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

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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)

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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.

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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

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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

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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

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

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

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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

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

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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

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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

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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

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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

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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

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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

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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.

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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.

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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.

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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

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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:

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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

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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

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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

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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) ॥

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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 ॥]

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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 ॥]

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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: ।।]

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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 ॥]

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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: ।।]

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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.

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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.'

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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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

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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

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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

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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.

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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

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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..

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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).

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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.

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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.

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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.

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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.

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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 ।।

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"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.

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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

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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

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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

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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

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[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

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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

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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),

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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

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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)

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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.

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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

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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.

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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.

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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.

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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

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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.

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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

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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.)

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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? . .

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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

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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

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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.

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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."

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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

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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"

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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

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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.'

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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.

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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.

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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?

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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.

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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.

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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,

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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

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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.

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· 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.

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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.

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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

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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.

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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

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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

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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

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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

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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.

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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.

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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

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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?

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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?

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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

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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

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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?

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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.

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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.

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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

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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

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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

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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

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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.)

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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.

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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.)

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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.

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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.)

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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.)

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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

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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,

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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.

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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.

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(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.

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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.

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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.

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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.

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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:

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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.

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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.)

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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.

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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,

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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

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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

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.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

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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 ।)

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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

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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 ॥)

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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.

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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

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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.

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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 !

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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.

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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

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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

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(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

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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

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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.)

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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

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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.)

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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;

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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

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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.

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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

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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)

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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

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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

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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

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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.

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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.

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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)

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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

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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
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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.)

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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)

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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

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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

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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)

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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

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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.

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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

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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

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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

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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.)

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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.

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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.

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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.

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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.)

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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

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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.

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(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.

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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 ।।

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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

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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"

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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.”

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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

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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.)

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(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

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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

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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

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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

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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

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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

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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.")

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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

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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).

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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,

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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

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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.

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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

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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

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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

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(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

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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.

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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).

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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.

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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')

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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.

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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

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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

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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.

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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.

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(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)

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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
...

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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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.

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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

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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.

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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

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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

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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

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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

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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.

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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

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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.

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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.

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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

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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.

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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.

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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

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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.

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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

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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 !

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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 ?

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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

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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."

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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.

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*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

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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.

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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.

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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.

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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.

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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.

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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.

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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

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(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)

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- 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.

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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.

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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."

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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

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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

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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

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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

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(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.

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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).
+
+
+

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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.

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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

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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.

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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.

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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.

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*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.

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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.

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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.

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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

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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)?

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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.

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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.

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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

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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.

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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

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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) !

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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.

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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.

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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.

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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 ?

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.)

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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.

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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

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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,

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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.

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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.

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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'.

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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 ।

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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).

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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
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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.

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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

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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).

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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.

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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.

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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.

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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 । ।

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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.

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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

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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

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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.

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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,

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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

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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).

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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.

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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

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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.

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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 ।

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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 :।

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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.

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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.

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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 ।

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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).

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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.

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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.

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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

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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.

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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 ।

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(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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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

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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

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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

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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

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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

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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

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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

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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।

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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.

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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

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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:) ।

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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

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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

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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 ।

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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

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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

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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
*
*
*

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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

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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

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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,

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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)

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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

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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.

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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).

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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

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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).

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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

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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

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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'

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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

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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.

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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

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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.
*
*
*

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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.

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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).

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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.

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"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.

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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.

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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.

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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.

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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.

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(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

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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.

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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.

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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.

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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 :

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"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).

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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

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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

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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,

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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.

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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.

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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

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(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.

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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

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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

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(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.

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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:

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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

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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

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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,

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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

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(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

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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).

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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

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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

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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:

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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

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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 !

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(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---".

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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'.
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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."

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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.'

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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.

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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.

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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

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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

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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).

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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,

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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).

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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.

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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 -".

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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.

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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

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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)

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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

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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.

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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.

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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 !"

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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 !"

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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

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= 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).

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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

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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

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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-".

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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

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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

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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

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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).

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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 slushy roads of the

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village on which I walked on rainy nights to meet you, come before my eyes !"
453. Bhoja cites this gāthā as an example of SRIEGI. SK (p. 636, v. 227) cites it
with the introductory remark : "(aucheriley fang (HRVAT) RIT—". See the translation.
454. Bhoja cites this gāthā as an example of 3ERT. SK (p. 637, v. 231) cites it with
the introductory remark : "(Payceyrileg) cadut (THUTAT) TRT-" ŚPhas the reading पट्ठाएंती (Sk. प्रस्थापयन्ती), whereas SK has अप्पाहेंती (Sk. संदिशन्ती). Hemacandra lays down in his grammar : संदिशेरप्पाहः।-8.4.180, so अप्पाहंती and not अप्पाहेती, would be the correct form. सेउलि (स्वेदार्द्रितसर्वाङ्गी) - whose entire body was wet with perspiration (at the mere utterance of his name n° / UTA-MTEUTUT - T-/ 7TH-YEU). While instructing her messenger she felt so excited at the mere mention of her charming man that she sweated profusely and went into a trance as it were, and walked the whole way to his house!
455. Although पट्ठ means पृष्ठ, the more common synonyms of पृष्ठ are पुट्ठि or पिठि.
Weber reads gefa. Bhoja cites this gāthā as an example of 37 RIGT. "O, young boy, as you left, to catch your glimpse she turned her neck so much that her tears rolled right down the centre of her back."
456. Bhoja cites this gāthā as an example of 3TERIET. "It is only now when the fever
of love, like poison, is shaking me in convulsion that people have started advising me against such an affair. But where were they and why so silent, no one knows."
457. Bhoja cites this găthă as an example of 36T. When the relatives of the young
wife displayed or paraded proudly her artificially tinged undervest, her former lover looked on with smiling, mischievous eyes.
458. Bhoja cites this gāthā as an example of 31-GI. The restoration of the first half
of the gātha is rather tentative : "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. Bhoja cites this gātha as an example of SIRETETT. SK (p. 664, v. 301) cites it
with the introductory remark : " PERUT STARTERS wirstamugeff I UPIT —". The

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Andolana-Caturthi is Swing-Festival. It is mentioned also as the Hindola-Krīdā in the Jaya-mangala The ŚP calls it Dolāvilāsa For details see V. Raghavan:
Festivals, Sports And Pastimes of India, p.74, 111, 112, 229. तट्टिआ or तट्टी
is enclosure, hedge or fence. DSS (p. 153) lays down 'तट्टी वईई', तट्टी - वृति:. 460. This gatha is already dealt with; vide SPS. No. (425.130) supra Bhoja cited
it there as an example of a fost efra. Here he cites it as an example. Here he cites it as an example of धीरोढमुग्धा.
461. Bhoja cites this gatha as an example of धीरानूढमुग्धा. सामली-श्यामला a
dark-complexioned beautiful young woman; सोमाला (-सुकुमारा) tender, delicate; तह खरेण-extremely coarse; गोलातूह = गोदातीर्थ-तीर्थ means ghata (in Marathi) - stone-steps leading to the river-water. जंबू (जम्बूकषाय) Jambu-powder.
462. Bhoja cites this gatha as an example of अधीरमुग्धा. See the translation.
463. Read in the second half of the gātha 3T UT. Bhoja cites this gāthā as an example
of 3TEFRIGYET. See translation.
464. Bhoja cites this gatha as an example of अधीरानूढमुग्धा. उजागरअ (उज्जागरक)
sleeplessness; कसाइअ (कषायित) reddish; गुरुअच्छी (गुरुकाक्षी) heavy (i.e., swollen) eyes. मोह (मोघमण्डनविलक्षा) who feels embarrassed because of ornaments worn by her in vain as she has no hope of meeting her lover. This description favours Vemabhupala's understanding of the context : अत्र प्रथमं वासकसज्जिकाया: प्रिये चिरायति, पश्चाद् विरहोत्कण्ठिताया नायिकाया दूती नायकं प्रति, त्वया वञ्चिता समदु:खस्य सखीजनस्यापि सकाशालज्जत इत्यनेन तत्कृतादपि नवान्महत: पराभवाद् इत:परं कां दशां प्राप्नुयात् । तत् त्वया सत्वरमागत्य संभावनीयेति तं प्रोत्साहितवतीत्यभिप्राय: । पृ. ३०.
465. Bhoja cites this gatha as an example of ऊढ-मुग्धा. The latter part of the first
half of this gāthā is metrically all right but the reading dat appears to be corrupt and obscure. See the translation.
466. Bhoja cites this gāthā as an example of 3756-TET. SK (p. 618, v. 152) thus
reads the first half of the gatha: जं जं करेसि जंजंजप्पसि (? जंपसि) जंजं णिअच्छेसि । - p. 618; SPhere reads : जं जं करेसि जं जंच जंपसि जह तुमं णिअंसेसि। -p. 646; GS(W) reads : जं जं करेसि जं जं जंपसि जह जह तुमं णिअच्छेसि । -p.378; Bhuvanapala reads : जं जं करेसि जं जं च जंपसे जह तुम नियंसेसि | Of these the readings presented by Weber

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and Bhuvanapāla alone are metrically correct. SK cites this gātha with the introductory remark : "ciclag duurtdergalacitat i 221—"; fe is one of the ten-twelve according to Bhoja Svabhāvajā-bhāvas (graces) : amorous pastime, the sportive imitation of the movements or words of the beloved one.
467. Bhoja cites this gāthā as an example of SRHEZIT. SK (p. 622, v. 174) cites it
with the introductory remark : " ec R 21—". See the translation.
468. Bhoja cites this gātha as an example of SRIGHEZI. See the translation.
469. Bhoja cites this gāthā as an example of EIRISCHEZI.
uslacht means 'a riddle or conundrum'. It has a covert meaning behind its apparent sense. Rudrata defines it as 'F4847Enrf TSCENTE T- Rudrata V - 25; F4° "is that variety where the subtle sense is of course expressed by the words themselves (because of their double meanings), but is rather hidden i.e., cannot be easily made out unless and until the second meaning of the words is understood." 34211EGYf— "is that variety where a question is asked or ------ a puzzling statement is made and a solution is to be found out as a reply to the question......." -Vajjālaggaṁ - Notes (p. 550).
470. Bhoja cites this gātha as an example of 3TERHEZIT. SK (p. 621, v. 170) cites
it with the introductory remark : "(3|||CUSUT HTOGUT Tandiag) FHTUT PEUT UUT —". Pacche (Race) embarrassed; T6 - closely, tightly; C6H (9214148T) - already slipping down (due to excitement of passion); Por3ikUT (Paq31) garment, here Sārī.' tifo pamiat searching for the knot of my 'Sari'.
471. Read in the Chāyā zied at goud --- Bhoja cites this gāthā as an example
of 3ERT-HETT. SK (p. 667, v. 308) cites it with the introductory remark : " 'ord Muat sfa youfa: crna Mail: fut it srud A chte --". "The ladies take mango-twings, cūtalatikās, in their hands and go about asking each other who her lover is and the lady so accosted points out her lover by striking him with the mango-twig" - V. Raghavan, vide The Cūtalatikā or Navalatikā in "Festivals ---” (pp. 93-95) for more details.
472. Bhoja cites this gāthă as an example of 3ERTICHETT. The advice offered to her

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by her maiden friends, although received and treasured up in her heart, slips away from it, as it has been exposed to the forceful arrows of Madana that make holes in it and reduce it to tatters.
473. Bhoja cites this gåtha as an example of 356 EZT. This gāthà may better be
restored as follows :
तरुणेहि कअं तोसं (? कओ रोसो), हसि थेरेहि कुण - | - ईहिं (? उण वरम) ईहि । परिणअ-वअ-ओचूडं (? ओगूढं) वोढं कुमरिणीएऊण (? कुमरिऍ णिएऊणे) । (तरुणैः कृतो रोष: हसितं स्थाविरैः पुन: वरमतिभिः । परिणत-वय-अवगूढं (?) ऊढं कुमार्या दृष्ट्वा ।) It may be translated as follows: Seeing that the young girl married a very aged man (was wedded to an old man), all the young men there felt resentful and the gray-heads tittered (sarcastically).
474. Bhoja cites this gatha as an example of अनूढमध्या. SK (p. 668, v. 311) cites
it with the introductory remark : "प्रथमवर्षणप्ररूढनवतृणाडुरासु स्थलीषु शादलमभ्यर्च्य भुक्त-पीतानां कृत्रिमविवाहादिक्रीडा नवपत्रिका । तत्र च वरणविधानादौ तेषामेवंविधा: परिहासा भवन्ति । यथा-". "Bhoja describes it (Navapatrika). This celebration comes off at the end of the rains and at the beginning of Sarat. For Bhoja says that men and women gather on the maidans overgrown with the new emerald grass, worship the maidan-grass, then eat and drink and begin to celebrate fictitious marriages. In these marriages, a lot of fun goes on during the request for the hand of the bride and bridegroom -..." - V. Raghavan : Bhoja's Srigara Prakasa, p. 656. See translation of the gatha
475. Bhoja cites this gatha as an example of धीरप्रगल्भा. Mathuranatha Sastri (p. 183)
thus comments upon this gatha: "कुपितां नायिकां प्रसादयितुं प्रेषिता काचित् प्रौढा दूती नायकमाह - सद्भावं तस्यां तव स्नेहं प्रच्छन्ती अहं, सद्भावो नास्त्येवेति सशपथं सहासं च तदत्तरे भणन्त्या तव प्रियया रोदितास्मीत्यर्थ: । शपथं कृत्वा कथनेन स्नेहाभावे सत्यता, हास्येन च तद्गोपने प्रयासोऽभिव्यज्यते । तथा च- तवापराधस्तथा सा व्यथिता --- तस्या हृदयदु:खं मौग्ध्यं च दृष्ट्वा मे बलादश्रूण्यागतानीति भावः।--".
476. Bhoja cites this gatha as an example of धीरोढप्रगल्भा . जूरइ = क्रुध्यति - people get
annoyed, disapprove; परलोअ (परलोक - व्यसनिक: लोक:)-people do fuss over the other world; बला (बलात् irresistibly) वलइ-(वलति); दिट्ठी (दृष्टि:)-my eyes cannot but turn towards the face of my young man - the village-chief's son..

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477. Bhoja cites this gāthă as an example of ERICHITHI. SK (p. 637, v. 232) cites
it with the introductory remark: "(factorileg) 9998 (? ) (GHTET) URT —". See translation.
478. Bhoja cites this gāthā as an example of 356- TTCHT. Right under the nose of
her husband, the young woman is taken away to the place of her lover, who is a physician. She pretends to have been stung by a scorpion, throws her hands up and down - while she is supported on the hands of her clever female friends.
479. Bhoja cites this gāthā as an example of 3716- "ICHT. “Her smiles are seductive,
and her eyes coquettish. Yet, she is stiff a virgin. Conclusion : This village has no young man !”
480. Bhoja cites this gäthä as an example of ET. strife 31 (374 ) reed-chair; the
reading 'IBUT 37 gfarors in Mysore edn. (p. 647) is corrupt. Bhuvanapāla reads Al350 Strefaff (grar fataleahi) making a lofty pile of reed-chairs, placing one on the top of the other'. GS(W) reads out Gelafazi (arat Jalafaa1). Maybe, SP (p. 647) reading is a corruption of su fainalszi (pral flecomu) - a lofty pile (of reed-chairs) placing one on the top of the other.
481. Bhoja cites this gāthā as an example of HEZI. Read in the second half
93iyçay FETT (9161BTAITH"); agd (de (5) - ara) - surrounding hedge, fence;
A37 - aisa - pressed; 9731com - YTGIFT819-tips of the toes of the feet; PITI (HH) raised up: URTE - A:16 languid, tired, fatigued. See translation.
482. This gātha is already dealt with; vide SP S. No. (140.70) supra Bhoja cites
it here as an example of T h. SK (p. 347, v. 74) cites it as an example of a variety of the figure 3Trutru, called 'Turf HHICHT'; and further (on p. 635, v. 225) SK cites it with the introductory remark : "facerifeg) urutat (ARTET) 2014"
483. This gātha is already dealt with; vide ŚP S. No. (363.118) supra Bhoja cites
it here as an example of 31 ARROHT. SK (p. 691, v. 403) too cites it as an example of '31F TRUIRAT'. See translation.
484. Read in the first half of the gātha duke-qu. Bhoja cites this gāthā as an
example of auctoET. SK (p. 690, v. 400) too cites it as an example of factoET.

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See translarion.
485. Bhoja cites this gātha as an example of ulusal. SK (p. 689, v. 398) too cites
it as an example of खण्डिता. SK reads पचूसागअणुरत्तदेह तइलोअ, whereas SP reads CERIT137 6731776 19311HT3T --- these readings are in agreement with GSS. See translation
486. Bhoja cites this gāthā as an example of alfonylacot. See translation. 487. This gātha is already dealt with; vide ŚP S. No. (217.87) supra Bhoja cites
it here as an example of Forefter . SK (p. 593, v. 62) cites it with the introductory remark : "7 (36RT) ut per Auffa fent —".
491. This gāthā is already dealt with; vide ŚPS. No. (382.121) supra. Bhoja cites
it here to illustrate svarāga-prakāśana(suggesting or revealing one's own love). 492. Bhoja cites this gāthā as an example of Paramartha-Kausala, one of the (16)
sixteen Sayanopacārikis arts related to love and sexual enjoyment. Hreferat means, if we are to go by the illustration, skilfulness or cleverness in
understanding the true or real import of a sentence or speech. 493. Bhoja cites this gātha to illustrate Samānārthatā – one of the sixteen (16)
Sayanopacārikis. SK (p. 621, v. 168) cites it with the introductory remark: ""371f (Edily FRY) TEU HIDGut Jating HIT: PUT UP -". Mathurānātha Šāstrī (p. 4) observes : radnUOT RUT HOGEAT ITTI (TR. 4) i Bhuvanpāla thus comments on it --- fu afora -
H agy: 1 --- A dat 3taf rad Porn लभ्यन्ते, इत्यर्थः । अथवा नयननिमीलितेषु जातेषु अन्ये विभ्रमा न भवन्ति, सुरतसुखनिश्चेष्टत्वादबलानाम्। क्षणं
रटन्ती रुदती नृत्यन्ती चातिविह्वला । नि:सहत्वं तदा याति मुकुलीकृतलोचना || पृ. २. 494. Bhoja cites this gäthā to illustrate 'gante-atry'one of the sixteen
Sayanopacăriki Kalās. See translation.
495. The text of this gātha is corrupt. This gāthā is cited again (on p. 818). There
too the text is corrupt. The restoration of the gătha is tentative. Read in the first half of the gatha णअणाण किरणा (? इसुणो). Bhoja cites this gatha with the introductory remark : " SRIT Ugur, f c4ft: utfofauticati Prefeit-". वयःसन्धि is transiattion from one period of life to another.

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496. This gātha is already dealt with; vide SP S. No. (49.52;188.80). Bhoja cites
it here to illustrate 31fadzi, one of the twelve ATIRFHS. Bhoja himself explains the term 'Furiomfader: '. Cf. 3facent a Gree gaf CUTIE 31102T: 1
497. This gāthā is already dealt with; vide DR. Avaloka S. No. (9.28) and SP S.
No. (443.134) supra Bhoja cites it here to illustrate Grado 274527:'. Vemabhāpāla thus comments on this gatha : काचिदसती युवतिर्वनान्तरमुपागत्य मधूक-कुसुमानि संगृह्य प्रतिनिवर्तमाना मध्ये मार्ग कस्मिंश्चिदभिरूपे यूनि पथिके तान्यादातुं करं प्रसारयति सति तं प्रति; हे पान्थ, मधूकैः किं वा । नितम्बादंशुकं यदि हरसि तदारण्ये कस्य कथयामि । ग्रामो दूरे, अहमेकेत्यनेन तदर्शनादुत्पन्नमन्मथव्यथापदेशादुपभोगाय वासो हर इति तं प्रति बोधितवतीत्यभिप्राय: । पृ. ३४. DR. Avaloka cites this gāthā as an example of Fatigat 'self-go-between'.
498. Bhoja cites the stanza to illustrate udghātyaka, one of the thirteen argas
(elements) of Vīthi. Udghātyaka is the abrupt dialogue, which takes either the form of a series of questions and answers in explanation of something not at once understood, or a monologue of question and reply. The first part of this stanza which is in Prakrit consists of two questions and the second part, of their answers in Sanskrit. Now see the translation.
499. This gātha is already dealt with; vide SP S. No. (466.138) supra. Bhoja cites
it here to illustrate līlā, one of the ten graces (Svabhāvaja bhāvas). Līlā is the sportive imitation of the movements or words of the beloved one (istajanānukrtih).
500. Bhoja cites this gātha with the introductory remark : uden af Me URIT — The
text of this gāthā is corrupt. It may tentatively be restored as follows: - मज्झिमरेहावगाढ-झसुर-सीमंतिओ सुहावेइ । लज्जाणित्थामुभिण्णहासयोओहुरो अहरो ।। (HTEZTH-Radio-A1-(-iuota: Taufa I ET-A:PTH-3fa-fallchaatser: 11) Note : This tentative text is presented here as based on the text of this gāthā cited on p. 689, and again, on p.1182.
501. Bhoja cites this gāthā with the introductory remark : viled R &: URIT —
Bharata (ch. VIII, vv. 141.142) speaks of six 3TER 3178-cuffor: -1. Vivartana 2. Kampana 3. Visarga 4. Vinigūhana 5. Sandaştaka and 6. Samudga. Bhoja leaves out the first two and deals with the remaining four and adds their illustrations. SK (p. 632, v. 212) cites it with the introductory remark :

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"संभोग-चेष्टासु पूर्वानुरागानन्तरे चुम्बनं यथा -". पणामिअ (अर्पित). So read in the Chaya : आदरार्पितौष्ठ; वण्णग्घअ (वर्णघृत) ghee coloured with yellow turmeric powder and applied to the face by women as an indication of their being in the menses. According to a commentator, it is a regional custom; लिप्प (लिप्त) (and तुप्प too means the same)- anointed.
502. This gathā is already dealt with; vide SP S. No. (359.117) supra. Bhoja cites
it here to illustrate 'उन्नतपूर्णम्' one of the six कपोलारम्भ. (Cf. Bharata, NS VIII, 136-140). It would seem that Bhoja reads 'उन्नत्तपूर्णम् in place of Bharata's 'घूर्णम्'. SK(p. 634, v. 218) cites this gathāwith the introductory remark : “प्रथमानुरागानन्तरे दन्तक्षतं यथा -".
504. Bhoja cites this skandhaka(Setul. 7) with the introductory remark : "हासप्रकर्षोऽति
हसितं यथा -". Vide Extract from Sanskrit Commentary in Appendix - I.
505. Read in the first half of the gathā daig and in the second half Ri Bhoja cites
this gatha with the introductory remark : "अभिहतं वितालितं यथा -". वितालित is one of the nine aksiputakarmas. SK (p. 576, v. 12) cites this gatha with the introductory remark : "(रतिरूपेण) तिर्यक्षु (रसाभासो) यथा -". तंबा (d) a (tawny-coloured young) cow; गोट्ठ (गोष्ठ) a cow-pen or cattle-shed; दुट्ठ (दुष्ट-वृषभ) a vicious bull; अक्खि (अक्षिपुटम्) eye-lid or socket of the eye. Cf. 'शृङ्गे कृष्ण गस्य वामनयनं कण्डूयमानां मृगीम् - शाकुन्तल VI, 17-d.
506. This gāthā is already dealt with; vide ŚP S. No. (216.86), and (266.98). SK
(p. 594, v. 63) cites it with the introductory remark "तद्-(निद्रा-) रूपेण रसस्यानुबन्धो यथा -" and thus comments upon the gatha : अत्र रतिश्रमजागरादिजनितनिद्रालसा दृष्टिनिपातास्तारकाघूर्णनत्र्यस्रवलनादिभिरनुबध्यन्ते । - पृ. ५९४. Bhoja cites it here with the introductory remark : "पक्ष्मान्तर्गतत्र्यसतारं साचि यथा -" साचि (ind. obliquely, in a sidelong manner) is one of the eight अवलोकन-प्रकार.
507. Bhoja cites this skandhaka from Setu with the introductory remark :
"प्रोवृत्त-निष्टब्ध-पुटा स्फुरदुवृत्ततारकाऽत्यर्थभीता भयानका यथा -". 'भयानका' is one of the 36 drstis mentioned and first treated of in NSVIII 41-45. Vide Extract from Sanskrit Commentary in Appendix I.
508. Bhoja cites this skandhakafrom Setuwith the introductory remark : “दीप्ता विकसिता

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GEET TART CRA FEZT a EIRT UIT -". ERT (? ART) is one of the thirty-six drstis. Vide Extract from Sanskrit Commentary in Appendix I.
509. Bhoja cites this skandhaka, probably from Harivijaya of Sarvasena, with the
introductory remark : "FAT PRIGTIyer pregunta Tara ugnelgafect a goat T2T —" Bhoja's text of the stanza is no doubt corrupt but the stanza is easily identifiable with SK (p. 372, v. 126), where it is cited to illustrate one of the varieties of the figure Milita.
510. Bhoja cites this skandhaka from Setu to illustrate one of the good qualities
of a dhīrodātta (self-controlled or noble and exalted) hero, viz., 'URGETE HIPate:' successfully completing what he has undertaken or achieving his purpose or task. Vide Extract from Sanskrit Commentary in Appendix I.
511. Bhoja cites this skandhaka from Setu as another example illustrating the same
point, viz, ORGET TILE:'. Vide Extract from Sanskrit Commentary in Appendix
512. Bhoja cites this skandhaka from Setu to illustrate one of the qualities of a
dhiroddhata (noble or self-controlled and haughty or vehement), called buifaerderu:'. Vide Extract from Sanskrit Commentary in Appendix I.
513. Bhoja cites this skandhaka from Setu as another example illustrating the same
point : auffagrilare'. Vide Extract from Sanskrit commentary in Appendix
514. Bhoja cites this skandhaka from Setu to illustrate the quality called
śāstrābhimāna (having a high opinion of the Scriptures) - a quality of A8 Erlent 70. This stanza forms part of Jāmbavat's address to the Vānaras. Vide Extract from Sanskrit Commentary in Appendix I.
515. Bhoja cites this skandhaka from Harivijaya to illustrate the quality of
Caturatābhimāna (having a high opinion of one's own cleverness or shrewdness). SK (p. 550, v. 235) cites this skandhaka with the introductory words : "उद्भेदेषु व्यक्तो यथा -' and thus comments upon the stanza : अत्र मायाविनो HOSPHAT: Hyd rale sfatuus: Jagaddhara thus comments upon this stanza : इह हे सुरनाथ इन्द्र यदि मधुमथस्य कृष्णस्य प्रणयं प्रीतिं मनुषे स्वीकारोषि । देवे पादपरत्नं

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पारिजातवृक्षं संददाने सति मुग्धं स्वभावं मौग्ध्यमपजहि (?) अपजहाहि) त्यज । यादवलोकं संभावय प्रीणय। 375- RT:
V R IR FIT 24: Tota: I - paradite, g. 440. Incidentally, it may be noted that the stanza in SK opens with 'मंतेसि महुमहपणअं' instead of 'बहुमण्णसि
हरिपण' in SP. 516. Bhoja cites this gāthā to illustrate the quality of tyāgābhimāna (having a high
opinion of one's own generosity or munificence). King Bali addresses this verse to Krsna, the eight incarnation of God Vişnu himself.
518. Read the stanza in place of the gătha Bhoja cites this stanza with the
introductory words : HEART Parit URIT — She has seen with her own eyes the love's offence I was committing. Naturally, it has caused her deep pain. Her friends in this case can't speak for me. Now, it is Madana and the moon (-light) alone can come to my help and appease her anger!
519. Bhoja cites this skandhaka from Setu with the introductory words : phone
(Para) Jen - The stanza expresses Rāvana's worry or anxiety regarding winning over Sīta : "She does not yield to entreaties; she cannot be tempted even by 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. Bhoja cites this stanza with the opening words are afrefert'' – Regarding
Sītā yielding or submitting to his passion Rāvana thus deliberates - thinks carefully (fa:) : “Relying on the greatness of Rāma, her husband, Sītā despises the valour of all other brave men. She might perhaps submit if she were to see the severed head of Rāghava (i.e., Rāma).
521. Bhoja cites this stanza with the introductory words: " RY (watt) UTRIT -".
yata means ‘awakening'. “Meanwhile Rāvaņa, the lord of the Rākṣasas awoke at the end of the sleep in which he had fallen unmindful of the host of Vānaras, glorious in war, who stood encircling Lankā's ramparts.”
522. This stanza is already dealt with; vide SP S.No. (194.82) supra Bhoja cites
it here with the introductory words : "ART (THOUT OUT -" romāñca (or pulaka) means horripilation or goose-flesh.
523. This stanza is already dealt with; vide ŚP S. No. (212.86) supra Bhoja cites

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it here with the introductory words: "FEJHRT ART UIT". Trāsa is fright or agitation.
524. Bhoja cites this stanza with the introductory words:
" Perfe: Aborty UIT". 3feen or 3talerei means dissimulation or concealment of an internal feeling, regarded as one of the 33 subordinate or transitory feelings.
Even in the presence of his mistresses, the name of Sītā, that was very much on his (Rāvana's) mind, came to the tip of his tongue, in fact, on all ten of them simultaneously even though he had tried to conceal or suppress it."
525. Bhoja cites this găthāwith the introductory words: "
E H TIG IT -". 3TRUG means 'excessive regard'. "If they are displeased, well, they are; if they disapprove, let them. I couldn't care less. Come along, dear, even while in period, and lie down by my side.
I can't sleep alone, without you." 526. This gātha is already dealt with; vide ŚP S. No. (217.87) supra. Bhoja cites
it as an alternative illustration of "EhfefHRIGRI UST-".
527. This gāthā is already dealt with; vide SPS. No. (420.129) supra. Bhoja cites
it here with the introductory words : "Cortsio Terut PT -". Even when everything is lost there is no repentance,no regrets. SK (p. 617, v. 150) cites it to illustrate harşa (joy), one of the thirty-three transitory feelings (sarcări - bhāvas).
528. Bhoja cites this stanze with the introductory words: "SCHICHTEN THIGIT URT-"
"(High opinion or pride of oneself regarding one's sense of time and place)," SK (p.678, v. 351) cites this stanze to illustrate 'ufaT 'rival of the heroine.' farar a garland / wreath of celestial flowers (flowers of heavenly Pārijāta tree); णिम्महि spreading fragrant smell (णिम्महिअ - णिम्मह is an आदेश for - गम्; णिम्महिअ therefore means 'गत', but the context requiers the meaning निर्गच्छत् 'spreading', 'exuding'); 370901331 - (31 - Tat) not solicited (or requested for). faşuur (Pociuba) presented.

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(Note: This stanza occurs at SP S. No. (223.89) supra.)
529. Read in the second half of the stanza 'cold. Bhoja cites this stanza with the
introductory words: "HERFSHATHAITH CRIT -" (Taking a pride in his great undertaking); 37737T - (the celestial tree called pärajäta) with its flowers mounted upon by bees greedy of nectar like honey; (377377731) -ŚP (p. 748) reads 3731 , whereas ŚP (p. 1009) reads '37737104; possibly the original reading may be 3TH3T19 (?); FIGHT - celestial (Parijata) tree.
530. Bhoja cites this gātha with the introductory words : "UTURI P T ?) TRT-".
SK (p. 615, v. 140) cites it with the introductory words : "37TH FRUIT-". सामली मज्झ हिअआहि खणमेनं पिण फिट्टइ - Not even for a moment that young beautiful damsel quits my heart; 4TBUUT -- like a feeling of guilt brought about by a
sinful act secretly committed. 531. This gātha is already dealt with; vide SP S. No. (470-139) supra. Bhoja cites
it here with the introductory words "STUHRI (DIST) TRT-". ACT - (a sense of) shame. See the translation.
532. Read in the first half of the gathā 36 four3i. The reading of g seems to
be doubtful. Possibly it is a corruption of '76 fait. Bhoja cites this gatha with the introductory words "उत्तमस्यालस्यं यथा". आलस्यम् is indolence or laziness. This remark would lead one to believe that Śrī - Puttisa (or Pottisa) has advised
the king (?) not to take any precipitate action but to 'wait and see'. 533. This gāthā is already dealt with; vide ŚP S. No. (217.87) supra, also ŚP S.
No. (487.142). SK (p. 593, v. 62) too cites it with the introductory remark "TG (3116R) U PROfeet-".
534. This gātha is already dealt with; vide ŚP S. No. (212.86), (523.148).
535. Bhoja cites this gāthā to illustrate one of the good qualities of a dhira - praśānta
(noble or self-controlled and calm) hero, called 'nindāsvapi na kopah'. 'not getting angry even when condemned or censured. See translation.
536. This gāthā is already dealt with; vide ŚP S. No. (230.91) supra. Bhoja cites
it here to illustrate one of the types of heroines, called udāttā (exalted).

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537. This gāthā is already dealt with; vide ŚP S. No. (244.94) supra. Bhoja cites
it here as an example of 'Uddhatā' (haughty or vehement). 538. This gātha is already dealt with; vide ŚP S. No. (265.98) supra. Here Bhoja
cites it to illustrate one of the types of nāyikā, called lalitā.
Please treat the sentence i.e., "It is extra, ordinary --- as uddhatā nāyikā" as deleted.
539. Please read the latter part of the first half of this gāthā as follows : 3169T UT Juruop317 37 1 and its corresponding chāyā : 372/ai 7 Jus:
U l ich : 1 Bhoja cites this gāthā to illustrate one of the types of nāyikā, called śāntā.
540. This gātha is already, dealt with; vide ŚP S. No. (253.96) supra. Bhoja cites
it as an example of one of the types of nāyikā, called lalitā.
541. Bhoja cites this stanza to illustrate one of the types of Pratināyikā, called Udāttā.
Regarding the meaning of this skandhaka, M. V. Patwardhan writes: "The adjuncts सवत्तिपणअपरिधूसरम्मि and गुरुए are to be connected with पिअदंसणे ----- "At the sight of her beloved consort, which (sight) though soiled with (TR ) with the (visible) signs of the amorous dalliance (qui3t) with her rival wife (Satyabhāmā), was yet held in great esteem by her (TST). Rukmiņi's rapturous delight producing horripilation grew ever more and more".
This staza is further on (Vol. IV, p. 1220) cited by Bhoja to illustrate Tref74 (1921 ). There the text reads of Sur3ft (? afeR3f1 = grut) in place of GRETA . If this reading is adopted, the sense will be "full of the signs of love-play with her rival wife". This skandhaka is also cited in SK (p. 673, v. 330) to illustrate thirri orofa: MEV (PTT:)
542. Bhoja cites this skandhaka from Harivijaya with the introductory remark:
"(afaHRI) GA URIT" (p. 733); Udättä is exalted and uddhată, haughty or vehement. This stanza is cited earlier- SP S. No. (220.87). It is also cited further on S. No. (682.176), (799.194), (1013.231) and (1438.305). He cites it in the context of souf, GRIT 3774 : (p. 585), (ufdrifari) &al (p. 773),

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543. This gāthā is already dealt with; vide ŚPS. No. (207.85) as well as DR- Avaloka
S. No. (1.26) supra. Here Bhoja cites it with the introductory words: "(प्रतिनायिकासु) ललिता यथा-".
544. Read in the second half of the gătha uft af . Bhoja cites this gåtha with the
introductory words : "(प्रतिनायिकासु) शान्ता यथा-". मं वाहरउ - let him call me; तिस्सा गोत्तेण by her (i.e., his sweetheart's) name; किं त्थ भणिएण - what is the use of scolding him ? थिरपेम्मा होऊ --- let his love become fixed; जहिं जहिं पि.- lit. somewhere, on some woman or another (if not on me); मा कि पि णं भणह ---- Don't say anything (by way of scolding) to him;167311 - friends!
545. Bhoja cites this gatha as an example of सौभाग्यम् - married love, happiness and
good fortune. SK (p. 627, v. 188) too cites it : ( स संभोगशृङ्गारः चतुर्धा - प्रथमानुरागानन्तर:, मानानन्तर :, प्रवासानन्तर:, करुणानन्तर इति।) तेषु प्रथमानुरागानन्तरो यथा-; पसुवइणा ---- THIS is a loc. abs. constr. ---- When Siva threw away the bracelet made of the coils of the serpent Väsuki.
546. Bhoja cites this gāthā as an example of gfaat (purity, virtue). It is a fine example
of the figure fait : All the causes of seus are present, but in the face of all these causes her virtue has remained inviolate, unbroken-she has maintained her moral character.
547. This gatha is already dealt with; vide DR - AvalokaS. No. (14.30) supra. Bhoja
cites it here to illustrate one of the sixteen good qualities of a heroine, namely,
śīla - sampat (the wealth of moral character, or virtue). 548. This gatha is already dealt with; vide SP S. No. (381.121) supra. Bhoja cites
it here to illustrate one of the sixteen good qualities of a heroine, namely, kịtajñatā (gratefulness).

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549. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
viz., ākārikṣā (yearning). H (37414) mutual, reciprocal.
550. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
viz., apekşă (expectation). Tug 417376 (Teuta ucha) — take (this) and have a look at it; Hemacandra (Prakrit Grammar, 8.2.181) reads yale and explains हंद as गृहाण. Bhuvanpala remarks on this gatha : "आ सुतदन्तदर्शनाद् 3734RTRIT yafarafat 1 EGRITH 3 MURIT 364 sfa 21: I - Ç. &0. SK (p. 337, v. 138) cites this gāthä as an example of the figure Bhāva (conceived by himself) and thus comments on it : 375 'HART GIGHTG 364 34HTRUTRT 1' shat uguel H (?
एव) अभिप्राय: प्रकर्षविकसितनयनतया उद्भिद्यते न पुन: पत्युरिति एकत: सोद्भेदोऽयं भाव: । 551. This gātha is already dealt with; vide ŚPS. No. (380.121) supra Bhoja cites
this gāthā to illustrate one of the sixty-four kinds or forms of love, called utkantha
553. This gātha is already dealt with; vide ŚPS. No. (413.127) supra Bhoja cites
it here to illustrate one of the sixty-four kinds or forms of love, called trsnā — (insatiable) longing.
554. Bhoja cites this găthā as an example of one of the sixty-four kinds or forms
of love called lālasă – ardent (or intense) longing. See the translation.
555. This gātha is already dealt with; vide ŚP S. No. (249.95) supra Bhoja cites .. it here as an example of one of the sixty-four kinds or forms of love, called
spraha — ardent desire or covetousness.
556. Bhoja cites this gātha as an example of one of the sixty-four kinds or forms
of love, called laulyam (greediness or) lustfulness.
557. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
called gardhā (irresisible) greediness. 'lişca 6R61$ (TRC HRIST) HR f. of HRE bearer of burdens. The meaning of the word FR61 is doubtful.
558. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
called sraddhā - a strong or vehement desire. Read her in the first half of the gathā Weber reads the latter part of the first half as follows : 39621 aa

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of UMA (376 g JHA) – but I do not know that (i.e., how to win your
love) 559. Read the second half of this gātha : G-DRA31- epuiki gunt, Mang H3G3-P6Rİ ||
and its chayā : (-aria-Faring gaffana HopedHRERIA 11) Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called ruciḥ- taste.
560. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
called dohada - pregnancy longing. Sert ( THRU) to like, to please.
561. This gāthā is already dealt with; vide SP S. No. (419.129) supra Bhoja cites
it here to illustrate one of the sixty-four kinds or forms of love, called aśá
(hope). 562. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
called āśaṁsā (desire, wish). See translation.
563. This gātha is already dealt with; vide ŚPS. No. (525.149) supra Bhoja cites
it here to illustrate one of the sixty-four kinds or forms of love, called abhiniveśa (earnest desire, ardent longing).
564. Bhoja cites this gāthā to illustrate one of the sixty-four kinds or forms of love,
called anubandha - uninterrupted succession or continuity. 565. This gāthā is already dealt with; vide ŚPS. No. (388.122) supra Bhoja cites
it here to illustrate agraha (insistence, persistence), one of the sixty-four kinds or forms of love.
566. Bhoja cites this gāthā to illustrate abhiprāyah (opinion), one of the sixty-four
kinds or forms of love.
567. Bhoja cites this stanza (from Setu) to illustrate Pakşapāta, (partiality, fondness
for), one of the sixty-four kinds or forms of love. Vide Extract from Sanskrit
Commentary in Appendix I. 568. This gātha is already dealt with; vide ŚP S. No. (338.113) supra. Bhoja cites
it here to illustrate lobha (greed, intense longing for), one of the sixty-four kinds or forms of love. SK (p. 638, v. 237) cites it with the introductory words:

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HRT: fuqiuquft URIT —".
569. Bhoja cites this gathā to illustrate abhisvanga (intense love, attachment), one
of the sixty-four kinds or forms of love. HT937 (Heart) – loosened; (C 13-06-fer:) - a knot tied tightly; TT (ppp. from que FFU) sunk deep; PERE37 (Hrana) extricated, dug up, pulled out.
570. Bhoja cites this gātha to illustrate sakti (attachment, 'clinging'), one of the
sixty-four kinds or forms of love. SK (p. 471, v. 112) cites it as an example
of a variety of Aprastuta-prasaṁsā. 571. This gathā is already dealt with; vide ŚP S. No. (217.87) supra Bhoja cites
it here as an example of ‘moha' (temporary loss of consciousness, bewilderment).
572. Bhoja cites this gātha to illustrate akūta(intention), one of the sixty-four kinds
or forms of love.
573. This gātha is already dealt with; vide ŚPS. No. (467.138) supra Bhoja cites
it here as an example of 'kutūhalà (interest, curiosity). SK (p. 622, v. 174)
too cites it in the same context (- abdi get UPIT ---). 574. This gāthā is already dealt with; vide ŚP S. No. (217.87) supra Bhoja cites
it here as an example of rāga (feeling or passion of love, vehement desire of, interest or delight in), one of the sixty-four kinds or forms of love. SK (p. 593, v. 62) cites it with the introductory words "a (31CRT) 540 PRI Affet—".
575. Bhoja cites this găthā as an example of vega (impetuosity), one of the sixty-four
kinds or forms of love. 576. This gātha is already dealt with; vide ŚPS. No. (69.55) supra There the first
half reads slightly differently : TE TRE HE", 37eCART WIE HUSTI-9. 209.
577. Bhoja cites this gāthā (from Līlāva) as an example of Kāmanā (strong wish
or desire), one of the sixty-four kinds or forms of love. Read - Līlāvai v. no. 1258.

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578. (Read in Vol. I, p.158 under S.No. 578 -"This stanza" in place of “This
gāthā": ] This stanza (skandhaka) is already dealt with; vide SP S. No. (541.151) supra Bhoja cites it here as an example of vāsanā (innate or inborn desire), one of the sixty-four kinds or forms of love.
579. Read in the second half of the găthā AUT. This găthā is already dealt with;
vide ŚPS. No. (336.112) supra Bhoja cites it here as an example of smarana (remembrance or recollection), as one of the sixty-four kinds or forms of love. SK (p. 639, v. 238) cites this gāthā with the introductory words : "Atir RIT: RUTRIT —".
580. This gāthā is already dealt with; vide ŚP S. No.(314.108) supra. Bhoja cites
it here as an example of bhāva (transitory feeling), one of the sixty-four' kinds or forms of love. SK (p. 617, v. 148) too cites this gathā with the introductory words : "FAIRY PAG-Isu-ouerat AT —".
581. Bhoja cites this gāthā as an example of rāga (amorous or sexual feeling), one
of the sixty-four kinds or forms of love. The first half may, with the editor, be read as : तह तीए सुहरसो पहरिसो अ मुह-अंकअम्मि पप्फुरिओ । (तथा तस्या: सुखरस: प्रहर्षश्च 194 yeyka: 1).
582. Bhoja cites this găthā as an example of ratih (permanent emotion of love), one
of the sixty-four kinds or forms of love : "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. This gātha is already dealt with; vide ŚPS. No. (319.109) supra. Bhoja cites
it here to illustrate ‘prīti' (pleasure or happiness), one of the sixty-four kinds
or forms of love. 584. This gâthā is already dealt with; vide ŚP S. No. (226.90) supra Bhoja cites
it here to illustrate dākṣinya (courteousness or courtesy), one of the sixty-four
kinds or forms of love. 585. This gātha is already dealt with; vide ŚPS. No. (342.114) supra. Bhoja cites
it here as an example of anugraha (a favour), one of the sixty-four kinds of forms of love. SK (p. 684, v. 379) cites it with the introductory words: "quatrai sigut THT TRAIT —".

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586. Bhoja cites this găthā as an example of vatsalya (affection or tenderness or
fond affection), one of the sixty-four kinds or forms of love.
587. Bhoja cites this găthā as an example of anukrośa (pity or compassion), one
of the sixty-four kinds or forms of love.
588. This gathā is already dealt with; vide SP S. No. (256.96) supra Bhoja cites
it here as an example of viśvāsa (trust, confidence). SK (p. 622, v. 172) cites it with the introductory words : “THIHRER AT URIT -".
589. Bhoja cites this gāthā as an example of visrambha (perfect intimacy or
familiarity), one of the sixty-four kinds or forms of love.
590. This gātha is already dealt with; vide SPS. No.(128.67) supra Bhoja cites it
here as an example of vašīkāra (subjugating, bringing under subjection), one of the sixty-four kinds or forms of love. SK (p. 377, v. 139) cites it as an example of one of the varieties of the figure Bhāva; it cites it again (pp. 690-691, v. 402) as an example of svădhina-patikā (lover's absolute mistress, a woman who has full control over her husband).
591. Bhoja cites this gātha as an example of ‘pranaya' (affection), one of the
sixty-four kinds or forms of love. SK (p. 622, v. 171) cites it with the introductory words : "ang garantert " (aig is pleasing or flattering words, flattery).
592. Bhoja cites this gāthā as an example of prāpti (obtaining, meeting with, finding,
acquisition), one of the sixty-four kinds or forms of love. SK (p. 635, v. 224) cites it with the introductory words: "Pacte afecafata: 049RTAT URIT —" (Rile - obstruction, impediment, distress); QUATT (puferit) clinging to (your) ear, I wish to say i.e., wish to come closer to whisper in your ears -
593. This gātha is already dealt with; vide ŚP S. No. (371.119) supra Bhoja cites
it here to illustrate ‘paryāpti' (adequacy, sufficiency), one of the sixty-four kinds or forms of love.
595. This gātha is already dealt with; vide ŚP S. No. (420.129) supra Bhoja cites
it here to illustrate abhimānāpti (honourable feeling), one of the sixty-four kinds

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or forms of love. SK (p. 617, v. 150) cites it to illustrate harsa (joy), one of the thirty-three vyabhicări-(or sancāri) bhāvas-transitory feelings.
596. This gāthā is corrupt and obscure. It may tentatively be reconstructed as
follows : - हिअअभंतर-पसरंत-णेह --- रस-विसरआ पुरओ । पिअदंसणम्मि दिट्ठी णचइ णवकुंदलआ इव ॥ (हृदयाभ्यन्तर-प्रसरत्-स्नेह --- रसविसरका पुरत: । प्रियदर्शने दृष्टिर्नृत्यति नवकुन्दलतेव |) Bhoja cites this gatha to illustrate 'sneha' (love or affection), one of the
sixty-four kinds or forms of love. 597. Bhoja cites this gātha to illustrate ‘prema' (love), one of the sixty-four kinds
or forms of love.
598. Bhoja cites this gatha as an example of आह्लाद (joy, rapure or delight), one
of the sixty-four kinds or forms of love.
599. Bhoja cites this gatha to illustrate nirvri (complete satisfaction or happiness,
bliss), one of the sixty - four kinds or forms of love.
600. Read in the first half of the gathā केली-गब्भ-सरिच्छे and in the second half उल्लसइ
णहरणं चंदिलस्स सेओल्लिअ-करस्य || and its corresponding chāya : (उल्लसति नखरं नापितस्य | चण्डिलस्य स्वेदार्द्रित-करस्य ।।) Bhoja cites this gatha as an example of 'विषयानुराग : उच्च:'.
A barber who belongs to a lower caste falls in love with E1105-391, the daughter-in-law of a ploughman, who belongs to a higher caste.
601. Bhoja cites this gatha as an example of 'विषयानुराग: निम्न:'. A Brahmana is shown
in this gāthā to have fallen in love with the daughter of a washerman who belongs to a lower caste.
602. Dr. Bhayani would like to read the fourth quarter as वेड्डाए / चेट्ठाए अंबर दुहइ ॥

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and give its chāyā as follows: (FHITISTIT / DEUT 37FR CIT 11) dgt : madman's imitative gestures. Bhoja cites this gatha as an example of 'विषयानुराग: समजातौ 194: 1 - The daughter of the village-chief and the young cowherd boy are of the same caste. So, their love is socially equal and acceptable and above censure.
603. Bhoja cites this gātha with the introductory words : "Fikut: RFYRIETETT STIH
T-" The young woman - the speaker of the gātha and her consort love each other intensely; naturally, this love is of the best kind (uttama). SK (p. 640, v. 242) cites it with the introductory words: "375 (RAR) Flyturfeit".
604. Bhoja cites this gāthā with the introductory words : "119GRIT HEZHT OPT".
This gāthā speaks of the woman's intense love for her man but he seems to be indifferent towards her. So this love is 'intermediate in rank' (HETH - middling). SK (p. 636, v. 229) cites it with the introductory words: "(Paycey ileg) M YT UHURTAT"'.
605. This gāthā is already dealt with; vide SP S. No. (451.135) supra. Bhoja cites
it here with the introductory words : 'quer IT'. SK (p. 630, v. 201) cites it with the introductory words : "(Pustrider migen) ja IT —". Here the man's love for the woman is depicted but the woman is indifferent. Hence this love is said be of inferior kind.
606. Bhoja cites this gāthā as an example of one of the varieties of 311646&HIRT,
called sita. Mathurānātha Sāstri (p. 239) in the course of his comments on this gāthā says: 'इयं तव गुणाऽश्रवणेऽपि केवलमवलोकनादेव त्वय्यनुरक्ताऽभवद् इति भवद्भाग्यवैभवेन स्वभावतोऽनुरागिणी सेयं त्वरितमेव संभावनीया" इति व्यज्यते ।
607. Bhoja cites this gāthā as an example of one of the varieties of FİRHITT, called
PRICE (P RRIERTEHTRT PRICE). See the translation.
608. Read against this S. No. (608) ---- (p. 794). This gāthā is already dealt with;
vide SP S. No. (519.148) supra. Bhoja cites it here to illustrate one of the varieties of संस्थानानुराग, called मिथ्या ('एकस्य प्रातिकूल्ये मिथ्या'). Ravana's passion for Sītā is HOZI (false), his love is nothing but sexual desire; he is infatuated with

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love; whereas Sītā not only does not respond but actually hates him. Hence this love is false !
609. It is not unlikely that the original reading in the first half of the skandhaka
might have been कुविआणुणिआ (कुपितानुनीता). Bhoja cites this skandhaka as an example of one of the varieties of संस्थानानुराग, called अतिशायी - ('एकस्यातिशयाधिक्ये अतिशायी ) SK (p. 671, v. 322) cites it with the introductory words : "प्रेमप्रकारे विप्रियादिभिरप्यविनाशयनीयो नित्यो यथा-".
Laksmi's love for Visnu (Krsna) is etermal, firm like a rock, not to be destroyed
by the love's offences committed by him against her. 610. This gātha is already dealt with; vide ŚP S. No. (348.115) supra. Bhoja cites
it here as an example of one of the varieties of स्वरूपानुराग: (गभीर :) (अप्रकाशो गभीर: ।) See translation.
611. Bhoja cites this gatha as an example of one of the varieties of स्वरूपानुराग: (प्रकट :)
(अतिप्रकाश: प्रकट: I) See translation.
612. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुरागः,
called हैमान्तिक: (हेमन्तनिमित्त: हैमन्तिक:). GSW (745) reads the first half as:
कस्स ण सद्धा गरुअत्तणम्मि पइणो पसाअमाणस्स ।
Bhuvanapala (v. 642, p. 271) and Jinesvara suri (GRK v. 671) read: कस्स न सद्धा गरुयत्तणस्स पइणो पसायमइअस्स ।
Dr.A.M.Ghatagerenders the gatha into Sanskrit and translates it as follows: "कस्य न श्रद्धा गुरुत्वे पत्यु: प्रसादयत: । यदि मानभञ्जनी: न भवन्ति हेमन्तरात्रय: ।।
Who will not have faith in the firmness of the husband who is soliciting, if there were not the nights of the cold season which break the pride ?."
M. V. Patwardhan translates the găthā (Gāhā Kosa v. 642, p. 81) as follows: "Who would not have a craving for the greatness consisting in (i.e. indicated by) the (apologetic) conciliation made by cne's dear consort, if (only) there were not the winter nights which strike at the root of one's haughtiness?"

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In his Notes (p. 234) he explains : कस्स न सद्धा (=स्पृहा) who (i.e. which woman) does not have a craving (or keen desire) ? ----
गरुयत्तणस्स = गुरुत्वस्य = गुरुत्वे = for greatness; पइणोपसायमइयस्स = पइणो पसायमइम्मि (gen. abs. used in the sense of loc. abs.) = when her husband begins to conciliate
her (in an apologetic manner); पसाय = पसायण = conciliation. 613. This gāthā is already dealt with; vide ŚP S. No. (152.72) supra. Bhoja cites
it as an example of one of the varieties of नैमित्तिकानुराग:, called वासन्तिक:. SK (p. 384, v. 156) cites this gatha as an example of one of the varieties of the figure अनुमानं (शेषवत्).
614. Bhoja cites this. gatha as an example of one of the varieties of नैमित्तिकानुराग:,
called वार्षिक: (= वर्षा-निमित्त:). SK cites it to illustrate मूर्छा, one of the twelve prema-pustis. कलंब-गंधेण-मुच्छिआ - made unconscious (i.e., fainted) because of the (exciting) fragrance of Kadamba flowers; तं गुणे पडिअं (तद् गुणे पतितम्) - that was all to the good (i.e., was very good or fortunate)--.; वोलंतो is pres. act. part. used in the sense of the conditional mood." - M. V. Patwardhan (GK
p. 208). 615. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग:
(प्रावासिक:) (प्रवासारम्भनिमित्त: प्रावासिक:); The young wife begs night to stay for ever, since the morn is to see her beloved's departure.'
616. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग:
(समयनिमित्त: प्रात्यागामिक:). SK (p. 591, v. 54) cites it as an example of one of the thirty-three vyabhicāri-bhāvas, called शङ्का (apprehension or anxiety). SK introduces the gatha with the remark "तद्रूपेण (शङ्कारूपेण) रसस्य प्रकर्षो यथा-" and after citing it, it thus comments upon it : अत्र विरहिण्या: काातिशयम उद्वीक्षमाणाया: कस्याश्चिद् वयस्याया: स्नेहातिशयात् 'प्रेम पश्यति भयान्यपदेऽपी ति प्रियागमहर्षातिशयभावेऽप्यसहिष्णुतया तन्मरणशङ्का प्रकृष्यते ।
617. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग: (समय:
प्रथमसङ्गमः / प्राथमसङ्गमिक:). See the translation.
618. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग: (वेला :
प्रदोष / प्रादोषिक:) See the translation.

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619. Bhoja cites this skandhaka (from Setu) to illustrate as an example of one of
the varieties of नैमित्तिकानुराग: (वेला : प्रभात / प्राभातिक:). See the translation; and
Extract from Sanskrit Commentary in Appendix I. 620. This gātha is already dealt with; vide ŚP S. No. (344.114) supra. Bhoja cites
it here as an example of one of the varieties of नैमित्तिकानुराग, called तामस: - (उपाधि : तमस् तन्निमित्त: तामस:). See the translation.
621. Bhoja cites this skandhaka (from Setu) to illustrate as an example of one of
the varieties of नैमित्तिकानुराग:, called चान्द्रोदय:. See the translation and Extract from Sanskrit Commentary in Appendix I.
622. Bhoja cites this skandhaka to illustrate as an example of one of the varieties
of नैमित्तिकानुरागः, called ज्योत्स्न: (-ज्योत्स्ना -निमित्त:). See the translation.
623. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग:,
called स्नानीय: ( साधनम् स्नानं तन्निमित्त: स्नानीय:). See the translation.
624. Bhoja cites this gāthā to illustrate as an example of one of the varieties of
नैमित्तिकानुराग, called विलेपनीय: (साधनं विलेपनं तन्निमित्त:). विलेपन is an ointment or unguent, any cosmetic or perfume for the body. The gatha is corrupt. The words "भजंत-सुसिण" at the beginning of the second half of the gatha are obscure and difficult to restore.
625. Bhoja cites this gāthā to illustrate as an example of one of the varieties of
नैमित्तिकानुराग:, called माल्यीय: (साधनं माल्यं तन्निमित्त: माल्यीय:). See the translation.
626. This gātha is quite corrupt. Tentatively it may be reconstructed as follows:
विहलंघल - साहुलि-पंडुराए (अथवा, पिअ-लद्ध-साहुली-परिहिआएँ) जहणभरमंदगमणाए । अहिधाविऊण चिप्फप्पुफफलअए (?छिक्को पुप्फवईआऍ) धण्णो सि ॥ (व्याकुल-पाण्डुरपरिधानया (अथवा, प्रिय-लब्ध-वस्त्रपरिहितया) जघनभरमन्दगमनया। अभिधाव्य स्पृष्टः पुष्पवतीकया (= पुष्पवत्या) धन्योऽसि ॥)
Bhoja cites this gathā to illustrate as an example of one of the varieties of नैमित्तिकानुराग:, called औपसर: (समावेश: उपसर: तन्निमित्त: औपसर:). उपसरः - approaching towards; youart - a (young) woman in her period.
627. Bhoja cites this skandhaka as an example of one of the varieties of नैमित्तिकानुरागः,
called प्रासादिकः (समावेश: प्रसादः, तन्निमित्त: प्रासादिक:) See the translation.

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628. Bhoja cites this skandhaka as an example of one of the varieties of नैमित्तिकानुराग:,
called मदज: (समावेश: मदः, तन्निमित्त: मदज:). मद is spirituous liquor. See the translation.
629. Read fazifa in the first half of the gātha and in the corresponding chāyā eflarda
Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग:, called गहननिमित्त: (देश: गहन:, तन्निमित्त: गहननिमित्त:) गहन – thicket, wood.
630. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुरागः,
called सेव्य-निमित्त: (देश: सेव्य:, तन्निमित्त: सेव्यनिमित्त:) (देश-aplace); सेव्य - to be resorted to or frequented.
631. Bhoja cites.this gatha as an example of one of the varieties of नैमित्तिकानुरागः,
called गीतनिमित्त:-(प्रकीर्णकं गीतम्, तन्निमित्त: गीतनिमित्त:). This gatha, when corrected, agrees with GS IV. 81 केणा चि (? केणावि अज्ज गोसे, कप्पिवणे (? कं पि वणे / मणे) वल्लहं म्हरंतेण (? भरतेण) । अंहमहण (? अम्हं मअण-) सराहअ-हिअअवणप्फोडणं (- हिअअ-व्वण-फोडणं) गी ॥ (केनापि अद्य प्रभाते कामपि मन्ये वल्लभां स्मरता । अस्माकं मदनशराहत-हृदय-व्रण-स्फोटनं गीतम् ।।) See the translation
632. Bhoja cites this gatha as an example of one of the varieties of नैमित्तिकानुराग :
called उत्सवनिमित्त: (प्रकीर्णकं उत्सव:, तन्निमित्त: उत्सव-निमित्त:). Keith thus writes about this gāthā: "The tenderness of the poet shows itself when he tells how a wife rejoicing at her husband's return, yet hesitates to don festal array, lest she embitter the grief of her poor neighbour, whose husband yet delays his home-coming." - A History of Sanskrit Literature, p. 224.
633. Bhoja speaks of (24) twenty-four kinds of सामान्यानुराग. This gatha illustrates the
veriety, called द्रव्यगोचर. Cf. the second half the famous सुभाषित: असारे दग्धसंसारे सारं सारङ्गलोचना: ।
634. This gatha illustrates the variety, called गुणगोचर. SK (p. 633, v. 213) cites it
with the introductory remark : "(संभोगचेष्टासु पूर्वानुरागान्तरे) आलिङ्गनं यथा-".
635. This gātha illustrates the variety, called cofilter. SK (p. 674, v. 333) cites it
with the introductory words : उपचारनिरपेक्षोविसम्भजो यथा- छेअरअ (छेक = विदग्ध-रत) technically perfect sexual enjoyment; पुणरुत्त० (पुनरुक्त-राग-रस-रसिकानि) full of the repeated rapturous delight; सब्भाव० (सद्भाव-रमितानि [? रतानि]) carnal enjoyment full

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of real love or real feeling.
636. This gātha illustrates the variety, called if H. If she is young, her form, her
manner of speaking, her dress, - everything looks extra-ordinary.
637. This gāthā illustrates the variety, called as SK (p. 683, v. 374) cites this
gătha with the introductory words ; Hirichiyung naguri9G-TIGTHT 3211 —
638. This gātha illustrates the variety, called a SK (p. 613, v. 135) cites it with
the introductory words : Tahid Hicy-afT-MUGUT HIRUGA:1 g FH Uter37rigo (31TCHIFM) - whose eyes get reddish; 311310 (3114194UC HAW) - who show their thighs and hips through their wet clothes. 3TRUCO (3RIEUW (= FIA-) Ani who bathe during the afternoon.
639. This gātha illustrates the variety, called ara. DŚS (p. 58) records : buildarot
31 D. Papur is brushing, combing, doing up-dressing hair. The editor of the Mysore edn. (p. 802) however explains the word as doriladit - slackening, loosening or causing hair to fall down. M. V. Patwardhan observes : “The third quarter appears to extend as far as and inclusive of fact, so as to have 12 HEIS. You have equated ओच्छिअम्मि with केशविवरणे. I do not know if ओच्छिt is desi for Defeu. Could 3111837 stand for 349H (end) ?” – Dr. H. C. Bhayani ren.arks :"efacient in the ŚP chāyā (based possibly on some commentary) is better."
642. This gathā illustrates the variety, called HERd. Dr. A. M. Ghatage thus
restores the second line : (UTI) cais alfa 7GUT P3T I As regards JUPTI रमिअव्वाइं, the scanning of the metre shows that we should have 12 मात्राs excluding the final s before which the ufa falls. Hence guruti. In Sanskrit we can regard it as one adverb and write पुनरुक्तं रमितव्यानि or regard the अनुस्वार as a Sandhi consonant and render it as goeftif which will thus agree with
the other words. Both are equally good. 643. This gātha is already dealt with; vide ŚP S. No. (127.67) supra. Bhoja cites
it here to illustrate the variety, called durian.
644. This gātha is already dealt with; vide DHV S. No. (21.46) supra. Bhoja cites
it here to illustrate the variety, called Haifa .

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645. Bhoja cites this gātha to illustrate the variety, called tyfu. SK (p. 665, v.
303) cites it with the introductory remark : RTSAT 14YU14g 19: IR - 647. Bhoja cites this skandhaka to illustrate the variety, called pictog.
648. Bhoja cites this găthā to illustrate the variety, called trifasu. SK (p. 689, v.
397) cites it with the introductory words: PANICHT daif fail-it -; FER is thus defined : ETERICIT E Bf5ft HHHICE I
प्राहु: कुट्टमितं नाम शिर:करविधूननम् ।। i.e., the affected repulse of a lover's endearments or caresses.
650. Bhoja cites this gātha to illustrate the variety, called 2144CCHI. SK (p. 635, v.
222) cites it with the introductory words : 3172 (MHITM ) gained PIT - goofa - inverted coitus, contrary intercourse; guiset a woman performing or practising inverted coitus - where the woman takes the man's position i.e., above, while the man lies below.
651. Bhoja cites this gåthā to illustrate the variety, called i ETURAT. This gathă may
tentatively be restored as follows :76 393i fa f131 E - (? 5 -) RETUT o Ruus-HGHT Gia (AYT ) ERO- (? Ruft - 31 UT HERE (? HİRS) 1 (तथा ऋजुकमपि रसितं चटु-परिहीणमपि दत्तसद्भावम् । विश्रम्भेऽपि (सलज्जं को) गृहिणी-रतं न संस्मरति ।)
It may be translated as follows:
Who wouldn't remember his love-game with his wife, simple yet enjoyable, unmarked by flattery, yet easily yielded, trusting yet bashful ?
652. Bhoja cites this gāthā to illustrate the variety, called iga SK (p. 688, v. 391)
cites it with the introductory words: " I-AHT ACT UT-" responding to taunts with gentle smiles or better, passing taunting remarks accompanied by smiles, ostentatious politeness veiling resentment and quarreling only with tears - these are the ways of noble ladies!
653. This gātha is already dealt with; vide SP S. No. (206.84) supra. Bhoja cites

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it here to illustrate the variety, called aga.
655. Bhoja cites this gāthā to illustrate the variety, called Igreziara. ICTEZ — dexterity,
intelligence, acuteness, cunning (in).
656. Bhoja cites this gātha to illustrate the variety, called hrun. dolarafat) -
a harlot; r3i (HRT-ra-son146e1f0T)- quenching the thirst of all their customers for impetuous carnal enjoyment; 95 "TO (= falim137 0644|) - which create (give rise to) many amorous acts, such as kissing, embracing, biting, scratching and the like.
657. Bhoja speaks of twenty-four varieties of fasteiger: (ifaqat: Pokeilemat: yugat:, etc.).
He cites this gātha to illustrate the variety, called 'fo241967:' : 658. This gātha is already dealt with; vide ŚP S. No. (230.91) supra. Bhoja cites ·
it here to illustrate the variety, called quo. SK (p. 687, v. 389) cites it with
the introductory words : TGHHGSGITT URRIT 659. This gātha is already dealt with; vide ŚP S. No. (123.66) supra. Bhoja cites.
it here to illustrate the variety, called food. SK (p: 314, v. 3) and (p. 664, v. 300) cite it to illustrate 'at' and 'atacar : Rit :' respectively.
660. Bhoja cites this gathā to illustrate the variety, called WERUT. SK (p. 670, v.
319) cites it with the introductory words : Ticaifaceta de 1 PT - Dr. A. M. Ghatage observes : I would suggest faciles = façarpfat like ufafes and fourts, their subjects being भोइअ, नट and जनपद (people). These things will go on smoothly except that the faceat will not go to the show to destroy their arrangement by distracting them all.
661. This gātha is already dealt with; vide ŚP S. No. (530.150) supra. Bhoja cites
it here to illustrate the variety, called 3FHTERUT. SK (p. 615, v. 140) cites it with the introductory words : 34Thidy P T PT - 31941 means "consequent. It is a technical term drawn from Nātya-śāstra. Vibhāva (ālambana-and uddipana-) and vyabhicări-bhāva are the other two technical terms occuring in Bharata's famous rasa-sutra : विभावानुभावव्यभिचारिसंयोगाद् रसनिष्पत्ति:।
662. Bhoja cites this gāthā to illustrate the variety, called ASRAF.

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663. Bhoja cites this gāthā to illustrate the variety, called 31PHERIA.
664. Bhoja cites this gāthā to illustrate the variety, called E. Dr. A. M. Ghatage
writes to say : सोज्झअ = शोधक (washerman); सुआ - his daughter. तित्थावासो जणो सव्वो कओ. सोज्झअ अ सुआए कओ तित्थावासो जणो सव्वो ।
“The washerman's daughter made all men have a (permanent) residence at the river-ford. She kept them gazing at her for a long time."
665. Bhoja cites this gāthā to illustrate the variety, called 31-4R. Hq (Mar. Rai,
Hindi H5341). The Sanskrit commentary (NS edn., p. 345) says : 951-91ralfag 1 सुरभितस्य मरुवकस्य सौरभनिमित्ताय पुष्पं यथा नाधिककामनीयं तथा सहजसौन्दर्यसौष्ठवादिगुणगणालंकृतस्य Ta Pa at JucYTETRufa ura: ---- There is yet another explanation : The situation according to DR is as follows: The female friend (sakhi) of the nāyikā asks her-"Why did you not have a baby all these days ? And what are the dealings of your husband ?”. The nāyikā felt embarrased and did not give any reply. The sakhi thereupon says : "Do not feel embarrassed, if you have not borne a child so far, due to your (or your husband's) craze for practising viparīta-rata (contrary intercourse). That does not matter. Even in the absence of a baby, you are experiencing the rapture of viparīta-rata with your husband, that is after all not à small thing." - quoted by M. V. Patwardhan.
666. The text of this gāthā is restored by Dr. H. C. Bhayani : vide his Muktaka
Madhuri (in Gujarati, original Sanskrit Prakrit Readings p. 143, v. 134). Read also his rendering in Gujarati Rdet (p. 73). Bhoja cites this gāthā to illustrate the variety, called 9.
667. Bhoja cites this gāthā to illustrate the variety, called 3T169T. 371hr Siche (p. 10,
v. 28) cites this gathā as an example of the figure 31 rau.fanpir (pp. 38-39)
disagrees, looks upon it as the figure 3441. 669. This gātha is already dealt with; vide ŚP S. No. (155.73) supra. Bhoja cites
it here to illustrate the variety, called 34. SK (pp. 400-401, v. 2) cites it as an example of one of the varieties of उपमा, called अन्तर्भूतसामान्या नाम समासोपमासु 4914Hrafn: Further on (p. 616) it again cites this gāthā with the introductory words (37Thiag) 3101 -

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Prakrit Verses in Sanskrit Works on Poetics 670. This gāthā is already dealt with; vide VJ S. No. (1.19), and ŚP S. No: (41.50)
supra. Bhoja cites it here to illustrate the variety, called sifara. 671. This gāthā is already dealt with; vide ŚP S. No. (32.48) and (172.77) supra.
Bhoja cites it here to illustrate the variety, called 37-lanh. SK (comm. p. 83) and SK (p. 456, v. 90; and p. 467, v. 105) cite it in three different contexts.
672. Bhoja cites this gāthā to illustrate the variety, called tufta.
673. Bhoja cites this gātha to illustrate the variety, called Fariha.
674. This corrupt găthā may tentatively be restored as follows :
As uiguur37-211-220T-375- Uf3T (3prar, YU37-) My-HUSTI वत्थं सोज्झअ-धूआ-हिअएहि समं जुआणाणं ।। (fufa -RO-Fc-ari (32ai, H -) THEZITI वस्त्रं रजक-दुहिता हृदयै:समं यूनाम्।।) Bhoja cites this gāthā to illustrate the variety, called Pania.
675. Bhoja cites this gātha to illustrate the variety, called Eria.
876. Bhoja cites this gāthā to illustrate the variety, called dina. In his Notes to
Gāhākosa (p. 150, v. 180), M. V. Patwardhan observes : "As Prof. Weber points out ---, B (Bhuvanapāla) while commenting on this stanza, waxes eloquent and poetical, describing the beauty of each limb of the woman from her face to her feet." Vide for B's exposition, Gāhākosa, pp. 82-83, v. 180.
677. This gātha is already dealt with; vide SP S. No. (99.61) supra. Bhoja speaks
of twenty-four varieties or kinds or forms of YOTIRM — Fachrufu, Faiqisa44:, prufaru. etc. He cites this gathā to illustrate the variety, called aguilaqu:. SK (p. 689, v. 397) cites this gāthā with the introductory words : FRAIGHT विलासिनी यथा --. SK treats of गणिका, रूपाजीवा and विलासिनी with their definitions and illustrations - distinguishing them clearly from each other.
a
y. It is already
678. Bhoja cites this gathā to illustrate the variety, called M
dealt with; vide SP S. No. (431.131) supra.
679. Bhoja cites this gāthā to illustrate the variety, called fare conforfaqe. Para confudal
is a woman distressed by the (involuntary) absence of her lover or husband.

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SK (p. 614, v. 138) cites it to illustrate ETTER, one of the E147 Panas. Portf137
is a deśi word. 'forget for a HT – DSS, p. 143. 680. Bhoja cites this gathā to illustrate the variety, called archifau ar or
Hent is a woman who dresses herself (and decorates her house) ready to receive her lover, especially when he has made an appointment with her - she awaits him in a full dress. SK (p. 690, v. 401) too cites the same gāthā
to illustrate the same nāyikā. 681. This skandhaka is already dealt with; vide ŚP S. No. (528.149) supra. Bhoja
cites it here to illustrate the variety, called usifay. SK (p. 678, v. 351) cites it with the introductory words : प्रतिनायिका यथा-नायिका is the heroine and प्रतिनायिका her rival.
682. This skandhaka is already dealt with; vide ŚP S. No. (220.87) supra. Bhoja
cites it here to illustrate the variety, called a felaguvet is the senior (queen)
while a t the junior one. 683. Bhoja cites this gātha to illustrate the variety, called yamfagu. yram is a beloved
or favourite wife.
684. Bhoja cites this gathā to illustrate the twenty-fourth variety or kind of OTTIERT,
called freq-u. Note: please read : This gātha is later cited in Alaskāra-sarvasva (p. 61, NS edn.) as an example of the figure AC (= Representation). It is the description of one under different characters arising from the difference of perceivers or from difference of the objects.
Note : Bhoja now deals with the twenty-four kinds of gebRM (secret or clandestine love).
685. This gātha is already dealt with; vide ŚP S.No. (415.128) supra. Bhoja cites
it here to illustrate the variety, called पराङ्गनाविषय:. पराङ्गना is the wife of another. SK (p. 615, v. 141) cites it with the introductory words '3tguidy asofatu .
686. Bhoja cites this gāthā to illustrate the variety, called falsilahl. F1$ is own
(the nayaka's) wife, also called स्वा or स्वीया as opposed to अन्या or अन्यस्त्री (the nāyika who belongs to another, who is another's wife). SK (p. 686, v. 386)

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cites it as an example of gertat UET — the earlier married wife — the senior one.
687. Bhoja cites this gātha to illustrate the variety, called Farufau — relating to
a wanton woman. SK (p. 688, v. 394) too cites it in the same context of '3THEBORGT Foruit - a loose or unchaste womon, a wanton woman, a self-willed, licentious woman.
688. This gātha is already dealt with; vide SP S. No. (428.131) supra. Bhoja cites
it here to illustrate the variety, called Shrifaqe - relating to a maiden, an
unmarried young girl. 689. This găthā is already dealt with; vide ŚP S. No. (144.71) supra. Bhoja cites
it here to illustrate the variety, called skilau-relating to a noble or self-controlled nāyika. SK (p. 373, v. 128) cites it as an example of paper which, according to Bhoja, is only a variety of the figure fifcat (the Shut or Concealed or Lost).
690. This gātha is already dealt with; vide SP S. No. (390.123) supra. Bhoja cites
it here to illustrate the variety, called 3ERifa94 — relating to a nāyikā, lacking in self-control.
691. This gātha is already dealt with; vide ŚP S. No. (484.142) supra. Bhoja cites
it here to illustrate the variety, called fauteen94 — the nāyikā may be deceived by a lover who fails to meet her at the rendezvous (which she has named). SK (p. 690, v. 400) cites it to illustrate the selfsame variety of factae ( CAT).
692. This gātha is already dealt with; vide ŚP S. No. (388.122) supra. Bhoja cites
it here to illustrate the variety, called 31 m aila - relating to an 31 HIRT - a nāyikā who may have to seek him (her lover) out or press him to come to her, giving as meeting-place a ruined temple, a garden, the house of a go-between, a crematory, the bank of a stream or in general any dark place." SK (p. 616, v. 147) cites it with the introductory words: (37T109) ded
693. This gātha is already dealt with; vide ŚP S. No. (602.162) supra. Bhoja cites
it here to illustrate the variety, called MCTH (easy to be obtained, easily accessible).

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694. This gathā is corrupt and obscure. Bhoja cites it here to illustrate the kind or
variety, called Goth - difficult to be obtained, extraordinary, eminent.
695. This gāthā is already dealt with; vide SP S. No. (48.52), (442.133) supra.
Bhoja cites it here to illustrate the kind or the variety, called ige. — one who is 'near' or 'nearest', proximate (one who is in the neighbourhood).
696. Bhoja cites this gāthā to illustrate the kind or the variety, called fauze — remote
or distant.
697. Bhoja cites this gāthā to illustrate the kind or the variety, called video -
connected, closely associated.
698. Bhoja cites this găthā to illustrate the kind or the variety, called Bia —
unconnected, not closely associated.
In answer to my queries Dr. A. M. Ghatage writes : gfat34T is Dravidian - ----- 'fry' - 'the grams are fried'--- HAHT alat de: could mean 'thus I have raised a whole family of devils, i.e., her calamities enumerated in the stanza.
699. This gātha is already dealt with; vide SP S. No. (478.141) supra. Bhoja cites
it here to illustrate the kind or the variety, called 114427 — accompanied by pretence, under pretext.'
700. Bhoja cites this gāthā to illustrate the kind or the variety of YESURIT (secret
or clandestine love), called Aryder. See the translation.
701. Bhoja cites this gāthā to illustrate the kind or variety of your ligem, called HAAT
- caused by fear or apprehension.
702. Bhoja cites this gāthā to illustrate the kind or variety of YERM, called
GHIAAT — caused by bashfulness or a sense of shame, modesty.
703. This gāthā is already dealt with; vide ŚP S. No. (501.144) supra. Bhoja cites ' it here to illustrate the kind or variety of प्रच्छन्नानुराग, called कालनियत, restrained
or controlled by time. SK (p. 632, v. 212) cites it with the introductory words:
"Patery galgerler yeni e —". 704. This gātha is already dealt with; vide ŚP S. No. (575.157) supra. Bhoja cites

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Prakrit Verses in Sanskrit Works on Poetics it here to illustrate the kind or variety of younger, called difun — restrained
or controlled by place (FT). 705. This gåtha is already dealt with; vide ŚP S. No. (398.125) supra. Bhoja cites
it here to illustrate the kind or variety of yzEHRM, called FIR – town-like or city-like. SK (p. 641, v. 247) cites it with the introductory words : "Padrefropan gerhrer TCUTR Jen " and thus comments upon the gātha : 3771 ashfaraula: far Ut eff art She has conveyed to you all her feelings of love and yearning for you by her sidelong glances; but out of
bashfulness and nervousness she does not kiss you or embrace you ! 706. This gātha is already dealt with; vide ŚP S. No. (397.124) supra. Bhoja cites
it here to illustrate the kind or variety of 4287RII, called 34PR — nearly or almost town-like or city-like, semi-urban.
707. Bhoja cites this gāthā to illustrate the kind or the variety TERRIT, called PR
- rustic or rural.
708. Bhoja cites this gāthā to illustrate the kind or variety of yoHRM, called your
(miscellaneous).
Now, Akrtrimănurāga - 24 kinds :
709. Bhoja cites this gāthā to illustrate सहज: अनेकविषय: (अकृत्रिमानुराग:). See the
translation.
710. This gātha is already dealt with; vide DHV S. No. (59.18) supra. Bhoja cites
it here to illustrate the kind or variety of 3 HRT:, called 49-157 - born of youth, adolescent.
711. Bhoja cites this gāthā to illustrate the first variety of utafut, called STRR — bodily,
physical, corporeal. 712. This gātha is already dealt with; vide ŚP S. No. (495.143) supra. Bhoja cites
it here to illustrate the second variety of 1961, called Frimental, spiritual.
713. Bhoja cites this gāthā to illustrate the kind or the variety of 3 MFRM, called
31161. SK (p. 673, v. 331) cites it in identical context. : "3YURIT904 36rt

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UTENT
".
714. This gātha is already dealt with; vide ŚP S. No. (381.121) supra. Bhoja cites
it here to illustrate one of the two kinds of art, called Rr (firm, stable, permanent). SK (p. 644, v. 257) cites it and thus comments upon it:315RIERII दृष्ट्वा पश्चाद्वितीयो रज्यते ।
(transient,
715. Bhoja cites this gātha to illustrate the second kind of 36R4, called
not permanent).
715. Bhoja cites this gāthā to illustrate one of the two kinds of forhol, called .
SK (p. 673, v. 329) cites this gātha with the introductory remark: "Rufeteitsght it —". SP explains PageHC thus : Ibu tafarul: GUARTETTURHIBUD # Parte : I – 9.698. SK (p. 674) is brief : "344RIAUGT
Pax Hot URA—". 717. Bhoja cites this gāthā to illustrate the second kind of fagrist, called 'ICTH.
218. This gātha is already dealt with; vide ŚP S. No. (227.90) supra. Bhoja cites
_it here to illustrate one of the 24 kinds of अकृत्रिमानुराग, called यौवनजाहार्यज. 719. This gāthā is already dealt with; vide ŚP S. No. (382.121) supra. Bhoja cites
it here to illustrate one of the 24 kinds of अकृत्रिमानुराग, called यौवनज-विसम्भज.
720. Bhoja cites this gātā to illustrate one of the two kinds of fanta, called HEVILA '' (? ) fauteur
Now, 24 kinds of SHIRT :
721. Bhoja cites this gātha to illustrate one of the 24 kinds of ghirr, called
नित्यानुकारी. On this gatha Dr. A. M. Ghatage notes : णिउणमुवगूढो or पुण अ उवऊढो are equally good. I embraced him firmly or again (7-8). 3773reng means 'she is not satisfied'. 3rrer means 'her lover is satisfied'. Reference is to reaching the 'orgasm'.
722. Bhoja cites this gåtha to illustrate one of the 24 kinds of SHIRM, called
सामान्यानुकारी.
723. Read the first half of the gatha Gaon and its corresponding chaya Turn. Bhoja

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cites this gatha to illustrate one of the 24 kinds of कृत्रिमानुराग, called प्रच्छन्नानुकारी.
724. Bhoja cites this gātha to illustrate one of the 24 kinds of कृत्रिमानुराग, called सालम्बन.
725. This gātha is already dealt with; vide SP S. No. (656.172) supra. Bhoja cites
it here to illustrate one of the 24 kinds of कृत्रिमानुराग, called प्रसिद्धविषय.
726. This gāthā is corrupt but it is restored tentatively with the help of Vajjālagga
v. no. 475 : पेक्खह महाणुचोखं काणाघरिणीइ जं कयं कज्नं । चुंबेवि न लहु नयणं झडत्ति नीसारिओ जारो || Read the comments of रत्नदेव : --- काचिदसती अन्येन सह सुरतसौख्यमनुभवन्ती यावत्तिष्ठत्ति तावदक्ष्णा काणस्तत्पति: समाजग्मिवान् । तत उक्त्वा "अयं मम प्रियतम: समागतोऽहं धन्या' इति तस्य द्वितीयमक्षि सरभसं चुम्बति स्म । तावज्जारो नि:ससारेति भाव: । - पृ. १२९. काणा० - The elongation of the final अ in काणा is for the sake of metre. काण- blind in one eye. In the second half of the gatha it is possible to read काणक्खि० (SK काणाक्षि०). Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called अप्रसिद्धविषय.
727. Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called सुप्रयुक्त. Dr. A.
M. Ghatage observes : "किं ण वेसाण दीसए अप्पा'– Is not the heart or nature of the harlots revealed (or seen) by this very go. They show the same face towards those whom they hate and whom they love".
728. Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called सप्रयोजन. 729. This gātha is already dealt with; vide ŚP S. No. (280.101) supra. Bhoja cites
it here to illustrate the kind of कृत्रिमानुराग, called सप्रतिभेद.
730. Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called निष्प्रतिभेद. Regarding
the restoration of the first half of the gatha, Dr. A. M. Ghatage observes : "अफुडेण (अस्फुटेन) उवकंपिएण (उपकंपितेन) कज्जस्सअंतगमणेण | would be more in agreement with the textual matter."
The first half may better be presented as follows :(अफडेण (? अफुडेण / कवडेण) उपकंपितेण (? उवकंपिएण? मह-महर-जंपिएण) कज्जस अंतगमणेण । (अस्फुटेन [कपटेन] उपकम्पितेन [? मधु-मधुर-जल्पितेन] कार्यस्यान्तगमनेन ।) The stanza may be translated as follows:

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The women of easy virtue allure men by their sexuality which they practise covertly, in a pleasantly titillating manner and take it through its end (or cunning, amorous lisping and sexuality).
731. Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called स्त्रीकृत. See the
translation.
732. This corrupt gāthā may tentatively be restored as follows:
होंतवरो तह (तह) हेहिणीए चुडुअम-(?गेहिणीऍ चडुअम्म-) वावडो होइ । जह इअसंगोइं (?जह जह संगोविआइं/ संणिहिआई) हुवंति वारेज-दिअहाई ॥ (भविष्यद्वरस्तथा तथा गेहिन्या: (= गृहिण्या:) चट्कर्मव्यापृतो भवति । यथा यथा संगोपिता (अथवा संनिहिता) भवन्ति विवाह-दिवसा: ।।) See the translation.
Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called पुरुषकृत.
734. Bhoja cites this gatha to illustrate the kind of कृत्रिमानुराग, called अनुभयकृत. SK
(p. 451, v. 84) cites this gāthā as an example of (पूर्वा नाम) अपनुति. 735. This gātha is already dealt with; vide ŚP S. No. (246.94) supra. Bhoja cites
_it here as an example of संभोग-(स्वाङ्गनाविषय). .
736. Bhoja cites this gatha as an example of संभोग (पराङ्गनाविषय) 737. Bhoja cites this gatha as an example of संभोग (उत्तमाविषय). कडच्छिए ("? कअत्थिए . - SK कदर्थिते (हरुहुराअंति) - स्फुरस्फुरायन्ते is O.K." - Dr. A. M. Ghatage. In the
chaya, read स्फुरस्फुरायन्ते for हुरहुरायन्ते.
738. Bhoja cites this gatha as an example of संभोग (मध्यमाविषय).
739. Bhoja cites this gatha as an example of संभोग (कनिष्ठाविषय). cf. with this gatha - SP S. No. (731.184) supra. संजम-संयम to tie up or bind together (hair or a
garment); विगलितबन्धम् may be construed with either वस्त्र or केशपाश. 740. This gātha is already dealt with; vide ŚP S. No. (127.67) supra. Bhoja cites
it here as an example of संभोग (मुग्धाविषय). SK (p. 338) cites it as an example of a variety of the figure Hr and (p. 635) cites it with the introductory words : "सर्वं सर्वत्र यथा-".

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the chāyā as printed in Vol. I, Dr. A. M. Ghatage thus translates it : "O friend, when he (lover) loosened his firm embrace, I became fully satisfied with both my breasts which again touched (his chest) as a result (34) of the deep
heaving which followed (30hrf) (the release of the embrace)." 742. This gātha is already dealt with; vide ŚP S. No. (655.171) supra. Bhoja cites
it here as an example of viage (w"isTat-lagu). 743. Cf. this gātha with DHV S. No. (10.7) supra. Bhoja cites this gātha as an
example of it (facu). 744. This gåtha is already dealt with; vide ŚP S. No. (282.101) supra. Bhoja cites
it here as an example of it (attraffaq).
745. Bhoja cites this gāthā as an example of Fit (fo(auffagu). 746. Bhoja cites this gathā as an example of water (prauifaga). 747. Bhoja cites this gatha as an example of atom (Hall Truffagu). It is restored with
the help of the following gātha from GRK (v. no. 672) : Sid FUT-FUT-PORT5-HT-jag u t i
कामीण गलइ सेओ रुहिरुगारो व्व सीयस्स ।। 748. This gātha is already dealt with; vide ŚP S. No. (74.56) supra. Bhoja cites
it here as an example of 5279 (fuffrauifaq).
749. This gātha as printed in Mysore edn. (p. 830) is corrupt and obscure. Dr. H.
C. Bhayani observes : "f937T 37 not possible : 1st ugschet cannot be a mur. Can it be पिअ + अद्दाअं ? See PSM अद्दाअ = दर्पण and the reference to अद्दाअविज्जा." Dr. A. M. Ghatage thus observes: "Your reconstruction is all right, except that fara cannot mean a 'mirror' but only a reflection. Can we not simplify the construction by taking ufanisid as loc. agreeing with fod-the image which is reflected? But then there will be no finite verb. The idea that the eye is cured by reflection is strange and unknown to me." Read in the first half 1937. Raha ordinarily means an image, reflected form, but Monier Williams' A Sanskrit English Dictionary records the meaning 'a mirror' (Svet. Up., Kum.); I confess,

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I know little about अद्दाअ-विजा - nothing more than what PSM says : "चिकित्सा का एक प्रकार, जिससे बीमार को दर्पण में प्रतिबिम्बित कराने से वह नीरोग होता है ।" Bhoja cites this gatha as an example of विप्रलम्भ (स्वाङ्गनाविषय).
750. Bhoja cites this gatha as an example of विप्रलम्भ (परकीयाविषय). The portion of the
second half of this gatha as printed in Mysore edn. (p. 831), सासे सिहिखंडखंडेहि is obscure.
The verse may be translated as follows : My mistress just missed to catch a glimpse of you, dear young man, as you slipped post her house and she heaved a heavy sigh right her husband's nose.
753. This gātha is already dealt with; vide SP S. No. (233.92) supra. Bhoja cites
it here as an example of विप्रलम्भ (मुग्धाविषय). SK (p. 643, v. 254) cites it with the introductory remark : "प्रवासे व्याविद्धं यथा -" and thus comments upon it: अत्रैकस्यापि दिवसंस्य वर्षायमाणतया विशेषतो (प्रियालिङ्गनादिवञ्चनया) दैर्ध्य प्रतीयते । - सरस्वती पू. ६४३.
754. Read the third quarter of the gatha as : बहुलपओसेण व तुए and its chāya 'बहुल-प्रदोषेणेव
त्वया'. Bhoja cites this gatha as an example of विप्रलम्भ (मध्यमा-विषय).
755. Bhoja cites this gatha to illustrate विप्रलम्भ (प्रगल्भाविषय). Further on p. 930, S.
No. (916.214) he cites it to illustrate 'मनसि चिन्ता'.
756. Bhoja cites this gatha to illustrate विप्रलम्भ (सर्वविषय). The gatha, as presented,
is metrically defective. If we were to read जणस्स चिअ (Sk. जनस्यैव), the metre would not be violated.
757. Bhoja cites this gatha as an example of विप्रलम्भ (वसन्तचर्याविषय) : अत्र काचित प्रोषितभर्तका
कयाचित् कुशलं पृष्टा तां प्रति मम क्षेमं कुत: कुत:। निर्वेदातिशयाद् द्विरुक्तिः। मम गृहाङ्गणे योऽसौ कुब्जाम्रस्तस्य शिरसि कोऽप्यनर्थ इति मञ्जरीमेनां दृष्ट्वा कथंजीवामीत्यभिप्राय:। --- वेमभूपाल, पृ. २७. "किं पि refers to a spray of mango-blossoms. Its sight is unbearable to lovers in separation."
- M. V. Patwardhan, Notes to Gahakosa (p. 237). 758. This gāthā is already dealt with; vide ŚP S. No. (486.142) supra. Bhoja cites
it here as an example of विप्रलम्भ (ग्रीष्मचर्याविषय).
759. This gatha is cited to illustrate विप्रलम्भ (वर्षर्तुचर्याविषय). SK (p. 614, v. 138) too

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af, the muttering / roaring of thunder/clouds,
cites it as an example of as one of the उद्दीपनविभावs.
760. Bhoja cites this gatha as an example of विप्रलम्भ (शरचर्याविषय).
761. Bhoja cites this gatha as an example of विप्रलम्भ (हेमन्तचर्याविषय). Bhuvanpala in
the course of his comments says : हेमन्ते पथिकस्य शीतमेव प्रणष्टम् । कदाचिद् भसनाभ्यन्तरगतो भवतीत्याह - गृहरहितस्य अत एव हिमरजोधूसरस्य । (अपरं च कीदृशस्य)। स्मृतं यत् कान्तामुखं तेन स्वेदनशीलस्य । तत्स्मरणैकतानमना: सदपि शीतं न गणयतीत्यर्थ:। --- हेतुरलंकारः। - गाहाकोस पृ. २७१.
M. V. Patwardhan in his Notes to Gahakosa (p. 234, v. 643) remarks : "The idea is that the wayfarer becomes so absorbed in thoughts about his wife as he remembers her face, and perspires so profusely due to nervous excitement,
that he does not feel the severe cold of the winter." 762. Bhoja cites this gatha as an example of विप्रलम्भ (शिशिरचर्याविषय). The second half
of this gāthă according to Weber (as given in Joglekar's edn. (in Marathi) p. 555 and v. 925 reads : दीहा ण समप्पइ सिसिरजामिणी कह णु दे माणो | Whereas SP reads : दीहा वि समप्पइ सि सिरजामिणी कह णु दे माणो || The stanza is addressed by a lover to his beloved, who out of jealous anger or pride or haughtiness is keeping aloof from him. It is intended to remove her jealous anger and make her favourable. 'दीर्घापि समाप्यते शिशिरयामिनी' suits this context much better. With Weber's reading there is no urgency for the beloved to give up her jealous anger for "दीर्घा न समाप्यते शिशिरयामिनी" - She could continue to maintain her anger
and pride. 763. This gāthā is already dealt with; vide ŚP S. No. (413.127) supra. Bhoja cites
it here as an example of प्रथमानुराग (love at first sight). 764. This gathā is already dealt with; vide SP S. No. (616.165) supra. Bhoja cites
it here as an example of "मानानन्तरात् प्रवासानन्तर:'. SK (p. 591, v.54) defines शङ्का 'apprehension' and with the introductory words "तद्-(-शङ्का-)रूपेण रसस्य प्रकर्षो यथा-", it cites this gatha and observes : अत्र विरहिण्या: काातिशयमुदीक्षमाणाया: कस्याश्चिद वयस्याया: स्नेहातिशयात् "प्रेम पश्यति भयान्यपदेऽपि' इति प्रियागम-प्रहर्षातिशयभावेऽप्यसहिष्णुतया तन्मरणशङ्का प्रकृष्यते ।
765. Bhoja cites this gatha as an example of 'रागवर्धनत्वेन प्रथमानुरागान्मान:'.

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766. This gātha is already dealt with; vide SP S. No. (615.164) supra. Bhoja cites
_it here with the introductory words : "मानात् प्रवास: स यथा -".
767. Bhoja cites this gatha with the introductory remark : "प्रवासात् करुण: यथा-".
SK (p. 642, v. 250) cites it with the introductory words : "करुणे प्रत्यादानं यथा
-". This gatha gives expression to a beautiful sentiment. Cf : उपरताप्यनुपरता महासेनपुत्री एवमनुकम्प्यमानार्यपुत्रेण । -भास:-स्वप्नवासवदत्ता VI; and also : ण हु सो उवरदो जस्स वल्लहो सुमरेदि । न खलु स उपरतो यस्य वल्लभ: स्मरति । - भवभूति:-मालतीमाधव V-24-25.
768. Bhoja cites this gatha with the introductory words : "वैचित्र्ये मानानन्तरमान: स यथा-".
SK (p. 646, v. 262) too cites this gatha with the introductory words : "य: प्रेम मनुते यथा-" and thus comments upon the gatha : अत्र 'मनु अवबोधने' इति धातुः। मानेन हि जन: प्रेमास्ति नास्ति वेति बुध्यते । तस्य च करणभूतस्यापि प्राधान्यादत्र कर्तृत्वोपचार:। तद् यथा'प्रज्ञा पश्यति नो चक्षुर्दष्टि: सरस्वती हि सा' इति ।
769. Bhoja cites this gatha with the introductory words : "रागवर्धनत्वे स(मान) एव यथा-".
770. Bhoja cites this gatha with the introductory words: "स रागवर्धनत्वे यथा-". "The
banks of Godāvarī are said here to be destructive of moral character, because they abound in dense thickets of creepers and shrubs where women meet their paramours by previous appointment and the sight of such trysting couples arouses the sexual passion of casual visitors and tempts them to indulge in illicit love-making." - M. V. Patwardhan, Notes to Gahakosa (p. 172, v. 306).
771. Bhoja cites this gatha with the introductory words : "प्रकाशात् प्रच्छन्नो बलीयान्, सोऽपि
तत्रैव (यथा) -". See translation.
772. Bhoja cites this skandhaka with the introductory words : "तत्र धीरोत्तमाया
विप्रलम्भेऽनुभवसंपद् यथा -". ण कओ वि राअमोक्खो - In Setu XI. 56 the skandhaka opens with ण कओ बाह-विमोक्खो ; So, I was tempted to read ‘ण कओ वि बाहमोक्खो '. But then in the latter part of the first half, we have (माणक्खलणे वि) ण पडिओ चिअ बाहो'. Further, the reading अत्तित-लोअणं was rather obscure. When I referred these points to Dr. A. M. Ghatage, he wrote : "राअमोक्खो is better. अतृप्तलोचनेन is the correct reading. अतित्त = अतृप्त with eyes which were not satisfied." Even if we adopt this reading, the skandhaka metre is violated. As things stand, for the sake of metre we'll have to read the second half thus :

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तीऍ णवरं पिअअमो, गओ त्ति अत्तित्त-लोअणं णीससि ।। (तया केवलं प्रियतमो गत इति अतृप्त-लोचनं नि:श्वसितम् ।)
773. Bhoja cites this skandhaka with the introductory words : "ERHEZRIT Pactra
STATİNG URIT —". When this stanza was referred to Prof. M. V. Parwardhan, he wrote : "EIR = eth should be taken to mean "stolidity", "impassiveness", "lack of emotional responsiveness". Stolidity leads to humiliation (FIT) and humiliation (in its turn) leads to great stolidity (637-ERRITO -Eufen. On weighing (the two courses) her mind wavers (fluctuates), and does not (or cannot) become steady in adopting either course. (But I agree with you that the precise sense of the stanza is not clear. Which are the two courses or alternatives between which her mind wavers? No distinct alternatives are mentioned in the first half of the stanza ---). SK (p. 727, 492) cites this stanza with the introductory words: "Filata Adat T-" and thus comments upon it : अत्र यद्यपि हेतूपन्यासो वर्तते तथापि तस्य स्वभावाख्यानपरिकरत्वेनाप्राधान्येन हृदयक्रिया स्वरूपमेवेह Add refera saiti vara hafa I – prrarit . 626. Dr. A. M. Ghatage wrote to say: ''JAS is to put up, push up (of the pan of the balance) while weighing (gravid) courage raises up the (pan) of the insult to pride (1914) and the disappearance of pride does the same to beginning of great pride. Thus her heart does not stick long to any one of the two. The idea behind the sianza is that धैर्य now outweighs मानभङ्ग and मानभङ्ग now outweighs धैर्य and the lady cannot choose either of the two." This is cited further on (p. 998) with the introductory
words : विच्छिद्यमानसन्तापो विषम:, one of the twenty-four aspects of मान. 774. Bhoja cites this skandhaka with the introductory words: "TRIT (EIRHEZRIT 5
HEYTT UIT —". He cites it on two more occasions-(i) to illustrate one of the मानोपशान्तिs, called पुनर्भाव (p. 1041) and (ii) to illustrate प्रियोत्थापन, one of the aspects of H RRIFTTT (enjoyment of love which follows the disappearance of HH i.e., pride or jealous anger) (p. 1209).
775. Bhoja cites this gāthā with the introductory words : "3TERITTHRIT Parts
TRIT—" Dr. A. M. Ghatage reads the earlier part of the second half as : "Apot of gour3i He" and translates the gāthā as follows : "As long as he (lover) does not give me the limit (379€) (the date of return), as long as he does not loosen the embrace and I have not the luck to die, so long I have made myself firm.”

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776. This gatha is already dealt with; vide SPS. No. (314.108) supra. Bhoja cites
it here with the introductory words : "तस्या (अधीरोत्तमाया) एव सम्भोगे यथा -". SK (p. 617, v. 148) too cites this gatha with the opening words : "संचारिषु स्वेद-रोमाञ्चवेपथवो यथा-".
777. This gāthā is already dealt with; vide ŚP S. No. (328.110) supra. Bhoja cites
it here with the introductory words : "अधीरमध्यमाया विप्रलम्भेऽनुभावसंपद् यथा-". SK (p. 639, v. 239) too cites this gatha with the introductory words : "स्त्रिया एव सखीवाक्यस्याक्षेपेण यथा -".
778. This gātha is already dealt with; vide ŚP S. No. (321.109) supra. Bhoja cites
it here with the introductory words : "तस्या (अधीरमध्यमाया) एव सम्भोगेऽनुभावसंपद् यथा
-". SK (p. 645, v. 260) too cites it with the introductory words : "माने मान्यते येनेति यथा -", and comments on it as follows : अत्र 'मान् पूजायाम्' इति धातो: स्वार्थिकणिजन्ताणिचि घनि च मान इति रूपम् । स हि प्रेयांसमस्या: पादपतनादिपूजायां प्रयोजयति। -सरस्वती पृ. ६४६. . .
779. Bhoja cites this gatha with the introductory words : "अधीरकनिष्ठाया विप्रलम्भेऽनुभावसंपद्
यथा-".
780. Bhoja cites this gatha with the introductory words : "तस्या (अधीरकनिष्ठाया) एव सम्भोगे
यथा-". . 781. This gātha is already dealt with; vide ŚP S. No. (238.93) supra. Bhoja cites .. ' it here with the introductory words : "तत्र मुग्धाया उत्तमत्वं सम्भोगे यथा -". SK (D.
686, v. 384) too cites it with the introductory words पाणिगृहीता ऊढा यथा-".
782. This gātha is already dealt with; vide SP S. No. (256.96) supra. Bhoja cites
_it here with the introductory words : "(मुग्धाया उत्तमत्वं) विप्रलम्भे यथा -". SK (p.
622, v. 172) too cites it with the introductory words : "प्रेमाभिसंधानं पुंसो यथा-". 783. This gātha is already dealt with; vide SP S. No. (738.185) supra. Bhoja cites
it here with the introductory words : "मध्याया उत्तमत्वं सम्भोगे यथा -".
784. This gātha is already dealt with; vide ŚP S. No. (230.91) supra. Bhoja cites
it here with the introductory words : "(मध्याया उत्तमत्वं) विप्रलम्भे यथा -". SK (p. 687, v. 389) cites it with the introductory words "गूढमानर्द्धिरुदात्ता यथा -".

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785. This gatha is already dealt with; vide SP S. No. (560.155) supra. Bhoja cites
it here with the introductory words : "(अथोत्तमामध्याकनिष्ठासु मुग्धत्वम्) तत्रोत्तमाया मुग्धत्वं PAYTI PRIT —". SK (p. 638, v. 236) too cites it with the introductory words
: "अत्रैव (संभोग-परीष्टिषु प्रथमानुरागानन्तरे) दोहदेन मुग्धाया यथा -". 786. This gatha is already dealt with; vide SP S. No. (233.92) supra. Bhoja cites
it here with the introductory words : "(तत्रोत्तमाया मुग्धत्वं) विप्रलम्भे यथा-". SK (p. 643, v. 254) too cites it with the introductory words : "प्रवासे व्याविद्धं यथा -" and thus comments upon it : अत्रैकस्यापि दिवसस्य वर्षायमाणतया विशेषतो दैर्ध्य प्रतीयते ।
787. This gatha is already dealt with; vide SP S. No. (340.113) supra. Bhoja cites
it here with the introductory words : "मध्यमाया मुग्धत्वं संभोगे यथा -". 788. This gatha is already dealt with; vide SP S. No. (323.109) supra. Bhoja cites
it here with the introductory words : "(मध्यमाया मुग्धत्वं) विप्रलम्भे यथा-". 789. This gātha is already dealt with; vide SP S. No. (124.66) supra. Bhoja cites
it here with the introductory words : "कनिष्ठाया मुग्धत्वं संभोगे यथा -". SK (p. 315. v. 5) cites it to illustrate one of the kinds or varieties of the figure vifa (= स्वभावोक्ति) (आश्रयेषु मुग्धयुवति:), and thus comments upon it : अत्र : मुग्धवध्वाश्रितक्रियास्वरूपभणनाद् इयं मुग्धाङ्गनाश्रिता जाति: ।
790. This gātha is already dealt with; vide ŚP S. No. (459.137) supra. Bhoja cites
it here with the introductory words : "(कनिष्ठाया मुग्धत्वं) विप्रलम्भे यथा-". SK (p. 664, v. 301) cites it with the introductory words : यत्र स्त्रियो दोलामारोहन्ति सान्दोलनचतुर्थी। यथा - "The Andolana-caturthi is the Swing Festival. It is. mentioned also as the Hindola-Krida in the Jayamaigala. ... The Srrigaraprakasa calls it Dola-vilasa."-V.Raghavan, for details read Festivals,
Sports And Pastimes of India, pp. 74, 111,112,229. 791. This gātha is already dealt with; vide ŚP S. No. (186.80) supra. Bhoja cites
it here with the introductory words : "सप्तकेषु, नित्यनैमित्तिक- सामान्य- विशेष- प्रकाशन प्रच्छन्नाकृत्रिमाणां योगो यथा -". SK (p. 497, v. 154) too cites it as an example of the figure ty, which, according to Bhoja, is not distinct or different from the figure आक्षेप.
792. Read in the chayā ताम्य. Pro. Aravind Mangarulkar (Sephalika, p. 335) gives

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Populta tahigaritat as the chāyā of foro.
793. Read in the first half of the gāthā 331Evila and in the corresponding chāyā
उपभज्यन्ते; and in the second half खादितोगलितानि क्रियन्ते. Dr. H. C. Bhayani would like us to read "GEMAŠ (after yearfecilfo)-sour belches. Ce sour, acid; Guj. UTG, H. UET" M. V. Patwardhan wrote to say : "I think the word uisfiurš in Joglekar edn. v. 668 and v. 717 means of stuff "eaten first and then regurgitated" and refers to rumination (chewing the cud) -- a habit in the case of quadrupeds, also called that in Sanskrit, corresponding to pder in Marathi. Thus Ursuriš trifat would mean “are ruminated", "are recollected", "are enjoyed in recollection, in a nostalgic manner". Dr. A. M. Ghatage comments upon the word as follows : "GS VII. 68 arsfulls is really arstituif and means vomitting what has been eaten. Jogalekar's reluctance to admit this and to give a different interpretation is not justified. This expression 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. The corresponding expression aid is found in arra golf 37191TH on which you refer to Alsdorf's article in Indian Linguistics 1955 which will make clear what is the intended meaning." In view of the truth embodied in Kalidasa's memorable line "OTHIA guruf custoa vifaruARIA Termal" (RYO XIV. 25.b). One might be justified in saying that if sorrows experienced in the past, when remembered or recollected or ruminated, turn into pleasures, then it's no wonder if pleasures experienced in the past, when ruminated, become all the more enjoyable and pleasurable.
794. This gāthā is already dealt with; vide SP S. No. (381.121) supra. SK (p. 644,
v. 257) cites this gāthā to illustrate the phenomenon that both the young man and woman do not fall in love with each other simultaneously, but on finding that one has fallen in love, the other falls in love. (origeri çoçar qurg facient
Puud 1) 795. This gātha is already dealt with; vide ŚP S. No. (372.119) supra. SK (p. 645,
v. 258) too cites this gāthā with the introductory words : "attagliat IT —" and comments upon it thus : 375 gadi Alquefta puydt af ? 344विषयिणाभिलाषेणापीति प्रतीयते ।

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796. This gātha is already dealt with; vide ŚP S. No. (451.135) supra. SK (p. 630,
v. 201) too cites this gāthā with the introductory words: "Mycenderg gement)
H ORIT -". 797. This gātha is already dealt with; vide ŚP S. No. (321.109) supra. SK (p. 645,
v. 260) too cites this gatha. 798. This gatha is already dealt with; vide ŚP S. No. (768.190) supra. SK (p. 646,
v. 262) too cites it. 799. This stanza (in skandhaka) is already dealt with; vide ŚP S. No. (542.152)
supra. SK (p. 647, v. 263) too cites this gåtha.

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800. This gatha is already dealt with; vide SP S. No. (413.127) supra. Bhoja cites
it here as an example of साक्षात् प्रत्यक्षानुराग, variety of दर्शनानुराग. 801. Bhoja cites this gathā as an example of प्रतिबिम्बानुराग, a variety of दर्शनानुराग. The
gātha describes a 41 kissing hout, reflected in the form of an image in the shining or glossy cheek of the dancing cowherdess. Bhuvanpala reads सिरिगोवियाइ (मुख्यगोपिकाया:) in the place of सरिसगोविआण (which violates the metre) or better सरिगोविआण (सदृग-गोपिकानाम्). Bhuvanpala remarks : 'सिरि' - शब्दो मुख्यपर्याय:I. But we have the authority of Hemacandra (Prakrit Grammar 8.1.142) to get the form सरि for सदृक्.
803. This gāthā is already dealt with; vide ŚP S. No. (81.57) supra. Bhoja cites
it here as an example of one of the six kinds of प्रत्यक्ष, called स्मृति (प्रमाणानुभूतस्य वस्तुनो मनसि प्रतिबिम्बनं स्मृति:।)
804. Bhoja cites this gathā as an example of उपमानानुराग, संज्ञोपमान, one of the six kinds
of उपमान. 805. This gāthā is already dealt with; vide ŚP S. No. (151.72) supra. Bhoja cites
it here as an example of उपमानानुराग – अभिनयोपमान.
806. This gātha is already dealt with; vide ŚP S. No. (484.142) supra. Bhoja cites
it here in the context of अर्थापत्त्यनुराग and अर्थापत्ति (अभावपूर्विका).
807. Dr. H. C. Bhayani has reconstructed the gatha as follows :
मा मुद्ध वोड्ढ (?) छावअ बालाए इसि-हरिस-धुए वरिल्ले । विणिअंसण-दसण-कोउहल्ल-गहिओ गहिलिहोसि ।। (मा मुग्ध मूर्ख (?) बालक बालाया: ईषद्-हर्ष-धूते उत्तरीये । विवसन-दर्शन-कुतूहल-गृहीत: ग्रहिलीभवसि ।।) We may translate it as follows :O, you young foolish boy, when the garment of that damsel slips off while she being in her joyous mood, and out of your irresistible curiosity you try to catch a glimpse of her nudity, remember, as a consequence you will only be gripped by a demon!

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808. This gāthā is already dealt with; vide ŚP S. No. (235.92) supra. Bhoja cites
it here as an example of (अभावानुराग-) प्रागभाव.
809. Read - Cf. GS III. 12. There the first half reads :
जो जस्य विहवसारो तं सो देइ त्ति किं त्थ अच्छेरं । (यो यस्य विभवसारस्तं स ददातीति किमत्राश्चर्यम् ।)
Bhoja cites this gatha as an example of (अभावानुराग-) अत्यन्ताभाव.
810. Bhoja cites this gatha as an example of (अभावानुराग-) सर्वाभाव. Dr. H. C. Bhayani
reconstructs the gātha as follows : गामं पलाससेसं सुमरण-सेसा कुटुंग-परिवाडि । अम्हे वि जीअ-सेसा पेम्मस्स ण अत्थि सेसं पि ॥ (ग्राम: पलाश-शेष: स्मरण-शेषा निकुञ्ज-श्रेणी । वयमपि जीवितशेषा: प्रेम्ण: नास्ति शेषमपि ।) This restoration is by far the best. See translation.
811. Bhoja treats of six minor शब्दप्रमाणs, following Jaimini's sutras (Chapter II) to
decide भेद : 1 शब्दान्तर 2 अभ्यास 3 संज्ञा 4 संख्या 5 गुण and 6 प्रकरण. He cites this gatha to illustrate शब्दान्तरभेद (and love through it). Dr. H. C. Bhayani presents this gatha in his Muktaka-Madhuri (Gujarati) in the following form :-- वंदं कीराण णहे पहिआण पहे मआण छेत्तम्मि । तुह कलम-गोवि छोक्कारण-रव-रसिअं न चलइ पअं || - (p. 144, v. 145). Later in reply to my query about 'छोक्कारण-रव-रसिअं' he wrote: "छोक्कारण-रसिन चलइ पअंपि।। would be the best. PSM gives the word under छुक्कारण (from बृह.क.भा.) and, I think, wrongly equates it with PETARUT. It means making shouting noises to scare away birds and animals eating away crops. PSM notes also 'छुच्छुक्कर' to make noises to call dogs, etc.".
812. Bhoja cites this gathā to illustrate 'अभ्यासाद् भेद:'. He thus explains his point :
अत्र दर्शनादिभि: प्रेम अपैति इति वाच्ये अवेइ (Sk. अपैति) इति पदाभ्यास: प्रेमभेदं बोधयति । कस्यचिद्दर्शनेन कस्यचिददर्शनेन कस्यचित् पिशुनजनजल्पितेन कस्यचिद् एवमेव इति । - पृ. ८८७.
813. Read सचं सण्णा (? धण्णा) धण्णा, जा तइआ केसवेण गिरिधरणे ।
गुरुभारवावडेण वि, अअ०अंअंछ (? तिरिअं अच्छं ? उज्जुअ-अच्छं) चिरं दिट्ठा ।। (सत्यं धन्या धन्या या तदा केशवेन गिरि-धरणे ।

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गुरुभारव्यापृतेनापि तिर्यगक्षं / ऋजुकाक्षं चिरं दृष्टा ।।) This gāthā occurs earlier on p. 269; vide SP S. No. (60.54) supra. Bhoja cites it here as an example of समाख्या, one of the six शब्दप्रमाणs, which help to find out प्रधान-अङ्ग-भाव when भेद is made. He introduces it with the words "समाख्यातो यथा-" and thus comments upon it : अत्र धन्येति समाख्याबलात् सदैव तस्याः प्रियप्रसादपात्रत्व एव विनियोग:।
814. This gāthā is already dealt with; vide ŚP S. No. (264.98) supra. Bhoja cites
it here to illustrate 'आर्थ: क्रम:' and thus comments upon it : अत्र पूर्व मनाथवृद्धिस्तत ईर्ष्या प्राइमरणाभावः ततो विप्रियसहिष्णुत्वम् इत्यर्थः। पृ. ८८९.
815. Bhoja cites this gatha as an example of 'स्थानक्रम'. He thus comments upon it
: अत्र गृहद्वारतोरणनिषण्णत्वेन वन्दनमालासहनिधे: दिने दिने सापि शुष्यति कृशायते रणरणायते च - इति क्रम:।
816. This gāthā is already dealt with; vide ŚP S. No. (70.55) supra. Bhoja cites
it here as an example of 'मुख्य-क्रम:' and thus comments upon it : अत्र 'स्वस्ति शब्दस्य माङ्गलिकत्वेन मुख्यत्वाल्लेखे प्रानिवेशस्ततोऽव्यवहितंस्थाननाम्नोरर्थप्रतियोगिनोऽनन्तरमक्षरस्य तत: सन्देशस्य-इति क्रमः | - पृ. ८८९.
817. Bhoja cites this gatha as an example of प्रावृत्तिक-क्रमः; and comments.upon it :
अत्र त्रिविक्रमप्रवृत्तावपि स्तनप्रवृत्तावपि प्रागवामनत्वं ततो विजृम्भणं पश्चाद् बलिबन्ध इति क्रम: ।
818. Read in the first half of the gatha जहिमहण (? जलहि-महण) - विरमम्मि। I first read • अहि (? अद्धि) महण-विरमम्मि in view of the title of a work called अब्धिमथन by चतुर्मुख.
As the editor reads जहिमहण, ज(ल)हि-महण (i.e. जलधि-मथन, i.e. अब्धिमथन) might have been the original reading. Bhoja cites this gāthā to illustrate 'ucheur, one of the six शब्दप्रमाणs - 'determinants which decide the one meaning of a multi-sensed world.' - V. Raghavan (Bhoja's Srigara Prakasa, p. 50). Bhoja thus comments
upon it : अत्र लक्ष्मी-स्वयंवरणप्रकरणतो 'हरि'-शब्देन विष्णुरुच्यते। -पृ. ८९०. 819. This gāthā is already dealt with; vide ŚP S. No. (746.187) supra. Bhoja cites
it here to illustrate 'linga', one of the six शब्दप्रमाणs-determinants which decide the one meaning of a multi-sensed word. He thus comments upon the gāthā : अत्र 'गौर'-'सित शब्दाभ्यां कलधौतस्य स्वर्णरौप्य-वाचकत्वेन यथाक्रमं युवतिमुख-शरद्-विभावों: उपमानविभाग:। - पृ. ८९०.

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820. Bhoja cites this gāthā to illustrate 'er, one of the six TagYHUS - determinants
which decide the one meaning of a multi-sensed word. He thus comments upon it : अत्र देशत: पुण्डरीकशब्दोऽरण्यविशेषणे व्याघ्रमाह करस्थाने पत्रमातपत्रस्थाने कृतम्-इति विभाग:। - . <80-689.
821. The printed text of the Mysore edn. (p. 891) begins with latifa TCER POUR
- These words make no sense. The rest of the text is a slightly corrupted text of GSS I. 64 331 façayuu31 (9. 2. quo31) ---
822. This gåthā is easily identifiable with GSS 11.9 : Ficts 35780HA ---
These two gāthäs (Nos. 821 and 822) are cited with the introductory words: Qact JT —, but there are no comments on them by Bhoja - unlike on the preceding verses illustrating the first five 916Gyms or determinants - 1. 372f 2 Yahor 3 pas 4 sifaru 5 den, and hic is the sixth. Possibly these are lost.
823. This gātha is already dealt with; vide SP S. No. (344.114) supra. Bhoja
introduces it here with the words sal4ur: (? $alar:). riba is rendezvous, love-tryst. 3190R means defect, fault, improper conduct; 340R means approach, conduct, a favourable circumstance.
824. This gātha is cited as an alternative example to the above one (No. 823). 825. Read in the chaya Hat- art erotta This gātha is introduced with the
words : "HSCHRAT JET-". HRT- desire - (The wanton woman is full of lecherous desire to enjoy the delights of love with her paramour secretly in the cotton-field, when the cotton-plants grow sufficiently tall.)
826. This gathā is cited as an alternative example to the above one (No. 825). The
elder brother-in-law cuts the karanja tree on the river bank; With the ruining of the rendezvous, the keen desire and hopes of enjoying pleasures of sexual
union with her paramour are dashed to the ground. 827. This gātha is already dealt with; vide ŚP S. No. (602.162) supra. Bhoja cites
it here as an example of hollust (FRAUCT — keen longing).
828. Bhoja cites this gathā as an alternative exampie of Halust. See translation.
829. Bhoja cites this gāthā as an example of
the AU (BAU = thrilling with joy or

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desire). Dr. Bhayani reconstructs the gatha as follows : उचेसि जा कुसुंभं तावचिअ पुत्ति फुलिया पूवा (? पूगा) । मग्गेण महुअपंती कल्लाणपरंपरा तुज्झ / तत्थ || (उचिनोषि यावत् कुसुम्भं तावदेव पुत्रि पुष्पिता: पूगा: । मार्गे मधूक-पङ्क्ति : कल्याणपरम्परा: तव ॥) We may translate the gatha as follows : As you are collecting the kusumbha flowers, look, dear girl, a series of lucky things (for you) is taking place - the pūga (betel) trees have burst into blossom,
the Madhūka trees on the roadside have also come into bloom ! 830. Bhoja cites this gatha as an alternative example of सङ्केतहर्षण. Dr. Bhayani has
partially restored the gātha as follows : सिंबलि-गुडिए गामे वोद्रह-पउरम्मि पुत्ति दिण्णासि । रंजिअ ------- सुहमेत्थ चिट्ठिहिसि ॥ (शाल्मलि-परिवृते ग्रामे युव-प्रचुरे पुत्रि दत्ता असि । रञ्जित ------- सुखमत्र स्थास्यसि ।) We may translate it as follows: You have been married into a village that has thick woods of (that is surrounded by) Salmali trees and plenty of young men. I hope you will live happily there (or you should have a happy time there)!
831. Read ---- (p. 894). Bhoja cites this gatha as an example of सङ्केताश्वास (आश्वास .' = cheering up, consolation). See translation. 832. This gāthā is already dealt with; vide ŚP S. No. (311.107) supra. Bhoja cites
it here as an alternative example of CTTH. See translation.
833. This gātha is already dealt with; vide ŚP S. No. (601.162) supra. Bhoja cites
it here as an example of सङ्केतागम (आगम = coming near, approaching).
Mathuranatha Sastri (p. 83) thus introduces the gatha : 'सङ्केतस्थाने नायकस्त्वत्प्रतीक्षया कामपीडामनुभवन्नुत्ताम्यति' इति नायिकाम् अन्यान् प्रति च तत्र गमने भयं सूचयन्ती दूती तावदन्यापदेशेनाह'(The word TTH probably has reference to the arrival of the nāyakā (or nāyikā, as the case may be) at the love-tryst.
834. Bhoja cites this gāthă as an alternative example of MSCIMA. Mathuranātha Šāstri

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(p. 271) thus introduces the gatha : Patutsta & REHTY TNT rument
पदार्थमुपाददतो बिभ्यति । तद्विरम तदुपसरणादिति नायकं शिक्षयन्ति दूती सापदेशमाह -- । 835. This gātha is already dealt with; vide ŚP S. No. (126.67) supra. Bhoja cites
it here as an example of सङ्केतभ्रंश. The हालिकपुत्र went to the rendezvous to meet CUMMI, his beloved girl, but when she sees her lover wearing jambu leaves as ear-ornament, she realizes her mistake in not keeping the appointment and cosequently the fair colour of her face turns dark. So it is failure of one of the two, lover and beloved, to keep the appointment.
836. Bhoja cites this gāthā as an alternative example of H
RT. See translation.
837. This gātha is already dealt with; vide SP S. No. (125.66) supra. Bhoja cites
it here as an example of 15a-faen. As the river bank is blazing, the rendezvous will be destroyed in fire. And this will certainly create difficulties for her and her lover in finding a suitable and safe love-tryst.
838. Bhoja cites this gāthā as an alternative example of $a-Pany. The unchaste
woman picks up the Madhūka flowers-the last of the season, and weeps because of the impending termination of love-trysts under the Madhūka tree.
839. Bhoja cites this gāthā as an example of $19E7 (39E17 - support, shelter,
protection). 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. The thicket provides a safe love-tryst for the two lovers for days and months together.
840. As remarked in Vol. I (p.201) this verse/ gāthā is corrupt and therefore obscure.
841. Bhoja cites this gāthā as an example of $45. Dr. Bhayani thus reconstructs
the text of this gātha : चिंतेहि अंगसंगं, वअस्स अण्णेण णं उवाएण ।
सा उण पलही पावेण तेण दड्ढा तुसारेण || (चिन्तय अङ्गसङ्गं वयस्य अन्येन ननु उपायेन । सा पुन: कार्पासी पापेन तेन दग्धा तुषारेण |) See translation.

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842. Bhoja cites this găthā as an alternative example of -H. The charming bed
of lotus-plants, which served as love-tryst for the two lovers, has been ruined by Winter (frost) -- now it looks like a reaped sesamum field. So it provides an appropriate example of $-5.
843. Regarding the reconstruction of the second half of the gătha - the first half
is our despair – M. V. Patwardhan wrote to say : “I think your is to be paraphrased as शून्य. If we emend it into सव्व (= सर्व), there arises the difficulty that the hemistich lacks a predicate. ग्राम: सर्वयुवक: क्रियते cannot convey any sense, because of the absence of any compliment to the verbal form क्रियते. सुण्ण can be emended into shoot (= WT, depressed mentally). But that is not necessary, as your (= F2) can very well stand for 4 5 ."
Dr. Bhayani 'partially and doubtfully' restores the verse as follows:
"Tos (? Eg) utz-farei MET 46 HIUSI YOUT-E13101 BRS PET37 ERA131-873179 11 (Toofa (quila) 70-te un IHEUT TOUT (quru), riyar fud na E -PET II"
It may be translated as follows :The farmer's daughter goes to the river-ghāta (to the river side) for collecting
flowers. As she leaves her house she makes whole village empty of .. young men !
845. Bhoja cites this gāthā as an example of $ CITTY (377274 = thought, meaning
intention). Both the lovers feel they could use the Karanja tree, when sufficiently grown, as rendezvous. See translation.
846. Bhoja cites this găthā as an alternative example of art. The Murală river
meanders near our village and at every bend there are dense thickets of reeds which provide safe love-trysts for lovers (like you and I). So you need have no apprehension as to finding suitable rendezvous when we go to my village, O, brother-in-law !
847. Bhoja cites this gāthā as an example of Agri9974 (34974 = lying near at hand
or close by, lying ready for use. SK (p. 365, v. 111) cites it in a different

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context as an example of 'Trasto Baranyi Erèguffa:' The precise meaning of the term 34914 and how the present găthă serves as its illustration is not clear.
848. Dr. H. C. Bhayani would like to restore this gāthā as follows :
"3177-319U-qca quin E fA3 3 31 1 जह सा ण ठाइ हेठे हु तस्स वि चूअविडवस्स ।। [अनुगमन-पूर्वं वने तथा दुःखिता तु आशाभि : । यथा सा न तिष्ठति अधस्तात् खलु तस्यापि चूत-विटपस्य ॥] If for 3tosqu we can think of a Prakrit word meaning abhigamana (ahivaccana ?), then we can take the purport to be this possibly : She was disappointed in her rendezvous under the mango tree several times and so she avoids to stand under any mango tree --" It is possible to read हआसाहिं (Sk. हताशाभि:) for the proposed उ आसाहिं in the first half. Actually we find this very expression used in the first illustration (S. No. 847). We may freely translate the gathā as follows: She, although desparate, doesn't like to stand under that mango tree in the forest she would much rather avoid it - since she was failed many times before by the mango trees in her trysts!
849. Bhoja cites this gātnā as an example of HT-RAHT (URGI prayer, request,
entreaty) A wonton woman prays to the Madhūka tree to shed its leaves and flowers slowly : --- TH: sfa af 3790i Tyr- match forfat 3fazor sa FH
1961-THIRUTHET HT feruet:1 — 497411, q. 49, T. 999., 850. This gāthā is already dealt with; vide ŚP S. No. (708.180) 'supra. Bhoja cites
it here as an example of सङ्केत-बहुमान (बहुमान = highesteem, great respect or regard for). A wonton woman kisses, as if it is her lover's cheek, the yellowing leaf blown towards her by the wind from the banyan tree which had served for long as their love-tryst.
851. Bhoja cites this gāthā as an alternative example of 150-E TT. The banyan tree
has as it were interned the dark half of the month and provided rendezvous to lovers. Naturally these lovers have great regard for this banyan-tree.
852. Dr. H. C. Bhayani would like to restore the gātha as follows :
"तं बंधवं ग पिव पणस्समाणं णिअच्छए असई ।

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आणीअ-बाह-णिब्भर-भरिअच्छी वेअस-कुडुंगं ।। [तं बान्धवं गतमिव प्रणश्यन्तं पश्यति असती । आनीत-बाष्प निर्भर-भृताक्षी वेतस-निकुञ्जम् ।।"] Bhoja cites this găthă as an example of saṁketa-vatsalya (showing or displaying affection or tenderness towards the rendezvous). We may translate it as follows:
The wanton woman looks at the decaying grove with tearful eyes as if it is a dying kinsman.
853. Bhoja cites this gatha as an alternative example of सङ्केत-वात्सल्य (वात्सल्य, affection
or tenderness). ___Dr. H. C. Bhayani would restore it follows :
"हट्ठा पेच्छइ पंसुलि गामासण्णे सु सुण्ण-छेत्तेसु । मंगुस-कण्ण-सरिच्छं दीसइ पण्णं पलासस्स ||
हृष्टा प्रेक्षते पांसुली ग्रामासन्नेषु शून्यक्षेत्रेषु । नकुल-कर्ण-सदृशं (?सदृक्ष) दृश्यते पर्णं पलाशस्य ।।"] With the second line compare the second line of the following:सिसिरे वणदवदड्ढे वसन्त-मासम्मि संभूयं । मंकुस-कण्ण-सरिच्छं दीसइ पत्तं पलासस्स ।। - GS(W) 781; DN 6.108 मंगुसो." In the desolate patch around the village, when the eyes of the wanton woman fell on the palāśa leaves that looked like the ears of a mongoose her heart leapt with joy. DÁS [better known as Deśīnāmamālā (DN)] p. 221. मंगुस-मुगुसु मुग्गसा णउले। (मंगुसो मुग्गुसू मुग्गसो त्रयाऽप्येते नकुलवाचका: ।) Bhuvanapāla (p.277) thus comments : --- लधि (?घि)म्ना लोभश-कपिलानां पलाश-दलानां 'नकुलकर्णोपमाबीजम् । मंकुसो नकुल: । उपमालंकार : ।
854. Bhoja cites this gathā as an example of सङ्केतानुक्रोश (अनुक्रोश = tenderness,
compassion). The mountain river in spate has swept away the Kadamba tree on its bank as can be seen from the description of the Kadamba flower, being swept away, with its filaments torn away by the whirling motion of the vortex and bee steadily clinging to the flower. This Kadamba tree was providing a

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safe love-tryst. It is swept away by mountain river in spate. So the nãyikā who has had a soft corner for that a tree feels grieved at its destruction.
856. Bhoja cites this gātha as an example of HSCITATYUT (317419U = objecting or taunting).
Mathurānātha Šāstrī (p. 81) thus introduces the gātha : Fiat Uprare दन्तधावनार्थ भञ्जन्तं धार्मिकं सोपालम्भमाह । See translation.
857. Bhoja cites this gāthā as an alternative example of HSTITUT. See translation.
858. Bhoja cites this gātha as an example of a RET (377 RAT = protection,
preservation). The banyan tree with its dense shade was a favourite rendezvous for the unchaste women. Apprehending that it would (otherwise) be denuded of its leaves by the wayfarers, they secretly sprinkle with a solution of turmeric powder (or rice-flour) the leaves of the banyan tree and thus protect it.
859. Bhoja cites this găthā as an alternative example of Scie. Suggesting the
presence of a fierce (or ferocious) lion in the valley adjacent to the grove of trees on the bank of the river Godā, the wanton girl sees to it that the pious man does not go that side to collect flowers and thus safeguards her rendezvous.
860. Dr. H. C. Bhayani restores this gātha as follows :
"आसास-ऊससंतेहि उब्बुडुइ तह णिबुडमाणम्मि ।
संकेअकुडुंगे अडअणाएँ हिअअं पि णिब्बुथु ।। [आश्वास-उच्छ्वसद्भिः उन्मज्जति तथा निमज्जति ।
salgst 3RIKUT: Eufo Anh 11]" Bhoja cites this gāthā as an example of samketa-tātparya: We may translate this gātha as follows :
Her heart swells as with the inspiration of breath when she - the wanton woman - sees her secret meeting place emerge (out of the flood of the river) and sinks low as with expiration when the place goes under the water.
861. Bhoja cites this gāthā as an alternative example of $c-arcyf (purpose, with
reference to any object; here, love-tryst). The Palāśa woods around their villages provide safe and convenient love-trysts to wanton women (and their lovers). Naturally, with the decline and dropping of Palāśa leaves, the desires and hopes of wanton women wane and decline; but revive again as the Palāśa

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woods come into bloom with fresh sprouts. Their main concern is the availability of rendezvous.
862. Bhoja cites this gathā as an example of $40114 (348114 = the act of rousing
to rebellion or bringing over to one's own party [by secretly suggesting anything into the ear].) The speaker of the gāthā admonishes the river Muralā for uprooting and sweeping away the woods of trees on its banks (and thus destroying places of rendezvous).
863. Bhoja cites this gāthā as an alternative example of HM11414. The speaker of
the gātha threatens Narmadā thus: “O, Narmadā, I shall complain to Ratnākara, (The Ocean) your husband, that today setting aside all decency, you accompanied your lover, the Flood, to the reed-bower (or, that you were led to the reed-bower by the Flood, your lover).
864. Bhoja cites, this gāthā as an example of H T4ITEH - (3414FH: contemptuous
reproach,, finding fault with, taunt). See translation.
865. Bhoja cites this gāthā as an alternative example of
TUICEH. See translation.
866. Bhoja cites this gāthā as an example of HST-fact - (Paytru: separation).
All along the banyan tree was providing to the unchaste women a place of rendezvous. But now the wind rudely shakes the huge banyan tree and many pale-coloured leaves fall down and along with them fall the hearts of many wanton women. Now, because of denudation it will cease for the paramours
to be a place of rendezvous! 867. Dr. H. C. Bhayani restores this gāthā as follows :
" EU-arqui-fa313-HE 3RTS-JUT-Jf0737-9R3ITHI GU-RR131-afsu-qui-udarant tout fuut ar E-974-face-trg 3pci-u-viApalai UT-91797-TT-07-34870: Toonist ]" Bhoja cites this gātha as an alternative illustration of samketa-vipralambhadestruction of the rendezvous. We may translate the gātha as follows:
O, Karīra (tree), you had given such a lot of pleasure to so many wanton women by your thick, low, and large branches and you had to witness silently

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the destruction of the woods of reed around, Whose hand has now cut you down?
868. Bhoja cites this gāthā as an example of Sar: (3773ft: = a blessing, benediction).
Now, see translation.
869. Bhoja cites this gāthā as an alternaive example of NSCRft: (conferring or
bestowing a blessing on the love-tryst or rendezvous). I had referred this gåtha to Prof. M. V. Patwardhan. He wrote to say: "The sense of the second quarter is obscure to me. In the second half quufo is to be equated with peo (locative plural) or Flut: (instrumental plural). Does feel mean 'I shall burn (myself) (to death) (in the midst of, or with, the stumps of the bower of your bank, o river Tapi ?' But why should the woman burn herself to death, if she has enjoyed herself to her heart's content? The answer to this question lies in the obscure second quarter : "O 37 37 375 variet". It possibly means : that day no young man chose her as his partner for enjoying the delights of love; and that is why she was fed up with life and was overpowered by thoughts of ending her life !
Dr. H. C. Bhayani restores this verse as follows :"जह इच्छा तह रमिअं, ण अ गहिओ अज्ज जूव-संगहणे । तुह तावि (? वी)-तीर-कुडुंग खण्णुएहिं पि डज्झिस्सं ।। (यथा इच्छा तथा रमितं न च गृहीत: अद्य यूप-संग्रहणे । da anet-R-Rigs R eft gezi 11)" We may translate it as follows:
0, dear Grove on the bank of the River Tapi, we had had our pleasures here to our heart's content, but today you are not being selected for the holy office of a 44 (a sacrificial post) ! I, (however), would be too happy to be burnt with the stumps of your trees !
870. Bhoja cites this gātha as an example of $9-991. (sr: a question, a query).
The banks of the river Godā are full of woods drenched in the first showers of the season, always fragrant and rich in the honey of flowers. How shall we not, O Godā, salute / pay homage to them? So here we have a case of
$a-7%.

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871. Bhoja cites this gāthā as an alternative example of . It would seem a female messenger of a T addresses the who after making love to the नायिका has now grown cold towards her, and appeals to him to meet the नायिका. It is given as an example of - as the attributes are applicable, or could be applied equally to the place of rendezvous.
872. (i, ii) Bhoja cites these two gathās as examples of face-fargeur (fag = sorrow, distress), one of the stages of a woman hurrying to her rendezvous to meet her lover (अभिसार or अभिसरण). Now see translation.
873. Bhoja cites this gāthā as an example of -, (ie asking, inquiring about, inquiry, question), falling under the topic of 3RR or 3RR [going to a rendezvous (said of lovers), meeting, rendezvous (of lovers)]. Now see translation.
1
-. See translation.
(the communication of an
874. Bhoja cites this gāthā as an alternative example of
875. Bhoja cites this gatha as an example of faq
event, occurrence), falling under the topic of अभिसार or अभिसरण
876. Bhoja cites this gatha as an alternative example of faq, falling under the topic of अभिसार or अभिसरण.
877. This gāthā is already dealt with; vide ŚP S. No. (770.191) supra. Bhoja cites it here as an example of (instruction by a female friend or companion,
a woman's confidant.) See translation.
878. This gāthā is already dealt with; vide ŚP S. No. (630.167) supra. Bhoja cites it here as an alternative example of T. See translation.
879. This gāthā is already dealt with; vide SP S. No. (388.122) supra. Bhoja cites it here as an example of (looking forward to or waiting for darkness, night). See translation.
3
880. Bhoja cites this gāthā as an example of ध्वान्तानुशोचन (ध्वान्त darkness, night. regretting, bewailing, mourning over, lamenting). This gāthā was referred to Prof. M. V. Patwardhan: He wrote to me in reply: "quarters 1,2,3 are obscure. Quarter 4: ''ng
cloudy day accompanied
=
-

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by foul weather. Quarter 3 HH qru afara (?) "Oh (my) kin, stormy cloud, when will you be seen by me to encompass my death?”. Mysore edn. (p. 902) reads 'मज्झ वहाउ बंधव ---" वहाउ(ओ) may be the abl. sing. form of not वह but पह (path, way).
881. Bhoja cites this gāthā as an alternative example of Edraligatan. The printed text
(Mysore edn. p. 902) reads PC3RIDER37 HR37 UT HRA317 RT II It is possible to reconstruct this second half as follows : विरलअरअंधआरअ साहसु (तं) केण मुसिओ सि ॥ (Parcar-3FCR() pu () oct 11) The gătha may tentatively be translated, following the above reconstruction as follows : Dr. Bhayani reconstructs the second half thus : fac3RBETSTR37 3THR37 OUT 1311 RATU With Dr. Bhayani's reconstructed line, the găthă may be translated as follows : Translation : "Who has kidnapped you O, you insubstantial Darkness? You are not there in the back-yards of our houses, nor on the roads
of our village, nor in the market-place-not even at the funeral grounds." 882. This gātha is already dealt with; vide ŚP S. No. (40.50) and DHV S. No. (15.9)
supra. Bhoja cites it here as an example of al-ICOR (HCR honour, welcome, respect, praise). See translation.
883. Bhoja cites this gāthā as an alternative example of Eart-
r. See translation.
884. This gātha is already dealt with; vide ŚP S. No. (363.118) supra. Bhoja cites
it here as an example of चन्द्रिकाभिसरण (चन्द्रिका moonlight, अभिसरण going to a rendezvous to meet one's lover; so the phrase means proceeding, during moonlight, to the place of rendezvous to meet one's lover. Now, see translation.
885. Bhoja cites this gāthā as an alternative example of af SCATTATARUT. Now see
translation. 886. Bhoja cites this gāthā as an example of afscht-Ata - (Ads - disgust, loathing).
Now see translation.
887. Bhoja cites this gāthā as an alternative example of afsch-fid. Now see
translation.

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888. Bhoja cites this gatha as an example of चन्द्रोदय-निन्दा (चन्द्रोदय - moon-rise; निन्दा
- censure, reviling, reproach, condemnation); viues (H1YG FLCto fall or happen well, turn out well, to happen, occur. See the translation for urly-Aral.
889. Bhoja cites this gāthā as an alternative example of a sty-ARGI. See translation.
890. Bhoja cites this gāthā as an example of ups-forrar ( -farrer: disdain, beneath
one's notice.) See translation. For 300cchuyapat cf. im forifeythugar - GSS (VI.56); For the whole gāthă cf. MH : TIGRIRTA, Ç. 30.
891. Bhoja cites this gāthā as an alternative example of ars-
f . See translation. 892. This gātha is already dealt with; vide ŚP S. No. (390.123) supra. Bhoja cites
it here as an example of अभिसरण-साध्वस (- साध्वस - nervousness). See translation
893. Bhoja cites this gāthā as an alternative example of 31 THRUT-HECH. When the
young bride loses her virginity in the thicket by the riverside, the birds being embarrassed and dismayed fly up and flap their wings to remark 'how shameful', 'how shameful'.
894. This gāthā is already dealt with; vide ŚP S. No. (440.133) supra. Bhoja cites
it here as an example of 3TAHIROT - a (- film — incident, event; news). See translation.
896. This gātha is already dealt with; vide SP S. No. (484.142) supra. Bhoja cites
it here as an example of apudiaTIIT (The incident or event concerning a nāyikā who is deceived (वञ्चिता = विप्रलब्धा ) by her lover who fails to meet her at the rendezvous (which she has named or has been agreed upon). See translation.
897. Bhoja cites this gatha as an alternative example of वञ्चितावृत्तान्त. The हालिक-स्नुषा
had gone to the wood of reeds (ar) the rendezvous agreed upon, but the brother-in-law (her lover) had failed. She wore a tender vetasa leaf as ear-ornament and returned home and by a significant smile and glance she conveyed to her brother-in-law that he had failed to keep the appointment.
898. This gātha is already dealt with; vide ŚP S. No. (263.98) supra. Bhoja cites ___ it here as an example of परिभोग-दर्शन (परिभोग enjoyment, especially sexual

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intercourse; cft seeing, looking at or observing the signs of sexual intercourse such as nail-marks on the breasts, tooth-bite, and the like). See translation.
899. Bhoja cites this găthă as an alternative example of RATTERft. See translation.
900. This gātha is already dealt with; vide ŚP S. No. (734.185) supra. Bhoja cites it here as an example of
W ight (- Tef?, as suggested by V. Raghavan). Read translation.
901. This gātha is already dealt with; vide SP S. No. (58.54) and DHV S. No. (5.7)
supra. Bhoja cites it here as an alternative example of H ruf (- 8f). See translation.
902. This gātha is already dealt with; vide ŚPS. No. (52.53) and DHV S. No. (31.12)
supra. Bhoja cites it here as an example of अविनय-निगूहन (concealing or hiding of bad or immodest conduct or behaviour, (moral) offence).
903. Bhoja cites this gāthā as an alternative example of 31fatu-f167. See translation.
904. This gathā, whose first half is corrupt and obscure, is cited as an example
of fa6-feta (concealing or hiding of marks, signs - for example, wounded lip or nail-marks on the bosom caused during sexual dalliance (or intercourse). The second half of this gāthā may be reconstructed as follows: बालअ धण्णो सि तुम, जेण जिअंती पिआ दिट्ठा ।। (4101Ch, Etrutt ta han for SET 11)
O, young boy, fortunate you are, since you could see your beloved alive and kicking!
905. Bhoja cites this gāthā as an alternative example of fag T-6 ta. The lip of the
nāyikā was bitten by her paramour. To cover up this clandestine love-affair her (female) friend says that her lower lip has been cracked by winter.
907. This gāthā is cites to illustrate sargharsa (rivalry, mutual competition). Bhoja
adopts this gātha from some old story of Prince Müladeva, Acala-Svāmin and a prominent courtezan, Devadattā by name. Devadattā has fallen in love with Mūladeva and she intensely hates Achala Svāmin who has a passion for her. The Tocht referred to in the gatha was Devadattā. 370 was a rich merchant's

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son. Müladeva was poor. So the mother of Devadattā was in favour of the rich marchant's son and against Müladeva. So there is a competition between the two to win Devdattā's love.
908. Bhoja cites this gāthā as an example of one of the dūtīs, female (love)
messengers, called for errf. Bhoja defines this çait in these words : 7RRY नायिकाया वा यथामनीषितमुपलभ्य स्वबुद्ध्या कार्यसंपादिनी निसृष्टार्था । तस्या: समग्रबुद्धिगुणयोगात् । - 1. 9. 9. 990.
Mammata cites this gāthā as an example of the figure 37TA14. 909. This gātha is already dealt with; vide ŚP S. No. (372.119) supra. Bhoja cites
it here as an alternative example of निसृष्टार्था दूती.
910. Bhoja cites this gāthā as an example of alaçat. He thus describes her:
प्रस्तुतार्थलिङ्गसंबद्धमन्यजनग्रहणीयार्थमलौकिकार्थं वातदूती । तत्र प्रस्तुतार्थलिङ्गसंबद्धं यथा - आसाइअं अणाएण, etc.
911. Bhoja cites this gatha as an example of अन्यजनग्रहणीयार्थं वातदूती. The वासकसज्जा (who
adorns herself for joy and awaits her lover in full dress) has waited for her lover the whole night; thereby (because of sleeplessness) her eyes are reddish and dull; she feels embarrassed because she has put on ornaments in vain; she feels ashamed of even her maiden friends! Her charming lover should take note of her condition and immediately go to her and appease her.
912. Bhoja cites this gāthā to illustrate urci localef (alaçant).
913. Bhoja cites this gāthā as an example of loft. It is double-meaning. The
apparent meaning is about pestle (m) but the hidden meaning is about (pestle-like) small organ. SK (p. 549) too quotes it to illustrate a variety of the figure if (3747 TCHETT). Bhoja thus comments upon it : 3791 - 1971 मुसलरूपस्योक्तत्वाद् इदमन्यभावनाभिधानं भाविकम् । - सरस्वती पृ. ५४९.
914. This gātha is already dealt with; vide ŚP S. No. (665.173) supra. Bhoja cites
it here as an example of wriçit. See translation.
915. Bhoja cites this gāthā as an alternative example of Huc.

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it here as an example of (मनसि) चिन्ता. See translation.
917. Bhoja cites this gāthā as an example of 3 .
917. Read in the first half of the gāthā (531) instead of (1934), and in the chāyā (9]
instead of (a). We may translate the gātha as follows :
The unfortunate girl who lives almost entirely on the pleasures of sexual union which she only fancies (with you in her bed] doesn't know what she would gain (?) if only she stops for a moment indulging in her fantasies!
918. Bhoja cites this gāthā as an example of SITO (insomnia, sleeplessness).
Bhuvanapāla reads पहालोयण० (पथालोकन)० - looking at the way (of your coming back home); fuit3tut (fa-167) pastime, diversion; SK (p. 675, v. 338) too cites it with the introductory words (hyfeg) JU'R URIT -
919. This gāthā is already dealt with; vide ŚP S. No. (417.128) supra. Bhoja cites
it here as an example of FILTET. SK (p. 676, v. 341) too cites it with the introdrory words 'लज्जाविसर्जनं यथा --'; लज्जाप्रणाश and लज्जाविसर्जन both mean the same thing – shamelessness.
920. Bhoja cites this stanza as an example of 74819rriasHe defines it as,
'F998ret: 3FF MERCH'. See translation.
921. Bhoja cites this gāthā with the introductory words: 'ASUT EUCL Tout şía
faqur 1 421 - (Pagoury - causing to hate, rendering hostile, exciting hatred or enmity). See translation.
922. Bhoja cites this gāthā with the introductory words : '3truculati UNIT -' (alle
= exclusion of others). See translation. There is fresh breeze, fresh thought, embodied in this gāthā. It has an air of modernity about it. On economic considerations (and grounds of security), the speaker of the gathā declares that a woman has to submit to her husband. But when it comes to enjoying the real pleasures of love, she can't do it without compromising her moral values.
923. This gātha was referred to Dr. A. M. Ghatage; he reconstructs and interprets
it as follows:

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"ससिमुहिमुहस्स लच्छी, घणसालिण धणवण्णयमणुकरइ । तणुओअरि तणुआअइ, हलिअसुओ कुणसु जं जुत्तं ।।
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 Ganasālī paddy; the lady with a slender belly is becoming thinner and thinner. Do what is proper (for her or for the occasion).
924. Bhoja cites this gathā with the introductory words: guruhinifefrigerHTCHI
URIT — . 3719572FT ( 317974RfA) = scolding, threatening so as to terrify, reviling, assailing with harsh language; guruhly = the (feigned) anger of a coquette towards her lover; so, the whole phrase means scolding by a (wanton woman or) coquette of her lover through (feigned) anger. The son of the village-chief is called AFICHEAT — similar to an insect in nimba-berry, because he is attached and devoted to his wife who is inferior it. ?very respect to the speaker of the găthă, and unworthy of his love.
925-926. Bhoja introduces this passage with the words : qalaquindect-Ewalifaft:
3I1GHTH 3721146RUTH Taking away either through force or deceit garments, ornaments, etc., from their owner/s. Now see the translation.
927. Bhoja cites this gātha with the introductory words : $URIT: Paula: URTHI
Forcibly detaining a person (under one pretext or another); (Paard - impeding, . preventing; for: moving freely according to one's inclination, desire.) Now,
see translation
928. Bhoja cites this gātha with the introductory words : FCRIR UT — (HRT =
message; CTT - imparting or giving:) So F GF is imparting or giving of a (love) message. Now see translation.
929. Bhoja cites this gāthā as an alternative example of FTRIGH. Now read translation.
930. The găthā is corrupt but we may reconstruct it with the help of a corresponding
gātha from Līlavai, reproduced below : सत्थि मलयायलाओ सुंदरि तह माहवाणिलो लिहइ । CE PLEURI HOT Pop q aggor II - Garas, TT 5.40C. (स्वस्ति मलयाचलात् सुन्दरि ते माधवानिल: लिखति ।

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लेखं समुच्चयार्थं भावय किं खलु बहुना ।) In a foot-note on समुचयत्थं the editor writes : (समुच्चयत्थं) - संक्षेपार्थम् (f.n. 10, p. 87). Now, Bhoja's text may be reconstructed in the light of this gātha : सत्थि मलआअलाओ सुहाहहगुजो लंहइ (? सुंदरि तुह माहवाणिलो लिहइ) । सब्भावमेत्तएण अ भावेज्जसु किं थ बहुएण || (स्वस्ति मलयाचलात् सुंदरि ते माधवानिल : लिखति । सद्भाव-मात्रकेण च भावय किमत्र बहुना ॥)
I confess the latter part of the first half of the găthā is, except for the word लंहइ (which can be looked upon as a corrupt form of लिहइ), highly corrupt . beyond recognition or we have to presume that Bhoja had some other reading before him whose corruption we have in the words सुहाहहगुजो.. ..
930. The gatha is drawn from the Lilavai of Kouhala:
सत्थि मलयायलाओ सुंदरि तुह माहवाणिलो लिहइ । लेहं समुचयत्थं भावेजसु किं खु बहुएण ।। स्विस्ति मलयाचलात् सुन्दरि ते माधवानिल: लिखति । लेखं समुच्चयार्थं भावय किं खलु बहुना ॥] We may translate the gatha as follows : May it be well with you, O, beautiful lady! Mädhavānila writes to you from the Malaya mountain, Please understand the complete import of the letter! What more shall I say ? It is interesting to note that Bhoja thus reads the second half of the gătha: सब्भावतेत्तएण अ भावेजसु किं थ बहुएण ।
[सद्भावमात्रेण भावय किमत्र बहुना ।] - P. 950 931. This gāthā is already dealt with; vide ŚP S. No. (70.55) supra. Bhoja cites
it here as an example of प्रणिधान.
933. This gātha is already dealt with; vide ŚP S. No. (454.136) supra. Bhoja cites
it here as an example of दूतानुगम-following (अनुगम) one's own (female) mesenger.
Now see translation. 934. This gatha is already dealt with; vide SP S. No. (760.189) supra. Bhoja cites
it here to illustrate सखी-विगर्हण. विगर्हण is the act of blaming, censure, reproach. Now see translation.

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935. This gāthā is already dealt with; vide ŚP S. No. (414.128) supra. Bhoja cites
it here as an (alternative) example of weifameu. See translation.
936. Bhoja cites this gāthā as an example of hrifsau (= Arifterut); STATUT = the act
of looking up, seeing. See translation.
937. This gāthā is already dealt with; vide ŚP S. No. (362.117) supra. Bhoja cites
if here as an (alternative) example of fritate. See translation.
938. Bhoja cites this gāthā as an example of Thrfarat. THITH - going and coming;
going to and fro; forn anxiety; See translation.
939. This gātha is already dealt with; vide ŚP S. No. (390.123) supra. Bhoja cites
it here as an (alternative) example of Tradi. See translation.
940. Bhoja cites this gātha as an example of foug-lahef i.e., consideration or
reflecting about delay (on the part of the female messenger - gait). See translation.
941. Bhoja cites this gāthā as an alternative example of Perug-lahef. See translation.
942.Bhoja cites this skandhaka from Setu (X. 74) as an example of cari i.e.,
coming, arriving, approaching, returning of a (love -) messenger. See translation.
943. Bhoja cites this alternative example of carrhat from Setu (X.65). See translation.
944: Bhoja cites this gatha as an example of आकार - परीक्षा. आकार is expression of
the face (as furnishing a clue to the disposition of mind); TT - examination, drawing (correct) inference from -. See translation.
945. Bhoja cites this gāthā as an alternative example of 3110R - ORTET. See translation. 946. Bhoja cites this gāthā as an example of a ufante, ufante is betrayal. From the
fact that the preet is "tired', feels exhausted and that 'the flowers from her braided hair have slipped off, some have even dropped', the TRT easily draws the inference that she has betrayed her (
F CT) by enjoying sexual intercourse with her (Ficht's) paramour to whom she was sent with a message (of love) !
947. Bhoja cites this gāthā as an alternative example of c-ufaha. See translation.

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948. This gatha is already dealt with; vide SP S. No. (477.140) supra. Bhoja cites it here as an example of - i.e., interrogating or asking a person about anything; inquiring with (R) = interrogating a love's messenger about the paramour by asking thousand and one questions. See translation.
949. Bhoja cites this skandhaka from Setu as an alternative example of - See translation.
950. This gāthā is cited by Bhoja to illustrate -R- speech of a messenger. The first half of this gāthā is highly corrupt; the second half is comparatively easy to restore. Tentatively it may be restored as follows:
दूइ - सीता ।
संगमसुहा समब्भहिअ - मणहरा होंति संदेसा ॥
( यदि वातिरिक्त-विरह-ताप- संतप्तस्य दूत - कथ्यमाना: ।
सङ्गम-सुखात् समभ्यधिक-मनोहरा भवन्ति संदेशा : II ).
The earlier part of the first half of this gatha is obscure. The rest of the gatha may be restored as follows :
पेसविअपिअस्स दूइ - सीसंता ।
संगमसुहा समब्भहिअ मणहरा होंति संदेसा ॥
[---- प्रेषितप्रियस्य दूती - कथ्यमानाः । सङ्गम-सुखात् समभ्यधिक मनोहरा भवन्ति संदेशा: ।। ]
The messages of one's lover who is banished or exiled (? or separated ?) brought by (or conveyed by) the messengers are far more delightful than the pleasure of actual union.
951. Bhoja cites this skandhaka from Setu (X. 79) as an alternative example of -SR. See the Extracts from Sanskrit Commentary (Appendix I) and translation.
952. Bhoja cites this gatha as an example of auf hearing the speech of a messenger (sent by one's lover). See translation.
953. Regarding the second half of this gāthā Dr. Bhayani wrote to say: "Something like मुइअं - दूइअ-वअणं कीरइ कण्णे कुवलअं व and hence the two adjectives in line 1 go with both - वअण and कुवलअ श्लेष on the first महु-रसद्वं (ie, मधु रसार्द्र) and महुर- सद्दं
=

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(FER-SEGU)."---- Bhoja cites this gāthā as an alternative example of GEOPHUT. See translation.
l
) is welcome as it suits
954. Dr. Bhayani's suggestion to read ala-forr3176 (afe
the context better.
- Bhoja cites this gatha as an example of गमन-वृत्तान्त (the incident or event of going to or departure). See translation.
955. Read als in the first half of the gāthā. Bhoja cites this gāthā as an (alternative)
example of गमन-वृत्तान्त. See translation.
956. Note : The Mysore edn. illustrates uqy4 with two stanzas. Then follow two
Prakrit stanzas without any introductory words : (1) चंदो वि चंदवअणे and (ii) चंदमुहि चंदधवला : Then follow the introductory words : सुहृत्संमन्त्रणं यथा -;
Now in the beginining of the present Chapter (XXX) Bhoja lists the 48 love conditions generally called Griqui, sending of messenger etc. In this list we have in successive order प्रवृत्त्युपलम्भ, प्रियसंदेश and सुहृत्संमन्त्रण. It thus follows that the intervening two prakrit stanzas are examples of प्रियसंदेश.
The gathā under reference is a message sent by a lover (192) to his beloved. Now, see translation.
957. Bhoja cites this gāthā as an alternative example of frict. Now see translation.
958. This gātha is already dealt with; vide SP S. No. (207.85) supra. Bhoja cites
it here as an example of गुरुजनाशङ्का. (आशङ्का = fear, apprehension; गुरुजन = elders, any venerable or elderly person — father, mother, the elders of a family etc. So the phrase means 'fear of the elders'). Ratnāvalī, who is working as a maid in the king's harem, has fallen in love with the king at first sight. But she has grave doubts that her love for the king can hardly materialise. She is mortally afraid of the queen.
959. Dr. Bhayani thus reconstructs the gāthā :
gat pagasta --- Pfarria- ERTS 1 विहलंघलचलणाए कहं पि सब्भाविओ दइओ ।। (3114T TOPIT --- U Parica-1916 AT 1

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विह्वलचरणया कथमपि सद्भावित: दयित : ॥) Dr. Ghatage thus reconstructs the gatha : "एंतो वि पलोअंतो आहअविअलंतकेसहत्थाए । विअलच्चलचरणाए कहं पि संभाविओ दइओ ||
The hurry of the wife at the sudden appearance of her husband. Seen while coming somehow the dear one was honoured by the lady, from whose hands the braided 31167 hair were slipping and whose feet unsteady due to distraction (विकलत्-चलत्)."
Bhoja has cited this gatha as an alternative example of उपस्थान. उपस्थानम् : coming into the presence of, going near to (in order to worship). .
961. Bhoja cites this gatha as an example of संभ्रम-विकल्प. संभ्रम - haste, hurry, flurry;
facey indecision, doubt, hesitation (hurry or haste and hesitation). See translation.
962. Dr. Bhayani thus reconstructs the gāthā :
"सज्झस-वस-वेविर-कोमलोरु- पडिसिद्ध-समुह - संचारा । केण वि दिण्णा ताव अ पिएण परिरंभिया रमणी ॥ (साध्वस-वश-वेपमान - कोमलोरु - प्रतिषिद्ध - संमुख - संचारा । . केनापि दत्ता तावच्च प्रियेण परिरम्भिता रमणी ।।") Bhoja cites this gatha as an alternative example of संभ्रम-विकल्प. See translation.
963. Bhoja cites this prose passage as an alternative example of नायिकाकृतो दूतपुरस्कार
: (honouring of a messenger). See translation.
964. This gatha is corrupt and obscure. The restoration of the second half too is
not quite convincing. Bhoja cites this gātha and the next one with the introductory words : एवं सामान्यतोऽपि (दूतपुरस्कार :). These two gāthās praise dutis as a class.
965. This gatha praises love-messengers in general. 966. This gātha is already dealt with; vide ŚP S. No. (950.221) supra. Bhoja here
cites it to praise çois in general.

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967. Bhoja introduces this stanza with the words : "TIPUSIC TO URT-". This
is the famous love-letter addressed by Sakuntalā to Dușyanta (A Śākuntala III - 15).
968. This gātha is already dealt with; vide ŚP S. No. (386.122) supra. Bhoja cites
it here with the introductory words : "fucuri -". 3197 = attention,
attentiveness, intentness; Arf - motive, object, purpose. 969. This gātha is already dealt with; vide ŚP S. No. (388.122) supra.
Bhoja cites it here as an alternative example of कार्यावधान. 970. This gātha is already dealt with; vide ŚP S. No. (415. 128) supra. Bhoja cites
it here as an example of पात्रावधान.
971. Bhoja cites this stanza as an example of (Fauiendo) 3 d (Fyrrrier). The
young women and their lovers are equally eager for union and they meet on the way.
972. The Mysore edn. --- mufc1317 PaTilderg'. 375 1377 appears to be a corrupt form
of अइणिओ which means आनीत : Cf. DSS I - 24 : अइणियं च आणीए (p. 14). In view of this fact it is more appropriate to read in the restored text schŞ0311. The lengthening of 3 in 'Boer' is metri causa. Bhoja cites this gātha as an example of 'दूतकृतेषु नायिकापेक्षया संयोगसंविधानम्. उषा is the daughter of बाणासुर - She sees in her dream a handsome prince अनिरुद्ध, कृष्ण's own son, and falls in love with him. Her friend fasistai, through her magical powers, brings him to her apartment. This gātha is possibly drawn from some Prakrit ornate poem treating of 347 and finds and their deep love for each other.
974. This gātha is already dealt with; vide ŚP S. No. (388.122) supra Bhoja cites
it here as an example of 'Briefchladi.
975. This skandhaka from Setu is already dealt with; vide ŚPS. No. (520.148) supra
Bhoja cites it here as an example of secu — magic, sorcery, magic arts. 976. In his paper “Gāthā-Muktavali : A Newly Discovered Recension of Hāla's
Saptaśataka", Dr. Bhayani records GM verses not found in Weber's Edition of the Saptaśataka. This gathā is found there in its correct form. Dr Bhayani

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has supplied the Sanskrit chāyā also. We have given this gātha and its chāyā in Vol. I Additions (p. 129). Bhoja cites this gātha as an example of tergacha.
See translation. 977. This gātha is already dealt with; vide ŚP S. No. (419.129) supra. Bhoja cites
it here as an example of कार्योपदेश.
978. In the chāyā read "Sa Amad". Bhoja cites this gāthā with a view to emphasizing
the important role of Art (pride, anger, jealous anger, haughtiness) in whetting mysteriously the blunted edges of the love-sword-HF serving as the hone.
979. This gātha is already dealt with; vide SP S. No. (765.190) supra. Bhoja cites
it here to sing the glory of Art (jealous anger).
980. Bhoja cites this gāthă describing the way of love and the pride of place that
A1 enjoys in the sphere of love.
981. This gāthā is already dealt with; vide SP S. No. 1768.190) supra. Bhoja cites
it here to show the significant role HF plays in the sphere of love.
982. Bhoja cites this gāthăas an example of HF (THIRUTTU 3T14:). See translation.
983. Bhoja cites this gāthâas an example of Hra (TRUCT STU: Dofir-I). See translation.
984. This gātha is already dealt with; vide SP S. No. (494.143) supra. Bhoja cites
it here as an example of मान (उभयाश्रयो मध्यमः). See translation. 985. Cf. ŚP S. No. (333.111) supra. Cf. also GS(W) 943 :
i) taraft 37f0f71-UT37UT UUR -05461-6531-376RICOT
hefo Ut St H3tut, Toila & 631 guyatli ŚP p. 632. ii) पेच्छसि अणिमिस-णअणो जंपसि विणअं ण दंससे वट्ठं (? पट्ठि) ।
Tot 1637 gost de 637-f3731 forge Hust II ŚP p. 983. and iii) at 1631 gust de 737-3731 força Husti
Tot 3110f11-073701 valt faussi ut viest Muçoll - GS(W).943
In Weber's text we find the two halves of the găthā interchanged with one variant reading : 'Ut vit façã for 'O CHAT qçf& "Giup aurai" - fausi modesty, courteousness; you speak courteousness = you speak courteously or modestly;

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Could be read fafuri for faussi ? fforzi (= fa-in) would be an adverb in its own right and would directly give the required sense: 'courteously'; under the existing reading we arrive at the required sense indirectly (through laksaņā). Cf. English : you talk reason = you talk reasonably. Weber's reading Ot Fint faço does not make any sense, I think." - M. V. Patwardhan. For translation, vide SP S. (333.43) súpra.
Before we proceed further it is necessary to note the precise meaning of the terms विषय, आश्रय and आलम्बन, used in the context of मान by Bhoja.V. Raghavan thus explains them: “Vişaya is the person regarding whom feeling arises; Aśraya is a person in whom the feeling arises, Alambana is that aspect of Visaya which is exactly the object of the feeling.” Bhoja's Sîngāra Prakāśa (1963 edn.)
986. SK (p. 626, v. 185) cites this gāthā with the introductory words: (256741514
---) "अत्रैव स्त्रियां मानो यथा-". It reads पढमघरिणीअ for उवहारिआए and दरं (? दवं) for कह. Bhuvanpala reads दवं for कह. In his comments on the gatha he says : उवहारी दोहनधारिणी (? दोहनकारिणी) प्रथमवधूरित्येका (? प्रथमवधूरित्येके) पिंडारो गोपालक:। दवो नर्म । şffadel: HICET: Bhoja introduces the găthā with the words : (977:) Asifat YT-1
987. Bhoja cites this skandhaka from Setu with the introductory words : (HFT:)
anufacut UIT — See translation.
988. This gāthā is already dealt with; vide ŚP S. No. (271.99) supra Bhoja cites
it here with the introductory words: (H) caufatu —. See translation.
989. Read : GS(W) 898. Bhoja cites this gātha with the introductory words: (1971)
E-faut rent - E = a shameless husband (or hero).
990. Bhoja cites this gāthā as an example of (H17:) STIHTS: SK (p. 688, v. 39) cites
it as an example of " R-HIFT alatai (Fium) 2P21-". 991. This gātha is already dealt with; vide ŚPS. No. (332.111) supra Bhoja cites
this gāthā as an example of (HT:) HEXHT824: SK (p. 671, v. 325; p. 685, v. 380) cites this gātha He introduces this gāthā (p. 685) with the words "1611474-HHAT EIRT URIT —".

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992. In the chāyā we may better read factant fa Ara: i Bhoja cites this gātha with
the introductory words : कनिष्ठाश्रयो (मानो) यथा -. SK (p. 589, v. 49) cites it to illustrate "तद् (= ईर्ष्या) रूपेण रसस्य प्रकर्षो यथा -" and thus comments upon it : अत्र कस्याश्चित् प्रेयसि सपत्नी प्रसादयितुं गते तन्मानममृष्यमाणाया: समुत्पन्नेा प्रियानुनयादिभि शायमानतया निष्पन्नालतकतिलकानुमेयैस्तत्पादपतनादिभिरुद्दीप्ता हुंकाराक्षेपभर्त्सनप्रतिभेदाविनाभूतैर्भूभङ्गताडनाङ्गक्षेपवेपथुस्वेदगद्दाभि: संसृज्यमाना प्रकृष्यते ।
993. On p. 839 we have an almost identical stanza :
ण कओ वि र (राअ) मोख्खो (= ण कओ वि राअमोक्खो) माणक्खलणे वि ण पडिओ चिअ बाहो । तीए णवरं पिअअओ गओ त्ति अत्तित (? अत्तित्त) लोअणं णीससि ।। And here we have धरिओ अमरिस-पसरो माणक्खलणे वि ण पडिओ चिअ बाहो । तीए णवरं पिअअमे गहिओ णिअन्तत लोअणं णीससि ।।
Keeping in view the context (धीरोत्तमाया विप्रलम्भेऽनुभावसंपद् (p. 839), and (मानो) धीराश्रयो यथा - पृ. ९८६), it would be more appropriate to emend the second half (p. 986) as : तीए णवरं पिअअमो गओ त्ति अत्तित्त-लोअणं णीससि ।।
(तया केवलं प्रियतमो गत इति अतृप्तलोचनं नि:श्वसितम् ।।) धृत: अमर्षप्रसर: - The operation (manifestation) of anger was checked (or restrained) by her — M. V. Patwardhan. The printed text (p. 228, v. 993) may accordingly be corrected.
Read in the second half अत्तित्तलोअणं and in the chāyā अतृप्तलोचनं 'with eyes which were not satisfied,' 'with her unsatiated eyes. Please correct the translation in accordance with this reading : she looked at him with unsatiated eyes (and heaved a long sigh).
994. The latter part of the second half of this skandhaka, as printed in Mysore edn.
(p. 987) reads : 'जुअइजणम्मि वहत्तणं णिवडिअं'. It needs to be emended as जुअईजणम्मि पहत्तणं णिव्वडिअं ।। (युवतिजने प्रभुत्वं निष्पन्नम् ।). According to this new emendation the text and its chāyā may please be corrected. Bhoja cites this skandhaka as an example of मान: (दृष्टापराधालम्बन:)| I wrote to Prof. Patwardhan that my emendation पहुत्तणं णिव्वडिअं was rather doubtful. He replied : “I agree but it gives a good sense".
995. Bhoja cites this gathaas an example of मान: (अदृष्टार्थालम्बन: = अदृष्टापराधालम्बन:). See

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translation.
996. Bhoja cites this gāthăas an example of AF: (ICITATETCETT:). See translation.
997. Bhoja cites this gāthā as an example of ATT: (91f3 AIRTETTHET:). eft: = distrustful,
suspicious, apprehensive. See translation.
998. This illustrates संभावितापराधालम्बनो मान:.
999. This illustrates अनुमितापराधालम्बनो मान:. 1000. This illustrates UPACARTETEGA HH:. "It is (the likeness of) that woman herself,
that has emerged out of your random scratchings on the ground. For the idea in the stanza, Cf. 37T6 st.51 (Arjuna-varmadeva's recension, p. 42, NS edn. 1954)". - M. V. Patwardhan.
1001. This illustrates JohARTETTCART AT :.
1002. Read in the chāya विस्मृतापराध. This skandhakaillustrates स्मृतापराधालम्बनो मान:. SK
(p. 670, v. 321) cites it with the introductory words: PTTE14-174 ATED MYTH M. V. Patwardhan comments on 4-6ÇO : "should really be qHÇO = 44€ wiped away (from the mind) and hence forgotten.".
1003. This illustrates Kopa. On 'aria in the second half) M. V. Patwardhan wrote:
"---It would be better to render acia as 'curling', 'twisted', 'warped', distorted', 'curved'. It is usual for an angry person to distort or curl the lip to show impatience and disapproval. It would correspond to 31to Gusot in Marathi and 41 RSU (Moula).
1004. Bhoja cites this skandhaka as an alternative example of 0819 (anger). M. V.
Patwardhan wrote to say: "The exact sense of RTIE (= IT-via) 'disposed to the favour of love' is not clear to me. The utterances of beautiful (coquettish) women may be said to be tending to the operation (expression, evocation, arousal) of passion (in their lovers). But I do not exactly see how they can be said to be tending to the favour (RAT) of passion. Perhaps açofa stands for treifa (= punila = opezfort) ‘are sought after, or solicited.' The utterances of beautiful women, which tend to evoke passion (in their lovers) are sought after (by him). But his heart was shattered by her words (vif931)

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which she uttered turning her face away from him in anger. रोषेण पराग्भूता (% रोषपराङ्मुखी), तस्या: जल्पितैः। पराहुत्त should beequated with पराग्भूत-turned away."
1007. This skandhakaillustrates प्रियादिषु व्याजनिन्दोत्प्रास:. उत्प्रास 'words of derision', 'taunt'
(under the guise of praise).
1008. Bhoja cites this skandhakaas an alternative example of प्रियादिषु व्याजनिन्दोत्प्रास:.
Cf. सच्छंदं वोलिज्जइ किज्जइ जं निय-मणस्स पडिहाइ । अजसस्स न बीहिज्जइ पहुत्तणं तेण रमणिज्जं ।। - (स्वच्छंदं कथ्यते क्रियते यन्निजमनस: प्रतिभाति । अयशसो न भीयते प्रभुत्वं तेन रमणीयम् ।।)-वजालग्ग गाथा क्र. १४८, and, अलिअंपि सचविज्जइ पहत्तणं तेण रमणिज्जं । - सक्तिमुक्तावली. दे. ला. पुस्तकोद्धार फंड, बंबई. १९२२ (पत्र). जह गहिअं तह - in whatever manner it is considered i.e.. from any point of view. For the phrase जह गहि तह cf. the phrase जह गहिआ तह occurring in the Prakrit stanza. "कुविआओ पसण्णाओ, etc., cited in ध्वन्यालोक I"-M. V. Patwardhan.
1009. Read in the second half of this skandhaka ते चिअ तीऐं मअगुणा (त एव तस्या मदगुणा:).
Bhoja cites this skandhaka as an example of 'प्रियापराधात् मन:संरम्भो रोष:'.
1010. Read in the second half of the skandhaka : दूमेइ घर- गआए. 1012. Bhoja cites this gatha as an alternative example of ईर्ष्यायितम् ( = समानासु
दान-मानाद्यमर्षणम्). 1014. This skandhaka is already dealt with; vide ŚPS. No. (220.87) supra. Bhoja
cites it here with the introductory words : अनुभयापेक्षो मन्युर्मन्त्रयुतं यथा ----. SK (p. 647, v. 263) cites it with the introductory words : प्रेम मिमीते यथा -; and thus comments upon it : - अत्र 'माङ् माने' इति धातो: -- कर्तरि ल्युट् । --- तेन च यद्यपि करणभूतेनैवात्मनि रुक्मिण्यां च प्रियप्रेम्णः परिमाणं सत्यभामा प्रत्याययति तथापि पूर्ववदिहाप्ययं पूर्ववत् कर्तृत्वेनोपचर्यते ।
1014. See Additions p. 6. Read पडिपसाअ (?) - दुम्मणिअ --- The gatha is restored (and
its chāyā supplied) by Dr. Bhayani. The latter part of the first half violates the metre. Could we read पडिपसाआ (प्रतिप्रसादात्) to get over the metrical difficulty?

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1017. Bhoja cites this skandhaka as an example of BHI: (= fagulur-oyufareru:);
on p. 1018 it illustrates 1924: Pustarraladu: 3414727: (taunt); and on p. 1029 it is cited to illustrate आर्द्रापराधता, one of the sources of मानोद्दीपन.
M. V.Patwardhan thus comments on the restoration : "I think we should read विलासिणि तुमं. (विलासिणि being vocative singular of विलासिणी-a beautiful woman.) Further we should read जं (यत्) for जे.
O, beautiful woman, tell (me) (say to me): when (5) dear consorts who are guilty of fresh lapses, betake themselves (3fecifa) to their beloveds, is that the charming nature of their overpowering accursed qualities of politeness?
We should take 1637 as a de-inflected nominative singular form, used for 16311 (= सुभग:), qualifying सहावो. Use of de-inflected (लुप्तविभक्तिक) nominative and accusative forms is not unusual in Prakrit."
1018. Bhoja cites this găthā as an alternative example of 3rHIG:
(= faggicallcuanyifatera:). 1019. Bhoja cites this gāthā as an example of HIRTI (= REQURİHTARP Buat).
1020. Bhoja cites this gathā as an alternative example of HIV (=QURTAT jat).
भुवनपाल paraphrases अट्टमट्टाई as नानाविज्ञानानि (सद्भाववाह्यानि = कृत्रिमाणि - नानाविज्ञानानि) (enticing blandishments). Further, he remarks 3TEHETS thich. Hemacandra lists it under भाषाशब्दाश्च and regarding these words he remarks : ... इत्यादयो HERTE-fashifadetung alahatsorat - Prakrit Grammar II. 174. Dr Ghatage thus comments on BEHETS : GS 753 (Weber 759) HEHETS an imitative repeatative form having the same meaning and etymology of Marathi 31908 (aut) 'to show apparent reluctance in the sense of 'coquetry'.
1021. Read in the first half of the stanza urafo 3Tour37-24f073TUT ART RR ( a una
31774- AFİ GGIT URHU) The skandhaka may be translated as follows :
Read in the first half अणुणअ-भणिआण and in the chāya अनुनय-भणितानां. The verse may be translated as follows :
But my dear girl, you don't let me say anything - I would explain - nor do you give up your anger. I wonder how you could have become so hard

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hearted, so pitiless and so distant. At one time you doted on me so much !
1022. This gāthā occurs in GS (II.29). It is already dealt with; vide ŚP S. No.
(312.107) supra. Bhoja cites it here as an alternative example of अभिनिवेश.
1024. Bhoja cites this gāthā as an example of अवज्ञा-विसूरणम्. विसूरण means distress,
sorrow.
1026. This stanza is cited twice by Bhoja. Here he cites it as an example of अनुशय.
'विप्रियस्य पुन: पुन: स्मरणमनुशय:'. On p. 1209 he cites it with the introductory words :व्यलीकानुचिन्तनम(प)राधस्मरणं यथा-.At both the places, the text is corrupt. The text of the skandhaka may be restored as follows: तक्खण-जणिअ-पहरिसं, संभरिअवराह-संगलताणुस । तीए गरुअंणिसंमलग (? णिसम्मइ) ओअत्तं/ ओलिअत्तं (? ओणिअत्तं) पि अमरिसे चिअ हिअआ। (तत्क्षण-जनित-प्रहर्षं संस्मृतापराध-संघटमानानुशयम् । तस्या गुरुकं निषीदति, अपनिवृत्तमपि अमर्ष एव हृदयम्।।) Her heart was gratified for a moment (by the entreaties of her lover) but it became heavy with intense anger at the remembered offence and although turned back (from jealous anger for a moment) sinks down again in jealous anger.
Prof. M. V. Patwardhan thus commented : "संभरिअ+अवराह would become संभरिआवराह. In संभरिअवराह, आ appears to have been shortened into अ metricausa. I think, संगलंत should be emended into संवलंत.
Translation : Her heart delighted at that moment (or time, तक्ख ण = तत्क्षणम् : तस्मिन् क्षणे) but moved (sulkied संवलित) with anger at the recollection of the offence (offered by her cosort), though on the point of retreating (receding) (from anger) heavily (गरुअं - गुरुकम्, adverb) sank back (again) into anger (अमरिसे चिअ णिसम्मइ). णिसम्मइ (= निशाम्यति) is awkward. Could it be णुमज्जइ (or णिमज्जइ)? तीए गरुअंणुमज्जइ (or णिमज्जइ) ओणिअत्तं पि अमरिसे चिअ हिअअं ।" ?
1027. Bhoja cites this skandhaka from Setu as an (alternative) example of अनुशय.
See the Extract from the Sanskrit Commentary in Appendix I. 1028. Bhoja cites this skandhaka as an example of कालुष्यम् - विप्रियोपरागाच्चित्ताशुद्धि :
कालुष्यम् | The stanza may be restored as follows :

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ताव अ सोहइ माणो समुहं जाव पण ण खंडंति पिआ । खलिओ अ पणअ-पसरो पच्छा माणवइआ णिअत्तइ कम्हा ।। तावच शोभते मान: संमुखं यावत्प्रणयं न खण्डयन्ति प्रिया : । स्खलितश्च प्रणयप्रसर: पश्चाद् मानवती निवर्तते कस्मात् ॥] Translation : So long as the lover hides his offence from his lady, her sulkiness looks pleasing, but once she has become a witness to his misbehaviour, why should she stop feeling insulted ?
Prof. M. V. Patwardhan remarks : "Perhaps the idea is if a lover plays false with his wife (or beloved) right in her presence, she would leave him for ever and would never return to him to exhibit pride (or anger). The third quarter perhaps refers to संमुखं प्रणयखण्डनम् mentioned in the second quarter."
. 1031. Note : Delete the line : "For the text ... supra." (Vol. I). The gatha may
correctly be presented as follows :उम्मूलेंति व हिअअं अणुणिज्जंतीओ माणइत्तीओ । संभरिअ-मण्णु-णिष्भर-बाह-भरोरुभिअ-मुहीओ || (उन्मूलयन्तीव हृदयमनुनीयमाना मानवत्य : । संस्मृत-मन्यु-निर्भर-बाष्प-भरोपरुद्धमुख्य : 1)
Translation : It is a heart-rending situation when the libertine lover is trying to appease his lady and she feels choked by her tears at the remembrance of his wicked fatelessness.
Bhoja cites this gatha as an (alternative) example of Avega (- व्यलीकानुसंधानात् क्रोधोद्भेद आवेग : 1)
1032. Bhoja cites this skandhaka as an example of Amarsa (= कृतापराधेषु
क्रोधाप्रशान्तिरमर्षः।). He cites it again (p. 1036) with introductory words: "उभयदोषापादने यथा-"
Prof. M. V. Patwardhan's remarks on the restoration and its translation : "निष्फल-मृदुक - pliant (gentle) to no purpose, gentle in vain, uselessly gentle. 3TYRTEZRET - Imperative second person singular- '(By all means) play false to me fearlessly (विश्वस्त:) (unhesitantly).'
I am not able to understand the logical connection of सहताम् एकस्यैव हृदयम् with the rest of the stanza. chile - understand or know (Imperative second

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person singular).
The idea is perhaps comparable to that expressed in the stanzaवच मह चिअ एकाएँ होंतु णीसास-रोइअव्वाइं। मा तज्झ वि तीऍ विणा दक्खिण्णहअस्स जाअंत ।।
cited by Anandavardhana in Dhvanyāloka I, p. 111 (Marathi edn). 1033. Bhoja cites this gāthā as an (alternative) example of Amarsa. This gātha is
already dealt with; vide SP S. No. (284.102) supra. 1034. Bhoja cites this gāthā as an example of Kopātireka. 1036. Bhoja cites this gāthā as an (alternative) example of Jud. Iga (= astuifd9c6-)
अनुनयासाध्यमुग्रता । 1037. This gātha is already dealt with; vide ŚP S. No. (992.227) supra. Bhoja cites
it here as an example of प्रणयकलह (a quarrel of lovers) - अपराधत : प्रियाभिभर्त्सन-ताडनादिकरणं प्रणयकलह : ।
1038. This gāthā is already dealt with; vide ŚP S. No. (256.96) supra. Bhoja cites
it here as an example of one of the 24 aspects of Māna, called Sahaja.
1039. Bhoja cites this gāthā as an example of one of the 24 aspects of Māna, called
Ahārya - 'ZERÍTMIGHT 3ER :'. Prof. M. V. Patwardhan remarks about the restoration : "I think we must supply afinite verbal form like आसी : or अभव: after अनुनयन् in the first half." Prof. Arvind Mangarulakar (Sephālikā, p. 370) renders 5634-rigzi a into Sanskrit as कुतकामनां च and retains हरणे as हरणे in the chaya.
1040. Bhoja cites this gāthā as an example of one of the 24 aspects of Māna, called
Yauvanaja - 01-11RIGHT U UT: 1 See translation.
1041. This skandhaka is already dealt with; vide ŚP S. No. (142.70) supra. Bhoja
cites it here as an example of one of the 24 aspects of Māna, called Sama. 1042. This skandhaka is already dealt with; vide ŚP S. No. (773.191) supra. Bhoja
cites it here as an example of one of the 24 aspects of Māna, called Visama. - PREHF-a fach: 1

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1043. Bhoja cites this skandhaka as an example of one of the 24 aspects of Māna,
called Prakāśa.
Prof. M. V. Patwardhan remarks on this stanza are as follows:- "The sense of CAUT (= ufatt) is not clear to me. aq - excessively (?). Pavia (= farvet red (?). We must understand Parruc as equal to fasldor (sfarerta, miferi ruci). But in that case, there is repetition of the same sense by विषम and विरज्यत."
1044. Bhoja cites this gāthă as an example of one of the 24 aspects of Māna, called
Gūdha - 371fACTEUTT TE:
The text as printed in Mysore edn. is restored here with the help of GS(W). 869. Weber reads afsvifa in place of Hiiuifa. Dr. Bhayani informs me that Weber has noted failurd as the chāyā of facilita and has remarked that faciata possibly stands for विलाप्यन्ते. 'One rather expects palawija.' - Dr. Bhayani. Prof. M. V. Patwardhan wrote to say: "
H IRT (as in Weber 869) appears to be 0. K., the sense being various shades or forms of jealous anger. Hunfahrt would disturb the metre." In reply to my query, Dr. Ghatage writes : "Pasiida is a causal pass. form and stands for Sanskrit facand which means are dissloved” by the gallicut or getalletat. Caus. pass. - act. Thus gonfetang is instr., not gen.”
This gāthā is already dealt with; vide SP S. No. (295.104) supra. 1045. Bhoja cites it here as an example of one of the 24 forms of Māna, called
qus.
1046. Bhoja cites this gāthā as an example of one of the forms of Māna, called
TL, which is just the opposite of qus (atç = qus -) Augiat : 1047. This skandhaka is already dealt with; vide ŚP S. No. (518.147) supra. Bhoja
cites it here to illustrate Sadhyah, one of the 24 forms or aspects of Māna. It is thus explained : RAD STPURITERT: PIEZT: 1
1048. Note : Read in the first half (of the chāyā) -- Tiger 3719.
Bhoja cites this gāthă as an example of one of the aspects of Māna, called Purāņa.

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1049. This gāthā is already dealt with; vide ŚP S. No. (452.135) supra. Bhoja cites
it here as an example of 344fafayet: (HFT:).
1050. Bhoja cites this gāthā as an example of uliofau: (HH:).
Hemacandra in commenting on 8.2.189 gives the following example : 3 Por aiguur deur I (TAIP / rci fa qilada test 1). Probably this formed part of the gathā under discussion. वाइएण ( = वाचितेन) is decidedly a superior reading as it eminently suits the context.
1051. Bhoja cites this gātha as an example of Hirmuiat : (17:).
1052. Bhoja cites this gāthā as an example of chcel arafa: (HTT:). cheerraar -
("One that is separated from her lover by a quarrel”) is one who suffers remorse after she has repulsed her lover in indignation. – SK (p. 690, v. 399) too cites this very gāthā as an example of .
1053. This gātha is already dealt with; vide ŚP S. No. (999.229) supra. Bhoja cites
it here as an example of खण्डिताविषय: (मान:). नायिका (one that is enraged) is one who is filled with jealousy on discovering (her lover to be) disfigured through his relations with another woman.
1054. Read - Cf. GS IV. 85. This gāthā is already dealt with; vide SP S. No.
(680.175) supra. Bhoja cites it here as an example of forco-fou: (HTT:). SK (p. 690, v. 401) cites this gāthā as an example of arheoll - "one who awaits her lover in full dress, one who adorns herself for joy when her lover is about to come."
1055. This gāthā is already dealt with; vide SP S. No. (485.142) supra. Bhoja cites
it here with the introductory words : "3758244church ulusasut (HF:) TENT" SK
(p. 689, v. 398) too illustrates alusar' with this very example. 1056. Bhoja cites this skandhaka with the introductory words "Scolararstud (917:)
UPRAT -".
Note : Read ea3717 1931 3Uvid 91311 afacrat in
(161 meter 57: aface: 11) 1057. Bhoja cites this skandhaka as an example of an bwysat (HFT:). Bhoja cites

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this skandhaka again (p. 1198) to illustrate (सम्भोगार्थं शरीरप्रतिकर्म =) प्रसाधनम्. 1058. This gāthā is already dealt with; vide ŚP S. No. (1050.237) supra. Bhoja
cites it here again as an example of प्रोषितपतिकाश्रयो मान: । प्रोषितप्रिया - "One whose beloved is away laget) is one whose lover is in a distant land on business." This type is more popularly known as प्रोषितभर्तका.
1059. Bhoja cites this stanza as an example of विरहोत्कण्ठिताश्रयो (मान:). विरहोत्कण्ठिता "One
that is distressed at (her lover's) absence."
1060. Compare with this gāthā ŚP S. No. (982.226) supra. This gātha considerably
differs from it. This reads : परिपुच्छिआ / परिउच्छिआ ण जंपसि चुंबिज्जंती बला मुहं हरसि । परिहासमाणविमुहे पसिअच्छि मणं म्ह / दूमेसि ।। (परिपृष्टा न जल्पसि चुम्ब्यमाना बलाद् मुखं हरसि । परिहस्यमानविमुखि प्रसृताक्षि मनो नो दुनोषि ॥)- GS/W) 923.
Translation : When addressed, you don't answer; when forcibly kissed, you avert your face; when a joke is cut, you turn away your head; O, you with eyes like a gazelle (or O, large-eyed one !) you torment me.
Bhoja cites this gātha with the introductory words : 31161-wydblusang परिहासालम्बनो यथा-.
1061. Note : Read in the chaya (Vol. I, p. 239) मन्तु-कृत-रोषाम्. Only the first quarter
of this gāthā agrees with ŚP S. No. (562.155). This whole găthā may be translated as follows :Ah ! how much I am looking forward to the day when my beloved one would appease me who have been angry at his love's offence and my friends would remain silent for (? after) a long time !
Bhoja cites it here with the introductory words : आलम्बनप्रकीर्णकेषु आशंसालम्बनो (मानो) यथा - (आशंसा hope,expectation, desire, wish).
1062. The corrupt gatha is thus restored with its Sanskrit chaya :
सहि-वअणेणं पिज्जइ, हालाहलं विसमपि असज्झं जं । हिअअ अवलंब धीरं दिज्जसि माणस्स एत्ताहे ।।

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Bhoja cites this gatha as an example of उपदेशालम्बनो (मान:). 1064. The restoration of this gātha is purely tentative. Bhoja cites this gātha with
the introductory words : 941416R (ANT) TRT
be !
1067. In the second half, मण्णइ may be replaced by पेच्छइ (प्रेक्षते) in view of 'पेच्छतु
of the Mysore edn. Prof. M. V. Patwardhan thus commented on the restoration : “I cannot think of any other reconstruction of the stanza other than the one attempted by you. facic (fa) foi should better be paraphrased in Sanskrit as चिन्तालीढं (चिन्तया आलीढं व्याप्तम्) "full of anxiety"; (लिहिअं past passive participle from PoE = to lick). If, however, we stick to the paraphrase farafeteria, we shall have to equate it with लिखित-चिन्तम् “with anxiety writ large on it."... Bhoja cites this stanza as an (alternative) example of 'EfoT recan
1071. Bhoja cites this stanza (in skandhaka metre) as an example of aifa dgan.
agar = frailty, feebleness, mental weakness.
1072. Read in the chāyā fargerTHITA. Bhoja cites it here with the introductory
words : da (= aifo a) fauciet UT - SK (pp. 675.676, v. 340) cites it with the introductory words 3rfaldurma URIT-.
1074. Bhoja cites this skandhaka with the introductory words : a (= agro 59)
विषयव्यावृत्तिर्यथा - The mention of कौस्तुभ-मणि indicates that the stanza in skandhaka metre, is drawn from sRauty (now lost).
1076. Bhoja cites this skandhaka with the introductory words :
data (HCRTH 5) feGoat UPIT - This skandhaka seems to have been cited from Harivijaya. Hari is embarrassed when he goes to see Satyabhāmā, as he has comitted agrave lapse in offering पारिजात - मञ्जरी to Rukmini, his senior wife. Naturally, his mind is assailed by doubts regarding his 'reception' at
Satyabhāmā's palace. 1077. See ŚP S. No. (196.82) above. Bhoja cites it here to illustrate ata (HHICOFU

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471 va) pazn (- variety). 1078. See ŚP S. No. (332.111) above. Bhoja cites it here to illustrate 14.04. (
- excess, intensity, high degree). 1079. See ŚP S. No. (230.91) above. Bhoja cites it here to illustrate TRUMA:. SK
(p. 687, v. 389) cites it as an example of Lori DCITIT. 1080. See ŚP S. No. (762.189) above. Bhoja cites it here to illustrate praat (one
of the ways of m - conciliation, kind or gentle words used in appeasing the
jealous anger or pride or haughtiness (of one's love). 1081. See ŚP S. No. (591.160) above. Bhoja cites it here to illustrate 379fet :
imitating, doing or acting in like manner, following — the act of continuance.
1082. Bhoja cites this skandhaka from Harivijaya as an example of gur (falling
prostrate at the feet of one's beloved), one of the means of 14 - conciliation.
1084. See ŚP S. No. (529.149) above. Bhoja cites it here with the introductory words : A rsa FH (
3TEFT = overreaching, cheating) one of the kinds of T (the act of giving). 1085. Bhoja cites this gātha as an illustration of H urt (presenting, bestowing,
offering). 1953716 whose face has been raised up forcibly (261) (by her lover) after seizing her hair. 1937° - offered by her lover directly from his mouth;
THE - as if it were a medicine against her anger and jealousy. SK (p. 656, v. 288) quotes this gātha with some variants and comments thus : सकषायैरेव वाक्यैर्नायकं निस्तुदन्ती शयनीयं गच्छेदिति मानशेषान्वयो दृश्यते ।
1086. Bhoja cites this skandhaka as an illustration of HRT (deception). Prof. M. V.
Patwardhan wrote to say: "Your restoration of the stanza is O. K. I would translate the stanza as follows : If (UF) when the heart (mind) of a person making a show of false politeness is accepted (eais) (as genuine) out of courtesy, and if such a show of feigned politeness is to be regarded as a manifestation of (true) love, then there would be indeed no difference between sincerity and hypocrisy (सद्भाव and कैतव)."
1087. Bhoja cites this gāthā with the introductory words: Gus -
RYTETORIT - BTT

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- overlooking, disregard, indifference. Alamkāra-ratnākara (p. 127, v. 395) reads the first half differently : कुविअ वि परम्मुहाणं, थोवं पसिआणमेगसअणम्मि । (कुपित्वापि पराङ्मुखयो: स्तोकं प्रसृतयोरेकशयने ।) Śobhākara's gloss on the gathā runs as follows : अत्र कोपातिशयादपगतस्यान्योन्यभङ्गस्य रोमाञ्चोदगमवशेन प्रवृत्तिः ।
1089. Bhoja cites this skandhaka as an example of HH4R42: (ERT). Prof. M. V.
Patwardhan thus comments on the stanza (as restored) : "aut (= get:) can be understood in the sense of CRERI - ‘again and again.' It is of course to be connected with परिवड्ढति. I do not see the propriety of the adjunct विषम (uneven), qualifying (747-) IT (corners of the eyes), unless we take it to mean quivering, tremulous.” विसमप्पंत etc. - "The gushing tears (बाहुप्पीडा) darkened (कलुस) by the colour (ala) of the slight collyrium applied to their quivering corners.” (But here the difficulty is that the collyrium is applied to the whole of the interior of the lower eyelid (and not to the corners of the eyes alone).
1090. Bhoja cites this skandhaka as an example of Ar-R98: (995).
He further on (p. 1027) cites it to illustrate RTETTHAEUT. Prof. M. V. Patwardhan comments : "HT3193Rİ = fact - with its (floral) ear-ornament crushed (crumpled); 737Uut may be taken to stand for 737UT, metri causa, the duplication of the final of taking place optionally according to Hemacandra VIII. 2.99 (aleta) (assuming that the wife or is an open list (3ugofaut) (and not a closed list). 216 () would be an outright emendation, but it is not necessary as the form C3100 can be accounted for by Hemacandra's sutra. पव्वाण = प्रवाण = faded, withered. It could also be पव्वाअ (= प्रवात). Hemacandra (VII. 4.18) gives पव्वाअ as a धात्वादेश for म्लै (म्लायति)."
It may be noted here that Bhoja cites these two stanzas (No. 1089 and No. 1090) to illustrate (for HF- Ricot =) per ufat:.
1091. Bhoja cites this skandhaka as an example of H14R48: (aifa). Prof. M. V.
Patwardhan remarks : ".--Perhaps we should equate विसमप्पिअwith विषय-अर्पित (विषमार्पित) = विषमन्यस्त unevenly applied. ... I think परिघोलंति would be better

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than fasora."---
1092. Bhoja cites this gātha as an example of Juurid (GPRSTURIYU-GIANTRITT-37679)
fuiçfat:
1093. Bhoja cites this skandhaka as an example of 34161FH: (ggfart:). Prof. M. V.
Patwardhan comments : "In the second half, the words "quiRH AATHO ng a' do not present any difficulty – 'Though I gave no cause for your anger,) still a scandal (baseless scandalous rumour or report) about my unfaithful conduct has become the cause of your anger.' The word out (qualifying RATIH) really creates a problem. You have rendered it as a handy or convenient cause". I am not satisfied with the use of fun in this sense. We can get over the difficulty, if we read fog (= 100) (Voc. Sing.) instead of 1031 (= 4H). aradt - "Oh my dear love or wife". He cites it further on (p. 1208) with the introductory words : "faigua RUTIERRERA: praf IAI
T—".
1094. Read in the second half nits. Bhoja cites this skandhaka as an example of
3414FY: (otect:). He cites it further (on p. 1046) with the introductory words: (372T AHITATOUA | ---T) 34161 Theft - Prof. M. V. Patwardhan comments: "Your restoration and translation of the stanza are O.K. JUTUT in the fourth quarter must be understood in the sense सजणेण (= स्वजनेन). Supply fa after Jutut. Although you are my own beloved, you did not feel distressed (or sorry).' driver appears to be used here in the sense - 'feeling of intimacy'. Outside books on dramaturgy and poetics, pp has the general sense — 'feeling or sentiment'. Jutus ut Pauuj = FouTuo caur 7 Pa I impersonal construction - भावे प्रयोग according to Marathi grammar."
1095. See ŚP S. No. (1021.233) above. Bhoja cites it here as an example of JYSFT:
(Dok:).
1098. Bhoja cites this skandhaka as an example of 34161H: (URT:). He cites it again
(p. 1208) with the introductory words : "HAMIA TRICHI I -". Prof. M. V. Patwardhan remarks: “We must understand 3terf to mean furt (considering, taking into consideration), even though the dictionary may not have recorded this sense. The words focar etc. are obscure, as we do not

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know the contextual background of the stanza. I do not think that the difficulty can be overcome by taking 'ch as referring to the jealous anger of the nāyikā."
1099. Bhoja cites this skandhaka with the introductory words: "(---ca
Haitgaaradert - A AHERIT:1) --- d up fora Ure -1"
1100. Bhoja cites this skandhaka with the introductory words : " (HRT) THE
PIT —". He cites it again (p. 1210) with the introductory words: "Anfahrudi HTHTRIA JURIT —". Prof. M. V. Patwardhan's remarks : "The restoration and the chāyā are both of them 0. K., except that the verbal form (at the end of the stanza) should be मुज्झंति (मुह्यन्ति) instead of विमुहिजंति (विमुह्यन्ते). Fourth quarter : say: Our homage to our jealous anger. HE (= 48) really represents 44 (genitive singular). But here it seems to be used for 37FETT (genitive plural) Cf. Abhinavagupta's remark on the pronominal form 76 occurring in the stanza : 3771 RU WHvviş --- (Dhvanyāloka I). Abhinava says : we sfa AYICT 31 effe: आवयोः इत्यर्थे न तु मम इति। In our present stanza too महं is used as an अनेकार्थवृत्ति Ayra (i. e., EQUARE AYIT)." The emendation Josifa (EUR) would violate the metre and incidentally it may be noted that both to and faune are recorded in identical sense in the dictionary – to faint away.
1101. Bhoja cites this skandhaka as an example of 'sfer tru.
1102. Bhoja cites this gāthă as an example of data (Efe1) YURT URRIT - The word
317476 (37996) "seems to mean quarrel, love-quarrel, or haughtiness”. - M.V.P.
1105. Bhoja cites this gāthā as an example of surglaref:
1107. Bhoja cites this gātha with the introductory words : "1984: Brugfara
19-r-gf-TRUTH41FH: | --- Joachfaqut yet --".
1108. Bhoja cites this skandhaka as an example of 34167FH: (foufacu:). He cites it
again (p. 1028) as an example of H YMERT:; and once again (p. 1212) as an example of contus 14410142: Prof. M. V. Patwardhan's comments : HURCAUT = HF-Partit appears to be used here to mean TTS (= humiliation);
t = 7: = interest, enjoyment. The tone of the stanza is one of stinging irony.

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1109. Bhoja cites this stanza as an (alternative) example of 34161FF: (fufau:). URT
BEYAT: ART - as soon as they come on the scene (and become a part of women's lives) - MVP.
1110. See ŚP S. No. (1017.232) above. Bhoja cites it here with the introductory words : "
f a rfaut apei —" and again on p. 1028 as an example of सपल्युपहास. 1111. See ŚP S.No.(1008.230) above. Bhoja cites it here as an (alternative) example
of प्रियाश्रितप्रभुत्वविषय:. 1112. Bhoja cites this gāthā as an example of sakhi pratibodhana — instruction,
admonition, giving advice by a friend.
1113. Bhoja cites this gāthā as an example of dūti-pratibodhana - instruction,
admonition, giving advice by a female messenger or go-between.
1114. Bhoja cites this gāthā as an example of sakhi-parihāsa - jesting, joking
(mirth, merriment) by a female friend.
1115. Bhoja cites this gāthā as an alternative example of sakhi-parihāsa. 1116. Bhoja cites this gāthā with the introductory words : "41449hy Heyncent
IT —"
1117. Bhoja cites this gāthā as an alternative example to S. No. 1116 above.
Incidentally we may note ŚP reads the earlier part of the second half of the gāthā as tat fa 37 or forrest (1789 7 7 fra:).
1118. Note: Read ug 9T737 EP. Bhoja cites this gātha as an example of dūti-upadeśa
(instruction, admonition , giving advice by a female messenger or go-between). 47731 (= d) (Voc. sing.) O, daughter, young girl.
1119. Bhoja cites this gāthă as an alternative example to S. No. 1118.
1120. Bhoja cites this gāthā with the introductory words : "trufa det prenelatent
—"
1121. See ŚP S. No. (325.110) above. Bhoja cites it here as an alternative example

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to S. No. 1120 above.
1122. Bhoja cites this gātha as an example of dūtī-pratişedha.
1123. Bhoja cites this gāthā as an alternative example to S. No. 1122 above. From
these examples it would seem that “pratişedha' here means taking exception to, taking to task, dissuading, advising against depricating.
1124. Bhoja cites this găthă with the introductory words: "Fronleg meget
11—." He cites it again (p. 1045) as an example of art - embracing forcibly; 340114 — the act of rousing to rebellion or bringing over to one's
own party (by secretly suggesting anything into the ear). 1125. Bhoja cites this gāthā as an alternative example to S. No. 1124 above... 1126. See ŚP S. No. (261.97) above. Bhoja cites this gāthā as an example of dūti
ирa japa.
1128. Bhoja cites this gāthā as an example of (Pafccn1979) var 14-14- hiding or
concealing the lover's lapse (from his beloved) by her female friend by cleverly pleading the lover's case.
1129. Bhoja cites this gāthā as an alternative example to SP S. No. 1128 above.
1130. Bhoja cites this gāthā as an example of dūti-gopana - hiding or concealing
love's offence on the part of the lover by the female messenger of the nāyikā.
1131. Bhoja cites this gāthā as an alternative example to ŚP S. No. 1130 above. 1132. For this skandhaka see ŚP S. No. (528.149) above and SK S. No. (333.408).
Bhoja cites it here as an example of one of the mānotpattikāranas, called vipriya-karana. SK (p. 678, v. 351) cites it with the introductory words: "ufdrifah UIT "
1133. Bhoja cites this gāthā as an example of one of the ricorus, called
वारितवामता.
1134. Read जुगुच्छंति in place of हु उच्चंति and in the chaya --- जुगुप्सन्ते. Bhoja cites this
skandhaka as an example of thor: – the following one's own desires.

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Further (on p. 1210) he cites it again as an example of H1-HART (= AHH ). Prof. M. V. Patwardhan's remarks: “The restoration is, I think, good. The stanza is a good example of the figure, called grudnia, as 194 and (both being uga) are associated with three common properties (presented in the first three quarters) and with a single predicate (in quarter four). yuvöfa is active voice, third person plural, present tense. --- Post and पेम्मं are grammatical objects of the transitive verbal form जुगुप्सन्ते. (जना: or aleht: being the grammatical subject to be supplied) --- The dear one as well as his love ... (both of them) are despised (by people)."
1135. Bhoja cites this gathā as an example of स्वरूपतान्यत्व, one of the मानोत्पत्ति-कारणs.
Fanual — the state of one's own character or nature and 3774 - change, So Facura = change in nature or character.
1136. Bhoja cites this gāthā as an example of one of the causes or sources of jealous
anger (HH O RT ), called GIFT — wickedness, deceit, guile, roguery.
1137. See ŚP S. No. (1126.249) above. Bhoja cites it here as an example of one
of the causes and sources of jealous anger (HIITORUS), called pratāraņa - deceiving, cheating.
1138. See ŚP S. No. (485.142) above. Bhoja cites it here as an example of one
of causes or sources of jealous anger (or pride), called khandana - the act
of disappointing, betraying, playing false. 1139. See ŚP S. No. (281.101) above. Bhoja cites it here as an example of one
of the causes or sources of jealous anger, called avajñāna - the act of
showing contempt, scorn, disrespect. 1140. See ŚP S. No. (452.135) above. Bhoja cites this gāthā here as an example
of one of the causes or sources of jealous anger (mānotpatti-kāraņas), called akştajñata - the act of showing ingratitude, of not acknowleding past services or benefits, of not being mindful of former aid or favours.
1141. Bhoja cites this skandhaka as an example of one of the causes or sources
of jealous anger (mānotpatti-kāraņas), called gotra-skhalana - the act of being addressed or called by the name of one's rival in love i.e., co-wife.

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Please note that the restoration of the skandhaka is tentative.
1142. Read : Dāvamteņa --- (p. 1026) and in the chāyā 1989-9114. Bhoja cites this
gātha as an example of one of the mānopalaksanas, called Vikrta-vīksana, a glance or look with troubled eyes, a glance or look with contracted brows or with a frown.
1143. Bhoja cites this stanza as an example of one of the mānopalaksanas, called
asambhāṣaṇam - the act of not conversing with, not joining in a conversation. The găthā, as a whole, is pretty corrupt. The first half may be translated as follows : The newly married young bride, when addressed, does not reply to her husband.
1144. See for this gāthā ŚP S. No. (992.227) above. Bhoja cites it here as an
example of one of the mānopalaksaņas, called vāk-pārusya - harshness of speech; abusive words, insulting or scurrilous language
1145. Bhoja cites this skandhaka as an example of one of the mānopalaksaņas,
called aśrūdgama - rise or appearance (or flow) of tears. Prof. M. V. Patwardhan's remarks : “Your restoration of the stanza appears to me all right. OuRachat : in the second quarter : lingering, revolved. But this sense does not agree with the idea of a break-down of her mental firmness. If there is a break-down of her mental firmness, the tear would fall down at once, instead of lingering or revolving. The tear can be said to linger or revolve only if the mental firmness is intact and is able to check or restrain the fear. I think, H531 a in the original should be emended into #537 ca so as to agree with the masculine gender of बाहो (बाष्प:). If we retain मउअंव as it is, मउअं will have to be regarded as an adverb going with the verbal form (as) (Hafa). Under either of the two alternatives, the meaning remains practically the same."...
1146. Note: Read in the chāyā Ett for Efr. Bhoja cites this skandhaka as an example
of one of the mānopalaksanas, called dirgha-niśvāşa - a long or deep drawn sigh. Prof. M.V. Patwardhan's remarks : “1) I agree with your proposal to read 95TIT ( TIT:) for 20131TIT (Pqtir:). 2) I think #37-931 ( -ta:) is better than
37853 (746-ra:) --- 3) I think your view about the remaining of grafissur

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(POSTRI) (after a while) is all right."
1147. Bhoja cites this gāthā as an example of one of the mānopalaksaņas, called
vilaksa-smitam - embarrassed smile.
1148. Read in the chāyā fontein. Bhoja cites this gāthā as an example of one of
the mānopalakṣaṇas, called vyāja-nivetti - 'feigned return'. Instead of understanding 1937161 as gen. sing. of 37216, it is better to understand it as an instr. sing. form and to suppose that the proud lady returns the goblet (to her lover) without tasting or sipping the wine in it and thus conveys to him her opposition - refusing to be pacified or appeased. This gātha agrees with
GS(W).917. 1150. See ŚP S. No. (1090.243) above. Bhoja cites this gātha here as an example
of one of the mānopalakṣaṇas, called prasādhanāgrahaņam - disregarding personal decoration, not making one's toilet.
1151. Bhoja cites this skandhaka to illustrate one of the mānoddīpanas, called
vipaksa-sannidhi - presence of one's rival (in love).
1152. Bhoja cites this skandhaka to illustrate one of the mānoddīpanas, called
. sakhi-vailaksyam- embarrassment caused by the presence of her friend.
1153. See ŚP S. No. (1108.246) above. Bhoja cites this gāthā here to illustrate one :' of the mānoddīpanas, called sapatniupahāsa. – derision, jeer by one's rival
in love (sapatnī = co-wife).
1154. Bhoja cites this gāthă as an example of the mănoddīpanas, called
saubhāgya-darśana - sight of happiness and good luck (especially, conjugal felicity) (of one's rival in love).
1155. Bhoja cites this gātha as an example of the mănoddipanas, called dākṣinyoktih
- courteous or polite speech, devoid of real affection.
1157. Bhoja cites this gāthā as an example of one of the mānoddīpanas, called
aparādha-smaraņa — recollection or remembrance of love's offence.
1159. See for this skandhaka SP S. No. (101.232). Bhoja cites it here as an example

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of 3TBARTENI, fresh offence (given by her lover), one of the several
mānoddīpanas. 1160. Bhoja cites this gāthā with the introductory words : "siyandy andyalaut: Ved
(Hart:) I -". Bhoja defines māna-vilāsa thus : Heurigent 15 trucciughere HT 1941-ashlilan-farur I nr: 1 See translation.
1161. See ŚP S. No. (303.105) supra. Bhoja cites this gātha here as an example
of (rizantay) #5:49fault(Yeni) — See translation. 1162. See ŚP S. No. (308.106) above. Bhoja cites it here with the introductory
words : "frutglatut: (yet) 1 —". See translation. 1163. See ŚP S. No. (273.100) above. Bhoja cites this gātha here with the
introductory words: "ag-H:-ului ST UUT --". See translation. 1164. Bhoja cites this gāthā with the introductory words : "7 (7)
(a1cp- Jari-hafftunt —". See translation. 1165. See ŚP S. No. (275.100) above. Bhoja cites this gātha with the introductory
words : "7:14-ulan er --". See translation.
1166. The găthā is corrupt. The first half may tentatively be restored as shown in
Vol. I. The first half may be translated as follows : Look ! Don't reproach or be indignant with him. Even the sight of one's beloved is charming !" affic (Sk. afa + HF) — to reproach, censure, be indignant with.
1167. See SP S. No. (544.152). Bhoja cites it here as an example of
tarifa : fastaf18:1). See translation.
a (Rigtlanta
1168. Bhoja cites this gāthā with the introductory words : "Trama: YURT
4 8T UT -". See translation.
1169. Bhoja cites this gāthā with the introductory words : "377aft: ruufacut
PRIT —". See translation.
Sa (3rd
fau:)
1170. Bhoja cites this gāthā with the introductory words : "
34cylfagut ureIT -". See translation.

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481 1171. Bhoja cites this gātha with the introductory words : "Auffalasat uri —".
See translation. 1172. This gātha is nothing but a repetition of the above gāthā – ŚP S. No.
(1171.257). 1173. See ŚP S. No. (558.154) above. It may be pointed out here that the criticism
levelled by Keith against "the Indian love of meaningless subdivision” and his complaint that “the definitions and the classifications are without substantial interest or value" find some support in Bhoja's elaborate treatment of topics relating to Māna. With a view to saving space we refrain from discussing these technical sub-divisions and their definitions and remain contented with the explanation and exposition of the Prakrit illustrations if and when necessary. Bhoja explains मानमोट्टायितम् thus : विलास एव काक्वादिनातिवक्रो
AHHEIR CHILI - 9039. 1174. Cf. with the second half : gui fa37 37HNUT 3RT HRT II - GS IV.90;
NE RRT PT37 -- HIT II - GS 1.10; auf TUPTEUTUT --- ART ARTI ---R131
01737HORNTUT II GS(W) 940. 1175. Note: Read in the second half 1537 FOOT (? for phot) and in the chāyā
397; 39 (= rise up from your stooping posture"). Prof. M. V. Patwardhan's comments : "The sense of पंसुलिकअणिम्ममेण is not clear to me. णिम्ममेण अणेण (97379UUT) (What is the use of this affectionless (fOFTA) bowing to my feet?) is all right. But I fail to see why the 73195UT is said to be gf1934. Perhaps
fc1637 is to be understood as a separate word - a vocative singular form. "Oh, you soiled (or polluted) one,” – (soiled or polluted or sullied or contaminated by your liaison with another woman, and your infidelity to me). The words y3i 65 OfRIG-GĘ-313761 pose a riddle. In ac muat uans-GET-EGURU, gad perhaps refers to 377 4467 Post – “Tell me this - what is the use of bowing at my feet?" But to whom does the phrase प्रतिषिद्ध-दग्ध-हृदयस्य refer? It cannot refer to the सुभग (lucky man) to whom the stanza is addressed. If it refers to the woman uttering the stanza, we expect gang-GTETEGERIT -- "tell this to me whose accursed heart (i. e., love) has
been spurned (by you).” 1176. 31131737 - (usually spelt as 3113113) = 3THURU noble birth, nobility.

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1177. Bhuvanapala reads फालेऊण य. This यor Bhoja's वि (in फालेऊण वि) is for metre.
1178. 3TPUSTI = 31TET commit love's offences (against me); 9131 (= ucile, imper.
2nd pers. sing. from 4f7137 - to believe).
1179. V. l. fo Parret RT (Re PactentSRT) - Why do you feel embarrassed ? Pafc31 :
aica (PSM) ashamed, abashed.
1180. As observed in Vol. I, this gātha is corrupt and obscure. The latter part of
the first half of this gathā, however, is not vitiated by any errors : SAUT Artichopo UTHU. Tentatively, the first half may be reconstructed as follows:तुज्झ पिअ णावरज्झिअं इमिणा विसमक्खरेण णामेण । [तव प्रिय नापराद्धमनेन विषमाक्षरेण मान्मा ।] Translation : My dear, this (my) name containing odd or troublesome letters
has not offended you ! 1181. TBTİ - Ath; = GGHTH. 1182. 316 = 3787 See H. 8.3.87; vihaArf: = 78954101 4: — the path followed
by the honoured, respected men; or HoHid310= pathadhurf – natural, straightforward (honest) course. The wife's speech is, of course, ironical; she speaks tauntingly as she has discovered' his infidelity to her.
1183. fcapula from Porck. Read H. godt forcap: 18.4.3; Porcaps = g: aufàt speaks about
pain (and sorrow). The second half : Real feelings of love (PhGiar:) are difficult
to express in the presence of the person one hates (द्वेष्यस्य पुरत:). 1184. Read in the chāya निद्रा-गुरुके (= eyes heavy with drowsiness) मुहूर्तं सुप्यताम् = please
sleep for a short while. 1185. BRBO = getting angry all of a sudden; quo = becoming favourable or friendly
the next moment; 31fe1340 — adherence to or holding on to positions no longer true (= untrue statements once made), 3HTERO = P cto = wild, unimpeded,
vehement, mental agony. 1186. See for the text ŚP S. No. (768.190) above. 1187. See for the text ŚP S. No. (312.107) above. 1188. See for the text ŚP S. No. (494.143) above.

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1189. HUUŞTÎ = Nach = a woman angry from jealousy. 1190. siCha = 39TO (See H. 8.1.200) Some identify it with a walnut tree, some others
with Asoka tree. Joglekar rejects the identification of Arkotha with Aksota 1- Akroda in Marathi). He says Arkotha is also known as Srrigāra-vela (in Marathi).
1191. H
ERE (fut. 2nd pers. sing.) = Heat - you'll be broken.
1192. It has not been possible for me to restore the second half which is incomplete
and corrupt. The first half may be translated as follows: "I suffered (the humiliation of) being wrongly addressed (by my husband) by the name of another woman (- the sweetheart of my husband). I saw my beloved husband maintaining (all along) unchanged (i. e., cheerful) countenance (in spite of his committing a grave blunder in wrongly addressing me by the name of his
sweetheart)”. 1193. Read in the chāyā hem in the first half and the CA 30 in the second
half. 1195. See for the text ŚP S. No. (1032.234) above. 1196. There is a pun on the word 416-961 — (i) GUT: -- the lover's falling
prostrate at the feet of his wife; (ii) UGRI 96 - falling of the legs of the broken or badly made bed (guifea-H3705).
1197. 169A6 (= TECATH) Ladies' man, 'dear to many'. 1198. दुलह (= दुर्लभ) - difficult to obtain [दुलह on the analogy of सुलह (= सुलभ) - easy
to obtain) 1200. Read in the chāyā un I 7. 1201. See for the text ŚP S. No. (915.214) above. 1202. Cf. with the second half the famous Paurāņikī gātha : 1203. PAGSIS CFERT = POCET CER: - conversation (ZIER) through the movements of
the eye-brows. 1205. See ŚP S. No. (292.103) above.

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1207. See for the text ŚP S. No. (612.164) above. Dr. A. M. Ghatage renders it
into Sanskrit and translate it as follows: "कस्य न श्रद्धा गुरुत्वे पत्यु: प्रसादयत:। of HF140-ft: Tafa 40-RT32:11 Who will not have faith in the firmness of the husband who is soliciting, if
there were not the nights of the cold season which break the pride?": 1208. See ŚP S. No. (328.110) above. 1209. Ter gefT37 THU — “In this matter you are the authority". In other words,
“However it all depends on you whether to maintain anger or welcome your
lover." 1210. 467317 (= :) = the intoxication caused by wine. It is one of the sources
or factors that remove (or break) anger or indignation excited by jealousy
(HTTHF) (especially in women). 1211. The first half : who was frightened (IAT) by the loud laughter (315618)
which comes from the skull (कपालमुक्त) that has been revived to life (प्रतिजीवित) by the nectar (अमृत) that falls from the crescent of the moon (चन्द्र - the बालचन्द्र
worn on the head by Samkara). 1212. Read Kāraṇagahiovimae --- (p. 1039). See ŚP S. No. (1190.260) above. Bhoja
cites it here as an example of one of the causes of the loss of jealous anger, called upavana-vikāsa (a small forest, wood, grove, garden).
1213. Bhoja cites this gāthā as an example of one of the causes of the loss of jealous
anger, called surabhi-vana-vāta. Says the comm. -904-4RHC erfah झटिति मानिनीमानो विलीयते सान्त्वनं नापेक्षत इति । लीलावई०, पृ. १६.
1215. This gātha illustrates HTG (day-break) as one of the causes of AI-TH.
1216. This gāthā illustrates CT (evening) as one of the causes of 175. 1217. This skandhaka illustrates Testeu (the moon-rise) as one of the causes of 1945. 1218. This skandhaka illustrates TH T: (? GORIRET:) - to be about to set out
on a journey – as one of the causes of HTTH.
1219. This skandhaka illustrates virodhi-prădurbhāva - appearance or rise of

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opposing feelings as one of the
cessation, calming, appeasing of jealous anger. Prof. M. V. Patwardhan thus translates the stanza: "At the very sight of her dear consort, her heart (though) marked by unchecked emergence (9) of her jealous anger and beginning to overflow with joy, became wholly and solely intent on him and exclusively devoted to him." 'R = emergence'. "I am not sure about the correctness of this translation. You may give further thought to it and see if it can be improved."
1220. There is only one hint available regarding the context in which this skandhaka appears. It is faen getting the upper hand or winning mastery or superiority over one's rival (in love). The skandhaka most probably is drawn from Sarvasena's Harivijaya. Rukmini is the senior (or older) queen and Satyabhāmā is the junior or younger one. Kṛṣṇa offered celestial flowers of the Pārijāta tree to Rukmiņi. This infuriated Satyabhāmā. In the course of appeasing her anger Krsna promises to get her the celestial Pārijāta tree. Such a promise and favour which would humble Rukmini's pride and joy was beyond her wildest expectation. So she is overjoyed; and her face beams with joy dispelling all her sulkiness and gloom. Keeping in view this background the stanza may be translated as follows :
-
485
At his words which were so incredibly sweet, sweeter than even her own wishful fancies, her face worked out a complete transformation of her angry mood into something extra-ordinarily pleasant.
1223. Bhoja cites this skandhaka from Harivijaya as an example of faqen (faчer a female rival in love; 3 - disregard, disrespect, humiliation, mortification) of one's rival in love. SK (p. 727, v. 491) after quoting this skandhaka thus comments on it : अत्र सत्यभामाया रोषस्यापस्यापसर्पत: प्रहर्षस्य च प्रसर्पतो येऽनुभावा जिह्मव मुखप्रसादादयस्त इह संकीर्यमाणाः कविनोभयरसायत्तविभ्रममित्यनेन यथावदवस्थिता भवन्ति
|----
Bhoja cites it again (p. 1211) with the introductory words: "FOR मानकालुष्यापगमो मुखप्रसाद: यथा - 1. On p. 1040 we read होइ अदूरवसाअं, on p. 1211 होळ अदूसपसाअं and in SK (p. 727, v. 491 ) होइ अ दूरपआसं. From these variants it is clear that ŚP originally read होइ अदूर-पसाअं ( भवति अदूर-प्रसादं), whereas SK read होइ अदूर-पआसं ( भवति दूर - प्रकाशं). Of these two readings, होइ अदूरपसाअं ( Sk. 3) has to be accepted as the genuine reading in view of Bhoja's

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statement 37 HHHHR ---- ItsThat PoreHTCHTOH-TOKKIGY: --- (SK p. 727) wherein he unerringly points out to the अनुभाव of प्रहर्ष viz. मुखप्रसाद, Prof. M. V. Patwardhan remarks : "The phrase 375x44731 should be rendered as not far away from conciliation (or appeasement)", "on the point of being
appeased”, instead of “fit to be appeased very soon.” 1223. See ŚP S. No. (265.98) above. Bhoja cites it here as an example of gayrien:
[? TRYİRT:- escaping, falling from loss of (māna - jealous anger)). Incidentally, it may noted that the Gaüdavaho text reads the second half as :
पाणोसरंतमइरं व फलिअचसअं इमा वअणं ।। whereas the SP reads : पाणोसरंतमइरं व फलिअचसअं मुहं बाला || and the SK (p. 627, v. 189) QUIRGHz a 13TURT31 a forzi ICT 11
1224. See SP S. No. (252.95) above. Bhoja cites it here as an example of one of
the mānopaśāntis, called 396 — falling down (or loss of) măna - pride or jealous anger.
1225. This skandhaka from Harivijaya is presented here in its corrupt form. Bhoja
cites it to illustrate one of the mānopaśāntis, called calana (? moving or motion). Satyabhāmā was very anxious about Krsna's safe return from his invasion of Indra-loka. When his arrival is announced to her by her retinue (of females), she is overjoyed. Her tears of joy block her vision and she is unable to see her dear beloved (husband), (and she is as it were pinned down
to the place where she was standing). 1226. Bhoja cites this skandhaka as an example of one the mānopaśāntis, called
skhalana (stumbling, tottering); he cites it again (p. 1210) with the introductory words: "ARER ARRAIA AHARIAI | URIT -". AMafia thus means heaving (long) sighs by the nāyikā when she feels humiliated by her lover). He once again cites it to illustrate प्रियोपरोध ip. 1213) - [प्रिय + (उपरोध quarrel, disunion)] quarrel with one's lover.
Incidentally, it may be noted that V. Raghavan's list of mānopaśāntis (p.
56) does not mention चलनम् as one of the मानोपशान्तिs. 1227. Bhoja cites this gāthā as an example of one of the mānopaśāntis, called faus-4
- striking asunder, forcing apart, smashing Read Ratnadeva's commentary on Vajjālagga (Prof. M. V. Patwardhan's edn.,

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Gatha S. No. (361), p.96 : ---- कोऽर्थः । यन्नायिका मानं रचितवती (तत्) तावत्, यावद्वल्लभो दृष्टिगोचरं नेयाय । आगते तस्मिन् काकनाशं नष्ट: । वज्जासणि (वजाशनि) involves repetition,
as ou and 3If both mean one and the same thing i.e., the thunder-bolt. 1228. See $P S. No. (1082.242) above : प्र. १००९ : तोइअपिआणुवत्तणमउलिअहिअआए एवसेसवहूओ ।
संभाविअच्छि हिओ हरिणा पादपडणम्मि तीए अमरिसो ॥ पृ. १०४१ : लोलअसुरअरुकारण मउलिअहिअआए सावसेसवलहुए ।
संभाविअ चिअ हिओ हरिणा पाअपअम्मि तीए अमरिसो । पृ. १२०९ : तोइअसुरअरुकारण सउइअहिअआए सावसेअअहलहुओ ।
संभाविअ च्चिअ हिअओ हरिणा पाअपडणम्मि तीए अमरिसो ॥ Bhoja cites it here as an example of one of the mānopasantis, called उन्मूलनम् = eradication, destroying.
Comparing the text of this skandhaka given on three occasions the text is restored and presented as ŚP S. No. (1082.242). Prof. M. V. Patwardhan's remarks : "If we emend 275931 (ŚP p. 1209) as संउइअ (? संकुइअ), it will not offend the metre. मउलिअ would mean the same as संउइअ (?संकुइअ) - संकुचित - morose, depressed, sulking.
If the reading f31Tujaniu be accepted, the sense would be : "Whose heart (mind) was morose because of his humouring (obliging) his other beloved (viz. Rukmini)." This reading would be equally good. सावसेसलहुओ (anger) lingering and feeble (ebbing away). संभावित - entertained, harboured in the mind. संभावित एव हृत : was removed the moment it was entertained (by her). But this goes against सावशेषलघुक : (lingering and feeble). Except for this difficulty the
translation would be all right." 1229. Bhoja cites this gāthā as an example of one of the mānopaśāntis, called . palāyanam (fleeing, flight).
1230. Bhoja cites this skandhaka as an example of one of the manopaśāntis, called
punarbhāva (new birth).
1231. Read मउलिअ - अंबुअ-पसरा in the second half and in the chāya मुकुलित०. Bhoja
cites this skandhaka as an example of one of the mānopaśama-lakṣaṇas, called nayananimilana - shutting the eyes. Prof. M. V. Patwardhan's remarks : "दइआलोअपअत्ता - पअत्त = प्रवृत्त - proceeded.

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Here engaged in (or intending to) having a look at her beloved consort. fazifer3 = factar - disabled (on account of the uninterrupted flow of tears) or 'incapacitated.' I think, we should emend quarter 3 as 'HET37-31937- RRT = (
HealEUT-RHRT) (Bahuvrīhi compound) (ugfaaieguRI-R: ça per: UIT: ) – 'Whose operation (activity) was comparable to that of a closed lotus.' A closed lotus is a lotus without any activity. Similarly, her eyes, clouded with tears, were without any activity (of seeing) (were devoid of the activity of seeing) and
consequently could not have the pleasure of seeing here consort." 1232. Read in the second half fac1534-16HH - Tut and in the chāyā 31f9vy (-371196-)
- Tut. Prof. M. V. Patwardhan's remarks: "HEUT-1637 as connected with the arrow of Cupid, would stand for H167 - TH: (arrow! beautiful because of the stupefaction (H16T) produced by it (H167 THT:); or (arrow) stupefying and beautiful (F167:T YHT:T - ofery compound.)” The reading d.1937 adopted in Vol. I needs to be emended to factg37. According to Deśī (p. 264), faşi zifey aura
विलइयं अधिज्यं दीनं च । Pac1937 means 'having the bow-string up, stretched or strung' and this meaning perfectly suits the context.
With the correct reading fac1937 - ( Deśī = 31EWVU, 3771f9a) - fa64H-gut, the problem does not arise.
Bhoja cites this skandhaka as an example of one of the
mănopasama-laksaņas, called mukha-prasādaḥ. 1233. Read in the second half ce a RT HAGUET.
Bhoja cites this gātha as an example of one of the many mānopaśama-lakṣaṇas, called rosa - pratibheda (acc. to the list of given by V. Raghavan (p. 57) and dosa (? pratibheda) acc. to the list given in SP (p. 1041). The găthă conveys in a suggestive manner the feigned anger of the speaker of the gātha.
The reading जणवाओ is the generally accepted one as against SP's 'अण्णजणो.' 1234. Bhoja cites this gāthā as an example of one of the mānopaśama-lakṣaṇas,

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489
called akrama-nindā (akrama = want of order, confusion; ninda = censure, blame, reproach).
1235. Bhoja cites this gātha - which, however, has not been preserved intact -
as an example of mano-jugupsă (self-condemnation, self-censure). 1236. See ŚP S. No. (989.227) above. Bhoja cites it here as an example of one
of the manopaśama - laksanas, called mānānuyoga (HFT + 3 JUTT = a question, examination, censure, reproof). This gātha reminds one of the famous stanza, especially the first half, of Amaru's stanza : fecant : H ATSWIGGritori TEUTT 09/04aश्वरणनिपतितो नेक्षित: संभ्रमेण आलिङ्गन योऽवधूतस्--
1237. Read णिक्कइअव-मअण in the second half and निष्कैतवमदनo in the chaya. Bhoja
cites this skandhaka as an example of one of the māna-bhangopādhis, called madaḥ (intoxication). 37370 - "Not responding to the conciliations made by their lovers"; magad - humbled, tamed; rafmaH : - Aroa (= apa) - Honda (= :) = "displaying or making a show of intoxication as an excuse." Auhau-caha: = (the young women), who were “humbled (tamed, overpowered) by their genuine (sincere, heart-felt) love."
1238. This gātha (as presented in Vol. I) is metrically defective. If the first half
of this stanza is reconstructed as shown below, the defect would be corrected. माणो वामाणो चअ, माणं पारेहि ए घरभारं । (मानो वाऽमान: त्यज मानं पारय अयि गृहभारम् ।)
Bhoja cites this gātha as an example of one of the mana-bhangopädhis,
called prasangopadhānam. 1239. See ŚP S. No. (1002.229) above. Bhoja cites this skandhaka here as an
example of Pramādopadhāna; pramada means carelessness, neglience. 1241. Bhoja cites this gāthā as an example of Kālopadhāna; kāla means time (as
in deśa-kala place and time). '1242. See ŚP S. No. (1189.260) above. 1243. This gātha is corrupt. It may tentatively be restored as follows:

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सहि पाएसु छिवंती पिओ व्व कि वेलवेसि मं सुअंतिं । एहि णिमज्जसु पासे, पाउअ मुहिआ ण मुणिआमो ( ? ) ||
( सखि पादयोः स्पृशन्ती प्रिय इव किं वञ्चयसे मां स्वपन्तीम् ।
एहि शेष्व पार्श्वे प्रावृतमुख्यौ न ज्ञास्यावहे || )
See translation.
1244. See ŚP S. No. (336.112) above. This gāthā illustrates Suptopadhāna; supta means sleep, asleep.
1245. Bhoja cites this gāthā as an example of the pleasure a proud' nāyikā obtains on seeing her husband / lover falling at her feet (pāda-patana ).
1246. See ŚP S. No. (1124.249) above. Bhoja cites this gāthā here as an example of prasahyaśleṣa i.e., embracing forcibly, a (light and close) embrace by using force.
1247. See ŚP S. No. ( 321. 109 ). Bhoja cites here this gāthā as an example of cumbana - balātkāra i.e., (impetuous and ) forced kissings.
1248. See SP S. No. (1094.244). Bhoja cites this skandhaka here as an example of Upālambhoktih i.e, speech marked by taunts, speaking tauntingly.
1249. Bhoja cites this gāthā as an example of sneha pariksā- ( sneha love, attachment to, friendship with; parīksā test, examination).
-
1250. Note: Please read in Vol. I ( p. 272) पिअ गरुइआऍ. Bhoja cites thos skandhaka as an example of vipaksābhibhava (vipaksa - one's rival in love) abhibhava-humiliation, mortification, disregard, disrespect.
णिव्वलंतसिणेहं (णिव्वल = णिव्वड, पृथक् स्पष्टे णिव्वड | H. 8-4-62), so णिव्वलंत = स्पष्टीभवन्; गरुइआऍ = गुरूकृतया; सौभाग्यगुणानाम् अग्रभूम्यां पदं न्यस्तम् - "set her foot on the pinnacle of the qualities that constitute a woman's good fortune (attractiveness in relation to her husband)." g is to be read as for the sake of metre. SK (p. 678, v. 350 ) cites this skandhaka with the utthānikā : "कथाव्यापिनी नायिका यथा -" ŚP (p. 1224) cites this skandhaka as an illustration of रतिप्रकर्षोदय: शृङ्गारवृद्धिः । यथा -.
"तत्र रतिप्रकर्षनिमित्ताभिलषणीयालिङ्गनाद्यवाप्तिहेतवः, प्रियसन्दर्शन- प्रमोदवृद्ध्यादयः संभोगशब्दवाच्या भवन्ति ।" शृङ्गारप्रकाश, पृ. १२२४.

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1251. Bhoja cites this skandhaka from Harivijaya as an illustration of labha - viseṣa (a special gain or advantage). The acquisition of 'sura druma' (celestial Pārijāta tree) is such as one could be proud of. He cites it again (p. 1221) to illustrate parijana - pramodaḥ (parijana - attendants, retinue especially of females); pramodaḥ excessive joy, delight). Prof. M. V. Patwardhan's remarks : “तं चिअ ( तदेव ) should be construed with तीऍ घरं Translate as follows: That very residence of hers (i. e., of Satyabhāmā), with the celestial tree planted at its entrance, full of esteemed (valuable) offerings (upacāra) of celestial flowers and with attendants plunged (immersed) (paritta = parita) in joy, was now observed (i. e., now appeared) to be as if different from its former self." (Read annam va for annam ca).
Perhaps uvaāra is to be equated with (or emended into uvahāra (upahāra) decoration, offering or arrangement."
-
---
अण्णं च सच्चविज्जई परिओघ परिंत परिअणं तीए घरं ॥ पृ. १०४७.
and दारद्ववि
I am happy to note that Prof. Patwardhan's suggestion about the reading "upahāra" finds support in the printed text of Mysore edn. ----G तं : चिअ कुसुमोपहार o गपिअं ।
---
रमुमं तं चिअ संगमकुसुमोपआरस्सविअं
अणं वि सचहिज्जइ परिओस परित्तग्घणं तीए घरं ॥ - पृ. १२२१.
---
शृङ्गारवृद्धिर्यथा - पणअपरिपूरणेणविर अभूसिअपिअअमागमेण • गरुओ । पसरइ लद्धद्धामो अण्णोण्णवसितरेसहि तीए पहरिसो ॥
491
-
And p. 1221 : चित्तसंतोषो मन: प्रहर्ष:, यथापण अपरिपूरणेण अविरआसुअपिअआगमेण अ गरुओ । पसरइ लद्धद्धामो अणुण्णरसंतरेहिं तीए पहरिसो ॥ Now read SP S. No. (1252.272).
His other suggestion, too-to read 'annam va' -- is welcome.
1252. Bhoja cites this skandhaka (from Harivijaya) as an illustration of śṛngāra vṛddhiḥ. He cites it again (p. 1221) with the introductory words: citta santoso manaḥ-praharṣaḥ: p. 1047 gives the text of this skandhaka as follows:
1253. This gāthā is adopted from GS (II. 124). ' at the commencement of the gatha is of course 'unwanted'. The second half reads differently:

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अह होइ कस्स विरहो, होहिइ विरहम्मि को जिअइ ।
GS(W). 124 : अह होइ कस्स विरहो, विरहे होंतम्मि को जिअइ ॥ . 1254. See SP. S. No. (310.107). Through inadvertance the text of the gatha = (and
its chāyā) are left out. Here they are : अव्वो दुक्करआरअ पुणो वि तंति (? तत्ति) करेसि गमणस्स । अज्ज वि ण होंति सरला वेणीएँ तरंगिणो चिहरा ॥ (हंहो दुष्करकारक पुनरपि चिन्तां करोषि गमनस्य ।
अद्यापि न भवन्ति सरला वेण्यास्तरङ्गिणश्चिकुरा: ॥) 1255. See $P. S. No. (323.109) above. 1256. अणह (अनघ) = uninjured, safe; पुलएहि (प्रलोकय) See, look ! .. 1257. See the Sanskrit extract in Appendix I. 1258. Read in the first half of the chāya रुदत्यां मयि ---- क्षीयत अहमिव । 1259. कुलवालिआ may be equated with कुलपालिका or कुलबालिका. कुलबालिका means, as a
rule, a virgin, an unmarried girl of good character and born in a noble family. कुलपालिका (= कुलयोषित्, कुलवधू) generally means a chaste, respectable high-born woman of good family and good character. But the two words are often used
indiscriminately or promiscuously. 1260. Dr. Bhayani includes this gatha in his Muktaka - Madhuri (gatha no. 215,
translation p. 109). 1261. This skandhaka illustrates the truth embodied in the famous line : 'अतिस्नेह:
पापशकी।'
1263. वणे = मणे (= मन्ये) = I think. Bhuvanapala observes : वणे इति सखी - संबोधनम् ।
Hemacandra lays down one sutra recording four senses of वणे. वणे निश्चय-विकल्प - अनुकम्प्ये च । VIII. 2.206; च covers the sense of संभावना - recorded in the preceding sutra (अइ संभावने।). भग्गमणोरह (भग्नमनोरथ) - an accursed, wretched or
wicked person; Thrifa - denom. from CH ( - droop). 1264. See SP S. No. (615.164) above.
1265. उप्फुसिअ = उत्प्रोञ्छित. The Prakrit word in this sense is spelt as उप्पुसिअ - wiped
out, effaced.

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1266. See ŚPS. No. (287.102) above. SK (p. 640, v. 243) too cites this gatha. 1267. See ŚP S. No. (217.87) above. 1268. Read in the first half R (? H6), and in the chāya (? HH) 3THOUT :. 1270. See ŚP S. No. (301. 105) above. Read in the chāyā (second half) Anita. 1271. See ŚP S. No. (775.192) above. 1273. See the Extract from the Sanskrit Commentary in Appendix I. 1274. Read in the first half of the chāyā Telegriffod: 1 1275. Read in the first half of the gāthā - (? 1937 JE ORHIVUT) I 1276. Dr. H. C. Bhayani writes; “This is = Weber. 870. Weber has 3fesi yours,
but in ŚP the first word is different (3FF ?). Possibly foreiro. The second word is our swollen; not you. So it would be better if we can reconstruct as something like 'जग्गण (or जग्गिअ)- सूणाई'-swollen due to keeping awake -
sleeplessness or we can have cifre ('red')--." 1277. Read in the first half 7311ds. 1278. See ŚP S. No. (326.110) above. Read in the first half 7370637. 1279. Read in the first half - yfq3nt and in the second half sag in Vol. I - p.
277. EU = eru a festival; Cf. Eout with Marathi Hu. 1280: Read in the first half yote
1281. Read in the chāyā (second half) QuaH --- 45
.
1283. Read in the first half urufs. 1285. See ŚP S. No. (1259.274) above. 1288. Read in the first half a (= G AYS. 1289. gruft is no doubt recorded in PSM, but apuit is more frequently used. 1290. Read in the first half 1.837 metri causa, and in the chāyā (first half) ga.
This gåtha occurs earlier. See SPS. No.(614.164) above.- O alcat - fabric / facit.

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1292. Read in the first half सिहं (? सिहअं) metri causa and in the second half भाम
HTH EUT - 950 and in the chāyā (second half) WN 1437 STUT-46147. 1293. See ŚP S. No. (486.142) above. Read in the second half - JARAN. Read
DSS (p. 15) : 3TRA' Togel Titulu: 1 1296. See ŚP S. No. (755.188) above. 1297. See ŚP S. No. (247.95) above. 1298. Read in the first half fa34A --- #37 (? Ua3r) and in the chāyā (first half)
--- FIAT (? Bila). means gruritat. 1A37 = gila. Tila (or jfą) is thus explained by the commentator on Lilavai (gäthā no. 80): YTT HURTAR: The commentator reads 31 as the SP text does (p. 1069) and explains (oppdat) A GIA CHIA canto di af 1 A. N. Upadhye in his Notes to Lilāvai (p 332) says : "je (or mifa is not traced in PSM; according to the d. 971. II 95, Teo Tid Tigt might be apart Howtoon. Some of them just illustrate
variation in pronunciation ---" 1299. See the Extract from the Sanskrit Commentary in Appendix I. 1301. Read in the second half wait in Vol. I - p. 281. See the Extract from the
Sanskrit Commentary in Appendix I. 1303. Read in the first half in Vol. I - p. 282 481-FABİ ----- 3 Sua Parati 1305. Read in the second half in Vol. I. p. 282 woul-Nafta. 1307. 07/3710 (= FRIT - 05417-HEGOUT) - because of its similarity with the cheek of his
wife. 1308. See ŚP S. No. (587.189) above. Cald1931 (AFSICHT) - one whose hair are long
(long hair being a sign of beauty with young women); or whose hair are hanging
loosely on her back (unoiled and uncombed - being a prosita - patikā.) 1309. See ŚP S. No. (1257.273) above. 1310. PETRT 93715 usifa - the steps of the wayfarer falter. 1312. See ŚP S. No. (174.77) above. Add below the chāyā the source of the
skandhaka in Vol. I - p. 283 "Setu, V-7." Read in Vol. I, p. 284, line 2 - last word as 'poetical. See the Extract from the Sanskrit Commentary in

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Appendix I.
1314. PSM records : But = TGT; TR (or for) = TG, and for the illustrations of
both these words cites the gathă under discussion.
1315. 37PR (IRR) uncertain, unascertained, doubtful; HT3TUT (147) a medicine
supposed to prevent old age and prolong life, an elixir of life. 4 (214) to be exhausted, be distressed, be disturbed or be perplexed.
1318. H = a rc ind. wherefrom? Whence ? Why ? Wherefore ? 1319. Dr. H. C. Bhayani reconstructs this gāthă as follows :
"ओहिए दिणे उ. विहुरा विवण्ण-मुहआ पओसि पंथं । Past (2 188) - f31 73195 37-ucun golles II (अवधेर्दिने तु विधुरा विवर्णमुखा प्रादोषिकं पन्थानम् । Fora (feat) - feras uliotaufacht 37781 Ugell ycticaufa II" (The earlier part of the second half is metrically defective. If we read far-fezi 13799311 37RAT-opfSen geltus I, the metre would not be violated.) We may translate the găthā as follows:
On the day she had expected her husband to return home, the young woman full of distress, pale in complexion, saw in the dusk of the evening, someone halt on the road outside and felt the torments of hope.
(3qullsat means 'on the stipulated day of return from journey abroad.') 1322. Read in the second half Pacd HRHR got. 1324. gouria (78) (clouds) rising high (in the sky); 3111 who had already)
abandoned all hope of her life; ओरुण्णमही (अवरुदितमुखी) with her face covered with tears.
1325. See ŚP S. No. (82.57) above; see the Extract from the Sanskrit Commentary
in Appendix I.
1326. RT37-18T3R3 (= faq-GTGT) brother of poison i.e., born out of the same source,
namely, ocean; TAŞ - Who says ? al is one of the ten substitutes for
gad to say, See H. VIII. 4.2. 1327. Add below the chāyā the source of the gātha --- 'GSI - 29'. See ŚP S. No.

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(679.175) above. 1328. See P S. No. (614.164) above. 1329. पुलकितोद्रम (with her body) covered with goose-flesh or horripilation. 1330. See SP S. No. (616.165) above. 1331. See $P S. No. (632.168) above. 1332. Read --- 'attempts at' in Vol. I. p. 286. Credit goes to Dr. Bhayani for pointing
out that the second half of this gatha is identical with GS III. 6. He writes; "GS. 206 is as follows :ओहि-दिअहागमासंकिरीहि सहिआहि कुडु-लिहिआओ । दो-तिण्णि तहिं चिअ चोरिआए रेहा पुसिज्जंति ।। (अवधि - दिवसागमाशङ्किनीभि: सखीभि: कुड्य-लिखिता: । द्वितास्तत्रैव चोरिकया (= चौर्येण) प्रोञ्छ्यन्ते ॥)
The second line of the SP verse and the GS verse is identical. The first line of the SP verse has a lacuna. A part of the beginning seems to tally with that of the GS verse. The rest may be either the result of confusion of the same text or may have a variant as its basis."
पुस (or फुस) is one of the nine substitutes for the Sanskrit root मृ to erase, rub out, efface, obliterate, wipe off. Prof. M. V. Patwardhan in his edition of वज्जालग्ग, Notes pp. 481-482 gives the background and implication of the stanza. Curious readers may refer to those Notes..
1333. Read in the first half चिर-पवसिअ-दइअ-कहा - णिउणाहि; and in the chāya चिर-प्रवसित
(= प्रोषित-) दयित - कथा - निपुणाभि: कथ्यन्ते । 1334. uco the freshly plucked sprig or small branch of leaves;
पढमo accompanied by (सणाहो = सनाथ : = सहित :) the first mango - blossoms:
पत्थाणo placed on the top of the auspicious water-filled jar. 1335. The restoration of this gatha is only tentative. Prof. M. V. Patwardhan wrote
on occasions more than one: "उत्तानकमुखघूर्णमानबाष्प (विरिमालणो ?) (वाअ). I think Hemacandra records विरमाल as धात्वादेश for प्रतीक्षु to wait for, to await, i.e., to endure or bear the absence of something.

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"महपअत्ता = महाप्रयत्नात् - with great effort." The reading विरिमालणोवाआ (= विरमालणोवाअs) could mean प्रतीक्षणोपाया: (See Hema. Gr. VIII. 4. 193)."
"First half, second quarter आउच्छणे - आपृच्छने (? आप्रच्छने) - at the time of taking leave or saying good-bye. Second half: f ic is recorded by Hemacandra as a धात्वादेश for प्रति + ईक्ष. I, however, think that we should emend विरमालिआ into विरमाविआ (stopped) (by the tears turning round and round in the upturned mouth).” __ "I do not think that there is any pun in मुहपअत्ता and वाआ. मुहपअत्ता वाआ = मुखप्रवृत्ता: वाच: 'or words emanating from or coming out of the mouth.' विरमालिआ would have to be equated with विरमिता: (stopped, blocked) and not with प्रतीक्षिता:, though it is true that Hemacandra gives विरमाल as a Prakrit धात्वादेश for प्रति + ईक्ष. In Gahakosa at 299 the धात्वादेश 'विरमाल' is found used and Bhuvanapala paraphrases it by FE to bear or endure. But Weber's version of the Gathā saptasati has the reading विरमावेउं, and Sadhāranadeva has the reading वोलावेउं. I think विरमाल can be regarded as an equivalent of विरमाल by changing the ल to व." --- "एए मुहपअत्ता वाआ can, as you say, be equated with एते मुखप्रवृत्ता: (i.e.,
आरम्भकाले प्रवत्ता:) वाता: and be taken as referring to the Malaya breezes. But मुहपअत्ता वाआ can also be equated with मुख-प्रवृत्ता: (i.e., प्रियतममुखप्रवृत्ता: or प्रेयसीमुखप्रवृत्ता:) वाच: and in that case it must be supposed that a pun is intended, पिअंstanding for प्रियाम् or प्रियम्. I do not think that there should be any difficulty in एए च्चिअ वाआ with एता एव वाच: (Nominative plural) ---- it is to be understood that both the forms एआओ (or एयाओ) and एआ are permissible as Nom. or Acc. plural and in that case एअ चिअ वाआ can very well represent एआ चिअ वाआ (= एता: एव वाच:). There is no grammatical anomaly here as you apprehend." Dr. H. C. Bhayani wrote: "महु-पअत्ता = मधु- (वसन्त-) प्रवृत्ताः; विरमालणा or विरमालिआ
presents difficulty; We require something like "mixed with." 1337. See P S. No. (175.77) above. • 1338. Prof. M. V. Patwardhan wrote regarding this corrupt gatha :
"पत्तिअ० मेहचंद (? पत्तिअ मे णेहमिओ चंदे) सहि सूरदीवसिहाए । कज्जलपडणेण णह-खप्परम्मि दिअसेहि संकलिअं ॥ (प्रतीहि मे नेहमृगश्चन्द्रे, सखि सूर्यदीपकशिखायाः । कज्जलपतनेन नभ: कपरे, दिवस: संकलितम् ।)

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I think we must read कज्जलें पडणेण for कज्जलपडणेण so that कज्जलं becomes the subject corresponding to the predicate (संकलितम्) or कज्जल can be regarded as a deinflected form used instead of कज्जलं---".
Dr. H. C. Bhayani proposed the following restoration: "पत्तिअ ण मेहवंदं सहि सूर-दीवअ-सिहाए उ कज्जलं । + + + पडणेण णह - खप्परम्मि दिअसेहि संकलिअं॥"
but observes "Hier is metrically defective". Ragarding the emendation proposed by me 'सहर' (पडणेण) he welcome it as a good suggestion.
1339. Read in the second half of the chaya नूनमेषु दिवसेष.
1341. लुंबीओ (= स्तबका:) - clusters of leaves and flowers; अंगण० = jasmine creepers
in the front yard of the house; दार० (द्वारार्गला:) obstructions blocking the entrance to the house; पंथ - (पान्थ: -) a wanderer or traveller; पंथ - (पलोअणे) पंथपलोअण (= मार्ग - प्रतीक्षा) would be a better reading. It means “looking at the homeward way of the husband gone on journey” - since it is one of the ways of Pacifuit - विनोदन.
1345. Dr. H. C. Bhayani thus restores the gatha:
"एअंपिए पेसिज्जउ अलाहि ओरमह कि थ लेहेण । लेहणिअ-बोलणोअत्त-हत्थ-गलिअंवल तिस्सा ।। (एतत् प्रियाय प्रेष्यतामलम् उपरमध्वं (?उपरमस्व) किमत्र लेखेन । लेखनिका-निमज्जनापवृत्त-हस्त-गलितं वलयं तस्याः II)"
We may translate this gătha as follows :A letter ? No, stop. Send this instead, her bangle which slipped down her hand, when she dipped her pen in the ink-pot.
1346. Read in the second half : रुद्ध-लोअण (रुद्ध-लोचन) - With eyes shut or closed;
आहार (आधार) a basin round the foot of a tree; पलिअंति = प्रदीपयन्ति inflame.
1348. Read घरिणीऍ (in the second half).
1349. This verse may be translated as follows :
That day on which her husband was to come back home, out of her

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impatience to greet him, she emerged hurriedly out of the river where she had gone with her lady companions or attendants for bath and offered reverentially to the sun a handful of water.
The expression वहणेक्क-कअ-जीअं is obscure.
1351. Read in the first half 1942041371 metri causa.
1353. Read Mfaut31- &-ugcfe371
and in its chaya क्षणार्ध-.
1354. See ŚP S. No. (320.109) above.
1355. This verse may be translated as follows :
How can these women, who have been pining for their husband, walk fast, when they have to manage their hands some way, so that their bangles should not slip off ?
The translation follows the reading jena(Sk. yena) and not the emended reading jäņu (Sk. janu)
1356. Please read in the second half of the gătha (Vol. I, p. 290) 3tafor37-ctat.
This verse may be translated as follows :
I must convey my greetings to you, my friendly Left Eye, your throbbing that convinces me of the arrival home of my man, has lifted the pall of gloom from my mind. cf. : gogamze ge us ses HT 70347 5 a USB ,
संमीलिअ दाहिणअं तुइ अविअण्हं पलोइस्सं ॥ [स्फुरिते वामाक्षि त्वयि यद्येष्यति स प्रियोऽद्य तत् सचिरम् । संमील्य दक्षिणकं त्वयाऽवितृष्णं प्रलोकयिष्यामि ।।] - GS II. 37
- ŚP S.No. (320.109). It may be translated as follows :
Dear Left Eye, if your twitching predicts correctly and my man comes back home today, I shall reward you : I shall order the right eye to remain shut and reserve the pleasure of having the fill of the look of him for you alone.
1357. Read in the chāyā (second half) - CM.

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1358. Read in the second half of the găthā JHBC.
1359. 3FITEA - (ind.) unexpectedly. 1360. See ŚP S. No. (623.166) above.
1362. Read : For this Apabhramśa passage.
1364. Read in the first half of the skandhaka afas. See the Extract from Sanskrit
Commentary in Appendix I.
1365. The earlier part of the first half of the gāthā agrees with that of the gāthā
bearing S. No. (826.199).
1366. Read in the first half of the gātha cgu and in the second half dies:
37537 = a wanton or unchaste woman.
1367. See ŚP S. No. (767.190) above.
1368. Beans :- Read DŚS (p. 46): PIRITA BERSI, Janet 3402PRIST:
BEST PRICHO RTT: 1 BERISI - a dung - hill; BEAST - a heap of jewels; 1969TU = वैधव्य widowhood; णिप्फल - the heaviness and plumpness of the breasts being in vain (because of her widowhood).
1369. अडअणा = असती an unchaste woman; रुण्णं - रुदितं (wept); बाह० - with her throat
choked with tears.
1370 to 1415 (both inclusive): See the corresponding Extracts from the Sanskrit
Commentary in Appendix I.
1416. वाएइ = वादयति plays (on the flute or lute); नच्चामि I dance (to his tune); चंचले पिम्मे
- his love being fickle; acts = dorifat bends (its body); (FET) - rigid or firm. Prof. M. V. Patwardhan observes: The idea is that even a creeper adjusts itself to the contours of a tree which is firm and rigid. How much more then is it necessary for a woman, like the speaker of the stanza, to adjust herself to the ever-changing moods and whims of her lover (or consort) who is fickle in his love? cf. Vajjālagga-Additional st. 119*3, p. 227."— The Gāhākosa, pp. 159.160 (st. 243).

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1417.विक्केइ - विक्रीणाति sells (barters); पामर - a farmer; पारिडि (= प्रावृति) upper garment;
Purch - Arhu (Fr)] (breasts) warm like a smokeless chaff-fire; WH (= PUTHT) a beautiful dark complexioned young woman (here, his wife); 10737TØTT
- pres. part. nom. sing. of 1073778 - to see. Bhoja cites this very găthā in his SK (p. 575, v. 11) with the introductory words : "fair uur & PATHRIT ueir ". ŚP cites it to illustrate Kanişthaḥ nāyakaḥ.
1418. Read in the first half yanaş37 free and in the chāyā youariiaat (= gouart)
--- 371afyoch: (= utatufy:) Hai Bhoja cites this gāthā as an example of
(mohādi-pradhānaḥ) tāmasaḥ nāyakaḥ. 1419. This gātha is in close agreement with ŚP S. No. (556.154) above. Bhoja cites
it here as an example of (pratikūla-vịttih) śathaḥ (nāyakaḥ).
1420. '314-Hşct (soiled with tears) of course qualifies ‘muham' (mukham)
(understood). Bhoja cites this gātha as an example of (artha-guna
sampad-yoginī) Kanisthā (nāyikā). 1421. See ŚP S. No. (321.109) above. Bhoja cites it here as an example of
Kalaharaṇāsahisnurdhīrā (? adhīrā) nāyikā. SK (p. 645, v. 260) cites it with the introductory words : R ed Hat Ta -- and comments upon it thus : अत्र 'मान पूजायाम्' इति धातो:--- मान इति रूपम् । स हि प्रेयांसमस्या: पादपतनादिपूजायां प्रयोजयति ।
1422. See ŚP S. No. (736.185) above. Bhoja cites it here to 'illustrate ‘parakīyā'
(nāyikā) a woman who is married to another. 1423. Read in the first half grefiet / . Through oversight the editor of the Mysore
edition gives the Sanskrit chāyā of GS VII. 46 below this gātha (GS 1.20) which is altogether different - except the opening words Alia-pasutta from GS VII 460. These opening words must have misled him! Bhoja cites this gātha (GS I.20) as an example of Svayamupagatābhisărikā-abhisărikā — "One that goes after her lover”, is one who, being love-sick, goes to her
lover (or makes him come to her). 1424. See ŚP S. No. (338.113) above. Bhoja cites it here as an example of one
of the types of nāyikā, called madhyamă (dāna-guna-sampad-yuktā). SK (p. 638, v. 237) cites it with the introductory words: (HTT-yelleg HERMH )

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अत्रैव प्रगल्भाया: प्रियवाक्यवर्णनेन यथा -
1425. Bhoja cites this gåthā as an example of ahamkāravati uddhatā (vehement)
nāyikā. Epunct = 3ttrycy, enthusiasm, solicitude; T ER - given to (in the habit of) decorating or adorning; 3wvl = 37f. The text as printed in Mysore edn (p. 1168) reads 3765 in place of 370ll. DŚS (p. 25) records it in five different senses (1) Brich - an unchaste woman (2) THT - a beautiful woman (3) 79984: - newly married girl (4) aruit - a young woman and (5) T - this woman.
1426. See ŚP S. No. (99.61) above. Bhoja cites it here with the introductory words :
qullST BUT R S K (p. 689, v. 397) cites it with the introductory words: shefashi palf facilit IT
1427. Bhoja cites this gāthā with the introductory words : 34umacht HRT STET -
Read in the chāyā HH GT. 1428. See ŚP S. No. (485.142) above. Bhoja cites it here as an example of one
of the types of nāyikā, called (UlusAY THUHT) giugat - "(is one who) is filled with jealousy on discovering (her lover to be) disfigured through his relations with another (woman)."
1429. See SP S. No. (342.114) above. Bhoja cites it here as an example of one
of the types of nāyikā, called Pragalbhā (ratyupacāra-catură pragalbhā). SK (p. 684, v. 379) cites it with the introductory words: qu: osteczi Fuf ITHT U211—
1430. See ŚP S. No. (1189.260) above. Bhoja cites it here with the introductory
words : Alaricujetkt URIT — 1431. See ŚP S. No. (579.158) above. Bhoja cites this gāthā as an example of Lalitā
(nāyikā) who does not maintain her haughtiness or anger for a long time (" ifafar r istar URIT --"'). SK (p. 639, v. 238) cites it with the introductory words : (a feg) HH SRIT: Ot Ten
1432. See ŚP S. No. (687.177) above. Bhoja cites it here as an example of svairiņi
nāyikā (ātma-cchandā svairini). SK (p. 688, v. 394) cites it in identical context.

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1433. Bhoja cites this gātha as an example of diagoaferforat — a courtesan skilled
in various arts (lit. in 64 arts). SK (p. 689, v. 395) too cites it identical context: कलाचतुःषष्टिविद् गणिका यथा -.
1434. See ŚP S. No. (632.169) above. Bhoja cites it here as an example of 'uttamā'
.nayika. SK (p. 683, v. 374) too cites it in identical context : नायिकागुणेषु सर्वगुणसंपद्-योगाद् उत्तमा यथा -.
1435. See ŚP S. No. (74.56) above. Bhoja cites it here as an example of rachten
- one's own wife as nayika. 1436. See SP S. No. (686.176) above. Bhoja cites it here as an example of (पश्चादूढा)
कनिष्ठा नायिका. SK (p. 686, v. 386) too cites it with the introductory words : प्रथमोढा ज्येष्ठा यथा -
1437. See ŚP Ş. No. (128.67) above. Bhoja cites it here as an example of Farehaufacht
(नायिका) – who is her lover's absolute mistress. SK (p. 690, v. 402) too cites it in identical context : स्वाधीनपतिका यथा -.
1438. See ŚP S. No. (220.87) above. Bhoja cites it here with the introductory
words : तत् (= नायिका) प्रतियोगिनी प्रतिनायिका यथा – SK (p. 647, v. 263) cites this skandhaka with the introductory words : प्रेम मिमीते यथा- and comments upon it thus : ... तेन च यद्यपि करणभूतेनैवात्मनि रुक्मिण्यां च प्रियप्रेम्ण: परिमाणं सत्यभामा प्रत्याययति
1439. See ŚP S. No. (711.181) above. Bhoja cites it here with the introductory
words : लोके प्रतीतवृद्धय: संसिद्धाः। तत्र सार्ववर्णिक: कनिष्ठादिनायकस्य, स यथा -.
1440. Bhoja cites this gatha with the introductory words : नायकोपगामिफल
विशेषोऽर्थिप्रतिनायिको यथा1441. See ŚP S. No. (388.122) above. Bhoja cites it here with the introductory
words : उपपतिरुपनायको यथा - उपपति is a paramour. SK (p. 616, v. 147) cites it with the introductory words : (अनुभावेषु) चेष्टते यथा -.
1442. मुरला f. name of a river in the country of the Keralas. Bhoja cites this gatha
to illustrate anu-nayaka', the younger brother of the nayika's husband (पत्यु:

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DRHTAR407 22-. 1443. See ŚP S. No. (166.76) above. Bhoja cites it here with the introductory
words : vd HidallendytihifaRT PRIT - 1444. See ŚP S. No. (203.84) above. Bhoja cites it here to illustrate pratināyika
(the rival of the heroine, a foil to the heroine) : Renfaqe: afficha.
1445. See ŚP S. No. (51.52) above. Bhoja cites it here with the introductory words :
Fiachru: 341CT UIT- The term 'upanāyikā' may be rendered into Engish a ‘a secondary heroine' on the analogy of a upnāyaka — a secondary hero'.
1446. See ŚP S. No. (556.154) above. Bhoja cites it here as an example of
anu-nâyikā (FRUCHT: herit = 3TRUCT) - lit. 'a younger sister of the heroine'. In the example cited however we find that she is not the younger sister of the heroine but her friend.
1447. Vide the Extract from the Sanskrit Commentary in Appendix I.
1448. Vide the Extract from the Sanskrit Commentary in Appendix I.
1449. The reconstruction of the skandhaka is only tentative. Read the first word
as farido. The latter part of the first half of this skandhaka is very obscure. The emendations in the second half were proposed by Prof. Patwardhan. With these emendations he thus translated the stanza : "Because of the dilating and fragrant lotus-face of the (ladies in the form of the) lotus-plants, it is known (perceived, concluded) that the cold season has departed and that the (ladies in the form of the) lotus-plants have been united with the vernal month."
1450. Bhoja cites this skandhaka as an example of a nāyikā (heroine). SK (p. 679,
v. 356) cites it as an example of (आभासेषु) उभयाभासो यथा -. उभय stands for 72 and 1. Prof. M. V. Patwardhan's remarks : "I think that we should read 3taforing perif Azit in the fourth quarter of the stanza. (But this reading would violate the metre - V:M.K) 'when the moon embraced the eastern region (cafe) (at the time of the moon-rise), along with the moonlight (TITUET)

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and also resorted (betook himself) to (i. e., made love to) the commencement of the pradosa (i. e., to the night) and when the moon, (also) started to go to the western region (37aefecht), how, oh my friend, can the night not waste away ?' The situation suggested (in the manner of the figure samasokti) is that of a woman (corresponding to purit), who cannot help wasting away when she finds her husband (symbolised by PA310) making love, by turns with a number of women (including herself). est is love no. 1, 379fest is love no. 2, ustouga (commencement of the night i.e., early night) is love no. 3. A man making love with several women besides his wife, is called afert 7214. The moon (314) symbolises such a 10. Love play with several women by a man simultaneously is called my in Vāltsyāyana's Kāma-sūtra (II.6, 41-44). प्रदोषमुख is however difficult. प्रदोष itself is रजनीमुख (early night). Why is the मुख added to प्रदोष ? --- Perhaps प्रदोष symbolises a young girl and रजनी symbolises a grown-up (utc) nāyikā."
1451. Bhoja cites this skandhaka to illustrate pratināyika (the enemy of the heroine,
a foil to the heroine). Here a means greatly, excessively; Panthi or Pc = 41. Note: The Sun, the Day-Beauty and the Western direction represent the behaviour of a nayaka, a nåyika and a pratināyika. SK (p. 453, v. 86) too cites this stanza as an example of the figure समाधि (- निरुद्वेद variety). The commentator जगद्धर thus comments upon it : ... इहात्यर्थधृतलौहित्येऽत्यर्थकृतानुरागे च
दिनकरे सूर्ये वल्लभे चापरदिशं प्रतीचीमपरनायिकां चावगृहमाने संबध्नात्याश्लिष्यति च सति दिनशोभा . . वल्लभस्फुटदूषणमसहमानेव काम्यति म्लाना भवति । अत्र च नायकत्वाधारोपणं रागादिपदैः श्लिष्टैः क्रियत इति
ADECAT II — firarito, q. 843.
1452. Bhoja cites this skandhaka as an illustration of 34-149 (secondary heroine).
SK (p. 679, v. 357) cites it as an example of Ref :. Prof. Patwardhan's remarks : ओरत्त० (बहुव्रीहि compound) whose pale (ओरत्त - अपरक्त ) lotus is her face. CH60 - tormented by passion (love) ; Hatto spreading (resting) on the bed in the form of water; ARO – lotus plant (creeper) growing on the bank (but spreading on the water); अलिअइ = आलीयते-approaches; वाआए गमेइ 7631 — reaches its female consort with its (plaintive) cries. “The cakravaka approaches the lotus creeper growing on the bank and spreading (resting) on the bed in the form of water, whose pale-coloured lotus is its face, and who

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is as it were tormented by passion, and then reaches (communicates with) its female consort with its doleful cries." "वम्मह-णडिअंव is an उत्प्रेक्षा in which the drafit having a pale-coloured lotus for its face, is fancied poetically as a love-lorn woman, who also is BIRTI-CATHE (i.e., her face is comparable to a pale-coloured lotus — 3740 TM sa po UTRIT:)"
1453. This is GS 1.11. TRIEUT (TEFIRTEUT) mounting on the waist i.e., being worn
on the waist; (also mounting on the private parts of a woman in sexual intercourse); U31-GR (GR) - GR CRUI GRI CRIT SRT Serey I So 6790 = a golden waist-band or girdle which has secured its eminence (chef-HTET) by the grace of Agni and Varuņa (i.e., by standing the ordeal of fire and water). “The reference here is to the practice of heating gold in fire and then dipping it in water (during the process of making ornaments from gold)." – GK-Part II - p. 147, v. 158. Here 10- et is poetically imagined to be the nāyaka
on account of its natural position - it's being worn on the hips ! 1454. See ŚP S. No. (1229.268) above. Bhoja cites it here as an example of
upanāyaka. Here "Māna" (Jealous anger or Pride) is poetically imagined to
be secondary hero - उपनायक. 1455. See ŚP S. No. (197.83) above. Bhoja cites it here as an example of anunāyaka.
1456. Bhoja cites this (and the next three) stanza(s) with the introductory words:
TORT: milfafa57aefi for:, TRI-. a m. parting of the hair; Reren: m. white mustard.
1457. Dr. H. C. Bhayani thus restores the first half of the gāthā :
"ER31-16-631-HG-tic37-674-63115 (dyra-e-au-HR-alfa-r-TTT 1)"
The whole găthā may now be translated as follows : The eyes of the newly married young damsels move to and fro in the midst of their female friends - the eyes that were pleasing with gentle and bright-white smile and that resembled the lovely crescent moon and that were feeble (or languid) on account of a sense of bashfulness.
1458. This gathā is the same as cited earlier (p. 689, Mysore edn.) by Bhoja to

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illustrate विनिगूहन, one of the four अधरारम्भs. For the text of the gatha, its Sanskrit chaya and translation, see Notes to SP S. No. (500.144) above.
1460. Bhoja deals with parihara-vilasas. He explains them as ऋतुमतीनामनुरागातिशयशंसिन:
चेष्टाविशेषवेषादय: परिहारविलासा: । यथा -. This gatha is cited in SK too (p. 620, v. 164) with the introductory words : हेलादिषु रागत: सहसा प्रवृत्तिहेतुश्चित्तोल्लासो हेला । सा स्त्रियां यथा - In Vajjalagga it is recorded in the Appendix as an additional gāthā under the Section विरहवज्जा (p. 248,S. No. 389* 4). The commentary on it runs as follows : ... हे सुन्दरि तव भुजलतायुगलं राजते । किंविशिष्टं भुजलतायुगलम् । हेला-हल्लाविय-थोर-थणहरं । हेलया हल्लापित: स्पृष्टः स्थूलस्तनभरो येन । पुन: किंविशिष्टम्। सुरत-मन्दिर-द्वारे प्रिय-प्रतिरुन्धन-प्रसारितम् । Prof. M. V. Patwardhan, the Editor, thus translates it : "The two creeper-like (slender) arms (of the beautiful lady), stretched out in order to stop (SHU) the dear consort and resting on the door-frame at the entrance of the bed-chamber and causing by their graceful movements her expansive and bulky breasts to vibrate (i. e., agitating the breasts), appear very beautiful (indeed)." - (p. 404).
1461. Bhoja cites this gatha as an example of परिहारविलास. SK (p. 620, v. 166) too
cites it with the introductory words : हेलैव सवचनविन्यासो हावः। स स्त्रियां यथा-चुलचुल -Hemacandra (VIII.4.127) lays down : स्पन्देश्चलुचुल:। स्पन्देश्चलुचुल इत्यादेशो वा भवति । स्पन्द् to throb, twitch; Mathuranatha Sastri says :
चुलचुलेत्युत्कण्ठातिशयसूचकमनुकरणम् । सरस्वतीकण्ठाभरणादिषु क्वचित् चुलचुलायमानाभ्यामित्यस्य . . स्पन्दमानाभ्यामितिच्छायोपलभ्यते । परंभावव्यञ्जनानुकूला प्राकृतशैली पालनीयेति न तथेहानुसृतम् । -
गाथा०, पृ. २४८. छिक्को स्पृष्टः। - touched; See Hema. VIII.2.138.
1462. परिहार shunning, avoiding. Note : Between v. 1462 and v. 1463 there isaPrakrit
passage, which is corrupt and obscure.
1464. Bhoja cites this gatha with the introductory words : कामिना पूर्वाह्ण-करणीयं पौर्वाहणिकं
यथा - GS(W) 717 reads this gatha as : अह सुअइ --- SK (p. 594, v. 64) as ओसुअइ. अह = असौ.
1465. Read p. 843 for 844. See $P S. No. (124.66) above. 1466. See SP S. No. (378.120) above.

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1467. See SP S. No. (745.186) above.
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1468. Bhoja cites this gathā as an example of
(to be done at midday
f
or noon) Mathurānātha śastri says by way of उत्थानिका : स्वयंदूती पथिकमाह । Bhuvanapala (p. 24, v. 51) observes विश्रामोतिव्यपदेशेन इदमाह । [प्रपा a shed on the road side containing a resorvoir of water for travellers (Mar. पाणपोई); so प्रपापालिका A maid attending the road-side water-shed]. She cleverly invites the traveller to rest for some time in the road-side water-shed and spend the sultry summer noon making merry in her pleasant company.
=
effortlessly;
1469 खुज्जंबएण = कुब्जाम्रेण by the dwarfish mango tree; हत्थाहत्थिं व ( हस्ताहस्तिमिव ) - (ind.) generally means "hand to hand", "in close fight". cf. however, Marathi "हाथोहाथ / हातोहात" (= सहजासहजी, चटकन्, effortlessly or quickly).
1470. See SPS. No. (638.169) above. Bhoja cites it here as an example of
(= अपराह्णकरणीयम्) - a thing or an act to be done in the afternoon. SK 613, v. 135) cites this gāthā to illustrate snana'. one of the uddīpana-vibhāvas [(उद्दीपनविभावेषु) चन्दन-स्नान- धूपादयः । ]
1471. See SP S. No. (623.166) above. Bhoja cites it here as an example of आपराणिकम्.
—
1472. See SP S. No. (342.114) above. Bhoja cites it here as an example of आपराणिकम्.
1473. See SPS. No. (128.67) above. Bhoja cites it here as an example of e
1474-75. These two skandhakas from Setu are cited here by Bhoja to illustrate तमः (निशागमान्धकारः) darkness. See the Extracts from the Sanskrit Commentary in Appendix I.
1478. Bhoja introduces this skandhaka with the words : इन्दोरुद्रमश्चन्द्रः (? श्चन्द्रोदयः) । यथा—. The moon-rise is being described: 1 3 -ER etc. (p. 1186) "First halfThere is on, (1) rays (2) hands. (i)seized (grasped, supported) by the hand. (ii) pervaded by or suffused with the rays of the moon screened behind

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the ridge of the Suvela mountain. The — appears to be as it were climbing up the sky, standing (resting) for a short while on the shoulder (of the moon); entsper37 (
F R A) appears to be used in the sense of Frasi peat; 3R = BAA; Past = Peran." M. V. Patwardhan.
1479. "The crescent of the moon looks beautiful as if it were the tusk (of the
elephant presiding over the eastern quarter of the sky), slender like the bow of Cupid made out of Asoka flowers. I am not able to make out the exact sense of the words विहुमवलयद्ध-णिहार-हिरोग्गआ. Your rendering "and as it were created (341341 = UGCI) farisen) from the half of the coral bracelet or frost or diamonds" appears to be conjectural and tentative. The crescent of the moon can be fancied as made out of a half of a coral bracelet or out of a diamond (ruby). But how can it be fancied as made out of 6R (16R = frost) ? That is the problem. Could we conjecture as follows: विद्यमवलअणिहा सिरोग्गआ अवरा (ण) दाढा सुहआ in quarter 2? Looking like a half of a coral bracelet and protruding (3437) out of the head (RR) (of the elephant presiding over the eastern quarter of the sky). But could this emendation agree with the metre? I cannot say. Please make sure." - M.V. Patwardhan. Prof. Patwardhan's emendation would, however, violate the skandhaka metre. :
1480. "The night (then) displayed the orb of the moon as though it were her face
itself with the filigree design in the form of the deer (i. e., dark patch) drawn on it (i. e., on the lunar orb) (also with the filigree designs of [liquefied) musk painted on it - i.e., on the face), and surrounded by its aura (R49) which looked like the darkness dispersed on all sides by the rays of the moon. The sense of चुण्णइअ (चूर्णितम्) is not clear to me. रस is something liquid, while चूर्ण is something dry (powder). Should we emend चुण्णइअं into णिम्मविअं - णिम्मिअं : ARC = made out of ? GUERHifasi would mean : The moon-face of the night made out of i.e., consisting in, decorated with, oozing fluid moonlight? I agree with you that there is pun on #31 (1) Y and (2) 4 - i.e., LT46." - M. V. Patwardhan. qui 37 is paraphrased as earcar by one of the commentators of Setubandha. So, with this interpretation the word quoi37 wouldn't present any difficulty.

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1481. "The moon first appears (literally becomes) (reddish) like coral; subsequently
it appears to be possessed of particularly i. e., very) bright (white) complexion, and finally (as the dark patch becomes conspicuous), it becomes (appears) like a mirror wherein is imaged (afgi4 = 371464-9fch, Bahuvrihi compound, compare Shri in Gähäkosa, st. 8) the face of a lovely woman (facult), painted with filigree designs of musk (737-4A37 = 7THGYAR :
Thana)." - M. V. Patwardhan.
1482. Bhoja cites this skandhaka with the introductory words : ISTUT MATCHT -
moonlight. To illustrate jyotsna' he cites three Prakrit stanzas and one Apabhraṁsa stanza. The stanza under discussion is corrupt. It may tentatively be reconstructed as follows :चंदाअवम्मि जाअइ, मारुअ-विहअ-विडवंतर-समोवइए । कुमुउप्पलवावीण व, रूवं धवल-कसणं दुमच्छाआणं ।। (चन्द्रातपे जायते मारुत-विधूत-विटपान्तर-समवपतिते । HEYAHAT ETC6-ghout H-TERYHM 11)
Prof. M. V. Patwardhan thus translates this stanza : "When the light of the moon descends (on the earth), the shadows cast by the trees, the interstices of whose branches are gently shaken by the evening) breeze, put on (assume) the dark-white appearance of ponds (aut), full of blue and white (night-blooming) lotuses (lilies 36461, 1)."
1483. Read quid in the second half and in the corresponding chāyā yur. Prof.
M. V. Patwardhan's remarks: "The sense of 937cilat (which you seem to equate with us and which you render as “appear to be dripping”, is not clear to me. Would it not be better to equate it with you become unsteady?” quis - If = trees. He translates the stanza as follows : – "The trees possessing lovely foliage and having the lunar rays filtering sparsely (Farsi) through the interstitial places of the branches and becoming slightly (Falas) easily visible (aici), become as it were unsteady (swing to and fro) (931 ifa = yura) (because of the gentle evening breeze) and dissipate (F) the foul rainy weather in the form of the darkness.”
1484 The stanza may be restored as follows :

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247379-fuR3T infor-6f8131-c6T (7046)-RATE-1311 (763) alfa aralas134 (7 991376) ATS11377-J (1750T)-HRT-PORUIT II (2141614-Runar: DA-ERIC-59T: TRUE-TEGI: 1 hafa TOTSTIAT: ITDEFERT: (1907-) fer-PUTT:11)
Translation : The beams of the newly risen moon, rendered tawny by the light of the lamps, resembling the laughter of young charming women, delightful when received (on one's person) entered through the latticed windows become grey like black aloe (sandal) wood.
Prof. M. Y. Patwardhan's remarks : "Your restoration of the stanza and translation are all right. Only add 'and' before entered' and say : become grey like fumes of black aloe (sandal) wood (coils or curls of smoke issuing from aloe-wood pastils)."
1486. Bhoja now illustrates Prādosikam (= nisa-prathama-yāma-karma). The stanza
may be restored as follows: - सज्जिज्जइ उवआरो, अहो रइअंपि पुणो रइज्जइ सअणं । संभरिअ वाणि-अत्था अप्पाहिअ-पत्थिआ वि रुडभइ दुई ॥ (सज्जीक्रियते उपचार:, अहो रचितमपि पुना रच्यते शयनम् । संस्मृत्य वाण्यर्थान् संदिष्ट-प्रस्थितापि रुध्यते दूती ।।)
Translation : The means of doing homage or showing respect are kept ready; the bed although already arranged, how surprising ! is again arranged (or prepared) ! Remembering (or Recalling to mind) the words of the message (to be sent) and their meanings the maiden messenger, who is entrusted with the message and who has although started (on his mission), is stopped (or restrained) from going ahead !
Prof. M. V. Patwardhan's remarks : “Your restoration of the stanza and its translation are O.K.. Only in the penultimate line say : ‘already' for although'."
1487. This is a second example of "prădoșikam": Although she has sipped wine,
she sips it again; she has a look at herself in the mirror she has again another look at herself in the mirror. "Because of mounting passion, she questions

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her attendants about the tidings of her beloved though she has already asked
them (once) and got the necessary information from them". M. V. P. 1488. This is the third illustration of “prâdoşikam". See the translation. ansent = Qulighet:
-"delirious (at the thoughts the forthcoming bouts or rounds of sexual enjoyment.” M. V. P.
1490. Bhoja now illustrates prābhātikam (= pratyūsa-kala-karma): Read in the first
half of the Sanskrit chaya रजनी-वध्वा परिवर्तमानया. The expression 'अणद्धंतो व्व' in the fourth quarter, as found in Mysore edn., is obscure. Prof. M. V. Patwardhan's remarks : "In the Sanskrit chāyā, say Radhe (Inst. sing.) instead of Ra ART (Loc. sing). Ragaunt will have to be understood to be a Bahuvrihi compound (परिमलो पिसुणो जस्स. पिसुणो being equal to सूचक: or व्यञ्जक:) and having the same sense as परिमलपिसुणिओ (-परिमलसूचित:) Your restoration and translation are 0. K. --- The phrase HettaRight is a Bahurīhi compound, qualifying yoqmt - "the dawn marked by the flowers in the form of the stars (Afertilor arinho ) crushed (under her body i. e., under the body of 237f07-26). by the night-bride while changing sides during sleep. The instr.
3 foraes is syntactically to be connected with #fet3r as the agent (subject) of the act of crushing.
1491. Bhoja cites this stanza as another example of prabhātikam :
The expression und Referzi is corrupt and obscure. It may be emended as "UT3704-G-f i (= 7299477-590-facial)" or "374-co-operi (= 9141ef9c-)". With the first emendation the stanza is translated by us. Prof. M. V. Patwardhan remarks: "I think we must read 374 - G-fersi (= pref-de-ord). Our makes no sense -. I would translate the stanza as follows:
The slight departure of women from a half portion of the beds (shared by them overnight with their consorts), with one foot placed on the ground (floor) (under the bedstead), and marked by (accompanied by) their lotus-like faces turned towards their beloved consorts (still lying on the beds) appears charming as if it were enchained (to the beds) by their love (for their consorts)."

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1492. Bhoja cites this gāthā with the introductory words: FMAR
SICH m e africaiera: MAIST, ERCLASH RIT-. "People gather round a big Šalmali tree, deck themselves with its flowers and play.” (Jayamangalā). Bhoja mentions it as a game of hide-and-seek played by men and women round about a Salmali tree. The hide - and - seek is done with closed eyes (sunīmilitaka). Now see translation. SK (p. 665, v. 302) too
cites it in almost identical context. 1493. See ŚP S. No. (426.130) above. The text of the second half is presented
here slightly differently: अइउज्जुआ हआसा अहव पिओ से वराईए । (31fcucht EGITRIT, 372ral fou: CRIT: RIUT: 11)
1494. Bhoja cites this gātha with the introductory words: a rt pou sa yours:
पलाशादिनवलताभि: प्रियजनो हन्यते सा नवलतिका । यथा - The gätha is corrupt and obscure. Dr. H. C. Bhayani reconstructs it as follows:" cą fara (?) in a faret (?) ---- UaMg3i सअलावअवाइं संचलंति (संवलंति) से तम्मि आवसिउं ।। (nrufa --- 315 URTE 319 do: (?) --- anaami
CUDIA (? C UT :) Haar Haara) a TT 11"
The overall sense of the găthā is appears to be : On whatever part of her body the (younger) brother-in-law gives a blow with the fresh twig (of palāśa or any other plant or tree), all other parts of her body hasten, as it were, to reside in that fortunate or lucky part. (For the game of Navalatikā or Cütalatika see DHV S. No. (12.8) above.)
1495. See ŚP S. No. (417.139) above. See also DHV S. No. (12.8) for the game
of Navalatikā or Cūtalatikā. 1496. See ŚP S. No. (394.123) above.
1497. Bhoja cites this gāthā in his SK also (p. 623, v. 175). There the utthānikā
runs as follows: afari R TURIT - a means : trembling, timidity, alarm.
1498 -1501. Bhoja cites these four stanzas from
karpūramañjarī with the

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introductory words: 9alcuyafahaTh191dea: Eri-IGT qullage (9571MARTH, as mentioned by V. Raghgavan in his Bhoja's SmgāraPrakāśa (p. 63, and p. 654)] which is also known as Bhūta - mātņkā. SK (p. 667, v. 309) illustrates "Walaugud (? UMPUF) Ich." Pāñcālamuni started or designed this festival which is fulll of fun (prahāsa). The illustrative gātha in SK describes a woman dancing in a frenzy as it were, unmindful of her slipping dress and ornaments. In the SP the illustrative verses drawn from Karpūramañjarī describe the dances of the Vata-săvitri-vrata which include smaśānābhinaya with demon-masks. Now, read translation of these four verse. For details read V. Raghavan's Festivals, Sports and Pastimes of India.
1502. See ŚP S. No. (311.107) above. Bhoja cites this gāthā (and three more gāthās)
as example/s of the pastime, called navapatrikā which he thus describes : प्रथमवर्षणप्ररुढ-नव-तृणाकुरासु स्थलीषु शावलमभ्यर्च्य भुक्तपीतानां कृत्रिमविवाहादिक्रीडा नवपत्रिका । तत्र च वरण-विधानादौ तेषामेवंविधा: परिहासा भवन्ति ।
Navapatrikā is a festival that falls in Autumn (Sarad). In it the new-grown grass and foliage is worshipped. "After the worship of the grasslawns, men and women eat and drink and enjoy themselves with the celebrations of mock marriages amongst themselves. Lot of fun goes on in these mock weddings when the hand of the bride or bridegroom is asked, as all the people indulging
in it are grown-up married folk.” - V. Raghavan, ibid. p. 113. 1503. See ŚP S. No. (474.140) above. 1504. See ŚP S. No. (410.127) above. 1505. Read in the first half --- gfors HT 1337 (7)T---,
1506 - 1509. Bhoja cites these verses with the introductory words : aurel
OGR-94-ERGHI (? Erschla) - guy: yeuruar i Party Imai AST: कदम्बयुद्धानि ।
"The Kadamba-yuddha is an interesting rain-time sport mentioned by Vātsyāyana and Bhoja. The kadamba is a tree blossoming with the advent of the rains. Couples repair to gardens and woods, arm themselves with

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bunches of the fresh flowers of the kadamba, or other trees like nipa flowering in this season, divide themselves into two rows and parties and stage a fight." - V. Raghavan, ibid. p. 111.
[1506. Read in the last line giving source in Vol. I. “p. 667."] : 1510-1511. Bhoja cites these găthās with the introductory words:
अभिनवबिसाडुरोद्भेद-समये (बिसाकरोद्भेदाभिरामं - सरस्वती, पृ. ६६८) सर: समाश्रित्य कामिमिथुनानां क्रीडा बिशा-(बिस -) खादिका । यथा -.
The Bisakhădikā is the autumn-sport in the lotus-pond in which lovers bathing in lotus-ponds bite at lotus-stalks and offer them by their mouths to each other or one snatches by the mouth the lotus - stalk in the other's mouth. The idea is the imitation of the sports of the swans which now adorn the autumnal lakes full of lotuses."
... V. Raghavan, ibid. p. 114. 1511. वहुण्णी ज्येष्ठ-भार्या (Ds. p. 246). 1512 - 1513. Bhoja cites these two gathas with the introductory words: एतेन
(बिसखादिका-क्रीडावर्णनेन) नात्यूष -० (? अभ्यूषखादिकेक्षुभक्षिका) च व्याख्याता । - शृं. प्र., पृ. ११९४.
In his SK (p. 669) Bhoja cites the first gathā with the introductory words : शमीधान्यः . पान्यानामार्द्राणामेवाग्निपक्वानामभ्यवहारो अभ्यूषखादिका । यथा -.
And, the second, प्रथमत एवेक्षुभक्षणं नवेक्षुभक्षिका । यथा - अभ्यूषखादिका - is the eating of unripe or green corns roasted in fire, something like 'hurada' in Marathi. इक्षुभक्षिका is the eating of fresh sugar cane. [1512. SP reads मअणग्गिणा करो मे दड्ढो, whereas SK (p. 669, v. 316) reads वाअग्गिणा करो मे दड्ढो. The expressions मअणग्गि and वाअग्गि are obscure. It is possible to read पाअग्गि (पाकाग्नि)! Dr. H. C. Bhayani observes: "वाअग्गिणा is possibly पाअग्गिणा = पाकाग्निना and मअणग्गिणा is पयणग्गिणा = पचनाग्निना."]
aor..
1514. e SP S. No. (30.48) above. Bhoja cites it here to illustrate Indrotsava. (cf.
शक्रमहो इन्द्रोत्सव: यथा -).

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The găthā is corrupt and obscure. The restoration is purely tentative and conjectural ! Read in the chāyā (firsty half) hegofod, and rai (for ) in the second half. On my first draft wherein I had emended pell03h to Talo5131 (Stifta), Prof. M. V. Patwardhan remarked : "HEA| 03137 = S osia is not clear to me. Could it be rich 537 = pig fant ? GEGUTH cursed (d). Could it be 3 vor
MUTTE alitunt? 11 (6 = cefa). Sense not clear, context not clear." The găthā may tentatively be translated as follows: "Desirous of seeing the Festival of Indra, how is it that that man, leaving you alone has gone today by that cursed narrow lane ?"
1516 - 1518. Bhoja cites this gāthā with the introductory words:
31feautufuriara: antydigar: I UPIT -. It is also known as Kaumudījāgara. "This is a festival of the first month of Sarat. As the name shows, it is the spending of the whole night awake in merriment in the moonlight. It falls on the full moon night of the Asvayuja month --- The Jayamangala says swings and gambling are the games indulged in by the people all through this night." V. Raghavan : Bhoja's Śr. Pra. - p. 659. SK (p. 668, v. 314) cites only the first gāthā as an illustration with the
introductory words : 311727 ottofaret astuct / ARIT - . 1517. yuuro a handful of camphor or sandal powder, Rudo beaming with a smile
(उच्छलित expanding or bursting); फसलिहिमि Fut. Ist pers. sing. from फसल to cover, besmear.
1518. Eftwid =
RP
(=
ahya RamTUT)
1519-1520. Bhoja cites this gātha (1519.318) with the introductory words :
autat UERIE: JET - SK (p. 669, v. 315) too cites it with the same introductory words:
“The yakşa-rātri is the Dīpalī festival known also as Dīpāvali. Bhoja calls it also Dīpotsava. Rows of lamps arranged artistically in all parts of the house form the chief characteristic of this festival. The name Dīpāvali is now applied in the South to the celebration in Asvayuk, which is called also

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Narakacaturdasi. People take oil-bath in the early hours of the morning and don now clothes -...” V. Raghavan, ibid. p. 657.
1521-1522. Bhoja cites these two gāthās with the introductory words:
स्पृहयन्ती व्रतमष्टमीचन्द्रक: । स हि चैत्रचतुर्थीतोऽष्टमचतुर्थ्यामुदीयमान:
fanfarand (afhaafat - predit Ç. &&8) I went — In identical context SK (p. 664, v. 298) cites only one example (the second gātha).
"Saradātanaya mentions the Astamīcandraka as a spring festival. Bhoja mentions this in both his works, and calls it by another name also, the Sprhayantīvrata. This latter name means the vow or observance of a lady who yearns in love and suggests that it was observed by the lady to secure the object of her affection or to induce a more favourable attitude on the part of the husband. ----- As regards the main feature of this festival, Bhoja says that ladies in love worship the the Moon on this occasion.” - V. Raghavan, Festivals ---- (p. 84).
The second illustrative gātha is to be identified with GS(W) 346 : ओसहिअजणो पइणा, सलाहमाणेण अइचिरं हसिओ । चंदो त्ति तुज्झ वअणे, विइण्ण-कुसुमंजलि-विलक्खो ।। (आवसथिकजन: पत्या श्लाघमाने नातिचिरं हसित: । aos sfa na aso Pashuf- h vila-Pacte: 11) Now see translation. For an idea of the situation and centext of this gāthā, read Gāhākosa - Notes (to Gathā S. No. 295, pp. 168-169) by Prof. M. V. Patwardhan. The reading 37931-531 in v. 1521 and 3424 - R34 in v. 1522 should be corrected as 37981fe37 and its chāyā as 317rea (meaning a hermit, an ascetic). The Sprhayantivrata seems to be meant for ladies in love. Here the hermits are shown as offering a handful of flowers to the rising moon. The nature of sprhayanti-vrata or Astamīcandraka requires to be further investigated.
1523-1524. This gātha is cited as an illustration of the Kundacaturthi. In SK (p.
664, v. 299) too it is cited by Bhoja. He explains the festival as : rei यवनस्तरेष्वबला लोलन्ति सा कुन्दचतुर्थी ।

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This is a festival "in which young women spread yava twigs and blossoms in the gardens and woodlands and roll on them." This is referred to by Vātsyāyana by its other name Yava-caturthi. For details read V. Raghavan : Festivals... (p. 92); v. 1523 - 3637837 (3421905 = fur) terrifying (like a straw-man quyos);v. 1524 - PEUT - (T ) herd of cows, multitude of cattle.
1525-1526. See ŚP S. No. (399.125) and ŚP S. No. (123.66) above. Bhoja cites
these găthas to illustrate the festival, called Suvasantaka. He thus explains it: Praiarch: Hoch: 1 In SK (p. 664, v. 300) too Bhoja cites the second gathā as an illustration of this festival
The name 'Suvasatanka' corresponds to 'suprabhāta', a greeting of welcome. Suvasantaka is greeting the coming spring, and naturally, it is celebrated at the beginning of the New Year opening in Caitra month
with the Vasanta season...” V. Raghavan, Bhoja’s Sp. Pra. pp. 650-651. 1527-1528. ŚP cites these two gāthas as illustrations of Sahakāra-bhañjikā or
Cüta-bhañjikā. SK (p. 666, v. 306) cites only the second gātha as example of Cuta-bhañjikā. ŚP thus describes or defines it : 160R - - TAHSURİ WEARHITI SK thus explains चूतभञ्जिका:-यत्राङ्गनाभिश्चूतमञ्जर्योऽवरुज्यानङ्गाय बाणत्वेन दायं दायमवतंस्यन्ते सा चूतभजिका । It means "the plucking of clusters of fresh mango blossoms at the beginning of Spring by young ladies and the offering of these as arrows to Manmatha, the flower-arrowed God of Love, who torments us with the most delicate things as his missiles." — V. Raghavan : Festivals
--- (p. 90). 1529-1530. ŚP cites these two gāthās as illustrations of Dola-vilāsa. SK (p. 664,
v. 301) eites the first găthā alone as an example of Andolana-caturthī. “Andolana - caturthi is the Swing Festival. It is mentioned also as the Hindola - krīdā in the Jayamangalā. It falls on the third day in the bright fortnight of the Śrāvaņa month. The Smgāra - Prakāśa calls it Dolavilāsa. ----- Enjoying the Swing is also part of the Spring festival ---" V. Raghavan: Festivals --- (pp. 111-112).

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1531-1534. Bhoja cites these four gāthās as examples of "Returning Home." He
cites these four gāthas with the introductory words: An Ermi JEYRUTTA: 1 It is Returning or Coming Home at the end of the game or sport or festival.
1532. See ŚP S. No. (592.160) above, 1533. Peyfisat (Poepolen) = falfa, geraad, geiga, separated. (FC = FE.) 1534. Ako --- 'a pair of plums growing from a single spray.' fuully soft = cvRitch
bashful, shy. 1535-1538. Bhoja cites these four gāthas with the introductory words : HUICHI
fuffor MERCATOR: Aiding or assisting the heroine in her affairs by her
companions, friends, etc. 1535. Note Read, in Vol. I - p. 320 (*1535' for '1235'). 1536. See ŚP S. No. (372.119) above. 1537. See ŚP S. No. (481.141) above. 1538. See ŚP S. No. (955.221) above. 1539-1542. Bhoja cites these four gāthâs with the introductory words : wire
शरीरप्रतिकर्म प्रसाधनम् । यथा -.
V. Raghavan (Bhoja’s St. Pra. p. 63) mentions 'WATERYBUTH' - the act of decorating, embellishment, (toilet and its requisites).
"पट्टिमुहठिओ" is really difficult to understand. I emended पट्टि to पई and translated the stanza, of course, tentatively. '9646cfait' is metrically defective as 'jagana' cannot be at the beginning of a gātha.
arr3fiforan (artialamiftat). A vāsakasajjā nāyikā (a nāyikā who adorns herself and her house for joy when her lover is about to come.) who is disrespected by her lover by not keeping the appointment seems to be the meaning of this expression - वासकविमानिता. Prof. M. V. Patwardhan's remarks: "I think the ar 15 in Rotwil means

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निवास - residence. वासकसज्जा isaनायिका (woman) who keeps herself ready adorning herself with (splendid) clothes, ornaments, flowers and scents, in her residence, in order to receive and welcome her lover, who has made an appointment with her and whom she is expecting. वासके (निवासस्थाने) प्रियकरस्वागतार्थं सज्जा वस्त्रालंकारमाल्यदिधारणेन सिद्धा, वासकसज्जा । --- Apte cites साहित्यदर्पण, stanza 120 where it is said :
कुरुते मण्डनं या तु सज्जिते वासवेश्मनि ।
सा तु वासकसज्जा स्याद् विदितप्रियसंगमः ॥ Here the words सज्जिते वासवेश्मनि support the explanation of the word as
guessed by me above." 1543. See SP S. No. (127.67) above. Bhoja explains the term गोष्ठीविहार and adds
two stanzas from some work on Erotics (?). The second stanza runs as follows: सङ्गीतमत्र कलयेन्मृदुकाकलीभि: गाथा: पठेच मसृणं मदनाग्रदूती: । द्वयर्थ: पदैः पिशुनयेच रहस्यवस्तु हृद्यं हसेच दशनांशुभिरुल्लसद्भिः ।। Then Bhoja remarks तत्र गाथा यथा - पोढमहिलाणं जं जं --.
1544. Bhoja cites this gatha with the utthanika : व्यर्थपदप्रयोगो यथा - (with a view to
illustrating "द्वयर्थ: पदै: पिशुनयेच्च रहस्यवस्तु).
The gātha is double - meaning. The uttānārtha (superficial meaning relates to musala, apestle; the hidden meaning (रहस्यवस्तु) to (pestle - like) male organ.
1545-1548. Bhoja cites this passage with the introductory words : रत्यावासप्रवेशो
वासगृहोपगमनम् । यथा -.
का
1545. For this skandhaka from Setu, vide the Extract from the Sanskrit Commentary
in Appendix I.
Read in the Sanskrit Chāya in Vol. I 'नि:सहोऽङ्गानि'.
1546. आइत्तपहं (पेच्छइ) "the young women gaze in the direction of the slightly lighted
path” – Prof M. V. Patwardhan improves upon this reading: "I cannot think of any better emendation of the Prakrit text than the one attempted by you.
Could आइत्तपहं stand for आइंत-पहं = आयत्-पथम् “the way by which their lovers

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are expected to come ?" आइंताणं पिअअमाणं पहं (मग्गं) पेच्छइ। i.e., पिअअमाणं आगमणमग्गं पेच्छइ. आ + इंत from आ + इ = आगच्छ. In Sanskrit the present participle of आ + इ is आयत. इंत may be formed directly from इ or from यत् by संप्रसारण (vocalisation) of य into इ." Read in the Sanskrit chaya 'जनोऽन्तः'.
1547. "Perhaps this is what a Nayaka says about his beloved PRACHT who is engaged
in painting the picture of young women in the situation described in the stanza. So we should say 'My beloved' instead of merely a beloved.' _In the second half what we expect is पुलकोद्गमपिशुनितकैतवमानविमुखं विलासिनी-सार्थम. Actually however, goontoe is here detached (segregated) from the compound and awkwardly displaced with its instrumental singular ending as an independent word. This gives rise to the fault, called सापेक्षसमास ----" Prof.
M. V. Patwardhan. 1548. "समुहदंसणदिण्णं = संमुखदर्शनदत्तम् given (caused) by their looking at their lovers
straight (without any constraint). मअणपहुप्पंतलोअणो - पहुप्पंत must be understood as having the sense of a present passive participle. मदनप्रभूयमान (i.e., मदन-प्रभावित-लोचन:). ---The emendations and translation are all right in the circumstances." ..- Prof. M.V. Patwardhan.
1549-1552. मदनार्तागामिकामिनी प्रतिपालनमभिसारिका प्रतीक्षणं यथा -. 1549. See the Extract from the Sanskrit Commentary in Appendix I. 1551. See $P S. No. (467.138) above. 1552. See SP S. No. (1423.303) above. 1553-1556. प्रियजनाह्वानाय सख्याप्तिसंप्रेषणं दूतीविसर्जनम् । यथा - 1553. See SP S. No. (39.50) above.
Note : Read in Vol. I - p. 323 S. No. (39.50) for (36). 1554. cf. Gāhārayanakosa, S. No. 387. It reads festa in place of or proposed by
me.

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1555. See SP S. No. (936.218) above. 1556. For a parallel idea, cf. SP S. No. (950.220) and SP S. No. (966.223) above. . 1557-1560. निमित्तविशेषात् प्रियाणां गमने स्वयं वा तत्र गच्छेदिति स्वयं वा गमनं यथा -.
1557. प्रतिपथं न नीयते दृष्टि: - "The eyes fixed on the entrance (द्वारगता दृष्टि:) are not
retracted (or withdrawn)." - M. V. Patwardhan. Note : मग्गओ = मार्गत: (Read अतो डो विसर्गस्य । हेम. 8. I. 37) 'मग्गे पच्छा' DSS, मग्गओ पश्चात.
For the sense of मग्गओ, cf. Marathi मागून, मागोमाग, मागे. 1558. See SP S. No. (971.224) above. 1559. See SP S. No. (454.136) above. 1560. See $P S. No. (1169.257) above. 1561-1563. प्राप्तस्याभ्युत्थानादिप्रतिपत्तिरागतोपचार : । यथा -.
Homage to / welcome to the person who has arrived-means respectful behaviour (fauft) or reception by rising from a seat through politeness
(अभ्युत्थान), etc. 1561. (संभावेउ) मआणसेणचलअं - this is obviously a corrupt reading. I have emended it
to मआलसेहि (अंगेहि) ण चअइ (मदालसैन शक्यते ।) ण चअइ (= ण तीरइ) : The printed text in Mysore edn. reads ण चलअ. The original reading may have been ण चअइ or better ण चइअं = न शकितम्.
1562. उल्लावा (उल्लापा:) here means not merely “speech or words" but insulting words,
taunting speech, taunts. विमुहिआ - विमुखित (lit. with the face averted or turned away from) - here, averse or disinclined to come out.
"If विमुहिआ is to be paraphrased as विमुग्ध (विमोहिता:) it will have to be understood as standing for full311, the At being shortened into y, metri causa.
I am not quite sure about the meaning of ufaufmer6T: translated by you as 'capable of expressing their respect (for their lovers)'."
Apte records "resolution, determination as sense no. 9 under ufauft. In the ligtht of this sense प्रतिपत्तिभरसहा: न भवन्ति can mean"They were not capable of bearing the burden (onus) of making up their minds

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(about uttering the taunts which they wished to utter and which they were revolving in their minds throughout the day). But here the problem is about how can the taunts themselves (3414:) be said to be "incapable of making up their minds" ? Only the women can be said to be incapable of making up their minds about actually uttering the taunts harboured by them in their minds all the day." - Prof M. V. Patwardhan.
1563. The reading RİH-14317 in the Mysore edn. is rather obscure. Dr. Bhayani
writes to say "Can C + 371415 + G: be of any help (qualifying H61) ?." Prof. M. V. Patwardhan says : "I agree with you that Manmatha (Madana) cannot be possibly be said to be anche consisting of garlands worn as personal decoration (
964)]. The phrase is obscure and difficult." "Usually the arms of women are compared with lotus-stalks and not with lotuses themselves i.e., lotus flowers). So here we must understand GARA- ct as standing for CHRT (= 041) - 2017-HGT." Erts = erfa, grufa supports, props up. But there is no convincing reason for saying that Madana supports or props up (or even restrains) the arms of young women, thrown up (raised) for embracing their lovers, unless the idea is that the arms of the young women were so debilitated (drooping) that they could not hold them in a raised position and consequently Madan had to prop them up." -- Prof. M. V. Patwardhan.
UP.
1564-1567. gouf1a-faryongeurt: Dayanılanter: I RI
1564. Read in the chāya waffic an.
Prof. M. V. Patwardhan remarks: “We must read HOITIR 0311 मणिवलअणिबिडें परिचत्ते । -- in quarter one and in quarter two are thus to be read as short, metri causa. Ffract3f0aš stands for HacT3774GIT. (thus folas = GRU); Pasi = fall =U: fatigue, exhaustion;-RęciaR31 (= fa-a -:) is a usual phrase used in Sanskrit and Prakrit poetry. --- The only hurdle that now remains is the word लालस. How can लीला (= क्रीडा) be said to be लालस (avaricious or greedy) about amorous sport ? Perhaps its means here foreplay (ARRA - consisting in kissing, embracing, etc.), which is avaricious of (or greedy for) the climactic sexual act (31774 -R), i.e., which terminates in the sexual act. That is

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perhaps the only way to get over the hurdle posed by the word लालस.
I pray, may the exhaustion caused by the foreplay (sic) terminating in sexual intercourse, in the case of the loving couple, look beautiful.”
1565. For second half cf. : 3pPour guidare la st eftwift ii.
(3raxe-efent quarrista si ferunt II) 1566. Prof. M. V. Patwardhan remarks : “The restoration and translation are all
right. Only (instead of] “This is an auspicious day”, say "May this be an auspicious day” (go TEH 5C Hag or 346g). See Apte's Dictionary under
punyāha.”
1567. Prof. M. V. Patwardhan writes to say: "You are right in saying that facts
vitiates the metre, while fact37 does not. But as you say fact3nt (a kind of necklace) better suits the general idea in the stanza, than fast37 (= factch - frontal decorative mark). So it would be advisable to shorten Facts into focaziŤ, metri causa. It is unusual for women to remove the frontal decorative mark at the time of love-making, although that is not completely ruled out, as the presence of even a tilaka mark on the forehead may be regarded as a hindrance to complete contact between the forcheads of the women and of their consorts."
1568. Bhoja cites this gāthā as an example of Ratārambha - (the beginning of sexual
enjoyment). Husi - (HETTA) waist; H6197 (H6190f) - a great whirlpool; S31 - (W17) - moved round and round. "çfas (= çfagh) should be equated with a (= Asfag - is not able (UT CRŞ) to transgress (go further down beyond) her waist (towards her genitals); qulfa anat a - moves round and round here and there in the region of the waist), as if caught and made to rotate in the whirlpool (of the young woman's navel)." - Prof. M. V. Patwardhan.
1569 - 1570. dehicloudifarrfaut AA RUHI TRIT. SIC or 37404 means:
diminution, decrease, dwindling, waning; so, A1404 or RCA means dwindling or waning of jealous anger or haughtiness or pride.

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Prakrit Verses in Sanskrit Works on Poetics 1569. See ŚP S. No. (252.95) above. 1570. See ŚP S. No. (265.98) above.
1571. TOER FRI PE HA114-14- A - signs of waning away of one's jealous anger,
haughtiness, pride. See DR Avaloka S. No. (24.33) above.
1572-1573. TOUT ANDHRifa-goor four 449f7: 1 - 3yafet means approaching in order
to assist; favour, the conferring of a benefit or kindness. Inquiring about
the jealous anger from one's beloved by her lover. 1572. See ŚP S. No. (1090.243) above. 1573. See ŚP S. No. (1098.243) above. 1574. See ŚP S. No. (1098.244) above.
Bhoja cites this skandhaka with the utthānika: सामवाक्यानि परिसान्त्वनानि । यथा -.
Hrant - the act of consoling, friendly words, flattering speech, words intended to contribute to appeasement or to waning of jealous anger, conciliatory speech.
“We must understand 3taalref to mean fanf (considering, taking into consideration), even though the dictionary may not have recorded this sense.
The words 3muficar GH are obscure, as we do not know the contextual background of the stanza.
I do not think that the difficulty can be overcome by taking 5C" as referring to the jealous anger of the nāyikā.” - Prof. M. V. Patwardhan.
SCH, on second thoughts, may be taken as referring to the "love" of the nåyikā for the nayaka.
1575-1576. Paraula RUTIERTURART: Pafcarif I UT —
Hiding or concealing (11149) of love's offences by advancing one excuse or the other, putting forth one ground or another to explain away
the love's offence. '1575. See ŚP S. No. (224.89) above. 1576. See ŚP S. No. (1093.244) above. Bhoja cites it here again as an example

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of skhalita-gopanam (hiding of love's offence by advancing an altogether different cause or ground). Prof. M. V. Patwardhan thus comments upon the restoration : "In the second half the words "aur ART na 1 I I" do not present any difficulty. - '(Though I gave no cause for your anger) still a scandal, baseless scandalous rumour or report about my unfaithful conduct has become the cause of your anger.' The word for (qualifying AMTIH) really creates a problem. You have rendered it as “a handy or convenient cause". I am not satisfied with the use of fout in this sense. We can get over the difficulty, if we read fas (= 994) (Voc. Sing.) instead of 1931 (= f ). fo4 apud - "O, my dear love or wife'."
1577-78. YIG46Rİ UfO1417:1 URT. 1577. See ŚP S. No. (1082.242) above. Bhoja cites it here again as an example
of goria: (falling prostrate at the feet of one's love/beloved).
1578. Bhoja gives this skandhaka (from Harivijaya) as another example of "9648
uforia:". Prof. Patwardhan's remarks (on this tentative restoration) : "I cannot think of a better restoration. I would translate as follows :
Hari, though smiling (with satisfaction) fell at her (Rukmini's or Satyabhāmā's ?) feet, holding his coronet in place by both of his hands (for fear that it may tumble on her feet), as she had given to him the delights of sexual union, far exceeding that which he thought of in his heart (mind).
373714 ffat3t ... F ETS (Teil compound) — from (or with) whom he had enjoyed the delights of sexual union for surpassing his expectation about them in his mind."
1579-1580. Puguhfa Hong: OUR HITRIT
.
1579. See ŚP S. No. (774.192) above. The word dit in ditufetat “may be equated
with 31 - excitement, agitation, flurry (caused by joy)."
1580. The text of this skandhaka, probably from Sarvasena's Harivijaya is
somewhat corrupt, especially in the second half. Tentatively, it may be translated as follows : The dense or thick horripilation (or goose-flesh) produced by the happiness or rapture caused by love on her person

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thoroughly or completely banished the highest joy from the heart of her rival who was greatly humbled. Prof. M. V. Patwardhan's remarks: "Your restoration of the stanza is O.K.. But the sense of the stanza is obscure, because the stanza contains in its two halves two विशेषणs (viz., (1) तस्या: अनुराग --- gantes: - a Bahuvrīhi compound, and (2) piger ARTYSEGUICI उद्वासितहर्षोत्कर्ष:). But there is no विशेष्य (subject) qualified by the two विशेषणs. Hence it is difficult to translate the stanza. Further, the context is not clear. It cannot be said whether as refers to Rukmiņi or Satyabhāmā. Probably it refers to Rukmini."
1581-1582. 910414-
R yuifiuen—. 374H1f74 wiping one's eyes, wiping one's tears. 1581. See DHV S. No. (40.14), ŚP S. No. (308.106) above. 1582. SK (p. 633, v. 214) too cites this gātha with the introductory words : 41144
grat 2017 : 1583-1584. auringfaat 394RTERBARUTE I URIT —. Aritch or 37979 is a lapse, a love's
offence.
1583. cf. ŚP S. No. (1026.233) (Mysore edn. p. 994) above. Read in Vol. I. p.
328 : 'Vide S. No. (1026)' and for the Prakrit text, its Sanskrit chāyā and its translation read Notes to SP S.No. (1026.233). Prof. M. V. Patwardhan's remarks and translation of the stanza read as follows: "संभरिअ + अवराह would become संभरिआवराह. In संभरिआवराह, आ appears to have been shortened into अ metri causa. I think i'icia should be emended into riadia. Translation : Her heart delighted at that moment (or time dau = TGUTH = ARAI eut), but mixed (sullied Paleta) with anger at the recollection of the offence (offered by her consort), though (on the point of) retreating (receding) (from anger) heavily (1931 = 15ch adverb) sank back (again) into anger. (HR
37 for *). PORTE = A rif is awkward. Could it be povis (or folhuul)? तीऍ गरुअं णुमज्जइ (or णिमज्जइ) ओणिअत्तं पि अमरिसे चिअ हिअअं ।"
Incidentally, it may be noted that forth (3175) (A+1) 9 Hot HHT, 9147 RH is recorded in PSM.
1584. Bhoja gives this skandhaka as another example of Aparādha-smaraṇam. “The

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indistinct words of gay (or amorous) women, which though taken off (chosen in the mind) for utterance are forgotten by them, and which for a moment produce (inspire) embarrassment (shame) at the recollection of the lapses committed by their consorts, are charming (631) as they stumble under the influence of the inebriation of wine.
The subject is विलासवईणं जंपिअं. The predicate (विधेय) is खलंतमहुमअसुहअं. The remaining words is Nominative singular are adjuncts qualifying the subject.
1585-1586. Hafah 70 TRI I 4217—. 1585. See ŚP S. No. (1134.251) above. Here Bhoja cites it to illustrate 7-94RI
dejection, depression, melancholy caused by jealous anger or sulkiness). 1586. See ŚP S. No. (1100.245) above.
1587-1588. HTIERT AUGA hARTAI YRIT -- MIT-AURICIA - Heaving sighs
because of humiliation, breach or loss of honour (or loss of firmness, patience).
1587. See ŚP S. No. (1226.267) above. gelate - PRUT — marked by receding (or
recession) of the memory (of the offence commited by him). 1588. “The compound 3furahçe TH13141596'llbyr is obscure and difficult. The scope
(or operation) of Harper (Cupid) (passion) cannot really be said to be hindered by fragrance of fresh wine; on the contrary, it should be intensified or augmented. Can we take efse (ufc) to mean : connected with, (i. e., produced by) (the fragrance of fresh wine)? The proud lady, although her passion was augmented (excited) by the fragrance of the fresh wine (imbibed by her) --- heaved swift sighs because of the loss of her mental firmness, fixing her glance on her consort. She sighed perhaps because her estrangement from her consort was too serious to be overcome by the intensification of her passion due to the drinking of fresh wine.
I am not, however, sure if I have correctly caught the line of reasoning underlying the stanza." - Prof. M. V. Patwardhan.
1589-1590. FICHIERMIqet wiliam faufa: FASTTHIOTT URIT — FTG - perspiration; 274154

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- horripilation, goose-flesh, two of the eight sättvikabhāvas described by Bharata in his Natya-sastra.
1589. अकिअ-उव्वरिअं (अकृतोर्वरितम्) : Works on dramaturgy lay down six expedients to
remedy the beloved one's resentment (mana) : यथोत्तरं गुरु: षड्भिरुपायैस्तमुपाचरेत्। साम्ना भेदेन दानेन नत्युपेक्षारसान्तरैः।। (तत्र प्रियवच: साम भेदस्तत्सख्युपार्जनम्। दानं व्याजेन भूषादे: पादयोः पतनं नति:।।) 1) Conciliation 2) Dissension 3) Offering gifts 4) Humility 5) Indifference and 6) Diversion. r is the use of endearing words; 7, the winning over of her friends; GH, regaining her favour by giving her ornaments and the like; नति, falling at her feet; उपेक्षा, indifference towards her, or disregard of her , and P R is the interruption of her anger through impetuosity or sudden frightening, joy or the like.
Hari employed the expedient 'पादयो: पतनम् ; he was not required to employ any i of the other five expedients to drive away Satyabhāmā's anger or resentment.
1590-1591. तद्रदेव कपोलोष्ठस्फुरणानि कपोलोष्ठस्पन्दनानि । यथा - कपोलोष्ठस्पन्दनानि - the
throbbings or quiverings of the cheeks and the lips. 1590. See SP S. No. (1147.253) above. 1591. See SP S. No. (295.104) above. 1592-1593. मुखस्य मानकालुष्यापगमो मुखप्रसादः। यथा - मुखप्रसाद - the joy or gace spread
on the face, the light of the countenance, graciousness of aspect. 1592. See P S. No. (1232.269) above. 1593. See $P S. No. (1222.266) above. 1594-1595. व्यलीकोद्घट्टनम् (? उद्घाटनम्) उपालम्भः। यथा – Upalambha (taunting) is the
act of unveiling, exposing, uncovering of the consort's offence, lapse, unfaithful conduct towards one's wife.
1594. See SP S. No. (1007.230) above.

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530 1595. See ŚP S. No. (1108.246) above.
1596-1597. HERRIRUGPUHASTHRT: OPRIT . 3195ırist is the act of drawing out, taking out,
extricating the dart of pride; (37aşilo literally means cessation of being treated with contempt or indifference.)
1596. “There is tautology between 73701 (first quarter) and he (fourth quarter). But
that cannot be avoided except by emending a3tui into u37vt, which would
remove the tautology." MVP. 1597. See ŚP S. No. (627.167) above. "offee = ufae usually means 'blocked,
impeded, hampered'. But that sense is unsuitable here. So 'deep-rooted' is all right. Of course in this case we must equate ufca with R." MVP.
1598. PEMETIA SHISIA [V. Raghavan reads premāilinganas (?) Sp. Pra. p. 64).
For this verse, see ŚP S. No. (1114.247) above. Tafasi are “signs of love”.
1599. As the preceding Utthānikā deals with this and the succeeding one with
sref it follows that priyoparodhah is being illustrated. It means the act of showing respect or regard towards one's lover/husband.
For this verse see ŚP S. No. (1226.267) above. 1600. defauone: Argit:I URIT —. For this verse, see ŚP S. No. (1210.264) above.
Parfayat: very high intenseness of the feeling or emotion of love. “I think we should read stuig (Sk. E U) (imperative) instead of staifa (present) so as to agree with 537 P aidat (tutoring thus or teaching thus). I would translate the stanza as follows: When the intoxication of wine (or of the vernal season) teaches (i. e., prompts) (women) to welcome (receive) of their own accord even offending lovers, is it misbehaving (doing something wrong) (इति शिक्षयत् मधु or शिक्षयन् मधु: अपराध्यति f?) or (34 = 3a) doing a good turn? We need not emend 30 się 317 into 3 pusis 37 - 37 = Un according to Hemacandra VIII. 1.172 (3914td). See also Hemacandra VII.2.203 Vrtti : विकल्पे तु उतादेशेनैवोकारेण सिद्धम् । The suggestion of the stanza is that if the intoxication caused by spring season

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(or wine) induces women to pardon their offending lovers and accept them, that is not something bad (evil) done by the intoxication, but a favour done by it." - Prof. M. V. Patwardhan.
1601-1602. TAICE TARTYKUT KOCy6:1 PIT-. 500 - forcibly seizing by the hair.
1601. Prof. M. V. Patwardhan writes to say: "I think HTMEU should be emended
into F IGUT (the assumption of, or indulgence in, jealous anger) (as GERT i.e., subject of the sentence). 1937314 - 671-7737 - 31 - Taid = EU, the past passive participle is used here in the sense of an action noun. cf. (3.3.114) 715 Td : So the translation would be : "When the beloved consort forcibly (violently) seized the tresses of the proud (offended) woman, her indulgence in jealous anger - the result of her, love for him - recollected (cherished) in her heart for a long time, was not expressed by her in words." RT314 Rurzi = TITUT (31gerToT) TRUTH (HFUBUHI) - the result or outcome of her love for him. We need not emend it into the Rusi, for that would involve repetition of the idea of anger inherent in the phrase HTUMIEU. This my explanation involves the emendation of माणग्गहणे into माण-ग्गहणं and the understanding of Tota as an action noun in the sense of EU, which is not unusual in the explanation of Sanskrit texts, and has the sanction of Panini himself.” .
1602. See ŚP S. No. (1085.282) above.
1603-1604. TAIGIASI PET9:1 RT. THE 9: — the act of embracing forcibly;
The Mysore edn. reads HR1317RT3TT. th makes no sense. Possibly, it is a misreading for FH (feigning). Setubandha (X.64) speaks of RRY-YR131762101 and 4937-
c it-jfd37-4poUNlui --- 431901. So we may not be wrong in emending लंभ to दम्भ or रोस. "First quarter दंभपुसिआहराओ can be paraphrased as दम्भप्रोञ्छिताधराभ: युवतिजन: 'who had wiped (or rubbed) off the rouge (31TAT = P = paint, lip-rouge) through anger'. Therefore we should emend it into thi on the strength and analogy of Setubandha X. 64, as noted by you." — Prof. M. V. Patwardhan.
1604. "The subject (3020) of the stanza seems to be facultasu UT3TUT (= 779) gfazi
and the predicate (विधेय) seems to be अग्घइ (= राजते). So the translation would

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Prakrit Verses in Sanskrit Works on Poetics be : The kissing of the eyes of amorous women, embraced by their lovers, looks charming - the kissing in which they obliquely turn aside their faces, though their hearts are well-disposed (towards them), and in which their firmness of mind (i. e., will to resist) drops away (vanishes). Your translation
passes over the adjunct गलंतधीरं (qualifying णअणे चुंबिअं)." 1605-1606. Erdhara: NICI I PRIT — Drais 74 — striking with palm of hand,
slapping 1606. See ŚP S. No. (591.160) above.
1607. upulofa: IGIHETA: URIT - a means striking with the foot, kicking. The
proud lady, through anger strikes her lover with her foot on his head and lo and behold ! his head is covered with goose-flesh or horripilation, a sure sign of the lover's genuine affection or love for the nāyikā. She realises her grave error and lets flow her jealous anger in the form of her tears which were
mixed with collyrium. The reading (पुलकित-) मसच्छकं is emended to पुलइअ - FREIGT31 (alca - A ). “The emendation is all right so far as I can see. Her and Afrids, both mean 'head'.” - MVP.
1608. स्नेहवामता प्रेमवैकृतानि यथा -. The expression स्नेहवामता immediately reminds one
of the famous line art :
For this verse, see ŚP S. No. (1185.260) above. 1609. SK (p. 670, v. 321) cites this with the introductory words : TIETY 14 Hledat
मधुपानम् । यथा - whereas Bhoja introduces it here with the words : मानापगमाद् disrtant av : (? JUMA:), UTRIT - See ŚP S. No. (1002.229) above. "9F% should really be qHIÇO = e = wiped away (from the mind) and hence
forgotten.” – MVP. 1610-1611. HF-ETROTHITAROf Hrasileh:1 P11—. 1610. See ŚP S. No. (277.100) above. 1611. See ŚP S. No. (292.103) above.
1612-1613. ATTUTTIT HIERPI:1 OPRIT
. HITTI (or 1798719) repentance or remorse

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for maintaining sulkiness or jealous anger.
1612. 37.3165371907317- "not responding to the conciliations made by their lovers".
ugh humbled, tamed; affang: = formaat (= apta)- Gha: (= UUT) = displaying or making a show of intoxication as an excuse.” – MVP. This skandhaka is the same as SP S. No. (1237.270) above.
1613. See ŚP S. No. (1117.248) above: 1614. Hr7gywir Haret UIT —. Trst (or HOYQIT) — (The act of) censuring or
reviling sulkiness (or jealous anger). This gätha is the same as ŚP S. No. (1123.249).
1615-1616. HARI Ruf higformat IURIT -. It is "recalling or recollecting sulkiness". 1615. JAUT31TH (= TRUT + 379072T) place near (my) feet; ucunto - lying near my feet;
311df31 (= len =) entangled; 3173166U (= 347h Out) dragging, pulling; USA (=
6 + FA) = ya. A (or smit) is added to ye pleonastically. Toa or geht is
perhaps the source of Mar. सोहळा. 1616. See ŚP S. No. (579.158) above. SK (p. 639, v. 238) cites this gāthā with
the opening words : HHH PAYT: RUTET UT
1617. ATTHET AREA: URAIT — HAYES is destruction (or better, disappearance or
vanishing) of sulkiness or jealous anger; gatit d tour chance, accident; cor d Ada gotilo - met each other (husband and wife) by chance; fação – glances (lit. moving out of the glances); aut — Hemacandra gives four meanings for this word : (1) FH1971 — possibly or perhaps, (2) AXU - surely, (3) facey — or, and (4) 3150hrey — alas.
1619-1620. --- og famigatqui pourraiaf | 22 - UTO — tidings, report or news
about the consort's or lover's arrival (announcement - Gatour of the consort's/ lover's arrival).
1619. See ŚP S. No. (1225.267) above. 316 = 14: (this). In this sense 3E is frequently
used in Prakrit poetry. Bia 31-37aRa - screened, veiled, covered.
1620. A sakhi addresses this gātha to the nãyika who is so very busy in counting
the lines which she has drawn on the wall in order to keep an account of

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the days of separation from her consort. As her consort or lover has just arrived, she, if she continues counting the lines, might miss the golden chance of welcoming him home right now and felicitating him!
1621-1622. इष्टवयस्यानां मिथो व्यवहार: प्रियसखीवाक्यानि । यथा- प्रिय० - the words of one's
(nayika's) dear friends or conversation between dear friends.
1621. The situation behind this stanza is to be understood as follows : The young
bride is in her bed-chamber. Her friend (अत्ता = सखी) suddenly enters and announces the pleasant news of the arrival of her consort to the young newly married girl. She is overjoyed at this good news and consequently embraces her friend to express her great joy ! कंठ-त्थणिअ = कण्ठकूजित.
See ŚP S. No. (616.165) above. SK (p. 591, v. 54) defines sankā (apprehension) one of the thirty-three vyabhicăribhāvas and cites this gāthă
with the introductory words : तद्रूपेण रसस्य प्रकर्षो यथा -. After citing it, Bhoja thus comments upon it : अत्र विरहिण्या: कार्थ्यातिशयमुद्रीक्षमाणाया: कस्याश्चिद् वयस्याया: स्नेहातिशयात् 'प्रेम पश्यति भयान्यपदेपी ति प्रियागमप्रहर्षातिशयभावेऽप्यसहिष्णुतया तन्मरणशङ्का प्रकृष्यते ।
1623-1624. प्रियागमपारितोषिकमङ्गलानि दिष्ट्या वृद्धयः। यथा - दिष्ट्या - "thank heaven ! I
congratulate you on your good luck !" often with vardhase : you are
fortunate; दिष्ट्या -वृद्धि congratulation. 1623. See $P S. No. (1348.289) above. 1624. See SP S. No. (1356.290) above.
1625-1626. पूर्णपात्रादिहरणं प्रीत्यादयो यथा - पूर्णपात्र - a vessel filled with valuable things
to be distributed as presents, especially a present made to any one who brings good news; प्रीत्या (ind.) in a state of joyful excitement, gladly, with joy.
1625. Dr. H. C. Bhayani thus restores the gatha:
तइआ तम्मि अइंते सहस चिअ फट्ट-वलअ-रिक्क-करा । थासअ-मलिआ ओणअ-होरणि अम्ह कहिंति (?) ||

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(at af f a henta wyfeat-qara-R-CART 1 PRACHAT 37976-STRIT 37711 ---(?) 11)
The second half of this gāthā is somewhat corrupt and obscure. YTH370 (she) whose body is smeared or perfumed with unguents (of sandal); 3|u3to with her upper garment slipped down (from her breasts ?)
The first half may be translated as follows :
On seeing her lover who had turned up most unexpectedly, she felt so overwhelmed with joy that the bangles burst leaving the hands bare.
1626. अवहूढा emended to अवऊढा (Sk. अवगूढा) embraced, clasped round; generally
speaking, 3416 is the commonly used expression in Sanskrit; but one of the senses of 379 + Eis 'to embrace' and Hemacandra cites an illustration wherein this form is used : 013 314CT/ (974: 3794c:). So it was thought better to emend 370661 to 319GT, rather than to 300CT (Sk. 34°C).
1627. HIGIT (? Hedhilatera:) FTHAT ART - HT is flurry, agitation. In the first half
the Mysore edn. reads --- 3 Tigaie 377301; the first word may be corrected as with समुअि (समुत्थित). Cf. the second half of this gatha with the second half of the gătha cited earlier on p.958 - 34551 Mustafa37c 431 A CIG UT ORE 11 The first half, however, totally differs.
1629. The first half, however, totally differs. Hemi PT MATURIT — PRIMA:
- the arrival of one's consort/ lover; oft ---- adj. lustful, libidinous (Apte); Bhoja here paraphrases fou by . "The word 337 occurs in the first quarter of the stanza. It can mean either you (look!) or 30 (= and, further). As we do not know the precise context of the stanza, it is not possible to say which of the two senses of 337 is applicable here." - MVP.
1630-1631. fraction Figf: (= vige . Figefto - is the act of looking steadfastly,
gazing, beholding one's lover or beloved husband. 1630. See ŚP S. No. (541.151) above. 1631. HEUT = FAT = HRYHTHT; 1419&q=Hif&a=ER (?).
There is no authority, however, for understanding winca as Krsna or Hari.

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The text may be emended as सचाएँ वि होइ देवदंसणजणिओ।' (Sk. सत्याया अपि भवति daga : 1)
Read in the Sanskrit chāya विसंष्ठुल.
1632-1633. Hullering: RUTIGHT:1 RT – RUPTO – delighted, happy retinue /
attendants / servants; "तं चिअ (तदेव) should be construed with ती घरं and not with “that tree" as you seem to think. Translate as follows : That very residence of hers (i.e., of Satyabhāmā), with the celestial tree planted at the entrance, full of esteemed (valuable) offerings (3497) of celestial flowers, and with attendants plunged immersed) (RT = RIT) in joy, was now observed (i. e., now appeared) to be as if different from its former self (read 3quuj a for 3 uut fa). Perhaps उवआर is to be equated with (or emended into) उवहार (उपहार), decorative offering or arrangement, decoration”. – Prof. M. V. Patwardhan. The text of this skandhaka from Harivijaya, Bhoja cites on two occasions : on p. 1047 (of course, Mysore edn.) it is cited to illustrate grafasta, one of the FIFTH Sulf listed earlier on p. 1045 and on p. 1221 as an example of frients. On p. 1047 the text reads 41146R and on p. 1221, 1931R. So there is no difficulty in accepting the reading 346R.
1634. This skandhaka from Harivijaya is cited once only. The text as presented
in Mysore edn. is corrupt. Tentatively it is restored as given here (SP S. No. 1634).
1636-1637. Forrietat :96:1 Trent . Polo — happiness or contentment of mind;
मन:प्रहर्ष: (excessive joy or happiness of mind) is explained as चित्तसन्तोष. This skandhaka is probably adopted from Harivijaya. This stanza, in the corrupt form, is cited here only. The restoration is tentative.
Read in the sanskrit chāyā -
::
1637. See ŚP S. No. (1252.272) above. 1638-1639. g-LEHUST Haayfarcitar:1 2217 — 1990 is explained as adorning a house
afresh, anew; ufitar-restoration, so 9710 - restoration of a house;

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Restoration is bringing back to original state by repairing, repainting, etc. one's house or residence; 7 = East to make white, to illuminate. Prof. M. V. Patwardhan's remarks on the restored gātha : "Does forert mean प्रकट? Is it a Desi word ? Does वल (emended as बल) mean ज्वलय? Is it again a Deść substitute for acte ? Normally vastufa in Sanskrit would be victs in Prakrit." DSS (p. 152) records : forr31 960: #g: Ryafa upf:1 Regarding act see Hemacandra VIII.4.416 --- Austacia (ga:
critor voor Here acila stands for varit Now, see translation.
1639. Prof. M. V. Patwardhan observes : "I think, the translation is O.K. The idea
seems to be that as the woman is painting the wall with whitewash, her hand raised up, the wall appears as if adorned with a cluster of tender reddish Aśoka leaves. Thus this is a compliment by the speaker of the stanza to the beautiful, tender, reddish palm of the woman's hand."
1642-1643. olaca: dife:1 UT — to development or fulness or completeness
of love (= excess of love or affection). 1642. णिम्महिअ - गत (or निर्गत as paraphrased by the commentator Lokanatha on Setu
IX. 39.
1643. Prof. M. V. Patwardhan's remarks on the stanza : "Perhaps we should read
fA31T for 13. The root means to rest, to come to rest. Apte records "to stay, to pause, to remain" as sense No. 5 under the root 24. 'PA31T' — "came to rest" would match well with for huur in the preceding stanza. Ratarsi
— feeling of joy, delight. Apte records "feeling” as one of the senses of 24 (sense no. 13). P would not be redundant if understood in the sense of “feeling". 3A = 3 overflowing. Apte records the word in the sense "overflowing the banks (as of a river).” 3TURT3T3IGIPT3T - tremulous (fluttering) (excited, agitated) with love. Apte records 3tists in the sense "to shake, to tremble." The eye (Reçfa) can become tremulous (unsteady) (agitated) under the influence of love or affection."
Read in Vol. I. - p. 336 the second half as : RITH-REJCSAVET3T --- 1645-1646. etayapatan: GʻIRqie: I PRIT —

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1645. Read in the first half (उअ णिअ-पाअव-) रअणं (पश्य निजपादप-) रत्नम् = Look here
at this your own excellent tree (पाअव-रअणं) (पारिजात); निज - your own. 1646. Prof. M. V. Patwardhan remarks :
"Porcasia-ruocthac is all right. Yes, the adverbial phrase furcacia Rruta is to be construed with णिमिअं (= न्यस्तम्).
सौभाग्यगुणानाम् अग्रभूम्यां पदं न्यस्तम् - set her foot on the pinnacle of the qualities that constitute a woman's good fortune (attractiveness in relation to her husband)." This stanza is the same as ŚP S. No.(1250.272) above. SK (p. 678, v. 350) cites this stanza with the introductory words: कथाव्यापिनी नायिका यथा -.
1647. विश्वासोपजनो विनम्भोत्पत्ति: । यथा -
विस्रम्भ = विश्वास = confidence; उपजन = उत्पत्ति = production, generation. For explanation of this verse, vide the Extract from the Sanskrit Commentary in Appendix I.
1648-1649. पुरस्त्रीसंभ्रमो नागरिका-क्षोभः । यथा -
नागरिका - excitement and flurry of city-women folk.
1648. रहस - रभस - flurry, nervous hurry, haste or excitement..
1649. This gāthā is somewhat corrupt. Tentatively, it may be restored as follows:
सोवाणक्कमणसमूससंत मज्जक्कवास (? मज्जग्गवास) मारुहइ । कामवस-विहट्टत-वलयाइओ कामिणीसत्थो । (सोपानक्रमणसमुच्छ्वसन्मद्यकवासमारोहति । कामवशविघटमानवलयायित: कामिनीसार्थ: ।1) Translation : The gay women breaking their circle, on account of the passion of love, sighing deeply on account of climbing the staircase, ascend the liquorhall.
Prof. M. V. Patwardhan remarks: The original reading Huuleh may stand for मद्यार्क - liquor obtained as essence extracted from a fermented liquid such as sugarcane juice. But such a sense is not found recorded in Apte's Sanskrit - English Dictionary under अर्क, or under मद्य, though in Marathi the word मद्यार्क is often found used ----. In quarter three I think we must amend 'वलइ into 'वलअअं' being an adjectival बहुव्रीहि compound. (कामवशेन विघटमानानि वलयानि यथा स्युः

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तथा ।) (But it is not clear why the bangles on arms or wrists should be said to break on account of the passion of love),-..."
Dr. H.C.Bhayani thus reconstructs the gatha and gives its Sanskrit chaya : "सोवाण-कमण-समूससंत-मज्जक्क-वासमारुहइ । कामवस - (हत्थ) विहडंत-वलयओ कामिणीसत्थो । (सोपान-क्रमण-समुच्छ्वसन्-मद्यार्कवासमारोहति । कामवश-हस्त-विघटमान-वलयक: कामिनी-सार्थ: ।।"
My difficulty was that the word 'End is not recorded in the Dictionary. The emendation of afsigui to CT37311, proposed both by Prof. Patwardhan and
Dr. Bhayani is certainly welcome and readily acceptable. 1650. --- प्रकृष्टश्च मृगस्नेह इति सार्वलौकिकी गाथा ।
आमरणंताइ (आमरणान्तानि) - lasting till the end in the form of death. The young male and female deer do not depend on each other for the food and water required by them and yet they love each other till the end of their life. Their love for each other is thus disinterseted and selfless and therefore ideal.
1651. Bhoja cites this gatha.as an example of परिणत-व्याज प्रेम --- one of the 12 kinds
of प्रेम (in the stage of अभिव्यक्ति. ..See SP S. No. (297.104) above.
1652. Bhoja cites this gatha to illustrate अध्याहृत-व्याज प्रेम. See $P. S. No. (297.104)
above. .
Read in the first half of the text pieti and in the first half of the chāyā व्यलीकस्य. विलिअ : व्यलीक = अपराध (love's) offence: विरोहिअ - संहिअस्स (= विरोधित-संहितस्य) - first snapped and then patched up; PORRA Bts develops a bad taste (becomes insipid).
1654. Bhoja cites this gatha with the introductory words: आद्यन्तयोरस्वादुपिचुमन्दपाकं
यथा - See SPS.No. (1198.262) above. Read in the printed text (1198) supra.
1655. Bhoja cites this gāthā with the introductory words:
अनवरतपाकं कपित्थपाकं यथा - See ŚP S. No. (1196.262) above.

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Chapter VII Prakrit Verses in Sarasvatīkaņțhābharaṇa Both SK and ŚP are the works of Bhoja on Alamkāra. Prakrit verses by scores - are common to both. With a view to economising space and saving labour, the S. Nos. of these common verses are given below in tabular form and verses which are exclusive to SK are then dealt with.
SK
ср
Add. 3.1.44
107.63 Appendix II p. 37
164.75 · 109.63
..44.51
1.339 2.339 3.340 4.340 5.340 6.340 7.340 8.341 9.341 10.341 11.341 12.341 18.343 19.343 20.343 21.343 23.345 24.345 25.346 26.346 27.346 28.346
87.58 88.58 90.59 91.59 89.59 92.59 93.60 94.60 95.60 96.60 97.60 98.61 100.61 101.61 103.61 102.61 104.62 967.224
7.44
6.44
1527.319 Appendix II, p. 38
SK 29.346 32.347 33.347 *34.347 39.348 : 40.348 41.348 42.348 *44.349 46.349 54.351 55.351 56.351 - 57.351 58.351 59.352 60.352 61.352 62.352 63.352 64.352 65.352
842.201 44.51, last line
24.47
110.63 Appendix II p. 38 Appendix II p. 38
121.65 120.65 111.63 113.64 112.64
114.64
115.64 116.64
117.64 118.65

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541
SP
SK 66.353 67.353 69.353 70.353 71.353 73.354 74.354 75.354 76.354 77.355 78.355 79.355 81.356 83.356 84.356 85.356 86.357 87.357 88.357 89.357 90.357 91.358 92.358 93.358 94.358 95.359 96.359 97.359 98.359
119.65 123.66 124.66 133.68
5.44 125.66 126.67 127.67 135.69 139.69 140.70 141.70
65.55 Appendix Др. 37
147.71 148.72 149.72 150.72 142.70 143.70 144.71 145.71 146.71 129.67 118.67 131.68 130.68 132.68 134.69
SK 99.359 100.360 102.360 103.360 104.360 105.361 106.361 107.361 108.361 109.361 110.362 111.362 112.362 113.362 114.362 115.363 116.363 118.363 121.364 123.364 124.364 125.364 126.364 127.365 128.365 129.365 130.365 131.365 132.366
153.73 152.72 151.72 154.73 809.196 669.174
156.73 157.74
25.47 214.86 159.74 160.74 161.75 162.75 163.75 164.75 165.75 511.146
166.76 Appendix II, p. 39
167.76 168.76 175.77 734.185
58.54 1451.307
170.76 671.174
171.76

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542
Prakrit Verses in Sanskrit Works on Poetics
SK
SP
SK
133.366
134.366 136.367 137.367 138.367 139.367 140.367 141.368 142.368 144.368 145.368 146.369 147.369 148.369 149.369 150.370 151.370 159.371 160.372 163.372 166.373 167.373 168.373 170.374 171.374 172.374 176.375 177.375 178.375 179.376 180.376
1451.307 (Second half)
32.48 245.94 1169.257 304.105 174.77
173.77 · 184.79
185.79 *186.80
197.83 1301.281
177.78 178.78 179.78 181.79 182.79 192.81 180.78 57.82
181.376 182.376 186.377 187.377 188.377 189.378 191.378 192.378 194.379 195.379 196.379 197.379 198.379 199.380 200.380 201.380 202.381 203.381 204.381 205.381 206.381 207.382 208.382 209.382 210.382 211.383 212.383 213.383 214.383 216.384 217.384 218.384
ŚP 216.86 218.87 638.169 1327.286 530.150 415.128
155.73 1067.240
388.122 314.108 368:119 420.129
23.47 466.138 1460.308 1461.308 525.149 493.143 1423.303 470.139 591.160 256.96
22.46 573.157 1497.314
207.85 1185.260
982.226 600.161 545.152
265.98 1357.290
187.80
cf. 1544.322
188.80 1417.302 505.145
194.82 221.88 190.81 992.227 616.165 217.87

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543
SK
SP
SK
ŚP
220.384 222.385 223.385 225.385 226.386 227.386 228.386 229.386 230.386 231.387. 233.387 235.387 236.388 237.388 238.388 239.388 240.388 242.388 243.389 244.389 246:389 247.389 248.390 250.390 251.390 252.390 253.391 254.391 255.391 256.391 259.392 260.392
978.225 451.135 1126.249
247.95 1306.282 1370.292 1365.291
501.144 634.168 1582.328 359.117
229.91 898.212 650.171
127.67 160.592 482.142 453.135 1496.313 289.103 454.136 477.140
70.55 560.155 338.113 336.112 328.110 1359.291 603.162 287.102 398.125 1161.256
261.392 262.392 263.393 264.393 265.393 266.394 268.394 269.394 271.395 272.395 273.395 274.396 275.396 276.396 278.396 279.397 280.397 282.397 284.398 285.398 286.398 287.398 288.398 289.399 290.399 291.399 292.399 293.399 296.400 300.401 301.401 302.401
1059.239 767.190
145.71 245.94
233.92 1392.297 381.121 372.119 321.109 1190.260 768.190
220.87 632.168
272.99 1323.285 1377.294 1391.296 1027.233 979.225
225.90 1602.330
310.107 1522.318 1524.319
123.66 459.137 1492.313 645.170 1528.319 1506.315
474.140 1510.316

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Prakrit Verses in Sanskrit Works on Poetics
SK 303.401 304.402 305.402 306.402 307.402 309.403 310.403 311.403 312.403 313.404 317.404 318.405 319.405 320.405 324.406 325.406 326.406 327.406 330.407 331.407 332.407 333.408 334.408 335.408 336.408 337.408 338.408 339.409 340.409 341.409 342.409 343.409
Śp 30.48 1516.317 1519.318 1512.316 1513.317
660.172 1002.229 609.163
21.46 332.111 716.182 541.151 713.181 710.180 918.215
326.110 1072.241
417.128 . 614.164
270.99 1646.337 528.149 197.83
33.49 1452.307 637.169
51.52 1420.302 1465.309
24.47 342.114 332.111
SK 344.409 345.410 346.410 347.410 348.410 349.410 351.411 352.411 353.411 354.411 355.411 356.412 357.412 358.412 359.412 360.412 361.413 362.413 363.413 364.413 365.413 367.414 370.415 372.415 373.415 376.416 377.416 378.416 379.416 380.417 381.417 383.417
SP 1114.247
166.76 151.72 238.93 249.95 686.176 244.94
230.91 1206.263 990.227
2.43 687.177 1433.304
99.61 485.142 1052.238 806.195 680.175
128.67 363.118
175.77 Appendix II p. 37
1414.301 546.152 869.206 192.81 193.81 196.82
195.82 1222.266
773.191 Appendix II, p.39

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* 13. Ratnesvara, commenting upon the poetic excellence, called Kantih, cites this
gatha from Vakpati's Gaidavaho (Verse No. 85). He declares : अप्रहतपदैरारम्भ: सन्दर्भस्यैव कान्तिः। तद्यथा कुसुमस्य धनुरिति प्रहतम्। कौसुममित्यप्रहतम्। जलनिधाविति प्रहतम् । अधिजलधीत्यप्रहतम्। --- चमत्कारित्वं तु सहृदयालादकत्वमस्ति हि तुल्येऽपि वाचकत्वे पदानां कश्चिदवान्तरो विशेषो यमधिकृत्य किञ्चिदेव प्रयुञ्जते महाकवयो न तु सर्वम्। यथा - पल्लव इति वक्तव्ये किसलयमिति। स्त्रीति वक्तव्ये कान्तेति। कमलमिति वक्तव्ये राजीवमित्यादि। एतदेव महाकविभिरुपेयते। 'कत्तो णाम ण इट्ठं ---'।। (गउडवहो - ८५).
The printed text in the N. S. edn. (and Chaukhamba edn, too) is corrupt and obscure.
Vākpati, following Anandavardhana, asserts that earlier poets like Vyāsa, Vālmīki, Bāņa have simply touched the borders only in their works; the vast field of poetic themes, ideas, etc. still remains untouched.
*14. Vema Bhupala thus comments upon this gatha : काचिदसती गृहमागतं पथिकमाह - "पान्थ
नात्र संस्तरमस्ति---" उन्नतपयोधरान उन्नतमेघान उन्नतस्तनौ च । अत्र काचिदसचरिता विदग्धा हालिकवधूः सायंतनसमये गृहमागत्य शयनार्थं संस्तरं याचमानं कमप्यभिरूपपथिकं युवानं प्रति साभिलाषापि निरभिलाषेव गृहजनवञ्चनार्थं प्रस्तरस्थले ग्रामे मनागपि संस्तरं नास्तीति प्रतिकूलं ब्रुवाणा उन्नतपयोधरौ दृष्टवा यदि वससि तस्माद् (? तर्हि) वसेत्यनेनोन्नतस्तनमण्डलं दृष्ट्वा यद्यपभोगापेक्षास्ति तर्हि तिष्ठेति निवासाय तं प्रोत्साहयतीत्यभिप्रायः। अत्र शब्दशक्तिमलो वस्तुध्वनिः। अनेन तत्प्रोत्साहनस्य गम्यमानत्वात। स्तनमण्डलं दृष्ट्वा रिरंसुश्चेत्तिष्ठेति वस्तुन: प्रतीतेः। - पृ. ३१.
* 15. The printed text of this gātha from Gaüdavaho in the N.S. edn. (p. 81) as
well as Chaukhamba edn. (p. 123) is corrupt. The nāyikā was angry; but when her lover held her lower lip between his own lips, the flush of anger began wearing away like red wine in a crystal goblet subsiding when sipped (after
being seized between the two lips) by the man who drinks. : 16. This gāthā reads the first half as
पल्लविअं विअ करपल्लवेहिं पप्फुलिअं व मुणहअच्छेहिम्। - रत्नेश्वर, पृ. ८३. पल्लविअं विअ करपल्लवेहिं पप्फुल्लिअं विअ णअणेहिं। - भोज, पृ. ४५६.
पल्लविअं विअ करपल्लवेहिं पप्फुलिअं विअ णअणेहिं। - भोज, प्र. ४६७.

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Prakrit Verses in Sanskrit Works on Poetics पल्लवियं करयलपल्लवेहि पप्फुल्लियं व नयणेहि। - वज्जालग्ग गाथा क्र. ३१३.
Metrically, the first three lines are defective. If we read the first half as aldzi विअ करपल्लवेहिं पप्फुल्लिअंव णअणेहि।, then the metrical defect would be removed. The first half in the present edition should accordingly be corrected.
* 17. This gātha is the same as ŚP S. No. (99.61) supra.
* 22. Svayambhūcchandaḥ (1.3) reads (as cited on p. 345 of the present volume
(I) पचसगअवरमालिआए and 'प्रत्यूषगजवरमुदिताया:' as its chāya. The correct and original reading in Lilavai is पचूसगयवरुम्मूलियाएँ (प्रत्यूषगजवरोन्मूलितायाः). Hemacandra's Chando'nuśāsana (p. 5) confirms this reading.
30. 31A3idit pres. part. of 31+
(to cling) : 313ia + $(fem. termination)
31. The remark 'This verse is corrupt and therefore obscure' (Vol. I, p. 346) is,
misplaced. This verse illustrates "Samkirņā Jātih', the mixture of Sanskrit, Mahārāștri and Apabhramsa languages is found here. This mixture or combination takes place here on the analogy or simile of rice and sesamum seeds - tila-tandula-nyāya. This nyāya is used to illustrate an easily distinguishable combination or mixture of two or more things. The verse may thus be translated : "The moonlight is marvellously lovely ! The cuckoo produces sweet Kuhu' Kuhu' sound; the (love-exciting) southern wind is blowing; my friend, to delight your mind the red Asoka tree too is in blossoms! Today (when all these love's excitants are present) it is absolutely of no use to maintain jealous anger. Let us proceed to meet our lovers!”. In this verse we have the Sanskrit words like 'GUUSHT, '', 'poet', 'JRI:', 'ary:' etc., Mahārāştra deśī words like '3700 YHCT (cf. Marathi गोरीगोमटी), 'कोइलो', 'लवई', etc. and Apabhramsa words like 'न कज न Tui, 'JIEGT etc.
* 35. For the text (and its Sanskrit chāyā), as reconstructed by Dr. Bhayani, see
Additions, p.6, * 35.347.
* 36. 370f4 here refers to Kārtavīrya; also known as Heyra (with thousand arms);
he got the epithet 16HCE: as well. Her = great Indra. The Indra of mythology is famous (? notorious) for his adultery; one prominent instance of which is his seduction of 3764T, the wife of the sage am. The curse of the sage

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impressed upon him a thousand marks resembling the female organ; These marks were afterwords changed into eyes and hence he is called HEUTET (thousand-eyed, an epithet of Indra). Arglas is also known as gte or 37747, the lord of serpents; he is spoken of as having many (or countless or a thousand) ears.
* 38. He showers praise on poets in these words : "Blessed indeed are these poets
who show us the omnifarious world as reflected in their poetic works, to be either meaningful and full of joy or absolutely hollow and unsubstantial."
* 39. The remark "This verse / gātha is corrupt and therefore obscure" is misplaced.
Vide ŚP S. No. (39.348) supra. • 43. This gāthā is already dealt with; vide DHV S. No. (12.29) supra.
45. पडिकम्म may better be understood as परिकर्म / प्रतिकर्म: - dressing, painting, or
perfuming the body, especially after bathing. 47. Read in the fourth quarter vicift. 49. 51. 52. Vide Extracts from Sanskrit Commentary in Appendix I.
72. Vide Extracts from Sanskrit Commentary in Appendix I.
80. In the Sanskrit chāyā read aluciato for F10. Hemacandra (Desī, p. 192) declares
:. 1979 TU1737317 a quie T --- sud : 497rf: So NECT = alueIci, hut of a ausid - an outcast; 46 means a distiller or vendor of spirituous liquors, an inn-keeper; TRERuca (= Roc) pot. pass. part. from yor (Sk. R + ). faut
The-vira fallen on evil days or bad times; TUTTE - Uşaic - a place enclosed and prepared for a sacrifice.
82. The first half of this gātha as printed in the text is metrically defective. If we • were to read it as 'ण उणो वर-कोअंडे पुत्तिएँ माणूसए वि एमेअ।' the gatha metre would
not be violated.
101. मंडइआ (Sk. मुण्डितिका = अलम्बुषा(सा) a sort of a sensitive plant); चुण्ण (Sk. चूर्ण) powder,
flour, aromatic powder; $41737 (Sk. 914) - a decoction (the result of boiling down a mixture consisting of one part of a drug and four or, according to some,

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eight or sixteen parts of water until only one quarter is left) - Mar. काढा; कषाय: क्वाथो जलम्। नावनं नस्यम् | a stermutatory, errhine.
117. 'Sugrīva asks his followers not to be discouraged by Rāma's indecision about
what should be done to cross over to Lankā' - Handiqui, p.21 f.n.22, vide Extracts from Sanskrit Commentary in Appendix I.
119. The coral-reefs are fancied as the ocean's blood. The imagery is that of blood
turned black by poison'. - Handiqui, p. 43. f.n.35 'महोदधेरन्तर्वर्तमानत्वात् वर्णसाम्याच विद्रुमो रुधिरत्वेन निर्दिष्टः। विषवेगस्पृष्टं रुधिरं सद्य: कृष्णं भवति ।' - As cited by Handiqui, p. 317. Vide also Extracts from Sanskrit Commentary in Appendix I.
120. हतच्छायं हता छाया शोभा यथा भवति । शिखाशब्दो दीपापेक्षया प्रयुक्त: निश्चललोचनमित्यर्थः। अन्यत्र
निश्चलज्वालम् । प्रोषितप्रतापं प्रोषितपौरुषं यथा। अन्यत्र प्रोषितोष्णम्। एवं तेषां कापेयमपि गलितम्। किमिव - आलेख्यप्रदीपानामिव। चित्रदीपानां यथा चटुलत्वमेव न भवति तद्वत्। - As cited by Handiqui, Extracts ---, p.228.
122. इह कयापि नायिकया लोचनाभ्यां चषके सुगन्धि-मद्य-भृते प्रतिमया प्रतिबिम्बेन पतिताभ्याम। अत एव
मदेनाताम्राभ्यामतिलोहिताभ्यां मनोज्ञा रक्तोत्पलदलस्य शोभा लघ्वीकृतात्यल्पा कृता। जितेति यावत्। 'चषकं पानपात्रं स्यात् इति हारावली। ---अत्र नेत्रयोरुपमेययोर्मदताम्रत्वं वैकृत उत्कर्षः स्फुट एव। - जगद्धर, विवरणे, पृ. ४३८-३९.
123. For this Apabhramsa stanza, vide Appendix II, p. 39.
127. Read (in Vol. I, p. 365) पीणुण्णअ-थणि उत्तम्म एत्ताहे | cf. S. No. 734.185 supra. 135. GS(W) 878 reads : कालक्खर दू (? दु) सिक्खिअ धम्मिअ रे णिंबकीडअसरिच्छ।
दोण्ण (? दोण्ह) वि णिरअ - (? णरअ-) णिवासो, समअंजइ होई (? होइ) तहि होदु (? ता होउ)।।
Incidentally, it may be noted that the Sanskrit chayaof 'धम्मिअ रे जिंबकीडअ-सरिच्छ' is wrongly given as 'रे लग मम कण्ठे'. It may be replaced by 'धार्मिक रे निम्ब-कीटक-सदक्ष | सदृश.' 'बालक रे लग मम कण्ठे' is the correct chāya of 'बालअ रे लग्ग मज्झ कंठम्मि' - the reading in SK (p. 471). दुस्सिक्खिअ (= दु:शिक्षित) - one who is pampered, overfondled.
140. Read in the chaya जल-समूहं.

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cho
ruid
148. Handiqui (... Extracts, p.234): --- THUS: --- FIA-324-TI: CRT
घटन्ते प्रवर्तन्ते। घट चेष्टायामिति धातुः । अथवा कार्यकलापान् घटयन्ति साधयन्ति ।
152. When the mountains were uprooted, their river-streams were cut off from their
source; when they were lifted up, the river-streams poured straight down. When
hey were carried away, the falling streams seemed to stretch behind them (the mountains) as they sped through the sky. -- Vide Extracts from Sanskrit Commentary in Appendix I.
153. Read : farct sefa, faru nast afa, 31957 Jouri sfat 1 ---37: Fast at etager:
सर्वहरस्वरूपो येन स वय:परिणामो (old age) यत् स्थापयति स्थिरीकरोति तत् किं शिष्यते, किन्तु सर्वमेव हरतीति भावः। जगद्धरविवरणे पृ. ५१०.
154. This stanza is a skandhaka (with 12,20,12,20 måträs). It is not to be found
in Setubandha. Could it be from Sarvasena's Hari-Vijaya?"The first half refers to the mountain Mandara placed in the centre of the ocean at the time of the churning of the ocean by the Gods and the Demons. The circular expanse of the ocean inundates - overflows the coast (EST) beacause of the displacement of its water when Mount Mandara was inducted into it. This bloated circular expanse of the ocean is poetically fancied in the second half of the stanza to be the wheel of the Sun's chariot (which is supposed to have only one wheel), dropped down from the Sun's chariot because of its very great velocity. The wheel of the Sun's chariot is described as Cherechile - the tip of whose axle (3741) was prominently visible (Brahe = 36C, conspicuous, protruding). The Mount Mandara, placed in the occan and having its upper part (summit) protruding from the ocean, is here fancied as the conspicuous axle-tip (3747-chifa) of the wheel of the Sun's chariot.” – M. V. Patwardhan.
155. Vide Extracts from Sanskrit Commentary in Appendix I. Read in Vol. I line six
as Setu V.10.
157. Jagaddhara comments upon this skandhaka as follows: fand held HMS Argeforuta
रविणा दिवसे महिते पूजितेऽथ च मथिते सति मदिरेव यथा मन्दरमथिते मदिरा निर्गच्छति तथेत्यर्थः। तस्याः सन्ध्याया मार्गेण यथा चन्द्रोऽमृतकलश इवास्ति निर्गच्छति वा। आकाङ्क्षाक्रमेण निर्गच्छतिरुभयान्वयी। - 9.479.

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158. Jagaddhara thus comments : इह युवतिजन: पतिसङ्गमेऽपि मदनस्याकल्प उत्कण्ठा तदर्थं
प्रसाधनमलङ्कारं वहति। कीदृश: । कृतमृणालालंकार:। पद्मिनीपत्रैरुत्थगित उत्तम्भितः। आवृत इति यावत्। पीवरकुचघटो येन सः। अत्र प्रियसङ्गमे कामजनकमेव प्रसाधनं युक्तमिह तु तद्वैपरीत्येन विरुद्धार्थता। - पृ. ५२२.
162. Bhoja's Vritti on this gatha deserves to be reproduced here: : अत्र 'अद्यापि बालो
दामोदरः' इति यशोदया कृतप्रस्तावनस्य कृष्णस्य वक्त्रे विन्यस्तलोचनया तद्रहस्यवेदिन्या व्रजवधूमतलिकया यदेतन्निभृतं हसितं तत् तवाम्बा बालं त्वां ब्रूते, त्वं तु मादृशीभिर्निधुवनविदग्धाभिर्दिवानिशं यमुनानिकुञ्जोदरेषु विहरसीत्यादिनार्थजातेन साकाङ्क्षम्---| पृ. ५३९.
Jagaddhara explains : रहो रहस्यमेकान्तचेष्टा। मतल्लिका प्रशस्ता। निधुवनं सुरतम्। - पृ. ५३९.
164. Pravarasena describes the greatness of the Suvela mountain in Canto IX. The
verse under reference occurs in this canto. Bhoja thus comments upon it: 35 रसातलमपि मृनता शेषेणापि च तस्य मूलं न दृष्टम्, त्रिभुवनमप्युल्लङ्घयता हरिणापि न तुङ्गशिखराणि प्राप्तानीति यदेतल्लोकसीमातिक्रमेण विशेषव्यवस्थया पर्वतानुभावभणनं सोऽयमनुभूयमानमाहात्म्यातिशयस्यैव भेदोऽनुभावातिशय उच्यते। - पृ. ५४२.
165. Bhoja thus comments : अत्र दशास्य: (= रावण:) समरे न जीयते, सुराश्चामरत्वान्न वध्यन्ते। तयोश्च
परस्परं संघट्टक्रियातिशयात् त्रिभुवनमपि क्षयं यास्यतीति येयमन्योन्यक्रियातिशयभणनाल्लोकसीमातिक्रमण विशेषविवक्षा सोऽयं क्रियातिशयो नामातिशय एवान्योन्यातिशय उच्यते। - प्र. ५४३.
169. मंतेसि (Sk. मन्त्रयसे) महुमहपणअं (मधुमथप्रणयम्) : “You are speaking of your friendship
(pranaya) for Krsna (lit. the slayer of the demon Madhu). Jagaddhara seems to have read मण्णसिor मण्णसे महुमहपणअं since he gives the chāyā 'मनुषे मधुमथप्रणयम्', मनुषे meaning the same thing as मन्यसे "you prize or attach.importance to". Bhoja elsewhere (SP - vol. III, p. 725) reads बहुमणंसि (? बहुमण्णसि) हरिपणअं [vide SP S. No. (515.147)]. "you value greatly / prize / esteem your friendship for Hari." संदाणेसि (Sk. संदानयसि), तिअसेस (Sk. त्रिदशेश). पाअवरअणं (पादपरत्नम्) “And yet you are holding back (or withholding), O, Indra, the jewel (i.e. the best) among trees (i.e. Parijata tree)." The printed text in the N. S.edn. reads तिअसेसपाअवरअणं as one compound word. It is better to regard farti as a vocative form, rather than as forming a compound with 973737 as the stanza appears to be addressed by Satyaka to Indra himself. Jagaddhara rightly regards it as a vocative form and paraphrases it as (इह) हे सुरनाथ इन्द्र. "ओजसुis a queer form. It has been equated with अपजहि in the Sanskrit commentary of Jagaddhara. It should rather be ओजहसु, उजहसु for metre. It could be emended also as ओजह. Both these emendations

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would be equal to अपजहाहि, अपजहिहि or अपजहीहि in Sanskrit." "Give up your naïvete, O, Lord of Gods, and honour the wish of the Yādavas (i.e., of the Yadava Chief, viz., Krsna) (FHTqy concede, grant, honour)." - M.V. Patwardhan. From Jagaddhara's remark '3tas : T TARPET auch: YHT: I' - (g. 440). [It would seem that is the name of Indra's (but, in fact, Krsna's) charioteer).
173. The gāthā poet portrays the Vindhya mountain as lover and the Glory or Beauty
of the rainy season as his beloved who presses him with her payodharas (i breasts ii clouds) which thrills the Mountain with great joy indicated by the horripilation in the form of fresh or new grass-shoots. This gathā is cited by Bhoja as an example of Smgārābhāsa. Alainkārakaustubha cites it as an example
of Rūpaka. 174. Read : “p. 364. Vide S. No. (120) supra" in Vol. I.
175. The captive lady mistakes the echo or reverberation of a lightning from a cloud
thundering untimely for the twang of her husband's bow and goes into raptures as indicated by horripilation covering her body.
183. PEUT-4547 (7. to cook) the art of cooking; #Topy (= RECERT) - Don't feel sorry;
PEC: UP-PORTI - THU, .8.937.
RAB (Sk. foret) fire. In this gātha the fire is described as a lover who is greedy of drinking (inhaling) the breath from the mouth of the रन्धनकर्मनिपुणिका (नायिका which is fragrant like the red pāțala flowers. Bhoja deals with vaişayiki rati, viz. 916 -798f-, -, PR - and Tre-fa:. The gäthā under discussion illustrates Te ft.
184. Read in the second half of this gātha qyuf
T. in Vol. I.
37f037 = 3100oC; 'fati antifasi a BIRTİ.' 469 (915374E-14ICT) parings, carvings, thin slices or pieces; 41615341 ST = 47894feacht Stoc: Her eyes (filled or) heavy with tears.
The hunter is deeply attached to his young wife. He enjoys the delights of love, day and night in her company. Consequently, he has grown very weak and

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is unable to wield his heavy bow. He removes thin shreds of the bow so as to make it lighter. The hunter's young wife is extremely proud of her husband's fondness for her and wears with a feeling of elation and pleasure these parings of the bow as ear - ornaments. The elder or senior wife of the hunter is naturally very unhappy and her sorrowful gaze rests on her rival wife's face adorned with the parings.
190. Today on the occasion of a festival her husband made a mistake in calling her
by the name of his sweetheart. Since then decoration or ornamentation of the body has become hateful to her like a garland to a buffalo intended to be killed as victim in some religious rite).
203. Lghefn afa 32ra ghafen 204. Read अलिअ-पसुत्तअ and in the chāyā अलीक-प्रसुप्तक in Vol. I. 215. PSR = Sk. Puer: a cowherd; v.l. 361311 = 16-IRCT 3291 E-chipuit, ateit; 4167
CHIRON a milk-maid, one who milks cows; CTEUTET (? ) 336RT (Deśī. p. 45); Ga = yeri jesting, joking, jest, joke. Read :
of ERaluca 'cat' gag16ata:' (Desī. p. 165) 92037 072105 a calf, hence 7789341 calves.
Finding the cowherd — her husband – engaged in cutting jokes with the elder or senior wife, the second (young, newly-married bride) felt highly enraged and to give vent to her anger undid the tethers of all the calves in the cowpen or shed.
219. Bhoja cites this gāthā as an example of hout op: HTTFR:'. Even after hearing
the news of her dear man's death she did not die; this circumstance is the cause of her shame! but because she continued to live she could see her dear man
- beloved again (as the report of his death was false). This circumstance is the cause of her extreme joy !
220. Read
Rund for Alfowita in the chāyā in Vol. I.
221. Bhoja cites this gäthä as an example of 'PadFTTORI MERIT PS:'. The way

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553 the young woman stares, gives out (or heaves) sighs, smiles, and mumbles surely means a deep-rooted malady - her unfulfilled love at first sight for some young man. Bhuvanapala thus comments : लिड्गेन ज्ञायते तस्याः कश्चित् सुन्दरयुवा चित्ते वर्तते । अनुमानं नामालङ्कारः । प्रथमानुरागे विप्रलम्भोऽयम् । प्रियतमाप्राप्तौ उन्मादो नाम दशा । - पृ. १२६.
222. Read in the second half जाआएँ. in Vol. I.
224. This is a Skandhaka. But we do not have any clue to affirm that it occurs in
Sarvasena's Harivijaya.
232. मामि = हे सखि ! उपगूहनस्य भद्रं (भवतु।) Hail, O, friend, to the act of (love -) embrace !
मान एव दूम: तस्य परुषपवनस्य, तदुन्मूलकत्वात् । सर्वाङ्ग-निर्वृतिकरस्य - Which is a gale to the tree of jealous anger and which gives supreme delight to the whole body - which sends a rapturous thrill through the whole body. पूर्वरङ्गस्य - which is a prelude to the drama of love's enjoyment. Bhoja cites this gāthā as an example of संभोगचेष्टासु मानानन्तरे आलिङ्गनम् ।
234. GS VII. 5 reads the first half thus:
वाउव्वेल्लिअ-साहुलि थएसु फुडदंतमंडलं जहणं । (वातोद्वेलितवस्त्रे स्थगय स्फुटदन्तमण्डलं जघनम् ।) साहुली वस्त्रम् (Desi. p. 286).
Read gfe in the second half in Vol. I. 242. Read एक-युवकोऽयं in the chāya in Vol. I.
243. Read परिवालिआ (? परिआलिआ) in the second half in Vol. I.
249. Compare the text of this gatha with that of RAS S. No. (16.543) infra. The
readings लीलाऍतुलिअसेलो रक्खउ वो----in the first half of the gatha are, poetically speaking, highly superior.
258. उच्छच्छलेइ - PSM does not record this verb उच्छुच्छुल.
.
It, however, records छुल्लुच्छुल (= चुल्लुच्छल) meaning 'छलकना', 'उछलना',

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267. महग्घिअ (Sk. महार्घित) honoured.
270. Read 160g in the first half in Vol. I.
272. Read ya in the second half in Vol. I. 276. Cf. 318IqFt: TYHAEST GRANIT 6 HAİ HET:Yifà qufdregel ayunt BURG II Meghadūta 9.
278. Read Huiquita
in Vol. I.
284. The readings (unitat ut) YETİ seem to be preferable. 291. Read "ęfat in place of fat (in the second half) in Vol. I. 294. Could the reading be vargut instead of RİSTHQUT ? 'PERTI-HRİNİ ' - Furat: तथा समसीसी स्पर्धा ।
- Deśí. p. 271. 295. Drop (37); read PTA317173T in Vol. I. 299. Bhoja introduces this gātha with the remark:
"Wellruguri (? :)
HIÇQT I URIT -".
V. Raghavan thus writes about this festival : "It is a procession of dolls accompanied by young women. Bhoja identifies it with the Bhūta-mātņkā. His Smgāraprakāśa says that the festival was promulgated by. Pāñcāla Muni, who is one of the authors of the erotic lore and taking the word Pāñcāla again in its sense of dolls, adds that in it the dolls were followed, with the people in diverse dress, talk and actions and that it is well-known as the Bhūta-mātā." Festivals, Sports And Pastimes of India by V. Raghavan (B. J. Institute of Learning and Research, Ahmedabad, 1979, p. 95).
314. The figure in the stanza is Sahokti : The female (young) warden of the
paddy-field dries up (becomes emaciated) along with the paddy plants. Bhoja cites it to illustrate : 'fscula CRI: 978: (Hor:) - p. 672.
315. पाडी d. (cf. Marathi पाडी) a young suckling of a cow; पेऊस = पीयूष the milk of
a cow during the first seven days after calving. Bhuvanapāla says: 35 STRIATRAT

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संसृष्टिरलंकारः । - पृ ३२.
322. Vide Extracts from Sanskrit Commentary in Appendix I.
323. The poet here gives expression to the tender feeling of love of a maiden for
her beloved; she addresses the moon as 'Amrtamaya' 'Gaganasekhara' and 'Rajani-mukha-tilaka and begs of him to touch her with the rays which have touched her beloved."
In his play Mälatimădhava Bhavabhūti portrays Makaranda as requesting the wind that has embraced his beloved Madayantikā in its course, to touch him in every limb (Act I. 38). The maiden of the gāthā addresses the moon, whereas Bhavabhuti's Makaranda requests the breeze.
328. विरमावेउं = विरमयितुम, to end, to terminate. Incidentally, it may be noted that
Bhuvanapala reads विरमालेउं (= सोढुम्).
350. मुद्धवहुआ = मुग्ध-वधू: charming young wife; उठेंत (= उत्तिष्ठन्महारम्भौ) rising, prominent,
swelling, upward rising and large even in the early stage of growth; ओसण्ण-अवसन्न - 'sunken', 'fallen inwards'.
3taffan - (Whose cheeks) were bathed in perspiration (because of the fever of jealous anger) - M. V. Patwardhan Gāhākosa Notes, p. 189. Bhuvanapāla's comm. explains इति भयेन स्वेदोदकाईकपोला प्रथमजाया जातेति । अत्र विषादो व्यभिचारी भावः। -पृ. १७७.
•
368. Read in the Sanskrit chāyā 'तस्यापि वे रथं नभोऽर्धे.
.
371. 'मम तावत् चिन्त्यमानं मरणं महिलानां स्त्रीणां समुचितं कथं न संपतति ।' as cited by Handiqui in
_his Notes, p. 174.
374. बहुवल्लह (बहुवल्लभ) one who is a ladies' man; मिळं (= मिष्टम्) sweet; The figure in
the gatha is अर्थान्तरन्यास.
375. Kulanatha, as cited by Handiqui, in his Notes (p. 177) : अर्धनारीश्वररूपमाह - यस्य
वामार्धं स्त्र्यात्मकं द्वितीयावकाशे पुरुषात्मकदक्षिणार्धे गमनोत्सुकं यत् वलितुं वाञ्छति तं नमत । स्वयमभिगमनेच्छया सव्रीडं कलङ्कसाध्वसवशाच वेपते । भाववशात् पुलकाचितस्तनकलशं ---- । स्त्रीणां स्नेहधर्म एवायं यदनुरागेऽपि वाम्योपदर्शनम् । एतेन सुभगत्व-स्तुतिरियं देवस्य |--- पृ. १७७.

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382. Bhuvanapala thus comments: --- यथा हि भुजङ्गरक्षिते निधिकलशे सभयसाभिलाषा दृष्टिर्निपतति
तथा समर्थपतिकापयोधरोत्सने दस्यूनां दृष्टिर्निपततीत्यर्थः । पक्को समर्थः । रतिभययो: स्थायिभावयोः संकरोत्र । उपमालंकारः । - पृ. २४४.
Note the v. 1. पक्कवइया (समर्थपतिका). Bhoja reads पोढ-महिला (प्रौढ-महिला). सभय frightened or nervous and covetous or greedy (glances); पक्वपतिका - woman whose husband is a mighty hero; स्तनोत्सङ्ग - the region of the breasts अहिरक्षित - (It is a popular belief that buried treasures are guarded by snakes) - ajar containing treasure (निधिकलश) guarded by a snake, (अहि snake, रक्षित guarded).

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1. This gåtha is cited as an example where the expressed sense (vācyártha) is
suggestive (vyañjaka). The girl who addresses this stanza to her mother is a svairini – a wanton girl. Hence the suggested sense is that the girl is desirous of wanton sport (svaira-vihăra) and wants to go out for that purpose under the pretext of bringing provisions. 34fud 317 sta 34 RUTH 377EFTIRLATA
2. This gātha is cited as an example where the indicated sense is further suggestive. The context is thus stated:
F urf drei
a u trai caitafa Aruber Rulli
The suggested sense arises because of boddhavya - vaišistya (the speciality of the person addressed); the dūti (maiden messenger) showed signs of sexual intercourse on her body, such as nail - marks, tooth-bites, etc. These signs constituted her speciality from which the nāyikā knew her faithlessness. The duti instead of persuading the nayika's lover to visit the nāyikā, she herself sported with him and thus behaved like her enemy. Viparīta - laksaņā has to be resorted in understanding the second half of this gātha. WIE = i pri to tell, convey (here, message of the nãyikā) ii Hery to win over; TH1 - 'the fortunate one', 'a ladies' man, a man after whom ladies hanker ‘स खुल सुभगो यमङ्गना: कामयन्ते ।'
3. This gātha is cited as an example where the suggested sense is further suggestive : (i) अत्र निष्पन्दत्वेन आश्वस्तत्वम् । तेन च जनरहितत्वम् । अत: संकेतस्थानमेतदिति कयाचित् कंचित् प्रत्युच्यते (? ufa eteedt 1) - HHC . 30. (ii) 3era PARZIT AGRI 7 Matsura crudi - FHE, . 30. These are the two ways according to the two contexts in which Mammața explains this gātha.
4. This gātha is already dealt with. Vide ŚP S.No. (110.63) supra.
5. In order to conceal her stealthy sexual intercourse with her paramour a wanton
girl addresses this stanza to her friend wherein she attributes her perspiration and hard breathing, - really the effects of the stealthy sexual intercourse - to the exhaustion caused by her having hastily returned from the river with a big pitcher

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full of water. The 'erfamily' is understood by the Freit owing to her knowledge that the speaker is a woman of loose morals.
6. Sleeplessness, weakness, anxiety, etc., are the effects or signs of 'upabhoga'
(sexual intercourse) as well as of efforts to win over the nāyākafor the näyikā.The ‘enjoyment of the maiden messenger by the lover of the nāyikā' is the suggested sense. The reader comes to know this suggested sense as he knows the maiden messenger to be a girl of disreputable character. EH = 360T (= 70CT) AST farsen,
RIT: T: 31TH (sleeplessness).
7. "At that time (when 'my girl-friend sat by my side) you did not look anywhere
else - fixing your glance on my cheeks (which showed clear reflection of my girl friend sitting somewhere near me). But now after the girl-friend left, you no longer look at my cheek;, I am very much the same, and my cheeks are very much the same but the glance of yours is not the same." The speaker of the găthă understands the reason for her husband's behaviour namely, he is secretly in love with her girl friend and suggests this by addressing him the present gātha.
8. A wanton girl, who is having a talk with a neighbour finds her paramour standing
nearby. He wants to know the time when he can meet her. The girl apparently addresses this gāthā to the neighbour but in fact to her paramour suggesting that evening is the time of appointment.
9. A wanton girl is about to leave her house to meet her paramour. A friend of
hers who had got the report that her husband is returning within a short time addresses this gathā to her and dissuades her from going out to meet her paramour. Vemabhūpāla, however, interpretes this gāthā differently. Vide Saptaśatīsāra, V. No. 99, p. 38.
10. The suggestion is : "The spring is an exciting season. If you depart on a journey
now I'll certainly die because of unbearable pangs of separation from you; and I don't know what would happen to you."
11. This gātha is already dealt with; vide SK S.No. (* 14.342) supra.
12. "He is a jewel among the lazy bones, foremost among the gay rogues, and he
is possessed of immense wealth”. Hearing this description of the bridegroom,

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the bride's eyes dilated with joy - this fact suggests that she regards him just the one fit to be enjoyed by her (alone).
13. The comments of Mammata on this Prakrit stanza deserve to be read in the
original : अत्र केशग्रहणावलोकनोद्दीपितमदना इव कन्दरास्तद्विधुरान् (= राजशत्रून्) कण्ठे गृह्णन्ति इत्युत्प्रेक्षा। एकत्र संग्रामे विजयदर्शनात् तस्यारय: पलाय्य गुहासु तिष्ठन्तीति काव्यहेतुरलंकार:। न पलाय्य गतास्तद्वैरिणोऽपि तु तत: पराभवं संभाव्य तान् कन्दरा न त्यजन्तीत्यपहनुतिश्च (व्यज्यते इति शेषः।)
– 9. 989.
14. The Utpreksă (Poetic Fancy) contained in this stanza – AARADHI AT: 416
59 EUR 4Rfa — suggests that the high-spirited girls began to return the embraces (with zest or gusto).
15. Here the figure Utprekṣā (Poetic Fancy) contained in the stanza — 'hasantiva',
'anyadiva' – suggests the figure Vyatireka (Dissimilitude, Excellence) by implying that the Vāņi (Goddess of Speech) has an animate seat in the form of the poet's mouth, (while Brahmā is seated upon the inanimate lotus) and creates a world which is always new and the source of unalloyed joy (while the world of Brahma is old and not always joyful).
Please read in the first half "
fa" in Vol. I.
16. Here the fact that 'the Malaya winds, strengthened by the sighs of women
suffering from the pangs of separation from their lovers become capable of doing anything' is suggested.
17. Here either the figure Vibhāvanā (Peculiar Causation) implied in the statement
that the nãyikā became reconciled to her lover even before he made attempts to propitiate or pacify her, or the figure Utkprekṣā, implied in the statement that her mâna (jealous anger) cannot withstand the force of the charm of the lover's visit is suggested.
The expression प्रियदर्शन-विशृखल-क्षणे- 'at the exciting moment of my lover's visit' - notably the word विशृङ्खल (विहलंखल) arrests our attention. PSM equates it with Pascals one whose body is exhausted; façon = unfettered, unrestrained, unbounded.

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18. This gåthă contains the figure Uttara (Reply); When a question is inferred from
an answer, there is Uttara (377 que TRUT 'Para gaat alat ar sa terRA IG UTRICICR:). This figure suggests the fact that her consort (or) lover is not only trying to hide the fresh nail-marks and tooth-bites but they enable her to detect his faithlessness or disloyalty. '3197 GERA Tightne - this part contains the figure 31969la (Concealment). But the principal figure 'Uttara' is really suggestive.
19. Note : 34 3771' FUE HECH6 HRC Eg:, daarut T 3THITI ER STYi ScaciARTRIT
'तनोस्तनूकरणेऽपि तव हृदये न वर्तते इति विशेषोक्त्यलंकारो व्यज्यते । - बालबोधिनी, पृ. १४६.
20. Here the sugestion lies in the single word 'stupefied' (Panel) - this (stupefaction)
which is impossible in the inanimate (acetana) efforts (vyavasāya) stands for 'impeded'.
21. Here the figure Rūpaka (Metaphor) - 3ERT: FAHAGSHH - (Your lover's lower
lip was withered lotus-leaf — suggests the figure Kavya-linga (Poetic Reason) by implying that your lover's nether lip looked withered on account of your repeated and repeated kissing of his lower lip (right up to the very morning).
22. Here 'Madana's undisputed sway over the three worlds suggests that not a single
one of these persons over whom Madana has his sway, ever goes against his orders, hence they spend the nights in wakeful sexual intercourse.
23. The poet describes the scene of viparīta-rata 'Contrary intercourse'. It is where the woman takes the man's position above, while the man lies below.
F R A (= TRURIA:) fanguilla: Tula TRIT: ER: The pearl - necklace is an impediment to close embrace. It, however, does not desert her constant friends, the breasts, as it is of pure breed. Here the figure Kávyalinga, contained in the epithet 'being of pure breed' suggests the fact that the pearl-necklace remained constantly oscillating during the upward and downward movements of the nayika in the course of viparita-rata.
24. Mammata thus comments on this stanza: 371 374dHUT 66THOUT CT 0597979T: Fahrerut:
प्राप्त: यथा रतिविरतावप्यनिवृत्ताभिलाष: कामुकोऽभूदिति खंद (= स्कन्ध-) पदद्योत्या विभावना (व्यज्यते) । - 9. 982.

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25. Mammața thus comments on this stanza
Riaurinformatie Ja çfa cura(= 77) Fruif-93114 (= yeta) seuil UGETU ara avudo g. 967.
CAT ERTOGHRurada
y a
26. Mammata thus comments on this stanza : 37
तत् कथय कीदृगिति व्यतिरेक: कहं ( कथं) पदगम्यः।
On the Prakrit form Bedat Dr. Ghatage writes : “The reading verkat is taken by almost all commentators as Togethit and to mean 'an extra one, an unwanted person or thing 'd e 3fedt . The correct passive present participle A. from उद् + श्रि must be उच्छ्रीयमाण and not उच्छ्रियमाण. Why they have given this wrong form it is difficult to find. Possibly the older usage of 7 pass. Bred as against the classical grammatical form sirud may have influenced them. But I doubt it. The Prakrit form उच्छेरंतो can be taken as active pre. part. Sk. उद् + श्रयन् in the sense of (necklace) 'rising up, heaving (on the bosom of the lady) which is being removed by her friend in the form of a close embrace? The idea of the commentators that the (the pearl-necklace) is removed like a third person i.e., an intruder, may be more recondite but not expressed by the poet. Pa37 can be taken as 319 T 'and'. Tr. : "O, friend, on the occasion o: your first courtship, when the necklace which was heaving (on your bosom) was set aside by the close embrace as a friend, then how went your courtship (further)?”
27. Read the following extract from Balabodhini (pp. 163-164) : JAHO
संकेतस्थानं गत्वा शून्यं तत् विलोक्य जलघटं स्कन्धे गृहीत्वा गृहद्वारपर्यन्तं समागतां पश्चात् संकेतस्थानयायिनं 'स्वकामुकमवलोक्य पुनर्जलानयनव्याजात् संकेतस्थानं गन्तुं विवलितं वदनं कृत्वा द्वारस्खलनव्याजेन घटं क्षिप्त्वा
लोकवञ्चनायै रुदतीं सखी प्रतीयमुक्तिश्चतुराया: 'अपरं घटं गृहीत्वा गच्छ अहं सर्वं समाधास्ये' इत्यभिप्रायगर्भा ।
28. The figure Apahnuti suggests the following vastu (fact): "You had fixed an
appointment with your lover that you would meet him in the thicket/bower on the river-bank - you went there; not finding him you returned but when you were about to enter the house you knew that he had gone there after you had left; so with a view to going to the river again you have intentionally broken the pitcher under the pretext of striking against the door; - all this I have understood. So take heart, go and fulfil your desires, I justify everything and convince your mother-in-law." The word Passion also occurs in KP S.No. (17.422) above. The commentators give different Sanskrit equivalents of this

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word. Dr. Ghatage remarks : "only two may be seriously considered 'विह्वलाङ्गाम्' and "विशृङ्खलाम्'. The second is better : Unbridled, wanton"..
29. In this stanza we have the figure Kāvyalinga (Poetic Reason) — which is implied
in the term para-vahua (= paravadhah). It suggests the figure Aksepa (Paralipsis) implying : “You neglect young girls or women like me, and run after old women - who are the wives of other men- this your behaviour is simply beyond words.".
30. This gātha is already dealt with; vide VJ S.No. (20.23) supra. Kuntaka thus
comments on it : अत्र समानेऽपि हि स्थगनप्रयोजने साध्ये सामान्ये च लोचनत्वे, देव्या: परिचुम्बनेन यस्य निरोध: संपद्यते तद्भगवतस्तृतीयनयनं जयति सर्वोत्कर्षेण वर्तत इति वाक्यार्थः। अत्र जयतीति क्रियापदस्य किमपि सहृदयहृदयसंवेद्यं वैचित्र्यं परिस्फुरदेव लक्ष्यते । - पृ. ३२. Mammata briefly comments : अत्र जयतीति न तु शोभते इत्यादि । समानेऽपि हि स्थगनव्यापारे लोकोत्तरेणैव व्यापारेणास्य पिधानमिति तदेवोत्कृष्टम् । - पृ. १६९.
31. Read against the first line (p. 174). The suggestion here lies in the genitive ending
in 'नागरिकाणाम्' (of city-women). The use of the expression 'नागरिकाणां पतीन् । (husbands of city-women) instead of city-men suggests the extreme cleverness , of the speaker, who is able to captivate the hearts not of the ordinary "city-men' - citizens - but those men of the city who have acquired considerable cleverness by their connection with the very clever city-women'.
32. Read : ---- गुणग्रहणादीनां प्रेमहेतूनां बहुविधत्वेऽपि (नानाप्रकारत्वेऽपि) कार्यं प्रेमैकजातीयमेव न
कदाचिदन्यथाभावं प्राप्तमिति बहवचनैकवचनाभ्यां व्यज्यते। तेन च विप्रलम्भोत्कर्षो व्यङ्ग्य इति प्रदीपादौ स्पष्टम्। -बालबोधिनी, पृ. १७६.
33. This gāthā is already dealt with; vide DHV S.No. (50.16) supra. The context
is the same in both the texts. Mammața thus comments on it : 3711974: किमुपभोगलक्षणेऽर्थान्तरे संक्रमित: किमनुरणनन्यायेनोपभोगे एव व्यङ्ग्ये व्यञ्जक: इति संदेहः। - पृ. १८७-१८८.
34. This gatha is already dealt with; vide DHVS.No. (30.12) supra. Read the extract
from Locana quoted in the Notes on DHV S.No. (30.12) supra.
35. This gatha is already dealt with; vide DHV S.No. (5.7) supra. Mammata cites
this gātha to show how the expressed and the suggested meanings differ in point of the person addressed. Read the extract from Locana quoted in the Notes

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on DHV S.No. (5.7).
36. This gātha is already dealt with; vide DHV S.No. (2.6) supra.
37. Mammata comments on this gatha : --- अत्र हि हरिपदेन दक्षिणनयनस्य सूर्यात्मकता व्यज्यते
(हरेर्दक्षिणवामनयनयो: सूर्यचन्द्रात्मकत्वेन पुराणादिषु प्रसिद्धत्वादिति भावः।) तन्निमीलनेन सूर्यास्तमय:, तेन पद्मस्य सङ्कोच:, ततो ब्रह्मण: स्थगनम्, तत्र सति गोप्याङ्गस्यादर्शनेन अनिर्यन्त्रणं निधुवनविलसितमिति । -पृ. २५१.
38. This gātha is already dealt with; vide DHV S.No. (1.6) supra.
39. Mammata cites this gāthā to illustrate the defect 'a-sravyatva' (= unpleasant to
the ear or unmelodious). Jam pariharius tīrai --- In this gāthā the close proximity of the second and third ganas called 'sagana' and 'bhagana' is unmelodious (as has been declared by standard writers on Metrics).
40. This stanza is already dealt with; vide SK S.No. (369.414) supra. Mammata
cites this stanza to illustrate 'अधम-प्रकृत्युक्तिषु ग्राम्यो गुण:।' यथा - फुल्लुक्करं --- He then remarks : अत्र कलम-भक्त-महिषी-दधिशब्दा ग्राम्या अपि विदूषकोक्तौ। पृ. ४२५-४२६.
41. This gātha is already dealt with; vide DHV S.No. (14.8) supra. Mammata cites
this gatha to illustrate 'अर्थान्तरसंक्रमितवाच्ये ध्वनौ कथितपदस्य गुणत्वम् . Note : "द्वितीयकमलपदं विकाश-सौरभ-सौन्दर्यादिमत्कमलपरम् ।"
42.
This gātha is already dealt with; vide DHV. Locana S.No. (39.13) supra. Mammata cites this gatha to illustrate गर्भितं तथैव (क्वचिद् गुण: दृढप्रत्ययहेतुत्वात् ।). In the gatha under consideration, the expression पत्तिहि (or पत्तिअ) = प्रतीहि 'believe me' – this parenthetical clause – is inserted for the purpose of emphasizing the assertion. Mammata thus comments on it : अत्र सकलपरिहारवनगमने शान्तानुभावौ । इन्धनाद्यानयनव्याजेनोपभोगार्थ वनगमनं चेत् न दोषः। - पृ. ४३९.
43. In this gāthă there have been introduced two anubhāvas (consequents) : 'losing
of interest in all work' and 'departing to the forest'. These help in the creation or development of śānta-rasa. There would be nothing wrong if these were to indicate that the desire to proceed to the forest was for the purpose of meeting her lover under the pretext of fetching fuel and such things.

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44. Mammata cites this stanza to illustrate that the sabdālamkāra (tavarāgānuprāsaḥ
in this case) - Alliteration- adorns only the words and not the sentiment of
Vipralambha-srigara, love in separation, depicted in the stanza; letters belonging to ta-group are admittedly detrimental to the development of the sentiment of love in union or in separation.
45. This stanza is drawn from Anandavardhana's Devi Sataka to illustrate
Bhasa-slesa-coalescence of the two languages - Sanskrit and Prakrit.
46. Mammata cites this gatha as an example of (Vakyaga Arthi Upamāna-lupta)
Upama. In this gatha 'Sarasa-kavya' is the upameya; सकल-करण --- वितरणम् represents the common property, सदृश is the उपमाप्रतिपादक word and उपमान is not mentioned.
47. This gatha is already dealt with; vide DHV Locana S.No. (28.11) supra.
48. Mammata cites this gathā as an example of एकदेशविवर्ति रूपक. It arises when some
of the upamānas are directly mentioned and some are to be understood from the power of words. Mammata comments on this gatha as follows : अत्र रणस्यान्त:पुरत्वमारोप्यमाणं शब्दोपात्तम् । मण्डलाग्रलताया: नायिकात्वं रिपुसेनायाश्च प्रतिनायिकात्वम् अर्थसामर्थ्यादवसीयते इति एकदेशे विशेषेण वर्तनादेकदेशविवर्ति । पृ. ५९७. ,
49. Mammata cites this gatha as an example of समासोक्ति. According to Sudhāsāgara,
the context of this gatha is : समरपतितं स्वामिनमवेक्ष्य वीरपल्या इयमुक्तिः। अत्र केवलं विशेष्यवाचिनो जयलक्ष्मीशब्दस्य कान्तावाचकत्वं (अप्रकृत-कान्ताबोधकत्वं) नास्ति तस्य जयलक्ष्मीमात्रबोधनसामर्थ्यात् विशेषणानां तु 'लहिऊण' - इत्यादि पदानामुभयगतबाहु स्पर्शप्राप्त्यादिबोधकत्वमस्त्येवेति समासोक्तिरलङ्कार
इत्यर्थः। बालबोधिनी पृ. ६१३. 50. This gātha is already dealt with; vide ŚP S.No. (41.50) supra. Mammața cites
it as an example of the figure 3ifterulf (Hyperbole)-statement of difference, where there is none in reality.
51. Mammata cites this gatha as an example of the figure दीपक (Illuminator), to be
precise, of क्रियादीपक. Read : अत्र वर्णनीयत्वेन प्रकृतानां कुलवधूस्तनानां तदुपमानत्वेनाप्रकृतानां कृपणधनादीनां च स्पर्शन-क्रिया-रूप-साधारण-धर्मस्य सकदुपादानमिति क्रियादीपकालंकारोऽयम्।- बालबोधिनी, पृ. ६४०.

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565 52. This gatha is already dealt with; vide SP S.No. (1535.320) supra. Mammata
cites this gatha here as an example of the figure आक्षेप, to be precise, of वक्ष्यमाणविषय आक्षेप. Read : अत्र विरहदुर्दशातिशयो वक्ष्यमाणो वकुमशक्यतया निषिद्ध इत्याक्षेपालंकारः। - उदाहरणचन्द्रिका (as cited in बालबोधिनी, पृ. ६५५).
53. Mammața cites this stanza (from Karpūramañjari) as an example of holes. Read
: "सहोतौ द्वयोरपि प्रकृतयोरप्रकृतयोर्वा ग्रहणात् काल्पनिकमौपम्यम्। तत्र तृतीयान्तस्य गुणभावाऽपमानत्वं शेषस्य प्राधान्यादुपमेयत्वम्" इति माणिक्यचन्द्रः। "अत्र श्वासदण्डादिषु प्रथमान्तेषु दीर्घत्वादीनामन्वय: साक्षादेव शाब्द:
दिवसनिशादिषु तु तृतीयान्तेषु सहशब्दार्थान्वयबलादार्थ इति सहोक्तिरलंकारः। - बालबोधिनी, पृ. ६७३. . 54. This gāthā is already dealt with; vide DHV S.No. (23.10) supra. If
Anandavardhana cites it as an example of 34HTET, Mammața cites it as an example of the figure पर्याय. Read : अत्र एकस्य हृदयस्य विष्णौ प्रियाणां बिम्बाधरे चेति अनेकत्र स्थितौ कुसुमबाणेन इति प्रयोजकनिर्देश: कृतः। अत: (एकमनेकस्मिन्) 'क्रियते' इत्यस्योदाहरणमिदम्। - बालबोधिनी, पृ..६९३. This interpretation given by Jhalakikar is based on the reading 'श्रीसहोदररत्नाभरणे' (श्रीसहोदर-रत्नम् अर्थात् कौस्तुभम् आभरणं यस्य तस्मिन् विष्णौ।). Abhinavagupta's interrretation is based on the reading 'श्रीसहोदररत्नाहरणे. (Vide Locana, p. 265). This interpretation is certainly preferable.
55. Mammata cites this gātha as an example of the figure 3Pula (Reciprocal). Read:
प्रकृते शोभाविशेषविशिष्टान् हंसान् प्रति सरसां कारणत्वम्, शोभाविशेषविशिष्टसरांसि प्रति हंसानां कारणत्वं परस्परशोभाजननद्वारेणैव । परस्परक्रियया परस्परम् उपकारजननज्ञानकृतोऽत्र चमत्कारः। - उद्योत, पृ. १६, (S. S. Sukthankar edn.).
56. This gāthā is already dealt with; vide DHV S.No. (36.13) supra. Mammaţa cites
it as an example of the figure JTR (Reply) where a question is inferred from an answer, and comments on it thus : हस्तिदन्त-व्याघ्र-कृत्तीनामहमर्थी ता: मूल्येन प्रयच्छति क्रेतुर्वचनम् अमुना वाक्येन समुन्नीयते । - काव्यप्रकाश, पृ. ७०९.
57. This gātha illustrates the figure Uttara (II) which occurs when there being many
questions, there are many answers which are impossible - which do not ordinarily occur to one. In this gåth, there are four questions and four 'impossible' answers. Hence it is an example of the figure Uttara (II). Jhalkikar (p. 710) reads लद्धं ( लब्धम्), Kane (SD p. 55) लद्धव्वं, GS(W) (V. No. 975) दुल्लभं; Gajendragadkar (p. 106) and Sukthankar (p. 168) read दुल्लहं - this reading violates however the metre. Prof. Arjunwadkar (p. 112, also p. 722 f.n.1) reads दुलहं

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- which suits the metre all right.
58. This gāthā illustrates the figure Asangati (Disconnection, Non-connection or
Incongruity) Read : अत्र वध्वाः कपोले स्वामिकृतदन्तक्षतादि: सपत्नीनामतीव केशदायक: इत्यर्थविशेषप्रतिपत्तये वेदना-दन्तक्षतयो: कार्यकारणयोर्भिन्नदेशताभिधानामिति वैयधिकरण्यरूपासंगतिरलंकारः।
-बालबोधिनी, पृ. ७१५.'
59. This gatha illustrates the figure Smarana (Reminiscence).
Read : अत्र शङ्खसदृशे स्तने दृष्ट जन्मान्तरेऽनुभूतस्य पाञ्चजन्यस्य स्मृतिरिति स्मरणालंकारोऽयम्।
– बालबोधिनी, पृ. ७३३.
60. This gāthā illustrates the figure Pratīpa (II), which occurs when things that are
standards of comparison are declared to be useless.
Read : अत्रोपमानत्वेन लोकप्रसिद्धस्य चन्द्रस्य तिरस्कारार्थमुपमेयत्वकल्पनमपरं प्रतीपम्। – बालबोधिनी, पृ. ७३६.
61. Mammata gives this gāthā as an example of the figure Visesa (II) - this variety
we have when one object is spoken of as being present in many places (simultaneously) : Balabodhini (p. 742) gives the context : सपत्नीसक्तं कान्तं प्रति तत्पल्या उक्तिरियम् । and remarks at the end of his exposition : अत्रैकस्याः सपत्नीरूपकामिन्या: एकरूपेण युगपदनेकत्र (हृदयादौ) स्थितिवर्णनादपरो विशेषालंकारः । .
62. Mammata gives this gatha as an example of the figure Atadguna (Non-Borrower).
The second half of this gāthā contains the figure A-tadguna. Although the hero who is eam is enthroned in the heart of the speaker, which is Pot (red or glowing with ardent love), he does not himself assume tha (redness or love for the speaker). Mammata observes : अत्रातिरक्तेनापि मनसा संयुक्तो न रक्ततामुपगत इत्यतद्गुण:। - पृ. ७४७.
63. This gāthā (describing a village wench who is extremely beautiful, who steals
the hearts of youths and whom nobody can control) is cited as an example of शब्दार्थालंकारयोः संसृष्टि: Read : अत्र पूर्वार्धे ‘णत्थि, एत्थ' इति तकार-थकात्मकस्यानेकव्यञ्जनस्य सकृत्साम्यमिति छेकानुप्रासः शब्दालंकारः। उत्तरार्धे हृदयलण्ठाकीम इति रूपकमर्थालंकारः। तयोश्च परस्परनिरपेक्षयोर्योगात् संसृष्टिरलंकारोऽयम्। - बालबोधिनी, पृ. ७५३
The expression H6H6C is variously interpreted. Jhalakikar renders it into Sanskrit

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as 'महमहायमान-लावण्याम्' and paraphrases it as 'उत्सवोत्सवायमानलावण्याम'. He further adds, केचित्तु 'महमहल्लावण्याम् इति संस्कृतं पठित्वा 'नवनवीभवल्लावण्याम् इत्यर्थमाहुः। - पृ. ७५३.
Hemacandra lays down in his Prakrit grammar : प्रसरे: पयल्ल-उव्वेल्लौ। ८।४।७७. महमहो गन्धे । ८४७८.
प्रसरतेर्गन्धविषये महमह इत्यादेशो वा भवति । महमहइ मालई । मालईगंधी पसरइ । गन्ध इति किम् । पसरइ। From this gloss it would seem that we are not justified in using it with reference to 'लावण्यम्'. Prof. K. S. Arjunwadkar however holds that metaphorically it can be used with reference to लावण्य (p. 833 f.n.1). The Prakrit word मघमघ or महमह seems to be onomatopoeic and seems to be akin to Marathi 'घमघमणे.
64. The fourth quarter is emended as 'सरसअ-वाणीओ जलणिही ण कओं in accordance with
Prof. S. K. Arjunwadkar's suggestion (vide p. 846). Mammata cites this gatha as an example of समासोक्त्यप्रस्तुतप्रशंसयोः संदेहसंकरः। Read : अत्र समुद्र प्रस्तुते विशेषणसाम्यादप्रस्तुतार्थप्रतीते: किमसौ समासोक्तिः किम् अब्धेरप्रस्तुतस्य मुखेन कस्यापि तत्समगुणतया प्रस्तुतस्य प्रतीते: इयमप्रस्तुतप्रशंसा इति संदेहः। - पृ. ७६०. .
This stanza is later quoted by Narendraprabhasūti in his Alamkāramahodadhi and by Sobhākara in his Alamkararatnākara.

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* 1. This gātha contains the figure Akşepa. May be, Vimarsini has cited it from
A'Ratnākara (p. 86). Vide A'Ratnākara S.No. (44.554) infra.
2. Vimarsinī cites this găthă as an example of the figure Vyājastuti. GRK (V.
No. 141) cites this găthă under the Section Kusvāmi-prakramah'.
* 3. Vimarsini cites this gāthā as an example of the figure Dīpaka. The alamkārikas,
who preceded Anandavardhana, hold that in the case of figures like Rūpaka, Dīpaka, Apahnuti, Tulyayogitā, etc., figures like Upamā, Upameyopamā, etc., heighten the beauty of the expressed or denoted sense (vācyārtha). According to Vimarsini, in the gāthā under consideration 'grown-up women are the praksta (= upameya), 'reciting of Prakrit verses' and 'stringing together of kubja flowers' are the apraksta (upamāna). These upmānas are introduced by the poet with a view to adding or heightening the beauty of the vacyārtha (expressed sense). Not many men know how to enjoy bold and grown-up women who are no longer bashful or timid in the presence of their lord. The poet of this gāthā deserves all praise for his very striking and out of the run Upamă (of course, a veiled or suggested one).
It may be noted that we have a similar găthā included in GRK under the Section called Kávyaprašaṁsā :
पाइयकव्वं पढिउं गुंफेउं तह य कुज्जयपसूणं ।
कुवियं च पसाहेउं [? पसाएउं] अज्ज वि बहवे न याणंति ॥२१।।
The compiler, Jinsévara Sūrievidently regards Prakrit kāvya-pātha as the Prakrta (= upameya) as against Vimarsinīkāra's ‘praudha-mahila-ramaņa.
* 4. This gāthā is already dealt with; vide KP S.No. (19.422) supra. Vimarsini cites
it here to illustrate the point that the expressed (or denoted) sense is heightened by the (suggested figure) Utpreksä.

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* 5. This gātha is already dealt with; vide DHV S.No. (15.9) supra. Kuntaka cites
this gathā as an example of upacara-vakratā 'beauty of metaphorical expression'. Vimarsini when commenting on A 'Sarvasva's observation : "343rdshirent: at af94371: :" cites this example.
6. This gātha is already dealt with; vide KP S.No. (12.420) supra. The găthă illustrates '372fefnis argua:' : "3751FREUT #
H a tsutila argudi" - (Partit g. 90). Cf. KP (p. 136): 37 H uatu sfat agar arg arudi
• 7. This gāthā is already dealt with; vide KP S.No. (11.420) supra. Vimarsini
introduces it with the remark : 'स(वस्तुध्वनि:) एवोभयशक्तिमूलो यथा-' and concludes with the remark: 35 UEJTHITHRA R a ilforum STRU STERFATTEHUud Feyzeteisentralt i - q. 96.
8. This gathā is already dealt with; vide DHV S.No. (23.10) supra. Vimarsini introduces it with the remark : स एवार्थशक्तिमूलो यथा- and concludes 'अत्र कौस्तभ-बिम्बाधरयो: केवलयैवार्थशक्त्यौपम्यं गम्यत इत्यर्थशक्तिमूलोऽलंकारध्वनिः। - पृ. १८.
* 9. Vimarsini cites this gåtha as an example of Jhugh-IISICREAR: and comments
on it thus : 3ATHARTECUT Page Rag'rurturi TRIUI - . 9c.
10. Ruyyaka speaks of two varieties of grocyten: (1) 2014
(2) स्वरव्यञ्जनसमुदायपौनरुक्त्यम्; and adds : केवलस्वैरपौनरुक्त्यम् being devoid of strikingness or beauty is not taken note of as a third variety. Vimarsini cites this verse to illustrate Ruyyaka's assertion that there is no charm in odraet . In this verse there is no doubt repetition of the vowel '5' but as it is devoid of camatkāra (cărutva, vaicitrya vicchitti) it cannot be given the status of an alaskāra.
11. Ruyyaka defines Yamaka and declares that it is of three kinds. He however
illustrates only one variety and it is Vimarsini which provides examples of the other two varieties. The verse under consideration illustrates the variety : 'Tafacchine dhe rrahy. Neither the N. S. edition nor the Chaukhamba edn. gives its Sanskrit chāyā. This verse is not, as far as my knowledge goes, quoted elsewhere. In Vajjālaggaṁ (S.No. 639) we have the following găthă included under the Section or Topic of Vasanta (Spring):

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होसइ किल साहारो साहारे अंगणाम्मि वड्ढ़ते । पत्ते वसंतमासे वसंतमासाइ सोसेइ ।।
M. V. Patwardhan says in his Notes : साहारो = साधार: (आधारेण सह वर्तत इति साधारः, आधारदायकः, उपकारक:), useful, serviceable; or it may be regarded as a भावप्रधाननिर्देश: साधार: साधारत्वम् = आधार: or उपकार: help, service, use.cf.Hindi सहारा. साहारे - सहकारे --- Tentatively, we may give its Sanskrit chāyā as follows :
सा हारं संहारं सहकारं जानाति सज्जसाहारं (7)। संत्राणं सताम् (अथवा श्रान्तानां) सन्तानं मोहसन्तानम् ॥
12. This gāthā is already dealt with; vide DHV S.No. (14.8) supra. Ruyyaka however
cites it here as an example of लाटानुप्रास.
13. In the course of his comments on the figure Upama. Vimarsini observes : ---इयं
च सादृश्यदाढाथ कविप्रतिभाकल्पिते साधर्म्य कल्पिता भवति । तच क्वचिदुमेयगतत्वेन क्वचिदुपमानेनापि कल्पितमिति दिधात्वमस्या:| After citing this gatha as an example of कल्पितोपमा Vimarsini remarks : अत्रोपमेयस्य षट्पदाच्छादित्वं कल्पितम् । - पृ. ३७.
* 14. This gatha is already dealt with; vide SP (Vol. III) S. No. (667.174) supra.
Vimarsinī cites this gāthā in the course of its discussion of the figure Ananvaya pointedly to bring to our notice that it is not to be regarded as an example of Ananvaya (as held by a later alaṁkārika, Sobhākara, the author of Alamkāra-ratnākara) for it is stated that her left side resembles only her right side.
* 15. This Skandhaka from Setu (IV.6) describes the Vānara, Kumuda by name.
“There is a pun on the name Kumuda meaning a night lotus which blooms in the moonlight'. This skandhaka illustrates Samasta-vastu-visaya Rūpaka.
• 16. This Skandhaka from Setu (II.35) contains the figure Rupaka : Mandara
mountain - cloud, the moon - the swan, emeralds - moss — these pairs give the respective identifications.
* 17. This gāthă contains the figure Bhrāntimān. The rays of the moon blended with
the rays of sapphires in their necklace are mistaken for sparkling tears (of the

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sulking ladies) mixed with collyrium in their eyes.
In the above gătha the sādhārana-dharma, the cause of sadrśya that leads to bhrānti (error) is of the nature of bimba-pratibimbabhāva.
18. This gāthā is already dealt with; vide ŚP S.No. (684.176) supra. Ruyyaka cites
it here as an example of the figure Ullekha (Representation). Here Lord Krsna is apprehended as God Nārāyana by grown-up ladies, as the consort of Sri (= Lakşmī) by young women and out of curiosity just like that by young girls. Incidentally, it may be noted that Mammata does not treat of this figure, whereas Viśvanātha does.
* 19. Vimarsini cites this gāthā as an example of Svarūpotpreksā, and thus comments
on it : 37 Ceiriad UC-14-bergila Arif Qulluisur Fautefaci तदौन्मुरव्योत्पादकत्वादि च निमित्तमनुपात्तम् । - पृ. ७५.
20. This gātha is already dealt with; vide KP S.No. (19.422) and A’Sarvasva S.No. . (* 4.437) supra. Ruyyaka cites it here as an example of the figure
Pratīyamānotprekşā. He thus comments : '31413ia' FUATA
CUIEDOTTICA I - . 6E.
Incidentally, it may be noted that Mammața thus comments on it : 377 Arachu 'तनोस्तनूकरणेऽपि तव हृदये न वर्तते इति विशेषोक्तिः। - प्र. १४६:
* 21. Vimarsini cites this gātha as an example of Phalotpreksā; it thus comments
: 37 stafara lica I HARUCHT - a woman singer of auspicious songs on the occasion of the wedding ceremony. (na) Hnt; Muvia, pres pass. part. of (Sk. *) to sing; staE34T5 = uforgquar: 'of the maiden soon to be married'; QR-T-CT-chuifel: of (the bride) who was attentively listening to the name (gotra) of the bridegroom mentioned in the song. Read : R-HMISI Sci 14 sta Rifa: 497414, 9. - 268; 7hb Arifa:- horripilation manifested itself (on the bride's body); sifa - as if to hear (the bridegroom's name). Romañca is one of the eight sättvika-bhāvas.
22. The Man-lion's mane (ERT-GT) with its mass of reddish hair (DCR-CYR) is
fancied to be a heap of lightning-flashes, now left without support - as the

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clouds are shattered by the fury of His (Man-lion's) roar.
Vimarsini cites this gatha as an example of Dharmotpreksa: अत्र कन्धराबन्ध-धर्मिणि सकेसरत्वं निगीर्य सतडित-कटप्रत्वमुत्प्रेक्षितम् । कडारत्वं च निमित्तमुपात्तम् । निगीर्यमाणश्च धर्मो धर्मिगतत्वेनोपात्तः। - पृ. ८०.
23. This gatha is already dealt with; vide VIS.No. (1.19) and KPS.No. (50.431).
Ruyyaka introduces it with the remark 'अभेदे भेदो यथा - ', and comments on it thus : अत्र लडहत्वादीनामभेदेऽप्यन्यत्वेन भेदः। - पृ. ८५.
24. Read the first half of this gatha as follows :
ममिगअ-लद्धे बलमोडि-चुंबिए अप्पणेण उवणीदे । (मार्गितलब्धे बलात्कारेण (बलादामोट्य) चुम्बिते आत्मनोपनीते ।)
In the second half of its chāyā read fuersatsaut. Ruyyaka thus comments on it : अत्राभिन्नस्यापि प्रियाधररसस्य विषयविभागेन भेदेनोपनिबन्धः।
* 25. This verse is pretty corrupt. Tentatively, it may be reconstructd as follows ::
एअं तं सअवत्तं संकोअअरं मिअंक-कंतीए । सहस्सपत्तं अरइंदं कारणं भवइ सुरस्स ॥ [एतत् तत् शतपत्रं संकोचकरं मृगाङ्गकान्ते:। सहस्रपत्रम् अरविन्दं कारणं भवति सूर्यस्य ।।] Note : The long vowel in his shortened for the sake of metre. The găthă may be translated as follows :It is the moon-lotus with hundred petals that closes or shuts the moonlight; and it is the sun-lotus with a thousand petals that closes or shuts the thousand-rayed Sun.
*26. Ruyyaka's fifth variety of Atisayokti is based on the inversion of the sequence
of cause and effect (कार्यकारणपौर्वापर्यविध्वंस:). The inversion of the sequence of cause and effect may occur in two ways : (i) the effect may be supposed to precede the cause, or (ü) it may be supposed to take place simultaneously with the cause. Vimarsini cites this gatha with the introductory remark : 'तस्यैव सहभावो . यथा - ' and he thus comments on the gatha : अत्र परिजनादीनामपसरणे क्रमिकत्वेऽपि समकालत्वमध्यवसितम् । - पृ. ८७.
Incidentally, it may be noted that the reading मसणं (Sk. मसृणम्) is doubtful.

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27. Ruyyaka says that the figure Dīpaka has three varieties according as the single
dharma (whether guna - quality or), kriya-action, is mentioned in the beginning, middle or end. The gāthī under consideration illustrates Adi-Dīpaka as the verb (kriyā) rehai' (Sk. 'rājate') is mentioned in the beginning of the verse (and is also connected with the upamānas viz. PERUT 7*:', 'H OT, 'PRO 40-74 and 37 gaitera:').
* 28. Vimarsinī cites this gāthā as an example of Madhya Dīpaka. The verb volei
(Sk. gacchati) is mentioned only once in the middle.
29. This gātha is already dealt with, vide KP S.No. (51.431) supra. In KP this gātha
is cited to illustrate the figure Dīpaka as such. Here it is cited as an example of Anta-Dipaka, one of th three kinds of Dipaka, where the action (kriya) represented by 'sprşyante' is mentioned only once and that too in the end.
*30.
Vimarsini says that the figure Dipaka occurs also as based on bimba-pratibimba-bhāva and also as based on śuddha-sāmãnya-rūpatva. The gåthå under examination is cited to illustrate Dipaka, based on this śuddha-sāmānya-rupatva (vastuprativastubhāva). The “răjitatva' and 'sobhitatva' - these two different words are here used to express one and the same common property (of resplendence) connected with two different entities, bhujanganātha (= Sesa) and the Lord's bhujadanda
* 31. Vimarsins cites this gātha as an example of Nidarśanā. Šobhākara cites it in
his A'Ratnākara (p. 14, v. 41) as an illustration of a new alamkāra, called Pratimā. Jayaratha (the author of Vimarsini) does not accept this new figure.
32. Dr. H. C. Bhayani would like to emend the text विग्गुच्छाअइ अप्पा to जुग्गुच्छाअसि अप्पं
(जुगुप्सां प्रापयसि आत्मानम्). He would further like to read णालिअ छेआ and understand णालिअ as Vocative sing. हे मूढ (Hemacandra 8.4.422) Prof. M. V. Patwardhan's observations on this gātha are as follows :"विग्गुच्छाअइ is obscure. It can perhaps be equated with विगुप्यते (but the change of a to zoo is puzzling) (yat means to be decevied', see H. VII. 4.150). Jayaratha and Samudrabandha equate विगुच्छाअइ with विडम्ब्यते (but the commentater Paellagafari is silent (see Delhi edn. of Alamkara-sarvasva, 1965, p. 95).

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Jacobi has omitted this stanza in his German translation of Almkāra-sarvasva (ZDMG, Vol. 57, 1903, p. 330), as he thought it to be too corrupt to allow him to venture a translation. The stanza in question is an example of Nidarśanā. I think the idea is as follows : Trying to deceive shrewd and wise people is as difficult as the balancing feat described in the first half. The word of 37 is obscure. The Chāyā in the N. S. edition (p. 100, foot-note 4), renders f-137 by ad. I do not find it in Buhler's Index of words in the Deśīnāmamālā. Hemacandra (Prakrit grammar 8.4.422) gives unf.137 the sense of C = foolish, ignorant. But this sense is not applicable in the present stanza."
* 33. Read in the second half of the Sanskrit chāyā in Vol. I 95647. Vimarsini
cites this as an example of Nidarśanā based on bimba-pratibimba-bhāva. ·
* 34. Vimarsini cites this găthā as an example of Sahokti based on śuddha-sāmānya
rūpatva (= vastuprativastubhāva). 37 PRH ERHALT: QERATHI54604
As the găthă stands, its first half is metrically defective.
*
35.
Vimarsini cites this gāthā as an example of Sahokti based on bimba-pratibimba-bhāva. Vimarsinīkāra thus comments on it : 3151 कनकाचलकटक-रेणु-विच्छरितत्वस्य परिमलभरोद्भटत्वं बिम्बप्रतिबिम्बत्वेन निर्दिष्टम् । - पृ. १०५.
• 36. Vimarsins cites this gāthā as an example of the figure Vinokti.
37. This gāthī uses the following words with two meanings each, one applicable
to Palāśa flowers and the other to demons: TARIT.(i) Palāśa flowers (ii) demons, given to eating raw flesh (967 raw flesh + 397 eater); cichle (i) resting on or growing on the branches (ii) residing in get, the capital of Rāvana; arian AGART (i) which make their appearance in the spring-month (or season) (i) who go out in search of fat, entrails and flesh; 3110 RISUT (i) yellowish-red (ii) blood-drinking. Ofte (Sk. 2 to be afraid of, to dread). Vimarsini thus comments on this gāthā : 377 T ITIAfa faster PRECCHI UCRURITE Tuftea TAUHIC urgada PTTURITYSahi
- 927. Bhuvanapāla in his comments on this găthā says : STEGET TURUTYURUGUt eafre FRUCHHEITSTG:1 - (9.993 'IT. . 240).

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* 38. This gāthā is already dealt with; vide A 'Ratnakara S.No. (7.437) and KP S.No.
(11.420) supra.
39. This gātha is already dealt with; vide VJ S.No. (12.22) supra. Both Kuntaka and
Ruyyaka cite this gāthā as an example of the figure Aprastuta-prašamsā. Kuntaka remarks: --- AIG EFt Taft HTATSHEFI facara falar ffyd i (.968); and Ruyyaka observes : 375 46tige fare urge arruiffah i- . 933.
* 40. Vimarsinī cites this gātha in the course of his commentary on Vyājastuti and
points out that this gātha falls within the sphere of suggestion (dhvani): - "Suit विश्रान्ते वाक्यार्थे वक्तृवाच्यौचित्यपर्यालोचना-बलान्निन्दाया: प्रतीतिरिति ध्वनिविषयत्वमेव युक्तम् ।
- 9. 987-983.
41. This gātha is an example of Uktaviśaya Aksepa where the vastu-svarūpa, the
character of a dūti (a go-between) is denied. The special meaning resulting from this denial is that she tells the truth although she happens to be a dūtī as dūtīs, generally speaking, don't bother about truth.
42. This gāthā is an example of Vaksyamāņavişaya Aksepa. The speaker, who is either
a friend or female messenger first declares her intention of speaking something on behalf of the nāyikā. Then she revokes her intention. So here we have Vakşyamaņa-vişaya Akşepa. The special meaning to be conveyed is: it is impossible to describe the great suffering of the näyikā.
* 43. This gātha was cited as an example of Ukta-vişaya Aksepa, by Sobhākara in
his 'A'Ratnākara (p. 84, S.No. 254). Vimarsinīkāra differs with Sobhākara and
opines -"इत्यत्र पुनरुक्तस्यालिगनस्य निषेधो विधौ तात्पर्याभावान्न निषेधाभासतामिया-दित्येतदुदाहरणं 71"
Sobhākara cites this gātha as an example of (Acintya-nimitta) Vibhāvanā (A 'Ratnakara, p. 94) which is suddhă (not based on Atiśayokti). It is Ruyyaka who asserts that Atiśayokti is at the root of this figure (Vibhāvanā). Vimarsini defends Ruyyaka and points out that Sobhākara is wrong in holding that the găthă contains Vibhāvanā. The gātha states merely a fact for love is in many cases based on some cause or the other, but in certain cases it springs without any cause and so the question of its containing any alamkāra does not arise.

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Prakrit Verses in Sanskrit Works on Poetics 45. This gatha provides an example of the figure Vişama (II) – where not only
is there no accomplishment of the desired object but some evil result follows or calamity occurs.
46. This gåtha is already dealt with; vide ŚP S.No. (743.186) supra. Here it is cited
as an example of the figure Vicitra, which is first defined by A'Sarvasva. The figure is so called "because it causes wonder. When, for the attainment of the
desired object, one does something contrary to it, there is the figure Vicitra. * 47. This gātha is an example of the figure Adhika : When of the support and
the supported (or the container and the contained) one is represented as vaster than the other, there is Adhika.
* 48. Vimarsins cites this gātha as an example of the figure Višeșa (III) : When
somebody, in bringing about one result, unexpectedly accomplishes something else also, which is impossible, “there is Višesa". - "3751 Dari Pori EROUN यावचिकीर्षाविरहेणासंभाव्यं तिमिरमपीति वस्त्वन्तरकरणात्मा विशेष:।" - पृ. १७३.
49. This gātha is cited as an example of the figure Vyāghāta by Sobhākara. He :
comments upon it as follows :
अत्र मदस्य विनाशकारणादपि विज्ञानादुत्पाद: वक्ष्यमाणाशक्यालङ्काराङ्गतयोपनिबद्धः। - पृ. ११३.
After citing this gāthă under the figure Aśakya he remarks : 375 fa-TSTORUNIC POSTufe Healcfa: chip para sa Paruri12ZHI Q. 994. Vimarsinīkāra disagrees with Sobhākara and expresses the view that it is not a case of the figure Vyāghāta but the figure "Vitarka", defined by Alamkārabhāṣyakāra.
* 50. According to Ruyyaka, when each preceding object is spoken of as the cause
of each succeeding one, the figure Kāraṇamālā arises. Jayaratha in his Vimarsini (p. 177) maintains that this figure occurs also when each succeeding object is the cause of each preceding one. Most probably he is indebted to Sobhākara for this view. Vide A 'Ratnākara (p. 168, 11 1-8: auktor RUTECH URIT - "Anunt yule --- 3 gora ARTTIRIR BRUTALMATIGT 1). It goes without saying that Kārana-śrrikhala (which is definitely very appropriate and significant) is the same as Karanamālā of the earlier writers on poetics.

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• 51. This gathā is already dealt with; vide ŚP S.No. (1323.285) and SK S.No.
(278.396) supra. Sobhākara cites this gāthā as an example of the figure Hetu. In the course of his discussion of the figure Kāvyalinga, Vimarsinīkāra cites this gātha. A careful glance at the whole discussion would show that Jayaratha does not admit Kävyalinga as a separate, independent figure but includes it under the figure Anumāna.
52. Sobhākara cites this gāthā as an example of the figure Samādhi. Jayaratha in
the course of his commentary on the figure Samuccaya reproduces it and asserts that it is a case of the figure Samuccaya itself. " MIRET ---" — FRUIT
MERU T --- 315 CET 7 HIT:1 Ç. 203.
53. This gātha is already dealt with; vide KP S.No. (60.434) supra. Like Mammata
Ruyyaka too cites it as an example of the figure Pratīpa (I) (The Converse) : When things that are well-known as standards of comparison are themselves turned into objects of comparison, it is termed Pratīpa.
* 54. Sobhākara cites this gathă as an example of the figure Pratīpa (A'Ratnakara,
p. 30, v. no. 101). Jayaratha disagrees with him. As the two kinds of Pratīpa are based on. aupamya (resemblance, similarity), the găthă under consideration, cannot be said to be an example of Pratīpa : Tahir RUT नैतदलङ्कारद्वयं भवतीत्यवगन्तव्यम् । तेन "णिद्द चिअ ---" - इत्यत्रापि प्रतीपालङ्कारत्वं न वाच्यम् । अत्र हि देवतान्तराणां तथा सामर्थ्यादर्शनात् तदाक्षेपेण स्वप्नकाले प्रियोपलब्धिदायिन्या निद्राया विरहिणीकर्तृकं वास्तवमेव वन्द्यत्वम् । वस्तु च नालङ्कार इति निर्विवाद:। पृ. - २०८.
55. This găthă is already dealt with; vide KP S.No. (62.434) supra. Both Mammata
and Ruyyaka cite it as an example of the figure Atadguņa (Non-Borrower).
56. Visvanātha reads the latter part of the first half as 'pos ng pun juml' (Pas
JETETA JUG 1), and in the second half : Pes gausi un 37 (Par gulai at
19:11) Like Mammaţa, Ruyyaka, Viśvanātha, etc. cite this gātha as an example of the figure Uttara (Reply).

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578
Prakrit Verses in Sanskrit Works on Poetics
Chapter X Prakrit Verses in Sahityamīmāṁsā*
The Sahitya-Mimāṁsā reproduces extensively from Bhoja's Sīgāraprakāśa. Out of a total of 120 verses over 80 are common to ŚP and SM; and a few are common to SK, DHV, etc., and SM. With a view to economising space and saving labour these common verses are given below in the tabular form. The rest of them are then separately dealt with :
SM 4.449 5.449 6.449 7.450 8.450 9.450 10.450 11.450 12.451 13.451 14.451 15.451 16.451 17.452 19.452 20.452 21.452 22.453 23.453 24.453
ŚP/SK/DHV
DHV 2.6 ŚP 49.52
DHV 4.7 DR.Avaloka ŚP 842.201 ŚP 347.115
ŚP 51.52 DHV 31.12
ŚP 53.53 VJ 22.24 DHV 5.7 ŚP 144.71 SK 80.355
ŚP 206.84 ŚP 1374.293 ŚP 1267.275
ŚP 413.127 ŚP 1608.332
2.226 ŚP 175.77
SM 26.453 27.453 28.454 30.454 31.454 32.454 33.455 34.455 35.455 36.455 38.455 39.455 40.456 43.456 44.456 45.457 46.457 47.457 48.457 50.458
ŚP/SK/DHV
ŚP 243.94 ŚP 1245.271
ŚP 190.81 ŚP 967.224 ŚP 1527.319
ŚP 6.44
ŚP 7.44 ŚP Add 3.1.44
SK 30.346 ŚP 106.62 ŚP 107.63 DHV 44.14 ŚP 194.82
ŚP 166.76 SK 164.372
ŚP 142.20 ŚP 347.115 ŚP 550.153 ŚP 118.67 ŚP 174.77
* The Sahitya-Mimāṁsă ed. by K. Sambaśiva Šāstrī, Trivandrum Sanskrit Series, No. CXIV, Trivandrum, 1934.

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SM 51.458 52.458 53.458 55.459 56.459 57.459 58.459 59.460 60.460 61.460 62.460 63.460-61 64.461 67.462 70.462 71.462 72.462 73.463 74.463 75.463 76.463 77.464 78.464 79.464 80.465 81.465 82.465 83.465 84.465 85.466 86.466 87.466
ŚP/SK/DHV
77.78 ŚP 178.78 ŚP 81.57 ŚP 44.51 ŚP 180.78 ŚP 1451.307 ŚP 985.226 ŚP 485.142
ŚP 26.47 ŚP 45.1;110.63
ŚP 151.72
ŚP 711.81 DHV 36.13 ŚP 504.144 ŚP 638.169 ŚP 459.137 ŚP 1516.317
ŚP 315.108 ŚP 1518.317 ŚP 1519.318 ŚP 1520.318 ŚP 399.125 ŚP 123.66
ŚP 31.454 ŚP 1528.319 SK 306.402 SK 307.402 ŚP 1498.314 ŚP 1499.314 ŚP 1500.314 ŚP 1501.314 SK 299.401
SM 88.466 89.466 90.467 91.467 92.467 93.467 94.468 95.468 96.468 97.468 98.468 99.469 100.469 101.469 103.469 104.470 105.470 106.470 107.470 108.471 109.471 111.472
579 ŚP/SK/DHV ŚP 1492.313 ŚP 1493.313 ŚP 1506.315 ŚP 1508.315 ŚP 1509.316
ŚP 832.200 ŚP 1503.315 ŚP 1504.315 ŚP 1505.315 ŚP 1510.316 ŚP 1523.318 ŚP 1524.319 SK 297.400 SK 295.400 ŚP 1495.313 ŚP 1496.313 ŚP 1497.314 ŚP 1514.317 SK 308.402
ŚP 660.172 ŚP 1609.332
DHV *7.71 ŚP 154.73 ŚP 811.196 ŚP 812.196 ŚP 813.197 ŚP 814.197 ŚP 815.197 ŚP 816.197 ŚP 817.197 ŚP 818.197 ŚP 746.187
112.472 113.472 114.472 115.473 116.473 117.473 118.473 119.474 120.474

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580
Prakrit Verses in Sanskrit Works on Poetics
1. This gātha is already dealt with; vide KP S.No. (3.418) supra. 3. This is cited from GS (IV. 92) P R31 = picant (p.p.p used as a noun, - picapr.
also written as far - the hissing sound ("sīt' or 'sit') supposed to indicate pleasure or pain; f0f3T (
ACT) - an. inarticulate sound or murmur said to be uttered (by women) during cohabitation; Rift37cm (= papura/Popula) - the tinkling sound of silver ornaments on (the ankles or) wrist; the tinkling of metallic ornaments caused by shaking of the hands (eneral); alset (= spuit) a young woman.
18. This is Setu XI. 55. Vide Extract from Sanskrit Commentary in Appendix I.
25. This gătha is corrupt and obscure. The second half may tentatively be
reconstructed as follows:
समप्पइ विरहो एंते वि पिए ण एंते वि ॥ (समाप्यते विरह: आयत्यपि प्रिये नायत्यपि )
29. (i) The Sanskrit chāyā of this verse is after P. L. Vaidya’s edn. (p. 695). In
it 'tanu' is rendered as 'tanvyäh' (of the fair one). Pandit B. J. Doshi's edn. renders 'tanu' as 'tanuh' qualifying radana-vranah'. Dr. H. C. Bhayani too renders 'tanu' as 'tanuḥ' qualifying fradana-vraṇaḥ'. (ii) This verse is corrupt and obscure.
37. This verse is corrupt and obscure.
41. This verse is corrupt and obscure.
42. This verse is corrupt and obscure.
46. Note : Read : Vide S.No. (9.450) supra" in Vol. I.
49. 37TH of course, certainly; 46c dense; quisi-Ticht line or cluster of trees, woods;
JECT (FR) chattering, garrulous; U - aquatic bird, a water-fowl; RIRE cool; tar - name of the Narmadā river (which rises in one of the Vindhya mountains, called Amrakūta or more commonly Amarakantak in Gondwan, and after a westerly course of about 800 miles falls into the sea below Broach. Tiferit: desft 3 TU: - some unique qualities of Narmadā. The unique qualities of the river Reva-Narmadă are possibly its depth, its holiness, transparence, clearness,

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limpidity, etc.
54. The second half of this verse is obscure. It may better be read as :
कलं मोणेण हिआ, अजं देवत्तणं पत्ता ।। It may be translated as follows: The day before today she spent in silence and today she attained to heaven (?). This interpretation, however, is doubtful.
65. Vide Extract from Sanskrit Commentary in Appendix I.
66. Vide Extract from Sanskrit Commentary in Appendix I. 68. The first half of this gātha is corrupt and obscure. 79. Note : Read : Vide S.No. (31.454) supra in Vol. I. 110. The passage is pretty corrupt and obscure. The poet describes young beautiful
women's gorgeshist - play or game with a ball. He depicts their lovely movements as they play with the ball. If we succeed in tracing the source of this passage and securing its original text, then only we could translate it correctly.
112. Read in the second half of the gatha - छुकारण-रसिs and in the chaya छूत्कार-रसितं
(in Vol. I).
114. Read : in the first half of the gatha HET ETUUTT STOUT and its Sanskrit chāyā in
the third line as Here TUT in Vol. I.
*
*
*

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Chapter XI Prakrit Verses in Vågbhatālamkāra
The vocabulary of Prakrit is mainly divided into three groups : (i) tatsama ('like Sanskrit') - Sanskrit words which are used in Prakrit without a phonetic change like kamala - a lotus, sāra - essence, parama - highest, etc. (ii) Tadbhava or Tajja (arising from Sanskrit) – Sanskrit words that undergo some phonetic modification like loya = Sk. loka - people, isi = Sk.rsi - a sage, cakka = Sk. cakra, etc. (iii) Desi or Desya - words which are of a different or other.(= other than Sanskrit) origin like addāya-a mirror, dālā - a branch, gose - morning, or verbs like reha - to shine, cada - to climb, etc.
Verse 1* illustrates tadbhava (= tajja) variety of Prakrit ( read : प्रकृते: संस्कृतादागतं प्राकृतम्
--- तस्मात्संस्कृताज्जायते स्म तज्जम् ।) --- अत्र संस्कृतशब्दा एव प्राकृतीभूता इति तज्जम् । - pp 14-15. Siddharāja is the famous king Jayasimha of medieval Gujarat.
Verse 2* illustrates desya variety of Prakrit :
अत्र सत्तावीसंजोअण-शब्दो देश्यश्चन्द्रार्थे, तस्य किरण-प्रसरो यावत् अद्यापि न भवति । पडिहत्थ-शब्दोऽपि देश्य: संपूर्णार्थ:। गहवइ-शब्दो देश्यश्चन्द्रार्थः। ततो हे संपूर्णमण्डलचन्द्रवदने तावत् त्वम् उद्यानं व्रजेति ।
Verse 3* illustrates Apabhramsa-bhasa :--- इह क्वचिदभूतोऽपि रेफो भवति । यथा - चारुद (?
चात्रग)---.
Verse 4* illustrates an exception (apavāda) to the pada-doșa, called anarthaka (the
useless, redundant) which includes, according to Vagbhata and his commentator, punarukta-dosa (repetition, redundancy, tautology). In the various cases enumerated in this verse, repetition ceases to be a blemish.
Verse 5* is cited to corroborate "प्रहेलिकायां स्वसंकेतप्रक्लप्तार्थमपि न दुष्टम् ।" --- अत्र रवितनयः
कर्णस्तच्छब्दवाच्यः। प्रहेलिका means 'a riddle, enigma or conundrum.' It is defined as : व्यक्तीकृत्य कमप्यर्थं स्वरूपार्थस्य गोपनात् ।
यत्र बाह्यान्तरावर्थो कथ्यते सा प्रहेलिका ।। It has a covert (hidden) meaning underlying the apparent or literal sense.

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आन्तर अर्थ is the subtle, covert or hidden meaning and बाह्य अर्थ is the apparent or obvious or literal meaning. It has two aspects — (i) the amusing or entertaining and (ii) the mystifying or puzzling.
Verse 6 is an example of the stefcior, called wild — better known as Fahialle. Verse 7 is an example of उपमा; 'शशिन इव' इति द्रव्योपमा । 'कुमुदं संकुचितम्' इति क्रियोपमा ।
Verse 8 is an example of अन्योन्योपमा. According to Jainism, anger, pride, deceit and
greed form the four 44s (passions).
Verse 9 is an example of भ्रान्तिमानलंकार. पसयच्छि-हे प्रसृताक्षि, प्रसृते विस्तीर्णे अक्षिणी यस्या: सा,
तथा तस्या आमन्त्रणे ।
. Verse 10 is an example of आक्षेपालंकार. ये कीर्ति नेच्छन्ति । ये च क्षणमपि करुणां नैव कुर्वन्ति । ते
मरणसमयेऽपि धनयक्षा इव धनं किं ददति ? अपि तु न ददति इति काकूक्तिः । There is a variant reading करुणाकणं in place of करुणं खणं. It yields better sense: 'कणो लेश:, तन्मात्रामपि करुणाम्।
Verse 11 is an example of हेतुरलंकार. कण्ठाo कण्ठाभ्यन्तरे घोलित: करुणत्वेनालपित: मधुरस्वरो यस्मिन्
तत्तथा ।
Verse 12 is also an example.of हेतुरलंकार. मृगाको विषसोदर: (विषं सोदरो भ्राता यस्य स विषसोदरः।
एकतोऽर्णवाज्जातत्वात्) | --- शिखरी वृक्षो जाति - (पा.भे. जात-)पलाश:। ---अत्र मरणस्य हेतुरमी । एको विषसोदरः, अन्यो यमाशानिवासी (मलयाचलवायु:)। अपरस्तु पलाश: पक्षे वृक्ष:।
Vägbhatālamkára has ten commentaries written on it. Four of them are so far published : one by Simhadevagani, another by Jinavardhanasuri, third by Jīvānanda Vidyāsāgara and fourth by Jñānapramodagani — this commentary is recently published by L. D. Institute of Indology, Ahmedabad - 9. It is edited by Prof. R. S. Betai and prefaced with a learned introduction.

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Chapter XII Prakrit Verses in Hemacandra's Kávyānuśāsana 1.478. This verse is already dealt with; vide DHV S.No. (1.6) supra.
2.478. This verse is already dealt with; vide KP S.No. (37.427) supra. 3.479. This verse is already dealt with; vide DHV S.No. (2.6) supra.. 4.479. This verse is already dealt with; vide ŚP S.No. (442.133) supra. 5.479. This verse is already dealt with; vide ŚP S.No. (188.80) supra. 6.479. This verse is already dealt with; vide ŚP S.No. (50.52) supra. 7.479. This verse is already dealt with; vide ŚP S.No. (51.52) supra.
8.480. This verse is already dealt with; vide DHV S.No. (31.12) supra. 9.480. This verse is already dealt with; vide ŚP S.No. (53.53) supra.
10.480. This verse is already dealt with; vide DHV S.No. (4.7) supra.
11.480. This verse is already dealt with; vide DHV S.No. (3.6) supra. 12.480. This verse is already dealt with; vide ŚP S.No. (999.229) supra.
13.481. This verse is already dealt with; vide DHV S.No. (5.7) supra. 14.481. This verse is already dealt with; vide KP S.No. (8.419) supra. 15.481. This verse is already dealt with; vide KP S.No. (9.420) supra. 16.481. This verse is already dealt with; vide KP S.No. (10.420) supra. 17.481. This verse is already dealt with; vide KP S.No. (2.418) supra.
18.482. This verse is already dealt with; vide DHV S.No. (36.13) supra.
19.482. This verse is already dealt with; vide ŚP S.No. (45a.51) supra.

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Prakrit Verses in Sanskrit Works on Poetics
20.482. This verse is already dealt with; vide KP S.No. (11.420) supra.
21.482. Jineśvarasūri, the compiler of Gaharayanakosa (1194 A. D.) includes this
gatha in the section dealing with the moon (Candra-prakrama, verse 548). Kalpalatăviveka (p. 140, 11 13.16) borrows this passage from Hemacandra's Kávyānusāsana-viveka (p. 69, 1 21.24). This gātha is addressed by someone to the night-maker, the moon, which robs the lotus (kamala) of "its lustre. This statement of the aprastuta (the irrelevant matter) leads to the suggestion of the prastuta (the relevant matter), viz., some more powerful and wealthy rival has robbed a great or eminent man, by name Kamala, of his wealth and glory. The speaker uses transparent attributes which equally apply to the lotus and the eminent personage, called Kamala and conveys the suggestion.
22.482. This verse is already dealt with; vide DHV S.No. (20.9) supra.
23.483. This verse is already dealt with; vide DHV S.No. (18.9) supra. 24.483. This verse is already dealt with; vide DHV S.No. (23.10) supra. 25.483. This verse is already dealt with; vide DHV S.No. (22.10) supra.
26.483. This verse is already dealt with; vide DHV S.No. (25.11) supra.
27.483. This verse is already dealt with; vide DHV S.No. (27.11) supra.
28.484. This verse is already dealt with; vide DHV S.No. (26.11) supra.
29.484. This verse is already dealt with; vide DHV S.No. (35.13) supra.
30.484. This verse is already dealt with; vide DHV S.No. (17.9) supra. 31.484. This verse is already dealt with; vide KP S.No. (14.421) supra. 32.484. This verse is already dealt with; vide KP S.No. (21.423) supra. 33.485. This verse is already dealt with; vide DHV S.No. (*38.13) supra. 34.485. This verse is already dealt with; vide DHV S.No. (*39.13) supra.

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586
Prakrit Verses in Sanskrit Works on Poetics 35.485. This verse is already dealt with; vide DHV S.No. (41.14) supra. 36.485. This verse is already dealt with; vide DHV S.No. (42.14) supra. 37.485. This verse is already dealt with; vide KP S.No. (30.425) supra. 38.486. This verse is already dealt with; vide ŚP S.No. (212.86) supra. 39.486. This verse is already dealt with; vide DR S.No. (22.33) supra.
40.486. This gātha is cited to illustrate the truth embodied in the statement : "When
a particular psychic state attains to (or reaches) such a phase in that manner, it is also observed in the world to be restrained (or inhibited) from reaching a climactic point in the form of visible physical effects (or manifestations). For example, "The mind (heart) of the beloved one, prone to passion (love), as it becomes agitated (excited) at the sight of the moonlike 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) (gurusarkama = guru-sarikrama = gurujanadarśanabhaya) [In the Viveka, p. 145, guru-sankama is exaplained as 'guruvişaya mā sąjkramit' and hence I understand it to mean "it should not come to the notice of elderly people nearabout."]
The heart (mind) of the beloved one being prone to an upsurge of passion at the sight of her dear lover becomes agitated (or excited). And although the external physical effects of passion have been checked by her in order that they should not be noticed by elderly people (nearby), her heart (mind) does not become relaxed (restful) but is still full of agitation (restlessness) (ksobhamaya) caused by sāttvika bhāvas such as internal perspiration, (tremor) etc.
Further in this stanza there is suggested an illustration (nidarśana) (illustrating the situation directly expressed, i.e., this stanza suggests a simile or comparison). To explain : the turbulent (rai = rayin = vegavan - praksubdhah) ocean agitated upto its innermost depth (āhrdayam) at the

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sight of the moon possessing a pleasing face --- and though having its advancing inundating waters checked by the huge embankment ---, it does not come to rest (i.e., does not cease to have rising waves). The word sāgara has both the masculine and neuter genders in Sanskrit; or though it has only the masculine gender in Sanskrit, there is the mutation of its gender (into the neuter gender) in Prakrit. Thus in this stanza, the feeling of love, while giving up its purely psychic nature, does not lead to external physical (visible, palpable) effects (such as perspiration, tremor, etc.), and so it is described or presented here (by the poet) as resting on the bed-rock of the vital force itself." - M. V. Patwardhan.
41.486. This verse is already dealt with; vide SK S.No. (120.364) supra.
42.486. There is a variant reading “lajjāluini' in place of ujjua-rūyă (-rūā) (see G.S.
II.27) which is equally good. "I am bashful by nature". "Avuil gust = gollerit (rull+3116+37(=76)+guft) an example of two pleonastic suffixes (37 and guit) added to the possesive suffix 347. Cf Helsuit-" M. V. Patwardhan (The Gähäkosa, v. 138, p.144) (Notes)). A certain woman addresses to her friend who is about to apply red paint (alaktaka) to her feet – that are naturally red - "Away with the red paint. My husband's love is wild and I am shy by nature. My maiden friends are very shrewd. My husband will urge me to practise inverted coitus on him. It will result in the bed-sheet being marked with the moist red paint applied to my feet. My clever maiden friends will notice this the next morning and they will draw the inference that I played the part of man and will laugh at me". This suggested sense is however asphuta (indistinct).”
43.487. This verse is already dealt with; vide KP S.No. (19.422) supra. 44.487. This verse is already dealt with; vide KP. S.No. (43.429) supra. 45.487. This verse is already dealt with; vide KP S.No. (44.14) supra. 46.487. This verse is already dealt with; vide SK S.No. (3.340) supra. 47.487. This verse is already dealt with; vide SK S.No. (4.340) supra.

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48.488. This verse is already dealt with; vide DHV S.No. (14.8) supra.
49.488. TTTO (Tafakarf:) - Her hair which have enjoyed (and are enjoying at the
moment) the proud privilege and pleasure of contact with her buttocks;
ETYTUOTT (FHITIUS) - who has been standing up after a total bath from head to foot; सामलंगी (श्यामलागी) - the maiden or woman having dark-coloured or darkish complexion; DERIT HOT (TARTA ) - as if on account of the fear of being tied up again in the form of a ver (braid of hair) and of being deprived of that privilege and pleasure. The figure in this verse is Utpreksă (Fancy).
50.488. This verse is already dealt with; vide ŚP S.No. (87.58) supra. 51.488. This verse is already dealt with; vide DHV S.No. (33.12) supra. 52.488. This verse is already dealt with; vide SK S.No. (369.414) supra 53.489. This verse is already dealt with; vide ŚP S.No. (92.59) supra.
54.489. Note: Hemacandra, following the lead of Kuntaka, the author of
Vakroktijīvita, reduces the number of alaskāras (figures). Mammata's Kávyaprakāśa treats of 61 arthālamkāras. Hemacandra's Kāvyānusasana reduces this number to 29. He denies their claim to rank as independent figures on grounds like the following; some of them represent nothing but the absence of poetical defects, some others do not contain any special charm (arising from the exercise of the poet's creative imagination - pratibha - which is so essential for an alamkāra), still some others fall under one or the other of the accepted alamkāras and still a few others are themselves of the nature of alaskārya (what is to be adorned). For want of space it is not possible even to summarise these discussions. In those cases where Hemacandra differs from his predecessors, we simply note the name of the figure according to Hemacandra and also his predecessors.
This gātha contains the figure Upamā (dvilope vākyagā), Kāvyaprakāśa (Jhalakikar's edn, p. 575) deals with it.

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55.489. This gātha is already dealt with; vide DHV S.No. (* 28.11) and KP S.No.
(472.430). This gathā contains the figure Upamā (dvilope samāsagā).
56.489. This verse is already dealt with; vide SP S.No. (157.74) supra. According
to Hemacandra, it is an example of Suddha Upamā, whereas Mammata would regard it as an example of Malopamā (with the common property identical (abhinna).
57.489. This gātha is already dealt with; vide KP S.No. (48.431) supra. Mammața
calls this an example of Ekadeśa-vivarti-rupaka. Hemacandra cites it as an example of Eka-visaya-rūpaka (Type III).
58.490. This gātha is already dealt with; vide DHV S.No. (*6.7) supra. Hemacandra
cites this găthă as an example of Nidarśana. Mammața would regard it as an example of the figure Dșstānta.
59.490. This Skandhaka verse is already dealt with; vide DHV S.No. (21.10) supra.
Hemacandra cites this as an example of Dipaka-alamkåra. He regards kávyakatha as the prakta and niša, nalini, lată and śāradaśobha (Locana, p. 260) as apraksta. Gurukikaraṇa is, of course, the common property that belongs to both the praksta and aprakita (the relevant and the irrelevant). Anandavardhana and Abhinavagupta also regard it as an example of Dīpaka alamkara : "In this example though the figure Upamā is implicit, all the poetic charm is centered only in the expressed figure Dipaka ---. Hence such examples should properly be described as containing only expressed figures." (DHV, p. 260).
60.490. This gătha is already dealt with; vide KP S.No. (55.433) supra. Mammața . cites this gātha as an example of the figure Anyonya. Hemacandra regards
it as an example of Dipaka. He holds that there is one common property (sāranakriya = gurukikarana) that belongs to both the praktas i.e., the swans and the lakes - hence we must regard it as a case of the figure Dipaka only.
61.490. This gātha is already dealt with; vide DHV S.No. (47.15) supra.
Aprastutaprašamsă of Anandavardhana (and other alamkarikas) is named

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Anyokti by Hemacandra. In Aprastutaprašaṁsā (or Anyokti) the expressed sense may be found in three forms: (1) Intended (2) Unintended and (3) Both intended and unintended at the same time. The present example is cited to illustrate the third variety.
62.490. Tria - Paris : TT:sag 21H437277 ano (variegated); F3TG - Hapagador
रसेनाध्माता (आध्माता = उन्मत्ता) मधुका यत्र । (अथवा, मकरन्दरसैराध्माता: पूरिता मुखरा मधुकरा
1). The Ocean (samudra personified as god) addresses Rāma (incarnation of God Vişnu): "The seasons give the trees flowers in bloom --- but do not themselves take them away; i.e., the stability of the ocean is an irrevocable gift from Rāma (= Visnu) himself and it is with a view to maintaining his preordained stability he resisted Rāma; and it is only natural that Rāma should not take away the gift of stability that he has bestowed on the ocean.
cf : a: ht: Msifa garela Hai विषवृक्षोऽपि संवर्ध्य स्वयं छेत्तुमसांप्रतम् ॥
- Kumārasambhava II. 55 Hemacandra regards this Skandhaka from Setubandha as an example of Nidarśana, (and not of Aprastutaprašaṁsā).
63.491. This Skandhaka is already dealt with; vide DHV Locana S.No. (*7.7) supra.
Here Jambavat describes how he remembers Vişnu's bosom when it was without the Kaustubha gem and goddess of wealth, etc., which is the irrelevant karya and this description suggests the prastuta . the relevant karana-'cirajīvitva', etc., - the qualities which are essential and expected of a mantrin (counsellor) and are possessed by him. Both the prastuta and aprastuta are equally prominent and hence this verse is an example of Anyokti (Aprastutaprašaṁsā).
64.491. This gātha is already dealt with; vide ŚP S.No. (22.46) supra. In this gatha
'nail-marks', although they are different from the series of 'crescent moons', are regarded as identical with them, hence it is an example of Atiśayokti (Bhede'pyabheda-variety).

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65.491. This gātha is already dealt with; vide SP S.No. (147.70) supra.
It contains two instances of Atiśayokti (Variety Sambandhe'pyaşambandhaḥ).
III
-
66.491. This gāthā is already dealt with; vide KP S.No. 162.434) supra. Hemacandra
cites this gāthā as containing two instances of the figure Virodha in its two halves. Mammața and other alamkārikas too regard the first half as an instance of the figure Virodha. But they would regard the second half as an instance of the figure Atadguņa.
67.491. This verse is already dealt with; vide KP S.No.(53.432) supra. This is cited
in KP (p. 673) as an example of Sahokti. Hemacandra too agrees with Mammata in granting Sahokti the status of an independent figure. Kuntaka in his VJ (pp. 224-227) denies it the status of an alamkāra - a figure of speech:
समासोक्तिः सहोक्तिश्च नालंकारतया मता । अलंकारान्तरत्वेन शोभाशून्यतया तथा. ।।
- VJ II.51
68.492. This gātha is already dealt with; vide ŚP S.No. (1012.231) supra.
Hemacandra cites this gāthā as an example of Parivịtti (by enlarging its meaning). Other alaskārikas like Mammața would regard it as an example of the figure Paryāya. Hemacandra in his very definition of Parivịtti says: पर्याय-विनिमयौ परिवृत्तिः।
69.492. The earlier part of the first half of this gātha is obscure. quuiar13100 370R'
(Sk. grulleda 34FF) hardly yields any worthwhile meaning. Bhuvanapāla reads : वण्णवसिए विअच्छसि (Sk. स्वदेशवासिनि विलोक्यसे). M. V. Patwardhan explains it as : "Oh, you always staying inside your house and never moving out --- you are seen by me, i. e., I have seen through your untrue statement that you have seen him before." On the reading 'fa377BRA' he observes : 03778f4 = विअच्छिज्जसि = दृश्यसे [active form used in passive sense - an example of reverse deponentia (according to H.12 and 4.447]. Some commentators explain it as auf (= quft) afera = asignat (= auraiton) : "Oh you have fallen

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in love with him simply because of the description given by someone / some others about his 'extra-ordinarily handsome form and good qualities." fa377aft (facut?) you simply boast (that you have seen him); but really you have never seen him. For had you really seen him, your limbs would not have continued to be normal or healthy as before. Hemacandra describes two kinds of Anumāna. In one type we have TRURITEZefydfa:' and in the other, '31 COURITEZI fa:'. The above illustration is cited to illustrate '371974- Ezucia.' Alaskāra-Ratnakara (p. 134) comments on it as follows : अत्र नायकदर्शनाख्यस्य कारणस्य तत्कार्यशरीरास्वास्थ्यविरुद्धस्वास्थ्योपलम्भेनाHatsapta: ---'
69.492. This gātha is already dealt with; vide KP S.No. (57.433) supra. It illustrates
the figure Parisaṁkhyā (Exclusion).
70.492. This gātha is already dealt with; vide ŚP S.No. (127.67) supra. Hemacandra
cites it as an example of Parisaṁkhyā. Other alamkārikas would regard it as an example of the figure Sāra (Climax).
71.492. This gāthā is already dealt with; vide DHV S.No. (36.13) supra.
Hemacandra cites it as an example of the figure Anumāna. Mammata and other alaskārikas regard it as an illustration of the figure Uttara (variety I).
72.492. GS(W).897 reads the text of this gāthā as follows:
i
JT JT TUTE H61317 ! 3719 REI (? ) art जइ तरह रंभिउं मह धीरं समुहागए तम्मि ।। यद् यद् भणथ सख्य आम करिष्यामि सर्वथा तत् तत् । यदि त्वरध्वं / शक्नुथ रोद्धं मे धैर्य संमुखागते तस्मिन् ।
Hemacandra rejects both the kinds of Uttara alamkara, accepted by other alamkārikas like Mammata. He brings them under the figure Anumāna.
73.492. This gatha is already dealt with; vide KP S.No. (63.435) supra. Mammata
(KP p. 753), cites this gātha as an example of 'Negreifcichret:riefe:'. In ufer sper there is higury; and in Fai doujo atuais there is 74c5. Sahiguri is aशब्दालंकार, and रूपक an अर्थालंकार. Both these figures are independent of each

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other. Hence the gatha is an example of g reiciurriufe:. Hemacandra however does not regard trafe as a separate, independent figure but includes it in his figure riche which is wider in its scope than the riche defined by Mammata and other alamkärikas.
74.493. As the context of this gātha is not given, there is a doubt as to who of
the two, शठतरपोटा and पाटला - (or पाटली-लता) is the relevant (prastuta) one and this doubt gives rise to two figures wird (The Speech of Brevity) and 3Fullca (= Aprastuta-prasarsa — Irrelevant Description). In other words, we have in this gāthā the figure pirty-Fi. Hemacandra paraphrases णिग्गंडदुरारोह as 'कठिनदुरारोहाम्'. पोटा is a masculine woman, a woman with a beard or such other 'masculine features. STORICT is a very crafty, deceitful' - masculine woman. Call or wisit is a kind of tree.
Incidentally, we may note that Bhuvanapāla, while commenting on this gāthā, remarks : 3721914&OTTRI Fferior:
75.493. This gāthā is already dealt with; vide DR S.No. (4.26) supra. Incidentally,
it may be noted that Vajjālagga (St. No. 467) reads the second half as follows :
सव्वे वि अग्गचलिया पियम्मि कयणिच्छए गंतुं ॥ [सर्वेऽप्यग्रचलिता: प्रिये कृतनिश्चये गन्तुम् ॥]
One and all - her youthful attractiveness, her loveliness, her amorous actions and graceful gestures - started to go away in advance of her dear lover) (i. e., they deserted her completely).
76.493. This gatha is already dealt with; vide DR S.No. (16.31) supra. 77.493. This gātha is already dealt with; vide ŚP S.No. (466.138) supra.
77.a.493. Note : Regarding the citations from the Cūdamaņi-Dombika (p. 447, v.
583, v. 584, p. 448, line 7) and from Gunamåla (- Dombika) (p. 448, line 15), we admit, it has not been possible to present correct or even tolerably intelligible text. We find Dr. H. C. Bhayani has made an earnest

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attempt to settle their text in his paper "On The Uparūpakas Called Dombika And Şidgaka" (published in "Vidyā”, Journal of Gujarat University, Vol. XII, January 1969, No. 1, pp. 1-14). Dr. Bhayani, having regard to the language and metre of the lines cited, corrects the text as follows:
(i) p. 447, lines 1 and 2 And p. 448, line 7. हेठे वि डोम्बी णचमि सहिइ र होमि हउँ चोरिअमिहुणहैं (or उँ) वम्महसारु कहेमि तउ. He translates the second line : "I narrate to you clandestine intercourse, that is the essence of love." (p. 4). (ii) p. 447, line 28 : 97317413TAT FIRE, NOTE 513737612 Dam/
H 3TT. (iii) p. 448, line 15:04 Mātrās+) GIÀ6 2737 TG 3T SUURHA.. All the three passages, however, are not fully intelligible for want of context
in which they occur. 78.493. This Skandhaka is already dealt with; vide ŚP S.No. (199.83) supra. This
Skandhaka is cited to illustrate the sabda-vaicitrya : Vaktavyártha-pratijñana (declaration of matters or the theme or subject matter to be spoken about - to be treated of - in the poem. Also, read : "3raf faac UCERI तत्साधनतयोपचारात् त्रिदशबन्दीमोक्षादिरूपत्वे विवक्षिते तदभिधाय तस्यास्य काव्यस्यापि
तत्तद्विशेषणसामानाधिकरण्यमुपपन्नमित्यवसेयम् ।" 79.494. This Skandhaka is already dealt with; vide ŚP S.No. (200.83) supra. This
Skandhaka is cited here to illustrate the sabda-vaicitrya: prayojanopanyasa. Pravarasena, the poet, sets forth in this Skandhaka, the purposes or aims of his composing the poem - Setubandha. Cf. Bhāmaha's Kavyalarnkāra (1.2) : tareftiter over her
करोति कीर्ति प्रीतिं च साधुकाव्य-निषेवणम (पा. भे. निबन्धनम)।
80.494. As far as our knowledge goes, this is the solitary Skandhaka verse definitely
known to belong to the poem Råvana-vijaya, which is now lost. It is cited to illustrate Kaviprasarsa (Praise of Poets).

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1. This verse is cited as an example of gāthā by Śrī Nanditāļhya in his Gäthälaksana
(vide Kavidarpana Appendix I: % af alcag TITOTEUTT (p. 94, v. 65) with the introductory words "ETGISPUT JET - There is a variant reading tuinis (RUSTIGIA) for KLV's 3riftene (31144SIA). Both the readings yield the same meaning. The KLV reading, however, would seem to be more natural and acceptable. Nanditādhya's date is about 1000 A. D.
3. This verse is the same as SK S.No. (5.340) supra.
4. The letters ca ca za represent imitative sounds as of raindrops falling on leaves
of trees or creepers. Cf. Marathi '24 zu all!
5. This verse is the same as Rudrata S.No. (14.4) supra. 6. This verse is the same as DHV S.No. (59.18) supra.
14. This Apabhraíśa verse is the same as VJ S.No. (18.23) supra.
15. This verse is the same as ŚP S.No. (93.60) supra. SK (7.340) infra too reads
tu geidt. SP (427.130), however, reads 'aut gant'. The earlier reading is deliberately vague as to the way the younger brother-in-law adopted to comfort his newly-married sister-in-law. This gāthă is cited to illustrate the aurii, called 'Pa ' Bhoja observes : 35 hote hayRuyadiom HUR Graic asica (§. 38). Ratneśvara explains thus : 79-4RUNTAT-PTHIS SuperFalagushitae Haut जन्माभ्यस्तपितृगहवियोगवेदनादूनमानसाया अत्यन्तापरिशीलितेन देवरेण संस्थापनप्रकार: स न जातौ निविशते । --- (q. 80).
89. This gātha is the same as VJ S.No. (11.22) supra.
99. This gāthā is the same as A'Sarvasva S.No. (21.441) supra.
110. This verse is cited to illustrate the wolf
3TİR.

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The Calcutta edn. reads E3i in place of 231 in the Bombay edn. KLV (p. 276) supports this reading 'ध' : स रोषेण रथेन च निशाचरबलेनोत्साहेन च सह प्रहर्षं ध्वजं च वैराबन्धं प्रहरणं च वहमानो निर्गच्छतीति पर्यवसितोऽर्थः। (पृ. २७६).
The word स refers to धूम्राक्ष. "प्रहर्षं तुङ्गतया ध्वजमिव । वैराबन्धं दुर्निवारतया प्रहरणमिव वहन् । रथेनेव रोषण, उत्साहेनेव निशाचरबलेन समं निर्गच्छति । प्रेरकतया रोष-रथयो: कालक्षेपासहिष्णुतया उत्साह-राक्षसबलयो: साम्यम् ।" - सेतुतत्त्व० पृ. ५४३. Ramadasa observes --- इति सर्वत्र सहोपमा ।

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Chapter XIV Prakrit Verses in Alamkāra-mahodadhi
1. This gātha is already dealt with; vide DHV S.No. (30.12) supra. Like
Anandavardhana Narendraprabha too cites it as an example of Gunibhuta-vyangya. He thus comments upon it : अत्र वाच्याद् अङ्गसादाद् रसविशेषपरत्वेन सुन्दरात् स सङ्केतस्थानमागच्छदहं तु न गतेति व्यङ्ग्यमसुन्दरमित्यस्य गुणीभूतत्वम् । - पृ. १२.
2. This gātha is already dealt with; vide VJ S.No. (20.23) supra. Like Kuntaka
Narendraprabha cites it to illustrate the vaicitryam (strikingness) of the verb jayati (triumphs). He thus comments : अत्र न नन्दतीत्याद्युक्तम्, किन्तु जयतीति इतरस्मान्नयनद्वयादुत्कर्षण वर्तते लोकोत्तरेण प्रकारेण स्थगितत्वादिति 'जि'-रूप-प्रकृतिजनितं वैचित्र्यम् । - पृ. १७.
3. This gātha is already dealt with; vide DHV S.No. (14.8) supra. Like
Anandavadhana Narendraprabha cites it as an example of Arthāntarasankramitavacya. He thus comments : अत्र द्वितीयकमलशब्द: पौनरुक्त्येनानुपयुज्यमानत्वाद् बाधितस्वार्थः सन्नाधाराधेयभावरूपात् सम्बन्धाज्जगद्विलक्षणश्रीनिवासित्वरूपमतिशयमाविष्कर्तुं स्ववाच्यं विकासकमनीयत्वे संक्रमयति । पृ. ३७.
4. This gātha is already dealt with; vide ŚP S.No. Add. (45-1.51) supra. Like Bhoja
Narendraprabha cites it to illustrate the circumstance, called abhinaya (appropriate gesture), that restricts the abhidhā of an 31 href word. In the găthă under discussion the word 'etavat' is 37 af. Being of general signification it can express any sense that we can convey by a gesture. Here the word 'etāvat' is by gestures restricted to four different senses : "अभिनयोऽत्र स्तनप्रदर्शने हस्तस्य दाडिमफलाकार:, अक्षिप्रदर्शने तस्य कमलदलानुकृति:, अवस्थाप्रदर्शने तनुत्वसूचकम् उन्नमिततर्जनीकस्य हस्तस्य इतस्तत: संचालनम्, दिवसप्रदर्शने च उत्थापित चतुरङ्गलीको हस्तः। - A. B. Gajendragadkar, (ABG), KP edn., p. 336.
5. This gatha is already dealt with; vide KP S.No. (1.418) supra. Narandraprabha
follows Mammața and cites this stanza as an example where the expressed sense (वाच्यार्थ) is suggestive. He thus comments : अत्र विज्ञातस्वैरिणीत्वरूपाद् वक्तृवैशिष्ट्यात् काचित् स्वैरविहारार्थिनी तटस्थेन प्रतिभावता व्यज्यते । --- पृ. ४९.
6. This gatha is already dealt with;. vide KP S.No. (6.419) supra. The context and
the suggested sense are identical. Narendraprabha thus comments : मह केरं मम

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सम्बन्धि । तुह वि त्वामपि । अत्र दूत्यास्तत्कामुकोपभोगो व्यज्यते । तथाविधदूतीत्वं च बोद्धव्यस्य वैशिष्ट्यम् ।
- 9.89. 7. This gātha is already dealt with; vide KP S.No. (8.419) supra. The context and
the suggested sense are the same. Narendraprabha comments thus : 3771 Belford सखीं प्रति वदन्त्या प्रच्छन्नकामुकस्य सन्ध्या सकेतकालो ज्ञाप्यत इति प्रतीयते । तथाविधपुरुषकृतत्वं च Harrera - g. 4o.
8. This găthă is already dealt with; vide KP No. (9.420) supra. The context and
the suggested sense are the same in both the KP and A'mahodadhi.
9. This gātha is already dealt with; vide KP S.No. (10.420) supra. The context and
the suggested sense are the same in both the KP and A'mahodadhi.
10. This gātha is already dealt with; vide DHV S.No. (2.6) supra. The context
the suggested sense are the same in both the KP and A'mahodadhi.
11. This gātha is already dealt with; vide KP S.No. (2.418) supra. The context and
the suggested sense are the same in both the KP and A'mahodadhi.
12. This gātha is already dealt with; vide DHV S.No. (1.6) supra. Narendraprabha
cites this gātha with the introductory remark : 3721 GRIFUSIOCCHI dagangan UNIT - After citing it he thus comments : 3 WALLPaPernar Ribiglang erfare भ्रमणनिषेधो व्यज्यते । तेन च तत्रोपपतिना सह निष्प्रत्यूहसुरतव्यापाराभिलाषित्वं कस्याश्चित् प्रतीयते।
- q. 43.
13. Narendraprabha first treats of the five kinds of Vipralambha-śčngāra arising from
– 1. longing 2. curse 3. separation 4. jealousy and 5. journey. He then states that although Sambhoga-śțigăra (love in enjoyment) is of infinite variety such as kissing, embracing and the like, it is declared to be five-fold, as it follows the five-fold Vipralambha-śțigăra (love in separation).
He introduces the gatha with the remark : तत्र स्पृहानन्तरं संभोगो यथाThe găthā describes the first ever sexual union of Rādhā and Krsna.
14. This gātha is already dealt with; vide ŚP S.No. (603.162) supra. This gāthā
deals with sexual union after separation!

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15. This gātha is already dealt with; vide SK S.No. (183.376) supra. It is cited as
an example of "fa: TETE"' - love out of fragrance. In this gātha fire is described as drinking (inhaling) the fragrant breath from the nāyikā's mouth.
16. This Skandhaka is already dealt with; vide SK (120.364) supra. The SK and
A'mahodadhi both cite this stanza to illustrate stambha (paralysis), one of the eight sättvika-bhāvas-which too are anubhāvas (consequents).
17. This gātha is already dealt with; vide SK S.No. (175.375) supra. The SK and
A'mahodadhi both cite this gāthā as an example of romāñca (horripilation), one of the eight sāttvika-bhāvas (involuntary states) – which too are anubhāvas (consequents).
18. This gāthā is already dealt with; vide ŚP S.No. (221.88), SK S.No. (176.375).
Bhoja and Narendraprabha both cite this gāthā to illustrate vaivarnya (change of colour, paleness), one of the eight sättvika-bhāvas, – which too are anubhāvas (consequents).
19. This gātha is already dealt with; vide SP S.No. (466.138); SK S.No. (199.380)
supra. Bhoja and Narendraprabha both cite this gāthā as an example of līlā, one of the ten graces (svabhāvajāḥ bhāvāh). Līlā is "the sportive imitation of the movements or words of the beloved one."
20. This gāthā is already dealt with; vide ŚP S.No. (616.165); SK S.No. (169.376)
supra. Bhoja and Narendraprabha both cite this gāthā to illustrate sarkā (Anxiety or Apprehension), one of the 33 vyabhicāri-bhāvas (transitory states). Bhoja comments thus : अत्र विरहिण्या: काातिशयमुद्रीक्षमाणाया: कस्याश्चिद् वयस्याया: स्नेहातिशयात् 'प्रेम पश्यति भयान्यपदेऽपि' इति प्रियागमप्रहर्षातिशयभावेऽप्यसहिष्णुतया तन्मरणशङ्का प्रकृष्यते ।- सरस्वती, g. 489.
21. This gātha is already dealt with; vide ŚP S.No. (487.142); SK (180.376) supra.
Bhoja and Narendraprabha both cite this gātha as an example of alasya (indolence, laziness), one of the 33 vyabhicări-bhāvas (transitory states).
22. This gātha is already dealt with; vide ŚP S.No. (190.81); SK S.No. (177.375)

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supra. Bhoja and Narendraprabha cite this gātha as an example of cintă (worry), one of the 33 vyabhicări-bhāvas (transitory states). Bhoja thus comments : 37 सखीरोदनेन शून्यकलह:, शून्यकलहेन साक्षात्कारः, साक्षात्कारेण चिन्ता, चिन्तया तु मूलभूता रतिः प्रकृष्यते ।
- सरस्वती, पृ. ५८४.. 23. This gātha is already dealt with; vide ŚP S.No. (216.86); SK S.No. (181.376)
supra. Bhoja and Narendraprabha both cite it as an example of nidrā (sleeping), one of the 33 vyabhicări-bhāvas (transitory states). Bhoja introduces the gātha
with the remark : 'तद्रूपेण रसस्यानुबन्धो यथा -' and after citing it thus comments upon it : अत्र रति - श्रम-जागरादि - जनितनिद्रालसा दृष्टिनिपातास्तारकाघूर्णनत्र्यस्रवलनादिभिरनुबध्यते।
- सरस्वती, पृ..५९४. 24. This gatha is already dealt with; vide SP S.No. (218.87) and SK S.No. (182.376)
supra. Bhoja and Narendraprabha cite this gāthā as an example of suptam (sound sleep), one of the 33 vyabhicari-bhāvas (transitory states). Bhoja introduces this gātha with the remark : 'तद्रूपेण रसप्रकर्षो यथा -'. He, after citing it, thus comments upon it : अत्र निर्भर-पदेनैव प्रकर्षः प्रतिपद्यते । -सरस्वती० पृ. ५९४. .
25. This gāthā is already dealt with; vide ŚP S.No. (194.82) and SK S.No. (172.374)
supra. Bhoja and Narendraprabha both cite this stanza as an example of rasābhāsa (lit. the semblance of sentiment, 'ungenuine sentiment'). Bhoja (SK p. 576) introduces this stanza with the remark (रतिरूपेण) नायकप्रतियोगिषु (रसाभासो) यथा-'. Locana (p. 78) defines abhasa as : औचित्येन प्रवृत्तौ चित्तवृत्तेरास्वाद्यत्वे स्थायिन्या रसो, व्यभिचारिण्या भाव:, अनौचित्येन तदाभास:, रावणस्येव सीतायां रते: । In the present stanza we have description of Rāvana's rati for Sītā, the wife of Rāma. Rāvana is a rival (pratiyogin) of Rāma, the hero. Hence there is impropriety (anaucitya) regarding Rāvana's abhilāşa and rati for Sītā. Hence it is a case of rasābhāsa (Srigarabhāsa).
26. This verse is already dealt with; vide ŚP S.No. (1417.302) and SK S.No.
(170.374) supra. SP (p. 1164) introduces this gathā thus : तत्र संक्षेपत: कनिष्ठ: तामस:
शठो धीरप्रशान्त (नायक) इति । तेष्वर्थगुणसम्पद्योगात् कनिष्ठः। SK (p. 575) introduces it with the remark : 'रतिरूपेण हीनपात्रेषु रसाभासो यथा -'. Narendraprabha (p. 98) observes : 'हीनजातिषु मनुष्येष्वपि केऽपि रसाद्याभासं मन्यन्ते । यथा-'

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27. This gatha is already dealt with; vide DHV S.No. (15.9) supra. Like
Anandavardhana Narendraprabha too cites this gāthā to point out that the two words 'matta' and 'nirahakära' provide examples of atyanta-tiraskrta-vācyaḥ (dhvanih). Narendraprabha thus comments : 37 HT-FREER-Orect मेघ-मृगाङ्कयोरसम्भवेन बाधितस्वार्थों स्वेच्छाव्यापारवत्त्वे व्यापाररहितत्वे च सादृश्ये सति मेघं मृगाङ्कं च लक्षयन्तौ
प्रकर्षशालित्वं हतप्रकर्षत्वं च व्यञ्जयतः। अत्रात्यन्ततिरस्कृतवाच्यः। - अलङ्कारमहोदधि, पृ. १०५. 28. This gātha is already dealt with; vide DHV S.No. (24.10) supra. Ānandavardhana
cites this gathā as an example of refrain (DHV pp. 266-67 and Locana on it). Narendraprabha (p. 105), however, thus comments upon the gātha : 37 नपनिपातपदप्रकाश्यो व्यतिरेकः।
29. This gātha is already dealt with; vide DHV S.No. (23.10) supra. Hemacandra
too cites it in his Kāvyānuśāsana (p. 74). Anandavardhana cites it as an example of Upamā-dhvanih. Locana explains that the expressed figure in the stanza is Atiśayokti, and that Upamā is implied. It says: "Kusumabānena sukumărataropakarana-sambhāreņa". Hemacandra (p. 74) cites this gātha with the introductory remark 35 mala c TART UGYRRATU yarrufati Narendraprabha's comment strongly reminds us of Hemacandra's comment.
30. This gātha is already dealt with; vide DHV S.No. (22.10); KĀŚ (of Hemacandra)
S.No. (25.483) supra. Narendraprabha (p. 106), following Hemacandra, comments on the gāthā thus : 375 ERMilagrer ragount: FRIRE UTHIER Earla i
31. This Skandhaka stanza is already dealt with; vide DHV S.No. (35.13) KĀŚ of
Hemacandra S.No. (29.484) supra. Narendraprabha's comment (p. 106) on this stanza is reproduced from Hemacandra's Kávyānuśāsana.
32. This gātha is already dealt with; vide KP S.No. (21.423); KĀŚ of Hemacandra
S.No. (32.484) supra. Narendraprabha (pp. 106-107) reproduces Hemacandra's remark on this gātha.
33. This gātha is already dealt with; vide KP S.No. (22.423) supra.
Narendraprabha's comment (p. 107) on this gātha is almost identical with that of Mammața (KP, p. 159) : 3471 yarRIDAYGHERTA argar aprake ageutroqraerdanya

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following Mammata, cites this example in identical context and almost in identical language; his remark reads : ---3 AT EROOGIGARRI Garut i na pery Asta da BRYG4C124:1 (g. 900).
35. This gåtha is already dealt with; vide KP S.No. (28.425) supra. Narendraprabha,
following Mammața, cites this stanza in identical context and in almost identical language. Cf. KP, p. 165, lines 1-4 and A'mahodadhi, p. 107-last two lines and p. 108—first two lines.
36. This stanza is already dealt with; vide KP S.No. (24.424) supra. Narendraprabha
cites this stanza and comments on it in almost Mammata's language. The only difference is : according to Mammata, the stanza contains the figure Vibhāvanā, whereas, according to Narendraprabha, it is Višeşokti.
Višeşokti is the exact opposite of Vibhāvanā. In the case of a given stanza it is possible to argue that both the figures are present in it by looking at it from two different standpoints. It all depends on our reasoning.
37. This gåtha is already dealt with; vide KP S.No. (12.420) supra. Narendraprabha,
following Mammața, cites this gātha as an example of one variety of Artha-śaktyudbhava-dhvanih (svataḥ-siddhena/ svataḥ-sambhavinā vastuna vastuno vyaktih). Mammața (p. 136) comments: 37 Halgryte şta argit org avud i Narendraprabha (p. 108) follows him : 371 raat te gaar erudi
38. This gåtha is already dealt with; vide DHV S.No. (20.9) supra. Narendraprabha
cites this gatha as an example of svatah-siddhaḥ artha-Śaktimula-dhvanih. He thus comments on the gathā: 34
UGT Carica: Fra G तथाविधनिधुवनव्यापाराभावाद् बलवान् करिविदारणसमर्थोऽभूत्, ततो भवत्यो मुक्ताफलभूषणा:, इदानीं तु मदेकानुरागी निरन्तररतिव्यापाराद् दुर्बलीभूतो मयूरानेव हन्तुमीश्वरस्ततो मयूरपिच्छाभरणैवाहम् इति भवतीभ्यो ममैव with referere şta olados: Trud I - Ç. 900-90%. This comment strongly reminds us of Locana's comment (vide DHV- Locana pp. 256-257). There too this gathā is cited as an example of Svataḥ-sambhavī.

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39. This gåtha is already dealt with; vide KP S.No. (14.421) supra. Narendraprabha,
following Mammata, cites this gathă as an example of Kavi-praudhoktinirmitaḥ (artha-Śakti-mūla-dhvanih). He reproduces almost word for word, Mammata's comment on the gåtha : 3751HOUT Rule Fa fa ar atrudi - g. 990.
40. This Skandhaka stanza is already dealt with; vide DHV S.No. (21.10) supra.
Narendraprabha, following Anandavardhana and Abhinavagupta (DHV - Locana pp. 259-260), cites this gathā as an example where the expressed sense is prominent and the suggested figure unimportant. In the gătha under reference, it is the expressed figure Dīpaka that is prominent and the suggested Upamā rather not important. The stanza deserves the title kavya because of the figure Dipaka that is expressed and prominent : 37 a
B G RTNERI -9.990.
41. This gātha is already dealt with; vide KPS.No. (32.428) supra. Narendraprabha,
following Mammata, cites this gātha as an example where 'vacana' (number) contributes to and develops rasa: 375 'ant a TEMAS Y fighi गुणग्रहणानामुत्कण्ठानां च बहुवचनेन बहुत्वं, 'तस्स त्ति', तस्य वचनानभिधेयस्य प्रेम्णश्चैकवचनेनैकरूपत्वं fragabah trud i - . 993.
42. This gātha is already dealt with; vide DHV S.No. (50.16); KP S.No. (33.426)
supra. Narendraprabha follows Anandavardhana, Abhinavagupta and Mammata in explaining the context and import of this gatha.
43. This gātha is already dealt with; vide ŚP S.No. (442.133); KĀŚ of Hemacandra
(4.479) supra. Like Hemacandra (KĀS, p. 53) Narendraprabha cites this gatha as an example of 'vidhau vidhyantararūpam'. His comment on this gātha is rather brief when compared with Hemacandra's : 391 Firea Pazifirent qull
:TEGIEMezra para uciec - A'mahodadhi, p. 117.
44. This gātha is already dealt with; vide ŚP S.No. (49.52), SK S.No. (168.373),
KĀŚ S.No. (5.479) supra. Like Bhoja, Narendraprabha, cites this gåtha as an example of 'nişedhe niședhantararūpam'. He thus comments upon the gātha :
अत्रोपरमेति वृषभनिषेधे वाच्ये उपपतिनिवारणं निषेधान्तरं प्रतीयते । - पृ. ११७. 45. This gātha is already dealt with; vide ŚP S.No.(53.53) supra. Like Bhoja,
Narendraprabha cites this găthā as an example of ‘vidhau anubhayarūpam':

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3 Tua Paz TETT Paferillo Adetsto a que estig. 496. This comment
is reproduced from Bhoja's ŚP (Vol. I. p. 248). 46. This gātha is already dealt with; vide DHV S.No. (4.7); ŚP S.No. (54.53) supra.
Like Anandavardhana and Bhoja Narendraprabha cites this gātha as an example of 'nişedhe anubhayarūpam'. His gloss on the găthă is reproduced from Bhoja's ŚP (Vol. I. p. 248) : अत्र निवर्तस्वेति निषेधाभिधाने न निषेधो नापि विधिरपि तु मुखेन्दुकान्तिवर्णनामात्रं प्रतीयते । - पृ. ११८.
47. This gātha is already dealt with; vide DHV S.No. (5.7), and ŚP S.No. (8.36)
supra. Like Anandavardhana, Bhoja (Hemacandra), etc., Narendraprabha cites this gatha as an example of 'alau Parafuicda Rifua:'. His gloss on the gatha strongly reminds us of Locana's comments on it (pp. 76-78) and to a certain extent Mammața's comments on it (KP p. 244).
48. This gātha is already dealt with; vide KP S.No.(37.427) supra. Narendraprabha,
following Mammața, cites this gāthā to show that the suggested meaning may be, as against the indicated meaning, only indirectly connected (being connected with something else which is connected with the expressed meaning) i.e., pratyasanna-pratyasanna (= sambaddha-sambandha of Mammata) and thus force the opponent to accept vyañjana-vyāpāra and vyangyártha. His comments on the găthă agree almost word for word with Mammata's Vrtti.
49. This gātha is already dealt with; vide Hemacandra's KAS S.No. (42.486) supra.
Like Hemacandra Narendraprabha cites this gāthā, in the course of his treatment of madhyama-kavya, with the introductory remark cafe) 37cat pe He adopts verbatim Hemacandra's Vrtti (gloss) on this gathā : 3FT HAT B arried, निषेद्धं चाहमशक्ता । तत्सख्य: प्रात: पादमुद्रया तर्कयित्वा मा मां हसिषुरिति व्यङ्ग्यमस्फुटम् । पृ. १२४.
50. This gathā is already dealt with; vide KP S.No. (19.422) and Hemacandra's
KĀS S.No. (43.487) supra. Narendraprabha follows Hemacandra and cites this gäthä as an example of ' GTETSTERAUT' (u m ). His Vrtti (gloss) on the gāthā is adopted, almost word for word, from Hemacandra's KĀŚ (p. 156): 3715 galo aachetaita arazi Papa at TEHTY SUPERISUT यावदत्याहितं नाप्नोति तावदुज्झित्वा दौर्जन्यं साऽनुनीयतामिति व्यङ्गय प्रधानमिति सन्दिग्धम्। -पृ. १२५.

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605 51. This gātha is already dealt with; vide ŚP S.No. (92.59), SK S.No. (6.340) supra.
Bhoja cites this găthă as an example of the defect '31954. - Hemacandra calls this defect as अक्रम (K p. 264); and Narendraprabha Gosh (p. 156). Bhoja thus adds a gloss on the gātha : 377 gechaunts To SC FGH 3742544 1 - fraait 9. 38. Narendraprabha's gloss is : 37 Tramp chita , uw faceta:
- Ļ. 94€.
52. This găthā is already dealt with; vide DHV S.No. (14.8) supra. Narendraprabha
cites this gāthā as an example of 37efraktshalat saat 64GRRRT (UMCO)
53. This stanza is already dealt with; vide SK S.No. (369.414); Hemacandra's KĀŚ
S.No. (52.488) supra.
Narendraprabha follows Hemacandra and cites this stanza as an example where the (poetic) defect - grāmyatva (lokamātra-prasiddhatva) turns into (poetic) quality. His gloss on the stanza, 377 lagoonticare chetip-HENGETEGHI ARU JUCATI (9.909), strongly reminds us of Hemacandra's gloss (KĀS, p. 227,1 16).
54. This stanza is already dealt with; vide KP S.No. (44.429) supra. Mammata in
his KP (pp 467-68) observes that the figure of word is based on word (and the figure does not at all help the production or manifestation of rasa) Narendraprabha similarly observes : "FACT 976 TagArt: spufa, 75 PEMIH 141
- 9.9CC.
55. This gātha is already dealt with; vide VJ S.No. (1.19), ŚP S.No. (41.50) supra.
KP, KĀŚ too cite this gāthā as an example of the figure Atiśayokti (abhede’pi bhedah variety). Narendraprabha follows Hemacandra and observes 3751 लटभत्वादीनामभेदेऽप्यन्यत्वेन भेदः।
56. This gātha is already dealt with; vide No. (684.176); A'sarvasva S.No.
(18.439) supra. Narendraprabha cites this gathā as an example of the figure Atiśayokti (Abhede'pi bhedah variety). He thus comments on it: 35 faouicheta Paula Mig Hafaret:1 - 9. 238.
57. This gātha is already dealt with; vide ŚP S.No. (304.105) and SK S.No.

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(138.367) supra. Narendraprabha, following SK, cites this gāthā as an example of Sahokti.
58. This gāthā is already dealt with; vide ŚP S.No. (174.77), SK S.No. (139.367)
supra.
Following Bhoja Narendraprabha cites this Skandhaka pas an example of Sahokti. 59. This gāthā is already dealt with; vide KP S.No. (47.430), KĀŚ of Hemacandra
S.No. (54.489) supra. Following Mammata and Hemacandra, Narendraprabha cites this gāthā as an example of 3441 (Pacila) 37 Huldf: - . 230.
60. This gathā is already dealt with; vide DHV S.No. (28.11), KP S.No. (47.430),
KAS of Hemacandra S.No. (52.489) supra. Following Mammata and Hemacandra, Narendraprabha cites this as an example of WRT (= EPM) ETHTHEIGHT 3471, whereas the gātha S.No.(59) is an example of a1PUT ETHHICH.
61. This gāthā is already dealt with; vide ŚP S.No. (148.72), SK S.No. (85.356)
supra. Following Bhoja (who calls it Atattve tattvarūpă bădhita Bhrāntih) Narendraprabha cites this gātha as an example of the figure Bhrāntimān. After citing it, he thus comments : 37 SEPTİ Utere gange 954 THI: - . 286.
62. This gātha is already dealt with; vide ŚP S.No. (149.72), SK S.No. (86.357)
supra.
Following Bhoja, Narendraprabha cites this găthă as an example of Bhrāntimăn (Tattve'pi atattvabuddhiḥ variety). Bhoja terms this variety as 'tattve tattvarūpă hānahetuḥ Bhräntih. Narendraprabha thus comments on the găthā : 345 Handical Furqouttura:1 - Ļ. 288.
63. This gātha is already dealt with; vide ŚP S.No. (900.212), SK S.No.
(127.365) supra.
Following SK Narendraprabha cites this gāthā as an example of the figure Apahnutiḥ. He thus comments upon the găthà : 3471 3727

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607 प्रतीयमानमुपपतिनखक्षतमपनूयते । इयं च मतान्तराभिप्रायेण, स्वमते तु व्याजोक्तिरेवेयम् । - पृ. २५९. 64. This gātha is already dealt with; vide A'sarvasva S.No. (21.441) supra. Following
Ruyyaka, Narendraprabha cites this gāthă as an example of the figure Adi-dipaka.
65. This gåtha is already dealt with; vide VJ S.No. (4.20) supra. If Kuntaka cites
this gåtha as an example of Dipaka (Pankti samstha), Narendraprabha cites it as an example of Madhya-Dīpaka.
66. This gātha is already dealt with; vide KP S.No. (51.431) supra. Narendraprabha
cites this gathā as an example of Anta-Dīpaka. 67. This Skandhaka is already dealt with; vide ŚP S.No. (178.78), SK S.No.
(148.369) supra.
Narendraprabha cites this stanza as an example of Drstānta (sāmányavati dve 'pi vākye variety). Bhoja however cites it as an example of Ubhaya-nyāsa (which is, according to him, Arthăntara-nyāsa eva).
68. This gātha is already dealt with; vide A'sarvasva S.No. (41.444) supra.
Narendraprabha cites this gātha as an example of the figure Akşepaḥ (ukta-visayaḥ). He thus comments on it : taler siapa argat Arteta Tru: Haf
Bith farztailaments H aifa tifa fasta: ucitud I - q. RCC. 69. This gātha is already dealt with; vide ŚP S.No. (1535.320), KP S.No. (52.432)
supra. Following Mammața, Narendraprabha cites this gātha as an example of the figure Aksepaḥ (vaksyamāņa-visayah). His comment on the găthā reads: 37 fa r a सामान्योक्तावुत्तरस्य विशेषभणनीयस्य निषेधेन तस्यामीदृशीं मृत्युदशां प्राप्तायामपि न त्वमहङ्कारं त्यजसीति riyantunt fartat TRICI - 9. 368.
70. This gatha is already dealt with; vide ŚP S.No. (743.186), A'sarvasva S.No.
(46.445) supra. Narendraprabha cites this gātha as an example of the figure Vicitra, newly defined and illustrated for the first time by Ruyyaka. Ruyyaka's

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comment on the găthā runs as follows:
अत्र मोचन-वलन-विघटन-विश्रमाणां यथाक्रमं ग्रहण-प्रेक्षण-घटन-रमणानि विपरीतफलानि प्रयत्नविषयत्वेन निबद्धानि | - पृ. १६८.
Narendraprabha's comment reads : अत्र ग्रहणादिकार्यस्य सातिशयनिष्पत्तये मोचनादिक्रियारम्भः।
- पृ. ३०१. 71. This gāthā is already dealt with; vide ŚP S.No. (139.69), SK S.No. (77.355)
supra.
Narendraprabha, following Bhoja, cites this gāthā as an example of the figure
Anyonyam. His comment on the gatha runs as follows :- अत्र मिथोऽनुरागेऽङ्गुलीविरलीकरणेन धारातनूकरणेन च परस्परोपकार: प्रतीयमान:। - पृ. ३०४..
Obviously this is based on Bhoja's comments (See SK p. 347, first three lines).
72. This gāthā is already dealt with; vide KP S.No. (60.434), A'sarvasva S.No.
(53.446) supra.
Following Mammata and Ruyyaka, Narendraprabha cites this gātha as an example of the figure Pratīpa. His comment on the gāthā reads as follows:
अत्र वदनस्योत्कर्षाय चन्द्रस्य निकर्षाय चोपमानोपमेयत्वव्यत्ययः। - पृ. ३२०.
73. This gāthā is already dealt with; vide KP S.No. (62.434); A'sarvasva S.No.
(55.447) supra. Following Mammata and Ruyyaka, Narendraprabha cites this găthā as an example of the figure Atadguņa. His comment on the gāthā reads : अत्रोत्तरार्धेऽतिरक्तेनापि मनसा संयुक्तो न रक्ततां गत इत्यतद्गुणः। पूर्वाधे तु विभावना । - पृ. ३२३.
74. This gāthā is already dealt with; vide DHV S.No. (36.13), KP S.No. (56.433)
supra. Following Mammața, Narendraprabha cites this gātha as an example of the figure Uttaram [First variety when on merely hearing an answer the question (to which it is an answer) is inferred]. His comment on the gatha reads : अत्र हस्तिदन्त-व्याघ्रकृत्तीर्मम मूल्येन प्रयच्छेति क्रेतुवचनमुत्तरवाक्यादुन्नीयते । - पृ. ३२३.
75. This gāthā is already dealt with; vide KP S.No. (57.433), A'sarvasva S.No.
(56.447) Supra.

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609
Following Mammața and Ruyyaka, Narendraprabha cites this gātha as an example of the figure Uttara (Second Variety - which occurs when there being many questions, there are many answers which are impossible i.e., do not ordinarily occur to one).
76. This gātha is already dealt with; vide ŚP S.No. (124.66), SK S.No. (69.393)
supra.
Following Bhoja, Narendraprabha cites this gāthā as an example of Svabhāvoktiḥ (mugdhānganāśrayā).
77. This gāthā "is already dealt with; vide KP S.No. (64.435) supra. Following
Mammata. Narendraprabha cites this gāthā as an example of Sandehasankara (for we cannot say whether Samāsokti or Aprastutaprasaṁsā is the figure in this gatha). His comment on the gātha is adopted verbatim from Mammața (KP, p. 760, lines 3-4).
78. This gātha is already dealt with; vide ŚP S.No. (91.59), SK S.No. (4.340) supra.
Following Bhoja Narendraprabha cites this gātha as an example of Adhikam, one of the Upama-dosas. As 'bhramaragana', the attribute of the Upamāna is 'adhika' (redundant), the gātha is vitiated by the poetic blemish (or defect), called dharmadhikatva (or adhikopamānam.)
79. This gātha is already dealt with; vide ŚPS.No. (90.59), SK S.No. (3.340) supra.
Following Bhoja, Narendraprabha cites this gātha as an example of dharmanyūnatvam (or, nyūnopamam). His comment on the găthā is : 31 नेत्रबाहूपमानपदानि वधूविशेषणत्वेनाभिहितानि (? विशेषणत्वेन नाभिहितानि)। पृ. ३३५. Cf. Bhoja's comment : 347 741644196Hi gyfartautarachcalled 4794441
– paradt, 9. R.

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Chapter XV Prakrit Verses in Vägbhata's Kävyānuśāsana
Verse 1 : Muro which swells up the plump breasts;
सव्वंकस (सर्वंकष) all-powerful. For the idea of this verse. read Raghu IX.47 त्यजत मानमलं बत विग्रहैर्न पुनरेति गतं चतुरं वय: । परभताभिरितीव निवेदिते स्मरमते रमते स्म वधूजन: ॥
Verse 2: Here we have a series of fine fancies. The nāyikā darts through the corners
of the eye sharp, shining (white) glances in the King's direction. He feels that (i) he is being bathed white, as it were, in liquid camphor, or (ii) in moonlight or (iii) covered with the powder of pearls.
Vagbhata cites this verse to illustrate 'चक्षुष: शुलता'.
Verse 3 belongs to Lilavai (No. 24). The text of Lilavai reads सुरसं (v.1. सरसं) वेवंअतओं
and the commentator comments thus : वेपमानो रसपानलोलुपतया कम्पमान:। [सुमंजुगुंजियरवो and सरसं बेबंतओ मासलं (बेबंत pres. part. of बू (Sk. ब्रू)] would involve the poetic blemish of पुनरुक्तता (Redundancy, Repetition or अनर्थकता Uselessness).
Vagbhata states : देश्यानां प्राकृताधुक्तौ मुग्धोतौ च न दोषः ।।
and then illustrates तत्र प्राकृते यथा - जुण्हा ---- (लीलावई गा. क्र. २४) अत्र तिगिछि मकरन्द इति देश्यः ।
Vagbhata's reading चंदुज्जए (loc. sing. of चंदुजअ d, meaning कुमुदं is all right and needs no emendation in view of Hemacandra's statement in Deśī
p. 110 :- कुमुयम्मि चंदोजं ।
चंदोजं कुमुदम् । स्वार्थे के चंदोज्जयं | The printed text of Lilavai (p.7, v. no. 24) reads चंदुज़ुए and records a v. 1. चंद्रुजुए. The commentator reads "चंद्रुजुए कुमुदे चन्द्रवंश्यकमले।". The editor of Lilavai says in his Notes (p. 326) : Trivikrama observes thus (I. iv. 121):
चंदोजं रअणिद्धअं कुमुदम् । चन्द्रेण द्योतत इति चंदोजं । रजनिध्वजम् ।

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611
Verse 4 : सिद्धनरेन्द्र is the famous Siddharaja Jayasimha of Gujarat (VS 1150 - VS
1199). 'कूड-वरड is obviously a biruda / viruda (title).
Regarding this verse, Dr. Bhayani wrote to me to say : "The citation in Vagbhata II (सा जयइ etc.) occurs in its correct form at प्रबन्धचिन्तामणि (SJS No. I, 1933) p. 75 (V.No. 171). It is as follows :
सो जयउ कूडवरडो तिहुयण-मज्झम्मि जेसलनरिंदो । छितूण रायवंसे इक्कं छत्तं कयं जेण ॥ (स जयतु कूट-वरट: त्रिभुवनमध्ये जयसिंह-नरेन्द्र : । छित्वा राजवंशान् एकं छत्रं कृतं येन ॥) ---- वरट in the chaya is just a stop-gap back-formation. जेसल is a shortened term of endearment for जयसिंह. वंश and छत्र are श्लिष्ट."
Regarding कूडवरडो, M. V. Patwardhan wrote to say :- "कूडवरडो is difficult to translate. The word as is recorded in DNM VII. 84 in the sense of दंश-भ्रमर. वरड appears to be the masculine form corresponding to the feminine form वरडी ( = दंशभ्रमरी) कूट = कपट, cunning, deceit, trickery. कूडवरडो would mean “a deceitful, cunning wasp, implying by lakṣaṇā the painful lethal injury that the king in question inflicts on his adversaries (कूटकारक: पीडाकारक: दंशभ्रमर:). The stanza as cited from Vagbhata's Kavyānusāsana (p. 21) mentions the name of the king as Siddha (सिद्धनरिदो.)"
One is left rather unconvinced. But no better explanation is in sight. Verse 9 : Correct ऊससिउं to ऊससियं. in Vol. I. P. 530.
GS(W). 884 reads the second half of this gatha as follows: ऊससिउं पि ण तीरइ छइल्ल-परिवारिए गामे ॥ Vajjalagga. 284*3 thus reads this half : ऊससियं पि मुणिज्जइ छइलजणसंकुले गामे || Saptaśatīsāra V. No. 77 however reads: ऊससि पि ण तीरइ छइल्ल-बहुले हअग्गामे ||
In spite of the variant readings, the idea and the general sense of this second half remain unchanged.
Verse 16. This verse is cited as an example of अतद्गुण अलंकार.

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Verse 23. The King describes in this stanza the advent and glory of the season of
Spring. Rājasekhara, true to the poetic tradition, describes the favourite topic of Vasanta-rtu in great detail in this Act (Karpūramañjari I). The description is, however, more or less conventional..

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Chapter XVI Prakrit Verses In Sahityadarpaņa
V.1. This verse is already dealt with. Vide DHV S.No. (2.6) supra. V.2. This verse is already dealt with. Vide KP S.No. (3.418) supra. V.3. This verse is already dealt with. Vide DR S.No. (6.27) supra. V.4. This verse is already dealt with. Vide Avaloka on DR S.No. (12.29) supra.
V.5. Vāraa (Vāraka) is obstacle. Ai is 'water'. The word 'rasa' also means love,
affection V.6. 37400 (916-FİFTH) (lit. bereft of consciousness, hence) motionless. V.8. Karatala' corresponds to‘vikasita - kamala' (a full-blown lotus) and her
‘mukha' to 'sasi-bimba' (the disc of the moon).
muk
V.10. This verse is already dealt with. Vide ŚP S.No. (1423.303) supra. V.11. This verse is already dealt with. Vide ŚP S.No. (494.143) supra. v.i2. This verse is already dealt with. Vide DHV S.No. (1.6) supra. V.13. This verse is already dealt with. Vide KP S.No. (11.420) supra.
V.14. This (Skandhaka) verse is already dealt with. Vide DHV S.No. (18.9) supra.
V.15. This verse is already dealt with. Vide KP S.No. (19.422) supra. V.16. This verse is already dealt with. Vide KP S.No. (3.418) supra.
V.17. This verse is already dealt with. Vide DHV S.No. (30.12) supra. V.18. This verse is already dealt with. Vide DHV S.No. (5.7) supra. V.19. This verse is already dealt with. Vide DR S.No. (1.26) supra.

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V.20. You do dispel darkness; it is also true that people venerate you by worshipping
your feet (rays); you indeed occupy the distinguished position in Siva's matted hair, but then you deprive the poor lonesome women of their lives !
V.21. Dr. A. M. Gahatage thus wrote in answer to my queries : “The stanza from
the Sahityadarpana will have to be corrected as follows :
ओवट्टइ उल्लट्टइ परिवट्टइ सअणे कहिं पि णो रमइ । विउलिअहिअए फिट्टइ लज्जाए खुट्टइ दिहीए सा ॥ This is a vidauf-Foppelas with 32 HTTS / 30 Hs. cf. 949-5: ERSTSTRIRA 4.17 (p. 137) of Velankar's edition : gafef Fo r retnia : 1
ओवट्टइ = अपवर्तते; उल्लटइ = उद्वर्तते; परिवट्टइ is परिवर्तते; फिट्टइ is भ्रश्याति; खुट्टइ is तुडति (break)." We may translate the verse as follows :The lady tosses up and down, turns around in her bed but feels no comfort whatever. Her mind is fully distracted by the feeling of shame (humiliation) and she has almost lost hold on herself.
V.22. fugidh is fresh butter.
V.23. This verse is already dealt with. Vide KP S.No. (45.430) supra. V.24. This verse is already dealt with. Vide KP S.No. (48.431) supra.
V.25. This verse is already dealt with. Vide A'sarvasva S.No. (41.444) supra. V.26. This verse is already dealt with. Vide KP S.No. (57.433) supra. V.27. This verse is already dealt with. Vide DHV S.No.:(51.16) supra.
*
*
*

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Chapter XVII Prakrit Verses in Rasårņavasudhakara
1. Simhabhūpāla cites this gātha to illustrate sathopapatih. śatha : a deceitful lover
(who pretends to love one woman while his heart is fixed on another); upapati a paramour. After citing the gatha he comments.: अत्र कयाचित् स्वैरिण्या मयि संकेतं गतायां त्वं तु वनवाटिकायां कयापि रन्तुं गतोऽसीति व्यङ्गयार्थेनान्यसंभोगसूचनादयं शठोपपति: । पृ. ३६.
2. RAS cites this stanza to illustrate svakiyā or svīyā nāyikā :
संपत्काले विपत्काले या न मुञ्चति वल्लभम् ।। eftcantajulent at Fotel oferat get: 11 - g. 38-80.
The types of heroine depend primarily on her relation to the hero; she may be his wife (sva, sviya). In the stanza cited the näyikā is Sītā, the wife of the hero Răma.
3. RAS cites this stanza to illustrate vyapadeśa, one of the twelve vāgārambhas (such
as alāpa, vilāpa, etc.). It is defined as : NISHIHASIER 24448Tch: 19.909.
The stanza forms the famous Hamsapadikā's song in Kalidasa's A' sākuntala. Hamsapadika was once the King's favourite but now she was fallen into neglect. The King now pays court to the elderly queen, Vasumatī. The younger once favourite' taunts the King for having forgotten her by addressing him as a madhukara (bee) who is greedy after newer and newer enjoyments. The stanza, suggests that the King has now forgotten his new beloved Sakuntala too. Hamsapadikā's own desire for enjoyment of love's delights with the King is here expressed, according to the RAS under the pretext of describing 'madhukaracūtamañjari-výttānta'.
4. This gātha is already dealt with; vide DR-Avaloka S.No. (16.31) supra.
Avaloka cites it to illustrate 'sambhoga-narma' RAS too cites it in the same context : 'CUT TODICT.'

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5. RAS speaks of 'mada-vrddhih' of three types of persons uttama, madhyama and
adhama, a high class, middle class, or inferior person respectively. It cites the stanza under reference to illustrate the mada-vęddhi (increased intoxication) of an inferior person (adhamasya madavęddhiḥ).
6. 16 = poufa; the usual form, of course is yes, fut. - 3rd pers. sing. from 5 (317
+ 7), to come; goudy and 3yut out are pot. Ist and 3rd pers. sing. forms respectively. They are used here in the sense of the future tense. RAS cites this stanza to illustrate jādyam (Failing or forgetting or not knowing the course of action to be followed), arising from 1942f' (The sight of or meeting with one's lover).
It may be noted here that the first half of this gātha is identical with the first half of GS I. 17. The second half there runs : इअ कस्स वि फलइ मणोरहाण माला पिअअमम्मि ।। (इति कस्यापि फलति मनोरथानां माला प्रियतमे।।) It means:
Such a series of desires cherished about one's lover bears fruit--fructifies—in the case of some fortunate woman only and not in my case.
RAS adds the following comment after citing the stanza : 377 Rugsfuld visi gala paarifa RUTT uudi - .900.
afgesaut (hearing of
7. RAS cites this stanza to illustrate jādyam arising from
unpleasant or disagreeable speech or news).
8. RAS cites this stanza (of Simhabhūpāla) to illustrate jādyam arising out of
3f0cgeht (the sight of undesirable or evil thing or happening).
9. RAS cites this stanza to illustrate cintā (worry), one of the thirty-three vyabhicări
bhāvas (transitory or evanescent feelings). Emaciation or thinness (kärsya), having the face downwards (or the face bent), remorse or anguish (samtāpa), sighs (niśvāsa), breathing (ucchvasana), etc., are its consequents. This cintā may be due to istavastu-apariprāptiḥ (failing to secure the desired object) or aiśvarya-bhraíśana (loss of supremacy, power, the state of being a mighty lord)

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617
etc. The example under reference relates to iştavastu-alābha.
10. This gātha is already dealt with; vide ŚP S.No. (501.144) supra.
RAS cites it here to illustrate rati (love, one of the eight or nine permanent or dominant emotions) which may be awakened, among other things, by visayas (sabda, sparsa, rūpa, rasa and gandha). Simhabhūpāla disagrees with Bhoja's view : Og vittor faHHGIERCI संप्रयोगस्य शब्दादिष्वन्तर्भावान्न तन्मतम् ॥ He cites the present gātha and comments: - scule Y-HIGHHH Ffoarstufa: 1 — 9. 290.
11. RAS cites this gāthā to illustrate rāga (of the kusumbharāga type which is not
fast - which fades after a while).
The lover is a 'bahuvallabha' – a ladies' man. The speaker is happy that she could enjoy the delights of love' in his company for five days. She does not expect the pleasure of the sixth day from him as he is a 'bahuvallabha'.
12. This is the famous 'catuspada-vastu' which Mālavikā first sings. After singing
the song she dances with gesticulations in accordance with the sentiments contained in it. .
RAS cites it to illustrate Pūrvānurāgah (love prior to union), a sort of separation. It may be due to dependence on fate or human being. RAS introduces the stanza with the words : "H1949 Ratasetos rei" - and comments on the stanza : अत्र (चतुष्पदवस्तुके गीते) देवयानीपारतन्त्र्येण शर्मिष्ठाया: ययातिविषय: पूर्वानुराग: ।
Incidentally, it may be noted that we have here the suggestion of Mālavikā's pūrvānurāga for the King – Mālavikā who is dependent upon the Devī, the crowned queen, Dhäriņi, for she serves as Dhāriņi's 'maid'.
13. This gātha is already dealt with: vide ŚP S.No. (995.228) supra.
RAS introduces it with the statement : " Chaofanit RT-" and comments on it (the gatha) thus: अत्र नायिकाकप नचुम्बनव्याजेन तत्प्रतिबिम्बितां सखीं चम्बति नायके तदीष्यया . fiat TRECHT: 'Uh oh UFS FIQÇEzt arudi - 9. P&4.

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14. This gatha is already dealt with; vide SP S.No. (1423.303) supra.
RAS cites this gathā to illustrate "पुरुषस्य मानः" - (man's jealous anger). After citing it, he thus comments on it : अत्रालीकस्वापाक्षिनिमीलनादिसूचितपुरुषमानकारणस्य प्रसाधनगृहव्यापारनिमित्तं विलम्बनस्याभासत्वम् । -पृ. २६७.
15. This gātha is already dealt with; vide ŚP. S.No. (1615.332) supra.
RAS cites this gāthā to illustrate how the jealous anger of the nāyikā is appeased or pacified by upeksa (disregard, indifference ? patience). He comments on it thus:
अत्र शय्यायां चरणावकाशस्थितिमौनादिभिरुपेक्षा । तया जनिता मानस्य शान्तिश्चरणागुष्ठवेष्टितकेशदृढाकर्षणेन व्यज्यते । -पृ. २७०.
16. This gātha is already dealt with; vide A'mahodadhi S.No. (13.513) supra.
RAS cites this gātha as an example of sambhoga (enjoyment of love's delights) (purusagata-sadhvasena samksiptah). It defines Samksipta variety of sambhoga thus : युवानो यत्र संक्षिप्तान साध्वसवीडितादिभिः। उपचारान् निषेवन्ते स संक्षिप्त इतीरित: ॥
(RAS. II. 224-225).
17. RAS cites this gātha as an example of sampannaḥ sambhogaḥ. It defines this
variety as follows: भय-व्यलीकस्मरणाद्यभावात् प्राप्तवैभव: । प्रोषितागतयो[नोर्नोग: संपन्न ईरितः ।।
(RAS II. 226-227) Simhabhūpāla comments on the găthă as follows: अत्र अप्रथमसंभोगत्वाद् भयाभाव: । दन्तक्षतादिष्वङ्गार्पणानुकूल्येन व्यलीकस्मरणाद्यभाव : | ताभ्यामुपारूढवैभव: संपद्यते संभोग: । - पृ. २७९.
18. RAS cites this stanza as an example of smrddhiman sambhogah. It defines this
variety of sambhoga as follows: पुनरुज्जीवने भोगसमृद्धिः कियती भवेत् ।

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शिवाभ्यामेव विज्ञेयमित्ययं हि समृद्धिमान् ॥
(RAS II. 227.228) Simhabhūpāla thus comments on the above gātha : अत्र पुनरुज्जीवितेन कामेन सह रत्या रतेर्बाह्योपचारानपेक्षयैव तत्फलरूपसुखप्राप्तिकथनात् संभोग: समृद्ध्यति ।
- [ 260.
19. This gātha is already dealt with; vide DR Avaloka S.No. (1.26) supra.
Simhabhūpāla cites it here in the context of rasābhāsa. He holds that in the case of pragabhāva the question does not arise तत्र प्रागभावे दर्शनादिकारणेषु संभावितेषु Picaf- FHIRT TATHI - 9. 288.
20. RAS cites this as an example of Rasābhāsa (caused by mleccha-rāga). After
citing it RAS comments on it as follows : अत्र सुरतमोहनसुप्तिमरणदशयोविवेकाभावेन हालिकस्य म्लेच्छत्वं गम्यते ।
Incidentally, it may be stated that Simhabhūpāla firmly holds that in the case of lower animals (and mlecchas), we have rasābhāsa and he attacks Vidyādhara for accepting the view that in their case we have rasa, and not rasābhāsa.
21. This gātha is already dealt with; vide RAS S.No. (19.544) supra.
22. RAS cites this stanza as an example of one of the 36 Bhūşaņas (= Lakşaņas),
called Padoccaya, which in course of time was adopted as Sahokti alamkāra. Raghavan rightly observes ".. while some (Laksaņas) are plainly alamkaras, others have an element of Alaskāra in them, and in still others, the expression as a whole is more than Alamkāra." - Studies On Some Concepts Of The Alamkara Sāstra (p. 48).
23. This line occurs in Bălarāmāyaṇa and it is cited here by Simhabhūpāla as an
example of Bahirlapā nāma Nalikā; the reply to the question ARRUTETTU arctica PHOI (9.4) is : Bălarāmāyana : This reply is to be searched for outside the play : SCUE MISRIHIRUARYTARU afeta care afectat a lehet
- Ç. 80%.
24. Dr. A. M. Ghatage writes to say: "In the edition of Balárāmāyana, edited by
Dr. Gangasagar Roy and published by Ticar ARC ART ARTUR 1986, the stanza

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occurs on page 110 (Act 7, Verse 4). In that edition line 3 reads :
चावं चंडाहिसिंजारवभरिअणहं कड्ढणारुद्धमज्झं, and line 4 reads : जं भग्गं तस्स सद्दो णिसुणि तिहुयणे वित्थरंतो ण माइ ॥ The reading in line 3 कढणारुद्धमज्झं (कषर्णरुद्धमध्य) and the reading in line 4 णिसुणि तिहुयणे ( त्रिभुवने) are better than the corresponding readings in Rasārnavasūdhākara. He translates the stanza as follows:
__ That the bow of Sankara (पार्वतीवल्लभस्य), whose moon (on the head) is shaking because of the (waves of) river Ganges (गङ्गातरलितशशिन:), who is the master of appeasing the great pride of Kama (कन्दर्पोद्दामदर्पप्रशमनगुरो:) and who gives (a helping) hand to the chastising staff of Time (god of death personified = 1) of Brahma (lit. putting the hand on the Time - staff of the Creator) - the bow, the middle part of which was compressed (31776) by being drawn fully, and the terrible sound of whose bow - string filled the sky, when it broke down (यद् भग्न), its noise being heard, spreading in the three worlds could not be accommodated there.
The only difficulty is to interpret forgfor as either A n: or as an Apabhramśalike gerund Pep. As it has to go with grog: which is in the Nominative and acts as a subject of 7 Hild, I prefer the first forgf0737 forgfot.".
25. RAS cites this stanza as an example of Avalagita, one of the ten vīthyangas.
It is twofold : दुषणं त्यजनं चात्र द्विधावगलितं (? वलगित) मतम् ।. III. 277. Simhabhūpäla introduces it with the words: त्यजनाद् यथा प्रबोधचन्द्रोदये, क्षपणक: and thus comments on it : "अहो कापालिनीदर्शनमेव एकं सौख्यमोक्षसाधनम् । (प्रकाशम) भो: कापालिक अहं तव सांप्रतं दास: संवृत्त: । मामपि महाभैरवानुशासने दीक्षय ।" - इत्यादौ क्षपणकस्य स्वमार्गपरिभ्रंश अवगलितम् (? अवलगितम्) | - पृ. ४३१.
26. RAS cites this stanza as an example of Antam, which it defines as:
अनृतं तु भवेद् वाक्यमसभ्यस्तुतिगुम्फितम् ।। तदेवानृतमित्याहुरपरे स्वमतस्तुते: || - III. 281-282.
As the description of the Kaula Dharma in the stanza is vulgar, it is labelled as anrtam.
*
*

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1.546. This gātha is already dealt with; vide DHV S. No. (33.12) supra.
2.546. The comparison between the miser's wealth and a child in the womb by a
paramour is quite original and striking. The common property between the upameya and Upamāna is the action of ‘rakṣaṇa' - guarding, etc.
3. 546. Arist (AUTO) while being made (or drawn) - pres. pass. part. nom. sing.
fem. from the root ‘kara' (kr). HTT (Hait) friendship; 31U16T (3779) unscathed, safe; TETUT (9797) rock or stone.
4. The latter part of the second half of this gāthā is short by one mātrā (mora,
metrical unit); H16U (HIGIRI) the peculiar efficacy or virtue (of any divinity or sacred shrine - in the present context it is however used ironically); Kali : the fourth age of the world, the iron age (consisting of 432,000 years of men and
beginning from the 8th of February, 3102 B.C.) 5. This gāthā is already dealt with; vide ŚP S. No. (667.174) supra.
6. This gātha is already dealt with; vide DHV Locana S. No. (28.11) supra. 7. This gāthā is already dealt with; vide A Sarvasva - Vimarsini S. No. (31.442)
supra. GRK S. No. (677) reads Halad for Hafazi. That reading is decidedly better.
8. तरलाविएहि is equated by the editor with "तरलीकृतैः"; but it would be better to equate
it with "arrad:". ' BIRT TUTT' 'How are you related to Madana, the god of love (who is the standard of comparison for the most handsome young man) i.e., you are as handsome as Madana is the suggested sense.
9. This găthā is already dealt with; vide KP S. No. (25.424) supra.
Sobhākara comments on this gātha as follows:

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Prakrit Verses in Sanskrit Works on Poetics अत्र नवपूर्णिमामृगाङ्कस्य कस्त्वमसीति प्रश्नात् क्षणरागिता नवपूर्णिमामृगाङ्कवदर्थतोऽवगम्यते इत्यार्थमौपम्यम् । तदेव च का प्रदोष रजनीव तवाद्येति द्वितीयार्धे चोपोदलितम् । - प्र. १५.
10. Sobhākara cites this gātha in the course of his discussion relating to his newly
discovered figure Pratimā. He declares that the figure contained in this gāthā is Apahnuti. He thus comments: --- इत्यादौ शीतलत्वादिहारधर्मसंबन्धेऽपि सामानाधिकरण्यनिर्देशात् ... "सो च्चिअ (मुत्ता - ) हारो" इति मुख्यनिषेधाचापहनुतत्यादय एव । - पृ. १६.
11. Sobhākara cites this gātha as an example of Drștānta arising from similarity
between the two sentences. He remarks: अत्र विप्रियाभावामतमोचनयोर्भावाभावयोर्बिम्बप्रतिबिम्बभाव: । --- अत एव च आर्थमौपम्यम् ।
12. The editor of the text renders अविसण्णो into Sanskrit as अवसन्नो; अविषण्ण would be
the correct rendering. Sobhākara cites this gāthā as an example of Drstānta springing from dissimilarity; he observes : अत्र धूर्धारणाद्यवलम्बनभावा(? वलम्बनाभावा)दिना वैधपेण प्रतिबिम्बितम् । .
13. The printed text reads वहुप्पमाणेण (Sk. बहुप्रमाणेन). Probably the original reading was
पहुप्पमाणेण (Sk. प्रभवता). Hemacandra declares : प्रभौ हुप्पो वा । ८।४।६३. गण्ड means the cheek and पाली (पालि) the tip of the ear. “(Your) cheeks and the tips of your ears turning red through anger,---."
14. मुउड is a misprint for मउड in the Devadhar's edn. If the latter part of the second
half is read as दीसइ (णिअ -) मउड-ससिखंडो, we have the normal gāthā metre (12 + 18, 12 + 15 matras). Sobhakara cites this gatha as an example of his newly discovered figure Vinoda. After citing it he comments: अत्र गौर्याः पराङ्मुखीत्वेन कपोलस्यादर्शने तत्सदृशशशिखण्डविलोकनेनोत्कण्ठातिवाहनम् । - पृ. २४. . faris - a diversion, an amusement, any amusing pursuit or occupation.
15. According to poetic convention, fame is always described as white; ksirodadhi
= the sea of milk (which is naturally white). "Seeing today the very long (and extensive) stream of your fame, O, King, we satisfied our (deep) longing for seeing the milky ocean." Read : अत्राननुभूतस्य क्षीरोदधे: कीर्तिप्रवाहदर्शनेनोत्कण्ठाया अतिवाहनम् । - शोभाकर, पृ. २४.
16. The printed text reads अज्ज (Sk. अद्य). The generally accepted reading, however,

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is अज्झा (प्रौढ-युवति:) or अज्जा (Sk. आर्या). कहिज्जत pres. pass. part. from कह (Sk. कथय to tell) (कथ्यमान); We have alternative reading पुणरुत्तसयं for पुणरुत्तसुयं. भुवनपाल observes हत्थसंदिट्ठ इति लोकोक्ति :।
17 and 18 illustrate the figure Pratipa which Sobhakara defines as: अधिकगुणस्यानादर:
प्रतीपम्.
19. वंदिज्जउ = वन्द्यताम् (and not वन्द्यते as found in the printed text.); कीरइ : क्रियते (the
printed text wrongly equates कीरउ with क्रियते (we expect क्रियताम्). GRK No. 493 reads: निद्द चिय वंदिज्जइ, किं कीरइ देवयाहिं अन्नाहिं । जीए पसाएण पिओ दीसइ दूरे वि निवसन्तो || (निद्रव वन्द्यते किं क्रियते देवताभिरन्याभिः । यस्याः प्रसादेन प्रियो लभ्यते दूरेऽपि निवसन् ।)
20. The printed text in Devadhar's edn. reads मुसलम्मि धावताइ (? ) which makes no
sense. The text is emended as "मुसलम्मि वावडाए' (पिआए) (मुसले व्यापृतायाः) (प्रियायाः).
21. णिओल (निचोल, cover, veil, wrapper); चाओ (= चाप:) which usually means 'a bow'.
Here it stands for arrow ? and (णिओल for quiver ?); ओसरिओ = अपसृत: : Sobhakara cites this gathā to illustrate his statement that his newly discovered figure Vaidharmya attains unique beauty when associated with another figure. He remarks: अत्र चापनिस्सरणस्य कारणस्य रिपुलोकप्रवेशात्मन: कार्यस्य च 'तुल्यकालतोपनिबन्धनाद् वक्ष्यमाणलक्षणयाऽसङ्गत्या सह संकर : । - पृ. ३१.
22. This gatha is already dealt with; vide KP S. No. (63.435) supra. 23. This skandhakafrom Setu is already dealt with; vide SP S. No. (25.47) supra.
Sobhakara's printed text reads: - पओसु and . बंधु for - पओसो and रोसगइंद-दिढ-सिंखला-पडिबंधो respectively in the first half; anu कहमवि दासरहीहं for कह कह वि दासरहिणो in the second half. Vide Setu I. 14. In this skandhaka we have the figure Paramparita Rūpaka.
24. This gātha is already dealt with vide SK S. No. (232.387) supra.
It is cited here as an example of the figure Săvayava. Rūpaka.

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25. This gāthā contains the figure Apahnuti wherein the nisedha (denial) is ārtha. Sobhakara remarks: निषेध : ।-- छल शब्दार्थपर्यालोचनयार्थात् प्रतीयते । पृ. ४१.
624
---
26. This gatha is already dealt with; vide KP S. No. (18.422) supra. śobhakara remarks: अत्र लोचनरक्तत्वकारणभूतस्य कोपस्य निषेधे रक्तांशुकप्रसादात्मकस्य कारणान्तरस्यारोपः । न चात्र कोपस्य रक्तांशुकेन सह साधर्म्यम् । -
पृ. ४१.
27. This gāthā is already dealt with; vide KP S. No. (28.425) supra. Śobhakara cites it as an example of Apahnuti wherein the niṣedha (denial) is artha ( implied). He comments on it thus: अत्र घटभङ्गस्य द्वारस्पर्शाख्यं कारणान्तर प्रतिषिध्य युवतिविषयदाक्षिण्यरूपं हेत्वन्तरमारोपितम् । अत्रैककार्यत्वं संबन्धान्तरम् ।
28. Sobhakara cites this gatha as an example of Apahnuti, with the introductory remark : ‘आर्थेऽह्नवे यथा-' and after citing it remarks : अत्र मुख्यस्य निषेधे स्वर्गान्तरविधानम् । एतयोः श्यामलत्वादिवर्तुलत्वादिकं चोत्प्रेक्षानिमित्तमनुपात्तम् ।
29. Sobhakara cites this as an example of Utpreksa. Here the pair of breasts is fancied to be identical with a pair of phala and phalaka (shield). The two entities are not however in the same case ( vibhakti).
30. Sobhakara's printed text reads. But it violates the metre. In prakrit we have the word बलआ which also means बलाहक. This gāthā illustrates (सापह्नवा) उत्प्रेक्षा.
31. This gāthā is already dealt with; vide KPS. No. (19.422) supra. Sobhakara cites this gāthā with the introductory words: "आर्थी यथा"-. He comments on the gāthā thus : अत्र वाक्यार्थप्रतीतसमय एव पदार्थसमन्वयपर्यालोचनया अवर्तमानस्य हेतोरतात्त्विकत्वावगतेरार्थः संभावनात्मक इवार्थ इत्यार्थी । - पृ. ५०.
32. This gāthā is already dealt with; vide A' Sarvasva - VimarśinīS. No. (*17.439). 33. This gāthā is already dealt with; vide A' Sarvasva S. No. (18.439) supra. 34. This gāthā is already dealt with; vide A' Sarvasva S. No. ( 39.443) supra. 35. śobhākara cites this gāthā as an example of Vyājastuti. He comments on it thus : अत्र मरुभूमेः स्तुत्या निन्दा लक्ष्यते खदिरस्य फलाद्यसंभवात् । - पृ. ६५.
36. This gāthā is an example of the figure Pratyanīka (which occurs when some

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one, who is unable to retaliate directly against or throw aside an enemy, though intent on doing harm, harms someone who belongs to or is dependent on him, and such action results in the praise of the enemy.) राया = राजा (the moon).
37. This gatha is an example of the figure Vinokti (Arthi). Sobahakara observes :
अत्र विनाकृताख्यस्य साधारणधर्मस्य विमुक्तादिशब्दैररसकदुपात्तत्वात् प्रतिवस्तूपमोपकृतत्वेन प्रकृताप्रकृतगतप्राप्तिरुपधर्मसकृन्निर्देशोत्थापितेन दीपकेन पोषितापिशनादिभिर्विना स्वाम्यादेरर्थात शोभनत्वावगमादार्थी विनोक्ति: । - पृ. ६९.
38. This gatha is an example of the figure Sahokti. Sobhakara remarks : अत्र कमलसङ्गोच:
सुखान्तरायश्च निमीलनगिरा अभेदेनाध्यवसितौ । - पृ. ७०.
39. This verse is already dealt with; vide KP S. No. (53.432) supra.
Sobhakara cites it as an example of the figure Sahokti and adds : अत्र त्वया विना तस्या अशोभनावस्थोत्पन्नेति विनोक्त्या सह सङ्कीर्णता । - पृ. ७१.
40. The reading सअसोअरो does not make sense. It may be emended as 'सरसोदरो:'
(i) full of honey or syrup (ii) full of nectar - सरसम उदरम् (अन्तर्भाग:) यस्य ।। This illustrates the figure Slesa. Sobhakara comments thus : अत्र मुखस्य प्रस्तुतेनाप्रस्तुतयो: कमल-रजनिकरयोर्वाचकौ कमलो यस्य पूर्णो रजनिकरो यस्येत्यर्थावलम्बनेन द्वावपि समानौ । - पृ. ७७.
41. in reply to my query, Pro. Patwardhan wrote to say : "The stanza is obscure
in its sense and I must confess my inability to explain it. The chāyā as printed in Pro. Devadhar's edn. does not help in understanding the sense. So also the terse and corrupt commentary on it. What does राजगुरुयोरप्रस्तुतयो (?) mean ? Perhaps रअणाअरेण in the Prakrit text stands for रत्नाकरेण (ocean-) and रतनागरेण [an urban man who is in love (a)). I am unable to say what the two adjuncts in the first half (one qualifying the occan / urban man and the other qualifying the king) mean. I think that we must drop the 'T' preceding 7370113 Rulla in the commentary, as there is no '' preceding 737UT3RUT in the Prakrit text of the stanza
itself.”
Dr. A. M. Ghatage observes on this gatha and its commentary as follows :"The gloss requires a small correction : राजगुर्वो: अप्रस्तुतयो: and अर्थाश्रयेण (drop 'न') 'रअणाअरेण इति ।

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The gloss explains the Sleșa between one figa and two 34 ga things which are the king and the teacher of शोभाकर गुप्त. The उपमेय is : मित्रचित्तविभव. The greatness of the mind of the friend or better तव, मित्र ! चित्तविभवस्य. In this case a friend of the author is speaking : "O, friend, the greatness of your mind.” This can be explained as follows : हे मित्र, तव चित्तविभवस्य एषा गति: रत्नाकरेण सदशी । कस्मात । विकटपदबंधबांधवश्रिया । रत्नाकरोऽपि विकटपयोबंधबांधवश्रीक :| तव इव राज्ञोऽपि गति: रतनागरकेण सदृशी । "O, friend, this position of the greatness of your mind is similar to that of the occean, because it has the beauty due to an extra-ordinary arrangement of words, as the occan has the charm due to the extensive mass of water, and also that of the king, because he is a gallant lover."
42. This gāthā is already dealt with; vide A’ Sarvasva-Vimarsini S. No. (* 37.443)
supra. Sobhākara, in the course of his treatement of the figure Śleșa, cites this gāthā and declares that in fact it is an example of dhvani: अत्र तरूणां वाच्यत्वम् प्रस्तुतानां (7 अप्रस्तुतानां) निशाचराणां व्यङ्गयत्वम् । If both the trees and the demons were vācya, then it would be an example of the figure Slesa !
43. This gatha is already dealt with; vide A'Sarvasva-Vimarsini S. No. (*43.444)
supra. Sobhakara comments on this gatha as follows : अत्रालिङ्गनरूपस्योक्तस्येष्टस्य वस्तुतो (? वस्तुनो) निषेधे बाधितत्वेन निषेधाभास: | अहं तावत्त्वां विना क्षणमपि स्थातुं न क्षमा, त्वं तु मयि निरनुक्रोशक्रूरहृदयो रान्तुं प्रस्तुत:, तत् किमनेन क्षणमात्रविलम्बेनेत्यादिसूचनेन गमनस्य अवश्यापरिहार्यत्वं
विशेषमवगमयति । --- पृ. ८५. 44. This gatha is already dealt with; vide A'Sarvasva Vimarsini S. No. (* 1.436)
supra.
45. This gatha is already dealt with; vide DHVS. No. (3.6) supra.
Sobhākara cites this gātha in the course of his treatment of the newly discovered figure Vidhyābhāsa. Ruyyaka has given this so-called 'Vidhyābhāsa' as a subdivision of the figure Akşepa.

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46. This gathā is cited by Sobhākara as an additional example of Vidhyābhāsa. The
reading "lihia - pasattam' (likhita - prasaktam) is partly ambiguous. Vajjalagga (No. 366) reads "lihiya pasatthi' (likhitā prasastih). M. V. Patwardhan says in his Notes (p. 478): "Fallout stands for Fallout with 317 shortened metri causa. It looks almost like an Apabhraíba trait ---- Rent = yeffet : Unalterable mandate or rule (inscribed by Providence on the dicue-the forehead). gif is used here in the sense of URIRATI.e., 31151 order, command, mandate, inexorable destiny." On the sixth day after the birth of a child the Creator is supposed to enter the mother's chamber and write the child's destiny on its forehead. Here in this gātha it is Krtanta (Destiny or fate or Yama - the god of death) who is referred to.
47. This gātha is already dealt with; vide DHV S. No. (26.11) supra.
Sobhākara cites this gāthā as an example of the figure Vidhyābhāsa. He remarks :
अत्र त्यागिनो दारिद्यस्य दुष्टतरत्वप्रतिपादनायानिष्टस्यापि जन्मनो विधानम् । - पृ. ८८. 48. This gātha is already dealt wiht; vide A' Sarvasva S. No. (42.444) supra.
Sobhakara cites it in the course of the treatment of the figure Vidhyābhāsa and comments on it thus :अत्र विलम्बस्वेति विहितस्यावस्थानस्येष्टस्य वस्तुनोऽथवेति निषेधाभासाद् वजेत्यनिष्टविधानात् किं भणाम इति भणितनिषेधाभासाचाक्षेपविध्याभासाक्षेपाणां सडूर : न तु भणितिनिषेधरूप आक्षेप एव । - पृ. ८८. The concluding statement is obviously directed against Ruyyaka.
49. Sobhākara cites this gātha as an example of his newly discovered figure
Sandehābhāsa. He remarks; 37 GET AHETUERRIuretanicalaurT" PRI" SUTHTHA: VİCE: --- (9.c8).
50. Sobhākara cites this gātha in the course of his treatment of his new figure
Vikalpabhāsa. अह may better be equated with असौ (or एषा).
51. This gātha is already dealt with; vide A' Sarvasva-Vimarsini S. No. (*44.445)
supra. Sobhākara cites it as an example of the figure Vibhāvanā.
52. Sobhakara cites this gātha in the course of his treatment of the figure Višeşokti.

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53. This is an example of the figure Asangati. Sobhakara comments thus : अत्र गर्जितस्य
मणिशलाकारूपं कार्यं भिन्नदेशत्वेन प्रसिद्धमेकदेशतयोपनिबद्धम् । - पृ. ९७.
54. Sobhākara cites this gātha as an example in the course of his treatment of the
figure Asangati. He comments thus : अत्र लक्ष्म्यागमनस्य कार्यस्य कीर्तिगमनस्य च कारणस्य तुल्यकालत्वम् । - पृ. ९७.
55. The figure in the stanza is Anyonya. Sobhakara remarks : अत्राधरखण्डनसीत्कारयो: ---
स्वरूपस्य परस्पर-निबन्धनम् । - पृ. ९९. If we read caftARUT in the earlier part of the first half the gathā, metre is not violated.
56. The figure in the stanza is Anyonya. Sobhākara remarks : अत्र परस्परविनोक्त्या विन्ध्यस्य
करिणां चान्योन्यमहत्त्वापादनं प्रतीयते । - पृ. ९९.
57. The figure in the stanza is Anyonya. Sobhakara remarks : अत्र स्वामि-सेवकयोरनुचितत्व
स्यान्योन्यापेक्षत्वम् । - पृ. १००. .
58. The figure in the stanza is Viparyaya. This is a new alamkāra discovered by
Sobhakara. He remarks : अत्र गुरुत्व-लघुत्व-विनिमयः। - पृ. १०१.
59. The figure in the stanza is Acintya. This is a new alamkāra discovered by
Sobhakara. He remarks : अत्रैकरूपा मधुमदात् कारणाचिरस्थितस्य निवृत्तिश्विरनिवृत्तस्य प्रवृत्तिरिति विरुद्धकार्योत्पत्ति: । - पृ. १०३.
60. The figure in the stanza is Acintya. As already stated, this is a new alamkara
discovered by Sobhākara. Sobhākara remarks : अत्र विरुद्धात् प्रियतमागमनानागमनात्मकादन्योन्यविलक्षणात् कारणद्वयादविलक्षणस्य विरहसमाप्तिरूपस्यैकस्य कार्यस्योत्पत्ति: । - पृ. १०३. The printed text of A'Ratnakara needs to be corrected: ओए to ओही (अवधि:), कीरइ to कीरउ (क्रियताम), मण्डणे to मण्डणं (मण्डनम्), एते to एंते (आयति), and ण एत्ते व्व to ण एंते वि (आयति अपि).
61. The figure in the stanza is Acintya, a newly discovered one by Sobhākara. He
remarks:

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629 अत्र रिपूणां जितानां मोक्षाद् अन्येषां वधाचेति विरुद्धाकारणद्वयाद् विमलत्वेनाविलक्षणं धर्मयशोरूपकार्यद्वयमुपनिबद्धम् । - पृ.१०४.
62. The figure in the stanza is Visama (III). Sobhakara comments on it thus :
अत्रोन्नतत्वाद् गुणाद् विरुद्धस्य नतत्वस्योत्पत्ति: । प्र. १०६.
63. The figure in the stanza is Vişama (IV). Sobhākara comments on this stanza
as follows: अत्र रविमण्डलस्य पातालपङ्कलाञ्छनं नासम्भाव्य: संयोग: । (? लाञ्छनम् असम्भाव्यसंयोग:) । -पृ. १०६.
64. Note : In place of the third line "तत् (? तथा)" etc., read ता / तह किं विहिणा एसो,
सरसवाणीओ (? सरसअवाणीओ) जलणिही ण कओ ।। This gāthā is already dealt with; vide KP S. No. (64.435) supra. The figure in the stanza, according to Sobhākara, is Visama (V); He remarks: अत्र गभीरतादीनां धर्माणां सरसपानीयत्वस्य सरसवाणीकत्वस्य वा विरहाद् असमग्रत्वम् । (Note : कारणानामर्थान्तराणां वा समग्रत्वाभाव: पञ्चमं विषमम् । - पृ. १०५). According to Mammata, this is an example of the figure Samkara (II) . (समासोक्त्यप्रस्तुतप्रशंसयो: संदेहसंकरः ।)
65: Note: The second half of this verse is metrically defective. If we read the earlier
part of the second half as थणआअत्तं (जइ) पेम्म [ (स्तनका =) स्तनायत्तं यदि प्रेम], the stanza answers the criteria of the gathā metre. The stanza is an example of the figure Sama. Sot akara comments on it thus : मुखप्रेक्षकत्वादिकस्य सजातीयस्य धर्मस्य --- चोत्पाद: । - पृ. १०८.
66. This gātha is already dealt with; vide DHV S. No: (45.15) supra.
The figure in the stanza, according to Sobhākara, is Sama. He remarks: 3431 दुहितादिरूपाणां लक्ष्म्यादीनामनुरूपाणां शोभनानां संयोगः । ।
67. उप्पाइअ (उत्पादित =) अर्जित earned; भाअणं (भाजनम्) recepient or beneficiary; णिंब (3
निम्बफलानि) the nimba berries are bitter in taste even when ripe. The figure in the stanza is Sama. Sobhakara remarks : अत्र खलस्य खलान्तरमेव निम्बस्य चाशोभनस्य काका एव तादृशा उपजीवकत्वेन निबद्धाः । - पृ. १०८.
68. एत्थ : अत्र (Correct the chaya accordingly).
The figure in the stanza is Vicitra. Sobhākara comments on this gāthā as follows:

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Prakrit Verses in Sanskrit Works on Poetics अत्र मदिरापरिमलसेवनरूपस्य प्रयत्नस्य तुच्छत्वं प्रियसाम्मुख्यादे: फलस्य महत्त्वम् । - पृ. ११०. 69. Sobhakara cites this gatha as an example of the figure Vicitra. If the warriors,
desirous of gaining wealth, invade the enemy, it is quite understandable. If the lion wishes to attack the (thundering) cloud, there is absolutely no possibility of gaining any thing.
70. This gātha is already dealt with; vide ŚP S.No (399.125) supra.
Sobhākara cites this gātha as an example of the figure Vicitra. He comments on the gåtha as follows:
अत्र कर्दमस्य स्वेदरूपेण निमित्तान्तरेण निवृत्तौ लक्षणस्यानुपयोग: । - पृ. १११. 71. This gātha is already dealt with; vide A'Sarvasva - Vimarsini S. No: (*48.445)
supra. By this gatha Sobhakara illustrates the figure Visesa (III). . He thus comments on it : अत्र चौर्यरतेन प्रियरतेन प्रियरञ्जनार्थं गमनरूपस्य प्रयत्नस्य प्रवृत्तस्यानुनिष्पन्नतया तमोहरणरूपं कार्यान्तरमपि
सम्भाविताद् भवतीत्युक्तम् । - पृ. ११२. 72. The figure in the stanza is Visesa (III). It is defined as : संभाविताद् अधिकस्य विरुद्धस्य
वा वस्तुनो निष्पत्ति: स तृतीय: । - पृ. १११. Sobhākara comments on the gătha as follows: अत्र चित्रवृत्तिरूपाणां चित्रवर्तिकामालेख्यमानत्वेन तनुत्वस्य संभावितस्यानुत्पत्तौ विरुद्धाया वृद्धेरुत्पत्तिः ।
- पृ. ११२. 73. Sobhākara cites this gātha in the course of his treatment of the figure Vyāghăta.
The poison of intoxication caused by wealth, birth in a noble family, etc. is removed by knowledge; but the poison of intoxication caused by knowledge itself who can remove ? Thus knowledge destroys (or removes) the posion of intoxication and also causes the poison of intoxication. So this gātha is an example of the figure Vyāghāta. On this gāthă Sobhākara thus comments : अत्र मदस्य विनाशकारणादपि विज्ञानादुत्पाद: वक्ष्यमाणाशक्यालङ्काराङ्गतयोपनिबद्ध : ।
74. This gātha is identical with the above gātha (73.559), amd referred to in the
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comments on it: अत्र विनाशकारणाद् विज्ञानाद् यदि मदस्योत्पत्ति: तत् केनान्येन निवार्यत इति निवारणासामर्थ्यम् । - पृ. ११५.
75. Sobhakara cites this gatha in the course of his treatment of the figure Asakya.
He thus comments on it : अत्र ऋजुना रमणेन वक्रेणापि वा प्रियविषये प्रियकरणमशक्यतयोक्तम् । - पृ. ११६.
76. This gatha is already dealt with; vide SP S. No. (372.119) supra.
Sobhākara cites it here as an example of the figure Vyatyāsa (newly added by him). It occurs when 'dosa' and guna are represented as 'guna' and 'dosa' respectively. In this găthă ‘marana' which is a 'dosa' is represented as praiseworthy. Hence it is an example of Vyatyāsa. Sobhākara comments on it as follows : अनयोरन्यासां मरणस्य दुष्टत्वेऽपि अस्यां श्लाघनीयत्वेन गुणत्वम् । - पृ. ११६.
77. In the course of his treatment of the figure Vyatyāsa, Sobhākara introduces this
gatha. He thus comments on it : - अत्र सुकृतस्य गुणस्य पारम्पर्येण पापात्मकदोषजनकत्वेन विरूपकार्योत्पत्तिरूपो विषमालंकारो न व्यत्यास: । गुणस्यैव देशकालभेदेन दोषतायामेतस्य भावात् ।
78. Sobhakara cites this gatha as an example of the figure Samata, newly introduced
by him. He thus comments on it : अत्रानुनयार्थं पादपतनचाटुकादि कुर्वता पादपतनेनार्जितस्य प्रसादाख्यस्य गुणस्य चाटुकान्तर्गतेन गोत्रस्खलनेन हारणमिति गुणो दोषेण समाहितः ।
79. Sobhākara cites this stanza as an example of the figure Udreka newly introduced ... by him. He thus comments on it ; इत्यादावुदयास्तमयरूपयो: द्वयोरपि गुणदोषयो: पङ्कजदोषकर्तृकया
दोषात्मिकाया: श्रीप्राप्त्या तिरोहितत्वात्तुच्छत्वम् । --- पृ. १२०.
80. Sobhākara cites this gāthā as an example of the figure Tulya, newly added by _him. He thus comments on it: --- घनालिङ्गनस्य गुणस्योत्पत्ती जलकेलिरूपगुणान्तरनिवृत्ति: । -
पृ. १२१. For he explains the nature of his new figure thus : (एकस्य दोषस्य निवृत्तौ दोषान्तरोदयो) गुणस्योदयो गुणान्तरनिवृत्तिश्चेति (दोषनिवारणे दोषान्तराविर्भावाद्) गुणाश्रयणे गुणान्तरनिवृत्तेराधिक्याभावात्
तुल्यम् । - पृ. १२०. 81. Sobhākara cites this gāthā as an example of the figure Anādara, newly intorduced
by him. The forehead, coloured with the dark paste of (fragrant) musk, is unwilling to carry the face which is darkened with the darkish dent --- and thus indicates its disrespect towards the face. Hence we have here the figure Anādara.

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He remarks: अत्र मृगनाभिश्यामलेन ललाटेन न मुखमपि तु किणकालस्य वतामुख(?)मित्यवगमादुक्तनिमित्तस्तुल्यानादरः । - पृ. १२२.
82. Sobhakara cites this gatha as an example of the figure Adara, newly added by
him. In this stanza we are told : When betel leaves were available, the pippalī leaves were discarded, but when they were not available, people again took to eating pippali leaves; so too in a village when strangers are not roundabout even one's own husband is good enough for enjoying the delights of love. Sobhakara remarks on this gatha : अत्र पर्ण-परपुरुषाद्यवाप्तौ स सम्पत्तिकानिजपत्योस्त्यक्तयोरपि पुन: पर्णाद्यलाभे स्वीकार: । पृ. १२२.
83. Sobhakara cites this gatha as an example of the figure Anukrti (हेत्वन्तरादन्यस्यापि
तथात्वमनुकृति: 1) The gatha informs us: "Women close their eyes out of deep satisfaction that sexual pleasure gives and they continue to remain closed out of deep sleep." Sobhākara comments thus
अत्र रतिसखनिमित्तकस्य नेत्रनिमीलनस्य स्थितस्य निद्रया दृढीकरणम् । - प्र. १२५.
84. Sobhākara cites this gātha as an example of the figure Pratyūhaḥ, newly added
by him. Sobhakara thus comments: अत्र दाहप्रवृत्ते: गङ्गाजलसंसर्गानिवृत्ति: । - पृ. १२५.
85. This gātha is already dealt with: vide A'Ratnakara S. No. (58.557) supra.
Sobhākara cites it here as an example of the figure Pratyādesa, newly added by him. He thus remarks : --- अङ्गलघुत्वस्य मानगुरुत्वस्य च प्रवृत्तस्य मधुमदविलासनिमित्तिका गौरवलाघवापादान-प्रतिपादनद्वारा निवृत्तिरभिहिता | ---- पृ. १२७.
86. Sobhākara cites this gāthā as an example of the figure Pratyādeśa, newly added
by him. He thus comments:
---- लाञ्छनस्य प्रवृत्तस्य निवृत्तिर्नखप्रभाच्छादनमुखेन सम्भावितेति प्रतिभालिङ्गितत्वम् । - पृ. १२७. 87. Śobhākara cites this gāthä as an example of the figure Pratyādeśa. He thus
comments: अत्र प्रवर्तितस्य च्छिद्रस्य गुणपूरणमुखेन निवृत्तिरुपनिबद्धा । - पृ. १२७. 88. Sobhākara cites this gatha as an example of the figure Pratyadesa. He thus ___comments on it:

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अत्र कोपातिशयादपगतस्यान्योन्यमनस्य रोमाञ्चोद्गमवशेन प्रवृत्ति : । पृ. १२८. 89. Sobhakara defines the figure Samadhi as उपोद्रलनं (उपबृंहणम्, परिपोषणम्) समाधिः ।
In his treatment of this figure Samadhi, he cites this gātha as an example. He thus comments on it : अत्रारोहणपरिश्रमादत्पन्ना: थासा: कार्यरूपा हरिदर्शनेन कारणान्तरेणोदलिताः ।
--- पृ. १२८. 90. Sobhākara gives this gaths as an example of the figure Samadhi. He thus
comments on it :
अत्र कार्यभूतानां स्वेदबिन्दूनां हारमुक्ताभिरुपोबलनम् । - पृ. १२९. 91. Sobhakara cites this gatha as an example of Arthāntaranyasa. He thus comments
on it : अत्र स्तनभुजलक्षणस्य विशेषस्य प्रस्तुतस्य सरलानामित्यादि: सामान्यरूपोऽर्थोऽप्रस्तुत: । पूर्व
समर्थकतयोपात्तः । यच्छब्दोपादानाच शाब्दत्वम् । - पृ, १३०. 92. Sobhakara cites this gatha as an example of the figure Arihantaranyasa. He thus
comments on it: अत्र सप्तद्वीपाक्रमणस्य विशेषस्य कातराणां निजगृहे रत्यभाव: सामान्यत्मा न खल्विति शाब्दतया वैधhण
समर्थक: । - पृ. १३१. 93. Sobhākara cites this gāthā as an example of the figure Arthāntaranyāsa (Artha
- Implied). He thus comments on it: . --- उक्तनीत्या सामान्यविषयाया: प्रतीते: सधर्मणा विधर्मणा च विशेषेण विषदीकरणे उदाहरणस्यैवार्थत्वम् । -
पृ. १३२.. 94. Sobhakara cites this gatha as an example of the figure Vyaptih. He thus comments
on the gatha: अत्र द्वयोरपि पक्षयो राजदर्शनासम्भवः । - पृ. १३३.
95. Sobhākara cites this gāthā as an example of the figure Anumāna. He thus
comments on it:
अत्र नायकदर्शनाख्यस्य कारणस्य तत्कार्यशरीरास्वास्थविरुद्धस्वाथ्योपलम्भेनाभावोऽवसित: । - पृ. १३५. 96. This gātha is already dealt with; vide ŚP S. No. (1323.285) supra.
Sobhākara cites it in the course of his discussion of the figure Hetu. He thus • comments on it : इत्यादौ कण्ठागत-जीवितत्वदेर्विशेषणस्यार्थेऽपि रक्षणादिहेतुत्वं सर्वत्रोक्तम् |--- पृ. १३७.

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97. This gatha is already deaft with; vide SP S. No. (1334.287) supra.
Sobhakara cites it as an example of the figure Hetu (Artha). He thus comments on it: अत्र निषिध्यमानस्य रोदनस्य कार्याया: प्रस्थाननिवृत्ते: चूतपल्लवाख्येन कारणान्तरेण जन्यत्वमिति कारणरूप आर्थो
हेतु: । -- पृ. १३८. 98. Sobhakara cites this gatha as an example of the figure Apatti, newly added by
him. He thus comments on it:
अत्रानिष्टस्य विरहाग्नेर्गतस्य पुनरागमनापादनात् प्रतिप्रसव-(स)कीर्णता । - पृ. १३९. 99. Sobhākara cites this gātha as an example of the figure Arthāpatti. He thus
comments on it:
अत्र चन्दनलताकम्पनात् प्रकृताद् वियोगिनीकम्पनस्याप्यप्रकृतस्यापतनम् । - पृ. १४०. 100. Sobhakara cites this gatha as an example of the figure Arthapatti. He thus
comments on it :अत्र दाक्षिण्यागमनेनापि निवृतिर्भवति । निष्कैतवानुरागनिबन्धनागमेनार्थाल्लोकोत्तरेव निर्वृतिर्भवति इति प्रकृताद् अप्रकृतस्यापतनम् । दक्षिण्यागमनापेक्षया चात्र सद्भावागमनस्याधिकत्वम् । - पृ. १४०.
101. This gatha is already dealt with; vide SK S. No. (257.391) supra.
Sobhākara cites it as an example of the figure Arthāpatti. He thus comments on it : अत्रैकस्य कृष्णशारस्य दक्षिणवलनाद् गमनासंभवे द्वयोरपि लोचनयोस्तथाविधयोरर्थादसम्भव इति न्यूनादधिकस्यापतनम् । - पृ. १४१.
102. This gatha is alreaday dealt with; vide SP S. No. (1341.288) supra.
Sobhākara cites this gāthă as an example of the figure Arthāpatti. He thus comments on it :
अत्र पान्थानां प्रलोकननिवृत्तौ वार्ताप्रश्नादि दुरापास्तमित्यर्थाद् अवगम्यते । - पृ. १४१. 103. This gatha is already dealt with; vide SP S. No. (587.159) supra. .
Sobhākara cites it here as an example of the figure Vidhi, newly added by him. He thus comments on it : अत्राननुविधेयवचनस्य घनस्य प्रेषणवशेन प्रवृत्त्यसम्भवानिबिडगर्जने वराकीमारणनिषेधे च प्रेषणं सम्भावितफलम् । - प्र. १४३.
104. In the course of his treatment of the figure Vidhi, Sobhakara cites this gatha.
He thus comments on it : असंभाव्यप्रेषणफलत्वेऽपि रक्षणीयान्तरानुपादानात् गर्जनादेरनिष्टत्वेन

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विध्यामाससंकीर्णता । - पृ. १४३. 105. This gatha is already dealt with; vide KP S. No. (57. 433) supra.
Sobhākara cites it here as an example of the figure Naiyama, newly added by him. He thus comments on it : इत्यादावन्यलक्षण्येन देवगत्यादेवैषम्यादिकमज्ञातं ज्ञापितमित्यस्यार्थनिषेध इति नियम एव - |- पृ. १४४.
106. This gatha is already dealt with; vide DHV S. No. (36.13) supra.
Sobhākara cites it in the course of his discussion of the figure Niyama. He does not recognise Uttara as a distinct figure apart from Niyama (og पृथगुत्तरालंकारो, वाच्य: । प्रश्नपूर्वकस्य नियमस्योत्तरान्तर्भावात् ।). He comments on this gatha as follows : एवमादावुत्तरात् प्रश्नोन्नयनरूपस्योत्तरस्य चारुताभावाद् अनलारत्वम् । - पृ. १४५.
107. This gatha is already dealt with; vide SP S. No. (250.95) supra.
Sobhākara cites it in the course of his treatment of the figure Niyama. He does not admit that the gātha contains any such figure as 'Mālākhyam Uttaram' or 'Vakovākyam'. He clearly states that as there is no strikingness of expression, vicchitti, it is devoid of any figure of speech: "इत्यादी मालिकाख्यम् उत्तरं वाकोवाक्यं
वा विच्छित्यभावादनलङ्कार एव । - पृ. १४५. 108. This gātha is already dealt with; vide DHV S. No. (2.6) supra.
Sobhākara cites it as an example of the figure Niyamah.
Sobhakara cites this gåthà as an example of the figure Parisaṁkhyā. The king's hand that only gave away in charity, stretched out only to receive the sword in difficult battle-fronts (only.) : Sobhākara thus comments on it: अत्र खड्गग्रहणे करप्रसारणस्य नृपतेतिस्य ज्ञापनं दैन्यादिसुलभत्वेन करप्रसारणनिषेधार्थम् । -पृ. १४६.
110. Sobhakara cites this gatha as an example of Parisamkhya. He prefaces the gatha
with the introductory remark : "प्राप्ते प्रेषणेन यथा-" and thus comments on the gatha: अत्र वक्तगहादन्यत्रकरणे स्वत एव प्रवृत्तस्य चन्द्रस्य यत्प्रेषणं तत्तदगृहज्योत्स्नाकरणस्य निषेधार्थम । -- पृ. १४७.
111. Sobhākara cites this gātha as an example of the figure Pratiprasava. He
comments on the gatha as follows: अत्रातिबाल्यदशायां प्रवृत्तस्य स्तनचिन्तनस्यार्थावसेयनिवृत्तस्य तारुण्येऽप्याविर्भाव: । (एकस्य च धवलस्तन - चिन्तनस्य बाल्यतारुण्यरूपे नैकस्मिन् क्रमेण भावात् पर्यायसंकीर्णता ।) - पृ. १४८.

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Prakrit Verses in Sanskrit Works on Poetics Kuvalayānanda (p. 161) would call this figure as Pūrvarūpa. 112. Sobhakara cites ths gatha as an example of the figure Tantram, newly added
by him. He defines it as : नानाफलप्रयुक्त: प्रयत्नस्तन्त्रम् । He comments on the găthă as follows : अत्र प्राकारभेदनेन विरोधो मार्गवैषम्यं च निवारिते ।
113. Sobhakara cites this gatha as an example of the figure Tantram.
The beloved wife says : "The sight of my dear husband will delight my eyes, give happiness and contentment to my heart, and shower my limbs with nectar." Sobhakara rightly comments on the gatha : अत्र. . वल्लभदर्शनाद्
विलोचनादिभिरविषयस्यानन्दादेर्युगपदुत्पत्ति: । - पृ. १४९. 114. This gatha is already dealt with; vide $P S. No. (79.57) supra.
Sobhākara cites this gāthā as an example of the figure Tantra. He comments on it thus : अत्र 'ऋजुविलोकन' प्रयत्नस्य प्रियसम्यग्दर्शनमुग्धतावधारणे युगपत् तुल्यतया भवत इति नानाफलत्वम् ।
115. Sobhākara cites this gāthā as an example of the figure Tantra. He comments
on it thus :
अत्र नखक्षतादिप्रयत्नस्य रोष-रते युगपत् तुल्यतया भवत इति नानाफलत्वम् । 116. Sobhakara cites this gatha as an example of the figure Vikalpah, newly added
by him. He defines the figure as follows : विरुद्धयोस्तुल्यत्वे पाक्षिकत्वं विकल्प: । - पृ. १५१. After citing the găthả by way of example, he thus comments on it : 37
मदनसंतापस्योभयथा निवृत्तिर्मृत्यु-प्रियसङ्गमयोस्तुल्यत्वेन तुल्यबलयोर्विरुद्धत्वाद् विकल्प: । -- पृ. १५२. 117. Sobhakara cites this gatha as an example of the figure Vikalpa. After citing
it he thus comments on it: अत्र भोगमोक्षयोरुद्धरकन्धरत्वेनावश्याभ्यर्थनीयत्वेन परस्परविरुद्धार्थत्वात् एकतरावलम्बनम् उपदिष्टम् । अत्र च कार्यविषयो वास्तवो विकल्पो विच्छित्तिविशेषेणोपनिबद्ध इत्यलङ्कार : । - पृ. १५३.
118. Sobhākara cites this gāthā as an example of the figure Samuccayaḥ. After citing
it he, by way of explaining how this gātha contains the figure, remarks: अत्र वल्लभदर्शनात्कारणाद् उत्पन्नयोर्विमलत्वरक्तत्वयोगुणयो: श्लेषाध्यवसायानुप्राणित: समुचय: । -पृ. १५३.

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119. This gātha is already dealt with; vide SK S. No. (374.415) supra.
Sobhākara cites this gåthā as an example of the figure Samuccaya (defined by him as धर्मयोगपद्यमन्यस्यापि तत्करत्वं च समुच्चय: ।) After citing this gatha he
remarks : अत्र मिष्टत्वस्य गुणस्य बहुत्वाख्यगुणाभावेनसह यौगपद्यम् । . 120. Sobhākara cites this gāthā as an example of the figure Parivịtti defined by him
as विनिमयः परिवृत्ति: ।). After citing it he remarks : अत्र बहुविधस्य कनकादेरधिकस्य दानेन तुच्छाया: चरणधूलेरादानम् । - पृ. १५६.
121. Sobhakara cites this gatha as an example of the figure Parivrtti. After citing
it Sobhakara remarks :
अत्र मदहारणेनापकारिणो भ्रमरस्य गजेन्द्रेण कर्णाघातै: प्रत्यपकारः कृत: । - पृ. १५६. 122. Sobhakara cites this gatha to illustrate the figure Paryaya. After citing it he
remarks:
अत्रैकस्य तिलकस्य क्रमेण सदृशानेकाधारस्थिति : । - पृ. १५८. 123. Sobhākara cites this stanza as an alternative example of the figure Paryāya.
“As soon as it has dawned here, Lakşmi (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 to the day and from the flocks of Cakoras to the assemblages of Cakravākas." Incidentally, this stanza is in the Sardūla-vikrīdita.
123.a. Sobhakara cites this gatha as an example of the figure Paryaya. After citing
it he comments on it as follows : अत्र रत्नाकरोत्सङ्गाद् विलक्षणे शून्ये गगनमार्गे स्थितिरिति क्रमवतोराधारयोर्वैलक्षण्यम् । - पृ. १५८.
123.b. Note : Sobhakara's figure Krama is akin to Mammata's Paryaya.
He cites this gātha to illustrate kramah (Avarohah). After citing it he comments upon it as follows : अत्र सेवकजनस्य यथायथमपकृष्टस्थानासादनेनावरोहो (न तु पूर्ववद अधोदेशगमनेन ।). 'पूर्ववद् अधोदेशगमनेन' refers to the Celestial Ganga's descent from heaven to Siva's matted hair, from there to the mountain, etc..
124. Sobhakara cites this gatha to illustrate the figure Avaroha, newly added by him.
He defines it as follows :

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विपर्ययोऽवरोह: । रूपधर्माभ्यामित्येव ।
After citing the gatha he remarks : अत्रानेकेषां शशि-प्रभृतीनां स्वरूपलाघवक्रमः | "The moon is smaller then the sun, the fire is smaller than the moon, the lamp than the fire, the fire-fly is smaller than even the lamp -".
125. Sobhākara cites this gatha to illustrate the figure Atiśaya, newly added by him.
He defines it as follows: सम्भावनयान्यथा वातिशयोऽतिशयः । After citing the gatha he comments upon it as follows: 37 ECHT सम्भवसम्भावनस्यातिशयितत्वे यदि जन्माभावं न करोषि तत्प्रेमाभावं कुर्वित्यादिना प्रेमाभावादिसम्भवस्यातिशय 349 1 - Ļ. 984.
126. Sobhākara cites this gātha as an example of the figure Atibaya
(Asambhāvanayā). After citing it he comments upon it as follows: 37 UCHI SAHURY HT- RTY: 1 - . 984.
127. This gātha is already dealt with; vide ŚP S. No. (307.106) supra.
Sobhākara cites it here as an example of the figure Atisaya. He thus comments
on it: gruret foUCITHSHI GT trud guldreffit-fareta: 1 - . 984. 128. Sobhākara illustrates the figure śrnkhalā by citing this gātha. He-thus comments
on the gātha:
अत्र क्रमेण शैल-जलधरादीनामाश्रयाश्रयिभाव उपमानत्वेनोपात्त: । - पृ. १६६. 129. This gātha is already dealt with; vide ŚP S. No. (180.78) supra. Sobhākara
cites it as an example of the figure Srnkhală and adds the comment; 347TRITRE
1195479: - . 9€€. 130. Śobhākara cites this gāthā as an example of the figure Šộnkhalā, and adds the
following comment : 3FTRITT ISTI - The thunderbolt strikes the mountains, the mountains with their rocks hurtling down strike the earth and the earth, in its thurn, strikes the hoods of Seșa.
131. Sobhākara cites this gāthā as an example of Śmkhalā and adds the comment :
377 TRIRRITER1CHCH The gātha poet says: “As a young man playing childish games makes people laugh, even so an old man indulging in the amorous sports

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that are meant for the youth." 132. Sobhakara cites this gåtha as an example of the figure Šmkhalā and adds the
comment : अत्र पूर्वस्य पूर्वस्योत्तरोत्तरं कारणतयोपनिबद्धम् । - The gatha poet says: “Virtue begets respect; service to the good begets virtues; and flawless religious
merit begets service to the good.” 133. Sobhākara cites this gātha as an example of the figure Tadguņa. [When a thing
(gives up its own quality and) assumes that of another, that is styled Tadguņa ]. In this gātha the poet represents that the "cool-rayed" moon has assumed the two qualities of tāpana (tormenting) and mărana (killing) from the sub-marine fire and the kālakūta (deadly) poison respectively..
134. This gātha is already dealt with; vide KP S. No. (62.434) supra.
Sobhākara cites it here in the course of his treatment of the figure Tadguņa. Mammata in his kavyaprakāśa cites this găthă as an example of Atadguņa. Sobhākara disagrees with him and holds that it is an example of Visesokti (----- Topifaa sfat magcuffet da da fasteller: 1 - Ę. 988)
135. This gātha is already dealt with; vide ŚP. S. No. (231.91) supra.
Sobhākara cites it as an example of the figure Viveka, newly added by him. He explains the nature of this new figure : गुणासाम्या भेदाप्रतीतो सत्यामपि केनचिन्निमित्तेन
वैलक्षण्यावगतेर्विवेको बिवेक : । .. After citing the găthā he remarks: 3777FIT Q URT Aristat: 1- . 902.
136. This gātha is already dealt with; vide ŚP S. No. (244.94) supra.
Sobhākara cites this gathā as an example of the figure Parabhāga, newly added by him. He thus explains the nature of this figure :
F U NGICRT argat वस्त्वन्तरोपलम्भसमये तस्माद् भेदप्रतीति: परभाग: । अस्य च सद्रूपात्सद्रपस्यान्यथा वा भेदप्रतीतिमहत्त्वेन तुच्छत्वेन वा भवतीति चत्वारो भेदाः । After citing the gatha, heremarks : अत्रान्यमहिलाप्रसङ्गेन दयितेन निजाया वल्लभाया महत्त्वं ज्ञायत ŞcurITRICI - 9. 962.
137. Śobhākara cites this gāthā as an example of the figure Parabhāga (tucchatvena);
and remarks: अत्रानुभूताया: शच्यास्त्रैलोक्यसुन्दरीदर्शनेन तुच्छत्वावगमो निबद्ध : I - पृ. १७३. .

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138. Sobhakara cites this gatha as an example of the figure Parabhaga, and thus
remarks : अत्रासद्रूपात कालकूटात् तथाविधस्यैव खलवचनस्य तदवगमे महत्त्वप्रतीति: । - पृ. १७३. 139. पुत्तय = पुत्रक (voc. sing.). My son !; अंजलिं पणमिसि ( = अञ्जलिम् अर्पयसि ) - You pay
homage (lit. you are lowering your folded hands); सूर-च्छेलेण = सूर्यनमस्कारच्छलेन (under the pretext of paying homage); उम्मीस = उन्मिश्र mixed with, accompanied by; नोक्कारा = जयकारा:., ('जय जयेत्यादिका: स्तुतय: ) salutations; Sobhakara cites this gatha as an example of the figure Udbheda, newly added by him. He defines it as follows : निगूढस्य प्रतिभेद उद्भेद: I After citing it, he thus comments upon it: अत्र वातायनस्थितां प्रच्छन्नकामुकी प्रति तदभिलषितचौर्यरताभ्युपगमार्थमञ्जलिर्बद्धः सूर्योपस्थानमिषेण
प्रच्छादितोऽपि हासकटाक्षादिना मया चेतित:, इति निगूढप्रतिभेदः । - पृ. १७४. 140. The reading TEKST and its rendering into Sanskrit Feedy are not sastisfactory.
Elsewhere the reading found is : गहवइसुउचिएसु (= गृहपतिसुतोचितेषु - गहवइसुअ (गृहपतिसुत, the householder's / farmer's son); उच्चिअ (= उचित = gathered and taken away); फलहीणेसु (फलहीनेषु) in the present context makes no sense. This gāthā is already dealt with; vide ŚP S. No. (422.129) supra. Sobhākara cites it as an example of the figure Udbhedaḥ, and thus comments upon it: अत्रोन्नतकर्पासवाटिकास्थितनिभृतरमणसङ्गगमार्थं गता उचितकर्पासेष्वपि वृत्तेषु (? वृन्तेषु) तदुपगृहनेन प्रस्विन्नं । वृथैव करं भ्रमयतीति काचिद् विदग्धा सखीं बोधयति । - पृ. १७४.
141. Sobhākara cites this gāthā as an example of the figure Udbheda, and adds a
comment : अत्र केनचित् प्रार्थितस्य कयाचिद् अभ्युपगम: कृतोऽङ्गस्वेदोद्भिन्न: । एवमादौ च प्रतिभेदस्य शब्दोपात्तत्वाद् उद्भेदो वाच्य: । - पृ. १७४.
142. Sobhakara cites this gatha as an example of the figure Udbheda, and adds a
remark : अत्रालीकप्रसुप्तस्य पुलकेनोद्भेद: । पृ. १७५.
143. This gāthā is already dealt with; vide KP S. No. (28.425) supra.
Sobhākara cites it in the course of his treatment of the figure Udbheda; He comments upon it as follows : अत्र संकेतस्थाने कान्तमप्राप्यैव घटं गृहीत्वा गतया त्वयानुयातं तं दृष्ट्वेच्छयैव पुनर्जलानयनमिषेण
उत्संगमार्थमेतत्कृतमिति ज्ञातं मयेति व्यङ्गये तद्भेद : । पृ. १७५. 144. This gātha is already dealt with; vide ŚP S. No. (126.67) supra.
Sobhākara cites it here as an example of the figure Gūdha, and brings out the

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hidden meaning thus. The young damsel had fixed up an appointment with the farmer's son in a jambu grove outside the village. The farmer's son kept up the appointment, but she failed to keep it up. In order to convey to her that he had kept up the appointment, he with jambu leaves placed on his ear went near her house. When she saw him with jambu leaves on his ear, she felt dejected and depressed at her failure to keep up the appointment and her face grew dark with a sense of shame and guiltiness. Here we have : मुखशोभाश्यामत्वरूपो वाच्योऽर्थः संकेतवृत्तान्तेन गूढेन साकांक्ष: । - पृ. १७६.
145. This gatha, which is identical in sense with the gatha cited by Bhoja in his
SK (p. 302, v. 370), is already dealt with; vide SK S. No. (56.351). There it is introduced with the remark : "अभिप्रायगूढं यथा-". Here Sobhākara comments on the găthă as follows :अत्रालक्तकपादमुद्रादर्शनेन पुरुषायितसूचिकेनानभिहितत्वाद् गूढेन पुरुषायितस्योद्भिन्नत्वात् "खङ्गं गृहीत्वा" एवमादिना प्रतिपादकादुद्वेदसूक्ष्माभ्यां सह सङ्कीर्णम् । - पृ. १७६
146. Sobhakara cites this gatha as an example of the figure Gidha. The sight of
the (full) moon intensely torments a (young) woman in separation. She casts a burning glance at Hari's Sudarśana Wheel which was drawn in a picture. If the Wheel had not cut off Rāhu's head, the moon would have been swallowed by Rāhu and the moon would not have come to life again (and thus tormented her !).. Sobhakara therefore says :- अत्र किमित्यनेन दुरात्मना राहो: कण्ठच्छेदः कृतः, अकृते हि तेन
निगीर्णस्य चन्द्रस्य पुनरुद्भवो न स्यादिति गूढार्थ: कस्मात्प्रमुक्तेति प्रश्नपूर्वक उपनिबद्धः । - पृ. १७७. 147. Sobhākara cites this gātha as an example of the figure Sūkşma. Noticing her
lover on the road outside the young woman says to her maiden friend : "Now that the sun is still there, we'll go to the river in the evening." Sobhākara thus comments on it : "अत्र संकेतकालजिज्ञासमानमुपपतिं प्रति कयाचित् सन्ध्यायां सरित्-तटभागमिष्यामीति गूढतया वाक्येन प्रकाशितम् । -- " पृ. १७७.
148. This gātha is already dealt with; vide KP S. No. (8.419) supra.
Sobhākara cites it in the course of his treatment of the figure Süksma and says: (इह तु) ध्वनिरेवोपपतिसंबोधनादेर्वाक्यार्थोपारोहाभावात् ।

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149. Sobhākara cites this stanza in the course of his treatment of the figure Sūkşma.
In this gāthā the intention of enjoying inverted coitus is suggested by the young woman by placing her own necklace round the neck of her dear / consort and by saying that there it looked splendid on him. Sobhakara thus comments upon it : अत्र विपरीतरताभिप्रायो निजहारार्पणेन तव शोभत इति शब्देन चान्यतो लक्षित एव प्रकाशित: । न चैवमादावनलंकारता उदाहरणवचारुताप्रतीते : ।
150. "You must not hurry, dear lady, along that path, lest your limbs are scratched
(or pricked) by thorny bushes on that path." Sobhakara thus comments on this gatha : दूत्यां कामुकोपभोगस्य भावितया संभाव्यमानस्य grarguiled Agent anse sla e HICHREIA: ---- 1 q. 908.
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!"
Dr. A. M. Ghatage observes regarding this verse as follows: "Fort is the reading to be accepted. The afat tells us that the fact is suggesting the prevention of the dalliance between the çat and the 7740, which is yet to happen, because the दूती is asked to go to him : भावितया सम्भाव्यमानस्य कामुकोपभोगस्य निषेध : I Asit: is a शब्दानुपात्त, it is a व्यङ्गय. The व्यङ्गय is not to disclose the dalliance which is happened, because there are no indications like 315eras at this time. It is not व्याजोक्ति, in which the अङ्गक्षतs would be explained by some reasons like कंटक etc.. The intention is simply to prevent the misbehaviour of the sait in future."
He thus translates the gātha : "O, Mātar, you should go the harsh forest with a downcast face, otherwise its beauty will be stolen by the Tagarī Latā. (which has white flowers)."
152. Sobhākara cites this gātha as an example of the figure Vyājokti, which he
defines as $CYTOTG Colla: [It consists in concealing (by means of statement or an action) the nature of a thing which has been disclosed or divulged.] Sobhākara, after citing the găthā, comments on it as follows: अत्राशंक्यस्योद्भेदस्यादावेव शरणागतोक्त्या प्रच्छादनम् । अत्र च जारमर्पयतीति जारस्योक्तत्वेन न ध्वनिः । - 9.968.

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153. Sobhākara cites this gåtha to illustrate the figure Vyājokti. In this example,
the thing disclosed is concealed by means of an action. After citing the găthā he thus comments on it: 351194 for Rurait chat CCHTYI TİCHERRIERI प्रक्षालनव्याजेन पूर्वपरिधानपरित्यागपूर्वकं कार्दमिकवस्त्रपरिधानात्मिकया चेष्टया प्रच्छादनम् । - पृ. १८०.
154. Sobhākara cites this gātha as an example of the figure Vyājokti. After citing
it, he thus remarks:
317 wafausiais cru YIGMAARUIFIEDIGTH I - 9. 960. 155. This gātha is already dealt with; vide DHV S. No. (5.7) supra.
Sobhākara cites it here in the course of his treatment of the figure Vyājokti.
After citing it, he remarks : 37T GOETERGRAFF R EDAR I - Ļ. 929. 156. Sobhākara cites this gāthā as an example of the figure Vakrokti. After citing
it, he remarks : अत्र मलयषवनस्य हर्म्यवासनिषेधकतया (सख्या संभावित) नायिकया (हर्म्यवासनिमित्तकतया) Vhfiruarefashianta 1 - 9. 923.
157. "The 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." This is a striking example of the figure Svabhāvokti (Natural / Realistic Description).
3. "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 direction." Sobhākara cites this gāthā as an example of the figure Bhāvika; and thus remarks on it : अत्र बहुश एवंविधस्य गोधनप्रवेशस्यानुन्मीलितत्वेन चेतस : प्रतिफलनात् प्रत्यक्षायमाणत्वम् । - पृ. १८६. (In this gathā the reader obtains realization of the past thing as present owing to the vividness of the description.)
59. Sobhākara cites this gathæ from the poem Gaüdavaho of Vākpatirāja as an
example of the figure Bhāvika. After citing it, he thus remarks : 351 RT Straumfest H ea: HTUAREART Fortuna : 1 - g. 926.

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160. This gātha is already dealt with; vide ŚP S. No. (602.162) supra.
After citing this gatha, Sobhakara remarks : अत्र गोपालस्य धेनुगमनेऽप्यम्बरदोहनेनोपहस
नीयत्वस्य वाक्यार्थीभूतत्वाद् वाच्यस्य प्रथमा|पनिबद्धः शृङ्गारो अङ्गम् । - पृ. १९०. 161. After citing this gātha, Sobhākara remarks :
अत्र वाच्यस्य "तावद् रुदितम्" इत्यादिमुखेनोपनिबद्धस्य विप्रलम्भस्य यावत् सर्वैरेवारुद्यत (?)
इत्यादिनाक्षिप्त: करुणोऽङ्गम् । - पृ. १९१. 162. "This gatha describes that Sikara (= Varaha, Visnu's third incarnation) first
sent the demon Hiranyākṣa to meet Yama, the god of death, and then raised up the Earth (from the bottom of the ocean) and brought it within the range of his sight." Sobhākara remarks on this gātha as follows : अत्र हिरण्याक्षस्य यमदर्शनगोचरत्वानयनात् कारणात् सदृशस्य वसुधादर्शनपथस्योत्पत्तिप्रतीते : समच्छायाया विनश्यदवस्थाया वसुधाया: सामर्थ्याद यमगोचरं गताया हिरण्याक्षदानेन स्वीकार इत्यर्थतोऽवसेयां परिवृत्तिच्छायां प्रत्यङ्गता ।
163. This gatha is already dealt with; vide A'Ratnakara S.No. (110.566) supra.
On an earlier occasion Sobhākara cited this gåthā as an example of the figure Parisaṁkhyā. Here he discusses it as an example of the figure Samkaraḥ. He explains how the figures Nidarśanā, Vicitra, Hetu and Pratīpa also are contained in it. Read the long paragraph in prose that follows this gāthā.
164. This gātha is already dealt with; vide ŚP S. No. (634.168) supra.
After citing it Sobhākara comments on it as follows : अत्र चन्दनपङ्करूपाद् उपमानाद् अन्योन्यालिङ्गनस्याधिक्येन तापापनयाद् व्यतिरेकस्य तापजनकाद् गाढालिङ्गनात् तापस्योपशम इति व्याघातसंकर : ।
165. This gātha is already dealt with; vide ŚP S. No. (155.73) supra.
After citing the gātha Sobhākara remarks : अत्र सुधाधर-रसयो: चन्द्रामृतसमत्वेन रभसचुम्बनस्य न केनचित् सादृश्यमिति सामर्थ्यात प्रतीतेरसमालंकारो वाक्यार्थीभूतस्य सर्वेषां सदृशवस्त्वभावाद् असाकल्याख्यस्य विषमस्याङ्गम् । - पृ. २०४.
166. In the course of his extensive discussion of the figure San
ākara cites this gatha: "In this world of mortals, there is nothing more difficult to hear than death.

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But sometimes such a sorrow visits a person that death alone becomes a welcome remedy." After citing it, he remarks : अत्र सातिशयदुःखरूपतया सर्वदा निश्चितस्य मरणस्य दुःखान्तरोत्पत्तिसमये दु:खमात्रतयावगम इति परभागस्य दोषात्मकादपि मरणस्यौषधरूपतया गुण इति व्यत्यास: परिपोषकृत् ।
167. "May that hand of Kumāra (Kartikeya) which, while he sucks the breast of
Parvati gropes around for the other breast on the male side in the Ardhanārīśvara form), protect you." After citing this gātha in this prolonged discussion of the figure Sankara, Sobhākara remarks : अत्र स्तनद्रयस्य साहचर्येणोपनिबद्धस्यैकदर्शनात् स्तनान्तरं संस्कारप्रबोधने न तदस्तीत्यनवगमाद् भ्रान्तिमान् करभ्रमणरूपस्य प्रयत्नस्य मोघतया विगतफलत्वमिति विचित्रस्योपस्कारकः | - पृ. २०५.
8. "Govinda (= Visnu) (in his fifth incarnation as Vāmana) humabled (lit. bound) the demon Bali through trickery and grew bigger and bigger so much (with
de) 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 belly) goes about modestly with her head bent downwards ?" .' Sobhākara in his gloss on this gathā shows how there are the figures Vyatireka, Višeşokti and Aprastuta-prasaṁsā and of these, Aprastuta-prašamsă is the principal and the two others subordinate and that they develop the figure Sankara.
Note : Chapter XIX dealing with Prakrit Verses in Rasagangădhara is skipped
over, as it gives verses which have already been explained earlier and the solitary prose passage hardly needs any explanation.

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Chapter XX Viśveśvara Pandita's Alarkära-kaustubha 1.581. This skandhaka is already dealt with; vide WV S. No. (5.36) supra.
The verse is an example of Pūrmopamā.
2.581. This gāthā is already dealt with; vide KP S. No. (3.418) supra.
3.581. - उत्थइओ : Visvesvara gives its Sanskrit equivalent as उत्स्थ गित in his Vitti, but
as rifta in his svopajña-vyākhyā. PSM (p. 156) renders it into Sanskrit as 3497&a; and 3112537 (24T 569) (= 317705U) as 3497a. MVP'S GK (p. 193, G.No. 434) reads संझाराय-त्थइओ and gives its Sanskrit chāya as सन्ध्याराग-स्थगित: - covered by the red glow of the evening twilight; qf5q31-3ict (fauciars: ufars:) the new moon; the moon on the first day (of the bright half of a month) appearing in the west; uko-tefang: nail-mark - cf. The Efurope- T - - Svopajña - vyākhyā (p.36) 71-o thachailla: covered by a red-coloured silken garment (sārī) geci Stut; The crescent moon and the reddish evening twilight are compared to the nail-mark and the reddish silken garment respectively. The figure is Upamā.
4.582. This gātha is already dealt with; vide ŚP S. No. (468.139) supra.
The figure in the stanza is Upamā.
5.582. This gāthā is already dealt with; vide ŚP S. No. (292.103) supra.
The figure in the stanza is Upamā.
6.582. The Vānaras reached the velā (sea-shore) which seemd to be dāna-lekhā
(a streak of ichor) of the mighty elephant, the ocean, touched again and again by its nimble / quick-moving trunk, the waves. The attributes विकसिततमालनीला and फुल्लैलावन - सुरभि are equally applicable to both the वेला and the दानलेखा, but resorting to समासभेद. Read : अत्र विकसिततमालनीलत्वं फुल्लैलावनसुरभित्वं च तृतीयासमासेन वेलायाम्, 'उपमानानि सामान्यवचनैः' इत्युपमितसमासेन GHOUH I (qfa - p. 38).
7.582. Finding the ocean unwilling to yield passage for him, Rāma was full of fury.
Fury took possession of Rāma's face as an eclipse overtakes the disc of the moon.

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Viśveśvara observes : 375 facCHT'IAH 1.teqGTU SHUGcufafafa-: 1
8.582. The poet describes in this stanza the daybreak (prabhāta - varnana). The
resemblance or similarity between the Day and the elephant is brought out by resorting to अनुगामित्व and समासभेद. Viśveśvara remarks : 377 VEZTATURA HARTAC, FENTHAUTETTUA (ara, p. 40).
9.583. In this skandhaka Sugrīva's tall reddish figure is compared to the summit
of the Meru mountain, the black figure of Jāmbavat to the dense smoke of
pralayāgni' and Rāma to the sun. 'रामान्तेन रामसमीपेन, रामपार्थेन वलित: रामाभिमुखं निवृत्त इत्यर्थ: ।'
10.583. Wayfarers take the lotus-plant (nalini) for their beloved, and its lotus for
her face. Glosaicuraquist and PRITARIT correspond to each other; the attributes मधुकरीमधुरोल्लापम् and मधुमदाताम्रम् qualify मुख and कमल by समासभेद and Aitor respectively.
11.583. The figure in this stanza is Upamă (Comparison). Madhumathana, the slayer
of the demon Madhu (i.e., Vişnu) who is dark-complexioned is likened to the Vindhya mountain darkened by the black ashes left behind by the forestfires; Vişnu is sprinkled with the milk splashed at the time of the churning of the milk - ocean; and the Vindhya mountain is surrounded by white waterless clouds. A very charming simile indeed ! ART FRÍT (HU) The final & in rf is shortened metri causa.
12.583. The ocean was absorbing (or receiving) its own water as if it were its own
fame - the water, scattered by the rumbling clouds and pervading the interval between sky and the earth and fell like a waterfall through the mouths of the rivers; the fame too spread abroad by the bards and expanding through the praises of humble petitioners and permeating the entire heavens, the earth and the nether world.
13.583. The sparkling and clear waters in the lake fragrant with lotuses are compared
to the faces of the wayfarers' beloved wives, having sparkling eyes, and fragrant like lotuses.

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Prakrit Verses in Sanskrit Works on Poetics कंदोढें नीलोत्पले देशी । धवलच्छाइ (धवलाच्छानि - धवलानि श्वेतवर्णानि च तान्यच्छानि प्रसन्नानि चेति)। पक्षे-धवलाक्षाणि धवलनेत्राणि (मुखानि) । पिबन्तीति मुखपक्षे उपचार : । मुख्यपानस्य द्रवद्रव्य एव संभवात् ।
14.584. This skandhaka is cited to illustrate the figure Upamā (samāse śrauti dharma
lupta). "विषौषधीव' इत्यत्र पक्षे इव पदेन सह समास: । अत्र सीताविषौषध्यो: साधर्म्यमनपात्तमर्थगम्यम् ।
15.584. This skandhaka is cited here to illustrate the figure Upama (samase athi- .
dharmaluptā). अत्र जायाकपोलसदृशानीति समास: । सदृशपदप्रयोगादार्थी । - Thus comments Visvesvara (Vrtti, p. 108). अग्घाइ (आघाति = आजिघति) smells; छिवइ (स्पृशति) (fondly) touches, caresses; हिअअम्मि ठवेइ (हृदये स्थापयति) - places on his heart, i.e., presses against his bosom; जणियरोमंचो (जनितरोमाञ्च:) he bristles (becomes horripilated, thrilled) all over his body).
16.584. This gāthā is already dealt with; vide KP S. No. (46.430) supra. Viśveśvara
cites this gāthā as an illustration of Upamā (väkye ärthi upamāna-luptā). 17.584. This gātha is -already dealt with; vide ŚP S. No. (155.73) supra.
Viśveśvara cites this gåtha as a proper example of Upamā (vākye årthi upamāna-luptā).
18.584. This skandhaka belongs to Setubandha (X.8).
It is cited to illustrate द्योतक (= वाचक) - लुप्तोपमा समासे. Visvesvara comments : इह विद्रुमवत्ताम्रमिति 'उपमानानि सामान्यवचनैः' इति समासः । उपमावाचकस्य समासान्तर्गतत्वादप्रयोगः । अत्रोपमानधर्मयो: समास: I (Vrtti, pp. 117-118).
19.585. This gātha is already dealt with. vide DHV - Locana S. No. (* 28.11) supra.
It is cited here to illustrate Upamā (dharmopamāna-luptă samase). Mammata too quotes this stanza in identical context. Visvesvara follows him.
20.585. This gāthā is already dealt with; vide ŚP S. No. (84.58) supra.
Viśveśvara cites it here to illustrate Upamā (Vākye dharmopamāna-luptā). In the previous gatha "Dhumdhullamto -...", if we read mālai-kusumena samam' (mālati-kusumena samam), it will be an example of vakye

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dharmopamåna-luptă Upamā.
21.585. This gātha is already dealt with; vide A'Sarvasva Vimarsini S. No. (* 33.442)
supra. Viśveśvara cites it here to illustrate Upamā (triluptā) : Mrugt ut i धर्मद्योतकोपमानानां त्रयाणां लोपे समास एवेत्यर्थः । SPRIT - 3TE FRUCCHISCI ---- अत्र मृगाक्षीति ।
Mammata discusses the example मृगनयना :H4t go (aut) URI: HT The three underlined words representing उपमान, उपमाद्योतक and the साधारणधर्म are dropped. Therefore it is an example of Flui 34HT.
22.585. Viśveśvara cites this gātha as an example of Mālopamā (abhinne
sādhāraņa-dharme). In this gātha TRITAGE is the 347; T6, Asteget and Moo are the many 34771s; इव is उपमाद्योतक and उद्वेगजनकत्व is the one common property, of course आक्षिप्त, possessed by the उपमेय and the three उपमानs, the उपमानs being each qualified, e.g. To that is fatele.
23.585. In the preceding example of मालोपमा, the साधारणधर्म is आक्षिप्त, whereas in the
present gatha it is directly mentioned. G:Heca is the one common property actually mentioned in this gathā.
24.586. This skandhaka from the Setubandha is cited to illustrate Mālopamā. Here
the one Upameya is the violent or raging sea; and for it there are four different Upamānas: the submarine fire, the mountain, the cloud and the gale. Here we have Mālopamā (bhinne sādhāraṇa-dharme) and blazing (jvalana), etc. represent the four different dharmas.
25.586. This skandhaka from Setubandha is cited here to illustrate the figure
Svarūpotprekṣā. The all-pervading and dense darkness is fancied or imagined to carry all things, etc.
cf : ycetat (Tulado:) vante: quiafia gerta ataforereifa 1 - gitarer. 26.586. This skandhaka from Setubandha is already dealt with; vide ŚP S. No.

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(160.74) and SK S. No. (111.362) supra. Viśveśvara cites it here to illustrate the figure Rūpaka (Samasta-vastuvişaya). In this skandhaka all the entities which are superimposed (उपमानs, आरोपितs, or आरोप्यमाणा:) (like the ocean etc.) are expressed by means of words (21166 = 916G141T1 = TGAIcoc = ita) like the objects of superimposition (3444 = 37Ri4fqu:) (like the sky or firmament, etc.).
27.586. This skandhaka from Setubandha is already dealt with; vide ŚP S. No.
(165.75) and SK S. No. (116.363) supra. Visveśvara cites it here as an example of Ekadeśavivarti-rūpaka. ŚP And SK cite it to illustrate (Sleşānvita or Sleșopahita) Samkīrņa - Rūpakā.
28.586. Viśveśvara cites this skandhaka from Setubandha to illustrate the figure,
called Mālārūpaka. Here on one aropa - visaya (the call of the swans - Kalahsa-rava) there are many áropas (superimpositions) like the twanging sound of the bow of the god of love, etc: अत्रैकस्मिन्कलहंसरखे मन्मथधनुनिर्घोषाधनेकारोप: ।
29.587. This gathā is already dealt with; vide SK S. No. (173.375) supra.
Viśveśvara cites it here to illustrate the figure, called Paramparita - rūpaka. The superimposition of breasts on the clouds (
PR = (i) breasts (i) clouds] leads to the superimposition of horripilation on the new grass-shoots.
30.587. This skandhaka is already dealt with; vide ŚP S. No. (25.47) and SK S.
No. (108.361) 'supra. In SK (p. 416) it is cited as an example of PERMO4.54. Visvešvara introduces it with the words: qrupu hala grupa -; and he adds the comment after citing it: अत्र हि व्यवसायादौ रवित्वाद्यारोपं विना घनसमये प्रदोषत्वाद्यारोपो न संभवतीति परम्परितम् । fa-geheutranfagraffaugaland TI - (. 229).
31.587. This gātha is already dealt with; vide SK S. No. (232.387) supra.
Viśveśvara cites this gātha here to illustrate and Hig (1904) I He comments on the găthā as follows:

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मानरत्योर्दुमनाटकाभेदरूपोऽत्र उपगूहनपवनपूर्वरङ्गाभेदारोपे निमित्तम् । अत्र विरोधितासंबन्धेनानुग्राह्यानुग्राहकभाव इति विशेषः ।
32.587. This verse is already dealt with; vide KP S. No. (13.421) supra.
Mammata holds that there are three different figures suggested - (i) Utprekşă (ii) Kavyahetu and (3) Apahnuti. Viśveśvara cites it here and states that the figure Apahnuti is suggested here (as explained by Mammața).
33.587. This verse is composed by Visvesvara himself. It illustrates Bhāşā - ślesa
(Sanskrit - Prakrit Slesa). The Prakrit patha, is presented and its rendering into English is given under translation. For Sanskrit pătha, see Viśveśvara's Vrtti on this verse.
34.588. This gātha is already dealt with; vide KP S. No. (12.420) supra.
Viśveśvara brings in the present gātha in the course of his discussion of
the figure Samāsokti. 35.588. This gātha is already dealt with; vide ŚP S. No. (166.76) and SK S. No.
(121.364) supra. Viśveśvara cites it as an example of Padārtha-nidarśaņā (p. 263).
36.588. This gathā (with a few variant readings) is already dealt with; vide SK S.
No. (330.407) supra. Visveśvara cites it as an example of Aprastuta-prasaṁsā (kārane prastute kāryābhidhānam). He observes, after citing the gātā : Att af ETET R ahvujFiT sfa wa #16 acarfych i - (p. 269).
37.588. This gatha is already dealt with; vide ŚP S. No. (1650.338) supra.
Viśveśvara cites it as an example of Aprastuta-prašamsā (Samanya - prastăve višesa - vacanam). After citing the gătha, he observes : अत्र निसर्गप्रेमा उपाधि नापेक्षते इति सामान्ये वाक्ये विशेष उदाहृतः ।
38.588. Viśveśvara cites this gātha as an example of Aprastuta-prasaṁsā (vićeşe
prakte sămânyopanyasaḥ). After citing the gătha, Viśveśvara remarks : अत्र यद्यहं त्वां नाद्रक्ष्यं तर्हि सुखिता भविष्यामि इति विशेषे वाच्ये सामान्यमुक्तम् ।

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39.589. This gatha is cited to illustrate Aprastuta-prasamsa in which both the visesya
and visesana are Slista (paronomastic, double-meaning). After citing the gatha, Visvesvara observes: अत्र हि तत्सदृश: कामशास्त्राभिज्ञो युवा प्रतीयते ।
40.589. Visvesvara cites this gatha as an example of Aprastuta-prasamsa. After citing :
this gāthā, he observes : परिच्छदहीनं जननिन्दितं च नायकं कामयमानाया इयमुक्ति: । (धूलिमालिन्यादीनां गजे सत्त्वेन . व्यङ्गयनायकनिष्ठधर्माध्यारोपानपेक्षा ।) धूलि-० (धूलिमलिन:) soiled with dust; पंकंकिओ (पङ्काङ्कित:) besmeared with mud; तण (तृणरचितदेहभरण:) = तृणैः कृतं देहस्य भरणं (पोषणं) येन स : - who lives on grass%; गरुअत्तणेण- गुरुकत्वेन (आत्मनो गुरुकतया शरीरस्य महापरिमाणेन - because of the hugeness of his body; ढक्कं समुव्वहइ (ढक्कां समुदहति =) समरवाह्यं महाविशालं यश:पटहं वहति - carries (is privileged to carry) the kettle - drum.
41.589. This gātha is already dealt with; vide KP S. No. (50.431) supra.
Viśveśvara, after citing the gāthā, remarks : अत्र प्रकृतनायिकावृत्तिलावण्यादिकं नायिकान्तरवृत्तिलावण्यादिकजातीयमपि तद्विजातीये तयोक्त (? तद्विजातीयतयोक्त)मिति तदुत्कर्षप्रतीतिः । He adds : क्वचित्तस्यैवावस्थाविशेषेण तस्मात् भेदः ।
cites the following skandhaka from Setu as an example.
42.589. Rama's left arm, which was worn by the grief caused by prolonged
separation from his beloved Sītā ----- assumed an altogether different form as soon as he took up the bow. Viśveśvara remarks: अत्र समुद्रभेदनार्थं धनुषि गृहीते श्रीरामभुजस्य तत्पूर्वावस्था तस्मादेवान्यत्वोक्त्यातिचण्डत्वप्रतीति :। - (पृ. २७८).
43.589. In this skandhaka from Setu, the autumn is described as the pathway to
Sugrīva's fame, the first support to Rāma's life, the hindrance to Sītā's tears and the day of Ravana's doom. The autumn is the real season of military expedition. Here the cause is represented as identical or non-different from its effects : अत्र बाष्पविमोक्षहेतुत्वेन तदारोपः । (पृ. २८०). Therefore it is an example of Atisayokti (Karye kåranabhedādhyavasanarūpā.)

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44.590. This gāthā is cited to illustrate the figure Dīpaka (when a common property
consisting of a quality or an action, belonging to the relevant and the irrelevant i.e., to upameyas and upamānas is mentioned only once, it is called Dīpaka). In the gātha under consideration the minds of sajjanas (good men) are the upameya and taru-śikharas (the tops of trees) the upamāna. Their common property Samavanatatva and tungatva (the guņas) are each mentioned once only and hence the figure is Dipaka. Incidentally, it may be mentioned that the figure (śleşānuprānitā) Upamā contained in the gathā is overlooked by Visveśvara.
45.590 This skandhaka from Setu is cited to illustrate the figure Dīpaka. After citing
the verse, Visveśvara remarks: अत्र राक्षसवधार्थं वानरानुत्तेजयत: सुग्रीववस्योती भुजा: प्रकृतत्वादुपमेया: । जलधरायदय उपमानभूता: ndani yordatirgu:1 (q. 789). The arms that have wielded the sword in the forefront of the battle are the upameya, the clouds that have released the rains... are the upamănas. The upamāya and the upamănas are both worthy of esteem (guru), even though they have become light (laghu).
46.590. This gāthā is cited to illustrate kriyā-dīpaka. After citing this gāthā,
Visveśvara remarks : अत्र मानस्य प्रकृतत्वादुपमेयत्वम् । सर्वेषां छज्जइपदवाच्यायां शोभते इति क्रियायामन्वय : । (पृ. २९१). Here sulkiness (māna) of the woman who is dear to her lover is the upameya; gaiety of a master... are upamānas. All these - the upameya and the upamanas are connecteed with the action (kriyā) expressed by 8413 (1727).
47.590. This skandhaka from the Setu is cited to illustrate Kāraka-dipaka. Here
one Kartı-Kāraka-a case-noun in the nominative viz. Rāma is connected with many actions represented by the verbs in the stanza 'nindai (reproaches), khijjai (saffers), juucchai (hates).... cf. Viśveśvara's remark
अत्र निन्दतीत्यादिक्रियासु राम: कर्ता ।
48.590. This gātha is already dealt with; vide ŚP S.No (1307.283) supra.

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Visveśvara cites it here as an example of Käraka-dīpaka.
49.591. Viśveśvara cites this skandhaka from Setu as an example of Mālādīpaka
(whose special charm lies in this that several objects, each helping or qualifying the one that follows, are connected with one attribute). In the present case "the waters disappeared in the flames and the sky in the surging waters enveloped in flames and the ten directions in the sky overrun by the waters."
50.591. This gātha is already dealt with; vide ŚP S.No. (186.80) supra.
Visveśvara cites it as an example of Tulya-yogitā. Here all the circumstances compelling the woman under description to become lecherous (Satītva-tyāga) are present : the village is full of young men, the vernal season is in full swing, she is in the prime of life, her husband is an old fellow; there is old wine at her disposal ! All these prakrtas are connected with one verb 'is' (astīti kriyānvayaḥ). Note : 'अस्तिर्भवन्तीपर : प्रथमपुरुषोऽप्रयुज्यमानोऽप्यस्तीति' इति वार्तिकात् । अस्तिक्रियाप्रयोगाभावेऽपि तदाक्षेपिता शीघ्रोपस्थितिकत्वात् । न च प्रतिवाक्यमस्त्यध्याहार इति वाच्यम् ।
ceaidhRTATEZITER Soleyn 1995 pa upacara i – (g. 284). 51.591. Viśveśvara cites this gāthā as an example of Tulya-yogitā. After citing the
găthā, he observes : 3471 Paretelucheda Urgani 144hi kufanya beberau : 1 52.591. This gātha is already dealt with; vide ŚP S.No. (334.112) supra.
Viśveśvara cites it as an example of Vyatireka. After citing it, he observes: अत्र हि प्रकृतनायिकाया उपमानत्वं नायिकान्तराणामुपमेयत्वम् । तथा पुनद्रष्टुं न जानन्तीति व्यतिरेक उपमेयानाम् ।
53.591. This gātha is already dealt with; vide SK S.No. (269.394) supra.
Viśveśvara cites it as an example of Akşepa (Vaksyamāna-visaya). In this stanza, the speaker who is most probably a female messenger (dûti) declares her intention of pleading the case of the nãyikā. Then she revokes her intention. So here we have dehi : 37919:.
54.592. Viśveśvara cites this stanza as an example of Vibhāvanā (Peculiar
Causation), which arises when even in the denial or absence of a cause,

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the fruit or the result becomes manifest or arises. This Vibhāvanā is ukta-nimittă, as the special cause the cluster of moon-beams, which provides embellishment in the absence of the ordinary well-known ones is mentioned
55.592. This skandhaka from Setu is already dealt with; vide ŚP S.No. (1351.281)
SK S.No. (146.369). Viśveśvara cites it here as an example of the figure Višeşokti (anukta-nimittā) which is the exact opposite of Vibhāvanā. It consists in the non-statement of the fruit even when the ordinary well-known causes are present. Viśveśvara, after citing the skandhaka, observes : 3751 कदम्बवाताभावादीनामाश्वासहेतूनां सत्त्वेऽपि श्रीरामस्य आश्वासाभाव उक्त : । आश्वासोत्पत्तिप्रतिबन्धकाश्च सप्तच्छदवातादय इति तेषामनुक्ति : ।
56.592. Visvešvara cites this găthä as an example of Višesokti (third variety,
acintya-nimittā) and observes : अत्र कुन्दकर्लिंकादर्शनसत्त्वेऽपि तदिच्छाविच्छेदाभाव उक्त: । तत्र च किंचिन्निमित्तं लक्षणरूपमस्त्येव । न तु विशेष्यं वक्तुं शक्यमित्यचिन्त्यशक्तिरूपत्वम् ।
57.592. This verse is already dealt with; vide SK S.No (50.350) supra.
Viśveśvara cites it as an example of the figure Virodha (jāterguņena). The moonlight and other objects which are naturally cool and pleasant are described here as hot and umbearable, hence the figure. The apparent contradiction is removed as soon as we remember that the sight of the paragon of beauty has changed the whole world for the king; Objects pleasure-giving, have now become sources of pain and agony.
58.593. Visvesvara cites this verse as an example of the figure Virodha (jāteh
kriyayā). Karpūramañjarī, although her hands and feet are like the tender sprouts, her eyes like blue lotuses, and face like the moon and her body like a fresh Campaka flower, gives such a burning or scorching feeling. Viśveśvara, after citing the gāthā, remarks : "37 Poisturaifoiti arcula PuT HE --- Parter: Jarac RER : 1"
This contradiction, of course apparent, is removed, the moment we remember that it is the description of the condition of separation.

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59.593. Visvesvara cites this găthả as an example of the figure Virodha (gunasya
gunena). Here there is virodha - apparent contradiction - between the two gunas, raktatva (redness) and panduratva (whiteness). If we understand raktatva in the sense of full of love (anurāga) (and panduratva as paleness) the appearent contradiction is removed. Incidently, we may note that sarasă means (i) full of sap (ii) full of love; śusyati - (1) becomes dried up (2) languishes; mugdha-hrdaya (i) she whose heart is stupefied (ii) she whose mind is innocent; jānāti duḥkhāni (i) she experiences sufferings. (ii) she is distressed. The apparent contradiction under senses numbered (i) is removed by understanding the senses numbered (ii).
60.593. Viśveśvara cites this skandhaka from Setu as an example of Virodha
(kriyāyā dravyeņa). Here the Mahendra (mountain) is the dravya-vācaka or samjñā-vācaka word and kampate is a kriyā-vācaka word. The mountain by its very nature can never tremble, hence there is apparent contradiction. It is removed if we remember that the poet gives us here a description of the atiśaya (pre-eminence) of the Vānaras.
61.593. This gāthā is already dealt with; vide ŚP S.No. (314.404) supra.
Visvešvara cites this gåth, as an example of Sahokti. Here the principal sentence is 'कलमेन स कलमगोपी शुष्यति ।' Here the verb शुष्यति is naturally connected with the Kalama-gopī, but owing to the force of 'TE' it is connected with 'catt' as well, and then expresses that it too dries up. Hence
the figure in the stanza is सहोक्ति. 62.593. Viśveśvara cites this skandhaka as an example of Sahokti (Mālārūpā). Here
we have four different sentences giving us four Sahoktis : (9) TRT MRI धैर्येण समं निशायामा गलन्ति । (२) एवमनिष्ठिता उपदेशा हृदयेन समं गलन्ति । (३) उत्साहेन सह yout Tata: 1 and (8) arcut 144 JANT TA Hence here we have rrallah, which is HIST.
63.594. This gātha is already dealt with, vide ŚP S.No. (1169.257) supra.
Viśveśvara cites it here as an example of Parivịtti (Barter, Exchange). After citing this gāthā, Visvesvara remarks: 37 1499f-uhatulan U TRG 19. 338.
64.594. qiya-aika blown by the wind; Muuto (aufystryAURIT - with the pollen of

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the lotus worn on the ear as an ornament; भरिअं (भृतम्) filled with; फुक्कतो (repeat / grybel - blowing into - a / 1 + to blow into) cf. Mar. ich
(attut); - Viśveśvara remarks : "375feruiatri crat TY TYCH I g. 338. 65.594. This gātha is already dealt with; vide ŚP S.No. (405.126) supra.
Viśveśvara cites this gātha as an example of Parivștti. After citing it he remarks: 347 Fraudej FGRT Grand (=PART) HGH4 - . 338.
66.594. This gātha is already dealt with; vide ŚP S.No. (1417.302) supra.
Visvesvara observes that this figure is present only when the exchange or barter produces charm, and that the occasion of unwarrantable stretch of the principle (or definition) would not arise in cases like the gātha under consideration. Here there is exchange or barter of the upper garment for a bull. It is devoid of any poetic charm or beauty and hence we cannot say that the gathā contains the figure Parivștti.
67.594. Visveśvara cites this skandhaka as an example of the figure Bhāvika which
consists in describing past and future things as present. In this skandhaka the poet describes the 'future event' of Rāma's arrow hitting the waters of the ocean as happening in the present and the reader obtains realisation of future event as present owing to the vividness of description. Viśveśvara, after citing the verse, remarks : अत्र बाणस्य समुद्रमध्यपाते भाविन्यपि तस्मात् प्रागेव शरपातस्य लौकिकप्रत्यक्षमुक्तम् । श्रीरामप्रभावातिशयवर्णने तात्पर्यम् ।
68.595. Viśveśvara cites this skandhaka as an example of the figure Udātta (II)
"wherein the great are subordinated to the object under description and which therefore is principal.” After citing the skandhaka, he remarks : 3751 सुवेलपर्वतस्य अनन्तफणप्राग्भाराश्रयत्वोक्त्यावर्णनीये सुवेले महतोऽनन्तस्याङ्गत्वात् सुवेलोत्कर्षप्रतीति : । The poet here describes the greatness of the Suvela mountain by making Ananta subordinate to the Suvela mountain which is 'varnanīya' and 'prastuta'.
69.595. Please note the corrected text of this verse as given under Corrections and
Additions (p.7). Viśveśvara cites this verse as an example of the figure Samuccaya (which occurs when one cause sufficient for the accomplishment

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or production of a certain effect, which is relevant, being present, another (or others) capable of producing the same effect is (or are) present. In this verse the Náyika's own innocence (mugdhatva) is one cause that is sufficient for disheartening her from setting out to meet her lover, but simultaneously with it other equally capable causes are mentioned as being
present. Hence the figure. 70.595. This gatha is already dealt with; vide ŚP S.No. (546.152) supra.
Visveśvara cites here this gatha as an example of '3RTEIHT Wary :'. The gatha-poet mentions six things which are, one and all, bad as they are cach capable of violating her chastity.
71.595. Visvesvara cites the gatha to illustrate Samuccaya (II) (which consists in
representing that qualities (Jus) and actions (Pauls) are simultaneous). Here we have 'Pepitet nya :. Viśveśvara, after citing the gatha, remarks : 37 FIT-UAH-fort: ( ET) — q. 388.
72.596. This gātha is already dealt with; vide A'Ratnākara S.No. (122.568) supra.
Visvešvara, like Sobhākara, cites this gātha as an example of the figure Paryāya (which occurs when one thing (i) is in many places in succession, or (ii) is made to be in many places in succession). After citing the gātha, Viśveśvara remarks : 347Rta factcher afarem -a-chaFaruroog tot stor Pia I - 4. 388.
73.596. This gātha is already dealt with; vide ŚP S.No. (141.70) supra.
Visveśvara cites here this gāthā as an example of the figure Paryāya. After citing it he remarks : 375TERROR ART SHUT 31T22: Ihre
Tezlari HITTU 7 g graiffordafa H : 1 - . 389 (with v.1.4) 74.596. Viśveśvara cites this gātha as an example of Paryāya. After citing it, he
remarks: अत्र गोत्रस्खलनकुपिताया मानिन्या नायकं प्रत्युक्तौ अन्यत्र स्थितस्य नाम्नोऽन्यत्र वृत्तौ नायकरूपप्रयोजकाभिधानम् । The nāyaka the husband, has called his wife, (the speaker of the gatha) by the name of his beloved one. Naturally she is angry with him; she sarcastically addresses him : "You have cruelly robbed your beloved one

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of her name and conferred it on me and thereby shown that I am superior to your beloved one !"
75.596. This gåtha is already dealt with; vide SP S.No. (1107.246) supra.
Visveśvara cites it as an example of Another or Second Paryāya. After citing it, he comments: अत्र नायकसङ्गजन्यसौख्यानां प्रथममिच्छाविषयत्वे पश्चाच जीवितसंशयहेतत्वे प्रयोजकानभिधानम् । (g. 349).
76.596. Visveśvara cites this gåtha as an example of Another or Second Paryāya.
After citing it, he remarks: 37 RT 5 PART ART-ty-m4 or HUT विषामृतनिर्मितत्वरूपं प्रयोजकद्रयम् ।
77.597. Viśveśvara cites this găthă as an alternative example of Another or Second
Paryāya. After citing it he comments as follows : वटस्थितयक्षप्रतिमाया असत्यास्तारुण्यकाले नादृतापि पश्चात्तस्या एव नमस्कार्यत्वे जरारूपं च प्रयोजकं After I – Ç. 349.
78.597. Visvešvara cites this skandhaka from Setu as an example of Another or Second Paryāya. After citing it he remarks : 3771
9 TERATTI rare: FAR FUEGO I g. 349.
79.597. This is the speech of the King on seeing Karpūra-mañjarī who was brought
over by air while she was bathing and presented to the gaze of the King and others by Bhairavānanda, the great Magician. Viśveśvara cites it as an example of the figure Anumāna (Inference). The washing away of collyruim from her eyes, their becoming red, water-drops clinging to the hair-ends, her being dressed only in one piece of garmentform the hetu, sādhana or linga and lead to the inference that she was in the act of bathing when she was suddenly brought in the presence of the King by Bhairavānanda through his magicial powers.
80.597. Visveśvara cites this gātha as an example of the figure Parikara (which arises
when a certain thing is described by means of 'significant adjectives.') In this gātha the adjectives 'amstamaya' etc. are very significant.
81.598. Viśveśvara cites this gathā as an example of Parisaṁkhyā (Apraśnapūrvikā).

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After citing it, he remarks : अत्र हस्तस्थित एवार्थो न त्वन्याधीन इत्यादिव्यवच्छेदो व्यङ्ग्य : ।
82.598. Viśveśvara cites this skandhaka from Setu as an example of the figure
Anyonya. (It arises when two things mutually create each other by means of identical action.) 'Candrodyota' (the moonlight) and 'mada' (wine) mutually enhance the effect or frenzy of each other --- According to Visvešvara the figure Anyonya in this skandhaka is mixed with Utpreksā.
83.598. This gātha is already dealt with; vide ŚP S.No. (139.69). Viśveśvara cites
it as an example of Anyonyam (sopakāram samikīrna- parasparopakarasvarūpam). Both the wayfarer and the water-maid become fascinated with each other and absorbed in looking at each other - one allowing the water poured into the hollow of his hands slip through his fingers and the other making the already slender stream of water still more slender..
84.598. Visveśvara cites this gathā as an example of the figure Uttara (Reply) which
occurs when on merely hearing an answer the question (10 which it is an answer) is inferred. He then comments : अत्रान्येषु व्याधकुटुम्बेषु पृषन्मृगचर्माणि पृच्छेति उत्तरवाक्येन पृषचर्माणि ममापेक्ष्यन्ते तानि सन्ति नगे (? Ta') sa pana achaadi - . 382. The suggestion possibly is "our young huntsman does not aim arrows against deer because he is reminded of the eyes of his wife on seeing it"; but the reply definitely suggests that he, because of his heroic spirit, would never think of killing innocent deer but would find delight in killing ferocious beasts like tigers and lions.
85.598. The gătha-poet, by using double-meaning words, compares his own
beloved's foot with King Vikramāditya. Visveśvara cites this gātha to illustrate the figure Sūkşma. He thus comments : 3F THETA CATARRIUTi gocar faTIRERITAHFIT nozaur RURY विक्रमादित्यसाम्यमभिधाय नायिकया नायकाय तत्प्रकाशनं कृतम् । The Nāyikā from ākāra (appearance) of her husband (the hands of whom were marked with lac-paint) came to know that he had enjoyed the mode of sexual intercourse, called 'dvittala' during nocturnal love-sport with his sweetheart. She conveys this fact to him by using double-meaning words

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and comparing the foot of his sweetheart with King Vikramāditya.
86.599. Viśveśvara cites this gātha as an example of the figure Samādhi (which
occurs when a certain work becomes easy of accomplishment owing to the association of another cause), and remakrs : अत्र मानापनोदार्थं प्रणते पत्यौ तदभावेऽपि तत्पृष्ठे पुत्रसमारोहणरूपविलक्षणचेष्टाहासगम्यो मानत्याग : । 9. 300.
87.599. This gātha is already dealt with; vide ŚP S.No. (145.71); SK S.No. (91.358)
supra. Visveśvara cites it here as an example of Visama (Kevalanistaprāptau) and remarks: अत्र नायकविषयकानुरागव्यञ्जकाभावत्वेन इष्टानां तददर्शनादीनामन्यनिष्ठतद्विषयकज्ञानरूपानिष्टप्राप्ति : । - q. 300.
88.599. Viśveśvara cites this gāthā as an example of the figure Vişama (II), where
the quality and action of a cause are mutually opposed to the quality and action respectively of the effect. This gāthā illustrates the form where the actions are mutually opposed; Viśveśvara comments: अत्र हस्तस्य राजजनकत्वम्, तस्य प्रतापजनकत्वम् । हस्तप्रतापनिष्ठ-तृष्णाहरण-दहन-क्रिययोर्विरोध इति
face 1 89.599. Viśveśvara cites this skandhaka from Setu as an example of Ekāvalī (which
occurs when each succeeding thing is either affirmed or denied as a qualification or attribute of each preceding thing). It may be mentioned incidentally that the commentator Rāmadāsa identifies the figure in this stanza as ' siguri' (p.250).
90.599. Visveśvara cites this skandhaka from Setu as an example of the figure
Smarana (Reminiscence) (which arises when an object, which has been experienced or perceived before as possessed of a certain form is recollected exactly as it was experienced before at the sight of a similar object). He comments on this as follows: अत्र श्रीरामबाणप्रहारेण पर्वत-भूमि-समुद्राणां वज-वराहभुज-मथनाघटितानां स्मरणमुपन्यस्तम् । (पृ. 320).
91.600. Viśveśvara cites this gătha as an example of the figure Bhrantimăn (which
arises when the upameya is mistaken for the upamāna); he comments on

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it : अत्र मुखे चन्द्रप्रकारकज्ञानोक्तेर्भ्रान्तिमान् ।---
92.600. This gatha is already dealt with; vide A'Sarvasva-Vimarsini S.No. (17.439)
supra. In this gātha the lover mistakes the rays of the moon blended with the rays of sapphires in the necklace of his beloved as her sparkling tears mixed with the collyrium in their eyes; hence it is cited as an example of the figure Bhrantiman. Visvesvara remarks : . अत्र कर्णाभरणे नीलकिरण-मिश्रितचन्द्रमयूखेषु सकज्जलाश्रुत्वज्ञानम् । पृ. ३८८.
93.600. Viśveśvara cites this gātha as an example of the figure Bhrāntimān with
the introductory remark : "क्वचिदन्योन्यविशेष्यकभिन्नप्रकारको यथा-". After citing it, he further remarks : अत्र महिषस्य भुजङ्गे नदीस्रोतस्त्वज्ञानम् । भुजंगस्य महिषलालायां सरस्त्वज्ञानम्, तश्च महिषे कृष्णप्रस्तरत्वप्रकारकभ्रममूलमिति ज्ञातव्यम् । पृ. ३८८.
94.600. Visvesvara cites this verse as an example of the figure Pratipa, to be specific,
of the first kind of Pratipa wherein the Upamāna is condemned. This condemnation takes the form of the representation of its uselessness by declaring that the Upameya is able very effectively to perform the work of the Upamāna.
Visvesvara remarks : अत्र कर्पूरमञ्जर्या लावण्येन पङ्क (?चम्पक-) कलिकादीनामाक्षेप : । - पृ. ३९१.
95.600. Viśveśvara cites this gāthā as an example of the figure Pratīpa, to be more
specific, of the second kind of Pratīpa, wherein the upamāna itself is imagined to be the upameya in order to bring out its censure. In this case the full-orbed moon, the well-known upamāna, does not attain to similarity with your face (the face of nāyikā), the upameya. Viśveśvara comments on this gātha thus : अत्र चन्द्रस्य मुखप्रतियोगिकसादृश्या निष्पत्तिर्वाच्या ।
96.601. This gātha is already dealt with; vide ŚP S.No. (363.118) supra.
Viśveśvara cites this gātha in the context of refuting the view of Appayya Diksita stated in Kuvalayananda यत्तु मतम् - "वस्तुद्वयस्य लक्षणद्वयसाम्यात् केनचिद् बलीयसा स्वरूपतिरोधाने मीलितम् स्वरूपप्रतीतावपि गुणसाम्याद् भेदतिरोधाने सामान्यम् इति । तदप्यसत् । "गम्मिहिसि तस्सपासं---" इत्यादौ स्वरूपप्रतीतेरभावात् ।

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97.601. This gātha is already dealt with; vide A'Kaustubha S.No. (51.591) supra.
Viśveśvara cites this gātha as an example of the first kind of Višeşa (which occurs when the supported is represented as existing without its well-known support.) In this gāthā, rūpa is handsome form of the Nayaka, if the speaker be a woman - Viśveśvara, however, seems to understand the speaker of the gatha to be the Nāyaka, then the lovely form of the Näyikā is represented as existing without its (well-known) support viz. the nayaka (or the nayika, as the case may be) in the pair of eyes of the speaker of the stanza - the nayaka, or the nãyika, as the case may be. In the same way the speaker represents sparsa (touch), jalpita (speech) and hrdaya residing in other than well-known support. The gātha under discussion illustrates, therefore, the first kind of Višesa.
98.601. Visveśvara cites the present stanza to illustrate the second kind of the figure
Višeşa (which occurs when one person is represented as existing simultaneously in many places in the same form). He thus comments on it :
torent gran noge sutuf y-146 tahu afa: 1 (- . 800).
99.601. Viśveśvara cites this gåthā as an example of the figure Tad-guņa (which
occurs when a thing gives up its own quality and assumes that of another, which is possessed of a more powerful quality, owing to their juxtaposition or association.) He thus comments on it :
अत्र मनस्विनीबाष्पपूराणां नयनकपोलाधरप्रभाकरम्बितत्वेन सुरचापसादृश्योन्मेष : | - पृ. ४०३. 100.601. This gātha is already dealt with; vide ŚP S.No. (381.121) supra.
Visveśvara cites it as an alternative example of Tadguņa. He comments on this gatha : अत्र जलरस-तिरोधानेन हरिद्रारससंबन्धस्तत्रोक्त : । पृ. ४०३.
101.602. This gātha is already dealt with; vide ŚP S.No.(343.114) supra. Viśveśvara
cites this gāthă as another alternative example of the figure Tadguņa. He thus comments on it: grauarratatu 319anccalderobrila TRRRİQAT: 1 - . 803.
102.602. Visvesvara cites this skandhaka from Setu to illustrate the figure Atadguņa

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(which occurs when thing of inferior quality does not take or assume the quality of another, which is endowed with superior quality even when the capacity to assume that quality is possible.) : Vibhīşana's wisdom remains unimpaired even by his kinship with the demons, even as the nectar of
the ocean was unspoilt by the venomous serpents. 103.602. This gatha is already dealt with; vide DHV S.No. (24.10) supra.
Viśveśvara cites it here as an example of the figure Samkara, he comments on this gåtha as follows : "अत्र प्रकृष्टगुणनायकप्रतीति: प्रकृताशोकवृत्तान्तेनेति समासोक्तिः । किं वा अप्रस्तुताशोकवृत्तान्तेन प्रस्तुतपुरुषप्रतीत्या अप्रस्तुतप्रशंसेत्युभयसंभवात् सन्देह : । प्रकरणादेर्निर्वाहकस्याभावात् । (पृ. ४११).

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Appendix I Extracts from Rămadăsa's Commentary on Setubandha
About 200 verses from Setubandha are cited in their works on poetics by Alaskārikas — notably by Bhoja and Pandita Visvešvara. Some of these verses are undoubtedly mere repetitions. The text of Setubandha is, as a rule, regarded as difficult and in some cases obscure and almost unintelligible. The following extracts will enable the readers to understand the text much better:
7.7. अहं समुद्रमथनपूर्वं पारिजातशून्यं स्वर्गम् । कौस्तुभेन लक्ष्म्या च --- रहितं मधुमथनस्योरः । मुग्धो बाल: ।
तथा च चन्द्रखण्डशून्यं च हरजटाया: प्राग्भारं --- समूह वा स्मरामि । तथा च पारिजाताद्युत्पादकसमुद्रमर्थनसंभ्रमेऽप्यहं स्थित इति भावः ।
5.36. (5.11-Bom. Edn.) उत्खात उत्पाटितो दुमो यस्य तं शैलमिव । शैले सामान्यQमस्योच्छेदादित:
पारिजातस्याकर्षणात् । हिमेन हतानां कमलानामाकर: सर इव लक्ष्म्या विमुक्तं त्यक्तम् । लक्ष्मीपदस्य श्लिष्टत्वेन सरसि शोभाया विगमादितस्तु हरिप्रियाया उद्धृतत्वात् । पीता मदिरा यस्य तादृशं चषकमिव । मदिराशून्यमित्यर्थः । चषके मदिराया: पीतत्वादितस्तूद्धारात् । बहुल : कृष्णपक्षस्तत्प्रदोषमिव मुग्धचन्द्रेण विरहितं शून्यम् । तत्संध्याकाले मनोहरचन्द्रानुदयादितस्तु बालचन्द्रस्योत्थापनात् तुल्यत्वम् । तथा च पारिजातादीनामुत्पत्तिस्थानमित्यर्थ :
13.45. अथ सुवेलप्राप्त्यनन्तरं प्लवङ्गा:सुवेलं प्रेक्षन्ते । कोटिकोटिश: पर्वता उत्पाटिता:, ईदृश: कोऽपि न दृष्ट इति
विस्मयादिति भाव: । -- आक्रमण इति कर्तरि ल्युट् । तथा च सकलजगदाक्रमणकर्ता मूलेन पातालस्य, . ' मध्येन मर्त्यस्य मस्तकेन स्वर्गस्याक्रमणात् । तथाभूतश्चासौ वर्धितमहाशिखरश्चेति कर्मधारयः । एवं निष्ठापिता
नाशिता दक्षिणदिग्येन तिरोधायकत्वात् । एवं शेषा या पूर्वाद्या दिशस्तन्मुखेन तत्संमुखीभूय प्रधावितं --- इवेत्युत्प्रेक्षाव्यञ्जनयारोहणपरिणाहाभ्यां विस्तार उक्त ।
5.44; 59.54. हे जनाः, मधुमथनं विष्णुं नमत नमस्कुरुत । तथा चाहमपि तं प्रत्यस्मि प्रणत इत्याक्षेपलभ्यम् ।
मधुं मथ्नातीति मधुमथनस्तम् --- कीदृशं तम् । अवर्धितश्चासौ तुड्गश्चत्यवर्धिततुङ्गस्तम् । अत्रावर्धितस्योर्ध्वदेशावच्छिन्नतारूपतुगताया असंभवेनावभासमानो परमेश्वरस्याजन्यतयेतरकर्तकवर्धितत्वाभावेन परिहियते । तथा च विरोधवदाभासते न तु विरोध इति विरोधाभासनामायमलङ्कारः । --- तथा हि पुनः कीदृशम् । अप्रसारितश्चासौ विस्तृतश्चेति तम् । एवमनवनतश्चासौ गभीरश्चेति तथाविधम् । तथा च तुङ्गत्वविस्तृतत्वगभीरत्वरूपविशेषणत्रयेणोर्ध्वमध्याध:सकलदेशव्यापकत्वमुक्तम् । --- अप्रलघुको महांश्चासौ परिश्लक्ष्ण: कृशश्चेति तथा । -- अज्ञात: परमार्थस्तत्त्वं यस्य तथाविधश्चासौ प्रकटश्चेति तथा ।

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ड 14.45. यस्य ['तुङ्गतटेभ्य: सशब्दं पतद्भिः निर्झरः मुखरान्' - कृष्णविप्र] 'कृष्णमणिमयानां
गण्डशैलानामर्धान्तान्सेवमानानामाश्रितानां त्रिदशवधूनामनुरागो मनोऽभिनवेश: शिथिलत्वं न प्राप्त:' इत्यग्रिमस्कन्धके योजना ।
25.47. घनसमय: कीदृश: । व्यवसाय: सीताप्रत्युद्धारहेतुर्व्यापार: स एव रविः । असंपद्यमानत्वेन संतापकत्वात् ।
तस्य प्रदोषस्तिरोधानकाल: । एवं रोष एव गजेन्द्र : । परोपमर्दकत्वात् । तस्य दृढ-शृङ्खलया प्रतिबन्धो बन्धनं तद्रूप: । प्रसरणप्रतिबन्धकत्वात् । तथा जय एव केसरी । प्रतिपक्षशून्यत्वात् । तस्य पञ्जरो बन्धनस्थानम् । अवरोधकत्वादित्यर्थ: । रूपकमत्रालंकारः ।
34.49. व्यवसायरविप्रदोष: | Vide SP S.No. (25.47) supra.
82.57. अथ रामावस्थामाह - अभिज्ञानं संदेशो मणिरूप: । दयितं प्रीतिपात्रम् । दयिताया इति वा । तद्राघवेण
यस्मिन्नप्यनेन न निवेशितं तेनाप्यनेन सीतया परि सर्वतोभावेन मृष्टेनेव न तु स्पृष्टमात्रेण निरन्तरं रोमाञ्चौ व्यूढः । तथा च यथा सीतापरिमृष्टेनाङ्गेन रोमाञ्चो ध्रियते तथा मणिस्पृष्टेनाप्यनेन विशेषत ऊढ: । सीतासम्बन्धिमणिसंबन्धादिति भावः । तथा च नित्यसंनिहितसीतास्पर्शापेक्षया विरहकालीनसीतापरम्परासंबन्धोऽप्याधिक इति तात्पर्यम् ।
85.58. अपिर्विरोधाभाससूचनाय । तथा च लक्ष्म्याश्चिरनिर्गतत्वादसंबन्धेन प्रसज्यमानो विरोध: । श्रीशब्दश्लेषण
शोभया अमुच्यमानत्वेन परिहियते ।--- उभयसाधारणीमुपमामाह - कया कमिव । ज्योत्स्नया मृगाङ्कमिव । कीर्त्या सुपुरुषमिव । प्रभया रविमिव । महानद्या शैलमिव । [श्रिया चिरनिर्गतयाप्युमुच्यमानमद्यापि तथैव रत्नसंपत्तेरविच्छेददर्शनादिति भाव :'। - सेतुतत्त्वचन्द्रिका (२-१०, पृ. ३५)]
157.74. अयं बालो दुर्दमशत्रुसंमुखगमनाय सोत्साहो न वेति प्रथममतिसंनिहितसंबन्धिन: प्रियतमस्य लक्ष्मणस्य
मुखमस्य रामस्य दृष्टि: शोभेव लग्ना । यथा शोभा लग्ना तथेत्यर्थ : । तथा च लक्ष्मणमुखं तदानीमतिसश्रीकमासीदिति भाव: । एवमचिरादेवामुष्योपकार: कृत: स तूरसि वर्तते न वेति निरूपणाय तत्पश्चादुदासीनप्रियतरस्य सुग्रीवस्य विकटं विस्तारशालिहृदयं यथा वनमाला लग्ना तथेयमपीत्यर्थः । रक्तनीलश्वेताकारत्वान्मालासाम्यम् । सुग्रीवस्य माला स्वाभाविकमलंकरणमिति प्रसिद्धिः । अयमिदानीमेव लङ्कात: समागतो राक्षसबलाबलज्ञो मद्गमने साध्यवसायो न वेति जिज्ञासया शरीरचेष्टया क्षोभाक्षोभनिरूपणाय तत्पश्चात्प्रियं पवनसुतं यथा समुद्रलङ्घनादिकीर्तिर्लग्ना तथेयमपि । एत एव संप्रति सहायास्तदमीषां चेष्टा कीदृशीति ततोऽपि पश्चात्परिवारतापन्नानि वानरबलानि । यथा तत्क्षण एव सुग्रीवद्वारा कृता लड़कागमनाज्ञा लग्ना तथेयमपि दृष्टिलग्नेति सर्वत्र . सहोपमा । --- परमार्थतस्तु पर्वोक्ततत्तदभिप्रायेणैव तत्र तत्र लग्ना दृष्टिर्यथासंख्यं शोभादित्वेनोपत्प्रेक्षिता । तथा हि प्रथमं लक्ष्मणमखं रामदृष्टि: शोभेव लग्ना । दृष्टिरेव तत्र शोभाभूदित्यर्थः । एवं सुग्रीवहृदयं वनमालेव पवनतनयं कीर्तिरिवाज्ञेव बलानीत्युन्नयाम: ।

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667 160.74. गगनरूपे समुद्रे तारारूपमुक्ताप्रकार: शोभते । कीदृक् । विशुद्धः शुभ्र: किरणो यस्य तथा । एवं रजनिरेव
वेला तीरं तत्र लग्न: । शर्वरीसमयलग्न इत्यपि । एवं स्फुटं यथा स्यात्तथा विघटिता ये मेघास्त एव शुक्तिसंपुटास्तेभ्यो मुक्त इतस्तत: प्रकीर्णः । शरदि मेघानां नानाखण्डत्वेन शुभ्रतया च विघटितशुक्तिसाम्यम् । अन्यत्रापि समुद्रे शुक्तिमुक्ता विशुद्धचाकचस्या मुक्तास्तीरलग्ना दीप्यन्त इति सर्वत्र रूपकम् ।
162.75. नभस्तलं शोभते । कीदृशमिव । पितामहस्य ब्रह्मण उत्पत्तिपङ्कजमिव ।
नभः कीदृक् । केसरनिवह इव रविकरा यत्र तथाभूतम् । एवं दलसहस्राणीव सभङ्गिधवलाभ्राणि तैः परिगतं व्याप्तम् । एवं मधुमथनस्य नारायणस्य दर्शनयोग्यम् । उत्तानसुप्तस्य तस्योत्थाने सति तत्रैव दृष्टिपातसंभावनासत्त्वात् । --- पितामहस्योत्पत्तिर्यत्रेति पङ्कजविशेषणमिति व्याचक्षते 'साधर्म्यमुपमा भेदे इत्युपमालंकारः ।
164.75. दिशो निजकस्थानमिव प्रतिगता व्याघुट्य पूर्वस्थानं गता इवेत्युत्प्रेक्षा ।
किंभूता: । नभ एव पादपस्तस्य शाखा इति रूपकम् । पुन: किंभूता: । धुता इतस्ततो गता मेघा एव मधुकरा याभ्यस्ता:। एवं घनसमयो वर्षर्तुस्तेनाकृष्टा अथावनता अथ विमुक्ताः । तथा च वर्षफ़रुपक्रमे दिशो मेघसंधारेणाकृष्टा निकटवर्तिन्य इव, मध्ये गगनदिग्व्यापिमेघबाहुल्येनावनता अधो वर्तुलीकृता इव, वर्षान्ते मेघापगमेन विमुक्ता: प्रसारिण्य इव ज्ञाता इति भाव: । शरदि तथाभूतमेघसंबन्धस्त्यक्त इति तात्पर्यम् ।
165.75 इन्द्रधनुरेव सरसं तात्कालिकं नखपदमिति रूपकम् । प्रम्लायति प्रकर्षण म्लानिमाप्नोति । विगलतीति
यावत् । सरसत्वेन लौहित्यान्नखपदस्येन्द्रधनुस्तौल्यम् । कीदृशम् । दिक्षु पीनो य: पयोधरो मेघस्तत्र लग्नम् । पुन: कीदृक् । प्रवसता गच्छता जलदकालेन वितीर्णं दत्तम् । सौभाग्यस्य सौन्दर्यस्य प्रथमं चिह्न लक्षणम् । तथा च प्रावृषि दिशां मांसलमेघलग्नेन्द्रधनुषा सौन्दर्यमासीत् । अथ शरदि यथा यथा मेघापगमस्तथा तथा तदविनाभावेन तदप्यपगतमिति भाव : |--- वर्षासु गृहे स्थित्वा शरदि प्रवासीभवता नायकेन प्रियास्तने सतत - स्मरणाय नखक्षतं कृत्वा गम्यत इति कामशास्त्रम् ।
173.77. यथा धैर्य-तिमिनिवह - नदीस्रोतोरत्नानि वहन्तं तथैव जलसमूहपर्वतलोक-तरङ्ग
परोपकारित्वादि-गुरुक-गुण-शतान्यपि वहन्तमित्यर्थः । तिमिवत्संचारित्वलाभाय सपक्षपदं पर्वते । धैर्यादीनामच्छत्वमहत्त्व - प्रौढि - दैर्घ्य - निर्मलत्वैर्यथासंख्यं जलसमूहादिभिस्तौल्यमिति सहोपमालंकार : ।
174.77. अस्य रामस्य धैर्येण समं निशायामा गलन्ति । धैर्यमपि व्यतिक्रामति निशायामा अपि व्यतिक्रामन्तीत्यर्थः ।
एवमनिष्ठिता अस्थिरा उपदेशा बन्धुजनवचांसि हृदयेन समं गलन्ति । हृदयोपदेशयोः स्थैर्य न भवतीत्यर्थः। उत्साहेन सह भुजौ गलत: | ---- बाष्पेण संम उल्लापा गलन्ति । अश्रूणि गलन्ति प्रलापा अपि मुखादहिवन्तीत्यर्थ: । सहोक्तिरलंकारः ।
178.78. कार्यालापानालपितकार्याणि । --- तथा चाभण्यमाना उक्तिमनपेक्ष्य ये कार्याणि घटयन्ति ते सत्पुरुषा

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विरलास्त्रिचतुरा एव । भवन्तस्तूक्तिमपेक्षमाणा: कापुरुषा इति भावः । अर्थान्तरं न्यस्यति - अज्ञात: कुसुमनिर्गमो येषां तथाविधा ये द्रमा: फलं ददति तेऽपि वनस्पतय: स्तोका एव । तथा च द्रुमप्राया: सत्पुरुषा: कुसुमनिर्गमप्रायाणि वचनानि फलप्रायं कार्यमिति ।
181.79. स विभीषण: सुग्रीवेण मारुतेर्हनमुत्तो लब्धो य: प्रत्ययो रावणात् पृथग्भूत: स्वीयोऽयमिति ।
विश्वासस्तेनागतहर्ष यथा स्यादेवमुपगूढ आलिङ्गितः | शत्रुगृहभेदेन कार्यसिद्धिनिर्णयादिति भावः । उर:स्थलवनमालायां मिथो वपुर्मिलनान्मृदिता: पीडिता मधुकरा यत्र तद्यथा स्यादित्यपि क्रियाविशेषणम् । विभीषण: किंभूतः । व्यवसितेनागमनेन निवेदितोऽर्थ: प्रयोजनं येन ।
182.79. जनकसुता पतिता च । भूमावित्यर्थात् । केवलं मोहमेव गतेति न, किं तु पतितापीति चार्थ: । किंभूता ।
हस्तेन शिथिलितो निरोधो यत्र तथाभूत:, पश्चाद्विरहेण करतलयन्त्रणापसारितरुधिरत्वेन वा पाण्डुर: सन् समुच्छ्वसन् यन्त्रितमांसोत्फुल्लतया पुष्टिं व्रजन् कपोलो यस्यास्तथाविधा । ज्ञानदशायां करावरुद्ध: कपोलस्थितो मूर्छायां कर: शिथिलीभूय बहि:स्खलित इत्यर्थः । एवम् - प्रेरितेन वामपाइँन पतितत्वाद् वामभुजयन्त्रणया तिर्यगुत्थापितेन वामपयोधरेण विषमोन्नत: स्वानुसारेण तिर्यगुत्थापितो दक्षिण: स्तनो यस्याः । तथा च कुचयो : काठिन्यमुक्तम् ।
194.82. [ पद्यमिदं रामदासविरचिते रामसेतुप्रदीपे न संगृहीतम् ।
सेतुतत्त्वचन्द्रिकाख्यव्याख्यायां तु समाविष्टमुपलभ्यते - जनकतनयापयोधरस्पर्शान्महार्धितेन करतलेन विमुक्ता राघवशरा दशकन्धरस्य शरीरे पतिता: पतन्तो वा पुलकं जनयन्ति । अत्र तादृशकरण मुक्तत्वमेव हेतु: । पद्यमिदं साहसाङ्क-कुलनाथाभ्यां न धृतम् । ]
199.83. तं प्रसिद्ध दशमुखवधं शृणुत । -- प्रसिद्धार्थकत्वेन तच्छब्दस्य न यच्छब्दापेक्षा । तं कथंभूतम् ।
त्रिदशबन्दीनां मोक्ष: परित्यागो यस्मात् । समस्तत्रैलोक्यस्य हृदयस्थशल्यानामुद्धारश्च यस्मात् । अनुरागस्य प्रेम्णश्चिह्न ज्ञापकं च यत् । सीतां प्रति रामानुरागस्य रावणवधावधिकत्वात् । सीताया दु:खस्य क्षयश्च येन तथाभूतम् । रावणवधानन्तरं बन्दीकृतदेवस्त्रीणां परित्यागो लोकानां च राबणभयेनाप्रकाशनाद् हृदयस्थानां च शल्यानामुद्धार: सीताया अशोकवनिकानिवासादि- केशनिवृत्तिरित्यर्थः । अथ च दशमुखवधनामानं ग्रन्थं शृणुत । -- किंभूतम् । त्रिदशबन्दीनां मोक्षो वर्णितो यत्र तथाभूतम् । अनुरागचिह्नमित्यनुरागपदचिहनितम् । प्रत्याश्वासकान्तस्कन्धकेऽनुरागपदसत्त्वादिति भावः ।।
200.83. काव्यानामालापा येन न हरन्ति न मनोहारिणो भवन्ति किं तत् । अपि तु न किमपीत्यर्थः । तदाह -
यत: काव्याद्विज्ञानं विशिष्टज्ञानं वर्धते । तथा यश: संभाव्यते । गुणा विवेकादयोऽय॑न्ते । सुपुरुषस्य रामादेश्वरितं श्रूयते । अत एतस्योपादेयत्वम् । -- परिवर्घात इति वा । 'अर्जेविढप्पि:' इति विढप्पिरादेश: ।
213.86. समुद्रदर्शनत्रस्ता: कपिनिवहा: सहसा समुद्रं दृष्ट्वैव लिखिताश्चित्रन्यस्ता इव स्थिताः । त्रासाद्भुतयोरुत्पत्त्या
जडीमावादिति भाव: | ----- आक्षिप्तानि ---- पारावारदर्शनायोत्तोलितानि अथापसृतानि अहो

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कष्टमलङ्घनीयोऽसाविति मामेव लङ्घनाय यदि प्रभुः प्रेरयेत्तदानर्थ आपतेदित्यप्रतिभयापसृतान्यधोगतानि सन्ति वेपमानानि लङ्घने समुद्रपतनमलङ्घने सुग्रीवस्ताडयेदित्युभयथापि संकटमिति कम्पमानानि शरीराणि येषां ते । एवं निरायते समुद्रदिदृक्षया विस्फारिते पश्चादाश्चर्येण नि:स्पन्दे लोचने येषां ते । तथा च किंकर्तव्यविमूढा आसन्निति भावः ।
504.144. यस्य हसितैकदेशा ज्योत्स्नीषु रात्रिषु नभो विलगन्ति वियद्व्यापका भवन्ति । अन्तरान्तरा विच्छिद्य
विच्छिद्योत्पत्त्या खण्डा इत्युक्तमिति वा । कथंभूताः । स्फुट: प्रतिरवो येषां ते । एवं दिक्तलेषु प्रतिस्खलिता घनीभूय प्रतिवृत्ता: । पुन: कथंभूता इव । ज्योत्स्नाया: कल्लोला इव । श्वेतत्वात् । शिर:स्थितचन्द्रकलाया वा । अन्येऽपि कल्लोला: पर्वतादिषु स्खलिता: सन्त ऊर्ध्व दिशश्च व्याप्नुवन्ति प्रतिशब्दहेतुशालिनश्च भवन्ति । एतेन हसितस्य व्यापकत्वमुक्तम् । ज्योत्स्नाकल्लोला इवेति सहोपमा वा ।
यथा ते दिक्तलस्खलिता इव नभो विलगन्ति तथैतेऽपीत्युत्प्रेक्षामूलम् । 507.145. Vide SP S.No. (213.86) supra. 508.145. उन्मीलन्त्येवोन्मेषसमकालमेवास्य दृष्टिर्धनुषि निषण्णा । कीदृशी ।
निद्रायाः शेषेण ---- अवनताभ्यामक्षिपत्राभ्यां स्खलिता पृथग्भूता । तथा च निद्राजन्यालस्येन किंचिन्मिलदप्यक्षिपत्रद्वयं विजित्य प्रबोधसमकालमेव निखिलविषयपरित्यागेन धनुषि लग्नेति वीररसोत्कर्ष: सूचित : । किंभूते । गुरूकोऽन्यानिर्वाह्योऽवलगितो रणभरो यत्र । एवम् - दृष्ट: समरो यस्येति सर्वत्र जयशीलत्वादध्यवसाय उक्त: ।
510.146. चिरं व्याप्य प्रवृत्तानि वहद्रूपाणीत्याभ्यासिकवेगवत्त्वम् । समुद्रवद्गभीराणीत्यसाध्यसेतुकत्वम् ।
एवंभूतान्यपि नदीस्रोतांसि प्रतिपथं विपरीतमार्ग पश्चान्नीयन्ते उपायेन नेतुं शक्यन्ते । सत्पुरुषा: पुनरनिष्पादितप्रेषणा: सन्त: परावर्तयितुं न शक्यन्ते । प्रेषणमीश्वराज्ञा । तथा च जलस्याचेतनस्य स्वाभाविकक्रमत: परावृत्तिरुपायसाध्या न त्वजडानां चेतनानामिति राजाज्ञानिष्पत्तिरेव पुरुषार्थ इति भावः ।
511.146. सुभटानामुत्साहो वीररसस्थायी विषमे संकटे स्खलित: परैः प्रतिहत: सन्नधिकमुद्धावति वर्धते । कीदृक् ।
अव्यवच्छिन्नः सन्प्रसृत: । परैरनाक्रान्तत्वात् । एवं स्फुरिता शूरस्य छाया कान्तिर्यस्मात् । शूराणामेवोत्साह उत्पद्यत इति भाव: । दृष्टान्तयति - यथा महानदीनां स्रोतोऽव्यवच्छिन्नप्रसृतं स्फुरिता सूरस्य सूर्यस्य च्छाया प्रतिबिम्बो यत्र तथाभूतं सत् पर्वतादिनिम्नोन्नतप्रदेशे स्खलितमधिकमुद्धावति, ऊर्ध्वमुत्तिष्ठति । तथा वीराणामप्युत्साहो यथा यथा विषमभूमिलाभस्तथा तथा प्रौढिमालम्बत इति तात्पर्यम् । 'छाया स्यादातपाभावे प्रतिबिम्बेऽर्कयोषिति ।' इति ।
512.146. समुद्रं पश्यतां वानराणां तत्काल एव लोचननिवहो हनूमति सगौरवं पतित: । साधुस्त्वं धन्यजन्मा माता
च ते पुत्रप्रसूर्भवतीत्याशयादिति भाव: । लोचननिवहः कीदृक् । चटुलोऽपि मर्कटस्वाभाव्याचञ्चलोऽपि तदानीमपूर्व: प्राथमिको यो विस्मयरसो हनूमत्कृतसमुद्रलङ्घनोत्थस्तेन स्तिमितो निश्चल:

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Prakrit Verses in Sanskrit Works on Poetics समुद्रदर्शनाश्चर्येण वा । पश्यतामिति समुद्रदर्शनस्य वर्तमानत्वेऽपि हनूमति दृष्टिपातेन समुद्रापेक्षयापि तल्लङ्घनादाश्चर्यभूमित्वं हनूमत इति व्याजि ।
513.146. अलघ्यं समुद्रं लवयित्वा गतमागतं च मारुततनयं दृष्ट्वा तत्र स्थितानामेषां वानराणां हृदयेषत्साहो
गूढ: सन् गुप्तो भ्रमति । अस्मज्जातीयेन हनूमता लघितोऽयमिति हनूमद्दर्शनादुत्साह उद्भवति अस्माभिर्न लच्यत इति लज्जया न बहिर्भवतीति गूढभ्रमणपदयोस्तात्पर्यम् । भ्रमणबीजमुत्प्रेक्षते । कीदृशेषु । समुद्र दृष्ट्वाज्ञानं मोहस्तद्रूपान्धकारविशिष्टेषु । तथा च मोहच्छन्नत्वादुत्साहो न प्रकाशित इति भावः । अन्योऽप्यन्धकारे पतन्भ्राम्यतीति ध्वनि: । 'मूढः' इति पाठे जडीभूत इत्यर्थः ।
514.147. युष्माकमनुभूतादनुभवादपि | भावे क्त: । मम श्रुतमेव श्रुतमध्ययनं शास्त्रं वा तज्जन्यज्ञानमेव गुरु
अधिकम् । अनुभूतात् कीदृशात् । प्रत्यक्षात् इन्द्रियप्रत्यासत्तिजन्यात् । श्रुतं कीदृशम् । परोक्षम् इन्द्रियप्रत्यासत्यजन्यम् । एवं कथमपि कादाचित्कतया तुलाग्रं काकतालीयसंवादस्तेन तन्न्यायेन घटितादुत्पन्नसंवादात् । आगमेन वेदपुराणादिना शुद्धमविसंवादिनिर्धारणरूपम् । तथा च संचालितम् अहार्याप्रामाण्यशङ्कादोलायितमपि निष्कम्पमसकृत्संवादेन गृहीतप्रामाण्यमिति यथायोग्यमुभयविशेषणम् । तथा च तादृशानुभवस्यानुमानादिजन्यपरोक्षज्ञानापेक्षयान्तरङ्गेन्द्रियप्रत्यासत्तिजन्यत्वेनौत्सर्गिकगौरवसामग्रीसत्त्वेऽपि सदोषपुरुष-संबन्धित्वेनौत्सर्गिकभ्रमत्वेन कादाचित्कसंवादित्वम् अतस्तदपेक्षया मदीयश्रुतजन्यज्ञानस्य परोक्षरूपत्वेऽपि निर्दोषपुरुषप्रणीतागमसापेक्षत्वेन सर्वथा संवादित्वमिति मदुक्त्यनुसारेण व्यवहर्तव्यमिति समस्ताखण्डलकार्थ:।
519.148. जानकी अभ्यर्थनां काक्वा याच्यां न गृह्णाति न स्वीकरोति । त्रिभुवनश्रियापि दीयमानया लोभयितुं न
शक्यते । किमपरमस्माभिः क्रियमाणं शरीरवधमपि न गणयति । तदेवं दैन्योक्तिदानप्राणग्रहणरूपोपायवैगुण्यान् मन्ये तर्कयामि कथं सानुनया गृहीतानुनया प्रसन्ना भवेत् । न भविष्यतीत्यर्थः । तथा च प्रकारान्तरमनुसरणीयमिति भावः ।
520.148. पत्युर्माहात्म्ये स्वाभाविके वालिवधादिजनिते च गौरवे निषण्णा दत्तभारा, अत एवावमानितमवज्ञाविषयीकृतं
शेषस्य रामभिन्नस्य सत्पुरुषस्य शौटीर्यमहंकारो यया । तथा सा जनकसुता केवलं लूनस्य राघवशीर्षस्य दर्शनं यस्यास्तथाभूता सती । यदीति संभावनायाम् । तेन यदि वा वश्या भवेत्तदा भवेदित्यर्थः । प्रकारान्तरं नास्तीति भावः ।
521.148. यावद् रामधनुर्ध्वनि: शाम्यति तावदेव निजके स्वभावसिध्दे न तु भयादिनिमित्तके निद्रापरिक्षये सति
राक्षसनाथो विबुद्धो जागरित : । किं कुर्वन् । प्राकारेणान्तरितं व्यवहितम्, अथ च कटकितं कटकात्वेन सेनात्वेन व्यवस्थितम् । यद्वा—कटकं वलयस्तद्वलकामावेष्ट्य स्थितं, कपिसैन्यं रणे महितं सत्कृतमप्यगणयन् । एतेनाहंकारित्वमुक्तम् ।
524.149. प्रच्छादयतोऽप्यर्थादालापमेव संगोपयतोऽप्यस्य रावणस्य हृदयस्थित: सीतामय: समुल्लाप: प्रियाणां
मन्दोदरीप्रभृतीनामप्यग्रे मुखनिवहेऽपि सममेकदैव बहुश: प्रवर्तते । सीता सीतेति बहुशो जल्पतीत्यर्थः ।

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Prakrit Verses in Sanskrit Works on Poetics
671 तेनावहित्था सूचिता । 'भयगौरवलज्जादेहर्षाद्याकारगुप्तिरवहित्था । व्यापारान्तरशक्त्यन्यथा (भा) वभाषणविलोकनादिकरी ॥'
567.156. प्रत्यूषरतं प्रदोषरताद् दूरेणाभ्यधिकं प्राथमिकादपि प्रदोषरताद रसनीयतयातिश्लाघनीयं जातमित्यर्थः ।
तदेवाह - कीदृक् । विश्रम्भेण प्रत्यासत्या वर्धितो रस: संभोगरूप: शृङ्गारो मन:प्रीतिर्वा यत्र । द्वितीयरते विश्रम्भेण लज्जाविराहादुत्कण्ठाया यथावदभिव्यज्जनात् । न तु प्रथमरत इति भाव: । अतिरागेणात्यनुबन्धेनात्यासङ्गेन वा स्खलितापगता शेषेणैकदेशेन संस्थिता रसना यत्र । शेषसंस्थिता अपि रसना अतिरागेण स्खलिता इत्यर्थः । --- एवं च विगलितमदत्वेन हेतुना निपुणं चतुरं ज्ञानपूर्वकतयालिड्गनचुम्बनादिव्यापारवैशिष्ट्यविशिष्टमित्यर्थः । प्रथमरते तु मदसत्त्वेन रसविशेषमग्नचित्ततया तादृशनैपुण्याभावादिति भाव : | ---
619.165. स्त्रीणां पति / प्रिय - प्राप्त्या प्रदोषो निशाद्यभागो दत्तफलो जात: । असति पति / प्रिय - समागमे
दूतीगतागतेन तचर्चया सति च तद्दर्शनादिनापूर्वरसोत्पत्तेरिति भाव : । तदुत्तरमालिड्गनचुम्बनादिना रतिसुखेन निशापि दत्तफला । जातेत्यर्थात् । आनीता विरहादुत्कण्ठा येन । अत एव अनिर्विण्णोऽनिर्वाण उद्दीप्तो वा मन्मथो यत्र तथाभूत: सन् प्रत्यूष: परं गलति गच्छति । प्रियविश्लेषशङ्कया रसविच्छेदकत्वेन हृदये न लगतीत्यर्थ: ।
621.166. 'नु'शब्दो वितर्के । चन्द्रोद्योतेन मद: किं वर्धितप्रसरो वृत्त: । मदेन किं चन्द्रातपोवर्धितप्रसरः । द्वाभ्यामपि
ताभ्यां चन्द्रोद्योतमदाभ्यां मदन: किं वर्धितप्रसरः । मदनेन च द्वावपि तौ चन्द्रोद्योतमदौ किमतिभूमिमुत्कर्षकाष्ठां नीतौ । ---
942.219. युवतीभितीजन: ससंभ्रमं सादरमध्याप्यते शिक्ष्यते । किं कृत्वा ।
ईषद्रचितं विशेषकं यत्र तन्मुखं वलितं साचीकृतम् । अत एव विषमं तिर्यग् यथा स्यादेवं सखीजनहस्तात् समाक्षिप्याकृष्य । तथा च प्रियसमीपगमनाय मुखमण्डनं कारयन्तीभि: प्रसाधकसखीहस्तान्मुखमाकृष्य तिर्यक् कृत्वा प्रथमप्रेषित एव-दूतीजन: पुनराहय 'तदैव स्फुरितं किञ्चित् प्रियस्त्वया मताचिकमित्थं वक्तव्यो मदागमनंच हठान्न वक्तव्यम् इत्यादिकमतिनिभृतमुपदिश्यत इति वैदग्ध्यं सूचितम् । 'तमालपत्रं तिलकं मुखबिन्दुर्विशेषकम् ।
943.219. चन्द्रस्यालोकेन दर्शनेन तेजसा वा प्रतिहतो निवारितगमनोत्साहो विलासिनीनामभिसारिणीनां सार्थ:
अभिसरणं न गृह्णाति कर्तव्यतया न स्वीकरोति न च अलकं संस्थापयति संयमयति नायकनिकटगमनाय प्रसाधनभावेनेत्यर्थः । न च दूतीं पृच्छति कथं गमनं स्यादित्यादिकमित्यर्थ: । किं तु ममावज्ञामवैदग्ध्यमस्वायत्तिं वा किं ज्ञास्यति प्रिय: कथं वा तत्समागम: स्यादिति मूढहृदय: केवलं वेपते मदनागमनेन स चेदन्यमाश्रयेत्, अथवा मामन्यानुरक्तामवगच्छेत् तदा मया न जीवितव्यमिति भावः ।
949.220. प्रियस्य पार्थात् समीपानिवृत्त आगतो दूतीजन: संमुखमग्रतो एव अलीकमपि 'स न स्वयमेष्यति न वा
त्वां नेष्यति, किन्तु तवापराधानुक्त्वा परस्यामनुरज्यति' इत्यादि मिथ्यापि यद् भणति

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Prakrit Verses in Sanskrit Works on Poetics
दुन्वतीमुपतापयन्तीमपि तामेव कथां कामिनीसार्थो बहुशो निवर्तयति रसनिर्भरत्वात् परुषरूपामपि 'दूति, स मां प्रति किमुक्तवान्, किं वा करिष्यति मया किंचिदत्र न श्रुतम्, किंचिदत्र न बुद्धम्' इत्यादि व्याजेन शतधा परावर्त्य शृणोतीत्यर्थ: ।
951.221. प्रथममानीत: प्रियतमो यस्य तादृशो विलासिनीसार्थो दूतीभिरित्यनेन प्रकारेण तुल्यते (?) । किं वदति
किं वा चेष्टत इत्यादिहृदयनिरूपणाय पूर्वमानीतस्यापि प्रियस्य संगोपनादुपहस्यत इत्यर्थ: । इति कथमित्यत आह - हे सखि, धैर्यमवलम्ब्यताम । सः । तव प्रिय इत्यर्थात । उदतेऽपि प्रदोषे इह न च एष्यति । तथा च त्वयैव तत्र गम्यताम् । तेन यत् स्यात् तत्स्यादित्यर्थः । अथ च सत्यमेवोक्तम् त्वया धैर्यमवलम्ब्यताम् । स इह प्रदोषे नैष्यति, किं तु संप्रत्येवागत इति च्छलोक्तिः ।"
975.225. पत्युर्माहात्म्ये ---- Vide SP S.No. (520.148) supra. 987.226. निजानां कामिनीनां समुल्लापान् कथं कथमपि कष्टसृष्टयानुरूपव्याजाभावाद् वैलक्ष्यमप्रतिभा तया हसितै
रावणो गमयत्यतिवाहयति । वञ्चयतीति यावत् ।। कीदृशान् । ईीया सीतागुणासहिष्णुतया यो मत्सरोऽमर्षः तेन गुरुकानप्रतिक्षेप्यान् । एवम् - अधिक्षेपस्तर्जनासंवलिता निन्दा तत्सहित: परिवर्धित उपालम्भोऽपकारोक्तिर्यत्र तान् । तथा च --- सापराधत्वादाहार्यहास्येनैता: (कामिनी:) प्रसादयतीत्यर्थः ।
1027.233. मानवतीनां हृदये रोषश्चिरेण प्रशाम्यति । किंभूते । अनुनयः प्रसादनं तत्क्षणे लब्धं सुखं येन । ---
पुनरपि संभृतेन (संस्मृतेन ?) मन्युनापराधेन दुःखिते अत एव विह्वले व्याकुलीभूते । रोष: कीदृक् । प्रणयेन गुरुकोऽनुन्मूलनीय: । तथा च - यथा यथा प्रणयाधिक्यं तथा तथापराधे सति कोपाधिक्यमित्यनुनयेन प्रसोदोन्मुखमपि हृदयं मन्युबीजस्मरणेन निवर्तत इति चिरकालेन प्रसादो भवतीति भाव: ।
1257.273. चत्वारो यामा: प्रहरचतुष्टयं तन्मात्रेणान्तरितं सीतावियोगदुःखं विषहमानस्य । प्रातस्तद्दुःखोपशमादिति
भाव: । रघुपतेर्दी? बहुतरश्च कालो गत: । सैका निशा परं न गता न गतैव । संनिहितसीतासमागमोत्कण्ठयातिवाहयितुं दु:सहा बभूवेत्यर्थः । कीदृशी । न समातीव बहुतरकालेनापि न तुल्या तावत्समयजन्यविरहदु:खापेक्षया तद्रात्रिजन्यतःखाधिक्यादियमेवाधिकेत्यर्थ: । ---
1273.276. बाष्पैरश्रुभिः स्तिमितत्वाद्गुरूकृतैः, अत एव दूरं व्याप्य प्रलम्बैरलकैरवस्मृतेनाच्छादितेन हस्तेन मुखं
वहन्तीम् । मुखं हस्ते कृत्वा तिष्ठन्तीमित्यर्थः । --- तथा च मणेरिन्द्रनीलत्वेन तत्प्रभावृतैकपार्वत्वमुत्प्रेक्ष्यमाणमलकेषु नीलतया तत्प्रभात्वमवगमयतीति निरवद्यम् ।
1299.281. अथ विभीषणाभिषेकोत्तरं सीताविरहेण विधुरं केशो यस्य तस्य रामस्य निशापि वर्धितुमारब्धा इति
ज्ञायते । कस्मिन् सति । जलनिधौ मदने चाधिकं यथा स्यादेवं विज़म्भमाणे वर्धमाने सति । तथा

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Prakrit Verses in Sanskrit Works on Poetics
673 च मृगाकोदयेन स्वभावत: समुद्रवृद्धिर्मादकत्वेन रामस्य कामवृद्धिरित्युभयथापि वेदनानुभवादुज्जागरेण रजनिवृद्धिराभासत इत्यर्थः । --
1301.281. सीताविरहविधुरेण रामेण वर्षौ सीतामुद्धत्य पुनर्द्रक्ष्यामीति प्रत्याशया कथंकथमपि धैर्यमवलम्ब्य
कदम्बवाता गमिता:। दुःखैकहेतवोऽप्यतिवाहिता:। मेघान्धकारितं गगनतलं च दृष्टम् । न तु चक्षुःसुखहेतुत्वेनावसितम् । गर्जितशब्दश्च सोढो न तु श्रुतिसुखमधिगतम् इति यद्यपि तथाप्यस्य रामस्य शरदि कथं कुमुदवनवाता गमयितव्याः कथं च शरचन्द्रिकाधवलं नभो द्रष्टव्यं कथं वा कलहंसध्वनि: सोढव्य इति त्वक्चक्षुःश्रवणव्यापारेण वैकुव्यशङ्कया पुनर्जीवितव्यं मयेत्यध्यवसायो नाभूदिति भाव इति संप्रदाय:I---
1312.283 : Vide SP S.No. (174.77) supra.
1364.291. शिरसि दूरादालोकिते सति सीता विषण्णा विषादमुपगता | कस्यैतदिति कृत्वा इत्यर्थः। अथ
रजनीचरैरुपनीयमाने निकटं प्राप्यमाणे सति वेपितमारब्धा । ममैव निकटं यदानयन्ति तत्प्रायो रामस्यैव भवेदिति कृत्वा कम्पवती बभूवेत्यर्थः। पश्चात्तैरेव रामशिर इति भणिते सति नि:संदेहा सती मोहमेव मूच्छामेव गता । न तु मृत्युमपि । सीताजीविताभिन्नरामजीवितस्य विद्यमानत्वादिति भावः।
1370.292. --- जनकसुता पतिता 'भूमौ' इत्यर्थात् । भूमावपि निपत्यात्मानं व्यापादयामीत्याशयात् । किंभूता ।
प्रसारितमड्गं यया तादृशी । क्वचिदप्यङ्गे मृत्युहेतुरभिघातो जायतामितीच्छयेति भावः। एवं रजोभृतो धूलिपूर्ण उत्पथप्रकीर्ण: पृष्ठमपहाय यत्र कुत्रचिद् विपर्यस्तो वेणीबन्धो यस्याः। एवम् उर:संदानितेनाधोमुखपतनादुरसावष्टब्धेन महीतलेन चक्रितौ यन्त्रणावशाचक्रवन्मण्डलाकृतीकृतौ स्तनौ यस्या: सा । एतेन स्तनयोरुन्नतकठिनत्वमुक्तम् ।
1371.292. Vide SP S.No. (182.79) supra.
1372.293. परलोकगते त्वयि व्यवसायमात्रेणानुमरणादिना सुखद्रष्टव्ये जाते सति हर्षस्थानेऽपि भवदर्शने संप्रति
ममापत्तिर्जातत्यानन्दस्थानेऽपि न दृष्टो दशमुखवधो येन तथाभूतं मम हृदयं दह्यते भवदपकर्ताहतो न दृष्ट इत्येव परं विषादबीजमिति वीरपत्नीत्वमुक्तम् ।।
1373.293. तया बाष्पविमोक्षो न कृत:, रामशिरो निवर्णयितुं विशेषेण द्रष्टुमपि न शकितम् । केवलं प्रतिपन्न: स्वीकृतो
मोहो यया तथाभूता सती गतजीवितो मृतस्तद्वन्नि:सहा निश्चेष्टा सा मह्यां निषण्णा लिखितेव स्थिताभूदित्यर्थः। रोदनदर्शनादीनां ज्ञानसाध्यत्वेन तदानीं प्रसह्य मोहोदयात्तत्किमपि न वृत्तमिति "भाव:।---
1374.293. सीताया दृष्टिस्तथैव नियोजिता, यथा पूर्वं शिरसि नियोजितासीत्, पुनदर्शनान्तरमपि तथैव स्थितेत्यर्थः।
एवं मुक्त: कपोलो येन तथाभूत: सन् विधुरो विह्वलो हस्तो यथा पूर्वमुरसि स्थित:, तदानीमपि तथैव

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Prakrit Verses in Sanskrit Works on Poetics स्थित:, किन्तु गतेन जीवितेन निश्चेष्टा । यद्वा - गतजीवितं मृतकशरीरं तदन्निश्चेष्टा सती सा सीता केवलं स्तनयोभरण महीतलं गता |---
1375.293. अलकैविकीर्णतया श्यामत्वेनान्धकारीकृतं मुखं यस्याः, तथा संमुखागत: सन् कण्ठे भ्रमितो वेणीबन्धो
यस्याः, इतस्तत: संचारात्। सा सीता मोहेन प्रतिपन्नमाक्रान्तं हृदयं यस्यास्तथा सती ईषज्जल्पितेनापि
निःसहं कण्ठादिशोषादसामर्थ्य यथा तथा निषण्णा पुनरपि मह्यां निपतितेत्यर्थः। नि:संज्ञा वासीदित्यर्थः। 1376.293. तस्या मुखं जातम् । कीदृशम् । क्षणं व्याप्य निश्चलो निश्वासो यत्र, मूर्छया प्राणवायोरवरोधात् । एवम्-मोहो
ज्ञानाभावस्तद्रूपेणान्धकारेण श्यामा छाया कान्तिर्यस्य, प्रसादाभावात् । एवम्-विरलमल्पं मिलिते किंचिन्मुद्रिते अक्षिपत्रे पक्ष्मणी यत्र तथाभूतं सन् मूर्च्छया ह्रियमाणे परावर्तिते तारके दृष्टिगोलके यत्र
तादृशम् । मूर्छापूर्वावस्था मोह:। यद्वा मोहोऽज्ञानमात्रम्, मूर्छा तु मनोविक्षोभविशेष इति भेदः। 1377.294. मूर्छामुद्रिताक्ष्या जनकपुत्र्या तदानीं केवलं सुखं लब्धम् । ज्ञाने सति दुःखमात्रानुभवादज्ञाने दुःखाभाव
एव तदिति भावः। सुखं कीदृक्। विस्मृतवियोगदुःखम् । एवम्-तत्क्षणे प्रभ्रष्ट: प्रस्मृतो रामस्य मरणेनायास:पीडा --- यत्र तत् ।
1378.294. स्तनयो: परिणाहेन विशालतयावस्थगिते व्याप्ते तस्या हृदये प्रतनुकमल्पमपि न दृष्टम् । --- (तस्या)
दीर्घ महदपि समुच्छ्वसितं नि:श्वास: केवलमधरोष्ठे वेपनशीले कम्पिते सति सूच्यते । वासं विना कथमधरोष्ठकम्प इति परं तर्यंत इत्यर्थः। ---
1379.294. तत: श्वासपरावृत्त्यनन्तरं न परि सर्वतोभावेन स्फुटो व्यक्तो निश्वासो यस्यास्तथाविधातर्यमाणनिश्वासा
सा मूर्छाविरामेऽपि नि:सहं निश्चेष्टं यथा स्यादेवं पतिता सत्युन्मीलिता चक्षुरुन्मुद्रणं चकारेत्यर्थः। अनुबद्धेन ज्ञाने सति तदानीमुत्पन्नेन बाष्पेणाश्रुबिन्दुगुरूकृते यन्त्रिते अत एव दुःखेन समुद्व्यूढे उत्तानिते तारके गोलके यत्र तद्यथा स्यादित्युन्मीलनक्रियाविशेषणम् ।
1380.294. इत्यनेन प्रकारेण त्रिजटाकृतं यद् रामप्रेमकीर्तनं तदेव दुःखहेतुत्वाद्दुःसहो यो वज्राभिघातस्तेन दुःखितहृदया
सती सीता संस्मृत्य पूर्वप्रेमव्यवहारमित्यर्थात् । मुक्तकण्ठमुचैर्यथा स्यादेवं मरणे कृतनिश्चयाप्यन्यमयं पूर्वरोदनापेक्षयापि शृङ्गारात्मकत्वेन विलक्षणं यथा भवत्येवं प्ररुदिता । यथा यथा मृतस्यानुबन्धस्मरणं तथा तथा रोदनाधिक्यं भवतीति भावः।
1381.294. रामशिरोदर्शनानन्तरं जनकसुता परिदेवितुं विलपितुं प्रवृत्ता। निजकशरीरे प्रतिमुक्तं करप्रहारादिना संक्रमितं
राघवदुःखं यत्रेति क्रियाविशेषणम् । किंभूता । करमार्गेण प्रहारद्वारा कर-रूपेण वर्त्मना । यद्वा-करप्रहारस्थानेनोत्थितं यच्छोणितं तेन विवर्णी श्यामताम्रीकृतौ पयोधरौ यस्या इति मार्दवमुक्तम् ।
1382.295. ततोऽश्रुत्यागानन्तरं जनकसुता जल्पितुं प्रवृत्ता । अकस्मादुत्थितं समुच्छ्वसितं प्राणवायुर्यस्या: सा
पुनरागतप्राणा सतीत्यर्थः। त्रिजटावक्षःस्थलादुत्थिता सती समुच्छ्वसिता कृतोच्छ्वासा इति वा । पुनः

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675 किंभूता । उरसि घूर्णमानेन वेणीमुखेनोद्घृष्टमुत्प्रोञ्छितं स्तनलग्नं महीरजो यस्याः।। 1383.295. ततोऽलकासंवरणानन्तरमस्या: करयुगलमावेगेनोद्वेगेन समुत्क्षिप्तमुत्थापितं सत् पयोधरौ अप्राप्तमेव ।
अस्पृष्टस्तनमेवेत्यर्थः। निजोत्सङ्गे क्रोड एव पतितम् । कुतस्तदाह - खेदाप (? खेदा)गमेनावसीदत्पीडया विह्वलम्, अत एवापवृत्तं स्खलितम् । स्तनतटं ताडयितुमभीप्सोरपि तस्याः
खेदावसन्नतया करयुगं तावद्दूरमपि न गतम् । किन्तु क्वचिदन्यत्रैव स्खलित्वा पतितमित्यर्थः।। 1384.295. नवपल्लवेनेव वक्षस: प्रहारादातामेण अत एव विह्वलेन मार्जनाद्यसमर्थेन हस्तेन तया सीतया मुखं परिमा?
न शकितम् । किंतु एकस्मिन्कपोले मिलिता: संवरणाद् वर्तुलीकृता अलका यत्र तादृशं कृतम् । तथा च मुखमार्जनाभावेऽपि मुखोपरि विकीर्णत्वेन शिरोदर्शनप्रतिबन्धकत्वादलकानां संवरणं क्रियमाणमेककपोल एव निष्पन्नं करस्य विह्वलत्वाद्दर्शनस्य तावताप्युपपत्ते:, अपरकपोले तु विकीर्णा एव ते स्थिता इत्यसामर्थ्यमुक्तम् ॥
1385.295. ततस्त्रिजटावचनोत्तरं जनकतनया सख्यां य: सद्भाव: सौहार्द तत्सदृशं तद्योग्यं यथा स्यादेवं त्रिजटाया
उरसि निषण्णा । --- किंभूता । अगृहीत इदमित्यमेवेत्यस्वीकृतस्त्रिजटाया उपदेशो यया । अत एव प्रथमं व्यक्तिरेकनिश्चयानतेन पश्चात्रिजटावाचा संदेहादपनिवर्तमानेन परावृत्त्या गतेन जीवितेन मुह्यन्ती प्राणसंदेहे सति मोहोत्कर्षादिति भावः ।
1386.295. त्रिजटाया वक्षसि तिर्यनिषण्णायास्तस्या बाष्पजलं लोचनयोर्व्यतिकरण संपर्केण । लग्नं सत् ।
वक्षसीत्यर्थात् । गलितं त्रिजटावक्षसि सांमुख्यनैव. पतितत्वालोचनसंबंधादश्रुसंबंध इति भावः । किंभूतम् । कपोलेन यत् प्रेरणं यन्त्रणं तेन पीडयमानालकेभ्य उद्गतं नि:सृतं तिर्यनिषण्णत्वादश्रुणोरैक्यमिति भावः ।
1387
. (स्तनजवनोन्नतिमाह ।) भूमावधोमुखीभूय सर्वाङ्गेण निषण्णाया अपि तस्या मध्यप्रदेश उदरं .स्तन-जघनेन करालित: सान्तरालीकृतः सन् वसुधां न प्राप्नोति । स्तनयोर्जघनस्य चोन्नतत्वादुभयतोऽप्युत्तोल्य धृतत्वादवनीं न स्पृशतीत्यर्थ: । अत एव करालितपदेनोदरस्यातिकृशत्वमुक्तम् । कीदृक् । नि:शेषत: क्षपिता अपगता वलीविभड्गा यस्य तथाभूत: सन्निरायतो दीर्घ: । दैर्ध्याद्भयतोऽप्याकर्षणात त्रिवलिव्यपगम इत्यर्थः ।
1388.296. तत: किञ्चिद् विलापानन्तरं रामस्योर:स्थले यच्छयनं तत्र निराशं हृदयं यस्यास्तथा सती सीता
महीतलस्योत्सङ्गे पतिता । एवंविधविपत्तौ पुत्र्यो मातु: क्रोड एव पतन्तीति भाव: । किंभूते । स्फुटितस्य शिथिलत्वात् स्थानभ्रष्टस्य वेण्या बन्धनस्य बन्धनपाशस्य भड्गेनापगमेनोद्गता: प्रसृता:, अत एव विषमा व्यस्ता ये केशास्त एव पर्यास्तरणं यत्र तत्र । केशानां तृणादिवदास्तरणीभावेन बाहुल्यमुक्तम् ।
1389.296. तत: पुन: पतनानन्तरं प्रथमं मूर्छिताया: पश्चाचैतन्ये सत्युत्थितायास्तस्या मुखं मूढस्येव परिदेवितं

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दुःखप्रकाशनं यत्रेति मूढपरिदेवितमनक्षरपरिदेवितं जातम् । चेष्टयैव परिदेवनं चकारेत्यर्थ: । तचेष्टामाह - किंभूतम् । किमेतदिति कृत्वा किमेतदित्यभिलप्य गगने दिक्षु च सममेकदैव शून्ये मनोवैकल्येन
विषयाग्राहके सति परि सर्वतोभावेन चूर्णिते अक्षिणी यत्र |--- 1390.296. त्वां कदाचिदपि द्रक्ष्यामीपि प्रत्याशया तव विरहे मया कथमपि जीवितं धृतम् । तदेष मृतस्त्वं दृष्टोऽसि ।
अत: फलिता अपि मनोरथा मम न पूर्यन्ते । त्वदर्शनं जातमिती फलिता:, मृतो दृष्टोऽसीति न पूर्यन्ते । संभाषणाद्यभावात् ।---
1391.296. पृथिवी, राजलक्ष्मी:, अहं च तव तिस्रः पल्य:, तत्र त्वद्विगमे पृथिव्याः पतिर्भविष्यति । य एव राजा
भवेत् स एव तस्या पतिरित्याशय: । तथा बहुषु पुरुषविशेषेषु चञ्चला राजश्री:, अत: सापि राज्ञो लक्ष्मीरिति पृथिव्यनुगामिनी राजानमेव यास्यति । तावदित्यवधारणे । ममैवकथं नि:सामान्यमेतदुभयापेक्षयासाधारणमिदं वैधव्यमुपस्थितम् । तथा चासत्यौ ते भवत्पारोक्ष्यमेवेच्छत: ।
कुलस्त्रिया मम परं गतिरन्या नास्तीति मया मर्तव्यमेवेति भावः । 1392.297. आपात उपक्रम एव भयंकरम् । दु:खमित्यर्थः । --- निर्वहणं तु पर्यवसानं तु दारुणं न भवतीति
विज्ञायते । यद्-हेतोर्महिलानां बीभत्सं स्त्रीणां निन्दाकरं तवावसानं मरणं मया दृष्टम् । न केवलं दृष्टम्, अपि तु सोढं च । मरणरूपतदनुरूपव्यापाराभावात् ।---
1393.297. हे नाथ, मयासह्यापि राक्षसवसतिस्त्वदर्शनप्रत्याशया सोढा । तत्रापि तवेदृशमयोग्यमवसानं च दृष्टम् ।
एतत्ततोऽप्यशक्यमिति भाव: । अद्याप्येतद्दर्शनोत्तरमपि वचनीयेन वाच्यतया हतं मम हृदयं धूमायत एव संतापेन मोहान्धकाराविष्टं सदुःखमेवानुभवति, न तु प्रज्वलति । तथा च ज्वलनपूर्वकालीना धूमायमानावस्थेति ज्वलिष्यत्यवश्यम् । किन्तु राक्षसवासागमनकाल एव ज्वलितुं योग्यमवसानदर्शनेऽपि न ज्वलतीति लोकानामपवादेन परास्तमित्यहमधन्येति भावः ।
.1394.297. तव विश्लेष: सोढः, तथा च प्रथमं तदेवाशक्यम् । तदुपरि यथा सखीभिः सह स्थीयते तथा रजनीचरीभिः
समं व्युषितमिति ततोऽप्यशक्यमित्येतद् द्वयं त्वां द्रष्टुं कृतमिति तदाभवदभविष्यत् । यदीदानीमपि त्वद्विपर्ययज्ञानानन्तरमपि जीवितं विगलद् व्यगलिष्यत् ।---
1395.297. तत: पुनरश्रुमार्जनानन्तरं पुनस्तच्छिरो दृष्ट्वा त्रिजटायां गते उन्मुखे लोचने यस्यास्तथाभूतया तया
मामापृच्छस्व संवद मरणकृतोद्यमां मामनुजानीहीति दीनं शोच्यं सकरुणं वा हास्यं कृतं बाष्पेण गलितत्वान्नि:सारे अक्षिणी यत्र तद्यथा स्यादेवम् । किंभूतया । मरण एव एकस्मिन्नेको वा रसो यस्यास्तादृश्या । तथा च राक्षसीमध्ये मरणमिति दैन्यम्, मृत्वा हठादेव रामो द्रष्टव्य इति हास्यम् । यद्वा लूनशिरोदर्शनोत्तरमियत्कालमेव जीवितास्मीत्यात्मनिन्दावशाद् दीनविहसितमिति भाव: ।
1396.297. हे त्रिजटे, प्रथमं रामविरहे सोढे सत्यनन्तरं दारुणहृदयेन प्रतीष्टेऽङ्गीकृते वैधव्ये च सति गतो य: स्नेहस्तेन
लघुकमनादरणीयम् । यत्र विरह एव मर्तुमुचितं तत्र वैधव्यमपि सोढवतीत्यहो नि:स्नेहा दारुणा चेति

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677
दुर्वादविषयत्वादिति भावः । अत एव निर्लज्जमरणमिदं मम सहस्व क्षमस्व नोपहासविषयीकुर्या इत्युक्त्वा सीता पुन: प्ररुदिता |---
1397.298. सा सीतानुशोचनं कर्तुं नेच्छति कण्ठशोषात्, परस्मिन्निव शत्राविव अङ्गे प्रहारं न ददाति नि:सहत्वात्,
बाष्पं न मुञ्चति किं तु रुणद्धि बहुरोदनदुःस्थचक्षुःपीडाकरत्वात् शिरोदर्शनविलोपकत्वाच । तर्हि प्रणयस्य न्यूनत्वमतो हेतुमाह - अस्या हृदयं मनो मर्तव्ये लब्धप्रत्ययं यतो लब्ध: प्रत्ययो निश्चयो येन तज्जातनिश्चयमित्यर्थः । तथा च मरणरूपसर्वाधिकव्यापारे दत्तभरत्वादिति भावः ।
1398.298. रामशिरसि रामशिरोरूपं वा बद्धमनुबद्धं लक्ष्यं यया तादृश्यस्या दृष्टिर्बाष्पेण धाव्यते क्षाल्यते, न तु रुध्यते
--- । बाष्पस्याविश्रान्तपतनादालोकनाप्रतीघातादिति भाव: । किंभूता । लक्ष्यमाणो विषादो यस्याम् । एवम् - अभ्यधिकमुन्मीलितें तत्त्वजिज्ञासया सम्यगविस्तारिते । अथ च - विस्मयान्निश्चलस्थिते नयने गोलके यस्या: । दृष्टिरेकैव, दर्शनं वा ।।
1399.298. ततस्तत्परिदेवनोत्तरं हस्तेनोन्नामितं मुखं यया । सीताया इत्यर्थात् । एवंभूता त्रिजटा मधुरं प्रियं यथा
स्यादेवमाश्वासयन्ती सती एनां सीतां भणति । किंभूताम् । विलपितेन निष्पन्दाम् । एवं स्थानाद् भ्रश्यता हृदयेन परिशून्यं विषयाग्राहकं लोचनयुगलं यस्यास्ताम् ।
1400.298. त्वं मा रोदी:, बाष्पं प्रोञ्छ, स्वस्य पत्युर्वा अंसे परिवृत्तं तिर्यग्भूतं मुखं तद्यथा स्यादेवमुपगूह्यालिङ्ग्य ।
पतिमित्यर्थात् । विरहदु:खं च स्मृत्वा ते त्वया पुनरपि पत्युरङ्के रोदितव्यं विश्लेषदुःखानन्तरं मिलने बन्धवो बन्धुमालिङ्गय रुदन्तीति तत्रापि पुनर्मिलनं रोदनं च स्यादित्यस्थाने नामङ्गलमाचरेति भावः ।
1401.298. अचिराचं त्वं दाशरथिं द्रक्ष्यसि । कीदृशम् । तव विरहेणावरुग्णा दुर्बला अथ च पाण्डुरा मुखच्छाया
यस्य तम् । एवं रावणवधेन गतरोषत्वात् सुखदृश्यम् । तथा कृतकार्यत्वादवतारितेन हस्तादपसारितेन
चापेन निर्वृतं सुखितम् । व्यग्रता विरहादिति भाव: । 1402.299. अचिराच रघुसुतस्ते वेणीं मोक्ष्यति । किंभूताम् । आर्द्रायमानाभ्यां त्वत्स्पर्शात् स्विद्यद्भ्यां हस्ताग्राभ्यां
मुकुलितानि स्वेदसंबन्धात् संवृत्तानि पक्ष्माणि असंयमनादुत्थितलोमाग्राणि यस्यास्ताम् । एवं भावोदयादेव वेपमानाभिरगुलीभिरुत्क्षिप्ता: समीकृता विषमभागा यस्याः । प्रोषितो भर्ता समागत्य प्राकृतं विरहिण्या वेणीबन्धं मोचयतीति भावः ।
.1403.299. रामपतने सति इत्यनेन प्रकारेण दशाननगृहोद्यानं कथं निश्छायं कान्तिशून्यं भवति । प्रकारमाह -
कीदृशम् । मारुतेन मोटितं विटपं यत्र । एवं मृगाङ्ककिरणानां प्रतिमर्षात् संस्पर्शान्मुकुलितं कमलं यत्र तथा । तथा च रामपतनं यदि सत्यं स्यात्, तदा मारुतेन शाखाभङ्गश्चन्द्रेण कमलसंकोच: कर्तुं कि शक्येत । भवति च तथा । तज्जानीहि रामप्रतापो जागरूक इति भावः ।
1404.299. सकला --- निशाचरपुरी लङ्का गृहपरिपाट्यां समं युगपन्निर्हादित: शब्दान्तरोत्पादी रुदितरवः ।

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राक्षसानामित्यर्थात् । यस्यां तादृशी । --- एकेन हनूमता कृता । अत: कथमध:क्षतादि तद्रहिता राक्षसा यत्र तथाभूतं रघुपतनं भवेत् । तथा च तथाविधकोटिवानरसहाये तस्मिन्निहते कोटिकोटिराक्षसा अपि निहता: स्युः, अतस्तदभावे तत्कथं तर्कयसीति भावः ।
1405.299. दशवदनस्ययो दर्पभङ्गस्तदुत्फालं तत्सूचकं प्रमदवनं पश्यन्ती त्वं समाश्वसितव्ये हर्षस्थाने किमिति मुह्यसि
रामशिर: शङ्कित्वा विषीदसि । दर्पभङ्गसूचकतामाह - रामाज्ञप्तिकरण हनूमता आविद्धा: पातिता द्रुमा यत्र तत् । तथा च तदानीमेकेनैव प्लवगेन वाटिकाभङ्ग-लङ्कादाहाक्षमारणादिशूरकर्म निष्प्रत्यूहमाचरितम्, इदानीं तादृशकोटिकोटिप्लवगसमेतयो रामलक्ष्मणयो: का वार्तेति भावः ।
1406.299. हे जानकि, राघवस्य भुजबलं मा लघुकमल्पं पश्य जानीहि । कीदृक् । वालिनो वधे दृष्टसारम् --
अथ बाणेन गलहस्तित: प्रेरितो य: समुद्रस्तेन दत्तो रामायेत्यर्थात् स्थलरूप: पन्था यस्मात् । अथ रोधितं लङ्कावलयं येन । तथा च रामे नैतत्संभाव्यमिति भाव: ।
1407.300. हे सीते, मूर्छाप्राप्तम् अत एव पतितं सन्निःसहं निश्चेष्टं विषण्णमवसन्नं ('णिसण्णंगी' इति पाठे निषण्णम्)
अङ्गं यस्यास्तादृशी त्वं तथानिर्वचनीयं मोहं गतासि, यथा इयं राक्षसमाया न तु शिर इति स्फुटं जानती अहमपि विषण्णा । शिरोदर्शनेन मम विषादो नाभूत, किंतु त्वद्विषादेन सत्यमेवैतत्स्यादिति भ्रान्त्या विषादो जात इति भावः ।
1408.300. तत्पूर्वोक्तहेतोर्धेयमवलम्बस्व । यावदिति परिच्छेदे । इदममङ्गलं रोदनादिरूपं संप्रति नश्यतु । इयं च
शिरोघटनरूपा माया निवर्तताम् । कीदृशी । ज्ञातपरमार्था सती लघुका तुच्छा कपटस्य विशेषादर्शनमात्रावधिकत्वात् । अतोऽवधीरितानादृता सती निष्फला भ्रमाजनिका । तथा च कपटत्वेन निर्णीयावहेलया निष्फलयेति भावः ।
1409.300. हे जानकि, पतिं राममेतादृशं जानती त्वं शेषपुरुषाणां प्राकृतजनानामनुमानेन मनुष्यत्वादिसाधर्म्यण किं
तुलयसि सदृशीकरोषि । कीदृशम् । त्रिभुवनानां मूलस्य कारणस्याधारमाश्रयम् । कारणमित्यर्थः । तेन जगत्स्रष्टारम् । तथा हिरण्याक्षत: पराजयाद् विह्वलेन महेन्द्रेण प्रतिमुक्ता त्यक्ता, अथ स्वयं विष्णुरूपेण व्यूढा धृता रणधुरा येन तम् । --- साधारणजनवत् कस्यापि वध्य इति मा बुध्यस्वेति भाव: ।।
1410.300. अमिलितानि न परस्परमेकीभूतानि सागराणां सलिलाननि यत्र । एवम् अनघा अविशीर्णाः स्थिता महीधरा
यत्र । तथा अनुवृत्तमुपरि नागतं तलमधोभागो यस्यास्तथाभूता धरणी छिन्नं सत्पतितं रामशिरो धारयतीति कथं प्रत्येषि । तथा च यदि सत्यं रामशिर:पतनं स्यात, तदा सागरमिलनादिरूपा प्रलयादस्योत्पातावस्था वा भवेदित्येतदभावादिदमप्यसत्यं मन्यस्वेति भाव: ।---
1411.300. उत्तिष्ठ, शोकं मुञ्च, बाष्पैरश्रुभिः --- मलिनितं स्तनपृष्ठं प्रोञ्छ । उपपत्तिमाह - शृणु पत्यौ
समराभिमुखे सत्यश्रुनिपात: शकुननिमित्तं न वर्तते । कित्वमङ्गलनिमित्तमिति भाव: ।

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1412.301. मिलितानां विभीषणादीनां शत्रुसमागमादेकीभूतानामिन्द्रजित्प्रभृतीनां वा निशाचराणां पुरत:
सुवेलमलययारेन्तराले निर्मित: सेतुपथो येन तथाभूते । तदनु प्रेरितानि आन्दोलितानि त्रिकूटस्य सवेलस्य शिखराणि येन तादृशे राघवे । --- कि प्रश्ने विस्मये वा । तव अग्रहणमनादरः । यत्तस्मिन्नप्येवं संभावयसीति भाव: । 'ग्रहणं त्रयमिच्छन्ति ज्ञानमादानमादरम् ।'
1413.301. च पुना रघुनाथं मुक्त्वा केन वान्येन दशवदन: कपिरुद्धत्वात् प्राकारमात्रेणान्तरित: सन् निष्प्रभः कृतः ।
तथा च रामेणैव कृत इत्यर्थः । कीदृक् । अवरोधजन्यया लज्जयागतै: स्वेदैबिन्दूयमानं बिन्दुभिः पूर्यमाणं मुखं यस्य स तथा । ---
1414.301. हे जानकि, स्नेहेन भणितमक्तम । मे वचनमहं रजनीचरीति मा जगप्सस्व मा गर्हय । अर्थान्तरन्यासमाह
- उद्याने गहारामे वनेऽरण्येच लतानां यत् कुसुम सुरभि तदेव गृह्यते । नोद्यानमिति बदरीविभीतकादीनां गृह्यते, न वा वनमिति सुगन्धिपाटलादीनां त्यज्यते । ---- ग्रहणपरिहास्योरुद्यानवनादित्वमुपाधिन प्रयोजक: किं तु सौरभादिरितिवत् प्रकृतेऽपि वचनस्य प्रियत्वं विचार्यतां राक्षसीत्वमप्रयोजकमिति भावः ।।
1415.301. हे सखि, राघवमरणं यद्यलीकं मिथ्या न भवेत्तदा त्वया जीवन्त्या किमु । किं प्रयोजनमित्यर्थः । तर्हि
तव मरणमेव श्रेष्ठामिति भाव: । ---- रघुनाथे पुनरनघेऽक्षते जीवति वा तव मरणेन विधुरं दु:खितं मम हृदयं यतः, तत: संप्रति काम्यति । तथा च रामो जीवत्येव, त्वं वृथा नात्मानं व्यापादयेति भावः ।
1447.306. पत्युर्विरहे प्रतिकूला मां प्रत्यसंमुखी सीता संप्रति पत्यावुपगते सति कथं संमुखहृदया भविष्यति ।
अर्थान्तरन्यासमाह-कमलिनी इतरथाप्यन्यथाप्यनुदितेऽपि दिनकरे शशिनं नेच्छति किं पुनर्दृष्टे सति ।
---- अत्र कमलिनीप्राया सीता, शशिप्रायो रावणः, सूर्यप्रायो राम: ।। 1448.306. शशिकरा: पादपानां छाया: (कर्माणि) ग्रहीतुं --- नाशयितुमित्यर्थः । न शक्नुवन्ति वृक्षतले
तासामतिघनत्वात् । किन्तु अनुबध्नन्ति वेष्टयन्ति । किंभूताश्छाया: । बहलेऽपि तमोनिवहे निर्वाह्य पृथक्कृत्य सत्यापितं रूपं यासां ता: । ग्राह्यत्वेन स्थिरीकृतरूपा इत्यर्थ: । ---- शशिकरा: --- तमोनिवहमुन्मूल्य तत: पृथक्कृत्यापि छायां वृक्षतलमाश्रितां ग्रहीतुम् (नाशयितुम्) अपारयन्त: परितो वेष्टयन्तीत्यर्थः ।
• 1474.310. यावत् सन्ध्या गच्छति तावदेव तमालवत् कृष्णं तम: कर्तबहुलं सन्ध्यारागं काञ्चनकटकमिव प्रतिप्रेर्य
अवपात्य स्थितम् । क इव । हृतकर्दमस्य सुरगजेन्द्रस्य निघर्षों गात्रघर्षणस्थानमिव । सोऽपि गात्रसंबद्ध-कर्दमसंबन्धात्कृष्ण:, कण्ड्रयनादिविधिना गिरिकटकं भक्त्वा तिष्ठतीति साम्यम् । सुरगजगात्रीयत्वेन महत्त्वमप्युक्तम् । ---
1475.310. सर्वत्र समतया स्थितमपि तिमिरमीदृशं दृश्यते । कीदृशम् । आसन्ने निकटके प्रविरलं स्तोकव्यवधानं
बहलं निकटापेक्षया बहुलं दूरे घनम्, तदपेक्षयापि निबिडम् । अत एव अवभग्नो दृष्टिप्रसरो यत्र विषयाणामग्रहात् । सर्वत्रासन्नादिषु भग्नदृष्टिप्रसरमिति वा ।

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Prakrit Verses in Sanskrit Works on Poctics
1483.311.शशिना वनानि प्रकट्यन्ते स्फुटीक्रियन्त इव । किंभूतानि । विटपानामन्तरेण रन्ध्रेण विरलं यथा स्यात्तथा
पतिताश्चन्द्रस्य करा येषु । अत एव भिन्नं खण्डितं तम एव, तमसा वा, दुर्दिनं येषु । अत एव स्तोकमल्पं सुखालोकानि । ईषत्करपातात् । आलोकस्तेजश्छटा वा । अत एव छटासंबन्धान्मुग्धं मनोरमं पल्लवं येषां तानि |---
1545.322. विलासिनीनां सार्थो वेपते श्वासं त्यजति कान्तिं याति, नि:सह: सन् शयनेऽङ्गान्यामुञ्चति त्यजति तन्न .
विशिष्य ज्ञायते कि रामाद् भीत उत पक्षान्तरे मदनपरतन्त्र: । वेपनादिकार्याणां . भयमदनोभयसाधारणत्वादिति भाव : ।
1549.323. चन्द्रस्यालोकेन दर्शनेन तेजसा वा प्रतिहतो निवारितगमनोत्साहो विलासिनीनामभिसारिणीनां सार्थ:
अभिसरणं न गृह्णाति कर्तव्यतया न स्वीकरोति, न च अलकं संस्थापयति संयमयति नायकनिकटगमनाय प्रसाधनभावेनेत्यर्थः । न च दूतीं पृच्छति कथं गमनं स्यादित्यदिकमित्यर्थः । किं. तु ममावज्ञामवैदग्ध्यमस्वायत्तिं वा किं ज्ञास्यति प्रिय: कथं वा तत्समागम: स्यादिति मूढहृदय: केवलं वेपते मदनागमनेन स चेदन्यमाश्रयेत्, अथ वा मामन्यानुरक्तामवगच्छेत् तदा मया न जीवितव्यमिति भावः ।
1647.337. जनकपुत्र्या सीतया त्रिजटाया: स्नेहो वात्सल्यं दया अनुराग: प्रीतिस्तत्पूर्वकस्य भणितस्य फलं.
तात्पर्यपर्यवसानं वा दृष्टम् । मत्प्रीत्या यथैवानया कथितं तथैव जातमिति ज्ञातमित्यर्थः । कुत्र सति । मायया जनिते मोहे गतेप्लवगानां समरनिमिसे संनाहस्य रवे संनह्यतां संनह्यतामित्यादिरूपे श्रुते सति । द्वाभ्यां रामसत्तानिश्चयादिति भावः ।
*34.347. : Vide SK S.No. (164.75) supra.
49.350. ते सह्यं गिरिं प्राप्ताश्च । कीदृशम् । शीकरैराहतं यद् गैरिकादिशिलातलं तत्र निषण्णा अत एव राजिता:
शोभिता रागप्राप्तत्वाज्जलदा यत्र तथाभूतम् । निजशीकरण धातूनां पडीभावात्तत्संबन्धेन मेघानां लौहित्यमिति भाव: । एतावता उच्चत्वमुक्तम् । एवम्, निर्झर एव प्रहसितं यत्र तादृशी या दरी सैव मुखं तस्मान्निष्क्रान्तो बकुलमेव मदिरा तदामोदो यत्र तादृशम्, तथा च कंदरारूपमुखान्निर्झरस्वरूपहास्योद्गमसमये बकुलपुष्परूपमदिराणामामोदो निर्याति निरन्तरमित्यर्थः। इति विकटोदरत्वमुक्तम् । अन्यस्यापि हास्यसमये मदिरामोदो निर्यातीति ध्वनिः ||
51.350. धनुषि अर्थाद्रामस्य धूमेन कलुषे धूने सति नभस्तलं धूमायते । एवं ज्वलन्नारोहजीवाबन्धो यत्र तथाभूते
वनिमयपतञ्जिकारोपणशालिनि सति ज्वलति । तथा रसच्छब्दायमानं शिखरं यस्य तथाभूते सति प्रतिरवेण प्रतिपूर्णा दिशो यत्र तथाभूतं सद्रसति शब्दायते । तथा च त्यक्तव्याग्नेयशरोपकरणत्वेन धनुरप्याग्नेयमिति ततो गगनव्यापिनी धूमधोरणिरुदतिष्ठत । पतञ्जिकाप्याग्नेयीति तदत्थितो वहनियॊमाजिज्वलत्पराटनौ ज्याप्रान्तनिवेशनादुत्तिष्ठन्पाकज: शब्दो विश्वं व्यानश इत्यर्थः ।

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52.350. ततो रामोऽपि भणति । किं कुर्वन् । स्वीयेन धीरोदात्तत्वादिगुणप्रसूतेन यशसा उदधेस्तथाविधमेव यश:,
स्वीयेन च मर्यादानतिक्रमलक्षणेन धैर्येण तथाविधमेव तस्य धैर्यम्, परानतिक्रमणीयतालक्षणया च निजया गुरुतया तादृशीमेव तस्य गुरुताम, उचाक्चत्वशून्यतारूपयावस्थित्या तद्रूपामेव तस्य स्थिति समाक्रामंल्लघूकुर्वन्नित्यर्थः । तथा चातीव धैर्यादिगणसंवलितमक्तवानिति भावः ।
71.353. .Vide SK S.No. (5.44) supra. 72.354. यस्य कृष्णरूपिणो मधुमथनस्य भुजान्तौ हस्तौ ताभ्यां निष्ठुरं यथा स्यादेवं परि सर्वतोभावेन गृहीतं
धृतमरिष्टस्य वृषभरूपिणोऽसुरविशेषस्य कण्ठं कर्म जीवितं कर्तृ (दुःखेन) व्यतिक्रान्तम् । अपगतमित्यर्थः । --- कण्ठं कीदृशम् । पीनत्वेन दुर्ग्राह्यम् । अत एव विषमं विपर्यस्तं यथा स्यादेवं वलितं वक्रीकृतम् । आमोटितमिति यावत् । पीनत्वेन सम्यग् धर्तुमशक्यत्वात् । अत्र जीवितस्य दुःखव्यतिक्रमणे विषमवलनं हेतु: । तस्य च निष्ठुरपरिग्रहणम् । तस्य च दुर्ग्राह्यत्वम् । इत्युत्तरोत्तरं प्रति पूर्वपूर्वस्य हेतुत्वमिति हेतुपरम्परालंकारः । किं च विषमवलनाद् ऋजुमार्गालाभेन जीवितस्य कण्ठाद् दुःखेन निर्गमो बहिर्गमनं
पुण्यहेतुरित्याशयेनेव सदु:खं निष्क्रमणमासीदित्युत्प्रेक्षा व्यज्यते । 103.360. Vide SK S.No. (*7.7) supra.
107.361. Vide SK S.No. (157.74) supra. 108.361. Vide SK S.No. (25.47) supra. 111.362. Vide SK S.No. (160.74) supra. 112.362. Vide SK S.No. (161.75) supra. 113.362. Vide SK S.No. (162.75) supra. 115.363. Vide SK S.No. (164.75) supra.
116.363. Vide SK S.No. (165.75) supra.
117.363. सकला उद्योतिता अर्थात् कीर्त्या वसुधा येन । समस्तजीवलोके विस्तीर्यमाण: प्रतापश्च येन । तादृशे
कीर्तिप्रतापशालिनि सत्पुरुषे विधानं प्रकृतकार्यानुकूल: प्रकारस्तच्चिन्तापतितापि मलिनता चिरं न तिष्ठति । रवाविव । अत्र पक्षे उद्योत: किरणस्तच्छालित्वमुद्योतितत्वम् । प्रताप औष्ण्यम् । विहाणशब्दो देश्यां प्रभातवाची । तथा च यथोक्तविशेषणद्वयवति रवौ विभात (- प्रभात-) पतिता मलिनता प्रकाशविशेषाभावाश्चिरं न तिष्ठति तथा सत्पुरुषेऽपि । तथा च विशेषणद्वयविशिष्टो रामः प्रकार चिन्तयन्नित्थमास्ते । तत्स्फूर्ती मालिन्यमपि जयात् स्वकार्यं च कुर्यादपकर्षमात्रमस्माकं स्यादिति भाव: ॥

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Prakrit Verses in Sanskrit Works on Poetics 118.363. : Vide SK S.No. (511.146) supra. 119.363. विषवेग इव प्रसृतो बहलो धूमोत्पीडो यं यं महोदधे रुधिरमिव विद्रुमवेष्टं प्रवालमण्डलमभिलीयते मीलति
तं तमेव कज्जलयति कज्जलमिव करोति । श्यामलयतीत्यर्थः । तथा च धूमो न भवति किं तु श्यामत्वाद् दु:खहेतुत्वाच विषम् । विद्रुममण्डलं न भवति किंतु रक्तत्वात् समुद्रस्य रुधिरमित्याशय: । अन्यत्रापि सादिविषं वपुषि प्रविशद् रुधिरं व्याप्य श्यामीकरोतीति ध्वनिः ।
120.364. ततस्तेषां वानराणां निजकं स्वाभाविकं प्रकृतीनामाकृतीनाम् ।
शरीराणामिति यावत् । चटुलत्वमपि विगलितं ---- शरीरचाञ्चल्यमपि न स्थितमित्यर्थः । एवं हता छाया कान्तिर्यत्र तत् । निश्चला लोचनरूपा शिखा यत्र तत् । --- प्रोषितो नष्ट: प्रतापस्तेजो यत्र तद् यथा स्यात्तथेति क्रियाविशेषणत्रयम् । तथा च तेषां देहकान्ति-नयनचाञ्चल्यप्रतापानां चाञ्चल्यरूपस्वाभावस्य चापगम: समकालमेव वृत्त इति तात्पर्यम् । केषामिव आलेख्यानां प्रदीपानामिव । --- तथा च वानरा: प्रकृत्या चञ्चला अपि मोहादप्रतिभया च समुद्रं दृष्ट्वा निश्चला बभूवुरित्यर्थः।
139.367. Vide SK S.No. (174.77) supra. 140.367. Vide SK S.No. (173.77) supra. 143.368. हे प्लवगपते, रघुपते: प्रियमिदमिति कृत्वा विप्रियं कर्तुं किमिच्छसि । किं कुर्वन् । दशवदनं हन्तुं
विमृग्यन्निच्छन् । रघुपतेः कीदृशस्य । आत्मना स्वयमेव दशवदनं हन्तुं सत्वरस्य । तथा च त्वत्कर्तकरावणवधस्य प्रियत्वेऽपि मयैव रावणो हन्तव्य इति प्रतिज्ञाभङ्गरूपत्वेन विप्रियत्वम् । एवं च तव रावणवधे सामर्थ्यमेव किं तु रामप्रतिज्ञाभङ्गरूपत्वेनाकर्तव्यमिति भावः ।
146.369. Vide SK S.No. (1301.281) supra.
148.369. Vide SK S.No. (178.78) supra.
150.370. Vide SK S.No. (181.79) supra.
151.370. Vide SK S.No. (182.79) supra.
152.370. नदीस्रोतांसि गिरीणां मार्गेण प्रस्थितानि । गिरीणां यावस्था सा नदीनामपीत्यर्थः । तदेव आह - यदा
गिरय उन्मूलितास्तदा यथा तेषां भूसंबन्ध: खण्डितस्तथा स्रोतसामीपीत्यर्थ: । एवमन्यत्रापि । यदा गिरय उत्क्षिप्यमाणतया ऋजूकृतास्तदा तान्यपि ऋजुकमपसृतानि । ऋजूभूय पतितानीत्यर्थ: । आर्जवमात्रे तौल्यम् । एवं यदा गिरयस्तिर्यड्नभसि नीयमाना दीर्घा इव जातास्तदा तत्पृष्ठाकाशदेशे व्यवच्छिद्य पतितानि स्रोतांसि निरायतानि पवनवेगवशाचिरं दीर्घाणि जातानीत्यर्थः ।
155.371. वेपमानेषु तरङ्गेषु प्रतिमया प्रतिबिम्बेन पतितं संक्रान्तं शशिबिम्बंघूर्णते वेपते । समुद्रे चन्द्रबिम्बस्तरङ्गकम्पेन

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कम्पित इव भासते । किमिव । उदधेर्हदयमिव । चन्द्रस्य प्रतिबिम्बो न भवति किं तु समुद्रस्य हृदयं तत् कम्पत इत्यर्थ: । कम्पे हेतुमाह हृदयं कीदृक् । यथा यथा निशा समाप्यते समाप्तिं गच्छति तथा तथा अनिष्टकालसांनिध्येन किंकर्तव्यविमूढं, उपोषितो राम: क्रुध्यन प्रात: किं करिष्यतीति क्षोभादेकतो रामप्रायोपवेशनमात्मोपमर्दः परतो लाघवं तन्मया कि कर्तव्यमिति कर्तव्यतामूढमित्युप्रेक्षा ।
163.372. : Vide SP S.No. (82.57) supra.
164.372. विमर्दितमितस्तत: संचारेण घृष्टं रसातलं येन तादृशेनापि विषधराणां पत्या शेषेणादृष्टो मूलच्छेदो मूलभागो
यस्य तमिति । पातालादप्यधोवर्तिमूलप्रदेशामित्यर्थ: । द्विसहस्रदृष्टिना दूरादपि द्रष्टुं न शक्यते, किं पुन: स्प्रष्टुमिति भाव: । एवं त्रिभुवनस्य भरणं स्वदेहेन पूरणं हरणमाक्रमणं वा तदर्थं परिवर्धितेनापि हरिणा त्रिविक्रमेणाप्राप्तानि हस्तेनाप्यस्पृष्टानि तुङ्गानि शिखराणि यस्येत्यनवच्छिन्नमस्तकमित्यर्थः ।
172.374. Vide SP S. No. (194.82) supra. 227.386. Vide SP S. No. (1370.292) supra. 266.394. Vide SP S. No. (1392.297) supra. 279.397. Vide SP S. No. (1377.294) supra. 280.397. Vide SP S. No. (1391.296) supra. 282.397. Vide SP S. No. (1027.233) supra.
322.405. चो हेतौ । यतोऽस्य रावणस्य समदने सकामे हृदयेऽन्यस्मिन्नप्यभीष्टवस्तुनि चिन्तिते सति सैव तिष्ठति ।
'संकल्पवशात् सीतैव चिन्ताविषयीभवतीत्यर्थ: । अत: प्रलोकिते दर्शने दर्शनकर्मणि वा तामेव पश्यति । रावण इत्यर्धात् । उल्लपंश्च तस्या एव गोत्रं नाम गृह्णाति जल्पतीति मनसि वचसि चक्षुषि सर्वत्रैव सैव स्फुरतीति विषयनिवृत्ति-चिन्तासङ्गसंकल्पादीनां सांकर्यम् ।
370.415. Vide $P S. No. (1414.301) supra.
371.415. तव इदमवसानरूपं कर्म पुरुषाणां सदृशम । पंसा दारहरणे सति यद्धादिना तदवारः कर्तव्य:, संमुखे
वा मर्तव्यमिति योग्यमित्यर्थः । निशाचरपतिना च राक्षसानां सदृशं क्रूरं कर्म कृतम्, चोरिकया ममापहरणं कृतम, भवानपि हत्वा ममोपदर्शित: । तद्योग्यमेवेति कथं तावन्महिलानां सदृशं चिन्तितेनेच्छया सुलभ मे मरणं न संपद्यते भर्तुरनुमरणं स्त्रीभिः क्रियत इति तद्योग्यम् । तथा च यस्य यद्योग्यम्, तेन तत्कृतम् । मया तु न कृतमित्यहमविश्वसनीयेति भाव : ।
375.416. यस्यार्धनारीश्वरमूर्तेर्वामार्धं गौरीशरीरं वामभागो वेपते । वलितुं वक्रीभवितुं महति वाञ्छति । नृत्यभ्रमिं कुर्वति

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महेशे स्त्रीस्वभावेन भयादिति भाव: । किंभूतं वामार्धम् । सव्रीडं सलज्जम् । एवं पुलकेनाचित: स्तनकलशो यत्र तत् । --- द्वितीयावकाशं दक्षिणार्ध प्रति गमने उत्सुकमुत्कण्ठितम् स्त्रीणां भयेन स्वामिपरिरम्भणमिति स्वभाव: । पुनः कीदृशम् । प्रेमस्वभावेन प्रियं प्रत्यनुरागेण (विमुग्धं अथवा) विमुषितं किंकर्तव्यतामूढम् । तत्र गमने लज्जा अगमने भयमिति दोलायमानम् । अत एव गमनेच्छामात्रम् न तु कृतिरिति तात्पर्यम् । वस्तुतस्तु भर्तुर्नुत्यकालीनकटाक्षभुजक्षेपादिभिरुत्पन्नसात्त्विकविकारम् । अत एव . सलज्जं कामोत्पत्त्या दक्षिणार्धमालिङ्गितुमुत्कण्ठितमपि लज्जया निवर्तमानं वेपते । पुर:पश्चात् संचारशीलमित्यर्थः ।
• 15.439. सुग्रीवोक्त्या क्रोधाचाञ्चल्याच कुमुदेन हसितं हास्यं कृतम् । विघटमानौ विभिन्नावोष्ठपुटौ दलं यत्र तद्
यथा स्यात् तथा स्फुरन्तो दन्तकरा एव केसरप्रकरो यत्र तद् यथा स्यात्तथा सुरभिगन्धस्योद्गारो यस्मात् तद् यथा स्यादिति च क्रियाविशेषणम् । तस्मिन्सति प्रहर्ष एव चन्द्रस्तस्यालोके प्रकाशे सति । तथा च प्रहर्षोद्गमेन कुमुदस्यापि हास्योद्मादोष्ठपुटयोर्विभागो दन्तकान्तिप्रकाशो . मुखात् । ताम्बूलादिसौरभनिर्गमश्च बभूवेति वाक्यार्थ: । ध्वन्यर्थस्तु - प्रकृष्टो हर्षो यस्मादेतादृशस्य चन्द्रस्यालोके तेजसि सति कुमुदं हसति विकसति । तेन तस्योष्ठपुटप्रायदलानां विभागो दन्तरुचिप्रायकेसराणां स्फुरणं
सौरभस्य चोद्गमो भवतीति सारम् ।। * 16.439. मन्दर एव मेघस्तेन क्षोभित आन्दोलित: शश्येव कलहंसस्तेन परिमुक्त:सलिलोत्सङ्ग यस्य तम् । अन्यत्रापि
मेघमालोक्य हंसा अपगच्छन्तीति ध्वनिः । तथा च आन्दोलनेनामुष्माच्चन्द्र उत्थित इत्यर्थः । एवं मरकत एव शेवालं तत्र निषण्णमुपविष्टं मीन एव चक्रवाकस्तधुगं यत्र तम् । मन्दरपरिघट्टनभिया तूष्णीभूय मीना: पातालमूले स्थितास्तेन तत्र मन्दरसंबन्धाभावादस्य गाम्भीर्यमुक्तम् । हंसपलायनं दृष्ट्वा
भीतश्चक्रवाकस्तूष्णीं तिष्ठतीति ध्वनि: । 18.452. तया बाष्पविमोक्षो न कृत:, रामशिरो निर्वर्णयितुं विशेषेण द्रष्टुमपि न शकितम् । केवलं प्रतिपन्न:स्वीकृतो
मोहो यया तथाभूता सती गतजीवितो मृतस्तद्वन्नि:सहा निश्चेष्टा सा मयां निषण्णा लिखितेव
स्थिताभूदित्यर्थ: । 19.425. Vide SP S. No. (1374.293) supra. 40.456. Vide $P S. No. (194.82) supra. 44.456. Vide SK S. No. (164.372) supra. 50.458. Vide SP S. No. (174.77) supra. 52.458. Vide SP S. No. (178.78) supra. 65.461. ते गिरिनदीप्रवाहान् सेवन्ते । दर्शनस्पर्शनमज्जनादिभिरित्यर्थ: । ---- किंभूतान् । तीरे वर्धिता अत एव

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685 निजकभारेणैवापवृत्ता विपरीत्य स्थिता याश्चन्दनलतास्ताभिराश्लिष्टानिति चन्दनसंबन्धात् सुरभितया पेयजलत्वमुक्तम् । एवं जलसंबन्धाद् रम्याणि तटयोर्यानि तृणानि तैर्दीप्रो दूरदृश्यः पन्था नि:सरणमार्गो येषां तान् । हरिद्वर्णतृणैरेवोभयतटोद्भूतैर्दूरत एव ज्ञायते प्रवाहपथोऽयमिति भाव: । तथा वनगजदानजलेन कटून् । एतावता तत्संबन्धेन स्वादस्य हृद्यत्वमुक्तम् ।
66.461. उभयं तटं व्याप्याबद्धसंक्रमस्वरूपे नलपथे वानरबलं संचरति । कीदृशे । शङ्खकुलवद्धवलानि कमलानि
यत्र । द्वयोरपि सत्त्वात् । एवं स्फुटमरकतवत् हरितपत्रभङ्गानाम् । वृक्षसंबन्धिनामित्यर्थात् । निघातो यत्र । विद्रुमेषु मिलितानि किसलयानि यत्र तादृशि | समानरूपत्वात् । तथा च समुद्रीयवस्तुभिः समं सेतुवस्तूनामतिमिश्रणेन समुद्रेण सह सेतोरैकात्म्यमुक्तम् ।
67.462. Vide SP S. No. (504.144) supra.
111.472. Vide DHV S. No. ( 7.7) supra. 41.486. Vide SK S. No. (120.364) supra. 56.489. Vide SP S. No. (157.74) supra. 62.490. ऋतुना वसन्तादिना द्वमाणां द्रुमेभ्य: सहकारादिभ्य: । चतुर्थ्यर्थे षष्ठी । कुसुमं दीयत उत्पाद्यते तत् .. पुनरात्मनैव न हियते । न नाश्यत इत्यर्थ: । कीदृक् कुसुमम् । विकसत् । रजोभि: परागै: कलुषं व्याप्तम् ।
एवं मकरन्दरूपेण रसेनाध्माता उन्मत्ता मधुकरा यत्र तत् । तथा च न केवलं पुष्पदानमात्रं किं तु तस्य विकासादिसकलसाम्राज्यसंपत्तिरपि ऋतुनैव क्रियत इति भावः। तथा च ऋतुवृक्षयोरिवावयोरपि भूष्यभूषकभाव इति । यत्र अचेतनेनापि दत्तं न ह्रियते तत्र भवतैव दत्ता मर्यादा स्वयमेव हर्तुं न युज्यत इति तात्पर्यम् ।
63.491. Vide DHV S. No. (* 7.7) supra. 78.493. Vide SP S. No. (199.83) supra. 79.494. Vide SP S. No. (200.83) supra.
110.508. स धूम्राक्षो रणाय निरैति । रथेनेव रोषेण समम् । यथा रथेन सह निर्गच्छति तथा रोषेणापि सहेत्यर्थः ।
एवम् - उत्साहेन सह यथा तथा निशाचरवलेनापि सहेत्यर्थः । किंभूतः । यथा भुजं (? ध्वज) तथा प्रहर्षमानन्दमपि । एवम् - यथा विक्रमं तथा वैराबन्धमपि वहमान इति सर्वत्र सहोपमा ।
16.514. Vide SK S. No. (120.364) supra.
25.516. Vide SP S. No. (194.82) supra.

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Prakrit Verses in Sanskrit Works on Poetics 58.523. Vide SP S. No. (174.77) supra. 67.525. Vide SP S. No. (178.78) supra. 1.581. Vide W S. No. (5.36) supra. 6.582. (अथ वेलां वर्णयति) --- उदधिरेव गजेन्द्र इति रूपकम् । तस्य दानलेखामिव मदधारामिव
स्थितामित्युत्प्रेक्षा । मदलेखातौल्यमाह पुन : कीदृशीम् । विकसितं यत्तमालपुष्पं तेन नीलाम् । तमालस्य श्यामत्वात् । एवं वारंवारं चञ्चलकल्लोलरूपेण करेण परिमृष्टाम् । भूयोभूयस्तरङ्गसंबन्धात् । एवं फुलं यदेलावनं तेन सुरभिम् । मदलेखापि तमालवच्छ्यामा चञ्चलतरङ्गवद् य: कर: शुण्डा तथा परामृष्टा फुल्लैलावनवत् सुरभिश्च भवतीत्यर्थः ।
7.582. अथ प्रभातानन्तरं गमितो समापितो निशैव समयोऽवधिर्यत्रेति क्रियाविशेषणं गमितनिशाकालं वा । समुद्रे ' '
गम्भीरत्वे दृढस्थिते गाधतामनागच्छति सति रोषो राघववदनं विलग्नः । एतन्निशायामप्यगाध एव समुद्र: स्थित इति क्रोधसूचकविच्छायत्वादिधर्मविशिष्टं राघवमुखमासीदित्यर्थ: । क इव । चन्द्रमण्डलमुत्पातो राहुरिव । यथोत्पातश्चन्द्रमण्डलं लगति । राक्षसनाशसूचकत्वेन रोषस्य प्रजानाशसूचकचन्द्रोत्पाततुल्यत्वम् । .:
8.582. स्थान एव स्फिटितो भ्रष्टोऽपगतो दिवसो रात्रि व्याप्य भ्रमित्वा द्वीपान्तरं गत्वा गज इव प्रतिनिवृत्त: पुनरागतः ।
यथा बन्धनस्थानाद् भ्रष्टो गजो रात्रौ भ्रमित्वा प्रतिनिवर्तते प्रात: स्वस्थानमायातीत्यर्थः । साम्यमाह - कीदृक । संक्षोभितं कमलप्रधानं सरो येन । पक्षे संक्षोभितं शुण्डाद्यभिघातेनोपमर्दितम् । एवम् - सन्ध्यातप एवाताम्रो धातुकर्दमो गैरिकपङ्कस्तद् विशिष्टं मुखमुपक्रमो यस्य । पक्षे सन्ध्यातपवदाताम्र इत्यर्थः । तटाभिघातादिना मुखे गैरिकसंपर्कादिति भाव : ।
9.583. इत्यनेन प्रकारेण नियमितो नियन्त्रित: सुग्रीवो येन स पितामहतनयो ब्रह्मण: पुत्रो जाम्बवान् रामान्तेन वलित: ।
रामपार्श्वेन वक्रीभूयाभिमुखीभूत इत्यर्थ: । प्रलयधूमोत्पीड इव यथा प्रलयधूमसमूह: परिमृष्टमास्फालितं मेरुशिखरं येन तथाभूत: सन् सूर्यस्याभिमुखो भवति । स्थिरत्वादुत्तुङ्गत्वात् कपिलत्वाच शिखरप्राय: सुग्रीवः ।
तेजोमयत्वात् सूर्यप्रायो रामः । श्यामत्वाचादुत्थितत्वाच धूमप्रायो जाम्बवान् || . 10.583. कमलं गृह्यते हस्तेनादीयते । लोकैरित्यर्थात् । (? -- कमलं मुखमिव गृह्यते अर्थात्, पथिकैः स्मर्यते)
अत्रोत्प्रेक्षते - खण्डितमथोत्पाटितमुत्थापितं मृणालं यस्यास्तां नलिनी शिथिला रतिकालीनकरपरामर्शन विपर्यस्ता वलया यस्यास्तां प्रियामिव दृष्ट्वा । --- कीदृक्कमलम् । मधुमयमत एवाताम्रम् । एवं मधुकरीणां मधुर उल्लापो यत्र तत्तथा । कमलोपमर्दैन मधुकरादिध्वनिसंभवात् । मुखमपि मधुमदेनाताम्रमीषल्लोहितं
मधुकरीवन्मधुर उल्लापो यत्र (तादृशं च) । चुम्बनादिसमये मधुकरादिध्वनिकरणात् ।--- 12.583. आत्मनो विनिर्गतं बहिर्भूतं जलसमूहं पिबन्तं क्रोडीकुर्वन्तम् । ---- सकलजलविश्रामभूमिमिति भावः ।
तदुक्तम् - 'पयसामर्णव इव' । जलनिवहं किंभूतम् । मुखरा: शब्दायमाना ये घना मेघास्तैर्विप्रकीर्णमितस्ततो

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687
विक्षिप्तम् । अत एव भृते व्याप्ते महीनभोविवरे येन । वृष्टिकाले भूम्याकाशव्यापनादित्यर्थ: । एवं नदीमुखेन नदीप्रवेशस्थानेन पर्यस्यन्तमितस्ततो गच्थन्तम् । समुद्रतरङ्गभिघातादिति भाव: । अथ च समासोक्त्या समुद्रस्य नायकत्वं नदीनां च नायिकात्वं प्रतीयते । ----- जलनिवहं किमिव । यश इव । समुद्रस्यैवेदं जलमिति कीर्तिरूपमिव । अन्योऽपि यश: पिबत्यास्वादयति । कीदृशं मुखरा
मागधास्तैर्विप्रकीर्णमितस्तत: प्रकाशितम् । एवं व्याप्ताकाशमहीपातालम् । विवरं पातालम् । एवं नतिमुखेन . याचकेन पर्यस्यद् दिशि दिशि गच्छत् । अथ चात्मन एव निर्गतम् । स्वयश: स्वस्मादेव निर्गच्छतीति भावः ।
14.584. निशाचरपतिना रावणेन दृष्टिविषा: सस्तेषां गृहं पातालं विवरं वा विषौषधिरिव विषनाशकमौषधमिव सीता
राक्षसवसतिं लङ्कामुपनीता । यथा सर्पगृहे गद्य (?) रूपविषौषधनिधानेन सर्पा विनश्यन्ति तथा लङ्कायां सीतोपनयनेन राक्षसा विनझ्यन्तीति भाव: । रावणेन कीदृशेन । चिरं व्याप्य बन्दीकृतदेवस्त्रीणां परिग्रहे लब्धास्वादेन । तथा च कामोन्मत्तचित्ततया सीतामप्यपहृतवानतो न स्थास्यतीति भाव: ।
18.584. रविबिम्बं विद्रुमवंदातानं दृश्यते । कीदृक् । सिन्दूरेणाहतस्य स्पृष्टस्य गजेन्द्रकुम्भस्येव च्छाया कान्तिर्यस्य
लोहितत्वात् । एवं मन्दरधातुभिः कलङ्कितस्य मथनसमये रज्जुभावेन घर्षणाद्रतीकृतस्य वासुकेर्मण्डलं वलयीभावस्तदन्निश्चक्रलं वर्तलमिति संध्याराग उक्तः ।
24.586. रामबाणेनाभिहतो यथा वडवानलो ज्वलति अग्निसंबन्धादधिकं वर्धते तथोदधिरपि ज्वलति । एवं तत एव
यथा तत्रत्यशैल: स्फुटति तथोदधिरपि स्फटति । वहनिसंबन्धात । एवं रामशराभिहतो यथा जलपानार्थमागतो जलद: पीडया रसति शब्दायते तथोदधिरपि रसति । शरानलसंघट्टात् । रामबाणेनभिहत: समुद्रोपरि संचारी मारुतो यथा तीरं लवयति तदतिक्रम्य गच्छति तथोदधिरपि तीरमतिक्रामतीति सहोपमा ।
.
..
25.586. तमसो निवहो महीतले भृतो व्याप्त: सन् भूमिष्ठं वस्तुजातं वहत्युद्हतीव भूमिवदाधारीभूतत्वात् । पश्चात्
पृष्ठतो नोदयतीव पृष्ठचर इव पुरोवर्तिनम् । पुरतोऽग्रे धारयतीव पृष्ठपातुकं पुरोवर्तीव पृष्ठतोऽनोदनेऽप्यपतनात् । पार्श्वयो : स्थित: सन् प्रेरयतीव यन्त्रयतीव यन्त्रवत् सिद्धार्थम् । तेषामेवोपरि स्थित: सन् गुरुकायत इव पतितगृहवदिति वहन-नोदन-धारण-प्रेरण-गुरुत्वानुभवेन व्यापकत्वविशिष्ट
मूर्तत्वमत्प्रेक्षितम् । 26.586. Vide SP S. No. (160.74) supra. 27.586. Vide SP S. No. (165-75) supra. 28.586. कलहंसानां रव: श्रूयते । नतमित्यर्थात् । कलो हंसरव इति वा । कीदृक् । मन्मथधनुषो निर्घोषष्टंकारः ।
मादकत्वात् । ज्योत्स्नाधवलायां रजन्यां विश्वमेव जेतव्यमिति धनुषष्टंकारः । एवं कमलवनात् स्खलिताया लक्ष्म्या नूपुरनादः । तथा च रात्रौ संकुचत्कमलवनमुपद्रुतं परित्यजन्त्या हठात् संचार : स्खलने बीजम् । तथा निमीलनरूपविपद्दशायो मधुकरीभिर्व्याहताया नलिनि क्वासि किं करोषीत्येवं पृष्टाया नलिन्या इहास्मि

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Prakrit Verses in Sanskrit Works on Poetics संनिहिता भवत इत्येवंरूप: प्रतिसंलाप: प्रत्युत्तरम् । लोकेऽप्येको विपद्ग्रस्तं वादयति स पुन: प्रत्युत्तरयतीति ।---
29.587. Vide SP S. No. (25.47) supra. 42.589. ततस्तदनन्तरमस्य रामस्य विगलितं धृतं यद्धनुस्तन्मात्रे व्यापृत: कृतमुष्टिपीडनादिव्यापारो वामभुजोऽन्य
एव जातः । स्वाभाविकरूपातिरिक्तरौद्ररूपोदयात् । कीदृक् । चिरवियोगेण तनुक : कृश : । एवं सदा बाष्पेणावमृष्टस्तत एव मृदुक : कोमलो जीवा ज्या तदाघातस्तद्घर्षणकिणो यत्र । धीरोदात्तत्वाद् रात्रौ वामपार्श्वन शयानस्य रामस्योपधानाभावादुष्णसंतापाश्रुसंबन्धान्मृदूकृतज्याकिण इत्यर्थ : । तथा च तनुत्व
मृदुत्वाभ्यामनुकम्पनीयोऽपि वीररसोद्रेकादुत्पुलकत्वेन पुष्ट: कठिनश्च वृत्त इति भावः। 43.589. ततो वर्षानन्तरं शरदुपगता । कीदृशी । हरिपते: सुग्रीवस्य यशोमार्ग : । शरदमालम्ब्य तस्य
सेतुबन्धनादियश: प्रादुर्भावात् । एवं राघवजीवस्य प्रथमहस्तालम्ब : । सेतुबन्ध- रावणवध - सीतासमागमानां द्वितीयततीयचतुर्थानामपेक्षया शरदेव प्रथमो हस्तालम्ब:। शरत्प्राप्तिरेव तस्य दुष्करासीत् । तस्यां तु. सत्यां सर्वमिदमीषत्करमिति भाव : । एवं सीताया बाष्पाणामश्रूणां विघातोऽवसानम् । रामसमागमाध्यवसायात् । वधमहतीति यत्प्रत्ययेन वध्यमिति साधु । तथा च दशमुखस्य वधार्हो दिवस इति सर्वत्र रूपकम् |---
45.590. मुक्तं सलिलं यैस्तादृशा मेघा:, अभिनवानि दत्तानि फलानि यै :, अथवा तत्कालदत्तानि फलानि यैस्तादृशा
वृक्षसमूहा : समरमुखादवहृता अवपातिता मण्डलाग्रा: खड्गा येभ्यस्तादृशा भुजा लघवोऽपि गुरवो भवन्ति अयं भाव : . - मेघवृक्षभुजा जल[फल खङ्गसत्तादशायां गौरवयुक्ता: स्थिता:, 'अथ जलादीनां मुक्ति-दान-त्याग दशायां लघुभूता अपि सन्त: सस्योत्पति - तृप्ति - शत्रुक्षयादिरुपकार्यकारित्वेनादरणीयतारुपगौरवयुक्ता एव भवन्ति । तथा च भवद्भुजा अपि कृतकार्या गुरुभवेयु:, ... इति भाव : ।
विरोधाभाससूचनायापिशब्द: । 47.590. रामो मृगाङ्ककिरणान् कलङ्किसंबन्धितया निन्दति । कुसुमायुधे खिद्यते कुसुमबाणोऽपि कुलिशेनेव निहन्तीति
मनोदु:खं लभते । रागजनिकेयमिति रजनी जुगुप्सते निन्दति । अथ प्रिया सीता जीवेदिति मारुतिं पृच्छन् विरहजन्यवैकुव्येन सहजत: क्षीणोऽपि केवलमत्यर्थेन क्षीयते । सीताजीवनसंदेहादिति भावः। अत्राप्यमङ्गलपरिहाराय जीवेदिति भावमुखेन प्रश्र : I... प्रिया जीवेदिती मारुतिं पृच्छन् । तथा च प्रिया यदि जीवेत्तदा मम जीवनत्यागस्तहःखाय स्यादिति जीवतीत्यभिप्राय:।
49.591. अग्निनिवहे सलिलमस्तायतेऽस्तं गच्छति । अलक्ष्यं भवतीत्यर्थः। एवं सानलनिवहेऽग्निसमूहसहिते
उच्छलत्सलिले नभोऽस्तायते । एवं सलिलनिवहेनावस्तृते व्याप्ते नभस्तले सति दशदिक्चक्रमस्तायते । अग्निप्रेरितानां जलानां नभसोऽपि दिशि दिशि गमनात् |---
55.592. Vide SP S. No. (1301.281) supra.

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689
60.593. हरयो वानरास्तेषां संक्षोभेण पर्वताहरणोद्योगेनेतस्ततो गत्या तेभ्य: संक्षोभेण वा महेन्द्रप्रभृतीनां शैलानां कम्पो
मेदिनीमण्डलस्य च दलनं सर्वमेव जायते । केवलं मलयवनकुसुमानां रज: परागो नोद्धावति नोवं गच्छतीत्यर्थः। तत्र हे तुमाह - कीदृशम् । सदा दुर्दिनेन मेघच्छन्नतया तज्जलसंबन्धादाम् । अतो लघुत्वाभावादित्याशयः। तथा च महतां संभ्रमे महान्त एव खिद्यन्ते लघूनां किमपि नेति ध्वनिः। ---
62.593 Vide SP S. No. (174.77) supra.
67.594. आकृष्यमाण एव रामशर: सागरे पतित इति ज्ञायते । अत्र हेतुमाह - कीदृक् । मुखात् फलान्निर्धावितो
बहि:प्रसृत उल्कानिवहो यस्मात् । तथा च शिखानिवहनिर्गमद्वारा समुद्रसंबन्धादाण: सागरे पतित इति प्रतीतिरिति भावः। एवं पतनपूर्वमेव क्षुभितेन जलेन शिष्ट: सारो बलं यस्य । तथा च महाशयस्यापि समुद्रस्य क्षोभोऽस्मादेवेत्यर्थापत्त्यापीति भावः।
68.595. अनन्त: शेष: फणाशयाने मधुमथने वलमाने कृतपार्श्वपरिवर्तने सति गाढभरेण विश्वंभर (श्वभार)
गौरवेणोत्तानीकृतं विकटं महान्तं फणप्राग्भारं यत्र गिरौ नियोजयति पतनभयेन यन्मूले न अवस्थापयतीत्यर्थः। किंभूतम् । पादेषु प्रत्यन्तपर्वतेषूच्छलद्रत्नानामुद्योतो यस्मात् तम् । फणस्योत्तानीभावात्। तथा च पादपर्वता अप्यस्यापातालमूला:। अयं च विश्वंभरा विश्वंभरभारेऽप्यनन्तस्यावष्टम्भ इति भावः।।---
78.597. प्रथमं पूर्वं बन्दीकृत्यानीताभि: सुरसुन्दरीभि: सुचिरं व्याप्य विभीषिककृते जीवितसंशयेऽपि ये रजनीचरा:
परिक्षिप्ता जात्यपकर्षेण त्यक्तास्त एव संग्रामाभिमुखनिहता: सन्त: पुनरभिसारितास्तदानीं शौर्यमृत्युना प्राप्त
देवत्वात् ताभिर्वृता इत्यर्थः। 82.598. Vide $P S. No. (621.166) supra.
89.599. महीधरसंभ्रमेण गिरिसंक्षोभेण विधुत आन्दोलित: समुद्रो निवर्तते गिरिपतनाभावेन पूर्वावस्थां लभते । किंभूत:।
भिन्ना: प्रथमं पर्वतपातेन विशकलिता: पश्चात्तदभावेन घटमानास्तत्रैव यथापूर्वं प्रवृत्ता आवर्ता यत्र । एवमावर्तान्तरे भ्रमन्तस्तत्संस्कारेण घूर्णन्तो भिन्ना: खण्डखण्डीभूता महीधरा यत्र । दैवात्पुनस्तत्र ये पतितास्ते शतखण्डीभूय तत्रैव भ्रमन्तीत्यर्थः। एवं प्रथमं विधुतं गिरिपतनादुच्छलितं पश्चान्निवृत्तं तत्रैव प्रविष्टं सलिलं यत्र तथा । शृखलानुप्रासोऽयम् ।
90.599. धरणिधरा वज्रभयं स्मृतवन्त:। पूर्वं वज्रभयेन पलायने समुद्रप्रवेशे वा परस्परसंघट्टावस्थोद्रोधात् । यता
समुद्रस्था एव धरणिधरा वज्राभिघातसजातीयागन्तुकपर्वताभिघातादित्यर्थ:। आदिवराहखुरैः प्रेरणानि वसुमती स्मृतवती । कपीनां चरणसंक्रमेण तत्सजातीयदु:खोदयात् । एवं मथनांत्संभ्रममुद्वेगं त्रासं वा समुद्र: स्मृतवान्। तत्समानविमर्दोदयात् । समकमेकदैवेत्यर्थः। प्रस्मृतं विस्मृतम् । अत्र प्रस्मृतं स्मृतवानित्युभयत्र यथायोग्यं विभक्तिलिड्गविपरिणामेनान्वय: कर्तव्यः। सममेव विस्मृतं सममेव स्मृतवन्त इत्यर्थो वा |---

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102.602. हे विभीषण, तव सौम्यस्वभावेन सत्त्वप्रकृत्या परिवर्धितं विज्ञानं विशिष्टज्ञानं निशाचरैस्तमोगुण
प्रधानैरप्यविद्रावितं सहवासादिनापि न विप्लावितमिति विज्ञायते । तथा च नाम्ना जात्या च विभीषण: स्वभावेन सौम्यो यन्मामुपागतोऽसीति भावः। किमिवा उदधेरमृतमिव । यथा सौम्यस्वभावपरिवर्धितमुदधेरमृतं दृष्टिविषैः सर्न विद्राव्यते, सहस्थित्यापि न कालकूटीक्रियते न वा दह्यते किं त्वमृतमेव तिष्ठतीत्यर्थः। तथा चामृतप्रायं तव ज्ञानमत: सुखमवाप्स्यसि दृष्टिविषप्राया अन्ये राक्षसा धर्मद्वेषाद् दु:खं लप्स्यन्त इति भावः।

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Appendix II
(i) Dr. V. Raghavan on Bhoja's Treatment of Nayaka-Näyikās :
"Bhoja deals with the Nayaka-Nāyikās in both his works, the SK and the ŠP. .:. The four primary classes of Nāyikās according to Bhoja are Svakiya, Parakīyā, Punarbhū and Sămānyā; the Svakīyā and the Parakīyā are each classified into Uttamă, Madhyamă, Kaniştha, Udhā, Anūdhā, Adhīrā, Dhīrā, Mugdha and Pragalbhā; this classification yields a total number of 143 varieties of Nāyikās for each of these two types. The Punarbhū is divided into Akşată, Kşată, Yātāyātā and Yayāvară. The Sāmānya falls into five sub-classes, Uụhā, Anudhā, Svayamvarā, Svairini and Veśyā, the last being further sub-divided into Ganikā, Vilasinī, and Rūpājīva. ... The eight Avastha Nāyikās are then enumerated and illustrated. --- In his SK Bhoja mentions these varieties with some difference, and defines and illustrates some of them in Ch. V, pp. 485-486, 592-601. On the Mugdha and Pragalbhā, there is no difference in Bhoja's definition, though he puts the definitions here in a brief and compact manner, 4:attazirrigurf, URAT Ruf and 24: tercinei viquif respectively. In both the works Bhoja omits under the Maña-varieties the third Dhīrādhīrā and gives only Dhīrā and Adhīrā. Uttamā, Madhyamā and Adhamă, the last of which is omitted in ŚP, are again briefly defined as full, threefourthsfull and halffull in excellences. On Jyeșthā and Kanişthā, of which the former is not given in ŚP, Bhoja follows Vātsyāyana and considers the earlier married elder wife as Jyestha and the later married younger one as Kanişthā. Ūdhā and Anūdhā are only once illustrated here but in SP Bhoja illustrates them twice under Svakīyā, Parakīyā and Sãmānya. The Udhă and Anūdhā under the former are illustrated by Draupadi who was the lawfully wedded common wife of five husbands, and Sītā before her marriage. Thus while the former, Udha Sāmānyā, will be a unique class created for Draupadi and Anūdhā Sāmānyā appears to apply to all Kșatriya-maidens. In Bhoja's definition of the Svakiyā, Parakīyā, and Sāmāny, there is no departure, but the sub-classes of Sāmānyā are to be noted; in the SK Bhoja merely defines and illustrates the Sāmānyā, but in the ŚP he gives her five varieties. Ūdhā and Anūdhā, already explained, Svayamvarā, Svairiņī and Veśyā... but mention must be made of the sub-classes of Veśyā which Bhoja gives in both the SP and the SK, the Gaņikā who is accomplished in all the arts, the Vilasini who flirts and Rūpājīvā who trades on her physical beauty. The Punarbhū re-introduced by Bhoja is simply defined

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and illustrated once in the SK, but in the SP greater attention is paid to her: She is classified into Akşatā, Kșatā, Yātāyātā and Yāyāvarā, three of these terms being adopted from the Dharmaśāstra; Akşată, illustrated by Satyavatī, is one who has had contact with a male before marriage; Kşatā is a married lady who, after her husband's death, is taken by another as wife. Yātāyātā is illustrated by Tārā (the star, not Vālin's wife) who was Bphaspati's wife, was seduced by Candra to whom she bore Budha, but was then made to come back (Yāta-āyātā) to her original husband; ... Bhoja gives the Yāyāvarā variety of a Punarbhū illustrated by Madhavi who was on the move from place to place marrying four husbands successively, Krameņa sad-bhartrcatustayī, bearing each of them a son and finally retired to the Vindhyas for penance . . . Mādhavi was a daughter of Yayātī and had a boon by which, immediately after each delivery, her maidenhood was restored.
In addition to these, Bhoja gives in the SK four Nāyikās corresponding to the four Nāyakas, Dhīra-Udātta etc., which he omits in SP. The Uddhată is haughty, Udāttă is one who has a deep hidden sense of prestige, gūdhamânarddhi, the Săntă is one whose māna is completely subsided, nirvana-mānā. The Lalitā is one in whom the play of māna becomes delectable, Slāghanīya-mānā; in fact, upto a stage, this kind of măna forms an essential part of love. Correspondence with four hero -types, Dhīroddhata, Dhīrodātta; Dhīraśānta and Dhīralalita is clear and we may note here that these four classes have been defined on the basis of Māna, with reference to which the word Dhairya is used in the well-known Nāyikā classification Dhīrā and Adhīrā. .... The Eight Avastā-Nāyīkās are mentioned in the SK also.”
- Dr. V. Raghavan (Śrgāramañjari) (ii) Nātyaśāstra and Abhinavabhārati on Vāsaka and Väsakasajjä :
Regarding the term Vāsaka, Bharata has the following verses: (राज्ञामन्त:पुरजने दिवासंभोग इष्यते ।) वासोपचारो यश्चैषां स रात्रौ परिकीर्तित: । परिपाटयां फलार्थे वा नवे प्रसव एव वा । दु:खे चैव प्रमोदे च षडेते वासका: स्मृताः ।। उचिते वासके स्त्रीणामृतुकालेऽपि वा नृपैः । प्रेष्याणामथवेष्टानां कार्यं चैवोपसमर्पणम् ॥
- Natyaśāstra XXII. 208-210.

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Abhinavagupta thus comments: परिपाटिर्यथाकल्पितानुपूर्वी अस्या एकेन भिन्नेन वारः अस्या द्वाभ्यामित्यादि । तदपवादमाह फलार्थ इति ऋताविति यावत् । नव इति नवत्वे प्रसवे वृत्ते चिरविरहखिन्ना (7न्नां)सुखायितं (सुखयितुं ?). । दु:खे तदीयबन्धुव्यापत्त्या दुःखिता आश्वासनीयेति । प्रमोद इति तदीयपुत्रोत्सवादौ 'उत्सवो हि माननीय' इत्युक्तम् । वासयति तत्र स्थाने. रात्रमिति वास: ।
Abhinavabhārati Vol. III, p. 207. According to Abhinavagupta's explanation, ach is derived from the fact of “The hero or lover living that night with the lady concerned'. Vāsaka is sixfold : 1 वार (turn) 2 ऋतुकाल (proper mating season) 3 नवे (नवत्वे) new arrival in the harem 4 wd mother of a recently delivered baby who yearns or longs for a visit from the King 5 दुःखें (तदीयबन्धुव्यापत्ती) sorrow brought on by death of a near kinsman of the inmate of the harem when the King is expected to console the lady concerned 6 Rejoicing in the parents' house on the birth of a son to the king's (favourite) sweetheart when he is expected to visit and felicitate her. Of these six, वार turn, appears to have been the earliest meaning of वासक.
With this meaning at the back of his mind Bharata defines the वासकसज्जा नायिका as follows: उचिते वासके या तु रतिसंभोगलालसा । मण्डनं कुरुते हृष्टा सा वै वासकसज्जिका ।।
- Natyasastra XXII. 213. (iii) Dasarupaka on māna, its varieties and ways of removing it :
Dasarupaka treats of this topic as follows : स्त्रीणामीाकृतो मान: कोपोऽन्यासङ्गिनि प्रिये । श्रुते वानुमिते दृष्टे श्रुतिस्तत्र सखीमुखात् ।। उत्स्वप्नायितभोगाङ्कगोत्रस्खलनकल्पितः । त्रिधानुमानिको दृष्ट: साक्षादिन्द्रियगोचरः ।।
- IV. 59-60. ईर्ष्यामान: पुन: स्त्रीणामेव नायिकान्तरसङ्गिनि स्वकान्ते उपलब्धे सति । अन्यासगस्तु श्रुतो वानुमितो वा दृष्टो स्यात् । तत्र श्रवणं सखीवचनात्, तस्या विश्वास्यत्वात् I. . . .
-Avaloka एषाम् - यथोत्तरं गुरु: षड्भिरुपायैस्तमुपाचरेत् । साम्ना भेदेन दानेन नत्युपेक्षारसान्तरैः ।। तत्र प्रियवच: साम भेदस्तत्सख्युपार्जनम् । दानं व्याजेन भूषादे: पादयोः पतनं नति: ॥

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सामादौ तु परिक्षीणे स्यादुपेक्षावधीरणम् । रभसत्रासहर्षादे: कोपभ्रंशो रसान्तरम् ।।
- IV. 61-63.
Māna (pride, sulkiness, anger) is the reaction born of jealousy caused by the lover's relation with another woman. It arises when her lover is reported by the nãyika's trustworthy freind as interested in another woman. It arises also when she deduces from her lover's words uttered in a dream or notices marks on her lover's body such as tooth-bites, nail-scratches, etc. It arises also when her lover addresses her inadvertently by another woman's name. It arises also when she herself notices her lover casting his loving or graceful glance on another woman.
This māna may be removed by adopting one or another of the following six means or ways : (1) sweet talk or pleasing speech, meek pleading (2) winning over her (maiden) friends (3) making gifts of ornament and the like (4) falling prostrate at her feet (5) apparent indifference or (6) a sudden change of situation-sudden and forcible kissing of nāyikā, frightening, rejoicing and the like.

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Appendix III 1Source of Sarvasena's Harivijaya
Sarvasena's Harivijaya is almost certainly based on Vişnupurāņa or Bhāgavata-Purāna. These two purānas treat of the episode of Pārijātaharaṇa. The account as given in these two purāṇas is practially the same :
Mounting Garuda and taking Satyabhāmā with him, Hari goes to Heaven with the express purpose of returning to Aditi her ear-rings which he has retrieved from the demon Naraka. On beholding Aditi, Hari pays his respects her and presents her own ear-rings to her. She is pleased. Indra then respectfully salutes Hari, and shows him and Satyabhāmā the whole of his Nandana garden, where Satyabhāmā feels fascinated by the divine and delicate Pārijāta tree and demands that Hari to prove his love for her should take it to her own (palace-) garden on earth. Now, Sacī, Indra's wife is particularly fond of this tree and Indra is most unwilling to part with it. Satyabhāmā, who bears a grudge against Sacī who, inflated with pride of her husband, has not welcomed her to her dwelling with respectful presents, urges Hari to carry off by force the divine tree. Sacī too appeals to her husband - Indra - and arouses him to even fight over it. In the violent battle which ensues Indra loses and proposes to Hari – “Let this Pārijāta tree be transferred to Dvārakā and let it remain upon earth as long as you (Hari) abide in the world of mortals.” Hari agrees and returns to earth. Alighting from Garuda he proceeds with Satyabhāmā to her (palace-) garden and there plants that divine tree.
Sarvasena, however, does not slavishly repeat this account. He introduces a new motif for Hari's carrying off the divine Pārijāta tree - the motif of appeasing the anger of his beloved spouse Satyabhāmā who has strongly resented Hari's bestowing of the divine Pārijāta blossom to Rukmini, her rival in love. He centres the entire story round the rivalry of the two wives of Hari. This human element that he has introduced in his version has not only earned him the praise of Anandavardhana and Abhinavagupta, but also of every succeeding generation of audiences and readers. This change in the emphasis is poetically effective, humanly appealing and emotionally rich.
1) Vide Introduction : Sarvasena's Harivijaya (pp. 17-20.)

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Sarvasena's account of Pārijātaharana became so popular that it is safe to surmise that Harivassa must have borrowed it from Sarvasena's version semetime after the fifth century A. D. - when Sarvasena wrote his Harivijaya.
Devout admirers and lovers of Harivamśa believing in its antiquity may argue the other way round. But the outburst of Abhinavagupta's appreciation does not quite seem to justify this view. Abhinavagupta elaborates here Anandavard remark about Sarvasena's originality and genius with specific reference to this innovation of the admirable molif.'
1) Read in this connection the follwing : इदमपरं प्रबन्धस्य रसाभिव्यञ्जकत्वे निबन्धनम् । इतिवृत्तवशायातां कथञ्चिद् रसाननुगुणां स्थितिं त्यक्त्वा पुनरुत्प्रेक्ष्याप्यन्तराभीष्टरसोचितकथोन्नयो विधेय: । यथा कालिदासप्रबन्धेषु । यथा च सर्वसेनविरचिते हरिविजये ।
- ध्वन्यालोक III. pp. 335-336. And, Abhinavagupta's Locana on it : कालिदासेति । रघुवंशे अजादीनां राज्ञां विवाहादिवर्णनं नेतिहासेषु निरूपितम् । हरिविजये कान्तानुनयनाङ्गत्वेन पारिजातहरणादि निरूपितमितिहासेष्वदृष्टमपि ।

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Appendix IV
Select Bibliography Besides the works mentioned under Abbreviations in Volume I, the following have been used in preparing this Volume II : 1. A History of Sanskrit Literature by A. B. Keith, Oxford, 1928. 2. A History of Indian Literature by M. Winternitz, Volume II, University of
Calcutta, 1933. 3. Apabhraíśa Vyākaraṇa ed. by Dr. H. C. Bhayani and publ. by Śrī Farbas,
Gujarati Sabhā, 365, Vitthalbhai Patel Road, Bombay-4, 1960. 4. Bhoja's Śộngāra-Prakāśa by Dr. V. Raghavan, Punarvasu 7, Sri Krishnapuram
Street, Madras - 14, 1963. 5. Chando'nuśāsana of Hemacandra Sūri ed. by H. D. Velankar and publ. by
Bharatiya Vidya Bhavan, Bombay, 1961. 6. Desi sabda Sangraha ed. by Pt. Bechardas J. Doshi, available at Messers.
Balagovind Booksellers, near Balahanuman, Gandhi Road, Ahmedabad - 1. 7.. Gāthāmādhurī tr. into Gujarati by Dr. H. C. Bhayani, available at Vora
and Co., Gandhi Chambers, Gandhi Marg, Ahmedabad, 380 001.
8. Gähäkosa (Gāthāsaptaśatī) with the Sanskrit Commentary of Bhuvanapāla,
part I, ed. by Prof. M. V. Patwardhan and publ. by Prakrit Text Society, Ahmedabad, 380 009, 1980.
9. Gāhāsattasaī ed. by Arvind Mangrulakar and D. M. Hatvalane, publ. by.
S. R. Deshmukh, Deshmukh Prakāśana, 739, Budhwar, Pune 411 002, 1958. 10. Jñänapramodikā by Jñanapramodagani (A Commentary on Vägbhatālamkāra
ed. by Dr. R. S. Betai, L. D. Institute of Indology, Ahmedabad 9, 1987. 11. Kāvyaprakāsa of Mammața tr. by Jha, M. M. Ganganatha, publ. by The
Indian Press Ltd. Allahabad, 1925.
12. Kāvyaprakāśa of Mammața (I, II, III, and X chapters) ed. by Gajendragadkar,
A. B., Elphinstone College, Bombay, 1939.

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13. Līlāvas of Koūhala ed. by Prof. A. N. Upadhye, publ. by Bharatiya Vidya
Bhavan, Bombay - 7, 1949. 14. Līlavaí-Kaha, English Translation by Prof. S. T. Nimkar, publ. by Prakrit
Vidya Mandal, c/o L. D. Institute of Indology, Ahmedabad, 380 009, 1988. 15. Muktaka Mādhurī tr. by Harivallabh Bhayani, available at Sadbhāva Prakāšana,
57/62, Kapadia Estate, Ratanpole, Ahmedabad 380001, 1986. 16. Paia - Lacchi-Nama-Mală of Dhanapala ed. by Pt. Bechardas J. Doshi,
publ. by Shri Shadilal Jain, R: C. H. Barad and Co., 239, Abdul Rehman
Street, Bombay — 3; 1960. 17. Pravarasena's Setubandha, tr. by K. K. Handiqui and publ. by Prakrit Text
Society, Ahmedabad, 9. 18. Sephalika tr. into Marathi by Prof. Arvind Mangarulkar and publ. by
Maharashtra Rajya Sahitya Sansksti Mandal, Bombay, 1983. 19. Śmgāramañjarī of Akbar Shah, ed. by V. Raghavan, Hyderabad Archaelogical
Deptt. Publication, 1951. 20. Śộngāramañjarī Sațțaka, by Viśveśvara, ed. by Prof. R. P. Nipanikar and
Prof. M. S. Ranadive and publ. by Mrs. S. M. Ranadive, 57, Gite Bldg, Raviwar Peth, Satara (Maharashtra). Sapta-Satī sāra with Bhavadīpika of Vema Bhūpāla, ed by Dr. A. N. Upadhye, Shivaji University, Kolhapur, 1970. Satavahana āņi Paścimi Ksatrapa Yańca Itihasa ani Korīva Lekha (in Marathi), by Dr. V. V. Mirashi, publ. by Maharashtra Rajya Sahitya - Sanskrti Mandal,
Mantralaya, Bombay — 32. 23. Sahitya-Darpana of Viśvanātha (Paricchedas I, I, X Arthalankāras) and the History of Sanskrit Poetics by MM. P. V. Kane, third edtion, 1951. 24. Siddha-Hema-Śabdānuśāsana ed. by Doshi, Pt. B. J. — available at Messers
Balagovind Book-sellers, Balahanuman, Gandhi Road, Ahmedabad 380 001. 25. Siddha-Hema-Śabdanuśāsana ed. by Vaidya P. L. 26. Subhāşita-ratnabhāņdāgāra, Nirnaya Sagar Press, Bombay — 2, 1952 edn.
22.

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27. The Gähäkosa of Hāla (Sātavāhana), Part II, ed. by Prof. M. V. Patwardhan
and publ. by B. L. Institute of Indology, Delhi, 1988. 28. The Sanskrit Drama, A. B. Keith : Oxford University Press, 1964 (edn.). 29. Tārāyana (Tārāgana) (of Bappabhatti, with an Anonymous Sanskrit
Commentary) ed. by H. C. Bhayani and publ. by Dalsukh Malvania, Secretary,
Prakrit Text Society Ahmedabad — 380 009. 30. The Dasarūpa by Dhanamjaya ed. by Haas, G. C. O., Motilal Banarasidass,
Delhi, 1962.
Research Papers.
i) Pk. Thudumkia -- Sulky and Silent' by Dr. H. C. Bhayani, Journal of the Oriental Institute Baroda Vol. XXIV, Nos 1-2, September - December 1974.
ii) Pk. Usurusumbhia — Choked Weeping' by Dr. H. C. Bhayani, Vidyā, Journal, Gujarat University, Vol. XVII. (A-Language Group) : January 1974. iii) On the Satprajñaka-Gāthā And Hrdayavati (metioned under Dhvanyaloka III. 43) by Dr. H. C. Bhayani, Vidyā, Gujarat University, Ahmedabad, 9. iv) Dhvanyāloka (Uddyota 1,II) nām Prakrit Udaharanoni Pathacarca (in Gujarati) Vidyā, Journal Gujarat University Vol. XIII No. 2, August 1970. v) Dhvanyāloka (Uddyota III,IV) nām Prakrit Udaharanonī Pāthacarcă (in Gujarati) Vidyā, Vol. XIV : No. 1, January 1971.
vi) Gāthāmuktāvali : A Newly Discovered Recension of Hāla's Sapta-sataka by Dr. H. C. Bhayani
And
vii) Pālī, Dhanyā And Cărukesī (Three of the earliest mentioned Kțsna's Sweethearts) by Dr. H. C. Bhayani, Aspects of Jainology Vol. 2, Pt. Bechardas Doshi Commemoration Volume, P. V. Research Institute, I. T. I. Road, Varanasi 5,

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ERRATA (Note: Minor deficiencies have been ignored.)
Page
S. No./V. No.Line No.
Correction
Introduction
29
41
47 2
Translation
-24 24 24
reigned ० विधुरा controversy will not lose his head ladies' much size/such a size collected averse transferred which she was passion, soft holes quivered, the...
24
1.1 f.n. - last line 1.14 v.5-1.1 v.11-1.1 v.110-1.1 v.112-1.2 v.118-1.2 v.118-1.4 v.131-1.3 v.142-1.2 v.151-1.1 v.158-1.2 v.162-1.1 v.166-1.5 v.359-1.1 f.n.6-1.4 v.903-1.2 v.1082-1.2 v.1128-1.1 v.303
25
27
28
fell
28
46 73 90 105 108 167
[felt amused and] preserves on पीडयति चलदुन्नत slender-waisted half-closed simple-minded (30.18)
Glossary of Notable : Words
2
15
अवरुण्ण
252 253 263 483
19 1.11 1.13 S. no. 1202-1.1
Notes
485 486
S.no. 1223-1.4 S.no. 1223-1.1 para 1-1.9 S.no. 1231-1.9 S.no. 1232-1.8 S.no. 1233-1.1
केशहस्ता: stalk) torn up थोरंसुअं gatha : एति जीवन्तामानन्दो नरं वर्षशतादपि। - रामायण रोषस्यापसर्पत: delete the figure '1223' फलिहचसअं her consort." 31 - 1 तहतं
488

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Page
S. No./V. No.Line No.
Correction
490
497 498 500
1.1 . S.no. 1246-1.2 para.3-1.8 1.8 S.no. 1362
501 501 502
506
512
514
515 521 528 595 600
छिवंती, पिओ व्व कि (tight and close) . of विरमाव 'सइर 1362. Delete the whole line in Vol. I. (artha [?ardha]) GS VII - 46 काला (7काल) सहिष्णु/रा दार - दोरा thoughts of Bahuvrīhi -Savitri प्ररूढ शमीधान्यशूकधान्या ० सख्याप्ती (?दि) in Nominative SK(7.340) supra ० रनुबध्यन्ते। नायिकाकपोलचुम्बन samddhiman 'आर्थेऽपह्नवे 'सरसोदरों सूर-च्छलेण go to शृङ्गारोऽङ्गम्। sāmányopanyasaḥ (suffers) panduratva apparent 'सह' (समम्) Bhrántimăn Avastha - Nayikas respects to her sometime
617
S.no. 1420-1.2 S.no. 1423-1.4 S.no. 1430-1.2 S.no. 1453-1.3 S.no. 1488-1.2 S.no. 1490-1.8 para.2-1.2 S.no. 1502-1.3 S.no. 1512-13.para.2 S.no. 1553-56 para.2-1.2 S.no. 151.1 S.no. 23-1.5 S.no. 13-1.3 S.no. 18-1.1 S.no.28-1.2 S.no.40-1.4 S.no. 1391.2 S.no. 151 - para.31.1 S.no. 160-1.3 S.no.38-588-1.2 S.no.47-590-1.4
.no.59-593-11.3-4 S.no.59-593-1.5 S.no.61-593-1.4 S.no.91-600-1.1 para.3 para.2-1.3 para.1-1.2
618 624 625 640 642 644 651 653 656
S
661 692 695
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About The Author Dr. V. M. Kulkarni, formerly Director, B. L. Institute of Indology, Professor of Sanskrit and Prakrit and Director of Languages, Maharashtra State, Bombay has taught Sanskrit and Prakrit Litereture, Sanskrit Poetics and Aesthetics for several years. He has published over a hundred research papers and review articles. His works include : (i) Studies In Sanskrit Sahitya-Sastra, publ. by B. L. Institute of Indology (ii) The Story of Rāma In Jain Literature, publ. by Saraswati Pustak Bhandar, Ahmedabad (iii) Prakrit Verses In Sanskrit Works on Postics : Volume I : Text (iv) Prakrit Verses In Sanskrit Works on Poetics : Volume II : Translation (v) Some Aspects of the Rasa Theory, publ. by B. L. Institute of Indology, Delhi. (vi) An Anthology of Jain Texts, publ. by Sahitya Akademi New Delhi. (vii) Srngärărnavacandrika of Vijayavarni : A work dealing with Sanskrit Poetics, publ. by Bharatiya Jñānapītha, Delhi. (viii) Jayadeva's Gitagovinda with a hitherto unpublished commentary of King Mānānka, publ. by L. D. Institute of Indology, Ahmedabad. (ix) Acārya Hemacandra's Kävyānusāsana, second revised edition, Bombay. (x) Vācaka Umāsvāti's Praśamarati-Prakarana : Translation in English by Mahesh Bhogilal, ed. by Dr. V. M. Kulkarni, and publ. by Mrs Diniben N. Shodhan, Ahmedabad. He has also contributed : (i) A Critical Introduction to Paumacariya of Vimalasūri, publ. by Prakrit Text Society, Varanasi. (ii) A Critical Introduction and Notes to Mallika Makaranda, a play by Ramacandra, publ. by L. D. Institute of Indology, Ahmedabad. (iii) An Introduction to Pancasūtraka, ed. by Muniśrī Jambu Vijayajī and publ. by B. L. Institute of Indology, Delhi.

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