(2) anyasminnahani dezIprekSaNakAbhijJeti rAjA tAmAkAritavAn / sA tu 'Agamana dinamadya tasya; tadyadA'sAvAgacchati tadA tvayaitasya hastistambhakasya sannidhIbhUtvA mama [mA]lA darzayitavyA' iti nijAnucarImabhidhAya vihitazRGgArA rAjakulamayAsIt / [F. 111.A] AgatAM ca narapati: - 'dezIprekSaNakamasmAkaM tvayA darzayitavyam' ityabhASata / sA tu ' tathA ' iti pratipadya nartitumArebhe / atha pravRtte prekSaNa ke yAvattAlaM bhaM tvA pRSThato'valokayati tAvadbhajastambhasamIpasthAM nijAmanucarImapazyat / tato rAjJo mukha[ma]valokayAJcakAra / rAjA tu - 'vidito'bhiprAyaH, mocanaka ""masti' iti tAmavAdIt / sA tu vimuktadhammillA dhAvantI svagRhamagamat / rAjA tu tasyAstadAkUtamAlokya jAtakautukaH saGgamakena sahAlocya - ' kIdRzaH sa" puruSo yasminnaivamiyamanuraktA, asmalajjAmapi parityajyAtmAnaM vimucyApi pradhAvitA' ityuktvA tadvRttAntaM draSTuM jagAma / tatastatpRSThato gatvA yAvajjA" lagavAkSa kairnirIkSate tAvadAyAntaM ratnadattamAlokya sA gRhItodakapAtrA pAdaprakSAlanAyopasasarpa / ratnadattastu tAmanyathArUpAmAlokya subandhunA sahedamabhyadhAt - 'bhadra subandho ! gRhavArtAyAM pAnIyaM praviSTam' ityabhidhAya pAdaprakSAlanapravRttAM tAmavocat - " " [ F. 111. B] ' lAvaNyasundari ! pAdau mA prAkSIH / tvaM hi mama jananI bhavasi / ' sAtu sAkUtamavAdIt - 'ratnadatta ! kimetat ?' ratnadattastAM punaravAdIt - ' kimanyat / tvaM hi matprabhodarAH, " tadbhavatu, pUryate, upavizyatAm / ' rAjA tu saGgamakena sahAlocya 'bhadra ! zrutAnyasya vacAMsi / tannijAkArAdapyatiriktaH ko'pyasya vivekaH / tadbhavatu dIyate darzanamasya' ityabhidhAya gavAkSamutsRjya dvAreNa praveSTumaicchat / sa tu rAjAnaM pravizantaM svapratibhayA parijJAya - 'deva ! sAvadhAnairagrataH praveSTavyam' ityabhidhAya dalakazastrikAyAM hastaM dattvA tamatarjayat / rAjA tu tamavocat - 'anayA saha tatra samaye tAnyakSarANIdAnIM tvamUni, tat kimetat " ?" so'bhyadhAt - 'bhavAn mama zUravaNTho jAtastadatredamevocitam / AtmA hi prabhuH pratipAdyate vallabhAyAstriyazca / tadatra devasya nocitaM sthAtum / svarAjakulaM prati vijayaH kriyatAM devena / devamevAvalagitumahamAyAtastatrAgatya yat kimapyA[F. 112. A]deSyati devastadahamanuSThAsyArmiM / ' rAjA tu tasya pauruSeNAcAreNa ca pari4 pAnIyAM / 5 prabhoH / 6 syAmaH / (6) 2 .vya / 1 saMgamikena / zRGgA 9 3 melA /
________________ zRGgAramaJjarIkathA (3) (6) yena prayojanena vayamAhUtAH sa samayo vartate tadAdizyatAM yadanuSTheyam / ' rAjA tu vihasya tamavAdIt - 'viditavRttAnto'si tadanuSThIyatAM yat tatrocitam / ' so'bravIt - 'anuSThIyata iti kAntra bhrAntiH yadAdizati deva: [F. 120. B] paraM tatra caitanya - zUnyaM vapurevAste iti svacaitanyamapi tatra nivezya yathAdRSTamanuSThAMsyAmi' ityabhidhAya pAdayornipatya nirjagAma / tato rAjJA pradattamAvAsasthAnaM sampreSya nijaparivAraM caturbhistuDitAlairanugato vihitatatkAlocitaveSo'hamahamikayA sarvasvadAnenApi paNyAGganA " bhirAhUyamAnaH sarvA Avarjayan sarvvAsAmAzAH prayacchan vezyApATakasyAntarvambhramyamANo'zokavatyA bhavanadvAraM jagAma / tatra sthitvA svakIyaiH saha pezalAlApAn kurvANo mattavAraNakasthitayA makaradaMSTrAbhidhAnayA kuTTanyA'nugatathA'zokavatyA dUrAdeva vyaloki / sA tu taM poDapa varSadezIyaM nijarUpalAvaNyopahasitamanmathaM dRSTvA mAtaramavAdIt - 'mAtar ! nAyamatratyo yuvA adRSTapUrvazca sarvAtizAyirUpayauvanalA 'vaNyAdibhirupetaH / ' mAtA tu jhagiti tasyAstad dRSTirAgamAkalayya cirAdavAptAvakAzA tAmavocat - 'putri ! bhagavatI pRthivIyam, santi surUpANA [F. 121. A] mapyatra surUpAH subhagAnAmapi subhagAH puruSAnubandhAca puruSaireva vyAvartyante tadAkAryatAmayam' ityabhihite darzanamAtreNaiva jAtAtyantAnurAgA tamAhvayat - ' bho prAghUrNakAH / kimiti nAgamyate ?' sa tacchrutvA 'bADhamAgamyata' ityabhidhAya salIlaM vikaTaM ca tatsamIpamagAt / sA tu taddarzane - naiva kSubhiteva mRdevonmatteva sAnurAgA tatkSaNamabhavat / parityaktAzeSakSaNA snAtA taM strApayitvA tenaiva saha nijavibhavAnurUpamekatra bhuktvA zayanIyamagAt / sa tu sundarastadA rAjJaH sakAzAt patta nikAmekAM nijAnucareNa yAcayitvA svasannidhAvAnAyayat / tathA sA tena nijavaidagdhyAnurUpaM ramayitumupacakrame yathA kiM vamo'yaM kimuta mAyendrajAlaM vA kimetaditi kimapi nAzAsIt / sundarakastu pravartya rativyatikaraM tadIyeSva" GgeSu kvacidvandhAn kvacit patracchedAn kacidbhArataM kApi rAmAyaNaM kaeNrairnirmApayAmAsa / nirmApya cAsRksrutimatAM teSAM nakhapadAnAM ta - [F. 121. B]yA pattanikayA tatprativimvakAni jagrAha / sA tu vinivRtarativyatikarA suptotthiteva mR'. mUcchitotthitevonmukta digbhrameva bhramatyakte va ThakamUlikAmohotsRSTeva jhagityabhavat / acintayacca-'kiM mayaitadakutyagrAsa .... parayA pApayA vihitam / aho durlaghyA hartavidhervila" sitAnAM gatiranatikramaNIyAnyavazyaM bhAvyAnyapratividheyA niyatiryanmadIya .........tyanurAgasyaivaMvidhA pariNatiH, tanniyatamanullaMghyA" bhavitavyatA / tayA'rtha - lubdhayA pApakAriNyA nAsmi pratibodhitA / ' iti cintayaM". .. rajanI vApasasAra 6 (3) 70 (1) 1 'manusvArayAmI | 2 na jJAsIt / 3 tadeye / 4 kara / SaDakSarANi / 7 vinaSTAnyatra dvitrANyakSarANi / 8 vidhevila' | 10 vinaSTAnyatra 9-10 akSarANi / 5 mAsI / 6 vinaSTAnyatra 9 vinaSTAnyatra 4-5 akSarANi /
________________ zRGgAramaJjarIkathA (1) mabhirucita: " [F. 144. A] tadanayA rucitaghRSTikayA saha na yAti zayitum / bhavatA tu grahaNakamasyA eva samarpya samAgantavyam' ityabhihite makarandikayA'bhyadhAyi - 'yathA pama rAkasya mAtaramahaM mlecchAnAM gardabhAnAM ca prayacchAmi prativezinyazca evaMvidhA eva bhavanti, etadvacasaH pratyetuM bhavatAM kiM budhyate ' ityabhihite vihasya pamarAkeNotam yat- 'sumatermAtaraM mlecchAnAM gardabhAnAM prayaccha / ahaM tu bhavadIyaceSTitAnAM viditasvarUpa eva / kimatra manmAtrA vihitam / " yat kiMcit kartavyaM tat sumatimAtureva kriyatAm' ityabhidhAya adhigatakSititalaceSTitaH khadezaM prati jagAma / 84 tat putri !, vidagdhe pAkhaNDameva na kartavyam, kriyate ced nirvAhaNIyameva / anyathA kriyamANe'sminnupahAsAspadairbhUyata iti // iti mahArAjAdhirAjaparamezvarazrIbhojadeva viracitAyAM zRGgAramaJjarIkathAyAM pamarAkakathAnikA dvAdazI samAptA / 00 (2) [ trayodazI mUladevakathAnikA ] (G) anyacca - putri ! rAgaH sarvvathA rakSaNIyaH / sa ca tridhA zru [F. 144. B] tirAgaH, dRSTirAgaH saMbhogajanmA ca / trayo'pyete dUrataH pariharaNIyAH / yasmAdetaiH kulastriyo'pi viDambyamAnA dRSTAH / tathA hi dUre dRSTirAgaH; zrutirAgaH viSamAzIviSamiva taditi - vRttaM kautukAt kathyamAnamAkarNyatu bhavatI / (4) (6) astyavantiSu zrImatyujjayanI nAma nagarI / tasyAmatyadbhutaprakhyAtacarito nijabhujavikramAvAsacakravartipadaH kSitipatirvikramAdityo nAma / asti ca tatra mUladevo " nAma dhUrtaH / sa ca premaikapAtra meM tividagdhaH samadhigatanikhilapASaNDaH sakalakalAkuzalaH / damayan dazAn, vaJcayan vidagdhAn, pratArayaMzcaturAn nartayan kitavAn, AtmanaH zriyamananyasAdhAraNAmavardhayat / strIceSTiteSvatizaGkamAno na ca kathamAtmA " [F. 145. A] pariNItavAn / athaikadA - ' kimiti na pariNIyate bhavatA ?' iti vAraMvAramabhiyujyamAno vikramA "kenRpatinA mUladevo'bhyadhAyi - 'deva striyo hyatidurArAdhA duSTAzayAH calasvabhAvA rakSituma " zakyAH kSaNavirAginyo nIcAnurAgiNyatha / smRtizAstreSvapi zrUyate yat kilArdhamidaM zarIrasya jAye" ti taduSTatAyAM svayamapakRtapApmanoSpi puMsaH pApitvamAmananti / ato'hamakRtadAraparigraha eva janma kSapayiSyAmi / ' tato nRpatiravocat - ' naivam, striyo hi nAma trivargaikasAdhanaM sukhaikAyatanaM yazaso'rthas santateca mUlabhUtAH / gArhasthyaM hi nikhilA zramajIvabhUtam, na cAnutpAditApatyaH 3 puMza / 4 pApityamAmananti / (2) 1 rAga / 2 miti / "
________________ zRGgAramaJjarIkathA makaraketorvazIkaraNa vidyAdhidevatAmiva mUrttimatIm, ananyasAdhAraNasa[ F. 155. A] kalAvayavasaundaryAmanupamarUpalAvaNyAM SoDazavarSadezIyAmakarot / yacca tanmadyamAMsAdikamAnItaM tattayA sahopabhujya premAnurUpaM ratisukhamanubabhUva / ' atha khaTvAGgaM mama kumbhakAragRhe vismRtam' ityabhidhAya zivataDAge mahAM ca sandhyAM vidhitsurnirjagAma / tAM cAvocat'yAvadahamAgacchAmi tAvat tvayA'traiva sthAtavyam / ' atha tasmin gate sAspi vizrambhamutpAdya pUrvameva tatsakAzAdgRhItavidyAmaNDalamAvartya tathaiva khahRdayAdaGgaSTapramANaM divyapuruSamekamugAla / taM ca kamaNDaluvAriNA'bhiSicyAnupamarUpalAvaNya yauvanopetaM vidhAyotpannazataguNaprItiH prItyanurUpaM tena saha ratisukhamanubabhUva / anubhUya ca tadAgamana [samayamA-] kalayyAnAgatameva taM puruSaM laghUkRtya nijagAla / mahAvratikastvAgatya tAM laghUkRtya nya gilat / mUladeva- . evAlokya vismitamanAH svagRhamaga [F. 155. B] [ atrAdarze 156 aGkAGkitaM patraM vinaSTam ] 88 rAjA tu tadavalokyAtivismito mUladevamAbabhASe - 'mUladeva ! kimetaditi ?, mahadadbhutametadAvedanenApanaya naH kutUhalam / ' mUladevastu baddhAJjalirvya [ ji ] jJapat- 'deva ! yadyabhayaM tadA vijJApyate / devena punarnAparAddhavyam' ityabhidhAya mahAdevImabhyadhAt'devi ! hRdayavallabhena vinA bhojanaM na svadate / tadA [ hU] yatAM baTharakanAmA rAjahastino hastipakaH / ' rAjA tu vismitastamuvAca - ' mUladeva ! kimetat ?' mUladevaH prAha'udghATyAGgaM vilokayatu de[ vyA ] asyAH / ' rAjA tathA kRtvA yAvadAlokayati tAvad dviguNataranATikAghAtAsphuTitAnapazyat / Atmanazca dvitIyAsane samupavezya jAtyAndhA[ma] vocat - ' tvamapi hRdayavallabhaM vaNigdattakamAkAraya' ityabhidhAya punarvyajijJapat- 'deva ! devakIyaH prasAdo'yaM yadahaM pariNAyito devena / tadevaM [vidhA ] "nyAsAM ceSTitAni vijJAya kathamapi pariNayanaM nAGgIkRtavAn / aGgIkRtA devakIyAdezAdiyaM jAtyandhA / tatrApyevaMvidhA pariNati [ F. 157. A ] retAH pApIyasyo durAcArAH, ka AsAM vizvAsamAyAti / na hi devasya sadRzo nRpatirnApi macchadRzo dhUrtacUDAmaNirnApi kapAlazikhena saha [ zo maM ] "travAdI ca / etAnapyetA vaJcayanti, itareSu tu varAkeSu prANimAtreSu kA gaNanA ?' tato rAjA hastipakaM nijagrAha dattakaM sarvasvamadaNDayat / jAtyandhAM niravAsayat / cilamahAdevIM chinnakarNanAsikAM vidhAya piNDopajIvina kArAgAre nyadhApayat / (0) tat putri ! AsatAM vezyAH kucAritradhanAH, kulakhi[yos] pi dRSTimAtrarAgiNyaH parapuruSeSvevaM jIvitavittAdinirapekSA vyavaharanti kiM punaH svatantrA vezavanitA: ? tat putra ! trividhospi rAgaH sarvvathA pariharaNIyaH / (4)
________________ THE SANGARAMANJARIKATHA OF SRI BHOJADEVA (TRANSLATION) PREFACE (1) Once upon a time, when springtime was nearly at an end; when the bowers of the Madhavi creeper had its clusters fully developed with the blooming flowers; when on the bunches of mango blossoms small fruits had thinly sprouted; when the clusters of Madhuka flowers, which steal the beauty of the cheeks of the Huna ladies, had almost fallen down; when the Patala flowers, which resemble the colour of the lips of the women of Lata which are kissed (lit. drunk in) by their lovers, had fully bloomed; when the Malaya breeze brought about inactivity in the dull; when the buds of the Mallika manifested sparsely like the smiles of the Glory of Summer outgrowing her childhood; when the anxiousness of the wanton women for swinging had lessened (lit. had resorted to languor) and their desire for the pleasure of water-sport had increased (lit. had taken resort to desirableness); when the spread of perspiration which is non-prickly, bristled on the breasts of the lotus-eyed ladies due to the collection of formed drops; when the rays of the Sun, which had not bleached the greenness of fresh grass, were slowly attaining maturity; when the beginning of Summer was gradually setting in, MAHARAJADHIRAJA PARAMESVARA SRI BHOJADEVA, who, in the pleasure garden, was seated on the central seat of the dharagrha which was studded with moonstones, and whose lotus-feet were worshipped by some learned men, a few relations, friends and kings, was courteously requested thus: -- "Though you are our ruler yet because of the people you are a good kinsman (SUBANDHU), you are the splendour of Sri (SRIBHASA), you are rich in virtues (GUNADHYA) and you have sung the glory of Gods (PRASASTAGIRVANA). Therefore, as our minds are deeply desirous, for our delight and knowledge, please tell us a new story.". Being thus told, (he) smilingly said, "Let it be so, but a story that is narrated bears beauty only when it commences with the description of the town and the like. And there is no city more distinguished than this one, therefore, this (city) alone will have to be described first. And because of the circumstance of my be. ing its ruler I will have to speak about myself which is indeed improper."
________________ SANGARAMANJARIKATHA Then, by them who had thus heard their king's words, he was again spoken to---"Sire knows that we are not like that. It has been said by all writers on poetics that, there is no blame in speaking of one's own merits if (one) records only facts', thus sages like VALMIKI, PARASARA, and VYASA, and poets like GUNADHYA, BHASA, BHAVABHUTI and BANA have made known their merits. The narration of virtues one does not possess is a fault, but not the narration of one's true merits." Thus being addressed (by them), (he) spoke to them: -"You are not ignorant; therefore if this (narration) seems uncensurable to you, then I shall tell you. Listen (2):-" DESCRIPTION OF DHARA Here is a city named Dhara, the one ornament of the whole world, which has by its own wondrous splendour put aside the glory of the city of the gods; which as it were laughs at the single disc of the moon by thousands of moons in the form of the faces of the city dames moving every night in the candrasalas of the high mansions; which, by the mass of the rays arising from the pure crystal mansions brightening the sky and the network of flashing rays issuing forth from the emerald palaces, brings about a friendship of sale and exchange between the naturally opposite darkness and moonlight; which, on every mansion removes as it were the perspiration of the horses of the sun whose bodies are tired due to the fatigue caused by traversing the vast expanse of the sky, by fanning with the fringes of the banners waving in the wind; which is, as it were, the life of the earth; the essence as it were of the world; the summum bonum as it were of the Universe; the place of trust as it were of all wealth; the residence as it were of Grace; the ornament as it were of the world; the resort as it were of the three goals of life (viz. dharma, artha and kama); the house of creation of the naturally charming women; the chief resort as it were of loveliness, and the stream of nectar to the eyes of all the people. Wherein, the spreading mass of white lustre of the crystal mansions makes the circle of directions white and blissfully pleasant; wherein, every night, darkness is multiplied by the emerald floors, is split up by the floorings of the crystal palaces, is reduced to pieces by the golden roofs of the mansions, is drunk in by the moonlight moons in the form of the faces of the ladies of the town, is augmented by columns of smoke of the Aguru incense issuing from the windows, is collected as it were by the gardens, is destroyed as it were by the spread of the rays from the tusks of the elephant in the form of victory and is stored up, as it were, in the underground chambers made of sapphire. Wherein, every night, on the top of the houses, the rays
________________ TRANSLATION experts by the triple symphony of song, dance and instrumental music displayed by the mechanical dolls; which laughs under the guise of the blooming white lotuses carved on the walls at the clever onlookers whose minds are dazzled on seeing the curious mechanical contrivances; and, which has on all sides the rivers for pleasuresports, with their banks muddy with the musk of deer, with the sand in the form of camphor powder, with waters fragrant with pure sandal, and with lotus groves in the form of the rays of rubies mix. ed with those of emeralds. In the (city) were forests, which due to the constant presence of dense darkness and excessive light were as if presided over by innumerable rays of the sun and darkness; which (forests) were decorated with trees which because of the continuous sprouting of leaves looked as if it was their love that had manifested on seeing the womenfolk of the town; which announced as it were the royal proclamation of victory of the fish-bannered god under the pretext of the sweet humming of the bees; and where, because, the citywomen were moving here and there for collecting flowers, it appeared that the sylvan deities were always in vicinity. Having said this, when the mechanical doll was addressed thus: "O Yantraputraka, though it is the approved opinion of our assembly still the narration of one's own virtues seems censurable, therefore you may discribe the king now", he (the Yantraputraka), being looked upon with wonderstruck eyes by the friends sitting near by began to speak: DESCRIPTION OF BHOJA, THE RULER OF DHARA In that city lives MAHARAJADHIRAJA PARAMESVARA SRI BHOJADEVA, the king of kings, capable of carrying the burden of the world; his footstool is reddened by the mass of rays of the rubies in the rows of crowns of all the bowing kings; the growth of whose creeper in the form of fame is constantly nourished by the sprinkling of water in the form of tears from the eyes of the women of the haughty enemies who are uprooted by his arms; (8) Who is everyday tortured by women ... having written with sandal-paste as thick as camphor, on the walls, in the form of high breasts ..... 'O heartless one! are you not afraid of the sin of killing women?'; who is the one victorious elephant of Madana uprooting the tree of pride of the proud women; who is the producer of love like Sauri <>; whose body is as beautiful as the refulgence of gold mixed with glow of emeralds; he, whose moonlike nails of the feet reduces the lotuslike hands of the kings, daily and constantly bowing down, to the condition of buds, and which has in them reflected the deer by the
________________ TRANSLATION a broad blade, gives joy to the earth, increases the wealth of the earth; is as dark as the leaves of the white lotus plant, is unapproachable and is difficult to be plunged into by herds of enemies' elephants like a lake whose waters possess the colour of a cat's eye-gem, which is adorned with big lotuses, in which night lotuses grow, which possess the splendour of blooming blue lotuses, which is dark with the leaves of the lotus plants, which is very deep and into which even herds of best elephants cannot bathe. the sun When his valour, born of his unique splendour which glitters like the mass of the rays of rubies, which is unsurpassable even by and which cannot be conquered by others, became a city wall of the earth as of a single town, the four deep oceans assumed the beauty of a moat. His fame, resembling the glitter of the polished teeth of the Dravida women, having the complexion of the petals of open jasmine, became paste of sandal on the creeper-like bodies of the separated-women, balls of foam on the sea, the celestial Ganges in the expanse of the sky, the stalks of white-lotus in the lakes, crystal slabs on the slopes of the mountains, and white cloth in... 13 " He, who is the source of brilliant fame as the Himalaya is of the Ganges, the moon is of the moonlight, the laughter of Siva is of pure whiteness, and as the ocean of milk is of the moon (10) Having said thus, when the Yantraputraka stopped, the Lord of the Earth himself commenced narrating: DESCRIPTION OF THE HEROINE OF THE KATHA And of that king there is (a courtesan called SRNGARAMANJARI). She is the presiding deity of the wealth of beauty that bewitches all people; the one abode of Love, who vanquishes the treasure of beauty of the heavenly damsels by her own beauty; who has a braid of hair quietly hidden behind her like a mass of darkness whose advance in the front has been checked by the refulgence of the ever-shining moon in the form of her face; who holds as it were the white umbrella of facial beauty won by the loveliness of its broad forehead which looks like the digit of the moon on its eighth day, and which conquers the three worlds with its staff in the form on the forehead; who bears two creepers in the form of eyebrows as dark as oily collyrium, slightly bent at the corners due to the (weight) of the fruits in the form of deep love, with the bunch of flowers in the form of glances, and which are continuously resorted to by bees in the form of the eyes of youngmen; (11) who is adorned
________________ 18 SRNGARAMANJARIKATHA of lovers; from her naturally fragrant lotus-like face, beautiful with the leaves in the form of the red lips, and shining bright with the pollen in the form of the lustre of the teeth, the rows of bees in the form of the eyes of the young men with steady lotus-like eyelashes did not move even a step as if intoxicated with drinking the honey of her beauty; she has two bowls in the form of breasts, big and plump, and filled with the water of loveliness for extinguishing the fire of passion burning in the hearts of the lovers. It seems, for a study in creating her beauty, the Creator first created young-damsels like Laksmi, Rati and other apsarases, other wise, how would it have been possible to create such loveliness which needs distinguished skill in production, and which conquers by its feminine beauty all the three worlds! Who are the persons who love her not? What are they? Who are not deceived? Who are not cheated? Who have not given their all to her? Where are the brahmanas, kings, princes, merchants, kayasthas and familymen who have not become her slaves? He who knows her thinks that he alone is dear to her, and that she loves him only. She sometimes receives herds of elephants, sometimes teams of horses, sometimes heaps of gold, and sometimes curious and gorgeous jewels and clothes. Thus her riches which daily augment become plenteous. Even then she does not give up harlotry. She gives a promise only for five-hundred gold pieces, and because of the splendour of her unrivalled beauty, she never sleeps alone. DESCRIPTION OF SRNGARAMANJARI'S MOTHER Her mother's name is VISAMASILA, who is respected by all the wanton women of the king's retinue; whose figure is out due to old age; whose hair look like the flowers of Kasa and Kusa grass; who has a face broad as a dry, three-days old, hundred petalled lotus, which (face) lengthens everyday with the desire to devour the Vitas who come there remembering her bygone glory: who has a pale wrinkled forehead closely resembling the fruit of Sriparni; who has a pair of eyebrows resembling the horns of an old buffalo .............., who has two eyes, slightly sunk in due to old age, looking like two dark pits for the men blinded with love to fall in; who has a flat, thick and big nose which can be compared to the root of an Alabu; whose lips have the shape of the upturned Mallika leaves; whose ear-lobes are like cords for tying the paramours; whose naturally broad cheeks have become all the more broad due to the looseness (of skin) in old age; (15) who, because her teeth had fallen, contracted frequently her long lower lip as if to devour the world, whose two-three teeth were visible like those of a dangerous poisonous snake; whose limp, thickset and broad neck resembles the neck of a young wild buffalo; whose joint of the neck is chained by
________________ 2+ SRNGARAMANJARIKATHA a person's mind is known, how he should be pauperised and then driven out. How the same person should be contacted again in affluence; how a person should first be attracted, how he should be made constant when after once uniting he wishes to be separate; how he should be won over again by unequivocal love once he is displeased, and how his mind should be drawn towards you once he is attached to another. The dispositions of the mind of all beings are difficult to understand. Men have different minds and ...... If there is a timid person he exhibits valour; if he is greedy he becomes charitable; if he is generous he becomes a miser; if he is unfortunate he acts like a fortunate man. A merchant acts like a Vita and a Vita like a merchant. A poor man even acts like a richman. One man is inclined towards Dharma, another is intent on wealth, and a third is predominantly sensuous. Thus when minds are of such diverse dispositions you must properly understand the working of the mind first.. First, without becoming attached to a person, he should be dispossessed of all his wealth by either encouraging, flattering, spurning, frightening or pleasing him according to his bent of mind, then he should be driven out. Under the circumstances, the raga of a person should first be considered. When harlotry is practised without knowing the natue of raga it is fruitless. But when it is used after the raga is known it happily yields fruit. Raga is of 12 kinds: Nili laga. Riti raga. Aksiba raga, Manjistha raga, Kasaya raga, Sakala raga, Kusumbha raga. Laksa raga, Kardama raga. Haridra raga, Rocana raga and Kampilya raga. (19) The Nili raga, the Riti raga avd Aksiba rugi form one group. The Manjistha raga, the Kasaya raga and Sakala raga another. The Kusumbha raga, the Laksa raga and the Kardama raga yet another, and the Haridra raga, the Rocana raga and the Kampilya raga a fourth class. In the first group of Nili raga, the Riti and the Aksiba ragas are less steady than the Nili raga, still on the manifestation of the Nili raga they are seen. In the Manjistha class the Kasaya and the Sakala ragas are less steady than the Man jistha raga yet they come to light on the appearance of the Manjistha raga. In the Kusumbha raga class, the Laksa raga and the Kardama ragas are less steady than the Kusumbha raga, yet due to the manifestation of the Kusumbha laga they are reflected. In the Haridra raga class though the Rocana raga and Kampilya raga are less steady than the Haridra raga still due to the shining of the Haridra raga they are reflected. Thus though raga is described to be of twelve shades. as the other become merged in these four, to satisfy your curiosity, I shall explain it to you only in its four kinds: Nili raga. Manjistha raga, Kusumbha raga and Haridra raga.
________________ TRANSLATION The (man of) Nili raga should be abandoned after taking away his essence like a cloth; the Manjistha raga should be dispossessed (of his resources) at your pleasure, but should not be led to be disinterested. The Kusumbha raga cannot tolerate much flattery, therefore without any flattery, his resources should be drained out whether the circumstances be favourable or not. The Haridra raga soon becomes estranged. therefore, he should be quickly drained (of his wealth). Therefore, the secret of the profession of harlotry is this that one's own self should always be protected from love as from a tiger. In the world. many sensuous persons have been deceived by harlots due to their ragas. I shall tell you how. Listen: THUS ENDS THE LESSON FOR SRNGARAMANJARI' IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHI RAJA-PARAMESVARA-SRIBHOJADEVA. 25 THE FIRST TALE OF RAVIDATTA Here in the town of Kundinapura dwelt a rich learned brah mana called SOMADATTA. In his old age he begot a son by propitiating the Sun, the giver of desired objects, by observing the Vijayasaptami. As the child was given by the Sun, the father named him RAVIDATTA. By the time he was sixteen years old, he was given the sacred thread and he studied the whole literature of the Vedas and the Vedangas according to rites and mastered all the sastras. His father then, being aware of his being rich, taught him all the arts as a remedy against the danger of his being ruined in future; the secrets of harlotry as laid down by DATTAKA and others was specially made known to him. One day, calling him in private he (the father) instructed him: "Son, youth is dense darkness and it cannot be avoided by living beings; Madana is wicked and wealth is the one abode of intoxication. The mind by nature is as inconstant as a drop of water on the lotus leaf; senses are as unrestrainable as untamed elephants; the objects of pleasure are naturally fascinating (20) and amongst these especially young damsels. The beginning of the monsoon and the autumn and the other seasons are great excitants. And who can possibly resist Love, their friend? Therefore, you should conquer the group of six enemies, then the senses, then the inspiration of the wicked people in proximity, then the contact of wanton women. For wanton women, the sisters of the female drstivisa serpents, produce infatuation of the mind even from a distance. The teachings of the elders slip away from the infatuated mind; the study of Sastras glide away from a distance; teaching is brought to a naught, the sense of self-respect is lost; the pride of class, etc. disappears;
________________ 30 SRNGARAMANJARIKATHA ly glanced at him with affectionate eyes and exhibited her love by amorous gestures. Inferring his affluence from his form, she thought-'Ah! after a long time a treasure had been obtained; after a long time the tree of hope has bloomed, desire has flowered, and ambitions have borne fruit. (24) Therefore, hence forth, let artful graces revive and let the secrets of harlotry become manifest'. Thinking thus, she started talking smilingly to a friend nearby and looked at him now and then making graceful movements. RAVIDATTA, who till now had not experienced the charms of love knew that very moment that she was enamoured of him, and as if coached by the Fish-bannered-one himself, understood that the gestures were directed to him only. He became doubly excited in mind with love, and thinking that his reactions should not be known to the others, he slowly entered (the mansion) and after performing the worship of Kandarpa, the destroyer of the pride of the three worlds, and offering salutations duly, he went away. Then under the excuse of seeing the pleasure park, with the mind not fixed elsewhere, thinking of her only, he proceeded towards his house. She also, following him with her friends, not avoiding his glances and exhibiting various love gestures, went to her house. When two or three nadikas of the day remained, she, VINAYAVATI, sent her dear friend SANGAMIKA to his house. Going there she stood at his doors for a moment, then announced by his young friends, she entered. Taking her seat she said: I have something to say, give me a private audience', and stopped. RAVIDATTA, recognizing her as her (VINAYAVATI'S) companion, was pleased. He indicated with his eye-brows the company of friends to go elsewhere. Getting an opportunity she said: "Good one! though this is against your rank and position yet as I am inflicted by anguish because of my mistress, I tell you this, please listen. Since your lordship came within the sight of my mistress during the festive procession of Madana, you have entered her heart cleft by hundreds of arrows of Smara. Since then her heart is pierced by a shaft, her mind is intoxicated, her body trembles and her breathing is heavy; her eyes are anxious to see you, her ears are delighted to hear your virtues, her speech is pregnant with your name, and her desires are to be united with you. You are a righteous man, therefore give my friend the boon of life. Take compassion on the wretched one by coming there yourself. In your sirtis and other sastras it is said that the killing of a woman is a great sin. If you do not oblige her by coming now then know her indeed to be dead".
________________ TRANSLATION 31 Saying so she stopped. On hearing this, RAVIDATTA for a moment remained perplexed as to what should be done. He was tortured on the one hand by bashfulness, on the other by love, on the one hand by discrimination, on the other by agitation, on the one hand by the instructions of the elders, on the other by the intoxication of youth. After sometime he thought-let it be so at present'-- and spoke tenderly, with affection, to SANGAMIKA: "Is there anything that remains for me to be said? The eyes of your mistress even by chance do not fall on the unfortunate, what to say of a heart full of love? All people desire her company, and the fact that she desires (anyone) is not possible even for Desire to desire. Therefore, I accept what you say. But this is contrary to my rank and position, so as my relations and elders ............ .......................... ........... .................. .......................... ............ .................. (But RAVIDATTA after going there once, habitually went to her and gave her riches. Though his elders came to know about it--) (25) thinking that what he gives is very little, he every day gave her costly ornaments, hundreds of gold pieces and various clothes, giving up the sense of shame and disregarding his elders' instruction. She perfectly understood his Nili raga and arranging picnics, festival of the third, religious pilgrimages and receiving presents from him she divested him of all his wealth and made him a pauper. Then through SANGAMIKA she sent him a word: "Today an old acquaintance, a merchant prince called VASUDATTA, has come from Suvarnadvipa after amassing a lot of wealth. Being attached to VINAYAVATI he moves about here and there saying that if she calls him even for a night he will give away all his wealth to her. Therefore you should stay at your place for two or three days ...... (All this wealth has been) given by you and this also will be of use to you". Having told him thus, he was driven out. RAVIDATTA sat in his home considering what she would be thinking ........ would she be united with him? Would he not become her lover alsothus he neither ate, nor slept, nor spoke, nor heard. He did not find peace anywhere as if he was pierced by a thorn in the vitals, and as if bit by a scorpion. When two-three days passed thus he went to VINAYAVATI'S house in the company of Capalaka. He moved about to and fro. No one talked to him, no one noticed him. On seeing him they insulted him. Even then, with his passion redoubled, he
________________ 32 SRNGARAMANJARIKATHA spent that day in false hope looking towards her with a raised neck, Next day, wandering the same way, talking to one of her ser. vants he went to SANGAMIKA'S house. There, when she did not speak to him, he said to her "SANGAMIKA, I have done as you bid me do. Two-three days have passed. Now why this delay?" After he said this, being disregarded by SANGAMIKA he followed her repeating the same thing. Then SANGAMIKA spoke to him as if he was not known to her: -"Who are you sir? What is this talk about two-three days? and what delay? Why do you thus speak like a madman?" Thus rebuked by her he passed two-three days moving about here and there, sticking on to her. On seeing VINAYAVATI from a distance he used to smile and make amorous actions like one insane. He did not know anything even when her men derided him. (26) Being thus disregarded by VINAYAVATI and laughed at by her servants, giving up shame of his elders he spent the remaining days of his life considering himself to be fortunate that he could see her at times. Thus oh Daughter! knowing his unflinching raga, harlotry was brought to a successful end (by VINAYAVATI). As a cloth dyed in indigo though washed by soda and the like by different methods does not leave its colour, similarly a man possessing Nili raga, even when ruined in a hundred ways, does not give up his deep attachment. THUS ENDS THE FIRST TALE OF RAVIDATTA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA SRIBHOJADEVA. (THE SECOND TALE OF VIKRAMASIMHA) Having said this, when VISAMASILA stopped in her speech, SRNGARAMANJARI, whose curiosity had been roused, said again "Mother you have described the Nili raga. My curiosity increases, therefore now tell me about the Manjistha Raga". Hearing this she began: In the city of Tamalipti ruled a king PRATAPAMUKUTA and dwelt a prince named VIKRAMASIMHA. He was rich, charitable, noble, pleasure loving and valorous. One day loitering in the locality of the courtesans he saw MALASK, the daughter of the bawd IKADASTRA. She was the life of youth, the breath of loveliness, the life of good fortune and the soul of beauty. Of her, possessing a face like the fullmoon, the
________________ TRANSLATION 33 moonface was as if created by the Creator for gladdening the eyes of all the people day and night. She was staying in the house of a merchant by name VASU. DATTA on whom she depended for her livelihood. After having seen her the Prince became very miserable, his heart being pierced by Kandarpa's arrows. He sent his companion PRIYAMVADAKA to her. Going to her according to his (Prince's) instructions he said: "Good lady, on seeing you prince VIKRAMASIMHA has fallen in love with you and is tortured by passion. In consultation with me as to how you could be approached he sent me here. Therefore tell me, (27) what should be done now"? Saying this he became silent. Hearing these words MALATIKA said, "Since I saw him, I have been tormented with love. But being helpless due to my accepting ineans of livelihood from VASUDATTA I do not know what to do. Such is our contract, and it is shameful and improper to break a contract. What can I do? But, after some days I will make an effort to bring an occasion which will enable me to contact him. This matter is not so much dear to him as to me, and the time of contract is also nearing end". Saying this she sent away PRIYAMVADAKA. Having gone, PRIYAMVADAKA spoke to VIKRAMASIMHA about her love for him and the hope of meeting her. ... When the Kutaja tree augmented the ocean of love, the surface of the earth was covered with Indragopas as if with the flowing drops of blood of the travellers whose hearts were rent on hearing the roarings of the demon in the form of the rainy season, whose tongue was spreading out in the form of lightning, whose fierce rows of teeth were in the form of lines of cranes, and whose collyrium-like dark body was soiled with heaps of dust rising due to strong wind. When (during the rainy days) at the sight of the watery clouds, out of joy the whole orb of the earth had as it were her hair standing on end in the form of the Kadamba flowers; had as it were flames rising in the form of shooting sprouts due to the contact with the fire of love burning in the hearts of travellers; was as if covered with an umbrella in the form of mushrooms having obtained the water for consecration showered from the clouds; was as if smiling under the guise of the white Kutajas on seeing the proud women bowing down to their lovers abandoning the show of haughtiness which was (previously) assumed with obstinacy; which had started dancing out of joy in the form of the dancing of the peacocks on hearing the rumbling of the drum in the form of terrific clouds; whose love had as it were increased on seeing the sky with clouds on high in the form of the rows of trees bearing foliage; which was as if in tears in the form of the flowing streams out of compassion for the sweethearts of the travellers tortured by the anguish of passion; and which
________________ 34 SANGARAMANJARIKATHA was full of longing on seeing the rumbling masses of clouds as dark as the swarms of bees, possessing a rainbow and continuously pour. ing down water in the form of thousands of rippling rivers. Then he (VIKRAMASIMHA) experiencing a miserable plight passed his rainy days somehow anxiously, afflicted on the one hand by Madana, on the other by his own love; on the one hand by the rainy season and on the other by remembering her loving gestures (After sometime MALATIKA sent for VIKRAMASIMHA. He gave her lots of presents. But some thing gave offence to VIKRAMASIMHA and he stopped going to her. His attachment for her lessened day by day. And VISAMASILA tells her daughter that the people of Manjistha Raga become detached soon, therefore they should not be pressed much). (28) THUS ENDS THE SECOND TALE OF VIKRAMASIMHA THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. (THE THIRD TALE OF MADHAVA) Now, when SRNGARAMANJARI said "Mother, I remain unsatiated by hearing) these stories narrated by you. Please tell me therefore the means of winning over a person of Kusumbha raga"VISAMASILA began: In the city of Vidisa there lived a bawd by name BHUJANGAVAGURA. Her daughter's name was KUVALAYAVALI. She was the one abode of beauty, youth, charm, and grace, and her chief aim was to earn money. In that city where she was earning wealth by harlotry turned up by chance a learned brahmana named MADHAVA, after amassing inexhaustible wealth from Sinhaladvipa. Hearing of her fame, he sent her the fees and spent with her one night. Being gratified that same night, in the morning he gave her a lot of wealth, thus satisfied her and left her alone as was befitting. After two or three days he was again called by her. He was again served with a bath, food and so on the same way and slept there the same way. Thus being sometimes invited and sometimes sent away, he spent many happy days in her company, ..One day she arranged a gambling party and began draining the resources of MADHAVA. After many days she divested him of all his wealth. When he was pauperised he knew that now she would drive him out, therefore (29) he should act in such a manner that his reputation would not be completely ruined. While he was thus thinking monsoon, which produced torments of love, by the direc
________________ TRANSLATION tions being covered with clouds whose rumbling resound in the forest unevenly spread out and possessing groups of colourful peacocks who look like the blooming Kutaja flowers, came to an end. And descended again the Autumn, as if to encourage him, which procured for the Lord of Rati a sovereign rule (lit. having one umbrella) in the three worlds and which was the seed of activity of those desirous of conquering; when (in autumn) the clouds became white as if brought to bear palor by the sandalpaste of the women in the form of directions separated from the rainy days as from their lover; when like an armlet made of various jewels, the rainbow was lost to the women in the form of directions who had become lean, being free from fat (clouds); when rows of royal swans, who by their lustre surpass the rays of the autumnal moon and who were eager for the lotus lakes flew in the directions like the fame of the flowered-arrowed-one which is continuously seeking desirous paths; when the forests, imitated the dark beauty of the eyes of the protectress of the rice-field by the fully blooming Kuvalayas, after giving up the mass of clouds which were insignificant because the weight of the water had flowed out due to constant raining; when the lustre of the sun, continuously spreading in the world as if at the order of the Fish-bannered-God, bore more heat; when the lakes of the lotuses raised their heads in the form of lotuses with their curly hair in the form of the blooming Kuvalayas to see the Autumn which is enchanting due to the blooming Kuvalayas and the sweet cackling of the female swans; when the moonlight which destroyed the beauty of clusters of Kumudas, every night and in every lake produced swarms of bees, the life breath of the self-born one like Rati who got back his life; and, like a fair lady, whose mind does the air Autumn not captivate, with her face in the form of the moon free from clouds, smiling under the guise of the open Kasa flowers, with a sweet voice in the form of the intoxicated and cackling swans, with teeth in the form of the open Bandhuka flowers, with eyes in the form of the blooming Indivaras, with breasts in the form of the clouds as white as dried sandal, with delicate hands in the form of the fresh lotus-plants, possessing three folds in the form of the small streams, with broad thighs in the form of the clear sandy banks, decorated with a tinkling girdle in the form of the row of the cranes sweetly clucking, and with a lustre in the form of fresh open Bijaka flowers? 35 MADHAVA, knowing this to be the proper time for journeying desired to go to the Malaya country in search of wealth. He said to the bawd: "It is our duty to secure wealth and spend it. I am proceeding therefore towards the Malaya country to earn wealth. Hearing this KUVALAYAVALI started weeping and said to him:
________________ 36 SRNGARAMANJARIKATHA "I cannot live even for a moment without you". MADHAVA said to her, "How can I dare to take you to the forest full of lions and tigers? I will return after sometime. (30) Do not unnecessarily feel miserable". When thus addressed she cried more, shedding tears as big as pearls, and said "I do not desire to sustain my life even for two or three days without you, what to say of so many days? Therefore take mercy on me and stay here for sometime". In this manner, uttering words befitting a harlot, she tried to dissuade him but he did not stay back. While leaving he gifted to her his gorgeous upper garment. Both of them followed him for some distance when the bawd said: "Sir, how will she live without you? Therefore please give her something as a token of remembrance". He replied, "I have no such token with me". To that the bawd made a rejoinder: "As a token of remembrance give this garment of yours. Remembering that it had been worn by you, thinking of you only, and waiting hopefully for your return only, she will pass her days". "I will do that" he said, "but many travellers come this way, and I feel shy. On leaving this path I shall give it to you". After going some more distance, he saw a lonely spot and he called the bawd. He threw her on the ground, and while she lay tossing about, shrieking 'Mother! Run, run,' he quickly and forcibly cut off her ears and nose. And said to her, "the garment that you asked for as a token of remembrance is not everlasting. For remembrance this token I give you". Saying this, thinking that his purpose had been served, not worrying about his loss of wealth, he went away. . Therefore, child! even the passionate become indifferent when troubled. The men of Kusumbha raga become averse and bring about evil. Therefore without giving offence to them and guarding the causes that lead to estrangement, the people of Kusumbha raga should be drained of their resources. As a cloth dyed in Kusumbha cannot bear heat, washing and the like, so also the man possessing the Kusumbha raga". Then SRNGARAMANJARI said, "Mother, my curiosity increases, therefore tell me all that has been alluded to by you".
________________ TRANSLATION 37 When addressed thus, she (VISAMASILA) said, "Child, now hear how by discernment, hidden treasure can be found out and how a man of Haridra raga can be won over", THUS ENDS THE THIRD TALE OF MADHAVA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJAPARAMESVARA SRIBHOJADEVA. (THE FOURTH TALE OF SURADHARMAN) Here on the banks of the Ganges, is a town of the brahmanas called Hastigrama. There lived a brahmana called SURADHARMAN. He was extremely poor as were also his father and grandfather. He did not obtain sufficient food ... (31) and he became a young man by the time his father died. He saw the wealth of the other persons of the town and felt miserable, and wondered by what means he would obtain such wealth. 'Riches help to gain more riches, but I have nothing. I would serve a king, but I do not know how. Now what should I do? Be it so, I shall worship the Lord of the Sea'. Resolving thus, wandering he came to the shores and saw the sea. (The sea) which was embracing as it were his beloved, the Glory of the sky with plump breasts, by waves scraping the sky, surpassing the mountains by their heights, adorned with various precious jewels and whitened by balls of foam as white as sandalpaste; whose water was drunk by the submarine-fire which assumed many bodies, being unable to drink it all with one, under the guise of the flashing creepers of corals. To such a god of the sea he started paying homage. Every morning wearing a short leather petticoat and taking a staff in his hands he would go and offer a handful of flowers to the sea, and bowing down he would move forward and backward with the tide and the ebb. Spending the whole day thus, in the evening after paying his salutations to the sea he would return. He spent many years thus, sustaining himself on alms. Now once, taking pity on him, the sea, assuming the form of a small boy said to him: "Oh! Brahmana, why do you trouble yourself day and night by coming and going?" Being thus spoken to, he said: (32) "Young man, why do you worry about it? Go your own way". But when the boy persistently asked him he said: "I am much afflicted by poverty which has come down to me from generations together with my family traditions. Therefore I am worshipping the sea". Seeing his firm resolve, the boy said: "I am the
________________ 38 SRNGARAMANJARIKATHA Lord of the Sea come because of your services. Therefore accept this invaluable jewel" having said so, he gave it to him. Receiving it SURADHARMAN considered his efforts fruitful and happily went home. He wondered how it could be protected. Thinking a way out, he tore open his thigh, put the jewel in it and then healed it up. He then dressed like a madman, wearing rags, tying a dried garland on the head, eating on the way, sleeping anywhere, his body stained with dirt, and muttering only "Mother knows'. People heart fascinated by its glory had taken up his abode after having given up his stay at Kailasa ? Wandering thus on the road he reached Ujjayini after some days. How could that (city) be described where even the Lord of the three worlds, Sri Mahakalanatha prompted by pleasures and his heart fascinated by its glory had taken up his abode after having given up his stay at Kailasa ? The city was protected by King VIKRAMARKA, who by the valour of his arms destroyed all his enemies and who imposed taxes like Trivikrama (Visnu, who captured Bali). He had a courtesan named DEVADATTA who attracted the minds of all people. She was rich and famous. She was the one abode of beauty, charm, youth, cleverness and grace. She used to travel always searching for someone wealthy and fit to be fleeced. Once when she mounted on a cart drawn by horses and was accompanied by five or six hundred foot-soldiers and a retinue of clever maids she saw the mad man. Noticing his form she knew for certain that the man was in possession of some treasure for which even the three worlds were worthless, that the rogue was not mad by nature but only posing like a madman for some reason. Thinking thus, she said to him: "Good one, whence do you come? Where do you wish to go?" Though asked thus many times he only replied 'mother knows'. Then by her intuition knowing of his real self, she made him sit on the rear of the cart and brought him home. There he was bathed, fed and adorned with clothes, ornaments and unguents worthy of men of her company and she enjoyed with him sensual pleasures. She spent six months with him in a similar manner, giving up her harlotry and neglecting her services to the king. Even by mistake he never gave another reply, but spoke as he had spoken before. Once it occurred to him that she had brought him because she had judged him correctly so it may be that by staying there more he might give her everything out of infatuation. (33) The best thing to do therefore was to go away from there. But wondering how to go away, he folded his hands and pointing towards his own country, indicating his desire to go, he frequently said 'mother knows'. ..
________________ TRANSLATION 89 "I shall not be able to live even for a moment without you. Sir, why do you go away? If you wish to go for obtaining riches then all my wealth is yours". Saying this, she gave him her necklaces, jewelled armlets and wealth in gold and started weeping: "If", (she continued) "you wish to go to your country to meet your people, then I have got friends who will bring them here". Thus was he addressed, but he repeatedly said 'mother knows' and pointed towards his own country. When Devadatta thought that she had been deceived and it was not possible to hold him back any more, he was permitted to go, and he quickly started for his own country. After that she reflected thus: "My life is lost, this beauty of youth is fruitless, the pride of good fortune is worthless, the secrets of cheating rogues studied since birth bears no fruit and the secrets of harlotry as taught by groups of bawds and handed down through generations have vanished. Now if he thus escapes de ceiving me, then I shall cut off my breasts and throw them into fire". Resolving thus, she called two girls and instructed them to go after him. * She said, "Avoiding his sight you two should go two yojanas by the by-path. After you have covered two yojanas, one of you. should come from the opposite village towards him. The other should walk slowly behind him. Then the one coming from the front should ask the one near him, as if recognizing who she is, and then act as has been taught". Both of them followed him, and met each other the way it has been described. And one said: "Priyangika! whence do you come?" Priyangika: "From Ujjayini. But Lavangika! from where do you come?" Lavangika "From this village. Many days have passed since I left Ujjayini, therefore tell me how is the king? what is condition of the state? and what is the news?" Conversing thus, picking up pieces of dungs, they walked some distance with him. Priyangika: "Sister Lavangika! How shall I express? In Ujjayini I heard of a great wonder. The courtesan by name Devadatta fell in love with some mad man. Though she tried to hold him back by offering him all her wealth he did not stay back. Disregarding her he went away somewhere. (34) That very moment, with her heart broken out of love for him she died. And now the women of her retinue and her dependents are preparing to die". 1. On hearing this Suradharman, who was walking, abruptly came to a stop. He asked: "What are you talking about?" When he was told everything upto the went away somewhere he muttered: 'I
________________ SRNGARAMANJARIKATHA am that sinner' and determined to put an end to his own life returned to Devadatta's house. 40 When he reached there he saw on one side pieces of sandalwood, on the other curious garments and pots of ghee, and also heard the wailings of her routine. On seeing him from a distance MAKARADAMSTRA shouted: "Oh! sinner, have you returned? Having killed my daughter who was my life and the ornament of the whole world, what else have you come to do? By whose favour will this family live now? How will I live? You have destroyed the head of the family". While she was saying thus, he saw the lifeless DEVADATTA placed on bier. Then he said sharply: "Mother, why do you reproach me? Inevitable is the course of Destiny. What purpose is served by scorning me? It is your Fate that this calamity has befallen you. Be it so. I do not desire to live without her". Saying this, resolving to put an end to his life, he tore open his thigh and gave her the invaluable jewel which by its lustre reddened the directions. He further said, "By obtaining this jewel your family has bid farewell to poverty". The bawd then said to DEVADATTA in her own language: "Rise, O perturbed one!". As soon as the ambrosial words entered her ears, DEVADATTA breathed a little, stretched her body twice or thrice and started looking around. Immediately joyous shouts burst forth. Felicitations were offered, and rumour spread that DEVADATTA had been taken by death but has recovered again. Clasping her to neck MAKARADAMSTRA chided her. Some one quickly fell at her feet and some others rolled in front of her. Gradually when festivity ended, MAKARADAMSTRA reproached even the son-in-law, then bathed him, clothed him, and welcomed him again. DEVADATTA also bathed, put unguents and ornaments and spent three-four days with him. Now once at midnight, while he was talking lovingly to her about different things, due to force of habit the words 'mother knows' escaped him. DEVADATTA asked: "Ah, does your mother know or do I know?" (35) Folding his hands he said: "Mother does not know anything, you know everything". "If I know everything, then out with you" was DEVADATTA'S reply and she kicked him out. While leaving he woefully said: "Give me some provision for the journey". He was given two gold palas and was driven out.
________________ TRANSLATION "Thus, oh daughter, he was attended to by DEVADATTA even at the loss of her own wealth; though obstinate he was taken in after having known that which was secretly hidden, then understanding his Haridra raga, draining him of all his resources he was driven out. That is about Haridra raga. Therefore my daughter, in the case of a person of Haridra raga, without any compunction, even by extraordinary means it is best to dispossess a man completely. As by the heat of the sun and so on Haridra raga fades, so in the case of man of Haridra raga threatening and the like make him averse, so without that, by extraordinary means, he should be immediately divested of his wealth. 41 THUS ENDS THE FOURTH TALE OF SURADHARMAN IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA SRIBHOJADEVA. THE FIFTH TALE OF DEVADATTA "Moreover daughter I have already said that to please a person you should know his mind." Listen about it: Here in the city of Ujjayini, presided over by the Lord of the Beings, Sri Mahakala, there ruled King VIKRAMARKA. By the valor of his own hands he secured the title of the three worlds. He had a courtesan called DEVADATTA, a jewel in the armlet of all the kings. She was as it were the life, the breath, the consciousness, the vitals and all of the Fish-bannered God. She was the field of good fortune, the abode of charm, the refuge of youth, the place of arts, the residence of the pleasures of the mansions, and the house of graces. She was as if created by the creator by putting together all the lovely things of the world. (36) The king having brought under subjection all the enemies experienced the joy of an unrivalled kingship and protected the whole earth like one town. He sometimes fought the lords of elephants which laved the earth by the flow of rut, which competed with the elephants of Indra and which in their hugeness mocked the Anjanagiri. He sometimes rode horses of high breed, which in speed surpassed wind; he sometimes practised archery on the parade ground deafening the directions with the constant twanging of the bows; he spent his time sometimes by witnessing practice of warfares, sometimes by thoughts on Sastras, sometimes by studying the use of different weapons, sometimes by watersports, sometimes by wamderings in the pleasure gardens, sometimes by talking with friends, sometimes in the company of his beloveds, sometimes by seeing shows and sometimes by the sport of hunting.
________________ TRANSLATION 43 due to his peace and due to his moving in the skies he was not attached both ways (?); he sat in patience as if covered by a mass of lustre as white as tagara flowers and as if covered with a cover of strength out of fear of touching the earth being divine himself; he looked handsome having created for himself a moving canopy by the lustre uprising from the saddle studded with various jewels; having pearls sown in the borders of the saddles like drops of ambrosia for the propitiation of the eyes of the onlookers; having a neck looking like the top of the crystal mountain encircled by rows of clouds on account of it (neck) being girded with a collar of emeralds; he looked as if his wonderful good conduct was sung by rows of golden bells on his chest tinkling due to his naturally moving fore-feet; it appeared that he had spread out his wing as if for competing with garuda, on account of the slightly handing gajendrakas on both the sides; he was foremost among the circle of horses due to his sweet sound like the lord of the Gandharvas....; (48) his rear part was covered by the refulgence of various gems like a portion of the Milky Ocean; (38) the residence of the Goddess of beauty; the family house of elegance; the abode of good conduct; and the life of brilliance; he was of a good breed and was very big. On seeing him I thought 'well, this royal family has various gems, and in this family which is a refuge of all wonders I have seen today a jewel of a horse'. But as I was curiously looking at it I saw a very handsome young man astride it. Then I thought 'indeed this man has come to call me and I quickly mounted the horse. Then the horse was goaded by him and it flew in the sky that was flooded with moonlight. Due to its speed I did not now how far I was carried. When I went some distance then in the night .............. ..Then she was led to a mansion and the horse came down on the earth. They entered and there DEVADATTA saw a beautiful woman weeping. Another man with a cane entered. She was asked by them to work as a messenger of love. One of them was saying that since birth he had been suffering the anguish of separation and therefore) (39) "DEVADATTA! you should bring about an union as you wish to have it". . When he stopped in his speech, the other getting an opportunity said: Noble. DEVADATTA, you alone are capable of doing it, and therefore with great hopes you have been
________________ SRNGARAMANJARIKATHA brought here". With my anger redoubled I said to him; "Am I not a lady? Am I your slave that I will act as a messenger for you?" "When I said this he took up the cane in anger and started beating me. Being tortured thus I frequently said "The feet of king VIKRAMADITYA, who has conquered the three worlds, are my refuge'. They were perplexed thinking that by my remembering you, (40) you would indeed come. So they threw me there, and I saw them running away in confusion. Then I saw myself fallen on the parade ground. This incident took place this very night". On hearing the narrative, the king said to her: "DEVADATTA, is this true?" DEVADATTA said: "If it be untrue then the king may punish me". Again the king asked: "Is it true?" "If it is untrue then by the order of the king I am cursed indeed. As soon as I took the name of your lordship then the confusion of those running away was such that I cannot even express it in words. I only heard their words 'VIKRAMADITYA has come, VIKRAMADITYA has come'. In that confusion I did not know where the airplane flew away. Wonderstruck, the king again said: "DEVADATTA, is this true?" DEVADATTA said just then as if confused, "Sir, it is entirely true. Why should I speak untruth in the presence of the king?" King SAHASAMKA was pleased, he said: "Oh! Superintendents of elephants! leaving aside the best of elephants, immediately give to DEVADATTA the second Lord of elephants together with four crores of gold pieces, rich ornaments and dresses". "My Lord," then courteously added DEVADATTA, "this I shall inform you. Outside the couch this is the one I get. On the couch I shall take another also. Your lordship asked me before how my class of persons acquire (wealth). Well, this is how they do it". Smilingly she spoke thus and stopped. Hearing this VIKRAMARKA was twice pleased and he said: "Well done, DEVADATTA, well done. I have been enlightened in a charming manner. The tradition of your class has thus been elevated to a high state" saying this he doubled his gifts. Therefore, oh daughter! for those who drain the resources of men by knowing their minds the gain of wealth is certain. For it is a great truth that there is nothing a person would not give when his greatness is glorified.
________________ TRANSLATION THUS ENDS THE FIFTH TALE OF DEVADATTA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE SIXTH TALE OF LAVANYASUNDARI "Moreover, o daughter! for those who try to secure their object even at the risk of self-sacrifice after taking refuge with a man of great valour and adventure, the fulfilment of their self-interests is not difficult. This I told you before, I shall illustrate it to you now": (41) "Here there is a town called Ahicchatra, famous in the world, and presided over by great men like the rich merchants..... and others. There ruled for a long time king VAJRAMUKUTA enjoying the pleasures of kingship. He had defeated the circle of neighbouring princes with the support of his ministers in their service since his father's times, had gradually conquered all the arrogant enemies and was surrounded by a powerful retinue. In the same town dwelt also an oilman by name GHUDA who was in affluent conditions because of his rich patrimony. He had a wife named LAVANYASUNDARI, young and beautiful, looking like a play-doll of Madana, the ornament of youth and loveliness even of loveliness. Her beauty was not unparalleled in her own class of people, but as it surpassed (the beauty of) all the other women it was an object of wonder to all the people. Enjoying amorous pleasures in her company his days passed happily. Once while she was in her own house she came within the sight of the king who was roaming about. Seeing her, as if wonderstruck, stupefied, infatuated, and helpless due to the striking of the arrows of Love, he somehow reached his house. He wondered how she could be obtained, for he would surely not desire to live without getting her. When he came to know from the spies that she was the wife of GHUDA, the oilman, he considered how he could bring him under his subjection. He arrested him under the pretext of adulteration in oil. Though, he (the oilman) offered to pay fine in lakhs, he did not free him. On the other hand he tortured him by inflicting many punishments. LAVANYASUNDARI then understood the king's intentions, and said to her husband: "You must free yourself by giving whatever fine the king asks of you". Accordingly he said to the king: "Your majesty does not accept even gold drammas, please tell me then what else should I give you? Whatever you command I shall definitely give". The king asked for a hundred elephants knowing that it would be impossible for him to obtain them. Hearing this the oilman was very much
________________ 46 SRNGARAMANJARIKATHA perturbed in his mind with a series of worries such as "Where on one hand is my caste and where on the other the elephants? Therefor I am totally lost. What is the way out? And what resort?', LAVANYASUNDARI came and asked him what the king had asked from him. Nervously he said "As I am asked by him to get a hun. dred elephants my end is near at hand. How will I be ever released?" She said: "You accept it, I will get you a hundred elephants". When the oilman accepted the king's command, the king thought that he would never be able to obtain a hundred elephants, therefore she would be in his possession now. Thinking thus he said "When could you get me a hundred elephants?" Instructed by her, the oilman asked for six months. The king agreed. The oilman then said to his wife: "Why did you (42) make me accept such a fine without the faith (to pay it to him)?" She said to him: "This king is in love with me and under this pretext wishes to possess me. But it is an undesirable hope. He is (like) my father. Therefore you must do what I say, and I shall get a hundred elephants in due time." He agreed to what she said. "My conduct need not be considered when it is a question of your life)", she added. Then taking with her five-hundred best horses and carts, a retinue adorned with clothes and ornaments of various kinds .......... keeping in mind King SAHASANKA, the abode of all adventures, she started for Ujjayini. After a few days she reached Ujjayini. She took up her residence on the bank of the Sipra, where the heat of the sun was warded off by trees and creepers bearing various kinds of leaves and flowers. She had a rumour bruited about herself that a courtesan, who in beauty surpassed the damsels of heaven, had arrived from some place. She distributed gifts adequately to the suppliant and spent her days in pleasures. She gave hope to the feudatories and others who came there asserting their superiority by saying 'I shall do what I can'. But she never accepted anything from anyone. As days went by news reached the ears of king SAHASANKA. Out of curiosity he sent his spies to verify the rumour. When they reported that it was true, then under the pretext of going on a hunting he passed by her house. She draped herself in gorgeous robes and showed herself gracefully to the king. On seeing her he fell in love with her, and returning from hunting somehow, he passed by the same path and came to his residence. Reaching home, with his mind striken by Smara's arrows, he sent his clever and affectionate entertainer MUKHARAKA immediately to her place. Going there, meeting her and talking about various things he said after some time
________________ TRANSLATION 47 courteously: "(While the king) was returning home from hunting (he saw you) and has sent me to find out to whom you belong and who you are. Therefore you may say ........... "(She says that she had heard of the king and had come to him and if he does not accept her then in this life ..... MUKHARAKA considered himself as having done his job and .......... thought) 'Ah! this is indeed a shower of flowers without a creeper and a shower of water without clouds'. When heat lessened ..... and the Lord of the lotuses went to the west; when the shade of the trees turned the other way as if unable to bear the heat:.... (43) when herds of hogs moved about here and there; when herds of cows moving slowly due to satiation, ruminating and hearing the tinkling of the small bells resounding due to the movement of the neck as they were walking, and with their eyes a little tired due to fatigue, were returning slowly to the town from the forests; when on the roads only a few travellers were seen; when flocks of birds, leaving the pastures quickly flew towards the garden trees; when the directions exhausted by the fierce heat became cool as if pleased at the touch of the evening breeze; when gradually the sun (lit. whose charioteer is Aruna) red as the young, red-crested cock came to the top of the western mountain; and when the eventide made the intermediate space red with its rays red as if dipped in lac, like a weaver who weaves the middle part by spreading the threads through the shuttle; when the garden grounds looked beautiful as if marked with the alaktaka-dye transferred from the feet of the moving forest deities, due to the mixing of the thick shade of the trees with the evening glow seen between the interstices; when the waters of the lakes looked splendid being covered by a network of the rays of the sun atop the setting mountain and therefore turned red as if by the blood from the hearts of the pairs of cakravaka birds anguished by the forthcoming separation; when the clear crystalline floors in every house looked as if swept by the kunkumarasa because of being mixed with the rays of the sun resembling the open pomegranate flowers; when the eventide was resplendent as if it were with the tide of the tossing ocean of love overcoming the world. ........... ii.... Gradually rose the Lord of the night-lotuses giving life to the clusters of kumudas and Love. Which was like a golden ear-ornament of the eastern direction, the mark of kunkumarasa on the forehead of the night, the shining golden mirror of the directions, the only blooming 'golden lotus in the lake of the sky, the one pot-like breast of the heaven anointed with kunkuma with its garment in
________________ 48 SRNGARAMANJARIKATHA the form of darkness having slipped off on one side; like the playing ball of Rati turned red due to the red-dye on her palm; and which was like a golden pot for the consecration of the future sovereign, the mind-born one. Then giving pleasure to women, rising from the ocean, being surrounded by constellations, and giving joy to the kumudas, (44) the Lord of the Stars, shone brightly, destroying the demons in the form of darkness as black as powdered collyrium. When the moonlight produced the fire of love, which tore open the clusters of kumudas and the hearts of the cakravakas; which destroyed the darkness pervading the by-paths and the pride of the haughty women, which agitated the sea full of waves and the hearts of the lovers, which pained the elephants' tusks and the minds of the separated ones; and which was being drunk in on all sides by the families of the cakorakas with their beaks open and by the eyes of the people and yet was on the increase ...... when such words of the friends clever in bringing about love quarrels and unions were heard spoken to the proud women: 'Friend, Madana is irresistible, the mature rays of the moon are unbearable, youth is shortlived, and the bond of love is unsteady'; when the lights of the mansions first enkindled were clearly perceived in the bodies of the separated women like the reflection of the sparks of the fire of love, when the wanton women whose hearts were filled with passions sent to their lovers the messengers forgetting and instructing the messages again and again, when the ladies wrote the messages of love with the juice of the musk on the leaves of the ketaki in the lamp of the moon; when the women looking again and again at the paths of the lovers decorated their houses; when smoke of the kalaguru incense issued from the windows of the vasakasajjas like the measures of the inflamed fire of love; when the abhisarikas went in all the directions like the presiding deities of the moonlight, with their bodies covered with white garments, with the powder of thick ghanasara sprinkled over the cheeks, with the pearl ornaments on every limb, with the whole body anointed with sandalpaste and with their braids of hair tied with the blooming malati flowers. Then the whole earth was as if expanded with nectar, flooded by the milk of ocean, made of crystalline stone, made of the lustre of the Dramida women's teeth recently polished, made from the inner part of the leaves of the palmtree, be-sprinkled with molten silver, and as if carved out of the tusks of elephants; when it (the earth) possessed the beauty of the Candraloka, when the moon slowly whitened the directions and became pure and rose up in the sky, transferring its own redness to the minds of couples. At that time the king sent MUKHARAKA to fetch her. She also, looking at the road with her neck raised like the agriculturists
________________ TRANSLATION 49 looking anxiously at the watery clouds, saw him coming. When he told her of the king's acceptance of her, she was mighty pleased. She quickly came to the king's palace. When LAVANYASUNDARI came, the king, full of love, enjoyed amorous pleasures in her company that night. And in the morning having performed his morning worship and having finished his meals etc., seated comfortably and happily, he told the whole affair to BHATTAMATRGUPTA. (45) Hearing about it BHATTAMATRGUPTA said to him: "Sire different kinds of selfish women move about the earth. Therefore, your Lordship should not trust them. I know this is harlotry". When BHATTAMATRGUPTA told him thus, he thought 'Do I not know what is natural love and what is harlotry? Let it be. What have I to do with it. BHATTAMATRGUPTA is venerable, therefore I shall not say anything. He is always like that. Thus disregarding him he confidentially spent many days in her company. But BHATTAMATRGUPTA again and again reminded him of his words. One day while he was thus reminding, the king said: "Then how can true love be known? When I test her, she does not even protect herself. On the other hand all signs of love are visible in her. And I do not notice any aversion in her such as thinking of some one else even in dreams". Whe he said this to BHATTAMATRGUPTA, he again said to the king: "Then your Lordship should test her by rustic methods". But in order to test her, as he derided her more and more by such vulgar methods as cutting of her nails, teeth, and hair, she became more and more pleased and affectionate. He told BHATTAMATRGUPTA everything. When he said: "You always scoff her by saying this is all harlotry, nothing but harlotry, but not a single act of her's is like that of a harlot," to him BHATTAMATRGUPTA again said, "She is a clever rogue that she has produced this illusion in your Lordship's mind. Now I am convinced that all this is harlotry." Through others she knew what BHATTAMATRGUPTA said (about her) and being always apprehensive looked upon him with great awe. But once it occurred to her that many days had passed and the time (of six months) would soon be over. Thus thinking she came where the king and BHATTAMATRGUPTA were talking and sitting for a moment, said "This is indeed the fruit of your favour that having come from a distance out of love for your merits, this person says it is all harlotry. Let it be so. This consideration indeed is a proper return for my love. It is well that you, a king, and this one, towards whom you are favourably disposed, are in unison." The king exclaimed: "Who told you this falsehood? Is
________________ 50 SRNGARAMANJARIKATHA BHATTAMATRGUPTA like that or myself?" On hearing that, she smiled a little, stood there for a second and then entering the bedroom, taking the king's dagger lying on it, severed her head. Then with his mind full of misgivings VIKRAMARKA entered within and saw her with the head cut off. As if struck by lightening, as if enveloped in flames, as if gazed at by a poisonous snake, he stood there a moment. Afterwards, with due consideration he called BHATTAMATRGUPTA inside and said: "BHATTAMATRGUPTA! do you see the end of harlotry?" He said: "Sire, I have seen it. What else shall I say but this, that this is harlotry too.". (46) The king was wrathful. Disregarding BHATTAMATEGUPTA, making his servants lift her up as she was, he came to the temple of the Goddess Asapura. VIKRAMADITYA sent his whole retinue outside and himself prepared to cut off his head. That moment the Goddess Asapura caught hold of his hand and said: "Son, O son! do not be rash. You are not an ordinary person. Why do you put an end to your life out of sheer compassion for others?" He answered "Forgive me, Oh Divine One! Please leave off my hand. I shall present you a desirable offering today." The Goddess said: "I am pleased with your extraordinary valour. Therefore speak, what do you desire?" VIKRAMARKA said to her: "Goddess! Let LAVANYASUNDARI come back to life". And the Goddess made her alive again. Happy in mind VIKRAMARKA returned with her to the palace. Everywhere felicitations were offered and the townsmen were all very happy. Thus the days of those two, satisfied, happy and deeply attached to one another, were spent. And now one day, after meals, when the day was practically at end, when the friend of the lotuses was gradually going to the western direction, VIKRAMARKA, seated in the ivory balcony with her, saw a lord of the elephants named RIPUDALANA who was roaming about at pleasure. The (elephant) was as it were devouring the orb of the earth by his four feet which bore striking resemblance to caskets made of black jewels; possessing jewels in the form of nails as if they were the eighteen extensive islands come under his feet; looking handsome with his well formed hind-quarter and shining skin looking like the mansion of pleasures of the Goddess of Beauty; adorned by strong and well built shoulders as if
________________ 52 SRNGARAMANJARIKATHA and rut; great in body and valour; and red in the palate and the corners of the eyes. By his class, form, behaviour, valour and so on. He looks as if made of all the seasons with his eye-ball looking beautiful like the autumn when sugarcane grows; his might terrific like the winter which is full of snow; his action violent like the cold season which produces tremor, and his tip of the trunk moving gracefully like the spring when lotuses bloom; his using all the rivers like summer when all the rivers get dried up, and his roaring deep like the rainy days when deep rumbling is heard. He conquered as it were the whole group of heavenly elephants by disregarding the roar of Airavata, (the elephant of the eastern quarter), destroying everyday the glory of Pundarika <> by water sports; uprooting the splendour of Kumuda <>; conquering Sarvabhauma <>; defeating Puspadanta <> by his lovely and refulgent brilliance; and who put aside the enthusiasm of Vamana < by the constant grace of taking three steps. Who bore the beauty of the fourth day(?); who was charming to the eyes of all people like the state of inebriation, and who by his excessively fascinating beauty and charm as if satisfies, fills, expands, pleases and gladdens the eyes. (48) On seeing it, the king joyfully said to LAVANYASUNDARI after a moment-"My beloved LAVANYASUNDARI ask for anything". When she was again and again requested respectfully she said: "Whatever is yours is mine, what else shall I ask for? But if you want to please me, then (know) that since childhood I have great fascination for elephants, therefore give me a hundred such elephants". The King said--"This is nothing, ask for anything else you desire". Saying this he gave her a hundred elephants. She said; "Let it be announced that a hundred elephants have been given to LAVANYASUNDARI". The king did as he was told. When two-three days passed by, LAVANYASUNDARI, folding her hands said to the king_"Sire, let me take leave of you. I am a courtesan, Such is our practice",
________________ TRANSLATION 58 (The king was naturally surprised and asked what all this was about. LAVANYASUNDARI gave an account of the whole affair. The king gave her leave to go. She went back to GHUDA with the elephants and they lived happily ever after). THUS ENDS THE SIXTH TALE OF LAVANYASUNDARI IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. (THE SEVENTH TALE OF CHEATING THE BAWD) "Moreover, one should always protect oneself from dhurtas: There was a brahmana who in old age begot two sons. When they grew up they aspired to visit another country. When they started on the journey the terrible summer set in, with the hot sun destroying the wealth of beauty of the earth produced by the spring. When (in summer) the wild cocks hidden in the hollows of old trees fearing the heat, were slowly crowing; when the decayed barks of the trees were dropping down as their joints had loosened by the excessive heat; when small insects in the joints of the barks were tortured by the intolerable heat; when two or three leaves were seen .......... ; when trees went dry; when the roads were nailscalding as if chaff-fire had been spread on it as the dust had become hot due to the broiling sun; (49) when the shrill screeching of the ciritikas deafened the directions as if despising the forest region filled with the blaze of the hot sun; when the tops of trees were enveloped in flames enkindled by the breath of aged pythons, which (trees) were noisy with the tearing of the tough barks as the small worms tried to enter them, and whose tops were shaken by the wind raised by the wings of the birds taking flights out of fear; when the forest-conflagration was blazing everywhere; when the sandy banks became wavy because the waters were ebbing every day as if the mature, hot-rayed thirsty sun drunk all the reservoirs after the fatigue caused by traversing the very long days; when the sapharika fish were agitated on seeing the cranes moving near the puddles; when the young tortoise, exhausted by heat rested under thick moss; when the reeds were slightly turning dark; when the streams flowing from the thickets of the mountains thinned down, as if pained on seeing the beauty of the trees on its sides being destroyed by the rays of the sun; when the small' acquatic animals were tortured by herds of huge buffaloes exhaling breath now and then through the slightly blowing nostrils, continuously scratching their bellies afflicted with gadflies by the tips of the swaying horns and
________________ TRANSLATION 59 wild beasts and were passing the night keeping awake for a quarter by turns. Now, during the third quarter of the night, SOMADATTA, walking and sitting at intervals, heard a conversation of a pair of pigeons (by the srutasrutanyaya?). The she-pigeon said: "My lord, for the one that is born, death is certain. Therefore if death comes about in a glorious way by helping others it is indeed blissful. If these two miserable brahmana boys, afflicted by hunger and thirst, and who have sought our refuge, would die here then what would be the purpose of our life? Therefore, to preserve their life (54) we should sacrifice ourselves". Hearing this, the pigeon answered: "Well said, beloved. You are indeed dear to me. Let us do that. Of these two, the one who eats me will be a king and he who eats you will get five-hundred gold pieces everyday. This had been predicted by sage Uttanka at the time of our birth". Saying this, both of them threw themselves into the blazing fire. Having heard this and witnessing the scene with wonder SOMADATTA pulled them out of the fire. Then arousing his elder brother he told him about the incident of the pigeons, gave him the pigeon to eat and himself ate the female-pigeon. After eating, he went to sleep. When he awoke in the morning five-hundred gold pieces were by his side. Both of them were convinced now, and taking the gold they proceeded as desired. Now, as they were going, one of them felt thirsty, and in search of water he went in a different direction. The other continued the same way and went a long distance. The former returned after finding water but lost his way. Thus because of different paths both of them were separated and went different ways. Now, according to the story, the elder became a king of Magadha. The other wandering about reached the city of Kanci. In that city, which by its splendour surpassed the three worlds, dwelt a bawd called MAKARADAMSTRA. She had a daughter named KARPURIKA. The beasts in the form of the sensuous men who got caught in the snares of her eyes were not able to move even a step. In amorous sport he spent many days with her. Everyday he gave her unlimited gold. No supplicant even turned away from him, nor did his wealth ever decrease though he gave constantly. Seeing his undiminishing affluence MAKARADAMSTRA said to her daughter: "Child KARPURIKA! This man basks in wealth yet the source of his wealth is not known". KARPURIKA said: "Mother, I also do not know the source of his wealth". On hearing this MAKARADAM
________________ SKNGARAMANJARIKATHA STRA said: "Oh wretched KARPURIKA! you are not born of me indeed! How can one born of me be just outward-looking? Therefore, henceforth, you must so engage him and please him that he will tell you the source of his income". He was then propitiated by services and sweet talks, and he narrated the whole incident of the she-pigeon to her. KARPURIKA narrated it to the bawd. Coming to know of it the bawd felt she had gained a new life, or a treasure or a kingdom. He was then fed with emetics, so he soon vomitted, and while vomitting threw out the she-pigeon. Out of covetousness (the bawd) devoured it together with saliva as soon as he vomitted it. (55) His gain of gold pieces hence-forward stopped and the bawd's began. Knowing him to be worthless now, the bawd drove him out under some pretext. With everything lost but his life, regretting why he ever revealed to her the affair, he left that city. While wandering about he heard from some travellers that a foreigner named VISNUDATTA had become the king of Magadha; and that he was very pious and charitable. On hearing this he remembered the account of the she-pigeon and thinking that this man must be his brother he went to Magadha. Having gone there he gave him his own acquaintance and stayed there a few days. Then taking along with him much wealth he returned to Kanci to avenge his defeat. He came and gave fees to KARPURIKA'S neighbour woman and began enjoying in her company as before. From the very first day Believing him, she asked him: "How did you obtain all this wealth?" He answered: "Why do you worry about it? It is a long story". But being requested every day he said: "I had gone to the Sriparvata. There I performed austerities endangering even my life and then obtained this siddhi". Once KARPURIKA went herself with him to the banian tree and witnessed his affluence. Her desire was then redoubled and gratifying him in various ways said: "I am very eager to possess this wealth. Therefore if I am dear to you and you have the slightest regard for me, then negotiate a bargain by accepting the she-pigeon."
________________ TRANSLATION SOMADATTA said: "Oh beautiful-bodied one, the attainment of wealth from the she-pigeon is limited only, while this attainment is unlimited; how can a bargain be struck between unequal things?" 61 KARPURIKA said: "Then take along with it all the wealth earned by me till now and make an exchange". SOMADATTA said: "What is it that I will not do out of love for you? Let it be so. Give me the she-pigeon". Then the bawd who was kept out was called in and making her emit out (the she-pigeon) by emetics, KARPURIKA returned the she-pigeon together with all her wealth in the presence of witnesses. SOMADATTA also thrice sprinkled water in her hands and said: "I swear by the three truths, let the siddhi I attained at the Sriparvata reside in you", and washing the she-pigeon he swallowed it, sent the wealth to his house and ordering the retinue to remain there as before for five nights, he himself went away to his brother. (56) Now the next day, KARPURIKA went with the bawd beneath the banian tree and crowed like a cock. Then the retinue of the king served them as before. When five days were thus over, and price was paid for it, no one came to KARPURIKA even when she crowed like a cock. Hoping that they would come she moved at various places frequently crowing like a cock, but no one turned up in that direction. Then the bawd said to KARPURIKA who was crowing "Daughter, why do you rail thus? When a she-pigeon enters a house this is always the result". And her maid servants said to her: "Madam, when you give one thing and take another, then both perish". All of them were disappointed, and with their faces downcast like themselves they returned home. SOMADATTA returned to his brother who was ruling at Magadha and lived happily. Therefore, O daughter, dhurtas should never be troubled. For when they are troubled they act in such a way that they vanish after taking even the previously earned wealth. THUS ENDS THE SEVENTH TALE OF DECEIVING THE BAWD IN THE SRNGARAMANJARIKATHA COMPOSED MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. BY
________________ THE EIGHTH TALE OF THE LOVE OF A WOMAN I shall now illustrate to you what I told you before that one should always protect oneself from love as from a tiger. Listen. In the town of Pundravardhana that outshines Alaka by its heavenly mansions, gardens, tanks, lakes, and its rich and great men, there lived a wealthy merchant called VASUDATTA. After observing vows and offering prayers a son was born to him who was named RATNADATTA. Being the only son he was a spoilt child. The father sent him to a teacher called VASUBHUTI for studies. Being naturally gifted with the power to retain what was once read, in short time he learnt all the lores, and mastered all the arts. He obtained great distinction in the training and care of elephants, the methods of handling horse-vehicles and the care of horses, the art of business, the secrets of gambling, the science of harlotry and the art of painting, cutting leaves, binding books and so on. Once when he had grown up into a young man he said to his father: "Father, by your favour I have learnt all the lores, I have mastered all the arts, and have known all the sciences. But it is indeed shameful for me now to pass my days expending your wealth. (57) Therefore give assent that I may earn wealth by my own hands". When he spoke thus his father tried to persuade him in many ways but he did not stay back. He did not even accept the money offered to make a start. He took only one thousand gold pieces with him and followed by his servant SUBANDHU, set out to work. He considered his family's means of earning wealth censurable, and there. fore decided to earn wealth by serving a Sovereign king. With that determination he set out to join the services of king PRATAPAMUKUTA, the ruler of Manyakheta. His servant SUBANDHU, taking along with him his sword 'Vasunandaka', followed him. On the way he said to RATNADATTA: "Though your father offered you a large sum of money, you accepted only this meagre amount for provisions on the way. How will we be able to join the king's services? And how will we maintain ourselves on the way? To him RATNADATTA replied: "I have taken this amount in case of an emergency, not for provisions on the way. The provisions during the journey will be the arts, the lores, and the sciences that I have learnt; the wealth of the gamblers in gambling is mine, the wealth in the mansions of the prostitutes is mine; I shall maintain myself on that. This I swear that if I am seen by the courtesans they will surely call me, and will not send me away. If they do not call me or if they send me away then I will give up my life." So saying he proceeded further with SUBANDHU.
________________ TRANSLATION 63 Travelling thus they reached the city of Vidisa. There, in Bhaillasvamidevapura, lived a famous courtesan named LAVANYASUNDARI of unparalleled charm, whose fortune was in offering arghya (to Gods). She was the resort of Beauty; the one fruitful objective of a youthful age which is the place of Smara's pleasure, she looked like a lotus-pond with a lotus on one side over which hovered rows of bees brought by soft wind, on account of her forehead on which rested the carefully arranged fascinating curls; she looked like the bow of Smara, bent due to the tightly tied string, due to her creeperlike eyebrows slightly curved in grace; she was like a lotus plant with the buds frequently opened by soft wind on account of the meaningful glancing of the immature grace of love; she looked like a lavali-creeper with lightly ripe fruits on account of her cheeks possessing fresh charm; she was like a foot of the Malaya mountain with delicate sandal sprouts cropping up due to her lovely neck; she looked like Madana's sporting tank due to her beautiful hands that gathered loveliness every day; she was like the pleasure lotus-pond of Madana with the small buds opening due to her captivating erect breasts; who was like the river of Smara with moss floating over the small waves due to the three folds (on the abdomen) on which the line of hair had slightly grown; she was like the swing of Madana. with it's plank spread out due to her hips expanding gradually; she was like the soil of Smara's pleasure-garden with two lovely plantain trees whose beauty spread in all the directions due to her pair of well-shaped thighs whose beauty was slowly appearing; (58) she seemed to be a land-lotus with a blooming lotus on it due to the continuously increasing natural redness of her feet; she seemed to be possessed by a genius that is found in people of her class and she captivated even the minds of the shrewd people. She had come there to dance in her turn before the God. The same moment he also came there with a desire to behold the God. LAVANYASUNDARI saw him who entered like an intoxicated elephant and who destroyed the pride of Kandarpa by his own handsomeness. At the first sight he entered her heart together with the arrow of Manmatha. She was immediately caught in the spell of love and fell down on the ground, in a feat of unconsciousness. But in a moment, she somehow regained consciousness and gave a false excuse to the dancing teacher that her head was aching. Her friend BAKULIKA understood her pretense and shielding her said to the dancing teacher: "She had already told me that her head was aching, therefore "allow her to go home, I will dance in her turn". Saying so she (BAKULIKA) sent her (home). After dancing in her turn BAKULIKA came and sat down besides her. She enquired after her health and said smilingly: "Friend LAVANYASUNDARI! You always laughed at us and said that we were like hogs. What is this
________________ SRNGARAMANJARIKATHA now? We are more refined, for we accept a man's company only after knowing his charms and conduct. You are meritorious indeed that without knowing the man's place of residence, conduct and wealth you have fallen in love with him at first sight, and have been reduced to this condition". Hearing this LAVANYASUNDARI said: "You have done well to retort thus. It accords with my pride, good fortune and intoxication of youth. But you do not realise that it is not proper to speak such jocose and cutting words to me whose vitals are stung now. Is this the fruit of your friendship? Yet, you may do what you think fit". 64 When thus spoken to, she (BAKULIKA) said: "What would be the use of my friendship if I do not act as you desire?" LAVANYASUNDARI said: "You consider this to be an easy matter. But, friend, it is difficult indeed. Because, on seeing him you will satisfy your own desires and will forget mine." Hearing this BAKULIKA said: "Friend, his handsomeness might lead me to do so, still have faith in me, I shall definitely bring him and unite him with you." So saying she embarked upon her mission. She thought that a stranger could be found only at two places, if a student in a monastery, if a prince in deserted temples, so she first looked for him in a lonely temple. (59) There she saw him sleeping. being waited upon by his servant. She said to his servant: "It is not proper for the fortunate to sleep during the evening. Your friend looks to be a fortunate man, therefore wake him up." The servant woke him up. She said: "O visitor! whence do you come?" RATNADATTA replied: "I have come from another country and shall go to join the services of the sovereign king". After a moment BAKULIKA started weeping. RATNADATTA enquired: "Good one, why do you weep?" She said: "I had a brother who looked exactly like you. His memory brought tears to mine eyes. You too are my brother". "It is true, but your brother was instrumental in expending your wealth, I will stand by you as a brother in difficulties", he said. "Then come to my house. Be my guest," BAKULIKA said and brought him to LAVANYASUNDARI'S house. LAVANYASUNDARI was standing on the terrace of her house with a poisonous bulb in her hand, and while she stood there thinking: 'I do not know whether today I will lose two things at a time or gain my end? If BAKULIKA takes him to her house then my friend is out of my hands and he also goes his desired way, I will die
________________ TRANSLATION 65 then.'---BAKULIKA, understood her design and brought him to her house. When LAVANYASUNDARI saw them coming, she was a little pleased and queried: "BAKULIKA, who is this guest?" When BAKULIKA answered, "My brother", her doubts fled and while offering him a seat she thought she had gained her end. When BAKULIKA said: "Welcome my brother", she gave him a warm reception by giving him a bath, meals etc. according to her wealth and love. Evening passed and BAKULIKA went to her house. She led RATNADATTA to bed, and perceived then that his talents, charms and virtues were a hundred times more than his handsomeness. In that single night she was so pleased that abandoning all thoughts of another man she became attached only to him. When the night came to an end, when the gloom (of the night) and the stars seemed to vanish at the command of the incompre. hensible Lord of Time; when the clusters of stars which outshone big pearls disappeared like hail-stones; when the red-glow of the moon on the setting mountain illuminated the sky; when the sky possessed the beauty of the sandy bank of the sea glowing with the rays of the pearls and then reddened by the flashing rays of the creepers of coral; when the directions which were dipped in the darkness of the night like the temples of the she-elephants, were rendered tawny by the rays of the sun piercing through the dense darkness now moving away; (60) when the sky in one quarter possessed darkness as grey as the wings of a pigeon, on the other side was variegated with the rays as red as the slightly ripe kuvalaya fruit, elsewhere was spread over by the thin rays of the moon which was as pale as the ripe leaves of the palmtree; on one side were the vanishing stars, and at some places were a few constellations shining, not concealed behind the lingering darkness; when the morning breeze blew softly, as if due to the fatigue of constant motion, occasionally faltering on the open Pundarikas, turning grey with the pollen of the garden flowers, and drinking, due to thirst, the drops of the perspiration of exhaustion of the couples tired in love sport by gaining entrance through the windows of the mansions; when the crowing of the cocks which issued falteringly from the throats due to drowsiness, which was the drum of auspiciousness fell frequently on the ears, announcing the end of night and the entrance of the Glory of the Day, and which was a chant for breaking the knot of pride of the proud women when the loving couples with their hearts still attached to each other but their hands separated from embraces still desire to sleep due to the stupor produced by the pain of pitiless sexual intercourse; when the lotus
________________ TRANSLATION their petals were tinged with the lac-like lustre of the morning sun; when for a moment the clustres of kumudas in the depths of the lakes created the illusion of indivaras due to the lingering darkness; and when the whole world was as if brought to life, made to breathe and awakened by the sun which brightened the whole earth, which destroyed darkness, which was red like the open pomegranate flower and which had attained the position of a crest jewel on the rising mountain, (he made) SUBANDHU tie five hundred pieces of gold to a corner of a coverlet and said to her maid that she may search for the same. From there he went to the gambling house to play dice. 67 When LAVANYASUNDARI woke up in the morning and en quired of the maid about him, the maid replied: "I do not know where he has gone. While leaving he asked me to search for the coverlet". And when the maid found it, LAVANYASUNDARI saw five hundred pieces tied to its corner and she said: "The talented one is not only handsome, but is generous too. Where can gold, and that too fragrant, be found?" When BAKULIKA came she said: "Dear friend, he has gone away somewhere, please search for him". BAKULIKA mounted a she-mule and with her retinue went to the gambling house. She saw him there playing boldly amongst the rich men. She knew that many women are under the power of gamblers and so stood there silent. After some time when he saw her he said: "Sister, how long have you been here?" "Since a long time" she said. "It is not proper for people like you to come to such places" he said and defeating the opponent, he asked the keeper to make an account. When the keeper said he had won fifty thousand drammas, he said: "Give to my sister four hundred drammas for tambula and send sixteen thousand to LAVANYASUNDARI". Then distributing ten thousand in charity he came to LAVANYASUNDARI'S place with BAKULIKA. According to her standards he spent the whole day taking his bath, food and SO on. At night after enjoying his company LAVANYASUNDARI said affectionately: "Where (62) do you come from? and where do you wish to go?" He told her from where he had come and said: "In the morning I shall go and recruit in the services of the sovereign king PRATAPAMUKUTA". "If you are going to earn wealth, know that I am rolling in riches, you may spend them. You may do whatever you wish to do after they are all expended." "In case of a person like you, the body alone is serviceable, not wealth, that is indeed given. There fore I will certainly go tomorrow."
________________ 68 SRNGARAMANJARIKATHA Next day, she went to a bawd called DHONDA and said "Mother, I will not disobey your words, but I will not be able to live once he is gone, therefore tell me what should I do?" The bawd made many efforts to dissuade her from going, but when she did not comply, the bawd thought: 'Well, be it so. The delicate one will herself get tired after going some distance and will return'..and permitted her to go, adding "All right, I will also come with you". LAVANYASUNDARI and the bawd accompanied RATNA DATTA. Travelling slowly, after many days they came to the town of Purnapathaka. Outside the town, under a mango tree, RATNA. DATTA slept placing his head on the lap of LAVANYASUNDARI. When the servants went to the town to bring food, it occured to the bawd that LAVANYASUNDARI seemed determined to go with him therefore she must make a plot to file a complaint with the king, get him killed, and take her back to town. Accordingly, collecting flowers she went to the king SURADHARMAN and informed him "Sire, in my youth, after my bath on the fourth day you had sexual union with me. Of that a daughter was born to me. As she was born of you, she is lovely indeed. At present, she is being lured away by a thug. Therefore I have come to inform Your Majesty, You can do what you think fit." "Immediately arrest him who has cheated my daughter," the king ordered the police officer. When the officer went there v his soldiers he saw a very handsome youth sleeping, his head placed tenderly on the lap of the happy-looking LAVANYASUNDARI. Seeing him the police officer thought; 'It seems love prompts her to go with him. She has not been deceived. The bawd seems to be a liar. Let me wait till his sleep lasts. I will enquire when he gets up.' But as the police-officer delayed the king said: "Why does the officer delay?" "Sire, I have told you that he is a great cheat. He has cheated even the police officer," the bawd replied. The king then sent his vassals. (63) They heard the account from the police officer, thought him to be right and stayed on. "What is this, that they also delay"? the king queried. "Sire, they are also deceived by him, therefore please go yourself. But be careful, for he cheats all whom he sees". The king made due preparations and went himself. When LAVANYASUNDARI saw the king, she awakened RATNADATTA and said: "RATNADATTA you told me that you can fight sixty-four men with a 'kaditalla' standing, thirty-two men sitting and sixteen men lying down. Now is the time. I did not wake
________________ TRANSLATION you up till now thinking that these men are few. Now you may do what you think fit". "Well done," he said and taking his sword 'Vasunandaka' in hand, he rushed towards them regarding them as worthless as grass. 69 When the king beheld his valour and LAVANYASUNDARI'S love, he understood that she was not cheated, for those who are cheated look quite different; that the wretched bawd was a liar and by this plot wished to destroy him and that the girl was willing to go with him out of love. He thought his presence would lead to RATNADATTA'S death, therefore he went home and sent his doorkeeper to fetch him and thought-"fortunate indeed will be that man whose footman he will become". The doorkeeper went to RATNADATTA and told him that king SURADHARMAN wanted him. He went and without saluting the King's feet he met him. The king offered him a seat, tambula etc. and respectfully asked: "Good one, where have you to go? Which country have you left? Which would you adorn?" "I go to recruit in the services of the sovereign", he said. "If it is not inexpedient then stay here for some time. I have forty-eight thousand villages. You may take half of them". Though thus addressed respectfully, he did not agree. The king therefore entertained him with due honour and allowed him to go. He came to LAVANYASUNDARI. Meantime the bawd came and said: "Son, I welcome you. You are a handsome man, a clever conversationalist and a generous donor to the supplicants. This was only an effort of mine to find out whether your valour was on par with your other virtues. And you are more distinguished in valour than in the other virtues. I am indeed fortunate in having such a son-in-law. (With LAVANYASUNDARI RATNADATTA proceeded towards Manyakheta, and took up residence with a courtesan named CITRALEKHA. (64) Next he took leave of LAVANYASUNDARI for four days and went in search of a job. It was difficult for her to bear the separation. The same day while she was seated in the terrace with CITRALEKHA the king saw her. He looked at her a long time and knew that she did not belong to this place. He sent his men to LAVANYASUNDARI but she refused. Observing that she was devoted to another person, the king's messenger) started weeping. CITRAKEKHA asked: "Good one, why do you weep?" "It seems to me that two things will perish."
________________ 70 SRNGARAMANJARIKATHA Again she queried "What is that?" He said: "This lady has been seen by the king, and he has told me that I should take her to the king. If she comes not, her ears and nose would be cut off and I would be killed." Hearing these words LAVANYASUNDARI was alarmed. CITRALEKHA asked her to go to the king for RATNADATTA was away for four days. And she could keep her necklace there. In the evening she reluctantly went to the king's palace. The king enjoyed her (company). In the early morning when she returned to her place, the king sent with SANGAMAKA one lakh drammas along with rich garments as a gift, of which she took only seventeen gold pieces. "What is this? It is wonderful"-SANGAMAKA exclaimed. She said: "I will only take my wages. (65) I will accept all this only on the condition that the king would allow me to go away at my will." When SANGAMAKA narrated it to the king and the king accepted her condition, she accepted the gifts and disbursed them among the supplicants. She thus passed three days in the company of the king The following day the king called her to show her folk dancing. She knew it was the day of his (RATNADATTA'S) return. She dressed up, instructed her maid to stand near the elephant's post and show her the necklace as soon as RATNADATTA was seen coming. She went to the palace, and the king said "Show us some folk dancing." She said "all right" and started dancing. Now while the dance was going on, she took a step backwards and saw her maid standing near the elephant's post. She looked at the king. The king understood her intention and as he said "you are free." With her hair dishevelled she hurried back to her house. Her behaviour made the king curious. He said to SANGAMAKA: "What sort of man is he whom she loves madly, that giving up our shame she lets herself go like this?" With a desire to see what was happening he followed her and as he was looking through the latticed window he saw RATNADATTA coming. LAVANYASUNNDARI approached him with a water-vessel to wash his feet. Seeing her differently attired RATNADATTA said to SUBANDHU: "Good SUBANDHU, while we are talking about the news of the house, water has entered," and he said to her; "LAVANYASUNDARI, do not wash my feet. You are my mother." She asked pointedly, "RATNADATTA, what is this?" "What else? You are the wife of my master. Enough of this, please sit down." The king said to SANGAMAKA "Friend, did you hear his words? His modesty outweighs his grace. Well, we will reveal ourselves." So saying, leaving the latticed window, he desired to
________________ TRANSLATION enter by the door. But RATNADATTA was aware that the king was coming, so saying "Sire, proceed carefully," he threatened him with the sword in hand. The king said: "You spoke differently with her, and now these words, what does it mean?" "You are my brave attendant(?) Therefore this only is proper. I am the master of my beloved and wife. It is not proper for you to wait here. Your majesty may go to his royal palace. I have come to attach myself to your Majesty. I will do whatever you order me to do after I come there." Pleased with his valour and his conduct the king (66) said: "Good, very good, I will do whatever you say." And he went to his palace. After going, he sent his doorkeeper with a she-elephant to fetch him. He was brought with great honour and was allowed to enter even as mounted, and was welcomed with the offer of a seat, tambula etc. by the king himself. The king then asked: "What do you know?" He answered: "All the sastras, all the arts, all the sciences. I remember what I hear once. Please see a wonder now. Let four narrators tell stories. I shall play with dice. If I forget my turn, if there is no tambula, or if I forget the stories then say I do not know anything." The king was curious to see and he started doing what was sworn. Meantime LAVANYASUNDARI thought: 71 Never defeated in battles, frequently freeing himself from debts, enjoying the pleasure of the king's favour he lived happily with the king for a long time. Therefore, oh daughter! destroy themselves and their wealth too. women thus deeply attached to men THUS ENDS THE EIGHTH TALE OF LOVE OF A WOMAN in THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE NINTH TALE OF MUTUAL LOVE Thus I have described the nature of one-sided love. Now I shall tell you about the nature of mutual love. In the famous town of Uragapura, which vanquished the pride of beauty of Amaravati and which surpassed the splendour of Alaka, there ruled king SAMARASIMHA. He ruled over eighty-four
________________ 74 SRNGARAMANJARIKATHA quarelling with each other, vying with each other in coming near the flames of the fire as its touch gave pleasure to the limbs which had become rigid due to the contact of the very cold wind; the small villages looked as if covered with blankets on account of the torment of cold due to its regions being encompassed and the sky being covered with the smoke of the sacred fire and when (in winter) the warmth of the breasts of the beloveds were much welcomed due to the shortness of the days and the great length of the nights. She put on excellent apparel and adornments adequate for the performance and proceeded towards the royal palace. She thought to herself: "If the lord of my life does not see this then my dressing and dancing would be futile. And if these would be seen by CHADDALAKA then I would offer to God flowers and kunkuma both worth five-hundred. On the way she vowed this to God Ganapati, the fulfiller of desires. Ther thinking that he is bound to be there, with her heart full of joy she went (to the palace) and began dancing. Dancing with rhythm and grace, as she glanced in all the directions she did not see CHADDALAKA. Instantaneously strength left her, enthusiasm waned, her face paled and she became lifeless. The dancing teacher was quick to perceive that she was continuing dancing without grace because of the shame of the king, (69) the feudatories and other persons. But this dance was very dangerous, and needed good balance. Because she was continuing dancing without balance, he was afraid she might therefore throw herself on the sword, and that would be an end of the excellent person. So he informed the king "She was gracefully dancing uptil now thinking that her lord will see it. But being aware that he is not here, she has become indifferent and graceless, and is dancing only out of shame, thus she will throw herself on the sword. You may have got angry with me that though knowing I did not tell you about it, now Your Majesty can do what he thinks fit." Hearing this the king loudly said: "Oh Dancing Master, it is late in the night, please stop the performance". Then waiting a moment he went to his bed room, and called ASOKAVATI there, and said: "You wretched one! you were not ashamed of me, nor of those acquaintances of ours, the feudatories and others. You have become very shameless. The conduct of courtesans even is not like this, what is this?" She said: "Sire, I am known, what shall I hide? There is nothing that is not done for the sake of love. For my graceless dancing Your Majesty may punish me or decorate me, you have all powers". TO her the king said: "The desire to sin does not secure riches. Do not be so bold again." Saying thus he sent her away. He sent spies to find out what she would be doing now. From the royal
________________ TRANSLATION seats ...... not going to her place she went to the house of CHADDALAKA. (The king sent for another handsome youth called SUNDARAKA to break this bond of love.) He sent him a gift. On hearing from his servants about the king's gift and the person who called on him SUNDARAKA talked to his friends thus. "Where on one hand is the king and where on the other are we? And what can be the reason of sending this gift and the caller?' From amongst his friends one said: "Kings are full of curiosity. There must be some purpose in calling you. Some one must have told him about you. Therefore accept the gift and welcome the man who has come to summon you". He said: "I will do so" and accepting the same, (bowing) his head, he said to the callers "What is the order of the king?" They said: "The king has heard of your fame. He is curious, so we have been sent to summon you, therefore please come". When they said thus, he started with them at leisure. Thus travelling, followed by thirty-two beautiful, rich and young harlots and thirty-two woman who announced time, after some days he reached the town of Uragapura. Now, the following day, from afar the good news were spread. And he, whose handsomeness and youth were intently observed by the king, saw the king seated in the hall. He bowed to the king, and the king talked with him. He was given tambula and a seat near him by the king with his own hands, and was seated with great respect. After a while he said: (70) "The time has come for the purpose for which you have called me. Therefore tell me what is to be done". Smilingly the king said: "You know the affair, now do what you think is proper." "There is no doubt about it. If your majesty orders, it shall be done. But there it is only a body without life. even I shall place even my life in it and see what can be done." Saying this he bowed to his feet and went out. Then he sent his retinue to the residence given by the king, and followed by four "Tulitalas', putting on an attire fit for the occasion he roamed in the locality of the courtesan. The vied with each other in calling him by offering him everything, but giving hopes to all and pleasing them, he came to the doors of ASOKAVATI. There he stood talking sweetly with his men and was seen from afar by the bawd MAKARADAMSTRA and ASOKAVATI behind her, sitting on the mattavaranaka. On
________________ 76 SRNGARAMANJARIKATHA seeing the sixteen years old youth who surpassed Manmatha in beauty and charm, she remarked to her mother: "Mother, this youth does not belong to this place. He seems to be a stranger, and is possessed of all surpassing handsomeness, youth and charm". The mother recognized her love at first sight, and having obtained such a chance after a long time, quickly said: "Daughter, this earth is indeed praiseworthy. Here are found men more handsome than the handsome, more fortunate even than the fortunate and attachment to one man is made to withdraw by other men, therefore call him". When this was said she, who felt great attraction for him on merely seeing him called him: "O, Guest, why don't you come in?" Hearing it he said: "Surely I will come" and gracefully and handsomely he came to her. On seeing him she was agitated, dumb, and intoxicated. Giving up all else, taking her bath, making him take a bath, dining with him at one place according to her standard, she went to bed. SUNDARA then sent his servant to bring a pattanika from the king and kept it with him. Then he started entertaining her according to his skill, so much so that she did not know whether it was a dream or magic. SUNDARA exciting her sensuousness drew on her body with his nails some modes of sexual union, at some place designs of leaves. at some place Bharata, and another Ramayana, while so doing he recorded the images of the nail-scratches into the pattanika. When she retired from dalliance, she quickly felt as if arisen from sleep, ........... as if awakened from a fainting spell, as if freed from stupefaction, delusion and infatuation caused by some stupefying herb. And she thought: "What have I done? Ah! the sport of wretched Destiny is unsurpassable, the things fated cannot be over-stepped, Destiny cannot be violated, that ...... this is the end of my love. Therefore, definitely Destiny cannot be trespassed. I was not even brought to my senses by that sinner whose mind is intent on wealth". Thus thinking ....... the night passed (71) and the sun rose. SUNDARAKA knowing her heart that was full of repentance..... giving (the pattanika?) to the king said: "Sire, I have followed your command." Hearing this the king was pleased ....... gave him as a gift the lordship of four-thousand villages. But since then in the same manner . . . . . she lived in despair. The king taking the pattanika .... came and said to CHADDALAKA: "Spread this and accept it as a gift". Then the Mahattama TIKKAPAIKA said: "What is this?" CHADDALAKA replied: "This is a plan of the king to break our bond of love". And when he saw the pattanika after spreading it,
________________ TRANSLATION ........ then what did he see? He saw that all was different. Even then, (he said), "my love will not be changed by these treacherous actions". Saying this, due to the pride of his good fortune he thought that all this was untrue and said to TIKKAPAIKA "Oh great one, you must go there and act thus ... This he told him. (He) placed a horseman at an arch at every yojana and sent him (TIKKAPAIKA) there. He (TIKKAPAIKA) doned the attire of a pasupata mendicant, moved here and there in front of her house and showed himself to ASOKAVATI. On seeing him she said to her mother: "Mother is this man not similar to TIKKAPAIKA?" and sent her servant to fetch him. When he was sent for and he came, recognizing him to be TIKKAPAIKA, she said: "TIKKAPAIKA, what is this?" Without giving a reply TIKKAPAIKA started crying. When repeatedly asked, he said: "I am a sinner! What is the use of asking this wretched one?" and remained silent. With great concern she requested him to tell her. He said: "When the army went from here, there ensued a great battle with the king of Kaccha. When all the feudatories ran away, he, like the Mandara mountain, fell upon those who were desirous of churning the ocean of war. Though he received a thousand wounds, he destroyed them and became the object of a happy occasion of svayamvara for the heavenly damsels. Unable to abandon my life there, wretched that I am, I took up this heresy that is fit for men without guts". Before the news of his death reached ASOKAVATI'S ears she fell down dead like a wild she-elephant struck by lightening. TIKKAPAIKA sent the news to CHADDALAKA through the horsemen standing at the arches. Meantime, the king in the assembly-hall, heard an uproar, and he enquired what it was about. The doorkeepers came and informed him that on hearing the canard about CHADDALAKA from TIKKAPAIKA. 172) ASOKAVATI died due to heart failure. SUNDARAKA, who was in the hall said to the king: "Sire I have thus destroyed a jewel among women. Therefore it is not fit that I should live. Therefore command me. Like water and milk there is no parting of those two. By my own wickedness, producing an infatuation in her mind I brought about this end. Therefore it is only proper that I give up my life". Though the king enlightened him in many ways he threw himself into the fire together with his wives and retinue. Meantime, CHADDALAKA also heard the news through the horsemen. Accompanied by one horseman he came to ASOKA
________________ SRNGARAMANJARIKATHA VATI'S home and seeing her portrait on the walls, talking with it like a mad man and embracing it, he came to the spot where her pyre had been lit. He enquired about the funeral pyre of SUNDARAKA and said: "This is the place of my brother, he has done well". He then arranged a funeral pyre for himself on the same spot as ASOKAVATI'S pyre and threw himself into the fire. 78 On hearing of their wonderful account the king thought that he alone was the cause of the destruction of all of them and therefore prepared to cut off his head in the presence of Goddess Asapura. The Goddess beheld his valour which was all surpassing and distinguished in the three worlds, and said: "Son, do not be rash. Ask what you desire". He then said to her: "Oh Divine one! if thou art pleased then let ASOKAVATI, SUNDARAKA and CHADDALAKA together with their retinue come to life again". When the Goddess said: 'Let it be so' the three of them got up as if from sleep. "I cannot separate you in love": said the king and being pleased gave ASOKAVATI to CHADDALAKA. SUNDARAKA saw his worthiness and valour and doubled the king's favour of gifts. The king was full of joy on receiving the grace of the Goddess. He returned to the palace and with his people. ruled for a long time happily. Thus, oh daughter! many courtesans falling in love with men lose their wealth and lives too. Therefore this is our rule that like a tiger love should be avoided from a distance. THUS ENDS THE NINTH TALE OF LOVE ON BOTH THE SIDES IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA.
________________ THE TENTH TALE OF THE SNAKE (73) Moreover child, when men are harassed very much there is nothing they would desist from doing out of anger. Listen, my child: In the city of Kausambi, which was like a jewel on the parting of the hair of the Lady Earth, there lived a rich srotriya named SRUTADHARA who had mastered all the lores. He who followed the path laid down by the srutis and the smrtis, begot a son in the middle age who was named VINAYADHARA. Since boyhood the boy was initiated into the study of Vedas and by the time he was sixteen he had learnt all the sastras. Now, once upon a time, when spring, the sovereign of seasons set in, enkindling the sun which was like its greatness incarnate, after pushing aside out of compassion the winter season which afflicted the whole world by extreme cold; when the orb of the moon posssessed the beauty of a white umbrella with the cloth in the form of the moonlight, with the ribs in the form of the bright rays and which was held high by the umbrella bearer in the form of the night; where here and there leaves of excellent saffron were swayed by the softly blowing wind; when the white lotuses bore the beauty of white chowries; when the rows of asoka trees flashed forth sprouts in every forest like banners (woven) by the shuttle dyed in lac of the Fish-bannered One who conquered the whole world; when the campaka trees had not even put forth buds, when sprouts had not cropped up, when the fragrance of the kesara had not spread, when the trees and the creepers had not become even mature, when the directions were not even clear, when the wind was not even slow and when the humming of the swarms of the bees was not even heard, then, at the first appearance of spring, even without cause, the world was agitated; when gradually the spring matured; it first agitated the world and then the forests of lotuses; it first revealed the rapturous hearts of lovers and then the rows of asoka trees flashing redness; it first made the lovers close their eyes towards their sweet-hearts and then the clusters of lotuses; it first cleaved the hearts of the separated ladies and then the buds of creepers; it foremost darkened the hearts of the passionate and then the forests of flowers with swarms of bees; when unnoticed the nights became shorter, the tanks of lotuses gave up their dryness brought about by frost, and the rays of the moon and the trees gave up smokiness. When the rays of the sun and the arrows of Smara increased, then the spring, a dear friend of the Splendour of the Forest, kept ready for her as it were on all sides
________________ 82 SRNGARAMANJARIKATHA being multiplied by spring, looking as they were like the emerald studded golden needles to pierce the knots of pride of the haughty women; when in every reservoir the fire of Love spread under the guise of blooming red lotuses for disturbing the water-sports of those agonized by a separation from their beloveds; then the clusters of asoka flowers, as charming as the breasts of the Huna ladies rubbed with kunkuma, filled with love, looked like berry-balls (76) made by the Sylvan-deity for the play of the child Madhu fascinated the minds; when the women with drowsy eyes attained some indescribable beauty while swinging, with their breasts tremulous with heavy breathing on account of exhaustion, with their ...... seen inbetween the hands moving up and down with the emerald-made ropes, with their iris constantly moving due to the fear of the quick movements of the swing, whose perspiration on the cheeks was dried by the wafting of the dress-borders and who though freed from the embraces of their lovers shrieked at intevals out of the fear of falling down; when spring matured, from every where the taunts of the prosita-bhartrkas were heard thus: 'Novel indeed is the Madhu <> that without being drunk or smelt intoxicates the mind of all the people', when heaps of flowers bloomed on the flowering trees appearing like the quivers constantly prepared by Spring for the Flower-arrowed One ready to conquer the whole world; when the nights became shorter out of jealously of the moon adorned with the moonlight; when the days abandoned contraction after the affliction of extreme cold was over; when in every house women worshipped Love as if fearing the continuous discharging of arrows; when the lotus-tanks bore some indescribable charm even when they thinned down like the separated ladies with their eyes in the form of the blue lotuses drooping due to the internal heat, with their armlets in the form of the lotus stalks bent down, with their brilliance screened by the lotus leaves, with their faces in the form of the pundarikas losing colour and with their curls in the form of the kalharas fluttering; when on all sides, in every forest leaves shot up like the arrows of Madana after piercing the hearts of the travellers; when aridity sleeped away together with the winter season, gradually the pleasure gardens bore a greenery, dark as the lustre of the emeralds, as if reflecting the clear sky; when the spring without cause exhilarates the world by the humming of bees here and the cooing of cuckoos there, with the mango-blossoms on one side and the swingsongs of the doe-eyed ones on the other, with the Malaya wind blowing on one hand and the blossoming of the flowery creepers on the other hand; when the wives in the form of directions pleasant after giving up the gloominess of separation when they had their long-desired union with Spring; when the trees wearing
________________ TRANSLATION silken dresses of variegated flowers and swaying sprouts were slow. ly made to dance by the Malaya wind like a dancing teacher. 83 During (such a spring) on the vernal pilgrimage of the God Kalapriya Deva, the fortunate (VINAYADHARA) who by his beauty and wealth conquered the Fish-bannered God, who was skilful in all the arts came to see the God attired in a charming dress along with his friends of the same age and conduct. While out of curiosity he was moving on the temple grounds, by chance a courtesan came there. She was, it seemed, a conquering missile of the Flower-armoured God, a ray of the moon to the night lotuses in the form of the eyes of the people, a lotus-tank for the bees in the form of the senses, the moving ground for the elephant in the form of Smara, who transformed the sky by the lustre of her moonface even during the day due to the moonlight of her face. On seeing her he thought that Prajapati, the creator of the world cannot be her Creator, (77) for her beauty was quite distinct from that of the other women created by him. Thinking thus he came within her sight. On beholding him she was pierced like a deer by an arrow of the hunter Love, and her body had horripilation like a lotus-stalk in the lake of love. At the sight of each other the tender shoot of love of these two shot up. He assigned the work of making her acquaintance to his clever friend VIDAGDHA and went home. Through her friend TARALIKA, VIDAGHA made her acquaintance and then related the whole thing to VINAYADHARA. VINAYADHARA sent him again to take her promise. In dalliance with that ANANGAVATI he spent that night as in a moment. Thus enjoying amorous pleasures in her company many days passed. In course of time all his wealth was expended, still to her he was dearer than life. When the bawd came to know that she had turned away all other rich men and was attached to him alone she herself drove him out. But under some pretext he gained entrance again. Scorning him she again and again drove him out. ANANGAVATI, however, continued to meet him either at a rented house or at a friend's place. When the bawd saw that ANANGAVATI was still meeting him she admonished her thus: "You meet him again, well do not blame me (afterwards) that I did not warn you." Now once while VINAYADHARA was coming from his house he saw a recently killed frightful snake. Thinking that it will serve his purpose he hid it in his belt. Going near her house he sent to ANANGAVATI his fees through a good friend and came to sleep. At the middle of the night he entered the next bedroom where the intoxicated bawd was sleeping. He slowly spread the dead serpent
________________ 84 SRNGARAMANJARIKATHA on her body and with his sharp nails pinched her nose and lips. The bawd got up shrieking 'I am stung, I am stung'. He entered the room quickly and hit the serpent five-six times with a stick. When the maid-servants quickly came and put on the lights, he looked at the serpent and said "I shall make an incision", while (she) said: "make it, make it" he asked: "Where?' and as soon as she said: 'here here' he cut off per lips and nose. The fear of death was gone and at the break of dawn felicitations were offered that the 'mother' was alive. But to her (the bawd) the congratulatory drum sounded indeed like the heralding of death and she repented night and day. Thus, o daughter, when rogues are harassed they take revenge in such a way that it is difficult to describe it. THUS ENDS THE TENTH TALE OF THE SNAKE IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARMESVARA-SRIBHOJADEVA. THE ELEVENTH TALE OF MALAYASUNDARI (78) In my opinion no one should ever be insulted. When men are insulted there is nothing that they desist from doing. In Pancala there is a town called Kanyakubja. There ruled king MAHENDRAPALA who was difficult to be looked at like the sun, and who conquered by his hands the circle of powerful enemies. He had a great feudatory named PRATAPASIMHA who was clever, pleasing, rich, noble, charitable, sacrificing, learned and affectionate. He was ugly and hairy, and by nature given to sport. He was sent to his country by the king, so staying there for some days he returned again to serve the king. (Near the city was the mountain) which seemed to be holding a dark umbrella, for warding off heat on account of the very tall green trees; it appeared as if holding a bow...... under the guise of the lustre of variegated gems wondering why while it is present Indra (he who had destroyed their wings) should hold a bow; where the directions were scented by the fragrance spreading here and there as the barks of the old sallaki trees were crushed by the intoxicated elephants rubbing their temples against them; where the depths of the thickets were resounding with the splitting of the skin of the kathaka fruits being pecked by the intoxicated female-partridges; which seemed to hold a white umbrella being upheld by the umbrellabearer in the form the night due to the disc of the moon touching its high top; it seemed that thousands of.....(?)-ran before it be
________________ SRNGARAMANJARIKATHA garland of flowers; at whose foot were royal swans like Brahman >; which though full of thousands of matangas <> was resorted to by dvijas <>; which had hundreds of two-tongued-snakes yet had thick sarala trees; though very big it was full of aguru; it had bears though it was uneven; though possessed of forests and mountains the love of the beloved it has many mountains with water <>; though it was pervaded with Mlechhas it had always spies in it; which was as if rivalling with the rising and setting mountains tinged with the colours of darkness, moonlight and evenings on account of the rays of white, dark and red jewels looking like the colour-sticks of different jewels; which produced the illusion of a thick forest of bamboos at wrong places in the minds of the simple Sabara women who were tired of roaming about on account of the spreading lustre of the pure sapphires; which exhibited his own tiara of lordship of the mountains by the lustre of its golden tops spreading high and low; who manifested its distinguished mountain-ness as being the place of the rise and setting of the rays of even the luminous bodies like the sun and the moon; who bore in his lap the river Narmada (lit. the daughter of the mountain Mekala) like a beloved in whom shone the fish (the fish bannered one, Love), who had a clear necklace and who possessed of plump breasts <>; which was very shady like the evenings <>; which was decked with the ara, the nipa and the bamboo trees like this story-teller who belongs to the family of the Paramara king; which lighted up the whole world like the Ratnadvipa; which as it were flew up to the heavens for threatening Indra with its wings in the form of the waters of the hundreds of streams rising high by the strong wind; 86 In that city dwelt a famous procuress by name DHONDHA. (80) She had a daughter called MALAYASUNDARI who was clever, goodlooking and intent on earning wealth....... ...PRATAPASIMHA came to her place for a night. Being over-powered with passion he somehow spent the night. When the day had not yet dawned, when he got up a little perturbed, put on his clothes and desired to leave he saw her, who had got up before him, playing with her sister's Then he said to her: "Whose son is this?" Teasing him she said: "It is mine". As soon as the word 'mine' reached his ears then he jumped upon her like a tiger and throwing her down on the ground scratched with his nails her forehead, nose, breasts, cheeks, son. ...
________________ TRANSLATION 82 hands and thighs, and tearing away a crop of her hair he went away. When through the maids the bawd came to know that the famous (courtesan) who was in the favour of the king and was a worshipper in the temple was thus mutilated, with her hair dishevelled she started abusing. MALAYASUNDARI gave up the child and covering herself with a coverlet she lay on the bed. Taking her lock of hair, crying and abusing the bawd came to inform the king who was in the court. The king was very angry and said: "DHONDHA, do you know who is the man and where he is now?" And DHONDHA replied: "Sire, so many come and go during the night that they cannot be recognized". To her the king said: "Tell the police-officer to find out who had slept there during the night." Then PRATAPASIMHA who was in the court got up and said: "Sire, I had slept there. But be kind to call MALAYASUNDARI here. I shall speak in front of her so that untruth may not be spoken." When the king summoned MALAYASUNDARI twice or thrice, then covering her body and with her face hung in shame she came to the assembly hall. When she came PRATAPASIMHA said: "When I went to her, at the very first sight I fell in love with her. I cannot describe it .............. the event of the night. (81) When she answered that the child was her he could not tolerate it and he injured her. It was all done out of his deep attachment for her and the king could do what was fit. The king was pleased with him and gave him gifts. She became an object of ridicule. When men are insulted they punish thus. THUS ENDS THE ELEVENTH TALE OF MALAYASUNDARI IN THE SRNGARAMANJARIKATAHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE TWELFTH TALE OF PAMARAKA "Enmity with rogues should never be unnecessarily created"; (The thread of the entire story is lost in the fragments) (82-83). (84) "Therefore daughter, one should not practice heresy with the clever. When practised it should be completely accomplished, otherwise one becomes an object of ridicule." THUS ENDS THE TWELFTH TALE OF PAMARAKA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE THIRTEENTH TALE OF MULADEVA Moreover, my child, love should always be protected. It is threefold, one born on hearing, one on sight and the third on union,
________________ 88 SRNGARAMANJARIKATHA All the three should be abandoned from a distance. For by these even family women are made objects of contempt. Therefore like the poison of the poisonous snake love at sight and on hearing should be kept at a distance. I shall narrate a story about it to satisfy your curiosity. Listen: In Avanti is the city of Ujjayini. There ruled King VIKRAMADITYA who obtained the title of a sovereign by the valour of his hands and whose deeds were famous and wonderful. There also lived the dhurta MULADEVA. He was clever, master of roguery, skillful in all the arts and an object of the king's affections. He brought under subjection the smart, cheated the clever, deceived the intelligent, made the cheats to dance about, and augmented his wealth. He always doubted the actions of women and never married. Now when once after king VIKRAMARKA time and again asked him why he did not marry, MULADEVA said: "Sire, women are difficult to be pleased, they have bad intentions, are fickle by nature, difficult to be protected, they become detached very soon and cherish love for the low-born. It is said in the srutis and the smrtis that a woman is the half of this body. Therefore even when a man is not himself a sinner he becomes to be regarded as such due to her wickedness. Therefore I shall end my life without taking a wife." The king said: "It is not so. Woman is an instrument to the attainment of the three goals of life. She is the sole abode of happiness and the root of fame, wealth and offspring. The householder's life is the mainstay of all the other stages of life. Without begetting a son a man (85) never frees himself from the debt of his ancestors. Therefore you must take a wife, and do not be so suspicious." [When thus spoken to MULADEVA is somehow convinced and gets married.] (During the Summer season) when wanton-women whose bodies were exhausted by amorous sports continuously fanned themselves; when silken dresses were put on; when pairs of the Cakravaka birds taking resort under the leaves of the lotus plants on the banks of the ponds, with their necks resting on each other and enjoying the pleasant sensation of scratching each other passed their drowsiness of the mid-day sun; when pairs of bees due to the heat of the fierce sun abandoned drinking honey from the flowers and took refuge into the bowers of creepers; when the mid-day abhisarikas with their bodies cooled by water-sports, with their breasts and thighs covered with pure, slough-like clothes besmeared with musk, with their hair
________________ 90 SRNGARAMANJARIKATHA possessing a cool delicious fragrance grew profusely producing the illusion of the rutting elephant of the Fish-bannered One, entering slowly the depths of the garden; .............................................................. .............................................................. (Afterwards MULADEVA found out that his wife was carrying on with a merchant by name DATTAKA, and the king's chief queen too was unfaithful to the king by going every night to her paramour, the king's elephant driver. One night he followed her and saw that the elephant-driver lashed her with a chain for being late. The next day the disillusioned MULADEVA told the king about it.) (87). (88) The king was surprised and asked MULADEVA: "MULADEVA, what is this? This is indeed wonderful. Please satisfy my curiosity by saying what it is." Folding his hands MULADEVA said: "Sire, if you give me the promise of fearlessness then I shall tell you. Your Majesty should not punish me then." Saying this he said to the queen: "Madam, without the paramour the food cannot be relished. Therefore call the king's elephant-driver, BATHARAKA". Being wonderstruck the King said: "MULADEVA, what is this?". MULADEVA said: "Bare the body of this queen and see it." When the king did that and looked at it then he saw the swollen marks of the chains. MULADEVA made his foolish wife sit on the second seat and said: "You also call your paramour, the mer. chant by name DATTAKA", and then said: "Sire, it was indeed your favour that I was married. I knew the conduct of women, therefore I never married. But by your lordship's order I accepted and married this foolish person. The result is the same. They (women) are sinful and of wicked conduct, who can trust them? There is no king like yourself, nor is there a master of rogues like myself, not a wise man like KAPALASIKHA. When they can deceive even us what can happen to the other poor people?" The king arrested the elephantdriver, confiscated DATTAKA'S wealth, and outcasted him, and cut off the nose and ears of CILLAMAHADEVI and giving only morsels of food put her into prison. Therefore, my child, there are harlots of good characters, and there are family-women who fall in love at the first sight and carry
________________ NOTES (Here are included words of rare usage or remarkable in some way.) Yantradharagrha ( yantradhArAgRha) P. 3. -is a fountain-house to dispel the heat of the summer days. The complex mechanical contrivances speak of the progress of science in those days. In the SS, Bhoja devotes the entire 31st chapter to 'Yantravidhanam'-the descriptions of the mechanical contrivances, their usages and benefits. The word 'Yantra' is derived from the root 'Yam' to control or to restrain. God evolves the universe and also controls its movements: bhrAmyaddineza zazimaNDalacakraza (tsa ? ) sta ? metajjagattritayayantramalakSyamadhyam / bhUtAni bIjamakhilAnyapi samprakalpaya yaH santataM bhramayati smarajit sa vo'vyAt // ( verse 1 ) There are two kinds of controls. The first is the self-control of human beings, the second is the control of the five elements of nature. tasya bIjaM caturdhA syAt kSitirApo'nalo'nilaH / Azrayatvena caiteSAM viyadapyupayujyate // So the control of the four primary elements namely earth, water, fire and wind (and akasa as their substratum) leads to the production of the mechanical contrivances. Different materials like metals, leather and cloth are then put to use and with the help of wheels, rods and the like, syringes (vs. 28), musical instruments (56), dramatic representations and scenes (59-72), moving animals (73), dancing and singing dolls (74) and various kinds of water machines (109 ff) can be made. The details of the mechanical contrivances in the Yantradhara. grha given in SMK are: dolls beating drums, dancing, playing instru ments and singing; ducks seated on blooming lotuses drinking the streams of water which looked like lotus fibres; bees humming in lotuses; cakorakas drinking water; cranes plunging in the pond after the sapharika, tortoises swimming up and down in the tanks and mermaids afraid of crocodiles. Streams of water flowed out from the eyes of winged crocodiles, mouths of peahens, hair, breasts, palms and nails of women, mouths of a family of monkeys climbing atop a tree, lotuses, walls, grounds, pillars and pillartops. The whole
________________ NOTES 93 picture gives an impression of the rainy days and that was the very purpose as is said in SS: idaM nAnAkAraM kulabhavanamAdyaM ratipatenivAsazcitrANAmanukaraNamekaM jalamucAm / payaHpAtISme ravikaraparItApazamanaM . na keSAmatyarthaM bhavati nayanAnandajananam // In the Kadambari we read of a somewhat similar description of a cool fountain-house called himagTha. Besides various mechanical contrivances we read of groups of peacocks, cranes, birds, bees etc. (pp. 436-441). The Yasastilaka-Campu (Book III pp. 522-533) also has description of a Yantradharagrha where sukasarikas, bees, peacocks, ele. phants, crocodiles, monkeys and dolls and so on are mentioned. In the Tilakamanjari we have no description of the mechanical contrivances as given in the above mentioned texts but the author seems to be quite familiar with the Yantradharagrha for we find a few references to it. The SMK describes only the dharagrha, but SS mentions three kinds of fountain-houses. (vs. 117) dhArAgRhamekaM syAt pravarSaNAkhyaM tato dvitIyaM c| prANAle jalamagnaM nandyAvarta tathAnyadapi / / The Yantradharagrha was an elaborate construction and therefore only kings could afford to build it. prAkRtajanArthametanna vidheyaM yogymetdvnibhjaam| In the very beginning of SMK we read that Bhoja was seated on the central moonstone seat of the dharagrha surrounded by his friends and kinsmen. And it seems that the people had access to it, for the text says (FTI) JETENTT&Treef wife atemporal 1* Ubhaya-catuh-sastikala (57971:164) p. 88. -Two kinds of 64 Arts. Vatsyayana in his KS refers to both these kinds of 64 arts. The first group is of the 64 Anga-vidyas. (1.3.16). Mastery over these Kalas was necessary for the courtesans to develop their personality and to fulfil their duties as entertainers. Of these Kalas some are purely aesthetic arts, some for the intelect, some for increasing personal charms, while some are merely for * It is interesting to note that a paper on 'Yantras or Mechanical Contrivances in Ancient India' was recently read by Dr. V. Raghvan. It thoroughly treats of the subject. It is a useful and interesting contribution throwing light on this interesting topic. I am thankful to Dr. Raghvan for sending me a copy of the paper.
________________ SRNGARAMANJARIKATHA entertainment. The following arts may be taken as the aesthetic arts: gItam ( vocal music), vAdyam (instrumental music), nRtyam (dancing), Alekhyam (painting), and vINADamaruka - vAdyAni (playing of stringed instruments). taNDulakusumavalivikArA: ( making designs on the flooring with coloured rice and making various kinds of flower garlands), g (spreading of flowers and flower-garlands in a room etc.), (setting jewels like emeralds in the floors) are decorative arts. vizeSakacchedyam ( cleverness in making different tilaka marks on the forehead), TT: (anointing the body with kunkuma etc. and colouring of teeth, clothes etc.), (preparing the bed), purposes), of flowers etc.), T: far: (preparing garlands for different (decorating the crest with different kinds (dressing and adorning according to time, place and occasion), karNapatrabhaMgA: (ear-ornaments of ivory, conchshells, etc. for adornment), af: (anointing perfumes etc.). bhUSaNayojanam (preparing ornaments), utsAdane saMvAhane kezamardane ca kauzalam (massaging of body and hair) and rf (changing the appearance of fabrics such as making cotton appear like silk) are for enhancing personal grace and charms. 94 Accomplishments such as kAvyasamasyApUraNam (completing the verse from a given single line), pratimAlA (capping verses), prahelikA (riddles), gafa: (expressing that which is difficult in word or sense), (knowledge of reading books). nATakAkhyAyikAdarzanam (seeing representations from dramas and Akhyayikas), mlecchitavikalpAH (using synonymous words of the Mlechha-bhasa). dezabhASAvijJAnam (using desya words to make known that which is unknown), (remembering heard books), mAnasI (knowing what passes in others' minds), Tuf (composing poems), abhidhAnakoSa ( knowing dictionaries), chandojJAnam (knowing the metrical works), and f (knowing poetics) are for developing the mind and sharpening the intellect. Skill ( hastalAghavam ) in various useful arts such as sewing ( sUcIvAnakarmANi ), carpentry (T), embroidering (affor) cane work ( paTTikA vetravAnavikalpAH), obtaining desired ends and cheating others. ( kaucumArAzcayogAH, citrAzca yogAH, chalitakayogAH ) household work (aafar ), experiments in magic (TT), cooking and preparing drinks ( vicitrazAkayUSabhakSyavikArakriyA, pAnakarasarAgAsavayojanaM ) were considered as necessary as the above-mentioned accomplishments. Moreover the following arts seem to be for specialization in different professional activities. Among them can be included rUpyaratnaparIkSA (the knowledge of different coins and diamonds etc.), dhAtuvAda: (finding and treasuring stones, metals, etc.), maNirAgAkarajJAnam (knowledge of gems for value etc.), fafar (the knowledge of good and bad omens, etc.), (the making of instruments for
________________ NOTES 95 travels etc.), parit (lapidary art) and erat: (the knowledge of planting, nourishing and diagnosing trees). Finally there are games in which skill was deemed necessary for the entertaining as well as enjoying: 36+ (playing drums etc. in water), 3E#TETA: (sprinkling water), #90 l aqarafet: (gamble on live things), Tir OTETTAA (teaching birds like parrots to speak and carry messages), 3767THFCT2794 (making syllabic language for private talks), quoTefTiT (making carts of flowers), afast: and 3174 TST (gambling) and 5*15971 (knowing playing balls, dolls etc. to help children). There are three more arts for self-development, self-defence and life. They are a f i fahi # (code of etiquette and modesty), fupiti faci (science of obtaining victory) and vyAyAmikInAM vidyAnAM jJAnam (knowledge of the science connected with physical exercises like hunting). This list of Kalas has been explained along with many other lists by Dr. A. Venkatasubbiah and E. Muller in an article named 'The Kalas' (J. R. A. S. 1914 pp. 351-367). But reference may be made here to two more lists given by Ksemendra in Kalavilasa and by Dandin in Dasakumaracarita. Ksemendra mentions 64 arts. of the harlots: Tega Tofah UTETU MTG: fiz: (p. 56). Of these, except nrtyakala, gitakala panakala, none are similar to those quoted above. These are simply the characteristics of harlots like weeping, cheating and so on. But they are interesting from our point of view because the heroines in the SMK show mastery in some of the arts mentioned herein. For instance Devadatta (5th tale) practises mrtopamakala, and also tirtha-viharana-kala. In the Dasakumaracarita (Book II) also we get a list of arts and sciences in which a ganika is trained to bring her profession to a successful end. The second group of Kalas which is referred to in the SMK by the term 'Ubhaya' is the group of 64 Pancaliki Vidyas described in ne Samprayogika-Adhikarana by Vatsyayana in the Kamasitra. These are intimately connected with sexual relations. Ujjvala (graffefafaisaFTHOUT) P. ?3 is a classical metre with the scheme TT TT (UU U U U U U U -U_ ) (Hemcandra, Chandonusasana, II. 166).
________________ 96 SKNGARAMANJARIKATHA Kadavakka (kaDavakka) P.17 -is a Sanskrit rendering of the Prakrit word 2509 (See Svayambhucchandas, VIII, 30, Journal of the University of Bombay. November 1936, kaDavaya here is by mistake printed as kauvaya ) Hemacandra and others give its Sanskrit form as 3a, that is with a single # (See the first sutra of the Chandonusasana). It is also written as 150 (Cf. Kavidarpana, edited by Prof. H. D. Velankar, A. B. O. R. I. XVI i-ii 1935, note 51). Old Gujarati narrative poems were also composed in units called 57. But here #597 does not appear to be an unit of composition, but a variety of composition. It may be noted that this form of composition is peculiar to the Apabhrarsa literature, while here the use of the word is with reference to the Puranas. Can we infer that the author had in view some Apabhramsa Purana or some Puranas in the local language of the times? Manikulya ( maNikulyA) P. .17 -is a kind of composition described by Bhoja in the SP thus: (Vol. II, p. 428). maNikulyAyAM jalamiva na lakSyate yatra pUrvato vstu| pazcAtprakAzate sA maNikulyA mtsyhstaadi| Nidarsana (nidarzanam ) P. 17 --is a kind of composition. Bhoja describes it thus: nizcIyate tirazcAmatirazcAM vA yatra ceSTAbhiH / kAryamakArya vA tannidarzanaM paJcatantrAdi / / dhUrtaviTakuTTanImatamayuramArjArikAdi yalloke / kAryAkAryanirUpaNaparamiha nidarzanaM tadapi / / (SP, Vol. II, p. 428) The second type of Nidarsana described by Bhoja shows that it em braced the works which describe the proper and improper actions as is done in the works like the Kuttanimata. Technically speaking this description appears to be applicable to the SMK, though in the text as shown at length in chapter IV it is always referred to and recognized as a katha and nowhere it is called Nidarsana. But a detailed consideration of the question awaits the publication of the full text of SP, so that we may have all the data relevant for judging whether the distinctions made by Bhoja between different kinds of Prabandhas are well defined and mutually exclusive.
________________ NOTES 97 Lataksutkah (laTakSuTka: ) P. 25 -taking rounds, faltering. The word is of onomatopoetic origin and is represented in Hindi as gast in the same sense. :) PSM Udyaniked ( udyAnikA ) P. 25 / . - This word is obviously a back-formation from the Prakrit Furfuram etc, and preserved in the current Gujarati as Toft "picnic'. PSM gives three forms of TST, golfo and Futut meaning 'picnic'. The word is derived from GUTUT quotes the following from the Nisithacurni: ujjANaM jattha logo ujjANiAe bccii| Tiritillitani (fefefefront) P.:34 -This word is a Sanskritization of Prakrit fefefeferi-base fefofefory. It is an instance of the influence of the contemporary Jaina diction on Bhoja. The root feffect is recorded by Hemcandra in his list of ETCOTECTS in the sense of T (Prakrit Grammar 4.161). PSM records the form fef fara from Kumarapalacarita. Ganaratnamahodadhi of Vardhamanacarya notes the word fefefeft (II. 103) and in the commentary he says fefefert aratottaferratoga feffettfat praca CUF | He also calls it 3r Turatoa-fcfcfcfarafacial iTuToat tadAkAriNi vyvhriyte| Lagna (5 ) P. 30 -to feel. The usage and the sense of the word is of the Prakrit root uits, feels. Cf. Gujarati ana in the same sense. Avva ( pon ) P. 37,33 -The word 37 which at two other places is mistakenly written as 37 and 3rat by the scribe is of Kannada origin, meaning 'mother' or any 'venerable woman': Hemacandra (Desinimamala 1,5) notes it in the sense of HTIGT, a. Cf. the suffix 37aat applied to proper names like Kundavva, Amiyavva, etc. occurring in some 9th-10th century Apabhramba works from Kannada area. Cf. also the Kannada word avva meaning 'mother'. The scribe probably did not understand the word and wrote the forms corruptly as 31 and rati Uttha viale- ( uttha viale ) P. 34 can be rendered into Sanskrit as sffct fatis if we take 364 as corrupt for the Prakrit 378, Sk. 3f . Viale is Voc. Sing. of: vimalA, Sanskrit vikalA 'a perturbed woman'.
________________ 98 SRNGARAMANJARIKATHA Velavittiki ( velAvittikA ) P. 34 ma maid-servant who earns by announcing time (Cf. Velavittaka). The words prasadavittika (p. 38) and arghya-vittika (p.4C) are similarly formed. The former meaning 'one whose fortune is in his master's favour' and the second referring to 'one whose fortune is in offering arghya (to God)'. The courtesan in the temple is described as arghya-vittika (Cf. Lavanyasundari, 8th tale). Tarkuka-jana ( 707 17, ) P. 82 -This is a rare Sanskrit word. It means a beggar, a suppliant. The other forms noted by MW (p. 440) in the same sense being 7 (Mbh) and Taft (lex.). MW further (p. 58 ) gives two words 2884i and qualiti which also convey the same meaning of 'beggar'. Though the other form of 7pitinamely, that is given in the Mahabharata it seems to be a late form and may be occurring in the interpolated portion of the Mbh. . vAI e kukkuDu vAsai e kku liyaMtaha duijau naasi| (p. 56) 'Mistress, this cock crows: As we take one, we lose the other'. This is some Apabhramsa metrical line quoted as a proverb, as the rhyme of aths and this shows; and the portion beginning with for upto 7 TH is in the well-known Prakrit metre called Vadanaka having the structure 4+4+4+ -- UU. This means that the first line is metrically defective. Putkarosi (grattfor) P. 48 -to cry aloud." It is same as the Prakrit *** Cf. Gujarati pokAravU, pokAra. It is commonly used in the Prakrit and Apa. bhrarsa literature. Aklea ( akkA ) P. 61 -the word is used in the sense of 'a mother' or 'an elder sister. The bawd or the procuress of a courtesan is usually addressed as akka... The word Akka is of non-Sanskritic origin. Its vocative is Irregularly Akka and hence it is recorded by Panini. (MW p. 2).
________________ NOTES 99 Hemacandra notes it in Desinamamala. 1.6. The word occurs in Tamil, Telugu, Kannada, etc. * Kaditalla (fea ) P. -PSM records is in the sense of a kind of an iron weapon which has one edge sharp and is a little curved. It refers to Desinamamala 2.19. 'In Harisena's Brhatkathakosa also (edited by Dr. A: N. Upadhye) the word #ffcr occurs ( # f 3 T TEST TUT: 56.298). The editor in the Introduction (p. 102) explains some armour or weapon associated with the belt' and compares the word with Sanskrit Katitra and Prakrit Kadilla. This meaning is obviously suggested by him on the assumption that the part pfs in the word kaDitalla is connected with Sanskrit kaTi. . .. . Vantha (9 ) P. 64 -is a desya word. MW (p. 915) records it as a lexical word occurring in the sense of a maimed person, an unmarried person, a servant or a dwarf. Over and above these senses PSM. gives the word in the sense of dhurta or thug. Cf. Gujarati , to go astray. This is another instance of Bhoja's diction being influenced by the Prakrit, Apabhramsa and the other spoken languages of the times. The Prabhandha-Cintamani has a Toba TETRUTTO PETT which describes the vamthas to be dwarf in body and attending on the King by massaging his feet. (P. 75). Pattanika (qafreit ) P. 10,6. -The word pattanika (fem.) is not found in the lexicons. The reference to it is as follows, Sundaraka was commissioned by the king (10th tale) to spend a night in dalliance with Asokavati and record the events, so that the king could show it to Chaddalaka and break their bond of love and faith. For that purpose Sundaraka brings along with him the Pattanika which records what passes between them. (75: TATTET Tefreirani ferro referent FarfetarnAyayat ... teSAM nakhapadAnAM takA pattanikayA tatpratibimbAni jagrAha) The next day he gives it back to the king and the king presents it to Chaddalaka saying: yadayaM prasAdaH prasArya gRhyatAm / Therefore it seems to be an instrument, Yantra, to take impressions of happenings which could be reviewed the next day by spreading it out.
________________ 100 Last Folio, 158. (p. 89). The fragment of folio 158 is the most important page in the SMK, though its loss is irreparable.. It contains a prasasti of the work and its author in three Sanskrit verses and four Prakrit Gathas. SRNGARAMANJARIKATHA The metrical. Sanskrit verses help us to infer the number of missing letters. The first verse is in Malini metre. Thus: madhuramasRNamugdhasnigdha U UUUUUU UUUUUU - U --- U--- U--U pratikalamati harSAd bhAratI nRtyatIva // The next two verses are in the Sikharini metre.. imAM pazya kSoNIM vaha U U U [bhujaM ] gAnAmIzo'para iva sa enAmaracayat / kathAmurvInAthaH praNata U U U navA sphItA yA ca prakRtisubhagAlaGkRtirapi sa ukterullekho U UU U U U U ---- UUUUU UUUUU UUU U U The Prakrit Gathas are metrically correct. siMgAramaMjari pAviUNa devI sarassaI ajja / mayaraMdapA Nama.. siMgAramaMjari pAviUNa devIeN uahaM vANIe / sohaggajasapaDAyA. * UNaM jasa, kaMhavihu siMgAramaMjari uaha / Niyasoha [ga] vaDAyA : : U U e [siMgAramaMjari pAvi ] UNa vANIe maNaharA ye vi / hoorajasohA bho. // 4 // 1 U // 2 U - UUU -- // UUU U . // 3 The last verse is in the Anustubh metre in Sanskrit: [va] tsarANAM zakadviSaH / kRteyaM bhojarAjena kathA [zRGagAramaMjarI ] // They described Goddess Sarasvati as being joyous on acquiring the valuable 'Srngaramanjari' which is like her banner of good fortune and her ear-ornament. - UUU U kalitaH !! It avers that Bhojaraja produced this Katha in Vikrama (lit. the enemy of the Sakas) Samvat. The missing letters in the verse are the greatest loss to the work, for they would have solved the problem of the date of the work.
________________ APPENDIX 1. (A transcript from Bhoja's SP, Madras Ms.) (Chapter 36, Vol. 4, ff. 902-911) ___ (patra 902) tatra nAyakayoH prAgasaMgatayoH saMgataviyuktayorvA mithassamAgame prAgutpannaH tadAnItano ratyAkhyasthAyIbhAva iti rateH sattAsaMjJA prthmaavsthaa| ......abhi vyaktisaMjJakA tdvitiiyaavsthaa| ......anubandhasaMjJakA rateH tRtiiyaavsthaa| ......prakarSasaMjJakA rateH suriiyaavsthaa| tAsu ca yathAkramaM saMkSepAdayaH samupasargArthAH bhogazabdArthena saMbadhyante / saMkSipto bhogaH sattAvasthAyAm, saMkIrNo bhogaH abhivyaktyavasthAyAm, saMpUrNo bhogaH anubandhAvasthAyAm, samyag bhogaH prkrssaavsthaayaamiti| sa sarvo'pi dvidhA sAmAnyarUpo vizeSarUpazca / sAmAnyarUpaH pazumRgAdInAm, vizeSarUpo nAgaraka(patra 903) nAyakAdInAm.... (patra 909) arthaSa viziSTanAyakaviSayo vizeSarUpa ucyate // sa ca sAttvikAvinAyakamedAt sthirAsthiratvAditAratamyAt prabandhena upapAdyamAno dvAdazaprakAra utpadyate prathamasaMdarzanakSaNa eva saMkSepeNa utpannaH saMkSipta ityucyate / ....saMkIrNa dvAdazaprakAra: . ...saMpUrNa ....samyak tatra saMkSepapakSe rAgopAdhiH premANi dvAdazaprakAraM bhavati / tatra haridArAgaM, rocanarAgaM, kAMpilyarAgaM, rItirAgaM iti sAttvikasya (nAyakasya), kusuMbharAgaM, lAkSArAgaM, akSIbarAgaM, maMjiSThArAgaM iti rAjasasya, kardamarAgaM, kaSAyarAgaM, sakalarAgaM, mIlIrArga iti tAmasasya, tatprAyeNa puruSANAM vizeSa (SA) upjaaynte| tatra alpakAraNApaneyaH haridvArAgaH tadati..... rasya sa hi tathA na kAmena bAdhyate yathA sattvadrekAtkaruNAdibhiH, tenAso, nAtitarAmaticiraM vA rajyate, ato haridrArA... nAgAnande jImUtavAhanaH-na tathA sukhayati manye mlyvtii| i. ....... . ... (patra 910) analpakAraNApaneyaH rocanArAgaH tanmahAsattvasya / sa hi kAmanAbAdhyamAna dharmAdipravRttireva svakAraNasAmaNyato jAyate / tenAsya nAtidurapaneyA nAtiraktA vA rocanAyA iva rAgalekhA bhavati / yathA zAkuMtale. durvAsasaH zApenApanItasmRterduSyantasya-sutanu hRdayAtpratyAdeza vyalIkamapaitu te| i..... ... .... analpakAraNopanipAte'pi prayatlApaneyaM (yaH) kAMpilyarAga (gaH) tadatisAttvikasya yathAharizcaMdracarite vizvAmitramocanAya dAravikrayiNo harizcaMdrasya- he dhanyA zrRNutAvadhatta ghaninasteyaM mayA preysii| i......

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siM ghI jaina grantha mA lA ************[ #rui 30 ]********** saMsthApaka sva0 zrImad bahAdura siMhajI siMghI saMrakSaka zrI rAjendra siMha siMghI tathA zrI narendra siMha siMghI * -*-*-* vi. saM. 2015 ] pradhAna sampAdaka tathA saMcAlaka AcArya jina vijaya muni dhArAdhipati - paramAra rAjAdhirAja - bhojadevaviracitA zRGgAra maJjarI kathA (gaNikAjIvana saMbaddha manorama saMskRta kathA ) saMpAdikA viduSI kumArI DaoN0 kalpalatA munzI ema. e. pIec. DI. **. [ prakAzanakartA ]**** siMghI jaina zAstra zikSA pITha bhAratIya vidyA bhavana, bambaI. 7 OM zrI DAlatI nighA 5 [ mUlya rU. 12/50

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anmummAALINDAIPALI mmARATHIHINDIRRORRIANAANILIYO DANTONImmit " vargavAsI sAdhucarita zrImAn DAlacandajI siMghI bAbU zrI bahAdura siMhajI siMghIke puNyazloka pitA janma-vi. saM. 1921, mArga. vadi 6Wan svargavAsa-vi. saM. 1984, poSa sudi 6 animumtirthuriled SHRIRAUDHHATTIL SC+ FIRMIRRITATIChinanim Jain-Education Interational

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siM ghI jaina grantha mA lA ***********[ Fruim 30 ]******** dhArAdhipati - paramAranRpacUDAmaNi rAjAdhirAja bhojadeva viracitA zRGgAra maJjarI kathA SRI DALCHAND JI SINGHI Wan zrI DAlacandra jI siMdhI 5 SINGHI JAIN SERIES ***************[NUMBER 30]***************** SRNGARAMANJARI KATHA OF PARAMARA KING BHOJADEVA Containing thirteen Tales pertaining to the life of the Courtesan in Ancient India, narrated in the rich Kavya style.

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kalakattA nivAsI sAdhucarita-zreSThivarya zrImada DAlacandajI siMghI puNyasmRtinimitta pratiSThApita evaM prakAzita siMghI jaina grantha mA lA [ jaina Agamika, dArzanika, sAhityika, aitihAsika, vaijJAnika, kathAtmaka - ityAdi vividhaviSayagumphita prAkRta, saMskRta, apabhraMza, prAcInagUrjara, - rAjasthAnI Adi nAnA bhASAnibaddha sArvajanIna purAtana vAma tathA nUtana saMzodhanAtmaka sAhitya prakAzinI sarvazreSTha jaina granthAvali ] pratiSThAtA zrImad - DAlacandajI - siMghIsatputra sva0 dAnazIla - sAhityarasika - saMskRtipriya zrImad bahAdura siMhajI siMghI SRI BAHADUR SINGRAJI SINGHI pradhAna sampAdaka tathA saMcAlaka AcArya jinavijaya muni adhiSThAtA, siMghI jaina zAstra zikSApITha * oNnararI DAyarekTara rAjasthAna orieNTala risarca insTITyUTa, jodhapura (rAjasthAna ) nivRtta oNnarari DAyarekTara bhAratIya vidyA bhavana, bambaI oNnararI meMbara jarmana orieNTala sosAITI, jarmanI; bhANDArakara orieNTala risarca insTITyUTa, pUnA (dakSiNa); gujarAta sAhityasabhA, ahamadAbAda (gujarAta); vizvezvarAnanda vaidika zodha pratiSThAna, hoMsiyArapura ( paJjAba ) saMrakSaka zrI rAjendra siMha siMghI tathA zrI narendra siMha siMghI prakAzanakartA adhiSThAtA, siMghI jaina zAstra zikSA pITha bhAratIya vidyAbhavana, bambaI

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mAlavadezAdhipa - paramAranRpacUDAmaNi rAjAdhirAja bhojadeva viracitA zRGgA ra maJjarI kathA rAjasthAnapradezAntargata-jesalamerudurgastha prAcIna jaina jJAnabhANDAgAropalabdha ekamAtra truTita - tADapatrIya pustakAdhAreNa saMzodhya, AMglabhASAmaya likhita vistRta vivecana - bhASAntara - vividhapariziSTAdibhiH supariSkRtya ca saMpAdanakartrI - viduSI kumArI kalpalatA ka0 mA0 munzI (em. e., pIeca. DI. ) granthAMka 30 ] vikramAbda 2015] Zeng Tian prakAzanakartA adhiSThAtA, siMghI jaina zAstra zikSA pITha Chu Jiu Cun K baMgaI bhAratIya vidyAbhavana, bambaI prathamAvRtti sarvAdhikAra surakSita [ khristAbda 1959 [ mUlya ru0 12/50

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SINGHI JAIN SERIES A COLLECTION OF CRITICAL EDITIONS OF IMPORTANT JAIN CANONICAL, PHILOSOPHICAL, HISTORICAL, LITERARY, NARRATIVE AND OTHER WORKS IN PRAKRIT, SANSKRIT, APABHRAMSHA AND OLD RAJASTHANIGUJARATI LANGUAGES, AND OF NEW STUDIES BY COMPETENT RESEARCH SCHOLARS ESTABLISHED IN THE SACRED MEMORY OF THE SAINT LIKE LATE SETH SRI DALCHANDJI SINGHI OF CALCUTTA BY HIS LATE DEVOTED SON DANASILA-SAHITYARASIKA-SANSKRITIPRIYA SRI BAHADUR SINGH SINGHI DIRECTOR AND GENERAL EDITOR ACHARYA JINA VIJAYA MUNI ADHISTHATA, SINGHI JAIN SASTRA SIKSHA PITHA Honorary Founder-Director, Rajasthan Oriental Research Institute, Jodhpur; General Editor, Rajasthan Puratan Granthamala; etc. (Honorary Member of the German Oriental Society, Germany; Bhandarkar Oriental Research Institute, Poona; Vishveshvranand Vaidic Research Institute, Hosiyarpur; and Gujarat Sahitya Sabha, Ahmedabad.) PUBLISHED UNDER THE PATRONAGE OF SRI RAJENDRA SINGH SINGHI AND SRI NARENDRA SINGH SINGHI BY THE ADHISTHATA SINGHI JAIN SHASTRA SHIKSHAPITH BHARATIYA VIDYA BHAVAN BOMBAY

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SRNGARAMANJARI KATHA OF THE PARAMARA KING BHOJADEVA OF DHARA (Containing thirteen Tales pertaining to the life of the courtesan in Ancient India, narrated in the rich Kavya style) Critically Edited from the only available, fragmentary palm-leaf Ms. in the famous Jain Bhandar at Jesalmere, Rajasthan. with an Introduction, Translation, Notes etc. BY Kumari KALPALATA K. MUNSHI, M. A., Ph. D. PUBLISHED BY Adhisthata, Singhi Jain Sastra Siksapitha BHARATIYA VIDYA BHAVANA BOMBAY V. E. 2015 ] First Edition : 500 copies [A. D. 1959 Vol. No. 30] mmmmmmmm [Price Rs. 12/50

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||siNghiijaingrnthmaalaasNsthaapkprshstiH|| GS. asti baGgAbhidhe deze suprasiddhA manoramA / murzidAbAda ityAkhyA purI vaibhavazAlinI // bahavo nivasantyatra jainA UkezavaMzajAH / dhanADhyA nRpasammAnyA dharmakarmaparAyaNAH // zrIDAlacanda ityAsIt teSveko bahubhAgyavAn / sAdhuvat saJcaritro yaH siMghIkulaprabhAkaraH // bAlya eva gato yazca kartuM vyApAravistRtim / kalikAtAmahApuryA dhRtadharmArthanizcayaH // kuzAgrIyayA sabubyA sadvRttyA ca saziSThayA / upAyaM vipulAM lakSmI koTyadhipo'janiSTa sH|| tasya manukumArIti samArIkulamaNDanA / jAtA pativratA patnI zIlasaubhAgyabhUSaNA / zrIvahAdurasiMhAkhyo guNavA~stanayastayoH / sajAtaH sukRtI dAnI dharmapriyazca dhInidhiH // prAptA puNyavatA tena panI tilakasundarI / yasyAH saubhAgyacandreNa bhAsitaM tatkulAmbaram // zrImAn rAjendrasiMho'sya jyeSThaputraH suzikSitaH / yaH sarvakAryadakSatvAt dakSiNabAhuvat pituH // narendrasiMha ityAkhyastejasvI madhyamaH sutaH / sUnurvIrendrasiMhazca kaniSThaH saumyadarzanaH // santi trayo'pi satputrA AptabhaktiparAyaNAH / vinItAH saralA bhavyAH piturmArgAnugAminaH // anye'pi bahavastasyAbhavan svasrAdibAndhavAH / dhanairjanaiH samRddhaH san sa rAjeva vyarAjata // anyaccasarasvatyAM sadAsako bhUtvA lakSmIpriyo'pyayam / tatrApyAsIt sadAcArI taccitraM viduSAM khalu // nAhakAro na durbhAvo na vilAso na durvyayaH / dRSTaH kadApi yadgehe satAM tad vismayAspadam // bhako gurujanAnAM sa vinItaH sajanAn prati / bandhujane'nurakto'bhUt prItaH poSyagaNeSvapi // deza-kAlasthitijJo'sau vidyA-vijJAnapUjakaH / itihaasaadi-saahity-sNskRti-stklaapriyH|| samukhatyai samAjasya dharmasyotkarSahetave / pracArAya ca zikSAyA dattaM tena dhanaM dhanam // gatvA samA-samityAdau bhUtvA'dhyakSapadAnvitaH / datvA dAnaM yathAyogyaM protsAhitAzca karmaThAH // evaM dhanena dehena jJAnena shubhnisstthyaa| makarot sa yathAzakti satkarmANi sadAzayaH // athAnyadA prasaGgena svapituH smRtihetave / kartuM kiJcid viziSTaM sa kArya manasyacintayat // pUjyaH pitA sadaivAsIt samyaga-jJAnaruciH svayam / tasmAt tajjJAnavRddhyartha yatanIyaM mayA'pyaram // vicArya svayaM citte punaH prApya susammatim / zraddheyAnAM svamitrANAM viduSAM cApi tAdRzAm // jainajJAnaprasArArtha sthAne zAnti niketane / siMghIpadAGkitaM jaina jJAnapITha matiSThipat // zrIjinavijayaH prAjJo muninAnnA ca vizrutaH / svIkatuM prArthitastena tasyAdhiSThAyakaM padam // tasya saujanya-sauhArda-sthaiyauMdAyaryAdisadguNaiH / vazIbhUya mudA yena svIkRtaM tatpadaM varam // kavIndreNa ravIndreNa svIyapAvanapANinA / rasa-nAgAGka-candrAbde tatpratiSThA vyadhIyata // prArabdhaM muninA cApi kArya tadupayogikam / pAThanaM jJAnalipsUnAM granthAnAM prathanaM tathA // tasyaiva preraNAM prApya zrIsiMdhIkulaketunA / svapitRzreyase caiSA prArabdhA pratthamAlikA // udAracetasA tena dharmazIlena dAninA / vyayitaM puSkalaM dravyaM tattatkAryasusiddhaye // chAtrANAM vRttidAnena nekeSAM viduSAM tathA / jJAnAbhyAsAya niSkAmasAhAyyaM sa pradattavAn // jalavAgvAdikAnAM tu prAtikUlyAdasau muniH / kArya vivArSikaM tatra samApyAnyatrAvAsitaH // tatrApi satataM sarva sAhAyyaM tena yacchatA / granthamAlAprakAzAya mahotsAhaH pradarzitaH // nande-nidhyethe-candrAbde kRtA punaH suyojanA / granthAvalyAH sthiratvAya vistarAya ca nUtanA // tato muneH parAmarzAt siMghIvaMzanabhasvatA / bhA vidyA bhavanA yeyaM granthamAlA samarpitA // bhAsIttasya manovAJchA'pUrvagranthaprakAzane / tadartha vyayitaM tena lakSAvadhi hi rUpyakam // darvilAsAda vidherhanta ! daurbhAgyAcAtmabandhUnAm / svalpenaivAtha kAlena svarga sa sakratI yayau // vidhu-zUnya-kha-netrA-bde mAse bhASADhasajhake / kalikAtAnagayoM sa prAptavAn paramAM gatim // pitRbhakkaizca tatputraiH preyase piturAtmanaH / tathaiva prapituH smRtyai prakAzyate'dhunA tviyam // saiSA granthAvaliH zreSThA preSThA prajJAvatAM prathA / bhUyAd bhUtyai satAM siMghIkulakIrtiprakAzikA // vidvajjanakRtAhAdA saccidAnandadA sadA / ciraM nandatviyaM loke zrIsaiMghI granthamAlikA //

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15 // siMghIjainagranthamAlAsampAdakaprazastiH // ccccccccom--- svasti zrImedapATAkhyo dezo bhAratavizrutaH / rUpAhelIti sannAmnI purikA yatra susthitA // sadAcAra-vicArAbhyAM prAcInanRpateH samaH / zrImaccaturasiMho'tra rAThoDAnvayabhUmipaH // tatra zrIvRddhisiMho'bhUd rAjaputraH prasidvibhAk / kSAtradharmadhano yazca paramArakulAgraNIH // muja-bhojamukhA bhUpA jAtA yasmin mahAkule / kiM vaya'te kulInatvaM tatkulajAtajanmanaH // patnI rAjakumArIti tasyAbhUd guNasaMhitA / cAturya-rUpa-lAvaNya-suvAk-saujanyabhUSitA // kSatriyANIM prabhApUrNA zauryoddIptamukhAkRtim / yAM dRSTvaiva jano mene rAjanyakulajA tviyam // putraH kisanasiMhAkhyo jAtastayoratipriyaH / raNamalla iti cAnyad yannAma jananIkRtam // zrIdevIhaMsanAmA'nna rAjapUjyo yatIzvaraH / jyotibhaiSajyavidyAnAM pAragAmI janapriyaH // bhAgato marudezAd yo bhraman janapadAna bahUn / jAtaH zrIvRddhisiMhasya prIti-zraddhAspadaM param // tenAthApratimapregNA sa tatsUnuH svasanidhau / rakSitaH zikSitaH samyak, kRto jainmtaanugH|| daurbhAgyAt tacchizorbAlye guru-tAtau divaMgatau / vimUDhaH svagRhAt so'tha yadRcchayA vinirgataH // tathA cabhrAntvA naikeSu dezeSu saMsevya ca bahUn narAn / dIkSito muNDito bhUtvA jAto jainamunistataH // . jJAtAnyanekazAstrANi nAnAdharmamatAni ca / madhyasthavRttinA tena tattvAtattvagaveSiNA // . adhItA vividhA bhASA bhAratIyA yuropajAH / anekA lipayo'pyevaM prana-nUtanakAlikAH // yena prakAzitA naike granthA vidvatprazaMsitAH / likhitA bahavo lekhA aitidyatathyagamphitAH // bahubhiH suvidvadbhistanmaNDalaizca sa satkRtaH / jinavijayanAmnA'yaM vikhyAtaH sarvatrAbhavad // tasya tAM vizrutiM jJAtvA zrImadgAndhImahAtmanA / AhUtaH sAdaraM puNyapattanAt svayamanyadA // pure cAhammadAbAde rASTrIyaH zikSaNAlayaH / vidyApITha iti khyAtyA pratiSThito yadA'bhavat // bhAcAryasvena tatroccairniyuktaH sa mahAtmanA / rasa-muMni-nidhIndvabde purAtatvA khya mandire // varSANAmaSTakaM yAvat sambhUSya tat padaM ttH| gatvA jarmanarASTre sa tatsaMskRtimadhItavAn // tata mAgatya sallamo rASTrakArye ca sakriyam / kArAvAso'pi samprApto yena svAtantryasaGgare // kramAt tato vinirmuktaH sthitaH zAnti ni ke ta ne / vizvavandyakavIndrazrIravIndranAthabhUSite // siMdhIpadayutaM jaina jJAna pIThaM tadAzritam / sthApitaM tatra siMghIzrIDAlacandasya sUnunA // zrIbahAdurasiMhena dAnavIreNa dhImatA / smRtyartha nijatAtasya jainajJAnaprasArakam // pratiSThitamA tasyAsau pde'dhisstthaatRsjnyke| adhyApayan varAn ziSyAn granthayan jainavAGmayam // tasyaiva preraNAM prApya zrIsiMghIkulaketunA / svapitRzreyase hyeSA prArabdhA granthamAlikA // athaivaM vigataM tasya varSANAmaSTakaM punaH / granthamAlAvikAsAdipravRttiSu prayasyataH // bANerane-nevendvande muMbAInagarIsthitaH / muMzIti birudakhyAtaH kanhaiyAlAla-dhIsakhaH // pravRtto bhAratIyAnAM vidyAnAM pIThanirmitI / karmaniSThasya tasyAbhUt prayatnaH saphalo'cirAt // viduSAM zrImatAM yogAt pITho jAtaH pratiSThitaH / bhAratIya padopeta vidyA bhavana sajJayA // bhAhUtaH sahakAryAthaM sa munistena suhRdA / tataHprabhRti tatrApi tatkArye supravRttavAn / tadbhavane'nyadA tasya sevA'dhikA hyapekSitA / svIkRtA ca sadbhAvena sA'pyAcAryapadAzritA // nanda-nidhyaGka-candrAbde vaikrame vihitA punaH / etadgranthAvalIsthairyakRte nUtanayojanA // parAmarzAt tatastasya zrIsiMghIkulabhAsvatA / bhAvidyA bha va nA yeyaM granthamAlA samarpitA // pradattA dazasAhasrI punastasyopadezataH / svapitRsmRtimandirakaraNAya sukIrtinA // daivAdalpe gate kAle siMghIvaryo divaMgataH / yastasya jJAnasevAyAM sAhAyyamakarot mahat // pitRkAryapragatyartha yatnazIlaistadAtmajaiH / rAjendrasiMhamukhyaizca satkRtaM tadvacastataH // puNyazlokapiturnAmnA granthAgArakRte punaH / bandhujyeSTho guNazreSTho hyarddhalakSaM dhanaM dadau // granthamAlAprasiddhyarthaM pitRvat tasya kAMkSitam / zrIsiMghIsatputraiH sarva tagirA'nuvidhIyate // vidvajanakRtAhAdA saccidAnandadA sadA / ciraM nandatviyaM loke jina viM jaya bhAratI // 20 22 23 Mr .mmm

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SINGHI JAIN SERIES Works in the Series already out. adyAvadhi mudritagranthanAmAvali 33 1 merutuGgAcAryaracita prabandhacintAmaNi mUla saMskRta grantha. 2 purAtanaprabandhasaMgraha bahuvidha aitihyatathyaparipUrNa aneka nibandha saMcaya. 3 rAjazekharasUriracita prabandhakoza. 4 jinaprabhasUrikRta vividhatIrthakalpa. 5 meghavijayopAdhyAyakRta devAnanda mahAkAvya. 6 yazovijayopAdhyAyakRta jainatarkabhASA. 7 hemacandrAcAryakRta pramANamImAMsA. 8 bhaTTAkalaGkadevakRta akalaGkagranthatrayI. 9 prabandha cintAmaNi - hindI bhASAMtara. 10 prabhAcandrasUriracita prabhAvakacarita. 11 siddhicandropAdhyAyaracita bhAnucandragaNicarita. 12 yazovijayopAdhyAyaviracita jJAnabinduprakaraNa. 13 hariSeNAcAryakRta bRhatkathAkoza. 14 jainapustakaprazastisaMgraha, prathama bhAga . 15 haribhadrasUriviracita dhUrtAkhyAna. ( prAkRta ) 16 durgadevakRta riSTasamuccaya. ( prAkRta ) " 30 31 siddhicandrakRta kAvyaprakAzakhaNDana. 32 dAmodarapaNDita kRta uktivyaktiprakaraNa. 33 bhinnabhinna vidvatkRta kumArapAla caritrasaMgraha. 34 jinapAlopAdhyAyaracita kharataragaccha bRhaddharSAvali. 35 uddyotanasUrikRta kuvalayamAlA kahA. ( prA0 ) 36 guNapAlamuniracita jaMbucariyaM. ( prA0 ) 17 meghavijayopAdhyAyakRta digvijayamahAkAvya. 37 pUrvAcAryaviracita jayapAyaDa - nimittazAstra. (prA0 ) 14 kavi abdula rahamAnakRta sandezarAsaka. ( apabhraMza ) / 38 bhojanRpatiracita zRGgAramaarI. ( saMskRta kathA ) 19 bhartRharikRta zatakatrayAdi subhASitasaMgraha . 20 zAntyAcAryakRta nyAyAvatAravArtika-vRtti. 21 kavi dhAhilaracita pauma sirIcariu ( apa0 ) 22 mahezvarasUrikRta nAgapaMcamIkahA. ( prA0 ) 23 zrIbhadrabAhuAcAryakRta bhadrabAhu saMhitA. 24 jinezvarasUrikRta kathA koSaprakaraNa. ( prA0 ) 25 udayaprabhasUrikRta dharmAbhyudayamahAkAvya. 26 jayasiMhasUrikRta dharmopadezamAlA. ( prA0 27 ko halaviracita lIlAvaI kahA. ( prA0 28 jinadattAkhyAnadvaya. ( prA0 ) 29 svayaMbhUviracita paumacariu. bhAga 1 ( apa0 ) 2 Shri Bahadur Singh Singhi Memoirs Dr. G. H. Buhler's Life of Hemachandracharya. Translated from German by Dr. Manilal Patel, Ph. D. sva. bAbU zrIbahAdurasiMhajI siMdhI smRtigrantha [bhAratIyavidyA bhAga 3 ] sana 1945. 9 2 Late Babu Shri Bahadur Singhji Singhi Memorial volume. BHARATIYA VIDYA [ Volume V] A. D. 1945. 3 Literary Circle of Mahamatya Vastupala and its Contribution to Sanskrit Literature. By Dr. Bhogilal J. Sandesara, M. A., Ph. D. (S.J.S.33.) 4-5 Studies in Indian Literary History. Two Volumes. 39 Works in the Press. saMprati mudyamANagranthanAmAvali By Prof. P. K. Gode, M. A. ( S. J. S. No. 37-38. ) 1 cividhagacchIyapaTTAvali saMgraha. 2 jaina pustakaprazasti saMgraha, bhAga 2. 3 vijJaptisaMgraha vijJapti mahAlekha - vijJapti triveNI Adi aneka vijJaptilekha samuccaya. "" 4 kIrtikaumudI Adi vastupAlaprazasti saMgraha. 5 guNacandraviracita maMtrI karmacandravaMzaprabandha. 6 nayacandraviracita hammIra mahAkAvya. 9 guNaprabhAcAryakRta vinayasUtra (bauDazAstra ) 10 dhanasAragaNIkRta - bhartRharazatakatrayaTIkA. 11 rAmacandrakaviracita mallikAmakarandAdinATakasaMgraha. 12 taruNaprAbhAcAryakRta SaDAvazyaka bAlAvabodhavRtti. 13 pradyumna sUrikRta mUlazuddhiprakaraNa-saTIka. 14 hemacandrAcAryakRta chando'nuzAsana. 15 svayaMbhukaviracita paumacariu, bhA0 3 7 mahendrasUrikRta narmadA sundarIkathA. ( prA0 ) Jain Educa kauTilmakula arthazAstra- saTIka ( katipaya aMza )e & fferealThakara pheDaracita granthAvali. ( prA*ww.jainelibrary.org

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CONTENTS prAstAvika (muni jinavijayajI) Preface .. Page 8-8 Abbreviations 4-6 ... 12-26 Bibliography Introduction ... ... ... 1-90 Chapter 1 The place of Find and the Description of the MS. 1- 6 Chapter II The Author Bhojadeva ... 7-11 Chapter III A Summary of Contents Chapter IV A Critical Appreciation of the SMK. ... 27-54 Chapter V The Purpose of the work 55-73 Chapter VI A Picture of the Times zRGgAramaJjarI kathA f-c8 faqatAICA POT ... 91-96 Translation of the Text 1-91 Notes ... ... ... 92-100 Appendix I Transcript from the Ms. of SP. ... ... 101 Appendix II General Observations in the SMK. ... 102-103 74-90 ON0

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PRE FACE Srngaramanjari Katha of Bhojadeva, based on a single (and the only known) manuscript is being brought to light here for the first time. The present study has been divided into four sections. The first section-Introduction, describes the peculiarities of the manuscript and analyses its contents. The second section consists of the text itself. The manuscript contained many scribal errors. These have been corrected and the original corrupt readings have been given in the footnotes. The folio numbers of the manuscript have been given in square brackets and the sides are indicated by the letters A and B. The completed lines have been indicated by superscribed numerals in round brackets. At the end of the text has been given an index of proper names occurring in the text. The third section contains the translation of the Sanskrit text. The small fragments have not been translated. The twelth tale also in which the thread of narrative is lost has been left untranslated. The numbers in brackets in the translation correspond to the page number of the Sanskrit text. The fourth section comprises of Notes, Appendices and Indices. The Notes deal with only those words and expressions which are rare or remarkable in some way. Appendix I is a transcript from the Madras Manuscript of the Srngara-Prakasa which was kindly sent to me by Dr. V. Raghavan. It bears important relationship with some technical points in the present text (Chapter Five). Appendix II is a grouping together of maxims found in the text. During this study, I was often required to consult the SrngaraPrakasa of Bhoja, no part of which was available then in printed form. I take this opportunity to express my deep sense of gratitude to Dr. V. Raghavan of the Madras University, for helping me by sending references, time and again, from the Sragaraprakasa manuscript. . As to my indebtedness to Muni Sri Jinavijayaji, what shall I say when I owe so much to him, from learning the a, b, c of deciphering the palm-leaf MS. down to the guidance in even the smallest details of preparation and presentation the text ? Suffice it to say that but for his manifold help, guidance and encouragement, I could not have undertaken and completed the present work. And as if this were not enough, he has so kindly included my work for publication in the illustrio Singhi Jain Series and taken all the trouble to see it through the press, from start to finish. Such a huge debt cannot be repaid in any amount of words. I can only register my deep sentiment of gratitude and respect towards him. KALPALATA MUNSHI.

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ASI BSP EI G. O. S. IA JRAS KA KAL KS KSS MW PSM SKA SMK SP SS ABBREVIATIONS Archaelogical Survey of India Bhoja's Srngaraprakasa by V. Raghavan Epigraphia Indica Gaekwad's Oriental Series Indian Antiquary Journal of the Royal Asiatic Society Kavyadarsa of Dandin Kavyalamkara of Bhamaha Kamasutra of Vatsyayana Kathasaritsagara of Somadeva A Sanskrit-English Dictionary-Monier-Williams Paiasaddamhannavo Sarasvatikanthabharana of Bhojadeva Ms. of the Srngaramanjarikatha of Bhojadeva 1. Srngaraprakasa of Bhojadeva 2. Madras Ms. of Srngaraprakasa Samarangana-sutradhara of Bhojadeva

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BIBLIOGRAPHY Printed Works-English and Sanskrit Agnipurana. (edited by H. N. Apte ), Bombay, 1900 Akbarshah, Sragaramanjari. ( edited by V. Raghavan ) Hyderabad, 1951 Aufrecht, Catalogus Catalogorum. Parts I & II Banabhatta, Kadambari. (edited by K. P. Parab), Bombay, 1940 Bhamaha, Kavyalamkara. (=Appendix VIII in Prataparudrayasobhu sana, edited by K. P. Trivedi ), Bombay, 1905 Bhanudatta, Rasamanjari Bharata, Natyasastra Bhojadeva, Samaranganasutradhara. (edited by Ganapati Sastri), Vol. I, Baroda, 1924 >> Sarasvatikankhabharana. ( edited by Durgaprasad and Pansikar), Bombay, 1925 ,, Stagaraprakasa ( published by Yatirajasvami ), Madras, 1926 Budhaswamin, BIhat-katha-slokasamgraha. ( edited by F. Lacote ), Paris, 1908 Caturbhani, (edited by M. R. Kavi & S. K. Ramanatha Sastri ), Madras 1922 Damodaragupta. Kuttanimata. Bombay 1899 Dandin, Dasakumaracarita. (edited by N. B. Godbole ) Bombay, 1936 ,, Kavyadarsa. (edited by S. K. Belvalkar ), Poona, 1924 Dasgupta, S. N. and DE, S. K. A History of Sanskrit Literature. Vol. I, Calcutta, 1947 Dey, Nandolal, The Geographical Dictionary of Ancient and Medieval India. Calcutta, 1899 Dhanapala, Tilakananjari. (edited by Pt. B. Shastri and K. P. Parab), Bombay, 1938 Dhananjaya, Dasarupaka. ( edited by Pansikar), Bombay 1928 Dickinson, G. L., The Greek View of life. London, 1932 Dubois, Abbe, Hindu Manners, Customs and Ceremonies. (Translated by H. K. Beaucham), Oxford, 1906 Fergusson, W. S., Helenistic Athens. London, 1911 Ganguly, D. C., History of the Paramara Dynasty. Dacca, 1933 Halayudha, Abhidhanaratnamala Handiqui, K. K., Yasastilaka and Indian Culture. Sholapur, 1949 Haribhadrasuri, Dhurtakhyana. (edited by Muni Jinavijaya and Upadhye, A. N.), Bombay, 1944

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Hemachandra, Abbidhanacintamani, Bombay, 1946 Chandonusasana. Published by Sagaranandsuri Kavyanusasana (edited by Parikh, R. C.). Vol. I, Bombay, 1938. Desinamamala, (edited by P. V. Ramanujaswami ). Sthaviravalicarita or Parisisthaparvan, ( Bibliotheca Indica, 96), 1932 Kane, P. V., History of Dharmasastra Literature, Vol. I, Poona, 1930 Kautilya, Arthasastra. (edited by Shamashastri), Mysore, 1924 (edited by Jolly & Schmidt), 1924 Keith, A. B., A History of Sanskrit Literature. London, 1941 Krsnakavi, Mandaramakaranda Campu, Bombay, 1924 Krishnamachariar, M. A., History of Classical Sanskrit Literature. "" Madras, 1937 Ksemendra Desopadesa and Narmamala. (Kashmir Series of Texts and Studies, 40), 1923 Kalavilasa. Bombay, 1929 Samayamatrka. Bombay, 1888 "" "" "" "" "" 22 --(5)-- Madhavacarya, Sarvadarsanasamgraha, Bombay, 1906 Magha, Sisupalavadha. (edited by Bhandare, M. S.), Bombay, 1932 Mammata, Kavyaprakasa. (edited by Syamacharan), Calcutta, 1886 Mehta, R. N., Pre-Budhhist India. Bombay, 1939 Merutunga, Prabandhacintamani. (edited by Jinavijaya Muni), Bombay, 1933 Monier-Williams, M., A Sanskrit-English Dictionary. Oxford, 1899 Munshi, K. M., The Glory that was Gurjaradesa. Pt. III-Imperial Gurjaras, Bombay, 1944 Padmagupta, Navasahasankacarita. (edited by Islampurkar, V.), Bombay, 1895 Prabhacandracarya, Prabhavakacarita. Bombay, 1940. Raghavan, V., Bhoja's Srngaraprakasa. (New Indian Antiquary), Bombay, 1942-43 Rajasekhara, Kavyamimamsa. (edited by C. D. Dalal & R. H. Shastri), Baroda, 1934. Ray, H. C., The Dynastic History of Northern India. Vol. II, Calcutta, 1936 Rudrata, Kavyalam kara. Bombay, 1928 Sragaratilaka. Bombay, 1899 "" Sanghadasagani vacaka, Vasudevahindi. (edited by Muni Caturvijayji and Muni Punyavijayji), Bhavnagar, 1930-31 Scott, G. R., A History of Prostitution. London, 1940 Sheth, H. T., Paiasaddamahannavo, Calcutta, 1929

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-( 6 ) - Somadevabbatta, Kathasaritsagara. ( edited by Pt. Durgaprasad and Parab, K. P.) Bombay, 1930 Somadevasuri, Yasastilakacampu. (edited by Pt. Sivadatta), Bombay, 1916 Subandhu, Vasavadatta. (edited by F. Hall), Calcutta, 1859 Sudraka, Mrcchakatika. (edited by Parab, K. P.), Bombay, 1936 Upadhyaya, B. S., India in Kalidasa. Allahabad, 1947 Vaidya, C. V., Downfall of Hindu India. Poona, 1926 Vaidya, P. V., Hemacandra's Prakrit Grammar. Poona, 1928 Vamana, Karyalaskarasutrani. (edited by Pt. Durgaprasad and Parab, K, P.), Bombay, 1926 Vardhamanacarya, Ganaratnamahodadhi. Vatsyayana, Kamasutra. (Chaukhamba Sanskrit Series), Benaras Visvanatha, Sahityadarpana. (edited by Mm. P. V. Kane), Bombay, 1923 Yadavaprakasa, Vaijayanti. (edited by G. Oppert), Madras, 1893 Studies. Buhler, G., The Udaipur Prasasti of the Kings of Malwa. (E. I. Vol. I, pp. 233-238) Chakravarti, N. P., Epigraphy, Section III, (A. S. I. 1934-35, p. 60) Crooke, W., Indian Prostitution. (Hasting's Encyclopedia of Religion and Ethics), Vol. X Dubkund Inscription, (E. I. II. p. 233, 237-238) Hogarth, D. G., Graeco-Roman Hierodouloi, (Hasting's Encyclopedia of Religion and Ethics), Vol. V. Krishnamachariar, M., Bhoja's Srngaramanjari. (Journal of Venkatesvara Oriental Institute), Vol. II, pp. 459-460, 1941. Penzer, Sacred Prostitution. (The Ocean of Story), Vol. I, Appendix IV, London, 1924 Svayambhuchhandas, (Journal of the University of Bombay, November, 1936, pp. 69-93) Velankar, H. D., Kavidarpana. (A. B. O. R. I. Vol. XVI, i-ii, 1935, note 51 ) Venkatasubiah, A. and Muller, E., The Kalas. (J. R. A. S. 1914, pp. 355-367) Vogel, J., Inscription F. Second Apsidal Temple Inscription. (E. I. Vol. XX, p. 22, 1929-30) Wallace, Irving, The Geisha Guild. (Tricolour), Vol. III, September, 1945, pp. 28-35 Wodehouse, Greek Prostitution. (Hasting's Encyclopaedia of Religion and Ethics, Vol. X)

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THE INTRODUCTION TO THE SRNGARAMANJARI KATHA OF SRI BHOJADEVA

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SINGHI JAIN SERIES ] [ Srngaramanjari Katha nAzitAmRtamayakSaka jayatyanyAsake mAsAyAvaya A fragment of the first page. jAmayasdapAga jasavaDA kalitamAlA sigAramaMjariyAvikaNAdavIsarasa -garamajA yAtikApAvI ejanadavANIpAsosama ujaraMgakasavikasiMgArameUriusAgiyAsAsanA pAjaNavANIpamaNarusAyavikramAvasAsAsA sarAgozakavimanAtayAlAjarAUnakadhAma bAlAjAdavaviracitAbAsaMgAramaMjarI kavAsa Half piece of the last folio.

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SINGHI JAIN SERIES 1 [Syngaramanjari Katha dAvidavAsitavAyavasaMtasamAyaparipatayamananayA kAhAktibhAvAnarAmAyanI maMDagADAviralaviralamAvalamukaphalasAlisA bAramaMjarIjAlAkakhAnagaramaNIkAyAlalAvA pAla mAviSavigalinayAyasamakSakasamakamApriyatamaniyAtalAdIdazana chadAyAsAdArakhasamabhivApATalApamAnakA maadbdhimedtaamaapryaamlyaaniaalkhaabaalaamuutpaadkimpikimpi| nAlAzyativaetaNIyatAmerA vIDAsaratamAsA hariyakaratayAmedamaMdamavidakaraNAnAvaracatimanatarAncanajArakAra gAvAzyasminalAdhivaviraladirAlAsaMsamisamalikAsakAlasadAlAbalanakAlAmAcalatamAzyAta khalAsA mazililavizAzanizAnAyADimAzAdayatimA dinarananistApitamAilasyA First side of the second page from which the text begins. vAdiyaghAnAmita yAnihanirmaDAivanikSaya mityazikSitasuvAmapalayaMdavA niHsAritA yadi khAtmAnAvitrayaskiyUmayApavimalayAdavadAyA 'taratimarisarAgatAtadiha pavitarivAzAgaya zivi sAMgAyakIvAtApavedariyAgAMgasuzinanAdInidhi timasAmAkSirAjapanAmacarazAsAnAdavaviracita pAlikAdazAniharinAtanavanirmaThatAsATempamalikSita saMdalAmakivighIyatA sUpatiruyA vinimazriyamatimAdhisamayisamAgAvalayAnadIyadAhAnatamagIla la/ pakAtAanaMtaka vivAgatAnasyasamAgavidhAmAnimAmasavidhAyaniHsAriyA nAvAdevisaratAmApAyarasaviprAvaNAmabAprayAyAdhisabanAyAdimitavika AgArudatItatevinAzinArAmAvizimAmAyUrAmavizAvalImaratidina nAyAsamoranarIkadhAyAnaracarmakavAnikArAgAdhyamazinyavAda Folio 59b showing the colophon of the 4th tale.

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. SINGHI JAIN SERIES] rAjasamadyaukirAda vitari maga kAsanA zito svtH| majidyArA gavAma prakAzita sunataH virAga vA vizarA gAi ghadvArA gAya kI bhAgAtunAzako piparAgI sagaHprakAzitathApItarI vAmAima karArAnI lIga sahamagrivizAdha [Srngaramanjari Katha manisA rAgA kAyama rAvala gAgA kiM vidazcirAvadhi maMtidhArA pravAsa nA canA rAga ko pinyarAgavizirAva vivi dvArA pradarzanAta vanaH kiMvidhika virAgadarzanAta samaya ghavidyA dukA nyAyasvanyAH OM 3 lAkha ra tAnI jIrAgA mAga dAsa va sAdhanyamidhArA gaMja yayA vizvAvApatra viyatA pani nAya Folio 32a showing the correction style. pariNItavAcAveka dAkSimininayariNIdhAtaruvAta tivA mApatinA mUlAdAcA rasa yida va sidyaasvtiduraaraa| zArAma virAyAnIvArAgiekA ra ti sAtkhaca tinatAyAkhamAnAviz pAvityamA sAnne vA khidyAdinAmanivamika sAvanI sukhe kAna utpaaditaapkaaraanmudyt| zvadAna raMvAra ma siyudyamAnA vidya duzavAra kima pizyAtA vyaktilAI midaMsarIra spajAya manyAtArutadAraparivada e janma pdhissyaami| tAtA nRpatirakhA yazAsA svasaMtAtalA gAhinikhilA zramajIvana vA 1466 parivAlA vizvamAna cAtize vinA ruviteya mityAdidamazidI ghamAnaH Folio 145b showing the condition of the palm-leaf before being inscribed upon.

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SINGHI JAIN SERIES] [Syngaramanjari Katha magokAnAdAvanAsIdatiyujAridyAnarAjakArozanadAu mama sujhAuyacatAdhikAra kasna savidhAna gharAkArya nAbisasthAsAvIsAvyAyAmAmadhUtA simAnAnaka lAvalpavayapidigasampasivanI jilivabhAva zivagatadina mAvAsyazamasAnana sumatinA viktiyati visAlacAvAsamAnAvabItAsvaranara savimayasaseca malAvaNyavatIya vItitataHsumativitasyAbAnA mAtAbhinmasisayarAnAna yI cArazenavinatamAsAyana mahAjAvitramAtavinAyaMsa apAtayAtakriyatAmamA yAyaviramatAhiyasisi momAnAmApatitAnA gorakhavArisamAtigA pravAsAdarasama yAmasadasUrajamayasyAviyatpamatyAsAdajinAmA vatatApUrA gayetIma vivAdamAzAvAbArAmAunApatranigAmA palsamalanAya pramAmilA vAgatAsanAsAvapAvidhidayapasAbasAyaTaramAlA mAdI nAtAnamatramatikA vatIyatimaramarAgaviyatanAyarAma pavAyamiti dhyAkAmanadinitanavakalAkAnAmAmAyAkA. o matAntra nikAyasAya vitiyApinalimadIpArAgAsyadeviyAkapaTavila patitAvakipatyatisamanyavAtazetramiA mitimanyamAnavilakAmAvatApAtAmasatrama 122 vayAta vagAve damaDAvara sAtaramyavAtAvAlanatIti vimAnosAmpAvAlapAdhidilamAyatAlIkA ltsyaadhy| Folio 122 & 140 showing how fragments have been pieced together.

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INTRODUCTION CHAPTER I THE PLACE OF FIND AND THE DESCRIPTION OF THE MS. The palmleaf Ms. of the Srngaramanjarikatha (hereafter mentioned as SMK) of King Bhojadeva was found in the Jesalmere Jnana Bhandara. It was first noticed by Dr. G. Buhler when he went to examine the Bhandaras in 1874. He says: 'A poetical composition by Bhoja--the srngaramanjarikatha ---- is partly preserved in a fragment which I found in 1874 in the Bshadjnanakosa at Jesalmere. A colophon on fol. 149b runs as follows:-- iti mahArAjAdhirAjaparamezvara zrIbhojadevaviracitAyAM zaMgAramaMjarIkathAyAM pamarAkakathAnikA dvAdazI samAptA / The work is partly in prose and partly in verse.'1 The same Ms. has been listed in the 'Catalogue of Mss. in the Jesalmere Bhandaras' compiled by C. D. Dalal after his visit to Jesalmere in 1916. The Catalogue observes, at one place 'No. 32 (1) T TECH by Bhoja, incomplete.' (2) in the introductory part of the same catalogue, Pandit Lalchandra Gandhi writes: TTREGA bhoja (ka 325 (2)) kathAsaMgrahamayIyaM surasA kathA saMskRtabhASAyAM saMskRtabhASAjIvAtunA sarasvatIkaNThAbharaNAdipraNetA mahArAjabhojadevena viraciteti tadantargatakapatre ullekhadarzanAdaATRI () A few lines from fol. 69a and 69 b are then quoted from the Ms. Evidently Buhler had only seen stray leaves of the Ms. for he incorrectly avers that the work is partly in prose and partly in verse. Pandit Gandhi, however, has rightly observed that SMK is a Katha, emboxed within which are a number of other tales. Pandit Isvarachandra Sastri, who has edited4 Bhoja's 'Yuktikalpataru' refers to SMK as a work on Kavyasastra in the Introduction. M. Krishnamachariar, in his 'A History of Classical Sanskrit Literature' has made a reference to Bhoja's SMK as a prose romance.5 Further, the same author has written a note on SMK in the Journal of Sri Venkatesvara Oriental Institute which is interesting. It reads: Srngaramanjari is a romance by King Bhoja Deva. Judging from the variety of his works in poetry, this work will be of great interest. Being in prose, it is a valuable addition to Gadya Kavyas......... It has not been possible to get a copy of the manuscript and the last 1. EI. Vol. I, pp. 222-238. 2. G. O. S. XXI, p. 40. 3. Ibid., p. 55. 4. Calcutta, 1917. 5. Madras, 1937, p. 444. 6. Vol. II, 1941, pp. 459-460.

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2 SRNGARAMANJARIKATHA effort elicited an answer from the Dewan, Jaisalmer State, Jaisalmer. The Dewan in his letter dated 20th July 1941 says that "the above manuscript in very old Devanagari characters is available in Basta No. 325 of the Jain Bhandar but it is reported to be incomplete inasmuch as some of the first pages are missing, many of the pages are not numbered and some are mixed up with another book." 'It is hoped that other scholars and institutions will interest themselves in securing a copy and publishing it and save it from oblivion into which it has fallen for some centuries.' It is interesting to trace how this Ms. came to see the light of the day. Muni Jinvijayji had a keen desire to see this Ms. himself ever since he read the description of it. In 1942 Muniji stayed for five months at Jesalmere specially to examine the Bhandaras, and made a thorough search for the Ms. At first he found about fifteen to twenty leaves of the work and got them copied under the impres sion that this was all that could be found of the Ms. But while he was examining other Mss. it struck his expert eyes that a number of leaves in the same scribe's hand lay scattered in other works. He therefore collected all such leaves and had a fresh copy made. From one of the texts he found a fragment of the last page of this Ms. and hoping then that a great number of fragments may be found, he searched through the heaps of fragmentary pieces stored up in the dark and stinking underground cellars of the Bhandara. The search was successful; and he obtained a lot of material. With the idea of publishing the work he brought it to Bombay and gave the leaves for printing. But other preoccupations compelled him to leave the publication half done. In 1945 when I registered as a student for the degree of Ph.D. in the Bharatiya Vidya Bhavan under Muniji's guidance, he suggested that I should take up the work of editing this Ms. The Ms. along with the first copy of the leaves and the fragments were given to me. The present work is the result of a critical study of the same Ms. The Age of the Ms. The date of the composition of the SMK is given in the last stanza, but unfortunately the folio is fragmentary and therefore it The portion about the date of the composition reads: is lost. . vatsarANAM zakadviSaH / kRteyaM bhojarAjena kathA [ zRMgAramaMjarI ] But the Ms. is not dated. The condition of the palm leaf and the style of writing indicate that it could not have been written later than the 12th century. In the Bhandara there are other Mss. copied by the same scribe, but unfortunately none of them too are dated.

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DESCRIPTION OF THE MS. External Peculiarities of the Ms.: Description The palmleaf Ms. is written in beautiful Devanagari script, the style of writing is similar to the Mss. of the 11th and the 12th centuries. The leaves are smooth and of a superior quality. A deep black ink is used in writing and the characters of the script indicate the use of a reed pen. The writing is distinct. 3 The complete text is in 158 folios, of which sixteen leaves are missing and twenty-six are in fragments of various sizes. A small fragment of folio 1 written on one side, and the left part of the last folio have also been found. The leaves measure approximately 11.7" in length and 2" in breadth. The leaves are divided into two parts by a centre column. The left side is shorter than the right side, the left measuring 4.7" and the right 6.9". The centre columns have string holes which are uniform and not much enlarged. The edges of some of the leaves are broken resulting in loss of letters in some cases. The lines are regular and at the end are marked by vertical double lines running across the whole breadth of leaves. There are generally six lines on a page. In some cases where the leaves are narrow in breadth there are five lines. The lines are written on both the sides with about 52-55 letters in each line. It follows the usual method of writing words continuously without a break up to the end of the line. In some cases, as in folio 68a, where the leaf is defective, lines are not completed and in folio 18b, the right hand corner is left blank. Punctuation The simple vertical stroke, the danda is used for the separation of single words or groups of words. But it is used very irregularly and many times without significance. For example on folio 6a, lines 3-4 we have kvacit saMkrAntasphaTikazAlavalaya pratibimvatayA / nagarIvilokanakutUhalAkulitaniryaccheSayeva / parikhayA parikSiptA / A double vertical stroke is usually used at the end of a sentence where a particular description or a conversation is finished. The sign usually marks the change of topic or the end of a story. Occasionally at the end of a story a double mark is put which is rather unusual. A sign like a horizontal comma is used when lines are not completed due to some defect in the palm leaf before inscription. indicates continuation in the next line. The sign Pagination The pagination is on the reverse of the leaves and both in the numerals of numbers and letters as is found in the palm leaf Mss. of

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SRNGARAMANJARIKATHA Western India.7 The letter numerals are written on the left hand side and the number numerals on the right hand side. Scribal Errors and Corrections The degree of accuracy of the Ms. depends upon the scribe's learning and carefulness. Of the two kinds of scribes one was the scholar himself who prepared his own Ms. and the other was a professional scribe. The professional scribe was only a master of the technique of writing and had generally no idea about textual accuracy, grammatical or otherwise. The scribe of this Ms, seems to be only a professional one and therefore there are innumerable scribal errors. Scribal Errors 4 The subjoined list comprises of select examples of scribal errors. The most frequent error consists in a mis-written syllable or a letter. For example sociSA for rociSA, (fol. 80a, line 4), or again saMbaMdha for. subaMdhu (fol. 2b, line 3). Sometimes, a letter or syllable is misplaced. Thus yazaHpAtakA for yazaH patAkA ( 28a, line 1). Or a letter or a syllable is omitted. For instance at for tar (fol. 38b, line 5). Or a superfluous letter or syllable is inserted. Thus in the original we have dazAmanubhava manutkaNThula: for dazAmanubhavannutkaNThula: ( 48b, line 4 ). Again in the original Ms. from which this Ms. must have been copied, whereever there is halanta the scribe has understood and written; thus manAku for manAk, tadIyAnu for tadIyAn. Occasionally there occur entirely wrong words such as na vamasyakarot for ca manasyakarot / Besides these, in some places the readings are so grossly wrong that it is difficult to understand the real meaning thereof. Thus on folio 22a, line 4 we read nAsikAvaMzAd AkRti kamanIyatA mogdhAyAH duddhapATalAprasUna which conveys no sense. Such instances can be multiplied galore and the scribe may be charged with careless and defective copying or perhaps the Ms. before him might have been incorrect. Corrections In comparatively a small number of cases, the errors have been corrected by the scribe himself. Certain signs are used in the Ms. for the purpose of correcting an error in the text when a letter or a word had to be altered, cancelled or inserted. Two minor strokes are attached to a letter or a word to indicate alteration. Thus on folio 106, line 6 the word which originally was written as fis altered to fa by attaching two minor strokes to the cancelled word. Similar is the procedure adopted for cancelling a letter. 7. Dr. Buhler is not quite correct when he says (Indian Paleography, I.A. Vol. XXX, III Appendix, 1904), that this is a peculiarity of the Jaina Mss. of Western India, for the same is seen even in the Brahmanical and Buddhist Mss. of the time.

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DESCRIPTION OF THE MS. In order to cancel a full line two horizontal minor lines are placed above and below the first and the last letter. Thus #f7f7yTaft #FESTETTIERT #farat aa: 1 ] Tnt etc. (fol. 31b, line 6). The sign of Kakapada is used to indicate the omission of a word or words. The omission is indicated in the margin above or below. Excepting the first and the last lines the insertion also gives the number of the line in which the insertion is made. Thus on fol. 32, a full line is omitted in line no. 2. A Kakapada is put there and the whole line is inscribed in small hand in the margin above, with No. 2 at the beginning and the Kakapada at the end. Another method used in correcting the wrong letters is to deface them. As in folio 89a, line 4 and fol. 89b, line 5 one or two letters are defaced and the correct letters written over them. Orthographical Peculiarities The Ms. has a few orthographical peculiarities. The confusion between 7, T, Q is so frequent that in the present edition corrections are made without noting them in footnotes. Similar is the case with the Visarga, which is at some places retained when it should be dropped, and dropped when it should be retained and are intermixed. Thus for example vakhyA for vazyA; and SidyamAna for khidyamAna. lla is written for NrNa, for instance , zrIpallI for zrIpaNNI and tAmrapallI for Triqooff. At one place half conjuncts are confused, thus instead of we have . Another peculiarity is the use of up for out for To which shows the scribe's familiarity with Prakritism. Presentation of the Text The text of SMK presented here is based on the only available ms. described above. Liberty has been taken in removing and correcting some scribal errors with a desire to reach genuine readings without any pretension to improve upon the text. The text presented, therefore, is the corrected one and the original corrupt readings are given as footnotes. The missing letters that are supplied are put within rectangular brackets, the emendations within circular ones. Where there is some doubt about emendations, a mark of interrogation is put along with the word. Where, however, the ori. ginal readings convey no meaning and no suggestion could be made, a mark of interrogation has been put in the text. It has been mentioned already that the text, reconstituted as it is, is not complete. Besides the loss of complete leaves there are many leaves in fragments of various sizes. The approximate number of letters missing in each case is given in the footnotes. For Private & Personal use only.

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SRNGARAMANJARIKATHA Punctuations, sandhis and paragraphs are added for clearer reading, and titles for stories are put in the beginning for reference facility. Title The colophons give the title of the main work as well as the substories thus: iti mahArAjAdhirAjaparamezvarazrIbhojadevaviracitAyAM zrRMgAramaMjarIkathAyAM fa T FTFT TTT The titles of the sub-stories are after the names of the nayaka or the nayika generally, except in three stories where titles are suggestive of the theme, namely, F347 TT (8th tale), 3771TFT (9th tale) and #FF9T (10th tale). The title of the main work is interesting. It is after the nayika whose name is Srngaramanjari. It seems that the choice of the name is not accidental. It is suggestive. First of all it brings to our mind Bhoja's other work, srngaraprakasa, in which he has elaborately put forward his own theory of srngara. His fancy for 'Rasa-Srngara' probably led him to name his nayika Stngaramanjari. Secondly, as will be shown below, this text has some connection with his treatment of the srngara; and, thirdly the sentiment of Srngara predominates in this composition. Considering all this, it seems that the name of the nayika, and hence the name of the work, has been thoughtfully selected. In the annals of Sanskrit Literature there are many works called 'Srngaramanjari' but the 'sangaramanjarikatha', the present work, is different from them.

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CHAPTER II THE AUTHOR: BHOJADEVA The Ms. of the SMK mentions Maharajadhiraja Paramesvara Sri Bhojadeva as the author of the work, and there is sufficient internal evidence to confirm this. Aufrecht in his 'Catalogus Catalogorum't mentions a large number of works generally ascribed to this illustrious Paramara king, but the SMK does not figure therein. Aufrecht makes the categorical statement that not one of the list is an authentic work of Bhoja. This assertion has been endorsed by modern scholars without however adducing cogent arguments in support of their view. What is more, the authenticity of not one of these works ascribed to Bhoja has been doubted or impugned by any subsequent literary evidence. On the contrary, the case of the Campu-Ramayang proves that no effort has been made to father upon Bhoja the author. ship of any work other than his own.2 In so far as the SMK is concerned the question presents, fortunately, little difficulty. There is sufficient internal evidence to warrant the conclusion that it is Bhoja's composition. This conclusion becomes better fortified when its kinship with the Sarasvati. 1. Part I, p. 418, part II, p. 95. Besides the two Prakrit Poems edited by Pischel (El., Vol. VIII, pp. 241-260) Dr. N. P. Chakravarti records the find of two more Prakrit Poems of Bhoja on slabs in Dhar (A.S.I., 1934-35, section III, Epigraphy, p. 60). In this the colophon is similar to that in our text: gre FETTETfETTTTTTTTTTroaafarfa: EUS, ... The editor, of course, doubts the authorship. 2. In the bulky volume of Campu-Ramayana which is also called 'Bhoja-campu there are seven kandas. The first five are written by Bhoja. The 6th by Laksmanakavi and the 7th by Venkatadhvarin. At the end of the 6th kanda Laksmanakavi writes prAgbhojoditapaJcakANDavihitAnande prabandhe punaH / kANDo lakSmaNamUriNA viracitaH SaSTho'pi jIyAt ciram / / And at the end of the 7th kanda, Venkatadhvarin says the same, mentioning his own contribution also ya: kANDA nibabandha campUvidhayA paJcApi bhoja: kavi: yo vA SaSThamacaSTa lakSmaNakavistAbhyAmabhAbhyAmapi / kAruNyAdavazeSitaM kila mama kSemAya rAmAyaNe phANDaM saptamamugdRNAtu rasanA campupravandhAtmanA /

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SRNGARAMANJARIKATHA kanthabharana (SKA) and Srngaraprakasa (SP), acknowledged by common consent as Bhoja's works, is taken into account. 8 Let us deal with the internal evidence first. The colophons of every Kathanika uniformly read: iti mahArAjAdhirAjaparamezvarazrIbhojadeva farfarai etc. Next is the concluding verse of the SMK. After paying homage to the Goddess Sarasvati in four Prakrit gathas, in the fifth stanza, which is unfortunately not complete, Bhoja's authorship of the SMK is asserted. It reads thus: . vatsarANAM zakadviSa: / kRteyaM bhojarAjena kathA [ zRMgAramaJjarI ] // The stanza definitely mentions Bhoja as the author of the present work. If only the first pada of the stanza had not been lost the question of the date also would have been settled once for all. In the body of the text also there is a reference to the authorship of this king of the Paramara family. In the description of a mountain it is said: etatkathAkAramiva virAjitaparamArAvanIpavaMzam (f. 135b, 5-6). Besides there is the introductory scene, where Bhoja is described as sitting in an informal assembly of friends, relatives and learned men. They request him to narrate a Katha. A short, but interesting discussion follows, from which we get information about certain technical aspects of the Katha as a literary form of composition.3 There is little probability of any other story-teller giving expression to his own views in the name of Bhoja on this matter. On the other hand, the description of the literary assemblage here given is a faithful picture of such informal assemblages prevalent in those days. 5 The SMK begins with the description of the city of Dhara. The Paramaras were well-known as excellent builders;4 and it is an accepted fact that it was Bhoja who rebuilt Dhara in the early part of the eleventh century. Is it any wonder then that Bhoja should call it the most distinguished city on earth and be tempted to praise his own creation and lay the scene of the story in it? At one place, while describing the various magnificent structures in the city of Dhara, the author also says that 'they put to shame all the old residences of the town' ( yA collasantIbhiramalasphaTika prAkArakAntiparamparAbhirupa hasatIva tribhuvane'pi purAtanAnyakhilasannivezasthAnAni ) - perhaps a veiled reference to his having rebuilt the city. It has been mentioned in the previous chapter that the title of the work is significant looking to the purpose of the text. The SMK illustrates some technical aspects of raga, which is an essential 3. See Chapter IV infra. 4. Ganguly, D. C., History of the Paramara Dynasty (1933), pp. 254-275; Munshi, K. M., Imperial Gurjaras, p. 146 f. 5. Ganguly, op. cit, p. 27.

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THE AUTHOR: BHOJADEVA element in furthering the sentiment of Srngara. Its relation to the SKA and the SP on this point will be discussed in Chapter Five below. There are no two opinions regarding the common authorship of both the SKA and the SP. In fact, Dr. Raghavan has definitely stated that 'considering the subjects dealt with in both works, we can safely say that, as far as Poetics goes, the Sr. Pra. adds substantially nothing new which is not contained in a brief manner in the SKA itself. In this respect, one can call the Sr. Pra. an elaboration, Vistara or Vyasa, of the Samgraha, the SKA.' Carrying this reasoning further on the basis of the statement in the SP sa ca sAttvikAdinAyakabhedAt sthirAsthiratvAditAratamyAt prabandhena upapAdyamAno ETERPDIR BETA, SMK, the present work, can be considered as the prabandha which Bhoja composed for the purpose. It may be added that the relative dates of these two works, namely, the SP and the SMK, can also be determined from this evidence. Thus the correlation of the three texts establishes beyond doubt that they all are the works of Bhoja. (ii) sAdhitaM vihitaM dattaM jJAtaM tadyanna kenacit / kimanyatkavirAjasya zrIbhojasya prazasyate // Bhojadeva, the illustrious king of the Paramara dynasty, is the most versatile king in Indian history. In c. 1010 A.C. he came to the throne of Dhara and died in 1054 A.C. Thus for about forty-four years, he ruled, and within that period, as the Udaipur Prasasti describes him, 'he accomplished, ordered, gave and knew what was not in the power of anybody else'. 9 A correct estimation of Bhoja's life-account is wanting not because the darkness of oblivion surrounds him but because he is too much in the limelight. Even during his life-time he had attained the glory of a Sarvabhauma. His major achievements as estimated by the historians and other literary records may be mentioned here. He was first and foremost a man of great learning-a versatile literary man, a polymath. The large number of books attributed to him show that he had mastery over almost all the branches of knowledge, and that there was a conscious effort on his part to systematize and popularize knowledge. His literary courts also attest to his literary abilities and patronage of learning. These courts were so well-known that other states emulated his example. Scholars from various parts of the 6. Bhoja's Srngaraprakasa, p. 70. 7. Vide Appendix I. 8. Udaipur Prasasti of the Kings of Malwa, El. Vol. I, pp. 233-238, vs. 18. 9. Vaidya, C. V., Downfall of Hindu India, 1926, pp. 157-168; Ganguly, op. cit, 89-122; Munshi, op. cit, pp. 129-154.

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10 SRNGARAMANJARIKATHA country flocked to his court, and we read how Bilhana regretted his not having attended Bhoja's court. 10 Bhoja with the help of his court poets and panditas brought the studies of Sastras up-to-date. He systematized and standardized the study of all branches of knowledge. The temple of Sarasvati, known as 'Bhojasala', was verily a University, and it was a meeting place of great poets, scholars, critics and accomplished men. 11 We are told that the court of Calukya Jayasimha of Gujarata was modelled on Bhoja's court. The Prabhavakacarita records an interesting episode that when Siddharaja Jayasimha triumphantly entered the city of Ujjayini, he found all the students studying Bhoja's Grammar and other works day and night, and the libraries were full of Bhoja's works. 12 In later days his courts passed into legends and were the objects of fancy for later writers like Ballala who, for instance, in the exuberance of his admiration for Bhoja defied history and gathered Kalidasa, Bana, Bhavabhuti and Magha at Bhoja's court. Secondly he was a great builder. Of his magnificent monuments--cities, temples and lakes, we have traces even today. And his two bulky volumes of Samaranganasutradhara, dealing with various aspects of town-planning and architecture, prove his interest in the subject. Lastly, he was a great military leader, always busy conquering, making alliances, forming confederacies and building up a great Empire. During one period of his life, when his political power was supreme he had under his sway a considerable part of India, for Indraratha of the Kesari dynasty of Orissa, and the Western Calukyas of Kalyani were defeated by him. In the South he had extended his hands of friendship to the Cola kings and had conquered Karnataka and Konkana. He had also helped the other Hindu kings in driving back Mahmud of Ghazna.13 10. Vikramankadevacarita, XVIII, 96. 11. Munshi, op. cit, p. 146. 12, Prabhacandracarya, pp. 156, 157, 185: tatra vyAkaraNaM zrImadbhojarAjavinirmitam / tacca vidyAmaThe chAtraH paThayate'harnizaM bhRshm|| sUrAcAryastataH prAha granthaH ko'tra prvaacyte| kRtiH zrI bhojarAjasya zabdazAstraM sa cAvadat // anyadA'vantikozIyapustakeSu niyuktakaiH / dRzyamAneSu bhUpena praikSi lakSaNapustakam / / kimetaditi papraccha svAmI te'pi vyjijnypn| bhojavyAkaraNaM hyetacchandazAstraM pravartate // asau hi mAlavAdhIzo vidvcckrshiromnniH| zabdAlaGakAradaivajJatarkazAstrANi nirmame // cikitsA-rAja-siddhAnta-rasa-vAstUdayAni c| aGaka-zAkunakAdhyAtma-svapna THEFFAT granthAn nimittvyaakhyaan-prshncuuddaamnniinih| vivRttiM cAtha sadbhAve'rghakANDaM meghmaalyaa| 13. Munshi, op. cit, pp. 131-146.

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THE AUTHOR: BHOJADEVA And thus looking to his strong and extensive political power the claim of the Udaipur Prasasti that he possessed the earth from the Kailasa to the Malaya hills and from the setting to the rising sun is not an exaggeration. The SMK supports what the historians record. He is compared with the great literary men like Subandhu, Bhasa, Gunadhya and Bana. A glowing tribute is paid to his intellectual acumen and statesmanship in comparing him with great men like Brhaspati, Usanas, Uddhava, Canakya and Dharmakirti. Of such a learned and mighty king, the footstool was reddened by the rubies studded in the crowns of the constantly bowing kings; the creeper of fame rose to the skies; Goddess Sarasvati sought refuge and the Glory of Victory sought asylum.

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CHAPTER III A SUMMARY OF CONTENTS The SMK is a Katha. The frame-tale is preceded by an Introduction which tells us how, when and by whom the Katha came to be narrated. Once upon a time when spring was almost over and when the heat of the sun was increasing, King Bhojadeva, who was seated on the bejewelled seat of the dhara-glha, was requested by his friends and admirers to narrate to them a new tale. After a little hesitation, the king began: Here there is the beautiful city of Dhara. King Bhojadeva is the ruler: His favourite courtesan is Srngaramanjari, who is accomplished in all the sciences and arts necessary for a courtesan of her standing. Her beauty and wealth add to her good fortune but she lacks a sense of discrimination in attending to the people who come to her. Her mother Visamasila is proud of her heritage, but fears that srngaramanjari might some day be cheated by rogues and ruin the good reputation of her family. So one day Visamasila frankly speaks out her fears to Songaramanjari and instructs her that since men have different natures and leanings in the world, she should be more discriminating. Vnamasila also describes the different forms of attachments of men and expounds some principles to be followed by a courtesan. This is the frame-tale. The teaching is imparted by illustrative stories which form the thirteen kathanikas. Each kathanika has a moral which is enunciated at the outset and explained at the end. The First Tale of Ravidatta Visamasila: Men are ruined because of their deep attachment --niliraga-for courtesans. Thus: In the town of Kundinapura dwelt a learned Brahmana named Somadatta. In old age he begot a son by favour of the Sun God and the child was therefore called Ravidatta. By the time Ravidatta was sixteen, he had mastered the Vedas and all the sastras; and his father instructed him in all the arts, especially the art of harlotry. Once, after the death of his parents, when it was Spring time, a group of Vitas urged him to attend the festive procession of the fish-bannered god Madana (i.e. God of Love). He remembered the advice of his elders, but goaded on by his friends, he proceeded to the mansion of the God of Love. There he saw a lovely courtesan Vinayavati. On seeing her he stood dumb as if stricken by the

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A SUMMARY OF CONTENTS 13 abundance of Madana's arrows. Vinayavati saw his youthful form and opulent appearance and glanced at him frequently as if enamoured of him. Though till that day Ravidatta was insensible to the play of love, he was charmed by the courtesan's amorous glances. After duly performing the worship of Madana, he left the place with his mind fixed on her. The courtesan also returned home thinking of him. She had secured a good prey; and she did not wish to let it escape. She sent her friend Sangamika to tell Ravidatta of her love and bring him to her house. When Sangamika met Ravidatta, she spoke to him about it and invited him; he was at first indecisive, but the fire of youth outweighed his judgment, wisdom, modesty and learning and he went to the courtesan's house. Vinayavati was quick to understand his deep attachmentniliraga---and gradually divested him of all his wealth. When Ravi. datta became a pauper she sent a message to him through Sangamika that a certain merchant named Vasudatta had arrived from Suvarna. dvipa with much wealth and was ready to give it all to Vinayavati if he could but spend one night with her. And therefore Ravidatta was asked not to come to her place for two or three days. The dull-witted Ravidatta took her at her word and stayed home, After a few days he went to her house, but was turned out. He met Sangamika but she showed no signs of recognition. He made repeated efforts to gain entrance to Vinayavati's house but was rebuked, laughed at by her servants and driven out every time. But his attachment for her did not lessen. He passed the remaining days of his life thinking of her and thought himself fortunate whenever he had the opportunity of seeing her. Visamasila. Thus O daughter, the secret teachings of harlotry yielded good results after the nature of niliraga was known. As a cloth dyed in indigo does not fade even when washed by different things like soda, a person of niliraga does not give up his deep attachment even when ruined in a hundred ways. The Second Tale of Vikramasimha srngaramanjari: Mother, you have spoken about ihe niliraga My curiosity increases. Please speak to me about the manjistharaga Visamasila said: In the city of Tamalipti, there dwelt a prince named Vikrama simha. One day loitering in the locality of the courtesans he saw Malatika, the daughter of the bawd Ekadamstra. Malatika was not independent for she depended for her livelihood on a merchant named Vasudatta.

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SRNGARAMANJARIKATHA As soon as Vikramasimha saw Malatika he felt an irresistible attraction towards her. He sent his servant Priyamvadaka to her to find out the means by which he could meet her. In answer to his request Malatika told him of her dependency on Vasudatta due to a contract, and asked him to wait till she found an excuse to meet him. He waited patiently throughout the rainy season. Then Malatika sent her messenger Madhukarika to fetch him. He went, was gratified and returned after giving her a lot of wealth. 14 Some days passed and Vikramasimha was offended. (The text is lost here and we do not know the exact circumstances which gave offence to Vikramasimha). He stopped going to her and sending her gifts. And his attachment for her gradually lessened. Visamasila: Thus O daughter, as a cloth dyed in the Manjistha does not completely lose its colour but fades away as you wash it, persons of manjistharaga become gradually detached when offended. Therefore such persons should not be troubled. The Third Tale of Madhava Srngaramanjari: Mother, I remain unsatiated in hearing these tales that you have narrated. Therefore tell me a tale about a man of kusumbharaga. And Visamasila said: In the city of Vidisa there dwelt a bawd called Bhujangavagura. Her daughter was Kuvalayavali. She was reputed for her youthful beauty and graces. To that city one day came Madhava, a student of the Vedas. He had returned from Simhaladvipa after amassing considerable wealth. He came to know of Kuvalayavali and paying her liberally, he spent a night with her. She was much pleased with him and sent for him now and then. Many days passed; Madhava's wealth slowly flowed into Kuvalayavali's coffers. When he had been reduced to the state of a pauper Madhava thought of going away before his name was completely ruined. To encourage him as it were, the monsoon came to an end and autumn, the proper season for travel, set in. Madhava now decided to start for the Malaya country in search of wealth and took leave of the bawd. Kuvalayavali wept and made all efforts to keep him back, but it was futile. While leaving, Madhava left with her his rich upper garment. Both the mother and daughter followed him for some distance and then the bawd suggested that he should give to her daughter some token of remembrance. He replied he had no such thing, but the bawd insisted-"Please give this dress of yours as a token of remembrance. Pressing the garment to her heart, Kuvalayavali will pass her days hoping for your return."

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A SUMMARY OF CONTENTS "I will do as you say. Madhava answered: But there are many travellers on the way and I feel shy. On leaving this road I will give it to you". After going some more distance, he saw a lonely spot and he called the bawd. Throwing her on the ground he quickly and forcibly cut off her nose and ears. While she lay tossing and wailing. Madhava said to her: "Such is a token of remembrance I give you that you will never forget it", and thinking his purpose had been served he went his way. 15 Visamasila: As a cloth dyed in kusumbha is not fit for heat and washing, persons of kusumbharaga soon become estranged and bring about evil. The wealth of such people therefore should be taken away without giving offence to them. Srngaramanjari: Mother, my curiosity increases. Therefore tell me about all the things you mentioned. The Fourth Tale of Suradharman Visamasila: Well, listen about the means of getting hold of a person of haridraraga. On the bank of the Ganges is Hastigrama, a village of the Brahmanas. There dwelt a poor man called Suradharman. He knew of no means of acquiring wealth; so he decided to worship the sea, the store-house of jewels. Every day he would go with flowers, offer them to the sea, spend the whole day there and return at eventide. Many years thus passed. One day the Lord of the sea took pity on him and gave him an invaluable jewel. Suradharman was pleased and returned home. Having obtained such an invaluable treasure he was afraid of losing it, so he tore open his thigh, hid it there, and assuming the role of a mad man roamed about muttering only "Mother knows". Wandering thus, he came to Ujjayini after many days. King Vikramaditya ruled there. He had a famous courtesan named Devadatta. Under the pretext of pilgrimage, Devadatta used to search for rich men fit to be fleeced. Once she saw Suradharman. Noticing the contrast between his form and his peculiar behaviour, she knew for certain that the person was a rogue and had assumed the pose of a mad man only to hide something very precious; therefore she spoke to him; but to her question he only answered, 'Mother knows'. Desirous of knowing the truth, Devadatta brought him home. She tried her utmost to worm out the secret from him. She neglected even the king, but Suradharman would speak nothing else but "Mother knows". Thus passed six months. One day it occurred to Suradharman that a long stay would infatuate him and he would be prompted to

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SRNGARAMANJARIKATHA give away everything; it would be best therefore to go away. But he could not speak out his desire. Therefore he folded his hands, pointed towards his own country and repeated 'Mother knows.' Devadatta persuaded him in many ways but he would not stay back. Therefore she had to permit him to go. 16 It was a defeat for Devadatta, and she felt offended. She resolved that she would make a last effort to call him back and if she failed, she would immolate herself in fire. Accordingly she called two other girls and instructed them as follows: They should both follow Suradharman. After covering two yojanas, one of them should go ahead and come from the opposite direction towards him. The other should walk behind him. On meeting each other they should converse about the happenings at Ujjayini. In the course of conversation it should be given out that the courtesan Devadatta, who had fallen in love with a mad man, had died because he left her, and her whole family was desirous of putting an end to their lives. The rehearsed talk had the desired effect on Suradharman. He stopped, told them that he was the wretch who killed Devadatta, and ran back to her house. Arrangements in connection with the bogus death had been made meticulously. Her dead body lay on one side and her people were weeping. On seeing him, the bawd cried aloud and rebuked him for destroying the happiness of her household. Suradharman was distressed. He decided to follow Devadatta so he opened his thigh and gave the jewel to the bawd. The same moment the bawd spoke into the ears of Devadatta 'rise', and Devadatta slowly opened her eyes, started breathing and stretched her limbs. All were in ecstasy and a rumour was spread that Devadatta had been carried away by death, but was recovered again. Suradharman and Devadatta now happily passed two or three days together. One night due to the force of habit the words 'Mother knows' escaped Suradharman. Devadatta asked: "Do I know it or your mother?" Suradharman folded his hands and said, "Mother knows not. You alone know everything." Hearing that, Devadatta kicked him out saying "If I know everything get out from here." While going he pitifully begged of her to give him some provision for the journey. She gave him 2 palas and drove him out. Visamasila: Thus O daughter, even at the loss of her own wealth, Devadatta looked after him. Knowing his haridraraga she quickly took away everything and drove him out. As haridra fades in the heat of the sun and so on, such men of haridraraga become averse by threats and the like; therefore they should be drained of their wealth by resorting to extraordinary means.

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A SUMMARY OF CONTENTS The Fifth Tale of Devadatta Visamasila: Moreover, daughter, I have told you that to win over a person you should understand him first: 17 King Vikramaditya of Ujjayini had a courtesan called Devadatta. One night as they were enjoying the moonlit night, the king asked her how courtesans should be dealt with and how they successfully acquire other's wealth. Devadatta showed her aversion to answering this question. To avoid the query and yet to entertain him, she started relating to him a strange incident she had experienced only the day before. Devadatta said that while she was going from there to the main gate, all of a sudden she saw a wonderful horse, and a handsome young man mounted on it. He signalled to her and she mounted the horse. The horse flew up into the sky. After a long journey the horse came down and they dismounted. There was a mansion which they entered. She saw there a beautiful lady weeping. Another man came with a whip. They both asked Devadatta to act as a love messenger to bring about a union between the man with the whip and the lady. She refused and the man with the whip started beating her. Devadatta did not give in, but went on saying "The feet of the conqueror of the three worlds, King Vikramaditya, is my shelter." Surprisingly enough, as she called out to him, the others felt as if the king had come. They were scared to death and fled leaving her alone. She did not see where the horse went away, but she found herself again on the palace ground. On hearing this narrative Vikramaditya repeatedly asked Devadatta whether it was true. And Devadatta swore by the king that it was entirely true. The king was pleased with her and told his elephant-keeper to give his second best elephant to her as a gift together with four crores of gold pieces, rich ornaments and garments. Devadatta smiled and said to the king that she would take another elephant from him after they retired and then revealed to him the secret; "Sire, you asked me how my class of people acquire wealth well, this is how they get it". "Well done, Devadatta", said Vikramaditya, "You have instructed me in a fascinating manner. You have well raised the traditional reputation of your class". So saying, being gratified, he doubled the gifts. Visamasila: Thus oh daughter, acquisition of wealth is certain if you act according to the desire of other people. The truth is that there is nothing that flattery does not attain, S-

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18 SRNGARAMANJARIKATHA The sixth tale of Lavanyasundari Visamasila: Moreover, oh daughter, I have already told you that for those who, after resorting to great and valorous persons, try to obtain their desired ends at the risk of self-sacrifice it is not difficult to gain their own ends. I will tell you about it: In the town of Ahicchatra dwelt a powerful king called Vajramukuta. In the same town also dwelt a rich oilman called Ghuda with his wife Lavanyasundari. The couple were very happy. One day, while the king was passing by Ghuda's house he saw Lavanyasundari. Her loveliness intoxicated him and he desired to possess her. Learning from his spies that she was the wife of Ghuda, the oilman, Vajramukuta arrested Ghuda under a false charge of adulteration in oil. For his release the oilman offered to pay enormous sums, but the king did not release him. Lavanyasundari then realised the king's real intentions and told her husband that he should try to free himself from the king's clutches by offering him whatever he wanted. Accordingly, the oilman asked the king and he was asked to get a hundred elephants within six months. Considering her husband's freedom more important than her own reputation, she took along with her a large retinue and paraphernalia befitting a noble and rich courtesan; and having in mind the valorous King Sahasanka, she started for Ujjayini. After a few days she reached Ujjayini. She took up her residence on the banks of the Sipra and had the rumour bruited about her that she was a courtesan. The rumour, in due course, reached the ears of the king. As she anticipated, he sent his spies to verify the truth. When they attested to its truth, the king passed by her house under the pretext of hunting and had a look at her. His mind was immediately captivated by her beauty and charm. And he sent his man Mukharaka to fetch her. She gladly came to the king's palace and stayed there. In the morning the king spoke to Bhattamatrgupta, his wise adviser, about the love of Lavanyasundari. Bhattamatrgupta warned him not to trust her for she was after all a harlot. Vikrama tested her in various ways but she always proved loyal to him, and he refused to believe Bhattamatrgupta's words. All this naturally came to the ears of Lavanyasundari. She feared and respected Bhattamatrgupta but the prescribed time was coming to an end and she had to act soon. So one day Lavanyasundari took courage. She came to where the king and his wise counsellor were sitting, and rebuked the king for regarding her true love as harlotry. In a huff she entered the bedroom and with a dagger cut off her head. Full of misapprehensions Vikrama followed her after some time only to see her lying

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A SUMMARY OF CONTENTS 19 dead with her head severed. He was stunned and called Bhattamatrgupta, "Do you see the end of harlotry?" he asked. "Yes, Your Majesty', replied Bhattamatrgupta, "but what shall I say? This too is harlotry". The king was enraged; disregarding the worthy Bhattamatrgupta he took her body to the temple of the Goddess Asapura. He prepared to cut off his head as an offering to the goddess who was pleased with his courage and love and granted him his desire, and revived Lavanyasundari. All were pleased and the king returned with her to the city. Days passed happily. One evening as they were seated on an ivory balcony, they saw a lordly elephant roaming at will. The king was joyous at the sight of the elephant and asked Lavanyasundari to ask for a boon. First she refused, but ultimately said: "All that is your is mine. What shall I ask for? But since childhood I have a great fascination for elephants. Therefore give me one hundred elephants". She also requested him that this gift to her should be announced everywhere. The king did as desired. After two or three days Lavanyasundari stood before the king with folded hands and asked him to free her, for such, she said, was the convention of the courtesans. The king was surprised. He asked about it and Lavanyasundari told the entire story. The king allowed her to go back and she spent the remaining years of her life in enjoyment with Ghuda. The seventh tale of Cheating Bawd Visamasila: One must protect oneself from rogues. Thus: A Brahmana begot two sons in old age. They were called Visnugupta and Somadatta. When they grew up they desired to go to another country; and so, one summer they set out. Journeying they came to the forest of Vindhya. Their provisions were exhausted as they had to pass seven days crossing the forest. They were tired; thirst and hunger afflicted them. After some time with great difficulty they reached a lake with a banian tree on its bank. They passed the day there and at night lighted a fire to keep off wild beasts and stood on guard for one watch alternatively, During the third watch of the night, when Somadatta was on guard he heard a pair of pigeons talking. The female pigeon suggested that they throw themselves into fire and help the poor starying Brahmana boys. The pigeon agreed and spoke of a prophecy made by a sage at their birth that he who would eat the male pigeon would become a king and he who would eat the female pigeon would get five-hundred gold pieces every day. Then they threw themselves into fire. The wonderstruck Somadatta drew them out of the fire, woke up his brother and told him about them. He gave

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20 SRNGARAMANJARIKATHA Aaaan his brother the male pigeon and himself ate the she pigeon Somadatta then went to sleep. In the morning he found five-hundred gold pieces by his side and they were convinced about the truth of the matter. Joyously they proceeded on their journey the next day, but soon lost sight of each other and went different ways. According to the story, the elder boy became the king of Magadha. The young, Somadatta, came to Kanci. In that city dwelt a bawd Makaradamstra and her daughter Karpurika. Somadatta spent many days in Karpurika's company and gave her untold gold. No supplicant was ever turned sway by him and yet his wealth never seemed to lessen. The bawd was curious and asked Karpurika to find out the source of his wealth. The secret about the she-pigeon came out. The bawd gave her some emetic and he vomitted out the pigeon. The bawd immediately ate it. Thence she got gold every day and Somadatta's gain stopped. He repented of his mistake and set out on his travels again. On the way he heard about a new king of Magadha. Convinced that this must be his own brother he went to him. He stayed there for a few days, obtained considerable wealth and returned to Kanci in order to take revenge on Karpurika. Karpurika was attracted by his wealth and splendour. When pressed by her to tell the source of his wealth he said that it was due to siddhi he had obtained by practising penance at Sriparvata. Karpurika's greed increased. She suggested a bargain: She would give the pigeon back if he would transfer the siddhi to her. Somadatta was not to be cheated this time. He struck a successful bargain by taking the pigeon along with all her wealth and giving in return the said siddhi. He sent away all the gold to his house, ate the pigeon and asking the royal retinue to wait upon the courtesan for five days went away. For five days Karpurika enjoyed the service of the king's men, and was then disappointed. Her household returned full of sorrow and repentance. While Somadatta went to Magadha to his brother and lived happily ever after. Visamasila: Therefore my child, rogues should never be troubled, for when irritated they act in such a way that they take away even the previously earned wealth, The eighth tale of the woman' love Visamasila: I have said before that one's self should be protected from love as from a tiger. I will illustrate that to you. In the town of Pundravardhana there dwelt a rich merchant Vasudatta, whose only son Ratnadatta had in a short time mastered all the lores and sciences under the teacher Vasubhuti. When

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A SUMMARY OF CONTENTS 21 Ratnadatta grew up he did not like the business of his father and desired to earn his own living by serving a powerful king. He set out with his servant Subandhu for Manyakheta where king Pratapamukuta ruled. He took a thousand pieces of gold with him in case of emergency, but decided to live by his earnings on the way. He averred that courtesans would invite him and will not abandon him, and if they did not call him or abandon him he would put an end to his life. After some days they came to the city of Vidisa. In the temple of Bhaillasvamidevapura he was noticed by the courtesan Lavanyasundari who had come to dance there. She immediately fell in love with him and sent her friend Bakulika after him. He was found sleeping in a lonely temple being attended upon by his servant. Bakulika brought him to Lavanyasundari's house. That very night Lavanyasundari was so charmed by him that abandoning thoughts of all other men, she became attached only to him. But early morning Ratnadatta left her and went to a gaming house. Lavanyasundari was perturbed on not seeing him and sent Bakulik, to bring him back to her. He came back and that night Lavanyasundari asked him about his whereabouts and where he intended to go. Ratnadatta spoke to her of his desire to join the services of the king Pratapamukuta of Manyakheta. She knew she would not be able to stay without him. So she consulted a bawd and both of them accompanied him. After many days they reached the town of Punyapathaka. Under a mango tree outside the town Ratnadatta went to sleep placing his head on Lavanyasundari's lap. It then occurred to the bawd that Lavanyasundari had no intention of returning, and therefore she conceived a plot by which Ratnadatta would be killed and Lavanyasundari would return with her. Accordingly she went to the king Suradharman of the town and told him that their daughter was being taken away by a thug. The king first sent his police officer, then a few courtiers and then himself went to see whether the bawd was speaking a lie. He found that the girl was willingly going away with the youth. He was so pleased with Ratnadatta that he offered him half his kingdom. But Ratnadatta only spoke of his desire to serve the king and went his way. Then he came to Manyakheta, and put up with a courtesan called Citralekha. Next day Ratnadatta went in search of a job. He told Lavanyasundari that she was free for four days. Unfortunately the king saw Lavanyasundari, was enamoured of her and called her to the palace. She had to obey, but she agreed to take gifts from him only on the condition that she would be allowed to go away whenever she wanted.

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SRNGARAMANJARIKATHA The fourth day came. It was the day of the return of Ratnadatta. The king called her for dancing. Reluctantly she obeyed the king after instructing her maid that she should be called back as soon as Ratnadatta was seen coming. As she started dancing she saw her maid, so taking leave of the king she hurried back to her place. The king was so curious to see the man with whom Lavanyasundari was so madly in love. He came and hid behind a latticed window. When Ratnadatta came Lavanyasundari came forward with water to wash his feet. But from her dress Ratnadatta realised that she had become the King's courtesan. And when she proceeded to wash his feet he said "Do not wash my feet. You are my mother. You are the king's wife". When the king came out of the hiding place Ratnadatta turned to him and said that he should not come there but go to his palace. He had come to join his services and would follow his instructions then, but not The king was pleased with his boldness and returned. now. Ratnadatta was then invited to the court. His services were much appreciated and he stayed with the king enjoying his favours, and Lavanyasundari was soon forgotten. Visamasila: Therefore oh daughter, those women who become too much attached to men destroy themselves and lose their wealth. The ninth tale of love on both the sides Visamasila: I have narrated to you the nature of one-sided love. I will now describe to you love on both the sides. In Uragapura ruled king Samarasimha. He had a courtesan named Asokavati, who had mastered sword dancing. All the King's feudatories liked her but her heart was set upon samanta Chaddalaka. Once during winter when all the feudatories had assembled, the king sent for Asokavati to give a performance of sword dancing. Hoping that Chaddalaka would be present she put on her best apparel and went to the court. On the way she vowed to God that if Chaddalaka would see her today she would offer him kumkum and flowers. As she was coming she also saw the wish-fulfilling god Ganapati, and with her heart full of joy she came to the court. She began dancing. Her dancing was full of rhythm and grace, but her eyes sought none but Chaddalaka. Chaddalaka was not to be seen anywhere and she was dismayed. Her enthusiasm waned, her steps became unsteady and she lost all her grace. The dancing teacher was quick to notice the change in her. He feared she would lose her balance and throw herself on the sword, so he told the king to stop the show. The king did so, called Asokavati and rebuked

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A SUMMARY OF CONTENTS her. But love had made her bold and she acknowledged her love for Chaddalaka and was ready to suffer any punishment. The king however, freed her asking her not to be so bold again. But to his surprise he saw her go to the house of Chaddalaka. The king now desired to break this bond of love. He therefore invited another handsome youth called Sundaraka to entice her. And she fell a victim to his charms. She invited him to her house and spent a night with him in dalliance. Sundaraka had brought a 'pattanika' with himself, in which all that passed between them was recorded. Next morning Asokavati repented for giving way to a fleeting passion and thus being untrue to her true love. Sundaraka witnessed her repentance, and sad at heart returned to the king. 23 To end the game the king then called Chaddalaka when his minister Tikkapaika was present and showed him the 'pattanika". Chaddalaka understood that it was only a king's plot to break his love. But he wanted to test Asokavati. He therefore, made a plan with Tikkapaika. According to the plan Tikkapaika put on the dress of a pasupata mendicant and came near the house of Asokavati. She saw him and was surprised to see him in this attire. When asked to explain Tikkapaika said that as Chaddalaka had died in a battle against the king of Kaccha he was aggrieved and has become a mendicant. On hearing of the death of Chaddalaka, Asokavati, like a sheelephant struck by lightning, fell down dead. The news was conveyed to Chaddalaka. In the meantime there came to the assembly of the king the news of Asokavati's death on hearing the canard of Tikkapaika. There was an uproar. Sundaraka considered himself to be the cause of her death and repenting of his wickedness put an end to his life by throwing himself into fire. Chaddalaka also on receiving the news became mad with grief. He rushed to the cremation ground and lit a pyre for himself and threw himself into the fire. The news of the death of three innocent people reached the king's ears. He realized his mistake and remorse filled his heart. He ran to the Goddess Asapura and desired to offer his head as well. She prevented him from the rash act, and at his request revived all the dead persons. The king then gave Asokavati to Chaddalaka and made Sundaraka the master of four thousand villages. Visamasila: Thus, O daughter, there are cases where due to love, courtesans have lost their wealth and lives too. Therefore as a rule one should keep away from love as from a tiger.

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24 SRNGARAMANIARIKATHA The tenth tale of a serpent Visamasila: Child, there is nothing that a harassed man refrains from doing. Listen to this: Srutadhara, a learned Brahmana, lived in the city of Kausambi, He had a son named Vinayadhara. By the time Vinayadhara was sixteen he had completed his education. Once during the spring festival he had gone to the temple of Kalapriyadeva where he saw Anangavati, a courtesan. He made her acquaintence and started frequenting her place. He passed many happy days in her company. In course of time Vinayadhara was reduced to poverty, but to Anangavati he was dearer than life. The bawd, however, did not like Anangavati's attachment to a pauper so, one day she drove him out. Under some pretext or other Vinayadhara gained entrance to her house. The bawd hated him. again and again drove him out and admonished Anangavati also for allowing him to come. One day it so happened that while Vinayadhara was coming from his house he saw a serpent recently dead. Thinking that it would serve his purpose he picked it up. Borrowing money from a friend he came to Anangavati's house. At midnight when all were asleep he woke up, went up to the bawd, spread the snake on her body and pinched her nose and lips. When the bawd shrieked he ran up to her and with a stick hit hard the snake lying on her body. When the servants came running and put on the lights, he pointed to the snake, and said the stings should be rubbed off. Fearing that poison would spread in her body the bawd cried out 'cut it off, cut it off' and he quickly cut off her nose as well as the lips. In the morning felicitations were offered for saving the mother's life. But to the poor bawd the congratulatory drum sounded indeed like the heralding of death and she writhed in pain night and day. Visamasila: Thus, oh daughter, it is difficult to describe how rogues act when harassed. The eleventh tale of Malayasundari Visamasila: In my opinion on one should be insulted. There is nothing that the insulted men refrain from doing. To explain: Pratapasimha was a feudatory in the court of king Mahendrapala of Kanyakubja. He was ugly and passionate. In the same town lived also a bawd by name Dhonda with her daughter Malayasundari. One day Pratapasimha came to sleep with her. The next morning when he rose to go, he saw a child sleeping with her. It was Malayasundari's sister's child, but when Pratapasimha enquired whose child it was, she teased him by assert

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A SUMMARY OF CONTENTS ing that it was hers. This irritated him and he threw her on the ground and like a 'tiger' scratched her whole body and pulled out a lot of her hair. Then he went away. When the bawd and the others came Malayasundari covered herself and lay on the bed. 25 Malayasundari was a favourite of the king; so the bawd ran up to him and related the incident. The king was furious and enquired as to who did it. Pratapasimha said he had done it and would explain why he did it if Malayasundari was brought there. Malayasundari came after much persuasion. Pratapasimha then said that he bore all her teasing because he loved her very much. But when she said the child was hers he could not tolerate it. All this was done out of extreme attachment, and the king could judge for himself whether he was right or wrong. The king was pleased with him and gave him presents, while Malayasundari became an object of ridicule for others. Visamasila: Thus insulted men leave no means of ridiculing women. The twelfth tale of Pamaraka Visamasila: Without a just cause enmity with dhurtas should not be created. (The thread of the story is lost because only fragments of folios containing the story are preserved.) Visamasila: Therefore O daughter, try no deceit with a clever man. If you deceive him you must bear the results, otherwise you become an object of ridicule. The thirteenth tale of Muladeva Visamasila: Moreover daughter, raga should always be protected. It is threefold: one born on hearing, one on seeing and one after union. All the three should be abandoned. For by these even women of good families become objects of ridicule. Therefore srtiraga and drsti-raga should be kept at a distance like the virulent poison of a snake. Listen about it: In Ujjayini ruled kind Vikramaditya. Muladeva, the dhurta, stayed with him. He was very dear to the king. One day when the king insistently asked him why he had not married Muladeva replied that women are fickle in their love, and therefore he did not marry. The king persuaded him to believe that women are the chief source of happiness and the main support in a householder's life. Muladeva was somehow convinced and got married. After some time Muladeva found out that his wife was carrying on with some other man. Not only that, the king's chief queen,

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26 SRNGARAMANJARIKATHA Cella-Mahadevi also was deceiving the king by going out every night to her paramour, the king's elephant-driver. One night the queen was late in going to the elephant driver and he lashed her with a rope; the queen however pacified him and spent the night with him. The next day, the completely disillusioned Muladeva proved the guilt of his wife and the queen to the king. The king punished them all and threw the queen into prison after cutting off her nose and ears. Visamasila: Therefore, O daughter, there are courtesans of noble character, and there are women of good families who fall in love at first sight, and regardless of life or wealth have relations with other Therefore the three kinds of love should be abandoned. men. In our family which shines bright in the world like the sun there is not a single taint in the shape of being cheated by others. Therefore you should act in such a way that no one would be able to deceive you.

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CHAPTER IV A CRITICAL APPRECIATION OF THE SMK The Literary Genre to which the SMK Belongs A summary of the SMK has already been given. It will enable us to examine the work, determine its nature and evaluate its merits. The first important question to consider is the literary genre to which the SMK belongs. Examined in the light of Bhoja's own statements, as will be shown later, the SMK can be described broadly as a Katha written in Sanskrit prose having some of the peculiari. ties of the Akhyayika form of composition. In the colophon the work is called a Katha. Katha is one of the two main divisions of the gadya-kavyas or prose compositions, the other being Akhyiyika.? Rhetoricians have made general distinctions between the Katha and the Akhyayika thus: 1. The Akhyayika gives the description of the poet's family in prose, while the Katha gives the same in verse. 2. The Akhyayika gives the description of topics like the abduction of girls, battles etc., while the Katha is silent about it. 3. The Akhyayika gives facts of actual happenings, the hero narrating about himself, while in the Katha the subject-matter is imaginary and is narrated by a third person, and not the hero. 4. The chapters of the Akhyayiki are called Ucchvasas while the Katha may be optionally divided into Lambakas and it may have emboxment of stories. 5. In the Akhyayika there are verses in the Vaktra and the Aparavaktra metres, while they are absent in the Katha. In this connection Dandin takes quite an independent standpoint. He of course notices these two formal divisions, but does not consider them exclusive. The distinctive characteristics, he says, cannot be fixed, and therefore the Kath, and the Akhyayika are 1. Dandin, KA, I, 23 apAda: padasantAno gdymaakhyaayikaakthe| 2. Bhamaha. K-AL. I, 25-29. prkRtaanaakulshrvyshbdaarthpdvRttinaa| gadyanayuktodAttArthA socchvAsAkhyAyikA mtaa| vattamAkhyAyate tasyAM nAyakena svcessttitm| vakraM cAparavakaM ca kAle bhAvyarthazaMsi ca / / kaverabhiprAyakRtaiH kathA (tha? )naiH kaishcidngiktaa| knyaahrnnsnggraamviprlmbhodyaanvitaa|| na vAparavAbhyAM yuktA nocchvaasvtypi| saMskRtaM saMskRtA ceSTA kathApana zabhAk tathA / anyaiH svacaritaM tasyAM nAyakena tu nocyte| svaguNAviSkRti kuryAdabhijAtaH kathaM janaH / / Vide also Agni Purana, 337, 13-17.

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SRNGARAMANJARIKATHA is, all features that go to adorn the kavya like Gunas, Rasas, are alamkaras of a kavya. Bhoja outdoes his predecessor, and includes all the features of a kavya as alamkara for all of them which possess aucitya add to the beauty of the kavya. Dr. V. Raghavan in his treatment of 'Bhoja's Conception of Alamkara' makes the following pointed observation; 'His conception of Alamkara is indeed strange. We are accustomed in early literature to see guna considered as Alamkara and also Rasas, Vrttis, Laksanas and Sandhyangas. Dandin considers all baeutifying features as Alamkaas. Bhoja followed Dandin and even 'out-Dandinned' Dandin. Most of the topics in Alamkara Sastra are held to be Alamkaras by Bhoja.'12 30 Alamkaras, according to Bhoja, are of three kinds, Sabdalamkara, Arthalamkara and Ubhayalamkara. Of the Sabdalamkara the first two are Jati and Gati. Jati is the language used by the poet: tatra saMskRtamityAdibharatI jAtiriSyate / sA tvaucityAdibhirvAcAmalaMkArAya jAyate // " Language is the natural medium of expression, but what makes an alamkara is the aucitya of language. For, na mlecchitavyaM yajJAdau strISu nAprAkRtaM vadet / saMkIrNa nAbhijAteSu nAprabuddheSu saMskRtam // devAdyAH saMskRtaM prAhuH prAkRtaM kinnarAdayaH / paizAcAdyaM pizAcAdyA mAgadhaM hInajAtayaH || " Moreover, subjects differ and under given circumstances some subject would require expression in Sanskrit, another in Prakrit and yet another in Apabhramsa. 15 The one governing consideration everywhere is that of aucitya. All these variations of the languages have to be considered by the poet and when the language is used according to propriety it becomes a Sabdalamkara called Jati. Gati is defined as: padyaM gadyaM ca mizraM ca kAvyaM yatsA gatiH smRtA / arthocityAdibhiH sApi vAgalaMkAra iSyate // " As Jati is the medium of expression, Gati is the external form of expression, prose, verse or a mixture of both. Aucitya in gati makes it an alamkara of kavya as prose would be suitable in describing forests etc., in Kathas and Akhyayikas, while in Campu mixed style is suited and so on as the commentator on SKA says. Bhoja says that in a katha there should be no restriction on Jati and Gati, that is, it can be in any language and it can be either in prose or verse or in a mixed form. This looseness is quite natural considering that a Katha is not a dry discourse on any technical 12. BSP, p. 362. 13. SKA, II, 6. 14. Ibid, II, 8-9. 15. Ibid, II, 10. 16. Ibid, II, 18.

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A CRITICAL APPRECIATION OF THE SMK 31 subject. Its aim is only to entertain and thereby convey a moral, if any. SMK, therefore, in its formal makeup can be described as a Katha in Sanskrit prose having some peculiarities of the Akhyayika form of composition. Literary Parallels As a katha SMK is an important addition to the Sanskrit prose literature. For the number of prose compositions in Sanskrit literature, both extant and known by references, is very small. The plan of the SMK conforms to the traditional method of story-telling in which, within a frame-tale are emboxed a number of stories having their own morals to convey. Yet the present work has its own unique purpose to serve. The works which most invite comparison with the SMK are Damodaragupta's Kuttanimata and Ksemendra's samayamatrka. All these three works have a similar basic form, though they differ in structure and treatment of the subjects. The three works start with the bawd or the procuress giving counsel to the fair courtesan. In the Kuttanimata Malati goes to Vikarala and in the Samayamatrka Kalavati approaches Jaracchikha, The three bawds are described in identical terms as hideous in physical form, cruel in mind and unscrupulous in their dealings. The instructions follow the same pattern of thought, that to win over men the courtesan should know the art of conquering their hearts. 17 Illustrations naturally play an important part in these works, but while they lie, scattered few and far between in the other texts, SMK is nothing but a collection of illustrative stories. Another difference is that the other two works are in verse while the SMK is in prose. In the matter of treatment there is a vast difference between this work and the other two. For even with its above mentioned purpose and some of the technicalities that it involves, SMK remains an interesting piece of pure literature. The major interest lies in the narration of the 17. Cf. the introductory words of the three works--- Kuttanimata, Vs. 23: yauvanasaundaryamadaM dureNApAsya vAravanitAbhiH / yatnena veditavyAH kAmukahRdayArjanopAyAH / / Samayamatrka, V. 1, 3: atha manmathamattAnAM kariNAmiva kAminAma / bandhAya bandhakI zikSAmAcacakSe jaracchikhA / / pUrva bhAvaparIkSava kAryA yatnena kAminAm / jJAtarAgavibhAgAnAM kartavyau tyaagsNgrhau| SMK: tatra rAgo'pi tAvat prthmmaaklniiyH| anAkalitarAge hi prayujyamAnaM vaizikaTeru fatalnafri afer Tea uhri qara 44 Hafari (p. 23).

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32 SRNGARAMANJARIKATHA tales while the instructions are only pegs on which the stories hang. But the Kuttanimata and the SamayamatTka mainly follow the technique of the Kamasastra. Their treatment of the subject comes within the science of erotics, and there is little of literary interest therein. This remark applies to the SMK as a whole. Coming to the individual tales it can be said that there is little originality in them. Many stories about courtesans are found in the Sanskrit, Jaina and Buddhist works. Their plots and motifs, and the morais they convey are so limited that with a little change in names and situation the stories can be multiplied into any number. It is not possible, therefore, to find original plots in the stories. It is difficult to point out which is the source of a particular story for there is also an intermixture of incidents. One remarkable point about these tales of courtesans is that they offer very little scope for the free play of fancy. The stories have their origin in the lives of Ganikas, and the institution of Ganika was a necessary part of the social structure when these works were written, and therefore the illustrations are based mainly on actual experiences. This may explain to a great extent the monotonous similarity of themes in these plays. All these tales of courtesans generally reveal three motifs round which the pattern of the different stories are wrought. The three motifs are: One, in which the courtesan cheats a rich man and then throws him out. Second, in which the courtesan is herself punished, and third, where she is shown as noble in aspiration and true in love. Vinayavati (of the first tale) represents the first kind. Devadatta's tale (No. 5) has the same motif though the plot is more intricate. The Kapatamrtyu motif is tactfully utilised and is a common feature in courtesan tales. It brings to mind Kamalata's story in Kumarapalapratibodha 18 in which Asoka is caught in the snares of the courtesan Kamalata. But being previously conversant with the wiles of the ganika he does not give away his wealth. Disappointed like Devadatta, she then arranges a Kapatametyu. She mounts a pyre and through an underground passage reaches safely elsewhere. The news of her death deceives Asoka and when she is revived by another bawd he prepares to live with her. They stay together and when his wealth is exhausted he is kicked out. A similar trick of feigned death is found in Sundari's story in the Kathasaritsagara. 19 Therein isvaravarman leaves Sundari and goes away. The clever mother lays a net on the way and follows Isvaravarman. After some distance Sundari jumps into the net and the bawd says she has tried to put an end to her life due to his having forsaken her. isvaravarman believes her word and takes her out. He returns and 18. Somesvarasuri, pp. 82-92. 19. Somadeva, X, 1.

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A CRITICAL APPRECIATION OF THE SMK lives with her, and when all his money has been drained off she throws him out of the house. Thus Kapatamrtyu always helps the courtesan to bring the rich paramour back and then destroy him. Except in the two cases of Vinayavati and Devadatta the courtesans are described as being ultimately punished in the SMK. In Sundari's tale mentioned above there is further development how Isvaravarman ultimately takes his revenge. It reminds us of Somadatta taking revenge on Karpurika (Seventh tale). We have seen how Somadatta is successful in not only taking back his shepigeon, but also the wealth of the courtesans previously earned, and how he in exchange gives them a false siddhi and asks the royal entourage to return after five days. Isvaravarman takes revenge in a somewhat similar manner. A monkey is trained to store money in its mouth and gives out as much as was asked for. Isvaravarman shows the monkey to Sundari and she desires to have it. In bargain all the wealth previously taken away by Sundari was got back. Isvaravarman then leaves her. On the third day the monkey stops giving money, gets angry, and hits Sundari. The bawd gets angry and kills it. Asokavati (tenth story) and Lavanyasundari (eight story) in SMK have true love for their lovers. Vasantasena's devotion for the poor Carudatta is a classical example of a courtesan's true love.20 The social conditions made it difficult for the courtesan to maintain constancy in her love, as in the case of Lavanyasundari. Against her own wishes, she had to go to the sovereign king and consequently suffer indignity at the hands of Ratnadatta. Like Asokavati being freed and married to Chaddalaka, Vasantasena also was able to escape the limitations of her way of life and was legally married to Carudatta. Ragamanjari in Dasakumaracarita21 was won over by merits by Apaharavarman and against the wishes of her mother and sister married him as any ordinary girl would do. Asokavati's instantaneous death on hearing of Chaddalaka's death is reminiscent of the courtesan Vasantasena's death on hearing of Dhammila's death in Dhammilacariya in Vasudevahindi.22 In the Kuttanimata we have a fine instance of a courtesan's love in Haralata's story.23 She loves Sudarsana but cannot go with him for she understands her own limitations. She ultimately dies when Sudarsana leaves her. 33 Besides these courtesan stories there are two exceptional cases in the SMK., namely, that of Lavanyasundari (sixth tale) and Cellamahadevi (thirteenth tale). The former was the wife of an oilmen who took to the life of a courtesan to free her husband from the 20. Sudraka, Mrcchakatika. 21. Dandin, Book II. S-3 22. Sanghadasaganivacaka, p. 28 f. 23. p. 174 f.

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SRNGARAMANJARIKATHA clutches of a king. The later was a queen who loved a low-born elephant-driver and was punished in the end. 34 The motifs of both these stories seem to be popular for we have parallel versions. In the Kathasaritsagara24 we have the story of the courtesan Kumudika, a friend of king Vikramasimha. She helped him in times of distress, but the king's minister Anangatunga warned the king against her. In order to test her the king feigned death and was carried to the burning ghat. Fearlessly Kumudika ascended the funeral pyre after him. The king was now convinced of her loyalty and returned. Anangatunga still would not trust her. Once with her wealth the king conquered his enemies. He was much pleased and asked her to choose a boon. Then she told him that her true lover was a captive of the king of Ujjayini and that Vikrama should wage war on that king and free her lover. The king was shocked and surprised, but fulfilled her wish and united them. The same story is reproduced in the Kalavilasa of Ksemendra.25 The only difference is that her lover is described as a captive in Vidarbha. The changes in the version of the SMK make the story more realistic and better motivated. Lavanyasundari is the wife of an oilman and her attachment to her husband is only natural. She resorts to the powerful king Vikrama to win him over and thereby gain a gift of one hundred elephants to bring about the release of her husband. It does not sound probable that a king wars with another merely for the sake of an ordinary individual. Another change is that after undergoing a number of tests to prove her loyalty Lavanyasundari finally kills herself only to be received by the grace of the Goddess Asapura. Of course, the supernatural element of Divine grace has to be introduced, but it is a common motif, and it looks more plausible than that of the king himself posing as dead and going right up to the burning ghat. Lastly we come to the story of the unfaithful queen. 'Adultery' is the motif of the story. In the Kathasaritsagara we read of the love of the married woman for a low-born ugly wretch.20 The Dasakumaracarita27 also has such an episode. A similar story is found in the life of Yasodhara as described in Somadeva's Yasastilakacampu.28 It runs as follows: One night when the king Yasodhara was in the apartments of queen Amrtagati he saw her go out secretly to his crippled and ugly elephant-driver. The king followed her. He saw the elephant-driver getting angry at her delay and beating her in anger. The king was surprised, disillusioned and sorrowful. In the end, however, unlike our kathanika, the king is killed by the The closest parallel to Muladeva's queen. 28. Book III. 24. X, 2. 25. IV, 15-38 vss., pp. 57-59. 26. X, 9. 27. Book VI.

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A CRITICAL APPRECIATION OF THE SMK 35 story is the one given in Hemachandra's Parisistaparvan.29 The motif in both the stories is the same, that the hero overlooks the unfaithfulness of his wife (in one case) and his daughter-in-law in another) on seeing that even ladies of noble birth, like the queens, were deeply degraded by their sensuality.30 Devadatta finding out the truth about the queen's nocturnal adventures, his informing the king, the marks of the chains on the queen's body and the king's punishment all closely resemble Muladeva's story.31 We have in the former part of Devadatta's story the narration of the daughter-in-law's bad conduct. Is it possible that the lost part of the story of Muladeva's wife might have been similar to it in certain respects? The analogous stories referred to here are not exhaustive; for the purpose in referring to them is only to show the similarity between the tales in SMK with those in other works. And yet, as has already been noted, the SMK has its own distinctiveness. The absence of originality in the plots or motifs does not lessen the literary merit of the work. The poet's merit lies in the way he narrates and develops the story, and in his style, characterisation, descriptions and other niceties of language which are the standards of critical appreciation. Style and Diction SMK belongs to the decadent period of Sanskrit literature when the creative genius of the poet was cramped by the rigidities of forms and conventions, and the poet imitated the creations of his predecessors. The works of this period therefore naturally came to be overladen with the artificialities of formal descriptions, poetic excellences and technicalities, exhibiting more the erudition of the poet than his creativeness. The SMK follows the same pattern and resembles in style the earlier prose romances like the Kadanbari, and the comtemporaneous ones like the Tilakamanjari. But on the whole the composition does not become artificial. The style which is simple in narration is embellished with various kinds of alamkaras in the descriptive passages. The most frequent figure of speech is the paranomastic simile (Slistopama). The puns are interesting, and though novel, are not 29. Bibliotheca Indica, No. 96, (1932). 30. Cf. these words of SMK with those in the Parisistaparvan. SMK. (p. 9). kulastriyo'pi dRSTimAtrarAgiNyaH parapuruSeSvevaM jIvitavittAdinirapekSA vyavaharanti for 97: Faaral araftar: 1 and V.S. 561, p. 96:aho asUryapazyAnAmapi yadrAjayoSitAm / zIlabhaMgo bhavatyevamanyanArISa kA kathA / 31. Other Prakrit versions of the tale are noted by Handiqui in his Yasastilaka campu and Indian Culture, Chap. III, p. 42, 48 f.

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SRNGARAMANJARIKATHA obscure. For example in the description of the bawd we read: grahapatiriva bahuzo bhuktamInameSA. sikatAsantatirivasne hojjhitA cANakyanItiriva yo yenopAyena grAhyastaM tena gRhUNantI / (p. 15 ) 36 Another good example of it is: surabhi zvasite, zucimAcAre, dhanAgamamazeSavijayasampadAm, atyUrjaM parAvajayeSu, paramahimasthAnamAkRtau, ziziraM nikhilakSAntiSu / (p. 37 ) There are instances of 'Sabhanga slesas' like: kurUpayuktApi na kRpAnvitA / ( P. 18 ) 32 The next figure of speech frequently used is Virodha which is indicated by 'api' and sometimes based on slesa as: dvijihvazatasaMzrayamapi snigdhasaralam, atigurumapyaguruprAyam ( parvatam ) ( P. 79 ) Similes are very common. An interesting simile compares this composition, the SMK, to the heroine called Sxngaramanjari: zRGgAramaJjarI gadyapravRttiriva sulalitapadA (p. 13 ). Another interesting and important simile is the comparison of a mountain with the author of the work, Bhoja, himself: etatkathAkAramiva virAjitaparamArAvanIpavaMzam / (p. 79 ). In the description of the king there is an astronomical simile which compares the King to the different planets. Unfortunately the text is not complete here. There are a few grammatical and metrical similes like: vyAkaraNaprakiyevopasargavazAt parasmaipadotpAdanakuzalA / (p. 15 ) chandaH sthitirivojjvalatanumadhyA / (p. 13 ) A good example of rupaka is: taralatarataDillatAprasarajihvasya balAkAvalivikaTadazanapaddhaterdalitAJjanapuJjameca kasya prabalajhaJjhAnilasamucchaladba haladhUlI dhUsarazarIrasya jaladasamayarajanicarasyAdbhutaM raTitamAkarNya sphuTitahRdayAnAmiva pathikAnAM vigalitairasRgbindubhirivendragopakai rupAcIyata vAtilam || (p. 27 ) nikhilamapya The imagery in the following Utpreksa is novel and charming: ravikiraNa kuJcikodghATyamAnadalakavATeSu prAgantaruSitairyAmi kairiva madhukaraivimucyamAneSvekairaparai stvApatadbhiH pratigRhyamANeSu prakaTitadvAreSu zriyo vilAsabhavaneSu paGkajeSu // (p. 60 ) And the following is a good example of Hetutpreksa: mukulitakumudakozakoTarAntarnilInamadhukaratayA divasakarabhayAt pratanutAM gatenAndhakAreNeva // saMzritAni ( sarAMsi ) ( P. 4 ) The figure of speech called Svabhavokti is abundantly used. For example: nijacApalabhramaNa khedavidhureSvava niruhaskandhazAkhAntaranilayananibhRteSu yathAyathamupaviSTeSvAsInapracalAyitena madhyandinatApatandrIM gamayatsvapareSu ca nidrAlasavivazatayA zithilAGageSu prapatatsu punarutpatyArohatsu kapikuleSu / / (p. 49 ) ; or again: krIDAtaDAgikAnAmanukulIralekhamacchinIdalAntarAlacchAyAmAzritya bandhuritakandharamanyonyakaNDUyana sukhAnyanubhUyAnubhUya madhyandinatApatandrImativAhayatsu cakravAkamithuneSu / (p. 85 ) 32. Cf. a verse in Ksemendra's Desopadesa, p. 11, vs. 5. bhagadattaprabhAvADhyA karNazalyotkaTasvarA / seneva kururAjasya kuTTanI kintu niSkRpA ||

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A CRITICAL APPRECIATION OF THE SMK 37 The Svabhavokti sometimes blossoms into a lovely word-picture which impresses with its vividness and richness of details. A few examples are given below. One is of an old monkey left alone on a tree when the whole forest is burning due to the heat of the summer: kvacit sarvataH prajvaladdavadahanajvAlAvalIkavalitakSitiruhAkhilaprAntabhAgatayA kutopyAtmanaH zaraNamanavekSyamANena bhramitakandharaM cakitacakitamubhayato'pyavakRSyAGagamatidInaM dikSu cakSurvikSipatA pazcAdavanamitakarNayugalenAtizlathamuktapucchena viSAdAt kSaNamekamatinizcalena muhurmuhunimiSonmeSAn vidadhatA zuSyattAlunA vidIrNavadanatayA prakaTitadazanapaGaktinA'timAtradInAnanena prasRtadhUmavyAkulAvamIlallocanena kSaNa evAtmAnaM dagdhamiva manyamAnena jhagiti cakSarunmIlya pratyaGagamAlokayatA nipatanabhayAd gADhataragRhItazAkhena kSobhavazavisaMsthulIbhavatkaragrahatayA kimapi bhraSTena punarutpatatA bhayAtizayAt sadyo'vasIdadvapuSA muhurmuhuranabhivyaktacItkAreNa uparyupari pratizAkhamitastataH samArohatakAkinA jrnmrkttenaaruhymaannjiirnnottunggtrushikhraam| (p. 50) Another is of a group of elephants passing urine. The description is natural and vivid: aparaizca pItvA payastaTa eva kiJcidaghonamitajaghanabhAgairutphullakukSibhiH stokottambhitazravaNapallavairavanitalasrastahastairISadvidhRtakandharaiH zravaNAbhimukhatryazritaikanetravibhAgaiH sAvadhAnamANitamUtradhArAdhvanibhirmUtrIyamANaH (krikulai:)| (p. 51) is another picture-a picture of a woman in the yantra-dharaglha who has just come out of water and from whose hair water is dripping down: kvcinmjjnottiirnnsvrnnputrikaanishcotymaankbriivaalklaappraantebhyH|(p. 6) It is a complete picture in a few choice words. Descriptions of seasons, towns, etc. are considered a necessary feature in Sanskrit literary compositions. In the Epics, and the great works like those of Kalidasa and Bana we come across such descriptions. Bhoja has followed the conventions and as he himself says in the beginning kathA hi kIya'mAnA nagarAdivarNanapUraHsarAH saundaryamAvahati(p.1) This work is full of descriptions of towns, gardens, lakes, seasons and the like. The descriptions of the town and its essential features such as the lakes, fountain houses and the like shed considerable light on the town-planning of those days, and have therefore been discussed in the sixth chapter. The descriptions of Nature in all its aspects are vivid and picturesque. The exactness with which the author has observed the changes in the seasons, the vividness with which he has described the glory of the day and the night, the noon and the eventide, the sunset and the moonrise, and the keen eye with which he has observed the blooming and decaying of the flora* speak of his intimacy with Nature. From the various descriptions of nature we read in Sanskrit literature we can infer that nature exercised great influence on man's life in those days. It is because of this close relationship between man and nature that nature was regarded even by the writers on poetics as one of the Uddipana-vibhavas, excitant deter* See Index C.

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38 SRNGARAMANJARIKATHA minants, in producing and enhancing the effects of sentiment or rasa. Bhoja himself says in the SKA: ... RturAtri divaakenduudyaastmykiirtnaiH| kAla: kAvyeSu saMpanno rasapuSTiM niyacchati / / * Thus besides admiring with the poet's eye the beauties of Nature the poet also acknowledges its effects on the emotions and affections of men. Another thing to be noted is man's realization of the utility of nature's munificent gifts. The trees with their leaves and the flowers with the component parts like the petals, juice, pollen etc. are described as being put to daily use by the people. Thus the poet's charming descriptions of nature, though cast generally in the conventional mould not only enhance the poetical merit of the composition, but bring home to our mind that they are the spontaneous expressions of feelings of the poet on coming in contact with nature. It is shocking to read, therefore, F. Hall's criticism in his preface to the Vasavadatta34 wherein he writes with affrontery and in utter lack of understanding that 'Natural scenery, though boundless in variety, is to the Hindu, an object of impassive incuriosity and unconcern: and low indeed must be that type of humanity to which this imputation can fairly be brought home'. In the Kadambari we have a short description of the Vindhya forest running into twenty-eight lines. In the SMK we have a longer description of the same forest which runs into about a hundred and eight lines. Like Bana, this author also describes the forest as extending from the eastern to the western ocean. The wild beasts and the trees mentioned in the two texts are practically the same. Two other long-drawn descriptions in the SMK are those of a horse and an elephant. Every part of the body is described, and unusual words like the avarta meaning a lock of hair that curls backwards and which is considered lucky especially on a horse; and araksa the junction of the frontal sinuses of an elephant, lead us to infer that the author had a detailed knowledge of the Gajasastra and the Asvavidya. Bhoja's love for animals is patent, and in this context it may not be out of place to mention that among the books ascribed to him there is one called salihotra which treats of the care of horses and their diseases. 35 There is great similarity between the description of the city of Dhara with that of Ayodhya given in the Tilakamasjarikatha of Bhoja's contemporary Dhanapala. 33. V, 131. 34. Bibliotheca Indica, Calcutta, (1859), p. 28. 35. See Keith, A History of Sanskrit Literature, p. 465. Also Dubkund Inscription (EI, II, 233, 237, 238) where Bhoja is praised as being widely celebrated for skill he showed in management of horses.

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A CRITICAL APPRECIATION OF THE SMK Diction In the SMK, while describing the heroine the author says: zRGagAramaJjarIgadyapravRttiriva sulalitapadA | (p. 13 ) It describes his choice of words as being elegant. And indeed, unlike the other prose Kavyas, which abound in harsh and jingling words, the choice of words in the SMK is simple and carries verbal assonance. Conscious effort has been made at some places for alliteration. For example: uDDIna zikhaNDimaNDalI kalApakalpitAkhaNDalakodaNDAkANDamaNDitagagana maNDalAm (p. o) and even in short sentences like: sAca aparuSA veSe, avyapadezyA dezabhASAsu galbhA praznottaraprahelikAdiprabhedeSu. labdhalakSyA lAsye, akSamA samasyAsu, prabuddhA prabandha nibandhaneSu / (p. 12 ) Free use is made of compounds but they are not difficult of comprehension. Diction is varied; but it is not obscure. Synonymous and paranomastic words are often met with; rare words like samaja and pattanika;; philosophical terms like smrti-pramosa and avidya; and technical terms like bhati and grahanaka are freely used. The influence of contemporary diction on the language is obvious. Thus we have instances of Prakrit words like Kadavakka and Desya words like akka and avva in the text. Sometimes the base of a Prakrit or Desya word is used to coin a Sanskrit word. For example we have the words thaka and thakayitva, the base of which is the Desya word 'thaga'; or again the word tiritillitani of which the base is the Prakrit word tiritilla. These words have been explained in the Notes. 39 Occasionally we come across general observations which can pass as sayings, like: gArhasthyaM hi nikhilAzramajIvabhUtam 180 In a work like this where the action of the tale is obstructed by lengthy descriptions there is hardly any scope for conversations. Yet at a few places we have instances of conversations which are forceful and direct. Thus the first conversation between the king and his friends is interesting. The one between Lavangika and Priyangika (in the fourth tale) is the natural, while that between Lavanyasundari and Vikrama (sixth tale) is short but tense. Characterization The delineation of characters in the SMK follows the purpose of the text, and therefore the characters represent. 'types' rather than individuals. A large number of characters have been depicted including kings, princes, courtiers, merchants and Brahmanas. But the interest lies not in the variety of their different stations in life but in the workings of their minds. The author shows a thorough understanding of the human mind-its innermost workings-which make up the personality of the man and makes him react differently 36. See Appendix II.

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40 SANGARAMANJARIKATHA to different situations. The author also explains through his characters how the sudden changes in the attitudes and behaviours nen are due to the subtle influences of attachments, prejudices and the like. Thus in the very beginning it is said: 6 fa sfarprANivijJeyAzcittavRttayaH / / rudrAdivAraNavadanyamanaskAzca bahuprakArAH puruSA bhavanti / yadi kazcidbhIrurapi zauryaM prkttyti| lubdho'pyudaattaayte| udAtto'pi kadaryavad vyavaharati / durbhago'pi subhaga iva cessttte| vaNigapi vittaayte| viTo'pi vnnijyte| dridro'piishvraayte| kazciddharmaruciH, kazcidarthaparaH, kazcit kAmapradhAnaH / tadevaM cittavRttInAM vaicitrye sati 494 9727 farraferarti 24 T UT farafatcai 79T FHO TISHIFT etc. (p. 8). Ravidatta (of the first tale) is a wealthy and educated young man, inexperienced in the ways of life. He fights shy of himself when he feels the first attractions of love. But once he gathers courage and goes to the courtesan, all his reserve and shyness disappears, he loses control of himself and does not know where to stop. The courtesan's insults do not awaken him to his senses and he ends his life as a mad man. Vikramasimha is a prince, rich, charitable, bold, noble and pleasure-loving. He dares ask Malatika to invite him even when she was at the house of Vasudatta. He has patience too to wait for her till she is free. When he is immensely pleased with her, he bestows gifts upon her, but when due to some reason he is offended he stops giving her presents and going to her place. Madhava is even more high-strung. When the bawd and the courtesan try to keep him back against his wishes he goes to the extreme of cutting off the bawd's nose and ears, and feels satisfied after doing that. Vinayadhara punishes the bawd in a similar manner; but while Madhava does it in an outburst of righteous anger, Vinayadhara is a shameless person who plays a roguish trick to gain his own end. Suradharman (of the fourth tale) is a real dhurta. To conceal his treasure he acts like a mad man and the clever Devadatta has to go to the extent of feigning death to deceive him. But when Suradharman is ultimately robbed off his jewel and thrown out of the house, he has no grievances and goes on his way. Somadatta (of the seventh tale) is intelligent and calculative. Infatuated by Karpurika's charms he gives out the secret of the pigeon, but being once deceived he is stung to the quick and takes proper revenge. Pratapasimha (eleventh tale) is beastly. Ugly and senuous he is roused to anger quickly at Malayasundari's teasing him. He pounces upon her like a tiger and injures her. He openly acknowledges the outrage and is glad when the king punishes the courtesan. King Vikrama features in three stories (5th, 6th and 13th). He is noble, straightforward and sincere. He believes Dava fantastic experience (fifth tale), and is pleased with her. When he

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A CRITICAL APPRECIATION OF THE SMK comes to know that it was a fabricated tale narrated to please him he appreciates her ingenuity and is doubly gratified. With Lavanyasundari he is true and considerate. He makes sincere efforts to test her love. When Lavanyasundari dies he prepares to put an end to his own life too. He offers his all to her but when in the end, the truth is revealed, he generously offers to held Lavanyasundari. In the last story about Muladeva also, Vikrama is deceived by his own queen. When Muladeva impresses upon him the fact that the latter was wrong in holding that women were not fickle, he accepts it and justly punishes his queen. Chaddalaka is a sincere and true lover. He understands that the king has made efforts to separate Asokavati from him. He is anxious to test her not because he doubts her but because he wishes to prove her fidelity to the king. When unfortunately Asokavati dies, he cries like a child and puts an end to his life as well. Sundaraka is a conscientious youth who undertakes the unpleasant task of coming between the two lovers only to please the king. When Asokavati repents of her mistake, Sundaraka is sorry about it; and when he hears of her death, he feels so guilty that he puts an end to his own life. 41 The best delineated character is that of Ratnadatta. A Vaisya by birth, he hates to join his father's business knowing that it is censurable. He wishes to join the services of the sovereign king. When another king offers him half his kingdom, he refuses. He is a gallant but he had decided not to be enslaved in the snares of any courtesan. He understands Lavanyasundari's love for him, but leaves her to pursue his own desires. He goes to serve the sovereign, but is bold enough to ask him not to interfere in his personal matters. He is an avadhanin being able to perform many acts simultaneously without forgetting any one of them. He is well-versed in many subjects and can put them to good use unlike Ravidatta. He is an example of a proud and ambitious youth who is indifferent to the human frailties like love and attachment. The women characters are not so interesting. They represent 'types' more than the male characters. Their stations in life do not give much scope for developing their personalities and their actions are always prompted by motives. Therefore there is not much difference between one ganika and the other. But the courtesans may generally be divided into two classes; ganikas adept in the profession of harlotry and sticking fast to their conventions, and those remaining constant in their love. Besides these main characters there are other important female characters like the 'mothers' of the courtesans. Their very names like Visamasila, Bhujangavagura. Makaradamstra and Ekadamstra are

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SRNGARAMANJARIKATHA sufficient to show them in bad light. In literature we have picturesque descriptions of beautiful heroines, but a description such as that of Visamasila is rarely to be found. It may be an ugly picture, but, all the same, it is realistic and vivid. She may be taken as a typical 'mother' or procuress. In physical form she is hideous, old, hunchbacked and worn out. She is besides cunning, cruel, greedy and deceitful. She is indeed an eye-sore to the young men who come to her house. But she is an important person in the courtesan's house. Songaramanjari is instructed by Visamasila; Lavanyasundari goes to the bawd Dhondha for counsel; Davadatta's mother makes Suradharman give up the precious jewel; and Karpurika's mother makes Somadatta reveal the secret of the pigeon and the pigeon as well. For their cruelty, the 'mothers' are sometimes justly punished. Vinayadhara punishes Anangavati's mother and Madhava, Kuvalayavali's mother. Bhoja's skill in characterization is indeed displayed in the delineation of these bawds, for though they are minor characters, their portrayal is complete. Sentiments The theme of the book is the courtesan's love, and therefore the sentiment of srngara overshadows other sentiments. But there are sentiments like humour and pathos which help in diversifying and thereby developing the main erotic sentiment. Hasya or humour is supplied by the instances in which the bawd or the courtesan is cheated. Thus in the 'tale of the Serpent Vinayadhara brings a dead serpent, places it on the body of the bawd and pinches her nose and lips. When the bawd cries aloud, he comes and pretending to kill the serpent, cuts off her nose and lips quickly before the truth could be found out. In one sentence the whole action is beautifully described: tato dAmIbhirjhagiti prabodhite dIpe sarpamavalokya cchedaM prayacchAmIti tenAbhihite 'prayaccha prayaccha' ityukte 'kva prayacchAmi' # 37717' scufufaahtisfy HETEZI HIFi f a I (p. 90). The irony is that Vinayadhara is thanked for saving the life of the 'mother' and felicitations are offered while the bawd suffers in pain all her life. In another instance, Somadatta takes revenge on Karpurika. He brings along with him his royal brother's wealth and men to serve his purpose, and tells her a fib that it is due to a siddhi he obtained at the "riparvata. In exchange for a pigeon and all the wealth previously earned by the courtesan he most solemnly gives her the siddhi he had obtained by saying: yeyaM mayA zrIparvate siddhirAmAditA T TH TETT: TITII (p. 44).

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A CRITICAL APPRECIATION OF THE SMK 43 Another instance is the way in which Madhava punishes the 'mother' of Kuvalayavali. Even after draining him completely of his wealth and receiving his rich upper garment as a last gift they are not satisfied. They follow him and request him to hand over the last lower garment and thus denude himself. Madhava is then really irritated. He says he would hand it over after leaving the main road; then at a quiet place calling the bawd he throws her down and forcibly cuts off her ears and nose and says this token of remembrance will never be forgotten by them. These instances provide humour which is obviously gross and almost of a farcical character, but is sometimes rendered grim by the nature of circumstances. The pathetic element is found in the different stories dealing with the suffering of persons due to separation or death. For instance, Lavanyasundari falls in love with Ratnadatta at the first sight. She follows him faithfully upto Manyakheta. She experiences the pain of separation when Ratnadatta leaves her for three days at the house of Cittralekha. To add insult to injury the king invites her to his place and per force she has to go. And on the fourth day, the day of the return of Ratnadatta, when the king calls her to dance, she goes against her wishes. On hearing of the return of Ratnadatta she runs home, but is disappointed. Ratnadatta is cold in attitude and taunts her and does not accept the services she desires to offer. It is indeed pathetic to read: "7902 ri pAdau mA prAkSIH / tvaM hi mama jananI bhvsi"| sAta sAkatamavAdIta-"ratnadatta kimetata?" THEFFAT Gareta - "F44 rua? Fa FE HETHEFTT:, Hag, gia, fazuara " (p. 84). Still more pathetic is Asokavati's repentance after having given way to her fancy and spent a night with Sundaraka in amorous pleasures. She cries out: fo Hagar. .....1191 fafeahl 3 durladhyA hatavidhevilasitAnAM gatiranatikramaNIyAnyavazyaMbhAvyAnyapratividheyA niyatiryanmadIya.. tyanurAgasyaivaMvidhA pariNatiH, tanniyatamanullaMdhyA bhvitvytaa| tayA'rthalubdhayA pApakAriNyA nAsmi afaatati (p. 90). Her repentance was so sincere that Sundaraka was sorry for what he had done. And when Asokavati died on hearing the false news about Chaddalaka's death Sundaraka felt he was responsible for it and put an end to his own life. The sentiment of Wonder or Adbhuta rasa is best developed in the fifth tale of Devadatta. In order to please the king Devadatta narrates a wonderful experience of hers, of course imaginary, which the king however takes to be real. She says she was passing through the parade ground when she saw a handsome youth on a fine horse. He beckoned to her and she sat on the horse with him. The horse

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SRNGARAMANJARIKATHA flew up in the sky and took them far away to an unknown destination. A beautiful woman waiting there, a man with a whip, their request to Devadatta, her crying out to Vikrama and her falling back to earth, all these provide elements of wonder. Similarly in the last tale of Muladeva we have a reference to some sort of magic by which a beautiful woman was created by a mahavratika and he enjoyed her company. Then the woman threw up from her heart a man of the size of a thumb. Water from a gourd was sprinkled on him and he became a handsome young man and she enjoyed his company. When it was time for the mahavratika to come she made the youth small and swallowed him. On his return, the mahavratika also made her small and devoured her. Unfortunately the text before and after this description is lost and therefore the context cannot be properly understood, but what is given is sufficient to excite wonder. The manifestations of the Goddess Asapura to King Vikrama and King Samarasimha and their talk with her and the reviving of the dead due to Her blessings are also instances of wonder. Another common motif that produces wonder is the 'pigeon motif' (seventh tale). Allusions to other Authors and Works Bhoja alludes to the Vedas, the epics, the Sastras and the Darsanas. He mentions the study of Srti, Khila, Nigama, Purana, Itihasa, Smoti (p. 3), Vyakarana (p. 34, 6C), Chandas (p. 83) Views of the Smptis are referred to on two points, namely, that the killing of a woman is a sin (p.3%) and that wife is considered the half of man (p. 19). The Bharata is mentioned once by name and the Ramayana twice (pp. 83, 490). But the personages and incidents of the two epics often alluded to are quite a few. Arjuna (p. Ri, Subhadra (p. P), Draupadi (p. 83), Nakula (p. 83) and Krpa (p. 8.) are mentioned because of the paranomastic nature of the words. The crushing of the demon Pralamba by Balarama (p. c) and the game of dice between the Pandavas and the Kauravas (p. 83) are also referred to. The destruction of the Ksatriyas and the revealing of the Dhanurveda by Bhargava (p. C) is mentioned. Together with Vyasa as a poet-sage, Valmiki and Parasara (p.) have been named. The ten-headed Ravana and Vibhisana (p. 3) are also mentioned. Ravana obstructing the path of the moon and the Vindhya obstructing the path of the sun are mentioned. The battle between Rama and Ravana is referred to (p. uc). The names of Laksmana (p. 3), Sugriva (pp. 8, 83), Nila and Nala (p. c), Virocana (p. 82) Prahasta and Subahu (p. 83) are mentioned as they offer scope for puns.

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A CRITICAL APPRECIATION OF THE SMK The Puranas are described as giving instructions through Kathas, Akhyanakas, Kadavakas,37 Manikulyas.38 Drstantas, and Nidarsanas39 (p. 17). Among the avataras Vamana (p. 15), Bhargava (p. 8) and Narasimha (p. 17) are taken as standards of comparison. The story of Urvasi and Pururavas (p. 20), the tale of Hariscandra (p. 13) and the churning of the ocean (p. 13) are referred to by way of comparison. Authorities in the Field of Arthasastra There is a rather interesting reference in the book to some of the well-known ancient authorities on policy. The sentence, corrupt in readings, has been reconstructed thus: 4754 cAtiprajJAprakarSamAlocayatAM vipazcitAM giri na garimANamArohati guruH, na prati ( bhAsate pratibhA) vAn bhArgavo, noddha vamati varddhayatyudbhavaH, a ( yate) na prAjJagaNanAM cANakyaH, na kuzAgrIyabuddhitAmadhizrayati dharmakIrtiH / (p. 9). Here Guru, Bhargava, Uddhava, Canakya and Dharmakirti are mentioned in the same strain. Canakya is Kautilya, the celebrated author of the Arthasastra. At one place in the text he is called Kautilya of the wicked intellect: kuTilamatikauTilyaprabhRtIn baTUnivApaTUn gaNayati / (p. 17) and at another place in the text his policy of administration is beautifully described as: cANakyanItiriva yo yenopAyena med a eg (p. 15). He is one among the wise. Guru is Brhaspati, who is referred to by Kautilya as a teacher in the Arthasastra. The Mahabharata, the Kamasutra, the Kamandakiya and many other works quote Brhaspati as an authority on policy.40 The next reference is to Bhargava. We may take Bhargava as referring to Usanas who is a son of Bhrgu. The Arthasastra quotes the Ausanasas many times. The Mahabharata, Visvarupa (on Yajnavalkyasmrti I-307) and other works quote Usanas's views on polity and it is held that Usanas had written a work on politics.41 In the Santiparva we have a nitisastra ascribed to Bhargava. Kane, giving a list of the authorities quoted by Katyayana in Karmapradipa, mentions one Bhargava who, he thinks, is probably Usanas.42 Further, in Abdhutasagara of Ballalasena, there are a number of authorities given of which one is Bhargaviya.43 This may be the work of Bhargava or Usanas. At another place in the present text Usanas is mentioned as being an authority in Upanisads. It is probable that this reference is to Usanas, the authority of polity. Like the Arthasastra of Kautilya where the 14th book is called Aupanisadikam, and which describes ways and means to obtain desired objects by mystic formulae and the like, the work of Usanas might have had a chapter on this subject and this reference might be to it. The reference is after a reference to Kautilya, and the whole 39. See Notes. 43. Ibid, p. 340. 38. See Notes. 37. See Notes. 40. Kane, History of Dharmasastra, Vol. I, p. 123 f. 41. Ibid, p. 110 ff. 42. Ibid, p. 219. 45

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46 SRNGARAMANJARIKATHA avyadha Yadhi matter context deals with clever and deceitful actions and therefore Upanisad cannot be taken as referring to the Vedanta books. The next name is of Uddhava. In the Sisupalavadha where Krsna takes advice from his sage-like uncle Uddhava on a matter of political importance, the poet calls him Pavanavyadhi.44 In the Arthasastra we read of the opinions of Vatavyadhi who is identified with Pavanavyadhi, who is none other than Uddhava. Nayacandrika, a commentary on Arthasastra, confirms the identification of Vatavyadhi with Uddhava.45 These are all great intellectuals and therefore Dharmakirti, the Buddhist logician, is bracketed along with them. Schools of Philosophy There are stray philosophical reflections in the SMK like inafafta HTCTTTT 1 (p. 16) and fra starfar:TifaTaT: (p. 18). But it refers to most of the schools of philosophic thought by the names of their founders together with their principal postulates. The difference between the two trends of Mimamsa thought is referred to as the 'Prabhakaraprajna' (the wisdom of Prabhakara) and the 'Kumarilamati' (the view or creed of Kumarila); the school of Vaisesikas is called the 'Kanadamati' (the School of Kanada); the Nyaya system as 'Aksapadavidya' (the knowledge of Aksapada) and the teachings of Buddha as sakyasasana' (the teachings of Buddha).46 Besides these the systems of the Pancaratra47 and the Lokayatas48 are referred to. At one place a character is described as being dressed like a mendicant of the Pasupata sect who refers to himself as 'Hinasatva' (p. 71), from which we may infer the existence of the followers of the Pasupata sect. Masters of Literature In the beginning of the SMK we have references to some of the literati of Sanskrit. The names of the masters of prose are strung together in the following sentence which is paranomastic in character: atsufes ITTUI ara: BITHAT TITIGI: TETETTEfoT: 1 (p. 1). The references to Subandhu and Bana are obvious, for their works are outstanding in Sanskrit prose literature. The reference to 44. II, 15. 45. arautfefifa gar: Arthasastra of Kautilya, Vol. II, p. 91 (edited by Jolly and Schmidt, 1924). sAMkhyasthitirivAparamArthopapadA ni (tya) puruSabhogA, zAkyazAsanoktavizvasthitiriva kSaNikA, kaNAdamatiriva dravyatattvaikapradhAnA, akSapAdavidyeva sadaiva bahamatezvarA Tha FifaTaTTTTSAFT99T, FATafafTateTEFTATI (p. 17) 47. carafeafafea Atuaqqifcataifeafa: (p. 15) 48. Terrafeefafa TATTOTETI (p. 15) 46.

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A CRITICAL APPRECIATION OF THE SMK Gunadhya is interesting. Only three verses of his Brhatkatha are known, but the contents have been fairly preserved in the Brhatkatha-slokasamgraha of Budhasvamin, the Brhatkathamanjari of Ksemendra and the Kathasaritsagara of Somadeva. These three works are in verse, and from them it can be inferred that the Brhatkatha must have been in verse. But Dandin's Kavyadarsa refers to Brhatkatha as prose romance.49 This reference to Gunadhya among the prose writers in this romance confirms Dandin's statement, which implies and supports the view of scholars that the Brhat katha was in prose. 50 The inclusion of Bhasa among the prose writers is as interesting as it is important. The question which it raises is whether Bhasa wrote any prose work at all. Now, if Bhoja had in mind the dramas attributed to Bhasa, this reference could only be to the prose passages in them. But it would be rather unnatural to include a dramatist among prose writers. Moreover, the issue is complicated by another subsequent reference where Bhasa is mentioned among those poets who have indulged in autobiographical, if not self-adulatory writing. As is well-known, however, the dramas are totally silent about their author. Therefore there are two possible explanations; either (1) the dramas are recasts of original Bhasa plays in which the Prastavana might have contained personal information regarding the author or (2) SMK had some other prose (?) work of Bhasa in mind. It is likely that Bhasa may have written in prose. Bhavabhuti has been mentioned as a poet who has written about himself. Kamasastra and the Alainkarasostra As regards the present work special reference should be made to Bhoja's indebtedness to the sciences of Erotics and Poetics. For the theme of the courtesan's love offers a chance to the author to analyse the heroes, the heroines, their attachments and states of love, and the different characters that figured in their lives as accomplices or adversaries. These topics form the stock-in-trade of both these sciences and hence the author draws upon them. Speaking of the Kamasastra first, Bhoja has mentioned only one authority in the field. That is Dattaka. The reference is as follows: faqat garatutarafta arfora: 1 (p. 19). In Vatsyayana's Kamasutra we read that svetaketu's treatise on this subject was condensed to seven chapters by Pancalababhravya.51 49. I, 38 FT FE TOTT: ET TEI bhatabhASAmayIM prAharabhdUtArthAM bahatkathAm / / 50. Keith, A History of Sanskrit Literature, (1941), p. 268. Also Dasgupta and De, A History of Sanskrit Literature, Vol. I, pp. 92-100, 694. 51. I, 1-10.

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48 SKNGARAMANJARIKATHA At the request of the hetarai of Pataliputra, Dattaka undertook to write about courtesans and their lives, dealt with in the sixth chapter of the above mentioned treatise.52 Vatsyayana himself refers to the 'Dattaka-sasana' in the sixth chapter of his work.53 The reference in SMK indicates that the works of Dattaka and others must have been current during Bhoja's times. As this work deals with the life of courtesans the reference to Dattaka becomes particularly significant. In the Caturbhani, it is surprising that in the two Bhanas of Sudraka (Padmaprabhrtaka) and isvardatta (Dhurtavitasamvada) Dattaka 54 and his sutras are referred to while Vatsyayana is not mentioned at all. In the Kuttanimata of Damodaragupta the courtesan is described as adept in the science of erotics and considering authorities like Vatsyayana, Dattaka and Rajaputra as ignorant in the matter.55 Bhoja has not mentioned Vatsyayana by name but the heroine is described as an adept in the Kamasutra and the like works (feu FTHEfaqarta p. 12). According to Vatsyayana the Ganika's respectable status in society is due to her mastery in the sixty-four Vidyas;56 the sixty-four Samprayogika Vidyas are also mentioned by him.57 The heroine here is described as having mastery over both these kinds of sixty-four Vidyas (uette: p. 12). The picture of the Nagaraka given in the KS58 is brought out in the stories of the SMK. Besides these the familiarity of the SMK with the KS is very clear. No authority in Alamkarasastra has been mentioned by name in the SMK. But a line from Dandin's Kavyadarsa (Fanufaf19T 19 HORE: p. 10) has been quoted. Bhoja is deeply indebted to Dandin whom he follows in many respects. It has been mentioned before how Bhoja's conception of Alumkara is only an elaboration of Dandin's view.59 The same is the case with regard to his unique theory of srngara for which he quotes Dandin's authority; this will be dealt with in the next chapter. We have also seen 52. Ibid, I, 1-11. 53. Ibid, VI, 2, 55. 54. In the first Bhana, Dattaka is ridiculed for using the sacred word Om for starting his Vaisikasutras: vezyAGagaNaM praviSTo mohAdabhikSaryadacchayA vApi / FUGE yrat Efaits: 17:11 (p. 1 In the 2nd Bhana, Dattaka is quoted thus: T AS FITTSPATET: Qar' ft 1 (p. 24) 55. P. 39, vs. 77. vAtsyAyanamayamabudhaM bAhyAndUreNa dattakAcAryAn / gaNayati manmathatantre pazutulyaM rAjaputraM ca / / 56. KS, I, 3, 20-21. 58. Ibid, I, 4. 57. Ibid, II, 2, 1. 59. See Supra, p. 50.

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A CRITICAL APPRECIATION OF THE SMK above how in introducing the peculiarities of the Akhyayika form of composition into this Katha, Bhoja has followed Dandin's view that it is not possible to stick to rigidity of forms in such composi tions. The theory of Raga which serves one of the important purpose of the text and which will be discussed in the next chapter, come within the scope of both poetics and erotics. Besides the main characters, who have been described above in general terms, we find references to many other types of persons who have been described in the works on poetics and erotics. There are stray references to some of the eight avastha-nayikas. Of them one is the Abhisarika. She is described in the SKA.60 as: goguise kAntaM yAti yA sAbhisArikA / In the SMK also she is described as going to her lover. Therefrom we understand that Bhoja derives the word only from abhisarana (going to) and not abhisarana (making him come) as Dhanika 1 and others take it. Bhoja describes in words three kinds of Abhisarikas. One going out in the moonlight (p. 44), another in the darkness of the night (p. 74) and the third going out at mid-day (p. 85). It is due to such distinctions made by poets that later rhetoricians have classified Abhisarika and designated them as Jyotsnabhisarika, Tamasvinyabhisarika and Divabhisarika.62 49 The Vasakasajjas are described as decorating their houses and looking again and again at the path of their lovers. At another place they are described as waiting in the Candrasalas with the walls decorated with garlands of vicikila flowers and the smoke of the incense darkening the ceilings. The Prositabhartrka is described in the SKA as: fat yasyAH sA tu proSitabhartRkA / (V, 19). In such a condition the nayika becomes impatient in spring. Her desire for union is not satisfied; therefore she cannot enjoy the beauty of Spring, nor can she tolerate the joy of others. With this condition of hers in mind Bhoja beauti 60. V, 119. 61. Dasarupaka, II, 27 b. kAmArtAbhisaretkAntaM sArayedvAbhisArikA / See also Visvanatha, Sahityadarpana, III, 76. abhisArayate kAntaM yA manmathavazaMvadA / svayaM vAbhisaratyeSo dhIrairuktAbhisArikA // 62. Vide Mandara-maranda-campu, p. 84. divAzyAmAvibhedena dvividhA sAbhisArikA / divAbhisArikA sA syAdyA divaiva saretpriyam // zubhravastrA saretkAntaM rAtrau jyotsnAbhisArikA // nIlaveSA saretkAntaM tamasvinyabhisArikA // jyotsnAyAnaparA tvAdyA tamoyAnaparAparA / yAtamAtravibhAgena bhedA evaM prakIrtitAH // S-4

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50 SRNGARAMANJARIKATHA fully describes her as impatiently complaining at the advent of Spring. 'Ah, what is this new kind of Madhu (Spring, Wine) that even without smelling or tasting it, the minds of all the people become so intoxicated'. Besides these, Virahini--the separated and the Manini-- the proud--are mentioned. The Virahina is heart-broken in Spring, she becomes pale and her only ornaments are the lotuses. The Manini loses her reserve in the moonlight and on rainy days. In Spring her pride is completely humbled by the sports of love. Among the female aides mentioned are Vayasya, Sakhi, Anucari, Prativesini and Duti. Vayasya is the same as Sakhi and Anucari She is a close friend of the Nayika and sometimes works as her Duti also. Bakulika (in the sixth tale) is a loyal and sympathetic friend of Lavanyasundari. She protects Lavanyasundari by dancing in her turn and herself goes in search of Ratnadatta twice. Sangamika (first tale) goes to Ravidatta, speaks about Vinayavati's love and brings him to her. The Prativesini is the neighbour, but she is also considered as an accomplice and used as a messenger by either the hero or the heroine.63 In SMK Nayaka Somadatta (seventh tale) stays at the house of Karpurika's Prativesini. She is once again mentioned as Prativesini (p. 83). The Duti is the messenger. She is an expert at creating yearning in the hearts of lovers by reminding them of each other's merits. (97ETRIOTTERITTERSTOFFOCTATEArt gara) and in patching up love quarrels (praNayakalahakupitAsu kAminISu prasAdanopAyacaturadUtIvyApArabahulatAmupaFerfra). All the accomplices work more or less as messengers. 64 These are the female accomplices of the nayikas but there is no hard and fast rule fixing them with either the hero or the heroine. It often happens that an accomplice of one becomes the accomplice of the other as well. Besides the female aides, some male characters who belong to the lower strata of society are mentioned. At the end of the work where Visamasila finishes her instructions to Srngaramanjari, she tells her that "you should behave in such a manner that you will not be looted by the vitas, danced about by the Dhurtas, laughed at by the Vayasyas, tortured by the Kadaryas, enjoyed by the Bhujangas, 63. Bharata, Natyasastra, 23, 9 calls her Prativesy, and enumerates her with the other female accomplices. prativezyA sakhI dAsI kumArI kaarushilpinii| dhAtrI pASaNDinI caiva datyaH striikssnnikaastthaa| 64. Bhoja in the 29th chapter of the SP. treats of forty-eight love conditions, generally called Dutasampresanadi. In it we read of sandesadana, nayakanayana etc. which correspond to the duties of the dutis referred to here.

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A CRITICAL APPRECIATION OF THE SMK 51 destroyed by the Pasandas, bewitched by the Ragins, cheated by the Vidagdhas" and so on. Besides this reference we find the mention of Anucara, Sarvarika, Khala and Dindika also. The Vayasya and the Anucara are the male counterparts of the Vayasya and the Anucari. The Anucara is not only a devoted friend of the nayaka but is only slightly inferior to him in virtues.65 Dhurta is a hypocrite, a perfect swindler. He frequents the courtesans' quarters and is a past-master in cheating the courtesans and their 'mothers'. In this work, in order to indicate the glory of the unconquerable Visamasila it is said about her. maladevaM mulahAraM vyAharati / T&TT TTfHT HETtefarofati (p. 17). Muladeva 66 is the classical Dhurta of the popular tales. Sasin is an alternative name for Sasa who is a Vita and a bosom companion of Muladeva.67 A Vita is generally described as a sensualist or a rogue who is impoverished in the pursuit of a fast life. He also frequents the courtesan's quarters and therefore is usually an aide to the hero in furthering his romantic 65. Mandara-maranda-campu, p. 79, HA TT : faf9727 TUT: 1 66. Muladeva, who is also called Karnisuta, is referred to in the Mrcchakatika of Sudraka as an author of aphorisms on theft (Act III). Bana, in his Kadambari refers to him with his companions thus: Fustaneja afafafayaran TETTTYTATTI (p. 40) on which, the commentator writes (p. 41) : #: FUTETTE : 1 Buat TEYT sakhAyau dvau vipUlAcala sNjnyko| zazo mantrivarastasya" iti bahatkathAyAM kathA nibddhaa| In the Dhurtakhyana of Haribhadrasuri (c. 800 A.C. edited by Upadhye, A. N., Bombay, 1944), which is a story of five rogues recounting their own fantastic experiences, there is the mention of Muladeva, also called Mulasri, as the master of the rogues, and his friend Sasa. Ksemendra, in his Kalavilasa describes this Master of Dhurtas in the company of his friends instructing a merchant's son in the art of roguery and hypocrisy as practised by cheats, harlots, traders and others. sphaTikAsanopaviSTa: saha zazinA nivibhAgamitreNa / kandalImakhyaiH ziSyaiH parivAritapAdapIThAntaH / / The Kathasaritsagara has stories about Muladeva and he is placed in the court of Vikramaditya. Both these characters figure together in the present work (thirteenth tale). Further details regarding Muladeva can be gleaned from De's paper on Bhana, JRAS 1926, and, M. Bloomfields' 'The Character and Adventures of Muladeval in the Proceedings of the American Philosophical Society, Vol. 52 (1913), pp. 616 ff.. See 'Dhurtakhyana', A Critical Study, p. 23. 67. The hero of sudraka's Bhana (in the Caturbhani) is Sasa. He introduces himself as a friend of Muladeva sa evAsmi muladevasakhaH zazo'ham / In the above-quoted verse from Kalavilasa (Note 2, p. 89) we see that sasa is called Sasin and Ksemendra consistently uses this alternate name. Therefore in the SMK where the corrupt reading is Tsit it has been corrected to fit and not to TT keeping the name Sasin in view.

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SRNGARAMANJARIKATHA adventures. The courtesans are afraid of him for he knows their ways completely. Bharata describes him thus:68 vezyopacArakuzalo madhuro dakSiNaH kaviH / UhApohakSamo vAgmI caturazca viTo bhavet / / But Ksemendra speaks69 of him rather disrespectfully: kSINAya guNahInAya sadoSAya klaabhuute| viTAya kRSNapakSendukuTilAya namo namaH / / Bhoja calls him gunavan70; some describe him as a master of one art71; some as a master of the science of erotics72; and some as the master of all arts73. Another colourful personality referred to in the work is a dindika. (DiNDikaparSadiva prgrnthisraavnnjaatnivhaa| p. 18). A dindika is a character of a low order on a par with vulgar men like the Dhurta and the Vita. The fourth Bhana in the Caturbhani -Padataditakam of Syamlaka-practically turns upon him. The fourth introductory stanza says that the solemn officers of the king may go but let those who are clever in understanding the amusing sport of the dindikas (DiNDikavinarmakalAvidagdhAH ) stay on. The dindikas are described as ugly like the monkeys in the aforesaid Bhana (DiNDino hi nAmaite nAtiviprakRSTA vAnarebhyaH p. 21) and in actions are the devils themselves (lATaDiDino nAmate nAtibhinnA pizAcebhyaH) They are narcissistic profhigates and even worse than the vitas in lewd ways. 68. Op. cit, 24. 104. 69. Desopadesa, p. 111, verse 1. 70. mAnyaH kalatravAn bhuktavibhavo guNavAn viTaH / SKA, V, 170 b, which is verbally the same as Vatsyayana's: bhuktavibhavastu guNa vAnsakalatro veze goSThayAM ca bahamatastadupajIvI ca viTaH / 71. ekavidyo viTaH / Rurata, Erigaratilaka, p. 116, vs. 31. 72. kaamtntrklaakovidvittH| Bhanudatta, Rasamanjari, p. 229. 73. sakala vidyApAraGagamo vittH| Akabarasaha, Srigaramaijari, p. 51. 74. Some very interesting references are made to them in the Caturbhani and the Brhatkatha-sloka-samgraha which may be given here: Padatalitaka of Syamilaka nagnaH snAti mahAjaneM'bhasi sadA nenekti vAsaH svayaM kezAnAkulayatyaghauta caraNaH zayyAM samAkrAmati / yattabhdakSayati vrajannapi pathA dhatte paTa pATitaM chidre cApi sakRtprahRtya sahasA lolazciraM katthate / / (Vs. 39, p. 16). Again, DiNDino hi nAma AlekhyamAtmalikhibhirgamayanti nAzaM saudheSu karcasamaSImalamarpayanti / AdAya tIkSNataradhAramayovikAraM pra NakriyayA caranti / Brhatkatha-Sloka-Samgraha: (Vs. 56, p. 22). tato vicitrazastrANAM harSeNa sphuuttitaamiv| zRNomi pracaNDAnAM DiNDikAnAM vikatthitAm / / tathA kathitavantaste tAmAlokyaiva DiNDikaH / apAkraman parityaktazastralajjA yshodhnaaH| (Chapter 18, Vss. 202, 208).

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A CRITICAL APPRECIATION OF THE SMK 53 Che reference in this text compares the bawd Visamasila to a group of dindikas who accumulate wealth by "draining the purses of others" (Trafer"). Explaining the words we may conjecture that the dindika was the fore-runner of the pickpocket of today. Granthi may either refer to the knotted money bags or to the knot tied at the belt of the lower garment; and the clever dindika must have been adept in taking away the money by sleight of hand. To the class of the dindika also belongs the Khala, the rogue. In the Desopadesa75 he is described as a dishonest man without any principles. The Kadarya is the close-fisted miser. A vivid and interesting picture is given of him in the Desopadesa.76 The avaricious and miserly wretch does not even bear to spend his wealth after his own people. He is afraid of taking nicely to the visitors lest they should stay with him. His wealth is no blessing to him, but it worries him all the time. The courtesan therefore is rightly advised to stay away from him. There is a reference in the text to the Samvarikas (p. 21). This may mean magicians. For iaf i and at in writing can be variants for zAmbarika and zambara, za and sa as well as ba and va being interchangeable. 'Sambara' means maya and magic, so sarivarikas are magicians or miracle-workers. But as the magicians (Frufast:) have already been referred to immediately above, an emendation has been suggested, namely, hiarafat: meaning astrologers. And with the drift of the passage the emendation would not be inconsistent as Visamasila may be described as not only fearless with regard to human enemies like the magicians but she would be indifferent even to the influence of the stars. The common meaning of Bhujanga is paramour. Halayudha?? defines the word as Vesyapati. The words Pasanoa, Ragin and Vidugdha convey the ordinary senses. These are the different types of personalities mentioned in the SMK which have been defined and described in works on poetics, erotics and other literary works. From the numerous references it can be inferred that these classes of people constituted a considerable element in society. The words like Vita and Dhurta have been retained as such in translation and elsewhere for they convey particular meanings and are difficult to be rendered into English. 76. p. 3. 75. p. 1, 2. 77. Abhidhanaratnamala, II, 227 a.

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SRNGARAMANJARIKATHA 54 Judging from all these points of view we can say that this work of Bhoja, the SMK, is an important addition to prose literature in Sanskrit. On account of its rich contents, references, interests and its uniqueness of form, the SMK does credit ot the illustrious author to whom it is ascribed.

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CHAPTER V THE PURPOSE OF THE WORK (i) Creative art is regarded as the spontaneous expression of a genius. His talent may find expression through literary art, and it would, therefore, be unjust to his creativeness to always search for some purpose in his work. The pleasure of the poet in creativeness, however, subsequently gives pleasure to the reader and, therefore, 'to delight' came to be regarded as the aim of a poet. After the poet attained Heaven, as Bhamaha says, his body remained on earth, pure and pleasant in the shape of his poem. It continued to delight the reader and it also won fame for the poet. Acquisition of fame, therefore, appealed to the poet as an aim to be pursued. Thus, writers on poetics recognize both pleasure (Priti) and fame (Kirti) as the two purposes of a kavya.1 But when natural expression became difficult, the poet attempted to exhibit his erudition. Erudition Vyutpatti2 came to be regarded as one of the requisities of a poet and it prompted the poet to impart instruction to the reader, though unobtrusively as a beloved would do. The poet being always wedded to poverty could not achieve the above-mentioned aims easily; therefore, he sought patrons, mostly kings. 'It was the duty of the king to bridge the gulf between wealth and poetic talent', and so the poet wrote also with a view to please the patron and thus to gain wealth (Artha) for himself. Other objectives like warding off evil3 and obtaining fruition of the four ends in life, dharma, artha, kama and moksa, or at least the first three though subsidiary as regards kavya came to be regarded as the poet's purposes. Poets of the classical period wrote with one or more of the above-mentioned purposes in view. This work does not in the beginning mention in so many words the purpose underlying it. Yet, indirectly, the purpose of story-telling in general, and this work 1. Vamana, Kavyalamkarasutrani, I, 1, 5. Bhoja, SKA, I. 2. kIrti prItiM ca vindati / 2. Rudrata defines it as: chandovyAkaraNakalA lokasthitipadapadArthavijJAnAt / yuktAyuktaviveko vyutpattiriyaM samAsena || Kavyalamkara, I, 18. 3. Mammata, Kavyaprakasa, I. _kAvyaM yazase'rthakRte vyavahAravide zivetarakSataye / sadyaH paranirvRttaye kAntAsaMmitatayopadezayuje // 4. Bhamaha, op. cit, I, 2. dharmArthakAmamokSeSu vaicakSaNyaM kalAsu ca / karoti kIrti prItiM ca Dandin, op. cit, I, 15. trivargasAdhanaM nATayama / catuvargaphalAyattam / 5. Agnipurana, 337, 7.

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SRNGARAMANJARIKATHA in particular, is found in the request of Bhoja's friends to him to narrate a tale: 56 tadatinibiDakautukAcAntacetasAmasmAkaM prItyai vyutpattaye ca kAmapyapUrvI vyutpAdya kathAM kathayatu svAmI (p. 1 ) From this we gather that the present work serves two of the above-mentioned ends of the poet, namely, priti and vyutpatti. The tales, obviously, give delight, and thus serve the first purpose, while the morals they convey expound some of the topics of Poetics and Erotics and thus serve the second purpose by advancing knowledge. In this chapter we shall deal with the second purpose. It attempts to teach the maxims or rules of conduct a courtesan has to follow regarding the shaping of her own way of living by a thorough understanding of the different kinds of attachments and the ways of men, and thus making a success of harlotry as a pro fession. The first four stories explain the topic of raga or attachment. Raga is a technical term which has been explained in detail in the SP by Bhoja. It will be discussed later. The remaining nine tales expound the maxims a courtesan has to follow to make her life a success. In the books on Erotics and Poetics these subjects have been discussed. In the present work, however, though the topics remain mainly identical, they are presented in a literary garb which rescues them from the otherwise inevitable unsavouriness noticeable in some works of a similar character. On analysing the stories we find, as said above, that the varieties of raga have been illustrated in the first four stories. The topic is introduced in a simple manner. Visamasila tells Srngaramanjari that the world is full of persons of different natures; every man has his own ideas and leanings; when he comes to a courtesan his mind is 'coloured' by some sort of attachment which varies in degree and kind from that of other persons; his attitude is also different and, therefore, to understand the attitude of a man it is essential for her to ascertain the exact shade of his 'attachment'. She can then deal with him to her advantage. After this. cautionary admonition Visamasila enumerates the different kinds of ragas and classifies them into four divisions of Niliraga, Manjistharaga, Kusumbharaga and Haridraraga. The others, representing as they do only the shades of these four, are also included and, therefore, these four alone have been described in detail in the stories.

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THE PURPOSE OF THE WORK Br At the outset it would be proper to understand the technical character of raga as conceived by Bhoja and other writers. (ii) In the SKA Bhoja mentions by name the three ragas: Nili Kusumbha and Manjistha. In the SP however, the same topic has been treated with exhaustiveness and completeness in enumeration, classification and illustration, Raga is considered as one of the essential elements in developing the srngararasa,7 which is the foremost of the nine rasas usually accepted by the writers on poetics. The srngararasa--the sentiment of love is quite different from Bhoja's other Rasa-srnyara the conception of which is an original contribution of his to the science of Poetics. The later writers on poetics who quote Bhoja's authority on Srngara betray confusion in understanding his theory of Rasa-Srngara, probably because of the employment by him of one and the same word, Srngara, with two different connotations as well as by his insistence upon the importance of both the kinds of Srngara. Bhoja's conception of Rasa-srngara is given here in essence in order to distinguish it from the srngara-rasa of which raga is an important element. Bhoja's one and only Rasa-srngara is Abhimana or Aharkara which dwells in the soul of all persons and the difference in the degree of its intensity in a person is due to the experience of many past births. It is responsible for the emergence of other qualities and its presence endows a poem with elegance. This fundamental state of rasa is called rasa of Parakoti. In the second stage, the Madhyamavastha, the fortynine different bhavas grow out of this rasa. Stimulated by Vibhavas, Anu 6. V, 124 b, ETHIOTTITETT TTTT: 7. Ibid, V, 11-12 a. nAyikAnAyakaguNAH pAkAdyAH prembhktyH| nAnAlaGakArasaMsRSTe: prakArAzca rasoktayaH / / catuviMzatirityaktA rasAnvayavibhUtayaH / 8. The following is based on chapters 18 and 19 in Dr. V. Raghavan's Bhoja's Srngaraprakasa (BSP). 9. SKA, V, 1, 2. raso'bhimAno'haMkAraH zaMgAra iti giiyte| yo'rthastasyAnvayAtkAvyaM kamanIyatvamaznute / / viziSTAdRSTajanmAyaM janminAmantarAtmasu / AtmasamyagguNodbhUtereko hetuH prakAzate / /

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58 SRNGARAMANJARIKATHA bhavas and so, on, the bhavas reach their prakarsa--climax--and are then called rasas. 10 The basic srngara does not lose its character in this second stage, for consistently with his theory of BTTTT Tapi Ta : Bhoja holds that underneath the fabric of all the rasas still runs the single thread of Rasa-srngara. For ITIET fE THa (zfa:), zared (JETTE:-aft:), gafa (-ELTET), fakata (fach4:- 37 :) sfatill The passage from the second stage to the third and final stageparamakastha or uttarakoti --- is simple. For after the full evolution of the bhavas into rasas, they culminate in one rasa which is then technically called Preman. rase viha premANamevAmananti sarveSAmeva hi ratyAdiprakarSANAM ratipriyo raNapriyo'marSapriyo parihAsapriya iti pramaNyeva pryvsaanaat| 13 No. Stage Nature Name 1. Purvakoti One & only Rasa, Abhimana, Ahamkara Madhyamavastha all the bhavas rati-prakarsa 49 and more songara etc. 3. Paramakastha one & only Preman or Uttarakoti This, in short, is Bhoja's theory of srngara which has been fully elaborated in the SP. It has been already stated that this theory of Rasa-srngara in all its details is an original contribution of Bhoja to the science of Poetics. In keeping with his habit of drawing from Dandin in support of his various statements or views, Bhoja attempts to support his theory of Rasa-srngara also by falling back on the authority of Dandin. To this end he quotes the stanza: : faqatIETTA TATT I urjasvi rUDhAhaMkAraM yuktotkarSa ca tat trayam / / from the KA13 and harnesses it to the services of his own theory by reinterpreting it.14 And probably his terminology-Ahamkara, Abhimana and srngara (bhava-prakarsa), rasa and Preman have been coined so as to correspond to Dandin's Rudhahamkara, Rasavad 10. BSP, p. 472. EfT TTT pa fit TOTT TOT A TRUTEUT: aspernafervarUddIpyamAnAH tadanupravezAdeva saMcAriNAmanubhAvAnAM ca nimittabhAvamupayantaH rasavyapadeza Il cf. conversely SKA, V, 13 THT CATETETUT HTA Saforeta II also Ibid, v, 33 TITTEIT: TITUT I Tratat: TTTTTTTT vizeSAnasya manyate / / 11. BSP, p. 485. 12. Ibid, p. 516. 13. II, 275. 14. See SKA, p. 172 ff; BSP, p. 463.

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THE PURPOSE OF THE WORK and Preyas. The common Srigara-rasa, which is called the ratiprakarsa-srngara in the scheme, is the sentiment which with its various aspects becomes the subject of delineation and analysis of the alamkarikas. We shall now see how Bhoja treats of this srngara rasa. Srigara-rasa, asserts Bhoja, is the foremost of the rasas because rati is the best amongst the bhavas. 15 Bhoja has emphasised its importance by devoting 19 chapters out of 36 in the SP to it. He calls this Srigara 'Kamasrngara' also. He states that Rasa-srngara is caturvargekakAraNam i.e. it is srigara only that prompts men to different activities for the achievement of the four purusarthas: Dharma, Artha, Kama and Moksa. Corresponding to these are four srngaras, dharmasrngara, arthasrngara, kamasrngara and moksasrngara.16 Bhoja identifies this Kamasrngara with the rati-prakarsa-srngara. 17 In the 22nd chapter of the SP which deals with Anuragasthapana Bhoja says that amongst these four Kamasrngara is the most important because it is the cause of the other Srngaras. 18 The last 16 chapters in SP deal with the Kamasrngara according to the following scheme: Kamasrngara* (Chapter XX) Vipralambhasrngara 59 Sambhogasrngara (chapts. XXIV-XXXII) (chapts. XXXIII-XXXVI) The treatment of this Srngara, which Bhoja calls Kamasrngara or Ratiprakarsasrngara, with its two kinds, Vipralambha and Sambhoga, developed under the four conditions of Purvanuraga, Mana, Pravasa and Karuna in Vipralambha, and the Purvanuraganantara, Mananantara, Pravasanantara and Karunanantara in Sambhoga 15. BSP, p. 488, samastabhAvamUrdhAbhiSiktA yA rateH / 16. It may be noted that Bhoja's division into dharmasrngara etc. is different from the ordinarily accepted dharmasrngara etc. Cf. Sarvananda, Amarakosatikasarvasva: trividhaH zRMgAro dharmArthakAmabhinnaH / tatrAdyo yathA nandayantyAM brAhmaNabhojanam / dvitIya: svadezamAtmasAt kartumudayanasya prabhAvatIpariNayo'rthazRMgAraH / tRtIyaH svapnavAsavadatte tasyaiva vAsavadattApariNayaH kAmazRMgAraH // (bhA) vo 17. BSP, p. 485 vibhAvAnubhAvavyabhicArisaMyogAt (vi) prakarSamApadyamAnaH pradhAna ... ( ratirnAma kAmazaMgArAkhyAM labhate / 18. SP, p. 1. tatrApi dharmArthazRMgArayorhetubhUtatvAtpradhAnam / * Chapter XXII deals with Anuragasthapana, chapter XXIII with the general enunciation of the Vipralambha and the Sambhoga srngaras, Vipralambhasambhogaprakasanam. .

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60 SRNGARAMANJARIKATHA in common to all the works on Poetics that deal with rasas. But. Bhoja with his love for analysis goes further. He takes the etymological meanings of the prepositions vi and sam and elaborates the types and stages of srngara. The Vipralambha srngara is treated in chapters 24-32. the Sambhoga in chapters 33-36. It is relevant to our purpose to consider only the Sambhoga-srngara which we shall now examine. The preposition sam, according to Bhoja, conveys four senses: saMkSipta, saMkIrNa, saMpUrNa and samyak / Therefore, when Bhoga is developed under the four conditions of Purvanuraganantara, etc. it expresses itself in four types in Sambhogastngara thus. Purvanuraganantara-sambhoga is of samksipta type, that is, short in point of time; Mananantara is Samkirna, that is, alloyed 19; Pravasanantara is Sampurna, that is complete; while Karunanantara is Samyak, that is, perfect. These four types of Sambhoga have four stages or avasthas which are treated in the 36th and the last chapter of the SP. The four stages corresponding to the four types of Sambhoga are Satta, Abhivyakti, Anubandha and Prakarsa. Thus it is said: ___ saMkSipto bhogaH sattAvasthAyAm, saMkIrNo bhogaH abhivyaktyavasthAyAm, saMpUrNo bhoga: anubaMdhAvasthAyAm, samyak bhogaH prakarSAvasthAyAm / 20 The Satta stage is the origin of rati on the meeting of the nayaka and the nayika; abhivyakti is the clear perceptibility developed under the stimulus of Vibhavas and so on; Anubandha is the condition of continuation, and Prakarsa is the climax in which rati results, in the srrgara-rasa. In the further analysis of the Satta and other stages, Bhoja says there are subtle differences among them. In each stage there are twelve different shades. The twelve shades in the Satta stage are those of ragas, those in the Abhivyakti stage are the twelve premans, those in the Anubandha stage are also the twelve premans, and those in the prakarsa stage are the twelve Prema-pakas.21 Thus the elaborate Sambhoga-srngara under the: 4 Conditions is of 4 Types in the 4 Stages with 12 Shades. preman 1 pUrvarAgAnantara saMkSipta sattA rAga 2 mAnAnantara saMkIrNa abhivyakti preman 3 pravAsAnantara saMpUrNa anubandha 4 karuNAnantara samyak prakarSa premapAka :9. See SKA V, 86 HTETTE Tai 7 FA FUTET: IT nasaMdhAnAtsaMkaraH kena aria i wherein the sentiment of love is said to be coloured by lingering anger etc. and therefore it loses its native purity and becomes alloyed. 20. BSP, p. 68. 21. BSP, p. 68.

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THE PURPOSE OF THE WORK This is the position of Raga in the scheme of Sambhoga-srngara, and as the present work is concerned only with the twelve shades of ragas, we shall confine our attention only to them. (iii) Sambhoga of the Samksipta type in the Satta stage, it has been stated above, is the origin of rati on the meeting of the two. But the nature and kind of rati or love depends upon the quality of his 'raga'. Raga is called 'upadhi' or adjunct because it transmits to the mind its own colour. tatra saMkSepapakSe rAgopAdhiH premANi dvAdazaprakAraM bhavati / The twelve ragas enumerated in the SP are the following: Haridra, Rocana, Kampilya, Riti, Kusumbha, Laksa, Aksiba, Manjistha, Kardama, Kasaya, Sakala and Nili, which are the same as those given in the SMK. After the enumeration of the ragas, the SP proceeds to classify them according to the Sattvika, Rajasa and Tamasa nature of men. 61 athaiSa viziSTa nAyaka viSayo vizeSarUpaM ucyate / sa ca sAttvikAdinAyakabhedAt sthirAsthiratvAditAratamyAt prabandhena upapAdyamAno dvAdazaprakAraM utpadyate | 23 In the 15th chapter where Bhoja deals with the nayakas, he lists their common classification into Dhirodatta, Dhiroddhata, Dhiralalita and Dhirasanta. He goes further and divides each of these four again into various kinds according to their four features, guna, prakrti, pravrtti and parigraha.24 According to Prakrti or nature the nayaka is described as of three kinds; sattvika, rajasa and tamasa. The distribution of the twelve ragas between the three kinds of nayakas according to their temperaments is thus made: tatra haridvArAgaM rocanarAgaM kAMpilyarAgaM rItirAgaM iti sAtvikasya / kusumbharAgaM lAkSArAgaM akSIrAgaM maJjiSThArAgaM iti rAjasasya / kardamarAgaM kaSAyarAgaM sakalarAgaM nIlIrAgaM iti tAmasasya / 25 So, explaining the term 'raga' technically it can be said that raga is attachment in twelve shades which colours the minds of the nayakas experiencing the Satta stage of love (pUrvAnurAgAnantara-saMkSipta-saMbhoga ) according to their temperaments. 22. SP, p. 909. Explaining the term 'raga' in SKA and the 22nd chapter of SP, the author gives the etymological meaning of the word thus rAjate raJjate vApi rAgaH kAraNabhAvayoH / (SKa. V. 68 ) and ( raJja rAge ityasmAt rAjadIptI ityetasmAdvA bhAvakaraNayordhani rAga iti rUpaM bhavati / (SP. Chapter 24, p. 88). 23. SP, p. 909. 24. BSP, p. 909. 25. SP, p. 909.

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SRNGARAMANJARIKATHA (iv) There is no other work which treats of the subject of raga in such detail. But it is evident from stray references that the concept of raga with its different names was current long before Bhoja's time. Vatsyayana takes raga as a synonymn of love. raso ratiH prItirbhAvo rAgo vegaH samAptiriti rtipryaayaaH| 26 Jayamangala explains it as aSTaguNo'pi rAgaH / 27 Vatsyayana does not specifically mention the different kinds of ragas, but in the sixth chapter we read bAlo vA naikatradaSTiratisaMdhAnapradhAno vA haridrArAgo vA yatkicanakArI vetyavetya saMdidhyanna vA / 28 on which Jayamaigala says: haridrArAgo veti| haridrArAga iva rAgo yasya na cirsthaayii| mayi virakto yatra gatastatrApi viraktaH pUnarAgantukAmaH ki dAsyati / This shows that though Vatsyayana does not define the varieties of ragas yet he and the author of the Jayamangala are familiar with the different names and natures of the ragas. Following Bhoja the Agnipurana in the Alamkara section mentions three kinds of ragas as an Ubhayaguna of kavya. hAridrazca kausumbho nIlIrAgazca sa vidhaa| vaizeSika: parijJeyo yaH svalakSaNagocaraH / 29 This section is considered as borrowed by the compiler of the Purana from Bhoja, so we cannot vouch for its originality.30 The only work prior to Bhoja, which mentions the varieties of raga, is Ksemendra's Samayamatrka. In it, as in our text, the bawd instructs the courtesan in the secrets of harlotry. The knowledge of the raga is described as the essential equipment for pursuing har lotry as a profession successfully. atha manmathamattAnAM kariNAmiva kAminAm / bandhAya bandhakI zikSAmAcacakSe jaracchikhA / / pUrva bhAvaparIkSaiva kAryA yatlena kAminAma / jJAtarAgavibhAgAnAM karttavyau tyAgasaMgrahau // 1 The ragas that he enumerates and classifies are numerous. He gives eight classes having eight kinds or ragas each, besides 16 other mis. cellaneous ragas. The eight classes are: 1 varNAnukArin 2 dhAtvanukArin 3 gaganasaMgin 4 indriyasaMjJaka 5 prANibhedaja 6 pakSijAti 7 aMgavibhAgina 8 mahArAga 9 prakIrNaka 26. KS, II, 1,64. 27. Can astaguna' refer to the eight gunas of colour ete. referred to by Ksernendra? 28. Op. cit, VI, 4, 17. 29. 346.25. 30. For the relation between SP, and the Agnipurana see BSP, pp. 505-509. 31. V, 1, 3.

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THE PURPOSE OF THE WORK 63 The first group of Ragas contains many names similar to ragas mentioned above. Thus: kusumbharAgaH sindUrarAgaH kuMkumarAgavAn / lAkSArAgo'tha mAJjiSTho rAgaH kaassaayraagbhRt|| hAridro nIlarAgazcetyaSTai varNAnukAriNaH / suvarNarAgastAmrAkhyo rItirAgastathAparaH // 32 One raga of the second class -- the ritiraga --- is mentioned in our text. All others are different from those enumerated in the SMK. Among the post-Bhoja authorities Visvanatha is the only one to notice some of the ragas, and in this he does nothing more than follow Bhoja's SKA. He says: Adau vAcyaH striyA rAgaH pazcAt puMsastadiGigataiH / nIlIkusumbhaM maJjiSThA pUrvarAgo'pi ca tridhA // 33 Among the lexicographers Yadavaprakasa, 34 Halayudha 35 and Hemacandra 36 mention and define the Nili and the Haridra ragas, (v) Now we can examine critically the basis of the classification, natures and illustrations of the ragas as given by the various texts. The basis of classification in the SMK is according to vargas or classes. Four primary ragas, namely the Nilh, the Manjistha, the Kusumbha and the Haridra form the classes. There are three in each of these vargas, but there is no specific reason given for the division. The classification of the SP is more scientific. It is according to the three natures of the nayakas. Thus there is a difference in the pattern of the division of ragas in the SMK and the SP. Thus: SMK (4 vargas) SP (3 natures) nIlI maMjiSThA kusumbha haridrA haridrA kusumbha kardama rIti kaSAya lAkSA rocana rocana lAkSA kaSAya akSIba sakala kardama kAmpilya kAmpilya akSIba sakala rIti maJjiSThA nIlI Despite this difference in the basis of classification in the two texts, it is interesting, though not surprising, to note the very close verbal similarity in the description and divisions of ragas in them. As both the works are from the pen of one author, they should 32, Ibid, vss. 4, 5. 33. Sahityadarpana, III, 195. The explanation and examples are similar to those in SKA. 34. Vaijayanti, I, V, 4,26.. 35. Abhidhanaratnamala, II, 219 b, 220 36. Abhidhanacintamani, III, 476.

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64 SRNGARAMANJARIKATHA naturally be complementary to each other. The conjecture may, therefore, be hazarded that one - SP - is a theoretical work whose theories the other --- SMK - demonstrates; in other words, the stories of the SMK have been written to exemplify the technical differences mentioned in the Sp. This conjecture derives strong, support from the following references in the text. zRMgAramaMjarI zaMgAraprakAza ...anyamanaskA bahaprakArAH puruSA bhavanti va tatra saMkSepapakSe rAgopAdhiH premApi dvAdazaprakAra ...tatra rAgo'pi tAvat prthmaaklniiyH| ... sa ca bhavati / rAgo dvAdazadhA nIlIrAgaH,rItirAgaH, akSIbarAgaH, maMjiSThArAgaH, kapAyarAgaH, sakalarAgaH kusumbharAgaH, lAkSArAgaH, kardamarAgaH, haridrArAgaH, roca- tatra haridrArAgaM, rocanarAgaM, kAMpilyarAga, nArAgaH, kAMpilyarAgaH / tatra nIlIrAgaH, rIti- rItirAgaM iti saattviksy| kusumbharAgaM, rAgaH, akSIbarAga ityeko varga: maMjiSThArAgaH, lAkSArAga, akSIbarAgaM, maMjiSThArAgaM iti rAjakaSAyarAgaH, sakalarAga ityprH| kusumbharAgaH, sasya / kardamarAgaM, kapAyarAgaM, makalarAgaM, nIlIlAkSArAgaH, kardamarAga ityprH| haridrArAgaH, rAga iti tAmasasya, tata prAyeNa puruSANAM rocanArAgaH, kAMpilyarAga iti caturthaH / vizeSa (SA) upjaaynte| prathame nIlIrAgavarge nIlIrAgAd rItirAgA- athaiSa viziSTanAyakaviSayo vizeSarUpa ucyate / kSIbarAgau kiMcidasthirAvapi nIlIrAgaprakAza- sa ca sAttvikAdinAyakabhedAta sthirAsthirAnAda darzitau bhavataH / maMjiSThArAgavarge maMjiSThA- ditAratamyAta prabandhana upapAdyamAno dvAdazarAgAta kaSAyarAgasakalarAgau kicidasthirA- prakAra utpdyte| vapi maMjiSThArAgaprakAzanAt prakAzitau bhavataH / kusumbharAgavageM kusumbharAgAllAkSArAgakardamarAgaukicidasthirAvapi kusumbharAgapradarzanAt pratikRtau bhavataH / haridrArAgavarga, haridrArAgAda rocanArAgakAMpilyarAgau kiMcidasthirAvapi haridrArAgapradarzanAt pratikRtau bhvtH| evamayaM yadyapi dvAdazaprakAro rAgaH prakAzitastathApItareSAM catuSTaye'ntarbhAvAt prAdhAnyAccaturdhava bhavatyAH kutUhalAt pradarzyate nIlIrAgo maMjiSThArAgo kusumbharAgo hridraaraagshceti| The classification of the Samayamatrka into eight classes is based on specific materials like colours, metals etc. The division is too elaborate and mechanical and it has not the merit of being based upon the psychological working of men's minds. The following table will show the different natures and the illustrations of the ragas.37 37. As far as the SP is concerned, in the following table I have relied upon the transcripts of the Ms. of the SP which were very kindly supplied by Dr. V. Raghavan. The incompleteness of details in some aspects is therefore due to the inaccessibility of the Ms. See Appendix II.

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RAGA WORK CLASS AND NATURE CHARACTERISTICS ILLUSTRATION 1. Haridra SP Sattvika Vanishes at a slight cause; kama Jimutavahana's love for Malayavati overshadowed by the sattvika in Nagananda element. SMK Haridra-varga Quickly dies out love for Devadatta Somadatta's (4th tale) Samayamatyka Colour-class Though protected well, vanishes in a moment. Vaijayanti Abhidhanaratnamala Abhidhanacintamani Jayamangala Inconstant. Momentary. ......... Contrast to the Nili-raga. Transitory. . 2. Rocana SP Maha-sattva Not much attached, hence quickly Dusyanta's love for Sakuntala in fades; dharma prompts to actions; Sakuntala kama does not bother. Less steady than Haridra-raga. SMK Haridra-varga 3. Kampilya SP Ati-sattvika Can be abandoned with efforts. Hariscandra's love for his wife in Hariscandracarita SMK Haridra-varga Less steady than Haridra-raga. 4. Riti SP Ati-maha-sattvika Which cannot die out even when Rama's love for Sita in Ramayana. there is a powerful cause. SMK Samayamatrka Nili-varga Metal-class Less steady than Nili-raga. Becomes naught even when there is attachment.

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RAGA 5. Kusumbha 6. Laksa 7. Aksiba 8. Manjistha SP SMK Samayamatrka SKA Sahityadarpana SP SMK Samayamatrka SP SMK WORK SP SMK Samayamatrka SKA Sahitya-darpana CLASS AND NATURE Rajasa Kusumbha-varga Colour-class Rajasa Kusumbha-varga Colour-class Rajasa Nili-varga Rajasa Manjistha-varga Colour-class CHARACTERISTICS Vanishes at a slight cause; dipped Vasudeva's love for the gopis in in kama. Harivamsa Becomes detached and works evil; Madhava's love for Kuvalayavali cannot tolerate flattery. (3rd tale) Remains safe when protected; vanishes on negligence. Resplendent though vanishes soon. "9 Can vanish at a slight cause. Less steady than Kusumbha. When stimulated, becomes attached; when cold, detached. ILLUSTRATION Difficult to dissolve even when there is a substantial cause. Does not get detached but fades. Can enjoy for a long time under favourable or unfavourable conditions. Does not vanish but shines. Pururavas's love Vikramorvasiya .... for Can fade only when there is a Vatsaraja's love for Vasavadatta in great cause. Tapasavatsaraja Less steady than Nili-raga. Urvasi in Kuvalayasva's love for Madalasa in Madalasopakhyana Vikramasimha's love for Malatika (2nd tale)

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9. RAGA Kardama 10. Kasaya 12. 11. Sakala Nili SP SMK SP SMK Samayamatrka SP SMK SP SMK WORK Samayamatrka SKA Sahityadarpana Vaijayanti Abhidhanaratnamala Abhidhanacintamani CLASS AND NATURE Tamasa Kusumbha-varga Tamasa Manjistha-varga Colour-class Tamasa Manjistha-varga Ati-tamasa Nili-varga Colour-class CHARACTERISTICS Can be removed by a small cause. Agnimitra's love for Iravati and Mahadevi in Malavikagnimitra Less steady than Kusumbha. Dies out on a sound reason. Less steady than Manjistha. Rough; softness dissolves it. Constant in love. Difficult to be removed even with Aja's love for Indumati in Raghugreat efforts. vamsa. Less steady than Manjistha. " Difficult to be removed at all costs. Vaisampayana's love for Mahasveta in Kadambari. Though it leads a man to destruc-Ravidatta's tion it does not vanish. love for Vinayavati (1st tale) Though rebuffed, it is steady; sticks on till the body perishes. Which neither shines nor vanishes. Rama's love for Sita " ILLUSTRATION 77 Sivagana's love in Vikrantasuraka. "3 .... 99 "

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68 SRNGARAMANJARIKATHA vil The tabular analysis brings out two points clearly: 1. There is not much difference in the descriptions of the ragas. 2. The four ragas, Nili, Haridra, Manjistha and Kusumbha that the SMK considers to be principal, are accepted as important by all the writers. They seem to be the most distinguished and oft quoted ragas. Both the SMK and the SP take the fastness of the colours into consideration. ff is the key to the gradation. In the SP Bhoja has a method in selecting the ragas to be explained. He has taken the treatment of the Sattvika nature first, then the Rajasa and then the Tamasa. Within his division also, he has taken the lightest in colour and the less constant first. Thus for example in the tamasa class he takes Kardama, Kasaya, Sakala and Nili in order of deepening of colours and the intensity of attachments. Considering one raga after another we follow SP's method in treating the ragas of the Sattvika nature first. Due to the predominance of Sattva in these people their ragas do not leave any permanent impressions on their minds and do not impede their normal work in any manner. The lightest amongst this class of ragas is the Haridra-raga. Haridra is turmeric, bright yellow in colour.33 Its colour is not fast and it fades in the sun. So the Haridra-raga of a man also vanishes at the slightest excuse. surakSito'pi hAridraH kSaNenaiva virajyate / 39 SP says that in this case Kama is ineffective owing to the excess of qualities like compassion which are characteristic of the sattvika temperament. Before examining the illustrations supplied mostly by the SMK and the SP it is important to bear in mind that the examples in the SP and others are to be judged from a general or social or even philosophic point of view, while the examples of SMK are based on a narrower view, namely, the interests and approaches of courtesans. Therefore, the interpretations, meanings and values attached to a raga according to their benefits would be quite different. For instance the unflinching steadfastness of the Nili-raga which would be considered admirable by all, is viewed with great aversion in the interest of the courtesan's profession and is therefore condemned. The example in the SP of the Haridra-raga is Jimutavahana's love for Malayasundari in Nagananda. His love for her does not prevent him from following his heart's desire, viz., sacrificing his life for others. In SMK Suradharman's love for Devadatta (4th tale) does not prevent him from leaving her house for the safety of the jewel. His return, however, is due to pity on seeing the miserable con38. At one place in the SP, it is described as s haridre kukkuTasya pAdAviti / (p. 88 chapter XXIV). 39. Samayamatrka, V, 22 a.

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THE PURPOSE OF THE WORK 69 dition of Devadatta's household. Compassion is the motive here, as SP says: sa hi tathA na kAmena bAdhyate yathA sattvodrekAtkaruNAdibhiH / 40 The Samayamatska does not give any explanation for the raga but only the colour of Haridra is taken into consideration. The next raga of this class is the Rocana-raga. Rocana is a bright yellow shining pigment. A nayaka of the rocana-raga is a sattvika type of man who possesses sattva-guna in a greater degree. His attachment does not obstruct his other activities prompted by dharma, etc. Therefore it is not difficult to forget it, but a great cause is necessary to give it up. As for instance Dusyanta's love for Sakuntala, which was forgotten due to the curse of Durvasas. SMK gives no illustration but includes it in the Haridra class. Kampilya is a tree which has bright red seeds. As a colour it is deeper than Rocana. Not only a great cause is necessary to remove it, but a great effort is to be made as well. Therefore it is said to belong to a nayaka of ati-sattvika nature. The example in the SP is that of Hariscandra in the Hariscandra-carita where Hariscandra forced himself to forget his love for his wife to free himself from the clutches of Visvamitra. SMK has no example but places it in the Haridraraga-varga. The last of the Sattvika-ragas, Riti, is the fastest. It belongs to the ati-mahasattvika nayaka. The example in the SP is from the Ramayana. Rama continued to love Sita even after driving her out due to the people's criticism. SMK offers no example, but places Riti-raga in the Niliraga varga. Samayamatska says: FGTEET mAlinyaM snehenaapyupjaayte| Now we come to the ragas of the Rajasa hero. The characteristic of these ragas is that when another raga happens to influence them, the original ragas only deepen further but do not vanish altogether. Of these the first is Kusumbha. Kusumbha is saffron, bright red in colour. The nayaka possessing the Kusumbharaga is smart. He has no consideration for Dharma or Artha, but only Kama. As soon as this person gets attached to another person of greater merit, his attachment for the first person vanishes. SP gives Vasudeva's love in Harivansa as an instance, in which case Vasudeva's love for the gopis becomes less on meeting the ladies of Dvaraka. In the SMK Madhava possesses the Kusumbharaga. After enjoying Kuvalayavali's company he desires to go away. When she and her mother follow him he forgets his attachment, 40. P. 909.

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SRNGARAMANJARIKATHA punishes them and feels satisfied with what he has done. According to Samayamatyka this raga vanishes when it is not protected. Though not specifically mentioned we can take Somadatta (7th tale) and Vinayadhara (10th tale) as heroes of the rajasa-praksti possessing Kusumbha-raga. When Somadatta realizes that he is deceived he is stung to the quick and takes revenge. Similarly Vinayadhara returns to punish the bawd after he had been driven out. The SKA41 and the Sahityadarpana42 explain it as being bright, but liable to fade away. ( afa 7 ) Laksa is lac which is bright red in colour. As a colour it belongs to a person who has too much rajas in him. The example in the SP is of Pururavas losing his love for the queen on seeing Urvasi. SMK has no example but puts it in the Kusumbha-varga. Samayamatska compares the characteristics of the lac with this raga. T: fecufa TTTS#: 500 ara fas: 43 Aksiba is also a tree. This raga can be removed only with great difficulty. The instance in SP is Vatsaraja's love for Vasavadatta as described in the Tapasavatsaraja. There Vatsaraja is made to forget Vasavadatta with great efforts by his ministers for the purpose of turning his mind towards the conquest of his lost kingdom. SMK has no example but places it in the Niliraga-varga. Manjistha is Indian madder. As a raga it is deepest among the rajasa raga, and it cannot be given up even with great effort. SP quotes Kuvalayasva's love for Madalasa in the Madalasopakhyana as an instance. In the SMK, Manjistha-raga forms a class by itself, and it is described as being so fast that it fades but never vanishes completely. Tatutufa a Vikramasisha (2nd tale) is of this nature. He boldly approaches Malatika, but being once offended stops going to her though his attachment for her is never lost. The Samayamatyka describes it as a fast Arfoot feTTH17977: 47:45 i.e. persistent under any circumstances, favourable or otherwise. The peculiarity of the ragas of the Tamasa class of nayakas is that they neither vanish as in the case of the ragas of the Sattvika nayakas, nor do they deepen as in the case of the rajasa ragas. But when they are spurned they change into another raga, that is, some 41. V, p. 610. 42. III, 197. 43. V, 20. 44. SKA, V, p. 610; Sahityadarpana, III, 197. 45. V, 21.

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THE PURPOSE OF THE WORK changes set into their natures. Of this class the least harmful is Kardama. Kardama is mud. Its colour does not stick, therefore as a raga it is not fast. For example, Agnimitra's love for Mahadevi and Iravati which disappears on seeing Malavika. A minor point may be mentioned here. In SP Pururavas's love for the queen is quoted as an instance of Laksa-raga. Here Agnimitra's love for the two former queens, which fades on seeing Malavika, is placed in the Kardama class. The question is: what is the reason for this differentiation of calling one rajasa and the other tamasa in spite of the apparent similarity of situations in both the cases? Perhaps an explanation may be sought in Agnimitra's betraying his unsteadiness in love twice while in Pururavas's case it is not so. The SMK offers no example for this raga, but places it in the Kusumbha-raga-varga. Kasaya is dull brown red colour. 46 The example given in the SP is Sivagana's love in Vikrantasura. SMK gives no example, but places it in the Manjistha-raga-varga. Pratapasimha (11th tale) may be taken as an example of this type of hero. He is ugly and sensuous. When Malayasundari teases him he gets wild and like a ruthless 'tiger' injures her. The Samayamatnka describes it as FFTTT the got 97: Feutia ufal 47, that is, he is rough in his attachment but could be adversely affected by affection. Sakala is a fast colour and cannot be removed with great effort even when there is a cause for it. SP gives the example of Aja's love for Indumati in the Raghuvamsa. SMK places it in the Manjistha varga. It is difficult to identify Sakala.48 We come lastly to the important and most common Nili-raga. Nili is indigo, dark blue in colour. The attachment of the hero is fastest, most intense in this case, and it is impossible to remove it under any circumstances. SP says it belongs to the ati-tamasa hero. The example given is Vaisampayana's love for Mahasveta in the Kadambari. 46. Cf. T9T4 TG HET FUTTI (SP, p. 88. Chapter XXIV). 47. V, 21 b. 48. In the saivatantra the word sakala is applied to soul which has not advanced beyond the lowest stage of progress, and which is bound by sin, ignorance and the bonds of action. Cf. Sarvadarsanasamgraha of Sayanamadhava (p. 70) pazastrividhaH vijnyaanaaklprlyaaklsklbhedaat| '..tRtIyastu malamAyAkarmAtmakabandhatrayasahitaH sakala iti sNlpyte| The work further quotes from Bhoja's own work, Tattvaprakasa to the same effect. Can the conception of Sakalaraga have any reference to this technical meaning of the word in Saivatantra?

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72 SMK puts it similarly that though the man is destroyed in a hundred ways he does not give up his raga, just as a cloth dyed in indigo does not lose its colour even when washed by soda and the like in many ways. The example is Ravidatta of the first tale. He is versed in all the sastras and arts but does not know how to make practical use of them. He has no sense of discrimination. Unwittingly he gets caught in the snares laid out by the courtesan Vinayavati and does not even understand her pretext in driving him out. Foolishly he waits for her and his tamasika deep attachment does not leave him till he dies. SKA says: 47 fa fazobhate / 49 and gives Rama's love for Sita, making a golden statue of hers after driving her out, as an example. Sahityadarpana also follows it and says: yathA zrIrAmasItayo / 50 Samayamitrka says: nIlo dehakSayasthAyI vAryamANo'pinizcalaH / 15 The lexicographers put it uniformly (to mean) that the hero is steady in love.52 SRNGARAMANJARIKATHA Now a point may be noted. It has already been pointed out above that instances in the SP and SMK may differ because in one it may be from a general point of view, while in SMK it is only from the point of view of the courtesan's gains and approaches. Niliraga therefore would be a plague to the courtesan's life, and therefore it is called Tamasa. SP also says tadatitAmasasya / In view of this it is surprising how SKA. gives Rama as a nayaka of Tamasa nature. In this context we may refer again to the Riti-raga. In SP it is described as belonging to the Maha-sattvika-nayaka, and the example there given is similar to the one in the SKA, namely, Rama's love for Sita. Therefore is would be more appropriate to take Rama's love for Sita as an example of Riti-raga. This is how the different ragas are explained and illustrated. Generally speaking it can be said that the divisions are made according to colours, and their qualities of fastness etc. are taken into consideration. The Samayamatrka has also a colour division but the "erotic classification of different types of men after different kinds of birds and beasts" is not very happy. Bhoja derives the word from ranj, to colour, and the sattva, rajas and tamas elements are usually associated with brightness, redness, and darkness and the materials associated with them have shades of these three 49. V, p. 609. 50. III, 196. 51. V, 22. 52. Yadavaprakasa, Vaijayanti, I, V, 4, 26. Halayudha, II, 219 b. Hemacandra, III, 476.

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THE PURPOSE OF THE WORK 73 colours; therefore, ihe colour basis for the classification of the different kinds of ragas is significant and logical. This is how Bhoja and others treat of the subject of raga. In so far as the present work deals with the ragas we can say that one of its main purposes has been to illustrate the ragas technically dealt with in the SP. This points out incidentally its close relationship with the SKA and the SP, and strengthens Bhoja's claim to the authorship of this work. The second purpose of the text, as has been mentioned in the beginning, is to describe certain dangers a courtesan has to guard against, and to lay down certain rules of conduct she has to follow to make her life a success. This is done through illustrative stories which shed interesting side-light upon the institution of courtesan and also upon certain aspects of the social life of those days. There are certain technical points regarding the ganika as a 'type' of nayika to be considered also. This will be dealt with in the next chapter.

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CHAPTER VI A PICTURE OF THE TIMES The SMK presents a graphic picture of the times in which it was written. The main scene is laid in the city of Dhara, but the stories take us throughout the length and breadth of India. The territorial boundaries of the political states changed with the rise and fall of kingdoms one after another. Social life with its timehonoured customs and traditions evolved differently in the different parts of the country, and yet, as we read of various happenings in the different cities we feel underneath it a deep and constant flow of cultural homogeneity which presents the picture not of this or that part of the country, but of the whole of India, one and undivided. Geography SMK has a large geographical canvas. From Udyana in the north Peshawar we come to the Simhaladvipa in the South, and from Kachcha on the sea in the west to Pragjyotisa in Assam in the east. Among the countries Avanti, Kaccha, Nepala, Pancala, Magadha and Malaya are mentioned. Avanti, the ancient name for Malwa, with its capital Ujjayini is well-known. The present text also refers to it as: astyavantiSu zrImatyujjayinI nAma ngrii| The city of Ujjayini is described as being presided over by Sri Mahakalanatha. His heart was captivated by Ujjayini's charm, so he left his abode on Kailasa and took up his residence there. In all the three stories where Ujjayini has been mentioned, Vikramarka or Sahasanka or Vikramaditya is referred to as the king. Kaccha and Nepala are what they are today. The land of Nepala is described as being fragrant with the musk of deer. Ahicchatra (modern Ramnagar in Bareilly District, U.P.), the capital of North Pancala, and Kanyakubja (modern Kanoj), the capital of the south Pancala, are mentioned.1 Magadha is an ancient name and is identified with South Bihar. Malaya is Malabar, Cochin and Travancore. Hasiinagapura is the same as Hastinapura, the capital of the Kurus, northeast of Delhi. There is also a reference to a Hastigrama, a town of the Brahmanas, on the bank of the Ganges. Kausambi (modern Kosam on the Yamuna, near Allahabad), the capital of Udayana (Vatsa country). and Vidisa (modern Bhilsa) are well known. Prag1. For the identification of the places Nundolal Dey's 'The Geographical Dictionary of Ancient and Mediaeval India' has been followed.

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A PICTURE OF THE TIMES jyotisa is identified with Gauhati in Assam, and in the text is described as being adorned with krsnaguru. The corrupt form of Tamralipti (modern Tamluk in Midnapore District, Bengai)-Tamaliptiis given in the text. Kundinapura (modern Kaundinyapur in Chandur taluk of Amraoti) is ancient capital of Vidarbha Vatsagulma (Basim in Akola District, M.P.) is another town of Vidarbha as Rajasekhara states it to be. But Vatsyayana mentions Vatsagulma and Vidarbha as though in two different countries.3 However, Vatsagulma situated in Vidarbha would suit the context of the story here better on account of its being in the vicinity of Manyakheta. Nasikya (modern Nasik) is incidentally referred to. Lata (Southern Gujarat). Kerala (Malabar Coast), Konkana and Dravida (South India) have been mentioned. Kunci is Conjeevaram and its description as having conquered the three worlds by its wealth of beauty would be proper since it was the capital of the powerful Pallavas since the ninth century. Uragapura was the capital of the Colas and Pallavas, who after being forced into obscurity by Kalabhras, Pandyas and Pallavas reached their zenith of power in the 11th century and ruled over the whole of the Tamil country. It is referred to as having a powerful king. The town has been variously identified with Uraiyur on the southern bank of Kaveri near Trichinopolit (present name Tirucherapalli), Nagapattam and with Madura. Another great capital of a powerful contemporaneous kingdom mentioned is Manyakheta (modern Malkhed in Hyderabad State). It is said in the 8th tale that the hero was in Pundravardhana and desired to join the services of the sovereign of Manyakheta. From Pundravardhana he went to Vidisa, thence to Bhaillasvamidevapura, from there to the town of Purnapathaka, and then to Manyakheta. Pundravardhana (modern Mahasthan near Bogra) is in North Bengal. Vidisa is modern Bhilsa in Madhya Bharat. Bhaillasvamidevapura? is 12 miles from Bisnagara. From there he entered Purnapathaka in Berar. The identification of this town is somewhat difficult. But in the modern district of Parbhani (C.P.) we read of a town called Purna, which is on the way to Manyakheta. We can 2. Kavyamimamsa, (KM) p. 10. TanifeST FEAT anty FETITAT facing vatsagulmaM nAma nagaram / 3. KS, V, 6, 35-36. 4. Classical Age, p. 244. 5. Dey, op. cit, p. 211. 6. Upadhyaya, B.S., India in Kalidasa, p. 67. 7. In two stone inscriptions of the twelfth century this place is mentioned. See Ray, H.C., The Dynastic History of Northern India, Vol. II, pp. 706, 999. 8. Vide, The Imperial Atlas of India, Map No. 56, 70deg-19o.

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76 SRNGARAMANJARIKATHA take that as identical with our Purnapathaka. Manyakheta was the capital of the Rastrakutas whose feudatory was Siyaka, Bhoja's grandfather. He had, however, thrown off the suzerainty of Manyakheta. After the Rastrakutas, Taillapa, the Calukya, who ultimately defeated Bhoja's uncle Munja, was ruling from Manyakheta; therefore the echo of Manyakheta being the seat of a sovereign ruler is heard in the text. Simhala-dvipa is the southernmost extremity of India that is mentioned, and Udyana is the northern-most. Udyana is identified with Uddayana situated on the Swat river. The most important city mentioned is, of course, Dhara, the capital of the Paramaras. It was during the rule of Vairasimha or Siyaka II that Dhara became the capital of the Paramaras. In the Navasahasanka-carita of Padmagupta, a poet at the court of Bhoja's uncle Munja and his father Sindhuraja, Dhara is called the 'other Capital' (apara kularajadhani).11 And historians record that Bhoja rebuilt the city in the middle of the 11th century and transferred the capital there from Ujjayini. 12 It is taken to be the most distinguished city during Bhoja's time, and the description of the city that we get, though conventional, speaks of the wealth and prosperity of the city. Two islands outside India are mentioned, namely, Suvarnadvipa and Ratnadvipa. Suvarnadipa is in South East Asia and can be roughly identified with Sumatra. Ratnadvipa is one of the islands near Java. There is the usual reference about these places that merchants from India went to these places and returned laden with riches. Among the mountains the well-known Himacala, Kailasa, Meru, Anjanagiri. Mandara, Rohanacala, Amaragiri, Mekala, the Suktimantaparvata and the Sriparvata are mentioned. Mekala is the same as Amarakantaka from which the Narmada takes its rise. Sri parvata is in the South. 13 Rohanacala is the Adam's peak in Ceylon, also called Sumana-Kuta. Suktimantaparvata is a portion of the Vindhya range. 9. In the History of the Paramaras Ganguly gives a list of names of Mandalas of the Paramaras of Malwa from available records. Among them Purnapathaka is mentioned (p. 236). 10. Udaipur Prasasti of the Kings of Malwa, EI, I, 233 ff. jAtastasmAdvai risihonyanAmnA loko brUte vajraTasvAminaM yam / zatruvarga dhArayAsernihatya zrImadvArA sUcitA yena rAjJA // jetuH purI sA'pyaparAsti yasya / dhAreti nAmnA kularAjadhAnI // 11. 1. 90. 12. Ganguly, op. cit., p. 27. 13. In a Prakrit inscription from a Buddhist site at Nagarjunikonda we read siriparvate vijayapuriyapUrvvadisAbhAge vihAre etc. The editor of the inscription observes that the tradition in Tibet that Nagarjuna spent the concluding part of his life

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A PICTURE OF THE TIMES Among the rivers Kalindi is mentioned. Narmada is called Mekalakanyaka. The Ganga is described as Tripathaga and Mandakini. Sipra in Ujjayini and its tributary Gambhira are mentioned. Tapi is given a rare variant, Tapani. The present Sabarmati is called Sambhramavati.14 Tamraparni in the South is conventionally described as having pearls. Kingship and Administration The head of an Imperial State was called Cakravartin. He ruled over the neighbouring kings. The description of the king of Uragapura (9th tale) is the conventional description of a sovereign, sa caturazIteH sAmantAnAM dvAdazAnAM ca maNDalezvarANAM patriMzatazca rAjakUlikAnAM dvAsaptaterATavikapallIpatInAM ca caturvizateH kArvATAnAmekaviMzateH kokaNAnAM patrizatazca velAkulAnAFfTchata (P. 60) The reference to the thirty-six 'Rajakulikas' is a reference to the ruling royal families. 16 The Konkanas are the people of Konkan, the Karvatas are the people of the villages and the Velakulas refer to the people living in the thirty-two ports that might have existed then. The Atavikas refer to the forest tribes of Sabaras, Bhillas, Barbaras and the like. The whole of the kingdom was divided into a number of mandalas (provinces) and governors were appointed who were called mandalesvaras. Mandalas were further divided into blogas and visayas. The samanta was in charge of the visaya. Together with these the other two officials mentioned herein are the dandapasika and the mahattama. The Bhoga was further divided into pathaka, We have a reference to the Malayavisaya and the Purnpathaka. In those days kingship was not nominal. The king was the constitutional as well as the executive head of the State. The life of a victorious king was a judicious mixture of duty and pleasure. His burden of the care of his kingdom (rajyapalana) and studies of the Sastras (Sastravicara) were lightened by his hobbies like fighting elephants (Gajendrananuyodhayan) and riding horses (vajino vahayan), practising archery (sayakabhyasa), witnessing the practice of warfare (yuddhavalokana) and learning the use of arms (sastrabhyasa). Light amusements and sports like hunt in a monastery in southern India associated with his name is preserved upto the present day in the name 'Nagarjunikonda'. (EI, XX 1929-30, p. 22, Inscription F. Second Apsidal Temple Inscriptions (line 3). Edited by Prof. J. Ph. Vogel). This would help us to locate the exact site of the Sriparvata. 14. KM calls it Svabhravati (chapter 17, p. 94). 15. This reference to the thirty-six ruling families is important, as it is earlier in point of time to Kalhana's (c. 1159 A.D.) reference in the Rajatarangini. Mr. C. V. Vaidya, op. cit., (p. 388) gives a list of the thirty-six Ruling families and holds the view that it was drawn up during the time of Candra Gahadavala who ruled from 1080-1100 A.D.

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78 SRNGARAMANJARIKATHA ing (mrgaya), roaming through woods (udyanaviharana), watersports (jala-krida), the company of beloved (pranayinisamagama), meeting of friends (pranayagosthi) and witnessing dramatic performances (preksa) were equally important for him. These occupations speak of his accomplishments in the aforesaid arts and sciences also and bring to our mind the picture of a king, sound and healthy in mind, body and spirits. A good ruler was also a good artist (kulagrham kalanam) and a learned man (pramadodyanam vidyalatanam). Dharma and Niti found equal place in his life (prabhavo dharmasya, nidhanam niteh). The result was that kingship did not leave him either a ruler without learning, or an artist without character or a master without appreciation of the beauties of life. His accomplishments helped him to build up and live fully a well-balanced life. The gifted people sought the patronage of kings in all their endeavours. There were held special courts where the works and achievements of the poets, artists and others were examined, and the king usually signified his appreciation of merit by awarding handsome gifts. As a matter of fact following this normal practice of the kings of old like Satavahana, Sudraka and Sahasanka it was laid down in works like the Kavyamimamsa that kings should hold literary courts to promote the advancement of cultural activities. 10 When fortunately the king was gifted with poetic talent himself, he found it easy to collect the best talents of the day round him. It is interesting to observe that the SMK is set in the atmosphere of one of these literary assemblies of the times. It was summer and the king, surrounded by a few relatives, friends and learned people, was seated in the bejewelled and cool dharagrha on the central high pavilion. The king is requested by those present to tell them a new story for their delectation. There is an exchange of views regarding the virtue in speaking about oneself. Ultimately the king starts off with the tale which would please his friends as well as the literary connoisseurs. This small introductory passage in SMK indicates the traditions of the actual literary courts of Bhoja. 17 The king, it may be supposed, ruled justly but there can be no doubt that his personal prejudices and predilections played an important part in the administration; on his favours or frowns depended even the lives of the people. 18 16. Chapter X, pp. 54, 55. 17. See supra, chapter two, pp. 16, 17. 18. For instance, gifts of crores of gold pieces, rich dresses and presents of ele phants were given to Devadatta (5th tale) and Lavanyasundari (6th tale). Similarly king Samarasimha offered 4000 villages to Sundaraka (11th tale) and king of Purnapathaka offered 1000 villages to Ratnadatta (8th tale).

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A PICTURE OF THE TIMES 79 Though the king was thus the most important limb of the state it is surprising to note that his political or military achievements had very little effect on the lives of the people. The wars against other kingdoms were taken to be the normal occupation of the warrior class and were not considered worthy of literary record. This would explain why a work like the SMK written by a king like Bhoja, ever engaged in military exploits and political alliances, remains completely silent on such activities. The City and its Social Set-up The city was the most important centre of all activities. A picture of the cities of medieval India preserved in literature emphasises a highly rich and pompous way of living. All the wealth of the State was concentrated there. As stated above, the story of SMK is laid in the city of Dhara, the capital of the Paramara rulers. The 'picturesque description of Dhara with its wealth of details throw interesting light on some of the important features of the city and its planning which was as important in those days as it is today. Bhoja in his Samaranganasutradhara devotes a whole chapter to town-planning. 19 The details of the layout of the city and life therein are dealt with here in order to bring into bolder relief the continuity of our cultural traditions, whose roots can be traced as far back as Kautilya's times. The city (puri, nagari) had an outer wail (prakara).20 It was whitewashed; for it is described as being white as snow. It was circular in form and was studded with various precious stones. On it were watch-towers (attalaka),21 with high decorative indentation (uttunga kapisirsaka).22 The city wall had four gateways (pratoli)23 20. While on the other hand Ghuca was unnecessarily harassed, put in prison and fined by king Vajramukuta. King Samarasimha first eagerly sent his men to punish Ratnadatta and in the last tale we read that the queen's nose and ears were cut off and she was put in prison and Muladeva's wife and the merchant were deported by the king. 19. Book I, 10. FOTTER 4: The features of the city described in this work are mentioned in the SS, so it has been quoted often. pUrasya vividhasyApi pramANamatha kathyate / refracaTOGTTTTTET: TEIL (SS, I, 10, 1) 21. The watchtowers were in four directions. E SETT Traffet fast fast ETHI (Ibid., vs 31) 22. The kapisirsaka is a very old architectural feature. Together with the moat and towers it is mentioned in Kautilya's Arthasastra, Book II, chapter III. In Prakrit it is called Kausisaga. SS. gives its measure in height to be an hand. Ertua fria FUTTI(SS, I, 10, 30). 23. The modern word Pola is derived from the word pratoli, Prakrit paoli. kuryAt pratolI: sarveSu mahAdvAreSvatha dRDhAH / Car t : FTTETTaar: 1 SS, vs. 38.

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80 SRNGARAMANJARIKATHA with broad and heavy doors (vitataghanakapata). There was a moat (parikha) encircling the entire city wall. In the city there were main roads and streets (rathya) lined with shops (vipani) and palatial mansions (prasada), stuccoed (saudha) and lavishly decorated with various precious stones and gold. The residential quarters were variously called prasada, bhavana, grhaka, vesma and sannivesa-sthana. Besides the extensive outskirts of the buildings (bhavanopasalyani) the city had innumerable public parks (upavana, udyanu, pramadavana), artificial hills (krida-saila), lakes (saras, tadagu), wells and tanks (vapi, dirghika, puskarini) and public baths (dharugrha) artificially watered (yantra-dhara-g?ha). These were in such an abundance in the city that it appeared to be prAsAdamayamiva bhavanatalaM kevalaM, saudhamaya iva natanaH sargAvatAro, vidherdAdhikAmayamiva mahimaNDalaM upavanamayamiva dizAM 7795 i (p. 2) Prasadas were palatial mansions. They were very high and were white-washed as the term 'saudha' signifies.2.1 But they are variously designed as 'kanaka-saudha', 'sphatika-vesma', 'marakata-mani-prasada' etc. probably because of the predominance of the decorative materials. Some of the architectural details are very well brought out in the descriptions. The salient features are pinnacles of gold (kanakasikhara) or of precious stones.25 The candrasalas were the special apartments on the terraces from which the moonrise was observed.20 These rooms were white-washed and the walls and ceiling were decorated with paintings, and were studded with sapphires. The buildings had several storeys (tala) besides the terraces (utsanga). Utsanga is explained as any horizontal area or level as of a roof of a house. The floors were studded with crystals and were resorted to by the people in the summer. The roof was sloping and the porjecting eaves (valabhika) had water channels made of moon. stones at the end of the ridges (valabhika-candramani-pranali). The valabhika was also a small projecting balcony, sometimes called vadabhi, and was studded with emeralds (garutmata-valabhika) or made of ivory (danta-vadabhi). Niryhas are generally explained as dove-cotes. Besides these there were particular projections in the houses at certain heights on which rows of swans or pigeons were carved. These were called hansa-palis and kapota-palis. The walls of the mansions were whitewashed on the outside, but decorated within with pictures and precious stones. The floorings had 24. 26. Tato fata PITT ATRATI (Ibid., p. 87, vs. 12) Fusios a TTTTT24 Tafel (Ibid., p. 160, vs. 18) The Candrasalas were apartments in the terraces, white and decorated with paintings. Because of the paintings these apartments were also called Citrasalas. They were reserved for the newly weds. Even now in Rajasthan there are similar apartments and they are called Cittasaris.

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A PICTURE OF THE TIMES 81 crystals, sapphires, rubies, corals and the like studded in gold and other minerals. On the grounds were built pavilions (vedika) with raised seats (vitanka). These also were decorated with precious stones. The courtyards (prangana) and arches (torana)27 were necessary features of the buildings. Stair-cases (sopana) and windows (vatayana) were made of crystals. Slightly different from the windows were the 'gavaksas', windows with fretwork in stone. In the royal palaces were special audience halls (asthana) and pleasure pavilion (krida-mandapa) both inside and outside. 'Sayanagara' was the bedroom and 'Apavaraka' was another name for a room. The parks (udyanas) had, of course, their natural beauty, but they were planned and well-provided with artificial lakes, tanks, lotus-ponds and hillocks. The secanakutis were kept cool with water sprinkled from leather bags; and they were resorted to by the pleasure loving couples to escape the heat of the summer. The most interesting feature was the yantra-dhara-glha which was an ideal resort during the summer season. It is an old feature of the cities, for we find the mention and description of the same in the Kadamabari,2# the Yasastilaka-campu,29 the Tilakamanjara30 and many other works. The construction of the yantra-dhara-grhu. was very elaborate, and therefore the kings alone could afford them.31 At the very outset of this work we read that the king was seated in the dhara-grha. But the description of the city includes another yantra-dhara-grha, which was accessible to the people of the city. The purpose of the dhara-glha was to seek refuge from the heat of the summer days. It was made of dark coloured stones to deflect the heat and keep the inside cool. Various pavilions and balconies were provided within the house. Pillars, pillartops and carved dolls on them (pattasalabhanjika) adorned the chambers. On the top of the pillars (stambhasirsaka) were small statues which looked as if they bore the burden of the whole roof. They were called bhara. putrakas, and their reflections in the pillars multiplied their number. The dhara-glha was kept very cool as if it was made of camphor, snow or bits of the moon. 27. The torana is beautifully described in SS (p. 89, vs. 36-38) pArzvayorubhayoreSAM phlkdvymucchitm| uparyapari saMkSiptamardhacandradvayAkRti / / Anane dve yathA cAsmin zliSTaruyairmahAdharaiH / tayoruparisandhau ca tArakAkRtimaNDalam / / tat toraNamiti proktaM yacca tena pariSkRtam / suvarNatoraNaM ca syAnmaNitoraNameva ca / / maNitoraNamapyetat kriyate puSpakAdibhiH / 28. Pp. 438-39 29. Book III, p. 522-532. 30. Pp. 178-190. prAkRtajanArthametanna vidheyaM yogyametadavanibhujAm / STATTI HT Focafea afecyfoe THI SS, p. 179, vs. 118. 31.

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SRNGARAMANJARIKATHA In the courtyards of the dhara-grha were tanks and lotus ponds in which at some places mechanical tortoises swam up and down, at another, mechanical families of cranes were cheated by the swimming mechanical fishes, and at other places the mechanical crocodiles frightened the dolls fashioned as mermaids. Inside the dhara-grha were many mechanical contrivances. Dolls of various sizes and shapes danced and played music. Mechanical cranes, bees and cakravakas moved up and down like living ones. Water flowed from all possible slits and holes-the eyes of the winged crocodiles, the mouth of the pea-hen, hair, palms, nails and breasts of dolls, mouths of monkeys climbing up an artificial tree, from the ground underneath, walls, ceiling, lotuses, pillars and pillartops. On the whole it created the illusion of pleasant rainy days within, when as a matter of fact the sun blazed fiercely without. It was natural therefore that the whole populace was bewitched by the splendour of such a yantra-dhara-grha: idaM nAnAkAra kulabhavanamAdyaM ratipatenivAsazcitrANAmanakaraNamekaM jalamacAm / payaHpAtISme ravikaraparItApazamanaM na keSAmatyarthaM bhavati nayanAnandajananam / / The picture of the city bespeaks the prosperity and grandeur of the times. With the increase of material prosperity the lives of the people flowed easy and smooth. There was ample time, opportunity and means to indulge in every interest and temptation that life offered. If this text were taken to portray a faithful picture of its times, it offers us a glimpse of the pattern of the social life in general. The picture, it must be confessed, is hardly flattering or respectable. The mosaic of the population was made up of Brahmanas, Ksatriyas, Vaisyas, Kayasthas and men of other professions. the way of life of the individuals described in the text indicates nothing high or noble about them. It may be wrong to infer that the whole social fabric was corrupt, that the air was thick with fraud, greed and slickness, and that society was suffocated with the stench of lust; but it cannot be denied that at least partially it was so, and even the rich and the respectable descended to low and vulgar levels. The social arrangement demanded that the populace should be distributed among different localities according to their varnas and professions. The locality of the Brahmanas made the entire city look as if it was a world of Brahmanas; for at places rows of srotriyas moved up and down engaged continuously in various rituals. At some places the recitations of the khilas and nigamas could be heard. 32. SS, p 182, vs. 148. See Notes.

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A PICTURE OF THE TIMES 88 and at others discourses were held on the srutis, smrtis, vyakaranasastra, puranas and itihasas. The Brahmanas were rich and learned. The mention of the riches of the Brahmanas reminds us of the verse: muktAH kelivisUtrahAragalitAH saMmArjanIbhirhatAH prAtaH prAGagaNasomni mantharacalAbAlAGighalAkSAruNAH / durAdADimabIjazaGikatadhiyaH karSanti kelIzakA: yadvidvadbhavaneSu bhojanRpatestattyAgalIlAyitam // The Brahmanas followed the path laid down by the sruti and the smrti. (Pfaretra a * etc.). Boys were invested with the sacred thread and initiated into studies at a young age. By the time he was sixteen hec ed his studies. (T TTTTT fafta taga si retar FITTET: ) and entered life with full zest. The bulk of the Brahmanas may have followed their ancestral occupation of study and rituals and received the titles of distinction; but all spheres of activity were open to them. We hear of the Brahmana Visnudatta, who became a king, and Madhava who returned from Simhaladvipa after doing good business. The kings. princes. feudatories and courtiers came from the Ksatriyas. They were rich, charitable, pleasure-loving and valorous. The position of the king has already been described above." The third important class was that of the Vaisyas, the merchants. The sons of merchants were well up in all arts and sciences, like gaja-sastra, asva-vidya, vanik-kala, dyuta-rahasya, vaisikopanisad, citra, patracchedya and pusta-kala. For them it was not obligatory to join their father's business. (Cf. Ratnadatta's attitude). The city's wealth and splendour depended upon the wealth of the merchants, and therefore they were an important class of people. Besides these three classes, the Kayasthas are mentioned. According to the Varna-dharma they form an intermediate caste. But prior to the epoch depicted in this work, the Kayasthas were in the administrative services of the kings. They formed a class of government officers. In the Narmamala Ksemendra devotes a whole chapter to the Kayasthas, where the first verse eulogises them rather sarcastically thus: yenedaM svecchayA sarva mAyayA mohitaM jagat / sa jayatyajitaH zrImAnkAyasthaH paramezvaraH / / The references to Kayasthas are generally full of scorn and deroga 33. Mammata, Kavyaprakasa, X, cf. the following description: na pakSapAtena vadAmi satyaM uSassu yasyAM bhavanAGagaNebhyaH / saMbhAjanIbhiH parataH kriyante fagftarafsetTarf II Padmagupta, Navasahasankacarita, I. 27. -

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84 SRNGARAMANJARIKATHA tory, and they are described as dishonest, corrupt and disreputable administrators. It seems that actresses personated female parts on the stage, and they were experts in their art. There are references to fortunetellers (sakunika) and persons proficient in magic (indrajalika-vidyi) and mesmerism (mohana-vidya). Of men following other professions we hear of the oilman (tailika) doing his hereditary work and prospering in it. The medicine man (vaidya), agriculturist (karsakajana), smith (lohakara), weaver (tantuvaya), keeper of the gambling house (sabhika). The slaughter house (sunu) is mentioned, along with the barbar (napita) and the hunter (vyadha). The picture of the countryside is roseate and rich. Agricultural prosperity is evident in the descriptions of the emerald-like greeti rice-fields protected by the kalamagopikas, the barely fields and forests of sugarcane. The return of the cattle in the evenings from the rich pasture lands was inferred from the tinkling of the bells. Wood for fuel was available in plenty from the forests. Outside the cities, in these simple surrounding dwelt the vil. lagers (Karvatas) and along the seacoasts the sea-faring men (Velikulas). The forests were full of the Sabaras. An interesting ethnological description of the Sabaras is given thus at one place. They were well-built and dark in colour. They had snub noses, high cheekbones, pointed chins and small ears. Their eyes were red-shot and wide open and their eyebrows were knitted. With curly hair 2 with sparsely growing beards, with peacocks' feathers tied to their hair, with bows and arrows in hand, blowing horns and marching in groups they frightened away not only the travellers but also the wild beasts. The Kiratas, the Barbaras and the Bhillas also had their residences (pallis) in the forests, which could be marked even from a distance during the mornings due to the sweet songs of the womenfolk while pounding barley and rice at their doors. These are the divisions of classes and professions. But the members of respectable classes referred to in the text are only the men about the town (nagaraka) who led easy-going and sophisticated lives, basking in luxury. Vatsyayana has devoted a whole chapter to the description of the Nagaraka's life and we have a contemporaneous literary record to the effect that it was a favourite pastime of such men to indulge in the science of Erotics day and night. For company, they had hangers-on like the Vitas, 34 Dhurtas, Dindikas and the Singas who were ever ready to help them in their 34. Padmagupta, Navasahasankacarita, I, 30.

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A PICTURE OF THE TIMES .85 amorous adventures. But the company most desired by them was that of the hetaira. In order to be worthy of their interests and accomplishments the hetaria also had to be educated. And gradually, as the respectable members of society took more and more interests in them their position and status improved considerably and they came to be regarded as the most advanced, cultured and wel. come members of society.35 The SMK is concerned mainly with this important section of society. These women are to be distinguished on the one hand from the gay and beautiful ladies of the town, and on the other from the ordinary vesyas or prostitutes, the common women. About the former, we come to know, from stray references, only this that they were dressed and adorned in the fashions of the day; their hair was long and was braided or knotted and was always decorated with seasonal flowers. Tadanka, danta-patra and kundala were their ear-ornaments; be-jewelled necklaces and flower garlands adorned their necks; valaya, kankana and keyura were their armlets, and their feet constantly resounded with the tinkling of the nupuras. Fragrant sandal, camphor, kumkum and rodhra pollen were applied to their bosoms, and their palms and feet were painted with the alaktaka dye. Besides the accomplishment of music (sangita) or tauryatrika- the triple harmony of singing, dancing and instrumental music-we hear of no other accomplishment of theirs. This is be. cause the whole work is devoted to the lives of courtesans. The ganika is enumerated along with the vesya, but there is a vast difference between the two. A few technical points may be noted here. The Kamasutra mentions nine types of common women, namely, kumbhadasi, paricarika, kulata, svairina, nati, silpakarika, prakasavinasta, rupajiva and the ganika.36 Bharata calls her bahya, 37 dhanika, sadharani, 38 and Rudrata simunya.39 Bhoja also calls the common woman samanya, and further gives three divisions: ganika, rupajiva and valasini.40 The SMK uses the words vesyja, 35. From this it is not proper to infer that other women in society were absolutely ignorant and unaccomplished as is done in the following remark of Dubois "The courtesans are the only women in India who enjoy the privilege of learn ing to read, to dance, to sing' (Hindu manners, customs and ceremonies, p. 586). 36. TET-oharrail- F T-raftuti-aci-fcqfiffirst TCUT- Erfra- foto fa autfastat: (VI, 6, 54). 37. Natyasastra, 22, 146 b. ATEIT STETTA 38. Dasarupaka, II, 15 ff. Fir2T FOTOTE Tifa aTur arferat frei 39. srngaratilaka, I, 62, 65. zafirat dut a faut qfhafai 40. SKA, V, 113 a. TRITTET TfUft Erat fatfuil

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SRNGARAMANJARIKATHA vesavanita, vesavilasini, panyaramani, vesapramada, panyangana, darika, sadharani, ganika, vesayuvati-all of them referring to the ganika. 86 The position of the courtesan in society was superior to the other common women because she was like the eraipa of Athens and the hetera of Greece,-the privileged woman in society who was the companion of kings and wealthy merchant-princes. It is difficult to trace the historical origin of the institution of courtesans in India as is done with regard to the Erapi or the Geisha Guild.42 But it seems to have been gradually developed. As far back as the time of Kautilya the institution of courtesan was fairly established. The Arthasastra has a whole chapter dealing with the Superintendence of the ganikas. Ganika was not necessarily hereditary,43 which reminds us of the Geisha guilds of Japan of the present day. The Arthasastra tells us that the profession of ganika was not necessarily hereditary,44 and the ganikas were trained entertainers, holding highly paid posts in the king's court. They were also employed in the temples.45 A courtesan was not a free woman, but was under strict official control, ever liable to suffer penalty for breach of regulations. The registration and regulation of the ganikas that we read about in the Arthasastra was more for the safety of the state than for any other reason. And it was better than the Roman tradition where registration and the minor regulations such as the dyeing of hair and other disabilities were enforced for separat. ing the ganikas for public reprobation and penalizing them for their profession.46 Bhoja describes the ganika as: Hemacandra 41. Vide Fergusson, W. S., Hellenistic Athens, London, 1911, p. 71 ff; also Wodehouse, Greek Prostitution in Hastings' Encyclopedia of Religion and Ethics, Vol. X, p. 404 ff. 42. Wallace, Irving, The Geisha Guild, in Tricolour', Vol. III, September 1945, pp. 30, 31. 43. Book II, Chapter 27. 44. gaNikAdhyakSo gaNikAnvayAmagaNikAnvayAM vA rUpayauvanazilpasaMpannAM sahasreNa gaNikAM kArayet / 45. Cf. Lavanyasundari (8th tale). Sh ewas called arghya-vittika conveying the sense that her fortune was in offering arghya to gods and propitiating them by dancing. Penzer in his note on 'Sacred Prostitution' (Appendix IV, The Ocean of Story, Vol. I) has thoroughly treated this subject by pointing out its origin and comparing similar practices existent in Babylonia, Syria, Phoenicia, Canaan and West Africa. 4.7 kalAcatuHSaSTivid. 4 46. Hogarth, D. G. 'Graeco-Roman Hierodouloi', Hastings' Encyclopedia of Religion and Ethics, Vol. VI, p. 671 f. 47. SKA, p. 498.

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A PICTURE OF THE TIMES says: kalAprAgalbhyadhaurtyAbhyAM gaNayati kalayati gaNikA 48 Vatsyayana mentions the sixty-four anga-vidyas and says: AbhirabhyudditA vezyA zIlarUpaguNAnvitA / labhate gaNikAzabdaM sthAnaM ca janasaMsadi / pUjitA sA sadA rAjJA gaNavadadbhizca saMstutA / prArthanIyA'bhigamyAca lakSyabhUtA ca jAyate // So we know for certain that the ganika was respected for her knowledge of the different arts. Not only that but girls of respectable families and young men were sent to her to be instructed in some of the arts. Of the sixty four arts mentioned by Vatsyayana, music, painting, dancing, etc. are purely aesthetic. Visesakacchedyam, puspastaranam and the like for the purpose of increasing one's personal charms; Sayanaracanam, Bhusanayojanam are for knowing the part of service; prahelika, pratimala, durvacakayoga are entertaining games, while pustakavacana and kavya-samasya-purana and the like are purely intellectual pursuits. 87 With all these personal charms and accomplishments it is not surprising that the ganika came to be regarded as a respectable and important member of the community. The description of our nayika, Srngaramanjari, is that of a perfect ganika of the first order. Her beauty was unparalled, her graces were befitting, her dresses and adornments were choice and befitting, and her language and behaviour were polished and decorous. In dancing and music she excelled others and her intelectual development made her a worthy companion of the most learned. Vatsyayana speaks of the mastery of the ganika in sixty-four arts; but Srngaramanjari was adept in ubhayacatuHSaSTijJAna, both kinds of sixty-four arts. The first group we have already referred to; the other refers to the sixty-four samprayogika arts which Vatsyayana mentions in the second book of the Kamasutra. It indicates that Srngaramanjari was adept in the science of erotics. She was bold in questions and answers, eloquent in speech, wellread in treatises on different subjects and expert at understanding and composing poetry. Possessing unparalled beauty, knowledge and good fortune, she was the favourite of the king and it was not surprising that the Brahmanas, Ksatriyas, Vaisyas and Kayasthas all waited at her doors with gifts to offer. With all the wealth and power of the kingdom at her feet it was easy for her to live in great pomp and splendour.50 48. Kavyanusasana-Viveka, p. 418. 49. KS, I, 3, 16-20-21. 50. Cf. the description of Vasantasena's residence in Mrechakatika, pp. 99-106.

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88 SRNGARAMANJARIKATHA Her description reminds us of the influential French and Eng. lish mistresses like Madame Du Barry, Nivon, Jane Shore and Nell Gwyn whose salons attracted powerful kings and statesmen of Europe of the day; and who practically ruled their countries.51 But Arngaramanjari specially reminds us of Aspasia who was loved by great men like Alcibiades and Socrates, and who finally married Pericles. She was, according to Plato, an accomplished rhetorician and the real composer of the funeral oration of Pericles, and according to Plutarch, was courted by many statesmen and philosophers of Greece.52 In the SMK we do not read of the State control of the houses of ganikas. But nevertheless every ganika's household was controlled by a strict officer in the form of the 'mother' or the Kuttani. She was an eye-sore to the men who came to the courtesan and they swore: TT Trefl fez zat ca gaat vizvakaNTakatAM yAtA nihatA kiM na kuTTanI / / It was but natural that the ganikas were sometimes sincerely loved and that they came to cherish sincere love for one man or another. But their social position was such that little scope was given to them to cherish true love. Some of them understood their position all right and strictly followed the rules laid down for them. They punctiliously kept watch over their own interests and lived success fully. Some of them practised fraud, for, greed never left them. They were punished by the king or the individuals who suffered at their hands. While some of the ganikas valued their respectable positions and did not stoop to cheating or inviting punishment, nor did they value wealth more than virtue or fleeting fancy more than constant love. But with regard to these last mentioned, the 'mothers' were always worried. As guardians of the ganikas it was their duty to see that the courtesans never deviated from their paths. It was heart-breaking for them to see that the energy spent in training the courtesans was all lost by her resolute will to be faithful to one person. In the Dasakumaracarita we read how Kamamanjari's mother complains to the sage in the following words: "Sir, this daughter of mine would make it appear that I am to blame, but 51. Wallace, op. cit, mentions a Geisha, Ohana San, who though living then had become a legendary person. She was the mistress of the late Prince Saionji, last of the Elder Statesman and intimate advisor of Hirohoto. At the time of the Versailles Peace Conference, Prince Saionji took her to Paris, and Woodrow Wilson, charmed by her, presented her with a pearl necklace. There was considerable embarrassment later when President Wilson learnt the young lady's status. Till 1945 (when the article was written) she was living and was then the abbess of a nunnery near Tokyo. 52. Dickinson, G. L., The Greek View of Lije, pp. 182-184.

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A PICTURE OF THE TIMES 89 indeed, I have done my duty, and have carefully prepared her for the profession for which from birth she was intended. From the earliest childhood I have bestowed the greatest care upon her, doing everything in my power to promote her health and beauty. As soon as she was old enough I had her carefully instructed in the arts of dancing etc. ....... I did many other things to promote her success and to secure for her liberal renumeration; yet after all the time, trouble and money which I have spent upon her, just when I was beginning to reap the fruit of my labours, the ungrateful girl has fallen in love with a stranger." This then was the one thing that the 'mother' constantly dreaded - the rise of sincere love in a courtesan. The fear was only natural, as faithfulness to one individual would spell ruin in her profession. A wise 'mother' had always to be on guard and instruct the courtesan about the dangers of the different temptations that her life offered. It was her duty as a courtesan not to forget her true profession. It is with such a purpose in view that in the present work the wise and experienced Visamasila gives instructions to the fair and fortunate Srngaramanjari. She enumerates the maxims that a courtesan has to follow to escape falling into the trap of a cheat or a rogue. The purport of her entire teaching is that a courtesan should be wise and discriminating and not get entangled in the bonds of affection. By doing so she fulfills her duties and obligations towards society in which she enjoys a high position. This class of courtesans constituted an important section of society which influenced a considerable number of people. Their 53. Desopadesa, p. 11, vs. 10. 54. Later rhetoricians have raised a controversy whether the sragara-love involved in gawika's case is true or not. And when it is not true whether it should be called srngara or srugarabhasa. Bharata (23, 18-26) mentions three types of courtesans: madanatura (one craving company), rakta (attached) and virakta (one who is averse). Here rakta is the one of true love. Vatsyayana (in the sixth book, mentions two goals of her life, namely, natural love and artificial love, (VI, 1, 1, 2) and the former he calls ekacarini. (VI, 2, 1-2). In the Sriigaratilaka, Rudrata states: (I, 64, 65) zaGagArAbhAsa eva syAdyadi tA raagvjitaaH| . . tasmAttAsAmapi kvApi rAgaH syAt / / So he accepts her true love, without which hers will be a case of rasabhusa only; Bhoja does not discuss the point in his works, but the SMK has stories of true love, and one of the lessons that Visamasila teaches is that the courtesan should never be sincere in her love. Visvanatha after mentioning that a common woman shows only outward love for the sake of the money says in the end: Hatfy E71 Topf (Sahityadarpana, III, 71). In the recently published Srigaramanjari of Akbarshah the author criticizing the definition given by Bhanudatta in Rasamarijari : vittamAtropAdhikasakalapuruSAnarAgA saamaanyaa| carries the controversy thus: 740 I faatarfar Ficara TUTETT ga alfa I... anyacca anuraagstvaikautr| bahapuruSeSu yo manassaGagaH so'nurAga eva na bhavati kintu 3TFTTHIA: 1... ATAFOTIMaraztfitofi DETEUA551A) aract: I. (pp. 12-13) T .

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go SRNGARAMANJARIKATHA houses afforded endless pleasures and amusement to rich citizens. But we also hear of a complement of other institutions, which afforded pleasure and entertainment like the glambing house (tinta), theatre (rangasala), pleasure houses (kridagara, kridabhavana) and temples (devalaya, devagsha, devayatana). The love for outdoor life took the citizens out to the parks (udyana), swimming (jalamajjana), hunting (mrgaya), playing balls (kanduka-krida), swinging (dolandolana) and dancing (nrtya, natya). Religious festivals were also enjoyed with gusto. We have reference to the yatra-mahotsava of Madana, the worship of the Sun of Vijayasaptami, the worship of the Goddesses Asapura and Vin dhyavasini, and the god Ganapati who helps to attin the desired objectives of life. Mahakalanatha who was presiding deity of Ujjayini, and was therefore worshipped with great fervour. There is an uncomplimentary reference to the pasupata sect (hinasattvapasupata-pakhanda) which later on was followed by the Paramaras of Malwa.55 Among beliefs, we read only of the pigeon being considered unfortunate when it stays in the house. The units of currency mentioned are dramma and pala. Gold coins are usually mentioned as pieces of gold. From this short review of the times based on information contained in the SMK it can be said that during Bhoja's rule civilization in Malwa had risen to a magnificent pitch. Our appreciation of Bhoja for having portrayed a faithful picture of one of the most glorious periods of medieval Indian History is heightened when we take into consideration that he worked and stood for all that was glorious in Hindu Culture, 55. An inscription of the reign of Kumarapala, dated 1169 A.D. threws light on the distinguished Pasupata teacher Bhavabrhaspati. He left Varanasi and came to Dhara and the Paramara kings became his disciples. Vide, A collection of Prakrt and Sanskrit Inscriptions, published by the Bhavnagar Archaeological Department, p. 186; See also Ganguly, op. cit, p. 249. 56. We come across a similar belief in Somadeva's Yasastilakaccampu, see Handiqui, op. cit, p. 407.

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zrI bhoja deva viracitA zRGgAra maJjarI kathA Docos[kathApIThikA] [ mUlAdarza prathamaM patramanupalabhyam ] [kadAcida ?] vasitaprAye vasantasamaye, pariNataprasUnatayA kaThoritastavakeSu mAdhavImaNDapeSu, viralaviralamAbaddhalaghukaphalazAliSu saha kAramaJjarIjAlakeSu, hUNaramaNIkapolalAvaNyaluNTAkeSu vigalitaprAyeSu madhUkastabakeSu, priyatamanipItalATIdazana"cchadacchAyAsAdareSu samunmiSatsu pATalAprasaneSu, mandeSvapi mandatAmAzrayatsu malayAnileSu, bAlyamutsRjantyAH kimapi kimapi grISmazriyaH smitalaveSviva viralaviraleSu samunmiSatsu mallikAmukuleSu, dolAndolanakutUhale zithilatAmAzrayati vilAsinInAM zrayati ca spRhaNIyatAmambhAkrIDAsukharase, AbaddhabinduprakaratayA mandamandamaravindekSaNAnAM danturayati stanataTAnyanuhanture gha"masalilavisare, zanaiH zanaiH prauDhimAsAdayati dinabharturanatiglapitazAdvalazyA [F. 2. A ]malimni kiraNajAle krameNa conmiSati grISmArambhe, pramadavanamadhyavartino dhArAgRhasyendumaNimayIM madhyabhUmikAmadhyAsInaH katipayairvidvadbhirAptaiH praNayibhirnRpatibhizvopAsyamAnacaraNakamalo ma hA rAjA dhi rA ja para mezvara zrI bho ja de vaH savinayaM prArthyata;" yathA- 'devo'pyakhilajanatAsubandhuH zrIbhAso guNADhyaH prazastagIrvANaH / tadatinibiDakautukAcAntacetasAmasmAkaM prItyai vyutpattaye ca" kAmapyapUrvAM vyutpAdya kathAM kathayatu svAmI' iti vijJaptaH smitapUrvamidamabhyadhAt 'evametad, kintu kathA hi kIya'mAnA nagarAdivarNanapuraHsarAH saundaryamAvahati / na caitasyAH purIto'nyA vilakSaNA kAcidapyastIti prathamameSaiva varNanIyA bhavati / asyAzcAdhiSThAhatva"prasaGgenAtmA'pi bhnnniiyH| taccAnucitamivAsmAdRzAm / ' iti zrutasvAmivacanaistaiH punarapi vyajJapyata-'yathA etaddevo jAnAti na tathA"[ F. 2. B] smAdRzAH / idamakhilairapyalaGkArakArairabhyadhAyi yathA "svaguNAviSkriyAdoSo nAtra bhRtArthazaMsinaH"- iti / / tathA hi-munibhirapi vAlmIka-parA"zara-vyAsAdibhiH, kavibhirapi guNADhyabhAsa- bhavabhUti-bANaprabhRtibhirAtmaguNAviSkaraNamakriyata / asadguNakhyApanaM hi doSAya / yathArtha"guNAkhyAnaM punaranavagItameva' ityabhihite tAnavAdIt 'bhavanto'pi nAvijJAstadyadi bhavatAmanavagItametat pratibhAsate tadA''vedayAmaH zrU"yatAm / bhisyAH kathAyA bhAdarzabhUtAyAstADapatrIyapratilipeH prathamaM patraM nopalabhyate / dvitIyapatrasya prathamapaMktAvidamAdyamakSaraM vidyate / bhato'rthAnusandhAnaM vicintya kalpanayA'tra koSTakagatAnyakSarANi samupanyastAni / 1 pasUnatayA / 2 knntthorittstbkessu| 3 bhabaddha / 4 sNbndhuH| 5 nibdd| 6 vyjnypyte| 7 vikriyA / 8 bhvtm|

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W zRGgAramaJjarIkathA [dhArAnagaryA varNanam] astyatra nikhilabhuvanaikalalAmabhUtAdbhutanijavibhavApahastitatridazanagarIvibhUtiH pratinizamuttuGgasaudhacandrazAlAsaJcAri"pauraramaNIvadanendusahasrairekendubimbamupahasantIva divamullasadvimalasphaTikopalavezmarazmisantAnaiH sphuranmarakatamaNiprAsAda"mayUkhajAlakaizca nisargaviruddhayorapi tamazcandrikayoH prativipaNImaitrImiva sampAdayantI, vipulaviyadvilaGghanazramakhinnavapuSAM ravi"[F. 3. A ] rathaturaGgamANAM pratisaudhamanilacaTulairdhvajaMpaTapallavavyajanaiH svedasalilamiva vyapanayantI, jIvitamiva vasundharAyAH, sAramiva saMsArasya, sarva"svamiva vizvasya, vizvAsasthAnamiva sakalasampadAm , AvAsabhUmiriva vilAsazriyAm , AbharaNamiva bhuvaH, Azraya [i]va ca trivargasya, sargazAleva nisarga kamanIyakAminIjanasya, pradhAnaM nidhAnamiva rAmaNIyakasya, nikhilajanalocanAnAmamRtarasadhArA dhArAbhidhAnA ngrii| yasyAM ca pANDuH sphaTikavezmanAmunmukhasaJcayo vizarAbhaH subhadrAbhirAmamarjunamajanayadizAM cakravAlam / yasyAM ca saMvaryate marakatamaNikuTTimaiH, vicchidya te sphaTikaprAsAdabhUmibhiH, jarjarIkriyate kanakasaudhotsaGgaiH, nipIyate pauranArIvadanenducandrikAbhiH, ApyAyyate vAtAyanodgatAgurudhUpa dhUmajAlaiH, upacIyata ivopavanaiH, chidyata iva jayakuJjaradazanakiraNavisaraiH, nidhIyata ivendranIlamaNibhUmigRhakeSu pratirajani tamaH" / [F. 3. B] yasyAM ca saudhotsaGgeSvaruNamaNikuTTimasaGkrAntAH zazadharamarIcayaH saugandhikavanabhrAnti pratinizamutpAdayanti mugdhava"nitAjanasya / yA collasantIbhiramalasphaTikAsAdaparamparAkAntibhirupahasatIva tribhuvane'pi purAtanAnyakhilanagarasaMniveza sthAnAni / yA ca saMspRhamAlokayataH prAsAdamayamiva bhuvanatalaM kevalam , saudhamaya iva nUtanaH sargAvatAraH, vidherdIrghikAmayamiva mahImaNDalam , upavanamayamiva dizAM cakravAlam, patAkAmayamiva gaganAGgaNaM pratibhAsate janasya / ___ yasyAM ca sphaTikakuTTimeSvastamitA iva," marakatamaNiprAGgaNeSu nipItA iva, zoNamaNivezmavedikAviTaGkodareSu krAntasandhyAjaladharA iva, kAlAgurudhUpadhUmazyAmaleSu" sphaTikavAtAyaneSu sahariNacchAyA iva, valabhikAcandramaNipraNAlISu drutA ivAbhilakSyante pratirajani candramaso razmayaH / yasyAM [F. 4. A ] ca jAtaprarohA iva rukmanirgRheSu, prarUDhakANDA iva kArtasvaraketudaNDeSu, pallavitA iva sphuradaruNamaNivezmazikharazikhAzayeSu,' kusumitA iva nirmitAruNamaNigaNAsu kAJcanahaMsapAliSu, phalitA iva prollasadaSTApadaghaTitaprAsAdakanakakANDapiNDa bimbaamup| 2 ja / 3 degsaayaaH| 4 bhUdhArAzrayava ca / 5 aapyaajyte| 6 bhrAnti / 7 praakaasaadprpraakaantibhirup| 8 sNs| 9 spaTika / 10 duutaa| 11 nimit|| .

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zrIbhojadevaviracitA keSu," divApi jyotsnAyante sphaTikopalabhittibhAgeSu nipatyocchalantaH, sthalanalinAyante saGgatyodbhavantaH kuruvindamaNimedinISu, kairavA yante vimalamuktAphalaviTaGkavedikAsu nipatya vyAvartamAnAH, nIlotpalAyante zakranIlamaNicandrazAlAsu saMmUrcchantaH, bAlAtapAyante" vidrumaracitAsu krIDAbhavanabhUmiSu, dIpyanta iva kanakasaudhazikharotsaGgeSu saGkAmyollasantaH, nirvAntIva gArutmataratnavalabhikA su, AcchAdyanta iva kAlAgurudhUpadhUmapaTaleSu, nagarIsaMrakSaNArthamabhitaH samutpAditasuracApasahasrA ivAnyonya"[F. 4. B] vyatikaritavicitrabhavanamaNimarIcisaJcayaiH pratidivasamahimakaragabhastayaH / yasyAM tuGgasaudhotsaGgasaGginInAmaGganAnAM maNi"valayajhAtkArasaMvalitaM saGgItadhvanitamAkarNya ca stimitatAM bhajati hariNe gamanaparyAkulo bhavati pratirajani rajanikaraH / tA"sAmeva nRttavazavisaMsthulonnamitabhujalatAnAM maNikaGkaNakiraNarajjubhirbandhakhedamananubhUtamanubhAvyata iva lAJchanekuraGgaH / yA cAna"varatahUyamAnamakhazatAnalocchaladdhahaladhUmapaTalazyAmalitagaganatalatayA samullasanmahAdhIra (mahIdhara? ) jvAlAjaTilitadiktaTa'..."[sa]devAbaddhaprAvRDADambarA / kacidanavaratadharmavyApArasaJcaracchrotriyaparamparAparigatatayA paThyamAnakhilanigamadhvaniva'......"yASvAkhyAyamAnAkhilapurANetihAsazrutismRtitathA ca brahmalokAyate, kvacidyauvanamadamatta" [F. 5. A] kAminIcaraNAlaktakapATalitasphaTikakuTTimatayA sthale'pi jalakamalazaGkAmutpAdayantI, pratigRhamanavaratapravRttasaMgIta]"......"[ga]bhIraninAdatayA atibahalanIlakusumavATikAviTapizyAmalitabhavanopazalyatayA ca zikhaNDinInAM tANDavapANDityagu'......"dayantI, praNayakalahakupitAsu kAminISu prasAdanopAyacaturadUtIvyApArabahulatAmupadizantI, priyatamAbhisaraNavyagrA~...."[ha]riNIdRzAmAbharaNasampAdanAya sakhIjanamutsukayantI madanalokAyate / kvacit pAtAlAyate bhogibhirbhujaGgaiH / kvcidmrlokaayte"bhaanugaamibhirmrudbhiH| yatra ca prabhaJjana iva vidhRtakSamaH, jaladhiriva vidhutatApaH, paulastya iva bibhISaNatyaktavasatiH, darzanizAsamaya iva" vidhuravirahitaH, vasanta iva rucirakAJcanAracitazobhaH, grISma iva prAptazucisaGgamaH, prATsamaya [F. 5. B] ivAdRSTograkaraH, zaratasamaya iva nirmalAmbararuciH, tuhinaturiva sadA samahimopacitaH, zizira iva sarvadA tAparahitaH, mAkando'pyazokaH," saralo'pyariSTaH, sugrIvo'pi sumitrAnandanaH, virocano'pyamRtamayaH, paramezvaro'pyanugraH, bhUtanayo'pyavakraH, muktAmayo'pyakhilaratnAla"kRtaH, sakalavyavahArapezalaH pauralokaH / 1 degkariti / 2 liicchn| 3 vinaSTAnyatra dvitraannykssraanni| 4 vinaSTAnyatra paJcaSaDakSarANi 5 vinaSTAnyatra paJcaSaDakSarANi / 6 vinaSTAnyatra catuHpaJcAkSarANi / 7 vinaSTe atra dve akssre| 8 srvedaa|

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4 zRGgAramaJjarIkathA yA ca tuhinazaileneva prAleyadhavalena, dazakandhareNaiva skhalitarkSarAjena, vindhyAcaleneva niruddhatapanamArgeNa, sarvato vicitramaNikAntisantAnasaMvalitanijataTAbhogena, purIrakSArthamiva satatamadhijyena, AkhaNDalakArmukeNeva parimaNDalatAmupagatena, vitatadhanakapATopazobhitAbhiranekajanasahasrasaGkulAbhiH purIvilokanakutUhalAdupagatAbhirddigbhirivA1........ "bhizcatasRbhiH pratolibhiH sanAthIkRtena tribhuvane'pyasadRzAkAreNa prAkAreNa valayitA / (1) yA ca kvaciduttuGga "[ F. 6. 4] [ kapi ] zIrSakaprAntolasadvahalapuSparAgakiraNavisaraiH sampAditadinacchAyatayA sadaivAviyuktacakravAkamithunayA sadaivotphullakamalakhaNDayA, ' kvacit prAkAramarakatamaNiprabhAjAlabahalAndhakArajanitarajanibhramatayA sadaiva vikasitanIlotpalavanayA, kvacidaruNamaNivinimmita "zAlATTAlakamayUkhacchuritasalilatayA matpuravilAsinIkkucakalazakuGkumAruNitayeva, kvacit saGkrAntasphaTikazAlavalayaprativimba tayA nagarIvilokanakutUhalAkulitaniryaccheSayeva parikhayA parikSiptA / (2) yasyAM ca vikacakamalakumuda kalhArendIvaraparAgapuJjapi " JjaritapayAMsi sajjanamanAMsIvAtisvacchAni, durjanamanAMsIva duravagAhAni, uddaNDapuNDarIkakhaNDoDDInamadhukaramadhurajhaGkArahArINi, krIDAmajatpu rajana vilAsinI kucakalazagalitamalayajara sAmodasurabhINi, saugandhikagandhalubdhamadhukara zreNi " [ F. 6. B ] zyAmalitopAntabhAgAni, sphaTikamaNizilAsu snAnAgatapauranArIjanaprativimbatathA jalakrIDArthamunmajjantIbhiH pAtAlakanyakAbhirivAdhiSThitAni, pratirajani madanAlasacakravAkakAminIbhiH priyatamabhrAntyA saspRhamAlokyamAnanijaprativimbakAni, mukulitakumuda kozakoTarAntanilInamadhukaratayA divasakarabhayAt pratanutAM gatenAndhakAreNeva saMzritAni, bhUruhakamalinIdalacchAyAnilInAbhirmma"rAlamAlikAbhirddinakarakaropamarddabhItAbhirvikacakumuda kAntibhicandrikAbhiriva niSevyamANopazalyakAni, agAdhAtisvaccha salilA " ntardRzyamAnasapharagrAsagRzrutayA muhurmuhurddattaviphalaphAlaistadaprAsyA vaJcamAnairmugdhabaka kulairupasevyamAnAni saviSANyapyamRta" khAni, pravRddhAnyapi samakaracihnAni, sakamalAnyapyakamalAni, dvidhApi zatapatrAdhiSThitAni dvidhApi savanAni, dvidhApi kuvalayama [ F. 7. A ]nohAriNi, dvidhApi vitatAni kvacidvikasito' ddaNDapuNDarIkakhaNDatayA hasantIva kvacidamandamArutAndolito " haNDaraktotpalatathA nRtyantIva, kvacidvIcivalyAntargatavikacendIvaratayA sabhrUkSepAt kaTAkSAkSI pUna vikSipantIva, kvacidanalpalaharI saMgha" dRjarjaritasalilonmRSTasIkarA sAratayA dhUlimutsRjantIva, kvacidubhayato vivartamAnaniviDamArutAbhighaTTitataraGgodbhaTadhvanitenA raTantIva -itthamunmattaceSTitamivAnukurvanti sarAMsi / (6) 1 vinaSTe atra dve bhakSare / 2 bakamalinI / 3 toDa 4 kaTAkSAkSikSu /

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zrIbhojadevaviracitA yasyAM ca krIDApuSkariNIvIravilAsodyAnaprabhRtyanekaramaNIyasaMnivezAyAM nandanavanamadhyavartivimalamaNinirmitAsu paryantabhittiSu pratiphalitamUrtitayA divasakaratApabhiyevAtisukumArAn zaraNAgatA"nantaHpravezyArakSadivopavanapAdapAn, anekadhArAsahasrasampAtajanmanA paritaH samutsarpatA zaityenAvarabhaGgabhayAd dUrAdevaM pravi [F. 7. B] [za]to janasyAbhyutthAnamiva pratidizaM kurvANam, uparitanaviTaGkavedikAsvabhitaH samullasantIbhirmarakatamaNikAntibhirdUrata eva nikhilabhuva"nasantApakAriNAM tapanatejasAM vinivAraNAya viyati vAridavRndAnIva nirmAparyaMdasitamaNinimmitayorubhayabhAgayoArasya) pratibimbito(?) vipinepallavavyAjAt pravizato janasya santApajvalanamAcchidya bahirikha sthApayat , savyApA] rAbhiracitamaNiyatraputrikA "bhiH purAtanasya vedhasastribhuvane'pi sRSTiprapaJcamivopahasat, AsthAnabhavanamiva varuNasya, saGketaniketanamiva zizirasamayasya, maGgalagRhamiva himAcalasthalIdevatAnAm , astamayasthAnamiva grISmoSmaNaH, vilAsamandiramiva makaraketoH, krIDAgAramiva zRGgAra"sAgarasya, pravRttisthAnamiva prAvRSaH, utpattipattanamiva vyutpatteH, sarvasvamiva rAmaNIyakasya, vilAsama " [F. 8. A ] NidarpaNo vidagdhatAyAH, vAheyaka(?)mandiraM vilAsAnAm , atiziziratayA karpUrakSodairiva nimmitam, himAnIbhiriva viracitam, himAMzuza"kalairiva niSpAditam, gandhAmbubhirjanitAtisurabhitayA ca bakulakusumAmodairivotpAditam , kakolaphalakSodairiva nirmitam , lavaGgakusumairiva janitasaMnivezam , elAphalarasairiva vihitadhAram , sarvataH prasRtavAridhArAsahasratayA vidhAturimayImiva sRSTiM pradarzayat, agamyaM dinakarakarINAm , adattapravezaM santApasya, anabhibhavanIyaM virahijanAkalpakasya, duHprekSyaM virahiNIvirahadAvada"hanasya, zaityasyApi ziziropacArasthAnam , sukhAnAmapi sukhAyatanam , rAmaNIyakasyApi rAmaNIyakam , sarvataH samudgatAnAM parasparapra"hativisphaTanavisRtArNasAM dhArAsahasrANAM paritaH samullasitasIkarAsAratayA karpUrakSodamiva dikSu vikSipat , [F. 8. B] cndrmnnighttitjlytrputrikaanissyndhetoyotslaamiv vikirat mihikAnivahamiva, samudvamaddhavalamaNimayUkhasaMvalitasali"latayA malayarajasamayIriva dhArAH samudgirad, visphuTitakamalabharabhanoparitanakamalinImRNAlabhaGgebhyo vinirgatAni visatantu sUtrANIva dhArAzatAni bibhrANam , stambhastambhazIrSakapaTTasAlabhaJjikAnAM parasparasusaMhatatayA su[saM] sthAnatayA niviDasandhibandhatayA ca nAnAra "nanimmitamapyekaratnopalaghaTitamiva" bhuvo nirgatamiva kRtrimamapi cAkRtrimamivopalakSyamANam , nidhAnaM vRtteH, udgamasthalaM saliladhA[ rA]0latAnAm , AvAsabhavanaM bhuvanazriyaH, pramadavanaM pramodasya, vikacakAJcanakamalakozakoTara 1 degkumArAntaHzaraNA' / 2 deve / 3 degpdaad| 4 nimmitatayo / 5 vipn| 6 degracito maNi / 7 patana / 8 gyatayAH / 9 agamya / 10 degvArANam / 11 syaitasyApi / 12 vikirin / 13 bhaMjikAnya / 14 degtaniva / 15 bhRtrima / 16 rUhumasthala / 17 prasada /

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zRGgAramaJjarIkathA (6) [F.9. A] (3) vinirgatAbhistadaMzusaMvalitamUrtita'...." kAra gaurI bhirambhaso dhArAbhiH kuGkumarasavisaramivotsRjad, aruNamaNipaTTprAntapravRttamanavaratamasRNadhArAsantAnatayA mu. paritaH prAlambAniva prakaTayad utpatya' nipatantInAM saliladhArANAM sphuTitasthUlAnavaratanipataJjalakaNatayA aparamitra mu .... "tAkara mutpAdayat, marakatamaNiprabhAzyAmalitagaganatayA yatra putrakaprahatamura jonmuktamandramadhuradhvAnatayA anavaratani [ patat sa ]thliladhArAndhakAritadigantaratayA ca janitajaladaibhramAn Abaddha maNDalAn upavanazikhaNDinastANDavayad, asitamaNikAntijAlakairullasa [dbhi.] rvyati karitarvapuSaH sakAlAgurudhUpadhUmA iva saliladhArAH samutsRjad, yatraputrikAkaratalodgatAbhirambhaso dhArAbhistribhuvanavijayo" dyatasya smaranarapateyavallIsahasrANIva nirmApayad, rAkAzazAGkamaNDalamakhilajananayananIlotpalAnAm, vAruNAstrasadanaM manmathasya, nirvRttikSetramindriyagrAmasya, khaniH sukhAnAm, AspadamAnandasya, mandiraM sundaratAyAH kvacid vikacakRtrimAmbhojinI - madhyamadhyAsI " [ F. 9. B ] nAbhirdhavalamaNimayIbhimugdhamarAlikA [bhiH ] visakANDabhramAdiva vidasyamAnadhArAjalam kvacid vikaca kumudakAnanacchalena hasadiva, kvacit krIDAsa rikollAsitabhujalatAbhirmaNiyantraputrikAbhirnRtyadiva, kvacid vikacasaugandhikakarNikAbhyarNaivartibhirasitamaNinirmitairguJjadbhiryatramadhukara mithunairgAyadiva, kvacid divApi candrAtaparbhramAtaryataralitamanobhirvivRtacaJcapuTaipavanacakora kairAcamyamAnasphaTika sta mbhakAntisantAnam, kvacit patramakarikAnetraprAntebhyaH kvacidadhomukhamayUrImukhebhyaH, kvacinmaNimayayantraputrikApayodharadvandvebhyaH, [kvaci] "nmaJjanottI' svarNa putrikA nizcotyamAnakarIvA[ laka ]lApaprAntebhyaH kvacinmaNimayavilAsinInakha mukhebhyaH praruditavA". kvacit yatravRkSakaM pratyAbaddhaphAlasya kapikuTumbakasya vadana vivarebhyaH, kSititalAd bhittibhAgebhyo bhittinalinIvAmala". (8) 1 kacit " , [F. 10. A ] uparitanakama linIbhyo maNiputrikAbhyaH stambhebhyaH stambhazIrSakebhyazca dvitrivisinI tantusaMvalanamAMsalAH sarvvato vini"........ "rAvibhrANam, adabhrairvividhamaNikAntijAlakairindracApasahasranirmANArthamaparamitra parito vicitravaMzIvanamutpAdayat ",... [maraka ] tamaNistambhodgataiH kiraNamaJjarIjAlakairAbaddhajaladharA DambaramantarAntarollasitairvisAribhiH zoNamaNimayUkhadAmabhiH sampAdi [ tAci ] 'raprabhAvilasitamanavaratanipataddhArAsahasrollasitadhvanitayA'ndhakAritadikkaTatayA ca varSAsamayamiva viDambayat kvacidaGgaNavApi [ kA ] puSkariNInAmantarunmaJjannimajjantIbhirvAlazapharikAbhirvipralabhyamAnakRtrimavakakuTumbakam kacid (5) 5 1 bhimUdaMzu | 2 vinaSTAnyatra trINyakSarANi / 3 vinaSTAnyatra dvitrANyakSarANi / 4 nyaritaH / / 6 vinaSTAnyatra trINyakSarANi / 7 dula' / 8 maMdvAlAn / 9 vavapuSaH / 10 mamutsR / 11 madanaM / 12 nivRtti / 13 bhojanI' / 14 degsArako / 15 vardhibhi / 16 'tapatramA | 17 upavama / 18 'notIrNa' / 19 vinaSTAnyatra catuHpaJcAkSarANi / 20 vinaSTAnyatra catuHpaJcAkSarANi / 21 vinaSTAnyatra catuHpaJcAkSarANi / 22 vinaSTe atra dve akSare / (9)

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zrIbhojadevaviracitA nimajanonmajanaiH dRzyAdRzyabAla"yatrakamaTham , kvacid didRkSArasakutUhalAkulitAbhirapi matsyAGganAbhiranikSipantIbhizcaraNakamalamIpatrAsAdivAvalokyamAnonma " [F. 10. B] jad yatramakaram , kvacidantaHsthitAnAM bhittikamalinIkumalAnAM vikAsAtha bAlAtapacchedAniva zoNamaNikiraNajAlakAnyudvahat , paraspa"rapratiphalitamUrtitayA sambhUyeva bhArasamudvahadbhiranyonyakalpitAvaSTambhairmaNistambhairadhyAsitamadhyabhAgam , atimanoramatayA kautukAkSiptahRdayairivAnimeSadRSTibhiH parito bhAraputrakairapyavalokyamAnam , vicitraM tauryatrikamAracayadbhiryatracArairatividAmapi (1) cittabhramamutpAdayad, vicitrayatradarzanoddhAntacetaso bhittighaTitavikasitasitasarojavyAjAdupahasadivAtivicakSaNAnapi prekSakAn, sA"ndramRgamadapaGkoparutkalAH(1) karpUrakSo da]sikatAvatIranacchamalayajadravasurabhitAmbha:zoNamaNimaJjarIvisaMvalitamarakatamayUkhakamalinI vanAH paritaH parisarakrIDAnadIrbibhrANaM yatradhArAgRhakamunmadayati manAMsi pauralokasya / ___ yasyAM ca satatAtinIlatayA bahalacchAyata "[F. 11. A ]yA cAgaNitadivAkarakaraistamobhirivAdhiSThitAni, anavaratamudbhidyamAnAbhinavapallavatayA sadaiva paurapurandhrijanAvalokanavyaktibhUtAnu"rAgairiva tarubhiralaGkRtAni, madhuramadhukarajhaGkArakolAhalacchalena makaradhvajavijayarAjyaghoSaNamiva kurvANAni, kusumAvacayArthamitastataH saJcarantIbhiH satatasannihitavanadevatAnIva pauraramaNIbhirupavanAni / - ityabhidhAya 're yatraputraka ! yadyapyasmatpariSadaH sammataM tathApi nijaguNAviSkaraNamavagItamiva pratibhAsate / tad rAjavarNanaM bhavAneva bhaNatu'- ityabhihitastairvismayastimitalocanairAsanna"vartibhiH praNayi bhirAlokyamAnaH sa bhaNitumArebhe / [yantraputrakabhaNitaM dhArAdhIzabhojadevavarNanam ] asti tasyAM praNatasakalabhUpAlamaulimAlAruNamaNimarIcinicayapArTalitapAda" pITho nijabhujo dalitadurmadaripuvilAsinInayanavASpasalilasekairanavaratapravardhyamAnakIrtilatAvitAno'sitanistriMzaprahAra" [F. 11. B] vidalitaripukumbhikumbhasthalocchalitairdivApi mu .................... bhirmukuTakoTisaGghaTTavigalitamANikyanikara .............. iva karavAlAM(?)gAraka iva vasudhAnandanaH, budha" iva rAja OM.................zuraprabhavaH rAhuriva grastatejakhimaNDalaH, keturivAdbhutodayaH,navagrahama................kRtanitambAMbhogA". 1 mutsaGganAbhi / 2 cauratividat / nAmayi citta / 3 setso| 4 degjamAva / 5 praNamibhi / 6 paatlit| 7 nijbhuvnoh| 8 dvAdaza (12) aGkAGkitasya patrasya truTitatvAdimAnyeva vAkyAni ptthynte| yatra etAdRzaH '' phullikAkAro'sti tatrAgre samagrA'pi paMktirvinaSTeti sarvatra jJeyam / 9 makuTa / 10 klaa-vaalNgaarkdeg| 11 rudh| 12 degbhaugaa| ............

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............... zRGgAramaJjarIkathA bhirAmAyAH bhUmerekabhartA,samaraza' tadurlalitadordaNDacaNDi *............kIrtimiSAne""............pavitritatrilokItalo yauvanamadaruddhaka' *...................." [F. 12. A] ........lAvaNyapIyUSasalilo nistriMzasalilanimana .................. Su pratibhaTepUTabhrukuTibhISaNalalATapaTTaduHprekSaNI ...... .........harATTahAsamiva tribhuvanaM kurvANo gIrvANasundarImuktasurakusuma saM *.......... ...............laH sahelamasakRdapi sakRdivAkRSTasya kodaNDamaNDalasya madhya *........................satatAviSkR"tasudarzano'pi durdarzanaH, pareSAmaravindaviSTara *................. bhirapi vilAsinIbhirnayananIlotpaladalaima * ................ ..........."[F. 12. B] zaGkukIlanAkalpakonmAthavyathitAbhiruttuGgastanabharAbhogabhittiSu samunmiSaddghanasArasAndreNa candanarasenAlikhyAlikhya- 'nirdaya" strIvadhapAtakAdapi na bibheSi'- ityAdhanekavidhamanugRhamaGganAbhiraharahaH samupAlabhyamAnaH, mAninImAnadrumonmUlanamakaradhvajaikavijaya"kuJjaraH, zauririva madanajanakaH, kanakakAnticchuritamarakataprabhAbhirAmadeha :, pratidivasamanavaratamavanamatAM narapatInAM mukuTa "taTakoTiviTaGkavedikollAsibhirmarakatamaNimayUkhajAlakairetadIyakarakamalAnAM mukulatAmApAdayatsu nijacaraNanakhacandreSu sampAditahariNacchAyaH sacchAyataH samadagajaghaTanApATanapATalitAsipallavabhRto bhujadrumAt pratidivasamullasatsurabhiyazaH "kusumasaJcayaH samaranihatAvanipativilAsinInAM bASpAmbukaluSitevalakAvaruddheSu kapolasthale" [F. 13. A ] pvativyaktIkRtAzivakramaH, kramavatAmagresaraH, agragaNyaH saMgrAmavijayinAm , tribhuvanAbhirAmo rAma iva pRthubalapralambArAtividalana"stimitakSIrodavIcInicayadhavaladhAmabhiryazaHpUrapaTalairdhavalitatribhuvanaikabhAvanaH, prasavabhUmiratyadbhutAnAm , unmadakarikumbhakUTa kuTTAkavikaTakaravAlanakharo nRsiMhaH, capalarAjalakSmIkareNukAlAnapRthubhujastambhaH tridazarAja iva ahitApakArI, bhArga[ va ] iva ni mUlitAkhilakSudrakSatriyaH prakaTitadhanurvedavidyArahasyazca, bhRgurivAsidhenuvidyAlatAnAmekabhavanam , bhuvanabhAroddhArakSamaH kSamA "bhRtAM bhartA ma hA rA jA dhi rA ja para me zva ra zrI bhoja de vo naam| yA prabhavo dharmasya, AzrayaH satyasya, kulagRhaM kalAnAm , kSetra" kSatrAcArasya, pramadodyAnaM vidyAlatAnAm , nidhAnaM nIteH, jIvitaM zauryasya, vasatirvilAsAnAm ,AkaraH karuNAyAH, bAndhavo vaidagdhyasya" [ F. 13. B ] ....................* rasasya, dhaureyo dhanurdharANAm , agraNI guNavatAm / yasya vi".............* yu kumbhikumbhasthalocchalita 1 rAmAyA bhUme / 2 degshit| 3 degrtiniSAne / 4 vinaSTAnyatra 6 akSarANi / 5 vinaSTAnyatra 4 akssraanni| 6 nimagna / 7deghnairm| 8deglpakAnmArtha / 9stava / 10 'bhiranurahaH / 13 degdevH| 12 maNirmayUkha / 13 renadIya' / 14 maapdytsu| 15 degharaNa / 16 mirityadeg / 17 degkAlanRpRthu / 18 yasya / 19 prbhaavo| 20 kAlAnAm / 21 vasativilA / 22 vaidakhyasya / 23 caturdazAGkAGkitasya patrasyottarAI eva prAptaH / tasminnimnAvatAritAH paMktayaH pripkssynte|

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zrIbhojadevaviracitA muktAphalamAlAcchalena prati"................OM rAmAparaMpuruSAnisargAnurAgiNI niyatamekapatnI................* kRzimAnamAnIyanta pratipakSalakSmIvijRmbhitAni / yasai" .............* vadanamunnidrakuvalayadaladAmadIrgho'kRtrimakSAma' (?) vakSastha............. *kRtimatirUpavayonirjitamakaradhvaja [F. 14. A ]........* tijaragavIsurabhirabhU*................................'' kSaNeradhastano brahmANDabhAga iva kAlAnalasya, jaladamiva *................." mokaH pratApahutavahasya / yazca pravitaran prajAgaranunmUla *............ ........"kampayan vapurnaktaMdinamadhivasati hRdayAni vanajadasakalpi (1) *............" teratyarthonnatibhRtaH samunnatavaMzAdvibudhajanasevyamAna *................"drAvadhi bhagavatI srsvtii| yazca rohaNAcala iva maNiga *.............[F. 14. B].... na, kSIroda iva vIcinicayena, gaganAbhoga iva tArakanikaraNa, tridazataruriva kusumani[va]hena, phaNipatirikha phaNAcakravAlena, ambujAkara iva mRNAlavalayena, nikhilabhuvanaspRhaNIyenAhi[ma dhavalena saGkhyAtige nAmodinA medinI" ....[rakSa ?]NakSameNa, hlAdinA guNakalApenAlaGkataH / yasya cAtiprajJAprakarSamAlocayatAM vipazcitAM girina (rina?) garimANamArohati guruH, na prati....''[bhAsate pratibhA?]vAn bhArgavo, noddhavamati varddhayatyuddhavaH, ayate (1) na prAjJagaNanAM cANakyaH, na kuzAgrIyabuddhitAmadhizrayati dharmakIrtiH / yasya ca kRpA"NaM ujvalavaiDUryasodaracchAyasalilamullasadvipulapuSkarAbhirAmazobhamudbhavatkumudamadhikavikasatkuvalayazrIkamalakamalinIdala''zyAmalamagAdham , sara iva paradvipaghaTAbhirapi duravagAham, satatamAzrayati zatazaH saGgrAmasIni vijayalakSmIH / yasya cAnupamasvavaibhavani [F. 15. A] mite zoNamaNimarIcisaJcayodbhAsini bhAsvatApya"natikramaNIye ramaNIyatAyAvama (1) dRzyalAghavamullaGghanIye parairekapura iva pRthivyAH" prAkAratAM kalayati pratApe, parikhAzriyamAzrayantyagAdhAH paritazcatvAro'pi ramAkarAH / yasya candrAtapAyitamapraviSTendukiraNavisa" ........"lodareSu, malayajarasacchaTAyitaM" virahiNItanulatAsu, DiNDIrapiNDAyitamamburAzilaharIpu, sitadukUlAyitamAsAva........"saritpUrAyitamAkAzavamani, puNDarIkakhaNDAyitamakhilasalilAzayeSu, sphaTikopalAyitamacalamekhalAsu, sitavitA 22 [nAyitaM brahmANDamaNDapAbhyantare, vitatasitapaTAyitaM pravahaNatAteSu, samunmArjitadraviDIdantakAntisodarai runidrakundacchadacchAyAbandhubhi..."bindhaprasarairyazobhiH / yazca girirAja iva tridazasaritaH, zazadhara iva jyotsnAyAH, harATTahAsa iva" [F. 15. B] vizadakAntisampadaH, 1 paramApuruSa' / 2 diirghaakRmkssaam| 3 jlniv| 4 jananasevya / 5 vinaSTAnyatra triNyakSarANi / 6 valena / 7 saMkhyAtiyena / 8 vinaSTAnyatra dvitrANyakSarANi / 9 ye| 10 nirinagari / 11 guru / 12 vinaSTAnyatra catuHpaJcAkSarANi / 13 noddhavamaji / 14 degtyudadhaH / 15 bhayavi 16degmAzrayavizataSI / 17 degsani / 18 'tAmyanati / 19 vinaSTAnyatra paJcAkSarANi / 20degchaTApitaM / 21 vinaSTAnyatra ctuHpnycaakssraanni| 22 binazanyatra catvAryakSarANi / 23 binayanyatra trINyakSarANi /

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10 zRGgAramanjarIkathA kSIroda ivAmRtakarakalAyoH *....................."avadAtarociSaH kIrterai* bhUt prasavabhUbhiH / yasya ca caraNa *...................."darcanapatimukuTakoTipatrasaGgeSu gArunmatara *........................... dayanti cAmaragrAhiNo vilAsinIjanasya / ... ..............................dajalAsake........................... " [ F. 16. A ] tAzcaryamajanayadamISAM rAjalakSmIH / yasya ca ..............."rAdairAvatagaNDakaNDUyanonmathito haricandana *.....................zvakhurotkhanyamAnasphaTikazilAsakrAntodyada *....................."rAyasaJcalitaprasthasandhibandhAdrajanicaravalAvaloka *........................."velAsalilasIkarAsArairanavaratasaMsicyamAna *....................." [F. 16. B] *................ .........'bhiH samantataH sevyamAnacandanalatAbhavanAtpa"*..................... topalakSamANakanakazikharapAThaNaH smarazaranikara"*........................ rArddhataH samutpAdairaMzubhiH spandamAnacandramaNizi.................. divasakarakiraNajAlacchuritadalatayA satatamiva palla".................. gamApIyamAnottuGgazikharanirAmbhasaH rabhasAvatIkadi ..................... tI caH (1) zIlocayAtkrIDAdhanaviharaNodyatamRDAnIcaraNamudrA'[F. 17. A ] *...................... rAyamANadhvanagambhIrajaladapaTalAmandamArutAndolanapracala"*.................. khimnakinnarIgIyamAnatripuravijayAvadAtamukharitanikuM8.................. bharitakuJjodagallIlAvanavihArapravRttavittezvaravilA"............... sphaTikakaTakAdAvaraphuTikAcalAdvividhamaNikAnti"8............... svairamAjJA vicrti| yaM ca saccakranandakaM kuvalayAbhi OM.................. kRtabalirAjaM puruSottamaM satatamAseva" [F. 17. B] te zrIH' - ityabhidhAya viratavacasi yatraputrake sa mahIpatiH svayaM kathayitumArabhaMta / [kathAnAyikAvarNanam ] asti ca tasya rAjJaH sakalajanamanohArirUpasampadAdhidevatevAyatanamekaM makaraketo[:], saundaryanirjitatridazasundarIsaundaryasampattiH, satatamullasato vadanacandramasaH parisphurat kAntijA lena pratihataprasaramagratastimiranikaramiva pazcAnibhRtanilInaM kezapAzamudvahantI, aSTamIcandrazakalAnukAriNA lalATaphalakena malayajarasanimmitamatanuvRtti vizeSakamAyatanAsAvaMzadaNDamAnanazriyastribhuvanavijayinA rAmaNIyakenArjitaM" sitAtapatramiva ca dadhAnA, snigdhAJjanazyAmale taruNajanalocanAlibhiranavaratamupAsyamAnakaTAkSa. . atra SoDaza (16) aMkAMkitasya patrasyottarArddhasya truTitatvAdimAnyeva vAkyAni paripaThyante / 2 sovissH| 3 shkiirtir| 4 atra saptadaza (17) aMkAMkitasya patrasyottarabhAga eva prAptaH / 5 tasminnimAnyeva vAkyAni paripacyante 6 spNdsaan| 7 zIlocayA / 8 kathitumarabhata / 9 sphurty| 1. vizeSaNaM / 13 degkestarjitaM /

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zrIbhojadevaviracitA (3) kusumastabake janitagurumadanaphalatayeva kiJcidA 'na taprAnte bhrUlate vibhrANA, antaHsaJcarat' taralamadhukareNa vikasitasarojayu galeneva " [ F. 18. A] nayanayugalena virAjamAnA, kalaGkamapAkartuM dvidhAkRtena zazimaNDaleneva kapolapha" lakadvayena dyotamAnA, zirISakusumasukumAreNa taruNajanahariNagrahaNanipuNena madanavyAdhavAgurApAzeneva zravaNapAzadvandve "na rocamAnA, ISadunnatAgreNa makaradhvajavINAkoNAnukAriNA nAsAvaMzena bhrAjamAnA, rativallipallavena rAgasAgarapravAlagranthinA pakvabimbI phalapATalena dazanacchadenodbhAsamAnA, rekhAtraya virAjinA kambuneva kalakhanena, madanadrumakanda leneva komalena kaNThakandalena " kamanIyatAmAkalayantI, kramApacIyamAnavRttatayA strigdhamAMsalatayA cAtimanorame mRNAlabhrAntyA sphuritamasRNanakha mayUkha maJjarIke" zarazreNibhyAM vikacaraktotpalAbhyAmiva hastAbhyAmAzrite komalatayA samupahasitabisalate bAhulate dadhAnA, ISannimagnacUcukeno [ F. 18. 13 ] tuGgena suvRtta pRthulena ratisukhanidhAna kalazayugaleneva stanayugalena zobhamAnA, mImAMsAkuvicAreNevAtidurUheNAtyuttuGgastanabharAntaritatayA sakalajane "spRhaNIyaM dRSTiviSayamaprApnuvateva kRzatAmAgatena kRzenApi svIkRtavalinA tanunApyuttuGgapayodhara bharadhAraNakSameNa madhyagatenApyupari tiSThatA sarvvaramaNIyAnAM madhyabhAgenAlaGkRtA, makaradhvajagandhasindhurasya krIDAmajjanahadeneva gambhIreNa nAbhimaNDalena bhUSitamadhyabhAgA, stanakumbha " zAlino yauvanamataGgajasya vigalitayA madalekhayeva smaradhanurlatAjIvayeva parasparaupamyadAnArthamiva romarAjyA vibhaktatanumadhyA", ratikrIDAparvataratna zilAmiva vizAlAM madanakariNo viharaNasthalImiva nitambasthalIM kalayantI, viparItopahitakanakakadalIkANDAnukAriNA durddamamadana dvipAlAnastambhadvayasodareNoruyugalena prAptaparabhAgA, vRttAnupUrvAbhyAmanati saralAbhyAM komalatayA vijitakadalIkANDalAva [F. 19. A ] vyAbhyAM jaGghAbhyAmudbhAsa" mAnA, vadanendukAntinirjitasa rojAkarairupAyanIkRtAbhyAM saroruhAbhyAmiva caraNAbhyAmadhikajanitazobhA, suvRttayA " tyarthamuvalayA samastAvayavAlokanArtha kandarpasya darpaNamAlayeva "nakhazreNyAlaGkRtacaraNayugalA, sarvAGgAni paripUrva kAnticchalAdbahiH" prasRtena lAvaNyena sevakajaneneva paritaH sadaiva parivAritA, Ayatasya manmatharathasyeva vadanacandramaso rathacaraNayugalamiva marakata "maNikuNDaladvitayaM dhArayantI, kapolasthalIjanmanaH patralatAyAH pracuralAvaNyasalilasekairmadanajvaradavathuvyathAkadarthitAnAM kAmijanaha "zAM vizramArthamiva cchAyAmanudivasamabhivarddhayantI, madananarapateH sAmrAjyAbhiSekAya stanakalaza pAtinImatyacchavi [ za] dAM sudhAsaliladhArA "miva khasaubhAgyayazaH patAkAmiva ratinidhAnastanakalazara kSiNo madana bhujagasya nirmokapaTTikAmiva hAralatAmurasi kalayantI, makarala [ F. 19. B] [ atrAdarza 20 aGkAGkitaM patraM vinaSTam ] 1 kiJcidonata / 2 'prAte / 3 ' sacasta' / 4 jugale' / 5 'mayAkartuM / 6 marakata / 7 bimbo / 8 suvRta' / 9 'javaspRha / 10 vRttAnumarthAbhyA N / 11 jAmamAnA / 12 mAlanyeva / 11

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zRGgAramaJjarIkathA - ...yati / ratimapi paribhavatyaninditaiH saMsRjyate / madhuramapi udAttaM ca bhASate / prahAsye'pi smeraMmukheva bhavati / azlIlaM pariharatyanatinarma"zilA / araktApi raJjayati [raktaM?] / asaktApi saJjayati sakte / svIyarUpAtirekApahastitarUpasampadAtmAnamavamanyamAnA bhagavatI zrIrapi kama"lavanavAsamaGgIcakAra / yA ca vikasitavadanAravindasundarInayananIlotpalAbhirAmA, mRdubhujalatAbhimRNAlopazobhinI, niviDottuGgastanacakravAkamithunA gambhIranAbhirandhrAvartazAlinI, vilasatrivalItaraGgA, madanakariNo viharaNArthe mayAreva (1) lAvaNyasarasI, zRGgArarasanirbharA' nimitA bhagavatA prjaaptinaa| yA ca haravigrahe viphalatAmAtmano'strANAmAlokya tribhuvanavija"yArthamaparamiva jaitramastramutpAditaM bhagavatA mkrketunaa| sA ca aparuSA veSe, avyapadezyA dezabhASAsu, agrAmyA goSThISu, prakRSTo-' [F. 21. A ] bhayacatuHSaSTijJAne, vicakSaNA kAmasUtrAdivicAreSu, pragalbhA praznottaraprahelikAdiprabhedeSu, kautukinI vAkovAkye, labdhalakSyA lA"sye, asamA samasyAsu, prabuddhA prabandhanibandhaneSu, bhavyA kAvyakaraNe, prathamA gAthAgrathane, kutUhalinI krIDAsu, alolupA pAne, parA"jhukhI vyasanAsaGgeSu, antamukhI kAvyArthabhAvanAsu, avakrA vakroktiSu, anavagItA gIte, mukhyA murajavAdyeSu, atucchA tyAge, avikatthanA lobhe," saprapaJcA vipaJcInAvyeSu / yasyAzcaraNakamalAbhyAM sakAzAdiva gativilasitAni rAjahaMsaiH, UruyugAdiva kramApacayamasRNatAmR"dusparzatAdayo rambhAstambhaiH, nitambabimbAdiva pRthulatAdhivAsaH kSitidharasthalIbhiH, nAbhimaNDalAdiva gambhIratA hradaiH, valitrayasanAthAnmadhya pradezAdiva taraGgAbhirAmatA nimnagAbhiH, romarAjyAH kamanIyatA smaradhanurguNena, stanayugalAdivAtinibiDAsaGgatizcakravAkamithunaiH," [F. 21. B] bAhulatAbhyAM sukumAratA mRNAlIbhiH, karakamalAbhyAM rAmaNIyakamazokapallavaiH, kaNThakandalAd rAjitrayasannivezAbhirAmatA kambubhiH, adha"rapallavAd nisargazoNimotkarSo vidrumagranthibhiH, kapolaphalakAd amalakAntiH kanakaketakIdalaiH, nayanayugalAt taralatA mRgIlocanaiH, dhavalatA puNDarIkakhaNDaiH, tIkSNatA ketakacchadaiH, saralatA sajanaiH, kAlimA madhukarIbhiH, bhrUlatAyugalAt kuTilimA candralekhayA, zravaNAbhyAM saMsthAnacArutA smaradhanuApAzadvayena, nAsikAzAd AkRti (ti ?) kamanIyatA mogdhAyAH (1) [u]buddhapATalAprasUnaiH, lalATaphalakAdAkArarAmaNIya"kamA rUDhaguNena smaradhanuSA, kezapAzAd janamanomohakatvaM barhikalApaiH, vadanamaNDalAdakhaNDitakAntitA jananayanahAritvaM ca rA[F. 22. A ]kAzazAGkena, vacaso mAdhurya pikavadhUbhiH, sarvAGgebhyo lavaNimA rumAkarairagRhyanta / , bhyormukhev| 2 nirbhtraa| 3 vAcoktiSu / 4 kmruuddh| 5 cahirkilApaiH / 6 rgRhynte|

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zrIbhojadevaviracitA yasyAzca rUpaniSpAdanArthamidamupakaraNakadambaka"manAdadAnenAparamivopakaraNajAtaM' kimapyAsAditaM bhagavatA prajApatinA / tathA hi - na gRhItazcamarIbAlabhAro, na barhiNAM bahakalA' 'pAH, na madhukarakulAni, na zazadharArdham , na kanakapaTTazakalAni, nAnaGgasAraMTani(1)dvayam , na vikacendIvarANi, na madhukarAkAntaikadezAni ketakIdalAni, na mRgIlocanavilAsAH, na pATalAprasUnAni, na mada(?)vINAkoNarAmaNIyakam , na bimbIphalAni, na bandhujIvakusumAni, na vidrumagranthayaH, na paripakkadADimIvIjatviSaH, na kokilAdhvanayaH, na vINAnikkaNAH, na bandhUkakusumalAvaNyam , na vikacakanakacampakAvadA"[ P. 22. B ] tatA, na saradhanurvyApAzayugalam, na kandalAni, na kambavaH, na mRNAlyA, na zyAmAlatAH, na pallavitAni(1), na raktotpalAni, na cakravAkamithunA"ni, na karikumbhAH, na sarittaraGgAH, na smaradhanuAlAvaNyam, na madanarathacakranAbhayaH, na ratnazilAtalAni, na kanakaphalakAni, na rambhAsta "mbhAH, na dviradendraMkarAH, na kokanadAni, na muktAmaNayaH, na zarattArakAH, na dviradendra gatayaH, na rAjahaMsapracalitAni / tathApyAzcaryanidhAnamadbhutaikanidhinA vidhineyamutpAditA / aho'tyantAdbhutarUpanirmANakauzalaM" vidhaatuH| yA ca lAvaNyamayyapyakSArA, sAdhAraNyapyasAdhAraNI, sphaTikamaNiputrikeva sannihitopAdhirAgiNI, draupadIva nakula "priyA, prAvRDiva darzitAcira ruciH, yAminIva sakalajanAmilaSaNIyasvApA, niyuddhodyatakRSNamUrtirivAnaGgadA, nepAlabhUmiriva [F.23. A ] mRgamadAmodinI, udyAnamedinIva rucirakalakaNThopazobhitA, prAgjyotiSakSitiriva kRSNAgurupatrabhaGgabhUSaNA, kadAci[d] bhujagIva bahu"prajAgarakSIvanayanA / yA ca tridazaseneva kuTilakezapAzopazobhitA, kailAsamekhaleva niruhyamA [nA]lakAbhirAmA, priyajana kathevAbhilaSaNIyanAsikyapradezA, vanalekheva kamanIyatamAlapanasArA, vasudheva sarasazoNAdharopazobhitA, nATakAGgasthitiriva rambhodbhAsinI, harizcandrakatheva prathitacArulocanA, kiSkindhaguheva sugrIvodbhAsitA, rAmAyaNakatheva prakhyAtasubAhupraha"stA, prA. Diva ghanastananAbhiramyA, chandasthitirivojvalatanumadhyA, prajAvaniriva sadA samajaghanA; krauJcagirirandhrapaddhatiriva paricitarAjahaMsagatiH, kurupANDavadyUtaveleva pravRttorudvandvA zRGgAramaJjarIgadyapravRttirivaM sulalitapadA / yA sarvataH prasRtasya kha" [F. 23. B] dehaprabhApaTalasyAntaHsthitatayA mandaragirimathyamAnajalamadhyavartinIM zriyamivopahasati, sarvAGgasaundaryAvalokanastimitapakSmapuTatayA" nirnimeSamavalokayato mAnamAniva vidadhAti, nayana atisaMyogAviSamamavalokayantI bhoginAmapyadvitIyAM viSamaviSamUrchA-" jaate| 2 degdendukraaH| 3 dendugtyH| 4 praaviddiv| 5 degcirrviH| 6 kaTho / * prjaagaar| 8 linucamA / 9 degindro| 10 degrivvsullit|

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14 zRGgAramaJjarIkathA mApAdayati / asthireNAdvAreNA(?)tisaralenApi locanayugalena kadAcidapyanAsAditabhaGgAnyapi kamalakAnanAni parAjayate / / ___ yasyAH ko'pyapUrvo mukhenduryasya sarvadA paripUrNAkRterdivA'pyullasitamahasaH kalaGkojhiMtasya paGkajaimaitrI, kumudA kareSu dveSaH, ni"khilarAgakAriNI kAntiH / yA ca kezapAzamantaHsandAnitavividhakusumanikaramiSudhimiva kusumasAyakasya sakalakAmijanahRdayabhedanArthamiva dadhAti / yasyAzca nisargasurabhiNi lohitAdharadalAbhirAme dazanakAntikesaraprakarodbhAsini vadanAravinde nipatitA" [F.24. A ] saundaryarasamApibantyaH kSIvA ivAtinizcalapadmapakSapAlayaH padamapi na calanti yUnoM nynmdhupaalyH| yA kAmijanahRdayavartinaH prajvalanmadanadahanasya prazamanArtha pRthulamatyunnataM lAvaNyarasanirbhara kucakalazayugalamudvahati / manye ca yasyA rUpanirmANAbhyAsamiva ka"tuM prajApatinA lakSmIratyapsaraHprabhRtayo yuvatayaH pUrvameva nimmitAH / kathamanyathA savizeSakauzalaniSpAdanIyA nikhilatrailokya straiNarAmaNIyakavijayinI ruupsmpttistsyaaH| ke nAnuraktAH, ke vA ye na vaJcitAH, ke vA na vipralabdhAH , kairvA sarvasvamasyA na dattam , ke vA na brAhmaNA" rAjAno rAjaputrA vaNijaH kAyasthAH kuTumbino vA dAsatAmAzritAH / yastayA saGgataH sa evaM jAnAtyahamevAsyAH priyaH, mayyeve"yamanurAgiNIti / labhate ca sA kadAcit karighaTAH, kadAcit turaGgamamandurAH, kadAcit kAzcananicayAH, kadAcidaparimitamahArhANi ratnAni vA [F. 24 B.] sAMsi ca / evamasyAH pratidivasamupacIyamAno vibhavaH parAM koTimAruroha / tathApyeSA na vezyAvRttamatikAmati / kAJcanazatapazcakena ca bandhakamAdatte / ta"thApyanupamasaubhAgyavaibhavAnna kadAcidapyekAkinI svapiti / [ zRGgAramaJjaryA mAturvarNanam ] tasyAzca nRpatiparivAravAravilAsinIjanasya nikhilasyApi mAnanIyAyAH,"jarAprasarajarjaritamUrtiH, kAzakuzakusumasaMkAzakezA, dvitradinavikasitazatapatrajarjarasphArasmAritapurAtanakAntyAgantu[ka]viTagrAsagRbhutayeva pratidinaM vivardhamAnamAnanaM dadhAnA, tanutaravalIkalitamApANDugauraM vivarNazrIparNI phalakaso daraM lalATapaTamudvahantI, sarathavadhauDhyata (?) "jaranmahiSaviSANazakalapratimaM bhrUyugalaM dhArayantI, vaya[:]pariNativazAdIpani manaM rAgAndhajananipAtAndhakUpayugalamiva locanadvayaM bibhrANA, alAbubughnopamAtisthUlapRthulAyatacipaTanAsApuTA, uddhRttamallikAparNAnukAramoSThayugalaM vibhratI, atipralambatayA sakalabhujaGgabandhana"[F. 25. A ]pAzAviva zravaNapAzau kalayantI, vayaHpariNatizlatha 5 kalaMkodbhitasya / 2 kusudA / 3 pirvantyaH / 4 yuunaa| 5 prajvale / 6 jAnAtyamlaye. vaasyaaH| 7 myoveN| 8 kdaacitraapyekaakinii| 9 visvANa / 10 shriipllii| 11 degsaudaraM / 12 diipnimn|

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zrIbhojadevaviracitA tayA svabhAvapRthulayorapi kapolayoratipRthulatAmivApAdayantI, vigalitadazanatayA" muhurmuhurjagadgrAsagRbhumiva pralambamoSThaM saMvRNvatI, viSamaviSadharAzIprAyopalakSyamANadvitradazanA, kiMcinimamamatipRthulasthUlataruNavanamahiSakandharAnukAraM "kaNThaM dadhAnA, atipRthulasthUlakaNDarAsantAnasandAnitakandharAbandhatayA parArthAgamapravezavartanIriva sarvataH samudAsa 'mAnA, kSutpIDA'vasIdajaradajagaradehasakalapratimabAhukANDA kUparAdadhastAt sarvataH samupalakSyamANazirAjAlakatayA tIvratapanatApo"kathitAtyAyatasthapuTacipiTakozAtakIphalaprAyabhujayugA, anavaratadRDhaprahArasaJjAtakaThinakiNagranthitA[va]yavAntarApi kaThinatarahRdayA, atipRthulakASThapAtrIpratimatuNDottAnitasthUlazlathAraghaTTaghaTIpratimapayodharA, atibalAt pRSThapArzvayoH pa" [F. 25. B] titAn sandhIn svacaritragopanasthAnAnIva dadhatI, atisthUla'tuNDAntaritatayA durvibhAvyamatisambhogabhayAt palAyitamiva nitambavimbaM darzayantI, vivarddha"mAnapRthulasphiktayA pratidivasamApibantIva vyomno'vakAzam / tailikayatrayaSTipratimenoruyugalena, dIrghapakvatrapusIphalAnukAriNA "javAdvitayena sthUladardurasthavIyasA caraNa]dvandvena ca virAjamAnA / vinatordhvakAyatayo paristhauSThapuTavidIrNasaMkatayA ca tribhuvanamiva grasitumAkAsantI, AvirbhUtAtanujarAparicayAciropacitabhujalatAmAMsazlathatayA jarAdolanadolAmiva prakaTayantI, madanadyUtakaTiva "miva khaTikArekhAsapatnIbhiranekakitavotpAditAbhirjIrNApANDubhirnakharekhArAjibhiralaGkRtasarvAvayavatayA khacaritracitramiva prakAzayantI, aticalabahalamAMsatayA ca nijamasthiratvaM sakalevapyavayaveSu pratipAdayantI, baliSThatayA sthapuTiteSu keSucidaGgeSu'[F. 26. A vArdhakye'pi bAlyamivAzrayantI, adhonihitadRSTiH, zukacaJcakuTilanAsikAyA, rAzikartumiva pAtAlagatAnapi sphuranmaNigaNAn bhujaGgAnAkraSTumabhilapantI, jagadvaJcanacAturyamahArthatayodu(ndu )rakandarA, tribhuvamamapi tRNAya manyamAnA, kalikAlavRttiriva patitadvijA", zunIva surataparAmukhI, khagarAjacaJcarikha kavalitAzeSabhujaGgA, udyAnabhUmiriva madhumattAlisaGgatA, yAcakadvijavRttirivAbhinandita "grahaNA, grahapatirikha bahuzo bhuktamInameSA, tAmraparNI va zatamuktAphalA, vaiDAlikavRttiriva dambhapradhAnA, mahApuruSacittavRttiriva parArtha"baddhakakSA, vAmanamUrtiriva nijavikramAkrAntatribhuvanA, paJcarAtrasthitiriva mAyAvaibhavopapAditabhogasthitiH, sikatAsantatiriva sneho"jjhitA, gaGgeva kroDIkRtAkhilavasuH, vizvarUpamUrtiriva durlakSyasvarUpA, vyAkaraNaprakriyevopasargavazAt parasmaipadotpAdanakuzalA' [F. 26. B] chAtramaNDalIva rUpasiddhinipuNA, yatijanacittavRttiriva mokSakatatparA, lokAyatasthitirivanAzitaparalokA, cANakyanItiriva yo" yenopAyena grAhyastaM tena gRhNantI / kuzalA kalAkalApe, caturA paracittajJAne, nipuNA paNyAGganAvyavahAre, pravINA paravaJcanAyAm, jaMgadvAsa 2 lakSamANa / 3 krpuuraad| 4 sthala / 5 kAyatayApari / 6 sRkSatayA / bArSikepi / 8 tAmrapallIva / 9 vyAkaraNamivaprakRyevopaM / 10 pratijana / 11 gRhNati / /

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16 zRGgAramaJjarIkathA (a) " dakSA durdamabhujaGgadamane, vidagdhA vipralambhe, pezalA vaizikAlApe, pragalbhA sagarbhoktiSu, azIrNabuddhirvizIrNapratisandhAne / sarvasvamapi darzayati na ca prayacchati / kacit kiJcit pradAya bAlapAnIyeneva karNapAnIyamantargatamapyarthamAkarSati / vaizaka rahasya - paNDitA na khaNDitA viTaiH / dhUrtaiH pratAraNArthamabhyarthitA na kadarthitA / vaJcayati na vaJcayate / stobhayati na stubhyate / kadarthayati na ka [ F. 27. A ] darthyate / mohayati na mute / mRgatRSNivAzAvAsaM prayacchati na ca pUrayati / vasatirasatyasya, mandiraM dambhasya, Alayo mAyAyAH, dhAma dhUrtatA " yAH, saraNaM kusRtInAm sthAnaM mithyAvinayasya, AzrayaH prazrayasya, ekaprayoktrI kapaTanATakasya, gatiriva vidhivilasitAnAm, ghaTayi zrI durghaTAnAm, vighaTayitrI sughaTitAnAm bhavitavyatevAjJAtAdimadhyAntA, avidyevAvicAritaramaNIyA, kimpAkaphalAbhyavahRti riva viruddhapariNAmA, pratipAditAjavApya hitanuriva pracArakuTilA, saMsAravRttiriva paramArthatA zUnyA, nidhAnamadharmasya, AkaraH kRtakacATU" nAm, jIvitaM vaJcakatAyAH sadanaM sAhasikatAyAH, prabhavaH pAtakasya, sthAnamasthiteH, gRhaM masRNatAyAH, niketanaM kaitavasya, sadma cchadma " [F. 27. B] naH, yazaHpatAkA kalikAlasya, sabrahmacAriNI viSalatAyAH, sanAbhiH sUnAyAH, AlI biDAlikAyAH, vayasyA vRkIvargasya, pitRkhasA" pizAcInAm sahodarI sarpayukteH, sRSTinikRSTatAyAH, bhayasyApi bhItiH, mAryA api mArI, trAsasyApi trAsahetuH, bhavanaM lobhasya, " vaDavAmukhajvAlA kIlAlasAgarasya / yasyAH sakAzAdiva zikSitaM dRSTivaJcanaM biDAlyA, kramAdAnaM vyAghreNa kSiprakAritA zyenIbhiH, "arthapriyatvamAkhuyuvatibhiH, randhAnveSitvamahivadhUmiH / yA candralekheva sadA kuTilA doSAzrayA ca yasyAzcopadeza prabhASAdaH prAptarUpa" sampattayo'pyasubhagA api dAsamiva kAmijanamabhimateSu vyApAreSu vyApArayanti vezavilAsinyaH / yA ca zukacaJcuko TikuTilA ma "tizAlinamapi zAli mitra nistuSIkRtya bhakSayati / atividagdhamapi dambhayati / sthirama" [I. 28. A ] pyasthirIkaroti" / prAjJamapyajJayati / paNDitamapi khaNDayati / dhUrtamapi nartayati / padumapyapaTUkaroti / caturamapi vazcati / vipazcitamapi pazcAtkaroti / dhRSTamapi dharSayati / dakSamapi kSapayati / nApitajanenevAtiriktamalakatUlamiva gRhItasAraM pariharati / zukrAGgirasayorapi matima' 'tisandhatte / zrotriyajanaM bhakSyamivAkAiti / pizAcIva zuSkapizitaikapriyA asthInyapi na muJcati / madhukarIva madhupAnalampaTA / madhurA mukhe, kuTilA manasi, prasannA dRzi, dAruNA ceSTite, saralA sambhASaNe, taralA bhujaGgAn prati pratipannapAlane / gururAkAre, laghuzreSTite", uccA pramANe, nIcA svabhAve, sthUlA vapuSi, sUkSmA kAryadarzane / 1 1 mohyate / 2 vAsAvAsAM / 3 bhyavakRti / 4 mArthazUnya / 5 pAtakA 6 sthanAyAH / 'veSTitva' / 8 vA / 9 zALamiva / 10 bhavati / '

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zrIbhojadevaviracitA 17 (6) 1 , naTIva sabhAjana pratApanAya hRdayazUnyaM roditi / kadAcidanimittaM hasati / kadAcit svasutAM tarjayati / kadAcidAvarjayati / kadAcid yodhayati / kadAcid bodhayati / kadA-" [ F. 28. B ] cid gRhAdapi nirvAsayati / kadAcidapayAntIM vArayati / niHsAraM niHsArayati / niHsvaM nirjIvamiva pariharati / muktyapekSiNI saMsAramiva vidita" sAramavagaNayati / lohakArabhastrevAdhmAtamUrtiH / arthAzayA'narthakaM svasutAM prati pUtkaroti / saMsthAne bakena, vilumpane vRkeNa, dRzi dvIpinA, "utpAdakatve zarabheNa, vRthAraTite karabheNa sadaivAtyaktA / avyaktAntastava gopanArthamakartavyakANDapaTikayeva paTikaiyA sadaiva prAvRtamUrtiH / jJAtaparatattvApi pApaikaruciH / samupacitamAMsatvAt komalatvaga pyatikaThinA, sthUlApyatilaghuH, atisnigdhApi paruSA, zAntamUrtirapi kRtAntaca "ritA / dAntA pi damayati / ghRSTApi dharSayati / naSTApi nAzayati / AvarjitApi varjayati / svIkRtApi niHsvIkaroti / pAradamUrtiriva suvarNamAdAya pANDU karoti / narasiMhamUrtiriva hiraNyakazipukruddhA, yoginyapi viyogakadattahRdayA [F. 29. A] saunikavaniteva satataM paramAMsavikrayiNI, atisthUlodarasphikUpiNDoruyugalatayA calitu "makSamApyaticalA, arthamayyapyanarthadAyinI, narmadApi tArpanI, gambhIrApi sambhramavatI, jAtarUpakSayApyAsAditarUpA / satataM parapizita" bhakSaNaparatAmAkalayya bhIteneva paramAMsena saMzritA, suratairiva surApAnaiH prINayitumazakyA, parArthairiva mAMsaiH sadaivAnavApta" tRptiH, vipraparSadiva sadaiva bhojyapriyA / sAGkhyasthitiriviAparamArthopapadA ni[ya] puruSabhogA, zAkyazAsanoktavizvasthitiriva" kSaNikA, kaNAdamatiriva dravyatattvaikapradhAnA, akSapAdavidyeva sadaiva bahumatezvarA, prabhAkaraprajJeva smRtipramoSotpAdananipuNA, kumArilamatirivArthavAdapradhAnA / aindrajAlikAn bAlakAnivopahasati / mAyAvino mayAdInapyunmattAniva na bahumanyate / kuTila [ F. 29. B] matikauTilyaprabhRtIn baTUnivApaTUna gaNayati / upaniSadvidyAzana[sa]prabhRtIn vArddhakAdvikalAnivAkalayati / mUladevaM mUlahAraM vyAharati / zazinaM zazamiva bhakSyArthamanviSyati / sAMva[sa]]rikAn varAkAniva kAruNyena pazyati / somAdityaM somamiva dharSaNIyaM gaNayati / grISmalakSmIriva sakalajanatApakAriNI, zizirasampadiva sakalajanotkampahetuH pakSimIleva darzitAneka vikArA, vizvasthitiriva vicAravira "sA, jaladhimathanaveleva paryantotthA"pitakAlakUTA, purANasthitiriva kamapi kathAbhiH, kamapyAkhyAnakaiH, kamapi kaDa [va] kakaiH, kamapi maNi kulyAbhiH " kamapi dRSTAntaiH kamapi nidarzanaiH pratibodhayantI, zAkunikasthitiriva pakSirutajJAnapradhAnA, vadhyazilA bhujaGgAnAm, sUnAsthA "naM viTapazUnAm, (1) www (6) 4 1 cidanamitraM / 2 paTaka / 3 komala / 7 viprakarSadiva / 8 baTUnivAbapaTUtvAgaNayati / 9 zazi / 12 vANikuNyAbhiH / 13 nirdezanaiH / bhavA. 3 13 / 5 pANDu / 6 nApanI / 10 sAleva / 11 paryantasthApa

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18 zRGgArakathA bAgurA vimRgANAm, yogyAvaniH kapaTanATakasya / mAyeva nAnAvidhapAza pAtitapazuH, jalUkeva satatamApItazoNitopa [F. 30. A ] citA, DiNDikapa diva paragranthisrAvaNajAta nivaDA, vaidyavRttiriva prakAmAturopajIvinI, dhUtairapi vyApyamAnA, viTairapyupAsyamAnA, "kurUpayuktApi na kRpAnvitA, munijanasaMvardhitatarupaMktiriva ghaTapAnAptaprItiH, vizvambhareva vakroktihRtahRdayA mAtA viSamazIlA nAma " I (1), [ zRGgAramaJjarIM prati mAtRdattazikSAvarNanam ] (4) (1) athaikadA bhuktotthitAmasau yaumAvazeSe vAsare mandIbhAvamAsAdayati bhagavato bhAkhataH prabhAvitAne maNivitAnakasyAdhastAnmahArhaparyaGkA sInAmanatidUravartinaM paryaGkamabhirUDhA viSamazIlA zRGgA ra maJjarI mityavocat - " vatse ! nijalAvaNyasArUpya saubhAgyamadamattA " mA kRthAH kvacidapi pramAdam / pramAdinyo hi vezapramadAH prAyo dhUrtaviTaiH kiyantyo nAma na vaJcitAH kiyantyo vA na vipralabdhAH kiyantInAM vA na sarvasvamAcchinnam / tat putra ! sarvathaivApramAdinI bhava nijacittarakSaNe vittarakSaNe ca / sAvadhAnA bhava vaizikakalAkalApe paracittAvarjane ca / yasmAdAvarjita ci" [F. 30. B]tta eva rajayituM zakyaH / raJjitacittavRttirhi sarvvakhaM jIvitaM ca prayacchati / na khalvadyApi ca saubhAgyagarvitA jAnAti bhavatI kathamapi na jJAtacittavRttirAtta sarvasvo nirdhAsyate, kathaM vA sa eva bhUyo'pi vardhita vibhavaH pratisandhIyate, kathaM vA prathamamAvarjyate, kathaM vA saGgato vighaTamAnaH sthirIkriyate, kathaM vA virajyannasamarAgeNa punarapi rajyate, kathamanyacittaH punarananyacittaH kriyate / yato hi pratiprANi durvijJeyAzcittavRttayaH / rudrAdivAraNavadanyAkArAdanyamanaskAzru bahuprakArAH puruSA bhavanti / yadi kazcidbhIrurapi zaurya prakaTayati / lubdho'pyudAttAyate / udAtto'pi kadarya" vad vyavaharati / durbhago'pi subhaga iva ceSTate / vaNigapi viTAyate / viTospi vaNijyate / daridro'pIzvarAyate / kazciddharmaruciH, kazcidarthaparaH, kazcit kAmapradhAnaH / tadevaM cittavRttInAM vaicitrye sati prathamameva samyakcittavRttimAkalayya yo yatra cittavRttistaM tayA ka[I. 31. A ]mapi protsAhya, kamapyanupravizya, kamapi nirAkRtya, kamapi bhISayitvA, kamapi raJjayitvA, svayamarajyantyA sarvvasvamapahRtya nirvAsanIyaH / tatra rAgo'pi tAvat prathamamAkalanIyaH / anAkalitarAge hi prayujyamAnaM vaizikarahasyaM viphalatAmAsAdayati / AkalitarAge tu tadeva prayujyamAnaM sukhenaiva phalAya bhavati / sa ca rAgo dvAdazadhA / nIlIrAgaH / rItirAgaH / akSIvarAgaH / maJjiSTarAgaH / kaSAyarAgaH / sakalarAgaH / kusumbharA gaH / lAkSArAgaH / kardamarAgaH / haridrArAgaH / rocanArAgaH / kAmpilyarAga iti / 1 piGga / 2 'vAza' / 3 jAmA / bhU 5 tadeva /

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zrIbhojadeva viracitA 19 (2) tatra nIlIrAgaH, rItirAgaH, akSIvarAga ityeko vargaH " / maJjiSThArAgaH, kaSAyarAgaH, sakalarAga ityaparaH / kusumbha rAgaH, lAkSArAgaH, kardamarAgaH ityaparaH / haridrArAgaH, rocanArAgaH, kAmpilyarAga iti caturthaH / prathame nIlIrAgavarge nIlIrAgAd rItirAgAkSIvarAgau kiJcidasthirAvapi [ F. 31. B] nIlarAgaprakAzanAd darzitau bhavataH / maJjiSThArAvarge maJjiSThArAgAt kaSAyarAgasakalarAgau kiJcidasthirAvapi maJjiSThArAgaprakAzanAt prakAzitau bhavataH / kusumbharAgavarge kusumbharAgAlAkSArAgakardamarAgau kiJcidasthirAvapi kusumbha rAgapradarzanAt pratikRtau bhavataH / haridrArAgavarge haridrArAgAd rocanArAgakAmpilyarAgau kiJci[da] sthirAvapi haridrArAgapradarzanAt pratikRtau bhavataH / evamayaM yadyapi dvAdazaprakAro rAgaH prakAzitastathApIta reSAM catuSTaye'ntarbhAvAt prAdhAnyAcatudhaiva bhavatyAH kutUhalAt pradazyate - nIlIrAgo, maJjiSThArAgaH, kusumbha rAgo", haridrArAgatheti / tatra nIlIrAgaM sarvasvamapi vizrAvya vAsavad ( ? ) vAhayet / maJjiSThArAgaM tu yadRcchayA vizrAvayet, na tu vicchAyatAparyantaM nayet / kusu [ F. 32. A ] mbha rAgastu nAticatAM visahate / tasmAt taM caTutAM vinaivAnukUlyAnukUlya vizrAvayet / haridrA - rAgaH kSiprameva virajyate / ato'sau jhagiti vizrAvaNIyaH / yasyAM ca vaizikopaniSadi rahasyametad - yad vyAghrAdiva premNaH sAvadhAnatayA sarvadevAtmA rakSaNIyaH / tatra rAgavazAjjagati bahavo bhujaGgA vezyAbhirvipralabdhAH / tathA hi te kathayAmi zrUyatAm / iti mahArAjAdhirAjaparamezvara zrIbhojadeva viracitAyAM zRGgAramaJjarIkathAyAM zRGgAra" maJjarIzikSA samAptA / (3) [ prathamA ravidattakathAnikA ] astyatra kuNDi [na]puraM nAma nagaram / tatra ca mahAdhanaH zrotriyo mahAn brAhmaNaH somadatto "nAma / tena ca vijaya saptamIprati vidhAnenAbhISTArthasya prasavitAraM savitAramArAdhya pazcime vayasi sUnuravApyata / tasya ca raviNA dattatvAt " [F. 32. B] ravidatta iti pitA nAma cakre / krameNa cAyamupanIto vidhivadadhIta sakalavedavedAGgo'dhigatasakalazAstraH SoDazavarSadezIyaH saMvRttaH / athAtmano mahAdhanatvamAkalayatA'sya ca bhAvinaM vinipAtamAzaGkamAnena tatpratIkArAzayA pitrA zikSitaH sakalamapi kalAkalApam / vizeSa" to dattakAdipraNItavaizikarahasyAni ca jJApitaH / ekadA tu rahasyAhUya zikSayitumArabdhaH-- " vatsa yauvanaM nAmAtigahanamandhatamaH, duHpariharaM sarvaprANibhiH / duHzIlaca madanaH, sarvonmAdaikAyatanaM ca vibhavaH / nalinIdalanipatitajalalavataralaM prakRtyaiva manaH / durdAntadviradadurdharANi cendriyANi / nisargatayaivAbhilaSaNIyA viSayAH / 3 pradhAnyA / 4 kusumbhA / 5 kusumbha / 6 caTuna / 1 kusumbhA / 2 7 savRttaH / 8 nisargatA /

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zRGgAramatarIkathA tatrApi vizeSato yuvatayaH madhuvarSArambhazaratsamayaprabhRtayo'tyarthamuddIpakA" RtavaH / tatsahAyazca vijRmbhamANo makaraketuH kena nAma nivArayituM zakyate / atastvayA prathama ariSaDraggoM jeyaH / tata indriyANi / tataH" [F. 33. A] sannihitaduSTajanapreraNAH / tato vilaasiniisNsrgH| vilAsinyo hi dRSTiviSavarAGganAsanAbhayo dUrata eva manomohamutpAdayanti" / mUDhacittasya ca visaranti gurUpadezAH / dUrato'pasarati zAstrAbhyAsaH / zIryate zikSA / bhidyate'bhimAnagranthiH / vilIyate jaatyaaybhimaanH| dravIbhavati zIlasetuH / dhvaMsate dhairyam / vilIyate vivekaH / dalati dAyam / palAyate prauddhiH| pramAdyanto hi bahavo vinAzamupagatAH / prakRtyaiva tyaktasnehA khalasaGgatirata eva pariharaNIyA / duHsvamAnAmiva dhUrtAnAM darzanamaniSTakAri / SiGgavargasaMvargaNamanargalaM dvAramanarthAnAm / tauryatrikadhvanitaM pravAsanapaTaho'rthasya / manomRgApaharaNavyAdhagItayo giityH| vibhavasya marma prahArAH krIDodyAnavihArAH / arthanima"anAni krIDAjalamaanAni / lakSmImahApathayAtrA deva (kAmadeva ?)yAtrA / viSTirivAniSTakAriNI yoSitAM savikArA dRssttiH| vivekArayaH sArayaH / niga"[F. 33. B] DabandhAH pingggosstthiibndhaaH| vibhavAkUtAni dyUtAni / sUnAsanAbhayaH paNyaramaNIprAGgaNabhUmayaH / apathyA veshyaagRhopaantrthyaaH| tasmAdava"hitena svajAtyanurUpayaiva ceSTayA vyavahartavyam / svajAtipari] hAreNa vyavaharantaH ke nAma nopahAsapadavImupagatAH / zrUyante ca pururavaHprabhRtayo mahAprabhAvA api rAjAnaM urvazyAdivezyAbhirvazIkRtA iti / athaikadA yAtsu divaseSu, paJcatvamupagate pitari, tamanusRtAyAM ca mAtari, kAlapariNativazAdahetukrazimAnamAgacchati zoke'kasmAcchRGgArazailU"panartanopAdhyAyaH samajRmbhata makaradhvajabAndhavo mdhusmyH| krameNa ca korakanikurumbakarambiteSu sahakAravaneSu, paJcamakalA"[F. 34. A] kaSAyalAJchiteSu kalakaNThIkaNTheSu, prasavavedanAneDapIDitAsu ca mAdhavIlatAsu, virahijanavisaMsthulaceSTAvalokanAdiva jAta "stokahAseSu kamalavaneSu, kizcidaGgArakitatanutayA prathamAbhilakSyadhUmAdanantaramudyadalpAlpamadanadahanajvAleSviva kiMzuka vaneSu, vikasitAtanustabakopaciteSu makaradhvajapratApAnaleSviva sarvataH prajvalatsu virahiNAM santApajanakeSva zokapAdapeSvakhilajanamanohAriSu vividhamaNinimmiteSu krIDAbhUSaNeSviva rate lAruNakapizakAntiSu prasphuTatkuimale "pu, kurabakAnokaheSvAmodaparamparAsamparkalobhAd virahijanasaMsargAdivAratigRhIteSu kvacidapi sthitimakurvANeSu SaTpada" [F. 34. B]kadambakeSu, taruNatarapallavapaTAvaguNThitAsu navavadhUTISviva kamanIyatAmupagatAsu nikhilavanarAjiSu, tribhuvanavijayAya sAyakA"bhyAsamAcarataH kusumakArmukasya pratikSaNaguNAsphAlanadhvaniteSviva paritaH zrUyamANeSu kokilakulakkaNiteSu, vasantasamaye"na sajI 1 dRSTiviSaviSam / 2 vismaranti / 3 shrm| 4 deryaatraa| 5 rAjAnadurvazyAdi / 6 bodhvoN| karaMdhyateSu /

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, zrIbhojadevaviracitA kRtAsu tribhuvanaikadhAnuSkasya makaraketorasitakundalatAdAmanimmitAsu jyAvallISviva pratikusumapAdapamullasantISu bhramaramAlAsu, madhusamayasamAgatAnAmupavanazriyAmuttaMseSviva samullasatsu kSitiruhAM pallaveSu, pathikahRdayasthitasya madanAzu"zukSaNeH sandhukSaNAya dakSiNAmukhAt khaira khairaM samutsarpatyabhinavodgatabakulakusumAmodavAhini malayAnile mithunAnurAgeviva mUrteSvanavaratamApatatA malayAnilena pratitaru parita'staraGgamANeSu mahArAjanu(na?).cInAMzukaviraci[F. 35. A ] teSu manmathadhvajeSu, krIDAndolanaprasaktAnAmatinirdayapriyatamabhujAzleSanirbhayAnAmaGganA'nAM kAmijanakuraGgavyAdhagItiSu sara "nRpatervijayarAjyaghoSaNAkhiva pratidizamullasantISu vilAsagItipu, ko hi nAma priyajanaviyukteSu kAmiSvasmAkamAyati "sahata iti atikaruNayeva kazimAnamAgacchantISu rajanISu, AH kathamanaGgabAndhave nikhilasukhadhAmanyapi madhusamaye asmadAga manArambhe'pyatitarAM dUyante viyogina ityanuzayAdiyopajAyamAnatApaprasareSu vAsareSu, vikacakamalinIkAnanebhyaH pavanodbhUtaiH samutsarpadbhirbahalarajaHpaTalaivirahivinipAtasUcakairutpAtadAhairivAzliSTeSu diktaTeSvatighanasphuTitakokanadakAnanA"bhirupavanadIrghikAbhirnirantarodbhinnakisalayaiH pramadavanapAdapairudgacchadanacchastabakalA [F. 35. B]JchitairazokatarubhiH pratidizamunnidrakusumanikarahAribhiH kiMzukavanavirahiNAM sarvataH samutthitamadanadAvAnala iva pratibhAsamAne bhuvana"tale, ekadA tu viTabaTukapeTakena mattadvirada iva ravidattaH smarannapi gurUpadezAn-'adya bhagavato makaradhvajasya yAtrAmahotsavaH, sa yadi na dRzyate tadA kiM jIvitena, kiM vA viphalenAmunA locanayugalena ? yadyapi na te kautukamasti tathApyasmadanurodhAd bhadra ! bhavatA tadarzanAya" gantavyameva, bhavyo bhavAn yadi na gacchasi tadA kimasmAkamiyatyapi na vazitA vidyate yena bhavantamAtmano'bhISTaM kArayAmaH / tadAgaccha gacchAmaH'-i"tyabhidhIyamAno balAdevAnicchannapi tadanuyAyineva yauvanena preryamANastadvayasyairivendriyaiH purastAdAkRSyamANo nirantarodbhidha"mAnanAnAvanarAjikorakatayA samullasadenakakusumatayA vA AyudhAgAramiva bhogyAsthAnamiva vilAsabhavanamiva bhagavato makaradhvajasya" [F. 36. A] yauvanamadamattakAminIvadanamadirAsekasaMkrAntamiva saurabhaM kusumaparimalacchalAdudvamadbhirbakulapAdapairudbhAsamAnam, kacit taruNimonmadavilAsinIkucakalazasaMzleSAdunmiSadbahalakumalaiH kAmibhirivoddhatapulakajAlakaiH kurabakatarumiradhyAsitakrIDAzailopaza"lyam, kacinmadataraGgitopAntayA kuvalayadaladAmadIrghayA mRgadRzAMdRzA pAtrIkRtairullasanniviDamaJjarInikaracArumiH kusumAyudhassA "yudhAgArairiva tilakapAdapairupazobhitakrIDAtaDAgaparisaram , kvacidalaktakarasarajitenevollasanisargazoNimnA caraNakamalena kAminI bhistADitAnAmunmIladatanupallavolAsinAmudgacchadastokastabakalAJchitAnAM madanadahanAsthAnasajhanAmivAzokapAdapAnAM zAlikAbhirala"kRtAnaGgabhavanaprAGgaNopAntabhUmibhAgam , kvacinmandamandamunmadavilAsinIkaNTha... saalaasu| 2 pritstr| 3 maGgantAnAM / 4 degdanastha / 5 yogyA / 6 pAdapaidugrAsa /

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zRGgAramaJjarIkathA kuharodgatAmirmasRNamadhurAbhiH paJcamakAkalImirudbhidya" [F. 36. B]mAnAtiniviDakapizakusumazreNitayA kArtasvara| veyakairiva ratevirahakaviTapakairudbhAsi......[dIrSI] kAnIralekham / pAka'......" dvisphuTatAmelAphalAnAmAmodena saJcarato vasantagandhadvipasAmadasurAsaurabheNeva prasa'...... digantam , kvacidunmipalla'......" modalobhAdamidhAvatAmitastataH saJcaradvanadevatAkAJcIkalAkalApakiGkiNIkaNi[ta] ....... bhirmadhukarANAM jhaGkRtimi... manmathonmAtham , kacinmukharazukakulai rardhajagdhAnAM kakolIphalAnAM visaratA parimalenAmantra...... raNacakravAlamunmipannibiDama"JjarIjAlakasthagitanikhilAbhogamaNDalatayA' vasantazriyollAsitairmadananarapateH kanakA"...... dhanacchAyaiH" [F. 37. A] sahakAratarubhirupazobhamAnam , dUrAdeva virahiNAmAkampitahRdayAbhirmadhusamayasamAropita ...... satatasannihitazilImukhA"bhiH smaradhanurlatAbhiriva kusumavIrudbhidbhAsamAnaM kusumAkarAbhidhAnaM krIDodyAnamagaccha[ t]"......sphaTikamaNizilAsaGghAtanimitaM mUrtayazaHpuJjamiva tribhuvanavijayArjita]makaraketorAyatanamapazyat / tasmiMzca zoNa[maNi]"......raNopaviSTAM rAgAdhi[devatA"miva] tribhuvanavijayavaijayantImiva smarasyonmAda vidyAmiva bhuvanatrayasyAmRtazalAkA [miva]6.. talocanAnAmanyA "......[ka]"cidekAmaGganAmapazya[t / ] tAM cAvalokya samupajAtavismayena vismRtAnyakaraNIyo manasya.....rUpanirmANakauzalaM ... [F. 37. B] yeneyamapahasitAkhilatridazasundarIsaundaryavibhavA parihRtAparasRSTivyA pAreNa nijanirmANakauzalapratipAdanArthamiva mahatA prayatneno"tpAditA / yato'syAH sundarA apyavayavopAdAnapadArthAH pratyavayavamekaikazo'pi nAnukurvanti" kmlkuvlyaashokkislyenduprbhRtyH| dRSTvA cAcintayat - aho so'yamasadRza ullekhaH prajApatisargasya, nirupamaH prakAraH strIjA"teH, nUtano rumAkaro" lAvaNyasya, saJjIvanauSadhirmakaraketoH, navIna AkAra AkArasya, tAruNyasyApi tAruNyAvatAraH, lavaNimA lAvaNyasya, rUpasyApi" virUpAvezaH, amRtarasapUraH prekSakadRzAm , kapUrazalAkA taruNijanalocanAnAm , anyaH prajApatiranaGgavapuSo niSpAdane, ajayyanUtanAstra[F. 38. A ] lAbhaH kusumasAyakasya, nikhilajanahRdayabhramakArakaheturanyo bhrAmakaH, mUrtimatI saphalatA sakalajananayanasRSTeH, aparA vilAsAnAM" vilasanabhUmiH, bhrmaikheturnijvibhrmailokaanaam , ekamAyatanaM zRGgArasya, jIvitaM vyutpatteH, svryaiveyk| 2 vinaSTAnyatra catuHpaJcAkSarANi / 3 vinaSTAnyatra paJcaSaDakSarANi / 4 vinaSTAnyatra paJcaSaDakSarANi / 5 vinaSTAnyatra tricatvAryakSarANi / 6 vinaSTAnyatra trINyakSarANi / 7 jhNbhuuti| 8 vinaSTAnyatra triinnykssraanni| 9 degkulaivrdh| 10 vinaSTAnyatra catvAryakSarANi / 11 mNddltyaaN| 12 vinaSTAnyatra tricatvAryakSarANi / 53 vinaSTAnyatra catuHpaJcAkSarANi / 14 vinaSTAnyatra catuHpaJcAkSarANi / 15 vinaSTAnyatra tricatvAryakSarANi / 16 vinaSTe atra dve akSare / 17 vinaSTAnyatra tricatvAryakSarANi / 18 cAvalokaya / 19 degvismayet / 20 vinaSTAnyatra dvitrANyakSarANi / 21 vinaSTAnyatra dvitrANyakSarANi / 22degApAreNa / 23 prylonotpaaditH| 24tosyA / 25 ruumaakushe|

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zrIbhojadevaviracitA raGgazAlA vaidagdhyalAsakasya, parA 'prakRSTatA prakarSasya, asadRzamAyatanamanaupamyasya, ucchasitaM saubhAgyasya, prANitamAkAraprakarSasya, nRtyAdhidevatA zRGgAravilasitA nAm, sRSTimudrA prajApatisRSTeH, nirupamasvAminI manobhavasya, drAvikaputrikA nikhilajanahRdayAnAm , AkRSTividyA sakalajanamAnasAnAm , zRGgArasyApi zRGgAraH, vibhramANAmapi vibhramaH, madhurimA mAdhuryasya, au[dA]ryamudAratAyAH, ucchvasitaM haranayanAnalakavalIkRtasyApi maka"raketoH, vidagdhatA vaidagdhyasya, bhAgyabhUmiH saubhAgyasya, utpattikSetraM prekSakasukhAnAm , mohanapicchikA bhuvana [F. 38. B] lokasya, indrajAlikavidyA mUrtimatI vidagdhajanamana:svIkaraNe, arucibIjamekamitarakamanIyapadArthAnAm", saubhAgyasyApi subhagaMkaraNam , smaravihasitamaparaprajApatisRSTeH, mUrtimatI garvalakSmIrmanobhava............,kamanIyatAyA api kAntiH, ramaNIyatAyA api rAmaNIyakam , pariNatividhizilpasya, ekaM ghuNAkSaraM prajApatisRSTeH, ......mahenauSadhermakaradhvajaThakasyAparaH zazalakSmyAH , janavadanakamalavikAsatve laDahalaharI zRGgArasAgarasya, caturimA cAturyasya, navatvaM nUtanatAyAH, nUtana udvegaH prAktanAyAH prajApati "sRSTeH, saundarya sundaratAyAH, manobhavaraGgazAlA nikhilajanaraJjakatve, kAntisavekhaM nikhilaramaNIyatAyAH, utpattibIjaM vismayasya, smRtipramoSaH sAdRzasya, avazika (1) kamanIyanirmANasyaika Azrayo nikhilaramaNIyavailakSaNyasya, lavaNimno'pi lavaNimA, vilA"[F. 39. A] so vilasitAnAm, asadRzarAgatArAgasya, mohanavidyA ta...... cAriNI, taruNimA tAruNyasya, mohasyApi mohaH, camatkRterapi camatkAraH, lAvaNyasyApi bahumAnahetuH, ekamavasthAnamaupaya'sya, advitIyaM vairUpyakaraNaM zazikamalakuvalayendIvaraprabhRtInAm , anavasthA rUpAtizayA"navasthAyAH, jyAvallI kAmakArmukasya, mUrtasthAnaM manobhavasya, ratirapi rateH, daurbhAgyadAnakadevatA nikhilastrIjAteH, ucchedaikahetuH sAmAnyabuddheH, utpattinandanaM zRGgArakalpadramasya, gRhItamUrtiH sArimA saMsArasya,'......devatAsukhAnAm , anaupamyasyA'pyanaupamyam / nUtanI"lAsakaH sakalajananayanaputrikAnartakInAm , nUtanapratipakSo madanajanmani pinAkapANe:, ......tA nayanAmRtarasasya, vijayapatAkA rAmaNIyakasya, atyantAbhAvaH sAmyasya, chinnatarSo nikhilalokalocanAnAm , ajarAmaratAhetuH kusuma" [F. 39. B] sAyakasyeti vicintayanneva stambhita iva mUJchita iva likhita iva mohita iva smarazaranikaranirmathitamUrtiH suciramatiSThat / sApi tamabhi"nave vayasi vartamAnamatimanoharAkRtimatanuvibhavazriyA svIkRtatvAdatisnigdhacchAyamavalokya saJjAtarAgeva kSaNamabhUt / atisnigdhayA" ca dRzA savibhramamutpAditAnurAgaM muhurmuhurapazyat / sacchAryatayaiva vijJAtatadvibhavotkarSevamacintayacca- aho bahoH kAlAdAsAdi "taM nidhAnam , cirAt pallavitamAzAdrumeNa, kusumitaM kAmanayA, phalitaM 1 propkRsstttaa| 2 vilAsitAnAm / 3 vinaSTAnyatra kAnicidakSarANi / evaM anyatrApi jJeyam / . maupmsy| 5 nopamasyA 6 sachAtaityaiva /

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24 manorathaiH, tadataH paramullasantu kRtakavibhramAH, prakAzIbhavatu vaizikarahasyamiti vicintya sannihitayA svasakhyA saha savibhramaM sasmitamantarAntarA muhurmuhustamAlokayantI goSThIvyAjena kimapi " [ F. 40. A ] kimadhyabhASata / ravidatto'pi yadyapyananubhUtamadanaceSTastathApi tatkAlameva makaradhvajopadiSTAnAtmagatAnetadIyavibhramAn vinirjJAyaM mayyanurAgiNIyamityAkalitavAn / abhUcca dviguNataramanmathonmAthavyathitamAnaso yathAhametairAkalitaceSTo na bhavAmIti manyamAnaH zanaiH zanairantaH pravizyApahastita tribhuvanadarpasya bhagavataH kandasya pUjAM vidhAya viracitapraNAmo nirjagAma / tataH ' sa itastataH krIDodyAnAvalokanavyAjena paribhrAmyannananyacittastAmeva cintayan svagRhAn prati gantumArebhe / sApi tad dRSTipAta pariharantI sakhIbhiH saha vividhAH vilAsaceSTAH prakaTayantI tadanugAminyeva svagRhAnayAsIt / (3) zRGgAramajarIkathA atha dvitrinADikAvazeSe vAsare vinayavatIM" [ F. 40. B] saGgamikAbhidhAnAmAtmanirvizeSAM sakhIM tad gRhAn prati prAhiNot / gatvA ca sA tad dvAri kSaNamiva sthitvA tadanucarairbahubhirniveditA' prAvizat / upavizya ca 'asti vijJApyam, raho dIyatAm' ityabhidhAya virarAma | ravidatto'pi tadanucarIM tAmavagamya jAtaparitoSastAM bahupariSada"manyato gamanAya saJjJayA nyayuGkta / atha sA labdhAvasarA vaktumArebhe - "bhadra yadyapi bhavajAtiviruddhamidaM tathApi svasvAminyAH pIDayArta hRdayA vijJApayAmi, zrUyatAm - yataH prabhRti madanayAtrAyAmasmatsvAminyA dRSTipathamAgato bhavAn tataH prabhRti smarazarasahasracchidrite "hRdi jhagiti praviSTaH / tata eva prabhRti sazalyaM hRdayam, sonmAdaM cittam, sonmAthaM vapuH, dIrghoSNaM zvasitam tvadAlokana kutUhali cakSuH, tvadguNazravaNAdAhlAdinI zrutiH svadabhidhAnagarbhA bhAratI, bhavatsaGgamamayA manorathAH / bhavantazca dharmmapradhAnAH, tad dIyatA [ F. 41. A ] masmAkaM sakhIjIvitabhikSA / sakRdapi svagamanAnugraheNAnukampyatAM varAkI / bhavadIyeSvapi smRtyAdizAstreSu strIvadhapAtakamatigarIyaH paThyate / yadi tvamadyaiva gamanena nAnugRhAsi tadAtAmuparatAmavadhAraya " - ityabhidhAya vyaraMsIt / vidatto'pyetadAkayaikato lajjayAsnyato madanena, ekato vivekenAnyata unmAcena, ekato gurUpadezasmaraNenAnyato yauvanakada nenAntaH pariklizyamAnaH, kiM karomi ityanavasthitacittavRttiH kSaNamatiSThat / sthitvA ca bhavatvidamatra sAmpratamiti vicintya saGgamikAM praNayapezalamAbabhASe 44 " kimanyadapi abhidheyam" na khalbadhanyeSu tvatsvAminyAH pramAdAdapi dRSTirnipatati kiM punarananurAganirbharaM hRdayam / sarvo'pi janastAmarthayate, saivArthayata iti mano" rathAnAmapyapathametat / ato yad bhaNati bhavatI tat sarvamevAGgIkRtaM mayA / kintvasmaJjAtiviruddhamidam / ato yathA nAsmatsvajanaguruparaM " [ I. 41B] 1 vitirjJAya / 2 ditA'pravizat / 3 bhUjJAyAM / 4 tasvAminyA / (6)

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25 zrIbhojadevaviracitA [ atrAdarze 42-43 aGkAGkitaM patrayugmaM vinaSTam ] .........syai yad dIyate tad alpataraM pratibhAtIti nizcitya gurujanena viditavRttAnto'pyapahAya vrIDAmapahastya gurujanopadezAn mahArhANyAbharaNAni suvarNasahasrANi vastrANi ca vicitrANi pratidivasamadAt / tayA ca tasya nIlIrAgatAM samyagAkalayyodyAnikAtRtIyotsavadevayAtro"payAcitakAdibhiH prakAma'yAcanaizca niHzeSamapyarthajAtamAcchidya nistuSIkRtya saGgamikAmukhene damabhyadhAyi yat___'adya paricito vaNi sUnurvasudattanAmA mahatImarthopArjanAM vidhAya suvarNadvIpAdAyAtaH / sa ca vinayavatyAmatyantAnurakta itastato laTakSuTakazcAste / bhaNati" caivaM yadyekAmapi nizAM mAmAkArayati bhavatI tadA sarvasvamapi prayacchAmi / tad bhavatA dinadvayaM trayaM vA svagRha eva sthAtavyaM"......[F. 44. A ]pi bhavataiva dattaM bhavati, idamapi bhavata evopayogaM yAsyati' ityabhidhAya niHsaaritH| atha gRhe sthito ravidattaH, kiM sA cintayati, kiM ............" kathaM tena saha samprayujyate, kiM tasyAH so'pi na vallabho bhaviSyatIti cintayan na bhuGkte, na zete, na kiJcijalpati, na zRNoti, kaNTakavi"ddha iva marmaNi, vRzcikadaSTa iva viceSTamAnaH, kvacidapi na zarma lebhe| gateSvatha dviveSvahaHsu capalakasahAyo vinayavatyAH prAGgaNe TiriTillitAni kurvANaH, punaH punaritastato gatAgatAnyakarot / na cainaM kazcidAlapati, na pazyati, dRSTvA'pyavadhIrayati / tathApi dviguNataropajAyamAnAnurAgasantApo vyalIkAzayodrIvastAM dizamavalokayaMstadinamatyavAhayat / aparedyustathaiva bhrama mANastadIyena' [F. 44. B] kenApyanAlapyamAnaH saGgamikAyAH sadanamagAt / tatra tayApi nAbhASyamANastAmabhASata 'saGgamike! kRtaM mayA tvadIyaM vaco, gatAni tAni dvitrANya"hAni tadadyApi ko'yaM vilambaH' ityukte'vadhIrito'pi sa saGgamikayA, tatpRSThAnusArI punaH punastadeva bruvANo'paricita iva saGgamikayA sakrodha 'midamAbhASi-'ko bhavAn ? kAni ca tAni dvitrANyahAni? ko vilambaH? ityunmatta iva kimiti re pralapasi?' ityati]nirbha ya'mANo'pi tayA saha gatAgatAni kurvan tAmevAvalagan dvitrINi dinAnya"tyavAhayat / dUrasthitazca vinayavatIM pazyannunmattaka iva hasa[n vividhA[:] zRGgAraceSTA[:] karoti / tadI"yaparijanenopahasyamAno'pi na kimapya jJAsIt / atha durAzayeva saGgamikayA datta"........ [pu]naH punaridamacintayat-' bhavatva "nenaitAvataiva kRtakRtyo'haM 1 prakAsayAcanaizca / 2 degmayarthajAta / 3 sukhena / 4 degmarthopAryanAM / 5 vinaSTAnyatra catuHpaJcAnyakSarANi / 6 niHsritH| 7 vinaSTAnyatra dvitrANyakSarANi / 8 bhrmymaann| 9 n| 10 bhaabbhaasse| 13 dinAnItyavAhayat / 12 pazyaMtunmattaka / 13 kimapyAjJAsId / 14 vinaSTAyantra 12-13 akSarANi / zRGgA.4

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zRGgAramaJjarIkathA yahUre sthito'pi zaratsamayajaladapaTalanirmuktamindu'................ iyataiva nivRta-" [F. 45. A] hRdayaH kiyatyapi dinAnyanaipIt / tatazca saGgamikayA prerito vinayavatIviTAnAma'............ pyazrutamapahastya gurU"padezamavagaNayya lajjAM tadIyaparijanenopahasyamAnastiraskriyamANo'................naikatatparastadIyadarzane naivAtmano janma saphalaM manyamAno jIvitAntAvadhi kSapitavAn / taditthaM putri ! prathamamevAkalitadRDhAnurA [ga]......... kriyamANaM sakalamapi sapha-6 latAmavagAhate vaizikarahasyam / yathA hi nIlaraktaM vAso nAnAprakAraiH kSArAdibhiH kSAlyamAnamapi na nijarAgamujjha tyevaM nIlIrAgaH puruSo'pi zatazaH zakalIkriyamANo'pi na nibiDarAgitAM parityajati / iti mahArAjAdhirAjaparamezvarazrIbhojadevaviracitAyAM zRGgAramaJjarI'kathAyAM ravidattakathAnikA prathamA / womwww [dvitIyA vikramasiMhakathAnikA ] ityabhidhAya viratavacasi viSamazIlAyAmupajAtakutUhalA zRGgAramaJjarI punaridamavo- [ F. 45. B]cat 'amba ! kathito nIlIrAgaH / varddhate mama kautukam / tat kathyatAmidAnI maJjiSThArAgaH' iti zrutvA sA katha"yitumArebhe astyatra tAmalipti ma ngrii| tasyAM pratApamukuTanRpatiparipAlitAyAM vikramasiMho nAma rAjaputraH prativasati / sa ca mahAdhana "styAgavAnudAtto vilAsaikarasikaH zUraH / tena caikadA vezyApATakaM prati bambhramyamANenaikadaMSTrAbhidhAnAyAH kuTTanyAstanayA mAlatikAbhidhAnA" vyaloki / sA ca jIvitaM yauvanasya, prANitaM lAvaNyasya, ucchrasitaM saubhAgyasya, AtmA rUpasya / yasyAzca paripUrNa zazadharasyArcayA rAtrindivamakhila" lokalocanApyAyanArthamiva badanendurapara ivendurasRjyata bhagavatA prjaaptinaa| sA ca vasudattanAmno vaNikputrasya gRhavArtyayA avatasthe / sa ca tAmAlokya rAjaputraH kandarpazaraprahArajarjaritahRdayaH kaSTaM dazAntaramavApa / priyaMvadakanAmAnaM nijamanucaraM tAM prati prAhiNot / tataH sa gatvA tadva-[IF. 46. A] canAt tAmavAdI 'bhadre ! ayaM rAjaputro vikramasiMhastvAmavalokya manmathavyathitacetAstvayyevAnuraktaH, kathamiyaM prApyate iti mayA sahAlocya mAmeva pre"pitavAn / taducyatAM yadatra 1 vinaSTAnyatra 12-13 akssrraanni| 2 vinaSTAnyatra 12-13 akssraanni| 3 stirskRymaanno| 4 vinaSTAnyatra 12-13 akSarANi / 5 vinaSTAnyatra dvitrANyakSarANi / 6 gAhane / 7degmuhyatyevaM / 8 parimANa /

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zrIbhojadevaviracitA 27 sAmpratam' ityabhidhAya tUSNImabhUt / tato mAlatikA'pi tadAkarSNedamavocat - 'mAmapi tadavalokanAt prabhRti tathA kathaJcinma" nmathaH pIDayati yathA kathayitumapi na zakyate / kintu vasudattagRha vArtAGgIkaraNapAravazyena kimapi kartuM na budhyate / yato'yamIdRza evAsmadIye samayaH / samayollaGghanaM hi kriyamANaM trapAkaramanucitaM ca bhavati / ataH kimahaM karomi / katipayaiH punarahobhiratikrAntairekamapi vyatikara ""mutpAdya tathA prayatiSye' yathA tena saha saGgamo bhavati / nAyamarthastathAbhISTastasya yathA mama, avasitaprAyazca tadavadhirvartate' ityabhidhAya priyaMvadakaM vyasRjat / priyaM vadakastu gatvA tadanurAgapuraHsarAM prApyAzAM vikramasiMhasyAcacakSe | [F. 46. B] (5) [ atrAdarze 47 aGkAGkitaM patraM vinaSTam ] wwwww. (1) ... kahRdayAni / kuTajospi rAgasAgaramavardhayaM [s] taralatarata DillatAprasara jihvasya balAkAvalivikaTadazanapaddhaterda litAJjanapuJjamecakasya prabala " jhaJjhAnilasamucchaladvahaladhUlIdhUsara zarIrasya jalada samaya rajanicarasyAdbhutaM raTitamAkarNya sphuTitahRdayAnAmiva pathikAnAM vigalitairasRgbindubhirivendragopakai rupAcIyata' nikhilamapyavanitalam / sajalajaladharAvalokanapraharSAdutkaNTakitamiva kadambakusumaiH pathika hRdayodya nmadanadahanasampakat samutthitajvAlamiva sphuTitakandalasamUhaiH, jaladharapramuktasalilA sAralabdhAbhiSekatayA sacchatramiva zilIntraiH AgrahagRhItamapi mAnADambaramutsRjya priyatameSu praNatA mAninIravalokya jAtahAsyamiva sphaTikakuTajaiH, prabalajaladharapaTa - [F. 48. A] hadhvanitazravaNapramodAt pravRttanRttamiva pracalAkitANDavaiH, samunnatapayodharAM divamavalokya pravRddharAgamiva pallavitavanarAjibhiH, virahavedanAkulitapathikapraNayinIkaruNayA sAzrupravAhamiva sravadbhirnirjharaiH sendrakArmukamalikulazyAmalamanavaratonmuktasali" lAsAra munnadajaladharapaTalamavalokyotkalikAkalitAmiva vyAkulitakallolinIsahasrairakhilamapi kSitivalayamabhUt / tataH sa ekato madanenAnyato'nurAgeNAparataH payodasamayenAnyatastadvibhramasmara'muhurmuhuH kadarthyamAnaH kaSTAM dazAmanurbhavan " utkaNDulaH kathaM kathamapi prAvRSamanaiSIt / sA tu bahiH sthitamadhyenamasajantya pyAtmIyavezadarzanAdibhistu varayitvaraJjanayogyamAkala "[ F. 48. B. ]........ yitumicchantI yAcitAna... survasudattamapratipadyamAnamapyamocayad / atha sA khadUtIM madhukarikAbhidhAnAM vikramasi" nedamavAdIt - 'rAjaputra ! ma [ yA ] svA vihitaM khAmi. ..citaM yaM vaNikputro vasudattastatkriyatA mAgamanena". tathaiva pratipadya tayaiva saha tadbhavanaM jagAma - tagauravaH kRtazayanIyopacArastatraiva mAlatikA - nizAmanaiSId / evaM yathaikAM tathA bahvIrapi rajanyaH sa tu (3) 1 pratayiSye / 6 bhavamanutkaNDulaH / ........ cayitvA 2 kairapacIyata / 3 hRdayodAt / 4 pravRttavRttamiva / 5 smaraNenu / + 49 tamasya patrasya kiyadaMzasya truTitatvAdimAnyeva vAkyAni paThituM zakyAni /

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28 zRGgAramaJjarIkathA pracuramarthajAtaM vitIrya svagRha eva su". dvazya.. ** hAnAninAya / tataH sa tathA raJjito". <6> tataH sA ...... [ F. 49. A ] .. kArayatyanyairvividhaiH prakArairarthamarja". . pu kiyatsvapi vAsareSvAtmano'nucaraM priyaMvada [kaM ] prAhiNot / tatastayA svayamAgatya zRNvatA bahU"". * yi - ' tvayA mama pradattamidamaGgulIyakaM priyaMva.. ityabhihite mAlatikayA vikramasiMho'bhyadhatta | nA. ......... ... ... pi vAsareSu mAlatikA punarapyAtmanastazloka mevAmanyata / -yAta ..nApi na gacchati na ca kimapi (4) cA.. ...... iti / tataH prabhRti tAmavazyAM manyamAna . prayacchati / nApyanurAgamu - mAno maJjiSThArAgaH aya [ te vi ] cchAyatAM na ..... tyajati / kintu maJjiSThA rAgavat yathA yathA kSAlyate tathA tathA". ... evaMvidheSu putri ! sarvasvA [ hara ]NAdi pIDanaM.... yo vihite'pyasmin yadyapyasau na virajyate tathApi vicchAyatAM bha- [ F. 49. B] jati, ato nAtipIDanIyaH / iti mahArAjAdhirAjaparamezvarazrIbhojadeva viracitAyAM zRGgAramaJjarIkathAyAM vikramasiMhakathAnikA dvitIyA / (6) ........ ......... [ tRtIyA mAdhavakathAnikA ] atha zRGgAramaJjaryA- ' amba ! na khalu tvatkathitAbhiH kathAbhirme tRpyati zrotrendriyam / ataH kathyatAM kusumbhaMrAgagrahaNo pAyavRttAnta' ityabhihite viSamazIlA kathayitumArebhe (3) (5) astyatra vidisA nAma nagarI / tatra bhujaGgavAgurA nAma kuTTanI / tasyA duhitA kubala yAvalI nAma / sA ca rUpayauvanalAvaNyavibhramaikabhUmiratizayalabdhipradhAnA khyAtA'sti / tasyAzca vezyAvRttenArthamarjayantyAH kAlavazAdekadA svAdhyAyI nAyakamAdhavAbhidhAnaH siMhaladvIpAdupArjitAnantavittastAM nagarImAjagAma / sa ca tasyAH khyAtimAkarNya grahaNakaM dA - [ F. 50. A ]payitvA tayA saha rAtrimekAmavasat / tasyAmeva rAtrAvatyantamAvarjitena tena prAtaH prabhUtamarthaM datvA tasminnevAhni sA'tyarthaM rucitApyauci" tyAnmocitA | dinadvayaM trayaM pratipAlya bhUyo'pi tayA sa AhUtaH / punarapi tathaiva snAnabhojanAdibhirupacArairupacaritaH punastathaivoSitaH / evamAkArakamocanakaistayA saha sukhamupabhuJjAnasya bahUni divasAnyagacchan / atha tayaikAkaM vidhAya nAyakamAdhavo vizrAvayitumArabdhaH / bahubhica divasaiH sarvamapyartha vizrAvitaH / vizrAvitArthazva sa evamacintayat yathA-' iyameva mAM nirdhanaM jJAtvA nirdhA TayiSyati, tad yathA chAyA1 kusumbhA / 2 kathitumA / 3 rucitAkhyocityAnmocitA / NakaM / 5 nirdhArayiSyati /

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zrIbhojadevaviracitA nAzo na bhavati tathA kriyate' iti cintayata evAsya protsAhanAya sphuTatkuTajahAriviralaparisphuracitra- [F. 50. B] zikhaNDimaNDalADambaramudvahantyunmiSadasamacchannakAnanAvaninirmuktadhvanijaladharAzli"STadiktaTatayA janitamanmathonmAthA nirjagAma prAvRT / tribhuvane'pyekAtapatramiva rAjyamApAdayantI ratipatenikhilavijigISuvyavasAyaikabIjaM zarat punaravatatAra / priyatameneva jaladasamayena virahitAnAM digvilAsinInAM malayarase neva pANDimAnamAnitAH kimapi mlAnimAjagmuH pyodhraaH| nirmuktaghanatayA krazimAnamAgatAnAM ca tAsAmagaladvividhamaNimayayugalavalayamiva zAtaka tavaM dhanuH / satatamabhirAmamArgaNamArgapravRttAH kIrtaya iva kusumakArmukasya nirjitazaraccandrarucayo viceruH kakubhAmutsaGgeSvambujava notsukA rAjahaMsapatayaH / anavaratavarSaNotsRSTajalabharapralaghUnyutsRjya jaladapaTalAni kalamagopikAlocanasampannatviSAM kuva-[F. 51. A ] layAnAmavikalavikAsakalitagauravANyenusasAra zyAmAbhirAmatAM kAnanAni / pratidivasamAjJeva makaradhvajakSitipateraskhalitaM" jagati visarantI babhAra tIvratAM pataGgaprabhA / yauvanamadopacitakeralIkapolasthalazamAbhirAmanabhasamapahastitAkhilarajAprasaratayA'tiprasannadazadizamullasatkuvalayakuTilAlakAni'unnamayAsurAnanAnI madhusurabhINi ambujaani| iSudhIniva madhuprasAdhitAn vikacakuvalayatayA manohAriNI madakalahaMsakAminIniratiramaNIyAM zaradamivAvalokayitumambujinyaH / pratijalAzayamalivalayakhaNDAn pravaNayantI ratirivocvasitamAtmajanmanaH pratirajani vyajRmbhata dalitakumudavanalAvaNyalakSmIzcandrikA / jaladharonmuktazazadharAnanA vikAsikAzakusumahAsinyunmadakalahaMsanisvanI" [1.51. B] prabuddhabandhakaprasUnacchadA vikasitendIvaranayanazAlinyAzyAnacandanadhavalapayodharA navyamRNAlakomalabhujalatodbhAsinI pratanusarittaraGgatriva"livalayA mazijAnasArasAvalirasanAlaGkatazucisaikatavipula[ja]ghanasthalI vikacabIjakaprasavasukumArakAntikAminIva kamanIyA zarat kasya na mano jahAra / atha sa yAtrAkSama samayamAlokya mAdhavo dhanArjanAya malayaviSayaM prati prayAtumiyeSa, avocacca kuTTanyAH purataH yad _ 'ayamevAsmadIye dharmo yadartho'timahAnayaMte bhakSyate ca / tadahamidAnI mahato'rthasthArjanAya malayaviSayaM prati vrajAmi' iti zrutvA kuvalayAvalI roditumArebhe / jagAda"cainaM yathA tvayA vinA'haM na zaknomi kSaNamapi sthAtum'ityuktavatI mAdhavastAmabhyadhAt-'kathaM bhavatI siMhavyAghravyAkulAsvaTavISu netumutsahe ? tat kiyadbhirapi vAsarai 1 rsemev| 2 degvAnyanusasAra / 3 degbhirmtaa| 4 kAnanAni / 5deglAlakAri / 6 uttamayA / 7 naamiic| 8 kuTalaya / 9niruuti| 10 nisvasA /

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zRGgAramaJjarIkathA rahamAgacchAmi lagnaH, mA kRthAH khedam' ityuktA punarmuktamuktAphalasthUlabASpajalakaNazreNinibhRtaivAdhikamarodIt / avAdIca' 'tvAM vinA dvitrA-[F. 52. A ]Nyapi dinAni na jIvitaM dhatumutsahiSye kiM punariyantaM kAlam ? tat kriyetAM kRpA, sthIyatAm / ' ___ ityAvaya'mAno'pyevaMvidhAbhirbahvIbhirapi vaizikoktibhirna "sthitaH / gacchatA cAtimahArhamuttarIyamapyarpitam / athAnujantyau te kiyantamapyadhvAnaM jagmatuH / tataH kiyatyapi dUre gatvA kuTTanyAbhihitam 'bhavatA vinA kathamiyaM sthAsyati ? tat kizcit smAraNIyamarpyatAm / ' tatastenAbhihitam-'kimapi matpArthe tathAbhUtaM smAraNIyakaM nAsti' ityabhihite kuvRnyoktam-'smAraNIya kArthamidaM paridhAnavAsaH samarpyatAm / yatastvayA parihitamiti hRdaye nidhAya tvAmevAnucintayantI bhavadAgamanapratyAzayA dinAnyativAhayati / ___'evaM karomi' ityabhyadhAt ; 'kintvatra bahavaH pathikAH samAgacchanti tad lajyate, tadito mArgamutsRjya samarpayAmi / ' ___tataH kiyati dUre nirjanAM bhUmiM gatvA kuTTanImAhUya" pAtayitvA tasyA itastataH samudvellantyA- 'mAtar ! mAtar ! dhAvata dhAvata' iti pUtkurvantyAzca kSiprameva haThAt krnnnaashikmlunaat| uktavAMzca 'yadeta-" [F. 52. B] tsmAraNIyAthai vastraM tvayA yAcitaM tadazAzvatamatastat smAraNIyaM dIyate yathA yanma[no]na smRtipathamutsRjati' ityabhidhAyAtmanaH kRtArthatAM manyamAno'rthakSa"timapyagaNayan yathAgataM jagAma / / 'tatputri! raktA api khidyamAnA virajyante / tadevaMvidhAH kusumbharAgA virajyante anarthAya ca bhavanti / tasmAt kusumbharAgo niyatamapIDayadbhirvirAga"kAraNAni rakSayadbhiravirajyanneva vizrAvaNIyaH / yathA kusumbharaktaM vAsastApaprakSAlanAdisahaM na bhavati evaM ku sumbharAgo'pi / ' ityabhidhAya [ ? viratavacasi viSamazIlAyAM ] zRGgAramaJjarI punarapyavocat-'amba ! vardhate mama kutUhalam , tadakhilamapyupakSiptamAvedayatu bhavatI' ityamihitA sA"punarapyabravIt / iti mahArAjAdhirAjaparamezvarazrIbhojadevaviracitAyAM zRGgAmaJjarIkathAyAM svAdhyAyImAdhavakathAnikA tRtIyA / [caturthI sUradharmakathAnikA ] putri! zrUyatAM svapratibhayA vittavijJAnaM haridrArAgagrahaNopAyaH- astyatra gaGgAtaTe hastigrAmo nAma braahmnnaagrhaarH| tatra sUradharmA nAma brAhmaNaH / sa [F. 53. A] ca pitRpitAmahakrameNaivAtidaridraH kaNa'....mahatA klezena bhojanamapyanavApnuvannuparate pitari 1 avAdI ca / 2 krayatAM / 3 athAn vj'| 4 vedyituN| 5 vinaSTe atra va akSare /

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zrIbhojadevaviracitA yauvanamAsasAda / tato'sau ni"janagaravAsinAmanyeSAM vibhUtIM pazyannatyantakhinnazcintitavAn-'kenopAyena mamApyevaMvidho vibhavaH sampadyate' iti cintiynnidmvdhaaryaanycke| arthairA viva'[I]nte / te ca mama na santi / atha rAjasevAM karomi / tadupAyaM na jAnAmi / ataH kiM karomi ? bhavatu bhagavantaM ratnAkaramArAdhayAmIti nizcitya bhikSAmeva bhrAmyannambhonidhestaTamAyAsId / apazyacca-abhraGkaSakUTakoTibhirvijitazailarAjAyatibhirvividhamaNivalayakAntibhUSaNaiH" prasRtiDiNDIrapiNDapANDuritamUrtibhiH zrIkhaNDadhavalai'.... kalloladaNDairiva nivahairunatapayodharAM priyatamAmivAzliSyantamantarikSalakSmI sthAne" sthAne samullasaddhahalavidrumalatAjAlacchalAdekA.....nApAtusamarthenoparacitabahuzarIreNeva vADavena nipIyamAnasalilam , tIrataru" [F. 53. B] madakukubhakulakvaNitamaNitaramaNIyAni mandaramArutAndolanataralatarala...."madhukarazyAmAbhiH patravallibhiH parigatopAntAni sarasAnyApibantamAnanyA............ "va DiNDIrapiNDakhaNDamudvahantaM kanakanikaSasnigdhavidyAdharamithunAdhiSThitAnAbhi..........."nanApratibimbakaiH savidyuddAmabhirjaladharairiva pravizyAntare'pi nipI yamAna] salilaM pallavitamina .............."[ja]ladharamadhyavartibhirvidhucchaTAsahasraiH kusumitamiva sthUlamuktAphalajAlakaiH................... zazitapanamaNDalaparamparAbhiH / yatra ca timiGgilaprabhRtijala[carai].......................[F. 54. A] pAdayanto na viramanti bhavantaH sakalakaTakajvalitopadhijvAlAsaTAlamUrtayaHsava ......"rAlaGkRtasapakSAH kssitibhRtH| yatra ca prAtaHprAtararuNakiraNazre................"ghaNTikAbandhAH sambhUya pAtumabhyudyatAH saptApi vADavAvava ...................... timanukaroti bhagavAn gabhastimAlI / yasya cAntaHsthalasikatasthUla ..............."tridazavAraNaH / zuktizakalaM shshdhrH| salilaturaga uccaizravAstoyavida ............"NAmapyamRtatvaheturambhaH pIyuSam / tribhuvanaspRhaNIyasambhogA jalamAnuSyo ......''[F. 54. B] psaraso'dvitIyA vizvopakAriNo yAcakAH payomucaH / surAsurAdibhirapi prArthanIyaprasAdalavA apatyaM lakSmIH / sakaladanukuladhvaMsanA "t paritrAtalokatrayo jAmAtA puruSottamaH / - tasyaivaMvidhasyAmbhonidhestataH prabhRti sa prArabdhasevo baddhacarmacaNDAtako gRhItalakuTaH prAtaH prAtarutthAya kusumAJjaliM bhagavataH pAthonidherabhimukhaM prakSipya kRtadaNDapraNAmo velayA sahApasarati velayA saha gacchati / itthaM sakalamapi dinaM kSapayitvA sandhyAyAmambhonidheH kRtapraNAmo bhikSayaivAtmAnaM nirvAhayan bahUni varSANyanayat / __athaikadA kRtAnuka"mpaH pAthonidhividhAya baTuveSaM tamavocat- 'bho bhaTTa ! kimarthamaharnizaM khidyamAnastvaM gatAgatAni karopi ?' ityuktaH pratyabhASata 1 vinaSTamatraikamakSaraM tacca koSThakAntaH sthApitaM 'I' iti sNbhaavyte| 2 vinaSTAnyatra tricatvAryakSarANi / 3 vinaSTe atra dve akssre| 54 aGkAGkitasya patrasya pUrvArdvabhAga evaM praatH| 4 mamyudyatAH /

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zRGgAramaJjarIkathA 'baTo ! kiM tavAnayA cintayA ? vraja yathAbhimatam' ityuktenApi baTunA punaH punaH anuba-[F. 55. A ] dhyamAno'sAvidamavocat 32 'nijakulAcAreNeva puruSakramAgatena dAridreNAtikhinnaH samudrasevAM karomi / ' tatastasya nizcayadAmA "kalayya bahunedemabhyadhAyi (6) (2) 'ahameva sa pAthonidhistvatsevAnurodhAdAyAtaH / tad gRhyatAmidamanayaM mahAratnam ' ityabhidhAya tadasmai prAyacchat " / tadavApya kRtakRtyatAmAtmano manyamAnaH sUradharmA svagRhAn prati pratasthe / acintayacca - 'kathametanmayA mArge rkssitvym|' atha parikalpitAbhyupAyaH svajaGghAM vipATya, tanmadhye prakSipya vidhAya ca vraNaropaNam aGgIkRtyonmattakaveSam, rathyAkarSaTAni paridadhan, nimrmAlyatrajo mUrdhni banan, Urdhva eva bhuJjAno, yatra tatra svapan, malakalaGkitatanuH kevalamidameva vyAjahAra - 'avA jANai / ' lokairAlapito'pi pRSTo'pi tADito'pi ' ' adyA " jAnAti' ityevAbhyadhatta / evamasau pathi vrajan kiyadbhirahobhirujjayanI mavApat / tasyAzca kiM varNyate " [ F. 55. B] yatra tribhuvanapatirapi vilAsa (1) lobhena rAmaNIyakahRtahRdayaH kailAsavAsamutsRjya zrImahAkAlanAthaH prativasati / tAM nija [ bhuja ] yugalavidalitA" rivikramastrivikrama iva vihitavalibandhano vikramArkanRpatiH pAlayati sma / tasya ca nRpateH sakalajanamano dArikA devadattA nAma dArikA " ''sIt / sA cAtimahAvibhavA'tiprakhyAtA ca / rUpalAvaNyayauvanavaidagdhyavibhramANAmekabhavanam | sarvadeva ko'bhigamyaH ko mahAdhana ityanviSyantI devayAtrAcchalena paribhramati / ekadA tu paJcaSaiH padAtizataiH parivRtA'tivijJaprabhUtadAsI parivArA'zvatarImArUDhA tamu - nmattakamapazyat / dRSTvA ca tasya cchAyAM vimRzya ceti nizcitavatI yadasya pArzve vastu tiSThati tasya tribhuvanamapi svalpaM mUlyam / na ca svabhAvAdunmattaH, kintu dhUrto'yaM kenApi hetu "nonmattaveSamAdAya vicarati' iti vicintya tamAbabhASe - ' bhadra ! kuta Agamyate, ka gantavyam ?' ityAdi bahupRSTaH 'avA jANa' etadeva sarva - [ 1.56.4] traivottaraM vyatarat / tatastayA nijaprajJAbalAt tadIyatattvaM samyag nizcityAtmanaH pRSThato azvatarImAropya sa nijabhavanamAninye / tatra ca khopabhogyapurupopacAraiH strapito bhIjito vastrAlaGkArAGgarAgAdibhiralaGkRtaH / tena ca saha ratisukhamanubabhUva / evaM yathaikamahastathA parirhatavezyAvRttyA zithilitarAjasevAvyApArayA mAsaSaTkamanIyata / sa punarvismR tyApi nAnyaduttaraM dadAti / api tu prAguktamevottaraM vitarati / anyadA" cintitamanena 'jJAtvevAhamanayA prArabdhaH / tad atyuparuddhena mA kadAcidatimohAt sarvvasvamapi dAtavyaM 4 (2), 4 vinAza' / 5 manau / 6 " / 1 baTume / 2 nUrva / 8 punavismR / 7 'mAnIyata / 3 yadvA /

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zrIbhojadevaviracitA 33 bhavati tadito'pakramaNameva zreyaH / tat katha" mapakramyate' iti vicintyAJjaliM baddhA svadezAbhimukhaM gamanasaJjJayA 'avA jAnAti ' muhurmuhurbabhASe / atha tayA'bhyadhAthi - 'tvayA vinA kSaNamapi " na jIvAmi kimitibhavAn prayAti / yadi tAvadarthalobhena tadA sapta veNyarjitaM yanmadIyametaddhanaM tat sarvameva tvadIyam' ityabhidhAya hAramaNike' [ F. 56. B ]yUrakaGkaNakAJcanadravyAdi nivedya ca nirbharaM roditumArebhe / (3) 'yadi punaH svajanasaGgamApekSayA svadezaM gantumicchasi tadA santi me sahAyAstAnatraivAnAya "yAmi' ityabhihito'pi muhurmuhuH 'ava jAnAti' ityetadeva svadezagamanasaJjJayA jagAda / devadattayA'pi 'gato'yaM vaJcitA'smi, sarvathA vidhArayituM na yAti ' iti "" gamanAyAnumoditaH svadezaM prati satvaraM gantumArebhe / anayA ca nirNItam, yat- 'kSayaM yAtu me jIvitam, niSphaleyaM yauvanazrIH, nirarthakaH saubhAgyaga: "", viphalIbhUtAnyAjanmaprabhRtyadhItAni viTavazvanarahasyAni, astaMgatAH karNaparamparAyAtAH kuTTanI peTakopadiSTA vaizikopaniSadaH / tad avazyaM yadi mAmayamatisandhAya gacchati tadA nijastanAvimA - cutkRtya prajvalite hutabhuji juhomi' iti nizcitya dArikAdvayamAhUya zikSayitvA tenaiva mArgeNa prasthApitavatI / (6) uktaM ca- ' bhavatIbhyAM yojanadvayAdava mArgobhayapArzvavartinIbhyAM darzanapathaM pariharantIbhyAM gantavyam / [ F. 57. A ] tato yojanadvayaM gatavatyasminnekayA paurastyAd grAmAt tadabhimukhamAgantavyam, aparayA tu tadekadezato manAk sannihitayA " zanaiH zanairgantavyam / tataH purastAdAgacchantyA sapratyayAbhijJaM sannihitA praSTavyA, yathAzikSitaM cAnuSThAtavyam / ' tataste dve api tatpRSThavartinyo bhUtvA tenaiva mArgeNa gatvoktabhanayA darzanamakurutAm / uktaM caikayA- ' priyaGgike ! kuto bhavatI ?" priyaGgikA- 'ujjayanItaH / lavaGgike ! bhavatI punaH kutaH ?" wwwwwwwww lavaGgikA - 'ito grAmAt / mamojayanyAH parityaktAyAH kiyanti dinAni vartante, tat kathaya tatra rAjA kathaM vartate ? kIdRzI rAjyasthitiH ? kA vA tasyAmapUrvvA " vArtA ?' iti bruvANe gomayazakalAnuccinvAne parasparaM vArtAM kathayantyau tenaiva saha kiyantamadhyadhvAnatidUrasthite eva pratasthAte / (6) priyaGgakA " 'bhagini lavaGgike ! kiM kathayAmi ? ujjayanyAM mahadAzcarya mayA zrutam, yat kila sA devadattAbhidhAnA dArikA sA kasyApyunmattakasyA -[ F. 57. B ] raktA / sa ca tayA sarvasvadAnena vidhAryamANo'pi na sthitastAmanAdRtya kvApi gataH / NNNN NOV 3 nirnItam / 4 degsmikayA / 5 manAku / 1 aMbApajAnAti / 2 radhvAM jAnAti / 6 sapratyayabhijJaM / 7 vyaktAyA / zRGgA. 5

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zRGgAramaJjarIkathA w tasminneva kSaNe tadIyAnurAgeNa sA sphuTitahRdayA sadya evA"subhirvyayujyata / tasyAzca velAvittikAH prasAdavittikAH parijanazca kRtamaraNodyamo vartate' ityAkarNya sUradharmA vrajanakasmAdavatasthe; 'kiM kiM bhavatyau bhaNataH ?"ityapRcchacca / tayA tu sarvasmin vRttAnte 'kvApi gataH' iti kathite, 'ahaM sa pApaH' ityabhidhAya kRtamaraNAdhyavasAyo vegena vyA vRtya devadattAyA gRhamagacchat / yAvat tatra yAti tAvadekataH zrIkhaNDakhaNDAnyanyato vicitravAsAMsi, anyato ghRtaghaTAn pazyan , parijanAkrandamAkarNa" yan dUrAdeva makaradaMSTrayA dRSTvA'bhyadhIyata-'re re mahApAtakin ! va punarapyAgato'si ? tAM sarvakhabhUtAM jIvitabhUtAM vizva -[F. 58. A] sthApi nikhilasya ratnabhUtAM mama duhitaraM vyApAdya punaranyat kiJcit katu mAgato'si ? idAnIM kasya prasAdAdiyat kuTumbaM jIviSyati ? ahaM ca kathaM bhavi"jyAmi? sarvasyApi kuTumbasya bhavatA mukhaM proJchitam' ityabhihitaH sa yAvat pazyati tAvad devadattAM vihitapretAsanAM mRtAmapazyat / ____ tatastena sA"kSepamabhihitam-'mAtaH! kimiti pUtkaroSi ? durdharo vidhivipAkaH / vRtteH kiM pUtkRtena ? bhavatu, tvadbhAgyairIdRg vyatikaraH saJjAtaH / nAhamasyAH parokSejIvitu mutsahe' iti kRtamaraNAdhyavasAyaH svajavAM vipATya nijaprabhApaTalapATalitadigantamanupamaM samayaM ca ratnamasyai prAyacchat / uktavA"zca-'etatprAptyA bhavatyA tvatkuTumbena dAridrasya jlaanyjlidttH|' tataH kuTTanyA svabhASayedamabhyadhAyi 'utva viale' / etasmin mAturvacasyamRtaprAye'[F. 58. B] karNavivaraM praviSTe devadattA'pi kiJciducchsyAGgamoTikA dvitrAH pradAyAvalokitumArebhe / tataH praharSanirbharaH pravavRte tumulaH kolAhalaH / vardhApana"kAni ca pravRttAni / devadattA pramArakeNa nItotthitazca prvaadH| tatastAmutthApya kaNThe lagitvA makaradaMSTrA nirbhartsayAmbabhUva / tataH kAzcidapi rabhasAt pAdayolaganti, kAzcit purato luThanti / tataH krameNa nivRtte mahotsave jAmAtaramapi makaradaMSTrA nirbhartya napayitvA paridhApya ca tasya dviguNa gauravamakarot / devadattA ca snAtAnuliptA gRhItabhUSaNA'nantaraM tena saha dvitrINi dinAni tathaivAtyavAhayat / ___athaikadArdharAtrasamaye tasyabahuvidhAH premanirbharagoSThIvidadhAnasya pUrvoSitasaMskAravazAt punarapi 'avA jAnAti' iti vacaH samAjagAma / tato devadattayA'bhihitam - 'are kiM tava 'abA jAnAti' utAham ?' 1 yunytaa| 2 degsminu| 3 kopi gtH| katumA / 5 jIvitutsahe / 6 lutthti| 7 nirmatsya /

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zrIbhojadevaviracitA tatastena kRtAJjalinA'bhyadhAyi-'na kizcid avA jAnAti / bhavatyeva sarva jaanaati|' tato devadattayA pratya"[F.50. A ]vAdi - 'yadyahaM jAnAmi tadA nirgaccha ! nirgaccha !' ityabhidhAya pANiprahAraM davA nirdhaattitH| tena ca nirgacchatA sadainyamamihitam - 'zambalaM me kizcidIyatAm' ityabhihite suvarNapaladvayaM dattvA niHsAritaH / itthaM putri ! svapratibhayA'vizliSTamastitvamatigopitamapi samyagAkalayya tadIyadArthene tamaGgIkR"tyAtmano vittaparikSayamapyaparigaNayya devadattiyopakrAntaH / anantaraM haridrArAgatAmasya samyagadhigamya kSiprameva sarvasvaM vizrAvya niHsArita iti hridraaraagH| taditthaM putri! haridrArAge puMsi vinA khedaiviziSTataropAyairA vizrAvaNameva zreyaH / yathA hi sUryatApAdibhirharidrA"rAgo'pakSIyate evaM haridrArAge puMsi tarjanAdIni virAgAya bhavantIti tairvinA haridrArAgo viziSTopAyairAzu vizrAvaNIya iti / ....... iti mahArAjAdhirAjaparamezvarazrIbhojadevaviracitAyAM zRGgAramaJjarIkathAyAM sUradharmakathAnikA caturthI / rcomen[paJcamI devadattAkathAnikA] | anyacca putri ! [F. 59. B] yadetadabhihitaM parAzayaM parijJAya[ya anupravizya paro raJjanIyaH, tat zrUyatAm___ astyatra sakalatribhuvanalalAmabhUtA bhUtAdhinAthena bhagavatA zrIma"hAkAlAbhidhAnenAdhiSThitA zrImadujayanI nAma nagarI / tasyAM nijabhujArjitacakravartipadaH padamadvitIyAyAtribhuvanavijayazriyaH zrI"vikramArko nAma narapatirAsIt / tasya dArikA devadattA nAma sakalakSitivalayaratnabhUtA jIvitamiva ucchRsitamiva caitanyamiva prANA iva sarvakhamiva makaradhvajasya, bhUmiH saubhAgyasya, AyatanaM lAvaNyasya, Azrayo yauvanasya, sthAnaM kalAnAm, vAsovezma vilAsAnAm, nilayo" lIlAyAH, sakalabhuvanatalavartiramaNIyopAdAnaparamparAmAdAya bhagavatA prajApatinA nimmitaa| sA ca nRpatibhirmahAsAmantairvyavahAra"[kaiH]........ cAtakakulairiva tRSNAtaralairudrIvairahamahamikayA sadaiva sarvakhadAnenApi vIkSyamANa"[F.60.A] ...... mukhamAzAJcake / nirdhaaritH| 2 dAvyena / 3 visRsstttroN| 4 degyairsuvi'| 5 vinaSTAnyatrASTAvakSarANi / 6 vinaSTAnyatra 8-9 akSarANi /

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zRGgAramaJjarIkathA - atha sa nRpatirvazIkRtasakalArimaNDalatayaikanagaramiva nikhilamapi kSititalaM pAlayan kadA"cinmadajalAsArasvapitamedinItalAnAkhaNDaladviradaspardhino'pahasitAJjanagirigarimNo gajendrA[na]nuyodhayan , kadAcid vijitapavana"javAnAjAneyavAjino vAhayan, kadAcidanavaratadhanuSTaGkArabadhiritadigantaraH khurullikAyAM sAyakAbhyAsamAtanvAnaH, kadAcinija"yuddhAvalokanena, kadAcicchAstravicAreNa, kadAcicchastrAbhyAsena, kadAcijalakrIDayA, kadAcidudyAnaviharaNaiH, kadAcitpraNayigoSThImiH, kadAcitpraNayinIsamAgamaiH, kadAcitprekSAbhiH, kadAcinmRgayAvinodena niSkaNTakaM raajysukhmnubhvnnaasaashcke| . athaikadA yAmamAtrAyAM "rajanyAm , udayabhAji vidalitakumudavane kumudinIbAndhave, timiravyapagamAt punarapi prAptAvalokAsu dikSu [F. 60. B],'...................pita iva nivRttimAsAdayati jIvaloke, bahalajyotsnApUranirbharA"................nirbharAnandAzruvisarAsviva kimapi kimapi zyotantISu zazima ............bhavanasya digbhittibhAgeSvabhraGkaSakUTakoTaH prA[sA]dasyopari dantavaDami................rivAraH sannihitayA devadattayA saMvAhyamANacaraNakamalasta'....paridA.................................chadakAri mAmapyazlIla"[F. 61. A]........................jhaTitA sA pratyavocat-............... ...dizatu devaH' ityAkarNya sAhasAGko nRpatiH su]smitasudhAdhItadharaM vakra ............ mavijJAtAbhijanaM rUpalAvaNyayauvanAdibhirdaranirmuktamaparijJA..............dIyajAtiH kathaM saMpariSvajyate, kathamAlapyate, kathamenaM pratyanurAgo"...................apakarSaNaM na kriyate / tadetadatiduH karamapi kathaM kartuM zaknoti" [F. 61. B] bhvdiiyvrgH| taM ca tathA kathamapyAvarjayati yathAsAvekayaiva niza........."prayacchati / atha devadattA vidhAya bhrUbhaGgimarucimiva pratipAdayantI.. ...................."tAsAmAcAro vicAragocaratAmAsAdayati / durbharaM hi jaTharamasya...............cchan devaH kathaM na lajjate / jIvikeyametAsAM tatra vazyaM yathAkathaJcidA............... 'da vinodanAthaM tu yadevAtikrAntadine vRttaM tadevAtimahadAzcarya vijJA............"to gacchAmi / tAvat siMhadvArAnnAtidUre hrakhamaNibandhAsanazravaNamapi... ...........[F. 62. A] lakezakesaratvaktanUruhamatikaThinapRthulorU khurapuTamanatimA ............"va zrIvRkSadevamaNisanAthaM zazadharamiva manoharakalAlaGkRtaM kauJja......................kaTakAntaM jaladhimiva dakSiNAvartaramaNIyazaGkha narmadApravAhamiva..................... lakSaNaM kakudamudvahantamatisukhazrutibhirupahitakanakakaJcike.......... ......."nirnimeSamAtrApakrAntatribhuvanamatijavanatayA''hvayamAnamiveta. ....."yAM bhagavatI 1 tAMjanAgiri / 2 gjaindraan| 3 kriiddaayaa| 4 61tamasya patrasya truTitatvAdimAnyeva vAkyAni pripcynte| 5 vinaSTamatraikamakSaram / 6 duHkr| 7 62tamatya patrasya pUrvabhAga eva praaptH| 8degpRthulorvasura / ............

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zrIbhojadevaviracitA bhuvamaspRzantamiva khurapaTairaspRSTabhUtalatayA ca ga.... [F. 62. B] manaseva nirmitasamIreNevoparacitenAzritamanAzritAparaturaGgameNa raMhasA bhuvi sthitamapyujvalendranIlazyAmalakhalInam , virocamAnama "pi rocamAnAzritazarIram , uccaiHzravaHsundaramapyamanuccaiHzravastada....ram , tArkSyamapi mahAbhogam , himAMzudhavalamapi pravAlakamanIyam, zuktimantamapi" zrIparvatam , zarIrabandhamiva gandhavAham, avAptavigrahamivamAnasam , mUrtimantaM yazaHpuJjamiva turagajAteH praNayakalahakupitalakSmIkasya lakSmIpatejhuMjazikharamiva nirmAMsamAnanena khagarAjalokamiva vizaGkaTamurasi, ArUDhaM piNDainai jaDimni, laghu zravaNayorna pramANe, niSThuraM khurepu" na mukhe, gabhIramAzaye na tejasi, masRNaM romasu na kazAbhidhAtavisahane / kRpANamiva dhArAsu zuddhaM tIkSNaM ca / prajvAlinaM chAyAyAM nayanayozca / kuTilaM zirodharAyAM padapracAre ca / laghu raMhasi vedite ca / surabhi zvasite, zucimAcAre, dhanAgamamazeSavijayasampa[F. 63.A ] dAm , atyUrja parAvajayeSu paramahisthAnamAkRtI, ziziraM nikhilakSAntiSu / itthamakhilartumayamamRtAMzudhavalamapi kAlaM samarasImanyarAticakrasya'vikaTaM vIrayu ca / vipulaM pulAyane, aticaturaM catuSke, utkRSTamupajave, jyeSThaM prajavitAyAma , prathamaM vIthIvakhaNDitaprasaraM maNDaleSu, antarikSacAritayA atizAntikata"yA ca satatamubhayathApyaspRSTaM rakte, vilAsitenonnidratagaraprasavapANDunA dehaprabhApaTalena valitAM divyatayA'vanisparzabha yAd balapaTaprAvRttAmiva vidhAya kSamAmadhyAsamAnam , paryANaparyuptAnAM ca vividhamaNigatAnAparyuparyullasantIbhiH kAntibhirAtmano vihitapra"calacittavitAnakamiva vibhAvyamAnam , palyayanaprAntaprotasthUlamuktAmaNizarAn didRkSaNAM dRSTitarpaNArthamamRtakaNAniva dharSantam , marakatamaNimayapraivaiyakaparikSiptatayA sphaTikazailazikharamiva jaladamAlayA valayituM kandharAbandhamudvahantam , nisargapracalAgrima [F.63. B] padatayoraHsthalasthAyi jhaNajhaNAyamAnakanakakiGkiNImAlikAbhirupagIyamAnAdbhutacaritramiva vibhAvyamAnam , ubhayataH stokastokalambitagaje"ndrakamAntatayA tAryaspardhayA vivRttapakSamivopalakSyamANam , atizrutisukhadhvanitatayA gandharvarAjamiva samagrasthApi gandharvacakrasyopari vartamAnam , jAtya"jAmbUnadopahitavividhamaNigaNazreNiva'............ likayA parikSiptam , kSIrodaikadezamiva vicitraratna kAntilekhayA parigatam , pazcimaM bhAgamAkalayantam , avajitAhUtAnevetaratura"............[pA]zvayoH piNDIkRtya parikSiptena kanakazRGkhalAdAmaniyamitena puSparAgamaNijanmanA pA"dakaTakayugalenodbhAsamAnaM muhurmuhuH praca"......nihitAyAH kanakalAlikAyA niryadanacchakAnticchalAdantaramAta(?) mAtmanastejaH-[F. 64. A] prasaramiva bahiranavaratamudvamantamasitamaNi...... vikagranthi 1 sundara apyanuccaiH / 2 degmanta / 3 piNDanna / 4 vishnne| 5 vIkhAyu / 6 vIthISTakhaNDita / 7 gtonaamupryu| 8 ubhayata / 9 vinaSTAnyatra 6-7 anyakSarANi / 10 vinaSTAnyatra 6-7 anyakSarANi / 11 vinaSTAnyatra 6-7 anyakSarANi / 12 degtaayaa| 13 vinaSTAnyatra 6-7 anyakSarANi / ..

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zRGgAramaJjarIkathA nimmitAruNamaNistavakAlaGkRtavadanatayA prajApatinA mudritamivocchRGkhalaM" tejaH sarvakhamiva vidhAyantam , puruSottama vA'......hitA svaveSamiva vainateyamekamAspadam , rUpazriyo nivAsabhavanam , saundaryasya kulagRham, zIlasyAyatanam , tejasvitAyAH jIvitam , java'......bhApaTalabahalitajyotsnApUram , AjAneyam , atimahApramANam , aatmruupophsitoccaiHshr"vsmekmshvmpshy[m]| dRSTamAtre'pi tasminnidamahamacintayam-'sarvaratnAnAmAyatanamidaM rAjakulametasminnapi sarvAdbhutabhAji rAjakule ma"yegazvaratnamavalokitam / ' yAvaca sakautukamavalokayAmi tAvattatpRSThamArUDhamatirUpayauvanazAlinamekaM"[F.64. B]purupamadrAkSam / sa .......... te pAzcAtyAsane sa samupAvizat / tato'hamacintayam-'nUnamayaM mAmevAkArayitumAyAtaH / ' tato'hamakhi"lamapi nijapa.........pya jhagiti turnggmmaaruuddhvtii| tataH sa tena preritasturaGgamo jyotsnAprasara visare vihAyasi gantuM pravavRte / artha......... najavatayA na jAne tena kiyadUramahamapavAhitA / yAvat kiyantamapyadhvAnaM gacchAmi tAvadaprabhAtA"yAmapi raja[nyAM] .........tyabhASata / udita iva bhAskaro vyabhAvyata / yathA yathA tadabhimukhaM nIyamAnAyA api me na tApapratipattirAsIt ..........taH tathA tathA sutarAM mamAvardhata kutUhalamullalAsa ca vismayAtizayaH / yAvatsannihitA bhavAmi tAvajAtyakAM'......... dRSTapUrvamazrutacaramanekamaNikiraNanikurambakarambitaM varatayA abhitticitrakarmeva nirmApayan" [F. 65. A] eka suradhanuH"...dharaspardhayeva dharApIThe'pyanekAnyAkhaNDaladhanuINDADambarANyAracayan , sphaTikopalaghaTitANDaka"tayaikacandramaNDalaM.........nekacandrasahasrAbharaNAmiva bhuvaM vidadhAnam , uttuGgatayA nikhilakAJcanamayatayA ca merumiva pratyakSIkurvANAM vi............nvitaM paritaH samutsRtAnekadhavaladhvajapaTatayA hasadiva candrAtapam , kRSNAgurudhUpadhUmanAlairviyatyAva"ddhajalajalaghara......kapUrakSodapUrairupacitazaradabhramamiva sphuTatpArijAtamaJjarIparimalalobhAduparibhrama"dbhamaratayA candrA"......... ramivopalakSyamANam , visArivividhamaNikiraNarAjirajjubhiH samantAdAbadhyeva sthirIkRtam , bhUminihitaM vima"...... dIyadvAradezaparyantamAsAdya sa turagaH kSitAvavatatAra / avatIrNe ca tasmin sa puruSasturaGgaM samarpya dArapA [F. 65. B] 16............kakrozaparimANe sphaTikazilAsopAnavIthikayA''ruhya, kacit kvacidaruNamaNizi"............... haricandanarasaviracitasvastikam , kvacit kAJcanabhUmikAsu vihitamuktAphalacatuSkam , ka'......... tam, sarvatra sarvataH vinaSTAnyatra 6-7 anykssraanni| 2 vinaSTAnyatra 6-7 anyakSarANi / 3 vinaSTAnyatra 9-10 akSarANi / 4 vinaSTAnyatra 9-10 akSarANi / 5 disr| 6 vinaSTAnyatra 9-10 akSarANi / 7 vinaSTAnyatra 9-10 akSarANi / 8 vinaSTAnyatra 9-10 akSarANi / 9vinaSTAnyatra 9-10akSarANi / 10 vinaSTAnyatra9-10 akSarANi / 11 vinaSTAnyatra 9-10 akSarANi / 12vinaSTAnyatra 9-10 akssraanni| 13 vinaSTAnyatra 9-10 akssraanni| 14 vinaSTAnyatra 9-10 akSarANi / 15 vinaSTAnyatra 9-10 akSarANi / 16 66tamasya patrasyottarabhAga eva prAptaH /

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zrIbhojadeva viracitA (3) pravikIrNavikacakArtasvarAmburuharamaNIyaM tanmadhyabhAgamAlokayantI mahAM tAvattadekadeze netranirmita vistArikAzI (sI 1) nAM dIrgheoSNani zvAsaglapita dhUsarAdharada" .... kapolArpitakaratalatayotsappibhirnakha mayUkhairekazravaNanihitamaNibhUSaNAmiva a .riNo muhurmuhuH karatalaparAmRSTAzrutayA vigatazoNimno nayanayugalasya prabhayA viracita "" [ F. 66. A ]............ visarada maladantakAnticchalAdurasi nyastaikamuktAlatAmivAtikhedavazAtparyAyataH karatalakalita " dharadalaprAntasya vistAriNIbhiH prabhAbhiH kalita zoNamaNikaGkaNAmiva kamalabhramA layA viracitendranIlanUpurAmiva nirAbharaNamapi sAbharaNatayevAtiramaNIyAM" candramaNDalAdhidevatAmiva jyotsnAntaritAvayavAM kiJciducchUnA ....... tazcAsyA nAtidUravartinaM tribhuvanalalAmabhUtamadRSTapUrvamanAkhyAta caramAsanA " ryuptagArutmataratnakAntivisarairvisarorubhiH saMvalitavipuloraHsthalamantardIpyamA[F. 66. B] cchAvadAtavasanAvRtazarIrAM ...... *******. ... `yaM ca yathA'smAkaM tadApRcchAmaH kimapi kathyatAm, nirNayaistubhava.. vetralatikaM puruSavizeSamavazya..... . maddevapAdAnAmapi rahasyaM tenAtirahasyena bhavitavyam / tadA......saMpradhArya pracalitA, sa tAvadatra na sanniveza.... dbhutamidaM yadajJAtayAti (?) maparicitAviditazi .. . mamAdhikaM manasi kopaH padamadAt / atha tayora.. "maparamaparaM puruSaM kathamAvarjayati ... . midamabhyadhAyi - ' bhadre devadatte ! tvamatividagdhA pra.. masya samarpyate / kathaM vA grAmyavRtti........ praNayakalahakupitayorvighaTitayorghaTanA [F. 67. A] kAdandhatamasAnmohAdiva niHsRte ..... tabhAgAvalambibhistuhinadhavalaira malamuktAphaladAma........" tAkhiva prAsAdapaGkiSu / .mupalakSyamANam, sphaTikakuTTimatalapratibimbitairupa.. ... amRtakarakiraNakUrbakairiva dhavaliteSu bhuvana......libhaGgikAbhirviracya mAnakamalazayanIyam (" (4) I " ... ... rUDho bhaTTamAtRguptaprabhRtiH katipayAtividagdhapraNayitaH savimAnaparyantamamalamuktA (4) .... 1 rArUtiH / 3 nirnaya / 4 spaTika / *********** (2) (1) 39 (5) phalA ...... salagoSThIH kurvANastAmAbabhASe - 'devadatte ! janmanaH prabhRti mada. yuktaM virahamiva mUrtimanta... [F. 67. B] yathA bhavati tathA tvayA vidhAtavyamityabhidhAya viratavacasi tasyAmAsAditAvasaraH so'pyavAdIt - ' bhadre devadatte ! tvamevAmumartha ghaTayituM samarthAsIti / ato mahatyAzayA'smAbhirA [ nA ]yitA / ' tataH sa mayA samutpannadviguNatara kopayA'bhyadhAyi - ' kimahaM strI na bhavAmyuta tvadIyA dAsI yena svadIyaM dUtyaM karomi ?" ityabhihite, tena sAdhikSepamahaM puraH prakSiptAM vetralatAmAdAyatADitA'smi / tatprahAravedanAkulitayA ca mayA " tribhuvanavijayino vikramAdityadevasya caraNau mama zaraNam" iti mu~hurmuhurabhyadhAyi / tato nUnamanayA smRtamAtro'pi 2 67tamasya patrasya truTitatvAdimAnyeva vAkyAni paThituM zakyAni / (2) muhura | anya (2) www

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40 zRGgAramaJjarIkathA parAgata iti manyamAnAnAM teSAM mahAkSobhaH samabhavat / ahaM punastaistatraiva kSiptA tAn palAyamAnAnatyAkulAn vyalokam / tato vAhyAlIpradeze patitamAtmAnamadrAkSam / itthamayamadyaiva rAtrau vRttAntaH saMvRttaH' ityukte tayA tAM nRpatiravocat tat (3) 'kiM devadatte ! satyametat ?' ityabhi [ F. 68. A] hitayA devadattayA punarapyavAdi - ' yadyasatyaM tadAjJA me devakIyA / ' punarapi tAM nRpatiravocat - ' kiM satyame[?" ' yadyasatyaM tadA devakIyA' jJayA zaptA'smi / yadaiva devasya mayA nAma gRhItaM tadaiva teSAM palAyamAnAnAM yaH saMbhramo'bhUt kathaM vacasA " pratipAdayituM zakyate ? "parAgato vikramAdityaH, parAgato vikramAditya" iti teSAM vAca eva mayA zrutAH, vimAnaM tu sambhra mAt prapalAyya va gatamiti nAjJAyi' / ' atha punarapi vismayA nRpatistAmavocat'kiM devadatte ! satyametat ?" devadattA tatkAlotpannasambhramavismayevAbravIt - 'deva' satyametat, "devasya purataH kimasatyaM vijJApyate ?' tataH sAhasAGkanRpatinA parituSTenAbhyadhAyi're re mahAmAtrAH ! paTTahastinaM parityajya yo 'yaM mama dvitIyo " dviradarAjaH sa devadattAyAH samarpyatAm, kAzcanakoTIcaM tasro dIyatAm, kSiprameva mahArhANyAbharaNAni vAsAMsi ca vitIryatAm / ' tataH savinayaM [F. 68. B] devadattayedamabhyadhAyi - ' deva ! vijJApayAmi maJcakasya bahirayamekaH / maJcaka~sthe punardvitayamapi gRhNAmi / prAgevaM devena pRSTaM yat 'kathaM bhavadIyA jA~tirgRhNAti ?' 'asmadIyA jItigRhNAti' iti sasmitamabhidhAya vyaraMsIt / vikramAkapyetadAkarNya samupajAtAdhikaprasAdo'bhyadhAt- 'sAdhu devadatte ! sAdhviti / manoharayA bhaJjyA vayaM pratibodhitAH / parAM pratiSThAmAropitazca svajAtyAcAraH ' ityabhidhAya dviguNatareNa pAritoSikeNa tAmayojayat / " (6) tat putra ! yo hi yadAzayastat tenAnupravizya vizrAvayatAM nizcitaivArthasiddhiH / sa hi mahAnubhAvaH prabhAvasthApanayA tannAsti yanna vitaratIti / 1) www iti mahArAjAdhirAjaparamezvarazrI bhojadevaviracitAyAM zRGgAramaJjarIkathAyAM devadattAkathAnikA paJcamI / [ SaSThI lAvaNyasundarIkathAnikA ] anyacca putri ! ma [ F. 69. A ]hA~sa tvaM mahAsAhasikaM samyagupalabhya AtmatyAgenApyarthaM sAdhayatAM na durApAH svArthasiddhaya iti yat pUrvamuktaM tadapi te kathayAmi - 1 yAjJA yA / 2 na jJAyi / 7 jAti gR / 6 maMekasthe / / 3 biyA 8 jAti gR / 9 vicaratIti / 14 yoya / 5. koTizvata / 10 mahasatvaM /

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zrIbhoja devaviracitA (2) (3) astyatra bhuvanata" laprasiddha mativibhavavaNigvyavahara kavacca (1) prabhRtibhirmahArjanairadhiSThi tam ahicchatraM nAma nagaram / tatra ca vajramukuTo nAma rAjA pitRkramAgatAmAtye bhujAvaSTambhenApahastiitasamIpasAmantacakraH krameNaivAkAntasakalahaptA rAtibalaH prabalaparivAraparivRto rAjyamanupAlayaMstadIyasukhA " nyanubhavaMzca suciramAsAJcakre / tatra ca pitRkrameNaiva saJcitaviziSTArthatayA'timahAdhanastailiko ghuDAbhidhAnaH prativasati sma / tasya cAti" rUpayauvanasampannA madanasya krIDAputrikeva yauvanasyAbharaNaM lAvaNyasyApi lAvaNyaM bhAryA lAvaNyasundarI nAmAsIt / tasyAstu na kevalaM [ F. 69. B ]svajAtivilakSaNameva rUpamitarasamastanArInikurumbaviDambi sakalajana vismayaikAyatanaM ca / atha tasya tayA saha "ratisukhamanubhavataH sukhenAtikrAmanti vAsarAH / athaikadA bhramaNikayA nirgatasya tasya narapateH sA nijabhavanavartinI dRkpathamavatatAra / tAM dRSTvA vismita iva stambhita iva mUDha iva gADhamanmathazaraprahAravivazaH kathaM kathamapi svagRhamayAsIt / abhUccAsya manasi - ' kathamiyaM prApyate ? yadi nainAM prAmomi tadA niyatamahaM jIvitumapi notsahe / ' tataH sAcArapuruSebhyastailika ghuDAka bhAryeyamityajJAsIt / jJAtvA cAcintayat yad- 'enAM kenopAyenAtmasAt karomi / ' tatastaM kamapi rasasaGkarakaraNAdidUSaNavyAjamutpAdya vidhAritavAn / pratipAdyamAnadaNDena tena dravyalakSANyapi " dIyamAnAni na pratyapadyata pratyuta vividhAbhiH pIDAbhiH kadarthitavAnevainam / tato lAvaNyasundaryA tadIyAzayaM samyagupalabhya sa nijapatirida - [ F. 70. A ] mabhyadhAyi - ' yaM kamapi daNDameSa narapatiryAcate tamapi pratipadya tvayA yathA kathaJcidAtmA mocayitavyaH / tatastena narapatirabhyadhAyi - 'yadi drammasuvarNAdikaM devo dIyamAnamapi na gRhNAti tadA''dizatu kimanyad dIyatAm, yadAdizati devastamavazyaM prayacchAmyeva / ' tato rAjJA 'kva kilAsyaitad bhaviSyati' iti manyamAnena vivakSitadviradazatamasAvayAcyata / tat zrutvA tailikasya mahAkSobhaH samajani- 'aho kAsmadIyA jAtiH, kva kariNaH ? tat sarvvathA hato'haM naSTo'ham / kA me gatiH / kiM zaraNam ?" iti cintAzatasantAnavyAkulitacitto yAvadAste tAvad lAvaNyasundaryA 'kiM rAjJA daNDe yAcitastvam ? ityapRcchyata / tato'tyantakSubhitenAnena kathitam -' yadahaM karizatamanena yAcitastat sarvathA vinAza evopasthito mamAyam, kuto me bandhamokSaH / tatastayAbhihitam'pratipadyakha karizatamahaM te dAsyAmi / ' tatastailikena tatheti pratipanne rAjJA cintitam - 'mameyaM " [ F. 70. B ] sarvathA paryavazitA kuto'sya karizatam' iti vicintyAbhihitam - ' kiyatA kAlena karizataM pradAsyasi ? ' tatastayA zikSitena tailikena mAsaSaGkaM yA "citaH / rAjJA tatheti pratipannam / tatastailikena sA'bhihitA - ' kimiti bhavatyA - 4 cakra / 5 pratipadyata / 1 mahAnairadhi / 2 mAtR / 3 pahastinasamIpa / zRGgA. 6 41

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zRGgAramaJjarIkathA (1) hamazraddheyamevaMrUpaM daNDamaGgIkAritaH ?' tato'nayA'syadhAyi - 'ayaM "rAjA mAmanurakto vyAjena svIkartumicchati tadasyeyaM durAzA / mamaiSa pitA bhavati / tad yadahaM bhaNAmi tad bhavatA kartavyam / ahaM nirdiSTe kAle kari zatamavazyaM prApayAmyeva' ityabhihitastatheti pratipannavAn / tayA tvabhihitam - ' na madIyaM caritaM bhavatA purato vicAraNIyam' ityamidhAya viziSTatarAn paJcAzadazvAnazvatarIrvividhAlaGkArabhUSitaM ca parijanamAtmanazva "fafagogna arife ............[ F. 71. A ]3. sAhasasyaikasadanaM sAhasAGkanRpatimaGgIkRtyojayanIM prati pratasthe / tataH sA kiyadbhirvAsareravApad ujjyniim| AkalpayaccAvAsamAtmanaH pallavitavividhavIrudhi kusumitAnokahanivAritAtapaprasare ziprAparisare / athaiSA kAspi kuto'pyatizayitatridazasundarIsampattirvezayuvatirAyAtA ityAtmanaH pravAdamakArayat / tarkukajanasya ca yathocitaM "dAnamadAt / dinamapyazeSaM vilAsairatyavAhayat / ahamahamikayA AgatAnAmapi sAmantaprabhRtInAM 'bhavatu, yadbhaviSyati tat kariSyAmi' ityAzAmA "tramevAdarzayat / na tu kadAcit kasyApi grahaNakAdAnamakarot / prayAteSvatha katipayeSvahaHsu sa pravAdaH sAhasAGkanRpateH karNagocaramagA [ F. 71. B ]t / tataH sa kutUhalAkalitahRdayo narapatistaM pravAdamasyAH satyApayituM cArapuruSAn prAhiNot / taizca 'satyo'yaM pravAda' ityAvedite sa nRpatirvidhAya mRgayAvyAjaM tadAvAsasavidhena pratasthe / sA tu viracitA'pUrvaveSA gacchato narapateH savilAsamAtmAnamadarzayat / sa tu tAM dRTraiva jAtAnurAgaH kathaM kathamapi nirvRtya mRgayAM tenaiva pathA svabhavanamayAsIt / gatvA ca smarazaranikara nirmathitamAnaso mukharakanAmAnamatividagdhasnigdhaimavArjakaM dUtaM prahitavAn / sa vihitadarzana: kSaNamiva sthitvA vidhAya vividhagoSThIstAM saprazrayamavocat- 'ito mRgayA nivRttena ' kasyeyaM keyamiti vijJAtumAdiSTo'smi / tatkathayatu bhavatIsamasAhaso yuvA vikramaikarasikakamanIyAkRtirvikramAdi [ tya ] ...... (4) 42 (6) [ F. 72. A ] yaM ca me nizcayo yadi mAmayaM nAGgIkaroti tadA'smin janmani mamA"kRtakRtyamAtmano manyamAno bhuktavantaH khairamAsthitasya kSiti' ... ' (1) (2) *** ***. .... (3) tiracintayat - 'aho tadidamavIrutkusumamanabhrAvRSTiriti / atha mandAyamAnAtapatayA zanaiHzanaiH si............ " zalyabhUmibhAgeSu pratIcImanusaratyavanIjIvitezvare tApamasahamAnAviva vivRtya parAGmukhIbhavantISu pAdapacchAyAsu, sarinikuJja tivAhya madhyandinatApatandrimaivistara karAgresareSu, zanaiH zanaiH pacyamAnasasyazAlinIH ~(+)?? ........ **** (5) nyAma (6) 1 vinaSTAnyatra 12-13 akSarANi / 2 prathamA paMktirvinaSTA / 3 zrIgdhaM / 4 uta / 5 vinaSTAnyatra 15 - 16 akSarANi / 6 vinaSTAnyatra 37-38 akSarANi / 7 vinaSTAnyatra 37-38 akSarANi / 8 vinaSTAnyatra 35-36 akSarANi / 9 vinaSTAnyatra 35-36 akSarANi / 10 vinaSTAnyatra 16-17 akSarANi / 11 vinaSTAnyatra 7-8 akSarANi / 12 taMdrImanistarasta karAye | 13 sanaisanaiH / ............

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zrIbhojadevaviracitA kSetrabhuvo'nukartumitastataH pracaliteSu kolakuleSu, ati" sauhityAnmantharapracaliteSu romanyAyamAneSu gativazapracalakandharAbaddhazabdAyamAnakSudraghaNTakadhvanitadattakarNeSu zramavazAt kimapi niHsaha [F. 72. B]locaneSu vanebhyo vasatimanuvyAvartamAneSu godhaneSu, praviralAyautapathikeSu sthitaprAyeSu pathiSu, vimucya pracArabhUmIrupavanakulAyapAdAyAM" (pAdapacchAyAyAM ?)sisarpiSamANe samApatati satvare pataGgakule, atikaThoratapanatApaglapiteSvaparAhapavanasamparkasukhiteSviva zaityamuddAha]tsu diakheSu, "mAdastAcalazikharazekharatAmAjagAma taruNatAmracUDAruNimasodaraM zoNimAnamudvahannaruNasArathiH / lAkSArasalohitaitrisarata"ntuvisarairiva kiraNanikarairaruNamantaramakarot tantuvAya iva divasapariNAmasamayaH / antarAntaropalakSyamANabahalasandhyAtapacchedAmira "nacchAbhiH pAdapacchAyAbhirazliSTAH sazcaradvanadevatAcaraNasAntAlaktakAra]sAGkitA iva vyraajntopvnbhuumyH| asta- [F. 73. A girizikharavartino vikartanasya prabhAjAlena vicchuritAni tatkSaNopasIdavirahavedanAsphuTitacakravAkamithunahRdayasa~tenAsRjeba zo"NimAnamAnItAni virejuH salilAzayAnAM salilAni / dalitadADimIkusumasodareNa taraNeraMzujAlena saMvalitAni kuGkumarasamArjitAnIva pratyabhAsanta pratisaudhamamalasphaTikamaNikuTTimAni / tatkSaNamukSubhyato mithunarAgasAgarasya bhuvanamAkrAmantI veleva samulla"lAsa sandhyA / avardhayaJca parasparaguNAnusmArakatayA atyarthamutkatAmApAdayantI dUtIva mithunamAnaseSu dviguNataramanurAgaM nidrAvazavisaMsthulanimIlanayanapuTaiH sthitvA kSaNamutkSiptapakSatibhirudrIvamAlokyAlokya nirvAgbhiradhyAsyanta maNibASpalA"-[ F. 73. B] [atrAda" 74 aGkAGkitaM patraM vinaSTam ] ......yAyAtimirabharaniruddhamapyucchsitamiva kSaNamalajata / gaganatalamanu ca kuGkumarasamArjanopajanitapiJjaratviSo'ntarviraci"........"davizeSakasya hUNahariNIdRzo lalATaphalakasya zriyamudvahadvinidrakarNikAraprakaragauracchavistokopalakSyamANalAJchanamu.........1 ya zazadharaurddham / atha krameNaivaikaH kanakatADaGka iva zatamahadigaGganAyAH, kuGkumarasatilakabinduriva yAminImukhasya, bhAsvarakAta"kharadarpaNa iva digvadhUnAm , vikacamekaM kanakapaGkajamiva gaganasarasaH, srastatimirAMzukaikadezAyAH kuGkumonmRSTaH prakaTa ekaH kucakalaza" iva divaH, karatalarAgaraJjitaH krIDAkanduka iva rateH, jAtyazAtakumbhasambhavo bhAvisAmrAjyAbhiSekakalaza iva manobhavasya, ullalAsa cittajanmano jIvAturjIvitakumudakAnanaH kumudinInAthaH / tatazca prasAditarAmaH (1) samuttIrya salilarAzimRkSaparivRtasamullAsitakumudo" 1 kolkulo| 2 vtebhyo| 3 praviralAyatatpathi / 4 saarthi| 5 ruNamaMgharam / 6 sNkaantaa| 7 sutenaa| 8 savalitAni / 9 vinaSTAnyatra 3-4 akSarANi / 10 vinaSTAnyatra 3-4 akSarANi / 11 vinaSTAnyatra 3-4 akSarANi / 12 dharArtham / 13 kukkokaanmRssttH| 14 jIvitujI / Jai Education International

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zRGgAramaJjarIkathA [F. 75. A ] dalitakajalazyAmalAnAM rajanicAriNAM tamaHprakArANAM nidhanamAdadhan samullalAsa taaraaptiH| atha janitamadanatApAni dalayantI kumudakAnanAni" cakravAkamithunahRdayAni ca, vighaTayantyutpathapravartakamandhakAraM mAninImAnagrahagranthi ca, kSobhayantyutkalikAkulamamburAziM kAmijanahRdayaM ca, vyathayantI karidazanamuzalAni virahiNAM cetAMsi ca, sarvato vivRtacaJcabhizcakorakuTumbakairakhilajanalocanapuTaizca nipIyamAnA apyavardhanta jyotsnA?)"...'vikasitAM kumudakAnanAnAM rajobhiravacUAvacUrNya kAminAmuddIpaMyan mdndhnmvaanmndmndmaundolitvikaasonmukhshephaalikaa"........'prdosspvnH| tatazca 'sakhi ! durdharo madanaH, prauDhimAgacchanto duHsahA zazadharamarIcayaH, gatvaraM yauvanam , anavasthitaH premAnubandha' ityevamAda"........ vartanta ratisandhivigrahavyApAracaturANAM vayasyAnAM mAninISu saGghaTanapaTavo vacaHprapazcAH / virahiNInAM vapuSi pratibimbitamUrta[F. 75. B]yo virahadahanAGkurA iva vyabhAvyanta prathamapratibodhitA bhavanapradIpAH / atirAgabhRtahRdayAbhirvilAsinIbhiH priyatameSu sandiSTAni vismR"tya vismRtya punarupadizyopadizya preSitA mdnduutyH| zazadharapradIpenAGganAbhiH kanakaketakIpatreSu mRgamadarasenAlikhyanta madanalekhAH / punaH punarAlokitapriyatamA[ga]manamAgrgAbhiH sajAnyakriyanta vAsabhavanAnyaGganAbhiH / vAsakasajAvezmavAtAyanebhyo vyajRmbhanta jvaladvirahadahanAnumApakAH kaalaagurudhuupdhuumaaH| sitadukUlacchannavapuSo ghanataraghanasArareNuccharitagaNDabhittayaH pratyaGgamAmuktamuktAmaNivibhUSaNAH sara"samalayarajasopasiktanikhilAGgalatikAH pravikasitamAlatIkusumadAmazliSTakezapAzazriyo jyotsnAdhidevatA iva sarvato'bhi -[F. 76. A] ssurbhisaarikaaH| amRtarasasekApyAyitamiva, kSIrodapUraplAvitamiva, sphaTikamaNighaTitamiva, sadyomArjitadramiDakAminIdantakA"ntinimmitamiva, garbhatADIdalaviracitamiva, rajatarasasiktamiva, dviradadazanotkIrNamiva, mithunamAnaseSu nikSipyeva nijarAgamambarata-" lamArohati nairmalyamAgate zanaiH zanairdhavalitahariti hariNalAJchane candralokazriyamuvAha nikhilamapi bhuvanatalam / atha mahIpatirmukharakaM tAmAnetuM prAhiNot / sA'pi karSakajanatevodrIvA tasyAbhyunatasya jalamuca iva mArgamanvIkSyamANA tmaayaantmpshyt"| Agatya ca kathitapArthivAGgIkArA nirbharaM pramodamabhajat / tvaritataramAjagAma ca mahIpaterbhavanam / athAgatayA lAvaNyasundaryA"[F. 76. B]saha nRpatiranurAganirbharastasyAM rajanyAM suratasukhamanubabhUva / prAtazca vihitAhniko nirvartitabhojanAdikriyaH sukhamAsInaH prahRSTaH sakalamapi tadvRttAntaM bhaTTamAtRguptAyAcacakSe / 1 vinaSTAni 3-4 akSarANi / 2 degmudIpayan / 3 mndmndmndolit| 4 vinaSTAnyatra 3-4 akSarANi / 5 vinaSTAnyatra 3-4 akssraanni| 6 preksst| 7 prdiipinaa| 8 nAbhi knk| 9 deglikhynmdn| 10 mrvto| 11 tmaayaanmp|

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zrIbhojadevaviracitA 45 . tadAkarNya bhaTTamAtRguptastamavocat-'deva ! evaMvidhA nAnAprakArAH kSititale vicaranti svArthatatparAH striyaH / tad evaMvidhAsu na" vizvasitavyaM devena / idaM tvetadIyaM sarvamapi vaizikamiti mayA jJAtameva' iti bhaTTamAtRguptenokte sa cintitavAn-'kimahaM nisargAnurAgamuta vai"zikamityapi na veni ? bhavatu, kimanena ? bhaTTamAtRgupto gauravita iti na kimapyucyate / IdRzamevAsya svarUpam" iti tamavagaNayya tayA sahAnudivasaM paraM vizrambheNa bahUni divasAnyAsAzcakre / bhaTTamAtRguptastu prAguktameva svavacaH punaH punastaM smArayati sma / tataH sa kadAcit smArayannabhi hito rAjJA-'kathaM punarnisargAnurAgo jJAyate? yathA yathAhametAmatinaipuNyena parIkSe tathA tathaiSA kvacida-"[F. 77. A] pi nAGgaM rakSati / anurAgacihnAni ca sakalAnyapyasyA dRzyante / svama(pra)madAnyacittatAdiSyapi nAsyAH kimapi vai"kRtaM lakSyate' ityukte bhaTTamAtRguptaH punarapyavanIpatimavAdI'deva! tarhi deveneyaM grAmyAbhirviDambanAbhiH parIkSyatAm / ' yathA yatheSa parIkSArtha tAstA grAmyA api nakhadazanadAnakezacchedAdikA viDambanAH karoti tathA tathaiSA vizepato hRSyatyanurAgiNI ca bhavati / tadakhilamapi bhaTTamAtRguptAyAkathayat / 'bhavAn muhurmuhurvaizikaM vaizikamiti pUtkaroti na ca vaizikAnukAri ceSTitamasyAH kimapyabhilakSyate / ' ityukte bhaTTamAtRguptaH punarapyevamAha- 'atidhUrtIyaM [ana]yA devasyApyevaMvidhazcittabhramo janitaH / sAmprataM mayA nirNItametat sarvamasyA vaizikamiti / sA tu sakalamapi bhaTTamAtRguptenoktaM janaparamparayA zRNvatI sadaivAzaGkamAnA tamapyatigauraveNa pazyati / athaikadA sA vyacintayat "[P. 77. B]-'bahUni dinAni vartante, atikramipyati ca samayaH' iti vicintya, yatra bhaTTamAtRgupta-vikramAkauM goSThyA tiSThataH, tatrAgatya kSaNamupavizyedamabhihita"vatI- 'ayaM bhavadIyaprasAdavittako yadahamatidUrAd bhavaguNAnurAgeNAgatA tadayaM vaizikaM vaizikamiti brUte, tadbhavatu madIyAnurAgasyAyameva vicAra ucitaH / sAdhurbhavAn rAjA, prasAdavittakazcAyamiti militaM peTakam / tato'bhyadhAyi rAjJA - 'keneyaM bhavatyA vyalIkA vArtA kathitA ? kiM bhaTTamAtR"gupta evaMvidha utAham / ' ityukte sA vihasya kSaNamekaM sthitvA zayanAgArasyAntaH pravizya zayanIyasyopari nihitAM rAjazastrikAmAdAya svazirazche" damakArSIt / tato yAvat zaGkitacitto vikramArko'ntaHpravizati tAvattAM chinnazirasamapazyat / tatastAmAlokya kulizenaivAhataH, jvalanenevAlIDhaH, dRSTiviSaviSadhareNevekSitaH kSaNamabhUt / anantaraM hRdi vicintya bhaTTamAtRguptamAhUyedamabhihitavAn- 'bhaTTamAtRgupta ! dRSTaM bhavatA vaizikassA-"[F.78. A] vasAnam ?' ityukte sobravIt- 'deva dRSTaM, kimanyathA'haM bravImi ? idamapi vaizikameva / ' 1 degkArA kssiti| 2 lakSata /

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zRGgAramaJjarIkathA (3), tato'tikupitaH sa bhaTTamAtRguptamavajJAya tAM tathAbhUtAmanucarairutkSepya" bhagavatyA AzApurAyA AyatanamagAt / tatra ca nikhilamapi parijanaM bahirnissArya vikramAdityo'pi svazirazchettumupacakrame / tato bhagavatyA "zApurA - 'putra ! putra ! mA kRthAH sAhasamevaMvidham, na bhavAn sAmAnyaH kimiti prANimAtrAnukampayetaraprANivadAtmAnaM vinAzayati ' ityabhidadhAnA taM kare " jagrAha / sa pratyavAdIt - ' devi ! kSamyatAm / mucyatAmayaM karo yathAbhilaSitamupahAraM bhavatyai prayacchAmi / tato bhagavatyoktam ' tuSTA'smi tavAnena sarvAti" zAyinA sAhasena taducyatAM yadabhirucitaM bhavataH' ityukto vikramArkastAmAha'devi ! punarapyeSA lAvaNyasundarI jIvitena saMyojyatAm' ityukte" tAM devI pratyudajIvayat / tato hRSTamanAstAmAdAya vikramArkaH svabhavanamagacchat / sarvvataH prAvartanta vardhA - nakAni AnandamAsasAda ca nikhila : paura- [ 1.78. B] lokaH / itthamatihRSTayostuSTayoH [ madana ? ]vazaGgatayorgatAni katiciddinAni / 46 athaikadA bhojanAnantaramavasitaprAye vAsare zanaiH zanaiH pazcimAzAmanusarati " kamalinIbAndhave tayA saha dantavaDamikAmadhirUDho vikramArka nRpatiH svaira vihArAgatamasitamaNizilAsamudbhakazrIviDambinA caraNacatuSTayena " grasamAnamiva dharaNimaNDalam, atyutsAhitayA caraNatalagatAnA bhogino'STAdazadvIpAniva nakhamaNInudvahantam, nisargata eva rUpazriyo vilAsa bhavanena supratiSThitopacitasthirasnigdhatviSA gAtrApareNodbhAsamAnam, zauryalakSmInivAsaikavezmano hRdayasya kavATAbhyAmiva dRDhasughaTitAbhyA " maMsakalakAbhyAmupazobhamAnam, mInavikSominA'tipRthulenApradhRSyakamanIyenAmburAzineva " [ F. 79. A ] zrImatorasA virAjamAnam, anavaratamada surAsaura bhAnupAtibhirmadhukara kulairatighanasthagitatayA nikhilakarikulopamarda karuNayA vedhasevAya " tnaviracitAsitAvaghATa mitra vadanamudvahantam madhupRSatpiGgalatviSo nayanayugalasya prasRtakAntijAlatayA niryadanacchako pAnalajvAlamivopalakSyamANam, Ayata snigdhamasRNenAbhinavamAlatImukulasodaratviSA samadakarikulonmAthajanmano nikhilabhuvanavyApinaH samujigamipo "ryazasaH prathamanirgatAGkuradvayeneva dazanamuzaladvandvenodbhAsamAnam, atipRthulAbhyAmacchinnamadanadIpravAhodgama kulAcalAbhyAmiva kapola " sthalAbhyAmupazobhamAnam sameSyantyA vijayazriyo janitavarNa kapallavena parNakumbheneva kumbhena zobhamAnam, atyA [ F. 79. B yatibhRto vadanasya vistRtimivApAdayatA'tipRthulena pratanuzoNabinducitritatvaktayA'nekasamasammardakSapita vipakSagajarudhirakaNakarburiteneva " pracalAgra pallavatayodAmamadasantApataptAviva kapolau vIjayatA zravaNadvayena bhrAjamAnam, atipRthunA kramApavRttenAtidIrgheNa ca bhUtalasthitAni "nikhilAnyapi nAgakulAnyanveSTumivAtipracalena lolatA karadaNDena caNDi - , 1 'bhilakhitumupahAraM / "

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zrIbhojadevaviracitA mAnamAka[ ] yantam, satatamatimasRNaghusRNAruNena vijayalakSmI " payodharadvandveneva nihitasindUra zoNarociSAtivikaTena kumbhakUTadvayenodbhAsamAnam, mArgatrayapravRttairavicchedibhirdAnasalilapUrairekapa "thavAhinIM kAlindImapi tripathagAmiva pradarzayantam, anavaratamadajalA sArasaurabhAzliSTamUrtitayAsannavartibhirmadhukaraizcAraNagaNairivopa " gIyamAnam, anekasamayavijayArjitaM yaza iva zravaNAvataMsatAmAgatamativimalazaGkhaprabhApUracArudhavalacAmarayugalamudvahantam, gADhasandhi [ F. 80. A ] bandhena zlakSNasusnigdhatvacAtivistRtena skandhena kAmapi rAmaNIyaka zrIkamudvahantam, ativipulAsanam, udagraM dhanuH kuTilapRSThavaM zam, atisusaMhatapeca "kamRjvAyata snigdhavAlaidhimatiramaNIyamapi bhISaNamakhilajananayanahAriNA hariNeva lakSmIbhRtobhayataH puSkaradvitayena virAjamAnam, AghATAlamanupadigdhaM suSamamArakSeSu tvacaH prakarSamApAdayantyA pratApazriyevAneyyA chAyayA parigatam tvaktanUruhANDakozagAtrAparabhAgeSu hrasvamAnanAMsaphalakahastavAladhivayatamurobhAgAsa nakaTakapolasRkasama dAkhativizAlam, pazcimAsanavaMzapecakapakSakukSijaghana" kalAbhAgeSvativibhaktam, atimasRNaM tvaci vilome ca, atigambhIramAzaye dhvanite ca, aticaturaM g2amane prayoge ca, atiramaNIyaM AkRtaoNvanU ke ca, atisurabhiM zvasite madajalAmode ca, atimahAntaM vapuSi sacce ca, atiraktaM tAluni netrAntayozca / jAtyAkRtizIlasattvAtmakAdibhi: [ F. 80. B] [ atrAdarza 81 aGkAGkitaM patraM vinaSTam ] , ........dagrahaNottambhitAyata karata yAnekasamara nirjayAptAM vijayapatAkAmivAtmanaH samutkSipantam, zaratsamayamivollasadipIkam, hemantamiva paramahimopacitam ziziramiva janitAtiprakampam, vasantamiva vilasadasamapuSkaram, grISmamitra kSapitAzeSavAhinIkam, jalada samayamiva gambhIrataraghanadhvAnam evamakhilartumayamivopalakSyamANam, avadhIritairAvatadhvaniprasaram, anudivasamambhaH krIDAsu khaNDitapuNDarIkavibhavam, uddalitakumudazobham, anekazaH samarAGgaNeSvavajitasArvabhaumam, apahastitAJjanacchavim, avagaNitasupratIkam, atikamanIyenAtiduHsahena ca tejasA nyakkRtapuSpadantam, asakRt tripadikAvilasitena dUrIkRtavAmanotsAhavyatikaram evamAjitAkhilatridazagajarA "jacakramiva vibhAvyamAnam, sakalajananayanahAriNIM madAvasthAmiva caturthIzobhAM dazAM ca vibhrANam, atimanohAriNA rUpalAvaNyAtizayena ta [ F. 82. A ]rpayantamivApUrayantamivApyAyayantamivAnandayantamiva ramayantamiva cakSurindriyam ripudalanAbhidhAnaM dviradarAjamadrAkSIt / 4 'vAlava / 5 AkRtvA / 1 sociSA / 6 lakSamANam / 2 tannivavAladhi / 7 evamajitA / 3 sukhamamA | 47

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zRGgAramaJjarIkathA (2) taM cAvalokya prahRSTamanAH kSaNaM sthitvA lAvaNyasundarImaMvocat - 'priye lAvaNyasundari ! yAcasva kimapi' iti / punaH punaH sAdaramabhyarthyamAnA'pyetadevAvocat- 'yat tvadIyaM tat sarvamapi " madIyameva ca tat kimahamanyad yAce ? atha maccittamAvarjanIyaM bhavataH, tad bAlyAdArabhya mama hastinAmupari mahat kautukam / ato dIyatAM mamaivaMvidhA " nAM zatamekaM mataGgajAnAm' / rAjJA'bhihitam - ' kiyanmAtramidam ? anyadapi yAcyatAM yadabhirucitam' ityabhidhAya hastizataM prAyacchat / uktaM ca tayA- 'sarva " theyaM prasiddhirvidhIyatAM yathA hastizatamekaM lAvaNyasundaryai vitIrNamiti / ' rAjJA ca tathaivAnuSThitam / tato gateSu dvitreSvahassu lAvaNyasundarI " vihitAJjalipuTA rAjAnaM vyajijJapat'deva ! bhavato mocanakamastu, vezyA'ham / asmadIya IdRza eva vyavahAraH / [ F. 82. B ] ." [ vikramA ]dityanRpatira[voca] t- 'kimetat ? bhavatva ............ metat / tato lAvaNyasu [ndaryA] AditaH svavRttAntaM ". ********* * tatastena saha sukha manubhavan suciramAsAJcakre / ... ..ti / iti mahArAjAdhirAjaparamezvara zrIbhojadeva " [ viracitAyAM zRGgAramaJjarIkathAyAM lAvaNyasundarI ( ?) kathAnikA SaSThI ] 48 [ saptamI kuTTanIvaJcanakathAnikA ] anyacca dhUrtebhyo'pi prayatnAdAtmA rakSaNIyaH tathA ". ....[ F. 83. A ]........ cidapi rAjahaMsAnAM jaladasamayazaGkAmapanayanti " yatra ca nirantarocchritayUpatayA vRttiniruddha iva".. dArakadvitayamabhUt . anuraktamanasaH pazcime vayasi (3) . dezAntaragamanaM pratyabhilASaH / tatastau dhana".. . [ I. 83. B ] dIni laGghayantau jagmatuH / vrajatozcAnayoH kusumamAsajanitAM samRddhimavanerunmanan vyajRmbhata dAruNo gharmmasamayaH / krameNa ca kaThorIbhavadbhAsi bhagavati gabhastimAlini, jIrNatarukoTarakuTI [ ra ] kulAyanilIneSvati kaThoradharmmamiyA masRNamasRNaM kaNatsu kukkurbhakulepu, kaThinataragha" glapitabandhanazlathatayA nipatitAtijIrNanikhilacchadacayeSu, adhikaduHsahAta panipAtAtidUyamAnakSudra kITazritaskandhatvasandhiSu madalo " hitasaraTasandaMzyamAnollasitadvitrapallaveSu, rukSatAmudvahatsu kSitiruheSu, dinakarakarAlAtapottaptapAMsutayA bahalatarakukUlAna"larajaHpuJjakAciteSviva nakhampaceSu vartmasu sarvataH prasaratayA taruNatara . vyApitasakalakrameNa yauvana". 1 "sundarI aho' / 2 bAlyadArabhya | 3 bhijJAya | mAnyeva vAkyAni paThituM zakyAni / 5 ranmathan / 6 kukubha / 4 83 tamasya patrasya truTitatvAdi 7 taru /

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49 zrIbhojadevaviracitA tapanatejasAM visareNa pluSyamAnAnAM vanasthalInAM pUtkRteSvi va badhiritadigantamudgacchantISu tAratarAsu cIriTIkAvirutiSu, jaradajagarazvAsasandhukSamANajvAlAvalIjaTiliteSu pluSyamANakSudrakITa""-[ F. 84. A ] kuTumbakaThinatvaktaDatkAravAcAleSu bhayacakitoDDIyamAnazakunikulapakSapAlIpavanaprekhitazikheSu, jvalatsu sarvato dAvajvalaneSu, dIrghata"radivasajanitagamanamArgakhedAt samutpannatAMtizaya iva prauDhatAtya[ya]dharmarazmAvApibati sakalAnapi salilAzayAn pratidivasamapacIya"mAnasalilatayA taraGgitasaikatAsu, praviralajalopazalyasaJcaraddhakakulAvalokanAkulitazapharikAsu, jaTharazevAlamaJjarIpuJjatala"vizrAntadharmaglapitabAlakamaThAsu, stokastokanIlAyamAnavetasalatAsu, ravikarocchidyamAnatIratarusaundaryasantApAdiva tanimAna"mAgacchantISu kSitidharanikuJjasrotakhinIsu, muhurmuhurISadutphullanAsikAvivaraniHsRtazvAsapavanairanavaratamekataH preDholitaviSANakoTikaNDUyitadaMzopasRSTakukSibhirmuhurmuhurmazakakulavAsanArthamullasitalAGgelalatikAcchoTitapRSThabhAgai" -[ F. 84. B] ghanamahiSakulaiH kadImAnakSudrajalacareSu, paGkazoSavazAdantarantaHpravizatkITakakuTumbinIsaMzriyamANasandhirandhreSu, paGkopadigdhAntaH pratanusali"leSu kAsArodareSu, taruNatapanatApaklamopajanitatandrIsukhAntarAlavihitaromantheSu pracchAyamAzrayatsu mRgakadambakeSu, dRSaniyUhacchAyAnilayanenibhRtahuGkaNakAhukRtairghamaklamakAntiniHsahatayA nirkhanaviva kSitidharanikuJjeSu, manAg vinateSvavanibhAgeSvatiba halaravikiraNanipatanodgatAbhiH prasarantIbhiH parito mRgatRSNikAbhiH pralobhyamAnepUrddhakarNakandhareSu klamavazAdIpanmukulitalocane"Su tarSataraleSvitastato dhAvatsu bAlahariNakeSu, nijacApalabhramaNakhedavidhureSvavaniruhaskandhazAkhAntaranilayananibhRteSu yathAyathamupaviSTeSvAsInapracalAyitena madhyandinatApatandrIM gamayatsvapareSu ca nidrA[la ]savivazatayA zithilAGgeSu prapatatsu punarutpatyArohatsu ka-[F. 35. A ]pikuleSu, dalitakajalazyAmaleSvatibahalapaGkAvalepadviguNitavapuHzyAmikeSu muhurmuhurpUrNamAnakapilAruNalocaneSvarkabhayA"t tamaHsaJcayeSvivAntarAntarollasitakhadyotadyuticchidriteSu palvalaprAntamustAstambagahanAnyAzrayatsu panavarAhayUtheSu, tIvratarataraNikaranikaravyatikarAdalananirmiteSviva sparzato'pi dattapathikavyatheSu, pakSapuTasandhisaJcAritottaptadharaNirajaHkaNaploSamItairjIrNa"tarukoTareSu nilIya nilIya patatribhirvimucyamAnAgamanamArgeSu, sahajapremAnuraktapreyasIpariharaNajanitaiH pathikAnAmayaH"zUlairirvaM davadahanadagdhatRNastambazakalaiH kirmIritadiakheSu dharmamarmaritonmUlitakSitiruhacchadanikarakarambitAmbareSu, niviDataratADanapracalajhaNajhaNAyamAnotpAkazyAmIkRtatamAlabIjabIjakozIzatasatatasaMvargitacIrIcitkAramukhariteSu, prativipina -[F. 85. B]mutsaGgitAbhijhillIkojjhitAbhiH salilakaNikAbhirAtmano'pi 1 ciirikaa| 2 'toddiiymaan| 3 prer3ita / 4 digdhAtaH / 5 nilayanA / 6 niSTanatsviva / 7 paTa / 8 kAmAmayazolavairiva / 9 degmrmrtito| 10 shyaamkRtmaalbiij| zRGgA. 7

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50 zRGgAramaJjarIkathA divasakarakiraNasantaptasya ziziratAmivApAdayatsu, madhusamayavirahadahanasa"ntAmyadvapuSAM dizA niHzvAseSvivoSNadIryeSu, preDolitArjunaprasavamaJjarIrajApuJjasurabhiteSvabhitaH karISaMkaSeSu pravAtsu pavaneSu," ekasminnahani prayAntau tau pUrvAparapayorAziparyantavyApinImunmadakarigaNDakaNDUyamAnasaGkrAntadAnajalasaurabhabhrAmyadalIvilAsinIvalayitaskandhairvanadevatAviracitalatAndolanasrastazAkhAkusumaprakarasaMvalitatalairmadanonmadazabararAjaramaNIbhiH karNapUrArthamanavaratamu lUyamAnapallavaizcaTulakapikulAndolitapratanuzAkhAgrabhrazyadastokapAkaphalarasAmodasurabhitairaMdayanidhuvanaklAntAbhiH kirAtakAminIbhiH [F. 86. A ]satatamAsevyamAnapracchAyaiyauvanamadaruddhasiddhasundarItArataramadhuragItivAcAlitalatAvezmabhiH kusumarasAsvAdamAdyanmadhukaravadhU"jhaGkArahatapathikahRdayaiH karAvayaphalakusumajAlakairakaThorazikhikaNThakANDadyutisodaraM haritimAnamudvahadbhistarubhirudbhAsitAm , acakitacakorakAminIcacacUrNyamAnamaricavallipallavAm , ullasallavaGgasaMvaryamANataruNapUrgadrumakhaNDAm , uDDInazikhaNDimaNDalIkalA "pakalpitAkhaNDalakodaNDAkANDamaNDitagaganamaNDalAm , aticaTulacAtakacaJcapuTAcamyamAnagirikuharanirjharAmbuviSuSam , uddAmadAtyU"havyUhakuhakuhA rAvoddIpyamAnanidhuvanavirAmamandIkRtazabarasundarIsuratakelivyatikarAm , atimanohArihArItavirutahAriNIm ,'[F. 86. B]kukalekulakelikIryamANapriyaGgumaJjarIrajApuJja pAMsuliteSvavanitaleSvabhilakSyamANasaJcaradvanadevatAcaraNamudrAm , atigahanatayA" kApi pracaNDapuNDarIkadhvanitacakitairitastataH palAyamAnairlatAgahanagupyadviSANaparamparodgopanaparaistrAsataralalocanaiH zabarakulai "rAkulitapradezA[m], kvacidvanavarAhayUthotkhanyamAnadalitamustAmodavAhinIm, kvAci]t karikalabhakollUyamAnapallavatrAsAdiva dUrocchritazAkhaiH zAkhibhiradhiSThitAm , kvacinniviDataratarugahanatirohitaprAntairdUrAdapi TiTTibhAraTitasUcyamAnainikuJjasrotakhinImahAhradairadhi"SThitazailopazalyAm , kvacit sarvataH prajvaladdAvadahanajvAlAvalIkavalitakSitiruhAkhilaprAntabhAgatayA kuto'pyAtmanaH zaraNamanavekSyamANena bhramitakandharaM cakitacakitamubhayato'pyavakRSyAvakRSyAGgamatidInaM dikSu cakSurvikSipatA pazcAvanamitakarNayugalenAtizlathamukta - F. 87. A. ]pucchena viSAdAt kSaNamekamati. nizcalena muhumuhurnimeSonmeSAn vidadhatA zuSyattAlunA vidIrNavadanatayA prakaTitadazanapatinA'timAtra"dInAnanena prasRtadhUmavyAkulAvamIlalloca[ ne]na kSaNa evAtmAnaM dagdhamiva manyamAnena iMgiti cakSurunmIlya pratyaGgamAlokayatA nipatana bhayAd gADhataragRhItazAkhena kSobhavazavisaMsthulIbhavatkaragrahatayA kimapi bhraSTena punarutpatatA bhayAtizayAt sadyo'vasIdadvapuSA muhumuhuranabhivyaktavihitacItkAreNa uparyupari pratizAkhA mitastataH samArohataikAkinA jaranmarkaTenAruhyamANa jIrNottuGgataru"zikharAm , kvacidulla bhit| 2 bhitaistairadaya / 3 puuvaadrum| 4 kuhakuharovohIpya / 5 akl| 6 puMjaH pNshu| 7 saMvarakulai / . 8STagiti / 9khItkAreNa / 10 mANaM /

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zrIbhojadevaviracitA 51 saddAvadahanajvAlAvalIvalayitasthalIbhAgatayA zanaiH zanaiH puJjIbhavatpotena pratidizamaticakitacakitamAlokaya"tA sphuTatkaThorakaNTakagranthitvacA vaMzagahanAnAM taDitkAribhirdhvanitairvihitakalabhakareNukApItkAreNa kuNDalitasuNDArekhAtigambhIra -[F. 87. B]kaNThagarjitAni kurvatA muhurmuhucakrIbhavatA muhurmuhurnirgamamArgamudrIvamAlokayatottambhitakarNayugalena stokapraviSTapAzcAtyabhAgena"stabdhollAsitavAladhinA trAsoTvAnitavilocanena zanaiH zanairAyAntamuddAmadavadahanamasahamAnena nirgamanecchayA pratidizaM kimapi kimapyAyatibhRtA punaH pujIbhavatA sthitvA kSaNaM vibhAvya ca davadahanajvAlAnAmekato mAndyamativihitaghegena karAgratADitabhuvA racita pInapItkAreNa vIrA~gresaradviradadarzitavama'nA jhagiti niHsaratA ISadahyamAnapArthadviradapArzvatayA vihitavividhAraTitabadhiritadigantena mandajavatayA pazcAtpati[ta] stanandhayAvekSaNapratikSaNavyagradhenukena dviradayUthena iMgityAzriyamANAtiharitataruca(va?)layitopAntAparakacchAm", [F.88. A] acchabhallotkhAtavalmIkazikharamRtkiIritaikadezAm , kvacinmadhyandinataraNikiraNasantapyamAnatanutayotpannakhedairapi zanaiH zanaiH" salilamupasRtya taTa eva kaizcinikhAtacaraNairuttadhvavAladhibhiH prasAritakaradaNDaiH salilamAdAtuM pravRttaH, kaizcit tathaivopAdAyAmbhaHkuNDa"litazuNDAramuttAnitauSThamISadunnamitakandharamAnananikSiptapuSkaraiH pibadbhiH, kaizcidapi nimajonmajadbhiH, aparaistalAvAptikutUhalimi"AlatayAtmano nigAdhatayA ca payasAmanavAptaparyantairvizrutazrutiziraHzuNDAraiH sAkulamunmajadbhiH, aparaiH salilamAdAya prathamamAsi"ktakukSibhirupari sIkarAsAramutsRjadbhirgharmaklamaprazamanArthamAtmano jalamayamAtapatramiva vitanvAnaH, aparaiH sapatramUlamunmUli-""[F.88. B]tayA zirasi nikSiptayA kamalinyA sandihyamAnazravaNadazanAGkuraiH, itaraiAsIkriyamANairvisaTasatkAropajanitazrutisukhaiH, anyaizco" kSiptapuSkaramambhasi stokastokamitastataH plavamAnaiH, aparaizca pItvA payastaTa eva kiJcidaivanamitajadhanabhAgairutphullakukSibhiH stokottambhitazravaNapallavairavanitalasrastahastairISadvidhutakandharaiH zravaNAbhimukhatryazritaikanetratribhAgaiH sAvadhAnamAkarNitamUtradhArAdhvanibhirbhUtrIya mANaiH, anyatazca yUthapatibhirmadamalinakapolasthalairmajadbhiH, salilasaGgabhayAt sahelamunmuktagaNDabhittInAM punardAnapAnAbhilASAdamukto"paritanapradezAnAM madhukarANAM maNDalenAdhipatyasaMsUcakamAtmano nIlAtapatramiva darzayadbhiH, aparairapi stanandhayaiH plavanapravRttairagAdhatayA" vyAvRtya nijanijadhenukAnAM gAtrAntarAlamAzrayadbhiH, pibadbhirutsRjadbhistADayadbhirmalinayadbhizca karikulaiH prakSobhyamANagahanasalilAzayAm , kva- [F. 89. A ] cit kvaciTTaGkacchinnagiritaTanipAtibhirubhayato gaNDazilAsandhyudgatastuhIvipinAntarAlodgatairuttarotarA 1 dhvanita / 2 mudaamd| 3 viraa| 4 jhigityaaN| 5degvopAdAbhyAmbhaH / 6 degsaanmutsRjy| 7degmANa / 8degdh| 9degmuutrymaannaiH| 10 miiln| 11 sittInAM / 12shyaa| 13 shail|

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zRGgAramaJjarIkathA dhavalasphArIbhavatpravAhairatiprasRta"tayA'tisvacchatayA'tidUratayA cAntarA'nabhilakSya mUrtibhiradhaHzevAlapicchilazilAtaleSu nipatya skhalanabhayAdiva nirbharaM padamananubanidrirutpatya girinikuJjAntarAlavartmanA bhUyo'pi sambhUya pravartamAnairnijharairgaganatalagalanmandAkinIsrotaHsahasrANIva darzayantIm , kvacit sadyaHprAbhinnakarikaraTakaNDUyanotkarSaNadalitatvacA sallakInAmAmodena prasaratA vAsitanikuJjodarAm , pallavitAmiva davadahana "jvAlAsahasraiH, kusumitAmiva puNDukopacitacitralakaiH, kalitAmivAtipIvaravarmabhiH karikulaiH, citritAmiva tANDavitazikhaNDaiH" zikhaNDimaNDalaiH, maNDitAmiva nikujasaJcAribhiH puNDarIkaiH, sahAsAmiva giriguhAmukhAntarAlavartibhiH kesarikizorakaiH, utkaNTaphi[ F. 89. B]tAmiva kaNTakibhirveNugahanaiH, UrdhvakezAmivordhvakharjUrIvanaiH, prArabdhakAkalIgItimiva mRdupavanApUryamANakIcakarandhradhvanitaiH, pravR"ttanRttAmiva samIraNollAsibhiH kisalayasahasraiH, sakhedAmiva tapanatApottaptazilAjaturasaniSyandaiH, vIjyamAnAmiva pavanapreDDoli"tottAlatADIdalaiH, vAcAlAmiva sarvataH prasRtazakunikulakolAhalaiH, kacidudvApyamAnakarimAMsavallUrAH, kvacicchoSyamANazArdUladIpitvacaH, kacidAnIyamAnanihatAraNyakadviradadantamuzalAH, kacidvizasitAdhvanyarudhiraliptaprakSAlyamAnAmbarAruNimanijharAmbhasaH", kvacidA~channapAnthasArthArthavibhAgopajAtavisaMvAdakalakalAkulitaprAntatarupacchAyabhuvaH,kacinihitAnekamayUrapicchacitritatRNaku-""[F. 90. A ]TIrakanIdhraprAntAH, kvacit svIkriyamANasArthapadArthAH, kvacidvizodhyamAnasadyoni"hatakariraktAktakumbhamuktAphalAH, kvacicaityadrumopazalyanihatazvApadakaraGkapizitagarddhapravRddhakrudhAM kauleyakAnAmanyonyasammardakolAhalaiH vAcAlitadizaH, vizasitAnekazvApadapizitagrAmagRbhubhirgRdhrapeTakairAbaddhamaNDalamuparibhrAmyadbhirvizasanasthAnakarAjyacchatramiva darzayadbhirnivAritAtapAH, satatamabhitaH pacyamA"napizitAtibahaladhUmadhyAmalitagaganAnumIyamAnavasa~tIbhillapallIH pariharadbhiH sadyo nihatAnAlokayadbhiH pathi pathikAMzcakitaiH zuSyatAlabhizcaTulavisaMsthulapadanyAsaistadabhimukhaM muhurmuhurvalitagrIvamAlokayadbhiH, samepi ca vartmani praskhaladbhiratyAku-" [F. 90. B]latayA stokamutpathapravRttezciranipatitajIrNaparNaprakarasaGghalatayA nijacaraNapAtopajanitamarmaradhvanitAkarNanAdApataJcaNDazvApada "bhiyeva muhurmuhuvassadbhistokamapyadhvAnamatibahuM manyamAnaiH pathikailacyamAnamArgAm , kacidatikAlakAyakAntibhizcipiTanAsApuTairvRttAruNavilocanairgADhataradehabandhasandhibhitrikacaracitakUrcakaiH sadaivAbaddha kuTibhiH praviSTahanubhirunatagaNDAsthibhiraviddha"pratanuzravaNaibaraziroruhaiH paridhAnIkRtamayUrapicchaprAgbhArairgRhItadhAnvanadhanubhirAtadvitrakASThamayamArgaNairmRgayApravRttaiH zabarase"nApatibhiraidhiSThitayA parito dattazRGgakadhvanibharitakakubhA zabarasenayA dUrato'pi vitrAsyamAnoccaNDa * 1 drshyntii| 2 pallavitanAmiva / 3 pundr| 4 citratAmiva / 5 kacidAcchinna / 6 gRhNabhi / 7 vsttii| 8 maargm| 9 rAtadvitra / 10 ptisirmi| 11 zayara /

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zrIbhojadevaviracitA zvApadAm , ativikaTottuGgagirikuharabhISaNAntarAlapravRttanisvinI(?)zevAlapicchilazilAtaleSu varmakhadRzyamAnahiMsrazvApadAmapyazrUyamANavividhavihagadhvanitA-[F. 91. A ] mapyanulapabhyamAnAkhilAparabhItihetumapyatimUkatayA'pi dviguNatarabhItidAyinIm , dUrAdeva sadyo bhRjyamAnAbhyUSasurabhigandhAnumIya"mAnakRSyakSetrasImAbhiH zRMyamANAtivikaTakukuTaraTitaiyauvanoddhaMtavadhUTikAkRSyamANayatrakamasRNacItkArAnumitani:piSya"mANakodravaiH pacyamAnayavapiSTavaTTikAsurabhitakuTIraprAGgaNaiH kaNDamAnazAlikSiptamuzalakSodaninadAnuyAtakalamakaNDanIgIti hAribhirvikaTakaTaninaMdezopalakSyamANakatipayaNakuTIrakairnivAsAnatidUravartivaMzIvanagambhIrairambhohadAsannasthAnAhatasthitibhiH pathikAzvAsahetubhUtairantarontarAgirigrAmakairadhiSThitAm , kacidatirukSadrAdhIyazzAkhAzatazliSTagaganatalairmuhurmuhurutkUjajaratkapo"tAttazAkhAzikhAntarAlaiH kSudrakITakAditsukASThakuTTakotkuTyamAnaskandhakoTaragranthibhirviraladalatayA viralazA-"[F. 91. B] khatayA ca dvidhA'pyalpacchAyairnisargarukSatayA'tikaThinamUrtibhiH zuSkazuSyamANajIrNatarusahasrairAkulAm , kacidakAlanIlajaladabhramAdunma"daninadaM mayUrArAvaramaNIyasannivezaiH sadaiva prasravanirjharasalilasvIkRtatayA grISme'pyanyavRkSebhyaH samAkRSyeva satatamadhikaM nIli"mAnamudvahadbhirmAgargasyAntarAntarobhayapArzvavartibhirnibiDatarukhaNDairadhyAsitAm , sthAnamanAnAm , sadanaM vAsasya, sanAbhi bhIteH, AspadaM vipadAm , udbhavakSoNI kSobhasya, kAraNamutkampasya, nidAnaM davathUnAm , AsthAnI dauSTyasya, bhUmi manobhramasya, khAni khedasya, niSadhAM viSAdasya, nidhAnaM nirvedasya, sImAM saMtApasya, AkarabhuvaM duSkRtavipAkAnAm , poSahetuM zoSasya, AlImAkulatAyAH, sakhIM duHkhAnAm , mAtaraM mohasya, atiramaNIyabhISaNAM vindhyATavIM prApatuH / tanmadhyena ca gacchatostayoravamitapAtheyayoH saptarAtramaticakrAma / ___ atha tAva-[F. 92. A ]tyartha kSudhAtRSNayA ca pIDito kathaM kathamapi svAdusvacchasalilaM nyagrodhasanAthaM taDAgamekaM dadRzatuH |3............"syaadhstaadivsmtyvaahytaam / anu ca prAptAyAM rajanyAM duSTazvApadabhayAd yAmikakrameNa vihitoddIptako rAtrimativAhayituM prvRttau| atha tRtIyayAme somadatto'tiparizrAntivazAdAsInapracalAyitAni kurvan zrutAzrutanyAyena kapotamithunasya parasparaM jalpataH saMvAdamazRNot / tatra kapotikayA'bhihitam- 'nAtha ! jAtasya jantoniyatameva niryANena bhavitavyam / tad yadi paropakAritvena bhavyabhAyA bhavati tadatIva zreyaskAri / ato varAkAvimau brAhmaNakumArako kSutpIDitAvasmadAzrayamAgatau yadi vipadyate tadA kimAvayorjIvitena ? tad anayoH prANayA-" 1 shrymaannaa| 2 no ravadhU / 3 kandramAna / 4 niprdesho| 5 ratnarAvarAgiri / 6 kvcidntiruukss| 7 nivaDa / 8 kssobhsyaa| 9 dauSpyasya / 10 aakaar| 11 duHkRtadeg / 12 piidditaiH| 13 vinaSTAnyana 17-18 akSarANi / 14 zrutAzrutA /

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zRGgAramaJjarIkathA vAnimittamAtmAnamAvAM nivedayAvaH / ' ta[di ]damAkarNya kapotenAbhyadhAyi- 'priye ! sAdhUktaM bhavati matpriyA bhavatI kriyatAM caitat / yo hyanayormA[F.92. B] bhakSayidhyati sa rAjA bhaviSyati / yazca tvAM sa pratidinaM suvarNazatapaJcakamApsyati / idamAvayorjanmasamaye muninottaGkena sUcitamAsIt' ityabhidhAya" tAvubhAvevAtmAnaM tatroddIptake cikSipatuH / tad vRttAntamAkarNya dRSTvA ca vismitena somadattena tAvuddIptakAdAkRSya gRhItau / tato jyeSThaM bhrAtaramutthApya nivedya cAsmai vRttAntaM kapotaM tasya bhakSaNAya samarpitavAn / svayaM ca kapotikAM cakhAda / athAcamya suSvapat / yAvat sa prAtaH prabudhyate tAvat somadattasya savidhe suvarNazatapaJcakamAvirabhUt / tataH saJjAtapratyayau tau tatsuvarNamAdAya prahRSTau punarapi yathAbhimataM gantuM pravRttau / / ___atha mArge vahatostayorekastRSAkarAlitaH pAnIyamanviSyannanyataH pravavRte / aparastu tathaiva vrajan dUraM gatavAn / pUrvastu jalamanviSya" vyAvRto mArgAt paribhraSTaH / evamubhAvapi parasparaviyuktau [F. 93. A ]mArgavaiSamyAdanyato'nyato jagmatuH / ... atha kathAvazAd jyeSTho magadheSu rAjA sNvRttH| aparastu paribhramana kAJcInAmanagarImavApat / tasyAM ca vijitatribhuvanarAmaNIyakasampadi makaradaMSTrAbhidhAnA kuTTanI prativasati / tasyAzca duhitA karpUrikAnAmA'sti / yasyA nayanavAgurAnipatitAH piGgamRgAH padamapi gantuM na zaknuvanti / tayA ca saha tatra tasya ratisukhAnyanubhavato bahUni dinAnyagacchan / prAyacchat tasyAH sa pratidinamaparimitaM suvarNam / na cAsya kazcidapyarthI vaimukhyamAjagAma / na cAnavarataM prayacchato'pyasyArthaH parikSIyate / evamakSINavibhavatAM tasya dRSTvA ekadA makaradaMSTrA" khaduhitaraM karpUrikAmidamabhASata-'vatse karpUrike ! pratidivasamayamevamathairvilasati / nacAsyArthAgamo'bhilakSyaH prtibhaaste|' iti tayokte karpUrikayAbhyadhAyi-'amba ! ahamapyasyArthAgamaM prati kimapi na jAnAmi / ' ityAkarNya makaradaMSTrA punarapi tAmavo-[F. 93. B]cat-'AH pApe karike ! na khalu tvaM mayA jAtA'si / yA mattaH prasUtA syAt sA kimevaMvidhA bahirmukhI bhavati ? tadidAnI tathA tvayA'yamabhiyoktavyo"raJjanIyazca yathA svakIyamarthAgamaM yathAvad bhavatyAH kathayati / ' tataH sa tayA nAnAvidhairupacAraiH priyAlApaizca tathA''varjito yathA tasyai kapoti kAvRttAntamakhilamapyakathayat / tacca karpUrikA kuTTanyai nyavedayat / atha viditavRttAntA kuTTanI pratyujjIvitamiva labdhanidhAnamiva prAptarAjyamivAtmAnamamanyata / tatastayA bhojanamadhye vAmanIyadravyANi prakSipya sa bhojitaH / tataH sa bhuktamAtra evAnnamudvavAma / udvamaMzcAsau kapotikA"mapyudavamat / tAM ca tenodgINamAtrAmatilobhAta salAlAmeva vijagAla / tataH 1 sussupt| 2 pynntytH| 3 bhramat / 4 patitaH /

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zrIbhojadevaviracitA prabhRti cAsya suvarNAgamaH praNanAza, kuTTanyAzca pravavRte / atha kuTTanI [ F. 94. A ] taM nistuSamavagamya kamapi vyAjamutpAdya nirdhATayAmAsa / tataH praNaSTasarvakho jIvitazeSaH kimiti mayA svavRttAntastasyAH kathita ityanutapyamAnasta "syA nagarIto nirjagAma / nirgatya ca paribhrAbhyana kiyati dUre pathikebhya idamazroSIt yad-'magadheSu kazcid vaideziko viSNudatto nAma rAjA"saJjAtaH / sa cAtidhArmikastyAgI ca / idamAkaye kapotikAvRttAntaM sa smRtvA nUnaM madbhAtrA bhavitavyamityavadhArya magadhAn sa jagAma / gatvA ca tatrAtmAnamasmai jJApayitvA katipayAnyahAni ca sthitvA tatocAptaviziSTatarArthasambhAraH svaparAbhavapraticikIrSayA punarapi kAJcImAjagA"ma / Agatya ca karpUrikAprativezinyA grahaNakamadAt / tayA ca saha tthaivaarthjaatairvilsitumaarebhe| tena ca prathamadinAdapyArabhyata dAtuH pa-[F. 94. B] [ atrAdazaiM 95 aGkAGkitaM patraM vinaSTam ] .........pratyavAdayat / sA'pi vizrambhamutpAdya-'kuto'dbhutArthAgatinimittametadAsAditam' ityapRcchat / so'bhyadhAt- 'kimanayA cintayA? AstAm , sumahatyeSA kathA" / pratidinaM punaH punaranuvadhyamAnena cAnenaitAvatkathitam yad-'mayA zrIparvataM gatvA prANA'tyaya paryantAnuSThAnena siddhiriymaasaaditaa|' athaikadA tena saha svayamapi gatvA karpUrikA tasyaivAzvatthadrumasya tale taM vibhavAtizayamapazyat / tato dviguNatarajAtAbhilASA nAnAvidhairupAyairAvaya' tamabhihitavatI- 'mamAsya vibhavasyopari sumahat kautukam , tad yadyahaM bhavato vallabhA prasAdalezo vA mayi vidyate tat saTTiH kriyatAM kapotikAsvIkAreNa / ' tataH so"madattenAbhyadhAyi-sutanu ! parigaNitArthakapotikAvyatikaraH, aparigaNiteyaM siddhiH| tat kathamatulyayorvibhavayorbhavati saTTiH? / ' karpUrikayA'bhihitam- 'tarhi saptaveNyarjitamapi madIyaM dhanamAdAya saTTiH kriyatAm / ' somadattenAbhyadhAyi- 'bhavatsnehAt kiM na kriyate ? evamastu / ' apitA kapoti-[F. 96. A ]kA / tato bahiH kRtAmapi kuTTanImAhUya vAmanIyadravyairvAmayitvA karpUrikayA saptaveNyarjitena dhanena sasAkSikaM kapotikA pratya"rpitA / somadattenApi tasyAH kare virudakaM prapAtyoktaM yathA- 'yeyaM mayA zrIparvate siddhirAsAditA sA trisatyena bhavatyAH paryavasyatu / ' kapotikAM" cAsau prakSAlya gilitavAn / dhanaM ca svagRhAn prati prAhiNot / rAjaparijanaM ca paJcarAtraparyantaM tathaivAgamanAya saGketaM grAhayitvA AtmanA khabhrAtuH samIpamagAt / 1 nirdhAsthA / 2 sumhaa| 3 'mAnena vAcanenaitAvat / 4 praanntyy| 5 athaikaga / 6 mena / 7 ssstti| 8 bhi| 9 pratyarpata /

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zRGgAramaJjarIkathA athAnyedyuH karpUrikA kuTTanyA sahAzvatthasya tale gatvA kukkuTaraTitamakarot / tataH sa nikhilo'pi rAjaparivAraH pUrvavat sevAM cakre " / tataH pUrNe paJcarAtre'vasite ca mUlye kRtakukkuTaraTitAyA api karpUrikAyAH samIpe na kacidapyAgacchat / tatastadAgamanAzayA'zvatthasyeta "stato bhrAntvA punaH punaH kukkuTaraTitAnyakarot / na ca kazcidapi tAM dizamAlokayAJcakre / tataH karpUrikAyAM kukkuTaraTitAni kurvatyAM kuTTanyA'bhi [ I. 96. B ] hitam -' kimiti putra ! pUtkaroSi ? yataH kapotikAyAM gRhe praviSTAyAmetadeva bhavati / ' tatastaddAsIbhirabhihitam -' bAI e kukkuDa vAsai, ekku liyaMtaha duijau nAsara / ' ityuktvA tAH sarvvA api hatAzA AtmanaH sadRzena mukhena yathAsthAnamagaman / somadatto'pi magadheSu rAjyaM kurvataH svabhrAtuH samIpaM gatvA yathAsukhamatiSThat / 56 tatputri ! dhUrtA nAtipIDanIyA, yataH pIDitAH santaH tat kimapi kurvanti yena pUrvasacitamapyarthamAdAya prayAnti / iti mahArAjAdhirAjaparamezvarazrIbhojadeva viracitAyAM zRGgAramaJjarIkathAyAM kuTTanIvanakathAnikA saptamI samAptA / [ aSTamI syanurAgakathAnikA ] yaccoktaM 'vyAghrAdiva premNaH satatamAtmA rakSaNIya' iti tadapi te pratipAdayAmi; zrUyatAm - astyatra puNDravarddhanaM nAma nagaram | aneka surasadanodyAnadIrghikAsaritaDAgAdibhiralaGkRtamanekamahAdhanajana nivAsitayA sparddhamAna[ 1. 97. A ]mivAlakayA / tatra cA'timahAdhano vaNig vasudatto nAma prativasati / tasya cAtimahatA kAlenopayAcitazataiH putro ratnadattanAmA samajani / sa caikaputratvAdatidurlalitaH pitrA vidyAgrahaNArthamupAdhyAyavasubhUteH samarpitaH / sa ca nisargeNa zrutagrAhitvAt sakRdadhyApyamAnaH sakalamapi vidyAsamudayamacireNaiva jagrAha / sakalAH kalAca svIcakAra / gajazikSAyAmArUDhe gajAyurvede, azvavAhanavidhau turagacikitsite, vaNikalAsu dyUtarahasye, vaizikopaniSadi citrapatraccheda' pustaprabhRti kalAkadambake paraM prAvINyamagamat / ekadA tu samupArUDhayauvanaH pitaramabhyadhAt'tAta ! yuSmatprasAdAt adhItAH sakalA api mayA vidyAH, adhigataH kalAkalApaH, viditAni sarvavijJAnAni, tanmayA'pi tvaddhanopabhogena dinAnya tivAhyanta ityAtmano'pyatitrapA2 / 3 dinAnativA' | 1 chedya / 1 97 tamasya patrasya pratilipiranantaraM prAptA / tasyAM lipikAreNa paGkisaGkhyA nAGkitA, ato'tra tatsUant aGkA nollikhitAH /

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zrIbhojadevaviracitA karamiva [F. 97. B] pratibhAti, tad dIyatAmAdezaH, yenAhaM svabhujAbhyAmevArthamarjayAmi' ityukte pitrA bahuvidhaM prabodhito'pi ratnadattaH kathamapi na tasthau / dhanArjanAya dIyamAnaM prabhUtamapi dhanaM na jagrAha / kevalaM suvarNasahasramekamAdAya subandhunAmnA'nucareNAnugamyamAnaH pratasthe / acintyccaivm-atinindito'ymsmtkulkrmaagto'rthopaarjnopaayH| tanmayA cakravartisevayA dhanamarjanIyamiti nizcitya mAnya kheTAdhipatibadrAmukuTamavanipatimavalagitumucca cAla / sa ca tasyAnucaraH subandhurgRhItatadIyakhagavasunandakastamevAnujagAma / anugacchatA ca tena ratnadatto'bhyadhAyi- 'idaM bhavatA pituH prabhUtaM prayacchato'pi sutarAmalpIyaM pAtheyaM gRhItam , tat kathametAvatA rAjasevAkSamAvAvAM bhaviSyAvaH ? pathi"[F. 98. A] ca kathaM nirvAho bhaviSyati ?' evamabhihite ratnadattenAbhyadhAyi'ApAtopayogArthameva mayedamagrAhi / na punaH pAtheyabuddhyA / yA kalA" yAzca vidyA yAni ca vijJAnAni mayA zikSitAni tAnyeva me pAtheyam / dyUte yata kimapi kitavAnAM vittaM tanmadIyam / pattaneSu ca yad vezyAnAM"dhanaM tadapi madIyameva / atastenaiva me nirvAho bhaviSyati / iyaM ca me pratijJA yadyahaM dRSTastadavazyaM vezyA mAmAhvayanti na ca mocayanti / yadi mAM nAhvayanti mocayanti tadA tatkAlamevAhaM praannaanutsRjaami|' ityevamabhidhAya subandhunA saha pratasthe / atha gacchatA tena kiyadbhirapya"hobhirAsAdi vidizA nAma ngrii| tatra ca bhAilasvAmidevapure saundaryaikavasatirlobhaikapAtramudbhidyamAnataruNimni smaravilAsai-" [F.98. B] kAspade vayasi vartamAnA muhurmuhuHprayatnopacitamugdhAlakalalATaphalakatayA mRdulamArutopanIyamAnAlivalayakalitakamalaikade "zeva tAmarasinI, stokastokodbhavavilAsabhaGguritabhrUyugalatayA samAropyamANaguNavinamardRDhanibaddheva smaradhanurlatA, asaka lonmIlanmanobhavAbhinavavilAsacaturAvalokanatayA muhurmuhuH pratanupavanakampamAnobuddhaMkuDmalaivotpalinI, abhinavAvirbhavalAvaNyasaMvargitakapolatayA daraparipAkAliGgitaphaleva lavalIlatA, pratidinonmIladasamalAvaNyakamanIyakaNThakANDatayA samudbhidyamAnAnatipRthulacandanakandaleva malayopatyakA, pratidivasopacIyamAnAbhinavasaundaryacArubhujalatAyugalatayA ullasanmugdhavi"lasiteva madanavilAsadIrghikA, mugdhoddhatakucakuDmalatayodbhinnabAlamukuleva makaradhvajakrIDAkamalasarasI, kiJcidudbhidyamAnapratanu-[F. 99. A]romAvalIkalitatrivalItaraGgatayA daradRzyabAlazevAlavalrIpariSvajyamAnavIciriva smarataraGgiNI, kramopanIyamAnarasanAguNasthAna"tayA vistAryamANakanakaphalakeva madanadolA, stokastokollasallAvaNyakramopacitaghRttoruyugailajaGghAkANDatayA pratidizopajAya"mAnarAmaNIyakamugdhakadalIkANDayugaleva sara 1 rthopaarynopaayH| 2 maanaakhettaa| 3 mudvcaal| 4 namadaThaniddhayeva / 5 mAnAdvobuddha / 6 jugala / zRGgA 8

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zRGgAramaJjarIkathA pramadodyAnavasudhA, pratikSaNamupacIyamAnanisargAruNacaraNakAntimattayA vikAsollAsasaMvaryamANakamaleva sthalanalinI, tathApyAliGgiteva svajAtisahabhuvA vaidagdhyena vidagdhajanamanohAriNI nirupama lAvaNyA] lAvaNyasundarInAmA "'rghavittikA prakhyAtA vezyA prativasati / sA ca devasya purato nartanapAlyAM nartitumAjagAma / atha so'pi tasminneva kSaNe devadidRkSayA tatraivAgamat / taM ca mattavAraNakaniviSTamavadhUtatayA'pi nijasaundaryApahastitakandarpadarpa lAvaNyasundarI dadarza / sa ca dRSTamAtra eva manmathAstraiH saha pravi-[F. 99. B] veza tasyA hRdayam / atha sA tadarzanasamakAlameva madanaparavazA mRcchovikalAGgI bhuvi papAta / kSaNAca kathaM kathamapi labdhasajJA 'ziro me vyathate' iti nartanopAdhyAyasya purato vyAjamakarot / atha viditatadabhiprAyayA tadIyasakhyA bakulikayA tadAkAragopanaM kurvatyA nartano"pAdhyAyo'bhyadhAyi'prAgevAnayA mamAgrataH kathitaM zirovyathA me'stIti / tat prayAtveSA svagRham / ahamevAsyA vAranRttaM nirvartayiSyAmi' ityabhidhAya tAM sampreSya svayaM ca devakulavelAM nivartya tasyAH samIpaM jagAma / tatropavizya zarIravArtAmApRcchaya vihasya cedamabhyadhAt'sakhi lAvaNya"sundari? tvaM sadaivAsmAnupahasitavatI, idaM ca punaH punarabhyadhA[ t ] yata kila bhavatyo rucitadhRSTikAstadidAnI kIdRzaM pratibhAti / bhadrikAstAvad vayamA 'smahe / yAH prathamamavalokya rUpamavagamya zIlamavagatya sthAnamAsAdya sambhogamaGgIkurmaH puruSam / tvaM puna- [F. 100. A ] ratrAtipuNyavatI yA'navagatanivAsasthAnazIlasampattAvapi puruSe darzanamAtreNaivAnurajyase / idAnIM [ imAM ] cAvasthAM prAptAsi', ityAkarNya lAva"NyasundaryedamabhyadhAyi-'sAdhu kRtaM bhavatyA yat pratyuccAritA'smi / yanmadIyAhaGkRtasya saubhAgyagarvasya yauvanamadasya cedamevocitam / kintu nAbhijJA'si, vaktuM paramIdRzaM narma ca marmasparzi nocitam / taditthaM marmavyathitAyAM mayi na yujyate vaktumidaM bhavatyA / sAmpratamidameva tvadIyasya sakhItvasya me phalaM yadasmin samaye yad budhyate tad vidhIyate / ' ityabhihitayA tayedamabhyadhAyi-'kiM madIyena sakhItvena yadyetAvadapi tvatsamIhitamahaM na sAdhayAmi / ' ityukte lAvaNyasundaryavAdIt-tvamidamatyalpaM manyase / idaM tu sakhi ! duSkarameva / yatastamAlokya svaprayojana" eva pravartyati bhavatI / matprayojanAni tu vismariSyati / ' ityAkarNya bakulikayA~'bhyadhAyi-'sakhi ! yastu sau-"[F. 100. B] ndaryAd yadyapyevaM tathApyevaM na bhavatIti mayi sambhAvyatAm , avazyamAnIya bhavatyA saMyojayAmyenam / ' ityabhidhAya pratasthe / cintitaM cAnayA yadapUrvaH" pumAn sthAnadvaya evAvApyate, yadi svAdhyAyI tadA maThikAdau, atha rAjaputrAdistadA zUnyadevAlayAdau / tad devagRhAdau prathamamevAnvepayAmi / iti vicintyAnviSyantI 1 sthlglinii| 2 maasvaady| 3 bakulikAyAbhya /

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zrIbhojadevaviracitA zUnyadevAyatane tamanucareNopAsyamAnaM zayAnamapazyat / tataH sA taM tadIyamanucaramavocat'bho ! sandhyAyAM" zayanaM bhAgyavatAM nocitam / ayaM tvatsakhA bhAgyavAnivAlokyate ataH prabodhanayainam / ' ityuktena tenAsau prbodhitH| tatastayoktam-'bho prAha"Nika ! kuta Agamyate ?' ratnadattenAbhyadhAyi-'dezAntarAd vayamAyAtAH, cakravartinamavalagayituM gamiSyAmaH'' [F.101.A] iti zrutvA bakulikA kSaNamiva sthitvA roditumArebhe / atha tAM ratnadatto'bhyadhAt-'bhadre ! kimiti rudyase?" sAbravIt-' bhavatAM sadRzAkAro mama bhrAtAsI"t tamanusmRtya mamAzru pravRttam / tad bhavanto'pi mama bhrAtaro bhavanti / ' ityAkarNya tenoktam-'satyametat , kintu tvadbhAtA tvadarthakSatAveva nimittamAsIt , ahaM tu yatra yatra kvacidArtirbhavatyAstatra tatra bhrAtA / ' iti zrutvA bakulikayoktaM-'tad gamyatAmasmadgRhaM tatra prANikairbhUyatAm' ityabhidhA ya tamAdAya bakulikA lAvaNyasundaryA gRhamagAt / lAvaNyasundarI tu svagRhasyopari sthitA gRhItaviSagranthiridamacintayat-mamAdya kimarthadvayakSatirbhaviSyati utArthasiddhiriti na jAne / yadi tAvad bakulikA taM svagRhAn nayati" [F.101. B] tadA sakhI mama hastAduttIrNA, so'pyabhilaSito gtH| tadevamahaM vipatsye-iti cintayantyeva yAvadAste tAvad bakulikA tadAzayamAzaGkamAnA tadIyagR"hameva tamanayat / dRSTvA tu lAvaNyasundarI manAk parituSTeva prAha'bakulike! ko'yaM prANikaH ?' tayAbhihitam-'asmadbhAtA' iti bakulikayA'bhihite apagatazaGkA kRtakRtyamAtmAnaM manyamAnA tasyopavezanakamadApayat / atha bakulikayA'bhyadhAyi-'prAvaNimakasyAsmaddhAtuH kriytaam|' itya"bhihitA sA svavibhavAnurUpamanurAgAnurUpaM ca tasya snAnabhojanAdikaM prAhvaNikamakarot / kramAcca pradoSe'tikrAnte bakulikAyAM ca svagRhaM gatAyAM sA ratnadattaM zayanIyamanayat / tatra yAvat tena saha saGgacchate tAvad rUpAcchataguNaM tadIyaM vaidagdhyamAvarjakatvaM guNAMzcApazyat / tena tasyAmeva rAtrau sA tathA kathaJcidAvarjitA yathA tatkSaNa eva parityaktAparapuruSAbhilASA tadekavAriNyevAbhavat / atha pariNatimAgacchatyAM rajanyAM tathaiva la[F.102. A]kSyamANeSu nikhileSvapi tamastArakAprabhRtiSu bhAveSvaparikalitasvarUpasya bhagavataH kAlasya vazAdavasitAyAmiva pratibhAsamAnAyAm , krameNa" ca vijitAtisthUlamuktAphalatviSi karakopalanikara iva vilIyamAne tArAgaNe, astAcalazikharavartinaH zazadharasya prabhApaTalenAnuviddha"mAruNaM tejo dadhati, amalamuktAmaNimayUkhacumbitasyollasaddhahalavidrumalatAkiraNazoNimno jaladhipulinasya lakSmImudvahati gaganatale", vyapasarattimiragrasarasaMvaliteSu udeSyataH kamalinIpateraMzubhiH kapiziteSvanaccharajanIrasonmArjitebhyaH karaTIkapolasthalebhyaH kAnti "mAhRtya ghaTiteSviva . kArako / 2 prsNrsvlitessu| 3 karali /

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zRGgAramaJjarIkathA pratibhAsamAneSu diktaTeSu, ekataH pArApatapakSapatradhUsaraistamobhirAkalite, anyataH stokapAkopagUDhakuvala[ya]phalako "malenAruNakaranikarazoNimnA zavalite, anyatra tADIdalapAkapANDubhiH pratanimAnamAgataiH zazadharamahobhirAcchurite, aparatropalakSyamA -[F. 102.B] NAvasIdadviralatArake, anyatastamolezAvazeSazyAmalatayA'nupahatakatipayasthUloDunisphAre citrapaTa iva harati cetAMsyaMmbaratale, satatasa"zcaraNazramAdiva mandamandasaJcAriNi vinidroddaNDapuNDarIkeSu kamalinIkhaNDeSu muhurmuhuH skhalite, kathamapyAsAditasaudhavAtAyanAntareNa pravizya suratakelikla maglapitayordampatyoH zramasalilabindUnatitarSAdivAcAmatyupavanakusumarajaHprakaradhUsaraviSi prAbhAtike mAtarizvani, tatkSaNaparityaktanidrAlasakaNThakuharaskhalanajarjare rajanIvirAmazaMsini dinalakSmIpravezamaGgalapaTahe mAninImAnagrahocchAdanamatra iva zrotra"vivaramAvizati muhurmuhuH kukuTadhvanite, AvirbhavanirbharAnurAgatayA nirdayanidhuvanopamardajanitajaDimatayA ca muhurmuhurvighaTitasaGghaTitanidrAlasevAzleSadattahRdayeSu vizliSyadbhujalateSu ca zizayiSamANeSu kAmijanamithuneSu, ravikiraNakuJcikodghATyamAnadalakavATeSu prAga-[F. 103. A]ntaruSitaryAmikairiva madhukarairvimucyamAneSvekairaparaistvApatadbhiH pratigRhyamANeSu prakaTitadvAreSu zriyo vilAsabhavaneSu paGkajeSu sadyo"vigatanidratayAmandamandamunmuktagukRtInAM kusumakozebhyaH samutpitsatAM madhukaradvandvAnAM parAgabharamantharAH pakSapAlI DimAnamAnayatya lakSyamANakramasaGgalanavigalite tuhinakaNanikarazItale zanairavazyAyasalile, prathamamullasitastokastokahuGkRtInAM nidrAvaze ponmipadalasapakSmapuTatayA kiJcidunmIlitadRzAM svApasaGkucitagAtraprasarotsukatayA ca muhurmuhurvidhutajaDitapakSatInAmubodhamAgaccha "tAM khagakulAnAM vAcAlayati taruzikharAntarANi, kramopacIyamAnabahalimni kolAhale zanaiH zanaiH prauDhikramavighaTamAnasandhibandhanata yA parasparonmucyamAnapRSThazlathadaleSu manAg dalitavadanatayA ca daradRzyamAnAvazyAyajalajaDitamakarandakaNikeSu nirbharavikAzodvella"-[F.103. B]ddalatayA madhukarANAM madhusatrapravartanArthamiva prakAzitakozeSu kusumavIrudhAM vikAsamAyatsu mukulotkareSu, dhvAntadhvaMsanaikadakSasya bhagavata"strilokaikacakSupo mitrasyApyudayamasahamAneSviva vicchAyatAmAzrayatsu jaDAzayotpatteraguNatAyAH khanAmnazca sadRzamAceSTamAneSu kumudAkareSu, cirapravAsinamAyAntamavagatya divasakaramaruNarociSA lohi[te]Su kavalitakuGkumAGgarAgAviva kAmapi zriyamAzrayantISu prasannavadanAsu digvadhUsu, pavanAhatairivAcchAcchasindUrarajaHpaTalapATalenAruNajyotiSA galahastyamAnaistimiraparigheratijavAdvimucyamAneSu gaganabhAgeSu, vivRtacaJcapuTAskhakhilAmapi rAtrimApIya jyotsnArasamatisauhityAnmandamandagamanAsu vilAsamaNivedikAmAzrayantISu [F.104.A ] nidrAlasastimitalocanAsu cakorakuTumbinISu, prakaTitAzeSavastusAthai rAlokairapi tamaH paTalairivAcchAdyamAnAsu doSaikadRSTerdurja"nasyeva kauzikakuTumbakasya dRSTiSu, dUrAdapi sametya 1 hriti| 2 degcetaaNsaambr| 3 prbhaatike| 4 pakSA /

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zrIbhojadeva viracitA vidhivilasiteSviva krIDAkamaladIrghikAnAmantarujjhitapakSapAteSu jhaMTiti ghaTamAneSu cakravAkamithunepu, AzritavairAgyeSu yogiSviva gRhAvasthitivimukheSu nirvANamAzrayatsu pradIpeSu, sphuTadakaThorakama lakiJjalkajarjarIvarjitamakarandakaNakapAyite saGgamotsukapracalacakravAkakAminIpakSavikSobhitAmbhaHprasarazIkarAsArasamparka"zizirite mandamandAndolitopavanakusumavIrudhi prabuddhamadhukara dhvanitamadhurimAnanditodAmanidhuvanaklAntakAminIjanazravaNavivare"[F. 104. B]vAti prAbhAtike maruti, anAstyAnajaturasatviSA bAlAtapacchAyAprasareNa vicchuritacchadatayA raktAmbujavanabhramamAvahatsu puNDarIkakhaNDeSu, ta"molezAvazeSaliptabalatayA gahanodaravartinAM jalAzayAnAM kSaNamindIvarabhrAntimutpAdayatsu kumudakAnaneSu, udayazailazikharacUDAmaNitAmAzrayato dalitadADimaprasUnapATalasya pATitatamasaH prakAzitAzeSabhuvanAbhogasya bhagavato bhAvataH prabhAjAlena jIvita "iva ucchasita iva prabodhita iva nikhile'pi bhuvanatale, subandhunA suvarNazatAni paJca pracchadapaTe bandhayitvA tatpAzcAt tadIyAmanucarIm-'tvayA pra"cchadapaTo'nveSaNIya' ityAbhASya dyUtakrIDA) TiNTAM jagAma / tato lAvaNyasundarI yAvadutthAyAvalokayati tAvat tamapazyantI ka gato'sAviti nijA"manucarImapRcchat / sA'bhyadhAt-'gataH saH, paraM ka gata iti na jJAyate / kintu gacchatA tenedamabhihitaM yat pracchadapaTo'nveSaNIyaH' iti / tatastadabhihitayAnucaryA"[F. 105. A]tathAkRte suvarNazatapaJcakaM pracchadapaTaprAntanibaddhamavalokyAbhya'dhAyi lAvaNyasundaryA-'na kevalamasau rUpavAn vidagdho yuvA, dAtA'pi / aho suvarNa"manyat surabhi kva prApyate ?' tato bakulikAyAmAgatAyAm-'bhadre ! gato'sau kvApi tadanviSyatAm' ityavadat / atha bakulikAzvatarImAruhya saparicchadA" nUnamanena TiNTAyAM bhavitavyamiti TiNTAM jagAma / tatra mahAdhanAnAM madhye prAgalbhyena taM krIDantamavalokayantI yato dyUtakArANAMbavayo vazyA(?)bhavantIti tUSNImeva tasthau / anantaramasAva[va]lokya-'aka ! kiyatkAlamihAgatAyAH' ityapRcchat / sA'bravIta-'aticiraM vartata' iti tayAbhihite-'anucitasthAne bhavAdRzInAmAgantuM na yujyate' ityabhidhAya pratikartAraM prakSipya-'lekhyakaM kriyatAm' iti sabhikamabhyadhAt / atha-'drammANAM sahasrANi pazcAzad bhavatAjitAni' iti sabhikenAbhihatam / so'bravIt-'akAyAstAvad drammasahasrANi catvAri tAmbUlArtha pradIyatAm , tathA SoDazasahasrANi lAvaNyasundaryAH [F.105. B] preSyatAm' ityabhidhAya drammasahasrardazabhistyAgaM kRtvA bakulikayA sAdhaM lAvaNyasundaryA gRhamagAt / tataH sva"vibhavAnurUpaiH snAnabhojanAdibhirupakAraistadinamatyavAhayat / rajanyAM tu lAvaNyasundarI suratopabhogamanubhUya jAtapraNayA tamavocat-'kuta 1 jhaTati / 2 jrjraannaavrjit| 3 degkssaayete| 4 prbhaatike| 5 anaasthaan| 6 ttpaarkhaat| 7 ttettaaN| 8 gtosaavti| 9 priit| 10 kyaabhidhaayi| 11 vkhyaa| 12 prtiktaa| wwwwwwwww

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62 zRGgAramaJjarIkathA www (6) Agamyate kva vA gantavyaMm ?' iti pRSTaH sa AgamanasthAnamAvedya pratApamukuTanAmAnaM cakravartinamacalagituM prAtarevAsmAbhirgantavyam" ityavadat / tayoktam -' yadyarthopArjanArthameva gantavyaM tadA bhUyAnarthasaJcayo mamApyasti sa tAvadupayujyatAm / tasmin parikSINe yathA tubhyaM rociSyate tathA kuryyAH / tatastenAbhihitam - ' bhavatInAmaGgamevopayujyate na punararthaH / sa hi dIyata eva / tadavazyaM mayA prAtargantavyam / ' anyedyuH " sA DhoNDAbhidhAnAyAH kuTTanyAH sakAzaM gatvedamabhyadhAt- ' mAtastadIyavacanautikramaM na karomi / na cAsmin gate jIvituM zaknomi / tadAdiza [I. 106. A] yadatra kartavyam / ' iti zrutvA kuTTanyA bahustannivAraNAya sA prabodhayitumAreme / prabodhyamAnA'pi yadA nAbudhyata tadA kuTTanyacintayat - ' bhavatvanumatiM karomi / iyaM hi sukumArA kiyantamapyadhvAnaM gatvA zAyAsAnanubhUya svayameva prabodhameSyati / ' iti vicintya - ' bhavatvahamapi bhavatyA sahaiva gamiSyAmi' ityanumatimadAt / tato ratnadattena saha lAvaNyasundarI kuTTanI ca gantuM pravavRte / atha te zanaiH zanairgacchantaH kiyadbhirapyahobhiH pUrNapathakAbhidhAnaM pattanamAseduH / tato bahireva pattanasyopavanabhuvi mahatazrutadrumasyAdhastAd lAvaNyasundaryu tsaGge ziro nidhAya ratnadattaH suSvApa / tatparicArakeSu ca bhojanAdyupakaraNamAhartuM pattanasyAntargateSu kuTTanyacintayat- 'sarvvathaiva gamane pravRtteyam / tatprapaJcaka" mapi vidhAya rAjJe nivedya ghAtayitvainametAM gRhItvA svanagaraM gacchAmi / ' ityAlocya kusumAni gRhItvA " [1. 106. B] rAjJA sUradharmmaNaH sakAzaM gatvA vyajijJapat- 'deva ! mama yauvane caturthe'hni snAtAyAH samAgamo devena sArdhamabhavat / tatra ca duhitA me samaMja " ni / devena yI samutpannA sa kalasundaryeva bhavati / sA ca Thakenaikena ThakayitvA nIyamAnA tiSThati / tenAhaM devaM vijJamAgatA / tadatra devaH pramANam' ityAkarNya rAjA dANDapAzikamAdideza'yenAsmadduhitA ThakitA sa zIghrameva nigRhyatAm' ityAdiSTo dANDapAzikaH khapatti "bhiH saha tatsavidhamagAt / tatra yAvadAlokayati tAvallAvaNya sundaryAH prahRSTAyAH snehenotsaGge nihitamUrdhAnaM yuvAnamatisundaraM puruSaM zayAnamapazyat / tato daNDapAzikastamavalokyAcintayat- 'nUnamanurAgAdanena saha gantuM pravRttA / tanna Thakiteyametena / asatyeyaM kuTTU"[F.107. A]nI, tad bhavatu yAvadayaM svapiti tAvadatraiva tiSThAmi prabuddhe tu vRttAntaM prakSyAmi / ' tato yAvadvilambo dANDapAzikasya samajani" tAvad rAjJAbhyadhAyi - ' kimiti daNDapAzikasya vilambaH ? ' tataH kuTTanyA'bhihitam -' deva ! vijJaptameva mayA sa yatimahAMSThako'tastena dANDapAziko'pi ThakitaH / tato rAjJA bahavaH sAmantAstatra traiSye'nta / (2) 1 2 sa / 3 vacamati / 4 sundaryuccha / 5 samayani / 9 daNDa / 10 sundaryA / 11 daNDadeg / 12 daNDa' / 13 daNDadeg / 1 vyaH / 8 ThakaitvA (3) 6 ya / 7 sa / . 14 preSyanta /

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zrIbhojadevaviracitA tairapi tadvRttAntaM dANDapAzikAdavagamya tathaivAvadhArya tatraiva vyalambyata / tato rAjJAbhihitam'te'pyaticirayanti tat kimetat ?' tataH kuTTanyAbhihitam-'deva! te'pi tena ThakitAH tat svayaM gamyatAm / kintu sAvadhAnatayA gantavyam / yataH sa yAvataH pazyati tAvataH sarvAn Thakayati / ' tataH sa nRpatirAracanAM kRtvA tatsavidhamagamat / tato lAvaNyasundaryA rAjAnamAgacchantamAlokya prabo-"[F. 107. B]dhito ratnadattaH / prabuddhastvidamabhASyataratnadatta ! bhavatA mamAgrata idamabhihitaM yadahamUrdhvasthitazcatuHSaSTeH puruSANAM kaDitallA jAnAmi, upaviSTastu dvAtriM"[zatAm], [sa]ptastu SoDazAnAm , tadayaM sa samayo yattu mayA tvamiyatIM velAM na prabodhitastadalpakA ete itthamavagamya, idAnIM tu yad budhdyate tadvidhIyatAm' ityAkarNya-'sAdhu kRtam' abhidhAya saMyato bhUtvA khaDgavasunandakapANistadakhilamapi balaM tRNAyamanyamAnastadabhimukhaM pratasthe / rAjA tu tasya zaurya "mavalokya lAvaNyasundaryAzca prasannatAmavagamyAcintayat-'na bhavatyepA tthkitaa| ThakitAnAM hyanyAnyeva rUpANi bhavanti / prapaJcena kuTTanyenaM vyApA"dayitumicchati / tadasatyeyaM pApA, anurAgAdetaduhiteyamanena saha gantumudyatA' ityavadhArya 'yadyahamatraiva tiSThAmi tadayaM vinAza"mupagacchati' iti nizcitya svagRhAn gatvA tadAkAraNAya pratIhAraM prAhiNot / idaM ca cintitavAn-'dhanyaH sa pumAn yasyAyaM padAtitvameSyati / ' tataH pratIhAro ga-"[F. 108 A]tvA ratnadattamavadat'rAjA sUradharmA tvAmAhvayati / ' tataH sa gatvA pAdayorapatanneva rAjAnamapazyat / rAjJA tUpavezanakatAmbUladAnAdigauravapuraH"saraM pRSTaH- 'bhadra ! ka gantavyam ? ko deza udvAsitaH ? ko vA sanAthaH kartavyaH?' ityabhihite 'cakravartinamavalagituM yAsyAmi' ityavadat / tato rAjJA'bhyadhAyi"- 'yadi nAtiklezakA[ri ta]dA atraiva goSThyA kiyatkAlaM sthIyatAm / madIyAnyaSTacatvAriMzat sahasrANi grAmANAM tadadhaM bhavAn gRhNAtu, ardha tu mama praya"[cchatu' ityAdi sagauravamabhihito'pyapratipadyamAno dAnasanmAnAdinA saMvarya visrjitH| tato lAvaNyasundaryAH sannidhimagAt / atrAnta "[re pravi] zya kuTTanyA'bhihitam- 'putra ! pravizyatAm , surUpa AlApayatAmAlApapezalo'rthinAM saveskhadAteti guNatrayaM bhavadIyaM mayA trailokyavi [lakSaNaM samyagavagatam, idAnIM tat ghaTitasya pauruSamitaraguNAnusAri vidyate na veti mayA parIkSituM yatnaH kRtaH / taditaraguNebhyo'pi[1.108.B] pauruSe vilakSaNo'si / dhanyA'haM yasyAstvamevaMvidho jAmAtA' itya[bhidhAya] ............." devAtiSThat / tenaiva sahitA mAnyakheTAbhimukhaM gantumArebhe / ......................" tuM pravavRte / ratnadattaH krameNa gatazca mAnyakheTAbhidhAnaM nagaraM ............... ............" dIya prAsAdavittikAyAcitralekhAbhidhAnAyA 1 dnndd'| 2 praabodhitH| 3 kRty| 4 tdkaarnnaay| 5 rAjJa / 6 maayaa| www.amam 7109 aGkAGkitasya para tvAdimAnyeva vAkyAni pacyante /

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zRGgAramaJjarIkathA (5) ."" mayA'valagitavyastatsvakIye nivAse sthAnaM mama dIya[F. 109. A] athAparedyustatsamakSaM lAvaNyasundarIlagiSyAmi / yasya ca (2) (3) (4) gaNikAyAH tAmityabhidhAya ta mavocat - 'svanirvAhArthaM sannihitagrAme rAjJaH sevAmahaM aga tyA dinacatuSTayaM mocanakamasti / ' sA tu tacchrutvA vajrAhate kSaNaM tyenAsya gacchata idameva vaktuM yujyata ityavadhArya sA mocanaka yA nirgatena narapatinA citralekhayA saha sauMdhasyopari ko [F. 109. B] saggikeNaiva rUpeNAlaGkRtA vyaloki / tena ca ciraM nirvarNya saMyoga 'nucaraH - 'apUrveyamatratyA na bhavati / rUpayauvanalAvaNyAdi sampannA ca / tadadyAnetavyA bhavatA' ityabhidhAya prahitaH sa tu citra [ lekhA ].. .. tatra ca tatsannidhAveva tAmapazyat / tatropavizya " citralekhayA saha kSaNamitra goSThIM vidhAya tasyai karpUrAdisahitaM tAM ..... . "syA dAtumArebhe / lAvaNyasundaryA ca - 'Aste tAmbUlamityabhidhAya na gRhItam / tataH sa citralekhAmabhyadhAtU - ' bhadre ! keyaM prAghUrNikA ........ 'valagitumAgatasyAparasya bAndhavasya [ ? ] iti / ' sa tu zrutvA roditumArebhe / tatazcitralekhayA'bhyadhAyi - 'bhadra ! kimiti rudyate ?" tenAbhihitam - 'vastudvayaM nazyati lagnam |' punastayA - 'kiM tat ?' iti pRSTo'sAva "[F.110.A] bhyadhAt-rAjJA iyamadya dRSTA, dRSTvA ca sa mAmabhyadhAt 'yadiyamAnIyatAm, [ di nAyA ]ti tadA'syAH karNanAsikaM chettavyam / tvamapi vyApAdayitavyaH / tacchrutvA lAvaNyasundarI bhayacakitA samabhavat / tatacitralekhA caki.. . 'yAtAmavocat - ' bhadre ! ko doSaH, bhavadbhartA'pi tvAM mocayitvA gataH / rakSatAM mAlAM ( 1 )' ityabhidhAya kathaGkathamapi prabodhitA pratyapa.. . kena ca gatvA rAjJe niveditaM yat- 'sA utkaNThitaiva sthitA yadaiva mayoktaM tadaiva pratipannaM / tayoktaM caitadarthameva mayA AtmAda.... "nyAmevaM mahArAjaH sambhAvayati / rAjA anugatavati pradoSe visarjitarAjaloko vAsabhavanamagAt / saGgamakazca tAmA. .." sa rAjA tayA saha smarakelisukhamanvabhavat / athaLe[F.110. B] prabhAtaprAyAyAM rajanyAM sA nijabhavanaM jagAma / rAjA tu drammalakSamekaM vAsAMsyAbharaNAni ca pradAya tasyA gRhe saGgamakaM prAhiNot / sA tu " drammaSoDazakamekaM gRhItvA tatsarvaM visasarja / tataH saGgamakenAbhihitam -'aho citraM kimetat ?' tayA'bhyadhAyi - 'yAvatI bhATistAvatImevAhaM gRhNAmi / yadi tu" madIyamevA (3), (4) 64 ******* (1) 1 nivAsasthAnaM / 2 makSaM / 3 vinaSTAnyatra 8-9 akSarANi / 4 vinaSTAnyatra 7-8 akSarANi / vinaSTAnyatra 5-6 akSarANi / 6 vinaSTAnyatra hitrANyakSarANi / 7 bandhasya / 8 dRSTvA 9 vinaSTAnyatra dvitrANyakSarANi / 10 vinaSTAnyatra 5-6 akSarANi / 11 vinaSTAnyatra 7-8 akSarANi / vinaSTAnyatra navAkSarANi / 13 saMgamikaM / 14 saMgamikena / 12 ........

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zrIbhojadevaviracitA 65 (3) kAraNakaM madIyameva mocanakamiti rAjA pratipadyate, tadaitat gRhNAmi / tataH saGgamakena tasmin kautuke rAjJe nivedite tena ca tathaiva pratipanne, tatrAgatya saGgamaka : - ' pratipannaM rAjJA, tad gRhyatAm' ityavAdIt / sA ca tagRhItvA yAcakAdInAM tyAge prAyacchat / yathaikamahastathA dina trayaM rAjJA saha tasyA jagAma / (2) anyasminnahani dezIprekSaNakAbhijJeti rAjA tAmAkAritavAn / sA tu 'Agamana dinamadya tasya; tadyadA'sAvAgacchati tadA tvayaitasya hastistambhakasya sannidhIbhUtvA mama [mA]lA darzayitavyA' iti nijAnucarImabhidhAya vihitazRGgArA rAjakulamayAsIt / [F. 111.A] AgatAM ca narapati:- 'dezIprekSaNakamasmAkaM tvayA darzayitavyam' ityabhASata / sA tu ' tathA ' iti pratipadya nartitumArebhe / atha pravRtte prekSaNa ke yAvattAlaM bhaM tvA pRSThato'valokayati tAvadbhajastambhasamIpasthAM nijAmanucarImapazyat / tato rAjJo mukha[ma]valokayAJcakAra / rAjA tu - 'vidito'bhiprAyaH, mocanaka ""masti' iti tAmavAdIt / sA tu vimuktadhammillA dhAvantI svagRhamagamat / rAjA tu tasyAstadAkUtamAlokya jAtakautukaH saGgamakena sahAlocya - ' kIdRzaH sa" puruSo yasminnaivamiyamanuraktA, asmalajjAmapi parityajyAtmAnaM vimucyApi pradhAvitA' ityuktvA tadvRttAntaM draSTuM jagAma / tatastatpRSThato gatvA yAvajjA" lagavAkSa kairnirIkSate tAvadAyAntaM ratnadattamAlokya sA gRhItodakapAtrA pAdaprakSAlanAyopasasarpa / ratnadattastu tAmanyathArUpAmAlokya subandhunA sahedamabhyadhAt - 'bhadra subandho ! gRhavArtAyAM pAnIyaM praviSTam' ityabhidhAya pAdaprakSAlanapravRttAM tAmavocat - " " [ F. 111. B] ' lAvaNyasundari ! pAdau mA prAkSIH / tvaM hi mama jananI bhavasi / ' sAtu sAkUtamavAdIt - 'ratnadatta ! kimetat ?' ratnadattastAM punaravAdIt - ' kimanyat / tvaM hi matprabhodarAH, " tadbhavatu, pUryate, upavizyatAm / ' rAjA tu saGgamakena sahAlocya 'bhadra ! zrutAnyasya vacAMsi / tannijAkArAdapyatiriktaH ko'pyasya vivekaH / tadbhavatu dIyate darzanamasya' ityabhidhAya gavAkSamutsRjya dvAreNa praveSTumaicchat / sa tu rAjAnaM pravizantaM svapratibhayA parijJAya - 'deva ! sAvadhAnairagrataH praveSTavyam' ityabhidhAya dalakazastrikAyAM hastaM dattvA tamatarjayat / rAjA tu tamavocat - 'anayA saha tatra samaye tAnyakSarANIdAnIM tvamUni, tat kimetat " ?" so'bhyadhAt - 'bhavAn mama zUravaNTho jAtastadatredamevocitam / AtmA hi prabhuH pratipAdyate vallabhAyAstriyazca / tadatra devasya nocitaM sthAtum / svarAjakulaM prati vijayaH kriyatAM devena / devamevAvalagitumahamAyAtastatrAgatya yat kimapyA[F. 112. A]deSyati devastadahamanuSThAsyArmiM / ' rAjA tu tasya pauruSeNAcAreNa ca pari4 pAnIyAM / 5 prabhoH / 6 syAmaH / (6) 2 .vya / 1 saMgamikena / zRGgA 9 3 melA /

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66 zRGgAramaJjarIkathA tuSTaH 'sAdhu sAdhu, yadbhavAn bhaNati tadeva kriyate ' ityabhidhAya rAjakulama " yAsIt / tatra gatvA tadAkAraNAya kareNukAM pratIhAraM ca prAhiNot / tatastena mahatA gauraveNAnItaH, ArUDha eva pravezitaH, sannidhAvupavezanakasvahastatAmbUladAnAdinA sanmAnitaH / pRSTava'kiM jAnAsi ?' so'bhyabhASata - 'sarvANi zAstrANi, nikhilAH kalAH, sarvANi vijJAnAni ca jAnAmi / sakRcchrataM ca gRhNAmi / idAnImeva kiJcit kautukaM dRzyatAm / catvAraH kathakAH kathAH kathayantu, ahaM sArIbhiH krIDAmi / yadi dAyaM vi" - smarAmi, yadi ca tAmbUlaM na bhavati, yadi kathAnikAsu vismRtirbhavati tadA mayA kimapi na jJAtaM bhavati / ' rAjJA tu kautukAttathA kArite sa yathA pratijJAtaM tatsarvvaM kartumA rebhe / atrAntare lAvaNyasundaryA cintitam - 'kimatra sAmprataM yattAva [F. 112. B] [ atrAdarze 113 aGkAGkitaM patraM vinaSTam ] na samarabhuvi saMsAdhya muhurmuhuranRNo bhavan nRpatiprasAdasukhAnyanubhavaMzca tenaiva nRpatinA saha sukhena suciramAsAJcakre / tat putra ! puruSeSvitthamatyantAnuraktAH striya AtmAnamarthAMca samUlakApaM kaSanti // iti mahArAjAdhirAjaparamezvarazrIbhoja devaviracitAyAM zRGgArama [ JjarI ] kathAyAM rUyanurAgakathAnikA aSTamI samAptA / 06207 [ navamI ubhayAnurAgakathAnikA ] (6) (1) itthamekatarAnurAgasya svarUpamAveditam / idAnImubhayAnurAgasya svarUpamAvedayAmi " / astyatra bhuvanatalavikhyAtamapahasitAmarAvatIsau[nda ]ryadarpamapahastitAlakAvibhavaM uragapuraM nAma nagaram / tatra ca samarasiMho nAma rAjA / sa caturazIteH sAmantAnAM dvAdazAnAM ca maNDalezvarANAM patriMzatazca rAjakulikAnAM dvAsaptaterATavikapallIpatInAM ca catuviMzateH kArghaTAnA" - [ F. 114. A ] mekaviMzateH koGkaNAnAM SaTtriMzatazca velAkulAnAmAdhipatyamakarot / tasya pratApAvanatasakalarAjamaNDalasya vazIkRtasakalasAmantasya " [a]zokavatI nAmA'tiprakhyAtA'tilabdhipradhAnA dArikA rUpayauvanalAvaNyaikAyatanamasti / tasyAH sarve sAmantAH sarvvasvamapi prayacchantyakSaNi (?) tAmunmukhAH pratIkSante / sA tu sarvebhyaH sarvamapi tadupAdAya sAmantacchaDakasya prAyacchat / sa hi tasyAH prANebhyo'pi priyatamo rAjJo'pi sabhAprasAda pAtram / sA tu kSurikAnATyaM jagadvilakSaNaM nartituM jAnAti / athaikadA zaratsamayaduHsahAnAmahimarocipastejasAM kimapi ki [mapi ] sparza1dAMnAdinA / 2 caturAzIteH / 3 3 sAbhA /

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zrIbhojadevaviracitA 67 sukhatAmAropayatyavaropayati ca kalamapAlikAgaNDaphalakebhyaH svedasalilajAlakAnyanatibahalatuhinAnilopahitamahima"-[F. 114. B]ni himartusamaye, tuhinakaNakalitadalatayA tulitakAntInyutsRjya kuvalayavanAni mukuritAsu dalitadvitramukulAsu zyAmalatAsu ratimAda"dhAne madhukarakule, priyatameneva zaratsamayena dUramujjhitAsu mlAnamukhakamalakAntiSu mRNAlavalayamAtramevAbharaNamAkalayantIpu" tuhinakaNakalitajalatayA pANDimAnamudvahantISu krIDopabhogazUnyAsu viyoginISviva pratimAsamAnAsu kamaladIrghikAsu, virahijanahRdayabhedanAdhigatasAraM vizIrNatAmAgatamavalokya bANAsanamabhinavakeralIkapolasthalazyAmAbhirAmAsvadhikamullasantISvasitekSuyaSTiSu, bhuvanavijayAya kArmukadhiyamAvanAti makaraketau, bahalaparimalAnumitagandhatailAnuSiktadviguNitAsitasnigdhakAntiSu smara"vilAsabhavaneSu, nikhilakAminIjanamanAMsyapaharatsu hariNIdRzAmabhinavamarubakAdhivAsasurabhiSu vihurahAreSu, zaratsamayasu-[F.115.A ]bhagasamparkamutsRjya malayajarasAnulepanamISadupadarzitoSmaNe kuGkumAGgarAgAya spRhayatsu mithunamAnaseSu, muhurmuhurupa hitadaradagdha"dhanasArasurabhiSu kAlAguruparicayopacitaparimalepu praNayinIkucoSmasvAdusparzatAmAsAdayatsu kAminAM satatasevyatAmAgate"Su vilAsavahniSu, galitamakarandasampadAM priyakasumanasAmAsaktimutsRjya kusumitAH priyaGguvIrudhaH sarabhasamAzrayataH SaTpadAnavalokya vismayasmitalaveSviva kundalatikAntamullasatsu stokastokadalitakumaleSu stabakopAntabhAgeSu atanutuhinazIkarAsAravAhi "vadhikataropahitajADyeSu pravAtsu pavaneSu, adhi[kata] rajanitanibiDAGgasaGgairanyonyanimanArdhatanutayArdhanArIzvaravratamivAzriteSu nikhile'pi bhuvanatale kAmijanamithuneSu, tribhuvanavijigISayA saJcaramANasya madananarapateH senArajaHprasara ivAnavaratamApa -[F. 115. B] tatA samIraNenollAsite bhUSayatyakhilakakubhAmAnanAnyupahRtadaradalitasarasakabUramadhurimanyuTuMddharobhraMkusumaje rajaHprakare madhukarasaMvargitonidrakusumastabakazAlibhiH kundaviTapakairudghATitayauvanatayocchRGkhalAyAH zizirazriyaH kaTAkSarivAcchupteSUpavana bhUbhAgeSu, adhikamullasatyatanutuhine tuhinagirimArutopajanitajaDimani zizirasamaye zItibhiyevAzrayati dakSiNAM kakubhamatijaraTharazmAvaMzumAlini pratyUSasamavanitalatalpotthAyamAzrayatsu kukUlAnalairapahRtajaDimnAM priyatamAkucoSmaNAM" smAryamANeSu pathi pathikasArtheSu, dakSiNAzApathikatAM gatamAtmanaH pramodaikanimittaM mitramavagamya parimlAnAmbujamukheSvati"zuceva zIryamANeSu nalinIvaneSu, abhinavazukapicchakomalAbhirudgacchatAM sasyAnAmatighanatarAbhiH zu" [F. 116. A ]cibhirnirantarasthagitatayollasadunmukhamayUkhalekhAbhirmarakatamaNizilAbhinicitAviva virAjamAnAsu kSetravasudhAsu, viralagandhatailAvilaviracitAtiramaNIyaveNikAsu bahalatarumadhUcchiSTasthagitavimbAdharAsu masRNamasRNena kazmIra "janmanA piJjari. pliNkaa| 2 bhiraamsv'| 3 degsaamaamkti| 4 piyaGgu / 5 laveSTiva / 6 rimtyubuddh| 7 rodr| 8 kukRlA /

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zRGgAramaJjarIkathA tatanulatAsu gRhItanibiDakUpAsakAsu zizirasamayavratamiva pratipannAsu vilAsinISu, daravidalitapriyaGgumukulamAlikAlaGkRtonnatastanabharANAmabhinavarodhrareNuccharitamaNDalAnAmantarAntarArpitamarubakAbhiH kundakusumasragbhiravirahita "kezapAzazriyAmaGganAnAM dRgvikSepamAtrajanitasaJcAre kSobhayatyakhilamapi bhuvanaM bhRtyatAmAgacchatyAropitakusumakArmuke makaralakSmaNi atanutuhinajaDatayotkampakAriSu vahatsvapi samIraNeSvaharnizaM prajvalite sukhalezamapyanAdadhAne virahiNInAM vi[F. 116. B]rahadahane atiprauDhapAkatayA vijitakiMzukacchadacchavini atighanatayA nipItazAkhAdalaprakarANi nirantaramudvahadbhiH phalAni karkandhUvanairAmodiSu kuGkumarasaraJjiteSviva manAMsi madayatsu bhUvibhAgeSu, abhinavatamAlakisalayAnIlakandalaiH kanakarasagauraprasavasambhRtastabakahAribhiH siddhArthakairnIlIrasavyatikaritaharitAladravyanyastapatrabhaGgeSviva marakataharitakAntibhiratucchapratanukusumagucchakoparuddhazikharakairantarAntara baddhalaghuphalastabakazAlibhiH phenalavalAJchitasya kAlindIhradasya zriyamudvahadbhiH kustumburustambabATairupaciteSu taruNazukapicchasodaracchavibhira "tisnigdhaistuhinajaDitakaratayA dinakareNocchAditAvazeSaistamaHpaTalairikha vastukAkedAraiH kvacitteSUnmadayatsu cetAMsi grAmadhAnakacchasthala "vibhAgeSu, nAnAnRpadezAdivarNanAnubandhajanitamithyAbhyasUyaiH parasparaM kalahAyamAnairatiziziramarutsamparkajanita"[F.117.A]jaDinnAmaGgAnAmatisukhasparzatayA ca tApasyAhamahamikayA jvalanamiva pravizadbhirAbaddhamaNDalaiH pathikajanaiH pratisandhyamAsevyamAneSu prapAgniSu, pu"NyAgnidhUmaiH sthagitagaganatayA valayitaprAntatayA ca zItAA prAvRtakambaleSvivopalakSyamANeSu grAmadhAneSu, anAyatatayA vAsarANAmatidIrgha tayA yAminInAM bahumatastanoSmatayA ca praNayinInAmatibahumAnamAsAdayati kAmijanasya zizirasamaye'tyAyatsu rajanISu ni vinodairAsitumazakyatvAt tatprekSAdikSuH saurdhemadhyavartinaH krIDAmaNDapasya madhyavartI samarasiMhonRpatirantaramAsthAnaM dattvA azokavatImAkA"ritavAn / sA tu prekSaNakAnurUpamativilakSaNaM zRGgAraM vidhAya rAjakulaM prati pratasthe / cintitaM cAnayA 'yadi jIvitezvarona pazyati tad vRthA'yaM zRGgAro nRttaM ca / tato yadi madIyamenaM zRGgAraM nRpaM ca cchaDDaleH pazyati tadAhaM drammazatapa-"[F. 117. BJcakamUlyAni puSpANi tAvanmUlyaM ca bha[ga]vate prayacchAmi' iti tayA prayAntyA vartmanyekadezasthitasyAbhyarthitapUrAbhidhA[na]sya gaNapateH pratyazrAvi" / avazyaM ca tena tatra bhavitavyamiti pUrNahRdayA gatvA nartitumArebhe / tatastAlaM bhaktyA bhaktvA karaNAni dattvA catasRSvapi dikSu cakSurvikSipya nRtyantI cchaMDalaM tatra nApazyat / tato jhagityojasaH patitA'nyamanaskA vicchAyavadanA jIviteneva parityaktA babhUva / tato nartanopAdhyAyastAmajJAsIt / sauSThevAt"cyuteyam , rAjalajayA 1 atunu| 2 kaakdaaraiH| 3 nirvinodai / 4 saudhy| 5 chdvlH| 6 vatmyaika / 7 thitsuuraabhidhaan| 8 chdvlNH| 9 saudhavAt /

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zrIbhojadevaviracitA sAmAntAdimanuSyalajayA ca nRtyati lagnA, idaM tu nRttamativiSamaM sauSThavaikasAdhyam , iyaM tu lajayA sauSThavamantareNa nRtya "ntyAtmAnaM zastrikAyA upari prakSepyati, ato lokottaraM pAtraM vinazyati lagnamiti vicintya rAjJe nyavedayat-'madvallabhaH prekSiSyata ityAzayeyamiyadavadhi sauSThavenaiva pravRttA, idAnIM tu sa iha nAstItyavagamyAnyamanaskA sauSThavacyutA lajjayA nRtyantyAtmAnaM zastrikAyA upari prakSepsyati / tva"-[F. 118.A]yA jAnatA'pi na kathitamiti devo mamopari krodhaM kariSyatIti mayA vijJaptamidam / ataH paraM devaH pramANam / ' rAjA tu tadAkaNya prakAzamasya- 'bho nartakopAdhyAya ! mahatI rAtrivartate tat saMtriyatAM prekSaNakam' ityavAdIt / tataH kSaNaM sthitvA zayanIyagRhamagAt / tatrAzokavatImAhUyAbhyadhAta-'pApe ! tvayA nAsmadIyA lajjA kRtA, na caiteSAM paricitAnAM sAmantAdimanuSyANAm / atiprakaTA jAtA'si, vezyAvRttamapIdaM na bhavati / tat kimetata ? tataH sA'bhyadhAta-'deva ! jJAtA'smi / kimidAnI gopyate / rAgavazAttanAsti yanna kriyte| virUpakaM tu yanmayA nRttaM tatra devo mAmaGkayatu maNDayatu vA", sarvasyaiva prabhavati devaH' ityabhihite nRpatiH-'pApe ! sthAnavittikA bhavatI, tad iyati dare'jyadA nAtmA moktavyaH' ityabhidhAya prAhiNot / kimiyaM vidhAsyatIti jJAtuM carAMzca preSayAmAsa / sA tu rAjadvAryava tasyA avidite cchaDDalasya ceTakaiH pratIpsitA khagRhamagatvaiva tadIyamandiramagamat / "[F. 118. B] [atrAdarza 119 aGkAGkitaM patraM vinaSTam ] prasAdamAkArakaM ca prAhiNot / so'pi svArnucarebhyo rAjaprasAdamAkArakaM cAgatamAkaNye 'ka rAjA ka vayaM kiM ca prasAdasyAkArakasya vA~ kA"raNam' iti khavayasyaiH sAdhe goSThyA'bhyabhASata / tadvayasyAnAM madhye kenApyavAdi-'kautukino hi rAjAno bhavanti / subhagena kiJcit prayojana "masti, kenApi ca kathitA bhavadIyavArtA bhaviSyati, tad gRhyatAM prasAdaH sanmAnyatAmAkArakaH' evamuktena tena-'evaM kriyate' ityabhidhAya zirasA' pratISya rAjaprasAdaM kIhagAdezaH' ityAkArakAnavocat / tairaMvAdi-"zrutA devena bhavadIyA prasiddhirataH kautukAd vayamAkAraNAya prahi "tAH, tad gamyatAm' ityukte taireva sAdhaM zanaiH zanairyathAsukhaM gantuM pravavRte / gacchaMzca ka-[F. 120. A] meNa katipayairahobhistAbhitriMzatA ca vezyAbhiH surUpAbhirvittayauvanazAlinIbhitriMzatA ca velAvittakairanugamyamA"na uragapuraM prApat / athAnyedhurdUrAdeva 'sAdhu sAdhu, sthAne subhagapravAda' iti rAjJA nirvarNyamAnarUpayauvanasaundayoM [sa] gatvA AsthAnagataM nRpatimapazyat / kRtapraNAmazca rAjJA sambhASitaH svasannidhau dApitAsanaH svahastadattatAmbUlaH savinayamupavezitaH / kSaNamiva sthitvA vyajijJapat- 'deva! 1 saussttvaik| 2 sNvRytaaN| 3 degvazAtatrAsti / 4 rAjadvAyyeva / 5 sthadvalasya / 6 sAnu / 7 raa| 8 tairevaadi| 9 degmAno ruup| 10 degmupves|

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zRGgAramaJjarIkathA (3) (6) yena prayojanena vayamAhUtAH sa samayo vartate tadAdizyatAM yadanuSTheyam / ' rAjA tu vihasya tamavAdIt - 'viditavRttAnto'si tadanuSThIyatAM yat tatrocitam / ' so'bravIt - 'anuSThIyata iti kAntra bhrAntiH yadAdizati deva: [F. 120. B] paraM tatra caitanya - zUnyaM vapurevAste iti svacaitanyamapi tatra nivezya yathAdRSTamanuSThAMsyAmi' ityabhidhAya pAdayornipatya nirjagAma / tato rAjJA pradattamAvAsasthAnaM sampreSya nijaparivAraM caturbhistuDitAlairanugato vihitatatkAlocitaveSo'hamahamikayA sarvasvadAnenApi paNyAGganA " bhirAhUyamAnaH sarvA Avarjayan sarvvAsAmAzAH prayacchan vezyApATakasyAntarvambhramyamANo'zokavatyA bhavanadvAraM jagAma / tatra sthitvA svakIyaiH saha pezalAlApAn kurvANo mattavAraNakasthitayA makaradaMSTrAbhidhAnayA kuTTanyA'nugatathA'zokavatyA dUrAdeva vyaloki / sA tu taM poDapa varSadezIyaM nijarUpalAvaNyopahasitamanmathaM dRSTvA mAtaramavAdIt - 'mAtar ! nAyamatratyo yuvA adRSTapUrvazca sarvAtizAyirUpayauvanalA 'vaNyAdibhirupetaH / ' mAtA tu jhagiti tasyAstad dRSTirAgamAkalayya cirAdavAptAvakAzA tAmavocat - 'putri ! bhagavatI pRthivIyam, santi surUpANA [F. 121. A] mapyatra surUpAH subhagAnAmapi subhagAH puruSAnubandhAca puruSaireva vyAvartyante tadAkAryatAmayam' ityabhihite darzanamAtreNaiva jAtAtyantAnurAgA tamAhvayat - ' bho prAghUrNakAH / kimiti nAgamyate ?' sa tacchrutvA 'bADhamAgamyata' ityabhidhAya salIlaM vikaTaM ca tatsamIpamagAt / sA tu taddarzane - naiva kSubhiteva mRdevonmatteva sAnurAgA tatkSaNamabhavat / parityaktAzeSakSaNA snAtA taM strApayitvA tenaiva saha nijavibhavAnurUpamekatra bhuktvA zayanIyamagAt / sa tu sundarastadA rAjJaH sakAzAt patta nikAmekAM nijAnucareNa yAcayitvA svasannidhAvAnAyayat / tathA sA tena nijavaidagdhyAnurUpaM ramayitumupacakrame yathA kiM vamo'yaM kimuta mAyendrajAlaM vA kimetaditi kimapi nAzAsIt / sundarakastu pravartya rativyatikaraM tadIyeSva" GgeSu kvacidvandhAn kvacit patracchedAn kacidbhArataM kApi rAmAyaNaM kaeNrairnirmApayAmAsa / nirmApya cAsRksrutimatAM teSAM nakhapadAnAM ta - [F. 121. B]yA pattanikayA tatprativimvakAni jagrAha / sA tu vinivRtarativyatikarA suptotthiteva mR'. mUcchitotthitevonmukta digbhrameva bhramatyakte va ThakamUlikAmohotsRSTeva jhagityabhavat / acintayacca-'kiM mayaitadakutyagrAsa .... parayA pApayA vihitam / aho durlaghyA hartavidhervila" sitAnAM gatiranatikramaNIyAnyavazyaM bhAvyAnyapratividheyA niyatiryanmadIya .........tyanurAgasyaivaMvidhA pariNatiH, tanniyatamanullaMghyA" bhavitavyatA / tayA'rtha - lubdhayA pApakAriNyA nAsmi pratibodhitA / ' iti cintayaM". .. rajanI vApasasAra 6 (3) 70 (1) 1 'manusvArayAmI | 2 na jJAsIt / 3 tadeye / 4 kara / SaDakSarANi / 7 vinaSTAnyatra dvitrANyakSarANi / 8 vidhevila' | 10 vinaSTAnyatra 9-10 akSarANi / 5 mAsI / 6 vinaSTAnyatra 9 vinaSTAnyatra 4-5 akSarANi /

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zrIbhojadevaviracitA www. - prakaTIbabhUva bhAsvAn / sundarakastu tasyAH pazcAttApakaluSitaM hRdayamAkalayya ...... samartha rAjA "naM vyajijJapat- 'deva ! anuSThito devAdezaH ' ityAkarNya rAjJA parituSTena'.. .)[F. 122. A ] grAmasahasracatuSTayasyAdhipatyamasya prasAdIkRtam / sA tu tathaiva tataH prabhRti". . tava jAnilA (1) gayaMtI saviSAdamAsAMcakre / rAjA tu tAM pattanikAmA.. . palyunmUlanAya.. .tAM gRhItvA gatastenAsAvabhyadhAyi - ' yadayaM prasAdaH prasArya gRhyatAm / ' tato mahattamatika[ paika ]"........[ amya ] dhAyi - ' kimetaditi ?' tataca cchaDakenoktam- ' azokavatIM prati madanurAgavighaTanAya rAjJaH prapaJco'yam' iti / atha tAM panika prasArya . .... pazyati tAvatki pazyati sarvvamanyathA tatsaMvRtamiti - ' tathApi nahi madIyAnurAgasyaivaMvidhaH kapaTavilasitairanyathAbhAvo bhavati' iti nijasaubhAgyAvalepAt nikhilamapyetadvyalIkamiti manyamAnastikapaikamAvabhAve - ' bho mahattama ! tvayA tatra gatvedamanuSTheyaM........tasyAkathayat / " [F. 122. B] prati yojanamAtraM ca toraNakevazvavArAnnirUpya taM prAhiNot / sa tu gatvA gRhIta pAzupatavratastadbhava "nasyAgrata itastato vrajannazokavatyA AtmAnamadarzayat / sA tu taM dRSTvA 'mAtaH kimetat tikapaikasadRzo'yam' iti mAtaramabhyadhAt, dAsyA ca " tamAhvayat / AhUtAyAtaM ca tikkapaiko'yamiti pratyabhijJAya - 'tikapaika ! kimetat ?' ityavAdIt / tikapaikastu tadAkarNya prativacanamaprayacchanneva roditumArebhe / nirbandhena pRSTastu - ' pApIyAnahaM kiM mayA durAtmanA pRSTena' ityabhidhAya tUSNIM babhUva / tataH sA sAkUtamavAdIt - ' tathApi kathyatAm' ityuktaH sa kathayitumArebhe / ito gate daNDe kacchAdhipena saha mahAn samarasammardaH samajani / tatra sarveSvapi sAmanteSu palAyiteSu mandaragiririva taM samarasAgaraM mimanthiSu pratipanthinaH pratyabhyapatat / tatra ca teSAM prahArasahasravito'pi tAnumRgan surasundarI [1. 123. A]svayaMvarasukhasya bhAjanaM babhUva / ahaM tu pApastatra prANatyAgAkSamatayA hInasaH pASaNDametadaGgIkRtavAnasmi / athAzokavatI tadvinipAtavaca "si zravaNapathamanA'patatyeva vanakariNIva vidyudAhatA jhagiti prANAnutsasarja / tikkapaikastu taM vRttAntaM toraNakasthAnasthApitairazvavAraiH ccha" ilasya vyajJApayat / atrAntare nRpatirAsthAnagataH kolAhalamazRNot / apRcchacca 'kimetat' iti / tato dvAHsthapuruSairvyalIke'pi tikapaikaut (6) (2), 1 1 vinaSTAnyatra 3-4 akSarANi / 2 vinaSTAnya 21-22 akSarANi / 3 vinaSTAnyatra kAnicidakSarANi / 4 vinaSTAnyatra 21-22 akSarANi / 5 vinaSTAnyatra 2-3 akSarANi / 6 vinaSTAnyatra 20-21 akSarANi / 7 vinaSTAnyatra 3 - 4 akSarANi / 8 vinaSTAnyatra 3 - 4 akSarANi / 9 vinaSTAnyatra 3-4 akSarANi / 10 tUSNIbabhUva / 11 vikSito'pi / 12 vijJApayat / 13. paikAdi / 71

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zRGgAramaJjarIkathA ccha"DulavRttAnte zrute hRdayaM sphuTitvA azokavatI mRtA, ityAgatya kathite, tadAsthAnagataH sundarako rAjAnaM vyajijJapat-'deva ! mayA strIratnamIdRgvidhaM vinAzitamiti mama sthAtuM na yujyate / tadAdizatu mAM devastayozca premNi kSIranIrayoriva nAntaramasti / kintu mayA tasyAH svakauTilyena manomohamutpAdya IdRkparyavasAnamutpAditam / tadidAnImidameva mamocitaM yat prANAH parityajyanta' iti / atha" [F. 123. B] sa rAjJA bahuprakAraM pratibodhito'pi svadAralAvittakaizca saha vahnau vividhabhaGgimirAtmAnaM juhAva / atrAntare cchaDDalo'pyazvavArAveditaM vRttAnta"mAkarNya toraNasthApitairazvavAraireke naivAhA sametya tadIyavAsabhavanabhittAvazokavatImAlikhitAmAlokyonmatta ivAbhASyAzliSya" ca taccitAsamIpamAgatya sundarakacitAsthAnaM cApRcchaya- asmadbhAtuH sthAnamidam , tat sAdhukRtamanena' ityabhidhAyAzokavatIcitAsthAna evAtmanazcitA viracayyAtmAnaM ca vahAvupasasarja / rAjA tu teSAM tadatyadbhutaM vRttAntamAkarNya-'ahamevaikaH sarveSAmeteSAM vinAzaheturabhavam' iti vicintya bhagavatyA AzApurAyAH purataH zirazchettumupacakrame / bhagavatI tu tasya sarvAtizAyi sAhasamahetuM trailokyavilakSaNaM cAvalokya'putra ! "mA maivaM sAhasaM kRthAH, yAcyatAM yadabhirucitam / ' tataH sa devImabhyadhAt'devi ! yadi prItAsi tadazokavatI-sundara-cchaDDalAH saparigrahAH puna -[F. 124. A ]rnavIbhavantu / ' tato devyaivamastu ityabhihite suptapratibuddhA iva trayo'pyuttasthuH / rAjA tu'yuvayoranurAgabhedaH kartuM na budhyata' ityabhidhAya parituSTaH ccha "DDalasya tAmevAzokavatIM prasAdena prAyacchat / sundarakastu tAM yathAvidhAmaucityakAritAM pauruSaM cAlocya vidhAya dviguNaM prasAdaM rAjAnamanvaka"rot / rAjA tu prAptadevIprasAdaparitoSanirbharaH svabhavanamAgatya saparigrahaH sukhena suciramAsAMcakre / / tadevaM putri! bahvayaH puruSA"nurAgiNyo vezavanitA vapuSA vittena ca vineSuH / tadasmatsamaye rAgo vyAghra iva dUrataH pariharaNIyaH // iti mahArAjAdhirAjaparamezvara"zrIbhojadevaviracitAyAM zRGgAramaJjarIkathAyAM ubhayAnurAgakathAnikA navamI / 1 traa| 2 parityajata / 3 divya / 4 rAjAnamakarot /

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zrIbhojadevaviracitAM [ dazamI sarpakathAnikA ] anyacca-vatse ! atipIDitAH puruSAH ko " pavazAnna tadasti yanna kurvate / tathA 1 raktAyamAnAyAM / bhUGgA 10 zrUyatAm - asti vatse kauzAmbI nAma nagarI / tasyAmavanivanitA sImantara -[ F. 124. B]nAyamAnAyAM zrotriyo mahAdhanaH samadhigatasakalavidyaH zrutadharo nAma brAhmaNaH / tasya zrutismRtyuditena vartmanA saMcaramANasya madhya me vayasi vinayadharo nAma sUnuH samudapAdi / sa ca bAlyAt prabhRti yathAvadadhIta vedo'dhigatasakalazAstrArthaH SoDazavarSadezIyaM vayaH samAsasAda / (2) atha kadAcinniviDa tara zizira sampAtasambhramAdadhikaparyAkulaM nikhilamapi bhuvanamAlokya samupajAtakaruNa iva tu hinartumapahastya mUrtimantamiva nijapratApamahima kiraNamuddIpayati sakalartucakravartini vijRmbhamANe vasantasamaye, rajanicchatradhArikayotkSipyamANe samullasatkiraNazata zalAkAbhRtyamitaH prasajyotsnAprasarapaTalaprAvRte dhavalAtapatrazriyamudvahati ca"-[F.125. A]ndramaNDale, itastato mandamArutAndolyamAnapravara kesaradaleSu dhavalacAmaralakSmImAzrayatsu vikaca sitasaroruheSu nirjitanikhilabhuvanasya makaraketorlAkSikatrasaravaijayantISviva prativipinaM vanarAjibhiH samullasitAkhazokakisalayAvalIpu, utkalikAnAku 'lacampakatarAvapyanudbhinnabhUtAGkuragarbhagranthAvapyanullasitakesarAmode'pyanapagatatarulatArUkSabhAve'pyavizada dicchukhe'pyanatimandamArute'pyanabhilakSyamANamadhukarakulakkANespyAkulayatya hetu bhuvanatalaM madhuprathamAvatAre prathamamutkalikAkulaM bhuvana" mupajanayati ; anantaraM sahakArakAnanAni / AdAveva satatamanasthollasitarAgaM kAminInAM hRdaya mupadarzayati, parastAdazokataru" [F. 125. B] vIthikAH / prAgevAnurAgavazAd dayitaM prati kAminInAM nayanAni mukulayati, tadanu kamalinIvanAni / prArambha eva virahiNIhRdayA "nAM bhedamAtanvAne, parataH svavIrudgarbhagranthInAm / pramukha evAndhakArIkurvanti kAmijanahRdayAni, pazcAnmadhukarakulaiH kusumakAnanAni " / prauDhimAgacchati mahimani madhuprabhave zanaiH zanairalakSyamapacIyamAnAsu yAminISu krIDAkamaladIrghikAsu ca, tuhinajaDimopa hitaM rUkSabhAvamavalakSyamutsRjatsu zazadharakareSu kSitiruheSu ca dhUmratAmapAsyantISvalakSyaM dikSu mAninImanovRttiSu vA'lakSyaM prauDhi mudvahati dinakaramayUkhajAle smarazaranikare ca, priyatameneva madhusamayena prasAdhitAyAH kAnana zriyaH svamavalokitumabhilaSantyA ivAtivimalapuSparAgarociSi sahakAratarurAjipriyavayasyayA paritaH sajjIkRtAyAM [ F. 126.A] mukurasampadi, pratidivasopacIyamAnAM mitrasya samRddhimavalokya smitazriyA'laGkRteSu kamalavaneSu, kuGkumarasomRSTalalanAkapolasthalIcchAyAnukAritayA kAminAM manasijajvalanamuddIpayatyuttaptakArta (2) 2 vipanaM / 33 7

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zRGgAramaJjarIkathA kharakAntikamanIye zanaiH zanaiH sa[mu]nmipati rAjacampakaprasavanivahe, madhusamayasamAgamotsukAyA vanarAjilakSmyAH kAkalIgItibhiriva madanadhAnuSkasya maurvIdhvanitairikha madhusamayopakaraNasampAdanavyA pRtAyAH kAnanazriyaH prabalamaNivalayajhaGkatairiva mAninImAnagrahonmAthapaTubhirvasantasi"ddhasya huGkRtairiva madhukarakulakvaNitairupahitakSobhamutkaNThAmayamivAratigRhItamiva raNaraNakasvIkRtamiva rahakakAkrAntamivAkalpakAkalitamiva sakalamapi bhuvanamAkulayati makaraketo,"[F. 126. B] mandeSvapi madanadahanasandhukSaNaM pratyamandeSu candanatarugahanasamparkAdatizizireSu mAninI[nAM] mUlato mAnamunmUlayatsu samullasayatsu ca sa"nihitapriyatamAnAmapi madanavilasitAni dakSiNeSvadakSiNeSu virahiNAM malayamAruteSu, cUrNAlakavalayamiva sarala yatsu mAnakuTilaM manaH keralavadhUnAM hRdayeSvadhikasaktamapyavadhUnayatsUttarIyAJcalamiva colamRgadRzAM mantavyatikaramavakiratsu dhammi"llamAlyavalayamivakuntalInAM priyatamAparAdharajaHkaluSitaM ceto mandeSvapyamandamuddIpayatsu virahiNAM madanadahanaM malayamAruteSu, virahiNIkapolaspardhayevApANDupItatAmudvahati madhUkatarukusumastabakanivahe, kusumamAsakSitipatervividhamaNimukuTa iva virAjamAne nIlapItAruNarucau kura bakastabake, prathamodgamagaddeSvapyabhinavasahakArakorakAsvAda"[F. 127.A] vizadeSvati cirakAlakuNThakaNThatayA skhaliteSvapi spaSTamudAdhyamAneSu pathikajanamanAMsyadhikamutkaNThulAnya pyutkaNThayatsu bhuvanavijayinaH sma"ranarapaterAjJAkSareSviva duratikramaNIyeSu samullasatsu samadakokilakulakvANeSu, ramaNIcaraNatalatA DanasukhAnubhavapramuditeSu vikAsamAyAtsu nirbharamazokapAdapeSu, kAminIvadanamadirAsekagaNDUparasamavApya korakanikarasthalAdutphullakeSu kesarataru Su, kuvalayadRzAmaticirAbhilaSitAH samAsAdya kaTAkSacchaTAstadapAGgasaGginyA locanaprabhayeva dhavaliteSvatipramodAt paraM vikAsa"mAyAtsu tilakadrumeSu, ciraprArthitAni madirekSaNAnAmAsAdya stanataTatADanAni vicitrastabakaparamparAbhirAmatAmAzrayatsu atiprabhUtatayAntarvoDhumasamartheSviva mukulasthalAdahiH prasRtaM pramodamudvahatsu kuravakAnokaheSu, itthaM vasantasamaye kAmukeSviva dohada [F. 127 B.]mAkAMkSatsu pramadodyAnadrumeSu,kastUrikAviracitAbhirivAtizyAmalAbhiH patrAvalIbhirjanita zobhAsvadhikonmadapikakuladhvanite"na janitamanmathAsvasitacInAMzukeneva madhukarakulena vihitAvaguNThanAsvabhisArikAsviva kAminAM ratimupajanayantISu mAdhavIlatAsu, pratipramadavanamanaGgadhanuSo niSpatadbhiH zilImukhaistADiteSvadhikAdhikamanta"runmipallohitacchaviSu nisargakaTunA pratibhayene va malayapavaneno kampyamAneSu virahiNInAM hRdayeSviva zanaiH zanairbhidyamAneSu sthalakamalakumaleSu, tribhuvanamapyAkramitumIhamAna"sya rAgasAgarasya kallolairivAropitakAmakArmukakoTikuTilairu 1 cappaka / 2 vyaavRtaayaaH| 3 mtyvdhuunyshuttriiyaa| 4 ghammelamA / 5 mandeSvatyamanda / 6 kuddbk| 7 deglAnyupyu / 8 taaddnn| 9ntarvAdumasarthe / 10 svadhikA konmd| 11 kAdhikarmatarunmiSa /

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zrIbhojadevaviracitA llasadbhiH kiMzukaprasavaiH sarvataH satatamApUryamANeSu [F. 128 A,] vipinodareSu, dalitadviradamadajalAsArasaurabheNa prasaratA kesarAmodena sannihitapriyatamAnAmapi vAsitAnAM kesariNIva prati"bhayamupajanayati malayamAtarizvani tribhuvanamapyabhidravayitumitastato niSpatantISvativilakSaNAsu madanadhAnuSkasya haritamaNini 'mitAsu gulikAviva prasabhamalagantISvapi virahiNAM hRdi lagantISvatimadhuradhvaniSu madhukarAGganAsu, aparicitAsvapi mRdumadhurabhASiNISvanyoktyaiva mAnagrahagranthimudraznantISu dUtISvivAniyuktAsvapi saMcarantISu parabhRtavadhUSu, priyatamasyeva samIpavartinaH sahakArapAda "pasya skandhamAlambamAnAsvatigabhebharAlasatayA kAmapi kamanIyAmAkRtimudvahantISu vasantalatAsu, svayaM vidaliteSvapi vidalayatsu[.128. B] virahijanahRdayAni abhinavodgateSu kAmandamukurotkareSu, madhuprAptidurlalitAyA akramamArohantyA kAnanazriyaH sAlaktakacaraNamudrAsvi"va samullasantISvayathAyathamazokapAdapAnAmitastataH stabakaparamparAsu, zanaiH zanaiH prasarpatA malayapavanoneddIpyamAne vyapa[ga]takozayopalakSyamANavyaktadalazikhividhUmatayA kevalavibhAvyamAnamitatAnavacchinnajvAle bhuvanavartino nikhilAnapi viprayogino dagdhumudya"te madanadahana iva sarvato vikAsamAgacchati kiMzukavane, sAGgAra iva parito vikacavikSiptakusumastabakaiH sajvAla ivAtisnigdhAruNavitatapallavaprakareNa sadhUmodvAra ivoparibhrAmyatA madhupapaTalena mUrte madanahutabhujIva virahiNAM santApamupajanayatyazokadumagahane, acchAccha" kuGkumarasonmRSTalATalalanAnAbhIsanAbhiSu stokastokavitatapratanupatrArapaMktiparikariteSu smaranarapatezcakreSviva kusumamAsena""[F. 129. A] praguNIkriyamANeSu kesaraprasUneSu, dalitogADhahemanigaDasya bhISaNaramaNIyAkRteH saMcaranto vasantagandhasindhurassollasadbhahalamadaja" lAmodamiva paritaH samutsRjatsu jaTharaphalapAkamoDhi rasataH prasphuTatsu satatamelAphaleSu, atijaraThacandanadrumaskandhasaGginAM svairamita 'stato visaratAM viSadharANAmudbhaTaviSazvasanasaMcalite viSapavana iva nikhilamapi bhuvanamAghUrNayati malayamArute, madhusamaya"samAgamotsukAyAH pratidinamatipracuratayAntarvoDhumakSamAyA vanathiyo'tijaraThe rAga iva zanaiH zanairvyaktIbhavati pATalAprasUnastabake, vijitatribhuvana[sya bhagavato makaraketanasya mUrtimati yazaHpuJja iva dhavalayatyakhilamapi digvalayamindudyutisodare sinduvAramaJjarI"jAlake, mAninImAnagrahagranthividalanAya pratyuptagArutmataratnazakalAsu kanakayaSTikAviva madhusamayena praguNIkriyamANAsu"[F. 129. B] kuGkumarasonmRSTahUNataruNIkapolacchaviSu madhukarAvalIvalayitAsu zanaiH zanairudbhidyamAnAsu kanakaketakIsUciSu, priyaviyogatApa"taptAnAM jalakelinivAraNAyeva zanaiH zanairvikacaraktotpalavanavyAjAt pratijalAzayaM prasaratsu madanavaDavAnaleSu, sAndrakuGkumo "nmRSTahaNataruNI kucAbhogasubhage'ntardattasAndramadane guJjAkanduka iva bAlasya . 1 maatrisvini| 2 degnyoktaiv| 3 mudrmtiissu| 4 lakSamANa / 5aacchaa| 6 prikirtessu| 7 syolsc| 8 prauThivasataH / 9 vicltaa| 10 vanatizriyo / 11 mArutmata / 12 sklaatsu| 13 taruNa /

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76 zRGgAramaJjarIkathA madhoH khelanAya vanazriyA viracite harati cetAMsyazo katarustabake, zramavazAdanibhRtapravRttazvAsotkampitastanataTAbhogAsu marakatamaNidaNDikAJcanodazcitabhujatayAntarAntaropalakSyamANa"bahumUlAvitastataH prasRtadolArayamayatayA taralatArakAsvatiprabalacelA'JcalamArutAgamyamAnakapolasthalasvedasalilAsupriyatamabhujAzlepamutthitAsvapi patanabhayakAtaratayA viSamajarjarollasitakAkalIgItiSu dolAke livilasitaiH kAmapi kama-[F. 130. A]nIyatAmAkalayantISu madirekSaNAsu, anyaH ko'pyeSa navo madhuvyatikaro'nAghAtapIte'pyakhilajanamanAMsyunmadayatyabhinave madhuvyatikare"prauDhimAgacchati cAsminne vaMvidhopAlambhagarbhAH sarvataH prAvartanta pro pitabhartRkANAmAlApAH / nikhilamapi bhuvanatalaM jetumudyatasya kusumasA"yakasya kusumamAsena sajjIkriyamANeSu nirantaramiSudhiSvivodbhidyamAnakusumanikareSu kusumapAdapeSu, jyotsnayA prasAdyamAnamA lokya zazadharamIrNyayeva prativAsaraM tanimAgacchantISu rajanISu, atinibiDataratuhinArtivyapagamAdiva saMkocamutsRjatsu vAsareSu, anavaratanipatadvizikhasampAtabhItAbhiriva kAminIbhiH pratibhavanamabhyarcyamAne viSamavizikhe, virahiNISvivAntaHsantApaglapitotpalavilocanAsu vRtamRNAlavalayAsu kamalinIdalAvaruddharuciSvApANDupuNDarIkavadanAsu taralitakalhA-[F.130. B] ranikaraku~ralavallarISu tanimAnamAgacchantISvapi kAmapi kamanIyatAmAkalayantISu kamaladIrghikAsu, paritaH pathikahRdayAni nirbhidya prativipinaM niryAtsu madanabhalleSviva pallavanikareSu, tuhinatunA sahaivApasarati rUkSabhAve zanaiH zanairamalagargaMnatalasaMkrAntamiva maraka"taprabhAzyAmalaM nIlimAnamudvahatsu pramadavaneSu, ito madhukaradhvanitairito kokilavirutibhiritaH sahakAramukurairito mRgadRzAM"dolAvilAsagItibhirito malayapavanapreGitairitaH kusumavIrudhAM kusumodgatibhi(vanatalasyApyaheturaNaraNakamutpAdayati va"santasamaye, aticiraprArthitasaGgamena madhunA samAgatAsu tadviyogajanitamadhikaM dhyAmalatvamutsRjya prasAdamAgacchantISu digvadhU[F. 131. A ]Su vicitrakusumavaNNAMzukadhAriNISu pracalakisalayAsu lAsakeneva malayamArutena zanaiH zanairatilalitaM pranaya'mAnAsu vanarAjiSu, surU"pasampadA vijitamakaraketuH subhagaH kalAkalApakuzalaH samAnazIlavayobhirAptairanugamyamAno bhagavataH kAlapriyadevasya madhusamaya yaSThIyAtrAyAmAttakamanIyaveSastameva bhagavantaM prekSitumayAsIt / sa yAvat tasyAmAyatanabhuvi kautukAt paribhrAmyannitastataH kSaNameka"mAste tAvadakasmAt tribhuvanavijayaikamalliriva bhaGgavataH kusumAyudhasya, indulekhA jananayanakuvalayAnAm , kamalasarasIndriyamadhu"karANAm , viharaNasthalI smaravijayavAraNasya, mukhajyotsnayA divApi baddhacandrAtapamiva gaganatala-[F. 131. B]mApAdayantI kAcidekA vilAsinI taM pradezamAjagAma / tataH sa tAmAlokya ca manasthakarot - na khalvasyAstribhuvanasargakArI prajApatirnirmI"Na 1 srl| 2 velaanycl| 3 musthitaa| 4 kli| 5 'vavidhoM / 6 preSita / 7 kurul| 8 gmntl| 9 navamasyakarot / 10 timirmANa /

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77 zrIbhojadevaviracitA hetuH yatastadvinimmitayoSidvilakSaNameva rUpamasyAH- iti vicintayanneva tasyAH sa dRSTipathamavatatAra / sA tu tamavalokayantI mRgIva zaravyatAmagaman makaradhvajavyAdhasya / ajAyata cAnurAgasarasi kRtapadaka mAlinI votknnttkitaanggyssttiH| tatastayoH parasparadazenollasitamadanayoH pallavaprasara ivAvardhata svairamanurAgaH / tataH sa tAM vijJAtumAtmano vayasyamatividagdhaM vidagdhanAmAnaM niyujya svagRhAn prati pratasthe / vidagdhakastu tadvayasyAyAstaralikAyAstatsvarUpamavagamya gatvA ca vinayadharasya savidhamAditaH sakalamAcacakSe / vinayadharo'pi tasyAM bandhaka dAnAya tameva prAhiNot / atha tayA'naGgavatyA saMgatasya tasya ratisukhAnyupabhuJjAnasya kSaNamivAkSIyata kSapA / evamasya tayA saha [F. 132. A] ratisukhamanubhavato bahUni vyatIyurdivasAni / kSINavibhavaH paraM prANebhyo'pyadhikamarocatAtha so'syai / kuTTanI tu tAM parihRtasavibhavAparabhuja "gAM tadanuraktahRdayAmAkalayya taM vinayadharaM niradhArayat / sa tu punarvyAjamAracayya prAvizat / sA ca tiraskRtya tiraskRtya punaH punarenaM niradhArayat" / anaGgavatI ca bhATakinIgRhe vayasthAsamani ceM tena samagacchat / tAM ca tena saMgacchamAnAmanvIkSya yadi punarapyenena saha saMgatsyase tadA mA bhaNiSyasi nAkhyAtamiti anaGgavatImatarjayat / athaikadA vinayadharaH svanivAsAdAgacchan mahAntamatibhISaNaM sadyovyApAditaM sarpamapazyat / nUnamahame "tena svakArya sAdhayiSyAmiti kakSAyAM nikSipya tadIyabhavanasya nAtidUre sthitvA kasyApi sumitrasya pArthAdanaGgavatyA grahaNakaM dApitavAn / AgAca zayitum / athArdharAtre sannihitApavarake mattasuptAyAM kuTTanyAM pravizya tadIyazarIrasyopari mRtabhujaGgaM zanaiH zanaiH prasArya tIkSNanakha[F.132.B]cchedena nAsikAyAM daMzamakarot / tatazcItkRtya prabuddhAyAM kuTTanyAM 'bhakSitA bhakSitA'smi' iti bruvANAyAM jhagiti pravizya paMcapairlakuTaprahArai"staM bhujaGgamatADayat / tato dAsImirjhagiti prabodhite dIpe sarpamavalokya 'cchedaM prayacchAmI'ti tenAbhihite-'prayaccha prayaccha' ityukte 'kka prayacchAmi' ityukte 'atrAtra' ityabhihite mAtre'pi sahoSThAM nAsikAM ciccheda / tato nivRttAyAM maraNabhItI prabhAtAyAM ca rajanyAm 'ujjIvitAmbA' iti vardhApana"kAni pravRttAni / tathApyeSA vadhyapaTahadhvanimiva vardhApanakadhvanimAkarNayantI rAtri ndivamanutapyamAnA atiSThata / tat putri ! pIDyamAnA dhUrtAsta "thA kiMcidapakurvanti yathA vaktumapi na pAryata iti // iti mahArAjAdhirAjaparamezvarazrIbhojadevaviracitAyAM zRGgAramaJjarIkathAyAM sarpakathAnikA dazamI samAptA / 5 / 6 kakSAyaM / 1 prth| 7 araNakaM / 2'yo| 8 jhagitya / 3 raag| 4 rocata tha so| 9 raatriindiv|

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78 zRGgAramaJjarIkathA [ ekAdazI malayasundarIkathAnikA] asmanmate ca na kazcidavamAnanIyaH / avamatA hi puruSAH' tannAsti yana kurvanti / [F.133. A] ___ asti paMcAleSu kanyakubjaM nAma nagaram / tatra nijadordaNDamaNDalIkhaNDitapracaNDArAtimaNDalazcaNDAMzuriva durnirIkSyamUrtiH mahendrapAlo nAma raajaa"| tasya ca rAjJo vidagdhaH snigdho vittavAnudAttastyAgI vyutpannaH praNayI pratApasiMho nAma mahAsAmantaH / sa ca prakRtyaiva narmazIlaH kurUpotiro"mazca / sa tu rAjJA svadezAn prati prahitasteSu katipayadinAni sthitvA bhUyo'pi rAjasevArthamAgacchat / abhraMkaSakUTakoTijaTilitAM vamaga (?) sA bhyarthanayA parihRtA (?) kezatanUkaraNodyamam , AtapanivAraNAyevAtibahalanIlakAntibhirdUrataramucchruitaistarubhirvidhRtanIlAtapatramiva" vibhAvyamAnam , AH kathaM mayi jIvatyapyayamasmadvaryapakSacchedakArI kArmukaM bibhartIti vicintyAtivicitraratnaprabhAvyatikaramiSeNa sa tata....'cchidya cApamudvahantamivopalakSyamANam , unmadakarigaNDakaNDUyanotkaSaNavidalitajaraThasallakIbhuvA svairamitastataH prasaratA pa"[F.133. B]rimalena surabhitadigantam, samadakrakarakAminIdasyamAnakaThakaphalatvaktaDavAravAcAlitagabhIrakuJjakuharam , atyunnatazikharakoTisaMsaktazazadharabimbatayA rajanicchatradhArikayokSipyamANadhavalAtapatramivopalakSyamANam , atibahalanIlayottuGgayA kramukatarukhaNDaparaMparayA puraHpradhAvamAnasikirIsahasramiva saMbhAvyamAnam , abhinavapriyaGguzyAmayonnatapayodharayA adhikamullasadinamaNimekha layA zazadharAbhirAmavadanayA priyatama evAntarikSalakSmyA sarvAGgamAliGgayamAnam , atikaThoramaricamaJjarIjAlakopabhogapaTukaNThakuha "rANAM dAtyUhavyUhAnAM kuhukuhAraveNa nidhuvanaklAntazabarasImantinInAM mandamapi madanamadhikataramuddIpayantamadhikamadhurAsvAndolana krIDA'........kAkalIgItiSu, zlathavitIrNakarNatayA sAvahi-'[F. 134. A] topalakSyamANamRgakadambakam , zabdazAstramiva vividhadhAtubhirupa ........rabahuknopacitam , sarvato nipatadatidhavalanijha"rasahasratayaikataH pravRttamandAkinIsrotasamama[ra]girimivopahasitAvAtikendramiva (1) nAgaragopahitazriyam , raghupatisainyamiva nIlanalAmi"rAmam , sandhyAsamayamiva pravRttanIlakaNTham, vratinamiva samuJjamekhalam , sukRtinamiva vidhuravirahitocchrayam , vidhimiva vividhavilasitopahitavismayam , ravikarasparzAdullasantIbhiH sphaTikamaNizilAkAntibhirdivApyupajanitajyotsnAzaGkam , kanakamayavikaTakaTakakoTisaMsaktamaruNa"maNivibhramaM vibhrANamahimarociSo maNDalamudvahantam , gRhItAkalpakamiva . 1 purussaa| 2 mucchtai'| 3 vinaSTAnyatra dvivaannykssraanni| 5 rAsvandolana / 5 vinaSTAnyatra 12 akssraanni| 6 vinaSTAnyatra 11-12 akssraanni| 7 pratinamiva / 8 mahimA /

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zrIbhojadevaviracitA snigdhAbhiratinibiDarAgapalla (6) " madanabANAsanAtimuktazaranikara pracitasarvvAvayavam, vitAbhiH kamanIyavayobhirvikacacampakacchAyAbhirAmAbhiH samadanAbhiH priyatamA - th [F. 134. B]bhiriva vanarAjibhirupagUDham, AsamudramanivAritaprasArAbhiraccha sphaTikavizadakAntibhiranekamukham nirgacchantIbhiH kIrtibhiriva saridbhirabhivyAptasakala " bhuvanatalam, atidUrocchritazikharazekharebhyo nipatatAM nirjharANAmekadeza lagnamatizubhraM phenapuJjamiva zazadharamudvahantam, pratinizamatyucca zikharaprAntasaMsaktanakSatratayA pavanaprekhola navazAdanyonyasaMghaTTasphuTitaveNu nirgacchada tuccha mauktikaprakaramivopalakSyamANam, nijavistAravaibhave "na nikhilAmapi vizvambharAmavarudhyaitasyAmamAntamambaratalamapi vyAptamiva zikharasahasraiH kRtaprayatnaM vimAnamiva cAmbara zikharabAhudaNDaiH harimiva vanamAlayopagUDham, kamalayonimivAdhaH kRtarAjahaMsam, rAma-rAvaNapradhanamiva kapizato parudhyamAnapalAzam, mAtaGgasahasrasaMkulamapi dvijopa" sevitam, dvijihvazatasaMzrayamapi snigdhasaralam, atigurumapyaguruprAyam, sadRkSamapyasadRkSam kAntArAgamayamapi prabhUtanIrAgam, mlecchajanavyAptamapi sadAcA " [F. 135. A] ropasevitam asitasitazoNamaNikiraNaprasaracchalAdudayAstazaila spardhayaiva timiracandrikAsAndhyarAgAn vividhamaNinimmitAn varNazarAniva sarvvataH satatamAkala - yantam, paritaH sRtAbhiramalendra nIlamaNikAntibhirvanaviharaNaklAntAnAM mugdhazavarasundarINAM vizrAmArthinInAmasthAne'pi janitabaha "lavaMzIvanabhramam, uccAvacamutsarpiNIbhiH kanakazikharadyutiparamparAbhirakhila zailAdhipatyapaTTabandhamivAtmano darzayantam, divasakara - zazadharaprabhRtInAmapi tejasvinAM pAdopasarpaNavitIrNodayatayAtyantavilakSaNaM kSitidharatvamAtmanaH prakaTayantam, ullasanmakara lAJchanAmamalakaNThava~layopazobhinImuccaiH stananAbhiramyAM praNayinImiva mekalakanyakAmutsaMgena vibhrANam, sAyaMsamayamivAtyantavardhiSNucchAyam etatkathAkAramiva virAji" tapara mArAvanIpavaMzam, ratnadvipamiva prakAzita - sakalabhuvanam, prabalapavanataralitapayobhirubhayato nipatadbhirnirjharazataiH pracaladbhiH pakSacchedai " - [ F. 135. B] riva tridazapatitarjanAya divamivotpatantam, vikacanirculamaJjarI - viracitAvataM litakezapAzA (1) 1 , 'bhiratimuktakakalikA kalpitamuktAphalAbhirvana . radhyAsya mAnasahakAratarugahanakuJjam, sadyaH samudrata . nirjharazIkarAsAraziziriteSu vikacakezaraparAgapAMsu . riva satatasannihitaiH karikulairu . sampadAM mandiramupabhogAnAmakhilakulAcalaikabandhuM . DhoNDhAbhidhAnA kuTTanI prativasati / tayA ca mAmayai . dUcchra / 6 / 7 setaiH / 2 'talavapi / 8 degnivula' | (1) (2) (2) 79 sundarIbhi'nipata (3) 'sevakai (4) . [F. 136. A] vAzeSasukha (1) gare prakhyAtA mabhUmirati vidagdhA 3 pra / 4 pasRtA / 5 klantAnAM / *9 136 aMkAkitasya patrasya pUrvArdha eva prAptaH /

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zRGgAramaJjarIkathA subhagA labdhipradhAnA malayasundarInAmA duhitA .. sundaryAstu rAjakulaM gatAyA rAjasevayA mahat . 'mativAhayiSyAmItyacintayat / tato . (3) (6) www.w [F. 136. B] yadyapyatIva subhagA bhavantastathA kimahaM bhavatA parihAsasthAnam ? / kimahamiyaddUre jAtA yena bhavAdRzAmapyupahAsabhUmiryadAtmAnaM svavallabhayA karajairvipArTayitumivAyAtA ityabhidhAya khoMgalagaM kRtvA zayitumArebhe / sa ca manmathenonmathyamAnaH kathaMkathamapi tAM kSapAM kSapitavAn " / nAtiprabhAtAyAM rajanyAmutthAya kiMcidvilakSaH paridhAya vAsasI gantukAmo yAvadAlokayati tAvat tayA prathamotthitayA nijabhaginItanayaM lA lyamAnamapazyat / tatastAmabhya'dhAt - ' kasyAyaM dArakaH ?' iti / tatastayA khorAyamANayA 'madIyo'yam' ityabhyadhAyi / yadaiva madIyo'yamityetadvacastasya zrutipathamagAt tadaiva tAM pAtayitvA vyAghra iva lalATe nAzikAyAmurasi kapolayorvAhorjadhayoH pRSThe karajairapATayat kezAM va bahUn luJcaya gatavAn / dAsIbhistaM vRttAntamAkarNya pradhAvitA DhoNDhA / tAM cAtiprasiddhArdhavittikAM rAjaprasAdavittikAM ca tathA - [ F. 137. A] viDambitAmAlokyonmuktakezI kuTTanI pUtkartumArebhe / malayasundaryapi prAvaraNenAtmAnaM prAvRtya parihRtabalakA khadvAyAM nipatyAvatasthe / kuTTanI" tu tadIyAne luJcitAn kezAnAdAya rudatI pUtkurvANA cAsthAnagatasya rAjJo nivedayitumayAsIt / tato'tikupitena rAjJA abhyadhAyi - 'DhoNDhe ! vaM * pratyabhijAnAsi ko'sau kvatya iti ? ' tato DhoNDhayA'bhyadhAyi - ' deva rAtrAvAgacchanto gacchantazca kiyantaH pratyabhijJAyanta' iti / ityabhihite'bhyadhAyi rA jJA- 'ucyatAM dANDapAzikaH, kastatra rajanyAmuSita ?' iti / tata AsthAnagatena pratApasiMhenotthAya -vijJaptam- 'deva ! ahaM tatra suptaH paraM malayasundaryaivAtrAhUyatAm, tatsakSamabhidhIyamAnaM yato nAsatyatAmavagAhate / ' tato dvitrirAhUtA malayasundarI prAvaraNAvRtazarIrA lajjAvanatamukhI tAmAsthA "nabhUmimAjagAma / AgatAyAM ca tasyAM pratApasiMhenAbhyadhAyi'yadaivAhametadIye [ gRhe ?] gatastadaiva prathamadarzanAnantarameva sA kAcidAvayozcakSuH[ F. 137. B ] prItirutpannA yA vaktumapi na zakyate / premNo hi ". ........ pAryate / parAmRzya vallabhayA karajairvipATitamaGgaM kimiti ... .............ta ityahamanekaprakAramupAlabdho'yukta me.. . pi dattAni / nakhadazanapadAnyanyadattAnIti za.. .. yamapi na gaNayanti / idRzI premNo gati... to'haM gantumicchAmi tAvadenAM dArakaM lAlayantImapazyam / www (1) tathA ca pratha .. tadA madIyo 80 1 vipAdyamivayitumAyAtA / 6 luJcItAM / 7 mAyAsIt / svAdimAnyeva vAkyAni paripavyante / (5) 2 lAyamAna / 3 ityabhidhAyi / 8 kriyataH / (3) mAgacchat / malaya." mavalokya kathamena wwwwww 4 bAlakha / 5 tadIyAnu / 9 'yata / 10 138 aGkAGkitasya patrasya truTita

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zrIbhojadevaviracitA syamityanayAbhyaMdhAyi. * mayA soDhuM na " pAritam / atipremavazAdromANyapyanayA nakha... .. mayA premavazAtsarvametatkRtamidAnIM yadbudhyate taddevaH karotu / ' rAjJA viziSTaM pAri" - [ F. 138. A ] toSikamasya prAdAyi / sA tu nikhilasyA.. matAH kathaM kathaM na viDambayanti // ....... iti mahArAjAvi [ rAjaparamezvara zrIbhoja deva viracitAyAM zRGgAramaJjarIkathAyAM malayasundarI ( ? ) kathA ] nikA ekAdazI samAptA / ..... na ca dhUrteH saha vRthA vaira.. (3) astyatra bhuvanatale hastinAgapuraM nAma nagaram / tatra cA.. * udAttaH zUro dhIraH samadhigatakalA.. . rucirna "zIlaH pamarAko nAma rAjA / sa kadAcidA.dA sapane buddhikaraNDakAbhidhAne buddhi .la vRttAntAni kautuhalAdAlokayituM babhrAma / athaikadA prAhiNot / sa gulmAbhidhAnapattanamapazyat" / [F. 138, B] .. rjataH ko vA na raMjitaH ko vA na nistupI. rAtriM tatraivAtivAdyAprabhAtAyAM ". ra ..vAstAM atha prabudhya makaraMdikA yAvatpArzvamavalo (3) ..... mityabhihite (4) (1) .taH kAM dizaM vA gataH sa iti / bakulikayAbhya". yAvatpracchadapaTamAloka" [F. 139. A] dadhat / makaraMdikA tu tadavalokya vi... kimatra budhyate". * kiM kriyate / tato laDavakAbhidhAnA". .. mAnyakheTanagaraM gatvA lAvaNyavatyabhi . ni vAsAMsi ca snehAttasmai prAyacchat" [ F. 138. B] yadA ca kazcinnAyAti tadA tenaiva saha svapiti .. tiSThato gatAni bahUni divasAni ...... sau vAtUlo rAjA gataH / kiyantaM kAlamasmAbhirevaida ... * vahayituM yAti / tatastairAlo. * ya prahitaH / sa ca kvApya" vadhUtenApi rUpeNa tiSThati tatra tvayA sAvadhAnenAnviSya cAnetavyaH / tataH sa tamanviSya .... * ma / aNocca yanmaka raMdikAnAma vezyA pamarAkasattayA tiSThatIti / tatra ca sa yAvattamudantaM praSTumupakramate tAvatta. * makarandikayA ca mahatA gauraveNa pito bhojitaH paridhApitazca / paJcaSANi dinAni tatraiva vizrAmaM kAritaH / tataH sa vidi ...... [ mAnyakhe ]TaM gatvA lAvaNyavatyAH pazcA" dazvatarImArUDhaM tadanucaratAmAzritaM svaM svAminamapazyat / tataH kho. . praNamya vyajijJapat kimida [ F. 140. A] (2) (6) ......... [ dvAdazI pamarAkakathAnikA ] ....... ******** ******** *****.... 81 ......... 1 bhidhAyi / 2 139 aGkAGkitasya patrasya truTitatvAttasminnimAnyeva vAkyAni paThyante / 3 140 patrasya truTitatvAdimAnyeva vAkyAni paThyante / zRGgA. 11 ...

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82 zRGgAramaJjarIkathA maGgIkRtaM devena / sIdanti prajA bhidyante rAjakAryasetavaH utkaNThAvisaMsthulavAvarodhajano vartate bhavaddarzana..... .zca prakRtayaH / tankriyatAM prasAdaH / anugRhyatAM buddhikaraNDakaprabhRtayaH sacivAH / tatastadAkarNya savismayaM sasaMbhramaM lAvaNyavatI pRSTha. 'aye kimetadityabhihitam ' / vihasya so'bravIt - 'asatyo'yaM baTurmAmapratyabhijAnannevaM bravIti / tataH sumatirvihasyAvocat kri... . NAtmAnaM gopayati / tato lAvaNyavatyapi vegasaryAH samuttIryAJjaliM badhvA deva.. [Aga]myatAmityabhidhAya svagRhAnanaiSI... .popacArairupacaryAtigauraveNa taddinamatyavAhayat / atha sa tena sumatinA .. svadezaM prati netumArebhe / pama [ rAka ] [ lAva NyavatyA sAdaraM sasnehaM " ca vihitapari.. . bahu ratnA [ di] vittajAtaM vitIrya sumati. . saMprasthitaH sumatinA" - [ F. 140. B ] bhyadhAyi - ' deva vatsagulme makarandikA nAma vezyA sA maMyA AgacchatA dRSTA / tayA ca devakIyo'yamiti jJAtvA mama gauravAtizayo vyadhAyi / sA ca yataH prabhRti" devena saha saMgatA tataH prabhRti parihRtAparapuruSA madanadahanendhanatAmupagatA sarasApi klizyantI ghanasyevonnatasya devasya mArgamudvIkSyamANA mayUravodvIvA gamayati dinAni kSapayati kSapAstanmamopari prasAdaM vidhAya tanmadhye nAvazyaM devena gantavyam / mayA ca saha tayA karpUrikA nAma nijA " nucarI prahitA / sA ca devasya tadIyAM vijJaptiM vidhAsyati / tAM ca pazyatu devaH' ityukte tadanutastAmAhUyAdarzayat / sA tu savinayamAgatya rAjAnamiti vyajijJapat - ' devo yataH prabhRti tAM parityajya na jJAyate kva gatastatprabhRti tasyA vijRmbhitaM jRmbhikAbhiH, vihasitaM smitena, utkaNThitamutkaNThayA, raha" kAyita rahakakeNa, raNaraNakAyitaM raNaraNakena, udvellitaM tallUdvelitaiH, nizvaHsitaM niHzvasitaiH, unmAthAyitamunmAthena, romAJcitaM romAJcena [F. 141. A ]araitIyitamaratyA, hukRtamalIkahuM kRtaiH, pralapitaM pralApaiH, utkampitamutkampitena, alasAyitamAlasyena, jaDitaM jaDatayA, udbhAntaM vibhramaiH, saMbhrAntaM sambhrameNa, cintAkulitAyitaM cintayA, vikRtaM vikAraiH, AkRtAyitamAkRtena, rebhitaM rebhakeNa, laJjitaM lajitaiH, apatrapita [ma]patrapitena, grahikA yitaM grahikatayA, grahagRhItAyitaM graheNa unmattAyitamunmattatayA, unmAdAyitamunmAdena, ucchRGkhalAyitamucchRGkhalatayA, anuraktAyitama "nurAgeNa, khedAyitaM khedaiH, asukhAyitamasukhitayA, AtayitamArtyA, duHkhAyitaM dukhaiH, santapayitaM santApena, tathApi ramaNIyAyitaM ramaNIyatayA, kamanIyAyitaM kamanIyatayA, zobhAyitaM zobhayA, ullikhitamullekhena, ullasitaM lAvaNyena, rUpAtizayAyitaM rUpAtiza"yena, manoharAyitaM manoharatayA, camatkArAyitaM camatkRtaiH / tathApi candralekheva kRzApi kamanIyA, lavalIlateva pANDutAkalitApya - [ F. 141. B ] nupamacchAyAvAhinI, zUnyahRda1 gulma | 2 mudIkSyamANA / 3 aritI / (G) ****** ......... ............ ......... (2)

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zrIbhojadevaviracitA yApyazUnyA manmathena, mlAnimAgatA'pyanupamakAntimatI, viyoginyapi hRdayamamuJcatApi tena (tvayA ?) yoginI," glAnimAgatA'pyuJjIvanI manmathasya, kRzApi lAvaNyaparipoSiNI, alaMkArojjhitA'pyalaMkaraNaM manobhavasya, santApakalikApi dRktApahAriNI, manobhavoddhAntA'pi vibhramaikAyatanam , lAsikA vilAsAnAm , AyatanaM vibhramANAm , ratiH zRGgArasya, saMketasthAnaM hRdayahAritAyAH, nivAso" rUpazriyaH, sadanamasAdRzyasya, saMprati ca tasyA nirdaya kiM bravImi ? duHkhamapi duHkhagRhItam , ArtirapyArtimudvahati, khedo'pi khidyate, "unmAtho'pyunmathyate, asukhamapyasukhasya viSayatAmApannam , svedo'pi vidyate, mUcchopi mUcchati, AtaGko'pyAtaGkamudvahati, santApo'pi santapyate", zvasitamapi niHzvasiti, utkampo'pyutkampyate, utkaNThApyutkaNThayate, raNaraNako'pi raNaraNakasAkalayati, tallUdve-[1.142. A ]llirapyudvellati, rahakkako'pi rahakkitaH, rebhako'pi rebhakAkrAntaH, viraho'pi virahitaH / tathApyahaM kimapi na bravImi / idaM tu jAne tvadrUpanirU"paNaikarasikaM cakSuH, tvadguNAkarNanadohadinI zrutiH, tvannAmagarbhAH sarve'pyAlApAH, tvatprAptipratyAzaikabandhanaM cetaH, tvatsaMgamotkaNThitotkaNThulatA, tvatprativimbacumbitA dizaH, tvanmayaM bhuvanam , tvadaGgasaGgamotkaNThitAnyaGgakAni / anyacca nalinIdaleSu santApaH, bandhuvarge nirapatrapatA", sakhIjane kAryam , parijane cintA, yadyatpurAsvIkRtaM tat tanikhilamapi vibhajya kevalaM zvasitameva svIkRtam, tathApyatipraNayo mAM mukharayati / tvamevAsyAH priyo'sIti vaizikoktiH / sApyatizayakamanIyeti pralApanam / tvamatisubhaga iti pratyakSastutiH, tvamevaiko rUpavAniti" punaruktam , tvaM vidagdha iti svarUpAdhigamanAsaMghaH, sApi tavaivociteti vasvAminIprazaMsA, adyA" [F. 142. B] [atrAdarze 143 aGkAGkitaM patraM vinaSTam ] bhavAn dUrata eva pUtkurvannAyAtaH, tat kathaM pratibhedabhayAd gRhNAti / yadyevaM nibhRtaM dadAsi tat kimiti nAgRhNAti tadarpyatAm' ityukte kalahaMsako nibhR"tameva grahaNakaM samarpya rAjJo nyavedayat / rAjA tu rajanImukhe vyatIte sumatisahAyo gRhItaviziSTataratAmbUlAdhupacAreNa kalahaMsakenAnu gamyamAno makarandikAyA gRhamagAt / tataH zayyAyAmupavizya kSaNaM sthitvA sumatimAha-'mAdhava ! gantavyamasmAbhiH' ityabhihite mAdhavaH prAha'zrIdhara ! yad bhavate rocate tat kriyatAm / ' tata uttiSThantaM balAt taM makarandikA vyadhArayat / 'kimiti bhavantaH sAMpratamevAyAtAH prasthitAzca' iti makara "ndikayokte mAdhavenAbhyadhAyi-'sAdhu makarandikA bhagati, kimiti yUyamidAnImava prsthitaaH|' zrIdhareNoktam-'na yAtyasyAH pArzve'smAbhiH zayitum / tato'smAbhiridAnImevAgacchadbhiretatprAtivezinIgRhe etadAkaNitaM yadasyAH kazcit pamarAkAbhidhAno'tyanta 1 possnnii| 2 kaNThi to kunntthultaa| 3 seymo| 4 pralopanam / 5 degkyaa|

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zRGgAramaJjarIkathA (1) mabhirucita:" [F. 144. A] tadanayA rucitaghRSTikayA saha na yAti zayitum / bhavatA tu grahaNakamasyA eva samarpya samAgantavyam' ityabhihite makarandikayA'bhyadhAyi - 'yathA pama rAkasya mAtaramahaM mlecchAnAM gardabhAnAM ca prayacchAmi prativezinyazca evaMvidhA eva bhavanti, etadvacasaH pratyetuM bhavatAM kiM budhyate ' ityabhihite vihasya pamarAkeNotam yat- 'sumatermAtaraM mlecchAnAM gardabhAnAM prayaccha / ahaM tu bhavadIyaceSTitAnAM viditasvarUpa eva / kimatra manmAtrA vihitam / " yat kiMcit kartavyaM tat sumatimAtureva kriyatAm' ityabhidhAya adhigatakSititalaceSTitaH khadezaM prati jagAma / 84 tat putri !, vidagdhe pAkhaNDameva na kartavyam, kriyate ced nirvAhaNIyameva / anyathA kriyamANe'sminnupahAsAspadairbhUyata iti // iti mahArAjAdhirAjaparamezvarazrIbhojadeva viracitAyAM zRGgAramaJjarIkathAyAM pamarAkakathAnikA dvAdazI samAptA / 00 (2) [ trayodazI mUladevakathAnikA ] (G) anyacca - putri ! rAgaH sarvvathA rakSaNIyaH / sa ca tridhA zru [F. 144. B] tirAgaH, dRSTirAgaH saMbhogajanmA ca / trayo'pyete dUrataH pariharaNIyAH / yasmAdetaiH kulastriyo'pi viDambyamAnA dRSTAH / tathA hi dUre dRSTirAgaH; zrutirAgaH viSamAzIviSamiva taditi - vRttaM kautukAt kathyamAnamAkarNyatu bhavatI / (4) (6) astyavantiSu zrImatyujjayanI nAma nagarI / tasyAmatyadbhutaprakhyAtacarito nijabhujavikramAvAsacakravartipadaH kSitipatirvikramAdityo nAma / asti ca tatra mUladevo " nAma dhUrtaH / sa ca premaikapAtra meM tividagdhaH samadhigatanikhilapASaNDaH sakalakalAkuzalaH / damayan dazAn, vaJcayan vidagdhAn, pratArayaMzcaturAn nartayan kitavAn, AtmanaH zriyamananyasAdhAraNAmavardhayat / strIceSTiteSvatizaGkamAno na ca kathamAtmA " [F. 145. A] pariNItavAn / athaikadA - ' kimiti na pariNIyate bhavatA ?' iti vAraMvAramabhiyujyamAno vikramA "kenRpatinA mUladevo'bhyadhAyi - 'deva striyo hyatidurArAdhA duSTAzayAH calasvabhAvA rakSituma " zakyAH kSaNavirAginyo nIcAnurAgiNyatha / smRtizAstreSvapi zrUyate yat kilArdhamidaM zarIrasya jAye" ti taduSTatAyAM svayamapakRtapApmanoSpi puMsaH pApitvamAmananti / ato'hamakRtadAraparigraha eva janma kSapayiSyAmi / ' tato nRpatiravocat - ' naivam, striyo hi nAma trivargaikasAdhanaM sukhaikAyatanaM yazaso'rthas santateca mUlabhUtAH / gArhasthyaM hi nikhilA zramajIvabhUtam, na cAnutpAditApatyaH 3 puMza / 4 pApityamAmananti / (2) 1 rAga / 2 miti / "

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85 zrIbhojadevaviracitA paitRkAdRNAnmucyate puruSa ityavazyaM dAraparigraho vidheyaH, na cAtizaGkinA bhavitavyam' ityAdi bahudhAbhidhIyamAnaH [T. 145. B] [ atrAdarze 146-147 aGkAGkitaM patrayugmaM vinaSTam ] dayatyavijitadharmaklamaprasare malayarajase madanakeliklamaglapitavapuSA vilAsinAmatizlakSNatayA laghutayA ca satatamanavaruddhavyajanapaMva "naprasareSu bhogyatAmAyAtsu sitadukUleSu, krIDAtaDAgikAnAmanukulIralekhamacchinIdalAntarAlacchAyAmAzritya bandhuritakandharamanyonyakaNDUyana sukhAnyanubhUyAnubhUya madhyandinatApatandrImativAhayatsu cakrAvakamithuneSu, tIvratarataraNitApabhayAduparitanasumanasAmutsRjyApi makarandapAnamantarlatAbhavanAnyAzrayatsu madhukaradvandveSu, pramadavanadIrghikAsalilavihatimiH ziziratanulatAsu nirmokazucinA tanutareNa mRgamadarasacitritena ca vAsasA parikSiptajaghanastanabharAsu, dalitapATalaprasavasaMvalitAbhirvicakilasragbhirAkalitakezapAzAsu, masRNaghanasArare"NusaMvargaNadviguNasurabhiNA'cchAcchena malayarajasenAzliSTakucataTAsu, priyatamAnabhisarantISu madhyandinAbhisArikAsu, [F. 148. A] nibiDonmiSadRSmasantaptakakubhA grISmeNa samantato niruddhaprasArabhayAnilIna iva dhArAgRheSu, Azrita iva sudhruvAM stanabhareSu, praviSTa iva krIDAka"malinInAM dalapracchAyeSu, pujjIbhUya sthita ivopavanakSitiruhAmadhaHparisareSu, kRtAvAsa iva kadalIkhaNDamaNDapAbhyantareSu, prAptasthitiriva sadyaHsnAtotthitanitambinIcihurabhAreSu, nilIna ivAtibahalapatrazyAmaleSu tAlIvaneSu, nirmathitadavathAvanimne zItalimni daradalitamallikAmukulamAlikArcitacikuranikarAbhirAme, tuhinakarakAntadantapatrAlaGkRtakazravaNapAzopazobhinyunmArjitadazanadyutistabaki "tAdhare, ativimalasthUlamuktAphalamAlikAvalayitamalayarajasAzliSTastanabharabhuvi, svacchasitadukUlacchannavapuSi, muSitahariNalAJchanacchavA vatikamanIye kAmapi zriyamAzrayati zyAmalAnAmazyAmale nepathyavibhave, samantAd dRtimukhodgIrNAbhirambhaso' [F. 148. B] dhArAbhirAsicyamAnamarubakavyatikaritadamanakAmodasurabhitadigantAsu sahakAratarugahanabhuvi madhyandinatApaklAntimapanetuM vilAsimi"thunairadhyAsyamAnAsu secanakuTISu, divasakarasantApopajAyamAnoSmaNAM bhavanAnAmantarnivAsamutsRjya malayarajasonmArjitasphaTika "kuTTimAni saudhotsaGgatalAni pratinizamadhyAsamAneSu vilAsimithuneSu, vikacavicakilasragbhirAracitabhittIni kAlAgurudhUpadhUmazyA"malIkriyamANoparitanavitAnakAni vidhAya sajAnyAtmano vAsabhavanAni, kAlAtikamAt kimapi kimapi jAyamAnavirahapA"NDimacchAyAhAriNISvadhiSThitacandrazAlAsu, candrikAdhidevatAviva pratibhavanamivopalakSyamANAsu vAsakasajjAsu, uttaptakArtasvara"kAntisarvakhataskarISu kAlAyasazyAmalAnyalivalayanigaDAni duHsahapratApena grISmanRpatinA lambhitAsu navatRNazyAmale"-[F.149.A]bhyo dIrghadalakozakoTarebhyaH zanaiH zanairnigacchantISu , pvn| 2 degduuguulessu| 3 degchAyAmazri /

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86 zRGgAramaJjarIkathA kanakaketakIsUcIpu, madhusamaya eva tribhuvanavijayavyayitanikhilakusumasAya"kasya makaraketovirahijanahRdayanirdalanapaTuSu cakreSviva surAsurabhitazazimukhImukhazvasanasyAnusmArakepUnmipatsu kesara "prasareNUM, avajitAzeSakusumasaurabhatayA caTulamadhukarakulaikanigaDeSu jAtyajAmbUnadacchavisodaracchadavalayiteSu nikhila janahRdayaikaharaNamohanamantreSu manmathapratApajvalaneSviva virahiNAmAlokaduHsaheSu prativanamudbhidyamAneSu rAjacampakaprasUne "pu, zanaizanairupavanAni gAhamAnasya makaradhvajagandhasindhurasya madajalAsArasaurabhabhrAntimudvahatsu surabhizItalAmodeSu sphuTa"tsu nirbharamatikaThoreSvelAphaleSu, pathikajanahRdayavidalanodyatasya madananarapateISmalakSmyA " [F. 149. B] [atrAdarze 150 aGkAGkitaM patraM vinaSTam ] .................rAjapathe rAjakulaM vrajannasmanmukhAdAkarNitastadeva sA manmathavyathonmAthanirma"............OM tatra gamanena sA varAkI ityAkarNya vimRzya dattako'bhyadhAt'kimahaM bhavatyai dRSTo ................* sA manmukhAdAkarNya tvayyanurAgavatyAsIt ' ityAkarNya dattakaH-'A pApe ! ka gatA ................* nirvAsitavAn / atha sa tasyAH sakAzaM gatvedamAcacakSe-'bhartRdArike ! manmukhAt tvAM jAtyaM".................* ityAkaye jAtodvegayA jAtyaMdhayA khaTvAyAM sanipatya tasthe / athAgato mUladevastAM tathA"............ ityabhihitA sA pratyavAdIt-'Aryaputra ! yAvadvAlikA'hamAsa tAvatkimapiharSavi [F.151. A]......tadyadi bhavanmukhAravindAvalokanasukhaM nopalabhyate tarika mama jIvitena, sarvathA mayA martavyami"............* mariSyAmIti saMbodhya'mUladevaH sAdhu bhaNatyasAviti cetasi saMpradhArya bhagavatIM vindhyavAsinI ArAdhayi"... ............* tasthau / atha bhagavatI tAM tadIyAM bhaktiM nizcayaM cAvagamya tuSTA'bhyadhata-'vatsa mUladeva ! gaccha.................* darakrIDA prastAvanIyA / tasyAM ca pravRttAyAM patitayoH pAzakayoryadA dAyaM prakSyasi"............ * te kathayiSyati, vikacakamaladIrghA dRSTizca bhaviSyati' ityAkarNya prIto mUladevaH sva"................* sa prItahRdayastayA saha ramamANaH sukhamAsAMcake / pUrvavaca rAjakulaM vrajannA-[F.151. gatazca tasyA iGgitAkAraiH svarUpaM pakSata / athaikadA sA *...................... avAdIt-'bhadra dattaka ! sA tvayA vinA balavatAnurAgeNa vA *.................... atha dattakastAmavocat-'AH pApe ! jAtyaMdhayA mAM pratAra OM... khAM svasaundaryanirjitamadanaM yA na pazyati sA kamaladaladI *..............." nirjitaratimavalokayatu kamaladaladIghelocanAm / tataH sA *...................." t / sa ca 1 prsvessu| 2 151 aGkAGkitasya patrasya uttarArdha eva prAptaH / tasminnimAni vAkyAni paripaThyante / 3 152 aGkAGkitasya patrasya pUrvArdha eva prAptastasminnimAni vAkyAni paripacyante /

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zrIbhojadevaviracitA tatra gatvA tadIyarUpAtizaya *....................[F.152. A]mudvIkSamANaH kathaMkathamapi vAsaramanaiSIt / atha duSTastrIceSTitaM .................." yeva tamaHpaTalapaTikAkRtAvaguNThanAsu dazasvapi digvadhU *..................." velAyAM ca gatavati mUladeve pradoSe evAsitakambala *........................" vA dattakastAM jAtyaMdhAM veSTakasaMketAvasthitAmakAma OM....................." kayati tAvadacintayadaho saMpratyeva vinaSTeyamiti *...... ...." tAsAM duzceSTitAni ata eva mayA pariNayanaparAGmukha ......... [F. 152. B] sakaladhUrtacUDa...................vyatikaraH saMpadyate............ktena zatena ramate........" pratidinaM zara................panazoSamAgato........kimayameva vi...... ........2 nya bhavadutAnya........vicintya prativipaNi praticatvaraM pratirAjapathaM pratigRhaM cAnviSyanneva dhUrta................. caraMzca yAvadAlokayati tAvadrAjahastino hastipako gADhaprauDhadRDha ........bandho bhogapradhAno'nAyavyaya........mavalokya cintitavAn' 'avazyamanena saha kasya cedIzvarasya striyA jAtavyabhicArayA bhavitavyam' iti vicintya prAvRtakambalaH khApacchalAnipatyAvatasthe / athArddharAtrasamaye yAvatpazyati tAvadvikramArkanRpatedeyitA cellamahAdevI anucaryA vividhabhojyaparipUrNabhAjanavyagrakarayA gRhI"-[F.153. A]tazItalasalilakarakayA svIkRtatAmbUlasthagikayAnugamyamAnA tamabhisasa[pa]............gatamAtrA ca tAM dviguNIkRtayA karivaratrayA saroSamAcche"dyAcchedyedamabhyadhAt-'AH pApe ! dAsiputri, kimityetAvatkAlavilambaH kRtaH' ityabhihitA sA tamanunayantyAvabhASe'chalaM vinA kathaM mamAgama "nAvakAzaH 1 tanmayi mA vRthaiva kopaM kRthaaH| upaviza, bhujyatAm' ityabhidhAya tasyAgrato bhojanaM nidhAya taM sAdaramabhojayat / hastipakastu bhuktvA gRhItatAmbUla............manubabhUva / mUladevastu taM vyatikaramAlokyAcintayat'bhavatu manAgmandIkRta ............ do yadevaMvidheSvapi rAja"gRheSvevaMvi ............ ni / bhavatvanyadapyanvepayAmi / tataH prAtaravadhUtarUpatayA nikhilamapi............. "namiva ku.... ........punardamayantya vAptA............prabhaveNa yaza......................... [F. 153. B] [atrAdarza 154 aGkAGkitaM patraM vinaSTam ] yauvanataro.................rakSArthamAracitAbhistisRbhiH parikhAbhiriva rAjibhi.......... latAbhyAmiva nisargakomalAbhyAM udbhAsamAnAm marakatamaNimAlikAvRtena smaranidhAnakumbhenevoragarAjarakSitenAtipRthulena stanayugalena bhrAjamAnAm , saromAlikAlaGkAreNa kSitimiva madhyadezenAGkRtAm , madanakitavasya dUrodarakrIDAphalakeneva nipatitAkhilAkSeNa nitambaphalakenollAsamAnAm , madanakArmukakarabhakavayasyoruyugalena zriyamAkalayantIma , lAvaNyasarasIraktotpalAbhyAmiva caraNAbhyAM zobhamAnAm , tribhuvana vijayArjitAM vaijayantImiva 1 153 tamasya patrasya truTitatvAnnimAnyeva vAkyAni paripaThyante / 2 ciMtatavat / 3 155 tamasya patrasya pratikRtiranantaraM prAptA / tasyAM paMktisaMkhyA nAMkitA bhavati /

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zRGgAramaJjarIkathA makaraketorvazIkaraNa vidyAdhidevatAmiva mUrttimatIm, ananyasAdhAraNasa[ F. 155. A] kalAvayavasaundaryAmanupamarUpalAvaNyAM SoDazavarSadezIyAmakarot / yacca tanmadyamAMsAdikamAnItaM tattayA sahopabhujya premAnurUpaM ratisukhamanubabhUva / ' atha khaTvAGgaM mama kumbhakAragRhe vismRtam' ityabhidhAya zivataDAge mahAM ca sandhyAM vidhitsurnirjagAma / tAM cAvocat'yAvadahamAgacchAmi tAvat tvayA'traiva sthAtavyam / ' atha tasmin gate sAspi vizrambhamutpAdya pUrvameva tatsakAzAdgRhItavidyAmaNDalamAvartya tathaiva khahRdayAdaGgaSTapramANaM divyapuruSamekamugAla / taM ca kamaNDaluvAriNA'bhiSicyAnupamarUpalAvaNya yauvanopetaM vidhAyotpannazataguNaprItiH prItyanurUpaM tena saha ratisukhamanubabhUva / anubhUya ca tadAgamana [samayamA-] kalayyAnAgatameva taM puruSaM laghUkRtya nijagAla / mahAvratikastvAgatya tAM laghUkRtya nya gilat / mUladeva- . evAlokya vismitamanAH svagRhamaga [F. 155. B] [ atrAdarze 156 aGkAGkitaM patraM vinaSTam ] 88 rAjA tu tadavalokyAtivismito mUladevamAbabhASe - 'mUladeva ! kimetaditi ?, mahadadbhutametadAvedanenApanaya naH kutUhalam / ' mUladevastu baddhAJjalirvya [ ji ] jJapat- 'deva ! yadyabhayaM tadA vijJApyate / devena punarnAparAddhavyam' ityabhidhAya mahAdevImabhyadhAt'devi ! hRdayavallabhena vinA bhojanaM na svadate / tadA [ hU] yatAM baTharakanAmA rAjahastino hastipakaH / ' rAjA tu vismitastamuvAca - ' mUladeva ! kimetat ?' mUladevaH prAha'udghATyAGgaM vilokayatu de[ vyA ] asyAH / ' rAjA tathA kRtvA yAvadAlokayati tAvad dviguNataranATikAghAtAsphuTitAnapazyat / Atmanazca dvitIyAsane samupavezya jAtyAndhA[ma] vocat - ' tvamapi hRdayavallabhaM vaNigdattakamAkAraya' ityabhidhAya punarvyajijJapat- 'deva ! devakIyaH prasAdo'yaM yadahaM pariNAyito devena / tadevaM [vidhA ] "nyAsAM ceSTitAni vijJAya kathamapi pariNayanaM nAGgIkRtavAn / aGgIkRtA devakIyAdezAdiyaM jAtyandhA / tatrApyevaMvidhA pariNati [ F. 157. A ] retAH pApIyasyo durAcArAH, ka AsAM vizvAsamAyAti / na hi devasya sadRzo nRpatirnApi macchadRzo dhUrtacUDAmaNirnApi kapAlazikhena saha [ zo maM ] "travAdI ca / etAnapyetA vaJcayanti, itareSu tu varAkeSu prANimAtreSu kA gaNanA ?' tato rAjA hastipakaM nijagrAha dattakaM sarvasvamadaNDayat / jAtyandhAM niravAsayat / cilamahAdevIM chinnakarNanAsikAM vidhAya piNDopajIvina kArAgAre nyadhApayat / (0) tat putri ! AsatAM vezyAH kucAritradhanAH, kulakhi[yos] pi dRSTimAtrarAgiNyaH parapuruSeSvevaM jIvitavittAdinirapekSA vyavaharanti kiM punaH svatantrA vezavanitA: ? tat putra ! trividhospi rAgaH sarvvathA pariharaNIyaH / (4)

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................... zrIbhojadevaviracitA itthaM putri !, na kadAcidapyabhUd bhuvanaikatApane tapana ivAsmatkule prvnycnaaklngkH| tad bhavatyA tathA prayatitavyaM yathA na luNTyase viTaiH, na naya'se dhUrteH, nopahasyase vayasyAbhiH, na kadarthya se kadayaH, nopabhujyase bhujaM[ gaiH][F.157. B] na khaNDyase pApaNDibhiH, na rajyase rAgibhiH, na dhikkriyase ki ............. vitAryyante vidagdhAH, bhujyante mahArthAH, khaNDyante pApaNDinaH ................" kulakumudakaumudIva bhavati / madhuramasRNamugdhasnigdha ............. pratikalamatiharSAdbhAratI nRtyatIva // imAM pazya kSoNI vaha.......................... gAnAmIzo para iva sa enAmaracayat / kathAmurvInAthaH praNata.. navA sphItA yA ca prakRtisubhagAlaGkRtirapi / sa ukterullekho... .............[F. 158. A] kalitaH // siMgAramaMjAraM pAviUNa devI sarassaI anja / mayaraMdapANabha..... ................." // siMgAramaMjari pAviUNa devIe uaha vANIe / sohagga- jasa- paDAyA .........."UNaM jasa kahavihu siMgAramaMjari uaha / Niyasoha[gga]vaDAyA. ..... // [siMgAramaMjariM pAvi ] 'UNa vANIe maNahArA ye vi / kaNNAvayaMsasohAbho............. ........ // ..................."[va] tsarANAM zakadviSaH / kRteyaM bhojarAjena kathA [zRGgAramaJjarI]" // jasa-paDAyA ........................ // [iti mahArAjAdhirAjaparamezva] ra zrIbhojadevaviracitA zRGgAramaJjarIkathA sa[mAptA][F. 158. B] || 1 pr| antimasya 158 aGkAGkitasya patrasya pUrvArdha eva prAptastasminnimAni vAkyAni paripacyanta / zRkSA. 12

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zRGgAramaJjarIkathAntargatavizeSanAmAnukramaNikA / akSapAda aGgirasa anaGgavatI avanti alakA azokavatI ahicchatra AzApurA ujjayanI uttaGka udyAna uragapura urvazI ekadaMSTrA kaNAda kaccha kanyakubja kapAla zikha karpUrikA "" kalahaMsaka kAlapriyadeva kAvI kiSkindha kuNDi[na] pura kuntalI kumArila kuru kuvalayAvalI [ RSi ] [ muni ] [ paNyAGganA ] [ deza ] [ devapurI ] [ gaNikA ] [ nagara ] [ vikramanRpakuladevI ] [ vikramanRparAjadhAnI ] [ muni ] [ pradeza ] [ nagara ] [devanartakI ] [ kuTTanI ] [ RSi ] [ deza ] [ nagara ] [ matravAdI ] [paNyAGganA ] [ paNyAGganAnucarI ] [ rAjAnucara ] [ ziva ] [ nagarI ] [ pradeza ] [ nagara ] [ kuntalapradezanArI ] [ AcArya ] [ kururAjaputra ] [ paNyAGganA ] 17 16 77 84 13 66,68,69,70,71,72 41 46,72 32,33,35,42,84 54 13 66,69 20 26 17 71 78 88 54,55, 56 82 83 76 54, 55 13 19 74 17 13 28,29

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zRGgAramaJjarIkathA kerala kailAsa kauTilya kauzAmbI krauJcagiri gaGgAtaTa gambhIrA guNADhya gulma ghuDAka / capalaka cANAkya cANAkyanIti citralekhA cillmhaadevii| cellamahAdevI / cola cchaDuka / cchaDDula / hallizmi iliwlaimllanla [ pradeza ] [ himAcalazRGga] [ arthazAstrapraNetA] [ nagarI ] [ naga] [pradeza] [nadI ] [ kavi ] [ pattana ] [ tailika ] [ kathAnAyakamitram ] [ mahAmAtya ] [ nItivizeSa ] [gaNikA ] [vikramanRparAjJI] [pradeza ] [ sAmanta ] [kuTTanI ] [ nadI ] [ nagarI] [ rAjasabhAmahattama ] [vaizikazAstrapraNetA ] [ vaNik ] [paNyastrI ] [ pradeza ] [AcArya] [ bhojadevarAjadhAnI ] [ nadI ] [pradeza ] 63,64 88 74 66,71 68,69,71,72 62,79,80 DhoNDhA tApanI tAmalipti tikkapaika dattaka 26 86,87,88 32,33,34,35,36,39,40 44 devadattA dramiDa dharmakIrti dhArA narmadA nAsikya ... 17,36

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nepAla paJcAla pamarAka paramAra parAzara pANDava puNDravardhana purUrava pUrNapathaka pratApamukuTa pratApa siMha prAgjyotiSa priyaGgikA priyaMvadaka bakulikA "" badrAmukuTa bANa buddhikaraNDaka bhaTTamAtRgupta bhavabhUti bhAilasvAmidevapura bhArata bhAsa bhujaGgavAgurA bhojadeva bhojarAja } makaradaMSTrA makarandikA magadha madhukarikA vizeSanAmAnukramaNikA [ deza ] [ deza ] [ rAjA ] [ rAjavaMza ] [ RSi ] [ pANDurAjaputra ] [ nagara ] [ rAjA ] [ nagara ] [ cakravartinRpa ] [ mahAsAmanta ] [ pradeza ] [ paNyAGganAnucarI ] [ rAjaputrAnucara ] [ paNyastrIsahacarI ] [ paNyAGganAnucarI ] [ rAjA ] [ kavi ] [ saciva ] [ vikramanRpasaciva ] [ kavi ] [ nagara ] [ purANa ] [ kavi ] [ kuTTanI ] [ dhArAdhipati ] [ akkA ] [ paNyAGganA ] [ deza ] [paNyAGganAnucarI ] 13 78 81,82,83,84 79 1 13 56 20 62 26,62 78,80 13 33 26, 27, 28 58,59,61 81 57 81,82 39,44,45 1,8,19,26,28, 35, 47,56,66,72,77,81,84,89 57 70 1 28 89 34,54,70 81,82, 83,84 54,55 27

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94 mandara giri malayaviSaya malaya sundarI mahAkAla mahAkAlanAtha mahendrapAla mAdhava "" mAnyakheTa mAlatikA mukharaka mUladeva kalakanyakA raghupati ratnadatta ravidatta rAma rAmAyaNa rAmAyaNakathA f rAvaNa ripudalana rohaNAcala laDavakA lavaGgikA lATa lATI lAvaNyavatI lAvaNya suMdarI "" vajramukuTa vatsa } zRGgAramaJjarIkathA [ parvata ] [ deza ] [paNyAGganA ] [ ujjayanI sthita zivanAma ] [ rAjA ] [ dhanapati ] [ saciva ] [ nagara ] [ paNyavadhU ] [ vikramanRpadUta ] [ dhUrta ] [ narmadA nadI ] [ rAma ] [ vaNikputra ] [ brAhmaNa ] [ ayodhyAdhipati ] [ purANa ] [ laGkeza ] [ tannAmA gaja ] [ giri ] [ nArI vizeSa ] [ paNyAGganAnucarI ] [ deza ] [ lATadezIya nArI ] [ paNyavadhU ] [ tailikabhAryA ] [ paNyAGganA ] [ nRpati ] [ deza ] 13 29 80 35 32 78 28,29 83 57,63,81 26, 27, 28 42,44 17,84,86,87,88 79 78 56,57,59,62,63,65 19,21,24,25 8,79 70 13 70 47 81 33 75 1 81,82 41, 44, 47,48 58,59,61,62, 63, 64,65,66 41 73

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vizeSanAmAnukramaNikA vatsagulma vasudatta vasubhUti vAlmIka vikramasiMha vikramAditya vikramAdityadeva / vikramAke vidagdha / vidagdhaka vidisA / vidizA vinayadhara vinayavatI vindhyavAsinI vindhyATavI viSamazIlA viSNudatta vyAsa zazin zAkyazAsana ziprA zukra zRGgAramaJjarI [pattana ] 82 [vaNikputra ] 25,26,27 [ vaNik ] [ upAdhyAya ] [ RSi ] [ rAjaputra ] 26,27,28 40,42,46,48,84 [ujjayanInRpati ] 32,35,40,45,46, 84,87 [ brAhmaNaputramitra ] 33 28 [ nagarI] [brAhmaNasUnu ] 73,77 [ paNyastrI] 24,25 [ devI ] [araNya ] 53 [akkA - zRGgAramaJjarImAtA] 18,26,28,30 [ vyaktivizeSa ] [RSi] [dhUrta ] [ bauddhadarzana ] [nadI ] [daityaguru] [dhArAnagarIpradhAnapaNyAGganA] 18,26,28,30 [bhojadevaviracitA prastutakathA] 13 19,26,28,35,40, 47,56,66,72,77,81,84,89 [pradeza] [rAjA ] [ naga] 37,55 zRGgAramaJjarIkathA zoNa zrIdhara zrIparvata

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zRGgAramaJjarIkathA zrutadhara saGgamaka saGgamikA samarasiMha sambhramavatI sAGkhya sAhasAGkanRpati siMgAramaMjarI siMhaladvIpa sugrIva sundara / sundaraka subandhu [ brAhmaNa] [ rAjAnucara] 64,65 [paNyAGganAnucarI] 24,25 [nRpa ] 66,68 [nadI ] [ darzana ] 17 [vikramAditya ] 40,42,47 [bhojadeva viracitA prastutakathA] 89 [ dvIpa] [ vAnararAjA ] 13 70,72 [ puruSavizeSa ] 70,71,72 [ kavi ] [ vaNikputrAnucara] 57,61,65 [ saciva ] 82,83,84 [dvIpa ] [ brAhmaNa ] 30,32,34,62 [rAjA ] 63 [ brAhmaNa ] [ puruSavizeSa ] 53,54,55,56 [dhUrta ] [kathA] [prAma] [nagara] [ jAtivizeSa ] 1,43,75 sumati suvarNadvIpa sUradharmA 25 somadatta 13 somAditya harizcandrakathA hastigrAma hastinAgapura hUNa

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The Srigaramanjarikatha SRI BHOJADEVA TRANSLATION

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THE SANGARAMANJARIKATHA OF SRI BHOJADEVA (TRANSLATION) PREFACE (1) Once upon a time, when springtime was nearly at an end; when the bowers of the Madhavi creeper had its clusters fully developed with the blooming flowers; when on the bunches of mango blossoms small fruits had thinly sprouted; when the clusters of Madhuka flowers, which steal the beauty of the cheeks of the Huna ladies, had almost fallen down; when the Patala flowers, which resemble the colour of the lips of the women of Lata which are kissed (lit. drunk in) by their lovers, had fully bloomed; when the Malaya breeze brought about inactivity in the dull; when the buds of the Mallika manifested sparsely like the smiles of the Glory of Summer outgrowing her childhood; when the anxiousness of the wanton women for swinging had lessened (lit. had resorted to languor) and their desire for the pleasure of water-sport had increased (lit. had taken resort to desirableness); when the spread of perspiration which is non-prickly, bristled on the breasts of the lotus-eyed ladies due to the collection of formed drops; when the rays of the Sun, which had not bleached the greenness of fresh grass, were slowly attaining maturity; when the beginning of Summer was gradually setting in, MAHARAJADHIRAJA PARAMESVARA SRI BHOJADEVA, who, in the pleasure garden, was seated on the central seat of the dharagrha which was studded with moonstones, and whose lotus-feet were worshipped by some learned men, a few relations, friends and kings, was courteously requested thus:-- "Though you are our ruler yet because of the people you are a good kinsman (SUBANDHU), you are the splendour of Sri (SRIBHASA), you are rich in virtues (GUNADHYA) and you have sung the glory of Gods (PRASASTAGIRVANA). Therefore, as our minds are deeply desirous, for our delight and knowledge, please tell us a new story.". Being thus told, (he) smilingly said, "Let it be so, but a story that is narrated bears beauty only when it commences with the description of the town and the like. And there is no city more distinguished than this one, therefore, this (city) alone will have to be described first. And because of the circumstance of my be. ing its ruler I will have to speak about myself which is indeed improper."

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SANGARAMANJARIKATHA Then, by them who had thus heard their king's words, he was again spoken to---"Sire knows that we are not like that. It has been said by all writers on poetics that, there is no blame in speaking of one's own merits if (one) records only facts', thus sages like VALMIKI, PARASARA, and VYASA, and poets like GUNADHYA, BHASA, BHAVABHUTI and BANA have made known their merits. The narration of virtues one does not possess is a fault, but not the narration of one's true merits." Thus being addressed (by them), (he) spoke to them:-"You are not ignorant; therefore if this (narration) seems uncensurable to you, then I shall tell you. Listen (2):-" DESCRIPTION OF DHARA Here is a city named Dhara, the one ornament of the whole world, which has by its own wondrous splendour put aside the glory of the city of the gods; which as it were laughs at the single disc of the moon by thousands of moons in the form of the faces of the city dames moving every night in the candrasalas of the high mansions; which, by the mass of the rays arising from the pure crystal mansions brightening the sky and the network of flashing rays issuing forth from the emerald palaces, brings about a friendship of sale and exchange between the naturally opposite darkness and moonlight; which, on every mansion removes as it were the perspiration of the horses of the sun whose bodies are tired due to the fatigue caused by traversing the vast expanse of the sky, by fanning with the fringes of the banners waving in the wind; which is, as it were, the life of the earth; the essence as it were of the world; the summum bonum as it were of the Universe; the place of trust as it were of all wealth; the residence as it were of Grace; the ornament as it were of the world; the resort as it were of the three goals of life (viz. dharma, artha and kama); the house of creation of the naturally charming women; the chief resort as it were of loveliness, and the stream of nectar to the eyes of all the people. Wherein, the spreading mass of white lustre of the crystal mansions makes the circle of directions white and blissfully pleasant; wherein, every night, darkness is multiplied by the emerald floors, is split up by the floorings of the crystal palaces, is reduced to pieces by the golden roofs of the mansions, is drunk in by the moonlight moons in the form of the faces of the ladies of the town, is augmented by columns of smoke of the Aguru incense issuing from the windows, is collected as it were by the gardens, is destroyed as it were by the spread of the rays from the tusks of the elephant in the form of victory and is stored up, as it were, in the underground chambers made of sapphire. Wherein, every night, on the top of the houses, the rays

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TRANSLATION of the moon reflected in the floorings made of red precious stones gives rise to the illusion of a grove of water-lilies to the fascinated womenfolk, (The city) which derides as it were even in the three worlds all the old residences of the town by its continuously flashing lustre of pure crystalline turrets; which (city) to a man who looks longingly at it seems to be a world of palaces only, the Creator's new creation of mansions only, an earth possessed of tanks only, a circle of directions made of gardens only and the vault of the sky made of banners only. Wherein it seemed that every night the rays of the moon merged in the crystal floorings, were drunk in by the courtyards studded with emeralds, surpassed the evening clouds (as they were reflected) in the middle of the raised seats of the pavilions of the houses made of red jewels, possessed the lustre of the deer in the crystal windows darkened by the smoke of the Kalaguru incense, and melted in the moonstone channel on the eaves. Wherein, everyday, the rays of the sun appeared, like offshoots on the golden pinnacles, like stems on the golden staffs of the banners, like leaves on the flashy ruby mansions, like flowers on the rows of the golden swans inlaid with precious red stones, and like fruits on the balls on the golden tops of the palaces made of shining gold; (3) which (rays) falling on the crystal walls and flashing back become as it were moonlight (rays) even during the day; which being deflected from the ruby floors after coming in contact with it, become, as it were land-lotuses; which falling on the raised seats of the pavilions made of pure pearls and reflecting back become as it were white lotuses; which falling on the candrasalas made of sapphires become as it were blue lotuses; which possess, as it were, the red lustre of the early sun on the floors of the pleasure houses made of corals; which shine refulgently, after reflecting on the golden tops of the mansions; which cool down as it were on the turrets made of emeralds; which become covered as it were by the columns of smoke of Kalaguru; and which, due to the intermingling of the mass of rays of the other colourful jewels on the mansions give rise to thousands of rain-bows on all sides for the protection of the city. Where, every night, the moon is disturbed in his movement when the deer stops moving on hearing the notes of music together with the jingling of the jewelled bangles of the women resorting to the terraces of the high buildings. Where the deer in the form of the spot suffers the never-experienced pain of being tied by the ropes in the form of the rays issuing forth from the jewelled armlets on the unsteady hands which are raised in dancing, of these very women. Where the grandeur of the monsoon is always present, because the sky is darkened by the mass of dense smoke issuing from the fire of hundreds of sacrifices in which oblations are

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SRNGARAMANJARIKATHA offered and ........... Which (city) at some place becomes Brahmaloka being surrounded by rows of learned brahmanas engaged constantly in religious rites, and with the ....... sound of the Khila and Nigamas being read, and all the Puranas, Itihasas, Srutis and Smitis being related; which (city) at some places gives rise to the illusion of water-lotuses even on ground due to the crystal floors reddened by the alaktaka-dye on the feet of the women intoxicated with youth; where due to the deep sounds ....., due to music continuously going on in every house, and the border regions of the houses darkened by the thick growth of green flowering trees and the mastery of the peacocks in dancing ............ ; which (city) guides the movements of the female love-messengers clever in knowing the ways of pleasing the women piqued in love; which at some places becomes a world of Madana, enthusing friends in getting ornaments for the doe-eyed ones .... anxious to go to their lovers; which at places becomes the nether regions with the lovers shooded serpents>> enjoying pleasures; and which at places becomes heaven with the winds following light <>; which is free from miseries like the ocean <>; which is free from all horrors like Ravana <>; which has decked itself with resplendent gold like spring which is adorned with the pleasing Kancana trees; which has obtained union with pure ones like summer <>; which has a longing for clean clothes like the autumn <; which is always free from anxiety like the winter <>; which though Makanda <>; which though Sarala <>; which though Sumitranandana < is Sugriva <>; which though Virocana >; which though Paramesvara <> is without anger <> < is not moving crooked < is adorned with all the ornaments. (4) Which (city) is encircled by a city wall, unique in form in the three worlds, which is white as snow like the Himalayas <>; which hampers the moon (lit. lord of the

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TRANSLATION constellations) like Ravana (lit. the ten-headed one) <>; which obstructs the path of the sun like the Vindhya mountain <Page #217
SRNGARAMANJARIKATHA ly and unsuccessfully swoop down and are cheated by (the fish) which are not caught; which (lakes) taste like nectar <>; which are full of passions <>; which are without lotuses though possessed of lotuses <; they are twice presided over by Satapatras <; doubly savanani <>; twice charming by Kuvalaya <; twice vitatani <>; and which (lakes) thus imitate the movements of the mad-at some places laughing as it were by the erect and fully bloomed white lotuses; at some places throwing arrows of side glances with the knitting of eyebrows in the form of blue lotuses seen in between the waves; at some places throwing up dust in the form of drops of water split up by coming into contact with big waves; and at some places jabbering as it were by the great noise produced by the waves striking against the wind on both the sides. (5) In the (city) where there are many enchanting abodes like the pleasure tanks and the Viravilasodyana and others, there is a mechanical fountain house which fascinates the minds of the citizens; which (fountain house) because of the reflection of the trees in its walls made of pure precious stones (standing) in the middle of Nandanavana looks as if it has allowed in, and thus protected the very delicate garden trees which have sought refuge due to the fear of the sun; which, out of fear of insulting the great, welcomes the people entering with coolness produced by the fall of thousands of streams spreading all round; (6) which as it were forms masses of clouds by the radiant lustre of the emeralds (set) in the base of the pinnacle, for warding off, even from a distance, the heat of the sun which torments the whole world, which having cut asunder keeps outside under the guise of the leaves of the forest as it were, the fire of agony of the people entering, who are reflected in both the sides of the doors made of dark coloured precious stones; which in the three worlds mocks as it were the creation of the Ancient Creator by the production of the moving mechanical dolls; which is like the palace of Varuna; like the place of assignation of winter; like the home of auspiciousness of the gods of the regions of the Himalayas; like the place of defeat for the summer's heat; like the pleasure-home of the fish-bannered God; like the store-house of sport of the ocean of love; like the place of origin of the rains; like the mansion of creation of the inventions; like the summum bonum of loveliness; like the jewelled mirror of skilfulness; and like the outhouse of pleasures. Which (fountain house), due to its extreme coolness is as if made of camphor powder, constructed with mass of snow, and built

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TRANSLATION with the digits of the moon; which due to the extreme fragrance of its scented waters (seems) as if created by the perfume of the Bakula flowers, made with powder of the Kakkola fruits, whose surrounding area is as if made by the clove-flowers, and whose streams are as of the juice of Elaphala; which exhibits, as it were, the watery creation of the Creator by thousands of streams flowing everywhere; which is unattainable by the rays of the sun; which admits not misery; which cannot be overpowered by the antidotes of the separated; which cannot be looked at by the fire of separation of the separated lady-lovers; which is the place for cooling even cold; the habitation of happiness even of happiness; and charm even of charm; which seems to sprinkle in the directions, camphor powder due to the spraying of the drops of thousands of streams with its waves rising, striking and breaking in all directions, which seems to strew flakes of snow like moonlight, because of the oozing of the mechanical water dolls made of moonstone; which pours forth streams of sandal paste as it were, as the water mixed with the rays of the white jewels; which has hundreds of flowing streams looking like the fibres of the lotus-stalks broken due to the weight of the full bloomed lotuses; which though made of various precious stones looks as if made of one jewel because the pillars, the tops of the pillars and the human figures carved on the tops of the pillars were mutually well-laid and their joints were firmly fixed; which looks as if it has come out of the earth; and which is artificial yet looks natural. Which (fountain-house) is the abode of good conduct; the root of the creepers in the form of the streams of water; the dwelling of the prosperity of the earth; the pleasure ground of excessive joy; which spreads the Kunkumarasa as it were, by the streams of water ......and flowing out from the inner cup of the open golden lotuses; (6) which manifests allround pendants .......... by the continuous and slow flow of streams from the ends of the ruby slabs; producing another ...... by the clear, big and continuously falling drops of the rising and falling streams of water; making the garden peacocks dance due to the illusion of clouds produced by the darkening directions by the uninterrupted flowing of the streams of water, by the deep and pleasant rumblings produced by the drums beaten by the mechanical dolls, and, the sky being darkened by the lustre of the emeralds; giving rise to streams of water looking like the smoke of the Kalaguru-incense due to their being mixed with the flashing lustre of the dark precious stones; creating, as it were, .......... from the lotuses on the ceiling, from jewelled dolls thousands of bow-strings of Smara ready to conquer the three worlds by the streams of water flowing out from the palms of the mechanical dolls; which is like the disc of the full-moon to the blue hd fail by the us from

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10 SANGARAMANJARIKATHA lotuses in the form of the eyes of all the peoples; the sheath for the water missile of Manmatha; the resting place of the group of senses; the mine of pleasures; the abode of delight; and the temple of beauty. In which (fountain-house) the water of the streams is sometimes eaten by the foolish ducks made of white jewels and seated in the midst of the open artificial lotuses under the impression that they are lotus fibres; sometimes it appears to laugh under the guise of the grove of blooming kumudas; sometimes seems to dance with the jewelled mechanical dolls playing the lutes in hands; sometimes it appears to sing by the mechanical pairs of bees made of black precious stones humming inside the buds of open lilies; where at some places, the radiance of the crystal pillars is being sipped by the thirsty garden cakorakas even during day-time due to the illusion of its being moonlight, with their beaks open and their minds anxious; having (streams of water) ......... as thick as the inter twining of two or three lotus fibres oozing out from the corners of the eyes of the winged crocodiles, from the mouth of the peahen looking down, from the pairs of breasts of the jewelled dolls, from the end of the braid of hair of a golden doll just come out after a bath, from the tip of the nails of the jewelled wanton women; ......; from the hollow of the mouths of a family of monkeys climbing a mechanical tree, from the floorings, from the walls, ....... from the lotuses on the ceiling, from jewelled dolls, from pillars and from the pillar tops; which produces all round as it were (by the rays of the lustre of various jewels) another variegated grove of bamboos for the production of thousands of rainbows; which imitates as it were the monsoon by the darkening of the directions, by the sound produced by the continuous falling of thousands of streams of water, with the splendour of clouds formed by the network of rays uprising from the emerald pillars, and with the beauty of lightening produced by the intermittently flashing rays of rubies; where in the courtyard-tanks and ponds at some places a family of artificial cranes is cheated by the little Sapharika fish coming in and out; at other (7) the mechanical young ones of tortoise are visible now and then, where at other places, the mermaids do not place their lotus feet seeing with fear the mechanical crocodiles coming out though they are anxious to see; where the mass of rays of the rubies are like the rays of the sun for the blooming of the buds of the day-lotuses on the inner walls; the middle portion of which has jewelled pillars, which supported one another, and which being reflected into each other appeared as if they had collected to carry the burden (of the whole construction); which, because of its charm is seen with unflinching eyes and anxious minds even by the bharaputrakas; which produces wonder even in the minds of the

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TRANSLATION experts by the triple symphony of song, dance and instrumental music displayed by the mechanical dolls; which laughs under the guise of the blooming white lotuses carved on the walls at the clever onlookers whose minds are dazzled on seeing the curious mechanical contrivances; and, which has on all sides the rivers for pleasuresports, with their banks muddy with the musk of deer, with the sand in the form of camphor powder, with waters fragrant with pure sandal, and with lotus groves in the form of the rays of rubies mix. ed with those of emeralds. In the (city) were forests, which due to the constant presence of dense darkness and excessive light were as if presided over by innumerable rays of the sun and darkness; which (forests) were decorated with trees which because of the continuous sprouting of leaves looked as if it was their love that had manifested on seeing the womenfolk of the town; which announced as it were the royal proclamation of victory of the fish-bannered god under the pretext of the sweet humming of the bees; and where, because, the citywomen were moving here and there for collecting flowers, it appeared that the sylvan deities were always in vicinity. Having said this, when the mechanical doll was addressed thus: "O Yantraputraka, though it is the approved opinion of our assembly still the narration of one's own virtues seems censurable, therefore you may discribe the king now", he (the Yantraputraka), being looked upon with wonderstruck eyes by the friends sitting near by began to speak: DESCRIPTION OF BHOJA, THE RULER OF DHARA In that city lives MAHARAJADHIRAJA PARAMESVARA SRI BHOJADEVA, the king of kings, capable of carrying the burden of the world; his footstool is reddened by the mass of rays of the rubies in the rows of crowns of all the bowing kings; the growth of whose creeper in the form of fame is constantly nourished by the sprinkling of water in the form of tears from the eyes of the women of the haughty enemies who are uprooted by his arms; (8) Who is everyday tortured by women ... having written with sandal-paste as thick as camphor, on the walls, in the form of high breasts ..... 'O heartless one! are you not afraid of the sin of killing women?'; who is the one victorious elephant of Madana uprooting the tree of pride of the proud women; who is the producer of love like Sauri <>; whose body is as beautiful as the refulgence of gold mixed with glow of emeralds; he, whose moonlike nails of the feet reduces the lotuslike hands of the kings, daily and constantly bowing down, to the condition of buds, and which has in them reflected the deer by the

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12 SRNGARAMANJARIKATHA rays of emeralds shining in their crests and having similar complexion; whose sprays of flowers of fame daily shone on the trees in the form of his hands with the leaves in the form of the sword rendered red by the destruction of herds of intoxicated elephants; who clearly manifests the inauspicious beginning (of widow-hood) on the tearstained cheeks, which are covered with hair, of the wives of the kings killed in battle; he is the leader amongst the valorous; foremost amongst the victorious in battle; he is the one creator who has whitened the three worlds by the tide of fame possessing lustre as white as the waves of the Milky ocean motionless because of the destruction of a great host of enemies come prostrate before him like Rama, <>; he is the birthplace of wondrous deeds; among men, he is a lion with dreadful and sharp nails tearing open the temples of the haughty elephants in the form of enemies; he had pillar-like huge hands looking like tying posts for the she-elephant in the form of the inconstant royal prosperity; who punishes the wrong doer like Indra <>; who uprooted all the insignificant Ksatriyas and exhibited his knowledge of archery like Bhargava >; and who is the one house for the creepers of knowledge like Bhrgu. He is the source of Dharma; the resort of truth; the familyhouse of arts; the field of the right conduct of Ksatriyas; the pleasure garden of the creepers of knowledge; the store house of right conduct; the very life of valour; the residence of pleasures; the mine of compassion; the kinsman of learning; the chief among archers; and foremost among the virtuous; (9) as the milky ocean is adorned with waves, as the vault of the sky with clusters of stars, as the divine tree with sprays of flowers, as Sesa with a circle of hoods and the lake with the lotus stalks, so is he adorned with countless, joy giving, charming virtues, which are white as Sesa and which are desired by all the people. In the speech of the wise who judge his great intellectual acumen, GURU does not gain such veneration in comparision with him, BHARGAVA does not possess such brilliancy, UDDHAVA does not contribute to our joy; CANAKYA does not come within the enumeration of the learned, and DHARMAKIRTI does not find ground among those of keen intellect. In hundredfold ways on the battle field, the Glory of Victory continuously seeks asylum in his sword that possesses the lustre similar to that of a cat's eye-gem, which (sword) is decorated with

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TRANSLATION a broad blade, gives joy to the earth, increases the wealth of the earth; is as dark as the leaves of the white lotus plant, is unapproachable and is difficult to be plunged into by herds of enemies' elephants like a lake whose waters possess the colour of a cat's eye-gem, which is adorned with big lotuses, in which night lotuses grow, which possess the splendour of blooming blue lotuses, which is dark with the leaves of the lotus plants, which is very deep and into which even herds of best elephants cannot bathe. the sun When his valour, born of his unique splendour which glitters like the mass of the rays of rubies, which is unsurpassable even by and which cannot be conquered by others, became a city wall of the earth as of a single town, the four deep oceans assumed the beauty of a moat. His fame, resembling the glitter of the polished teeth of the Dravida women, having the complexion of the petals of open jasmine, became paste of sandal on the creeper-like bodies of the separated-women, balls of foam on the sea, the celestial Ganges in the expanse of the sky, the stalks of white-lotus in the lakes, crystal slabs on the slopes of the mountains, and white cloth in... 13 " He, who is the source of brilliant fame as the Himalaya is of the Ganges, the moon is of the moonlight, the laughter of Siva is of pure whiteness, and as the ocean of milk is of the moon (10) Having said thus, when the Yantraputraka stopped, the Lord of the Earth himself commenced narrating: DESCRIPTION OF THE HEROINE OF THE KATHA And of that king there is (a courtesan called SRNGARAMANJARI). She is the presiding deity of the wealth of beauty that bewitches all people; the one abode of Love, who vanquishes the treasure of beauty of the heavenly damsels by her own beauty; who has a braid of hair quietly hidden behind her like a mass of darkness whose advance in the front has been checked by the refulgence of the ever-shining moon in the form of her face; who holds as it were the white umbrella of facial beauty won by the loveliness of its broad forehead which looks like the digit of the moon on its eighth day, and which conquers the three worlds with its staff in the form on the forehead; who bears two creepers in the form of eyebrows as dark as oily collyrium, slightly bent at the corners due to the (weight) of the fruits in the form of deep love, with the bunch of flowers in the form of glances, and which are continuously resorted to by bees in the form of the eyes of youngmen; (11) who is adorned

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14 SRNGARAMANJARIKATHA with eyes looking like a pair of lotuses with unsteady bees within it; who looks bright with two cheeks resembling the disc of the moon cut into two in order to remove the dark spot; who is charming with a pair of shapely ears as delicate as the sirisa flowers and looking like the ropes of the snare of the hunter Madana skillful in catching the deer in the form of the young men, who is beauteous with the bridge of the nose, with its tip a little raised, resembling the stafi of the lute of the fish-bannered God; who looks splendid with lips as red as the ripe bimba fruit or coral of the sea of love, or a leaf of the creeper of Love; who is charming with the sprout-like neck with three lines, as delicate as the spring of the trees of Love, as sweet in sound as a conch; who has creeper-like arms which by its tenderness mock the lotus plant, on which due to the illusion of its being a lotus-stalk rests (two) hands like (two) open red loluses with filaments in the form of the rays of the glowing, tender nails and which (arms) are attractive because of their well-formed curves and fleshiness; who has a pair of breasts, plump and well formed with the tips a little lowered, looking as though they were a couple of pots to store sensual pleasures; who is adorned with a waist which is as difficult to be reached as the knotty thoughts of Mimarsa <Page #224
TRANSLATION 15 a pair of emerald earings looking like a pair of wheels of the chariot of Love in the form of her moon-like face; who every day increased the shade of the patra-lata painted on the cheeks as if for affording rest to the eyes of the lovers pained by the anguish of the fever of love caused by the flow of excessive beauty; wearing on her bosom a necklace looking like a clear stream of nectar flowing from the pot-like breasts for the coronation of king Madana, looking like the banner of victory of her own good fortune and bearing resemblance to a slough of the snake in the form of Madana, protecting the pots of the treasure of love in the form of the breasts;... ....................................................... (12) She vanquishes Rati; even the uncensured meet her; she speaks sweetly and nobly, smiles even when laughed at, gives up vulgarity, and is not given to too much sexual pleasures; she pleases others though not in love herself, and comes in contact with the lovelorn, though not attached herself; (on seeing her) even Goddess Sri. who considered herself to have surpassed the Glory of Beauty by her own beauty, betook to the lotus grove; she seemed to be created by the Lord Creator, a lake of loveliness, full of the sentiment of love, for the........ elephants of Love to wander about, pleasing due to the blue-lotuses in the form of eyes and blooming day-lotuses in the form of the face, adorned with the lotus plant in the form of the delicate creeper of hands, with a pair of Cakravaka birds in the form of high and plump breasts, possessing a whirl pool in the form of a deep navel and glittering waves in the form of the three folds (on her stomach); she was as if another conquering weapon created by Madana for gaining victory over the three worlds after seeing the uselessness of his own weapons in the strife with Siva. She is unrepulsive in dress, faultless in local dialects, civilized in talks, distinguished in both kinds of sixtyfour arts, clever in grasping the ideas of KAMASUTRA and the like; bold in questioning and answering different kinds of puzzling riddles; alert in eloquence; in lasya dance, she has attained her mark; she is unrivalled in completing stanzas, well-enlightened in essays and treatises; excellent in composing poetry; foremost in composing gathas; extremely interested in sports; moderate in drinking; turned away from vices; introspective while considering the purport of poetry; undeceived by clever speech; beyond censure in music; foremost in playing instruments like the drum; great in sacrifice; not very greedy and knowing different ways of playing lute and dancing. It seemed the royal swans adopted graceful movements from her lotus feet; the plantains drew shapeliness, softness and delicacy etc. from her thighs; the mountains drew the expanse from her buttocks; the lakes acquired depth from her navel; the rivers took the beauty of the waves from her abdomen with three folds; Smara

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16 SRNGARAMANJARIKATHA fashioned his bow-string from her beautiful line of hair; the Cakravaka birds learnt keeping close company from her pair of breasts; the lotus plants drew out tenderness from her creeper-like hands; the Asoka sprouts took loveliness from her lotus-like hands; the conchshells adopted the beauty of three lines from her neck; the clusters of corals drew from her lips the natural excellence of redness; the Kanakaketaki acquired pure brilliance from her cheeks; the doe took unsteadiness from her eyes; the Pundarika took whiteness from her, the Ketaka leaves took sharpness; the good adopted straight-forwardness; the bees blackness; the moon its curvature from her pair of creeper-like eyebrows; the knots of the string of Smara's bow the beauty of form; the strung bow of Love acquired the beauty of form from her forehead; the plumages of peacocks got the charm to allure mens' mind from her braid of hair; the fullmoon drew constant splendour and the charm of bewitching mens' eyes from her face; the cuckoo drew sweetness from her speech; and the beds of salt took salinity <> is uncommon <>; she becomes attached to any one near at hand like a crystal doll <>; she exhibits fleeting fancy like the rainy season in which lightning is seen>>; with whom all desire to sleep

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TRANSLATION like night when all wish to sleep"; she produces love like the nonfighting Krsna <Page #227
18 SRNGARAMANJARIKATHA of lovers; from her naturally fragrant lotus-like face, beautiful with the leaves in the form of the red lips, and shining bright with the pollen in the form of the lustre of the teeth, the rows of bees in the form of the eyes of the young men with steady lotus-like eyelashes did not move even a step as if intoxicated with drinking the honey of her beauty; she has two bowls in the form of breasts, big and plump, and filled with the water of loveliness for extinguishing the fire of passion burning in the hearts of the lovers. It seems, for a study in creating her beauty, the Creator first created young-damsels like Laksmi, Rati and other apsarases, other wise, how would it have been possible to create such loveliness which needs distinguished skill in production, and which conquers by its feminine beauty all the three worlds! Who are the persons who love her not? What are they? Who are not deceived? Who are not cheated? Who have not given their all to her? Where are the brahmanas, kings, princes, merchants, kayasthas and familymen who have not become her slaves? He who knows her thinks that he alone is dear to her, and that she loves him only. She sometimes receives herds of elephants, sometimes teams of horses, sometimes heaps of gold, and sometimes curious and gorgeous jewels and clothes. Thus her riches which daily augment become plenteous. Even then she does not give up harlotry. She gives a promise only for five-hundred gold pieces, and because of the splendour of her unrivalled beauty, she never sleeps alone. DESCRIPTION OF SRNGARAMANJARI'S MOTHER Her mother's name is VISAMASILA, who is respected by all the wanton women of the king's retinue; whose figure is out due to old age; whose hair look like the flowers of Kasa and Kusa grass; who has a face broad as a dry, three-days old, hundred petalled lotus, which (face) lengthens everyday with the desire to devour the Vitas who come there remembering her bygone glory: who has a pale wrinkled forehead closely resembling the fruit of Sriparni; who has a pair of eyebrows resembling the horns of an old buffalo .............., who has two eyes, slightly sunk in due to old age, looking like two dark pits for the men blinded with love to fall in; who has a flat, thick and big nose which can be compared to the root of an Alabu; whose lips have the shape of the upturned Mallika leaves; whose ear-lobes are like cords for tying the paramours; whose naturally broad cheeks have become all the more broad due to the looseness (of skin) in old age; (15) who, because her teeth had fallen, contracted frequently her long lower lip as if to devour the world, whose two-three teeth were visible like those of a dangerous poisonous snake; whose limp, thickset and broad neck resembles the neck of a young wild buffalo; whose joint of the neck is chained by

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TRANSLATION a series of arteries which look like footpaths for the coming of other's wealth; whose arms are like the body of an aging python, suffering in hunger; whose hands look like the fruit of the Kosataki, flattened, rough and dried up in the heat of the sun due to the network of arteries seen everywhere from the elbow downwards; who has a heart harder than the joints of the limbs which have corns; who has breasts resembling the big and flat wooden jugs tied to the pagotta; who has joints falling on the sides and the back as if she were with effort holding hiding places for her conduct; who is exhibiting a waist scarcely visible being concealed by a very prominent navel as if it had run away due to the fear of excessive sensuality; she drinks space as it were by her enlarging and broad buttocks; she is adorned with a pair of thighs resembling the staff of an oilmachine; she has two shanks resembling long and ripe cucumbers; and she has two worn out, flat, frog-like feet. 19 It seems she desires to swallow the three worlds as her upper part of the body is slightly bent down and the corners of the mouth are open; she seems to provide a swing for Old Age because of her acquaintance with her since a long time, in the form of the loose hanging flesh of the arms; she brings to light a picture of her own conduct by all her limbs adorned with white and wasted scratches of the nails made by the vagabonds and rivalling the lines of the chalk like Madana's gambling leather board; who establishes her unsteadiness in all her limbs by the loose flesh; who resorts to childhood even though old, as some of her limbs were hunched; she with her nose curved like a parrot's beak and with her eyes fixed down is as if desirous of dragging out the serpents possessing flashing jewels even though they had entered the netherland; who is a cave for hiding the great treasure in the form of cheating the world. She valued the three worlds at the price of grass; her teeth has fallen like the course of Kaliyuga when the brahmanas have fallen in rank>>; she has turned away from amorous sport like a bitch who in coition turns her face another way; she has destroyed all the amorous persons like the beak of garuda <>; she is in the company of friends intoxicated with wine like gardens >; she enjoys seizures like the conduct of the begging brahmanas <>; she eats lots of fish and goats like the moon <>; she has hundreds of pearls like the Tamraparni river which has hundreds of pearls; she is full of hypocrisy like the behaviour of a cat <>; she aims at another's wealth like the minds of a great men >; she has conquered the three worlds by her adventures like Vamana who covered the three worlds with his footsteps>>; she has

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20 SRNGARAMANJARIKATHA effected a state of enjoyment of wealth procured by deceit like the tenet of Pancaratra according to which the state of enjoyment (similar to gods) is achieved by the power of Mayas; she is void of love like the grains of sand which have no oil; she has devoured all the wealth like the Ganges which has covered the whole world; she is hard to be understood like the form of Visvarupa <; she is clever in making room for another by means of rules like the rule of Grammar in which the preposition turns the (verb) into parasmaipada>>; she is skilful in creating beauty like a group of students <>; she has destroyed other people like the tenet of the Lokayatas <>; and she captures a person by the means by which he can be taken in to the best of advantage like the policy of CANAKYA by which a person can be captured by any means. She is proficient in arts, quick in reading the minds of others, conversant in the profession of courtesans, smart in cheating others, (16) an expert in subduing the arrogant paramours, clever in deception, conversant in talks practised by harlots, bold in speaking purposeful words, and has the sharpness to get together those separated. She shows everything but does not give anything; sometimes, however, she gives a little and then takes away even the hidden treasure as water gone into the ears is drawn out by the juice of vala; she has mastery over the secrets of harlotry; she is never cheated by vitas; she is requested by dhurtas for deceiving others but is never troubled; she deceives others but is never deceived her self; she stupefies others but does not become stupefied herself; she troubles others but is never troubled herself; she bewilders others but is not bewildered herself; she gives hopes but like a mirage never fulfills them. She is the abode of falsehood; the house of hypocrisy, the mansion of delusion, the residence of roguery, the path of bad conduct, the place of false modesty, the resort of courtesy, and sole actor of the drama of deception. It appears that she is the movement of Fate's designs, the doer of evils and the destroyer of good things; her beginning, middle and end is not known like that of destiny; she is nice but cannot be thought of like Avidya; she brings about bad after-effects like the eating of the Kimpaka fruit; she shows straightforwardness, but is wicked in actions like the body of a serpent which is straight but moves zigzag"; she does nothing good to others like worldly life in which there is absence of the ultimate reality. She is the store-house of adharma, the mine of flattery, the life of deceit, the residence of adventure, the origin of sin, the place of fickleness, the house of conciliation, the mansion of fraud, the house of pretence,

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TRANSLATION the banner of the victory of the Kali Age, the co-student of the poisonous creeper, the uterine sister of the slaughter house, the friend of cat, the companion of wolves, the paternal aunt of witches, the sister of female serpents, the creation of vileness, the fear even of Fear, the (Goddess) Mari even of Death, the cause of trouble even to Trouble, the home of greed and the flame of the sub-marine fire. of the blood-ocean. 21 It seems the cat learnt deceitful glancing from her, the tiger attacking, vulture quickness, the she-mice the love for desired objects, and the snakes finding of holes. She is always crooked and erring like the crescent moon which is curved and resorts to night>>; due to the influence of her instructions even the unfortunate harlots who have no beauty and wealth are able to make their paramours act like servants by making them do what they desire; who, being as crooked as the point of the parrot's beak, impoverishes even the thoughtful by draining off his resources like eating of corn after removing the husk. She deceives even the clever, unsettles even the steady. makes a fool even of the wise, destroys even the learned, dances about even the dhurta, makes the clever foolish, cheats even the talented, surpasses even the wise, renders weak even the daring; and wastes even the skilful. She abandons (a man) after taking away the quintessence like the barber who after taking away the dye and throws away the dry alaktaka-brush; she falsifies even the teachings of Sukra and Angirasa; she desires to swallow even learned brahmanas; she is fond of dry meat like a demonness and she does not leave out even the bones; she is an addict to drinking wine like a bee which is greedy of drinking honey>>; she is sweet in speech, wicked in mind, pleasant outwardly. cruel in actions, straightforward in talking, and not firm in keeping the promises given to the paramours. She is huge in size, petty in actions, long in stature, mean in nature, gross in body, subtle in actions. (17) She cries heartbreakingly to provoke those present like an actress who cries to impress the audience. Sometimes she laughs without a cause. At times she scolds her daughter, at times she propitiates her, sometimes she quarrels with her, sometimes instructs her. sometimes drives her out of the home and sometimes even prevents her going out. She drives away the poor, and abandons the pauperised like the dead. She disregards people after knowing their worth as one desirous of liberation becomes indifferent towards the world after knowing its essence; her body is filled with air like the bellows of the blacksmith, being herself desirous of wealth she scorns her own daughter for being (favourable) towards a poor person. The crane does not leave her form, the wolf does not leave her deceitful actions, the panther does not

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22 SRNGARAMANJARIKATHA leave her sight, the sarabha never leaves her while tearing others to peices, and the young one of an elephant does not leave her in creating hullabaloo. Her body is always covered with a thick cloth like a veil concealing acts that should not be done, and for hiding her invisible inner self. Her sole pleasure is in committing sin though she knows the highest truth essence of others; her skin is soft being fleshy, yet she is hard; she is big yet she is mean; she is charming yet she is harsh, and she is quiet in action yet she is like the God of Death. Herself restrained, she oppresses others; herself bold, she weakens others; herself wasted, she destroys others; herself pleased, she abandons others; herself becoming a possessor of a lover, she makes him devoid of possessions; she whitens a man i.e. makes him anaemic, (even) she weakens (a person) after resorting to good colour i.e. gold like a lump of mercury which whitens gold>>; she gets irritated with a golden pillow like Nrsimha >; she is as unsteady as the transitory nature of the world as taught by the Buddha; to her wealth is the only important thing like the teachings of Kanada according to which dravya is the most important category>>; she accepts many masters like the lore of Aksapada >; her talks are chiefly about wealth like the thoughts of Kumarila in which laudatory texts are important>>. She laughs at magicians as at children; she looks upon Maya and other demons as mad people; she reckons the crafty-minded Kautilya and others as dull boys; she recounts Usanas and others in the matter of Upanisadas as bereft of power due to old age; she talks about Muladeva as a bringer of roots only; she looks out for

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TRANSLATION Sasin like a hare to be eaten; she takes pity on astrologers as on wretched beings and she regards Somaditya as fit to be crushed like the Soma plant. She causes anguish to all like the summer; she makes all people tremble like the winter; she exhibits many changes like a nest of birds in which many activities of the birds are seen; she is unpleasant in her thoughts like the world <; like the Purana she instructs some by Kathas, some by Akhyanakas, some by Kadavakkas, some by Manikulyas, some by Drstantas and some by Nidarsanas. She knows the language of the birds like fowler. She is a scaffold for the paramours, the slaughter-house of the beasts in the form of vitas (18) and the snare for the animals in the form of Singas. She is the proper stage for the drama of frauds; she has brought the fall of many beast-like men into her various snares like Maya <Page #233
2+ SRNGARAMANJARIKATHA a person's mind is known, how he should be pauperised and then driven out. How the same person should be contacted again in affluence; how a person should first be attracted, how he should be made constant when after once uniting he wishes to be separate; how he should be won over again by unequivocal love once he is displeased, and how his mind should be drawn towards you once he is attached to another. The dispositions of the mind of all beings are difficult to understand. Men have different minds and ...... If there is a timid person he exhibits valour; if he is greedy he becomes charitable; if he is generous he becomes a miser; if he is unfortunate he acts like a fortunate man. A merchant acts like a Vita and a Vita like a merchant. A poor man even acts like a richman. One man is inclined towards Dharma, another is intent on wealth, and a third is predominantly sensuous. Thus when minds are of such diverse dispositions you must properly understand the working of the mind first.. First, without becoming attached to a person, he should be dispossessed of all his wealth by either encouraging, flattering, spurning, frightening or pleasing him according to his bent of mind, then he should be driven out. Under the circumstances, the raga of a person should first be considered. When harlotry is practised without knowing the natue of raga it is fruitless. But when it is used after the raga is known it happily yields fruit. Raga is of 12 kinds: Nili laga. Riti raga. Aksiba raga, Manjistha raga, Kasaya raga, Sakala raga, Kusumbha raga. Laksa raga, Kardama raga. Haridra raga, Rocana raga and Kampilya raga. (19) The Nili raga, the Riti raga avd Aksiba rugi form one group. The Manjistha raga, the Kasaya raga and Sakala raga another. The Kusumbha raga, the Laksa raga and the Kardama raga yet another, and the Haridra raga, the Rocana raga and the Kampilya raga a fourth class. In the first group of Nili raga, the Riti and the Aksiba ragas are less steady than the Nili raga, still on the manifestation of the Nili raga they are seen. In the Manjistha class the Kasaya and the Sakala ragas are less steady than the Man jistha raga yet they come to light on the appearance of the Manjistha raga. In the Kusumbha raga class, the Laksa raga and the Kardama ragas are less steady than the Kusumbha raga, yet due to the manifestation of the Kusumbha laga they are reflected. In the Haridra raga class though the Rocana raga and Kampilya raga are less steady than the Haridra raga still due to the shining of the Haridra raga they are reflected. Thus though raga is described to be of twelve shades. as the other become merged in these four, to satisfy your curiosity, I shall explain it to you only in its four kinds: Nili raga. Manjistha raga, Kusumbha raga and Haridra raga.

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TRANSLATION The (man of) Nili raga should be abandoned after taking away his essence like a cloth; the Manjistha raga should be dispossessed (of his resources) at your pleasure, but should not be led to be disinterested. The Kusumbha raga cannot tolerate much flattery, therefore without any flattery, his resources should be drained out whether the circumstances be favourable or not. The Haridra raga soon becomes estranged. therefore, he should be quickly drained (of his wealth). Therefore, the secret of the profession of harlotry is this that one's own self should always be protected from love as from a tiger. In the world. many sensuous persons have been deceived by harlots due to their ragas. I shall tell you how. Listen: THUS ENDS THE LESSON FOR SRNGARAMANJARI' IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHI RAJA-PARAMESVARA-SRIBHOJADEVA. 25 THE FIRST TALE OF RAVIDATTA Here in the town of Kundinapura dwelt a rich learned brah mana called SOMADATTA. In his old age he begot a son by propitiating the Sun, the giver of desired objects, by observing the Vijayasaptami. As the child was given by the Sun, the father named him RAVIDATTA. By the time he was sixteen years old, he was given the sacred thread and he studied the whole literature of the Vedas and the Vedangas according to rites and mastered all the sastras. His father then, being aware of his being rich, taught him all the arts as a remedy against the danger of his being ruined in future; the secrets of harlotry as laid down by DATTAKA and others was specially made known to him. One day, calling him in private he (the father) instructed him: "Son, youth is dense darkness and it cannot be avoided by living beings; Madana is wicked and wealth is the one abode of intoxication. The mind by nature is as inconstant as a drop of water on the lotus leaf; senses are as unrestrainable as untamed elephants; the objects of pleasure are naturally fascinating (20) and amongst these especially young damsels. The beginning of the monsoon and the autumn and the other seasons are great excitants. And who can possibly resist Love, their friend? Therefore, you should conquer the group of six enemies, then the senses, then the inspiration of the wicked people in proximity, then the contact of wanton women. For wanton women, the sisters of the female drstivisa serpents, produce infatuation of the mind even from a distance. The teachings of the elders slip away from the infatuated mind; the study of Sastras glide away from a distance; teaching is brought to a naught, the sense of self-respect is lost; the pride of class, etc. disappears;

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26 SRNGARAMANJARIKATHA the bridge of character melts; courage fails, discrimination disappears; strength is crushed and maturity flies away. Many who have erred have been destroyed. The company of the wicked, which is void of affection by nature, should be avoided even from a distance; the sight of dhurtas is as undesirable as bad dreams and the company of singas is the unbolted door to evils. The sound of the triple harmony of instrumental music, singing and dancing is the drum announcing the banishment of wealth; songs are the hunter's songs to capture the deer in the form of mind; the merriments of pleasure-gardens are vital blows to wealth; the dips in waters for sport are the drowning of wealth; religious pilgrimages are the funeral processions of prosperity; the impassioned glances of young women bring about evil like drudgery; dice are the enemies of discrimination; the ties of friendship with singas are tightenings of fetters; gambling is the secret intention of acquiring wealth; the courtyards of prostitutes are sisters of slaughter houses; the streets in vicinity of brothels are unwholesome; therefore, being cautious, you should act in consideration of your own position. Who have not been reduced to the state of derision by acting contrary to their rank and position? We hear that even powerful kings like Pururavas and others were brought under subjection by courtesans like Urvasi and others". Now, as days passed by, when his father had died and his mother followed him, and when with the passage of time his sorrow had lessened, Spring, the fiend of the fish-bannered God and the dancing teacher of the actor, sentiment of love, set in. (It was the season) when gradually the mango groves were inlaid with clusters of buds; when the throats of the cuckoos became red with singing in the fifth note; when the Madhavi creepers were pained by the repeated blossoming (of flowers); when the thick clusters of lotuses smiled a little on seeing the perplexities of the separated people; when the forests of Kimsuka trees, because they were full of burning charcoals (in the form of flowers), appeared as if enveloped in the flames of love uprising after the smoke was seen first; when the Asoka trees causing anguish to the separated ones by the abundance of blooming clusters were flashing in all the directions like the fire of love; when buds of blue, red and tawny colours, looking like Rati's bejewelled sporting ornaments, cropped up, fascinating the minds of all; when swarms of bees desirous of the fine fragrance of the Kurabaka trees did not steadily remain anywhere, because they had no attachment like the group of the separated; when the rows of trees attained loveliness like a new bride, being covered with a veil in the form of the fresh leaves; when the cooing of flocks of cuckoos was heard everywhere like the sound of the twanging of the strings (of the bow) of the flower

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TRANSLATION arrowed-one practising with arrows for conquering the three worlds; (21) when the rows of bees on every flowering tree locked beautiful like the string of the bow prepared by Spring with a garland of black Kunda flowers for the fish-bannered God, the best archer in the three worlds; when the leaves of trees gleamed as if they were the chaplet of the Glory of the garden come during Spring; when the Malaya wind, carrying the perfume of the newly blossomed Bakula flowers, blew gently from the southern direction for enkindling the fire of love in the heart of travellers when the banner of Manmatha made of silk was waved on every tree by the continuously blowing Malaya breeze like the love of couples; when the love songs which were like the songs of the hunter for captivating the deer in the form of love; of the women busy swinging and not afraid of the embraces of their pitiless lovers spread in all directions as if they were the proclamations of the victorious rule of Smara; when the nights became short as if out of compassion (thinking) 'who amongst the separated lovers would bear long duration?'; when during the days, heat increased as if due to repentance (thus) 'Ah! how much more will the separated lovers suffer at our coming during the Spring, which is a friend of Ananga. and the abode of all pleasures?'; when the directions were enveloped by the thick mass of pollen from the clusters of open lotuses spreading with the winds, looking like the fire of calamity indicative of the destruction of the separated ones. And when it seemed that from everyside from the earth uprose the fire of love of the separated ones in the form of garden ponds full of thickly growing Kokanada clusters, the trees in the pleasure ponds continuously putting forth new sprouts, the Asoka trees marked by numerous clusters of flowers and the forests of Kimsukas flowering in all directions. our 27 Once, (in spring) RAVIDATTA was thus spoken to by a company of Vitas; "Today is the festive procession of the fish-bannered God. If it is not seen what is the use of life? What is the use then of this fruitless pair of eyes? Ah, gentle one! even if you have no curiosity, still complying with our wishes you should definitely come to see it. If you do not come, have we no authority over you to make you fulfil over desire? Therefore, come along, we will go'. He remembered his elders' instructions and did not wish to go, yet, as if forcibly instigated to go forward by youth that followed him, and as if pulled in front by the senses as by friends, like an intoxicated elephant, he went to the pleasure park called KUSUMAKARA. The (garden) was like a storehouse of weapons or a place of enjoyment or the house of pleasure of the fish-bannered God because of the buds on various rows of trees or because of the abundant blooming flowers; which (garden) looked splendid with the

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28 SRNGARAMANJARIKATHA Bakula trees, emitting under the pretext of the fragrance of the flowers the scent transferred to it by mouthfuls of wine by the women intoxicated with youth; where at some places, at the basc of pleasure hillocks, the Kurabaka trees stood like lovers with hair standing on end due to the opening of innumerable buds at the touch of the pot-like breasts of the women inebriate with youth; where at some places the sides of the pleasure lakes were adorned with Tilaka trees looking like the storehouse of the flowery-arrowedone's weapons, with the thickly grown sprays of blossoms opening as they were made the object of the eyes of the doe-eyed ones, as long as a garland of Kuvalaya petals, with their corners inconstant due to drinking; where the border regions of Ananga's mansion was decorated with branches of Asoka trees which were like the abode of the fire of Love, which (trees) were marked by an abundance of bunches of flowers and leaves on being kicked by the lotus feet of the women, which (feet), had natural redness as if they were coloured with the Alaktaka dye; where at some places the sides of the ....... the tanks looked beautiful with the .... trees looking like the golden necklace of Rati because the rows of thickly growing yellow flowers were opening out at (22) the sweet and soft notes issuing from the throats of the slightly intoxicated women. (The description of the pleasure park, KUSUMAKARA, ends, here. There RAVIDATTA sees the mansion of Madana which is made of white crystalline stones. In the mansion he sees lovely woman looking like the presiding deity of Love. Seeing her RAVIDATTA wonders about the skill of production of the creator, that --) "This one, who by her loveliness has put aside the beauty of the divine damsels has been created by the creator) with great efforts after giving up his other creations in order to prove his skill in production. Since the beautiful things that are used to make her limbs do not resemble even singly the Kamala, the Kuvalaya, the Asoka, the moon and other things. On seeing her he thought-Oh in creation this is an unparallel. ed achievement of Prajapati; a matchless type among the class of women; a new sea of loveliness; an elixir of the life of love; a new form in forms; an incarnation of youth even of youth; the loveliness of loveliness; an excess of beauty even of beauty; a flood of ambrosia for the eyes of the onlooker; a chip of camphor to the eyes of young women; another creator for the creation of Ananga's body; gain of an unconquerable and a novel weapon to Madana; another magnet for attracting the hearts of all people; an embodied fruitfulness of the eyes of all men; another pleasure-ground for pleasures; the one cause of perplexing people by her own coquetry; the one abode of love; the life of learning, (23) the stage for the teacher of cleverness; the highest glory of greatness; an unparalleled home

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TRANSLATION 29 of matchlessness the breath of good fortune; the life of good form; the presiding deity of the graces of love; the seal of creation of the world of Prajapati; the unrivalled mistress of the mind-born-one; a magnet-doll for drawing the hearts of people; the charm of attraction of the minds of all the people; love even of Love; coquetry even of coquetishness; sweetness even of sweetness; generosity even of generosity; the life of even the Fish-bannered God who was consumed by the fire of Hara's eyes; the cleverness of cleverness; the field of fortune even of good fortune; the source of happiness of the onlookers; the wand of delusion for the people of the world; the embodied knowledge of magicians in subjecting the minds of the clever people; the main cause for producing disgust for other lovely things; she brings good fortune even to good Fortune; she is Madana's laughter at the creation of the other Creator; the pride incarnate of the mind-born-one; the radiance even of refulgence; the beauty even of beauty, the perfection of the creatorsculptor; the one happy and chance production of the Creator ............ for the blooming of the lotus-faces of men; a tossing wave in the ocean of love; the cleverness of cleverness; a new thing for novelty; a new gush for the original creation of Prajapati; the beauty of beauty; the theatre of mind-born-one for the entertainment of all people; the perfect splendour of splendour; the seed of wonder; the annihilation of remembrance of a similar thing; ...................; the one resort of distinctive elegance; the beauty of beauty; the grace even of grace; the unique love of love; .....; the youth of youth; the infatuation of infatuation; the wonder even of wonder; the cause of respect even of loveliness; the one abode of distinctness; the one cause of making ugly the moon, the Kamala, the Kuvalaya, the Indivara and so on; the limitless beauty of endlessness; the bow string of Kiama; the embodied residence of the mind-born-one; attachment even of Rati; the goddess of ill luck to the entire class of women; the cause of uprooting men of ordinary intelligence; the Nandana garden for the production of the wishfulfilling tree of the sentiment of love; the embodied essence of the world; .........; matchlessness of matchlessness; the new dancing teacher for the dancers in the form of the iris of all men; the new enemy of Siva for giving rise to Madana; ............; the banner of the victory of beauty; the complete absence of similarity; the cause of satisfying the thirst of the eyes of all the people and the cause of the eternity of the flowerarrowed-one. Thinking thus (about her) he stood there a long time as if stupefied, as if fainted, as if painted, as if infatuated and as if his body was stricken by the abundance of Smara's arrows. She also on seeing the youth of charming form and opulent appearance became enamoured of him for a moment. She frequent

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30 SRNGARAMANJARIKATHA ly glanced at him with affectionate eyes and exhibited her love by amorous gestures. Inferring his affluence from his form, she thought-'Ah! after a long time a treasure had been obtained; after a long time the tree of hope has bloomed, desire has flowered, and ambitions have borne fruit. (24) Therefore, hence forth, let artful graces revive and let the secrets of harlotry become manifest'. Thinking thus, she started talking smilingly to a friend nearby and looked at him now and then making graceful movements. RAVIDATTA, who till now had not experienced the charms of love knew that very moment that she was enamoured of him, and as if coached by the Fish-bannered-one himself, understood that the gestures were directed to him only. He became doubly excited in mind with love, and thinking that his reactions should not be known to the others, he slowly entered (the mansion) and after performing the worship of Kandarpa, the destroyer of the pride of the three worlds, and offering salutations duly, he went away. Then under the excuse of seeing the pleasure park, with the mind not fixed elsewhere, thinking of her only, he proceeded towards his house. She also, following him with her friends, not avoiding his glances and exhibiting various love gestures, went to her house. When two or three nadikas of the day remained, she, VINAYAVATI, sent her dear friend SANGAMIKA to his house. Going there she stood at his doors for a moment, then announced by his young friends, she entered. Taking her seat she said: I have something to say, give me a private audience', and stopped. RAVIDATTA, recognizing her as her (VINAYAVATI'S) companion, was pleased. He indicated with his eye-brows the company of friends to go elsewhere. Getting an opportunity she said: "Good one! though this is against your rank and position yet as I am inflicted by anguish because of my mistress, I tell you this, please listen. Since your lordship came within the sight of my mistress during the festive procession of Madana, you have entered her heart cleft by hundreds of arrows of Smara. Since then her heart is pierced by a shaft, her mind is intoxicated, her body trembles and her breathing is heavy; her eyes are anxious to see you, her ears are delighted to hear your virtues, her speech is pregnant with your name, and her desires are to be united with you. You are a righteous man, therefore give my friend the boon of life. Take compassion on the wretched one by coming there yourself. In your sirtis and other sastras it is said that the killing of a woman is a great sin. If you do not oblige her by coming now then know her indeed to be dead".

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TRANSLATION 31 Saying so she stopped. On hearing this, RAVIDATTA for a moment remained perplexed as to what should be done. He was tortured on the one hand by bashfulness, on the other by love, on the one hand by discrimination, on the other by agitation, on the one hand by the instructions of the elders, on the other by the intoxication of youth. After sometime he thought-let it be so at present'-- and spoke tenderly, with affection, to SANGAMIKA: "Is there anything that remains for me to be said? The eyes of your mistress even by chance do not fall on the unfortunate, what to say of a heart full of love? All people desire her company, and the fact that she desires (anyone) is not possible even for Desire to desire. Therefore, I accept what you say. But this is contrary to my rank and position, so as my relations and elders ............ .......................... ........... .................. .......................... ............ .................. (But RAVIDATTA after going there once, habitually went to her and gave her riches. Though his elders came to know about it--) (25) thinking that what he gives is very little, he every day gave her costly ornaments, hundreds of gold pieces and various clothes, giving up the sense of shame and disregarding his elders' instruction. She perfectly understood his Nili raga and arranging picnics, festival of the third, religious pilgrimages and receiving presents from him she divested him of all his wealth and made him a pauper. Then through SANGAMIKA she sent him a word: "Today an old acquaintance, a merchant prince called VASUDATTA, has come from Suvarnadvipa after amassing a lot of wealth. Being attached to VINAYAVATI he moves about here and there saying that if she calls him even for a night he will give away all his wealth to her. Therefore you should stay at your place for two or three days ...... (All this wealth has been) given by you and this also will be of use to you". Having told him thus, he was driven out. RAVIDATTA sat in his home considering what she would be thinking ........ would she be united with him? Would he not become her lover alsothus he neither ate, nor slept, nor spoke, nor heard. He did not find peace anywhere as if he was pierced by a thorn in the vitals, and as if bit by a scorpion. When two-three days passed thus he went to VINAYAVATI'S house in the company of Capalaka. He moved about to and fro. No one talked to him, no one noticed him. On seeing him they insulted him. Even then, with his passion redoubled, he

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32 SRNGARAMANJARIKATHA spent that day in false hope looking towards her with a raised neck, Next day, wandering the same way, talking to one of her ser. vants he went to SANGAMIKA'S house. There, when she did not speak to him, he said to her "SANGAMIKA, I have done as you bid me do. Two-three days have passed. Now why this delay?" After he said this, being disregarded by SANGAMIKA he followed her repeating the same thing. Then SANGAMIKA spoke to him as if he was not known to her:-"Who are you sir? What is this talk about two-three days? and what delay? Why do you thus speak like a madman?" Thus rebuked by her he passed two-three days moving about here and there, sticking on to her. On seeing VINAYAVATI from a distance he used to smile and make amorous actions like one insane. He did not know anything even when her men derided him. (26) Being thus disregarded by VINAYAVATI and laughed at by her servants, giving up shame of his elders he spent the remaining days of his life considering himself to be fortunate that he could see her at times. Thus oh Daughter! knowing his unflinching raga, harlotry was brought to a successful end (by VINAYAVATI). As a cloth dyed in indigo though washed by soda and the like by different methods does not leave its colour, similarly a man possessing Nili raga, even when ruined in a hundred ways, does not give up his deep attachment. THUS ENDS THE FIRST TALE OF RAVIDATTA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA SRIBHOJADEVA. (THE SECOND TALE OF VIKRAMASIMHA) Having said this, when VISAMASILA stopped in her speech, SRNGARAMANJARI, whose curiosity had been roused, said again "Mother you have described the Nili raga. My curiosity increases, therefore now tell me about the Manjistha Raga". Hearing this she began: In the city of Tamalipti ruled a king PRATAPAMUKUTA and dwelt a prince named VIKRAMASIMHA. He was rich, charitable, noble, pleasure loving and valorous. One day loitering in the locality of the courtesans he saw MALASK, the daughter of the bawd IKADASTRA. She was the life of youth, the breath of loveliness, the life of good fortune and the soul of beauty. Of her, possessing a face like the fullmoon, the

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TRANSLATION 33 moonface was as if created by the Creator for gladdening the eyes of all the people day and night. She was staying in the house of a merchant by name VASU. DATTA on whom she depended for her livelihood. After having seen her the Prince became very miserable, his heart being pierced by Kandarpa's arrows. He sent his companion PRIYAMVADAKA to her. Going to her according to his (Prince's) instructions he said: "Good lady, on seeing you prince VIKRAMASIMHA has fallen in love with you and is tortured by passion. In consultation with me as to how you could be approached he sent me here. Therefore tell me, (27) what should be done now"? Saying this he became silent. Hearing these words MALATIKA said, "Since I saw him, I have been tormented with love. But being helpless due to my accepting ineans of livelihood from VASUDATTA I do not know what to do. Such is our contract, and it is shameful and improper to break a contract. What can I do? But, after some days I will make an effort to bring an occasion which will enable me to contact him. This matter is not so much dear to him as to me, and the time of contract is also nearing end". Saying this she sent away PRIYAMVADAKA. Having gone, PRIYAMVADAKA spoke to VIKRAMASIMHA about her love for him and the hope of meeting her. ... When the Kutaja tree augmented the ocean of love, the surface of the earth was covered with Indragopas as if with the flowing drops of blood of the travellers whose hearts were rent on hearing the roarings of the demon in the form of the rainy season, whose tongue was spreading out in the form of lightning, whose fierce rows of teeth were in the form of lines of cranes, and whose collyrium-like dark body was soiled with heaps of dust rising due to strong wind. When (during the rainy days) at the sight of the watery clouds, out of joy the whole orb of the earth had as it were her hair standing on end in the form of the Kadamba flowers; had as it were flames rising in the form of shooting sprouts due to the contact with the fire of love burning in the hearts of travellers; was as if covered with an umbrella in the form of mushrooms having obtained the water for consecration showered from the clouds; was as if smiling under the guise of the white Kutajas on seeing the proud women bowing down to their lovers abandoning the show of haughtiness which was (previously) assumed with obstinacy; which had started dancing out of joy in the form of the dancing of the peacocks on hearing the rumbling of the drum in the form of terrific clouds; whose love had as it were increased on seeing the sky with clouds on high in the form of the rows of trees bearing foliage; which was as if in tears in the form of the flowing streams out of compassion for the sweethearts of the travellers tortured by the anguish of passion; and which

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34 SANGARAMANJARIKATHA was full of longing on seeing the rumbling masses of clouds as dark as the swarms of bees, possessing a rainbow and continuously pour. ing down water in the form of thousands of rippling rivers. Then he (VIKRAMASIMHA) experiencing a miserable plight passed his rainy days somehow anxiously, afflicted on the one hand by Madana, on the other by his own love; on the one hand by the rainy season and on the other by remembering her loving gestures (After sometime MALATIKA sent for VIKRAMASIMHA. He gave her lots of presents. But some thing gave offence to VIKRAMASIMHA and he stopped going to her. His attachment for her lessened day by day. And VISAMASILA tells her daughter that the people of Manjistha Raga become detached soon, therefore they should not be pressed much). (28) THUS ENDS THE SECOND TALE OF VIKRAMASIMHA THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. (THE THIRD TALE OF MADHAVA) Now, when SRNGARAMANJARI said "Mother, I remain unsatiated by hearing) these stories narrated by you. Please tell me therefore the means of winning over a person of Kusumbha raga"VISAMASILA began: In the city of Vidisa there lived a bawd by name BHUJANGAVAGURA. Her daughter's name was KUVALAYAVALI. She was the one abode of beauty, youth, charm, and grace, and her chief aim was to earn money. In that city where she was earning wealth by harlotry turned up by chance a learned brahmana named MADHAVA, after amassing inexhaustible wealth from Sinhaladvipa. Hearing of her fame, he sent her the fees and spent with her one night. Being gratified that same night, in the morning he gave her a lot of wealth, thus satisfied her and left her alone as was befitting. After two or three days he was again called by her. He was again served with a bath, food and so on the same way and slept there the same way. Thus being sometimes invited and sometimes sent away, he spent many happy days in her company, ..One day she arranged a gambling party and began draining the resources of MADHAVA. After many days she divested him of all his wealth. When he was pauperised he knew that now she would drive him out, therefore (29) he should act in such a manner that his reputation would not be completely ruined. While he was thus thinking monsoon, which produced torments of love, by the direc

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TRANSLATION tions being covered with clouds whose rumbling resound in the forest unevenly spread out and possessing groups of colourful peacocks who look like the blooming Kutaja flowers, came to an end. And descended again the Autumn, as if to encourage him, which procured for the Lord of Rati a sovereign rule (lit. having one umbrella) in the three worlds and which was the seed of activity of those desirous of conquering; when (in autumn) the clouds became white as if brought to bear palor by the sandalpaste of the women in the form of directions separated from the rainy days as from their lover; when like an armlet made of various jewels, the rainbow was lost to the women in the form of directions who had become lean, being free from fat (clouds); when rows of royal swans, who by their lustre surpass the rays of the autumnal moon and who were eager for the lotus lakes flew in the directions like the fame of the flowered-arrowed-one which is continuously seeking desirous paths; when the forests, imitated the dark beauty of the eyes of the protectress of the rice-field by the fully blooming Kuvalayas, after giving up the mass of clouds which were insignificant because the weight of the water had flowed out due to constant raining; when the lustre of the sun, continuously spreading in the world as if at the order of the Fish-bannered-God, bore more heat; when the lakes of the lotuses raised their heads in the form of lotuses with their curly hair in the form of the blooming Kuvalayas to see the Autumn which is enchanting due to the blooming Kuvalayas and the sweet cackling of the female swans; when the moonlight which destroyed the beauty of clusters of Kumudas, every night and in every lake produced swarms of bees, the life breath of the self-born one like Rati who got back his life; and, like a fair lady, whose mind does the air Autumn not captivate, with her face in the form of the moon free from clouds, smiling under the guise of the open Kasa flowers, with a sweet voice in the form of the intoxicated and cackling swans, with teeth in the form of the open Bandhuka flowers, with eyes in the form of the blooming Indivaras, with breasts in the form of the clouds as white as dried sandal, with delicate hands in the form of the fresh lotus-plants, possessing three folds in the form of the small streams, with broad thighs in the form of the clear sandy banks, decorated with a tinkling girdle in the form of the row of the cranes sweetly clucking, and with a lustre in the form of fresh open Bijaka flowers? 35 MADHAVA, knowing this to be the proper time for journeying desired to go to the Malaya country in search of wealth. He said to the bawd: "It is our duty to secure wealth and spend it. I am proceeding therefore towards the Malaya country to earn wealth. Hearing this KUVALAYAVALI started weeping and said to him:

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36 SRNGARAMANJARIKATHA "I cannot live even for a moment without you". MADHAVA said to her, "How can I dare to take you to the forest full of lions and tigers? I will return after sometime. (30) Do not unnecessarily feel miserable". When thus addressed she cried more, shedding tears as big as pearls, and said "I do not desire to sustain my life even for two or three days without you, what to say of so many days? Therefore take mercy on me and stay here for sometime". In this manner, uttering words befitting a harlot, she tried to dissuade him but he did not stay back. While leaving he gifted to her his gorgeous upper garment. Both of them followed him for some distance when the bawd said : "Sir, how will she live without you? Therefore please give her something as a token of remembrance". He replied, "I have no such token with me". To that the bawd made a rejoinder: "As a token of remembrance give this garment of yours. Remembering that it had been worn by you, thinking of you only, and waiting hopefully for your return only, she will pass her days". "I will do that" he said, "but many travellers come this way, and I feel shy. On leaving this path I shall give it to you". After going some more distance, he saw a lonely spot and he called the bawd. He threw her on the ground, and while she lay tossing about, shrieking 'Mother! Run, run,' he quickly and forcibly cut off her ears and nose. And said to her, "the garment that you asked for as a token of remembrance is not everlasting. For remembrance this token I give you". Saying this, thinking that his purpose had been served, not worrying about his loss of wealth, he went away. . Therefore, child! even the passionate become indifferent when troubled. The men of Kusumbha raga become averse and bring about evil. Therefore without giving offence to them and guarding the causes that lead to estrangement, the people of Kusumbha raga should be drained of their resources. As a cloth dyed in Kusumbha cannot bear heat, washing and the like, so also the man possessing the Kusumbha raga". Then SRNGARAMANJARI said, "Mother, my curiosity increases, therefore tell me all that has been alluded to by you".

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TRANSLATION 37 When addressed thus, she (VISAMASILA) said, "Child, now hear how by discernment, hidden treasure can be found out and how a man of Haridra raga can be won over", THUS ENDS THE THIRD TALE OF MADHAVA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJAPARAMESVARA SRIBHOJADEVA. (THE FOURTH TALE OF SURADHARMAN) Here on the banks of the Ganges, is a town of the brahmanas called Hastigrama. There lived a brahmana called SURADHARMAN. He was extremely poor as were also his father and grandfather. He did not obtain sufficient food ... (31) and he became a young man by the time his father died. He saw the wealth of the other persons of the town and felt miserable, and wondered by what means he would obtain such wealth. 'Riches help to gain more riches, but I have nothing. I would serve a king, but I do not know how. Now what should I do? Be it so, I shall worship the Lord of the Sea'. Resolving thus, wandering he came to the shores and saw the sea. (The sea) which was embracing as it were his beloved, the Glory of the sky with plump breasts, by waves scraping the sky, surpassing the mountains by their heights, adorned with various precious jewels and whitened by balls of foam as white as sandalpaste; whose water was drunk by the submarine-fire which assumed many bodies, being unable to drink it all with one, under the guise of the flashing creepers of corals. To such a god of the sea he started paying homage. Every morning wearing a short leather petticoat and taking a staff in his hands he would go and offer a handful of flowers to the sea, and bowing down he would move forward and backward with the tide and the ebb. Spending the whole day thus, in the evening after paying his salutations to the sea he would return. He spent many years thus, sustaining himself on alms. Now once, taking pity on him, the sea, assuming the form of a small boy said to him: "Oh! Brahmana, why do you trouble yourself day and night by coming and going?" Being thus spoken to, he said: (32) "Young man, why do you worry about it? Go your own way". But when the boy persistently asked him he said: "I am much afflicted by poverty which has come down to me from generations together with my family traditions. Therefore I am worshipping the sea". Seeing his firm resolve, the boy said: "I am the

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38 SRNGARAMANJARIKATHA Lord of the Sea come because of your services. Therefore accept this invaluable jewel" having said so, he gave it to him. Receiving it SURADHARMAN considered his efforts fruitful and happily went home. He wondered how it could be protected. Thinking a way out, he tore open his thigh, put the jewel in it and then healed it up. He then dressed like a madman, wearing rags, tying a dried garland on the head, eating on the way, sleeping anywhere, his body stained with dirt, and muttering only "Mother knows'. People heart fascinated by its glory had taken up his abode after having given up his stay at Kailasa ? Wandering thus on the road he reached Ujjayini after some days. How could that (city) be described where even the Lord of the three worlds, Sri Mahakalanatha prompted by pleasures and his heart fascinated by its glory had taken up his abode after having given up his stay at Kailasa ? The city was protected by King VIKRAMARKA, who by the valour of his arms destroyed all his enemies and who imposed taxes like Trivikrama (Visnu, who captured Bali). He had a courtesan named DEVADATTA who attracted the minds of all people. She was rich and famous. She was the one abode of beauty, charm, youth, cleverness and grace. She used to travel always searching for someone wealthy and fit to be fleeced. Once when she mounted on a cart drawn by horses and was accompanied by five or six hundred foot-soldiers and a retinue of clever maids she saw the mad man. Noticing his form she knew for certain that the man was in possession of some treasure for which even the three worlds were worthless, that the rogue was not mad by nature but only posing like a madman for some reason. Thinking thus, she said to him: "Good one, whence do you come? Where do you wish to go?" Though asked thus many times he only replied 'mother knows'. Then by her intuition knowing of his real self, she made him sit on the rear of the cart and brought him home. There he was bathed, fed and adorned with clothes, ornaments and unguents worthy of men of her company and she enjoyed with him sensual pleasures. She spent six months with him in a similar manner, giving up her harlotry and neglecting her services to the king. Even by mistake he never gave another reply, but spoke as he had spoken before. Once it occurred to him that she had brought him because she had judged him correctly so it may be that by staying there more he might give her everything out of infatuation. (33) The best thing to do therefore was to go away from there. But wondering how to go away, he folded his hands and pointing towards his own country, indicating his desire to go, he frequently said 'mother knows'. ..

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TRANSLATION 89 "I shall not be able to live even for a moment without you. Sir, why do you go away? If you wish to go for obtaining riches then all my wealth is yours". Saying this, she gave him her necklaces, jewelled armlets and wealth in gold and started weeping: "If", (she continued) "you wish to go to your country to meet your people, then I have got friends who will bring them here". Thus was he addressed, but he repeatedly said 'mother knows' and pointed towards his own country. When Devadatta thought that she had been deceived and it was not possible to hold him back any more, he was permitted to go, and he quickly started for his own country. After that she reflected thus: "My life is lost, this beauty of youth is fruitless, the pride of good fortune is worthless, the secrets of cheating rogues studied since birth bears no fruit and the secrets of harlotry as taught by groups of bawds and handed down through generations have vanished. Now if he thus escapes de ceiving me, then I shall cut off my breasts and throw them into fire". Resolving thus, she called two girls and instructed them to go after him. * She said, "Avoiding his sight you two should go two yojanas by the by-path. After you have covered two yojanas, one of you. should come from the opposite village towards him. The other should walk slowly behind him. Then the one coming from the front should ask the one near him, as if recognizing who she is, and then act as has been taught". Both of them followed him, and met each other the way it has been described. And one said: "Priyangika! whence do you come?" Priyangika: "From Ujjayini. But Lavangika! from where do you come?" Lavangika "From this village. Many days have passed since I left Ujjayini, therefore tell me how is the king? what is condition of the state? and what is the news?" Conversing thus, picking up pieces of dungs, they walked some distance with him. Priyangika: "Sister Lavangika! How shall I express? In Ujjayini I heard of a great wonder. The courtesan by name Devadatta fell in love with some mad man. Though she tried to hold him back by offering him all her wealth he did not stay back. Disregarding her he went away somewhere. (34) That very moment, with her heart broken out of love for him she died. And now the women of her retinue and her dependents are preparing to die". 1. On hearing this Suradharman, who was walking, abruptly came to a stop. He asked: "What are you talking about?" When he was told everything upto the went away somewhere he muttered: 'I

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SRNGARAMANJARIKATHA am that sinner' and determined to put an end to his own life returned to Devadatta's house. 40 When he reached there he saw on one side pieces of sandalwood, on the other curious garments and pots of ghee, and also heard the wailings of her routine. On seeing him from a distance MAKARADAMSTRA shouted: "Oh! sinner, have you returned? Having killed my daughter who was my life and the ornament of the whole world, what else have you come to do? By whose favour will this family live now? How will I live? You have destroyed the head of the family". While she was saying thus, he saw the lifeless DEVADATTA placed on bier. Then he said sharply: "Mother, why do you reproach me? Inevitable is the course of Destiny. What purpose is served by scorning me? It is your Fate that this calamity has befallen you. Be it so. I do not desire to live without her". Saying this, resolving to put an end to his life, he tore open his thigh and gave her the invaluable jewel which by its lustre reddened the directions. He further said, "By obtaining this jewel your family has bid farewell to poverty". The bawd then said to DEVADATTA in her own language: "Rise, O perturbed one!". As soon as the ambrosial words entered her ears, DEVADATTA breathed a little, stretched her body twice or thrice and started looking around. Immediately joyous shouts burst forth. Felicitations were offered, and rumour spread that DEVADATTA had been taken by death but has recovered again. Clasping her to neck MAKARADAMSTRA chided her. Some one quickly fell at her feet and some others rolled in front of her. Gradually when festivity ended, MAKARADAMSTRA reproached even the son-in-law, then bathed him, clothed him, and welcomed him again. DEVADATTA also bathed, put unguents and ornaments and spent three-four days with him. Now once at midnight, while he was talking lovingly to her about different things, due to force of habit the words 'mother knows' escaped him. DEVADATTA asked: "Ah, does your mother know or do I know?" (35) Folding his hands he said: "Mother does not know anything, you know everything". "If I know everything, then out with you" was DEVADATTA'S reply and she kicked him out. While leaving he woefully said: "Give me some provision for the journey". He was given two gold palas and was driven out.

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TRANSLATION "Thus, oh daughter, he was attended to by DEVADATTA even at the loss of her own wealth; though obstinate he was taken in after having known that which was secretly hidden, then understanding his Haridra raga, draining him of all his resources he was driven out. That is about Haridra raga. Therefore my daughter, in the case of a person of Haridra raga, without any compunction, even by extraordinary means it is best to dispossess a man completely. As by the heat of the sun and so on Haridra raga fades, so in the case of man of Haridra raga threatening and the like make him averse, so without that, by extraordinary means, he should be immediately divested of his wealth. 41 THUS ENDS THE FOURTH TALE OF SURADHARMAN IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA SRIBHOJADEVA. THE FIFTH TALE OF DEVADATTA "Moreover daughter I have already said that to please a person you should know his mind." Listen about it: Here in the city of Ujjayini, presided over by the Lord of the Beings, Sri Mahakala, there ruled King VIKRAMARKA. By the valor of his own hands he secured the title of the three worlds. He had a courtesan called DEVADATTA, a jewel in the armlet of all the kings. She was as it were the life, the breath, the consciousness, the vitals and all of the Fish-bannered God. She was the field of good fortune, the abode of charm, the refuge of youth, the place of arts, the residence of the pleasures of the mansions, and the house of graces. She was as if created by the creator by putting together all the lovely things of the world. (36) The king having brought under subjection all the enemies experienced the joy of an unrivalled kingship and protected the whole earth like one town. He sometimes fought the lords of elephants which laved the earth by the flow of rut, which competed with the elephants of Indra and which in their hugeness mocked the Anjanagiri. He sometimes rode horses of high breed, which in speed surpassed wind; he sometimes practised archery on the parade ground deafening the directions with the constant twanging of the bows; he spent his time sometimes by witnessing practice of warfares, sometimes by thoughts on Sastras, sometimes by studying the use of different weapons, sometimes by watersports, sometimes by wamderings in the pleasure gardens, sometimes by talking with friends, sometimes in the company of his beloveds, sometimes by seeing shows and sometimes by the sport of hunting.

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SRNGARAMANJARIKATHA Once, when only a quarter of the night had passed, when the friend of Kumudini (the Moon) rose, when clusters of Kumuda bloomed, when the directions were again lighted by the vanishing of darkness, when the living beings had all rested 42 "" (The king and DEVADATTA were conversing on the top of the palace. The king asked her how her class of persons can win over by talking, loving etc. She knitted her eyebrows and exhibited her aversion to the king's enquiries. But to entertain him, she said that she will only tell him of a wonderful thing she experienced the other day. While going some distance from the main palacegate she saw a gem horse which by its beauty mocked Ucchaisravas. He (horse) had beautiful parts (kala) like the moon >; he had a lovely frontal bone with a lock of curls falling backwards like the sea <> though virocamana <>; he was handsome as Uccaihsravas yet was anuccaihsravas <>, he was a tarksya garuda, horse>> yet was a hooded serpent <>; he was white as the moon yet as beautiful as coral possessed of beautiful long hair>>; he was Suktiman <>; he was, it seemed wind incarnate; the mind embodied; fame incarnate of the class of horses. He had not much flesh on the face like the emaciated shoulder of Visnu with whom Laksmi had a love quarrel; he was broad in chest like garuda; prominent in shoulders, not in stupidity; small in ears, not in form; hard in hoofs, not in face; deep in mind, not dull in spirit; soft in hair on the body, not in bearing lashes of whips; precise in its pace like the blade of the sword; shining in its complexion and eyes; bent in the neck and the pacings; quick in speed and understanding; he was made of all the seasons being fragrant in breath (Vasanta), pure in conduct (Summer), a fortunate acquisition of all the riches gained in conquests (Monsoon), very powerful in conquering others (month of Kartika), huge in form (Hemanta) and cold in all excuses (Sisira); he was white as the moon yet was Kala <Page #252
TRANSLATION 43 due to his peace and due to his moving in the skies he was not attached both ways (?); he sat in patience as if covered by a mass of lustre as white as tagara flowers and as if covered with a cover of strength out of fear of touching the earth being divine himself; he looked handsome having created for himself a moving canopy by the lustre uprising from the saddle studded with various jewels; having pearls sown in the borders of the saddles like drops of ambrosia for the propitiation of the eyes of the onlookers; having a neck looking like the top of the crystal mountain encircled by rows of clouds on account of it (neck) being girded with a collar of emeralds; he looked as if his wonderful good conduct was sung by rows of golden bells on his chest tinkling due to his naturally moving fore-feet; it appeared that he had spread out his wing as if for competing with garuda, on account of the slightly handing gajendrakas on both the sides; he was foremost among the circle of horses due to his sweet sound like the lord of the Gandharvas....; (48) his rear part was covered by the refulgence of various gems like a portion of the Milky Ocean; (38) the residence of the Goddess of beauty; the family house of elegance; the abode of good conduct; and the life of brilliance; he was of a good breed and was very big. On seeing him I thought 'well, this royal family has various gems, and in this family which is a refuge of all wonders I have seen today a jewel of a horse'. But as I was curiously looking at it I saw a very handsome young man astride it. Then I thought 'indeed this man has come to call me and I quickly mounted the horse. Then the horse was goaded by him and it flew in the sky that was flooded with moonlight. Due to its speed I did not now how far I was carried. When I went some distance then in the night .............. ..Then she was led to a mansion and the horse came down on the earth. They entered and there DEVADATTA saw a beautiful woman weeping. Another man with a cane entered. She was asked by them to work as a messenger of love. One of them was saying that since birth he had been suffering the anguish of separation and therefore) (39) "DEVADATTA! you should bring about an union as you wish to have it". . When he stopped in his speech, the other getting an opportunity said: Noble. DEVADATTA, you alone are capable of doing it, and therefore with great hopes you have been

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SRNGARAMANJARIKATHA brought here". With my anger redoubled I said to him; "Am I not a lady? Am I your slave that I will act as a messenger for you?" "When I said this he took up the cane in anger and started beating me. Being tortured thus I frequently said "The feet of king VIKRAMADITYA, who has conquered the three worlds, are my refuge'. They were perplexed thinking that by my remembering you, (40) you would indeed come. So they threw me there, and I saw them running away in confusion. Then I saw myself fallen on the parade ground. This incident took place this very night". On hearing the narrative, the king said to her: "DEVADATTA, is this true?" DEVADATTA said: "If it be untrue then the king may punish me". Again the king asked: "Is it true?" "If it is untrue then by the order of the king I am cursed indeed. As soon as I took the name of your lordship then the confusion of those running away was such that I cannot even express it in words. I only heard their words 'VIKRAMADITYA has come, VIKRAMADITYA has come'. In that confusion I did not know where the airplane flew away. Wonderstruck, the king again said: "DEVADATTA, is this true?" DEVADATTA said just then as if confused, "Sir, it is entirely true. Why should I speak untruth in the presence of the king?" King SAHASAMKA was pleased, he said: "Oh! Superintendents of elephants! leaving aside the best of elephants, immediately give to DEVADATTA the second Lord of elephants together with four crores of gold pieces, rich ornaments and dresses". "My Lord," then courteously added DEVADATTA, "this I shall inform you. Outside the couch this is the one I get. On the couch I shall take another also. Your lordship asked me before how my class of persons acquire (wealth). Well, this is how they do it". Smilingly she spoke thus and stopped. Hearing this VIKRAMARKA was twice pleased and he said: "Well done, DEVADATTA, well done. I have been enlightened in a charming manner. The tradition of your class has thus been elevated to a high state" saying this he doubled his gifts. Therefore, oh daughter! for those who drain the resources of men by knowing their minds the gain of wealth is certain. For it is a great truth that there is nothing a person would not give when his greatness is glorified.

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TRANSLATION THUS ENDS THE FIFTH TALE OF DEVADATTA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE SIXTH TALE OF LAVANYASUNDARI "Moreover, o daughter! for those who try to secure their object even at the risk of self-sacrifice after taking refuge with a man of great valour and adventure, the fulfilment of their self-interests is not difficult. This I told you before, I shall illustrate it to you now": (41) "Here there is a town called Ahicchatra, famous in the world, and presided over by great men like the rich merchants..... and others. There ruled for a long time king VAJRAMUKUTA enjoying the pleasures of kingship. He had defeated the circle of neighbouring princes with the support of his ministers in their service since his father's times, had gradually conquered all the arrogant enemies and was surrounded by a powerful retinue. In the same town dwelt also an oilman by name GHUDA who was in affluent conditions because of his rich patrimony. He had a wife named LAVANYASUNDARI, young and beautiful, looking like a play-doll of Madana, the ornament of youth and loveliness even of loveliness. Her beauty was not unparalleled in her own class of people, but as it surpassed (the beauty of) all the other women it was an object of wonder to all the people. Enjoying amorous pleasures in her company his days passed happily. Once while she was in her own house she came within the sight of the king who was roaming about. Seeing her, as if wonderstruck, stupefied, infatuated, and helpless due to the striking of the arrows of Love, he somehow reached his house. He wondered how she could be obtained, for he would surely not desire to live without getting her. When he came to know from the spies that she was the wife of GHUDA, the oilman, he considered how he could bring him under his subjection. He arrested him under the pretext of adulteration in oil. Though, he (the oilman) offered to pay fine in lakhs, he did not free him. On the other hand he tortured him by inflicting many punishments. LAVANYASUNDARI then understood the king's intentions, and said to her husband: "You must free yourself by giving whatever fine the king asks of you". Accordingly he said to the king: "Your majesty does not accept even gold drammas, please tell me then what else should I give you? Whatever you command I shall definitely give". The king asked for a hundred elephants knowing that it would be impossible for him to obtain them. Hearing this the oilman was very much

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46 SRNGARAMANJARIKATHA perturbed in his mind with a series of worries such as "Where on one hand is my caste and where on the other the elephants? Therefor I am totally lost. What is the way out? And what resort?', LAVANYASUNDARI came and asked him what the king had asked from him. Nervously he said "As I am asked by him to get a hun. dred elephants my end is near at hand. How will I be ever released?" She said: "You accept it, I will get you a hundred elephants". When the oilman accepted the king's command, the king thought that he would never be able to obtain a hundred elephants, therefore she would be in his possession now. Thinking thus he said "When could you get me a hundred elephants?" Instructed by her, the oilman asked for six months. The king agreed. The oilman then said to his wife: "Why did you (42) make me accept such a fine without the faith (to pay it to him)?" She said to him: "This king is in love with me and under this pretext wishes to possess me. But it is an undesirable hope. He is (like) my father. Therefore you must do what I say, and I shall get a hundred elephants in due time." He agreed to what she said. "My conduct need not be considered when it is a question of your life)", she added. Then taking with her five-hundred best horses and carts, a retinue adorned with clothes and ornaments of various kinds .......... keeping in mind King SAHASANKA, the abode of all adventures, she started for Ujjayini. After a few days she reached Ujjayini. She took up her residence on the bank of the Sipra, where the heat of the sun was warded off by trees and creepers bearing various kinds of leaves and flowers. She had a rumour bruited about herself that a courtesan, who in beauty surpassed the damsels of heaven, had arrived from some place. She distributed gifts adequately to the suppliant and spent her days in pleasures. She gave hope to the feudatories and others who came there asserting their superiority by saying 'I shall do what I can'. But she never accepted anything from anyone. As days went by news reached the ears of king SAHASANKA. Out of curiosity he sent his spies to verify the rumour. When they reported that it was true, then under the pretext of going on a hunting he passed by her house. She draped herself in gorgeous robes and showed herself gracefully to the king. On seeing her he fell in love with her, and returning from hunting somehow, he passed by the same path and came to his residence. Reaching home, with his mind striken by Smara's arrows, he sent his clever and affectionate entertainer MUKHARAKA immediately to her place. Going there, meeting her and talking about various things he said after some time

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TRANSLATION 47 courteously: "(While the king) was returning home from hunting (he saw you) and has sent me to find out to whom you belong and who you are. Therefore you may say ........... "(She says that she had heard of the king and had come to him and if he does not accept her then in this life ..... MUKHARAKA considered himself as having done his job and .......... thought) 'Ah! this is indeed a shower of flowers without a creeper and a shower of water without clouds'. When heat lessened ..... and the Lord of the lotuses went to the west; when the shade of the trees turned the other way as if unable to bear the heat:.... (43) when herds of hogs moved about here and there; when herds of cows moving slowly due to satiation, ruminating and hearing the tinkling of the small bells resounding due to the movement of the neck as they were walking, and with their eyes a little tired due to fatigue, were returning slowly to the town from the forests; when on the roads only a few travellers were seen; when flocks of birds, leaving the pastures quickly flew towards the garden trees; when the directions exhausted by the fierce heat became cool as if pleased at the touch of the evening breeze; when gradually the sun (lit. whose charioteer is Aruna) red as the young, red-crested cock came to the top of the western mountain; and when the eventide made the intermediate space red with its rays red as if dipped in lac, like a weaver who weaves the middle part by spreading the threads through the shuttle; when the garden grounds looked beautiful as if marked with the alaktaka-dye transferred from the feet of the moving forest deities, due to the mixing of the thick shade of the trees with the evening glow seen between the interstices; when the waters of the lakes looked splendid being covered by a network of the rays of the sun atop the setting mountain and therefore turned red as if by the blood from the hearts of the pairs of cakravaka birds anguished by the forthcoming separation; when the clear crystalline floors in every house looked as if swept by the kunkumarasa because of being mixed with the rays of the sun resembling the open pomegranate flowers; when the eventide was resplendent as if it were with the tide of the tossing ocean of love overcoming the world. ........... ii.... Gradually rose the Lord of the night-lotuses giving life to the clusters of kumudas and Love. Which was like a golden ear-ornament of the eastern direction, the mark of kunkumarasa on the forehead of the night, the shining golden mirror of the directions, the only blooming 'golden lotus in the lake of the sky, the one pot-like breast of the heaven anointed with kunkuma with its garment in

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48 SRNGARAMANJARIKATHA the form of darkness having slipped off on one side; like the playing ball of Rati turned red due to the red-dye on her palm; and which was like a golden pot for the consecration of the future sovereign, the mind-born one. Then giving pleasure to women, rising from the ocean, being surrounded by constellations, and giving joy to the kumudas, (44) the Lord of the Stars, shone brightly, destroying the demons in the form of darkness as black as powdered collyrium. When the moonlight produced the fire of love, which tore open the clusters of kumudas and the hearts of the cakravakas; which destroyed the darkness pervading the by-paths and the pride of the haughty women, which agitated the sea full of waves and the hearts of the lovers, which pained the elephants' tusks and the minds of the separated ones; and which was being drunk in on all sides by the families of the cakorakas with their beaks open and by the eyes of the people and yet was on the increase ...... when such words of the friends clever in bringing about love quarrels and unions were heard spoken to the proud women: 'Friend, Madana is irresistible, the mature rays of the moon are unbearable, youth is shortlived, and the bond of love is unsteady'; when the lights of the mansions first enkindled were clearly perceived in the bodies of the separated women like the reflection of the sparks of the fire of love, when the wanton women whose hearts were filled with passions sent to their lovers the messengers forgetting and instructing the messages again and again, when the ladies wrote the messages of love with the juice of the musk on the leaves of the ketaki in the lamp of the moon; when the women looking again and again at the paths of the lovers decorated their houses; when smoke of the kalaguru incense issued from the windows of the vasakasajjas like the measures of the inflamed fire of love; when the abhisarikas went in all the directions like the presiding deities of the moonlight, with their bodies covered with white garments, with the powder of thick ghanasara sprinkled over the cheeks, with the pearl ornaments on every limb, with the whole body anointed with sandalpaste and with their braids of hair tied with the blooming malati flowers. Then the whole earth was as if expanded with nectar, flooded by the milk of ocean, made of crystalline stone, made of the lustre of the Dramida women's teeth recently polished, made from the inner part of the leaves of the palmtree, be-sprinkled with molten silver, and as if carved out of the tusks of elephants; when it (the earth) possessed the beauty of the Candraloka, when the moon slowly whitened the directions and became pure and rose up in the sky, transferring its own redness to the minds of couples. At that time the king sent MUKHARAKA to fetch her. She also, looking at the road with her neck raised like the agriculturists

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TRANSLATION 49 looking anxiously at the watery clouds, saw him coming. When he told her of the king's acceptance of her, she was mighty pleased. She quickly came to the king's palace. When LAVANYASUNDARI came, the king, full of love, enjoyed amorous pleasures in her company that night. And in the morning having performed his morning worship and having finished his meals etc., seated comfortably and happily, he told the whole affair to BHATTAMATRGUPTA. (45) Hearing about it BHATTAMATRGUPTA said to him: "Sire different kinds of selfish women move about the earth. Therefore, your Lordship should not trust them. I know this is harlotry". When BHATTAMATRGUPTA told him thus, he thought 'Do I not know what is natural love and what is harlotry? Let it be. What have I to do with it. BHATTAMATRGUPTA is venerable, therefore I shall not say anything. He is always like that. Thus disregarding him he confidentially spent many days in her company. But BHATTAMATRGUPTA again and again reminded him of his words. One day while he was thus reminding, the king said: "Then how can true love be known? When I test her, she does not even protect herself. On the other hand all signs of love are visible in her. And I do not notice any aversion in her such as thinking of some one else even in dreams". Whe he said this to BHATTAMATRGUPTA, he again said to the king: "Then your Lordship should test her by rustic methods". But in order to test her, as he derided her more and more by such vulgar methods as cutting of her nails, teeth, and hair, she became more and more pleased and affectionate. He told BHATTAMATRGUPTA everything. When he said: "You always scoff her by saying this is all harlotry, nothing but harlotry, but not a single act of her's is like that of a harlot," to him BHATTAMATRGUPTA again said, "She is a clever rogue that she has produced this illusion in your Lordship's mind. Now I am convinced that all this is harlotry." Through others she knew what BHATTAMATRGUPTA said (about her) and being always apprehensive looked upon him with great awe. But once it occurred to her that many days had passed and the time (of six months) would soon be over. Thus thinking she came where the king and BHATTAMATRGUPTA were talking and sitting for a moment, said "This is indeed the fruit of your favour that having come from a distance out of love for your merits, this person says it is all harlotry. Let it be so. This consideration indeed is a proper return for my love. It is well that you, a king, and this one, towards whom you are favourably disposed, are in unison." The king exclaimed: "Who told you this falsehood? Is

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50 SRNGARAMANJARIKATHA BHATTAMATRGUPTA like that or myself?" On hearing that, she smiled a little, stood there for a second and then entering the bedroom, taking the king's dagger lying on it, severed her head. Then with his mind full of misgivings VIKRAMARKA entered within and saw her with the head cut off. As if struck by lightening, as if enveloped in flames, as if gazed at by a poisonous snake, he stood there a moment. Afterwards, with due consideration he called BHATTAMATRGUPTA inside and said: "BHATTAMATRGUPTA! do you see the end of harlotry?" He said: "Sire, I have seen it. What else shall I say but this, that this is harlotry too.". (46) The king was wrathful. Disregarding BHATTAMATEGUPTA, making his servants lift her up as she was, he came to the temple of the Goddess Asapura. VIKRAMADITYA sent his whole retinue outside and himself prepared to cut off his head. That moment the Goddess Asapura caught hold of his hand and said: "Son, O son! do not be rash. You are not an ordinary person. Why do you put an end to your life out of sheer compassion for others?" He answered "Forgive me, Oh Divine One! Please leave off my hand. I shall present you a desirable offering today." The Goddess said: "I am pleased with your extraordinary valour. Therefore speak, what do you desire?" VIKRAMARKA said to her: "Goddess! Let LAVANYASUNDARI come back to life". And the Goddess made her alive again. Happy in mind VIKRAMARKA returned with her to the palace. Everywhere felicitations were offered and the townsmen were all very happy. Thus the days of those two, satisfied, happy and deeply attached to one another, were spent. And now one day, after meals, when the day was practically at end, when the friend of the lotuses was gradually going to the western direction, VIKRAMARKA, seated in the ivory balcony with her, saw a lord of the elephants named RIPUDALANA who was roaming about at pleasure. The (elephant) was as it were devouring the orb of the earth by his four feet which bore striking resemblance to caskets made of black jewels; possessing jewels in the form of nails as if they were the eighteen extensive islands come under his feet; looking handsome with his well formed hind-quarter and shining skin looking like the mansion of pleasures of the Goddess of Beauty; adorned by strong and well built shoulders as if

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TRANSLATION 51 they were the doors of the heart, the residence of the Goddess of Valour; possessing a splendid wide chest looking like an extensive sea of inviolable beauty adorned with the tossing of fish; due to his face being thickly covered with swarms of bees falling on account of the continuously oozing rut it appeared that the Creator made a dark pit without effort out of mercy for the injury that may have been done to all the other elephants; which appeared as if possessed of flames of the fire of anger on account of the spreading lustre of his pair of eyes as yellow as drops of honey; which looked splendid with a pair of long, glossy and smooth tusks possessing the complexion of fresh malati flowers, appearing to be the first two sprouts of the universally pervaded fame born out of destruction of herds of intoxicated elephants; decorated with two cheeks as if with two kula-parvatas which are the source of the wide and continuously flowing river of rut; adorned with a kumbha (frontal prominence on the forehead) with something marked on it looking like an auspicious pot adorned with leaves for greeting the Goddess of Victory; having broad ears imparting broadness to the naturally broad face; which, because of the skin painted with small red dots (appeared) as if variegated with the particles of the blood of the enemy's elephants destroyed in many fights, and having waving lobes as if fanning the cheeks heated by the thick rut; looking fierce with a thick, gradually thinning, and very long trunk swinging fast, as if searching for all the herds of elephants on earth; (47) possessing a pair of temples looking terrific by the ruddy brightness of sindura applied to them and looking like the breasts of the Goddess of Victory red due to the continuous rubbing of kunkuma; making the single-streamed Yamuna look like the Ganges flowing in three streams by the constant flow of rut at three places; whose (praise) is sung by the host of bards in the form of the bees being attracted by the fragrance of the lake of the ever-flowing rut; having a pair of beautiful white chowrie-like ear-ornaments, possessing the lustre of pure white conches looking like embodied fame earned in the victories obtained in many battles; possessing some indescribable charm by the broad shoulders with the joints firm, and with smooth and shining skin; having broad withers, an elevated and curved bow-like backbone, a well arranged tip of the tail and a very straight, long and glossy tail. He was pleasant yet terrific, possessing two tips (of the trunk) fascinating the minds of all people;. ...........; small in skin, hair on the body, scrotum and the hind quarter; big in shoulders, trunk and tail; very broad in thighs, withers, hips, cheeks, corners of the mouth and temples; very symmetrical in the hind-withers, tip of the tail, sides, belly and thighs; smooth in skin and hair; deep in mind and roaring; clever in movements and in performing feats; shapely in form and backbone; fragrant in breath

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52 SRNGARAMANJARIKATHA and rut; great in body and valour; and red in the palate and the corners of the eyes. By his class, form, behaviour, valour and so on. He looks as if made of all the seasons with his eye-ball looking beautiful like the autumn when sugarcane grows; his might terrific like the winter which is full of snow; his action violent like the cold season which produces tremor, and his tip of the trunk moving gracefully like the spring when lotuses bloom; his using all the rivers like summer when all the rivers get dried up, and his roaring deep like the rainy days when deep rumbling is heard. He conquered as it were the whole group of heavenly elephants by disregarding the roar of Airavata, (the elephant of the eastern quarter), destroying everyday the glory of Pundarika <> by water sports; uprooting the splendour of Kumuda <>; conquering Sarvabhauma <>; defeating Puspadanta <> by his lovely and refulgent brilliance; and who put aside the enthusiasm of Vamana < by the constant grace of taking three steps. Who bore the beauty of the fourth day(?); who was charming to the eyes of all people like the state of inebriation, and who by his excessively fascinating beauty and charm as if satisfies, fills, expands, pleases and gladdens the eyes. (48) On seeing it, the king joyfully said to LAVANYASUNDARI after a moment-"My beloved LAVANYASUNDARI ask for anything". When she was again and again requested respectfully she said: "Whatever is yours is mine, what else shall I ask for? But if you want to please me, then (know) that since childhood I have great fascination for elephants, therefore give me a hundred such elephants". The King said--"This is nothing, ask for anything else you desire". Saying this he gave her a hundred elephants. She said; "Let it be announced that a hundred elephants have been given to LAVANYASUNDARI". The king did as he was told. When two-three days passed by, LAVANYASUNDARI, folding her hands said to the king_"Sire, let me take leave of you. I am a courtesan, Such is our practice",

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TRANSLATION 58 (The king was naturally surprised and asked what all this was about. LAVANYASUNDARI gave an account of the whole affair. The king gave her leave to go. She went back to GHUDA with the elephants and they lived happily ever after). THUS ENDS THE SIXTH TALE OF LAVANYASUNDARI IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. (THE SEVENTH TALE OF CHEATING THE BAWD) "Moreover, one should always protect oneself from dhurtas: There was a brahmana who in old age begot two sons. When they grew up they aspired to visit another country. When they started on the journey the terrible summer set in, with the hot sun destroying the wealth of beauty of the earth produced by the spring. When (in summer) the wild cocks hidden in the hollows of old trees fearing the heat, were slowly crowing; when the decayed barks of the trees were dropping down as their joints had loosened by the excessive heat; when small insects in the joints of the barks were tortured by the intolerable heat; when two or three leaves were seen .......... ; when trees went dry; when the roads were nailscalding as if chaff-fire had been spread on it as the dust had become hot due to the broiling sun; (49) when the shrill screeching of the ciritikas deafened the directions as if despising the forest region filled with the blaze of the hot sun; when the tops of trees were enveloped in flames enkindled by the breath of aged pythons, which (trees) were noisy with the tearing of the tough barks as the small worms tried to enter them, and whose tops were shaken by the wind raised by the wings of the birds taking flights out of fear; when the forest-conflagration was blazing everywhere; when the sandy banks became wavy because the waters were ebbing every day as if the mature, hot-rayed thirsty sun drunk all the reservoirs after the fatigue caused by traversing the very long days; when the sapharika fish were agitated on seeing the cranes moving near the puddles; when the young tortoise, exhausted by heat rested under thick moss; when the reeds were slightly turning dark; when the streams flowing from the thickets of the mountains thinned down, as if pained on seeing the beauty of the trees on its sides being destroyed by the rays of the sun; when the small' acquatic animals were tortured by herds of huge buffaloes exhaling breath now and then through the slightly blowing nostrils, continuously scratching their bellies afflicted with gadflies by the tips of the swaying horns and

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SRNGARAMANJARIKATHA frequently snapping their backs with the tails because of the fear of flies; when the bog had dried and worms resorted to the cracks; where the middle of the lakes having little water in them had become swampy; where herds of deer, resting in the shades, ruminated at intervals due to sloth brought about by the heat of the morning sun; when on account of the humming bees concealed under stones it seemed the trees were grunting out of helplessness being exhausted by the heat; when the thirsty fawns with their eyes closed a little due to tiredness were running here and there with their necks and ears raised up being attracted by the mirage spreading all round in the lower grounds due to the heat of the rays of the sun; when some families of monkeys silently sitting on the branches of the trees, distressed by the fatigue produced by their own fickle movements, were dragging on the midday drowsiness by falling down (from the trees), their bodies languid due to the help. lessness on account of the languor of sleep, were getting up again and climbing (the trees); when herds of wild boars, as black as pounded collyrium, with their darkness, doubled by mud, who due to the fear of the sun frequently rolled their tawny red eyes which looked like glow-worms in the mass of darkness, were taking resort in the thickets of musta on the sides of the ponds; when the birds, afraid of being drowned in the hot particles of dust entering the joints of the wings abandoned the paths and hid in the hollows of aged trees, when the directions were coloured variously by particles of grass burnt in the forest conflagration resembling iron spikes (in the hearts) of the travellers produced on account of separation from their truly loved sweet-hearts; when the sky was laden with the rustling uprooted particles of the barks of trees; when the wind was blowing hard and was resonant with the screeching of crickets constantly mixing with...., which (wind) brought coolness to itself when tormented by the rays of the sun, with the particles of water emitted by crickets in every wood; (50) which was hot and long like the sighing of the directions who were tormented by the pain of separation from the Spring; which was fragrant with the pollen of the swinging arjuna flowers and which swept away pieces of dung. 54 (During such a summer) one day, the two, travelling thus reached the Vindhya forest of terrifying splendour. Which (forest) was stretched from the eastern to the western mountain; which was rendered beautiful by the trees that bore the greenness resembling the brilliancy of the peacock, which (trees) had their trunks surrounded by bees due to the fragrance of the rut transferred to them by the scratching of the temples of the intoxicated elephants, whose roots intermingled with flowers as the branches were broken because of the swings of creepers made by the sylvan deities, whose

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TRANSLATION 55 leaves were constantly plucked by the women of the Sabara king tipsy with drinking wine, for covering their ears; which were fragrant with the sweet scent of the ripe fruits hanging on the small swaying branches slightly crushed by the frolicking monkeys, whose shades were continuously resorted to by the Kirata women exhausted in pitiless sensual sport, whose bowers of creepers resounded with the shrill singing of the Sidhha women intoxicated by the honey of the flowers and which (trees) have clusters of fruits and flowers that could be gathered by hands. (The forests) where creepers of black pepper were powdered by the unalarmed female cakoras; where parts of the puga trees intermingled with the glossy lavanga creepers; where the sky was in part decorated by a rainbow made up of the plumages of the flying peacocks; where the amorous sport of the Sabara women which had slackened in the interval of sexual intercourse was enkindled by the cackling of the gallinules intoxicated by drops of water of the streams flowing from mountain caves and which were drunk by the clever catakas with their beaks; where on the earth covered with the pollen of the priyangu flowers spread by the frisks of the patridges, the footprints of the sylvan deities were seen; where due to its denseness some regions were occupied by groups of Sabaras running helter-skelter intent on hiding....and their eyes tremulous being startled by fierce tigers; which at places was scented with the fragrance of crushed musta plants uprooted by the wild boars; somewhere monkeys were seated on the high branches as if due to the fear of the leaves being cut off by the young ones of the elephants; where at the foot of the mountains lakes were formed by rivers flowing from the thickets, which (lakes) were indicated even from a distance by the twitterings of the tittibhas and whose embankments were concealed behind giant trees; where at a place a solitary aged monkey seeing a portion of the tree being consumed by the flames of the forestconflagration, and finding no other shelter, glancing in the directions piteously, swaying his neck, contracting his body in wonder, with his pair of ears drooping backwards, with his tail let loose, blinking frequently after momentarily fixing his eyes out of distress, with his palate dry, his mouth open, his rows of teeth visible, his face pitiful, with his eyes irritated and closed due to smoke, for a moment thinking himself to be burnt, quickly opening his eyes and looking sideways, holding fast to a branch out of fear of falling down, losing grip and falling down being perturbed, and getting up again, his body fainting due to fear, and screeching inaudibly, was climbing atop an old tree, branch after branch; (31) where the banks ... full of green trees were resorted to swiftly by herds of elephants, among (the herds) here the young ones slowly grouped together because a portion of the land was encircled by flames of the forest

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56 SRNGARAMANJARIKATHA conflagration, and there the young-ones and she-elephants cried out alarmingly on seeing the splintering of the thorns, knots and barks of the bamboo forests; where in the herds) some elephants were loudly roaring, with their trunks rolled up they were frequently circling, with raised ears and necks they were looking for roads of escape, with their hind quarters slightly drawn in, tails straightened and then flung up, eyes wide open due to fear, with the desire to escape the fierce forest-fire that was slowly spreading, they spread themselves, then came together, then after seeing the conflagration lessening in one direction they waited for moment then roaring wildly, dashing the trunks on the ground, deafening the directions with roars as their sides were burning, they swiftly rushed out with the leader amongst them showing the way; and where (in the herds) every moment the she-elephants were anxious about the young ones lagging behind due to their slow speed; (the forest) with one side variegated with the mud of the ant-hills dug up by the bears; where the deep lakes were disturbed by herds of elephants, some of whom, though fatigued by the heat of rays of the midday sun, slowly dragging themselves near the water were engaged in digging water on the banks by their feet, their tails raised up and trunks spread out; some (elephants) were drinking water by curling up their trunks, opening their lips, slightly raising their necks and placing the tips of the trunks in the mouths, where elephants were drinking, emitting, beating and dirtying the waters by coming in and out of them); spreading at it were a watery umbrella over themselves by first taking water, then sprinkling it on their sides, and then spraying drops higher up; rendering undistinguishable their ears and tusks by the leafy lotus plants and roots thrown on their heads; taking dips and throwing up water from the tips of the trunks; passing urine on the bank after drinking water, hearing carefully the sound of the passing urine, with the buttocks lowered, the sides expanded, the ears a little raised, the front feet spread out, the heads a little shaking and the eyes drawn towards their ears; some leaders of the herds with their temples full of rut entering the waters and exhibiting a blue umbrella indicative of their sovereignty by the swarms of bees who had left the temples out of fear of water, but had fallen (on the temples) again out of desire of drinking (the rut); and the young ones eager to enter the waters turning away being afraid of their depth and taking resort behind the limbs of the she-elephants; which (forest) appeared to be flooded with thousands of streams of the Ganges oozing down from the sky by the springs gushing out from the base of the mountain broken by iron rods or flowing out through the woods or from cracks of the huge boulders; (52) some (streams) became broader and whiter as they flowed along, and being extensive and clean were not seen long distance off,

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TRANSLATION 57 some (streams) flowed on the moss-covered stones lightly as if out of fear of slipping, and collected in the woods on the mountain sides; where the jungles were scented by the fragrance of the sallaki trees as their barks were recently ripped off by the scratching of the trunks of the elephants; which seemed to be full of foliage due to the flames of the forest-conflagration; which appeared to be flowery by the citralaka mixed with pundraka(?); which seemed to be laden with fruits due to the huge-bodied elephants; which was colourful with the groups of peacocks with their plumages raised in dancing; which was adorned by tigers moving in the bushes; which seemed to be laughing by the young ones of the lions at the mouths of the mountain caves; which seemed to have horripilation on account of the thorny bamboos; which appeared to have the hair standing on ends due to the erect kharjura trees; which was as if engaged in dancing on account of the thousands of sprouts tossed about by the wind; which seemed to be perspiring in the form of the jaturasa oozing out from the rocks heated by the sun; which was as if fanned by the leaves of the high palm trees swayed by the wind; which seemed to be possessed of speech due to the chirpings of the birds everywhere; where at various places it was throwing out pieces of elephants' dry flesh, drying the hides of the lions and tigers, and keeping tusks of dead elephants; where in some regions the waters of the streams surpassed the redness of the sun being mixed with the blood of the travellers put to death; where places under the shades of the trees were noisy with the quarrels of the travellers with the caravaneers; where the eaves of the roofs of huts of hay were made colourful by the peacocks' feathers; where at some places commodities were purchased from caravans; where at some places search was made for the blood-stained pearls from the temples of the recently killed elephants; where the directions resounded with the fight of the dogs greedily snatching pieces of dry meat of a beast killed near the caitya tree; where at places heat was dispelled by the flocks of vultures circling above the flesh of the dead beasts, exhibiting thus it seemed the sovereign rule of the place of destruction; where the travellers avoided the settlements of the Bhillas which were inferred by the sky darkened by the smoke of the continuously cooked meat; where looking with alarm at the recently killed travellers on the paths, the palates of other travellers were parched, their footfalls became quick and light, and as they looked frequently at them with necks turned, they tottered even on the level paths, walked a little on one side due to anxiousness, were frequently terrorized by the fear of wild beasts on hearing the rustling produced by their own feet falling on dry leaves and considered even the short roads long; where at places the fierce wild beasts were also terrified by the army of Sabaras filling the directions, blowing horns and engaged in hunt

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58 SRNGARAMANJARIKATHA ing with bows and two-three wooden arrows, being controlled by their chiefs who had dark bodies, snub noses, red open eyes, well-built joints of the bodies, beards formed of two-three hairs, knitted eyebrows, shrivelled chins, high cheeckbones, small unpierced ears, curly hairs, and wearing plumages of peacocks; (53) which (forest) though very quiet was doubly causing fear though the reasons for the fear such as, wild beasts on the mossy, slippery stones in the streams flowing from the terrible cavities of the high mountains and the sounds of various birds were not known; which (forest) was presided over by mountain villages at intervals, where the boundaries of the ploughed fields were inferred even from a distance by the delicious odor of the frying of fresh cakes of grains; where the loud crowing of the cocks was heard; where the kodrava pounded by the youthful arrogant wives was inferred by the slow creaking of the machine; where the courtyards of the huts were fragrant with the crushing of cooked barley; on whose dangerous boundaries could be seen some grass huts pleasant with the songs of the women following the rhythm of the pestle while pounding rice; where the settlements which were located near the deep lakes, and which gave solace to the travellers were difficult to be approached due to the tall bamboos; which (forest) was full of thousands of old trees some withered and some turning dry; which at some places touched the sky with hundreds of hard and long branches, the interspaces of whose branches were occupied by aged pigeons frequently cooing, whose hollows were pecked by the wood-peckers desirous of eating small worms, which because of few leaves and few branches offered little shade, and which had hardened trunks because of their natural hardness. In which (forest) were other dense trees on both the sides of the roads beneath which it was pleasant to live because of the cries of the peacocks intoxicated at the sight of the untimely dark clouds; which were always green even in summer as if they had constantly and in greater measures drawn greenness from other trees and which drew water from the springs; which (forest) was a place of all mishaps; the house of terror, the sister of fear, the abode of difficulties, the origin of agitation, the cause of tremour, the primary cause of pain, the residence of wickedness, the land of illusions, the mine of fatigue, the market of sorrows, the abode of despondency, the climax of anguish, the mine of the fruits of all bad actions, the cause for nourishing consumption, the friend of confusion, the bosom companion of miseries and the mother of delusion. Those two, going through that (forest) with their provisions for the journey exhausted, spent there seven nights. Afflicted with hunger and thirst they somehow came upon a sweet and pure watered lake with a banian tree on its bank. ... Under the tree they spent the day. When it was night they enkindled a fire out of fear of

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TRANSLATION 59 wild beasts and were passing the night keeping awake for a quarter by turns. Now, during the third quarter of the night, SOMADATTA, walking and sitting at intervals, heard a conversation of a pair of pigeons (by the srutasrutanyaya?). The she-pigeon said: "My lord, for the one that is born, death is certain. Therefore if death comes about in a glorious way by helping others it is indeed blissful. If these two miserable brahmana boys, afflicted by hunger and thirst, and who have sought our refuge, would die here then what would be the purpose of our life? Therefore, to preserve their life (54) we should sacrifice ourselves". Hearing this, the pigeon answered: "Well said, beloved. You are indeed dear to me. Let us do that. Of these two, the one who eats me will be a king and he who eats you will get five-hundred gold pieces everyday. This had been predicted by sage Uttanka at the time of our birth". Saying this, both of them threw themselves into the blazing fire. Having heard this and witnessing the scene with wonder SOMADATTA pulled them out of the fire. Then arousing his elder brother he told him about the incident of the pigeons, gave him the pigeon to eat and himself ate the female-pigeon. After eating, he went to sleep. When he awoke in the morning five-hundred gold pieces were by his side. Both of them were convinced now, and taking the gold they proceeded as desired. Now, as they were going, one of them felt thirsty, and in search of water he went in a different direction. The other continued the same way and went a long distance. The former returned after finding water but lost his way. Thus because of different paths both of them were separated and went different ways. Now, according to the story, the elder became a king of Magadha. The other wandering about reached the city of Kanci. In that city, which by its splendour surpassed the three worlds, dwelt a bawd called MAKARADAMSTRA. She had a daughter named KARPURIKA. The beasts in the form of the sensuous men who got caught in the snares of her eyes were not able to move even a step. In amorous sport he spent many days with her. Everyday he gave her unlimited gold. No supplicant even turned away from him, nor did his wealth ever decrease though he gave constantly. Seeing his undiminishing affluence MAKARADAMSTRA said to her daughter: "Child KARPURIKA! This man basks in wealth yet the source of his wealth is not known". KARPURIKA said: "Mother, I also do not know the source of his wealth". On hearing this MAKARADAM

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SKNGARAMANJARIKATHA STRA said: "Oh wretched KARPURIKA! you are not born of me indeed! How can one born of me be just outward-looking? Therefore, henceforth, you must so engage him and please him that he will tell you the source of his income". He was then propitiated by services and sweet talks, and he narrated the whole incident of the she-pigeon to her. KARPURIKA narrated it to the bawd. Coming to know of it the bawd felt she had gained a new life, or a treasure or a kingdom. He was then fed with emetics, so he soon vomitted, and while vomitting threw out the she-pigeon. Out of covetousness (the bawd) devoured it together with saliva as soon as he vomitted it. (55) His gain of gold pieces hence-forward stopped and the bawd's began. Knowing him to be worthless now, the bawd drove him out under some pretext. With everything lost but his life, regretting why he ever revealed to her the affair, he left that city. While wandering about he heard from some travellers that a foreigner named VISNUDATTA had become the king of Magadha; and that he was very pious and charitable. On hearing this he remembered the account of the she-pigeon and thinking that this man must be his brother he went to Magadha. Having gone there he gave him his own acquaintance and stayed there a few days. Then taking along with him much wealth he returned to Kanci to avenge his defeat. He came and gave fees to KARPURIKA'S neighbour woman and began enjoying in her company as before. From the very first day Believing him, she asked him: "How did you obtain all this wealth?" He answered: "Why do you worry about it? It is a long story". But being requested every day he said: "I had gone to the Sriparvata. There I performed austerities endangering even my life and then obtained this siddhi". Once KARPURIKA went herself with him to the banian tree and witnessed his affluence. Her desire was then redoubled and gratifying him in various ways said: "I am very eager to possess this wealth. Therefore if I am dear to you and you have the slightest regard for me, then negotiate a bargain by accepting the she-pigeon."

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TRANSLATION SOMADATTA said: "Oh beautiful-bodied one, the attainment of wealth from the she-pigeon is limited only, while this attainment is unlimited; how can a bargain be struck between unequal things?" 61 KARPURIKA said: "Then take along with it all the wealth earned by me till now and make an exchange". SOMADATTA said: "What is it that I will not do out of love for you? Let it be so. Give me the she-pigeon". Then the bawd who was kept out was called in and making her emit out (the she-pigeon) by emetics, KARPURIKA returned the she-pigeon together with all her wealth in the presence of witnesses. SOMADATTA also thrice sprinkled water in her hands and said: "I swear by the three truths, let the siddhi I attained at the Sriparvata reside in you", and washing the she-pigeon he swallowed it, sent the wealth to his house and ordering the retinue to remain there as before for five nights, he himself went away to his brother. (56) Now the next day, KARPURIKA went with the bawd beneath the banian tree and crowed like a cock. Then the retinue of the king served them as before. When five days were thus over, and price was paid for it, no one came to KARPURIKA even when she crowed like a cock. Hoping that they would come she moved at various places frequently crowing like a cock, but no one turned up in that direction. Then the bawd said to KARPURIKA who was crowing "Daughter, why do you rail thus? When a she-pigeon enters a house this is always the result". And her maid servants said to her: "Madam, when you give one thing and take another, then both perish". All of them were disappointed, and with their faces downcast like themselves they returned home. SOMADATTA returned to his brother who was ruling at Magadha and lived happily. Therefore, O daughter, dhurtas should never be troubled. For when they are troubled they act in such a way that they vanish after taking even the previously earned wealth. THUS ENDS THE SEVENTH TALE OF DECEIVING THE BAWD IN THE SRNGARAMANJARIKATHA COMPOSED MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. BY

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THE EIGHTH TALE OF THE LOVE OF A WOMAN I shall now illustrate to you what I told you before that one should always protect oneself from love as from a tiger. Listen. In the town of Pundravardhana that outshines Alaka by its heavenly mansions, gardens, tanks, lakes, and its rich and great men, there lived a wealthy merchant called VASUDATTA. After observing vows and offering prayers a son was born to him who was named RATNADATTA. Being the only son he was a spoilt child. The father sent him to a teacher called VASUBHUTI for studies. Being naturally gifted with the power to retain what was once read, in short time he learnt all the lores, and mastered all the arts. He obtained great distinction in the training and care of elephants, the methods of handling horse-vehicles and the care of horses, the art of business, the secrets of gambling, the science of harlotry and the art of painting, cutting leaves, binding books and so on. Once when he had grown up into a young man he said to his father: "Father, by your favour I have learnt all the lores, I have mastered all the arts, and have known all the sciences. But it is indeed shameful for me now to pass my days expending your wealth. (57) Therefore give assent that I may earn wealth by my own hands". When he spoke thus his father tried to persuade him in many ways but he did not stay back. He did not even accept the money offered to make a start. He took only one thousand gold pieces with him and followed by his servant SUBANDHU, set out to work. He considered his family's means of earning wealth censurable, and there. fore decided to earn wealth by serving a Sovereign king. With that determination he set out to join the services of king PRATAPAMUKUTA, the ruler of Manyakheta. His servant SUBANDHU, taking along with him his sword 'Vasunandaka', followed him. On the way he said to RATNADATTA: "Though your father offered you a large sum of money, you accepted only this meagre amount for provisions on the way. How will we be able to join the king's services? And how will we maintain ourselves on the way? To him RATNADATTA replied: "I have taken this amount in case of an emergency, not for provisions on the way. The provisions during the journey will be the arts, the lores, and the sciences that I have learnt; the wealth of the gamblers in gambling is mine, the wealth in the mansions of the prostitutes is mine; I shall maintain myself on that. This I swear that if I am seen by the courtesans they will surely call me, and will not send me away. If they do not call me or if they send me away then I will give up my life." So saying he proceeded further with SUBANDHU.

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TRANSLATION 63 Travelling thus they reached the city of Vidisa. There, in Bhaillasvamidevapura, lived a famous courtesan named LAVANYASUNDARI of unparalleled charm, whose fortune was in offering arghya (to Gods). She was the resort of Beauty; the one fruitful objective of a youthful age which is the place of Smara's pleasure, she looked like a lotus-pond with a lotus on one side over which hovered rows of bees brought by soft wind, on account of her forehead on which rested the carefully arranged fascinating curls; she looked like the bow of Smara, bent due to the tightly tied string, due to her creeperlike eyebrows slightly curved in grace; she was like a lotus plant with the buds frequently opened by soft wind on account of the meaningful glancing of the immature grace of love; she looked like a lavali-creeper with lightly ripe fruits on account of her cheeks possessing fresh charm; she was like a foot of the Malaya mountain with delicate sandal sprouts cropping up due to her lovely neck; she looked like Madana's sporting tank due to her beautiful hands that gathered loveliness every day; she was like the pleasure lotus-pond of Madana with the small buds opening due to her captivating erect breasts; who was like the river of Smara with moss floating over the small waves due to the three folds (on the abdomen) on which the line of hair had slightly grown; she was like the swing of Madana. with it's plank spread out due to her hips expanding gradually; she was like the soil of Smara's pleasure-garden with two lovely plantain trees whose beauty spread in all the directions due to her pair of well-shaped thighs whose beauty was slowly appearing; (58) she seemed to be a land-lotus with a blooming lotus on it due to the continuously increasing natural redness of her feet; she seemed to be possessed by a genius that is found in people of her class and she captivated even the minds of the shrewd people. She had come there to dance in her turn before the God. The same moment he also came there with a desire to behold the God. LAVANYASUNDARI saw him who entered like an intoxicated elephant and who destroyed the pride of Kandarpa by his own handsomeness. At the first sight he entered her heart together with the arrow of Manmatha. She was immediately caught in the spell of love and fell down on the ground, in a feat of unconsciousness. But in a moment, she somehow regained consciousness and gave a false excuse to the dancing teacher that her head was aching. Her friend BAKULIKA understood her pretense and shielding her said to the dancing teacher: "She had already told me that her head was aching, therefore "allow her to go home, I will dance in her turn". Saying so she (BAKULIKA) sent her (home). After dancing in her turn BAKULIKA came and sat down besides her. She enquired after her health and said smilingly: "Friend LAVANYASUNDARI! You always laughed at us and said that we were like hogs. What is this

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SRNGARAMANJARIKATHA now? We are more refined, for we accept a man's company only after knowing his charms and conduct. You are meritorious indeed that without knowing the man's place of residence, conduct and wealth you have fallen in love with him at first sight, and have been reduced to this condition". Hearing this LAVANYASUNDARI said: "You have done well to retort thus. It accords with my pride, good fortune and intoxication of youth. But you do not realise that it is not proper to speak such jocose and cutting words to me whose vitals are stung now. Is this the fruit of your friendship? Yet, you may do what you think fit". 64 When thus spoken to, she (BAKULIKA) said: "What would be the use of my friendship if I do not act as you desire?" LAVANYASUNDARI said: "You consider this to be an easy matter. But, friend, it is difficult indeed. Because, on seeing him you will satisfy your own desires and will forget mine." Hearing this BAKULIKA said: "Friend, his handsomeness might lead me to do so, still have faith in me, I shall definitely bring him and unite him with you." So saying she embarked upon her mission. She thought that a stranger could be found only at two places, if a student in a monastery, if a prince in deserted temples, so she first looked for him in a lonely temple. (59) There she saw him sleeping. being waited upon by his servant. She said to his servant: "It is not proper for the fortunate to sleep during the evening. Your friend looks to be a fortunate man, therefore wake him up." The servant woke him up. She said: "O visitor! whence do you come?" RATNADATTA replied: "I have come from another country and shall go to join the services of the sovereign king". After a moment BAKULIKA started weeping. RATNADATTA enquired: "Good one, why do you weep?" She said: "I had a brother who looked exactly like you. His memory brought tears to mine eyes. You too are my brother". "It is true, but your brother was instrumental in expending your wealth, I will stand by you as a brother in difficulties", he said. "Then come to my house. Be my guest," BAKULIKA said and brought him to LAVANYASUNDARI'S house. LAVANYASUNDARI was standing on the terrace of her house with a poisonous bulb in her hand, and while she stood there thinking: 'I do not know whether today I will lose two things at a time or gain my end? If BAKULIKA takes him to her house then my friend is out of my hands and he also goes his desired way, I will die

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TRANSLATION 65 then.'---BAKULIKA, understood her design and brought him to her house. When LAVANYASUNDARI saw them coming, she was a little pleased and queried: "BAKULIKA, who is this guest?" When BAKULIKA answered, "My brother", her doubts fled and while offering him a seat she thought she had gained her end. When BAKULIKA said: "Welcome my brother", she gave him a warm reception by giving him a bath, meals etc. according to her wealth and love. Evening passed and BAKULIKA went to her house. She led RATNADATTA to bed, and perceived then that his talents, charms and virtues were a hundred times more than his handsomeness. In that single night she was so pleased that abandoning all thoughts of another man she became attached only to him. When the night came to an end, when the gloom (of the night) and the stars seemed to vanish at the command of the incompre. hensible Lord of Time; when the clusters of stars which outshone big pearls disappeared like hail-stones; when the red-glow of the moon on the setting mountain illuminated the sky; when the sky possessed the beauty of the sandy bank of the sea glowing with the rays of the pearls and then reddened by the flashing rays of the creepers of coral; when the directions which were dipped in the darkness of the night like the temples of the she-elephants, were rendered tawny by the rays of the sun piercing through the dense darkness now moving away; (60) when the sky in one quarter possessed darkness as grey as the wings of a pigeon, on the other side was variegated with the rays as red as the slightly ripe kuvalaya fruit, elsewhere was spread over by the thin rays of the moon which was as pale as the ripe leaves of the palmtree; on one side were the vanishing stars, and at some places were a few constellations shining, not concealed behind the lingering darkness; when the morning breeze blew softly, as if due to the fatigue of constant motion, occasionally faltering on the open Pundarikas, turning grey with the pollen of the garden flowers, and drinking, due to thirst, the drops of the perspiration of exhaustion of the couples tired in love sport by gaining entrance through the windows of the mansions; when the crowing of the cocks which issued falteringly from the throats due to drowsiness, which was the drum of auspiciousness fell frequently on the ears, announcing the end of night and the entrance of the Glory of the Day, and which was a chant for breaking the knot of pride of the proud women when the loving couples with their hearts still attached to each other but their hands separated from embraces still desire to sleep due to the stupor produced by the pain of pitiless sexual intercourse; when the lotus

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SRNGARAMANJARIKATHA es, the pleasure-mansions of Laksmi, had their doors opened by the doorkeepers in the guise of the bees who were first within them, by the keys in the form of the rays of the sun; when the drops of dew as cool as the flakes of snow, settling unnoticed, produced dullness in the bees whose wings were heavy due to the pollen of flowers, who were desirous of flying out from the inner parts of the flowers and who were slowly humming as their sleep had just been broken; when the tops of the trees were resonant with the twitterings of the flocks of birds just arisen, with their eyes partially open as the eyelids were heavy with sleep, who frequently fluttered their wings yearning to stretch their limbs cramped in sleep; when gradually opened out fully but slowly according to the regular order of maturity, first the loose outer petals falling out as their joints gave way, then the top opening making visible the drops of honey frozen by the dew, and then becoming manifest the inner cups as the petals opened out, as if for setting into motion the sessions of honey-drinking for the bees; when the clusters of kumudas became dark as if unable to bear the rise even of Mitra (sun), the one eye of the three worlds, and the only one capable of destroying darkness, thus acting according to the virtues of their names and place of origin <>; when the pleasantfaced wives in the form of directions flashed by a red glow, as if anointed with kunkuma, on coming to know of the arrival of the sun after a long journey; when the she-cakoras with their eyes closed due to the langour of sleep and beaks open resorted to the bejewelled pleasure-balconies moving slowly due to the satiation of drinking of the moonlight throughout the night, after quickly leaving the sky where the gates of darkness were closed by a light as red as heaps of sindura powder and pushed forward by the wind; when the vision of the family of owls who can see only at night was as if screened by darkness even though there was light, useful in manifesting all things, like that of the wicked people who see only faults; (61) when the pairs of cakravaka-birds quickly came together even from a distance, abandoning their liking for the tanks of lotuses as if it were a play of destiny; when the lustreless lamps were extinguished and removed from the houses, like the yogis who due to detachment turn away from their houses and resort to liberation; when the morning breeze, reddened by the drops of honey mixed with the fallen filaments of the soft opening lotuses, cooled by the contact of the drops of water thrown up by the flutterings of the wings of the female cakravakas' eagerness to be united, and pleased by the humming of the bees awakened by the slow swinging of the flowercreepers of the garden, entered the cavities of the ears of the amorous women tired due to excessive sexual inter-course; when the pundarikas gave the illusion of a cluster of the red lotuses as 66

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TRANSLATION their petals were tinged with the lac-like lustre of the morning sun; when for a moment the clustres of kumudas in the depths of the lakes created the illusion of indivaras due to the lingering darkness; and when the whole world was as if brought to life, made to breathe and awakened by the sun which brightened the whole earth, which destroyed darkness, which was red like the open pomegranate flower and which had attained the position of a crest jewel on the rising mountain, (he made) SUBANDHU tie five hundred pieces of gold to a corner of a coverlet and said to her maid that she may search for the same. From there he went to the gambling house to play dice. 67 When LAVANYASUNDARI woke up in the morning and en quired of the maid about him, the maid replied: "I do not know where he has gone. While leaving he asked me to search for the coverlet". And when the maid found it, LAVANYASUNDARI saw five hundred pieces tied to its corner and she said: "The talented one is not only handsome, but is generous too. Where can gold, and that too fragrant, be found?" When BAKULIKA came she said: "Dear friend, he has gone away somewhere, please search for him". BAKULIKA mounted a she-mule and with her retinue went to the gambling house. She saw him there playing boldly amongst the rich men. She knew that many women are under the power of gamblers and so stood there silent. After some time when he saw her he said: "Sister, how long have you been here?" "Since a long time" she said. "It is not proper for people like you to come to such places" he said and defeating the opponent, he asked the keeper to make an account. When the keeper said he had won fifty thousand drammas, he said: "Give to my sister four hundred drammas for tambula and send sixteen thousand to LAVANYASUNDARI". Then distributing ten thousand in charity he came to LAVANYASUNDARI'S place with BAKULIKA. According to her standards he spent the whole day taking his bath, food and SO on. At night after enjoying his company LAVANYASUNDARI said affectionately: "Where (62) do you come from? and where do you wish to go?" He told her from where he had come and said: "In the morning I shall go and recruit in the services of the sovereign king PRATAPAMUKUTA". "If you are going to earn wealth, know that I am rolling in riches, you may spend them. You may do whatever you wish to do after they are all expended." "In case of a person like you, the body alone is serviceable, not wealth, that is indeed given. There fore I will certainly go tomorrow."

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68 SRNGARAMANJARIKATHA Next day, she went to a bawd called DHONDA and said "Mother, I will not disobey your words, but I will not be able to live once he is gone, therefore tell me what should I do?" The bawd made many efforts to dissuade her from going, but when she did not comply, the bawd thought: 'Well, be it so. The delicate one will herself get tired after going some distance and will return'..and permitted her to go, adding "All right, I will also come with you". LAVANYASUNDARI and the bawd accompanied RATNA DATTA. Travelling slowly, after many days they came to the town of Purnapathaka. Outside the town, under a mango tree, RATNA. DATTA slept placing his head on the lap of LAVANYASUNDARI. When the servants went to the town to bring food, it occured to the bawd that LAVANYASUNDARI seemed determined to go with him therefore she must make a plot to file a complaint with the king, get him killed, and take her back to town. Accordingly, collecting flowers she went to the king SURADHARMAN and informed him "Sire, in my youth, after my bath on the fourth day you had sexual union with me. Of that a daughter was born to me. As she was born of you, she is lovely indeed. At present, she is being lured away by a thug. Therefore I have come to inform Your Majesty, You can do what you think fit." "Immediately arrest him who has cheated my daughter," the king ordered the police officer. When the officer went there v his soldiers he saw a very handsome youth sleeping, his head placed tenderly on the lap of the happy-looking LAVANYASUNDARI. Seeing him the police officer thought; 'It seems love prompts her to go with him. She has not been deceived. The bawd seems to be a liar. Let me wait till his sleep lasts. I will enquire when he gets up.' But as the police-officer delayed the king said: "Why does the officer delay?" "Sire, I have told you that he is a great cheat. He has cheated even the police officer," the bawd replied. The king then sent his vassals. (63) They heard the account from the police officer, thought him to be right and stayed on. "What is this, that they also delay"? the king queried. "Sire, they are also deceived by him, therefore please go yourself. But be careful, for he cheats all whom he sees". The king made due preparations and went himself. When LAVANYASUNDARI saw the king, she awakened RATNADATTA and said: "RATNADATTA you told me that you can fight sixty-four men with a 'kaditalla' standing, thirty-two men sitting and sixteen men lying down. Now is the time. I did not wake

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TRANSLATION you up till now thinking that these men are few. Now you may do what you think fit". "Well done," he said and taking his sword 'Vasunandaka' in hand, he rushed towards them regarding them as worthless as grass. 69 When the king beheld his valour and LAVANYASUNDARI'S love, he understood that she was not cheated, for those who are cheated look quite different; that the wretched bawd was a liar and by this plot wished to destroy him and that the girl was willing to go with him out of love. He thought his presence would lead to RATNADATTA'S death, therefore he went home and sent his doorkeeper to fetch him and thought-"fortunate indeed will be that man whose footman he will become". The doorkeeper went to RATNADATTA and told him that king SURADHARMAN wanted him. He went and without saluting the King's feet he met him. The king offered him a seat, tambula etc. and respectfully asked: "Good one, where have you to go? Which country have you left? Which would you adorn?" "I go to recruit in the services of the sovereign", he said. "If it is not inexpedient then stay here for some time. I have forty-eight thousand villages. You may take half of them". Though thus addressed respectfully, he did not agree. The king therefore entertained him with due honour and allowed him to go. He came to LAVANYASUNDARI. Meantime the bawd came and said: "Son, I welcome you. You are a handsome man, a clever conversationalist and a generous donor to the supplicants. This was only an effort of mine to find out whether your valour was on par with your other virtues. And you are more distinguished in valour than in the other virtues. I am indeed fortunate in having such a son-in-law. (With LAVANYASUNDARI RATNADATTA proceeded towards Manyakheta, and took up residence with a courtesan named CITRALEKHA. (64) Next he took leave of LAVANYASUNDARI for four days and went in search of a job. It was difficult for her to bear the separation. The same day while she was seated in the terrace with CITRALEKHA the king saw her. He looked at her a long time and knew that she did not belong to this place. He sent his men to LAVANYASUNDARI but she refused. Observing that she was devoted to another person, the king's messenger) started weeping. CITRAKEKHA asked: "Good one, why do you weep?" "It seems to me that two things will perish."

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70 SRNGARAMANJARIKATHA Again she queried "What is that?" He said: "This lady has been seen by the king, and he has told me that I should take her to the king. If she comes not, her ears and nose would be cut off and I would be killed." Hearing these words LAVANYASUNDARI was alarmed. CITRALEKHA asked her to go to the king for RATNADATTA was away for four days. And she could keep her necklace there. In the evening she reluctantly went to the king's palace. The king enjoyed her (company). In the early morning when she returned to her place, the king sent with SANGAMAKA one lakh drammas along with rich garments as a gift, of which she took only seventeen gold pieces. "What is this? It is wonderful"-SANGAMAKA exclaimed. She said: "I will only take my wages. (65) I will accept all this only on the condition that the king would allow me to go away at my will." When SANGAMAKA narrated it to the king and the king accepted her condition, she accepted the gifts and disbursed them among the supplicants. She thus passed three days in the company of the king The following day the king called her to show her folk dancing. She knew it was the day of his (RATNADATTA'S) return. She dressed up, instructed her maid to stand near the elephant's post and show her the necklace as soon as RATNADATTA was seen coming. She went to the palace, and the king said "Show us some folk dancing." She said "all right" and started dancing. Now while the dance was going on, she took a step backwards and saw her maid standing near the elephant's post. She looked at the king. The king understood her intention and as he said "you are free." With her hair dishevelled she hurried back to her house. Her behaviour made the king curious. He said to SANGAMAKA: "What sort of man is he whom she loves madly, that giving up our shame she lets herself go like this?" With a desire to see what was happening he followed her and as he was looking through the latticed window he saw RATNADATTA coming. LAVANYASUNNDARI approached him with a water-vessel to wash his feet. Seeing her differently attired RATNADATTA said to SUBANDHU: "Good SUBANDHU, while we are talking about the news of the house, water has entered," and he said to her; "LAVANYASUNDARI, do not wash my feet. You are my mother." She asked pointedly, "RATNADATTA, what is this?" "What else? You are the wife of my master. Enough of this, please sit down." The king said to SANGAMAKA "Friend, did you hear his words? His modesty outweighs his grace. Well, we will reveal ourselves." So saying, leaving the latticed window, he desired to

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TRANSLATION enter by the door. But RATNADATTA was aware that the king was coming, so saying "Sire, proceed carefully," he threatened him with the sword in hand. The king said: "You spoke differently with her, and now these words, what does it mean?" "You are my brave attendant(?) Therefore this only is proper. I am the master of my beloved and wife. It is not proper for you to wait here. Your majesty may go to his royal palace. I have come to attach myself to your Majesty. I will do whatever you order me to do after I come there." Pleased with his valour and his conduct the king (66) said: "Good, very good, I will do whatever you say." And he went to his palace. After going, he sent his doorkeeper with a she-elephant to fetch him. He was brought with great honour and was allowed to enter even as mounted, and was welcomed with the offer of a seat, tambula etc. by the king himself. The king then asked: "What do you know?" He answered: "All the sastras, all the arts, all the sciences. I remember what I hear once. Please see a wonder now. Let four narrators tell stories. I shall play with dice. If I forget my turn, if there is no tambula, or if I forget the stories then say I do not know anything." The king was curious to see and he started doing what was sworn. Meantime LAVANYASUNDARI thought: 71 Never defeated in battles, frequently freeing himself from debts, enjoying the pleasure of the king's favour he lived happily with the king for a long time. Therefore, oh daughter! destroy themselves and their wealth too. women thus deeply attached to men THUS ENDS THE EIGHTH TALE OF LOVE OF A WOMAN in THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE NINTH TALE OF MUTUAL LOVE Thus I have described the nature of one-sided love. Now I shall tell you about the nature of mutual love. In the famous town of Uragapura, which vanquished the pride of beauty of Amaravati and which surpassed the splendour of Alaka, there ruled king SAMARASIMHA. He ruled over eighty-four

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72 SRNGARAMANJARIKATHA feudatories, twelve mandalesvaras, thirty-six royal houses, seventytwo forest lords, twenty-four Karvatas, twenty-one Konkanas and people of thirty-six ports. Of that king, who by his valour had subjected the circles of kings and had conquered all the feudatories, there was a famous courtesan named ASOKAVATI, who was very rich and was the one abode of beauty, youth and graces. All the feudatories gave everything to her ....... and looked up to her expectantly. She' accepted everything from them and gave it to a feudatory called CHADDALAKA. He was dearer to her than her life and was also a favourite in the king's court. She had mastered the world-famous sword-dancing. Once in winter when nights were very cold and it was impossible to sit outside ..... (67) king SAMARASIMHA, seated in the middle of the pleasure pavilion, giving seats to those desirous of seeing the dance-performance, sent for ASOKAVATI. (In the winter) when intolerable autumnal sun became a little bearable; when the net-work of the beads of perspiration from the cheeks of the protectress of rice-fields is removed; when the wind is laden with particles of snow; when swarms of bees are attracted towards the buds of the syama-creepers after giving up the ponds of kuvalayas whose beauty were destroyed by snow flakes; when the lotus-ponds without the Autumn looked like the women separated by their lovers, with the lustre of the lotus-faces faded, with bare stalks as ornaments, bearing paleness in the form of the flakes of snow on the water, and being free from the sports of love; when the Fish-bannered one, on seeing his quiver of arrows exhausted after breaking the hearts of the separated lovers, tied the fresh sugarcanes as bows to conquer the world, which (sugarcanes) were as charming as the cheeks of the young Kerala women; when in the pleasure-mansions, the hair of the doe-eyed women which were fragrant with the fresh maruvaka flowers and whose shine was doubled with the fragrant oil inferred from its perfume, enchanted the minds of all the loverlorn persons; when the couples desired the warmth of kunkuma having given up the anointing of the sandal paste which was cherished in autumn; which brought about the delicious touch of the breasts of the beloveds which were scented with the constant application of the slightly burnt ghanasara, and which were fully perfumed with the kalaguru; when the lovers constantly resorted to the fire of pleasures; when the wind was heavy with particles of thick frost fallen on the borders of the clusters of partially open kunda-buds appearing to be their smiles of wonder on seeing the bees leaving the priyaka flowers, whose honey-juice had been exhausted, and quickly alighting on the Howers of the priyangu creepers; when in the whole world loving couples had taken to the vow of Ardhanarisvara as their limbs were in close embraces.

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TRANSLATION 73 and their bodies united; when the gardens were covered as if with the glances of the Glory of Winter, who was unrestrained due to youth, due to the kunda flowers opened by the bees, mixing with the pollen of the rodhra flowers spread about by the wind as if it were the dust raised by the army of king Madana moving about to conquer the three worlds; which adorned the faces of all the directions ............, when (in the winter) the winds of the Himalayas were laden with heavy flakes of snow; when the hot-rayed sun resorted to the southern direction fearing the cold; when the travellers who arise from their earth-mattress every morning and whose stiffening (of the limbs) was removed by the chaff-fire remembered the warmth of the breasts of their beloveds; when the perishing lotus-tanks turned white as the lotuses faded on knowing that Mitra, their sole joy-giver, had become a traveller of the southern direction; when the fields were as if overspread with emeralds due to their being continuously covered with a parrot-like splendour of the blades of the rich corn; when the wanton women put on warm petticoats and appeared to have taken a vow of winter with their charming braids of hair dressed with rare perfumed oil, with their lips daubed with too much wine, and with their bodies turned tawny with the extremely soft Kasmira saffron; (68) when (in winter) the Fishbannered one took up his bow, the agitated world became its servant at the mere glancing of the women whose plump breasts were adorned with garlands of the partially open priyangu buds, whose fleshiness were covered with fresh rodhra powder and whose hair was never without the garlands of kunda flowers intertwined with the maruvaka flowers; when the frost-laden wind produced trembling and yet the fire of separation of the women-in-separation did not gave any comfort; when the land which appeared to be coloured by kunkuma enchanted the minds of the people, being fragrant with the karkandhu trees which continuously put forth fruits which surpassed the brightness of the kimsukas by being profuse and over-ripe; when the sloppy soil in the small villages intoxicated the minds with the dark fresh sprouts of the tamala, with the white mustard whose sprays were full of flowers as bright as molten gold, with the stems of kustumburu possessing the beauty of Kalindi's stream marked with balls of foam due to their having small fruits in between tops and covered with clusters of flowers possessing emerald-like green lustre, looking like leaves marked with haritala mixed with dark juice; and which (land) was covered with the pleasant fields of vastuka as brilliant as the feathers of young parrots, as if by the mass of darkness left over by the sun; when the fire in the watershed is every evening resorted to by the travellers becoming mutually jealous of each other as a result of hearing the descriptions of various kings and countries,

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74 SRNGARAMANJARIKATHA quarelling with each other, vying with each other in coming near the flames of the fire as its touch gave pleasure to the limbs which had become rigid due to the contact of the very cold wind; the small villages looked as if covered with blankets on account of the torment of cold due to its regions being encompassed and the sky being covered with the smoke of the sacred fire and when (in winter) the warmth of the breasts of the beloveds were much welcomed due to the shortness of the days and the great length of the nights. She put on excellent apparel and adornments adequate for the performance and proceeded towards the royal palace. She thought to herself: "If the lord of my life does not see this then my dressing and dancing would be futile. And if these would be seen by CHADDALAKA then I would offer to God flowers and kunkuma both worth five-hundred. On the way she vowed this to God Ganapati, the fulfiller of desires. Ther thinking that he is bound to be there, with her heart full of joy she went (to the palace) and began dancing. Dancing with rhythm and grace, as she glanced in all the directions she did not see CHADDALAKA. Instantaneously strength left her, enthusiasm waned, her face paled and she became lifeless. The dancing teacher was quick to perceive that she was continuing dancing without grace because of the shame of the king, (69) the feudatories and other persons. But this dance was very dangerous, and needed good balance. Because she was continuing dancing without balance, he was afraid she might therefore throw herself on the sword, and that would be an end of the excellent person. So he informed the king "She was gracefully dancing uptil now thinking that her lord will see it. But being aware that he is not here, she has become indifferent and graceless, and is dancing only out of shame, thus she will throw herself on the sword. You may have got angry with me that though knowing I did not tell you about it, now Your Majesty can do what he thinks fit." Hearing this the king loudly said: "Oh Dancing Master, it is late in the night, please stop the performance". Then waiting a moment he went to his bed room, and called ASOKAVATI there, and said: "You wretched one! you were not ashamed of me, nor of those acquaintances of ours, the feudatories and others. You have become very shameless. The conduct of courtesans even is not like this, what is this?" She said: "Sire, I am known, what shall I hide? There is nothing that is not done for the sake of love. For my graceless dancing Your Majesty may punish me or decorate me, you have all powers". TO her the king said: "The desire to sin does not secure riches. Do not be so bold again." Saying thus he sent her away. He sent spies to find out what she would be doing now. From the royal

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TRANSLATION seats ...... not going to her place she went to the house of CHADDALAKA. (The king sent for another handsome youth called SUNDARAKA to break this bond of love.) He sent him a gift. On hearing from his servants about the king's gift and the person who called on him SUNDARAKA talked to his friends thus. "Where on one hand is the king and where on the other are we? And what can be the reason of sending this gift and the caller?' From amongst his friends one said: "Kings are full of curiosity. There must be some purpose in calling you. Some one must have told him about you. Therefore accept the gift and welcome the man who has come to summon you". He said: "I will do so" and accepting the same, (bowing) his head, he said to the callers "What is the order of the king?" They said: "The king has heard of your fame. He is curious, so we have been sent to summon you, therefore please come". When they said thus, he started with them at leisure. Thus travelling, followed by thirty-two beautiful, rich and young harlots and thirty-two woman who announced time, after some days he reached the town of Uragapura. Now, the following day, from afar the good news were spread. And he, whose handsomeness and youth were intently observed by the king, saw the king seated in the hall. He bowed to the king, and the king talked with him. He was given tambula and a seat near him by the king with his own hands, and was seated with great respect. After a while he said: (70) "The time has come for the purpose for which you have called me. Therefore tell me what is to be done". Smilingly the king said: "You know the affair, now do what you think is proper." "There is no doubt about it. If your majesty orders, it shall be done. But there it is only a body without life. even I shall place even my life in it and see what can be done." Saying this he bowed to his feet and went out. Then he sent his retinue to the residence given by the king, and followed by four "Tulitalas', putting on an attire fit for the occasion he roamed in the locality of the courtesan. The vied with each other in calling him by offering him everything, but giving hopes to all and pleasing them, he came to the doors of ASOKAVATI. There he stood talking sweetly with his men and was seen from afar by the bawd MAKARADAMSTRA and ASOKAVATI behind her, sitting on the mattavaranaka. On

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76 SRNGARAMANJARIKATHA seeing the sixteen years old youth who surpassed Manmatha in beauty and charm, she remarked to her mother: "Mother, this youth does not belong to this place. He seems to be a stranger, and is possessed of all surpassing handsomeness, youth and charm". The mother recognized her love at first sight, and having obtained such a chance after a long time, quickly said: "Daughter, this earth is indeed praiseworthy. Here are found men more handsome than the handsome, more fortunate even than the fortunate and attachment to one man is made to withdraw by other men, therefore call him". When this was said she, who felt great attraction for him on merely seeing him called him: "O, Guest, why don't you come in?" Hearing it he said: "Surely I will come" and gracefully and handsomely he came to her. On seeing him she was agitated, dumb, and intoxicated. Giving up all else, taking her bath, making him take a bath, dining with him at one place according to her standard, she went to bed. SUNDARA then sent his servant to bring a pattanika from the king and kept it with him. Then he started entertaining her according to his skill, so much so that she did not know whether it was a dream or magic. SUNDARA exciting her sensuousness drew on her body with his nails some modes of sexual union, at some place designs of leaves. at some place Bharata, and another Ramayana, while so doing he recorded the images of the nail-scratches into the pattanika. When she retired from dalliance, she quickly felt as if arisen from sleep, ........... as if awakened from a fainting spell, as if freed from stupefaction, delusion and infatuation caused by some stupefying herb. And she thought: "What have I done? Ah! the sport of wretched Destiny is unsurpassable, the things fated cannot be over-stepped, Destiny cannot be violated, that ...... this is the end of my love. Therefore, definitely Destiny cannot be trespassed. I was not even brought to my senses by that sinner whose mind is intent on wealth". Thus thinking ....... the night passed (71) and the sun rose. SUNDARAKA knowing her heart that was full of repentance..... giving (the pattanika?) to the king said: "Sire, I have followed your command." Hearing this the king was pleased ....... gave him as a gift the lordship of four-thousand villages. But since then in the same manner . . . . . she lived in despair. The king taking the pattanika .... came and said to CHADDALAKA: "Spread this and accept it as a gift". Then the Mahattama TIKKAPAIKA said: "What is this?" CHADDALAKA replied: "This is a plan of the king to break our bond of love". And when he saw the pattanika after spreading it,

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TRANSLATION ........ then what did he see? He saw that all was different. Even then, (he said), "my love will not be changed by these treacherous actions". Saying this, due to the pride of his good fortune he thought that all this was untrue and said to TIKKAPAIKA "Oh great one, you must go there and act thus ... This he told him. (He) placed a horseman at an arch at every yojana and sent him (TIKKAPAIKA) there. He (TIKKAPAIKA) doned the attire of a pasupata mendicant, moved here and there in front of her house and showed himself to ASOKAVATI. On seeing him she said to her mother: "Mother is this man not similar to TIKKAPAIKA?" and sent her servant to fetch him. When he was sent for and he came, recognizing him to be TIKKAPAIKA, she said: "TIKKAPAIKA, what is this?" Without giving a reply TIKKAPAIKA started crying. When repeatedly asked, he said: "I am a sinner! What is the use of asking this wretched one?" and remained silent. With great concern she requested him to tell her. He said: "When the army went from here, there ensued a great battle with the king of Kaccha. When all the feudatories ran away, he, like the Mandara mountain, fell upon those who were desirous of churning the ocean of war. Though he received a thousand wounds, he destroyed them and became the object of a happy occasion of svayamvara for the heavenly damsels. Unable to abandon my life there, wretched that I am, I took up this heresy that is fit for men without guts". Before the news of his death reached ASOKAVATI'S ears she fell down dead like a wild she-elephant struck by lightening. TIKKAPAIKA sent the news to CHADDALAKA through the horsemen standing at the arches. Meantime, the king in the assembly-hall, heard an uproar, and he enquired what it was about. The doorkeepers came and informed him that on hearing the canard about CHADDALAKA from TIKKAPAIKA. 172) ASOKAVATI died due to heart failure. SUNDARAKA, who was in the hall said to the king: "Sire I have thus destroyed a jewel among women. Therefore it is not fit that I should live. Therefore command me. Like water and milk there is no parting of those two. By my own wickedness, producing an infatuation in her mind I brought about this end. Therefore it is only proper that I give up my life". Though the king enlightened him in many ways he threw himself into the fire together with his wives and retinue. Meantime, CHADDALAKA also heard the news through the horsemen. Accompanied by one horseman he came to ASOKA

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SRNGARAMANJARIKATHA VATI'S home and seeing her portrait on the walls, talking with it like a mad man and embracing it, he came to the spot where her pyre had been lit. He enquired about the funeral pyre of SUNDARAKA and said: "This is the place of my brother, he has done well". He then arranged a funeral pyre for himself on the same spot as ASOKAVATI'S pyre and threw himself into the fire. 78 On hearing of their wonderful account the king thought that he alone was the cause of the destruction of all of them and therefore prepared to cut off his head in the presence of Goddess Asapura. The Goddess beheld his valour which was all surpassing and distinguished in the three worlds, and said: "Son, do not be rash. Ask what you desire". He then said to her: "Oh Divine one! if thou art pleased then let ASOKAVATI, SUNDARAKA and CHADDALAKA together with their retinue come to life again". When the Goddess said: 'Let it be so' the three of them got up as if from sleep. "I cannot separate you in love": said the king and being pleased gave ASOKAVATI to CHADDALAKA. SUNDARAKA saw his worthiness and valour and doubled the king's favour of gifts. The king was full of joy on receiving the grace of the Goddess. He returned to the palace and with his people. ruled for a long time happily. Thus, oh daughter! many courtesans falling in love with men lose their wealth and lives too. Therefore this is our rule that like a tiger love should be avoided from a distance. THUS ENDS THE NINTH TALE OF LOVE ON BOTH THE SIDES IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA.

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THE TENTH TALE OF THE SNAKE (73) Moreover child, when men are harassed very much there is nothing they would desist from doing out of anger. Listen, my child: In the city of Kausambi, which was like a jewel on the parting of the hair of the Lady Earth, there lived a rich srotriya named SRUTADHARA who had mastered all the lores. He who followed the path laid down by the srutis and the smrtis, begot a son in the middle age who was named VINAYADHARA. Since boyhood the boy was initiated into the study of Vedas and by the time he was sixteen he had learnt all the sastras. Now, once upon a time, when spring, the sovereign of seasons set in, enkindling the sun which was like its greatness incarnate, after pushing aside out of compassion the winter season which afflicted the whole world by extreme cold; when the orb of the moon posssessed the beauty of a white umbrella with the cloth in the form of the moonlight, with the ribs in the form of the bright rays and which was held high by the umbrella bearer in the form of the night; where here and there leaves of excellent saffron were swayed by the softly blowing wind; when the white lotuses bore the beauty of white chowries; when the rows of asoka trees flashed forth sprouts in every forest like banners (woven) by the shuttle dyed in lac of the Fish-bannered One who conquered the whole world; when the campaka trees had not even put forth buds, when sprouts had not cropped up, when the fragrance of the kesara had not spread, when the trees and the creepers had not become even mature, when the directions were not even clear, when the wind was not even slow and when the humming of the swarms of the bees was not even heard, then, at the first appearance of spring, even without cause, the world was agitated; when gradually the spring matured; it first agitated the world and then the forests of lotuses; it first revealed the rapturous hearts of lovers and then the rows of asoka trees flashing redness; it first made the lovers close their eyes towards their sweet-hearts and then the clusters of lotuses; it first cleaved the hearts of the separated ladies and then the buds of creepers; it foremost darkened the hearts of the passionate and then the forests of flowers with swarms of bees; when unnoticed the nights became shorter, the tanks of lotuses gave up their dryness brought about by frost, and the rays of the moon and the trees gave up smokiness. When the rays of the sun and the arrows of Smara increased, then the spring, a dear friend of the Splendour of the Forest, kept ready for her as it were on all sides

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SRNGARAMANJARIKATHA red mukuras <Page #290
TRANSLATION musk, and veiled in black silk; when in every forest gradually the ground lotuses opened, whose red lustre increased internally as if pierced by the arrows of love and which swayed by the terrible Malaya wind like the hearts of the separated; when the depths of the forests were overspread on all sides by the kimsuka flowers which look like the waves of the sea of Love desirous of flooding the three worlds and which were round like the tips of Madana's bow; (75) when the Malaya wind fragrant with the scent of saffron generates fear in the people even when their dear ones are near about, like a lion possessing the smell of the rut of the killed elephants; when the bees, sweetly humming, hit the hearts of the separated women like strange emerald-marbles of Madana thrown to overpower the three worlds; when, though unacquainted, the sweetly cooing cuckoos acted as female-messengers, though unappointed, for cutting the knots of pride (of the arrogant women); when the fullgrown vasanta creeper possessed some indescribable beauty as it rested on the trunk of the mango-tree as on a lover; when the fresh kamanda buds burst open, tearing the hearts of the separated persons, when everywhere asoka clusters shone bright like the alaktaka-dyed foot-prints of the Sylvan Beauty manifesting herself all of a sudden out of greed for honey; when the forests of kimsuka suddenly burst forth on all sides like the fire of Love with smokefree flames inflamed by the soft Malaya breeze ready to consume all separated ones on earth; when the forests of asoka trees agonized the separated ones with the embodied fire of Love with the...... in the form of bunches of flowers, with the flames in the form of the flaming red leaves and with smoke in the form of swarms of bees hovering over them; when the kesara flowers were multiplied by the spring, which looked like the navels of the Lata women rubbed with saffron and with the rows of leaves appeared like the wheels of Smara; when continuously ela-fruit burst forth spreading its fragrance of the ripe fruits on all sides like the scent of the rut of the fierce scented elephant of Spring moving about in chains of gold; when the Malaya breeze infatuates the whole world as if by a poisonous breeze mixed with the poisonous breathing of the terrifying snakes moving at leisure here and there on every sandal-tree; when gradually bunches of the patala flowers became manifest like the mature love of the Forest Beauty anxious for a union with Spring; which (love) being excessive could not be contained within; when the clusters of sinduvara flowers resembling the lustre of the moon and looking like the embodied fame of the Fish-bannered God who conquered the three worlds, whitened the orb of the world; when by slow degrees needles of the kanakaketaki, possessing the lustre of the cheeks of the Huna ladies rubbed with kunkuma, and being surrounded by swarms of bees, were 81

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82 SRNGARAMANJARIKATHA being multiplied by spring, looking as they were like the emerald studded golden needles to pierce the knots of pride of the haughty women; when in every reservoir the fire of Love spread under the guise of blooming red lotuses for disturbing the water-sports of those agonized by a separation from their beloveds; then the clusters of asoka flowers, as charming as the breasts of the Huna ladies rubbed with kunkuma, filled with love, looked like berry-balls (76) made by the Sylvan-deity for the play of the child Madhu fascinated the minds; when the women with drowsy eyes attained some indescribable beauty while swinging, with their breasts tremulous with heavy breathing on account of exhaustion, with their ...... seen inbetween the hands moving up and down with the emerald-made ropes, with their iris constantly moving due to the fear of the quick movements of the swing, whose perspiration on the cheeks was dried by the wafting of the dress-borders and who though freed from the embraces of their lovers shrieked at intevals out of the fear of falling down; when spring matured, from every where the taunts of the prosita-bhartrkas were heard thus: 'Novel indeed is the Madhu <> that without being drunk or smelt intoxicates the mind of all the people', when heaps of flowers bloomed on the flowering trees appearing like the quivers constantly prepared by Spring for the Flower-arrowed One ready to conquer the whole world; when the nights became shorter out of jealously of the moon adorned with the moonlight; when the days abandoned contraction after the affliction of extreme cold was over; when in every house women worshipped Love as if fearing the continuous discharging of arrows; when the lotus-tanks bore some indescribable charm even when they thinned down like the separated ladies with their eyes in the form of the blue lotuses drooping due to the internal heat, with their armlets in the form of the lotus stalks bent down, with their brilliance screened by the lotus leaves, with their faces in the form of the pundarikas losing colour and with their curls in the form of the kalharas fluttering; when on all sides, in every forest leaves shot up like the arrows of Madana after piercing the hearts of the travellers; when aridity sleeped away together with the winter season, gradually the pleasure gardens bore a greenery, dark as the lustre of the emeralds, as if reflecting the clear sky; when the spring without cause exhilarates the world by the humming of bees here and the cooing of cuckoos there, with the mango-blossoms on one side and the swingsongs of the doe-eyed ones on the other, with the Malaya wind blowing on one hand and the blossoming of the flowery creepers on the other hand; when the wives in the form of directions pleasant after giving up the gloominess of separation when they had their long-desired union with Spring; when the trees wearing

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TRANSLATION silken dresses of variegated flowers and swaying sprouts were slow. ly made to dance by the Malaya wind like a dancing teacher. 83 During (such a spring) on the vernal pilgrimage of the God Kalapriya Deva, the fortunate (VINAYADHARA) who by his beauty and wealth conquered the Fish-bannered God, who was skilful in all the arts came to see the God attired in a charming dress along with his friends of the same age and conduct. While out of curiosity he was moving on the temple grounds, by chance a courtesan came there. She was, it seemed, a conquering missile of the Flower-armoured God, a ray of the moon to the night lotuses in the form of the eyes of the people, a lotus-tank for the bees in the form of the senses, the moving ground for the elephant in the form of Smara, who transformed the sky by the lustre of her moonface even during the day due to the moonlight of her face. On seeing her he thought that Prajapati, the creator of the world cannot be her Creator, (77) for her beauty was quite distinct from that of the other women created by him. Thinking thus he came within her sight. On beholding him she was pierced like a deer by an arrow of the hunter Love, and her body had horripilation like a lotus-stalk in the lake of love. At the sight of each other the tender shoot of love of these two shot up. He assigned the work of making her acquaintance to his clever friend VIDAGDHA and went home. Through her friend TARALIKA, VIDAGHA made her acquaintance and then related the whole thing to VINAYADHARA. VINAYADHARA sent him again to take her promise. In dalliance with that ANANGAVATI he spent that night as in a moment. Thus enjoying amorous pleasures in her company many days passed. In course of time all his wealth was expended, still to her he was dearer than life. When the bawd came to know that she had turned away all other rich men and was attached to him alone she herself drove him out. But under some pretext he gained entrance again. Scorning him she again and again drove him out. ANANGAVATI, however, continued to meet him either at a rented house or at a friend's place. When the bawd saw that ANANGAVATI was still meeting him she admonished her thus: "You meet him again, well do not blame me (afterwards) that I did not warn you." Now once while VINAYADHARA was coming from his house he saw a recently killed frightful snake. Thinking that it will serve his purpose he hid it in his belt. Going near her house he sent to ANANGAVATI his fees through a good friend and came to sleep. At the middle of the night he entered the next bedroom where the intoxicated bawd was sleeping. He slowly spread the dead serpent

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84 SRNGARAMANJARIKATHA on her body and with his sharp nails pinched her nose and lips. The bawd got up shrieking 'I am stung, I am stung'. He entered the room quickly and hit the serpent five-six times with a stick. When the maid-servants quickly came and put on the lights, he looked at the serpent and said "I shall make an incision", while (she) said: "make it, make it" he asked: "Where?' and as soon as she said: 'here here' he cut off per lips and nose. The fear of death was gone and at the break of dawn felicitations were offered that the 'mother' was alive. But to her (the bawd) the congratulatory drum sounded indeed like the heralding of death and she repented night and day. Thus, o daughter, when rogues are harassed they take revenge in such a way that it is difficult to describe it. THUS ENDS THE TENTH TALE OF THE SNAKE IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARMESVARA-SRIBHOJADEVA. THE ELEVENTH TALE OF MALAYASUNDARI (78) In my opinion no one should ever be insulted. When men are insulted there is nothing that they desist from doing. In Pancala there is a town called Kanyakubja. There ruled king MAHENDRAPALA who was difficult to be looked at like the sun, and who conquered by his hands the circle of powerful enemies. He had a great feudatory named PRATAPASIMHA who was clever, pleasing, rich, noble, charitable, sacrificing, learned and affectionate. He was ugly and hairy, and by nature given to sport. He was sent to his country by the king, so staying there for some days he returned again to serve the king. (Near the city was the mountain) which seemed to be holding a dark umbrella, for warding off heat on account of the very tall green trees; it appeared as if holding a bow...... under the guise of the lustre of variegated gems wondering why while it is present Indra (he who had destroyed their wings) should hold a bow; where the directions were scented by the fragrance spreading here and there as the barks of the old sallaki trees were crushed by the intoxicated elephants rubbing their temples against them; where the depths of the thickets were resounding with the splitting of the skin of the kathaka fruits being pecked by the intoxicated female-partridges; which seemed to hold a white umbrella being upheld by the umbrellabearer in the form the night due to the disc of the moon touching its high top; it seemed that thousands of.....(?)-ran before it be

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TRANSLATION cause of the rows of tall dark betel-nut trees; which was embraced by the Glory of the Sky like a beloved with her plump breasts in the form of the clouds as dark as the fresh priyangu, with her girdle in the form of the flashing sun and with her beautiful face in the form of the moon; where the dying passions of the Sabara-women were enkindled by the cries of the flocks of gallinules who fondly relished the very brittle black pepper; where groups of deer were seen listening with raised ears to the soft and low tones.. (of women engaged in) th singing; which was full of... ... various metals like the science of words which has many roots>>; which was like the Amaragiri with the streams of the Mandakini on account of thousands of white flowing springs; which possessed the beauty of the orange-trees.. which was adorned by the dark nala reeds like the army of Rama <>; where peacocks were dancing like the evenings (when Siva moves out); which had munja growing on its belt like one engaged in religious observances who wears a girdle of munja>>; whose highest peak was unattainable by the moon or the sun like a meritorious person whose greatness is not obtained by sinners>>; who generated wonder with various amusing spots like Destiny <>; who produced the illusion of moonlight even during day-time due to the brilliance of the crystal slabs flashing forth at the touch of the rays of the sun; which seemed to bear the orb of the hot-rayed one (the sun) on account of the red precious stones on the top of the golden high ridges; (79) whose regions were covered with many madana, bana, and asana trees, atimukta shrubs and sara reeds as if it were adorned in all the limbs with heaps of arrows shot from the quiver of Madana; which was closely encompassed by rows of trees which were glossy, having full foliage and beautiful birds and possessed the lustre of campaka and madana trees, as if by beloveds who are loving, amorous, yearning, youthful and possessing the bright complexion of campaka; when its grounds were flooded with rivers whose flow upto the sea was not obstructed, which possessed the lustre of pure crystals and took rise from many places like fame >; which bore the moon looking like a very white heap of foam of the streams falling from the heights of mountains and concentrated at one place; which because of the constellations touching the tops of the mountain every night appeared as if it had a heapful of big pearls issued forth from the bamboos which were split up as they dashed against one another on account of the winds; due to its hugeness it seemed that after spreading on the earth, in order to pervade the sky which could not be contained in it, it tried to measure the sky with its hands in the form of its peaks; which was covered by rows of forests like Hari <Page #295
SRNGARAMANJARIKATHA garland of flowers; at whose foot were royal swans like Brahman >; which though full of thousands of matangas <> was resorted to by dvijas <>; which had hundreds of two-tongued-snakes yet had thick sarala trees; though very big it was full of aguru; it had bears though it was uneven; though possessed of forests and mountains the love of the beloved it has many mountains with water <>; though it was pervaded with Mlechhas it had always spies in it; which was as if rivalling with the rising and setting mountains tinged with the colours of darkness, moonlight and evenings on account of the rays of white, dark and red jewels looking like the colour-sticks of different jewels; which produced the illusion of a thick forest of bamboos at wrong places in the minds of the simple Sabara women who were tired of roaming about on account of the spreading lustre of the pure sapphires; which exhibited his own tiara of lordship of the mountains by the lustre of its golden tops spreading high and low; who manifested its distinguished mountain-ness as being the place of the rise and setting of the rays of even the luminous bodies like the sun and the moon; who bore in his lap the river Narmada (lit. the daughter of the mountain Mekala) like a beloved in whom shone the fish (the fish bannered one, Love), who had a clear necklace and who possessed of plump breasts <>; which was very shady like the evenings <>; which was decked with the ara, the nipa and the bamboo trees like this story-teller who belongs to the family of the Paramara king; which lighted up the whole world like the Ratnadvipa; which as it were flew up to the heavens for threatening Indra with its wings in the form of the waters of the hundreds of streams rising high by the strong wind; 86 In that city dwelt a famous procuress by name DHONDHA. (80) She had a daughter called MALAYASUNDARI who was clever, goodlooking and intent on earning wealth....... ...PRATAPASIMHA came to her place for a night. Being over-powered with passion he somehow spent the night. When the day had not yet dawned, when he got up a little perturbed, put on his clothes and desired to leave he saw her, who had got up before him, playing with her sister's Then he said to her: "Whose son is this?" Teasing him she said: "It is mine". As soon as the word 'mine' reached his ears then he jumped upon her like a tiger and throwing her down on the ground scratched with his nails her forehead, nose, breasts, cheeks, son. ...

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TRANSLATION 82 hands and thighs, and tearing away a crop of her hair he went away. When through the maids the bawd came to know that the famous (courtesan) who was in the favour of the king and was a worshipper in the temple was thus mutilated, with her hair dishevelled she started abusing. MALAYASUNDARI gave up the child and covering herself with a coverlet she lay on the bed. Taking her lock of hair, crying and abusing the bawd came to inform the king who was in the court. The king was very angry and said: "DHONDHA, do you know who is the man and where he is now?" And DHONDHA replied: "Sire, so many come and go during the night that they cannot be recognized". To her the king said: "Tell the police-officer to find out who had slept there during the night." Then PRATAPASIMHA who was in the court got up and said: "Sire, I had slept there. But be kind to call MALAYASUNDARI here. I shall speak in front of her so that untruth may not be spoken." When the king summoned MALAYASUNDARI twice or thrice, then covering her body and with her face hung in shame she came to the assembly hall. When she came PRATAPASIMHA said: "When I went to her, at the very first sight I fell in love with her. I cannot describe it .............. the event of the night. (81) When she answered that the child was her he could not tolerate it and he injured her. It was all done out of his deep attachment for her and the king could do what was fit. The king was pleased with him and gave him gifts. She became an object of ridicule. When men are insulted they punish thus. THUS ENDS THE ELEVENTH TALE OF MALAYASUNDARI IN THE SRNGARAMANJARIKATAHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE TWELFTH TALE OF PAMARAKA "Enmity with rogues should never be unnecessarily created"; (The thread of the entire story is lost in the fragments) (82-83). (84) "Therefore daughter, one should not practice heresy with the clever. When practised it should be completely accomplished, otherwise one becomes an object of ridicule." THUS ENDS THE TWELFTH TALE OF PAMARAKA IN THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA. THE THIRTEENTH TALE OF MULADEVA Moreover, my child, love should always be protected. It is threefold, one born on hearing, one on sight and the third on union,

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88 SRNGARAMANJARIKATHA All the three should be abandoned from a distance. For by these even family women are made objects of contempt. Therefore like the poison of the poisonous snake love at sight and on hearing should be kept at a distance. I shall narrate a story about it to satisfy your curiosity. Listen: In Avanti is the city of Ujjayini. There ruled King VIKRAMADITYA who obtained the title of a sovereign by the valour of his hands and whose deeds were famous and wonderful. There also lived the dhurta MULADEVA. He was clever, master of roguery, skillful in all the arts and an object of the king's affections. He brought under subjection the smart, cheated the clever, deceived the intelligent, made the cheats to dance about, and augmented his wealth. He always doubted the actions of women and never married. Now when once after king VIKRAMARKA time and again asked him why he did not marry, MULADEVA said: "Sire, women are difficult to be pleased, they have bad intentions, are fickle by nature, difficult to be protected, they become detached very soon and cherish love for the low-born. It is said in the srutis and the smrtis that a woman is the half of this body. Therefore even when a man is not himself a sinner he becomes to be regarded as such due to her wickedness. Therefore I shall end my life without taking a wife." The king said: "It is not so. Woman is an instrument to the attainment of the three goals of life. She is the sole abode of happiness and the root of fame, wealth and offspring. The householder's life is the mainstay of all the other stages of life. Without begetting a son a man (85) never frees himself from the debt of his ancestors. Therefore you must take a wife, and do not be so suspicious." [When thus spoken to MULADEVA is somehow convinced and gets married.] (During the Summer season) when wanton-women whose bodies were exhausted by amorous sports continuously fanned themselves; when silken dresses were put on; when pairs of the Cakravaka birds taking resort under the leaves of the lotus plants on the banks of the ponds, with their necks resting on each other and enjoying the pleasant sensation of scratching each other passed their drowsiness of the mid-day sun; when pairs of bees due to the heat of the fierce sun abandoned drinking honey from the flowers and took refuge into the bowers of creepers; when the mid-day abhisarikas with their bodies cooled by water-sports, with their breasts and thighs covered with pure, slough-like clothes besmeared with musk, with their hair

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TRANSLATION 89 wreathed with vicikila flowers intermixed with the open patala flowers; with their breasts anointed with sandalpaste made doubly fragrant with the powder of the soft ghanasara were proceeding towards their lovers; when the directions, oppressed by excessive heat and fearing the spread of heat hid as it were in the dhara-grha, took resort as it were in the breasts of the women with beautiful eyebrows, entered as it were in the shades of the leaves of the sport lotuses, stood as it were gathering in an heap under the shades of the garden trees, took up residence in the bower of plantains, took up their position in the braids of hair of the ladies who have just taken their bath, sought refuge under the groves of palm trees with very dark leaves, when the heat was fierce then the cool white adornments of the dark (ladies) with the braids of hair wreathed with the partially open mallika buds, with the ear adorned with earings as bright as the moon, with the lips tinged with the brilliance of the polished teeth, with the sandalpaste-anointed breasts encircled by necklaces of pure big pearls, with the body covered with clean white cloth and with the spotless lustre of the moon attained some indescribable beauty; when in the dense groves, the secana-kutis which were fragrant with the scent of the damanaka trees mixing with that of the maruvaka trees and which were besprinkled with streams of water from leather bags on all sides, were resorted to by the pleasure loving couples to dispel the mid-day heat; when every night the terraces of the mansions, whose crystal floorings were rubbed with sandal paste, were resorted to by the pleasure loving couples after giving up the inner apartments of the mansions which had become hot due to the heat of the sun; when on every house were seen the vasakasajjas pale due to the separation caused by delay and seated in the candrasalas like the presiding deities of the moonlight arranged their quarters; where the walls were decorated with garlands of open vicikilas and the ceilings were darkened by the smoke of the black aguru incense; when the needles of the kanakaketaki which stole the lustre of molten gold and therefore were put in chains in the form of the rows of bees as dark as iron by the Summer-king were slowly shooting up from the long leaves as dark as the fresh green grass; (86) when the kesara flowers looking like the wheels of the Fish-bannered God whose armours are the flowers and who is busy in spring conquering the three worlds to torture the hearts of the separated ones, reminded of the mouths of the moonfaced ones fragrant with wine; when in every forest the raja-campakas which were enveloped in golden lustre, which were like the captivating charms for the minds of all the people and which were difficult to be gazed at by the separated ones like the flames of the fire of Manmatha were put in chains by the clever bees for having destroyed the scent of all other trees; when the ripe ela fruits

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90 SRNGARAMANJARIKATHA possessing a cool delicious fragrance grew profusely producing the illusion of the rutting elephant of the Fish-bannered One, entering slowly the depths of the garden; .............................................................. .............................................................. (Afterwards MULADEVA found out that his wife was carrying on with a merchant by name DATTAKA, and the king's chief queen too was unfaithful to the king by going every night to her paramour, the king's elephant driver. One night he followed her and saw that the elephant-driver lashed her with a chain for being late. The next day the disillusioned MULADEVA told the king about it.) (87). (88) The king was surprised and asked MULADEVA: "MULADEVA, what is this? This is indeed wonderful. Please satisfy my curiosity by saying what it is." Folding his hands MULADEVA said: "Sire, if you give me the promise of fearlessness then I shall tell you. Your Majesty should not punish me then." Saying this he said to the queen: "Madam, without the paramour the food cannot be relished. Therefore call the king's elephant-driver, BATHARAKA". Being wonderstruck the King said: "MULADEVA, what is this?". MULADEVA said: "Bare the body of this queen and see it." When the king did that and looked at it then he saw the swollen marks of the chains. MULADEVA made his foolish wife sit on the second seat and said: "You also call your paramour, the mer. chant by name DATTAKA", and then said: "Sire, it was indeed your favour that I was married. I knew the conduct of women, therefore I never married. But by your lordship's order I accepted and married this foolish person. The result is the same. They (women) are sinful and of wicked conduct, who can trust them? There is no king like yourself, nor is there a master of rogues like myself, not a wise man like KAPALASIKHA. When they can deceive even us what can happen to the other poor people?" The king arrested the elephantdriver, confiscated DATTAKA'S wealth, and outcasted him, and cut off the nose and ears of CILLAMAHADEVI and giving only morsels of food put her into prison. Therefore, my child, there are harlots of good characters, and there are family-women who fall in love at the first sight and carry

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TRANSLATION 91 on with men without considering their lives or wealth. Then what to speak of harlots? Therefore, my child, the three kinds of ragas should be avoided altogether. (89) Thus, daughter, let not this family of ours which shines bright as the sun in the whole world be stained by being cheated. Therefore you should act in such a way that vitas will not rob you, dhurtas will not make you dance, friends wili not laugh at you, misers will not trouble you, paramours will not ravish you, rogues will not destroy you, lovers will not propitiate you.... ... the clever will not cheat you ................... Bharati dances out of joy (on acquiring this katha which is) sweet, soft, enchanting, pleasing..... the Lord of the Earth, another supporter of the earth as is the king of the serpents, wrote this katha............ which is new, rich, a charming ornament, and the coming forth of speech ........... On acquiring the 'Songaramanjari' today Goddess Sarasvati relishes the drink of honey. . . . . . . . . . . . ... O you (people), see, having obtained the Srngaramanjari' the banner of good fortune of Goddess Sarasvati. .... She, having obtained the 'songaramanjari' somehow, a banner of her own good fortune. ............. having acquired the "Sengaramanjari' as her ear-ornament the captivating Vani (Sarasvati)....... IN THE YEAR....OF THE ENEMY OF THE SAKAS WAS CREATED THIS KATHA 'SRNGARAMANJARI' BY BHOJARAJA. THUS ENDS THE SRNGARAMANJARIKATHA COMPOSED BY MAHARAJADHIRAJA-PARAMESVARA-SRIBHOJADEVA.

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NOTES (Here are included words of rare usage or remarkable in some way.) Yantradharagrha ( yantradhArAgRha) P. 3. -is a fountain-house to dispel the heat of the summer days. The complex mechanical contrivances speak of the progress of science in those days. In the SS, Bhoja devotes the entire 31st chapter to 'Yantravidhanam'-the descriptions of the mechanical contrivances, their usages and benefits. The word 'Yantra' is derived from the root 'Yam' to control or to restrain. God evolves the universe and also controls its movements: bhrAmyaddineza zazimaNDalacakraza (tsa ? ) sta ? metajjagattritayayantramalakSyamadhyam / bhUtAni bIjamakhilAnyapi samprakalpaya yaH santataM bhramayati smarajit sa vo'vyAt // ( verse 1 ) There are two kinds of controls. The first is the self-control of human beings, the second is the control of the five elements of nature. tasya bIjaM caturdhA syAt kSitirApo'nalo'nilaH / Azrayatvena caiteSAM viyadapyupayujyate // So the control of the four primary elements namely earth, water, fire and wind (and akasa as their substratum) leads to the production of the mechanical contrivances. Different materials like metals, leather and cloth are then put to use and with the help of wheels, rods and the like, syringes (vs. 28), musical instruments (56), dramatic representations and scenes (59-72), moving animals (73), dancing and singing dolls (74) and various kinds of water machines (109 ff) can be made. The details of the mechanical contrivances in the Yantradhara. grha given in SMK are: dolls beating drums, dancing, playing instru ments and singing; ducks seated on blooming lotuses drinking the streams of water which looked like lotus fibres; bees humming in lotuses; cakorakas drinking water; cranes plunging in the pond after the sapharika, tortoises swimming up and down in the tanks and mermaids afraid of crocodiles. Streams of water flowed out from the eyes of winged crocodiles, mouths of peahens, hair, breasts, palms and nails of women, mouths of a family of monkeys climbing atop a tree, lotuses, walls, grounds, pillars and pillartops. The whole

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NOTES 93 picture gives an impression of the rainy days and that was the very purpose as is said in SS: idaM nAnAkAraM kulabhavanamAdyaM ratipatenivAsazcitrANAmanukaraNamekaM jalamucAm / payaHpAtISme ravikaraparItApazamanaM . na keSAmatyarthaM bhavati nayanAnandajananam // In the Kadambari we read of a somewhat similar description of a cool fountain-house called himagTha. Besides various mechanical contrivances we read of groups of peacocks, cranes, birds, bees etc. (pp. 436-441). The Yasastilaka-Campu (Book III pp. 522-533) also has description of a Yantradharagrha where sukasarikas, bees, peacocks, ele. phants, crocodiles, monkeys and dolls and so on are mentioned. In the Tilakamanjari we have no description of the mechanical contrivances as given in the above mentioned texts but the author seems to be quite familiar with the Yantradharagrha for we find a few references to it. The SMK describes only the dharagrha, but SS mentions three kinds of fountain-houses. (vs. 117) dhArAgRhamekaM syAt pravarSaNAkhyaM tato dvitIyaM c| prANAle jalamagnaM nandyAvarta tathAnyadapi / / The Yantradharagrha was an elaborate construction and therefore only kings could afford to build it. prAkRtajanArthametanna vidheyaM yogymetdvnibhjaam| In the very beginning of SMK we read that Bhoja was seated on the central moonstone seat of the dharagrha surrounded by his friends and kinsmen. And it seems that the people had access to it, for the text says (FTI) JETENTT&Treef wife atemporal 1* Ubhaya-catuh-sastikala (57971:164) p. 88. -Two kinds of 64 Arts. Vatsyayana in his KS refers to both these kinds of 64 arts. The first group is of the 64 Anga-vidyas. (1.3.16). Mastery over these Kalas was necessary for the courtesans to develop their personality and to fulfil their duties as entertainers. Of these Kalas some are purely aesthetic arts, some for the intelect, some for increasing personal charms, while some are merely for * It is interesting to note that a paper on 'Yantras or Mechanical Contrivances in Ancient India' was recently read by Dr. V. Raghvan. It thoroughly treats of the subject. It is a useful and interesting contribution throwing light on this interesting topic. I am thankful to Dr. Raghvan for sending me a copy of the paper.

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SRNGARAMANJARIKATHA entertainment. The following arts may be taken as the aesthetic arts: gItam ( vocal music), vAdyam (instrumental music), nRtyam (dancing), Alekhyam (painting), and vINADamaruka - vAdyAni (playing of stringed instruments). taNDulakusumavalivikArA: ( making designs on the flooring with coloured rice and making various kinds of flower garlands), g (spreading of flowers and flower-garlands in a room etc.), (setting jewels like emeralds in the floors) are decorative arts. vizeSakacchedyam ( cleverness in making different tilaka marks on the forehead), TT: (anointing the body with kunkuma etc. and colouring of teeth, clothes etc.), (preparing the bed), purposes), of flowers etc.), T: far: (preparing garlands for different (decorating the crest with different kinds (dressing and adorning according to time, place and occasion), karNapatrabhaMgA: (ear-ornaments of ivory, conchshells, etc. for adornment), af: (anointing perfumes etc.). bhUSaNayojanam (preparing ornaments), utsAdane saMvAhane kezamardane ca kauzalam (massaging of body and hair) and rf (changing the appearance of fabrics such as making cotton appear like silk) are for enhancing personal grace and charms. 94 Accomplishments such as kAvyasamasyApUraNam (completing the verse from a given single line), pratimAlA (capping verses), prahelikA (riddles), gafa: (expressing that which is difficult in word or sense), (knowledge of reading books). nATakAkhyAyikAdarzanam (seeing representations from dramas and Akhyayikas), mlecchitavikalpAH (using synonymous words of the Mlechha-bhasa). dezabhASAvijJAnam (using desya words to make known that which is unknown), (remembering heard books), mAnasI (knowing what passes in others' minds), Tuf (composing poems), abhidhAnakoSa ( knowing dictionaries), chandojJAnam (knowing the metrical works), and f (knowing poetics) are for developing the mind and sharpening the intellect. Skill ( hastalAghavam ) in various useful arts such as sewing ( sUcIvAnakarmANi ), carpentry (T), embroidering (affor) cane work ( paTTikA vetravAnavikalpAH), obtaining desired ends and cheating others. ( kaucumArAzcayogAH, citrAzca yogAH, chalitakayogAH ) household work (aafar ), experiments in magic (TT), cooking and preparing drinks ( vicitrazAkayUSabhakSyavikArakriyA, pAnakarasarAgAsavayojanaM ) were considered as necessary as the above-mentioned accomplishments. Moreover the following arts seem to be for specialization in different professional activities. Among them can be included rUpyaratnaparIkSA (the knowledge of different coins and diamonds etc.), dhAtuvAda: (finding and treasuring stones, metals, etc.), maNirAgAkarajJAnam (knowledge of gems for value etc.), fafar (the knowledge of good and bad omens, etc.), (the making of instruments for

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NOTES 95 travels etc.), parit (lapidary art) and erat: (the knowledge of planting, nourishing and diagnosing trees). Finally there are games in which skill was deemed necessary for the entertaining as well as enjoying: 36+ (playing drums etc. in water), 3E#TETA: (sprinkling water), #90 l aqarafet: (gamble on live things), Tir OTETTAA (teaching birds like parrots to speak and carry messages), 3767THFCT2794 (making syllabic language for private talks), quoTefTiT (making carts of flowers), afast: and 3174 TST (gambling) and 5*15971 (knowing playing balls, dolls etc. to help children). There are three more arts for self-development, self-defence and life. They are a f i fahi # (code of etiquette and modesty), fupiti faci (science of obtaining victory) and vyAyAmikInAM vidyAnAM jJAnam (knowledge of the science connected with physical exercises like hunting). This list of Kalas has been explained along with many other lists by Dr. A. Venkatasubbiah and E. Muller in an article named 'The Kalas' (J. R. A. S. 1914 pp. 351-367). But reference may be made here to two more lists given by Ksemendra in Kalavilasa and by Dandin in Dasakumaracarita. Ksemendra mentions 64 arts. of the harlots: Tega Tofah UTETU MTG: fiz: (p. 56). Of these, except nrtyakala, gitakala panakala, none are similar to those quoted above. These are simply the characteristics of harlots like weeping, cheating and so on. But they are interesting from our point of view because the heroines in the SMK show mastery in some of the arts mentioned herein. For instance Devadatta (5th tale) practises mrtopamakala, and also tirtha-viharana-kala. In the Dasakumaracarita (Book II) also we get a list of arts and sciences in which a ganika is trained to bring her profession to a successful end. The second group of Kalas which is referred to in the SMK by the term 'Ubhaya' is the group of 64 Pancaliki Vidyas described in ne Samprayogika-Adhikarana by Vatsyayana in the Kamasitra. These are intimately connected with sexual relations. Ujjvala (graffefafaisaFTHOUT) P. ?3 is a classical metre with the scheme TT TT (UU U U U U U U -U_ ) (Hemcandra, Chandonusasana, II. 166).

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96 SKNGARAMANJARIKATHA Kadavakka (kaDavakka) P.17 -is a Sanskrit rendering of the Prakrit word 2509 (See Svayambhucchandas, VIII, 30, Journal of the University of Bombay. November 1936, kaDavaya here is by mistake printed as kauvaya ) Hemacandra and others give its Sanskrit form as 3a, that is with a single # (See the first sutra of the Chandonusasana). It is also written as 150 (Cf. Kavidarpana, edited by Prof. H. D. Velankar, A. B. O. R. I. XVI i-ii 1935, note 51). Old Gujarati narrative poems were also composed in units called 57. But here #597 does not appear to be an unit of composition, but a variety of composition. It may be noted that this form of composition is peculiar to the Apabhrarsa literature, while here the use of the word is with reference to the Puranas. Can we infer that the author had in view some Apabhramsa Purana or some Puranas in the local language of the times? Manikulya ( maNikulyA) P. .17 -is a kind of composition described by Bhoja in the SP thus: (Vol. II, p. 428). maNikulyAyAM jalamiva na lakSyate yatra pUrvato vstu| pazcAtprakAzate sA maNikulyA mtsyhstaadi| Nidarsana (nidarzanam ) P. 17 --is a kind of composition. Bhoja describes it thus: nizcIyate tirazcAmatirazcAM vA yatra ceSTAbhiH / kAryamakArya vA tannidarzanaM paJcatantrAdi / / dhUrtaviTakuTTanImatamayuramArjArikAdi yalloke / kAryAkAryanirUpaNaparamiha nidarzanaM tadapi / / (SP, Vol. II, p. 428) The second type of Nidarsana described by Bhoja shows that it em braced the works which describe the proper and improper actions as is done in the works like the Kuttanimata. Technically speaking this description appears to be applicable to the SMK, though in the text as shown at length in chapter IV it is always referred to and recognized as a katha and nowhere it is called Nidarsana. But a detailed consideration of the question awaits the publication of the full text of SP, so that we may have all the data relevant for judging whether the distinctions made by Bhoja between different kinds of Prabandhas are well defined and mutually exclusive.

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NOTES 97 Lataksutkah (laTakSuTka:) P. 25 -taking rounds, faltering. The word is of onomatopoetic origin and is represented in Hindi as gast in the same sense. :) PSM Udyaniked ( udyAnikA ) P. 25 / . - This word is obviously a back-formation from the Prakrit Furfuram etc, and preserved in the current Gujarati as Toft "picnic'. PSM gives three forms of TST, golfo and Futut meaning 'picnic'. The word is derived from GUTUT quotes the following from the Nisithacurni: ujjANaM jattha logo ujjANiAe bccii| Tiritillitani (fefefefront) P.:34 -This word is a Sanskritization of Prakrit fefefeferi-base fefofefory. It is an instance of the influence of the contemporary Jaina diction on Bhoja. The root feffect is recorded by Hemcandra in his list of ETCOTECTS in the sense of T (Prakrit Grammar 4.161). PSM records the form fef fara from Kumarapalacarita. Ganaratnamahodadhi of Vardhamanacarya notes the word fefefeft (II. 103) and in the commentary he says fefefert aratottaferratoga feffettfat praca CUF | He also calls it 3r Turatoa-fcfcfcfarafacial iTuToat tadAkAriNi vyvhriyte| Lagna (5 ) P. 30 -to feel. The usage and the sense of the word is of the Prakrit root uits, feels. Cf. Gujarati ana in the same sense. Avva ( pon ) P. 37,33 -The word 37 which at two other places is mistakenly written as 37 and 3rat by the scribe is of Kannada origin, meaning 'mother' or any 'venerable woman': Hemacandra (Desinimamala 1,5) notes it in the sense of HTIGT, a. Cf. the suffix 37aat applied to proper names like Kundavva, Amiyavva, etc. occurring in some 9th-10th century Apabhramba works from Kannada area. Cf. also the Kannada word avva meaning 'mother'. The scribe probably did not understand the word and wrote the forms corruptly as 31 and rati Uttha viale- ( uttha viale ) P. 34 can be rendered into Sanskrit as sffct fatis if we take 364 as corrupt for the Prakrit 378, Sk. 3f . Viale is Voc. Sing. of: vimalA, Sanskrit vikalA 'a perturbed woman'.

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98 SRNGARAMANJARIKATHA Velavittiki ( velAvittikA ) P. 34 ma maid-servant who earns by announcing time (Cf. Velavittaka). The words prasadavittika (p. 38) and arghya-vittika (p.4C) are similarly formed. The former meaning 'one whose fortune is in his master's favour' and the second referring to 'one whose fortune is in offering arghya (to God)'. The courtesan in the temple is described as arghya-vittika (Cf. Lavanyasundari, 8th tale). Tarkuka-jana ( 707 17, ) P. 82 -This is a rare Sanskrit word. It means a beggar, a suppliant. The other forms noted by MW (p. 440) in the same sense being 7 (Mbh) and Taft (lex.). MW further (p. 58 ) gives two words 2884i and qualiti which also convey the same meaning of 'beggar'. Though the other form of 7pitinamely, that is given in the Mahabharata it seems to be a late form and may be occurring in the interpolated portion of the Mbh. . vAI e kukkuDu vAsai e kku liyaMtaha duijau naasi| (p. 56) 'Mistress, this cock crows: As we take one, we lose the other'. This is some Apabhramsa metrical line quoted as a proverb, as the rhyme of aths and this shows; and the portion beginning with for upto 7 TH is in the well-known Prakrit metre called Vadanaka having the structure 4+4+4+ -- UU. This means that the first line is metrically defective. Putkarosi (grattfor) P. 48 -to cry aloud." It is same as the Prakrit *** Cf. Gujarati pokAravU, pokAra. It is commonly used in the Prakrit and Apa. bhrarsa literature. Aklea ( akkA ) P. 61 -the word is used in the sense of 'a mother' or 'an elder sister. The bawd or the procuress of a courtesan is usually addressed as akka... The word Akka is of non-Sanskritic origin. Its vocative is Irregularly Akka and hence it is recorded by Panini. (MW p. 2).

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NOTES 99 Hemacandra notes it in Desinamamala. 1.6. The word occurs in Tamil, Telugu, Kannada, etc. * Kaditalla (fea ) P. -PSM records is in the sense of a kind of an iron weapon which has one edge sharp and is a little curved. It refers to Desinamamala 2.19. 'In Harisena's Brhatkathakosa also (edited by Dr. A: N. Upadhye) the word #ffcr occurs ( # f 3 T TEST TUT: 56.298). The editor in the Introduction (p. 102) explains some armour or weapon associated with the belt' and compares the word with Sanskrit Katitra and Prakrit Kadilla. This meaning is obviously suggested by him on the assumption that the part pfs in the word kaDitalla is connected with Sanskrit kaTi. . .. . Vantha (9 ) P. 64 -is a desya word. MW (p. 915) records it as a lexical word occurring in the sense of a maimed person, an unmarried person, a servant or a dwarf. Over and above these senses PSM. gives the word in the sense of dhurta or thug. Cf. Gujarati , to go astray. This is another instance of Bhoja's diction being influenced by the Prakrit, Apabhramsa and the other spoken languages of the times. The Prabhandha-Cintamani has a Toba TETRUTTO PETT which describes the vamthas to be dwarf in body and attending on the King by massaging his feet. (P. 75). Pattanika (qafreit ) P. 10,6. -The word pattanika (fem.) is not found in the lexicons. The reference to it is as follows, Sundaraka was commissioned by the king (10th tale) to spend a night in dalliance with Asokavati and record the events, so that the king could show it to Chaddalaka and break their bond of love and faith. For that purpose Sundaraka brings along with him the Pattanika which records what passes between them. (75: TATTET Tefreirani ferro referent FarfetarnAyayat ... teSAM nakhapadAnAM takA pattanikayA tatpratibimbAni jagrAha) The next day he gives it back to the king and the king presents it to Chaddalaka saying: yadayaM prasAdaH prasArya gRhyatAm / Therefore it seems to be an instrument, Yantra, to take impressions of happenings which could be reviewed the next day by spreading it out.

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100 Last Folio, 158. (p. 89). The fragment of folio 158 is the most important page in the SMK, though its loss is irreparable.. It contains a prasasti of the work and its author in three Sanskrit verses and four Prakrit Gathas. SRNGARAMANJARIKATHA The metrical. Sanskrit verses help us to infer the number of missing letters. The first verse is in Malini metre. Thus: madhuramasRNamugdhasnigdha U UUUUUU UUUUUU - U --- U--- U--U pratikalamati harSAd bhAratI nRtyatIva // The next two verses are in the Sikharini metre.. imAM pazya kSoNIM vaha U U U [bhujaM ] gAnAmIzo'para iva sa enAmaracayat / kathAmurvInAthaH praNata U U U navA sphItA yA ca prakRtisubhagAlaGkRtirapi sa ukterullekho U UU U U U U ---- UUUUU UUUUU UUU U U The Prakrit Gathas are metrically correct. siMgAramaMjari pAviUNa devI sarassaI ajja / mayaraMdapA Nama.. siMgAramaMjari pAviUNa devIeN uahaM vANIe / sohaggajasapaDAyA. * UNaM jasa, kaMhavihu siMgAramaMjari uaha / Niyasoha [ga] vaDAyA : : U U e [siMgAramaMjari pAvi ] UNa vANIe maNaharA ye vi / hoorajasohA bho. // 4 // 1 U // 2 U - UUU -- // UUU U . // 3 The last verse is in the Anustubh metre in Sanskrit: [va] tsarANAM zakadviSaH / kRteyaM bhojarAjena kathA [zRGagAramaMjarI ] // They described Goddess Sarasvati as being joyous on acquiring the valuable 'Srngaramanjari' which is like her banner of good fortune and her ear-ornament. - UUU U kalitaH !! It avers that Bhojaraja produced this Katha in Vikrama (lit. the enemy of the Sakas) Samvat. The missing letters in the verse are the greatest loss to the work, for they would have solved the problem of the date of the work.

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APPENDIX 1. (A transcript from Bhoja's SP, Madras Ms.) (Chapter 36, Vol. 4, ff. 902-911) ___ (patra 902) tatra nAyakayoH prAgasaMgatayoH saMgataviyuktayorvA mithassamAgame prAgutpannaH tadAnItano ratyAkhyasthAyIbhAva iti rateH sattAsaMjJA prthmaavsthaa| ......abhi vyaktisaMjJakA tdvitiiyaavsthaa| ......anubandhasaMjJakA rateH tRtiiyaavsthaa| ......prakarSasaMjJakA rateH suriiyaavsthaa| tAsu ca yathAkramaM saMkSepAdayaH samupasargArthAH bhogazabdArthena saMbadhyante / saMkSipto bhogaH sattAvasthAyAm, saMkIrNo bhogaH abhivyaktyavasthAyAm, saMpUrNo bhogaH anubandhAvasthAyAm, samyag bhogaH prkrssaavsthaayaamiti| sa sarvo'pi dvidhA sAmAnyarUpo vizeSarUpazca / sAmAnyarUpaH pazumRgAdInAm, vizeSarUpo nAgaraka(patra 903) nAyakAdInAm.... (patra 909) arthaSa viziSTanAyakaviSayo vizeSarUpa ucyate // sa ca sAttvikAvinAyakamedAt sthirAsthiratvAditAratamyAt prabandhena upapAdyamAno dvAdazaprakAra utpadyate prathamasaMdarzanakSaNa eva saMkSepeNa utpannaH saMkSipta ityucyate / ....saMkIrNa dvAdazaprakAra: . ...saMpUrNa ....samyak tatra saMkSepapakSe rAgopAdhiH premANi dvAdazaprakAraM bhavati / tatra haridArAgaM, rocanarAgaM, kAMpilyarAgaM, rItirAgaM iti sAttvikasya (nAyakasya), kusuMbharAgaM, lAkSArAgaM, akSIbarAgaM, maMjiSThArAgaM iti rAjasasya, kardamarAgaM, kaSAyarAgaM, sakalarAgaM, mIlIrArga iti tAmasasya, tatprAyeNa puruSANAM vizeSa (SA) upjaaynte| tatra alpakAraNApaneyaH haridvArAgaH tadati..... rasya sa hi tathA na kAmena bAdhyate yathA sattvadrekAtkaruNAdibhiH, tenAso, nAtitarAmaticiraM vA rajyate, ato haridrArA... nAgAnande jImUtavAhanaH-na tathA sukhayati manye mlyvtii| i. ....... . ... (patra 910) analpakAraNApaneyaH rocanArAgaH tanmahAsattvasya / sa hi kAmanAbAdhyamAna dharmAdipravRttireva svakAraNasAmaNyato jAyate / tenAsya nAtidurapaneyA nAtiraktA vA rocanAyA iva rAgalekhA bhavati / yathA zAkuMtale. durvAsasaH zApenApanItasmRterduSyantasya-sutanu hRdayAtpratyAdeza vyalIkamapaitu te| i..... ... .... analpakAraNopanipAte'pi prayatlApaneyaM (yaH) kAMpilyarAga (gaH) tadatisAttvikasya yathAharizcaMdracarite vizvAmitramocanAya dAravikrayiNo harizcaMdrasya- he dhanyA zrRNutAvadhatta ghaninasteyaM mayA preysii| i......

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SRNGARAMANJARIKATHA kAraNopanipAte mahatya. . panetuM zakyate taMdrItirAgaM, tadatimahAsattvasya yathA janApavAdabhIrutayA nirvAsitAyAmapi sItAyAM rAmAyaNe rAmasya -- 102 tataH kairapyukte pariNayavidhau kASThamunibhiH / i... ( patra 911) teSu ca sattvacchAyAdhikyAnna tathAvidhA rAgacchAyAnuvRttirityA pIta eva rAgavarNo bhavati / evamalpakAraNApaneyaM kusuMbharAgaM tadrajobahulasya / sa hi tathA na dharmArthayoranuSajyate yathA kAmaM ( me), tenAtitarAM rajyate, guNeSu ca yathottarecchatvAt kAminAmanurapi ? zIghrameva virajyate / yathA harivaMze vAsudevaH -- pAntha dvAravatIM prayAsi yadi he taddevakInandano vastaH smaramantramohavivazAH gopyo na nAmojjhitAH / i... analpakAraNApaneyaM lAkSArAgaM tadapi rajobahulasyaiva jAyate, tathA (yathA) vikramorvazyAmurvazIvilokanApahRtamahAdevIpremasaMpadaH purUravasaH -- devyA datta iti / i...... mahAprayatnApaneyamakSIma (ba) rAgaM yathA -- yaugandharAyaNAdiprayatnato rAjyalAbhAya tApasavatsarAje vAsavadattAyAM vatsarAjasya -- cakSuryasya tavAnanAdu (da) pagataM nAbhUtyavaMcinirvataM / i. mahAprayatnena apanetumapyazakyaM kuvalayAzvasya- maMjiSThArAgaM yathA madAlasopAkhyAne madAlasAyAmeva zreNIbhUtAmivAzAsu nikhAtAmiva cetasi / protAmiva vikalpeSu rAjasUnuramaMsta tAm // idaM vAha-yadi sA mamatanvaMgI / i... - eteSu ca rajobahulatvAd rAgabhUyiSTheSu rAgAntaropanipAtAd raktAyAmeva varNotkarSo bhavati / ... athAlpakAraNApaneyameva tAmasasya kama yathA mAlavikAvilokanApahRtacetaso mahAdevyAM dhAriNyA mirAvatyAM ca.. tAmasasyaiva kaSAyarAgaM yathA vikrAntazUdrake zivagaNasya mAlavikAgnimitre.. sA vaH parivartanaikalalitA bizvAsabhUmiH priyA / i... kAraNopanipAte mahAprayatnato'pi sarvathA durapaneyaM sakalarAgaM tadapi tAmasasyaiva yathA raghuvaMze indumatyAM pramAdamRtAyAmapi varSakatipayajIvino ajasya -- tenASTau parigaNitAH samAH ( kathaMcit) / i ( analpakA) raNApaneyaM .....sarvathaiva apanetumazakyaM nIlIrAgaM tadatiiAmasasya yathA kAdambarIkathAyAM mahAzvetAviSaye vaizaMpAyanasya---- dUraM yuktAlayA / i....... eSAM ca tAsAnAM tamo'tirekAd rAgayoH sva... Na tiraskAre varNAntaramutpadyate soyamupa .. ( saMkSepA) rSaH / atha saMkarArthapakSe...

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APPENDIX II General Maxims in the SMK atipIDitAH puruSAH kopavazAnnatadasti yanna kurvate / (Folio 124 A). antikrmnniiyaanyvshyNbhaavyaani| (122A). . apUrvaH pumAn sthAnadvaya epAvApyate, yadi svAdhyAyI tadA maThikAdau, atha rAjaputrAdistadA zUnyadevAlayAdo (101 A). apratividheyA niyatiH / (122 A) avamatA hi puruSAstanAsti yanna kurvanti (133 A). asadguNakhyApanaM hi doSAya, yathArthaguNAkhyAnaM punaranavagItameva / (4 A). Avajitacitta eva rajayituM zakyaH, raJjitacittavRttihiM sarvasvaM jIvitaM ca prycchti| (30 B, 31 A). ekku lIyaMtaha duijau nAsai / (97 A) gArhasthyaM hi nikhilaashrmjiivbhuutm| (145_B). jAtasya jantoniyatameva niryANena bhavitavyam / (92 B). duntidvi radadurdharANi cendriyANi / (33 A). durlaGaghyA hatavidhevilasitAnAM gatiH / (122 A). dhUrtebhyo'pi prayatnAdAtmA rakSaNIyaH / (83 A). na cAnutpAditApatyaH paitRkAdRNAnmucyate purussH| (145 B).. nalinIdalanipatitajalalavataralaM prakRtyaiva manaH / (38 A). parAzayaM parijJAya anupravizya paro rnyjniiyH| (60 A). prakRtyaiva tyaktasnehA khalasaGgatithUrata eva prihrnniiyaa| (33 B). pratiprANIduvijJeyAzcittavRttayaH / (31 A). mahAsatvaM mahAsAhasikaM ca samyagupalabhya AtmatyAgenApyarthaM sAdhayatAM na durApAH svArthasiddhayaH (70 A). yo hi yadAzayastat tenAnupravizya vizrAvayatAM nishcitaivaarthsiddhiH| (69 A). yauvanaM nAmAtigahanamandhaM tamaH, duHpariharaM sarvaprANibhiH / (33 A). rAgo vyAghra iva dUrataH pariharaNIyaH / (124 B). vilAsinyo hi dRSTiviSavarAGganAsanAbhayo dUrata eva manomohamutpAdayanti / (33 B). viSTirivAniSTakAriNI yoSitAM savikArA dRSTiH / (38 B). vyAghrAdiva premNa satatamAtmA rakSaNIyaH / (32 B). sa hi mahAn bhAvaH, prabhAvakhyApanayA tannAsti yanna vitaratIti / (69 A). sandhyAyAM zayanaM bhAgyavatAM nocitam / (101 A). samayollaGaghanaM hi kriyamANaM trapAkaramanucitaM ca bhavati / (46 B). sarvonmAdaikAyatanaM ca vibhavaH / (33 A). suvarNamanyat surabhi kva praapyte| (105 B). striyo hyatidurArAdhAH duSTAzayAH calasvabhAvA rakSitumazakyAH kSaNavirAgimyo nIcAnurAgiNyazca / (145 B). striyo hi nAma trivargakasAdhanaM, sukhAyatanaM yazaso'rthasya santatezca mlbhuutaaH| (145 B).

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dhAbhava bhAratIya