग्घकित्ती अ'; जाव लुलिया. These readings are, from the point of view of consistent meaning and metre, quite all right. Locana paraphrases que into Sanskrit as 'सविभ्रमं चंक्रम्यते'
38. The text of this gātha from Madhumathavijaya of Vākpati is corrupt. This
work is now lost. The text is correctly preserved in KAS (p. 81) and KLV (p. 173). Locana (p. 346) after citing this gatha, adds: इत्यादयः पांचजन्योक्तयो रुक्मिणीविप्रलब्धवासुदेवाशयप्रतिभेदनाभिप्रायमभिव्यञ्जन्ति । Balapriya (commentary) explains this verse and the remark on it as follows: लीलया दंष्ट्राग्रेण उद्धृतं सकलमहीमण्डलं येन वराहरूपिणा तस्येत्यनेन गुरुतरवस्तुवहने अनायास: सूच्यते । एवकारो विरोधद्योतकः। मृणालाभरणमपि अतिलघु-मृणालरूपम् आभरणमपि । कस्माद् गुरु भवतीति संबन्ध: । अनेन भगवतो विरहावस्थातिशयो द्योत्यते। एतमर्थ दर्शयति - रुक्मिणीत्यादि । रुक्मिणीविप्रलब्धो रुक्मिणीविरही यो वासुदेवः तस्याशयो

Page #363

Prakrit Verses in Sanskrit Works on Poetics
299
रुक्मिण्यामभिलाष:, तस्य प्रतिभेदनम आविष्करणं तदभिप्रायमित्यर्थः।
39. This gātha as printed in Locana (p. 346) is pretty corrupt. Weber reads this
gātha as follows : होमि वहत्थिअरेहो णिरंकुसो अह विवेअरहिओ वि । सिविणे वि तुमम्मि पुणो पत्तिहि भत्तिं ण (प) सुरामि ।। 999 || - Joglekar's edn, p. 593 KAS (p. 82) reads: हुमि अवहत्थिअरेहो णिरंकुसो अह विवेअरहिओ वि । सिविणे वि तुज्झ समए पत्तिअ भत्तिं न पुप्फुसिमि || KLV (p. 174) gives the Pratika हुमि अवहत्थिअरेहो. So keeping in view these readings we may reconstruct the gāthā as follows: मिअवहण्डिअरोरो (? हुमि अवहत्थिअ-रेहो), णिरंकुसो अ (? अह) विवेअरहिओ वि । सविण (? सिविणे वि) तुमम्मि पुणो, वन्तिअ (? पत्तिअ) अतन्ति (भत्तिं ण) पंमुसिम्मि (? पम्हुसिमि)।
पम्हस is an आदेश (substitute) for वि + स्मृ. पम्हस, विम्हर and वीसर are the substitutes for वि + स्मृ.
40. DHV (p. 351) reads अवसर, KLV (p. 176) अवयस and GS(W) (No. 706) ओसर.
All these readings are all right from the point of view of meaning and metre. DHV (p. 351) reads रोउं, KLV (p. 176) and GS(W) (706) रोत्तुं. Both these readings are all right. DHVreads मा पुस, KLV मा फुससु GS/W) मा पुससु The readings
मा पुस and मा पुससु are all right; फुस means (स्पृश्) to touch; पुंस (प्रोञ्छय, मार्जय) means .. twipe'. The context requires this meaning. DIV reads 'दंसणमेत्तुम्मत्तेहिं जेहिं KLV
दंसणमेत्तुमइएहिं जेहिं GS(W) दंसणमेत्तुम्मइएहि जेहि. PSM records उम्मइअ in two different senses : ? मूढ २ उन्मत्त. The second meaning suits the context. In the chāya (Vol. I, p. 14) better read snifauft for Ed 34feruit.
41. GS(W) reads this gātha thus :
मा पंथ रुंधसु पहं अवेहि बालअ असेसिअ-हिरीअ । अम्हे अणिरिक्काओ सुण्णं घरअं व अक्कमसि ।। (मा पान्थ रुन्धि पन्थानं अपेहि बालक अशेषित-हीक । वयं परतन्त्रा: शून्यं गृहकमिवाक्रमसि ॥) KAS (p. 84), KLV (p. 176) preserve the correct readings as presented in this edn. The DHV text (p. 352) needs to be corrected as :
मा पंथं रुंध महं अवेहि बालअ अहो सि --- | अम्हे अणिरिक्काओ -- 42. The text of this gāthā is correctly presented in KĀŚ (p. 85); it is also preserved

Page #364

300
Prakrit Verses in Sanskrit Works on Poetics
intact in KLV (p. 176) but for a misprint (जायाभीरुयाण) त्तहं for तूहं (which KLV renders into Sanskrit as स्नानस्थानम् ). In the light of these texts DHV text may thus be restored:
अण्णत्त (? त्थ) वच बालअ ण्हाअंतिं किं (? कीस) में पुलोएसि । एअं भो जाआभीरुआण तडं (? तूहं) विअण (? चिअ ण) होइ ॥
43. The text is all right but for one misreading virt for art in the first half of
the gatha.
44. The text (DHV) needs to be corrected as out and 3700 Tit in the first half of
__this gatha. 45. The DHV text needs to be corrected from तंस to तस्स. (Sk तस्य). 46. KLV (p. 183) reads असइ म्ह for असइओ, णं तु for ण तुएँ, मइलियं for मलिणिअं, ता ण
for तं ण The reading णं तु is of course, a wrong one. The reading ता ण (Sk तावत् न) has the support of GS (V. 17). मइलियं and मलिणि both mean the same thing (मलिनितम्).
47. वेरीऍ is a misreading or misprint for बोरीऍ. The comments of Locana (p. 494) deserve to be reproduced:
उत्पथजाताया इति न तथा कुलोद्भूतायाः। अशोभनाया इति लावण्यरहिताया: । फलकुसुमपत्ररहिताया इत्येवम्भूतापि काचित् पुत्रिणी वा भ्रात्रादिपक्षपरिपूर्णतया सम्बन्धिवर्गपोषिता (? पोषिका) वा परिरक्ष्यते। (जनेनेति
शेषः । इयं तु पुत्रादिरहिता च अतोऽस्या रक्षां कुर्वस्त्वं परिहासास्पदं भविष्यसीत्यर्थ:। - बालप्रिया पृ. ४९४) 48. *Read Balapriya (pp. 499-500) : हे हालिक कार्पासलता: त्वदुपजीवनभूता: कार्पासस्तम्बा:।
लञ्चितगगना: अत्युचा: । भवन्तु इति हालिकस्याशिषं वर्धयन्त्या पुन: पुन: कुर्वत्या कयाचित् प्रातिवेशिनी वधू: निर्वापिता निवृतिं प्रापिता । कार्पासलतानां परिपोषे तत्स्थले नि:शङ्ख हालिकेन सह रमणं भविष्यतीति बुद्ध्या निर्वृतिरित्यनेन तचौर्यसंभोगाभिलाषो वध्वा व्यज्यते, तच गुणीभूतम्; --- Locana (p. 500) observes: अत्र लचितगगना कसलता भवन्त्विति हालिकस्याशिषं वर्धयन्त्या प्रातिवेश्यकवधुका निर्वृतिं प्रापिता इति चौर्यसंभोगाभिलाषिणीयमित्यनेन व्यङ्ग्येन विशिष्टं वाच्यमेव सुन्दरम्।
49. Read Locana (p. 500) : अत्र गोदावरीकच्छलतागहने भरेण जम्बूफलेषु पच्यमानेषु । हालिकवधूः परिधत्ते
जम्बूफलरसरक्तं निवसनमिति त्वरितचौर्यसंभोगसंभाव्यमानजम्बूफलरसरक्तत्वपरभागनिहनवनं गुणीभूतव्यङ्ग्यमित्यलं बहुना ।

Page #365

Prakrit Verses in Sanskrit Works on Poetics
301
50. This gatha is also cited in KP (p. 187) GS(W) No 963 and Sss (No. 101).
The readings in the latter two texts are identical: खणपाहुणिआ देअरजाआ ए सुहअ कि ति दे भणिआ । रुअइ घरोपंतफलिणिघरम्मि अणुणिज्जउ वराई ॥
The first half of this gātha when thus read, presents difficulties in finding a consistent meaning. The KP reads देअर जाआए सुहअ in place of DHV's 'देअर एसा जाआएँ KP text has two vocatives देअर and सुहअ -- rather odd. Locana readings are easy to construe and yield a consistent meaning; the comments of Locana may partly be reproduced here for the benefit of readers: क्षण उत्सवस्तत्र निमन्त्रणेनानीता हे देवर. एषा ते जायया किमपि भणिता रोदिति । पडोहरे शून्ये वलभीगृहे अनुनीयतां वराकी । सा तावदेवरानुरक्ता तज्जायया विदितवृत्तान्तया किमप्युक्ता--- ।
Balabodhini's comments (p. 187) also deserve attention : --- दीना अनुनीयता समाधीयतामित्यर्थः । अत्रानुनय: रोदननिर्वतको व्यापार: तेन संभोगो व्यङ्ग्यः गृहपश्चाभागे यद् वलभीगृहं तत्र) इत्यनेन विजनता, क्षणप्राघुणिकेत्यनेन दु:खातिशयौचित्यम, स्वगृहे उत्सवसत्त्वेन सर्वेषां जनानां व्यासक्तचित्तत्वं
51. Gahakosa (p. 295) reads this gatha somewhat differently: अहिणवपाउसरसिएसु सहइ
सामाइएसु दियहेसु । रहसपरिग्गहियाणं व नचियं मोरविंदाणं ॥ (अभिनवप्रावृड्रसितेषु शोभते श्यामायितेषु
दिवसेषु । रभसपरिगृहीतानामिव नृत्तं मयूरवृन्दानाम् ॥ 52. Cf Gaidavaho v. no.66 : ठिअमट्ठिअं व दीसइ अठिअं पि परिट्ठिअं व पडिहाइ । जह संठिअं च
दीसइ सुकईण इमाओ पयईओ ॥
[स्थितमस्थितमिव दृश्यते ऽस्थितमपि परिष्ठितमिव प्रतिभाति । यथासंस्थितं च दृश्यते सुकवीनामेता: पदव्यः ।।
53. The hunter's wife is in the prime of youth and of wondrous beauty. The hunter
is enchanted by her youthful and wondrous beauty. He is given therefore to excessive love making and as a result is now too weakened to kill a bull-elephant with a single arrow and carries quiverful of arrows.
54. Dr Masson and Patwardhan comment on this gātha as follows: Now the vyangya
- vastu is, according to Ananda himself, that when the lover touches the woman, even accidentally, she trembles all over --- This is a hackneyed idea. Apparently the vacyártha, namely that a particular side of the nāyikā, touched accidentally by the nayaka, is sweating etc., is not a hackneyed idea, but is aksunna. Obviously Ananda saw a difference, for it is this vacyártha that gives rise to

Page #366

302
Prakrit Verses in Sanskrit Works on Poetics
śrngararasa and not the vyangyavastu". J AOS NOT 97 / No 31 July - September 1977 (p. 298 f. n. 46)
55. *Here in this gātha there is censure on the face or surface but praise in the
end. So we have the figure of speech Vyājastuti (Artful Praise) in the present găthā. “The suggested idea of the generosity of the person addressed, namely "you are constantly dispensing wealth" embellishes the literal (expressed) sense and in this way achieves freshness"--
"Abhinava's point is that the suggested idea of the generosity of the king embellishes the literal sense by rationalising it and thereby becomes subordinate to it. This is always the case in that kind of vyājastuti where the literal sense is a censure, eventually ending in a suggested compliment." JAOS, Vol 97/No
4/ Oct-Dec. 1977/ p. 430, f.n. 45 56. Dr Masson and Patwardhan comment on the word karaparamparā as follows:
"Karaparampară is rather odd, since the point is not that the generous give to each other, but rather to the poor." Ibid p. 430 f.n. 46 A. N. Upadhye reads the first half of this gatha as follows : गइयाण कर-परंपरा - परियत्तण - खेय - वसण - परिसंता । (ज्ञानिनां कर-परम्परापरिवर्तनखेद-व्यसन-परिश्रान्ता: 1) Chappaņņayagāhão, gātha No 149.
The text "गइयाण करपरंपरा is metrically defective and the reading गइयाण and its Sanskrit rendering as '
S I' are both unsatisfactory and unacceptable as they do not yield a consistent meaning in the present context. The reading in Locana. चाइ-अण-करपरंपर (आ in रा being shortened for the sake of metre) is highly superior as from the context we learn that the two găthås speak of the generosity of
generous people (चाइअण = त्यागिजन). 57. Locana's gloss on this gatha deserves to be read in the original : चकाराभ्यामतिविस्मय:
सूच्यते । 'कथमपि' इति । प्रयत्नेनापि विचार्यमाणं पौनरुक्त्यं न लभ्यमिति यावत् । "प्रियाणाम्' इति । बहुवल्लभो हि सुभगो राधावल्लभप्राय: तास्ता: कामिनी: परिभोगसुभगमुपभुजानोऽपि न विभ्रमपौनरुक्त्यं पश्यति तदा। एतदेव प्रियात्वम् उच्यते, यदाह - क्षणे क्षणे यन्नवतामुपैति तदेव रूपं रमणीयताया इति । "प्रियाणाम्' इति चासंसारं प्रवहद्पो योऽयं कान्तानां विभ्रमविशेष: स नवनव एव दृश्यते । न ह्यसावग्निचयनादिवदन्यत: शिक्षित: येन तत्सादृश्यात् पुनरुक्ततां गच्छेत् । अपि तु निसर्गोद्भिद्यमानमदनाडुरविकासमात्रं तदिति नवनवत्वम् । तद्वत् परकीयशिक्षानपेक्षनिजप्रतिभागुणनिष्यन्दभूत: काव्यार्थ इति भावः । (पृ. ५३९-५४०)
In brief, the absence of repetitiousness is called belovedness. Māgha has observed that which at every moment attains novelty that alone is the form and

Page #367

Prakrit Verses in Sanskrit Works on Poetics
303
essence of loveliness. Flirtatiousness of lovely women has been continuously flowing since the beginning of creation and will flow on continuously to the end of the world. This flirtatiousness is always seen to be ever new and novel. It is ever new and novel because it is the flowering of the bud of love that has sprung up in lovely women naturally. In the same way the subject matter of poetry is the spontaneous overflow of the gift of creative imagination. One does not learn about the flirtatious ways from others even so the subject matter of great poets is the spontaneous overflow of the poets' creative imagination that does not depend on any instruction from others.” - based on Masson and
Patwardhan, Ibid, P 433. 58. Locana (p. 544) comments on this Apabhramśa verse as follows : Haen sfat
योऽ नवरतं भणति तस्य कथं न देवो मनोगोचरो भवति इति विरोधालङ्कारच्छाया । सैन्धवभाषया मह मह (? HE 46) ŞOU-TOCAT Teat
___ There is a pun on the expression महु महु. If we read it as one word महुमहु it means yter: (Fuer, another name of fasus, TICT). If taken separately as HE HE it means 7 HH. The apparent contradiction is removed when we understand that people mouth HE HE (in the sense of "mine mine") and not in the sense of her = n (fabul, TGT). Naturally, how can such people attain God Vişņu ?
Incidentally, it may be noted, as pointed out by Dr Bhayani in his paper in the Journal Vidya (p. 10), that the form Hg in the sense of H is generally used
in Apabhraíba. So we need not follow Abhinavagupta in holding it to be a :' speciality of Saindhava bhāṣā. 59. KLV (p. 18) reads wrongly (अणुदियस -) सयाभोआ for कआभोआ KLV reads in the
second half लद्धावासो whereas GS(W) (No 954) लद्धोआसो (Sk लब्धावकाश: finding space or opportunity). In place of KL V's CTIUT (end of the first half) GS(W) and S.S.S No 41) read gotS. These readings are equally good. Vema Bhūpāla thus comments on this gātha : "अत्र कुमार्याः स्तनावित्यादिना इदानीमेषा प्रतिदिनं सविलासहासकटाक्षाभिप्रायवचना जाता, पश्येति काचिद्युवानं starudi ERT: 1" - P alucht. Po
*
*
*

Page #368

Chapter II Prakrit Verses In Vakroktijivita
1. Kuntaka cites this gåtha in the course of his discussion of the 'vicitramärga, and
asserts : foraaf HEAE lopf, 75 THIRT ara fa 1 - . 46 ASETIUT - 956 is a desi word meaning PRI; So 256TIU = H H beauty. OTIUFT8737T - ada hala sa ati ki TRT BRT : HHT = UHT means a lovely young woman. She is thus described :"sitat reloopafstot yarilac i huyqurat HT Fit Sama cheud il Again, kitachist a count a Grildi I Hatua HICUT HT 291HTR ACTII
Sometimes she is referred to as यौवनमध्यस्था or षोडशवार्षिकी or अप्रसूता"Gajendragadkar Kavya Prakasa (p. 492). tar line, i.e. creation. "The metaphor is taken from drawing. For what an artist draws represents his creation. Hence to stands for creation". Ibid, p. 493
Although Free and a foori are really not different from what we find in the world they are represented as different in order to suggest that the gym, endowed with these attributes, is uniquely beautiful. Later on Mammata cites this gatha as an example of the figure Atiśayokti (Abhede bheda variety).
2. This găthă occurs in Vākpatirāja's Gaüdavaho. Kuntaka after setting forth its
meaning cogently observes:
"The poet intends to suggest his sense of pride and selfimportance. No poet in the past could take out anything from the treasure of speech as he was ignorant of the essence hidden in it. But now for the first time his pratibha (creative genius) has successfully broken the seal open and revealed the highest essence of speech. Thus he brings to the fore his justification for writing a new poem like Gaüdavaho.
3. This gātha is already dealt with; vide DHV S.No. (33.12) supra.
Kuntaka introduces it in the course of his discussion of the figure Vyatireka; and introduces it with the words: "JET HARARIIG a dant URI -"
4. Kuntaka cites this gāthā as an example of Pankti - samstham Dīpakam (Dipaka
in a series). In this variety "several related agents etc., are themselves so many

Page #369

Prakrit Verses in Sanskrit Works on Poetics
305
illuminators in so far as they illuminate some hidden excellence of the subject described." K. Krishnamoorthy (VJ ed. p. 464).
5. Kuntaka discusses a number of examples illustrating beauty in the speciality of
verbs (kriyā - vaicitryam). In this Apabhramsa stanza the poet says 'the god of love triumphs' but the triumph is achieved with the invaluable assistance of charming women having tremulous and proud looks. In other words, the charming women themselves triumph - is suggested. The verb "triumphs" is used prominently and forcefully to bring out this invaluable assistance as the cause of the triumph. Hence we have here unique beauty in the speciality of the verb.
6. This gātha is already dealt with; vide DHV S.No. (15.9) supra. Kuntaka cites
it here to illustrate 'beauty of metaphorical expression' - upacāravakratā. In this gātha the qualities of drunkenness (mattatva) and humbleness (nirahamkāratā) which belong to sentient beings are metaphorically applied to insentient or inanimate things Hence we have here an example of upacāra-vakratā.
In the course of his discussion about the nature of the figure Dīpaka ( whether it is an alamkāra ) Kuntaka first sets forth the view of his predecessors, and cites this gātha given as illustration in an earlier text on Alamkāra-śāstra.
Just as huge elephants swayed by the ichor-scent of quarter-elephants walk about with great difficulty in the forest even so poets tread cautiously in the pathway of master poets involving artistic turns. The word 'ca' (and) suggests this simile. Full of self - respect and desirious of achieving some distinction of their own over and above that of the other master poets, poets express themselves with great joy.
8. This Skandhaka is already treated; vide DHV S.No. (21.10) supra. Kuntaka cites this Skandhaka here in the course of his discussion of the figure Dipaka. The several subjects, the night, the lotus-plant, etc, described in the stanza, acquire added beauty by the lunar beams, lotuses, etc. and thus constitute many Dīpakas (Illuminators).
9. After explaining Prakaraņa - vakrată - the beauty relating to an Act (in a play)
or a Canto (in an epic) Kuntaka explains another type of beauty in episode or

Page #370

306
Prakrit Verses in Sanskrit Works on Poetics
incident (Vastvantara - vicitratā) which ultimately contributes significance to the plot as a whole. He by way of illustration refers to the puruşa (man) with a rope in hand who recites the găthă "Chagguna" etc. (Mudrārāksasa VI. 4). After citing the above gatha he remarks विशेषणवक्रताविशिष्टेन रूपकेण पुरुषस्यायमभिप्राय: प्रकाश्यते । यथा
"The merits are the same, the means too are the same and the art of diplomacy too happens to be the same for one and all; yet only in rare cases, when they are employed by extraordinary diplomats with great skill, the schemes spread out to catch the hosts of enemies, remaining undisclosed to them all the while and causing them delusion, however well-knowing they might be. That is why all glory to such rope-like policy !" K. Krishnamoorthy. p. 562
10. In the course of his long discussion regarding 'varna-vinyasa-vakrata' (art in the
arrangement of syllables) Kuntaka provides quite a few examples. This art becomes appealing by discontinuance of earlier sound repetitions and by adoption or use of new sound repetitions. One of the examples cited, is the present gåthå Ņamaha dasānana', etc.
11. Kuntaka cites this gātha from Gaüdavaho to illustrate the figure Utpreksā –
where the extraordinary nature of the subject under description is conveyed by way of both - fancying and similarity.
12. Kuntaka, while treating of the figure Aprastutaprasaṁsā, cites this gātha as its
example. He introduces the gatha with the remark:
असत्यभूतवाक्यार्थतात्पर्य (? र्या) प्रस्तुतप्रशंसोदाहरणं यथा
and adds at the end "In this example it is possible to explain the occurrence of all the three grounds of Aprastutapraśaṁsā (1. similarity 2. the relation of cause and effect and 3 the relation of the general and the particular). The context refers to the grave situation of conveying the news of Prahasta's death. It would be highly improper to break this news directly. It is, therefore, conveyed indirectly by having recourse to the mode of Aprastutaprasaṁsă.
13. As the text is incomplete and that too corrupt, it defies restoration.
14. PRIST3TT (= fam3
) fanfaat i.e. fairgta milkmaid, who occasionally shared,

Page #371

Prakrit Verses in Sanskrit Works on Poetics
307
with Rādha, Krsna's love, is mentioned in Vajjalagga V.Nos 595, 598 and 599. Kuntaka cites this gātha in the course of his discussion of vifaashai (beauty of concealment). Here in the first half the subject concealed is 'F.Uut (ofaci, sta-TU) - Visakha's weeping. But another sentence in the seond half) brings out vividly the intensity of her weeping and delights the hearts of rasikas (sensitive readers).
It is rather surprising that the editor in his translation speaks of Rādhā (“Rādhā weeps' 'Rādhā's weeping' p. 387). Viśākhikā (Viśākhā) like some other notable companions of Rådhā e.g. Pālī, Dhanyā, was, in fact, Rādhā's rival in claiming Krsna's love.
(Read Dr Bhayani's paper "Pali, Dhanya and Cărukesi" in Pt. Bechardas Doshi Commemoration Volume, P. V. Research Institute, I TI Road, Varanasi -5)
15. This gātha is already dealt with, (vide DHV S.No. (14.8) supra. Kuntaka cites
this gāthă in the context of his rūdhi-vaicitrya-vakratā (art in beautifying
conventional sense) because a denotative word gets artful extension of sense : - through connotation of even impossible dharmas (attributes) imagined by the
poet or inclusion of a hyperbolic excess of even an existing dharma (attribute).
16. This gātha is incomplete and therefore obscure.
17. Note: This passage is corrupt and obscure.
18. Kuntaka does not accept Second Nidarśanā. He includes it under Pratiyamānā
Utprekṣā. In the same way he seems to include the example under consideration under Pratiyamānā Utpreksā.
19. Note: This passage is corrupt and obscure.
20. Kuntaka cites this gåthă as an example of kriyā-vaicitryam. In this gātha Siva's
third eye is to be covered in common with the other two (normal eyes) and is as much an eye as the other two; Siva's third eye alone is most victorious since it is covered with a kiss of the goddess. The verb jayati (triumphs) in the gāthā has a striking beauty which men of taste alone can feel.
21. This line forms the second half of the gathă cited above (S.No. 20.23)

Page #372

308
Prakrit Verses in Sanskrit Works on Poetics
22. Kuntaka in the course of his exposition of the nature of kāvya (poetry, creative
literature) dwells upon the relation of the word and meaning (sahitau) - a unique kind of togetherness. This uniqueness lies in the presence of striking gunas (qualities, excellences) and alaskāras (figures of speech) competing with one another in lending beauty to (or producing charm in) the stanza or passage (or piece of literary composition).
In the verse under discussion we have the figures Aprastutāprasaṁsă and Upamā, the effortless execution of striking Yamakas and Anuprāsas and the guna lucidity (Prasāda) — all these delight men of taste in a unique manner on account of the unique kind of togetherness (sahitya) between word and meaning.
23. Kuntaka speaks of another kind of aucitya (propriety) besides the usual, well
known one. In this second kind of aucitya the matter in hand is concealed, as it were, by reason of the exceedingly charming nature (svabhāva) of either the speaker or the pramātę (one who has experienced, has perceived). After citing this example Kuntaka thus comments on it: अत्र कस्याश्चित् प्रमातृभूताया: सातिशयभौग्ध्यपरिस्पन्दसुन्दरेण स्वभावेन वाच्यमाच्छादितमौचित्यपरिपोषमावहति । पृ. ६९
24. This Skandhaka is already dealt with; vide DHV S.No. (18.9) supra.
Kuntaka is firmly of the opinion that when a subject is described as abounding in natural beauty or grace (e.g., the budding youth of a maiden, the advent of spring, etc.) it ought not to be burdened with additions of alamkāras. He illustrates his point of view with six examples, one of which is the present Skandhaka stanza.
25. This gātha is already dealt with; vide DHV S.No. (43.14) supra. Kuntaka cites
this gåthå as an example of Kala-vaicitrya-vakrată (beauty in the speciality of time). By 'time' is meant (the present) tense, etc. A separated lover mourns: Before long the roads will become impassably inaccessible even to one's wishes (manorathas). The future termination (in bilera Hora) is really expressive of unique beauty.
26. This forms the fourth line of the Apabhramsa passage already dealt with; vide

Page #373

Prakrit Verses in Sanskrit Works on Poetics
309
VJ S.No. (5.20) supra.
27. The stanza is incomplete, corrupt and obscure. 28. Kuntaka cites this gāthā as an example of the figure Akşepa. “Suggestion by
way of a denial for the sake of heightening the beauty or charm of the main subject matter" constitutes the figure Aksepa.
This example is later cited in A'sarvasva by Ruyyaka in the same context (vide A Sarvasva S.No. (42.444) infra.

Page #374

Chapter IV Prakrit Verses In Dasarūpaka
with Avaloka
1. CAE - ScapeT 3 HART af 315RPT:; yar - 69. Read upar (91. . var) Doct 31968
णवरि । (केचित्तु केवलानन्तर्यार्थयोर्णवरि इत्येकमेव सूत्रं कुर्वते । तन्मते उभावप्युभयार्थौ । - हेम (-2-906-90C. HR adduces three reasons for her love being face :
(i) (lit. Uneven) He (the king) whom she loves is socially high up whereas she is an attendant maid in the service of the queen.
(ii) Her sense of shame is very great and
(iii) She was not her own master and so she had no independence of action as she was in the power of the queen.
2.3. trulf (Magician) when introduced to the king, the hero, says: “Should the
moon be shown on the earth, a mountain in the sky, or fire in water (of the ocean) or dusk of early night at noon ? Give the command" or, why waste many words !
This is my solemn assertion (pratijñā): Through) the power of my master's spells ( : A RT HOUT) I can show to you (R ).
4. Weber (V. No. 87) reads focuifT3115 for getalft3475. gomuiffet - one who preserves
the noble name of her family; if equated with gocelacht, it would mean a noble - born unmarried lady gayi (= ghalay, Shatt ), a chaste, respectable, highborn woman of good family and character; ghealltant - a virgin of good character and born in a noble family qarifa ca etc. leave her, desert her, as it were, when her dear husband departs or sets out on a journey and they all come back when he comes back home.
Vajjālagga (V. No. 467) reads the second half of this gāthā differently : cat वि अग्गचलिया पियम्मि कयणिच्छए गंतुं ।। (सर्वे ऽप्यग्रचलिता: प्रिये गन्तुं कृतनिश्चये ॥)
They all "started to go away (in advance of her dear consort) (i.e., they deserted her completely).

Page #375

Prakrit Verses in Sanskrit Works on Poetics
311
The types of heroine depend primarily on her relation to the hero; she may be his wife (svīyā or svā) she possesses excellences such as śīla, årjava and the like; she may be inexperienced (mugdhā), partly experienced (madhyā) or fully experienced and bold (pragalbhā)
Avaloka comments: शीलं सुवृत्तम् (good character) । पतिव्रताऽकुटिला लज्जावती पुरुषोपचारनिपुणा स्वीया नायिका ।
The above gatha is cited to illustrate 'शीलवती' (नायिका).
5. This gātha is cited to illustrate such excellences as straightforwardness, etc
(आर्जवादियोगिनी).
6. This gāthā is cited to illustrate the excellence of a great sense of shame' (collari).
7. This gatha is cited to illustrate 'मध्यासंभोगा':. Madhya - the partly experienced wife
is full of the love of youth, and even faints in her passion'-- मउलंति (= मुकुलन्ति) • Denom from मउल (= मुकुल) a bud. It may be noted that the नेत्रनिमीलन is a sure indication of her full satisfaction derived in the enjoyment of love's delights'.
8. Vema Bhupala comments upon this gatha thus : अत्र द्रष्टुं जानाति सत्यमित्यनेन कुलशीलसौन्दर्यादिभिर्गुणैर्लोकोत्तरे नायके अभिलाषां कृतवतीति गम्यते । सदृशे जने युज्यते राग इत्यनेन लोकोत्तरस्य नायकस्य नायिकया सादृश्यकथनात् नायिकाया अपि लोकोत्तरत्वं गम्यते । म्रियतामित्यनेन नायिका नवमी दशां प्राप्तेति गम्यते । त्वां न हि भणिष्यामीत्यनेन भवान् सर्वोपालम्भानां भाजनमिति गम्यते । अस्याः मरणमपि श्लाघ्यमित्यनेन एतादृशि पुरुषेऽनुरागं कृत्वा मृतायामपि तस्यां कीर्तिरेव नोपालम्भ इति गम्यते । अथवानिष्टमपि मरणमिदानीं संतापहारितया तस्याः श्लाघ्यमिति गम्यते । - भावदीपिका पृ. ५-६.
9. The presentation of the text and Sanskrit Chāyā of this gātha in the N. S. edn is patently wrong. धनिक introduces this gatha with the words : "स्वयं दूती यथा- " DR and Avaloka speak of the various types of messengers, one among these being स्वम् or स्वयम्. In the situation described in the gatha the speaker herself is the cat - female messenger. It may be noted, by the way, that the messenger must be always a woman - she might be a servant girl, a neighbour, a nun, a professional artist, or her own self, and so on, Bhāvadipikā (p. 34) thus comments on this gātha:
महुएहि इत्यत्र "वा मधूके” इत्यूकारस्योकार : । णिअंसण - शब्दो वस्तू (वसन-) (? वस्त्र -) वाची

Page #376

312
Prakrit Verses in Sanskrit Works on Poetics
देश्यः । काचिदसती युवतिर्वनान्तरमुपागत्य मधूककुसुमानि संगृह्य प्रतिनिवर्तमाना मध्येमार्ग कस्मिंश्चिदभिरूपे यूनि पथिके तान्यादातुं करं प्रसारयति सति तं प्रति, हे पान्थ, मधूकै: किं वा । नितम्बादंशकं यदि हरसि तदारण्ये कस्य कथयामि । ग्रामो दूरे, अहमकेत्यनेन तदर्शनादुत्पन्नमन्मथव्यथापदेशादुपभोगाय वासो हरेति तं प्रति atfergatitur : 1 ---" (q. 38).
10. This gātha illustrates 'bhāva' - which is defined as : 31fch54ITI u gert
fahrtsafaparf arreda 10: 1 — 'the first display of emotion in a nature previously exempt (bhāva)'.
11. This gāthă illustrates the second excellency viz. hăva of the heroine – 'the
movement of eyes and brows betokening the awakening of love (hava)'.
12. This gātha illustrates the third excellency viz hela --'the still more open
manifestation of affection' The first three excellencies (bhāva, hava, and hela) are physical (śarīraja or angaja)
13. This gātha is already dealt with; vide DHV S.No. (4.7) supra. The Avaloka
of Dhanika cites it here to illustrate diptih (the added touch of loveliness) given by love (to the excellency called Kántiḥ- brilliance of youth and passion). Note sobhā, kāntih, diptih, etc., seven in all, are inherent (ayatnaja) characteristics (bhāvas) of the heroine.
14. Dhanika, the author of Avaloka cites this gāthā to illustrate the inherent
characteristic of a young woman. This characteristic is known as 'audārya' (dignity, decorum, modesty of demeanour) The reading great is in fact a
misreading for थुडुंकिआए; थुईंकिय, according to Dhanapala, means "रोसेणं उण्हिक्कं वयणं' (Sk zout guitas 999) Hemacandra too explains this word in his Desi-sadda-samgaha (p. 164) as follows: i regolazagurrihtatui (Sk. दरकुपितवदनसंकोचनम्) ii मोणं (Sk मौनम्). In other words, थुडुंकिअ means 'sulky and silent face'. For a further discussion read : PK. THUDUMKIA – 'SULKY AND SILENT' by Dr. H. C. Bhayani in JORI, BARODA, Vol. XXIV, Nos 1-2, September-December 1974 (pp. 149-151). Dr. Bhayani translates the gătha as follows: "I yearningly recall her, doing the household work sullenly and silently for the whole day and then, in spite of intense resentful pain, lying down close to my feet." (p. 150).

Page #377

Prakrit Verses in Sanskrit Works on Poetics
313
15. Dhanika cites this gāthā to illustrate 'Līla' (one of the ten 'svabhāvaja' or
svābhāvika' yoșidalamkāras or bhāvas, ten graces) — 'the sportive imitation of the movements or words of the beloved one'.
16. The graceful manner or dramatic style is suited to the sentiment of śrrgāra. It
admits four varieties. The first is narma (pleasantry, clever jesting) that is again of three kinds. It may be purely comic, or be mingled with love or even with fear. Pleasantry mingled with love is of three kinds also; it may be caused by an allusion to oneself, by manifestation of a desire for enjoyment or by show of jealousy or jealous anger. This gāthā Dhanika cites to illustrate the kind of pleasantry caused by manifestation of a desire for enjoyment of love's delights (sambhoga-narma). Bhoja cites it in his SK (p. 377 v. 139) as an example of the figure Bhāva (Abhitah, sodbhedah variety) and adds by way of gloss : 35 सालोक एव सूर्ये गृहपतेर्गृहागमनं गृहिण्याश्च यत्पादधावनं तदावाभ्यामद्य वेश्मनो न निर्गन्तव्यमिति भाव: । स a seif ERHAC CHEN SUHTA: SISU 279: Again on p. 690, Bhoja cites this
gātha as an example of the type of heroine called 'Farefnufact' - a lady who • has perfect mastery over her husband.
17. Dhanika cites this gäthä as an example of Prapanca, one of the thirteen kinds
of Vīthi. Prapanca (Comic Dialogue) is thus defined and explained : 3RCH ART: स्तोत्रं प्रपञ्चो हास्यकृन्मत: । असद्भूतेनार्थेन पारदार्यादिनैपुण्यादिना यान्योन्यस्तुति: स प्रपञ्च: । DR with Avaloka (p. 66).
18Parigot may better be equated with Paris unsteady, 'agitated', 'uneven' or
'confused.
19. Regarding the text of this verse the reader may refer to The Introduction to
the Dasarūpaka by T. Venkatācharya (Adyar edn, 1969, pp. XL-XLIX).
20. This găthā is already dealt with; vide DHV S.No.(44.14) supra. While explaining
the Kärikā DR IV. 34 Dhanika's Avaloka has a long and learned discussion regarding to the opposition or incompatibility between two sthāyibhāvas, etc. The पूर्वपक्षिन् cites this gatha (as an example of 'समप्रधानत्वेनानेकस्य भावस्योपनिबन्धनम) and poses the question : In this gāthā rati and utsäha these two sthāyibhāvas, are portrayed as equally prominent then how do you say there is no incompatibility or opposition ? Dhanika replies : 3714 - 39517075 59 FYRAI

Page #378

314
Prakrit Verses in Sanskrit Works on Poetics
तथा हि - 'एकत्तो रुअइ पिआ इत्यादौ स्थायिभूतोत्साहव्यभिचारिलक्षणवितर्कभावहेतुसंदेहकारणतया करुणसंग्रामतूर्ययोरुपादानं वीरमेव पुष्णातीति भटस्येत्यनेन पदेन प्रतिपादितम् । न च द्वयोः समप्रधानयोरन्योन्यमुपकार्योपकारकभावरहितयोरेकवाक्यभावो युज्यते । किञ्चोपक्रान्ते संग्रामे सुभटानां कार्यान्तरकरणेन प्रस्तुतसंग्रामौदासीन्येन महदनौचित्यम् । अतो भर्तु:संग्रामैकरसिकतया शौर्यमेव प्रकाशयन् प्रियतमाकरुणो वीरमेव पुष्णाति । -पृ. ९२.
21. This gāthā is already dealt with; vide DHV S.No. (1.6) supra. Dhanika in his
commentary on DR IV. 36 observes : ---अत: केचिदभिधालक्षणागौणीभ्यो वाच्यान्तरपरिकल्पितशक्तिभ्यो व्यतिरिक्तं व्यञ्जकत्वलक्षणं शब्दव्यापारं रसालंकारवस्तुविषयमिच्छन्ति । --- न
केवलं रसेष्वेव यावद् वस्तुमात्रेऽपि । “भम धम्मिअ ---" इत्यादौ निषेधप्रतिपत्तिरशब्दापि व्यञ्जकशक्तिमूलैव । · Dhanika does not accept the Dhvani theory of Anandavardhana. He, in the
course of his presentation of the Pūrvapaksa, quotes it.
22. Pranaya-māna, love-pride', the jealousy of love or the resentment of love.
It may be directed against the lover by the beloved one or vice versa or it may be directed simultaneously against each other by the lover and the beloved. This gātha is cited by Dhanika to illustrate the jealousy or resentment of love of both of them -- the lover and the beloved : "The two in a lovers' quarrel got angry and pretended to be asleep; both stubborn and haughty listen carefully to each others laboured breathing - which of the two will hold out ?"
23. Dhanika cites this gāthā to illustrate the jealous anger of a woman caused by
the inadvertent mention of another woman's name by the hero when addressing the heroine.
24. 'Falling at the feet of one's beloved who maintains jealous anger' is one of the
six means of appeasing her anger, recommended to the lover by writers on Kama-sastra. Dhanika cites this gathā to illustrate this point. (Padayoh patanam natih). In disentangling the husband's hair from her anklet the heroine forgets her jealous anger towards him and manifests clearly her anxiety for him by avoiding to cause pain to him -- if she were to walk away angrily dragging his head !
25. होंत (भवत्, भविष्यत्) would be, prospective; आउच्छण (आप्रच्छन – expression of civility
on receiving or parting with a visitor, welcome, bidding farewell or taking one's leave of) घरं घरेसु - गृहगृहेषु (= प्रतिगृहम् in each and every house). The DR speaks

Page #379

Prakrit Verses in Sanskrit Works on Poetics
315
of Pravāsa (= bhinnadeśată, going abroad, journeying abroad) being absent from one's home on account of some business, tumult, scuffle or affray, or a curse. Of these three types, the first one (due to some karya- business may relate to the present, past or future This gåtha illustrates 'yasyat-pravăsah'

Page #380

Chapter V Prakrit Verses In Vyaktiviveka
1. Ruyyaka, following Anandavardhana and Vākpatirāja, speaks of Vicchitti
(Strikingness, peculiar charm or beauty), pratibhā (creative imagination) and the subject matter of kāvya being endless :
---शब्दार्थयोर्विच्छित्तिरलङ्कारः । विच्छित्तिश्च कविप्रतिभोल्लासरूपत्वात् कविप्रतिभोल्लासस्य चानन्त्यादनन्तत्वं भजमाना न परिच्छेत्तुं शक्यते ।
Vicchitti is nothing but the flashes of creative imagination. The creative imagination of a poet is endless; consequently, vicchitti too is endless. The subject matter of poetry is endless as declared by Anandavardhana.
Although diligently composed by thousands of poets who are lords of speech the subject matter of poetry is not exhausted like the Prakrti, the primordial matter of the universe:
drapuramTi HEP Uma: PGT HT er ta ugofaufraifa || DHV IV. 10
Väkpati, who wrote the poem Gaüdavaho says the same thing in different words though:
CPTT UTTA UTEÇO HE afa-hilang any Bu yatafa Hed ord #1 || V.No. 85 आसंसारं कइ-पुंगवेहि तद्दिअह-गहिअ-सारो वि । अज्जवि अभिण्णमुद्दो व्व जअइ वाआ-परिप्फंदो । -- V.No. 87
2. Verse 2 is the same as DHV (2.6) supra.
3. Verse 3 is the same as DHV (35.13) supra. 4. Verse 4 is the same as DHV (27.11) supra.
5. Mahimabhatta cites this Skandhaka verse from Setu to illustrate the poetic blemish
called Krama-bheda. A word like यथा, इव, वा, or a word like तुल्य, सम, समान which conveys the idea of comparison must necessarily be used immediately after the word denoting 34H17 and not after the word denoting WERUTETT. In the example

Page #381

Prakrit Verses in Sanskrit Works on Poetics
317
under discussion इव (= व) is appropriately used after the उपमान-शब्द कमलाकर and HEMIC; it is, however, not so used after the 34HF-STOG STT (FT). Hence this Skandhaka verse is marred by the poetic blemish called Krama-bheda. Mahimabhatta suggests that if we read 'सेलं व उक्खअ-दुमं' the poetic blemish क्रमभेद would be removed.
6. This gātha is the same as DHV (31.12) supra.
7. This gātha is the same as DHV (33.12) supra.
8. This gātha is the same as DHV (5.7) supra.
9. This gātha is cited as an example of the poetic blemish called alu. Here
there is no mention at all of any clue which would help us to decide whether the king is censured for his prodigality or is praised for his liberality or munifiscence.
10. This gāthā is the same as DHV (15.9) supra.
11. This Skandhaka verse is the same as DHV (21.10) supra.
12. This gātha is the same as DHV (26.11) supra.
13. This gātha is the same as DHV (23.10) supra.
14. This gātha is the same as DHV (14.8) supra.
15. This gātha is the same as DHV (4.7) supra.
16. This gātha is the same as DHV (24.10) supra.
17. Mahimabhatta cites this gāthā to point out how it is marred by the poetic blemish
called अवाच्यवचन "पत्ता णिअंबफंसं" -- इत्यत्र रोदनं बन्धनभयं चेति यद् द्वयमुत्प्रेक्षितं वर्तते, तत्र प्राधान्याद् रोदनाभिधायिन एव पदादनन्तरमुत्प्रेक्षावादिनि पदे वाच्ये यद् तस्यान्यतोवचनं सोऽवाच्यवचनं दोष; तस्य तादर्सेनाप्राधन्यात् । प्रधाने चोत्प्रेक्षिते तदितरदर्थादुत्प्रेक्षितमेव भवति । - व्य. वि. १३८७
According to Mammața and Hemacandra, the poetic blemish *3212an falls under '3PPYTRYGA.
18. This gātha is the same as DHV (1.6) supra.

Page #382

318
Prakrit Verses in Sanskrit Works on Poetics 19. This (second half of the) gātha is the same as DHV (14.8) supra. 20. This gātha is the same as DHV (45.15) supra. 21. This gātha is the same as DHV (3.6) supra. 22. This gātha is the same as DHV (36.13) supra.
GOUT
23. This gåtha is read somewhat differently in KP (p.250): fairy Of A
णाहिकमलठं । हरिणो दाहिणणअणं रसाउला झत्ति ढक्केइ ॥
The text of Mammața nearly agrees with GS(W) 816. The earlier part of the first half differs : 'fair3 ART
The Vajjālagga (No 611) reads : विवरीयरया लच्छी वंभं दळूण नाहिकमलत्थं । हरिणो दाहिणणयणं रसाउला कीस झंपेइ ॥
The overall sense of the găthă remains, however, the same. Vajjālagga includes this gāthā under the section called Pausiawit (Section of Riddles). Mahimabhatta dubs it as a ERC (a riddle or conundrum). The text, as presented in Vajjālagga, perfectly suits the form of प्रहेलिका.
24. This gātha is the same as DHV (34.12) supra. 25. This gāthā is the same as DHV (22.10) supra.
26. This (Skandhaka) verse is the same as DHV (18.9) supra.
27. This gātha is the same as DHV (20.9) supra.
28. This gāthā is the same as DHV (25.11) supra.
The text reads '31puurga' and its chāyā is given as '3992194 H. PUUT is ofca. Read H. 8.1.209 : fed ft OUT : fed far HE CRI Para o Halal pupil Locana (p. 268) comments: U Pirot 7 g afe: wafant Aryefen I 376 एवाप्रदर्शितरोषमुखीमपि मां प्रसादयन् -- From this comment it is obvious that Locana had before it the reading 30 çora. Hemacandra's KAS and KLV (of an anonymous author) too read 310 Çove (= 37CCCTA, 3146fferta ). So it must be the original and genuine reading. Mahimabhátta's gloss 3ildotonta FRIT:' also supports

Page #383

Prakrit Verses in Sanskrit Works on Poetics
319
this reading.
29. This gātha is the same as DHV (6.7) supra.
Madhusūdani-vivrti (p. 432) renders Pet (? PR) as ek in its Sanskrit chayā which is, on its very face, wrong.
The reading UMIUT, found in the Locana in place of slot, does not suit the context.
*
*
*

Page #384

Chapter VI: Prakrit Verses In Śrngåraprakāśa
(Vol. I)
1. Bhoja pays handsome tribute to poets at the very commencement of his work:
"Rasa is realised by the audience when presented by clever actors; or when they (Bhāvas) are meditated upon as described by poets in their poems. In this respect, things are not so charming when they are seen directly as when they are narrated by men of gifted speech. Therefore, we regard the poets as greater than the actors, their poetry (poem or text of the Drama) as greater than acting --.” Bhoja's Sringara Prakasa (pp. 75-76).
2. अग्गिणो अब्भुत्तणं (अग्ने: अभ्युत्तेजनम्) stimulation or blazing of fire by blowing air on it
from one's mouth. समप्पिहिइ (समाप्स्य ते) fut. pass. 3rd pers. sing. - will be achieved. देवरे पार्श्वस्थिते ( loc. absolute construction) - while your brother-in-law is standing near you. मुखकमलचुम्बनलम्पट - greedy for kissing your lotus-like face.
In SK Bhoja cites it as an example of 'अनियतानेकोपभोग्या सामान्या (नायिका)'.
3. Read दंसण-मणोरहो for दंसणमणोहरा in the second half and दर्शनमनोरथो for दर्शनमनोहरा in
the corresponding chāyā.
5. Vide Extract from Sanskrit Commentary in Appendix I. SK (pp.319-320) cites this skandhaka from Setu as an example of चित्रा नाम स्वाभाविकत्वविभावनायां विभावना । He thus comments upon it : अत्रैकमेव मधुमथनमुद्दिश्यानेकस्तुगत्वादे: प्रवृद्धत्वादि: प्रसिद्धो हेतुर्व्यावर्त्यते। स्वाभाविकत्वं च तं प्रत्येषां विभाव्यते । - पृ. ३२०.
6. Bhoja introduces this verse thus : 'नात्युत्तमपात्रप्रयोज्या पैशाची शुद्धा यथा।' Ratnesvara thus
comments on it : उत्तमादपकृष्टं मध्यमादुत्कृष्टं नात्युत्तमम् । 'प्रणमत - - - रुद्रम् ।।' एवं नाम देवीकोपे भगवत: प्रणयकातरता येन युगपदिव सर्वाभिरपि मूर्तिभि: प्रणमतीति प्रतीयमानोत्प्रेक्षा । - पृ. १४५.
7. Bhoja cites this stanza as an example of मागध प्राकृत. In SK (p. 144) too he cites
this stanza with the introductory remark : 'हीनपात्रप्रयोज्या मागधिका यथा'. Ratnesvara after giving its Sanskrit chāya remarks : अत्र मांसादिलाभहेतुतया समराशंसनं बीभत्समुन्मुद्रयद् हीनपात्रतां द्रढयति । SP (p. 102) reads 'हदमाणुश' whereas SK reads शद माण (? णु) श. There is no critical edition of Veri Samhāra. So it is not possible to settle the text of the whole stanza which is in Māgadhi.

Page #385

Prakrit Vetses in Sanskrit Works on Poetics
321
14. The opening skandhaka is Setu (IX. 1) and the concluding one, Setu (IX. 96).
Vide Extracts from Sanskrit Commentary in Appendix I.
19. This gāthā is already dealt with; vide DHV S. No. (52. 16) supra.
20. सामा (= श्यामा) is thus defined : शीतकाले भवेदुष्णा ग्रीष्मे च सुखशीतला । सर्वावयवशोभाढ्या सा
श्यामा परिकीर्तिता || - as cited in बालबोधिनी (पृ. ६३०).
21. This gāthā is already with; vide DHV S. No. (11.8) supra.
22. SP cites this gāthā as an example of 'अध्यासात्मिका तद्भावापत्ति:'. Bhoja thus explains
this term : अर्थस्यातथात्वे ऽ ध्यासादिभिस्तथात्वापादनं तद्भावापत्तिः । सापि षोढा - अध्यासात्मिका ---- | तत्र जानतोऽ प्यतस्मिंस्तदेतदित्यारोपणमध्यास: । पृ. २२४. अध्यास = अध्यारोप (In Vedanta philosophy): erroneously attributing the properties of one thing to another (considering through mistake a rope (which is not really a serpent) to be a serpent] वस्तुनि अवस्त्वारोपोऽध्यारोप: | In the province of poetry, however, this अध्यास or अध्यारोप is आहार्य (volitional), not स्वारसिक (natural, physically existing, not fictitious). बाहूमूल lit. arm-pit, secondarily, breasts close to arm-pits अद्धअंदाण परिवाडिं v. 1. मुद्धयंदाण रिछोलिं Gahakosa (V. No. 436). मुहा = मुधा in vain; M. V. Patwardhan thus remarks. "The crescent moon appearing in the western sky on the first evening of the bright half of a month is very faint and distant, and beyond your reach. But the several crescent moon-like nailmarks (? crescent moons of nailmarks) made by yourself in the arm pit of your wife during amorous play
with her, are quite distinct and within your easy reach — you can even touch • - them with your hand. This is the implication of the word muha.'
SK (p. 622) cites this gatha with the introductory remark : परिहास: स्त्रियां (या) URIT - The stanza is addressed by a woman to her brother-in-law in a jocular or humorous manner.
23. खिक्खिरी: 'खिक्खिरी डुंब-चिंध-लट्ठीए' - डुम्बादीनां स्पर्श-परिहारार्थं चिह्नयष्टिः । DSs, p. 93.
24. पडिवक्ख - प्रतिपक्ष (= सपत्नीजन) मन्यु-पुऔ (acc. plu.) - clusters of jealous anger, i.e.,
exciting the jealous anger of rival wives; लावण्ण - लावण्य-घटौ (कुट = घट) - pitchers of loveliness; पुरिस - पुरुषशतहृदयधृतौ - longed for by hundreds of men; कीस - करमात्; थणंती - स्तनन्ती groaning. Read: SK (V-v. 378); it is cited there as an example of वयसा परिपूर्णा मध्यमा (नायिका) यथा - (पृ. ६८४).

Page #386

322
Prakrit Verses in Sanskrit Works on Poetics
25. Vide Extract from Sanskrit commentary in Appendix I. SK (pp. 416-417) cites
this skandhaka from Setu to illustrate PART-4ch (fagociado gregofood4575). Read Bhoja's Vrtti and Jagaddhara's commentary on it (p. 417).
27. This gātha is already dealt with; vide DHV S. No. (14.8) supra.
29. "31 RoC or Roc was a Daitya, and son of Bali, sent by a to destroy ghout. He
assumed the form of a savage bull and attacked shoot. By the superior strength of his arms, about twisted its neck, pulled out its horn and thrashed it thereby so much that it vomitted blood and died on the spot (M. 10.36. 1-15). The arm of your was a veritable bolt, dark like cloud or hard and dark; and when it fatally acted on the neck of 3tree it resembled Yama's noose operating or extended at the time of the calamity of the final destruction." - Līlāvai, ed. by A. N. Upadhye - Notes p. 322. The Līlāvai (V.No.4) speaks of ghout slaying Arista who had assumed the form of a bull, by twisting its neck with his strong arm. The present gāthā, it would seem, speaks of the death of Arista, the bull, by Krsna's striking it (the bull) with his foot.
30. Among the love-festivals mentioned by Bhoja in his ŚP and SK there is this
Sakrārcă (Indra-Pūjā). V. Raghavan refers to this Prakrit gātha and observes: “The Prakrit gāthā here illustrating this festival refers to Indra at this festival, represented by a wooden post, as really a piece of dead wood, as he does not sprout forth even when touched by the lotus-like arms of the daughter of the farmer ---- This shows the celebration of this festival in villages and the happy time young people spent around the Indra-dhvaja." Festivals, Sports and Pastimes of India p. 128, B. J. Institute of Learning and Research, Ahmedabad, 1979.
31. This gātha is already dealt with; vide DHV S. No. (31.12) supra.
32. Bhoja cites this gāthă twice in his SK : once to illustrate Melita, a variety of
the figure Samādhi (p. 456) and once again to illustrate Gunotpreksā (p. 467).
33. Bhoja cites this skandhaka in his SK also. There he introduces it with the
remark- "उभयाभासो यथा-". The उभयाभास here stands for नायकाभास and नायिकाभास, which have been illustrated immediately before this introductory remark (in SK, p. 679). The stanza represents the moon as nāyaka and the East, the Early Night, Night and the West as nāyikās.

Page #387

Prakrit Verses in Sanskrit Works on Poetics
323
"When the moon embraced the Eastern region (gcalcu) (at the time of moonrise), along with the moonlight (UET), and also resorted (betook himself) to (i.e., made love to the commencement of the Pradosa (i.e. to the Early Night), and when the moon (also) started to go to the Western region (372HT), how, O, my friend, can the Night not waste away ?"
"The situation suggested (in the manner of the figura Samāsokti) is that of a woman (corresponding to Put) who cannot help wasting away when she finds her husband (symbolised by A3ich, the moon) making love, by turns, with a number of women (including herself). ad Paent is love No. 1, 3942faent is love No. 2, ustoupe (commencement of the night, i.e., Early Night) is love No.3. A man making love with several women besides his wife, is called दक्षिण नायक. --- प्रदोषमुख is however difficult. cle itself is Purity (early night). Why is then To added to प्रदोष ? Are we to take प्रदोषमुख to mean रजनीमुख-वदन - the mouth (or face) of Pulit (symbolising a young girl)? But there is tautology between usta (in the second quarter) and purit (in the third quarter). Perhaps uche symbolises a young girl and Pupit symbolises a grown-up (praudha) nãyikā." - M. V. Patwardhan. As mentioned before, we have here उभयाभास - नायकाभास and नायिकाभास as the poet describes the Moon as nāyaka and the quarters of the region as nāyikā and pratināyikā.
34. This gāthā is already dealt with; vide ŚP S. No. (25.47) supra. 35. This gāthā is already dealt with; vide ŚP S. No. (27.47) supra. 36. This gātha is already dealt with; vide ŚP S. No. (21.46) supra.
37. de Turi(faferyat) is a popular saying. Bhoja aptly remarks: 3757 del Tricent
न संभवति, जनस्तु तमप्यकरोतीत्यनेन मुख्यया लक्षितेन तस्यासंभाव्यमानार्थवादिता लक्ष्यते। - शृं. प्र. प्रथमो भाग: पृ. २३६. भुवनपाल observes : एतदुतं भवति - अयं दग्धलोक: सूक्ष्मसूचीसुषिरेण मुशलं प्रवेशयन्, Pogo HEAT, 3RTHTH Haufa - ten, echt T. 237. Meldet - a tiny hole made with a needle, or the eye of a needle. It means "to exaggerate a minor matter out of proportion." --- similar to the English phrase "to make an elephant out of a louse, to make a mountain out of a mole." Gathakośa, Notes, p. 214 by M. V. Patwardhan.
38. This gātha is already dealt with; vide DHV S. No. (10.7) supra.

Page #388

324
Prakrit Verses in Sanskrit Works on Poetics
39. Read दुइ for दुई. बोल्ल is one of the ten आदेश s for कथ्. Cf. बोल and Mar. बोल(णे)
to speak, to utter. 'FE 1537-FC Ut so that the scratched part of the skin does not become white and cause irritation. The idea is that the maiden messenger should scold the lover but at the same time she should see that he is not estranged from the nayika. कक्खड = कर्कश, harsh.
40. This gātha is already dealt with; vide DHV S. No. (15.9) supra. 41. This gātha is already dealt with; vide V. J. S. No. (1.19) supra.
45. Great poets, gifted with genius, present things in a charming way. By their
wondrous power of creative imagination they represent real things as unreal, or unreal things as perfectly real, and sometimes they present vividly and realistically and in a striking manner, things as they exactly stand. Cf. "And as imagination bodies forth
The forms of things unknown the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name." - Shakespeare.
45.1 The following Prakrit gātha was left out inadvertently: EENTRYPO3T TEEB
अच्छिवत्तेहिं । एदहमेत्तावत्था एघहमेत्तेहि दिअहेहिं ।। (एतावन्मात्रस्तनिका एतावन्मात्राभ्यामक्षिपत्राभ्याम् । एतावन्मात्रावस्था एतावन्मात्रैर्दिवसैः ॥) The stanza describes the condition of a proșita-bhartrkā (the nāyikā whose lover is absent abroad) or of a girl who has grown very lean on account of separation from her lover. In the present case the abhinaya may take this or some such form: अभिनयोऽत्र स्तनप्रदर्शने हस्तस्य दाडिम-फलाकार: अक्षिप्रदर्शने तस्य पद्मदलाकार: अवस्थाप्रदर्शने तनुत्वसूचकम् उन्नमिततर्जनीकस्य हस्तस्य Sarata: pidhi, ferie fta Rudaracion gra: i Bhoja lists, for the first time, अभिनय:, etc. together : अभिनयोऽपदेशो निर्देश: संज्ञा इङ्गितमाकार इत्यभिनयादय: I and illustrates each one of them. He illustrates 3174174 with the above gātha.
46. This gātha is already dealt with; vide DHV S. No. (1.6) supra.
47. This gātha is already dealt with; vide DHV S. No. (2.6) supra.
48. The accursed night (हतरात्रि:) is full of dense darkness (बहलतमा); पउत्थो (प्रोषित:) is
absent abroad; F44 - vacant (none else in the house than myself); 1473105137 (ufaa ) neighbour; ut (Fe) keep awake; THRASH (a qe ) we are (i.e., I myself am) not robbed.

Page #389

Prakrit Verses in Sanskrit Works on Poetics
325
The suggested sense is : O, neighbour, keep awake throughout the night, visit my house fearlessly, as the husband is absent abroad, I am alone in the house and the night is pitchy dark. Let us then enjoy the delights of love to our hearts' content.
49. Bhoja comments on this gatha as follows : अत्र गृहपतिक्षेत्रे दुष्टवृषवारणपरे निषेधवाक्ये
उपपतिवारणं निषेधान्तरं प्रतीयते। SK (p. 549) cites this gatha as an example of अन्यापदेश. Read also सप्तशतीसार (Gatha No. 88) commentary (p. 35).
50. Read सप्तशतीसार (Gatha No. 85) commentary (p. 34) : णिअंसण-शब्दो वस्तु (? वस्त्र)
- वाची देश्य: ! काचिदसती युवतिर्वनान्तरमुपागत्य मधूक-कुसुमानि संगृह्य प्रतिनिवर्तमाना मध्ये मार्ग कस्मिंश्चिदभिरूपे यूनि पथिके तान्यादातुं करं प्रसारयति सति तं प्रति, हे पान्थ, मधूकै: किं वा । नितम्बादंशुकं यदि हरसि तदारण्ये कस्य कथयामि । ग्रामो दूरे, अहमेकेत्यनेन तद्दर्शनादुत्पन्नमन्मथव्यथापदेशादुपभोगाय वासो हरेति तं प्रति बोधितवतीत्यभिप्राय: ।
51. Bho ja thus comments on this gatha : अत्रान्येन पथा व्रजेति विधिनिषेधयोरभिधाने हे
स्वकान्ताभिरूपताविकत्थन पान्थ अभिरूपक इह ग्रामे भवतो गृहपतिसुता द्रष्टव्यरूपेति विध्यन्तरं प्रतीयते । - पृ. २४८.
52. This gatha is already dealt with; vide DHV S. No. (31.12) supra.
53. Bhoja introduces this gatha with the remark : क्वचिद् विधावनुभयं यथा - and after
citing it thus comments on it : अत्र शनैरृजेति विध्याभिधाने न विधिर्नापि निषेधोऽपि तु वर्णनामात्रं प्रतीयते । पृ. २४८.
54. This gātha is already dealt with; vide DHV S. No. (4.7) supra.
55. This gāthā is already dealt with; vide DHV S. No. (3.6) supra.
56. Read in the first half of the gathā गोला-णईऍ. तूह - तीर्थ, 'Ghata'; कच्छ - a bank;
चक्खंतो (= आस्वदमान:) = tasting, chewing, चक्रिवअं - आस्वादितम् (Hem. 8.4.258); चक्ख appears to be connected with uel to eat and the Mar. root arcgut seems to be derived from the Prakrit चक्ख. राइआइ पत्ताई (राजिकाया: पत्राणि) : pungent leaves of a mustard plant. उप्फडइ = उत्पतति jumps up; खोक्कएइ (= खोकशब्दं करोति) growls. Cf.
Mar. खोकणे. पिट्टेइ (Cf. Mar. पिटणे); beats or strikes with hands. The figure of speech is स्वभावोक्ति (Natural or Realistic Description).
57. This gatha is already dealt with; vide DHV S. No. (42.14) supra.

Page #390

326
Prakrit Verses in Sanskrit Works on Poetics
58. This gātha is already dealt with; vide DHV S. No. (5.7) supra. 59. This gātha is already dealt with; vide ŚP S. No. (5.44) supra.
60. Read the text of this gātha as follows :
सचं धण्णा धण्णा जा तइआ केसवेण गिरिधरणे । गुरुभार- वावडेण वि अज्जुअ-अच्छं चिरं दिट्ठा ॥ (सत्यं धन्या धन्या या तदा केशवेन गिरिधरणे । गुरुभारव्यापृतेनापि ऋजुकाक्षं चिरं दृष्टा ।) In connection with the restoration of this gāthā read Dr. H. C. Bhayani's excellent paper Pāli, Dhanya and Carukesī (Three of the earliest mentioned Krsna's sweethearts) in Aspects of Jainology - Vol. 2 - Pt. Bechardas Doshi Commemoration Volume, P. V. Research Institute, I.T.I. Road, Varanasi 5. Dr. Ghatage in his reply to my letter reads the text as given above. He translates it thus : "Indeed Dhanyā is fortunate because at that time she was looked at by Keśava at the time of supporting the mountain, though engaged by the heavy burden, with a straight eye (Itulah - 372) for a long time.”
He further writes : "This is समाख्या 'name which is significant like उद्दिा यजेत, because here the pada Etre explains the meaning of the Fiş (proper name) of the girl 'fortunate'. --- The reading Hou cannot be suitable here. 34737 is #jch and not a sideglance. The reading on page 269 fa / 34 314373777 377-azuju may give that meaning but the scanning of the line does not admit it. TPHR Su fa 3731737317 Pari Paçor ll which is wrong. Hence one 37 must go, which will give us 15 HITS."
68. Read in the first half of this gātha 3R-9371 and in the second half (?FR837-) and
in the Sanskrit chāyā gropit: for 78: sit, as given by Dr. H. C. Bhayani in his Gāthă-Madhuri (in Gujarati) Suddhi-Vrddhi, p.30, - available at Vora and Company, Ahmedabad, Gandhi Marg, Ahmedabad 380 001.
69. Read in the second half of the gāthā : ARHITIGTI. 371
70. Teuft (= starpt) reed - pen.
74. 9R31 (= giaro) a garment (warm clothing); Read 'UR31 9R3T under Hem I. 271
form (A + 5) to sleep, repose - PSM - Rifa = Pastrifa rests, reclines, sleeps-Gähäkosa, Notes, (p. 234) - M. V. Patwardhan 34873igert (5504H ), having (naturally) warm breasts.

Page #391

Prakrit Verses in Sanskrit Works on Poetics
327
हैमन-शीतार्ति-निवृत्तये
प्रवृत्तानि
तदर्थकारिणोपारूढ
अत्र प्रावार-विलासाग्नि-गर्भगृहकाणि यौवनोपगूढप्रियाकुचोष्मणा निवर्त्यन्ते ।
76. जीआ = (ज्या) bow-string; मग्गण (मार्पण) = an arrow; धनुइट्ठी - धनुर्यष्टि :- a bow (lit. a
bow - stick); Bhoja introduces this gatha with the words : “यत्रैकावधारणे नान्यत् पराक्रियते सा नियमनैषेधिकी । यथा -".
And after citing this gatha, he observes : अत्र ज्या - मार्गण - धनुर्यष्टीनामन्यत्र भेदेनोपलम्भात् कन्दर्पविषयेऽपि तद्भेदोऽ नु-वृत्त : । कुवलयविलोचनादृष्टेस्तेन तेन संस्थानेन तत्तत्कार्यकरणात सैव सर्वात्मिकेत्यवधारणं निवर्त्यते । - पृ. २८०.
77. This gatha is included in सुभासियगाहासंगहो at S. No. 21 (vide GRK, p. 68), but
with some variant readings. There the text runs as follows :
हारो उरस्स, सवणाण कुंडले, मेहला नियंबस्स ।
नयणाण पुणो गरुए वि ऊसवे कज्जलसलाया ॥
The overall sense, however, is identical.

Page #392

Śrngäraprakāśa (Contd.---)
(Vol. II) 78. GS III. 19 : The earlier part of the first half reads :
"Heat U 14731;' and GS III. 15, leaving the earlier part of the first half reads : णिअअं चिअ वल्लहं महं जीअं । तं तइ विणा ण होइ त्ति तेण कुवि पसाएमि ।।
The text of the gathā, as printed in Mysore edn. (p. 309) needs to be corrected; there the first half is metrically defective. So to remove this flaw, we should read:
सच्चं भणामि बालअणिअअं चिअ वलहं (मह) जी।
[सत्यं भणामि बालक निजकमेव वल्लभं (मम) जीवितम् ।]
And in the second half we should adopt Weber's reading कुविअं (= कुपितं) which is decidedly better than the reading कुलअं (= कुलजं) of the SP.
79. plalis (= c ount i.e., FRR) you'll be regarded 37&f2E-977831 ( = 37effer-ACH
lit. a glance through a half-closed eye i.e., a sidelong glance.
81. Cf. with this gāthā, Amaruśataka, V. No. 102.
82. Vide Extract from Sanskrit Commentary in Appendix I.
84. Mysore edn. reads Por, whereas Bhuvanapala reads fari and gives or as its
equivalent. PSM does not record this word. Is the Mar. word for (= 672) in any way related to this PTE?
The speaker wants to emphasize this point : "Your wife is wait (a chaste lady), because she has got such an incomparably handsome young man like you as her husband. If I am disloyal to my husband and in love with you that is because he is quite worthless and so very inferior to you. That is how you are the cause of your wife's chastity and my unchastity."
85. Read Extract from Sanskrit Commentary in Appendix I.
There is a pun on the word * : '* great
Ri a Pariyada

Page #393

Prakrit Verses in Sanskrit Works on Poetics
329
The stanza contains the figure मालोपमा.
87. Bhoja illustrates the sentence defect, called संकीर्ण, by citing this gatha :
वाक्यान्तरपदैर्मिश्रं संकीर्णमिति तद्विदु : । - पृ २१. (It is one of the 16 वाक्यदोषs.) After citing the gatha he remarks : अत्र काकं क्षिपति, कूरं खादति, कण्ठे नप्तारं गृह्णाति, श्वानं भीषयते, इत्यादौ वक्तव्ये यथोक्तपदविन्यास: संकीर्यते । - सरस्वती, पृ. २१-२२.
88. Ratnesvara, Bhoja's commentator cites this stanza to illustrate a sentence -
defect, called 3746. For an exposition of this Dosa, the curious reader is referred to Ratnesvara's commentary on SK (I. 31, pp. 22-23).
89. Bhoja cites this găthā to illustrate the Vákyadosa called 379RR. It is the flaw of
the absence of the verb in a sentence. In this gāthā the verb, say "Bow down to", is absent. So this sentence is vitiated by the flaw aśarīra.
90. Bhoja cites this gāthā to illustrate the Vākyadosa, called T441 (which is really
one of the Upama-dosas). Here वापी is the उपमेय and वधू the उपमान. The gatha presents the upameya (वापी) with three विशेषणs (attributes १ संहत २ विकसित and ३ मणाल), but fails to give two of the three corresponding विशेषणs of the उपमान - वधू. Hence Bhoja declares : अत्र नेत्र-बाहूपमापदानां वधूविशेषणत्वेनानुक्तत्वादिदं न्यूनोपमम् ।सरस्वती', । पृ. २६. SP terms it ऊनोपमम्.
91. Bhoja cites this gāthā to illustrate the defect occurring in a sentence called
'अधिकोपमम्'. In this gathā there is one विशेषण (attribute) of the उपमान in excess viz. the swarm of bees for which there is no mention of a corresponding fazlau of the उपमेय. Hence the defect occurring in a sentence called अधिकोपम.
92. Bhoja cites this gāthā as an example of the वाक्यार्थ-दोष called 'अपक्रमम्'. It is the
lack of the natural order in mentioning things. (तिथिवारज्ञानानन्तरं क्षरकर्म, तत:स्नानभोजने, इति लौकिक: क्रम : । रत्नेश्वर, पृ. ३९.
Bhoja comments on the găthā pointing out why the gāthā is vitiated by the said flaw अत्र क्षुर-कर्मणो ऽ नन्तरं नक्षत्रादिप्रश्नादिदमपक्रमम् । - सरस्वती, पृ. ३९.
93. Bhoja cites this gatha as an example of the Vakyartha - dosa called खिन्न. "It
is defined as a poet's incapacity or failure to continue or sustain the development of an idea taken on hand." After citing the gatha, Bhoja observes : अत्र प्रक्रान्तस्य नवपरिणयवतीस्वरूपभणनस्यानियूंढत्वात् खिन्नत्वम् । - सरस्वती, पृ. ३९.

Page #394

330
Prakrit Verses in Sanskrit Works on Poetics
Ratnesvara thus comments : '.... उपक्रान्तनिर्वाहाशक्तो लोके खिन्न इत्युच्यते । --- नवपरिणीतास्वभावलक्षणार्थस्तावदुपक्रान्तस्तथा सति यो जन्माभ्यस्तपितृगृहवियोगवेदनादूनमानसाया अत्यन्तापरिशीलितेन देवरेण संस्थापनाप्रकार : स न जातौ निविशते । परिशीलितभर्तृकुलाया कुलायां वा । तस्यौचित्यात् तस्या एव हि किञ्चन वक्तव्यं भवति' इत्याह - अत्र प्रकान्तस्येति ।
94. Bhoja cites this gatha as an example of the Vakyārtha-dosa called परुष. "Parusa
is a kind of Atimātra. It is defined as krūra - artha. Its absence is the Mādhurya guna of Artha ---". Bhoja defines it as - यत्तु क्रूरार्थमत्यर्थं परुषं तु तदुच्यते । and माधुर्यमुक्तमाचार्यै : क्रोधादावप्यतीव्रता । - Bhoja's Srigara Prakasa. (p. 239).
After citing the gatha, Bhoja remarks : अत्र खाद विषमित्यादीनां क्रूरार्थानामभिधानात् पारुष्यम् । सरस्वती, पृ. ४०.
Ratnesvara thus comments on the gatha :- यतो बालो दन्तैर्मातु : स्तनं दशतीति जातिस्तस्याः पुनरेवंविधं परुषमभिधायित्वमनुचितम् । अतिपारुष्यमेव चात्र विरसताहेतु : | - रत्नेश्वर पृ. ४१.
95. Bhoja cites this gatha as an example of the Vakyārtha- dosa called असदृशोपमम्.
After citing the gatha, Bhoja thus comments on it : .
- अत्र कोपानल - निर्दग्ध - मुग्ध - मन्मथ - शरीरस्य हरस्य नितम्ब - निर्गतस्रोतसा हिमवद् - गिरिणा सहासादृश्यादिदम् असदृशोपमम् ।. - सरस्वती', पृ. ४२.
96. Bhoja cites this gäthā to illustrate the defect, called Prior. It occurs if the
expression is bald, without any charm, devoid of the prime essential element of beauty - Vakratva (Strikingness). After citing the gatha, Bhoja remarks : अत्र कोलादे : स्वरूपाद्यनभिधानाद् जात्याद्यलंकारासंभवे निरलंकारनामायं वाक्यार्थदोष : । सरस्वती, प्र. ४४.
Ratnesvara thus comments : वक्रताव्यतिरेकेऽलंकारसामान्यमेव न स्यादिति निरलंकारमित्युक्तम --- अत्रेति । स्वं रूपं चमत्कारकारि कविप्रतिभामात्रप्रकाशनीयं रूपं तदेवालंकारकक्षमधिशेते । न चात्र तथा किंचिदभिहितमतो न जात्यलंकार : । एवमन्योऽप्यलंकारो नास्ति । पृ. ४४.
97. Bhoja cites this gatha to illustrate the defect, called युक्तिविरुद्ध - against evidence,
lacking in proof. After citing the gatha, Bhoja thus comments अत्र कूर्मी-पृष्ठे कमलोद्गतेरयुक्तियुक्तत्वाधुक्तिविरुद्धमिदम् । - सरस्वती, पृ. ४६.
Ratnesvara's comments run thus : ...- युक्ति : प्रमाणम् । --- कमलजाते: पङ्कजप्रभवाया एव निश्चयात् कूर्मपृष्ठादुद्गमे न कश्चित् प्रमाणं कदापि कस्याप्यवतरति --- | पृ. ४६.

Page #395

Prakrit Verses in Sanskrit Works on Poetics
331
98. Bhoja cites this gatha to illustrate the defect, called औचित्यविरुद्ध (Impropriety).
After citing the gatha, he thus comments : अत्र पामरस्य पट्टांशुकोत्तरीयाभरणानौचित्याद् औचित्यविरुद्धमिदम् ।
99. Bhoja introduces this gatha, in the context of वैशेषिक गुण. Vaisesika Gunas or
Dosa-gunas - which are cases of Doșas turning out to be Guņas under certain circumstances. ये तु दोषा अपि आश्रयविशेषाद्युपाधेर्गुणत्वमाश्रीयन्ते ते वैशेषिकाः । यथोच्यते -
Vinaya (modesty) is a Guna of women, and Avinaya (lack of Vinaya) is a Doșa. But in the case of public women it is Avinaya that is a Guna, just as smoke which is otherwise a Dosa is Guņa when it emanates from ignited (fragrant) sandal wood.
100. Read the fourth quarter thus : होति हरी सप्प-सिंहा वि ।।
Bhoja introduces the gathā with the remark :
अप्रसिद्धार्थप्रयुक्तं गूढार्थम् । तस्य तद्-व्याख्यानादौ गुणत्वं यथा -- शृं. पृ. २४५.
After citing the gathain his SK Bhoja thus comments : अत्र मण्ड्रक-मर्कटसर्पसिंहेष्वप्रसिद्धप्रयोगत्वाद् गूढस्यापि हरिशब्दस्य स्वयं व्याख्यातत्वाद् गुणत्वम् । - सरस्वती, पृ. ९३.
V. Raghavan in his work on Bhoja's Srigaraprakasa (pp. 835-836, 1963 edn.) discusses the problem of the identity of poets mentioned in this Prakrit gātha.
Curious readers may refer to that discussion. 102. CI. प्राकृतेऽपि यथा –
जह ण्हाउं ओइण्णे अब्भुत्तमुल्हसिअमंसुअलुतं । जह य ण ण्हाओसि तुमं सच्छे गोलानईतूहे ।।७.५।। अब्भुत्तं अभिषिक्तम् । तूहं तीर्थम् ॥७.५||
टिप्पणक : जह ण्हाउं ति - स्नातुमवतीर्णे सात्त्विकभाववशात् आर्द्र सत् उत्प्रस्तम् पर्यन्तं 'अद्धंतो पेरते इति वचनात् । उद्धृतशफरीं दृष्ट्वा चकितो न स्नान इति संटक : I Chando'nusasana of Hemacandrasuri ed. by Prof. H. D. Velankar, Bharatiya Vidya Bhavan, 1961, p. 4.
104. V. L. - Vaiialagga. सत्थरअं. (i) सस्तरकम = bed (ii) स्वस्थरतम = comfortable sexual
intercourse; गामणि - ग्रामणी = the leader or chief of a village; उण्णअ-पओहर i) (उन्नत-पयोधरान) clouds rising in the sky; ii) उन्नत-पयोधरौ plump, swelling breasts.

Page #396

332
Prakrit Verses in Sanskrit Works on Poetics
The speaker throws a suggestion to the wayfarer that he should stay over night and enjoy the delights of love in her (charming) company.
106. अकटम् आश्चर्यम्; गुमटी-मनोज्ञा Cf. Mar. (गोरी) गोमटी; लवइ : आस्फालितखड्गस्येव स्फुरणे लवइ
इति महाराष्ट्रदेशी । तथा च प्रयोग: - 'लवइ अ विज्जूमणोहरी' इत्याराध्या: । याम्यो-दक्षिण: ।
निवारअ निर्वञ्चक: वारकशून्यो वा --- | अतो नकजनकजन्नार्थो नार्थ: ईर्ष्यारोषलक्षणेन प्रतिकूलभावावलम्बिना मानेन, तस्मात् प्रियमेव प्रतिजाहुदा याम: --- | - रत्नेश्वर, पृ. १४८.
He introduces this stanza with the statement : "दुर्विदग्धादिपात्रप्रयोज्या संकीर्णा यथा --" and after citing it, comments on it thus : सोऽयं संस्कृत-महाराष्ट्रापभ्रंशयोगस्तिलतण्डुलवत् संकीर्णा जाति: । सरस्वती, पृ. १४७.
107. Read the line thus : गोसे तिविछि - (? तिगिच्छि -) रिछोली तल्लत्तूहे विवल्लिदा ॥ .
There does not seem to be a word like fagio in Prakrit. It is possibly a corrupt form of तिगिच्छी. Hemacandra records in his DSS(p. 157) : तिंगिच्छी तिगिया य कमलरए । गोसे प्रभाते, तिविछि (? तिगिच्छी) रिछोली कमलरज:पडिक्तः । तल्लमल्पसरः । तूहं तीर्थम् । विवलिदा प्रसारिता । - रत्नेश्वर, पृ. १४८.
109. The two words कणइल्ली and वाअडी are synonyms of शुकी (a female parrot). The
three words कुन्त, कीर and पूसअ are synonyms of शुक (a parrot). Hemacandra records in his DSS (p. 74):
'कणइल्ल - कीर - कुंता सुगम्मि' - कणइल्लो, कीरो, कुंतो त्रयोऽपि शुकवाचका: ।
The situation described by the poet is something like this: Apac (paramour) imitating parrot's speech started talking to his beloved, of course, in fun. His beloved then angrily replies to him thus : “A female parrot talking to a parrot, alone knows the prattling of a parrot. Give up the parrot's speech; I am not indeed, O, you foolish one, that bold or disloyal parrot."
110. Bhoja cites this gatha as an example of अभिनय (gestures, acting), one of the
six kinds of ufafa (lit. reading; the changing of the meaning of a sentence from one thing to another. This changing is effected by six means.) V. Raghavan explains it thus : The fifth Pathiti is Abhinaya pathiti, cases of verses which are read with the accompaniment of some action to specify the meaning of certain words." Also read :

Page #397

Prakrit Verses in Sanskrit Works on Poetics
333
"अभिनयश्च साक्षादिव अर्थाकारादिप्रदर्शिका हस्तादिक्रिया।" In the gathā under consideration the word एतावत् is अनेकार्थ, as it can express any sense that we can convey by a gesture. So by appropriate gestures the word garac in this gātha is restricted to four different meanings.
111. 'भद्रं भवतु सरस्वत्याः' - 'May bliss come to us all from सरस्वती, the Goddess of
Learning.'
'नन्दन्तु व्यासादय :'- 'May Vyasa and others (say, Valmiki, Bhasa, Kalidasa, Bhavabhūti, Bāṇabhatta, etc.) rejoice.'
विदग्धप्रिया (वाणी)-dear to the learned; the poet recognises only three styles-(1) वच्छोमी (= वैदर्भी), the style of the people of वत्सगुल्म (Prakrit वच्छोम), a city in the Vidarbha country; (२) मागधी is better known as गौडी; and (3) पाञ्चालिका (better known as पाञ्चाली). He ignores the fourth style known as लाटी. काव्यकुशला: are the सहृदय - sensitive and sympathetic readers. ज्योत्स्नां चकोरा इव - the चकोर birds are noted for their fondness for the moonlight; विलिहन्तु - may they relish, enjoy.
112. णिएऊण (= दृष्ट्वा ) Hemacandra (8.4.181) records 15 Adesas i.e., - substitutes
for the root get in Prakrit.
118. The verse is cited by Bhoja to illustrate EFİR44. For an idea of st14h one of
the twelve उपरूपकs, vide V. Raghavan : Bhoja's Srrigara Prakasa (1963 edn. pp.546-547).
119. Read the verse as follows :
"अइ दुम्मण-दुम्मणआ अह किं णो पुच्छामि तुमं । ण जिविज्जइ जेण विणा सो परिहिज्जइ कीस जणो ।। अयि दुर्मनसां दुर्मनस्क अद्य किं नु पृच्छामि त्वाम् । न जीव्यते येन विना स परिहियते कस्माज्जन: ॥
The metre is very close to भामिनी (विरहाङ्क' s वृत्तजातिसमुचय, ed. Velankar, III. 51, p. 33); only the second line is irregular and so possibly corrupt."
- Dr. H. C. Bhayani
The verse is cited to illustrate रास [तदेव (= हल्लीसकमेव) तालबन्धविशेषयुक्तं रास:]. For an idea of रास / रासक, read Bhoja's Srigara Prakasa (pp. 561-562).

Page #398

334
Prakrit Verses in Sanskrit Works on Poetics
120. This gātha is cited to illustrate Prsta-praśnam, one of the six kinds of
praśnottaram. Bhoja in his SK (p. 304) explains it thus :
अत्र य एव प्रश्ना: 'क: स योजनपाद: 'क: स यो दण्डानां द्वे सहस्रे इत्यादय: त एव 'क्रोशो योजनपाद:' 'कोदण्डानां द्वे सहने' इत्यादीन्युत्तराणि भवन्ति । एवं 'का काली का मधुरा किं शुकपृथुकाननच्छायम्' इत्युत्तरं किमभिहितशेषस्य प्रष्टव्यमिति पृष्टप्रश्नम् ।
121. Bhoja cites this gāthā to illustrate '3fACH, one of the six kinds of Gūdha.
After citing the gatha he comments on it thus : “अत्र निरीक्षितमनेनात्र पुरुषायितलक्ष्म पादलाक्षादिकं, तेन नियुक्ते मां नृ-कर्मणीत्यभिप्रायेण वध्वाः शयनावलोकनमित्यभिप्रायगूढम् । - सरस्वती, 9. 302.
There is a section devoted to हियाली in Vajjalagga. हियाली is equated with हृदयवती (TRT), a stanza which has a heart i.e., a hidden meaning underlying the apparent expressed sense. It puzzles the reader in the matter of finding out the hidden meaning. Purch therefore means a riddle. It corresponds to Sanskrit welch. The riddle is thus explained : The brother-in-law discovers saffron-coloured foot-marks on the bed-sheet of his sister-in-law and learns of her faucia-ra (on the previous night) from those foot-marks. He asks her to take the sword and report on duty at the king's palace in place of her husband. She is convinced that he has discovered her secret and casts a perplexed glance at the bed-sheet marked with her foot-marks. The sword is a symbol of manliness.
122. Bhoja, following Rudrata, cites this stanza as an example of 799 (= pead and
31949) en
123. Bhoja cites this gathā as an example of Vesa, one of the varieties of Jāti (Natural
Description). After citing it he comments on it thus : 377 atata amatan HUT वेषो जनमन:प्रमोदाय जायत इति वेषो नामायं जातिभेद : I - सरस्वती, पृ. ३१४.
GS (W) reads "Khaņa' for 'Chana', and 'Kaņņa gaa' - (or - 'kaa' v. 1.) for *Kassa kae'. It deserves our notice that Bhoja quotes this very găthā further on (p. 664) with the introductory remark: Haldarfari ya IT - "There it reads in the second half of the gāthā $002631", which agrees with the reading in GS (W). For the festival ya tica, read Bhojas Smgăraprakāśa, pp. 650-651.
124. The subjects of Jāti, (Natural Description) may be an innocent young woman,
a child, lower animals and persons of inferior rank. Here Bhoja cites an example

Page #399

Prakrit Verses in Sanskrit Works on Poetics
335
of the figure Jāti giving the natural description of an innocent, inexperienced newly-wed girl. णहवअ (= नरवपद; also called नखक्षत, नख-व्रण) nail-marks. Note : This gāthā is cited also in SK III, (p.315, v.5) in the same context.
125. Read : Vāhittā padivaanam --- (p. 393)
Bhoja introduces this gathawith the words : "प्रतीयमानमिङ्गितलक्ष्यं यथा" - "and adds at the end : प्रतिवचनादान-परिजनप्रकोपाभ्यां, प्रदीप्यमाने नदीकच्छे इति हेतुना प्रत्याय्यमान: संकेतकुडयाङ्ग (? कुडुङ्ग-लतागृह -) दावोद्भव-वधूमनस्तापो वाक्यार्थत्वेन लक्षित इत्ययमिङ्गितलक्ष्य: प्रतीयमान: सूक्ष्मभेद:। - सरस्वती, पृ. ३३६.
वाहित्ता = व्याहृता spoken to; एकमेक्कस्स = एकैकस्य (with everyone she comes across); कज्जेण विणा = कार्येण विना without any rhyme or reason; पलिप्पमाण = प्रदीप्यमान blazing up; णईकच्छ = नदी-कक्ष lit. the bank of the river, and secondarily, the shrub or thicket or woods on the bank (her rendezvous, place of meeting with her lover by appointment).
Note: This gāthā is cited also in SK III, (p. 336, v.51) in the same context.
126. Read in the chāya श्यामायते श्यामलाया. Bhoja cites this gatha as an example of
“आकार-लक्ष्य: प्रतीयमान: सूक्ष्मभेद:". सामाइ (= सामाएँ, denom. from साम = श्याम) सामाअए - श्यामायते = becomes dark; श्यामला (= श्यामा) a young damsel having dark (yet attractive) complexion; अद्धच्छि ' - अर्धाक्षिप्रलोकनशीला casting (guilt-conscious) plances at her lover जंबू (जम्बूदल-कृत-कर्णावतंस-भ्रमणशीले) roaming or wandering about near her house with Jambu- leaves placed on his ear as an ear-ornament The idea is : the young girl failed to keep her appointment with her lover under the Jambū tree. To convey to her this fact, the lover the afonya wears Jambū-leaves as ear-ornament. The girl feels guilty and consequently her face becomes dark.
Read; अत्रार्धाक्षिप्रलोकन-मुखश्यामताभ्यामाकाराभ्यां जम्बूदलकल्पितावतंस इत्यनेन प्रत्याय्यमान: संकेतगमनभ्रंशसंभव: श्यामाया मनस्तापो लक्ष्यत इत्ययमाकारलक्ष्य: प्रतीयमान: सूक्ष्मभेद:। - सरस्वती, पृ. ३३६.
127. Bhoja cites this gāthā as an example of the figure vir (which is called the in
SK(p. 337) which he defines as 'फल्गुनिरासेन अफल्गुनिर्धारणं सारः ।' Setting aside what is trifle or trivial or worthless and specifying or determining what constitutes excellence. This figure Sara is two-fold : 1. dharma-rupah2. dharmirupah. This

Page #400

336
Prakrit Verses in Sanskrit Works on Poetics
example illustrates the variety. Bhoja thus comments on this găthă in SK :
अत्र प्रौढानां सुशिक्षितं सुरत-कर्म, अप्रौढस्त्रीणां पुनरशिक्षितं सुखयतीति कर्मान्तरलक्षणेभ्यो धर्मेभ्य: सुशिक्षिताशिक्षितरतकर्मलक्षणा धर्माः स्त्रीधर्मव्यतिरेकेण प्रतिपाद्यन्त इति धर्मव्यतिरेकरूपोऽयं सारः । -सरस्वती, पृ. ३३८.
This very gāthā is again cited by Bhoja on p. 635 with some variants :
पोढमहिलाणं जं सुछ सिक्खिरं तं रए सुहावेइ ।। जं जं असिक्खि णववहणं तं तं धिइं देठ (?देइ) ||
__ सरस्वती, पृ. ६३५.
(--- यत् सुष्ठ शिक्षितं ---| --- धृतिं (ददाति) |).
128. Bhoja cites this gāthā as an example of the variety of Bhāva, called Sodbhedah.
He comments on the găthā as follows :
अत्र सालोक एव सूर्ये गृहपतेहागमनं गृहिण्याश्च यत्पादधावनं तदावाभ्यामद्य वेश्मनो न निर्गन्तव्यमिति भावः । स च द्वयोरपि हासेनाभित उद्भिद्यत इत्यभित: सोद्भेदोऽयं भाव: । - सरस्वती, पृ. ३७७.
Bhoja later on cites this gathā to illustrate one of the eight types of nāyikā, called svädhīnapatikā- who is absolute mistress of her lover, and he her obedient slave.
Bhuvanapala's comments on this gatha thus run : ---अनया प्रयुक्त्या अवरुद्धोऽहमनयेति हसत: । साऽपि कीदृशी । हसन्ती स्मयमाना । अथ मा खल्वयम् अन्याङ्गनासंभोगसुखलालसतया निर्यासीदिति व्यपदेशेन प्रियं निरुणद्धीति । असमय एव पादप्रक्षालनम् उभयाभिप्रायपरिज्ञानं च उभयोर्हासहेतु: । - गाहाकोस,
पृ. ६४.
129. Hemacandra reads 'हंद पलोएसु' (8.2.181) and explains हंद as गृहाण 'Take this'.
Bhoja cites it as an example of the variety of Bhāva, called Sodbheda. The first example illustrates भाव-अभित: सोद्भेदः, whereas this second illustrates भाव - एकत: सोद्भेदः | Bhoja thus comments on this gatha : अत्र सुतस्य दन्तोद्गमाद् अहमुपभोगयोग्यस्मीति गृहिण्या एवमभिप्राय: प्रकर्षविकासितनयनतयोद्भिद्यते; न पुन: पत्युरित्येकत: सोद्भेदोऽयं भाव: । - सरस्वती, पृ. ३७७.
According to Bhuvanapāla, the hidden meaning of the gāthäis as follows: "The wife cleverly suggests to her husband that sexual relations, suspended during her pregnancy and since her delivery, can now be resumed." Gāhākosa. (Notes,

Page #401

Prakrit Verses in Sanskrit Works on Poetics
337
p. 145. Umashankar Joshi is all admiration for this gāthā : सांजे पति घर आवे छे तेने पत्नी शिशुनी नाजुक फूटेली बे दांतकळीओनी निशानी बोर पर अंकायेली कोडे कोडे बतावे छे ए एक लाखेj - सवालाखेणुं चित्र छे. - कवितासंगम - संपादकीय, पृ. ६, गाथामाधुरी प्राकृत मुक्तको, अनुवाद-हरिवल्लभ भायाणी, वोरा अँड कंपनी - अमदाबाद, १९७६.
130. Bhoja cites this gāthā as an example of the variety of Bhāva, called Abhito
nirudbhedah. आढत्ता = आरब्धा started; दुक्खुत्तारा (दु:खोत्तारा difficult to walk down (or up), to clear or get over, negotiate; पअवी (पदवी) path, way.
Bhoja's comments on this gatha run thus : अत्रागच्छन्ती हालिकस्नुषां दृष्ट्वा गृहपतिसूनोर्गोदावरीतटे यदवस्थानम्, यश्च तमवलोक्य तस्या दुरुत्तरमार्गेणावतरणारम्भः, तत्रायं तयोरभिप्रायो हस्तावलम्बदानेनावयोरङ्गसङ्गम: संपद्यताम् इति । स चाभितो द्वयोरपि जायमानो नेह केनचित्कर्मणोद्भिद्यत इत्यभितो निरुद्भेदश्चायं भावः ।
131. Bhoja cites this gātha as an example of the variety of Bhāva, called Ekato
nirudbhedah. सालि (शालिवन-गोपिका a female guardian, protectress of ricefield). पूस ° (शुकवृन्द flocks of parrots). Note पूस is a Desi word meaning a parrot. Bhoja thus comments on this gatha : अत्रातिसौन्दर्येण देवीभ्रान्त्या शालिवनगोपिकामालोकयतां पथिकानां तदक्षिनिरीक्षणेऽयमभिप्राय: । ---"तदक्षिणी एव पश्यामो यदियं निमिषति तदा मानुषीयं यदि न निमिषति तदा देवीयम् । " इति सर्वाङ्गसुन्दर्या अपि पथिकानामेव जायमानो भावो नेह केनचित्कर्मणोद्भिद्यत इत्येकतो निरुद्भेदश्चायं भाव: । - सरस्वती, पृ. ३७८.
132. Read हिअ रोसुभिण्णं. (p.395)-माणंसिणी (मनस्विनी) the proud lady; रोसुग्गिणं (रोषोद्गीर्णम्)
provoked by anger; माणंसिणीऍ थोरंसुअं रुण्णं ।। The proud lady burst into tears; (ण हओ दइओ (न हतो दयित:) she did not kick him on his heart (chest), when she heard his plea that she should kick him on his head instead of on his heart. The lover/husband wanted to avoid injury to the sweetheart enthroned in his heart. The proud lady did not kick him on his head, as it was clear that his heart was already captivated by a rival lady and that she was no longer his absolute mistress and he her obedient slave ! She simply wept bitterly : "रुदितमुचितमस्त्रं योषितां विग्रहेषु ।" Bhoja's comments thus run : अत्र हृदये रोषोधूर्णपादप्रहारं यदयं शिरसा प्रार्थितवान्, यच तयासौ न ताडितस्तत्र हृदये वल्लभा वसतीति भाव: । स च प्रार्थना-रोदनाभ्याभुद्भिद्यमान: सोद्भेदो भावो हृद्य इत्युच्यते । - सरस्वती', पृ. ३७९. SP declares हृद्यं सूक्ष्मं च भाव एव । पृ. ३९५.

Page #402

338
Prakrit Verses in Sanskrit Works on Poetics
134. Bhoja cites this gāthā, attributed to Pādaliptasūri, as an example of one of the
varieties of Anumana (Inference), called सामान्यतो दृष्ट. Bhoja thus explains it : यत्रन कार्य, न कारणं केवलमविनाभावमात्रं प्रतीयते तत् सामान्यतो दृष्टम् । यथा - सरस्वती, पृ.३८३. .
Bhoja's comments on this gatha thus run : अत्र वर्षर्तुरविनाभूतैर्भेघगर्जितादिभिः सामान्येनैवानुमीयत इति सामान्यतो दृष्टमिदम् ।
136. The first half of this gatha is metrically defective. It may be emended to :
ण उणो वर-कोअंडे पुत्तिएँ माणूसए वि एमेअ ।
(न पुनर्वरकोदण्डे पुत्रि मानुषेऽप्येवमेव ।)
A similar idea is expressed in the second half of the following gāthā from Vajjalagga. S. No. 686. गुणहीणा जे पुरिसा कुलेण गव्वं वहति ते मूढा । वंसुप्पन्नो वि धणू गुणरहिए नत्थि टंकारो ||
M. V. Patwardhan observes in his Notes (p. 574) : "We must construe the words in the second half as follows :- (जइ वि) धणू वंसुप्पण्णो (होइ) (तह वि) गुणहिए (तम्मि) टंकारो नत्थि । The correct wording should be : वंसुप्पन्ने वि धणुम्मि निगुणे नत्थि टंकारो । "
In ŚP Bhoja cites this gāthā as an example of one kind of Drstānta, called Pūrva. But this statement and the statement in SK (pp. 354-355) are contradictory.
139. This well-known gātha Bhoja cites as an example of the figure Anyonyam.
(Pratīyamānam). The wayfarer and the young woman serving water to him become fascinated with each other and try to prolong the process of drinking and serving water.
Bhoja's comments on this gatha thus run : अत्र पथिक-प्रपापालिकयोमिथोऽनुरागे यदेकस्य विरलाङ्गुलिना करेण पानीयपानमन्यस्या:सुतरां वारिधारातनूकरणं तेन परस्परमुपकार्योपकारकभावात् प्रतीयमानमिदमन्योन्यम् । - सरस्वती, पृ. ३४७.
रत्नेश्वर adds :- न चायमेवंविधोऽर्थः केनापि शब्देनभिहित इति भवति प्रतीयमानता । वक्त-प्रतिपाद्यादिविशेषपर्यालोचनेनैव ध्वननमुन्मिषति । पृ. ३४७.

Page #403

Prakrit Verses in Sanskrit Works on Poetics
339
140. Bhoja cites this gāthā as an example of the third variety of Anyonyam, called
Ubhayātmakam (- Pratīyamānābhidhīyamānam). His comments on this gāthā run as follows : अत्र गोदावरीविषमावतारव्याजेन तया तस्योरसि आत्मा क्षिप्तस्तेनाप्यनुकम्पानिर्दोषा सा गाढमुपगूढेत्यभिधीयमान: परस्परमनुरागादुपकार्योपकारकभाव: प्रतीयत इत्युभयात्मकमिदमन्योन्यम् । सरस्वती, पृ. ३४७.
141. Bhoja cites this gathaas an example of Parivrttih (the variety being Vyatyayavati.
Amukhyā) aruar Rapat occurs when a thing occupying one place is described as transferred to another place. In this example the red dye of her lower lip which overnight was rubbed away by her husband was seen the next morning on the faces of her rivals/co-wives. :- अत्र प्रियतमेन रात्रावुद्वासितस्याधररागस्येयं सपत्नीलोचनेषु संक्रान्ति: । सरस्वती, पृ. ३४९.
142. This skandhaka is cited as an example of the figure Mīlita (when something
is concealed by another possessing a similar characteristic, there is the figure Milita). Bhoja speaks of its two varieties. The first variety “अभिधीयमानगुणेन वस्तुना मीलितम्" is illustrated by this example : अत्र मज्जनताम्रयोर्लोचनयोर्मदरागो मदताम्रयो: कोपानुराग: साक्षादभिधीयमानेनैव गुणेन तिरस्क्रियमाणो निदर्शित इत्यभिधीयमानगुणेन वस्तुनैतन्मीलितम् । -सरस्वती', पृ. ३७२.
The two expressions 'tamra' and 'pallavarunaraga' directly express the guna i.e., redness. Eyes become red on account of bathing; eyes become red through intoxication and eyes become red through anger. सचविओ = दृष्टः । गोसे प्रात: ।
143. The first half of this gāthā as printed in Mysore edn. (and in SK) needs to
be corrected as follows:
पिअदंसणेण सुहरसमुउलिअ (?पिअदंसणसुहरस-मउलिआइँ) जइ से ण होंति णअणांइ । It may be noted that the commentator रत्नेश्वर too had the reading पिअदंसणेण. With this reading मुउलिअ (?मउलिअ) will have to be understood as standing for मउलिआईं. Bhoja cites this gătha to illustrate the second variety of Milita (Pratīyamānagunena). Bhoja's comments on this gatha run as follows : अत्र प्रियदर्शनसुखेन मुकुलितयोरेव लोचनयोस्तस्याः कर्णकुवलयं लक्ष्यते न त्वमुकुलितयोरिति वस्तुना वस्त्वन्तरतिरस्कार: प्रतीयमानगुणतयोपपादित इति प्रतीयमानगुणेन वस्तुना मीलितमिदम् । - सरस्वती, पृ. ३७३.
144. पअडिअ (प्रकटित) - shown; सब्भाव (सद्भाव) good disposition; विन्भम (= विभ्रम) graceful
or playful movements of the eye-brows, eyes and lips; संवरण concealment; वावड

Page #404

340
Prakrit Verses in Sanskrit Works on Poetics
(व्यापृत) engaged in.
This gatha is quoted here as an example of the so-called figure Pihita. Bhoja, however, emphatically states that the so-called figures Pihita, Apihita, Tadguna and Atadguna are nothing but the figure Milita : 'पिहितमपिहितं तद्गुणोऽतद्वण इतीमान्यपि मीलितान्येव । शृं. प्रकाश, पृ. ४०१.
145. Bhoja cites this gāthā as an example of the alleged figure Apihita, which is,
in fact, a variety of the figure Mīlita.
Bhoja's comments on this gatha run as follows :- अत्र दृष्ट्या यन्न दृष्टः, संभाषितया यन्न संभाषितो न चाभ्यागतोपचारो विहितस्तेन तदनुरागः परं न पिहित: प्रत्युत छादनेन छेकानां प्रकटित इत्यपिहिताख्योऽयं मीलितभेद: । - सरस्वती, पृ. ३७४.
147. Bhoja cites this gāthā as an example of one of the varieties of Bhrāntiḥ (Error),
called 'Abadhita atattve tattvarāpa.' His comments on this gatha run as follows: अत्र सुरवधूस्तनमण्डले करिकुम्भत्वेन गृहीतेऽतत्त्वरूपे यन्मिथ्यैव तत्त्वारोपणं न चानन्तरं बाधकोपन्यास: कृतस्तेनेयमबाधिता अतत्त्वे तत्त्वरूपा भ्रान्ति: । - सरस्वती पृ. ३६४.
148. पूस - (= शुक-) वंद (=वृन्द)-aflock of parrots; हसिअं (=हसितं) सहत्थतालं (स्वहस्त-ताल)
They laughed and clapped their hands in wonder and amusement.
Bhoja cites this gāthā as an example of another variety of Bhrāntiḥ, called 'Atattve tattva-rupākhya badhita Bhrantih'. He thus comments on the gatha : अत्र पत्र-फलितोऽयं न्यग्रोध इत्यतत्त्वरूपे तत्त्वबुद्धावुत्पन्नायां य उत्तरकालमपत्रतानिष्फलता प्रत्ययस्तेन --- भ्रान्ति: । - सरस्वती, पृ. ३६४.
Ratnesvara in the course of his comments says : शुकचञ्चुपुच्छानां पक्वन्यग्रोधफलनवपलाशसादृश्यम् । यद्यपि नात्र बाधो ऽ भिहितस्तथापि उड्डीण इत्यनेनार्थाभावविषया प्रतीति: क्रियते । कथमन्यथा हसितहस्ततालरूपन्यास: स्यात् । - पृ. ३६४.
149. This gātha is cited also in SK in identical context. Bhoja cites it as an example
of Bhrāntih (Tattve atattvarūpā hānahetuh). His comments run as follows:
अत्र पारमार्थिकीष्वपि नदीषु मृगतृष्णाप्रतारित: सन् यन्न मृग: पय: पातुं प्रतिपद्यते प्रत्युत त्यजति तेनेयं तत्त्वेऽप्यतत्त्वरूपा हानहेतुर्भ्रान्ति: । सरस्वती, पृ. ३६५.
150. For this Apabhramsa passage, vide Appendix I.

Page #405

Prakrit Verses in Sanskrit Works on Poetics
341
151. "In the Arthālamkāra section, Bhoja gives this Abhinaya (one of the varieties
of Pathiti) as a species of the Arthālamkāra, called Upamāna which is one of the Pramāṇas of the Mīmāmsakas made into an Alamkāra by Bhoja. In that place, besides Abhinaya, Alekhya, Mudrā, and Pratibimba are referred to, as varieties of Upamānālamkāra." . V. Raghavan, Bhoja's Strigăra Prakāśa (p. 366).
Ratnesvara thus comments :ग्रामतरुणैरनन्यबद्धान्त:करणैर्हालिकवधूस्तनाभोगो मुसलोल्लासनादौ वारंवारमनुभूत: स तुल्याकारधृतविवरप्रसूनै (? प्रसृतै) रण्डदलदर्शनादेव बुद्धिमारोहतीति सा बुद्धिर्मीमांसकोपमितिमध्यमध्यास्ते । कथमेरण्डदलसंनिवेशस्याभिनेयता । अनुकारो ह्यभिनय: । न चासौ तत्र संभवति । अत आह - उत्तानप्रसारिताडलिहस्तसंनिवेशेन वस्त्वन्तरपरिणाह-प्रतिबिम्बनं लोकप्रसिद्धं तदिहापि एरण्डदलविस्तारदर्शनात् --- |
152. SP and SK (p. 384) read the second half as :
एत्तं (?) वसंतमासं । मासो सहि जं उत्कंठिअं (?) चेअं ।। (एति वसन्तमास: । सखि यदुत्कण्ठितं चेत: ।)
GK (p. 220) reads as : पत्तं वसंतमासं साहइ उक्कंठिय चेय ॥
(प्राप्तं वसन्तमासं कथयत्युत्कण्ठिका एव ।)
GS VI. 42 reads as : पत्तं वसंतमासं साहइ उक्कंठिअं चेअं ।।
(प्राप्तं वसन्तमासं कथयत्युत्कण्ठितं चेत: ।।)
रत्नेश्वर's statement. (चूतमञ्जरीमलयपवनयोरग्रे समुत्कण्ठितम् अत्र चमत्कारास्पदम् । - पृ. ३८५) shows that he had before him the reading out. We find the GS reading more acceptable. Bhoja thus comments on this gātha :
अत्रोत्कण्ठालक्षणेन कार्येण वसन्त : कारणभूतोऽनुमीयत इति सामग्रीपक्षे इदं शेषवदित्युच्यते । - सरस्वती, पृ. ३८५.
153. In the second half of this gatha, we have the phrase अचंतदत्तदिठेण. It is obscure.
Possibly the reading is corrupt. It may be emended, as suggested by M. V. Patwardhan, to अचंत-दंत-दिह्रण (Sk. अत्यन्तदृष्टदन्तेन) (हसिएण) i.e., by a broad smile | laugh which exposes fully the teeth; सामि - वलिएण (Sk. सामि वलितेन) (हसितेन) (by a broad smile) accompanied by a partial (half) turning of the body; छार (क्षार) is salt. PSM records its another meaning as F (ashes).
We have in Sanskrit क्षते क्षारस्य क्षेपणम् - 'throwing or scattering salt on a gaping

Page #406

342
Prakrit Verses in Sanskrit Works on Poetics wound' and secondarily meaning 'adding insult to injury'. But this idea 'च्छहिहिसि गोत्तस्स मत्थए छारं' (Sk. गोत्रस्य मस्तके क्षारं क्षेप्स्यसि ।) is really uncommon. In Marathi we have the plrase 'saya pra qut' but that conveys an altogether different idea; so also we have in Marathi the phrase "atsid nooreet rut'. which means 'damaging, besmirching the fair name of a family'.
Bhoja paraphrases the second quarter of the gātha by ma qura; if : वक्रोल्लापिनी, वक्रोल्लापनशीला (one who is given to speaking obliquely - suggestively - indirectly).
Bhoja's comments on this găthā run as follows:
अत्रैवंप्रकारया वक्रोक्त्या एवंविधेन हसितेनोपलक्षितत्वमग्रतो गोत्रं दूषयसीति कारणतो यत्र कार्यानुमानं तदिदं सामग्रीपक्षे पूर्ववदित्युच्यते ।
154. This skandhaka is already dealth with; vide DHV S. No. (* 7.7) supra. Bhoja
cites this skandhaka as an example of Abhāva (proof from non-existence, negative proof), one of the 24 pure Arthālamkāras; SK (p. 395, v. no. 177) more specifically, of Prāgabhāva. It is interesting to find that the definitions and classifications of Alamkāras derived from Sastras, the six Pramāņas, and Smrti etc. are all in Sāstric terminology." (V. Raghavan: Bhoja's Srrigāra Prakāśa, p. 387).
155. Bhoja cites this gātha as an example of Antarbhūta-sāmānya Samāsopamā. 46
(मुखरस) the sweetness of nectar of the mouth (or nether lip); कअग्गह seizure of the braided hair - aug 05979TRTUGUT UT RH 3RTA vecuvaci si - TMG (q. 809).
156. Bhoja cites this gātha as an example of Antarbhūtobhayārtha Samāsopamā.
157. Bhoja cites this skandhaka from Setu as an example of Mālopamā (Garland
Comparison); vide Extract from Sanskrit Commentary in Appendix I.
CHICT is thus defined : 315o athisla filcar II and '3141GYQUİ HII
HICT d iluvaat | HEZI PEG-169 Hidla ai fag: 1 sfa greca:
158. Bhoja cités this skandhaka as an example of one of the varieties of
Sāvayava-rūpaka, called Sahajāvayava (Rūpaka). Regarding fareg Hemacandra

Page #407

Prakrit Verses in Sanskrit Works on Poetics
343
(DSs, p. 243) says : वतु तथा विच्छड्डो निवहः । ऋद्धिवाची तु विच्छड्डो 'विच्छर्द' शब्द-भव: । Jagaddhara (comm. p. 422) says विच्छर्द: प्रवाह: । उक्खडिअ (? उक्खलिअ) = उत्खण्डित-cut off.
... Read Jagaddhara's comments : ... इह मुखमेव कमलं तत्पतितम् । कीदृशम् । प्रस्फुरितमोष्ठपुटमेव दलं पत्रं यत्र तत् । तत्कालविगलितरुधिरमेव मधुप्रवाहो यत्र तत् । विच्छर्द : प्रवाह : | उत्खण्डितकण्ठ एव नालो यत्र तत् । स्फुटदशना एव केसराणि यत्र तत् । इह मुखस्यौष्ठादीनि पद्मस्य पत्रादीन्यवयवास्ते च सहजा इति तत्प्राधान्यादिदं सहजावयवरूपकम् । --- पृ. ४२२.
159. Bhoja cites this skandhaka as an example of one of the varieties of Sāvayava
Rūpaka, called Ahāryāvayava. Read Jagaddhara's comments :
ततोऽनन्तरं दशानन एव भुजग: सर्प: सोऽतिभयानको जात: । कीदृश: । कुम्भकर्णप्रतिवचनमेव दण्डस्तेन परिघट्टित उत्थापितोऽमर्ष एव घोरविषं यस्य सः । गलितश्च्युतोंशुकं वस्त्रमेव निर्मोक: कञ्चुको यस्य सः । इह प्रतिवचनादीनामवयवत्वाभावाद् आहार्यावयवता, तेषामेव प्राधान्यादाहार्यावयवरूपकमिदम् । पृ. ४२३.
160. Bhoja cites this skandhaka from Setu as an example of Adhāravad Rūpakam.
Read Jagaddhara's comments : इह गगनमेव समुद्रः, तत्र तारा एव मुक्ता: तासां प्रकर: समूह: शोभते । कीदृशः । विशेषेणातिशयेन शुद्धकिरण:। रजनी एव वेला तीरभूमिस्तत्र लग्न: संबद्धः । स्फुटविघटिता व्यक्तीभूय विदीर्णा मेघा एव शक्तिसंपुटाः, तैर्विमुक्तश्च । इह सादृश्ये रजन्यादीनां प्रतीयमानता वेलादीनामभिधीयमानता, शुद्धरूपकता उपमाद्यसंभेदात् । गगनस्याधारतयेदमाधारवद्रूपकम् । - पृ. ४२५.
161. Bhoja cites this skandhaka as an example of Nirādhāra Rūpakam. Read .. Jagaddhara's comments : इह धूमसमूहा एतादृशा विज्ञायन्ते (? विनिर्यन्ति) । कीदृशाः । वनराज्या
वनपङ्क्ते: केशहस्ता: केशकलापा एव, 'पाश: पक्षश्च हस्तश्च कलापार्था: कचात्परे ।' इत्यमर : । कुसुमायुधस्य कामस्य सुगन्धि-चलद्-ध्वजपटा एव चन्द्रकिरणानां मूहूर्त-मेघा एव तमसामन्धकाराणां प्रतिहस्ता: प्रतिनिधयः । --- इह धूमोत्पीडस्य वनराजिकेशकलापादेराधारत्वानुपपत्तेर्निराधाररूपकमिदम् । सरस्वती, पृ. ४२५.
162. Bhoja cites this skandhaka from Setu as an example of Sāvayava Saṁkīrṇań
(Rupakam). Read Jagaddhara's comments : इह नभस्तलं शोभते पितामहस्य ब्रह्मण उत्पत्तिपद्ममिव तस्य पद्मयोनित्वात् । कीदृशम् । रविकरा: सूर्यकिरणा एव केसरनिकरा यत्र तत् । धवलाभ्राणि श्वेतमेघा एव दलसहस्राणि तैः परिगतमन्वितम् । मधुमथस्य विष्णोर्दर्शनयोग्यम्, शरदि तस्य जागरणादस्य च रम्यत्वात् । पद्मपक्षेऽपि नाभिकमलतया मधुरिपुदर्शनयोग्यता । --- अत्र रविकर - धवलाभ्र - सहस्रयो : सहजाहार्यावयवयो: केसरनिवहत्वेन दलसहस्रत्वेन च रूपणात् पङ्कज - नभस्तलयोरवयविनोरूपमानोपमेयत्वाच्च सावयवसंकीर्णरूपकमिदम् । पृ. ४२७.

Page #408

344
Prakrit Verses in Sanskrit Works on Poetics
163. Bhoja cites this skandhaka as an example of Niravayava Samkīrņam (Rūpakam).
Read Jagaddhara's comments :
इह दिवस एव भुजङ्गः सर्पोऽपरसमुद्रं पश्चिमसमुद्रं गत इव । कीदृश: । दी? महापरिमाण: । सूर्यबिम्बमेव फणामणिप्रभां विकासयन् आतपसमूह कञ्चुकमिव त्यजन् । अत्रासामानाधिकरण्येनावयवावयविभावो न ज्ञायते, इव प्रयोगेण चोपमा ज्ञायत इति निरवयवसंकीर्णरूपकमिदम् । पृ. ४२७ - ४२८
164. Bhoja cites this skandhaka from Setu as an example of Ubhaya Saskirņam
(Rūpakam). Read Jagaddhara's comments:
इह दिशो निजस्थानं स्वकीयस्थानं प्रतिगता इव । इवपदमुत्प्रेक्षायाम् । कीदृश्य: । धुता मेघा एव मधुकरा भ्रमरा यासु ता : | घनसमयेन वर्षाकालेन घनावरणाद् आकृष्टा: संनिहितीकृता अवनता भूमिलग्ना: पश्चाद् विमुक्तास्त्यक्ता: । नभ एव पादपो वृक्षस्तस्य शाखाभूता : । अत्र 'धुतमेघ'-पदे बहुव्रीहि: । नभ:पाद- पदे षष्ठीसमास: ताभ्यां सावयवत्वं निरवयवत्वं च यथाक्रममुक्तम् । अत एवोभयसंकीर्णरूपकमिदम् । - पृ. ४२८.
Bhoja's comments run : अत्र पादपरूपेण रूपितस्य नभसो यदेतद्दिशां शाखारूपेण रूपणं मेघानां च मधुकरप्रकरेण तदुभयमप्यन्यपदार्थषष्ठी समासयोरभिधीयमानेन सावयवं निरवयवं चेत्युत्प्रेक्षया च संकीर्यमाणमुभयसंकीर्णरूपकव्यपदेशं लभते । - पृ. ४२८.
165. Bhoja cites this skandhakafrom Setuas an example of Sleşopahitam Saṁkīrņam
(Rūpakam). Bhoja's comments on this skandhaka run as follows: 377
श्लिष्टरूपेण तद्विशेषणप्रकारो यश्च शोभाया : प्रथममग्य चिह्न सौभाग्यस्य च प्रथम चिहनं पीन-पयोधरे मेघे स्तने च लग्नमित्यादिविशेषणविशेष्यभावस्तेनेदं श्लेषेणोपधीयत इति श्लेषोपहितं नाम संकीर्णरूपकेषुभयभूयिष्ठरूपकभेद : । सरस्वती, पृ. ४२९.
Vide also Extract from Sanskrit Commentary in Appendix .I.
166. महाणस (महानसकर्म) - work (of cooking food) to be done in the kitchen; लग्ग (लग्न)
clinging (to one's hand); मसि = मषी - soot (formed on the bottoms of cooking utensils); मलिइअ / मइलिअ (= मलिनित, मलिन) soiled; छिक्क (= स्पृष्ट) = touched; चंदा (चन्द्रावस्थां गतं) looking like the moon who has a dark spot on his surface. Jagaddhara remarks: अत्र मसी - (? मषी-) मालिन्यं वैकृतं तत एव मुखचन्द्रयो : साम्यापत्तिः । सरस्वती', पृ. ४३८.
169. This skandhaka is already dealt with; vide SP S. No. (33.49) supra. Bhoja cites
it here as an example of the Ubhayālamkāra, called Samadhi. His definition of Samādhi runs as follows:

Page #409

Prakrit Verses in Sanskrit Works on Poetics
345
अन्यधर्माणामन्यत्रारोपणं समाधिः । Samadhi is superimposition of the attributes or properties of one thing upon another. SK(p. 679) cites this stanza as an example of Ubhayābhāsa (ubhaya standing for both nayaka and nāyikā).
171. Bhoja cites this skandhaka to illustrate his point that the alleged figure Melita
is nothing but the figure Samadhi.
Read Jagaddhara. : इह दिनमङ्गमिव पतति, रक्त : सूर्य : कण्ठच्छेद इव भवति, रक्तमिव सन्ध्या गलति, तिमिरं केशश्यामं शिर इव घूर्णते इतस्ततो याति । अत्र पतनादिक्रिया:, लौहित्यादयो गुणा:, प्रधानक्रिया: पततीत्यादिकाः, तदध्यारोपो दिवसादिषु इति समाध्युक्ति: --- " सरस्वती, पृ. ४२७.
172. This gāthā is already dealt with; vide ŚPS. No. (32.48) supra. Bhoja cites it
here again to illustrate his point "मेलितमपि समाधिरेव ।
Setu to illustrate the figure Sádrśyavati
173. Bhoja cites this skandhaka from
Sahoktih.
तिमि is explained thus : "तिमि: महामत्स्य:' and 'अस्ति मत्स्यस्तिमि म शतयोजनविस्तृत: ।' इति रामायणम् । The word लोक (सपक्षपर्वतलोकम्) is thus explained : 'समूहेऽपि मतो लोक:' इति रत्नकोष : । - as quoted by Jagaddhara. सपक्षपर्वत - winged mountains - 'those of the mountains which had jumped into the ocean to save their wings when these were being clipped by Indra.
• One commentator says : "अत्र 'इव' शब्दा: सहार्था: सादृश्यार्थाश्च ।" (Vide Handiqui : -...
Notes to Setubandha, p. 210)
174. Bhoja cites this skandhakato illustrate the figure Asadrsyavati sahoktih. Bhoja's
comments on this stanza run as follows : अत्र यामादीनां बहूनां धैर्यादिभिः सह गलनक्रियायामेकस्यामेवाविविक्त: समावेशो दृश्यते । सेयमविविक्तकर्तृक्रियासमावेशा नाम वैसादृश्यवती सहोक्तिः । - सरस्वती, पृ. ४८३.
175. मसि (मसी, मषी) black ashes; दीसंति (दृश्यन्ते) pres. pass. 3rd plu. (are seen); आससु
(आसससु, by haplology आससु) cheer up. In his commentary, Bhuvanapāla observes : ग्रीष्मसमय एवायम् । दवाग्निधूमश्यामलितविन्ध्यशिखराणि न तु वर्षावतार इत्यर्थः । 3146farsicht : 1 Gāhākosa, pp. 34 - 35. It is a well-known poetic convention in Sanskrit that the sight of (rain-) clouds is an excitant of love. "विरहिणां

Page #410

346
Prakrit Verses in Sanskrit Works on Poetics
मेघसंदर्शनमुद्दीपनं भवति इति भावः ।
Mallinātha on मेघालोके भवति सुखिनोऽप्यन्यथावृत्तिचेत: कण्ठाश्लेषप्रणयिनि जने कि पुनर्दूरसंस्थे ।। - मेघदूत ३.
177. Bhoja cites this gatha as an example of अर्थान्तरन्यास (विपर्ययेण) or Corroboration.
Bhoja explains why it is an example of विपर्ययेण अर्थान्तरन्यास :- अत्र साधनसमर्थं वस्तु प्रथमत एवोपन्यस्य पश्चात् तत्साध्यमभिहितमिति विपर्यासादयं विपर्ययो नामार्थान्तरन्यास : । सरस्वती, पृ. ५०२.
178. Bhoja cites this skandhaka to illustrate his point : उभयन्यास: प्रत्यनीकन्यास:
प्रतीकन्यासोऽपि चार्थान्तरन्यास एव । तत्रोभयन्यासो यथा - "ते विरला सप्पुरिसा"-- His comments run : अत्र विद्यमानमपि साध्यसाधनभावमप्रतिपाद्य यदुभयोर्वस्तुनोर्व्यसनं सोऽयमुभयन्यास : । सरस्वती, पृ. ५०३.
179. Read in the fourth quarter सरिपवाह. Bhoja cites this gatha as an example of
प्रत्यनीकन्यास which is nothing but Arthāntaranyasa itself. It may be noted here that the Gaharayanakosa (V. No. 88) reads the text as follows :
विरला उवयरिऊणं निरवेक्खा जलहर व्व वच्चंति । झिज्जति ताण विरहे विरल च्चिय सरिपवाहो व्व ॥
In the light of this evidence, we should read the first quarter in SP (p. 422) and SK (p. 503) as "विरला उवअरिऊणं' and the fourth quarther as 'विरल चिअ सरिपवाहो ca. Thus we can get over the difficulty, faced by the editors of SP and SK, who unconvincingly equate उवआरि with उपकृत्य.
180. Bhoja cites this gatha from Lilavai as an example of Maladipaka. A. N.
Upadhye, the editor of Lilavai, says regarding this verse: "सरस्वतीकण्ठाभरणम् (काव्यमाला ed. Bombay 1934, p. 529) quotes this verse to illustrate the figure of speech मालादीपक in this form : माला यथा - इमिणा सरएण ससी ससिणा वि णिसा णिसाइ (v. 1. णिसाए) कुमुअवणम् । कुमुअवणेण अ पुलिणं पुलिणेण अ सोहए हंसउलम् ॥ २०५ || Expecting perhaps the fourth quarter to contain 18 मात्राs, the editor has a footnote :
अत्रैकमात्रया न्यूनत्वाच्छन्दोदोष: प्रतिभाति. Someone appears to have changed सहइ to सोहए to bring it nearer its Sanskrit counterpart. In the second line a in both the places, may be a misreading of u; and of B (MS) is a more meaningful improvement on d". - p. 327.
181. Bhoja cites this skandhaka from Setu as an example of Kriya - Parikara. After

Page #411

Prakrit Verses in Sanskrit Works on Poetics
347
citing the stanza Bhoja remarks : अत्र 'मारुति-लब्ध-प्रत्ययागतहर्षम्' इत्यनेन, 'उर:स्थलवनमालामृदितमधुकरम्' इत्यनेन चोपगृहनक्रियायाः परिकरितत्वाद् अयं क्रियापरिकर : । सरस्वती, पृ. ५०८.
Vide Extract from Sanskrit Commentary in Appendix I.
182. Bhoja cites this skandhaka from Setu as an example of the figure of speech,
Kāraka Parikara. After citing the stanza Bhoja remarks :
अत्र 'हस्त---कपोला' इत्यनेन, 'प्रेरितवामपयोधर ---- स्तनी' इत्यनेन च 'जनकसुता' इति च कारकपदस्य परिकरितत्वादयं कारकपरिकर : । सरस्वती, पृ. ५०८.
184. Bhoja cites this gatha as an example of Misro Nisedhaksepah. After citing the
gātha he remarks:
अत्र 'सत्यं गुरवो गिरयः' इति विधि: 'क आह जलाशया न गम्भीराः' इति परमताक्षेपस्ताभ्यां गिरीणां गुरुत्वम्, सागराणां च गाम्भीर्यं यदयमुत्तरार्धेन धीरापेक्षया निषेधति, अन्यापेक्षया तत्तदेव विधत्ते; स एष मिश्रो निषेधाक्षेपः । सरस्वती, पृ. ४९५.
185. Bhoja cites this skandhaka to illustrate his point that Rodha too is nothing but
Aksepa. Jagaddhara thus comments on it :
अत्र जल्पन रावणश्चित्ररथेन वज्रप्रभावकीर्तनरूपप्रतिकूलोक्त्या रुद्ध इति विध्याक्षेप विरोध: । सरस्वती', पृ. ४९६. पत्तिअ (प्रति + इ to believe, trust) - Believe.
186. Bhoja cites this gāthā to illustrate his point that the alleged figure Rodha is
nothing but the figure Nisedhaksepa. Bhuvanapāla, however, says : काकुवक्रोक्तिरियम् । श्रीभोजदेवस्तु पठितिमिमामाह । --- आचार्य दण्डिमते निषेधाक्षेपोऽयमिति । - गाहाकोस, पृ. ६६.
. In his SK (pp. 497-498), however, Bhoja cites this gatha and comments on it as follows : अत्र 'असती मा भवतु' इति य: प्रतिषेधमाह स 'प्रचुरयुवा ग्राम:' - इत्यादि कारणमुक्त्वा तत: "किं म्रियताम् इति प्रातिकूल्येन रुध्यते । तत्र किम: काक्वा सासूयप्रश्रार्थस्य युक्त्या निषेधार्थत्वं गम्यते । सोऽयं यौक्त: प्रतिकूलनिषेधाक्षेपो रोध इत्युच्यते ।
187. V. Raghavan observes in his Bhoja's Sringara Prakasa (p. 389) : "The
Ubhayālamkāra called Bhävika in Bhoja differs considerably from the Bhävika in Dandin and Bhamaha. Bhoja takes Bhavika as, 1. Svabhiprayakathana,

Page #412

348
Prakrit Verses in Sanskrit Works on Poetics
2. Anyabhāvanā, and 3. Anyāpadeśa. An Alaskāra called Udbheda is here included by Bhoja as not being different from Bhavika." The verse under consideration is cited to illustrate the variety, called Svābhiprāyakathanam.
188. This gāthā is already dealt with; vide SP S.No. (49.52) supra Bhoja cites it
here to illustrate another variety of Bhāvika called Anyāpadeśa. Jagaddara, in his comments on this gāthā, says: 37 Haru f faru RM9T: raat, q. 488.
189. The first half of this gāthā is read differently :
i) cufth coc faeui 163 PYRUITÉ
- 91. 9., 9. 870.
ii) curfti aço-fediyu sei
RUTE I - Q1, 9., q. 9988.
iii) caucafersi cocho fadegut ctet URUTË I - praeit", q. 488.
iv) Agua
Rocagui 6 HURHUI - SIC", IT. 5. 436.
As the reading faqiyut does not suit the context, we may restore the text as follows:
CHUT-(97. H. JGUT-) afA3i Pac-cfa-ajelui de YRITÉ (TT-917.4977-) afod 6-hot-feti a HR116H 1)
.
The commentator MG explains the expression to mean : (i) engaged in pounding the grains (with reference to pestle - P ) (ii) engaged in pounding the vaginal cavity with reference to (male organ - #6). The expression digu is obscure. M.V. Patwardhan says: "Does TİGUT mean 'surrounded by a circular iron strip which is fixed on the lower end of the pestle to protect it from wear and tear caused by strokes in the wooden or stone mortar? Does digut mean iron or any other metal? Under the hidden sense of the stanza, the expression
may mean 'encircled or surrounded (वलियं = वलितं = वेष्टितम्) by a prominent ring-like muscle near the tip', but this is purely conjectural. Fac (i) in the case of the pestle : having a firm, strong, tight, metallic hoof or ring (in the central or middle part), which is narrow in comparison with the two ends, so as to make possible a firm grip with the hand--- (ii) the hidden meaning applying to the male organ is obscure. Does it mean “having a firm, circular, ring-like prominence in the middle portion"? — Vajjālaggam, Notes, pp. 528-529. cler

Page #413

Prakrit Verses in Sanskrit Works on Poetics
349
(Sk. दीर्घम्) long; 'सुपरिणाहं = अतिस्थूलम् = very big or bulky. Jagaddhara remarks : “अत्र मेद्राभिप्रायेण मुसलोक्तेरन्यभावना "|| सरस्वती, पृ. ५४९.
Incidentally, it may be noted that the Sanskrit आलंकारिक hold the view : अश्लीलं क्वचिद्गुणः । यथा सुरतारम्भगोष्ठ्याम् "द्वयर्थैः पदै: पिशुनयेच रहस्यवस्तु" - इति कामशास्त्रस्थितौ - काव्यप्रकाश, पृ. ४२०. The SP (p. 1198) quotes the full text : सङ्गीतमत्र कलयेन्मृदु-काकलीभि: गाथा: पठेच मसृणं मदनाग्रदूती: । द्वयर्थ: पदै: पिशुनयेच रहस्यवस्तु हृद्यं हसेच दशनांशुभिरुल्लसद्भिः ॥
190. The view (set forth in NS) that the comic sentiment arises from the erotic is
erroneous, for the comic sentiment is not seen to arise even from the erotic. In support of this-his own view-Bhoja cites the gathā under consideration : "When she imagined that she was with her lover and picked up a quarrel for some old offence or the other, her friends pitied her and wept. They didn't make fun of her."
Bhoja cites this gatha in his SK (p. 584) to illustrate the point 'तद्रूपेण (चिन्तारूपेण) रसस्य प्रकर्ष:'. After citing the gatha he thus comments : अत्र सखीरोदनेन शून्यकलह शून्यकलहेन साक्षात्कार:, साक्षात्कारेण चिन्ता, चिन्तया तु मूलभूता रति: प्रकृष्यते । - सरस्वती, पृ. ५८४.
191. त्ति भणिए (इति भणिते) When asked 'who are you thinking of ?'; को मे अत्थि (को मेऽस्ति)
- Who is there to think of as mine ? उव्विग्ग - उद्विग्नरोदनशीलया 'She was obviously
distressed over you, your indifference towards her -- and burst into tears; 3779 . . वि रुआविआ we too were made to weep.
192. Bhoja introduces this gatha with the remark : सजातीयानां शब्दगुणेषु समाध्यादीनां
(संकरव्यवहार:) यथा- After citing the gatha he thus comments' upon it : अत्रान्यधर्माणामन्यत्रारोपणं समाधिः, पृथक्पदता माधुर्यं, बन्धविकटत्वमुदारता, ध्वनिमत्ता गाम्भीर्यमिति सजातीया: संकीर्यन्ते । यतो वसन्तलक्ष्मीरशोकस्येति पदयो: शब्दध्वनिरपि परिस्फुरति । यथा कस्यचिदशोकस्य कामिनोऽङ्गेषु प्रियाङ्गना सविलासं चेष्टते तथास्येयमिति । - प्र. ४४८. Bhoja in his SK (pp. 706 etc.) deals with this topic. Incidentally it may be noted that SK (p. 707) reads मानिनोऽङ्गेषु in place of SPs कामिनोऽङ्गेषु.
Read Samputa (S. No. 192, line 7).
193. Bhoja cites this gāthā as an example of the figure Ubhayālamkāra-sankara. After
citing the gātha, Bhoja in his comments points out how four different

Page #414

. 350
Prakrit Verses in Sanskrit Works on Poetics
Ubhayālamkāras (1. Upamā 2. Sāmyam 3. Melitam and 4. Samuccaya) are mutually connected and inseparably mixed together giving rise to the figure JHUIİHR-VIR. Read : 37 YIGHT TORTOR-DIRTYYHT, Parfsuitहृदयदाहोद्यानद्योतनार्थक्रियाभ्यां साम्यं, कज्जलपटलानामिव भ्रमरपटलानामुपरि मेलनान्मेलितं, चम्पकदीपककलिकयोरिव भ्रमरकज्जलपटलयोरौपम्यादिसंबन्धात् समुचय इत्युभयालंकाराश्चत्वारो मिथः (=परस्परं) (संकीर्यमाणा उपलभ्यन्ते । अथवा) संकीर्यन्ते । शृङ्गारप्रकाश, पृ. ४५२, सरस्वतीकण्ठाभरण, पृ. ७११.
194. Bhoja cites this stanza as an example of one of the varieties of Rasālamkāra
samkara, called Arthālamkāra-pradhāna. After citing the stanza he remarks : अत्र रतिरसाभासमनुभूय (?मभिभूय) हेतुरर्थालंकारप्राधान्येन प्रतीयते । - V. प्र., पृ. ४५८.
Bhoja cites this very stanza in SK (p.576) as an example of Ratirūpena nāyaka-pratiyogişu rasābhāsaḥ.
Regarding the text of this stanza Handiqui's (pp.112-113) discussion deserves to be reproduced in full : "The last verse in Goldschmidt's Anhang, cited in an imperfect form his Msc, is variously read, and has not found general acceptance. It is not explained by the South Indian commentators, nor by Kulanātha and Rāmadāsa. It is, however, included in SC 15.66' with the remark that it is omitted by Sāhasānka and Kulanātha, leading one to suppose that it was probably explained by Lokanātha and Srīnivāsa, the two other commentators quoted by name in SC. The verse is also cited in a mutilated form in Bhoja's Sarasvatikanthabharaṇa 5.13 (NS ed.) and Narendraprabha's Alankāramahodadhi (p. 97,GOS) as an example of rasābhāsa But not a few commentators from different parts of India seem to have rejected it because of the unpleasant idea involving Sītā in the description."
195. Please read in the first half of this gātha 24737 (? for3t), and in the chāyā ir
(?ACT).
Bhoja cites this gathā as an example of Ubhayālamkārapradhāna, one of the
1 पुलअंजणेति दसकंधरस्स राहवसरा सरीर-अडंता । जणअतणआपओहरफंसमहग्घविअ करजुअलणिव्बूढा ||
Note : Instead of reproducing the mutilated text as given in SP and SK we have given the above text. Please read 7 for ai (p. 82).

Page #415

Prakrit Verses in Sanskrit Works on Poetics
351
varieties of Rasālamkāra-sankara. After citing the găthā he observes :
अत्र रतिरसप्रभवाद् विस्मयादीनभिभूय पर्याय-संशय - हेतृत्प्रेक्षोपमा उभयालंकारा: प्राधान्येन प्रतीयन्ते । - शृं. प्र., पृ. ४५८.
The position which Bhoja takes in his SK (p. 725) is surprisingly quite different : अत्र यद्यपि रतिप्रभवेभ्यो विस्मयादिभ्य: संशयहेतृत्प्रेक्षोपमादिभ्यश्च पर्यायालंकारः प्राधान्येन प्रतीयते तथाप्यसौ वागारम्भानुभाव इति रतावप्राधान्यमेवानुभवति । - सरस्वती, पृ. ७२५.
196. Bhoja cites this skandhaka from Harivijaya of Sarvasena as an example of
Bhāvapradhāna, one of the varieties of Rasālamkāra-sankara.
Hari (i.e., Krsna) says : "It fascinates me the colouring which Satyabhāmā's lovely face gets from her anger over my offence of love --- beautiful as the moon looks beautiful with its musk-deer."
Bhoja comments on this stanza as follows : अत्र हेतूपमातिरस्कारेण रसवतो हरेर्वचसि वागारभ्मरूपे रुक्मिणी-दत्त-पारिजातमञ्जरीविलोकनप्रभवं सत्यभामाया रोषभावरामणीयकं प्राधान्येन प्रतीयते । In SK we find these comments almost in the same language (vide p. 725).
197. This gāthā is drawn upon from Bappabhatti's Tārāyana(V. No. 131,p.52) :
"Why shouldn't her waist not pine away ? She isn't being visited by the lady's eyes resembling the petals of a blue lotus! They are being blocked by her big round breasts."
• ' Bhoja comments upon it : अत्र हेतूपमोत्प्रेक्षासमाधितिरस्कारेण कस्यचिदनवाप्तदयिता
प्रत्यभियोगाभिमानसुखस्य सुभगमानिन: प्रतिनायकादे: प्रत्यहं सीदत: रसाभासवागारम्भ: प्राधान्येन प्रतीयते । शृं. प्र., पृ. ४५८.
In his SK (p. 679) he cites this very gatha as an example of आभासेषु नायकाभास:. He cites it earlier in SK (p. 498) as an example of यौतोऽनुकूलश्चनिषेधाक्षेपो रोध इत्युच्यते। सरस्वती पृ. ४९८.
Jagaddhara thus comments on it :--- योऽस्याः कुवलयदलतुल्याभ्यामक्षिभ्यां निबिडकुचभरावरुद्धगताभ्यां न दृश्यते। अत्रानया नेत्राभ्यामन्यमीक्षमाणया यथाहं न दृष्ट इत्यहं क्षीणस्तथा मध्योऽपि तेनैव क्षीणतापन्न इति लक्ष्यते । --- पृ. ४९८.
198. This (Dhruvā) gāthā is already dealt with; vide ŚPS.No. (112.64) supra. There
he quotes this Dhruva with the introductory remark : “पात्रप्रवेशादिसूचकं वाक्यं ध्रुवा

Page #416

352
Prakrit Verses in Sanskrit Works on Poetics
UIT' - 91. 9., . 3c9). Here he cites it with the introductory remark "af4147 UTETT HRITTE - (1.9., 9. 802). In his SK (p.307) he quotes it saying "gar pent' and after citing it remarks: 954RHITHIRI A T yan ll
199. Bhoja cites this skandhaka from Setu (I.12) as an example of
Vaktavyārtha-pratijñanam (Declaration of the subject-matter): "Listen to the story of the slaying of Rāvana (the poem called Dahamuhavaha, Sk: Dasamukhavadha, popularly known as Setubandha) - the slaying which ended Sītā's sufferings, which showed Rāmā's love (for her) and led to the release of Rāvana's captive gods and pulled out, as it were, a dart rankling in the hearts of the people of the entire universe. (Note : 'anurāa-inham' also means marked by the word aṇurāa, Sk anurāga, at the end of each canto.)
200.
Bhoja cites this skandhaka from Setu (I.10) as an example of Prayojanopanyāsa- statement of purpose or purposes or aims : "Can poetry ever fail to captivate your heart ? It increases your knowledge, brings or wins fame, persuades you to virtues and acquaints you with the lives of the great."
201. Bhoja cites this skandhaka from Rāvana-vijaya, a Prakrit Kavya-a poem in
the Māhārāstrī Prakrit. Bhoja refers to it, along with Setubandha and Harivijaya as an Aśvāsakabandha in the skandhaka metre. Bhoja mentions it as containing Nāyakavarnana and Vāhana-varṇana (Pușpaka-vimāna). The present quotation in praise of poets is the solitary stanza from Råvana-vijaya preserved for the
posterity. 202. This gāthā is already dealt with; vide ŚPS.No. (123.66) supra. There (p. 391)
Bhoja introduces it with the words : " ARIT -". Here (p. 486) he introduces it with the words "YFTURI-". In his SK (p. 314) he introduces it with the words "Let IT-" and later in the same work (p. 664) he introduces it with the words :
"aaaarfar: Harrot R1—" Bhoja remarks on this gātha (SK p. 314) : 37 H
BU TAHUN 297 4: HIGH Ria sa a H e: 1 The commentator Ratnesvara observes in his comments : JEVE TIC:TF alfa ant ---- SCH संकरः कादाचित्कस्त्वसौ गुण एव वेषस्य कथं रञ्जकतेत्यवशिष्यते । तत्राह- 'जनमन:प्रमोदाय' इति ।
203. This gātha is already dealt with; vide DHV S. No. (20.9) supra. Bhoja
introduces it with the words "3779 RIT". It probably stands for dress suggestive of one's intention. The commentary on GSS (NS ed. 1933) observes : 4 H6rafata: SRT Ecal nrystwy chlest fact: tallent, a

Page #417

Prakrit Verses in Sanskrit Works on Poetics
353
व्याधकुलपतिर्मत्संभोगात्यन्तप्रसंगेन संप्रति तथा क्षीणो यथा मयूरमात्रमारणे प्रभुः संवृत्तः' इति प्रियतमसौभाग्येन
गर्विता तदभिप्रायप्रकटनाय तासां पुरो भ्रमतीति भाव: । – पृ. ८४. 206. Bhoja cites this gāthā as an example of Prakīrņa (Miscellaneous), one of the
24 Pravrtti-hetus (Dress-determining conditions).
"Madana, the god of love, ever ready with his bow and arrow, chooses for his dwelling the limbs of women, who are in their period, who wear unclean clothes, who have their hair tied into a braid (according to alternative reading, who have applied turmeric paste to their face) and whose broad cheeks are pale white."
207. Please correct - line 6 : Ratnāvali (II-1)
Bhoja cites this gāthā from Ratnāvali to illustrate one of the sandhyargas of Mukha-sandhi called Tāpana (Torment). It is the grim prospect of danger' or it is 'not finding any means to allay the despondency' (owing to the difficulty of attaining the object of desire.) Bhoja cites this very gatha in his SK (p. 624, V. No. 177) to illustrate (STRUTORTT:) a NYChus i' After citing the gathā he comments thus : 37519 urada RCAT TRRITSERTT: GOTHIUT PRUT QrufryTrea HRY nadi q. 678.
208-210. Bhoja reproduces these three găthās, uttered by the Magician in Ratnávali
(Act IV, 8-10) to illustrate Vyavasāya (Acquisition of the means to accomplish one's undertaking), one of the sandhyangas of the 4th Sandhi called Vimarśa. Vyavasāya is defined elsewhere as 'mentioning of one's power'. The Magician proudly mentions his supernatural powers and suggests that he would show the King, the hero, Sāgarikā whom he so eagerly longs to see.
212. The gāthā is first cited by Abhinavagupta in his commentary on Nātyaśāstra
called Abhinavabhārati (Vol. I, p. 279) to explain the word 'camatkāra'. The poet wonders how is it that the tender and delicate limbs of Lakşmi (who came out of the ocean as one of the 14 ratnas) were not crushed — were left unscathed by Mt Mandara at the time of churning of the ocean by gods and demons for securing nectar? And he ascribes this wonder to Vişņu, Laksmi's consort. It is interesting to note, however, that Bhoja cites this gāthā to illustrate : sifa-fht Pati-HCR: TH:

Page #418

354
Prakrit Verses in Sanskrit Works on Poetics
213. Bhoja cites this skandhaka from Setu as an example of Stambha, one of the
eight Sättvika-bhāvas.
The hosts of Vanaras, terror-stricken at the sight of the sea, all of a sudden, started trembling and moving away, but were held back (by shame) and stood motionless and looked on with wide open eyes, as if painted in a picture.
214. This gātha is already dealt with; vide ŚPS. No. (158.74) supra. There it was
cited as an example of the figure Sahajāvayava (Rūpaka). Here he cites it as example of Vepathuḥ (= kampa, trembling), one of the eight Sättvika - bhāvas.
215. This gātha is already dealt with; vide SP S. No. (144.71) supra. Here Bhoja
cites it as an example of Avahittha - Dissimulation or Concealment of an internal feeling, regarded as one of the 33 transitory (or subordinate) feelings.
216. Bhoja cites this gāthā to illustrate 'laziness' (Alasya). He cites this very gatha
in his SK (p. 594) and thus comments upon it :
अत्र रतिश्रमजागरादिजनितनिद्रालसा दृष्टिनिपातास्तारकाघूर्णनत्र्यसवलनादिभिरनुबध्यन्ते । पृ. ५९४.
217. Bhoja cites this gāthā to illustrate (Alasyasya) Prakarsah. He cites it in his SK
(p. 593) also. There is, however, some divergence between SPand SK in regard
to the point of illustration in the case of this and the preceding găthā. 218. Bhoja cites this gāthāto illustrate ‘suptam' - which SK (p. 594) defines thus :
निद्रादिजनितं सुप्तमिन्द्रियादि निमीलनम् ।
The happy sex-game of the previous night has put this young married girl to deep sleep so relaxing to her overworked limbs but so tormenting to her rivals in love ! - Bhoja cites it in his SK too.
219. Bhoja is still dealing with 'Supta' The gåtha he cites means : you surely
wouldn't have been that angry with me (when I rebuked you for your conjugal disloyalty), if you had only understood the agony of a woman who on waking up in the middle of the night finds her husband's place in the bed empty.
gouic is a deinflected form used instead of guiat. quict and guidt are pres. act. participles used in the sense of the conditional mood. 7001937 = grega, pun ppp. from denom. root from a (Pru); R u Sk.(RET?) RHT act

Page #419

Prakrit Verses in Sanskrit Works on Poetics
355
of touching.
220. Bhoja cites this skanadhaka from Harivijaya as an example illustrating Asūyā
(jealousy).
Although Satyabhămā and the other wives of Krsna were equally hurt, Satyabhămă alone was angry and felt jealous (of Rukmini). Both the feelings were truly reflections of her abiding love for Krsna.
221. Bhoja cites this gātha as an example of vaivarnya (change of colour, paleness).
In the morning in the company of her lover face was so very bright and beaming with joy. But now she finds her face (reflected) in the mirror darkened, as he has failed to keep the appointment !

Page #420

Śrngāraprākāśa (Contd.---)
(Vol. III) 222. Bhoja cites this gāthā as an example of one of the 104 types of nāyaka (hero)
called dhira - uddhata - śatha (dhira is noble or self-controlled,) uddhata is haughty or vehement, satha is deceitful). The reading 'F1311°' does not seem to be suited to the context. A word meaning ‘mistress' or 'sweetheart' would perfectly suit the context. If he moves about wearing his own wife's fragrance,
why should he be described as "satha' ? 223. Read Buchf instead of '3 itunf' in the chāyā This skandhaka is drawn
from Sarvasena's famous epic-poem called Harivijaya (now lost). for- a wreath or garland of celestial flowers ( of the heavenly pārijāta tree.); fornafa319 ( = निर्गत) spreading fragrant smell and fragrance: अप्पणइ (अप्रणयितमपि) even though not solicited; दूमिअ - दून qualifies हरिणा- by Hari who caused pain to his beloved's (Satyabhāmā's) heart. Bhoja cites this stanza as an example of धीरोद्धतसाधारणशठ (नायक); the attribute sadharana has reference to his number of wives.
224. This skandhaka is cited here by Bhoja to illustrate sirieni RUTHETH (7740); on
p. 1010 to illustrute #RAT (deceit) and on p. 1208 to illustrate 'Fafanya' - Liding or cocealment of love's offence, lapse. If we compare the text of the gātha cited at these three places, we find one important variant reading in place of 24, which seems to be better.
225. This skandhaka from Harivijaya of Sarvasena is cited by Bhoja as an
of one of the types of nāyaka known as ERTELEHEZH. SK (p. 655, v. no. 287) cites this very skandhaka with the introductory remark :
"ata
pret ARIT -". After citing it, Bhoja thus comments upon it :
अत्र रुक्मिण्या: सुरकुसुममञ्जरी दत्ता मम तु सुरतरुरेव प्रेयसा प्रतिपन्नस्तदहमस्या: सहस्रगुणत्वेन प्रियतमेति PERYHTYT FAHIT Midi taryhef Anth fres: ----" - Ç. 844-64€.
226. Bhoja cites this gāthā as an example of one of the types of hero, called
ERTEMPATETRUIRATUD . "The dakşiņa (courteous) hero is one who can find room in his heart for more loves than one; he seeks another to the deep grief of the old, but he does not cease to feel affection for his earlier love---".

Page #421

357
Prakrit Verses in Sanskrit Works on Poetics
तणुइओ (तनुकित:) - ppp. from denom. of तणुअ (तनुक) lean, emaciated; अलिहिअ (अलिखित) unscraped, दुप्परिअल्ल (दुष्परिकर्ष) difficult to wield or stretch.
227. Bhoja cites this gāthā as an example of one of the types of nāyikā, kanistha
(a younger wife, one married late than another).
SH & fuet (CH: U fecu:) 4 who or which of many; sometimes used as a strengthened substitute of किम्. (= कतिपये खलु दिवसा: - since several days) उम्मइआ - BAHTIT maddened or intoxicated with the consciousness of her beauty and youth (= youthful charm); रुप (तक्षण). Hemacandra gives रंप as a धात्वादेश for तक्ष. $9 seems to be connected with meaning parings or thin pieces (of the bow). The more and more the hunter becomes attached to his wife and enjoys more and more frequently dalliance with her he grows physically weaker and weaker and unable to wield or stretch his bow. To make it lighter he has therefore to pare it off. These parings the hunter's wife proudly throws on the streets as if to proclaim her saubhāgya (good fortune or fortunateness - chiefly consisting in a man's and woman's securing the favour and firm devotion of each other).
228. This gāthā is cited to illustrate one of the types of nāyikā known as adhīrā
(timid); DR (p. 45), however, defines 3TETRT in the following diatas
धीरा सोत्प्रास-वक्रोक्त्या मध्या साश्रु कृतागसम् । खेदयेद् दयितं कोपादधीरा परुषाक्षरम् ।।
The present gāthā does not agree with this definition of 3TERT;
Trifa (readf) breathe heavily, give out sighs—but as the subject of the verb is 3fi5, it would be more correct to equate it with your fri.e., (my limbs) are dried up. The figure of speech contained in this gathā is rah140h.
229. Bhoja cites this gātha as an example of one of the types of näyikā (heroine),
called HEZIT. DR (p. 44, II. 16) defines HEZIT as follows: FEZITELESHŞI मोहान्तसुरतक्षमा ।
TH
C hat Até RAUTT FEZT - Avaloka;
537716° (
Tue - SPATEAT) - 'neatly done and decorated hair roughly tousled'.
230. Bhoja cites this gātha as an example of one of the types of nāyikā (heroine),

Page #422

358
Prakrit Verses in Sanskrit Works on Poetics
called JT14T EIRT. (ERT the heroine of a poetic composition who, though jealous of her husband or lover, suppresses all outward manifestation or expression of her resentment in his presence or as the Rasa-mañjarī puts it 'ace 44cf8157 धीरा.' जाणावेउं inf. from caus. of जाण = to know; विद्दविअ (विद्रावित-ppp. from caus. of feq = a + x) - banished, driven away; Ren (ufari) solitude, privacy; faut37 (विनय) - reserve, restraint. SK reads रइविक्कमम्मि 'for पइरिक्कम्मि वि. But that reading is not a happy one.
231. This gātnā is already dealt with; vide ŚP S. No. (143.70) supra.
232. 1 (yet) O, you silly girl; 344f3icit (uud) ignorant about the real situation
- qact. (gadshquf - Alleat) reddish like the tender sprouts of coral); forcat31 निधौत - धातुरागौ - from which the reddish mineral colour has been already washed off. Bhuvanapāla (p. 264, v. no. 618) reads uictiequur, and Weber (S. No. 680) Yalcich 30
233. Bhoja cites this gāthā to illustrate one of the types of nāyikā (heroine), called
Uttamā dhira - mugdhā! On the word toutor M. V. Patwardhan writes in his Notes to Vajjālaggaṁ (pp. 482-483): "3Tuutor = 3EHT i.e., 31ET seat opfa fa Haft - When you say that he departed today, how many days since his departure does that signify ? The reading 3tuutu furnishes one more example of the declension of an indec.inable."
234. The reading 'Stounts seems to be doubtful. The reading adopted by Bhuvanapāla
is - Stefan TR. SK (p. 638, v. no. 236) reads 46434416U137 UTAR. Gāthā - mādhuri (p. 111) gives the reading 4673616fuit34 Tor. SK introduces this gāthā with the words : "( TRICT) ET HERIT: HYRTAT" sa SP quotes it here to illustrate one of the types of nāyikā (heroine), called 'Uttamā Udhamugdhā'.
235. The reading 'qilg'is obviously incorrect. It violates the metre too. In view of
DÁS (p. 209) : 29-AT 7163-TUTT' and -..af 1317 07:,' we emend the text as बलिअ-थणआ. दुद्धगंधिअमुह is recorded in the sense of बाल in DSS (p. 168) : "बाले दिल्लिंदिलिओ य दुद्धगंधियमुहोचेय ।" तिल्लिंदिलिओ तथा दुद्धगंधियमुहो बाल: । So दुधगंधिअमुही would mean III.
The reading lyryE3115' does not seem to be quite suited to the context. It may be emended to reaf3115. DSS (p. 175) records: ''CS4 - GARI ARAS."

Page #423

Prakrit Verses in Sanskrit Works on Poetics
359
CATEL
T A I ARAH The various limbs or parts of the young girl's body were made or caused to shine by the God of Love . It is possible to defend the printed text (Mysore edn.): Madana, the God of Love, disdained or despised the other parts of the young girl's body in the sense that he did not find any one of them as an appropriate abode for himself.
SP cites this gāthā to illustrate one of the types of nāyikā, called '3THCT YET.'
236. Bhoja cites this gāthā to illustrate one of the types of nāyikā (heroine), called
'STIHTETRICITET.' 63TTRIBUT (AIRTET) (TUI) - by her husband who has committed love's offence. SK (p. 624, v. no. 179) cites this gāthā as an example of (FIGUTHÍ:) HA RED:. Bhoja comments thus upon this gāthā:35 UEJQMşcola नेत्यादे : प्रतिषेधो न विद्यते तथापि तदर्थोऽस्त्येवेति मानलक्षणं घटते । - सरस्वती, पृ. ६२४.
237. Bhoja cites this gātha as an example of one of the types of nāyikā (heroine),
called 'JTTHT EIRI-CIET.' The restoration of the găthā is only tentative. The printed text "पेअवरो. वसुमेलए" is rather doubtful.
238. Bhoja cites this gāthā as an example of one of the types of nāyikā (heroine)
called 'UTHT 3TETRITET.' The text adopted here is from SK (p. 686 v. no. 384). The first half of the găthā is, however, metrically defective. The SP cites this gāthā twice, one on p. 618 and once again on p. 841 with the introductory remark: "A PERIT STHCS TUTT'' - In the light of these quotations we may restore the first half of the gathā as follows:
बालत्तण-दुल्ललिआएँ अज्ज सुणु जं कअं णववहूए ।
(बालत्वदुर्ललितया अद्य शृणु यत् कृतं नव-वध्वा ।)
240. The restoration is very tentative - especially of the second half of the găthā
In the first half, the poet deseribes the breasts of the nãyikā to be so large . and lofty as to screen the moon (in the form) of her face. If the mukha - candra
were not screened by the lofty breasts, the lotuses would have bloomed even during day-time !
241. Bhoja cites this gāthā as an example of one of the types of nāyikā (heroine),
called 'STIHTC-HEZHT. Earlier (SP Vol. II, p. 458) he cited it to illustrate one of the six types of MSR-219, called "ābhāsa-pradhāna.'

Page #424

360 .
Prakrit Verses in Sanskrit Works on Poetics
Later (SPVol. IV, p. 1175) again he cites it to illustrate 'अनुनायक.' In SK he cites it twice, once on p. 498, v. 155 (to illustrate 'यौक्तोऽनुकूलश्च निषेधाक्षेपो रोध:') and once again on p. 679, v. 354 to illustrate नायकाभास. This gatha is drawn from Bappabhatti's Tarayana (= Taragana), p. 52, v. no. 131:
“Why shouldn't her waist not pine away ? She isn't in a position to cast on it her eyes resembling the petals of a blue lotus. They are being blocked by her big round breasts!"
242. Bhoja cites this gatha to illustrate one of the types of nayika (heroine), called
'उत्तमाऽधीरानूढमध्या'.
Read in the Chaya, line 4, 'पङ्क्त्या ' in piace of 'पङ्क्तिभिः'. सेअ (स्वेदच्छलेन)-under the guise of perspiration; अमाअंत (अमात्) - not being contained in her body; ओसरह (अपसरति) - flows away; तिवलि (त्रिवलि) - the three folds of skin on the abdomen; सोवाण (सोपानपक्ति ) - stair-case.
243. Bhoja cites this gāthā as an example of one of the types of nāyikā (heroine),
called 'उत्तमा प्रगल्भा '. : When her husband committed offence of love, the poor wife secretly heaved sighs, wept silently in the nights and kept to herself all desires she had cherished.
244. Bhoja cites this gāthā as an example of one of the types of nāyikā (heroine),
called 'उत्तमा धीरप्रगल्भा .'
पसंग (प्रसङ्ग) - attachment; इक्त (एकान्तरसा) - whose happiness is centred on a single woman; दे (प्रार्थये) - I pray. It is, however, interesting to note that in his SK (p. 687, v. 388) this gātha is cited with the introductory remark : अहंकारर्द्धिरुद्धता यथा-".
245. Bhoja cites this gāthā as an example of one of the types of nāyikā (heroine)
called 'उत्तमाऽधीरप्रगल्भा'.
In his SK, Bhoja cites this gāthā at two places : He introduces this gātha with the remark : "कामबाधया वाच्या यथा' - and thus comments on the gatha : अत्र धन्यास्ता यासां त्वं न वल्लभ इति येयमतिरक्ताया : साक्षादस्तोतव्यस्तुति: सेयं वाच्या नामाप्रस्तुतप्रशंसा तस्या एव कामसिद्धिं बाधते । सरस्वती, पृ. ४७३. He again cites on p. 643, v. 253 with the remark "माने विरुद्धं यथा -" and thus comments upon it : अत्रेायितादिभिर्वल्लभालिङ्गनादिविरुद्धर्मानवती वञ्च्यते । सरस्वती, पृ. ६४३.

Page #425

Prakrit Verses in Sanskrit Works on Poetics
361
246. Bhoja cites this gatha as an example of one of the types of nayika (heroine),
called 'उत्तमा ऊढ - प्रगल्भा .' गोसे (प्रभाते) - DSS (p. 102) records गोस along with गोसग्ग, in the sense of morning. According to Weber, "The properly means the release of cows or cattle from the pen where they are confined at night (गो + स from सा, सन् to let loose." The word गोसग्ग is derived from गो + सृज् to release. गोसग्ग (like गोस) means the time when the cattle are released, hence morning." -
M. V. Patwardhan, Notes to Vajjalaggam, p. 476 (Gatha No. 352). Vemabhūpāla thus comments upon it :
"--- आज्ञाशतानि - 'मुञ्च, पीडय गृहाण, जीवय, त्रायस्व' इत्यादि । --- अत्र नायको निशायां सुरते हर्षविकसितकपोलां रसावेशादाज्ञाशतानि ददतीमतिधृष्टां स्वकीयां नायिकामुपलभ्य प्रभाते किमप्यजानतीमिव लज्जयावनतमुखी सेयमित्यश्रद्धेयां च दृष्ट्वा स्त्रीणां श्लाघ्यं सुरते धाष्यम् । अन्यदा लज्जेति गुणद्वयमस्यामेव प्रतिष्ठितमिति तां प्रशंसतीति भाव : ।" - पृ. १०.
247. Bhoja cites this gāthā as an example of one of the types of nāyikā (heroine),
called 'मध्यमा अधीरा'. संभरण (संस्मरण) remembrance; पलोटूंत (प्रलुठत्) welling up; दिज्जइ (दीयते) (pres. pass. 3rd pers. sing. from दा)-. is given i.e., placed (on the threshold or ground); वंक (वक्रग्रीवया) - turning her neck (i.e., head) to one side. SK (p. 630) cites this gäthā with the introductory remark:
"(विप्रलम्भचेष्टासु) प्रवासे यथा-'। 248. Bhoja cites this gătha as an example of one of the types of nāyikā (herione),
___called 'मध्यमोढा. SK (p. 685) cites it to illustrate one of the types of nayika .' (heroine), called 'आत्मीया स्वा.' 249. Bhoja cites this gatha as an example of one of the types of nayika (heroine),
called 'मध्यमानूढा.' SK (p. 686) cites it to illustrate one of the types of nayika (heroine), called 'अनूढा कुमारी.' विसम्मिह(हि)इ (विश्रमिष्यति) - will be privileged to rest on (and press your breasts). "विसम्म (विस्सम्म)' represents the Sanskrit root विश्राम्य, which explains the duplication of A. The simplification of p into his for metre.'
- M. V. Patwardhan. 250. Bhoja cites this gatha as an example of मध्यमा धीरोढा (नायिका). पसिअ (प्रसीद) 'be
gracious' (to me); परजण (परजन) - a stranger. This gatha is a dialogue (वाकोवाक्य) between a man and his wife or, may be, his sweetheart. Cf. Amaruśataka, v. no. 57.

Page #426

362
Prakrit Verses in Sanskrit Works on Poetics
251. Bhoja cites this gatha as an example of मध्यमा धीरानूढा (नायिका). SK (p. 624) cites
it to illustrate 'प्रागसंगतयो: पूर्वानुराग: स्त्रीप्रकाण्डे.' Bhoja thus comments upon it : अत्रापि प्राग्वदेव सागरिकाया वत्सराजेऽनुराग: प्रकृष्यमाणो मरणं शरणमित्युत्तरयैव कामावस्थया कथ्यते। - सरस्वती, पृ. ६२४.
252. Bhoja cites this gatha as an example of मध्यमा अधीरोढा (नायिका). The second half
of this gāthā contains a graphic, realistic and striking 3441 (simile).
253. Bhoja cites this gatha from Lilaval as an example of मध्यमा अधीरानूढा (नायिका).
Further on (p. 772) he cites it as an example of "(उपनायिकासु) ललिता'. The figure of speech is पूर्णोपमा with श्लेष on कर (i. hand ii. rays) and वारीमई (i. स्वेदद्रवाः wet with sweat ii. वारिमयी full of water). वाउल्ली is possibly a misreading for बाउल्ली. DSS (pp. 210-211) records: बहुमुह - बालय - बाउल्ली खल-वणिउत्त-पुत्तियासुं च । (बहुमुहो दुर्जन:, बालओ वणिक्पुत्रः, बाउल्ली पाञ्चालिका ।) पृ. २११. From बाउल्ली, it appears, बाहुली (in Marathi) is derived.
Read in the second half of the gathaवारीमई, and line 8 : Lilavai (No. 423)..
254. Bhoja cites this gatha as an example of मध्यमा मुग्धा (नायिका). गणणा (गणना) counting
(with the fingers the two hands and toes of the two feet).
255. Bhoja cites this gatha to illustrate मध्यमा धीरमुग्धा (नायिका). उत्तिण्णिअ = उत्तृणित vith
the grass-roof swept away-the duplication of or is for metre; THE is to be rendered as ugut (dripping or forcing their way) in the chāyā.
256. Bhoja cites this gatha several times; here to illustrate मध्यमा अधीरमुग्धा (नायिका),
on p. 789 to illustrate one of the varieties of अनुराग, called विश्वास, on p. 997 to illustrate सहजानुरागजन्मा सहज : and in SK (p. 622) to illustrate 'प्रेमाभिसंधानं पंसः' बहुवासअ (बहुवासक) is rather difficult. Its exact sense is not clear.
257. This gāthā is already dealt with; vide ŚP S. No. (125.66) supra. Here it is cited
as an example of मध्यमोढा मुग्धा (नायिका).
258. Bhoja cites this gatha as an example of मध्यमा अनूढमुग्धा (नायिका).
260. Read in the second half अहर-ठिओ वि होइ. It illustrates मध्यमा धीरा अनूढमुग्धा (नायिका).
SK (p. 630) cites it to illustrate "विप्रलम्भचेष्टासु माने स्त्रिया:'.
262. Read in the first half सिण्णूसलिआहि and in the corresponding chaya

Page #427

Prakrit Verses in Sanskrit Works on Poetics
363
स्विन्न-रोमाञ्चिताभ्यां. This gatha illustrates मध्यमा अधीरानूढमुग्धा (नायिका).
DSS (p. 55) : 'ऊसलियं सरोमंचे' ऊसलियं सरोमाञ्चम.
263. Bhoja cites this gātha as an example of HEZHIHEZHT (TIRUCHT). SK (p. 634, v.
no. 221) introduces it with the remark:
"प्रथमानुरागानन्तरे नखक्षतं यथा -";
पडिमा (प्रतिमागत - निज - नयनोत्पलार्चित)
- worshipped with the (two) blue lotuses in the form of her own (blue) eyes imaged or reflected on her (mirror-like) smooth and bright bosom.
264. Bhoja illustrates one of the types of nāyikā (heroine), called HEZHT ERHETTHT.
जणेति, दावेंति, सहावेंति all these are caus. pres. 3rd pers plu. forms of जण (जन्). दंस (दृश्) and - सह (सह).
265. Bhoja cites this gahta as an example of मध्यमा अधीरमध्यमा (नायिका). SK Ip. 627. . v. no. 189) cites it as an example of मानानन्तर: (संभोगशृङ्गार:).
266. Bhoja cites this găthā as an example of HEZHIGT HEZIT (FTIRUCHT). It is already dealt
__with; vide SPS. No. (216.86) supra.
267. Bhoja cites this gatha from Lilaval as an example of मध्यमा अनूढमध्यमा (नायिका).
अविणअमग्गं णी अम्हि (= अहमविनयमार्ग नीता) = 'कामपरवशीकृता' इत्यर्थ: । किं भणिमो (तस्मात् किं भणामि । 'अकथ्यम् एतद्' इत्यर्थ: 1) - Lilaval-Comm. p. 84.
268. Bhoja cites this gäthä as an example of PTEJTAT ERIGHEZIT TIRUCHT.
269. Bhoja cites this gathafrom Lialavi as an example of मध्यमा धीरानूढा मध्या (नायिका).
270. Bhoja cites this gātha as an example of HEZHT BRIGT HEZIT (TIC). SK (p. 677, .v.no.345) cites it to illustrate 'मरणम्', one of the twelve prema-pustil-bhumis).
- Read in the second half रोइस्सं for रोदिस्सं.
271. Bhoja cites this gatha as an example of मध्यमा प्रगल्भा (नायिका). कारिजसि - caus.
pres. pass. 2nd pers. sing. from कर = to do; आहियाईए[आभिजात्यै-dat. sing.] to (your) nobility of birth.
272. Bhoja cites this gatha as an example of मध्यमा अधीरप्रगल्भा (नायिका). Read

Page #428

364
Prakrit Verses in Sanskrit Works on Poetics
Meghaduta (v. no. 9 - cd) : आशाबन्ध: कुसुमसदृशं प्रायशो ह्यङ्गनानां सद्य:पाति प्रणयि हृदयं विप्रयोगे
रुणद्धि || and Sak IV. 16 : गुर्वपि विरहदु:खमाशाबन्ध: साहयति । 273. Bhoja cites this gāthā as an example of HEZHT 55Y'ICTAT (Tifact). SK (p. 607,
v.no. 109) cites it with the introductory remark: "प्रियादिषु व्याजनिन्दोत्पासो यथा-".
275. Bhoja cites this gāthā as an example of HEZHT EÍRTEINICHT (airleant). GSW (945)
reads this gāthā as follows :
अणुवत्तंतो अम्हारिसं जणं आहिजाईए । चिंतेसि उणो हिअए अणाहिजाई सुहं जअइ ॥
The sense of the gātha is rather doubtful. It may tentatively be rendered as follows : On account of your noble birth, although you pretend to make love to us, you really think of someone else in your heart. Ordinary people who
can't brag or boast of noble birth live happily ! 277. Bhoja cites this gatha as an example of मध्यमा अधीरोढप्रगल्भा (नायिका). रूस (रुष) to
get angry - रुषितुं / रोष्टुं चुक्कविणय - (च्युत-विनय) one who has strayed from the path of) right conduct or modesty; जाइअअ = जाअ (जात) - become; अवस (अवश) helpless - with these limbs which are no longer under my sway.
278. Bhoja cites this gatha from Lilavaf as an example of मध्यमा अधीरोढप्रगल्भा (नायिका).
Read the fourth quarter of the stanza as 'जीअं णिसुअं चिअ तए वि' and its corresponding chaya as : 'जीवितं श्रुतमेव त्वयापि'. For we have the authority of Hemacandra who records in his Dss (p. 143) णिसुयं णिसामियं च सुए. णिसुयं तथा णिसांमियं श्रुतम् ।
279. Bhoja cites this gatha as an example of कनिष्ठा (नायिका). DSS (p. 231) 'माउआ
सहि-उमासु' माउआ सखी दुर्गा च । मातृवाचकस्तु मातृकाशब्दभवः । छेप्प (शेफ) tail; फणो (फण:) hood (of a serpant);
Other women, who have themselves robbed the speaker-woman of the gatha of her husband, have done her immense harm over and above that they are jealous of her. Thus they have doubly harmed her. Hence she says: “It seems the snake has grown a hood also at its tail."
280. Bhoja cites this gatha as an example of कनिष्ठा धीरा (नायिका).
281. Bhoja cites this gatha as an example of कनिष्ठा अधीरा (नायिका).

Page #429

Prakrit Verses in Sanskrit Works on Poetics
365
282. Bhoja cites this gatha as an example of कनिष्ठोढा (नायिका).
A young woman abed with her husband / lover needs no other ornamentation besides hair roughly tousled by his hands and the mouth fragrant with wine.
283. Bhoja cites this gāthā as an example of कनिष्ठानूढा (नायिका).
284. Bhoja cites this gatha as an example of कनिष्ठा धीरोढा (नायिका). मण्णु (मन्यु) - anger
(or grief); तोग्गअमणा (त्वद्गतमना:) - whose mind is fixed on you.
285. Bhoja cites this gatha from Tarayana (taragana) of Bappabhatti as an example
of कनिष्ठा धीरानूढा (नायिका). Taragana (p. 45, v. no. 90) reads in the first half of the gathā तुह दंसण-सउण (Sk. तव दर्शन-शकुन) for वर-सउण-ग्गहण ; and in the second half भग्ग -मरण-ग्गहं से (Sk. भग्नमरण-ग्रह) for भग्गमरण-ग्गहाए. SP (p. 325) text - भंग (? भग्ग) मरणग्गहं से is in agreement with that of Taragana. Read कण्डकं in the chāya The following extract from the anonymous Sanskrit commentary on Tārāgana makes the idea-very peculiar though it is quite clear : यदा यदा त्वदर्शनाय शकुनो भवति तदा तदोत्तरीये सा शकुन-ग्रन्थिं बध्नाति । तेनैवमुच्यते । तव दर्शनार्थं शकुनग्रन्थिबन्धा: तै: त्वद्दर्शनशकुनग्रन्थिबन्धैः। 'ओड्ढणअं' उत्तरीयं तथा तस्या: पूरितं भृतं यथा रक्षाकण्डकं जातम् । कीदृशम्। 'भग्न-मरण-ग्गह', एकत्र मरणग्रहो मरणाभिनिवेश: । अन्यत्र मरणाय ग्रह: पिशाच: स भनो येन तत् तथाविधं रक्षाकण्डकं यथा तस्या: संजातं तथोत्तरीयं तव दर्शनशकुनग्रन्थिबन्धैः पूरितमिति । - पृ. ४५.
286. Bhoja cites this gatha as an example of कनिष्ठा (अ) धीरोढा (नायिका). णिव्वुत्त-रआ वि
(the young innocent wife) even when the climax of sexual enjoyment was reached.
287. Bhoja cites this gatha as an example of कनिष्ठा अधीरमुग्धा (नायिका). This gatha is
cited in DR (p. 104) and in SK (P. 640, v. no. 243). DR cites it in the context of प्रवास-विप्रयोग (भविष्यत्-यास्यत्-प्रवास:). SK cites it with the introductory remark "सामान्यत एव प्रवास-साध्वसेन स्त्रिया यथा -".
288. Bhoja cites this gatha as an example of कनिष्ठा ऊढमुग्धा (नायिका). मुद्धवहू - the
simple-minded, inexperienced young wife; णहरवअं / णक्खवअं (नखरपदं/नखपदं) nail-mark.
289. Bhoja cites this gatha as an example of कनिष्ठा अनूढमुग्धा (नायिका). SK (p. 626) cites
it with the introductory words “(विप्रलम्भपरीष्टिषु प्रेमपरीक्षा) श्लाघया यथा-".
291. Read in the first half of the gatha 'ख' and in the chāya - दुहित्रा and कस्य,

Page #430

366
Prakrit Verses in Sanskrit Works on Poetics
Bhoja cites this gathaas an example of कनिष्ठा धीरानूढमुग्धा (नायिका). Dr. H. C. Bhayani renders this gatha into Gujarati (vide Muktaka Madhuri, p. 79, the title being 'Nirjana Gama.
292. Bhoja cites this gāthā as an example of कनिष्ठानूढमुग्धा (नायिका). Read in the first
half of the gatha 'दोहिँपि'.
293. Read in the second half सोउं व. Bhoja cites this gatha as an example of कनिष्ठा
अधीरानूढमुग्धा (नायिका). वर (वर-गोत्र-दत्त-काया:) – of her who was attentively listening to the name of the bridegroom mentioned in the auspicious songs. DSS (p. 41) says : 'उअह । त्ति 'पेच्छह अत्थे । उअह पश्यत ।
294. Bhoja cites this gatha as an example of कनिष्ठा मध्या (नायिका). जणेइ (जनयति) caus.
pres. 3rd pers. sing. from जण - to be borm, to come into existence. . . This gāthā, with some variation in wording and placing, is the same as SPS. No. (177.78) supra.
295. Bhoja cites this gathā as an example of कनिष्ठा धीरमध्या (नायिका). आअंबंत (आताम्रान्त)
'becoming slightly red with anger'. M. V. Patwardhan prefers to equate the
word with आताम्रत् pres. act. part. from denom. of आअंब = आताम्र (reddish). 296. This gatha ia already dealt with; vide SP S. No. (219.87) supra Bhoja cites
it here to illustrate कनिष्ठा धीरमध्या (नायिका).
297. Read in the first half of the găthā 375531 531 guidity and in the corresponding
Chāyā अकृतं कृतं कुर्वत्या.
Bhoja cites this gathaas an example of कनिष्ठोढमध्या (नायिका). अव्वो (-अहह)- 'How painful !', 'O, What a pity!'; अणुणअ (अनुनय-सुख-काङ्क्षणशीलया) by her who was longing for the pleasure of being appeased; अकअं कअं कुणंतीए - attributing to him something (i.e., an imaginary offence) never committed by him.
298. Bhoja cites this gatha as an example of कनिष्ठा अनूढमध्या (नायिका).
299. Read in the first half of the gatha करेसि कारिस्सि (? काहिसि अ) सुहअ एत्ताहे । and
in the second half अवराहाण ---कअरा. Bhoja cites this gatha as an example of धीरोढमध्या (नायिका).
300. Bhoja cites this gāthā as an example of कनिष्ठा धीरानूढमध्या (नायिका).

Page #431

Prakrit Verses in Sanskrit Works on Poetics
361
The rural girls playing games so freely dropping off all the usual inhibitions is in the very nature of the months of Spring.
301. Bhoja cites this gāthā as an example of abf8T 3TERRIGHEZIT (Facht). 31T3TEBUT -
embracing the husband to bid farewell to him when he is about to set out on a journey; do R3T -of the young wife who has withdrawn her slender arms from her husband's neck (after the parting embrace); TEF 787315 usta — the bangles of the young wife slip down from her arms because of their sudden emaciation due to the imminent separation from her husband. 2376 - like chains to prevent him from departing on a journey.
302. Bhoja cites this gātha as an example of
8T BERTIGHEZT (TIRUCHT).
When the musical instrument announced the arrival of the bridegroom, the bride felt so thrilled and excited and was drenched in profuse perspiration.
303. Bhoja cites this gāthā as an example of 8 THT (FIT). 379737 - 377705 -
O, noble one; 3tvu 34 (315105)-0, my innocent dear; Bhuvanapāla reads 3514 for 3400 37 - rise up, (you who have fallen prostrate at my feet to appease my anger). JE HET1376UT — this reading violates metre; so the varient reading HUUJ - Equutut (= Hyuqour - HUUJUTT) is preferable. It means : Jealous anger which causes or produces grief or embarrassment to you.
304. Bhoja cites this gāthā as an example of af8T ER-YICHT (FTI ). quift (ERT)
- pres. pass. 2nd pers. sing. from 16 to carry; F d. (aria) a bull, cf. Mar. t. 315 315 - (pufa 351A) droops, languishes.
305. Bhoja cites this gāthā as an example of tot 3TERYITHT (1997).
306. This gātha is already dealt with; vide ŚP S. No. (128.67) supra.
Bhoja cites it here as an example of ACT 3TERY ISTAT (TIC).
307. Bhoja cites this gāthā as an example of affOT 31464"ICTAT (TRAAT).
308. This gāthā is already dealt with; vide DHVS. No. (40.14) supra. Bhoja cites it as an example of hoor EIRIGYITHT (
F T).
309. Bhoja cites this gāthā as an example of foot ERT 3764'ITAT (TIRUCHT). The
restoration of the găthā is tentative.

Page #432

368
Prakrit Verses in Sanskrit Works on Poetics
310. Bhoja cites this gäthä as an example of foot 37TRICITET (FTI ). SK (p. 657,
v. no. 291) cites this gāthā with the introductory remark : "384 codilefireztat ARTARRIut I -" and comments upon the gātha thus :- 37 प्रवासानुभूतभशोत्कण्ठादिचित्तवासना: प्रवासनन्तरेऽपि तस्या नोपशाम्यन्तीति वेणिकावर्णनादिना सुच्यते । .
311. Bhoja cites this gäthä as an example of fooT 3TETRT 3TGY ITHT (ICT). The
readings in Vajjālagga to be specific in the first half of the găthā, are not so very happy. M. V. Patwardhan remarks on Alagosii etc. : “We must supply
TP as the noun qualified by the three adjectives occurring in the first half. नियडकुडंग and पच्छन्नदेउलं should be taken as बहुव्रीहि compounds and बहुजुवाणसंकिण्णं as a fauf deyse compound, qualifying TT understood, and the verbal form ets or aeg should also be supplied in order to make the sense of the first half complete." - Notes p. 505. There is absolutely no such difficulty in construing the gäthä, if we follow the text in SP.
312. Bhoja cites this găthā as an example of ERIET (TIC). HTUT (HTTERT) indulging
too much in jealous anger; TE (TRT) - to such an extent 37198 (394) pursued; Gorent (ution:) gone away on a journey, alienated in feeling from her, estranged in feeling.
313. Bhoja cites this gāthā as an example of ERG (TIT).
The gāthā cited here, however, would show that the nāýikā is not 347561 but BoT ! Bhoja nods here !
“In the presence of the elders she put on a very brave face at the time of your departure, but when she later closed her eyes, tears that were sticking to the lashes rolled down !"
With supreme effort she had checked her tears, as shedding of tears is considered inauspicious on an occasion like this.
314. Read in the second half of the gathaसंभासण-सेउल्लि फंसणे and in the corresponding
chāyā JURGIS pt.
Bhoja cites this gāthā as an example of 3teikt (Tifacht).
SK (p. 617, v. no. 148) cites this gāth, with the introductory remark : "HTIRI 756-1413-9-aerat vert -".

Page #433

Prakrit Verses in Sanskrit Works on Poetics
369
315. Bhoja cites this gatha as an example of अधीरोढा (नायिका).
हरिस+ऊससिआएँ (हर्ष+उच्छ्व सिताया: = उल्लसित, पुलकित).There is a variant reading हासूसलियाए (हास्य-पुलकिताया:). Hemacandra records : 'ऊसलिअंसरोमञ्चे' (DSS p. 55). Bhuvanapala too says : ऊसलिओ पुलकित: । The editor of PSM(p. 189) read ऊसुइअ (उत्सुकित),as reference is given to this gatha. Bhuvanapala remarks on this gatha:
स्वेद-पुलकोत्कम्पा: सात्त्विका भावा: । अनुरागातिशयवर्णनपरा इयम् उक्ति: । ---- हेतुसूक्ष्माभ्यां संकरोऽलंकारः । - पृ. १४४.
316. Bhoja cites this gatha as an example of अधीरानूढा (नायिका).
The भविष्यत् -' वधू listens to the auspicious wedding songs in which the name of the bridegroom is mentioned. As she catches the name in the wedding songs, she is drenched in perspiration due to her great love for the prospective husband.
317. This gāthā is already dealt with; vide SPS. No. (218. 87) supra. Here he cites
it as an example of उढा (नायिका). SK (p.594) cites this gatha with the introductory remark "तद् (= सुप्त -) रूपेण रसप्रकर्षो यथा - " and thus comments on it : अत्र निर्भरपदेनैव प्रकर्षः प्रतिपाद्यते । सरस्वती, पृ. ५९४.
318. Bhoja cites this gatha as an example of अनूढा (नायिका). Bhuvanapāla remarks :
तं वीक्ष्य यद् इतरपुरुषावेक्षणनिरपेक्षं मुखं सजलां दृशं वहति, तेन अनुमीयते अनुपमरूपसंपत्संपन्नोऽसौ युवेत्यर्थः। --- विरोधच्छायानुमानाभ्यां संकीर्णोऽलंकार :। - पृ. ७० - ७१.
319: Bhoja cites this gatha as an example of धीरोढमुग्धा (नायिका). Further on he cites
it as an example of 'प्रीति:' - (p. 788).
320. Bhoja cites this gatha as an example of धीरानूढमुग्धा (नायिका).
The throbbing of the left eye of a woman is believed to be indicative of
some auspicious thing to happen. 321. Bhoja cites this gatha as an example of अधीरमुग्धा (नायिका). SK (p. 645, v. no.
260) cites it with the introductory remark : "माने मान्यते येनेति यथा -" and comments upon it : अत्र 'मान पूजायाम्'---- मान इति रूपम् ।)
स हि प्रेयांसमस्या: पादपतनादिपूजायां प्रयोजयति । - सरस्वती, पृ. ६४५ - ६४६.

Page #434

370
Prakrit Verses in Sanskrit Works on Poetics
322. The restoration of this gātha is tentative. Read in the first half (? ) and
in the corresponding chaya तूर्ये. Remove dash (-) after हविआ and स्नपिता.
Bhoja cites this gāthā as an example of 3ERTIGTET (TIRUCHT).
"She first bathed herself with her own profuse perspiration and then her friends bathed her with water."
323. Bhoja cites this gāthā as an example of the HTPET (FRUCHT). nfe (na) MEI (en)
HeHidur (Hida) - My friend, tell me honestly; grocent (ront:) - "We (i.e., I) ask : Do the armlets of all women grow bigger on their arms, when the beloved departs on a journey ?" The fact is : because of unbearable separation from their dear beloveds they become at once emaciated and the armlets appear to them bigger on their arms. The young newly married girl is so very innocent, simple-hearted (mugdhā), hence her query !
324. This gātha is already dealt with; vide SP S.No. (191.81) supra. Bhoja cites
it here as an example of 36-TEIT (FTI ).
325. Bhoja cites this gātha as an example of ER-HEZIT (TIT).
Every round limb of the slender one has become flat; and every thin limb has reached the limit of thinness. Still she has been maintaining anger !
326. Read in the first half -7379$37. Bhoja cites this gātha as an example of erlate
(FI ). SK (p. 675, v. no. 339) cites it as an example of ( cy) 2014.
327. Bhoja cites this gāthā as an example of ERTEGHEZIT (FI ). SK (p. 629, v. 200)
cites this gatha with the introductory remark : "विप्रलम्भचेष्टासु प्रथमानुरागे स्त्रिया URIT -".
328. Bhoja cites this gāthā as an example of 3TEIRHET (infecht).
Bhoja cites it again (p. 1038) to illustrate 9FIT, one of the HFTTHS.. SK (p. 639, v. no. 239) cites it with the introductory remark : (HFFS" 5 PROCURITIUT PIT -".
330. Bhoja cites this gāthā as an example of 3ERIGHEZIT (TechT).
कुल' (कुलवध्व:) young newly married maidens belonging to exalted or noble

Page #435

Prakrit Verses in Sanskrit Works on Poetics
371
family; रई (रति-विराम-लज्जिता:) - overpowered by bashfulness at the end of sexual intercourse (because of their stark nakedness); जहणं (जघन) private parts.
The variant reading सहसत्ति (सहसेति) is preferable to the SP reading सहसव्व (सहसेव).
331. Note : Read च्चेअ (चैव) in the second half. Bhoja cites this gatha as an example
of अनूढमध्या (नायिका).
The young would-be bride turned away her face at the mention of the name of the bridegroom, but the way her brassiers (choli) broke at the seams clearly shows her deep love for him.
332. Bhoja cites this gatha as an example of धीर-प्रगल्भा (नायिका). SK (p. 671, v. no.
325) cites it with the introductory remark : “निर्धारितविशेषप्रकारो विशेषवान यथा -". It cites this gātha again (p. 685, v. no. 380) with the introductory remark : "यत्नापनेय-माना धीरा यथा - ".
333. Bhoja cites this gathā as an example of धीरोढ-प्रगल्भा (नायिका). 334. Bhoja cites this gatha as an example of धीरानूढप्रगल्भा (नायिका). पम्हल (पक्ष्मल-धवलानि)
(नयनानि) - (eyes) having long or beautiful eyelashes; दीह (दीर्घ-कृष्णानि) long-extending and dark-coloured (eyes); दलृ ण जाणंति (द्रष्टुं न जानन्ति) - They do not know how to look (at young men) (with charming, bewitching sidelong glances).
335. Bhoja cites this gatha as an example of अधीर-प्रगल्भा (नायिका). SK (p. 637, V.
no. 233) cites this gatha to illustrate (विप्रलम्भपरीष्टिषु) लेखविधानेन (प्रेमपरीक्षा). सोत्थि (alfa) — the first word written in a letter meaning “May God bless you"; "May you fare well"; लिहिमो (लिखाम:) (pres. act. 1st pers. plu. used for sing.)
336. Bhoja cites this gatha as an example of अधीरोढप्रगल्भा (नायिका). SK (p. 639. v.
no. 238) cites it with the introductory remark "(संभोग-परीष्टिषु ) मानानन्तरे स्त्रिया: कैतवस्मरणेन यथा-".
337. Bhoja cites this gatha from Lilavar as an example of अधीरानूढप्रगल्भा (नायिका). The
printed text of Lilavaireads : जाणंती विहु instead of Bhoja's reading 'जाणामि चि.
338. Bhoja cites this gatha as an example of ऊढ-प्रगल्भा (नायिका). SK (p. 638, v. no. .. 237) cites this gathawith the introductory remark : “(संभोग-परीष्टिषु प्रथमानुरागानन्तरे)

Page #436

372
Prakrit Verses in Sanskrit Works on Poetics
प्रगलुभायाः प्रियवाक्यवर्णनेन यथा - ".
339. Bhoja cites this gatha as an example of अनूढ- प्रगल्भा (नायिका).
340. Bhoja cites this gāthā twice. Here he cites it as an example of You (FIRUCHT).
Further (p. 843) he again cites it with the introductory remark : “मध्यमाया मुग्धत्वं संभोगे यथा -". वक्खरअ d. means रतिगृह, अन्त:पुर. Hemacandra records in his DSS (pp. 247-248) वक्खारयं रइघरे -- वक्खारयं रतिगृहम्, "अन्त:पुरम्" इति अन्ये । अणुमग्ग (d. पीछे पीछे - PSM, p. 40) following, going after.
341. Bhoja cites this gāthā as an example of HEZIT (
F CT). Vajjālagga (p. 242, v. no. 318*3) reads the second half somewhat differently : बालाए लावण्णं उप्फिणियं थणभरमिसेण ।। (बालाया लावण्यं बहिर्निगतं स्तनभरमिषेण ।।)
"The loveliness of the damsel --- has erupted as it were under the guise of her bulky breasts."
342. Bhoja cites this gatha as an example of प्रगल्भा (नायिका). SK (p. 684, v. no. 379)
cites this gatha with the introductory remark : "वय:कौशलाभ्यां संपूर्णा प्रगल्भा यथा -". खिण्ण (खिन्न) fatigued, exhausted (by excessive enjoyment of love's delights); चिउरभारं (चिकुरभार) mass of (long) hair; ओल्लं (आर्द्र) moist, wet. Cf. Mar. ओलें : गलंत (गलत्पुष्पं) from which flowers are still dropping; ण्हाण (स्नान-सुगन्धं) - स्नानेन स्नानीयेन सुगन्धम्, स्नानशब्देन स्नानीयं चूर्णमुच्यते, उपचारात् । - fragrant with the lotions or creams used while bathing; गिम्हा (ग्रीष्मापराह्ण रमितस्य) (of her husband) who had amorous dalliance with his wife on a summer afternoon. Bhuvanapāla remarks : प्रेमातिरेकेण दृष्टादृष्टार्थविरुद्धमपि ग्रीष्मापराह्णरतम् आचरत: श्रमापनयनाय प्रत्युपकारकं कामिनी कान्तस्योरसि कुन्तलकलापं शीतं च सुरभिं च निवेशयतीत्यर्थ: । प्र. १०९. M. V. Patwardan remarks : The stanza suggests inverted coitus.
343. Bhoja cites this gathaas an example of परकीया उत्तमा (नायिका). सुहउच्छिआ (सुखपृच्छिका)
- a woman who comes to inquire about the health of a sick person; or forçars
(न नितिष्ठति) is not left over. 344. चोरिअ (चौर्यरत - श्रद्धालुः / श्रद्धाशीला, then संबोधने श्रद्धालुके / श्रद्धाशीले) - dear (पुत्रि) night
prowler, O, dear young girl, having a keen desire for clandestine love-making; Bhoja cites this gatha as an example of उत्तमा धीरा (परकीया नायिका).
345. Bhoja cites this gatha as an example of उत्तमाऽधीरा (परकीया नायिका). The girl burns

Page #437

Prakrit: Verses in Sanskrit Works on Poetics
373
like a blazing flame on account of the fire within of separation from her charming lucky man. By the sweet breath of her mouth she attracts a swarm of bees which appears like smoke.
346. Bhoja cites this gāthā as an example of STIGT (TRAIT ft). The distinction
of being called beautiful goes to our village chief's daughter :"She has set all men staring at her with unblinking eyes, like the gods." 77376177 4010377 (by whom) the whole village i.e., all the people in the village have been turned into gods. 4010531t is a Fed formation in the sense of complete transformation. 3110 RT (319-77:) having unwinking eyes. The gods too are believed to have unwinking / never closing eyes.
347. This gāthā is already dealt with; vide ŚP S. No. (51.52) supra Bhoja cites it
here as an example of JTMATIGT (R ETRO).
348. Bhoja cites this gātha as an example of THT BRICT (paten TifchT). EC3T
(tracit bashful; URUH JI (RUH uila) Juf Hafa - comes to an end. Cf. 'gryElnat facient GRETTİ HAREIT: ľ
349. Bhoja cites this gāthā as an example of BTHT ERTIGT (ROIT IT).
.351. Bhoja cites this gāthâas an example of STIHTsefragt (Grooten). DÁS(pp. 192-193)
records : quzon ---1140911 quiet PRZITI HUT (HR) methinks.
. 352. Bhoja cites this gāthā as an example of उत्तमा मुग्धा (परकीया). Read सुगन्धिं in the
chāyā 353. This gāthā is already dealt with; vide ŚPS. No. (221.88) supra It is cited here
as an example of ITHTERYET. SK (p. 582, v. no. 29) cites it as an example of toquia (paleness, change of colour) on account of dejection, intoxication anger, etc. It is cited there with the introductory remark "SUUT HY Pourfer -"
355. Bhoja cites this gāthā as an example of STIHTNETT (Propter).
356. Bhoja cites this gāthā as an example of 3THFGHET (PR). The earlier part
of the second half is read differently : ficat a GT (fachracha ). (Pancract) a poisonous plant. In Hemacandra's Prakrit grammer under VIII.

Page #438

374
Prakrit Verses in Sanskrit Works on Poetics
iv. 420, we have the Apabhraíša stanza Wi-Pictuit etc. There we have fox-foo. P. L. Vaidya identifies this fuper as a poisonous bulb called in Marathi).
357. Bhoja cites this gāthā as an example of 3THT EIRIGYTET (Rate). 358. Bhoja cites this gāthā as an example of efrigcymer (RootT). The restoration of
the gathā is tentative : 06 (698) ladies' man, deci (METHIT ?) O, you, who are ‘cheered up'; 737 BISITMt you who are enjoying swing-ride; Hy stop; The young maidens who are awaiting their turn are getting angry. The overall sense of the stanza is : O, my dear friend, you who are being cheered up by ladie's man (759A), as you are enjoying swing-ride, please stop. The young maidens who are carefully awaiting their turn are getting angry !
359. Bhoja cites this gāthā as an example of UTHT BEFRIGEFFET (924). SK (p. 634,
v. no. 218) cites this gātha with the introductory remark. :''P IRTIER COTTACI UTRIT."
URT (FURT) a (valuable) treasure; Cica - a circular or round tooth-bite or tooth-mark; a (grade) - the encirling hedge.
360. Bhoja cites this as an example of 30HT BERTIGTET (BUT).
ŚP (p. 1192) cites it in the context of the love festival “Navalata"; so too SK (p. 623, v. no. 175). SP (p. 635) reads : Pa6c1314693f0pms; SP (p. 1192) UTC-73196PTIÇors; and SK (p. 623) UTOMŞ YERGFOls; the correct reading is either णवलअपहरुप्पित्थाए or णवलअपहरुत्तत्थाए. उप्पित्था d. त्रस्ता, and उत्तत्था = उत्त्रस्ता - frightened. SK cites this gāthăwith the introductory remark : "faci RIUT 217—" ari, alhat, arta, Bolta all convey the sense of fright, frightened.
361. Bhoja cites this gāthì as an example of 3T7HT HEZ (qarat). Hiftos (cat acend)
- waits for you- your arrival; PET (7221-club-rHY) — directing (lit. scattering) her lotus-like eyes on to the street; GR° (gratui F yn) with her breasts leaning (lit. placed) against the door (frame).
362. Bhoja cites this gāthā as an example of 3THT SIRHEZ (Ret). PPT (RAH)
lifted up, propped up; उण्णामिअ (उन्नमित) raised up; कलस (कलश) auspicious pitcher or jar; 377 378-H) lotus flower used for / in welcoming and honouring a guest.

Page #439

Prakrit Verses in Sanskrit Works on Poetics
375
363. Bhoja cites this gatha as an example of उत्तमा अधीरमध्या (परकीया). Weber reads
the latter half of the first half of this gatha as follows : सुंदरि मा तुवर वढउ मिअंको (सुन्दरि ! मा त्वरस्व वर्धतां मृगाङ्क:)| Weber reads चंदिआइ for चंदिमाएँ. But the meaning of these words is identical.
364. This gātha is already dealt with; vide ŚP S. No. (24.47) supra. Bhoja cites it
here as an example of उत्तमोढमध्या (परकीया). SK (p. 684, v. no. 378) cites it with the introductory remark : 'वयसा परिपूर्णा मध्यमा यथा-': पडिवक्ख (प्रतिपक्ष - सपत्नी); मण्णु (मन्युपुऔ) - heaps of jealous anger i.e., exciting the jealous anger of rival wives; लावण्ण (लावण्यकुटौ) jars of charming beauty, loveliness; हिअअ (हृदयधृतौ) - yearned after, longed for : guicht (Fratrat) groaning, making deep, inarticulate sound expressing pain.
365. Bhoja cites this gatha as an example of उत्तमानूढमध्या (परकीया). अंदो लाइँ (आन्दोलानि
- हिन्दोलानि) swings.
366. Bhoja cites this gatha as an example of उत्तमा धीरोढमध्या (परकीया).
367. Bhoja cites this gatha as an example of उत्तमा धीरोढमध्या (परकीया).
The gātha may tentatively be restored as follows:
पुण्णग्गि-वाउलमणो, तह [हु] वरकुमरि तुए कओ गामो । जह जाओ वाउलओ परीहरिअ-अण्ण-वावारो || (पुण्याग्निवातुलमना: तथा [खलु] वरकुमारि त्वया कृतो ग्राम: । यथा: जात: व्याकुल: / वातुलक: परिहृतान्यव्यापारः |) पुण्णग्गि (पुण्याग्नि) - The public fire kept burning in a city square for the use of all. In Subhasita ratna-bhāndagara there is a stanza about Sisira-pathika(p.348, v.no.20) wherein this word occurs : “पुण्याग्नौ पूर्णवाञ्छ: ---". The word also occurs in SPS.No. (976.225) infra:सा माह-मास-गोसग्ग-मजिरी तं पि दिन्नपुण्णगी। मिलिआ गोलातूहे दुवे वि तुम्हे धम्मिट्ठा ॥ (सा माघ-मास-प्रातर्मज्जनशीला त्वमपि दत्तपुण्याग्निः। मिलितौ गोदा-तीर्थे द्वावपि युवां खलु धर्मिष्ठौ ।)
The gatha "पुण्णग्गि-वाउलमणो", etc., may be translated as follows : "O, charming young girl, the people of the village who were mad after the public fire in the village square, you have now made them mad after you leaving their all other normal activities !"

Page #440

376
Prakrit Verses in Sanskrit Works on Poetics
368. Bhoja cites this gatha as an example of उत्तमा अधीरोढमध्या (परकीया). SK (p. 617,
v. no. 149) cites this gatha as an example of अश्रु, one of the Sancarins (acc. to Bharata, one of the eight Sättvika-bhāvas).
369. Bhoja cites this gatha as an example of उत्तमा अधीरानूढमध्या (परकीया).
370. This corrupt and obscure gathais restored with the help of Tarayana (Taragana),
an anthology of. Bappabhatti, recently edited by Dr. H. C. Bhayani and pub, by Prakrit Text Society, 1987. This gāthā occurs in it (vide p. 70, v. no. 171) : छेयाए मुद्ध-दियरस्स लाइया तह विलासिणि-विलासा । संढो त्ति परिहरिजइ कण्णादाणे जह जणेण || छेकया धूर्तया असत्या । 'मुद्ध-दियरस्स' मुग्धदेवरस्य । 'लाइया' लागिता न्यस्तास्तथा विलासिनी-विलासा: नयनाअनप्रक्षेपालंकाररचनादयो यथा कन्यादाने । संढो त्ति षण्ढोऽयमिति कृत्वा जनेन परिहियते ।
371. Bhoja cites this gathā as an example of उत्तमा धीरप्रगल्भा (परकीया).
372. Bhoja cites this gatha as an example of उत्तमा अधीरप्रगल्भा (परकीया). This gatha is
further (p. 859) cited to illustrate uttamatvam'.
373. Read in the chaya'सखि'. Bhoja cites this gathaas an example of 'उत्तमोढप्रगल्भा'.
374. The restoration of the text is absolutely tentative :
चंकम्मिउं सलीलं हसिउं च सविब्भमं हअ-कुमारी । एवं वंके च पुलोएउं xx केण सिक्खविआ ।। (चक्रमितुं सलील हसितुं च सविभ्रमं हतकुमारी । एवं वक्रं च प्रलोकयितुं xx केन शिक्षिता ।।) Bhoja cites this gāthā as an example of उत्तमानूढप्रगल्भा (परकीया).
375. Bhoja cites this gathā as an example of उत्तमा धीरोढप्रगल्भा (परकीया).
376. This gāthā is obscure. The restoration given below is alsolutely tentative :
आउच्छिआसि कोमुइ, तुमं पि मामि कोमुईचंद । रमिअ म्ह जेण अज्ज सो चेअ परे जह सुहओ ॥
It is metrically defective. It may be translated as follows :
"I bid farewell to you, O, my friend moonlight; and to you full moon. The charming one who made love to me today, I hope, would also make love to me tomorrow !"

Page #441

Prakrit Verses in Sanskrit Works on Poetics
377
Bhoja cites this gāthā as an example of GTT BRIGITT (TRAT).
378. Bhoja cites this gahta as an example of BTHT 3TEREGA STAT (ROIT). This gāthā
is again cited on p. 1183 with the introductory remark : FEZI67-counci ATEZIE TRT -".
. 379. Bhoja cites this gātha as as example of HEZIHT (R
et).
सोहंति (सोहंती-शोधयन्ती, cleansing. The final ई in सोहंती is shortened metri casua.)
380. Bhoja cites this găthā as an example of HEZPATEIRT (
).
Here the poet of the gāthā depicts the real feelings of lovely maidens in a
frank manner. 381. Bhoja cites this gāthā as an example of HTEZTATSERT (gebrer). SK (p. 644, v. no.
257) cites this gathā and thus comments upon it: 3710 PURPi Gocat quç Pacient Poud .
382. Please read aftit in the second half of this găthā. Bhoja cites this gathā as
an example of TEZTHT BGT (RUT).
(37475-G / $06 - afa-ar-adv. comp.) with the pupils slightly turned towards the corners of the eyes.
The găthā suggests that the daughter-in-law casting a bewitching or seductive glance at the wayfarer invited him to halt there overnight and enjoy the delights of love in her company.
383. Bhoja cites this gāthā as an example of HEZTHT 3TIGT (Aut).
The young bride is interested in listening to the wedding songs, as the songs bring in the name of the bridegroom.
384. This gātha is already dealt with; vide ŚP S. No. (145.71) supra.
Read in the chāyā of the first half --- Yata:. SK cites this gātha in the context of the alleged figure Apihita, which according to Bhoja, is only a variety of the figure milita.
386. Read in the chāyā HRY-
CIRIT Brit;
HUT =
a - see Hema. 8.1.208. CET

Page #442

378
Prakrit Verses in Sanskrit Works on Poetics
= qy - a young, newly married girl. 37215 (374) - wanton woman; the wanton woman's hands tremble because her mind is full of impure desires to meet her lover secretly there when the cotton plants grow sufficiently tall.
This gātha, Bhoja cites, as an example of HEZHT BERIGT (Raptur).
387. Bhoja cites this gatha as an example of मध्यमा अधीरानूढा (परकीया). The gatha
describes a girl marrying a man other than her lover (and compares her to a bird that has fallen into the hands of a căndăla and has no hopes about her life.) How could she then represent the type called मध्यमा अधीरानूढा (परकीया)?
388. Bhoja cites this gāthā as an example of HEZHIT MOEIT (). SK (p. 616, v. no.
147) cites it with the introductory remark "(317hdy) tocht Opt-" 389. Bhoja cites this gāthā as an example of HEZHT BRYTET (Grohet). Ne (yet) - voc.
sing. -O, beautiful damsel !
PTIS (Tl) red at its corner; 437o (= 44311 = ) - emanating from the bow of your creeper-like eyebrows.
390. Bhoja cites this gāthā as an example of FEZIT 3TETRTET ( Tur). 'What shall I
do when he comes? what shall I say? What will happen ?' With such thoughts the heart of a young girl is troubled when she ventures out for the first time on her date with a young man.-A very fine, realistic description of the thoughts crossing a young damsel's mind when she meets her dear man for the first time.
391. This gāthā may tentatively be reconstructed as follows :
गेण्हतीए णवलअं जुज्झाउज्जिअ दिअरअ हत्थाओ । रोस-विकूणिअ - रज्जंत-लोअणो वि हसइ पई वि ।। (TEUSUT Mali ya vijang dor (5) - Era रोष-विकूणित-रज्यल्लोचनोऽपि हसति पतिरपि ।।)
i
Translation : When the sister-in-law snatched the navalată creeper from the hand of her (younger) brother-in-law, even her husband whose eyes were contracted and red with anger began to laugh.
Bhoja cites this gāthā as an example of HEZHIGHET (
Ten).

Page #443

Prakrit Verses in Sanskrit Works on Poetics
379
392. The first half of this gatha is quite intelligible, but the second half is equally
obscure: 0, young (charming) girl, you are adorable, very venerable like a deity.
Bhoja cites this gatha as an example of मध्यमानूढमुग्धा (परकीया). 393. Bhoja cites this gāthā as an example of HEZTHT EIRIGYTETT (Prechtent). See the
translation.
394. Bhoja cites this gatha as an example of मध्यमा धीरानूढमुग्धा (परकीया). SK ID. 636.
v. no. 228) cites it with the introductory remark : "(विप्रलम्भपरीष्टिषु) बहुमानेन (प्रेमपरीक्षा) यथा -".
395. Bhoja cites this gatha as an example of मध्यमा अधीरोढमुग्धा (परकीया). मा मा - Don't
do so (i. e., don't ignore her); मुअ (मुंच) परिहास - give up joking or jesting; अण-होरणा (अनावरणा) without any cover, sunshade; पासिज्जइ (= पसिज्जइ = प्रस्विद्यति) she is perspiring !; छाही (छाया) - shade.
396. Bhoja cites this gatha as an example of मध्यमा अधीरानूढमुग्धा (परकीया). The young
girl's hand drenched in perspiration clearly suggests her deep love for the young man who is about to strike her with fresh creeper- new twig--of mango or palāśa or of any tree. "The woman is enquired the name of her lover and when she does not speak out, she is struk with the fresh twig - which is but a symbol
of the new season and the 'striking' effect of love." - V. Raghavan (pp. 93-94). 397. Bhoja cites this gāthāas an example of HEZTHT HEZIT (R AT). See the translation.
398. Bhoja cites this gatha as an example of मध्यमा धीरमध्या (परकीया). SK (p. 641, v.
no. 247) cites this gatha with the introductory remark : “विप्रलम्भनिरुक्तिषु प्रथमानुरागे प्रतिश्रुत्यादानं यथा-", and comments upon the gatha thus : अत्र वक्रेक्षितादिभिः प्रतिश्रुत्यालिङ्गनादयो हीभयादिभिर्न दीयन्ते ।
399. Bhoja cites this gatha as an example of मध्यमा अधीरमध्या (परकीया). फग्गु (फलगत्सव
- वसन्तोत्सव-निर्दोषम्) -unobjectionable in the spring festival; छण (क्षण) a festival, cr. Mar. - सण: पसाहणं (प्रसाधनम्) - decoration, adornment (of mud); थण (स्तनकलशमुख-प्रलुठत् स्वेद-धौतम्)-washed away (धौत) by the perspiration gushing out from the tips of your pitcher-like breasts.
400. Bhoja cites this gatha as an example of मध्यमा ऊढमध्या (परकीया). दोअंगुल
(व्यंगल-कपाटक-पिनद्ध-सविशेष-नील-कञ्चुलिका) whose deeply blue (coloured) Choli is

Page #444

380
Prakrit Verses in Sanskrit Works on Poetics
fastened (पिनद्ध) in such a way that a couple of inches of cleavage (व्यंगुल-कपाट) is left out uncovered; थण (स्तनस्थल - वर्णिका) a small sample (वर्णिका) of the concealed loveliness (of the breasts).
401. Bhoja cites this gāthảon P. 391 as an example of the figure of speech (3721fciar),
called ofa (Natural Description) with particular reference to do (Dress); on p. 486 as an example of पात्र (character), and here (on p. 639) as an example of मध्यमा अनूढमध्या (परकीया). SK (p. 314) cites it as an example of वेष (Dress) and again (at p. 664) as an example of वसन्तावतारदिवस: सुवसन्तक:.
402. Bhoja cites this gathaas an example of मध्यमा धीरोढमध्या (परकीया). इणं ते सिहिणो अब्भुत्तणं
असमत्तं चिअ अच्छउ / तिट्ठउ – Oh, how I wish it never ends-you over there blowing on the fire! - (the smoke) making your eyes red (आअंबच्छ), tearful (पअलंत-बाह) and causing your breasts to heave up and down (आबद्ध).
403. Bhoja cites this gatha as an example of मध्यमा धीरानूढमध्या (परकीया). DSS (p. 102,
Karika 270) records 'गोसं गोसगं' and comments thus : गोसं प्रभातम् । 'गोसर्ग' शब्दो यदि संस्कृते रूढः, तदा तद्भवो 'गोसग्ग' शब्द:, अन्यथा तु देशी, पर्यायभङ्ग्या त्विहोपात्त: ।।
माह - who takes bath every morning at daybreak in the month of Magha (corresponding to January- February); थरहरइ trembles (onomatopoeic word; cf. Mar. थरथरणे).
404. Bhoja cites this gatha as an example of मध्यमा अधीरोढमध्या (परकीया). एक्कक्कम (एकैक)
one after another; वई (वेष्टकवृति) surrounding enclosure, hedge; तइ वोलंते (त्वयि गच्छति, loc. abs. constr.) 'as you were going away'; पंजर (She behaved like a bird kept or confined in a cage पञ्जरशकुन); पंजर' is past part: from denom . root from 'पंजरसउण.
405. Bhoja cites this gatha as an example of मध्यमा अधीरानूढमध्या (परकीया). जीएण अचिस्सं
(जीवितेन अर्चयिष्यामि)-I shall worship your feet (चलणे) by laying down my life; जइ विज्झसि if you pierce or hit (his heart); विद्धा = ppp. from विध् = to pierce, hit.
406. Bhoja cites this gatha as an example of मध्यमा प्रगल्भा (परकीया). Ordinarily,
Madana's arrows are said to be : अरविन्दमशोकं च चूतं च नवमल्लिका । नीलोत्पलं च पञ्चैते पञ्चबाणस्य सायका: || Madana is therefore called पञ्चबाण, पञ्चेषु, पञ्चशर. Sun-lotus, Asoka-blossoms, mango-blossoms, jasmine flowers, and blue lotus are

Page #445

Prakrit Verses in Sanskrit Works on Poetics
381
described as his five arrows.
अच्छि (अक्षिविक्षोभा:)- darting of (sidelong) glances; पिअ (पिआ-प्रिया my beloved girl) the आ in पिआ is shortened for metre; संमुखागत - गत / अतिक्रान्त - वलित - these are the attributes of sidelong glances, cast at the speaker at the gāthā.
407. Bhoja cites this gathaas an example of मध्यमा धीरप्रगल्भा (परकीया). पुणरुत्त (पुनरुक्तशतम्)
- makes (कुणइ) me repeat several (lit. a hundred) times.
408. On p. 401 Bhoja cites this gatha as an example of the figure पिहित which,
according to him, is nothing but the figure मीलित; on p. 577 he cites it again as an example of अवहित्थम्. Here (on p. 640 ) he cites it as an example of मध्यमा अधीरप्रगल्भा (परकीया).
409. Bhoja cites this gatha as an example of मध्यमा ऊढप्रगल्भा (परकीया). जोक्कार-जयकार
salutation; हास (हास-कटाक्ष-उन्मिश्र) mixed with, that is, accompanied by smiles and sidelong glances.
410. Bhoja cites this gatha as an example of मध्यमा अनूढप्रगल्भा (परकीया). माउआ - मातृका.
or d. सखी (माऊआ सखी दुर्गा च । DSs p. 231). 411. This gāthā is already dealt with; vide ŚP S. No. (2.43) supra. Here it is cited
as an example of मध्यमा धीरोढप्रगल्भा (परकीया).
412. Bhoja cites this gathā as an example of मध्यमा धीरानूढप्रगल्भा (परकीया). वेअस' . (वेतस-कुआ:) thickets of reeds; आसण्ण (आसन्न-विवाहमङ्गलोद्गीत); आअण्णंता (आकर्णयन्त:)
- on hearing the auspicious song on the eve of my wedding; the thickets of reed are laughing at me along with the young men with whom I used to have sexual intercourse under those thickets.
413. Bhoja cites this gāthāas an example of HEZTHT BEIRIGYHETH. See the translation.
414. Bhoja cites this gatha as an example of मध्यमा धीरानूढप्रगल्भा. कज्जा (कार्यालाप एष:)
- this is the voice of business (of cool, calculated practical philosophy); RUTE स्नेहमार्ग एव न भवति यत् तेन विना जीव्यत इति ।
415. Bhoja cites this gatha as an example of कनिष्ठा. SK (p. 615, v. no. 141) cites
it with the introductory remark:"अनुभावेषु वाञ्छति यथा-".

Page #446

382
Prakrit Verses in Sanskrit Works on Poetics
416. This gātha is already dealt with; vide ŚP S. No. (69.55) supra. Bhoja cites
it here as an example of कनिष्ठा धीरा.
417. Bhoja cited this gātha as an example of 8T 3TERT. 377f0735° - disregarding every
other young man; alitur - transgressing the generally accepted norms of propriety. Grily - straining her eyes towards all the quarters of the region; ga 5 or (a c) for you.
418. Bhoja cites this gāthā as an example of afer 35cl. 37 - mourns; fact - the
field of sesamum plants; 5°-looking withered and pale-white (3747570-Huge) beacause of exposure to the sun's rays; puojga - uprooted (Brand) by the teeth of the wild rats; faire – fallen on the ground in a disorderly manner. The reason for her grief is that a very safe and secluded place of rendezvous for her paramour and herself is destroyed by the wild rats!
419. Bhoja cites this gāthā as an example of 18T 3TIGT. Our wearing a newly
dyed saree; R$ (QI = RICH) a pitiable girl (or woman) - T is shortened into
metri causa. Epp — from house to house; 980137 - a sweet cake, a sweet dish offered as a present (on a festive occasion).
420. Bhoja cites this gathā as an example of pfa8T EIRIGT. Haft (- 070) all property;
556-GTET was burnt; forg-Agra-complete happiness; FRIERI- (Billefrut) by taking with his own hand (directly) from my hand; go (= c) a pitcher; – in the course of (or on the occasion of ) the village fire.
422. Bhoja cites this gātha as an example of BT 3TERRIGI. See the translation. The
thick crop of horripilation covering the young bride's body and profuse sweat on her hands suggest her deep love for the village chief's son!
423. Bhoja cites this gāthā as an example of afast 3ERFECT. Afraid of the blows
of the fresh twig or creeper, the young girl runs in front of the farmer's son, moves on both the sides of him, but always remains within the range of his sight. O, farmer's son, with a freshly plucked twig in your hand, give her a rap with it — she who deeply loves you !
425. Bhoja cites this gatha as an example of कनिष्ठा धीरमुग्धा. उज्जुआ = ऋजुका simple
minded, innocent, simple one; R165-JETYCHM — the backyard of a house

Page #447

Prakrit Verses in Sanskrit Works on Poetics
383
cf. Mar. परडे; पुष्ठिं पुससु-wipe your back clean brushing off the Ankotha leaves sticking there (as you lay in the backyard for sexual intercourse with your paramour -your younger brother-in-law). So that, O, simple one, you may not be detected by the watchful eyes of your brother-in-law's wives !
426. Bhoja cites this gatha as an example of कनिष्ठा अधीरमुग्धा. See translation.
427. Bhoja cites this gatha as an example of कनिष्ठा ऊढमुग्धा. SK (p. 39, v. no. 56)
cites this gatha to illustrate one of the vakyartha- dosas. It reads पास्सेण (?) वचंतो (पार्श्वेन व्रजन्) in place of वअणम्मि चुंबतो (वदने चुम्बन्). SK thus comments on it : अत्र प्रक्रान्तस्य नवपरिणयवतीस्वरूपभणनस्यानियूंढत्वात् खिन्नत्वम् । - सरस्वती, पृ. ३९.
Read also Ratnesvara's comments on this (p. 40).
428. Read in the first half of the gāthā HuracaR3i and in the corresponding Chāyā
मनोरथातिक्रान्तम्. Bhoja cites this gatha as an example of कनिष्ठा अनूढमुग्धा. The emendation of णिअरूवलावविअ to णिअरूवलावाणअ is very doubtful and its meaning too).
430. Bhoia cites this gatha as an example of कनिष्ठा धीरोढमग्धा. वेमभूपाल thus comme
upon this gatha : काचिदसती यून: श्रावयति "जइ विहु दिल्लिंदिलिआ ---". अत्र काचिदसती स्वदुहितरं प्रति, यद्यपि त्वं बाला तथापि विवसना मा भ्रम । विदग्धा ग्रामयुवानो दुहित्रा मातरमनुमान्तीति दुहितुर्यन्मदनमन्दिरं तथैव मातुरपीति निश्चिन्वन्तीत्यनेन वा दूतीवृत्त्या स्वकीयस्य मदनमन्दिरस्य मनोहरतां व्यञ्जयन्ती तान् प्रोत्साहयतीत्यभिप्राय: | --- सप्तशतीसार, पृ. ३०-३१.
431. Bhoja cites this gatha as an example of कनिष्ठा अधीरोढमुग्धा. Correct खु दुक्खिआ -
in the first half of the gatha - to थुडुंकिआ and in the corresponding Chaya खलु दुःखिता to रोष-मूका. For the correct form and meaning of the word, read "PK. THUDUMKIA - SULKY AND SILENT by Dr. H. C. Bhayani in JOR, Vol. XXIV Nos. 1 & 2, September-December 1974.
This gatha is cited again on p. 810 with the introductory remark : “(प्रकाशानुराग:) सामान्योढाविषयो यथा-"
The young married girl (lit. daughter-in-law) is having love-affair with her (younger) brother-in-law. Hearing that he would soon get married she became silent and sulky. Leaving the household work unattended, she goes around with

Page #448

384
Prakrit Verses in Sanskrit Works on Poetics
head bent low and eyes full of tears.
432. Bhoja cites this gāthā as an example of
T 3TERISCYPE. See translation
433. Read in the Chāyā — deyaoisto and farigcettar. Bhoja cites this gātha as an
example of AST HEZIT. HIETUT — having many young men at its disposal; 34RRUTT
- (3Rru:) helpless; a gar31 — that was the evil consequence (of your breasts); FH - which were throbbing (lit. unsteady) because of nervous excitement or panic farigce:)
434. Bhoja cites this gāthā as an example of 8T ERHEZIT. The restoration of the
fourth quarter of the găthā is rather doubtful : "Your wife shows off her firm breasts and pride of her youth. That makes me furious. I desire you out of that feeling, and nothing else."
435. Bhoja cites this gāthă as an example of ph8T BETRT. The young woman after
quarreling with the wayfarer gave him a bundle of straw-stalks to make his bed in the night; however in the morning when he was gone and she collected the straw-stalks, she was weeping due to the memories of the love's delights she had with him overnight.
436. This gātha is already dealt with; vide SP S. No. (151.72) 'supra. Bhoja cites
this gāthā as an example of fat BCHEZIT. SK (p. 685, v. no. 383) cites this gāthā with the introductory remark "TaharructeT UIT—".
437. Read in the first half of the gatha TH-42 fa P93731. Bhoja.cites this gāthā as
an example of af8T 37 GHEZIT. Gātha-Kośa-504 reads the găthā as follows :
गामतरुणीओँ हिययं हरंति पोढाण थणहरुल्लीओ। मयणे लसंतकोसुंभकंचुआहरणमित्ताओ ।। (ग्रामतरुण्यो हृदयं हरन्ति प्रौढानां स्तनभारवत्य: । मदनोत्सवे लसत्कौसुम्भकञ्चुकाभरणमात्रा: ।।) GSW (545) reads छेआण for पोढाण and कुसुंभराइल्ल for लसंत-कोसुंभ.
438. Bhoja cites this gatha as an example of कनिष्ठा धीरोढमध्या. वोड d. दुष्ट ferocious or
vicious; faztuut (fausa) dead; 37TIT (:) The mother-in-law is intoxicated (HTI) by drinking wine (purchased by her or presented to her by some relative) for the festival (990737° - HEUCHT); 46 a Afc31 Horivor — the fence, the wooden barricade around the house has been broken by a (tresspassing) buffalo; TRY

Page #449

Prakrit Verses in Sanskrit Works on Poetics
385
साहेउ? -Who will tell him-my paramour-about all this (so that he could come to meet me at night without any risk) ?
439. Read in the second half of the gāthā HAT. Bhoja cites this gāthā as an example
of कनिष्ठा धीरानूढमध्या. This gatha is already dealt with, vide SP S.No. (126.67) supra. SK (p. 336, v. no. 52) cites this gāthā with the introductory remark : "प्रतीयमानमेवाकारलक्ष्यं (सूक्ष्म) यथा -".
After citing gāthā it comments upon it as follows : -- अत्रार्धाक्षिप्रलोकनमुखश्यामताभ्यामाकाराभ्यां जम्बूदल-कल्पितावतंस इत्यनेन प्रत्याय्यमान: संकेतगमनभ्रंशसंभव: श्यामाया मनस्तापो लक्ष्यत इत्ययमाकारलक्ष्य: प्रतीयमान: सूक्ष्मभेद: ।
'440. Read against the first line ... “(p. 643)".
Bhoja cites this gatha as an example of कनिष्ठा अधीरोढमध्या. रमिअण्वअ-लेहला (रति-लम्पटा)-eager for sexual intercourse; संभम (संभ्रम-विक्षिप्त)-thrown away hastily; णवरंगभं (supply साडिअं) newly dyed saree; धसं व दिण्णं (ध्वजमिवदत्तम्) as if it were a flag unfurled; अविणअस्स for proclaiming her misconduct.
441. The restoration of the gāthā is very tentative. Bhoja cites this gāthā as an
example of 18 3TERIGHEZIT. The village-youth who moves about the thickets and rubs on the river-bank and who is rich in his enjoyment of love-sports(?) appears to be the right bridegroom for the elderly unmarried woman who roams about (in search of a companion) !
442. This gātha is already dealt with; vide ŚP S. No. (48.52) supra. Bhoja cites
it here as an example of कनिष्ठा प्रगल्भा.
443. This gāthā is already dealt with; vide ŚP S. No. (50.52) supra. Bhoja cites
it here as an example of कनिष्ठा धीरप्रगल्भा.
444. Bhoja cites this gatha as an example of कनिष्ठा अधीर-प्रगल्भा. अंगाण तणुआरअ (अङ्गानां
तनु (त्व) कारक ! -0, you who have made her pine away!; सिक्खावअ दीह (शिक्षक रोदितव्यानां (= रोदनानाम्) O, you who have taught me i.e., made me to weep long! विणआ (विनयातिक्रमकारक) -0, you who have made me transgress the rules of respectful behaviour (towards my parents), मा मा णं पम्हसिज्जासु (मा मैनां विस्मरे:)You shouldn't forget her (i.e., me) (now at least when my end is nearing).

Page #450

386
Prakrit Verses in Sanskrit Works on Poetics
445. This gātha is already dealt with; vide ŚP S. No. (130.68) supra. Bhoja cites
it here as an example of aflet 55-MITAT.
447. Bhoja cites this gāthā as an example of afA8T ERIGAITHT: Regarding the form
HIRSIM and the meaning of the stanza Dr. A. M. Ghatage writes : "HIRM is correctly given in Sanskrit as Hruhe and ------- Cf. Pāṇini 6.4.51, which allows the loss of for before a form without gĘ. Kāśikā gives forms like कार्यते, हार्यते and forms like मार्यमाण have been attested in Sanskrit. Hence मार्यामहे is correct as causative passive.
As regards the meaning of the stanza, I feel the poet is playing on the word 37cat, which is an interjection and is also used as voc. of 37cal standing for 379 meaning 'father'. 'Alas, we are simply killed by the son of the guesthouse-keeper (497937 = yqit, keeper of the traveller's place. ) Whatever traveller he sees he calls him with the word 'O father'. The implication is clear. The young ladies have no chance with the travellers.”
448. Bhoja cites this gāthā as an example of abf8T ERFGH'ITH. This gātha is already
dealt with; vide ŚP S. No. (153.73) supra. SK (p. 384, v. no. 155) cites it to illustrate one of the varieties of the figure of speech, called 30H.
450. Bhoja cites this gātha as an example of 18 3TERTIGATITETT. The restoration
of the găthā is rather tentative. Seeing the village-chief's son with a freshly plucked tender twig / creeper, the limbs of the young damsel, moving about in the village-streets, again come suddenly to life. She is so very keen to receive on her various limbs the blows of the twig or creeper at the hands of the village-chief's son !
451. Bhoja cites this gāthā as an example of IRT. SK (p. 630, v. no. 201) cites
this gātha with the introductory remark : PadFHTERA HIRIT at T - "O, fair lady, in spite of having a charming wife, that son of the farmer has become so very emaciated for you that even his jealous wife has undertaken to run errands for him !"
452. Bhoja cites this gātha as an example of tirian.
"O, ungrateful, shameless one, even today the muddy slus