Samdesarasaka of Abdala Rahamana

Author(s): Abdul Rahman
Publisher: Prakrit Granth Parishad
Catalog link: https://jainqq.org/explore/001433/1

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PRAKRIT TEXT SERIES NO. 36 SAMDESARASAKA OF ABDALA RAHAMANA EDITED BY H. C. BHAYANI PART ONE : TEXT AND SANSKRIT COMMENTARY PART TWO : INTRODUCTION AND TRANSLATION PRAKRIT TEXT SOCIETY AHMEDABAD 1999

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PRAKRIT TEXT SERIES NO. 36 SAMDESARASAKA GENERAL EDITORS: D. D. MALVANIA H. C. BHAYANI OF ABDALA RAHAMANA EDITED BY H. C. BHAYANI PART ONE: TEXT AND SANSKRIT COMMENTARY PART TWO: INTRODUCTION AND TRANSLATION PRAKRIT TEXT SOCIETY AHMEDABAD 1999

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Samdesarasaka of Abdala Rahamana An Apabhramsa Message Poem Edited by H. C. Bhayani Copy: 400 1st Edition: 1999. Price : Rs. 65 Published By: D. D. Malvania Hon. Secretary, Prakrit Text Society Ahmedabad - 380009 Graphics : Rakesh H. Shah Rakesh Computer Centre 272, Celler, B. G. Tower, Delhi Gate, Ahmedabad - 380 004. Phone: 6303200 Krishna Graphics, Naranpura, Ahmedabad -13.

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prAkRta grantha pariSda granthAMGka naM. 36 abdala-rahamAna-kRta saMdezarAsaka saMpAdaka ha. cU. bhAyANI bhAga 1: kRtipATha, TippaNaka bhAga 2 : bhUmikA, anuvAda prAkRta graMtha pariSad ahamadAbAda 1999

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GENERAL EDITORS' FOREWARD We are happy to pablish this revised edition of the important and uique R asaka poem, Earlier edition appeared in the Singhi Jain Series, For the present edition some new Mss. have been used. 30th October, 1999. D. D.Malvania H. C. Bhayani Niya-kavittaha vijja-mAhappu paMDitta-pavintharaNu maNujaNammi koliya-payAsiu / koUhali bhAsiyau sarala-bhAvi saMneharAsau / / aNurAiya-raiharu kAmiya-maNaharu mayaNa-maNaha ph-diivyro| rasiyaha rasasaMjIvayaro // virahiNi-mayaraddhau suNahu visuddha

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SAMDESARASAKA PART TWO INTRODUCTION AND TRANSLATION

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1. 2. 3. 4. Introduction English Translation Gujarati Translation Reference Works Part Two CONTENTS 1-56 57-92 93-114 115-116

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INTRODUCTION THE GRAMMAR and METRES I ORTHOGRAPHY AND GRAMMAR A conflicting and confused orthography is quite characteristic of the Ap. Mss. The spelling of grammatical forms and words even in the same Ms. presents bewildering variations. One form now exhibits an now an C. Another form has at one time one of its vowels nasalized, while a second time it appears without the Anunasika. Similarly in the writing of 2 or in the introduction of the Tale or in the choice of 7 or up there is little consistency. There are two or three facts which can be advanced to explain this remarkable orthographic variation of the Ap. Mss. One explanation which obviously suggests itself is to assume that in the speech of the author there actually obtained an option of pronunciation in the case of the forms or words concerned, the orthographic diversity being but a reflex of these optional pronunciations. But this sort of assumption works in a limited number of cases only. As regards the others, there is enough evidence, brought forth by Alsdorf (and Jacobi) through a statistical analysis of the form-and word-variants occuring in some Ap. Mss., to prove that either confusion of phonetically similar forms or divergent scribal practices lie at the basis of this variation. Further, it seems quite probable that some types of variants, indicative of a stage of language more advanced than one represented by the text, bear influence of the spoken idiom of the scribes and as such, are to be considered modernisms from a relative view-point. These are the chief agencies responsible for the inconsistencies and divergences in the Ap. orthography. It is to be noted that even after taking everything into consideration, it is considerably difficult to achieve some measure of certainty as to whether a particular form is really reflective of an actual alteration in pronunciation already developed in an author's time or it is merely a scribal variant.

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In dealing with the orthography of the SR., the following cases come for consideration. Nasalisation As remarked at the outset, one and the same case-ending is at times nasalised, at times the Anunasika is wanting. In all these cases nasalized form is given in the restored text. The question of nasalisation arises in connexion with the following forms: (1) locatives and instrumentals. (2) genitives. (3) nom. and acc. plur. forms of neuter 37-stems. In our MSS. are not found the neuter forms in "375. Interchange between 5 and a Writing for for vice versa is not uncommon for the orthography of the Jain Mss. in generel. But in the Mss. of the SR. such cases are numerous. Ya-sruti. The conditions regulating the appearance of the fa can be formulated thus : Jara is obligatory between 37 377 and 37 37. forbidden before or 3 35 and facultative in other cases. Na and n. Initially both y or 7 appear. Non-initially, when single, u alone is permitted; when double or compounded with mostly it is written 7 or and quite casually vol. We give 7 initially and 1 medially in the restored text. and a. Many Ap. Mss. do not distinguish between 2 anda. They write always a for both. Unlike these, the Mss. of the SR. write and a fairly correctly. II Sound-Changes Apabhramsa phonology is non-existent as an independent entity. It is fundamentally identical with the Pk. phonology. Only a few alterations are peculiar to Ap. or figure in it with a strikingly greater prominence.

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Prosodic Alterations A light syllable is made heavy (a) by lengthening : pAvAsuya 102c, 184, pAvAsa 118e, sAhAra 134d, pAsAhaNu 179c, saMgAi 156b (at the end of a Doha-pada), kuNAi 217b (at the end of a Paddhadi-pada), kIyaya (=ki' =kRta), 199b aggIhara 194b; (b) by gemination of a simple consonant (i) either in the seam of compounds : Navabbhisa 171, ciraggaya 181a, sabbhaya 208c, paravvasa 217c, Pk. dalabbahala 11a, (ii) or in the body of the word (confined mostly to continuants like nasals, sibilants, liquids) : tammAla 56c, gammijjai 64d, gammiyai 117f, gammiyau 67d, sammANiya 78b, dummihiM 194d; vullINa 204c, vijjambhai 25b. (c)by thepreservation oradditionofan Anusvara: Pk. amiyaMjharaNo 33a. It may be remarked en passant that later on, the tendency to consonantal gemination for metrical reasons noted above becomes stronger and stronger so much so that it comes to form a striking characteristic of the language of the Dingala (or Old Maravadi poetic) literature cultivated by the bards of Rajaputana. A heavy syllable is made light (a) by shortening a long vowel : gaMdhamoya (=gaMdhAmoya) 203a, jhala (=jhAla =jvAlA) 137f; siyala 210c. (b) by simplification of a geminated consonant in the seam of compounds : umukka 25 b, uruna 191a, usasaMtiya 83c, uveya (+ ud+vega) 136 b, uNaMdIyai (=ud+naMdyate) 182b, dusaha 120 b, etc. nibhaMti (i. e. ni+bhrAntam) 138 d; saunna (=sam+pUrNa) 24 e, 98b, samA =sam + mA as in samAi 81b and samANA 80b; Pk, samuha (=sam+mukha) 13b, sapuNNa (=sam+pUrNa) 33a. (c) by the weakening of the anusvAra to anunAsika : in siMgAru 167c. Vowel-Changes (1) Change in the quantity of the vowel.

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The causative suffix *3719 becomes o379 when applied to the roots either ending in a long vowel or having a heavy root syllable : Thavai a, Thaviya 135c and saMThaviya 195c (all from ThA), Nimmaviya (from NimmA) 31a, vibhaviya 46a, ulhavai 137f, 138b, dhIravai 116d, mAvai (meaning mAi) 141b appears to be an exception. ___Like the ya-Sruti, va-Sruti too appears in stray cases (between 3 and a following vowel, as also between any two vowels) to bridge up the hiatus created by the elision of an intervocalic stop : ruvai (=rudati) a etc. (thrice), uvara ( = udara ) 135a, kevai ( =ketakI) 53d etc. (thrice), cAvai ( =cAtakI ) 133a, Consonant-Changes a) SINGLE CONSONANTS Voicing. The stray cases of voicig that are met with in the SR., to wit, aNega ( =aneka ) 177b, ega ( =eka ) 180d, baga ( =baka ) 180d, (besides one case of the preservation of a voiced consonant in jaga ( =jagat ) 137e) are quite familiar to the Prakrit, agara 189a retains the 0. kuMja ( =krauJca ) 164c and pallaMga 188d ( =paryaGka) are rare cases of voicing a voiceless stop in the group (nasal+stop) - a trait of the Sindhi-Panjabi-Lahnda group. ___ The group (nasal+non-nasal stop) is assimilated to double nasal in saMneha0 ( =saMdesa =saMdeza) 19c, Pk. saMneya 4c, ef. saMnehaDau (A) 80a (otherwise saMdesau 68b, etc.), sAmora ( =* sammaura = *sambaura =zAmbapura) 42a. In Early Maithili this tendency to assimilate a post-nasal stop has already set in. See VR. $ 13, end. For Gujarati cf. TURNER, 'Gujarati Phonology' (JRAS, 1921), 8 78. vii. Simplification of a double consonant. This New Indo-Aryan tendency is attested by several words : (a)withoutcompensatory lengtheningin sakuliya(=saku =zaSkulikA) 23b, kaNayAra ( = kaNNiyAra =karNikAra) 60b, vakhANiyai ( = vakkhA from vyAkhyAna) 65a, kapUra ( = kapUra) 79a; ikatti ( =ikkati from ekatra) 80b, ikalliya ( =ikka from

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5 eka + 'la enlarged) 92b, ikaTTha ( = ikkaTTha = ekastha ) 180d all of these are words with their first two syllables heavy in the original; cUDilau (= cUDillau cuDAlanatgad) 10 (cUDala | 13tya (fqh jhalakka) 131c, 140a----both with a heavy suffix ; mayau ( mayavvu = mRgavyu) 83b, Alasa ( =Alasya) 105d, paluTaMti (cf. palaTTi 130c) 195d, savi (= savve = sarve) 209b; (ssa) of the pronominal gen. sing. as in tasu 85d, 94e, f, jasu 70a, kasa a and 'sa (="ssa) of the future as in kahisu 91c, payAsisu 117b. (b) with compensatory lengthening in vesA ( = vessA = vezyA) 46b, UsAsa ( =ussAsa ucchAsa) 97a, UsAriya ( = ussAriya= utsArita) 186d, nIsAsa ( = nissA' = niHzvAsa) 83c, 85c, nIsarai (= nissa' = nissarati) 54c, vIsarai (= vissa' = vismarati ) 54c, dIsahi (from dissa' = dRzya ) 68d, sIsaM ( = sissa = zIrSan) 178c, pIsiyai (from pissa = piSyaM) 187a, saMmIsiyai (from saMmissa = sam + mizra ) 187b, Pk. dUsai (form dussaM = duSyaM) band Asoya (= *assauya = azvayuj enlarged) 172a; in the the gen. ending in jAsu 70a, piyAsu 70b0-all these cases involve simplification of 'ssa' from tAkata < takkU Sk. < tark 104 b, parAvasi ( = paravvasi =paravazA) 151b, AbhaMgiyai ( = abbhaMdeg from abhyaGga; C reads abbhiMgiyai) 101b. viii. Simplification of a consonant-group following a long syllable, with once more reduction of the consonant resulting from this simplification is seen in dIha (= dIgha = dIrgha) 25c, vAha 95b or bAha (= *bApha = bAppa) 109b etc., jIha (=* jIbhA = jIhvA) 132a; Pk. 0 mAi0 ( = mAya = * mAtA = mAtrA) 32a and taMtIvAya ( = taMtrIvAdya ?) 10a. Most of these cases are already known to Pk. In vihalaM ( = *vibhala = vibbhala = vihvala ) 130d, in the postposition in maNamaha (= manomadhye; contrast majjhahi 203c) 166a and probably in araviya ( = aravinda ) 137a this sort of double reduction (or " double shift") is seen even though the preceding vowel is short. Anaptyxis. (a) Some notable cases in general : saNeha ( = sreha) 19d, 8&bYnd siroha 100 (atherovjqpoha suvaraMta (from smar) 86a, suvaMriya 181a and suvaraMta 103betc. saravi 97b, sArasi 165d); siri (zrI) 171d, harisa 42, 213 (from harSa) varisaMtiya (from varS) 423d, varihaNa (= varSaNa) 84a. Further we have to add

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suviNa ( =svapna) 94c, etc., kasiNa ( = kRSNa) 177a; maNamattha ( =manmatha) 83a and tattakkhaNe ( =tatkSaNe) 82a (both metri causa); paDiuTThiya ( =prati + utthita i. e. pratyutthita) 28a; Gemination. It relates to the intervocalic stops which otherwise are elided in Middle Indo-Aryan. It appears in paMDitta (=paMDita) 20e, maNamattha ( = manmatha) 83a, tattakkhaNe ( =tatkSaNetya 82a, paDilliya (cf. paDiliu 106d) 162d, tilakkivi (from tilaka =tilaka) 168a, alikkaya ( =alIka enlarged) 211a, Pk. sayalajja ( =sai0 =zailajA) 40a. Four novel cases based on assimilation are paMDitta (= pANDitya) 19a, Nittu ( =nityam) 202d (beside Niccu 115d), khaMbhAitta (= skaMbhAditya) 65d, 67b and rattha (-rathyA) 218) (beside raccha 167b, 175b). III MORPHOLOGY STEM-FORMATION : AFFIXES i. The verbal determinative e signifying momentary and rapid action in a general way is represented in a few words : camakkau SRED jhalakka (from jval) in jhalakkiud, etc., thakkiya (from sthA) 142c, taDakka 148c, caccaMkivi (from carc ?) 188b. ii. The suffix degF forms adjectives in the sense of the present participle. We have ukkaMkhira 26a, 94a, AkaMkhiriya 134a, kaMkhiri 133a etc. (thrice), lajjira 28a etc. (four times), parigholira 46a, malhiraya 50b, vioiriya 118a, pahallira 133d; bhajjiriya 98c, parikhillirI 219c (see 8 22). Possibly sagaggira 29,66, 136 ___iii. Action nouns in dega (or 'aya). camakkaya 52b, ujjaggaya 105c, gama 113a, atthama 113b, "kuTTa 173d, calla (f.) 45d, bhIDa (f.) 62d. iv. 'aNa forming agent (and action) nouns appears casually. pavittharaNa 19b, dahaNa 131d, jaNaNa 136a, NinnAsaNa 158d, f. paTTaNiya 45d. v. A fresh mode of forming agentives with the addition of op ( ="kara) has made its appearance : dIvayara 22b, saMjIvayara 22d, ulhAvayara 67c. These when enlarged become the precursors of the Hindi agentives

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in erA (e. g. luTerA, citerA). Here we can scan the beginning of that analytical mode of breaking up the unitary basic idea of a verbal-root into two distinct elements: an action noun and the general verb signifying to do'. With the NIA. languages it has become a normal feature. Thus for example, to express the concept 'to rejoice', Guj. uses two elements AnaMda karavo (lit 'to make joy') instead of a single word AnaMdavu. The same mode of expression lies at the basis of Ap. saMdIva - yara, vaMca-yaraHindi luMTerA; Guj. luTAro (= *luNTA+kAraka), tAraNa-hAra ( = tAraNasya + kAraH) etc. as contrasted with Sk. saMjIvaka, vaMcaka, luMTAka, mAraka, tAraka etc. 7 vi. degtta (=tva) in kavitta 19a and unhatta 107a, ima (f.) in sAmalima 24a, samatthima 79a and Pk. caMgimA 15a and 'taNa in abuhattaNa 21b are the suffixes forming abstract nouns of quality. In the following cases an adjective seems to be employed to signify its quality : laliya0 (i. e. lAlitya) 18c, aruNa (i. e. aruNatva) 50d, kasiNa (i. e. kRSNatva) 87c, sisira (i. e. ziziratva) 135a. Cf. SS 48. ii. vii. Only one word takes the possessive suffix o Ala (enlarged): sohAlaya 51c. Stem-enlarging suffixes. ii. 'Da (enlarged), the only other pleonastic suffix that we meet with in the SR., is confined to the language of the Dohas. saMdesaDau 696, 70b, 80a, 81a, UsAsaDau 73a, chAvaDa 78a, baliyaDai 80b, mUMdaDau (or muMM) 81b; bAhaDi 81b and ukkaraDi 69a exhaust the list. The stanza 81 has no less than three forms in NDa ! Prefixes. i. aNadeg forms negatives from adjectival words. aNarai 105a, 131a, aNarasiya 183c. ii. as an emphatic element is prefixed to the adjectival words as in salajjira ( lajjira) 28a, 29a, 41b, 94d, 136c, sagaggira ( gaggara) 29c, savilakkha ( = vilakkha) 28a, salola ( =lola) 59b, sakomala ==

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( 14137) 123c and ( = 72) 171a. cf. Fafcit in the Pancakhyanaka (1199 A. C.), p. 70, 1. 3 (HOS, vol. 11), PT (=HTTP:) in the Samaraiccakaha (ed. JACOBI), p. 14, 1.7; usifany ( = ifah). PSM. This type of words are casually encountered in some modern vernaculars also. Cf. for example Dingal sakusaLa, sasata ( =satya) etc., Gujarati sakomaLa, saghana (dhana), Hindi sakuzala, Bengali Hefe, Awadhi Arta, Marathi filoot (Sk. *Het tot). Formation of the feminine bases. Ap. has evolved its own laws of forming the feminine bases. Although there prevails a considerale option in the employment of particular suffixes, the chief tendencies allow themselves to be distinguished fairly clearly. To start with, we have to take two basic facts into consideration. Firstly, the suffix 54 appears to be extablished in the language of our text as the feminine counterpart of the enlargement in deg374. Thus to a masc. aias corresponds the fem. opifay. Secondly, a new tendency has been developed in accordance with which the adjectival or participial especially the present part. 37-stems keep their base unchanged in the masc. as well as the fem. declension. Keeping these two facts in view we can explain the formation of the feminine bases in our text with considerable clarity i. Present participle. There are four types of feminines formed from the pres. part : (a) corresponding to a masc. it, we have the fem. sifa (Sk. fem. in it); (b) corresponding to the enlarged masc. pins, we have the fem. oice. This is further appears as coicit through contraction, (e) asta without any addition or change serves as a masc. as well as a fem. base; (d) this formal identity of the masc. and the fem. base is extended to the enlarged cases also, so that a parallelism has come to be established between the bases in ifa and Bifre on the one hand and usia and other on the other. One case of this type of the fem. pres. part. in the SR. is aice 167b.

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9 ii. Preterit participle. In the case of the 'regular' (67) participles in, the fem. is regularly formed by 37 (=3); that is, the masc. and the fem. bases are identical in form. Those participles that represent the inherited stuff i. e. those that are for irregular' (mostly the participles from Sk. f roots) take o optionally in the fem., e. g., gaiya, huiya, punniya etc. besides gaya, huya etc. But as suggested at the outset, one can legitimately look upon these bases in as counterparts to the enlarged masc. bases in 33 (e. g. T etc.). Further, on the analogy of the 'regular' pret. participles, some 'irregular' ones also have taken up the oiya in the masc. (eg huiya 186c, pamukkiya 164b) and as a result they too have identical masc. and fem. bases. iii. Adjectival compounds. As regards the formation of the feminine from the adjectival compounds, it is to be observed that there prevails a free choice between 031, o and o. Bases in 037 (more than a dozen) are fewer in number when compared with those in (about 3 dozen). Besides these there are about a dozen bases in . Simple adjectives also show a preference for o4. On the whole there appears in our text a strong tendency to reduce the other types of the fem. bases to one in 'iya. Gender. Hemacandra (Hc. IV 445) informs us that in Ap. gender-confusion prevails to a remarkable degree. This observation is supported by Jacobi in his account of the language of the San., wherein the nom./acc. neuter plur. ending 3 is taken by the masculines also, while conversely, there are some nom./acc. neu. plur. forms ending in 037. The change that has set in in the language of the San. has fully worked out itself by the time of the SR. Here There are only three instances of the nom./acc. plur. forms in and the second characteristic neuter form, viz., the nasalised nom./acc. sing. in 37 also being quite unknown, almost all traces of the neuter have vanished from the morphology. There is not the slightest distinction between

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10 the masc. and the neu. declension. In this connection we have to note the fact that all the New Indo-Aryan vernaculars, except Gujarati, Marathi and Konkani have lost the neuter. = dhvani) 134c, Other cases of change in gender are for f. ( 216d (the as also the aft gives the fem. gender even to its Sk. rendering saft: !), f. 78b and masc. ( ) 202c, 214d. NOMINAL FLEXION Some cases of special morphological interest. B. Some notable forms of the 3T-stem. (1). "Endingless' genitives. According to Hc. IV 345, the ending of the genitive is occasionally dropped in Ap.; that is, the bare stem can function as a genitive form. That the rule has for its basis some genuine Ap. grammatical tradition is indicated by the ValmikiSutras III, 4, 16 which too teach the same thing. Alsdorf (As. 56 ff.) raises objections against this rule and after an examination of the alleged examples of such genitives advanced by Hemacandra and Pischel, he attempts to establish that in the available Ap. linguistic material one does not come across a single form which can be genuinely regarded as an 'endingless' genitive. All the alleged cases of such forms can be justly looked upon as previous members of regular or loosely-formed compounds. It is, Alsdorf thinks, from these loose compounds that such a rule must have come to be abstracted, but in a scientific treatment of Ap. grammar it cannot claim a place. Now, though it is true that in the stanzas cited by Hemacandra or elsewhere in the Ap. literature come to light so far, there is nothing to indicate that Ap. employed bare stems as genitives. Still if one glances at later linguistic developments, there is much there to create a strong presumption in favour of a factual basis for the rule given by the ancient Ap. grammarians. Thus, for example, in Dingal or Old Marvadi literature cases of genitively used bare stems occur apace. There they are not anything like casual but make up a regular category of forms. And the language of the SR. which bears unmistakable influence of some early vernaculars offers us several clear cases

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11 of such 'endingless' genitives. Further, these together with the 'endingless' insts./loc. (see (2). below) and nom./acc. (see SS 52, Remarks.) forms point out that in the case of the whole of the 37-declension at least, th bare stem without any flexion-ending could appear in the singular (as yet rarely in the plur.) of almost all cases. Add to this the formal confusion and the consequent impression of 'endinglessness' that could be caused by the homophony (1) of the instr./loc. forms in & of the fem. 39stems and the nom./acc. forms in of the fem. 5-stems ($ 54, Remarks.), as also (2) of the insts./gen. forms in 50% of the enlarged fem. 37-stems (856, Remarks). All these facts are strongly indicative of the active process of disintegration of the old morphological system, the final result whereof is seen in the languages like, e. g., Dingal which in consequence of so to say the total loss of the flexionendings at times use in both the numbers and all the cases the bare stem without any addition or modification whatsoever. Below are collected the cases of the genitively used naked stems attested in the SR. They relate to the masc. as well as the fem. 37-stem. urg uaria ( =YINE) 70a, Tu quia a, 1a...E 109a, faria GHE 157b, mia...fupine 158d-159a, perifare... TEA 1910, 3Tak pas 47a, 51a, d, andes Exifra 51a, fret (with V 270T, V CE etc.) 1010, 68b, 71b, 80b, 88b, 92d, fure (with VSTO) 95b. (2) Employment of the bare stem in the instr./loc. (sing.). As in the genitive, so in the instr./loc. too the bare stem without any ending appears occasionally, of course phonetically the form is got by the reduction of the final of the old ending. As the unenlarged present participle has lost gender-distinctions to a certain extent, we find 'endingless' forms in the case of the feminine deg37-stems also. Casually we get a variant in of for the forms considered here. Instr. sing. : 790 100c, fase 103b, 109d, gniste 183c, G4 185c, furtame 1966, he (plur.) 218a, perhaps 9777 (plur.) 216b;

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f. uTTaMta, par3aMta 136c, alahaMta 190a. Loc. sing. : caraNa (plur.) 27d, dara 28d, juyalaya 52c, suyaNa 95c, magga 105d, dakkhiNa 112b, vioya 115a, pallava 134c, saMniha, ghara 167a, kuMDavAla 175a, sijjAsaNa 179d, vasaMta 215d;f. sijja 196c. Early Awadhi, Early Maithili and Early Marvadi freely use such forms. MASCULINE AND NEUTER 3-STEMS. The following paradigm of the endings can be prepared from the text. The figures give the number of times a form with a particular ending occurs in the text. Sing. Nom. Acc. u; 'a.. Instr. 'i, 'iNa, eNa, ihi~, 'a. Gen. Abl. Loc. Voc. Plur. Nom. Acc. 'a. Instr. Gen. Abl. Loc. Voc. Feminine 37-stems. Sing. Plur. 12 'aha. 'ahu i, ihi~ 'a. ihi~, aha~, ehi~, 'aha. * aha ihi~ 'a. Nom. Acc. 0a Instr. 0 ai, 0i, ahi~, 0a Gen.. 0 aha, a Abl. 0 aha Loc. 03, aha, a Nom. Acc. 0 a Instr. ahi Gen. 0 aha

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13 Masculine 3- and 3-stems. Sing. Nom. Acc. 0i u Instr. 0iNa Gen. of Loc. 03 Voc. 03 Plur. Nom. Acc.. Instr. ihi~ __Loc. ihi Feminine i-stems. Sing. Nom. Acc. 0i Instr. 0ii (0iya, 0i), hi~, i? Gen. Loc. .hi, iya (I) Voc. 03 Plur. Nom. Acc. i, 0Iu (3) Instr. Gen. Loc. Pronouns Personal. 1. Person Sing. Nom. hau~ Acc. maI Instr. maI 2. Person tuha taI tua (tuya), tuha Loc. maI Gen. maha mahu, majjha Nom. Insts. amhihiM Gen. 376 Plur. tumhehi, tumhi

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masc./neut. Sing. Nom. su, so 4, taM ( n. ) Acc. taM Instr. tiNi, teNa, Gen. tasu 20b, 85d, taha 99d, 122c tassa Loc. tahiM Nom. a Plur. sing. iNi Plur. Acc. Gen. tiha Sing. 14 A. Demonstrative. a) tao Remarks. su occurs at 30d, 91b, 199b. etc. so at 73d, 81b, 111b, 159c, 197b etc. masc./neut. Sing. Nom. ju, jo, jaM (n.) 19e etc. Ac.. jaM Instr. jiNa 91d, jiNi 923 b) eya The following forms occur : Nom. Acc. sing. ihu, ehu, eha (f.) eu, iya ( f. acc.), plur. eya, loc. Gen. jasu, jAsu. Nom. ji Instr. fofe Gen. jiha B. Relative. sA taM tiNi; teNi fem. taha, tasu ti ( - vi) te, ti, taM A. Interrogative Nom. ko, ko puNu, kavaNu, kavaNa (f.) Acc. kiM-pi Gen. kasu

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15 Abl. kaI Loc. 775 B. Indefinite Sing. Nom. 5-3, -3; fots-fa (n.); 97 (f.) 50a, fat-fa (f.). Acc.(n.) Fot, f&-f9, fetiInstr. u, 2015 Gen. (f.) pe-a, 09-fa, chikq-a, 09-fa. Plur. Nom. Pos-fa, sto (f.) car-fa, f-fa, 3-fa For the occurrences see Index of Words in Mayrhofer's edition. VERBAL FLEXION There is only one regular conjugation in Ap., viz., the 34conjugation. The forms with I-stems appear quite sporadically. The SR. has the following such forms; pres. id. 3. sing. 15-f90 108 a, b, Hies 82b, Eas 104d; 3. plur. olie 205c; imper. 2. plur. furque 19d. Almost all of these are metrically conditioned. The same is the ground for the employment of pres. 1. sing. 4701 95b and 3. sing. C and age 120c, d, the only middle forms. There is no pres. part. in 0 F1. The following 'root-verb's are attested : 51, J, HT, 141, all; a ; ET. Forms of V 377 : 31ff27 (3. plur.) 64a, ufres (3. sing. negative) 19a, 104c. Of the finite verb we have here : 1. The Present Indicative; 2. The Imperative, 2. and 3. person; 3. The Optative, 1. and 2. sing.; 4. The future. Of the infinite verb we have : 1. The Present Participle (also used as Preterite and Conditional); 2. The Preterite Participle; 3. The Gerundive; 4. the Absolutive; 5. The Infinitive. Prsent.

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sing. 2. 1. au~, 0ami 2. 031f, 037f8 3. 0 ai 3. 2. 3. . zifa Hef 164c, and , 164d have been employed simply to effect alliteration. In a Prakritised stanza occurs tAkaM (= tarkayAmi) 213b. See Hc. III 141 com.-2. sing. ARA 165c is used to bring about the Yamaka. 104a. Cf. The present part, famafa is used with 3 (pres. 1. sing. from 3) at 79a to singnify continuity of a present action. Imperative. 16 Plur.03f sing. plur. plur. sing. 0 asu : kahasu, aha : kahaha 03, 0hi, 0ihi; 0u, 0a 0 au ( hou, sijjhau, jayau ). * aMhu (suNahu, NisuNehu). 0 aMtu (gajjaMtu). Remarks: Once o of the 2. sing. is lengthened to o for metre's sake: 95d. Present Participle. It always ends in oaMta ( enlarged 0aMtaya). For its feminine see above. It is used at two or three places to denote a state in past. Thus yeu asu vei zfucial fuel (1006) "O dear one, the dye of love that used to overflow on that occasion;" fia (95c) "Under loss of discrimination (she) said". Perhaps furi 186a, ig, fapig 200c, 217d also denote the habitual past. For g3 65c see SS 73, 3. d, Further, Hc. III 180 teaches that the present participle can be used to denote conditional also. Our text offers three examples of such a use, all in one stanza; muNaMtI 100a, dharaMtI 100c, voliyaMto 100d. Both these uses of the present participle are still quite living

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17 2. in the modern Gujarati. The unenlarged form serves for the conditional, the enlarged one for the preterite.5. Optative. i. sing. occut (af ) sing. OSOBRE (HTGE, PEUGE) Future. 4-future ha-future sing. 1. og 2 2. osfa 1 GEFA 2 056$ 2 * Remarks. 1. gfg 91c, pufry 1176. 2. GISTA 41d; 371HIFTER 1910, 37faETA 191f. 3. afnes 197a, Armees 197b. Preterit Participle. The suffix 057 (Enlarged 0548) forms the pret. part. Besides the 'regular class of the pret. part. so formed, there is another which represents the direct phonetic development of the Sk. pret. part. But the number of such 'irregular' part. is on decline nad the tendency to normalize them by adding to them also the suffix 0iya (e. g. huiya 186c for 54) has already made its appearance (See SS 49 ii.). Another tendency that is to be specially noted is the contraction of the suffix 059 to og in several cases in the fem. of the pres. part., e. g., 961, faqasil, TET (see 28). This is a "modern' trait, characterising the New Indo-Aryan vernaculars like Hindi and Gujarati. The following are to be noted: 83b, 34 25b, 4 3 203b, 43983 217b (all from *7C i. e. I), TE 78b, TIE 130c, F&S 1540, 93 1866, 46773 192b, qotu 2040, 774 (i. e. dia) 86c, besides 1374 176b. YHTUT 80b (in a Doha) is of special interest as in Old Guj. this type of pret. passive part. in 037101 is quite familiar to us. Absolutive. There are various types of absolutives : Mostly the forms end

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18 in 0ivi. Thr mumber of instances of other suffixes in our text : 0eviNu 11; 03 28; 0iya 2, 0iu 1, 0appi 1. Those in 0iya are nivesiya, pesiya 95c, vicchAiya 188d and Pk. muNiya 213a; in iDa, pharisiu 132d; in appi, sahappi 199a. Besides these there occurs vijja 191e (cg. epic vidya) and an interesting case of 'compound' absolutive dahevi kari 108b, which is a precursor of the Moderm Hindi bola kara, ha~sa kara etc. Infinitive. In 0aNaha : kahaNaha 80a; in 0 aNau : dharaNau 71a; in 0aNu : kahaNu 81a; in 0aNa : sahaNa 218b. Gerundive. In 0ivvau (Sk. 0tavya) : paDhivvau 20d, 21d, jaMpivvau 82c, jAivvau 82d, kahivvau 99d; __ in 0iya and 0ijja (Sk. 0ya as in kathya, gamya etc) : kahiya (5 times), jaMpiya, pabhaNiya; pabhaNijja (twice), kahijja; in oaNijja (Sk. 0anIya): kahaNijja. With 0iya/0ijja cf. the passive endings 0iyai/0ijjai (71). Passive. The three types are represented thus : passives in 054 : 33, in 0ijja0 : 13, in 0Iya0 (metri causa) : 3. Besides these there are some 20 'irregular' passives which represent the further phonetic development of the corresponding Sk. forms : sijjai, pijjai, gijjai, Najjai,jhijjhai, dIsai, kIrai, pesi, sumbhai, pasuppar3a; ghummaMti, DajhaMti;from the causative: caDAiyai, suhAiyai. Note also jAiai, lAiyai. Causative and Denominative. ___A. 0Av is the general causative suffix which in certain cases becomes shortened to 0347 in accordance with 18. Further, in declension the one of this o379 is occasionally dropped according to

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19 33. (19) mAvai (from VmA) 141b and saralAivi 26b (cf. saralayavi d) are used as simplex. It is by a rare chance that one comes across the 'irregular forms like arra 165d representing the direct phonetic continuation of the Sk. forms. B. The instances of the nouns, etc, used as verbal bases are : (a) (in 371 :) qarfure 65a from 2004, farefa 168a from faciat, afuta 208a from afurst, Hilarid 210c from viac, afecifa 218d from uantits; (b) (in 379/3119:) sista 26b and primufa 123d from , Force 96d from head and E1$45 1896 form ya. POSTPOSITIONS Thanks to the working of the phonetic forces, the old system of the case-endings eventually became completely worn out by the time of the New Indo-Aryan stage and one of its direct results was that the postpositions, which had had only a conplementary or supplementary status in the late Middle Indo-Aryan (or Apabhramsa) stage, now began to function importantly as unaided indicators of various case-relations and the analytical stage was completely achieved. The language of our text knows of several such postpositions. 1. We find here some four instrumental postpositions having the general sense 'with'. fefe (= loc. sing. of Pret = hef 'company') means 'with; in the company of: fafae-fast auchfefe 3 y9644 (43a) 'If a stroll is undertaken in the company of various vidagdhas'; HET foot taruNijaNa-satthihi 'The beds appear charming with (or by the presence of) young danisels'. This postposition is seen commonly used in Guj. in the form TT. The Jain romance 98439180491144 (mid-fifteenth cent.) uses are in the same sense as noted here. Ha (< 449) is found in ont-fa opot Ho GT (470) "Some lady just laughs with someone". sauM is a variant of savaM : guruviNaeNa sauM 74b, farens a, og 995 99a. Cf. Old Gujarati. FH3, Early Maithili sit, Once ihrfura (= r f.) is found : 737 hifupa "with thee".

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20 Hra-Hf45 ( cit enlarged) 'together with' is used thrice: fuerife H3 (1870) 'together with musk', HE JSEME (1886) 'together with nutmegs,' hAma hemaha sarisu (191d) ? sarisau corresponds to the Guj. steyclose with' in usages like Etihad close with chest'. 2. The ablative postpositions are gits, fgers, , f. 63 with the loc. adverbs of place denotes 'from' as in free Ens c 'from that place'. See Hc. IV 355. It is fairy common in Old Western Rajasthani. Looking to its origin, as is the enlarged pres. partq@PS) & (=D) used in a preterit sense. The whole phrase fire in literally means 'having been at that place, (he came here)' and this sense ahs eventually veered round to 'from that place. (See As. pp. 22-24). fg48 (=eTa enlarged) is another such postposition. HC. IV 439, 4 has 763737-f83 'from the heart'. Modern Guj. opft is closely allied with this TThiu. The one case in our text is taha khaNi khuvai kavAlu 7914-oil-f43 86b "And the forhead (also skull) is not removed from the left hand even for a moment. Cf. the com. : : 2696 gurufa vAmakarAn na dUrIbhavati. Can the problematic siharaTThiyai 148d be brought in line with the above ? f is employed to signify the causal relation due to', 'because of', 'on account of. Thus goran-F 21a = grafanda agat i. e. kukavitvAt, Ordinarily resi is a tAdarthyanipAta. See Hc. IV 425; Haribhadra's 1920-902U, 40 ( H). afro (= abs. of Vert) with the adverbs of time denotes 'tempus a quo' i. e. it has the sense 'since'as in 1954-cf 122d = kadA prabhRti 'since how long.' In Old Gujarati lagai, lagI occur in both the senses 'up to', 'from'. 3. The genitive postposition afur (fem. of 7413; see Hc. IV 422, 20) quite obviously cannot govern any other case except the genitive.

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21 4. mahi is a locative postposition : maNamahi means in the mind'. .. is loc. sing. from maha. ADVERBS Adverbs appear in the SR. in any one of the three forms: with the 3 of the nom./acc; with the s of the instr./loc. or altogether without any affix. We have ciru, thiru, dhIru, ghaNu, Nimisiddha turiu, punaruttu, savva-vAra, Nimisu, kharu etc.; Niravakkhi , nibhaMti, aNiyatti, itthaMtari etc. Note khaNu 19d, and khaNi b; khaNaddha 67a and khaNaddhi 223d; niraMturu 148c and niraMtariNa 64d; cf. also puNu 96c etc. (5 times), pari 79d and 189d. Following is the list of other indeclinables arranged in semantically allied groups : ai, lai (thrice); anna-i, aru, aha, ya (6 times); ahava (ahavA), va (=vA at 41d and in kattha va etc.?); ia and va (29a, 123c), kiri, jaNu (thrice), Najjai (twice), NaM (8 times; at 132a-iva), NAI, dhuya (= dhruvam); ittha, kattha (kattha va, kattha vi), tattha (tattha va, tattha vi); ivaM and evaM and evaM, kivaM, and kevaM (Pk. 116), jivaM and jevaM, tivaM and tevaM; kaiya, jaiya, taiya;kaha (equivalent to katham, kutra, kutaH (41c)) (kaha va, kaha vi; kahakaha va, kahakaha vi), taha (taha va, taha vi); kahi, tahiM; ki (ki-vi, ki-hu) and kiM (kiM-pi) and kA~i, jaM, taM; cciya, ji (twice), u (5 times); jai (jai vi) and aha (101b), tau and to; jAvaM, tAvaM and tAva and tA; Na, Nahu (26 times; Nahu vi), Neya (4 times), ma; Niru; dara; pari; puNu; purau; hiva (twice). COMPOUNDS Firstly, there are several cases of 'permissible' loosencess sanctioned by the Sk. scholiasts with the words "sApekSatve'pi gamakatvAt samAsaH". Accordingly, we have Niya-kavittaha vijja-mAhappa-paMDitta-pavittharaNu 19a for Niya-kavitta-vijja etc.; anaha taruNikaraMguliNaha 51c for annataruNikaraMguliNahArayaNanibaddhau mehala-ruNajhuNau 52d for rayaNanibaddhaya-mehala-ruNajhuNau; piyaha saMjaNiya-suha 122c for piya-saMjaNiya-suha; kevayakalIhi rasagaMdhaluddha 205d for kevayakalI-rasagaMdha-luddha. Secondly, within a compound the order of various members has no regard to mutual grammatical or logical relations. We can almost say that any member can precede or suceeed any other mem

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22 ber to suit metre and rhyme. This fact is recognised by the grammarjans as samAse pUrvanipAtAniyamaH. The examples are : dhammilla-umukka-muha 25b = umukka-dhammilla-muha; Neura-caraNa 27d= caraNa-Neura = caraNa-(gata)-nUpurayoH; aNaraichAra-uchittu 120c = uchitta-aNarai-chAra; kaDDiya-kuDila-aNega-taraMgihi~ 177b= kaDDiya-aNega-kuDila-taraMgihi~; mayaNa-paDibhinna-sari 184a= mayaNa-sara-paDibhinni; aseviya-sauNiyaNa 193a= sauNiyaNa-aseviya; phalu-virahaggi 144a= virahaggiphalu; sihari-surattaya 216a= surattaya-sihari. Among these special attention is to be drawn to the last two instances of the compounds with the order of the members transposed for metrical convenience. Apart from a few genuine cases of 'endingless' forms, it is such cases that must have substantially contributed to make current the view that Ap. uses the bare stem also in the genitive. For in the case of the words in such expressions held together by the strength of context but otherwise appearing hanging in the air without any grammatical element connecting them inter se, one can easily say that here the bare stem (virahaggi, surattaya) functions as a genitive form. But the cases attested here, as also lots of similar cases in Dingal works and in the Ramacaritamanasa make it abundantly clear that we have to look upon them as free constructions-as a loose type of compounds. rayaNa-tADaMkihi parigholira-savaNi 46d for parigholira-rayaNatADaMka-savaNi offers a case of the fusion of the above types. Lastly, the extreme cases of this tendency to loose composition are offerred by a few instances of tmesis, which at the same time pointedly show how much the poet cared for metre and rhyme at the cost of everything else and how at times he left the reader (or the hearer) to gather the intended sense entirely from the context. Thus we have, Niya-daiya-soya-asahaMta-bharu 103c=Niya-daiya-soya-bharu asahanta nimmala-phurai-karu 122a=nimmalakaru (-candra's epithet) phurai NavaghaNa- jaMti -tali 130d=NavaghaNatali jaMti Here we get a peep into that process as a final outcome of which the power of unrestricted word-composition has peterred out in

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23 the New Indo-Aryan vernaculars. SOME SYNTACTICAL REMARKS Supply of the ending from the adjacent word in accord. At certain places the prior of the two adjacent words either the substantive or the attribute-appears without the requisite case-ending which is to be supplied to it from the immediately succeeding word. There are some four such cases : pahiya pavahaMtayaha 54b= pahiyaha pava0 bhayabhesiya airAvai...khivaMtiyai 140b= bhayabhesiyai airAvaii...khivaM0 taraMgiNi jaMtihiM 161b = taraMgiNihiM jaMtihi Pk. kayaharisa barahiNIhiM 123a = kayaharisahiM bara0 mayaNaaggi virahiNi (i. e. Na) 222b = mayaNaaggiNa virahiNa ___NOTABLE CASE USAGES. Genitive has developed a very wide scope. (a) Genitive absolute. Besides the usual type seen in jasu pavasaMta (= pavasaMtaha), Na pavasiyA 70a; muddhahe vilavaMtiyahe 25d, there is a series of cases wherein the genitive of the present participle is employed in an absolute phrase to signify continuity of an action while another action is performed. The construction can be rendered into English by 'while.......-ing'. Thus tuha suvaraMta ( = suvaraMtaha), samAhimohu visamuTThiyau 86a, "While cherishing your memory......" __ geu giraMta ( = giraMtaha) pAiu paDhaMtaha, ima vilavaMta diNa pAiu 157ab "While singing songs and reciting the Prakrit (Gathas), (1) who was thus bewailing, reached the (final) day (of the rainy season)" (piya) suvaraMta (= sumaraMtaha).....ima jaggaMtaha...asu taggaMtaha, jAmiNi gamiyai 158 "The night is passed keeping awake, cherishing the memory of the loved-one and carrying on to live somehow". dakkhiNamaggu NiyaMtaha, maha aitthirisiu dinu 159ab "While watching the road in the south, I saw the sage Agasti (Canopus)". ema sunnahiyaya bhamaMtaha, rayaNi vihANiya 199c. "While wandering thus

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24 absent-mindedly, the night dawned". The usage is quite living in Gujarati. (b) Genitive for the accusative. Besides the numerous examples of and governing genitive of the person to-be-communicated-to, the following cases of the genitive of the object are to be noted : tuha hiyayaTThiyaha chaDDavi 75b (i. e. tvAm hRdayasthitam muktvA) tuha suvaraMta 86a, tasu aNuaMci 130a, ivaM karuNa bhaNaMtaha ikkikkaha Na kui dhIravai 166cd, vilavaMtiyaha AsAsihasi 191e, majjha saMtosihai 197a, mahu milhihai 197b. Adverbially genitive is used instead of accusative twice : taha~ 104c. (c) Genitive with the word of comparison: Ref 108a and jamajIhaha NaM (i. e. yamajI iva) 132a. As instr. postpositions, sammANiya and R (SS73.1) should govern instr. But originally being words of comparison, they take the gen. also. So besides fufe aftes 187d, we have sarisu jAIhalaha 188a and tuha sammANiya 78b. Guj. regularly uses genitive with the particle of comparison. Locative. Locative Absolute. Only two cases are met with : aNakiyai Niyai pauyaNi 102d and paraM porisanilaeNa ( i. e. pahaM porisanilai ) 77a. The latter of these two cases also supplies an example of instrumental being used for locative. NiyabhavaNi patta 130d and tarusiharihiM caDiu 144a, cuyaha sihari caDi 144d illustrate the locative of goal. Several times singular is used for plural: ...fs3 144a, kayaMbiNa 146c, aMgaMgi 146d, dasaha disi 148a, tihiM bhamiriI 174b, sUrasasibiMbe 2a, lakkhaNachaMdAharaNe 6b. Ellipsis. The author seems to be remarkably fond of ellipsis. At several places the sense of the sentence remains incomplete and at times even the immediate context is in no way helpful in suggesting the words kept understood. The Commnentary supplies the necessary

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25 words in most of the cases. The following cases have come to my note : 4b : supply aor after 44. 21ab : supply Hrana oled in the beginning. 76a : supply and Joel after a. 95d : supply fore before Horect. 108ab : r is the understood object in b. 133cd : the description refers to the Heart 1410 : refers to faec. 152a : for is atsiga. 189c : divasa is to be understood after aMgulimatta. 193d: supply dumma after ujjANaha~. 196d : we have to understand priyaM prati. 202d: striyaH are understood. 218d : supply FT:; 219ab : supply t:. Tmesis. We have already dealt with several cases of tmesis To those add one more : H- as- Fuis 201a= 2998 Gus. Anaphoric construction. Lastly, a few cases remain to be mentioned wherein the substantive being attended with a detailed description is felt incapable of directly conveying its relation with the subsequent words in the sentence and consequently an anaphoric pronoun is used which expresses the relation of the substantive with other words. For parallels in other Early Vernaculars see VR., 38. __Nava-ghaNa-reha-viNiggaya Nimmalakara sarayarayaNi-paccakkhu amiyabharu jharaMtau phurai taha caMdaha jiNaNatthu piyaha saMjaNiya-suhu muhu virahaggidhUmi kaiyalaggi jhaMpiyau 122 "Since how long is covered with the smoke of separation-fire (your) face which brings happiness to (your) lover and which has the object of conquering that moon which becoming manifest on an autumn night, coming out of the row of fresh clouds and shedding its burden of nectar shines serene-rayed". phalahAriNa unnamiyau.....gaMdhavahi kuMjarasavaNa-saricchu pahallira (sAhAru) taha fafe....tifa afians 133cd-134ab. "The ear tree, bent down with the weight of its) fruits, dangling due to wind like elephant's ears: in its leaves resides the row of parrots". Pk. mANussa-divva-vijjAharehi~ Nahamaggi sUrasasibiMbe Aehi~ jo namiNajjai 2 "By human beings, gods and Vidyadharas, by the solar and lunar orb in the heavenly path-by all these, Who is bowed down to-" The use of the infinitive with (or an interrogative particle) and 41 to denote impossibility of performing an action because of its

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26 exterme nature is peculiarly Apabhramsa. We find this construction in, e. g., Hemacandra's illustrative stanzas, in the Paramappapayasu of Joindu. The idiom is current even in the Modern languages. The three cases occurring in the SR. are : na dharaNau jAi 71a, kahaNu na jAi 81a and font.... FEU 218b. There appears a decided bias in favour of using the pret. part. in impersonal construction. Note 51955 Teufq3 78a, 5 1 09d, chifriis B 142b, Feicfi 155 144b, Hrafia FAB 1440, TATE 315773 145d, Tej Thurs 153 146a, HE HITE3 215b, etc. It is also to be noted that excepting the first case (in a Doha), all the other cases have the instr. in 0ihiM. Here we can say that two steps intervene between the type of usage attested here and the one in the modern vernaculars which has shed the passive sense and serves to express the past directly. Thus, firstly if for expressions like say RA afs3 'by the goose was climbed' 'the climbing was done by the goose', those like to (instr.) afss (cf. 51955 Eufa3) get current and then secondly, if as a result of the phonetic development of RA into 4 (i. e. endingless instr.) by the reduction of the final f, our expression takes the form (instr.) 2153 (so common in Dingal, etc.), then the natural confusion of the (instr.) with the homophonous nom./acc. would give us without any difficulty the modern active expression to OST 'the goose climbed' "the goose did the climbing". Thus, in the end the old passive was lost from the pret. And eventually it met the same fate in the present, where it developed a potential (and later on a mild imperative) sense. Some indications as to this are supplied by zjes for free 'the cloth can be dyed again', aMgu abhigiyai 'the body can be annointed', daviNu puNu bhiTTiyai 'riches can be won back and foot afgu 'how (it) can be turned', all occurring in 101. An important result of this tendency was the development of a new passive which probably made the first beginning by the pret.

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27 passive part. in 31141, the successor of the old pret. part. In our text (in a passage whose language appears comparatively more advanced) is attested 4141 180 (= fa:) from VAT and perhaps yogrifur (f.) 199d from V aal- V Yoga1137 ( = 40 + 37119). Lastly, attention can be drawn to three cases of compound verbs so current in the modern vernaculars wherein a second verb used auxiliarily in conjunction with the absolutive of the main verb serves to express an aspect or state of the action denoted by the main verb. Thus Guj. wide to eat', als Teo to finish by eating', 'to eat up'; joh 'to see', joi rahe* 'to look on'. Similarly here ko NisuNeviNu rahai 18c 'Who would listen on--listen completely-patiently ?? (Cf. Guj. Hi Hot eg, 457 etc); TRG ft 73 95d "The thief stole away the belongings' and 259 siis of 74 1923 'All the trees completely shed (their) leaves'. Cf. the Commentary : 3791981a: Tufo Tokat TAT: = Peta: ! Note also aufe 7 He3 105a 'I cannot tell'.

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28 DI METERS Before we proceed to treat the metres of the SR., a general note on the differing Ap. metrical traditions is called forth. Besides the two well-known works, Hemacandra's chando'nuzAsana and the prAkRtapaiGgala, we have now five other large or small treatises-all published by Prof. H. D. Velankar-dealing with Pk. and Ap. metres. They are the vRttajAtisamuccaya of Virahanka, the svayambhUcchandas of Svayambha, the gAthAlakSaNa of Nandiyaddhya, the anonymous kavidarpaNa and the chaMdaHkoza of Ratnasekhara. Among these the work of Viraharka (as also of Nandiyaddha, if at all) treats a very small number of Ap. metres properly so called. Though dealing with the same subject, the abovenamed works widely differ from one another in their range and province and on the strength of certain provisional criteria--such as, the definition and nomenclature of the commonly occurring metres FETI (raDDA) and its sub-types, of dvipathaka or dohA and its sub-types, of aDilA etc., the preferential treatment of certain metres and the exclusion of others, the quantitative value of the final mora, the characteristic system of the termini technici and some special features of the method of treatment in general- on the strength of these criteria hazard to roughly distinguish at least two considerably divergent metrical traditions : the one, which for convenience's sake may be called the Classical Tradition, occupies itself mainly--but in no way exclusively--with the prosody of the Apabhramsa epic poetry, while the chief-but again not the only concern of the other, which may be called the Bardic Tradition, is the metres that are employed in the Ap. narrative and lyric poetry as of the T4 compositions and other forms substantially cultivated by the popular bards (the AMTE). Due to its popular character the latter tradition was obviously more open to continuous revision and reinforcement. The works of Svayambha and Hemacandra on the one hand and the fagtut on the other represent the Classical Tradition; the ja: SATT (which is little more than a compilation from the ancient works of Arjuna or Alha and Gosala or Gulha) and the report (which also appears to have a highly composite character), represent the Bardic Tradition.

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29 These facts bring forth one important result. In the proper identification of the metres employed in the epics like the Helguur of Puspadanta or the fire of Dhanapala one should be guided ultimately by the metrical works of the Classical Tradition. The other sort of metrical works can at best render only a secondary help and as the common metres are at times divergently treated by the two sorts of metrical treatises, it will not be surprising if their undescerning use proves a source of confusion. The same words apply to the value of the works on epic metres for the study of the metres of non-epical poetry. Adopting Alsdorf's classification (see As. p. 46) we can deal with the metres of the SR. under the following heads : A. HET 1. (a) Four-lined metres with the rhyme a b, c d. (b) Metres of the Doha-type': two rhyming lines divided in two unequal pAdas (as ghattA : the antarasamA catuSpadI type). (c) Metres with the rhyme-type a b, c d e f. (d) Strophic metres. II. Metres of the Gatha-type. B. aufaas. A. AFIQTIS. I. (a) Four-lined metres : rhyme a b, c d. 1. 3tico Occurrence : 104, 182; 157-170, 174-181. We have conflicting statements of different metricians on this metre. But most of the authorities agree, by definition and illustration, in considering end-Yamaka as one of the differentae of the 311SF. And st. 104 and 182 of our text which are expressly called 31FSF strictly bear out this point. Further, with slight difference all grant that the metre has 16 morae per line, the last two morae being

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30 invariably short. But the agreement does not reach beyond these points. For the remaining, there is a considerable measure of divergence among the various authorities. Firstly as to the unmber of the 440s. According to some (CK. 41a, VJS. IV 33, 34, the form of the definition stanza 127 in the Pp.; cf. the introductory remark to Sc. IV 32 and Ch. 37a last lines) there should be one 445 for all the four lines. And if instead of one, there are two y s, one for a b another for c d, the metre receives the name ASM. The author of the SR. follows this tradition. Others (KD. II 21b, ch. p. 37b/2 recording a different view) hold that it is the other way round. According to them the maDilA must have one yamaka and the aDillA two. Secondly as to the Tu-scheme. Among the 'Bradic' group, all are silent on this point, except Pp. which only says that the final two morae are to be short and the out is forbidden. One of the commentators of the Pp. gives 6+4+4+-- as the scheme. On the other hand the 'Classical group defines 37fSct as a sub-type of the metre 2975, which latter is quite unknown to the 'Bardic' group. ag7 is defined (Se. IV 29, Ch. 37a/15, KD. II 21) as 6+4+4+2 and when it has yamakas it is called aDillA or maDillA. No specific prescription is found for the form of the final two-moraic TUT, but the practice is mostly in favour of two shorts. Now apart from the two abovementioned stanzas 104 and 182 which satisfy all the requirements of an 31f5f, there are 22 other stanzas (157 to 170; 174 to 181) in the SR. whose structure is doubtlessly that of an 34SA, but which fail to satisfy the important condition that all the lines should have the 440. It does not seem justified to call the metre of these stanzas agh because, as noted above, that name is quite unknown to the "Bardic" tradition, while the metres of the SR. have no particular concern with the "Classical" tradition. On the strength of some evidence, the fact can be historically explained. There is an ancient tradition (See VJS. IV 32, CK. 41) to the effect that in a stanza made up of equal or unequal lines of any good metre, if the AbhIrI (i. e. apabhraMza) language and the yamaka are

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. 31 employed, the stanza is called 371CA. VJS. IV 34 gives an illustration of 'aDillA nakkuDaya-bheeNa' i. e. an aDilA in the form of a narkuTaka stanza in 37'irt with the 4140 employed in it. But just below the above-cited definition of the 3T15H, another one is given at VJS. IV 33. Unfortunetely the text of this definition stanza is not quite clear, but the form of the stanza is 6 + v-u+-+v", with one 44 for all the four lines. These facts make it probable that fomerly 341CAT was a technical device rather than the name of any specific metre and accordingly any common metre could be turned into 3115M by composing it in 37999 and using the 4406. But the metre with the form 6+4+4+uw was employed with special preference for this purpose and the result was, 3715H ceased to be a general name and came to be specially attached to that particular metre. And later on, the distinction between the 440 ('a recurring group of syllables identical in sounds but different in sense') and the 3709014 (rhyme') being lost (cf. the uses of the term 146 in the sense of 375919 in the CK. and even in the Sc.; see also the illustration stanza for 37154 at Pp. 128), a 16-moraic metre of the above type, even without the 74t came to be called 34TSA. Finally it also took up the rhyme a b, c d. Among the stanzas of the SR. in question, the 440 strictly so called is found in st. 157 (a b having one, c d another), 161 (only cd), 163 (only a b), 165 (only c d), 166 (a b having a pure one, c d an impure one) and 181 (a b and c d both having an impure one). An analysis of the 22+3 3715H stanzas occurring in the SR. gives the the following statistics for the various forms of the constituent tots (the figures for the two of a 341SAls at st. 104 and 182 and one HISH at st. 111 are given separately in the brackets): The forms of the 1. To of 6 morae are vvvv - 20 (6) ww-v-8 www- 3 --- 20 --- 4 ----2 ---- 19 (4) --- 3 (1) ww--2 (1)

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32 These results show that 1. Tot of our SA is built yp altogether differently from that of the 31st of the Hp., as the latter has generally the form-- -- _ with the trochaic rhyme (See Hp. p. 191 mid)., while here it is the least preferred and quite exceptional form. In our case there is a strong tendency to two-moraic grouping and hence a long for the 2. and 3. as also for the 4. and 5. mora is mostly avoided. The forms of the 2. 70 of 4 morae are www . 39 2: ) - 23 w 14 (10) - - - 9 - 3 Thus the Ifut is permissible in the 2. 70 and in the case of the yamita aDillA and maDillA,, ~~ appears to be the only form of this gaNa. Note that out of the 14 cases of the fron, not less than 6 occur in those stanzas which have got the yamaka. The forms of the 3. TU 4 morae are --- 46 (1) -- 23 (11) -- 121 --- 4 This makes it clear that the forum is avoided in the 3. 14. Mark the anapaest tendency of this T. The 4. Tot is invariably made up of two short morae. 162b (wwwwwwyour cuwwww ) is the only case of Gana-fusion. 2. Afsta! Occurrence : 111. Different views on the exact nature of this metre have been already noted in our discussion on the metre 39SM. The wavering apparent in the Mss. of our text at 110 d (B C HfS, A 34159) and in the commentaries (the text of both reads 37fsm, though the 114 names the metre of SR. 111 as HSMe: and quotes CK. 41 cd to

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define it) also suggests diversity of traditions on this point. ___As the difference between the two metres aDillA and maDillA amounts to a negligible point, the view adopted in the Ch. which considers both these as merely two varieties of one single metre appears quite reasonable. 3. TT (740) or 311510 ( 3119101C). Occurrence : 26-30, 41-57, 58 (a b), 64-68, 74 (a b), 91-92, 96-99, 101-103, 104 (a b), 105-106, 109-110, 113 (6 lines), 117 (6 lines), 118 (6 lines), 121-124, 125 (a b), 130-136, 139-147, 151, 154, 155 (a b), 184-189, 190 (a b), 192-197, 198 (a b); 86-87; 204. Total 328+12 lines. This is the principal' metre employed in building up the frame of the SR. About one third of the SR. is composed in this metre. As it was in the case of the 34SM, here too we have to make a way through the conflicting and scanty accounts of the prosodists. CK. 17 defines 3T6M13 as a metre of 21 morae. The final mora should be always short and a 5-moraic Tot is to be avoided. The commentary on CK. 17 (See Notes on CK. 17) says that the tradition requires final three morae to be all short and this is comfirmed by the SR. stanzas. Thus the CK. makes no provision for the constitution of the individual us, nor says anything regarding the caesura. Still the definition stanza has a definite caesura after the 12. mora. Further, this CK. 17 is quoted in the area on SR. 26 with the varying fourth line recording rAsau as an alternative name of the AbhANaka. The vyAkhyA in its explanation of the definition adds on its own account that 6+4+4+4+3 is the Top -scheme. This is borne out by our stanzas but with certain important reservations, as the analysis given below shows. If we refer to the group of svayaMbhU, hemacaMdra and the kavidarpaNa for some guidance or clarification on this point there also we are faced with disappointment. Sc. VIII 50 defines one metre which is preferentially employed in the Ta compositions. It should have 21 morae, with final three morae short and a caesura after the 14 mora. On the other

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34 hand Ch. 37 a/9 and KD. II 25 define T 1974 as a metre of 21 morae divided as 6+4+6+5. As this infringes the explicit ban on the racist put by the CK., one would think this VII to be essentailly different from the 37741B of the CK. But the facts that the definition and illustration stanzas all without fail end in three shorts and that the illustration stanza in the Ch. has a caesura after the 12. mora (cf. ALSDORF'S observation, As. p. 47) do not allow any doubts regarding the basic identity of these two metres. The fact appears that originally a 21-moraic stanza with the final three morae short must have been in common use for the Trichols and in accordance with the varying practices and traditions it came to have different Gana-divisions and positions of the caesura. Only thus can be explained the basic agreement but the divergence in details in the various accounts of this metre. The Thi-stanzas of the SR. have the caesura optionally after the 11. or 12. mora. We saw above that the practice of some (CK. 17, Ch. 37 a/10-11) supports the 12-moraic caesura. On the other hand the 11-moraic caesura finds a stronger support in CK. 29. There while defining the strophe THIC (mark the name), it is prescribed for the first part-which though unnamed is completely identical in form with the 37979 except of course in the position of the caesura--that its lines are made up of 11+10 morae. The general form of the 1941 in the SR. is (the superior quantities less common) : -- +4+2 5+ 4/3+ -- + wow or alternatively T +4+ - + + www The individual This are represented as under (the two 73454 stanzas 86, 87 and the one it 54 stanza 204 are included in the calculations): 1. TOT (morae 1.02.) has two forms :

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2. ww 206 35 -134 (morae 3.-6). has five forms: 104 56 wwww 173 ---- 86 - 18 This shows that the jagaNa is permitted in this gaNa. 3. (morae 7.-10.) has four forms : - 179 71 Here the T is forbidden. 4. (mora 11., or morae 11.-12.) is made up of one or two short syllables according as the caesura falls after the 11. or the 12. mora. The proportion of the two is 513 72 --- 311 62 23 33 190 (56%) ~~ 144 (43%). Exceptions - 56d, 57a, 58a (all the three occurring in the section listing tree-names), 130b and 154b have the caesura after the 14. mora. Cf. the 4 of the 14-moraic caesura treated at Sc. VIII 50 and Ch. V 2. The heavy syllable standing in the place of morae 11.-12. in 296 () and 55c (a) is resoluble into two shorts in accordance with Grammar 28 (cf. 41 f). 1 A word of explanation seems necessary for this spinning out of the five (6 +4 +4 +4 + 3) Is given by the are into seven. The two implications of the principal of -division in general are that firstly the closing mora of a preceding TT and the opening mora of the following it cannot be replaced by a heavy syllable i. e. the separate individuality of each of the two morae is to be preserved (cf. AM 19) and secondly, the common patterns of the various constituents when viewed in a lot are to be indicative of the general rhythm of the metre if any. In the case of the THI stanzas in the SR. the formal analysis shows that it conduces to precision and lucidity to split up the first and the third of the ren each into two and as this can be done without any detriment to the underlying principal, seven Ps are set up. For precedences Ch. V 31 versus 32 (Cf. Hp. p. 189) and Alsdorf's treatment of the 3 (see 11 below) can be pointed to.

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36 5. Tu (morae 12.-14. or 13.-14. in accordance with the fall of the caesura) has three forms in the first instance, two in the second. (i) - 66 - 66 - 56 (ii) - 77 - 71 6. Top (morae 15.-18.) has four forms : - 131 -- 58 vwvv 89 --- 59 Like the 3. gaNa this also avoids the jagaNa. 7. To (morae 19.-21.) has only one form : www. Exceptions :-92ab afsu, Fire (i. e. -- instead of w) are only apparent exceptions, since they are contraction-forms developed from ghalliyaya, milhiyaya. See Grammar 41 (c). 4. 73454 ( arcefcent). SR. 85 calls the two stanzas next to itself 973454. But their scansion shows their structure to be in no way different from that of a 799 stanza. So they have been treated here as Ts. It may be noted that after defining the metre The Hemacandra remarks (Ch. 37a) : 5 agoua areagon a gry. The various metres with the name 73454 found in the metrical treatises are altogether different from the metre of SR. 86-87. 5. nichtse (MST2Tocato ?). SR. 204 is expressly named Sichts by 203d. No metre with this name is known to the extent treatises on Pk. and Ap. metres. On the other hand the metre of 204 is found to differ in no particulars from an ordinary Th. But the designation implies some characteristic peculiarities, which howerver are not clear to us. Accordingly 204 also is treated here as a rAsA. 6. Tesisat Occurrence : 20-21, 59-62, 63 (ab), 200-203, 205-206, 207

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37 (ab), 209-212, 214-219, 220 (ab). Total 94 Tas. Being the standard metre of the Ap. epic, it is one of the commonest of Ap. metres and as such it is treated by almost all metricians with varying details. A paddhaDiyA-line is made up of four caturmAtra gaNaS;....is obligatory in the last TOT, facultative in the 2., forbidden in the 1. and the 3. Regarding this metre Alsdort observes (Kp. 73): "The Paddhadika is a metre of anapaestic (i. e. v*-) basic character, which though variously violated, is still to be clearly recognised. The freedom of construction is greatest in the opening portion of the 976; toward the end the regulation becomes stricter and the basic type of the respective Tus stands out more clearly. The 3. Tot is built up similarly to the 1, and the 4. similarly to the 2., and between 1./3. Tus on one hand and 2.14. Tots on the other exists a certain contrast, so that a regular variation is set up in the stanza which is indeed often given up-especially in favour of a continued anapaest rhythm". Gana 4. is most strictly regulated. In the SR, stanzas it has the form --- without exception. In other texts the form is also attested. The forms of the 2. To are represented as under : (a) -- 39 (41 %) (b) - 25 (27 %) juuu 16 (17 %) 53 (56 %) 41 (44 %) The corresponding percentage for the Tastsells occurring in the Kp. is 53 and 46. But Kp. has 1% of cases which are either dacty; (---) or spondee (- -). They are totally absent in our specimen. In the case of the 1. and the 3. To here (as in the Kp.), 419 is the most frequent and 97747-which 'distrubs the anapaest rhythm most, the most seldom verse-foot as the following figures show. ww www . - 1. 31 (33 %) 25 (28 %) 23 (24 %) 14 (15 %)

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38 3. Top 40 (43 %) 37 (39 %) 4 (4 %) 13 (14 %) As wu, cu has originated from the anapaest (cf. Gana 2.), we can sum up the first two figures in the case of each of the two TUTS and this gives us the result that "the anapaest basic tendency is still more strongly impressed on the 3. 7 than it is on the 1." (Kp.) 8 7. . 7. ma (aon) or area (aria ). Occurrence : (independentl) 107; (as the first four lines of the strophe arcy) 148, 183, 191 (only a b), 199, 137 (?). There are 24 morae to each 4. The scheme given by the Pp. (109) is 6+4+1 4+4+6. GTU is forbidden in the 2. and the 4. 79 and the last two morae are to be short. Ch. and others define this metre under the name ryqeu and their scheme differs in this that they say nothing regarding the caesura after the 11. mora. After examining one hundred and odd aftaga stanzas from different sources, Alsdorf (Kp. pp. 74-75) comes to the conclusion that the main caesura falls after the 3. To (i. e. after the 14. mora), while later on a second caesura has developed after the 11. mora., which, in the stanzas examined by him appears regularly, but not quite without exceptions. This secon caesura is considered by the Pp. as the main caesura. In the case of the SR. all the areas have both of the caesura. The last top is w-U (15) or ---- (3) without exception. The material is too scanty to permit statements with any positiveness regarding the form of the other Tots. In the 3. To the cases are divided exactly half to half between amphibrachys (--) and proceleusmatism (---). In the point of preference of forms in the 2. and the 4. Tut our text supplements Alsdorf's data to some extent : wwww - w - - 2. 70 10 6 1 1 4. T 6 7 3 2

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V - is strictly avoided in both these Ts. Alsdorf has comparatively higher figures for the last two forms. Nothing is remarkable regarding the forms of the 1. T. 39 SR. 137 has an uncertain text and consequently it is not here taken into consideration. For its discussion see 18. 8. kAmiNImohaNa (kAminImohana ). Occurrence: 82, 83, 85. All other authorities except the CK. (10, 32, 39) the GL. (78) and the on the SR. treat this metre under the name Generally it is defined as made up of four lines, each line having four S. No restriction is put as to the form of the Ts. Only CK. 10 says that all the four chs should be Ts. But this appears to be an overstatement, since in the CK. itself two-one forming a part of the strophe (CK. 32) and another in the allied strophe (CK. 39)-do not abide by that rule. They have amphimacer (T) in the 4. T only. And to this point our stanzas also subscribe. They regularly end in an amphimacer. The other three Is have various forms, but the forms - and - are studiedly avoided. This means that the middlemost mora of every is invariably short, which fact results in giving an amphimacer rhythm to the metre. The defining or illustrating stanza in given by the Sc., GL. and KD. also bear out these results. Only the stanza in Ch. neither regularly ends in ---, nor can it be said to have an amphimacer rhythm. It is obvious that in this case the CK. presents one extreme, the Ch. the other. With this varying treament off at one place as a mAtravRtta, at another as a varNavRtta, cf. a similar treatment of DumilA (see 16). There on SR. 82 names the metre as for which CK. 32 (with some variants) is quoted. Now, it is the metre defined and called at CK. 10 that is identical with the metre of SR. 82, etc., while CK. 32 deals not with, but with a L

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40 strophe made up of a The followed by a f-H167. But SR. 822, 83, 85 are not strophes. So they aught to have been called, not egRy, but chifauneut and accordingly instead of CK. 32, CK. 10 ought to have been quoted. Against this it can be urged that though the constituted text of the CK. 32 cannot be made to support the view that calls SR. 82 a GR14, still the text of CK. 32 as quoted by the 2014 has a variant for the first pAda of the second line (aha tiNi rahiyau for aikomalu jaNa0) which obviously means that a golf4H167 with or without being headed by a Giet can be called R. However, this cannot be the original reading, as it is not attested in any of the three 'good; Mss. used by velankar for his edition of the CK. and besides, it strikes at the very root of the method of nomenclature in the CK., in accordance with which kAminImohana is prefixed with dohA or gAthA, the strophes so formed received the distinct names caMdAyaNa and caMdAyaNi in turm and similarly the strophes dohA+kAvya (CK. 31) and gAthA+kAvya (CK. 38) are named respectively as gi sir and gofalu. Thus it would seem that SR. 82 ought not to have been called EGRU. This is quite reasonable. Yet there is also a definite point or to to show that at least in some quarters the name GRYT was in use instead of H167. For, in the later days of popular Apabhramsa poetry there appears to have developed a loose practice of applying the name that by rights belongs to the whole strophe, to some one of its parts also. Cf. 19 for some such instances. In the case of the GRI strophe also the same seems to have happened, since GL. 78 (probably an interpolation according to Velankar) defines the fine under the name caMdAyaNa (Alternatively madanAvatAra). 9. gas (faqat). Occurrence : 120. All our metricians except Virahanka have treated this metre. Its general scheme is : 6+ v3+4+4+4+v**v +- (Ch. IV 14, in the

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41 khaJjaka section). By a statistical investigation of 100 pAdas of the duvaIs occurring as the opening stanza in the Ap. epic, ALSDORF obtains (see Hp. p. 195) the following results: Trochaic rhythm is forbidden in the 1. 79, whose most frequent form is ----. The 2. and the 6. To have the form --, less frequently ,uvu. These forms are forbidden for the other 4-moraic futs. There is a caesura after the 16. mora; in a few cases, however, it is lacking. The caesura is preceded, almost as a rule by two shorts and is followed by a long in majority of the cases. Our gas stanza differs from this description in certain details. The first TuT has the form wwwu- in a b c, wavin d. Only a and c have a caesura after the 16. mora. Similarly the gas given at GL. 81 is wanting twice in the caesura, that at Sc. VIII 37 and Ch. 32 a/15, once. On the ground of the caesura after the 16. mora Alsdore recasts the above-given scheme for the gas thus : 6+ vuurt6/6+ wow One serious objection can be advanced against this regroupoing of the morae. The principle behind the Tufreh is, as observed previously, this that the last mora of a preceding Tut cannot be fused together with the opening mora of the succeeding Ty to form a heavy syllable. Expressed differently, a heavy syllable cannot appear for the two contiguous morae belonging to two different gaNas. So in a duvaI, according to the traditional definition, a heavy syllable cannot be substituted for the 14. and the 15. mora or for the 18. and the 19. mora taken together. This fact is indicated by the representation 6+ +4+4+4+, while in the form given by Alsdorf it is obscured, since 6 stands for all the ten forms (including wow) possible for the TOHET 7. A few words on the name gas. Alsdorf finds it strange that in the face of the name gas (=f&tat), the Ch. (and now we can also add the Sc., the GL., the CK. and the KD.) defines it as a metre of

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fours.1 In his com. on Pp. 154, discusses for a different reason, whether a is a two-lined metre or it is four-lined. Velankar has fully discussed this point at AM. II 43. VJS. III enumerates and defines no less than 57 such four-lined fats and Hemacandra also knows all of them by their names (see Ch. p. 32a/18). But strangely enough, the sort of the fach treated here does not figure in those 57. Our type has the two-lines form when it is used as the opening stanza of a Sandhi in the Ap. epic. But in lyrical compositions it appears to have the four-lined form as a rule. Cf. a similar distinction of employment in the case of paddhaDikA, vadanaka etc. 10. ravaNijja ( ramaNIyaka ). 42 Occurrence: 208. Virahanka is the sole authority to define this metre. VJS. IV 26 gives 5+5+4+4+ - as the T-scheme of the T3. Our stanza confirms it. Compare ramaNIyaka of 15 ayllables ( ranabhabhara ) in zizupAlavadha XIII. A side-point is raised by VJS. III 27 and IV 89 which respectively define the two metres called sommiA (saumyA) and saMpiMDiA galiyA (saMpiNDitagalitA) both with the gaNa - scheme 5+5+4+4+-, which is identical with the scheme of the T, and what is more strange, while defining the ffsafe it is expressly stated that this metre is similar to the and f! Nowhere, however, it is made clear what is the exact difference between these three. Perhaps it may be that the metre with the scheme 5+5+4+4+ ~ when it functions technically as a four-lined dvipadI, it receives the name saumyA, while as an independent metre it is called, which belonged to the general class . Cf. Ch. 31 b/8 and KD. II 23 com.; gAthAdaNDakAdivarjaM sarvacchandAMsi yamakitAGghrINi sAmAnyena galitakAni. fe From the single stanza at our disposal scarcely anything can be made out regarding the preferred and forbidden forms of the individuals. The 4. TT appears to have a tendency to prefer the and end in a long as a rule. The is permissible in the form

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A 1. 77. The area on SR. 208 says that possibly the ziuo metre is a variety of the TFT metre. The external similarity of having 21 morae has proved here misleading. (b) Metres of the Doha-type 11. STET ( fauen) Occurrence : (independantly) 31, 69-71, 75-81, 88-89, 138, 150, 156; (as the latter part of EET), 19, 24, 25, 222-223. This is "the most current metre of the Ap. gnomic-didactic poetry and its position can be well described by calling it the Apabhramsa counterpart to the Prakrit 17791." It is made up of two equal hemistichs each of 24 morae, with the caesura after the 13. mora. The T-scheme is 6+4+3/6+4+1. Following are the details of the forms of the individual Tors. (Results obtained by Jacobi and Alsdorf through an analysis of the Dohas occurring in other Ap. texts are also reproduced here from Kp., p. 72 for comparison. Hem. stands for the Dohas in the Ap. portion of Hemacandra's Prakrit grammar). Forms of the six-moraic to : (a) the middle always -- Hem. San. KP. SR. 62% 67% 62% 52% the middle always -/ 37% 28% 31% 48% 3 only one of the middle two - 1% ! 5% 7% 0 The figures show that the percentage of the SR. for the (6) group is the highest, that for the (a) group, the lowest, while the abnormal forms of the (c) group are here totally absent. The pre

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44 Kp. 13 16 17 22 8 11 ferred forms in the SR. are (the figures indicate percents) SR. Hem. San. - 20 13 11 - 16 21 13 30 11 -v 12 Luvv 11 10 Forms of the four-moraic to :(a) in the even as : vus 31 (70%) .- 13 (30%) The proportion is thus 7: 3. The San. has 6 : 2 and the KP., 7: 2. (b) in the odd Tes: - SR. 27 (61%) 9 (22%) 7 (5%) 1 (2%) Hem. 27% 5% San. 39% 10% KP. 22% 18% The three-moraic Tot is throughout *** except twice : 70a yaften and 1560 aruit-both contraction-forms (see Grammar 41 (c), 28b) The last mora is short without fail. In a general way the practice of the Glets in the SR. is more akin to that of Hem., though we must hasten to state therewith that the SR. has no case of TTT-fusion as contrasted with Hem. which has ten such cases. 12. fs (TSI) Occurrence : 112, 114. Pp. 167 says that the afc7311MI is made by the addition of five

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45 morae to each half of a diel. The form of these five morae must be U-v. Accordingly the measure of the 15m would be 6+4+uvul 6+4+uwv>>. The CK, and KD. do not put any restriction on the form of this additional 43419, but the illustration in the KD. quite follows the prescription given by the Pp. and the com. on CK, 26 makes it explicit that the additional HF must be, according to the convention (ar), either a (- -) or -vw. An examination of the form of the definition-illustration stanza CK. 26 makes it probable that the form -- has developed from through the contraction of the final two shorts into a long. Our specimens have always ---, except once (1146 FORTE 9707 i. e. wwvwn). In the 1731ST at Hc. 419, 6 both the lines end in --and not in ucu. This is explicable, as Alsdorf notes (As. p. 52), on the ground that a long has got substituted for two shorts. Besides this H 's 11371 ci has another noteworthy feature. As a rule --- is forbidden in all the caturmAtras of the dohA and cUliAlA being nothing but an extended C1E1-a 'crested' CTET, it is naturally expected to abide by this restriction. But he's illustration has one agus - This appears to be a further development in the practice regarding the af ICI. Our stanzas do not take this freedom. Their Doha part is quite regular. 13. in (onto). Occurrence : 108. SR. 107: calls the next stanza 95. None of the metrical treatises to our hand know any metre of that name. Only VJS. IV 63 treats a two-lined metre upphullaa (upphullaka) with the scheme 4+4+4+4+4+-- which, in spite of some difference in name appears to be indentical with the metre of our stanza. VJS. IV 27 defines a. metre 69637 as 4+4+4+-+4+4+- -. Though the T-scheme is different from that of an ordinary CTET, the structure of the stanza shows it to be a giet beyond any doubt. Following the tradition of treating the

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46 4-ending syllable always long, we have here the measure of 14+12 instead of the usual 13+11. But the measures of the Giet and Bruchs when rendered in accordance with the 'Bardic' tradition (which does not count the yr-ending syllable as necessarily long) would be 4+4+4+ *+4+4+-- and 4+4+4+4+4+. This can mean that an gry line is just a GIET line with one mora less in the prior . Consequently an Brys is liable to be confused with a CIEL. Precisely this appears to have been the result in the case of SR. 108. The constituted text of SR. 108 presents it as a regular CTE with 13+11 morae per line. Obviously, for the exact definition of this metre we shall have to wait for explicitly informative sources. (c) Metres with the Rhyme-type ab, de, cf. . 14. start. Occurrence : 22-23, 95. The gift or SPHI is known to the metricians of the 'Bardic' group only. It is treated as a guica (CK, 16, Pp. II 208) as also as a mAtrAvRtta (Pp. I 196-198). As a varNavRtta it is made up of 8 sagaNas, with the first caesura after the 8. syllable and the second after the 16. This distribution of the caesurae has a rhythmic significance as it changes the anapaest rhythm of the middle portion to a dactylic one. This fact is indicated by the 10-scheme of the Sun of the HECa-type. It is 6+4/4+4/6+4+4. The difference between the Shell of the quica type and that of the HECa type is that the two shorts and one long in the non-final Tuts of the former are replaceable in the latter respectively by one long aud two shorts. In other words all other forms of a CCHET are permissible except the 574. But, as the two specimens from the SR. show, in practice there is a strong tendency to preserve the rhythm of the quant-type i. e. the opening and the close anapaestic, the middle dactylic. In the case of one of our GHS the fact that separate stanzaumbers (SR. 22,23) are given for each half raises one issue.

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47 CK. 43 defines a metre called as a four-lined 4 metre with the scheme 18 (odd), 13 (even). The rhyme in the lines of CK. 43 indicates that a caesura is to be recognised after the 10. mora, so that 10+8 (odd), 13 (even) is the scheme. Further Pp. 99 defines this very as a two-lined metre made up of 7 agafas and 3 shorts, with the caesurae after the 10. and the 18. mora. Now granting the liberty of considering the final syllable anceps, SR. 22 or 23 (or any 1/2 for that) is quite a good . It makes for a greater degree of precision to name the metre of SR. 22 and 23. c (d) Strophic Metres. A strophic metre results from the combination of two stanzas in two (or more) different metres to form a unit. In the SR. we have three strophic metres : raDDA, vatthu (three varieties), khaDahaDaya. 15. raDDA. Occurrence. 18, 19, 24, 25, 222, 223. Of the two parts of the the first receives the name 3 (should it be 53 ?) in the CK. (34). Svayambhu, Hemacandra and others call it mattA (mAtrA). dohA forms the second part of this strophe. The whole strophe is called by all except the CK. which calls it r and the Ch. which gives both the names. a) raDDau A 3 or E has five lines. whose constitution varies according to the different varieties (seven according to the Pp.) of this metre. But the Ck. knows its one variety only, viz., 15+11+15+11+15. This is for of the Pp. In the SR. we have this as well as the other variety with the constitution 15+12+15+11+15 (called). St.s 18, 19, 25 and 222 areas while st.s 24 and 223 are IATIS. Regarding the Gana-division of this metre, the Pp. gives one scheme, Svayambhu, Hemacandra etc. give another and Jacobi and Alsdorf adopt a third-all different from one another! The TTscheme given by the Pp. does not work in the case of our stanzas.

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48 That given by big and others incorporates a different tradition. So the scheme derived by Jacobi (San. pp. 21-24) and Alsdorf (Kp. pp. 70-71) from a study of the Fins occurring in the San. and the Kp. is here tried. The structure of our Hills conforms to that scheme except in one detail. Twice (25c, 223c) we have to assume Tot-fusion in the case of the first two this of the third 976. This can be avoided if Svayambha's T-scheme is adopted. The odd yras : The first 70 consists of 3 morae. It is either wuv or -. The last tu is made up of 5 morae which, in the case of the third and the fifth C should have one of these two forms : v-or The middle piece is divided into two shots : 4+3 in the case of the first 45, 3+4 in the case of the third and the fifth. As to the form of these this, the form -- of the three-moraic Tot is almost exclusively preferred in the case of the third and the fifth 4s of our Els. The first y permits both -- as well as www. The four-moraic To is either -v- or vuur in the first 45, but appears in all the four forms (-- preferred) in the third and the fifth T. As remarked previously, there are two cases of T-fusion : 25c opens as -- and 223c as ucun. The even pAdas : The 11-moraic Y is divided as 4+4+3, the 12-moraic (24b, 223b) as 5+4+3. The last Tuis vv without fail. In the 2. Top the formu- finds considerable favour. b) CTET. The les forming the second part of the above-mentioned Ets have been already dealt with under 13.

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16. apres (ar) or super ( 43). Occurrence : 137, 148, 183, 191, 199. Normally, this strophe is made upof opt4+394. Out of these two the 17 has been described under 9. Due to the uncertainty of the text there is some difficulty in making out the metre of the first fiour lines of the st. 157. 137a and c containing 21 morae are clearly 141916s with the caesura after the 11. mora. 137d is also the same, with the caesura after the 12. mora. The remaining 1 137b containing 23 morae is to be emended. Thus the first four lines seem to make up a regular i stanza. The same is the case with 191 c and d, both cantaining 21 morae, with a pause. after the 15. Now the KD., in the section dealing with the cuts or six-lined metres, defines and illustrates (see KD. II 33; com. st.s 49 and 51) several strophes made up of vastuvadana ( = our kAvya or vastuka) or Thracta (a metre closely allied to our Th) or their mixture on one hand and karpUra ( = our ullAla) or kuGkama (= ullAla less by a mora) on the other and SaTpada, sArdhacchaMda or kAvya are the general designations for all such strophes. In the light of this we can say that are is in our text a general designation of the six-lined strophes with any one of the following three types of combinations : Tom + 3M (148, 183, 199), TAI +386 (137), Homerichtof + 3A4 (191). For the ti see 5. 36. The 28 morae of an 3FIT-line have the scheme : 4+4+4+.-16+4+www. The Ch. provides for the three shorts occurring at the end of the second part only, while the Pp. provides for neither of the two groups of three shorts. But both the parts of our stanzas end invariably in three shorts. According to the Ch., in the 1., 3. and 6. TT, the amphibrachys is forbidden and the 6-moraic To consists of two units : 2+4. In our stanzas the restriction holds good in the case of the 1. and the 6. To, but it is once (1998) violated in the case of

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50 the 3. Tu and and the 6. moraic 7 in 199e is such as cannot be split up into 2+4. 17. 569. Occurrence : 115-116. There are only two sources-one known, the other unknownwhich can impart requisite information regarding this metre, and as usual the definitions given by them are at variance with each other. VJS. IV 731 says that when w arst is combined with 79T the result is c5654. Thus the VJS. treats 05654 as a strophic metre. On the other hand the quotation from an unknown source given in the 2101 (on SR. ) and the 379 yficl (on SR. 113) states that 056527 known also as frage contains twenty us which means that it is identical with w arst, having five muts per line. So the name that the VJS. applies to the whole strophe is found given to only the first part of the strophe in the quotation just referred to. It may be observed passingly that this sort of looseness in naming a strophe and one of its parts is evidenced also in the case of a few other metres. The names vatthu (or vatthua), raDDA (see 17) and caMdAyaNa (or caMdANaNa) are found applied to the whole strophes as also to their first parts. Our 65654 conforms to the definition given by the VJS. and not with one quoted in the com. The U5654 of SR. 115-116 is quite apparently patterned on the illustrative 05654 stanza (perhaps a citation) at VJS. IV 74. II Metres of the Gatha type. 98. TIET (TTT). Occurrence : (independently) 1-17, 32-40, 72, 84, 90, 93,uu 126-129, 149, 152, 153, 172, 213, 221; (as the second part of 45654) The language of the Tents is always real with a small spattering of Ap. forms. The normal scheme of the Tent is first half. 4+4+4/4+4+ 4 +4+

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51 second half 4+4+4/4+4+-+4+ GPATUT being forbidden in the odd Ts. This variety with the caesura after the third Tot is called Yell, while the one without such a caesura is called fauci. In our text in only the first half of st.s 6, 7, 16, 40, 84, 93, 126, 127, 153, 172 and 212 the caesura fails to recur after the 12. mora. Hence these Tents are of the Talaysi variety. Similarly because in st. 152 the 12-moraic caesura is wanting in the second half only, it is of the penfaucit variety. Lastly the caesura being absent from both the halves of st.s 72 and 116 they are of the sarvavipulA variety. The rest are pathyAs. 19. Lieta ( FETC) ? Occurrence : 119. The metre of SR. 119 is expressly named as diere (FET) in the stanza just preceding it. According to all metrical authorities at hand, a FETC has 32 morae for each half. B. aulaats. The language of all the following gufants is Prakritised Apabhramsa. 20. Hift. Occurrence : 100. This is the well-known metre with the scheme - www. 21. ifsfor ( pfaft). Occurrence : 171. Only VJS. III 20 and the text and the comm. of the SR. (st. 170d) support the name ifs-i (or isfo). It is nothing but the commonly known a2 with the scheme -ww.i. e. 4 Tus. VJS. IV 54 again defines this metre under the name 1974 (= pes). The reason perhaps is that at III 20 it is treated as one of the facets, while at IV 54, independently. Compare the similar

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52 twofold treatment of ramaNIyaka (saumyA) and bhramarAvali (zrI) in the VIS. To define the metre of SR. 171, the 2016 on SR. 171 and the 3909fait on SR. 170 quote a stanza which is practically identical with CK. 7, except one significant variant : the first 4 of CK. 7 reads the name as alce, while the com.s read ifguit in its place. 22. 974 rabat ( Rrafs). Occurrence : 173. When toTaka is extended by a sagaNa, we get bhramarAvali. Thus it has 5 Tuts per line. The VJS. twice defines this metre, once as a facet at III 21 with the special name fofer (st), and again independently at IV 61. Cf. Pp. II 154.

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TABLE SHOWING THE METRE OF ALL THE STANZAS OF ___ THE SR. IN SEQUENCE. 117-118 rAsA khaMdhaya 119 120 duvai 121-125 rAsA 126-129 130-136 137 gAhA rAsA vatthu dohA 138 139-147 148 vatthu gAhA 149 dohA 150 151 152-153 rAsA gAhA 1-17 gAhA 18-19 raDDA 20-21 22+23 Domilaya 24-25 raDDA 26-30 rAsA 31 dohA 32-40 gAhA 41-58 rAsA 59-63 paddhaDiyA 64-68 rAsA 69-71 dohA 72 gAhA 73-81 82-83 kAmiNImohaNa 84 gAhA 85 kAmiNImohaNa 86-87 caupaiyA 88-89 dohA 90 gAhA 91-92 rAsA 93 gAhA ... * 94 vatthu 95 Domilaya 96-99 rAsA 100 mAliNI 101-103 rAsA 104ab rAsA 154-155 156 157-170 171 172 173 174-181 182 183 184-190 191 192-198 199 . rAsA dohA aDillA (ayamita) naMdiNI gAhA bhamarAvalI aDillA (ayamita) aDillA (yamita) vatthu rAsA vatthu rAsA vatthu

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54 104c- f 34CA (TAT) . 105-107 191 108 4764 109-110 THI 111 HCA 112 54 113 TAI 114 qism4 115-116 5654 200-203 204 205-207 208 209-212 213 214-220 221 222-223 paddhaDiyA nicht 59 (?) paddhaDiyA ramaNijja paddhaDiyA gAhA paddhaDiyA gAhA III FORM AND STRUCTURE As stated at the beginning, there is not one but several aspects from which the SR. proves to be of considerable importance and interest. In the present section we shall consider the literary form of the SR, which is so novel as to bestow on it the distinction of being ehe first Ap. text of its kind published so far. As the title of the SR. indicates, it is a The type of poetic composition. By this one would be instantly reminded of the Ti compositions whose exuberance in the Old Gujarati literature is so remarkable. But the form of the present That is, as the treatment below indicates, altogether different. There are two prosodists who at all take any notice of the Th1 form. The addition they make to our knowledge, though meagre, is quite welcome in view of the general paucity of information relating to the structural side of the Ap. poetry.? Of these two prosodists one is facere. The portion IV 27 to IV 38 of his father evidently, though not expressly, deals with a few Ap. metres, strictly so called. This small section, after treating SIET, HPTEC, HET, ST, 3715H and ends up by defining the 145 form at 37-38. We come to know from this that two different types of rAsaka were familiar to virahAGka VJS. IV 37 says that rAsaka is constituted with vistAritakas or dvipadIs closed with faget. All these peculiar terms are defined by farels at *

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55 the beginning of the II Fer of the VJS. But our concern is with the second type of 744, treated at IV 38.3. There we are told that that which is built up with many aDilAs or duvahaas, with many mAtrAs, raDDAs and cats is called by the name 74. A definition essentially similar but supplementary in details is advanced by svayaMbhU. In his svayaMbhUcchaMdasa, while closing the treatment of Ap. metres, he thinks his worthwhile to say something regarding the 14form and the last four stanzas (VIII 49-52) of the Sc. are devoted to that end. At VIII 491 it is said that in poetry the rAsA composition with its ghattAs, chaDDuNiAs, paddhaDiyAs and other choice metres proves of great charm to the people. But immediately following this is defined2 a 21-moraic metre called Th which probably suggests that this particular metre found special preference in the Tal compositions. Sc. 51-52 give illustrations of this THEIG. It requires little effort to show that all the above-detailed features of the T40 form are evidenced in essence by the SR. A glance at the Table of Metres given would suffice to find out that our text has got 3115cils, Giels, sts and Trels, as also faci, Yasal sells and some fifteen other metres (cf. I-37001-acre of the Sc.). Besides, the main body of the SR. is built up with a 21-moraic Thi metre, which is closely allied to the TT of the Sc. Thus we see that all the characteristics of the V40 form as laid down by the prosodists are amply borne out by the SR. The 223 stanzas of the SR. are distributed in three sections called 1864. But this division rests entirely on the development of the theme of the composition and unlike the Gift of the Ap. epic it is not The upadezarasAyanarasa of jinadattasUri published in the apabhraMzakAvyatrayI (GOS. XXXVII) is on the lines of the OWR. THIS. cf. also Kp. pp. 3435. Of course, to some degree we have to make an exception of the Epic, which the Sc. and the Ch. treat at considerable length, though here also much is still left desired. aDilAhiM duvahaehi va mattA-raDDAhiM taha a DhosAhiM / bahuehiM jo ijjai so bhaNNai gasao NAma ||

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56 something essential to the form of the rAsaka. Like pUrvamegha and uttaramegha of the Heca these 4 s indicate a turn in the development of the poetic theme. Thus the first sont of the SR. is prefatory or introductory. With the second 44 begins the theme proper, while the third prakrama occupies itself with SaDRtuvarNana in the context of a virahiNI and brings the theme to a close. One small point worth noting is the use of two-lined stanzas (3767A) and six-lined stanzas5 (cf. foot-note 52). Stanzas 58, 63, 74, 104ab, 125, 155, 190, 198, 207 and 220 illustrate the former and stanzas 113, 117 and 118 illustrate the latter. We find here the you (e. g. at 133-134, 168-169) and the glas (at 121-125) also, though in view of the lack of sentence connexion between 121-125, the lastnamed cannot be properly so called.

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57 ENGLISH TRANSLATION Stride First He, O noble sirs, who has created all this : the ocean, the earth, mountains, trees and the constellations in the celestial expanse-may He, O wise sirs, bestow blessing on you //1 Bow down, men of culture to that creator to whom humans, gods and Vidyadharas and the sun and the moon(too) in the celestial course bow down. //2 There is the Mleccha country foremost in the Western region, and renowned of old. In that country was born a weaver an a called of Mirasena. //3 His son was Addahamana who was Like a lotus to his family. He was famous for his Prakrit poems and musical compositions. (He) has composed this Sandesarasaka. 1/4 Homage to the well-grounded excellent poets of yore, in the three worlds, who were proficient in grammar and who wrote and prescribed excellent Treatises of Prosody. // 5 Who moreover composed in Apabhamsa, Sanskrit, Prakrit and Paisacika languages excellent poetry, embellished with (excellencies of) grammar and metre.//6 As it is them we succeed,. who would extol the bad poety, devoid of the excellencies of grammar and metre, of poets like us ignorant of sacred works and grammar? // 7

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But perhaps there is no harm in this. If at night time the moon has risen, are not the night-lamps lighted in the mansions for theat reason? // 8 58 Because the cukoos on the treetops sang with charm and appeal, the crow perched on mansions should not crow ? //9 Because we perchance heard Vina played very sweetly by beautiful hands, should we desist from listening to the beats of Mrdanga and Karati at the women's sports? // 10 Because Airavata, difficult to look at due to ichor having as rich a fragrance as that within the lotus petals, streams with ichor, that is, if such a elephant is rutting should rest of the elephants not rut? // 11 If Parijata is in bloom with its abundant aroma of richly fragrant flowers. should therefore rest of the trees not bloom? // 12 S Because the river Ganga, all the time manifesting its power in the three worlds goes to meet the sea, should rest of the rivers not go for that reason? // 13 Because the lotus plant bloomed in a limpid lake at sun-rise, should the gouard clinging to the hedge. stop blooming all together? // 14 If a young girl, beautiful with fresh love, dances in keeping with the spirit of the Bharata Natya, at should an effusive rustic lass not dance to palm - beats ? // 15

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59 If the rice-Ksira containing profuse milk bounces, should the modest gruel, containing grains and chaft should not sputter ? // 16 Whatever one's poetic powers, one should express them unashamed. Because Brahman spoke, should the rest not speak at all ? // 17 No (composition) of complex structure in excellent metres and full of flavour is there in the three worlds that is unseen or unheard by you O wise ones. Which one of you therefore would tolerate listening to a harsh, grace-lacking (work) of block-heads like me But perhaps, (even)persons of culture and taste, when hard up, finding betel-leaves beyond reach, may somehow be consoled with the satapatri. //18 This Sandesarasaka, which is to broadcast among the people the greatness of his poetic talent and learning as also his scholarship, being revealed to the public by the weaver. It is being recited out of curiousness and with a simple heart Knowing this, O wise ones, show indulgence for half a moment just for a while and please listen to where is composed by this humble man in crude words. // 19 If some great man chances across this work and learns it, I take hold of that wise one's hand and say : you know those that are wise and those that are stupid. // 20 The wise persons would not wait to listem to this censidering it poetry, (while) the stupid would not understand this because of their stupidity. But before

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60 those how are neither stupid nor wise, but middling, (this) should be recited by all means.// 21 so now listen to this flawless poem, the pleasure house to the lovers, the charmer of the amorus, of the road-illuminator to the love-minded, the variable god of love to the love-lorn women, the revivifier of love to the love-sensitive. Recited passionately and redolent with amorous ideas, (this is) a lake of nectar to the Cannal of the ear only that man, who is refined, who is well-versed in the matter of sexual love would i comprehend the real meaning of this poem. // 22-23 Stride second A certain bele of Vijayanagara, with lofty, hard, plump breasts, with bee's waist and possessing swan's gait, is looking at the road with dejected face, sending tears in a long trickle. The body of the demsel of golden complex lion was rendered by the fire of separation so dark that it appeared the lord of stars is afflicted by Rahu.// 24 She wipes the eyes; oppressed, weeps with hair unbraided, yawns and twists her body corched by fire of separation, sighs and snaps the long fingersl while should fire of separation, she sighs and snaps the long fingers while she was bewailing thus, she sighted on the road a passing traveller going hurriedly on his way// 25 Seeing that traveller, she yearning for her beloved quickened slow steps and walked hurriedly. While she thus Walked charbmingly, her girdle

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61 became unfastened due to her shaking heavy or hips, and giving out bells. // 26 While the lovely one fastened the giralle with a tough knot, her nice string necklace of big peares broke. Collecting some of the scattered pearis and leaving others, she moved along when her forot foot stuck in the anklet and she stumbled on the road.//27 As she got up form the fall, ashamed, out of countenance and confused, the white clean upper women garment of that artless slipped down. Rearranging it, she persued the traveller, desirous as she was of reaching him, when breasts tore open the silken choli and came out a bit. // 28 Being ashamed she covered them somehow with her hands as if she covered golden pitchers with lotuses. Then reach the traveller and with a face marked with tear-choked voice and tragic, long eyes, she spoke these graceful words. // 29 Stop, stop for a moment. Fix up steadily your attention this way. Be pleased in your heart for a while and listen to what I say. On hearing these words, the traveller became curious. Neither could be return nor could he take a step foward. // 30 Seeing her, a weapon of love-god, a treasure house of beauty, created by Vidhi as the most excellent, the traveller uttered eight Gathas. // 31. Her locks, very much curly, like water ripples rivers, and resembling in blackness a swarm of black bees appear beautiful. // 32

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62 Her face is a spotless replica of the fullnoon that is destroyer of the darkness of night and oozes nectar. 1/33 Her pair of eyes are long like lotus petals and full of raga (passion, colour). her cheeks seem like a heap of pomegranate flowers. // 34 Her pair of arms is like tender lotus stalks that have grown in a lotus-pond. The hands at their end are like two halved lotuses. // 35 Her breasts are hard, lofty and without prominent nipples, like wicked relatives who are conceited, always puffed up and false in speech and both of them like goodmen give pleasure to the limbs in their embrace. //36 Her deep circular naved is seen like an eddy in a mountainous river. Her waist is slim small like the happiness of mortals and moving swifty like a deer. / 37 Her very beautiful things have conquered the trunk of the plaintains. Her beautiful shanks are not very long. // 38. Her toes appear beautiful like rubbies. The row of foe-nails are like marbel pieces and the ripple of tremulous bristles like down on the flower stalks. // 39 The creator specially created her limbs after creating Sailaja. Who can blame poets for repetition in their creation ? // 40

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63 Then, hearing these Gath as, that young woman with the gait of a royal swan scrached the ground with her toe-thumb. She golden limbs called the traveller 'O traveller, where you are going presently ? From where did you come ?' // 41 The Traveller replied There is city called Samoru, you lotus-eyed one ful of cultured citizens le good cheer, O moonl faced one. It is adorned with white, lofty ramparts with gates. There is nobody there who is a dullard; all residents are learned.// 42 If one moves through it in the company of various persons of keen intelligence, he can here sweet, enchanting Prakrit verses recited. In some places those learned in four Vedas, expound the Veda. In some places Rasaka, composed in various metres, is recited. // 43 In some places is narrated the romance of Sadayavatsa or Nalacarita in other places Bharata is recited with various entertainments. In some places Brahmins give blessing to donors; in other places poets enact the Ramayana.//44 Some hear the playing of flute, lute, tabour and drum; elsewhere is heard the notes of songs, composed in beautiful words and sound. In some places people attend to the dancing girls, who have plump and high breasts and who move performing the calli dance. // 45

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64 People are wonder-struck by seeing actors performing novel dramas. Those who move around in the quarters of courtesans simply dramas. swoon (with wonder). Some courtesan, with the gait of a huge elephant, moves unsteadily under intoication. Another has in her ears jewelled earrings dangling. // 46 Another, having breasts compact, plump and high, make one wonder in his mind that how her waist is not snapped by the weight. Another one smiles softly, making amorous gertures. She looks askance with eyes that have a slight dash of collyrium.// 47 Another one, very smart, gives a bright laugh. Her cheeks appear beautiful as if the sun and the moon are placed there. Some one's breasts are smeared thick with musk. The forehead of another is adorned with a brilliant Tilaka. // 48 The heavy necklace of another one, with thick strands and big gems, rolls on the top of her breasts not finding a place between them. The deep hole of another one's navel is curving and it appears beautiful as it is encircled by the wavy triple folds. //49 Another one bears with difficulty the heavy burden of her buttock. The cam-cam creaking (of her shoes) as ash moves sportively does not die our quickly. Another one's teeth when she hetter sweet words appear like a row of rubies due to the scarlet of the betel leaves chewed. // 50 Another girls finger nails are brightly shining. Another one's cheek appear like the petals of

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65 pomegranate flower. Another girl's slim lower lip appears beautiful as she laughs. Another one's pair of arms and lotus like hands are straight. // 51 The pair of eyebrows of another one, closely knit, appear like the strung bow of the love-god. The tinkling sound of another one's pair of anklets is heard for long Another one's jewelled girdle jingles. // 52 The shrill, lingering sound of another one's leather shoes as she moves sportively seems like the notes of Sarasa at the advent of Autumn. When another one hums the Pancama melody in low sweet notes, it sounds like Tumburu's tuning of his instruments at the dramatic performance of the gods. // 53 In this way, looking at the beauty of each and every one, the feet of the passing wayslips as he walks on the path scarlet with beetle juice. If somebody moves about in the outsskirts of the city, at the sight of various tree gardens he would forget the palatial mansions of the city. // 54 A list of various trees, and plants and crrepers. // 55-60 The leaves of which appear like corals // 61 : In the nests of which is seen crowding of birds. //62 O moon faced one, you with the eye like lotus petals, who knows the names of the other trees which also are there ? If one has to describe in brief one can

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66 say that under the close and dense shade of the other trees one can move for ten Yojanas. //64 That city is renowned in the four directions as Tapana - tirtha. It is also famous on earth as Mlasthana. From that place I have been sent as a writer. Under the order of that master I am going to Khambhitta.//65 Hearing these words the moon-faced, lotus-eyed woman heaved hot and long sighs, cracked her fingers, sobbed with pathetic uttrances. She trembled like a plaintain tremlling due to wi-gust.//66 Weeping for a moment, then wiping her eyes she said, 'The name of Khambhaitta, O wayfarer, shattered my body : My lord, who can extinguish my pain of separation, is there. Long time has passed, but still that cruel man has not returned.//67 O wayfarer you take pity on me and bend your feet for a while. I will tell a message for my darling in a few words. The wayfarer said, O girl of golden linbs, what is the use of weeping. Tell me what you have to say. Your eyer are sad, and you appear very emaciated'//68 She said, "The fire of separation from him who has gone away has not reduced me to a dust- heap, How I am to send a message with a cruel mind//69 When he on travel, I also did not go with him, nor did I die I am ashamed of sending a message, O wayfarer, to that darling.//70

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67 If, o wayfater, I desist due to shame, I cannot hold my heart. So I shall recite a Gatha Holding his hand you Conciliate him. // 71 That these my limbs do not come apart is due to the fact that they are preserved on account of the medicine of the hope of meeting you today or tomorrow. // 72 O traveller, telling him this Gatha and winning over my darling, thereafter tell to him these five Dohas with great courtesy.// 73 Burnt by the fire of separation from you my darling, if I go to heaven, leaving you who is at my heart, it will not be a worthy course. // 74 O darling, Separation troubles my body even though you are there with in my heart, For good men the grief from another's insult is greater then that of death.//75 How should I tolerate great insult when you, the repository of heroism, are there ? Those limbs which you enjoyed are scarred by Separation.//76 That lad separation who is the accomplice of the god of Love struck so mvercilessly that the body was broken, but he could not strike the heart seeing that you reside there.// 77 With respect to Separation, I have no ability to match him so I remain bewailing. The keeper of went animals only look after them. The cattle hoard is to be turned back from roaming by the owners.// 78 My message is so extensive that I am unable to

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68 covey it completely. But tell this much to my darling that now both of my hands can be contained in one wristlet.//79 The message is extensive and so I cannot coney it completely. But tell him this much that the ring or my little finger can be worn on my arm. // 80 Wishing to make his departure quickly in a moment, the traveller, after hearing the Dohas said, Clever lady, tell me whatever else you have to tell. O simple girl, the path by which I have to travel is very difficult. // 81 . Hearing these words, she pierced with Love's arrows and like a doe tarrif by the arrows shot by the hunter, she released deep and hot sighs, and with eyes raining tears, she recited the following Gatha.//82 My impudent eyes are not ashamed indeed of raining tears without stopping even for a moment. But the fire of separation burns more like the fire that consumed Khandava forest.//84 Reciting this Gatha that deer-eyed girl became dejected and quite pathetically miserable she said to the traveller : You tell two Caupaiya to that pitiless man, who has been the cause of deep sighs and has interrupted my joy and hope of making love. // 85 Remembering you, I felt trance in the form of deep swooning. The Kapaka (1.forehead, 2.skull) held in the left hand is not left by me even for a moment. I do not leave my bed-stead even for a moment. I have taken hold of the Khatvanga (1. the leg of the

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69 bed-stead ; 2. the Khatvanga held by the Kapalikas). Due to separation from you, O Kapalika (the skulls wearing ascetic), I am made a Kapalikai/l.86. My garment has slipped. The body has become rough. The locks are in disarray. The face has become lustreless. The goit has become halting and reversed. My saffron-like and golden lustre is covered with blackness. The young girl has become a demoness due to separation from you, O damon.// 87. O traveller, you are worried and in a hurry because of your mission. So I cannot write a letter. So showing concern for me you please tell a Doha and a Gatha to my darling.//88 O darling, most probably the fire of separation has its origin in the marine fire, for even when sprinkled by profuse tears it suddenly flares up again // 89 The broad-eyed girl would have withered due to deep and hot sighs if her eyes would not have sprinkled her with profuse tears. // 90 The traveller said, O moon-faced deer-eyed girl, you now turn back; or tell me whatever else is to be told'. I will certainly tell. Why should I not ? But what is the purpose of telling him, who, with no love and affection for me reduced me to such a condition?//91 He has thrown me in the pit of separation in this manner; the ungrateful, who due to greed of money has left me alone. But my message is lengthy and you are in a hurry. So at least tell to my darling this Gatha, Vastu and Domilaka. // 92.

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70 At that time in our close embrace even the necklace did not intervene (i.e. was removed), but at present the sea, rivers, hills, trees and forts have intervened.// 93. Some women, who earlier enjoying the company, but later troubed by separation and yearning for their dear ones, are fortunate to get during their dreams the contact with their dear one's body, embrace, sight, kissing and enjoyment of intercourse. Your convey, O traveller, to that merciless man : since the time you have gone on travel, I have not got any sleep. So where is the scope for the pleasure of company even in a dream ? //94 The separation from my darling has deprived of me his company, has made my mind yearn for him day and night, has withered my body and I keep on wiping tear. You tell that merciless man about me : In a dream I was looking at you with affection; but that deluding moment passed away. Thus my valuable property in theform of my darling was stolen. Tell me, whom should I resort to for help ? // 95 Recidting this Domilak a that moon-faced and lotus-eyed girl became motionless for a moment. She did not say anything, nor could she see any other person : she was seen like a wall picutre.// 96 With giddiness, with sighs blocking her breathing, with tear-smeared face, that girl, pierced by Love's arrows due to remembrance of the pleasure of her darling's company, looked at the traveller with slightly askance glance, as if a doe, terrified by hearing

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71 twanging of the bow-string, looked// 97 The traveller said, 'Have firmness and fortitude and take consolation for a moment. Wipe your fullmoon like face with your garm ent. Hearing his words, broken down due to separation, that girl, ashamed, wiped her face with the hem of her garment and said.// 98 O traveller, my strenth does not prebail against the god of Love, because, my darling who was devoted to me has lost affection for me, eventhough I have committed no fault. You tell one Malins verse to that affectionlews, fickle rogue, who does not listen to another's grief.// 99 If at the end of love-making, I had known that your love has become lustreless and is drained, then I would have kept one pot filled with that fresh love and would have now dipped your disaffected heart in that. // 100 If a cloth has lost its colour it can be dyed again. If the body lacks oil it can be massaged again with oil. If one loses money in gambling), he can win back. But when the heart of the darling becomes disaffected how is one to behave ?// 101 The traveller said, 'o broad-eyed girl, be firm and keep your mind in its track. Put a stop to the constant stream of tears flowing from your mind eyes. Those who go abroad have many missions and hence they have to move about here and there. They do not return, till their purpose is accomplished. // 102.

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72 While moving about in the foreign countrres, they also are pierced by Love's arrows, and remembering their wife become subejected so Separation day and night They feel unbearable sorrow. So like you traveller, husband to get greatly waned.// 103 Hearing these words the broad-eyed and loveinciting girl recited an Adilla eloquently.//104 O traveller, tell my message to my darling even though I think he has now no love for me. The fire of Separation that has filled me upto my se in the absence of my darling rages in my heart antill the end of the night.// 104 Struck by the weapon's of Love, I cannot tell my message at lenght. You narrate fully to my darling this condition of mine. In every limbe I fell displeasure. I pass nights remaining awake. When I walk on the road, my gait is disturbed and slothful.// 105 Now I do not decorate my mass of hair with a lot of flowers. Collyrium applied to the eyes trickles down on cheeks. The flesh I put on in the hope of meeting again my darling is lost again, burnt by the fire of Separation. // 106 Sprinkled by the water of hope, but burning due to heat of Separation neither I am living, nor dying. I just remain ablaze. Then keeping in her mind again and again her darling that had gone abroad, that broad-eyed girl, wiped her eyes and recited a Phallaka.//107

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73 My heart years for my darling like that of a goldmith (yearning for producing gold which he desires so much). I Tburns that (gold of the body) in the fire of Separation and sprinkles it with the water of hope.//108 The traveller said, 'You do not make my going in auspicious by weeping again and again. Your please control your teras. 'o traveller, let your desire be fulfulled now and let your departure take place. In fact I have not wept. It is only the dripping of the eyes due to the smoke of the Separation-fire.//109 The traveller said, "O broad-eyed girl, your tell me quickly whatever you want to. The sun has reached the end of the day. Take pity on me and return'. O traveller, your go, you have always fresh bliss. You please convey to my darling one Madilla and one Cudilla.//110 The body is withered by deep and hot sighs.The stream of tears does not cease. My heart ha gone to another island, like a moth that falls in the lighted lamp.//111. The days lengthen during the Uttarayana, The nights in the Daksinayana-this is fixed since early times. But this is the third Virahayana wherein both (i. e. the days and the nights) become long.//112. O traveller, the day is has ended. Only a little remains. So you give up going. You spend the night here and start goin during the day time'. 'O girl with the lower lip like the Bimba fruit, the moonlight spines

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74 till the mornin'. Hence I have to go. I am very much concerned about my mission. If, O traveller, you cannot stay here and desire to go, please tell to my darling on Cadilla, one Khadahadaka and one Gatha.//113 O darling, I have got the print of the fire of Separation due to your going on travel. I got the boon of living a long life, because each day has become year-long.//114 If my heart is disturbed due to loss of love consequent to Separation, if my body is struck fully with the arrows of, Love, if my eyes make wet my cheeks with the stream of tears, if Love remains always awake in the mind, then traveller, how can one get sleep and (happiness during night. It is a wonder that women separated from their dear one live at all during day.//116 The traveller said, 'O Girl with the body of golden listre, all that you said and morever what I have seen I will tell him. O girl with the eyes like lotus petals, please return to you residence. I take to the road. Do not stop my going. Darkness has spread in the eastern direction. The sun has set. It is difficult to travel at night. The road is difficult and riskly.//117. Hearing the traveller's words the girl, with a slim belly, separated from her darling, heaved a long and hot sigh. The drops of tear which were there on her cheeks appeared beautiful like shining pearls on a heap of corals. Weeping and bewailing becuase of his darling's going away on a travel she said. 'Otraveller, tell him Skandhaka and one Dvipadi.//118

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75 My heart is like the sea, an abode of gems. It is churned day and night by Mandara in the form of Separation. Out of love for you, my gem of happiness is completely uprooted.//119 The unbearable fire of Separation quaked by the wind of Love and full of sparks of sight, rages continuously in my heart with its powerful flames. It throws up ashes in the form of loss of tastle. It threatens and burns. It is a wonder that even while yearning for you my sarodaha (1.lotus,to)grows/ increases //120 Hearing this skandhaka and Dvipadi the traveller's body his mind seeing that felt harrapilation. He was happy in that her love (for her darling) has not disappeared. Then he said, O doe-eyes girl, listen to me. Be firm for a moment. O moon-facal girl. I have to ask you something. Express that to me in clear words.//121. Your face taht gives pleasure to your dear one is such that it conquers the moon that on an autuman night has come out of a line of fresh clands, shine with spotless rays and pours out straightway, nectar. Since when it has been covered with smoke of the Separation fire ? // 122 Since how many days your eyes drop-eyes that cast glances sideways, and that incite Love ? Withering your body delicate like a plaintain tree and making straight your sportive gait like that of a swan, O girl of tremlous eyes, why do you give over your body to misery and get your body cut by unbearable saw of

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76 Separation ? Since how many days your mind was struck by Love. Tell me, o beautiful girl, since when your charming husband went away ?//123-124 Hearing the words of the traveller that girl longeyed girl that incited love recited four Gathas./125 O traveller, what is the use of asking about the day of my darlings going on travel, when my pleasure was taken away and I got a charter of miseries. Tell me what is the use of remembering the flame of the Separation-fire ? do not take the name of that day. when the left in half a moment.//127 Since that charming one has left, from that day our pleasure is lost. Time, O traveller, is felt in the heart definitely like the god of death//128 May that summer be burnt with the summer fire when my darling left my. May he be dried up by (winds) of the Malaya mountain who dried me up.// 129 The Third Section (Description of Six Seasons) Summer 0 Traveller, at the advent of summer when my darling went on a travel, my pleasures, offering to me a handfull of water, departed. Going after him to see him off, I returned with my body hot due to Separation. Returning with a perturbed mind and in disarsay, I reached my residence.//130 To me who felt unbearable the displeasure of love's yearning and loss of pleasure, and was

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77 overwhelmed by Love, the Malaya wind was much more unbearable. The sun's rays burning furiously with powerful flames blazed burning on the earth forests and grass...//131 The tremulous sky was danling like the Yama's tongue. The earth was breaking with tad-tad sound; it could not fear the burden of heat. Very not wind blew in the sky and that Jhamkhara touching the body of the women in Separation burnt it.//132 The Catakas uttered pin yearning for fresh clouds. Small, means stream of water flowed in rivers. The mango tree, laden with fruits appears very beautiful. It is shaken by wind like the ears of an elephant. Rows of parrots, yearning to taste mangoes, stay in its foliage in close company of each other. Pathetic notes arose from there and O traveller, I was made nissahara (supportless) by the sahara-vana (mango thicket). //133-134 Haricandana smeared for coolness on the breasts makes them more heated beause the former is by the snakes. Much blewailing I put on a flower garland, but it also released flames, making me terrified.//135. The lotus leaves, which usually give comfort were spread by me on the bed at night, but that doubled my grief. So now getting up from the bed, now lying down thereon shamefully, I recited O traveller with choked throat a Vastu and A Doha.//136 . The lotuses, that blommed under sun's rays, produce heat. The nektar-rayed moon does not give

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78 pleasure, but due to its being borne alnong with poison, burns me. The sandal wood, bitten by make's teeth makes my body decay. The necklace (of pearls) that are produced along with salt shoots Love god's arrows towards me. The laturses, moon, sandalpaste and gems are praised by the world as cool, but none of them can put down the separation-fire. On the contrary they thoronghly destroy the body.//137 Some uselessly besmear the body with comphor and sandal-paste. The fire of separation from the dear one can be put down only by the dear one. There is not doubt about it.//138 The Rains The hot summer I passed somehow. The rains arrived, but O traveller, not my shameless darling. Terrible darkness pervaded the four derections. The heavy cloud in the sky thundesed profoundly. /139. The terrifying lighting glictened in the sky. The walking track could be seen only in its....light. The rain birds thromghly satisfied with the rain-water were crying charmingly. The row of cranes flying in the sky under the fresh cloauds appeared beautiful.//140 The rivers, greatful heated by the mass of hot rays in the summer, cannot now centain in the Water rained by the Puskara Clouds. The travellers going in the flowing water had to carry the shoes in their hands. The tracks could be seen step by step in the light of the lightning glistening in the sky.//141

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79 The rivers made unfordable due to a mass of cearelessy flowing waves that created a din.The travellers going out on their business had to halt on their ways. They had to travel by boats instead of horses.//142. Like a woman in the company of her lover) the earth whitened her body by besmearing it with mud; being ashamed made it unobservable be concealing it under the mass of water. The stars (also the eyeballs) became inviscple; the darkness pervaded its surface was covered densely by the rainy inseats.//143. The cranes left the ponds and mounted the treetops. the peacocks danced and cried on the mountain peaks. The frogs crvaked making much harsh noises in waters. The cuckoos mountaing on the tops of the mango tree cried therefrom.//144. Crowds of hovded makes blocked the path's in all directions. The roads became unviable due to those huge snakes having deadly posion. The leaves of the Patala flowers were shed by the force of bellowing waters. The swans on the mountain peaks cried pathetically.//145. Afraid by mosquitoes the cowes mounted higher places in the wilderness. The comperlesses sported joyfully with their husbands singing in the courtyards. The earth was everywhere covered with green grass. The perfame of the Kadamba pervaded. But the love god further broke my each and every limb.//146

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80 In great pain I rolled restlessly in my bed. The humming of the hordes of bees pierced me keeping awake in grief the whole night with unwinking eyes, not getting any sleep, I reciated a Vastu, A Gatha and A Doha,//147 The dark clouds covered, the sky in all directions. These Rising high dark clouds threatenindly thundered. the trenuluous lightning was constantly producing creaks in the sky. The terrific crooking of frags was unrearable everywhere. How can I endure the constant, heavy downpour of streams of water and the unbearable cries of cuckoos from the tree-tpos.//148. The summer fire was extinguished with streams of water by the coming rains. But it was wonder that the fire of Separation blazed much more in my heat.//149 The pearls threaded and worn oin the neck (as necklace), eventhough they are borne in water-drops and are a storehouse of good qualities are not ashamed: along with big tear drops they cause burning to the hard breasts,//150 Reciting this Doha feeling great gief and laziness because of Separation and becoming subject to delusion, I saw in dream my darling who had gone aborad since long. I identified him and holding his hand I spoke thus :// 151 Those whoare borne in a noble family, is it porper to go away leaving their beloved at this time that is full of thundering clouds and constantly and sharply cracking lighting ?//152

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81 O darling, the rains, are marked as they are unbearable with rows of fresh clouds in the sky, the colourful spread of the rainbow and the thick cover of the rainy insects.//153 With my throat chaked with love, as I woke from the dream, I realized : where was I and where my darling ? My lbime must be made of stone as I did not die at that movent. Even though my sould did not depart, because is was bound hard with bonds of sin, how it was that my heart did not broke ? It is indeed madeof adamant.//154. Giving out low pathetic woulds like a frog, I recite this Doha in the last watch of the night.//155 O night, censuring blat is so great that it cannot be contained by the three worlds; you become frowfold when one is in misery, but is reduced when one is in company of pleasure.// 156 The Autumn While I bewailed thus there arrived those days when Prakrit songs were sungs. The nights were beautiful, but because of love of my darling, I felt them like a saw. // 157 The nights are spent keeping awake in this manner and preserving life, O traveller, in the hope of returning of my darling. Leaving the bed in early morning, recalling in my mind him who can banish Separation, I, looking in the southern direction, glanced all of a sudden with devotion the seer Agastya (canopus) and I realized that the rains had deparated,

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82 but my darling is still aborad and I had no chance of sporting with him // 159. The clouds scattered and disappeared from the sky; beautiful stars were seen at night; the snakes went to live undergound. Moonlight of the spotless moon shone at night //160. The river water appeared beautiful with lotuses and with streams full of waves. The beauty the lakes that swas deprived by the summer, now returned to them at the advent of the autumn. // 161 The swans having drunk the lotus juice, produced very attractive and charming notes. The loutuses jumped as if and fulled the world. The stream of water was again contained withing the landing bankds.//162 The banks of the lakes appeared beautiful because of the Kasa flowers which were as white as conchshells. The clear water flowing in the rivers. appeared beatiful because of the rows of birds. // 163 The waters, free of hte mass of mud, showed clear reflections. I cannot endure the cries of the Krawncas at the advent of the autumn. I die seeing the swans returning. I cannot remain sustained any more. // 164 I become reduced with waters reducing. I feel depressed at the twinkling of fire-flies. The Saras- cry beautifully. O Sarasi, why do you name me remember my old, long-time pain ? //165 You cruel one, you sound the pathetic note in your mind. The women burnt (by Separation-fire) are

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83 deprived of even a job of festival. I thus addressed each one, but not for a moent any one consoled me. // 166 Those women who have their husbands at home near them, they perfomr the Rasa dance in the streets. They adorn themselves with various ornaments, put on varied, attractive garments, put on a sharply designed Tilaka-mark, besmear their body with saffron and sandle-paste move carrying a beatury-box in their hand, sing divine, charming songs, fumigate with great devotion, the cow-pans and horses stables. Seeing this I became depressed in my mind as my deisre remaied unfulfilled.//167-169 Thereafter I saw the directions stranglely more attractive. I felt like being thrown in fire The flames of separation flared up in my mind and I recited a Nandim, a Gatha and a Brahmaravali.//170 Svans and Cakravakas, with their thorats... tangs of fresh lotus fibres and hene clear, cry in the water. Moving with excellect gait is admirable: this appears like the tinkling of the anklets of the autumnal Beauty.//171 In the months of Asvina by the cries of Sarasa from the big river difficult to ford and makng the legs stageer due to speed of its stream I was made to weep miserably again and again // 172 At might in the moonlight the mansions and lofty ramparts appeared spotless, attractive and very beautiful. But the autumn freed from dust behaved

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84 towards, me, who was rolling in bed in the absence of my darling, like yama's stroke./173 Due to the presence of those women who moved about sporitng with their men, the banks of the lakes appeared charming. Children and youths were playing. The tabor was struch in each and every house.//174 Boys dancing in a circle roamed in the streets playing upon Sandari. The beds have becoming charming due to young girls. In each and very house.// 175 Lamps are placed during the Dipavali night. Held in hand they resemble like crescent moons. The houses are adorned with lamps. The women put on their eyes with a pin the soot of these lamps. //176 The women put on black garments with wavy patters and crooked designs. the round breasts were besmeared attractively with musk.//177 Every limb was besmeared thickly with sandalpaste. It was like sprinkling poison with his arrows by the Love-god. Flowers worn on heads decorated them. this resembled a half-moon on the gate of the dark cloud.//178 The betal-roll containing a lot of camphor was placed in the mouth which due to redness resembled the sun rising at the down. Bodies are adorned with swift rush. The tinking of small bells is heard from the beds.//179 In this way some fortunate women sort, but I passes the nights miserably. In each and every house

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85 beautiful songs were sungs. But all the misery was reseved for me.//180 O traveller, at sunrise, remembering my longdeparted darling in my mind, I recited an Adilla and a Vastu.//181 At night even for half a watch I do not feel pleasure, but prattling the talk rearding my darling. I loose sleep. I do not feel love even for a half of the half a wink. Prirced by and tapta with love I am torn asunder.//182 Does in that country not shine at night the clear light of the moon ? Do there not cry sweetly the swans enjoying lotuses ? Does there nodody sing Prakrit songs in very beautiful melodies. Is there not sung with passion the Pancama melody by the Cackoos ? Does not there spread its fragrance the great mass of flowers wet with dew drops ? O traveller, I know that my daling is devoid of love's pleasurable taste, as he does not return home in such autumn season///183 (The Early Winter) I passed in thus manner the beautiful autumn reddant with fragrance. But O traveller, my very shameless darling did not remember his home while I was in such a fathertic state pierced with Love's arrows, I observed that mansions had became white due to heavy dew.//184. My whole body, Otraveller, cratkled due to Separatin-fire. the Levegod shot arrows proudly

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86 twanging (his bow). I was lying miserably in my bed. The wicked stealer of my heart the Kapolika, the primitive Sabara wandering in another country still did not arrive.//185. Yearning (for his return) nad constantly glancing at the directions, I saw early winter approaching with the gift of heavy dew. O traveller, everywhere cool water disliked. the lotus petals were completely removed from the beds.//186. Now the housewives did not crush camphor and sandal-wood. with applied to the lower lip and cheeks bees' wax was not mixed. Saffron without sandal paste was applied to the body. Compaka oil mix with musk was now used.//187 Camphor was not ground with nutmeg. The betelnut were not performed wigth Kataki. The women, slept on covered bed-stead in the interior apartment instead of the terraces on the house-tops.//188. Again was burnt for fumigating. Saffron was applied to the body. Close embrace was enjoyed by the body. The days as compared with those of other reasons became just finger-long. but for me was fixed Brahmas epoch.//189 Bewailing and getting any sleep during long nights, lovely in the house, O traveller ? recited a Vastu.//190 O dance, the long mights were passed by me giving out long sighs. Remembering you, the crued one, the thief. I did not get any sleep. Not getting on my lirnbs the touch of your palm, 0 shameless one, my

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87 golden body was dried up by Hemanta. O dear husbad, if you do not return during this Hemanta and console me, then, I idiat, wicked and singul man will you come, when you come to know that I have died?//191. (The Late Winter-sisira) In this way I passed the Hemanta season. The Sisira arrived but that rogue of my husband remianed afar. There arose Jhajkad the hot and rough gusts of wind. All the trees struck by them shed their leaves.// 192 They were devoid of flowers and fruits and hence not resorted to by birds. The directions were filled with darkness due to dew and smog. The roads were deserted, as the travellers did not move out being afraid of cold. All the flower plants in the gardnes dried up and became just stumps.//193 Afrald of cold the girls left alone their lovers in the plaintain bowers. They resorted to fire in the the stoves. Love sports were enjyoed in the interior apartment. Nobody now slept under the garden tress.// 194 The men of taste drank to the their heart's content the half-boiled sugarcane juice strongly and variously perfumed. On the excellent festival of Kundacaturthi, some fortunate lofty-breasted married women rolled in their bed (in love sports).//195. Some give charitable gifts on the birth day of the lord of seasons (i. e. on the begining day of hte spring seasons - the Vasanta -Pancami) and for love sports

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88 with their dear ones go to bleds. At that time, being lonely in the bed and maddened with Love. I sent my mind as a messager to my darling.//196, I thought it will bring my darling and satisfy me, but I did not know that wicked and shameless one also will abandon me. My darlig did not come and catching hold of that messanger it stayed there only. My heart indeed was filled further with a load of misery.//197 Hoping to get profit in the form of the compnay of my darling, I lost my capital. Listern, O traveller, to the Vastu I recited wailongly.//198 After suffering great miserly, I sent my mind as a messenger. It did not bring my darling, but on the contrary it got attached to him. While I was spealing thus with a vacant heart, the night dancened. I lost interest in doing any work, as I was feeling remorse. I gave my heart but my darling did not arrive. This situation was comparable to (that expressed in the proverb) that the she-ass went to obtain horns but on the contrary lost her ears.//199 (The Spring) Sisira, burning up the forest grass passed and the charming month of spring arrived here. The Malaya wind blowing constantly blazed the Lovefire of those in separation.//200. The Ketaki boolmed attractively in all direction making people happy. Various trees I got fresh leaves -

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89 and flowers. The lakes appeared more beautiful//201 The women, covered with attractive flower garment of varied colours all white all red, it cetera and all days sang songs in the company of thier friends.//202 Strong Frangrance spread every where. It was as if he sun was free from winter's.. Seeing this I recited a Lankotaka in the midst of dear friends.//203 I passed summer and rainy reason with unbearable. misery. I passed in great grief the autumn and the early winter Weeping I passed the rough late winter was passed some-housrs. But it is quite difficult to pass this remembering my husband.//204 The spring beauty is carred as if by trees with their hands in the form of fresh shoots. The restless bees hun in the forest, greedy as they are of th juice and fragrance of the Ketaka buds.//205. Although wounded they lick the juice. They dissegard the prickly thorms. The men of taste offer their bodies due fondness for juice. They do not care for misdeeds deluted as they are by love.//206 Seeing the spring, I windered in my mind and recired a Ramaniya stanza to which, O traveller you listen.//207 Let The Separation-fire full of piercing blazing flames and the love good shining with refulgence thunder. I move about enduring what unbearable and difficult to cross, but he remaining is unapproach by my love, carries on his trade fearlssly.//208

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90 The Kimsuka flower were felt like intensly black shomer of blood. The Palasas are doubtlessly real fresh-eating monsters. The braze made everything unbearable. Even the Sabanjana produced misery.//209 The falling flower dust redend the gound. I was distressed by the fresh mango blassons. Cool breeze blows making the earth cool. It does not produce cold, but drives away heat.//210 Asoka is falsely so called by the people, because it does not remove my soka even for half a moment. The pride of the love-god my body. the mangoes did not give any supporting strength to my body.//211 Finding out a hole to enter Separation.. terribly. I heard the crying notes of dancing peacocks. Seeing a peacock that had climbed on the tree-top, I hear, "O traveller the Gatha, to which I recited.//212 Seeing the female peacock rejoicing at the dancing peacock, I feel miserable. I am also unhappy due to illusion of clouds produced by fressh trees spreading in the sky.//213. Reciting this Gatha I got up weeping remeberring my old long-standing misery. The flames of Separationfire blazed in my body which was broken by Love-gods arrows.//214 For a moment I experienced the unbearable death noose of Yama, as beautiful flowers appeard attractive in all the directions. The fresh mango blososms, dense and continuous reached high in the sky. The spring arrived.//215.

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91 On the top of the mango-trees the cuckoos joyously sang variously. In these pleasant times the bees hummed sweetly. //216 The parrots croweded with ethusiasm and the eries they released I felt pathetic. In such times the women subdued by love somehow sustain life with difficulty.//217 The water less cloyds the body. How one can bear the sweet notes of the cuckoos. Women roamed in the streets. The notes of musical insturment made all the worlds deaf.//218 During this spring season people sang boudly in squres keepig rhythm and danced as never before. When the women played with the necklace worn, thier small bells of their girdles tinkled.//219 Young girls sang. Hearing them I, yearing for my darling recited a Gatha//220 In sucha season, when people are engaged festivitics the love gods shoots many more arrows at my heart.//221 From whatever I full of great misery and ablaze with fire of love in separation, whatever improper and harsh words I might have said please omit them and convey immediate my message courteously: You tell to him in such a manner as he may not be angry, tell him what you think is proper. The, noble lady blessed the traveller who then departed. The long-eyed, when she sow him off and returned in a great hurry, she saw her husband

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92 coming. He was overjoyed. As her purpose was unexpectedly filfilled in a half a moment, so also be fulfilled of those who reads or hears this. He who is without a beginning and without an end be victorius.//223.

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93 GUJARATI TRANSLATION pahelo prakrama he sujJajano! dharatI, sAgara, parvato, vRkSo ane gaganAMgaNamAMnAM nakSatro - e badhArnu jeNe Adyasarjana karyaM te straSTA tamAru kalyANa karo. (1). he naagriko| manuSyo, devo ane vidyAdharo ane AkAzamArgamAMnAM sUrya ane caMdranAM biMbo - e sau jene namana kare che te kiratArane tame namana karo. (2) pazcima dizAmAM pahelethI prasiddha ane mukhya evo mlecchadeza che. e dezamAM mIrasena nAmano vaNakara thayo. (3). teno abdala rahamAna nAmano, prAkRta kAvyo ane gItonI racanA mATe prasiddha evo kuLakamaLa putra che, jeNe A 'saMdezarAsaka' racyo che. (4) zabdazAstramA kuzaLa evA purogAmI sukavione ane vidagdhone mArA namaskAra, jemaNe traNa lokamAM vikhyAta banelA suMdara padyo racyAM ane jemaNe tevAM uttama padyo cIMghI batAvyAM. (5). vaLI jemaNe apabhraMza, saMskRta, prAkRta ane paizAcI bhASAmAM sukavitvane lakSaNa, chaMda ane alaMkArathI vibhUSita karyu. (6). temanI pAchaLa pAchaLa AvatA amArA jevA zruti ane zabdazAstrathI vaMcita lokonA lakSaNa ane chaMda vinAnA kukavitvanI, bhalA ! koNa prazaMsA kare? (7) athavA to emAM kazuM vAMdhA jevU na paNa gaNAya. rAtrIsamaye caMdra Ugyo, to tethI zuMgharamA rAtre dIvo nathI pragaTAvAto? (8). vRkSanI Toce kokilAo sarasa ane atimanohara TahakAra kare, to tethI zuM gharane chApare beThelA kAgaDAoe kAkA na karavU? (9). komaLa karothI bajAvAtI vINAnuM dharAIne zravaNa kayeM, to tethI zaM ramaNIonI ramatamAM vagADAtAM mRdaMga ane karavAdyano dhamakAra na sAMbhaLavo? (10). madamatta airAvatano kamaladalanA durdhara madhamaghATa jevo mada jhare, to tethI | bIjA gajoe madamAM na Avaq? (11). iMdrabhuvanamAM vividha sugaMdhasabhara puSponA AmodavALo pArijAta khIlyo hoya, to tethI zuMbIjAM puSpavRkSoe na khIlavU? (92). traNa lokamAM jeno prabhAva nitya prakaTita thAya che, tevI gaMgA nadI sAgara prati vahe, to tethI | bIjI nadIoe na vahevU? (13). nirmaLa sUryodaya thatAM sarovaramAM kamalinI khIlI UThI, to tethI | vADe vaLagelI tUMbaDIne kemeya na khIlavU? (14). bharatanATyanA bhAvayukta chaMdone anusarIne navaraMge lAvaNyavatI koI taruNI nRtya kare, to tethI zuM gAmaDAnI ghelIe tALIonA tAle na nAcavU ? (15). bharapUra dUdhavALI cokhAnI khIra

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94 UlaLyA kare, to tethI | kaNakA ne kuzakAnI rAbaDIe na baDabaDaq? (16). jevI jenI kAvyazakti te anusAra teNe kazA lajjita thayA vinA kavitA karavI ghaTe- caturmukha brahmA vadyA tethI zuM bIjAoe bolavAnaM baMdha karavaM? (17) he sujJo ! traNa bhuvanamAM evI koI vikaTabaMdhavALI, suMdara chaMdavALI ane rasavatI racanA nathI je tame na jANI hoya ke na suNI hoya. to pachI amArA jevA mUrkhanI lAlityavihIna, paruSa racanA koNa tamArAmAMthI sAMbhaLI raheze ? chatAM paNa vAta ema che ke durdazAmAM AvI paDelA vidagdha rasikone paNa jyAre tAMbUla na maLatuM hoya, tyAre jAvaMtarIthI paNa jema tema karIne AzvAsana maLatuM hoya che. (18). to A 'saMdezarAsaka', je mArA kavitva ane vidyAnA mAhAtmyavALo che, mArA pAMDityane prasiddha karanAro che, tene meM, vaNakare, lokomAM prakAzita karyo che. ane kevaLa kutUhalathI ane saraLabhAve meM te racyo che. ema jANIne, he sujJo, A pAmarajane jADImoTI vANImAM je racyo che, tene tame snehabhAve eka kSaNa, are aradhI kSaNa to sAMbhaLajo (19) koIka samarthane A 'saMdezarAsaka' (kadIkane) sAMpaDe ane te tenuM paThana kare to te sujJano hAtha pakaDIne huM kahu~ chu ke eka to paMDito ane bIjA mUryo e banene pArakhIne tAre temanI pAse A 'saMdezarAsaka'nuM paThana na kara. (20). kema ke kukavitvane kAraNe paMDito AnA upara citta Theravaze nahIM, ane abudhono temanA abudhapaNAne kAraNe AmAM praveza nahIM thAya. mATe je nathI mUrkha ke nathI paMDita, paNa madhyama che emanI AgaLa sarvathA AnuM paThana karavaM. (21). anurAgI, ratigRha, kAmIno cittahAraka, madanAsaktano pathadIpa, virahiNIno manmatha, ane rasikonA rasano uddIpaka evo A 'saMdezarAsaka' tame sAMbhaLo. atyaMta rasapUrvaka racelo, ratibhAvathI vAsita e zravaNanI paranALa. mATe amRtapravAha jevo che. are je kharo suratavidagdha nara haze, te ja vicakSaNa AnA arthano marma pAmI zakaze. (22-23) bIjo prakrama vijayanagaranI koI eka uttama suMdarI-unnata, sthULa, kaThina enAM stana, bhramarI samo kaTino lAMka ane rAjahaMsa samI cAla-dInavadane paMtha nihALI rahI che. azrujaLano dIrdha, pravAha vahe che. virahAnale e kanakAMgI, zarIra evaM zyAma banI gayuM che, jevo rAhuthI viDaMbita pUrNacaMdra. (24) e duHkhArta raDe che ane AMkha lUche che. eno coTalo chUTo thaI mukha para phelAI gayo che. e bagAsAM khAya che ane aMgo maraDe che. virahAtanaLe saMtApelI e dIrdha niHzvAsa

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95 nAkhe che ane AMgaLInA TAcakA phoDe che. A pramANe vilApa karatI e mugdhAe mArgamAM paDakhe thaIne eka pathikane jato joyo. (25) potAnA priyatamathI utkaMThita banelI teNe e pathikane joIne dhIrI gati tajI. te utAvaLI cAlI. manohara gatie cAlatAM enAM caMcaLa banelA bhAre jadhana parathI razanA khasIne chUTI thaI gaI, ane tenI dhUdharIono raNajhaNATa tyAM prasarI gayo. (26) e subhagAe mekhalAne sakhata gAMThathI bAMdhI, tyAM to tenI moTA motI vALI navasaranI hAralatA tUTI paDI. keTalAMka motI bhegAM karI laI, keTalAMka jatAM karIne e AgaLa cAlI tyAM to jhAMjharamAM paga bharAtAM te rastAmAM paDI gaI. (27) vilakhI paDI gayelI, lajjita banelI, vyAkuLa evI te paDIne UThI tyAM to te mugdhAnuM svaccha, zveta oDhaNuM khasI gayuM. e saMkorIne pathika pAse pahoMcavA IcchatI e tenI pAchaLa cAlI tyAM tenI netra vastranI coLIthI alaga thaIne tenA stana saheja bahAra nIkaLyA. (28). lajjita banelI e tene jema tema karI hAtha vaDe DhAMkIne (jANe ke kamaLa vaDe sonAnA kaLaza DhAMkI detI hoya tema) te pathikanI pAse pahoMcI ane vilAsayukta, karuNa, dIrdha nayana vALI e gadagada vacane bolI. (29) 'ekAda kSaNa tuM Ubho rahe, UbhI rahe. tAruM mana sthira rAkhIne, hRdayathI kSaNeka prasanna banIne tuM je kAMI huM kahuM te sAMbhaLa'. A zabdo sAMbhaLatAM ja jene kutUhala thayuM che evo e pathika na to pAcho vaLyo, na to aradhuM pagaluM AgaLa cAlyo. (30) (nAyikA) kAmadevanA Ayudha samI, rUDIrUpALI, ane vidhAtAnA uttama nirmANa samI ene joIne pathike ATha gAthA kahI. (31). AnAM ati vAMkaDiyAM jhUlaphAM nadIonA aneka jaLakallola jevAM, bhramarAvali samAM zyAma zobhI rahyAM che (32) enuM vadana rAtrInA aMdhAranA vinAzaka, amRta jharatA, niSkalaMka, divasanA svAmI pUrNa caMdranuM pratibiMba che. (33) enuM locanayugala araviMdadala jevuM dIrgha ane rAgayukta che. A taruNInA gAla dADimIpuSpanA puMja jevA lAge che. (34) mAnasa sarovaramA utpanna kamaLanALa jevA tenA bAhuyugalane cheDe karakamala jANe ke be bhAgamAM vacelA kamaLa jevA jaNAya che. (35) 4

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96 stano khala saMbaMdhIonI jevA stabdha, kaThaNa, gaviSTha nitya unnata (moDhuM UMcuM rAkhanArA) mukha-hita (vartuLa, vacanabhaMga karanArA) che. saMgama thatAM svajananI jema e AMtarabAhya zAtA arpe che. (36) enuM nAbhimaMDaLa parvatIya nadInA vamaLa jevU ane UMDuM che. eno madhyapradeza monA sukha jevo tuccha, ane gatinI caMcaLatAmA haraNa samo che. (37) kadalIstaMbhano parAjaya karatA tenA sAthaLa atizaya ramya che. pIDI sarasa goLAkAra, manohara, atizaya dIrdha nahIM evI che. (38). caraNanI aMgulI padmarAji samI ane nakhapaMkti sphaTikanI kaTakI samI zobhe che. kusumanI naLI paranI romarAjI jevI sUkSma enI romAvalI che.(39). zailajAne sarajI tenAthI paNa vizeSa suMdara aMga vidhAtAe pragaTAvyAM che. kavione koNa doSa daI zake, jyAM vidhAtAe pote ja sarjanamA punarAvartana karyu ? (40) ' e gAthAo sAMbhaLIne rAjahaMsasamI gati vALI te lijjita banIne caraNanA aMgUThAthI bhoMya khotaravA lAgI. pachI te kanakAMgIe pathikane pUchyuM, pathika, tuM kyAthI Avyo ane have kyAM jaI rahyo che? (41) (sAmbapura-mUlasthAna) 'he kamaLanayanA, caMdravadanA, tuM prasanna mane sAMbhaLa. sAmora (sAmbapura) nAmarnu nagara che, emAM ghaNA nAgariko vase che. eno zveta, UMco prAkAra tripurathI suzobhita che. tyAM koI paNa mUrkha jana nathI. badhA ja paMDita che. (42) temAM pravAse nIkaLanAro, vividha vicakSaNonAM jatho vaDe gavAtA manohara chaMdo ane madhuru prAkRta sAMbhaLe che. kyAMka caturvedIo vedapATha kare che, kyAMka aneka chaMdomAM nibaddha rAsaka gavAya che.(43). koIka sthAne sadavayatsanI kathA ke nalacarita kahevAya che. to kyAMka aneka vinoda sAthe bhArata, AkhyAna thAya che. koIka sthAne brAhmaNo dAnIne AziSa Ape che, to kyAMka kavio rAmAyaNa stave che.(44) / ___keTalAka vAMsaLI, vINA, kAhalA ane muraja vagADAtuM sAMbhaLe che. to kyAMka ramaNIya pada ane varNamAM nibaddha gItano rakha saMbhaLAya che. kyAMka pIna, unnata stana vALI zravaNanipuNa(?) nartikAo calli nRtya karatI vicarI rahI che. (45). vividha naTonA apUrva abhinayo ane nATako jonArane vismita kare che. vezyApATakamAM je bhame che. te to tyAMnAM dazya joIne mUrchita ja thaI jAya che. koIka gajavaranI gati vALI vezyA madavihvaLa banIne bhame che, to bIjI koIkanA zravaNe ratnakuMDaLa Dole che. (46)

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97 bIjI ekanA nibiDa, ghana, tuMga, stananA bhArathI teno madhya bhAga bhAMgI paDato nathI ethI manamAM vismaya thAya che. to bIjI koIka, AchA kAjaLavALI ADI AMkhe, koIkanI sAme madanottejaka hAsya ka re che. (47) bIjI koI caturA evaM nirmaLa hAsya kareche ke jANe tenA gAla para sUrya ane caMdra dIpatA hoya. koIkanA stanapaTTa para kastUrIno gADha lepa che, to koIkano bhAlapradeza tIkSNa tilakathI alaMkRta che. (48). koIkano sthULa ratnonI sara vALo hAra, vacce mArga na maLatAM stanazikhara para Amatema ALoTe che. koIkanI UMDI nAbhi kuMDaLAkAra che, ane te trivalInA taraMgasaMparke zobhe che. (49) bIjI koIka bhAre vikaTa jadhanane kaSTapUrvaka dharI rahI che, ane tethI tenI atizaya AnaMdadAyaka gatino camakAro jaladI vilAto nathI. bIjI suMdarI mIThe svare bole che tyAre tAMbUlathI lAla banelI tenI hIrA jevI daMtapaMkti pragaTa thAya che. (50) ___ bIjI ekanuM adharadala, karamakamala ane sarala bAhuyugala zobhe che. bIjI eka taruNInI karAMgulI ujjvala ane nirmaLa che, to bIjI ekanA gAla dADimapuSpanA daLa samA dekhAya che.(51) . koIkanuM sUkSma bhrUyugala evaM lAge che, jANe ke kAmadeve dhanuSya caDAvyuM che. koI ekanA nupUrayugalano UMco raNakAra, to bIjInI ratnajaDita mekhalAnuM rumajhuma saMbhaLAya che. (52) bIjI jyAre lIlApUrvaka saMcare che tyAre carmanI mojaDInuM laMbAtuM camacama evaM lAge che jANe AvI pahoMcelI zaradamAAM sArasano UThato svara, koIka jhINA svare madhura paMcama gAya che. jANe ke devo samakSa thatA nATyaprayogamAM tuMburue vAdyasvara sajyo. (53) __ A rIte eka eka vezyAnuM rUpa jotAM jatA prekSakonAM caraNa taMboLathI pIMgaLA rastA para lapase che. jo koI nagaranI bahAra bhramaNe nIsare to tyAM vividha udyAno joIne nagaranA bhavanone te bhUlI jAya. (54) vanarAji varNana (55-63) he caMdravadanI, kamaLanayanI, tyAM bIjAM paNa je ghaNAM vRkSo che temanAM nAma koNa jANe che? jo badhAM vRkSo para ghaDIka dRSTipAta karato koIka cAle to tene emanI lagolaga rahelI ghATI chAyAmAM dasa yojana cAlavU paDe. (64)

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98 tyAM he mRgAkSI, codize prakhyAta sUryatIrtha che. pRthvI para te mUlasthAna nAme suprasiddha che. tyAMthI mane eka jaNe lekha daIne mokalyo che. e mArA svAmInA AdezathI huM khaMbhAta jaI rahyo chaM. (65) A vacano sAMbhaLIne e mugdhA caMdravadanA, kamaLanayanAe lAMbo ane uSNa niHzvAsa mUkyo. teNe hAthanI AMgaLIonA TAcakA phoDyA. pavanajhapATe keLa thathare tema kyAMya sudhI te thatharI ane karuNa, gadagada svare bolavA lAgI. (66) kSaNeka raDIne nayano luchIne te bolI: he pathika, khaMbhAtanuM nAma sAMbhaLIne mAruM zarIra jarjarita thaI gayuM. mArA virahAnaLano olavanAro mAro pati tyAM gayo che. ghaNo samaya vItyo to paNa e nirdaya pAcho Avyo nathI. (67) he pathika, jo tuM kSaNeka dayA karIne paga pAchA vALa to, huM thoDAka zabdomAM priyane kAMIka saMdezo mokaluM. pathika kahe che : 'he kanakAMgI', raDe che zA mATe? tuM ghaNI kSINa thaI gaI che, ane tArAM nayana udvigna dekhAya che. (68) jenA nirgamane virahAgnie mane rAkhano Dhagalo karI mUkI, e niSThurane huM kyA manathI saMdezo mokalUM? (69) je pravAse gayo tyAre huM paNa tenI sAthe pravAse na gaI, tema tenA viyoge marI nahIM, evA priyane saMdezo mokalatAM huM lAjuM chaM. (70) paNa he pathika, jo huM lAjIne rahuM to mArA haiyAne dharapata thatI nathI. to tuM priyano hAtha pakaDI tene manAvIne tenI pAse A eka gAthA tuM paDhajeH (71) he nAtha, tArA virahanA prahAre cUro karelAM mArAM aMgo chUTAM nathI paDI gayAM, kAraNa ketuM Aja ke kAla AvIne maLIza (evI AzAnA) auSadhe saMdhAIne e TakI rahyAM che. (72) (73 kSepaka) he pathika, e gAthA kahIne priyane manAvIne atizaya vinayapUrvaka A pAMca dohA tene kaheje : (74) priyanA virahAnale baLelI jo huM svarge jAuM to mArA hRdayamAM upasthita tane choDIne huM jAuM e, he kAnta, ucita AcaraNa na gaNAya. (75) he kAnta, tuM mArA hRdayamAM upasthita hovA chatAM viraha mArA zarIranI viDaMbanA karI rahyo che. sajjanone mATe bIjAthI thatA apamAnano saMtApa maraNathI paNa vizeSa hoya che. (76) je aMgonI sAthe teM vilAsa karyo tene virahe bALyAM, to tuM pauruSanA Alaya

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99 samo hote chate huM AvuM bhAre apamAna kema sahuM ? (77) viraharUpI chokaraDAe evo aNadhAryo prahAra karyo che ke teNe mAruM zarIra bhAMgI nAkhyuM, paNa hRdaya para te prahAra nathI karI zakyo kema ke tyAM upasthita rahelA tane teNe joyo. (78) virahanI sAme mAruM sAmarthya nathI eTale huM vilApa karatI beThI chaM. govALaNa to mAtra rudana karI zake, dhaNane dhumAvIne pAThuM vALavuM e to dhaNanA svAmInuM kAma. (79) saMdezo eTalo lAMbo che ke te pUrepUro huM kahI zakatI nathI. mAtra eTaluM priyane kahe ke eka ja valayamAM have mArA baMne hAtha samAI jAya che. (80) saMdezo vistArathI huM kahI zakatI nathI. (paNa tuM eTaluM kaheje ke) je TacalI AMgaLInI vITI che temAM have mAruM bAvaDuM samAI jAya che.' (81) tyAre utAvaLe javA icchato pathika dohA sAMbhaLIne bolyo, he caturA tAre hajI kAMI vadhu kahevuM hoI to kahI de. rasto dhaNo durgama che ane he mugdhA, mAre jaladI pahoMcavuM che. (82) e vacano sAMbhaLIne, zikArInA bANothI trAselI hariNInI jevI, kAmadevanA zavIMdhAyelI, AMkhe AsuM varasAvatI e mugdhAe, dIrdha ane Uno niHzvAsa mUkIne eka gAthA A pramANe kahI: (83) 'A dhRSTa netro eka kSaNa paNa aTakyA vinA azrujala vahAvatAM lAjatAM nathI. paNa tethI to mAro virahAgni khAMDavavananI jema UlaTo vadhu jvalita thaI rahyo che. (84) A gAthA paDhIne udvigna ane atizaya duHkhI thayelI e mRganayanIe pathikane kahyuM, 'jeNe ratinI AzA ane sukhamAM vighna nAkhyuM che tevA e nirghRNane A be copAI tuM kaheje : (85) tane saMbhAratAM viSama samAdhi-yoga pragaTyoH DAbAhAthamAM raheluM A 'kapAla' (1 mAthu, (2) khoparI) eka kSaNa dUra thatuM nathI. 'sejjAsana' (1. zayyAmAAM besavuM, 2 zayyAmAM khAvuM huM eka kSaNa paNa choDatI nathI, khaTvAMga (1 palaMgano pAyo, 2 khaTvAMga, yogIo rAkhe che te upakaraNa) pakaDyuM che. he kApAlika, tArA virahe mane kApAlikI - yoginI karI mUkI che. (86) oDhaNuM sarI gayuM che, zarIra rUkSa thaI gayuM che, alakalaye vIkharAyelI che, mukha

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100 phIkuM paDI gayuM che, gati skhalita ane viparIta banI che, kesara ane kanakanA varNa jevI - kAntinI upara zyAmatA chavAI che : he nizAcara, tArA virahe mugdhA nizAcarI banI gaI che. (87) __he pathika, tuM tArA kAmane kAraNe hRdayathI vyAkuLa che. huM lekha lakhIne tane ApI zakatI nathI. eTale snehabhAve tuM A dohA ane gAthA priyane kahejeH (88) he priya, ghaNuMkharUM to virahAgni vaDavAnalamAMthI utpanna thayo haze : eTale ja to enA para sthULa azrubiMduo varasatAM hoya che to paNa te UlaTo vadhu prajvaLe che. (89) jo e vizALa netra vALI mugdhA azrudhArAe siMcAtI na hota to nizcitapaNe te dIrdha ane UnA ni:zvAsothI zoSAIne maraNa pAmI hota.' (90) pathike kA, 'he caMdravadanA, have tuM pAchI vaLI jA. athavA to he mRganayanA hajI paNa tAre kAMI kahevarAvaq hoya to te kahe' huM kahuM chu, pathika, kema na kahuM ? paNa ema thAya che ke sneha ane rati rahita jeNe mArI AvI dazA karI, jeNe AvI rIte mane virahagImAM nAkhI dIdhI, je akRtArthe dhanane lobhe mane ekalI choDI mUkI, ene kahIne paNa zuM ? mAro saMdezo lAMbo che paNa tuM utAvaLamAM che, to he pathika, mArA priyane A gAthA, vastu ane DomilA to kaheje jaH (91-92) e veLA ApaNo evo gADha saMgama hato ke bacce hAra paNa raheto na hato, jyAre atyAre to ApaNI vacce sAgara, saritA, giri, vRkSo ane durgono aMtarAya AvI paDyo che. (93). keTalIka priyamAM Asakta virahavyAkuLa mugdhAo ene jhaMkhatI eno saMga pAmavA bAvarI bane che. svapnamAM teo priyanA zarIrano dhanya sparza, enuM AliMgana, darzana, cuMbana, daMtakSata ane suratarasa pAme che. he pathika, tuM e nirdayane kaheje ke e jyArathI pravAse gayo che, tyArathI mane nidrA ja AvatI nathI to pachI svapnamAM saMgasukha mANavAnI vAta ja kyAM rahI?(94) priyanA viyogane lIdhe rAtadivasa enA saMgamanA abhAvanA zokamAM mana jhuratuM rahe che tethI mArUM aMga atizaya zoSAI gayuM che ane huM AMsu lUchyA karUM chu. he nirdaya mArA vize huM tane zuM kahuM ? tane svapnamAM lAvIne bhAvapUrvaka hu~ mohavaza thaIne jouM chu. paNa e kSaNa vItI jAya che mAruM svAmIrUpI moDUM rAca (viraharUpI) taskara corI gayo. he pathika, kahe

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101 huM kone zaraNe jAuM ?(95) A DomilA chaMda kahIne e caMdravadanA, kamaLanayanAnAM netra niSpaMda banI gayA. te na to kazuM bolatI hatI, na to tyAM rahelA bIjA janane jotI hatI. bhIta paranA citramA AlekhI hoya tevI te mugdhA kSaNeka dekhAI.(96) niHzvAsane lIdhe tenI zvAsocchvAsanI kriyA rUMdhAI gaI. mukhathI te moTethI raDatI hatI. kAmadevanA sare vIMdhAyelI e caMcaLanayanAe priyanuM saMgasukha saMbhArIne saheja tIrachI daSTie pathikanI sAme evI rIte joyuM, je rIte dhanuSyaTaMkAra sAMbhaLIne trasta banelI haraNI jue. (97) pathika bolyo, 'tu dhIraja dhara. sthira thaIne kSaNeka AzvAsana le. oDhaNAthI tAruM pUrNa caMdra samuM mukha lUcha.' enAM vacana sAMbhaLIne virahabhAre bhAMgI paDatI e mugdhAe lajjita banIne vastrAMcalathI mukha lUchyu.(98). pachI te bolI, 'he pathika, kAmadevanI pAse mAruM baLa cAlatuM nathI, kAraNa ke mAro priya mArAmAM anurakta hovA chatAM ane huM nirdoSa hovA chatAM e mArA pratye virakta banyo che. te bIjAnI vedanA prIchato nathI. e ni:sneha ane caMcaLa mana vALA khalane tAre eka mAlinI vRtta kahevU. (99). he subhaga, jo tyAre suratane aMte meM ema jANyuM hota ke tAro anurAga ane sneha ogaLI gayo che ane tenI zobhA naSTa thaI che to e navaraMgano eka kuMbha bharIne huM rAkhI mUkata, ane virakta baneluM tAruM hRdaya huM temAM pharI boLata. (100) AkAzAmAMthI raMga osarI jAya to temAM pharI raMga pragaTe che. aMga atizaya niHsneha bane to pharIthI teno abhyaMga karI zakAya che. dhana hArI jaIe to jItIne te pArcha meLavI zakAya che. paNa priyanuM citta virakta bane to zuM karI zakAya?(101) pathika bolyo, he vizAlAkSI tuM dhIraja dharIne mana ThekANe rAkha. AMkhamAMthI atizaya vahetI AMsudhArA thobhA. pravAsIone aneka kAraNe paradeza javU paDe che ane tyAM emane bhramaNa karavU paDe che. emanuM prayojana na sadhAya tyAM sudhI he suMdarI, teo pAchA vaLatA nathI. (102) videzamAM pharatAM emanA para paNa kAmadevanA bANano prahAra thAya che. potAnI gRhiNIne saMbhAratA teo paNa virahano bhoga bane che. rAtadivasa potAnI priyatamAnA zokano bhAra na sahI zakatA e pravAsIo paNa he mugdhA tArI jema kSINa thatA hoya che.(103) e vacano sAMbhaLIne te dIrdha netra vALI ane utkaTa madanAvasthA dharatI e mugdhAe

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102 mukta svare eka aDillA kahyo. (104 ka) he pathika, mArA kAntano mArI upara have sneha nathI rahyo ema huM dhAruM chu, tema chatAM tuM mAro saMdezo tene kaheje ke nAka sudhI vyApelo virahAgni mArA hRdayane rAtrinA aMta sudhI bALato rahe che. (104 kha) madananA Ayudhe mArelI huM vadhu vistArathI saMdezo kahI zakatI nathI. tuM amArI A avasthA mArA kAntanI pAse varNavaje: aMgo tUTe che, atizaya aruci pravarte che, rAtre ujAgaro thAya che, raste jatAM mArI gati vihvaLa ane ALasathI maMda bane che. (105) kezapAza para puSpo bAMdhyAM nathI. AMkhamAM AMjeluM kAjaLa gAla para gaLe che. priyatamane maLavAnI AzAthI jeTaluM mAMsa zarIramAM vadhe che, te virahAgnithI baLIne pArcha UtarI jAya che.(106) virAhanI uSNatAe baLatI ane AzA jaLe siMcAtI evI huM nathI jIvatI, nathI maratI-mAtra dhagadhagatI rahuM chu. te pachI pharI pharI pathikane rokIne, e dIrghokSIe potAnI AMkho lUchIne eka phullaDa chaMda kahyo (107) priyane jhaMkhatA mArA hRdayane jema suvarNakAra kare che tema (kAmadeva) virahAgnithI bALIne tenA para AzAjaLa sIMce che. (108) pathika bolyo, 'hu~ jaI rahyo chu tyAre tuM vAraMvAra raDIne mane amaMgaLa na kara. AMsu rokI rAkha' 'he pathika, tArI icchA pUrI thAo tAruM Aje sIdhAvavAnuM pAra paDo. huM raDI nathI, paNa virahAgninA dhumADAthI mArA nayana sravyAM che.' (109) pathika bolyo, 'he vizAlAkSI kahevAnuM zIdhra kahI de, sUrya divasanA zeSa bhAge pahocyo che, to dayA karIne have tuM pAchI vaLa'. pathika tuM jA. tAruM vAraMvAra maMgaLa thAo. paNa tuM priyane have eka maDillA ane eka cUDillo kahejeH (110) mAruM zarIra dIrdha ane uSNa nisAsAthI zoSAya che. azrujaLa aTakatAM nathI. mAru haiyuM jaIne dvIpAMtaramA paDyuM che, jema pataMgiyuM dIvAmAM paDe. (111) uttarAyaNamAM divaso laMbAya che, to dakSiNAyanamA rAto laMbAya che - evo parApUrvano niyama che. paNa jemAM rAto ane divaso baMne laMbAya che evaM A trIzuM virahAyaNa thayuM che. (112) he pathika, divasano (thoDoka) zeSa bhAga ja rahyo che, te AthamI gayo che. to tuM

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103 javAnuM mAMDI vALa. rAtano usta bItAvIne bIje divase tuM javAnuM rAkha. "he biMba samA adhara vALI, caMdranI cAMdanI savAra sudhI prakAze che. mAre je kAma che tethI huM vyAkuLa hovAthI mAre javU ja paDe tema che." jo tuM ahIM rahI javA na mAgato ho ane javAnI ja icchA rAkhato ho to mArA priyane eka cUDillo, eka khaDahaDa ane eka gAthA kahejeH (113) / jaIne tuM priyane kaheje ke he pravAsI, amane tArA virahAgni taraphathI (eka moTuM) phaLa maLyu. eNe ciraMjIvitAnuM mane varadAna dIdhuM che. kema ke mAro eka eka divasa saMvatsara jeTalo lAMbo thayo che. (114) / jyAM premaviyoge hRdaya vyAkuLa banyuM che. kAmadevanA bANe zarIra atizaya kSata thayaM che, jyAM nayano bASpajaLe gAla pakhALI rahyAM che, jyAM madana nitya manamAM vikasI rahyo che, tyAM he pathika, rAtane samaye paNa nirvRtti ke nidrA kema prApta thAya ? hepriya virahiNIo divase paNa jIve che e moTuM Azcarya che. (115-116) pathika bolyo. 'he kanakAMgI teM je kA, ane vadhumAM je bIjuM meM dIrcha, te huM tArA priyatama pAse prakAzita karIza. he kamaLanayanA. have tuM tAre ghare pAchI phara, huM paNa raste paDuM. mArA gamanane tuM aTakAva nahIM. pUrva dizAmAM aMdhAruM prasayuM che. sUrya Athamyo che. rAte cAlavAnuM muzkela hoya che, ane rasto durgama ane jokhama vALo che.' (117) pathikanAM vacana sAMbhaLIne e premaviyoginI kRzodarIe dIrdha, uSNa niHzvAsa nAkhyo. tenA gAla para rahelAM azrabiMduo jANe pravAlanA Dhaga para camakatAM motI jevAM zobhatAM hatAM. priyanA pravAsathI pIDita, vilApa karatI, raDatI te bolI, 'priyane tuM eka skaMdhaka ane eka dvipadI kahejeH (118) mAruM hRdaya ratnAkara samuM che. tenuM virahamaMdara nitya maMthana kare che, ane teNe tArA preme prApta mAruM sukharatna samagrapaNe mULathI ukheDyuM che. (119) ddaSTirUpI sphuliMgathI sabhara, madanarUpI pavane dhUmato, durdhara jvAlA vALo, duHsaha madanAgni niraMtara mArA hRdayamAM tIvrapaNe sphurI rahyo che. aratinI rAkha uchALato te (?) che, mane dhamakAve che ane bALe che. Azcarya to e che ke tArI utkaMThAthI amAraM 'saroruha' vRddhi pAme che.' (120) A skaMdhaka ane dvipadI sAMbhaLIne pathika romAMcita thayo. potAnA priya pratyeno teno prema nathI ghaTyo te jANIne tenuM mana raMjita thayu. te bolyo, 'he mRganayanI tuM mAruM kA sAMbhaLI kSaNeka dhIraja dhara. huM tane kAMIka pUchu chu to tuM te sphuTa vacanomAM pragaTa kara.

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104 (121) navAM bAdaLanI rekhAmAMthI nIsaratAM jenAM nirmaLa kiraNo sphure che, ane zaradanI rAtamA je pratyakSa sabhara amRta jharI rahyo che evA caMdranuM vijayI ane priyatamane sukhada evaM tAruM A mukha kyArathI virahAgninA dhUme DhaMkAI gayuM che ? (122) __ kahe tIkSNa vakra kaTAkSapAta karatAM, madananAM uddIpaka A tArAM locana keTalA divasathI jhUrI rahyAM che? kadalI jevU komaLa tAruM aMga zoSAI rahyaM che? ane haMsanA samI tArI lIlAgati sIdhI banI gaI che ? (123) A rIte he caMcaLanayanA kema tuM tArA zarIrane duHkhAdhIna karI rahI che, ane duHsaha virahakaravatathI tene vaherI rahI che? kAmadevanA bANe keTalA divasathI tArA citta para prahAra ko che? kahe 'suMdarI, tAro subhaga kyAre (paradeze) gayo ?' (124) pathikanAM vacana sAMbhaLIne madanane uddIpita karatI e dIrdhAkSIe cAra gAthA kahI. (125) he pathika, jyArathI mAruM sukha harAI gayuM ane badalAmA duHkhono paTTa maLyo e mArA priyanA pravAsadivasa vize pUchavAthI zuM lAbha ? (126) kahe, jyAre e araghI kSaNamA ja mane mUkIne cAlyo gayo e divasa saMbhAravAthI zuM ? e divasanuM nAma paNa na laIza. (127) jyAre e subhaga gayo te divasathI ame nirvRtti khoI che. pathika, nizcitapaNe kALa kALanI jema amArA hRdayamAM pariNamyo che. (128)

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105 trIjo prakama SaDRtuvarNana grISma he pathika, grISmano AraMbha thatAM ja jevo mAro priyatama pravAse gayo, tevo ja mAro sukhasamUha paNa mane hAtha joDIne paradeze paravaryo. priyatamane vaLAvIne virahAgnie tapatA aMge huM pAchI vaLI ane vihvaLa, bAvare citte huM mArA AvAse pahoMcI. (130) __ Ama eka to aruci, asukha ane virahano talasATa asahya hato, temAM e madanAkrAMta dazAmAM malayAnila mAre mATe duHsaha thaI paDyo. tene lIdhe mArI viSama, dhagadhagatI agnijvALA vadhu tIvratAthI prajaLavA lAgI. to bIjI bAju, dharatI para atizaya tapatAM sUryakiraNo ghAsamAM, bIDamAM Aga lagADI rahyAM hatAM. (131) gaganataLa jamanI caMcaLa jIbhanI jema lapalapATa karatuM hatuM. dharatI, taLa uSNatAno bojo na sahevAtAM taDaphaDATa karatuM phATatuM hatuM. aMtarikSamA atizaya uSNa pavana phUMkAto hato, ane e lUno sparza virahiNInA aMgane dajhADato hato. (132) varSAnA Agamanane jhaMkhatA bapaiyA piyu piyu raTatA hatA. saritAomAM jaLa ochAM ane AchAM vahetAM hatA. amarAInAM AmravakSo phaLabhAre lacelAM bhAre zobhatAM hatA. pavananI jhakoLe tenAM pAna hAthInA kAnanI jema halI rahyAM hatA. phaLalolupa popaTonAM jhaMDanA jhaMDa temanI upara jhUlI rahyAM hatA. temano karuNa kilakilATa cotarapha UThato hato. evA sahakAra taruoe, he pathika, mane sahArA vinAnI karI mUkI. (133-134) ThaMDaka karavA mATe meM stana para haricaMdanano lepa karyo, paNa sarpa sevelA e caMdanathI to mAro tApa UlaTo vadhyo. vividha vilApa karatAM karatAM meM hAralatA ane phUlamALA paherI, paNa temAMthI paNa jvALAo nIkaLatAM huM bhayabhIta banI gaI. (135) zarIrane kAIka zAtA Apaze ema mAnIne rAtre zayyAmAM kamaLapatra pAtharU, paNa tethI to mAro uttApa bamaNo thayo. ghaDIka zayyAmAMthI UThIne UbhI thatI, to ghaDIka temAM pAchI paDatI evI dazAmAM lajjita banIne meM gadgada kaMThe eka vastu ane eka dUho kahyoH (136) kamaLo sUryakiraNe vikasyAM hoIne uttApa kare che. amRtakiraNa caMdra paNa viSano sahodara hoIne viSa ja utpanna kare che. caMdana sApanA duHsaha DaMkhavALu hoIne aMgane kSINa kare che. to ratnahAra paNa khArA samudramAMthI nIpajyo hoIne madanabANathI thayelA dhAmAM mIThaM bhabharAve

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106 che. kamaLo, caMdra ane ratnone zItaLa gaNIne jagatamA temanI prazaMsA thAya che, paNa temAMgeM ekeya virahAgnine olavatuM to nathI, paNa UlaTuM mArAM aMgone pIDe che. keTalAka loko zarIra para kapUrano ane caMdanano nirarthaka lepa kare che. priyatamanA virahanI Aga to mAtra priyatamano saMga ja olavI zake. (137-138) varSA he pathika, ema atizaya tapelo grISmakALa meM kemeya karIne vitAvyo, varSAkALa paNa AvI pahoMcyo. ane toya mAro nirlajja priyatama na Avyo ! codiza dhora aMdhakAra vyApyo che. ati sabhara banela jaladhara gaganamA roSathI dhero dhuradhurATa kare che. (139) AkAze camakatI bhISaNa vidyutnA jhaLahaLATathI ja pagadaMDI parakhI zakAya che. bapaiyA jaLathI ati tRpta thaIne sarasa cItkAra karI rahyAM che. navaghananI nIce thaIne jatI bagalAMnI hAra nabhe dIpI UThe che. (140) grISmanA sUrye potAnI kiraNajALathI prakhara tapAvelI saritAomAM atyAre varasatuM medhajaLa mAtuM nathI. rastA uparanA jaLapravAha vaTemArgaone pAdukAo hAthamAM uMcakAve che. pagale pagale pagadaMDI AkAzI vIjaLIne camakAre ja kaLAya che. (141) nibiDa laharIothI sabhara evA vizALa paTane laIne dustara banelI suMdara saritAo kallolonA kalakale gAjatI hatI. kAmakAje gayelA pravAsIo adhavacce ja rokAI rahyA. pakikone ghoDAne badale nAvathI khepa karavI paDatI hatI. (142) potAnAM kAdavalIpyAM gaura aMgo khullAM thaI gayelA tethI salajja saritAoe bane pAsAMne have'jaLabhArathI DhAMkI dIdhAM. tArakagaNa dekhAto baMdha thayo. aMdhakAra UmaTayo. dharAtaLa indragopathI niraMtara chavAI gayu.(143) bagalA pANInA dharAne tajIne taruToce caDI gayAM. mayUro tAMDava karatAM DuMgaronI dhAra upara gahekI UThyA. meDako jaLamAM karkaza svare DrAMu DrAu karI rahyAM. kalakaMThIoe AMbAnI Toce caDIne TahukAra karI mUkyo. (144). phaNAdhara nAgoe daze dizAmAM bhIDa karIne rastA rUMdhyA. e viSadharothI rAjamArgo saMcArahIna banyA. pATalApuSpanAMdaLa jaLataraMgonA ubhArathI kharI paDavA lAgyAM. DuMgaranAM zikhara upara haMso karuNa svare raDI rahyA. (145) maccharanA trAse godhaNa UMcANamAM caDI gayu. gopAMganAo emanA pati sAthe manabhara raMge ramavA lAgI. hariyALu dharAvalaya kadaMbothI madhamadhI UThyu. ane anaMge mArAM aMgaaMgamAM vadhune vadhu bhaMga karavA mAMDyo. (146)

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107 kaThaNa sejamAM AmathI tema loTatI, bhramaravRMdanA guMjAravathI vIMdhAtI, udvigna nidrAhIna animiSa nayane rAtabhara jAgatI meM atidukhaNIe eka 'vastu', eka 'gAthA ane eka 'dUho' racyAM. (147) "aMdhArAnA odhe UmaTIne AkAzane daze dizAe chAI dIdhuM che. kALI medha ghaTA UmaTIne dhora dhuradhurATa karI rahI che. nabha mArgamAM tarala nabhovallI (vIjaLI) taDataDI rahI che. dAduranA DrAMu DrAuno raudra zabda koInAthI sahyo jato nathI. nibiDa niraMtara jaladharonI dharA upara paDatI durdhara dhArAonA bhArane, he pathika, huM kema karIne sahaM ne taru zikhara uparathI kokila asahya svare TahukI rahyo che te paNa huM kema karIne sahuM.? (148) prAvRSe AvIne dhArAsamUha vaDe grISmAnalane olavyo. paNa Azcarya : mArA hRdayamAMno virahAnala tenA AvavAthI to UlaTo adhikatara prajavaLI uThyo. (149) stabdha stano sthULa azrubiMduthI dAjhe che tethI he pathika, jaLabiMdumAthIja udbhavelA, guNayukta, kaMThasthita muktAhAranAM maukitako nathI lAjatAM"(150) __ A dUhAnuM paThana karIne virahakhede alasa banelI, abhibhUta thayelI, ati khinna ane mUrchA paravaza evI mane svapnAMtaramA mAro cira proSita priyatama dekhAyo. ane tene tarata ja oLakhI laIne meM teno hAtha pakaDIne A pramANe kA : "ghora paNe gaDagaDatA medhonI ghaTAthI chavAyelI.A RtumAM priyatamAne choDIne jaq zuMkulInone chAje che? nava medhamAlAthI jhaLUbatA nabhamAM pragaTela IndracApa, rakta dizAvistAra, medhAcchAdit ane tethI AbhAsI lAgato caMdra - A badhAMne laIne, he priyatama, varSAkALa asahya banyo che." (151-153), ne premathI eMdhAyelA kaMThe huM.svapnamAMthI jAgI gaI: kyA huM ne kyAM priyatama? tatkSaNa huM marI nahIM, to khare ja huM pASANI chu. mAro jIva nIkaLI na gayo, kema ke te pApabaMdhamAM jakaDAyelo che. hRdaya paNa kema phATI na paDyu? lAge che ke te vaje ghaDeluM che. (154) jhINA svare kaNasatI deDakInI jema meM rAtrInA pAchalA pahore asahAya banIne karuNa svare A dUho kahyo. (155): ___ "he yAminI, tAruM kalaMka evaDuM che ke te traNa bhuvanamAM paNa mAya tema nathI: duHkhamAM tuM cogaNI thAya che, paNa sukhanA saMgamAM kSINa banI jAya che. (156)

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108 zarada ema vilApa karatAM karatAM, virahagIta gAtAM gAtAM, prAkRta kavitAnuM paThana karatAM karatAM kemeya karIne varSAno aMtima dina Avyo. jenI rAtrIo priyatamanA anurAge ramaNIya hovAnuM gavAya che, te ja rAtrIo he pathika, mane aramaNI (karavata) samI lAgI. (157) priyanAM AgamananI AzAe prANa TakAvI rAkhIne jAgatAM ane prabhAte, virahano aMta lAvanAra priyatamanAM smaraNa sAthe zayyA tajatAM tajatAM, he pathika, mArI rAtrIo pasAra thatI hatI. (158) dakSiNa taraphanA mArgane bhaktipUrvaka huM joI rahI hatI tyAre ekAeka agastya RSi mArI najare paDyA, ne meM kaDaM ke varSARtu vahI gaI ne toya priyatama paradeze ja rahyo ne huM ramyA vinA rahI. (159) gaganamAthI balAhaka adrazya thaI gayAM. rAtre suMdara nakSatro dekhAvA lAgyAM phaNIMdroe pAtALavAsa karyo. rAtre nirmaLa caMdranI jyotsnA sphurI rahI. (160) zatapatra kamaLo vaDe sarovaranAM jaLa zobhI rahyAM che. nadIo taraMgasabhara vahI jAya che. grISme sarovaronI je zobhA harI lIdhI hatI, te have zaradamAM temane pAchI caDI. (161) kamaLonA makaraMda- pAna karIne haMsoe ati manohara ne madhura kalarava karI mUkyo. zatapatra kamaLoe UchaLIne AluM bhuvana bharI dIdhuM. jaLanI rela tIrthe pAchI vaLI. (162) dhoLelAM dhavaLa zaMkhanI sakAza suMdara kAza vaDe sarovaratIra zobhI rahyAM. vahetI nadIonAM nIra nirmaLa banyAM temanA taTa vihaMgamonI hArothI sohAmaNA lAgatA hatA. (163) DahoLathI mukta banela nirmaLa jaLomAM svaccha pratibiMba joI zakAtuM hatuM zaradanAM Agamane kuMjano zabda mArAthI sahyo jato na hato. marAlanA Agamane huM marI rahI hatI kemeya TakI zakatI nahatI. (164) jaLo kSINa thatAMnI sAthe, he pathika, huM ye kSINa thaI AkAzamAM udyota karatAM khadyotothI hu~ kheda pAmI. sAraso sa-rasa rakha karI rahyAM hatAM. he sArasI, mane mArA jUnA cirakAlIna duHkhanuM tuMzA mATe smaraNa karAve che? (165) he niSThura, tAro karuNa zabda tuM manamAM ja lava. virahadagdha nArI mATe utsavano lavaleza paNa hoto nathI. ema pratyekane karuNa zabde saMbodhatI evI mane he pathika, koI eka kSaNa paNa dhIraja ApatuM na hatuM. (166).

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109 je ramaNIonA nAtha temanI pAse ghareja che teo zerIomAM rAsa ramatI dhUtI hatI. vividha AbharaNo vaDe zaNagAra sajIne, citravicitra vastro zarIra para dhAraNa karIne, tIkSNa tilaka bhAlataLe AlekhIne, zarIre kesara ane caMdana carcIne soraMDa (krIDAbhAjana) hAthamAM rAkhIne divya manohara gIta gAtI teo dhUmatI hatI. (167-168) teo ghaNI bhakti ane pramodathI gamANo ane tabelAmAM dhUpa detI hatI. A joIne hatAza thayelI huM udvigna banI gaI. (169) tyAM to meM dizAne adhika vaicitryathI zobhatI joI, ane jANe ke huM hutAzanamAM homAI. cittamAM virahanI jvAlAvali prajaLI UThI, ane meM 'naMdinI', 'gAthA' ane 'bhramarAvali' karI: (170) kaSAya svAdavALA navA bisataMtu vaDe jemanA kaMTha zuddha thayAM che tevA dhRtarASTra (haMsavizeSa) ane cAtaka jaLamAM zabda karI rahyAM che, ne teo camatkAraka cAle cAle che : jANe zarada-zrInAM jhINA svare raNakatAM nUpura na hoy| (171) zaradamAM AsomAsamAM moTI banelI nadIo pravAhavegathI vikaTa banelI ane pagane skhalita karatI hatI. vizALa saritAomAM sArase cItkAra karIne amane pharI pharIne duHkhe raDAvyAM, (172) caMdranI caMdrikAvALI rAtrIomAM dhavalagRha atIva zobhI UThyAM : teno suMdara tuMga prAkAra nirmaLa ane manohara lAgato hato : priya vinA zayyAmAM loTatI ane kaNasatI evI mArA prati A zarada jANe ke yamadaMDa vaDe prahAra karI rahI hatI. (173) jemanA puruSa krIDA karavA upasthita hatA tevI nArIonA sahabhramaNathI sarovaranAM tIra zobhI rahyAM hatA. dhare dhare suMdara bALako ane yuvAno khelatA dIsatA hatA, ghare ghare paTaha vAgatA hatA. (174) chokarAo kuMDALAmAM tAMDava karatAM ane 'suMdarI' vagADatAM zerIomAM ghUmatA hatA. zayyAo taruNIvRMdothI zobhatI hatI. ghare ghare rekhA ramAtI hatI ? (175) dIpAvalinI rAtre navodita caMdralekhA samA dIpaka hAthamA laI laIne badhe mUkavAmAM Ave che. bhavano jANe ke ladhu jyotio vaDe maMDita banyA hatA. mahilAo AMkhamAM ey aMjana zalAkAthI AMjatI hatI. (176). aneka kuTila taraMgonI bhaMgIne lIdhe zyAma aMbarano AbhAsa ApatI patravallarIthI manohara, vRttAkAra ane madapaTTa samA payodhara kastUrIthI carcita karAtA hatA. (177)

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110 paDhayAM aMge aMga kesarano gADha lepa karAto hato. jANe ke kaMdarpa bANomAM viSa na bharyu hoya ! zira upara kusumono zaNagAra sajavAmAM Avato hato. jANe ke kALA medhanA gopura upara ardha caMdra birAjyo. (178) kapUre madhamadhatuM bIDaM momAM mukAtuM hatuM. jANe ke pratyUSakALe sUrya Ugyo. umaMganA AvezamAM prasAdhana karAtuM hatuM. palaMgomAM kiMkiNIono madhura va pravartato hato.(179) Ama keTalIka puNyavaMtIo keli karI rahI hatI. paNa meM to rAtrI udvegamAM vitAvI. ghare ghare ramaNIya gIta gavAtA hatAM. eka mane ja badhuM kaSTa ekaLu karIne dIdhelu hatuM. (180) vaLI mArA manamAM he pathika, cirapravAsI piyu, smaraNa thayu. ane sUraja UgI gayo jANIne meM bahu samaya gADha azrupravAha vahAvIne eka aDillA tathA eka vastu (181) rAtre aradho prahara paNa nidrA AvatI nathI. priyanI vAta kahevAya che tethI paNa udvega vadhe che. araghu nimeSArdha paNa ratisukha che nahIM. kAmathI tasa ane vIMdhAyela A huM jANe ke vaherAI rahI chaM. (182) e dezamAM rAtre nirmaLa caMdranI jyotsnA nahIM sphuratI hoya? zuM tyAM araviMdanAM phaLay sevana karatAM haMso kalarava nahIM karatA hoya? zuM tyAM koI ati lalita rAge prAkRta gAthA paNa nahIM paDhatuM hoya ? ke koI kApAlika bhAvapUrvaka paMcama rAga nahIM cheDato hoya? athavA tyAM pratyUSakALe praphullita kusumapuMja paNa nahIM maghamaghato hoya ? eTale ja, he pathika, je piyu zaradakALe paNa ghara tarapha nathI vaLato, tene meM to taddana arasika jANyo. (183) . evI rIte, saurabhathI ramaNIya zaradaRtu meM vItAvI, paNa he pravAsI, e atizaya * duSTa zaThe arane na saMbhAyeM. e rIte mArI, madananA zare vIMdhAyelInI evI karuNa dazA hatI, tya to prAsAdo jhAkaLabhAre zveta banelA mArI draSTie paDyA. (184) he pathika, mArA samagra dehamAM taDataDATa karato virahAgni saLagI UThyo. kaMdare paNa darpa dAkhavIne potAnA dhanuSyamAMthI saDasaDATa bANa choDavA mAMDyAM. huM duHkhArta zayyAma paDI hatI. paraMtu mArA cittane haranAro e zaTha, zabara, kApAlika paradezamAM (paramaMDaLamAM, bhaTakato raheto Avyo nahIM. (185)

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111 enI AkAMkSA karatI, duHkhI duHkhI thatI huM dizAvistAramAM draSTi doDAvatI hatI, tyAM to hemaMta tuSArabhAranI bheTa laIne AvI pahoMcyo. he pathika, lokone zItaLa jaLa pratye anAdara thayo. pathArImAMthI kamaLadaLane dUra karyA. (186) have gRhiNIo kapUra ane caMdana ghasatI na hatI. aghara ane kapolanAM suzobhananI sAmagrImAM mINa bheLavAtuM hatuM. aMga para caMdana vagaranA kesarano lepa karAto hato. kastUrIvALA caMpenuM sevana karAtuM hatuM. (187) have jAyaphaLa sAdhe kapUra daLAtuM na hatuM. sopArIone paNa kevaDAnI sugaMdhano puTa apAto na hato. rAtre agAzImAM sUvAnuM baMdha karI suMdarIo oraDAmAM palaMga bichAvIne sUtI hatI. (188) vaLI agarano dhUpa karAto hato. zarIre kesarano lepa karAto hato. gADha, nibiDa AliMgana aMgone sukhadAyaka lAgatu hatuM. bIjI RtunI sarakhAmaNI divaso AMgaLI jevaDA thaI gayA ne chatAM mAre ekane mATe ja he pathik brahmAnA yuga samo divasa TharAvAyo. (189) gharamA ekala vilApa karatI evI mane dIrdha rAtomAM nidrA AvatI na hatI eTale he paMthI, huM eka vastuchaMda gAvA lAgI : (190) he nirakSara, mArI dIrgha rAto dIrgha nizvAso nAkhatAM vIte che. he taskara, nirdaya, tArA smaraNe caDelI mane nidrA AvatI nathI. he dhRSTa, tArA karatalano aMgo para sparza na pAmatI evI mAruM tana ane eno sonerI vAna himapAte zoSI lIdho che, he kaMtha, hemaMtamAM vilApa karatI evI mane jo tuM pAcho pharIne AzvAsana nahIM Ape to pachI, he mUrkha, zaTha, pApI, mane marI gayelI jANyA pachI zuM tuM AvIza ? (191) zizira he pathika e rIte meM kaSTapUrvaka hemaMtaRtu vitAvI. ziziraRtu AvI pahoMcI. paNa e mAro dhUrta nAtha dUrano dUra rahyo AkAzamAM kaThora sparzavALo vaMToLiyo uThyo. e pavanane jhapATe jhUDAyelAM vRkSonAM badhA ye pAna kharI paDyAM. (192) chAyA, phUla ane phaLa vagaranAM e vRkSono paMkhIo have Azaro letAM na hatAM. gADha dhUmasanA ghumADe dizAo dhuMghaLI banI gaI. paMthIonA paMtha sUnA paDyA. himapAtanA Dare teo pravAsa kheDatA na hatA. puSpavATikAonA phUlachoDa sukAIne jhAMkharAM jevA banI gayA. (193)

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112 krIDAgRhamAM potAnA kaMthane ekalA mUkIne taruNIo ThArathI DarIne aMgeThInA agninuM zaraNa levA lAgI. premakelI dharabhItara mANavA lAgI. udyAnavRkSonI nIce paNa have koI sUtuM na hatuM. (194) rasiko have madyapAna tyajI daIne jemAM jAta jAtanI utkRSTa sugaMdha bheLavI che evo ardhI UkALelo zeraDIno rasa pItA hatA. kuMdacaturthInA parne keTalIka pIna, Unnata stanavALI saubhAgyavatI suMdarIo potAnI zayyAmAM ALoTI raMhI hatI. (195) to keTalIka RturAja vasaMtanA avataraNadine potAnA vAlama sAthe keli karavA zayyAmAM ALoTatI hatI. he pathika, zayyAmAM ekalaDI rahelI meM premaghelIe mArA manane priyatama pAse dUta tarIke mokalyuM. (196) meM ema jAyuM hatuM ke e priyatamane lAvIne mane saMtuSTa karaze. huM jANatI na hatI ke e dhRSTa paNa mane mUkI deze. priyatama to na Avyo. UlaTo e dUtane pakaDIne tyAMno tyAM ja rahyo khare ja mAruM hRdaya adhika duHkhabhAre bharAyuM. (197) huM mArA priyatamanA saMgano lAbha levA IcchatI hatI. paNa temAM to mArI mULa mUDI jagaI he pathika, tyAre vilApa karatAM je vastu chaMda meM gAyo te tuM sAMbhaLa. (198) meM ghaNuM duHkha sahyA pachI joI vicArIne mArA manane dUta tarIke mokalyuM. teNe mArA nAthane to na ANyo, paNa UlaTuM te ja tenAmAM tyAM anurakta banI beThu. AthI sUnA haiye bhamatAM mArI rAta vItI ne vahANuM vAyuM. karavAnA kAma pratye mane aruci thaI ane avaza banelI huM manamAM pastAI. meM mAruM hRdaya daI dIdhuM, paNa badalAmAM priyatama na Avyo. have Ane kaI upamA ApavI ? gagheDI zIMgaDAM levA gaI paNa UlaTuM te to potAnA kAna khoI AvI. (199) vasaMta no ne tRNa bALatI ziziraRtu vItI gaI. manohara madhumAsa AvI pahoMcyo. viyogIonA madanAgnine prajvalita karato malayagirino samIraNa muktapaNe pharakavA lAgyo. (200) daze dizAmAM ramaNIya kevaDo vikasI uThyo. vividha prakAranAM navAM puSpapatra pragaTa thayAM sarovaro vizeSa ramaNIyatAthI atyaMta zobhI uThyAM (201) suMdarIo raMgaraMganI zveta, zyAma, rakta sADIo ke manohara puSpAMbara paherI dehane zaNagArIne sahiyaronI sAthe maLI nitya gIta gAvA lAgI. (202)

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113 sugaMdha ane AmodathI aMga maghamaghI UThyAM. jANe ke vRkSo ziziranA zokamAMthI mukta thayAM. e joIne meM mArI vahAlI sahiyaronI vacce eka narkuTaka chaMda gAyoH (203) grISmaRtu gaI. atyaM duHsaha varSARtu udvegathI meM vItAvI. zarada paNa kaSTapUrvaka vItI. hemaMte ya khinnatAthI gALI paruSa ziziraRtu paNa jema tema karI roIraDIne vItAvI. paNa nAthanu smaraNa karatAM A Rtu vItAvavI ati duSkara che. (204) taruvaro jANe ke kisalayarUpa karo vaDe madhumAsanI lakSmIne vahI rahyAM che. ketakIkaLInA rasa ane gaMdhamAM lubdha banela bhramaro AkuLavyAkuLa thaI guMjArava karI rahyA che. (205) A joIne mArA manamAM vismaya thayo. he pathika, tyAre meM je ramaNIya chaMda gAyo te tuM sAMbhaLa: (207) ___ tIkSNa jvAlAbharyA virahAgnine pradIpta karato kAmadeva garjanA bhale karo. duHsaha ane dustarane sahetI huM bhayabhIta bhamI rahI chaM. paNa mArA snehane mATe durgama evo te nirbhayapaNe vepAravaNaja karI rahyo che. (208) kiMzukarUpI zyAma ane ghATA lAla vastra dhAraNa karela palAza nizce sAkSAt palAza (mAMsabhakSI pizAca) che. pavana sukhadAyaka manAto hovA chatAM tene lIdhe badhuM ja mAre mATe to duHsaha banI gayu. teNe bhAre asukha sayuM. (209) jharatI kusumarajathI bhoMyane Ahata karatI navamaMjarIoe mane adhikatara saMtApI. AkhI dharatIne zItaLa karato zItaLa pavana mane ThaMDaka ApavAne badale tapAvI . rahyo. (210) lokoe jenuM khoTuM nAma pADyuM che te azokavRkSa eka kSaNa paNa mAro zoka haratuM na hatuM. darpayukta kaMdarpa mArA dehane saMtApa ko che. sahakArano saMparka nahIM, paNa mArA nAthano saMga ja sahAro bane. (211) / lAga zodhIne viraha pracaMDapaNe vikasyo. tAMDava karatA moranA kekArava meM sAMbhaLyA. morane AmravRkSanI DALa para caDI beThelo joIne je gAthA meM gAI he pathika, te tuM sAMbhaLa. (212) duHkhArta evI huM piccha prasArIne harSanRtya karatA mayUrothI adhika duHkhArta banuM chaM. tema ja gaganamAM prasaratI navI vRkSaDALIothI vAdaLAMnI bhrAMti thatAM paNa huM duHkhI duHkhI thaI jAUM chu. (213)

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114 A gAthA gAIne, lAMbA samayanuM jUnuM duHkha manamAM saMbhAratI raDatI raDatI huM UThI. mArA dehamAM virahAgninI jvALA bhaDakI UThI. mArA aMgone anaMge bANothI jarjarita kA~. (214) suMdara kusumoe daze dizAone suzobhita karI dIdhI, paNa mane kSaNeka to te yamano duHsaha kAlapAza hoya tema lAgyu. AmravRkSoe avakAzamAM bhAre bhIDa karI dIdhI. temane maMjarIo phUTI. vasaMtanuM Agamana thayu. (215) AmravRkSanA raktaraMgI zikhare kokila jANe ke vividha bhAvapUrNa nATyagIti uccArato hato. madhukaro sarasa manahara guMjArava karatA hatA. (216) popaTa maMDaLI bhAvapUrvaka karuNa kIlakArI karatI hatI. AvA samayamA je strIo madanaparavaza hoya che te ati kaSTe jIvana TakAvI rAkhe che. (217) jaLarahita megha zarIrane tapta karatA hatA. kokilano kalarava kema sahyo jAto na hato. ramaNIo cokamAM dhUmI rahI hatI. vAdyono kolAhala traNa bhuvanane badhira karI deto hato.(218) carcarImA gItadhvani sAthe tAla daIne apUrva vasaMtaRtunuM nRtya karatuM hatuM. gADha stanapradeza para rahelA hAra vALI rAsa khelatI suMdarIonI mekhalAnI kiMkiNIo jhaNIjhaNI rahI hatI. (219) navayuvAna taruNIo gIta gAI rahI hatI. te sAMbhaLIne priyatamanI utkaMThA karatI evI meM je gAthA gAI te tuM sAMbhaLa, AvA samaye loko ghaNA racasa bALA hatA tyAre (?) mArA hRdaya para kaMdarpa atyadhika bANAvali choDI rahyo hato. (220) he pathika, gADha du:khe bharelI virahadazamAM kAmAgnithI baLabaLatI evI mArAthI jo koI anucita vacana kahevAyAM hoya to te kaThora vacano jatAM karIne tuM vinIta rItithI jhaTa mAro saMdezo tene kaheje. evI rIte kaheje, jethI te mArA para kopa na kare. jeTaluM yukta hoya teTaluM kaheje. e uttama nArIne AzIrvAda daIne pathike prasthAna karyu. (222) tene vaLAvIne te dIrghAkSI atyaMta jhaDapathI pAchI vaLI. te veLA jevI teNe dakSiNa dizAmAM draSTi nAkhI tevo ja teNe pAsenA mArgane kApato Avato potAno pati joyo ane tene harSano Ubharo Avyo. jema eka kSaNamAM ja tenuM mahAna prayojana ociMtuM siddha thayuM, te ja rIte A rAsakanuM jeo paThana kare, zravaNa kare temanuM prayojana siddha thAo. je anAdi che, anaMta che teno jaya ho. (223)

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66 L. Alsdorf. (ed.) - Der Kumarapalapratibodha. 1928 (KP.) - Apabhramas'a Studien 1937 (A.S.) Harivamsapurana. 1936 (HP.) "C H.P. Drivedi Bholashankar Vyas (ed.) Prakrtapaingala. H.C. Bhayani G.R.Josyer (ed.) - S.M. Katre 115 Reference Works C.M. Mayrhofer Jinavijaya S.M. Pandey H. Drivedi, V. Tripathi (Second Edition). M.P. Gupta Aldala Rahamana's Samdesarasaka and Jayasi's Padamavati. Bharatiya Vidya IX, 81-89. Harsavardhanagani ed. Pritam Singhavi, Srngaraprakasa of Bhoja, 1963 onwards. The Sadayavatsa-katha: Its various versions. Bulletin d'Etudes Indiennes, 6, 1988, 69-91. saMdezarAsaka ke vicAraNIya pATha aura artha. nAgarIpracAriNI patrikA, LXI, 2.3, 113-131. - saMdezarAsaka ke pATha aura artha : saMzodhana ke kucha sujhAva. bhAratIya sAhitya 5 ( 1 ), 99-12. 1960 1999. A Muslim contribution to Apabhramsa literature. Karnataka Historical Review IV, 15-24. Sandesarasaka. 1998. Sandesarasaka, 1945 (SR.) Barahamasa in Candayana and in Folk Traditions, Studies in Early MIA Languages, Literature and

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116 Culture, 1999, 287-310. M.V. Patwardhan (ed.)- Vajjalagga of Jayavallabha, 1969. R. Pischel and Ramanujaswami(ed.) Desinamamala (DN.) K. - Louis Renou R. Shah(ed.) M Shahidullah Samdesarasakam Kavyasamiksa (in Bangali) Visvalbharati- Katrika Review of Jinavijaya Muni's Samdesarasaka. Journal Asiatique. 1950, 424-425. Dharmasuri - Barahamasa - Anusandhan 2, 1994, 697 Les Chants Mystiques de Kanha et de Saraha. 1928. Barahamasa in Indian Literatures, 1986 Lilavaskaha of Kouhala, 1949. Svayambhucchandas. (ed.) Vrttajatisamuccaya. (ed.) Chandonusasana. (ed.) Kavidarpana. Gaha-kosa. 1881. Ch. Vauderille A.N.Upadhyl(ed.) H.D. Velankar(ed) - - A. Weber. For other reference works see Mayrhofer's edition, Bibiography, XV. Monier Williams. Sanskrit English Dictionary (Mon.) Paiasaddamahannavo (PSM.)

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