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) pUjayapAda gurUdeva munirAja e nyang mga HERIY-Y . zAstra saMgraha By V. M. Kulkarni, M.A., Ph.D. AyammisAra saccI 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 alaskarikas 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 alaskarikas 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 gathas 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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mAnakriyAbhyAM mokssH| tamAnameva na bhavati yasminnudite vibhAti rAgagaNaH / tamasa: kuto'sti zakti dinakara-kiraNAgrata: sthAtum // rucInAM vaicitryATajukuTilanAnApathajuSAM - nRNAmeko gamyastvamasi payasAmarNava iva //

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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 chaya. (iii) the texts of a very large number of Prakrit verses, especially from Kuntaka's Vakroktijivita, Bhoja's Sarasvatikanthabharana and Smgaraprakasa, Ruyyaka's Sahityamimamsa and Sobhakara's Alamkararatnakara 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 gathas not found in Gathasaptasati and Vajjalagga, but cited in works like Srrigaraprakasa, Sarasvatikanthabharana, Alamkararatnakara, 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 Aryasaptasati Hala's Gathasaptasati. (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 Banabhatta, 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, Mahavira 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. Desi or desya. Dative Denominative. Desi-Sabda-Sangraha (in Hindi & Gujarati) ed. by Pt. Bechardas J. Doshi. for example. Feminine. Gahakosa of Hala, Part II, ed. by Prof. M. V. Patwardhan. Hemacandra's Prakrit Grammar, ed. by Dr. P. L. Vaidya Siddhahema Sabdanusasana (Prakrit Vyakarana) (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 r . Paiya pass per Marathi. Professor M. V. Patwardhan. Neuter. Nominative. --- Onomatopoeic. present Paiyalacchinamamala. passive. person. past passive participle. Present participle. Present passive particip Paia-Sadda-mahannavo --- 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 Rudrata's Kavyalamkara Chapter II Prakrit Verses in Dhvanyaloka with Locana Chapter II Prakrit Verses in Vakroktijivita Chapter IV Prakrit Verses in Dasarupaka with Avaloka Chapter V Prakrit Verses in Vyaktiviveka Chapter VI Prakrit Verses in Sigaraprakasa Chapter VII Prakrit Verses in Sarasvatikanthabharana Chapter VIII Prakrit Verses in Kavyaprakasa Chapter IX Prakrit Verses in Alamkarasarvasva Chapter X Prakrit Verses in Sahityamimars Chapter XI Prakrit Verses in Vagbhatalamkara Chapter XII Prakrit Verses in Hemacandra's Kavyanusasana Chapter XIII Prakrit Verses in Kalpalataviveka Chapter XIV Prakrit verses in Alamkaramahodadhi Chapter XV Prakrit Verses in Vagbhata's Kavyanusasana Chapter XVI Prakrit Verses in Visvanatha's Sahityadarpana Chapter XVII Prakrit Verses in Rasarnavasudhakara Chapter XVIII Prakrit Verses in Alamkararatnakara Chapter XIX Prakrit Verses in Rasagangadhara Chapter XX Prakrit Verses in Visvesvara's Alamkarakaustubha Appendix I Extracts from Ramadasa's Commentary on Setubandha Appendix II (i) Dr. V. Raghavan On Bhoja's Treatment of nayaka-nayikas (ii) Natyasastra on Vasaka & Vasakasajja (ii) Dasarupaka on Mana, 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 'Vajjalagga 4. Various poets' praise of Prakrit poetry 5. Poetry in Maharastri 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 Chaya 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 'Durbodha or avisada or aspasta iyam gatha' and express their helplessness rendering the Prakrit gatha 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 possible - 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 Dhvanyaloka and Kavyaprakasa. 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 Sarasvatikanthabharana alone quotes over 380 Prakrit (and Apabhraisa) passages and his Sprigaraprakasa 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 Srngaraprakasa and the Sahityamimamsa pose a true challenge to one's critical ability, scholarship, patience and industry. For a very large majority of Prakrit (and Apabhraisa) 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 Srigaraprakasa and Sahityamimamsa 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 Apabhraisa 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 (Alamkara) 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 gathas from the works on Sanskrit poetics and incorporated them, by way of an Appendix, in his critical edition of Gathasaptasati: 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 Maharastri Language and Literature. Dr. A.N. Upadhye has corrected one very obscure Apabhraisa verse from Dhanika's Avaloka on Dasarupaka which correction is incorporated by T. Venkatacharya? in his paper entitled 'An Appraisal of the Hindi Dasarupaka' 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 Apabhramsa passages from Bhoja's Srigaraprakasa : (i) "The Apabhramsa Passages From Bhoja's Srigaraprakasa. I-VIII. "The Journal of Oriental Institute Vol.XXV, March-June 1976, Nos. 3-4.. (ii) "Apabhramsa Passages From Bhoja's Singaraprakasa" (IX-XIV), VDYA: Languages Vol. XVII (1) (pp.1-12), January 1976, and (iii) "The Apabhramsa Passages From Bhoja's Srigaraprakasa 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 Dasarupaka and in Kuntaka's Vakroktijivita" ((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 Alamkara works covered in the present volume Bhoja's Srigaraprakasa (Coronation Press, Mysore edn in four volumes) and The Sahitya Mimamsa (Trivandrum Sanskrit Series No. CXIV, 1934) 2) Vide also his edition of the Dasarupaka with the commetary Avaloka by Dhanika and the sub-commentary Laghutika by Bhatta NTsimha, 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 ... anurao" in Srrigaraprakasa Vol. I, p.120 has been considered very corrupt. The significant, word 'anurao' and the word 'asvasaka' 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 lunahi ... gumariphellaparanya". (?) in Locana on Dhvanyaloka 1.16 was considered extremely corrupt and absolutely unintelligible. The commentator "Balapriyakara" 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' lunahi ... landha". This too is absolutely corrupt. Parisistam to the Volume (p.383) notes: Dhvanyalokalocanasya talapatradarse ...... "Paluddisi ... dolvapaittha (?)" This, too proved of little use in tracing the original verse. Somesvara's Sarketa on Kavyaprakasa (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: "Lavannujjalangu ghari dhollu paittha". The whole verse, however, is for the first time cited correctly in Kalpa-lataviveka (p. 123, lines 26-27) as follows: Divadi tellu nahi palu drammi gamittha 1 Lavannujjalangu ghari Dhollu paittha || (Sanskrit chaya: Dipake tailam nasti palam dramam gavesitam Lavanyojjvalango glhe priyatamah pravistah IN One more passage from Locana may be cited here in this connection. Locana (p.176) reads : "Osuru sumthi... tena !!" The text of the first quarter of this Apabhraisa verse is obviously corrupt. Kalpalataviveka (p.127, line 17) records the pratika of this verse as "Usurusumbhiyae". Desinamamala explains "Usurbhiyam tatha 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 cumbiu jena | Amiarasaghontanu padijaniu tena II (Sanskrit chaya: Ruddhagala rudatyah mukham cumbitam yena 1 Amstarasaghotanam parijnatam tena II) A part of the chaya given by the commentator, viz., 'Irsyasrusobhitaya' is inaccurate. From the commentary of Ratnesvara on Bhoja's Sarasvatikanthabharana we reproduce for consideration two verses. The first verse is on p.81: uccai Agamahi AvaDDha sijaMtaro sapariAram / pANaupasarantamattAcaMvaphalihacasaammuhaM bAlA // The Sanskrit chaya, added in the footnotes by the editors is as follows: ucyArAgaccherAvardhaya sidhyantara : saparivAram / pANau prasaranta ............ bAlA' iticchAyA. Now, the Prakrit verse which is highly corrupt, especially in its first half, is unintelligible. The Sanskrit chaya, which is erroneous and incomplete, hardly helps us to understand the import of the verse. The verse, cited as an illustration, is drawn from Vakpati's Gaudavaho v.no. 690 and reads as follows: uvvahai daia-gahiAharoTTha-jhijaMta-rosa-paDirAaM / pANosaraMta-mairaM va phaliha-casaaM imA bAlA / / [ udvahati dayitagRhItAdharoSThakSIyamANaroSapratirAgam / pAnApasaranmadiramiva sphaTikacaSakamiyaM bAlA / / ] Note: The printed text reads 'ima vaanam' (Sk. iyam 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: dhavalAiM galetti dhavalehi aNaJjaNasAmalehiM NisAlaAe / NaravavattakusumAiM NahaalAo osarai / / As the passage is extremely corrupt the editors have not added the Sanskrit chaya. In fact, the text of this passage is a medley of fragmented lines belonging to different gathas:

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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 gatha which we come across in Lilavai (Gatha No. 1091): pacUsa-gaya-varummUliyAe~ uddddiinn-ssi-vihNgaae| dhavalAI galaMti NisA-layAe~ Nakkhatta-kusumAiM // (pratyUSagajavaronmUlitAyA uDDIna-zazi-vihaGgAyAH / dhavalAni galanti nizAlatAyA nakSatrakusumAni / / ) In dhavalaim galetti, 'galetti' is obviously a scribal error or misreading of galarti on the part of the editors. Dr. Upadhye, the editor of Lilavai, 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 gatha (p.372) Dr. Upadhye observes: "This is a beautiful gatha 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 (chando p. la. Bombay 1912): edotau padAnte prAkRte hasvau vA / padAnte vartamAnAvekoraukarau prAkRta-bhASAyAM hrasvI vA bhavataH / yathA - pacUsagayavarummUliAe uDDINasasivihaMgAe / dhavalAI galaMti nisAlayAe nakkhattakusumAi / / ..., ua o (-po) marAyamaragayasaMvaliA NahayalAu oyarai / NahasirikaMThabhaTTha vva kaMThiA kIrarIcholA (= 0lI) || . hiM ityetayorhasvatvaM zabdAnuzAsane nirNItamiti nehocyate / The second quotation 'Ua' etc. comes from the GS (1.75) but the first is not traced there. This gatha, with its second line read somewhat differently, is found included in the Surasumdari-cariya III.245, where it stands thus : pacUsagayavarummUliyAe uDDINasasivihaMgAe / rayaNilayAe galaMti va kusumAi tArayaniheNa ||" Now a close look at the second gatha 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 Ratnesvara's text remain untraced. But the whole riddle of this medley passage is solved when we turn to Svayambucchandah. Its gathadividhi reads: hiAro biMdujuo pAvasANammi lahU / chaillANa jahA - (hikAro binduyuta: padAvasAne laghu: / chailasya (? vidagdhasya) yathA -) dhavalehiM aNaMjaNasAmaleMhiM peraMtataNuataNuehiM / 30 ra

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Prakrit Verses in Sanskrit Works on Poetics NiddAetti uveMdo gaNihAehiM acchIhiM // 1.2 / / (dhavalAbhyAmaJjanazyAmalAbhyAM paryantatanukatanukaiH / nidrAyate upendra: gatanidrAbhyAmakSibhyAm // 1.2 / / eAro suddho pAvasANammi lahU | vammauttasya (0ssa) jahA - (ekAra: zuddhaH padAvasAne lghuH| varmaputrasya yathA-) pacUsagaavaramaliAe uDDINasasivihaMgAe / dhavalAI galaMti NisAlaAe~ NakkhattakusumAiM / / 1.3 / / (pratyUSagajavaramRditAyA: uDDInazazivihaMgAyA: / dhavalAni galanti nizAlatAyA: nakSatrakusumAni / / 1.3 / / ) oAro suddho paAvasANammi lahU a / pAlittassa jahA - (okAra: zuddha : padAvasAne laghuzca / pAdaliptasya yathA-) ua pommarAamaragaasaMvaliA NahaalAo ovarai / NahasirikaMThabhaTTha vva kaMThiA kIraricholI // 1.4 / / (pazya padmarAgamarakatasaMvalitA nabhastalAdavatarati / nabha:zrIkaNThabhraSTeva kaNThikA zukapaktiH / ) 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 Srigaraprakasa 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 : caM chaM ravAhiparoMkha0 kahavatuggaghaDiAhiAgamasuMdhassaM / cAliaNi ka0 pa0 aNuhUAhivimahaM suaciagaruaM // Now, this passage, as presented in the printed text hardly makes any sense. If we keep in mind the context of sastrabhimana and read the text again and again we get some hints. It speaks of 'parokkha' 'agama', 'anuhua', 'sua' and we are made to think that the terms are most probably drawn from Nyaya-sastra, and we are led to emend the corrupt term "camcharkhahi' to 'paccakkhahi' and this word serves as a key to trace the corrupt verse to Setubandha IV.27 pacakkhA hi parokkhaM kaha vi tulaggaghaDiAhi hi AgamasuddhaM / saMcAliaNikaMpaM aNuhUA vi mahaM suaM cia gruaN|| [ pratyakSAtparokSaM kathamapi tulAgra (? kAkatAlIya-) ghaMTitAdAgama-zuddham / saMcAlita-niSkampamanubhUtAdapi mama zrutameva gurukam (-guru) || . (ii) vairi jaMto puvaMkaehi ka0mehi kehivarAo

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Prakrit Verses in Sanskrit Works on Poetics suma0chaMto du0saha jaNANarAe jaNe parai / araMbho jasa imoNIsAsAAsasosiasarIro pariNAhekahaM hohiiNa ANimo da0Dhape0ma0sa / / - 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 Arya metre (with 12,18,12 and 15 matras in the four quarters respectively) and actually form two independent stanzas. perijaMto puvvakaehi kammehi kehiM varAo / suhamicchaMto dullahajaNANurAe jaNo paDai / / [ preryamANa: pUrvakRtaiH karmabhi: kairapi varAkaH / sukhamicchan durlabhajanAnurAge jana: patati / ) This stanza is found in the Lilavai (V.No.569). As the next verse follows this without any introductory words such as "yatha va", which Bhoja frequently adds while giving an additional example, one would expect to find this next verse also in the Lilavas in the same context. The printed edition of the Lilavai, however, does not contain it. This verse when corrected would read as: AraMbho jassa imo nniisaasaaaassaassosiasriiro| pariNAho (? pariNAmo) kahaM hohii Na ANimo daDDha.pemmassa / / [Arambho yasyAyaM ni:zvAsAyAsazoSitazarIra: / pariNAma: kathaM bhaviSyati na jAnImo dagdhapremNa: // ] Now this verse is found quoted in the Vajjalagga with a few variant readings: AraMbho jassa imo AsannAsAsasosiyasarIro / pariNAmo kaha hosai na yANimo tassa pemmassa || The words underlined present variant readings; hosai and hohihi are just two different forms identical in meaning; na animo and na yanimo are (almost) identical. The reading asannasasa however, is not happy.Ratnadeva, the commentator, renders it as asannasvasa and Prof. M.V. Patwardhan says in his Notes: "Asanna = AsannajaNa. AsannANaM AsannajaNANaM AsAsehiM (UsAsehiM = ucchvAsai: ---- / " It would be better to read asannusasa." The reading nisasasa of the SP is decidedly better and eminently suits the context. From the point of view of grammatical construction the reading tassa found in the Vajjalagga seems to be more appropriate. The reading daddha-pemmassa

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Prakrit Verses in Sanskrit Works on Poetics conveys in a telling manner the viraha-visurana (distress or sorrow caused by separation) which is being illustrated. (ii) caMdo vi caMdavaaNa -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-sandesah'. A gatha with these very opening words is included by Weber in his edition of Sapta-batakam. It suits admirably the context of priya-sandesah. The nayaka conveys through this duti a message to the nayika. The message contains flattering or coaxing words praising the beautiful moonlike face, lotus-stalk-like arms and blue-lotus-like eyes of the nayika. The gatha in full is as follows: caMdo vi caMdavaaNe muNAlabAhAlae muNAlAI / iMdIvarAi iMdIvaracchi tAveMti tuha virahe / / [candro'pi candravadane mRNAlabAhA (bAhu-)late mRNAlAni / indIvarANIndIvarAkSi tApayanti tava virahe / / ] The Sahityamimamsa 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) NibhuaM khuNaM sasijairuvai --- rassutaM piNi / sadaM va kaAparAhAhiaa cia NiNhavijaMti / / The text is undoubtly corrupt. When restored it reads as follows: NihuaM khu NIsasijjai, ruvvai rAIsa taM pi NIsadaM / paimmi kaAvarAhe, hia-icchiANi bahuvijaMti // [ nibhRtaM khalu ni:zvasyate rudyate rAtriSu tadapi ni:zabdam / patyau kRtAparAdhe hRdayepsitAni hanUyante // ] (ii) alaaM jaNAMti dakahakattharassarAhacasarAsarIrajIvi / aMjaNaa AthaNaappaM samaaM aha karalAviddhA (7) //

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10 . Prakrit Verses in Sanskrit Works on Poetics Note : The text of this verse is highly corrupt. It is, however, cited in Bhoja's Sarasvatikanthabharana (V.v.no. 13, p.576) and Narendraprabha's Alamkaramahodadhi as an example of rasabhasa. 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 (Ravanavahamahakavyam) 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 Sita in the description." pulaaM jaNeti dasakaMdharassa rAhava-sarA sarIra-aDaMtA / jaNaa-taNaA-paohara-phaMsa-mahagghavia-kara-juala-NivvUDhA // [pulakaM janayanti dazakandharasya rAghava-zarA: zarIra-patantaH / janaka-tanayA-payodhara-sparza-maharSita-kara-yugala-niyUMDhA: // ] (iii) 'saMravakulami' tti sa (?) - p.121 Only the pratika 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: saMkha-ula-dhavala-kamale, phuDa-maragaa-haria-pattabhaMga-NihAe / vihuma-milia-kisalae uhaataDAbaddhasaMkamammi Nalavahe / / [zaGkhakuladhavalakamale sphuTamarakataharitapatrabhaGganighAte / vidruma-milita-kisalaye ubhayataTAbaddhasaMkrame nalapathe / ] - Setu VIII. 100 (iv) "AsaNNakuDuggajaNNa --- vAhiNIgolo / " - p.150 This passage, although printed as prose, is really not in prose. Through scribal error four independent gathas illustrating the festival of navapatrika are presented as prose. The whole passage is adopted by the author of Sahityamimamsa from Srigaraprakasa (Ch. XXXIV, pp. 1192-1193, Mysore edition) : (i) AsaNNa-kuDuMge juNNadeule bahu-juANa-saMkiNNe / thero pai ti mA ruasu putti diNNAsi suggAme // [AsannalatAgRhe jIrNa-devakule bahuyuvasaMkIrNe / sthaviraH patiriti mA rudihi putri dattAsi sugrAme // ]

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Prakrit Verses in Sanskrit Works on Poetics - Cf. SP Vol. IV, p. 1192 (i) tA kuNaha kAlaharaNaM tuvaraMtammi vi vare vivAhassa / jA paMDuNahavaAI, hoti kumArIeN aMgAI / / [tAvat kuruta kAlaharaNaM tvaramANe'pi vare vivAhasya / yAvat pANDunakhapadAni bhavanti kumAryA aGgAni / / ] - Cf SP Vol. IV p.1193, SK V.v.no.311 (iii) kaiA jAA kaiA Nu sikkhiA mAiA haakumArI / taM taM jANai savvaM jaM jaM mahilAo jANAMti / / [kadA jAtA kadA nu zikSitA mAta:, hatakumArI / tattajjAnAti sarvaM yadyad mahilA jAnanti / - Cf. SP Vol. IV p.1193; GS (W) 825 (iv) tattha vi hoMti sahIo puttali mA ruvasu jattha diNNA si / tattha vi NiuMja-lIlA tattha vi girivAhiNI golA | titrApi bhavanti sakhya: putrike mA rudihi yatra dattAsi / tatrApi nikuJjalIlA tatrApi girivAhinI godA // ] (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 gathas.* 3) amayaM pAiyakavvaM paDhiuM souM ca je na jANaMti / / kAmassa tattavattiM kuNaMti te kaha na lajjaMti // , [amRtaM prAkRtakAvyaM paThituM zrotuM ca ye na jAnanti / kAmasya tattvavArtA kurvanti te kathaM na lajjante // ] 4) addhakkharabhaNiyAI nUNaM savilAsa-muddha-hasiyAI / addhacchipecchiyAI gAhAhi viNA na najaMti / / [ardhAkSarabhaNitAni nUnaM savilAsamugdhahasitAni / ardhAkSiprekSitAni gAthAbhirvinA na jJAyante // ]

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12 . Prakrit Verses in Sanskrit Works on Poetics In the absence of the gathas 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 gathas 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 gatha 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 gathas, by the coquettish gestrues of women, by the utterances of poets and by the lisping words (indistinct babble) of children ?8 .. 5) sAlaMkArAhi salakkhaNAhi annannarAyarasiyAhiM / gAhAhi paNaiNIhi ya khijjai cittaM aiMtIhiM // [sAlaGkArAbhi: salakSaNAbhiranyAnyarAgarasitA(kA)bhiH / ___gAthAmiH praNayinIbhizca khidyate cittamanAgacchantIbhiH // ] 6) eyaM.ciya navari phuDaM hiyayaM gAhANa mahiliyANaM ca / aNarasiehi na labbhai daviNaM va vihINapuNNehiM / / [etadeva kevalaM sphuTaM hRdayaM gAthAnAM mahilAnAM ca / arasikairna labhyate draviNamiva vihInapuNyaiH / / ] 7) sacchaMdiyA sarUvA sAlaMkArA ya sarasa-ullAvA / varakAmiNi vva gAhA gAhijaMtI rasaM dei / / [sacchandaskA (svacchandikA) sarUpA sAlakaGkArA ca sarasollApA / varakAminIva gAthA gIyamAnA (gAhyamAnA) rasaM dadAti // ] 8) gAhANa rasA mahilANa vibhamA kaijaNANa ullAvA / kassa na haraMti hiyayaM bAlANa ya mammaNullAvA // [gAthAnAM rasA mahilAnAM vibhramA: kavijanAnAmullApA: / kasya na haranti hRdayaM bAlAnAM ca manmanollApA: / / ]

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Prakrit Verses in Sanskrit Works on Poetics Faiulure to appreciate the charm of the gathas, of songs (vocal music), of the notes of the lutes and of grown-up ladies--well, that itself is a great punishment. We never become satiated with the delight which springs from Prakrit poetry, from the utterances of clever people and from the drinking of cool and fragrant water." Prakrit poetry which is marked by the use of Desya (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) Vakpati "The charm of Sanskrit speech blooms in its Prakritic shadow, while the (innate) 9) gAhANaM gIyANaM taMtIsaddANa poddhmhilaannN| .. tANaM ciya so daMDo je tANa rasaM na yANaMti / / [gAthAnAM gItAnAM tantrIzabdAnAM prauDhamahilAnAm / teSAmeva sa daNDo ye teSAM rasaM na jAnanti // ] 10) pAiyakavvammi raso jo jAyai taha ya cheyabhaNiehiM / uyayassa ya vAsiyasIyalassa tittiM na vacAmo // [prAkRtakAvye raso yo jAyate tathA ca cchekabhaNitaiH / udakasya ca vAsitazItalasya tRptiM na vrajAma: // ] 11) desiyasaddapaloTTaM mahurakkharachaMdasaMThiyaM laliyaM / / phuDaviyaDapAyaDatthaM pAiyakavvaM paDheyavvaM / / [dezIyazabdapravRttaM madhurAkSaracchanda:saMsthitaM lalitam / sphuTavikaTaprakATArthaM prAkRtakAvyaM paThanIyam // ] 12) lalie mahurakravarae juvaIjaNavallahe sasiMgAre / / saMte pAiyakAvve ko sakkai sakkayaM paDhiuM / [lalite madhurAkSare yuvitajanavallabhe sazRGgAre / sati prAkRtakAvye ka: SvaSkate/zaknoti saMskRtaM paThitum // ]

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14 . Prakrit Verses in Sanskrit Works on Poetics glory of the Prakrit is heightened when touched up by its Sanskritization." It is only in Prakrit that we can have in an abundant measure, ever fresh themes presented in a rich variety of styles, refreshingly cool and caressingly sweet. This will continue to be till the end of the world. ___All languages merge in it (Prakrit) and emerge (nemti) from it. Waters pour into the sea and flow out of it.15 A peculiar delight which dilates and closes the eyes, thrills the heart, rushes inwards and outwards."16 - Gaudavaho : 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) ummillai lAyaNNaM paaa-cchAAe~ sakkaa-vaANaM / sakkaa-saMkkArukkarisaNeNa paaassa vi pahAvo / / [unmIlati lAvaNyaM prAkRtacchAyayA saMskRtapadAnAm / saMskRtasaMskArotkarSeNa prAkRtasyApi prabhAva: / / ] 14) NavamatthadaMsaNaM saMNivesa-sisirAo vaMdha-riddhIo / aviralamiNamo AbhuvaNa-baMdhamiha Navara paaammi || [navamarthadarzanaM saMnivezazizirA bandhardaya: / aviralametadAbhuvanabandhamiha kevalaM prAkRte // ] .. 15) saalAo imaM vAA visaMti etto a Neti vaaaao| eMti samudaM cia aiti sAarAo cia jalAI / / [sakalA idaM vAco vizantItazca niryanti vAca: / enti samudrameva niryanti sAgarAdeva jalAni // ] 16) harisa-viseso viasAvao a maulAvao a acchINa / iha bahihutto aMtomuho a hiaassa vipphurai / / [harSavizeSo vikAsako mukulIkArakazcAkSNoH / iha bahirmukho'ntarmukhazca hRdayasya visphurati // 17) parusA sakkaabaMdhA pAuabaMdho vi hoi suumAro / purisa-mahilANa jettiamihaMtaraM tettiamimANaM // [paruSA: saMskRtabandhA: prAkRtabandho'pi bhavati sukumAraH / puruSamahilayoryAvadihAntaraM tAvadanayo: / / ]

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Prakrit Verses in Sanskrit Works on Poetics You may respect Sanskrit but you will fall in love with Prakrit. - Karpuramasjari 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 - Balaramayana 1.11 (c) A commentator of Prakrit-Prakasa 0, how marvellous ! The Prakrit, which is lovely like the moonlike face of the beloved, is fascinating. It sparkles with suktis (good sayings) imbued with nectar-like rasas.20 (d) Ajnatakavih 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) giraH zravyA divyA: prakRtimadhurA: prAkRtagiraH / 19) yad yoniH kila saMskRtasya sudRzAM, jihvAsu yanmodate yatra zrotrapathAvatAriNi kaTurbhASAkSarANAM rasa: / gadyaM cUrNapadaM padaM ratipatestatprAkRtaM yadvaca - stA~llATau~ lalitAGgi pazya nudatI dRSTenimeSavratam / / 20) aho tatprAkRtaM hAri priyAvaktrendusundaram / sUktayo yatra rAjante sudhAni:SyandanirbharA: / / 21) ujjhau sakkayakavvaM sakkayakavvaM ca nimmiyaM jeNa / vaMsaharaM va palittaM, taDayaDataTTattaNaM kuNai / / [ujjhyatAM saMskRtakAvyaM saMskRtakAvyaM ca nirmitaM yena / vaMzagRhamiva pradIptaM taDataDataTTatvaM karoti / / Note : Vajjalaggam (v. no. 31 x 3, p. 217) reads dajjhau (Sk dahyatam) for 'ujjhau' and 'vamsaharammi palitte' (Sk vamsagrhe pradipte) in the second half.

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16 . Prakrit Verses in Sanskrit Works on Poetics The pandita, who replies in Sanskrit when Prakrit poetry is recited, pelts stones at the bed of flowers and destroys it.22 The topic which follows about "Praise of Prakrit Poets" is in a way related to the topic 'under discussion as it contains indirect praise of Prakrit poetry. 5. Poetry In Maharastri Prakrit : Prakrit literature is vast and varied. It is composed in different languages like Ardhamagadhi, Maharastri, Jain Maharastri, Sauraseni, Jain Sauraseni, Paisaci and . Apabhramba. I confine myself to poetry in Maharastri Prakrit for writers on Sanskrit poetics mostly draw upon poetic works in Maharastri for their illustrations. The principal works in this Prakrit are : (a) Hala's Sattasai or Saptasatakam or Gahakoso or better known as Gathasaptasati (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 Maharastri verses comprising some seven hundred gathas. It is the most famous and best known of Maharastri works. Its value as an anthology is high and it also affords evidence to show that Maharastri 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 Bana, Uddyotanasuri, Abhinanda and Soddhalaas 22) 415460 Ad fequut Hencut ut si so kusumasattharaM patthareNa daliuM viNAsei // - [prAkRtakAvyollApe prativacanaM saMskRtena yo dadAti / sa kusumasrastaraM prastareNa dalitvA vinAzayati // ] 23) A. Weber : Ueber das Saptasatakam des Hala, Leipzing 1870; Das Saptasatakam of Hala, Leipzing 1881; the Gathasaptasati, Kavyamala 21, 2nd edn, 1911; Ibid 3rd edn, Bombay 1933. Keith: A History of Sanskrit Literature, Oxford 1928, pp.223 ff.; A.M. Ghatage : Maharastri 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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Prakrit Verses in Sanskrit Works on Poetics bestow high praise on it. And if imitation is an index of popularity we have its imitation in Sanskrit in Govardhana's Aryasaptasati which is certainly modelled on Hala's Gathasaptasati. The work is divided, as is clear from the title, into seven satakas, centuries, collections of hundred gathas each, which however differ very much in various MSS. This anthology is mostly erotic. Each gatha presents a miniature picture complete in itself. These gathas 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 gathas 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 gathas 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 gathas 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, Parvati, Gauri, Ganapati, Visnu, Laksmi, etc and to mythological events from the epics. The references to Vindhya, Sahya and Goda indicate that the locality of the composition of the majority of these gathas, is the Deccan, particularly Maharastra.26 (b) Ravanavijaya (now lost) : Although this kavya 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 Srigaraprakasa and is cited by Hemacandra in his Kavyanusasana. (c) Sarvasena's Harivijaya28 (now lost) : Sarvasena composed, his Harivijaya in 26) Vide : A.M. Ghatage : Maharastri 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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18 - Prakrit Verses in Sanskrit Works on Poetics the first half of the fourth century A.D.,29 about a hundred years earlier than the bandha. Eminent Sanskrit Alamkarikas. 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 Sarasvatikanthabharana and Srngaraprakasa. Bhoja in his Smgaraprakasa and following him, Hemacandra in his Kavyanusasana give us the following information about this work : It was asvasaka-bandha.' Its prevailing metre was. Skandhaka, (and 'Galitakas' were employed at the end of the Asvasakas. It was marked by the word 'utsaha' in the last verse of each Asvasaka. It contained descriptions of city, mountain, seasons, the sunset, the hero, his vehicle, Garutmat (Garuda), his duta (Satyakah ? Satyakih), his (Hari's) march, (against Indra) for securing the Parijata tree, his rise in the form of the conquest of the enemy who himself surrenders, drink party and the removal of Satyabhama's jealous anger by effort (by Hari by winning from Indra the Parijata tree and planting it in front of Satyabhama'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 Gyestha) and exalted (udatta) heroine (nayika). Satyabhama is the junior (kanistha) and haughty (uddhata) heroine. Hari offers a garland of fragrant flowers of the celestial Parijata tree to Rukmini. This arouses the jealousy of Satyabhama. 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): itivRttavazAyAtAM kathaJcidrasAnanuguNAM sthitiM tyaktvA punarutprekSyapyAntarAbhISTarasocitakathonnayo vidheya: yathA kAlidAsaprabandheSu / yathA ca sarvasenaviracite hrivijye| Abhinavagupta thus explains in his Locana (p.335) : ... harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdinirUpitamitihAseSvadRSTamapi / u) In his Vakroktijivita (De's Edn., p.71) Kuntaka ranks Sarvasena along with Kalidasa for his graceful style of composition : evaM sahajasaukumArya-subhagAni kAlidAsa-sarvasenAdInAM kAvyAni dRzyante / tatra sukumArasvarUpaM carcaNIyam / 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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Prakrit Verses in Sanskrit Works on Poetics 19 looked beautiful like the moon, marked with its dark spot, and delighted Hari. In order to soften her anger Hari decides to fall prostrate at her feet. Clasping his own crown with both the hands he throws himself down prostrate. Tears of joy fall from her eyes, in spite of her best efforts to check them, on his back. He then promises her to get her the Parijata tree itself from Indra's garden. He mounts Garuda and sets out on his march against Indra. Now Satyabhama, 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 Parijata 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 Parijata tree from him. Hari, the victorious, returns home with the Parijata tree, Satyabhama's heart is captivated by the sweet fragrance of the Parijata flowers, yet her gaze first rests on Hari and only later on the Parijata tree. Hari plants the tree in the garden in front of Satyabhama'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 Rukmini whom he had given only a garland. Rukmini 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) Parijata tree which accounts for the title Harivijaya of the present epic. The statement of the Dhvanikara 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 Parijata 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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20 . Prakrit Verses in Sanskrit Works on Poetics that it contained as many Asvasakas 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 Parijata 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 Ravanavaho, (C. first half of the 5th century A.D.): This work is completely available with Sanskrit commentaries Setutattvacandrika (Anonymous, ed. Basak, Calcutta, 1959) and Ramasetupradipa (of Ramadasa, 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 Rama from the return of Hanumat from Lanka with the whereabouts of Sita to the death of Ravana, with special emphasis on the construction of the great causeway between the mainland and the island. It follows the story of Rama as related in the Ramayana with only a few minor variations. The designations of the different cantos of the Setubandha listed below from the commentary of Ramadasa give an adequate idea of its contents : 1 Rama-prasthanam (Rama's March) 2 Samudrotkarsah (The Glory of the Ocean) 3. Sugriva-praudhih (Sugriva's war-like speech and boastful claims of his own powers) 4 Rama-sadgunyam (Rama's application of the six political expedients-Consecrating Vibhisana as the future ruler of Lanka) 5 Samudra-quathah (The boiling rage of the Ocean) 6 Parvatoddharah (The uprooting of mountains) 7 Setorudyogah (Active preparation for the construction of causeway) 8 Setu-nispattih (The successful building of the causeway) 9 Suvelotkarsah (The glory 31) Ravanavaho oder Setubandha Prakrit and deutseh herausgegeben von Siegfried Goldschimidt I. Lieferung : Text, Index. Strassburg, 1880; Second edition, with Ramadasa's commentary, Nirnaya Sagar Press, Bombay, 1935; Pravarasena Ravanavaha-Mahakavyam 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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Prakrit Verses in Sanskrit Works on Poetics of the Suvela mountain) 10 Kamini-kelih (The gaieties of love of the young women of Lanka) 11 Mayottamangam (The exhibition of the severed head of Rama by magic and the lamentation of Sita and Trijata's consolatory speech) 12 Sainya-sanghattah (The battle of the two armies of the Vanaras and the Raksasas 13 Dvandva-sangramah (Single Combats between leaders of the Vanaras and the Raksasas) 14 Rakso-Viksobhah (The convulsions of the Raksasas) and 15 Sita-sampraptih (Reunion with Sita after the slaying of Ravana). The Setubandha is the only extant Mahakavya written in Prakrit. Its affinity to the Sanskrit Mahakavya is one of the main causes of its popularity through the centuries, 32 (e. and f.) Vakpatiraja's Mahumahaviaa (Sk : Madhumathavijaya) and Gaudavaho (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. Vakpati himself refers to this work in his Gailavaho. "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 Dhvanyaloka34 cites the following gatha as: forming a part of Pancajanya's speech : "O, (Madhu-matha (-mathana, Visnu), 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 paDhamakusumAhi taliNaM pacchA kusumaM vaNalaANa || [ madhumatha [na]-vijayaprayuktA vAk kathaM nAma mukulayatvasmin / berrirati quy TAHIM ] - Gaudavaho-60 34) JERIT Hymenout naureling - Dhvanyaloka II.15, P. 345

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22 . Prakrit Verses in Sanskrit Works on Poetics lotus-fibre too heavy to carry ?"35 The following gatha in Maharastri, cited by Anandavardhana in his Dhvanyaloka, is most probably drawn from this mahakavya (now lost). For in its content and expression it has very close resemblance with Gaudavaho v. no.66. The two gathas 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 (prakstayah or padavyah) of good poets." (Translation by Masson and Patwardhan) Vakpati'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 mahakavya having a wide variety of topics but unlike its prototype Ravanavaho (better known as Setubandha) it has no divisions called Asvasakas. 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 Yasovarman, with particular reference to his slaying of the Gauda King. This important event, however, has been only cursorily mentioned in the whole poem. - 35) lIlAdADhaguvbUDhasaalamahimaMDalassa cia ajja / .' kIsa muNAlAharaNaM pi tujjha garuAi aMgammi / (lIlAdaMSTrAgroDyUTasakalamahImaNDalasyaivAdya / .kasmAd mRNAlAbharaNamapi tava gurUyate'Gge // ) 36) atahaTThie vi taha saMThie vva hiaammi jA Nivesei / atthavisese sA jaai viaDa-kai-goarA vANI / / (atathAsthitAnapi tathAsaMsthitAniva hRdaye yA nivezayati / arthavizeSAn sA jayati vikaTakavigocarA vANI |) .37) ThiamaTThiaM va dIsai aThiaM pi pariTThioM va paDihAi / jahasaMThiaMca dIsai sukaINa imAo payaIo // (sthitamasthitamiva dRzyate'sthitamapi pariSThitamiva pratibhAti / yathAsaMsthitaM ca dRzyate sukavInAmetA padavya : // ) 38) Gaudavaho by Vakpatiraja, edited with an Introduction, Sanskrit Chaya, English Translation, Notes, Appendices, and Glossary by Prof. N.G. Suru, pub. by Prakrit Text Society, Ahmedabad -9.

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Prakrit Verses in Sanskrit Works on Poetics 23 The principal topics dealt with in this long poem may briefly be touched upon : The opening sixty-one gathas present by way of margalacarana (invocations) word-pictures of the various devatas (divinities) like Brahma, Visnu, his incarnations, Siva, Gauri, Kumara. Parvati, Sarasvati, the Moon, the Sun, the Sea, etc. Verses 62-98 treat of Kavi-prasaisa (Praise of Poets). The poem begins with verse 99 which glorifies his patron, King Yasovarman; 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 Vindhyavasini 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 Parasikas, the march across the Marudesa (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 Yasovarman. He agrees, but first describes the ways of the world in 150 gathas. 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. Vakpatiraja 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 thiramujjalaM ca chAyA-ghaNaM ca gI-vilasiaM ca / / (AlekhyaM ca sarasaM ca sparzalavaNaM ca sAravaca / Privaci a i a facilidi a II) - Gauqavaho v. no. 801

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24 . Prakrit Verses in Sanskrit Works on Poetics His style is highly cultivated and pregnant with meaning. He chiefly delights in two figures of speech, the Upama and the Utpreksa. If Kalidasa is a master of Upama Vakpati is a master of Utpreksa. 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) Lilava40 (Sk. Lilavati) : is a Katha (a romance) in Maharastri 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 Bhusanabhatta and his grandfather's name as Bahuladitya (gathas 19,21 and 23). According to the commentator on this Katha, however, the word 'Kouhalena (Sk Kautuhalena) in gatha 23 refers to the poet's name (Kaufuhala - Kutuhala). This Katha consists of 1333 gathas. At the beginning of the work the poet invokes deities of the Puranic pantheon like Hari, Madhumathana, Gauri, Candi and others. The main story deals with the love of Hala, the very famous king of Pratisthana in Maharastra, well-known as a Prakrit poet and renowned for his preference for Prakrit, and Lilavati, a princess of Simhaladvipa who is prophesied to make her husband a monarch of the whole world. The main story contains sub-stories of Kuvalayavali (daughter of King Vipulasaya and the celestial nymph Rambha) and Citrangada, a Gandharva prince, and of Mahanumati (daughter of Alakapuri and his wife Vasantasri, born of the Vidyadhara King Hamsa and his wife Padma) and Madhavanila, (the son of the Siddha King Malayanila and his queen Kamala). It is a secular and romantic poem mostly in gathas interspersed with prose lines and verses in other metres; its structure is complex like that of Bana's Kadambari. 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 srngara (eroticism). The characters drawn from the semi-divine beings like the Vidyadharas, the Siddhas, the Yaksas add the element of the supernatural add the 40) Lilavai of Kouhala 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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Prakrit Verses in Sanskrit Works on Poetics feeling of awe to the admosphere of the poem. Destiny and Chance play a major role in the whole story. The poems shows close affinity with Brhatkatha 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 Brhatkatha. Further, the poem shows influence of literary works like the Abhijnana-sakuntalam the Vasavadatta, and the Ratnavali in depicting characters and situations. The literary merits of this poem are certainly high although only a few gathas 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 Visamabanalila (now lost). We have only a few gathas quoted from this work by Anandavardhana himself in his Dhvanyaloka and by Abhinavagupta in his commentary on it called Locana. In one gathas 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) tAlA jAaMti guNA jAlA te sa-hiaehiM gheppaMti / rai-kiraNANuggahiAi~ hoti kamalAi~ kamalAI / / tadA jAyante guNA yadA te sahRdayairguhyante / ravikiraNAnagRhItAni bhavanti kamalAni kamalAni // ] - Dhvanyaloka II, p. 170 40) yathA vA mamaiva kAmadevasya sahacara-samAgame viSamabANalIlAyAm / - Dhvanyaloka II. pp. 345-346 sahacarA: vasanta-yauvana-malayAnilAdayastai : saha samAgame / / humi avahatthia-reho NiraMkuso aha vivea-rahio vi / siviNe vi tujjha samae, pattia (pA. bhe. pattihi) bhattiM Na pamhusami || (bhavAmyapahastitarekho niraDazo'tha vivekarahito'pi / svapne'pi tava samakaM (-sama) pratIhi bhaktiM na vismarAmi |) - Locana p. 346

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26 . Prakrit Verses in Sanskrit Works on Poetics In another gatha 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 Laksmi. But the god of love set it on the bimba-like red lower lips of their beloveds."42 From the contents of these gathas 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 Harsacarita the poet, Banabhatta praises Satavahana, also known as Salivahana and Hala, for his (Gatha) Kosa better known as Gathasaptasati in these glowing terms : Satavahana made a treasury of fine sayings as of jewels, avinasinam (1. immortal; 2. indestructible) agramyam (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) darzitameva caitad viSamabANalIlAyAm - Na a tANa ghaDai ohI Na a te dIsaMti kaha vi puNaruttA / ... je vimbhamA piANaM atthA vA sukaivANINaM // . [na ca teSAM ghaTate'vadhi:, na ca te dRzyante kathamapi punaruktAH / .. ye vibhramAH priyANAmarthA vA sukavivANInAm // ] - Dhvanyaloka IV, p. 539 42) yathA vA mamaiva viSamabANalIlAyAmasuraparAkramaNe kAmadevasya - : taM tANa sirisahoararaaNAharaNammi hiaamekarasaM / bibAhare piANaM, NivesiaM kusumabANeNa // tatteSAM zrIsahodaratnAbharaNe hRdayamekarasam / bimbAdhare priyANAM nivezitaM kusumabANena // ] - Dhvanyaloka II, P. 265 43) avinAzinamagrAmyamakarot sAtavAhana : / vizuddhajAtibhi: kozaM ratnairiva subhASitaiH // - Harsacarita I. 13

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Prakrit Verses in Sanskrit Works on Poetics Uddyotanasuri, the author of Kuvalayamala, (a unique Campu in Prakrit), extols Hala (and his (Gathakosa) in these words : "What is the use of composing poetry after the passing away of Hala (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 Gahasattasai 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 Govardhanacarya modelled his Aryasaptasati in Sanskrit on Hala's Gahasattasai in Prakrit. Anandavardhana ranks Sarvasena with Kalidasa 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 Parijataharana and introduced them in his Harivijaya although they have no basis in the Itihasa. 46 Kuntaka mentions Sarvasena next in order to Kalidasa as a poet of the Sukumara (graceful), popularly known as Vaidarbhi, 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 kavveNa ki pautthe hAle hAla-viyAre vva / / - Kuvalayamala P. 3, 11 21-22 45) itivRttavazAyAtAM kathaJcid rasAnanuguNAM sthitiM tyaktvA puna: utprekSyApi abhISTarasocitakathonnayo vidheyaH / yathAkAlidAsaprabandheSu, yathA ca sarvasenaviracite hrivijye| - Dhvanyaloka II, pp. 335-336 46) harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdi nirUpitamitihAseSu adRSTamapi / - Locana, P. 335 47) evaM sahajasaukumAryasubhagAni kAlidAsa-sarvasenAdInAM kAvyAni dRzyante / tatra sukumAra-svarUpaM carcanIyam / - Vakrokti-Jivita I. 52-53, Dharwad edn. p. 66

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28 . Prakrit Verses in Sanskrit Works on Poetics Bhoja, all praise for Sarvasena and his Harivijaya. Like Bhoja he mentions Harivijaya with Ravanavijaya and Setubandha as the three well known Prakrit mahakavyas, and mentions it approvingly several times with other well known Sanskrit and Prakrit kavyas, while illustrating the salient features of a mahakavya. 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. Banabhatta eulogizes Pravarasena's Setubandha, like Hala Satavahana's (Gatra-) Kosa, 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-kavya 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 Kalidasa and that Pravarasena was only the patron of that great poet. This tradition itself linking Pravarasena's Setubandha with the name of Kalidasa speaks volumes for its high literary merit. Dandi, the renowned author of Kavyadarsa, bestows high praise on Setubandha when he says: "The Maharastri is the best of all Prakrits. Setubandha (and other poetic compositions) composed in this Prakrit are verily an ocean of jewel-like subhasitas (fine witty sayings)."49 Two centuries before the Harivijaya of Sarvasena was appreciated by Anandavardhana, the Setubandha was extolled by eminent writers like Bana 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 sAgarasya paraM pAraM kapiseneva setanA // - Harsacarita I. 14 49) HERTETSRAI HUNI YEDE ulgoci fag: 1 sAgaraH sUkti-ratnAnAM setubandhAdi yanmayam || - Karyadarsa I. 34

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Prakrit Verses in Sanskrit Works on Poetics King Yasovarman who resigned in the last decade of the ninth century A.D. The verse makes a comparison between Yasovarman 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 kavya 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 (Ravana-vaho) as "The most famous mahakavya 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 Kavya (Gaudavaho) 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 para : pravaraseno'pi jita: prAkRtasetukRt / / - Cited by Handiqui in his Introduction to his Translation of Pravarasena's Setubandha, pp. 17-18.

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30 : Prakrit Verses in Sanskrit Works on Poetics in their poetry, than in the Sanskrit compositions of the corresponding class of writers."51 The editors of Jinesvarasuri's Gaharayanakosa extol the glory of Prakrit Subhasitas, Prakrit Language and Prakrit writers : "In Sanskrit we find Subhasitas in abundance. There is no doubt about it. But as Sanskrit was mainly confined to the elite, we almost miss in the Sanskrit Subhasitas 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 Biharisatasai, Vindasatasai etc. Similarly, in old days the verses from the Gathasaptasati 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. Uddyotanasuri in the gathas devoted to the respectful memory of the previous poets, in the beginning of his well known Kuvalayamalakatha (Saka Samvat 701-780 A.D.) The gatha in point is as follows: forsfa Hastane u arts of a kavveNa ki pautthe hAle hAlA-viyAre vva // The gist of the gatha is : When Hala 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 gatha. When construed with Hala, it means "Kavya'. When construed with halavikara, it means 'kravya':52 51) Introduction to Gaudavaho by Vakpati, ed. by SP Pandit, B.O.R. Institute, POONA, 1927 edn, p.11. 52) Introduction to Jinesvarasuri's Gaharayanakosa, 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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Prakrit Verses in Sanskrit Works on Poetics 8. How far are the claims of Prakrit Poetry just ? The above claims forcefully put forward by S.P. Pandit, and many other scholars whose partiality for Prakrit language and literature is well-known, deserve consideration. These claims are undoubtedly just in the case of Prakrit poetry as represented by Gathasaptasati, Vajjalaggam and other Prakrit Anthologies. But when we think of poetic works like Setubandha and Gaudavaho 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 : "Maharastri is also the language of artificial epics, of which up till now two have been published, the Ravanavaho and the Gaudavaho --- 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 Bhavabhuti and occasionally in Micchakatika as well. '53 S.P. Pandit explains away Vakpati'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 Alamkara Works Bhamahas speaks of three literatures : Sanskrit, Prakrit and Apabhramsa. Dandis speaks of four by adding Misra to Bhamaha's list. Rudrata58 alludes to six : 1. Prakrit, 2. Sanskrit, 3. Magadhi, 4. Paisaci, 5. Suraseni (-Sauraseni) and 6. Apabhramsa. 53) Comparative Grammar of the Prakrit Languages, pp. 13-14; italics (ours). 54) Introduction to Gaudavaho, B.O.R. Institute, Poona, 1927 edition, p. Liv. 55) Introduction to Gaudavaho, Prakrit Text Series No. 18, 1975, p. xcix 56) Kavyalaskara 1.16. 57) Kavyadarsa 1.32. 58) Kavyalaskara II. 11-12..

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32. Prakrit. Verses in Sanskrit Works on Poetics RudrataS9 quotes some of his own Prakrit verses in his Kavyalamkara. 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, Alamkaras, etc. Abhinavagupta, his celebrated commentator follows his lead in his Locana. Dhanika, the well-known commentator of Dasarupaka quotes some 26 Prakrit verses in his Avaloka. The distinction of quoting hundreds of Prakrit verses in his Sarasvatikanthabharana and Smgaraprakasa however, goes to Bhoja. The first work contains over 350 and the second, about 1650 Prakrit verses. Among other reputed Alankarikas, we find Kuntaka, Mahimabhatta, Mammata, Ruyyaka, and his commentator, Jayaratha, Hemacandra, Sobhakara and Visvanatha 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 slokas (to be precise, gathas) treating of poetic figures. Catalogue of Sanskrit And Prakrit Manuscripts, Jesalmer Collection gives a description of a manuscript of this work 59) Kavyalamkara IV. 11-15, 17-21 60) Dhvanyaloka. 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 Laksita Slista Sanskrit-sama Desya Maharastra Saurasena Paisaca Magadha Apabhramsa Uttama Madhyama Kanistha Avantya Laliya (etc.) Abhira Gaurjara (etc.) Kasmira Paurastya (etc.) 62) Compiled by Munishri Punyavijayaji, L.D. Institute of Indology, Ahmedabad-9 (Serial No. 326-2,p.138).

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Prakrit Verses in Sanskrit Works on Poetics and reproduces a few gathas 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 Kavyalamkara in 1069 A.D. mentions one Hari. When commenting on Rudrata II. 19 he quotes a gatha from Hari which speaks of eight varieties of anuprasa (vrttis) : .tathA hyaSTau hariNoktAH / yathA - maharaM parusaM/pharusaM komalamojassiM niThuraM ca laliyaM ca / gaMbhIraM sAmaNNaM ca addhabhaNiti u nAyacA (? aTTha bhaNiIo nAyavvA) // 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 (samanya). 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 Kavvalamkara 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 Anuprasa varieties, vittis) 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 Anuyogadvarasutra64 (Anuogaddaraim) which claims to be old (before third 63) The following three gathas out of the six, reproduced in the Catalogue, expressly inform us that the work deals with only figures of speech: savvAiM kavvAi, savvAiM jeNa hoMti bhavvAI / tamalaMkAraM bhaNimo'laMkAraM kukavi (? ravu kavi-) kavvANaM / / acaMtasuMdaraM pi hu niralaMkAraM jaNammi kIraMtaM / kAmiNimuhaM va kavvaM hoi pasaNNaM pi vicchAaM // tA jANiUNa NiuNaM lakkhijjaha bahuvihe alaMkAre / jehiM alaMkariAI bahumaNNijaMti kavvAiM // 64) Nandisuttam and the Anuogaddaraim, Jaina Agama Series No. 1, Sri Mahavira Jaina Vidyalaya, Bombay 1968.

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34 - Prakrit Verses in Sanskrit Works on Poetics century A.D. ?) contains a Prakrit passage on nine kavya-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 Anuyogadvarsutra himself added this passage. The reference to nine kavya-rasas including the (pra-) santa 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 Dhvanyaloka has written a Prakrit poem called Visamabanalila and Rajasekhara, the author of Kavyamimamsa, 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 siksagrantha) has written, among other plays, Karpuramanjari entirely in Prakrit which is cited as a model of the type of plays called Sattaka. Anandavardhana and all the later alamkarikas 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 Acarya 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 alaskarikas, 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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Prakrit Verses in Sanskrit Works on Poetics Bhamaha's Kavyalamkara, Dandi's Kavyadarsa, 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 alaskarikas 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 Gaudavaho. He and Kuntaka, the author of Vakroktijivita, frequently use the expression bandhacchaya (beauty of composition) in expounding their poetical theories. 66 Anandavardhana refers to the objectives of 'bandha-chaya' and 'ahinava atthagai' (Sk abhinava arthagatih, 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 Vakpati, taking his cue from Pravarasena, also speaks of new ideas and beauty of composition in his Gaudavaho 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) abhinavA pUrvairanuktA arthagati: abhidheyapaddhati: bandhacchAyayA kRcchrAt saMdarbhazobhayA duHkhaM saMpAdyate / 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 Dhvanyaloka IV. 5-6 67) See foot-note (14) supra. 68) Gaudavaho was composed probably about A.D. 736. The period of Anandavardhana's literary activity lies between 860-890 A.D.

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36 - Prakrit Verses in Sanskrit Works on Poetics compositions that are cool and pleasing in their arrangement."69 Anandavardhana quotes Gaudavaho 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. gatha most probably from Vakpati's Mahumahaviaa (Sk Madhumathavijaya) as pointed out earlier." As pointed out by Dr. Masson and Prof. Patwardhan2 several of Anandavardhana's (or Karikakara's) most cherished ideas come from this great poem (Gaudavaho) : In his Vrtti on karika 11.16 Anandavardhana observes :"In the case of a poet who is intent upon suggesting rasas and who has imaginative genius (pratibhanavat), 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 Vakpali'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. gaaNaM ca mattamehaM dhArAluliajjaNA a vnnaaii| NirahaMkAramiaMkA haraMti NIlAo a (?vi) NisAo || gaganaM ca mattameghaM dhArAlulitArjunAni ca vanAni / nirahaGkAramRgAGkA haranti nIlAzca (? nIlA api) nishaa:||] For a brilliant and highly poetic exposition of this gatha read Locana, p.173. 72) The Dhvanyaloka and the Gaudavaho, Prof. D. D. Kosambi Commemoration Volume, Science and Human Progress, Popular Prakashan.

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Prakrit Verses in Sanskrit Works on Poetics on their part."73 Again, Anandavardhana's long discussion on anantya, the endlessness of poetic themes, is certainly influenced by Vakpati's some of the fine gathas dealing with "The praise of poets.' Anandavardhana's discussion may briefly be summarised as follows: "For literature (vani) 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 gunibhuta-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, bhava, 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 atthAloaNa-taralA iara-kaINa bhamaMti buddhIo / atthacea NirAraMbhameMti hiaaM kaiMdANa / / [arthAlokanataraletarakavInAM bhrAmyanti buddhyH| arthA eva nirArambhamenti hRdayaM kavIndrANAm // ] 74) 3701 Trno goro Puforat vANI navatmAyAti pUrvArthAnvayavatyapi // dRSTapUrvA api hyarthAH kAvye rasaparigrahAt / sarve navA ivAbhAnti madhumAsa iva drumAH / /

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38 . Prakrit Verses in Sanskrit Works on Poetics "Earlier poets through the virtue of their times (i.e because they were born in ancient times) were able to wander on virgin paths but some others (i.e. modern poets) are guided on difficult paths by the imitation of the genious of the earlier Poets."75 "It is true that there is nothing that has not been seen on the well-trodden paths of poetry. But actually this is true for only the very beginnings of the path. All else is new."76 "Glorious is the poet's speech pulsating with inspiration ! Though every day great poets have drained its essence from the beginning of creation yet it still seems as if its seal remains unbroken - in tact (i.e., its riches have barely been tapped.)"77 * dhvaneritthaM guNIbhUtavyaGgyasya ca samAzrayAt / na kAvyArthavirAmo'sti yadi syAt pratibhAguNa: / / avasthAdezakAlAdivizeSairapi jAyate / Anantyameva.vAcyasya zuddhasyApi svbhaavt:|| rasabhAvAdisambaddhA yadyaucityAnusAriNI / anvIyate vastugatirdezakAlAdibhedinI / / vAcaspatisahasrANAM sahasrairapi ytntH| nibaddhA sA kSayaM naiti prakRtirjagatAmiva // - Dhvanyaloka. IV. Karikas 2,4,6,7,9& 10. 75) kAlaguNA paDhamakaIhiM bhamiamapariggahesu maggesu / iharA maIhi hIraMti dukkaraM ke vi kANaM pi // [kAlaguNAt prathamakavimirdhAntamaparigraheSu mArgeSu / idAnIM matibhirhiyante duSkaraM ke'pi keSAmapi // ] 76) Translation by J. L. Masson and M. V. Patwardhan, Ibid, p. 181. katto NAma Na diLeM saccaM kavi-seviesu maggesu / sImaMte uNa mukkammi tammi savvaM NavaM cea / / [kuto nAma na dRSTaM satyaM kaviseviteSu mArgeSu / sImante punarmukta tasmin sarvaM navameva // ] 77) Translation by J. L. Masson and M. V. Patwardhan, Ibid, p. 182. AsaMsAraM kai-puMgavehi taddiaha-gahia-sAro vi / ajja vi abhiNNamuddo vva jaaDa vAA-parippaMdo // [AsaMsAraM kavipuGgavai: pratidivasa-gRhIta-sAro'pi / adyApyabhinnamudra iva jayati vAkparispanda : 1] -Gaudavaho. 84,85,87.

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Prakrit Verses in Sanskrit Works on Poetics Again, Anandavardhana's discussion of prakstyaucitya (propriety in relation to the nature of characters) which is divided into propriety relating to high, middle and low characters as well as propriety relating to divya (divine), manusa (human) and divya-manusa characters strongly reminds us of the threefold katha (story): divya, divya-manusi and manusi spoken of by the author of Lilavai.78 Further, Anandavardhana's specific reference to Satavahana's superhuman exploit of going to the netherworld of Nagas which has been described in Lilaval 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, Gaudavaho and Lilavas have greatly influenced Anandavardhana, the greatest writer on Sanskrit Poetics.79 12. A Few Illustrative Verses : (i) From Gathasaptasati It is extremely difficult, almost impossible to select only a few of the exquisitely beautiful verses selected and cited by the alamkarikas. 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 Sarasvatikanthabharana and Srgarprakasa, who most amply quotes the gathas 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 taM jaha divvA taha divvamANusI mANusI taha ceya / - Lilavai, v. 35 NAyajjuNa-bhikkhu-purassareNa Nai-tIra-saMThio rAyA / vijaANaMdeNa samaM vivarAhattaM parikto / / - Lilavai, v. 1021. 79) bhAvaucityaM tu prakRtyaucityAt / prakRtiryuttamamadhyamAdhyamabhAvena divyamAnuSAdibhAvena ca vibhedinI |--- nanu nAgalokagamanAdaya: sAtavAhana-prabhRtInAM zrUyante tadalokasAmAnyaprabhAvAtizayavarNane kimanaucityaM sarvorvIbharaNakSamANAM kSamAbhujAmiti / - Dhvanyaloka III. 14-15

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40 Prakrit Verses in Sanskrit Works on Poetics touched her lover. 8deg 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 gathas, 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 Bhasa's line : "Vasavadatta (lit. Mahasena's daughter) who is dead is not dead if the King (Udayana) has such a soft feeling for her;"85 and also in Bhavabhuti'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 gatha 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 mihuNANa marai jaM taM khu jiai iaraM muaM hoi / (HRTBU-G:&- Rarefcet: sista parautant : 1 mithunayormiyate yat tat khalu jIvati itaranmataM bhavati / / ] - GS II. 42 85) guraj at Hortaya sangat menargator - Svapnavasavadattam VI.9-10. 86) OTT WIRST OF THE T I (au # 346 RUAH: Fra 1] - Malatimadhava V. 24-25 87) GS N. 35 88) H. 37

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Prakrit Verses in Sanskrit Works on Poetics Another gatha 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 gatha 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 gatha the poet beautifully brings out Parvati'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 gatha strongly reminds us of Kalidasa's famous verse from Kumarasambhava.9 The poet of this gatha, it would seem, has improved upon Kalidasa'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) uddhaccho piai jalaM jaha jaha viralaMgulI ciraM pahio / pAvAliA vi taha taha dhAraM taNuiM pi taNuei / / [UrdhvAkSa: pibati jalaM yathA yathA viralAGkulizciraM pathika : / prapApAlikApi tathA tathA dhArAM tanukAmapi tanUkaroti // ] GS II. 61 91) raikeli-hia-NiaMsaNa-kara-kisalaa-ruddha-NaaNa-jualassa / rudassa taia-NaaNaM pavvai-paricuMbiaM jaai / / [ratikelihRtanivasanakarakisalayaruddhanayanayugalasya / rudrasya tRtIya-nayanaM pArvatI-paricumbitaM jayati // ] Cf. zUlina: karataladvayena sA saMnirUdhya nayane hRtAMzukA / tasya pazyati lalATa-locane moghayatnavidhuro rahasyabhUt // ] - Kumarasambhava VII. 7

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42 - Prakrit Verses in Sanskrit Works on Poetics In another gatha 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 Kalidasa's picture in Sakuntala 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-Laksmi had bedecked her ears with mango-sprouts; and her mouth carried the sweet fragrance of wine taken in celebration of the (Spring-) festival. Kusuma-sara (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 samasokti. Bhoja cites the following verses from among many from Harivijaya : The topic of manini (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 manini : "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 (Satyabhama) 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 manini (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) Gathasaptasati V. 60 and, --- Le gourmet THU MUGU ni mi I - Sakuntala VI. 17

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Prakrit Verses in Sanskrit Works on Poetics [They pretended anger to please their sakhi) (girl friends) who had advised them to practise mana, 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 Gaudavaho : Here is a verse from Vakpati 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 Alamkarasastra 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, subhasitas 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 duti (go-between) to bring about the union of lovers, their actual meeting, - their kisses, embraces, nailmarks, tooth-bites, and actual intercourse are described - the manini (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 srrigara. 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 Vidyakara's 93) anyaditi 'kiM tena zaThena' ityAdi sakhIjanapurata: / dUtIjanaM saMdizan cAnyatheti 'yathAzakti dayitamAnaya iti vimuktadhairyaM yuvatijano jalpati / anyadeva dyitdrshne| sabahumAnamiti bhAvaH / - Kulanatha on Setu X. 75

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Prakrit Verses in Sanskrit Works on Poetics * 44 - anthology one will not find the name of a single lover. In Vidyakara'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 Subhasitaratnakosa is equally true of Prakrit love poetry as represented in Gathasaptasati, Vajjalaggam 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 Bhamaha : "They (say princes undergoing instruction or pupils in general) study sastras 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 gathas 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 alamkara works about two thousand Prakrit verses. 14. Prakrit Poetry highly erotic but not obscene : In some quarters it is alleged that the alamkarikas cite Prakrit verses which are 94) Vidyakara's Subhasitaratnakosa translated by Daniel H. H. Ingalls, Harward University Press, 1965. 95) tatra kAmasya sakalajAtisulabhatayAtyantaparicitatvena sarvAn prati hRdyatA / - Abhinavabharati Vol. I, p. 267 And, HIT: Port forha: goed i - srgara-Prakasa XIII, p. 565 And also, Ret R HIRUT AUTHafaqurace poteze: Cho AUT TETTHAT: : - Dhvanyaloka III. 29-30 96) Falcantara ASi Qiyayayout prathamAlIDhamadhava: pibanti kaTubheSajam / / - Bhamaha : Kavyalaskara V. 3

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Prakrit Verses in Sanskrit Works on Poetics 45 full of obscenity and vulgarity and which glorify illicit or clandestine love, as illustrations because the obscenity remains hidden under the garb of the Prakrit language. This allegation, on the face of it, is false. For the very purpose of citing illustrations is defeated if the verses are unintelligible. The fact is that in the classical period there was no compartmentalisation or bifurcation of studies into Sanskrit and Prakrit. The long-standing practice of writing dramas in Sanskrit and Prakrit will easily bear out this statement. Again, eminent Sanskrit writers like Bana, Dandi, Kuntaka, Anandavardhana, Bhoja have paid handsome tributes to Hala Satavahana, Sarvasena, Pravarasena for their exquisite Prakrit works. This fact corroborates the statement that there was integration of Sanskrit and Prakrit studies. Naturally, the alamkarikas appreciated first-rate Prakrit works and freely drew upon them - as they did in the case of Sanskrit works -- for illustrations in their alamkara works. It is therefore an insult to the intelligence of these alaskarikas to allege that they quoted Prakrit verses with an ulterior motive. Now let us examine the charge of obscenity against the Prakrit verses. The alamkarikas 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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46 Prakrit Verses in Sanskrit Works on Poetics and biting her (lower) lip (dantaksata), inverted intercourse where the woman takes the man's position above while the man lies below (viparitarata) 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, Ksemendra, and Panditaraja Jagannatha would like to censure Kalidasa and Jayadeva for frankly describing the amorous sports of Siva and Parvati -- the parents of the whole world -- and the amours of Radha and Krsna in Kumarasambhava and Gitagovinda respectively. As far as Gathasaptasati is concerned the renowned poet Banabhatta unequivocally states that it is not vulgar (agramyam). 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 Radha and Krsna and the amorous, sports of Siva and Parvati and the descriptions of Cauryarata in Gathasaptasati 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 Dasarupa : "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 mugraM prasAdi gahanaM vikRtaM (?vivRtaM)ca vastu / yadvApyavastu kavibhAvakabhAvyamAnaM ca u Tuhfa al 11 - Dasarupaka IV. 85

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Prakrit Verses in Sanskrit Works on Poetics 15. Conclusion : In conclusion, it may be said categorically that poetic works in Maharastri 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 alamkarikas (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 Rajasekhara 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 : RUDRATA'S KAVYALAMKARA (WITH THE TIPPANA OF NAMISADHU) 1. (After) paying homage to the Morning/Evening Twilight bow down to Lord Siva who received (the divine river) Ganga (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, Vstti (Diction) is classified into eight kinds : 1. madhura (sweet) 2. parusa (harsh] 3. komala (soft) 4. ojasvini (vigorous) 5. nisthura (rough) 6. lalita (graceful) 7. gabhira (deep or stately) and 8. samanya [(=misra) 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; Visnu's bosom when it was without the Kaustubha gem and Laksmi (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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Prakrit Verses in Sanskrit Works on Poetics unbearable to the hearts of his other wives. (Verse 13 is treated in the Notes.) 14. Merits become merits when they are appreciated by responsive/sensitive critics, Lotuses become lotuses only when they are favoured by the Sun's rays. 15. The sky overcast with intoxicated/dizzy clouds, the forests with their Arjuna trees drooping with rain-drops, and the dark blue nights, with the moon, bereft of the pride of its lustre -- they do attract us/make restless. (Verse 16 is treated in the Notes.) 17. These long and strong arms that have spread their fame for the valour with which they have shattered the hopes and dreams of the enemies and for the generosity in making gifts are almost like (lit. verily) the magnificent elephants that have crushed the lotuses in Manasa 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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Prakrit Verses in Sanskrit Works on Poetics 23. The demons first set their hearts only on snatching from Visnu 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 Asoka tree does not bear any fruit (according to poetic convention the Asoka 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 Malati in the Ketaki bowers filled with thorns; but however much you may wander, you shall never find anything like the Malati 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 Sephalika 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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Prakrit Verses in Sanskrit Works on Poetics 33. Thus people carelessly use the disc of the moon as the standard of comparison while talking about her cheek. But if one were to examine the truth, one will have to admit that the moon comes out the poorer in the comparison. 34. Time brings to some poison and nothing but poison. Whereas for some others it is only nectar. For some others it is a mixture of the both and some others receive neither the one nor the other. 35. Quite at the outset of the season Madana (the God of Love) caught hold of the face of the Goddess of Spring whose ears were decked with mango - blossom which particularly pleases him; it marks the beginning of the festival and its heady fragrances. 36. O, merchant, how can we have the tusks of elephants and skins of tigers as long as the daughter-in-law, with her face covered with dishevelled hair is around - the house? 37. For translation vide S. No. (20.9) supra. 38. At one time you carried the whole of the globe of the earth with ease; but how is it that today even the ornament of lotus-fibre on your person has become so heavy? 39. I may be unfortunate, unruly and even indiscreet, but trust me, even in a dream I will not forget my devotion to you. 40. Go away! My wretched eyes have been made only to weep. Do not wipe them. They became drunk at your mere sight and didn't see through your heart. 41. Do not obstruct our path. Go away, 0,boy ! Oh, you are (so) shameless ! We are not free and have to guard our solitary house ! 42. O, boy, go away. Why do you look at me so staringly when I am bathing? Oh, this Ghata 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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Prakrit Verses in Sanskrit Works on Poetics 45. Laksmi is his daughter, Hari (=Visnu) his son-in-law, Ganga 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 stupiu 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 (jambu) are fully ripe in the orchards on the banks of Godavari, 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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Prakrit Verses in Sanskrit Works on Poetics money which has come to seek refuge with you, the only strong man who can reassure those who are overcome by fear? 56. "Money becomes physically tired from all the moving about from hand to hand of generous people, and sleeps soundly as it were, in the house of misers." 57. For translation vide Chapter I. (15.1) supra. 58. How can people realise God Janardana 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-JIVITA 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 (syama) 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 Vyasa and Valmiki) which is difficult on account of their striking (or ornate) turns of expression. 8. For translation vide DHV S. No. (21-10) supra. 9. Canakya's policy with its six strands and cunning devices forms the noose for the enemy and succeeds. 10. Bow down to Gauri (=Parvati) who embraced/ pressed Hara (= Siva) with her heavy heaving breasts as she rushed to him in her fright as the mountain (Kailasa) quaked when Ravana 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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Prakrit Verses in Sanskrit Works on Poetics Destiny has made for the perpetual journeys of her husband Kala (Time - God of Death) - the tireless traveller. (Verse 13 is corrupt and obscure.) 14. Visakha (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.,Siva) which was sealed /shut with a kiss by Parvati, 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. Sesa (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 (vapi, with the reading "tavi' (Sk Tapi - the river Tapi) 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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10 Prakrit Verses in Sanskrit Works on Poetics 27. (a)A young girl who slept for a while saw in her dream that her lover had come to meet her. She became awake but remained in her bed with her eyes closed hoping to see him again and this way she spent the whole day. 27. (b) "She has met her lover in her dream; her whole body has been covered with horripilation / goose - flesh. Let her obtain the pleasure of hugging him. Please do not wake up her. 28. O charming one, wait for a while till I comfort my heart which is nervous at the very idea of separation and then speak. Or rather, you may go. What shall we say? . .

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

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

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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 (Parijata) uprooted. Abandoned by Laksmi, 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 Parijata tree, the goddess of wealth, wine and the moon were taken out of the ocean during the churning."

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Prakrit Verses in Sanskrit Works on Poetics 16. For translation vide DHV S.No.(24.10) supra 17. The hair of the dark young slender lady which enjoyed a caressing contact with her hips felt sad as it were at being tied up in a knot above and shed tears. 18. For translation vide DHV S.No.(1.6) supra 19. For translation vide DHV S.No.(14.8) supra 20. For translation vide DHV S.No.(45.15) supra 21. For transltion vide DHV S.No.(3.6) supra. 22. For translation vide DHV S.No.(36.13) supra 23. On the occasion of viparita - rata ('contrary intercourse' - where the woman takes the man's position, above while the man lies below) when Laksmi saw Brahma seated on the navel - lotus (of her husband Visnu) she was overcome with shame and instantly closed the right eye of Visnu. (Note : Mammata observes : the term Hari (=Visnu) suggests the fact of his right eye being the sun -- the Puranas describe the sun and the moon as the right and left eyes of Visnu - hence the closing of that eye suggests sunset, which further suggests the closing of the petals of the lotus and the consequent veiling of Brahma 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 : SkNGARAPRAKASA (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 Visnu, 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-, Parvati) 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 Apabhraiba and all other such passages hereafter are left untranslated - V.M.K) 14. (Rama with the army of the Vanaras crossed the ocean.) After crossing the ocean the Vanaras 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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Prakrit Verses in Sanskrit Works on Poetics 17 The fervour of the heavenly damsels did not weaken as they frequented the regions of the huge sapphire rocks resonant with the noise of the water - falls cascading down the lofty slopes. 18. (This passage is cited from Bhavabhuti's play called Malati - Madhava and forms part of a long description of a vicious tiger, who is about to attack Madayantika, the sweetheart of Makaranda, an intimate friend of Madhva.) 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) supra 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. Rama 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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Prakrit Verses in Sanskrit Works on Poetics Ravana).? 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) Krsna'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 SP S.No.(25.47), and SP (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 Rama's war - like preparations for Ravana's defeat and the recovery of his beloved wife Sita.'

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

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20 Prakrit Verses in Sanskrit Works on Poetics 52. For translation vide DHV S. No.(31.12) supra 53. O,slender-waisted girl, plant your steps carefully on the ground. Because of your plump breasts you might crack yourself; the Creator has created you with great care. 54. For translation vide DHV S. No. (4.7) supra. 55. For translation vide DHV S. No. (3.6) supra 56. On the bank of the river Goda the monkey tastes the pungent leaves of mustard plants, and jumps and growls and beats its belly. 57. For translation vide DHV S.No. (42.14) supra 58. For translation vide DHV S. No. (5.7) supra 59. For translation vide SP S.No. (5.44) supra. 60. Dhanya 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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SRNGARAPRAKASA-VOL.II 78. My dear young man, let me tell you the truth. Everyone loves his own life but I shall not be able to live without you, and therefore, even though you are angry with me, I am still trying to appease you. 79. Don't look at him through the corners of your eyes, look at him straight as you normally do. You will see him better and that will show you as a simple innocent girl. 81. In whatever direction I look, I see you there in front of me as if drawn in a picture; and the entire circle of directions, as it were, holds in front of me a series of your pictures. 82. Wherever on his body Rama placed the token of his beloved he shivered with thrill as if he was being touched by Sita (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 Rama looked at the sea he noticed Laksmi to be still there though she was believed to have departed from it long ago - still a part of the sea as Jyotsna (Moon-light) is of the Moon or Kirti (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 'Samkirna'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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22 Prakrit Verses in Sanskrit Works on Poetics 89. (Bow down) to Siva, the lord of pramathas, half of whose body is Parvati's (lit. has been occupied or pervaded by Parvati), who has fastened the young crescent moon in the matted hair on his head, placed Ganga on his head and who has done homage to Sandhya (Twilight). 90. A vapi (a lake, an oblong well) on which a pair of cakravaka 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 vara (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 gatha is vitiated by the poetic defect called nyunopama as "the eyes' and 'arms', the upamana visesanas, are not mentioned. 4. Note: This gatha is vitiated by the poetic defect called 'adhikopama'as the attribute bees alighting on (the clusters of flowers) qualifying the upamana (Kundalata) is superfluous. 5. Note: This gatha is vitiated by the poetic defect called 'Apakrama'. 6. Note: This gatha 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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Prakrit Verses in Sanskrit Works on Poetics 23 95. Bow down to Hara (.e. Siva) who has reduced to ashes the handsome Madana, the god of love with the fire of anger -- Hara who is like the Himalaya with Ganga 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 Sali (king Salivahaana, also known as Hala) (or with the reading 'Harianda', Haricandra', and king Salivahana alias Hala) 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 ghata of the Goda 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 Uma that assures success in all undertakings grant us happiness transcending the good and bad, the high and the low ! 7. Note : The gatha is cited to illustrate the poetic blemish called impropriety (anaucitya). To describe a poor peasant wearing silken garment is improper.

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24 Prakrit Verses in Sanskrit Works on Poetics 107. At day-break one can see a layer of lotus pollens spread on the steps leading to the lake. - 109. Don't chatter like a parrot in the language of parrots. I am not a wretched parrot to understand that -- a female parrot knows that language, not me, you rascal! - 110. (The damsel) with breasts of this much / such size a size and petal - like eyes of this ruch / such a width, has been reduced to this much / such a condition in days of this much number / in such a number of days! 111. May the Goddess of Learning bless us ! May the poets, Vyasa 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 Magadhi and the Pancall 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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Prakrit Verses in Sanskrit Works on Poetics 25 were nail - marks, her friends giggled at her simplicity. 125. When the river tank is blazing, a young woman, although addressed, does not reply; but gets angry with everybody without any (apparent) cause. 126. The young girl casts stealthy looks at the village chief's son who, wearing jambu leaves as ear - ornament, is moving about and the fair colour of her face suddenly turns dark. 127. In sex - game with experienced women whatever is well - taught brings delight whereas with young brides whatever is not taught pleases (or thrills) 128. For translation vide DR S.No.(16.31) supra 129. "O, take this, and have a look at it," - with these words the excited wife (lit. the wife with her eyes dilated) offered to her husband the badara (jujubi) fruit marked with their son's first pair of teeth. 130. As the daughter-in-law of the ploughman saw the son of the master of the house standing on the bank of the river Goda, 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 SP 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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26 Prakrit Verses in Sanskrit Works on Poetics it has no string (of similar quality)it can't have a proper twang. 139. Drinking from the hollow of his hands at a wayside watering place, the traveller sees the young woman serving water to him, he lets it run through his fingers to prolong his drinking; the young woman on her part responds by pouring the thin stream still more thin. 140. Under the pretext of the difficult descent to the river Goda she lets her body fall on his chest. He too holds her close to himself. Who could fault such an act of kindness on his part ? 141. The red dye of her lower lip which overnight was rubbed away by her husband, was seen the next morning on the faces of her rivals / cowives, 142. As 'the eyes reddened by the early morning bath fail to show the colour of passion-soft like that of young foliage, even so the eyes dinmed by doting passion fail to show signs of anger in them. 143. If her eyes had not closed on account of the extreme joy at the sight of her beloved you could not have noticed the blue lotus worn by her on her ear. Could you ?8 144. Just as she looked at you in such a way as to convey her love and affection for you, in the same way she looked at others also; that is an attempt to hide her special feeling for you. 145. He saw her but she saw him not, though he spoke to her she spoke not; and when they met she greeted him not. From all these obvious facts shrewd people came but to the correct inference. 147. As he was coming out of his swoon, he fixed his glance angrily on the large and round breasts of the celestial nymphs mistaking them to be the frontal globes / temples of elephants. 8. : the blue lotus on the young woman's ear wouldn't be detected as its colour would have become merged in the blue colour of her blue-lotus eyes extendig as far as her ears.

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

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2.8 Prakrit Verses in Sanskrit Works on Poetics 160. In the ocean of the firmament stars coming out of the oysters of the clouds radiate lustre of pearls along the shore of the night. 161. There rose the columns of smoke, the shock of hair of the rows of trees, fluttering banners of Madana spreading fragrance, the sailing clouds screening the moon's rays or, the deputies of darkness. 162. When Visnu awoke his eyes feel on the worthy sight of the sky, a beautiful lotus as it were, grown from his navel in which Brahma 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 29 174. As the night deepened his nervousness increased (lit. the watches of the night vanished with his patience) the advice of his friends, which was not carried out to the end, become effete with his heart. His arms hung limp, as did his spirits; with the shedding of tears his mumblings stopped. grass-widow, cheer up. These are only the peaks of the Vindhya mountain looking dark because of the soot left behind by the forest - fires in summer and not the first clouds of the rainy season. 176. For translation vide SP 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. Vibhisana, pleased with Hanumat's confidence in him, intimated his resolve (to join Rama's side). Sugriva, 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. Sita) 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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Prakrit Verses in Sanskrit Works on Poetics determination. 185. (Citraratha interrupts Ravana who was boasting of his prowess :) "There is no point in boasting, Ravana, 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 SP 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 Rama struck the body of Ravana he felt a great thrill of joy : he knew that they came from the hands that were privileged to caress the breasts of Janaki.

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Prakrit Verses in Sanskrit Works on Poetics 195. The three. folds above the woman's navel are the imprints of the fingers of Brahma 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 Satyabhama'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 SP S. No. (112.64) supra. 199. Listen to the story of the slaying of Ravana (the poem called Dahamuha-vaha - Dasamukha-vadha-) -the slaying which ended Sita's sufferings, which showed Rama's love (for her) and led to the release of Ravana'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 SP S. No.(123.66) supra 9. 'anuraa-inham also means marked by the word 'anuraga' at the end of each canto. 10. As translated by Prof. M. V. Patwardhan

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32 Prakrit Verses in Sanskrit Works on Poetics 203. For translation vide DHV S. No. (20.9) supra 206. Madana, the god of love, ever ready with his bow and arrow chooses for his dwelling the limbs of women, who are in their period, who wear unclean clothes, who have their hair tied into a braid (according to alternative reading, who have applied turmeric paste to their face), and whose broad cheeks are pale white. 207. For translation vide DR-Avaloka S. No.(1-26) supra 208. For translation vide DR.Avaloka. S. No. (2.26) supra 209. I will show you, dancing in the sky, the whole host of gods, headed by Hari, Hara and Brahman, the lord of the gods, Indra, and a lot of Siddhas, Caranas, and the celestial nymphs. 210. Why waste words ? By my master's spells (lit. by the power of my master's spells) I will show whatever you desire (lit. whatever you desire at heart to see). 212. Visnu even today wonders that all the delicate limbs of Laksmi, 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 Vanaras, 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 SP S. No. (158.74) supra. 215. For translation vide SP 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 Kama, 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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Prakrit Verses in Sanskrit Works on Poetics 33 sources of great joy. 218. The happy sex-game of the previous night has put this young daughter-in-law to deep sleep so relaxing to her overworked limbs but so tormenting to her rivals in love. 219. You surely wouldn't have been that angry with me (when I rebuked you for your conjugal disloyalty) if you had only understood the agony of a woman who on waking up in the middle of the night finds her husband's place in the bed empty. 220. Although Satyabhama and the other wives of Krsna were equally hurt, Satyabhama 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. SRNGARA PRAKASA (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 Rukmini that garland of celestial (Parijata) flowers spreading fragrant smell and perfume, although not solicited (or requested for) by her, thereby causing pain to Satyabhama'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 Rukmini, 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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34 Prakrit Verses in Sanskrit Works on Poetics him too difficult (tough) to stretch or wield or bendhe, being courteous does all this retaining his affection for his earlier wife-all this to retain his first wife's attraction for him (or - all this just not to forfeit his first wife's interest in him) 227. It is now many days since the young (new) wife of the hunter, very proud of her charming beauty and prime of youth scatters on the roads the parings of his bow as if they are her good fortune and happiness. 228. My limbs feel thin, they move to and fro, feel dried up, perspire and my skin bristles in his presence. I wouldn't know how these wretched things - limbs - continue to live. 229. A bite-mark on the cheek, neatly done and decorated hair roughly tousled and eyes (for want of sleep looking dull 'nidralasa 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 SP 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 thutthukkariaim'to 'dhuddhukkariaim': her other limbs were filled up with youthful passion by

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35 Prakrit Verses in Sanskrit Works on Poetics the God of Love .) 236. When her husband, who has given offence talks to her, the young wife refuses to talk; when he holds her, she trembles; when he kisses her she weeps; when he holds her in an embrace she remains frigid. 237. In the festive gathering the simple - minded girl looked at her prospective husband in such a way that he first caught hold of her heart and then of her hand. 238. The newly married girl, a spoilt child indeed, today did a mean thing - she said to her husband : "I am afraid to stay alone at home" and prevented him from leaving the house. (Verse 239 is obscure.) (Verse 240 is treated in the Notes.) 241. For translation vide SP 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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36 Prakrit Verses in Sanskrit Works on Poetics 247. The woman whose husband has long been away on a journey is afraid that the tears that she sheds in the night as she remembers her beloved husband might fall on the lamp and put it out, therefore she turns her face aside and leaves it at the front door. 248. For translation vide SP 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 SP S. No. (125.66) supra.

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Prakrit Verses in Sanskrit Works on Poetics 37 258. You need not ask her whether the man she is engaged to marry is dear to her : Look at the goose-flesh on her skin (romanca) 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 SP 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. Ganesa), be kind to me and let the son of Kubera (lit the lord of wealth), Nalakubara

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

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Prakrit Verses in Sanskrit Works on Poetics 39 281. These glances from your (wicked) eyes, turning now towards me, now away from me, in scorn, as it were uproot my heart, though you are no longer interested in me. 282. What other ornamentations does a young woman abed with her (beloved husband or) lover need besides roughly tousled hair by his hands and the mouth fragrant with wine? 283. Do not stop her playing that game of Utphullika: that will make her agile or else her bulky, hips will make her exhausted when she comes to play the game of inverted coitus (later after marrage). 284. What prevents me from welcoming death right now is the disturbing thought that if I were to die with my mind still stuck on you, in the next birth too I may continue to be attached to you, O charming one. 285. Every good omen that suggested her meeting with you, she preserved in a knot on her garment. With so many knots on it the garment virtually became an effective amulet against death which she contemplates (or against any evil spirit - pisaca - 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 palasa flower. The whole village is empty of men; for whose help do we shout now?

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40 Prakrit Verses in Sanskrit Works on Poetics 292. Well, I may at the most, shut my eyes with even both of my hands when I see him coming but how can I conceal this whole body of mine which will bloom out like a kadamba flower ? 293. When the women singing the wedding songs came to mention the name of the bridegroom in one such song, look the bride all eager to hear the name of the man and the goose-flesh came out on her body, as if to share her eagerness. 294. For translation vide SP 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 utphullika 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 (ajna; 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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Prakrit Verses in Sanskrit Works on Poetics me? I will have nothing to do with jealous anger, which causes grief to you. 304. I carry you in my heart - you and your beloved - you can't be without her. you ask me why I look so thin and tired. Foolish fellow, you should know that even a mighty bull can't bear too heavy a burden without being thin and tired. 305. Women who can welcome their men home with dances, sighs, tremulous movements and obvious excitement (lit. who know how to dance, on seeing their lovers (returned from a long journey) with sighs, tremor of the body and horripilation) are fortunate indeed, whereas some women, and I am one of them, on merely seeing our men coming back, forget everything, even ouselves. 306. For translation vide DR-Avaloka S.No. (16.31) supra. 307. It is with great difficulty that one gets a dear lover. When one gets him, it is difficult to have a real hold over him; and even if you do get such a one and he is not quite what your heart has desired, he is as good as not got. 308. For translation vide DHV S.No. (40.14) supra. (Verse 309 is treated in the Notes.) 310. Shocking that you should be planning another journey so quickly -- may be you are fond of hard life. But the curls in my hair which I dressed up only on your return haven't yet become straight ! 311. My dear daughter, you need not shed such tears because of old age of your husband. Your marriage takes you to a beautiful village which is surrounded by woods with dilapidated temples in them and aren't there plenty of young men there? 312. She has indulged in her jealousy and anger so much that her young man is now to her as good as gone abroad though he is very much in the same village. 313. In the presence of the elders she put on a very brave face at the time of your departure, but when she, later, closed her eyes tears that were sticking

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Prakrit Verses in Sanskrit Works on Poetics to the lashes rolled down. 314. When you see your lover, you are thrilled,when he comes near you tremble, and when he begins to talk with you, you get drenched with perspiration, when it comes to physical touch you blush. 315. To anoint her lover with sandal powder she in great excitement and all smiles took a handful of the powder on her trembling palm and look ! it became scented paste! 316. Look ! all the make-up on the bride's face and her other decorations were spoilt by the profuse perspiration into which she broke and the goose-flesh she had all over as she caught the name of the bridegroom in the wedding songs which women sang. 317. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 324. For translation vide SP S. No. (191.81) supra. 325. O slender one, see. Every round limb of yours has become flat, and every thin limb has reached the limit of thinness - Why don't you give up your (jealous) anger against your beloved? 326. Even the hard-hearted mother-in-law was moved to tears when she saw the bangles on both the hands of her daughter-in-law slip down as she bent to touch her feet in reverence - a pathetic looking woman pining for her husband. 327. The vaccuous stares, deep sighs, insipid smiles and foolish mumbling -- surely mean a deep-rooted malady. 328. I shall frown on him, I shall scold him, I shall get away froin him. My dear friends, I shall do whatever you advise me (lit. say to me), only if I do not meet him in person. (Verse 329 is incomplete, corrupt and obscure). 330. Well brought up women, feeling bashful at the end of their love-making, reach out for their garments and when they fail to get them they quickly cover their private parts by embracing the husband. 331. The young (would - be - bride/ bride - to - be) bride may have averted her face at the mention ofthe name of the bridegroom but the way her brassiers broke at the seams clearly shows her excitement / pleasure. 332. The proud lady does not cause as much distress to me by her complete silence as by her indifferent words, spoken unfeelingly out of her deeply felt (jealous) anger (annoyance). 333. They are unwavering and steady eyes with which you look at me; you cover your lip with your lotus-like hand and talk to me; you don't turn your back to me while in bed; even then I am not stupid not to get angry with you O charming one. 334. Other women too have on their beautiful faces eyes brightened with long and dark lashes; but they don't know how to use them effectively.

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

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Prakrit Verses in Sanskrit Works on Poetics 45 345. You lucky man, your girl that burns like a blazing flame on account of the fire within of separtion has attracted by her sweet breath a swarm of bees as smoke. 346. The distinction of being called beautiful should go to our villlage-chief's daughter : She has set all men staring at her with unblinking eyes, like the gods. 347. For translation vide SP 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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46 Prakrit Verses in Sanskrit Works on Poetics your siesta on this hot afternoon (lit. in the afternoon of the hot season or the summer) and which indeed show a sparkle of desire in the corners. (Verse 358 is treated in the Notes.) 359. Even to this day, the poor girl preserves (bite-mark) on her cheek the bite-mark and the encirding hedge of goose-flesh as a precious possession. 360. The young damsel who was frightened (pleasantly surprised?) by a hit with a creeper in Navalata 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 47 on which she was riding with your hands stretched out to hold her and jumped to what avail? 370. The cunning young woman donned and decorated her young brother-in-law in such a manner that no one would think of offering his daughter to him in marriage. The impression grew that he was a sissy - effeminate. 371. If in this world of men people should say that she has grown emaciated for that charming young man, should it not be enough for me, dear girl? 372. For translation vide DR-Avaloka S. No. (8.28) supra. 373. My friend, even though my heart is bursting (with love-longing) how can I show that to him who is impervious to other's sorrows just as a mirror (soiled with dust-or water-vapour) is to reflections? 374. Who has taught the wretched girl--these flirtatous gestures, this winsome smile and the knack of casting such sidelong glances? 375. The young wife explains for the whole day, to her brother-in-law who is not quite honourable in intention episodes from the life of Laksmana with the help of the pictures drawn on the walls of her room. (Verse 376 is treated in the Notes.) (Verse 377 is corrupt and obscure.) 378. Who is the lucky young man in the village (lit. youth of the village), dear girl, whom you go to meet at noon even in summer as at mid-night when all people are asleep? 379. Dear girl, you are cleaning with a sharp point the holes in your filigreed bangles that have been blocked by the turmeric powder with which you bathed yourself on this last day of your monthly period, whom are you going to make happy tonight? 380. Whichever part of my body he stares at with unwinking eyes, I cover it up and yet wish it to be seen by him. 381. As that young man standing down - stream over there drinks the water that

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48 Prakrit Verses in Sanskrit Works on Poetics has been made fragrant by the turmeric powder that I had used, I get a feeling that he is drinking up my heart. 382. Even when the master of the house had refused the traveller overnight accommodation, the daughter-in-law looked through the corners of her eyes at him in such a bewitching manner that he couldn't but linger in the front court of the house. 383. Who would be interested in the auspicious songs sung by the woman singers if they (the songs) could not bring in the name of the bride-groom? 384. For translation vide SP 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 Durva 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 candala (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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Prakrit Verses in Sanskrit Works on Poetics 49 face which has been chaffed by the winter winds and come up with your choli cast off, your admirers keep staring at you exactly as male serpents stare at a female serpent as she comes out of the hole, with her slough cast off. 394. In the Navalata game he (the village-chief's son?) struck her on her expansive breasts with a palasa 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 navalata (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 SP 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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50 Prakrit Verses in Sanskrit Works on Poetics 403. Look, the young lady who takes bath every morning at day-break in the month of Magha (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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 51 414. When, friends, you advise me not to think in terms of death and assure me that I am bound to meet him if I continue to live, I know these words come from rational people in this practical world but the ways of emotional people in love are otherwise. 415. Unfortunate that I am, without attaining my wish I shall perish just like this! There was not even a scandal about my affair with the farmer's son! 416. For translation vide SP S. No. (69.55) supra. 417. Propriety or no propriety she wanders around all over straining her eyes to see if she can find you, my dear young man, you, disregarding every other young man. 418. The farmer's wife mourns that the wild rats have uprooted the sesamum field; all the plants are strewn on the ground. 419. You are heartless, the poor young woman put on new colourful clothes and went from house to house carrying the presents (of fruits and sweets), but in fact, her intention was to take a chance of seeing you. * 420. Although everthing I possessed has been burnt in the fire, I feel no Wy sad at heart just because he took the pitcher of water straight from my hand in an attempt to put out the fire. (Verse 421 is corrupt and obscure.) 422. The farmer's son has already plucked the cotton from the boll and yet his young wife's fingers fumble on the bolls in vain, but look, there is a thick crop of horripilation and an amount of sweat on her hands. 423. The newly married young runs in front (of her brother-in-law, the farmer's son moves on both the sides (of him), (but always) remains within the range of (his) sight; O, farmer's son with a new (freshly plucked) creeper in hand, pray, give her a gentle rap with it -- she who deeply loves you ! (Verse 424 is corrupt and obscure.)

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

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Prakrit Verses in Sanskrit Works on Poetics S3 434. Look at that wife of yours showing off her firm breasts and pride of her youth. That makes me furious. I desire you out of that feeling and nothing else (or not out of love for you). 435. She had a quarrel with the traveller when he came to her place but she gave him a bundle of straw stalks to make his bed in the night; however, in the morning when he was gone and she collected the straw-stalks she was weeping (-due to the memories of the love's delights she had with him over-night, although she had a quarrel with him at first). 436. For translation vide SP 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 SP 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 SP S. No. (130.68) supra. (Verse 446 is corrupt and obscure.)

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54 Prakrit Verses in Sanskrit Works on Poetics 447. Alas! We are simply killed by this son of a wayfarer. Whatever wayfarer he meets/ sees he < Us him with the word "O father!". 448. For translation vide SP 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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55 Prakrit Verses in Sanskrit Works on Poetics 458. O moon-faced one, from the way you play the Utphullika 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 ghata and enjoys a (leisurely) bath in the Goda. 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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56 Prakrit Verses in Sanskrit Works on Poetics or personal adornment so long as his interest in you is keen - once you let it sag you will lose any approach to his heart. 468. Look, how beautiful is the part of the young woman's breast which has been left uncovered by her blue choli, like the disc of the moon that is coming slowly out of the rain cloud. 469. Looking forward to the Spring-festival and going about the streets of the village like this be careful, dear daughter. Some suspicious character may set you a riddle and that will baffle you (floor you). 470. He felt confused as he awkwardly fumbled for the knot of my lower garment; it had slipped down. I laughed and held him in a tight embrace. 471. On whichever part of the body, the brother-in-law desires to strike her with a tender creeper, on that part of the young bride's body appears a crop of goose-flesh (lit. long line of horripilation) showing excitement and pleasure. 472. Her friends advised her that she should continue to be jealous and angry. This she had (carefully) kept in her mind so far but it is now being exposed to the forceful arrows of Madana (the God of Love) that make holes in it and reduce it to tatters. (Verse 473 is treated in the Notes.) 474. Although the bridegroom is making haste please delay the wedding till the nail-marks on the body of the bride-to-be grow pale and indistinct. 475. Young man, when I asked your sweetheart whether she really loved you she swore she didn't and put on such a smile that it made us (i.e. me) weep. 476. If they disapprove, well, let them. People do fuss over the other world. But as for me, my dear friend, my eyes cannot but turn towards the place where my young man lives -- the village-chief's son. 477. How did you go? Did he meet you? What did he say? Did he agree? She wouldn't stop asking her endless questions. 478. Right under the nose of her husband they took her away to the place of her lover who is a physician. She pretended to have been stung by a scorpion,

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Prakrit Verses in Sanskrit Works on Poetics 57 looked pale, threw her hands up and down and sought the support of her friends - clever females, like herself. 479. Her smiles are seductive and her eyes coquettish. Yet, she is still a virgin. Conclusion: This village has no young man. 480. You didn't know, did you? This is how it was : quite eager to catch at least a glimpse of you, she climbed up a lofty pile of reed-chairs she had made and tumbled down. 481. What else could she have done to have a look at you : Stretched out on her toes, she peeped over the hedge and pressed her breasts against it - all in vain. 482. Pretending that the road going down to the river Goda 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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58 Prakrit Verses in Sanskrit Works on Poetics 487. For translation vide SP S. No. (217.87) supra. (Verse 488 is corrupt and obscure.) (Verse 490 is corrupt and obscure.) 491. For translation vide SP 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 SP 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 SP 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 SP S. No. (359.117) supra. 2. For the text tentatively restored vide Notes, verse 500.

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Prakrit Verses in Sanskrit Works on Poetics (Verse 503 is corrupt and obscure.) 504. (Our homage to that Siva, 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 SP S.No. (216.86) supra. 507. The Vanaras 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 Rama 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 Vanaras) 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 Hanumat (because he had leaped over the ocean to Lanka.) 3. According to poetic convention laughter is always white.

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60 Prakrit Verses in Sanskrit Works on Poetics 513. Though it was believed that the ocean was almost impossible to cross, here was Hanumat 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 Krsna, O, Indra, and yet you are reluctant to part with Parijata, the jeweldi.e. best) among trees. Give up this show of naivety and honour the desire of the Yadavas. 516. By asking for just that much land that you can measure only with your three steps, don't you realize, Vamana, 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. Janaki 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 (Janaki) 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., Rama). 521. Meanwhile Ravana, the lord of the Raksasas, awoke at the end of the sleep in which he had fallen unmindful of the host of Vanaras, glorious in war, who were standing all along the ramparts of Lanka. 522. For translation vide SP S.No. (194.82) supra.

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Prakrit Verses in Sanskrit Works on Poetics 523. For translation vide SP S.No. (212.86supra. 524. Even in front of his mistresses, the name of Sita, 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 SP S. No. (217.87) supra. 527. For translation vide SP S.No.(420.129) supra. 528. For translation vide SP S.No.(223.89) supra. 529. I will soon get you the celestial (Parijata) tree with its leaves moist (or wet) with spray of the rut of Airavata, 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 SP S.No. (470.139) supra. .. 532. All that Sri Puttisa says deserves to be done. This delightful throbbing of the eye confirms what 'Sri Puttisa says. 533. For translation vide SP S.No.(217.87) supra. 534. For translation vide SP 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 SP S.No. (230.91) supra. 537. For translation vide SP S.No. (244.94) supra. 538. For translation vide SP S.No.( 265.98) supra.

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62 Prakrit Verses in Sanskrit Works on Poetics 539. Either I possess no appealing qualities or my dear man is not appreciative; perhaps I have no qualities at all or he has a sweetheart who has more of good qualities. 540. For translation vide SP S.No.(253.96) supra. 541. Rukmini 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 (Satyabhama). 542. Although Satyabham, and the other wives of Krsna were equally hurt, Satyabhama 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 Parvati noticed that Siva had removed for the pani-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 SP 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 SP S.No. (129.67) supra.

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63 Prakrit Verses in Sanskrit Works on Poetics 551. For translation vide SP S.No. (380.121) supra. (Verse 552 is corrupt and obscure ) 553. For translation vide SP 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 SP 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 SP 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 SP 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 SP 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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64 Prakrit Verses in Sanskrit Works on Poetics perfect because the intoxication caused by wine was worn off, and the joy was enhanced by confidence and by the broken girdle-a poor victim of their overbearing passion. 568. For translation vide SP 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 SPS. 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 SP 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 SP S. No. (69.55) supra. 577. Madhavanila's mind was full of love for Mahanumati, 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 SP S. No. (541.151) supra. 579. For translation vide SP S. No. (336.112) supra. 580. For translation vide SP S. No. (314.108) supra.

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Prakrit Verses in Sanskrit Works on Poetics 65 581. Charming love and extreme joy broke on her lotus-face so that her eyes bloomed and closed at the same time. 582. I felt I had come on a wonder, a treasure, a kingdom of heaven, a drink of nectar when I saw her in the nude. 583. For translation vide SP S. No. (319. 109) supra. 584. For translation vide SP S. No. (226.90) supra. 585. For translation vide SP S. No. (342.114) supra. 586. Salutations to Madhumathana (=Visnu) who was so stunned by the unparalleled beauty of Laksmi 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 SP 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 SP 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 SP S. No. (371.119) supra. (Verse 594 is corrupt and obscure.) 595. For translation vide SP S. No. (420.129) supra. (Verse 596 is corrupt and obscure.)

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66 Prakrit Verses in Sanskrit Works on Poetics 597. You see, friend, whatever work you undertake, good or bad, does come to an end, giving you whatever results. But an unhappy love-affair ends not when it ends. 598. Even the sight of the boundary of her native village where the sweetheart lives fills the lover with rapture, what of the charming and endearing (lit. invaluable) face itself? 599. O charming one, when you come to visit me only as a matter of courtesy, you delight my heart. How much of an excitement must it be to those whom you visit out of real love ! 600. A look at the thighs of the farmer's daughter-in-law, smooth as the stem of the plantain-tree, made the barber's hands so wet (with sweat) that his nail-parer (or pair of scissors) shook. 601. The prayers that the learned Brahmana is muttering and chattering on the ghata 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 SP 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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Prakrit Vefses in Sanskrit Works on Poetics 67 607. It is a rare chance indeed that a man of merit should get a wife that matches his merit with her love, beauty, youth, amorous disposition and wit. 608. For translation vide SP S.No. (519.148) supra 609. Out of her profound love for Hari, Sri (i.e. Laksmi) treated herself trivially, when from her own place on Hari's chest she saw him courting angry Satyabhama 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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Prakrit Verses in Sanskrit Works on Poetics 68 send messages of love through (maiden-friends or) go-betweens (to their lovers), and their somewhat unfulfilled desires revolve in their mind. 619. The evening gave joy to the damsels by bringing their lovers, and the night by affording the delights of love. But the morning went tediously on. 620. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 69 of the bow-string into the notch -- ready for use and when they had a sip he fitted the arrow to the bow aiming at their lovers. 629. As the Palasa 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 Goda need not be trusted to be chaste - the banks that are charming with Asoka 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 SP and the corrected one on p.168 needs further to be corrected as follows: ajja sahi keNa gose kaMpi maNe vallahaM bharateNa / CHE / 3755 H3TUT -PR1637-3737-CUT-01 sui fill (adya sakhi kena prabhAte kAmapi manye vallabhAM smaratA / G:HB/37105 HGT RIES-EG4-AUT-POCHI Mall GS IV 81

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Prakrit Verses in Sanskrit Works on Poetics .637. Praise be to the beautiful ladies whose smiles are gentle and hearty (sincere), whose manner of speaking is soft yet confident and whose eyes assure goodness. 638. The God of Love takes up his bow to help those young women who bathe during the afternoon, get reddish eyes, and who show their thighs and hips through their wet garments / clothes. 639. When young women get into an erotic mood and do up their hair, their faces brighten with a soft and charming glow brought on by the amorous disposition, which is softened by bashfulness, natural grace and sweet smile. (Verse 640 is corrupt and obscure.) (Verse 641 is corrupt and obscure.) 642. Love games with inexperienced maidens call for repetitious indulgence. They involve a lot of crushing and rubbing and give added pleasure through the girl's naive curiosity. 643. For translation vide SP S. No. (127.67) supra. 644. For translation vide SP 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics dishevelled. 651. Who can forget his intercourse with his wife that is unartful yet impassioned, marked by genuine feeling, untouched by flattery and free yet not without modesty? 652. Taunting remarks not unaccompanied by smiles, ostentatious politeness veiling resentment and quarreling only with tears - these are the ways of noble ladies. 653. For translation vide SP 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 (gThapati) 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 SP S. No. (230.91) supra. 659. For translation vide SP 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: taha ujju pi rasi caDu-parihINaM pi diNNa-sabbhAvaM / vIsaMbhe vi (salajjaM) ko ghariNiraaMNa saMbharai / / (tathA Rjukamapi rasitaM caTu-parihINaM dattasadbhAvam / vizrambhe'pi salajjaM ko gRhiNIrataM na saMsmarati / )

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Prakrit Verses in Sanskrit Works on Poe:ics who is 'notorious for spoiling the performance (by her seductive beauty, arresting the attention of both the actors and the spectators towards herself) does not attend the performance. 661. For translation vide SP 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 ghata 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 SP S. No. (155.73) supra. 670. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 73 may not have noticed any of the peculiarities / qualities of the woman you love. 674. The washerman's young daughter whose slender waist bends under the burden of her full bosom (lit. lofty and plump breasts) that shakes with every * movement wrings the hearts of young men as she wrings clothes. 6 675. The eyes of the whole village (i.e. the people of the whole village) suddenly opened wide and fixed in a motionless stare when the upper garment of the village-chief's daughter became wet with tears and slipped down baring her breasts to view. 676. On whatever part of her body one's eyes fell they remained fixed there only with the result that no one has seen her full and whole. 677. For translation vide SP S. No. (99.61) supra. 678. For translation vide SP 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 SP S. No. (528.149) supra 682. For translation vide SP 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 gatha may be reconstructed as follows: Acts asiguur37-ent-20-375-YUfA31-my-HUSIT vatthaM sojjhaadhUA hiaehiM samaM juANANaM // (usulat angala-p -F ifa-ya -79-HEZITI vastraM rajakaduhitA hRdayai: samaM yUnAm // )

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74 Prakrit Verses in Sanskrit Works on Poetics 684. The grown up ladies looked at Krsna as (God) Narayana, young women as the consort of Sri (i.e., Laksmi) and young girls, out of curiosity just like that. 685. For translation vide SP 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 SP S. No. (428.131) supra 689. For translation vide SP S. No. (144.71) supra 690. For translation vide SP S. No. (390.123) supra. 691. For translation vide sP S. No. (484.142) supra 692. For translation vide SP S. No. (388.122) supra 693. For translation vide SP S. No. (602.162) supra. (Verse 694 is corrupt and obscure.) 695. For translation vide SPS. No. (48.52) supra 696. For translation vide SP 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 SP S. No. (478.141) supra.

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Prakrit Verses in Sanskrit Works on Poetics 75 700. Whose heart will succeed in resisting a gazelle-eyed damsel's stealthy glance shot from an eye whose brow has been raised, and reflecting the whiteness of the teeth that showed themselves in a smile ? 701. The bashful young ladies, afraid of public scandal, passed the whole day and night in vain in apprehension as to whether their love would be accepted or rejected. 702. The hearts of young bashful women, simmering within, burn like wet wood with the fire of separation. 703. For translation vide SP S. No. (501.144) supra. 704. For translation vide SP S. No. (575.157) supra 705. For translation vide SP S. No. (398.125) supra. 706. For translation vide SP 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 SP S. No. (495.143) supra. 713. His complimentary words, free from falsehood, quickly satisfied and relaxed

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76 Prakrit Verses in Sanskrit Works on Poetics her even in the absence of physical pleasure. 714. For translation vide SP 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 :) Krsna, free from longing for a city-bred maiden's love, remembers (the pleasures of) sexual dalliances with Radha that were straight and full of nothing but genuine love. 718. For translation vide SP S. No. (227.90) supra 719. For translation vide SP 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 (vailaksyam), I , although not satisfied tightly embraced my lover/ husband who was quite satisfied. . 722. I would much rather be a candala 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 Nilakantha, 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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Prakrit Verses in Sanskrit Works on Poetics 725. For translation vide SP 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 SP 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 karavelli 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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78 Prakrit Verses in Sanskrit Works on Poetics 737. At the height of their sexual pleasure well-bred young women feel in their throats words to express their joy which they would repress out of modesty, but these words finally do come out on their tremulous lips. 738. It is only the fortunate (or the blessed) ones who can see their wives bend down their faces through modesty at the end of their sexual union and have their lotus-like faces moist with perspiration and look at the husband with half-closed eyes. 739. Even after the intercourse was over and she was busy doing her dishevelled hair, she gave her lover such an enticing smile that he felt aroused again - his passion flared up again. 740. For translation vide SP 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 SP 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 SP S. No. (74.56) supra.

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Prakrit Verses in Sanskrit Works on Poetics 79 749. Right now will his sight be restored by reflection in the Magic (Clinical) mirror : This thought made the young wife thrilled and excited as she gave the mirror to her husband. (Verse 750 is treated in the Notes.) (Verse 751 is incomplete and obscure.) 752. For translation vide SP S. No. (304.105) supra 753. For translation vide SP 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 SP S. No. (486.142) supra 759. For translation vide SP 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 sephalika 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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80 Prakrit Verses in Sanskrit Works on Poetics night, although long, is about to end (lit. comes to an end) ! How is it that you still are angry? 763. For translation vide SP S. No. (413.127) supra. 764. For translation vide SP 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 SP 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 Godavari 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 (Satyabhama'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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Prakrit Verses in Sanskrit Works on Poetics (i.e. Krsna) who was lying prostrate at her feet. 775. "As long as he (dear husband or lover) does not give me the limit (avadhi, the date of return from journey abroad), as long as he does not loosen the tight hug and I have not the luck to die" - So long I have made myself firm. 776. For translation vide SP S. No. (314.108) supra. 777. For translation vide SP S. No. (328.110) supra 778. For translation vide SP 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 SP S.No. (305.106) supra. 781. For translation vide SP S. No. (238.93) supra 782. For translation vide SP S. No. (256.86) supra 783. For translation vide SP S. No. (738.185) supra 784. For translation vide SP S. No (.230.91) supra 785. For translation vide SP S. No. (560.155) supra 786. For translation vide SP S. No. (233.92) supra 787. For translation vide SP S. No. (340.113) supra 788. For translation vide SP S. No. (323.109) supra 789. For translation vide SP S. No. (124.66) supra 790. For translation vide SP S. No. (459.137) supra 791. For translation vide SP S. No. (186.80) supra 792. Young lady, you desire a very long life; don't you bother yourself with the rasayanas which may not be dependable; better take to separation (from your

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82 Prakrit Verses in Sanskrit Works on Poetics beloved) so that your days will be as long as yugas. 793. The pleasures which were enjoyed in the company of the lover - those very pleasures become unpleasant in his absence, my dear friend. 794. For translation vide SP S.No. (381.121) supra. 795. For translation vide SP S.No.( 372.119) supra. 796. For translation vide SP S.No. (451.135) supra. 797. For translation vide SP S. No. (321.109) supra. 798. For translation vide SP S.No. (768.190) supra. 799. For translation vide SP S.No. (542.152) supra. 800. For translation vide SP 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 SP 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 SP S.No. (151.72) supra. 806. For translation vide SP S.No. (484.142) supra. (Verse 807 is treated in the Notes.) 808. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 83 yourself. 810. The poor me lives on the village is nothing more than the palasa 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 SP S.No. ( 60.54) supra. 814. For translation vide SP 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 SP S. No. (70.55) supra. 817. Small in the beginning her breasts like Madhu-mathana (i.e. Visnu, who assumed the form of Vamana, 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 Laksmi that, at the end of the churning of the ocean, fell on Visnu 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 SP S.No. (746.187) supra. 820. In this forest which is full of tigers (pundarika), 0, gazelle-eyed one, with a white parasol (pundarika) in your hand, which while twice-born (a Brahmana 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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84 Prakrit Verses in Sanskrit Works on Poetics metallic peg (supporting the dome on the top of the temple -turret), the temple is moaning with pain as if it has been pierced with a pale (sula = 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 SP 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 SP 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 SP 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 SP S.No. (311.107) supra. 833. For translation vide SP S. No. (601.162) supra. 834. The monkey already once stung, slinks away, shakes from a distance the branch of the Jambu tree, again draws near, growls but does not try to pluck

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Prakrit Verses in Sanskrit Works on Poetics 85 the jambu fruit, thinking it to be a bumble-bee. 835. For translation vide SP 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 SP S. No. (125.66) supra. 838. The unchaste woman picks up the madhuka 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 karanja 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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86 Prakrit Verses in Sanskrit Works on Poetics looks and smile significantly. 846. The Murala (river) meanders near our village and at every bend there are lovely thickets of reeds. Dear brother-in-law, you havn't visited our village nor seen the river, have you? 847. That foolish deer was so tormented by the accursed mirages that it turned away its face even from real water (of the rivers)! (Verse 848 is corrupt and obscure.) 849. O, Madhuka tree, forming a dense thicket on the bank of the river Goda, 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 SP 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 Karanja 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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Prakrit Verses in Sanskrit Works on Poetics 87 as a matter of fact, O, monk, you should thank your stars you are still alive-you, destroyer of the karanja tree ! 858. Apprehending that it would otherwise) be denuded of its leaves by the wayfarers, the wanton women secretly sprinkled with a solution of turmeric powder (or rice-flour) the leaves of the banyan tree which cast a dense shade. 859. For translation vide DHV S. No. (1.6) supra. (Verse 860 is corrupt and obscure.) 861. For translation vide SP S. No. (629.167). 862. Dear Murala, if you go on uprooting all trees and groves from your banks, I am afraid, like the Ganga you will have none but the ascetics there. 863. O, Narmada, 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, Murala ! 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, Kaveri, 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 Goda! Your banks are full of woods drenched in the first showers of

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88 Prakrit Verses in Sanskrit Works on Poetics the season, always fragrant and rich in the honey of flowers. 871. O, You have made me thin ; You have taught me to weep long; you have emboldened me to be disrespectful; now please don't come to disregard me. 872. (i) It is only some Karmas (done in the past lives) that urge a helpless person to seek happiness in the love of an inaccessible person. (ii) We wouldn't know how that love will end--it began thus : deep inhalations drying the whole body and heavy exhalations (with the emended reading : nisasasasa). 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) Murala I spoke these words to that young man meaning to tell him that he had failed to keep the appointment. 876. For translation vide SP S. No. (707.179) supra. 877. For translation vide SP S. No. (770.191) supra. 878. For translation vide SP S. No. (630.167) supra. 879. For translation vide SP S. No. (388.122) supra. (Verse 880 is treated in the Notes.) (Verse 881 is treated in the Notes.) 882. For translation vide SP 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 SP S. No. (363.118) supra.

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Prakrit Verses in Sanskrit Works on Poetics 885. The silk dresses the young women are wearing look so much like the moonlight that they can embrace their lovers without being noticed at all by their parents (or elders). 886. That mischievous moon, my dear, is dark on most of his body and only a small part is left bright. I wonder why the moonlight then is not dark. 887. How much of water in the form of the moonlight the lake of the sky must be having ? It never comes to an end though it streams down through countless rays of the moon. 888. How can an unfortunate woman like me, Sir (?) have a chance to go out to meet her lover when that candala (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 Rahu 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, Rahu; 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 SP S. No. (440.133) supra. (Verse 895 is corrupt and obscure.) 896. For translation vide SP 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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90 Prakrit Verses in Sanskrit Works on Poetics it on her ear; by a significant smile and glance she conveyed to her brother-in-law that he had failed to keep the appointment. 898. For translation vide SP 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 SP S. No. (734.185) supra. 901. For translation vide SP S. No. (58.54), DHV S. No. (5.7) supra. 902. For translation vide SPS. 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 (Devadatta), 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 ! tuha kamma-vAvaDa-taNu-taNulaAe~ galaMti valaAI / / (sakhi dhara nepathyaM tAvad hatadevarasya putraka apaihi / a f-w19a-ng-Car Taft Act 11)

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Prakrit Verses in Sanskrit Works on Poetics 909. For translation vide SP S. No. (372.119) supra. 910. For translation vide SP S. No. (188.80) supra. SPS. No. (49.52) supra. 911. For translation vide SP S. No. (464.138) supra. 912. Her jealous husband does not allow her to gather the madhuka flowers at night. But, my friend, he goes out to gather them himself, extremely simple-minded that he is. 913. For translation vide SP 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 SP 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 SP S. No. (417.128) supra. * 920. She (Sakuntala) showed no regard for her elders, nor did you (O, Dusyanta) 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 duti addresses a nayaka:) "O, Son of a farmer, the beauty of the face of the moon-faced one now imitates the colour of the corn of the Ghanasali

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Prakrit Verses in Sanskrit Works on Poetics paddy. The lady with a slender belly is becoming thinner and thinner. Do what is proper (for her or for the occasion)." 924. O, unkind one, O, you, who are afraid of your wife, O, you, whose sight is difficult to have, O, you, who are like an insect in a nimba berry, O, you son of the village-chief, the entire village is growing lean because of you. 925-26. "O Ghentakarala, 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 Ghentakarala (in the Section called the Kalingasenalambha) replied: "I'll return you your clothes only if one of you weds me." 927. (This passage is in prose and cited from Sakuntala. Priyamvada says to Sakuntala :) 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 SP S. No. (70.55) supra (Verse 932 is corrupt and obscure.) 933. For translation vide SP S. No. (454.136) supra 934. For translation vide SP S. No. (760.189) supra

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Prakrit Verses in Sanskrit Works on Poetics 93 935. For translation vide SP 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 SP 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 SP 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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94 Prakrit Verses in Sanskrit Works on Poetics man has sent (through you). (Note: The messenger girl has played her mistress false, betrayed her and enjoyed sex-game with the lover of her mistress). 947. "You have always said you would do my work as if it is your own. You have remained true to your word and now acted on it" -- so said the young lady to her errand-girl (who has slept with the lady's lover). 948. For translation vide SP S. No. (477.140) supra 949. The young women made their messenger-girls repeat several times whatever their young men had said true or false, though it made them sad. (Verse 950 is treated in the Notes.) 951. "When the night is so far gone, do you still expect him? Have patience, he will not come" - this way the messenger girls wanted to put the young women to test. Actually their young men were already there. 952. All along she was busy painting sensational pictures of her meeting with her lover and when her errand-girl came back from him she stared at her moonlike face and wondered what sort of message it could be and her heart trembled. 953. The sweet words of the lover's joyous message which the errand-girl puts into the ears of some young (gay) woman enhance the beauty and clarity exactly as a lotus flower when put on the ear does by its sweet juice and fresh and blooming look. 954. As you had suggested I left the house and went to the park where in a dense arbour that man was trying to divert the sorrows of separation. 955. I couldn't understand what message he wanted me to convey to you as his words were not clearly spoken and as he faltered over them through his hot (his heavy) sighs. 956. When I am away from you, the moon, the lotus-stalks and the blue lotus flowers torment me, they remind me of your face, your arms and your eyes.

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Prakrit Verses in Sanskrit Works on Poetics 95 957. O, dear, with the moon-like face and large eyes, the long night, bright with moonlight, with its only four watches looks as if it has a hundred in your separation. 958. For translation vide SP 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. Madayantika : "Friend, I am also guilty of a breach of trust that you must needs speak thus? Dear friend, you and Lavangika are now my very heart." 964. (The first half of this gatha 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 cintamani (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 : Sakuntala addresses this love-letter to Dusyanta :) "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 SP S. No. (386.122) supra.

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96 Prakrit Verses in Sanskrit Works on Poetics 969. For translation vide SP S. No. (388.122) supra 970. For translation vide SP 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. Usa noticed that her left breast was throbbing and as she was thinking to herself, Citralekha brought Aniruddha to her boudoir (lady's small private room - sulking place). (Verse 973 is corrupt and obscure.) 974. For translation vide SP S. No. (388.122) supra. 975. For translation vide SP S. No. (520.148) supra. 976. As a part of religious vow she goes to the river for early bath in the month of Magha. As a pro bono publico you keep bonfires at public city-square. This is how you met at the Goda-ghata. You lucky devils'! 977. For translation vide SP 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 SP 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 miliA golAtUhe duve vi tumhe khu dhammiTThA / / (sA mAghamAsaprAtarmajjanazIlA tvamapi dttpunnyaagniH| Aparat marad/ atef 3119 (? safa) yai ag eftet 11)

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97 Prakrit Verses in Sanskrit Works on Poetics 981. For translation vide SP 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 SP S. No. (494.143) supra. 985. For translation vide SP S. No. (333.111) supra 986. Seeing the cowherd engaged in a tete-a-tete (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 SP 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 SP S. No. (652.171) supra 991. For translation vide SP S. No. (332.111) supra 992. Hum ! O, you shameless one, get away from here, you go and cajole her who has left this tilaka 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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98 Prakrit Verses in Sanskrit Works on Poetics censure you committed love's offence in my very presence and established your lordship over young women'! 995. Tell me, you shameless one, how is it that when you kiss these wretched cheeks of mine -- saffron - mark on my dear friend's forehead becomes wet? You are committing love's offence in my very presence/right under my nose. 996. "He : Please, believe me. She : Believe you : I would never have believed you if I had not seen the tears that I dropped on your back being broken by all the goose-flesh that grew there. 997. When her husband was describing the (wondrous) beauty of the heroine in the episode she responded with only a hum - hum. She felt terribly jealous and angry. 998. For translation vide SP S. No. (219.87) supra 999. My dear young man, you don't disturb me as much with all these nail-marks which decorate your body nor by the sleepless look in your eyes (nor by your drowsily blinking) as by the absence of any bite-mark on your lip, you dark-complexioned darling! 1000. You call me by another woman's name and feel embarrassed; What are you doodling (scratching) here on the floor? That seems to be the woman you love so madly and who is occupying your heart. 1001. Let me have only that much love which you can always give and honestly give. Not everyone is capable of putting up with an insult to her self - respect by any of her husband's actions. 1002. In a slightly intoxicated state the young woman forgot the offence her lover had given her and started talking to him, but suddenly felt ashamed of her self remembering the offence and stopped talking, but he (the lover) smiled and comforted her. ETIUT forcaftill (yafa w a 1. Emending the printed text to : 9375-JUT A4 11)

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Prakrit Verses in Sanskrit Works on Poetics 99 1003. However repentant I was and firmly set against any more such lapses on my part, she was not convinced and in spite of my long pleadings in our privacy she still presented her face that was distorted by her anger. How much it torments me! 1004. Lovers generally long to hear from their charming women words that move their hearts but the way she turned her face in anger and spoke, quite broke his heart to pieces. (Verse 1005 is corrupt and obscure.) (Verse 1006 is corrupt and obscure.) 1007. You have favoured her (Rukmini) with a bunch of celestial flowers and me (Satyabhama) 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 SP 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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100 Prakrit Verses in Sanskrit Works on Poetics 1017. O, charming one, please tell me whether this is the characteristic of your celebrated courtesy that you go back to your wives soon after your fresh act of faithlessness? 1018. Granted, O, charming one, that she shines because of her an and her beauty; and granted that I am without any of such qualities. Does it mean then that any one who is not like her has no business to exist? 1019. As she warned her libertine husband that the woman he had been fond of all along had detested him, she knew that her own heart was too full of love to entertain any hatred for him (to win his love.) 1020. You regard yourself to be intelligent. You deserve only a flirt who can entice you with all sorts of blandishment, no way touched by real feeling. Let me stop my love relations with you. I have had enough. (Verse 1021 is treated in the Notes.) 1022. For translation vide SP 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 tIe garuaM (7garue) NisammiaM oattaM pi amarise ccia hiaaM // (tatkSaNa-janita-praharSa saMsmRtAparAdha-saMghaTamAnAnuzayam / ARIT Track (?ynda) AquUmH 374TH (?) 3744 a EGUH 11)

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Prakrit Verses in Sanskrit Works on Poetics 101 quickly feel saddened and perturbed by the remembrance of the old offence. (Verse 1028 is treated in the Notes.) (Verse 1029 is corrupt and obscure.) (Verse 1030 is corrupt and obscure.) 1031. For translation vide SP S. No. (281.101) supra. 1032. You wicked man, you don't hesitate to misbehave and cause pain to a fruitless (ineffective) and gentle person like me. Well, go ahead and enjoy yourself. Of the duo (two), let only one susser. 1033. For translation vide SP S. No. (284.102) supra 1034. Self-respecting young women look beautiful when at the sight of their offending men, guilty of infidelity they flare up in indignation and then suddenly feel excited and (nervous or) confused. (Verse 1035 is corrupt and obscure.) 1036. Stalking away like this, and tugging at the border (or end or hem) of your upper garment (caught by me to stop you), in such a forceful manner, my dear? Take it easy, do remember your poor waist is already burdened by your heavy breasts, it will break. * 1037. For translation vide SP S. No. (992.227) supra. 1038. For translation vide SP 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 SP S. No. (942.70) supra. 1042. For translation vide SP S. No. (773.191) supra

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102 Prakrit Verses in Sanskrit Works on Poetics 1043. Her lover who was himself sad, mortified and downcast saw her unhappy face completely clouded by sorrow with its eyes lurid with terrible anger. 1044. An aristocratic young lady is far from giving expression to her feelings of displeasure, much less show them through her tears. Such feelings just hide deep in her heart (lit. are dissolved by the kulapalika (or - balika) in her heart.) 1045. For translation vide SP 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 SP 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 SP 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 SP S. No. (999.229) supra. 1054. For translation vide SP S. No. (680.175) supra. 1055. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 103 rivals in love. 1057. How much of beauty can jewellery lend to young women when they are insulted or humiliated in their bedroom? Contentment or inner satisfaction is the only real ornamentation compared to which all the elaborate jewellery is just nothing ! 1058. For translation vide SP S. No. (1050.237) supra. 1059. When he comes back after his long journey I shall pour all my anger on him and then how he will court and cajole me - Most women cherish such desires about their husband but only some are fortunate enough to get them fulfilled. 1060. For translation vide SP S. No. (982.226) supra 1061. For translation vide SP 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. sahivaaNeNaM pijjaD hAlAhalaM visamapi asajjhaM jN| hiaa avalamba dhIraM, dijjasi mANassa ettAhe / / (sakhI-vacanena pIyate hAlAhalaM viSamapyasAdhyaM yat / GU,"3facietaetat, CURT ATRISIN 11)

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104 Prakrit Verses in Sanskrit Works on Poetics 1067. As the night advanced Hari (i.e., Krsna) 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 Parijata flowers to her but simply called on her empty-handed.) (Verse 1075 is corrupt and obscure.) 1076. The nearer he (Krsna) approached her (Satybhama'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 SP S. No. (196.82) supra. 1078. For translation vide SP S. No. (332.111) supra. 1079. For translation vide SP S. No. (230.91) supra 1080. For translation vide SP S. No. (762.189). supra 1081. For translation vide SP S. No. (591.160) supra 1082. Hari then appeased whatever little anger still was there in her heart by his

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Prakrit Verses in Sanskrit Works on Poetics 105 conciliatory gesture, viz., falling prostrate at her feet - the feet of his beloved(Satyabhama) whose heart was still half - closed against him: he had preferred to give to Rukmini the (celestial) Parijata flowers. (Verse 1083 is corrupt and obscure.) 1084. For translation vide SP 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 SP 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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* 106 Prakrit Verses in Sanskrit Works on Poetics 1094. You have not examined the position carefully nor have you shown any consideration for mutual trust which has grown over the years. You have disregarded our love. You acting like an ordinary person, have been causing me pain. 1095. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 107 offences done to me and I patiently bore the pangs of separation from you. Now, why should you feel bad about it? Really speaking it should be me - to feel so. 1109. Well, you should remember that young men do hurt the feelings of their charming lovers right from the beginning and if they show their displeasure, these men become reckless and indulge in their stupidities all the more shamelessly. 1110. For translation vide SP S. No. (1017.232) supra 1111. For translation vide SPS. No. (1008.230) supra. 1112. Friend, this is just the way love goes, twisting and turning like the tendrils of a young cucumber plant. O, please, don't turn that moonlike face away and weep. 1113. Why should you weep and let yourself become thin like this o, shapely - bodied one (sutanu)? You lose temper with everyone. You should have known what a queer mixture of contradictions love is, can you change it? (Or, That love is fatal like poison. You can't change its nature, can you ?) 1114. My dear girl, why should you stand with your face turned away from your dear man when he comes to you ? Really how much of anger can you really show when he can see easily marks of thrill and excitement on your back and know how well-disposed your heart is towards him? 1115. This fidgetting with your bracelets, this turning down of your face, tears running drip- drop, your repressed sighs --- Ah, dear, you know very well how to express your (jealous) anger! 1116. For translation vide SP 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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108 Prakrit Verses in Sanskrit Works on Poetics JO plenty of cajoling: the lover falling at your feet, the pleasure of passionate kissing--and such other pleasures(-0, it is a festival of joy!) 1120. Intoxicated with pride I found some reason (for a quarrel) although in fact there was none and by abstaining from meeting him (i.e. by avoiding him), I destroyed our love by my defiant and arroagant attitude. 1121. For translation vide SP 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 SP 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 SP 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 SP S. No. (528.149) supra

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Prakrit Verses in Sanskrit Works on Poetics 109 1133. As my dear lover plays (on the flute) I dance to his tune, because his love is inconstant (fickle, unsteady). A creeper winds (entwines) its body round a tree though it is firm (or steady) by nature (She means to say: she has to adjust herself to the changing moods of her lover who is inconstant in his love- just as a creeper adjusts itself to the contours of a tree which is firm or steady.) 1134. The dear one as well as his love who (which) has committed an unbearable offence (against the other party), who (which) in spite of the serious offence is inclined to appease (the other party) and who (which) proceeded in a self-willed manner (while committing the offence) are both of them [(i) the dear one, (ii) love) looked down upon (by people). 1135. When he looks at me his eyes convey neither jealousy nor anger they are just blank as if they are looking at a stranger. Now, tell me, is it, possible for us (i.e. me) to avoid pining away? 1136. The lady of the house was aware that her husband who was by her side in the bed had turned away, was restless and heaving sighs. But when she saw the flame of the bed lamp trembling she suspected him - perhaps he was thinking of marrying another woman. 1137. For translation vide SP S. No. (1126.249) supra 1138. For translation vide SP S. No. (485.142) supra 1:139. For translation vide SP S. No. (281.101) supra. 1140. For translation vide SP 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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110 Prakrit Verses in Sanskrit Works on Poetics 1144. For translation vide SP 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 SP 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 111 1155. Believe me, O, charming one, you distress me not so much even by your love's offences (or lapses), as by these courteous utterances divorced from sincerity. (Verse 1156 is corrupt and obscure.) 1157. The anger of the lady which was pruned by the clever (or skilful) speech of her maiden friends when intimating to her the love's offence committed by her husband suddenly sprouted again in her eyes and cheeks. (Verse 1158 is corrupt and obscure.) 1159. For translation vide SP 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 SPS. No. (303.105) supra. 1162. For translation vide sP S. No. (308.106) supra. -1163. For translation vide SP 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 SP S. No. (275.100) supra. (Verse 1166 is treated in the Notes.) 1167. For translation vide SP S. No. (544.152) supra. 1168. For translation vide SP 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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112 Prakrit Verses in Sanskrit Works on Poetics 1170. For translation vide SP 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 113 1182. It is you alone, O, charming one, who have followed the natural (straight forward, honest) course. Nowadays people have one thing in their mind and another on their tongue. 1183. Here I am, alone, your beloved; she isn't here; don't feel shy, speak without hesitation. O, charming one, real feelings of love are difficult to express in the presence of the person one hates ! 1184. O, charming one, please sleer for a short while; you may then speak whatever you think proper. With your eyes heavy with drowsiness you are now not able to see things properly. 1185. Dear boy, see how capricious is love between man and wife. Sudden outbursts of temper followed by spells of gentle harmony, haughtily holding on to positions no longer true leading to considerable mental torture. 1186. For translation vide SP S. No. (768.190) supra. 1187. For translation vide SP S. No. (312.107) supra. 1188. For translation vide SPS. 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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114 Prakrit Verses in Sanskrit Works on Poetics 1195. For translation vide SP 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 SP 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 SP 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 SP S. No.(612.164) supra 1208. For translation vide SP S. No. (328.110) supra

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Prakrit Verses in Sanskrit Works on Poetics 115 1209. Mana 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-narisvara form), the female half of whose body (i.e. Gauri = Parvati) out of jealous anger parts with the male half of his body but quickly hastens to reunite with it, as Gauri 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 SPS. No. (1190.260) supra 1213. There is one drawback about the city of Pratisthana - the heady smell of the jasmine (mallika) 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 SPS. 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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116 Prakrit Verses in Sanskrit Works on Poetics (Verse 1220 is treated in the Notes.) (Verse 1221 is corrupt and obscure.) 1222. Her face promises to beam out any time now -- the shades of displeasure are receding, a glow of joy is gradually spreading and the mixture of the two contrasting moods is increasing the beauty of her face. 1223. For translation vide SP S. No. (265.98) supra 1224. For translation vide SP S. No. (252.95) supra. 1225. "Here he comes"- this announcement of her maids Satyabhama 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 117 1232. As soon as she saw her dear (husband), there spread extreine joy on her face, marked with coquetry, that was fascinating and charming, and Madana, the God of Love, fixed beautiful Mohana (Infatuating) - one of his five arrows on his flowery bow with its graceful (flowery) string strung. 1233. Let alone what other people are talking about the feebleness of your love for me). Your own heart can attest to it. 1234. My friends, why do you ask me to show jealous anger? What is the use of jealous anger in this case ? He has no genuine love for me; any show of anger will be of no avail in this case. (Verse 1235 is treated in the Notes.) 1236. For translation vide SP 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 SP 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 SPS. 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. sahi pAesu chivaMtI pio vva kiM velavesi maM suaNti| ehi Numajasu pAse pAua-muhiA Na muNijjAmo || (sakhi pAdayoH spRzantI (priya iva) kiM vaJcayase mAM svapatIm / ehi zeSva pArzve prAvRta-mukhyau na jJAsyAvahe / /

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118 Prakrit Verses in Sanskrit Works on Poetics 1244. For translation vide SP S. No. (336.112) supra. 1245. My friend, pay homage to the feet of the Manadevata (the Deity of Jealous-anger) only through whose favour your beloved falls at your feet; the other devatas (Deities) being ineffective - powerless. 1246. For translation vide SPS. No. (1124.249) supra 1247. For translation vide SPS. No. (321.109) supra 1248. For translation vide SP 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 Satyabhama) with the celestial Parijata 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 Parijata 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 SP S. No. (310.) supra. 1255. For translation vide SP S. No. (323.) supra 1256. Let him (my dear husband) by his faithlessness fulfil even the unfulfilled

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Prakrit Verses in Sanskrit Works on Poetics 119 desires of my rivals in love. Look, my dear (husband) returns quite safe without fulfilling the desired object of his many beloveds! 1257. Unequal in suffering was that night (preceding the battle that was to end in the recovery of Sita) and the long time that had elapsed as Rama bore the grief of separation from Sita--the night which was to continue only for the four watches of that night. (The suggestion is the night seemed to Rama to be longer than the months of separation from Sita.) 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 Krsna went away to Mathura one doesn't know how the water of Yamuna has become so hot, the cool reed-groves have become so hot, and even the whole river Yamuna has become so hot! 1261. Now, when Hari (Krsna) marched against Indra in order to secure the celestial tree (Parijata), Satyabhama, 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 'pravasa', 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 SP 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 chaya as "fria STEHT I"

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120 Prakrit Verses in Sanskrit Works on Poetics off by the unbearable pangs of impending separation from their beloved husband. 1266. For translation vide SPS. No. (287.102) supra 1267. For translation vide SPS. No. (217.87) supra 1268. "I set out on a journey" - When these words of yours fell on my ears they struck my heart too-your frequent journeys! What sufferings I have not gone through, so far. Poor me! (Verse 1269 is corrupt and obscure.) 1270. For translation vide SPS. No. (301.105) supra 1271. For translation vide SPS. No. (775.192) supra 1273. Sita 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 sirisa flowers (perfumed by the fragrance of fresh sirisa 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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Prakrit Verses in Sanskrit Works on Poetics 121 1279. On the festival day of Pratipad - the first day of the lunar fortnight - the wife of the wayfarer lights auspicious lamps in the temple of the deity that guards the roads and encircles them with her own bracelets that slip down her arms that have grown thin. 1280. Just in the first forenoon (or half-day) (of her dear man's departure) the young woman saying to herself - this day is gone, another day is gone, 'a third day is gone,' etc. made each time a vertical mark on the wall of her room and covered it with many such vertical marks. 1281. The wayfarer's wife found that the lamp she had lighted was quickly put out by her own sighs, long and irresistible, which came in an unbroken row on account of her separation from her beloved husband. (Verse, 1282 is corrupt and obscure.) 1283. The wayfarer's wife kept both the things when her husband went abroad: the vow in accordance with her family tradition and emaciation befitting her love for her husband. 1284. The water which the wayfarer's wife drank from the auspicious vessel on the very first day of his departure on a (long) journey was not exhausted as she continued to weep and shed tears throughout the period of separation. 1285. For translation vide SP 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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122 Prakrit Verses in Sanskrit Works on Poetics heart with her rivals in love in the form of (a row of) festive lamps. 1290. For translation vide SPS. No. (614.164) supra 1291. The wayfarer's wife, whose heart was engrossed in thoughts about her husband, forgot to carry water with her but look, she sprinkled the circular path with her (profuse) tears ! 1292. The wayfarer's young wife repeatedly rotates / moves or waves, in front of the guardian deities of the routes / roads, the festive lamp, the flame, of which flickers and is sprinkled with her tears. 1293. For translation vide SP 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 SP S. No. (755.188) supra 1297. For translation vide SP 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 Rama, 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., Rama 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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Prakrit Verses in Sanskrit Works on Poetics 123 (Verse 1303 is corrupt and obscure.) 1304. As if it were a matter opposed to the king one wayfarer whispers hesitatingly to another: "From the point where the mango leaf is, something (i.e. a shoot of mango blossom) has slightly come out." 1305. Rama, separated from Sita 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 madhuka 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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124 Prakrit-Verses in Sanskrit Works on Poetics my beloved, why they grow longer, I do not know. (Verse 1319 is corrupt and obscure.) 1322. For translation vide SP 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 SP S.No. (82.57) supra 1326. The moon is the brother of the halahala 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 SP S. No. (679.175) supra 1328. For translation vide SP 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 SP S.No. (616.165) supra 1331. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 125 with the first buds of the season and placed on the top of the auspicious water-filled jar at the time of your dear one's departure, will restrain (or prevent) him from undertaking the intended journey. 1335. My dear girl, these very winds which have begun blowing recently only - the Malaya winds - and which are capable of stopping or blocking the tears rolling in the open mouth will restrain the beloved one from setting out on a journey, when he comes to take his leave of you. 1337. For translation vide SPS. 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, kama, 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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126 Prakrit Verses in Sanskrit Works on Poetics overtakes him, it being the promised day of his return. (Verse 1349 is treated in the Notes.) (Verse 1350 is corrupt and obscure.) 1351. When some other wayfarer was coming she began to look at him from her window thinking that it was 'he'-her own beloved. But seeing his face the grasswidow burst into tears and made her maiden friends too weep. 1353. A young girl saw in her dream that her lover had come to meet her. She awoke for a fraction of a moment but remained in her bed with her eyes closed hoping to see him again and this way she spent the whole day. (Cf. VJ S.No. 27.25) 1354. For translation vide SP 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. Sita 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 Rama'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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Prakrit Verses in Sanskrit Works on Poctics 127 as at places from where secret treasures have been dug out. 1366. That horrid woman keeps looking at the necklace for long, weeps unceasingly, holds it against her bosom - that necklace of my husband. 1367. For translation vide SP 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. Sita (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 Ravana killed. ..1373. She (Sita) 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 Rama'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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128 Prakrit Verses in Sanskrit Works on Poetics she got into a swoon. 1377. As the realisation of Rama'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 Rama'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. Sita (lit. the daughter of Janaka) began to lament giving vent to her grief for Rama upon her own body, with her plump and pale breasts stained with blood on account of blows with her own hands. 1382. Sita [lit. the daughter of Janaka), then suddenly recovering herself, began to speak again, wiping off the dust on her breasts, with her veni (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., Sita) 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 Rama). 1385. Hovering between life and death and feeling bewilderd Sita, the daughter of Janaka, ignored the advice of Trijata, 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., Sita) reclined sideways on Trijata's bosom, the tears from their

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Prakrit Verses in Sanskrit Works on Poetics 129 eyes that flowed in a stream, ran over the hair that were pressed on Trijata's bosom by Sita's cheek. 1387. Even though the daughter of Janaka (i.e. Sita) 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 Rama's bosom, she (Sita) lay on the ground covered with the wavy and disordered hair of her loosened braid (or plait). 1389. When she (i.e., Sita) 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. (Sita, overcome by sorrow on account of Rama's death' laments:) The Earth will have another lord, and Rajasri (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., Rama's) end, something that is disgusting (or abhorrent) to a woman ? 1393. (Sita, 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 Raksasa women as with friends only with the hope to see you." 1395. She (Sita) gazed at it (Rama's severed head) once more; and solely intent on death, looked at Trijata 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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130 Prakrit Verscs in Sanskrit Works on Poetics 1396. (Sita says to Trijala:) " Forgive my shameless death, vile because of lack of love, since I endured separation from Rama and accepted widowhood with a cruel heart." With these words, she burst into tears. 1397. She (i.e., Sita) didn't wish to 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., Sita's) sad eyes, their pupils very much dilated, fixed in a still stare on the severed head of Rama, could see it clearly in spite of the tears (lit. were washed but not hindered by her tears). 1399. Immediately after that Trijata raised Sita'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 (Rama'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 Rama (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 Rama 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 Rama was dead, how could Ravana'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 Ravana's garden establishes that Rama is still alive and kicking.) 1404. A single Vanara (Hanumat) reduced the entire city of the demons (i.e., Lanka) to such a sorry state (or plight ) that the loud lament reached through all the rows of its houses. How could Rama's death come about when the

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Prakrit Verses in Sanskrit Works on Poetics 131 demons are unhurt? 1405. Why are you stupefied when there is a cause for joy seeing as you do the pleasure-garden (pramadavana) with its trees thrown off or cast away (praviddha) by a single Vanara (I lanumat) who was only a servant of Rama - the devastated pleasure-garden which is a witness to the humbling of Ravana's pride? 1406. Do not underrate the strength (or power) of Rama's arms. This strength was tested in the slaying of Valin. 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 Lanka 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, Sita), judge him to be like other men (lit. on par with other men)? 1410. How do you believe that the Earth could hold Rama'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, Sita) no confidence in Raghava (i.e., Rama) 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 Lanka stands).

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132 Prakrit Verses in Sanskrit Works on Poetics 1413. Except Rama, who else could have confined Ravana (lit. the Ten-faced one) within the (rampart or) walls (of Lanka) 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 raksasa woman, O, Janaki. Whether in a garden or in a forest it is the fragrant flowers that are picked from creepers. 1415. My dear Janaki, if Rama 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 Rama 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 Magha; 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 SP S.No. (321.109) supra 1422. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 133 never shall I be late again. 1424. For translation vide SP S.No. (338.113) supra. 1425. The young wife (lit. the adult lady), as it were, proclaimed her (good fortune, sex-appeal or better) charms by her disregard for a bath; on the day of festivity, even when her rivals in love (co-wives) were decked up with great enthusiasm after a bath. 1426. For translation vide SP S.No. (99.61) supra 1427. "Your brother says that my mouth still smells of wine. (Please see if it is so.)" with these words the unchaste woman impetuously kisses her (younger) brother-in-law in the very presence of her husband. 1428. For translation vide SP S. No. (485.142) supra, 1429. For translation vide SP S. No. (342.114) supra. 1430. For translation vide SP S. No. (1189.260) supra 1431. For translation vide SP S. No. (579.158) supra. 1432. For translation vide SP 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 SP S.No. (637.169) supra 1435. For translation vide SPS. No. (74.56) supra 1436. For translation vide SP S. No. (686.176) supra 1437. For translation vide SP S.No. (128.67) supra. 1438. For translation vide SP S.No. (220.87) supra 1439. For translation vide SP S.No. (711.181) supra

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134 Prakrit Verses in Sanskrit Works on Poetics 1440. As the breasts of the hunter's wife go on increasing in their size, the (following) five (things) become emaciated, namely, 1) her own waist 2) her husband 3) his bow 4) youths in the village and 5) the rivals in love (co-wives). 1441. For translation vide SP S.No. (388. ) supra 1442. Dear brother-in-law, you have not visited our village nor have you seen the river Murala. At various places it takes turns and at every turn there are reed woods. 1443. For translation vide SP S. No. (166.76) supra 1444. For translation vide SP S. No. (203.84) supra 1445. For translation vide SP S.No. (51.52) supra. 1446. For translation vide SP S.No. (556.154) supra 1447. Hostile to me even in her husband's (Rama's) absence, how will she (Sita) be friendly to me (Ravana) now that her lord (Rama) 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 Jyotsna 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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Prakrit Verses in Sanskrit Works on Poetics 1452. As the cakravaka 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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136 Prakrit Verses in Sanskrit Works on Poetics so tormenting to her rivals in love. 1465. For translation vide SP S. No. (124.66) supra 1466. For translation vide SP S. No. (378.120) supra 1467. For translation vide SP 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 SP S.No. (638.169) supra. 1471. For translation vide SP S.No. (623.166) supra. 1472. For translation vide SP S.No. (342.114) supra 1473. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poctics 137 rays and decorated by streaks outlining the musk-deer after dispelling the surrounding darkness. 1481. The moon as it rises first looks like a coral, then like a mirror in which the ruddy face of an excited young girl is reflected and finally competely white. (Verse 1482 is corrupt and obscure.) 1483. With the darkness dispersed like a rainy day, the partly distinct woods, with beautiful foliage, appeared to be dripping as the lunar rays fell scatttered through the branches. 1484. Ah! the pleasing touch of the white rays of the rising moon, radiant like the laughter of a young, charming woman, which looked brownish when on coming in through the round windows, they mingled with the light of the lamps and also dusky on account of the sandal-wood that was burning there. 1486. All the things necessary to welcome him are already at hand and the bed has been made, still she trys to make it again; the message is carefully couched in correct words and the girl who had started to go to convey it, is stopped again. 1487. She would still have one more sip of wine and another look at herself in the mirror and ask the messenger girl to repeat over again the talk with the lover; thus repeated, it excited her feeling. 1488. The merry young women apply collyrium to their eyes; fasten girdles on their waists, and paint a mark with sandal-paste on their forehead; and although they are solely absorbed in thoughts of the raptures of their prospective sexual union with their lovers, they nevertheless feel disturbed by their anxious fears. 1490. As the Night-bride withdrew and the starlets fell from her hair under his feet, the Daybreak arrived to the announcement of the fragrance of the flowers in tripping steps (or driving away darkness). 1491. As a young woman is leaving the bed with one foot planted on the ground

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138 Prakrit Verses in Sanskrit Works on Poetics (at the early hour of the day) and with the lotus-face turned towards the lover at whom she casts a side-glance - still heavy with desire - through the comer of the eye -- My, my, what a glance ! 1492. The shy young maiden engaged in a game around the salmalt tree, runs round it (blindfold) and catches hold of her own lover, feels her hands to be moist with sweat as she cries out : "Who is the fellow here ?" 1493. Even to him who does not ask her (about it) she says : "He has smashed my bangles." Either the wretched woman is too simple-minded or he is extremely dear to her - poor woman ! (Verse 1494 is corrupt and obscure.) 1495. For translation vide SP S. No. (471.139) supra 1496. For translation vide SP 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 (humkara)and shrieks (phetkara). 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 SP S.No. (311.107) supra

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Prakrit Verses in Sanskrit Works on Poetics 1503. For translation vide SPS.No. (474.140) supra 1504. For translation vide SPS.No. (410.127) supra 139 1505. There too you will make friends, my girl (puttali-putrika), where you are given in marriage; don't you weep. There too you could enjoy love-sports in Vanjula (-Asoka) woods; there too flows the mountain river Goda. 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 (vaage) pakagni?)" 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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140 Prakrit Verses in Sanskrit Works on Poetics 1514. For translation vide SP 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) Asvina, 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 Dipavali (also popularly known as Divali) 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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Prakrit Verses in Sanskrit Works on Poetics 141 1524. The daughter of the master of the house has wallowed on the bed of yava (barley) plants, and the barley plants have yielded an especially rich crop. Now let the cattle (lit. a herd or multitude of cows ) freely graze in the field ! 1525. For translation vide SP S.No. (399.125) supra 1526. For translation vide SP 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 kamiana-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 SP S. No. (592.160) supra. 1533. O, dear boy, the village is far away, and this row of trees (vanaraji) 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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142 Prakrit Verses in Sanskrit Works on Poetics 1535. O, come. I shall say something on behalf of some (young) woman, O, cruel one. Or enough! Let her who thoughtlessly made the commencement of an undertaking die. I shall not say anything. 1536. For translation vide SP S. No. (372.119) supra 1537. For translation vide SP S. No. (481.141) supra 1538. For translation vide SP S.No. (955.221) supra 1539. For translation vide SP 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 SP S. No. (127.67) supra. 1544. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 1547. My beloved has drawn in a picture young women whose hearts are affected by the passion of love and are faced with immediate separation; they seem to have turned away from their assumed jealous anger as their goose-flesh (or horripilation) indicates. 143 1548. The young women, with their eyes full of passion look at their lovers without any constraint and their tormented lovers feel tremendously satisfied by these looks which they prize very much in their hearts. 1549. The young women didn't proceed to meet their lovers nor did they do their hair nor ask the messenger girls regarding the mission entrusted to them. Struck by the moonlight, they, with their hearts bewildered, simply trembled. 1550. The young women set out to meet their lovers but grew tired by the long walk; they would have liked to rest for a while but their amorous hearts were so set on meeting their lovers who had already gone ahead to their meeting place that they would not allow themselves any rest. 1551. For translation vide SPS. No. (467.138) supra 1552. For translation vide SPS. No. (1423.303) supra 1553. For translation vide SPS. No. (21.46; DHV. 11.8 supra). 1554. My dear friend, you have always helped me in my difficulties. Your place is in my bosom. My beloved man is also there. Both of you have overheard what is in my mind. Therefore where is the need of entrusting you with a message? 1555. For translation vide SP S.No. (936.218) supra. 1556. The messages, which the messenger girls bring back from the lovers and convey them to the young women, delight them more than the actual meeting (with their lovers). 1557. When the lovers for some reason turn away from their women, these despondent women who could not take their eyes off their doors, send first their messenger girls to their residence but in their impatience themselves follow them. 1558. For translation vide SPS. No. (971. 224) supra.

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144 Prakrit Verses in Sanskrit Works on Poetics \ 1559. For translation vide sP S. No. (454. 136) supra 1560. For translation vide SP 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 (kamini) 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 SP S. No. (252. 95) supra. 1570. For translation vide SP S. No. (265. 98) supra. 1571. For translation vide SP S. No. (24. 33) supra

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Prakrit Verses in Sanskrit Works on Poetics 145 1572. For translation vide SPS. No. (1090. 243) supra 1573. For translation vide SP S. No. (1089. 243) supra 1574. For translation vide SP S. No. (1098. 244) supra 1575. For translation vide SP S. No. (224. 89) supra 1576. For translation vide SP S. No. (1093. 244) supra 1577. For translation vide SP S. No. (1082. 242) supra 1578. With a view to giving his beloved, Satyabhama, 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 SP 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 SP 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 SP S. No. (1134. 251) supra. 1586. For translation vide SP S. No. (1100. 245) supra * 1587. For translation vide SP 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 Satyabhama, with perspiration and horripilation appearing (on her body) due to the pleasure of Hari's holding her by the

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146 Prakrit Verses in Sanskrit Works on Poetics hand, without waiting for Hari's adopting the remaining modes of reconciliation or appeasement, clung to him. 1590. For translation vide SP S. No. (1147. 253) supra 1591. For translation vide SPS. No. (295. 104) supra. 1592. For translation vide SP S. No. (1232. 269) supra 1593. For translation vide SP S. No. (1222. 266) supra 1594. For translation vide SP S. No. (1007. 230) supra. 1595. For translation vide SP 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 SP S. No. (627. 167) supra 1598. For translation vide SP S. No. (1114. 247) supra 1599. For translation vide SP S. No. (1226. 267) supra 1600. For translation vide SP 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 SP 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 Madhavanila 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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147 Prakrit Verses in Sanskrit Works on Poetics 1606. For translation vide SPS. No. (591. 160) supra. 1607. Seeing the hair on her husband's head stand erect when she has kicked it, the resentful (or proud) lady lets flow her jealous anger in the form of her tears which were mixed with collyrium. 1608. For translation vide SPS. No. (1185. 260) supra. 1609. For translation vide SPS. No. (1002, 229) supra 1610. For translation vide SPS. No. (277. 100) supra 1611. For translation vide SPS. No. (292. 103) supra 1612. For translation vide S'P S. No. (1237. 270) supra. 1613. For translation vide SPS. No. (1117. 248) supra 1614. For translation vide SPS. No. (1123. 249) supra 1615. I still remember the pleasures which I experienced when I dragged him forcibly by his hair which were wound round my big toe as he silently lay prostrate at my feet (begging to be pardoned). 1616. For translation vide SPS. No. (579. 158) supra 1617. After their quarrel, O, friend, their glances that were shot out under some pretext or the other, by chance met each other and, both of them burst out into laughter. 1619. For translation vide SPS. No. (1225. 267) supra 1620. O, desolate girl, you are just lost in counting the lines which you have drawn on the wall to indicate the length of your lover's absence from home. I am afraid, you stupid one, see how you are missing the chance of welcoming him home right now and felicitating him. 1621. When the arrival of the beloved one from journey abroad was (suddenly) announced, his bride closely embraced her maiden friend (who announced the arrival ?), her throat producing the suppressed cry of joy. 1622. For translation vide SPS. No. (616. 165) supra 1623. For translation vide SPS. No. (1348.289) supra 1624. For translation vide SPS. No. (1356. 290) supra.

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148 Prakrit Verses in Sanskrit Works on Poetics (Verse 1625 is corrupt and obscure.) 1626. "Who will congratulate me ?" - "He at whose sight your cheeks are covered with sweat. What will you give him (?)" -- Saying thus the lover embraced me. 1627. When her dear beloved unexpectedly arrived the young lady was so much blinded by tears of joy and overcome by nervousness that she could hardly walk a single step. 1629. While Satyabhama was increasingly full of regrets for causing separation from Hari by her own self, he, on the other hand achieved her desired object and came back (safe and sound) home (in Dvaraka). 1630. For translation vide SP S. No. (541. 151) supra 1631. At the sight of Hari, Satybhama'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 (Satyabhama ?) 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 (Satybhama?) 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 SP 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 asoka sapling. 1642. Satybhama'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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Prakrit Verses in Sanskrit Works on Poetics and then only on that celestial (Parijata). tree (that spread the fragrance.) 1643. Then her eyes, lovely likes lotus, overflowing with the feeling of love, and tremulous through (or under the influence of) love, first rested on her dear husband, Hari, and then only on the excellent tree, namely Parijata. 149 1645. "Look here at this your own excellent tree (Parijata)" 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, Sita realized the significance of Trijata'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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Chapter VII : SARASVATIKANTHABHARANA 1. For translation vide SPS. No. (87.58) supra. 2. For translation vide SPS. No. (88.58) supra. 3. For translation vide SP S. No. (90.59) supra. For translation vide SP S. No. (91.59) supra 5. For translation vide SP S. No. (89.59) supra 6. For translation vide sP S. No. (92.59) supra 7. For translation vide SP S. No. (93.60) supra 8. For translation vide SP S. No. (94.60) supra 9. For translation vide SP S. No. (95.60) supra. 10. For translation vide SP S. No. (96.60) supra. 11. For translation vide SP S. No. (97.60) supra 12. For translation vide SP 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 SP S. No. (32.48) supra.

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Prakrit Verses in Sanskrit Works on Poetics 151 17. For translation vide SP S. No. (99.61) supra. 18. For translation vide SP 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 SP 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 (tanua-tanua) 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 SP S. No. (104. 62) supra 24. For translation vide SP S. No. (967.224) supra. For translation vide SP S. No. (7.44) supra 26. For translation vide SP S. No. (6.44) supra. 27. For translation vide SP 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. Parvati, 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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152 Prakrit Verses in Sanskrit Works on Poetics to the lake. 34. For translation vide SPS. No. (164.75) supra (Verse 35 is treated in the Notes.) 36. We curse ourselves for not having a thousand arms like Arjuna (i.e., Sahasrarjuna) or a thousand eyes like Indra or a thousand ears like Vasuki with only two hands to do you homage, only two eyes to see you and two ears to hear your praise, we feel inadequate. 37. For translation vide DHVS. No. (14.8) supra 38. The poets have looked on this world with all its vissicitudes now as a place of deep joy and now just worthless. Glory to them! 39. Don't chatter like a parrot in the language of parrots I am not a wretched parrot to understand that a female parrot alone knows that languge, not me, you rascal! 41. For translation vide SPS. No. (842.201) supra. 43. For translation vide DHV S. No. (12.29) supra 44. For translation vide SP S. No. (24.47) supra 45. The winter evening lighted by a faint moon fills young women with longing, they deck themselves up, send messages to their lovers and pretend to be angry and jealous. 46. For translation SPS. No. (110.63) supra 47. What have I to do with my father who receives homage from crowned kings (lit. Whose feet are touched by the tufts of garlands of flowers worn on their heads by kings)? Or, with my father-in-law, who shares the throne with Indra in the assembly of gods? Those countries, and those mountains and that forest alone are dear to me; there I can do homage to Kausalya's son (Rama) and rejoice. 48. The cloud roared and broke into a big sound like a kettle-drum, while it assaulted the sky and the earth exactly as the flashing streak of lightning directed.

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153 Prakrit Verses in Sanskrit Works on Poetics 49. They (the Vanaras of Sugriva) 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 krosas)? (Answer :) a krosa (- 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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154 Prakrit Verses in Sanskrit Works on Poetics 67. For translation vide SP S. No. (123.66) supra. (Verse * 68 is corrupt and obscure.) 69. For translation vide SP S. No. (124.66) supra. 70. For translation vide SPS. No. (5.44) supra 71. For translation vide SP 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 SP S. No. (125.66) supra 74. For translation vide SP S. No. (126.67) supra. 75. For translation vide SP S. No. (127.67) supra. 77. For translation vide SP S. No. (139.69) supra. 78. For translation vide SP 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 (candala) 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 Brahmana.) 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 'tankara' (i) twang (ii) fame or reputation)] 84. For translation vide SP S. No. (147.71). supra 85. For translation vide SP S. No. (148.72) supra.

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Prakrit Verses in Sanskrit Works on Poetics 155 86. For translation vide SP S. No. (149.72) supra. 88. For translation vide SP S. No. (142.70) supra 89. For translation vide SP S. No. (143.70) supra 90. For translation vide SP S. No. (144.71) supra. 91. For translation vide SP S. No. (145.71) supra 93. For translation vide SP S. No. (550.153) supra 94. For translation vide SP S. No. (128.67) supra 95. For translation vide SP S. No. (131.68) supra. 96. For translation vide SP S. No. (130.68) supra 97. For translation vide SP S. No. (132.68) supra 98. For translation vide SP S. No. (134.69) supra. 99. For translation vide sP S. No. (153.73) supra 100. For translation vide SP S. No. (613.164) supra. 101. Oil, mixed with a decoction of powdered alambusa (or munditika, 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 SP S. No. (151.72) supra 103. For translation vide SP S. No. (154.73) supra 104. For translation vide SP S. No. (809.196) supra 105. For translation vide SP S. No. (155.73) supra. 106. For translation vide SP S. No. (156.73) supra. 107. For translation vide SPS. No. (157.74) supra. 108. Dasarathi, the descendant of Dasaratha, (patronymic of Rama) somehow passed the rainy season, that was the nightfall to the sun of his endeavour, a strong

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156 Prakrit Verses in Sanskrit Works on Poetics chain restraining the lordly elephant of his indignation, and a cage confining the lion of his victory. 109. For translation vide SP S. No. (158.74) supra. 110. For translation vide SP S. No. (159.74) supra 111. For translation vide SP S. No. (160.74) supra 112. For translation vide SP S. No. (161.75) supra 113. For translation vide SP S. No. (162.75) supra 114. For translation vide SP S. No. (163.75) supra 115. For translation vide SP S. No. (164.75) supra. 116. For translation vide SP S. No. (165.75) supra (Note : Sugriva 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 Vanaras) 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 SP 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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Prakrit Verscs in Sanskrit Works on Poetics 157 126. For translation vide SP S.No. (175.77) supra. 127. For translation vide SP S. No. (734.185) supra 128. For translation vide SP S. No. (58.54), DHV S. No. (5.7) supra 129. For translation vide SP S. No. (1451.307) supra 131. For translation vide SP S. No. (32.48) supra 132. For translation vide SP S. No. (171.76) supra. 133. For translation vide SP S. No. (1451.307) supra. 134. For translation vide SP 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 SP S. No. (245.94) supra. 137. For translation vide SP S. No. (1169.257) supra. 138. For translation vide SP S. No. (304.105) supra 139. For translation vide SP S. No. (174.77) supra. :140. For translation vide SP S. No. (173.77) supra. 141. For translation vide SP S. No. (184.79) supra 142. For translation vide SP S. No. (185.79) supra 143. O, lord of the Vanaras, your desire to do well by Rama by killing Ravana may actually mean disappointment to him. He has been anxious himself to kill Ravana. 144. For translation vide SP S. No. (186.80) supra : 145. For translation vide SP S. No. (197.83) supra. 146. For translation vide SP S. No. (1301.281) supra

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158 Prakrit Verses in Sanskrit Works on Poetics 147. For translation vide SP S. No. (177.78) supra 148. For translation vide SP S. No. (178.78) supra 149. For translation vide SP S. No. (179.78) supra 150. For translation vide SP S. No. (181.79) supra. 151. For translation vide SP 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 Rama's crossing over to Lanka.)" 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 Sandhya like wine (madira)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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159 Prakrit Verses in Sanskrit Works on Poetics 159. For translation vide SP S. No. (192.81) supra 160. For translation vide SP S. No. (180.78) supra. 162. When Yasoda said : "Damodara (i.e.Krsna) is still a child", the dairymaid cast a sidelong glance at Krsna and smiled knowingly. 163. For translation vide SP S. No. (57.82) supra 164. The extremity of the base of the Suvela (also called Trikuta) mountain was not seen even by the lord of serpents (Sesa or Ananta who supports the Earth on its hoods). Its lofty peaks were not reached even by Visnu, when he grew in form (to humble the pride of the Daitya Bali) and wrest the three worlds from him. 165. Vibhisana pouted his lips and heaved a deep sigh at the possibility of the terrible calamity for the whole universe, when Ravana, 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 SP S. No. (189.80) supra 168. For translation vide SP S. No. (49.52) supra. 169. For translatioin vide SP S. No. (515.147) supra. 170. For translation vide SP S. No. (1417.302) supra. 171. For translation vide SP S. No. (505.145) supra. 172. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 160 174. For translation vide SPS. No. (120.364) supra 175. O, lady in captivity, the sound that you heard just now is the clap of thunder reverberated by the unseasonal clouds and not, as you seem to expect, the twanging sound of your husband's bow-string. Therefore, there is no reason whatever for the excitement that you visibly show on your skin. 176. For translation vide SPS. No. (221.88) supra. 177. For translation vide SPS. No. (190.81) supra 178. For translation vide SPS. No. (992.227) supra 179. For translation vide SPS. No. (616.165) supra 180. For translation vide SPS. No. (217.87) supra. 181. For translation vide SPS. No. (216.86) supra 182. For translation vide SPS. No. (218.87) supra. 183. O, you (young woman), who are an expert in cooking do not feel distressed if the fire does not burn in a flame but fills the kitchen with smoke it has been made fragrant by the sweet smell of the patala flowers that your mouth breathes. 184. The gaze of the hunter's (elder) wife, heavy with tears, rests on the face of the newly-wed (younger) wife hard to look at, as it (the face) has been adorned with the ear-ornament of creeper-like (i.e., tender) parings of the bow of husband. 185. For translation vide SPS. No. (273.100) supra 186. For translation vide SPS. No. (638.169) supra 187. For translation vide SPS. No. (1327.286) supra 188. For translation vide SPS. No. (530.150) supra 189. For translation vide SPS. No. (415.128) supra. 190. On this day of festival, today, ever since she heard her dear husband call her

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Prakrit Verses in Sanskrit Works on Poetics 161 by a wrong name, she has detested all her ornaments and adornments, she likens them to the garlands on a buffalo that is being led for sacrifice. 191. For translation vide SP 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 SP S. No. (388.122) supra. 195. For translation vide SP S. No. (314.108) supra. 196. For translation vide SP S. No. (368.119) supra 197. For translation vide SP S. No. (420.129) supra. 198. For translation vide SP S. No. (198.379) supra 199. For translation vide SP S. No. (466.138) supra. 200. For translation vide SP S. No. (1460.308) supra. 201. For translation vide SPS. No. (1461.308) supra. 202. For translation vide SP S. No. (525.149) supra. 203. For translation vide SP S. No. (493.143) supra. 204. For translation vide SP S. No. (1423.303) supra 205. For translation vide SP S. No. (470.139) supra 206. For translation vide SP S. No. (591.160) 'supra. 207. For translation vide SP S. No. (256.96) supra. 208. For translation vide SP S. No. (22.46) supra.

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Prakrit Verses in Sanskrit Works on Poetics 162 209. For translation vide SPS. No. (1497.314) supra. 210. For translation vide SPS. No. (1497.314) supra 211. For translation vide SPS. No. (207.85) supra 212. For translation vide SPS. No. (1185.260) supra 213. For translation vide SPS. No. (482.226) supra 214. For translation vide SPS. No. (600.161) supra 215. Seeing the cowherd engaged in a tete a tete 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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Prakrit Verscs in Sanskrit Works on Poetics 163 227. For translation vide SP S. No. (1370.292) supra 228. For translation vide SPS. No. (1365.291) supra. 229. For translation vide SP S. No. (501.144) supra. 230. For translation vide SP s. No. (634.168) supra 231. For translation vide SP 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 SP S. No. (229.91) supra. 236. For translation vide SP S. No. (898.212) supra. 237. For translation vide SP S. No. (650.171) supra. 238. For translation vide SP S. No. (127.67) supra. 239. For translation vide SPS. No. (592.160) supra. 240. For translation vide SP 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 SP S. No. (453.135) supra. 243. For translation vide SP S. No. (1496.313) supra 244. For translation vide SPS. No. (289.103) supra

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164 Prakrit Verses in Sanskrit Works on Poetics 245. My dear friend, if he is not your man, why is it that when he is mentioned your face beams with joy like a lotus at the touch of the sun ? 246. For translation vide SP S. No. (454.136) supra. 247. For translation vide SP S. No. (477.140) sypra. 248. For translation vide SP S. No. (70.55) supra 249. May the hand of Krsna protect you, -- the hand, which however easily might have lifted the Govardhana mountain, trembled on the breasts of Radha out of sheer nervousness at the first ever experience of sex. 250. For translation vide. SP S. No. (560.155) supra. 251. For translation vide SP S. No. (338.113) supra. 252. For translation vide SP S. No. (336.112) supra 253. For translation vide SP S. No. (328.110) supra 254. For translation vide SP S. No. (1359.291), supra 255. For translation vide SP S. No. (603.162) supra 256. For translation vide SP 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 SP S. No. (398.125) supra. 260. For translation vide SP S. No. (1161.256) supra. 261. For translation vide SP S. No. (1059.239) supra

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Prakrit Verses in Sanskrit Works on Poetics 165 262. For translation vide $P S. No. (767.190) supra. 263. For translation vide SP S. No. (145.71) supra. 264. For translation vide SP S. No. (245.94) supra. supra 265. For translation vide SP 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 SP 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 SP S. No. (321.109) supra 272. For translation vide SP S. No. (1190.260) supra. 273. For translation vide SP S. No. (768.190) supra 274. For translation vide SP S. No. (220.87) supra 275. For translation vide SP S. No. (632.168) supra. 276. For translation vide SP 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 SP S. No. (1323.285) supra. 279. For translation vide SP S. No. (1377.294) supra. una

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166 Prakrit Verses in Sanskrit Works on Poetics 280. For translation vide SP 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 SP S. No. (979.225) supra. 285. For translation vide SP S. No. (225.90) supra. 286. For translation vide SP S. No. (1085.282) supra 287. For translation vide SP S. No. (310.107) supra. 288. For translation vide SP S. No. (1522.318) supra 289. For translation vide SP S. No. (1524.319) supra 290. For translation vide SP S. No. (123.66) supra 291. For translation vide SP. S. No. (459.137) supra 292. For translation vide SP S. No. (1492.313) supra 293. For translation vide SP 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 asoka 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) asoka.

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Prakrit Verses in Sanskrit Works on Poetics 167 296. For translation vide SPS. No. (1528.319) supra. 297. O, Kesara, you sure have won your reward in being lodged like this on the round breasts of the young lady who is looking up at the tree from the top of which you have leaped and at whose desire she has sprinkled it with wine from her mouth. 298. For translation vide SP 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 Bhuta-Mateka (the Divine Mother of all beings ?); O, charming one, do not look at her (therefore when she dances). 300. For translation vide SP S. No. (1506.315) supra. 301. For translation vide SP S. No. (474.140) supra 302. For translation vide SP S. No. (1510.316) supra. 303. For translation vide SP S. No. (30.48) supra. 304. For translation vide SP S. No. (1516.317) supra. 305. For translation vide SP S. No. (1519.318) supra 306. For translation vide SP S. No.(1512.316) supra 307. For translation vide SP 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 SP S. No. (660.172) supra 310. For translation vide SP S. No. (1002.229) supra. 311. For translation vide SP S. No. (609.163) supra 312. For translation vide SP S. No. (21.46); DHV Locana (11.8) supra

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168 Prakrit Verses in Sanskrit Works on Poetics 313. For translation vide SP.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 SP S. No. (716.182) supra. 318. For translation vide SP S. No, (541.151) supra. 319. For translation vide SP S. No. (713.181) supra. 320. For translation vide SP S. No. (710.180) supra. 321. For translation vide SP S. No. (635.168) supra. 322. Wherever he (Ravana) looked he saw her (Sita) 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 SP S. No. 1918.215) supra. 325. For translation vide SP S. No. (326.110) supra. 326. For translation vide SP S. No. (1072.241) supra. 327. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 169 329. Hold her, hold her firmly, you needn't fear her, she is not possessed by any evil (spirit or) power, if you see her walking around like this. Her husband is out on a long journey and this clap of thunder has frightened and unnerved her. 330. For translation vide SP 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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170 Prakrit Verses in Sanskrit Works on Poetics 350. At the sight of the firm round breasts of the beautiful young wife of her husband, the first wife with her sunken cheeks heaved a sigh. 351. For translation vide SP S. No. (244.94) supra. 352. For translation vide SP S. No. (230.91) supra. 353. For translation vide SP S. No. (1206.263) supra. 354. For translation vide SP S. No. (990.227) supra. 355. For translation vide SP S. No. (2.43) supra. 356. For translation vide SP S. No. (687.177) supra. 357. For translation vide SP S. No. (1433.304) supra. 358. For translation vide SP S. No. (99.61) supra., 359. For translation vide SP S. No. (485.142) supra. 360. For translation vide SP S. No. (1052.238) supra. 361. For translation vide SP S. No. (806.195) supra. 362. For translation vide SP S. No. (680.175) supra. 363. For translation vide SP S. No. (128.67) supra. 364. For translation vide SP S. No. (363.118) supra. 365. For translation vide SP 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 'chuhu chuhu'. 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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Prakrit Verses in Sanskrit Works on Poetics 171 rice are my favourites, and so are the heaps of jasmine flowers which are like the strained curds of the buffalo milk. 370. For translation vide SP S. No. (1414.301) supra. 371. This (your) death is worthy of a man. What Ravana 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 SP 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 Ardhanarinatesvara 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 SP S. No. (192.81) supra. 377. For translation vide SP S. No. (193.81) supra. 378. For translation vide SP S. No. (196.82) supra. 379. For translation vide SP S. No. (195.82) supra. 380. For translation vide SP S. No. (1222.266) supra. 381. For translation vide SP 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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172 Prakrit Verses in Sanskrit Works on Poetics Chapter VIII : Kavya-Prakasa. 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 SP S. No. (*14.342) supra.

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173 Prakrit Verses in Sanskrit Works on Poetics 12. "He is a jewel among the lazy bones, foremost among the gay rogues, and O, young daughter, he is possessed of immense wealth." At these words she hung her head down but her eyes dilated with joy. 13. On the battle-ground, he held Victory so firmly by the locks of her hair, that his enemies offered their necks in a close grip of the caves. 14. Seeing the lovers to be impatient for a close and impetuous embrace the anger of the offended women swiftly disppears from their hearts, afraid, as it were, of being squeezed out of their breasts. 15. Glory be to the Goddess of Speech who has taken up her residence in the lotus of the poet's mouth, and who, as a dig as it were at the old fool, Brahma creates a universe which is altogether different (from the old universe of Brahma). 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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174 Prakrit Verses in Sanskrit Works on Poetics walks about proudly in the moonlit nights, establishes, as it were, his sovereign rule over the entire world. 23. Even though brushed away by the heart that feels tormented by it, the necklace, being of pure breed, does not desert its friends, the breasts. 24. The God of Love has, as it were, regained his handsome body in the form of the black and lovely tresses of the damsel and receiving strength from her shoulders he wins the battle of sex. 25. O, charming one, tell me the truth about your relation with the newly risen moon on the full moon night, and also who your beloved lady is - possessed of perfect beauty -- as the Early Evening (Pradosa-rajani) of the moon ? 26. O, friend, in the very first encounter of your battle of sex, your friend, the close hug, snapped the intruding necklace; tell me now how did the rest of the love-game then go on. 27. O, friend, as you were almost on your door-step, you turned your face and looked towards the road and placed the pitcher on your shoulder and started weeping saying - "alas ! alas ! the pitcher is smashed." How did it happen? 28. The (earthen) pitcher, finding that you were distressed and that your eyes were tremulous thought itself to be too heavy for you and broke by itself under the pretext of being struck against the door. 29. Alas ! that married lady although elderly fascinates your heart like a young bride - that lady who is fired by the youthful desire for pleasure, is aroused by moonlight and wine. 30. For translation vide SP 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 SP S. No. (50.16) supra. 34. For translation vide SP S. No. (30.12) supra. 35. For translation vide SP S. No. (5.7) supra.

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Prakrit Verses in Sanskrit Works on Poetics 175 36. For translation vide SP S. No. (2.6) supra. 37. On the occasion of viparita-rata (Contrary intercourse - where the woman takes the man's position, man and woman changing places in the act of love), when Laksmi saw Brahma seated on the navel lotus of her husband, Visnu, being intently absorbed in the act of love, suddenly (or quickly) closed the right eye of Visnu. 38. For translation vide SP 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 SP S. No. (369.414) supra. 41. For translation vide SP S. No. (14.8) supra. 42. For translation vide SP 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) supra. 48. The enemy expected the thrill of the battle but quickly turned back (like a disheartened woman - pratinayika in his harem) on seeing him place his hand

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176 Prakrit Verses in Sanskrit Works on Poetics on his favourite mistress (nayika) -- his scimitar. 49. Victory (Jayalaksmi - 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 SP S. No. (1535.320) supra. 53. Her never-ending sighs become longer with days and nights. Her 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 SP 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 SP 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 Yasoda's breast in his hands and put his lips to its nipple and remembered how his lips had blown on the Pancajanya (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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Prakrit Verses in Sanskrit Works on Poetics 177 61. She dwells in your heart, she alone is in your eyes and in your words. O, charming one, can there be any room for poor women like us ? 62. O, handsome one, you are fair-complexioned, yet you have tinged my heart red; and although I have placed you in my so coloured heart, your complexion has not been affected at all. 63. There is no one in this village who would stop this young woman from going around; she spreads her radiant beauty and 'steals the hearts of young men, she is a thief. 64. As it is deep, as it is full of jewels, and as it is pure in colour, why hasn't this ocean been made by the Creator of sweet water ?

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Chapter IX : Alamkarasarvasva 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 Visnu's navel brilliant like the wide firmament in which Brahmadeva, the Creator, with swarming bees

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Prakrit Verses in Sanskrit Works on Poetics 179 covering his body, looks like a spot on the moon. *14. For translation vide SP S. No. (667.174) supra. '15. (Note: There is a pun on the name Kumuda - the name of a Vanara 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 SP 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 SP 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 Manasa 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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180 Prakrit Verses in Sanskrit Works on Poetics 22. Victorious is the Man-Lion's massive neck with its brownish mane, which is, as it were, a collection of lightning streaks hanging loose on his neck without the support of the clouds which have been blown off the Lion's roar. 23. For translation vide VS. No. (1.19) supra. 24. The same lower lip of the beloved yields a variety of pleasures : When on request it submits itself to a kiss, or when a kiss is violently planted on it, and it is still a different kind of pleasure when the lip offers itself voluntarily for a kiss. (Verse 25 is treated in the Notes.) *26. When the charming moon-faced young women retire to their bed-rooms, their usual maids who always accompany them, the jewelled girdles which are the usual companions of their hips and the bashfulness, the usual resident of their hearts, withdraw. 27. The sun is the glory of the sky, rasa of poetry, love of youth, nectar of the sea and of this earth, you 0, King. *28. Some pass the course of worldly life-utilize their life in acquiring religious merit, while some others accumulate material wealth, some however enjoy only sensuous pleasure, but in the case of many others, well, life passes just like that. 29. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 181 *33. The crescent moon here, as reflected on this fawn-eyed young woman's cheek, which is marked by a ring of fresh tooth marks, resembles a sarkha-patra (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 palasa flowers on the branches blooming in the spring - month just as they are afraid of raksasas (demons) residing in Lanka, 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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182 Prakrit Verses in Sanskrit Works on Poetics profit you lost even your capital ! 46. For translation vide SPS. No. (743.186) supra. *47. How can this slender young woman who is growing thinner on account of her anxiety possibly reside in your heart in your chest which is broad like Mt Meru and deep like the ocean? *48. My dear girl, you appear excited with thoughts of secret love-making. What wonder is there, if you steal the heart of your lover? (Not only that) you would also dispel darkness by the mass of bright light of your (moon-) face. *49. The poison of intoxication caused by some cause or causes (other than knowledge) is removed by knowledge; but if it is caused by knowledge (itself), please say what will remove it? *50. Self-respect proceeds from merit and merit from service of the good and this opportunity to serve the good is the fruit of credits accumulated in previous lives. *51. For translation vide SPS. No. (1323.285) supra. *52. The heavy breathing of some lady on account of the exertion caused by climbing the steps did not stop on the top of the staircase but actually increased by the darsana 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 - Mimamsa) 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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184 Prakrit Verses in Sanskrit Works on Poetics 20. For translation vide SP S. No. (1267.275) supra. 21. For translation vide SPS. No. (413.127) supra. 22. For translation vide SP S. No. (1608.332) supra. 23. For translation vide SP 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 SP S. No. (243.94) supra. 27. For translation vide SP S. No. (1245.271) supra. 28. For translation vide SP 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 SP S. No. (967.224) supra. 31. For translation vide SPSN (1527.319) supra. 32. For translation vide SP S. No. (6.44) supra. 33. For translation vide SP S. No. (7.44) supra. 34. For translation vide SP S. No. (Add. 3.1.44) supra. 35. For translation vide SP S. No. (30.346) supra. 36. For translation vide SP S. No. (106.62) supra. (Verse 37 is corrupt and obscure.) 38. For translation vide SP S. No. (107.63) supra.

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

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186 Prakrit Verses in Sanskrit Works on Poetics 60. For translation vide SP S. No. (26.47) supra. 61. For translation vide SP S. No. (Add.* 45.1); (and SP S. No. 110.63) supra. 62. For translation vide SP S. No. (151.72) supra. 63. For translation vide SP 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 SP. 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 SP S. No. (638.169) supra. 71. For translation vide SP S. No. (459 137) supra. 72. For translation vide SP S. No. (151 1.317) supra. 73. For translation vide SP S. No. (31 108) supra. 74. For translation vide sP S. No. (1518.317) supra. 75. For translation vide SP S. No. (1519.318) supra. 76. i) For translation vide SP S. No. (1520.318) supra. ii) For translation vide SP S. No. (645.170) supra. 77. For translation vide SP S. No. (399.125) supra. 78. For translation vide SP S. No. (123.66) supra. 79. For translation vide SP S. No. (1527.319) supra 80. For translation vide SP S. No. (1528.319) supra.

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

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188 Prakrit Verses in Sanskrit Works on Poetics 105. For translation vide SP S. No. (1497.314) supra. 106. For translation vide SP S. No. (1514.317) supra. 107. For translation vide SP S. No. (308.402) supra. 108. For translation vide SP S. No. (660.172) supra. 109. For translation vide SP S. No. (1609.332) supra. (Passage 110 is treated in the Notes.) 111. For translation vide SP S. No. (154.73) supra. 112. For translation vide SP S. No. (811.196) supra. 113. For translation vide SP S. No. (812.196) supra. 114. For translation vide SP S. No. (813.197) supra. 115. For translation vide SP S. No. (814.197) supra. 116. For translation vide SP S. No. (815.197) supra. 117. For translation vide SP S. No. (816.197) supra. 118. For transaltion vide SPS. No. (817.197) supra. 119. For translation vide SP S. No. (818.197) supra. 120. For translation vide SP S. No. (746.187) supra. (Passage 121 is in pali: Once upon a time, at Varanasi, a great king named Dasaratha 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 Rama Pandita (or Rama, the Wise), the second Laksmana (or Lucky) and the daughter's name was Sita. After a while, their mother died.)

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Chapter XI : (Vagbhatalamkara) *1. King Sri Siddharaja, 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, Cataka (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 stri flowers. 6. O, gazelle-eyed one, look, here is Ravana 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 kasayas (passions of 1. anger 2. pride 3. deceit and 4. greed) by self-control and whose mind is always pure or tranquil (prasanna) like his body and whose body is always pure or tranquil like his mind. 9. O gazelled - eyed (or large-eyed) one, the swarm of bees rushes towards your face taking it to be a golden lotus, towards your eyes thinking them be blue lotuses and towards your face always radiant with a smile, thinking it to be a

Page #254
190 Prakrit Verses in Sanskrit Works on Poetics (white) flower. 10. Those men who have no desire to win fame nor compassion even for a moment towards those who suffer in life - do they, like the guardians of wealth (dhanayaksa), give wealth even at the time of death ? (Note : The dhanayaksas 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 kalakuta (deadly) poison, the Malaya wind coming from the South (the direction of the God of Death), the palasa that blossoms in the rainy season (also the cannibal demon) - these three are the long travellers' killers.'

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Chapter XII : (Hemacandra's Kavyanusasana) 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 SP S. No. (442.133) supra. 5 For translation vide SP S. No. (188.80) supra. 6. For translation vide SP S. No. (50.52) supra. 7. For translation vide SP S. No. (51.52) supra. 8. For translation vide DIV S. No. (31.32) supra. 9. For translation vide SP 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 SP 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 SP 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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192 Prakrit Verses in Sanskrit Works on Poetics - you, who spoil the glory of the lotus (also, by way of pun, a gentleman by name Kamala), which is full of juice or honey (also love), which is tender (also tender - hearted) by nature, which is bright (also pure), and which is cheerful in receiving the sun's rays (also friends). 22. For translation vide DHV S. No. (20.9) supra. 23. For translation vide DHV S. No. (18.9) supra. 24. For translation vide DHV S. No. (23.10) supra. 25. For translation vide DHV S. No. (22.10) supra. 26. For translation vide DIIV S. No. (25.11) supra. 27. For translation vide DHV S. No. (27.11) supra. 28. For translation vide DHV S. No. (26.11) supra. 29. For translation vide DHVS. No. (35.13) supra. 30. For translation vide DHV S. No. (17.9) supra. 31. For translation vide KP S. No. (14.421) supra. 32. For translation vide KP S. No. (21.423) supra. 33. For translation vide DHV S. No. (*38.13) supra. 34. For translation vide DHV S. No. (*39.13) supra. 35. For translation vide DHV S. No. (41.14) supra. 36. For translation vide DHV S. No. (42.14) supra. 37. For translation vide KP S. No. (30.425) supra. 38. For translation vide SP S. No. (212.86) supra. 39. For translation vide DR S. No. (22.23) supra.

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Prakrit Verses in Sanskrit Works on Poetics 193 40. "The mind (or heart) of the beloved one, prone to passion (love), as it becomes agitated (or excited) at the sight of the moon-like face of her dear lover, does not come to rest (i.e., does not become pacified), although the manifestation of physical effects such as perspiration has been restrained through (fear of) its being noticed by the elderly people (near about)."! 41. For translation vide SK S. No. (120.364) supra. 42. "I am straightforward by nature, while his love is wild. My maiden friends are very shrewd. With this thought she says to them : "please stop, what is the use of applying red paint to my feet?" 43. For translation vide KP S. No. (19.422) supra. 44. For translation vide KP S. No. (43.429) supra. 45. For translation vide DHV S. No. (44.14) supra. 46. For translation vide SK S. No. (3.340) supra. 47. For translation vide SK S. No. (4.340) supra 48. For translation vide SK S. No. (14.8) supra. 49. As the bath ended the young brunette's long tresses that had enjoyed the pleasure of being in close contact with her hips, wept large drops of tears, as it were, out of fear of now being tied up." 50. For translation vide SP 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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194 Prakrit Verses in Sanskrit Works on Poetics 56. For translation vide SP 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 SP S. No. (22.46) supra. 64.1. For translation vide SP S. No. (41.50) supra. 65. For translation vide SP 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 SP 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 Rama himself, considered as Visnu."

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Prakrit Verses in Sanskrit Works on Poetics 195 70. For translation vide SP 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 patali (or patala) tree which is very hard and difficult to climb. How many (young men) in this village has this Patala 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 SP S. No. (466.138) supra.. 77.1. (This verse is obscure.) 78. For translation vide SP S. No. (199.83) supra. . 79. For translation vide SP S. No. (200.83) supra. 80. For translation vide SP S. No. (201.83) supra.

Page #260
Chapter XIII : (Kalpalataviveka) 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 samsara 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 Rudrata's Kavyalamkara with Namisadhu's Tippana S. No. (*14.4) supra. 6. For translation vide DIIVS. No. (59.18) supra 7-8. For translation vide DHV S. No. (14.8) supra 9. For translation vide DHV S. No. (33.12) supra 10. For translation vide SK. S. No. (2.339) supra. 11. For translation vide SK. S. No. (20.343) supra. 12. For translation vide SK. S. No. (6.340) supra 13. For translation vide SK S. No. (12.341) supra 14. For translation vide VJ S. No. (18.23) supra. 15. For translation vide SK S. No. (7.340) supra 16. For translation vide KP S. No. (44.429) supra 17. For translation vide DHV S. No. (1.6) supra 18. For translation vide DIV S. No. (2.6) supra

Page #261
Prakrit Vesses in Sanskrit Works on Poetics 197 19. For translation vide DHVS. No. (3.6) supra 20. For translation vide DHV S. No. (4.7) supra . 21. For translation vide KAS 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 KAS S. No. (42.486) supra 30. For translation vide DIIVS. No. (30.12) supra 31. For translation vide KAS 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 KAS S. No. (21.482) supra

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

Page #263
199 Prakrit Vecses in Sanskrit Works on Poetics 63. For translation vide DHV S. No. (33.12) supra 64. For translation vide DIIVS. No. (34.12) supra. 65. For translation vide DHV S. No. (23.10) supra 66. For translation vide DIIV S. No. (35.13) supra. 67. For translation vide KP S. No. (26.424) supra 68. For translation vide DIIVS. No. (27.11) supra 69. For translation vide KP S. No. (17.422) supra 70. For translation vide DIIV Locana S. No. (*39.13) supra 71. For translation vide DHV S. No. (21.10) supra 72. For translation vide DIIV Locana S. No. (*38.13) supra 73. For translation vide DIIV Locana No. S. No. (*39.13) supra. 74. For translation vide DHVS. No. (40.14) supra. .75. For translation vide DIIVS. No. (41.14) supra 76. For translation vide DIIVS. No. (42.14) supra 71. For translation vide DIIV S. No. (43.14) supra 78. For translation vide DIIVS. No. (45.15) supra 79. For translation vide DIIVS. No. (1.6) supra -80. For translation vide DHV S. No. (46.15) supra 81. For translation vide SK S. No. (49.350) supra 82. For translation vide SK S. No. (51.350) supra 83. For translation vide SK S. No. (52.350) supra 84. For translation vide KP S. No. (46.430) supra

Page #264
200 Prakrit Verses in Sanskrit Works on Poetics (Verse 85 is corrupt and obscure.) (Verse 86, indicated by the pratika is not identifiable.) 87. For translation vide VJ S. No. (18.23) supra. (Verse 88 is corrupt and obscure.) 89. For translation vide VJ S. No. (11.22) supra. 90. For translation vide SK S. No. (111.362) supra. 91. For translation vide SK S. No. (112.362) supra. 92. For translation vide SK S. No. (113.362) supra. 93. For translation vide SK S. No. (115.363) supra. 94. For translation vide SK S. No. (80.355) supra. 95. For translation vide SK S. No. (81.356) supra. 96. For translation vide SK S. No. (163.372) supra. 97. For translation vide VJ S. No. (7.21) supra. 98. For translation vide VI S. No. (4.20) supra. 99. For translation vide A Sarvasva S. No. (27.441) supra. 100. For translation vide KP S. No. (52.432) supra. 101. For translation vide A Sarvasva S. No. (42.444) supra. 102. For translation vide A'Sarvasva S. No. (41.444) supra. 103. For translation vide SK S. No. (142.368) supra. 104. For translation vide SK S. No. (143.368) supra. 105. For translation vide SK S. No. (71.353) supra. 106. For translation vide SK S. No. (72.354) supra.

Page #265
Prakrit Verses in Sanskrit Works on Poetics 201 107. For translation vide KP S. No. (62.434) supra. (Verse 108, indicated by the pratika is not identifiable.) 109. For transltion vide SK S. No. (76.354) supra. 110. He (Dhumraksa) 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 dhaam (Sk. dhvajam) for bhuam (Sk. bhujam) 2. Kulanatha reads paharanam(Sk. praharanam) for vikkamam(Sk. vikramam). + + +

Page #266
202 Prakrit Verses in Sanskrit Works on Poetics, Chapter XIV : (Alamkara - 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 Radhika (i.e., Radha, the celebrated gopi, cowherdess (dairymaid) loved by Krsna). 14. For translation vide SK S. No. (255.391) supra. 15. For translation vide SK S. No. (183.376) supra. 16. For translation vide SK S. No. (120.364) supra. 17. For translation vide SK S. No. (175.375) supra. 18. For translation vide SK S. No. (176.375) supra.

Page #267
Prakrit Verses in Sanskrit Works on Poetics 203 19. For translation vide SK S. No. (199.380) supra. 20. For translation vide SK S. No. (179.376) supra. 21. For translation vide SK S. No. (180.376) supra. 22. For translation vide SK S. No. (177.375) supra. 23. For translation vide SK S. No. (181.376) supra. 24. For translation vide SK S. No. (182.376) supra. 25. For translation vide SK S. No. (172.374) supra. 26. For translation vide SK S. No. (170.374) supra. 27. For translation vide DHV S. No. (15.9) supra. 28. For translation vide DHV S. No. (24.10) supra. :29. For translation vide DHV S. No. (23.10) supra. 30. For translation vide DHV S. No. (22.10) supra. 31. For translation vide DHV S. No. (35.13) supra. 32. For translation vide KP S. No. (21.423) supra. 33. For translation vide KPS. No. (22.423) supra. 34. For translation vide KPS. No. (26.424) supra. 35. For translation vide KP S. No. (28.425) supra. 36. For translation vide KP S. No. (24.424) supra. 37. For translation vide KP S. No. (12.420) supra. 38. For translation vide DHV S. No. (20.9) supra. 39. For translation vide KP S. No. (14.421) supra. 40: For translation vide DHV S. No. (21.10) supra.

Page #268
204 Prakrit Verses in Sanskrit Works on Poetics 41. For translation vide KPS. No. (32.426) supra. 42. For translation vide KP S. No. (33.426) supra. 43. For translation vide KAS S. No. (4.479) supra. 44. For translation vide KAS S. No. (5.479) supra. 45. For translation vide SP 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 KAS 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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Prakrit Verses in Sanskrit Works on Poetics 205 63. For translation vide SK S. No. (127.365) supra. 64. For translation vide A'sarvasva S. No. (27.441) supra. 65. For translation vide VJS. No. (4.20) supra. 66. For translation vide SK S. No. (51.431) supra. 67. For translation vide SK S. No. (148.369) supra. 68. For translation vide A sarvasva S. No. (41.444) supra. 69. For translation vide KP S. No. (52.432) supra. 70. For translation vide A'sarvasva S. No. (46.445) supra. 71. For translation vide SK S. No. (77.355) supra. 72. For translation vide KP S. No. (60.434) supra. 73. For translation vide KP S. No. (62.434) supra. 74. For translation vide KP S. No. (56.433) supra. 75. For translation vide KP S. No. (57.433) supra. 76. For translation vide SK S. No. (69.353) supra. 77. For translation vide KPS. No. (64.435) supra. sypia. . 78. For translation vide SK S. No. (4.340) supra. 79. For translation vide SK S. No. (3.340) supra.

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Chapter XV : (Vagbhata's Kavyanusasana) *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 Siddharaja (Jayasimha) whose title is 'kuta-varata' 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 sP 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 SP S. No. (311.107) supra.

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Prakrit Verscs in Sanskrit Works on Poetics 207 *11. For translation vide DHV S. No. (31.12) supra. *12. We couldn't care less for you, O, moon, so long as this banyan tree which provides (thick) shade with its dense leaves and which serves as an ornament of the entire village continues to exist (lit. shines.) *13. For translation vide KP S. No. (53.432) supra. *14. For translation vide KP S. No. (52.432) supra. *15. For translation vide SP 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 SP S. No. (Add.3.1.44) supra. *18. For translation vide Rudrata S. No. (9.3) supra. *19. For translation vide Rudrata 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 Devisataka is first cited by Hemacanadra in his Kavyanusasana (P. 332 V. no 497). Vagbhata, after Hemacandra cites it in the same context.

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Chapter XVI : (Sahitya-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 SP S. No. (1423.303) supra. 11. For translation vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 209 16. For translation vide KP S. No. (3.418) supra. 17. For translation vide DHV S. No. (30.12) supra. 18. For translation vide DHV S. No. (5.7) supra. 19. For translation vide DR Avaloka S. No. (1.26) supra. 20. Although you dispel darkness and your rays are welcome to one and all and you dwell on Pasupati's (i.e., Siva's) head, still you take the lives of women (fallen in love and whose love is not requited). 21. The lady (Sa) 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 (dhsti)'. 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 : (Rasarnava-Sudhakara) 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 Vanavatika ? 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 Rama, the son of Kausalya, I bow down and where I rejoice are dearer to me - are more precious to me. 3. (Note : Hamsapadika had once been the king Dusyanta's favourite, but she had fallen into neglect. The king was now paying attetion to the senior queen Vasumati. 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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Prakrit Verses in Sanskrit Works on Poetics 211 fixed, slightly turned aside and bent down, the eye-balls inside the lashes being contracted. 10. For translation vide SP 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 SP S. No. (1423.303) supra. 15. For translation vide SP S. No. (1615.332) supra. 16. For translation vide A'mahodadhi S. No. (13.513) supra. : 17. For translation vide SP 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. Sudhakara 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 (vilasa)?

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212 Prakrit Verses in Sanskrit Works on Poetics 24. That the bow of Sankara (906 ), whose moon (on the head) is shaking because of the (waves of) river Ganges (starfareTT:), who is the master of appeasing the great pride of Kama (pra4c498T FURT :) and who gives (a helping) hand (910 Grg :) to the chastising staff of Time (god of death personified = yama) of Brahma (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 Kapalika 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). * * *

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Chapter XVIII : (Alamkara - Ratnakara) 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. SPS. No. (667.174) supra. 2. Cf. A'sarvasva Vimarsini S. No. (31.442) supra.

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214 Prakrit Verses in Sanskrit Works on Poetics 11. How can unpleasant words come out of the mouth of a good mau even though he is agitated by intense anger ? The rays of the moon cannot but sprinkle nectar even when being swallowed by Rahu. 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 (= Parvati) 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. SP S. No. (407.126) supra. 3. Cf. A'Sarvasva - Vimarsini S. No. (*54.446) supra.

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Prakrit Verses in Sanskrit Works on Poetics 215 20. The farmer saw the breasts, arm-pits and hips of his beloved wife through her threadbare dress as she was pounding grain and thanked his poverty. 21. The moment your bow (? arrow) was taken out of its sheath or quiver, your enemies resorted to (lit. entered) the mountain caves. 22. For translation vide KP'S. No. (63.435) supra. 23. Rama 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 nayika) 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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216 Prakrit Verses in Sanskrit Works on Poetics the sapphires in their ear-ornaments that fell on their faces. 33. For translation vide A'Sarvasva S. No. (18.439) supra. 34. For translation vide A Sarvasva S. No. (39.443) supra. 35. May the arid desert - region, adorned by the Khadira tree be prosperous (or flourish) - the Khadira tree which with its abundance of fruits sweet or delicious due to their ripeness satisfies the hunger of travellers. 36. My beloved husband has indeed shamed the moon by his bright fame and therefore now the moon has started tormenting me with his rays which (to me) are the fierce flames of the forest-fire (lit. me with the massive forest - conflagration under the guise of his moonlight.) 37. It needs merit accumulated during previous lives to come across in this world a master who can remain free from the influence of slanderers or a poet who is free from jealousy or a treasure trove that is not being guarded by a snake. 38. When the moon with his rays of soft light starts on his travels along the sky-path, the lotuses close (their petals) and the pleasures of the cakravaka 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 Slesa in which two upamanas 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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Prakrit Verses in Sanskrit Works on Poetics 217 43. For translation vide A 'Sarvasva - Vimarsini S. No. (*43.444) supra. 44. For translation vide A'sarvasva - Vimarsini S. No. (*1.436) supra. 45. For translation vide DHV S. No. (3.6) supra. 46. If you are bent on going, then go; who (on earth) can stop you from going ? Your departure would cause / spell my death - that is what Destiny has written on my forehead! And that is coming true now. 47. For translation vide DHV S. No. (26.11) supra. 48. For translation vide A 'Sarvasva S. No. (42.444) supra. 49. O, fair one, who are resting your face on the palm of your hand, say what (alternative) is dear to your heart: the nectar of a close hug of your lover or the poison-flame of jealousy and anger ? 50. This is the month of spring; this poor young girl is the sole cause of heart - rending grief. "O, young man, who are interested only in wealth, you may go or stay! 51. For translation vide A Sarvasva - Vimarsini S. No. (*44.445) supra. 52. If you give to others the best part of the wealth you have, what wonder is there? You however, give to your co-wives what you do not have at all -- ill luck and misery 53. Look, from where in the multitude of clouds there arose the roar of thunder, from there only flashes of lightning appeared. 54. It is remarkable indeed that reputations and fortunes are made or lost on the sharp edge of your sword which has become sticky with the blood and slippery with the fat of the enemies you have killed ! 55. A deep moaning (groaning) sound (sitkara) 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. Sikara is the sound of the drawing in one's breath in pain.

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218 Prakrit Verses in Sanskrit Works on Poetics 56. What is the Vindhya mountain without its excellent (or lordly) elephants with bees indolent because of their ichor ? Without the Vindhya mountain, elephants suffer hundreds of discomfitures ! 57. What can you do with a master who has lost in the eyes of his servants all respect and honour and also with a servant who has fallen low through continuous humiliation or repeated insults ? 58. Liquor diverts mind to thoughts of love, makes all the thin limbs of the beloveds' bodies heavy and slow but mysteriously enough relieves the beloved ladies of the heavy burdens of jealousy and anger and makes them light in heart. 59. Sulkiness (or pride) over a period of time dies of itself though it is likely to revive itself again even after a long time. The intoxication of liquor causes women to entertain feelings quite otherwise (It either makes living women get over their jealous anger or sulkiness which they have been nursing for long or arouse it over again when they had almost forgotten it ) 60. The day on which the dear husband has promised to return home is very near. Please deck me up with extra care. Today separation ends whether he comes or not. 61. In the course of the battle the king subdued one section of his enemy's army but set it free whereas another section he slaughtered. The former won him merit in heaven and the latter fame on earth. 62. As these demons raised their heads swollen in pride and insolence, my head too sank or hung down in shame. 63. We do honour to Visnu who in his third incarnation (avatara) placed through the heavy grunting of the boar, Adivaraha, on the disc of the sun, the stain of mud picked up from the nether world i.e., Patala. 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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Prakrit Verses in Sanskrit Works on Poetics 219 slack (or diluted). Thus your love for me depends on the shape and condition of my breasts. With whom shall I get angry ? (i.e., I can't get angry with you. If your love for me has become slackened and lukewarm , it is my breasts that are to blame for that and not you!) 66. For translation vide DHV S. No. (45.15) supra. 67. Who will benefit from evil or the wealth of the evil ? Only the evil, of course! Crows alone eat the fruit of nimba, bitter even when ripe. 68. What can you say about liquor ? Its mere auroma inclines the mind to thoughts of love, sinks jealousy into forgetfulness and rids you of shame! 69. Let warriors greedy for wealth, attack their enemy; but O, lion, by attacking the (thundering) cloud what do you hope to gain ? 70. Why do you again want to wash off the decoration of mud stuck on your breast by whom you know there is no harm in it during the spring festival of Holi. Besides, it has already been washed off by the profuse perspiration on the breasts! 71. For translatiivide A'Sarvasva - Vimarsini S. No. (*48.445) supra. 72."While the colour - pastils are operating the whole day in a wonderful way, thev not only do not become eroded (they not only not become smaller and smaller) (because of prolonged, uninterrupted use of the colouring material out of which they are made) but, (on the contrary) they (by slesa - 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 'Ratnakara S. No. (73.559) supra. 6. Cf. SPS. No. (399.125) supra.

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

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Prakrit Verses in Sanskrit Works on Poetics 221 85. For translation vide A'Ratnakara 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 (Visnu, 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. SP S. No. (1087.243) supra. 8. Cf. A 'Sarvasva-Vimarsini S. No. (52.446) supra.

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

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

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224 Prakrit Verses in Sanskrit Works on Poetics 108. For translation vide DIVS. No. (2.6) supra. 109. His hand that only gave away in charity, stretched out only to receive his sword whenever difficult battle-fronts needed him. 110. Spread your light elsewhere, O, Moon ! Do not rain it on the sea. My own house, which is lighted up by the lustre of my wife's face which is a moon, hardly needs you. 111. People's time comes to an end while they think of their mother's breasts that are white with milk in the early part (of life) and of the young damsel's breasts that are white with sandal - paste in the latter part. 112. Your fame, O, king, travels comfortably around in Amaravati, 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. Visnu, Krsna) 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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Prakrit Verses in Sanskrit Works on Poetics 225 the course of amorous sports.) 118. At the mere sight of your beloved husband (or lover) your mind becomes pure as well as impassioned; but how strange! When he falls at your feet you become as hard as adamant! 119. For translation vide SK S. No. (374.415) supra. 120. Eminent men all over try to propitiate you, Lord, with various kinds of offerings mostly of gold and precious stones and seek nothing but lovely dust on your feet! 121. My friend, as the bee robs the lordly elephant of his ichor, he offers him the flappings of his ears! 122. The ornamental 'tilaka'mark on your beloved's forehead travelled from there to your lips (when you kissed her) and from there to my feet (when you fell prostrate at my feet) thus moving from place to place it has made a tortuous journey to achieve a difficult task ! 123. See, O Lord, as soon as it has dawned here, beauty has passed from the lamp to Aruna (the sun), from the moon and the countless stars to the white or red day-blooming lotuses --- from the night (syama) to the day and from the flocks of cakoras to the assemblages (cakram) of cakravakas. 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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226 Prakrit Verses in Sanskrit Works on Poetics 125. O, Fate, if you are favourably disposed towards me, please see that you spare me from another life in this mortal world, but if you will that I should be in the mortal world please see that I don't fall in love. If however that is your will, let it at least be with a person not difficult to obtain. 126. A good man never gets angry. Even if he gets angry he does not think ill (of others); and if he thinks ill of anybody, he does not speak it, if he, even then, speaks out, it is not without feeling ashamed of it. 127. It is with great difficulty that one comes across a lovable man. When one gets him it is difficult to have him in control and even if he is got, he is as good as not got, if he is not as one's heart has wished him to be. 128. O, king, you are the abode or support of good men as a mountain is of clouds, or an ocean, of mountains or the nether world (patala), 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 Kalakuta (deadly) poison (churned out of the ocean and drunk by Siva.) 134. For translation vide KP S. No. (62.434) supra. 14. Cf. SPS. No. (180.78) supra.

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227 Prakrit Verses in Sanskrit Works on Poetics 135. For translation vide SPS. No. (231.91) supra. 136. For translation vide SPS. No. (244.94) supra. 137. You will think highly of Saci, 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 Kalakuta 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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228 Prakrit Verses in Sanskrit Works on Poetics 146. Seeing the full disc of the moon why did the young woman, whose husband had gone away on a journey, cast a burning angry glance at Hari's (i.e., Visnu'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 sari (lower garment) which is slipping down, pursues her little boy who is running away in fear of the barber.

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Prakrit Verscs in Sanskrit Works on Poctics 229 158. The herd of cattle, with their faces continually raised somehow enters the village roads - the herd being scattered (off and on) by the multitude of people set out in the opposite directon (? pratipatha). 159. Flocks of birds that are forced to take an upward slight by the opposing wind, later drop down from the sky and come to perch on the mountains below. 160. For translation vide SP 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 Sukara (i.e., Varaha, Visnu's third incarnation) who first sent the demon Hiranyaksa 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 Hiranyaksa) and thus brought it within the range of his sight -- recovered it. 163. For translation vide A'Ratnakara S. No. (110.566) supra. 164. For translation vide SP S. No. (634.168) supra. 165. For translation vide SP 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 Kumara (Kartikeya) who sucks the breast of Parvati (in the famous Ardhanarisvara 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 Vamana 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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230 Prakrit Verscs in Sanskrit Works on Poetics Chapter XIX : Rasagangadhara 1. For translation vide DHV S. No. (1.6) supra. 2. For translation vide KPS. No. (6.419) supra. 3. You damned Brahmanas, 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 SP S. No. (110.63) supra. 5-6. For translation vide DHV Locana (*28.11) supra.

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Chapter XX : Alamkarakaustubha 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 SP S. No. (468.139) supra. 5. For translation vide SP S. No. (292.103) supra. 6. (They then reached the sea-shore) that was blue with blossoming tamala 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 Rama'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 Sugriva Jambavat, the son of God Brahma turned towards Rama; 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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232 Prakrit Verses in Sanskrit Works on Poetics sprinkling of milk drops splashed on him by the ocean-churning. 12. It (The ocean) had ample space in its appointed place, because it kept within bounds; but it had not enough space even on the whole earth during the deluge - It was like Visnu who assumed the form of a Dwarf (the fifth Vamana 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, Ravana has brought Sita to Lanka, 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 madhuka 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 Vasuki, coloured by the minerals of the Mandara mountain.? 19. For translation vide DHV Locana S. No. (*28.11) supra. 20. For translation vide SP (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 Vasuki they used as a rope coiled round the Mandara mountain with which they churned the ocean.

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Prakrit Verses in Sanskrit Works on Poetics 233 21. For translation vide Vimarsini on A 'Sarvasva S. No. (33.442) supra. 22. In your separation her face is vacant just like a house bereft of wealth, a spring from which water has dried, and a cow-pen witout a herd of cattle. 23. Like a disease without a physician (to treat it), like a person reduced to poverty and staying, imposing himself on his (relatives and) friends, like the prosperity of one's enemy, separation from you is difficult to bear (for me). 24. Struck by Rama's arrow the agitated ocean blazed like a submarine fire and cleft like a mountain; rumbled like the clouds, and assailed the sky like a gale. 25. Pervading the earth, the mass of darkness seemed to carry everything. It seemed to push from behind, and hold up in front either side (left or right side) and seemed to grow heavy as it spread overhead. 26. "The pure-rayed pearls, the stars, released from the split oyster-shells, the torn clouds shone in the ocean of the firmament adhering to its coast, the night."} 27. For translation vide SP 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 SP 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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234 Prakrit Verses in Sanskrit Works on Poetics 34. "He is the laziest of fellows, the biggest of rogues, and the wealthiest of men." When she heard this she bent her head down and her eyes sparkled with delight."4 35. For translation vide SP S. No. (166.76) supra. 36. For translation vide SK S. No. (330.407) supra. 37. For translation vide SPS. 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'soka (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 Sita), 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 Sugriva's fame to the revival of Rama's hopes, the cessation of Sita's tears, and to the final doom of Ravana. 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 nayika who yearns for a nayaka who is without any personal property and is blamed or censured.

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Prakrit Verscs in Sanskrit Works on Poetics 235 45. The clouds that emptied themselves of water, the trees that have given up their fruit, and the hands that have grown weak in that battle - field (lit. that have wielded the sword in the vanguard of the battle) -- all deserve praise though they have grown thinner! 46. Merry-making becomes a master (or the rich), jealousy becomes the beloved mistress, forbearance becomes the strong, speech becomes the wise; but silence becomes only the ignorant! 47. Rama felt annoyed by the moonlight (lit. Rama 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 Maruti--"It's my beloved Sita still by any chance alive ?" 48. For translation vide SP 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 SPS. 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 SP 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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236 Prakrit Verses in Sanskrit Works on Poetics 54. The moon-beams are heaped up in the sky, the beams that beautify the ten brides of the sky (dig-vadhu) without resorting to saffron and sandal, the beams that decorate the Earth without bringing in bracelets and ear-tops, the beams that are really the arrows of Madana (the God of Love) without being the ones that bring about privations or the ones that infatuate. 55. For translation vide SP 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 Vanaras. 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 SP S. No. (174.77) supra. 7. Cf. SK S. No. (50. 350) supra.

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Prakrit Verses in Sanskrit Works on Poetics 237 63. For translation vide SP S. No. (1169.257) supra. 64. When the pollen of the lotus on my ear was flown by the wind in my eye and when you came up to blow it off from the eye and kissed me again and again without feeling satisfied, I was wondering what divine being you have been! 65. I shall worship your feet with my life, O, Madana, God of Love, even during my next (or future) births, if you just now pierce him (whom I love) with the same arrow with which you have pierced me. 66. For translation vide SP S. No. (1417.302) supra. 67. The arrow of Rama 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 Visnu turned over while asleep on the couch of Ananta (-Sesa),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 SPS. 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 'Ratnakara S. No. (122.568) supra. 73. For translation vide SP S. No. (141.70) supra. 8. As translated by K. K. Handiqui.

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238 Prakrit Verses in Sanskrit Works on Poetics 74. "O, cruel one, how can she share equally with me the good fortune (i.e., privilege) of being the object of your love, since you rob her (even) of her name and then give it to me ?"9 75. For translation vide SP 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 yaksa 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 Laska, 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 kajala (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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Prakrit Verses in Sanskrit Works on Poetics 239 82. Did the moonlight heighten the intoxication (frenzy) brought by wine ? or, did the intoxication (frenzy) heighten the effect of the moonlight ? Did both of them heighten the power of passion ? or, did passion bring both to the highest point of perfection ? 83. For translaion vide SP 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 Vikramaditya 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. SPS. No. (145.71) supra.

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240 Prakrit Verses in Sanskrit Works on Poetics 90. All at once, the mountains remebered the terror of the thunderbolt, and the Earth the thrusts of the hooves of the Adi-varaha (Primeval Boar) and the ocean the commotion of the churning - all that had been long forgotten by them." 91. For translation vide SP 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 SP 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-varaha.)

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Prakrit Verses in Sanskrit Works on Poctics 241 100. For translation vide SP S. No. (381.121) supra. 101. For translation vide SP 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 Raksasas - 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.) aMgAraavAra (aGgArakavAra = maGgalavAra) (217.87) Tuesday (the day of the planet Mars) - which is supposed to be inauspicious for undertaking a journey. aMtohuttaM (antarabhimukham) (826.199) internallly, mentally, in the mind. . . aIsaMta (a + dIsa = dRz - adRzyamAna pres. pass. part.) not being seen; (673.174) see Hem. 8.3. 161 (--dIsai / vucai // ) akkhaDa (Askhal) (673.174) to creep, slip, glide in. akkhANiA (AkhyAnikA) (28.551) a short legendary story, a myth. akkhuDia (a + khuDia = akhaNDita) (17.9) incessant; see Hem. 8.1.53 (---khuDio khaMDio) acakkhia [a + cakkhia (AsvAdita) anAsvAdita] without tasting. See Hem. 8.4.258; Weber equates cakkha with Sk. jakS to eat. Cf. Mar. cAkhaNe. acuvayAra (atyupacAra) (652.171) (observing) excessive formality or courtesy. accha (= As) (598.161) See Hem. 8.4.215; acchau = AstAm let alone'. (598.161). acchivatta (akSipatra = netrapatra) (1376.293) the eye-lashes. ajasa-ghosaNA (ayazoghoSaNA) (715.181) defamatory or scandalous remarks (about myself) (were caused to be made by me). ajjA (AryA = gRhapati - putrI) (32.48) the daughter of the master of house, agrown-up, adult, young lady. Desi (p.25) records the word 'ajjhA ' in the following five senses : asai suhA NavavahayA taruNIsa imAi taha ajjhaa| aTTamaTTAiM (aTTamaTTa - nAnAvijJAna) (1020.232) coquetry, alluring or enticing blandishments. "aTTamaTTAI an imitative repetitive form having the same meaning and etymology of

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Prakrit Verses in Sanskrit Works on Poetics 243 Marathi 31150$ (EU) - to show apparent reluctance in the sense of coquetry" - Dr A. M. Ghatage 31530 d (374) (771.191) 31531 d (34) (1366.292) a wanton or unchaste woman. Desi. (p.12) :'31547 37691 3154UTrutsatt richaruat :' 3U1UUT (3771f) (238.93), Adj. not respectable, base, mean. zuia (317) (68.595) name of Sesa, a celebrated mythological thousand-headed serpent (regarded as the emblem of eternity) sometimes represented as forming the couch and canopy of Visnu while sleeping during the intervals of creation, - represented sometimes as supporting the entire world. BUPOCO (-16) (37-300EUR (-ya-l) (25.11) whose face is not angry. 3iforcfd31 (31Aaron = 3RR) (1312.283) fleeting. 31101Red (RG) (41.14) dependent. 3rfurcaf31 (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 (Rama's) love (for Sita); ii) A poem, which is marked by the word anuraga (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 | Desi 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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244 Prakrit Verses in Sanskrit Works on Poetics unexpectedly, suddenly, accidentally. addAa d (=darpaNa) (749.187) a mirror. Cf. Desi (p. 10) 'adAo mukure / ' akhaMta d (paryanta) (102.61) skirt, border, edge. addharatto (ardharAtra:) (69.55;576.157) mid-night. appaNaia (apraNayita) (223.89) not asked for, unsolicited, not requested for. appAhia (saMdiSTa) (1486.312, 928.217) Cr. H.8.4.180 : saMdize : appAha: / saM + diz to give message to, to despatch anyone (acc.) on a message to (dat.) abbhapisAa d (rAhu) (891.211) Rahu. Read Desi; p. 21; abbhapisAo rAhu : / abbhutta (abhiSikta) (102.61) wet, moist, sprinkled. Cf. H. (8.4.14) snAte : abbhutta : 1 In his Chando nusasana (p. 4) while commenting on the gatha "jaha NhAuM" he observes : abbhuttaM abhiSiktam / / abbhuttaNa d (pradIpana, abhyuttejana) (43.2) raking or stoking of fire, stimulation; Bhuvanapala (p. 272) paraphrases it as 'saMdhukSaNam'. Hemacandra lays down : pradIpyaterete catvAra AdezA vA bhavanti / saMdamai / saMdhakai / abbhuttai / palIvai / / 18.4.152) abbhUsa (abhyUSa) (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). amAyaMta (a + mAyaMta Pres. part. of mA) not being contained. aliANala (alikAnala) (84.561) fire from (the third eye on) the forehead of Siva. alliai (AlIyate) (989.227) to come close to, to embrace. Cf. Desi (p. 27) : alliyai - AlIyate upasarpati ca / See H. 8.4.54; 8.4.139 alihia (alikhita) (226.90) unpared, unscraped. avaUhia (avagUhita ppp. from ava + guha) (169.76) embraced. avarila d (uttarIya) (1293.280) upper garment Read Desi. (p. 15) : 'avarilla' zabdastu uttarIyavAcaka : | avaruMDaNa d (AliGgana) (80.561) clasping, embracing, an embrace.

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Prakrit Vesses in Sanskrit Works on Poetics 245 avaruDijjai (AliGgyate) (10.7) avaruDa to clasp, embrace. Read Desi (pp.8-9) aMkiya-avaruMDiyA a pariraMbhe / --- avaruMDia zabdasya --- ayaM ca yadyapi kriyAzabda : 'avaruMDaI', 'avaruMDijjai', 'avaruMDiUNa' ityAdiprayogayogyazca - tathApi pUrvAcArdhAtvAdezeSu na paThita: ityasmAbhirapi tadanurodhAt tatrA'paThitveha nibaddha : / avarUNNa (ava-rudita) (25.11) Not showing any sign of weeping%3; avaruNNa is possibly a corrupt form of aNaruTTha (a-ruSTa). avasauNa (apazakuna) (217.87) evil omen. avahatthia (apahastita) (1155.255) - apahastaya nominal verb. to dispense with, give up, disregard, throw away or off, push aside. avahatthiUNa (75.596; 1107.246) gerund from avahattha, the denom. root avahattha (= apahastaya) having disregarded or ignored. avvo (ahaha) (1651.338) - 'oh, what a pity', 'how painful !' (See H. 8.2.204.) ahavvA (abhavyA) (75.560), unfortunate, unlucky. 'ahisAraNa (abhisAraNa) (1549.323) meeting, rendezvous (of lovers); invitation to a rendezvous. ahilei (abhi + lI to adhere to, cling to) (119.363) covers up. ahisAriA (abhisArikA) (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 : " kAntArthinI tu yA yAti saMketaM sAbhisArikA / " AaMba (AtAmra) (638.169) reddish AippaNa d (piSTam utsave gRhamaNDanArthaM sudhAcchaTA ca / "tandulapiSTakSIraM gRhamaNDanam AippaNaM ityanye / Desi . p.34) (858.204)-(sprinkling the leaves) with water mixed with rice-flour. Ai-varAha (Adi-varAha). 63.557) The First (or Primeval) Boar, an epithet of Visnu alluding to his third or boar incarnation. Ai-veaDia (Adi-vaikaTika) (4.20) excellent jeweller. ADhatta (Arabdha) (130.68), - started, began. (1299.281) see H. (8.2.138). AmoDaNa (AmoTana) (18.45) blow.

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246 Prakrit Verses in Sanskrit Works on Poetics AlehaDa d (= lampaTa, lolupa) (2.43) greedy, avaricious, eager. Amalia (AmRdita) (562.155) crushed. AsaMgha d (Asakti / AzvAsa) (220.87) attachment, devotion, assurance. AhiAa (AbhijAtya) (1176.258) nobility of birth. ahiAI (AbhijAti) (1170.257) nobility of birth. Ahi~Da (A + hiND) 222.89 to wander. iharA ( iyarahA) (itarathA) ind in another manner, in a contrary manner, on the other hand, else, otherwise. Read H.8. 2. 212 : iharA itarathA / ukuruDa d (rAzi:) (1366.292) a heap of jewels. Read Desi. (p. 46) 'rAsimmi ukuruDI' / ___ ukkuruDI avakararAzi : / ukkuruDo ratnAdInAmapi rAzi : / avakara-rAzi means a heap of sweepings'. ukkhaDia (utkhaNDita) (158.74;109.361) - Cut off, chopped off. . uggAhia (udgrAhita) (1584.328) taken up, remembered, intended to be spoken'. uggiNNa (udgIrNa = utthApita) (132.68) raised up, brought about (by anger)'. ugghuNNa (ucUrNa) (132.68) (lit. shaken, moved to and fro), raised, thrown up (utkSipta) ucchalia (ucchalita) (672.174) 'inundated', 'over-flowed' (fig.). ucchiNNa (-mahilA) (svairiNI) (11.8) a wanton woman, an adulteress, a loose or unchaste woman. Cf. Marathi 'chinAla strI'. Read Desi (p. 119): chiNNo tathA chiNNAlo jAra : / (jAresu chiNNa - chiNNAlA ityatra) 'jAreSu' iti, ekazeSAd bahuvacanAt 'chiNNA chiNNAlI strI' ityapi / ucchucchulei (?chullucchulei) (utkampate) (258.392) 'trembles'. ujjAgaraa (ujjAgara) (768.190) sleeplessness, wakefulness, vigil. uTThandalaa (oSTha-dala (ka)) (158.74) the sprout-like or tender lips. uTTha-baIsa (utthopaveza ? uttiSThopaviza) (205.84) 'rise and sit'. Cf. Marathi "UTha-baisa" uttattha (uttrasta) (1497.314) frightened. uttammirI from ut - tam (ud- tam p tAmyati) to be out of breath or exhausted; to lose heart. uttiNia (uttRNita) (255.96; 1294.280) 'with grass-roof blown or swept away'. uttaMbhaNa (utsta mbhana) (1.528) lifting, raising, 'swelling up'.

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Prakrit Verses in Sanskrit Works on Poetics 247 uttAria (uttArita) (1567.325) removed, taken off. uddhaccha (UrdhvAkSa) (139.69) 'with one's eyes turned upwards'. udghamAia (udbhumAia) (vyApta, pUrita) (48.349) filled with, pervaded. uddhara (uddhara) (1274.276) heavy, full of. uppaDa (ut + pat) (56.53) to jump up, spring up. ubbhesaa (ubheSaka) (1523.318) frightening, terrifying. ummaia d (mUDha) (40.14) stupefied, bewildered, indolent. ummaMthara (?ummacchara d (nirargala) (49.521) unrestrained, violent, impetuous, wild. ummilla (unmIla, unmIlita) (1379.294) opened. umhAaMta (tthaNI) [USmAyamANa (stanI)] (74.56) 'having naturally warm breasts'. uralli (?orallI) d (galagarjitam) (46.18) growl, roaring sound from the throat. Read Desi (p. 60): 'dIharamahurajhuNIe orallI' orallI dIrghamadhuradhvani : / ullaTa (udvartu; ullaTai-udvartate) (538.21) to turn down. ullala (ullalai = sthairyaM na labhate = nAvatiSThate) (773.191) to slip aside. ullAai (ArdIbhavati) (258.392) becomes wet. ullINa (upalIna ? AlIna) (592.160) clung to. ullUraNa (bhajana) (858.204) the act of being plucked or cut ullUra d (= chid) to pluck, * ' cut. uva (7ua) (pazya) (1291.279) - 'Look'! Read H. ua pazya / 8.2.211. uvaAra (upacAra) (145.71) courtesy, polite behaviour, (external display of courtesy). uvaha (?uaha) (pazyata) (176.683) Look ! Read Desi (p.41) : uaha tti 'pecchaha' atthe / uaha . pazyata / uvahAriA d (dohanakArikA) (986.226) a dairy-maid. uvAlaMbha (upAlambha) (652.171) taunt or reproach. uvvattaNa (udvartana) (579.158) changing or turning the sides of the body (in sleep). uvvaria d (avaziSTa) (1589.329) the rest'. _Read Desi (p.52) ahia-avaMchia-Nicchia-tAva-agaNiesu uvvariaM /

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248 Prakrit Verses in Sanskrit Works on Poetics uvvariaM adhikam anIpsitaM, nizcitaM, tApa:, agaNitaM ceti paJcArtham / uvvAa d (khinna) (1550.323) wearied, exhausted.. Read Desi (p.43) 'khinne uvvAa-uttaMpiyA' uvvAo tathA uttaMpio khinna: / uttammikhinnam' itynye| uvvAsia (udvAsita) (141.70) banished, rubbed away, removed. uviggirI (udveginI, udvignA, udvegazIlA) (141.70) one who is afflicted. uviNNa (udvigna) (591.160) pained, distressed. uvvella (udvela = prasaraNazIla) (1298.281) tremulous. usurusuMbhia (ruddhagalaM rodanam) (16.9) choked weeping. Read Desi. (p. 55) UsuMbhiya - UsurusuMbhiyA ya ruddhagalaruNNammi / UsIsaa (ucchIrSaka = upadhAna) (77.597) a pillow. ekkakkama d (anyonya) (549.153) reciprocal, mutual. Read Desi. (pp. 56-57); 'ekkekkama annonne' ekkakkama anyonyam / ekkamekka / ekkakka (ekaika) (125.66) (with) every one; see H. on 8.3.1: vIpsArthAtpadAtparasya syAde : sthAne svarAdau vIpsArthe pade pare mo vA bhavati / ekaikama / ekkamekkaM / --- pakSe ekkekkmityaadi| edahametta (etAvanmAtra / etanmAtra) (667.174) so extensive, so vast. (raa-) occhiA (rata-) d kezavivaraNa / vinaMsana (639.169) -vivaraNa - "brushing, combing, doing up, dressig the hair' - vipresana - loosening, unfastening of the braided hair. oDhaNaa / oDDhaNa d. (uttarIya) (285.102) the upper garment; Read Desi (p. 60) : 'oDhaNaM uttarIe' / oDDhaNaM uttarIyam / oNaa (avanata) (246.94; 9.542) bent down, downcast (gaa +) oNiattaMta (gatApanivartamAna) (1385.295) hovering between life and death. otthaa (avastRta) (1273.276) covered with. otthaia (avasthagita) (1378.294) covered with. omAliA (avamAlikA) (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 (nirmAlya).

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Prakrit Verses in Sanskrit Works on Poetics 249 oratta (? Arata) - (uparakta ? Arata) dyed, coloured red; reddish. Cf. Dess (p. 64) : oratto vidArita : garviSTha : kusumbharaktazceti tryartha : / orama (upa + ram) (188.80) to stop, desist, give up. oraMpia (taSTatvak) (184.377); raMpa is a substitute for takS to scrape, pare, hence the parings. oralli d (dIrghamadhuradhvani:) (14.497) continuous sweet sound. oruNNamuhI (avaruditamukhI) (1324.285) who had a weeping face, i.e. whose face was ___covered with tears. olugga (avarugNa) (1401.298) enfeebled, sickly, (lit. broken, torn, ava + ruj) oloaNa (avalokana) (628.167) a look, glance, looking at, beholding. ola (Ardra) (638.169) wet. Read H.8.1.82.. Ardrazabde AderAta ud occa vA bhvt:| ullaM / ollaM / --- osaTTa (vi + sRpa) (945.220) to spread (-PSM). osara (apa + s) (242.93) to flow away. osahia (-jaNa) (Avasathika (-jana) ) (1522.318) an ascetic dwelling in a monastery osiaMta pres. part. (avasIdat) (1383.295) drooping, sinking down. osUsai i) (avazuSyati) (815.197) languishes. Read H. on 8.1.172 :avApayorupasargayoruta iti vikalpArthanipAte ca Ade: svarasya pareNa sasvaravyaJjanena saha od vA bhavati / . . ii) o sUsai (o zuSyati) (815.197) 'Look here !' she languishes. ohamga (avabhagna) (1475.310) broken, obstructed, impeded. ohasia (upahasita) (190.81) - was held to ridicule, jeered at. ohi - diNa (avadhi-dina) (1258.274) the date of return from journey; ohi (avadhi) limit, the promised or stipulated day of return from journey after a certain fixed _number of days. kaMkhirI fem. of kaMkhira (kAGkSaNazIlA) (1315.284) one who is desirous of.. kaMThamuhI = kaMThiA (kaNThikA) (1366.292) an ornament for the neck, necklace. kaMDuiapaMDuraM (kaNDUyita - pANDuram) (39.50) (the scratched (skin) becoming white and causing irritation and uneasiness.

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250 Prakrit Verses in Sanskrit Works on Poetics kaMDujjuA (kANDarjukA) (1126.249) straight like an arrow, simple-hearted, straight - forward. v. 1. kaNNujjuA (karNarjukA) naive, credulous. kaMthA (kanthA) (30.551) a patched garment. kaMdoTTa d (nIlotpala) (197.83) a blue lotus. Read Desi.(p. 69) : uppalae kalima-kaMdoTTA / kalimaM tathA kaMdorTa nIlotpalam / kaagaha (kacagraha) (155.73) seizure of the (braided) hair. kaaveNiA (kRtaveNikA) (206.84) one who has twisted her hair into a braid, one who has plaited the hair. kaima (katama) (227.90) which (of many). kaDappa d (kaTapra = nikara) (7.535) mass, collection, heap, pile, flock, multitude. kaNaa-do(Do)ra (kanaka-kaTisUtra) (1453.307) golden girdle or waist - band Cf. Marathi kaDadorA. Read Desi. (p. 167) : kaMcIi dAra-dorA ya / ____dAro tathA doro kaTisUtram / kaNNullINA (karNopalInA or better karNAlInA) (592.160;239.388) clinging to someone's ear, to converse privately - for whispering. kaNNoliA d (karNAvalI, avataMsa) (17.549) ear-ornament. Read pAia-lacchInAmamAlA p. 6. v. 52 :uttaMso avayaMso kannolI kannaUro ya | And Desi. p.88: caMcu-uttaMsesu kaNNollI -- kaNNollI caJcuH avataMsazca / . kadamia (kardamita = kaluSita) (8.582), (with the face) decked or soiled. karAlia (karAlita = madhye sAvakAzIkRta, sAntarAla) (1387.296) - made uneven (lit. rendered formidable, magnified, intensified). karimari Voc of karimarI (= karamarI bandI) (175.375) a captive lady bandI : a male or female prisoner. Read Desi.(p.71) karamarI bNdii| (p 72) karamarI haThahRtA strii| a woman abducted by force. kalamakUra (kalamakUra) (5.529) kalama (Kalama) rice of a superior quality; boiled rice. kalama a sort of rice (sown in May-June and ripening in December - January); pering.

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Prakrit Verses in Sanskrit Works on Poetics 251 kUra boiled rice. kalamagovI (kalamagopI) (314.404) a (young) woman guarding a paddy field, a female keeper or warden of the paddy-field. kalahAyaMtI (fem. pres. act. part. from denom kalahAya from the noun kalaha) (190.81). kANA-mahilA (=kANa-mahilA) (726.183) The wife of a man blind in one eye. kANa means 'one-eyed (person)'; the elongation of the final ain kANa is for the sake of metre. kArillaa d (kAravallI (phala)) (127.365) The fruit of the creeper called kArava (ve) lI; Cf. Marathi kArale. kAla-uraI (kAla-uragI) (7.535) A female deadly or venomous snake. Cf. kAlasarpa - the black and most venomous variety of the cobra. kAlakUDa (kAlakUTa) (133.571) the deadly poison, produced at the churning of the ocean, swallowed by Siva and eausing the blueness of his neck. kAlakkharia (kAlAkSarika) (570.156); kAlakkhara (kAlAkSara). - one who can read and decipher (a pupil who has begun to read), a learned man, a scholar (?) as opposed to akSaravarjita - unlettered, illiterate. kAvAliNI (kApAlikI) (25.545) kApAlika (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. kisi-elAla (kRSi-palAla) (1.495) : the harvest (corn crop) and dry cut stalks of kinds ____of grain (as material for bedding, thatching, packing). kisoari Voc. of kisoarI (kRzodarI) (59.53; 60.434) 'O, thin-waisted one', 'o, fair one'. kIsa (kasmAt) (1318.284). Whence; see H. 8. 3. 68 --- kima: -- || kinno| kIsa / kmhaa| kujja -(kusuma) (kubja - kusuma) (3.436)- a kind of flower; (the flower of Trapa bispinosa) kuDaMga d (latAgRham) (6.1) A place overgrown with plants or creepers, a bower, an arbour. Read Desi. (p. 80): kuDaya-kuDaMgA layAharae / 'kuDayaM tathA kuDaMga ltaagRhm| kuppAsaa (kUsaka) (23.533) a bodice, choli

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252 Prakrit Verses in Sanskrit Works on Poetics Tocalfat37 (Coctaifai / Ticht) (716.182) a girl / woman born in a noble family. 905-05 (T-920:?) (4.529) : 8C 'cunnigly clever' or goc = HT; RS = wasp; - a dangerously stinging wasp, hence by laksana', '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 Desi. (p. 82) Oct jaghaNavasaNe / kUvalaM jaghanavasanam / 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 (udgIrNa) what has been eaten (khAda standing for khAdita). 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. "khaTuggaliAI (after prabandha ) 'sour belches' khaTTa 'sour' acid' (Guj. khATuM, H. khaTTA)" - 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. Desi.(p. 91):quu3nt plati khaNNuo kIlaka : 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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Prakrit Verses in Sanskrit Works on Poetics 253 khalIkaa (khalIkRta) (36.553) (khalIkR to reduce to sediment, crush, hurt, treat ill; khalIkRta = nyakkRta insulted, humiliated, humbled, treated with contempt. khAmoarI (kSAmodarI) (1639.336) kSAma = kRza, hence kRzodarI = tanUdarI a thin-waisted one. khikhirI d (DumbacihnayaSTi) (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 Candala to indicate that he is a Candala. khIroa (kSIroda = kSIradhi = kSIrAbdhi) (11.583) the ocean of milk. khujaMba (kubjAmra) (757.189), the dwarfish, stunted mango-tree. khuTTa d (tuD) (629.167) to split, shatter; khuTTai (= truTyati) (21.538) falls short. khuDiuppaDia (khuDia d = khaNDita + uppaDia = utpatita) (10.583) (the lotus plant with its stalk torn up.) khuNNa (kSuNNa) (1049.237) waded, trampled, trodden. khutta (khuppia (magna)) (569.156) sunk, plunged; khuppa = masj see H. 8.4.101 d (nimagna) (195.82) sunk. khokkhA (kho khA) muhala (mukhara) (834.200) (noisy with i.e., -making) agrowling sound. gaavaI (gatapatikA = proSitapatikA) (1341.288;1351.289) A woman whose husband has gone away on a journey. gaNirI (gaNanazIlA) (1280.277); fem. of gaNira (the young wife) who began counting (the days gone away since her husband's departure on a journey.) gaMdhiA / gaMdhirI (gandh + ira = gandhira fem. gandhirI) (durgandhavatI) foul-smelling, stinking. gabmaharaa (garbhagRha (ka) ) (74.56) sleeping room, an inner apartment. gabbhiNI (gaDibhaNa = garbhita) = garbhitA] (825.199) 'filled with', 'full of'. Read H. 8.1.208 : garbhitAtimuktake nn:| anayostasya No bhavati / gambhiNo / guruia (gurUkRta) (1273.276) 'made or rendered heavy'; garuiA (gurUkRtA = gauravitA) (1007.230; 332.407;) was highly respected, was highly ___ honoured. galatthalia or galatthia d (= kSipta, nunna, pIDita) (1406.299) driven (by) or pressed by.

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254 Prakrit Verses in Sanskrit Works on Poetics Read Desi.(p. 98) : galatthalio kssiptH| 'galatthiya' iti tu dhAtvAdezeSu kSiperdhAto : siddhamityanena arthanirdeza: kRtH| See H.8.4.143- which gives galattha as one of the nine Adeza - substitutes for kSip. Cf. galahastita : lit. 'seized by the throat'. gahakallola d (rAhuH) (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 gahakallolo rAhU / (gahakallolo rAhu :) / gahavaIa (grahapati (ka)) (891.211) the moon (lit. the chief among planets). gAI (gau:) (557.154) a cow - see H. 8.1.158 gAmauDa d (= grAmapradhAnapuruSa :) (6.340) the village chief,the leader or chief of a village, or community. DesT (p. 99) reads : gAmaNI-gAmauDo - gAmagoho goho - ete catvAro'pi graamprdhaanaarthaaH| guDiA-dhaNu (guTikA - dhanu:) (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 'galora'. guNavajia (guNavarjita) (136.69) (i) devoid of the string (ii) devoid of good noble qualities. golA (visamoAra) (godA (viSamAvatAra)) (140.70) (stiff, uneven descent toj the river Goda. goThThaDA (goSThasthA:) (205.84) members of a club or assembly. gotta-kkha laNa (gotraskhalana) (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. gosa d (prabhAta) (141.70) daybreak. Read DesT.(p.102) : gosaM gosagaM / gosaM prabhAtam / gosarga-zabdo yadi saMskRta rUDhastadA tadbhavo gosaggazabda : anyathA tu dezI, paryAyabhaGgyA tvihopaatt:| gohaNa (godhana) (1524.319) cattle. ghaNasamaa (ghanasamaya) (25.47) rainy season. ghammaa (dharma) (163.75) perspiration, sweat. ghara-parohaDa (gRha - pazcimAGgaNa / gRhapazcAdbhAga) (623.166) a back-yard of the house. ghariNI (gRhiNI) (166.76) a house-wife.

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Prakrit Verses in Sanskrit Works on Poetics 255 gharovaaraNa (gRhopakaraNa) (1.418) - provisions in the house. (upakaraNa - anything supporting _life) : gRhasya saMbandhi upakaraNam / upakriyate ' nenetyupakaraNam / annendhanazAkAdisAmagrI / gheppai (gRhyate) (20.538) - is received; gheppa pass. of ghe (graha) H. says grahe: gheppH| 8.4.256. caMdaNapaMka (candana-paka) (634.168) thick sandal paste. caMdila d(nApita) 1600.161:157.576)a barber; caNDila is common to Sanskrit and Prakrit and means a barber. caMdujaa (caMdojaya, caMdoja ?) d (kumuda) (3.529) - night-lotus,the white water-lily; Desi. (p.110) : kumuyammi caMdojaM / caMdojaM kumudam / svArthe ke caMdojayaM / The commentator on Lilavar (p. 7) observes: 'caMdrujue kumude cndrvNshykmle| A. N. Upadhye in his Notes (p. 326) to Lilavai says : "Trivikrama observes thus (I.iv.121) : caMdojaM raaNiddhaaM kumudam / candreNa dyotata iti caMdojaM / rajanidhvajam / " caMdujoa (candrodyota) (621.166) moonlight. caia (zakita, zakta) (1373.293) able. caujAmA (caturyAmA) (957.222) (night) comprising four parts (of three hours each); jAma = yAma = prahara a period of three hours. cakkhaMta (pres. part. from cakkha = AsvAdaya) (56.53) to lick, taste, chew; the form cakkhiaM deserves to be compared with the Sanskrit form 'URA . The Marathi root 'cAkhaNe' seems to be derived from the Prakrit root cakkha. cacara or cattara (catvara) (546.152;70./71.595) a square where four roads meet. cajjA (tyAjyA ? tucchA ?) (120.568) worthless, insubstantial, unimportant. caDuamma (caTu-karma) (713.181) the act of speaking agreeable or pleasing or flattering words; flattery. caDuAraa (caTukAra (ka)) (234.387) speaking to please or flatter anyone caNaa (caNaka) (698.178) a grain of gram. Cf. Marathi caNA, caNe (baked / parched grains of gram). catta (tyakta) (715.181) set aside, abandoned. Read H. 8. 2. 13: tya: acaitye / camaDhiad (mardita) (9.17) crushed.

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256 Prakrit Verses in Sanskrit Works on Poetics 1.314) a solo afA dance. Cf. afsta dance in Malavikagnimitra-. Act I cchala (cchala) (140.70) pretext. cADua [cATu (ka)] (768.190) coaxing utterances, flattery. cAtraga (cAtaka) (3.476) a bird said to subsist on rain-drops. cittalia (citrita) (1280.277) covered with lines or marks, soiled, tinged. "p.p.p. from denom. root from cittala = citta + la (citra), la being added pleonastically" -M.V.P. cihura (cikura) (49.488) tresses, the hair of the head. Read H. 8.1.186 : nikaSa - sphaTika - cikure ha: / eSu kasya ho bhavati / cihurazabda : saMskRte'pi iti durga: / Kirasvami, the commentator on Amarakosa, also notes this point. cIa (citA) (838.201) funeral pyre. cukka (-saMkeA) bhraSTa (-saMketA) (806.195) cukka d (bhraSTa, cyuta, vaJcita) missed. cuNNaia (dhavalita) (1480.311) whitened. cuNNamuTThi (cUrNa - muSTi) (1517.317) a handful of (sandal or camphor) powder. culuculuMta pres. part. from culucula d (spand) (spandamAna) (1461.308) to throb, to have an itching sensation cUa-maula (cUta-mukula) (152.72) mango-bud. . coria-ramaNa (caurya-ramaNa (rata)) (*48.445) secret sexual enjoyment. coria - ramia (caurya - rata) (736.185) secret sexual enjoyment. . cchuha (kSip) (153.73) to throw chaila d (= cheka, vidagdha) (87.599) a shrewd, clever-person. chaila (pura ? bahulaM (cheka / vidagdha-bahula) (9.530) full of shrewd people. chagguNa (SaDguNa) (9.21) the six expedients to be used by a king in foreign politics; 1 saMdhi peace 2 vigraha war 3 yAna march or expedition 4 sthAna or Asana halt 5 saMzratya seeking shelter 6 dvaidha or dvaidhIbhAva duplicity. chaNa (kSaNa = utsava) (632.168) a festival, Cf. saNa (in Marathi). chAhI (chAyA) (1468.309) shadow. Read H. 8.1.249 : chAyAyAM ha: akAntau vA / /

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Prakrit Verses in Sanskrit Works on Poetics 257 chikka d (chupta) (626.167) touched. See H. 8.2.138; Desr (p. 122) chitta - chIesu chikkaM c| chiNNAlI d (svairiNI) (153.575) an unchaste, wanton woman, Read DeST (p. 119): jAresu chiNNa-chiNNAlA / chiNNo tathA chiNNAlo jAra : 'jAreSu' iti ekazeSAd bahuvacanAta 'chiNNA chiNNAlI strI' ityapi / chitta d (=spRSTa) (29.48;166.76) touched. chippa d (= spRz) (29.442) to touch. chu / chokkAraNa (chUtkAraNa or chUtkaraNa ? ) (811.196) chu / chokkAraNa "perhaps stands for chUtkAraNa (chUtkaraNa) corresponding to Marathi chU karaNe, to make the sound chU in order to make a dog run away, to chase away some unwanted person or animal. For chUtkaraNa compare ghUtkaraNa pUtkaraNa, phUtkaraNa, thUtkaraNa, dhUtkaraNa etc. ---you are right in saying that takut is an onomatopoeic word."-- M.V. Patwardhan. churia (kSurita) (2.528) besmeared, covered -ppp. from chura to cover, smear, envelop. chUDha (kSipta) (29.12; 43.348) thrown down. chea (-raa) (cheka (-rata)) (635.168) technically perfect (or sophisticated) sexual ___enjoyment. chejja (? chea -) (i cheda ii cheka) (156.371) (i) aperture, breach (ii) a kind of alliteration . . called chekAnuprAsa. chetta - (kSetra-) sImA (598.161) the outskirts of the locality or site (of the village). jaMgaluggAra (jAgalodgAra) (18.45)jAgala = mAMsa flesh, udgAra eructation or belching, hence the eructation of the flesh. jaMbhAia (jRmbhAyita, jRmbhita) (223.385) yawning. jaggAvia or jaggavia (jAgarita) (1102.245) kept awake. jaDA (-pabbhAra) jaTA (-prAgbhAra) (154.73) the great mass of matted hair. jaNei (caus. pres. 3rd per. sing. of jaNa, janayati (177.78) produces, gives. jaNNavADa (yajJavATa) (80.355) sacrificial enclosure. jarakhaMDI (jarA-khaNDitA) (205.84) torm, tattered.

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258 Prakrit Verses in Sanskrit Works on Poetics jarA (-pariNaa) (jarA-pariNata) (716.182) enfeebled by oldage. jalaraMku (jalaraGku, jalapakSin) (49.457) water-fowl. jAmAua (jAmAtRka) (1358.290) a son-in-law. jittia - tittia (yAvat-tAvat) (44.520) as much - that much. jima (a substitute for bhuja) (92.59; 6.340) to eat. jIA (-ghAa) (jIvA - ghAta) (42.589) the scar left by the bow-string. juNNa (-mAlAra) (jIrNa / vidagdha (mAlAkAra) (4.20) old, experienced (gardener). juNNa (jIrNa) (surA).(186.80; 15.531) old (wine). jettia (yAvat) (49.52) as much, correlative of tettia (tAvat) 'that much,' 'so much' jokkAra (jayakAra : namaskAra) (139.572) salutation. joNhAla (jyotsnAvat) (700.178) shining, illuminated by the light. jhaDa (zad) (629.167) to fall, perish, decay, wither. jhaDi (jhaTiti) (1157.255) ind. instantly, at once. jhaDia (zIrNa) (26.11) shorn of leaves. Cf. Marathi (jhaDaNe, jhaDalelI) jhatti (jhaTiti) onomatopoeic, (598.161) instantly, at once. See H. 8. 1.42. jhijja (kSi) (197.83) to become emaciated. Thera (sthavira) (186.80) an old (aged) man. Dakka (daSTa) (834.200) bitten, stung. DaMbara (Dambara) (18.543) m. show, pomp. DolAia (dolAyita) (20.32) swung about (dolAyate -vacillates). Dhakka (=sthagaya) (779.192) to conceal, cover up. DhakkA (= DiNDima) (40.589) kettle-drum. DhillAara (zithilAdara) (23.533) Dhilla (-zithila) slack, indifferent; Adara - regard, hence one who has slackened his regard for. Dhukkai ( Dhukka = Dhauk) (92.563) to offer. daMdallad (1 bhram 2 gaveSa) (28.11) to wander, search; H.8.4.161 records this

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Prakrit Verses in Sanskrit Works on Poetics 259 as one of the eighteen roots as substitutes for to wander and, H.8.4.189 records it as one of the substitute roots for a to search. at di (fou, afa) (13.8) a lover, husband. UST-UR-4937 (TR-TECET) (604.162) the presiding or guardian deity of a town. 06-CITE (747-478) (125.66) a bank (i.e., shrubs, etc., on the bank of a river) UfSH d ((**726) apa / elfo) (1452.307) (love-) lorn, distracted or distressed (by love) URER (RER = RRIERE) (22.440) 'Man-Lion'; Visnu in his fourth incarnation. 016937 (Tea4T) (124.66) nail-mark (s) (made by her husband on her breasts during the preceding night). unford ( ) (32.442) a fool. (Tur-) uau [(977-) 719) (101.360) The commentator (p. 387) explains it as 'nasyam". The dictionary meaning is 'a sternutatory'. u-ufaur (TY- T) (*13.438) the lotus sprung from the navel (of Visnu). Port d (aga) (18.584) ad round, circular, n. a circle Des7.(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 - Gahakosa (S. No. 469) reads Page for Amis and paraphrases it into Sanskrit as'ARTER' without any support. There is another reading NikaMDa (niSkANDa). PSMexplains it as 'avasara-rahita'. 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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260 Prakrit Verses in Sanskrit Works on Poetics consideration'; while commenting on his sutra (8.4.6) Hemacandra says: ---- nnijjhaaai| nipUrvo darzanArtha : / NiDAla (lalATa) (501.144) forehead. NitthaNai (nistanati) (821.198) shrieks (with pain). NitthAma (ni:sthAman) (adj. of hattha) (1287.279) weak (or enfeebled) (hands). NihAlasa (nidrAlasa) (216.86) sluggish because of drowsiness. NiddosaM (nirdoSam) (140.70) adv. blamelessly. Nippacchima) (niSpazcima) (838.201) final, last. Nimia (nyasta) (82.57, 332.407, 7.419, 19.452) placed, deposited. Read H. 8.4.199: nyasa: Nima-Numau / nyasyateretAvAdezau bhavata: / Nimai / Numai / Nimmavia (= Nimmia) (nirmita) (53.53; 627.167; 1412.301;) caus. ppp. used in a _non-causal sense -- created, built. Nimmahia (Nimmaha, one of the 21 (Adeza for gam); so Nimmahia = nirgata = itastata: "sRta) (17.9; 1642.336) gone out, spread out, emanated, come forth, issued from. Nimmoa (nirmoka) (159.74) slough of a snake. NiyaMsaNa (nivasana) (37.485) a garment. Read Desi.(p. 147) : NisaMdhaNa-NiaMsaNA vatthe / NiaMdhaNaM tathA NiaMsaNaM vastram / NirAa (nirAyata) (213.86; 1387.296) wide, outstreciched. NiraMjaNa (niraJjana) (1276.277) without collyrium. Nivvara (du:khaM kath) (1383.259) to tell, describe, relate. Nivvala (Da) i (pRthag bhavati, spaSTIbhavati) (1250.272) becomes separate; becomes clear. NivvahaNa (nirvahaNa) (1392.297) sequel, end. NivvAla (gerund NivvAleUNa = pRthakkRtya) (1448.306) perceiving distinctly. . Nivvolia (aharaM) (manyu - malinita - (adharam) ) (1003.230; 1152.254) (with the lower lip) soiled because of anger. NisaNNA (niSaNNA) (1375.293), sank (to the ground). NirAmbhai (niSIdati) () rests, reposes.

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Prakrit Verses in Sanskrit Works on Poetics 261 NisANia (nizANita) (769.191) sharpened on the whetting stone. NisAmia (zruta) (1215.265; 1327.286) heard; Read Desi.: (p. 143) NisuyaM NisAmiyaM ca sue| NisuyaM tathA NisAmiyaM zrutam / NihuaM (nibhRtam) (162.372; 243.94) silently, quietly, unobserved. NIsahaM (ni:zabdam) (243.94) inaudibly. NIsara (nis + sR) (1468.309) go forth or out. NIsaha (ni:saha) (1379.294) weary, weak or powerless. NIsAmaNNa (ni:sAmAnya) (1391.296) uncommon. NIsAsa (ni:zvAsa) (1379.294) breathing faintly (aparisphuTa). gumajja (ni + sad) (2.6) to sleep, lie. Read H. 8.4.123 : ne: sado majja : / ni-pUrvasya sado majja ityAdezo bhavati / attA ettha Numajjai / guvaNNa d(supta) (1136.251) fallen asleep, slept, sleeping, asleep. Read Desi.(p. 142): Nijja - NuvaNNA ya suttammi / Nijjo tathA Nuvanno supta : / NUma d (chAdaya, gopaya) (765.190) to conceal, hide. See H. Vrtti on 8.4.21 : chadeya'ntasya ete SaDAdezA vA bhavanti / / Numai nUmai / Natve NUmai / --- Desi.(p. 149) : ---- atra - NUmai chAdayati iti dhAtvAdezeSUktamiti noktam / NecchaMta (= aNicchaMta) (anicchat) (128.67) unwilling. NomAliA (navamAlikA) (604.162) a kind of jasmine (Marathi mogarA); also its flowers. Nhu (hanu) (243.94) to conceal. taMsa (-valaMta) (tryaMsa-valad-) (86.216) turning obliquely. taMsa (-valiacchaM) [tryaMsa - (valitAkSam)] (60.54) with his eye turned sideways / obliquely taMbA d (tAmrA) (171.374) a tawny - coloured young cow. taMbira (tAmra) (1276.277) red. taTTiA d (vRti:) (291.399) enclosure, hedge. Read Desi. 'taTTI vaII'; taTTI vRti : / taNuAai (taNuyAya = tanukAya) (tanukAyate) denom. verb from taNua = tanuka - thin, emaciated; (1440.305) grows lean, is emaciated, wastes away. taNuia (tanukita) - ppp from denom. root from taNua = tanuka, slender, thin, lean,

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262 Prakrit Verses in Sanskrit Works on Poetics emaciated (226.90) emaciated, grown thin. taNuei (tanayati) denom verb. from tanu, thin, small, slender (139.69;19.422) makes thin or slender. . taNNAa d (Ardra) (13.542) wet, moist, hence - taNNAaMta (pres. part) (1402.299) getting wet, 'perspiring.' tatti d (cintA) (6.27) reflection, consideration, thinking, thought, concern. tadiahaM (pratidivasam) (1.35) everyday, day after day; Read Desi.(p. 155) : 'tadiasaM aNudiase', tadviasaM - adUraviprakarSAt 'tadiasiyaM' 'taddiahaM'. ityapi - anudivasam. tama (- paDihattha) (tamas - darkness + paDihattha = pratihasta = pratinidhi) (161.75) representative, deputy, (representatives of) darkness. tara (i tvara, ii zak) (72.492) i) to hurry, make haste, move with speed; ii) to be able, have power to effect. tallad (alpasara :) (32.347) a pond. Read Desi.(p. 160): tallaM pallalaya-varua-sejjAsu / tallaM palavalaM varukAkhyaM tRNaM zayyA ceti tryartham / tAlUra d (jalAvarta) (854.203) a whirlpool, eddy. tiasa-kusuma-dAma (tridaza-kusuma-dAma) (223.89) wreath or garland of celestial flowers. tikaMDa-cAva (trikANDa - cApa) (1499.314) (holding) a bow and three arrows (each). tiMgicchI d (kamalaraja:) (32.347) the dust or pollen of lotuses, water-lilies. Read Desi, p. 157 : tiMgicchI tiMgiyA ya kamalarae / tiMgicchI tiMgiyA ca kamalaraja: / tittila (? tattilla) d (cintApara, tatpara) (851.203) diligent, vigilant, watchful. Read Desi. p. 153 : tattillo talliccho ya tappare / tattilo tathA taliccho tatparaH / tittha (tIrtha) (664.173) a river ford, a bathing ghata'. timi (-Nivaha) [timi (-nivaha)] (173.77) shoals of whales. tivali (trivali) (242.93) the three folds of skin on the abdomen. tuppalia d (snigdha, mekSita) (1154.254) besmeared (with ghee coloured with turmeric powder). PSM records tuppa, tuppaia, tuppalia, tuppavia as meaning "besmeared with

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Prakrit Verses in Sanskrit Works on Poetics 263 ghee.' tulagga d (kAkatAlIya) (17.54; 1617.333) chance, accident unexpected, accidental; Desi. p. 158 : tulaggaM kAgatAlIe / tulaggaM kAkatAlIyam / tUha d (tIrtha) (42.14; 56.53) ford, stairs for landing or for descent into a river, ___bathing-place (ghata in Marathi). tthAma (thAma - sthAman) (587.159) might, strength. ttheva d (binduH) (774.192), a drop. Desi.p. 163 : biMdue thevo| thevo binduH| 'stokavAcakastu 'theva' zabda: 'stoka' zabdabhava eva / thaNaharillI (stanabharavatI) (645.170) a young woman having swelling or heavy breasts. thavaa (stabaka) (1506.315) bunch, cluster. thuDuMkia d (darakupitavadanasaMkocanaM maunaM ceti dvayartham) (14.30; 547.153) sulky and silent. thutthukkAria (? dhuddhakkAria = ullasita ) (235.92) 'made to flare up'. thUlAsuaM (sthUlAbhukam) (132.68), 'with big tears thera (sthavira) (*14.4) an old man. daMta-kkha a (danta-kSata) (229.91) tooth - bite, tooth - mark. daMsaNa - valia dizana (-valita = lagnaM)], engaged (i) in pounding the grains to be unhusked and also (ii) in rubbing (mardana) the vaginal cavity. dappuddhara (darpodbhura) (62.557) full of pride or arrogance. dasa (= daha-) kaMdhara (daza-kandhara) (194.82) 'ten - necked', Ravana; Cf. dazakaNTha, dazagrIva, dazAnana. dANalehA (dAna-lekhA) (6.582) a streak of ichor. dAvijau (dItAM) (26.2) 'should be shown'. Read H. 8.4.32 : dRze : dAva-daMsa-dakkhavA : / dAvei (darzayati) (15.421) shows, presents. dAsarahi (dAzarathi)(47.25%; 23.550) Rama (a patronymic), adescendant of Dasaratha. diThi (-NivAa) (dRSTi-nipAta) (216.86) 'falling of the sight', look, glance. diThi-visahara (dRSTi-viSadhara) (14.584), venomous serpent ('having poison in the eyes', _ 'poisoning by the mere look' - dRSTiviSa m. a snake).

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264 Prakrit Verses in Sanskrit Works on Poetics dihi (dhRti) (49.52) satisfaction, joy; baMdha dihiM - be satisfied. See H.8.2.131; dIhara (dIrgha) (189.80) long. dukkhuttAra (du:khottAra) (130.68), difficult to negotiate or walk up or down. duggejjha (durgrAhya) (26.539) unfathomable. duTha-vasaha (duSTa-vRSabha) (171.374) vicious or ferocious or stubborn ox. duNNia / dUmia (dUna, pIDita) (86.599) distressed, afflicted, tormented. duddama d (devara) (23.33) brother-in-law; Desi (p169) 'duddamo diare'| dupparialla (duSparikarSa = durAkarSa) (226.90) 'difficult to stretch or wield'; Desi (p. 173) however records: 'duppariallaM asakke duuNammi tahA aNabbhasie / ' dupariyalaM azakyam dviguNam anabhyastaM ceti vyartham / dumia (dhavalita) (86.562) whitened, illuminated; Read H. 8.4.24: dhavale: dumH| . dhavalayaterNyantasya dumAdezo vA bhavati / --- iti dIrghatvamapi / dUmiaM dhavalitamityartha : / darehAlI (dvirephAlI) (33.587) a row, series of bees. dulalia (durlalita) (238.93) spoilt by fondling, fondled too much. duvvisaha (durviSaha) (216.86) difficult to be bome, intolerable, difficult to endure. dUmia (dUna) (252.95) tormented, distressed. Read H. 8.4.23: dUDo duumH| dUsikkhia (duHzikSita) (570.156) overfondled, pampered. deva (de iti nipAta : prArthanAyAm) (4.7; 1564.325) 'pray', 'look here!' also read H. 8.4.196 de saMmukhIkaraNe ca r saMmukhIkaraNe sakhyA AmantraNe ca de iti prayoktavyam / doca (dautya) (222.385) the state or function of a messenger. doNI (droNI) (2.528), the hollow cavity (formed at the top when the petals have slightly opened.) dobballa (daurbalya) (1279.277) weakness. doliA (dolikA) (7.340) a litter, palanquin, cradle. dohaNI (? dohaliNI, dohadinI) (234.92; 560.155) a pregnant woman having a longing for anything.

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Prakrit Verses in Sanskrit Works on Poetics 265 dharAhara (dharAdhara) (1478.311) a mountain. dhua (dhAvaya) (67.128) to wash. (dhAvayati = prakSAlayati) dhuNIdhavaa (dhunIdhava) (27.441) an ocean. dhuddhakkAria d (ullasita ?) (235.92) 'made to flare up". dhUmuppIDa (dhUma + d uppIDa = rAzi, samUha) (161.75) columns of smoke, dense smoke. Cf. uppIDa with uppIla, recorded by H. in his Desi. (p. 51) in the sense of 'saMghAta' and 'sthapuTa'. nidbhUma (-mummura) (nirdhUma-murmura)[nirdhUma - murmura (? karISAgni)] (26.516) a somkeless chaff fire. M. Williams (p. 824) records murmura m. (onomatapoeic); meaning 'an expiring ember; burning chaff'; Hemacandra records in his Desi (p. 231) : mummuro karisa - karisaaggIsu / - mummuro karISam karISAgnizceti vyartha : / paippa (-pradIpya) (125.66) to be set on fire (pass). pairika d (pratirikta, paririkta ?) (230.91), privacy, solitude; Read Desi. p. 204 : pairikka ca visAle egaMte taha ya sunnammi / pairikkaM vizAlam ekAntam, zUnyam ceti tryartham / pauttha. d (proSita) (24.33; 1571.326) (a heart from which anger) has departed, gone away, vanished. Read Desi p. 203 : pautthaM ghara-ppavasiesu / pautthaM gRham, proSitaM ca / pautthapaiA (proSitapatikA) (175.77; 1347.289) a woman whose husband is away on a ___journey, one of the eight types of heroine (nayika) in erotic poetry. paura (-juANa) (pracura-yuvA) (186.80) (a village,) which abounds in young men. paosa (pradoSa) (169.76) evening, night-fall, the first part of the night. paMcesu (paJceSu) (1.528) the five-arrowed God of Love. pacattharaNa (pratyAstaraNa) (1388.296) bed. pacUsa (pratyUSa:) (1265.275) day break, morning, dawn. pacchao (pazcAt) (25.586) from behind (the variant reading maggao (-maggo) means the same

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266 Prakrit Verses in Sanskrit Works on Poetics thing; Cf. Marathi mAgUna) pajjuTTha [paryuSTa= prasphurita ?)] (1046.237) throbbed. paDheMsua (paTTAMzuka) (98.61) an upper garment, especially of silk. paDiuTThia (pratyutthita) (192.378) risen to (meet a friend or) encounter a foe. paDikkhaka d (? paDikkhara) (pratIkSaka ? krUra) (851.203) strict or harsh. paDicakkha (prati + AsvAdaya) (628.167) to taste, sip. paDicchiya (pratISTa) (1.1; 1396.297) received, accepted. paDiphala (pratiphal) (749.187) to be reflected. paDisIsaa (pratizIrSaka) (1498.314) a mask. paDihattha (pratinidhi) (112.362), deputy, representative. Read 'pratihasta: pratinidhau' - iti vishvH| - cited by Jagaddhara in his commentary on SK IV. p. 425. paDihAsa ( pratibhAs) (234.92) to like, please, charm. paDohara (gRha-pazcimAGgaNa) (50.16; 33.426) back-yard. paDhamullaa (prathama) (560.155; 870.206) first. paNAma ( arpay) (18.9) to offer. Read H. 8.4.39 : arpe : alliva-cacuppa-paNAmA : / pattala d (tIkSNa) (24.24) sharp. pattala (patrala) (1533.320) rich in leaves, leafy. Read Desi. p. 182 : pattalaM --- ete trayo'pi tIkSNArthA :I, 'pattalaM kRzam' ityanye / pattalaM patrabahulam iti tu 'patrala' zabdabhavam / pattalehA (patralekhA) (1480.311) and pattAlekkha (patrAlekhya = patralekhA) (1090.243) a decoration consisting in lines or streaks drawn on the face with musk and other fragrant substances. pattia (pratIhi) ('39.13) (imper. 2nd pers. sing. from pattia (prati + i ) believe, trust. pappaMda (praspanda) (1356.290) to throb, quiver. papphuria (prasphurita) (158.74) throbbing. papphoDa (prasphoTaya) (124.66; 76.526) to remove briskly, to whisk off with a jerk. pamahaNAha (pramathanAtha) (1.1) pamaha (pramatha) tormentor; name of a class of demons or goblins attending on Siva, here pamahaNAha = Lord of Pramathas, Siva.

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Prakrit Verses in Sanskrit Works on Poetics 267 pammAa (from pra + mla) (116.363) to wither, fade, vanish; the variant reading pavvAa (pra + mlai) means the same thing. Read H. 8.4.18 : mle : vA - pavvAyau / pamhara (pra + smR) (871.206) to forget. Usually in Prakrit we get the root 'vimhara', 'pamhusa' or 'vIsara' in this sense. Read H. 8.4.75 : vismu : pamhusa - vimhara - vIsarA : / . vismaraterete AdezA bhavanti / pamhusai / vimharai / vIsarai / pamhuTTha d (vismRta) (806.195) forgotten. Read Paiya. pamhuneM vimhariaM / p. 24.550. pamhasa (vi + smR) (*39.13) to forget. Cf H. 8.4..75. parammuha (parAGmukha) (579.158) 'with the face turned away'. parAhutta d (parAGmukha) (729.184) 'with the face turmed away'. pariaDDia d (prakaTita) (1283.278) - displayed, evinced, proclaimed. parighummira (parighUrNanazIla) (216.86) rolling about, unsteady (pari + ghumma + ira - ghumma an Adeza for gut: See H. 8.4.117). . paricchUDha d (parikSipta, utkSipta) (78.597) rejected. pariThia (pari + sthA, pariSThita) (1.1) resting. paritattha (paritrasta) (25.545) frightened. parita (parIta = vyApta) (1251.272) filled with, pervaded. parimUsaNa (parimRzana / parimarzana) (87.219) act of touching. . pariliMta (pari + lI to rest on, lurk in) = parilIyamAna), (91.59; 4.340) resting on. paripA (? A) lia d parivRta, pariveSTita) (1496.313) surrounded. parivesa (pariveza) (666.173) a circle, halo of lustre (esp. the halo round the sun and _the moon). parisakka (pari + SvaSk) (63.435) to go, move about. parihaTTa (pari + ghaTTa) (21.538) to press or rub on alll sides. parihAra (parihAra from pari + hR) (1462.309) shunning, avoiding. paruNa (prarudita) (1396.297), 'burst into tears', began to weep, lament. parohaDa d (= paDohara = gRhapazcimAGgaNa) (881.209) a backyard; Cf. Marathi parasU, paraDe. ____Read Desi. (p. 185) 'paDoharaM pacchimaMgaNae' - paDoharaM gRhapazcimAGgaNam /

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268 Prakrit Verses in Sanskrit Works on Poetics palAlamgi (palAla + agni = palAlAgni) (822.198) a straw-fire. palAsa (palAza) (37.443), (i) Palasa flowers (ii) demons (eaters of raw flesh) (pala - raw flesh, aza eater). . palia (= pradIpaya) (1346.288) cause to flame forth, blaze, burst into flames, burn. palippa (pradIpya) (125.66) to be set on fire, to blaze up, hence palippamANa (= pradIpyamAna) blazing up, being on fire (passive). palIva (pra + dIpaya) (729.184), to inflame, to set on fire. paloTTa (pari + as) (1492.313) to turn round, wallow. palhattha (paryasta) (8.536) spread, cast about, changed, - in the present context it means the face resting (on the palm of your hand); Desi. p. 182 'pallattho', 'pallaTTo' paryasta iti, pryst-shbdbhvau| --- iti dhAtvAdezeSUktA iti noktA : / See H. 8.2.47 : paryaste tha-Tau / paryaste stasya paryAyeNa thaTau bhavata : / pallattho, pallaTTo / pavvA ( mlai) (241.388) to wither, dry up; Read H. 8.4.18 mle: vA-pavvAyau / pasiacchi Voc. (prasRtAkSi) (1142.252) with large (lit. extended, spread out) eyes or pasia a kind of deer, hence 9R131778 a maiden with large eyes; or, a gazelle-eyed one. pasijjaNa (pasajjaNa ? = prasatti = prasAdana) (980.225) becoming propitious, favourable. pahara (= prahAra) (591.160) a blow; for shortening of A in 'hA', See H. 8.1.68 : ghavRddhervA / pahAva (pra + dhAv) (1461.308) lit 'rush or advance against', 'run towards'. pAava-raaNa (pAdapa-ratna) (1645.337) an excellent tree, the best among trees, (Parijata), (ratna - anything valuable or best of its kind). pANauDI (pAnakuTI ? cANDAlakuTI) (80.355; 16.451) the commentater of SK says : pANapadaM mlecchadezIyam / pAne kuTI zauNDikakuTI vA I a hut or a shop of a Saundika (a distiller and vendor of spirituous liquor': pANa d (cANDAla), uDI (kuTI) the hut of aCandala. pANaddhi d (rathyA) (592.160), a street. Read Desi. pp. 192-193: pANaddhI racchAe' / pANaddhI rathyA / pAra (zaka) (1627.334) to be able to, see H. 8.4.86: zakezcaya-tara-tIra-pArA : /

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Prakrit Verses in Sanskrit Works on Poetics 269 pAraa (prAvAraka) (74.56) a garment, warm clothing%3B See H. 8.1.271: yAvat-tAvat-jIvita-AvartamAna-avaTa- prAvAraka-devakula-evameve va : / pAraddhi (pAparddhi) (239.388) sin-thriving, hunting, chase. In the present context this meaning does not suit at all. For the form pAraddhi See H. 8.1.235 : pApardhI ra : / pAriDi (prAvRti) (66.594;1417.302) an upper garment, a gown. pAroha (praroha) (249.95) sprout or branch of tender leaves. ____For elongation of a in pA see H. 8.1.44 ata: samRddhyAdau vA / pAvAliA (prapApAlikA) (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. pAsutta (prasupta) (624.166). latent, dormant (lit. fast asleep, here dormant); See H. 8.1.44 for the elongation of a in pA, cited above under pAroha. piAmaha-taNaa (pitAmaha - tanaya = jAmbavat) (9.583) son of Pitamaha (i.e., Brahma), name of a monkey-chief. piucchA d (sakhI) (866.205) a female friend or companion, a lady's maid; piucchA (pitRSvasa:) (Voc. sing), (*43.348), 'o, paternal aunt' or my friend !' piTTa (bhraMz) (1341.288) to disappear, vanish, be ruined or lost. piMDAra (piNDAra = gopa) (215.383) a cowherd, a buffalo- herdsman. pIlaNa (pIDana) (747.187) the act of pressing (when embracing). puMDari (also rI)a (puNDarIka) (820.198) (i) a lotus flower (esp. a white lotus) (ii) a white umbrella (iii) a tiger (iv) adj. white puDhumilla, paDhamilla, paDhamillua (ga). paDhamullaa (prathama) (55.556) first. puNNAha-maMgala (puNyAha-maGgala) (1566.325) "auspicious ceremony (of sowing cotton-seeds on an auspicious day). puNNAha = zubha-divasa. maMgala = auspicious religious ceremony (consisting in offering Durva grass, flowers, curds, etc. to the ploughshare)" - M. V. Patwardhan (GK 366 p. 183). pupphalAvira / pupphalAI (puSpalavanazIla / puSpalAvI) (770.191) phupphalAvira - a young (gay) boy given to plucking flowers; pupphalAI - a damsel who plucks flowers.

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270 Prakrit Verses in Sanskrit Works on Poetics pupphavajhyA (= puSpavatI) (206.84) 'a woman in her courses'. purisAirI [puruSAyitazIlA (= puruSAyantI = puruSAyamANA)] (650.171; 237.388) 'A woman ___practising inverted coitus on her consort'. puliNa (pulina) (180.78) sea-coast, sea-shore. puloa (a substitute for - dRzaH pra + lok) (738.185) to see. puloia (pralokita; dRSTa) (237.93) 'was seen'. pusa (mRj, pra + uch) (1411.300) to wipe. pusia (mRSTa, proJchita) ('17.439;32.552) wiped. pusa is given as one of the nine substitutes _for mRj - See H. 8.4.105. pUsa-vaMda (vaMdra) (zukavRnda) (148.72;61.523) a flock of parrots; pUsa d a parrot. Read Desi. ___p.206 : pUso hAla-sugesuM / puso sAtavAhana: zukazca / pecchirI (prekSaNazIlA, peccha + ira = pecchira + I fem. termination) (738.185) given to seeing, beholding. pella (pIDayU, preraya) (25.586) to press. pellaNa (pIDana, preraNa) (217.87; 579.158) pressure, close contact, squeezing, pushing. pellia (pIDita, AkrAnta) (1412.301) beleaguered, overrun, attacked.. poDhavAa (prauDhavAda) (1120.248) an arrogant or defiant remark, a bold or arrogant assertion. pottI (potI, potikA) (697.178) cloth, a garment a cloth worm round the hip. posiapaiA (proSitapatikA) (146.574) a wife whose husband is abroad. phara-phalaa (phara-phalaka) (29.551) a pair of shields: phara phalaka. phalahI - vAhaNa (kArpAsa - bIjavapana) (825.199) sowing the seeds of cotton. phiTTa (bhraMza) (188.377;21.538) to slip down from or leave; H. (8.4.177) records six substitutes for I of which one is one. phuTTa (sphuT) (84.58) to break, burst or split open, reveal.' phekkAra (phetkAra) (1498.314) shriek, howl. phella (kSip) (58.87) to throw off, drive away.

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Prakrit Verses in Sanskrit Works on Poetics 271 baMdhai (-jaNa) (bandhakI) (883.209) (connected scil. with many men), an unchaste woman. balamoDi (balamoDia, balAmoli) d (balAdAmoTya) (24.441;13.421) forcibly, violently. balia d(= pIna) (235.92) swelling, plump, large, round. Desi p. 209: bappa-baliyA suhaDa pINA |---balio piin:| balibaMdhana (ba/vali-baMdhana) (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. bAollia (also bAullI) (- pAJcAlikA) (253.96) a human figure (painted on a wall), doll (Cf. Marathi bAhulI.) Read Desi.pp. 210-211: bahumuha-bAlaya-bAullI khl-vnniutt-puttiyaasuNc| --- bAullI paanycaalikaa| bAha (bASpa) (174.77) tears. bAhumUla (bAhu-mUla) (22.46) lit. arm-pit, secondarily, breasts close to them. bAholla (bASpA) (675.175) moist or wet with tears. biMduijjata (bindUyamAna = bindu-kIryamANa) (1413.301) being scattered or filled with drops (of .. sweat), 'with sweat dripping (from his face)'. bibbhama (also vibbhama) (vibhrama) (144.71) playful or graceful movements of the eyes, __eye-brows and lips. bIa (bIja) (84.58), the basic or primary cause. the val. billa means 'rahasyama', a secret. beMTa (vanta) (20.544) the footstalk of a leaf or flower or fruit. The context demands the reading boMDa (d. kArpAsa-phala) - cotton-fruit', cotton-boll. bebaMtao (? vevaMtao) (nom. sing. of bebaMta - pres. part. from veva (vep) to quiver) (vepamAna:) - (3.529) quivering or trembling. bhajjia (bhRSTa, bharjita) (698.178) baked, parched, broiled. bhaMDaNa d (= kalaha) (652.171) a quarrel, dispute, bickering. Read Desi. p. 215: kalaha - Avattesu bhaMDaNa - bhamamuhA | And bhaMDaNaM kalaha :I Cf. bhAMDaNa in Marathi. bhara (smR) (190.81) to remember. . bhasala (bhramara) (56.592) a bee. Read H. 8.1.244 bhramare so vA / bhramare masya so vA bhavati /

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272 Prakrit Verses in Sanskrit Works on Poetics bhasalo bhamaro / and, 8.1.254 : haridrAdau la:--- bhasalo--- bhramare sasaMniyoge eva / anyatra bhramaro / bhisiNI (bisinI) (3.418) a lotus-plant. See H. 8.1.238. bhisiNa/ bhisaNa d (ava + kR) (1517.337) to scatter, throw. Note the v. I. "phasalihimi = AcchuriSyAmi, avaguNThayiSyAmi (fut. Ist pers. sing. from phasala d to cover, besmear, besprinkle)" is equally good. bhujaMga (bhujaGga) (99.564) (i) a serpent, snake (ii) a lover, paramour. bhUa-chaNa (bhUta-kSaNa) (299.401) the festival of Bhuta-mahotsava or Bhuta matr or Bhuta matrka, the same as Pancalanuyana (For details see Raghavan, Festivals---, pp. 98-107). bhoia d (bhogin / bhogika) (660.172; 851.203) a village-chief, chief of village. Read Desi. p. 217: bhoa-bhoiA bhADi-gAmapavaresu |--- bhoio grAmapradhAnam / bhoideva (? bhogideva ? = kRSNa ?) (1631.335) Krsna (?) There seems to be no support in mythology to understand bhogideva as kRSNa. It is possible to emend the text to saccAe vi bhoi (= hoi) dea (deva-) daMsaNadeg and understand deva in the present context to mean kRSNa (-deva) ! maaNa (madana) (23.533) bees-wax (used by ladies for their lips cracking due to cold). maaNAhi (mRganAbhi) (81.561) 'deer's navel', musk. maapaMka (mada-/ mRga-paGka) (196.82)a thick mass of musk (the dark spots on the moon). maaraddhaa (makara-dhvaja) (26.25) the God of Love, Madana, having a fish on his banner, having the 'makara' for an emblem. maalaMchaNa (mRga-lAJchana) (196.82) 'deer-marked', the moon. mailaMga (maila + aMga) (-malinAGga) (11.583); malina = soiled, darkened; (The Vindhya mountain) darkened (by---) mailia / maliia (malinita) (166.76) soiled. maulAviya (mukulIkRta) (804.195) closed and turned into the form of a bud. maulia (mukulita) (581.158; 1403.299) closed (and turned into the form of a bud).

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Prakrit Verses in Sanskrit Works on Poetics 273 mauleMti (mukulanti) (203.381) denom. from maula (Sk. mukula) a bud. majjirI (fem. of majjira) = majjanazIlA (638.169) (A lady) who has had a bath (lit. is given to bathing). majjha (madhya) (241.93) waist. maDaa (mRtaka) (10.341) a dead person, corpse. maDaha d (laghu) (1318.284) short. Read Desi. pp. 220-21: lahummi maDahaM ca / maDahaM laghu / maNNu (manyu) (252.95) a lapse, offence. maNNua (manyuka) (190.81) a lapse, offence. mammaNullAva (manmanollApa) (6.530) indistinct babble, lisping words (of children); For mammaNa . read H. 8.2.61: nmo ma : / nmasya mo bhavati / adholopApavAda :! ---mammaNA mammaraa (marmaraka) (839.201) (onomat.) rustling (as leaves or garments), murmuring a rustling sound. . marubhUmI (marubhUmi:) (35.552) a desert, a sandy desert, but marubhU (plu.) the country called Marwar. malaa-gaMdhavaha (152.72) the southern breeze from the Malaya mountain. malla (malla = samartha) (22.33) victorious, triumphant, a match for, very strong or powerful. malia d (malina) (697.178) unclean, soiled, stained. masi (maSI) (166.76) "soot formed on the bottoms of cooking utensils". - MVP. mahagghavia (= mahArghita, pUjita, saMmAnita) (194.82 ; 25.516) honoured, prized. mahamahaMta (-lAvaNNa) d (pres. part. of mahamaha) = prasarat (-lAvaNyam) (63.435) ever-new (lit. spreading). Read H. 8.4.78 : mahamaho gNdhe| prasaratergandhaviSaye mahamaha ityAdezo vA bhavati / mahamahai mAlaI / mAlaI-gaMdho pasarai / gandha iti kim / pasarai / With reference to lavanya', however, it would be better to interpret it as 'navanavIbhavallAvaNyAm' the young maiden whose beauty presents ever newer and newer forms. mahANasa-kamma (mahAnasa-karma) (166.76) work (of cooking food) to be done in the kitchen.

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274 Prakrit Verses in Sanskrit Works on Poetics HEITT (Halaf) (1568.325) a large whirlpool, eddy HIGHET (HE-A2A) (5.44; 71.353) crusher or destroyer of Madhu (a demon), Visnu. HERS ( R) (16.23) enemy of Madhu (a demon). Name of Visnu-Krsna. A13i (HAET) (722.183) a Candala or Kirata 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 Durga). 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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Prakrit Verses in Sanskrit Works on Poetics 275 mohaNa (mohana) (20.544) sexual intercourse. raMga (raGga) (657.172) a stage, play-house, theatre, any place of public amusement. raNaraNaa (raNaraNaka) (47.445; 1288.279) affliction or torment as caused by love. raMbhoru (raMbhorU) (106.361) (a maiden / woman) having thighs like the interior of a plantain tree, i.e., full, round and hence lovely. ratti (rattiM accu. of time rAtriM, rAtrau) (141.70) during the (preceding) night. rattiaMdhaa (rAtri + andhaka = rAtryandhaka) (2.6) night-blind. ravitaNaya (ravitanaya = karNa) (*5.476) the ear. rAilla (rAgin, rAgayukta) (645.170) (madder-) dyed, coloured. rAyA (rAjA, rAjan m. nom. sing.) (36.553) the moon. richolI d (paGkti) (*9.477) a series, line, swarm. Read Desi. p. 234 : richolI paMtIe a| riJcholI paGkti : / riTTha (ariSTa) (354.72) the bull demon Arista. Read 'ariSTo nAma vRSabhAkRti : kaMsAmAtyo mhaasurH| ariSTazabdasya AdyAkSaralopa : / ' ruAvia (rodita) (191.81) - caus. ppp. of rua (ruda) to weep; 'made to weep', were made to pity. ruira (rodanazIla) (1351.289) weeping. rujja (rodana) (1288.279) weeping. rukkha (? rujja,ruNNa) (rodana) (223.385) weeping. ruNNa (rudita) (132.68) ppp. of rud to weep, wept. ruvva (rud) (243.94) to weep. For - ruda changing to ruva. Read H. 8.4.226 : ruda-namorvaH // anayorantyasya vo bhavati / ruvai --- and for duplication of va read H. 8.4.249 : gamAdInAM / dvitvam ||--- ruvvai ruvijjai--- | roaNa (rocana, rocanA) (3.340; 79.527) a bright yellow pigmment prepared from the urine or bile of a cow, a kind of yellow pigment. laMkAlaya (lakAlaya) (37.443) (i) laGkAyAM (=zAkhAyAm) Alayo yeSAM te Those which are resting

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276 Prakrit Verses in Sanskrit Works on Poetics on i.e., growing or hanging on the branches (ii) lar3akAyAM rAvaNapuryAmAlayo yeSAM te "Those who are residing in Lanka, the capital city of Ravana, i.e., the demons." lajjAluiNI (lajjAlu:, lajjAvatI) (1534.320) "Shy, bashful [lajjA + Alu + a (= ka) + gunt) an example of two pleonastic suffixes (3T and guit) added to the possessive suffix Alu. Cf. saddhAluiNI St. 417." - MVP, GK II, p. 144. laDahattaNaa (= ramyatA, ramaNIyatva) (1.19) beauty. Read Desi. p. 238: laTTaya-laDahA kusuMbha - rmmesu|| ---laDahaM ramyam / laMbAlaiyA (lambAlakA) (1308.2833; 103.565) (my wife) whose (long) tresses are hanging loosely (on her back). lIlAida (lIlAyita) (45.18) play, sport. luMbI d (latA) (1341.288) a creeper; but the context requires us to understand it as Folch - a bunch of flowers. lukka (ni + lI; nilIna) (308.402) concealed; in the sense of nilIna we should expect the form least, and not ges. The radical forms are sometimes used as past participles. Here lukka is thus used in the sense of lukkiya ( = nilIna). Prof. M. V. Patwardhan has pointed out the use of such forms in Vajjalagga; vide his Introduction, p. xli. lehaNiA (lekhanikA) (1347.289) a reed-pen. lehaNImagga (lekhanI-mArga) (70.55) the track of a reed-pen, the line drawn withareed-pen. lehala (lampaTa) (894.211; 355.411) greedy, lustful, eagerly desirous of. Read Desi. p. 241: lole lehaDaya-lohillA || And lehaDo tathA lohillo lampaTa : / . loaDI (lomapuTI = kambala) (205.84) 'rags' - P. L. Vaidya; 'jari purani lobadi (Gujarati) - Dr. H. C. Bhayani. loAvavAa (lokApavAda) (701.178) public scandal. loha - hiaa (loha - / lobha - hRdaya) (587.159) (1) loha-hRdaya steel - hearted (2) lobha-hRdaya greedy-minded. -llia (= lipta) (1303.282) anointed, besmeared.

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Prakrit Verses in Sanskrit Works on Poetics 277 lhasia (? = sasta) lasia (lasita) (559.155 slipped [? this reading and meaning) does not suit the context. N.G. Suru rightly reads (dara-) lasia - (thaNIsu) (dara-lasita-stanISu) and translates "(young girls) "whose breasts are just budding into view." KM, p. 44 and p. 105. vaaNijja (vacanIya) (1393.297) censure, blame, disgrace. vai (vRti) (151.72) enclosure, fence, hedge. vairika d (ekAnta) (1276.277) a lonely or solitary place; Cf. pairikka : pairikkaM ca visAle egaMte taha ya sunnammi | Desi. p. 204 vakullAvirI (vakrollApanazIlA) (153.73; 99.359) one who is in the habit of talking crookedly (i.e., satirically or sarcastically) vacchaa (vatsaka, tarNaka) (215.383; 986.226) a calf vacchomI d (vAtsagulmI) (= vaidI) (58.351) the style of the people of vatsagulma (Prakrit vacchoma), a city in the country of fact. It is the same as tezff style in poetry. vaDa-jakkha (vaTa-yakSa) (77.597) stone or wooden image of a Yaksa installed under a Banyan or Indian fig-tree. vaMjulA (= vaMjula =) azoka (630.167) a tree of moderate size belonging to the leguminous class with magnificent red flowers. vaDavaggi (vaDavAgni) (133.571) the submarine fire. vaNamAlA (vanamAlA) (157.74; 107.361) a garland of wood-flowers (such as was usually worn by Krsna). vaNarAi (vanarAji) (161.75) a long track of forests. vaNNavasiA (varNavazitA = varNanavazIkRtA) (95.563) (a maiden or woman) who has become enamoured of a person by the mere description given by others about his handsome form. vaNe (manye) (562.155) methinks; Bhuvanapala explains maNe as he sakhi (O, friend!) H.8.2.1205 and) 206 gives four different meanings for the word vaNe : 'vaNe nizcaya - vikalpAnukampye ca / / vaNe iti nizcayAdau saMbhAvane ca prayoktavyam /

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278 Prakrit Verses in Sanskrit Works on Poetics (i) Surely or certainly (ii) or (iii) alas ! and (iv) possibly or perhaps. valagga (= ArUDha ) (237.93; 1226.267) mounted; H (8.4.206) gives it as an adesa for A + ruh : AruhezcaDa-valaggau // AruheretAvAdezau vA bhavata : / caDai / valaggai / Aruhai / valaia (valayita) (628.167) strung, bent, enclosed; 'slipped the loop of the bow-string into the notch'. valahIghara (valabhIgRha) (50.16; 33.426) the topmost part (of a house). vasira (vasita, vasanazIla) (630.167) resident. vahuNNiA (= vahuNNI = jyeSThabhAryA) (845.202) elder sister-in-law. vaMsuppaNNa (vaMzotpanna) (136.69) (i) made from a bamboo (ii) born in a noble family. vAaggi (? vANaggi) (nirvANAgni) (1512.316) flameless glowing embers of fire. vAurA (vAgurA) (51.52; 338.408) a net, snare, trap. vAraa (vAraka) 15.535) restrainer, opposer, obstacle. vAravAliA (vArapAlikA) (1420.302) a mistress. vAluMki (vAluGkI, karkaTI) (1112.247) a cucumber. vAvaDa (vyApRta) (144.71) busy with, engaged in. vAsaa (vAsaka) (1542.321) bed-chamber. vAsaNA (? Na) (? pAtra) (1284.278) a vessel. vAsAratta (varSArAtra) (69.55; 134.69; 98.359; 576.157) rainy-season.. vAhittA (vyAhRtA) (125.66; 257.96) addressed, spoken to. vAhI (vyAdhastrI / vyAdha-vadhU) (683.176; 1440.305) a hunter's (young) wife. vikaDha (vi + kRS) (1511.316) to drag, pull. vikkhira (vi + kR) (227.90) to scatter. vicchaDu d (samUha) (109.361; 158.74) collection, assemblage, or (samRddhi) abundance, profusion. vicchAa (vicchAya) (222.89) pale, lacking lustre. vicchaDia (vicchuTita = viyukta) (1533.320) separated.

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Prakrit Verses in Sanskrit Works on Poetics 279 vicchuha (vi + kSip) (37.49) to insert, push. vijjummaNiAsalAA (vidyunmaNizalAkA) (53.556) flashes of lightning. vijjha (viddha) (65.594) pierced, ppp. from vidh. vijjhavia (vidhyApita) (736.185; 1422.303) extinguished (ppp. of vi + dhyApay) (vijjhavia = nirvApita) viTThi-diaha (viSTi-divasa) (217.87;180.376; 21.515) "(also called bhadrA), the seventh of the eleven karanas or astrological divisions of a lunar month (supposed to be inauspicious). viThidiyaha can also stand for vRSTi - divasa (a rainy day). viSTi also stands for unpaid labour; so viSTi-divasa means 'day of unpaid labour'. viDhappa (a substitute for arju) (200.83), (viDhappaMti = aya'nte = are acquired.) Read H. 8.4.251: arjaviDhappa : / viNajjai (vi + Najjai = jJAyate) (1545.322) (Najai pres. pass. 3rd pers. sing. from NA = jJA) to know viNajjai = vijJAyate = is known. Read H. 8.4.252 : jJo Navva-Najjau / / viNaDa (vi + naTaya, vi + gup) (686.176) to be distracted; to agitate, to confound, perplex. viNiaMsaNa (vinivasana - vivasana = nagna) (582.157) unclothed, naked, nude. viNimmavia (caus. p.p.p. of viNimma = vi + nir + mA) to create (656.172) vinirmita created - Note the causal p.p.p. is here used in a non-causal sense. viNeti (vi + nir + i) (59.18) to come out, 'swell to stand out'. vitthaa (= vistRta = vizAla - tthaNI = stanI) (53.53) one possessing large (plump) breasts. vimalia (vimardita) (1542.321) bruised, pounded, broken. vimharia (vismRta) (3.540) forgotten. Note mhara is one of the (nine) Adezas for - smR, smar See H. 8.4.74. viyaila (vicakila) (53.522) a kind of jasmine. viramAlaNa (gopana ?) (1010.231) concealing, hiding. H. 8.4.193 however lays down the root viramAla as a substitute for pratIkSa (prati - + IkS) to wait for, expect, to look forward to.

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280 Prakrit Verses in Sanskrit Works on Poetics viramAveuM (viramayitum) (328:407) to stop, to end. viralaMgulI (viralAGguli :) (139.69) with the fingers (of one's hands) loosely held together. virikka (vibhakta) (1151.254) distributed. vilakkhattaNa (vilakSatva = vailakSya) (721.182) embarrassment. vilia d (vIDita) (1163.256; 1653.338) ashamed, abashed. vilioNaa (vIDitAvanata) (738.185) ashamed and bent down. vivarIa-raa (viparIta-rata) (149.574) inverted sexual intercourse. visaTTa visaTTia d (= vikasita) (245.389) expanded, bloomed. visaDha (vizlatha; vyAkula) (1409.300) confounded, bewildered, perplexed; relaxed, loose. visamaia (viSamaya) (34.12; 24.40) poisonous, consisting of poison, (i.e., miserable); Read H. 8.1.50 : mayaTyairvA // mayaTpratyaye Aderata: sthAne ai ityAdezo bhavati vA / viSamaya : / vismio| visamao // visamma (vizrAmya) (249.95) to rest on. confused. visaMtula (visaMSThula) (941.219) unsteady, tottering, confused. . visaria (vismRta) (1377.294) forgotten. visAhIA (vizAkhA) (14.22) a certain cowherdess by name vizAkhA who is referred to as visAhA and visAhiyA in Vajjalagga. V. No. 595 and 598 respectively, and beloved of Krsna. visUraNa d (kheda) (768.190) sorrow, dejection, sadness; see H. 8.4.132 which lays down ___ jUra and visUra as substitutes for the root khid. visUria d (khinna) (1564.325) wearied, exhausted. visesaa (vizeSaka) (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. vihalaMkhala (vizRGkhala; vihvalAGga) (17.422; 28.425) unbridled, wanton; one whose body is exhausted and languid. vihANa (vidhAnaM = daivam; prabhAtam, prAta:) (117.363) (i) Fate Destiny (ii) early dawn.

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Prakrit Verses in Sanskrit Works on Poetics 281 vihavattaNa (vaidhavya) (1368.292) widowhood. vihi (vidhi) (195.82) Creator. vIa (vIj) (591.160) to fan.. vIarAga (vItarAga) (8.477) free from passions or affections, dispassionate, desireless, calm usually applied to Mahavira and other Tirthankaras. bUDha (vyUDha, UDha) (82.57) carried; -'aGgena romAJca: vyUDhaH' - "that limb carried goose-flesh" i.e., it felt thrilled with delight. veAra d (pratAraya) (1064.239; 1128.250) to deceive. Read Desi. p. 265: veyAriyaM avi payAriya- kacesu | veyAriyaM pratAritam / ... velakkha (vailakSya) (639.169) feeling of shame, embarrassment. velava d (upAlam) (1130.250) to tease / taunt. velA (velA) (159.74) sea-coast, sea-shore. vevira (vepanazIla) (70.55) trembling, quivering. vesa-vilayA (veza-vanitA-vezyA) (656.172) a harlot, prostitute. vodraha d (taruNa) (830.199) a young man. Hemacandra in his gloss on 8.2.80 observes. vodrahAdayastu taruNapuruSAdivAcakA nityaM rephasaMyuktA dezyA eva / vodrahI d (kumArI) (3.449) a young girl. vola d (ati + krama) (28.25) to go away. volINa d (atikrAnta) (54.17; 1353.290; 1515.117) departed, gone away. saajjhid (prativezina, prAtivezmika) (48.52) a neighbour; Read Desi. p. 270: 'paDivesiyae saijjho ya / ' saajjhiA d (prativezinI, prAtivezikA) (1258.274) a neighbouring woman, a woman neighbour. saaMgAhaM (svayaMgrAhyam) (1650.338) obtainable by one's own effort, 'obtainable by each one's unaided effort'. saMketa (saMkrAnta) (140.70) transferred.

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282 Prakrit Verses in Sanskrit Works on Poetics saMkAlua (zaGkAvat) (701.178) fearful, afraid of, full of apprehension. saMkhavatta (zaGkhapAtra) ('33.442) plate carved out of an oyster-shell. saMkhasutti (zaGkha-zukti) (3.422) 'a shell-like piece carved out of a conch', 'an oyster-shell having the shape of a conch' saMgalia (saGghaTita) (1145.253; 1338.287) 1) assembled, met, (or formed). Read H. 8.4.113 : samo gala: || saMpUrvasya ghaTatergala ityAdezo vA bhavati / saMgalai / saMghaDai / saMghADI d (saMghATI ? yugala) (1534.320) 'a pair (of badara) plums growing from a single spray'. saMjhA-maa (? saMghAsaa (d) = spardhA) (294.400) competition. Read Desi. p. 271 : 'saMghAsaya-samasIsI phaddhAi' | And, saMghAsao tathA samasIsI sphardhA | sacavia (dRSTa) (142.70; 18.439; 160.576) seen; H. 8.4.181 it records sacava as one of the 15 adesas for dRz. And, Desi. p. 273 : 'sacaviaM' abhipretam / darzanArtha: tu dRze: "sacava Adezasiddha : / sacA [satyA (= satyabhAmA)] (1589.329; 1631.335) another name of satyabhAmA, one of the wives of Krsna. sacchaha d (sacchAya? = sadRza) (38.486) similar, like. Read Desr (p. 269): sacchaha-sarisAhulA sarise / sacchaho tathA sarisAhulo dvau api etau sadRzAe~ / saMjamia d (saMgopita) (611.163) well-guarded, kept secret. Read Desi.p. 272: 'saMgoviyammi saMjamiyaM | And, saMjamiyaM saMgopitam / saMjhArAa (sandhyA -rAga) (3.581) the reddish glow of the evening twilight. (saMjhArAutthaia = sandhyArAga + otthaia = avastRta) covered with. saMThava (saMsthApaya) (632.168) to console, comfort. saNeha (sneha) (144.71) love, affection. sattAvIsasaMjoaNa (= indu) (*2.475) the moon. Read Desi.p. 275 : 'sattAvIsasaMjoaNaM induM --' / And, sattAvIsasaMjoaNo indu : / siMhadevagaNi observes : deze bhavaM dezyam / yathA- sattAvIsasaMjoaNa --- / atra sattAvIsasaMjoaNa - zabdo dezyazcandrArthe / --(p. 15) sattha (sArtha) (1265.275) significant, having meaning. saMdaTTha d (saMlagna) (554.154) closely attached, united with, tightly closed.

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Prakrit Verses in Sanskrit Works on Poetics 283 Read Desi.p. 274: saMdaTThayaM saMlagnam - 'ka' pratyayAbhAve saMdaheM iti api / saMdANia (saMdAnita = saMspRSTa) (1370.292) the ground covered (with her bosom). saMdANe (saMdAnay) (169.374) to hold back, to be reluctant to part with. saMpattiA (= pippalI - patra) (82.561) Pippala leaf. sabbhAva (sadbhAva) (144.71) good disposition, favourable attitude. saMbhara (saM + smR) (679.175) to remember. saMbharaNa (saMsmaraNa) (247.95) recollection, remembrance. samallia (sam + A + lI) (885.210) to approach (stealthily, softly or gently) or embrace. samukkhaa (samukkhAa) (= samutkhAta) (569.156) pulled out, extricated. For the shortening of A into a, read H. 8.1.67: vA avyaya-utkhAtAdau ad Ata: / samupphusia (saMproJchita - samunmRSTa (13.451) wiped out samupphusa d (samunmRj) to wipe out, rub out - (13.451) wiped out.] samuvvasio (? samupphusio) (= saMproJchita : / samunmRSTa :) (22.24) wiped out. samUsasa (samucchva sa ?) (228.90) to breathe heavily or give out sighs. sammara (? saMbhara) (saM + smR) (6.541) to remember, think of. saraa (zarad fem.) (180.78) autumn. salAhira (zlAghanazIla) (244.389) praising. savaNamAla (sa-vanamAla / savraNa-mAla) (117.568) (i) wearing a garland of forest-flowers (said of Visnu - Krsna) (ii) (lower lip) marked by a series of tooth-bites. saMvaraNa (saMvaraNa) (144.71) concealment. sasi-maNi (zazi / candrakAnta - maNi) (253.96) the moon-stone. samhatthatAlaM (sahastatAlam) (148.72) clapping their hands. sa-hiaa (sahRdaya) (15.22) a connoisseur, a sensitive, sympathetic and appreciative reader (or spectator). sahiA (= sahIA = sakhI) (124.66) a female friend, a lady's maid. sANI (zANI) (220.384) a whetting stone.

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284 Prakrit Verses in Sanskrit Works on Poetics sAmalijjai (zyAmalAyate) (126.67) becomes dark or sombre. sAmA (zyAmA) (126.67; 23.440; 144.573)adark woman (who is in the prime of youth): zIte sukhoSNa-sarvAGgI grISme yA sukhazItalA / taptakAJcanavarNAbhA sA strI zyAmeti kathyate // sAmivalia (= ardha-valita) (153.73; 99.359) sAmi ind. partially, half; hence, half-turned. sAlivaNagoviA (zAlivanagopikA) (95.359) a (young) woman, employed to guard or watch the rice-fields. sAha (one of the ten Adezas, substitutes for kath) (10.29) to tell. sAhINa (svAdhIna) (186.80) (i) at one's disposal (ii) ready for use at any moment. sAhulI d (vastram) (234.387).a garment, 'saree', 'lower garment'. sikkaria (sItkRta) (3.449) p.p.p. used as a noun : hissing sound; the sound sit or sit (supposed to indicate pleasure, pain or applause); sit or sit - a sound made by drawing in the breath (to express any sudden thrill of pleasure or pain, and especially pleasurable sensations during sexual enjoyment). sikkAra (= sItkAra) (31.442; 7.547; 55.556) see above sikkaria = sItkRta = sItkAra. siDhilia (zithilita) (1371.292) loosed, loosened, slackened, released. siNNa (svinna) (70.55) perspired (here used in the sense of perspiring). siNNamuhI (svinnamukhI) (708.180) having perspiring or sweating face. siddhatthaka (siddhArthaka m.) (1456.308) white mustard. siddha-narida (= siddha - narendra - siddharAja) (4.529) name of a king of Gujarat. sippisaMpuDa (zukti-saMpuTa) (160.74) oyester - shell. simisimAa (- simasimAya) (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. siri-sahoara (zrI-sahodara) (*8.437) co-uterine, born of the same womb from which Laksmi was born, brother of Laksmi. sIbhara (zIkara) (49.350) spray.

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Prakrit Verses in Sanskrit Works on Poetics 285 sIsaMta (kathyamAna) (1556.324) (sIsa - sAsa = kathaya) - (are) being told. suNNa (zUnya) (190.81) wholly alone or solitary. suNNaia (zUnyIkRta / zUnyita) (219.87) p.p.p. from denom root from (sunna-zUnya) - vacated. supariNAha (= atisthUla) (189.80) bulky or big. suppa / sua (svap) (760.189) to sleep. suppa (zUrpa) (698.178) winnowing basket; Cf. Marathi sUpa. suravahU (suravadhU) (147.71) celestial damsels / women. suvva (pass. base from (suNa = zR) (615.164) to hear, learn. suhacchiA (sukhAsikA) (1215.265) indulging in pleasure. suhAva - (sukhaya denom. verb from suha (sukha) (598.161) to give pleasure, delight, enchant, enrapture, hence hAvei = sukhayati = sukhaM karoti / suhelli (= sukham) (217.87; 579.158;1615.332;15.543) pleasure (suha + illi) = sukha pleasure; Tot is added here pleonastically (Faref). sUara [zUkara = (Adi-) varAha) (162.577) the first boar, name of Visnu in his third incarnation. sUIveha (sUcI-vedha) (37.49) a small hole made with a needle or better, the eye of a needle. sUNa (zUna) (1276.277) P.p.p. from zU (a weak form of zvi) swelled, swollen. sea (sveda) (242.93) perspiration, hence svedacchala = under the pretext of, in the guise ___of perspiration. seulla (svedArdra) (738.185) wet with sweat or perspiration. seullia (svedArdrita) (12.341) wet with perspiration. seollia (svedArdrita) (98.61) wet with perspiration. sela-suA (zaila-sutA) (1.1; 5.340) daughter of the mountain Himalaya, Parvati. sotthi (svasti) (70.55; 248.390) the first word written in a letter, meaning 'May God bless you', 'May you prosper', 'May you fare well'. somAla (sukumAra) ('34.443) gentle. sovANapaMti (sopAna-pakti ) (242.93) a staircase; step-ladder.

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286 Prakrit Verses in Sanskrit Works on Poetics haMsaula (haMsakula) (180.78) a flock, flight, row of swans. hakka (= ni + sidh) (87.58;1.339) to ward off, drive off. hatthAhatthi (hastAhasti) (420.129; 197.379; 122.568) "hatthAhatthi (adv.) = hastAd hastena, hastAhastikayA - by taking with his own hand from my hand"; - by moving from one hand to another (i.e., from one place to another)" -MVP hatthullaa (hastA) (1605.331) wet hand. hariAla (haritAla) (831.200) yellow orpiment. halahalaa d (= autsukya, kautuka) (573.157) curiosity, interest. Read Desi p. 294 : 'tumulammi koue halahalaM' and, halahalaM tumula: kautukaM ca | Cf. Marathi haLahaLa (uneasiness of mind). hallaphalla d (1. autsukya; 2. zIghratA) (1425.303) 1. enthusiasm 2. quickness, speed, rapidity; read : Desi. p. 288 : 'hatthaM hallapphaliyaM huliyaM sigghammi', and, hatthaM hallapphaliyaM huliyaM traya: api ete shiighraarthaaH| "hallapphaliyaM Akulatvam" iti anye / Akulatvam means perplexity, confusion. hallAvia d (= kampita) (1460.308) caused to tremble. hArahAI (? bhAravAhI = bhArohI) (557.154) bearer of burdens. hAA (? bhAA) (1427.303) a brother. hiaalUDI (hRdaya-luNTAkI) (63.435) one who robs, steals, plunders (i.e., captures) the heart. hittha (trasta) (213.86) terror-stricken. himaara (himakara = candra) (133.571) 'the cool-rayed one', the moon. hiraNNakkha (hiraNyAkSa) (162.577) Name of a noted Daitya, twin-brother of Hiranya-kasipu, and killed by Visnu in his third or Varaha Avatara. hurahurAa (= sphurasphurAya) (737.185) to throb, to come out (on the tremulous lips). heaMgavINa (haiyaGgavIna) (22.538) clarified butter prepared from yesterday's milking, fresh butter. hoMta-pahia (bhavat / bhaviSyat-pathika) (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 Kavyalaskara (with the Tippana of Namisadhu) Note: Keith's perceptive observation regarding Slesa desereves to be quoted here in view of Rudrata's numerous examples of Bhasaslesa "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 Bhasaslesa- and Citra (bandha-) kavyas - like khadga-, muraja-, padma-akara, etc; are beloved in circles of learned Panditas. Yet the fact remains that they are nothing more than kasta-kavya. 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 Namisadhu's commentary are reproduced under serial numbers 3 to 12 - portions that deal with Prakrit language only. For other interpretations they are referred to Namisadhu's commentary on Rudrata's Kavyalaskara (Nirnaya Sagara edn, Bombay 1909) 1. This line is the second half of a gatha. So far if has not been possible to trace the whole gatha. Namisadhu cites the line to illustrate the defect (poetic) vivakSitArthApratIti: (= vivakSitArthApratipatti:) :"atra saMjhaM zabdAdanantaraM 'tata: zabdamantareNa na jJAyate kiM 'praNamya sandhyAM tato nAthaM namata,' Ahosvit 'praNatasandhyaM nAthaM namata' iti - pR. 11 2. Please read in the second half of the gatha H10133 Tecal for the sake of metre. Dr. Raghavan remarks regarding this gatha : 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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288 Prakrit Verses in Sanskrit Works on Poetics Srigaraprakasa (p.835), 1963 edn. 3) Namisadhu explains: prAkRtasya tu - kAcit bhartAramuddizya sakhImAha - he sakhi, sa zUro'smadbhartA mitraM suhRdaM saGgrAme raNa uddharati rakSati / kIdRzam / zarairbANaiH zabalaM karburam / tathA mAnena garveNa bandhuro ramya: svabhAvo yasya taM tathAbhUtam / tathAsIzvarANAM khaDgayodhinAM davaramupatApadam / tathA saha zaraNena vartate yastaM sazaraNaM paritrANArthinAmArtiharam / yadyevaMvidhaM tat kimiti tenoddhiyata ityAha - mandabalaM mandamasamarthaM balaM yasya taM tthaabhuutm| bayodhanAdakSamasainyam / pR. 40 8) samara iti / tamahaM sUri vande staumi / kIdRzam / samare raNe bhImArambhaM bhISaNodyogam / vimalAsu kalAsu sundaraM nirmalakalAviSaye zobhanam / sarasaM zRGgArAdirasopetam / tathA sabhAsu sada:su sAramutkRSTam / ata eva suragurusamaM bRhaspatitulyam / ayamekatrArthe sNskRtpraakRtshless:| samasaMskRtaprAkRtazabdaracitatvAt / - pR. 43 12. a.) akalaGkakula kalAlaya, bahulIlAlola vimalabAhubala / khalamaulikIla komala maGgalakamalAlalAma ll|| - Rudrata IV. 23 Namisadhu introduces this gatha with the remark : tatra SaDyogAdikapradarzanAyaikArthazleSamekamudAharaNamAha - He comments on the gatha as follows : akalaGketi / he evaMvidha tvaM lala kriidd| kIdRza / akalaGkakula nirmalAnvaya / kalAlaya kalAvAsa / bahulIlAlola pracuravilAsalampaTa / vimalabAhubala prakaTabhujaparAkrama / khalamaulikIla durjanaziraHzaGko / komala kamanIya / maGgalakamalAlalAma jayalakSmIcihna / atraikasminnarthe bhASASaTkasyApi samAna rUpam / - pR. 45 Incidentally, it may be pointed out that the word mauli in the expression khalamaulikIla cannot occur in Prakrit in its present form. In Prakrit we have mauli (or moli). 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 : tA kiM pi kiM pi tA kahaviavvo (? kahavi kahavi] avvo) nimIlIyacchIhiM- This gatha is later cited in Kalpalataviveka; vide KLV S.No. (5.496) supra. Both Namisadhu and the author of KLV cite this gatha to illustrate that the gatha is not vitiated by the defect called Punarukta (Repetition). *15. Namisadhu cites this gatha to illustrate once again that it is not vitiated by the

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Prakrit Verses in Sanskrit Works on Poetics 289 defect called Punarukta (Repetition). The text as printed in the NS edn (p.149) is defective : na hughaTa itANaavahI nayane dIsaMti kaha vi puNaruttA / jevi sanApiyaANaM atthA vA sUkaIvANIe / / ghaTui is a misreading for ghaDai, ne for te, and je vi sanApiyaANaM for je bibbhamA piyANaM (It is corrected keeping in view its text as presented in Dhvanyaloka IV p. 539. (Vide DHV S.No. (57.18) infra. Anandavardhana introduces the gatha with the words "darzitameva caitad viSamabANalIlAyAm" and he informs us in his DHV (p. 265) that Visamabanalita is his own work: yathA vA mamaiva viSamabANalIlAyAm / Namisadhu adds a significant remark : udbhaTastu sarvatrAtra punruktaabhaasaalNkaartvmaacsstte|-p. 69

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Chapter II Prakrit Verses In Dhvanyaloka with Locana 1. Anandavardhana (Ananda) cites this gatha to point out how the Vastu-dhvani (the suggestion of a fact, idea) is totallly different from the vacya (the expressed or denoted sense). Here the vacya is of the nature of injunction or affirmation (vidhi-rupa) whereas the suggested sense is of the nature of prohibition or negation (nisedha-rupa). The context is: An unchaste woman who has fixed an appointment with her paramour at the grove on the bank of the river Godavari 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 Goda." Mahimabhatta, the author of Vyaktiviveka, who does not admit suggestion (vyaJjanA) as a separate zabda-vyApAra attempts to prove that the so-called vyaJjanA is nothing but Inference (anumana). 2. Abhinavagupta (Abhinava) gives the context: kAMcit proSitapatikA taruNImavalokya pravRddhamadanAGkuraH saMpanna: pAntho'nena niSedhadvAreNa tayAbhyupagata iti niSedhAbhAvotra vidhi : Here the vacya (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 eva rAtryandheti samucitasamayasaMbhAvyamAnavikArAkulitatvaM dhvanitam / bhAva-tadabhAvayozca sAkSa vyaGgyasya sphuTamevAnyatvam / (pR. 71-72) vAcyAd 3. The suggested sense in this gatha does not stand in the relation of virodha (contradiction) with the expressed sense (vacya). Here the vidhi 'Tut does not suggest its nisedha (vrajyAbhAva / vidhyabhAva); nor is there any suggestion of a different

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Prakrit Verses in Sanskrit Works on Poetics 291 vidhi. The suggested sense here can neither be termed as far nor as Ade and hence it is termed anubhayarUpa, Abhinava obseves --- na pramAdAdeva nAyikAntarasaMgamanaM tava, api tu gADhAnurAgAt, yenAnyAdRDmukharAga: gotraskhalanAdi ca, kevalaM pUrvakRtAnupAlanAtmanA dAkSiNyenaikarUpatvAbhimAnenaiva tvamatra sthita:, tatsarvathA zaTho'sIti gADhamanyarUpo'yaM khaNDitanAyikAbhiprAyo'tra pratIyate / -- (pR. 73-74) 4. Here the expressed sense is of the nature of afatet (negation, prohibition) but the suggested sense is neither of the nature of vidhi (injunction) nor of pratiSedha (prohibition). Abhinava thus interprets the gatha: kAcid rabhasAt priyatamamabhisarantI tadgRhAbhimukhamAgacchatA tenaiva hRdayavallabhenaivamupazlokyate'pratyabhijJAnacchalena, ata evAtmapratyabhijJApanArthameva narmavacanaM hatAza iti / anyAsAM ca vighnaM karoSi tava cepsitalAbho bhaviSyatIti kA pratyAzA / ata eva madIyaM vA gRhamAgaccha tvadIyaM vA gacchAvetyubhayatrApi (a) tAtparyAdanubhayarUpo vallabhAbhiprAyazcATvAtmA vyaGgya iyatyeva vyavatiSThate / / 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 ( visayaikya) 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 (svarupa - bheda). Now, the present gatha 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 visayabheda. This visayabheda 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 gatha each intended for a different individual : ... kAcidavinItA kutazcit khaNDitAdharA nizcitatatsavidhasaMnidhAne tadbhartari tamanavalokamAnayeva kayAcid vidagdhasakhyA tadvAcyatAparihArAyaivamucyate / sahasvedAnIm iti vAcyamavinayavatIviSayam / bhartRviSayaM tu - aparAdho nAstItyAvedyamAnaM vyaGgyam / sahasvetyapi

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292 Prakrit Verses in Sanskrit Works on Poetics ca tadviSayaM vyaGgyam / --- adyeyaM tava pracchannAnurAgiNI hRdayavallabhetthaM rakSitA, puna: prakaTaradanadaMzanavidhina vidheya iti tacauryakAmukaviSayasaMbodhanaM vyaGgyam / itthaM mayaitadapahanutamiti svavaidagdhyakhyApanaM taTasthavidagdhalokaviSayaM vyaGgyamiti / *6. In this stanza the expressed figure of speech is referunt. There is suggestion of the figure of speech of apahartuti as well as vyatireka in the second half of the gAthA If this suggested figure of apahnati / vyatireka is perceived as pradhAna - more prominent than the expressed 3721ffer, then we will have to admit that there is no figure of speech (samkara) in this gatha and that it has to be regarded as a case of alaMkAradhvani. 7. This (Skandhaka) verse is an example of the figure of speech called aprastutaprazaMsA (second variety, based upon causality, nimitta - nimittibhAva or kArya-kAraNabhAva). Here Jambavat describes the karya 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. Jambavat who is long-lived existed even when Kaustubha, Laksmi and the rest were in the ocean and had not yet been appropriated by Visnu, etc as a result of the churning of the ocean by the gods and demons. 10. In this gatha the word 'puNaruttaM' is used in its secondary sense 'monotony' 'Leing wearisome through sameness'. The KLV (10.122 11 17.18) comments on this gatha as follows. atra paunaruktyena vairasyaM lakSyate, kramazcopalakSyate / evaM ca kramo 'pi nAstItyarthaH / tathAhi - 'AliGganAdanantaraM paricumbanam' iti kAmasUtram / iha tu paricumbanamAdAvuktam / / 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)' : dIvaDi tellu NAhi palu, dammi (? drammu) gamiTThA (? gaviTThA) / lAvaNNujjalaMgu ghari, Dhollu paiTThA / / It may be translated as follows: There was not a drop of oil in the lamp, nor

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Prakrit Verses in Sanskrit Works on Poetics 293 could I find even a farthing in the house. Exactly at this time came in my lover, his body resplendent with his beauty. Dr Bhayani wrote to me with reference to this passage and its restoration thus : "Your chaya and interpretation of the cited Apabhramsa verse is quite all right so far as I understand. gaviTThA is a better reading. I think dammi is corrupt for drammu. As you suggest, Tc is probably a measure for fluid - in Gujarati we still have the term 46 (fem) for the same purpose. Tacar 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.) bahiNi mahArA kaMtu)." To my query regarding its metre he adds: "The metre seems to be the AntarasamA catuSpadI class with 12 + 8 mAtrAs. According to Hemacandra (Chando nusasana 6, 20-15) this would be perhaps nAgakesara (There is always some uncertainty because the last mora is optionally taken to be metrically short or long when it is actually short)". 14. 'kamalAI kamalAi' (kamalAni kamalAni) - ityatra dvitIya: kamalazabda: lakSmIpAtratvAdidharmAntarazatacitratApariNataM saMjJinamAhetyarthaH / - locana pR. 100 lakSmIpAtratvaM kAntyAzrayatvam / Adipadena vikasitatvasaurabhAdizAlitvaM gRhyate / - bAlapriyA pR. 100 15. Locana brings out the charming meaning of this gatha thus : 'ca' zabdo'pizabdArthe / gaganaM mattameghamapi na kevalaM tArakitam / dhArAlulitArjunavRkSANyapi vanAni na kevalaM malayamArutAndolitasahakArANi / nirahaGkAramRgAkA nIlA api nizA na kevalaM sitkrkrdhvlitaa:| haranti utsakayantItyarthaH / mattazabdena sarvathaivehAsambhavatsvArthena bAdhitamadyopayogakSIbAtmakamakhyArthena sAdRzyAnmeghAla~ lakSayatA asamaJjasakAritvadarnivAratvAdidharmasahasraM dhvanyate / nirahaGkArazabdenApi candraM lakSayatA tatpAratantryavicchAyatvojjigamiSArUpajigISAtyAgaprabhRti: / - locana, pR. 173 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): UsuMbhiya - UsurusuMbhiyA ya rudhdagalaruNNammi / UsuMbhiyaM tathA UsurusuMbhiyaM rudhdagalaM rodnm| Dr Bhayani restores the verse keeping in view the above quotation and the metre Vidyullata (an Antarasama Catuspadi with the scheme 11+10 Matras (i.e. 10+9

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294 Prakrit Verses in Sanskrit Works on Poetics Matras in actual practice) (Chando'nusasana VI 20.28) as follows : "osurusuMbhiAe muhu cuMbiu jeNa / amiarasaghoMTANaM paDijANiu teNa // (rudhdagalaM ruditAyA mukhaM cumbitaM yena / amRtarasanigaraNAni pratijJAtAni tena / )" . 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 camahia for camaDhia, 'akhaMDia' for akkhuDia, pasArA for pasarA and 'ppalihAvvia' for 'pphaliha cci'. These readings are supported by Hemacandra's KAS (p. 79) and KLV (p. 138). The reading 'akhaMDia' 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 "bAhupphaliha cia gaiMdA (bAhuparighA eva gajendrA:) is supported by Anandavardhana's own gloss : atra rUpakacchAyAnugrAhI zleSo vAcyatayaivAvabhAsate (pR. 237) and also by his great commentator's comment: .... prasRtapratAprasarA akhaNDitavi (ta) raNa (= vizrANana of KLVprasarA bAhuparighA eva yasya gajendrA iti / (pra. 238). 18. According to Hemacandra (8.4.39) paNAma is one of the Adezas (substitutes) for appa. The original reading must have been at quras; some one appears to have changed it to 'dAva appei' to bring it nearer its Sanskrit counterpart (tAvat arpayati). VV (p. 451) reads 311 quide which is very much nearer 'at ulas! KAS (p. 72) and KLV (p..144) too support the reading tA paNAmei. 19. The comments of Abhinava deserve to be read in the original : stanau tAvadiha pradhAnabhUtau tato'pi gauravita: kAmastAbhyAmabhyutthAnenopacaryate / yauvanaM cAnayo: paricArakabhAvena sthitamityevaMvidhenoktivaicitryeNa tvadIyastanAvalokanapravRddhamanmathAvastha: ko na bhavatIti bhaGgyA svAbhiprAyadhvananaM kRtam / tava tAruNyenonnatau stanAviti hi vacane na vyaJjakatA / - locana (pra. 256) 20. The reason of the proud bearing of the ey Abhinava explains as follows : zikhimAtramAraNameva tadAsatasya kRtyam / anyAsu tvAsakto hastino'pyamArayaditi hi vcnenoktmuttmsaubhaagym|

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Prakrit Verses in Sanskrit Works on Poetics 295 racitAni vividhabhaDgIbhiH prasAdhanAnIti tAsAM saMbhogavyagrimAbhAvAt tadviracanazilpakauzAlameva paramiti atafuifTete GGHIAR Ghita I - 19 (q. 24EUR - 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 Vajjalagga 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; Kamadeva (= 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 'kriyatAm', Weber rightly prefers the form kIrau (kriyatAm) 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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296 Prakrit Verses in Sanskrit Works on Poetics According to poetic convention the Asoka tree does not bear fruits. It has however supperbly beautiful leaves. The word 'phala' is double - meaning. Having regard to it we have here 'arthAntaranyAsadhvani'. If however we take the whole sentence into consideration then we have here aprastutaprazaMsAdhvani (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 arthAntAranyAsadhvani: - azokasya phalamAmrAdivannAsti, ki kriyatAm pallavAstvatIva hRdyA itIyatAbhidhA samAptaiva / atra phalazabdasya zaktivazAt samarthakamasya vastuna: pUrvameva pratIyate / lokottarajigISAtadupAyapravRttasyApi hi phalaM sampallakSaNaM daivAyattaM kadAcinna bhavedapItyevaMrUpaM sAmAnyAtmakam / 25. bahujANaa (bahujJa) possessed of great knowledge, hence a clever man (dhUrta). In this gatha too we have arthAntaranyAsadhvani: "atra bahujJeti AmantraNArtho vizeSe paryavasita: / anantaraM tu tadarthaparyAlocanAd yat sAmAnyarUpaM samarthakaM pratIyate tadeva camatkArakAri |---" -- locana (pR. 268) 26. jAejja (pol- act - 1st pers. sing) (jAyeya - may I be born) khujja = kubja dwarfish, of stunted growth sifc3t = fuf fallen; als = arit generous-hearted, eager to give for helping others. Here we have vyatirekadhvani: - ___ atra hi tyAgaikarasasya daridrasya janmAnabhinandanaM truTitapatrakubjapAdapajanmAbhinandanaM ca sAkSAd vAcyaM tathAvidhAdapi pAdapAt tAdRzasya puMsa upamAnopameyatvapratItipUrvakaM zocyatAyAmAdhikyaM tAtparyeNa prkaashyti| - dhvanyAloka (pR. 269). 27. We have here utprekSA-dhvani. On the full-moon night the moon has flooded all the ten directions with his bright moonlight. The speaker of this gatha fancies: "On achieving silmilarity with your face spoilt by jealousy the moon is overjoyed and therefore he cannot contain himself". 28. Here we have aprastutaprazaMsAdhvani Here the bhramaravRttAnta 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 gatha who herself is born

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Prakrit Verses in Sanskrit Works on Poetics 297 in a good family rebukes her own husband who is of the bhramara type. See Locana on this gatha (pp. 274-275) for a fuller discussion. 29. Here the suggested sense is that the simple - artless girl saw a reflection of the cloud in the village tank. This suggested sense, however is subordinate to the expressed sense that some one has thrown the sky itself into the village - tank upside down. This expressed sense itself is more charming and appealing and it reveals the extreme naiveness (simplicity or artlessness) of the village - girl in regarding the reflection of the sky in the village - pond as the sky itself thrown into it with its face turned up. 30. Here the directly expressed meaning that she loses all control over her limbs is more charming than the suggested meaning that her paramour, to whom appointment was given at the bower, has arrived there. Read : atra dattasaMketa: kazcillatAgahanaM praviSTa iti vyaGgyAt sIdantyaGgAnIti vAcyaM sacamatkAram (-KPV. p. 212 also read: atra dattasaMketacauryakAmukaratasamucitasthAnaprAptirdhvanyamAnA vAcyamevopaskurute / tathA hi gRhakarmavyApRtAyA ityanyaparAyA api. vadhvA iti sAtizayalajjApAratantryabadhdAyA api aGgAnItyekamapi na tAdRgaDgaM yad gAmbhIryAvahitthavazena saMvarItuM pAritam, sIdantItyAstAM gRhakarmasaMpAdanaM svAtmAnamapi dhartuM na prabhavantIti / gRhakarmayogena sphuTaM tathA lakSyamANAnIti / asmAdeva vAcyAt sAtizayamadanaparavazatApratItezcArutvasaMpatti: / locane (pR. 283) 31. Locana (p.284) paraphrases the Prakrit reading 'visamavirao' into Sanskrit as visamavipakah' and in the gloss on this gatha it says : tenAtra viSamaparipAkatvaM mntvym| So the Prakrit reading before Abhinava must have been 'visama-vivao' in place of 'visama-viravo' Vipaka means 'consequence', virava - noise, sound. The reading in KAS (p. 55) 'avasana - virasa' means 'painful or unpleasant or disagreeable in the end. These different readings suit the context all right but 'visama - viravo' 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: atra hyavinayapatinA saha ramamANA sakhI bahi:zrutavalayakalakalayA sakhyA prtibodhyte| etadapekSaNIyaM vAcyArthapratipattaye / pratipanne ca vAcye'rthe tasyAvinayapracchAdanatAtparyeNAbhidhIyamAnatvAt punrvynggyaanggtvmevetysminnnurnnnruupvynggydhvnaavntrbhaav:| - dhvanyAloke (pR. 284-85) 33. In the first half the text needs to be corrected as the balahi. It reads the latter part of the second half as: 'caMdo caMdo via vraao| (candrazcandra iva varAka:) /

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298 Prakrit Verses in Sanskrit Works on Poetics KAS (p. 216) reads cia (eva) in place of vvia (iva). KLV (p.21, p. 157) too reads cia (eva) in place of via (iva). Locana (p. 293) would appear to support this reading : tathApi yadi parIkSakA: parIkSante tadvarAka: kRpaikabhAjanaM yazcandra iti prasiddhaH sa candra eva kSayitva-vilAsazUnyatva-malinatvadharmAntarasaMkrAnto yo'rtha :I KLV (p. 157) makes it perfectly clear:--- tathApi yadi parIkSaka : parIkSate tadvarAka: kRpaikabhAjanaM yazcandra iti prasiddhaH sa candra eva / kSayitva-vilAsazUnyatva - malinatva - dharmAntara- saMkrAnto'syArthaH / Further, cia (= eva) must be used after a vowel as noted by Dr Bhayani. 34. DHV (p. 296) observes on this gatha as follows: atra di vAkye viSAmRtazabdAbhyAM du:khasukharUpasaMkramitavAcyAbhyAM vyavahAra ityarthAntarasaGkramitavAcyasya vyaJjakatvam / 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: mahArpaNa utsavaprasareNa manoharasurasya manmathadevasya AmodazcamatkAro yatra tat / atra 'mahArgha zabdasya paranipAta:, prAkRte niyamAbhAvAt / chaNa ityutsavaH / asamarpitamapi gRhItaM kusumazaraNa madhumAsalakSmImukham / mukhaM prArambho vaktraM ca / taca surAmodayuktaM bhavati / madhvArambhe kAmazcittamAkSipatItyetAvAnayamartha: kaviprauDhoktyArthAntaravyaJjaka: sNpaaditH| apaNAmi (asamarpitam): paNAma is an adesa for apa' or samarpa. This verse belongs to the famous Prakrit epic poem Harivijaya (now lost). 36. KAS (p. 63) reads 'katto amhANa vagghakittIo and jA viluliyA; W (p. 90) katto amhANa vagghakittI a'; jAva luliyA. These readings are, from the point of view of consistent meaning and metre, quite all right. Locana paraphrases que into Sanskrit as 'savibhramaM caMkramyate' 38. The text of this gatha from Madhumathavijaya of Vakpati 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: ityAdayaH pAMcajanyoktayo rukmiNIvipralabdhavAsudevAzayapratibhedanAbhiprAyamabhivyaJjanti / Balapriya (commentary) explains this verse and the remark on it as follows: lIlayA daMSTrAgreNa uddhRtaM sakalamahImaNDalaM yena varAharUpiNA tasyetyanena gurutaravastuvahane anAyAsa: sUcyate / evakAro virodhdyotkH| mRNAlAbharaNamapi atilaghu-mRNAlarUpam AbharaNamapi / kasmAd guru bhavatIti saMbandha: / anena bhagavato virahAvasthAtizayo dyotyte| etamartha darzayati - rukmiNItyAdi / rukmiNIvipralabdho rukmiNIvirahI yo vAsudevaH tasyAzayo

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Prakrit Verses in Sanskrit Works on Poetics 299 rukmiNyAmabhilASa:, tasya pratibhedanama AviSkaraNaM tdbhipraaymityrthH| 39. This gatha as printed in Locana (p. 346) is pretty corrupt. Weber reads this gatha as follows : homi vahatthiareho NiraMkuso aha vivearahio vi / siviNe vi tumammi puNo pattihi bhattiM Na (pa) surAmi / / 999 || - Joglekar's edn, p. 593 KAS (p. 82) reads: humi avahatthiareho NiraMkuso aha vivearahio vi / siviNe vi tujjha samae pattia bhattiM na pupphusimi || KLV (p. 174) gives the Pratika humi avahatthiareho. So keeping in view these readings we may reconstruct the gatha as follows: miavahaNDiaroro (? humi avahatthia-reho), NiraMkuso a (? aha) vivearahio vi / saviNa (? siviNe vi) tumammi puNo, vantia (? pattia) atanti (bhattiM Na) paMmusimmi (? pmhusimi)| pamhasa is an Adeza (substitute) for vi + smR. pamhasa, vimhara and vIsara are the substitutes for vi + smR. 40. DHV (p. 351) reads avasara, KLV (p. 176) avayasa and GS(W) (No. 706) osara. All these readings are all right from the point of view of meaning and metre. DHV (p. 351) reads rouM, KLV (p. 176) and GS(W) (706) rottuM. Both these readings are all right. DHVreads mA pusa, KLV mA phusasu GS/W) mA pusasu The readings mA pusa and mA pusasu are all right; phusa means (spRz) to touch; puMsa (proJchaya, mArjaya) means .. twipe'. The context requires this meaning. DIV reads 'daMsaNamettummattehiM jehiM KLV daMsaNamettumaiehiM jehiM GS(W) daMsaNamettummaiehi jehi. PSM records ummaia in two different senses : ? mUDha 2 unmatta. The second meaning suits the context. In the chaya (Vol. I, p. 14) better read snifauft for Ed 34feruit. 41. GS(W) reads this gatha thus : mA paMtha ruMdhasu pahaM avehi bAlaa asesia-hirIa / amhe aNirikkAo suNNaM gharaaM va akkamasi / / (mA pAntha rundhi panthAnaM apehi bAlaka azeSita-hIka / vayaM paratantrA: zUnyaM gRhakamivAkramasi // ) 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 : mA paMthaM ruMdha mahaM avehi bAlaa aho si --- | amhe aNirikkAo -- 42. The text of this gatha is correctly presented in KAS (p. 85); it is also preserved

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300 Prakrit Verses in Sanskrit Works on Poetics intact in KLV (p. 176) but for a misprint (jAyAbhIruyANa) ttahaM for tUhaM (which KLV renders into Sanskrit as snAnasthAnam ). In the light of these texts DHV text may thus be restored: aNNatta (? ttha) vaca bAlaa NhAaMtiM kiM (? kIsa) meM puloesi / eaM bho jAAbhIruANa taDaM (? tUhaM) viaNa (? cia Na) hoi // 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 taMsa to tassa. (Sk tasya). 46. KLV (p. 183) reads asai mha for asaio, NaM tu for Na tue~, mailiyaM for maliNiaM, tA Na for taM Na The reading NaM tu is of course, a wrong one. The reading tA Na (Sk tAvat na) has the support of GS (V. 17). mailiyaM and maliNi both mean the same thing (malinitam). 47. verIeN is a misreading or misprint for borIeN. The comments of Locana (p. 494) deserve to be reproduced: utpathajAtAyA iti na tathA kulodbhuutaayaaH| azobhanAyA iti lAvaNyarahitAyA: / phalakusumapatrarahitAyA ityevambhUtApi kAcit putriNI vA bhrAtrAdipakSaparipUrNatayA sambandhivargapoSitA (? poSikA) vA prirkssyte| (janeneti zeSaH / iyaM tu putrAdirahitA ca ato'syA rakSAM kurvastvaM parihAsAspadaM bhvissysiityrth:| - bAlapriyA pR. 494) 48. *Read Balapriya (pp. 499-500) : he hAlika kArpAsalatA: tvadupajIvanabhUtA: kaarpaasstmbaa:| laJcitagaganA: atyucA: / bhavantu iti hAlikasyAziSaM vardhayantyA puna: puna: kurvatyA kayAcit prAtivezinI vadhU: nirvApitA nivRtiM prApitA / kArpAsalatAnAM paripoSe tatsthale ni:zaGkha hAlikena saha ramaNaM bhaviSyatIti buddhyA nirvRtirityanena tacauryasaMbhogAbhilASo vadhvA vyajyate, taca guNIbhUtam; --- Locana (p. 500) observes: atra lacitagaganA kasalatA bhavantviti hAlikasyAziSaM vardhayantyA prAtivezyakavadhukA nirvRtiM prApitA iti cauryasaMbhogAbhilASiNIyamityanena vyaGgyena viziSTaM vAcyameva sundrm| 49. Read Locana (p. 500) : atra godAvarIkacchalatAgahane bhareNa jambUphaleSu pacyamAneSu / hAlikavadhUH paridhatte jambUphalarasaraktaM nivasanamiti tvaritacauryasaMbhogasaMbhAvyamAnajambUphalarasaraktatvaparabhAganihanavanaM guNIbhUtavyaGgyamityalaM bahunA /

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Prakrit Verses in Sanskrit Works on Poetics 301 50. This gatha is also cited in KP (p. 187) GS(W) No 963 and Sss (No. 101). The readings in the latter two texts are identical: khaNapAhuNiA dearajAA e suhaa ki ti de bhaNiA / ruai gharopaMtaphaliNigharammi aNuNijjau varAI // The first half of this gatha when thus read, presents difficulties in finding a consistent meaning. The KP reads deara jAAe suhaa in place of DHV's 'deara esA jAAe~ KP text has two vocatives deara and suhaa -- 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: kSaNa utsavastatra nimantraNenAnItA he devara. eSA te jAyayA kimapi bhaNitA roditi / paDohare zUnye valabhIgRhe anunIyatAM varAkI / sA tAvadevarAnuraktA tajjAyayA viditavRttAntayA kimapyuktA--- / Balabodhini's comments (p. 187) also deserve attention : --- dInA anunIyatA samAdhIyatAmityarthaH / atrAnunaya: rodananirvatako vyApAra: tena saMbhogo vyaGgyaH gRhapazcAbhAge yad valabhIgRhaM tatra) ityanena vijanatA, kSaNaprAghuNiketyanena du:khAtizayaucityama, svagRhe utsavasattvena sarveSAM janAnAM vyAsaktacittatvaM 51. Gahakosa (p. 295) reads this gatha somewhat differently: ahiNavapAusarasiesu sahai sAmAiesu diyahesu / rahasapariggahiyANaM va naciyaM moraviMdANaM // (abhinavaprAvRDrasiteSu zobhate zyAmAyiteSu divaseSu / rabhasaparigRhItAnAmiva nRttaM mayUravRndAnAm // 52. Cf Gaidavaho v. no.66 : ThiamaTThiaM va dIsai aThiaM pi pariTThiaM va paDihAi / jaha saMThiaM ca dIsai sukaINa imAo payaIo // [sthitamasthitamiva dRzyate 'sthitamapi pariSThitamiva pratibhAti / yathAsaMsthitaM ca dRzyate sukavInAmetA: padavyaH / / 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 gatha 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 vacyartha, namely that a particular side of the nayika, 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 vacyartha that gives rise to

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302 Prakrit Verses in Sanskrit Works on Poetics srngararasa and not the vyangyavastu". J AOS NOT 97 / No 31 July - September 1977 (p. 298 f. n. 46) 55. *Here in this gatha there is censure on the face or surface but praise in the end. So we have the figure of speech Vyajastuti (Artful Praise) in the present gatha. "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 vyajastuti 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 karaparampara as follows: "Karaparampara 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 : gaiyANa kara-paraMparA - pariyattaNa - kheya - vasaNa - parisaMtA / (jJAninAM kara-paramparAparivartanakheda-vyasana-parizrAntA: 1) Chappannayagahao, gatha No 149. The text "gaiyANa karaparaMparA is metrically defective and the reading gaiyANa 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. cAi-aNa-karaparaMpara (A in rA being shortened for the sake of metre) is highly superior as from the context we learn that the two gathas speak of the generosity of generous people (cAiaNa = tyAgijana). 57. Locana's gloss on this gatha deserves to be read in the original : cakArAbhyAmativismaya: sUcyate / 'kathamapi' iti / prayatnenApi vicAryamANaM paunaruktyaM na labhyamiti yAvat / "priyANAm' iti / bahuvallabho hi subhago rAdhAvallabhaprAya: tAstA: kAminI: paribhogasubhagamupabhujAno'pi na vibhramapaunaruktyaM pazyati tdaa| etadeva priyAtvam ucyate, yadAha - kSaNe kSaNe yannavatAmupaiti tadeva rUpaM ramaNIyatAyA iti / "priyANAm' iti cAsaMsAraM pravahadpo yo'yaM kAntAnAM vibhramavizeSa: sa navanava eva dRzyate / na hyasAvagnicayanAdivadanyata: zikSita: yena tatsAdRzyAt punaruktatAM gacchet / api tu nisargodbhidyamAnamadanADuravikAsamAtraM taditi navanavatvam / tadvat parakIyazikSAnapekSanijapratibhAguNaniSyandabhUta: kAvyArtha iti bhAvaH / (pR. 539-540) In brief, the absence of repetitiousness is called belovedness. Magha has observed that which at every moment attains novelty that alone is the form and

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Prakrit Verses in Sanskrit Works on Poetics 303 essence of loveliness. Flirtatiousness of lovely women has been continuously flowing since the beginning of creation and will flow on continuously to the end of the world. This flirtatiousness is always seen to be ever new and novel. It is ever new and novel because it is the flowering of the bud of love that has sprung up in lovely women naturally. In the same way the subject matter of poetry is the spontaneous overflow of the gift of creative imagination. One does not learn about the flirtatious ways from others even so the subject matter of great poets is the spontaneous overflow of the poets' creative imagination that does not depend on any instruction from others." - based on Masson and Patwardhan, Ibid, P 433. 58. Locana (p. 544) comments on this Apabhramsa verse as follows : Haen sfat yo' navarataM bhaNati tasya kathaM na devo manogocaro bhavati iti virodhAlaGkAracchAyA / saindhavabhASayA maha maha (? HE 46) SOU-TOCAT Teat ___ There is a pun on the expression mahu mahu. If we read it as one word mahumahu 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 Visnu ? 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 Apabhraiba. So we need not follow Abhinavagupta in holding it to be a :' speciality of Saindhava bhasa. 59. KLV (p. 18) reads wrongly (aNudiyasa -) sayAbhoA for kaAbhoA KLV reads in the second half laddhAvAso whereas GS(W) (No 954) laddhoAso (Sk labdhAvakAza: 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 Bhupala thus comments on this gatha : "atra kumAryAH stanAvityAdinA idAnImeSA pratidinaM savilAsahAsakaTAkSAbhiprAyavacanA jAtA, pazyeti kAcidyuvAnaM starudi ERT: 1" - P alucht. Po * * *

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Chapter II Prakrit Verses In Vakroktijivita 1. Kuntaka cites this gatha in the course of his discussion of the 'vicitramarga, 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 yauvanamadhyasthA or SoDazavArSikI or aprasUtA"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 Atisayokti (Abhede bheda variety). 2. This gatha occurs in Vakpatiraja's Gaudavaho. 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 Gaudavaho. 3. This gatha 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 gatha as an example of Pankti - samstham Dipakam (Dipaka in a series). In this variety "several related agents etc., are themselves so many

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Prakrit Verses in Sanskrit Works on Poetics 305 illuminators in so far as they illuminate some hidden excellence of the subject described." K. Krishnamoorthy (VJ ed. p. 464). 5. Kuntaka discusses a number of examples illustrating beauty in the speciality of verbs (kriya - 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 gatha is already dealt with; vide DHV S.No. (15.9) supra. Kuntaka cites it here to illustrate 'beauty of metaphorical expression' - upacaravakrata. In this gatha the qualities of drunkenness (mattatva) and humbleness (nirahamkarata) which belong to sentient beings are metaphorically applied to insentient or inanimate things Hence we have here an example of upacara-vakrata. In the course of his discussion about the nature of the figure Dipaka ( whether it is an alamkara ) Kuntaka first sets forth the view of his predecessors, and cites this gatha given as illustration in an earlier text on Alamkara-sastra. 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 Dipakas (Illuminators). 9. After explaining Prakarana - vakrata - 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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306 Prakrit Verses in Sanskrit Works on Poetics incident (Vastvantara - vicitrata) which ultimately contributes significance to the plot as a whole. He by way of illustration refers to the purusa (man) with a rope in hand who recites the gatha "Chagguna" etc. (Mudraraksasa VI. 4). After citing the above gatha he remarks vizeSaNavakratAviziSTena rUpakeNa puruSasyAyamabhiprAya: prakAzyate / yathA "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 gatha Namaha dasanana', etc. 11. Kuntaka cites this gatha from Gaudavaho to illustrate the figure Utpreksa - 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 Aprastutaprasamsa, cites this gatha as its example. He introduces the gatha with the remark: asatyabhUtavAkyArthatAtparya (? ryA) prastutaprazaMsodAharaNaM yathA and adds at the end "In this example it is possible to explain the occurrence of all the three grounds of Aprastutaprasamsa (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 Aprastutaprasamsa. 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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Prakrit Verses in Sanskrit Works on Poetics 307 with Radha, Krsna's love, is mentioned in Vajjalagga V.Nos 595, 598 and 599. Kuntaka cites this gatha 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 Radha ("Radha weeps' 'Radha's weeping' p. 387). Visakhika (Visakha) like some other notable companions of Radha e.g. Pali, Dhanya, was, in fact, Radha's rival in claiming Krsna's love. (Read Dr Bhayani's paper "Pali, Dhanya and Carukesi" in Pt. Bechardas Doshi Commemoration Volume, P. V. Research Institute, I TI Road, Varanasi -5) 15. This gatha is already dealt with, (vide DHV S.No. (14.8) supra. Kuntaka cites this gatha in the context of his rudhi-vaicitrya-vakrata (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 gatha is incomplete and therefore obscure. 17. Note: This passage is corrupt and obscure. 18. Kuntaka does not accept Second Nidarsana. He includes it under Pratiyamana Utpreksa. In the same way he seems to include the example under consideration under Pratiyamana Utpreksa. 19. Note: This passage is corrupt and obscure. 20. Kuntaka cites this gatha as an example of kriya-vaicitryam. In this gatha 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 gatha has a striking beauty which men of taste alone can feel. 21. This line forms the second half of the gatha cited above (S.No. 20.23)

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308 Prakrit Verses in Sanskrit Works on Poetics 22. Kuntaka in the course of his exposition of the nature of kavya (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 alaskaras (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 Aprastutaprasamsa and Upama, the effortless execution of striking Yamakas and Anuprasas and the guna lucidity (Prasada) -- 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 (svabhava) of either the speaker or the pramate (one who has experienced, has perceived). After citing this example Kuntaka thus comments on it: atra kasyAzcit pramAtRbhUtAyA: sAtizayabhaugdhyaparispandasundareNa svabhAvena vAcyamAcchAditamaucityaparipoSamAvahati / pR. 69 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 alamkaras. He illustrates his point of view with six examples, one of which is the present Skandhaka stanza. 25. This gatha is already dealt with; vide DHV S.No. (43.14) supra. Kuntaka cites this gatha as an example of Kala-vaicitrya-vakrata (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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Prakrit Verses in Sanskrit Works on Poetics 309 VJ S.No. (5.20) supra. 27. The stanza is incomplete, corrupt and obscure. 28. Kuntaka cites this gatha as an example of the figure Aksepa. "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 Dasarupaka with Avaloka 1. CAE - ScapeT 3 HART af 315RPT:; yar - 69. Read upar (91. . var) Doct 31968 Navari / (kecittu kevalAnantaryArthayorNavari ityekameva sUtraM kurvate / tanmate ubhAvapyubhayArthau / - hema (-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 (pratijna): 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. Vajjalagga (V. No. 467) reads the second half of this gatha differently : cat vi aggacaliyA piyammi kayaNicchae gaMtuM / / (sarve 'pyagracalitA: priye gantuM kRtanizcaye // ) They all "started to go away (in advance of her dear consort) (i.e., they deserted her completely).

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Prakrit Verses in Sanskrit Works on Poetics 311 The types of heroine depend primarily on her relation to the hero; she may be his wife (sviya or sva) she possesses excellences such as sila, arjava and the like; she may be inexperienced (mugdha), partly experienced (madhya) or fully experienced and bold (pragalbha) Avaloka comments: zIlaM suvRttam (good character) / pativratA'kuTilA lajjAvatI puruSopacAranipuNA svIyA nAyikA / The above gatha is cited to illustrate 'zIlavatI' (nAyikA). 5. This gatha is cited to illustrate such excellences as straightforwardness, etc (ArjavAdiyoginI). 6. This gatha is cited to illustrate the excellence of a great sense of shame' (collari). 7. This gatha is cited to illustrate 'madhyAsaMbhogA':. Madhya - the partly experienced wife is full of the love of youth, and even faints in her passion'-- maulaMti (= mukulanti) * Denom from maula (= mukula) a bud. It may be noted that the netranimIlana is a sure indication of her full satisfaction derived in the enjoyment of love's delights'. 8. Vema Bhupala comments upon this gatha thus : atra draSTuM jAnAti satyamityanena kulazIlasaundaryAdibhirguNairlokottare nAyake abhilASAM kRtavatIti gamyate / sadRze jane yujyate rAga ityanena lokottarasya nAyakasya nAyikayA sAdRzyakathanAt nAyikAyA api lokottaratvaM gamyate / mriyatAmityanena nAyikA navamI dazAM prApteti gamyate / tvAM na hi bhaNiSyAmItyanena bhavAn sarvopAlambhAnAM bhAjanamiti gamyate / asyAH maraNamapi zlAghyamityanena etAdRzi puruSe'nurAgaM kRtvA mRtAyAmapi tasyAM kIrtireva nopAlambha iti gamyate / athavAniSTamapi maraNamidAnIM saMtApahAritayA tasyAH zlAghyamiti gamyate / - bhAvadIpikA pR. 5-6. 9. The presentation of the text and Sanskrit Chaya of this gatha in the N. S. edn is patently wrong. dhanika introduces this gatha with the words : "svayaM dUtI yathA- " DR and Avaloka speak of the various types of messengers, one among these being svam or svayam. 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, Bhavadipika (p. 34) thus comments on this gatha: mahuehi ityatra "vA madhUke" ityUkArasyokAra : / NiaMsaNa - zabdo vastU (vasana-) (? vastra -) vAcI

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312 Prakrit Verses in Sanskrit Works on Poetics dezyaH / kAcidasatI yuvatirvanAntaramupAgatya madhUkakusumAni saMgRhya pratinivartamAnA madhyemArga kasmiMzcidabhirUpe yUni pathike tAnyAdAtuM karaM prasArayati sati taM prati, he pAntha, madhUkai: kiM vA / nitambAdaMzakaM yadi harasi tadAraNye kasya kathayAmi / grAmo dUre, ahamaketyanena tadarzanAdutpannamanmathavyathApadezAdupabhogAya vAso hareti taM prati atfergatitur : 1 ---" (q. 38). 10. This gatha illustrates 'bhava' - which is defined as : 31fch54ITI u gert fahrtsafaparf arreda 10: 1 -- 'the first display of emotion in a nature previously exempt (bhava)'. 11. This gatha illustrates the second excellency viz. hava of the heroine - 'the movement of eyes and brows betokening the awakening of love (hava)'. 12. This gatha illustrates the third excellency viz hela --'the still more open manifestation of affection' The first three excellencies (bhava, hava, and hela) are physical (sariraja or angaja) 13. This gatha 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 Kantih- brilliance of youth and passion). Note sobha, kantih, diptih, etc., seven in all, are inherent (ayatnaja) characteristics (bhavas) of the heroine. 14. Dhanika, the author of Avaloka cites this gatha to illustrate the inherent characteristic of a young woman. This characteristic is known as 'audarya' (dignity, decorum, modesty of demeanour) The reading great is in fact a misreading for thuDuMkiAe; thuIMkiya, according to Dhanapala, means "roseNaM uNhikkaM vayaNaM' (Sk zout guitas 999) Hemacandra too explains this word in his Desi-sadda-samgaha (p. 164) as follows: i regolazagurrihtatui (Sk. darakupitavadanasaMkocanam) ii moNaM (Sk maunam). In other words, thuDuMkia 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 gatha 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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Prakrit Verses in Sanskrit Works on Poetics 313 15. Dhanika cites this gatha to illustrate 'Lila' (one of the ten 'svabhavaja' or svabhavika' yosidalamkaras or bhavas, 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 srrgara. 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 gatha 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 Bhava (Abhitah, sodbhedah variety) and adds by way of gloss : 35 sAloka eva sUrye gRhapatergRhAgamanaM gRhiNyAzca yatpAdadhAvanaM tadAvAbhyAmadya vezmano na nirgantavyamiti bhAva: / sa a seif ERHAC CHEN SUHTA: SISU 279: Again on p. 690, Bhoja cites this gatha as an example of the type of heroine called 'Farefnufact' - a lady who * has perfect mastery over her husband. 17. Dhanika cites this gatha as an example of Prapanca, one of the thirteen kinds of Vithi. Prapanca (Comic Dialogue) is thus defined and explained : 3RCH ART: stotraM prapaJco hAsyakRnmata: / asadbhUtenArthena pAradAryAdinaipuNyAdinA yAnyonyastuti: sa prapaJca: / 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 Dasarupaka by T. Venkatacharya (Adyar edn, 1969, pp. XL-XLIX). 20. This gatha is already dealt with; vide DHV S.No.(44.14) supra. While explaining the Karika DR IV. 34 Dhanika's Avaloka has a long and learned discussion regarding to the opposition or incompatibility between two sthayibhavas, etc. The pUrvapakSin cites this gatha (as an example of 'samapradhAnatvenAnekasya bhAvasyopanibandhanama) and poses the question : In this gatha rati and utsaha these two sthayibhavas, 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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314 Prakrit Verses in Sanskrit Works on Poetics tathA hi - 'ekatto ruai piA ityAdau sthAyibhUtotsAhavyabhicArilakSaNavitarkabhAvahetusaMdehakAraNatayA karuNasaMgrAmatUryayorupAdAnaM vIrameva puSNAtIti bhaTasyetyanena padena pratipAditam / na ca dvayoH samapradhAnayoranyonyamupakAryopakArakabhAvarahitayorekavAkyabhAvo yujyate / kiJcopakrAnte saMgrAme subhaTAnAM kAryAntarakaraNena prastutasaMgrAmaudAsInyena mahadanaucityam / ato bhartu:saMgrAmaikarasikatayA zauryameva prakAzayan priyatamAkaruNo vIrameva puSNAti / -pR. 92. 21. This gatha is already dealt with; vide DHV S.No. (1.6) supra. Dhanika in his commentary on DR IV. 36 observes : ---ata: kecidabhidhAlakSaNAgauNIbhyo vAcyAntaraparikalpitazaktibhyo vyatiriktaM vyaJjakatvalakSaNaM zabdavyApAraM rasAlaMkAravastuviSayamicchanti / --- na kevalaM raseSveva yAvad vastumAtre'pi / "bhama dhammia ---" ityAdau niSedhapratipattirazabdApi vyaJjakazaktimUlaiva / * Dhanika does not accept the Dhvani theory of Anandavardhana. He, in the course of his presentation of the Purvapaksa, quotes it. 22. Pranaya-mana, 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 gatha 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 gatha 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 gatha 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. hoMta (bhavat, bhaviSyat) would be, prospective; AucchaNa (Apracchana - expression of civility on receiving or parting with a visitor, welcome, bidding farewell or taking one's leave of) gharaM gharesu - gRhagRheSu (= pratigRham in each and every house). The DR speaks

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Prakrit Verses in Sanskrit Works on Poetics 315 of Pravasa (= bhinnadesata, 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 gatha illustrates 'yasyat-pravasah'

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Chapter V Prakrit Verses In Vyaktiviveka 1. Ruyyaka, following Anandavardhana and Vakpatiraja, speaks of Vicchitti (Strikingness, peculiar charm or beauty), pratibha (creative imagination) and the subject matter of kavya being endless : ---zabdArthayorvicchittiralaGkAraH / vicchittizca kavipratibhollAsarUpatvAt kavipratibhollAsasya cAnantyAdanantatvaM bhajamAnA na paricchettuM zakyate / 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 Vakpati, who wrote the poem Gaudavaho says the same thing in different words though: CPTT UTTA UTECO HE afa-hilang any Bu yatafa Hed ord #1 || V.No. 85 AsaMsAraM kai-puMgavehi taddiaha-gahia-sAro vi / ajjavi abhiNNamuddo vva jaai vAA-paripphaMdo / -- 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 yathA, iva, vA, or a word like tulya, sama, samAna 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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Prakrit Verses in Sanskrit Works on Poetics 317 under discussion iva (= va) is appropriately used after the upamAna-zabda kamalAkara 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 'selaM va ukkhaa-dumaM' the poetic blemish kramabheda would be removed. 6. This gatha is the same as DHV (31.12) supra. 7. This gatha is the same as DHV (33.12) supra. 8. This gatha is the same as DHV (5.7) supra. 9. This gatha 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 gatha is the same as DHV (15.9) supra. 11. This Skandhaka verse is the same as DHV (21.10) supra. 12. This gatha is the same as DHV (26.11) supra. 13. This gatha is the same as DHV (23.10) supra. 14. This gatha is the same as DHV (14.8) supra. 15. This gatha is the same as DHV (4.7) supra. 16. This gatha is the same as DHV (24.10) supra. 17. Mahimabhatta cites this gatha to point out how it is marred by the poetic blemish called avAcyavacana "pattA NiaMbaphaMsaM" -- ityatra rodanaM bandhanabhayaM ceti yad dvayamutprekSitaM vartate, tatra prAdhAnyAd rodanAbhidhAyina eva padAdanantaramutprekSAvAdini pade vAcye yad tasyAnyatovacanaM so'vAcyavacanaM doSa; tasya tAdarsenAprAdhanyAt / pradhAne cotprekSite taditaradarthAdutprekSitameva bhavati / - vya. vi. 1387 According to Mammata and Hemacandra, the poetic blemish *3212an falls under '3PPYTRYGA. 18. This gatha is the same as DHV (1.6) supra.

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318 Prakrit Verses in Sanskrit Works on Poetics 19. This (second half of the) gatha is the same as DHV (14.8) supra. 20. This gatha is the same as DHV (45.15) supra. 21. This gatha is the same as DHV (3.6) supra. 22. This gatha is the same as DHV (36.13) supra. GOUT 23. This gatha is read somewhat differently in KP (p.250): fairy Of A NAhikamalaThaM / hariNo dAhiNaNaaNaM rasAulA jhatti Dhakkei // The text of Mammata nearly agrees with GS(W) 816. The earlier part of the first half differs : 'fair3 ART The Vajjalagga (No 611) reads : vivarIyarayA lacchI vaMbhaM daLUNa nAhikamalatthaM / hariNo dAhiNaNayaNaM rasAulA kIsa jhaMpei // The overall sense of the gatha remains, however, the same. Vajjalagga includes this gatha under the section called Pausiawit (Section of Riddles). Mahimabhatta dubs it as a ERC (a riddle or conundrum). The text, as presented in Vajjalagga, perfectly suits the form of prahelikA. 24. This gatha is the same as DHV (34.12) supra. 25. This gatha is the same as DHV (22.10) supra. 26. This (Skandhaka) verse is the same as DHV (18.9) supra. 27. This gatha is the same as DHV (20.9) supra. 28. This gatha is the same as DHV (25.11) supra. The text reads '31puurga' and its chaya 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 evApradarzitaroSamukhImapi mAM prasAdayan -- From this comment it is obvious that Locana had before it the reading 30 cora. Hemacandra's KAS and KLV (of an anonymous author) too read 310 Cove (= 37CCCTA, 3146fferta ). So it must be the original and genuine reading. Mahimabhatta's gloss 3ildotonta FRIT:' also supports

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Prakrit Verses in Sanskrit Works on Poetics 319 this reading. 29. This gatha is the same as DHV (6.7) supra. Madhusudani-vivrti (p. 432) renders Pet (? PR) as ek in its Sanskrit chaya 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 Srngaraprakasa (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 (Bhavas) 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. aggiNo abbhuttaNaM (agne: abhyuttejanam) stimulation or blazing of fire by blowing air on it from one's mouth. samappihii (samApsya te) fut. pass. 3rd pers. sing. - will be achieved. devare pArzvasthite ( loc. absolute construction) - while your brother-in-law is standing near you. mukhakamalacumbanalampaTa - greedy for kissing your lotus-like face. In SK Bhoja cites it as an example of 'aniyatAnekopabhogyA sAmAnyA (nAyikA)'. 3. Read daMsaNa-maNoraho for daMsaNamaNoharA in the second half and darzanamanoratho for darzanamanoharA in the corresponding chaya. 5. Vide Extract from Sanskrit Commentary in Appendix I. SK (pp.319-320) cites this skandhaka from Setu as an example of citrA nAma svAbhAvikatvavibhAvanAyAM vibhAvanA / He thus comments upon it : atraikameva madhumathanamuddizyAnekastugatvAde: pravRddhatvAdi: prasiddho heturvyaavrtyte| svAbhAvikatvaM ca taM pratyeSAM vibhAvyate / - pR. 320. 6. Bhoja introduces this verse thus : 'nAtyuttamapAtraprayojyA paizAcI zuddhA ythaa|' Ratnesvara thus comments on it : uttamAdapakRSTaM madhyamAdutkRSTaM nAtyuttamam / 'praNamata - - - rudram / / ' evaM nAma devIkope bhagavata: praNayakAtaratA yena yugapadiva sarvAbhirapi mUrtibhi: praNamatIti pratIyamAnotprekSA / - pR. 145. 7. Bhoja cites this stanza as an example of mAgadha prAkRta. In SK (p. 144) too he cites this stanza with the introductory remark : 'hInapAtraprayojyA mAgadhikA yathA'. Ratnesvara after giving its Sanskrit chaya remarks : atra mAMsAdilAbhahetutayA samarAzaMsanaM bIbhatsamunmudrayad hInapAtratAM draDhayati / SP (p. 102) reads 'hadamANuza' whereas SK reads zada mANa (? Nu) za. There is no critical edition of Veri Samhara. So it is not possible to settle the text of the whole stanza which is in Magadhi.

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Prakrit Vetses in Sanskrit Works on Poetics 321 14. The opening skandhaka is Setu (IX. 1) and the concluding one, Setu (IX. 96). Vide Extracts from Sanskrit Commentary in Appendix I. 19. This gatha is already dealt with; vide DHV S. No. (52. 16) supra. 20. sAmA (= zyAmA) is thus defined : zItakAle bhaveduSNA grISme ca sukhazItalA / sarvAvayavazobhADhyA sA zyAmA parikIrtitA || - as cited in bAlabodhinI (pR. 630). 21. This gatha is already with; vide DHV S. No. (11.8) supra. 22. SP cites this gatha as an example of 'adhyAsAtmikA tadbhAvApatti:'. Bhoja thus explains this term : arthasyAtathAtve ' dhyAsAdibhistathAtvApAdanaM tadbhAvApattiH / sApi SoDhA - adhyAsAtmikA ---- | tatra jAnato' pyatasmiMstadetadityAropaNamadhyAsa: / pR. 224. adhyAsa = adhyAropa (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] vastuni avastvAropo'dhyAropa: | In the province of poetry, however, this adhyAsa or adhyAropa is AhArya (volitional), not svArasika (natural, physically existing, not fictitious). bAhUmUla lit. arm-pit, secondarily, breasts close to arm-pits addhaaMdANa parivADiM v. 1. muddhayaMdANa richoliM Gahakosa (V. No. 436). muhA = mudhA 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 : parihAsa: striyAM (yA) URIT - The stanza is addressed by a woman to her brother-in-law in a jocular or humorous manner. 23. khikkhirI: 'khikkhirI DuMba-ciMdha-laTThIe' - DumbAdInAM sparza-parihArArthaM cihnayaSTiH / DSs, p. 93. 24. paDivakkha - pratipakSa (= sapatnIjana) manyu-puau (acc. plu.) - clusters of jealous anger, i.e., exciting the jealous anger of rival wives; lAvaNNa - lAvaNya-ghaTau (kuTa = ghaTa) - pitchers of loveliness; purisa - puruSazatahRdayadhRtau - longed for by hundreds of men; kIsa - karamAt; thaNaMtI - stanantI groaning. Read: SK (V-v. 378); it is cited there as an example of vayasA paripUrNA madhyamA (nAyikA) yathA - (pR. 684).

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322 Prakrit Verses in Sanskrit Works on Poetics 25. Vide Extract from Sanskrit commentary in Appendix I. SK (pp. 416-417) cites this skandhaka from Setu to illustrate PART-4ch (fagociado gregofood4575). Read Bhoja's Vrtti and Jagaddhara's commentary on it (p. 417). 27. This gatha 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." - Lilavai, ed. by A. N. Upadhye - Notes p. 322. The Lilavai (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 gatha, 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 SP and SK there is this Sakrarca (Indra-Puja). V. Raghavan refers to this Prakrit gatha and observes: "The Prakrit gatha 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 gatha is already dealt with; vide DHV S. No. (31.12) supra. 32. Bhoja cites this gatha twice in his SK : once to illustrate Melita, a variety of the figure Samadhi (p. 456) and once again to illustrate Gunotpreksa (p. 467). 33. Bhoja cites this skandhaka in his SK also. There he introduces it with the remark- "ubhayAbhAso yathA-". The ubhayAbhAsa here stands for nAyakAbhAsa and nAyikAbhAsa, which have been illustrated immediately before this introductory remark (in SK, p. 679). The stanza represents the moon as nayaka and the East, the Early Night, Night and the West as nayikas.

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Prakrit Verses in Sanskrit Works on Poetics 323 "When the moon embraced the Eastern region (gcalcu) (at the time of moonrise), along with the moonlight (UET), and also resorted (betook himself) to (i.e., made love to the commencement of the Pradosa (i.e. to the Early Night), and when the moon (also) started to go to the Western region (372HT), how, O, my friend, can the Night not waste away ?" "The situation suggested (in the manner of the figura Samasokti) 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 dakSiNa nAyaka. --- pradoSamukha is however difficult. cle itself is Purity (early night). Why is then To added to pradoSa ? Are we to take pradoSamukha to mean rajanImukha-vadana - 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) nayika." - M. V. Patwardhan. As mentioned before, we have here ubhayAbhAsa - nAyakAbhAsa and nAyikAbhAsa as the poet describes the Moon as nayaka and the quarters of the region as nayika and pratinayika. 34. This gatha is already dealt with; vide SP S. No. (25.47) supra. 35. This gatha is already dealt with; vide SP S. No. (27.47) supra. 36. This gatha is already dealt with; vide SP S. No. (21.46) supra. 37. de Turi(faferyat) is a popular saying. Bhoja aptly remarks: 3757 del Tricent na saMbhavati, janastu tamapyakarotItyanena mukhyayA lakSitena tasyAsaMbhAvyamAnArthavAditA lkssyte| - zRM. pra. prathamo bhAga: pR. 236. bhuvanapAla observes : etadutaM bhavati - ayaM dagdhaloka: sUkSmasUcIsuSireNa muzalaM pravezayan, 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." Gathakosa, Notes, p. 214 by M. V. Patwardhan. 38. This gatha is already dealt with; vide DHV S. No. (10.7) supra.

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324 Prakrit Verses in Sanskrit Works on Poetics 39. Read dui for duI. bolla is one of the ten Adeza s for kath. Cf. bola and Mar. bola(Ne) 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. kakkhaDa = karkaza, harsh. 40. This gatha is already dealt with; vide DHV S. No. (15.9) supra. 41. This gatha 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 gatha was left out inadvertently: EENTRYPO3T TEEB acchivattehiM / edahamettAvatthA eghahamettehi diahehiM / / (etAvanmAtrastanikA etAvanmAtrAbhyAmakSipatrAbhyAm / etAvanmAtrAvasthA etAvanmAtrairdivasaiH // ) The stanza describes the condition of a prosita-bhartrka (the nayika 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: abhinayo'tra stanapradarzane hastasya dADima-phalAkAra: akSipradarzane tasya padmadalAkAra: avasthApradarzane tanutvasUcakam unnamitatarjanIkasya hastasya Sarata: pidhi, ferie fta Rudaracion gra: i Bhoja lists, for the first time, abhinaya:, etc. together : abhinayo'padezo nirdeza: saMjJA iGgitamAkAra ityabhinayAdaya: I and illustrates each one of them. He illustrates 3174174 with the above gatha. 46. This gatha is already dealt with; vide DHV S. No. (1.6) supra. 47. This gatha is already dealt with; vide DHV S. No. (2.6) supra. 48. The accursed night (hatarAtri:) is full of dense darkness (bahalatamA); pauttho (proSita:) 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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Prakrit Verses in Sanskrit Works on Poetics 325 The suggested sense is : O, neighbour, keep awake throughout the night, visit my house fearlessly, as the husband is absent abroad, I am alone in the house and the night is pitchy dark. Let us then enjoy the delights of love to our hearts' content. 49. Bhoja comments on this gatha as follows : atra gRhapatikSetre duSTavRSavAraNapare niSedhavAkye upapativAraNaM niSedhAntaraM prtiiyte| SK (p. 549) cites this gatha as an example of anyApadeza. Read also saptazatIsAra (Gatha No. 88) commentary (p. 35). 50. Read saptazatIsAra (Gatha No. 85) commentary (p. 34) : NiaMsaNa-zabdo vastu (? vastra) - vAcI dezya: ! kAcidasatI yuvatirvanAntaramupAgatya madhUka-kusumAni saMgRhya pratinivartamAnA madhye mArga kasmiMzcidabhirUpe yUni pathike tAnyAdAtuM karaM prasArayati sati taM prati, he pAntha, madhUkai: kiM vA / nitambAdaMzukaM yadi harasi tadAraNye kasya kathayAmi / grAmo dUre, ahameketyanena taddarzanAdutpannamanmathavyathApadezAdupabhogAya vAso hareti taM prati bodhitavatItyabhiprAya: / 51. Bho ja thus comments on this gatha : atrAnyena pathA vrajeti vidhiniSedhayorabhidhAne he svakAntAbhirUpatAvikatthana pAntha abhirUpaka iha grAme bhavato gRhapatisutA draSTavyarUpeti vidhyantaraM pratIyate / - pR. 248. 52. This gatha is already dealt with; vide DHV S. No. (31.12) supra. 53. Bhoja introduces this gatha with the remark : kvacid vidhAvanubhayaM yathA - and after citing it thus comments on it : atra zanairRjeti vidhyAbhidhAne na vidhirnApi niSedho'pi tu varNanAmAtraM pratIyate / pR. 248. 54. This gatha is already dealt with; vide DHV S. No. (4.7) supra. 55. This gatha is already dealt with; vide DHV S. No. (3.6) supra. 56. Read in the first half of the gatha golA-NaIeN. tUha - tIrtha, 'Ghata'; kaccha - a bank; cakkhaMto (= AsvadamAna:) = tasting, chewing, cakrivaaM - AsvAditam (Hem. 8.4.258); cakkha appears to be connected with uel to eat and the Mar. root arcgut seems to be derived from the Prakrit cakkha. rAiAi pattAI (rAjikAyA: patrANi) : pungent leaves of a mustard plant. upphaDai = utpatati jumps up; khokkaei (= khokazabdaM karoti) growls. Cf. Mar. khokaNe. piTTei (Cf. Mar. piTaNe); beats or strikes with hands. The figure of speech is svabhAvokti (Natural or Realistic Description). 57. This gatha is already dealt with; vide DHV S. No. (42.14) supra.

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326 Prakrit Verses in Sanskrit Works on Poetics 58. This gatha is already dealt with; vide DHV S. No. (5.7) supra. 59. This gatha is already dealt with; vide SP S. No. (5.44) supra. 60. Read the text of this gatha as follows : sacaM dhaNNA dhaNNA jA taiA kesaveNa giridharaNe / gurubhAra- vAvaDeNa vi ajjua-acchaM ciraM diTThA // (satyaM dhanyA dhanyA yA tadA kezavena giridharaNe / gurubhAravyApRtenApi RjukAkSaM ciraM dRSTA / ) In connection with the restoration of this gatha read Dr. H. C. Bhayani's excellent paper Pali, Dhanya and Carukesi (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 Dhanya is fortunate because at that time she was looked at by Kesava 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 samAkhyA 'name which is significant like uddiA yajeta, because here the pada Etre explains the meaning of the Fis (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 Pacor ll which is wrong. Hence one 37 must go, which will give us 15 HITS." 68. Read in the first half of this gatha 3R-9371 and in the second half (?FR837-) and in the Sanskrit chaya gropit: for 78: sit, as given by Dr. H. C. Bhayani in his Gatha-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 gatha : 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-Gahakosa, Notes, (p. 234) - M. V. Patwardhan 34873igert (5504H ), having (naturally) warm breasts.

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Prakrit Verses in Sanskrit Works on Poetics 327 haimana-zItArti-nivRttaye pravRttAni tadarthakAriNopArUDha atra prAvAra-vilAsAgni-garbhagRhakANi yauvanopagUDhapriyAkucoSmaNA nivartyante / 76. jIA = (jyA) bow-string; maggaNa (mArpaNa) = an arrow; dhanuiTThI - dhanuryaSTi :- a bow (lit. a bow - stick); Bhoja introduces this gatha with the words : "yatraikAvadhAraNe nAnyat parAkriyate sA niyamanaiSedhikI / yathA -". And after citing this gatha, he observes : atra jyA - mArgaNa - dhanuryaSTInAmanyatra bhedenopalambhAt kandarpaviSaye'pi tadbhedo' nu-vRtta : / kuvalayavilocanAdRSTestena tena saMsthAnena tattatkAryakaraNAta saiva sarvAtmiketyavadhAraNaM nivartyate / - pR. 280. 77. This gatha is included in subhAsiyagAhAsaMgaho at S. No. 21 (vide GRK, p. 68), but with some variant readings. There the text runs as follows : hAro urassa, savaNANa kuMDale, mehalA niyaMbassa / nayaNANa puNo garue vi Usave kajjalasalAyA // The overall sense, however, is identical.

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Srngaraprakasa (Contd.---) (Vol. II) 78. GS III. 19 : The earlier part of the first half reads : "Heat U 14731;' and GS III. 15, leaving the earlier part of the first half reads : NiaaM cia vallahaM mahaM jIaM / taM tai viNA Na hoi tti teNa kuvi pasAemi / / The text of the gatha, 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: saccaM bhaNAmi bAlaaNiaaM cia valahaM (maha) jii| [satyaM bhaNAmi bAlaka nijakameva vallabhaM (mama) jIvitam / ] And in the second half we should adopt Weber's reading kuviaM (= kupitaM) which is decidedly better than the reading kulaaM (= kulajaM) 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 gatha, Amarusataka, 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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Prakrit Verses in Sanskrit Works on Poetics 329 The stanza contains the figure mAlopamA. 87. Bhoja illustrates the sentence defect, called saMkIrNa, by citing this gatha : vAkyAntarapadairmizraM saMkIrNamiti tadvidu : / - pR 21. (It is one of the 16 vAkyadoSas.) After citing the gatha he remarks : atra kAkaM kSipati, kUraM khAdati, kaNThe naptAraM gRhNAti, zvAnaM bhISayate, ityAdau vaktavye yathoktapadavinyAsa: saMkIryate / - sarasvatI, pR. 21-22. 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 gatha to illustrate the Vakyadosa called 379RR. It is the flaw of the absence of the verb in a sentence. In this gatha the verb, say "Bow down to", is absent. So this sentence is vitiated by the flaw asarira. 90. Bhoja cites this gatha to illustrate the Vakyadosa, called T441 (which is really one of the Upama-dosas). Here vApI is the upameya and vadhU the upamAna. The gatha presents the upameya (vApI) with three vizeSaNas (attributes 1 saMhata 2 vikasita and 3 maNAla), but fails to give two of the three corresponding vizeSaNas of the upamAna - vadhU. Hence Bhoja declares : atra netra-bAhUpamApadAnAM vadhUvizeSaNatvenAnuktatvAdidaM nyUnopamam |srsvtii', / pR. 26. SP terms it Unopamam. 91. Bhoja cites this gatha to illustrate the defect occurring in a sentence called 'adhikopamam'. In this gatha there is one vizeSaNa (attribute) of the upamAna in excess viz. the swarm of bees for which there is no mention of a corresponding fazlau of the upameya. Hence the defect occurring in a sentence called adhikopama. 92. Bhoja cites this gatha as an example of the vAkyArtha-doSa called 'apakramam'. It is the lack of the natural order in mentioning things. (tithivArajJAnAnantaraM kSarakarma, tata:snAnabhojane, iti laukika: krama : / ratnezvara, pR. 39. Bhoja comments on the gatha pointing out why the gatha is vitiated by the said flaw atra kSura-karmaNo ' nantaraM nakSatrAdipraznAdidamapakramam / - sarasvatI, pR. 39. 93. Bhoja cites this gatha as an example of the Vakyartha - dosa called khinna. "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 : atra prakrAntasya navapariNayavatIsvarUpabhaNanasyAniyUMDhatvAt khinnatvam / - sarasvatI, pR. 39.

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330 Prakrit Verses in Sanskrit Works on Poetics Ratnesvara thus comments : '.... upakrAntanirvAhAzakto loke khinna ityucyate / --- navapariNItAsvabhAvalakSaNArthastAvadupakrAntastathA sati yo janmAbhyastapitRgRhaviyogavedanAdUnamAnasAyA atyantAparizIlitena devareNa saMsthApanAprakAra : sa na jAtau nivizate / parizIlitabhartRkulAyA kulAyAM vA / tasyaucityAt tasyA eva hi kiJcana vaktavyaM bhavati' ityAha - atra prakAntasyeti / 94. Bhoja cites this gatha as an example of the Vakyartha-dosa called paruSa. "Parusa is a kind of Atimatra. It is defined as krura - artha. Its absence is the Madhurya guna of Artha ---". Bhoja defines it as - yattu krUrArthamatyarthaM paruSaM tu taducyate / and mAdhuryamuktamAcAryai : krodhAdAvapyatIvratA / - Bhoja's Srigara Prakasa. (p. 239). After citing the gatha, Bhoja remarks : atra khAda viSamityAdInAM krUrArthAnAmabhidhAnAt pAruSyam / sarasvatI, pR. 40. Ratnesvara thus comments on the gatha :- yato bAlo dantairmAtu : stanaM dazatIti jAtistasyAH punarevaMvidhaM paruSamabhidhAyitvamanucitam / atipAruSyameva cAtra virasatAhetu : | - ratnezvara pR. 41. 95. Bhoja cites this gatha as an example of the Vakyartha- dosa called asadRzopamam. After citing the gatha, Bhoja thus comments on it : . - atra kopAnala - nirdagdha - mugdha - manmatha - zarIrasya harasya nitamba - nirgatasrotasA himavad - giriNA sahAsAdRzyAdidam asadRzopamam / . - sarasvatI', pR. 42. 96. Bhoja cites this gatha 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 : atra kolAde : svarUpAdyanabhidhAnAd jAtyAdyalaMkArAsaMbhave niralaMkAranAmAyaM vAkyArthadoSa : / sarasvatI, pra. 44. Ratnesvara thus comments : vakratAvyatireke'laMkArasAmAnyameva na syAditi niralaMkAramityuktama --- atreti / svaM rUpaM camatkArakAri kavipratibhAmAtraprakAzanIyaM rUpaM tadevAlaMkArakakSamadhizete / na cAtra tathA kiMcidabhihitamato na jAtyalaMkAra : / evamanyo'pyalaMkAro nAsti / pR. 44. 97. Bhoja cites this gatha to illustrate the defect, called yuktiviruddha - against evidence, lacking in proof. After citing the gatha, Bhoja thus comments atra kUrmI-pRSThe kamalodgaterayuktiyuktatvAdhuktiviruddhamidam / - sarasvatI, pR. 46. Ratnesvara's comments run thus : ...- yukti : pramANam / --- kamalajAte: paGkajaprabhavAyA eva nizcayAt kUrmapRSThAdudgame na kazcit pramANaM kadApi kasyApyavatarati --- | pR. 46.

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Prakrit Verses in Sanskrit Works on Poetics 331 98. Bhoja cites this gatha to illustrate the defect, called aucityaviruddha (Impropriety). After citing the gatha, he thus comments : atra pAmarasya paTTAMzukottarIyAbharaNAnaucityAd aucityaviruddhamidam / 99. Bhoja introduces this gatha, in the context of vaizeSika guNa. Vaisesika Gunas or Dosa-gunas - which are cases of Dosas turning out to be Gunas under certain circumstances. ye tu doSA api AzrayavizeSAdyupAdherguNatvamAzrIyante te vaizeSikAH / yathocyate - Vinaya (modesty) is a Guna of women, and Avinaya (lack of Vinaya) is a Dosa. But in the case of public women it is Avinaya that is a Guna, just as smoke which is otherwise a Dosa is Guna when it emanates from ignited (fragrant) sandal wood. 100. Read the fourth quarter thus : hoti harI sappa-siMhA vi / / Bhoja introduces the gatha with the remark : aprasiddhArthaprayuktaM gUDhArtham / tasya tad-vyAkhyAnAdau guNatvaM yathA -- zRM. pR. 245. After citing the gathain his SK Bhoja thus comments : atra maNDraka-markaTasarpasiMheSvaprasiddhaprayogatvAd gUDhasyApi harizabdasya svayaM vyAkhyAtatvAd guNatvam / - sarasvatI, pR. 93. 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 gatha. Curious readers may refer to that discussion. 102. CI. prAkRte'pi yathA - jaha NhAuM oiNNe abbhuttamulhasiamaMsualutaM / jaha ya Na NhAosi tumaM sacche golAnaItUhe / / 7.5 / / abbhuttaM abhiSiktam / tUhaM tIrtham // 7.5|| TippaNaka : jaha NhAuM ti - snAtumavatIrNe sAttvikabhAvavazAt Ardra sat utprastam paryantaM 'addhaMto perate iti vacanAt / uddhRtazapharIM dRSTvA cakito na snAna iti saMTaka : I Chando'nusasana of Hemacandrasuri ed. by Prof. H. D. Velankar, Bharatiya Vidya Bhavan, 1961, p. 4. 104. V. L. - Vaiialagga. sattharaaM. (i) sastarakama = bed (ii) svastharatama = comfortable sexual intercourse; gAmaNi - grAmaNI = the leader or chief of a village; uNNaa-paohara i) (unnata-payodharAna) clouds rising in the sky; ii) unnata-payodharau plump, swelling breasts.

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332 Prakrit Verses in Sanskrit Works on Poetics The speaker throws a suggestion to the wayfarer that he should stay over night and enjoy the delights of love in her (charming) company. 106. akaTam Azcaryam; gumaTI-manojJA Cf. Mar. (gorI) gomaTI; lavai : AsphAlitakhaDgasyeva sphuraNe lavai iti mahArASTradezI / tathA ca prayoga: - 'lavai a vijjUmaNoharI' ityArAdhyA: / yAmyo-dakSiNa: / nivAraa nirvaJcaka: vArakazUnyo vA --- | ato nakajanakajannArtho nArtha: IrSyAroSalakSaNena pratikUlabhAvAvalambinA mAnena, tasmAt priyameva pratijAhudA yAma: --- | - ratnezvara, pR. 148. He introduces this stanza with the statement : "durvidagdhAdipAtraprayojyA saMkIrNA yathA --" and after citing it, comments on it thus : so'yaM saMskRta-mahArASTrApabhraMzayogastilataNDulavat saMkIrNA jAti: / sarasvatI, pR. 147. 107. Read the line thus : gose tivichi - (? tigicchi -) richolI tallattUhe vivallidA // . There does not seem to be a word like fagio in Prakrit. It is possibly a corrupt form of tigicchI. Hemacandra records in his DSS(p. 157) : tiMgicchI tigiyA ya kamalarae / gose prabhAte, tivichi (? tigicchI) richolI kamalaraja:paDiktaH / tallamalpasaraH / tUhaM tIrtham / vivalidA prasAritA / - ratnezvara, pR. 148. 109. The two words kaNaillI and vAaDI are synonyms of zukI (a female parrot). The three words kunta, kIra and pUsaa are synonyms of zuka (a parrot). Hemacandra records in his DSS (p. 74): 'kaNailla - kIra - kuMtA sugammi' - kaNaillo, kIro, kuMto trayo'pi zukavAcakA: / 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 abhinaya (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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Prakrit Verses in Sanskrit Works on Poetics 333 "abhinayazca sAkSAdiva arthAkArAdipradarzikA hstaadikriyaa|" In the gatha under consideration the word etAvat is anekArtha, as it can express any sense that we can convey by a gesture. So by appropriate gestures the word garac in this gatha is restricted to four different meanings. 111. 'bhadraM bhavatu sarasvatyAH' - 'May bliss come to us all from sarasvatI, the Goddess of Learning.' 'nandantu vyAsAdaya :'- 'May Vyasa and others (say, Valmiki, Bhasa, Kalidasa, Bhavabhuti, Banabhatta, etc.) rejoice.' vidagdhapriyA (vANI)-dear to the learned; the poet recognises only three styles-(1) vacchomI (= vaidarbhI), the style of the people of vatsagulma (Prakrit vacchoma), a city in the Vidarbha country; (2) mAgadhI is better known as gauDI; and (3) pAJcAlikA (better known as pAJcAlI). He ignores the fourth style known as lATI. kAvyakuzalA: are the sahRdaya - sensitive and sympathetic readers. jyotsnAM cakorA iva - the cakora birds are noted for their fondness for the moonlight; vilihantu - may they relish, enjoy. 112. NieUNa (= dRSTvA ) 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 EFIR44. For an idea of st14h one of the twelve uparUpakas, vide V. Raghavan : Bhoja's Srrigara Prakasa (1963 edn. pp.546-547). 119. Read the verse as follows : "ai dummaNa-dummaNaA aha kiM No pucchAmi tumaM / Na jivijjai jeNa viNA so parihijjai kIsa jaNo / / ayi durmanasAM durmanaska adya kiM nu pRcchAmi tvAm / na jIvyate yena vinA sa parihiyate kasmAjjana: // The metre is very close to bhAminI (virahAGka' s vRttajAtisamucaya, 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 rAsa [tadeva (= hallIsakameva) tAlabandhavizeSayuktaM rAsa:]. For an idea of rAsa / rAsaka, read Bhoja's Srigara Prakasa (pp. 561-562).

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334 Prakrit Verses in Sanskrit Works on Poetics 120. This gatha is cited to illustrate Prsta-prasnam, one of the six kinds of prasnottaram. Bhoja in his SK (p. 304) explains it thus : atra ya eva praznA: 'ka: sa yojanapAda: 'ka: sa yo daNDAnAM dve sahasre ityAdaya: ta eva 'krozo yojanapAda:' 'kodaNDAnAM dve sahane' ityAdInyuttarANi bhavanti / evaM 'kA kAlI kA madhurA kiM zukapRthukAnanacchAyam' ityuttaraM kimabhihitazeSasya praSTavyamiti pRSTapraznam / 121. Bhoja cites this gatha to illustrate '3fACH, one of the six kinds of Gudha. After citing the gatha he comments on it thus : "atra nirIkSitamanenAtra puruSAyitalakSma pAdalAkSAdikaM, tena niyukte mAM nR-karmaNItyabhiprAyeNa vadhvAH zayanAvalokanamityabhiprAyagUDham / - sarasvatI, 9. 302. There is a section devoted to hiyAlI in Vajjalagga. hiyAlI is equated with hRdayavatI (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 gatha as an example of Vesa, one of the varieties of Jati (Natural Description). After citing it he comments on it thus : 377 atata amatan HUT veSo janamana:pramodAya jAyata iti veSo nAmAyaM jAtibheda : I - sarasvatI, pR. 314. GS (W) reads "Khana' for 'Chana', and 'Kanna gaa' - (or - 'kaa' v. 1.) for *Kassa kae'. It deserves our notice that Bhoja quotes this very gatha further on (p. 664) with the introductory remark: Haldarfari ya IT - "There it reads in the second half of the gatha $002631", which agrees with the reading in GS (W). For the festival ya tica, read Bhojas Smgaraprakasa, pp. 650-651. 124. The subjects of Jati, (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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Prakrit Verses in Sanskrit Works on Poetics 335 of the figure Jati giving the natural description of an innocent, inexperienced newly-wed girl. Nahavaa (= naravapada; also called nakhakSata, nakha-vraNa) nail-marks. Note : This gatha is cited also in SK III, (p.315, v.5) in the same context. 125. Read : Vahitta padivaanam --- (p. 393) Bhoja introduces this gathawith the words : "pratIyamAnamiGgitalakSyaM yathA" - "and adds at the end : prativacanAdAna-parijanaprakopAbhyAM, pradIpyamAne nadIkacche iti hetunA pratyAyyamAna: saMketakuDayAGga (? kuDuGga-latAgRha -) dAvodbhava-vadhUmanastApo vAkyArthatvena lakSita ityayamiGgitalakSya: pratIyamAna: suukssmbhed:| - sarasvatI, pR. 336. vAhittA = vyAhRtA spoken to; ekamekkassa = ekaikasya (with everyone she comes across); kajjeNa viNA = kAryeNa vinA without any rhyme or reason; palippamANa = pradIpyamAna blazing up; NaIkaccha = nadI-kakSa 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 gatha is cited also in SK III, (p. 336, v.51) in the same context. 126. Read in the chaya zyAmAyate zyAmalAyA. Bhoja cites this gatha as an example of "AkAra-lakSya: pratIyamAna: sUkSmabheda:". sAmAi (= sAmAe~, denom. from sAma = zyAma) sAmAae - zyAmAyate = becomes dark; zyAmalA (= zyAmA) a young damsel having dark (yet attractive) complexion; addhacchi ' - ardhAkSipralokanazIlA casting (guilt-conscious) plances at her lover jaMbU (jambUdala-kRta-karNAvataMsa-bhramaNazIle) 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 Jambu tree. To convey to her this fact, the lover the afonya wears Jambu-leaves as ear-ornament. The girl feels guilty and consequently her face becomes dark. Read; atrArdhAkSipralokana-mukhazyAmatAbhyAmAkArAbhyAM jambUdalakalpitAvataMsa ityanena pratyAyyamAna: saMketagamanabhraMzasaMbhava: zyAmAyA manastApo lakSyata ityayamAkAralakSya: pratIyamAna: suukssmbhed:| - sarasvatI, pR. 336. 127. Bhoja cites this gatha as an example of the figure vir (which is called the in SK(p. 337) which he defines as 'phalgunirAsena aphalgunirdhAraNaM sAraH / ' 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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336 Prakrit Verses in Sanskrit Works on Poetics example illustrates the variety. Bhoja thus comments on this gatha in SK : atra prauDhAnAM suzikSitaM surata-karma, aprauDhastrINAM punarazikSitaM sukhayatIti karmAntaralakSaNebhyo dharmebhya: suzikSitAzikSitaratakarmalakSaNA dharmAH strIdharmavyatirekeNa pratipAdyanta iti dharmavyatirekarUpo'yaM sAraH / -sarasvatI, pR. 338. This very gatha is again cited by Bhoja on p. 635 with some variants : poDhamahilANaM jaM sucha sikkhiraM taM rae suhAvei / / jaM jaM asikkhi NavavahaNaM taM taM dhiiM deTha (?dei) || __ sarasvatI, pR. 635. (--- yat suSTha zikSitaM ---| --- dhRtiM (dadAti) |). 128. Bhoja cites this gatha as an example of the variety of Bhava, called Sodbhedah. He comments on the gatha as follows : atra sAloka eva sUrye gRhapatehAgamanaM gRhiNyAzca yatpAdadhAvanaM tadAvAbhyAmadya vezmano na nirgantavyamiti bhAvaH / sa ca dvayorapi hAsenAbhita udbhidyata ityabhita: sodbhedo'yaM bhAva: / - sarasvatI, pR. 377. Bhoja later on cites this gatha to illustrate one of the eight types of nayika, called svadhinapatika- who is absolute mistress of her lover, and he her obedient slave. Bhuvanapala's comments on this gatha thus run : ---anayA prayuktyA avaruddho'hamanayeti hasata: / sA'pi kIdRzI / hasantI smayamAnA / atha mA khalvayam anyAGganAsaMbhogasukhalAlasatayA niryAsIditi vyapadezena priyaM niruNaddhIti / asamaya eva pAdaprakSAlanam ubhayAbhiprAyaparijJAnaM ca ubhayorhAsahetu: / - gAhAkosa, pR. 64. 129. Hemacandra reads 'haMda paloesu' (8.2.181) and explains haMda as gRhANa 'Take this'. Bhoja cites it as an example of the variety of Bhava, called Sodbheda. The first example illustrates bhAva-abhita: sodbhedaH, whereas this second illustrates bhAva - ekata: sodbhedaH | Bhoja thus comments on this gatha : atra sutasya dantodgamAd ahamupabhogayogyasmIti gRhiNyA evamabhiprAya: prakarSavikAsitanayanatayodbhidyate; na puna: patyurityekata: sodbhedo'yaM bhAva: / - sarasvatI, pR. 377. According to Bhuvanapala, the hidden meaning of the gathais as follows: "The wife cleverly suggests to her husband that sexual relations, suspended during her pregnancy and since her delivery, can now be resumed." Gahakosa. (Notes,

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Prakrit Verses in Sanskrit Works on Poetics 337 p. 145. Umashankar Joshi is all admiration for this gatha : sAMje pati ghara Ave che tene patnI zizunI nAjuka phUTelI be dAMtakaLIonI nizAnI bora para aMkAyelI koDe koDe batAve che e eka lAkhej - savAlAkheNuM citra che. - kavitAsaMgama - saMpAdakIya, pR. 6, gAthAmAdhurI prAkRta muktako, anuvAda-harivallabha bhAyANI, vorA a~Da kaMpanI - amadAbAda, 1976. 130. Bhoja cites this gatha as an example of the variety of Bhava, called Abhito nirudbhedah. ADhattA = ArabdhA started; dukkhuttArA (du:khottArA difficult to walk down (or up), to clear or get over, negotiate; paavI (padavI) path, way. Bhoja's comments on this gatha run thus : atrAgacchantI hAlikasnuSAM dRSTvA gRhapatisUnorgodAvarItaTe yadavasthAnam, yazca tamavalokya tasyA duruttaramArgeNAvataraNArambhaH, tatrAyaM tayorabhiprAyo hastAvalambadAnenAvayoraGgasaGgama: saMpadyatAm iti / sa cAbhito dvayorapi jAyamAno neha kenacitkarmaNodbhidyata ityabhito nirudbhedazcAyaM bhAvaH / 131. Bhoja cites this gatha as an example of the variety of Bhava, called Ekato nirudbhedah. sAli (zAlivana-gopikA a female guardian, protectress of ricefield). pUsa deg (zukavRnda flocks of parrots). Note pUsa is a Desi word meaning a parrot. Bhoja thus comments on this gatha : atrAtisaundaryeNa devIbhrAntyA zAlivanagopikAmAlokayatAM pathikAnAM tadakSinirIkSaNe'yamabhiprAya: / ---"tadakSiNI eva pazyAmo yadiyaM nimiSati tadA mAnuSIyaM yadi na nimiSati tadA devIyam / " iti sarvAGgasundaryA api pathikAnAmeva jAyamAno bhAvo neha kenacitkarmaNodbhidyata ityekato nirudbhedazcAyaM bhAva: / - sarasvatI, pR. 378. 132. Read hia rosubhiNNaM. (p.395)-mANaMsiNI (manasvinI) the proud lady; rosuggiNaM (roSodgIrNam) provoked by anger; mANaMsiNIeN thoraMsuaM ruNNaM / / The proud lady burst into tears; (Na hao daio (na hato dayita:) 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 : "ruditamucitamastraM yoSitAM vigraheSu / " Bhoja's comments thus run : atra hRdaye roSodhUrNapAdaprahAraM yadayaM zirasA prArthitavAn, yaca tayAsau na tADitastatra hRdaye vallabhA vasatIti bhAva: / sa ca prArthanA-rodanAbhyAbhudbhidyamAna: sodbhedo bhAvo hRdya ityucyate / - sarasvatI', pR. 379. SP declares hRdyaM sUkSmaM ca bhAva eva / pR. 395.

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338 Prakrit Verses in Sanskrit Works on Poetics 134. Bhoja cites this gatha, attributed to Padaliptasuri, as an example of one of the varieties of Anumana (Inference), called sAmAnyato dRSTa. Bhoja thus explains it : yatrana kArya, na kAraNaM kevalamavinAbhAvamAtraM pratIyate tat sAmAnyato dRSTam / yathA - sarasvatI, pR.383. . Bhoja's comments on this gatha thus run : atra varSarturavinAbhUtairbheghagarjitAdibhiH sAmAnyenaivAnumIyata iti sAmAnyato dRSTamidam / 136. The first half of this gatha is metrically defective. It may be emended to : Na uNo vara-koaMDe puttie~ mANUsae vi emea / (na punarvarakodaNDe putri mAnuSe'pyevameva / ) A similar idea is expressed in the second half of the following gatha from Vajjalagga. S. No. 686. guNahINA je purisA kuleNa gavvaM vahati te mUDhA / vaMsuppanno vi dhaNU guNarahie natthi TaMkAro || M. V. Patwardhan observes in his Notes (p. 574) : "We must construe the words in the second half as follows :- (jai vi) dhaNU vaMsuppaNNo (hoi) (taha vi) guNahie (tammi) TaMkAro natthi / The correct wording should be : vaMsuppanne vi dhaNummi niguNe natthi TaMkAro / " In SP Bhoja cites this gatha as an example of one kind of Drstanta, called Purva. But this statement and the statement in SK (pp. 354-355) are contradictory. 139. This well-known gatha Bhoja cites as an example of the figure Anyonyam. (Pratiyamanam). 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 : atra pathika-prapApAlikayomitho'nurAge yadekasya viralAGgulinA kareNa pAnIyapAnamanyasyA:sutarAM vAridhArAtanUkaraNaM tena parasparamupakAryopakArakabhAvAt pratIyamAnamidamanyonyam / - sarasvatI, pR. 347. ratnezvara adds :- na cAyamevaMvidho'rthaH kenApi zabdenabhihita iti bhavati pratIyamAnatA / vakta-pratipAdyAdivizeSaparyAlocanenaiva dhvananamunmiSati / pR. 347.

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Prakrit Verses in Sanskrit Works on Poetics 339 140. Bhoja cites this gatha as an example of the third variety of Anyonyam, called Ubhayatmakam (- Pratiyamanabhidhiyamanam). His comments on this gatha run as follows : atra godAvarIviSamAvatAravyAjena tayA tasyorasi AtmA kSiptastenApyanukampAnirdoSA sA gADhamupagUDhetyabhidhIyamAna: parasparamanurAgAdupakAryopakArakabhAva: pratIyata ityubhayAtmakamidamanyonyam / sarasvatI, pR. 347. 141. Bhoja cites this gathaas an example of Parivrttih (the variety being Vyatyayavati. Amukhya) 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. :- atra priyatamena rAtrAvudvAsitasyAdhararAgasyeyaM sapatnIlocaneSu saMkrAnti: / sarasvatI, pR. 349. 142. This skandhaka is cited as an example of the figure Milita (when something is concealed by another possessing a similar characteristic, there is the figure Milita). Bhoja speaks of its two varieties. The first variety "abhidhIyamAnaguNena vastunA mIlitam" is illustrated by this example : atra majjanatAmrayorlocanayormadarAgo madatAmrayo: kopAnurAga: sAkSAdabhidhIyamAnenaiva guNena tiraskriyamANo nidarzita ityabhidhIyamAnaguNena vastunaitanmIlitam / -sarasvatI', pR. 372. 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. sacavio = dRSTaH / gose prAta: / 143. The first half of this gatha as printed in Mysore edn. (and in SK) needs to be corrected as follows: piadaMsaNeNa suharasamuulia (?piadaMsaNasuharasa-mauliAi~) jai se Na hoMti NaaNAMi / It may be noted that the commentator ratnezvara too had the reading piadaMsaNeNa. With this reading muulia (?maulia) will have to be understood as standing for mauliAIM. Bhoja cites this gatha to illustrate the second variety of Milita (Pratiyamanagunena). Bhoja's comments on this gatha run as follows : atra priyadarzanasukhena mukulitayoreva locanayostasyAH karNakuvalayaM lakSyate na tvamukulitayoriti vastunA vastvantaratiraskAra: pratIyamAnaguNatayopapAdita iti pratIyamAnaguNena vastunA mIlitamidam / - sarasvatI, pR. 373. 144. paaDia (prakaTita) - shown; sabbhAva (sadbhAva) good disposition; vinbhama (= vibhrama) graceful or playful movements of the eye-brows, eyes and lips; saMvaraNa concealment; vAvaDa

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340 Prakrit Verses in Sanskrit Works on Poetics (vyApRta) 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 : 'pihitamapihitaM tadguNo'tadvaNa itImAnyapi mIlitAnyeva / zRM. prakAza, pR. 401. 145. Bhoja cites this gatha as an example of the alleged figure Apihita, which is, in fact, a variety of the figure Milita. Bhoja's comments on this gatha run as follows :- atra dRSTyA yanna dRSTaH, saMbhASitayA yanna saMbhASito na cAbhyAgatopacAro vihitastena tadanurAgaH paraM na pihita: pratyuta chAdanena chekAnAM prakaTita ityapihitAkhyo'yaM mIlitabheda: / - sarasvatI, pR. 374. 147. Bhoja cites this gatha as an example of one of the varieties of Bhrantih (Error), called 'Abadhita atattve tattvarapa.' His comments on this gatha run as follows: atra suravadhUstanamaNDale karikumbhatvena gRhIte'tattvarUpe yanmithyaiva tattvAropaNaM na cAnantaraM bAdhakopanyAsa: kRtasteneyamabAdhitA atattve tattvarUpA bhrAnti: / - sarasvatI pR. 364. 148. pUsa - (= zuka-) vaMda (=vRnda)-aflock of parrots; hasiaM (=hasitaM) sahatthatAlaM (svahasta-tAla) They laughed and clapped their hands in wonder and amusement. Bhoja cites this gatha as an example of another variety of Bhrantih, called 'Atattve tattva-rupakhya badhita Bhrantih'. He thus comments on the gatha : atra patra-phalito'yaM nyagrodha ityatattvarUpe tattvabuddhAvutpannAyAM ya uttarakAlamapatratAniSphalatA pratyayastena --- bhrAnti: / - sarasvatI, pR. 364. Ratnesvara in the course of his comments says : zukacaJcupucchAnAM pakvanyagrodhaphalanavapalAzasAdRzyam / yadyapi nAtra bAdho ' bhihitastathApi uDDINa ityanenArthAbhAvaviSayA pratIti: kriyate / kathamanyathA hasitahastatAlarUpanyAsa: syAt / - pR. 364. 149. This gatha is cited also in SK in identical context. Bhoja cites it as an example of Bhrantih (Tattve atattvarupa hanahetuh). His comments run as follows: atra pAramArthikISvapi nadISu mRgatRSNApratArita: san yanna mRga: paya: pAtuM pratipadyate pratyuta tyajati teneyaM tattve'pyatattvarUpA hAnaheturbhrAnti: / sarasvatI, pR. 365. 150. For this Apabhramsa passage, vide Appendix I.

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Prakrit Verses in Sanskrit Works on Poetics 341 151. "In the Arthalamkara section, Bhoja gives this Abhinaya (one of the varieties of Pathiti) as a species of the Arthalamkara, called Upamana which is one of the Pramanas of the Mimamsakas made into an Alamkara by Bhoja. In that place, besides Abhinaya, Alekhya, Mudra, and Pratibimba are referred to, as varieties of Upamanalamkara." . V. Raghavan, Bhoja's Strigara Prakasa (p. 366). Ratnesvara thus comments :grAmataruNairananyabaddhAnta:karaNairhAlikavadhUstanAbhogo musalollAsanAdau vAraMvAramanubhUta: sa tulyAkAradhRtavivaraprasUnai (? prasRtai) raNDadaladarzanAdeva buddhimArohatIti sA buddhirmImAMsakopamitimadhyamadhyAste / kathameraNDadalasaMnivezasyAbhineyatA / anukAro hyabhinaya: / na cAsau tatra saMbhavati / ata Aha - uttAnaprasAritADalihastasaMnivezena vastvantarapariNAha-pratibimbanaM lokaprasiddhaM tadihApi eraNDadalavistAradarzanAt --- | 152. SP and SK (p. 384) read the second half as : ettaM (?) vasaMtamAsaM / mAso sahi jaM utkaMThiaM (?) ceaM / / (eti vasantamAsa: / sakhi yadutkaNThitaM ceta: / ) GK (p. 220) reads as : pattaM vasaMtamAsaM sAhai ukkaMThiya ceya // (prAptaM vasantamAsaM kathayatyutkaNThikA eva / ) GS VI. 42 reads as : pattaM vasaMtamAsaM sAhai ukkaMThiaM ceaM / / (prAptaM vasantamAsaM kathayatyutkaNThitaM ceta: / / ) ratnezvara's statement. (cUtamaJjarImalayapavanayoragre samutkaNThitam atra camatkArAspadam / - pR. 385) shows that he had before him the reading out. We find the GS reading more acceptable. Bhoja thus comments on this gatha : atrotkaNThAlakSaNena kAryeNa vasanta : kAraNabhUto'numIyata iti sAmagrIpakSe idaM zeSavadityucyate / - sarasvatI, pR. 385. 153. In the second half of this gatha, we have the phrase acaMtadattadiTheNa. It is obscure. Possibly the reading is corrupt. It may be emended, as suggested by M. V. Patwardhan, to acaMta-daMta-dihraNa (Sk. atyantadRSTadantena) (hasieNa) i.e., by a broad smile | laugh which exposes fully the teeth; sAmi - valieNa (Sk. sAmi valitena) (hasitena) (by a broad smile) accompanied by a partial (half) turning of the body; chAra (kSAra) is salt. PSM records its another meaning as F (ashes). We have in Sanskrit kSate kSArasya kSepaNam - 'throwing or scattering salt on a gaping

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342 Prakrit Verses in Sanskrit Works on Poetics wound' and secondarily meaning 'adding insult to injury'. But this idea 'cchahihisi gottassa matthae chAraM' (Sk. gotrasya mastake kSAraM kSepsyasi / ) 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 gatha by ma qura; if : vakrollApinI, vakrollApanazIlA (one who is given to speaking obliquely - suggestively - indirectly). Bhoja's comments on this gatha run as follows: atraivaMprakArayA vakroktyA evaMvidhena hasitenopalakSitatvamagrato gotraM dUSayasIti kAraNato yatra kAryAnumAnaM tadidaM sAmagrIpakSe pUrvavadityucyate / 154. This skandhaka is already dealth with; vide DHV S. No. (* 7.7) supra. Bhoja cites this skandhaka as an example of Abhava (proof from non-existence, negative proof), one of the 24 pure Arthalamkaras; SK (p. 395, v. no. 177) more specifically, of Pragabhava. It is interesting to find that the definitions and classifications of Alamkaras derived from Sastras, the six Pramanas, and Smrti etc. are all in Sastric terminology." (V. Raghavan: Bhoja's Srrigara Prakasa, p. 387). 155. Bhoja cites this gatha as an example of Antarbhuta-samanya Samasopama. 46 (mukharasa) the sweetness of nectar of the mouth (or nether lip); kaaggaha seizure of the braided hair - aug 05979TRTUGUT UT RH 3RTA vecuvaci si - TMG (q. 809). 156. Bhoja cites this gatha as an example of Antarbhutobhayartha Samasopama. 157. Bhoja cites this skandhaka from Setu as an example of Malopama (Garland Comparison); vide Extract from Sanskrit Commentary in Appendix I. CHICT is thus defined : 315o athisla filcar II and '3141GYQUI HII HICT d iluvaat | HEZI PEG-169 Hidla ai fag: 1 sfa greca: 158. Bhoja cites this skandhaka as an example of one of the varieties of Savayava-rupaka, called Sahajavayava (Rupaka). Regarding fareg Hemacandra

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Prakrit Verses in Sanskrit Works on Poetics 343 (DSs, p. 243) says : vatu tathA vicchaDDo nivahaH / RddhivAcI tu vicchaDDo 'viccharda' zabda-bhava: / Jagaddhara (comm. p. 422) says viccharda: pravAha: / ukkhaDia (? ukkhalia) = utkhaNDita-cut off. ... Read Jagaddhara's comments : ... iha mukhameva kamalaM tatpatitam / kIdRzam / prasphuritamoSThapuTameva dalaM patraM yatra tat / tatkAlavigalitarudhirameva madhupravAho yatra tat / viccharda : pravAha : | utkhaNDitakaNTha eva nAlo yatra tat / sphuTadazanA eva kesarANi yatra tat / iha mukhasyauSThAdIni padmasya patrAdInyavayavAste ca sahajA iti tatprAdhAnyAdidaM sahajAvayavarUpakam / --- pR. 422. 159. Bhoja cites this skandhaka as an example of one of the varieties of Savayava Rupaka, called Aharyavayava. Read Jagaddhara's comments : tato'nantaraM dazAnana eva bhujaga: sarpa: so'tibhayAnako jAta: / kIdRza: / kumbhakarNaprativacanameva daNDastena parighaTTita utthApito'marSa eva ghoraviSaM yasya saH / galitazcyutoMzukaM vastrameva nirmoka: kaJcuko yasya saH / iha prativacanAdInAmavayavatvAbhAvAd AhAryAvayavatA, teSAmeva prAdhAnyAdAhAryAvayavarUpakamidam / pR. 423. 160. Bhoja cites this skandhaka from Setu as an example of Adharavad Rupakam. Read Jagaddhara's comments : iha gaganameva samudraH, tatra tArA eva muktA: tAsAM prakara: samUha: zobhate / kIdRzaH / vizeSeNAtizayena shuddhkirnn:| rajanI eva velA tIrabhUmistatra lagna: saMbaddhaH / sphuTavighaTitA vyaktIbhUya vidIrNA meghA eva zaktisaMpuTAH, tairvimuktazca / iha sAdRzye rajanyAdInAM pratIyamAnatA velAdInAmabhidhIyamAnatA, zuddharUpakatA upamAdyasaMbhedAt / gaganasyAdhAratayedamAdhAravadrUpakam / - pR. 425. 161. Bhoja cites this skandhaka as an example of Niradhara Rupakam. Read .. Jagaddhara's comments : iha dhUmasamUhA etAdRzA vijJAyante (? viniryanti) / kIdRzAH / vanarAjyA vanapaGkte: kezahastA: kezakalApA eva, 'pAza: pakSazca hastazca kalApArthA: kacAtpare / ' ityamara : / kusumAyudhasya kAmasya sugandhi-calad-dhvajapaTA eva candrakiraNAnAM mUhUrta-meghA eva tamasAmandhakArANAM pratihastA: pratinidhayaH / --- iha dhUmotpIDasya vanarAjikezakalApAderAdhAratvAnupapatternirAdhArarUpakamidam / sarasvatI, pR. 425. 162. Bhoja cites this skandhaka from Setu as an example of Savayava Samkirnan (Rupakam). Read Jagaddhara's comments : iha nabhastalaM zobhate pitAmahasya brahmaNa utpattipadmamiva tasya padmayonitvAt / kIdRzam / ravikarA: sUryakiraNA eva kesaranikarA yatra tat / dhavalAbhrANi zvetameghA eva dalasahasrANi taiH parigatamanvitam / madhumathasya viSNordarzanayogyam, zaradi tasya jAgaraNAdasya ca ramyatvAt / padmapakSe'pi nAbhikamalatayA madhuripudarzanayogyatA / --- atra ravikara - dhavalAbhra - sahasrayo : sahajAhAryAvayavayo: kesaranivahatvena dalasahasratvena ca rUpaNAt paGkaja - nabhastalayoravayavinorUpamAnopameyatvAcca sAvayavasaMkIrNarUpakamidam / pR. 427.

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344 Prakrit Verses in Sanskrit Works on Poetics 163. Bhoja cites this skandhaka as an example of Niravayava Samkirnam (Rupakam). Read Jagaddhara's comments : iha divasa eva bhujaGgaH sarpo'parasamudraM pazcimasamudraM gata iva / kIdRza: / dI? mahAparimANa: / sUryabimbameva phaNAmaNiprabhAM vikAsayan AtapasamUha kaJcukamiva tyajan / atrAsAmAnAdhikaraNyenAvayavAvayavibhAvo na jJAyate, iva prayogeNa copamA jJAyata iti niravayavasaMkIrNarUpakamidam / pR. 427 - 428 164. Bhoja cites this skandhaka from Setu as an example of Ubhaya Saskirnam (Rupakam). Read Jagaddhara's comments: iha dizo nijasthAnaM svakIyasthAnaM pratigatA iva / ivapadamutprekSAyAm / kIdRzya: / dhutA meghA eva madhukarA bhramarA yAsu tA : | ghanasamayena varSAkAlena ghanAvaraNAd AkRSTA: saMnihitIkRtA avanatA bhUmilagnA: pazcAd vimuktAstyaktA: / nabha eva pAdapo vRkSastasya zAkhAbhUtA : / atra 'dhutamegha'-pade bahuvrIhi: / nabha:pAda- pade SaSThIsamAsa: tAbhyAM sAvayavatvaM niravayavatvaM ca yathAkramamuktam / ata evobhayasaMkIrNarUpakamidam / - pR. 428. Bhoja's comments run : atra pAdaparUpeNa rUpitasya nabhaso yadetaddizAM zAkhArUpeNa rUpaNaM meghAnAM ca madhukaraprakareNa tadubhayamapyanyapadArthaSaSThI samAsayorabhidhIyamAnena sAvayavaM niravayavaM cetyutprekSayA ca saMkIryamANamubhayasaMkIrNarUpakavyapadezaM labhate / - pR. 428. 165. Bhoja cites this skandhakafrom Setuas an example of Slesopahitam Samkirnam (Rupakam). Bhoja's comments on this skandhaka run as follows: 377 zliSTarUpeNa tadvizeSaNaprakAro yazca zobhAyA : prathamamagya cihna saubhAgyasya ca prathama cihanaM pIna-payodhare meghe stane ca lagnamityAdivizeSaNavizeSyabhAvastenedaM zleSeNopadhIyata iti zleSopahitaM nAma saMkIrNarUpakeSubhayabhUyiSTharUpakabheda : / sarasvatI, pR. 429. Vide also Extract from Sanskrit Commentary in Appendix .I. 166. mahANasa (mahAnasakarma) - work (of cooking food) to be done in the kitchen; lagga (lagna) clinging (to one's hand); masi = maSI - soot (formed on the bottoms of cooking utensils); maliia / mailia (= malinita, malina) soiled; chikka (= spRSTa) = touched; caMdA (candrAvasthAM gataM) looking like the moon who has a dark spot on his surface. Jagaddhara remarks: atra masI - (? maSI-) mAlinyaM vaikRtaM tata eva mukhacandrayo : sAmyApattiH / sarasvatI', pR. 438. 169. This skandhaka is already dealt with; vide SP S. No. (33.49) supra. Bhoja cites it here as an example of the Ubhayalamkara, called Samadhi. His definition of Samadhi runs as follows:

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Prakrit Verses in Sanskrit Works on Poetics 345 anyadharmANAmanyatrAropaNaM samAdhiH / Samadhi is superimposition of the attributes or properties of one thing upon another. SK(p. 679) cites this stanza as an example of Ubhayabhasa (ubhaya standing for both nayaka and nayika). 171. Bhoja cites this skandhaka to illustrate his point that the alleged figure Melita is nothing but the figure Samadhi. Read Jagaddhara. : iha dinamaGgamiva patati, rakta : sUrya : kaNThaccheda iva bhavati, raktamiva sandhyA galati, timiraM kezazyAmaM zira iva ghUrNate itastato yAti / atra patanAdikriyA:, lauhityAdayo guNA:, pradhAnakriyA: patatItyAdikAH, tadadhyAropo divasAdiSu iti samAdhyukti: --- " sarasvatI, pR. 427. 172. This gatha is already dealt with; vide SPS. No. (32.48) supra. Bhoja cites it here again to illustrate his point "melitamapi samAdhireva / Setu to illustrate the figure Sadrsyavati 173. Bhoja cites this skandhaka from Sahoktih. timi is explained thus : "timi: mahAmatsya:' and 'asti matsyastimi ma zatayojanavistRta: / ' iti rAmAyaNam / The word loka (sapakSaparvatalokam) is thus explained : 'samUhe'pi mato loka:' iti ratnakoSa : / - as quoted by Jagaddhara. sapakSaparvata - 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 : "atra 'iva' zabdA: sahArthA: sAdRzyArthAzca / " (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 : atra yAmAdInAM bahUnAM dhairyAdibhiH saha galanakriyAyAmekasyAmevAvivikta: samAvezo dRzyate / seyamaviviktakartRkriyAsamAvezA nAma vaisAdRzyavatI sahoktiH / - sarasvatI, pR. 483. 175. masi (masI, maSI) black ashes; dIsaMti (dRzyante) pres. pass. 3rd plu. (are seen); Asasu (Asasasu, by haplology Asasu) cheer up. In his commentary, Bhuvanapala observes : grISmasamaya evAyam / davAgnidhUmazyAmalitavindhyazikharANi na tu varSAvatAra ityarthaH / 3146farsicht : 1 Gahakosa, pp. 34 - 35. It is a well-known poetic convention in Sanskrit that the sight of (rain-) clouds is an excitant of love. "virahiNAM

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346 Prakrit Verses in Sanskrit Works on Poetics meghasaMdarzanamuddIpanaM bhavati iti bhAvaH / Mallinatha on meghAloke bhavati sukhino'pyanyathAvRtticeta: kaNThAzleSapraNayini jane ki punardUrasaMsthe / / - meghadUta 3. 177. Bhoja cites this gatha as an example of arthAntaranyAsa (viparyayeNa) or Corroboration. Bhoja explains why it is an example of viparyayeNa arthAntaranyAsa :- atra sAdhanasamarthaM vastu prathamata evopanyasya pazcAt tatsAdhyamabhihitamiti viparyAsAdayaM viparyayo nAmArthAntaranyAsa : / sarasvatI, pR. 502. 178. Bhoja cites this skandhaka to illustrate his point : ubhayanyAsa: pratyanIkanyAsa: pratIkanyAso'pi cArthAntaranyAsa eva / tatrobhayanyAso yathA - "te viralA sappurisA"-- His comments run : atra vidyamAnamapi sAdhyasAdhanabhAvamapratipAdya yadubhayorvastunorvyasanaM so'yamubhayanyAsa : / sarasvatI, pR. 503. 179. Read in the fourth quarter saripavAha. Bhoja cites this gatha as an example of pratyanIkanyAsa which is nothing but Arthantaranyasa itself. It may be noted here that the Gaharayanakosa (V. No. 88) reads the text as follows : viralA uvayariUNaM niravekkhA jalahara vva vaccaMti / jhijjati tANa virahe virala cciya saripavAho vva // In the light of this evidence, we should read the first quarter in SP (p. 422) and SK (p. 503) as "viralA uvaariUNaM' and the fourth quarther as 'virala cia saripavAho ca. Thus we can get over the difficulty, faced by the editors of SP and SK, who unconvincingly equate uvaAri with upakRtya. 180. Bhoja cites this gatha from Lilavai as an example of Maladipaka. A. N. Upadhye, the editor of Lilavai, says regarding this verse: "sarasvatIkaNThAbharaNam (kAvyamAlA ed. Bombay 1934, p. 529) quotes this verse to illustrate the figure of speech mAlAdIpaka in this form : mAlA yathA - imiNA saraeNa sasI sasiNA vi NisA NisAi (v. 1. NisAe) kumuavaNam / kumuavaNeNa a puliNaM puliNeNa a sohae haMsaulam // 205 || Expecting perhaps the fourth quarter to contain 18 mAtrAs, the editor has a footnote : atraikamAtrayA nyUnatvAcchandodoSa: pratibhAti. Someone appears to have changed sahai to sohae 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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Prakrit Verses in Sanskrit Works on Poetics 347 citing the stanza Bhoja remarks : atra 'mAruti-labdha-pratyayAgataharSam' ityanena, 'ura:sthalavanamAlAmRditamadhukaram' ityanena copagRhanakriyAyAH parikaritatvAd ayaM kriyAparikara : / sarasvatI, pR. 508. Vide Extract from Sanskrit Commentary in Appendix I. 182. Bhoja cites this skandhaka from Setu as an example of the figure of speech, Karaka Parikara. After citing the stanza Bhoja remarks : atra 'hasta---kapolA' ityanena, 'preritavAmapayodhara ---- stanI' ityanena ca 'janakasutA' iti ca kArakapadasya parikaritatvAdayaM kArakaparikara : / sarasvatI, pR. 508. 184. Bhoja cites this gatha as an example of Misro Nisedhaksepah. After citing the gatha he remarks: atra 'satyaM guravo girayaH' iti vidhi: 'ka Aha jalAzayA na gambhIrAH' iti paramatAkSepastAbhyAM girINAM gurutvam, sAgarANAM ca gAmbhIryaM yadayamuttarArdhena dhIrApekSayA niSedhati, anyApekSayA tattadeva vidhatte; sa eSa mizro niSedhAkSepaH / sarasvatI, pR. 495. 185. Bhoja cites this skandhaka to illustrate his point that Rodha too is nothing but Aksepa. Jagaddhara thus comments on it : atra jalpana rAvaNazcitrarathena vajraprabhAvakIrtanarUpapratikUloktyA ruddha iti vidhyAkSepa virodha: / sarasvatI', pR. 496. pattia (prati + i to believe, trust) - Believe. 186. Bhoja cites this gatha to illustrate his point that the alleged figure Rodha is nothing but the figure Nisedhaksepa. Bhuvanapala, however, says : kAkuvakroktiriyam / zrIbhojadevastu paThitimimAmAha / --- AcArya daNDimate niSedhAkSepo'yamiti / - gAhAkosa, pR. 66. . In his SK (pp. 497-498), however, Bhoja cites this gatha and comments on it as follows : atra 'asatI mA bhavatu' iti ya: pratiSedhamAha sa 'pracurayuvA grAma:' - ityAdi kAraNamuktvA tata: "kiM mriyatAm iti prAtikUlyena rudhyate / tatra kima: kAkvA sAsUyaprazrArthasya yuktyA niSedhArthatvaM gamyate / so'yaM yaukta: pratikUlaniSedhAkSepo rodha ityucyate / 187. V. Raghavan observes in his Bhoja's Sringara Prakasa (p. 389) : "The Ubhayalamkara called Bhavika in Bhoja differs considerably from the Bhavika in Dandin and Bhamaha. Bhoja takes Bhavika as, 1. Svabhiprayakathana,

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348 Prakrit Verses in Sanskrit Works on Poetics 2. Anyabhavana, and 3. Anyapadesa. An Alaskara called Udbheda is here included by Bhoja as not being different from Bhavika." The verse under consideration is cited to illustrate the variety, called Svabhiprayakathanam. 188. This gatha is already dealt with; vide SP S.No. (49.52) supra Bhoja cites it here to illustrate another variety of Bhavika called Anyapadesa. Jagaddara, in his comments on this gatha, says: 37 Haru f faru RM9T: raat, q. 488. 189. The first half of this gatha is read differently : i) cufth coc faeui 163 PYRUITE - 91. 9., 9. 870. ii) curfti aco-fediyu sei RUTE I - Q1, 9., q. 9988. iii) caucafersi cocho fadegut ctet URUTE 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 YRITE (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 TIGUT 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 (valiyaM = valitaM = veSTitam) 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"? -- Vajjalaggam, Notes, pp. 528-529. cler

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Prakrit Verses in Sanskrit Works on Poetics 349 (Sk. dIrgham) long; 'supariNAhaM = atisthUlam = very big or bulky. Jagaddhara remarks : "atra medrAbhiprAyeNa musalokteranyabhAvanA "|| sarasvatI, pR. 549. Incidentally, it may be noted that the Sanskrit AlaMkArika hold the view : azlIlaM kvacidguNaH / yathA suratArambhagoSThyAm "dvayarthaiH padai: pizunayeca rahasyavastu" - iti kAmazAstrasthitau - kAvyaprakAza, pR. 420. The SP (p. 1198) quotes the full text : saGgItamatra kalayenmRdu-kAkalIbhi: gAthA: paTheca masRNaM madanAgradUtI: / dvayartha: padai: pizunayeca rahasyavastu hRdyaM haseca dazanAMzubhirullasadbhiH // 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 gatha 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 'tadrUpeNa (cintArUpeNa) rasasya prakarSa:'. After citing the gatha he thus comments : atra sakhIrodanena zUnyakalaha zUnyakalahena sAkSAtkAra:, sAkSAtkAreNa cintA, cintayA tu mUlabhUtA rati: prakRSyate / - sarasvatI, pR. 584. 191. tti bhaNie (iti bhaNite) When asked 'who are you thinking of ?'; ko me atthi (ko me'sti) - Who is there to think of as mine ? uvvigga - udvignarodanazIlayA 'She was obviously distressed over you, your indifference towards her -- and burst into tears; 3779 . . vi ruAviA we too were made to weep. 192. Bhoja introduces this gatha with the remark : sajAtIyAnAM zabdaguNeSu samAdhyAdInAM (saMkaravyavahAra:) yathA- After citing the gatha he thus comments' upon it : atrAnyadharmANAmanyatrAropaNaM samAdhiH, pRthakpadatA mAdhuryaM, bandhavikaTatvamudAratA, dhvanimattA gAmbhIryamiti sajAtIyA: saMkIryante / yato vasantalakSmIrazokasyeti padayo: zabdadhvanirapi parisphurati / yathA kasyacidazokasya kAmino'GgeSu priyAGganA savilAsaM ceSTate tathAsyeyamiti / - pra. 448. Bhoja in his SK (pp. 706 etc.) deals with this topic. Incidentally it may be noted that SK (p. 707) reads mAnino'GgeSu in place of SPs kAmino'GgeSu. Read Samputa (S. No. 192, line 7). 193. Bhoja cites this gatha as an example of the figure Ubhayalamkara-sankara. After citing the gatha, Bhoja in his comments points out how four different

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. 350 Prakrit Verses in Sanskrit Works on Poetics Ubhayalamkaras (1. Upama 2. Samyam 3. Melitam and 4. Samuccaya) are mutually connected and inseparably mixed together giving rise to the figure JHUIIHR-VIR. Read : 37 YIGHT TORTOR-DIRTYYHT, ParfsuithRdayadAhodyAnadyotanArthakriyAbhyAM sAmyaM, kajjalapaTalAnAmiva bhramarapaTalAnAmupari melanAnmelitaM, campakadIpakakalikayoriva bhramarakajjalapaTalayoraupamyAdisaMbandhAt samucaya ityubhayAlaMkArAzcatvAro mithaH (=parasparaM) (saMkIryamANA upalabhyante / athavA) saMkIryante / zRGgAraprakAza, pR. 452, sarasvatIkaNThAbharaNa, pR. 711. 194. Bhoja cites this stanza as an example of one of the varieties of Rasalamkara samkara, called Arthalamkara-pradhana. After citing the stanza he remarks : atra ratirasAbhAsamanubhUya (?mabhibhUya) heturarthAlaMkAraprAdhAnyena pratIyate / - V. pra., pR. 458. Bhoja cites this very stanza in SK (p.576) as an example of Ratirupena nayaka-pratiyogisu rasabhasah. 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 Kulanatha and Ramadasa. It is, however, included in SC 15.66' with the remark that it is omitted by Sahasanka and Kulanatha, leading one to suppose that it was probably explained by Lokanatha and Srinivasa, the two other commentators quoted by name in SC. The verse is also cited in a mutilated form in Bhoja's Sarasvatikanthabharana 5.13 (NS ed.) and Narendraprabha's Alankaramahodadhi (p. 97,GOS) as an example of rasabhasa But not a few commentators from different parts of India seem to have rejected it because of the unpleasant idea involving Sita in the description." 195. Please read in the first half of this gatha 24737 (? for3t), and in the chaya ir (?ACT). Bhoja cites this gatha as an example of Ubhayalamkarapradhana, one of the 1 pulaaMjaNeti dasakaMdharassa rAhavasarA sarIra-aDaMtA / jaNaataNaApaoharaphaMsamahagghavia karajualaNivbUDhA || 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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Prakrit Verses in Sanskrit Works on Poetics 351 varieties of Rasalamkara-sankara. After citing the gatha he observes : atra ratirasaprabhavAd vismayAdInabhibhUya paryAya-saMzaya - hetRtprekSopamA ubhayAlaMkArA: prAdhAnyena pratIyante / - zRM. pra., pR. 458. The position which Bhoja takes in his SK (p. 725) is surprisingly quite different : atra yadyapi ratiprabhavebhyo vismayAdibhya: saMzayahetRtprekSopamAdibhyazca paryAyAlaMkAraH prAdhAnyena pratIyate tathApyasau vAgArambhAnubhAva iti ratAvaprAdhAnyamevAnubhavati / - sarasvatI, pR. 725. 196. Bhoja cites this skandhaka from Harivijaya of Sarvasena as an example of Bhavapradhana, one of the varieties of Rasalamkara-sankara. Hari (i.e., Krsna) says : "It fascinates me the colouring which Satyabhama'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 : atra hetUpamAtiraskAreNa rasavato harervacasi vAgArabhmarUpe rukmiNI-datta-pArijAtamaJjarIvilokanaprabhavaM satyabhAmAyA roSabhAvarAmaNIyakaM prAdhAnyena pratIyate / In SK we find these comments almost in the same language (vide p. 725). 197. This gatha is drawn upon from Bappabhatti's Tarayana(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 : atra hetUpamotprekSAsamAdhitiraskAreNa kasyacidanavAptadayitA pratyabhiyogAbhimAnasukhasya subhagamAnina: pratinAyakAde: pratyahaM sIdata: rasAbhAsavAgArambha: prAdhAnyena pratIyate / zRM. pra., pR. 458. In his SK (p. 679) he cites this very gatha as an example of AbhAseSu nAyakAbhAsa:. He cites it earlier in SK (p. 498) as an example of yauto'nukUlazcaniSedhAkSepo rodha ityucyte| sarasvatI pR. 498. Jagaddhara thus comments on it :--- yo'syAH kuvalayadalatulyAbhyAmakSibhyAM nibiDakucabharAvaruddhagatAbhyAM na dRshyte| atrAnayA netrAbhyAmanyamIkSamANayA yathAhaM na dRSTa ityahaM kSINastathA madhyo'pi tenaiva kSINatApanna iti lakSyate / --- pR. 498. 198. This (Dhruva) gatha is already dealt with; vide SPS.No. (112.64) supra. There he quotes this Dhruva with the introductory remark : "pAtrapravezAdisUcakaM vAkyaM dhruvA

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352 Prakrit Verses in Sanskrit Works on Poetics UIT' - 91. 9., . 3c9). Here he cites it with the introductory remark "af4147 UTETT HRITTE - (1.9., 9. 802). In his SK (p.307) he quotes it saying "gar pent' and after citing it remarks: 954RHITHIRI A T yan ll 199. Bhoja cites this skandhaka from Setu (I.12) as an example of Vaktavyartha-pratijnanam (Declaration of the subject-matter): "Listen to the story of the slaying of Ravana (the poem called Dahamuhavaha, Sk: Dasamukhavadha, popularly known as Setubandha) - the slaying which ended Sita's sufferings, which showed Rama's love (for her) and led to the release of Ravana's captive gods and pulled out, as it were, a dart rankling in the hearts of the people of the entire universe. (Note : 'anuraa-inham' also means marked by the word anuraa, Sk anuraga, at the end of each canto.) 200. Bhoja cites this skandhaka from Setu (I.10) as an example of Prayojanopanyasa- 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 Ravana-vijaya, a Prakrit Kavya-a poem in the Maharastri Prakrit. Bhoja refers to it, along with Setubandha and Harivijaya as an Asvasakabandha in the skandhaka metre. Bhoja mentions it as containing Nayakavarnana and Vahana-varnana (Puspaka-vimana). The present quotation in praise of poets is the solitary stanza from Ravana-vijaya preserved for the posterity. 202. This gatha is already dealt with; vide SPS.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 gatha (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 saMkaraH kAdAcitkastvasau guNa eva veSasya kathaM raJjakatetyavaziSyate / tatrAha- 'janamana:pramodAya' iti / 203. This gatha 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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Prakrit Verses in Sanskrit Works on Poetics 353 vyAdhakulapatirmatsaMbhogAtyantaprasaMgena saMprati tathA kSINo yathA mayUramAtramAraNe prabhuH saMvRttaH' iti priyatamasaubhAgyena garvitA tadabhiprAyaprakaTanAya tAsAM puro bhramatIti bhAva: / - pR. 84. 206. Bhoja cites this gatha as an example of Prakirna (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 : Ratnavali (II-1) Bhoja cites this gatha from Ratnavali to illustrate one of the sandhyargas of Mukha-sandhi called Tapana (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 gatha he comments thus : 37519 urada RCAT TRRITSERTT: GOTHIUT PRUT QrufryTrea HRY nadi q. 678. 208-210. Bhoja reproduces these three gathas, uttered by the Magician in Ratnavali (Act IV, 8-10) to illustrate Vyavasaya (Acquisition of the means to accomplish one's undertaking), one of the sandhyangas of the 4th Sandhi called Vimarsa. Vyavasaya 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, Sagarika whom he so eagerly longs to see. 212. The gatha is first cited by Abhinavagupta in his commentary on Natyasastra called Abhinavabharati (Vol. I, p. 279) to explain the word 'camatkara'. The poet wonders how is it that the tender and delicate limbs of Laksmi (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 Visnu, Laksmi's consort. It is interesting to note, however, that Bhoja cites this gatha to illustrate : sifa-fht Pati-HCR: TH:

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354 Prakrit Verses in Sanskrit Works on Poetics 213. Bhoja cites this skandhaka from Setu as an example of Stambha, one of the eight Sattvika-bhavas. 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 gatha is already dealt with; vide SPS. No. (158.74) supra. There it was cited as an example of the figure Sahajavayava (Rupaka). Here he cites it as example of Vepathuh (= kampa, trembling), one of the eight Sattvika - bhavas. 215. This gatha 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 gatha to illustrate 'laziness' (Alasya). He cites this very gatha in his SK (p. 594) and thus comments upon it : atra ratizramajAgarAdijanitanidrAlasA dRSTinipAtAstArakAghUrNanatryasavalanAdibhiranubadhyante / pR. 594. 217. Bhoja cites this gatha 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 gatha. 218. Bhoja cites this gathato illustrate 'suptam' - which SK (p. 594) defines thus : nidrAdijanitaM suptamindriyAdi nimIlanam / 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 gatha 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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Prakrit Verses in Sanskrit Works on Poetics 355 of touching. 220. Bhoja cites this skanadhaka from Harivijaya as an example illustrating Asuya (jealousy). Although Satyabhama and the other wives of Krsna were equally hurt, Satyabhama alone was angry and felt jealous (of Rukmini). Both the feelings were truly reflections of her abiding love for Krsna. 221. Bhoja cites this gatha 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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Srngaraprakasa (Contd.---) (Vol. III) 222. Bhoja cites this gatha as an example of one of the 104 types of nayaka (hero) called dhira - uddhata - satha (dhira is noble or self-controlled,) uddhata is haughty or vehement, satha is deceitful). The reading 'F1311deg' 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 chaya 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 parijata tree.); fornafa319 ( = nirgata) spreading fragrant smell and fragrance: appaNai (apraNayitamapi) even though not solicited; dUmia - dUna qualifies hariNA- by Hari who caused pain to his beloved's (Satyabhama's) heart. Bhoja cites this stanza as an example of dhIroddhatasAdhAraNazaTha (nAyaka); 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 gatha 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 nayaka 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 : atra rukmiNyA: surakusumamaJjarI dattA mama tu suratarureva preyasA pratipannastadahamasyA: sahasraguNatvena priyatameti PERYHTYT FAHIT Midi taryhef Anth fres: ----" - C. 844-64EUR. 226. Bhoja cites this gatha as an example of one of the types of hero, called ERTEMPATETRUIRATUD . "The daksina (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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357 Prakrit Verses in Sanskrit Works on Poetics taNuio (tanukita:) - ppp. from denom. of taNua (tanuka) lean, emaciated; alihia (alikhita) unscraped, dupparialla (duSparikarSa) difficult to wield or stretch. 227. Bhoja cites this gatha as an example of one of the types of nayika, 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 kim. (= katipaye khalu divasA: - since several days) ummaiA - BAHTIT maddened or intoxicated with the consciousness of her beauty and youth (= youthful charm); rupa (takSaNa). Hemacandra gives raMpa as a dhAtvAdeza for takSa. $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 saubhagya (good fortune or fortunateness - chiefly consisting in a man's and woman's securing the favour and firm devotion of each other). 228. This gatha is cited to illustrate one of the types of nayika known as adhira (timid); DR (p. 45), however, defines 3TETRT in the following diatas dhIrA sotprAsa-vakroktyA madhyA sAzru kRtAgasam / khedayed dayitaM kopAdadhIrA paruSAkSaram / / The present gatha 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 gatha is rah140h. 229. Bhoja cites this gatha as an example of one of the types of nayika (heroine), called HEZIT. DR (p. 44, II. 16) defines HEZIT as follows: FEZITELESHSI mohAntasuratakSamA / TH C hat Ate RAUTT FEZT - Avaloka; 537716deg ( Tue - SPATEAT) - 'neatly done and decorated hair roughly tousled'. 230. Bhoja cites this gatha as an example of one of the types of nayika (heroine),

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358 Prakrit Verses in Sanskrit Works on Poetics called JT14T EIRT. (ERT the heroine of a poetic composition who, though jealous of her husband or lover, suppresses all outward manifestation or expression of her resentment in his presence or as the Rasa-manjari puts it 'ace 44cf8157 dhIrA.' jANAveuM inf. from caus. of jANa = to know; viddavia (vidrAvita-ppp. from caus. of feq = a + x) - banished, driven away; Ren (ufari) solitude, privacy; faut37 (vinaya) - reserve, restraint. SK reads raivikkamammi 'for pairikkammi vi. But that reading is not a happy one. 231. This gatna is already dealt with; vide SP 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 nidhauta - dhAturAgau - from which the reddish mineral colour has been already washed off. Bhuvanapala (p. 264, v. no. 618) reads uictiequur, and Weber (S. No. 680) Yalcich 30 233. Bhoja cites this gatha to illustrate one of the types of nayika (heroine), called Uttama dhira - mugdha! On the word toutor M. V. Patwardhan writes in his Notes to Vajjalaggam (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 Bhuvanapala is - Stefan TR. SK (p. 638, v. no. 236) reads 46434416U137 UTAR. Gatha - madhuri (p. 111) gives the reading 4673616fuit34 Tor. SK introduces this gatha with the words : "( TRICT) ET HERIT: HYRTAT" sa SP quotes it here to illustrate one of the types of nayika (heroine), called 'Uttama Udhamugdha'. 235. The reading 'qilg'is obviously incorrect. It violates the metre too. In view of DAS (p. 209) : 29-AT 7163-TUTT' and -..af 1317 07:,' we emend the text as balia-thaNaA. duddhagaMdhiamuha is recorded in the sense of bAla in DSS (p. 168) : "bAle dilliMdilio ya duddhagaMdhiyamuhoceya / " tilliMdilio tathA duddhagaMdhiyamuho bAla: / So dudhagaMdhiamuhI 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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Prakrit Verses in Sanskrit Works on Poetics 359 CATEL T A I ARAH The various limbs or parts of the young girl's body were made or caused to shine by the God of Love . It is possible to defend the printed text (Mysore edn.): Madana, the God of Love, disdained or despised the other parts of the young girl's body in the sense that he did not find any one of them as an appropriate abode for himself. SP cites this gatha to illustrate one of the types of nayika, called '3THCT YET.' 236. Bhoja cites this gatha to illustrate one of the types of nayika (heroine), called 'STIHTETRICITET.' 63TTRIBUT (AIRTET) (TUI) - by her husband who has committed love's offence. SK (p. 624, v. no. 179) cites this gatha as an example of (FIGUTHI:) HA RED:. Bhoja comments thus upon this gatha:35 UEJQMscola netyAde : pratiSedho na vidyate tathApi tadartho'styeveti mAnalakSaNaM ghaTate / - sarasvatI, pR. 624. 237. Bhoja cites this gatha as an example of one of the types of nayika (heroine), called 'JTTHT EIRI-CIET.' The restoration of the gatha is only tentative. The printed text "peavaro. vasumelae" is rather doubtful. 238. Bhoja cites this gatha as an example of one of the types of nayika (heroine) called 'UTHT 3TETRITET.' The text adopted here is from SK (p. 686 v. no. 384). The first half of the gatha is, however, metrically defective. The SP cites this gatha 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 gatha as follows: bAlattaNa-dullaliAe~ ajja suNu jaM kaaM NavavahUe / (bAlatvadurlalitayA adya zRNu yat kRtaM nava-vadhvA / ) 240. The restoration is very tentative - especially of the second half of the gatha In the first half, the poet deseribes the breasts of the nayika 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 gatha as an example of one of the types of nayika (heroine), called 'STIHTC-HEZHT. Earlier (SP Vol. II, p. 458) he cited it to illustrate one of the six types of MSR-219, called "abhasa-pradhana.'

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360 . Prakrit Verses in Sanskrit Works on Poetics Later (SPVol. IV, p. 1175) again he cites it to illustrate 'anunAyaka.' In SK he cites it twice, once on p. 498, v. 155 (to illustrate 'yaukto'nukUlazca niSedhAkSepo rodha:') and once again on p. 679, v. 354 to illustrate nAyakAbhAsa. 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 'uttamA'dhIrAnUDhamadhyA'. Read in the Chaya, line 4, 'paGktyA ' in piace of 'paGktibhiH'. sea (svedacchalena)-under the guise of perspiration; amAaMta (amAt) - not being contained in her body; osaraha (apasarati) - flows away; tivali (trivali) - the three folds of skin on the abdomen; sovANa (sopAnapakti ) - stair-case. 243. Bhoja cites this gatha as an example of one of the types of nayika (heroine), called 'uttamA pragalbhA '. : 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 gatha as an example of one of the types of nayika (heroine), called 'uttamA dhIrapragalbhA .' pasaMga (prasaGga) - attachment; ikta (ekAntarasA) - whose happiness is centred on a single woman; de (prArthaye) - I pray. It is, however, interesting to note that in his SK (p. 687, v. 388) this gatha is cited with the introductory remark : ahaMkArarddhiruddhatA yathA-". 245. Bhoja cites this gatha as an example of one of the types of nayika (heroine) called 'uttamA'dhIrapragalbhA'. In his SK, Bhoja cites this gatha at two places : He introduces this gatha with the remark : "kAmabAdhayA vAcyA yathA' - and thus comments on the gatha : atra dhanyAstA yAsAM tvaM na vallabha iti yeyamatiraktAyA : sAkSAdastotavyastuti: seyaM vAcyA nAmAprastutaprazaMsA tasyA eva kAmasiddhiM bAdhate / sarasvatI, pR. 473. He again cites on p. 643, v. 253 with the remark "mAne viruddhaM yathA -" and thus comments upon it : atreAyitAdibhirvallabhAliGganAdiviruddharmAnavatI vaJcyate / sarasvatI, pR. 643.

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Prakrit Verses in Sanskrit Works on Poetics 361 246. Bhoja cites this gatha as an example of one of the types of nayika (heroine), called 'uttamA UDha - pragalbhA .' gose (prabhAte) - DSS (p. 102) records gosa along with gosagga, 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 (go + sa from sA, san to let loose." The word gosagga is derived from go + sRj to release. gosagga (like gosa) means the time when the cattle are released, hence morning." - M. V. Patwardhan, Notes to Vajjalaggam, p. 476 (Gatha No. 352). Vemabhupala thus comments upon it : "--- AjJAzatAni - 'muJca, pIDaya gRhANa, jIvaya, trAyasva' ityAdi / --- atra nAyako nizAyAM surate harSavikasitakapolAM rasAvezAdAjJAzatAni dadatImatidhRSTAM svakIyAM nAyikAmupalabhya prabhAte kimapyajAnatImiva lajjayAvanatamukhI seyamityazraddheyAM ca dRSTvA strINAM zlAghyaM surate dhASyam / anyadA lajjeti guNadvayamasyAmeva pratiSThitamiti tAM prazaMsatIti bhAva : / " - pR. 10. 247. Bhoja cites this gatha as an example of one of the types of nayika (heroine), called 'madhyamA adhIrA'. saMbharaNa (saMsmaraNa) remembrance; paloTUMta (praluThat) welling up; dijjai (dIyate) (pres. pass. 3rd pers. sing. from dA)-. is given i.e., placed (on the threshold or ground); vaMka (vakragrIvayA) - turning her neck (i.e., head) to one side. SK (p. 630) cites this gatha with the introductory remark: "(vipralambhaceSTAsu) pravAse ythaa-'| 248. Bhoja cites this gatha as an example of one of the types of nayika (herione), ___called 'madhyamoDhA. SK (p. 685) cites it to illustrate one of the types of nayika .' (heroine), called 'AtmIyA svA.' 249. Bhoja cites this gatha as an example of one of the types of nayika (heroine), called 'madhyamAnUDhA.' SK (p. 686) cites it to illustrate one of the types of nayika (heroine), called 'anUDhA kumArI.' visammiha(hi)i (vizramiSyati) - will be privileged to rest on (and press your breasts). "visamma (vissamma)' represents the Sanskrit root vizrAmya, 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 madhyamA dhIroDhA (nAyikA). pasia (prasIda) 'be gracious' (to me); parajaNa (parajana) - a stranger. This gatha is a dialogue (vAkovAkya) between a man and his wife or, may be, his sweetheart. Cf. Amarusataka, v. no. 57.

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362 Prakrit Verses in Sanskrit Works on Poetics 251. Bhoja cites this gatha as an example of madhyamA dhIrAnUDhA (nAyikA). SK (p. 624) cites it to illustrate 'prAgasaMgatayo: pUrvAnurAga: strIprakANDe.' Bhoja thus comments upon it : atrApi prAgvadeva sAgarikAyA vatsarAje'nurAga: prakRSyamANo maraNaM zaraNamityuttarayaiva kAmAvasthayA kthyte| - sarasvatI, pR. 624. 252. Bhoja cites this gatha as an example of madhyamA adhIroDhA (nAyikA). The second half of this gatha contains a graphic, realistic and striking 3441 (simile). 253. Bhoja cites this gatha from Lilaval as an example of madhyamA adhIrAnUDhA (nAyikA). Further on (p. 772) he cites it as an example of "(upanAyikAsu) lalitA'. The figure of speech is pUrNopamA with zleSa on kara (i. hand ii. rays) and vArImaI (i. svedadravAH wet with sweat ii. vArimayI full of water). vAullI is possibly a misreading for bAullI. DSS (pp. 210-211) records: bahumuha - bAlaya - bAullI khala-vaNiutta-puttiyAsuM ca / (bahumuho durjana:, bAlao vaNikputraH, bAullI pAJcAlikA / ) pR. 211. From bAullI, it appears, bAhulI (in Marathi) is derived. Read in the second half of the gathavArImaI, and line 8 : Lilavai (No. 423).. 254. Bhoja cites this gatha as an example of madhyamA mugdhA (nAyikA). gaNaNA (gaNanA) counting (with the fingers the two hands and toes of the two feet). 255. Bhoja cites this gatha to illustrate madhyamA dhIramugdhA (nAyikA). uttiNNia = uttRNita 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 chaya. 256. Bhoja cites this gatha several times; here to illustrate madhyamA adhIramugdhA (nAyikA), on p. 789 to illustrate one of the varieties of anurAga, called vizvAsa, on p. 997 to illustrate sahajAnurAgajanmA sahaja : and in SK (p. 622) to illustrate 'premAbhisaMdhAnaM paMsaH' bahuvAsaa (bahuvAsaka) is rather difficult. Its exact sense is not clear. 257. This gatha is already dealt with; vide SP S. No. (125.66) supra. Here it is cited as an example of madhyamoDhA mugdhA (nAyikA). 258. Bhoja cites this gatha as an example of madhyamA anUDhamugdhA (nAyikA). 260. Read in the second half ahara-Thio vi hoi. It illustrates madhyamA dhIrA anUDhamugdhA (nAyikA). SK (p. 630) cites it to illustrate "vipralambhaceSTAsu mAne striyA:'. 262. Read in the first half siNNUsaliAhi and in the corresponding chaya

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Prakrit Verses in Sanskrit Works on Poetics 363 svinna-romAJcitAbhyAM. This gatha illustrates madhyamA adhIrAnUDhamugdhA (nAyikA). DSS (p. 55) : 'UsaliyaM saromaMce' UsaliyaM saromAJcama. 263. Bhoja cites this gatha as an example of HEZHIHEZHT (TIRUCHT). SK (p. 634, v. no. 221) introduces it with the remark: "prathamAnurAgAnantare nakhakSataM yathA -"; paDimA (pratimAgata - nija - nayanotpalArcita) - 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 nayika (heroine), called HEZHT ERHETTHT. jaNeti, dAveMti, sahAveMti all these are caus. pres. 3rd pers plu. forms of jaNa (jan). daMsa (dRz) and - saha (saha). 265. Bhoja cites this gahta as an example of madhyamA adhIramadhyamA (nAyikA). SK Ip. 627. . v. no. 189) cites it as an example of mAnAnantara: (saMbhogazRGgAra:). 266. Bhoja cites this gatha 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 madhyamA anUDhamadhyamA (nAyikA). aviNaamaggaM NI amhi (= ahamavinayamArga nItA) = 'kAmaparavazIkRtA' ityartha: / kiM bhaNimo (tasmAt kiM bhaNAmi / 'akathyam etad' ityartha: 1) - Lilaval-Comm. p. 84. 268. Bhoja cites this gatha as an example of PTEJTAT ERIGHEZIT TIRUCHT. 269. Bhoja cites this gathafrom Lialavi as an example of madhyamA dhIrAnUDhA madhyA (nAyikA). 270. Bhoja cites this gatha as an example of HEZHT BRIGT HEZIT (TIC). SK (p. 677, .v.no.345) cites it to illustrate 'maraNam', one of the twelve prema-pustil-bhumis). - Read in the second half roissaM for rodissaM. 271. Bhoja cites this gatha as an example of madhyamA pragalbhA (nAyikA). kArijasi - caus. pres. pass. 2nd pers. sing. from kara = to do; AhiyAIe[AbhijAtyai-dat. sing.] to (your) nobility of birth. 272. Bhoja cites this gatha as an example of madhyamA adhIrapragalbhA (nAyikA). Read

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364 Prakrit Verses in Sanskrit Works on Poetics Meghaduta (v. no. 9 - cd) : AzAbandha: kusumasadRzaM prAyazo hyaGganAnAM sadya:pAti praNayi hRdayaM viprayoge ruNaddhi || and Sak IV. 16 : gurvapi virahadu:khamAzAbandha: sAhayati / 273. Bhoja cites this gatha as an example of HEZHT 55Y'ICTAT (Tifact). SK (p. 607, v.no. 109) cites it with the introductory remark: "priyAdiSu vyAjanindotpAso yathA-". 275. Bhoja cites this gatha as an example of HEZHT EIRTEINICHT (airleant). GSW (945) reads this gatha as follows : aNuvattaMto amhArisaM jaNaM AhijAIe / ciMtesi uNo hiae aNAhijAI suhaM jaai // The sense of the gatha 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 madhyamA adhIroDhapragalbhA (nAyikA). rUsa (ruSa) to get angry - ruSituM / roSTuM cukkaviNaya - (cyuta-vinaya) one who has strayed from the path of) right conduct or modesty; jAiaa = jAa (jAta) - become; avasa (avaza) helpless - with these limbs which are no longer under my sway. 278. Bhoja cites this gatha from Lilavaf as an example of madhyamA adhIroDhapragalbhA (nAyikA). Read the fourth quarter of the stanza as 'jIaM NisuaM cia tae vi' and its corresponding chaya as : 'jIvitaM zrutameva tvayApi'. For we have the authority of Hemacandra who records in his Dss (p. 143) NisuyaM NisAmiyaM ca sue. NisuyaM tathA NisAMmiyaM zrutam / 279. Bhoja cites this gatha as an example of kaniSThA (nAyikA). DSS (p. 231) 'mAuA sahi-umAsu' mAuA sakhI durgA ca / mAtRvAcakastu mAtRkAzabdabhavaH / cheppa (zepha) tail; phaNo (phaNa:) 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 kaniSThA dhIrA (nAyikA). 281. Bhoja cites this gatha as an example of kaniSThA adhIrA (nAyikA).

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Prakrit Verses in Sanskrit Works on Poetics 365 282. Bhoja cites this gatha as an example of kaniSThoDhA (nAyikA). 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 gatha as an example of kaniSThAnUDhA (nAyikA). 284. Bhoja cites this gatha as an example of kaniSThA dhIroDhA (nAyikA). maNNu (manyu) - anger (or grief); toggaamaNA (tvadgatamanA:) - whose mind is fixed on you. 285. Bhoja cites this gatha from Tarayana (taragana) of Bappabhatti as an example of kaniSThA dhIrAnUDhA (nAyikA). Taragana (p. 45, v. no. 90) reads in the first half of the gatha tuha daMsaNa-sauNa (Sk. tava darzana-zakuna) for vara-sauNa-ggahaNa ; and in the second half bhagga -maraNa-ggahaM se (Sk. bhagnamaraNa-graha) for bhaggamaraNa-ggahAe. SP (p. 325) text - bhaMga (? bhagga) maraNaggahaM se is in agreement with that of Taragana. Read kaNDakaM in the chaya The following extract from the anonymous Sanskrit commentary on Taragana makes the idea-very peculiar though it is quite clear : yadA yadA tvadarzanAya zakuno bhavati tadA tadottarIye sA zakuna-granthiM badhnAti / tenaivamucyate / tava darzanArthaM zakunagranthibandhA: tai: tvddrshnshkungrnthibndhaiH| 'oDDhaNaaM' uttarIyaM tathA tasyA: pUritaM bhRtaM yathA rakSAkaNDakaM jAtam / kiidRshm| 'bhagna-maraNa-ggaha', ekatra maraNagraho maraNAbhiniveza: / anyatra maraNAya graha: pizAca: sa bhano yena tat tathAvidhaM rakSAkaNDakaM yathA tasyA: saMjAtaM tathottarIyaM tava darzanazakunagranthibandhaiH pUritamiti / - pR. 45. 286. Bhoja cites this gatha as an example of kaniSThA (a) dhIroDhA (nAyikA). Nivvutta-raA vi (the young innocent wife) even when the climax of sexual enjoyment was reached. 287. Bhoja cites this gatha as an example of kaniSThA adhIramugdhA (nAyikA). This gatha is cited in DR (p. 104) and in SK (P. 640, v. no. 243). DR cites it in the context of pravAsa-viprayoga (bhaviSyat-yAsyat-pravAsa:). SK cites it with the introductory remark "sAmAnyata eva pravAsa-sAdhvasena striyA yathA -". 288. Bhoja cites this gatha as an example of kaniSThA UDhamugdhA (nAyikA). muddhavahU - the simple-minded, inexperienced young wife; NaharavaaM / NakkhavaaM (nakharapadaM/nakhapadaM) nail-mark. 289. Bhoja cites this gatha as an example of kaniSThA anUDhamugdhA (nAyikA). SK (p. 626) cites it with the introductory words "(vipralambhaparISTiSu premaparIkSA) zlAghayA yathA-". 291. Read in the first half of the gatha 'kha' and in the chaya - duhitrA and kasya,

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366 Prakrit Verses in Sanskrit Works on Poetics Bhoja cites this gathaas an example of kaniSThA dhIrAnUDhamugdhA (nAyikA). Dr. H. C. Bhayani renders this gatha into Gujarati (vide Muktaka Madhuri, p. 79, the title being 'Nirjana Gama. 292. Bhoja cites this gatha as an example of kaniSThAnUDhamugdhA (nAyikA). Read in the first half of the gatha 'dohi~pi'. 293. Read in the second half souM va. Bhoja cites this gatha as an example of kaniSThA adhIrAnUDhamugdhA (nAyikA). vara (vara-gotra-datta-kAyA:) - of her who was attentively listening to the name of the bridegroom mentioned in the auspicious songs. DSS (p. 41) says : 'uaha / tti 'pecchaha atthe / uaha pazyata / 294. Bhoja cites this gatha as an example of kaniSThA madhyA (nAyikA). jaNei (janayati) caus. pres. 3rd pers. sing. from jaNa - to be borm, to come into existence. . . This gatha, with some variation in wording and placing, is the same as SPS. No. (177.78) supra. 295. Bhoja cites this gatha as an example of kaniSThA dhIramadhyA (nAyikA). AaMbaMta (AtAmrAnta) 'becoming slightly red with anger'. M. V. Patwardhan prefers to equate the word with AtAmrat pres. act. part. from denom. of AaMba = AtAmra (reddish). 296. This gatha ia already dealt with; vide SP S. No. (219.87) supra Bhoja cites it here to illustrate kaniSThA dhIramadhyA (nAyikA). 297. Read in the first half of the gatha 375531 531 guidity and in the corresponding Chaya akRtaM kRtaM kurvatyA. Bhoja cites this gathaas an example of kaniSThoDhamadhyA (nAyikA). avvo (-ahaha)- 'How painful !', 'O, What a pity!'; aNuNaa (anunaya-sukha-kAGkSaNazIlayA) by her who was longing for the pleasure of being appeased; akaaM kaaM kuNaMtIe - attributing to him something (i.e., an imaginary offence) never committed by him. 298. Bhoja cites this gatha as an example of kaniSThA anUDhamadhyA (nAyikA). 299. Read in the first half of the gatha karesi kArissi (? kAhisi a) suhaa ettAhe / and in the second half avarAhANa ---kaarA. Bhoja cites this gatha as an example of dhIroDhamadhyA (nAyikA). 300. Bhoja cites this gatha as an example of kaniSThA dhIrAnUDhamadhyA (nAyikA).

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Prakrit Verses in Sanskrit Works on Poetics 361 The rural girls playing games so freely dropping off all the usual inhibitions is in the very nature of the months of Spring. 301. Bhoja cites this gatha 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 gatha 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 gatha as an example of 8 THT (FIT). 379737 - 377705 - O, noble one; 3tvu 34 (315105)-0, my innocent dear; Bhuvanapala 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 gatha 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 gatha as an example of tot 3TERYITHT (1997). 306. This gatha is already dealt with; vide SP S. No. (128.67) supra. Bhoja cites it here as an example of ACT 3TERY ISTAT (TIC). 307. Bhoja cites this gatha as an example of affOT 31464"ICTAT (TRAAT). 308. This gatha 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 gatha as an example of foot ERT 3764'ITAT (TIRUCHT). The restoration of the gatha is tentative.

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368 Prakrit Verses in Sanskrit Works on Poetics 310. Bhoja cites this gatha as an example of foot 37TRICITET (FTI ). SK (p. 657, v. no. 291) cites this gatha with the introductory remark : "384 codilefireztat ARTARRIut I -" and comments upon the gatha thus :- 37 pravAsAnubhUtabhazotkaNThAdicittavAsanA: pravAsanantare'pi tasyA nopazAmyantIti veNikAvarNanAdinA sucyate / . 311. Bhoja cites this gatha as an example of fooT 3TETRT 3TGY ITHT (ICT). The readings in Vajjalagga to be specific in the first half of the gatha, 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. niyaDakuDaMga and pacchannadeulaM should be taken as bahuvrIhi compounds and bahujuvANasaMkiNNaM 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 gatha, if we follow the text in SP. 312. Bhoja cites this gatha 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 gatha as an example of ERG (TIT). The gatha cited here, however, would show that the nayika 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 gathasaMbhAsaNa-seulli phaMsaNe and in the corresponding chaya JURGIS pt. Bhoja cites this gatha as an example of 3teikt (Tifacht). SK (p. 617, v. no. 148) cites this gath, with the introductory remark : "HTIRI 756-1413-9-aerat vert -".

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Prakrit Verses in Sanskrit Works on Poetics 369 315. Bhoja cites this gatha as an example of adhIroDhA (nAyikA). harisa+UsasiAe~ (harSa+ucchva sitAyA: = ullasita, pulakita).There is a variant reading hAsUsaliyAe (hAsya-pulakitAyA:). Hemacandra records : 'UsaliaMsaromaJce' (DSS p. 55). Bhuvanapala too says : Usalio pulakita: / The editor of PSM(p. 189) read Usuia (utsukita),as reference is given to this gatha. Bhuvanapala remarks on this gatha: sveda-pulakotkampA: sAttvikA bhAvA: / anurAgAtizayavarNanaparA iyam ukti: / ---- hetusUkSmAbhyAM saMkaro'laMkAraH / - pR. 144. 316. Bhoja cites this gatha as an example of adhIrAnUDhA (nAyikA). The bhaviSyat -' vadhU 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 gatha is already dealt with; vide SPS. No. (218. 87) supra. Here he cites it as an example of uDhA (nAyikA). SK (p.594) cites this gatha with the introductory remark "tad (= supta -) rUpeNa rasaprakarSo yathA - " and thus comments on it : atra nirbharapadenaiva prakarSaH pratipAdyate / sarasvatI, pR. 594. 318. Bhoja cites this gatha as an example of anUDhA (nAyikA). Bhuvanapala remarks : taM vIkSya yad itarapuruSAvekSaNanirapekSaM mukhaM sajalAM dRzaM vahati, tena anumIyate anupamarUpasaMpatsaMpanno'sau yuvetyrthH| --- virodhacchAyAnumAnAbhyAM saMkIrNo'laMkAra : / - pR. 70 - 71. 319: Bhoja cites this gatha as an example of dhIroDhamugdhA (nAyikA). Further on he cites it as an example of 'prIti:' - (p. 788). 320. Bhoja cites this gatha as an example of dhIrAnUDhamugdhA (nAyikA). 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 adhIramugdhA (nAyikA). SK (p. 645, v. no. 260) cites it with the introductory remark : "mAne mAnyate yeneti yathA -" and comments upon it : atra 'mAna pUjAyAm'---- mAna iti rUpam / ) sa hi preyAMsamasyA: pAdapatanAdipUjAyAM prayojayati / - sarasvatI, pR. 645 - 646.

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370 Prakrit Verses in Sanskrit Works on Poetics 322. The restoration of this gatha is tentative. Read in the first half (? ) and in the corresponding chaya tUrye. Remove dash (-) after haviA and snapitA. Bhoja cites this gatha 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 gatha 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 (mugdha), hence her query ! 324. This gatha 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 gatha 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 gatha as an example of erlate (FI ). SK (p. 675, v. no. 339) cites it as an example of ( cy) 2014. 327. Bhoja cites this gatha as an example of ERTEGHEZIT (FI ). SK (p. 629, v. 200) cites this gatha with the introductory remark : "vipralambhaceSTAsu prathamAnurAge striyA URIT -". 328. Bhoja cites this gatha 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 gatha as an example of 3ERIGHEZIT (TechT). kula' (kulavadhva:) young newly married maidens belonging to exalted or noble

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Prakrit Verses in Sanskrit Works on Poetics 371 family; raI (rati-virAma-lajjitA:) - overpowered by bashfulness at the end of sexual intercourse (because of their stark nakedness); jahaNaM (jaghana) private parts. The variant reading sahasatti (sahaseti) is preferable to the SP reading sahasavva (sahaseva). 331. Note : Read ccea (caiva) in the second half. Bhoja cites this gatha as an example of anUDhamadhyA (nAyikA). 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 dhIra-pragalbhA (nAyikA). SK (p. 671, v. no. 325) cites it with the introductory remark : "nirdhAritavizeSaprakAro vizeSavAna yathA -". It cites this gatha again (p. 685, v. no. 380) with the introductory remark : "yatnApaneya-mAnA dhIrA yathA - ". 333. Bhoja cites this gatha as an example of dhIroDha-pragalbhA (nAyikA). 334. Bhoja cites this gatha as an example of dhIrAnUDhapragalbhA (nAyikA). pamhala (pakSmala-dhavalAni) (nayanAni) - (eyes) having long or beautiful eyelashes; dIha (dIrgha-kRSNAni) long-extending and dark-coloured (eyes); dalR Na jANaMti (draSTuM na jAnanti) - They do not know how to look (at young men) (with charming, bewitching sidelong glances). 335. Bhoja cites this gatha as an example of adhIra-pragalbhA (nAyikA). SK (p. 637, V. no. 233) cites this gatha to illustrate (vipralambhaparISTiSu) lekhavidhAnena (premaparIkSA). sotthi (alfa) -- the first word written in a letter meaning "May God bless you"; "May you fare well"; lihimo (likhAma:) (pres. act. 1st pers. plu. used for sing.) 336. Bhoja cites this gatha as an example of adhIroDhapragalbhA (nAyikA). SK (p. 639. v. no. 238) cites it with the introductory remark "(saMbhoga-parISTiSu ) mAnAnantare striyA: kaitavasmaraNena yathA-". 337. Bhoja cites this gatha from Lilavar as an example of adhIrAnUDhapragalbhA (nAyikA). The printed text of Lilavaireads : jANaMtI vihu instead of Bhoja's reading 'jANAmi ci. 338. Bhoja cites this gatha as an example of UDha-pragalbhA (nAyikA). SK (p. 638, v. no. .. 237) cites this gathawith the introductory remark : "(saMbhoga-parISTiSu prathamAnurAgAnantare)

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372 Prakrit Verses in Sanskrit Works on Poetics pragalubhAyAH priyavAkyavarNanena yathA - ". 339. Bhoja cites this gatha as an example of anUDha- pragalbhA (nAyikA). 340. Bhoja cites this gatha twice. Here he cites it as an example of You (FIRUCHT). Further (p. 843) he again cites it with the introductory remark : "madhyamAyA mugdhatvaM saMbhoge yathA -". vakkharaa d. means ratigRha, anta:pura. Hemacandra records in his DSS (pp. 247-248) vakkhArayaM raighare -- vakkhArayaM ratigRham, "anta:puram" iti anye / aNumagga (d. pIche pIche - PSM, p. 40) following, going after. 341. Bhoja cites this gatha as an example of HEZIT ( F CT). Vajjalagga (p. 242, v. no. 318*3) reads the second half somewhat differently : bAlAe lAvaNNaM upphiNiyaM thaNabharamiseNa / / (bAlAyA lAvaNyaM bahirnigataM stanabharamiSeNa / / ) "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 pragalbhA (nAyikA). SK (p. 684, v. no. 379) cites this gatha with the introductory remark : "vaya:kauzalAbhyAM saMpUrNA pragalbhA yathA -". khiNNa (khinna) fatigued, exhausted (by excessive enjoyment of love's delights); ciurabhAraM (cikurabhAra) mass of (long) hair; ollaM (Ardra) moist, wet. Cf. Mar. oleM : galaMta (galatpuSpaM) from which flowers are still dropping; NhANa (snAna-sugandhaM) - snAnena snAnIyena sugandham, snAnazabdena snAnIyaM cUrNamucyate, upacArAt / - fragrant with the lotions or creams used while bathing; gimhA (grISmAparAhNa ramitasya) (of her husband) who had amorous dalliance with his wife on a summer afternoon. Bhuvanapala remarks : premAtirekeNa dRSTAdRSTArthaviruddhamapi grISmAparAhNaratam Acarata: zramApanayanAya pratyupakArakaM kAminI kAntasyorasi kuntalakalApaM zItaM ca surabhiM ca nivezayatItyartha: / pra. 109. M. V. Patwardan remarks : The stanza suggests inverted coitus. 343. Bhoja cites this gathaas an example of parakIyA uttamA (nAyikA). suhaucchiA (sukhapRcchikA) - a woman who comes to inquire about the health of a sick person; or forcars (na nitiSThati) is not left over. 344. coria (cauryarata - zraddhAluH / zraddhAzIlA, then saMbodhane zraddhAluke / zraddhAzIle) - dear (putri) night prowler, O, dear young girl, having a keen desire for clandestine love-making; Bhoja cites this gatha as an example of uttamA dhIrA (parakIyA nAyikA). 345. Bhoja cites this gatha as an example of uttamA'dhIrA (parakIyA nAyikA). The girl burns

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Prakrit: Verses in Sanskrit Works on Poetics 373 like a blazing flame on account of the fire within of separation from her charming lucky man. By the sweet breath of her mouth she attracts a swarm of bees which appears like smoke. 346. Bhoja cites this gatha 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 gatha is already dealt with; vide SP S. No. (51.52) supra Bhoja cites it here as an example of JTMATIGT (R ETRO). 348. Bhoja cites this gatha as an example of THT BRICT (paten TifchT). EC3T (tracit bashful; URUH JI (RUH uila) Juf Hafa - comes to an end. Cf. 'gryElnat facient GRETTI HAREIT: l 349. Bhoja cites this gatha as an example of BTHT ERTIGT (ROIT IT). .351. Bhoja cites this gathaas an example of STIHTsefragt (Grooten). DAS(pp. 192-193) records : quzon ---1140911 quiet PRZITI HUT (HR) methinks. . 352. Bhoja cites this gatha as an example of uttamA mugdhA (parakIyA). Read sugandhiM in the chaya 353. This gatha is already dealt with; vide SPS. 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 gatha as an example of STIHTNETT (Propter). 356. Bhoja cites this gatha 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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374 Prakrit Verses in Sanskrit Works on Poetics iv. 420, we have the Apabhraisa 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 gatha as an example of 3THT EIRIGYTET (Rate). 358. Bhoja cites this gatha as an example of efrigcymer (RootT). The restoration of the gatha 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 gatha as an example of UTHT BEFRIGEFFET (924). SK (p. 634, v. no. 218) cites this gatha 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). SP (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-73196PTICors; and SK (p. 623) UTOMS YERGFOls; the correct reading is either NavalaapaharuppitthAe or NavalaapaharuttatthAe. uppitthA d. trastA, and uttatthA = uttrastA - frightened. SK cites this gathawith the introductory remark : "faci RIUT 217--" ari, alhat, arta, Bolta all convey the sense of fright, frightened. 361. Bhoja cites this gathi 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; GRdeg (gratui F yn) with her breasts leaning (lit. placed) against the door (frame). 362. Bhoja cites this gatha as an example of 3THT SIRHEZ (Ret). PPT (RAH) lifted up, propped up; uNNAmia (unnamita) raised up; kalasa (kalaza) auspicious pitcher or jar; 377 378-H) lotus flower used for / in welcoming and honouring a guest.

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Prakrit Verses in Sanskrit Works on Poetics 375 363. Bhoja cites this gatha as an example of uttamA adhIramadhyA (parakIyA). Weber reads the latter half of the first half of this gatha as follows : suMdari mA tuvara vaDhau miaMko (sundari ! mA tvarasva vardhatAM mRgAGka:)| Weber reads caMdiAi for caMdimAe~. But the meaning of these words is identical. 364. This gatha is already dealt with; vide SP S. No. (24.47) supra. Bhoja cites it here as an example of uttamoDhamadhyA (parakIyA). SK (p. 684, v. no. 378) cites it with the introductory remark : 'vayasA paripUrNA madhyamA yathA-': paDivakkha (pratipakSa - sapatnI); maNNu (manyupuau) - heaps of jealous anger i.e., exciting the jealous anger of rival wives; lAvaNNa (lAvaNyakuTau) jars of charming beauty, loveliness; hiaa (hRdayadhRtau) - yearned after, longed for : guicht (Fratrat) groaning, making deep, inarticulate sound expressing pain. 365. Bhoja cites this gatha as an example of uttamAnUDhamadhyA (parakIyA). aMdo lAi~ (AndolAni - hindolAni) swings. 366. Bhoja cites this gatha as an example of uttamA dhIroDhamadhyA (parakIyA). 367. Bhoja cites this gatha as an example of uttamA dhIroDhamadhyA (parakIyA). The gatha may tentatively be restored as follows: puNNaggi-vAulamaNo, taha [hu] varakumari tue kao gAmo / jaha jAo vAulao parIharia-aNNa-vAvAro || (puNyAgnivAtulamanA: tathA [khalu] varakumAri tvayA kRto grAma: / yathA: jAta: vyAkula: / vAtulaka: parihRtAnyavyApAraH |) puNNaggi (puNyAgni) - The public fire kept burning in a city square for the use of all. In Subhasita ratna-bhandagara there is a stanza about Sisira-pathika(p.348, v.no.20) wherein this word occurs : "puNyAgnau pUrNavAJcha: ---". The word also occurs in SPS.No. (976.225) infra:sA mAha-mAsa-gosagga-majirI taM pi dinnpunnnngii| miliA golAtUhe duve vi tumhe dhammiTThA // (sA mAgha-mAsa-prAtarmajjanazIlA tvamapi dttpunnyaagniH| militau godA-tIrthe dvAvapi yuvAM khalu dharmiSThau / ) The gatha "puNNaggi-vAulamaNo", 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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376 Prakrit Verses in Sanskrit Works on Poetics 368. Bhoja cites this gatha as an example of uttamA adhIroDhamadhyA (parakIyA). SK (p. 617, v. no. 149) cites this gatha as an example of azru, one of the Sancarins (acc. to Bharata, one of the eight Sattvika-bhavas). 369. Bhoja cites this gatha as an example of uttamA adhIrAnUDhamadhyA (parakIyA). 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 gatha occurs in it (vide p. 70, v. no. 171) : cheyAe muddha-diyarassa lAiyA taha vilAsiNi-vilAsA / saMDho tti pariharijai kaNNAdANe jaha jaNeNa || chekayA dhUrtayA asatyA / 'muddha-diyarassa' mugdhadevarasya / 'lAiyA' lAgitA nyastAstathA vilAsinI-vilAsA: nayanAanaprakSepAlaMkAraracanAdayo yathA kanyAdAne / saMDho tti SaNDho'yamiti kRtvA janena parihiyate / 371. Bhoja cites this gatha as an example of uttamA dhIrapragalbhA (parakIyA). 372. Bhoja cites this gatha as an example of uttamA adhIrapragalbhA (parakIyA). This gatha is further (p. 859) cited to illustrate uttamatvam'. 373. Read in the chaya'sakhi'. Bhoja cites this gathaas an example of 'uttamoDhapragalbhA'. 374. The restoration of the text is absolutely tentative : caMkammiuM salIlaM hasiuM ca savibbhamaM haa-kumArI / evaM vaMke ca puloeuM xx keNa sikkhaviA / / (cakramituM salIla hasituM ca savibhramaM hatakumArI / evaM vakraM ca pralokayituM xx kena zikSitA / / ) Bhoja cites this gatha as an example of uttamAnUDhapragalbhA (parakIyA). 375. Bhoja cites this gatha as an example of uttamA dhIroDhapragalbhA (parakIyA). 376. This gatha is obscure. The restoration given below is alsolutely tentative : AucchiAsi komui, tumaM pi mAmi komuIcaMda / ramia mha jeNa ajja so cea pare jaha suhao // 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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Prakrit Verses in Sanskrit Works on Poetics 377 Bhoja cites this gatha as an example of GTT BRIGITT (TRAT). 378. Bhoja cites this gahta as an example of BTHT 3TEREGA STAT (ROIT). This gatha is again cited on p. 1183 with the introductory remark : FEZI67-counci ATEZIE TRT -". . 379. Bhoja cites this gatha as as example of HEZIHT (R et). sohaMti (sohaMtI-zodhayantI, cleansing. The final I in sohaMtI is shortened metri casua.) 380. Bhoja cites this gatha as an example of HEZPATEIRT ( ). Here the poet of the gatha depicts the real feelings of lovely maidens in a frank manner. 381. Bhoja cites this gatha as an example of HTEZTATSERT (gebrer). SK (p. 644, v. no. 257) cites this gatha and thus comments upon it: 3710 PURPi Gocat quc Pacient Poud . 382. Please read aftit in the second half of this gatha. Bhoja cites this gatha 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 gatha 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 gatha 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 gatha is already dealt with; vide SP S. No. (145.71) supra. Read in the chaya of the first half --- Yata:. SK cites this gatha in the context of the alleged figure Apihita, which according to Bhoja, is only a variety of the figure milita. 386. Read in the chaya HRY- CIRIT Brit; HUT = a - see Hema. 8.1.208. CET

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378 Prakrit Verses in Sanskrit Works on Poetics = qy - a young, newly married girl. 37215 (374) - wanton woman; the wanton woman's hands tremble because her mind is full of impure desires to meet her lover secretly there when the cotton plants grow sufficiently tall. This gatha, Bhoja cites, as an example of HEZHT BERIGT (Raptur). 387. Bhoja cites this gatha as an example of madhyamA adhIrAnUDhA (parakIyA). 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 candala and has no hopes about her life.) How could she then represent the type called madhyamA adhIrAnUDhA (parakIyA)? 388. Bhoja cites this gatha 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 gatha 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 gatha 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 gatha may tentatively be reconstructed as follows : geNhatIe NavalaaM jujjhAujjia diaraa hatthAo / rosa-vikUNia - rajjaMta-loaNo vi hasai paI vi / / (TEUSUT Mali ya vijang dor (5) - Era roSa-vikUNita-rajyallocano'pi hasati patirapi / / ) i Translation : When the sister-in-law snatched the navalata 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 gatha as an example of HEZHIGHET ( Ten).

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Prakrit Verses in Sanskrit Works on Poetics 379 392. The first half of this gatha is quite intelligible, but the second half is equally obscure: 0, young (charming) girl, you are adorable, very venerable like a deity. Bhoja cites this gatha as an example of madhyamAnUDhamugdhA (parakIyA). 393. Bhoja cites this gatha as an example of HEZTHT EIRIGYTETT (Prechtent). See the translation. 394. Bhoja cites this gatha as an example of madhyamA dhIrAnUDhamugdhA (parakIyA). SK ID. 636. v. no. 228) cites it with the introductory remark : "(vipralambhaparISTiSu) bahumAnena (premaparIkSA) yathA -". 395. Bhoja cites this gatha as an example of madhyamA adhIroDhamugdhA (parakIyA). mA mA - Don't do so (i. e., don't ignore her); mua (muMca) parihAsa - give up joking or jesting; aNa-horaNA (anAvaraNA) without any cover, sunshade; pAsijjai (= pasijjai = prasvidyati) she is perspiring !; chAhI (chAyA) - shade. 396. Bhoja cites this gatha as an example of madhyamA adhIrAnUDhamugdhA (parakIyA). 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 palasa 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 gathaas an example of HEZTHT HEZIT (R AT). See the translation. 398. Bhoja cites this gatha as an example of madhyamA dhIramadhyA (parakIyA). SK (p. 641, v. no. 247) cites this gatha with the introductory remark : "vipralambhaniruktiSu prathamAnurAge pratizrutyAdAnaM yathA-", and comments upon the gatha thus : atra vakrekSitAdibhiH pratizrutyAliGganAdayo hIbhayAdibhirna dIyante / 399. Bhoja cites this gatha as an example of madhyamA adhIramadhyA (parakIyA). phaggu (phalagatsava - vasantotsava-nirdoSam) -unobjectionable in the spring festival; chaNa (kSaNa) a festival, cr. Mar. - saNa: pasAhaNaM (prasAdhanam) - decoration, adornment (of mud); thaNa (stanakalazamukha-praluThat sveda-dhautam)-washed away (dhauta) by the perspiration gushing out from the tips of your pitcher-like breasts. 400. Bhoja cites this gatha as an example of madhyamA UDhamadhyA (parakIyA). doaMgula (vyaMgala-kapATaka-pinaddha-savizeSa-nIla-kaJculikA) whose deeply blue (coloured) Choli is

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380 Prakrit Verses in Sanskrit Works on Poetics fastened (pinaddha) in such a way that a couple of inches of cleavage (vyaMgula-kapATa) is left out uncovered; thaNa (stanasthala - varNikA) a small sample (varNikA) of the concealed loveliness (of the breasts). 401. Bhoja cites this gathaon 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 pAtra (character), and here (on p. 639) as an example of madhyamA anUDhamadhyA (parakIyA). SK (p. 314) cites it as an example of veSa (Dress) and again (at p. 664) as an example of vasantAvatAradivasa: suvasantaka:. 402. Bhoja cites this gathaas an example of madhyamA dhIroDhamadhyA (parakIyA). iNaM te sihiNo abbhuttaNaM asamattaM cia acchau / tiTThau - Oh, how I wish it never ends-you over there blowing on the fire! - (the smoke) making your eyes red (AaMbaccha), tearful (paalaMta-bAha) and causing your breasts to heave up and down (Abaddha). 403. Bhoja cites this gatha as an example of madhyamA dhIrAnUDhamadhyA (parakIyA). DSS (p. 102, Karika 270) records 'gosaM gosagaM' and comments thus : gosaM prabhAtam / 'gosarga' zabdo yadi saMskRte rUDhaH, tadA tadbhavo 'gosagga' zabda:, anyathA tu dezI, paryAyabhaGgyA tvihopAtta: / / mAha - who takes bath every morning at daybreak in the month of Magha (corresponding to January- February); tharaharai trembles (onomatopoeic word; cf. Mar. tharatharaNe). 404. Bhoja cites this gatha as an example of madhyamA adhIroDhamadhyA (parakIyA). ekkakkama (ekaika) one after another; vaI (veSTakavRti) surrounding enclosure, hedge; tai volaMte (tvayi gacchati, loc. abs. constr.) 'as you were going away'; paMjara (She behaved like a bird kept or confined in a cage paJjarazakuna); paMjara' is past part: from denom . root from 'paMjarasauNa. 405. Bhoja cites this gatha as an example of madhyamA adhIrAnUDhamadhyA (parakIyA). jIeNa acissaM (jIvitena arcayiSyAmi)-I shall worship your feet (calaNe) by laying down my life; jai vijjhasi if you pierce or hit (his heart); viddhA = ppp. from vidh = to pierce, hit. 406. Bhoja cites this gatha as an example of madhyamA pragalbhA (parakIyA). Ordinarily, Madana's arrows are said to be : aravindamazokaM ca cUtaM ca navamallikA / nIlotpalaM ca paJcaite paJcabANasya sAyakA: || Madana is therefore called paJcabANa, paJceSu, paJcazara. Sun-lotus, Asoka-blossoms, mango-blossoms, jasmine flowers, and blue lotus are

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Prakrit Verses in Sanskrit Works on Poetics 381 described as his five arrows. acchi (akSivikSobhA:)- darting of (sidelong) glances; pia (piA-priyA my beloved girl) the A in piA is shortened for metre; saMmukhAgata - gata / atikrAnta - valita - these are the attributes of sidelong glances, cast at the speaker at the gatha. 407. Bhoja cites this gathaas an example of madhyamA dhIrapragalbhA (parakIyA). puNarutta (punaruktazatam) - makes (kuNai) me repeat several (lit. a hundred) times. 408. On p. 401 Bhoja cites this gatha as an example of the figure pihita which, according to him, is nothing but the figure mIlita; on p. 577 he cites it again as an example of avahittham. Here (on p. 640 ) he cites it as an example of madhyamA adhIrapragalbhA (parakIyA). 409. Bhoja cites this gatha as an example of madhyamA UDhapragalbhA (parakIyA). jokkAra-jayakAra salutation; hAsa (hAsa-kaTAkSa-unmizra) mixed with, that is, accompanied by smiles and sidelong glances. 410. Bhoja cites this gatha as an example of madhyamA anUDhapragalbhA (parakIyA). mAuA - mAtRkA. or d. sakhI (mAUA sakhI durgA ca / DSs p. 231). 411. This gatha is already dealt with; vide SP S. No. (2.43) supra. Here it is cited as an example of madhyamA dhIroDhapragalbhA (parakIyA). 412. Bhoja cites this gatha as an example of madhyamA dhIrAnUDhapragalbhA (parakIyA). veasa' . (vetasa-kuA:) thickets of reeds; AsaNNa (Asanna-vivAhamaGgalodgIta); AaNNaMtA (AkarNayanta:) - 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 gathaas an example of HEZTHT BEIRIGYHETH. See the translation. 414. Bhoja cites this gatha as an example of madhyamA dhIrAnUDhapragalbhA. kajjA (kAryAlApa eSa:) - this is the voice of business (of cool, calculated practical philosophy); RUTE snehamArga eva na bhavati yat tena vinA jIvyata iti / 415. Bhoja cites this gatha as an example of kaniSThA. SK (p. 615, v. no. 141) cites it with the introductory remark:"anubhAveSu vAJchati yathA-".

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382 Prakrit Verses in Sanskrit Works on Poetics 416. This gatha is already dealt with; vide SP S. No. (69.55) supra. Bhoja cites it here as an example of kaniSThA dhIrA. 417. Bhoja cited this gatha as an example of 8T 3TERT. 377f0735deg - 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 gatha as an example of afer 35cl. 37 - mourns; fact - the field of sesamum plants; 5deg-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 gatha 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 gatha 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 gatha 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 gatha 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 kaniSThA dhIramugdhA. ujjuA = RjukA simple minded, innocent, simple one; R165-JETYCHM -- the backyard of a house

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Prakrit Verses in Sanskrit Works on Poetics 383 cf. Mar. paraDe; puSThiM pusasu-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 kaniSThA adhIramugdhA. See translation. 427. Bhoja cites this gatha as an example of kaniSThA UDhamugdhA. SK (p. 39, v. no. 56) cites this gatha to illustrate one of the vakyartha- dosas. It reads pAsseNa (?) vacaMto (pArzvena vrajan) in place of vaaNammi cuMbato (vadane cumban). SK thus comments on it : atra prakrAntasya navapariNayavatIsvarUpabhaNanasyAniyUMDhatvAt khinnatvam / - sarasvatI, pR. 39. Read also Ratnesvara's comments on this (p. 40). 428. Read in the first half of the gatha HuracaR3i and in the corresponding Chaya manorathAtikrAntam. Bhoja cites this gatha as an example of kaniSThA anUDhamugdhA. The emendation of NiarUvalAvavia to NiarUvalAvANaa is very doubtful and its meaning too). 430. Bhoia cites this gatha as an example of kaniSThA dhIroDhamagdhA. vemabhUpAla thus comme upon this gatha : kAcidasatI yUna: zrAvayati "jai vihu dilliMdiliA ---". atra kAcidasatI svaduhitaraM prati, yadyapi tvaM bAlA tathApi vivasanA mA bhrama / vidagdhA grAmayuvAno duhitrA mAtaramanumAntIti duhituryanmadanamandiraM tathaiva mAturapIti nizcinvantItyanena vA dUtIvRttyA svakIyasya madanamandirasya manoharatAM vyaJjayantI tAn protsAhayatItyabhiprAya: | --- saptazatIsAra, pR. 30-31. 431. Bhoja cites this gatha as an example of kaniSThA adhIroDhamugdhA. Correct khu dukkhiA - in the first half of the gatha - to thuDuMkiA and in the corresponding Chaya khalu duHkhitA to roSa-mUkA. 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 : "(prakAzAnurAga:) sAmAnyoDhAviSayo yathA-" 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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384 Prakrit Verses in Sanskrit Works on Poetics head bent low and eyes full of tears. 432. Bhoja cites this gatha as an example of T 3TERISCYPE. See translation 433. Read in the Chaya -- deyaoisto and farigcettar. Bhoja cites this gatha 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 gatha as an example of 8T ERHEZIT. The restoration of the fourth quarter of the gatha 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 gatha 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 gatha is already dealt with; vide SP S. No. (151.72) 'supra. Bhoja cites this gatha as an example of fat BCHEZIT. SK (p. 685, v. no. 383) cites this gatha with the introductory remark "TaharructeT UIT--". 437. Read in the first half of the gatha TH-42 fa P93731. Bhoja.cites this gatha as an example of af8T 37 GHEZIT. Gatha-Kosa-504 reads the gatha as follows : gAmataruNIo~ hiyayaM haraMti poDhANa thnnhrulliio| mayaNe lasaMtakosuMbhakaMcuAharaNamittAo / / (grAmataruNyo hRdayaM haranti prauDhAnAM stanabhAravatya: / madanotsave lasatkausumbhakaJcukAbharaNamAtrA: / / ) GSW (545) reads cheANa for poDhANa and kusuMbharAilla for lasaMta-kosuMbha. 438. Bhoja cites this gatha as an example of kaniSThA dhIroDhamadhyA. voDa d. duSTa 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 (990737deg - 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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Prakrit Verses in Sanskrit Works on Poetics 385 sAheu? -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 gatha HAT. Bhoja cites this gatha as an example of kaniSThA dhIrAnUDhamadhyA. This gatha is already dealt with, vide SP S.No. (126.67) supra. SK (p. 336, v. no. 52) cites this gatha with the introductory remark : "pratIyamAnamevAkAralakSyaM (sUkSma) yathA -". After citing gatha it comments upon it as follows : -- atrArdhAkSipralokanamukhazyAmatAbhyAmAkArAbhyAM jambUdala-kalpitAvataMsa ityanena pratyAyyamAna: saMketagamanabhraMzasaMbhava: zyAmAyA manastApo lakSyata ityayamAkAralakSya: pratIyamAna: sUkSmabheda: / '440. Read against the first line ... "(p. 643)". Bhoja cites this gatha as an example of kaniSThA adhIroDhamadhyA. ramiaNvaa-lehalA (rati-lampaTA)-eager for sexual intercourse; saMbhama (saMbhrama-vikSipta)-thrown away hastily; NavaraMgabhaM (supply sADiaM) newly dyed saree; dhasaM va diNNaM (dhvajamivadattam) as if it were a flag unfurled; aviNaassa for proclaiming her misconduct. 441. The restoration of the gatha is very tentative. Bhoja cites this gatha 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 gatha is already dealt with; vide SP S. No. (48.52) supra. Bhoja cites it here as an example of kaniSThA pragalbhA. 443. This gatha is already dealt with; vide SP S. No. (50.52) supra. Bhoja cites it here as an example of kaniSThA dhIrapragalbhA. 444. Bhoja cites this gatha as an example of kaniSThA adhIra-pragalbhA. aMgANa taNuAraa (aGgAnAM tanu (tva) kAraka ! -0, you who have made her pine away!; sikkhAvaa dIha (zikSaka roditavyAnAM (= rodanAnAm) O, you who have taught me i.e., made me to weep long! viNaA (vinayAtikramakAraka) -0, you who have made me transgress the rules of respectful behaviour (towards my parents), mA mA NaM pamhasijjAsu (mA mainAM vismare:)You shouldn't forget her (i.e., me) (now at least when my end is nearing).

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386 Prakrit Verses in Sanskrit Works on Poetics 445. This gatha is already dealt with; vide SP S. No. (130.68) supra. Bhoja cites it here as an example of aflet 55-MITAT. 447. Bhoja cites this gatha 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. Panini 6.4.51, which allows the loss of for before a form without gE. Kasika gives forms like kAryate, hAryate and forms like mAryamANa have been attested in Sanskrit. Hence mAryAmahe 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 gatha as an example of abf8T ERFGH'ITH. This gatha is already dealt with; vide SP 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 gatha as an example of 18 3TERTIGATITETT. The restoration of the gatha 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 gatha as an example of IRT. SK (p. 630, v. no. 201) cites this gatha 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 gatha as an example of tirian. "O, ungrateful, shameless one, even today the muddy slushy roads of the

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Prakrit Verses in Sanskrit Works on Poetics 387 village on which I walked on rainy nights to meet you, come before my eyes !" 453. Bhoja cites this gatha 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 gatha as an example of 3ERT. SK (p. 637, v. 231) cites it with the introductory remark : "(Payceyrileg) cadut (THUTAT) TRT-" SPhas the reading paTThAeMtI (Sk. prasthApayantI), whereas SK has appAheMtI (Sk. saMdizantI). Hemacandra lays down in his grammar : sNdisherppaahH|-8.4.180, so appAhaMtI and not appAhetI, would be the correct form. seuli (svedArdritasarvAGgI) - whose entire body was wet with perspiration (at the mere utterance of his name ndeg / 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 paTTha means pRSTha, the more common synonyms of pRSTha are puTThi or piThi. Weber reads gefa. Bhoja cites this gatha 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 gatha 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 gatha 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 gatha as an example of 31-GI. The restoration of the first half of the gatha is rather tentative : "O, moon-faced one, from the way you play the utphullika' game, I can tell you, you will surely enjoy the pleasure of inverted coitus with some charming, lucky, young man." 459. Bhoja cites this gatha 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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388 Prakrit Verses in Sanskrit Works on Poetics Andolana-Caturthi is Swing-Festival. It is mentioned also as the Hindola-Krida in the Jaya-mangala The SP calls it Dolavilasa For details see V. Raghavan: Festivals, Sports And Pastimes of India, p.74, 111, 112, 229. taTTiA or taTTI is enclosure, hedge or fence. DSS (p. 153) lays down 'taTTI vaII', taTTI - vRti:. 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 dhIroDhamugdhA. 461. Bhoja cites this gatha as an example of dhIrAnUDhamugdhA. sAmalI-zyAmalA a dark-complexioned beautiful young woman; somAlA (-sukumArA) tender, delicate; taha khareNa-extremely coarse; golAtUha = godAtIrtha-tIrtha means ghata (in Marathi) - stone-steps leading to the river-water. jaMbU (jambUkaSAya) Jambu-powder. 462. Bhoja cites this gatha as an example of adhIramugdhA. See the translation. 463. Read in the second half of the gatha 3T UT. Bhoja cites this gatha as an example of 3TEFRIGYET. See translation. 464. Bhoja cites this gatha as an example of adhIrAnUDhamugdhA. ujAgaraa (ujjAgaraka) sleeplessness; kasAia (kaSAyita) reddish; guruacchI (gurukAkSI) heavy (i.e., swollen) eyes. moha (moghamaNDanavilakSA) 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 : atra prathamaM vAsakasajjikAyA: priye cirAyati, pazcAd virahotkaNThitAyA nAyikAyA dUtI nAyakaM prati, tvayA vaJcitA samadu:khasya sakhIjanasyApi sakAzAlajjata ityanena tatkRtAdapi navAnmahata: parAbhavAd ita:paraM kAM dazAM prApnuyAt / tat tvayA satvaramAgatya saMbhAvanIyeti taM protsAhitavatItyabhiprAya: / pR. 30. 465. Bhoja cites this gatha as an example of UDha-mugdhA. The latter part of the first half of this gatha is metrically all right but the reading dat appears to be corrupt and obscure. See the translation. 466. Bhoja cites this gatha as an example of 3756-TET. SK (p. 618, v. 152) thus reads the first half of the gatha: jaM jaM karesi jaMjaMjappasi (? jaMpasi) jaMjaM Niacchesi / - p. 618; SPhere reads : jaM jaM karesi jaM jaMca jaMpasi jaha tumaM nniaNsesi| -p. 646; GS(W) reads : jaM jaM karesi jaM jaM jaMpasi jaha jaha tumaM Niacchesi / -p.378; Bhuvanapala reads : jaM jaM karesi jaM jaM ca jaMpase jaha tuma niyaMsesi | Of these the readings presented by Weber

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Prakrit Verses in Sanskrit Works on Poetics 389 and Bhuvanapala alone are metrically correct. SK cites this gatha with the introductory remark : "ciclag duurtdergalacitat i 221--"; fe is one of the ten-twelve according to Bhoja Svabhavaja-bhavas (graces) : amorous pastime, the sportive imitation of the movements or words of the beloved one. 467. Bhoja cites this gatha 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 gatha as an example of SRIGHEZI. See the translation. 469. Bhoja cites this gatha 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; F4deg "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......." -Vajjalaggam - Notes (p. 550). 470. Bhoja cites this gatha 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 Sari.' tifo pamiat searching for the knot of my 'Sari'. 471. Read in the Chaya zied at goud --- Bhoja cites this gatha 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, cutalatikas, 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 Cutalatika or Navalatika in "Festivals ---" (pp. 93-95) for more details. 472. Bhoja cites this gatha as an example of 3ERTICHETT. The advice offered to her

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390 Prakrit Verses in Sanskrit Works on Poetics 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 gatha as an example of 356 EZT. This gatha may better be restored as follows : taruNehi kaaM tosaM (? kao roso), hasi therehi kuNa - | - IhiM (? uNa varama) Ihi / pariNaa-vaa-ocUDaM (? ogUDhaM) voDhaM kumariNIeUNa (? kumarieN NieUNe) / (taruNaiH kRto roSa: hasitaM sthAviraiH puna: varamatibhiH / pariNata-vaya-avagUDhaM (?) UDhaM kumAryA dRSTvA / ) 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 anUDhamadhyA. SK (p. 668, v. 311) cites it with the introductory remark : "prathamavarSaNaprarUDhanavatRNADurAsu sthalISu zAdalamabhyarcya bhukta-pItAnAM kRtrimavivAhAdikrIDA navapatrikA / tatra ca varaNavidhAnAdau teSAmevaMvidhA: parihAsA bhavanti / yathA-". "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 dhIrapragalbhA. Mathuranatha Sastri (p. 183) thus comments upon this gatha: "kupitAM nAyikAM prasAdayituM preSitA kAcit prauDhA dUtI nAyakamAha - sadbhAvaM tasyAM tava snehaM pracchantI ahaM, sadbhAvo nAstyeveti sazapathaM sahAsaM ca tadattare bhaNantyA tava priyayA roditAsmItyartha: / zapathaM kRtvA kathanena snehAbhAve satyatA, hAsyena ca tadgopane prayAso'bhivyajyate / tathA ca- tavAparAdhastathA sA vyathitA --- tasyA hRdayadu:khaM maugdhyaM ca dRSTvA me balAdazrUNyAgatAnIti bhaavH|--". 476. Bhoja cites this gatha as an example of dhIroDhapragalbhA . jUrai = krudhyati - people get annoyed, disapprove; paraloa (paraloka - vyasanika: loka:)-people do fuss over the other world; balA (balAt irresistibly) valai-(valati); diTThI (dRSTi:)-my eyes cannot but turn towards the face of my young man - the village-chief's son..

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Prakrit Verses in Sanskrit Works on Poetics 391 477. Bhoja cites this gatha 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 gatha 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 gatha 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 gatha as an example of ET. strife 31 (374 ) reed-chair; the reading 'IBUT 37 gfarors in Mysore edn. (p. 647) is corrupt. Bhuvanapala 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 gatha as an example of HEZI. Read in the second half 93iycay 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 gatha 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 gatha is already dealt with; vide SP 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 gatha duke-qu. Bhoja cites this gatha as an example of auctoET. SK (p. 690, v. 400) too cites it as an example of factoET.

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392 Prakrit Verses in Sanskrit Works on Poetics See translarion. 485. Bhoja cites this gatha as an example of ulusal. SK (p. 689, v. 398) too cites it as an example of khaNDitA. SK reads pacUsAgaaNurattadeha tailoa, whereas SP reads CERIT137 6731776 19311HT3T --- these readings are in agreement with GSS. See translation 486. Bhoja cites this gatha as an example of alfonylacot. See translation. 487. This gatha is already dealt with; vide SP 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 gatha is already dealt with; vide SPS. No. (382.121) supra. Bhoja cites it here to illustrate svaraga-prakasana(suggesting or revealing one's own love). 492. Bhoja cites this gatha as an example of Paramartha-Kausala, one of the (16) sixteen Sayanopacarikis 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 gatha to illustrate Samanarthata - one of the sixteen (16) Sayanopacarikis. SK (p. 621, v. 168) cites it with the introductory remark: ""371f (Edily FRY) TEU HIDGut Jating HIT: PUT UP -". Mathuranatha Sastri (p. 4) observes : radnUOT RUT HOGEAT ITTI (TR. 4) i Bhuvanpala thus comments on it --- fu afora - H agy: 1 --- A dat 3taf rad Porn labhyante, ityarthaH / athavA nayananimIliteSu jAteSu anye vibhramA na bhavanti, surtsukhnishcesstttvaadblaanaam| kSaNaM raTantI rudatI nRtyantI cAtivihvalA / ni:sahatvaM tadA yAti mukulIkRtalocanA || pR. 2. 494. Bhoja cites this gatha to illustrate 'gante-atry'one of the sixteen Sayanopacariki Kalas. See translation. 495. The text of this gatha is corrupt. This gatha is cited again (on p. 818). There too the text is corrupt. The restoration of the gatha is tentative. Read in the first half of the gatha NaaNANa kiraNA (? isuNo). Bhoja cites this gatha with the introductory remark : " SRIT Ugur, f c4ft: utfofauticati Prefeit-". vayaHsandhi is transiattion from one period of life to another.

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Prakrit Verses in Sanskrit Works on Poetics 393 496. This gatha 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 gatha 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:'. Vemabhapala thus comments on this gatha : kAcidasatI yuvatirvanAntaramupAgatya madhUka-kusumAni saMgRhya pratinivartamAnA madhye mArga kasmiMzcidabhirUpe yUni pathike tAnyAdAtuM karaM prasArayati sati taM prati; he pAntha, madhUkaiH kiM vA / nitambAdaMzukaM yadi harasi tadAraNye kasya kathayAmi / grAmo dUre, ahameketyanena tadarzanAdutpannamanmathavyathApadezAdupabhogAya vAso hara iti taM prati bodhitavatItyabhiprAya: / pR. 34. DR. Avaloka cites this gatha as an example of Fatigat 'self-go-between'. 498. Bhoja cites the stanza to illustrate udghatyaka, one of the thirteen argas (elements) of Vithi. Udghatyaka 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 gatha is already dealt with; vide SP S. No. (466.138) supra. Bhoja cites it here to illustrate lila, one of the ten graces (Svabhavaja bhavas). Lila is the sportive imitation of the movements or words of the beloved one (istajananukrtih). 500. Bhoja cites this gatha with the introductory remark : uden af Me URIT -- The text of this gatha is corrupt. It may tentatively be restored as follows: - majjhimarehAvagADha-jhasura-sImaMtio suhAvei / lajjANitthAmubhiNNahAsayoohuro aharo / / (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 gatha cited on p. 689, and again, on p.1182. 501. Bhoja cites this gatha 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. Viniguhana 5. Sandastaka 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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394 Prakrit Verses in Sanskrit Works on Poetics "saMbhoga-ceSTAsu pUrvAnurAgAnantare cumbanaM yathA -". paNAmia (arpita). So read in the Chaya : AdarArpitauSTha; vaNNagghaa (varNaghRta) 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; lippa (lipta) (and tuppa too means the same)- anointed. 502. This gatha is already dealt with; vide SP S. No. (359.117) supra. Bhoja cites it here to illustrate 'unnatapUrNam' one of the six kapolArambha. (Cf. Bharata, NS VIII, 136-140). It would seem that Bhoja reads 'unnattapUrNam in place of Bharata's 'ghUrNam'. SK(p. 634, v. 218) cites this gathawith the introductory remark : "prathamAnurAgAnantare dantakSataM yathA -". 504. Bhoja cites this skandhaka(Setul. 7) with the introductory remark : "hAsaprakarSo'ti hasitaM yathA -". Vide Extract from Sanskrit Commentary in Appendix - I. 505. Read in the first half of the gatha daig and in the second half Ri Bhoja cites this gatha with the introductory remark : "abhihataM vitAlitaM yathA -". vitAlita is one of the nine aksiputakarmas. SK (p. 576, v. 12) cites this gatha with the introductory remark : "(ratirUpeNa) tiryakSu (rasAbhAso) yathA -". taMbA (d) a (tawny-coloured young) cow; goTTha (goSTha) a cow-pen or cattle-shed; duTTha (duSTa-vRSabha) a vicious bull; akkhi (akSipuTam) eye-lid or socket of the eye. Cf. 'zRGge kRSNa gasya vAmanayanaM kaNDUyamAnAM mRgIm - zAkuntala VI, 17-d. 506. This gatha is already dealt with; vide SP S. No. (216.86), and (266.98). SK (p. 594, v. 63) cites it with the introductory remark "tad-(nidrA-) rUpeNa rasasyAnubandho yathA -" and thus comments upon the gatha : atra ratizramajAgarAdijanitanidrAlasA dRSTinipAtAstArakAghUrNanatryasravalanAdibhiranubadhyante / - pR. 594. Bhoja cites it here with the introductory remark : "pakSmAntargatatryasatAraM sAci yathA -" sAci (ind. obliquely, in a sidelong manner) is one of the eight avalokana-prakAra. 507. Bhoja cites this skandhaka from Setu with the introductory remark : "provRtta-niSTabdha-puTA sphuraduvRttatArakA'tyarthabhItA bhayAnakA yathA -". 'bhayAnakA' 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 : "dIptA vikasitA

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Prakrit Verses in Sanskrit Works on Poetics 395 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 dhirodatta (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 sastrabhimana (having a high opinion of the Scriptures) - a quality of A8 Erlent 70. This stanza forms part of Jambavat's address to the Vanaras. Vide Extract from Sanskrit Commentary in Appendix I. 515. Bhoja cites this skandhaka from Harivijaya to illustrate the quality of Caturatabhimana (having a high opinion of one's own cleverness or shrewdness). SK (p. 550, v. 235) cites this skandhaka with the introductory words : "udbhedeSu vyakto yathA -' and thus comments upon the stanza : atra mAyAvino HOSPHAT: Hyd rale sfatuus: Jagaddhara thus comments upon this stanza : iha he suranAtha indra yadi madhumathasya kRSNasya praNayaM prItiM manuSe svIkAroSi / deve pAdaparatnaM

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396 Prakrit Verses in Sanskrit Works on Poetics pArijAtavRkSaM saMdadAne sati mugdhaM svabhAvaM maugdhyamapajahi (?) apajahAhi) tyaja / yAdavalokaM saMbhAvaya priinny| 375- RT: V R IR FIT 24: Tota: I - paradite, g. 440. Incidentally, it may be noted that the stanza in SK opens with 'maMtesi mahumahapaNaaM' instead of 'bahumaNNasi haripaNa' in SP. 516. Bhoja cites this gatha to illustrate the quality of tyagabhimana (having a high opinion of one's own generosity or munificence). King Bali addresses this verse to Krsna, the eight incarnation of God Visnu himself. 518. Read the stanza in place of the gatha 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 Ravana's worry or anxiety regarding winning over Sita : "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 Sita yielding or submitting to his passion Ravana thus deliberates - thinks carefully (fa:) : "Relying on the greatness of Rama, her husband, Sita despises the valour of all other brave men. She might perhaps submit if she were to see the severed head of Raghava (i.e., Rama). 521. Bhoja cites this stanza with the introductory words: " RY (watt) UTRIT -". yata means 'awakening'. "Meanwhile Ravana, the lord of the Raksasas awoke at the end of the sleep in which he had fallen unmindful of the host of Vanaras, glorious in war, who stood encircling Lanka'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 -" romanca (or pulaka) means horripilation or goose-flesh. 523. This stanza is already dealt with; vide SP S. No. (212.86) supra Bhoja cites

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Prakrit Verses in Sanskrit Works on Poetics 397 it here with the introductory words: "FEJHRT ART UIT". Trasa 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 Sita, that was very much on his (Ravana'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 gathawith 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 gatha is already dealt with; vide SP S. No. (217.87) supra. Bhoja cites it as an alternative illustration of "EhfefHRIGRI UST-". 527. This gatha 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 harsa (joy), one of the thirty-three transitory feelings (sarcari - bhavas). 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 Parijata tree); Nimmahi spreading fragrant smell (Nimmahia - Nimmaha is an Adeza for - gam; Nimmahia therefore means 'gata', but the context requiers the meaning nirgacchat 'spreading', 'exuding'); 370901331 - (31 - Tat) not solicited (or requested for). fasuur (Pociuba) presented.

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398 Prakrit Verses in Sanskrit Works on Poetics (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 parajata) with its flowers mounted upon by bees greedy of nectar like honey; (377377731) -SP (p. 748) reads 3731 , whereas SP (p. 1009) reads '37737104; possibly the original reading may be 3TH3T19 (?); FIGHT - celestial (Parijata) tree. 530. Bhoja cites this gatha with the introductory words : "UTURI P T ?) TRT-". SK (p. 615, v. 140) cites it with the introductory words : "37TH FRUIT-". sAmalI majjha hiaAhi khaNamenaM piNa phiTTai - 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 gatha 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 gatha 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 "uttamasyAlasyaM yathA". Alasyam is indolence or laziness. This remark would lead one to believe that Sri - Puttisa (or Pottisa) has advised the king (?) not to take any precipitate action but to 'wait and see'. 533. This gatha is already dealt with; vide SP S. No. (217.87) supra, also SP S. No. (487.142). SK (p. 593, v. 62) too cites it with the introductory remark "TG (3116R) U PROfeet-". 534. This gatha is already dealt with; vide SP S. No. (212.86), (523.148). 535. Bhoja cites this gatha to illustrate one of the good qualities of a dhira - prasanta (noble or self-controlled and calm) hero, called 'nindasvapi na kopah'. 'not getting angry even when condemned or censured. See translation. 536. This gatha is already dealt with; vide SP S. No. (230.91) supra. Bhoja cites it here to illustrate one of the types of heroines, called udatta (exalted).

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Prakrit Verses in Sanskrit Works on Poetics 399 537. This gatha is already dealt with; vide SP S. No. (244.94) supra. Bhoja cites it here as an example of 'Uddhata' (haughty or vehement). 538. This gatha is already dealt with; vide SP S. No. (265.98) supra. Here Bhoja cites it to illustrate one of the types of nayika, called lalita. Please treat the sentence i.e., "It is extra, ordinary --- as uddhata nayika" as deleted. 539. Please read the latter part of the first half of this gatha as follows : 3169T UT Juruop317 37 1 and its corresponding chaya : 372/ai 7 Jus: U l ich : 1 Bhoja cites this gatha to illustrate one of the types of nayika, called santa. 540. This gatha is already, dealt with; vide SP S. No. (253.96) supra. Bhoja cites it as an example of one of the types of nayika, called lalita. 541. Bhoja cites this stanza to illustrate one of the types of Pratinayika, called Udatta. Regarding the meaning of this skandhaka, M. V. Patwardhan writes: "The adjuncts savattipaNaaparidhUsarammi and gurue are to be connected with piadaMsaNe ----- "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 (Satyabhama), was yet held in great esteem by her (TST). Rukmini'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); Udatta is exalted and uddhata, 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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400 Prakrit Verses in Sanskrit Works on Poetics prakAzAnurAga: kaniSThAviSaya: (p. 812), mimIti (? te) paricchinnatti premNa : pramANamasAviti mAna : (D. 860), anubhayApekSo manyurmantrayutam (p.991) and tat (nAyikA-) pratiyoginI pratinAyikA (p. 1172). SK (p. 647, v. 263) also cites this skandhaka with the introductory words : "prema mimIte yathA-", and in the course of its comments it says : (mAnena hi jana: premAsti veti budhyate / tasya ca karaNabhUtasyApi prAdhAnyAdatra kartRtvopacAra :|---)--- tena ca yadyapi karaNabhUtenaivAtmani rukmiNyAM ca priyapremNa : parimANaM satyabhAmA pratyAyayati tathApi pUrvavadihApyayaM pUrvavat kartRtvenopacaryate / 543. This gatha is already dealt with; vide SPS. No. (207.85) as well as DR- Avaloka S. No. (1.26) supra. Here Bhoja cites it with the introductory words: "(pratinAyikAsu) lalitA yathA-". 544. Read in the second half of the gatha uft af . Bhoja cites this gatha with the introductory words : "(pratinAyikAsu) zAntA yathA-". maM vAharau - let him call me; tissA gotteNa by her (i.e., his sweetheart's) name; kiM ttha bhaNieNa - what is the use of scolding him ? thirapemmA hoU --- let his love become fixed; jahiM jahiM pi.- lit. somewhere, on some woman or another (if not on me); mA ki pi NaM bhaNaha ---- Don't say anything (by way of scolding) to him;167311 - friends! 545. Bhoja cites this gatha as an example of saubhAgyam - married love, happiness and good fortune. SK (p. 627, v. 188) too cites it : ( sa saMbhogazRGgAraH caturdhA - prathamAnurAgAnantara:, mAnAnantara :, pravAsAnantara:, karuNAnantara iti|) teSu prathamAnurAgAnantaro yathA-; pasuvaiNA ---- THIS is a loc. abs. constr. ---- When Siva threw away the bracelet made of the coils of the serpent Vasuki. 546. Bhoja cites this gatha 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, sila - 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, kitajnata (gratefulness).

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Prakrit Verses in Sanskrit Works on Poetics 401 549. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, viz., akariksa (yearning). H (37414) mutual, reciprocal. 550. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, viz., apeksa (expectation). Tug 417376 (Teuta ucha) -- take (this) and have a look at it; Hemacandra (Prakrit Grammar, 8.2.181) reads yale and explains haMda as gRhANa. Bhuvanpala remarks on this gatha : "A sutadantadarzanAd 3734RTRIT yafarafat 1 EGRITH 3 MURIT 364 sfa 21: I - C. &0. SK (p. 337, v. 138) cites this gatha as an example of the figure Bhava (conceived by himself) and thus comments on it : 375 'HART GIGHTG 364 34HTRUTRT 1' shat uguel H (? eva) abhiprAya: prakarSavikasitanayanatayA udbhidyate na puna: patyuriti ekata: sodbhedo'yaM bhAva: / 551. This gatha is already dealt with; vide SPS. No. (380.121) supra Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called utkantha 553. This gatha is already dealt with; vide SPS. No. (413.127) supra Bhoja cites it here to illustrate one of the sixty-four kinds or forms of love, called trsna -- (insatiable) longing. 554. Bhoja cites this gatha as an example of one of the sixty-four kinds or forms of love called lalasa - ardent (or intense) longing. See the translation. 555. This gatha is already dealt with; vide SP 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 gatha as an example of one of the sixty-four kinds or forms of love, called laulyam (greediness or) lustfulness. 557. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called gardha (irresisible) greediness. 'lisca 6R61$ (TRC HRIST) HR f. of HRE bearer of burdens. The meaning of the word FR61 is doubtful. 558. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called sraddha - a strong or vehement desire. Read her in the first half of the gatha Weber reads the latter part of the first half as follows : 39621 aa

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402 Prakrit Verses in Sanskrit Works on Poetics 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 gatha : G-DRA31- epuiki gunt, Mang H3G3-P6RI || and its chaya : (-aria-Faring gaffana HopedHRERIA 11) Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called rucih- taste. 560. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called dohada - pregnancy longing. Sert ( THRU) to like, to please. 561. This gatha 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 asa (hope). 562. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called asamsa (desire, wish). See translation. 563. This gatha is already dealt with; vide SPS. No. (525.149) supra Bhoja cites it here to illustrate one of the sixty-four kinds or forms of love, called abhinivesa (earnest desire, ardent longing). 564. Bhoja cites this gatha to illustrate one of the sixty-four kinds or forms of love, called anubandha - uninterrupted succession or continuity. 565. This gatha is already dealt with; vide SPS. 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 gatha to illustrate abhiprayah (opinion), one of the sixty-four kinds or forms of love. 567. Bhoja cites this stanza (from Setu) to illustrate Paksapata, (partiality, fondness for), one of the sixty-four kinds or forms of love. Vide Extract from Sanskrit Commentary in Appendix I. 568. This gatha is already dealt with; vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 403 HRT: fuqiuquft URIT --". 569. Bhoja cites this gatha 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 gatha 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-prasamsa. 571. This gatha is already dealt with; vide SP S. No. (217.87) supra Bhoja cites it here as an example of 'moha' (temporary loss of consciousness, bewilderment). 572. Bhoja cites this gatha to illustrate akuta(intention), one of the sixty-four kinds or forms of love. 573. This gatha is already dealt with; vide SPS. No. (467.138) supra Bhoja cites it here as an example of 'kutuhala (interest, curiosity). SK (p. 622, v. 174) too cites it in the same context (- abdi get UPIT ---). 574. This gatha is already dealt with; vide SP S. No. (217.87) supra Bhoja cites it here as an example of raga (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 gatha as an example of vega (impetuosity), one of the sixty-four kinds or forms of love. 576. This gatha is already dealt with; vide SPS. No. (69.55) supra There the first half reads slightly differently : TE TRE HE", 37eCART WIE HUSTI-9. 209. 577. Bhoja cites this gatha (from Lilava) as an example of Kamana (strong wish or desire), one of the sixty-four kinds or forms of love. Read - Lilavai v. no. 1258.

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404 Prakrit Verses in Sanskrit Works on Poetics 578. (Read in Vol. I, p.158 under S.No. 578 -"This stanza" in place of "This gatha": ] This stanza (skandhaka) is already dealt with; vide SP S. No. (541.151) supra Bhoja cites it here as an example of vasana (innate or inborn desire), one of the sixty-four kinds or forms of love. 579. Read in the second half of the gatha AUT. This gatha is already dealt with; vide SPS. 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 gatha with the introductory words : "Atir RIT: RUTRIT --". 580. This gatha is already dealt with; vide SP S. No.(314.108) supra. Bhoja cites it here as an example of bhava (transitory feeling), one of the sixty-four' kinds or forms of love. SK (p. 617, v. 148) too cites this gatha with the introductory words : "FAIRY PAG-Isu-ouerat AT --". 581. Bhoja cites this gatha as an example of raga (amorous or sexual feeling), one of the sixty-four kinds or forms of love. The first half may, with the editor, be read as : taha tIe suharaso pahariso a muha-aMkaammi papphurio / (tathA tasyA: sukharasa: praharSazca 194 yeyka: 1). 582. Bhoja cites this gatha 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 gatha is already dealt with; vide SPS. No. (319.109) supra. Bhoja cites it here to illustrate 'priti' (pleasure or happiness), one of the sixty-four kinds or forms of love. 584. This gatha is already dealt with; vide SP S. No. (226.90) supra Bhoja cites it here to illustrate daksinya (courteousness or courtesy), one of the sixty-four kinds or forms of love. 585. This gatha is already dealt with; vide SPS. 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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Prakrit Verses in Sanskrit Works on Poetics 405 586. Bhoja cites this gatha 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 gatha as an example of anukrosa (pity or compassion), one of the sixty-four kinds or forms of love. 588. This gatha is already dealt with; vide SP S. No. (256.96) supra Bhoja cites it here as an example of visvasa (trust, confidence). SK (p. 622, v. 172) cites it with the introductory words : "THIHRER AT URIT -". 589. Bhoja cites this gatha as an example of visrambha (perfect intimacy or familiarity), one of the sixty-four kinds or forms of love. 590. This gatha is already dealt with; vide SPS. No.(128.67) supra Bhoja cites it here as an example of vasikara (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 Bhava; it cites it again (pp. 690-691, v. 402) as an example of svadhina-patika (lover's absolute mistress, a woman who has full control over her husband). 591. Bhoja cites this gatha 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 gatha as an example of prapti (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 gatha is already dealt with; vide SP S. No. (371.119) supra Bhoja cites it here to illustrate 'paryapti' (adequacy, sufficiency), one of the sixty-four kinds or forms of love. 595. This gatha is already dealt with; vide SP S. No. (420.129) supra Bhoja cites it here to illustrate abhimanapti (honourable feeling), one of the sixty-four kinds

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406 Prakrit Verses in Sanskrit Works on Poetics or forms of love. SK (p. 617, v. 150) cites it to illustrate harsa (joy), one of the thirty-three vyabhicari-(or sancari) bhavas-transitory feelings. 596. This gatha is corrupt and obscure. It may tentatively be reconstructed as follows : - hiaabhaMtara-pasaraMta-Neha --- rasa-visaraA purao / piadaMsaNammi diTThI Nacai NavakuMdalaA iva // (hRdayAbhyantara-prasarat-sneha --- rasavisarakA purata: / priyadarzane dRSTirnRtyati navakundalateva |) Bhoja cites this gatha to illustrate 'sneha' (love or affection), one of the sixty-four kinds or forms of love. 597. Bhoja cites this gatha to illustrate 'prema' (love), one of the sixty-four kinds or forms of love. 598. Bhoja cites this gatha as an example of AhlAda (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 gatha kelI-gabbha-saricche and in the second half ullasai NaharaNaM caMdilassa seollia-karasya || and its corresponding chaya : (ullasati nakharaM nApitasya | caNDilasya svedArdrita-karasya / / ) Bhoja cites this gatha as an example of 'viSayAnurAga : ucca:'. 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 'viSayAnurAga: nimna:'. A Brahmana is shown in this gatha 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 veDDAe / ceTThAe aMbara duhai //

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Prakrit Verses in Sanskrit Works on Poetics 407 and give its chaya as follows: (FHITISTIT / DEUT 37FR CIT 11) dgt : madman's imitative gestures. Bhoja cites this gatha as an example of 'viSayAnurAga: samajAtau 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 gatha with the introductory words : "Fikut: RFYRIETETT STIH T-" The young woman - the speaker of the gatha 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 gatha with the introductory words : "119GRIT HEZHT OPT". This gatha 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 gatha 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 gatha as an example of one of the varieties of 311646&HIRT, called sita. Mathuranatha Sastri (p. 239) in the course of his comments on this gatha says: 'iyaM tava guNA'zravaNe'pi kevalamavalokanAdeva tvayyanuraktA'bhavad iti bhavadbhAgyavaibhavena svabhAvato'nurAgiNI seyaM tvaritameva saMbhAvanIyA" iti vyajyate / 607. Bhoja cites this gatha as an example of one of the varieties of FIRHITT, called PRICE (P RRIERTEHTRT PRICE). See the translation. 608. Read against this S. No. (608) ---- (p. 794). This gatha is already dealt with; vide SP S. No. (519.148) supra. Bhoja cites it here to illustrate one of the varieties of saMsthAnAnurAga, called mithyA ('ekasya prAtikUlye mithyA'). Ravana's passion for Sita is HOZI (false), his love is nothing but sexual desire; he is infatuated with

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408 Prakrit Verses in Sanskrit Works on Poetics love; whereas Sita 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 kuviANuNiA (kupitAnunItA). Bhoja cites this skandhaka as an example of one of the varieties of saMsthAnAnurAga, called atizAyI - ('ekasyAtizayAdhikye atizAyI ) SK (p. 671, v. 322) cites it with the introductory words : "premaprakAre vipriyAdibhirapyavinAzayanIyo nityo yathA-". 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 gatha is already dealt with; vide SP S. No. (348.115) supra. Bhoja cites it here as an example of one of the varieties of svarUpAnurAga: (gabhIra :) (aprakAzo gabhIra: / ) See translation. 611. Bhoja cites this gatha as an example of one of the varieties of svarUpAnurAga: (prakaTa :) (atiprakAza: prakaTa: I) See translation. 612. Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAgaH, called haimAntika: (hemantanimitta: haimantika:). GSW (745) reads the first half as: kassa Na saddhA garuattaNammi paiNo pasAamANassa / Bhuvanapala (v. 642, p. 271) and Jinesvara suri (GRK v. 671) read: kassa na saddhA garuyattaNassa paiNo pasAyamaiassa / Dr.A.M.Ghatagerenders the gatha into Sanskrit and translates it as follows: "kasya na zraddhA gurutve patyu: prasAdayata: / yadi mAnabhaJjanI: na bhavanti hemantarAtraya: / / 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 gatha (Gaha 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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Prakrit Verses in Sanskrit Works on Poetics 409 In his Notes (p. 234) he explains : kassa na saddhA (=spRhA) who (i.e. which woman) does not have a craving (or keen desire) ? ---- garuyattaNassa = gurutvasya = gurutve = for greatness; paiNopasAyamaiyassa = paiNo pasAyamaimmi (gen. abs. used in the sense of loc. abs.) = when her husband begins to conciliate her (in an apologetic manner); pasAya = pasAyaNa = conciliation. 613. This gatha is already dealt with; vide SP S. No. (152.72) supra. Bhoja cites it as an example of one of the varieties of naimittikAnurAga:, called vAsantika:. SK (p. 384, v. 156) cites this gatha as an example of one of the varieties of the figure anumAnaM (zeSavat). 614. Bhoja cites this. gatha as an example of one of the varieties of naimittikAnurAga:, called vArSika: (= varSA-nimitta:). SK cites it to illustrate mUrchA, one of the twelve prema-pustis. kalaMba-gaMdheNa-mucchiA - made unconscious (i.e., fainted) because of the (exciting) fragrance of Kadamba flowers; taM guNe paDiaM (tad guNe patitam) - that was all to the good (i.e., was very good or fortunate)--.; volaMto 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 naimittikAnurAga: (prAvAsika:) (pravAsArambhanimitta: prAvAsika:); 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 naimittikAnurAga: (samayanimitta: prAtyAgAmika:). SK (p. 591, v. 54) cites it as an example of one of the thirty-three vyabhicari-bhavas, called zaGkA (apprehension or anxiety). SK introduces the gatha with the remark "tadrUpeNa (zaGkArUpeNa) rasasya prakarSo yathA-" and after citing it, it thus comments upon it : atra virahiNyA: kAAtizayama udvIkSamANAyA: kasyAzcid vayasyAyA: snehAtizayAt 'prema pazyati bhayAnyapade'pI ti priyAgamaharSAtizayabhAve'pyasahiSNutayA tanmaraNazaGkA prakRSyate / 617. Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAga: (samaya: prathamasaGgamaH / prAthamasaGgamika:). See the translation. 618. Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAga: (velA : pradoSa / prAdoSika:) See the translation.

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410 Prakrit Verses in Sanskrit Works on Poetics 619. Bhoja cites this skandhaka (from Setu) to illustrate as an example of one of the varieties of naimittikAnurAga: (velA : prabhAta / prAbhAtika:). See the translation; and Extract from Sanskrit Commentary in Appendix I. 620. This gatha is already dealt with; vide SP S. No. (344.114) supra. Bhoja cites it here as an example of one of the varieties of naimittikAnurAga, called tAmasa: - (upAdhi : tamas tannimitta: tAmasa:). See the translation. 621. Bhoja cites this skandhaka (from Setu) to illustrate as an example of one of the varieties of naimittikAnurAga:, called cAndrodaya:. 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 naimittikAnurAgaH, called jyotsna: (-jyotsnA -nimitta:). See the translation. 623. Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAga:, called snAnIya: ( sAdhanam snAnaM tannimitta: snAnIya:). See the translation. 624. Bhoja cites this gatha to illustrate as an example of one of the varieties of naimittikAnurAga, called vilepanIya: (sAdhanaM vilepanaM tannimitta:). vilepana is an ointment or unguent, any cosmetic or perfume for the body. The gatha is corrupt. The words "bhajaMta-susiNa" at the beginning of the second half of the gatha are obscure and difficult to restore. 625. Bhoja cites this gatha to illustrate as an example of one of the varieties of naimittikAnurAga:, called mAlyIya: (sAdhanaM mAlyaM tannimitta: mAlyIya:). See the translation. 626. This gatha is quite corrupt. Tentatively it may be reconstructed as follows: vihalaMghala - sAhuli-paMDurAe (athavA, pia-laddha-sAhulI-parihiAe~) jahaNabharamaMdagamaNAe / ahidhAviUNa cipphappuphaphalaae (?chikko pupphavaIAeN) dhaNNo si // (vyAkula-pANDuraparidhAnayA (athavA, priya-labdha-vastraparihitayA) jghnbhrmndgmnyaa| abhidhAvya spRSTaH puSpavatIkayA (= puSpavatyA) dhanyo'si // ) Bhoja cites this gatha to illustrate as an example of one of the varieties of naimittikAnurAga:, called aupasara: (samAveza: upasara: tannimitta: aupasara:). upasaraH - approaching towards; youart - a (young) woman in her period. 627. Bhoja cites this skandhaka as an example of one of the varieties of naimittikAnurAgaH, called prAsAdikaH (samAveza: prasAdaH, tannimitta: prAsAdika:) See the translation.

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Prakrit Verses in Sanskrit Works on Poetics 411 628. Bhoja cites this skandhaka as an example of one of the varieties of naimittikAnurAga:, called madaja: (samAveza: madaH, tannimitta: madaja:). mada is spirituous liquor. See the translation. 629. Read fazifa in the first half of the gatha and in the corresponding chaya eflarda Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAga:, called gahananimitta: (deza: gahana:, tannimitta: gahananimitta:) gahana - thicket, wood. 630. Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAgaH, called sevya-nimitta: (deza: sevya:, tannimitta: sevyanimitta:) (deza-aplace); sevya - to be resorted to or frequented. 631. Bhoja cites.this gatha as an example of one of the varieties of naimittikAnurAgaH, called gItanimitta:-(prakIrNakaM gItam, tannimitta: gItanimitta:). This gatha, when corrected, agrees with GS IV. 81 keNA ci (? keNAvi ajja gose, kappivaNe (? kaM pi vaNe / maNe) vallahaM mharaMteNa (? bharateNa) / aMhamahaNa (? amhaM maaNa-) sarAhaa-hiaavaNapphoDaNaM (- hiaa-vvaNa-phoDaNaM) gI // (kenApi adya prabhAte kAmapi manye vallabhAM smaratA / asmAkaM madanazarAhata-hRdaya-vraNa-sphoTanaM gItam / / ) See the translation 632. Bhoja cites this gatha as an example of one of the varieties of naimittikAnurAga : called utsavanimitta: (prakIrNakaM utsava:, tannimitta: utsava-nimitta:). Keith thus writes about this gatha: "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 sAmAnyAnurAga. This gatha illustrates the veriety, called dravyagocara. Cf. the second half the famous subhASita: asAre dagdhasaMsAre sAraM sAraGgalocanA: / 634. This gatha illustrates the variety, called guNagocara. SK (p. 633, v. 213) cites it with the introductory remark : "(saMbhogaceSTAsu pUrvAnurAgAntare) AliGganaM yathA-". 635. This gatha illustrates the variety, called cofilter. SK (p. 674, v. 333) cites it with the introductory words : upacAranirapekSovisambhajo yathA- chearaa (cheka = vidagdha-rata) technically perfect sexual enjoyment; puNarutta0 (punarukta-rAga-rasa-rasikAni) full of the repeated rapturous delight; sabbhAva0 (sadbhAva-ramitAni [? ratAni]) carnal enjoyment full

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412 Prakrit Verses in Sanskrit Works on Poetics of real love or real feeling. 636. This gatha illustrates the variety, called if H. If she is young, her form, her manner of speaking, her dress, - everything looks extra-ordinary. 637. This gatha illustrates the variety, called as SK (p. 683, v. 374) cites this gatha with the introductory words ; Hirichiyung naguri9G-TIGTHT 3211 -- 638. This gatha 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 gatha illustrates the variety, called ara. DSS (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 occhiammi with kezavivaraNe. I do not know if occhit is desi for Defeu. Could 3111837 stand for 349H (end) ?" - Dr. H. C. Bhayani ren.arks :"efacient in the SP chaya (based possibly on some commentary) is better." 642. This gatha illustrates the variety, called HERd. Dr. A. M. Ghatage thus restores the second line : (UTI) cais alfa 7GUT P3T I As regards JUPTI ramiavvAiM, the scanning of the metre shows that we should have 12 mAtrAs excluding the final s before which the ufa falls. Hence guruti. In Sanskrit we can regard it as one adverb and write punaruktaM ramitavyAni or regard the anusvAra as a Sandhi consonant and render it as goeftif which will thus agree with the other words. Both are equally good. 643. This gatha is already dealt with; vide SP S. No. (127.67) supra. Bhoja cites it here to illustrate the variety, called durian. 644. This gatha 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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Prakrit Verses in Sanskrit Works on Poetics 413 645. Bhoja cites this gatha 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 gatha 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 prAhu: kuTTamitaM nAma zira:karavidhUnanam / / i.e., the affected repulse of a lover's endearments or caresses. 650. Bhoja cites this gatha 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 gatha to illustrate the variety, called i ETURAT. This gatha may tentatively be restored as follows :76 393i fa f131 E - (? 5 -) RETUT o Ruus-HGHT Gia (AYT ) ERO- (? Ruft - 31 UT HERE (? HIRS) 1 (tathA Rjukamapi rasitaM caTu-parihINamapi dattasadbhAvam / vizrambhe'pi (salajjaM ko) gRhiNI-rataM na saMsmarati / ) 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 gatha 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 gatha is already dealt with; vide SP S. No. (206.84) supra. Bhoja cites

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414 Prakrit Verses in Sanskrit Works on Poetics it here to illustrate the variety, called aga. 655. Bhoja cites this gatha to illustrate the variety, called Igreziara. ICTEZ -- dexterity, intelligence, acuteness, cunning (in). 656. Bhoja cites this gatha 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 gatha to illustrate the variety, called 'fo241967:' : 658. This gatha is already dealt with; vide SP 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 gatha is already dealt with; vide SP 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 gatha 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 = facarpfat like ufafes and fourts, their subjects being bhoia, naTa and janapada (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 gatha is already dealt with; vide SP 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 Natya-sastra. Vibhava (alambana-and uddipana-) and vyabhicari-bhava are the other two technical terms occuring in Bharata's famous rasa-sutra : vibhAvAnubhAvavyabhicArisaMyogAd rsnissptti:| 662. Bhoja cites this gatha to illustrate the variety, called ASRAF.

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Prakrit Verses in Sanskrit Works on Poetics 415 663. Bhoja cites this gatha to illustrate the variety, called 31PHERIA. 664. Bhoja cites this gatha to illustrate the variety, called E. Dr. A. M. Ghatage writes to say : sojjhaa = zodhaka (washerman); suA - his daughter. titthAvAso jaNo savvo kao. sojjhaa a suAe kao titthAvAso jaNo savvo / "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 gatha to illustrate the variety, called 31-4R. Hq (Mar. Rai, Hindi H5341). The Sanskrit commentary (NS edn., p. 345) says : 951-91ralfag 1 surabhitasya maruvakasya saurabhanimittAya puSpaM yathA nAdhikakAmanIyaM tathA sahajasaundaryasauSThavAdiguNagaNAlaMkRtasya Ta Pa at JucYTETRufa ura: ---- There is yet another explanation : The situation according to DR is as follows: The female friend (sakhi) of the nayika asks her-"Why did you not have a baby all these days ? And what are the dealings of your husband ?". The nayika 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 viparita-rata (contrary intercourse). That does not matter. Even in the absence of a baby, you are experiencing the rapture of viparita-rata with your husband, that is after all not a small thing." - quoted by M. V. Patwardhan. 666. The text of this gatha 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 gatha to illustrate the variety, called 9. 667. Bhoja cites this gatha to illustrate the variety, called 3T169T. 371hr Siche (p. 10, v. 28) cites this gatha as an example of the figure 31 rau.fanpir (pp. 38-39) disagrees, looks upon it as the figure 3441. 669. This gatha is already dealt with; vide SP 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 upamA, called antarbhUtasAmAnyA nAma samAsopamAsu 4914Hrafn: Further on (p. 616) it again cites this gatha with the introductory words (37Thiag) 3101 -

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416 Prakrit Verses in Sanskrit Works on Poetics 670. This gatha is already dealt with; vide VJ S. No. (1.19), and SP S. No: (41.50) supra. Bhoja cites it here to illustrate the variety, called sifara. 671. This gatha is already dealt with; vide SP 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 gatha to illustrate the variety, called tufta. 673. Bhoja cites this gatha to illustrate the variety, called Fariha. 674. This corrupt gatha may tentatively be restored as follows : As uiguur37-211-220T-375- Uf3T (3prar, YU37-) My-HUSTI vatthaM sojjhaa-dhUA-hiaehi samaM juANANaM / / (fufa -RO-Fc-ari (32ai, H -) THEZITI vastraM rajaka-duhitA hRdayai:samaM yuunaam||) Bhoja cites this gatha to illustrate the variety, called Pania. 675. Bhoja cites this gatha to illustrate the variety, called Eria. 876. Bhoja cites this gatha to illustrate the variety, called dina. In his Notes to Gahakosa (p. 150, v. 180), M. V. Patwardhan observes : "As Prof. Weber points out ---, B (Bhuvanapala) 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, Gahakosa, pp. 82-83, v. 180. 677. This gatha 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 gatha to illustrate the variety, called aguilaqu:. SK (p. 689, v. 397) cites this gatha with the introductory words : FRAIGHT vilAsinI yathA --. SK treats of gaNikA, rUpAjIvA and vilAsinI with their definitions and illustrations - distinguishing them clearly from each other. a y. It is already 678. Bhoja cites this gatha to illustrate the variety, called M dealt with; vide SP S. No. (431.131) supra. 679. Bhoja cites this gatha 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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Prakrit Verses in Sanskrit Works on Poetics 417 SK (p. 614, v. 138) cites it to illustrate ETTER, one of the E147 Panas. Portf137 is a desi word. 'forget for a HT - DSS, p. 143. 680. Bhoja cites this gatha 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 gatha to illustrate the same nayika. 681. This skandhaka is already dealt with; vide SP 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 : pratinAyikA yathA-nAyikA is the heroine and pratinAyikA her rival. 682. This skandhaka is already dealt with; vide SP 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 gatha to illustrate the variety, called yamfagu. yram is a beloved or favourite wife. 684. Bhoja cites this gatha to illustrate the twenty-fourth variety or kind of OTTIERT, called freq-u. Note: please read : This gatha is later cited in Alaskara-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 gatha is already dealt with; vide SP S.No. (415.128) supra. Bhoja cites it here to illustrate the variety, called parAGganAviSaya:. parAGganA is the wife of another. SK (p. 615, v. 141) cites it with the introductory words '3tguidy asofatu . 686. Bhoja cites this gatha to illustrate the variety, called falsilahl. F1$ is own (the nayaka's) wife, also called svA or svIyA as opposed to anyA or anyastrI (the nayika who belongs to another, who is another's wife). SK (p. 686, v. 386)

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418 Prakrit Verses in Sanskrit Works on Poetics cites it as an example of gertat UET -- the earlier married wife -- the senior one. 687. Bhoja cites this gatha 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 gatha 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 gatha is already dealt with; vide SP S. No. (144.71) supra. Bhoja cites it here to illustrate the variety, called skilau-relating to a noble or self-controlled nayika. 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 gatha is already dealt with; vide SP S. No. (390.123) supra. Bhoja cites it here to illustrate the variety, called 3ERifa94 -- relating to a nayika, lacking in self-control. 691. This gatha is already dealt with; vide SP S. No. (484.142) supra. Bhoja cites it here to illustrate the variety, called fauteen94 -- the nayika 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 gatha is already dealt with; vide SP S. No. (388.122) supra. Bhoja cites it here to illustrate the variety, called 31 m aila - relating to an 31 HIRT - a nayika 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 gatha is already dealt with; vide SP 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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Prakrit Verses in Sanskrit Works on Poetics 419 694. This gatha is corrupt and obscure. Bhoja cites it here to illustrate the kind or variety, called Goth - difficult to be obtained, extraordinary, eminent. 695. This gatha 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 gatha to illustrate the kind or the variety, called fauze -- remote or distant. 697. Bhoja cites this gatha to illustrate the kind or the variety, called video - connected, closely associated. 698. Bhoja cites this gatha 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 gatha 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 gatha to illustrate the kind or the variety of YESURIT (secret or clandestine love), called Aryder. See the translation. 701. Bhoja cites this gatha to illustrate the kind or variety of your ligem, called HAAT - caused by fear or apprehension. 702. Bhoja cites this gatha to illustrate the kind or variety of YERM, called GHIAAT -- caused by bashfulness or a sense of shame, modesty. 703. This gatha is already dealt with; vide SP S. No. (501.144) supra. Bhoja cites ' it here to illustrate the kind or variety of pracchannAnurAga, called kAlaniyata, restrained or controlled by time. SK (p. 632, v. 212) cites it with the introductory words: "Patery galgerler yeni e --". 704. This gatha is already dealt with; vide SP S. No. (575.157) supra. Bhoja cites

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420 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 gatha is already dealt with; vide SP 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 gatha : 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 gatha is already dealt with; vide SP 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 gatha to illustrate the kind or the variety TERRIT, called PR - rustic or rural. 708. Bhoja cites this gatha to illustrate the kind or variety of yoHRM, called your (miscellaneous). Now, Akrtrimanuraga - 24 kinds : 709. Bhoja cites this gatha to illustrate sahaja: anekaviSaya: (akRtrimAnurAga:). See the translation. 710. This gatha 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 gatha to illustrate the first variety of utafut, called STRR -- bodily, physical, corporeal. 712. This gatha is already dealt with; vide SP S. No. (495.143) supra. Bhoja cites it here to illustrate the second variety of 1961, called Frimental, spiritual. 713. Bhoja cites this gatha 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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Prakrit Verses in Sanskrit Works on Poetics 421 UTENT ". 714. This gatha is already dealt with; vide SP 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 dRSTvA pazcAdvitIyo rajyate / (transient, 715. Bhoja cites this gatha to illustrate the second kind of 36R4, called not permanent). 715. Bhoja cites this gatha to illustrate one of the two kinds of forhol, called . SK (p. 673, v. 329) cites this gatha 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 gatha to illustrate the second kind of fagrist, called 'ICTH. 218. This gatha is already dealt with; vide SP S. No. (227.90) supra. Bhoja cites _it here to illustrate one of the 24 kinds of akRtrimAnurAga, called yauvanajAhAryaja. 719. This gatha is already dealt with; vide SP S. No. (382.121) supra. Bhoja cites it here to illustrate one of the 24 kinds of akRtrimAnurAga, called yauvanaja-visambhaja. 720. Bhoja cites this gata to illustrate one of the two kinds of fanta, called HEVILA '' (? ) fauteur Now, 24 kinds of SHIRT : 721. Bhoja cites this gatha to illustrate one of the 24 kinds of ghirr, called nityAnukArI. On this gatha Dr. A. M. Ghatage notes : NiuNamuvagUDho or puNa a uvaUDho 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 gatha to illustrate one of the 24 kinds of SHIRM, called sAmAnyAnukArI. 723. Read the first half of the gatha Gaon and its corresponding chaya Turn. Bhoja

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422 Prakrit Verses in Sanskrit Works on Poetics cites this gatha to illustrate one of the 24 kinds of kRtrimAnurAga, called pracchannAnukArI. 724. Bhoja cites this gatha to illustrate one of the 24 kinds of kRtrimAnurAga, called sAlambana. 725. This gatha is already dealt with; vide SP S. No. (656.172) supra. Bhoja cites it here to illustrate one of the 24 kinds of kRtrimAnurAga, called prasiddhaviSaya. 726. This gatha is corrupt but it is restored tentatively with the help of Vajjalagga v. no. 475 : pekkhaha mahANucokhaM kANAghariNIi jaM kayaM kajnaM / cuMbevi na lahu nayaNaM jhaDatti nIsArio jAro || Read the comments of ratnadeva : --- kAcidasatI anyena saha suratasaukhyamanubhavantI yAvattiSThatti tAvadakSNA kANastatpati: samAjagmivAn / tata uktvA "ayaM mama priyatama: samAgato'haM dhanyA' iti tasya dvitIyamakSi sarabhasaM cumbati sma / tAvajjAro ni:sasAreti bhAva: / - pR. 129. kANA0 - The elongation of the final a in kANA is for the sake of metre. kANa- blind in one eye. In the second half of the gatha it is possible to read kANakkhi0 (SK kANAkSi0). Bhoja cites this gatha to illustrate the kind of kRtrimAnurAga, called aprasiddhaviSaya. 727. Bhoja cites this gatha to illustrate the kind of kRtrimAnurAga, called suprayukta. Dr. A. M. Ghatage observes : "kiM Na vesANa dIsae appA'- 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 kRtrimAnurAga, called saprayojana. 729. This gatha is already dealt with; vide SP S. No. (280.101) supra. Bhoja cites it here to illustrate the kind of kRtrimAnurAga, called sapratibheda. 730. Bhoja cites this gatha to illustrate the kind of kRtrimAnurAga, called niSpratibheda. Regarding the restoration of the first half of the gatha, Dr. A. M. Ghatage observes : "aphuDeNa (asphuTena) uvakaMpieNa (upakaMpitena) kajjassaaMtagamaNeNa | would be more in agreement with the textual matter." The first half may better be presented as follows :(aphaDeNa (? aphuDeNa / kavaDeNa) upakaMpiteNa (? uvakaMpieNa? maha-mahara-jaMpieNa) kajjasa aMtagamaNeNa / (asphuTena [kapaTena] upakampitena [? madhu-madhura-jalpitena] kAryasyAntagamanena / ) The stanza may be translated as follows:

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Prakrit Verses in Sanskrit Works on Poetics 423 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 kRtrimAnurAga, called strIkRta. See the translation. 732. This corrupt gatha may tentatively be restored as follows: hoMtavaro taha (taha) hehiNIe cuDuama-(?gehiNIeN caDuamma-) vAvaDo hoi / jaha iasaMgoiM (?jaha jaha saMgoviAiM/ saMNihiAI) huvaMti vAreja-diahAI // (bhaviSyadvarastathA tathA gehinyA: (= gRhiNyA:) caTkarmavyApRto bhavati / yathA yathA saMgopitA (athavA saMnihitA) bhavanti vivAha-divasA: / / ) See the translation. Bhoja cites this gatha to illustrate the kind of kRtrimAnurAga, called puruSakRta. 734. Bhoja cites this gatha to illustrate the kind of kRtrimAnurAga, called anubhayakRta. SK (p. 451, v. 84) cites this gatha as an example of (pUrvA nAma) apanuti. 735. This gatha is already dealt with; vide SP S. No. (246.94) supra. Bhoja cites _it here as an example of saMbhoga-(svAGganAviSaya). . 736. Bhoja cites this gatha as an example of saMbhoga (parAGganAviSaya) 737. Bhoja cites this gatha as an example of saMbhoga (uttamAviSaya). kaDacchie ("? kaatthie . - SK kadarthite (haruhurAaMti) - sphurasphurAyante is O.K." - Dr. A. M. Ghatage. In the chaya, read sphurasphurAyante for hurahurAyante. 738. Bhoja cites this gatha as an example of saMbhoga (madhyamAviSaya). 739. Bhoja cites this gatha as an example of saMbhoga (kaniSThAviSaya). cf. with this gatha - SP S. No. (731.184) supra. saMjama-saMyama to tie up or bind together (hair or a garment); vigalitabandham may be construed with either vastra or kezapAza. 740. This gatha is already dealt with; vide SP S. No. (127.67) supra. Bhoja cites it here as an example of saMbhoga (mugdhAviSaya). SK (p. 338) cites it as an example of a variety of the figure Hr and (p. 635) cites it with the introductory words : "sarvaM sarvatra yathA-".

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424 Prakrit Verses in Sanskrit Works on Poetics 741. Bhoja cites this gatha as an example of FATT (HEZIHT (? HEZIT -] Pau). After giving the chaya 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 gatha is already dealt with; vide SP S. No. (655.171) supra. Bhoja cites it here as an example of viage (w"isTat-lagu). 743. Cf. this gatha with DHV S. No. (10.7) supra. Bhoja cites this gatha as an example of it (facu). 744. This gatha is already dealt with; vide SP S. No. (282.101) supra. Bhoja cites it here as an example of it (attraffaq). 745. Bhoja cites this gatha as an example of Fit (fo(auffagu). 746. Bhoja cites this gatha 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 gatha from GRK (v. no. 672) : Sid FUT-FUT-PORT5-HT-jag u t i kAmINa galai seo ruhirugAro vva sIyassa / / 748. This gatha is already dealt with; vide SP S. No. (74.56) supra. Bhoja cites it here as an example of 5279 (fuffrauifaq). 749. This gatha 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 pia + addAaM ? See PSM addAa = darpaNa and the reference to addAavijjA." 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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Prakrit Verses in Sanskrit Works on Poetics 425 I know little about addAa-vijA - nothing more than what PSM says : "cikitsA kA eka prakAra, jisase bImAra ko darpaNa meM pratibimbita karAne se vaha nIroga hotA hai / " Bhoja cites this gatha as an example of vipralambha (svAGganAviSaya). 750. Bhoja cites this gatha as an example of vipralambha (parakIyAviSaya). The portion of the second half of this gatha as printed in Mysore edn. (p. 831), sAse sihikhaMDakhaMDehi 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 gatha is already dealt with; vide SP S. No. (233.92) supra. Bhoja cites it here as an example of vipralambha (mugdhAviSaya). SK (p. 643, v. 254) cites it with the introductory remark : "pravAse vyAviddhaM yathA -" and thus comments upon it: atraikasyApi divasaMsya varSAyamANatayA vizeSato (priyAliGganAdivaJcanayA) dairdhya pratIyate / - sarasvatI pU. 643. 754. Read the third quarter of the gatha as : bahulapaoseNa va tue and its chaya 'bahula-pradoSeNeva tvayA'. Bhoja cites this gatha as an example of vipralambha (madhyamA-viSaya). 755. Bhoja cites this gatha to illustrate vipralambha (pragalbhAviSaya). Further on p. 930, S. No. (916.214) he cites it to illustrate 'manasi cintA'. 756. Bhoja cites this gatha to illustrate vipralambha (sarvaviSaya). The gatha, as presented, is metrically defective. If we were to read jaNassa cia (Sk. janasyaiva), the metre would not be violated. 757. Bhoja cites this gatha as an example of vipralambha (vasantacaryAviSaya) : atra kAcita proSitabhartakA kayAcit kuzalaM pRSTA tAM prati mama kSemaM kuta: kut:| nirvedAtizayAd dviruktiH| mama gRhAGgaNe yo'sau kubjAmrastasya zirasi ko'pyanartha iti maJjarImenAM dRSTvA kthNjiivaamiitybhipraay:| --- vemabhUpAla, pR. 27. "kiM pi 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 gatha is already dealt with; vide SP S. No. (486.142) supra. Bhoja cites it here as an example of vipralambha (grISmacaryAviSaya). 759. This gatha is cited to illustrate vipralambha (varSartucaryAviSaya). SK (p. 614, v. 138) too

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426 Prakrit Verses in Sanskrit Works on Poetics af, the muttering / roaring of thunder/clouds, cites it as an example of as one of the uddIpanavibhAvas. 760. Bhoja cites this gatha as an example of vipralambha (zaracaryAviSaya). 761. Bhoja cites this gatha as an example of vipralambha (hemantacaryAviSaya). Bhuvanpala in the course of his comments says : hemante pathikasya zItameva praNaSTam / kadAcid bhasanAbhyantaragato bhavatItyAha - gRharahitasya ata eva himarajodhUsarasya / (aparaM ca kiidRshsy)| smRtaM yat kAntAmukhaM tena svedanazIlasya / tatsmaraNaikatAnamanA: sadapi zItaM na gnnytiityrth:| --- heturlNkaarH| - gAhAkosa pR. 271. 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 vipralambha (ziziracaryAviSaya). The second half of this gatha according to Weber (as given in Joglekar's edn. (in Marathi) p. 555 and v. 925 reads : dIhA Na samappai sisirajAmiNI kaha Nu de mANo | Whereas SP reads : dIhA vi samappai si sirajAmiNI kaha Nu de mANo || 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. 'dIrghApi samApyate zizirayAminI' suits this context much better. With Weber's reading there is no urgency for the beloved to give up her jealous anger for "dIrghA na samApyate zizirayAminI" - She could continue to maintain her anger and pride. 763. This gatha is already dealt with; vide SP S. No. (413.127) supra. Bhoja cites it here as an example of prathamAnurAga (love at first sight). 764. This gatha is already dealt with; vide SP S. No. (616.165) supra. Bhoja cites it here as an example of "mAnAnantarAt pravAsAnantara:'. SK (p. 591, v.54) defines zaGkA 'apprehension' and with the introductory words "tad-(-zaGkA-)rUpeNa rasasya prakarSo yathA-", it cites this gatha and observes : atra virahiNyA: kAAtizayamudIkSamANAyA: kasyAzcida vayasyAyA: snehAtizayAt "prema pazyati bhayAnyapade'pi' iti priyAgama-praharSAtizayabhAve'pyasahiSNutayA tanmaraNazaGkA prakRSyate / 765. Bhoja cites this gatha as an example of 'rAgavardhanatvena prathamAnurAgAnmAna:'.

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Prakrit Verses in Sanskrit Works on Poetics 427 766. This gatha is already dealt with; vide SP S. No. (615.164) supra. Bhoja cites _it here with the introductory words : "mAnAt pravAsa: sa yathA -". 767. Bhoja cites this gatha with the introductory remark : "pravAsAt karuNa: yathA-". SK (p. 642, v. 250) cites it with the introductory words : "karuNe pratyAdAnaM yathA -". This gatha gives expression to a beautiful sentiment. Cf : uparatApyanuparatA mahAsenaputrI evamanukampyamAnAryaputreNa / -bhAsa:-svapnavAsavadattA VI; and also : Na hu so uvarado jassa vallaho sumaredi / na khalu sa uparato yasya vallabha: smarati / - bhavabhUti:-mAlatImAdhava V-24-25. 768. Bhoja cites this gatha with the introductory words : "vaicitrye mAnAnantaramAna: sa yathA-". SK (p. 646, v. 262) too cites this gatha with the introductory words : "ya: prema manute yathA-" and thus comments upon the gatha : atra 'manu avabodhane' iti dhaatuH| mAnena hi jana: premAsti nAsti veti budhyate / tasya ca karaNabhUtasyApi prAdhAnyAdatra krtRtvopcaar:| tad yathA'prajJA pazyati no cakSurdaSTi: sarasvatI hi sA' iti / 769. Bhoja cites this gatha with the introductory words : "rAgavardhanatve sa(mAna) eva yathA-". 770. Bhoja cites this gatha with the introductory words: "sa rAgavardhanatve yathA-". "The banks of Godavari 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 : "prakAzAt pracchanno balIyAn, so'pi tatraiva (yathA) -". See translation. 772. Bhoja cites this skandhaka with the introductory words : "tatra dhIrottamAyA vipralambhe'nubhavasaMpad yathA -". Na kao vi rAamokkho - In Setu XI. 56 the skandhaka opens with Na kao bAha-vimokkho ; So, I was tempted to read 'Na kao vi bAhamokkho '. But then in the latter part of the first half, we have (mANakkhalaNe vi) Na paDio cia bAho'. Further, the reading attita-loaNaM was rather obscure. When I referred these points to Dr. A. M. Ghatage, he wrote : "rAamokkho is better. atRptalocanena is the correct reading. atitta = atRpta 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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428 Prakrit Verses in Sanskrit Works on Poetics tIeN NavaraM piaamo, gao tti attitta-loaNaM NIsasi / / (tayA kevalaM priyatamo gata iti atRpta-locanaM ni:zvasitam / ) 773. Bhoja cites this skandhaka with the introductory words : "ERHEZRIT Pactra STATING 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 : atra yadyapi hetUpanyAso vartate tathApi tasya svabhAvAkhyAnaparikaratvenAprAdhAnyena hRdayakriyA svarUpameveha 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 dhairya now outweighs mAnabhaGga and mAnabhaGga now outweighs dhairya and the lady cannot choose either of the two." This is cited further on (p. 998) with the introductory words : vicchidyamAnasantApo viSama:, one of the twenty-four aspects of mAna. 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 mAnopazAntis, called punarbhAva (p. 1041) and (ii) to illustrate priyotthApana, 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 gatha 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 gatha as follows : "As long as he (lover) does not give me the limit (379EUR) (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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Prakrit Verses in Sanskrit Works on Poetics 429 776. This gatha is already dealt with; vide SPS. No. (314.108) supra. Bhoja cites it here with the introductory words : "tasyA (adhIrottamAyA) eva sambhoge yathA -". SK (p. 617, v. 148) too cites this gatha with the opening words : "saMcAriSu sveda-romAJcavepathavo yathA-". 777. This gatha is already dealt with; vide SP S. No. (328.110) supra. Bhoja cites it here with the introductory words : "adhIramadhyamAyA vipralambhe'nubhAvasaMpad yathA-". SK (p. 639, v. 239) too cites this gatha with the introductory words : "striyA eva sakhIvAkyasyAkSepeNa yathA -". 778. This gatha is already dealt with; vide SP S. No. (321.109) supra. Bhoja cites it here with the introductory words : "tasyA (adhIramadhyamAyA) eva sambhoge'nubhAvasaMpad yathA -". SK (p. 645, v. 260) too cites it with the introductory words : "mAne mAnyate yeneti yathA -", and comments on it as follows : atra 'mAn pUjAyAm' iti dhAto: svArthikaNijantANici ghani ca mAna iti rUpam / sa hi preyAMsamasyA: pAdapatanAdipUjAyAM pryojyti| -sarasvatI pR. 646. . . 779. Bhoja cites this gatha with the introductory words : "adhIrakaniSThAyA vipralambhe'nubhAvasaMpad yathA-". 780. Bhoja cites this gatha with the introductory words : "tasyA (adhIrakaniSThAyA) eva sambhoge yathA-". . 781. This gatha is already dealt with; vide SP S. No. (238.93) supra. Bhoja cites .. ' it here with the introductory words : "tatra mugdhAyA uttamatvaM sambhoge yathA -". SK (D. 686, v. 384) too cites it with the introductory words pANigRhItA UDhA yathA-". 782. This gatha is already dealt with; vide SP S. No. (256.96) supra. Bhoja cites _it here with the introductory words : "(mugdhAyA uttamatvaM) vipralambhe yathA -". SK (p. 622, v. 172) too cites it with the introductory words : "premAbhisaMdhAnaM puMso yathA-". 783. This gatha is already dealt with; vide SP S. No. (738.185) supra. Bhoja cites it here with the introductory words : "madhyAyA uttamatvaM sambhoge yathA -". 784. This gatha is already dealt with; vide SP S. No. (230.91) supra. Bhoja cites it here with the introductory words : "(madhyAyA uttamatvaM) vipralambhe yathA -". SK (p. 687, v. 389) cites it with the introductory words "gUDhamAnarddhirudAttA yathA -".

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430 Prakrit Verses in Sanskrit Works on Poetics 785. This gatha is already dealt with; vide SP S. No. (560.155) supra. Bhoja cites it here with the introductory words : "(athottamAmadhyAkaniSThAsu mugdhatvam) tatrottamAyA mugdhatvaM PAYTI PRIT --". SK (p. 638, v. 236) too cites it with the introductory words : "atraiva (saMbhoga-parISTiSu prathamAnurAgAnantare) dohadena mugdhAyA yathA -". 786. This gatha is already dealt with; vide SP S. No. (233.92) supra. Bhoja cites it here with the introductory words : "(tatrottamAyA mugdhatvaM) vipralambhe yathA-". SK (p. 643, v. 254) too cites it with the introductory words : "pravAse vyAviddhaM yathA -" and thus comments upon it : atraikasyApi divasasya varSAyamANatayA vizeSato dairdhya pratIyate / 787. This gatha is already dealt with; vide SP S. No. (340.113) supra. Bhoja cites it here with the introductory words : "madhyamAyA mugdhatvaM saMbhoge yathA -". 788. This gatha is already dealt with; vide SP S. No. (323.109) supra. Bhoja cites it here with the introductory words : "(madhyamAyA mugdhatvaM) vipralambhe yathA-". 789. This gatha is already dealt with; vide SP S. No. (124.66) supra. Bhoja cites it here with the introductory words : "kaniSThAyA mugdhatvaM saMbhoge yathA -". SK (p. 315. v. 5) cites it to illustrate one of the kinds or varieties of the figure vifa (= svabhAvokti) (AzrayeSu mugdhayuvati:), and thus comments upon it : atra : mugdhavadhvAzritakriyAsvarUpabhaNanAd iyaM mugdhAGganAzritA jAti: / 790. This gatha is already dealt with; vide SP S. No. (459.137) supra. Bhoja cites it here with the introductory words : "(kaniSThAyA mugdhatvaM) vipralambhe yathA-". SK (p. 664, v. 301) cites it with the introductory words : yatra striyo dolAmArohanti saandolncturthii| yathA - "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 gatha is already dealt with; vide SP S. No. (186.80) supra. Bhoja cites it here with the introductory words : "saptakeSu, nityanaimittika- sAmAnya- vizeSa- prakAzana pracchannAkRtrimANAM yogo yathA -". 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 AkSepa. 792. Read in the chaya tAmya. Pro. Aravind Mangarulkar (Sephalika, p. 335) gives

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Prakrit Verses in Sanskrit Works on Poetics 431 Populta tahigaritat as the chaya of foro. 793. Read in the first half of the gatha 331Evila and in the corresponding chaya upabhajyante; and in the second half khAditogalitAni kriyante. Dr. H. C. Bhayani would like us to read "GEMAS (after yearfecilfo)-sour belches. Ce sour, acid; Guj. UTG, H. UET" M. V. Patwardhan wrote to say : "I think the word uisfiurs 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 Ursuris 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 gatha is already dealt with; vide SP S. No. (381.121) supra. SK (p. 644, v. 257) cites this gatha 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 cocar qurg facient Puud 1) 795. This gatha is already dealt with; vide SP S. No. (372.119) supra. SK (p. 645, v. 258) too cites this gatha with the introductory words : "attagliat IT --" and comments upon it thus : 375 gadi Alquefta puydt af ? 344viSayiNAbhilASeNApIti pratIyate /

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

Page #497
Sringaraprakasa (Vol. IV) Contd.--- 800. This gatha is already dealt with; vide SP S. No. (413.127) supra. Bhoja cites it here as an example of sAkSAt pratyakSAnurAga, variety of darzanAnurAga. 801. Bhoja cites this gatha as an example of pratibimbAnurAga, a variety of darzanAnurAga. The gatha describes a 41 kissing hout, reflected in the form of an image in the shining or glossy cheek of the dancing cowherdess. Bhuvanpala reads sirigoviyAi (mukhyagopikAyA:) in the place of sarisagoviANa (which violates the metre) or better sarigoviANa (sadRga-gopikAnAm). Bhuvanpala remarks : 'siri' - zabdo mukhyaparyAya:I. But we have the authority of Hemacandra (Prakrit Grammar 8.1.142) to get the form sari for sadRk. 803. This gatha is already dealt with; vide SP S. No. (81.57) supra. Bhoja cites it here as an example of one of the six kinds of pratyakSa, called smRti (pramANAnubhUtasya vastuno manasi pratibimbanaM smRti:|) 804. Bhoja cites this gatha as an example of upamAnAnurAga, saMjJopamAna, one of the six kinds of upamAna. 805. This gatha is already dealt with; vide SP S. No. (151.72) supra. Bhoja cites it here as an example of upamAnAnurAga - abhinayopamAna. 806. This gatha is already dealt with; vide SP S. No. (484.142) supra. Bhoja cites it here in the context of arthApattyanurAga and arthApatti (abhAvapUrvikA). 807. Dr. H. C. Bhayani has reconstructed the gatha as follows : mA muddha voDDha (?) chAvaa bAlAe isi-harisa-dhue varille / viNiaMsaNa-dasaNa-kouhalla-gahio gahilihosi / / (mA mugdha mUrkha (?) bAlaka bAlAyA: ISad-harSa-dhUte uttarIye / vivasana-darzana-kutUhala-gRhIta: grahilIbhavasi / / ) 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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434 Prakrit Verses in Sanskrit Works on Poetics 808. This gatha is already dealt with; vide SP S. No. (235.92) supra. Bhoja cites it here as an example of (abhAvAnurAga-) prAgabhAva. 809. Read - Cf. GS III. 12. There the first half reads : jo jasya vihavasAro taM so dei tti kiM ttha accheraM / (yo yasya vibhavasArastaM sa dadAtIti kimatrAzcaryam / ) Bhoja cites this gatha as an example of (abhAvAnurAga-) atyantAbhAva. 810. Bhoja cites this gatha as an example of (abhAvAnurAga-) sarvAbhAva. Dr. H. C. Bhayani reconstructs the gatha as follows : gAmaM palAsasesaM sumaraNa-sesA kuTuMga-parivADi / amhe vi jIa-sesA pemmassa Na atthi sesaM pi // (grAma: palAza-zeSa: smaraNa-zeSA nikuJja-zreNI / vayamapi jIvitazeSA: premNa: nAsti zeSamapi / ) This restoration is by far the best. See translation. 811. Bhoja treats of six minor zabdapramANas, following Jaimini's sutras (Chapter II) to decide bheda : 1 zabdAntara 2 abhyAsa 3 saMjJA 4 saMkhyA 5 guNa and 6 prakaraNa. He cites this gatha to illustrate zabdAntarabheda (and love through it). Dr. H. C. Bhayani presents this gatha in his Muktaka-Madhuri (Gujarati) in the following form :-- vaMdaM kIrANa Nahe pahiANa pahe maANa chettammi / tuha kalama-govi chokkAraNa-rava-rasiaM na calai paaM || - (p. 144, v. 145). Later in reply to my query about 'chokkAraNa-rava-rasiaM' he wrote: "chokkAraNa-rasina calai paNpi|| would be the best. PSM gives the word under chukkAraNa (from bRha.ka.bhA.) 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 'chucchukkara' to make noises to call dogs, etc.". 812. Bhoja cites this gatha to illustrate 'abhyAsAd bheda:'. He thus explains his point : atra darzanAdibhi: prema apaiti iti vAcye avei (Sk. apaiti) iti padAbhyAsa: premabhedaM bodhayati / kasyaciddarzanena kasyacidadarzanena kasyacit pizunajanajalpitena kasyacid evameva iti / - pR. 887. 813. Read sacaM saNNA (? dhaNNA) dhaNNA, jA taiA kesaveNa giridharaNe / gurubhAravAvaDeNa vi, aa0aMaMcha (? tiriaM acchaM ? ujjua-acchaM) ciraM diTThA / / (satyaM dhanyA dhanyA yA tadA kezavena giri-dharaNe /

Page #499
Prakrit Verses in Sanskrit Works on Poetics 435 gurubhAravyApRtenApi tiryagakSaM / RjukAkSaM ciraM dRSTA / / ) This gatha occurs earlier on p. 269; vide SP S. No. (60.54) supra. Bhoja cites it here as an example of samAkhyA, one of the six zabdapramANas, which help to find out pradhAna-aGga-bhAva when bheda is made. He introduces it with the words "samAkhyAto yathA-" and thus comments upon it : atra dhanyeti samAkhyAbalAt sadaiva tasyAH priyaprasAdapAtratva eva viniyog:| 814. This gatha is already dealt with; vide SP S. No. (264.98) supra. Bhoja cites it here to illustrate 'Artha: krama:' and thus comments upon it : atra pUrva manAthavRddhistata IrSyA prAimaraNAbhAvaH tato vipriyasahiSNutvam ityrthH| pR. 889. 815. Bhoja cites this gatha as an example of 'sthAnakrama'. He thus comments upon it : atra gRhadvAratoraNaniSaNNatvena vandanamAlAsahanidhe: dine dine sApi zuSyati kRzAyate raNaraNAyate ca - iti krm:| 816. This gatha is already dealt with; vide SP S. No. (70.55) supra. Bhoja cites it here as an example of 'mukhya-krama:' and thus comments upon it : atra 'svasti zabdasya mAGgalikatvena mukhyatvAllekhe prAnivezastato'vyavahitaMsthAnanAmnorarthapratiyogino'nantaramakSarasya tata: sandezasya-iti kramaH | - pR. 889. 817. Bhoja cites this gatha as an example of prAvRttika-kramaH; and comments.upon it : atra trivikramapravRttAvapi stanapravRttAvapi prAgavAmanatvaM tato vijRmbhaNaM pazcAd balibandha iti krama: / 818. Read in the first half of the gatha jahimahaNa (? jalahi-mahaNa) - virmmmi| I first read * ahi (? addhi) mahaNa-viramammi in view of the title of a work called abdhimathana by caturmukha. As the editor reads jahimahaNa, ja(la)hi-mahaNa (i.e. jaladhi-mathana, i.e. abdhimathana) might have been the original reading. Bhoja cites this gatha to illustrate 'ucheur, one of the six zabdapramANas - 'determinants which decide the one meaning of a multi-sensed world.' - V. Raghavan (Bhoja's Srigara Prakasa, p. 50). Bhoja thus comments upon it : atra lakSmI-svayaMvaraNaprakaraNato 'hari'-zabdena vissnnurucyte| -pR. 890. 819. This gatha is already dealt with; vide SP S. No. (746.187) supra. Bhoja cites it here to illustrate 'linga', one of the six zabdapramANas-determinants which decide the one meaning of a multi-sensed word. He thus comments upon the gatha : atra 'gaura'-'sita zabdAbhyAM kaladhautasya svarNaraupya-vAcakatvena yathAkramaM yuvatimukha-zarad-vibhAvoM: upmaanvibhaag:| - pR. 890.

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436 Prakrit Verses in Sanskrit Works on Poetics 820. Bhoja cites this gatha to illustrate 'er, one of the six TagYHUS - determinants which decide the one meaning of a multi-sensed word. He thus comments upon it : atra dezata: puNDarIkazabdo'raNyavizeSaNe vyAghramAha karasthAne patramAtapatrasthAne kRtam-iti vibhaag:| - . <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 facayuu31 (9. 2. quo31) --- 822. This gatha is easily identifiable with GSS 11.9 : Ficts 35780HA --- These two gathas (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 gatha 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 gatha is cited as an alternative example to the above one (No. 823). 825. Read in the chaya Hat- art erotta This gatha 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 gatha 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 gatha is already dealt with; vide SP S. No. (602.162) supra. Bhoja cites it here as an example of hollust (FRAUCT -- keen longing). 828. Bhoja cites this gatha as an alternative exampie of Halust. See translation. 829. Bhoja cites this gatha as an example of the AU (BAU = thrilling with joy or

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Prakrit Verses in Sanskrit Works on Poetics 437 desire). Dr. Bhayani reconstructs the gatha as follows : ucesi jA kusuMbhaM tAvacia putti phuliyA pUvA (? pUgA) / maggeNa mahuapaMtI kallANaparaMparA tujjha / tattha || (ucinoSi yAvat kusumbhaM tAvadeva putri puSpitA: pUgA: / mArge madhUka-paGkti : kalyANaparamparA: tava // ) 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 puga (betel) trees have burst into blossom, the Madhuka trees on the roadside have also come into bloom ! 830. Bhoja cites this gatha as an alternative example of saGketaharSaNa. Dr. Bhayani has partially restored the gatha as follows : siMbali-guDie gAme vodraha-paurammi putti diNNAsi / raMjia ------- suhamettha ciTThihisi // (zAlmali-parivRte grAme yuva-pracure putri dattA asi / raJjita ------- sukhamatra sthAsyasi / ) 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 saGketAzvAsa (AzvAsa .' = cheering up, consolation). See translation. 832. This gatha is already dealt with; vide SP S. No. (311.107) supra. Bhoja cites it here as an alternative example of CTTH. See translation. 833. This gatha is already dealt with; vide SP S. No. (601.162) supra. Bhoja cites it here as an example of saGketAgama (Agama = coming near, approaching). Mathuranatha Sastri (p. 83) thus introduces the gatha : 'saGketasthAne nAyakastvatpratIkSayA kAmapIDAmanubhavannuttAmyati' iti nAyikAm anyAn prati ca tatra gamane bhayaM sUcayantI dUtI tAvadanyApadezenAha'(The word TTH probably has reference to the arrival of the nayaka (or nayika, as the case may be) at the love-tryst. 834. Bhoja cites this gatha as an alternative example of MSCIMA. Mathuranatha Sastri

Page #502
438 Prakrit Verses in Sanskrit Works on Poetics (p. 271) thus introduces the gatha : Patutsta & REHTY TNT rument padArthamupAdadato bibhyati / tadvirama tadupasaraNAditi nAyakaM zikSayanti dUtI sApadezamAha -- / 835. This gatha is already dealt with; vide SP S. No. (126.67) supra. Bhoja cites it here as an example of saGketabhraMza. The hAlikaputra 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 gatha as an alternative example of H RT. See translation. 837. This gatha 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 gatha as an alternative example of $a-Pany. The unchaste woman picks up the Madhuka flowers-the last of the season, and weeps because of the impending termination of love-trysts under the Madhuka tree. 839. Bhoja cites this gatha 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/ gatha is corrupt and therefore obscure. 841. Bhoja cites this gatha as an example of $45. Dr. Bhayani thus reconstructs the text of this gatha : ciMtehi aMgasaMgaM, vaassa aNNeNa NaM uvAeNa / sA uNa palahI pAveNa teNa daDDhA tusAreNa || (cintaya aGgasaGgaM vayasya anyena nanu upAyena / sA puna: kArpAsI pApena tena dagdhA tuSAreNa |) See translation.

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Prakrit Verses in Sanskrit Works on Poetics 439 842. Bhoja cites this gatha 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 gatha - the first half is our despair - M. V. Patwardhan wrote to say : "I think your is to be paraphrased as zUnya. If we emend it into savva (= sarva), there arises the difficulty that the hemistich lacks a predicate. grAma: sarvayuvaka: kriyate cannot convey any sense, because of the absence of any compliment to the verbal form kriyate. suNNa 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-ghata (to the river side) for collecting flowers. As she leaves her house she makes whole village empty of .. young men ! 845. Bhoja cites this gatha 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 gatha as an alternative example of art. The Murala 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 gatha 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

Page #504
440 Prakrit Verses in Sanskrit Works on Poetics context as an example of 'Trasto Baranyi Ereguffa:' The precise meaning of the term 34914 and how the present gatha serves as its illustration is not clear. 848. Dr. H. C. Bhayani would like to restore this gatha as follows : "3177-319U-qca quin E fA3 3 31 1 jaha sA Na ThAi heThe hu tassa vi cUaviDavassa / / [anugamana-pUrvaM vane tathA duHkhitA tu AzAbhi : / yathA sA na tiSThati adhastAt khalu tasyApi cUta-viTapasya // ] 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 haAsAhiM (Sk. hatAzAbhi:) for the proposed u AsAhiM in the first half. Actually we find this very expression used in the first illustration (S. No. 847). We may freely translate the gatha 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 gatna as an example of HT-RAHT (URGI prayer, request, entreaty) A wonton woman prays to the Madhuka 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 gatha is already dealt with; vide SP S. No. (708.180) 'supra. Bhoja cites it here as an example of saGketa-bahumAna (bahumAna = 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 gatha 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 gatha as follows : "taM baMdhavaM ga piva paNassamANaM Niacchae asaI /

Page #505
Prakrit Verses in Sanskrit Works on Poetics 441 ANIa-bAha-Nibbhara-bhariacchI veasa-kuDuMgaM / / [taM bAndhavaM gatamiva praNazyantaM pazyati asatI / AnIta-bASpa nirbhara-bhRtAkSI vetasa-nikuJjam / / "] Bhoja cites this gatha as an example of samketa-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 saGketa-vAtsalya (vAtsalya, affection or tenderness). ___Dr. H. C. Bhayani would restore it follows : "haTThA pecchai paMsuli gAmAsaNNe su suNNa-chettesu / maMgusa-kaNNa-saricchaM dIsai paNNaM palAsassa || hRSTA prekSate pAMsulI grAmAsanneSu zUnyakSetreSu / nakula-karNa-sadRzaM (?sadRkSa) dRzyate parNaM palAzasya / / "] With the second line compare the second line of the following:sisire vaNadavadaDDhe vasanta-mAsammi saMbhUyaM / maMkusa-kaNNa-saricchaM dIsai pattaM palAsassa / / - GS(W) 781; DN 6.108 maMguso." In the desolate patch around the village, when the eyes of the wanton woman fell on the palasa leaves that looked like the ears of a mongoose her heart leapt with joy. DAS [better known as Desinamamala (DN)] p. 221. maMgusa-mugusu muggasA nnule| (maMguso muggusU muggaso trayA'pyete nakulavAcakA: / ) Bhuvanapala (p.277) thus comments : --- ladhi (?ghi)mnA lobhaza-kapilAnAM palAza-dalAnAM 'nakulakarNopamAbIjam / maMkuso nakula: / upamAlaMkAra : / 854. Bhoja cites this gatha as an example of saGketAnukroza (anukroza = 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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442 Prakrit Verses in Sanskrit Works on Poetics safe love-tryst. It is swept away by mountain river in spate. So the nayika who has had a soft corner for that a tree feels grieved at its destruction. 856. Bhoja cites this gatha as an example of HSCITATYUT (317419U = objecting or taunting). Mathuranatha Sastri (p. 81) thus introduces the gatha : Fiat Uprare dantadhAvanArtha bhaJjantaM dhArmikaM sopAlambhamAha / See translation. 857. Bhoja cites this gatha as an alternative example of HSTITUT. See translation. 858. Bhoja cites this gatha 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 gatha 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 Goda, 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 gatha as follows : "AsAsa-UsasaMtehi ubbuDui taha NibuDamANammi / saMkeakuDuMge aDaaNAe~ hiaaM pi Nibbuthu / / [AzvAsa-ucchvasadbhiH unmajjati tathA nimajjati / salgst 3RIKUT: Eufo Anh 11]" Bhoja cites this gatha as an example of samketa-tatparya: We may translate this gatha 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 gatha as an alternative example of $c-arcyf (purpose, with reference to any object; here, love-tryst). The Palasa woods around their villages provide safe and convenient love-trysts to wanton women (and their lovers). Naturally, with the decline and dropping of Palasa leaves, the desires and hopes of wanton women wane and decline; but revive again as the Palasa

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Prakrit Verses in Sanskrit Works on Poetics 443 woods come into bloom with fresh sprouts. Their main concern is the availability of rendezvous. 862. Bhoja cites this gatha 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 gatha admonishes the river Murala for uprooting and sweeping away the woods of trees on its banks (and thus destroying places of rendezvous). 863. Bhoja cites this gatha as an alternative example of HM11414. The speaker of the gatha threatens Narmada thus: "O, Narmada, I shall complain to Ratnakara, (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 gatha as an example of H T4ITEH - (3414FH: contemptuous reproach,, finding fault with, taunt). See translation. 865. Bhoja cites this gatha as an alternative example of TUICEH. See translation. 866. Bhoja cites this gatha 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 gatha 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 gatha as an alternative illustration of samketa-vipralambhadestruction of the rendezvous. We may translate the gatha as follows: O, Karira (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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444 Prakrit Verses in Sanskrit Works on Poetics the destruction of the woods of reed around, Whose hand has now cut you down? 868. Bhoja cites this gatha as an example of Sar: (3773ft: = a blessing, benediction). Now, see translation. 869. Bhoja cites this gatha as an alternaive example of NSCRft: (conferring or bestowing a blessing on the love-tryst or rendezvous). I had referred this gatha 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 :"jaha icchA taha ramiaM, Na a gahio ajja jUva-saMgahaNe / tuha tAvi (? vI)-tIra-kuDuMga khaNNuehiM pi DajjhissaM / / (yathA icchA tathA ramitaM na ca gRhIta: adya yUpa-saMgrahaNe / 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 gatha as an example of $9-991. (sr: a question, a query). The banks of the river Goda 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 Goda, salute / pay homage to them? So here we have a case of $a-7%.

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Prakrit Verses in Sanskrit Works on Poetics 445 871. Bhoja cites this gatha as an alternative example of . It would seem a female messenger of a T addresses the who after making love to the nAyikA has now grown cold towards her, and appeals to him to meet the nAyikA. 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 gathas as examples of face-fargeur (fag = sorrow, distress), one of the stages of a woman hurrying to her rendezvous to meet her lover (abhisAra or abhisaraNa). Now see translation. 873. Bhoja cites this gatha 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 gatha as an alternative example of 875. Bhoja cites this gatha as an example of faq event, occurrence), falling under the topic of abhisAra or abhisaraNa 876. Bhoja cites this gatha as an alternative example of faq, falling under the topic of abhisAra or abhisaraNa. 877. This gatha is already dealt with; vide SP 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 gatha is already dealt with; vide SP S. No. (630.167) supra. Bhoja cites it here as an alternative example of T. See translation. 879. This gatha 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 gatha as an example of dhvAntAnuzocana (dhvAnta darkness, night. regretting, bewailing, mourning over, lamenting). This gatha 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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446 Prakrit Verses in Sanskrit Works on Poetics 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 'majjha vahAu baMdhava ---" vahAu(o) may be the abl. sing. form of not vaha but paha (path, way). 881. Bhoja cites this gatha 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 : viralaaraaMdhaAraa sAhasu (taM) keNa musio si // (Parcar-3FCR() pu () oct 11) The gatha 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 gatha 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 gatha is already dealt with; vide SP 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 gatha as an alternative example of Eart- r. See translation. 884. This gatha is already dealt with; vide SP S. No. (363.118) supra. Bhoja cites it here as an example of candrikAbhisaraNa (candrikA moonlight, abhisaraNa 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 gatha as an alternative example of af SCATTATARUT. Now see translation. 886. Bhoja cites this gatha as an example of afscht-Ata - (Ads - disgust, loathing). Now see translation. 887. Bhoja cites this gatha as an alternative example of afsch-fid. Now see translation.

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Prakrit Verses in Sanskrit Works on Poetics 447 888. Bhoja cites this gatha as an example of candrodaya-nindA (candrodaya - moon-rise; nindA - 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 gatha as an alternative example of a sty-ARGI. See translation. 890. Bhoja cites this gatha 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 gatha cf. MH : TIGRIRTA, C. 30. 891. Bhoja cites this gatha as an alternative example of ars- f . See translation. 892. This gatha is already dealt with; vide SP S. No. (390.123) supra. Bhoja cites it here as an example of abhisaraNa-sAdhvasa (- sAdhvasa - nervousness). See translation 893. Bhoja cites this gatha 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 gatha is already dealt with; vide SP S. No. (440.133) supra. Bhoja cites it here as an example of 3TAHIROT - a (- film -- incident, event; news). See translation. 896. This gatha 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 nayika who is deceived (vaJcitA = vipralabdhA ) 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 vaJcitAvRttAnta. The hAlika-snuSA 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 gatha is already dealt with; vide SP S. No. (263.98) supra. Bhoja cites ___ it here as an example of paribhoga-darzana (paribhoga enjoyment, especially sexual

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448 Prakrit Verses in Sanskrit Works on Poetics 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 gatha as an alternative example of RATTERft. See translation. 900. This gatha is already dealt with; vide SP 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 gatha 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 gatha is already dealt with; vide SPS. No. (52.53) and DHV S. No. (31.12) supra. Bhoja cites it here as an example of avinaya-nigUhana (concealing or hiding of bad or immodest conduct or behaviour, (moral) offence). 903. Bhoja cites this gatha as an alternative example of 31fatu-f167. See translation. 904. This gatha, 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 gatha may be reconstructed as follows: bAlaa dhaNNo si tuma, jeNa jiaMtI piA diTThA / / (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 gatha as an alternative example of fag T-6 ta. The lip of the nayika 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 gatha is cites to illustrate sargharsa (rivalry, mutual competition). Bhoja adopts this gatha from some old story of Prince Muladeva, Acala-Svamin and a prominent courtezan, Devadatta by name. Devadatta has fallen in love with Muladeva and she intensely hates Achala Svamin who has a passion for her. The Tocht referred to in the gatha was Devadatta. 370 was a rich merchant's

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Prakrit Verses in Sanskrit Works on Poetics 449 son. Muladeva was poor. So the mother of Devadatta was in favour of the rich marchant's son and against Muladeva. So there is a competition between the two to win Devdatta's love. 908. Bhoja cites this gatha as an example of one of the dutis, female (love) messengers, called for errf. Bhoja defines this cait in these words : 7RRY nAyikAyA vA yathAmanISitamupalabhya svabuddhyA kAryasaMpAdinI nisRSTArthA / tasyA: samagrabuddhiguNayogAt / - 1. 9. 9. 990. Mammata cites this gatha as an example of the figure 37TA14. 909. This gatha is already dealt with; vide SP S. No. (372.119) supra. Bhoja cites it here as an alternative example of nisRSTArthA dUtI. 910. Bhoja cites this gatha as an example of alacat. He thus describes her: prastutArthaliGgasaMbaddhamanyajanagrahaNIyArthamalaukikArthaM vAtadUtI / tatra prastutArthaliGgasaMbaddhaM yathA - AsAiaM aNAeNa, etc. 911. Bhoja cites this gatha as an example of anyajanagrahaNIyArthaM vAtadUtI. The vAsakasajjA (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 gatha to illustrate urci localef (alacant). 913. Bhoja cites this gatha 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 musalarUpasyoktatvAd idamanyabhAvanAbhidhAnaM bhAvikam / - sarasvatI pR. 549. 914. This gatha is already dealt with; vide SP S. No. (665.173) supra. Bhoja cites it here as an example of wricit. See translation. 915. Bhoja cites this gatha as an alternative example of Huc.

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450 Prakrit Verses in Sanskrit Works on Poetics 916. This gatha is already dealt with; vide SP S. No. (755.188) supra. Bhoja cites it here as an example of (manasi) cintA. See translation. 917. Bhoja cites this gatha as an example of 3 . 917. Read in the first half of the gatha (531) instead of (1934), and in the chaya (9] instead of (a). We may translate the gatha 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 gatha as an example of SITO (insomnia, sleeplessness). Bhuvanapala reads pahAloyaNa0 (pathAlokana)0 - 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 gatha is already dealt with; vide SP 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 'lajjAvisarjanaM yathA --'; lajjApraNAza and lajjAvisarjana 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 gatha with the introductory words: 'ASUT EUCL Tout sia faqur 1 421 - (Pagoury - causing to hate, rendering hostile, exciting hatred or enmity). See translation. 922. Bhoja cites this gatha with the introductory words : '3truculati UNIT -' (alle = exclusion of others). See translation. There is fresh breeze, fresh thought, embodied in this gatha. It has an air of modernity about it. On economic considerations (and grounds of security), the speaker of the gatha 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 gatha was referred to Dr. A. M. Ghatage; he reconstructs and interprets it as follows:

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Prakrit Verses in Sanskrit Works on Poetics "sasimuhimuhassa lacchI, ghaNasAliNa dhaNavaNNayamaNukarai / taNuoari taNuAai, haliasuo kuNasu jaM juttaM / / A duti addresses a nayaka, 'O, son of a farmer, the beauty of the face of the moon-faced one now imitates the colour of the corn of the Ganasali 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 gatha 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 gatha, 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 gatha 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 gatha 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 gatha as an alternative example of FTRIGH. Now read translation. 930. The gatha is corrupt but we may reconstruct it with the help of a corresponding gatha from Lilavai, reproduced below : satthi malayAyalAo suMdari taha mAhavANilo lihai / CE PLEURI HOT Pop q aggor II - Garas, TT 5.40C. (svasti malayAcalAt sundari te mAdhavAnila: likhati /

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452 Prakrit Verses in Sanskrit Works on Poetics lekhaM samuccayArthaM bhAvaya kiM khalu bahunA / ) In a foot-note on samucayatthaM the editor writes : (samuccayatthaM) - saMkSepArtham (f.n. 10, p. 87). Now, Bhoja's text may be reconstructed in the light of this gatha : satthi malaAalAo suhAhahagujo laMhai (? suMdari tuha mAhavANilo lihai) / sabbhAvamettaeNa a bhAvejjasu kiM tha bahueNa || (svasti malayAcalAt suMdari te mAdhavAnila : likhati / sadbhAva-mAtrakeNa ca bhAvaya kimatra bahunA // ) I confess the latter part of the first half of the gatha is, except for the word laMhai (which can be looked upon as a corrupt form of lihai), highly corrupt . beyond recognition or we have to presume that Bhoja had some other reading before him whose corruption we have in the words suhAhahagujo.. .. 930. The gatha is drawn from the Lilavai of Kouhala: satthi malayAyalAo suMdari tuha mAhavANilo lihai / lehaM samucayatthaM bhAvejasu kiM khu bahueNa / / svisti malayAcalAt sundari te mAdhavAnila: likhati / lekhaM samuccayArthaM bhAvaya kiM khalu bahunA // ] We may translate the gatha as follows : May it be well with you, O, beautiful lady! Madhavanila 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 gatha: sabbhAvatettaeNa a bhAvejasu kiM tha bahueNa / [sadbhAvamAtreNa bhAvaya kimatra bahunA / ] - P. 950 931. This gatha is already dealt with; vide SP S. No. (70.55) supra. Bhoja cites it here as an example of praNidhAna. 933. This gatha is already dealt with; vide SP S. No. (454.136) supra. Bhoja cites it here as an example of dUtAnugama-following (anugama) 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 sakhI-vigarhaNa. vigarhaNa is the act of blaming, censure, reproach. Now see translation.

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Prakrit Verses in Sanskrit Works on Poetics 453 935. This gatha is already dealt with; vide SP S. No. (414.128) supra. Bhoja cites it here as an (alternative) example of weifameu. See translation. 936. Bhoja cites this gatha as an example of hrifsau (= Arifterut); STATUT = the act of looking up, seeing. See translation. 937. This gatha is already dealt with; vide SP S. No. (362.117) supra. Bhoja cites if here as an (alternative) example of fritate. See translation. 938. Bhoja cites this gatha as an example of Thrfarat. THITH - going and coming; going to and fro; forn anxiety; See translation. 939. This gatha is already dealt with; vide SP S. No. (390.123) supra. Bhoja cites it here as an (alternative) example of Tradi. See translation. 940. Bhoja cites this gatha 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 gatha 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 AkAra - parIkSA. AkAra 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 gatha as an alternative example of 3110R - ORTET. See translation. 946. Bhoja cites this gatha 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 gatha as an alternative example of c-ufaha. See translation.

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454 Prakrit Verses in Sanskrit Works on Poetics 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 gatha is cited by Bhoja to illustrate -R- speech of a messenger. The first half of this gatha is highly corrupt; the second half is comparatively easy to restore. Tentatively it may be restored as follows: dUi - sItA / saMgamasuhA samabbhahia - maNaharA hoMti saMdesA // ( yadi vAtirikta-viraha-tApa- saMtaptasya dUta - kathyamAnA: / saGgama-sukhAt samabhyadhika-manoharA bhavanti saMdezA : II ). The earlier part of the first half of this gatha is obscure. The rest of the gatha may be restored as follows : pesaviapiassa dUi - sIsaMtA / saMgamasuhA samabbhahia maNaharA hoMti saMdesA // [---- preSitapriyasya dUtI - kathyamAnAH / saGgama-sukhAt samabhyadhika manoharA bhavanti saMdezA: / / ] 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 gatha Dr. Bhayani wrote to say: "Something like muiaM - dUia-vaaNaM kIrai kaNNe kuvalaaM va and hence the two adjectives in line 1 go with both - vaaNa and kuvalaa zleSa on the first mahu-rasadvaM (ie, madhu rasArdra) and mahura- saddaM =

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Prakrit Verses in Sanskrit Works on Poetics 455 (FER-SEGU)."---- Bhoja cites this gatha 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 gamana-vRttAnta (the incident or event of going to or departure). See translation. 955. Read als in the first half of the gatha. Bhoja cites this gatha as an (alternative) example of gamana-vRttAnta. See translation. 956. Note : The Mysore edn. illustrates uqy4 with two stanzas. Then follow two Prakrit stanzas without any introductory words : (1) caMdo vi caMdavaaNe and (ii) caMdamuhi caMdadhavalA : Then follow the introductory words : suhRtsaMmantraNaM yathA -; 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 pravRttyupalambha, priyasaMdeza and suhRtsaMmantraNa. It thus follows that the intervening two prakrit stanzas are examples of priyasaMdeza. The gatha under reference is a message sent by a lover (192) to his beloved. Now, see translation. 957. Bhoja cites this gatha as an alternative example of frict. Now see translation. 958. This gatha is already dealt with; vide SP S. No. (207.85) supra. Bhoja cites it here as an example of gurujanAzaGkA. (AzaGkA = fear, apprehension; gurujana = elders, any venerable or elderly person -- father, mother, the elders of a family etc. So the phrase means 'fear of the elders'). Ratnavali, 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 gatha : gat pagasta --- Pfarria- ERTS 1 vihalaMghalacalaNAe kahaM pi sabbhAvio daio / / (3114T TOPIT --- U Parica-1916 AT 1

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456 Prakrit Verses in Sanskrit Works on Poetics vihvalacaraNayA kathamapi sadbhAvita: dayita : // ) Dr. Ghatage thus reconstructs the gatha : "eMto vi paloaMto AhaavialaMtakesahatthAe / vialaccalacaraNAe kahaM pi saMbhAvio daio || 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 (vikalat-calat)." Bhoja has cited this gatha as an alternative example of upasthAna. upasthAnam : coming into the presence of, going near to (in order to worship). . 961. Bhoja cites this gatha as an example of saMbhrama-vikalpa. saMbhrama - haste, hurry, flurry; facey indecision, doubt, hesitation (hurry or haste and hesitation). See translation. 962. Dr. Bhayani thus reconstructs the gatha : "sajjhasa-vasa-vevira-komaloru- paDisiddha-samuha - saMcArA / keNa vi diNNA tAva a pieNa pariraMbhiyA ramaNI // (sAdhvasa-vaza-vepamAna - komaloru - pratiSiddha - saMmukha - saMcArA / . kenApi dattA tAvacca priyeNa parirambhitA ramaNI / / ") Bhoja cites this gatha as an alternative example of saMbhrama-vikalpa. See translation. 963. Bhoja cites this prose passage as an alternative example of nAyikAkRto dUtapuraskAra : (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 gatha and the next one with the introductory words : evaM sAmAnyato'pi (dUtapuraskAra :). These two gathas praise dutis as a class. 965. This gatha praises love-messengers in general. 966. This gatha is already dealt with; vide SP S. No. (950.221) supra. Bhoja here cites it to praise cois in general.

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Prakrit Verses in Sanskrit Works on Poetics 457 967. Bhoja introduces this stanza with the words : "TIPUSIC TO URT-". This is the famous love-letter addressed by Sakuntala to Dusyanta (A Sakuntala III - 15). 968. This gatha is already dealt with; vide SP S. No. (386.122) supra. Bhoja cites it here with the introductory words : "fucuri -". 3197 = attention, attentiveness, intentness; Arf - motive, object, purpose. 969. This gatha is already dealt with; vide SP S. No. (388.122) supra. Bhoja cites it here as an alternative example of kAryAvadhAna. 970. This gatha is already dealt with; vide SP S. No. (415. 128) supra. Bhoja cites it here as an example of pAtrAvadhAna. 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 aiNio which means AnIta : Cf. DSS I - 24 : aiNiyaM ca ANIe (p. 14). In view of this fact it is more appropriate to read in the restored text schS0311. The lengthening of 3 in 'Boer' is metri causa. Bhoja cites this gatha as an example of 'dUtakRteSu nAyikApekSayA saMyogasaMvidhAnam. uSA is the daughter of bANAsura - She sees in her dream a handsome prince aniruddha, kRSNa's own son, and falls in love with him. Her friend fasistai, through her magical powers, brings him to her apartment. This gatha is possibly drawn from some Prakrit ornate poem treating of 347 and finds and their deep love for each other. 974. This gatha is already dealt with; vide SP S. No. (388.122) supra Bhoja cites it here as an example of 'Briefchladi. 975. This skandhaka from Setu is already dealt with; vide SPS. No. (520.148) supra Bhoja cites it here as an example of secu -- magic, sorcery, magic arts. 976. In his paper "Gatha-Muktavali : A Newly Discovered Recension of Hala's Saptasataka", Dr. Bhayani records GM verses not found in Weber's Edition of the Saptasataka. This gatha is found there in its correct form. Dr Bhayani

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458 Prakrit Verses in Sanskrit Works on Poetics has supplied the Sanskrit chaya also. We have given this gatha and its chaya in Vol. I Additions (p. 129). Bhoja cites this gatha as an example of tergacha. See translation. 977. This gatha is already dealt with; vide SP S. No. (419.129) supra. Bhoja cites it here as an example of kAryopadeza. 978. In the chaya read "Sa Amad". Bhoja cites this gatha 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 gatha 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 gatha describing the way of love and the pride of place that A1 enjoys in the sphere of love. 981. This gatha 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 gathaas an example of HF (THIRUTTU 3T14:). See translation. 983. Bhoja cites this gathaas an example of Hra (TRUCT STU: Dofir-I). See translation. 984. This gatha is already dealt with; vide SP S. No. (494.143) supra. Bhoja cites it here as an example of mAna (ubhayAzrayo madhyamaH). See translation. 985. Cf. SP 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 SP p. 632. ii) pecchasi aNimisa-NaaNo jaMpasi viNaaM Na daMsase vaTThaM (? paTThi) / Tot 1637 gost de 637-f3731 forge Hust II SP p. 983. and iii) at 1631 gust de 737-3731 forca Husti Tot 3110f11-073701 valt faussi ut viest Mucoll - GS(W).943 In Weber's text we find the two halves of the gatha interchanged with one variant reading : 'Ut vit faca for 'O CHAT qcf& "Giup aurai" - fausi modesty, courteousness; you speak courteousness = you speak courteously or modestly;

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Prakrit Verses in Sanskrit Works on Poetics 459 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 laksana). Cf. English : you talk reason = you talk reasonably. Weber's reading Ot Fint faco does not make any sense, I think." - M. V. Patwardhan. For translation, vide SP S. (333.43) supra. Before we proceed further it is necessary to note the precise meaning of the terms viSaya, Azraya and Alambana, used in the context of mAna by Bhoja.V. Raghavan thus explains them: "Visaya is the person regarding whom feeling arises; Asraya is a person in whom the feeling arises, Alambana is that aspect of Visaya which is exactly the object of the feeling." Bhoja's Singara Prakasa (1963 edn.) 986. SK (p. 626, v. 185) cites this gatha with the introductory words: (256741514 ---) "atraiva striyAM mAno yathA-". It reads paDhamaghariNIa for uvahAriAe and daraM (? davaM) for kaha. Bhuvanpala reads davaM for kaha. In his comments on the gatha he says : uvahArI dohanadhAriNI (? dohanakAriNI) prathamavadhUrityekA (? prathamavadhUrityeke) piMDAro gopaalk:| davo narma / sffadel: HICET: Bhoja introduces the gatha 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 gatha is already dealt with; vide SP 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 gatha with the introductory words: (1971) E-faut rent - E = a shameless husband (or hero). 990. Bhoja cites this gatha as an example of (H17:) STIHTS: SK (p. 688, v. 39) cites it as an example of " R-HIFT alatai (Fium) 2P21-". 991. This gatha is already dealt with; vide SPS. No. (332.111) supra Bhoja cites this gatha as an example of (HT:) HEXHT824: SK (p. 671, v. 325; p. 685, v. 380) cites this gatha He introduces this gatha (p. 685) with the words "1611474-HHAT EIRT URIT --".

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460 Prakrit Verses in Sanskrit Works on Poetics 992. In the chaya we may better read factant fa Ara: i Bhoja cites this gatha with the introductory words : kaniSThAzrayo (mAno) yathA -. SK (p. 589, v. 49) cites it to illustrate "tad (= IrSyA) rUpeNa rasasya prakarSo yathA -" and thus comments upon it : atra kasyAzcit preyasi sapatnI prasAdayituM gate tanmAnamamRSyamANAyA: samutpanneA priyAnunayAdibhi zAyamAnatayA niSpannAlatakatilakAnumeyaistatpAdapatanAdibhiruddIptA huMkArAkSepabhartsanapratibhedAvinAbhUtairbhUbhaGgatADanAGgakSepavepathusvedagaddAbhi: saMsRjyamAnA prakRSyate / 993. On p. 839 we have an almost identical stanza : Na kao vi ra (rAa) mokhkho (= Na kao vi rAamokkho) mANakkhalaNe vi Na paDio cia bAho / tIe NavaraM piaao gao tti attita (? attitta) loaNaM NIsasi / / And here we have dhario amarisa-pasaro mANakkhalaNe vi Na paDio cia bAho / tIe NavaraM piaame gahio Niantata loaNaM NIsasi / / Keeping in view the context (dhIrottamAyA vipralambhe'nubhAvasaMpad (p. 839), and (mAno) dhIrAzrayo yathA - pR. 986), it would be more appropriate to emend the second half (p. 986) as : tIe NavaraM piaamo gao tti attitta-loaNaM NIsasi / / (tayA kevalaM priyatamo gata iti atRptalocanaM ni:zvasitam / / ) dhRta: amarSaprasara: - 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 attittaloaNaM and in the chaya atRptalocanaM '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 : 'juaijaNammi vahattaNaM NivaDiaM'. It needs to be emended as juaIjaNammi pahattaNaM NivvaDiaM / / (yuvatijane prabhutvaM niSpannam / ). According to this new emendation the text and its chaya may please be corrected. Bhoja cites this skandhaka as an example of mAna: (dRSTAparAdhAlambana:)| I wrote to Prof. Patwardhan that my emendation pahuttaNaM NivvaDiaM was rather doubtful. He replied : "I agree but it gives a good sense". 995. Bhoja cites this gathaas an example of mAna: (adRSTArthAlambana: = adRSTAparAdhAlambana:). See

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Prakrit Verses in Sanskrit Works on Poetics 461 translation. 996. Bhoja cites this gathaas an example of AF: (ICITATETCETT:). See translation. 997. Bhoja cites this gatha as an example of ATT: (91f3 AIRTETTHET:). eft: = distrustful, suspicious, apprehensive. See translation. 998. This illustrates saMbhAvitAparAdhAlambano mAna:. 999. This illustrates anumitAparAdhAlambano mAna:. 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 chaya vismRtAparAdha. This skandhakaillustrates smRtAparAdhAlambano mAna:. SK (p. 670, v. 321) cites it with the introductory words: PTTE14-174 ATED MYTH M. V. Patwardhan comments on 4-6CO : "should really be qHCO = 44EUR 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 acofa 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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462 Prakrit Verses in Sanskrit Works on Poetics which she uttered turning her face away from him in anger. roSeNa parAgbhUtA (% roSaparAGmukhI), tasyA: jlpitaiH| parAhutta should beequated with parAgbhUta-turned away." 1007. This skandhakaillustrates priyAdiSu vyAjanindotprAsa:. utprAsa 'words of derision', 'taunt' (under the guise of praise). 1008. Bhoja cites this skandhakaas an alternative example of priyAdiSu vyAjanindotprAsa:. Cf. sacchaMdaM volijjai kijjai jaM niya-maNassa paDihAi / ajasassa na bIhijjai pahuttaNaM teNa ramaNijjaM / / - (svacchaMdaM kathyate kriyate yannijamanasa: pratibhAti / ayazaso na bhIyate prabhutvaM tena ramaNIyam ||)-vjaalgg gAthA kra. 148, and, aliaMpi sacavijjai pahattaNaM teNa ramaNijjaM / - saktimuktAvalI. de. lA. pustakoddhAra phaMDa, baMbaI. 1922 (patra). jaha gahiaM taha - in whatever manner it is considered i.e.. from any point of view. For the phrase jaha gahi taha cf. the phrase jaha gahiA taha occurring in the Prakrit stanza. "kuviAo pasaNNAo, etc., cited in dhvanyAloka I"-M. V. Patwardhan. 1009. Read in the second half of this skandhaka te cia tIaiM maaguNA (ta eva tasyA madaguNA:). Bhoja cites this skandhaka as an example of 'priyAparAdhAt mana:saMrambho roSa:'. 1010. Read in the second half of the skandhaka : dUmei ghara- gaAe. 1012. Bhoja cites this gatha as an alternative example of IrSyAyitam ( = samAnAsu dAna-mAnAdyamarSaNam). 1014. This skandhaka is already dealt with; vide SPS. No. (220.87) supra. Bhoja cites it here with the introductory words : anubhayApekSo manyurmantrayutaM yathA ----. SK (p. 647, v. 263) cites it with the introductory words : prema mimIte yathA -; and thus comments upon it : - atra 'mAG mAne' iti dhAto: -- kartari lyuT / --- tena ca yadyapi karaNabhUtenaivAtmani rukmiNyAM ca priyapremNaH parimANaM satyabhAmA pratyAyayati tathApi pUrvavadihApyayaM pUrvavat kartRtvenopacaryate / 1014. See Additions p. 6. Read paDipasAa (?) - dummaNia --- The gatha is restored (and its chaya supplied) by Dr. Bhayani. The latter part of the first half violates the metre. Could we read paDipasAA (pratiprasAdAt) to get over the metrical difficulty?

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Prakrit Vetses in Sanskrit Works on Poetics 463 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 ArdrAparAdhatA, one of the sources of mAnoddIpana. M. V.Patwardhan thus comments on the restoration : "I think we should read vilAsiNi tumaM. (vilAsiNi being vocative singular of vilAsiNI-a beautiful woman.) Further we should read jaM (yat) for je. 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 (= subhaga:), qualifying sahAvo. Use of de-inflected (luptavibhaktika) nominative and accusative forms is not unusual in Prakrit." 1018. Bhoja cites this gatha as an alternative example of 3rHIG: (= faggicallcuanyifatera:). 1019. Bhoja cites this gatha as an example of HIRTI (= REQURIHTARP Buat). 1020. Bhoja cites this gatha as an alternative example of HIV (=QURTAT jat). bhuvanapAla paraphrases aTTamaTTAI as nAnAvijJAnAni (sadbhAvavAhyAni = kRtrimANi - nAnAvijJAnAni) (enticing blandishments). Further, he remarks 3TEHETS thich. Hemacandra lists it under bhASAzabdAzca and regarding these words he remarks : ... ityAdayo 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- AFI GGIT URHU) The skandhaka may be translated as follows : Read in the first half aNuNaa-bhaNiANa and in the chaya anunaya-bhaNitAnAM. 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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464 Prakrit Verses in Sanskrit Works on Poetics hearted, so pitiless and so distant. At one time you doted on me so much ! 1022. This gatha occurs in GS (II.29). It is already dealt with; vide SP S. No. (312.107) supra. Bhoja cites it here as an alternative example of abhiniveza. 1024. Bhoja cites this gatha as an example of avajJA-visUraNam. visUraNa means distress, sorrow. 1026. This stanza is cited twice by Bhoja. Here he cites it as an example of anuzaya. 'vipriyasya puna: puna: smaraNamanuzaya:'. On p. 1209 he cites it with the introductory words :vyalIkAnucintanama(pa)rAdhasmaraNaM yathA-.At both the places, the text is corrupt. The text of the skandhaka may be restored as follows: takkhaNa-jaNia-paharisaM, saMbhariavarAha-saMgalatANusa / tIe garuaMNisaMmalaga (? Nisammai) oattaM/ oliattaM (? oNiattaM) pi amarise cia hiaaa| (tatkSaNa-janita-praharSaM saMsmRtAparAdha-saMghaTamAnAnuzayam / tasyA gurukaM niSIdati, apanivRttamapi amarSa eva hRdym||) 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 : "saMbharia+avarAha would become saMbhariAvarAha. In saMbhariavarAha, A appears to have been shortened into a metricausa. I think, saMgalaMta should be emended into saMvalaMta. Translation : Her heart delighted at that moment (or time, takkha Na = tatkSaNam : tasmin kSaNe) but moved (sulkied saMvalita) with anger at the recollection of the offence (offered by her cosort), though on the point of retreating (receding) (from anger) heavily (garuaM - gurukam, adverb) sank back (again) into anger (amarise cia Nisammai). Nisammai (= nizAmyati) is awkward. Could it be Numajjai (or Nimajjai)? tIe garuaMNumajjai (or Nimajjai) oNiattaM pi amarise cia hiaaM / " ? 1027. Bhoja cites this skandhaka from Setu as an (alternative) example of anuzaya. See the Extract from the Sanskrit Commentary in Appendix I. 1028. Bhoja cites this skandhaka as an example of kAluSyam - vipriyoparAgAccittAzuddhi : kAluSyam | The stanza may be restored as follows :

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Prakrit Verses in Sanskrit Works on Poetics 465 tAva a sohai mANo samuhaM jAva paNa Na khaMDaMti piA / khalio a paNaa-pasaro pacchA mANavaiA Niattai kamhA / / tAvaca zobhate mAna: saMmukhaM yAvatpraNayaM na khaNDayanti priyA : / skhalitazca praNayaprasara: pazcAd mAnavatI nivartate kasmAt // ] 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 saMmukhaM praNayakhaNDanam mentioned in the second quarter." . 1031. Note : Delete the line : "For the text ... supra." (Vol. I). The gatha may correctly be presented as follows :ummUleMti va hiaaM aNuNijjaMtIo mANaittIo / saMbharia-maNNu-NiSbhara-bAha-bharorubhia-muhIo || (unmUlayantIva hRdayamanunIyamAnA mAnavatya : / saMsmRta-manyu-nirbhara-bASpa-bharoparuddhamukhya : 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 (- vyalIkAnusaMdhAnAt krodhodbheda Avega : 1) 1032. Bhoja cites this skandhaka as an example of Amarsa (= kRtAparAdheSu krodhaaprshaantirmrssH|). He cites it again (p. 1036) with introductory words: "ubhayadoSApAdane yathA-" Prof. M. V. Patwardhan's remarks on the restoration and its translation : "niSphala-mRduka - pliant (gentle) to no purpose, gentle in vain, uselessly gentle. 3TYRTEZRET - Imperative second person singular- '(By all means) play false to me fearlessly (vizvasta:) (unhesitantly).' I am not able to understand the logical connection of sahatAm ekasyaiva hRdayam with the rest of the stanza. chile - understand or know (Imperative second

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466 Prakrit Verses in Sanskrit Works on Poetics person singular). The idea is perhaps comparable to that expressed in the stanzavaca maha cia ekAe~ hoMtu nniisaas-roiavvaaiN| mA tajjha vi tIeN viNA dakkhiNNahaassa jAaMta / / cited by Anandavardhana in Dhvanyaloka I, p. 111 (Marathi edn). 1033. Bhoja cites this gatha as an (alternative) example of Amarsa. This gatha is already dealt with; vide SP S. No. (284.102) supra. 1034. Bhoja cites this gatha as an example of Kopatireka. 1036. Bhoja cites this gatha as an (alternative) example of Jud. Iga (= astuifd9c6-) anunayAsAdhyamugratA / 1037. This gatha is already dealt with; vide SP S. No. (992.227) supra. Bhoja cites it here as an example of praNayakalaha (a quarrel of lovers) - aparAdhata : priyAbhibhartsana-tADanAdikaraNaM praNayakalaha : / 1038. This gatha is already dealt with; vide SP S. No. (256.96) supra. Bhoja cites it here as an example of one of the 24 aspects of Mana, called Sahaja. 1039. Bhoja cites this gatha as an example of one of the 24 aspects of Mana, called Aharya - 'ZERITMIGHT 3ER :'. Prof. M. V. Patwardhan remarks about the restoration : "I think we must supply afinite verbal form like AsI : or abhava: after anunayan in the first half." Prof. Arvind Mangarulakar (Sephalika, p. 370) renders 5634-rigzi a into Sanskrit as kutakAmanAM ca and retains haraNe as haraNe in the chaya. 1040. Bhoja cites this gatha as an example of one of the 24 aspects of Mana, called Yauvanaja - 01-11RIGHT U UT: 1 See translation. 1041. This skandhaka is already dealt with; vide SP S. No. (142.70) supra. Bhoja cites it here as an example of one of the 24 aspects of Mana, called Sama. 1042. This skandhaka is already dealt with; vide SP S. No. (773.191) supra. Bhoja cites it here as an example of one of the 24 aspects of Mana, called Visama. - PREHF-a fach: 1

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Prakrit Verses in Sanskrit Works on Poetics 467 1043. Bhoja cites this skandhaka as an example of one of the 24 aspects of Mana, called Prakasa. 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 viSama and virajyata." 1044. Bhoja cites this gatha as an example of one of the 24 aspects of Mana, called Gudha - 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 chaya of facilita and has remarked that faciata possibly stands for vilApyante. '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 gatha 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 Mana, called qus. 1046. Bhoja cites this gatha as an example of one of the forms of Mana, called TL, which is just the opposite of qus (atc = qus -) Augiat : 1047. This skandhaka is already dealt with; vide SP S. No. (518.147) supra. Bhoja cites it here to illustrate Sadhyah, one of the 24 forms or aspects of Mana. It is thus explained : RAD STPURITERT: PIEZT: 1 1048. Note : Read in the first half (of the chaya) -- Tiger 3719. Bhoja cites this gatha as an example of one of the aspects of Mana, called Purana.

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468 Prakrit Verses in Sanskrit Works on Poetics 1049. This gatha is already dealt with; vide SP S. No. (452.135) supra. Bhoja cites it here as an example of 344fafayet: (HFT:). 1050. Bhoja cites this gatha 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 gatha under discussion. vAieNa ( = vAcitena) is decidedly a superior reading as it eminently suits the context. 1051. Bhoja cites this gatha as an example of Hirmuiat : (17:). 1052. Bhoja cites this gatha 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 gatha as an example of . 1053. This gatha is already dealt with; vide SP S. No. (999.229) supra. Bhoja cites it here as an example of khaNDitAviSaya: (mAna:). nAyikA (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 gatha 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 gatha 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 gatha 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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Prakrit Verses in Sanskrit Works on Poetics 469 this skandhaka again (p. 1198) to illustrate (sambhogArthaM zarIrapratikarma =) prasAdhanam. 1058. This gatha is already dealt with; vide SP S. No. (1050.237) supra. Bhoja cites it here again as an example of proSitapatikAzrayo mAna: / proSitapriyA - "One whose beloved is away laget) is one whose lover is in a distant land on business." This type is more popularly known as proSitabhartakA. 1059. Bhoja cites this stanza as an example of virahotkaNThitAzrayo (mAna:). virahotkaNThitA "One that is distressed at (her lover's) absence." 1060. Compare with this gatha SP S. No. (982.226) supra. This gatha considerably differs from it. This reads : paripucchiA / pariucchiA Na jaMpasi cuMbijjaMtI balA muhaM harasi / parihAsamANavimuhe pasiacchi maNaM mha / dUmesi / / (paripRSTA na jalpasi cumbyamAnA balAd mukhaM harasi / parihasyamAnavimukhi prasRtAkSi mano no dunoSi // )- 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 gatha with the introductory words : 31161-wydblusang parihAsAlambano yathA-. 1061. Note : Read in the chaya (Vol. I, p. 239) mantu-kRta-roSAm. Only the first quarter of this gatha agrees with SP S. No. (562.155). This whole gatha 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 : AlambanaprakIrNakeSu AzaMsAlambano (mAno) yathA - (AzaMsA hope,expectation, desire, wish). 1062. The corrupt gatha is thus restored with its Sanskrit chaya : sahi-vaaNeNaM pijjai, hAlAhalaM visamapi asajjhaM jaM / hiaa avalaMba dhIraM dijjasi mANassa ettAhe / /

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470 Prakrit Verses in Sanskrit Works on Poetics (sakhI-kvanena pIyate hAlAhalaM viSamapi asAdhyaM yat / hRdaya avalambasva dhairya dIyase mAnAyedAnIm // ) Bhoja cites this gatha as an example of upadezAlambano (mAna:). 1064. The restoration of this gatha is purely tentative. Bhoja cites this gatha with the introductory words : 941416R (ANT) TRT be ! 1067. In the second half, maNNai may be replaced by pecchai (prekSate) in view of 'pecchatu 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 cintAlIDhaM (cintayA AlIDhaM vyAptam) "full of anxiety"; (lihiaM past passive participle from PoE = to lick). If, however, we stick to the paraphrase farafeteria, we shall have to equate it with likhita-cintam "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 chaya 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) viSayavyAvRttiryathA - The mention of kaustubha-maNi 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 Satyabhama, as he has comitted agrave lapse in offering pArijAta - maJjarI to Rukmini, his senior wife. Naturally, his mind is assailed by doubts regarding his 'reception' at Satyabhama's palace. 1077. See SP S. No. (196.82) above. Bhoja cites it here to illustrate ata (HHICOFU

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Prakrit Verses in Sanskrit Works on Poetics 471 va) pazn (- variety). 1078. See SP S. No. (332.111) above. Bhoja cites it here to illustrate 14.04. ( - excess, intensity, high degree). 1079. See SP 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 SP 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 SP 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 SP 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 gatha 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. 1937deg - 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 gatha with some variants and comments thus : sakaSAyaireva vAkyairnAyakaM nistudantI zayanIyaM gacchediti mAnazeSAnvayo dRzyate / 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 (sadbhAva and kaitava)." 1087. Bhoja cites this gatha with the introductory words: Gus - RYTETORIT - BTT

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472 Prakrit Verses in Sanskrit Works on Poetics - overlooking, disregard, indifference. Alamkara-ratnakara (p. 127, v. 395) reads the first half differently : kuvia vi parammuhANaM, thovaM pasiANamegasaaNammi / (kupitvApi parAGmukhayo: stokaM prasRtayorekazayane / ) Sobhakara's gloss on the gatha runs as follows : atra kopAtizayAdapagatasyAnyonyabhaGgasya romAJcodagamavazena pravRttiH / 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 parivaDDhati. I do not see the propriety of the adjunct viSama (uneven), qualifying (747-) IT (corners of the eyes), unless we take it to mean quivering, tremulous." visamappaMta etc. - "The gushing tears (bAhuppIDA) darkened (kalusa) 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 : "HT3193RI = 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. pavvANa = pravANa = faded, withered. It could also be pavvAa (= pravAta). Hemacandra (VII. 4.18) gives pavvAa as a dhAtvAdeza for mlai (mlAyati)." 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 visamappiawith viSaya-arpita (viSamArpita) = viSamanyasta unevenly applied. ... I think parigholaMti would be better

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Prakrit Verses in Sanskrit Works on Poetics 473 than fasora."--- 1092. Bhoja cites this gatha as an example of Juurid (GPRSTURIYU-GIANTRITT-37679) fuicfat: 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 sajaNeNa (= svajanena). 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 - bhAve prayoga according to Marathi grammar." 1095. See SP 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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474 Prakrit Verses in San rit Works on Poetics 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 nayika." 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 chaya are both of them 0. K., except that the verbal form (at the end of the stanza) should be mujjhaMti (muhyanti) instead of vimuhijaMti (vimuhyante). 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 WHvvis --- (Dhvanyaloka I). Abhinava says : we sfa AYICT 31 effe: AvayoH ityarthe na tu mama iti| In our present stanza too mahaM is used as an anekArthavRtti 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 gatha 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 gatha as an example of surglaref: 1107. Bhoja cites this gatha 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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Prakrit Verses in Sanskrit Works on Poetics 475 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 SP 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 sapalyupahAsa. 1111. See SP S.No.(1008.230) above. Bhoja cites it here as an (alternative) example of priyAzritaprabhutvaviSaya:. 1112. Bhoja cites this gatha as an example of sakhi pratibodhana -- instruction, admonition, giving advice by a friend. 1113. Bhoja cites this gatha as an example of duti-pratibodhana - instruction, admonition, giving advice by a female messenger or go-between. 1114. Bhoja cites this gatha as an example of sakhi-parihasa - jesting, joking (mirth, merriment) by a female friend. 1115. Bhoja cites this gatha as an alternative example of sakhi-parihasa. 1116. Bhoja cites this gatha with the introductory words : "41449hy Heyncent IT --" 1117. Bhoja cites this gatha as an alternative example to S. No. 1116 above. Incidentally we may note SP reads the earlier part of the second half of the gatha as tat fa 37 or forrest (1789 7 7 fra:). 1118. Note: Read ug 9T737 EP. Bhoja cites this gatha as an example of duti-upadesa (instruction, admonition , giving advice by a female messenger or go-between). 47731 (= d) (Voc. sing.) O, daughter, young girl. 1119. Bhoja cites this gatha as an alternative example to S. No. 1118. 1120. Bhoja cites this gatha with the introductory words : "trufa det prenelatent --" 1121. See SP S. No. (325.110) above. Bhoja cites it here as an alternative example

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476 Prakrit Verses in Sanskrit Works on Poetics to S. No. 1120 above. 1122. Bhoja cites this gatha as an example of duti-pratisedha. 1123. Bhoja cites this gatha as an alternative example to S. No. 1122 above. From these examples it would seem that "pratisedha' here means taking exception to, taking to task, dissuading, advising against depricating. 1124. Bhoja cites this gatha 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 gatha as an alternative example to S. No. 1124 above... 1126. See SP S. No. (261.97) above. Bhoja cites this gatha as an example of duti ira japa. 1128. Bhoja cites this gatha 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 gatha as an alternative example to SP S. No. 1128 above. 1130. Bhoja cites this gatha as an example of duti-gopana - hiding or concealing love's offence on the part of the lover by the female messenger of the nayika. 1131. Bhoja cites this gatha as an alternative example to SP S. No. 1130 above. 1132. For this skandhaka see SP S. No. (528.149) above and SK S. No. (333.408). Bhoja cites it here as an example of one of the manotpattikaranas, called vipriya-karana. SK (p. 678, v. 351) cites it with the introductory words: "ufdrifah UIT " 1133. Bhoja cites this gatha as an example of one of the ricorus, called vAritavAmatA. 1134. Read jugucchaMti in place of hu uccaMti and in the chaya --- jugupsante. Bhoja cites this skandhaka as an example of thor: - the following one's own desires.

Page #541
Prakrit Verses in Sanskrit Works on Poetics 477 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). yuvofa is active voice, third person plural, present tense. --- Post and pemmaM are grammatical objects of the transitive verbal form jugupsante. (janA: 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 gatha as an example of svarUpatAnyatva, one of the mAnotpatti-kAraNas. Fanual -- the state of one's own character or nature and 3774 - change, So Facura = change in nature or character. 1136. Bhoja cites this gatha as an example of one of the causes or sources of jealous anger (HH O RT ), called GIFT -- wickedness, deceit, guile, roguery. 1137. See SP S. No. (1126.249) above. Bhoja cites it here as an example of one of the causes and sources of jealous anger (HIITORUS), called pratarana - deceiving, cheating. 1138. See SP 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 SP S. No. (281.101) above. Bhoja cites it here as an example of one of the causes or sources of jealous anger, called avajnana - the act of showing contempt, scorn, disrespect. 1140. See SP S. No. (452.135) above. Bhoja cites this gatha here as an example of one of the causes or sources of jealous anger (manotpatti-karanas), called akstajnata - 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 (manotpatti-karanas), called gotra-skhalana - the act of being addressed or called by the name of one's rival in love i.e., co-wife.

Page #542
478 Prakrit Verses in Sanskrit Works on Poetics Please note that the restoration of the skandhaka is tentative. 1142. Read : Davamtena --- (p. 1026) and in the chaya 1989-9114. Bhoja cites this gatha as an example of one of the manopalaksanas, called Vikrta-viksana, 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 manopalaksanas, called asambhasanam - the act of not conversing with, not joining in a conversation. The gatha, 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 gatha SP S. No. (992.227) above. Bhoja cites it here as an example of one of the manopalaksanas, called vak-parusya - harshness of speech; abusive words, insulting or scurrilous language 1145. Bhoja cites this skandhaka as an example of one of the manopalaksanas, called asrudgama - 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 bAho (bASpa:). If we retain mauaMva as it is, mauaM 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 chaya Ett for Efr. Bhoja cites this skandhaka as an example of one of the manopalaksanas, called dirgha-nisvasa - 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

Page #543
479 Prakrit Verses in Sanskrit Works on Poetics (POSTRI) (after a while) is all right." 1147. Bhoja cites this gatha as an example of one of the manopalaksanas, called vilaksa-smitam - embarrassed smile. 1148. Read in the chaya fontein. Bhoja cites this gatha as an example of one of the manopalaksanas, called vyaja-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 gatha agrees with GS(W).917. 1150. See SP S. No. (1090.243) above. Bhoja cites this gatha here as an example of one of the manopalaksanas, called prasadhanagrahanam - disregarding personal decoration, not making one's toilet. 1151. Bhoja cites this skandhaka to illustrate one of the manoddipanas, called vipaksa-sannidhi - presence of one's rival (in love). 1152. Bhoja cites this skandhaka to illustrate one of the manoddipanas, called . sakhi-vailaksyam- embarrassment caused by the presence of her friend. 1153. See SP S. No. (1108.246) above. Bhoja cites this gatha here to illustrate one :' of the manoddipanas, called sapatniupahasa. - derision, jeer by one's rival in love (sapatni = co-wife). 1154. Bhoja cites this gatha as an example of the manoddipanas, called saubhagya-darsana - sight of happiness and good luck (especially, conjugal felicity) (of one's rival in love). 1155. Bhoja cites this gatha as an example of the manoddipanas, called daksinyoktih - courteous or polite speech, devoid of real affection. 1157. Bhoja cites this gatha as an example of one of the manoddipanas, called aparadha-smarana -- recollection or remembrance of love's offence. 1159. See for this skandhaka SP S. No. (101.232). Bhoja cites it here as an example

Page #544
480 Prakrit Verses in Sanskrit Works on Poetics of 3TBARTENI, fresh offence (given by her lover), one of the several manoddipanas. 1160. Bhoja cites this gatha with the introductory words : "siyandy andyalaut: Ved (Hart:) I -". Bhoja defines mana-vilasa thus : Heurigent 15 trucciughere HT 1941-ashlilan-farur I nr: 1 See translation. 1161. See SP S. No. (303.105) supra. Bhoja cites this gatha here as an example of (rizantay) #5:49fault(Yeni) -- See translation. 1162. See SP S. No. (308.106) above. Bhoja cites it here with the introductory words : "frutglatut: (yet) 1 --". See translation. 1163. See SP S. No. (273.100) above. Bhoja cites this gatha here with the introductory words: "ag-H:-ului ST UUT --". See translation. 1164. Bhoja cites this gatha with the introductory words : "7 (7) (a1cp- Jari-hafftunt --". See translation. 1165. See SP S. No. (275.100) above. Bhoja cites this gatha with the introductory words : "7:14-ulan er --". See translation. 1166. The gatha 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 gatha with the introductory words : "Trama: YURT 4 8T UT -". See translation. 1169. Bhoja cites this gatha with the introductory words : "377aft: ruufacut PRIT --". See translation. Sa (3rd fau:) 1170. Bhoja cites this gatha with the introductory words : " 34cylfagut ureIT -". See translation.

Page #545
Prakrit Verses in Sanskrit Works on Poetics 481 1171. Bhoja cites this gatha with the introductory words : "Auffalasat uri --". See translation. 1172. This gatha is nothing but a repetition of the above gatha - SP S. No. (1171.257). 1173. See SP 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 Mana. 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 mAnamoTTAyitam thus : vilAsa eva kAkvAdinAtivakro 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 chaya 397; 39 (= rise up from your stooping posture"). Prof. M. V. Patwardhan's comments : "The sense of paMsulikaaNimmameNa is not clear to me. NimmameNa aNeNa (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-GE-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 pratiSiddha-dagdha-hRdayasya refer? It cannot refer to the subhaga (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.

Page #546
482 Prakrit Verses in Sanskrit Works on Poetics 1177. Bhuvanapala reads phAleUNa ya. This yaor Bhoja's vi (in phAleUNa vi) 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 gatha is corrupt and obscure. The latter part of the first half of this gatha, however, is not vitiated by any errors : SAUT Artichopo UTHU. Tentatively, the first half may be reconstructed as follows:tujjha pia NAvarajjhiaM imiNA visamakkhareNa NAmeNa / [tava priya nAparAddhamanena viSamAkSareNa mAnmA / ] Translation : My dear, this (my) name containing odd or troublesome letters has not offended you ! 1181. TBTI - 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: aufat 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 (dveSyasya purata:). 1184. Read in the chaya nidrA-guruke (= eyes heavy with drowsiness) muhUrtaM supyatAm = 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 SP S. No. (768.190) above. 1187. See for the text SP S. No. (312.107) above. 1188. See for the text SP S. No. (494.143) above.

Page #547
Prakrit Verses in Sanskrit Works on Poetics 483 1189. HUUSTI = 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 Srrigara-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 chaya hem in the first half and the CA 30 in the second half. 1195. See for the text SP 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. dulaha (= durlabha) - difficult to obtain [dulaha on the analogy of sulaha (= sulabha) - easy to obtain) 1200. Read in the chaya un I 7. 1201. See for the text SP S. No. (915.214) above. 1202. Cf. with the second half the famous Pauraniki gatha : 1203. PAGSIS CFERT = POCET CER: - conversation (ZIER) through the movements of the eye-brows. 1205. See SP S. No. (292.103) above.

Page #548
484 Prakrit Verses in Sanskrit Works on Poetics 1207. See for the text SP S. No. (612.164) above. Dr. A. M. Ghatage renders it into Sanskrit and translate it as follows: "kasya na zraddhA gurutve patyu: prsaadyt:| 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 SP 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 (kapAlamukta) that has been revived to life (pratijIvita) by the nectar (amRta) that falls from the crescent of the moon (candra - the bAlacandra worn on the head by Samkara). 1212. Read Karanagahiovimae --- (p. 1039). See SP 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-vikasa (a small forest, wood, grove, garden). 1213. Bhoja cites this gatha as an example of one of the causes of the loss of jealous anger, called surabhi-vana-vata. Says the comm. -904-4RHC erfah jhaTiti mAninImAno vilIyate sAntvanaM nApekSata iti / lIlAvaI0, pR. 16. 1215. This gatha illustrates HTG (day-break) as one of the causes of AI-TH. 1216. This gatha 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-pradurbhava - appearance or rise of

Page #549
Prakrit Verses in Sanskrit Works on Poetics 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 Satyabhama is the junior or younger one. Krsna offered celestial flowers of the Parijata tree to Rukmini. This infuriated Satyabhama. In the course of appeasing her anger Krsna promises to get her the celestial Parijata 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 (facher 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 : atra satyabhAmAyA roSasyApasyApasarpata: praharSasya ca prasarpato ye'nubhAvA jihmava mukhaprasAdAdayasta iha saMkIryamANAH kavinobhayarasAyattavibhramamityanena yathAvadavasthitA bhavanti |---- Bhoja cites it again (p. 1211) with the introductory words: "FOR mAnakAluSyApagamo mukhaprasAda: yathA - 1. On p. 1040 we read hoi adUravasAaM, on p. 1211 hoLa adUsapasAaM and in SK (p. 727, v. 491 ) hoi a dUrapaAsaM. From these variants it is clear that SP originally read hoi adUra-pasAaM ( bhavati adUra-prasAdaM), whereas SK read hoi adUra-paAsaM ( bhavati dUra - prakAzaM). Of these two readings, hoi adUrapasAaM ( Sk. 3) has to be accepted as the genuine reading in view of Bhoja's

Page #550
486 Prakrit Verses in Sanskrit Works on Poetics statement 37 HHHHR ---- ItsThat PoreHTCHTOH-TOKKIGY: --- (SK p. 727) wherein he unerringly points out to the anubhAva of praharSa viz. mukhaprasAda, 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 SP S. No. (265.98) above. Bhoja cites it here as an example of gayrien: [? TRYIRT:- escaping, falling from loss of (mana - jealous anger)). Incidentally, it may noted that the Gaudavaho text reads the second half as : pANosaraMtamairaM va phaliacasaaM imA vaaNaM / / whereas the SP reads : pANosaraMtamairaM va phaliacasaaM muhaM bAlA || 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 manopasantis, called 396 -- falling down (or loss of) mana - pride or jealous anger. 1225. This skandhaka from Harivijaya is presented here in its corrupt form. Bhoja cites it to illustrate one of the manopasantis, called calana (? moving or motion). Satyabhama 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 manopasantis, 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 nayika when she feels humiliated by her lover). He once again cites it to illustrate priyoparodha ip. 1213) - [priya + (uparodha quarrel, disunion)] quarrel with one's lover. Incidentally, it may be noted that V. Raghavan's list of manopasantis (p. 56) does not mention calanam as one of the mAnopazAntis. 1227. Bhoja cites this gatha as an example of one of the manopasantis, called faus-4 - striking asunder, forcing apart, smashing Read Ratnadeva's commentary on Vajjalagga (Prof. M. V. Patwardhan's edn.,

Page #551
Prakrit Verses in Sanskrit Works on Poetics 487 Gatha S. No. (361), p.96 : ---- ko'rthaH / yannAyikA mAnaM racitavatI (tat) tAvat, yAvadvallabho dRSTigocaraM neyAya / Agate tasmin kAkanAzaM naSTa: / vajjAsaNi (vajAzani) 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 : pra. 1009 : toiapiANuvattaNamauliahiaAe evasesavahUo / saMbhAviacchi hio hariNA pAdapaDaNammi tIe amariso // pR. 1041 : lolaasuraarukAraNa mauliahiaAe sAvasesavalahue / saMbhAvia cia hio hariNA pAapaammi tIe amariso / pR. 1209 : toiasuraarukAraNa sauiahiaAe sAvaseaahalahuo / saMbhAvia ccia hiao hariNA pAapaDaNammi tIe amariso // Bhoja cites it here as an example of one of the manopasantis, called unmUlanam = eradication, destroying. Comparing the text of this skandhaka given on three occasions the text is restored and presented as SP S. No. (1082.242). Prof. M. V. Patwardhan's remarks : "If we emend 275931 (SP p. 1209) as saMuia (? saMkuia), it will not offend the metre. maulia would mean the same as saMuia (?saMkuia) - saMkucita - 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. sAvasesalahuo (anger) lingering and feeble (ebbing away). saMbhAvita - entertained, harboured in the mind. saMbhAvita eva hRta : was removed the moment it was entertained (by her). But this goes against sAvazeSalaghuka : (lingering and feeble). Except for this difficulty the translation would be all right." 1229. Bhoja cites this gatha as an example of one of the manopasantis, called . palayanam (fleeing, flight). 1230. Bhoja cites this skandhaka as an example of one of the manopasantis, called punarbhava (new birth). 1231. Read maulia - aMbua-pasarA in the second half and in the chaya mukulita0. Bhoja cites this skandhaka as an example of one of the manopasama-laksanas, called nayananimilana - shutting the eyes. Prof. M. V. Patwardhan's remarks : "daiAloapaattA - paatta = pravRtta - proceeded.

Page #552
488 Prakrit Verses in Sanskrit Works on Poetics 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) (Bahuvrihi compound) (ugfaaieguRI-R: ca 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 chaya 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 Desi (p. 264), fasi zifey aura vilaiyaM adhijyaM dInaM ca / Pac1937 means 'having the bow-string up, stretched or strung' and this meaning perfectly suits the context. With the correct reading fac1937 - ( Desi = 31EWVU, 3771f9a) - fa64H-gut, the problem does not arise. Bhoja cites this skandhaka as an example of one of the manopasama-laksanas, called mukha-prasadah. 1233. Read in the second half ce a RT HAGUET. Bhoja cites this gatha as an example of one of the many manopasama-laksanas, 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 gatha conveys in a suggestive manner the feigned anger of the speaker of the gatha. The reading jaNavAo is the generally accepted one as against SP's 'aNNajaNo.' 1234. Bhoja cites this gatha as an example of one of the manopasama-laksanas,

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Prakrit Verses in Sanskrit Works on Poetics 489 called akrama-ninda (akrama = want of order, confusion; ninda = censure, blame, reproach). 1235. Bhoja cites this gatha - which, however, has not been preserved intact - as an example of mano-jugupsa (self-condemnation, self-censure). 1236. See SP S. No. (989.227) above. Bhoja cites it here as an example of one of the manopasama - laksanas, called mananuyoga (HFT + 3 JUTT = a question, examination, censure, reproof). This gatha reminds one of the famous stanza, especially the first half, of Amaru's stanza : fecant : H ATSWIGGritori TEUTT 09/04azvaraNanipatito nekSita: saMbhrameNa AliGgana yo'vadhUtas-- 1237. Read Nikkaiava-maaNa in the second half and niSkaitavamadanao in the chaya. Bhoja cites this skandhaka as an example of one of the mana-bhangopadhis, called madah (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 gatha (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. mANo vAmANo caa, mANaM pArehi e gharabhAraM / (mAno vA'mAna: tyaja mAnaM pAraya ayi gRhabhAram / ) Bhoja cites this gatha as an example of one of the mana-bhangopadhis, called prasangopadhanam. 1239. See SP S. No. (1002.229) above. Bhoja cites this skandhaka here as an example of Pramadopadhana; pramada means carelessness, neglience. 1241. Bhoja cites this gatha as an example of Kalopadhana; kala means time (as in desa-kala place and time). '1242. See SP S. No. (1189.260) above. 1243. This gatha is corrupt. It may tentatively be restored as follows:

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490 Prakrit Verses in Sanskrit Works on Poetics sahi pAesu chivaMtI pio vva ki velavesi maM suaMtiM / ehi Nimajjasu pAse, pAua muhiA Na muNiAmo ( ? ) || ( sakhi pAdayoH spRzantI priya iva kiM vaJcayase mAM svapantIm / ehi zeSva pArzve prAvRtamukhyau na jJAsyAvahe || ) See translation. 1244. See SP S. No. (336.112) above. This gatha illustrates Suptopadhana; supta means sleep, asleep. 1245. Bhoja cites this gatha as an example of the pleasure a proud' nayika obtains on seeing her husband / lover falling at her feet (pada-patana ). 1246. See SP S. No. (1124.249) above. Bhoja cites this gatha here as an example of prasahyaslesa i.e., embracing forcibly, a (light and close) embrace by using force. 1247. See SP S. No. ( 321. 109 ). Bhoja cites here this gatha as an example of cumbana - balatkara i.e., (impetuous and ) forced kissings. 1248. See SP S. No. (1094.244). Bhoja cites this skandhaka here as an example of Upalambhoktih i.e, speech marked by taunts, speaking tauntingly. 1249. Bhoja cites this gatha as an example of sneha pariksa- ( sneha love, attachment to, friendship with; pariksa test, examination). - 1250. Note: Please read in Vol. I ( p. 272) pia garuiAeN. Bhoja cites thos skandhaka as an example of vipaksabhibhava (vipaksa - one's rival in love) abhibhava-humiliation, mortification, disregard, disrespect. NivvalaMtasiNehaM (Nivvala = NivvaDa, pRthak spaSTe NivvaDa | H. 8-4-62), so NivvalaMta = spaSTIbhavan; garuiAeN = gurUkRtayA; saubhAgyaguNAnAm agrabhUmyAM padaM nyastam - "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 utthanika : "kathAvyApinI nAyikA yathA -" SP (p. 1224) cites this skandhaka as an illustration of ratiprakarSodaya: zRGgAravRddhiH / yathA -. "tatra ratiprakarSanimittAbhilaSaNIyAliGganAdyavAptihetavaH, priyasandarzana- pramodavRddhyAdayaH saMbhogazabdavAcyA bhavanti / " zRGgAraprakAza, pR. 1224.

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Prakrit Verses in Sanskrit Works on Poetics 1251. Bhoja cites this skandhaka from Harivijaya as an illustration of labha - visesa (a special gain or advantage). The acquisition of 'sura druma' (celestial Parijata tree) is such as one could be proud of. He cites it again (p. 1221) to illustrate parijana - pramodah (parijana - attendants, retinue especially of females); pramodah excessive joy, delight). Prof. M. V. Patwardhan's remarks : "taM cia ( tadeva ) should be construed with tIeN gharaM Translate as follows: That very residence of hers (i. e., of Satyabhama), with the celestial tree planted at its entrance, full of esteemed (valuable) offerings (upacara) 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 uvaara is to be equated with (or emended into uvahara (upahara) decoration, offering or arrangement." - --- aNNaM ca saccavijjaI pariogha pariMta pariaNaM tIe gharaM // pR. 1047. and dAradvavi I am happy to note that Prof. Patwardhan's suggestion about the reading "upahara" finds support in the printed text of Mysore edn. ----G taM : cia kusumopahAra o gapiaM / --- ramumaM taM cia saMgamakusumopaArassaviaM aNaM vi sacahijjai pariosa parittagghaNaM tIe gharaM // - pR. 1221. --- zRGgAravRddhiryathA - paNaaparipUraNeNavira abhUsiapiaamAgameNa * garuo / pasarai laddhaddhAmo aNNoNNavasitaresahi tIe pahariso // 491 - And p. 1221 : cittasaMtoSo mana: praharSa:, yathApaNa aparipUraNeNa aviraAsuapiaAgameNa a garuo / pasarai laddhaddhAmo aNuNNarasaMtarehiM tIe pahariso // 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 srngara vrddhih. He cites it again (p. 1221) with the introductory words: citta santoso manah-praharsah: p. 1047 gives the text of this skandhaka as follows: 1253. This gatha 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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492 Prakrit Verses in Sanskrit Works on Poetics aha hoi kassa viraho, hohii virahammi ko jiai / GS(W). 124 : aha hoi kassa viraho, virahe hoMtammi ko jiai // . 1254. See SP. S. No. (310.107). Through inadvertance the text of the gatha = (and its chaya) are left out. Here they are : avvo dukkaraAraa puNo vi taMti (? tatti) karesi gamaNassa / ajja vi Na hoMti saralA veNIe~ taraMgiNo ciharA // (haMho duSkarakAraka punarapi cintAM karoSi gamanasya / adyApi na bhavanti saralA veNyAstaraGgiNazcikurA: // ) 1255. See $P. S. No. (323.109) above. 1256. aNaha (anagha) = uninjured, safe; pulaehi (pralokaya) See, look ! .. 1257. See the Sanskrit extract in Appendix I. 1258. Read in the first half of the chaya rudatyAM mayi ---- kSIyata ahamiva / 1259. kulavAliA may be equated with kulapAlikA or kulabAlikA. kulabAlikA means, as a rule, a virgin, an unmarried girl of good character and born in a noble family. kulapAlikA (= kulayoSit, kulavadhU) 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 : 'atisneha: paapshkii|' 1263. vaNe = maNe (= manye) = I think. Bhuvanapala observes : vaNe iti sakhI - saMbodhanam / Hemacandra lays down one sutra recording four senses of vaNe. vaNe nizcaya-vikalpa - anukampye ca / VIII. 2.206; ca covers the sense of saMbhAvanA - recorded in the preceding sutra (ai sNbhaavne|). bhaggamaNoraha (bhagnamanoratha) - an accursed, wretched or wicked person; Thrifa - denom. from CH ( - droop). 1264. See SP S. No. (615.164) above. 1265. upphusia = utproJchita. The Prakrit word in this sense is spelt as uppusia - wiped out, effaced.

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Prakrit Verses in Sanskrit Works on Poetics 493 1266. See SPS. No. (287.102) above. SK (p. 640, v. 243) too cites this gatha. 1267. See SP S. No. (217.87) above. 1268. Read in the first half R (? H6), and in the chaya (? HH) 3THOUT :. 1270. See SP S. No. (301. 105) above. Read in the chaya (second half) Anita. 1271. See SP S. No. (775.192) above. 1273. See the Extract from the Sanskrit Commentary in Appendix I. 1274. Read in the first half of the chaya Telegriffod: 1 1275. Read in the first half of the gatha - (? 1937 JE ORHIVUT) I 1276. Dr. H. C. Bhayani writes; "This is = Weber. 870. Weber has 3fesi yours, but in SP 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 'jaggaNa (or jaggia)- sUNAI'-swollen due to keeping awake - sleeplessness or we can have cifre ('red')--." 1277. Read in the first half 7311ds. 1278. See SP 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 chaya (second half) QuaH --- 45 . 1283. Read in the first half urufs. 1285. See SP 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 chaya (first half) ga. This gatha occurs earlier. See SPS. No.(614.164) above.- O alcat - fabric / facit.

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494 Prakrit Verses in Sanskrit Works on Poetics 1292. Read in the first half sihaM (? sihaaM) metri causa and in the second half bhAma HTH EUT - 950 and in the chaya (second half) WN 1437 STUT-46147. 1293. See SP S. No. (486.142) above. Read in the second half - JARAN. Read DSS (p. 15) : 3TRA' Togel Titulu: 1 1296. See SP S. No. (755.188) above. 1297. See SP S. No. (247.95) above. 1298. Read in the first half fa34A --- #37 (? Ua3r) and in the chaya (first half) --- FIAT (? Bila). means gruritat. 1A37 = gila. Tila (or jfa) is thus explained by the commentator on Lilavai (gatha 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 Lilavai (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-FABI ----- 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 SP 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 - patika.) 1309. See SP S. No. (1257.273) above. 1310. PETRT 93715 usifa - the steps of the wayfarer falter. 1312. See SP S. No. (174.77) above. Add below the chaya 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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Prakrit Verses in Sanskrit Works on Poetics 495 Appendix I. 1314. PSM records : But = TGT; TR (or for) = TG, and for the illustrations of both these words cites the gatha 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 gatha as follows : "ohie diNe u. vihurA vivaNNa-muhaA paosi paMthaM / Past (2 188) - f31 73195 37-ucun golles II (avadherdine tu vidhurA vivarNamukhA prAdoSikaM panthAnam / 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 gatha 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; oruNNamahI (avaruditamukhI) with her face covered with tears. 1325. See SP 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; TAS - Who says ? al is one of the ten substitutes for gad to say, See H. VIII. 4.2. 1327. Add below the chaya the source of the gatha --- 'GSI - 29'. See SP S. No.

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496 Prakrit Verses in Sanskrit Works on Poetics (679.175) above. 1328. See P S. No. (614.164) above. 1329. pulakitodrama (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 :ohi-diahAgamAsaMkirIhi sahiAhi kuDu-lihiAo / do-tiNNi tahiM cia coriAe rehA pusijjaMti / / (avadhi - divasAgamAzaGkinIbhi: sakhIbhi: kuDya-likhitA: / dvitAstatraiva corikayA (= cauryeNa) proJchyante // ) 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." pusa (or phusa) is one of the nine substitutes for the Sanskrit root mR to erase, rub out, efface, obliterate, wipe off. Prof. M. V. Patwardhan in his edition of vajjAlagga, 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 cira-pavasia-daia-kahA - NiuNAhi; and in the chaya cira-pravasita (= proSita-) dayita - kathA - nipuNAbhi: kathyante / 1334. uco the freshly plucked sprig or small branch of leaves; paDhamao accompanied by (saNAho = sanAtha : = sahita :) the first mango - blossoms: patthANao 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: "uttAnakamukhaghUrNamAnabASpa (virimAlaNo ?) (vAa). I think Hemacandra records viramAla as dhAtvAdeza for pratIkSu to wait for, to await, i.e., to endure or bear the absence of something.

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Prakrit Verses in Sanskrit Works on Poetics 497 "mahapaattA = mahAprayatnAt - with great effort." The reading virimAlaNovAA (= viramAlaNovAas) could mean pratIkSaNopAyA: (See Hema. Gr. VIII. 4. 193)." "First half, second quarter AucchaNe - ApRcchane (? Apracchane) - at the time of taking leave or saying good-bye. Second half: f ic is recorded by Hemacandra as a dhAtvAdeza for prati + IkSa. I, however, think that we should emend viramAliA into viramAviA (stopped) (by the tears turning round and round in the upturned mouth)." __ "I do not think that there is any pun in muhapaattA and vAA. muhapaattA vAA = mukhapravRttA: vAca: 'or words emanating from or coming out of the mouth.' viramAliA would have to be equated with viramitA: (stopped, blocked) and not with pratIkSitA:, though it is true that Hemacandra gives viramAla as a Prakrit dhAtvAdeza for prati + IkSa. In Gahakosa at 299 the dhAtvAdeza 'viramAla' is found used and Bhuvanapala paraphrases it by FE to bear or endure. But Weber's version of the Gatha saptasati has the reading viramAveuM, and Sadharanadeva has the reading volAveuM. I think viramAla can be regarded as an equivalent of viramAla by changing the la to va." --- "ee muhapaattA vAA can, as you say, be equated with ete mukhapravRttA: (i.e., ArambhakAle pravattA:) vAtA: and be taken as referring to the Malaya breezes. But muhapaattA vAA can also be equated with mukha-pravRttA: (i.e., priyatamamukhapravRttA: or preyasImukhapravRttA:) vAca: and in that case it must be supposed that a pun is intended, piaMstanding for priyAm or priyam. I do not think that there should be any difficulty in ee ccia vAA with etA eva vAca: (Nominative plural) ---- it is to be understood that both the forms eAo (or eyAo) and eA are permissible as Nom. or Acc. plural and in that case ea cia vAA can very well represent eA cia vAA (= etA: eva vAca:). There is no grammatical anomaly here as you apprehend." Dr. H. C. Bhayani wrote: "mahu-paattA = madhu- (vasanta-) pravRttAH; viramAlaNA or viramAliA 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 : "pattia0 mehacaMda (? pattia me Nehamio caMde) sahi sUradIvasihAe / kajjalapaDaNeNa Naha-khapparammi diasehi saMkaliaM // (pratIhi me nehamRgazcandre, sakhi sUryadIpakazikhAyAH / kajjalapatanena nabha: kapare, divasa: saMkalitam / )

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498 Prakrit Verses in Sanskrit Works on Poetics I think we must read kajjaleM paDaNeNa for kajjalapaDaNeNa so that kajjalaM becomes the subject corresponding to the predicate (saMkalitam) or kajjala can be regarded as a deinflected form used instead of kajjalaM---". Dr. H. C. Bhayani proposed the following restoration: "pattia Na mehavaMdaM sahi sUra-dIvaa-sihAe u kajjalaM / + + + paDaNeNa Naha - khapparammi diasehi sNkliaN||" but observes "Hier is metrically defective". Ragarding the emendation proposed by me 'sahara' (paDaNeNa) he welcome it as a good suggestion. 1339. Read in the second half of the chaya nUnameSu divaseSa. 1341. luMbIo (= stabakA:) - clusters of leaves and flowers; aMgaNa0 = jasmine creepers in the front yard of the house; dAra0 (dvArArgalA:) obstructions blocking the entrance to the house; paMtha - (pAntha: -) a wanderer or traveller; paMtha - (paloaNe) paMthapaloaNa (= mArga - pratIkSA) 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 - vinodana. 1345. Dr. H. C. Bhayani thus restores the gatha: "eaMpie pesijjau alAhi oramaha ki tha leheNa / lehaNia-bolaNoatta-hattha-galiaMvala tissA / / (etat priyAya preSyatAmalam uparamadhvaM (?uparamasva) kimatra lekhena / lekhanikA-nimajjanApavRtta-hasta-galitaM valayaM tasyAH II)" We may translate this gatha 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 : ruddha-loaNa (ruddha-locana) - With eyes shut or closed; AhAra (AdhAra) a basin round the foot of a tree; paliaMti = pradIpayanti inflame. 1348. Read ghariNIeN (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

Page #563
Prakrit Verses in Sanskrit Works on Poetics 499 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 vahaNekka-kaa-jIaM is obscure. 1351. Read in the first half 1942041371 metri causa. 1353. Read Mfaut31- &-ugcfe371 and in its chaya kSaNArdha-. 1354. See SP 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 janu (Sk. janu) 1356. Please read in the second half of the gatha (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 , saMmIlia dAhiNaaM tui aviaNhaM paloissaM // [sphurite vAmAkSi tvayi yadyeSyati sa priyo'dya tat saciram / saMmIlya dakSiNakaM tvayA'vitRSNaM pralokayiSyAmi / / ] - GS II. 37 - SP 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 chaya (second half) - CM.

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500 Prakrit Verses in Sanskrit Works on Poetics 1358. Read in the second half of the gatha JHBC. 1359. 3FITEA - (ind.) unexpectedly. 1360. See SP S. No. (623.166) above. 1362. Read : For this Apabhramsa 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 gatha agrees with that of the gatha bearing S. No. (826.199). 1366. Read in the first half of the gatha cgu and in the second half dies: 37537 = a wanton or unchaste woman. 1367. See SP S. No. (767.190) above. 1368. Beans :- Read DSS (p. 46): PIRITA BERSI, Janet 3402PRIST: BEST PRICHO RTT: 1 BERISI - a dung - hill; BEAST - a heap of jewels; 1969TU = vaidhavya widowhood; Nipphala - the heaviness and plumpness of the breasts being in vain (because of her widowhood). 1369. aDaaNA = asatI an unchaste woman; ruNNaM - ruditaM (wept); bAha0 - with her throat choked with tears. 1370 to 1415 (both inclusive): See the corresponding Extracts from the Sanskrit Commentary in Appendix I. 1416. vAei = vAdayati plays (on the flute or lute); naccAmi I dance (to his tune); caMcale pimme - 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. Vajjalagga-Additional st. 119*3, p. 227."-- The Gahakosa, pp. 159.160 (st. 243).

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Prakrit Verses in Sanskrit Works on Poetics 501 1417.vikkei - vikrINAti sells (barters); pAmara - a farmer; pAriDi (= prAvRti) upper garment; Purch - Arhu (Fr)] (breasts) warm like a smokeless chaff-fire; WH (= PUTHT) a beautiful dark complexioned young woman (here, his wife); 10737TOTT - pres. part. nom. sing. of 1073778 - to see. Bhoja cites this very gatha in his SK (p. 575, v. 11) with the introductory words : "fair uur & PATHRIT ueir ". SP cites it to illustrate Kanisthah nayakah. 1418. Read in the first half yanas37 free and in the chaya youariiaat (= gouart) --- 371afyoch: (= utatufy:) Hai Bhoja cites this gatha as an example of (mohadi-pradhanah) tamasah nayakah. 1419. This gatha is in close agreement with SP S. No. (556.154) above. Bhoja cites it here as an example of (pratikula-vittih) sathah (nayakah). 1420. '314-Hsct (soiled with tears) of course qualifies 'muham' (mukham) (understood). Bhoja cites this gatha as an example of (artha-guna sampad-yogini) Kanistha (nayika). 1421. See SP S. No. (321.109) above. Bhoja cites it here as an example of Kalaharanasahisnurdhira (? adhira) nayika. SK (p. 645, v. 260) cites it with the introductory words : R ed Hat Ta -- and comments upon it thus : atra 'mAna pUjAyAm' iti dhAto:--- mAna iti rUpam / sa hi preyAMsamasyA: pAdapatanAdipUjAyAM prayojayati / 1422. See SP S. No. (736.185) above. Bhoja cites it here to 'illustrate 'parakiya' (nayika) 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 chaya of GS VII. 46 below this gatha (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 gatha (GS I.20) as an example of Svayamupagatabhisarika-abhisarika -- "One that goes after her lover", is one who, being love-sick, goes to her lover (or makes him come to her). 1424. See SP S. No. (338.113) above. Bhoja cites it here as an example of one of the types of nayika, called madhyama (dana-guna-sampad-yukta). SK (p. 638, v. 237) cites it with the introductory words: (HTT-yelleg HERMH )

Page #566
502 Prakrit Verses in Sanskrit Works on Poetics atraiva pragalbhAyA: priyavAkyavarNanena yathA - 1425. Bhoja cites this gatha as an example of ahamkaravati uddhata (vehement) nayika. 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. DSS (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 SP 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 gatha with the introductory words : 34umacht HRT STET - Read in the chaya HH GT. 1428. See SP S. No. (485.142) above. Bhoja cites it here as an example of one of the types of nayika, 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 nayika, called Pragalbha (ratyupacara-catura pragalbha). SK (p. 684, v. 379) cites it with the introductory words: qu: osteczi Fuf ITHT U211-- 1430. See SP S. No. (1189.260) above. Bhoja cites it here with the introductory words : Alaricujetkt URIT -- 1431. See SP S. No. (579.158) above. Bhoja cites this gatha as an example of Lalita (nayika) 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 SP S. No. (687.177) above. Bhoja cites it here as an example of svairini nayika (atma-cchanda svairini). SK (p. 688, v. 394) cites it in identical context.

Page #567
Prakrit Verses in Sanskrit Works on Poetics 503 1433. Bhoja cites this gatha 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: kalAcatuHSaSTivid gaNikA yathA -. 1434. See SP S. No. (632.169) above. Bhoja cites it here as an example of 'uttama' .nayika. SK (p. 683, v. 374) too cites it in identical context : nAyikAguNeSu sarvaguNasaMpad-yogAd uttamA yathA -. 1435. See SP 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 (pazcAdUDhA) kaniSThA nAyikA. SK (p. 686, v. 386) too cites it with the introductory words : prathamoDhA jyeSThA yathA - 1437. See SP S. No. (128.67) above. Bhoja cites it here as an example of Farehaufacht (nAyikA) - who is her lover's absolute mistress. SK (p. 690, v. 402) too cites it in identical context : svAdhInapatikA yathA -. 1438. See SP S. No. (220.87) above. Bhoja cites it here with the introductory words : tat (= nAyikA) pratiyoginI pratinAyikA yathA - SK (p. 647, v. 263) cites this skandhaka with the introductory words : prema mimIte yathA- and comments upon it thus : ... tena ca yadyapi karaNabhUtenaivAtmani rukmiNyAM ca priyapremNa: parimANaM satyabhAmA pratyAyayati 1439. See SP S. No. (711.181) above. Bhoja cites it here with the introductory words : loke pratItavRddhaya: sNsiddhaaH| tatra sArvavarNika: kaniSThAdinAyakasya, sa yathA -. 1440. Bhoja cites this gatha with the introductory words : nAyakopagAmiphala vizeSo'rthipratinAyiko yathA1441. See SP S. No. (388.122) above. Bhoja cites it here with the introductory words : upapatirupanAyako yathA - upapati is a paramour. SK (p. 616, v. 147) cites it with the introductory words : (anubhAveSu) ceSTate yathA -. 1442. muralA 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 (patyu:

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504 Prakrit Verses in Sanskrit Works on Poetics DRHTAR407 22-. 1443. See SP S. No. (166.76) above. Bhoja cites it here with the introductory words : vd HidallendytihifaRT PRIT - 1444. See SP S. No. (203.84) above. Bhoja cites it here to illustrate pratinayika (the rival of the heroine, a foil to the heroine) : Renfaqe: afficha. 1445. See SP S. No. (51.52) above. Bhoja cites it here with the introductory words : Fiachru: 341CT UIT- The term 'upanayika' may be rendered into Engish a 'a secondary heroine' on the analogy of a upnayaka -- a secondary hero'. 1446. See SP S. No. (556.154) above. Bhoja cites it here as an example of anu-nayika (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 nayika (heroine). SK (p. 679, v. 356) cites it as an example of (AbhAseSu) ubhayAbhAso yathA -. ubhaya 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)

Page #569
Prakrit Verses in Sanskrit Works on Poetics 505 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 Valtsyayana's Kama-sutra (II.6, 41-44). pradoSamukha is however difficult. pradoSa itself is rajanImukha (early night). Why is the mukha added to pradoSa ? --- Perhaps pradoSa symbolises a young girl and rajanI symbolises a grown-up (utc) nayika." 1451. Bhoja cites this skandhaka to illustrate pratinayika (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 nayika and a pratinayika. SK (p. 453, v. 86) too cites this stanza as an example of the figure samAdhi (- nirudveda variety). The commentator jagaddhara thus comments upon it : ... ihAtyarthadhRtalauhitye'tyarthakRtAnurAge ca dinakare sUrye vallabhe cAparadizaM pratIcImaparanAyikAM cAvagRhamAne saMbadhnAtyAzliSyati ca sati dinazobhA . . vallabhasphuTadUSaNamasahamAneva kAmyati mlAnA bhavati / atra ca nAyakatvAdhAropaNaM rAgAdipadaiH zliSTaiH kriyata iti 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 : oratta0 (bahuvrIhi compound) whose pale (oratta - aparakta ) 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); aliai = AlIyate-approaches; vAAe gamei 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

Page #570
506 Prakrit Verses in Sanskrit Works on Poetics is as it were tormented by passion, and then reaches (communicates with) its female consort with its doleful cries." "vammaha-NaDiaMva is an utprekSA 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 Varuna (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 nayaka on account of its natural position - it's being worn on the hips ! 1454. See SP S. No. (1229.268) above. Bhoja cites it here as an example of upanayaka. Here "Mana" (Jealous anger or Pride) is poetically imagined to be secondary hero - upanAyaka. 1455. See SP S. No. (197.83) above. Bhoja cites it here as an example of anunayaka. 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 gatha : "ER31-16-631-HG-tic37-674-63115 (dyra-e-au-HR-alfa-r-TTT 1)" The whole gatha 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 gatha is the same as cited earlier (p. 689, Mysore edn.) by Bhoja to

Page #571
Prakrit Verses in Sanskrit Works on Poetics 507 illustrate vinigUhana, one of the four adharArambhas. 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 RtumatInAmanurAgAtizayazaMsina: ceSTAvizeSaveSAdaya: parihAravilAsA: / yathA -. This gatha is cited in SK too (p. 620, v. 164) with the introductory words : helAdiSu rAgata: sahasA pravRttihetuzcittollAso helA / sA striyAM yathA - In Vajjalagga it is recorded in the Appendix as an additional gatha under the Section virahavajjA (p. 248,S. No. 389* 4). The commentary on it runs as follows : ... he sundari tava bhujalatAyugalaM rAjate / kiMviziSTaM bhujalatAyugalam / helA-hallAviya-thora-thaNaharaM / helayA hallApita: spRSTaH sthUlastanabharo yena / puna: kiNvishissttm| surata-mandira-dvAre priya-pratirundhana-prasAritam / 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 parihAravilAsa. SK (p. 620, v. 166) too cites it with the introductory words : helaiva savacanavinyAso haavH| sa striyAM yathA-culacula -Hemacandra (VIII.4.127) lays down : spndeshclucul:| spandezcalucula ityAdezo vA bhavati / spand to throb, twitch; Mathuranatha Sastri says : culaculetyutkaNThAtizayasUcakamanukaraNam / sarasvatIkaNThAbharaNAdiSu kvacit culaculAyamAnAbhyAmityasya . . spandamAnAbhyAmiticchAyopalabhyate / paraMbhAvavyaJjanAnukUlA prAkRtazailI pAlanIyeti na tathehAnusRtam / - gAthA0, pR. 248. chikko spRssttH| - touched; See Hema. VIII.2.138. 1462. parihAra 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 : kAminA pUrvAhNa-karaNIyaM paurvAhaNikaM yathA - GS(W) 717 reads this gatha as : aha suai --- SK (p. 594, v. 64) as osuai. aha = asau. 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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508 1467. See SP S. No. (745.186) above. Prakrit Verses in Sanskrit Works on Poetics 1468. Bhoja cites this gatha as an example of (to be done at midday f or noon) Mathuranatha sastri says by way of utthAnikA : svayaMdUtI pathikamAha / Bhuvanapala (p. 24, v. 51) observes vizrAmotivyapadezena idamAha / [prapA a shed on the road side containing a resorvoir of water for travellers (Mar. pANapoI); so prapApAlikA 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 khujjaMbaeNa = kubjAmreNa by the dwarfish mango tree; hatthAhatthiM va ( hastAhastimiva ) - (ind.) generally means "hand to hand", "in close fight". cf. however, Marathi "hAthohAtha / hAtohAta" (= sahajAsahajI, caTakan, effortlessly or quickly). 1470. See SPS. No. (638.169) above. Bhoja cites it here as an example of (= aparAhNakaraNIyam) - a thing or an act to be done in the afternoon. SK 613, v. 135) cites this gatha to illustrate snana'. one of the uddipana-vibhavas [(uddIpanavibhAveSu) candana-snAna- dhUpAdayaH / ] 1471. See SP S. No. (623.166) above. Bhoja cites it here as an example of AparANikam. -- 1472. See SP S. No. (342.114) above. Bhoja cites it here as an example of AparANikam. 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 tamaH (nizAgamAndhakAraH) darkness. See the Extracts from the Sanskrit Commentary in Appendix I. 1478. Bhoja introduces this skandhaka with the words : indorudramazcandraH (? zcandrodayaH) / yathA--. 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

Page #573
Prakrit Verses in Sanskrit Works on Poetics 509 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 vihumavalayaddha-NihAra-hiroggaA. 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: vidyamavalaaNihA siroggaA avarA (Na) dADhA suhaA 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 cuNNaia (cUrNitam) is not clear to me. rasa is something liquid, while cUrNa is something dry (powder). Should we emend cuNNaiaM into NimmaviaM - NimmiaM : 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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510 Prakrit Verses in Sanskrit Works on Poetics 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 Gahakosa, 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 Apabhramsa stanza. The stanza under discussion is corrupt. It may tentatively be reconstructed as follows :caMdAavammi jAai, mArua-vihaa-viDavaMtara-samovaie / kumuuppalavAvINa va, rUvaM dhavala-kasaNaM dumacchAANaM / / (candrAtape jAyate mAruta-vidhUta-viTapAntara-samavapatite / 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 chaya 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 :

Page #575
Prakrit Verses in Sanskrit Works on Poetics 511 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 Pradosikam (= nisa-prathama-yama-karma). The stanza may be restored as follows: - sajjijjai uvaAro, aho raiaMpi puNo raijjai saaNaM / saMbharia vANi-atthA appAhia-patthiA vi ruDabhai duI // (sajjIkriyate upacAra:, aho racitamapi punA racyate zayanam / saMsmRtya vANyarthAn saMdiSTa-prasthitApi rudhyate dUtI / / ) 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 "pradosikam": 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

Page #576
S12 Prakrit Verses in Sanskrit Works on Poetics 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 "pradosikam". See the translation. ansent = Qulighet: -"delirious (at the thoughts the forthcoming bouts or rounds of sexual enjoyment." M. V. P. 1490. Bhoja now illustrates prabhatikam (= pratyusa-kala-karma): Read in the first half of the Sanskrit chaya rajanI-vadhvA parivartamAnayA. The expression 'aNaddhaMto vva' in the fourth quarter, as found in Mysore edn., is obscure. Prof. M. V. Patwardhan's remarks : "In the Sanskrit chaya, say Radhe (Inst. sing.) instead of Ra ART (Loc. sing). Ragaunt will have to be understood to be a Bahuvrihi compound (parimalo pisuNo jassa. pisuNo being equal to sUcaka: or vyaJjaka:) and having the same sense as parimalapisuNio (-parimalasUcita:) Your restoration and translation are 0. K. --- The phrase HettaRight is a Bahurihi 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 prabhatikam : 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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Prakrit Verses in Sanskrit Works on Poetics 513 1492. Bhoja cites this gatha with the introductory words: FMAR SICH m e africaiera: MAIST, ERCLASH RIT-. "People gather round a big Salmali tree, deck themselves with its flowers and play." (Jayamangala). 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 (sunimilitaka). Now see translation. SK (p. 665, v. 302) too cites it in almost identical context. 1493. See SP S. No. (426.130) above. The text of the second half is presented here slightly differently: aiujjuA haAsA ahava pio se varAIe / (31fcucht EGITRIT, 372ral fou: CRIT: RIUT: 11) 1494. Bhoja cites this gatha with the introductory words: a rt pou sa yours: palAzAdinavalatAbhi: priyajano hanyate sA navalatikA / yathA - The gatha is corrupt and obscure. Dr. H. C. Bhayani reconstructs it as follows:" ca fara (?) in a faret (?) ---- UaMg3i saalAvaavAiM saMcalaMti (saMvalaMti) se tammi AvasiuM / / (nrufa --- 315 URTE 319 do: (?) --- anaami CUDIA (? C UT :) Haar Haara) a TT 11" The overall sense of the gatha is appears to be : On whatever part of her body the (younger) brother-in-law gives a blow with the fresh twig (of palasa 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 Navalatika or Cutalatika see DHV S. No. (12.8) above.) 1495. See SP S. No. (417.139) above. See also DHV S. No. (12.8) for the game of Navalatika or Cutalatika. 1496. See SP S. No. (394.123) above. 1497. Bhoja cites this gatha in his SK also (p. 623, v. 175). There the utthanika runs as follows: afari R TURIT - a means : trembling, timidity, alarm. 1498 -1501. Bhoja cites these four stanzas from karpuramanjari with the

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514 Prakrit Verses in Sanskrit Works on Poetics introductory words: 9alcuyafahaTh191dea: Eri-IGT qullage (9571MARTH, as mentioned by V. Raghgavan in his Bhoja's SmgaraPrakasa (p. 63, and p. 654)] which is also known as Bhuta - matnka. SK (p. 667, v. 309) illustrates "Walaugud (? UMPUF) Ich." Pancalamuni started or designed this festival which is fulll of fun (prahasa). The illustrative gatha 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 Karpuramanjari describe the dances of the Vata-savitri-vrata which include smasanabhinaya with demon-masks. Now, read translation of these four verse. For details read V. Raghavan's Festivals, Sports and Pastimes of India. 1502. See SP S. No. (311.107) above. Bhoja cites this gatha (and three more gathas) as example/s of the pastime, called navapatrika which he thus describes : prathamavarSaNapraruDha-nava-tRNAkurAsu sthalISu zAvalamabhyarcya bhuktapItAnAM kRtrimavivAhAdikrIDA navapatrikA / tatra ca varaNa-vidhAnAdau teSAmevaMvidhA: parihAsA bhavanti / Navapatrika 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 SP S. No. (474.140) above. 1504. See SP 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: kadambayuddhAni / "The Kadamba-yuddha is an interesting rain-time sport mentioned by Vatsyayana and Bhoja. The kadamba is a tree blossoming with the advent of the rains. Couples repair to gardens and woods, arm themselves with

Page #579
Prakrit Verses in Sanskrit Works on Poetics 515 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 gathas with the introductory words: abhinavabisADurodbheda-samaye (bisAkarodbhedAbhirAmaM - sarasvatI, pR. 668) sara: samAzritya kAmimithunAnAM krIDA bizA-(bisa -) khAdikA / yathA -. The Bisakhadika 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. vahuNNI jyeSTha-bhAryA (Ds. p. 246). 1512 - 1513. Bhoja cites these two gathas with the introductory words: etena (bisakhAdikA-krIDAvarNanena) nAtyUSa -0 (? abhyUSakhAdikekSubhakSikA) ca vyAkhyAtA / - zRM. pra., pR. 1194. In his SK (p. 669) Bhoja cites the first gatha with the introductory words : zamIdhAnyaH . pAnyAnAmArdrANAmevAgnipakvAnAmabhyavahAro abhyUSakhAdikA / yathA -. And, the second, prathamata evekSubhakSaNaM navekSubhakSikA / yathA - abhyUSakhAdikA - is the eating of unripe or green corns roasted in fire, something like 'hurada' in Marathi. ikSubhakSikA is the eating of fresh sugar cane. [1512. SP reads maaNaggiNA karo me daDDho, whereas SK (p. 669, v. 316) reads vAaggiNA karo me daDDho. The expressions maaNaggi and vAaggi are obscure. It is possible to read pAaggi (pAkAgni)! Dr. H. C. Bhayani observes: "vAaggiNA is possibly pAaggiNA = pAkAgninA and maaNaggiNA is payaNaggiNA = pacanAgninA."] aor.. 1514. e SP S. No. (30.48) above. Bhoja cites it here to illustrate Indrotsava. (cf. zakramaho indrotsava: yathA -).

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516 Prakrit Verses in Sanskrit Works on Poetics The gatha is corrupt and obscure. The restoration is purely tentative and conjectural ! Read in the chaya (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 gatha 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 gatha with the introductory words: 31feautufuriara: antydigar: I UPIT -. It is also known as Kaumudijagara. "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 Sr. Pra. - p. 659. SK (p. 668, v. 314) cites only the first gatha 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 (ucchalita expanding or bursting); phasalihimi Fut. Ist pers. sing. from phasala to cover, besmear. 1518. Eftwid = RP (= ahya RamTUT) 1519-1520. Bhoja cites this gatha (1519.318) with the introductory words : autat UERIE: JET - SK (p. 669, v. 315) too cites it with the same introductory words: "The yaksa-ratri is the Dipali festival known also as Dipavali. Bhoja calls it also Dipotsava. Rows of lamps arranged artistically in all parts of the house form the chief characteristic of this festival. The name Dipavali is now applied in the South to the celebration in Asvayuk, which is called also

Page #581
Prakrit Verses in Sanskrit Works on Poetics 517 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 gathas with the introductory words: spRhayantI vratamaSTamIcandraka: / sa hi caitracaturthIto'STamacaturthyAmudIyamAna: fanfarand (afhaafat - predit C. &&8) I went -- In identical context SK (p. 664, v. 298) cites only one example (the second gatha). "Saradatanaya mentions the Astamicandraka as a spring festival. Bhoja mentions this in both his works, and calls it by another name also, the Sprhayantivrata. 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 gatha is to be identified with GS(W) 346 : osahiajaNo paiNA, salAhamANeNa aiciraM hasio / caMdo tti tujjha vaaNe, viiNNa-kusumaMjali-vilakkho / / (Avasathikajana: patyA zlAghamAne nAticiraM hasita: / aos sfa na aso Pashuf- h vila-Pacte: 11) Now see translation. For an idea of the situation and centext of this gatha, read Gahakosa - Notes (to Gatha 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 chaya 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 Astamicandraka requires to be further investigated. 1523-1524. This gatha 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 yavanastareSvabalA lolanti sA kundacaturthI /

Page #582
518 Prakrit Verses in Sanskrit Works on Poetics 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 Vatsyayana 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 SP S. No. (399.125) and SP S. No. (123.66) above. Bhoja cites these gathas to illustrate the festival, called Suvasantaka. He thus explains it: Praiarch: Hoch: 1 In SK (p. 664, v. 300) too Bhoja cites the second gatha as an illustration of this festival The name 'Suvasatanka' corresponds to 'suprabhata', 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. SP cites these two gathas as illustrations of Sahakara-bhanjika or Cuta-bhanjika. SK (p. 666, v. 306) cites only the second gatha as example of Cuta-bhanjika. SP thus describes or defines it : 160R - - TAHSURI WEARHITI SK thus explains cUtabhaJjikA:-yatrAGganAbhizcUtamaJjaryo'varujyAnaGgAya bANatvena dAyaM dAyamavataMsyante sA cUtabhajikA / 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. SP cites these two gathas as illustrations of Dola-vilasa. SK (p. 664, v. 301) eites the first gatha alone as an example of Andolana-caturthi. "Andolana - caturthi is the Swing Festival. It is mentioned also as the Hindola - krida in the Jayamangala. It falls on the third day in the bright fortnight of the Sravana month. The Smgara - Prakasa calls it Dolavilasa. ----- Enjoying the Swing is also part of the Spring festival ---" V. Raghavan: Festivals --- (pp. 111-112).

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Prakrit Verses in Sanskrit Works on Poetics 519 1531-1534. Bhoja cites these four gathas as examples of "Returning Home." He cites these four gathas 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 SP 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 gathas 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 SP S. No. (372.119) above. 1537. See SP S. No. (481.141) above. 1538. See SP S. No. (955.221) above. 1539-1542. Bhoja cites these four gathas with the introductory words : wire zarIrapratikarma prasAdhanam / yathA -. V. Raghavan (Bhoja's St. Pra. p. 63) mentions 'WATERYBUTH' - the act of decorating, embellishment, (toilet and its requisites). "paTTimuhaThio" is really difficult to understand. I emended paTTi to paI and translated the stanza, of course, tentatively. '9646cfait' is metrically defective as 'jagana' cannot be at the beginning of a gatha. arr3fiforan (artialamiftat). A vasakasajja nayika (a nayika 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 - vAsakavimAnitA. Prof. M. V. Patwardhan's remarks: "I think the ar 15 in Rotwil means

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520 Prakrit Verses in Sanskrit Works on Poetics nivAsa - residence. vAsakasajjA isanAyikA (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. vAsake (nivAsasthAne) priyakarasvAgatArthaM sajjA vastrAlaMkAramAlyadidhAraNena siddhA, vAsakasajjA / --- Apte cites sAhityadarpaNa, stanza 120 where it is said : kurute maNDanaM yA tu sajjite vAsavezmani / sA tu vAsakasajjA syAd viditapriyasaMgamaH // Here the words sajjite vAsavezmani support the explanation of the word as guessed by me above." 1543. See SP S. No. (127.67) above. Bhoja explains the term goSThIvihAra and adds two stanzas from some work on Erotics (?). The second stanza runs as follows: saGgItamatra kalayenmRdukAkalIbhi: gAthA: paTheca masRNaM madanAgradUtI: / dvayartha: padaiH pizunayeca rahasyavastu hRdyaM haseca dazanAMzubhirullasadbhiH / / Then Bhoja remarks tatra gAthA yathA - poDhamahilANaM jaM jaM --. 1544. Bhoja cites this gatha with the utthanika : vyarthapadaprayogo yathA - (with a view to illustrating "dvayartha: padai: pizunayecca rahasyavastu). The gatha is double - meaning. The uttanartha (superficial meaning relates to musala, apestle; the hidden meaning (rahasyavastu) to (pestle - like) male organ. 1545-1548. Bhoja cites this passage with the introductory words : ratyAvAsapravezo vAsagRhopagamanam / yathA -. kA 1545. For this skandhaka from Setu, vide the Extract from the Sanskrit Commentary in Appendix I. Read in the Sanskrit Chaya in Vol. I 'ni:saho'GgAni'. 1546. AittapahaM (pecchai) "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 AittapahaM stand for AiMta-pahaM = Ayat-patham "the way by which their lovers

Page #585
521 Prakrit Verses in Sanskrit Works on Poetics are expected to come ?" AiMtANaM piaamANaM pahaM (maggaM) pecchi| i.e., piaamANaM AgamaNamaggaM pecchai. A + iMta from A + i = Agaccha. In Sanskrit the present participle of A + i is Ayata. iMta may be formed directly from i or from yat by saMprasAraNa (vocalisation) of ya into i." Read in the Sanskrit chaya 'jano'ntaH'. 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 pulakodgamapizunitakaitavamAnavimukhaM vilAsinI-sArthama. 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 sApekSasamAsa ----" Prof. M. V. Patwardhan. 1548. "samuhadaMsaNadiNNaM = saMmukhadarzanadattam given (caused) by their looking at their lovers straight (without any constraint). maaNapahuppaMtaloaNo - pahuppaMta must be understood as having the sense of a present passive participle. madanaprabhUyamAna (i.e., madana-prabhAvita-locana:). ---The emendations and translation are all right in the circumstances." ..- Prof. M.V. Patwardhan. 1549-1552. madanArtAgAmikAminI pratipAlanamabhisArikA pratIkSaNaM yathA -. 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. priyajanAhvAnAya sakhyAptisaMpreSaNaM dUtIvisarjanam / yathA - 1553. See SP S. No. (39.50) above. Note : Read in Vol. I - p. 323 S. No. (39.50) for (36). 1554. cf. Gaharayanakosa, S. No. 387. It reads festa in place of or proposed by me.

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522 Prakrit Verses in Sanskrit Works on Poetics 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. nimittavizeSAt priyANAM gamane svayaM vA tatra gacchediti svayaM vA gamanaM yathA -. 1557. pratipathaM na nIyate dRSTi: - "The eyes fixed on the entrance (dvAragatA dRSTi:) are not retracted (or withdrawn)." - M. V. Patwardhan. Note : maggao = mArgata: (Read ato Do visargasya / hema. 8. I. 37) 'magge pacchA' DSS, maggao pazcAta. For the sense of maggao, cf. Marathi mAgUna, mAgomAga, mAge. 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. prAptasyAbhyutthAnAdipratipattirAgatopacAra : / yathA -. Homage to / welcome to the person who has arrived-means respectful behaviour (fauft) or reception by rising from a seat through politeness (abhyutthAna), etc. 1561. (saMbhAveu) maANaseNacalaaM - this is obviously a corrupt reading. I have emended it to maAlasehi (aMgehi) Na caai (madAlasaina zakyate / ) Na caai (= Na tIrai) : The printed text in Mysore edn. reads Na calaa. The original reading may have been Na caai or better Na caiaM = na zakitam. 1562. ullAvA (ullApA:) here means not merely "speech or words" but insulting words, taunting speech, taunts. vimuhiA - vimukhita (lit. with the face averted or turned away from) - here, averse or disinclined to come out. "If vimuhiA is to be paraphrased as vimugdha (vimohitA:) 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 pratipattibharasahA: na bhavanti can mean"They were not capable of bearing the burden (onus) of making up their minds

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Prakrit Verses in Sanskrit Works on Poetics 523 (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 RIH-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: Dayanilanter: I RI 1564. Read in the chaya waffic an. Prof. M. V. Patwardhan remarks: "We must read HOITIR 0311 maNivalaaNibiDeM paricatte / -- in quarter one and in quarter two are thus to be read as short, metri causa. Ffract3f0as stands for HacT3774GIT. (thus folas = GRU); Pasi = fall =U: fatigue, exhaustion;-ReciaR31 (= fa-a -:) is a usual phrase used in Sanskrit and Prakrit poetry. --- The only hurdle that now remains is the word lAlasa. How can lIlA (= krIDA) be said to be lAlasa (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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524 Prakrit Verses in Sanskrit Works on Poetics perhaps the only way to get over the hurdle posed by the word lAlasa. 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 punyaha." 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 focaziT, 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 gatha as an example of Ratarambha - (the beginning of sexual enjoyment). Husi - (HETTA) waist; H6197 (H6190f) - a great whirlpool; S31 - (W17) - moved round and round. "cfas (= cfagh) should be equated with a (= Asfag - is not able (UT CRS) 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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525 Prakrit Verses in Sanskrit Works on Poetics 1569. See SP S. No. (252.95) above. 1570. See SP 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 SP S. No. (1090.243) above. 1573. See SP S. No. (1098.243) above. 1574. See SP S. No. (1098.244) above. Bhoja cites this skandhaka with the utthanika: sAmavAkyAni parisAntvanAni / yathA -. 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 nayika." - Prof. M. V. Patwardhan. SCH, on second thoughts, may be taken as referring to the "love" of the nayika 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 SP S. No. (224.89) above. 1576. See SP S. No. (1093.244) above. Bhoja cites it here again as an example

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526 Prakrit Verses in Sanskrit Works on Poetics 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. YIG46RI UfO1417:1 URT. 1577. See SP 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 Satyabhama'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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 527 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 vizeSaNas (viz., (1) tasyA: anurAga --- gantes: - a Bahuvrihi compound, and (2) piger ARTYSEGUICI udvAsitaharSotkarSa:). But there is no vizeSya (subject) qualified by the two vizeSaNas. Hence it is difficult to translate the stanza. Further, the context is not clear. It cannot be said whether as refers to Rukmini or Satyabhama. 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), SP S. No. (308.106) above. 1582. SK (p. 633, v. 214) too cites this gatha 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. SP 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 chaya 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: "saMbharia + avarAha would become saMbhariAvarAha. In saMbhariAvarAha, A appears to have been shortened into a 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)? tIeN garuaM Numajjai (or Nimajjai) oNiattaM pi amarise cia hiaaM / " 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 Aparadha-smaranam. "The

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528 Prakrit Verses in Sanskrit Works on Poetics 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 vilAsavaINaM jaMpiaM. The predicate (vidheya) is khalaMtamahumaasuhaaM. The remaining words is Nominative singular are adjuncts qualifying the subject. 1585-1586. Hafah 70 TRI I 4217--. 1585. See SP S. No. (1134.251) above. Here Bhoja cites it to illustrate 7-94RI dejection, depression, melancholy caused by jealous anger or sulkiness). 1586. See SP 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 SP S. No. (1226.267) above. gelate - PRUT -- marked by receding (or recession) of the memory (of the offence commited by him). 1588. "The compound 3furahce 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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Prakrit Verses in Sanskrit Works on Poetics 529 - horripilation, goose-flesh, two of the eight sattvikabhavas described by Bharata in his Natya-sastra. 1589. akia-uvvariaM (akRtorvaritam) : Works on dramaturgy lay down six expedients to remedy the beloved one's resentment (mana) : yathottaraM guru: ssddbhirupaayaistmupaacret| sAmnA bhedena dAnena ntyupekssaarsaantraiH|| (tatra priyavaca: sAma bhedsttskhyupaarjnm| dAnaM vyAjena bhUSAde: pAdayoH patanaM nti:||) 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; nati, falling at her feet; upekSA, 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 'pAdayo: patanam ; he was not required to employ any i of the other five expedients to drive away Satyabhama's anger or resentment. 1590-1591. tadradeva kapoloSThasphuraNAni kapoloSThaspandanAni / yathA - kapoloSThaspandanAni - 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. mukhasya mAnakAluSyApagamo mukhprsaadH| yathA - mukhaprasAda - 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. vyalIkodghaTTanam (? udghATanam) upaalmbhH| yathA - 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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Prakrit Verses in Sanskrit Works on Poetics 530 1595. See SP S. No. (1108.246) above. 1596-1597. HERRIRUGPUHASTHRT: OPRIT . 3195irist is the act of drawing out, taking out, extricating the dart of pride; (37asilo 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 SP 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 premailinganas (?) Sp. Pra. p. 64). For this verse, see SP S. No. (1114.247) above. Tafasi are "signs of love". 1599. As the preceding Utthanika 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 SP S. No. (1226.267) above. 1600. defauone: Argit:I URIT --. For this verse, see SP 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) (iti zikSayat madhu or zikSayan madhu: aparAdhyati f?) or (34 = 3a) doing a good turn? We need not emend 30 sie 317 into 3 pusis 37 - 37 = Un according to Hemacandra VIII. 1.172 (3914td). See also Hemacandra VII.2.203 Vrtti : vikalpe tu utAdezenaivokAreNa siddham / The suggestion of the stanza is that if the intoxication caused by spring season

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Prakrit Verses in Sanskrit Works on Poetics 531 (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 mANaggahaNe into mANa-ggahaNaM 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 SP 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 laMbha to dambha or rosa. "First quarter daMbhapusiAharAo can be paraphrased as dambhaproJchitAdharAbha: yuvatijana: '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 (vidheya) seems to be agghai (= rAjate). So the translation would

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532 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 galaMtadhIraM (qualifying NaaNe cuMbiaM)." 1605-1606. Erdhara: NICI I PRIT -- Drais 74 -- striking with palm of hand, slapping 1606. See SP 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 nayika. She realises her grave error and lets flow her jealous anger in the form of her tears which were mixed with collyrium. The reading (pulakita-) masacchakaM is emended to pulaia - FREIGT31 (alca - A ). "The emendation is all right so far as I can see. Her and Afrids, both mean 'head'." - MVP. 1608. snehavAmatA premavaikRtAni yathA -. The expression snehavAmatA immediately reminds one of the famous line art : For this verse, see SP S. No. (1185.260) above. 1609. SK (p. 670, v. 321) cites this with the introductory words : TIETY 14 Hledat madhupAnam / yathA - whereas Bhoja introduces it here with the words : mAnApagamAd disrtant av : (? JUMA:), UTRIT - See SP S. No. (1002.229) above. "9F% should really be qHICO = e = wiped away (from the mind) and hence forgotten." - MVP. 1610-1611. HF-ETROTHITAROf Hrasileh:1 P11--. 1610. See SP S. No. (277.100) above. 1611. See SP S. No. (292.103) above. 1612-1613. ATTUTTIT HIERPI:1 OPRIT . HITTI (or 1798719) repentance or remorse

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Prakrit Verses in Sanskrit Works on Poetics S33 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 SP S. No. (1117.248) above: 1614. Hr7gywir Haret UIT --. Trst (or HOYQIT) -- (The act of) censuring or reviling sulkiness (or jealous anger). This gatha is the same as SP 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. sohaLA. 1616. See SP S. No. (579.158) above. SK (p. 639, v. 238) cites this gatha 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; facao - 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 SP 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 gatha to the nayika 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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534 Prakrit Verses in Sanskrit Works on Poetics 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. iSTavayasyAnAM mitho vyavahAra: priyasakhIvAkyAni / yathA- priya0 - 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 (attA = sakhI) 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 ! kaMTha-tthaNia = kaNThakUjita. See SP S. No. (616.165) above. SK (p. 591, v. 54) defines sanka (apprehension) one of the thirty-three vyabhicaribhavas and cites this gatha with the introductory words : tadrUpeNa rasasya prakarSo yathA -. After citing it, Bhoja thus comments upon it : atra virahiNyA: kArthyAtizayamudrIkSamANAyA: kasyAzcid vayasyAyA: snehAtizayAt 'prema pazyati bhayAnyapadepI ti priyAgamapraharSAtizayabhAve'pyasahiSNutayA tanmaraNazaGkA prakRSyate / 1623-1624. priyAgamapAritoSikamaGgalAni diSTyA vRddhyH| yathA - diSTyA - "thank heaven ! I congratulate you on your good luck !" often with vardhase : you are fortunate; diSTyA -vRddhi congratulation. 1623. See $P S. No. (1348.289) above. 1624. See SP S. No. (1356.290) above. 1625-1626. pUrNapAtrAdiharaNaM prItyAdayo yathA - pUrNapAtra - a vessel filled with valuable things to be distributed as presents, especially a present made to any one who brings good news; prItyA (ind.) in a state of joyful excitement, gladly, with joy. 1625. Dr. H. C. Bhayani thus restores the gatha: taiA tammi aiMte sahasa cia phaTTa-valaa-rikka-karA / thAsaa-maliA oNaa-horaNi amha kahiMti (?) ||

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Prakrit Verses in Sanskrit Works on Poetics 535 (at af f a henta wyfeat-qara-R-CART 1 PRACHAT 37976-STRIT 37711 ---(?) 11) The second half of this gatha 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. avahUDhA emended to avaUDhA (Sk. avagUDhA) 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. 34degC). 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 samuai (samutthita). Cf. the second half of this gatha with the second half of the gatha 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 SP 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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536 Prakrit Verses in Sanskrit Works on Poetics The text may be emended as sacAe~ vi hoi devdNsnnjnnio|' (Sk. satyAyA api bhavati daga : 1) Read in the Sanskrit chaya visaMSThula. 1632-1633. Hullering: RUTIGHT:1 RT - RUPTO - delighted, happy retinue / attendants / servants; "taM cia (tadeva) should be construed with tI gharaM and not with "that tree" as you seem to think. Translate as follows : That very residence of hers (i.e., of Satyabhama), 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 uvaAra is to be equated with (or emended into) uvahAra (upahAra), 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; mana:praharSa: (excessive joy or happiness of mind) is explained as cittasantoSa. 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 chaya - :: 1637. See SP 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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Prakrit Verses in Sanskrit Works on Poetics 537 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 gatha : "Does forert mean prakaTa? Is it a Desi word ? Does vala (emended as bala) mean jvalaya? Is it again a Desc 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 Asoka 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. Nimmahia - gata (or nirgata 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 (Recfa) 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: G`IRqie: I PRIT --

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538 Prakrit Verses in Sanskrit Works on Poetics 1645. Read in the first half (ua Nia-pAava-) raaNaM (pazya nijapAdapa-) ratnam = Look here at this your own excellent tree (pAava-raaNaM) (pArijAta); nija - your own. 1646. Prof. M. V. Patwardhan remarks : "Porcasia-ruocthac is all right. Yes, the adverbial phrase furcacia Rruta is to be construed with NimiaM (= nyastam). saubhAgyaguNAnAm agrabhUmyAM padaM nyastam - 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 SP S. No.(1250.272) above. SK (p. 678, v. 350) cites this stanza with the introductory words: kathAvyApinI nAyikA yathA -. 1647. vizvAsopajano vinambhotpatti: / yathA - visrambha = vizvAsa = confidence; upajana = utpatti = production, generation. For explanation of this verse, vide the Extract from the Sanskrit Commentary in Appendix I. 1648-1649. purastrIsaMbhramo nAgarikA-kSobhaH / yathA - nAgarikA - excitement and flurry of city-women folk. 1648. rahasa - rabhasa - flurry, nervous hurry, haste or excitement.. 1649. This gatha is somewhat corrupt. Tentatively, it may be restored as follows: sovANakkamaNasamUsasaMta majjakkavAsa (? majjaggavAsa) mAruhai / kAmavasa-vihaTTata-valayAio kAmiNIsattho / (sopAnakramaNasamucchvasanmadyakavAsamArohati / kAmavazavighaTamAnavalayAyita: kAminIsArtha: / 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 madyArka - 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 arka, or under madya, though in Marathi the word madyArka is often found used ----. In quarter three I think we must amend 'valai into 'valaaaM' being an adjectival bahuvrIhi compound. (kAmavazena vighaTamAnAni valayAni yathA syuH

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Prakrit Verses in Sanskrit Works on Poetics 539 tathA / ) (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 : "sovANa-kamaNa-samUsasaMta-majjakka-vAsamAruhai / kAmavasa - (hattha) vihaDaMta-valayao kAmiNIsattho / (sopAna-kramaNa-samucchvasan-madyArkavAsamArohati / kAmavaza-hasta-vighaTamAna-valayaka: kAminI-sArtha: / / " 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. --- prakRSTazca mRgasneha iti sArvalaukikI gAthA / AmaraNaMtAi (AmaraNAntAni) - 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 pariNata-vyAja prema --- one of the 12 kinds of prema (in the stage of abhivyakti. ..See SP S. No. (297.104) above. 1652. Bhoja cites this gatha to illustrate adhyAhRta-vyAja prema. See $P. S. No. (297.104) above. . Read in the first half of the text pieti and in the first half of the chaya vyalIkasya. vilia : vyalIka = aparAdha (love's) offence: virohia - saMhiassa (= virodhita-saMhitasya) - first snapped and then patched up; PORRA Bts develops a bad taste (becomes insipid). 1654. Bhoja cites this gatha with the introductory words: AdyantayorasvAdupicumandapAkaM yathA - See SPS.No. (1198.262) above. Read in the printed text (1198) supra. 1655. Bhoja cites this gatha with the introductory words: anavaratapAkaM kapitthapAkaM yathA - See SP S. No. (1196.262) above.

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540 Prakrit Verses in Sanskrit Works on Poetics Chapter VII Prakrit Verses in Sarasvatikanthabharana Both SK and SP are the works of Bhoja on Alamkara. 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 sr 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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Prakrit Verses in Sanskrit Works on Poetics 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 Dr. 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 SP 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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Prakrit Verses in Sanskrit Works on Poetics 543 SK SP SK SP 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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544 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 Sp 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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Prakrit Verses in Sanskrit Works on Poetics 545 * 13. Ratnesvara, commenting upon the poetic excellence, called Kantih, cites this gatha from Vakpati's Gaidavaho (Verse No. 85). He declares : aprahatapadairArambha: sandarbhasyaiva kaantiH| tadyathA kusumasya dhanuriti prhtm| kausummityprhtm| jalanidhAviti prahatam / adhijldhiityprhtm| --- camatkAritvaM tu sahRdayAlAdakatvamasti hi tulye'pi vAcakatve padAnAM kazcidavAntaro vizeSo yamadhikRtya kiJcideva prayuJjate mahAkavayo na tu srvm| yathA - pallava iti vaktavye kislymiti| strIti vaktavye kaanteti| kamalamiti vaktavye raajiivmityaadi| etadeva mhaakvibhirupeyte| 'katto NAma Na iTThaM ---' / / (gauDavaho - 85). The printed text in the N. S. edn. (and Chaukhamba edn, too) is corrupt and obscure. Vakpati, following Anandavardhana, asserts that earlier poets like Vyasa, Valmiki, Bana 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 : kAcidasatI gRhamAgataM pathikamAha - "pAntha nAtra saMstaramasti---" unnatapayodharAna unnatameghAna unnatastanau ca / atra kAcidasacaritA vidagdhA hAlikavadhUH sAyaMtanasamaye gRhamAgatya zayanArthaM saMstaraM yAcamAnaM kamapyabhirUpapathikaM yuvAnaM prati sAbhilASApi nirabhilASeva gRhajanavaJcanArthaM prastarasthale grAme manAgapi saMstaraM nAstIti pratikUlaM bruvANA unnatapayodharau dRSTavA yadi vasasi tasmAd (? tarhi) vasetyanenonnatastanamaNDalaM dRSTvA yadyapabhogApekSAsti tarhi tiSTheti nivAsAya taM protsaahytiitybhipraayH| atra zabdazaktimalo vstudhvniH| anena tatprotsAhanasya gmymaantvaat| stanamaNDalaM dRSTvA riraMsuzcettiSTheti vastuna: prtiiteH| - pR. 31. * 15. The printed text of this gatha from Gaudavaho in the N.S. edn. (p. 81) as well as Chaukhamba edn. (p. 123) is corrupt. The nayika 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 gatha reads the first half as pallaviaM via karapallavehiM papphuliaM va munnhacchehim| - ratnezvara, pR. 83. pallaviaM via karapallavehiM papphulliaM via nnannehiN| - bhoja, pR. 456. pallaviaM via karapallavehiM papphuliaM via nnannehiN| - bhoja, pra. 467.

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546 Prakrit Verses in Sanskrit Works on Poetics pallaviyaM karayalapallavehi papphulliyaM va nynnehi| - vajjAlagga gAthA kra. 313. Metrically, the first three lines are defective. If we read the first half as aldzi via karapallavehiM papphulliaMva nnannehi|, then the metrical defect would be removed. The first half in the present edition should accordingly be corrected. * 17. This gatha is the same as SP S. No. (99.61) supra. * 22. Svayambhucchandah (1.3) reads (as cited on p. 345 of the present volume (I) pacasagaavaramAliAe and 'pratyUSagajavaramuditAyA:' as its chaya. The correct and original reading in Lilavai is pacUsagayavarummUliyAe~ (pratyUSagajavaronmUlitAyAH). Hemacandra's Chando'nusasana (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 "Samkirna Jatih', the mixture of Sanskrit, Maharastri 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-nyaya. This nyaya 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., Maharastra desi words like '3700 YHCT (cf. Marathi gorIgomaTI), 'koilo', 'lavaI', etc. and Apabhramsa words like 'na kaja na Tui, 'JIEGT etc. * 35. For the text (and its Sanskrit chaya), as reconstructed by Dr. Bhayani, see Additions, p.6, * 35.347. * 36. 370f4 here refers to Kartavirya; 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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Prakrit Verses in Sanskrit Works on Poetics 547 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 / gatha is corrupt and therefore obscure" is misplaced. Vide SP S. No. (39.348) supra. * 43. This gatha is already dealt with; vide DHV S. No. (12.29) supra. 45. paDikamma may better be understood as parikarma / pratikarma: - 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 chaya read aluciato for F10. Hemacandra (Desi, 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 - Usaic - a place enclosed and prepared for a sacrifice. 82. The first half of this gatha as printed in the text is metrically defective. If we * were to read it as 'Na uNo vara-koaMDe puttie~ mANUsae vi emea|' the gatha metre would not be violated. 101. maMDaiA (Sk. muNDitikA = alambuSA(sA) a sort of a sensitive plant); cuNNa (Sk. cUrNa) 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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548 Prakrit Verses in Sanskrit Works on Poetics eight or sixteen parts of water until only one quarter is left) - Mar. kADhA; kaSAya: kvAtho jlm| nAvanaM nasyam | a stermutatory, errhine. 117. 'Sugriva asks his followers not to be discouraged by Rama's indecision about what should be done to cross over to Lanka' - 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 'mahodadherantarvartamAnatvAt varNasAmyAca vidrumo rudhiratvena nirdissttH| viSavegaspRSTaM rudhiraM sadya: kRSNaM bhavati / ' - As cited by Handiqui, p. 317. Vide also Extracts from Sanskrit Commentary in Appendix I. 120. hatacchAyaM hatA chAyA zobhA yathA bhavati / zikhAzabdo dIpApekSayA prayukta: nishcllocnmityrthH| anyatra nizcalajvAlam / proSitapratApaM proSitapauruSaM ythaa| anyatra prossitossnnm| evaM teSAM kApeyamapi glitm| kimiva - aalekhyprdiipaanaamiv| citradIpAnAM yathA caTulatvameva na bhavati tdvt| - As cited by Handiqui, Extracts ---, p.228. 122. iha kayApi nAyikayA locanAbhyAM caSake sugandhi-madya-bhRte pratimayA pratibimbena ptitaabhyaam| ata eva madenAtAmrAbhyAmatilohitAbhyAM manojJA raktotpaladalasya zobhA laghvIkRtAtyalpA kRtaa| jiteti yaavt| 'caSakaM pAnapAtraM syAt iti haaraavlii| ---atra netrayorupameyayormadatAmratvaM vaikRta utkarSaH sphuTa ev| - jagaddhara, vivaraNe, pR. 438-39. 123. For this Apabhramsa stanza, vide Appendix II, p. 39. 127. Read (in Vol. I, p. 365) pINuNNaa-thaNi uttamma ettAhe | cf. S. No. 734.185 supra. 135. GS(W) 878 reads : kAlakkhara dU (? du) sikkhia dhammia re nniNbkiiddasricch| doNNa (? doNha) vi Niraa - (? Naraa-) NivAso, samaaMjai hoI (? hoi) tahi hodu (? tA hou)|| Incidentally, it may be noted that the Sanskrit chayaof 'dhammia re jiMbakIDaa-sariccha' is wrongly given as 're laga mama kaNThe'. It may be replaced by 'dhArmika re nimba-kITaka-sadakSa | sadRza.' 'bAlaka re laga mama kaNThe' is the correct chaya of 'bAlaa re lagga majjha kaMThammi' - the reading in SK (p. 471). dussikkhia (= du:zikSita) - one who is pampered, overfondled. 140. Read in the chaya jala-samUhaM.

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Prakrit Verses in Sanskrit Works on Poetics 549 cho ruid 148. Handiqui (... Extracts, p.234): --- THUS: --- FIA-324-TI: CRT ghaTante prvrtnte| ghaTa ceSTAyAmiti dhAtuH / athavA kAryakalApAn ghaTayanti sAdhayanti / 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: sarvaharasvarUpo yena sa vaya:pariNAmo (old age) yat sthApayati sthirIkaroti tat kiM ziSyate, kintu sarvameva haratIti bhaavH| jagaddharavivaraNe pR. 510. 154. This stanza is a skandhaka (with 12,20,12,20 matras). 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 raviNA divase mahite pUjite'tha ca mathite sati madireva yathA mandaramathite madirA nirgacchati tthetyrthH| tasyAH sandhyAyA mArgeNa yathA candro'mRtakalaza ivAsti nirgacchati vaa| AkAGkSAkrameNa nirgcchtirubhyaanvyii| - 9.479.

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550 Prakrit Verses in Sanskrit Works on Poetics 158. Jagaddhara thus comments : iha yuvatijana: patisaGgame'pi madanasyAkalpa utkaNThA tadarthaM prasAdhanamalaGkAraM vhti| kIdRza: / kRtmRnnaalaalNkaar:| padminIpatrairutthagita uttmbhitH| AvRta iti yaavt| pIvarakucaghaTo yena sH| atra priyasaGgame kAmajanakameva prasAdhanaM yuktamiha tu tadvaiparItyena viruddhaarthtaa| - pR. 522. 162. Bhoja's Vritti on this gatha deserves to be reproduced here: : atra 'adyApi bAlo dAmodaraH' iti yazodayA kRtaprastAvanasya kRSNasya vaktre vinyastalocanayA tadrahasyavedinyA vrajavadhUmatalikayA yadetannibhRtaM hasitaM tat tavAmbA bAlaM tvAM brUte, tvaM tu mAdRzIbhirnidhuvanavidagdhAbhirdivAnizaM yamunAnikuJjodareSu viharasItyAdinArthajAtena sAkAGkSam---| pR. 539. Jagaddhara explains : raho rhsymekaantcessttaa| matallikA prshstaa| nidhuvanaM surtm| - pR. 539. 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 rasAtalamapi mRnatA zeSeNApi ca tasya mUlaM na dRSTam, tribhuvanamapyullaGghayatA hariNApi na tuGgazikharANi prAptAnIti yadetallokasImAtikrameNa vizeSavyavasthayA parvatAnubhAvabhaNanaM so'yamanubhUyamAnamAhAtmyAtizayasyaiva bhedo'nubhAvAtizaya ucyte| - pR. 542. 165. Bhoja thus comments : atra dazAsya: (= rAvaNa:) samare na jIyate, surAzcAmaratvAnna vdhynte| tayozca parasparaM saMghaTTakriyAtizayAt tribhuvanamapi kSayaM yAsyatIti yeyamanyonyakriyAtizayabhaNanAllokasImAtikramaNa vizeSavivakSA so'yaM kriyAtizayo nAmAtizaya evAnyonyAtizaya ucyte| - pra. 543. 169. maMtesi (Sk. mantrayase) mahumahapaNaaM (madhumathapraNayam) : "You are speaking of your friendship (pranaya) for Krsna (lit. the slayer of the demon Madhu). Jagaddhara seems to have read maNNasior maNNase mahumahapaNaaM since he gives the chaya 'manuSe madhumathapraNayam', manuSe meaning the same thing as manyase "you prize or attach.importance to". Bhoja elsewhere (SP - vol. III, p. 725) reads bahumaNaMsi (? bahumaNNasi) haripaNaaM [vide SP S. No. (515.147)]. "you value greatly / prize / esteem your friendship for Hari." saMdANesi (Sk. saMdAnayasi), tiasesa (Sk. tridazeza). pAavaraaNaM (pAdaparatnam) "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 tiasesapAavaraaNaM 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 (iha) he suranAtha indra. "ojasuis a queer form. It has been equated with apajahi in the Sanskrit commentary of Jagaddhara. It should rather be ojahasu, ujahasu for metre. It could be emended also as ojaha. Both these emendations

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Prakrit Verses in Sanskrit Works on Poetics 551 would be equal to apajahAhi, apajahihi or apajahIhi in Sanskrit." "Give up your naivete, O, Lord of Gods, and honour the wish of the Yadavas (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 gatha 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 gatha is cited by Bhoja as an example of Smgarabhasa. Alainkarakaustubha cites it as an example of Rupaka. 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 gatha the fire is described as a lover who is greedy of drinking (inhaling) the breath from the mouth of the randhanakarmanipuNikA (nAyikA which is fragrant like the red patala flowers. Bhoja deals with vaisayiki rati, viz. 916 -798f-, -, PR - and Tre-fa:. The gatha under discussion illustrates Te ft. 184. Read in the second half of this gatha qyuf T. in Vol. I. 37f037 = 3100oC; 'fati antifasi a BIRTI.' 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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552 Prakrit Verses in Sanskrit Works on Poetics 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 alia-pasuttaa and in the chaya alIka-prasuptaka 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 (Desi. p. 45); Ga = yeri jesting, joking, jest, joke. Read : of ERaluca 'cat' gag16ata:' (Desi. 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 gatha 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 chaya in Vol. I. 221. Bhoja cites this gatha as an example of 'PadFTTORI MERIT PS:'. The way

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Prakrit Verses in Sanskrit Works on Poetics 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 : liDgena jJAyate tasyAH kazcit sundarayuvA citte vartate / anumAnaM nAmAlaGkAraH / prathamAnurAge vipralambho'yam / priyatamAprAptau unmAdo nAma dazA / - pR. 126. 222. Read in the second half jAAe~. 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. mAmi = he sakhi ! upagUhanasya bhadraM (bhvtu|) Hail, O, friend, to the act of (love -) embrace ! mAna eva dUma: tasya paruSapavanasya, tadunmUlakatvAt / sarvAGga-nirvRtikarasya - 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. pUrvaraGgasya - which is a prelude to the drama of love's enjoyment. Bhoja cites this gatha as an example of saMbhogaceSTAsu mAnAnantare AliGganam / 234. GS VII. 5 reads the first half thus: vAuvvellia-sAhuli thaesu phuDadaMtamaMDalaM jahaNaM / (vAtodvelitavastre sthagaya sphuTadantamaNDalaM jaghanam / ) sAhulI vastram (Desi. p. 286). Read gfe in the second half in Vol. I. 242. Read eka-yuvako'yaM in the chaya in Vol. I. 243. Read parivAliA (? pariAliA) 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 lIlAeNtuliaselo rakkhau vo----in the first half of the gatha are, poetically speaking, highly superior. 258. ucchacchalei - PSM does not record this verb ucchucchula. . It, however, records chullucchula (= cullucchala) meaning 'chalakanA', 'uchalanA',

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S54 Prakrit Verses in Sanskrit Works on Poetics 267. mahagghia (Sk. mahArghita) 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 HAI HET:Yifa qufdregel ayunt BURG II Meghaduta 9. 278. Read Huiquita in Vol. I. 284. The readings (unitat ut) YETI seem to be preferable. 291. Read "efat in place of fat (in the second half) in Vol. I. 294. Could the reading be vargut instead of RISTHQUT ? 'PERTI-HRINI ' - Furat: tathA samasIsI spardhA / - Desi. p. 271. 295. Drop (37); read PTA317173T in Vol. I. 299. Bhoja introduces this gatha with the remark: "Wellruguri (? :) HICQT I URIT -". V. Raghavan thus writes about this festival : "It is a procession of dolls accompanied by young women. Bhoja identifies it with the Bhuta-matnka. His Smgaraprakasa says that the festival was promulgated by. Pancala Muni, who is one of the authors of the erotic lore and taking the word Pancala 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 Bhuta-mata." 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. pADI d. (cf. Marathi pADI) a young suckling of a cow; peUsa = pIyUSa the milk of a cow during the first seven days after calving. Bhuvanapala says: 35 STRIATRAT

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Prakrit Verses in Sanskrit Works on Poetics 555 saMsRSTiralaMkAraH / - pR 32. 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 Malatimadhava Bhavabhuti portrays Makaranda as requesting the wind that has embraced his beloved Madayantika in its course, to touch him in every limb (Act I. 38). The maiden of the gatha addresses the moon, whereas Bhavabhuti's Makaranda requests the breeze. 328. viramAveuM = viramayituma, to end, to terminate. Incidentally, it may be noted that Bhuvanapala reads viramAleuM (= soDhum). 350. muddhavahuA = mugdha-vadhU: charming young wife; uTheMta (= uttiSThanmahArambhau) rising, prominent, swelling, upward rising and large even in the early stage of growth; osaNNa-avasanna - 'sunken', 'fallen inwards'. 3taffan - (Whose cheeks) were bathed in perspiration (because of the fever of jealous anger) - M. V. Patwardhan Gahakosa Notes, p. 189. Bhuvanapala's comm. explains iti bhayena svedodakAIkapolA prathamajAyA jAteti / atra viSAdo vyabhicArI bhaavH| -pR. 177. * 368. Read in the Sanskrit chaya 'tasyApi ve rathaM nabho'rdhe. . 371. 'mama tAvat cintyamAnaM maraNaM mahilAnAM strINAM samucitaM kathaM na saMpatati / ' as cited by Handiqui in _his Notes, p. 174. 374. bahuvallaha (bahuvallabha) one who is a ladies' man; miLaM (= miSTam) sweet; The figure in the gatha is arthAntaranyAsa. 375. Kulanatha, as cited by Handiqui, in his Notes (p. 177) : ardhanArIzvararUpamAha - yasya vAmArdhaM stryAtmakaM dvitIyAvakAze puruSAtmakadakSiNArdhe gamanotsukaM yat valituM vAJchati taM namata / svayamabhigamanecchayA savrIDaM kalaGkasAdhvasavazAca vepate / bhAvavazAt pulakAcitastanakalazaM ---- / strINAM snehadharma evAyaM yadanurAge'pi vAmyopadarzanam / etena subhagatva-stutiriyaM devasya |--- pR. 177.

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556 Prakrit Verses in Sanskrit Works on Poetics 382. Bhuvanapala thus comments: --- yathA hi bhujaGgarakSite nidhikalaze sabhayasAbhilASA dRSTirnipatati tathA samarthapatikApayodharotsane dasyUnAM dRSTirnipatatItyarthaH / pakko samarthaH / ratibhayayo: sthAyibhAvayoH saMkarotra / upamAlaMkAraH / - pR. 244. Note the v. 1. pakkavaiyA (samarthapatikA). Bhoja reads poDha-mahilA (prauDha-mahilA). sabhaya frightened or nervous and covetous or greedy (glances); pakvapatikA - woman whose husband is a mighty hero; stanotsaGga - the region of the breasts ahirakSita - (It is a popular belief that buried treasures are guarded by snakes) - ajar containing treasure (nidhikalaza) guarded by a snake, (ahi snake, rakSita guarded).

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Chapter VIII Prakrit Verses in Kavyaprakasa 1. This gatha is cited as an example where the expressed sense (vacyartha) is suggestive (vyanjaka). 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-vihara) and wants to go out for that purpose under the pretext of bringing provisions. 34fud 317 sta 34 RUTH 377EFTIRLATA 2. This gatha 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 - vaisistya (the speciality of the person addressed); the duti (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 nayika knew her faithlessness. The duti instead of persuading the nayika's lover to visit the nayika, she herself sported with him and thus behaved like her enemy. Viparita - laksana has to be resorted in understanding the second half of this gatha. WIE = i pri to tell, convey (here, message of the nayika) ii Hery to win over; TH1 - 'the fortunate one', 'a ladies' man, a man after whom ladies hanker 'sa khula subhago yamaGganA: kAmayante / ' 3. This gatha is cited as an example where the suggested sense is further suggestive : (i) atra niSpandatvena Azvastatvam / tena ca janarahitatvam / ata: saMketasthAnametaditi kayAcit kaMcit pratyucyate (? 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 Mammata explains this gatha. 4. This gatha is already dealt with. Vide SP 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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558 Prakrit Verses in Sanskrit Works on Poetics 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 nayakafor the nayika.The 'enjoyment of the maiden messenger by the lover of the nayika' 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 gatha 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 gatha. 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 gatha 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 gatha to her and dissuades her from going out to meet her paramour. Vemabhupala, however, interpretes this gatha differently. Vide Saptasatisara, 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 gatha 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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Prakrit Verses in Sanskrit Works on Poetics 559 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 : atra kezagrahaNAvalokanoddIpitamadanA iva kandarAstadvidhurAn (= rAjazatrUn) kaNThe gRhNanti ityutprekssaa| ekatra saMgrAme vijayadarzanAt tasyAraya: palAyya guhAsu tiSThantIti kaavyheturlNkaar:| na palAyya gatAstadvairiNo'pi tu tata: parAbhavaM saMbhAvya tAn kandarA na tyajantItyapahanutizca (vyajyate iti shessH|) - 9. 989. 14. The Utpreksa (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 Utpreksa (Poetic Fancy) contained in the stanza -- 'hasantiva', 'anyadiva' - suggests the figure Vyatireka (Dissimilitude, Excellence) by implying that the Vani (Goddess of Speech) has an animate seat in the form of the poet's mouth, (while Brahma 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 Vibhavana (Peculiar Causation) implied in the statement that the nayika became reconciled to her lover even before he made attempts to propitiate or pacify her, or the figure Utkpreksa, implied in the statement that her mana (jealous anger) cannot withstand the force of the charm of the lover's visit is suggested. The expression priyadarzana-vizRkhala-kSaNe- 'at the exciting moment of my lover's visit' - notably the word vizRGkhala (vihalaMkhala) arrests our attention. PSM equates it with Pascals one whose body is exhausted; facon = unfettered, unrestrained, unbounded.

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! 560 Prakrit Verses in Sanskrit Works on Poetics 18. This gatha 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 'tanostanUkaraNe'pi tava hRdaye na vartate iti vizeSoktyalaMkAro vyajyate / - bAlabodhinI, pR. 146. 20. Here the sugestion lies in the single word 'stupefied' (Panel) - this (stupefaction) which is impossible in the inanimate (acetana) efforts (vyavasaya) stands for 'impeded'. 21. Here the figure Rupaka (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 viparita-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 Kavyalinga, 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: prApta: yathA rativiratAvapyanivRttAbhilASa: kAmuko'bhUditi khaMda (= skandha-) padadyotyA vibhAvanA (vyajyate) / - 9. 982.

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Prakrit Verses in Sanskrit Works on Poetics 561 25. Mammata thus comments on this stanza Riaurinformatie Ja cfa cura(= 77) Fruif-93114 (= yeta) seuil UGETU ara avudo g. 967. CAT ERTOGHRurada y a 26. Mammata thus comments on this stanza : 37 tat kathaya kIdRgiti vyatireka: kahaM ( kathaM) pdgmyH| 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 ud + zri must be ucchrIyamANa and not ucchriyamANa. 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 uccheraMto can be taken as active pre. part. Sk. ud + zrayan 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 saMketasthAnaM gatvA zUnyaM tat vilokya jalaghaTaM skandhe gRhItvA gRhadvAraparyantaM samAgatAM pazcAt saMketasthAnayAyinaM 'svakAmukamavalokya punarjalAnayanavyAjAt saMketasthAnaM gantuM vivalitaM vadanaM kRtvA dvAraskhalanavyAjena ghaTaM kSiptvA lokavaJcanAyai rudatIM sakhI pratIyamuktizcaturAyA: 'aparaM ghaTaM gRhItvA gaccha ahaM sarvaM samAdhAsye' ityabhiprAyagarbhA / 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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562 Prakrit Verses in Sanskrit Works on Poetics word. Dr. Ghatage remarks : "only two may be seriously considered 'vihvalAGgAm' and "vizRGkhalAm'. The second is better : Unbridled, wanton".. 29. In this stanza we have the figure Kavyalinga (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 gatha is already dealt with; vide VJ S.No. (20.23) supra. Kuntaka thus comments on it : atra samAne'pi hi sthaganaprayojane sAdhye sAmAnye ca locanatve, devyA: paricumbanena yasya nirodha: saMpadyate tadbhagavatastRtIyanayanaM jayati sarvotkarSeNa vartata iti vaakyaarthH| atra jayatIti kriyApadasya kimapi sahRdayahRdayasaMvedyaM vaicitryaM parisphuradeva lakSyate / - pR. 32. Mammata briefly comments : atra jayatIti na tu zobhate ityAdi / samAne'pi hi sthaganavyApAre lokottareNaiva vyApAreNAsya pidhAnamiti tadevotkRSTam / - pR. 169. 31. Read against the first line (p. 174). The suggestion here lies in the genitive ending in 'nAgarikANAm' (of city-women). The use of the expression 'nAgarikANAM patIn / (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 : ---- guNagrahaNAdInAM premahetUnAM bahuvidhatve'pi (nAnAprakAratve'pi) kAryaM premaikajAtIyameva na kadAcidanyathAbhAvaM prAptamiti bahavacanaikavacanAbhyAM vyjyte| tena ca vipralambhotkarSo vyaGgya iti pradIpAdau spssttm| -bAlabodhinI, pR. 176. 33. This gatha is already dealt with; vide DHV S.No. (50.16) supra. The context is the same in both the texts. Mammata thus comments on it : 3711974: kimupabhogalakSaNe'rthAntare saMkramita: kimanuraNananyAyenopabhoge eva vyaGgye vyaJjaka: iti sNdehH| - pR. 187-188. 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 gatha 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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Prakrit Verses in Sanskrit Works on Poetics 563 on DHV S.No. (5.7). 36. This gatha is already dealt with; vide DHV S.No. (2.6) supra. 37. Mammata comments on this gatha : --- atra hi haripadena dakSiNanayanasya sUryAtmakatA vyajyate (harerdakSiNavAmanayanayo: sUryacandrAtmakatvena purANAdiSu prasiddhatvAditi bhaavH|) tannimIlanena sUryAstamaya:, tena padmasya saGkoca:, tato brahmaNa: sthaganam, tatra sati gopyAGgasyAdarzanena aniryantraNaM nidhuvanavilasitamiti / -pR. 251. 38. This gatha is already dealt with; vide DHV S.No. (1.6) supra. 39. Mammata cites this gatha to illustrate the defect 'a-sravyatva' (= unpleasant to the ear or unmelodious). Jam pariharius tirai --- In this gatha 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 'adhama-prakRtyuktiSu grAmyo gunn:|' yathA - phullukkaraM --- He then remarks : atra kalama-bhakta-mahiSI-dadhizabdA grAmyA api viduusskoktau| pR. 425-426. 41. This gatha is already dealt with; vide DHV S.No. (14.8) supra. Mammata cites this gatha to illustrate 'arthAntarasaMkramitavAcye dhvanau kathitapadasya guNatvam . Note : "dvitIyakamalapadaM vikAza-saurabha-saundaryAdimatkamalaparam / " 42. This gatha is already dealt with; vide DHV. Locana S.No. (39.13) supra. Mammata cites this gatha to illustrate garbhitaM tathaiva (kvacid guNa: dRDhapratyayahetutvAt / ). In the gatha under consideration, the expression pattihi (or pattia) = pratIhi 'believe me' - this parenthetical clause - is inserted for the purpose of emphasizing the assertion. Mammata thus comments on it : atra sakalaparihAravanagamane zAntAnubhAvau / indhanAdyAnayanavyAjenopabhogArtha vanagamanaM cet na dossH| - pR. 439. 43. In this gatha there have been introduced two anubhavas (consequents) : 'losing of interest in all work' and 'departing to the forest'. These help in the creation or development of santa-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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564 Prakrit Verses in Sanskrit Works on Poetics 44. Mammata cites this stanza to illustrate that the sabdalamkara (tavaraganuprasah 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 Upamana-lupta) Upama. In this gatha 'Sarasa-kavya' is the upameya; sakala-karaNa --- vitaraNam represents the common property, sadRza is the upamApratipAdaka word and upamAna is not mentioned. 47. This gatha is already dealt with; vide DHV Locana S.No. (28.11) supra. 48. Mammata cites this gatha as an example of ekadezavivarti rUpaka. It arises when some of the upamanas are directly mentioned and some are to be understood from the power of words. Mammata comments on this gatha as follows : atra raNasyAnta:puratvamAropyamANaM zabdopAttam / maNDalAgralatAyA: nAyikAtvaM ripusenAyAzca pratinAyikAtvam arthasAmarthyAdavasIyate iti ekadeze vizeSeNa vartanAdekadezavivarti / pR. 597. , 49. Mammata cites this gatha as an example of samAsokti. According to Sudhasagara, the context of this gatha is : samarapatitaM svAminamavekSya vIrapalyA iymuktiH| atra kevalaM vizeSyavAcino jayalakSmIzabdasya kAntAvAcakatvaM (aprakRta-kAntAbodhakatvaM) nAsti tasya jayalakSmImAtrabodhanasAmarthyAt vizeSaNAnAM tu 'lahiUNa' - ityAdi padAnAmubhayagatabAhu sparzaprAptyAdibodhakatvamastyeveti samAsoktiralaGkAra ityrthH| bAlabodhinI pR. 613. 50. This gatha is already dealt with; vide SP S.No. (41.50) supra. Mammata 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 dIpaka (Illuminator), to be precise, of kriyAdIpaka. Read : atra varNanIyatvena prakRtAnAM kulavadhUstanAnAM tadupamAnatvenAprakRtAnAM kRpaNadhanAdInAM ca sparzana-kriyA-rUpa-sAdhAraNa-dharmasya sakadupAdAnamiti kriyaadiipkaalNkaaro'ym|- bAlabodhinI, pR. 640.

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Prakrit Vefses in Sanskrit Works on Poetics 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 AkSepa, to be precise, of vakSyamANaviSaya AkSepa. Read : atra virahadurdazAtizayo vakSyamANo vakumazakyatayA niSiddha ityaakssepaalNkaarH| - udAharaNacandrikA (as cited in bAlabodhinI, pR. 655). 53. Mammata cites this stanza (from Karpuramanjari) as an example of holes. Read : "sahotau dvayorapi prakRtayoraprakRtayorvA grahaNAt kaalpnikmaupmym| tatra tRtIyAntasya guNabhAvA'pamAnatvaM zeSasya prAdhAnyAdupameyatvam" iti maannikycndrH| "atra zvAsadaNDAdiSu prathamAnteSu dIrghatvAdInAmanvaya: sAkSAdeva zAbda: divasanizAdiSu tu tRtIyAnteSu sahazabdArthAnvayabalAdArtha iti shoktirlNkaarH| - bAlabodhinI, pR. 673. . 54. This gatha is already dealt with; vide DHV S.No. (23.10) supra. If Anandavardhana cites it as an example of 34HTET, Mammata cites it as an example of the figure paryAya. Read : atra ekasya hRdayasya viSNau priyANAM bimbAdhare ceti anekatra sthitau kusumabANena iti prayojakanirdeza: kRtH| ata: (ekamanekasmin) 'kriyate' itysyodaahrnnmidm| - bAlabodhinI, pR..693. This interpretation given by Jhalakikar is based on the reading 'zrIsahodararatnAbharaNe' (zrIsahodara-ratnam arthAt kaustubham AbharaNaM yasya tasmin vissnnau|). Abhinavagupta's interrretation is based on the reading 'zrIsahodararatnAharaNe. (Vide Locana, p. 265). This interpretation is certainly preferable. 55. Mammata cites this gatha as an example of the figure 3Pula (Reciprocal). Read: prakRte zobhAvizeSaviziSTAn haMsAn prati sarasAM kAraNatvam, zobhAvizeSaviziSTasarAMsi prati haMsAnAM kAraNatvaM parasparazobhAjananadvAreNaiva / parasparakriyayA parasparam upakArajananajJAnakRto'tra cmtkaarH| - udyota, pR. 16, (S. S. Sukthankar edn.). 56. This gatha is already dealt with; vide DHV S.No. (36.13) supra. Mammata cites it as an example of the figure JTR (Reply) where a question is inferred from an answer, and comments on it thus : hastidanta-vyAghra-kRttInAmahamarthI tA: mUlyena prayacchati kreturvacanam amunA vAkyena samunnIyate / - kAvyaprakAza, pR. 709. 57. This gatha 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 gath, there are four questions and four 'impossible' answers. Hence it is an example of the figure Uttara (II). Jhalkikar (p. 710) reads laddhaM ( labdham), Kane (SD p. 55) laddhavvaM, GS(W) (V. No. 975) dullabhaM; Gajendragadkar (p. 106) and Sukthankar (p. 168) read dullahaM - this reading violates however the metre. Prof. Arjunwadkar (p. 112, also p. 722 f.n.1) reads dulahaM

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566 Prakrit Verses in Sanskrit Works on Poetics - which suits the metre all right. 58. This gatha illustrates the figure Asangati (Disconnection, Non-connection or Incongruity) Read : atra vadhvAH kapole svAmikRtadantakSatAdi: sapatnInAmatIva kezadAyaka: ityarthavizeSapratipattaye vedanA-dantakSatayo: kAryakAraNayorbhinnadezatAbhidhAnAmiti vaiydhikrnnyruupaasNgtirlNkaarH| -bAlabodhinI, pR. 715.' 59. This gatha illustrates the figure Smarana (Reminiscence). Read : atra zaGkhasadRze stane dRSTa janmAntare'nubhUtasya pAJcajanyasya smRtiriti smrnnaalNkaaro'ym| - bAlabodhinI, pR. 733. 60. This gatha illustrates the figure Pratipa (II), which occurs when things that are standards of comparison are declared to be useless. Read : atropamAnatvena lokaprasiddhasya candrasya tiraskArArthamupameyatvakalpanamaparaM prtiipm| - bAlabodhinI, pR. 736. 61. Mammata gives this gatha 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 : sapatnIsaktaM kAntaM prati tatpalyA uktiriyam / and remarks at the end of his exposition : atraikasyAH sapatnIrUpakAminyA: ekarUpeNa yugapadanekatra (hRdayAdau) sthitivarNanAdaparo vizeSAlaMkAraH / . 62. Mammata gives this gatha as an example of the figure Atadguna (Non-Borrower). The second half of this gatha 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 : atrAtiraktenApi manasA saMyukto na raktatAmupagata itytdgunn:| - pR. 747. 63. This gatha (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 zabdArthAlaMkArayoH saMsRSTi: Read : atra pUrvArdhe 'Natthi, ettha' iti takAra-thakAtmakasyAnekavyaJjanasya sakRtsAmyamiti chekAnuprAsaH shbdaalNkaarH| uttarArdhe hRdayalaNThAkIma iti ruupkmrthaalNkaarH| tayozca parasparanirapekSayoryogAt sNsRssttirlNkaaro'ym| - bAlabodhinI, pR. 753 The expression H6H6C is variously interpreted. Jhalakikar renders it into Sanskrit

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Prakrit Verses in Sanskrit Works on Poetics 567 as 'mahamahAyamAna-lAvaNyAm' and paraphrases it as 'utsavotsavAyamAnalAvaNyAma'. He further adds, kecittu 'mahamahallAvaNyAm iti saMskRtaM paThitvA 'navanavIbhavallAvaNyAm ityrthmaahuH| - pR. 753. Hemacandra lays down in his Prakrit grammar : prasare: pyll-uvvellau| 8 / 4 / 77. mahamaho gandhe / 8478. prasaratergandhaviSaye mahamaha ityAdezo vA bhavati / mahamahai mAlaI / mAlaIgaMdhI pasarai / gandha iti kim / psri| From this gloss it would seem that we are not justified in using it with reference to 'lAvaNyam'. Prof. K. S. Arjunwadkar however holds that metaphorically it can be used with reference to lAvaNya (p. 833 f.n.1). The Prakrit word maghamagha or mahamaha seems to be onomatopoeic and seems to be akin to Marathi 'ghamaghamaNe. 64. The fourth quarter is emended as 'sarasaa-vANIo jalaNihI Na kaoM in accordance with Prof. S. K. Arjunwadkar's suggestion (vide p. 846). Mammata cites this gatha as an example of samAsoktyaprastutaprazaMsayoH sNdehsNkrH| Read : atra samudra prastute vizeSaNasAmyAdaprastutArthapratIte: kimasau samAsoktiH kim abdheraprastutasya mukhena kasyApi tatsamaguNatayA prastutasya pratIte: iyamaprastutaprazaMsA iti sNdehH| - pR. 760. . This stanza is later quoted by Narendraprabhasuti in his Alamkaramahodadhi and by Sobhakara in his Alamkararatnakara.

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Chapter IX Prakrit Verses in Alamkarasarvasva with Vimarsini * 1. This gatha contains the figure Aksepa. May be, Vimarsini has cited it from A'Ratnakara (p. 86). Vide A'Ratnakara S.No. (44.554) infra. 2. Vimarsini cites this gatha as an example of the figure Vyajastuti. GRK (V. No. 141) cites this gatha under the Section Kusvami-prakramah'. * 3. Vimarsini cites this gatha as an example of the figure Dipaka. The alamkarikas, who preceded Anandavardhana, hold that in the case of figures like Rupaka, Dipaka, Apahnuti, Tulyayogita, etc., figures like Upama, Upameyopama, etc., heighten the beauty of the expressed or denoted sense (vacyartha). According to Vimarsini, in the gatha under consideration 'grown-up women are the praksta (= upameya), 'reciting of Prakrit verses' and 'stringing together of kubja flowers' are the apraksta (upamana). These upmanas are introduced by the poet with a view to adding or heightening the beauty of the vacyartha (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 gatha deserves all praise for his very striking and out of the run Upama (of course, a veiled or suggested one). It may be noted that we have a similar gatha included in GRK under the Section called Kavyaprasamsa : pAiyakavvaM paDhiuM guMpheuM taha ya kujjayapasUNaM / kuviyaM ca pasAheuM [? pasAeuM] ajja vi bahave na yANaMti // 21 / / The compiler, Jinsevara Surievidently regards Prakrit kavya-patha as the Prakrta (= upameya) as against Vimarsinikara's 'praudha-mahila-ramana. * 4. This gatha 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) Utpreksa.

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Prakrit Verses in Sanskrit Works on Poetics 569 * 5. This gatha is already dealt with; vide DHV S.No. (15.9) supra. Kuntaka cites this gatha as an example of upacara-vakrata 'beauty of metaphorical expression'. Vimarsini when commenting on A 'Sarvasva's observation : "343rdshirent: at af94371: :" cites this example. 6. This gatha is already dealt with; vide KP S.No. (12.420) supra. The gatha illustrates '372fefnis argua:' : "3751FREUT # H a tsutila argudi" - (Partit g. 90). Cf. KP (p. 136): 37 H uatu sfat agar arg arudi * 7. This gatha is already dealt with; vide KP S.No. (11.420) supra. Vimarsini introduces it with the remark : 'sa(vastudhvani:) evobhayazaktimUlo yathA-' and concludes with the remark: 35 UEJTHITHRA R a ilforum STRU STERFATTEHUud Feyzeteisentralt i - q. 96. 8. This gatha is already dealt with; vide DHV S.No. (23.10) supra. Vimarsini introduces it with the remark : sa evArthazaktimUlo yathA- and concludes 'atra kaustabha-bimbAdharayo: kevalayaivArthazaktyaupamyaM gamyata ityrthshktimuulo'lNkaardhvniH| - pR. 18. * 9. Vimarsini cites this gatha 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) svaravyaJjanasamudAyapaunaruktyam; and adds : kevalasvairapaunaruktyam 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 camatkara (carutva, vaicitrya vicchitti) it cannot be given the status of an alaskara. 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 chaya. This verse is not, as far as my knowledge goes, quoted elsewhere. In Vajjalaggam (S.No. 639) we have the following gatha included under the Section or Topic of Vasanta (Spring):

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570 Prakrit Verses in Sanskrit Works on Poetics hosai kila sAhAro sAhAre aMgaNAmmi vaDr3hate / patte vasaMtamAse vasaMtamAsAi sosei / / M. V. Patwardhan says in his Notes : sAhAro = sAdhAra: (AdhAreNa saha vartata iti sAdhAraH, AdhAradAyakaH, upakAraka:), useful, serviceable; or it may be regarded as a bhAvapradhAnanirdeza: sAdhAra: sAdhAratvam = AdhAra: or upakAra: help, service, use.cf.Hindi sahArA. sAhAre - sahakAre --- Tentatively, we may give its Sanskrit chaya as follows : sA hAraM saMhAraM sahakAraM jAnAti sajjasAhAraM (7) / saMtrANaM satAm (athavA zrAntAnAM) santAnaM mohasantAnam // 12. This gatha is already dealt with; vide DHV S.No. (14.8) supra. Ruyyaka however cites it here as an example of lATAnuprAsa. 13. In the course of his comments on the figure Upama. Vimarsini observes : ---iyaM ca sAdRzyadADhAtha kavipratibhAkalpite sAdharmya kalpitA bhavati / taca kvacidumeyagatatvena kvacidupamAnenApi kalpitamiti didhAtvamasyA:| After citing this gatha as an example of kalpitopamA Vimarsini remarks : atropameyasya SaTpadAcchAditvaM kalpitam / - pR. 37. * 14. This gatha is already dealt with; vide SP (Vol. III) S. No. (667.174) supra. Vimarsini cites this gatha 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 alamkarika, Sobhakara, the author of Alamkara-ratnakara) for it is stated that her left side resembles only her right side. * 15. This Skandhaka from Setu (IV.6) describes the Vanara, 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 Rupaka. * 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 gatha contains the figure Bhrantiman. 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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Prakrit Verses in Sanskrit Works on Poetics 571 sulking ladies) mixed with collyrium in their eyes. In the above gatha the sadharana-dharma, the cause of sadrsya that leads to bhranti (error) is of the nature of bimba-pratibimbabhava. 18. This gatha is already dealt with; vide SP S.No. (684.176) supra. Ruyyaka cites it here as an example of the figure Ullekha (Representation). Here Lord Krsna is apprehended as God Narayana by grown-up ladies, as the consort of Sri (= Laksmi) 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 Visvanatha does. * 19. Vimarsini cites this gatha as an example of Svarupotpreksa, and thus comments on it : 37 Ceiriad UC-14-bergila Arif Qulluisur Fautefaci tadaunmuravyotpAdakatvAdi ca nimittamanupAttam / - pR. 75. 20. This gatha 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 Pratiyamanotpreksa. He thus comments : '31413ia' FUATA CUIEDOTTICA I - . 6E. Incidentally, it may be noted that Mammata thus comments on it : 377 Arachu 'tanostanUkaraNe'pi tava hRdaye na vartate iti vishessoktiH| - pra. 146: * 21. Vimarsini cites this gatha as an example of Phalotpreksa; 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). Romanca is one of the eight sattvika-bhavas. 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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572 Prakrit Verses in Sanskrit Works on Poetics clouds are shattered by the fury of His (Man-lion's) roar. Vimarsini cites this gatha as an example of Dharmotpreksa: atra kandharAbandha-dharmiNi sakesaratvaM nigIrya sataDita-kaTapratvamutprekSitam / kaDAratvaM ca nimittamupAttam / nigIryamANazca dharmo dhrmigttvenopaattH| - pR. 80. 23. This gatha is already dealt with; vide VIS.No. (1.19) and KPS.No. (50.431). Ruyyaka introduces it with the remark 'abhede bhedo yathA - ', and comments on it thus : atra laDahatvAdInAmabhede'pyanyatvena bhedH| - pR. 85. 24. Read the first half of this gatha as follows : mamigaa-laddhe balamoDi-cuMbie appaNeNa uvaNIde / (mArgitalabdhe balAtkAreNa (balAdAmoTya) cumbite AtmanopanIte / ) In the second half of its chaya read fuersatsaut. Ruyyaka thus comments on it : atrAbhinnasyApi priyAdhararasasya viSayavibhAgena bhedenopnibndhH| * 25. This verse is pretty corrupt. Tentatively, it may be reconstructd as follows :: eaM taM saavattaM saMkoaaraM miaMka-kaMtIe / sahassapattaM araiMdaM kAraNaM bhavai surassa // [etat tat zatapatraM saMkocakaraM mRgaanggkaante:| sahasrapatram aravindaM kAraNaM bhavati sUryasya / / ] Note : The long vowel in his shortened for the sake of metre. The gatha 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 (kAryakAraNapaurvAparyavidhvaMsa:). 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 (u) it may be supposed to take place simultaneously with the cause. Vimarsini cites this gatha with the introductory remark : 'tasyaiva sahabhAvo . yathA - ' and he thus comments on the gatha : atra parijanAdInAmapasaraNe kramikatve'pi samakAlatvamadhyavasitam / - pR. 87. Incidentally, it may be noted that the reading masaNaM (Sk. masRNam) is doubtful.

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Prakrit Verses in Sanskrit Works on Poetics 573 27. Ruyyaka says that the figure Dipaka has three varieties according as the single dharma (whether guna - quality or), kriya-action, is mentioned in the beginning, middle or end. The gathi under consideration illustrates Adi-Dipaka as the verb (kriya) rehai' (Sk. 'rajate') is mentioned in the beginning of the verse (and is also connected with the upamanas viz. PERUT 7*:', 'H OT, 'PRO 40-74 and 37 gaitera:'). * 28. Vimarsini cites this gatha as an example of Madhya Dipaka. The verb volei (Sk. gacchati) is mentioned only once in the middle. 29. This gatha is already dealt with, vide KP S.No. (51.431) supra. In KP this gatha is cited to illustrate the figure Dipaka 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 'sprsyante' is mentioned only once and that too in the end. *30. Vimarsini says that the figure Dipaka occurs also as based on bimba-pratibimba-bhava and also as based on suddha-samanya-rupatva. The gatha under examination is cited to illustrate Dipaka, based on this suddha-samanya-rupatva (vastuprativastubhava). The "rajitatva' and 'sobhitatva' - these two different words are here used to express one and the same common property (of resplendence) connected with two different entities, bhujanganatha (= Sesa) and the Lord's bhujadanda * 31. Vimarsins cites this gatha as an example of Nidarsana. Sobhakara cites it in his A'Ratnakara (p. 14, v. 41) as an illustration of a new alamkara, called Pratima. Jayaratha (the author of Vimarsini) does not accept this new figure. 32. Dr. H. C. Bhayani would like to emend the text viggucchAai appA to juggucchAasi appaM (jugupsAM prApayasi AtmAnam). He would further like to read NAlia cheA and understand NAlia as Vocative sing. he mUDha (Hemacandra 8.4.422) Prof. M. V. Patwardhan's observations on this gatha are as follows :"viggucchAai is obscure. It can perhaps be equated with vigupyate (but the change of a to zoo is puzzling) (yat means to be decevied', see H. VII. 4.150). Jayaratha and Samudrabandha equate vigucchAai with viDambyate (but the commentater Paellagafari is silent (see Delhi edn. of Alamkara-sarvasva, 1965, p. 95).

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574 Prakrit Verses in Sanskrit Works on Poetics Jacobi has omitted this stanza in his German translation of Almkara-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 Nidarsana. 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 Chaya 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 Desinamamala. 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 chaya in Vol. I 95647. Vimarsini cites this as an example of Nidarsana based on bimba-pratibimba-bhava. * * 34. Vimarsini cites this gatha as an example of Sahokti based on suddha-samanya rupatva (= vastuprativastubhava). 37 PRH ERHALT: QERATHI54604 As the gatha stands, its first half is metrically defective. * 35. Vimarsini cites this gatha as an example of Sahokti based on bimba-pratibimba-bhava. Vimarsinikara thus comments on it : 3151 kanakAcalakaTaka-reNu-viccharitatvasya parimalabharodbhaTatvaM bimbapratibimbatvena nirdiSTam / - pR. 105. * 36. Vimarsins cites this gatha as an example of the figure Vinokti. 37. This gathi uses the following words with two meanings each, one applicable to Palasa flowers and the other to demons: TARIT.(i) Palasa 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 Ravana; 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 gatha : 377 T ITIAfa faster PRECCHI UCRURITE Tuftea TAUHIC urgada PTTURITYSahi - 927. Bhuvanapala in his comments on this gatha says : STEGET TURUTYURUGUt eafre FRUCHHEITSTG:1 - (9.993 'IT. . 240).

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Prakrit Verses in Sanskrit Works on Poetics 575 * 38. This gatha is already dealt with; vide A 'Ratnakara S.No. (7.437) and KP S.No. (11.420) supra. 39. This gatha is already dealt with; vide VJ S.No. (12.22) supra. Both Kuntaka and Ruyyaka cite this gatha as an example of the figure Aprastuta-prasamsa. Kuntaka remarks: --- AIG EFt Taft HTATSHEFI facara falar ffyd i (.968); and Ruyyaka observes : 375 46tige fare urge arruiffah i- . 933. * 40. Vimarsini cites this gatha in the course of his commentary on Vyajastuti and points out that this gatha falls within the sphere of suggestion (dhvani): - "Suit vizrAnte vAkyArthe vaktRvAcyaucityaparyAlocanA-balAnnindAyA: pratItiriti dhvaniviSayatvameva yuktam / - 9. 987-983. 41. This gatha is an example of Uktavisaya Aksepa where the vastu-svarupa, the character of a duti (a go-between) is denied. The special meaning resulting from this denial is that she tells the truth although she happens to be a duti as dutis, generally speaking, don't bother about truth. 42. This gatha is an example of Vaksyamanavisaya Aksepa. The speaker, who is either a friend or female messenger first declares her intention of speaking something on behalf of the nayika. Then she revokes her intention. So here we have Vaksyamana-visaya Aksepa. The special meaning to be conveyed is: it is impossible to describe the great suffering of the nayika. * 43. This gatha was cited as an example of Ukta-visaya Aksepa, by Sobhakara in his 'A'Ratnakara (p. 84, S.No. 254). Vimarsinikara differs with Sobhakara and opines -"ityatra punaruktasyAliganasya niSedho vidhau tAtparyAbhAvAnna niSedhAbhAsatAmiyA-dityetadudAharaNaM 71" Sobhakara cites this gatha as an example of (Acintya-nimitta) Vibhavana (A 'Ratnakara, p. 94) which is suddha (not based on Atisayokti). It is Ruyyaka who asserts that Atisayokti is at the root of this figure (Vibhavana). Vimarsini defends Ruyyaka and points out that Sobhakara is wrong in holding that the gatha contains Vibhavana. The gatha 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 alamkara does not arise.

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576 Prakrit Verses in Sanskrit Works on Poetics 45. This gatha provides an example of the figure Visama (II) - where not only is there no accomplishment of the desired object but some evil result follows or calamity occurs. 46. This gatha is already dealt with; vide SP 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 gatha 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 gatha as an example of the figure Visesa (III) : When somebody, in bringing about one result, unexpectedly accomplishes something else also, which is impossible, "there is Visesa". - "3751 Dari Pori EROUN yAvacikIrSAviraheNAsaMbhAvyaM timiramapIti vastvantarakaraNAtmA vishess:|" - pR. 173. 49. This gatha is cited as an example of the figure Vyaghata by Sobhakara. He : comments upon it as follows : atra madasya vinAzakAraNAdapi vijJAnAdutpAda: vkssymaannaashkyaalngkaaraanggtyopnibddhH| - pR. 113. After citing this gatha under the figure Asakya he remarks : 375 fa-TSTORUNIC POSTufe Healcfa: chip para sa Paruri12ZHI Q. 994. Vimarsinikara disagrees with Sobhakara and expresses the view that it is not a case of the figure Vyaghata but the figure "Vitarka", defined by Alamkarabhasyakara. * 50. According to Ruyyaka, when each preceding object is spoken of as the cause of each succeeding one, the figure Karanamala 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 Sobhakara for this view. Vide A 'Ratnakara (p. 168, 11 1-8: auktor RUTECH URIT - "Anunt yule --- 3 gora ARTTIRIR BRUTALMATIGT 1). It goes without saying that Karana-srrikhala (which is definitely very appropriate and significant) is the same as Karanamala of the earlier writers on poetics.

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Prakrit Verses in Sanskrit Works on Poetics 577 * 51. This gatha is already dealt with; vide SP S.No. (1323.285) and SK S.No. (278.396) supra. Sobhakara cites this gatha as an example of the figure Hetu. In the course of his discussion of the figure Kavyalinga, Vimarsinikara cites this gatha. A careful glance at the whole discussion would show that Jayaratha does not admit Kavyalinga as a separate, independent figure but includes it under the figure Anumana. 52. Sobhakara cites this gatha as an example of the figure Samadhi. 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 C. 203. 53. This gatha is already dealt with; vide KP S.No. (60.434) supra. Like Mammata Ruyyaka too cites it as an example of the figure Pratipa (I) (The Converse) : When things that are well-known as standards of comparison are themselves turned into objects of comparison, it is termed Pratipa. * 54. Sobhakara cites this gatha as an example of the figure Pratipa (A'Ratnakara, p. 30, v. no. 101). Jayaratha disagrees with him. As the two kinds of Pratipa are based on. aupamya (resemblance, similarity), the gatha under consideration, cannot be said to be an example of Pratipa : Tahir RUT naitadalaGkAradvayaM bhavatItyavagantavyam / tena "Nidda cia ---" - ityatrApi pratIpAlaGkAratvaM na vAcyam / atra hi devatAntarANAM tathA sAmarthyAdarzanAt tadAkSepeNa svapnakAle priyopalabdhidAyinyA nidrAyA virahiNIkartRkaM vAstavameva vandyatvam / vastu ca nAlaGkAra iti nirvivaad:| pR. - 208. 55. This gatha is already dealt with; vide KP S.No. (62.434) supra. Both Mammata and Ruyyaka cite it as an example of the figure Atadguna (Non-Borrower). 56. Visvanatha 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 Mammata, Ruyyaka, Visvanatha, etc. cite this gatha 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 Sahityamimamsa* The Sahitya-Mimamsa reproduces extensively from Bhoja's Sigaraprakasa. Out of a total of 120 verses over 80 are common to SP 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 SP/SK/DHV DHV 2.6 SP 49.52 DHV 4.7 DR.Avaloka SP 842.201 SP 347.115 SP 51.52 DHV 31.12 SP 53.53 VJ 22.24 DHV 5.7 SP 144.71 SK 80.355 SP 206.84 SP 1374.293 SP 1267.275 SP 413.127 SP 1608.332 2.226 SP 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 SP/SK/DHV SP 243.94 SP 1245.271 SP 190.81 SP 967.224 SP 1527.319 SP 6.44 SP 7.44 SP Add 3.1.44 SK 30.346 SP 106.62 SP 107.63 DHV 44.14 SP 194.82 SP 166.76 SK 164.372 SP 142.20 SP 347.115 SP 550.153 SP 118.67 SP 174.77 * The Sahitya-Mimamsa ed. by K. Sambasiva Sastri, Trivandrum Sanskrit Series, No. CXIV, Trivandrum, 1934.

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Prakrit Verses in Sanskrit Works on Poetics 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 SP/SK/DHV 77.78 SP 178.78 SP 81.57 SP 44.51 SP 180.78 SP 1451.307 SP 985.226 SP 485.142 SP 26.47 SP 45.1;110.63 SP 151.72 SP 711.81 DHV 36.13 SP 504.144 SP 638.169 SP 459.137 SP 1516.317 SP 315.108 SP 1518.317 SP 1519.318 SP 1520.318 SP 399.125 SP 123.66 SP 31.454 SP 1528.319 SK 306.402 SK 307.402 SP 1498.314 SP 1499.314 SP 1500.314 SP 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 SP/SK/DHV SP 1492.313 SP 1493.313 SP 1506.315 SP 1508.315 SP 1509.316 SP 832.200 SP 1503.315 SP 1504.315 SP 1505.315 SP 1510.316 SP 1523.318 SP 1524.319 SK 297.400 SK 295.400 SP 1495.313 SP 1496.313 SP 1497.314 SP 1514.317 SK 308.402 SP 660.172 SP 1609.332 DHV *7.71 SP 154.73 SP 811.196 SP 812.196 SP 813.197 SP 814.197 SP 815.197 SP 816.197 SP 817.197 SP 818.197 SP 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 gatha 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 ("sit' 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 gatha is corrupt and obscure. The second half may tentatively be reconstructed as follows: samappai viraho eMte vi pie Na eMte vi // (samApyate viraha: Ayatyapi priye nAyatyapi ) 29. (i) The Sanskrit chaya of this verse is after P. L. Vaidya's edn. (p. 695). In it 'tanu' is rendered as 'tanvyah' (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 'tanuh' qualifying fradana-vranah'. (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 Narmada river (which rises in one of the Vindhya mountains, called Amrakuta 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 Narmada. The unique qualities of the river Reva-Narmada are possibly its depth, its holiness, transparence, clearness,

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Prakrit Verses in Sanskrit Works on Poetics 581 limpidity, etc. 54. The second half of this verse is obscure. It may better be read as : kalaM moNeNa hiA, ajaM devattaNaM pattA / / 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 gatha 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 - chukAraNa-rasis and in the chaya chUtkAra-rasitaM (in Vol. I). 114. Read : in the first half of the gatha HET ETUUTT STOUT and its Sanskrit chaya in the third line as Here TUT in Vol. I. * * *

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Chapter XI Prakrit Verses in Vagbhatalamkara 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, sara - 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 addaya-a mirror, dala - a branch, gose - morning, or verbs like reha - to shine, cada - to climb, etc. Verse 1* illustrates tadbhava (= tajja) variety of Prakrit ( read : prakRte: saMskRtAdAgataM prAkRtam --- tasmAtsaMskRtAjjAyate sma tajjam / ) --- atra saMskRtazabdA eva prAkRtIbhUtA iti tajjam / - pp 14-15. Siddharaja is the famous king Jayasimha of medieval Gujarat. Verse 2* illustrates desya variety of Prakrit : atra sattAvIsaMjoaNa-zabdo dezyazcandrArthe, tasya kiraNa-prasaro yAvat adyApi na bhavati / paDihattha-zabdo'pi dezya: sNpuurnnaarth:| gahavai-zabdo deshyshcndraarthH| tato he saMpUrNamaNDalacandravadane tAvat tvam udyAnaM vrajeti / Verse 3* illustrates Apabhramsa-bhasa :--- iha kvacidabhUto'pi repho bhavati / yathA - cAruda (? cAtraga)---. Verse 4* illustrates an exception (apavada) to the pada-dosa, 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 "prahelikAyAM svasaMketapraklaptArthamapi na duSTam / " --- atra ravitanayaH krnnstcchbdvaacyH| prahelikA means 'a riddle, enigma or conundrum.' It is defined as : vyaktIkRtya kamapyarthaM svarUpArthasya gopanAt / yatra bAhyAntarAvartho kathyate sA prahelikA / / It has a covert (hidden) meaning underlying the apparent or literal sense.

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Prakrit Verses in Sanskrit Works on Poetics 583 Antara artha is the subtle, covert or hidden meaning and bAhya artha 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 upamA; 'zazina iva' iti dravyopamA / 'kumudaM saMkucitam' iti kriyopamA / Verse 8 is an example of anyonyopamA. According to Jainism, anger, pride, deceit and greed form the four 44s (passions). Verse 9 is an example of bhrAntimAnalaMkAra. pasayacchi-he prasRtAkSi, prasRte vistIrNe akSiNI yasyA: sA, tathA tasyA AmantraNe / . Verse 10 is an example of AkSepAlaMkAra. ye kIrti necchanti / ye ca kSaNamapi karuNAM naiva kurvanti / te maraNasamaye'pi dhanayakSA iva dhanaM kiM dadati ? api tu na dadati iti kAkUktiH / There is a variant reading karuNAkaNaM in place of karuNaM khaNaM. It yields better sense: 'kaNo leza:, tanmAtrAmapi krunnaam| Verse 11 is an example of heturalaMkAra. kaNThAo kaNThAbhyantare gholita: karuNatvenAlapita: madhurasvaro yasmin tattathA / Verse 12 is also an example.of heturalaMkAra. mRgAko viSasodara: (viSaM sodaro bhrAtA yasya sa visssodrH| ekato'rNavAjjAtatvAt) | --- zikharI vRkSo jAti - (pA.bhe. jaat-)plaash:| ---atra maraNasya heturamI / eko viSasodaraH, anyo yamAzAnivAsI (mlyaaclvaayu:)| aparastu palAza: pakSe vRkss:| Vagbhatalamkara has ten commentaries written on it. Four of them are so far published : one by Simhadevagani, another by Jinavardhanasuri, third by Jivananda Vidyasagara and fourth by Jnanapramodagani -- 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 Kavyanusasana 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 SP S.No. (442.133) supra. 5.479. This verse is already dealt with; vide SP S.No. (188.80) supra. 6.479. This verse is already dealt with; vide SP S.No. (50.52) supra. 7.479. This verse is already dealt with; vide SP 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 SP 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 SP 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 SP 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. Jinesvarasuri, the compiler of Gaharayanakosa (1194 A. D.) includes this gatha in the section dealing with the moon (Candra-prakrama, verse 548). Kalpalataviveka (p. 140, 11 13.16) borrows this passage from Hemacandra's Kavyanusasana-viveka (p. 69, 1 21.24). This gatha 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 SP S.No. (212.86) supra. 39.486. This verse is already dealt with; vide DR S.No. (22.33) supra. 40.486. This gatha 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 = gurujanadarsanabhaya) [In the Viveka, p. 145, guru-sankama is exaplained as 'guruvisaya ma sajkramit' 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 sattvika bhavas such as internal perspiration, (tremor) etc. Further in this stanza there is suggested an illustration (nidarsana) (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 (ahrdayam) at the

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Prakrit Verses in Sanskrit Works on Poetics 587 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 sagara 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 "lajjaluini' in place of ujjua-ruya (-rua) (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 Gahakosa, 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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588 Prakrit Verses in Sanskrit Works on Poetics 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; sAmalaMgI (zyAmalAgI) - 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 Utpreksa (Fancy). 50.488. This verse is already dealt with; vide SP 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 SP S.No. (92.59) supra. 54.489. Note: Hemacandra, following the lead of Kuntaka, the author of Vakroktijivita, reduces the number of alaskaras (figures). Mammata's Kavyaprakasa treats of 61 arthalamkaras. Hemacandra's Kavyanusasana 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 alamkara), still some others fall under one or the other of the accepted alamkaras and still a few others are themselves of the nature of alaskarya (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 gatha contains the figure Upama (dvilope vakyaga), Kavyaprakasa (Jhalakikar's edn, p. 575) deals with it.

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Prakrit Verses in Sanskrit Works on Poetics 589 55.489. This gatha is already dealt with; vide DHV S.No. (* 28.11) and KP S.No. (472.430). This gatha contains the figure Upama (dvilope samasaga). 56.489. This verse is already dealt with; vide SP S.No. (157.74) supra. According to Hemacandra, it is an example of Suddha Upama, whereas Mammata would regard it as an example of Malopama (with the common property identical (abhinna). 57.489. This gatha is already dealt with; vide KP S.No. (48.431) supra. Mammata calls this an example of Ekadesa-vivarti-rupaka. Hemacandra cites it as an example of Eka-visaya-rupaka (Type III). 58.490. This gatha is already dealt with; vide DHV S.No. (*6.7) supra. Hemacandra cites this gatha as an example of Nidarsana. Mammata would regard it as an example of the figure Dsstanta. 59.490. This Skandhaka verse is already dealt with; vide DHV S.No. (21.10) supra. Hemacandra cites this as an example of Dipaka-alamkara. He regards kavyakatha as the prakta and nisa, nalini, lata and saradasobha (Locana, p. 260) as apraksta. Gurukikarana 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 Dipaka alamkara : "In this example though the figure Upama 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 gatha is already dealt with; vide KP S.No. (55.433) supra. Mammata . cites this gatha as an example of the figure Anyonya. Hemacandra regards it as an example of Dipaka. He holds that there is one common property (saranakriya = 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 gatha is already dealt with; vide DHV S.No. (47.15) supra. Aprastutaprasamsa of Anandavardhana (and other alamkarikas) is named

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590 Prakrit Verses in Sanskrit Works on Poetics Anyokti by Hemacandra. In Aprastutaprasamsa (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 rasenAdhmAtA (AdhmAtA = unmattA) madhukA yatra / (athavA, makarandarasairAdhmAtA: pUritA mukharA madhukarA 1). The Ocean (samudra personified as god) addresses Rama (incarnation of God Visnu): "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 Rama (= Visnu) himself and it is with a view to maintaining his preordained stability he resisted Rama; and it is only natural that Rama should not take away the gift of stability that he has bestowed on the ocean. cf : a: ht: Msifa garela Hai viSavRkSo'pi saMvardhya svayaM chettumasAMpratam // - Kumarasambhava II. 55 Hemacandra regards this Skandhaka from Setubandha as an example of Nidarsana, (and not of Aprastutaprasamsa). 63.491. This Skandhaka is already dealt with; vide DHV Locana S.No. (*7.7) supra. Here Jambavat describes how he remembers Visnu'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-'cirajivitva', 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 (Aprastutaprasamsa). 64.491. This gatha is already dealt with; vide SP 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 Atisayokti (Bhede'pyabheda-variety).

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Prakrit Verses in Sanskrit Works on Poetics 591 65.491. This gatha is already dealt with; vide SP S.No. (147.70) supra. It contains two instances of Atisayokti (Variety Sambandhe'pyasambandhah). III - 66.491. This gatha is already dealt with; vide KP S.No. 162.434) supra. Hemacandra cites this gatha as containing two instances of the figure Virodha in its two halves. Mammata and other alamkarikas 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 Atadguna. 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 alamkara - a figure of speech: samAsoktiH sahoktizca nAlaMkAratayA matA / alaMkArAntaratvena zobhAzUnyatayA tathA. / / - VJ II.51 68.492. This gatha is already dealt with; vide SP S.No. (1012.231) supra. Hemacandra cites this gatha as an example of Parivitti (by enlarging its meaning). Other alaskarikas like Mammata would regard it as an example of the figure Paryaya. Hemacandra in his very definition of Parivitti says: paryAya-vinimayau privRttiH| 69.492. The earlier part of the first half of this gatha is obscure. quuiar13100 370R' (Sk. grulleda 34FF) hardly yields any worthwhile meaning. Bhuvanapala reads : vaNNavasie viacchasi (Sk. svadezavAsini vilokyase). 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 = viacchijjasi = dRzyase [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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592 Prakrit Verses in Sanskrit Works on Poetics 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 Anumana. In one type we have TRURITEZefydfa:' and in the other, '31 COURITEZI fa:'. The above illustration is cited to illustrate '371974- Ezucia.' Alaskara-Ratnakara (p. 134) comments on it as follows : atra nAyakadarzanAkhyasya kAraNasya tatkAryazarIrAsvAsthyaviruddhasvAsthyopalambhenAHatsapta: ---' 69.492. This gatha is already dealt with; vide KP S.No. (57.433) supra. It illustrates the figure Parisamkhya (Exclusion). 70.492. This gatha is already dealt with; vide SP S.No. (127.67) supra. Hemacandra cites it as an example of Parisamkhya. Other alamkarikas would regard it as an example of the figure Sara (Climax). 71.492. This gatha is already dealt with; vide DHV S.No. (36.13) supra. Hemacandra cites it as an example of the figure Anumana. Mammata and other alaskarikas regard it as an illustration of the figure Uttara (variety I). 72.492. GS(W).897 reads the text of this gatha as follows: i JT JT TUTE H61317 ! 3719 REI (? ) art jai taraha raMbhiuM maha dhIraM samuhAgae tammi / / yad yad bhaNatha sakhya Ama kariSyAmi sarvathA tat tat / yadi tvaradhvaM / zaknutha roddhaM me dhairya saMmukhAgate tasmin / Hemacandra rejects both the kinds of Uttara alamkara, accepted by other alamkarikas like Mammata. He brings them under the figure Anumana. 73.492. This gatha is already dealt with; vide KP S.No. (63.435) supra. Mammata (KP p. 753), cites this gatha as an example of 'Negreifcichret:riefe:'. In ufer sper there is higury; and in Fai doujo atuais there is 74c5. Sahiguri is azabdAlaMkAra, and rUpaka an arthAlaMkAra. Both these figures are independent of each

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Prakrit Verses in Sanskrit Works on Poetics 593 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 alamkarikas. 74.493. As the context of this gatha is not given, there is a doubt as to who of the two, zaThatarapoTA and pATalA - (or pATalI-latA) 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 gatha the figure pirty-Fi. Hemacandra paraphrases NiggaMDadurAroha as 'kaThinadurArohAm'. poTA 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 Bhuvanapala, while commenting on this gatha, remarks : 3721914&OTTRI Fferior: 75.493. This gatha is already dealt with; vide DR S.No. (4.26) supra. Incidentally, it may be noted that Vajjalagga (St. No. 467) reads the second half as follows : savve vi aggacaliyA piyammi kayaNicchae gaMtuM // [sarve'pyagracalitA: priye kRtanizcaye gantum // ] 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 gatha is already dealt with; vide SP S.No. (466.138) supra. 77.a.493. Note : Regarding the citations from the Cudamani-Dombika (p. 447, v. 583, v. 584, p. 448, line 7) and from Gunamala (- 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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594 Prakrit Verses in Sanskrit Works on Poetics attempt to settle their text in his paper "On The Uparupakas Called Dombika And Sidgaka" (published in "Vidya", 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. heThe vi DombI Nacami sahii ra homi hau~ coriamihuNahaiM (or u~) vammahasAru kahemi tau. 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 Matras+) GIA6 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 SP S.No. (199.83) supra. This Skandhaka is cited to illustrate the sabda-vaicitrya : Vaktavyartha-pratijnana (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 tatsAdhanatayopacArAt tridazabandImokSAdirUpatve vivakSite tadabhidhAya tasyAsya kAvyasyApi tattadvizeSaNasAmAnAdhikaraNyamupapannamityavaseyam / " 79.494. This Skandhaka is already dealt with; vide SP 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. Bhamaha's Kavyalarnkara (1.2) : tareftiter over her karoti kIrti prItiM ca sAdhukAvya-niSevaNama (pA. bhe. nibndhnm)| 80.494. As far as our knowledge goes, this is the solitary Skandhaka verse definitely known to belong to the poem Ravana-vijaya, which is now lost. It is cited to illustrate Kaviprasarsa (Praise of Poets).

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Chapter XIII Prakrit Verses in Kalpalataviveka 1. This verse is cited as an example of gatha by Sri Nanditalhya in his Gathalaksana (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. Nanditadhya'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 Apabhraisa verse is the same as VJ S.No. (18.23) supra. 15. This verse is the same as SP 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 gatha is cited to illustrate the aurii, called 'Pa ' Bhoja observes : 35 hote hayRuyadiom HUR Graic asica (SS. 38). Ratnesvara explains thus : 79-4RUNTAT-PTHIS SuperFalagushitae Haut janmAbhyastapitRgahaviyogavedanAdUnamAnasAyA atyantAparizIlitena devareNa saMsthApanaprakAra: sa na jAtau nivizate / --- (q. 80). 89. This gatha is the same as VJ S.No. (11.22) supra. 99. This gatha is the same as A'Sarvasva S.No. (21.441) supra. 110. This verse is cited to illustrate the wolf 3TIR.

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596. Prakrit Verses in Sanskrit Works on Poetics The Calcutta edn. reads E3i in place of 231 in the Bombay edn. KLV (p. 276) supports this reading 'dha' : sa roSeNa rathena ca nizAcarabalenotsAhena ca saha praharSaM dhvajaM ca vairAbandhaM praharaNaM ca vahamAno nirgacchatIti pryvsito'rthH| (pR. 276). The word sa refers to dhUmrAkSa. "praharSaM tuGgatayA dhvajamiva / vairAbandhaM durnivAratayA praharaNamiva vahan / ratheneva roSaNa, utsAheneva nizAcarabalena samaM nirgacchati / prerakatayA roSa-rathayo: kAlakSepAsahiSNutayA utsAha-rAkSasabalayo: sAmyam / " - setutattva0 pR. 543. Ramadasa observes --- iti sarvatra sahopamA /

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Prakrit Verses in Sanskrit Works on Poetics 597 Chapter XIV Prakrit Verses in Alamkara-mahodadhi 1. This gatha 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 : atra vAcyAd aGgasAdAd rasavizeSaparatvena sundarAt sa saGketasthAnamAgacchadahaM tu na gateti vyaGgyamasundaramityasya guNIbhUtatvam / - pR. 12. 2. This gatha 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 : atra na nandatItyAdyuktam, kintu jayatIti itarasmAnnayanadvayAdutkarSaNa vartate lokottareNa prakAreNa sthagitatvAditi 'ji'-rUpa-prakRtijanitaM vaicitryam / - pR. 17. 3. This gatha is already dealt with; vide DHV S.No. (14.8) supra. Like Anandavadhana Narendraprabha cites it as an example of Arthantarasankramitavacya. He thus comments : atra dvitIyakamalazabda: paunaruktyenAnupayujyamAnatvAd bAdhitasvArthaH sannAdhArAdheyabhAvarUpAt sambandhAjjagadvilakSaNazrInivAsitvarUpamatizayamAviSkartuM svavAcyaM vikAsakamanIyatve saMkramayati / pR. 37. 4. This gatha is already dealt with; vide SP S.No. Add. (45-1.51) supra. Like Bhoja Narendraprabha cites it to illustrate the circumstance, called abhinaya (appropriate gesture), that restricts the abhidha of an 31 href word. In the gatha 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 'etavat' is by gestures restricted to four different senses : "abhinayo'tra stanapradarzane hastasya dADimaphalAkAra:, akSipradarzane tasya kamaladalAnukRti:, avasthApradarzane tanutvasUcakam unnamitatarjanIkasya hastasya itastata: saMcAlanam, divasapradarzane ca utthApita caturaGgalIko hstH| - A. B. Gajendragadkar, (ABG), KP edn., p. 336. 5. This gatha is already dealt with; vide KP S.No. (1.418) supra. Narandraprabha follows Mammata and cites this stanza as an example where the expressed sense (vAcyArtha) is suggestive. He thus comments : atra vijJAtasvairiNItvarUpAd vaktRvaiziSTyAt kAcit svairavihArArthinI taTasthena pratibhAvatA vyajyate / --- pR. 49. 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 : maha keraM mama

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598 Prakrit Verses in Sanskrit Works on Poetics sambandhi / tuha vi tvAmapi / atra dUtyAstatkAmukopabhogo vyajyate / tathAvidhadUtItvaM ca boddhavyasya vaiziSTyam / - 9.89. 7. This gatha 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 sakhIM prati vadantyA pracchannakAmukasya sandhyA saketakAlo jJApyata iti pratIyate / tathAvidhapuruSakRtatvaM ca Harrera - g. 4o. 8. This gatha 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 gatha 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 gatha 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 gatha 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 gatha is already dealt with; vide DHV S.No. (1.6) supra. Narendraprabha cites this gatha with the introductory remark : 3721 GRIFUSIOCCHI dagangan UNIT - After citing it he thus comments : 3 WALLPaPernar Ribiglang erfare bhramaNaniSedho vyajyate / tena ca tatropapatinA saha niSpratyUhasuratavyApArAbhilASitvaM kasyAzcit prtiiyte| - q. 43. 13. Narendraprabha first treats of the five kinds of Vipralambha-scngara arising from - 1. longing 2. curse 3. separation 4. jealousy and 5. journey. He then states that although Sambhoga-stigara (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-stigara (love in separation). He introduces the gatha with the remark : tatra spRhAnantaraM saMbhogo yathAThe gatha describes the first ever sexual union of Radha and Krsna. 14. This gatha is already dealt with; vide SP S.No. (603.162) supra. This gatha deals with sexual union after separation!

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Prakrit Verses in Sanskrit Works on Poetics 599 15. This gatha 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 gatha fire is described as drinking (inhaling) the fragrant breath from the nayika'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 sattvika-bhavas-which too are anubhavas (consequents). 17. This gatha is already dealt with; vide SK S.No. (175.375) supra. The SK and A'mahodadhi both cite this gatha as an example of romanca (horripilation), one of the eight sattvika-bhavas (involuntary states) - which too are anubhavas (consequents). 18. This gatha is already dealt with; vide SP S.No. (221.88), SK S.No. (176.375). Bhoja and Narendraprabha both cite this gatha to illustrate vaivarnya (change of colour, paleness), one of the eight sattvika-bhavas, - which too are anubhavas (consequents). 19. This gatha is already dealt with; vide SP S.No. (466.138); SK S.No. (199.380) supra. Bhoja and Narendraprabha both cite this gatha as an example of lila, one of the ten graces (svabhavajah bhavah). Lila is "the sportive imitation of the movements or words of the beloved one." 20. This gatha is already dealt with; vide SP S.No. (616.165); SK S.No. (169.376) supra. Bhoja and Narendraprabha both cite this gatha to illustrate sarka (Anxiety or Apprehension), one of the 33 vyabhicari-bhavas (transitory states). Bhoja comments thus : atra virahiNyA: kAAtizayamudrIkSamANAyA: kasyAzcid vayasyAyA: snehAtizayAt 'prema pazyati bhayAnyapade'pi' iti priyAgamapraharSAtizayabhAve'pyasahiSNutayA tanmaraNazaGkA prakRSyate / - sarasvatI, g. 489. 21. This gatha is already dealt with; vide SP S.No. (487.142); SK (180.376) supra. Bhoja and Narendraprabha both cite this gatha as an example of alasya (indolence, laziness), one of the 33 vyabhicari-bhavas (transitory states). 22. This gatha is already dealt with; vide SP S.No. (190.81); SK S.No. (177.375)

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600 Prakrit Verses in Sanskrit Works on Poetics supra. Bhoja and Narendraprabha cite this gatha as an example of cinta (worry), one of the 33 vyabhicari-bhavas (transitory states). Bhoja thus comments : 37 sakhIrodanena zUnyakalaha:, zUnyakalahena sAkSAtkAraH, sAkSAtkAreNa cintA, cintayA tu mUlabhUtA ratiH prakRSyate / - sarasvatI, pR. 584.. 23. This gatha is already dealt with; vide SP S.No. (216.86); SK S.No. (181.376) supra. Bhoja and Narendraprabha both cite it as an example of nidra (sleeping), one of the 33 vyabhicari-bhavas (transitory states). Bhoja introduces the gatha with the remark : 'tadrUpeNa rasasyAnubandho yathA -' and after citing it thus comments upon it : atra rati - zrama-jAgarAdi - janitanidrAlasA dRssttinipaataastaarkaaghuurnnntrysrvlnaadibhirnubdhyte| - sarasvatI, pR..594. 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 gatha as an example of suptam (sound sleep), one of the 33 vyabhicari-bhavas (transitory states). Bhoja introduces this gatha with the remark : 'tadrUpeNa rasaprakarSo yathA -'. He, after citing it, thus comments upon it : atra nirbhara-padenaiva prakarSaH pratipadyate / -sarasvatI0 pR. 594. . 25. This gatha is already dealt with; vide SP S.No. (194.82) and SK S.No. (172.374) supra. Bhoja and Narendraprabha both cite this stanza as an example of rasabhasa (lit. the semblance of sentiment, 'ungenuine sentiment'). Bhoja (SK p. 576) introduces this stanza with the remark (ratirUpeNa) nAyakapratiyogiSu (rasAbhAso) yathA-'. Locana (p. 78) defines abhasa as : aucityena pravRttau cittavRtterAsvAdyatve sthAyinyA raso, vyabhicAriNyA bhAva:, anaucityena tadAbhAsa:, rAvaNasyeva sItAyAM rate: / In the present stanza we have description of Ravana's rati for Sita, the wife of Rama. Ravana is a rival (pratiyogin) of Rama, the hero. Hence there is impropriety (anaucitya) regarding Ravana's abhilasa and rati for Sita. Hence it is a case of rasabhasa (Srigarabhasa). 26. This verse is already dealt with; vide SP S.No. (1417.302) and SK S.No. (170.374) supra. SP (p. 1164) introduces this gatha thus : tatra saMkSepata: kaniSTha: tAmasa: zaTho dhIraprazAnta (nAyaka) iti / teSvarthaguNasampadyogAt knisstthH| SK (p. 575) introduces it with the remark : 'ratirUpeNa hInapAtreSu rasAbhAso yathA -'. Narendraprabha (p. 98) observes : 'hInajAtiSu manuSyeSvapi ke'pi rasAdyAbhAsaM manyante / yathA-'

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Prakrit Verses in Sanskrit Works on Poetics 601 27. This gatha is already dealt with; vide DHV S.No. (15.9) supra. Like Anandavardhana Narendraprabha too cites this gatha to point out that the two words 'matta' and 'nirahakara' provide examples of atyanta-tiraskrta-vacyah (dhvanih). Narendraprabha thus comments : 37 HT-FREER-Orect megha-mRgAGkayorasambhavena bAdhitasvArthoM svecchAvyApAravattve vyApArarahitatve ca sAdRzye sati meghaM mRgAGkaM ca lakSayantau prakarSazAlitvaM hataprakarSatvaM ca vynyjytH| atraatynttirskRtvaacyH| - alaGkAramahodadhi, pR. 105. 28. This gatha is already dealt with; vide DHV S.No. (24.10) supra. Anandavardhana cites this gatha as an example of refrain (DHV pp. 266-67 and Locana on it). Narendraprabha (p. 105), however, thus comments upon the gatha : 37 napanipAtapadaprakAzyo vytirekH| 29. This gatha is already dealt with; vide DHV S.No. (23.10) supra. Hemacandra too cites it in his Kavyanusasana (p. 74). Anandavardhana cites it as an example of Upama-dhvanih. Locana explains that the expressed figure in the stanza is Atisayokti, and that Upama is implied. It says: "Kusumabanena sukumarataropakarana-sambharena". Hemacandra (p. 74) cites this gatha with the introductory remark 35 mala c TART UGYRRATU yarrufati Narendraprabha's comment strongly reminds us of Hemacandra's comment. 30. This gatha is already dealt with; vide DHV S.No. (22.10); KAS (of Hemacandra) S.No. (25.483) supra. Narendraprabha (p. 106), following Hemacandra, comments on the gatha thus : 375 ERMilagrer ragount: FRIRE UTHIER Earla i 31. This Skandhaka stanza is already dealt with; vide DHV S.No. (35.13) KAS of Hemacandra S.No. (29.484) supra. Narendraprabha's comment (p. 106) on this stanza is reproduced from Hemacandra's Kavyanusasana. 32. This gatha is already dealt with; vide KP S.No. (21.423); KAS of Hemacandra S.No. (32.484) supra. Narendraprabha (pp. 106-107) reproduces Hemacandra's remark on this gatha. 33. This gatha is already dealt with; vide KP S.No. (22.423) supra. Narendraprabha's comment (p. 107) on this gatha is almost identical with that of Mammata (KP, p. 159) : 3471 yarRIDAYGHERTA argar aprake ageutroqraerdanya

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602 Prakrit Verses in Sanskrit Works on Poetics nizA'tivAhyate' iti vastu prakAzyate / 34. This stanza is already dealt with; vide KPS.No. (26.424) supra. Narendraprabha, 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 gatha is already dealt with; vide KP S.No. (28.425) supra. Narendraprabha, following Mammata, 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 Vibhavana, whereas, according to Narendraprabha, it is Visesokti. Visesokti is the exact opposite of Vibhavana. 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 gatha is already dealt with; vide KP S.No. (12.420) supra. Narendraprabha, following Mammata, cites this gatha as an example of one variety of Artha-saktyudbhava-dhvanih (svatah-siddhena/ svatah-sambhavina vastuna vastuno vyaktih). Mammata (p. 136) comments: 37 Halgryte sta argit org avud i Narendraprabha (p. 108) follows him : 371 raat te gaar erudi 38. This gatha is already dealt with; vide DHV S.No. (20.9) supra. Narendraprabha cites this gatha as an example of svatah-siddhah artha-Saktimula-dhvanih. He thus comments on the gatha: 34 UGT Carica: Fra G tathAvidhanidhuvanavyApArAbhAvAd balavAn karividAraNasamartho'bhUt, tato bhavatyo muktAphalabhUSaNA:, idAnIM tu madekAnurAgI nirantararativyApArAd durbalIbhUto mayUrAneva hantumIzvarastato mayUrapicchAbharaNaivAham iti bhavatIbhyo mamaiva with referere sta olados: Trud I - C. 900-90%. This comment strongly reminds us of Locana's comment (vide DHV- Locana pp. 256-257). There too this gatha is cited as an example of Svatah-sambhavi.

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Prakrit Verses in Sanskrit Works on Poetics 603 39. This gatha is already dealt with; vide KP S.No. (14.421) supra. Narendraprabha, following Mammata, cites this gatha as an example of Kavi-praudhoktinirmitah (artha-Sakti-mula-dhvanih). He reproduces almost word for word, Mammata's comment on the gatha : 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 gatha as an example where the expressed sense is prominent and the suggested figure unimportant. In the gatha under reference, it is the expressed figure Dipaka that is prominent and the suggested Upama 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 gatha is already dealt with; vide KPS.No. (32.428) supra. Narendraprabha, following Mammata, cites this gatha as an example where 'vacana' (number) contributes to and develops rasa: 375 'ant a TEMAS Y fighi guNagrahaNAnAmutkaNThAnAM ca bahuvacanena bahutvaM, 'tassa tti', tasya vacanAnabhidheyasya premNazcaikavacanenaikarUpatvaM fragabah trud i - . 993. 42. This gatha 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 gatha is already dealt with; vide SP S.No. (442.133); KAS of Hemacandra (4.479) supra. Like Hemacandra (KAS, p. 53) Narendraprabha cites this gatha as an example of 'vidhau vidhyantararupam'. His comment on this gatha is rather brief when compared with Hemacandra's : 391 Firea Pazifirent qull :TEGIEMezra para uciec - A'mahodadhi, p. 117. 44. This gatha is already dealt with; vide SP S.No. (49.52), SK S.No. (168.373), KAS S.No. (5.479) supra. Like Bhoja, Narendraprabha, cites this gatha as an example of 'nisedhe nisedhantararupam'. He thus comments upon the gatha : atroparameti vRSabhaniSedhe vAcye upapatinivAraNaM niSedhAntaraM pratIyate / - pR. 117. 45. This gatha is already dealt with; vide SP S.No.(53.53) supra. Like Bhoja, Narendraprabha cites this gatha as an example of 'vidhau anubhayarupam':

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604 Prakrit Verses in Sanskrit Works on Poetics 3 Tua Paz TETT Paferillo Adetsto a que estig. 496. This comment is reproduced from Bhoja's SP (Vol. I. p. 248). 46. This gatha is already dealt with; vide DHV S.No. (4.7); SP S.No. (54.53) supra. Like Anandavardhana and Bhoja Narendraprabha cites this gatha as an example of 'nisedhe anubhayarupam'. His gloss on the gatha is reproduced from Bhoja's SP (Vol. I. p. 248) : atra nivartasveti niSedhAbhidhAne na niSedho nApi vidhirapi tu mukhendukAntivarNanAmAtraM pratIyate / - pR. 118. 47. This gatha is already dealt with; vide DHV S.No. (5.7), and SP 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 Mammata's comments on it (KP p. 244). 48. This gatha is already dealt with; vide KP S.No.(37.427) supra. Narendraprabha, following Mammata, cites this gatha 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 vyanjana-vyapara and vyangyartha. His comments on the gatha agree almost word for word with Mammata's Vrtti. 49. This gatha is already dealt with; vide Hemacandra's KAS S.No. (42.486) supra. Like Hemacandra Narendraprabha cites this gatha, 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 gatha : 3FT HAT B arried, niSeddhaM cAhamazaktA / tatsakhya: prAta: pAdamudrayA tarkayitvA mA mAM hasiSuriti vyaGgyamasphuTam / pR. 124. 50. This gatha is already dealt with; vide KP S.No. (19.422) and Hemacandra's KAS S.No. (43.487) supra. Narendraprabha follows Hemacandra and cites this gatha as an example of ' GTETSTERAUT' (u m ). His Vrtti (gloss) on the gatha is adopted, almost word for word, from Hemacandra's KAS (p. 156): 3715 galo aachetaita arazi Papa at TEHTY SUPERISUT yAvadatyAhitaM nApnoti tAvadujjhitvA daurjanyaM sA'nunIyatAmiti vyaGgaya pradhAnamiti sndigdhm| -pR. 125.

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Prakrit Verses in Sanskrit Works on Poetics 605 51. This gatha is already dealt with; vide SP S.No. (92.59), SK S.No. (6.340) supra. Bhoja cites this gatha as an example of the defect '31954. - Hemacandra calls this defect as akrama (K p. 264); and Narendraprabha Gosh (p. 156). Bhoja thus adds a gloss on the gatha : 377 gechaunts To SC FGH 3742544 1 - fraait 9. 38. Narendraprabha's gloss is : 37 Tramp chita , uw faceta: - L. 94EUR. 52. This gatha is already dealt with; vide DHV S.No. (14.8) supra. Narendraprabha cites this gatha as an example of 37efraktshalat saat 64GRRRT (UMCO) 53. This stanza is already dealt with; vide SK S.No. (369.414); Hemacandra's KAS S.No. (52.488) supra. Narendraprabha follows Hemacandra and cites this stanza as an example where the (poetic) defect - gramyatva (lokamatra-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 (KAS, 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 gatha is already dealt with; vide VJ S.No. (1.19), SP S.No. (41.50) supra. KP, KAS too cite this gatha as an example of the figure Atisayokti (abhede'pi bhedah variety). Narendraprabha follows Hemacandra and observes 3751 laTabhatvAdInAmabhede'pyanyatvena bhedH| 56. This gatha is already dealt with; vide No. (684.176); A'sarvasva S.No. (18.439) supra. Narendraprabha cites this gatha as an example of the figure Atisayokti (Abhede'pi bhedah variety). He thus comments on it: 35 faouicheta Paula Mig Hafaret:1 - 9. 238. 57. This gatha is already dealt with; vide SP S.No. (304.105) and SK S.No.

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606 Prakrit Verses in Sanskrit Works on Poetics (138.367) supra. Narendraprabha, following SK, cites this gatha as an example of Sahokti. 58. This gatha is already dealt with; vide SP S.No. (174.77), SK S.No. (139.367) supra. Following Bhoja Narendraprabha cites this Skandhaka pas an example of Sahokti. 59. This gatha is already dealt with; vide KP S.No. (47.430), KAS of Hemacandra S.No. (54.489) supra. Following Mammata and Hemacandra, Narendraprabha cites this gatha as an example of 3441 (Pacila) 37 Huldf: - . 230. 60. This gatha 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 gatha S.No.(59) is an example of a1PUT ETHHICH. 61. This gatha is already dealt with; vide SP S.No. (148.72), SK S.No. (85.356) supra. Following Bhoja (who calls it Atattve tattvarupa badhita Bhrantih) Narendraprabha cites this gatha as an example of the figure Bhrantiman. After citing it, he thus comments : 37 SEPTI Utere gange 954 THI: - . 286. 62. This gatha is already dealt with; vide SP S.No. (149.72), SK S.No. (86.357) supra. Following Bhoja, Narendraprabha cites this gatha as an example of Bhrantiman (Tattve'pi atattvabuddhih variety). Bhoja terms this variety as 'tattve tattvarupa hanahetuh Bhrantih. Narendraprabha thus comments on the gatha : 345 Handical Furqouttura:1 - L. 288. 63. This gatha is already dealt with; vide SP S.No. (900.212), SK S.No. (127.365) supra. Following SK Narendraprabha cites this gatha as an example of the figure Apahnutih. He thus comments upon the gatha : 3471 3727

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Prakrit Verses in Sanskrit Works on Poetics 607 pratIyamAnamupapatinakhakSatamapanUyate / iyaM ca matAntarAbhiprAyeNa, svamate tu vyAjoktireveyam / - pR. 259. 64. This gatha is already dealt with; vide A'sarvasva S.No. (21.441) supra. Following Ruyyaka, Narendraprabha cites this gatha as an example of the figure Adi-dipaka. 65. This gatha is already dealt with; vide VJ S.No. (4.20) supra. If Kuntaka cites this gatha as an example of Dipaka (Pankti samstha), Narendraprabha cites it as an example of Madhya-Dipaka. 66. This gatha is already dealt with; vide KP S.No. (51.431) supra. Narendraprabha cites this gatha as an example of Anta-Dipaka. 67. This Skandhaka is already dealt with; vide SP S.No. (178.78), SK S.No. (148.369) supra. Narendraprabha cites this stanza as an example of Drstanta (samanyavati dve 'pi vakye variety). Bhoja however cites it as an example of Ubhaya-nyasa (which is, according to him, Arthantara-nyasa eva). 68. This gatha is already dealt with; vide A'sarvasva S.No. (41.444) supra. Narendraprabha cites this gatha as an example of the figure Aksepah (ukta-visayah). He thus comments on it : taler siapa argat Arteta Tru: Haf Bith farztailaments H aifa tifa fasta: ucitud I - q. RCC. 69. This gatha is already dealt with; vide SP S.No. (1535.320), KP S.No. (52.432) supra. Following Mammata, Narendraprabha cites this gatha as an example of the figure Aksepah (vaksyamana-visayah). His comment on the gatha reads: 37 fa r a sAmAnyoktAvuttarasya vizeSabhaNanIyasya niSedhena tasyAmIdRzIM mRtyudazAM prAptAyAmapi na tvamahaGkAraM tyajasIti riyantunt fartat TRICI - 9. 368. 70. This gatha is already dealt with; vide SP S.No. (743.186), A'sarvasva S.No. (46.445) supra. Narendraprabha cites this gatha as an example of the figure Vicitra, newly defined and illustrated for the first time by Ruyyaka. Ruyyaka's

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608 Prakrit Verses in Sanskrit Works on Poetics comment on the gatha runs as follows: atra mocana-valana-vighaTana-vizramANAM yathAkramaM grahaNa-prekSaNa-ghaTana-ramaNAni viparItaphalAni prayatnaviSayatvena nibaddhAni | - pR. 168. Narendraprabha's comment reads : atra grahaNAdikAryasya sAtizayaniSpattaye mocnaadikriyaarmbhH| - pR. 301. 71. This gatha is already dealt with; vide SP S.No. (139.69), SK S.No. (77.355) supra. Narendraprabha, following Bhoja, cites this gatha as an example of the figure Anyonyam. His comment on the gatha runs as follows :- atra mitho'nurAge'GgulIviralIkaraNena dhArAtanUkaraNena ca parasparopakAra: prtiiymaan:| - pR. 304.. Obviously this is based on Bhoja's comments (See SK p. 347, first three lines). 72. This gatha is already dealt with; vide KP S.No. (60.434), A'sarvasva S.No. (53.446) supra. Following Mammata and Ruyyaka, Narendraprabha cites this gatha as an example of the figure Pratipa. His comment on the gatha reads as follows: atra vadanasyotkarSAya candrasya nikarSAya copmaanopmeytvvytyyH| - pR. 320. 73. This gatha is already dealt with; vide KP S.No. (62.434); A'sarvasva S.No. (55.447) supra. Following Mammata and Ruyyaka, Narendraprabha cites this gatha as an example of the figure Atadguna. His comment on the gatha reads : atrottarArdhe'tiraktenApi manasA saMyukto na raktatAM gata itytdgunnH| pUrvAdhe tu vibhAvanA / - pR. 323. 74. This gatha is already dealt with; vide DHV S.No. (36.13), KP S.No. (56.433) supra. Following Mammata, Narendraprabha cites this gatha 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 : atra hastidanta-vyAghrakRttIrmama mUlyena prayaccheti kretuvacanamuttaravAkyAdunnIyate / - pR. 323. 75. This gatha is already dealt with; vide KP S.No. (57.433), A'sarvasva S.No. (56.447) Supra.

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Prakrit Verses in Sanskrit Works on Poetics 609 Following Mammata and Ruyyaka, Narendraprabha cites this gatha 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 gatha is already dealt with; vide SP S.No. (124.66), SK S.No. (69.393) supra. Following Bhoja, Narendraprabha cites this gatha as an example of Svabhavoktih (mugdhanganasraya). 77. This gatha "is already dealt with; vide KP S.No. (64.435) supra. Following Mammata. Narendraprabha cites this gatha as an example of Sandehasankara (for we cannot say whether Samasokti or Aprastutaprasamsa is the figure in this gatha). His comment on the gatha is adopted verbatim from Mammata (KP, p. 760, lines 3-4). 78. This gatha is already dealt with; vide SP S.No. (91.59), SK S.No. (4.340) supra. Following Bhoja Narendraprabha cites this gatha as an example of Adhikam, one of the Upama-dosas. As 'bhramaragana', the attribute of the Upamana is 'adhika' (redundant), the gatha is vitiated by the poetic blemish (or defect), called dharmadhikatva (or adhikopamanam.) 79. This gatha is already dealt with; vide SPS.No. (90.59), SK S.No. (3.340) supra. Following Bhoja, Narendraprabha cites this gatha as an example of dharmanyunatvam (or, nyunopamam). His comment on the gatha is : 31 netrabAhUpamAnapadAni vadhUvizeSaNatvenAbhihitAni (? vizeSaNatvena naabhihitaani)| pR. 335. Cf. Bhoja's comment : 347 741644196Hi gyfartautarachcalled 4794441 - paradt, 9. R.

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Chapter XV Prakrit Verses in Vagbhata's Kavyanusasana Verse 1 : Muro which swells up the plump breasts; savvaMkasa (sarvaMkaSa) all-powerful. For the idea of this verse. read Raghu IX.47 tyajata mAnamalaM bata vigrahairna punareti gataM caturaM vaya: / parabhatAbhiritIva nivedite smaramate ramate sma vadhUjana: // Verse 2: Here we have a series of fine fancies. The nayika 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 'cakSuSa: zulatA'. Verse 3 belongs to Lilavai (No. 24). The text of Lilavai reads surasaM (v.1. sarasaM) vevaMataoM and the commentator comments thus : vepamAno rasapAnalolupatayA kmpmaan:| [sumaMjuguMjiyaravo and sarasaM bebaMtao mAsalaM (bebaMta pres. part. of bU (Sk. brU)] would involve the poetic blemish of punaruktatA (Redundancy, Repetition or anarthakatA Uselessness). Vagbhata states : dezyAnAM prAkRtAdhuktau mugdhotau ca na doSaH / / and then illustrates tatra prAkRte yathA - juNhA ---- (lIlAvaI gA. kra. 24) atra tigichi makaranda iti dezyaH / Vagbhata's reading caMdujjae (loc. sing. of caMdujaa d, meaning kumudaM is all right and needs no emendation in view of Hemacandra's statement in Desi p. 110 :- kumuyammi caMdojaM / caMdojaM kumudam / svArthe ke caMdojjayaM | The printed text of Lilavai (p.7, v. no. 24) reads caMduz2ue and records a v. 1. caMdrujue. The commentator reads "caMdrujue kumude cndrvNshykmle|". The editor of Lilavai says in his Notes (p. 326) : Trivikrama observes thus (I. iv. 121): caMdojaM raaNiddhaaM kumudam / candreNa dyotata iti caMdojaM / rajanidhvajam /

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Prakrit Verses in Sanskrit Works on Poetics 611 Verse 4 : siddhanarendra is the famous Siddharaja Jayasimha of Gujarat (VS 1150 - VS 1199). 'kUDa-varaDa is obviously a biruda / viruda (title). Regarding this verse, Dr. Bhayani wrote to me to say : "The citation in Vagbhata II (sA jayai etc.) occurs in its correct form at prabandhacintAmaNi (SJS No. I, 1933) p. 75 (V.No. 171). It is as follows : so jayau kUDavaraDo tihuyaNa-majjhammi jesalanariMdo / chitUNa rAyavaMse ikkaM chattaM kayaM jeNa // (sa jayatu kUTa-varaTa: tribhuvanamadhye jayasiMha-narendra : / chitvA rAjavaMzAn ekaM chatraM kRtaM yena // ) ---- varaTa in the chaya is just a stop-gap back-formation. jesala is a shortened term of endearment for jayasiMha. vaMza and chatra are zliSTa." Regarding kUDavaraDo, M. V. Patwardhan wrote to say :- "kUDavaraDo is difficult to translate. The word as is recorded in DNM VII. 84 in the sense of daMza-bhramara. varaDa appears to be the masculine form corresponding to the feminine form varaDI ( = daMzabhramarI) kUTa = kapaTa, cunning, deceit, trickery. kUDavaraDo would mean "a deceitful, cunning wasp, implying by laksana the painful lethal injury that the king in question inflicts on his adversaries (kUTakAraka: pIDAkAraka: daMzabhramara:). The stanza as cited from Vagbhata's Kavyanusasana (p. 21) mentions the name of the king as Siddha (siddhanarido.)" One is left rather unconvinced. But no better explanation is in sight. Verse 9 : Correct UsasiuM to UsasiyaM. in Vol. I. P. 530. GS(W). 884 reads the second half of this gatha as follows: UsasiuM pi Na tIrai chailla-parivArie gAme // Vajjalagga. 284*3 thus reads this half : UsasiyaM pi muNijjai chailajaNasaMkule gAme || Saptasatisara V. No. 77 however reads: Usasi pi Na tIrai chailla-bahule haaggAme || 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 atadguNa alaMkAra.

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612 Prakrit Verses in Sanskrit Works on Poetics Verse 23. The King describes in this stanza the advent and glory of the season of Spring. Rajasekhara, true to the poetic tradition, describes the favourite topic of Vasanta-rtu in great detail in this Act (Karpuramanjari I). The description is, however, more or less conventional..

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Chapter XVI Prakrit Verses In Sahityadarpana 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. Varaa (Varaka) is obstacle. Ai is 'water'. The word 'rasa' also means love, affection V.6. 37400 (916-FIFTH) (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 SP S.No. (1423.303) supra. V.11. This verse is already dealt with. Vide SP 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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614 Prakrit Verses in Sanskrit Works on Poetics 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 : ovaTTai ullaTTai parivaTTai saaNe kahiM pi No ramai / viuliahiae phiTTai lajjAe khuTTai dihIe sA // 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 ovaTTai = apavartate; ullaTai = udvartate; parivaTTai is parivartate; phiTTai is bhrazyAti; khuTTai is tuDati (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 Rasarnavasudhakara 1. Simhabhupala cites this gatha to illustrate sathopapatih. satha : 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.: atra kayAcit svairiNyA mayi saMketaM gatAyAM tvaM tu vanavATikAyAM kayApi rantuM gato'sIti vyaGgayArthenAnyasaMbhogasUcanAdayaM zaThopapati: / pR. 36. 2. RAS cites this stanza to illustrate svakiya or sviya nayika : saMpatkAle vipatkAle yA na muJcati vallabham / / 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 nayika is Sita, the wife of the hero Rama. 3. RAS cites this stanza to illustrate vyapadesa, one of the twelve vagarambhas (such as alapa, vilapa, etc.). It is defined as : NISHIHASIER 24448Tch: 19.909. The stanza forms the famous Hamsapadika's song in Kalidasa's A' sakuntala. Hamsapadika was once the King's favourite but now she was fallen into neglect. The King now pays court to the elderly queen, Vasumati. 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. Hamsapadika's own desire for enjoyment of love's delights with the King is here expressed, according to the RAS under the pretext of describing 'madhukaracutamanjari-vyttanta'. 4. This gatha 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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616 Prakrit Verses in Sanskrit Works on Poetics 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-veddhi (increased intoxication) of an inferior person (adhamasya madaveddhih). 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 jadyam (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 gatha is identical with the first half of GS I. 17. The second half there runs : ia kassa vi phalai maNorahANa mAlA piaamammi / / (iti kasyApi phalati manorathAnAM mAlA priytme||) 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 jadyam arising from unpleasant or disagreeable speech or news). 8. RAS cites this stanza (of Simhabhupala) to illustrate jadyam arising out of 3f0cgeht (the sight of undesirable or evil thing or happening). 9. RAS cites this stanza to illustrate cinta (worry), one of the thirty-three vyabhicari bhavas (transitory or evanescent feelings). Emaciation or thinness (karsya), having the face downwards (or the face bent), remorse or anguish (samtapa), sighs (nisvasa), breathing (ucchvasana), etc., are its consequents. This cinta may be due to istavastu-aparipraptih (failing to secure the desired object) or aisvarya-bhraisana (loss of supremacy, power, the state of being a mighty lord)

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Prakrit Verses in Sanskrit Works on Poetics 617 etc. The example under reference relates to istavastu-alabha. 10. This gatha is already dealt with; vide SP 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, rupa, rasa and gandha). Simhabhupala disagrees with Bhoja's view : Og vittor faHHGIERCI saMprayogasya zabdAdiSvantarbhAvAnna tanmatam // He cites the present gatha and comments: - scule Y-HIGHHH Ffoarstufa: 1 -- 9. 290. 11. RAS cites this gatha to illustrate raga (of the kusumbharaga 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 Malavika first sings. After singing the song she dances with gesticulations in accordance with the sentiments contained in it. . RAS cites it to illustrate Purvanuragah (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 : atra (catuSpadavastuke gIte) devayAnIpAratantryeNa zarmiSThAyA: yayAtiviSaya: pUrvAnurAga: / Incidentally, it may be noted that we have here the suggestion of Malavika's purvanuraga for the King - Malavika who is dependent upon the Devi, the crowned queen, Dharini, for she serves as Dharini's 'maid'. 13. This gatha is already dealt with: vide SP S.No. (995.228) supra. RAS introduces it with the statement : " Chaofanit RT-" and comments on it (the gatha) thus: atra nAyikAkapa nacumbanavyAjena tatpratibimbitAM sakhIM cambati nAyake tadISyayA . fiat TRECHT: 'Uh oh UFS FIQCEzt arudi - 9. P&4.

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618 Prakrit Verses in Sanskrit Works on Poetics 14. This gatha is already dealt with; vide SP S.No. (1423.303) supra. RAS cites this gatha to illustrate "puruSasya mAnaH" - (man's jealous anger). After citing it, he thus comments on it : atrAlIkasvApAkSinimIlanAdisUcitapuruSamAnakAraNasya prasAdhanagRhavyApAranimittaM vilambanasyAbhAsatvam / -pR. 267. 15. This gatha is already dealt with; vide SP. S.No. (1615.332) supra. RAS cites this gatha to illustrate how the jealous anger of the nayika is appeased or pacified by upeksa (disregard, indifference ? patience). He comments on it thus: atra zayyAyAM caraNAvakAzasthitimaunAdibhirupekSA / tayA janitA mAnasya zAntizcaraNAguSThaveSTitakezadRDhAkarSaNena vyajyate / -pR. 270. 16. This gatha is already dealt with; vide A'mahodadhi S.No. (13.513) supra. RAS cites this gatha as an example of sambhoga (enjoyment of love's delights) (purusagata-sadhvasena samksiptah). It defines Samksipta variety of sambhoga thus : yuvAno yatra saMkSiptAna saadhvsviidditaadibhiH| upacArAn niSevante sa saMkSipta itIrita: // (RAS. II. 224-225). 17. RAS cites this gatha as an example of sampannah sambhogah. It defines this variety as follows: bhaya-vyalIkasmaraNAdyabhAvAt prAptavaibhava: / proSitAgatayo[nornoga: saMpanna IritaH / / (RAS II. 226-227) Simhabhupala comments on the gatha as follows: atra aprathamasaMbhogatvAd bhayAbhAva: / dantakSatAdiSvaGgArpaNAnukUlyena vyalIkasmaraNAdyabhAva : | tAbhyAmupArUDhavaibhava: saMpadyate saMbhoga: / - pR. 279. 18. RAS cites this stanza as an example of smrddhiman sambhogah. It defines this variety of sambhoga as follows: punarujjIvane bhogasamRddhiH kiyatI bhavet /

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Prakrit Verses in Sanskrit Works on Poetics 619 zivAbhyAmeva vijJeyamityayaM hi samRddhimAn // (RAS II. 227.228) Simhabhupala thus comments on the above gatha : atra punarujjIvitena kAmena saha ratyA raterbAhyopacArAnapekSayaiva tatphalarUpasukhaprAptikathanAt saMbhoga: samRddhyati / - [ 260. 19. This gatha is already dealt with; vide DR Avaloka S.No. (1.26) supra. Simhabhupala cites it here in the context of rasabhasa. He holds that in the case of pragabhava the question does not arise tatra prAgabhAve darzanAdikAraNeSu saMbhAviteSu Picaf- FHIRT TATHI - 9. 288. 20. RAS cites this as an example of Rasabhasa (caused by mleccha-raga). After citing it RAS comments on it as follows : atra suratamohanasuptimaraNadazayovivekAbhAvena hAlikasya mlecchatvaM gamyate / Incidentally, it may be stated that Simhabhupala firmly holds that in the case of lower animals (and mlecchas), we have rasabhasa and he attacks Vidyadhara for accepting the view that in their case we have rasa, and not rasabhasa. 21. This gatha is already dealt with; vide RAS S.No. (19.544) supra. 22. RAS cites this stanza as an example of one of the 36 Bhusanas (= Laksanas), called Padoccaya, which in course of time was adopted as Sahokti alamkara. Raghavan rightly observes ".. while some (Laksanas) are plainly alamkaras, others have an element of Alaskara in them, and in still others, the expression as a whole is more than Alamkara." - Studies On Some Concepts Of The Alamkara Sastra (p. 48). 23. This line occurs in Balaramayana and it is cited here by Simhabhupala as an example of Bahirlapa nama Nalika; the reply to the question ARRUTETTU arctica PHOI (9.4) is : Balaramayana : This reply is to be searched for outside the play : SCUE MISRIHIRUARYTARU afeta care afectat a lehet - C. 80%. 24. Dr. A. M. Ghatage writes to say: "In the edition of Balaramayana, edited by Dr. Gangasagar Roy and published by Ticar ARC ART ARTUR 1986, the stanza

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620 Prakrit Verses in Sanskrit Works on Poetics occurs on page 110 (Act 7, Verse 4). In that edition line 3 reads : cAvaM caMDAhisiMjAravabhariaNahaM kaDDhaNAruddhamajjhaM, and line 4 reads : jaM bhaggaM tassa saddo NisuNi tihuyaNe vittharaMto Na mAi // The reading in line 3 kaDhaNAruddhamajjhaM (kaSarNaruddhamadhya) and the reading in line 4 NisuNi tihuyaNe ( tribhuvane) are better than the corresponding readings in Rasarnavasudhakara. He translates the stanza as follows: __ That the bow of Sankara (pArvatIvallabhasya), whose moon (on the head) is shaking because of the (waves of) river Ganges (gaGgAtaralitazazina:), who is the master of appeasing the great pride of Kama (kandarpoddAmadarpaprazamanaguro:) 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 (yad bhagna), 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 Apabhramsalike 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 vithyangas. It is twofold : duSaNaM tyajanaM cAtra dvidhAvagalitaM (? valagita) matam / . III. 277. Simhabhupala introduces it with the words: tyajanAd yathA prabodhacandrodaye, kSapaNaka: and thus comments on it : "aho kApAlinIdarzanameva ekaM saukhyamokSasAdhanam / (prakAzama) bho: kApAlika ahaM tava sAMprataM dAsa: saMvRtta: / mAmapi mahAbhairavAnuzAsane dIkSaya / " - ityAdau kSapaNakasya svamArgaparibhraMza avagalitam (? avalagitam) | - pR. 431. 26. RAS cites this stanza as an example of Antam, which it defines as: anRtaM tu bhaved vAkyamasabhyastutigumphitam / / tadevAnRtamityAhurapare svamatastute: || - III. 281-282. As the description of the Kaula Dharma in the stanza is vulgar, it is labelled as anrtam. * *

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Chapter XVIII Prakrit Verses in Alamkara-ratnakara 1.546. This gatha 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 Upamana is the action of 'raksana' - 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 gatha is short by one matra (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 gatha is already dealt with; vide SP S. No. (667.174) supra. 6. This gatha is already dealt with; vide DHV Locana S. No. (28.11) supra. 7. This gatha 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. taralAviehi is equated by the editor with "taralIkRtaiH"; 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 gatha is already dealt with; vide KP S. No. (25.424) supra. Sobhakara comments on this gatha as follows:

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622 Prakrit Verses in Sanskrit Works on Poetics atra navapUrNimAmRgAGkasya kastvamasIti praznAt kSaNarAgitA navapUrNimAmRgAGkavadarthato'vagamyate ityArthamaupamyam / tadeva ca kA pradoSa rajanIva tavAdyeti dvitIyArdhe copodalitam / - pra. 15. 10. Sobhakara cites this gatha in the course of his discussion relating to his newly discovered figure Pratima. He declares that the figure contained in this gatha is Apahnuti. He thus comments: --- ityAdau zItalatvAdihAradharmasaMbandhe'pi sAmAnAdhikaraNyanirdezAt ... "so ccia (muttA - ) hAro" iti mukhyaniSedhAcApahanutatyAdaya eva / - pR. 16. 11. Sobhakara cites this gatha as an example of Drstanta arising from similarity between the two sentences. He remarks: atra vipriyAbhAvAmatamocanayorbhAvAbhAvayorbimbapratibimbabhAva: / --- ata eva ca Arthamaupamyam / 12. The editor of the text renders avisaNNo into Sanskrit as avasanno; aviSaNNa would be the correct rendering. Sobhakara cites this gatha as an example of Drstanta springing from dissimilarity; he observes : atra dhUrdhAraNAdyavalambanabhAvA(? valambanAbhAvA)dinA vaidhapeNa pratibimbitam / . 13. The printed text reads vahuppamANeNa (Sk. bahupramANena). Probably the original reading was pahuppamANeNa (Sk. prabhavatA). Hemacandra declares : prabhau huppo vA / 8 / 4 / 63. gaNDa means the cheek and pAlI (pAli) the tip of the ear. "(Your) cheeks and the tips of your ears turning red through anger,---." 14. muuDa is a misprint for mauDa in the Devadhar's edn. If the latter part of the second half is read as dIsai (Nia -) mauDa-sasikhaMDo, we have the normal gatha metre (12 + 18, 12 + 15 matras). Sobhakara cites this gatha as an example of his newly discovered figure Vinoda. After citing it he comments: atra gauryAH parAGmukhItvena kapolasyAdarzane tatsadRzazazikhaNDavilokanenotkaNThAtivAhanam / - pR. 24. . 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 : atrAnanubhUtasya kSIrodadhe: kIrtipravAhadarzanenotkaNThAyA ativAhanam / - zobhAkara, pR. 24. 16. The printed text reads ajja (Sk. adya). The generally accepted reading, however,

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Prakrit Verses in Sanskrit Works on Poetics 623 is ajjhA (prauDha-yuvati:) or ajjA (Sk. AryA). kahijjata pres. pass. part. from kaha (Sk. kathaya to tell) (kathyamAna); We have alternative reading puNaruttasayaM for puNaruttasuyaM. bhuvanapAla observes hatthasaMdiTTha iti lokokti : / 17 and 18 illustrate the figure Pratipa which Sobhakara defines as: adhikaguNasyAnAdara: pratIpam. 19. vaMdijjau = vandyatAm (and not vandyate as found in the printed text.); kIrai : kriyate (the printed text wrongly equates kIrau with kriyate (we expect kriyatAm). GRK No. 493 reads: nidda ciya vaMdijjai, kiM kIrai devayAhiM annAhiM / jIe pasAeNa pio dIsai dUre vi nivasanto || (nidrava vandyate kiM kriyate devatAbhiranyAbhiH / yasyAH prasAdena priyo labhyate dUre'pi nivasan / ) 20. The printed text in Devadhar's edn. reads musalammi dhAvatAi (? ) which makes no sense. The text is emended as "musalammi vAvaDAe' (piAe) (musale vyApRtAyAH) (priyAyAH). 21. Niola (nicola, cover, veil, wrapper); cAo (= cApa:) which usually means 'a bow'. Here it stands for arrow ? and (Niola for quiver ?); osario = apasRta: : Sobhakara cites this gatha to illustrate his statement that his newly discovered figure Vaidharmya attains unique beauty when associated with another figure. He remarks: atra cApanissaraNasya kAraNasya ripulokapravezAtmana: kAryasya ca 'tulyakAlatopanibandhanAd vakSyamANalakSaNayA'saGgatyA saha saMkara : / - pR. 31. 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: - paosu and . baMdhu for - paoso and rosagaiMda-diDha-siMkhalA-paDibaMdho respectively in the first half; anu kahamavi dAsarahIhaM for kaha kaha vi dAsarahiNo in the second half. Vide Setu I. 14. In this skandhaka we have the figure Paramparita Rupaka. 24. This gatha is already dealt with vide SK S. No. (232.387) supra. It is cited here as an example of the figure Savayava. Rupaka.

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Prakrit Verses in Sanskrit Works on Poetics 25. This gatha contains the figure Apahnuti wherein the nisedha (denial) is artha. Sobhakara remarks: niSedha : / -- chala zabdArthaparyAlocanayArthAt pratIyate / pR. 41. 624 --- 26. This gatha is already dealt with; vide KP S. No. (18.422) supra. sobhakara remarks: atra locanaraktatvakAraNabhUtasya kopasya niSedhe raktAMzukaprasAdAtmakasya kAraNAntarasyAropaH / na cAtra kopasya raktAMzukena saha sAdharmyam / - pR. 41. 27. This gatha is already dealt with; vide KP S. No. (28.425) supra. Sobhakara cites it as an example of Apahnuti wherein the nisedha (denial) is artha ( implied). He comments on it thus: atra ghaTabhaGgasya dvArasparzAkhyaM kAraNAntara pratiSidhya yuvativiSayadAkSiNyarUpaM hetvantaramAropitam / atraikakAryatvaM saMbandhAntaram / 28. Sobhakara cites this gatha as an example of Apahnuti, with the introductory remark : 'Arthe'hnave yathA-' and after citing it remarks : atra mukhyasya niSedhe svargAntaravidhAnam / etayoH zyAmalatvAdivartulatvAdikaM cotprekSAnimittamanupAttam / 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 balaA which also means balAhaka. This gatha illustrates (sApahnavA) utprekSA. 31. This gatha is already dealt with; vide KPS. No. (19.422) supra. Sobhakara cites this gatha with the introductory words: "ArthI yathA"-. He comments on the gatha thus : atra vAkyArthapratItasamaya eva padArthasamanvayaparyAlocanayA avartamAnasya hetoratAttvikatvAvagaterArthaH saMbhAvanAtmaka ivArtha ityArthI / - pR. 50. 32. This gatha is already dealt with; vide A' Sarvasva - VimarsiniS. No. (*17.439). 33. This gatha is already dealt with; vide A' Sarvasva S. No. (18.439) supra. 34. This gatha is already dealt with; vide A' Sarvasva S. No. ( 39.443) supra. 35. sobhakara cites this gatha as an example of Vyajastuti. He comments on it thus : atra marubhUmeH stutyA nindA lakSyate khadirasya phalAdyasaMbhavAt / - pR. 65. 36. This gatha is an example of the figure Pratyanika (which occurs when some

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Prakrit Verses in Sanskrit Works on Poetics 625 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.) rAyA = rAjA (the moon). 37. This gatha is an example of the figure Vinokti (Arthi). Sobahakara observes : atra vinAkRtAkhyasya sAdhAraNadharmasya vimuktAdizabdairarasakadupAttatvAt prativastUpamopakRtatvena prakRtAprakRtagataprAptirupadharmasakRnnirdezotthApitena dIpakena poSitApizanAdibhirvinA svAmyAderarthAta zobhanatvAvagamAdArthI vinokti: / - pR. 69. 38. This gatha is an example of the figure Sahokti. Sobhakara remarks : atra kamalasaGgoca: sukhAntarAyazca nimIlanagirA abhedenAdhyavasitau / - pR. 70. 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 : atra tvayA vinA tasyA azobhanAvasthotpanneti vinoktyA saha saGkIrNatA / - pR. 71. 40. The reading saasoaro does not make sense. It may be emended as 'sarasodaro:' (i) full of honey or syrup (ii) full of nectar - sarasama udaram (antarbhAga:) yasya / / This illustrates the figure Slesa. Sobhakara comments thus : atra mukhasya prastutenAprastutayo: kamala-rajanikarayorvAcakau kamalo yasya pUrNo rajanikaro yasyetyarthAvalambanena dvAvapi samAnau / - pR. 77. 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 chaya 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 rAjaguruyoraprastutayo (?) mean ? Perhaps raaNAareNa in the Prakrit text stands for ratnAkareNa (ocean-) and ratanAgareNa [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 : rAjagurvo: aprastutayo: and arthAzrayeNa (drop 'na') 'raaNAareNa iti /

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626 Prakrit Verses in Sanskrit Works on Poetics The gloss explains the Slesa between one figa and two 34 ga things which are the king and the teacher of zobhAkara gupta. The upameya is : mitracittavibhava. The greatness of the mind of the friend or better tava, mitra ! cittavibhavasya. In this case a friend of the author is speaking : "O, friend, the greatness of your mind." This can be explained as follows : he mitra, tava cittavibhavasya eSA gati: ratnAkareNa sadazI / kasmAta / vikaTapadabaMdhabAMdhavazriyA / ratnAkaro'pi vikaTapayobaMdhabAMdhavazrIka :| tava iva rAjJo'pi gati: ratanAgarakeNa sadRzI / "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 gatha is already dealt with; vide A' Sarvasva-Vimarsini S. No. (* 37.443) supra. Sobhakara, in the course of his treatement of the figure Slesa, cites this gatha and declares that in fact it is an example of dhvani: atra tarUNAM vAcyatvam prastutAnAM (7 aprastutAnAM) nizAcarANAM vyaGgayatvam / If both the trees and the demons were vacya, 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 : atrAliGganarUpasyoktasyeSTasya vastuto (? vastuno) niSedhe bAdhitatvena niSedhAbhAsa: | ahaM tAvattvAM vinA kSaNamapi sthAtuM na kSamA, tvaM tu mayi niranukrozakrUrahRdayo rAntuM prastuta:, tat kimanena kSaNamAtravilambenetyAdisUcanena gamanasya avazyAparihAryatvaM vizeSamavagamayati / --- pR. 85. 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. Sobhakara cites this gatha in the course of his treatment of the newly discovered figure Vidhyabhasa. Ruyyaka has given this so-called 'Vidhyabhasa' as a subdivision of the figure Aksepa.

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Prakrit Verses in Sanskrit Works on Poetics 627 46. This gatha is cited by Sobhakara as an additional example of Vidhyabhasa. The reading "lihia - pasattam' (likhita - prasaktam) is partly ambiguous. Vajjalagga (No. 366) reads "lihiya pasatthi' (likhita prasastih). M. V. Patwardhan says in his Notes (p. 478): "Fallout stands for Fallout with 317 shortened metri causa. It looks almost like an Apabhraiba 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 gatha it is Krtanta (Destiny or fate or Yama - the god of death) who is referred to. 47. This gatha is already dealt with; vide DHV S. No. (26.11) supra. Sobhakara cites this gatha as an example of the figure Vidhyabhasa. He remarks : atra tyAgino dAridyasya duSTataratvapratipAdanAyAniSTasyApi janmano vidhAnam / - pR. 88. 48. This gatha is already dealt wiht; vide A' Sarvasva S. No. (42.444) supra. Sobhakara cites it in the course of the treatment of the figure Vidhyabhasa and comments on it thus :atra vilambasveti vihitasyAvasthAnasyeSTasya vastuno'thaveti niSedhAbhAsAd vajetyaniSTavidhAnAt kiM bhaNAma iti bhaNitaniSedhAbhAsAcAkSepavidhyAbhAsAkSepANAM saDUra : na tu bhaNitiniSedharUpa AkSepa eva / - pR. 88. The concluding statement is obviously directed against Ruyyaka. 49. Sobhakara cites this gatha as an example of his newly discovered figure Sandehabhasa. He remarks; 37 GET AHETUERRIuretanicalaurT" PRI" SUTHTHA: VICE: --- (9.c8). 50. Sobhakara cites this gatha in the course of his treatment of his new figure Vikalpabhasa. aha may better be equated with asau (or eSA). 51. This gatha is already dealt with; vide A' Sarvasva-Vimarsini S. No. (*44.445) supra. Sobhakara cites it as an example of the figure Vibhavana. 52. Sobhakara cites this gatha in the course of his treatment of the figure Visesokti.

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628 Prakrit Verses in Sanskrit Works on Poetics 53. This is an example of the figure Asangati. Sobhakara comments thus : atra garjitasya maNizalAkArUpaM kAryaM bhinnadezatvena prasiddhamekadezatayopanibaddham / - pR. 97. 54. Sobhakara cites this gatha as an example in the course of his treatment of the figure Asangati. He comments thus : atra lakSmyAgamanasya kAryasya kIrtigamanasya ca kAraNasya tulyakAlatvam / - pR. 97. 55. The figure in the stanza is Anyonya. Sobhakara remarks : atrAdharakhaNDanasItkArayo: --- svarUpasya paraspara-nibandhanam / - pR. 99. If we read caftARUT in the earlier part of the first half the gatha, metre is not violated. 56. The figure in the stanza is Anyonya. Sobhakara remarks : atra parasparavinoktyA vindhyasya kariNAM cAnyonyamahattvApAdanaM pratIyate / - pR. 99. 57. The figure in the stanza is Anyonya. Sobhakara remarks : atra svAmi-sevakayoranucitatva syAnyonyApekSatvam / - pR. 100. . 58. The figure in the stanza is Viparyaya. This is a new alamkara discovered by Sobhakara. He remarks : atra gurutv-lghutv-vinimyH| - pR. 101. 59. The figure in the stanza is Acintya. This is a new alamkara discovered by Sobhakara. He remarks : atraikarUpA madhumadAt kAraNAcirasthitasya nivRttizviranivRttasya pravRttiriti viruddhakAryotpatti: / - pR. 103. 60. The figure in the stanza is Acintya. As already stated, this is a new alamkara discovered by Sobhakara. Sobhakara remarks : atra viruddhAt priyatamAgamanAnAgamanAtmakAdanyonyavilakSaNAt kAraNadvayAdavilakSaNasya virahasamAptirUpasyaikasya kAryasyotpatti: / - pR. 103. The printed text of A'Ratnakara needs to be corrected: oe to ohI (avadhi:), kIrai to kIrau (kriyatAma), maNDaNe to maNDaNaM (maNDanam), ete to eMte (Ayati), and Na ette vva to Na eMte vi (Ayati api). 61. The figure in the stanza is Acintya, a newly discovered one by Sobhakara. He remarks:

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Prakrit Verses in Sanskrit Works on Poetics 629 atra ripUNAM jitAnAM mokSAd anyeSAM vadhAceti viruddhAkAraNadvayAd vimalatvenAvilakSaNaM dharmayazorUpakAryadvayamupanibaddham / - pR.104. 62. The figure in the stanza is Visama (III). Sobhakara comments on it thus : atronnatatvAd guNAd viruddhasya natatvasyotpatti: / pra. 106. 63. The figure in the stanza is Visama (IV). Sobhakara comments on this stanza as follows: atra ravimaNDalasya pAtAlapaGkalAJchanaM nAsambhAvya: saMyoga: / (? lAJchanam asambhAvyasaMyoga:) / -pR. 106. 64. Note : In place of the third line "tat (? tathA)" etc., read tA / taha kiM vihiNA eso, sarasavANIo (? sarasaavANIo) jalaNihI Na kao / / This gatha is already dealt with; vide KP S. No. (64.435) supra. The figure in the stanza, according to Sobhakara, is Visama (V); He remarks: atra gabhIratAdInAM dharmANAM sarasapAnIyatvasya sarasavANIkatvasya vA virahAd asamagratvam / (Note : kAraNAnAmarthAntarANAM vA samagratvAbhAva: paJcamaM viSamam / - pR. 105). According to Mammata, this is an example of the figure Samkara (II) . (samAsoktyaprastutaprazaMsayo: saMdehasaMkaraH / ) 65: Note: The second half of this verse is metrically defective. If we read the earlier part of the second half as thaNaAattaM (jai) pemma [ (stanakA =) stanAyattaM yadi prema], the stanza answers the criteria of the gatha metre. The stanza is an example of the figure Sama. Sot akara comments on it thus : mukhaprekSakatvAdikasya sajAtIyasya dharmasya --- cotpAda: / - pR. 108. 66. This gatha is already dealt with; vide DHV S. No: (45.15) supra. The figure in the stanza, according to Sobhakara, is Sama. He remarks: 3431 duhitAdirUpANAM lakSmyAdInAmanurUpANAM zobhanAnAM saMyogaH / / 67. uppAia (utpAdita =) arjita earned; bhAaNaM (bhAjanam) recepient or beneficiary; NiMba (3 nimbaphalAni) the nimba berries are bitter in taste even when ripe. The figure in the stanza is Sama. Sobhakara remarks : atra khalasya khalAntarameva nimbasya cAzobhanasya kAkA eva tAdRzA upajIvakatvena nibaddhAH / - pR. 108. 68. ettha : atra (Correct the chaya accordingly). The figure in the stanza is Vicitra. Sobhakara comments on this gatha as follows:

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630 Prakrit Verses in Sanskrit Works on Poetics atra madirAparimalasevanarUpasya prayatnasya tucchatvaM priyasAmmukhyAde: phalasya mahattvam / - pR. 110. 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 gatha is already dealt with; vide SP S.No (399.125) supra. Sobhakara cites this gatha as an example of the figure Vicitra. He comments on the gatha as follows: atra kardamasya svedarUpeNa nimittAntareNa nivRttau lakSaNasyAnupayoga: / - pR. 111. 71. This gatha 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 : atra cauryaratena priyaratena priyaraJjanArthaM gamanarUpasya prayatnasya pravRttasyAnuniSpannatayA tamoharaNarUpaM kAryAntaramapi sambhAvitAd bhavatItyuktam / - pR. 112. 72. The figure in the stanza is Visesa (III). It is defined as : saMbhAvitAd adhikasya viruddhasya vA vastuno niSpatti: sa tRtIya: / - pR. 111. Sobhakara comments on the gatha as follows: atra citravRttirUpANAM citravartikAmAlekhyamAnatvena tanutvasya saMbhAvitasyAnutpattau viruddhAyA vRddherutpattiH / - pR. 112. 73. Sobhakara cites this gatha in the course of his treatment of the figure Vyaghata. 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 gatha is an example of the figure Vyaghata. On this gatha Sobhakara thus comments : atra madasya vinAzakAraNAdapi vijJAnAdutpAda: vakSyamANAzakyAlaGkArAGgatayopanibaddha : / 74. This gatha is identical with the above gatha (73.559), amd referred to in the above discussion. It is cited to illustrate the figure Asakya. Sobhakara thus

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Prakrit Verses in Sanskrit Works on Poetics 631 comments on it: atra vinAzakAraNAd vijJAnAd yadi madasyotpatti: tat kenAnyena nivAryata iti nivAraNAsAmarthyam / - pR. 115. 75. Sobhakara cites this gatha in the course of his treatment of the figure Asakya. He thus comments on it : atra RjunA ramaNena vakreNApi vA priyaviSaye priyakaraNamazakyatayoktam / - pR. 116. 76. This gatha is already dealt with; vide SP S. No. (372.119) supra. Sobhakara cites it here as an example of the figure Vyatyasa (newly added by him). It occurs when 'dosa' and guna are represented as 'guna' and 'dosa' respectively. In this gatha 'marana' which is a 'dosa' is represented as praiseworthy. Hence it is an example of Vyatyasa. Sobhakara comments on it as follows : anayoranyAsAM maraNasya duSTatve'pi asyAM zlAghanIyatvena guNatvam / - pR. 116. 77. In the course of his treatment of the figure Vyatyasa, Sobhakara introduces this gatha. He thus comments on it : - atra sukRtasya guNasya pAramparyeNa pApAtmakadoSajanakatvena virUpakAryotpattirUpo viSamAlaMkAro na vyatyAsa: / guNasyaiva dezakAlabhedena doSatAyAmetasya bhAvAt / 78. Sobhakara cites this gatha as an example of the figure Samata, newly introduced by him. He thus comments on it : atrAnunayArthaM pAdapatanacATukAdi kurvatA pAdapatanenArjitasya prasAdAkhyasya guNasya cATukAntargatena gotraskhalanena hAraNamiti guNo doSeNa samAhitaH / 79. Sobhakara cites this stanza as an example of the figure Udreka newly introduced ... by him. He thus comments on it ; ityAdAvudayAstamayarUpayo: dvayorapi guNadoSayo: paGkajadoSakartRkayA doSAtmikAyA: zrIprAptyA tirohitatvAttucchatvam / --- pR. 120. 80. Sobhakara cites this gatha as an example of the figure Tulya, newly added by _him. He thus comments on it: --- ghanAliGganasya guNasyotpattI jalakelirUpaguNAntaranivRtti: / - pR. 121. For he explains the nature of his new figure thus : (ekasya doSasya nivRttau doSAntarodayo) guNasyodayo guNAntaranivRttizceti (doSanivAraNe doSAntarAvirbhAvAd) guNAzrayaNe guNAntaranivRtterAdhikyAbhAvAt tulyam / - pR. 120. 81. Sobhakara cites this gatha as an example of the figure Anadara, 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 Anadara.

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632 Prakrit Verses in Sanskrit Works on Poetics He remarks: atra mRganAbhizyAmalena lalATena na mukhamapi tu kiNakAlasya vatAmukha(?)mityavagamAduktanimittastulyAnAdaraH / - pR. 122. 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 pippali 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 : atra parNa-parapuruSAdyavAptau sa sampattikAnijapatyostyaktayorapi puna: parNAdyalAbhe svIkAra: / pR. 122. 83. Sobhakara cites this gatha as an example of the figure Anukrti (hetvantarAdanyasyApi tathAtvamanukRti: 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." Sobhakara comments thus atra ratisakhanimittakasya netranimIlanasya sthitasya nidrayA dRDhIkaraNam / - pra. 125. 84. Sobhakara cites this gatha as an example of the figure Pratyuhah, newly added by him. Sobhakara thus comments: atra dAhapravRtte: gaGgAjalasaMsargAnivRtti: / - pR. 125. 85. This gatha is already dealt with: vide A'Ratnakara S. No. (58.557) supra. Sobhakara cites it here as an example of the figure Pratyadesa, newly added by him. He thus remarks : --- aGgalaghutvasya mAnagurutvasya ca pravRttasya madhumadavilAsanimittikA gauravalAghavApAdAna-pratipAdanadvArA nivRttirabhihitA | ---- pR. 127. 86. Sobhakara cites this gatha as an example of the figure Pratyadesa, newly added by him. He thus comments: ---- lAJchanasya pravRttasya nivRttirnakhaprabhAcchAdanamukhena sambhAviteti pratibhAliGgitatvam / - pR. 127. 87. Sobhakara cites this gatha as an example of the figure Pratyadesa. He thus comments: atra pravartitasya cchidrasya guNapUraNamukhena nivRttirupanibaddhA / - pR. 127. 88. Sobhakara cites this gatha as an example of the figure Pratyadesa. He thus ___comments on it:

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Prakrit Verses in Sanskrit Works on Poetics __633 atra kopAtizayAdapagatasyAnyonyamanasya romAJcodgamavazena pravRtti : / pR. 128. 89. Sobhakara defines the figure Samadhi as upodralanaM (upabRMhaNam, paripoSaNam) samAdhiH / In his treatment of this figure Samadhi, he cites this gatha as an example. He thus comments on it : atrArohaNaparizramAdatpannA: thAsA: kAryarUpA haridarzanena kAraNAntareNodalitAH / --- pR. 128. 90. Sobhakara gives this gaths as an example of the figure Samadhi. He thus comments on it : atra kAryabhUtAnAM svedabindUnAM hAramuktAbhirupobalanam / - pR. 129. 91. Sobhakara cites this gatha as an example of Arthantaranyasa. He thus comments on it : atra stanabhujalakSaNasya vizeSasya prastutasya saralAnAmityAdi: sAmAnyarUpo'rtho'prastuta: / pUrva samarthakatayopAttaH / yacchabdopAdAnAca zAbdatvam / - pR, 130. 92. Sobhakara cites this gatha as an example of the figure Arihantaranyasa. He thus comments on it: atra saptadvIpAkramaNasya vizeSasya kAtarANAM nijagRhe ratyabhAva: sAmAnyatmA na khalviti zAbdatayA vaidhahNa samarthaka: / - pR. 131. 93. Sobhakara cites this gatha as an example of the figure Arthantaranyasa (Artha - Implied). He thus comments on it: . --- uktanItyA sAmAnyaviSayAyA: pratIte: sadharmaNA vidharmaNA ca vizeSeNa viSadIkaraNe udAharaNasyaivArthatvam / - pR. 132.. 94. Sobhakara cites this gatha as an example of the figure Vyaptih. He thus comments on the gatha: atra dvayorapi pakSayo rAjadarzanAsambhavaH / - pR. 133. 95. Sobhakara cites this gatha as an example of the figure Anumana. He thus comments on it: atra nAyakadarzanAkhyasya kAraNasya tatkAryazarIrAsvAsthaviruddhasvAthyopalambhenAbhAvo'vasita: / - pR. 135. 96. This gatha is already dealt with; vide SP S. No. (1323.285) supra. Sobhakara cites it in the course of his discussion of the figure Hetu. He thus * comments on it : ityAdau kaNThAgata-jIvitatvadervizeSaNasyArthe'pi rakSaNAdihetutvaM sarvatroktam |--- pR. 137.

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634 Prakrit Verses in Sanskrit Works on Poetics 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: atra niSidhyamAnasya rodanasya kAryAyA: prasthAnanivRtte: cUtapallavAkhyena kAraNAntareNa janyatvamiti kAraNarUpa Artho hetu: / -- pR. 138. 98. Sobhakara cites this gatha as an example of the figure Apatti, newly added by him. He thus comments on it: atrAniSTasya virahAgnergatasya punarAgamanApAdanAt pratiprasava-(sa)kIrNatA / - pR. 139. 99. Sobhakara cites this gatha as an example of the figure Arthapatti. He thus comments on it: atra candanalatAkampanAt prakRtAd viyoginIkampanasyApyaprakRtasyApatanam / - pR. 140. 100. Sobhakara cites this gatha as an example of the figure Arthapatti. He thus comments on it :atra dAkSiNyAgamanenApi nivRtirbhavati / niSkaitavAnurAganibandhanAgamenArthAllokottareva nirvRtirbhavati iti prakRtAd aprakRtasyApatanam / dakSiNyAgamanApekSayA cAtra sadbhAvAgamanasyAdhikatvam / - pR. 140. 101. This gatha is already dealt with; vide SK S. No. (257.391) supra. Sobhakara cites it as an example of the figure Arthapatti. He thus comments on it : atraikasya kRSNazArasya dakSiNavalanAd gamanAsaMbhave dvayorapi locanayostathAvidhayorarthAdasambhava iti nyUnAdadhikasyApatanam / - pR. 141. 102. This gatha is alreaday dealt with; vide SP S. No. (1341.288) supra. Sobhakara cites this gatha as an example of the figure Arthapatti. He thus comments on it : atra pAnthAnAM pralokananivRttau vArtApraznAdi durApAstamityarthAd avagamyate / - pR. 141. 103. This gatha is already dealt with; vide SP S. No. (587.159) supra. . Sobhakara cites it here as an example of the figure Vidhi, newly added by him. He thus comments on it : atrAnanuvidheyavacanasya ghanasya preSaNavazena pravRttyasambhavAnibiDagarjane varAkImAraNaniSedhe ca preSaNaM sambhAvitaphalam / - pra. 143. 104. In the course of his treatment of the figure Vidhi, Sobhakara cites this gatha. He thus comments on it : asaMbhAvyapreSaNaphalatve'pi rakSaNIyAntarAnupAdAnAt garjanAderaniSTatvena

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Prakrit Verses in Sanskrit Works on Poetics 635 vidhyAmAsasaMkIrNatA / - pR. 143. 105. This gatha is already dealt with; vide KP S. No. (57. 433) supra. Sobhakara cites it here as an example of the figure Naiyama, newly added by him. He thus comments on it : ityAdAvanyalakSaNyena devagatyAdevaiSamyAdikamajJAtaM jJApitamityasyArthaniSedha iti niyama eva - |- pR. 144. 106. This gatha is already dealt with; vide DHV S. No. (36.13) supra. Sobhakara 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 pRthaguttarAlaMkAro, vAcya: / praznapUrvakasya niyamasyottarAntarbhAvAt / ). He comments on this gatha as follows : evamAdAvuttarAt praznonnayanarUpasyottarasya cArutAbhAvAd analAratvam / - pR. 145. 107. This gatha is already dealt with; vide SP S. No. (250.95) supra. Sobhakara cites it in the course of his treatment of the figure Niyama. He does not admit that the gatha contains any such figure as 'Malakhyam Uttaram' or 'Vakovakyam'. He clearly states that as there is no strikingness of expression, vicchitti, it is devoid of any figure of speech: "ityAdI mAlikAkhyam uttaraM vAkovAkyaM vA vicchityabhAvAdanalaGkAra eva / - pR. 145. 108. This gatha is already dealt with; vide DHV S. No. (2.6) supra. Sobhakara cites it as an example of the figure Niyamah. Sobhakara cites this gatha as an example of the figure Parisamkhya. The king's hand that only gave away in charity, stretched out only to receive the sword in difficult battle-fronts (only.) : Sobhakara thus comments on it: atra khaDgagrahaNe karaprasAraNasya nRpatetisya jJApanaM dainyAdisulabhatvena karaprasAraNaniSedhArtham / -pR. 146. 110. Sobhakara cites this gatha as an example of Parisamkhya. He prefaces the gatha with the introductory remark : "prApte preSaNena yathA-" and thus comments on the gatha: atra vaktagahAdanyatrakaraNe svata eva pravRttasya candrasya yatpreSaNaM tattadagRhajyotsnAkaraNasya niSedhArthama / -- pR. 147. 111. Sobhakara cites this gatha as an example of the figure Pratiprasava. He comments on the gatha as follows: atrAtibAlyadazAyAM pravRttasya stanacintanasyArthAvaseyanivRttasya tAruNye'pyAvirbhAva: / (ekasya ca dhavalastana - cintanasya bAlyatAruNyarUpe naikasmin krameNa bhAvAt paryAyasaMkIrNatA / ) - pR. 148.

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636 Prakrit Verses in Sanskrit Works on Poetics Kuvalayananda (p. 161) would call this figure as Purvarupa. 112. Sobhakara cites ths gatha as an example of the figure Tantram, newly added by him. He defines it as : nAnAphalaprayukta: prayatnastantram / He comments on the gatha as follows : atra prAkArabhedanena virodho mArgavaiSamyaM ca nivArite / 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 : atra. . vallabhadarzanAd vilocanAdibhiraviSayasyAnandAderyugapadutpatti: / - pR. 149. 114. This gatha is already dealt with; vide $P S. No. (79.57) supra. Sobhakara cites this gatha as an example of the figure Tantra. He comments on it thus : atra 'Rjuvilokana' prayatnasya priyasamyagdarzanamugdhatAvadhAraNe yugapat tulyatayA bhavata iti nAnAphalatvam / 115. Sobhakara cites this gatha as an example of the figure Tantra. He comments on it thus : atra nakhakSatAdiprayatnasya roSa-rate yugapat tulyatayA bhavata iti nAnAphalatvam / 116. Sobhakara cites this gatha as an example of the figure Vikalpah, newly added by him. He defines the figure as follows : viruddhayostulyatve pAkSikatvaM vikalpa: / - pR. 151. After citing the gatha by way of example, he thus comments on it : 37 madanasaMtApasyobhayathA nivRttirmRtyu-priyasaGgamayostulyatvena tulyabalayorviruddhatvAd vikalpa: / -- pR. 152. 117. Sobhakara cites this gatha as an example of the figure Vikalpa. After citing it he thus comments on it: atra bhogamokSayoruddharakandharatvenAvazyAbhyarthanIyatvena parasparaviruddhArthatvAt ekatarAvalambanam upadiSTam / atra ca kAryaviSayo vAstavo vikalpo vicchittivizeSeNopanibaddha ityalaGkAra : / - pR. 153. 118. Sobhakara cites this gatha as an example of the figure Samuccayah. After citing it he, by way of explaining how this gatha contains the figure, remarks: atra vallabhadarzanAtkAraNAd utpannayorvimalatvaraktatvayoguNayo: zleSAdhyavasAyAnuprANita: samucaya: / -pR. 153.

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Prakrit Verses in Sanskrit Works on Poetics 637 119. This gatha is already dealt with; vide SK S. No. (374.415) supra. Sobhakara cites this gatha as an example of the figure Samuccaya (defined by him as dharmayogapadyamanyasyApi tatkaratvaM ca samuccaya: / ) After citing this gatha he remarks : atra miSTatvasya guNasya bahutvAkhyaguNAbhAvenasaha yaugapadyam / . 120. Sobhakara cites this gatha as an example of the figure Parivitti defined by him as vinimayaH parivRtti: / ). After citing it he remarks : atra bahuvidhasya kanakAderadhikasya dAnena tucchAyA: caraNadhUlerAdAnam / - pR. 156. 121. Sobhakara cites this gatha as an example of the figure Parivrtti. After citing it Sobhakara remarks : atra madahAraNenApakAriNo bhramarasya gajendreNa karNAghAtai: pratyapakAraH kRta: / - pR. 156. 122. Sobhakara cites this gatha to illustrate the figure Paryaya. After citing it he remarks: atraikasya tilakasya krameNa sadRzAnekAdhArasthiti : / - pR. 158. 123. Sobhakara cites this stanza as an alternative example of the figure Paryaya. "As soon as it has dawned here, Laksmi (Beauty) has passed from the lamp to Aruna (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 Cakravakas." Incidentally, this stanza is in the Sardula-vikridita. 123.a. Sobhakara cites this gatha as an example of the figure Paryaya. After citing it he comments on it as follows : atra ratnAkarotsaGgAd vilakSaNe zUnye gaganamArge sthitiriti kramavatorAdhArayorvailakSaNyam / - pR. 158. 123.b. Note : Sobhakara's figure Krama is akin to Mammata's Paryaya. He cites this gatha to illustrate kramah (Avarohah). After citing it he comments upon it as follows : atra sevakajanasya yathAyathamapakRSTasthAnAsAdanenAvaroho (na tu pUrvavada adhodezagamanena / ). 'pUrvavad adhodezagamanena' 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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638 Prakrit Verses in Sanskrit Works on Poetics viparyayo'varoha: / rUpadharmAbhyAmityeva / After citing the gatha he remarks : atrAnekeSAM zazi-prabhRtInAM svarUpalAghavakramaH | "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. Sobhakara cites this gatha to illustrate the figure Atisaya, newly added by him. He defines it as follows: sambhAvanayAnyathA vAtizayo'tizayaH / After citing the gatha he comments upon it as follows: 37 ECHT sambhavasambhAvanasyAtizayitatve yadi janmAbhAvaM na karoSi tatpremAbhAvaM kurvityAdinA premAbhAvAdisambhavasyAtizaya 349 1 - L. 984. 126. Sobhakara cites this gatha as an example of the figure Atibaya (Asambhavanaya). After citing it he comments upon it as follows: 37 UCHI SAHURY HT- RTY: 1 - . 984. 127. This gatha is already dealt with; vide SP S. No. (307.106) supra. Sobhakara cites it here as an example of the figure Atisaya. He thus comments on it: gruret foUCITHSHI GT trud guldreffit-fareta: 1 - . 984. 128. Sobhakara illustrates the figure srnkhala by citing this gatha. He-thus comments on the gatha: atra krameNa zaila-jaladharAdInAmAzrayAzrayibhAva upamAnatvenopAtta: / - pR. 166. 129. This gatha is already dealt with; vide SP S. No. (180.78) supra. Sobhakara cites it as an example of the figure Srnkhala and adds the comment; 347TRITRE 1195479: - . 9EUREUR. 130. Sobhakara cites this gatha as an example of the figure Sonkhala, 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 Sesa. 131. Sobhakara cites this gatha as an example of Smkhala and adds the comment : 377 TRIRRITER1CHCH The gatha 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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Prakrit Verses in Sanskrit Works on Poetics 639 that are meant for the youth." 132. Sobhakara cites this gatha as an example of the figure Smkhala and adds the comment : atra pUrvasya pUrvasyottarottaraM kAraNatayopanibaddham / - The gatha poet says: "Virtue begets respect; service to the good begets virtues; and flawless religious merit begets service to the good." 133. Sobhakara cites this gatha as an example of the figure Tadguna. [When a thing (gives up its own quality and) assumes that of another, that is styled Tadguna ]. In this gatha the poet represents that the "cool-rayed" moon has assumed the two qualities of tapana (tormenting) and marana (killing) from the sub-marine fire and the kalakuta (deadly) poison respectively.. 134. This gatha is already dealt with; vide KP S. No. (62.434) supra. Sobhakara cites it here in the course of his treatment of the figure Tadguna. Mammata in his kavyaprakasa cites this gatha as an example of Atadguna. Sobhakara disagrees with him and holds that it is an example of Visesokti (----- Topifaa sfat magcuffet da da fasteller: 1 - E. 988) 135. This gatha is already dealt with; vide SP. S. No. (231.91) supra. Sobhakara cites it as an example of the figure Viveka, newly added by him. He explains the nature of this new figure : guNAsAmyA bhedApratIto satyAmapi kenacinnimittena vailakSaNyAvagaterviveko biveka : / .. After citing the gatha he remarks: 3777FIT Q URT Aristat: 1- . 902. 136. This gatha is already dealt with; vide SP S. No. (244.94) supra. Sobhakara cites this gatha as an example of the figure Parabhaga, newly added by him. He thus explains the nature of this figure : F U NGICRT argat vastvantaropalambhasamaye tasmAd bhedapratIti: parabhAga: / asya ca sadrUpAtsadrapasyAnyathA vA bhedapratItimahattvena tucchatvena vA bhavatIti catvAro bhedAH / After citing the gatha, heremarks : atrAnyamahilAprasaGgena dayitena nijAyA vallabhAyA mahattvaM jJAyata ScurITRICI - 9. 962. 137. Sobhakara cites this gatha as an example of the figure Parabhaga (tucchatvena); and remarks: atrAnubhUtAyA: zacyAstrailokyasundarIdarzanena tucchatvAvagamo nibaddha : I - pR. 173. .

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640 Prakrit Verses in Sanskrit Works on Poetics 138. Sobhakara cites this gatha as an example of the figure Parabhaga, and thus remarks : atrAsadrUpAta kAlakUTAt tathAvidhasyaiva khalavacanasya tadavagame mahattvapratIti: / - pR. 173. 139. puttaya = putraka (voc. sing.). My son !; aMjaliM paNamisi ( = aJjalim arpayasi ) - You pay homage (lit. you are lowering your folded hands); sUra-ccheleNa = sUryanamaskAracchalena (under the pretext of paying homage); ummIsa = unmizra mixed with, accompanied by; nokkArA = jayakArA:., ('jaya jayetyAdikA: stutaya: ) salutations; Sobhakara cites this gatha as an example of the figure Udbheda, newly added by him. He defines it as follows : nigUDhasya pratibheda udbheda: I After citing it, he thus comments upon it: atra vAtAyanasthitAM pracchannakAmukI prati tadabhilaSitacauryaratAbhyupagamArthamaJjalirbaddhaH sUryopasthAnamiSeNa pracchAdito'pi hAsakaTAkSAdinA mayA cetita:, iti nigUDhapratibhedaH / - pR. 174. 140. The reading TEKST and its rendering into Sanskrit Feedy are not sastisfactory. Elsewhere the reading found is : gahavaisuuciesu (= gRhapatisutociteSu - gahavaisua (gRhapatisuta, the householder's / farmer's son); uccia (= ucita = gathered and taken away); phalahINesu (phalahIneSu) in the present context makes no sense. This gatha is already dealt with; vide SP S. No. (422.129) supra. Sobhakara cites it as an example of the figure Udbhedah, and thus comments upon it: atronnatakarpAsavATikAsthitanibhRtaramaNasaGgagamArthaM gatA ucitakarpAseSvapi vRtteSu (? vRnteSu) tadupagRhanena prasvinnaM / vRthaiva karaM bhramayatIti kAcid vidagdhA sakhIM bodhayati / - pR. 174. 141. Sobhakara cites this gatha as an example of the figure Udbheda, and adds a comment : atra kenacit prArthitasya kayAcid abhyupagama: kRto'Ggasvedodbhinna: / evamAdau ca pratibhedasya zabdopAttatvAd udbhedo vAcya: / - pR. 174. 142. Sobhakara cites this gatha as an example of the figure Udbheda, and adds a remark : atrAlIkaprasuptasya pulakenodbheda: / pR. 175. 143. This gatha is already dealt with; vide KP S. No. (28.425) supra. Sobhakara cites it in the course of his treatment of the figure Udbheda; He comments upon it as follows : atra saMketasthAne kAntamaprApyaiva ghaTaM gRhItvA gatayA tvayAnuyAtaM taM dRSTvecchayaiva punarjalAnayanamiSeNa utsaMgamArthametatkRtamiti jJAtaM mayeti vyaGgaye tadbheda : / pR. 175. 144. This gatha is already dealt with; vide SP S. No. (126.67) supra. Sobhakara cites it here as an example of the figure Gudha, and brings out the

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Prakrit Verses in Sanskrit Works on Poetics 641 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 : mukhazobhAzyAmatvarUpo vAcyo'rthaH saMketavRttAntena gUDhena sAkAMkSa: / - pR. 176. 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 : "abhiprAyagUDhaM yathA-". Here Sobhakara comments on the gatha as follows :atrAlaktakapAdamudrAdarzanena puruSAyitasUcikenAnabhihitatvAd gUDhena puruSAyitasyodbhinnatvAt "khaGgaM gRhItvA" evamAdinA pratipAdakAdudvedasUkSmAbhyAM saha saGkIrNam / - pR. 176 146. 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 Sudarsana Wheel which was drawn in a picture. If the Wheel had not cut off Rahu's head, the moon would have been swallowed by Rahu and the moon would not have come to life again (and thus tormented her !).. Sobhakara therefore says :- atra kimityanena durAtmanA rAho: kaNThacchedaH kRtaH, akRte hi tena nigIrNasya candrasya punarudbhavo na syAditi gUDhArtha: kasmAtpramukteti praznapUrvaka upanibaddhaH / - pR. 177. 147. Sobhakara cites this gatha as an example of the figure Suksma. 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." Sobhakara thus comments on it : "atra saMketakAlajijJAsamAnamupapatiM prati kayAcit sandhyAyAM sarit-taTabhAgamiSyAmIti gUDhatayA vAkyena prakAzitam / -- " pR. 177. 148. This gatha is already dealt with; vide KP S. No. (8.419) supra. Sobhakara cites it in the course of his treatment of the figure Suksma and says: (iha tu) dhvanirevopapatisaMbodhanAdervAkyArthopArohAbhAvAt /

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642 Prakrit Verses in Sanskrit Works on Poetics 149. Sobhakara cites this stanza in the course of his treatment of the figure Suksma. In this gatha 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 : atra viparItaratAbhiprAyo nijahArArpaNena tava zobhata iti zabdena cAnyato lakSita eva prakAzita: / na caivamAdAvanalaMkAratA udAharaNavacArutApratIte : / 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 : dUtyAM kAmukopabhogasya bhAvitayA saMbhAvyamAnasya 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 cat and the 7740, which is yet to happen, because the dUtI is asked to go to him : bhAvitayA sambhAvyamAnasya kAmukopabhogasya niSedha : I Asit: is a zabdAnupAtta, it is a vyaGgaya. The vyaGgaya is not to disclose the dalliance which is happened, because there are no indications like 315eras at this time. It is not vyAjokti, in which the aGgakSatas would be explained by some reasons like kaMTaka etc.. The intention is simply to prevent the misbehaviour of the sait in future." He thus translates the gatha : "O, Matar, you should go the harsh forest with a downcast face, otherwise its beauty will be stolen by the Tagari Lata. (which has white flowers)." 152. Sobhakara cites this gatha as an example of the figure Vyajokti, 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.] Sobhakara, after citing the gatha, comments on it as follows: atrAzaMkyasyodbhedasyAdAveva zaraNAgatoktyA pracchAdanam / atra ca jAramarpayatIti jArasyoktatvena na dhvaniH / - 9.968.

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Prakrit Verses in Sanskrit Works on Poetics 643 153. Sobhakara cites this gatha to illustrate the figure Vyajokti. In this example, the thing disclosed is concealed by means of an action. After citing the gatha he thus comments on it: 351194 for Rurait chat CCHTYI TICHERRIERI prakSAlanavyAjena pUrvaparidhAnaparityAgapUrvakaM kArdamikavastraparidhAnAtmikayA ceSTayA pracchAdanam / - pR. 180. 154. Sobhakara cites this gatha as an example of the figure Vyajokti. After citing it, he thus remarks: 317 wafausiais cru YIGMAARUIFIEDIGTH I - 9. 960. 155. This gatha is already dealt with; vide DHV S. No. (5.7) supra. Sobhakara cites it here in the course of his treatment of the figure Vyajokti. After citing it, he remarks : 37T GOETERGRAFF R EDAR I - L. 929. 156. Sobhakara cites this gatha as an example of the figure Vakrokti. After citing it, he remarks : atra malayaSavanasya harmyavAsaniSedhakatayA (sakhyA saMbhAvita) nAyikayA (harmyavAsanimittakatayA) Vhfiruarefashianta 1 - 9. 923. 157. "The mother tying up her dishevelled hair with one hand and with the other catching hold of her 'Sari' (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 Svabhavokti (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." Sobhakara cites this gatha as an example of the figure Bhavika; and thus remarks on it : atra bahuza evaMvidhasya godhanapravezasyAnunmIlitatvena cetasa : pratiphalanAt pratyakSAyamANatvam / - pR. 186. (In this gatha the reader obtains realization of the past thing as present owing to the vividness of the description.) 59. Sobhakara cites this gathae from the poem Gaudavaho of Vakpatiraja as an example of the figure Bhavika. After citing it, he thus remarks : 351 RT Straumfest H ea: HTUAREART Fortuna : 1 - g. 926.

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644 Prakrit Verses in Sanskrit Works on Poetics 160. This gatha is already dealt with; vide SP S. No. (602.162) supra. After citing this gatha, Sobhakara remarks : atra gopAlasya dhenugamane'pyambaradohanenopahasa nIyatvasya vAkyArthIbhUtatvAd vAcyasya prathamA|panibaddhaH zRGgAro aGgam / - pR. 190. 161. After citing this gatha, Sobhakara remarks : atra vAcyasya "tAvad ruditam" ityAdimukhenopanibaddhasya vipralambhasya yAvat sarvairevArudyata (?) ityAdinAkSipta: karuNo'Ggam / - pR. 191. 162. "This gatha describes that Sikara (= Varaha, Visnu's third incarnation) first sent the demon Hiranyaksa 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." Sobhakara remarks on this gatha as follows : atra hiraNyAkSasya yamadarzanagocaratvAnayanAt kAraNAt sadRzasya vasudhAdarzanapathasyotpattipratIte : samacchAyAyA vinazyadavasthAyA vasudhAyA: sAmarthyAda yamagocaraM gatAyA hiraNyAkSadAnena svIkAra ityarthato'vaseyAM parivRtticchAyAM pratyaGgatA / 163. This gatha is already dealt with; vide A'Ratnakara S.No. (110.566) supra. On an earlier occasion Sobhakara cited this gatha as an example of the figure Parisamkhya. Here he discusses it as an example of the figure Samkarah. He explains how the figures Nidarsana, Vicitra, Hetu and Pratipa also are contained in it. Read the long paragraph in prose that follows this gatha. 164. This gatha is already dealt with; vide SP S. No. (634.168) supra. After citing it Sobhakara comments on it as follows : atra candanapaGkarUpAd upamAnAd anyonyAliGganasyAdhikyena tApApanayAd vyatirekasya tApajanakAd gADhAliGganAt tApasyopazama iti vyAghAtasaMkara : / 165. This gatha is already dealt with; vide SP S. No. (155.73) supra. After citing the gatha Sobhakara remarks : atra sudhAdhara-rasayo: candrAmRtasamatvena rabhasacumbanasya na kenacit sAdRzyamiti sAmarthyAta pratIterasamAlaMkAro vAkyArthIbhUtasya sarveSAM sadRzavastvabhAvAd asAkalyAkhyasya viSamasyAGgam / - pR. 204. 166. In the course of his extensive discussion of the figure San akara cites this gatha: "In this world of mortals, there is nothing more difficult to hear than death.

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Prakrit Verses in Sanskrit Works on Poetics 645 But sometimes such a sorrow visits a person that death alone becomes a welcome remedy." After citing it, he remarks : atra sAtizayaduHkharUpatayA sarvadA nizcitasya maraNasya duHkhAntarotpattisamaye du:khamAtratayAvagama iti parabhAgasya doSAtmakAdapi maraNasyauSadharUpatayA guNa iti vyatyAsa: paripoSakRt / 167. "May that hand of Kumara (Kartikeya) which, while he sucks the breast of Parvati gropes around for the other breast on the male side in the Ardhanarisvara form), protect you." After citing this gatha in this prolonged discussion of the figure Sankara, Sobhakara remarks : atra stanadrayasya sAhacaryeNopanibaddhasyaikadarzanAt stanAntaraM saMskAraprabodhane na tadastItyanavagamAd bhrAntimAn karabhramaNarUpasya prayatnasya moghatayA vigataphalatvamiti vicitrasyopaskArakaH | - pR. 205. 8. "Govinda (= Visnu) (in his fifth incarnation as Vamana) 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 ?" .' Sobhakara in his gloss on this gatha shows how there are the figures Vyatireka, Visesokti and Aprastuta-prasamsa and of these, Aprastuta-prasamsa is the principal and the two others subordinate and that they develop the figure Sankara. Note : Chapter XIX dealing with Prakrit Verses in Rasagangadhara 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 Visvesvara Pandita's Alarkara-kaustubha 1.581. This skandhaka is already dealt with; vide WV S. No. (5.36) supra. The verse is an example of Purmopama. 2.581. This gatha is already dealt with; vide KP S. No. (3.418) supra. 3.581. - utthaio : Visvesvara gives its Sanskrit equivalent as utstha gita in his Vitti, but as rifta in his svopajna-vyakhya. 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 saMjhArAya-tthaio and gives its Sanskrit chaya as sandhyArAga-sthagita: - 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 - - Svopajna - vyakhya (p.36) 71-o thachailla: covered by a red-coloured silken garment (sari) 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 Upama. 4.582. This gatha is already dealt with; vide SP S. No. (468.139) supra. The figure in the stanza is Upama. 5.582. This gatha is already dealt with; vide SP S. No. (292.103) supra. The figure in the stanza is Upama. 6.582. The Vanaras reached the vela (sea-shore) which seemd to be dana-lekha (a streak of ichor) of the mighty elephant, the ocean, touched again and again by its nimble / quick-moving trunk, the waves. The attributes vikasitatamAlanIlA and phullailAvana - surabhi are equally applicable to both the velA and the dAnalekhA, but resorting to samAsabheda. Read : atra vikasitatamAlanIlatvaM phullailAvanasurabhitvaM ca tRtIyAsamAsena velAyAm, 'upamAnAni sAmAnyavacanaiH' ityupamitasamAsena GHOUH I (qfa - p. 38). 7.582. Finding the ocean unwilling to yield passage for him, Rama was full of fury. Fury took possession of Rama's face as an eclipse overtakes the disc of the moon.

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Prakrit Verses in Sanskrit Works on Poetics 647 Visvesvara observes : 375 facCHT'IAH 1.teqGTU SHUGcufafafa-: 1 8.582. The poet describes in this stanza the daybreak (prabhata - varnana). The resemblance or similarity between the Day and the elephant is brought out by resorting to anugAmitva and samAsabheda. Visvesvara remarks : 377 VEZTATURA HARTAC, FENTHAUTETTUA (ara, p. 40). 9.583. In this skandhaka Sugriva's tall reddish figure is compared to the summit of the Meru mountain, the black figure of Jambavat to the dense smoke of pralayagni' and Rama to the sun. 'rAmAntena rAmasamIpena, rAmapArthena valita: rAmAbhimukhaM nivRtta ityartha: / ' 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 madhukarImadhurollApam and madhumadAtAmram qualify mukha and kamala by samAsabheda and Aitor respectively. 11.583. The figure in this stanza is Upama (Comparison). Madhumathana, the slayer of the demon Madhu (i.e., Visnu) who is dark-complexioned is likened to the Vindhya mountain darkened by the black ashes left behind by the forestfires; Visnu 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 FRIT (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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648 Prakrit Verses in Sanskrit Works on Poetics kaMdoDheM nIlotpale dezI / dhavalacchAi (dhavalAcchAni - dhavalAni zvetavarNAni ca tAnyacchAni prasannAni ceti)| pakSe-dhavalAkSANi dhavalanetrANi (mukhAni) / pibantIti mukhapakSe upacAra : / mukhyapAnasya dravadravya eva saMbhavAt / 14.584. This skandhaka is cited to illustrate the figure Upama (samase srauti dharma lupta). "viSauSadhIva' ityatra pakSe iva padena saha samAsa: / atra sItAviSauSadhyo: sAdharmyamanapAttamarthagamyam / 15.584. This skandhaka is cited here to illustrate the figure Upama (samase athi- . dharmalupta). atra jAyAkapolasadRzAnIti samAsa: / sadRzapadaprayogAdArthI / - Thus comments Visvesvara (Vrtti, p. 108). agghAi (AghAti = Ajighati) smells; chivai (spRzati) (fondly) touches, caresses; hiaammi Thavei (hRdaye sthApayati) - places on his heart, i.e., presses against his bosom; jaNiyaromaMco (janitaromAJca:) he bristles (becomes horripilated, thrilled) all over his body). 16.584. This gatha is already dealt with; vide KP S. No. (46.430) supra. Visvesvara cites this gatha as an illustration of Upama (vakye arthi upamana-lupta). 17.584. This gatha is -already dealt with; vide SP S. No. (155.73) supra. Visvesvara cites this gatha as a proper example of Upama (vakye arthi upamana-lupta). 18.584. This skandhaka belongs to Setubandha (X.8). It is cited to illustrate dyotaka (= vAcaka) - luptopamA samAse. Visvesvara comments : iha vidrumavattAmramiti 'upamAnAni sAmAnyavacanaiH' iti samAsaH / upamAvAcakasya samAsAntargatatvAdaprayogaH / atropamAnadharmayo: samAsa: I (Vrtti, pp. 117-118). 19.585. This gatha is already dealt with. vide DHV - Locana S. No. (* 28.11) supra. It is cited here to illustrate Upama (dharmopamana-lupta samase). Mammata too quotes this stanza in identical context. Visvesvara follows him. 20.585. This gatha is already dealt with; vide SP S. No. (84.58) supra. Visvesvara cites it here to illustrate Upama (Vakye dharmopamana-lupta). In the previous gatha "Dhumdhullamto -...", if we read malai-kusumena samam' (malati-kusumena samam), it will be an example of vakye

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Prakrit Verses in Sanskrit Works on Poetics 649 dharmopamana-lupta Upama. 21.585. This gatha is already dealt with; vide A'Sarvasva Vimarsini S. No. (* 33.442) supra. Visvesvara cites it here to illustrate Upama (trilupta) : Mrugt ut i dharmadyotakopamAnAnAM trayANAM lope samAsa evetyarthaH / SPRIT - 3TE FRUCCHISCI ---- atra mRgAkSIti / Mammata discusses the example mRganayanA :H4t go (aut) URI: HT The three underlined words representing upamAna, upamAdyotaka and the sAdhAraNadharma are dropped. Therefore it is an example of Flui 34HT. 22.585. Visvesvara cites this gatha as an example of Malopama (abhinne sadharana-dharme). In this gatha TRITAGE is the 347; T6, Asteget and Moo are the many 34771s; iva is upamAdyotaka and udvegajanakatva is the one common property, of course AkSipta, possessed by the upameya and the three upamAnas, the upamAnas being each qualified, e.g. To that is fatele. 23.585. In the preceding example of mAlopamA, the sAdhAraNadharma is AkSipta, whereas in the present gatha it is directly mentioned. G:Heca is the one common property actually mentioned in this gatha. 24.586. This skandhaka from the Setubandha is cited to illustrate Malopama. Here the one Upameya is the violent or raging sea; and for it there are four different Upamanas: the submarine fire, the mountain, the cloud and the gale. Here we have Malopama (bhinne sadharana-dharme) and blazing (jvalana), etc. represent the four different dharmas. 25.586. This skandhaka from Setubandha is cited here to illustrate the figure Svarupotpreksa. 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 SP S. No.

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650 Prakrit Verses in Sanskrit Works on Poetics (160.74) and SK S. No. (111.362) supra. Visvesvara cites it here to illustrate the figure Rupaka (Samasta-vastuvisaya). In this skandhaka all the entities which are superimposed (upamAnas, Aropitas, or AropyamANA:) (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 SP S. No. (165.75) and SK S. No. (116.363) supra. Visvesvara cites it here as an example of Ekadesavivarti-rupaka. SP And SK cite it to illustrate (Slesanvita or Slesopahita) Samkirna - Rupaka. 28.586. Visvesvara cites this skandhaka from Setubandha to illustrate the figure, called Malarupaka. Here on one aropa - visaya (the call of the swans - Kalahsa-rava) there are many aropas (superimpositions) like the twanging sound of the bow of the god of love, etc: atraikasminkalahaMsarakhe manmathadhanunirghoSAdhanekAropa: / 29.587. This gatha is already dealt with; vide SK S. No. (173.375) supra. Visvesvara cites it here to illustrate the figure, called Paramparita - rupaka. 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 SP S. No. (25.47) and SK S. No. (108.361) 'supra. In SK (p. 416) it is cited as an example of PERMO4.54. Visvesvara introduces it with the words: qrupu hala grupa -; and he adds the comment after citing it: atra hi vyavasAyAdau ravitvAdyAropaM vinA ghanasamaye pradoSatvAdyAropo na saMbhavatIti paramparitam / fa-geheutranfagraffaugaland TI - (. 229). 31.587. This gatha is already dealt with; vide SK S. No. (232.387) supra. Visvesvara cites this gatha here to illustrate and Hig (1904) I He comments on the gatha as follows:

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Prakrit Verses in Sanskrit Works on Poetics 651 mAnaratyordumanATakAbhedarUpo'tra upagUhanapavanapUrvaraGgAbhedArope nimittam / atra virodhitAsaMbandhenAnugrAhyAnugrAhakabhAva iti vizeSaH / 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) Utpreksa (ii) Kavyahetu and (3) Apahnuti. Visvesvara cites it here and states that the figure Apahnuti is suggested here (as explained by Mammata). 33.587. This verse is composed by Visvesvara himself. It illustrates Bhasa - slesa (Sanskrit - Prakrit Slesa). The Prakrit patha, is presented and its rendering into English is given under translation. For Sanskrit patha, see Visvesvara's Vrtti on this verse. 34.588. This gatha is already dealt with; vide KP S. No. (12.420) supra. Visvesvara brings in the present gatha in the course of his discussion of the figure Samasokti. 35.588. This gatha is already dealt with; vide SP S. No. (166.76) and SK S. No. (121.364) supra. Visvesvara cites it as an example of Padartha-nidarsana (p. 263). 36.588. This gatha (with a few variant readings) is already dealt with; vide SK S. No. (330.407) supra. Visvesvara cites it as an example of Aprastuta-prasamsa (karane prastute karyabhidhanam). He observes, after citing the gata : Att af ETET R ahvujFiT sfa wa #16 acarfych i - (p. 269). 37.588. This gatha is already dealt with; vide SP S. No. (1650.338) supra. Visvesvara cites it as an example of Aprastuta-prasamsa (Samanya - prastave visesa - vacanam). After citing the gatha, he observes : atra nisargapremA upAdhi nApekSate iti sAmAnye vAkye vizeSa udAhRtaH / 38.588. Visvesvara cites this gatha as an example of Aprastuta-prasamsa (vicese prakte samanyopanyasah). After citing the gatha, Visvesvara remarks : atra yadyahaM tvAM nAdrakSyaM tarhi sukhitA bhaviSyAmi iti vizeSe vAcye sAmAnyamuktam /

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652 Prakrit Verses in Sanskrit Works on Poetics 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: atra hi tatsadRza: kAmazAstrAbhijJo yuvA pratIyate / 40.589. Visvesvara cites this gatha as an example of Aprastuta-prasamsa. After citing : this gatha, he observes : paricchadahInaM jananinditaM ca nAyakaM kAmayamAnAyA iyamukti: / (dhUlimAlinyAdInAM gaje sattvena . vyaGgayanAyakaniSThadharmAdhyAropAnapekSA / ) dhUli-0 (dhUlimalina:) soiled with dust; paMkaMkio (paGkAGkita:) besmeared with mud; taNa (tRNaracitadehabharaNa:) = tRNaiH kRtaM dehasya bharaNaM (poSaNaM) yena sa : - who lives on grass%; garuattaNeNa- gurukatvena (Atmano gurukatayA zarIrasya mahAparimANena - because of the hugeness of his body; DhakkaM samuvvahai (DhakkAM samudahati =) samaravAhyaM mahAvizAlaM yaza:paTahaM vahati - carries (is privileged to carry) the kettle - drum. 41.589. This gatha is already dealt with; vide KP S. No. (50.431) supra. Visvesvara, after citing the gatha, remarks : atra prakRtanAyikAvRttilAvaNyAdikaM nAyikAntaravRttilAvaNyAdikajAtIyamapi tadvijAtIye tayokta (? tadvijAtIyatayokta)miti tadutkarSapratItiH / He adds : kvacittasyaivAvasthAvizeSeNa tasmAt bhedaH / 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 Sita ----- assumed an altogether different form as soon as he took up the bow. Visvesvara remarks: atra samudrabhedanArthaM dhanuSi gRhIte zrIrAmabhujasya tatpUrvAvasthA tasmAdevAnyatvoktyAticaNDatvapratIti : / - (pR. 278). 43.589. In this skandhaka from Setu, the autumn is described as the pathway to Sugriva's fame, the first support to Rama's life, the hindrance to Sita'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 : atra bASpavimokSahetutvena tadAropaH / (pR. 280). Therefore it is an example of Atisayokti (Karye karanabhedadhyavasanarupa.)

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Prakrit Verses in Sanskrit Works on Poetics 653 44.590. This gatha is cited to illustrate the figure Dipaka (when a common property consisting of a quality or an action, belonging to the relevant and the irrelevant i.e., to upameyas and upamanas is mentioned only once, it is called Dipaka). In the gatha under consideration the minds of sajjanas (good men) are the upameya and taru-sikharas (the tops of trees) the upamana. Their common property Samavanatatva and tungatva (the gunas) are each mentioned once only and hence the figure is Dipaka. Incidentally, it may be mentioned that the figure (slesanupranita) Upama contained in the gatha is overlooked by Visvesvara. 45.590 This skandhaka from Setu is cited to illustrate the figure Dipaka. After citing the verse, Visvesvara remarks: atra rAkSasavadhArthaM vAnarAnuttejayata: sugrIvavasyotI bhujA: prakRtatvAdupameyA: / jaladharAyadaya upamAnabhUtA: 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 upamanas. The upamaya and the upamanas are both worthy of esteem (guru), even though they have become light (laghu). 46.590. This gatha is cited to illustrate kriya-dipaka. After citing this gatha, Visvesvara remarks : atra mAnasya prakRtatvAdupameyatvam / sarveSAM chajjaipadavAcyAyAM zobhate iti kriyAyAmanvaya : / (pR. 291). Here sulkiness (mana) of the woman who is dear to her lover is the upameya; gaiety of a master... are upamanas. All these - the upameya and the upamanas are connecteed with the action (kriya) expressed by 8413 (1727). 47.590. This skandhaka from the Setu is cited to illustrate Karaka-dipaka. Here one Karti-Karaka-a case-noun in the nominative viz. Rama is connected with many actions represented by the verbs in the stanza 'nindai (reproaches), khijjai (saffers), juucchai (hates).... cf. Visvesvara's remark atra nindatItyAdikriyAsu rAma: kartA / 48.590. This gatha is already dealt with; vide SP S.No (1307.283) supra.

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654 Prakrit Verses in Sanskrit Works on Poetics Visvesvara cites it here as an example of Karaka-dipaka. 49.591. Visvesvara cites this skandhaka from Setu as an example of Maladipaka (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 gatha is already dealt with; vide SP S.No. (186.80) supra. Visvesvara cites it as an example of Tulya-yogita. Here all the circumstances compelling the woman under description to become lecherous (Satitva-tyaga) 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' (astiti kriyanvayah). Note : 'astirbhavantIpara : prathamapuruSo'prayujyamAno'pyastIti' iti vArtikAt / astikriyAprayogAbhAve'pi tadAkSepitA zIghropasthitikatvAt / na ca prativAkyamastyadhyAhAra iti vAcyam / ceaidhRTATEZITER Soleyn 1995 pa upacara i - (g. 284). 51.591. Visvesvara cites this gatha as an example of Tulya-yogita. After citing the gatha, he observes : 3471 Paretelucheda Urgani 144hi kufanya beberau : 1 52.591. This gatha is already dealt with; vide SP S.No. (334.112) supra. Visvesvara cites it as an example of Vyatireka. After citing it, he observes: atra hi prakRtanAyikAyA upamAnatvaM nAyikAntarANAmupameyatvam / tathA punadraSTuM na jAnantIti vyatireka upameyAnAm / 53.591. This gatha is already dealt with; vide SK S.No. (269.394) supra. Visvesvara cites it as an example of Aksepa (Vaksyamana-visaya). In this stanza, the speaker who is most probably a female messenger (duti) declares her intention of pleading the case of the nayika. Then she revokes her intention. So here we have dehi : 37919:. 54.592. Visvesvara cites this stanza as an example of Vibhavana (Peculiar Causation), which arises when even in the denial or absence of a cause,

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Prakrit Verses in Sanskrit Works on Poetics 655 the fruit or the result becomes manifest or arises. This Vibhavana is ukta-nimitta, 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 SP S.No. (1351.281) SK S.No. (146.369). Visvesvara cites it here as an example of the figure Visesokti (anukta-nimitta) which is the exact opposite of Vibhavana. It consists in the non-statement of the fruit even when the ordinary well-known causes are present. Visvesvara, after citing the skandhaka, observes : 3751 kadambavAtAbhAvAdInAmAzvAsahetUnAM sattve'pi zrIrAmasya AzvAsAbhAva ukta : / AzvAsotpattipratibandhakAzca saptacchadavAtAdaya iti teSAmanukti : / 56.592. Visvesvara cites this gatha as an example of Visesokti (third variety, acintya-nimitta) and observes : atra kundakarliMkAdarzanasattve'pi tadicchAvicchedAbhAva ukta: / tatra ca kiMcinnimittaM lakSaNarUpamastyeva / na tu vizeSyaM vaktuM zakyamityacintyazaktirUpatvam / 57.592. This verse is already dealt with; vide SK S.No (50.350) supra. Visvesvara cites it as an example of the figure Virodha (jatergunena). 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 (jateh kriyaya). Karpuramanjari, 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. Visvesvara, after citing the gatha, 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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656 Prakrit Verses in Sanskrit Works on Poetics 59.593. Visvesvara cites this gatha 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 (anuraga) (and panduratva as paleness) the appearent contradiction is removed. Incidently, we may note that sarasa means (i) full of sap (ii) full of love; susyati - (1) becomes dried up (2) languishes; mugdha-hrdaya (i) she whose heart is stupefied (ii) she whose mind is innocent; janati duhkhani (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. Visvesvara cites this skandhaka from Setu as an example of Virodha (kriyaya dravyena). Here the Mahendra (mountain) is the dravya-vacaka or samjna-vacaka word and kampate is a kriya-vacaka 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 atisaya (pre-eminence) of the Vanaras. 61.593. This gatha is already dealt with; vide SP S.No. (314.404) supra. Visvesvara cites this gath, as an example of Sahokti. Here the principal sentence is 'kalamena sa kalamagopI zuSyati / ' Here the verb zuSyati is naturally connected with the Kalama-gopi, 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 sahokti. 62.593. Visvesvara cites this skandhaka as an example of Sahokti (Malarupa). Here we have four different sentences giving us four Sahoktis : (9) TRT MRI dhairyeNa samaM nizAyAmA galanti / (2) evamaniSThitA upadezA hRdayena samaM galanti / (3) utsAhena saha yout Tata: 1 and (8) arcut 144 JANT TA Hence here we have rrallah, which is HIST. 63.594. This gatha is already dealt with, vide SP S.No. (1169.257) supra. Visvesvara cites it here as an example of Parivitti (Barter, Exchange). After citing this gatha, 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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Prakrit Verses in Sanskrit Works on Poetics 657 the lotus worn on the ear as an ornament; bhariaM (bhRtam) filled with; phukkato (repeat / grybel - blowing into - a / 1 + to blow into) cf. Mar. ich (attut); - Visvesvara remarks : "375feruiatri crat TY TYCH I g. 338. 65.594. This gatha is already dealt with; vide SP S.No. (405.126) supra. Visvesvara cites this gatha as an example of Parivstti. After citing it he remarks: 347 Fraudej FGRT Grand (=PART) HGH4 - . 338. 66.594. This gatha is already dealt with; vide SP 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 gatha 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 gatha contains the figure Parivstti. 67.594. Visvesvara cites this skandhaka as an example of the figure Bhavika which consists in describing past and future things as present. In this skandhaka the poet describes the 'future event' of Rama'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. Visvesvara, after citing the verse, remarks : atra bANasya samudramadhyapAte bhAvinyapi tasmAt prAgeva zarapAtasya laukikapratyakSamuktam / zrIrAmaprabhAvAtizayavarNane tAtparyam / 68.595. Visvesvara cites this skandhaka as an example of the figure Udatta (II) "wherein the great are subordinated to the object under description and which therefore is principal." After citing the skandhaka, he remarks : 3751 suvelaparvatasya anantaphaNaprAgbhArAzrayatvoktyAvarNanIye suvele mahato'nantasyAGgatvAt suvelotkarSapratIti : / The poet here describes the greatness of the Suvela mountain by making Ananta subordinate to the Suvela mountain which is 'varnaniya' and 'prastuta'. 69.595. Please note the corrected text of this verse as given under Corrections and Additions (p.7). Visvesvara cites this verse as an example of the figure Samuccaya (which occurs when one cause sufficient for the accomplishment

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658 Prakrit Verses in Sanskrit Works on Poetics 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 Nayika'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 SP S.No. (546.152) supra. Visvesvara 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 :. Visvesvara, after citing the gatha, remarks : 37 FIT-UAH-fort: ( ET) -- q. 388. 72.596. This gatha is already dealt with; vide A'Ratnakara S.No. (122.568) supra. Visvesvara, like Sobhakara, cites this gatha as an example of the figure Paryaya (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 gatha, Visvesvara remarks : 347Rta factcher afarem -a-chaFaruroog tot stor Pia I - 4. 388. 73.596. This gatha is already dealt with; vide SP S.No. (141.70) supra. Visvesvara cites here this gatha as an example of the figure Paryaya. After citing it he remarks : 375TERROR ART SHUT 31T22: Ihre Tezlari HITTU 7 g graiffordafa H : 1 - . 389 (with v.1.4) 74.596. Visvesvara cites this gatha as an example of Paryaya. After citing it, he remarks: atra gotraskhalanakupitAyA mAninyA nAyakaM pratyuktau anyatra sthitasya nAmno'nyatra vRttau nAyakarUpaprayojakAbhidhAnam / The nayaka 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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Prakrit Verses in Sanskrit Works on Poetics 659. of her name and conferred it on me and thereby shown that I am superior to your beloved one !" 75.596. This gatha is already dealt with; vide SP S.No. (1107.246) supra. Visvesvara cites it as an example of Another or Second Paryaya. After citing it, he comments: atra nAyakasaGgajanyasaukhyAnAM prathamamicchAviSayatve pazcAca jIvitasaMzayahetatve prayojakAnabhidhAnam / (g. 349). 76.596. Visvesvara cites this gatha as an example of Another or Second Paryaya. After citing it, he remarks: 37 RT 5 PART ART-ty-m4 or HUT viSAmRtanirmitatvarUpaM prayojakadrayam / 77.597. Visvesvara cites this gatha as an alternative example of Another or Second Paryaya. After citing it he comments as follows : vaTasthitayakSapratimAyA asatyAstAruNyakAle nAdRtApi pazcAttasyA eva namaskAryatve jarArUpaM ca prayojakaM After I - C. 349. 78.597. Visvesvara cites this skandhaka from Setu as an example of Another or Second Paryaya. 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 Karpura-manjari who was brought over by air while she was bathing and presented to the gaze of the King and others by Bhairavananda, the great Magician. Visvesvara cites it as an example of the figure Anumana (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, sadhana 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 Bhairavananda through his magicial powers. 80.597. Visvesvara cites this gatha as an example of the figure Parikara (which arises when a certain thing is described by means of 'significant adjectives.') In this gatha the adjectives 'amstamaya' etc. are very significant. 81.598. Visvesvara cites this gatha as an example of Parisamkhya (Aprasnapurvika).

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660 Prakrit Verses in Sanskrit Works on Poetics After citing it, he remarks : atra hastasthita evArtho na tvanyAdhIna ityAdivyavacchedo vyaGgya : / 82.598. Visvesvara 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 Visvesvara the figure Anyonya in this skandhaka is mixed with Utpreksa. 83.598. This gatha is already dealt with; vide SP S.No. (139.69). Visvesvara cites it as an example of Anyonyam (sopakaram samikirna- parasparopakarasvarupam). 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. Visvesvara cites this gatha 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 : atrAnyeSu vyAdhakuTumbeSu pRSanmRgacarmANi pRccheti uttaravAkyena pRSacarmANi mamApekSyante tAni santi nage (? 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 gatha-poet, by using double-meaning words, compares his own beloved's foot with King Vikramaditya. Visvesvara cites this gatha to illustrate the figure Suksma. He thus comments : 3F THETA CATARRIUTi gocar faTIRERITAHFIT nozaur RURY vikramAdityasAmyamabhidhAya nAyikayA nAyakAya tatprakAzanaM kRtam / The Nayika from akara (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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Prakrit Verses in Sanskrit Works on Poetics 661 and comparing the foot of his sweetheart with King Vikramaditya. 86.599. Visvesvara cites this gatha as an example of the figure Samadhi (which occurs when a certain work becomes easy of accomplishment owing to the association of another cause), and remakrs : atra mAnApanodArthaM praNate patyau tadabhAve'pi tatpRSThe putrasamArohaNarUpavilakSaNaceSTAhAsagamyo mAnatyAga : / 9. 300. 87.599. This gatha is already dealt with; vide SP S.No. (145.71); SK S.No. (91.358) supra. Visvesvara cites it here as an example of Visama (Kevalanistapraptau) and remarks: atra nAyakaviSayakAnurAgavyaJjakAbhAvatvena iSTAnAM tadadarzanAdInAmanyaniSThatadviSayakajJAnarUpAniSTaprApti : / - q. 300. 88.599. Visvesvara cites this gatha as an example of the figure Visama (II), where the quality and action of a cause are mutually opposed to the quality and action respectively of the effect. This gatha illustrates the form where the actions are mutually opposed; Visvesvara comments: atra hastasya rAjajanakatvam, tasya pratApajanakatvam / hastapratApaniSTha-tRSNAharaNa-dahana-kriyayorvirodha iti face 1 89.599. Visvesvara cites this skandhaka from Setu as an example of Ekavali (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 Ramadasa identifies the figure in this stanza as ' siguri' (p.250). 90.599. Visvesvara 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: atra zrIrAmabANaprahAreNa parvata-bhUmi-samudrANAM vaja-varAhabhuja-mathanAghaTitAnAM smaraNamupanyastam / (pR. 320). 91.600. Visvesvara cites this gatha as an example of the figure Bhrantiman (which arises when the upameya is mistaken for the upamana); he comments on

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662 Prakrit Verses in Sanskrit Works on Poetics it : atra mukhe candraprakArakajJAnokterbhrAntimAn / --- 92.600. This gatha is already dealt with; vide A'Sarvasva-Vimarsini S.No. (17.439) supra. In this gatha 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 : . atra karNAbharaNe nIlakiraNa-mizritacandramayUkheSu sakajjalAzrutvajJAnam / pR. 388. 93.600. Visvesvara cites this gatha as an example of the figure Bhrantiman with the introductory remark : "kvacidanyonyavizeSyakabhinnaprakArako yathA-". After citing it, he further remarks : atra mahiSasya bhujaGge nadIsrotastvajJAnam / bhujaMgasya mahiSalAlAyAM sarastvajJAnam, tazca mahiSe kRSNaprastaratvaprakArakabhramamUlamiti jJAtavyam / pR. 388. 94.600. Visvesvara cites this verse as an example of the figure Pratipa, to be specific, of the first kind of Pratipa wherein the Upamana 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 Upamana. Visvesvara remarks : atra karpUramaJjaryA lAvaNyena paGka (?campaka-) kalikAdInAmAkSepa : / - pR. 391. 95.600. Visvesvara cites this gatha as an example of the figure Pratipa, to be more specific, of the second kind of Pratipa, wherein the upamana itself is imagined to be the upameya in order to bring out its censure. In this case the full-orbed moon, the well-known upamana, does not attain to similarity with your face (the face of nayika), the upameya. Visvesvara comments on this gatha thus : atra candrasya mukhapratiyogikasAdRzyA niSpattirvAcyA / 96.601. This gatha is already dealt with; vide SP S.No. (363.118) supra. Visvesvara cites this gatha in the context of refuting the view of Appayya Diksita stated in Kuvalayananda yattu matam - "vastudvayasya lakSaNadvayasAmyAt kenacid balIyasA svarUpatirodhAne mIlitam svarUpapratItAvapi guNasAmyAd bhedatirodhAne sAmAnyam iti / tadapyasat / "gammihisi tassapAsaM---" ityAdau svarUpapratIterabhAvAt /

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Prakrit Verses in Sanskrit Works on Poetics 663 97.601. This gatha is already dealt with; vide A'Kaustubha S.No. (51.591) supra. Visvesvara cites this gatha as an example of the first kind of Visesa (which occurs when the supported is represented as existing without its well-known support.) In this gatha, rupa is handsome form of the Nayaka, if the speaker be a woman - Visvesvara, however, seems to understand the speaker of the gatha to be the Nayaka, then the lovely form of the Nayika 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 nayika, 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 gatha under discussion illustrates, therefore, the first kind of Visesa. 98.601. Visvesvara cites the present stanza to illustrate the second kind of the figure Visesa (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. Visvesvara cites this gatha as an example of the figure Tad-guna (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 : atra manasvinIbASpapUrANAM nayanakapolAdharaprabhAkarambitatvena suracApasAdRzyonmeSa : | - pR. 403. 100.601. This gatha is already dealt with; vide SP S.No. (381.121) supra. Visvesvara cites it as an alternative example of Tadguna. He comments on this gatha : atra jalarasa-tirodhAnena haridrArasasaMbandhastatrokta : / pR. 403. 101.602. This gatha is already dealt with; vide SP S.No.(343.114) supra. Visvesvara cites this gatha as another alternative example of the figure Tadguna. He thus comments on it: grauarratatu 319anccalderobrila TRRRIQAT: 1 - . 803. 102.602. Visvesvara cites this skandhaka from Setu to illustrate the figure Atadguna

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664 Prakrit Verses in Sanskrit Works on Poetics (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.) : Vibhisana'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. Visvesvara cites it here as an example of the figure Samkara, he comments on this gatha as follows : "atra prakRSTaguNanAyakapratIti: prakRtAzokavRttAnteneti samAsoktiH / kiM vA aprastutAzokavRttAntena prastutapuruSapratItyA aprastutaprazaMsetyubhayasaMbhavAt sandeha : / prakaraNAdernirvAhakasyAbhAvAt / (pR. 411).

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Appendix I Extracts from Ramadasa's Commentary on Setubandha About 200 verses from Setubandha are cited in their works on poetics by Alaskarikas -- notably by Bhoja and Pandita Visvesvara. 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. ahaM samudramathanapUrvaM pArijAtazUnyaM svargam / kaustubhena lakSmyA ca --- rahitaM madhumathanasyoraH / mugdho bAla: / tathA ca candrakhaNDazUnyaM ca harajaTAyA: prAgbhAraM --- samUha vA smarAmi / tathA ca pArijAtAdyutpAdakasamudramarthanasaMbhrame'pyahaM sthita iti bhAvaH / 5.36. (5.11-Bom. Edn.) utkhAta utpATito dumo yasya taM zailamiva / zaile sAmAnyaQmasyocchedAdita: pArijAtasyAkarSaNAt / himena hatAnAM kamalAnAmAkara: sara iva lakSmyA vimuktaM tyaktam / lakSmIpadasya zliSTatvena sarasi zobhAyA vigamAditastu haripriyAyA uddhRtatvAt / pItA madirA yasya tAdRzaM caSakamiva / madirAzUnyamityarthaH / caSake madirAyA: pItatvAditastUddhArAt / bahula : kRSNapakSastatpradoSamiva mugdhacandreNa virahitaM zUnyam / tatsaMdhyAkAle manoharacandrAnudayAditastu bAlacandrasyotthApanAt tulyatvam / tathA ca pArijAtAdInAmutpattisthAnamityartha : 13.45. atha suvelaprAptyanantaraM plavaGgA:suvelaM prekSante / koTikoTiza: parvatA utpATitA:, IdRza: ko'pi na dRSTa iti vismayAditi bhAva: / -- AkramaNa iti kartari lyuT / tathA ca sakalajagadAkramaNakartA mUlena pAtAlasya, . ' madhyena martyasya mastakena svargasyAkramaNAt / tathAbhUtazcAsau vardhitamahAzikharazceti karmadhArayaH / evaM niSThApitA nAzitA dakSiNadigyena tirodhAyakatvAt / evaM zeSA yA pUrvAdyA dizastanmukhena tatsaMmukhIbhUya pradhAvitaM --- ivetyutprekSAvyaJjanayArohaNapariNAhAbhyAM vistAra ukta / 5.44; 59.54. he janAH, madhumathanaM viSNuM namata namaskuruta / tathA cAhamapi taM pratyasmi praNata ityAkSepalabhyam / madhuM mathnAtIti madhumathanastam --- kIdRzaM tam / avardhitazcAsau tuDgazcatyavardhitatuGgastam / atrAvardhitasyordhvadezAvacchinnatArUpatugatAyA asaMbhavenAvabhAsamAno paramezvarasyAjanyatayetarakartakavardhitatvAbhAvena parihiyate / tathA ca virodhavadAbhAsate na tu virodha iti virodhAbhAsanAmAyamalaGkAraH / --- tathA hi punaH kIdRzam / aprasAritazcAsau vistRtazceti tam / evamanavanatazcAsau gabhIrazceti tathAvidham / tathA ca tuGgatvavistRtatvagabhIratvarUpavizeSaNatrayeNordhvamadhyAdha:sakaladezavyApakatvamuktam / --- apralaghuko mahAMzcAsau parizlakSNa: kRzazceti tathA / -- ajJAta: paramArthastattvaM yasya tathAvidhazcAsau prakaTazceti tathA /

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666 Prakrit Verses in Sanskrit Works on Poetics Da 14.45. yasya ['tuGgataTebhya: sazabdaM patadbhiH nirjharaH mukharAn' - kRSNavipra] 'kRSNamaNimayAnAM gaNDazailAnAmardhAntAnsevamAnAnAmAzritAnAM tridazavadhUnAmanurAgo mano'bhinaveza: zithilatvaM na prApta:' ityagrimaskandhake yojanA / 25.47. ghanasamaya: kIdRza: / vyavasAya: sItApratyuddhAraheturvyApAra: sa eva raviH / asaMpadyamAnatvena saMtApakatvAt / tasya pradoSastirodhAnakAla: / evaM roSa eva gajendra : / paropamardakatvAt / tasya dRDha-zRGkhalayA pratibandho bandhanaM tadrUpa: / prasaraNapratibandhakatvAt / tathA jaya eva kesarI / pratipakSazUnyatvAt / tasya paJjaro bandhanasthAnam / avarodhakatvAdityartha: / rUpakamatrAlaMkAraH / 34.49. vyavasAyaravipradoSa: | Vide SP S.No. (25.47) supra. 82.57. atha rAmAvasthAmAha - abhijJAnaM saMdezo maNirUpa: / dayitaM prItipAtram / dayitAyA iti vA / tadrAghaveNa yasminnapyanena na nivezitaM tenApyanena sItayA pari sarvatobhAvena mRSTeneva na tu spRSTamAtreNa nirantaraM romAJcau vyUDhaH / tathA ca yathA sItAparimRSTenAGgena romAJco dhriyate tathA maNispRSTenApyanena vizeSata UDha: / sItAsambandhimaNisaMbandhAditi bhAvaH / tathA ca nityasaMnihitasItAsparzApekSayA virahakAlInasItAparamparAsaMbandho'pyAdhika iti tAtparyam / 85.58. apirvirodhAbhAsasUcanAya / tathA ca lakSmyAzciranirgatatvAdasaMbandhena prasajyamAno virodha: / zrIzabdazleSaNa zobhayA amucyamAnatvena parihiyate / --- ubhayasAdhAraNImupamAmAha - kayA kamiva / jyotsnayA mRgAGkamiva / kIrtyA supuruSamiva / prabhayA ravimiva / mahAnadyA zailamiva / [zriyA ciranirgatayApyumucyamAnamadyApi tathaiva ratnasaMpatteravicchedadarzanAditi bhAva :' / - setutattvacandrikA (2-10, pR. 35)] 157.74. ayaM bAlo durdamazatrusaMmukhagamanAya sotsAho na veti prathamamatisaMnihitasaMbandhina: priyatamasya lakSmaNasya mukhamasya rAmasya dRSTi: zobheva lagnA / yathA zobhA lagnA tathetyartha : / tathA ca lakSmaNamukhaM tadAnImatisazrIkamAsIditi bhAva: / evamacirAdevAmuSyopakAra: kRta: sa tUrasi vartate na veti nirUpaNAya tatpazcAdudAsInapriyatarasya sugrIvasya vikaTaM vistArazAlihRdayaM yathA vanamAlA lagnA tatheyamapItyarthaH / raktanIlazvetAkAratvAnmAlAsAmyam / sugrIvasya mAlA svAbhAvikamalaMkaraNamiti prasiddhiH / ayamidAnImeva laGkAta: samAgato rAkSasabalAbalajJo madgamane sAdhyavasAyo na veti jijJAsayA zarIraceSTayA kSobhAkSobhanirUpaNAya tatpazcAtpriyaM pavanasutaM yathA samudralaGghanAdikIrtirlagnA tatheyamapi / eta eva saMprati sahAyAstadamISAM ceSTA kIdRzIti tato'pi pazcAtparivAratApannAni vAnarabalAni / yathA tatkSaNa eva sugrIvadvArA kRtA lar3akAgamanAjJA lagnA tatheyamapi dRSTilagneti sarvatra . sahopamA / --- paramArthatastu parvoktatattadabhiprAyeNaiva tatra tatra lagnA dRSTiryathAsaMkhyaM zobhAditvenopatprekSitA / tathA hi prathamaM lakSmaNamakhaM rAmadRSTi: zobheva lagnA / dRSTireva tatra zobhAbhUdityarthaH / evaM sugrIvahRdayaM vanamAleva pavanatanayaM kIrtirivAjJeva balAnItyunnayAma: /

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Prakrit Verses in Sanskrit Works on Poetics 667 160.74. gaganarUpe samudre tArArUpamuktAprakAra: zobhate / kIdRk / vizuddhaH zubhra: kiraNo yasya tathA / evaM rajanireva velA tIraM tatra lagna: / zarvarIsamayalagna ityapi / evaM sphuTaM yathA syAttathA vighaTitA ye meghAsta eva zuktisaMpuTAstebhyo mukta itastata: prakIrNaH / zaradi meghAnAM nAnAkhaNDatvena zubhratayA ca vighaTitazuktisAmyam / anyatrApi samudre zuktimuktA vizuddhacAkacasyA muktAstIralagnA dIpyanta iti sarvatra rUpakam / 162.75. nabhastalaM zobhate / kIdRzamiva / pitAmahasya brahmaNa utpattipaGkajamiva / nabhaH kIdRk / kesaranivaha iva ravikarA yatra tathAbhUtam / evaM dalasahasrANIva sabhaGgidhavalAbhrANi taiH parigataM vyAptam / evaM madhumathanasya nArAyaNasya darzanayogyam / uttAnasuptasya tasyotthAne sati tatraiva dRSTipAtasaMbhAvanAsattvAt / --- pitAmahasyotpattiryatreti paGkajavizeSaNamiti vyAcakSate 'sAdharmyamupamA bhede ityupamAlaMkAraH / 164.75. dizo nijakasthAnamiva pratigatA vyAghuTya pUrvasthAnaM gatA ivetyutprekSA / kiMbhUtA: / nabha eva pAdapastasya zAkhA iti rUpakam / puna: kiMbhUtA: / dhutA itastato gatA meghA eva madhukarA yaabhystaa:| evaM ghanasamayo varSartustenAkRSTA athAvanatA atha vimuktAH / tathA ca varSafarupakrame dizo meghasaMdhAreNAkRSTA nikaTavartinya iva, madhye gaganadigvyApimeghabAhulyenAvanatA adho vartulIkRtA iva, varSAnte meghApagamena vimuktA: prasAriNya iva jJAtA iti bhAva: / zaradi tathAbhUtameghasaMbandhastyakta iti tAtparyam / 165.75 indradhanureva sarasaM tAtkAlikaM nakhapadamiti rUpakam / pramlAyati prakarSaNa mlAnimApnoti / vigalatIti yAvat / sarasatvena lauhityAnnakhapadasyendradhanustaulyam / kIdRzam / dikSu pIno ya: payodharo meghastatra lagnam / puna: kIdRk / pravasatA gacchatA jaladakAlena vitIrNaM dattam / saubhAgyasya saundaryasya prathamaM cihna lakSaNam / tathA ca prAvRSi dizAM mAMsalameghalagnendradhanuSA saundaryamAsIt / atha zaradi yathA yathA meghApagamastathA tathA tadavinAbhAvena tadapyapagatamiti bhAva : |--- varSAsu gRhe sthitvA zaradi pravAsIbhavatA nAyakena priyAstane satata - smaraNAya nakhakSataM kRtvA gamyata iti kAmazAstram / 173.77. yathA dhairya-timinivaha - nadIsrotoratnAni vahantaM tathaiva jalasamUhaparvataloka-taraGga paropakAritvAdi-guruka-guNa-zatAnyapi vahantamityarthaH / timivatsaMcAritvalAbhAya sapakSapadaM parvate / dhairyAdInAmacchatvamahattva - prauDhi - dairghya - nirmalatvairyathAsaMkhyaM jalasamUhAdibhistaulyamiti sahopamAlaMkAra : / 174.77. asya rAmasya dhairyeNa samaM nizAyAmA galanti / dhairyamapi vyatikrAmati nizAyAmA api vyatikrAmantItyarthaH / evamaniSThitA asthirA upadezA bandhujanavacAMsi hRdayena samaM galanti / hRdayopadezayoH sthairya na bhvtiityrthH| utsAhena saha bhujau galata: | ---- bASpeNa saMma ullApA galanti / azrUNi galanti pralApA api mukhAdahivantItyartha: / sahoktiralaMkAraH / 178.78. kAryAlApAnAlapitakAryANi / --- tathA cAbhaNyamAnA uktimanapekSya ye kAryANi ghaTayanti te satpuruSA

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668 Prakrit Verses in Sanskrit Works on Poetics viralAstricaturA eva / bhavantastUktimapekSamANA: kApuruSA iti bhAvaH / arthAntaraM nyasyati - ajJAta: kusumanirgamo yeSAM tathAvidhA ye dramA: phalaM dadati te'pi vanaspataya: stokA eva / tathA ca drumaprAyA: satpuruSA: kusumanirgamaprAyANi vacanAni phalaprAyaM kAryamiti / 181.79. sa vibhISaNa: sugrIveNa mAruterhanamutto labdho ya: pratyayo rAvaNAt pRthagbhUta: svIyo'yamiti / vizvAsastenAgataharSa yathA syAdevamupagUDha AliGgitaH | zatrugRhabhedena kAryasiddhinirNayAditi bhAvaH / ura:sthalavanamAlAyAM mitho vapurmilanAnmRditA: pIDitA madhukarA yatra tadyathA syAdityapi kriyAvizeSaNam / vibhISaNa: kiMbhUtaH / vyavasitenAgamanena nivedito'rtha: prayojanaM yena / 182.79. janakasutA patitA ca / bhUmAvityarthAt / kevalaM mohameva gateti na, kiM tu patitApIti cArtha: / kiMbhUtA / hastena zithilito nirodho yatra tathAbhUta:, pazcAdviraheNa karatalayantraNApasAritarudhiratvena vA pANDura: san samucchvasan yantritamAMsotphullatayA puSTiM vrajan kapolo yasyAstathAvidhA / jJAnadazAyAM karAvaruddha: kapolasthito mUrchAyAM kara: zithilIbhUya bahi:skhalita ityarthaH / evam - preritena vAmapAi~na patitatvAd vAmabhujayantraNayA tiryagutthApitena vAmapayodhareNa viSamonnata: svAnusAreNa tiryagutthApito dakSiNa: stano yasyAH / tathA ca kucayo : kAThinyamuktam / 194.82. [ padyamidaM rAmadAsaviracite rAmasetupradIpe na saMgRhItam / setutattvacandrikAkhyavyAkhyAyAM tu samAviSTamupalabhyate - janakatanayApayodharasparzAnmahArdhitena karatalena vimuktA rAghavazarA dazakandharasya zarIre patitA: patanto vA pulakaM janayanti / atra tAdRzakaraNa muktatvameva hetu: / padyamidaM sAhasAGka-kulanAthAbhyAM na dhRtam / ] 199.83. taM prasiddha dazamukhavadhaM zRNuta / -- prasiddhArthakatvena tacchabdasya na yacchabdApekSA / taM kathaMbhUtam / tridazabandInAM mokSa: parityAgo yasmAt / samastatrailokyasya hRdayasthazalyAnAmuddhArazca yasmAt / anurAgasya premNazcihna jJApakaM ca yat / sItAM prati rAmAnurAgasya rAvaNavadhAvadhikatvAt / sItAyA du:khasya kSayazca yena tathAbhUtam / rAvaNavadhAnantaraM bandIkRtadevastrINAM parityAgo lokAnAM ca rAbaNabhayenAprakAzanAd hRdayasthAnAM ca zalyAnAmuddhAra: sItAyA azokavanikAnivAsAdi- kezanivRttirityarthaH / atha ca dazamukhavadhanAmAnaM granthaM zRNuta / -- kiMbhUtam / tridazabandInAM mokSo varNito yatra tathAbhUtam / anurAgacihnamityanurAgapadacihanitam / pratyAzvAsakAntaskandhake'nurAgapadasattvAditi bhAvaH / / 200.83. kAvyAnAmAlApA yena na haranti na manohAriNo bhavanti kiM tat / api tu na kimapItyarthaH / tadAha - yata: kAvyAdvijJAnaM viziSTajJAnaM vardhate / tathA yaza: saMbhAvyate / guNA vivekAdayo'ya'nte / supuruSasya rAmAdezvaritaM zrUyate / ata etasyopAdeyatvam / -- parivarghAta iti vA / 'arjeviDhappi:' iti viDhappirAdeza: / 213.86. samudradarzanatrastA: kapinivahA: sahasA samudraM dRSTvaiva likhitAzcitranyastA iva sthitAH / trAsAdbhutayorutpattyA jaDImAvAditi bhAva: | ----- AkSiptAni ---- pArAvAradarzanAyottolitAni athApasRtAni aho

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669 Prakrit Verses in Sanskrit Works on Poetics kaSTamalaGghanIyo'sAviti mAmeva laGghanAya yadi prabhuH prerayettadAnartha ApatedityapratibhayApasRtAnyadhogatAni santi vepamAnAni laGghane samudrapatanamalaGghane sugrIvastADayedityubhayathApi saMkaTamiti kampamAnAni zarIrANi yeSAM te / evaM nirAyate samudradidRkSayA visphArite pazcAdAzcaryeNa ni:spande locane yeSAM te / tathA ca kiMkartavyavimUDhA Asanniti bhAvaH / 504.144. yasya hasitaikadezA jyotsnISu rAtriSu nabho vilaganti viyadvyApakA bhavanti / antarAntarA vicchidya vicchidyotpattyA khaNDA ityuktamiti vA / kathaMbhUtAH / sphuTa: pratiravo yeSAM te / evaM diktaleSu pratiskhalitA ghanIbhUya prativRttA: / puna: kathaMbhUtA iva / jyotsnAyA: kallolA iva / zvetatvAt / zira:sthitacandrakalAyA vA / anye'pi kallolA: parvatAdiSu skhalitA: santa Urdhva dizazca vyApnuvanti pratizabdahetuzAlinazca bhavanti / etena hasitasya vyApakatvamuktam / jyotsnAkallolA iveti sahopamA vA / yathA te diktalaskhalitA iva nabho vilaganti tathaite'pItyutprekSAmUlam / 507.145. Vide SP S.No. (213.86) supra. 508.145. unmIlantyevonmeSasamakAlamevAsya dRSTirdhanuSi niSaNNA / kIdRzI / nidrAyAH zeSeNa ---- avanatAbhyAmakSipatrAbhyAM skhalitA pRthagbhUtA / tathA ca nidrAjanyAlasyena kiMcinmiladapyakSipatradvayaM vijitya prabodhasamakAlameva nikhilaviSayaparityAgena dhanuSi lagneti vIrarasotkarSa: sUcita : / kiMbhUte / gurUko'nyAnirvAhyo'valagito raNabharo yatra / evam - dRSTa: samaro yasyeti sarvatra jayazIlatvAdadhyavasAya ukta: / 510.146. ciraM vyApya pravRttAni vahadrUpANItyAbhyAsikavegavattvam / samudravadgabhIrANItyasAdhyasetukatvam / evaMbhUtAnyapi nadIsrotAMsi pratipathaM viparItamArga pazcAnnIyante upAyena netuM zakyante / satpuruSA: punaraniSpAditapreSaNA: santa: parAvartayituM na zakyante / preSaNamIzvarAjJA / tathA ca jalasyAcetanasya svAbhAvikakramata: parAvRttirupAyasAdhyA na tvajaDAnAM cetanAnAmiti rAjAjJAniSpattireva puruSArtha iti bhAvaH / 511.146. subhaTAnAmutsAho vIrarasasthAyI viSame saMkaTe skhalita: paraiH pratihata: sannadhikamuddhAvati vardhate / kIdRk / avyavacchinnaH sanprasRta: / parairanAkrAntatvAt / evaM sphuritA zUrasya chAyA kAntiryasmAt / zUrANAmevotsAha utpadyata iti bhAva: / dRSTAntayati - yathA mahAnadInAM sroto'vyavacchinnaprasRtaM sphuritA sUrasya sUryasya cchAyA pratibimbo yatra tathAbhUtaM sat parvatAdinimnonnatapradeze skhalitamadhikamuddhAvati, UrdhvamuttiSThati / tathA vIrANAmapyutsAho yathA yathA viSamabhUmilAbhastathA tathA prauDhimAlambata iti tAtparyam / 'chAyA syAdAtapAbhAve pratibimbe'rkayoSiti / ' iti / 512.146. samudraM pazyatAM vAnarANAM tatkAla eva locananivaho hanUmati sagauravaM patita: / sAdhustvaM dhanyajanmA mAtA ca te putraprasUrbhavatItyAzayAditi bhAva: / locananivahaH kIdRk / caTulo'pi markaTasvAbhAvyAcaJcalo'pi tadAnImapUrva: prAthamiko yo vismayaraso hanUmatkRtasamudralaGghanotthastena stimito nizcala:

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670 Prakrit Verses in Sanskrit Works on Poetics samudradarzanAzcaryeNa vA / pazyatAmiti samudradarzanasya vartamAnatve'pi hanUmati dRSTipAtena samudrApekSayApi tallaGghanAdAzcaryabhUmitvaM hanUmata iti vyAji / 513.146. alaghyaM samudraM lavayitvA gatamAgataM ca mArutatanayaM dRSTvA tatra sthitAnAmeSAM vAnarANAM hRdayeSatsAho gUDha: san gupto bhramati / asmajjAtIyena hanUmatA laghito'yamiti hanUmaddarzanAdutsAha udbhavati asmAbhirna lacyata iti lajjayA na bahirbhavatIti gUDhabhramaNapadayostAtparyam / bhramaNabIjamutprekSate / kIdRzeSu / samudra dRSTvAjJAnaM mohastadrUpAndhakAraviziSTeSu / tathA ca mohacchannatvAdutsAho na prakAzita iti bhAvaH / anyo'pyandhakAre patanbhrAmyatIti dhvani: / 'mUDhaH' iti pAThe jaDIbhUta ityarthaH / 514.147. yuSmAkamanubhUtAdanubhavAdapi | bhAve kta: / mama zrutameva zrutamadhyayanaM zAstraM vA tajjanyajJAnameva guru adhikam / anubhUtAt kIdRzAt / pratyakSAt indriyapratyAsattijanyAt / zrutaM kIdRzam / parokSam indriyapratyAsatyajanyam / evaM kathamapi kAdAcitkatayA tulAgraM kAkatAlIyasaMvAdastena tannyAyena ghaTitAdutpannasaMvAdAt / Agamena vedapurANAdinA zuddhamavisaMvAdinirdhAraNarUpam / tathA ca saMcAlitam ahAryAprAmANyazaGkAdolAyitamapi niSkampamasakRtsaMvAdena gRhItaprAmANyamiti yathAyogyamubhayavizeSaNam / tathA ca tAdRzAnubhavasyAnumAnAdijanyaparokSajJAnApekSayAntaraGgendriyapratyAsattijanyatvenautsargikagauravasAmagrIsattve'pi sadoSapuruSa-saMbandhitvenautsargikabhramatvena kAdAcitkasaMvAditvam atastadapekSayA madIyazrutajanyajJAnasya parokSarUpatve'pi nirdoSapuruSapraNItAgamasApekSatvena sarvathA saMvAditvamiti maduktyanusAreNa vyavahartavyamiti smstaakhnnddlkaarth:| 519.148. jAnakI abhyarthanAM kAkvA yAcyAM na gRhNAti na svIkaroti / tribhuvanazriyApi dIyamAnayA lobhayituM na zakyate / kimaparamasmAbhiH kriyamANaM zarIravadhamapi na gaNayati / tadevaM dainyoktidAnaprANagrahaNarUpopAyavaiguNyAn manye tarkayAmi kathaM sAnunayA gRhItAnunayA prasannA bhavet / na bhaviSyatItyarthaH / tathA ca prakArAntaramanusaraNIyamiti bhAvaH / 520.148. patyurmAhAtmye svAbhAvike vAlivadhAdijanite ca gaurave niSaNNA dattabhArA, ata evAvamAnitamavajJAviSayIkRtaM zeSasya rAmabhinnasya satpuruSasya zauTIryamahaMkAro yayA / tathA sA janakasutA kevalaM lUnasya rAghavazIrSasya darzanaM yasyAstathAbhUtA satI / yadIti saMbhAvanAyAm / tena yadi vA vazyA bhavettadA bhavedityarthaH / prakArAntaraM nAstIti bhAvaH / 521.148. yAvad rAmadhanurdhvani: zAmyati tAvadeva nijake svabhAvasidhde na tu bhayAdinimittake nidrAparikSaye sati rAkSasanAtho vibuddho jAgarita : / kiM kurvan / prAkAreNAntaritaM vyavahitam, atha ca kaTakitaM kaTakAtvena senAtvena vyavasthitam / yadvA--kaTakaM valayastadvalakAmAveSTya sthitaM, kapisainyaM raNe mahitaM satkRtamapyagaNayan / etenAhaMkAritvamuktam / 524.149. pracchAdayato'pyarthAdAlApameva saMgopayato'pyasya rAvaNasya hRdayasthita: sItAmaya: samullApa: priyANAM mandodarIprabhRtInAmapyagre mukhanivahe'pi samamekadaiva bahuza: pravartate / sItA sIteti bahuzo jalpatItyarthaH /

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Prakrit Verses in Sanskrit Works on Poetics 671 tenAvahitthA sUcitA / 'bhayagauravalajjAdeharSAdyAkAraguptiravahitthA / vyApArAntarazaktyanyathA (bhA) vabhASaNavilokanAdikarI // ' 567.156. pratyUSarataM pradoSaratAd dUreNAbhyadhikaM prAthamikAdapi pradoSaratAda rasanIyatayAtizlAghanIyaM jAtamityarthaH / tadevAha - kIdRk / vizrambheNa pratyAsatyA vardhito rasa: saMbhogarUpa: zRGgAro mana:prItirvA yatra / dvitIyarate vizrambheNa lajjAvirAhAdutkaNThAyA yathAvadabhivyajjanAt / na tu prathamarata iti bhAva: / atirAgeNAtyanubandhenAtyAsaGgena vA skhalitApagatA zeSeNaikadezena saMsthitA rasanA yatra / zeSasaMsthitA api rasanA atirAgeNa skhalitA ityarthaH / --- evaM ca vigalitamadatvena hetunA nipuNaM caturaM jJAnapUrvakatayAliDganacumbanAdivyApAravaiziSTyaviziSTamityarthaH / prathamarate tu madasattvena rasavizeSamagnacittatayA tAdRzanaipuNyAbhAvAditi bhAva : | --- 619.165. strINAM pati / priya - prAptyA pradoSo nizAdyabhAgo dattaphalo jAta: / asati pati / priya - samAgame dUtIgatAgatena tacarcayA sati ca taddarzanAdinApUrvarasotpatteriti bhAva : / taduttaramAliDganacumbanAdinA ratisukhena nizApi dattaphalA / jAtetyarthAt / AnItA virahAdutkaNThA yena / ata eva anirviNNo'nirvANa uddIpto vA manmatho yatra tathAbhUta: san pratyUSa: paraM galati gacchati / priyavizleSazaGkayA rasavicchedakatvena hRdaye na lagatItyartha: / 621.166. 'nu'zabdo vitarke / candrodyotena mada: kiM vardhitaprasaro vRtta: / madena kiM candrAtapovardhitaprasaraH / dvAbhyAmapi tAbhyAM candrodyotamadAbhyAM madana: kiM vardhitaprasaraH / madanena ca dvAvapi tau candrodyotamadau kimatibhUmimutkarSakASThAM nItau / --- 942.219. yuvatIbhitIjana: sasaMbhramaM sAdaramadhyApyate zikSyate / kiM kRtvA / ISadracitaM vizeSakaM yatra tanmukhaM valitaM sAcIkRtam / ata eva viSamaM tiryag yathA syAdevaM sakhIjanahastAt samAkSipyAkRSya / tathA ca priyasamIpagamanAya mukhamaNDanaM kArayantIbhi: prasAdhakasakhIhastAnmukhamAkRSya tiryak kRtvA prathamapreSita eva-dUtIjana: punarAhaya 'tadaiva sphuritaM kiJcit priyastvayA matAcikamitthaM vaktavyo madAgamanaMca haThAnna vaktavyam ityAdikamatinibhRtamupadizyata iti vaidagdhyaM sUcitam / 'tamAlapatraM tilakaM mukhabindurvizeSakam / 943.219. candrasyAlokena darzanena tejasA vA pratihato nivAritagamanotsAho vilAsinInAmabhisAriNInAM sArtha: abhisaraNaM na gRhNAti kartavyatayA na svIkaroti na ca alakaM saMsthApayati saMyamayati nAyakanikaTagamanAya prasAdhanabhAvenetyarthaH / na ca dUtIM pRcchati kathaM gamanaM syAdityAdikamityartha: / kiM tu mamAvajJAmavaidagdhyamasvAyattiM vA kiM jJAsyati priya: kathaM vA tatsamAgama: syAditi mUDhahRdaya: kevalaM vepate madanAgamanena sa cedanyamAzrayet, athavA mAmanyAnuraktAmavagacchet tadA mayA na jIvitavyamiti bhAvaH / 949.220. priyasya pArthAt samIpAnivRtta Agato dUtIjana: saMmukhamagrato eva alIkamapi 'sa na svayameSyati na vA tvAM neSyati, kintu tavAparAdhAnuktvA parasyAmanurajyati' ityAdi mithyApi yad bhaNati

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672 Prakrit Verses in Sanskrit Works on Poetics dunvatImupatApayantImapi tAmeva kathAM kAminIsArtho bahuzo nivartayati rasanirbharatvAt paruSarUpAmapi 'dUti, sa mAM prati kimuktavAn, kiM vA kariSyati mayA kiMcidatra na zrutam, kiMcidatra na buddham' ityAdi vyAjena zatadhA parAvartya zRNotItyartha: / 951.221. prathamamAnIta: priyatamo yasya tAdRzo vilAsinIsArtho dUtIbhirityanena prakAreNa tulyate (?) / kiM vadati kiM vA ceSTata ityAdihRdayanirUpaNAya pUrvamAnItasyApi priyasya saMgopanAdupahasyata ityartha: / iti kathamityata Aha - he sakhi, dhairyamavalambyatAma / saH / tava priya ityarthAta / udate'pi pradoSe iha na ca eSyati / tathA ca tvayaiva tatra gamyatAm / tena yat syAt tatsyAdityarthaH / atha ca satyamevoktam tvayA dhairyamavalambyatAm / sa iha pradoSe naiSyati, kiM tu saMpratyevAgata iti cchaloktiH / " 975.225. patyurmAhAtmye ---- Vide SP S.No. (520.148) supra. 987.226. nijAnAM kAminInAM samullApAn kathaM kathamapi kaSTasRSTayAnurUpavyAjAbhAvAd vailakSyamapratibhA tayA hasitai rAvaNo gamayatyativAhayati / vaJcayatIti yAvat / / kIdRzAn / IIyA sItAguNAsahiSNutayA yo matsaro'marSaH tena gurukAnapratikSepyAn / evam - adhikSepastarjanAsaMvalitA nindA tatsahita: parivardhita upAlambho'pakAroktiryatra tAn / tathA ca --- sAparAdhatvAdAhAryahAsyenaitA: (kAminI:) prasAdayatItyarthaH / 1027.233. mAnavatInAM hRdaye roSazcireNa prazAmyati / kiMbhUte / anunayaH prasAdanaM tatkSaNe labdhaM sukhaM yena / --- punarapi saMbhRtena (saMsmRtena ?) manyunAparAdhena duHkhite ata eva vihvale vyAkulIbhUte / roSa: kIdRk / praNayena guruko'nunmUlanIya: / tathA ca - yathA yathA praNayAdhikyaM tathA tathAparAdhe sati kopAdhikyamityanunayena prasodonmukhamapi hRdayaM manyubIjasmaraNena nivartata iti cirakAlena prasAdo bhavatIti bhAva: / 1257.273. catvAro yAmA: praharacatuSTayaM tanmAtreNAntaritaM sItAviyogaduHkhaM viSahamAnasya / prAtastadduHkhopazamAditi bhAva: / raghupaterdI? bahutarazca kAlo gata: / saikA nizA paraM na gatA na gataiva / saMnihitasItAsamAgamotkaNThayAtivAhayituM du:sahA babhUvetyarthaH / kIdRzI / na samAtIva bahutarakAlenApi na tulyA tAvatsamayajanyavirahadu:khApekSayA tadrAtrijanyataHkhAdhikyAdiyamevAdhiketyartha: / --- 1273.276. bASpairazrubhiH stimitatvAdgurUkRtaiH, ata eva dUraM vyApya pralambairalakairavasmRtenAcchAditena hastena mukhaM vahantIm / mukhaM haste kRtvA tiSThantImityarthaH / --- tathA ca maNerindranIlatvena tatprabhAvRtaikapArvatvamutprekSyamANamalakeSu nIlatayA tatprabhAtvamavagamayatIti niravadyam / 1299.281. atha vibhISaNAbhiSekottaraM sItAviraheNa vidhuraM kezo yasya tasya rAmasya nizApi vardhitumArabdhA iti jJAyate / kasmin sati / jalanidhau madane cAdhikaM yathA syAdevaM viz2ambhamANe vardhamAne sati / tathA

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Prakrit Verses in Sanskrit Works on Poetics 673 ca mRgAkodayena svabhAvata: samudravRddhirmAdakatvena rAmasya kAmavRddhirityubhayathApi vedanAnubhavAdujjAgareNa rajanivRddhirAbhAsata ityarthaH / -- 1301.281. sItAvirahavidhureNa rAmeNa varSau sItAmuddhatya punardrakSyAmIti pratyAzayA kathaMkathamapi dhairyamavalambya kadambavAtA gmitaa:| duHkhaikhetvo'pytivaahitaa:| meghAndhakAritaM gaganatalaM ca dRSTam / na tu cakSuHsukhahetutvenAvasitam / garjitazabdazca soDho na tu zrutisukhamadhigatam iti yadyapi tathApyasya rAmasya zaradi kathaM kumudavanavAtA gamayitavyAH kathaM ca zaracandrikAdhavalaM nabho draSTavyaM kathaM vA kalahaMsadhvani: soDhavya iti tvakcakSuHzravaNavyApAreNa vaikuvyazaGkayA punarjIvitavyaM mayetyadhyavasAyo nAbhUditi bhAva iti saMpradAya:I--- 1312.283 : Vide SP S.No. (174.77) supra. 1364.291. zirasi dUrAdAlokite sati sItA viSaNNA viSAdamupagatA | kasyaitaditi kRtvA ityrthH| atha rajanIcarairupanIyamAne nikaTaM prApyamANe sati vepitamArabdhA / mamaiva nikaTaM yadAnayanti tatprAyo rAmasyaiva bhavediti kRtvA kampavatI bbhuuvetyrthH| pazcAttaireva rAmazira iti bhaNite sati ni:saMdehA satI mohameva mUcchAmeva gatA / na tu mRtyumapi / sItAjIvitAbhinnarAmajIvitasya vidyamAnatvAditi bhaavH| 1370.292. --- janakasutA patitA 'bhUmau' ityarthAt / bhUmAvapi nipatyAtmAnaM vyApAdayAmItyAzayAt / kiMbhUtA / prasAritamaDgaM yayA tAdRzI / kvacidapyaGge mRtyuheturabhighAto jAyatAmitIcchayeti bhaavH| evaM rajobhRto dhUlipUrNa utpathaprakIrNa: pRSThamapahAya yatra kutracid viparyasto veNIbandho ysyaaH| evam ura:saMdAnitenAdhomukhapatanAdurasAvaSTabdhena mahItalena cakritau yantraNAvazAcakravanmaNDalAkRtIkRtau stanau yasyA: sA / etena stanayorunnatakaThinatvamuktam / 1371.292. Vide SP S.No. (182.79) supra. 1372.293. paralokagate tvayi vyavasAyamAtreNAnumaraNAdinA sukhadraSTavye jAte sati harSasthAne'pi bhavadarzane saMprati mamApattirjAtatyAnandasthAne'pi na dRSTo dazamukhavadho yena tathAbhUtaM mama hRdayaM dahyate bhavadapakartAhato na dRSTa ityeva paraM viSAdabIjamiti vIrapatnItvamuktam / / 1373.293. tayA bASpavimokSo na kRta:, rAmaziro nivarNayituM vizeSeNa draSTumapi na zakitam / kevalaM pratipanna: svIkRto moho yayA tathAbhUtA satI gatajIvito mRtastadvanni:sahA nizceSTA sA mahyAM niSaNNA likhiteva sthitaabhuudityrthH| rodanadarzanAdInAM jJAnasAdhyatvena tadAnIM prasahya mohodayAttatkimapi na vRttamiti "bhaav:|--- 1374.293. sItAyA dRSTistathaiva niyojitA, yathA pUrvaM zirasi niyojitAsIt, punadarzanAntaramapi tathaiva sthitetyrthH| evaM mukta: kapolo yena tathAbhUta: san vidhuro vihvalo hasto yathA pUrvamurasi sthita:, tadAnImapi tathaiva

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674 Prakrit Verses in Sanskrit Works on Poetics sthita:, kintu gatena jIvitena nizceSTA / yadvA - gatajIvitaM mRtakazarIraM tadannizceSTA satI sA sItA kevalaM stanayobharaNa mahItalaM gatA |--- 1375.293. alakaivikIrNatayA zyAmatvenAndhakArIkRtaM mukhaM yasyAH, tathA saMmukhAgata: san kaNThe bhramito veNIbandho yasyAH, itastata: sNcaaraat| sA sItA mohena pratipannamAkrAntaM hRdayaM yasyAstathA satI ISajjalpitenApi niHsahaM kaNThAdizoSAdasAmarthya yathA tathA niSaNNA punarapi mahyAM niptitetyrthH| ni:saMjJA vaasiidityrthH| 1376.293. tasyA mukhaM jAtam / kIdRzam / kSaNaM vyApya nizcalo nizvAso yatra, mUrchayA prANavAyoravarodhAt / evam-moho jJAnAbhAvastadrUpeNAndhakAreNa zyAmA chAyA kAntiryasya, prasAdAbhAvAt / evam-viralamalpaM milite kiMcinmudrite akSipatre pakSmaNI yatra tathAbhUtaM san mUrcchayA hriyamANe parAvartite tArake dRSTigolake yatra tAdRzam / mUrchApUrvAvasthA moh:| yadvA moho'jJAnamAtram, mUrchA tu manovikSobhavizeSa iti bhedH| 1377.294. mUrchAmudritAkSyA janakaputryA tadAnIM kevalaM sukhaM labdham / jJAne sati duHkhamAtrAnubhavAdajJAne duHkhAbhAva eva taditi bhaavH| sukhaM kiidRk| vismRtaviyogaduHkham / evam-tatkSaNe prabhraSTa: prasmRto rAmasya maraNenAyAsa:pIDA --- yatra tat / 1378.294. stanayo: pariNAhena vizAlatayAvasthagite vyApte tasyA hRdaye pratanukamalpamapi na dRSTam / --- (tasyA) dIrgha mahadapi samucchvasitaM ni:zvAsa: kevalamadharoSThe vepanazIle kampite sati sUcyate / vAsaM vinA kathamadharoSThakampa iti paraM taryaMta ityrthH| --- 1379.294. tata: zvAsaparAvRttyanantaraM na pari sarvatobhAvena sphuTo vyakto nizvAso yasyAstathAvidhAtaryamANanizvAsA sA mUrchAvirAme'pi ni:sahaM nizceSTaM yathA syAdevaM patitA satyunmIlitA cakSurunmudraNaM ckaaretyrthH| anubaddhena jJAne sati tadAnImutpannena bASpeNAzrubindugurUkRte yantrite ata eva duHkhena samudvyUDhe uttAnite tArake golake yatra tadyathA syAdityunmIlanakriyAvizeSaNam / 1380.294. ityanena prakAreNa trijaTAkRtaM yad rAmapremakIrtanaM tadeva duHkhahetutvAdduHsaho yo vajrAbhighAtastena duHkhitahRdayA satI sItA saMsmRtya pUrvapremavyavahAramityarthAt / muktakaNThamucairyathA syAdevaM maraNe kRtanizcayApyanyamayaM pUrvarodanApekSayApi zRGgArAtmakatvena vilakSaNaM yathA bhavatyevaM praruditA / yathA yathA mRtasyAnubandhasmaraNaM tathA tathA rodanAdhikyaM bhavatIti bhaavH| 1381.294. rAmazirodarzanAnantaraM janakasutA paridevituM vilapituM prvRttaa| nijakazarIre pratimuktaM karaprahArAdinA saMkramitaM rAghavaduHkhaM yatreti kriyAvizeSaNam / kiMbhUtA / karamArgeNa prahAradvArA kara-rUpeNa vartmanA / yadvA-karaprahArasthAnenotthitaM yacchoNitaM tena vivarNI zyAmatAmrIkRtau payodharau yasyA iti mArdavamuktam / 1382.295. tato'zrutyAgAnantaraM janakasutA jalpituM pravRttA / akasmAdutthitaM samucchvasitaM prANavAyuryasyA: sA punarAgataprANA stiityrthH| trijaTAvakSaHsthalAdutthitA satI samucchvasitA kRtocchvAsA iti vA / punaH

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Prakrit Verses in Sanskrit Works on Poetics 675 kiMbhUtA / urasi ghUrNamAnena veNImukhenodghRSTamutproJchitaM stanalagnaM mahIrajo ysyaaH|| 1383.295. tato'lakAsaMvaraNAnantaramasyA: karayugalamAvegenodvegena samutkSiptamutthApitaM sat payodharau aprAptameva / aspRssttstnmevetyrthH| nijotsaGge kroDa eva patitam / kutastadAha - khedApa (? khedA)gamenAvasIdatpIDayA vihvalam, ata evApavRttaM skhalitam / stanataTaM tADayitumabhIpsorapi tasyAH khedAvasannatayA karayugaM tAvaddUramapi na gatam / kintu kvacidanyatraiva skhalitvA ptitmityrthH|| 1384.295. navapallaveneva vakSasa: prahArAdAtAmeNa ata eva vihvalena mArjanAdyasamarthena hastena tayA sItayA mukhaM parimA? na zakitam / kiMtu ekasminkapole militA: saMvaraNAd vartulIkRtA alakA yatra tAdRzaM kRtam / tathA ca mukhamArjanAbhAve'pi mukhopari vikIrNatvena zirodarzanapratibandhakatvAdalakAnAM saMvaraNaM kriyamANamekakapola eva niSpannaM karasya vihvalatvAddarzanasya tAvatApyupapatte:, aparakapole tu vikIrNA eva te sthitA ityasAmarthyamuktam // 1385.295. tatastrijaTAvacanottaraM janakatanayA sakhyAM ya: sadbhAva: sauhArda tatsadRzaM tadyogyaM yathA syAdevaM trijaTAyA urasi niSaNNA / --- kiMbhUtA / agRhIta idamityamevetyasvIkRtastrijaTAyA upadezo yayA / ata eva prathamaM vyaktirekanizcayAnatena pazcAtrijaTAvAcA saMdehAdapanivartamAnena parAvRttyA gatena jIvitena muhyantI prANasaMdehe sati mohotkarSAditi bhAvaH / 1386.295. trijaTAyA vakSasi tiryaniSaNNAyAstasyA bASpajalaM locanayorvyatikaraNa saMparkeNa / lagnaM sat / vakSasItyarthAt / galitaM trijaTAvakSasi sAMmukhyanaiva. patitatvAlocanasaMbaMdhAdazrusaMbaMdha iti bhAvaH / kiMbhUtam / kapolena yat preraNaM yantraNaM tena pIDayamAnAlakebhya udgataM ni:sRtaM tiryaniSaNNatvAdazruNoraikyamiti bhAvaH / 1387 . (stanajavanonnatimAha / ) bhUmAvadhomukhIbhUya sarvAGgeNa niSaNNAyA api tasyA madhyapradeza udaraM .stana-jaghanena karAlita: sAntarAlIkRtaH san vasudhAM na prApnoti / stanayorjaghanasya connatatvAdubhayato'pyuttolya dhRtatvAdavanIM na spRzatItyartha: / ata eva karAlitapadenodarasyAtikRzatvamuktam / kIdRk / ni:zeSata: kSapitA apagatA valIvibhaDgA yasya tathAbhUta: sannirAyato dIrgha: / dairdhyAdbhayato'pyAkarSaNAta trivalivyapagama ityarthaH / 1388.296. tata: kiJcid vilApAnantaraM rAmasyora:sthale yacchayanaM tatra nirAzaM hRdayaM yasyAstathA satI sItA mahItalasyotsaGge patitA / evaMvidhavipattau putryo mAtu: kroDa eva patantIti bhAva: / kiMbhUte / sphuTitasya zithilatvAt sthAnabhraSTasya veNyA bandhanasya bandhanapAzasya bhaDgenApagamenodgatA: prasRtA:, ata eva viSamA vyastA ye kezAsta eva paryAstaraNaM yatra tatra / kezAnAM tRNAdivadAstaraNIbhAvena bAhulyamuktam / 1389.296. tata: puna: patanAnantaraM prathamaM mUrchitAyA: pazcAcaitanye satyutthitAyAstasyA mukhaM mUDhasyeva paridevitaM

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676 Prakrit Verses in Sanskrit Works on Poetics duHkhaprakAzanaM yatreti mUDhaparidevitamanakSaraparidevitaM jAtam / ceSTayaiva paridevanaM cakAretyartha: / taceSTAmAha - kiMbhUtam / kimetaditi kRtvA kimetadityabhilapya gagane dikSu ca samamekadaiva zUnye manovaikalyena viSayAgrAhake sati pari sarvatobhAvena cUrNite akSiNI yatra |--- 1390.296. tvAM kadAcidapi drakSyAmIpi pratyAzayA tava virahe mayA kathamapi jIvitaM dhRtam / tadeSa mRtastvaM dRSTo'si / ata: phalitA api manorathA mama na pUryante / tvadarzanaM jAtamitI phalitA:, mRto dRSTo'sIti na pUryante / saMbhASaNAdyabhAvAt / --- 1391.296. pRthivI, rAjalakSmI:, ahaM ca tava tisraH palya:, tatra tvadvigame pRthivyAH patirbhaviSyati / ya eva rAjA bhavet sa eva tasyA patirityAzaya: / tathA bahuSu puruSavizeSeSu caJcalA rAjazrI:, ata: sApi rAjJo lakSmIriti pRthivyanugAminI rAjAnameva yAsyati / tAvadityavadhAraNe / mamaivakathaM ni:sAmAnyametadubhayApekSayAsAdhAraNamidaM vaidhavyamupasthitam / tathA cAsatyau te bhavatpArokSyamevecchata: / kulastriyA mama paraM gatiranyA nAstIti mayA martavyameveti bhAvaH / 1392.297. ApAta upakrama eva bhayaMkaram / du:khamityarthaH / --- nirvahaNaM tu paryavasAnaM tu dAruNaM na bhavatIti vijJAyate / yad-hetormahilAnAM bIbhatsaM strINAM nindAkaraM tavAvasAnaM maraNaM mayA dRSTam / na kevalaM dRSTam, api tu soDhaM ca / maraNarUpatadanurUpavyApArAbhAvAt / --- 1393.297. he nAtha, mayAsahyApi rAkSasavasatistvadarzanapratyAzayA soDhA / tatrApi tavedRzamayogyamavasAnaM ca dRSTam / etattato'pyazakyamiti bhAva: / adyApyetaddarzanottaramapi vacanIyena vAcyatayA hataM mama hRdayaM dhUmAyata eva saMtApena mohAndhakArAviSTaM saduHkhamevAnubhavati, na tu prajvalati / tathA ca jvalanapUrvakAlInA dhUmAyamAnAvastheti jvaliSyatyavazyam / kintu rAkSasavAsAgamanakAla eva jvalituM yogyamavasAnadarzane'pi na jvalatIti lokAnAmapavAdena parAstamityahamadhanyeti bhAvaH / .1394.297. tava vizleSa: soDhaH, tathA ca prathamaM tadevAzakyam / tadupari yathA sakhIbhiH saha sthIyate tathA rajanIcarIbhiH samaM vyuSitamiti tato'pyazakyamityetad dvayaM tvAM draSTuM kRtamiti tadAbhavadabhaviSyat / yadIdAnImapi tvadviparyayajJAnAnantaramapi jIvitaM vigalad vyagaliSyat / --- 1395.297. tata: punarazrumArjanAnantaraM punastacchiro dRSTvA trijaTAyAM gate unmukhe locane yasyAstathAbhUtayA tayA mAmApRcchasva saMvada maraNakRtodyamAM mAmanujAnIhIti dInaM zocyaM sakaruNaM vA hAsyaM kRtaM bASpeNa galitatvAnni:sAre akSiNI yatra tadyathA syAdevam / kiMbhUtayA / maraNa eva ekasminneko vA raso yasyAstAdRzyA / tathA ca rAkSasImadhye maraNamiti dainyam, mRtvA haThAdeva rAmo draSTavya iti hAsyam / yadvA lUnazirodarzanottaramiyatkAlameva jIvitAsmItyAtmanindAvazAd dInavihasitamiti bhAva: / 1396.297. he trijaTe, prathamaM rAmavirahe soDhe satyanantaraM dAruNahRdayena pratISTe'GgIkRte vaidhavye ca sati gato ya: snehastena laghukamanAdaraNIyam / yatra viraha eva martumucitaM tatra vaidhavyamapi soDhavatItyaho ni:snehA dAruNA ceti

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Prakrit Verses in Sanskrit Works on Poetics 677 durvAdaviSayatvAditi bhAvaH / ata eva nirlajjamaraNamidaM mama sahasva kSamasva nopahAsaviSayIkuryA ityuktvA sItA puna: praruditA |--- 1397.298. sA sItAnuzocanaM kartuM necchati kaNThazoSAt, parasminniva zatrAviva aGge prahAraM na dadAti ni:sahatvAt, bASpaM na muJcati kiM tu ruNaddhi bahurodanaduHsthacakSuHpIDAkaratvAt zirodarzanavilopakatvAca / tarhi praNayasya nyUnatvamato hetumAha - asyA hRdayaM mano martavye labdhapratyayaM yato labdha: pratyayo nizcayo yena tajjAtanizcayamityarthaH / tathA ca maraNarUpasarvAdhikavyApAre dattabharatvAditi bhAvaH / 1398.298. rAmazirasi rAmazirorUpaM vA baddhamanubaddhaM lakSyaM yayA tAdRzyasyA dRSTirbASpeNa dhAvyate kSAlyate, na tu rudhyate --- / bASpasyAvizrAntapatanAdAlokanApratIghAtAditi bhAva: / kiMbhUtA / lakSyamANo viSAdo yasyAm / evam - abhyadhikamunmIliteM tattvajijJAsayA samyagavistArite / atha ca - vismayAnnizcalasthite nayane golake yasyA: / dRSTirekaiva, darzanaM vA / / 1399.298. tatastatparidevanottaraM hastenonnAmitaM mukhaM yayA / sItAyA ityarthAt / evaMbhUtA trijaTA madhuraM priyaM yathA syAdevamAzvAsayantI satI enAM sItAM bhaNati / kiMbhUtAm / vilapitena niSpandAm / evaM sthAnAd bhrazyatA hRdayena parizUnyaM viSayAgrAhakaM locanayugalaM yasyAstAm / 1400.298. tvaM mA rodI:, bASpaM proJcha, svasya patyurvA aMse parivRttaM tiryagbhUtaM mukhaM tadyathA syAdevamupagUhyAliGgya / patimityarthAt / virahadu:khaM ca smRtvA te tvayA punarapi patyuraGke roditavyaM vizleSaduHkhAnantaraM milane bandhavo bandhumAliGgaya rudantIti tatrApi punarmilanaM rodanaM ca syAdityasthAne nAmaGgalamAcareti bhAvaH / 1401.298. acirAcaM tvaM dAzarathiM drakSyasi / kIdRzam / tava viraheNAvarugNA durbalA atha ca pANDurA mukhacchAyA yasya tam / evaM rAvaNavadhena gataroSatvAt sukhadRzyam / tathA kRtakAryatvAdavatAritena hastAdapasAritena cApena nirvRtaM sukhitam / vyagratA virahAditi bhAva: / 1402.299. acirAca raghusutaste veNIM mokSyati / kiMbhUtAm / ArdrAyamAnAbhyAM tvatsparzAt svidyadbhyAM hastAgrAbhyAM mukulitAni svedasaMbandhAt saMvRttAni pakSmANi asaMyamanAdutthitalomAgrANi yasyAstAm / evaM bhAvodayAdeva vepamAnAbhiragulIbhirutkSiptA: samIkRtA viSamabhAgA yasyAH / proSito bhartA samAgatya prAkRtaM virahiNyA veNIbandhaM mocayatIti bhAvaH / .1403.299. rAmapatane sati ityanena prakAreNa dazAnanagRhodyAnaM kathaM nizchAyaM kAntizUnyaM bhavati / prakAramAha - kIdRzam / mArutena moTitaM viTapaM yatra / evaM mRgAGkakiraNAnAM pratimarSAt saMsparzAnmukulitaM kamalaM yatra tathA / tathA ca rAmapatanaM yadi satyaM syAt, tadA mArutena zAkhAbhaGgazcandreNa kamalasaMkoca: kartuM ki zakyeta / bhavati ca tathA / tajjAnIhi rAmapratApo jAgarUka iti bhAvaH / 1404.299. sakalA --- nizAcarapurI laGkA gRhaparipATyAM samaM yugapannirhAdita: zabdAntarotpAdI ruditaravaH /

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678 Prakrit Verses in Sanskrit Works on Poetics rAkSasAnAmityarthAt / yasyAM tAdRzI / --- ekena hanUmatA kRtA / ata: kathamadha:kSatAdi tadrahitA rAkSasA yatra tathAbhUtaM raghupatanaM bhavet / tathA ca tathAvidhakoTivAnarasahAye tasminnihate koTikoTirAkSasA api nihatA: syuH, atastadabhAve tatkathaM tarkayasIti bhAvaH / 1405.299. dazavadanasyayo darpabhaGgastadutphAlaM tatsUcakaM pramadavanaM pazyantI tvaM samAzvasitavye harSasthAne kimiti muhyasi rAmazira: zaGkitvA viSIdasi / darpabhaGgasUcakatAmAha - rAmAjJaptikaraNa hanUmatA AviddhA: pAtitA drumA yatra tat / tathA ca tadAnImekenaiva plavagena vATikAbhaGga-laGkAdAhAkSamAraNAdizUrakarma niSpratyUhamAcaritam, idAnIM tAdRzakoTikoTiplavagasametayo rAmalakSmaNayo: kA vArteti bhAvaH / 1406.299. he jAnaki, rAghavasya bhujabalaM mA laghukamalpaM pazya jAnIhi / kIdRk / vAlino vadhe dRSTasAram -- atha bANena galahastita: prerito ya: samudrastena datto rAmAyetyarthAt sthalarUpa: panthA yasmAt / atha rodhitaM laGkAvalayaM yena / tathA ca rAme naitatsaMbhAvyamiti bhAva: / 1407.300. he sIte, mUrchAprAptam ata eva patitaM sanniHsahaM nizceSTaM viSaNNamavasannaM ('NisaNNaMgI' iti pAThe niSaNNam) aGgaM yasyAstAdRzI tvaM tathAnirvacanIyaM mohaM gatAsi, yathA iyaM rAkSasamAyA na tu zira iti sphuTaM jAnatI ahamapi viSaNNA / zirodarzanena mama viSAdo nAbhUta, kiMtu tvadviSAdena satyamevaitatsyAditi bhrAntyA viSAdo jAta iti bhAvaH / 1408.300. tatpUrvoktahetordheyamavalambasva / yAvaditi paricchede / idamamaGgalaM rodanAdirUpaM saMprati nazyatu / iyaM ca ziroghaTanarUpA mAyA nivartatAm / kIdRzI / jJAtaparamArthA satI laghukA tucchA kapaTasya vizeSAdarzanamAtrAvadhikatvAt / ato'vadhIritAnAdRtA satI niSphalA bhramAjanikA / tathA ca kapaTatvena nirNIyAvahelayA niSphalayeti bhAvaH / 1409.300. he jAnaki, patiM rAmametAdRzaM jAnatI tvaM zeSapuruSANAM prAkRtajanAnAmanumAnena manuSyatvAdisAdharmyaNa kiM tulayasi sadRzIkaroSi / kIdRzam / tribhuvanAnAM mUlasya kAraNasyAdhAramAzrayam / kAraNamityarthaH / tena jagatsraSTAram / tathA hiraNyAkSata: parAjayAd vihvalena mahendreNa pratimuktA tyaktA, atha svayaM viSNurUpeNa vyUDhA dhRtA raNadhurA yena tam / --- sAdhAraNajanavat kasyApi vadhya iti mA budhyasveti bhAva: / / 1410.300. amilitAni na parasparamekIbhUtAni sAgarANAM salilAnani yatra / evam anaghA avizIrNAH sthitA mahIdharA yatra / tathA anuvRttamupari nAgataM talamadhobhAgo yasyAstathAbhUtA dharaNI chinnaM satpatitaM rAmaziro dhArayatIti kathaM pratyeSi / tathA ca yadi satyaM rAmazira:patanaM syAta, tadA sAgaramilanAdirUpA pralayAdasyotpAtAvasthA vA bhavedityetadabhAvAdidamapyasatyaM manyasveti bhAva: / --- 1411.300. uttiSTha, zokaM muJca, bASpairazrubhiH --- malinitaM stanapRSThaM proJcha / upapattimAha - zRNu patyau samarAbhimukhe satyazrunipAta: zakunanimittaM na vartate / kitvamaGgalanimittamiti bhAva: /

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Prakrit Verses in Sanskrit Works on Poetics 679 1412.301. militAnAM vibhISaNAdInAM zatrusamAgamAdekIbhUtAnAmindrajitprabhRtInAM vA nizAcarANAM purata: suvelamalayayArentarAle nirmita: setupatho yena tathAbhUte / tadanu preritAni AndolitAni trikUTasya savelasya zikharANi yena tAdRze rAghave / --- ki prazne vismaye vA / tava agrahaNamanAdaraH / yattasminnapyevaM saMbhAvayasIti bhAva: / 'grahaNaM trayamicchanti jJAnamAdAnamAdaram / ' 1413.301. ca punA raghunAthaM muktvA kena vAnyena dazavadana: kapiruddhatvAt prAkAramAtreNAntarita: san niSprabhaH kRtaH / tathA ca rAmeNaiva kRta ityarthaH / kIdRk / avarodhajanyayA lajjayAgatai: svedaibindUyamAnaM bindubhiH pUryamANaM mukhaM yasya sa tathA / --- 1414.301. he jAnaki, snehena bhaNitamaktama / me vacanamahaM rajanIcarIti mA jagapsasva mA garhaya / arthAntaranyAsamAha - udyAne gahArAme vane'raNyeca latAnAM yat kusuma surabhi tadeva gRhyate / nodyAnamiti badarIvibhItakAdInAM gRhyate, na vA vanamiti sugandhipATalAdInAM tyajyate / ---- grahaNaparihAsyorudyAnavanAditvamupAdhina prayojaka: kiM tu saurabhAdiritivat prakRte'pi vacanasya priyatvaM vicAryatAM rAkSasItvamaprayojakamiti bhAvaH / / 1415.301. he sakhi, rAghavamaraNaM yadyalIkaM mithyA na bhavettadA tvayA jIvantyA kimu / kiM prayojanamityarthaH / tarhi tava maraNameva zreSThAmiti bhAva: / ---- raghunAthe punaranaghe'kSate jIvati vA tava maraNena vidhuraM du:khitaM mama hRdayaM yataH, tata: saMprati kAmyati / tathA ca rAmo jIvatyeva, tvaM vRthA nAtmAnaM vyApAdayeti bhAvaH / 1447.306. patyurvirahe pratikUlA mAM pratyasaMmukhI sItA saMprati patyAvupagate sati kathaM saMmukhahRdayA bhaviSyati / arthAntaranyAsamAha-kamalinI itarathApyanyathApyanudite'pi dinakare zazinaM necchati kiM punardRSTe sati / ---- atra kamalinIprAyA sItA, zaziprAyo rAvaNaH, sUryaprAyo rAma: / / 1448.306. zazikarA: pAdapAnAM chAyA: (karmANi) grahItuM --- nAzayitumityarthaH / na zaknuvanti vRkSatale tAsAmatighanatvAt / kintu anubadhnanti veSTayanti / kiMbhUtAzchAyA: / bahale'pi tamonivahe nirvAhya pRthakkRtya satyApitaM rUpaM yAsAM tA: / grAhyatvena sthirIkRtarUpA ityartha: / ---- zazikarA: --- tamonivahamunmUlya tata: pRthakkRtyApi chAyAM vRkSatalamAzritAM grahItum (nAzayitum) apArayanta: parito veSTayantItyarthaH / * 1474.310. yAvat sandhyA gacchati tAvadeva tamAlavat kRSNaM tama: kartabahulaM sandhyArAgaM kAJcanakaTakamiva pratiprerya avapAtya sthitam / ka iva / hRtakardamasya suragajendrasya nigharSoM gAtragharSaNasthAnamiva / so'pi gAtrasaMbaddha-kardamasaMbandhAtkRSNa:, kaNDrayanAdividhinA girikaTakaM bhaktvA tiSThatIti sAmyam / suragajagAtrIyatvena mahattvamapyuktam / --- 1475.310. sarvatra samatayA sthitamapi timiramIdRzaM dRzyate / kIdRzam / Asanne nikaTake praviralaM stokavyavadhAnaM bahalaM nikaTApekSayA bahulaM dUre ghanam, tadapekSayApi nibiDam / ata eva avabhagno dRSTiprasaro yatra viSayANAmagrahAt / sarvatrAsannAdiSu bhagnadRSTiprasaramiti vA /

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680 Prakrit Verses in Sanskrit Works on Poctics 1483.311.zazinA vanAni prakaTyante sphuTIkriyanta iva / kiMbhUtAni / viTapAnAmantareNa randhreNa viralaM yathA syAttathA patitAzcandrasya karA yeSu / ata eva bhinnaM khaNDitaM tama eva, tamasA vA, durdinaM yeSu / ata eva stokamalpaM sukhAlokAni / ISatkarapAtAt / AlokastejazchaTA vA / ata eva chaTAsaMbandhAnmugdhaM manoramaM pallavaM yeSAM tAni |--- 1545.322. vilAsinInAM sArtho vepate zvAsaM tyajati kAntiM yAti, ni:saha: san zayane'GgAnyAmuJcati tyajati tanna . viziSya jJAyate ki rAmAd bhIta uta pakSAntare madanaparatantra: / vepanAdikAryANAM . bhayamadanobhayasAdhAraNatvAditi bhAva : / 1549.323. candrasyAlokena darzanena tejasA vA pratihato nivAritagamanotsAho vilAsinInAmabhisAriNInAM sArtha: abhisaraNaM na gRhNAti kartavyatayA na svIkaroti, na ca alakaM saMsthApayati saMyamayati nAyakanikaTagamanAya prasAdhanabhAvenetyarthaH / na ca dUtIM pRcchati kathaM gamanaM syAdityadikamityarthaH / kiM. tu mamAvajJAmavaidagdhyamasvAyattiM vA kiM jJAsyati priya: kathaM vA tatsamAgama: syAditi mUDhahRdaya: kevalaM vepate madanAgamanena sa cedanyamAzrayet, atha vA mAmanyAnuraktAmavagacchet tadA mayA na jIvitavyamiti bhAvaH / 1647.337. janakaputryA sItayA trijaTAyA: sneho vAtsalyaM dayA anurAga: prItistatpUrvakasya bhaNitasya phalaM. tAtparyaparyavasAnaM vA dRSTam / matprItyA yathaivAnayA kathitaM tathaiva jAtamiti jJAtamityarthaH / kutra sati / mAyayA janite mohe gateplavagAnAM samaranimise saMnAhasya rave saMnahyatAM saMnahyatAmityAdirUpe zrute sati / dvAbhyAM rAmasattAnizcayAditi bhAvaH / *34.347. : Vide SK S.No. (164.75) supra. 49.350. te sahyaM giriM prAptAzca / kIdRzam / zIkarairAhataM yad gairikAdizilAtalaM tatra niSaNNA ata eva rAjitA: zobhitA rAgaprAptatvAjjaladA yatra tathAbhUtam / nijazIkaraNa dhAtUnAM paDIbhAvAttatsaMbandhena meghAnAM lauhityamiti bhAva: / etAvatA uccatvamuktam / evam, nirjhara eva prahasitaM yatra tAdRzI yA darI saiva mukhaM tasmAnniSkrAnto bakulameva madirA tadAmodo yatra tAdRzam, tathA ca kaMdarArUpamukhAnnirjharasvarUpahAsyodgamasamaye bakulapuSparUpamadirANAmAmodo niryAti nirntrmityrthH| iti vikaTodaratvamuktam / anyasyApi hAsyasamaye madirAmodo niryAtIti dhvaniH || 51.350. dhanuSi arthAdrAmasya dhUmena kaluSe dhUne sati nabhastalaM dhUmAyate / evaM jvalannArohajIvAbandho yatra tathAbhUte vanimayapataJjikAropaNazAlini sati jvalati / tathA rasacchabdAyamAnaM zikharaM yasya tathAbhUte sati pratiraveNa pratipUrNA dizo yatra tathAbhUtaM sadrasati zabdAyate / tathA ca tyaktavyAgneyazaropakaraNatvena dhanurapyAgneyamiti tato gaganavyApinI dhUmadhoraNirudatiSThata / pataJjikApyAgneyIti tadatthito vhniyomaajijvltpraattnau jyAprAntanivezanAduttiSThanpAkaja: zabdo vizvaM vyAnaza ityarthaH /

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Prakrit Verses in Sanskrit Works on Poetics 681 52.350. tato rAmo'pi bhaNati / kiM kurvan / svIyena dhIrodAttatvAdiguNaprasUtena yazasA udadhestathAvidhameva yaza:, svIyena ca maryAdAnatikramalakSaNena dhairyeNa tathAvidhameva tasya dhairyam, parAnatikramaNIyatAlakSaNayA ca nijayA gurutayA tAdRzImeva tasya gurutAma, ucAkcatvazUnyatArUpayAvasthityA tadrUpAmeva tasya sthiti samAkrAmaMllaghUkurvannityarthaH / tathA cAtIva dhairyAdigaNasaMvalitamaktavAniti bhAvaH / 71.353. .Vide SK S.No. (5.44) supra. 72.354. yasya kRSNarUpiNo madhumathanasya bhujAntau hastau tAbhyAM niSThuraM yathA syAdevaM pari sarvatobhAvena gRhItaM dhRtamariSTasya vRSabharUpiNo'suravizeSasya kaNThaM karma jIvitaM kartR (duHkhena) vyatikrAntam / apagatamityarthaH / --- kaNThaM kIdRzam / pInatvena durgrAhyam / ata eva viSamaM viparyastaM yathA syAdevaM valitaM vakrIkRtam / AmoTitamiti yAvat / pInatvena samyag dhartumazakyatvAt / atra jIvitasya duHkhavyatikramaNe viSamavalanaM hetu: / tasya ca niSThuraparigrahaNam / tasya ca durgrAhyatvam / ityuttarottaraM prati pUrvapUrvasya hetutvamiti hetuparamparAlaMkAraH / kiM ca viSamavalanAd RjumArgAlAbhena jIvitasya kaNThAd duHkhena nirgamo bahirgamanaM puNyaheturityAzayeneva sadu:khaM niSkramaNamAsIdityutprekSA vyajyate / 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. sakalA udyotitA arthAt kIrtyA vasudhA yena / samastajIvaloke vistIryamANa: pratApazca yena / tAdRze kIrtipratApazAlini satpuruSe vidhAnaM prakRtakAryAnukUla: prakArastaccintApatitApi malinatA ciraM na tiSThati / ravAviva / atra pakSe udyota: kiraNastacchAlitvamudyotitatvam / pratApa auSNyam / vihANazabdo dezyAM prabhAtavAcI / tathA ca yathoktavizeSaNadvayavati ravau vibhAta (- prabhAta-) patitA malinatA prakAzavizeSAbhAvAzciraM na tiSThati tathA satpuruSe'pi / tathA ca vizeSaNadvayaviziSTo rAmaH prakAra cintayannitthamAste / tatsphUrtI mAlinyamapi jayAt svakAryaM ca kuryAdapakarSamAtramasmAkaM syAditi bhAva: //

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682 Prakrit Verses in Sanskrit Works on Poetics 118.363. : Vide SK S.No. (511.146) supra. 119.363. viSavega iva prasRto bahalo dhUmotpIDo yaM yaM mahodadhe rudhiramiva vidrumaveSTaM pravAlamaNDalamabhilIyate mIlati taM tameva kajjalayati kajjalamiva karoti / zyAmalayatItyarthaH / tathA ca dhUmo na bhavati kiM tu zyAmatvAd du:khahetutvAca viSam / vidrumamaNDalaM na bhavati kiMtu raktatvAt samudrasya rudhiramityAzaya: / anyatrApi sAdiviSaM vapuSi pravizad rudhiraM vyApya zyAmIkarotIti dhvaniH / 120.364. tatasteSAM vAnarANAM nijakaM svAbhAvikaM prakRtInAmAkRtInAm / zarIrANAmiti yAvat / caTulatvamapi vigalitaM ---- zarIracAJcalyamapi na sthitamityarthaH / evaM hatA chAyA kAntiryatra tat / nizcalA locanarUpA zikhA yatra tat / --- proSito naSTa: pratApastejo yatra tad yathA syAttatheti kriyAvizeSaNatrayam / tathA ca teSAM dehakAnti-nayanacAJcalyapratApAnAM cAJcalyarUpasvAbhAvasya cApagama: samakAlameva vRtta iti tAtparyam / keSAmiva AlekhyAnAM pradIpAnAmiva / --- tathA ca vAnarA: prakRtyA caJcalA api mohAdapratibhayA ca samudraM dRSTvA nizcalA bbhuuvurityrthH| 139.367. Vide SK S.No. (174.77) supra. 140.367. Vide SK S.No. (173.77) supra. 143.368. he plavagapate, raghupate: priyamidamiti kRtvA vipriyaM kartuM kimicchasi / kiM kurvan / dazavadanaM hantuM vimRgyannicchan / raghupateH kIdRzasya / AtmanA svayameva dazavadanaM hantuM satvarasya / tathA ca tvatkartakarAvaNavadhasya priyatve'pi mayaiva rAvaNo hantavya iti pratijJAbhaGgarUpatvena vipriyatvam / evaM ca tava rAvaNavadhe sAmarthyameva kiM tu rAmapratijJAbhaGgarUpatvenAkartavyamiti bhAvaH / 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. nadIsrotAMsi girINAM mArgeNa prasthitAni / girINAM yAvasthA sA nadInAmapItyarthaH / tadeva Aha - yadA giraya unmUlitAstadA yathA teSAM bhUsaMbandha: khaNDitastathA srotasAmIpItyartha: / evamanyatrApi / yadA giraya utkSipyamANatayA RjUkRtAstadA tAnyapi RjukamapasRtAni / RjUbhUya patitAnItyartha: / ArjavamAtre taulyam / evaM yadA girayastiryaDnabhasi nIyamAnA dIrghA iva jAtAstadA tatpRSThAkAzadeze vyavacchidya patitAni srotAMsi nirAyatAni pavanavegavazAciraM dIrghANi jAtAnItyarthaH / 155.371. vepamAneSu taraGgeSu pratimayA pratibimbena patitaM saMkrAntaM zazibimbaMghUrNate vepate / samudre candrabimbastaraGgakampena

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Prakrit Verses in Sanskrit Works on Poetics 683 kampita iva bhAsate / kimiva / udadherhadayamiva / candrasya pratibimbo na bhavati kiM tu samudrasya hRdayaM tat kampata ityartha: / kampe hetumAha hRdayaM kIdRk / yathA yathA nizA samApyate samAptiM gacchati tathA tathA aniSTakAlasAMnidhyena kiMkartavyavimUDhaM, upoSito rAma: krudhyana prAta: kiM kariSyatIti kSobhAdekato rAmaprAyopavezanamAtmopamardaH parato lAghavaM tanmayA ki kartavyamiti kartavyatAmUDhamityuprekSA / 163.372. : Vide SP S.No. (82.57) supra. 164.372. vimarditamitastata: saMcAreNa ghRSTaM rasAtalaM yena tAdRzenApi viSadharANAM patyA zeSeNAdRSTo mUlacchedo mUlabhAgo yasya tamiti / pAtAlAdapyadhovartimUlapradezAmityartha: / dvisahasradRSTinA dUrAdapi draSTuM na zakyate, kiM puna: spraSTumiti bhAva: / evaM tribhuvanasya bharaNaM svadehena pUraNaM haraNamAkramaNaM vA tadarthaM parivardhitenApi hariNA trivikrameNAprAptAni hastenApyaspRSTAni tuGgAni zikharANi yasyetyanavacchinnamastakamityarthaH / 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. co hetau / yato'sya rAvaNasya samadane sakAme hRdaye'nyasminnapyabhISTavastuni cintite sati saiva tiSThati / 'saMkalpavazAt sItaiva cintAviSayIbhavatItyartha: / ata: pralokite darzane darzanakarmaNi vA tAmeva pazyati / rAvaNa ityardhAt / ullapaMzca tasyA eva gotraM nAma gRhNAti jalpatIti manasi vacasi cakSuSi sarvatraiva saiva sphuratIti viSayanivRtti-cintAsaGgasaMkalpAdInAM sAMkaryam / 370.415. Vide $P S. No. (1414.301) supra. 371.415. tava idamavasAnarUpaM karma puruSANAM sadRzama / paMsA dAraharaNe sati yaddhAdinA tadavAraH kartavya:, saMmukhe vA martavyamiti yogyamityarthaH / nizAcarapatinA ca rAkSasAnAM sadRzaM krUraM karma kRtam, corikayA mamApaharaNaM kRtama, bhavAnapi hatvA mamopadarzita: / tadyogyameveti kathaM tAvanmahilAnAM sadRzaM cintitenecchayA sulabha me maraNaM na saMpadyate bharturanumaraNaM strIbhiH kriyata iti tadyogyam / tathA ca yasya yadyogyam, tena tatkRtam / mayA tu na kRtamityahamavizvasanIyeti bhAva : / 375.416. yasyArdhanArIzvaramUrtervAmArdhaM gaurIzarIraM vAmabhAgo vepate / valituM vakrIbhavituM mahati vAJchati / nRtyabhramiM kurvati

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684 Prakrit Verses in Sanskrit Works on Poetics maheze strIsvabhAvena bhayAditi bhAva: / kiMbhUtaM vAmArdham / savrIDaM salajjam / evaM pulakenAcita: stanakalazo yatra tat / --- dvitIyAvakAzaM dakSiNArdha prati gamane utsukamutkaNThitam strINAM bhayena svAmiparirambhaNamiti svabhAva: / punaH kIdRzam / premasvabhAvena priyaM pratyanurAgeNa (vimugdhaM athavA) vimuSitaM kiMkartavyatAmUDham / tatra gamane lajjA agamane bhayamiti dolAyamAnam / ata eva gamanecchAmAtram na tu kRtiriti tAtparyam / vastutastu bharturnutyakAlInakaTAkSabhujakSepAdibhirutpannasAttvikavikAram / ata eva . salajjaM kAmotpattyA dakSiNArdhamAliGgitumutkaNThitamapi lajjayA nivartamAnaM vepate / pura:pazcAt saMcArazIlamityarthaH / * 15.439. sugrIvoktyA krodhAcAJcalyAca kumudena hasitaM hAsyaM kRtam / vighaTamAnau vibhinnAvoSThapuTau dalaM yatra tad yathA syAt tathA sphuranto dantakarA eva kesaraprakaro yatra tad yathA syAttathA surabhigandhasyodgAro yasmAt tad yathA syAditi ca kriyAvizeSaNam / tasminsati praharSa eva candrastasyAloke prakAze sati / tathA ca praharSodgamena kumudasyApi hAsyodmAdoSThapuTayorvibhAgo dantakAntiprakAzo . mukhAt / tAmbUlAdisaurabhanirgamazca babhUveti vAkyArtha: / dhvanyarthastu - prakRSTo harSo yasmAdetAdRzasya candrasyAloke tejasi sati kumudaM hasati vikasati / tena tasyoSThapuTaprAyadalAnAM vibhAgo dantaruciprAyakesarANAM sphuraNaM saurabhasya codgamo bhavatIti sAram / / * 16.439. mandara eva meghastena kSobhita Andolita: zazyeva kalahaMsastena parimukta:salilotsaGga yasya tam / anyatrApi meghamAlokya haMsA apagacchantIti dhvaniH / tathA ca AndolanenAmuSmAccandra utthita ityarthaH / evaM marakata eva zevAlaM tatra niSaNNamupaviSTaM mIna eva cakravAkastadhugaM yatra tam / mandaraparighaTTanabhiyA tUSNIbhUya mInA: pAtAlamUle sthitAstena tatra mandarasaMbandhAbhAvAdasya gAmbhIryamuktam / haMsapalAyanaM dRSTvA bhItazcakravAkastUSNIM tiSThatIti dhvani: / 18.452. tayA bASpavimokSo na kRta:, rAmaziro nirvarNayituM vizeSeNa draSTumapi na zakitam / kevalaM pratipanna:svIkRto moho yayA tathAbhUtA satI gatajIvito mRtastadvanni:sahA nizceSTA sA mayAM niSaNNA likhiteva sthitAbhUdityartha: / 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. te girinadIpravAhAn sevante / darzanasparzanamajjanAdibhirityartha: / ---- kiMbhUtAn / tIre vardhitA ata eva

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Prakrit Verses in Sanskrit Works on Poetics 685 nijakabhAreNaivApavRttA viparItya sthitA yAzcandanalatAstAbhirAzliSTAniti candanasaMbandhAt surabhitayA peyajalatvamuktam / evaM jalasaMbandhAd ramyANi taTayoryAni tRNAni tairdIpro dUradRzyaH panthA ni:saraNamArgo yeSAM tAn / haridvarNatRNairevobhayataTodbhUtairdUrata eva jJAyate pravAhapatho'yamiti bhAva: / tathA vanagajadAnajalena kaTUn / etAvatA tatsaMbandhena svAdasya hRdyatvamuktam / 66.461. ubhayaM taTaM vyApyAbaddhasaMkramasvarUpe nalapathe vAnarabalaM saMcarati / kIdRze / zaGkhakulavaddhavalAni kamalAni yatra / dvayorapi sattvAt / evaM sphuTamarakatavat haritapatrabhaGgAnAm / vRkSasaMbandhinAmityarthAt / nighAto yatra / vidrumeSu militAni kisalayAni yatra tAdRzi | samAnarUpatvAt / tathA ca samudrIyavastubhiH samaM setuvastUnAmatimizraNena samudreNa saha setoraikAtmyamuktam / 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. RtunA vasantAdinA dvamANAM drumebhya: sahakArAdibhya: / caturthyarthe SaSThI / kusumaM dIyata utpAdyate tat .. punarAtmanaiva na hiyate / na nAzyata ityartha: / kIdRk kusumam / vikasat / rajobhi: parAgai: kaluSaM vyAptam / evaM makarandarUpeNa rasenAdhmAtA unmattA madhukarA yatra tat / tathA ca na kevalaM puSpadAnamAtraM kiM tu tasya vikAsAdisakalasAmrAjyasaMpattirapi Rtunaiva kriyata iti bhaavH| tathA ca RtuvRkSayorivAvayorapi bhUSyabhUSakabhAva iti / yatra acetanenApi dattaM na hriyate tatra bhavataiva dattA maryAdA svayameva hartuM na yujyata iti tAtparyam / 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. sa dhUmrAkSo raNAya niraiti / ratheneva roSeNa samam / yathA rathena saha nirgacchati tathA roSeNApi sahetyarthaH / evam - utsAhena saha yathA tathA nizAcaravalenApi sahetyarthaH / kiMbhUtaH / yathA bhujaM (? dhvaja) tathA praharSamAnandamapi / evam - yathA vikramaM tathA vairAbandhamapi vahamAna iti sarvatra sahopamA / 16.514. Vide SK S. No. (120.364) supra. 25.516. Vide SP S. No. (194.82) supra.

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686 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. (atha velAM varNayati) --- udadhireva gajendra iti rUpakam / tasya dAnalekhAmiva madadhArAmiva sthitAmityutprekSA / madalekhAtaulyamAha puna : kIdRzIm / vikasitaM yattamAlapuSpaM tena nIlAm / tamAlasya zyAmatvAt / evaM vAraMvAraM caJcalakallolarUpeNa kareNa parimRSTAm / bhUyobhUyastaraGgasaMbandhAt / evaM phulaM yadelAvanaM tena surabhim / madalekhApi tamAlavacchyAmA caJcalataraGgavad ya: kara: zuNDA tathA parAmRSTA phullailAvanavat surabhizca bhavatItyarthaH / 7.582. atha prabhAtAnantaraM gamito samApito nizaiva samayo'vadhiryatreti kriyAvizeSaNaM gamitanizAkAlaM vA / samudre ' ' gambhIratve dRDhasthite gAdhatAmanAgacchati sati roSo rAghavavadanaM vilagnaH / etannizAyAmapyagAdha eva samudra: sthita iti krodhasUcakavicchAyatvAdidharmaviziSTaM rAghavamukhamAsIdityartha: / ka iva / candramaNDalamutpAto rAhuriva / yathotpAtazcandramaNDalaM lagati / rAkSasanAzasUcakatvena roSasya prajAnAzasUcakacandrotpAtatulyatvam / .: 8.582. sthAna eva sphiTito bhraSTo'pagato divaso rAtri vyApya bhramitvA dvIpAntaraM gatvA gaja iva pratinivRtta: punarAgataH / yathA bandhanasthAnAd bhraSTo gajo rAtrau bhramitvA pratinivartate prAta: svasthAnamAyAtItyarthaH / sAmyamAha - kIdRka / saMkSobhitaM kamalapradhAnaM saro yena / pakSe saMkSobhitaM zuNDAdyabhighAtenopamarditam / evam - sandhyAtapa evAtAmro dhAtukardamo gairikapaGkastad viziSTaM mukhamupakramo yasya / pakSe sandhyAtapavadAtAmra ityarthaH / taTAbhighAtAdinA mukhe gairikasaMparkAditi bhAva : / 9.583. ityanena prakAreNa niyamito niyantrita: sugrIvo yena sa pitAmahatanayo brahmaNa: putro jAmbavAn rAmAntena valita: / rAmapArzvena vakrIbhUyAbhimukhIbhUta ityartha: / pralayadhUmotpIDa iva yathA pralayadhUmasamUha: parimRSTamAsphAlitaM meruzikharaM yena tathAbhUta: san sUryasyAbhimukho bhavati / sthiratvAduttuGgatvAt kapilatvAca zikharaprAya: sugrIvaH / tejomayatvAt sUryaprAyo rAmaH / zyAmatvAcAdutthitatvAca dhUmaprAyo jAmbavAn || . 10.583. kamalaM gRhyate hastenAdIyate / lokairityarthAt / (? -- kamalaM mukhamiva gRhyate arthAt, pathikaiH smaryate) atrotprekSate - khaNDitamathotpATitamutthApitaM mRNAlaM yasyAstAM nalinI zithilA ratikAlInakaraparAmarzana viparyastA valayA yasyAstAM priyAmiva dRSTvA / --- kIdRkkamalam / madhumayamata evAtAmram / evaM madhukarINAM madhura ullApo yatra tattathA / kamalopamardaina madhukarAdidhvanisaMbhavAt / mukhamapi madhumadenAtAmramISallohitaM madhukarIvanmadhura ullApo yatra (tAdRzaM ca) / cumbanAdisamaye madhukarAdidhvanikaraNAt / --- 12.583. Atmano vinirgataM bahirbhUtaM jalasamUhaM pibantaM kroDIkurvantam / ---- sakalajalavizrAmabhUmimiti bhAvaH / taduktam - 'payasAmarNava iva' / jalanivahaM kiMbhUtam / mukharA: zabdAyamAnA ye ghanA meghAstairviprakIrNamitastato

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Prakrit Verses in Sanskrit Works on Poetics 687 vikSiptam / ata eva bhRte vyApte mahInabhovivare yena / vRSTikAle bhUmyAkAzavyApanAdityartha: / evaM nadImukhena nadIpravezasthAnena paryasyantamitastato gacthantam / samudrataraGgabhighAtAditi bhAva: / atha ca samAsoktyA samudrasya nAyakatvaM nadInAM ca nAyikAtvaM pratIyate / ----- jalanivahaM kimiva / yaza iva / samudrasyaivedaM jalamiti kIrtirUpamiva / anyo'pi yaza: pibatyAsvAdayati / kIdRzaM mukharA mAgadhAstairviprakIrNamitastata: prakAzitam / evaM vyAptAkAzamahIpAtAlam / vivaraM pAtAlam / evaM natimukhena . yAcakena paryasyad dizi dizi gacchat / atha cAtmana eva nirgatam / svayaza: svasmAdeva nirgacchatIti bhAvaH / 14.584. nizAcarapatinA rAvaNena dRSTiviSA: sasteSAM gRhaM pAtAlaM vivaraM vA viSauSadhiriva viSanAzakamauSadhamiva sItA rAkSasavasatiM laGkAmupanItA / yathA sarpagRhe gadya (?) rUpaviSauSadhanidhAnena sarpA vinazyanti tathA laGkAyAM sItopanayanena rAkSasA vinajhyantIti bhAva: / rAvaNena kIdRzena / ciraM vyApya bandIkRtadevastrINAM parigrahe labdhAsvAdena / tathA ca kAmonmattacittatayA sItAmapyapahRtavAnato na sthAsyatIti bhAva: / 18.584. ravibimbaM vidrumavaMdAtAnaM dRzyate / kIdRk / sindUreNAhatasya spRSTasya gajendrakumbhasyeva cchAyA kAntiryasya lohitatvAt / evaM mandaradhAtubhiH kalaGkitasya mathanasamaye rajjubhAvena gharSaNAdratIkRtasya vAsukermaNDalaM valayIbhAvastadannizcakralaM vartalamiti saMdhyArAga uktaH / 24.586. rAmabANenAbhihato yathA vaDavAnalo jvalati agnisaMbandhAdadhikaM vardhate tathodadhirapi jvalati / evaM tata eva yathA tatratyazaila: sphuTati tathodadhirapi sphaTati / vahanisaMbandhAta / evaM rAmazarAbhihato yathA jalapAnArthamAgato jalada: pIDayA rasati zabdAyate tathodadhirapi rasati / zarAnalasaMghaTTAt / rAmabANenabhihata: samudropari saMcArI mAruto yathA tIraM lavayati tadatikramya gacchati tathodadhirapi tIramatikrAmatIti sahopamA / . .. 25.586. tamaso nivaho mahItale bhRto vyApta: san bhUmiSThaM vastujAtaM vahatyudhatIva bhUmivadAdhArIbhUtatvAt / pazcAt pRSThato nodayatIva pRSThacara iva purovartinam / purato'gre dhArayatIva pRSThapAtukaM purovartIva pRSThato'nodane'pyapatanAt / pArzvayo : sthita: san prerayatIva yantrayatIva yantravat siddhArtham / teSAmevopari sthita: san gurukAyata iva patitagRhavaditi vahana-nodana-dhAraNa-preraNa-gurutvAnubhavena vyApakatvaviziSTa mUrtatvamatprekSitam / 26.586. Vide SP S. No. (160.74) supra. 27.586. Vide SP S. No. (165-75) supra. 28.586. kalahaMsAnAM rava: zrUyate / natamityarthAt / kalo haMsarava iti vA / kIdRk / manmathadhanuSo nirghoSaSTaMkAraH / mAdakatvAt / jyotsnAdhavalAyAM rajanyAM vizvameva jetavyamiti dhanuSaSTaMkAraH / evaM kamalavanAt skhalitAyA lakSmyA nUpuranAdaH / tathA ca rAtrau saMkucatkamalavanamupadrutaM parityajantyA haThAt saMcAra : skhalane bIjam / tathA nimIlanarUpavipaddazAyo madhukarIbhirvyAhatAyA nalini kvAsi kiM karoSItyevaM pRSTAyA nalinyA ihAsmi

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688 Prakrit Verses in Sanskrit Works on Poetics saMnihitA bhavata ityevaMrUpa: pratisaMlApa: pratyuttaram / loke'pyeko vipadgrastaM vAdayati sa puna: pratyuttarayatIti / --- 29.587. Vide SP S. No. (25.47) supra. 42.589. tatastadanantaramasya rAmasya vigalitaM dhRtaM yaddhanustanmAtre vyApRta: kRtamuSTipIDanAdivyApAro vAmabhujo'nya eva jAtaH / svAbhAvikarUpAtiriktaraudrarUpodayAt / kIdRk / ciraviyogeNa tanuka : kRza : / evaM sadA bASpeNAvamRSTastata eva mRduka : komalo jIvA jyA tadAghAtastadgharSaNakiNo yatra / dhIrodAttatvAd rAtrau vAmapArzvana zayAnasya rAmasyopadhAnAbhAvAduSNasaMtApAzrusaMbandhAnmRdUkRtajyAkiNa ityartha : / tathA ca tanutva mRdutvAbhyAmanukampanIyo'pi vIrarasodrekAdutpulakatvena puSTa: kaThinazca vRtta iti bhaavH| 43.589. tato varSAnantaraM zaradupagatA / kIdRzI / haripate: sugrIvasya yazomArga : / zaradamAlambya tasya setubandhanAdiyaza: prAdurbhAvAt / evaM rAghavajIvasya prathamahastAlamba : / setubandha- rAvaNavadha - sItAsamAgamAnAM dvitIyatatIyacaturthAnAmapekSayA zaradeva prathamo hstaalmb:| zaratprAptireva tasya duSkarAsIt / tasyAM tu. satyAM sarvamidamISatkaramiti bhAva : / evaM sItAyA bASpANAmazrUNAM vighAto'vasAnam / rAmasamAgamAdhyavasAyAt / vadhamahatIti yatpratyayena vadhyamiti sAdhu / tathA ca dazamukhasya vadhArho divasa iti sarvatra rUpakam |--- 45.590. muktaM salilaM yaistAdRzA meghA:, abhinavAni dattAni phalAni yai :, athavA tatkAladattAni phalAni yaistAdRzA vRkSasamUhA : samaramukhAdavahRtA avapAtitA maNDalAgrA: khaDgA yebhyastAdRzA bhujA laghavo'pi guravo bhavanti ayaM bhAva : . - meghavRkSabhujA jala[phala khaGgasattAdazAyAM gauravayuktA: sthitA:, 'atha jalAdInAM mukti-dAna-tyAga dazAyAM laghubhUtA api santa: sasyotpati - tRpti - zatrukSayAdirupakAryakAritvenAdaraNIyatArupagauravayuktA eva bhavanti / tathA ca bhavadbhujA api kRtakAryA gurubhaveyu:, ... iti bhAva : / virodhAbhAsasUcanAyApizabda: / 47.590. rAmo mRgAGkakiraNAn kalaGkisaMbandhitayA nindati / kusumAyudhe khidyate kusumabANo'pi kulizeneva nihantIti manodu:khaM labhate / rAgajanikeyamiti rajanI jugupsate nindati / atha priyA sItA jIvediti mArutiM pRcchan virahajanyavaikuvyena sahajata: kSINo'pi kevalamatyarthena kSIyate / sItAjIvanasaMdehAditi bhaavH| atrApyamaGgalaparihArAya jIvediti bhAvamukhena prazra : I... priyA jIveditI mArutiM pRcchan / tathA ca priyA yadi jIvettadA mama jIvanatyAgastahaHkhAya syAditi jiivtiitybhipraay:| 49.591. agninivahe salilamastAyate'staM gacchati / alakSyaM bhvtiityrthH| evaM sAnalanivahe'gnisamUhasahite ucchalatsalile nabho'stAyate / evaM salilanivahenAvastRte vyApte nabhastale sati dazadikcakramastAyate / agnipreritAnAM jalAnAM nabhaso'pi dizi dizi gamanAt |--- 55.592. Vide SP S. No. (1301.281) supra.

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Prakrit Verses in Sanskrit Works on Poetics 689 60.593. harayo vAnarAsteSAM saMkSobheNa parvatAharaNodyogenetastato gatyA tebhya: saMkSobheNa vA mahendraprabhRtInAM zailAnAM kampo medinImaNDalasya ca dalanaM sarvameva jAyate / kevalaM malayavanakusumAnAM raja: parAgo noddhAvati novaM gcchtiityrthH| tatra he tumAha - kIdRzam / sadA durdinena meghacchannatayA tajjalasaMbandhAdAm / ato lghutvaabhaavaadityaashyH| tathA ca mahatAM saMbhrame mahAnta eva khidyante laghUnAM kimapi neti dhvniH| --- 62.593 Vide SP S. No. (174.77) supra. 67.594. AkRSyamANa eva rAmazara: sAgare patita iti jJAyate / atra hetumAha - kIdRk / mukhAt phalAnnirdhAvito bahi:prasRta ulkAnivaho yasmAt / tathA ca zikhAnivahanirgamadvArA samudrasaMbandhAdANa: sAgare patita iti pratItiriti bhaavH| evaM patanapUrvameva kSubhitena jalena ziSTa: sAro balaM yasya / tathA ca mahAzayasyApi samudrasya kSobho'smAdevetyarthApattyApIti bhaavH| 68.595. ananta: zeSa: phaNAzayAne madhumathane valamAne kRtapArzvaparivartane sati gADhabhareNa vizvaMbhara (zvabhAra) gauraveNottAnIkRtaM vikaTaM mahAntaM phaNaprAgbhAraM yatra girau niyojayati patanabhayena yanmUle na avsthaapytiityrthH| kiMbhUtam / pAdeSu pratyantaparvateSUcchaladratnAnAmudyoto yasmAt tam / phnnsyottaaniibhaavaat| tathA ca pAdaparvatA apysyaapaataalmuulaa:| ayaM ca vizvaMbharA vizvaMbharabhAre'pyanantasyAvaSTambha iti bhaavH||--- 78.597. prathamaM pUrvaM bandIkRtyAnItAbhi: surasundarIbhi: suciraM vyApya vibhISikakRte jIvitasaMzaye'pi ye rajanIcarA: parikSiptA jAtyapakarSeNa tyaktAsta eva saMgrAmAbhimukhanihatA: santa: punarabhisAritAstadAnIM zauryamRtyunA prApta devatvAt tAbhirvRtA ityrthH| 82.598. Vide $P S. No. (621.166) supra. 89.599. mahIdharasaMbhrameNa girisaMkSobheNa vidhuta Andolita: samudro nivartate giripatanAbhAvena pUrvAvasthAM labhate / kiNbhuut:| bhinnA: prathamaM parvatapAtena vizakalitA: pazcAttadabhAvena ghaTamAnAstatraiva yathApUrvaM pravRttA AvartA yatra / evamAvartAntare bhramantastatsaMskAreNa ghUrNanto bhinnA: khaNDakhaNDIbhUtA mahIdharA yatra / daivAtpunastatra ye patitAste zatakhaNDIbhUya tatraiva bhrmntiityrthH| evaM prathamaM vidhutaM giripatanAducchalitaM pazcAnnivRttaM tatraiva praviSTaM salilaM yatra tathA / zRkhalAnuprAso'yam / 90.599. dharaNidharA vajrabhayaM smRtvnt:| pUrvaM vajrabhayena palAyane samudrapraveze vA parasparasaMghaTTAvasthodrodhAt / yatA samudrasthA eva dharaNidharA vjraabhighaatsjaatiiyaagntukprvtaabhighaataadityrth:| AdivarAhakhuraiH preraNAni vasumatI smRtavatI / kapInAM caraNasaMkrameNa tatsajAtIyadu:khodayAt / evaM mathanAMtsaMbhramamudvegaM trAsaM vA samudra: smRtvaan| tatsamAnavimardodayAt / smkmekdaivetyrthH| prasmRtaM vismRtam / atra prasmRtaM smRtavAnityubhayatra yathAyogyaM vibhaktiliDgavipariNAmenAnvaya: krtvyH| samameva vismRtaM samameva smRtavanta ityartho vA |---

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690 Prakrit Verses in Sanskrit Works on Poetics 102.602. he vibhISaNa, tava saumyasvabhAvena sattvaprakRtyA parivardhitaM vijJAnaM viziSTajJAnaM nizAcaraistamoguNa pradhAnairapyavidrAvitaM sahavAsAdinApi na viplAvitamiti vijJAyate / tathA ca nAmnA jAtyA ca vibhISaNa: svabhAvena saumyo yanmAmupAgato'sIti bhaavH| kimivA udadheramRtamiva / yathA saumyasvabhAvaparivardhitamudadheramRtaM dRSTiviSaiH sarna vidrAvyate, sahasthityApi na kAlakUTIkriyate na vA dahyate kiM tvamRtameva tisstthtiityrthH| tathA cAmRtaprAyaM tava jJAnamata: sukhamavApsyasi dRSTiviSaprAyA anye rAkSasA dharmadveSAd du:khaM lapsyanta iti bhaavH|

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Appendix II (i) Dr. V. Raghavan on Bhoja's Treatment of Nayaka-Nayikas : "Bhoja deals with the Nayaka-Nayikas in both his works, the SK and the SP. .:. The four primary classes of Nayikas according to Bhoja are Svakiya, Parakiya, Punarbhu and Samanya; the Svakiya and the Parakiya are each classified into Uttama, Madhyama, Kanistha, Udha, Anudha, Adhira, Dhira, Mugdha and Pragalbha; this classification yields a total number of 143 varieties of Nayikas for each of these two types. The Punarbhu is divided into Aksata, Ksata, Yatayata and Yayavara. The Samanya falls into five sub-classes, Uuha, Anudha, Svayamvara, Svairini and Vesya, the last being further sub-divided into Ganika, Vilasini, and Rupajiva. ... The eight Avastha Nayikas 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 Pragalbha, 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 Mana-varieties the third Dhiradhira and gives only Dhira and Adhira. Uttama, Madhyama and Adhama, the last of which is omitted in SP, are again briefly defined as full, threefourthsfull and halffull in excellences. On Jyestha and Kanistha, of which the former is not given in SP, Bhoja follows Vatsyayana and considers the earlier married elder wife as Jyestha and the later married younger one as Kanistha. Udha and Anudha are only once illustrated here but in SP Bhoja illustrates them twice under Svakiya, Parakiya and Samanya. The Udha and Anudha under the former are illustrated by Draupadi who was the lawfully wedded common wife of five husbands, and Sita before her marriage. Thus while the former, Udha Samanya, will be a unique class created for Draupadi and Anudha Samanya appears to apply to all Ksatriya-maidens. In Bhoja's definition of the Svakiya, Parakiya, and Samany, there is no departure, but the sub-classes of Samanya are to be noted; in the SK Bhoja merely defines and illustrates the Samanya, but in the SP he gives her five varieties. Udha and Anudha, already explained, Svayamvara, Svairini and Vesya... but mention must be made of the sub-classes of Vesya which Bhoja gives in both the SP and the SK, the Ganika who is accomplished in all the arts, the Vilasini who flirts and Rupajiva who trades on her physical beauty. The Punarbhu re-introduced by Bhoja is simply defined

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692 Prakrit Verses in Sanskrit Works on Poetics and illustrated once in the SK, but in the SP greater attention is paid to her: She is classified into Aksata, Ksata, Yatayata and Yayavara, three of these terms being adopted from the Dharmasastra; Aksata, illustrated by Satyavati, is one who has had contact with a male before marriage; Ksata is a married lady who, after her husband's death, is taken by another as wife. Yatayata is illustrated by Tara (the star, not Valin's wife) who was Bphaspati's wife, was seduced by Candra to whom she bore Budha, but was then made to come back (Yata-ayata) to her original husband; ... Bhoja gives the Yayavara variety of a Punarbhu illustrated by Madhavi who was on the move from place to place marrying four husbands successively, Kramena sad-bhartrcatustayi, bearing each of them a son and finally retired to the Vindhyas for penance . . . Madhavi was a daughter of Yayati and had a boon by which, immediately after each delivery, her maidenhood was restored. In addition to these, Bhoja gives in the SK four Nayikas corresponding to the four Nayakas, Dhira-Udatta etc., which he omits in SP. The Uddhata is haughty, Udatta is one who has a deep hidden sense of prestige, gudhamanarddhi, the Santa is one whose mana is completely subsided, nirvana-mana. The Lalita is one in whom the play of mana becomes delectable, Slaghaniya-mana; in fact, upto a stage, this kind of mana forms an essential part of love. Correspondence with four hero -types, Dhiroddhata, Dhirodatta; Dhirasanta and Dhiralalita is clear and we may note here that these four classes have been defined on the basis of Mana, with reference to which the word Dhairya is used in the well-known Nayika classification Dhira and Adhira. .... The Eight Avasta-Nayikas are mentioned in the SK also." - Dr. V. Raghavan (Srgaramanjari) (ii) Natyasastra and Abhinavabharati on Vasaka and Vasakasajja : Regarding the term Vasaka, Bharata has the following verses: (rAjJAmanta:purajane divAsaMbhoga iSyate / ) vAsopacAro yazcaiSAM sa rAtrau parikIrtita: / paripATayAM phalArthe vA nave prasava eva vA / du:khe caiva pramode ca SaDete vAsakA: smRtAH / / ucite vAsake strINAmRtukAle'pi vA nRpaiH / preSyANAmathaveSTAnAM kAryaM caivopasamarpaNam // - Natyasastra XXII. 208-210.

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Prakrit Verses in Sanskrit Works on Poetics 693 Abhinavagupta thus comments: paripATiryathAkalpitAnupUrvI asyA ekena bhinnena vAraH asyA dvAbhyAmityAdi / tadapavAdamAha phalArtha iti RtAviti yAvat / nava iti navatve prasave vRtte ciravirahakhinnA (7nnAM)sukhAyitaM (sukhayituM ?). / du:khe tadIyabandhuvyApattyA duHkhitA AzvAsanIyeti / pramoda iti tadIyaputrotsavAdau 'utsavo hi mAnanIya' ityuktam / vAsayati tatra sthAne. rAtramiti vAsa: / Abhinavabharati 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'. Vasaka is sixfold : 1 vAra (turn) 2 RtukAla (proper mating season) 3 nave (navatve) new arrival in the harem 4 wd mother of a recently delivered baby who yearns or longs for a visit from the King 5 duHkheM (tadIyabandhuvyApattI) 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, vAra turn, appears to have been the earliest meaning of vAsaka. With this meaning at the back of his mind Bharata defines the vAsakasajjA nAyikA as follows: ucite vAsake yA tu ratisaMbhogalAlasA / maNDanaM kurute hRSTA sA vai vAsakasajjikA / / - Natyasastra XXII. 213. (iii) Dasarupaka on mana, its varieties and ways of removing it : Dasarupaka treats of this topic as follows : strINAmIAkRto mAna: kopo'nyAsaGgini priye / zrute vAnumite dRSTe zrutistatra sakhImukhAt / / utsvapnAyitabhogAGkagotraskhalanakalpitaH / tridhAnumAniko dRSTa: sAkSAdindriyagocaraH / / - IV. 59-60. IrSyAmAna: puna: strINAmeva nAyikAntarasaGgini svakAnte upalabdhe sati / anyAsagastu zruto vAnumito vA dRSTo syAt / tatra zravaNaM sakhIvacanAt, tasyA vizvAsyatvAt I. . . . -Avaloka eSAm - yathottaraM guru: SaDbhirupAyaistamupAcaret / sAmnA bhedena dAnena natyupekSArasAntaraiH / / tatra priyavaca: sAma bhedastatsakhyupArjanam / dAnaM vyAjena bhUSAde: pAdayoH patanaM nati: //

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694 Prakrit Verses in Sanskrit Works on Poetics sAmAdau tu parikSINe syAdupekSAvadhIraNam / rabhasatrAsaharSAde: kopabhraMzo rasAntaram / / - IV. 61-63. Mana (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 nayika'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 mana 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 nayika, frightening, rejoicing and the like.

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Appendix III 1Source of Sarvasena's Harivijaya Sarvasena's Harivijaya is almost certainly based on Visnupurana or Bhagavata-Purana. These two puranas treat of the episode of Parijataharana. The account as given in these two puranas is practially the same : Mounting Garuda and taking Satyabhama 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 Satyabhama the whole of his Nandana garden, where Satyabhama feels fascinated by the divine and delicate Parijata tree and demands that Hari to prove his love for her should take it to her own (palace-) garden on earth. Now, Saci, Indra's wife is particularly fond of this tree and Indra is most unwilling to part with it. Satyabhama, who bears a grudge against Saci 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. Saci 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 Parijata tree be transferred to Dvaraka 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 Satyabhama 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 Parijata tree - the motif of appeasing the anger of his beloved spouse Satyabhama who has strongly resented Hari's bestowing of the divine Parijata 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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696 Prakrit Verses in Sanskrit Works on Poctics Sarvasena's account of Parijataharana 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 Harivamsa 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 : idamaparaM prabandhasya rasAbhivyaJjakatve nibandhanam / itivRttavazAyAtAM kathaJcid rasAnanuguNAM sthitiM tyaktvA punarutprekSyApyantarAbhISTarasocitakathonnayo vidheya: / yathA kAlidAsaprabandheSu / yathA ca sarvasenaviracite harivijaye / - dhvanyAloka III. pp. 335-336. And, Abhinavagupta's Locana on it : kAlidAseti / raghuvaMze ajAdInAM rAjJAM vivAhAdivarNanaM netihAseSu nirUpitam / harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdi nirUpitamitihAseSvadRSTamapi /

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697 Prakrit Verses in Sanskrit Works on Poetics 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. Apabhraisa Vyakarana ed. by Dr. H. C. Bhayani and publ. by Sri Farbas, Gujarati Sabha, 365, Vitthalbhai Patel Road, Bombay-4, 1960. 4. Bhoja's Songara-Prakasa by Dr. V. Raghavan, Punarvasu 7, Sri Krishnapuram Street, Madras - 14, 1963. 5. Chando'nusasana of Hemacandra Suri 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.. Gathamadhuri tr. into Gujarati by Dr. H. C. Bhayani, available at Vora and Co., Gandhi Chambers, Gandhi Marg, Ahmedabad, 380 001. 8. Gahakosa (Gathasaptasati) with the Sanskrit Commentary of Bhuvanapala, part I, ed. by Prof. M. V. Patwardhan and publ. by Prakrit Text Society, Ahmedabad, 380 009, 1980. 9. Gahasattasai ed. by Arvind Mangrulakar and D. M. Hatvalane, publ. by. S. R. Deshmukh, Deshmukh Prakasana, 739, Budhwar, Pune 411 002, 1958. 10. Jnanapramodika by Jnanapramodagani (A Commentary on Vagbhatalamkara ed. by Dr. R. S. Betai, L. D. Institute of Indology, Ahmedabad 9, 1987. 11. Kavyaprakasa of Mammata tr. by Jha, M. M. Ganganatha, publ. by The Indian Press Ltd. Allahabad, 1925. 12. Kavyaprakasa of Mammata (I, II, III, and X chapters) ed. by Gajendragadkar, A. B., Elphinstone College, Bombay, 1939.

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698 Prakrit Verses in Sanskrit Works on Poetics 13. Lilavas of Kouhala ed. by Prof. A. N. Upadhye, publ. by Bharatiya Vidya Bhavan, Bombay - 7, 1949. 14. Lilavai-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 Madhuri tr. by Harivallabh Bhayani, available at Sadbhava Prakasana, 57/62, Kapadia Estate, Ratanpole, Ahmedabad 380001, 1986. 16. Paia - Lacchi-Nama-Mala 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. Smgaramanjari of Akbar Shah, ed. by V. Raghavan, Hyderabad Archaelogical Deptt. Publication, 1951. 20. Songaramanjari Sattaka, by Visvesvara, 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-Sati sara with Bhavadipika of Vema Bhupala, ed by Dr. A. N. Upadhye, Shivaji University, Kolhapur, 1970. Satavahana ani Pascimi Ksatrapa Yanca Itihasa ani Koriva Lekha (in Marathi), by Dr. V. V. Mirashi, publ. by Maharashtra Rajya Sahitya - Sanskrti Mandal, Mantralaya, Bombay -- 32. 23. Sahitya-Darpana of Visvanatha (Paricchedas I, I, X Arthalankaras) and the History of Sanskrit Poetics by MM. P. V. Kane, third edtion, 1951. 24. Siddha-Hema-Sabdanusasana ed. by Doshi, Pt. B. J. -- available at Messers Balagovind Book-sellers, Balahanuman, Gandhi Road, Ahmedabad 380 001. 25. Siddha-Hema-Sabdanusasana ed. by Vaidya P. L. 26. Subhasita-ratnabhandagara, Nirnaya Sagar Press, Bombay -- 2, 1952 edn. 22.

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Prakrit Verses in Sanskrit Works on Poetics 699 27. The Gahakosa of Hala (Satavahana), 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. Tarayana (Taragana) (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 Dasarupa 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, Vidya, Journal, Gujarat University, Vol. XVII. (A-Language Group) : January 1974. iii) On the Satprajnaka-Gatha And Hrdayavati (metioned under Dhvanyaloka III. 43) by Dr. H. C. Bhayani, Vidya, Gujarat University, Ahmedabad, 9. iv) Dhvanyaloka (Uddyota 1,II) nam Prakrit Udaharanoni Pathacarca (in Gujarati) Vidya, Journal Gujarat University Vol. XIII No. 2, August 1970. v) Dhvanyaloka (Uddyota III,IV) nam Prakrit Udaharanoni Pathacarca (in Gujarati) Vidya, Vol. XIV : No. 1, January 1971. vi) Gathamuktavali : A Newly Discovered Recension of Hala's Sapta-sataka by Dr. H. C. Bhayani And vii) Pali, Dhanya And Carukesi (Three of the earliest mentioned Ktsna'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 0 vidhurA 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 pIDayati caladunnata slender-waisted half-closed simple-minded (30.18) Glossary of Notable : Words 2 15 avaruNNa 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 kezahastA: stalk) torn up thoraMsuaM gatha : eti jIvantAmAnando naraM vrssshtaadpi| - rAmAyaNa roSasyApasarpata: delete the figure '1223' phalihacasaaM her consort." 31 - 1 tahataM 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 chivaMtI, pio vva ki (tight and close) . of viramAva 'saira 1362. Delete the whole line in Vol. I. (artha [?ardha]) GS VII - 46 kAlA (7kAla) sahiSNu/rA dAra - dorA thoughts of Bahuvrihi -Savitri prarUDha zamIdhAnyazUkadhAnyA 0 sakhyAptI (?di) in Nominative SK(7.340) supra 0 rnubdhynte| nAyikAkapolacumbana samddhiman 'Arthe'pahnave 'sarasodaroM sUra-cchaleNa go to shRnggaaro'nggm| samanyopanyasah (suffers) panduratva apparent 'saha' (samam) Bhrantiman 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 661 692 695 696

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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 Rama 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) Srngararnavacandrika of Vijayavarni : A work dealing with Sanskrit Poetics, publ. by Bharatiya Jnanapitha, Delhi. (viii) Jayadeva's Gitagovinda with a hitherto unpublished commentary of King Mananka, publ. by L. D. Institute of Indology, Ahmedabad. (ix) Acarya Hemacandra's Kavyanusasana, second revised edition, Bombay. (x) Vacaka Umasvati's Prasamarati-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 Vimalasuri, 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 Pancasutraka, ed. by Munisri Jambu Vijayaji and publ. by B. L. Institute of Indology, Delhi.

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