Studien Zur Indologie Und Iranistik

Author(s): Gert Klingenschmitt, Albrecht Wezler, Michael Witzel
Publisher: Gert Klingenschmitt, Albrecht Wezler, Michael Witzel
Catalog link: https://jainqq.org/explore/269246/1

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STUDIEN ZUR IN DOLOGIE UND IRANISTIK herausgegeben von Oskar von Hinuber, Gert Klingenschmitt Albrecht Wezler und Michael Witzel Heft 4 Dr. Inge Wezler Verlag fur orientalistische Fachpublikationen Reinbek 1978

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Herman Tieken A Formal Type of Arrangement in the Vulgata of the Gathasaptasati of Hala One of the oldest subhasita-samgraha-s or kosa-s i.e. a collection of short verses which are "beautifully said", is the Gathasaptasate of Hala. In its most widely known recension it contains 698 gatha-s in Maharastri Prakrit, which are mainly erotic in content. The gatha-s deal with the total love experience of men and women from their first secret meeting through marriage to old age and love gone by. Every individual gatha stands by itself. In it the poet concisely depicted a single phase of emotion or a single situation within the limits of a finished form. Each single gatha is thus self-contained and finished in form and con tent5 This causes a serious problem for the compiler of a kosa : what should be the governing principle for the arrangement of the individual poems within the collection? Several ways of arrangement have been used as e. g. one that groupes the poems into several sections (vrajya-s or paddhati-s), each section containing poems that belong to a certain theme or that make use of a certain motif or poetical device, etc. (as in the Subhasitaratnakosa, Suktimuktavals etc.) In other collections the poems are classified into sections according to the 3 purusartha-s (as in the Vajjalagga by Jayavallaha). Still another way of arrangement is found in the Aryasaptasati of Govardhana in which the arya-verses are arranged in alphabetical order. 1. 3. The Gathasaptasati is known by various names. See New Catalogus Catalogorum Part 5, Madras, 1967, p. 342, under Gathasaptasati; also V. V. Mirashi, The Original Name of the Gathasaptasati, in Papers submitted to the 13th All-India Oriental Conference, XIII, 2, pp. 370-4. The edition referred to in the following pages is that one by A. Weber, Uber das Saptasatakam des Hala, A. K. M. Band 7, nr. 4 (1 881). A. Weber op. cit. p. IX. Erotic is certainly not a proper designation as it covers the content of only a small number of gatha-s. I would prefer the term "love poetry". The Gangadhara-version of the Gathasaptasatt also contains some gatha-s of heroic content (471, 630, 634) or some in which heroic features are prominent (31, 54, 55, 91, 118, 331, 363, 464,515, 686,687, and probably even more. Dandin's muktaka , Bhamaha's and Vamana's anibaddha Ludwik Sternbach, Subhasita, Gnomic and Didactic Literature, Wiesb. 1974, p. 2. L. Sternbach, op. cit., p. 4 and 12. her of lathaathanesi 4. 5. 6.

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112 Herman Tieken The Gathasaptasatt has come down to us in 6 recensions', namely the Vulgata, 7, R, S, T and Wo. In two of them the gatha-s are arranged in sections: in the Sadharanadeva (S) - and 1st Telinga (T)-recension. In the S-recension 700 gatha-s are divided over 60 vrajya-s or sections of varying length. The principle by which the gatha-s are grouped into vrajya-s is not each time the same. Some vrajya-s are formed of gatha-s that make use of a certain poetical device (utprek sa- and anyapadesa-vrajya)'', others of gatha-s in which a certain motif occurs (madhukara- or ichu-vrajya. ), still others of gatha-s that belong to a certain theme (asati-, sati-, virahini-, maninf-vrajya). The 1st Telinga-recension is divided into 7 centos each of which is again divided into several chapters or paddhati-s, except the 3rd and the 6th cento which form each themselves one paddhati. The exact boundaries of the paddhati-s are not indicated in the text, but at the end of each cento their names are given in Prakrit." totalling 23. In T too, the principle by which the gatha-s are grouped into sections varies. In one case it is that of poetical device (annavaesa-paddhati), in others that of motif and in still others that of theme, etc. The S-recension has 60 chapters against the 23 in T. S made many more, and subtler distinctions, for instance, what in T made up one section the viraha-paddhati (the whole 3rd cento) corresponds approximately to at least 5 vrajya-s in the S-recension, i.e. from the bhavisyad-virahin- (15) up to and including the rodana-vrajya (19). But for this difference they correspond at least in parts in the order in which they present their sections. In this respect they seem to follow a common tradition, together with at least one other collection, the subhasitaratnakosa (Srk), but possibly with even more. S, T and Srk begin with the praising of God which sections in S 8. 7. A. Weber, op. cit., p. XXVII It is doubtful whether W is an individual recension of the Gathasaptasatt or an altogether different kosa which contains by accident many gatha-s of the Gathasaptasati. A. Weber, op. cit., p. XLII. Some vrajya-s contain only one gatha (p. 445. regarding & 35 ff, ). This is, according to A. Weber, not in conformity with the rule laid down in the Sahityadarpana. This seems to me a strained interpretation of the relevant rule of the Sahityadarpana (6, 308. p. 565). 10. A. Weber is therefore only partly right when he noted that in S and for that mat ter also in T (see below), the gatha-s are arranged into sections according to their content. According to S. Goldschmidt, as quoted by A. Weber, op. cit., p. 454, the Prakrit of the names of the paddhati - s. is later than that of the gatha-s. From this he concluded that the arrangement must have taken place after the composition of the gatha-s and cannot have been the work of the poets themselves. For me

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113 A Formal Type of Arrangement and Srk are immediately followed by one describing the seasons of the year, which section in T is put at the end (!). In S and T then sections follow which contain gatha-s that make use of a specific poetical device (S: utprek sa, anya padesa; T: annavaesa. ). It is also significant that in all the three collections the sections on love-quarrel (manini or panaakalaha) are immediately followed by those on seperation, also that the section on the good wife is immediately followed (or preceded) by the one on her counterpart." As noted above one of the criteria for classification in both S and T is the theme. The theme is probably the most pivotal concept with respect to the content of the gatha-s, but should be clearly distinguished from what is here called "content". While the content of a gatha is made up by what is literally said in it, the theme is that situation at which the gatha as a whole is purported to hint or allude; and there are only a few of such situations, in contradistinction to the literal content which is as many-sided and diverse as there are gatha-s. The theme is, however, not the only criterion for classification the compilers had at their disposal. For instance, it is obvious that gatha 4 of the Vulgata, which S classified in the utpreksa-vrajya (that is, on the basis of a formal feature, in casu : alamkara) can also be brought into the asati-vrajya, on the basis of theme. Still another criterion for classification is the motif, by what is meant a word (part of the literal content !) that recurs in and plays a striking role in several gatha-s, as for instance madhukara. Probably it might have been possible to classify all the gatha-s on the basis of a relatively restricted number of either figures of speech or motifs. The compiler, however, may have had some definite motive to use different classification systems, like theme, alamkara, motif etc. One may be didactic (for instance for the kavisiksa). For us the classification can serve as a rudimentory commentary to the often highly allusive and enigmatic gatha-s; and especially so those classificatory categories based on theme. When we want to use the classifications of both S and T for this purpose, we should be aware of their nature and the way they work out their classification systems in practice. As said above, in both S and T the gatha-s are not classified on their thematic content only, but also on the basis of formal features. Furthermore, S and T show differences in the inclusion of one and the same gatha in a particular section. There seems not to have been common and traditional cri - teria which settled by hard and fast rule what particular gatha-s must be assigned it is a matter of principle to distinguish between the stage of the composition of the gatha-s and that of their compilation in a kosa,

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114 Herman Tieken to what particular classificatory category. This variance between S and T in the inclusion of a gatha in a particular category seems to be due to either a difference in emphasis or choice or in interpretation. For instance, S classified 128, 143 and 396 in the vasanta-vrajya, T, on the other hand, in the viraha-paddhati and not in the section corresponding to the vasanta-vrajya of S, viz. in a part of the uduvannana "the description of the seasons of the year" found at the end of the 7th cento. The gatha-s contain references to the characteristics of the spring-season : 128: mahumasa- "the spring''; 143 : navacuapallava - "the young sprqut of the mango"; 396 : amvana dalam "leaf of mangos". Each of these three gatha-s, though, taken as a whole, deals with seperation, actual or imminent. Therefore the inclusion of them in the vasanta-vrajya does not exclude the inclusion in the viraha-paddhati or vice versa. In this case the differences in classification are due to a difference in emphasis or choice. A case of difference in interpretation is furnished by 49, which S grouped in the grisma-vrajya and T in the adaana-paddhati. By association the description of the sun-heat (grisma) during the midday in the summer brings to mind the hardship of the traveller (pahia or virahi). S classified 49 in the grismavrajya, the other option within his system being the virahi-vrajya. Since the commentary of T on this gatha is not preserved, I can only guess what the basis was for him to group it in the adaana- paddhati. Possibly T took the gatha to contain the words with which an unfaithful woman invited a traveller inside her house. Here the difference in classification between S and T is due to a difference in interpretation, and both interpretations are mutually exclusive. Because the traditional interpretations are often at variance and lack consistency, it is difficult to assess exactly the content of the gatha-s. On the other hand these gatha-s must be interpreted within the framework of native explanation. One other such traditional literary theory may be found in Tolkappiyam, the oldest Tamil grammar extant, which deals very extensively, amongst others, with poetics. Its position vis a vis the Old Tamil literature, and especially the love poems (Akam) may be compared to that of S and T. In the first place, because this Akam-poetry 12. This against A. Weber who denied that there was any system at all in the order of the sections. With regard to the stana-vrajya of S. (op. cit., p. 437 fnt. 2) he exclaimed: "wie der auf einmal hier hereinschneit!" and goes on with "Es liegt eben gar kein System in der Anordnung und Reihenfolge der einzelnen 6 $ vor." Of course I do not know what his expectations were with regard to this order. The fact that some clusters of sections show up in 3 different kosa-s points already to a common tradition with some fixed order, the rationale behind which we do not perceive. This whole point should be elaborated. More kosa-s should be taken into consideration to get an idea of the spread of this tradition and the

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A Formal Type of Arrangement 115 is, as has been lately recognized", to a high degree identical with the Sanskrit and Prakrit Muktaka- poetry, in subject matter (love), in the different types of love, in associations, in the way they build up the inner tension in the poem, etc. In the second place, Tolkappiyam, also, like S and T is concerned with the classification of literature in distinct categories. Tolkappiyam extrapolated from the corpus of Akam-poetry 5 basic themes of which we find 4 also at work in the Sanskrit and Prakrit Muktaka-poetry (these 4 are reduced to 3 in the latter two, where there is no distinction made, in the theory at least, between the 2 different types of seperation). These themes correspond to those which are headed by asats, viraha and manini or by whatever other names they are labelled with. All the many and diverse situations found in the poems themselves, Tolkappiyam assigned to one or another of these 5 basic themes (the hard and fast rules !). This classification was strictly followed by all the later compilers of the Old Tamil literature. It may be possible that the 'whole corpus of the gatha-s of the Gathasaptasati can be categorized according to the system of Tolkappiyam. According to Albrecht Weber in the other 4 recensions no order whatsoever could be distinguished in the arrangement of the gatha-s. On page 38 of his introduction he wrote:"Wahrend die Vulgata, R und W (for X see page 27 of his introduction.) den Text in einer dem Inhalt nach ungeordneten Form auffuhren, liegt uns derselbe in S ebenso wie in T in bestimmte Gruppen, die hier den Namen vrajya fuhren, geordnet vor." I think, though, that the first part of his observations (i. e. in einer dem Inhalt ...) is not valid for at least one of these 4 recensions, viz. the Vulgata. This Vulgata is a "reconstruction" by A. Weber on the basis of 2 Mss. containing the text of the gatha-s, and 8 Mss. containing in all 4 commentaries, 3 of which also have the text possibilities of variation within it. (there are also differences in the order of the sections in S, T and Srk). As a next step we should try to find out what was the idea behind this system in the order, if any. Furthermore it should be investigated whether the divisions in S and Tare in some way related to any alamkarakama- or other sastra. For instance, it may be possible, I think, to find the different types of women - 12 in all of the 23 paddhati-s in T - in some sastra or another. 13. Siegfried Lienhard, Palai Poems in Sanskrit and Prakrit, in Prof. K. A. Nilakan ta Sastri Felicitation Volume, Madras 1971, pp. 416-422. Siegfried Lienhard, Bauern, Berge, Nacht und Winter, in E. Sluszkiewcz Commemoration Volume, Warsaw 1974, pp. 137-142. G. L. Hart, The poems of Ancient Tamil Literature, Their Milieu and Their Sanskrit Counterparts, California, 1975.

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116 Herman Tieken of the gatha-s themselves: Kulanatha's commentary with the text of the gatha-s, up to 370; Pitambara's comm. with the text of the gatha-s, up to 300; an anonymous commentary (.T and $ ) complete but without the text of the gatha-s, and the commentary of Gangadhara, of which A. Weber had 5 mss. at his disposal; 2, A and E, complete and 3, B, C and, only fragmentary. In one of these, B, the commentary is provided with the text of the gatha-s also from 1 up to and including 129. Since of these, the version followed by the commentator Gangadhara was the most complete, Weber edited the Vulgata according to this version. For the purpose of this paper I will refer to this Gangadhara-version . Since the other versions that make up the Vulgata correspond closely to this Gangadhara-version in respect to the individual gatha-s they include and the order in which they present them, it follows that what is said about this Gangadhara-version is equally valid for the other that make up the Vulgata15. I think that I have found a principle of arrangement in the Vulgata : each gatha is connected with one or more other gatha-s by means of one or more words they have common. For instance: 468 has padali, 469 padala, 469 has sumdara, 470 sundari. In the following paragraphs will be discussed what words are involved in this arrangement, the pattern in which this formal concatenation shows up and as an example a portion of the Gangadhara-version will be treated. After that a possible rationale behind this type of arrangement will be given. Actually all kinds of words are involved in the concatenation : nouns: magga (31-32), marana (42-43); verbs : ruasi, ruvvasu (9-10); adjectives; duggaa. (38-39); adverbs: dara (395-396); personal pronouns: tumam (611-12-13), numbers: ekka (502-503), do (24-27); interjections: aha (300-301). Also different derivates from the same root: bhagga, bhamgura (422-423); nirakkhara, akkhara (191-192); homti, anuhavai (210-211); jua, jovvana (246-247); mana, manailla (26-27) etc. Sometimes the word accurs in a compound in the one gatha and on its own in the other: jaa in 30 in jaabhirua and on its own in 31%. 14. Weber used the term Gangadhara-"recension". I prefer the term "version" to distinguish it from the Vulgata, which is a "recension". 15. Probably also for the R-recension which differs from the Vulgata mainly in that it has transposed whole clusters of gatha-s to other parts of the kosa. 16. It may be mentioned chat, though rarely, also synonyms are involved: kamkelli asoa (404-405), pahae, gose (379-381), rakkha-, samthava- (38-39 ?).

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117 A Formal Type of Arrangement 32 The formal concatenation of the gatha-s shows up in several patterns, for instance in the pattern of A:B, B:C: 30 jaa gamani 31 jaa gamani magga magga, or in that of A:B and A:C: 62 uaha dara nilukka 63 uaha 64 dara nilukka This same pattern also occurs in clusters of more than 3 gatha-s. 493 ruavia do 494 rovasti 497 498 do Sometimes the concatenation has the form of a chiasmus. ghara vacca vannaa pariumvana 21 ghara vacca pariumvana vanna or: 308 palasa 309 310 genhamti 311 palasa genhamti Also within larger groups, besides immediate connection between nearby gatha-s, an interlocking over greater distance is visible. suasi amga suasi pauttha vai amga chana, soha sohagga homti disamti pautthavas panaajana 72 hoi 312 disamta

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118 Herman Tieken osarai gahia oarai panaajana gahia sohagga chana nhana nhana 80 soha Pautthavas (66) is taken up again in 70 and seems to tie together the clusters 65-6-7 and 70-1-2, and panaajana in 71 and 76 (two gatha-s not otherwise connected) the clusters 70-1-2 and 74-5-6-78. Sohagga (69), chana and soha (68) (68 and 69 are not otherwise integrated) are taken up again in 79 and 80 and seem to connect the "higher-level" cluster formed by pautthavaf with that one formed by nhana and to overlap in this way the cluster with panaajana. As can be expected there do occur gatha-s that are not integrated in this formal way, for instance 157-8-9 in 155 suraa cista 156 suraa 157 158 159 160 cimta Such gatha-s may have been placed there on the basis of several other principles than that of concatenation by means of words. I want to avoid the term "interpolation" in this context. In the first place because the compiler of a kosa is - or can feel himself - fully in his right to deviate from his main principle of arrangement, and in the second place because I am not able to distinguish these deviations from the changes made by scribes (which are indeed interpolations !). A concatenation by means of words can be seen in the whole of the Gangadharaversion, although one may incidentally come across with gatha-s or groups of gatha-s that are not formally integrated. This concatenation shows up in different patterns, while also the amount of complexity of these patterns may vary. In the following paragraph I will discuss a sample portion from the Gangadharaversion, from gatha 30 up to and including 51. I do not claim that this portion and the pattern of concatenation as found in it is representative for the whole of the version, nor that it is not. I even have the impression that the pattern in which the words that are repeated show up is extremely complex. On the other hand I think that what can be said about this portion in terms of generalizations is in a way also

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119 A Formal Type of Arrangement applicable to the whole of the Gangadhara-version and for that matter to the whole of the Vulgata. 30 nikkiva jaabhirua duddamsana nimvakida sariccha gamo gamaninamdana tujjha kae taha vi tanuai. (S: upalambha-vrajya; not in T ) O! you who are without pity, shy in front of women, who rarely show up and are sour like a nimba-worm ! Because you are like this, o. son of the village-head, the village is growing meagre. 31 paharavanamaggavisame jaa kicchena lahai se siddam gamaniuttassa ure palli una se suham suar. (S: subhata-vrajya; not in T) The wife hardly gets sleep lying against the chest of the son of the village-head, which is rough with the marks of wounds made by swordstrokes. His village, though, sleeps happily. 32 aha sambhaviamaggo suhaa tue ccea navara nivvudho enhim hiae annam annam vaai loassa. (s: gotraskhalana-vrajya; T: panaakalaha-paddhati) Ah! The respected way, o fortunate one, is taken up by no one but you, One thing now in the heart of the people, is another thing in the mouth. 33 unhai nisasasto kisa maha parammuhia saanaddhe hiaam palivium anusaena putthim palivesi. (S: manini-vrajya; T: panaakalaha-paddhati) After having burnt my heart, why are you burning my back with hot sighs, full of repentance, while I ly on my half of the bed, turned away from you ? 34 tuha virahe citaaraa tissa nivadamtavahamaslena rairahasiharadhaena va muhena chahi ccia na patta. (s: virahini-vrajya; T: duivaana-paddhati) O! you who tarry, her face spoiled by tears falling because of your absence, has not got its lustre, as the banner on the top of the car of the sun. 17. I do not exactly know what the meaning of this simile is.

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120 Herman Tieken 35 diarassa asuddhamanassa kulavahu niaakuddalihiai diaham kahei Ramanulagga Somitticariaim. (S: sati-vrajya; T: kulavahu-paddhati) To her brother-in-law who has unpure thoughts, the noble wife tells during daytime of the acts of Saumitri who was attached to Rama, which are drawn on her own walls. 36 cattaragharini piadamsana a taruni pautthavaia a asaf saajjia duggaa a na hu khamdiam silam. (S: satf-vrajya; T: adaana-paddhati) A houesewife of beautiful appearance, young, her husband abroad, a wicked neighbour-woman at hand, and above all poor, how can it be that her virtue will not be broken? 37 talurabhamaulakhudi akesaro girinafa purena daravuddavuddanivvuddamahuaro hiraf kalamvo. (S: madhukara-vrajya; not in T) The kalamba-tree is dragged away by the stream of the mountain-river, its foliage is scattered by the rashness of the whirls, but the bee sticks to it and with it goes under, a little, deep and comes up again. 38 ahiaimanino duggaassa chaim paissa rakkhamti niavamdhavana juraf gharini vihavena emtanam. (S: manini-vrajya; T: kulavahu-paddhati) Taking the side of her husband who is poor and has false notions about what is noble, the wife scolds at her own relatives who come with riches. 39 sahine vi piaame patte vi chane na mamdio appa duggaapautthavaiam saajjiam samthavamtie. (S: asati-vrajya; not in T) Though her dearest lover is at hand, and the day of the festival has come she does not decorate herself lest her neighbour-woman who is poor and whose husband is abroad, gets exited. 40 tujjha vasai tti hiaam imehi dittho tumam ti acchfim tuha virahe kisiai ti tie amgai vi piaim. (S: dutf-vrajya; T: duivaana-paddhati) Her heart in which you live, her eyes with which she sees you, her body which has become meagre in your absence, are dear (to you).

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41 42 A Formal Type of Arrangement sabbhavanehabharie ratte rajjijjai tti juttam inam anahiae una hiaam jam dijjaf tam jano hasaf. (S: upalambha-vrajya; not in T) It is right that one bears love towards somebody who is capable of love himself and has a heart by nature full of love, but the people will laugh at her who gives her heart to someone who has no heart. arambhamtassa dhuam lacchi maranam va hoi purisassa tam maranam anarambhe vi hoi lacchi una na hoi. (S: sahasa-vrajya; T: suhasia-paddhati) To that man who undertakes things, riches or death are sure to come. To him who undertakes nothing death is sure, but riches are not. 43 virahanalo sahijjai asavamdhena vallahajanassa ekkaggamapavaso mae maranam visesei. (S: virahini-vrajya; T: panaakalaha-paddhati) The fire of seperation I can stand by the bond of hope, but, mother, when my lover is out of reach, though in the same village, that is even worse than death. 46 44 akkhadai pia hiae annam mahilaanam ramamtassa ditthe sarisammi gune sarisammi gune afsamte. (S: jati-vrajya; not in T) His dear girl will return in his heart while he enjoys himself with other women whether he sees or does not see equal qualitites. 45 naipurasacchahe jovvanammi afpavasiesu diahesu aniattasu a raisu putti kim daddhamanena. (S: santi-vrajya; T: panaakalaha-paddhati). Youth is like the stream of a river, days pass, nights will not return, what then, daughter, is the use of this cursed pride? kallam kira kharaniao pavasihai pio tti suvvaf janammi taha vaddha bhaavaf nise jaha se kallam cia na hoi. (S: bhavisyadvirahini-vrajya; T: suraa-paddhati) The people know that my dear one will go away tomorrow-morning, cold-heartedly, therefore grow long o! venerable night, so that tomorrow-morning will not come. 121

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122 Herman.Tieken 47 homtapahiassa jaa aucchanajsadharanarahassam pucchamti bhamas gharam gharena piavirahasahirio. (S: bhavisyadvirahins-vrajya; T: viraha-paddhati). The wife of the prospective traveller goes from door to door asking those who can stand the seperation of their loved ones for the secret to stay alive after the farewell. 48 annamahilapa samgam de devva karesu amha dasassa purisa ekkamtarasa na hu dosagune vianamti. (S: guna-vrajya; T: anuraa-paddhati) He, Fate ! let my lover have contact with other women; men who concentrate their love on one cannot distinguish between fault and quality. .. 49 thoam pi na nii ima majjanhe ua sariratalalukka aavabhaena chahi vi ta pahia visamasi. (S: grisma-vrajya; T: adaana-paddhati) This shadow does not leave the body even a little bit, but clings to it, out of fear for the sun-heat in the midday. Why then o! traveller, do you not rest? 50 suhaucchaam janam dullaham pi durahi amha anemta uaaraa jara jiam pi nemta na kaavaraho si. (S: anuraga-vrajya; T: khamdia-paddhati) o helpful fever, who brought him from far to ask after my welfare, even when he was difficult to get, if you now take my life you will not be a criminal. 51 ama jaro me mamdo ahava na mamdo janassa ka tatti suhaucchaa suhaa suamdhagamdha ma gamdhirim chivasu. (S: manini-vrajya; T: khamdia-paddhati). Whether my fever is slight or not, what concern is it to others. You who ask after my welfare, happy one, you who smell nicely, do not touch me who stink. 30 and 31 are connected by the words jaa- and gamani ( the latter in the compounds gamani-nahdana and gamani-utta respectively both meaning "son of the village-head'). Although in the first place I will try to show that the gatha-s are formally connected, other types of connection should not a priori be ruled out, one of them being content. For instance, both 30 and 31 deal with the immoral woman (asati)

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A Formal Type of Arrangement 123 who is represented in 30 by the women who are pining away because they cannot meet the man whom they are chasing after, in 31 either by the woman who is described as having a secret tryst with her lover, or by the woman addressed, who is advised to meet her lover by night, since then the village is fast asleep. So we may possibly assume that these two gatha-s are linked together by thematic content. A second person singular pronoun connects 30, 32, 34 and 40, in all these gatha-s referring to the man who is addressed. It is difficult to decide, though, whether or not the compiler has intended these pronominal forms to connect the respective gatha-s, since they do occur very frequently, most of the gatha-s being in the form of an address. The same can be said about all the other personal pronouns like the 3rd p. sg. pron. in 31 (se) and 34 (tissa) both referring to the woman, an asati and a virahini resprectively. 30 is also connected with 24 and with 36 by damsana, 24 lies outside the scope of this example. 36 is a gatha that alludes to the prospective unfaithfulness of the woman (asati), Its thematic content is therefore identical with that of 30. 31 in its turn is formally connected with 32 by magga and suha (suhaa in 32)18, with 34 by the 3rd p. sg. pron. (see above under 30) and with 28 by pahara. The translation of 28 is the following: "Every time the brother-in-law wants to strike the woman with a jasmine sprout on a part of her body, on that part her hair rises in delight"19 In both 28 and 31 the unfaithfulness of the wife is central. Here pahara connects two gatha-s that belong to the same theme. On the other hand the strokes (pahara) in 28 bring delight to the woman, those in 31 have caused deep wounds on the chest of the man. 32 is formally connected with 33 by hiaa. 32 is grouped by S in the gotraskhalanavrajya which contains gatha-s in which the man is reproached by his girl-friend or wife who is angry with him because he has addressed her with the name of another woman. The gotraskhalana of S refers to a subsituation to that theme which is labelled by manini. By T this gatha, together with 33 (S: manini-vrajya), is therefore grouped in the panaakalaha- paddhati since in both a sulky woman is central. Here we may assume 18. Even if suha (31) derived from Skt. sukha, and suhaa (32) from Skt. subhaga, they have anyhow become homophonous in Prakrit. 19. Here might be involved an association furnished by Hemacandra's gloss of navalaya "jasmine sprout" (Desin 4, 21) "a vrata in which the wife is beaten with a jasmine sprout when she refuses to tell the name of her husband". In some communities in India there is a taboo for women to mention the name of their husbands, which taboo in this gatha is treathened to be broken.

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124 Herman Tieken that 32 and 33 are linked together, beside by a formal element, by their thematic content also. 33 and 34 are connected by means of muha, the face of a manini and of a virahini respectively. 34 is formally connected with 31 by the 3rd p.pron, and with 38 and 49 by cha(h)f. 34 and 49 describe different situations within the realm of one theme i. e. that of separation: 34 describes the state of the wife at home (the virahina) and 49 the sun-burnt territory, the description of which by association brings to the mind the hardships of the wayfarer. chahi connects these with 38 which describes either a manini or a sati. By means of patta 34 is connected with 39 which alludes to the passed unfaithfulness of the wife while her husband was away. In this respect 39 is quite different from 34 in which the woman is portrayed as passively suffering in the absence of her husband. 35 is connected with 28 by diara- (deara- in 28) and with 38 ny nia(a). Both 28 and 35 make use of the description of the relation between the wife and her brother-in-law, but in 28 the wife's unfaithfulness is central, against her faithfulness in 35. On the level of thematic content 28 and 35 are opposite. Furthermore in 35 the brother-inlaw is kept at a distance, in 38 her relatives or the prospective paramour to whom this gatha is supposed to have been addressed. 35 is not formally connected with the gatha-s that immediately precede or follow, still it might have been placed here because its content is opposite to that of 36, which T grouped in the adaana-paddhati (S grouped it in the satf-vrajya but this makes less sense.) 36 is formally connected with 30 by damsana (see above under 30) with 38 by duggaa pai, gharins and with 39 by duggaa, pautthavas and saajjia. 36 is opposite in thematic content to 38 as can be judged from their inclusion in T in the adaana- and kulavahupaddhati respectively. 39 is not found in T but s, grouped it rightly in the asativrajya, which means that in thematic content it is identical with 36 and opposite to 38. 37 is formally connected with 45 by naf and pura. According to Gangadhara 37 deals with the expected lifelong faithfulness of the lover (the madhukara), who of course cannot meet this expectation. This could have been the reason why this gatha is placed between 36 and 38 which allude to an unfaithful and faithful woman respectively but with which it is not formally connected. 38 is formally connected with 34 by chaht, with 35 by nia(a) and with 36 and 39 (see above).

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125 A Formal Type of Arrangement 39 is connected with 34 by patta and with 36 and 38 (see above). 38 and 39, beside by the words already enumerated at 36, are also connected by rakkha- and samthavarespectively, which are probably synonyms. As said above, 38 and 39 are opposite in thematic content. The gatha-s 35 up to and including 39 seem also to be strung together in that they all play out the opposites faithfulness and unfaithfulness. The connection between 40 and 30, 31 and 34 by means of the 2nd p. sg. pronoun. looks to be accidental and not relevant (see under 30). 40 is connected with 41, 44 and 46 by hiaa, with 44, 46 and 47 by pia, with 43 and 47 by viraha, with 44 by dittha and with 41 by the use of the quotative particle '(t)ti.It can hardly be so that the gatha-s in which hiaa- and pia- occur are all indeed intentionally connected by them, since these words are very common and in some cases the distance between the gatha-s is relatively great. On the other hand it might be sound to assume that 40-41 and 44-46 are indeed intended to be connected by hiaa. The same could be said about 44-46-47 by pia. 40 consists of the words of a duti who describes the state of the virahini to her husband or lover, 41 warns against a mismatched love-affair. 40 and 41 are therefore different in thematic content. (the content of 43, 44, 46 and 47 will be treated below). 41 is connected with 42 by the use of the a-privans in anahiaa- and anarambha- respectively, furthermore with 44 by rama-, and with 43, 44, 46, 50 and 51 by jana, With regard to jana I may repeat what I said about the connection by pia and hiaa at 40. It may be sound to except an intended formal connection by such a common word as jana between 43 and 44 and between 50 and 51 and to consider irrelevant that one of 41 or 46 with those. 42 is connected with 43 by marana. 42 tells a man not to let the fear for death check him in his search for richess, in 43, though, a girl tells what pitiful circumstances will lead to her death, namely her husband or lover being in the same village, but not coming to her. These two gatha-s are in a way opposite in content: a man should not be afraid of death, he should even seek it because death in action is an honoured thing, but the woman's death will be caused by circumstances which she did not long for. 43 is connected with 40 and 47 by viraha, with 47 by saha-, with 45 and 46 by pavasa-, with 48 by ekka and with 44 by jana-(for jana see above under 41). T grouped 43 in the Panaakalaha-paddhati (against S: virahini-vrajya). Although 44 is not found in T, together with 45, it can also be grouped in that same paddhati. With 43, 44 and 45 we have a sequence of 3 gatha-s that pertain to the same situation or theme: i. e.

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126 HermanTieken that of the unfaithfulness of the man, the subsequent sulky mood of the woman and of her reconciliation or the advice to that end (santi). 44 is connected with 40 by dittha, with 41 by rama-, with 43 by jana and with 48 by mahila, guna and anna (I leave out of consideration the words hiaa and pia which occur in it and the connection made by them). 44 is a gatha in which a woman condones the unfaithfulness of her husband. In this respect it is identical to 48. 45 is connected with 43 and 46 by pavasa- and with 37 by nai and pura. " 46 is connected with (40), 44 and 47 by pia, (with 41, 43, 50 and 51 by jana) (with 40, 41 and 44 by hiaa) with 43 and 45 by pavasa and with 42 and 47 by ho-. This last word 20 connects 46 and 47 in enjambement. S grouped 46 and 47 in the bhavisyadvirahinivrajya. Here again we have a cluster of two gatha-s that are identical in thematic content and are above this tightly knit together in enjambement, a formal feature. 47 is connected with 46 by pia, with 40 and 43 by viraha, with 43 by saha, with 49 by pahia, with 50 by ucchana and jia, with 51 by ucchana and with 46 and 42 by hoi. 48 is connected with 43 by ekka and with 44 by anna, mahila and guna. In 48 a woman makes allowances for the unfaithfulness of her husband and as such is nearly identical to 44 in content, but also to a very high extent in words. It pertains to the same situation or theme as do 43, 44 and 45. Note in this connection the name of the poet to which this gatha is ascribed: Aniru (d) dha "he who is not checked"21 48 is also 20. For other cases of enjambement 62-63-64; 160-161-162; 310-312 (with one gatha intervening); 543-544, 545-546 and probably more. 21. Aniruddha is not the only name for a poet formed after an idea or, as also occurs, after a word in the gatha. Besides Aniruddha we find in Pitambara's commentary Kalasara with 25, Gatalajja with 57, Prahata with 86 and Kalamka with 151. Perhaps Karna with 54 belongs also here. Also in the commentary of Bhuvanapala, edited separately in Indische Studien, 16, pp. 1-201, we come across such names. However, in this commentary, in which the text follows the order of the R-recension, the names are generally found with the gatha following the one to which it belongs, e. g. Kalasara with 24 (= ed. 26) in fact belonging to 23 (= ed. 25), Nihko pa with 387 (= ed. 187) belonging to 386 (ed. 186) etc.. Interestingly enough Sthirasaha with 99 (ed. 168) fits better with 367 (= ed. 167), i. e. the gatha immediately preceding it in the Vulgata, than with 98( ed. 96); Pavana with 521 (= ed. 498) better with 450 (= ed. 497) than with 520 (= ed. 627) and Nila with 414 (= ed. 396) better with ed. 395 (missing in Bhuvanapala) than with 413 (= ed. 412). From these 3 cases it seems as if Bhuvanapala borrowed these names from a recension of the type of the Vulgata, where they had already shifted to the following gatha. It might be equally possible that the mistake was made by Bhuvana pala himself. Since the names are sometimes written before and sometimes after the gatha to which they belong, it might be possible that, while borrowing them from

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127 A Formal Type of Arrangement connected with 52 and 53 by jna and rasa respectively. These gatha-s though, fall outside the limits I have set to this example. 49 is connected with 47 by pahia, with 34 and 38 by chaht (see under 34) and with 50 by ni. While in 47 the traveller is bound to go away, in 49 there are hints at the hardship that the traveller meets on his way. (s: grisma-vrajya; I can only guess at how T interpreted this gatha so as to include it in the adaana-paddhati). In this case the formal connection is given an extra dimension in that 47 tells of the hardship a woman fears when she is left alone and 49 of the hardship that the traveller meets after he has left her. 50 is connected with 47 by ucchana and jia and with 51 by jana, suhaucchaa and jara. Both 47 and 50 deal with separation; but in 47 the woman seeks a remedy to stay alive when left alone, while in 50 she begs the fever to take away her life. While 50 and 51 have 3 words in common namely : jana, suhaucchaa and jara they differ in content. In 50 the woman is in a pitiful state and wants to give up life, but in 51 the woman, though feverish, is still strong enough to reject her husband. In this sample portion one may come across with some clusters of gatha-s that seem to be linked together by their content, for instance: 35 up to including 39, each dealing with one of the opposites unfaithfulness and faithfulness, 43, 44 and 45 probably belong to one and the same theme, as do 46 and 47, and 32 and 33. Also some gatha-s seem to be linked together by opposition of content, like 35 and 36, 38 and 39 or 42 and 43. On the other hand it seems not possible to integrate in this way 34 with 35, 45 with 46 or 47 with 48 or 49 etc. All the gatha-s, though, are indeed formally integrated the recurrent words yielding the following pattern as given in scheme 1. Sometimes this formal connection is given an extra dimension by the content of the respective gatha-s, for instance : anna, mahila and guna connecting two gatha-s that belong to the same theme, namely 44 and 48, or pahia connecting two gatha-s, 47 and 49 each of which deals with different or complementory aspects of the theme of separation. More examples for this can be found in the discussion above. It is sometimes difficult to decide whether a gatha is placed where it stands on the basis of a word or on the basis of its content. For instance 46 and 47 are formally to think they beihe verse are aman, Elders' 1991, p. XXII, a Ms. of the Vulgata-type where the names were written after the gatha, Bhuvana pala made the mistake to think they belonged to the gatha they preceded. Names formed after an idea or word in the verse are also reported in other kosa-s, namely the Thera- and Therigatha. (K. R. Norman, Elders' Verses I, London, 1969, p. XXII, section 6c, and Elders' Verses II, London, 1971, p. XXII, section 7c, d). It is also quite common in the Classical Tamil anthology Ettuttokai.

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128 Herman Tieken connected by pia and ho, but also have the same thematic content. Because each of them is also connected with others that immediately surround them it seems sound to assume that they are placed there on the basis of formal features. On the other hand 37 is not formally integrated with its immediately surrounding gatha-s and it seems as if only its content prevented it from being placed near to 45 with which it is connected by nai and pura. 22 To my knowledge the indigenous Indian literary tradition maintains a complete silence on this type of arrangement in a kosa as found in the Vulgata. This might be explained from the fact that, though it is attested in the case of a few hymns in the Atharva-Veda' it has certainly not been common. As far as I know it is not found in any other collection in Sanskrit or Prakrit literature, but in the Vulgata recension of the Gathasaptasati. But also Gangadhara is completely silent on this formal arrangement in the kosa he was commenting upon. Though it is dangerous to press this argumentum ex silentio too far, this might mean that he was not aware of it. Between the compilation of this kosa (?) and the commentary of Gangadhara (?) must have lain a considerable time-gap, anyhow long enough for people to have forgotten about the arrangement, or, alternatively, a considerable distance in space. Furthermore this kosa must have been credited with a high authority, since 4 commentators took up the task of writing a commentary upon it and left it practically in its integral form. While this formal type of arrangement is attested for the Atharva-Veda, it does not necessarily follow that its application in the Vulgata of the Gathasaptasati is a direct continuation of a tradition of arrangement, first attested in the Atharva-Veda, It might well be the case that in the Vulgata it made its reappearance in Indian literature, after having been in disuse for some time. These gatha-s were possibly sung or recited in the competitive environment of the sabha of the king" or the meeting-place in the village*. 23 24 22. Bloomfield, The Atharva Veda and the Gopatha- Brahmana, p. 39. 23. R. Pischel, Die Hofdichter des Laksmanasena, Gottingen 1893, p. 5. 24. I leave out of this very hypothetical discussion the question whether this type of poetry is court-poetry or the poetry of the common folk, as some like to believe, or whatever gradations there are in between.

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129 A Formal Type of Arrangement Here the main aim of the poet was to surpass his colleagues in expressing the same thing more beautifully to receive their approval or become the "Kaviraja" and to gain the patronage of the king. He could show his ability by varying on what he thinks is pivotal in the content of the gatha-s of his competitor (the birth of the content of theme) or by taking one or more words from the gatha-s of his competitor and by using them in gatha-s, different in content. (I wonder when it was decided, and by whom, who the winner was). These two ways along which to compete in composing, could also have been means for instructing young, prospective poets in the art of poetry. The latter principle that takes the word(s) as starting point could have lain at the root of the type of arrangement of the gatha-s in the Gangadhara-version of the Gathasaptasati.

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Scheme I 30 jaa gamani 31 jaa gamani magga 32 hiaa 33 34 35 36 37 38 duggaa 39 40 41 42 43 44 45 46 47 48 49 50 51 hiaa muha muha suha pahara (28) magga suhaa diara (28) duggaa pautthavaf saajjia gharini pai duggaa pautthavai saajjia 'tti 'tti anmarana hoi an marana pahia ni pavasa gharini hiaa hiaa jana pavasa hoi pavasa hiaa jana pahia hornta jia ani jia jana hiaa jana pia jana jana. jna (52)rasa (53) pia pia chahi patta chaf ratta patta pia ramamta niaa ekka chahi nia viraha ekka viraha saha (also 24) damsana tujjha se tissa tuha damsana nai, pura dittha tuha nai, pura tue dittha viraha saha aucchana jara suhaucchaa jara suhaucchaa 130 mahila, guna, anna mahila, guna, anna

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