Some Aspects of Kaumudimitranand

Author(s): V M Kulkarni
Publisher: ZZ_Anusandhan
Catalog link: https://jainqq.org/explore/269112/1

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Some Aspects of the Kaumudimitrananda - V. M. Kulkarni Ramacandra, one of the celebrated desciples of Acarya Hemacandra, carried out this literary activities in the second half of the twelfth century A.D. He wrote, besides other plays, three prakarana type of plays : 1. Rohinimrganka 2 Kaumudimitrananda and 3. Mallikamakaranda. Of these, Rohinimrganka is all lost but for a small, single passage, ciled by the author himself in the Natyadarpana (a work on Sanskrit Dramaturgy by Ramacandra himself and Gunacandra, another disciple of Hemacandra written jointly) with the introductory remark: yathA vA'smadupajJe rohiNImRgAGkAbhidhAne prakaraNe prathame'Gke -- "mRgAjhaM prati T: -- 44R ! H SUS 8T: unmattapremasaMrambhAd, Arabhante yadaGganA / tatra pratyUhamAdhAtuM, brahmA'pi khalu kAtaraH // ' It is cited to illustrate the third Sandhyanga of the Mukhasandhi, called Parinyasa. Ramacandra has adopted this verse, without acknowledgement, from Bharthari's Srngarasataka (v. 75, N. S. ed) In translation it means : "When women through impetuosity (of flurry) of intoxicated love set about some task, even God Brahman is indeed unable (lit. afraid) to place an obstacle in their way. (Then what to talk of others ?)" 2. Mallikamukarandanataka : This play is available in full.? It is published by L. D. Isnstitute of Indology, Ahmedabad. 3. Kaumudimitranunda. This play too is available in print. In this article it is proposed to draw the attention of readers to some striking aspects of this prakaruna. Before proceeding with this topic, it would not be out of place to take note of Keith's observations regarding "The Decline of the Sanskrit

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311 -819. 76 Drama" : "The audience for whose approval a poet looked was essentially one of men of learning who were intent on discerning poetic beauties or defects, and who had singularly little idea of what a drama really means." For the decline of the drama, he adds, "the ever widening breach between the languages of the drama and those of real life" has greatly contributed and furthur points out "the impossibility of the production of real poetry, not to mention drama, in deud languages." Now, the audience was essentially one of learning and that the Prakrit languages were no longer spoken languages is no doubt true but to say that they had singularly little idea of what a drama really means' and that Sanskrit too, like the Prakrits, was a dead language is rather unfair and unjust. Although Sanskrit was not the language of the masses, it certainly was the language of a class, though limited, of a highly educated and cultured men of learning and that like the poets they very well knew what a drama according to Bharata means. Bharata gave the highest importance to rasas in drama : 'na hi rasadrte kascid arthah pravartate.' (Everything in drama is oriented towards creating rasah.) Abhinavagupta and following him Ramacandra, hold that 'rasah natyapranah (Rasas are the very life, the very essence of drama.) His charge that 'Subordination of action to description, and the degeneration of the description into a mere exercise in style and in the use of sounds' is exaggerated. That way it may apply to some earlier poets as well. To tell the truth, Indian poets and dramatists and their poetic and dramatic works should be judged by norms and criteria laid down by Indian writers on poetics and dramatics and not by western standards or principles. It would certainly be unjust and unfair to evaluate the Indian authors and their works by applying western principles or standards. Kaumudimitrananda -is a prakarana type of drama in ten Acts. It mainly deals with the love-story of Mitrananda, the son of a wealthy merchant by name Jinasena, a resident of Kautukanagara, and Kaumudi, the doughter of the Kulapati (head of a monastery). Mitrananda and Maitraya after the shipwreck come to the island of Varuna. There they free from imprisonment the Siddha King

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SHYT-819.77 who was nailed to a tree by Varuna suspecting him to be desirous of his wives who are not seen even by the sun (asuryampasya). Kaumudi, the daughter of the Kulapati falls in love with Mitrananda at first sight and reveals to him the fact that the asceties in the monastery are pseudo-ascetics and that the fate of her husbands so far to fall and perish into the well hidden under the bed in the nuptial chamber. In his case smitten by love she proposes to run away with him carrying with them the treasure collected from her former husbands' to Lanka. In Lanka the plight of the pair would have been miserable since Mitrananda is taken for a robber by the city police if Mitrananda, had not saved the yuvaraja (crownprince), Laksmipati, from death by snakebite with the aid of the magical lore, called halahalahari vidya given to him to revive the dead by the goddess Janguli on the occasion of his (Mitrananda's) marriage with Kaumudi. The King in gratitute entrusts the pair to the minister Kamarati, who, however, is enamoured of Kaumudi and is very enxious to get rid of her husband. The opportunity is given him by a human sacrifice which a feudatory by name Vijayavarma of the king wishes to perform. Kamarati sends Mitrananda to him as upahara-purusa (victim) but Maitreya luckily recognises him. Maitreya was his companion. He had won the favour of Vijayavarma by curing him with the aid of a magical herb. Kaumudi in the meantime is ixpelled from the minister's house by his jealous wife and wanders untill she meets Sumitra, daughter of a merchant, and her family. Vajravarman, a chief of the abotigines, captures them all. One Makaranda, who turns out to be a friend of Mitrananda, is also broght to this Vajravarman. A letter from Laksmipati inquiring about the welfare of Mitrananda and Kaumudi is received; and Kaumudi takes advantage of this letter and includes Vajravarinan to celebrare the marriage of Makaranda and Sumitra--who have fallen in love with each other at first sight. The three then have an adventure at Ekacakra town with a Kapalika who persuades the women to go into a *patalabhavana' (subterranean apartment) while he asks Mitrananda's heep against a Vidyadhara, described as strengly desirous of women.

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37THET-81978 He (the Kapalika) breathes life into a corpse which takes a sword in its hand but Mitrananda by a magic formula induces it to strike the Kapalika who suddenly disappears. Next, Makaranda has to establish before yuvaraja Laksmipati his claim to his own carawan, which a certain Naradatta claims (wrongfully). The dispute is settled by the arrival of Vajrasvamin and Mitrananda. Finally husband and wife are united at the residence of the Siddha King. The story of Kaumudi and Mitrananda forms the main plot whereas that of Sumitra and Makaranda, the byplot. In the amukha (=prastavana, Introduction) to his Kaumudi. Mitrananda we are told that he is a pupil of the great Hemacandra; he is proficient in writing a hundred prabandhas (literary compositions) he is always and ever diligent in writing poetical works, he has composed the prakarana type of drama, called Kaumudimitrananda; it is a treasure of a thousand Kuruhalas (curiocities; Kusuhalawhat excites curiocity, anything pleasing or interesting, Kuruhala); it excites-evokes-stimulates-enkindles all kinds of sentiments-rasasand feelings-bhavas; and adds that it is his (Ramacandra's) second rupaka (dvitiyam rupakam); (Satyahariscandra being his adirupakafirst rupakal.... there are episodes and incidents in plenty that would, one after another, excite the curiocities of the (trained) audience; of course, it is for the Stage-director (Sutradhara) to decide whether is overflowing with rasas and whether there are many situations and episodes that would excite feelings. In reply to the assistant's (nata) statement the Stage Director says: What to say (=there is no need to say anything) about the prakaruna overflowing with rasas. Are there not many great poets, Murari and others like him, who are ever deligent in composing plays-dramatic poems-that are sweet on account of their skillfulness in new and novel (and striking) modes of speech ? But I doubt if there is any other poet than Ramacandra who is capable and skilled in creating various rasas to their highest-point, which are the very life and soul - the essence - of dramatic works. Moreover, "The dramatic compositions (of other poets), like sugarcane, progressively deminish in rasa (1 Sentiment 2 Juice); but Ramacandra's dramatic poem

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anusaMdhAna - 17* 79 grows progressively sweeter and sweeter still." The assistant (nata) contemptually says: "These days there are writers who borrow words and ideas (from earlier poets) and thereby attain fame. Consequently, how can the good people trust them ?" The Stage Director replies: "My (good) friend, this question does not arise in my case. In this matter the intelligent and wise contemporary men alone are the authority." This Introduction (amukha) reveals the boasting nature of Ramacandra and his rather low opinion of his predecessors like Murari, and his self-confidence that no critic can point an accusing finger at him for plagiarism or literary theft, and that his works, imbued as they are with rasas, make interesting reading and give delight to the readers. Again, in the Second Act we have the following remark of Maitreya : aho samRddhakutUhalAnubandhaH prabandha | Act II, V. 6, 1. 11 (p. 19) "O, how rich is his dramatic composition presenting curiosities, one after another ?" - This remark (and similar remarks in his other plays) reveal that the poet Ramacandra was intensely emotional and self-conscious and that it was difficult for him to escape his own shadow and maintain a purely objective attitude in his writings. In writing this prakarana Ramacandra had in mind Bhavabhuti's Malatimadhava. It is not surprising, therefore, if he consously or rather unconsiously follows this trait revealed in Bhavabhuti's writings. Ramacandra's References to his favourite deityLord Rsabha Ramacandra was a devout Jain. It is, therefore, natural that he should give expression to his deep reverence to Rsabhadeva, the adi-tirthankara of the Jains. In the Nandi verse he says: 4: prApa nivRti klezAnanubhUya bhavArNave I tasmai vizvaikamitrAya tridhA nAbhibhuve namaH ||

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3TLET-8980 (Tr. I pay homage in three ways to Lord Rsabha, that peerless of matchless friend of the whole world who, after having experienced sufferings in the ocean of wordly existence, attained emancipation-- final beatitude.) In the course of the developement of the plot he respectfully refers to Lord Rsabha half a dozen times : (1) p. 25 : TGT: hoe part motoren urt: TUTA! (2) p. 51 : torpet Tai TEIG Roi dat g: Ufo: (3) p. 90: i picantant Renazzangufa 1 (4) p. 91 : raffinata 7: Ferug mit Hith all (5) p. 123 : un Filenamgi da 46014 There is one reference to the very sacred mantra in which (five) paramesthins are paid homage to by the Jains. (The five dignitaries are : 1. Arhat 2 Siddha 3. acarya 4. upadhyaya and 5 sadhus) : apinAma ko'pyapAya: saMbhavet, tadahaM parameSThinAma pavitraM mantraM smarAmi / "If any calamity is likely to visit or befall, I remember the sacred mantra in which five dignitaries are paid homage to." At another place the temple of Katyayani is described in such a way as to produce disgust (p. 45, v. no. 12), and the Saivite School of Kapalikas who indulged in the offerings of animals and even human beings is targetted. Probably, the poet here betreys the influence of Bhavabhuti who in his Malati-Madhava mentions how Kapalakundala carries away Malati, the heroine of the play from her bed-chamber to be immolated and sacrificed before the goddess Karala Camunda by her teacher Aghoraghanta. Kaumudimitrananda : a Prakarana Bharata and after him many writers on Dramatics have defined the various types of Drama (rupaka) in their works. The Dasarupaka of Dhanamjaya is very popular with the commentators on Sanskrit dramas. Following their tradition we reproduce below the definition of a Prakarana given by Dhanamjaya : atha prakaraNe vRttamutpAdyaM loka saMzrayam / amAtyavipravaNijAmekaM kuryAcca nAyakam //

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37TH -819 81 dhIraprazAntaM sApAyaM dharmakAmArthatatparam / zeSaM nATaka vatsaMdhipravezaka rasAdikam // nAyikA tu dvidhA netuH kulastrI gaNikA tathA / kvacidaikeva kulajA vezyAvApi dvayaM cit // kulajAbhyantarA bAhyA vezyA nAtikramo'nayoH / AbhiH prakaraNaM tredhA saMkIrNaM dhUrtasaMkulam / / Now, in a prakarana the subject matter should be invented, and should be drawn from worldly life (lokasamsrayam); the playwright should make a minister, a Brahmana or a merchant the hero; he should be of the type called 'dhiraprasanta' (selfcontrolled and calm) undergoing some misfortune (Sapaya) and striving after (tatpara) dharma (virtue) kama (pleasure) and artha (wealth). The remaining features or characteristics-such as Sandhi (junctures) or pravesaka (introductory scenes) or rasas (sentiments) are as in the nataka). The heroine (nayika) is of two kinds, the high-bom wife of the hero or a courtezan. In some plays there is only the high-born lady, in some the courtezan, and in some plays, both; the high-born lady is always) indoors (abhyantara), the courtezan out of doors or without (bahya) and the two never meet (natikramo' nayoh). Owing to these three kinds (of the heroine) the prakarana is of three kinds or varieties. The mixed variety abounds in dhurtas (rogues). Thus the Kaumudimitrananda is a Suddha (Unmixed, not contaminates by another woman's contact) prakarand where the heroine is Kaumudi, the daughter of Kulapati-the head of a monastery. Incidentally, Maltimadhava, where there is the heroine, Malati, the high-bom maiden. Tarangadatta (now lost) where a courtezan alone is the only heroine is equally a Suddha prakarana The Mrcchakatika, however, is a Samkirna (mixed) prakaranawhere we have both types of heroine, Dhuta, Carudatta's wife is a high-born nayika; Vasantasena, a courtezan is another and most noteworthy heroine. And further, this play is full of dhurias (rogues) as well. In the play under our study, Kaumudi, the most beautiful woman, daughter of Kulapati is the heroine; Mitrananda the son of a

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3TTHET-8982 devout Jain householder Jinadasa who is fabulously rich by birth and is a citizen of Kautukamangala nagara is the hero. Mitrananda is portrayed as self-controlled and calm (dhira-prasanta) and striving after dharma, artha (wealth) and Kama (pleasure). Kaumudi falls in love with the hero at first sight. Disregarding the interests of her own father who and his followers are pseudo-ascetics but, in fact, robbers. Her father apparrently marries her to rich Sarthavaha merchants whenever they visit him. Poor fellows fall into the well, covered under bed, in the nuptial chamber and perish. She elopes, with the treasure collected from the supposed husbund's, with the hero. Calamities after calamities visit both of them. They bravely face there calamities and are ultimately united and enjoy pleasures of love. This account forms the main story-main plot, and the story of Makaranda, the heroe's trusted and beloved friend and Sumitra who are destined to be married, by lucky accident come together. The story of Makaranda and Sumitra constitutes the byplot and furthers the cause of the main hero. The amukha (Introduction) claims that this rupaka (play) is *Kutuhalsahasra-nidhanam' and 'nissesa-rasa-bhava-pradipakam.' When we go carefully through the whole play we notice that most of the incidents are Katha incidents. They excite our interest, curiosity and in that sense they are 'Kurthala-Sahasra-nidhana' but one must admit that they hardly form dramatic incidents. The other claim made in the amukha on behalf of the poet that it is nissesa-rasa-bhava-pradipaka' is rather exaggerated. Every reader would agree with us when we say that there is a lack of humour throughout the play. May be, the poet is serious by nature and consequently he simply cannot create humour or humorous situations. Being a muni, possibly he felt it rather awkward and improper to portray vividly the erotic sentiment (Srangararasa). The hero is 'dhira-prasanta'. By his very nature he is against fighting a war. For example, towards the end of the sixth Act we are told of the impending war-night attack by the enemy on Vijayavarma's army. But the next Act informs us why the fight as such does not take place between the two warring groups. We have instead a scene which excites the sentiment of fear.

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anusaMdhAna - 17* 83 It is rather easy for Ramanadra to depict the sentiments of fear (bhayanaka) bibhatsa (Disgust) of marvell or wonder (adbhuta), when occasion arises he depicts the sentiments of roudra (the furious) and the pathos (karuna). One very convincing illustration of the depiction of the bibhatsa sentiment may be cited here. The description of the temple of Katyayani (Act IV V V-123, pp 45-46) is very graphic and creates disgust in the mind of the readers or spectators when the play is enacted on the stage. Kaumudimitrananda: Appreciation Kaumudimitraanda is an extravagantly fanciful composition. The supernatural or magical element plays a dominent role througout the play. It presents so many marvallous incidents appealing to the audience and contributing to the sentiment of wonder or the marvellous (adbhuta-rasa) right from the beginning to the end. Thus the Siddha King nailed to a tree by Varuna, the regent of the ocean, is set free from imprisonment by means of a jem of mysterious power. Again, Maitreya has won the favour of the King's vassal by curing him by a magic herb. Kaumudi is attracted to Mitrananda, her prospective husband by the lovecharm he had received from Varuna. She and Mitrananda flee to Lanka. There the pair would have been in miserable plight. Since Mitrananda is taken for a thief by the city police. Mitrananda, however cures prince Laksmipati with the aid of the halahalahari vidya (lore) from death given to him to revive the dead by the goddess Janguli on the occasion of his marriage. In Act VIII Mitrananda by a magic formula induces the corpse in whom the Kapalika has breathed life and which takes a sword in its hand, to strike that wicked Kapalika, who, however, overcome with fear, disappears. Act X ends happily with husband and wife united in the residence of the Siddha King by the efforts of Maitreya. The various marvellous incidents mentioned above excite the sentiment of wonder (adbhutarasa) in the spectators/audience. According to Bharata, the sentiment of wonder should be introduced in the concluding nirvahana Sandhi, but our poet Ramacandra introduces it in almost each and every Sandhi. Kaumudi and

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3TF-81984 Mitrananda, the hero and heroine of the main plot are somewhat impressive but Sumitra and Makaranda, the hero and heroine of the by plot are not effectively depicted. Kaumudi and Mitrananda, with rich treasure, flee to Lanka. They go through several ordeals but are ultimately united as husband and wife. Ramacandra's Style : Ramacandra is at his best in sperinkling his dramatic poem with witty and wise sayings-throwing light on the human nature. Excepting some long descriptive stanzas which are rather tough and difficult he may be said to be fond of Vaidarbhi style. His dialogues are, as a rule, lovely, brisk and crisp. His prose is lucid and easy to understand. It must, however, be admitted that a large number of words he, possibly, deliberately uses that are obscure or rarely used. By way of example a few of them are listed in the foor-note. Both of his claims that his play is 'Kutuhala-sahasra-pradhana' and 'nissesarasa-bhava-pradhana' are well qualified-with one single exception. He fails to create hasya-rasa (sentiment of laughter, or humour). It is very likely that Ramacandra by his very nature and temperament was serious and therefore did not see observe the lighter side of human life. We add at the end a number of his Subhasitas and Sudha-syandi suktas to give readers an idea of his observations of human nature, especially men, women, robbers, etc. Modern scholars like Keith, De, Raghavan judge the play by applying modern western, norms and standards and describe it as 'wholly undramatic.' To judge by Indian standards and criteria, we should first keep in mind, it is unfair and unjust to compare this late playwright of the 12th century with master poets like the unimitable Sudraka or the great Bhavabhuti. His drama does not certainly come up to the normal standard but at the same time does not fall far below the Indian standard. Following Bharata and Abhinavagupta, Ramacandra clearly says "Nafyapranah rasah". He has portrayed all the rasas excepting the hasya rasa. But he failed to make either vira or srngara as the dominent (pradhana, ungi rasa and other rasas supportive to it. Even then we feel that it would be fair to rank Ramacandra as a second rate poet..

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37 -80.85 Ramacandra's Thoughts Ramacandra sprinkles, now and then, his Kaumudimitrananda with Subhasitas. They embody his thoughts about the nature of women, about love, about fate, about men good and bad, and quite a few arthantaranyasas which are worth remembering; not to be forgotten. A list, not quite exhaustive, of such Subhasitas and Sudha-Syandi Suktas is added at the end. Here a few of his Subhasitas and Suktas embodying his thougts about the nature of women, about love, about fate and the habit of robbers (cauryavriti) and Suktas are freely translated for the benefit of those who are not acquinted with Sanskrit : 1. The mind of women who for the sake of a man whom they have seen just for a moment (who fall in love with him at first sight) who desert their own Kingmen who are so very familiar, and who are so friendly and favourable (benefactors), if at all God Brahma alone knows. (3.3; p.97) 3.It is this god of love (or Love) itself that effects or brings about fortunateness (saubhagia - good fortune or luck) and beauty (cangima=soundarya) among lovers. It is the moon, and the moon alone, who produces (make ooze) water in the moon stones which are hard or compact by nature. (3.9, p. 30) 9. Those women, being blinded by love, consider their lives worthless - trivial like grass - deserve to be counted first among the heroes - heroic personages. (4.4, p. 49) 12.Even if one falls in the ocean, or thrown down on the earth from the sky again obtains possession - regains - wealth, provided he remains alive. (6.1, p. 63) 26. If by an act of kindness you oblige a wicked or cruel person he is bound to do injury by.retatiation. A lion who is ensnared -- Clit. for whom a snare is spread) and is soon to meet his end, kills that very person who tears asunder that share. (10.16, p.125) Suktas , 2.Any dress for apparel) suits a person who is naturally handsome (1.18 Second half, p. 12)

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anusaMdhAna-17.86 Note : this line reminds one of Kalidasa's beautiful arthantaranyasa; / kimiva madhurANAM maNDanaM nAkRtInAm / Sakuntala I.20.d 3.For embodied beings nothing is dearer than their own life. (6.5, Ist half) "kaumudImitrANanda-prakaraNAntargatAni mahAkavirAmacandrasya subhASitAni khaNadiTThajaNanimittaM baMdhuaNaM pariciaM hiakaraM ca / millaMtINaM mahilANa muNaijai mANasaM baMbho // (kSaNadRSTajananimittaM bandhujanaM paricitaM hitakaraM ca / muJcatInAM mahilAnAM jAnAti yadi mAnasaM brahmA / ) -3.3, pR.27 kANaM pi aMgalaTThI bhUsijjai bhUsaNehi taruNINaM / bhUsijjai uNa kANaM pi bhUsaNaM aMgalaTThIe // (kAsAmapi aGgayaSTiH bhUSyate bhUSaNaiH taruNInAm / bhUSyate punaH kAsAmapi bhUSaNaM aGgayaSTinA // ) - 3.6, pR.28 eso so (pA.bhe.aNurAo)ccia daiesu ghaDai sohagga-caMgima-guNAI / caMdo ccia jaNai vANIsu(?maNIsu) kaDhiNabaMdhisu(?baMdhesu) salilAiM // (eSa sa (pA.bhe.anurAga) eva dayiteSu ghaTayati saubhAgya-caMgimaguNAn / candra eva janayati maNISu kaThinabandheSu salilAni // ) -3.9, pR.30 snuhogavArkadugdhAnAM dRzyaM yadapi nAntaram / tathApyAsvAdapArthakyaM jihvA''khyAti paTIyasI // -3.12, pR.33 5. daiehi cea paraMmuhehi mayaNaggibhibhalamaNAo / kArijaMte kulabAliAu gahilAI kajjAI // (dayitaiH caiva/eva parADmukhairmadanAgnivihvalamanasaH / kAryante kulabAlikA grathilAni/grahilAni kAryANi // ) -3.15, pR.37 alpatvaM ca mahattvaM ca vastuno'rthitvamIkSate / kavye tarakSuH zraddhAluna kavye tridazAM patiH // -3.18, pR.37 astAdrimAzrayantaM pradoSasaMhatasamastavasusAram / voDhAraM kulavaniteva mitramanusarati dinalakSmIH // -3.22, pR.29 khaNamittadiTThapiayaNapimmabharubhibhalAo mahilAo / ciraparicie vi milaMti baMdhave esa kira pagidi / (kSaNamAtradRSTapriyajanapremabharovihvalA mahilA: / ciraparicitAnapi muJcanti bAndhavAneSA kila prakRtiH // ) -4.3. pR.42 4.

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anusaMdhAna-17*87 vIreSu gaNanAM pUrvaM paramarhanti yoSitaH / yAstRNAyAbhimanyante prANAn premAndhacetasaH || -4.4, pR.42 bhamaMti duhiAo / tahavi mahilANa pimmaM daiyammi na sayaNavaggami // (dezaM vrajanti viSamaM sahante duHkhaM ( ? ) bhrAmyanti duHkhitAH / tathApi mahilAnAM prema dayite na svajanavarge // ) - 4.5, pR.42 mA viSIda kRtaM bASpaiH phalaM marSaya karmaNAm / satyaM viSAdazokAbhyAM na daivaM parivartate // - 4.17, pR. 50 12. samudre patitasyApi kSiptasyApi nabhastalAt / punaH saMpadyate lakSmIryadi prANairna mucyate // -6.1, pR.63 13. abhimukhavartini vedhasi puNyaguNavarjitAni sarvANi / dvIpAntarasthitAnyapi puraH dhAvanti vastUni // - 6.4, pR.65 saMpattirvA vipattirvA rohantI daivamIkSate / 10. desaM vayaMsi visamaM sarhati NivvaM (?) 11. 14. evamapyarthitAnyeSu puMsAM klaibyAya kevalam // -6.7, pR.67 15. niSkAMkSamupakAro'pi vizvottIrNA satAM kriyA / 16. aprakArAstu yastasya tatra brahmApi manthaH // - 6.8, pR.67 paJcaSAH sante te kecidupakartuM sphuranti ye / ye smarantyupakArasya taistu vandhyA vasundharA // - 6.9, pR.67 17. daivAdupasthite mRtyau kSINasarvapratikriye / tathA kathaJcinmartavyaM na martavyaM yathA punaH // 6.16, pR.73 apatyajIvitasyArthe prANAnapi jahAti yA / 18. tyajanti tAmapi kUrA mAtaraM dArahetave // - 7.7, pR.83 19. visaMvadatu vA mA vA zakunaM phalakarmaNi / tathApi prathamaM ceto vaimanasyamupAznute // - 8.4, pR.90 20. parasya zarmaNaH satyaM pratyUho hariNIdRzaH / bhave'pi tadyadi kvApi tadA vA eva hetavaH // - 8.10, pR.94 21. sarasijanavanamapabandhaM dizo vitamaso dRzaH prakaTabhAvAH / avatarati nabhomitre vasudhAyAM kasya nAnandaH // - 9.1, pR.99 22. januSAndhA na pazyanti bhAvAn kevalamaihikAn / aihikAmuSmikAnkAmakAmalAndhAH punarjanAH // - 9.3, pR.100 23. viralavipadAM kathaJcidvipado hartuM samIhate lokaH /

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anusaMdhAna-17. 88 pratipadanavavipadAM punarupaiti mAtApi nirvedam // -9.10, pR.108 24. parasmAdupakAro yaH so'pi brIDAvahaH satAm / .... tasyApratyupakArastu dunotyantaH pazUnapi // -10.2, pR.113 sarvathA kaitavaM nindyaM pravadanti vipazcitaH / kevalaM na vinA tena duHsAdhyaM vastu sidhyati // -10.5, pR.116 krUraH kRtopakAraH pratyapakArAya kalpate bhUyaH / / viracitapAzavinAzaH praNihanti vipAzakaM siMhaH // -10.16, pR.125 27. apakAraM kurvANairupakAraH ko'pi zakyate kartum / saMtApya phalasamRddhAH karoti dhAnyauSadhIstapana: // -10.17, pR.125 28. naktaM dinaM na zayanaM prakaTA na caryA, svairaM na cAnnajalavastrakalatrabhogaH / zaGkAnujAdapi sutAdapi dArato'pi, lokastathApi kurute nanu cauryavRttim // -7.3, pR.79 29. aihikAmuSmikAn klezAnkukSisauhityakAmyayA / . svIkurvanAsti durmedhAH ko'nyastaskarato janaH // -7.4, pR.79 sudhAsyandi-sUktAni 1. nijabhujadaNDAbhyAM hi vaNijAM draviNopArjanaM maNDanaM na tu khaNDanam |-pR. 9 2. prakRtisubhage pAtre veSo yadeva tadeva vA / - pR.12 3. purandhrINAM premagrahilamavicAraM khalu manaH / -pR.41 4. satyaM viSAdazokAbhyAM na daivaM parivartate / -pR.50 5. sarvathApyapAravyasanakAntArapatitenApi prekSApUrvakAriNA prANinA na viSAdavaidhurya mAdheyam / pR. 64 6. prANebhyo nAparaM vastu premapAtraM vapuSmatAm / -pR.66 7. upanatA api hi vipadaH pratirudhyante devatAdarzanena / pR.90 8. avatarati nabhomitre vasudhAyAM kasya nAnandaH / -pR.99 9. parasmAdupakAro yaH so'pi vrIDAvahaH satAm / -pR.113 10. prasarati madhau dhAtryAM jAto na kasya guNodayaH / -pR.114 11. krUraH kRtopakAraH pratyapakAsaya kalpate bhUyaH / -pR.125

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On Sthatus ca ratham in the Rgveda 1.70.7 - M. A. Mehendale RV. 1.70 is a hymn of Parasara addressed to Agni. It consists of eleven, or according to another mode of counting (adhyayanatah), of six stanzas. The seventh (or the fourth) stanza reads as : vardhan yam purvikh ksapo virupah sthatus ca ratham stapravitam. The first half of the line offers not much difficulty and can be rendered as "whom (Agni) many nights (and dawns), of different forms, may strengthen.' The diffuculty is presented by the second half. There we have ca after sthatus which apparently looks like the genitive sg. of sthats-what is stationary' (sthavara). But, after ca, there is no word in gen. sg. with which it could be coordinated. Scholars, therefore, felt that a mistake had occurred in the transmission of the text and that the text has to be read as sthatus caratham (i.e. caratham to be read as one word, and not two, ca ratham, as in the Pada text). Max Muller? defended this suggestion and Oldenberg (Noten) agreed with him. In support of the suggestion to read caratham occurs (wice in the RV. viz. at 1.58.5 (sthatus caratham bhayate paratrinah) and at 1.68.1 (sthatus caratham aktu'n vyu'rnot'). As regards the form sthatur, Max Muller observes that it could be the old nom. acc. sg. of neuter noun in -tr. In later Sanskrit, however, we get the form sthats'. Neither Max Muller nor Oldenberg tells us how they understood the line with the reading sthatus caratham.* In the two RV, passages 1.58.5 and 1.68.1 referred to above, Sayana interprets the two relevant words as sthavaram... jangamam ca. In 1.58.5 the word sthatuh has to be nom. sg. Sayana treats it as a form derived from the stem sthatu". But he does not tell us how sthatuh

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TRET-81990 can be acc. sg. in 1.68.1. Geldner accepts the suggestion of his predecessors to treat caratham as one word, but he interprets sthatuh differently. He takes it as gen. sg. of sthatr-. Hence, in his opinion, the original reading was not caratham, but caratham (gen. M.). For this emendation of the text he finds support in stanza 3 of this hymn (1.70) where we read garbhas ca sthata'm/garbhas caratham.? "(Agni) who is the embryo of those that stand still and of those that move", He borrows from this stanza also the word garbha for the interpretation of the stanza under consideration which he renders as : "Whom they strengthened during many dissimilar nights (and days), (him who is the embryo), conceived at proper time, of all that moves and stands". 10 All western interpreters thus agree in treating caratham as one word. Not only that, Max Muller is quite confident that "there can be no clearer case of curruption in the traditional text of the Rig-veda than, for instance in I, 70, 4 - 7)...".11 I do not share M. Muller's confidence. In my opinion, the author of the Padapatha has correctly interpreted, the Samhita text before him and separated ca ratham as two words. He certainly knew the phrase sthatus caratham which occurs twice before. In spite of that he chose to separate ca ratham since he interpreted rtapravitam as adjective of the word ratham which occurs immediately before it, and not of any other word like garbha borrowed from a different stanza. On the other hand, he apparently borrowed caratham for the understanding the present stanza. This borrowing is easily understandable as sthatus caratham is a set phrase. The passage is an example of ellipsis, the full text being sthatus (caratham ) ca ratham rtapravitam. As ragards rtapravitam, Geldner takes it to be an adjective going with the noun garbha supplied by him! "den zur

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31ET-89.91 rechten Zeit empfangenen (Keim)". This is very unlikely. etapravit m as an adjective ratham makes good sense. The chariot (in the form of Agni) was set in motion, was impelled, by sta (i.e.by the hymn4 recited by the seer while performing the sacrificial rite). The use of Pravita in the the context of driving a chariot is attested in the Mahabhasya. Patanjali while commenting on Panini 2.4.56 cites as an example pravito rathah.15 The line, therefore, may be translated as : "Whom (i.e. Agni) many nights of different forms (and many dawns), as well as what is stationary (and what moves), may strengthen, (Agni who is) the chariot set in motion by the hymn", Agni is strengthened by the offerings of clarified butter (obtained from cowmilk) and of fire-wood. Hence he is said to be strenghthened by one that moves (cow) and one that is stationary (tree). This is specifically referred to in stanza 9 of the hymn (gosu prasartii vanesu dhise "you value the cows and the woods"'7). Foot-notes 1. In the above translation, the words purvih ksapo virupah are created as nom. pl. Oldenherg (Noten) considers the other possibility of treating them as acc. pl. possible. Geldner prefers this other possibility and translates : "Whom they reared during many dissimilar nights (and daybreaks)". 2.SBE Vol. 32 (1891), pp. LXII-LXXIV. According to him, the suggestion was made by Benfey, Bollensen, Roth and others. He does not give references. It is difficult to know whom he refers to by 'and others'. Roth (BR dictionary s.v. caratha) gives reference to Benfey's Samaveda Glossar (1948). There Benfey shows his preference to consider caratham, instead of ca ratham, to be the original reading. Roth seems to favour this suggestion. Bollensen (Dic Lieder des Parascara, ZDMG 22. 1868, p. 596) also considered ca ratham to be an error for the old reading caratham. I am thankful to Prof. H. P. Schmidt for conveying to me the information from Bollensen and to Mrs. Madhavi Koihatkar for supplying to me the information contained in Benfey's Glossar.

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BIGHETT-869.92 3. Also slightly differcnily at 1.72.6 (sthatr'n caratham ca pahi) and 1.70.2 (garbhas ca sthata'm garbhas caratham) 4. Though Max Muller translates all the other passages cited by him in this connection. 5. Alternatively Sayana looks upon sthatus as abl. sg. of the stem sthatr'-, cf. yad va sthatur anantaram caratham bhayaate. 6. Or oven caratham although this involves change in accent. 7. In 1.70.3 also, Geldner prefers to read caratam. 8. As noted above, according to Goldner, purvih ksapo virupah are acc. pl. forms. 9. This translation would be all right for st.3 of the hymn where we have sthata'm and caratham both gen. pl. forms. But in our stanza sthatuh is gen. sg. and not pl. Geluner, in his translation of the present stanza, alos unnecessarily transposes the words sthatu's caratham "alles dessen, was geht and steht". In stanza 3 he has it right "dessen, was steht und .... was geht." 10. L. Ranou (Etudes Vediques at Panineenees, Vol. 12, pp. 16 and 39) also borrows the word garbha from st. 3 and, like Geldner, lakes stapravita as adj. of this noun "(Agni, germe) concu de' Order sacre. But he considers sthatus caratham as nt. sg. forms. 11. SBE. Vol. 32 (1891) p. LXXII, Max Muller goes on : "But although I have no doubt that in I, 70, 4 the original poet said sthatus caratham, I should be loath to suppress the evidence of the mistake and alter the Pada text from ca ratham to caratham. The very mistake is instructive, as showing us the kind of misapprehensin to which the collectors of the Vedic text were liable..." "But, as shown in this paper, the author of the Padapatha has not misapprehended the text before him. Moreover, the author of the Pada lcxt was not one of "the collectors of the Vedic text". 12. Also in the first half of the line ksapo stands for ksapa usrah. The author of this hymn seems to take delight in ellipsis since we have to assume it twice in this stanza as well as in st. 1 (as understood by the author of the Padapatha) cf. Geldner, Translation, f.n. on 1.70.1b). 10 and 11. 13. Luders (Varuna sl, pp. 624-625) thinks stapravita qualifies Agni. 14. For this meaning of sta, see Luders, Varuna Vol. II, p. 421 ff. 15. Patanjali also cites formis such as pravita "charioteer' pravetum 'in order to drive from the root vi-'10 drive'. 16. CF. RV 3.115 agnir... tu'rni rathah sada navah Agni the over new quick chariou." Agni is compared to a chariot in 3.15.5 : ratho

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35FFF1-9993 na sasnih "victorius like a chariot" 10.176.3 ratho na yor abhi'vrtah "covered like the chariot of a traveller." 17. It seems from the following stanza (8) that the seer is addressing the hymn to the evening fire. (cf., Ait, Br. 8.28, and RV. 10.88.6). Hence, the use of the word ksapah "nights' is stanza 7. In the evening the sun is established in the fire. This is achieved by the evening rites. Since, this has now been achieved, the seer in stanza 8 says that the Hotr has become successful. Hot does not refer to Agni as assumed by Geldner. Since the evening rite was performed to establish the sun in the fire, and since it has been accomplished, the seer concludes the stanza by saying that the Hots has made true all the sacrificial acts (krnvan visvany apamsi satya).