Swayambhuchand

Author(s): H D Velankar
Publisher: Rajasthan Prachyavidya Pratishtan
Catalog link: https://jainqq.org/explore/023463/1

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rAjasthAna purAtana granmamAlA pradhAna sampAdaka-padmazrI jinavijaya muni, purAtattvAcArya [sammAnya saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura ] granthAGka 37 mahAkavi svayambhU kRta svayambhUchanda Hui Hui Liu Dao Tong Ri dhArayariya Min Guo Guo Min Jian Xian prakAza ka rAjasthAna rAjya saMsthApita rAjasthAna prAcyavidyA pratiSThAna RAJASTHAN ORIENTAL RESEARCH INSTITUTE, JODHPUR jodhapura (rAjasthAna)

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rAjasthAna purAtana gatyamAlA pradhAna sampAdaka - padmazrI jinavijaya muni, purAtatvAcArya [sampAya saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna, codhapura ] granthAGka 37 mahAkavi svayambhU kRta svayambhUchanda prakAzaka rAjasthAna rAjya saMsthApita rAjasthAna prAcyavidyA pratiSThAna jodhapura (rAjasthAna) RAJASTHAN ORIENTAL RESEARCH INSTITUTE, JODHPUR

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rAjasthAna- purAtana granthamAlA rAjasthAna rAjya dvArA prakAzita sAmAnyata: akhila bhAratIya tathA vizeSataH rAjasthAnadezIya purAtanakAlIna saMskRta, prAkRta, apabhraMza, rAjasthAnI, hindI prAdi bhASAnibaddha vividha vAGmayaprakAzinI viziSTa granthAvali pradhAna sampAdaka padmazrI jinavijaya muni, purAtatvAcArya sammAnya saMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura; oNnarera membara oNpha jarmana orienTala sosAiTI, jarmanI; nivRtta sammAnya niyAmaka ( oNoNnareri DAyarekTara ), bhAratIya vidyAbhavana, bambaI; pradhAna sampAdaka, siMghI jaina granthamAlA, ityAdi granthAGka 37 mahAkavi svayambhU kRna svayambhUchanda : prakAzaka rAjasthAna rAjyAjJAnusAra saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna jodhapura ( rAjasthAna )

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mahAkavi svayambhU kRta - svayambhUchanda sampAdaka pro. eca. DI. velaNakara, ema. e. pro saha-saJcAlaka, bhAratIya vidyAbhavana, bambaI ke prakAzanakartA rAjasthAna rAjyAjJAnusAra saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna jodhapura ( rAjasthAna ) vikramAbda 2018 / prathamAvRtti 1000) bhAratarASTrIya zakAbda 1884 khristAbda 1962 ra / mUlya 7.75 mudraka-mauja priMTiMga byuro, bambaI mukhapRSTha mAdi ke mudraka-hariprasAda pArIka, sAdhanA presa, jodhapura

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RAJASTHAN PURATANA GRANTHAMALA PUBLISHED BY THE GOVERNMENT OF RAJASTHAN A series devoted to the 'Publication of Samskrit, Prakrit, Apabhramsa, Old Rajasthani-Gujarati and Old Hindi works pertaining to India in general and Rajasthan in particular. PADMASHREE GENERAL EDITOR JINVIJAYA MUNI, PURATATTVACHARYA Honorary Director, Rajasthan Oriental Research Institute, Jodhpur; Honorary Member of the German Oriental Society, Germany; Retired Honorary Director, Bharatiya Vidya Bhawan, Bombay; General Editor, Singhi Jain Series etc. etc. V. S 2018 ] * * No. 37 SVAYAMBHUCHHANDA of Mahakavi Svayambhu Published Under the Orders of the Government of Rajasthan By The Hon. Director, Rajasthan Prachya Vidya Pratisthana (Rajasthan Oriental Research Institute) JODHPUR (RAJASTHAN) All Rights Reserved [ 1962 A.D.

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PREFACE - It is a matter of great pleasure for me that the Rajasthan Puratana Grantha mala publishes herewith as its No. 37 Svayambhu's important manual of Prakrit and Apabhrams'a metres, called Svayambhucchandas. Systematic accounts of Sanskrit and Prakrit-Apabhramsa prosodies reached their culmination in Hemacandra's Chandonusrasana. The Svayambhucchandas was one of the basic sources of the latter. . Hemacandra's arrangement, classification and illustrations of metres owe much to Svayambhu. But the importance of the present work is not confined merely to the fact that it was a two hundred and fifty years senior ancestor of the famous Chandonusasana. The Svayambhucchandas is unique in several other ways too. Firstly, Svayambhu himself was a Kavirajaa front rank poet with several voluminous epics of acknowledged merit to his credit. The literary worth of one published work of Svayambhu viz, Paumacariu (edited by my beloved pupil and learned colleague, Dr. H. C. Bhayani, a profound scholar of Apabhrais'a and allied literature and published by me in 1953 and 1960 in three volumes in the Singhi Jain Series) is ample enough to establish it as a high water mark of Apabhrais'a poetry. Svayambhu's account of metres, therefore, bears that stamp of authority of a practising artist, which the work of a mere theoretician would lack. And some of the illustrations in the Svayambhucchandas are in fact taken from the Paumacariu (vide Appendix III, pp. 241-242 of the present volume.) Secondly, unlike Hemacandra who has composed his own illustrations, Svayambhu has drawn upon more than eighty earlier (or contemporary) Prakrit and Apabhrais'a authors to illustrate his metrical definitions. This fact by itself is enough to make the Svayambhucchandas highly authoritative Incidentally, however, so many citations of greatly varying form and content from divergent sources give us for the first time (if we exclude the stray lyric anthologies, with their near-worthless ascriptions) names of a host of authors who, over centuries preceding

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. Svayambhu, were responsible for cultivating an abundant and rich literature in Prakrit and Apabhramsa. Though about most of these names we know nothing more, they are strong evidence of a respectable and vigorous literary tradition. This is again more than confirmed by the aesthetic appeal and freshness that invest many of the cited verses. It is again from the Svayambhucchandas, that we get a clearer picture of the form and structure of Sandhibandha and Rasabandha, the two most characteristic genres of Apabhrams'a literature. Several obscure points too in Hemacandra's work are clarified and some welcome light is shed on the function of several classes of matra-metres. Such points of importance of the Svayambhucchandas can be easily multiplied. The credit of rescuing so valuable a work from oblivion goes entirely to my learned friend Prof. H. D. Velankar, whose researches in the field of classical Indian metres are too important and wellknown to need any mention here. His earlier edition of the Svayambhucchandas was based on a single and then only known manuscript from Baroda, which was moreover fragmentary. The printing of the same text revised for the Rajasthan Puratan Granthamala was nearing completion when fortunately, he received quite unexpectedly a palm leaf fragment of another manuscript of the Svayambhucchandas which, along with numerous Buddhist manuscripts was discovered in a Tibetan monastery by the great savant and my friend Pandit Rahula Sankrityayana, and which to a large extent supplied the missing portion of the Svayambhucchandas. The findspot of this new Ms. fragment and its Old Bengali script are quite significant for the spread and authority of Svayambhu's work. Though the two fragmentary Mss. between themselves cover a major portion of the original text, there still remain several serious lacunas. Prof. Velankar has, as is his wont, spared no pains to increase the usefulness of the edition. The critical introduction, translations and informative and comparative notes, besides several indices and appendices readily reveal his acumen, thoroughness and erudition. Moreover, he has also included in the present edition Rajasekhara's Chandahsekhara, an eleventh century Sanskrit version of the Svayambhucchandas, only ent of which con he fifth KUI ILULILUL LUI PIIS111 CUCHILL

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( iii ) chapter is preserved to us. Someday we may hope to discover the missing portions of the prosodic works of Svayambhu and Rajasekhara. I am very happy to say that we have arranged to bring out further in this series two other equally important works of classical Indian prosody, viz. the Vrttajatisamuccaya of Virahanka and the Kavidarpana, both edited by Prof. Velankar. His co-operation is always readily forthcoming, one happy result of which was his standard and scholarly edition of Hemacandra's Chandonusasana which I was glad to include in the Singhi Jaina Series and publish in 1961. In conclusion, it is earnestly hoped that for the lovers of Prakrit and Apabhrais'a literatures, the publication of the present work will serve to enhance the enjoyment, as Svyambhu declares, 'of the charm and elegance' of the polished and sophisticated muse of Svayambhu and his worthy poetic predecessors and successors. -JINA VIJAYA MUNI Rajasthan Oriental Research Institute, Branch : Chittodgadh (Rajasthan) 21-2-1963

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The Rajasthan Oriental Research Institute, JODHPUR AIMS AND OBJECTS 1. 3. To explore and bring to light the ancient literature of Rajasthan and adjacent area as available in Samskrit, Prakrit, Apabhramsa, Rajasthani - Gujarati Vraj, Hindi and other regional languages. To collect, preserve, compile and carry out survey of original source-materials of the ancient History and Culture of Rajasthan i.e. Architecture, Paintings, Arts, Inscriptions, Copper-plates, Coins, Documents etc. To collect old manuscripts and to prepare their pen-copies, microfilmed and photostat copies and sound records etc. To organise a well equipped reference library of books useful and indispensable for research work in the field of Indology. To investigate, record, interpret and present clearly : . (i) the varied folk-literature throwing light on publiclife in Rajasthan. (ii) devotional and canonical literature embodied in the lyrics of various religious sects. (iii) all sorts of material related to the social, cultural, religious customs and secular practices. 4. s.

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TABLE OF CONTENTS Preface by the General Editor Abbreviations p. ii Introduction : (Figures within the brackets refer to Paragraphs). Introductory (1-3); the Baroda manuscript of the Svayambhucchandas (4); the Palm-leaf manuscript from Tibet (5); the five Ambas or Matra Ganas (6); Gatha derived from Skandhaka (7); origin of Gatha (8); contents of the Palm-leaf manuscript: Giti, Galitaka, Khanjaka, Sirsaka (9); Magadha Jati, where the Vaitaliya group is derived from the Magadhika (10); Contents of the Baroda manuscript : Varna Vsttas and their peculiarities (11-12); Ardhasama Vsttas (13); Visama Vsttas (14); shorter and longer Catuspadis are respectively called Vastuka and Dhruvaka by Svayambhu (15); Rajasekhara follows Svayambhu in this distinction, while Hemacandra does not (16); Phonetic peculiarities of Apabhramsa prosody noticed by Svayambhu (17); Utsaha, Doha, Matra and Vadana with their varieties; terms of general signification like Dhavala, and Mangala employed by Svayambhu (18); Rasabandha and Sandhibandha Kavyas in Apabhraisa (19-20); illustrations in Svayambhu (21-22); his directions about the inter-relation between the Varna Vrttas of different length and their origination from one another (23); the underlying principle which helped in the growth of new metres from the old (24); Svayambhu was conscious of this, but has not clearly enunciated it nor followed it up systematically (25); Chandahsekhara of Rajasekhara : Contents of the available chapter (26); Svayambhu and Rajasekhara (27); manuscript of Chandahsekhara (28); Rajase khara : his date and account (29); conclusion (30). Text of Svayambhucchandas (Uttarabhaga) 1-102 Text of Svayambhucchandas (Purvabhaga) 103-127 Variant Readings from the Palm-leaf manuscript 128 Chandahsekhara (Adhyaya V) of Rajasekhara : Text 129-139 Index of Matra Vsttas 140-148 Index of Varna Vsttas 149-151 Index of Illustrative Stanzas 152-155 Index of Authors of Quoted Stanzas 156-157 Brief Notes 158-236 Appendix I : Concordance of Svayambhucchandas and Chandahsekhara 237 Appendix II : Concordance : Old and new editions 238 Appendix III : Concordance of Svayambhucchandas and other works 242 Additions and Corrections 243-244

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ABBREVIATIONS Ck. Chandahkosa of Ratnasekhara, as published as Appendix II in the edition of the Kavidarpana mentioned under Kd below. . H. Hemacandra's Chandonusasana as published in the Jayadaman pp. 94-113, mentioned below. HPk. Hemacandra's Prakrit Chandonusasana, i. e., chs. IV to VII of the work mentioned under H. above, edited with Svopajna Tika and Tippana at Journal BBRAS., 1943 and 1944. Jayadaman : A Collection of four ancient texts on Sanskrit Prosody, namely, Jayadevacchandas of Jayadeva, Chandonusasana of Jayakirti, Vsttaratnakara of Kedara and Chandonusasana of Hemacandra, published by the Haritosa Samiti (c/o the Sanskrit Department, Wilson College, Bombay 7), Bombay 1949. Jd. Jayadevacchandas as published in the Jayadaman, pp. 1-40; see above under Jayadaman. Jayakirti's Chandonusasana, as published in the Jayadaman, pp. 41-70; see above. Jns. Janasrayi Chandoviciti as published by the Curator, University mss. Library, Trivandrum, 1949. Kavidarpana, with a commentary, as published in the Rajasthan Puratana Granthamala, with an introduction, notes etc. by H. D. Velankar: Jaipur, 1962. Nanditadhya's Gathalaksana, published as Appendix I in the edition of the Kavidarpana mentioned above under Kd. Pingala's Chandassutra, published by the Nirnaya Sagar Press, Bombay, 1938 (3rd ed). Rajasekhara's Chandahsekhara, published on pp. 129-139 in the present edition of the Svayambhucchandas. Paumacariu of Svayambhu edited with introduction, notes etc. by Dr. H. C. Bhayani in the Singhi Jain Granthamala, Bombay, 1953. Svayambhucchandas chs. 1 to 8 as published in the present edition. or SbPb. Svayambhucchandas Purvabhaga as published on pp. 103 to 127 in the present edition. Vjs. Vsttajatisamuccaya of Virahanka, with the commentary of Gopala edited with Introduction, Notes etc., by H. D. Velankar and published by the Rajasthan Puratattva Mandir, Jaipur, 1962. Vr. Vsttaratnakara of Kedara, as published in the Jaydaman, pp. 71-93, mentioned above,

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INTRODUCTION

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INTRODUCTION 1. In 1935 I had published the then available portion of the Svayambhuchandas from a paper ms. from the Oriental Institute of Baroda, in the Journal of the Bombay Asiatic Society. I am now re-editing the same along with portions of the earlier part of the work which were supplied by a palm-leaf ms., so kindly given me by Pandit Rahula Sankrtyayana, who secured it from one of the monasteries in Tibet. I got this second ms. at almost the last stage of printing the text and so I had to print it at the end, on pp. 103-127. I have, however, compared this new ms. with the old one and on page 127 I have recorded the variant readings from it in the portions of Sb. chs. 1-4 and 8 which alone are available in it. In giving the Notes, however, I have begun with the earlier portion of the work which was missing in the Baroda ms. Even though this new ms. is only a fragment, it is yet possible to get a proper outline of the nature and extent of the work as a whole with its help. This ms. also contains the concluding part of the work, which is not found in the Baroda ms. and I have incorporated it in the printed text as I got it in time for the press. 2. After the first publication of the Svayambhuchandas, Pandit Nathuram Premi, a reputed Jain scholar, published his work on the History of Jainism and its literature in Hindi, in 1942. This book of his contains learned articles on several Jain authors who wrote in Sanskrit, Prakrit or Apabhramsa languages. Among these there is one on Mahakavi Svayambhu (pp. 370-387). Here Premi has proved that the author of the Svayambhuchandas had also composed two other works both in Apabhramsa, one called Paumacariu on the story of the Jain Ramayana and the other called Ritthanemicariu on that of the Jain Harivamsa. The latter is more generally known as Harivamsa Purana. There is also a third work called Pancamicariu which too is ascribed to Svayambhu by his son Tribhuvana; but its mss. are not yet available. Of these three works of Svayambhu, one, namely, Paumacariu, is now carefully and critically edited by Dr. H. C. Bhayani, my colleague at the Bharatiya Vidya Bhavan, and published in the Singhi Jain Granthamala, Bombay, 1953. In the Introduction to this edition Dr. Bhayani has very thoroughly examined the question of the date and authorship of Svayambhu on the basis of all the available material at that time. I am particularly happy to say that his brilliant guess1 about the contents of the earlier part of the Svayambhu 1. Compare P. C. Introduction, pp. 20-27, p. 27 in particular.

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svayaMbhUcchandaH [INTRODUCTION chandas which was missing in the Baroda mss. has proved to be correct by the discovery of the palm leaf mss. of that work mentioned above. 3. As shown by Premia and Bhayani? Svayambhu is respectfully mentioned by Puspadanta in his Mahapurana and so must have lived before the latter half of the 10th century A.D. He probably belonged to the same part of the country in which Puspadanta lived. Bhayani also maintains that Dhanapala, author of the Bhavisayatta-Kaha, has probably been influenced by Svayambhu's Paumacariu. Rajasekhara's Chandahsekhara, of which only the 5th chapter is at present available, also appears in many parts to be a close Sanskrit rendering of the corresponding portions from the Svayambhuchandas. Similarly, many of Hemacandra's illustrations of the Sanskrit metres given in his Chandonusasana appear to be closely modelled on those of Svayambhu, who has given them in Prakrit. 4. The present edition is mainly based upon the paper ms. in the Oriental Institute, Baroda. This ms. is incomplete towards the beginning and consists of foll. 23-63 only. It is dated Samvat 1927 Asvin Suddha Pancami, Thursday and was copied by one Krishna Deva at Ramnagar. Fol. 336 is blank, but no matter is dropped. The handwriting is cle in Devanagari characters. It is generally correctly copied out and contains brief explanations in Sanskrit, or more usually only a Sanskrit rendering of a few words written either in the margin or just above the word which is sought to be explained. I have given all these in the footnotes under the text. It would appear that the present ms. is only a copy of another, which was used by a careful student or reader, who had added these brief Sanskrit Tippanis. The copyist is generally careful in reproducing, but his oversight and ignorance are sometimes disclosed and show that he did not always understand the meaning of what he copied. He always writes both ba and va as va, whether as a single letter or in a conjunct and employs the Varganunasika almost always in the case of n and n, sometimes in that of n, but rarely if at all in the case of n and m. A more characteristic feature of his writing, however, is a recurring exchange of the letters ra and va; sometimes pa is read for e and vice versa. I have corrected these mistakes where they were obvious and have regularly employed an Anusvara for all the Varga-Anunasikas. Omissions of 2. Jaina Sahitya aur Itihasa (in Hindi), pp. 386-387. 3. P. C. Intoduction, pp. 7-9; 31-36. 4. P. C. Introduction, pp. 36-37. It was first published at Journal BBRAS., 1946 and is again published in the present edition of the Svayambhuchandas, on pp. 129-139. 6. See P. C. Introduction, pp. 37-41.

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& SS 3-6 ] svayaMbhUcchanda: letters are corrected by writing them immediately above the line or in the margin, by our scribe. In the Apabhramsa section, letters which are intended to be pronounced short for metre are sometimes shown by an Ardhacandra mark above them by him and this is true also of the nasalised i or hi in the Prakrit section, though such short letters ar ly used in the definitions and illustrations of the Varna Vrttas. 5. The second ms. or rather the fragment of it, mentioned above, is written in old Bengali characters on small palm leaves, which appear to have been numbered, but it is difficult to decipher them. Its size is 91 x 2 inches; it has 16 folios in all. It is without a beginning, but has the concluding portion of the work which ends on the last but one folio and neither of these is numbered. This obviously last folio contains some other matter, not connected with prosody, only on the obverse side, the reverse side being blank. There are on an average 6 lines in a page and each line contains about 45 letters. Fortunately in the first 12 folios we have portions of the earlier part of the work which is wanting in the Baroda ms. and these are sufficient to give us a rough idea of the complete picture of the Svayambhuchandas as regards its contents. It thus seems to contain 13 chapters in all, of which the first eight are devoted to the Prakrit metres and the last five to the Apabhramsa metres. These chapters which are marked by a recurring stanza? occurring at the end, have been generally given different titles signifying their contents. The author, however, nowhere mentions the number of a particular chapter or their total number in his work; this has to be guessed from the recurring stanza that refers to the subject matter discussed in the stanzas preceding it. This recurring stanza briefly describes the work as 'one which has five Amsas (namely, those that contain 2, 3, 4, 5 and 6 Matras in them) as its essential feature, which contains ample matter, and which is clear (for comprehension) owing to the definition as well as the illustration being given together in the same stanza or line'. 6. Svayambhu does not give any technical names to the five Anias like Virahanka, but alludes to them by such terms as da or daera for a Dvimatra, ta, taara, tamsa or tagana for a Trimatra, ca, caara, cansa or cagana for a Caturmatra, pa, paara, parsa or pagana for a Pancamatra and cha, chaara, chamsa or chagana for a Sanmatra. At SbP. 1. 2 Svayambhu has primarily prescribed the first letters of the words (in Prakrit) for the five Matra Ganas, namely, the Dukala, Tikala, Caukala, Pancakala and Chakkala, thus da, ta, ca, pa and cha respectively (the first two for 7 paMcasasArahae bahulatthe lakkhalakkhaNavisuddhe / ettha saaMbhucchaMde....

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iv svayaMbhUcchandaH the sake of uniformity, in place of du and ti), as the names or symbols for expressing them while defining the constitution of the metres with their help. The other names are only those that are obtained by the addition of the affixes kara, amsa or gana to them as seen above. Hemacandra has closely followed Svayambhu in this respect, but has sa in place of cha to represent a Sanmatra in view of the Sanskrit name of that Gana namely Sanmatra. Kavidarpana employs the first letters of the five Vargas in the Sanskrit Alphabet, thus ka, ca, ta, ta, and pa respectively for a Dvimatra, a Trimatra, a Caturmatra, a Pancamatra and a Sanmatra. This causes a good deal of confusion, since his ta and pa are respectively Pancamatra and Sanmatra instead of the Trimatra and the Pancamatra as understood by both Svayambhu and Hemacandra. In the case of the Varna Vrttas and also in that of some of the Matra Vrttas where the position of a short or a long letter is fixed, Svayambhu qualifies these terms by adjectives which indicate the position of these letters whether at the beginning, middle or end of that Gana, meaning at the same time that all the remaining letters of that Gana are of the opposite kind. Thus the words ai, puvva, muha or pura are used to signify the 'beginning'; ura uaara, majjha and jathara are for the 'middle' and anta, para, virama, avasana, nihana or uttara etc. for the 'end' of a Gana. When all the letters of a Gana are of the same kind, this is indicated by words like savva, saala, anga, asesa, etc., prefixed to the symbol la or ga as the case may be. These two again, i.e., the short and the long are respectively called laghu and guru, or rju-avakra and vakra, urdhva and dirgha, lakara and gakara etc. Of these, rju, avakra and urdhva refer to a short vertical line which is prescribed as a symbol of a short letter, while vakra refers to a short vertical line curved at both ends (resembling S) which stands for a long letter. These symbols are as old as Virahanka's Vrttajatisamuccayas and the Janasrayi. [INTRODUCTION 7. The contents of the 13 chapters are suggested by their titles given in the recurring stanza as said above. Chapter 1 is very likely called Skandhaka-jati as suggested by SbP. 2. 4a and 6. 1a, even though we do not have the recurring stanza in the palm ms. Syayambhu defines in this chapter and also illustrates by the same stanza, the Gatha with its three kinds, the Giti, Upagiti, and the Udgiti, the Skandhaka and other metres derived by the addition of the pairs of Caturmatras to the first line of the Gatha. Svayambhu, however, essentially differs from his predecessors 8. See Vjs., 1.14 and Jns. 1.16-17; also compare Jd. 1.3-4; Jk. 1.3; H. 1.4-5; Vr. 1.9 and Kd. 1.4 with the note on the last passage.

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$ $ 6-8 ) svayaMbhUcchandaH like Virahanka and successors like Hemacandra in his treatment of these metres; he takes the Skandhaka as the basic metre and derives the Gatha from it, while all others including Pingala consider Gatha as the basic metre and the others as derived from it. Perhaps Svayambhu does this for the sake of convenience of his definitions; but it is also very likely that his treatment is historically more correct, since metres like the Gatha which are obtained as a result of a fusion of two different metrical units must naturally be considered as later than metres like the Skandhaka, whose halves are equal and similar to each other. Svayambhu thus defines a Skandhaka as a metre which has two equal and similar halves, each containing 8 Caturmatras; from this he derives the Giti whose halves contain 7 and a half Caturmatras each. This Giti again, is changed to Upagiti when the 6th Caturmatra in each half is reduced to a single short letter, i.e., when each half contains only 27 Matras made up with 5 Caturmatras, a short letter, and 1 and a half Caturmatra more coming at the end of all. Svayambhu has thus established two different kinds of metrical units or halves, one containing 30 Matras and the other containing 27. By a fusion of these two we get two more varieties, viz., Gatha which has 30 Matras in its first and 27 in its second half, and the Udgiti which has 27 in the first and 30 in the second half. It is I think correct to explain the origin of the Gatha in this manner; in the beginning the Gatha must have been considered as a metre of two Padas only. It must have been rather late in its development that it came to be regarded as a Catuspadi, very probably owing to the Yati after the third Caturmatra in both the halves, which made their portions preceding the Yati look like equal Padas. The unusualness of the so called fourth Pada, when the Gatha is considered as a Catuspadi becomes very striking owing to its new rhythm which is absent in its counterpart in the first half. But still the question of the origin of this new type of rhythm remains unanswered and I shall briefly try to tackle it in the next paragraph. 8. The Prakrit Gatha and its Sanskrit representative Arya are admittedly pure Matra Vittas very largely employed for narrative poetry or even for the purposes of composing memorial stanzas on different scientific subjects owing to the great ease in handling them. They resemble the Samskrit Anustubh sloka very closely in both these respects. Svayambhu treats of this sloka at Sb. 3.8-9, mentioning a few varieties of it. There he lays down three different principles of division as follows: If the 2nd part of a line consisting of 4 letters has 1 short letter followed 9. See Apabhramsa Metres II, para 44.

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vi svayaMbhUcchandaH [ INTRODUCTION by 3 long ones it is valled Vaktra; if it has alternating short and long letters it is Suvaktra and finally if it has 3 short letters followed by 1 long it is Capala. Among the different combinations of these three elements, i.e., Vaktra, Suvaktra and Capala, and the metres resulting from them there is one where the odd Padas have the Capala and the even ones have the Vaktra element in them. This is called CapalaPathya by Svayambhu ; its odd Padas have generally 12 Matras in them, while the even ones have 15 if all the first 4 letters are long as they are in Svayambhu's illustration. But at any rate, the rhythm of the latter part of these even Padas, viz., the Vaktra rhythm, is exactly similar to the rhythm of the concluding part of the second half of the Gatha and it is very likely that the idea of the substitution of a single short letter in place of a Caturmatra at the 6th place may have originated from the 5th short letter in this Vaktra rhythm of the Sloka. 9. At the beginning of the first chapter (SbP. 1) Svayambhu has explained the nature of short and long Aksaras in the Prakrits, showing how e and o as also the letter him at the end of a word, and short letters which precede a conjunct containing either h or r or both are all to be considered as short so far as the Prakrit prosody is concerned. This stanza itself is missing in the ms., but the illustrations are available, for which see notes. The whole of the first chapter is taken up by the definitions and illustrations of the Skandhaka, Giti, Gath, and the derivative metres obtained from these. The second chapter (SbP. 2), which is called Galitakajati, defines and illustrates the basic Galitaka and the metres derived from it; of these the ms. contains only the Mugdha and the Ugra Galitakas. But evidently Svayambhu has defined and illustrated only a few of these Galitakas, whereas Hemacandra has defined not less than 24 of them at HPk. 4.17-40. The third chapter (SbP. 3) called Khanjakajati defines and illustrates several Khanjakas like a Khanda, Dvipadi, Adhikaksara, Narkutaka and others as is clear from the illustrations of metres derived from these given by Svayambhu and preserved in the available portion of our ms. Though a large portion of this chapter is missing, yet its beginning and end are available, where the definition of Khanjaka and the name of the chapter are respectively given. Hemacandra at HPk. 4. 41-75 seems to have closely followed Svayambhu in his treatment of the Khanjakas. It is, however, significant that Svayambhu has dropped the Madanayatara and its five kinds from the Khanjakas but has defined only the Madanavatara at Sb. 8.2 among the 'rest of the Apabhramsa metres. Ratnasekhara at Ck. 32 agrees with Svayambhu in considering

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vii $ $ 9-10 ] svayaMbhUcchandaH Madanavatara as an Apabhramba metre; but Hemacandra and the author of the Kavidarpana both regard it and the metres derived from it as Prakrit metres. The conclusion of the fourth chapter (SbP. 4) is missing, but its title seems to be Sirsakajati and the available portion of the ms. contains a few Sirsakas, starting with the Dvipadi-khanda, which is illustrated from Sriharsa's Ratnavali Natika and also by another composition of one Abhimanachinha. This is followed by the Dvibhangika which is said to consist of a Dvipadi and a Gitika10. This arrangement is closely followed by Hemacandra at HPk. 4.76-79 and there is reason to believe that Svayambhu must have defined and illustrated even other kinds of Dvibhangis, and perhaps even the Tribhangis, all of which pass under the general name of Sirsakas. A folio of our ms. contains also a portion of the Sama-sirsaka and Visama-sirsaka which are the concluding metres discussed by Hemacandra in the 4th chapter of his Chandonusasana. 10. The next, i.e., the fifth, chapter of the Purvabhaga is called Magadhajati; its commencement is missing, but its conclusion is available in the ms. Even here Svayambhu takes the Prakrit Padakulaka as the basic metre and has defined and illustrated it before the Matrasamaka and allied metres. Svayambhu treats the Apabhramsa Padakulaka, along with the Samkulaka and the Paddhatika, under the Apabhramba metres at Sb. 6. 129. In this chapter he seems to have defined only the Padakulaka employed in the Sanskrit and the Prakrit languages. As a matter of fact these six metres of which Matrasamaka and Padakulaka are representative, are generally considered as a separate group of Sanskrit Matra Vrttas11 by Pingala and Jayadeva, whom later writers like Hemacandra and Kedara have followed, though Virahanka has completely neglected them. It is again noteworthy that all these six metres are regarded as those that belong to the Magadhajati, and it is evident that Svayambhu startd his treatment of these metres with the Magadhika, deriving the Vaitaliya group from it. See the introductory note to this chapter on page 169 below. This is against the plan of Hemacandra and other earlier writers who consider the Vaitaliya to be the chief metre of this group and Magadhika to be only a derivative of it. 11. This chapter is then followed by another, i.e., the sixth, which treats of the Sanskrit Varna Vsttas belonging to the 26 Jatis, beginning 10. This Gitika, slighty different from the Giti, agrees with that of Vjs., 2.2-3 ; see note on this last passage. 11. See Jayadaman, Introduction, para 22; also cf. P. 4.42-47; Jd. 4.24-29; H. 3.65-70; Vr. 2.32-37.

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viii svayaMbhUcchandaH [INTRODUCTION with the Ukta and ending with the Utkrti, together with the Dandakas and the Sesajati Vittas. The available portion of the ms. runs upto Salini which belongs to the Tristubh Jati and whose Padas contain 11 letters each and the Baroda ms. commences from the Rucira of the Atijagati Jati whose Padas contain 13 letters each among the 26 broad Jatis of the Varna Vrttas. Thus the gap in this chapter, which is called Uktadividhi, is not very large and only a few metres of the Tristubh and the Atijagati Jatis, together with all of those that belong to the Jagati Jati are missing. 12. There are some points which deserve to be noted in the treatment of the Varna Vsttas in this chapter by Svayambhu. Firstly, Svayambhu does not employ the Varna Ganas in the definitions of these metres, but always uses the five Matra Ganas, the five Ambas as he calls them. We are naturally reminded of Virahanka, who does not employ any Varna Ganas for his definitions, but mentions in detail the order in which short and long letters ought to follow, using now and then the Caturmatra and the Pancamatra Ganas which he has enunciated and named at the commencement of his work. Bharata in his Natyasastra follows the same method, but avoids the mention of any Ganas of any kind whatsoever. Both Bharata and Virahanka followed this rather crude method as they aimed at giving their definitions through the medium of a whole stanza, instead of a single line or a Sutra. Bharata used one stanza in the Anustubh metre, while Virahanka employed a whole stanza in the same metre which is being defined in the stanza. The practice of defining a metre in a single line or Pada of that same metre is comparatively of a late origin and the first author who is at present known to have employed it is Jayadeva, the author of the Jayadevachandas. Secondly, in many cases, Svayambhu indicates in his definitions how by the addition or removal of a letter or a Gana from one metre, another is produced. This is very interesting and important for the study of the growth of different Varna Vsttas from one another. I have shown elsewhere12, how certain groups of letters containing a particular type of Varna Sangita came to be popular in course of time and therefore more widely employed than the others. I have stated there that very often two or more of these groups, which by the way I have called the Ghatakas, came to be joined together for the production of a new metre. This contention is strongly supported by the manner in which Svayambhu defines some of his metres13 like Citra (v. 19), Citralekha (v. 36). 12. See my article on the Vitta-Ghatakas at Journal BBRAS., 1951, p. 150 ff. 13. The references that follow are to the stanzas in Sb. ch. 1; for further elabo ration of this point see below paras 24 and 25.

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$ $ 11-12] svayaMbhUcchandaH Bhramarapada (v. 38), Lalita (v. 41), Harinipada (v. 42), Kesara (v. 44), Candrabimba (v. 49), Chaya (v. 51), Makarandika (v. 52), Lalita (v. 60), Mattakrida (v. 61) and Krauncapada (v. 63). Thirdly, Svayambhu does not mention a Yati in the middle of a line of the Varna Vrttas and to justify this he states in v. 71, that Jayadeva and Pingala alone Yati in the case of the Sanskrit Varna Vsttas, while Bharata, Mandavya, Kasyapa and Saitava do not admit of it. No Yati is generally admitted in the Prakrit and the Apabhramsa metres, which are mostly Matra and Tala Vsttas, except in the longer Dvipadis and the lone Rasaka at Sb. 8.25. But even here the Yati tends to be a longer pause which occurs at the end of a Pada (Padanta Yati), rather than a shorter one occurring in the middle of a line. It is as a matter of a fact owing to these Yatis in the lines of the longer Dvipadis that these latter were turned into Catuspadis or Satpadis, merely when a rhyme was introduced at the place of the Yati or Yatis, or even without such a rhyme at times. Svayambhu simply extends this principle of no Yati to the Varna Vrttas. Fourthly, Svayambhu quotes his illustrations from a large number of authors who appear to have been genuine Prakrit poets making use of these Varna Vrttas and writing their stray lyrics of love or devotion in them. In this section on the Varna Vsttas including the Dandakas, Svayambhu quotes from about 30 poets, taking usually only one or two stanzas from each. There are, however, three among them from whose compositions more than 10 stanzas each are reproduced ; these three are Angaragana (13), Suddhasvabhava (19) and suddhasila (16). We shall discuss the nature of their compositions in a later paragraph14 below. For the present it is enough to say that these stanzas do not leave an impression that they formed part of a single poem, composed on a particular topic. Fifthly, among the 60 and odd metres excluding the Dandakas which are found in this chapter, at least 16 are such as are peculiar to Svayambhu, but later mentioned only by Hemacandra, thus showing that they were known only to the Jain tradition. Sixthly, Svayambhu mentions 11 special Dandakas which he calls by the name Mala and which contain an indefinite number of Matrika Ganas of the same kind used at will, provided always that the same number is employed in all the four Padas. Four of these 11 Mala Dandakas start with an initial group of 5 or 6 short letters, which are then followed, any number of times, by the same particular kind of Pancamatra Gana, throughout the Pada. Two are made of the same kind of Caturmatra Gana, repeated any number of 14. See paras 21 and 22 below.

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svayaMbhUcchandaH [INTRODUCTION times, throughout the Pada. Three more have their Padas constituted with any number of the same kind of a Pancamatra Gana in a Pada. These last five are without any initial short letters preceding the Caturmatra or the Pancamatra Ganas. Lastly, two more are made up with the two kinds of a Trimatra, one having the short letter first and the other having the long letter first, occurring uniformly throughout the Pada15. X 13. The next chapter which I have marked as the second of the Svayambhuchandas, i.e., of the Uttara Bhaga of the work, is called Ardhasamam. It treats of 14 Ardhasama Varna Vrttas, whose equal and similar halves are made up of unequal and dissimilar lines. Both here and in the next chapter Svayambhu employs only the five Matra Ganas for defining these Varna Vrttas of the Ardhasama and the Visama types, as he does in the case of the Sama Varna Vrttas. Of the 14 Ardhasamas all are known to Pingala, except the Satpadavali, which is mentioned only by Hemacandra besides our author. It is really an inverted Yavamati. The title of the next chapter, i.e., the third of the Uttarabhaga (the 7th of the work as a whole), should have been Visamam; but this is not mentioned in the concluding stanza of that chapter. This stanza refers to the conclusion of the Prakrtasara, i.e., the essential metres of the Prakrit language, as against the metres of the Apabhramsa language which are dealt with in the following chapters of the work. This means that all the previous chapters of the work comprise the first part of the work dealing with the Prakrit metres, while the last five chapters form its second treating of the Apabhramsa metres. It is characteristic of Svayambhu that he does not take any notice of the fact that the Varna Vrttas are properly the Sanskrit metres derived from their Vedic 16 ancestors. He claims them all for Prakrit poetry; he, however, gives Sanskrit illustrations for Prakrit metres at least in two places (i.e., Sb. 5.5.1 and 8.20.2). His terms for a metre are Jati for a class and Rupaka for an individual, Chandas being reserved to convey the Chandas Sastra or Prosody as well as an individual metre. He does not use even the terms Varna Vrtta and Matra Vrtta and this is quite in keeping with his employing only the Matra Ganas in his definitions of even these metres which are generally known as the Varna Vrttas. 14. Among the Visama Vrttas Svayambhu defines all the four17 groups mentioned by Pingala in his Chandas Sutra 5.1-30 and followed 15. For the different kinds of the Dandakas see Jayadaman, pp. 147-148. 16. See Jayadaman, Introduction, paras 7-9. 17. See Jayadaman, Introduction, paras 12-15.

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$ $ 13-15 ] syavabhUcchanda: by his successors in the field of the Varna Vrttas. He, however, differs from them in some details. Thus he seems to make a distinction between Suddhayiralika and Avrsabha (Sb. 3.6.1 and 2). He regards sloka as the basic metre from which he derives Vaktra, Suvaktra, Pathya, Pathyavaktra and Capalapathya (vv. 8-9) and considers Vipula has having only 4 varieties18 instead of the eight of Pingala (v. 10). 15. As said above, Svayambhu defines the Apabhramsa metres in the last five chapters of his work. He broadly divides them into Satpadis, Catuspadis and Dvipadis; of these the Satpadis are all of them used as Dhruvakas and are subdivided into three classes, viz., Satpada Jati, Upajati and Avajati, according as they contain seven, eight and nine Matras respectively, in all their Padas, except the 3rd and 6th which may have from 10 to 17 in them. The Catuspadis are of three kinds, namely, Sarvasama, Ardhasama and Antarasama Catuspadis. All these three kinds are called Dhruvakas when they are longer ones, i.e., when they contain not less than 10 and not more than 17 Matras in any of their four Padas (vv. 60, 122-130). Shorter Catuspadis having less than 10 Matras in any of their Padas are called Vastukas as said in vv. 59-60. Thus out of the 110 Antarasama Catuspadis 54 are Vastukas and 56 are Dhruvakas (v. 120). This same distinction has to be understood in the case of the Ardhasama Catuspadis and the Dvipadis, so that the Dvipadis having not less than 28 Matras in each of their halves are called Dhruvakas or Duvaas while the shorter ones are known as mere Dvipadis (Sb. 7.1). Any Dvipadi which has more than 40 Matras in each of its halves is called Mala Dhruvaka (Sb. 6.172). It would appear that Svayambhu intended to define and illustrate the three kinds of the Dhruvakas in chs. 5 and 6, as can be seen from the introductory stanza in chapter 5 of the Uttarabhaga, namely, the Satpadi, the Catuspadi and the Dvipadi Dhruvakas only ; but before defining the Antarasama Catuspadi Dhruvakas in vy. 61-120 and Sarvasama Catuspadi Dhruvakas in vv. 123-130 of 6th chapter of the Uttarabhaga, he defines and illustrates incidentally also the Antarasama Catuspadi Vastukas (the definition of which is suggested in v. 59) in vv. 2-59 of the same chapter for the sake of completeness in respect of the Antarasama Catuspadi. That Svayambhu had chiefly the Dhruvakas of the Catuspadi and the Dvipadi type in his mind in this chapter is also clear from his definition of a Dhruvaka Catuspadi in v. 60, his mention of an Ardhasama Dhruvaka in v. 122, i.e., at the end of the Ardhasama Catuspadi section and before beginning the few 18. See note on Kd. 4.121 (on pp. 150-151).

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xii svayaMbhUcchandaH [INTRODUCTION Sarvasama Catuspadis, his repetition of the word Dhruvaka in connection with the last but one Sarvasama Catuspadi, namely, the Paddhatika, as well as the last of the longer Dvipadis, viz., the Mala (cf. also the names Taradhruvaka and Pavanadhruvaka in v. 155), all go to show the signification of the word Dhruvaka as intended by Svayambhu. It is also significant that the Sarvasama Catuspadis which Svayambhu defines in this chapter, 1.e., the 6th, begin with the Sasivadana which contains 10 Matras in each Pada and this accords well with the definition of a Catuspadi Dhruvaka given in v. 60. He does not define any Sarvasama Catuspadis which are shorter than this in this chapter, the only one Catuspadi which contains 9 Matras in a Pada and is called Dhruvaka itself, being relegated to the last chapter (Sb. 8.3) of the work. It also deserves to be noted that the Dvipadi Dhruvakas, i.e., the longer Dvipadis defined in ch. 6, which are prescribed for certain occasions and purposes at Sb. 7.1 are called Duvaas (cf. Sb. 5.1d ; 6.131c), as against the Duvais defined in ch. 7, vv. 1-2. From Sb. 7.2 again, it would seem that shorter Dvipadis having from 4 to 30 Matras in each of their halves, were known as Duvais (mark how two of them nos. 5 and 6, retain the name Dvipadi with a prefix), the exception being the five which are defined at Sb. 6. 132-136, like the exception of the Sarvasama Catuspadis in the case of the Dhruvaka at Sb. 8.3. 16. This distinction between a Dhruvaka and a Vastuka is peculiar to Svayambhu. According to Virahanka (Vjs. 2.1ab), Vastuka seems to be another name of a Dvipadi of four Padas19 of any length. Virahanka's commentator also means the same thing, when he introduces the third Niyama with the remark idanim dvipadivastukanam sodaharanam laksanain yathopadesam ucyate. On the other hand, Hemacandra says (HPk. 6.1-2) that a Dhruva is a name given to a metre because it stands invariably (dhruvam) at the beginning of a Sandhi or at the end of a Kadavaka and is extended to any Satpadi, Catuspadi or Dvipadi, which is so employed. He seems to be inclined to extend this name even to shorter Catuspadis whose Padas contain 7 to 9 Matras in them, as his remarks on HPk. 6.3 show : satpadi-catuspadi-dhruvayosca saptakaladyah saptadasakalantah pada bhavanti. Similarly at HPk. 6.18, he uses the word Vastuka as a synonym for a Catuspadi and in the commentary on this Sutra he actually says so in so many words: vastukam iti catuspadya eva namantaram. This is definitely against Svayambhu's words and directions at Sb. 6.59-60, 120 and 7.1-2 as shown above. Rajasekhara, 19. See Vjs. Introduction, para 5 for the name Dvipadi given to a metre of four lines.

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SS SS 16-17 ] svayaMbhUcchandaH however, very closely follows Svayambhu in mentioning this distinction. Thus he calls the 24 kinds of the Satpadi as the 24 kinds of the Dhruva (R. 32). Similarly, at the end of the first 54 Antarasamas he remarks at R. 95 evam catuh pancasad vastukanyahuh: "These they say are the 54 Vastukas. In R. 159 he calls the two varieties of an Antarasama, which have 16 and 17 Matras in each of their Padas by the name Dhruva. Finally at the end of the longer Dvipadis he remarks (after v. 224) dvipadidhruvanam sastih. xiii 17. But before defining the Dhruvakas which constitute an important and predominant feature of Apabhramsa poetry (and incidentally also the Vastukas) in chs. 5-7 of the Uttarardha of his work, Svayambhu takes up in the fourth chapter of the Uttarardha the most important among the metres of the Apabhrams language and defines them, and before doing so he mentions a few phonetic peculiarities of the language observed in poetic compositions. Thus he prescribes that if and when necessary nasalised i, u, hi, ha and hu, the last three affixes being peculiar to the Apabhramsa language, may be pronounced short, though usually they should be long. Similarly e and o, whether single or coupled with a consonant, whether at the end of a word or at any other position of it, may be pronounced short or long as intended by the poet, i.e., as needed by the metre. We may here take note of another metrical rule of the same kind, but stated at the beginning of the next chapter. It prescribes that the final letter in a line should have its metrical value, i.e., whether it should be counted as short or long, decided in view of the needs of that particular metre. If only a single Matra is needed to make up the required number, this letter should be counted as short and yielding only one Matra, even when it is actually long. On the other hand, if two more Matras are needed, this final letter must be regarded as long and yielding two Matras even if it is actually short. Svayambhu has unscrupulously followed this rule of option giving different values to the last letter in the different lines of the same stanza.20 18. After these few remarks about the phonetic value of some letters, Svayambhu defines and illustrates the following metres: Utsaha, Dvipathaka or Doha with its varieties Upadohaka and Avadohaka, Matra with all its varieties, the strophic couplet called Radda, Vadana and Upavadana, together with Madila and Adla which names are given to the Vadana in view of the nature of its rhyme. All these metres are the special favourites of the Apabhramsa poets; but the Matra and the Doha 20. See note on Sb. 5.2 and Bhayani, P.C., Introduction, pp. 79-83.

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xiv svayaMbhUcchandaH [INTRODUCTION together with their combination, the Radna, seem to be the oldest among them. At the end of this chapter some general terms applied to any metres in view of the nature of their contents or the occasion for which they are employed or composed, are stated. Prominent among these are the Dhavala and the Mangala. In the former a hero is the central figure of the description under the image of a bull, particularly a trained bull, while the latter signifies an auspicious occasion for which the poem was composed in any one of the popular metres. There are, however, some metres which are given the proper name Dhavala as against the common name which is applied to any metre owing to its contents. These special Dhavalas are said to be of three kinds, viz., Astapadi, Satpadi and Catuspadi. The constitution of each of these is given by Svayambhu, who also defines one single variety of the special Mangala. In the case of the common names Mangala and Dhavala, Svayambhu prescribes that these are affixed to the ordinary names of the metres when these latter are employed for the specific purposes. Thus we may have an Utsaha-Mangala, a Doha-Mangala, an Utsaaha-Dhavala, DohaDhavala and so on. In this same connection Svayambhu also mentions three other terms namely, Vadanaka, Prahelika and HIdayalika. The first of these is a common name for any Apabhramsa metre which may be used for composing a poem to rouse strong passions and sentiments (utsaha) of the audience. The last two are riddle-like compositions; the first called Prahelika corresponds to what is generally known as Antah-Prahelika among the Subhasitas, while the second called HIdayalika seems to be the same as what may be called Bahih-Prahelika. Svayambhu mentions that the metre of the former should be Doha, but he is silent about that of the second. Rajasekhara, who closely follows Svayambhu in this section and almost gives a Sanskrit rendering of his stanzas, defines Prahelika as a composition in the metres like the Doha, where the meaning is an inferred one (unmanaka ?), while he defines HIdayalika as a poem or stanza containing words or letters which have no apparent meaning (sunyaih) but which are intended to convey a meaning which the poet has in his mind. 19. In the last chapter of the work, Svayambhu appears to have discussed and defined a few miscellaneous metres as well as the constitution of the two main forms of Apabhramsa poetry, viz., the Sandhi-bandha and the Rasa-bandha. The latter alone was evidently known to Virahanka as seen from Vjs. 4.37-38, but not the former, which therefore must be regarded as comparatively modern, though even the Rasa-bandha seems to

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$ $ 18-19 ] svayaMbhUcchandaH XV have held the field for long. Very likely Rasa-bandha was employed for Lyric poetry and the Sandhi-bandha for Narrative poetry involving long and artistic descriptions in the manner of the Sanskrit Maha Kavyas. Having himself written two long narrative poems, Paumacariu and Ritthane?nicariu, of the Sandhi-bandha type, Svayambhu allots a little more space in this chapter to the treatment of this type and particularly to that of the introductory stanza called Dhruva which prominently figures in it and is also known as Ghatta or Chaddanika. This introductory stanza is used at the commencement of a Sandhi, and also at the beginning and end of a Kadavaka. But when he says that a Chaddanika is of 7 kinds, Ghatta of three, while Paddhatikas and Gitis are of various kinds, we have probably to understand that these seven and three varieties were more generally employed by the poets than the others. He further states in v. 20, that at the beginning of a Sandhi, a Dvipadi, a Gatha, or an Adilla may be given as a Ghatta, while Matra along with the Paddhatika may come last as the Chaddanika. In v. 24 a Rasa-bandha is defined; it is said to have been done with the Ghattas, the Chaddanikas and the Paddhatikas cotnaining pleasing aksaras in them. He means to say that these metres are used even for the main body of the poem in the Rasabandha, and not merely at its beginning or end as in the case of a poem in the Sandhi-bandha. This clearly means that the Rasa-bandhaal is a Lyric poem and not a Maha Kavya like the Sandhi-bandha. A metre called Rasabandha, really Rasaka, containing 21 Matras in each of its four Padas is defined in v. 25. It may have been the favourite metre employed for the composition of a poem in the Rasa-bandha, though the name Rasaka or Rasabandha may be given to any suitable metre used for such a poem according to v. 26. This stanza is quoted by Hemacandra at HPk. 5.3 which Sutra defines a Rasaka exactly like Svayambhu. Another metre called Rasa, but which is an Antarasama Catuspadi having 7 and 13 Matras in its odd and even Padas, is then defined in v. 27. This metre is the same as the Ravanahastakao defined at its proper place at Sb. 6.13. Hemacandra too, defines the metre in two places, once among the Rasakas at HPk. 5.16 and then among the Antarasamas at HPk. 6.19.9. 20. In this chapter Svayambhu mentions a few unusual terms like Sapta-tala, Panca-tala, Tri-tala in vy. 21-22 and Sama-tala, Vidari and Ekkalia23 in v. 28. In v. 21 he defines Tala as (a composition) accom21. See pp. 76-77 of the Sandesa-Rasaka of Abdur Rehman, edited by Dr. H. C. Bhayani and published in the Singhi Jain Series, Bombay, 1945. This poem very much agrees with Svayambhu's definition of a Rasaka Kavya. See also Vjs. 4.38 and note. 22. Rajasekhara calls it Ravana-mastaka at R. 47. 23. Compare the Ekaka of Vis. 2.5.

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xvi svayaMbhUcchandaH [INTRODUCTION panied by Sangita (vocal music), Vadya (instrumental music), and Abhinaya (acting). Sapta-tala, Panca-tala and Tri-tala are respectively groups of 7, 5 and 3 such units, while groups of 2 and 4 are respectively called Yugala and Catuskala, the other groups getting the common name Kulaka (v. 23). Svayambhu's remarks about Sama-tala and Vidari are unintelligible to me. Vidari is indeed mentioned by Virahanka at Vjs. 2.5 and also in the Janasrayi 5.66 (Trivandrum ed., 1949). In the latter place it is defined as a metre of 4 Padas each containing 14 Matras with the Sagana at the end and the 4th Matra being combined into a long letter either with the 3rd or the 5th Matra. On the other hand, Virahanka merely states that Vidari should be shorter than the Vastuka, (i.e., the particular Vastuka employed by the poet), but from the latter half of the stanza containing this definition, it would seem that Vidari is a metre of three Padas only. In v. 29 Svayambhu mentions one more common name Phulladaka, which he says is given to any Matra or Varna Vrtta defined so far, when it is employed for praising the deities, while vv. 30-31 further elaborate his remarks about the metre Mangala (defined at Sb. 4.20) and records a convention that in Mangalas, Phulladakas and similar other popular songs no rules about rhyme or metre should be insisted upon as long as these songs are liked by the people.24 21. Having thus examined the contents of the work, we shall now proceed to discuss the nature of the large number of illustrations quoted by Svayambhu in the first eight chapters (i.e., chs. 1-5 of the Purvabhaga and chs. 1-together with 6 of the Purvabhaga, 2 and 3 of the Uttarabhaga) of his work. Here, i.e., in Prakrit poetry, we find a variety of themes, especially in the field of village life. Descriptions of the different seasons and the calamitous effects which they have upon the lovers who have to be away on long journeys for the purposes of trade or business, figure largely along with frank descriptions of love in union, in this part. Fine Rupakas and Utpreksas based on some natural phenomenon are not also wanting. The number of poets from whom a single stanza is quoted by Svayambhu in this section is very large and many among them are non-Jain. On the other hand, in the Apabhramsa section (chs. 4 to 8 of the Uttarabhaga) only two poets are quoted with some frequency; they are : Govinda and Caturmukha. Seven others are also quoted, but six of them only once each and the seventh only twice. These six are: (1) 24. This is a very important and pertinent remark of Svayambhu. It shows how the Apabhramsa poets often took great liberties with their metres and language; nevertheless they enjoyed great popularity among the appreciative listeners (Nipunas) of their days, owing to the great merit of their composition.

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svayaMbhUcchandaH xvii Chailla; (2) Jinadasa; (3) Dhanadeva; (4) Dhurta; (5) Matrdeva; and (6) Vidagdha, while the seventh is Suddhasila25. But in addition to these stanzas which are quoted under particular names, there is a large number, about 60, of those that are quoted without any name attached to them26. Out of these 60 stanzas as many as 16 refer to the story of the Ramayana and 7 to that of the Mahabharata or the Harivamsa. 12 out of the 16 Ramayana passages are, strangely enough, traced to Svayambhu's own Paumacariu, which is a poem27 on the Jain version of the story of the Ramayana. One more again, i.e., 6.54.1, is found in Svayambhu's Paumacariu, 71.1, though in our ms. it is ascribed to Caturmukha. In addition to these 23 unnamed stanzas, which refer either to the Ramayana or to the Mahabharata story, there are a few which refer to morality in general (4.9.4; 4.29.1; 4.31.1; 6.15.1; 6.100.1; 8.6.1), or contain religious advice according to Jainism (8.7.1; 8.8.1; 8.20.1-10; 8.25.1; 8.11.3). One contains a reference to the Vamana Incarnation of Visnu (8.14.1) and another a practical advice to her daughter by a professional prostitute (4.3.1), while a third is a description of a hunting expedition 28 (6.90.1). We have also four fine Utpreksas (6.21.1; 6.37.1; 6.39.1; 6.42.1) and one or two Anyoktis (4.5.1; 6.31.1) among these stray verses. Similarly, an elephant and a Cakravaka bird, both separated from their mates, are described in a stanza each, while an incongruence between an old lover and a young delicate beauty is the subject-matter of an illustration of the Adila metre (4.12.3). Consuming power of the fire of separation is mentioned in another stanza (6.10.1). In all these cases, where no are attached to the stanzas, it is possible to presume that Svayambhu himself had composed them for the sake of the illustration. names 22. As regards the quotations from Govinda and Caturmukha, all the six which are ascribed to the former evidently belong to the story of the Harivamsa, while those that pass under the name of the latter (except 6.54.1) seem to be from his two poems, one on the story of the Harivamsa and the other on that of the Ramayana. That Caturmukha had composed a poem on the story of the Harivamsa is quite certain as seen from 4.2.1 and 6.87.1; even 6.65.1 may be from the same poem. But 6.63.1 is a little doubtful; I think it must be from a poem on the theme of the Ramayana and accordingly I have suggested an emendation, 25. See Index of Authors on pp. 156-157. 26. In the Prakrit section of the work, as against this, there is hardly any stanza which is quoted without the author's name being prefixed to it. 27. This is edited by Dr. H. C. Bhayani in the Singhi Jain Series, Part I Vidya dhara Kanda; Part II-Ayodhya and Sundara Kandas, Bombay, 1953. 28. See note on the passage, which is quoted in the Sarasvatikanthabharana, 2.392.

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xvili svayaMbhUcchandaH (INTRODUCTION which looks to me most natural29 Any way, it does not fit in with any incident in the Mahabharata story, and should belong to the Ramayana story, if at all. 23. We saw above how Svayambhu does not make use of the Varna Ganas in the construction of his definition of the Varna Vrttas. matter of principle he regards all metres as Matra Vsttas and so he employs only the five Matra Ganas, called the Ambas, in the definitions of both the Prakrit and the Apabhramsa metres. He does not recognize any Sanskrit or Varna Vsttas as such, as for example is done by his successor, the great Hemacandra: Actually, the five Amsas include all the eight Aksara Ganas of Pingala and Svayambhu ordinarily does not permit the violation of the order of short and long letters, thus maintaining their basic music, namely, the Varna Samgita. According to him the metres are to be grouped under two heads only, according as they are composed in the Prakrit or the Apabhramsa language, though all of them are to be considered as Matra Vittas only. It is, however, remarkable that Svayambhu has often described the inter-relationship among the metres which are generally known as Varna Vsttas and whose basic unit is a Varna or a letter, since their lines must contain a given number of Aksaras or letters according as they belong to any of the 26 classes beginning with Ukta and ending with Utksti. Thus he often shows how one metre develops out of another by the mere substitution of one or more Ganas of a different type, or by a mere addition of a short or long letter or letters at a particular place in a line, or finally by the coupling together of two shorter inetrical lines. Yet on a closer study of all such cases, one is unable to discover any definite principle on the basis of which he had intended to explain the growth and development of new metres from the old ones. His observation of these inter-relationships has been used by him only for the convenience and brevity of his definitions of metres. In a few cases he seems to have caught a glimpse of the possibility of certain fossilized portions of metrical lines, which formed the nucleus of some new metres growing out of the old ones. But he has more neglected this glimpse than used it for his definitions, and the reason for this seems to be his non-recognition of a Yati in the middle of a line. 24. Thus in the case of Rambha30 (v. 50), Chaya (v. 51) and Makarandika (v. 52), Svayambhu explains how after the first block of 12 letters 29. See note on the passage; Bhayani, however, thinks otherwise at P.C., Introduc tion, p. 17 foot-note. Yet also compare his remarks at Introduction, pp. 79-83 and my note on Sb. 5.2. 30. References to the stanzas within the brackets are to those in chapter 1 of the Svayambhuchandas proper, i. e. Sb.

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$ $ 22-25) svayaMbhUcchandaH xix which are common to all the three, they have three different cadences (or Antya Ghatakas as I have called them elsewhere31), namely, ra-ra-ga, ta-ta-ga, and ja-ja-ga respectively, which distinguish them from one another. Similarly, in the case of Upamalini (v. 14) and Candroddyota (v. 15), he explains how they differ from each other only in their latter part, which in the first is ja-ja-gr, while in the second it is ta-ta-ga (without, however, clearly mentioning this their otherwise close relationship in the earlier part). The same is true of Puspadama (v. 48) and Candrabimba (v. 49), which differ from one another only in their cadence, the first having ra-ra-ga, the second ta-ta-ga. Here, too, Svayambhu does not refer to their having the first 12 letters in common, but on the other hand, frames his definition so as to ignore the separateness of the first 12 letters from the remaining portion of the line, caused by the presence of the Yati at that place32. Acala (v. 43) and Kesara (v. 44) similarly differ from one another in respect of their cadence, which is separated from the earlier portion of the line by means of the Yati33; in the former it is ja-ja-ga and in the latter ta-ta-ga. In the first 11 letters of their lines they are identical, so far as the sequence of short and long letters is concc:ned; but Svayambhu has not noticed this in clear words, since he does not recognize the separateness of the cadence from the earlier part in Acala. A similar neglect of the cadence is noticed even in the following instances : Cadence ja-ja-ga in the metres defined in vy. 6, 12, 35, 40 and 42; cadence ta-ta-ga in those defined in vv. 8, 11, 29 and 33 ; cadence ra-ra-ga in those defined in vv. 5, 10, 13, 28, 32 and 48. In all these, owing to his construction of the definitions by means of the Matra Ganas Svayambhu does not take any notice of the separateness of the cadence from the earlier part of the line, though in the following instances he may be said to have done it: Cadence ja-ja-ga in metres defined in vv. 14, 34, 43 and 52; cadence ta-ta-ga in metres defined in vv. 15, 44, 47, 49 and 51; and cadence ra-ra-ga in metres defined in vv. 19, 37, 46 and 50. All these lapses in the recognition of the underlying principle of the growth of the metres of this type are due to the non-recognition of a Yati in the body of a line on the part of Svayambhu. 25. Svayambhu has noted the development of one metre from another by addition or substitution of letters in the following cases : 31. See Vrtta-Ghatakas at Journal BBRAS., 1951, pp. 150 ff. 32. This Yati is recognized even by Vr. 3.96.5-6 and H. 2.327-328. 33. Even here the Yati is recognized by both Kedara and Hemacandra; but the separateness of the structure of the cadence is not clearly felt in their defini. jions, since the preceding portion consisting of eleven Aksaras is not divisible into complete Aksara Ganas. See H. 2.305-306; Vr. 3.94.7-8.

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XX svayaMbhUcchandaH [INTRODUCTION Rohini (v. 33) from Padma (v. 32); Lalita and Harinipada (vv. 41-42) from Rohini (v. 33); Bhramarapada (v. 38) from Gajavaravilasita (v. 23) ; Citralekha (v. 36) from Mandakranta (v. 28); Lalita (v. 60) from Madraka (v. 59); Mattaklida (v. 61) from Vidyunmala (v. missing in SbP.) ; Krauncapada (v. 63) from Rukmavati (SbP. 6.15) and Manigunanikara, (v. 18) both put together. In chapter 2 of the Uttarabhaga, i.e., Sb. 2, where the Ardhasamas are defined, Svayambhu is even more explicit ; thus he points out that the even lines of the Vegavati (v. 1) are the same as the lines of a Dodhaka (SUP. 6.18) ; that the odd lines of the Harinapluta (v. 4) are the same as those of the Upacitraka (v. 2) and the even ones are the same as those of the Drutavilambita (lost in SbP.); that the odd lines of Akhyaniki are the same as those of Indravajra (lost in SbP.) and the even ones are those of the Upendravajra (lost in SbP.); that the odd lines of the Khanja (v. 13) are the same as those of a Giti (SbP. 1.3) and the even ones are the same as those of a Skandhaka (SbP. 1.3). Similarly, if an Anta-guru Trimatra is substituted for the final Caturmatra in the odd lines of the Vegavati (v. 1), we get an Upacitraka (v. 2 Dodhaka itself becomes Calamadhya (v. 3) when the initial Caturmatra in its even lines is made to consist of four short letters; Puspitagra (v. 9) is turned into Bhadravirat (v. 10) when the 1st and the 3rd short letters in all its Padas are combined with the 2nd and the 4th into a long one, i.e., when the first 2 letters in all its Padas are long; and Aparavaktra (v. 8) is changed into a Puspitagra (v. 9) when a long letter is added at the end of all its Padas. All these directions clearly suggest that Svayambhu was conscious of an important cause34 of the growth of the Varna Vrttas, though he has not enunciated it in clear words. (For Rajasekhara's Chandassekhara, see pp. 129-139). 28. Rajasekhara's Chandassekhara is a work on Sanskrit, Prakrit and Apabhramsa metres as he himself tells us in v. 7 of ch. 5, which alone is available at present. This work is written in Sanskrit, but seems as if it were a very close Sanskrit rendering of Svayambhu's corresponding Prakrit stanzas, so that after reading this chapter of the work an impression is left on the mind of the reader that Rajasekhara has merely given in Sanskrit what Svayambhu wrote in Prakrit. There is, however, this difference between the two writers that while Svayambhu regards the metres to be only of two kinds, Prakrit and Apabhramsa, Rajasekhara 84. See Vrtta-Ghatakas at Journal BBRAS., 1951.

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xxi $ $ 25-28] svayaMbhUcchandaH considers them to be of three kinds, Sanskrit, Prakrit and Apabhrasa ones. This evidently means that Rajasekhara considered the Varna Vsttas as Sanskrit metres and the Matra Vsttas (with the exception of the Vaitaliya and the Matrasamaka groups, as well as the Gatha with a few of its derivatives) as the Prakrit metres. It is, therefore, possible to imagine that the first three chapters of Rajasekhara's work treated of the Sama, Ardhasama and Visama Varna Vrttas while the fourth treated of the Matra Vrttas including the Prakrit ones. The 5th chapter which we are publishing here contains, however, a few of the Prakrit metres, namely, the Sirsakas, and then proceeds to define the Apabhramsa metres. This is also the order which Hemacandra has followed in his Chandonusasana, where he concludes his treatment of the Prakrit metres with the Sirsakas in ch. 4 and begins with Apabhramsa metres such as Utsa ha and others in ch. 5. It is, therefore, quite likely that Hemacandra has followed Rajasekhara in his classification as well as order of the treatment of the metres. 27. As regards the relationship between Rajasekhara and Svayambhu, it will be seen that owing to a different order of treatment, vv. 1-6 of ch.5 of Rajasekhara's work correspond to the whole of the 4th chapter of the Svayambhuchandas-Purvabhaga, while the remaining stanzas of the chapter seem to summarize chs. 4 to 7 of the Svayambhuchandas proper (Sb. 4-7). In Appendix I, I have given a concordance of the two works, which might easily prove how closely the one has followed the other. It is said above that Hemacandra has very likely followed Rajasekhara both in his classification and order of treatment of the metres; this is also suggested by the agreement in respect of the names of certain metres between Hemacandra and Rajasekhara as against Svayambhu. See for example notes on Sb. ch. 6, vv. 26, 37, 39, 40, 43, 46, 49, 55, 107, 112 etc. It is, however, striking that Hemacandra does not mention Rajasekhara anywhere in his work. 28. I had published this chapter in the Journal BBRAS., in 1946. I am publishing it again here on pp. 129-139, as it sometimes materially helps in understanding Svayambhu's words and also because it sometimes throws some light on Hemacandra's nomenclature of some metres in ch. 6 of his Chandonusasana The only ms. of this chapter written on palm leaves exists at the Badi Bhandar of Jesalmir in Bundle No. 238, though Dalal's Catalogue does not mention it as existing in that bundle. This ms. consists of pp. 44 to 51 only, the first 43 pages containing chs. 1 to 4 of the work being untraced for the present, though a ms. of the Chandassekhara of Rajasekhara is said to exist at Jesalmir at Jaina Granthavali, p. 318, on the basis of a list prepared by Shri Hiralal Hansaraj for the Jain Svetambar Conference, Bombay, in

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svayaMbhUcchandaH [INTRODUCTION 1909. Our ms. is 12 x 11 inches in size, each page containing about 6 lines, each line having about 60 letters in it, as described by Prof. K. K. Shastri, who prepared a copy of it in 1943 for Muni Shri Jinavijayaji, at present Director, Rajasthan Puratattva Mandir, Jaipur. It is dated Samvat 1179 and is said to have been written at Citrakuta Durga. xxii 29. Rajasekhara describes himself as an Arhata and a Kavi in the last stanza of the chapter. He was a layman; his father, grand-father and greatgrand-father were respectively called Duddaka, Lahata and Yasa, and belonged to the Thakkura family. His mother's name was Nagadevi; but nothing about his literary activities is at present known to us. He only tells us that this manual of his was very mnch liked by one Bhojadeva, who is very likely to be identified with the great king Bhoja of Dhara. The date of our ms. very well confirms this identification35 and it will not be far from truth if we assign Rajasekhara and his literary activities to the middle of the 11th century A. D. 30. I feel deeply obliged to Muni Shri Jinavijayaji, Director, Rajasthan Puratattva Mandir, who asked me to reedit this important work on Prakrit prosody for the Rajasthan Puratattva Series. I thank the Authorities of the the Asiatic Society of Bombay and the University of Bombay for permitting me to publish it as an independent book, and the Director of the Oriental Institute, Baroda, for lending me the only ms. of the work in their possession. But I specially mention my indebtedness to Pandit Rahula Sankrtyayana of Massuri, who gave me the palm-leaf ms. containing the fragments of the first part of the work, which is missing in the Baroda ms. Finally I gratefully acknowledge the substantial help in various ways which I have continuously received from my friend and colleague Dr. H. C. Bhayani of the Bharatiya Vidya Bhavan, Bombay. 35. Chandahsekhara, which is quoted by Trivikrama in his commentary on the Vrttaratnakara is very probably identical with the work of our Rajasekhara, I have published this commentary at JBBRAS Vol. 33 (1958), pp. 25-68; I have discussed this question briefly on p. 37

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mahAkavizrIsvayambhRkRtaM svayambhUcchandaH

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rAjasthAna purAtana granthamAlA ] [ svayambhUcchandaH smsbpnnmaasprshnpth dlgnmkaaler ekhn miy'aanmaarecoNtthnmbregenmnnmudgunyjaa emsbopmaa bmaammelddhbotthaa| pdmrmaaemmebinggaanggnlmunaa eloaabaasghaapcaa, bumnr'mlpnaaaaumbor'aammmmm lkssmnbid| lomhdd'Hdhmbnyjoniigaamiinnsensngginn bimaatthegurummaattheimaamy'naaboomipkaaenaae otthbo clegpaanggraathoraadnnddomhmaanleo paamucmudnnddomenraaem sbglbaay'ucaaN * re punHbH |mhtthmaarg&dhmaannotthmaaNlmuNsmthrblmraargnyj naachposugbinaamH mupmudnnr'umodn phaalaa mthpaalaabdlaaleb oapQlN nmolmaaednnddmaalaabi) pdmnyj11 . nirnnel saadhHpr ngnggaasaanggaakbembrH4aadaa, sbaadhgu@ebissmehattha3|prmutthhmulpeN| dosumdhum a pronbnmaanjaa maamllaidhtaaNaishbsNgr'aimaar'pr'm naaHgmnkblmbN nlaamaanniana | em ) tAr3apatrIya pratike pRSTha 2A aura 2B kI phoTo pratikRti

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rAjasthAna purAtana granthamAlA ] [ mumbh: momrsaalopmdhusulemdolaalnnN keNo shr`mpr'emsutth 5miin bissaaklaakusumsthaagsas5|bnggbidhihii * clciNgaaNnndlaamNlknnN pdumbaalmbulNshaaelaabin hmmmmno mr'mr'naar''mmm bnggbhmmhkpnaa mntr'mr' laarmaar my'dptRr' elaamaa dehm msl| gethe stndaam, mukh mn emndaashgaamhiin bepaatthimmmamaas| mH'mn' pnebumaamun nmH' re' naaenmur'r'nnaabor'k &maan ai4aamiibinmnbaagmaarraahmaa': maadbaammaa'bosn' bnaanii' niigq'kaatthaanni4/'' graamaantaa maadk muhaam biir'chaa?baan'iimaan 494 pr'miimcybegundiidaatthi4aanmnsstthguptcchthrilaam| Rl6735mii lonnr'beshtdlmaanne|pkssipt naamopbi4eghnndd e, dhaangr'nyjy'liilphle| gnnmlnmebaay' 5mghmlnmtthurnlbaanserin l&nekedhmttaagt m lmodobenaadnpel 3. lkssmdhsthe 3aRshunggsmtthaannbnmaa + @e + onaargnyj em er tAr3apatrIya pratike pRSTha 4B, 6A kI phoTo pratikRti

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rAjasthAna purAtana granthamAlA ] [ vacha: saadaa pbitaa / / 58 klaa binomno naa| baas varunti smy'e ha68 klaa kino maamii| aalnndd saadaa mjaadaar mt maajaa| jaanis mimaachaa haaski genngn saahaa // prthm nsmbhuut bsle dl naa lkhische| ese smst yudde gnimns laanggaa chaammnimaamaa aapaao lig maa imaadaa bins, cikum diy'aa haatgulo lemi mnonnoml phulu ghumuno til den saad bndhel| dbitl baabd bkr memnggl elaa caapglaam / khnnddmaak piy' mm o naarnte mm / nipinis maa k A tAr3apatrIya pratike pRSTha 13B kI phoTo pratikRti ' / e bndhubaandhbaajnr'e haahaagi engaan genu tbe repnyc omaanbembr'grer baatr paare stthik der mnbsthaa niiyaagii paanpjer lner mntre nde nemechi mociy'aa njsb dlaa hn prdhaan dshdin baaccu K eloe binm cliy'aa paannddb bistaar naam / ebaare up5 eraa eniy'e baaokhnnddii jnmaangaach maahii| nRtbaannti snthe baa bkhnndd lunggi pesmeth lain ble bobaanngaanaa bensnaa sonaa ble nijhum br't kr'e nor` puur'uk mehe svayambhUcchandaH granthakI truTita tAr3apatrIya pratike sAtha upalabdha anya kRtikA eka patra

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ma hA ka vi zrI sva yaM bhU kRtaM svyNbhuucchndH| 1. uktaadividhiH| x kahasimahaM saddatthasaMpuNNaaM sukaI(i)raaNaM katto smuppnnnnaN| [xxxxxx zabdArthasaMpUrNa sukaviracanaM kutaH samutpannam // ] paraMtagA saalamuhAiputvalA huaMti te kira ruirA taAraA // 1 // [parAntagAH skl-mukh-aadi-puurv-laaH| bhavanti te kila rucirA bimAtrakAH // 1 // ] ruirA tassea [rucirA tasyaiva] / susAmie Nivaliae abhaggiA samottiA gamatimmiaNgiaa| milaMtachappaaravamukkakaMThiA dharAale ruaiva khaggalaTThiA // 1.1 // [susvAmini nipatite abhagnA samauktikA gjmdliptaanggikaa| milatSaTpadaravamuktakaNThikA dharAtale roditIva khaDgayaSTiH // 1.1 // ] caucA paroraNihaNoragA gurU jai saMhuvaMti caraNesu NaMdiNI // 2 // [catvArazcaturmAtrAH para-madhya-nidhana-madhyagAH guruH yadi saMbhavanti caraNeSu, nandinI // 2 // ] N. B.-I am reproducing, here in the foot-notes, the Sanskrit equivalents or explanations of words given marginally or between the lines in the ms. Only occasionally, I am suggesting emendations introduced by the word 'read'. 1 nipatite.

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2 diNI vahassa [nandinI brahmaNaH ] | svayaMbhUcchandaH / hi (miNo sasI Na sa divA virAjae kisa (ma) gao dhaMNaNumassa ko sumaM / ia saMsaANuvagaassa meM maI tai die Na lahara viNicca // 21 // [ kimayaM zazI; na sa divA virAjate kimanaGgo na dhanurasya kausumam / iti saMzayamupagatasya me matiH tvayi dRSTena labhate vinizcayam // 21 // ] aijaaI samattA / sakkarI voktavvA / [ atijagatI samAptA / zakvarI vaktavyA / ] chaMde vasaMtatilae caucA sapaMsA savvaMtaraMtaparagA muhalAvasesA // 3 // [chandasi vasantatilake catvArazcaturmAtrAH sapaJcamAtrAH sarva- antar-anta-para-gAH mukhalAvazeSAH // 3 // ] vasaMtatilaaM vijjAe [vasantatilakaM vidyAyAH] / udaMDakoaNadakomala kosakaMtI kaMtAkucaggahaNakaMTai appakoTTo | mittaddiAiriucAruvilAsiNInaM sammANadANabhaabhoakaro karo de // 3.1 // [ uddaNDakokanadakomalakozakAntiH kAntAkucagrahaNakaNTakitaprakoSThaH / mitra-dvijAti-ripu- cAruvilAsinInAM saMmAna-dAna-bhaya-bhoga-karaH karaste // 3.1 / ] ahavA aMgAragaNassa [athavA aGgAragaNasya ] | kapu (NNu) ppalaM ghusiNalittakavolalolaM bAlAi dudhavalacchipahAvihiNNaM / pAvera NIlamaNimottiapammarAa cittassa picchamiva kAmasarassa sohaM // 3.2 // [karNotpalaM ghusRNaliptakapolalolaM bAlAyAH dugdhadhavalAkSiprabhAvibhinnam / prApnoti nIlamaNimauktikapadmarAga citrasya picchamiva kAmazarasya zobhAm // 3.2 // ] 1 Read kimiNo. 2 Read perhaps Na dhaNumassa. 3 divAarassa. [uktAdividhiH

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1.2-5] svyNbhuucchndH| do doNhi majjhe NihaNasaalalA paMsA esAsaMvAhA saalaguruchaArANaM // 4 // [dvo dvayormadhye nidhanasakalalo paJcamAtrau eSA asaMbAdhA sakalagurukaSaNmAtrayoH // 4 // ] asaMvAhA suddhasahAvassa [asaMbAdhA zuddhasvabhAvasya / avvo bAlAe visamaraasamattAe aMdolaMteNaM pihulacalaNitaMbeNaM / mA ho kAmaMgaM haraha suraabhaMDAraM kaMcIpAlaMbo dharaiva kaNiro dAraM // 4.1 // [ammo bAlAyAH viSamaratamattAyAH dolAyamAnena pRthulacalanitambena / mA bhoH kAmAGgaM harata suratabhANDAraM kAJcIprAlambo dhArayatIva zabdayan dvAram / / 4.1 // ] avaraM ca tassea [aparaM ca tasyaiva / pecchaMtAe NibharasuraasamattAe loluddhA pAA viDakaDiaDamArUDhA / NamhehiM diNNaM bahujaNamiva saNNaMte hAhAho muTuM ua gahavaisavvassaM // 4.2 // [prekSasvaitasyA nirbharasuratamattAyAH __ lolovauM pAdau viTakaTitaTamArUDhau / na AvAbhyAM dattaM bahujanamiva saMjJApayataH hAhAho muSitaM pazya gRhapatisarvasvam // 4.2 // ] lahutagaNajuaM doNhi pA lAvasANA / taha gurujualaM jIa gaMdImuhI sA // 5 // . [laghubimAtrayugalaM dvau paJcamAtrau lAvasAnau / tathA guruyugalaM yasyAH nandImukhI sA // 5 // ] gaMdImuhI aMgAragaNassa [nandImukhI aGgAragaNasya] / pasarai pulao sedabiMdU galaMti phurai aharao jaMpaNaM jAi hAsaM / tharaharai maNo NiccalA ThAi diTTI ia viviharasA hoMti dihe piammi // 5.1 // 1dvI dvayoH sarvaguruSaTakalayormadhye nidhanalaghusakalalaghupagaNau. 2 zabdanazIla:. 3 dvAram. 5 viTakaTitaTamArUDhI. 6 AvAbhyAm . 7 anekajanaM saMjJApayat iva. 4 lolodhyauM.

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[uktAdividhiH svyNbhuucchndH| [prasarati pulakaH svedabindavo galanti sphuratyadharako jalpanaM yAti hAsam / kampate mano nizcalA tiSThati dRSTi iti vividharasA bhavanti dRSTe priye // 5.1 // ] saalauva(ra)lahU paruttaragAvarA chapacatagaNaA imA aparAiA // 6 // [sakala-udaralaghU para-uttaragau avarau SaT-paJca-catuH-tri-mAtragaNAH iyamaparAjitA // 6 // ] aparAiA tassea [aparAjitA tasyaiva / karamuhakamale bhuAgalaNAlae NaaNakuvalae paoharahaMsae / alaaaliule NiaMbajalohae ramai piaamo sarevva kalattae // 6.1 // [karamukhakamale bhujAgalanAlake nayanakuvalaye pyodhrhNske| alaka-alikule nitambajalaughe ramate priyatamaH sarasIva kalatre // 6.1 // ] paraguru dumuNI paharaNakaliA // 7 // [paraguravaH dviH munayaH praharaNakalikA // 7 // ] paharaNakaliA paMcamaNAhassa [praharaNakalikA paJcamanAthasya / pia ghaNasamae parihara gamaNaM surasaripuliNaM miva rama ramaNaM / khaNamavi virahaM Na sahai hiaaM paaNutaNaale jalamiva tthiaaN||7.1|| [priya ghanasamaye parihara gamanaM surasaritpulinamiva ramasva ramaNam / kSaNamapi virahaM na sahate hRdayaM pratanutRNatale jalamiva sthitam // 7.1 // ] lahuguruchajuaM tatto patA putvalA karimaarabhuA chaMde palattA imA // 8 // [ lahuguruSaNmAtrayugaM tataH paJcamAtratrimAtrau pUrvalo karimakarabhujA chandasi proktA iyam // 8 //

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1.6-10] svayaMbhUcchandaH / karimaarabhuA suddhasahAvassa [karimakarabhujA zuddhasvabhAvasya ] | riuruhirajale mAaMgagAhAule adhaavira chattoha pheNujale / rasirakamale khaggAvalImINae ramai raNasare haMsovva NAho mahaM // 8-9 // [ ripurudhirajale mAtaMgagrAhAkule hayadhvajavihage chatraughaphenojjvale / naraziraHkamale khaDgAvalI mIne ramate raNasarasi haMsa iva nAtho mama // 8.9 // ] ravilahupara gurujuamuvacittaM // 9 // [ravilaghuparaguruyugamupacitram // 9 // ] uvacittaM suddhasahAvassa [upacitraM zuddhasvabhAvasya ] | avaDiaNaiaDaviaDakuDuMgaM alaaNaviDabhaDakaDi jhaliaMgaM / sarahasaraarasavasapusiosaM jaraNamiva ravasahasaimatosaM // 9.1 // X [ x X X x X lacchI maUradeassa [lakSmIH mayUradevasya ] / X X lacchI paMcaggaheNA jehi pUraMti te lA // 10 // [ lakSmIH paJcagrahenAH yaiH pUryante te lAH // 10 // ] x] 1 paJcanavadvAdazavarNA laghavaH anye guravaH 2 Read keu. vitthiNNA AsaraNe sUradAvaggiDaDDhe saMjhAjAlA phuliMge tAraAchArapuMje / dukkhaM vijhAamANe kAlakIlAmasille peccha dUdhummA amANaM kettakolittakhaMDa // 101 // [vistIrNAkAzAraNye sUryadAvAgnidagdhe saMdhyAjvAlA sphuliGge tArakAkSArapuJje / duHkhaM vidhmApayamAne kAlakrIDAmaSIyukte prekSasva dhUmAyamAnaM ketu-ulmuka khaNDam // 101 // ]

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svayaMbhUcchandaH / dippaMcaMteharaNNaM lA pUraNe johiA // 11 // [ dikpaJcatrayodazAnAM lAH pUraNe jyotsnikA // 11 // ] jo kohantassa [ jyotsnikA kohantasya ] | AsAsAhAsusohaM saMjhApahApallavaM tArApanbhAraphullaM thorakkapikkaM phalaM / alIpakha dhaMtA lithoojjhiaM eaM pecchAhi kaMte AAsakappahumaM // 11.1 // [AzAzAkhAsuzobhaM saMdhyA prabhApallavaM tArAprAgbhArapuSpaM sthavirArkapakvaphalam / lInaiNAGkapakSiNaM dhvAntAlistokojjhitaM etaM prekSasva kAnte AkAzakalpadrumam // 11.1 // ] gaccho pA loavA (rA) do catA paragA jaA // 12 // [gaH SaNmAtraH paJcamAtrau lodarau dvau caturmAtrAtrimAtrau paragau jayA // 12 // ] A suddhasahAvasya [jayA zuddhasvabhAvasya ] | rAhAra tArahAre thaNe paDibiMbiaM kaNhaM bAlAi dahuM balotti palajjiaM / uM riTThAriNAvi pi ia muddhiA gADhaM ghetU kaMThe uNo a (u) vagUhiA // 12.1 // [ rAdhAyAstArahAre stane pratibimbitaM kRSNaM bAlayA dRSTvA bala iti pralajjitam / jJAtvA riSTAriNApi priyA iti mugdhikA gADhaM gRhItvA kaNThe punarupagUhitA // 121 // ] sakkarI smttaa|| 14 // aisakkarI vottavvA // [zakvarI samAptA // 14 // atizakvarI vaktavyA // ] lahuguruchajuAo puvvalA doNi paMsA / jaNamaNaharapAA mAliNI erisI sA // 13 // [ uktAdividhiH [ laghuguruSaNmAtrayugAtpUrvalau dvau paJcamAtrAMzau / janamanoharapAdA mAlinI IdRzI sA // 13 // ] mAliNI aMgAragaNassa [ mAlinI aGgAragaNasya ] | 1 Read terahaNaM. 2 jJAtvA.

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1.11-15] svyNbhuucchndH| dhavalamia kavolaM cacciaM caMdaNeNaM kaamiva avaaMsaM keaIpallaveNaM / gaamiva savaNaMtaM daMtatAlaMkamekaM ua sasaharabiMbaM vAsavAsAvahUe // 13.1 // [dhavalamiva kapolaM carcitaM candanena kRtamivAvataMsaM ketakIpallavena / gatamiva zravaNAntaM dantatATaGkamekaM pazya zazadharabimba vAsavAzAvadhvAH // 13.1 // ] saalamuhalapA do ducA uragA gurU / sukaijaNapalattA imA uvamAliNI // 14 // [sakkala-mukha-lau paJcamAtrau dvau, dvau caturmAtrau udaragau, guruH sukavijanapralapitA iyaM upamAlinI // 14 // 1 uvamAliNI tasseva [upamAlinI tasyaiva] / / suhaa pasia mANaM puNo Na kuNaMtiA ___ tuha calaNapaNAmaM gaAvi Na rttiaa| Na lahai taNuaMgI maNaMpi suhacchiaM aNuNa pia pAsaM pasaNNamuhacchiaM // 14.1 // [subhaga prasIda mAnaM punarna kurvantI tava caraNapraNAmaM gatApi na rktaa| na labhate tanvaGgI manAgapi sukhAsikAM anunaya priyAM pArzva prasannamukhAkSIm / / 14.1 // ] jai uNa caupasA savAisesaMtalA guruNihaNamiNaM taM caMdujju bhaNNae // 15 // [yadi punaH catvAraH paJcamAtrAMzAH sarva-Adi-zeSa-anta-lAH gurunidhanamidaM taccandrodyotaM bhaNyate // 15 // ] caMdujjuaM suddhasahAvassa [candrodyotaM zuddhasvabhAvasya / ahiNavasasilehA saMjhAbhavAaMbiA sahai kasaNamehe vijjuppahAbhAsure / ua pasariajIhe kAlassa kAle muhe akavalaviluddhA dADhavva rattolAi // 15.1 // 1 jagat.

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[uktAdividhiH svyNbhuucchndH| [abhinavazazilekhA saMdhyAtapAtAmritA zobhate kRSNameghe vidyutprabhAbhAsure / pazya prasRtajihve kAlasya kAle mukhe jagatkavalanavilubdhA daMSTreva raktAdrA // 15.1 // ] satta tA lahuttarA guruM ca jattha tolaN||16|| [sapta trimAtrAH laghUttarAH guruzca yatra toTakam // 16 // ] tolaaM NAgahassa [toTakaM nAgahasya] / etthaaMtaraMmi veamukkabANajAlaaM. vaariuurpuuriunnnnmNtmehkaalaN| jujjhamajhatakkhaNuggauggarosapuNNaaM dhAiaM pavaMgamANa rakkhaseMdaseNNaaM // 16.1 // [atrAntare vegamuktabANajAlakaM vAripUrapUritonnamanmeghakAlakam / yuddhamadhyatatkSaNodgatograroSapUrNa dhAvitaM plavaMgameSu rAkSasendrasainyam // 16.1 // ] dasacaulahu para guru a sasialA // 17 // [caturdazalaghavaH parato guruzca zazikalA // 17 // ] sasialA suddhasahAvassa [zazikalA zuddhasvabhAvasya] / phuDiakamalakuvalaasaraNiarA primlmiliabhmiabhmrulaa| sasaharakiraNadhavaladharaNialA kamiha Na harai saraadiNakamalA // 17.1 // [sphuTitakamalakuvalayasaronikarA primlmilitbhraantbhrmrkulaa| zazadharakiraNadhavaladharaNitalA kamiha na harati zaraddinakamalA // 17.1 // ] vasusiri kaajai maNiguNaNiaro // 18 // [vasuzirasi kRtayatiH maNiguNanikaraH // 18 // ] maNiguNaNiaro suddhasIlassa [maNiguNanikaraH zuddhazIlasya] / 1 sahAvassa corrected to sIlassa.

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1-16-20] svayaMbhUcchandaH / ghaNarasaNamuhalacala remaNaalaM samapaharamiliakalamaNiaravaM / samasalilaNivahavialiatilaaM ua harai taruNavaravisamaraaM // 18.1 // [ ghanarasanA mukharacalanitambatalaM xxxxx militakalamaNitaravam / zramasalilanivahavigalita tilakaM pazya harati taruNIvara viSamaratam // 18.1 // ] vijjUmAlAhiMto doppA loarA gaM ca cittA // 19 // [ vidyunmAlAtaH dvau paJcamAtrau lodarau gazca citrA // 19 // ] cittA tassea [citrA tasyaiva ] / je diTThA hA vijjupuMjo sacAvo dhArAsAratthoraMtthaM batthippiraM aMtarikkhaM / raNe raNe morA sahAaMti hA haMta ehi attA patte vAsAratte paMthiA mA maraMtu // 19.1 // [ naSTo jyeSTho dRSTA meghA vidyutpuJjaH sacApo dhArAsArasthavirastambasaMgalad antarikSam / araNye'raNye mayUrAH zabdAyante hA hantedAnIM amba prApte varSArAtre pAnthA mA mriyantAm // 19.1 // ] aisakkarI samattA // 15 // aTThI voktavtrA / [ atizakvarI samAptA // 15 // aSTiH vaktavyA // ] lahUgurU NiraMtarA jahiM sa paMcacAmaro // 20 // [ laghavo guravo nirantarA yatra sa paJcacAmaraH // 20 // ] cAmaro haradAsassa [cAmaro haradAsasya ] / ghaNohavArithorathaMbartitaNitagaMdhaA samuggamaMta maMda maMdakaMdalaMkurillaA / siliMdha gaMdhaluddhamuddhachappa aMdhaAriA ts duHkha Ai~ paMthiANa raNabhUmiA // 20.1 // [ghanaughavAristhavirastambAtimitaniryagandhA samudgacchanmandamandakandalAGkuritA / zilIndhra gandhalubdhamugdhaSaTpadAndhakAritA jayati duHkhAni pathikAnAmaraNyabhUmiH || 2001 // ] 1 nitambam 2 sthUlastambavyAptam.

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[uktAdividhiH svyNbhuucchndH| aTThatA lahuttarA jahiM sa cittasoha esa // 21 // [aSTatrimAtrA laghUttarA yatra sa citrazobha eSaH // 21 // ] cittasoho guNaharassa [citrazobho guNadharasya] / duNNivAravAraNedatikkhakhaggachiNNaehi~ mukkhkknniisrNtbaanndhaartinnnnehiN| vIratuMDamuMDakhaMDaTaMkachiNNaduggameri(hiM) erisevi Ahave sa vIrao vilAsamei // 21.1 // [ tIkSNakhaDgacchinnadurnivAravAraNendraiH muktAhAnaniHsaradvANadhArAtIrNaiH / vIratuNDamuNDakhaNDaTaGkacchinnadurgamaiH IdRzepyAhave sa vIro vilAsameti // 21.1 // ] satta tA lahuttarA guruddaaMca cittmeaN||22|| [sapta trimAtrA laghUttarA gurudvayaM ca citrametat // 22 // ] cittaM tassea [citraM tasyaiva / sakkacAvavaMkabhAvabhUlaAbhaaMkarAi~ gcchmaannraaahNsdiihpNtidNturaaii| vipphuraMtavijjulAlalAviaggajIhaAI paMthiANa dhAviAI pAusabbharakkhasAi~ // 22.1 / / [zakracApavakrabhAvabhUlatAbhayaMkarANi gacchadrAjahaMsadIrghapaGktidanturANi / visphuradvidyullolAyitAgrajihvAni pathikeSu dhAvitAni prAvRDabhrarakSAMsi // 22.1 // ] antamuhAisavvasaalasaalalahuNo chattagaNA guruM ca gaavaravilasiaaM // 23 // [anta-mukha-Adi-sarva-sakala-sakala-laghavaH / SaT trimAtrAH guruzca gajavaravilasitam // 23 // ] gaavaravilasiaaM NiuNassa [gajavaravilasitaM nipuNasya / hA mahumAsabaMdhu viasiakamalasara diNNasasaMkamittasuruirakarapasara / kattha gaosi gimha jalahararavamuhalaM thaMbathiraMsuehi~ ruaiva gaaNaalaM // 23.1 // 1 azrubhiH.

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1.21-25] svyNbhuucchndH| [hA madhumAsabandho vikasitakamalasaraH dattazazAGkamitrasurucirakaraprasara / kutra gatosi grISma jaladhararavamukharaM stambasthavirAzrubhiH roditIva gaganatalam // 23.1 // ] ahavA suddhasIlassa [athavA zuddhazIlasya / maMdaradiNNaghAatalabhiDiasalilaaM. poaDapommarAamaNikiraNaruhiraaM / takkhaNadiTThasattaThiasiDhilaphuraNaaM dIsai doddalaMvia maaraharahiaaM // 23.2 // [mandaradattaghAtatalamilitasalilaM prakaTapadmarAgamaNi kiraNarudhiram / tatkSaNadRSTasattvasthitazithilasphuraNaM dRzyate dvikhaNDamiva makaragRhahRdayam // 23.2 // ] do chA doppA saalamuhagA punvAilagurU / ekkaM gaMtaM maaNalaliaM chaMdammi paae // 24 // [dvau SaNmAtrau dvau paJcamAtrau sakala-mukha-gau pUrvAdi-lagurU / ekaM gAntaM madanalalitaM chandasi prAkRte // 24 // ] maaNalaliaM suddhasahAvassa [madanalalitaM zuddhasvabhAvasya] / dolAlolaM saNiasaNiaM mAaMdagahaNe aMdolaMtiM taruNiviDa NAhaMkapaDiaM / kAmucchaMge raimiva ThiaM daTTaNa pahio mucchaM patto NiaaghariNIkIDaM sumriuN||24.1|| [dolAlolAM zanaiH zanaiH mAkandagahane dolAyamAnAM taruNI xxx nAthAGkapatitAm / kAmotsaGge ratimiva sthitAM dRSTvA pathikaH mUrchA prApto nijakagRhiNIkrIDAM smRtvA // 24.1 // ] bhaNai saalalahuamacaladihimiha // 25 // [bhaNati sakalalaghumacalatimiha // 25 // ] acaladihI aMgAragaNassa [acaladhRtiH aGgAragaNasya] / 1 bhanna. 2 prakaTa. 3 dvikhaNDamiva.

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12 svayaMbhUcchandaH / viluliaciuramahera alakaavaNamavirala pulaabhariathaNajuamavi / rairasasaNiamaNiamuhaliamiha hara suraamaviraamara sahi tuha // 25.1 // [ vilulitacikuramadharatalakRtatraNaM aviralapulakabhRtastanayugamapi / ratirasamandamaNitamukharitamiha zobhate suratamaviratamayi sakhi tava // 25.1 / ] aTThI samattA // 16 // aiaTThI voktavvA / [ aSTiH samAptA // 16 // atyaSTirvaktavyA / ] uraMtauaraMtavakkacagaNA patA puvvalA huvaMti calaNesu jIa puhavI imA pAae // 26 // [ udara-anta-udara- anta-vakrAH caturmAtrAH paJcamAtratrimAtrau pUrva lau / bhavanti caraNeSu yasyAH pRthvI iyaM prAkRte // 26 // ] puhavI suddhasahAvassa [pRthvI zuddhasvabhAvasya ] | viuddhakarapaMkaA muhamiaMka joDu apalA alaagholiriMhiMdirA / paohararahaMgiA gahiraNAhiruMdeMdrahA sarivva saraubbhavA kamalagoriA sohae // 26-1 // [vibuddhakarapaGkajA mukhamRgAGkajyotsnojjvalA vinidranayanotpalA alakaghUrNanazIlendindirA / payodhararathAGgikA gabhIranAbhi vistIrNadrahA saridiva zaradudbhavA kamalagaurI zobhate / / 26.1 // ] pachA doppA ceso muhalatigurU savvaparalA gaAraMto seso huvai calaNe sA sihariNI // 27 // [ paJcamAtraSaNamAtrau dvau paJcamAtrau caturmAtrAMzo mukhala -trigurU sarva-para-lau gurvantaH zeSo bhavati caraNe sA zikhariNI // 27 // ] sihariNI paMchamaNAhassa [ zikhariNI paMchamanAthasya ] | [ uktAdividhiH varaM laddho baMdho saalaguNamaMte buhagaNe varaM dIhaM kAlaM girigahaNamajjhe NivasiaM / varaM duTTeNAsIvisavisahareNAvi ramiaM saMjAaM rajjaM pisuNaparivAreNa sahiaM // 27-1 // 1 adharatalakRtavraNa. 2 zobhate. 3 alakA eva ghUrNanazIlA bhramarA yasyAm 4 mahAhadA.

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1.25-30] svyNbhuucchndH| [varaM labdho bandhaH sakalaguNavati budhagaNe varaM dIrgha kAlaM girigahanamadhye nivasitam / varaM duSTeNAzIviSaviSadhareNApi rataM na saMjAtaM rAjyaM pizunaparivAreNa sahitam / / 27.1 // ] madakaMtA timuhaguruchA puvvalaM pattaaM ca // 28 // [mandAkrAntA tri-mukha-gurU SaNmAtrau pUrvalaM paJcamAtratrayaM ca // 28 // ]] maMdakaMtA suddhasIlassa [mandAkrAntA zuddhazIlasya] / hArAlaggaM bhasalamuhalaM hAripuNNAadAma kesAsattaM sarasamauaM mAliaM mAlaIe / kaNNAsattaM NavadalajuAlaMkiekkaM kalaMbaM mehAloe maraNahiaA dei duppaMthiajjhA // 28.1 // [hArAlagnaM bhramaramukharaM hAripunnAgadAma kezAsaktaM sarasamRdukaM mAlyaM mAlatyAH / karNAsaktaM navadalayugAlaMkRtamekaM kadambaM meghAloke maraNahRdayA dadAti duSpathikAryA // 28.1 // ] do ccheillA uralapagaNA jissA imA hAriNI // 29 // [dvAvantyau udaralaghukau pancamAtrau yasyAH iyaM hAriNI // 29 // ] hAriNI suddharAassa [hAriNI zuddharAgasya] / TheraM caMdaM taruNataraNi daLUNa puvaNhae buddhaM laddhAvasaramiva taM hAsaM gadhe paMkaaM / dosaMggAhI asaalaalo khattho khaI khAmao vaMko mittori sa~i Thio jo tassa katto sirI // 29.1 // [sthaviraM candraM taruNataraNiM dRSTvA pUrvAhne buddhaM labdhAvasaramiva tad hAsaM gataM paGkajam / doSagrAhI asakalakalaH khasthaH kSayI kSAmakaH vakro mitropari sadA sthito yastasya kutaH zrIH / / 29.1 // ] vaMsaalaMmi savvatialA caukalaNihaNA antamuhAisavaparasavalahuaparagA // 30 // [vaMzatale sarvatrimAtrAH catuSkalanidhanAH / anta-mukha-Adi-sarva-para-sarva-laghuka-paragAH // 30 // ] 1 rAtridoSau. 2 kalA-zilpAdizAnepi. 3 AkAzAkulI. 4 rogApacayau. 5 anRjudurAzayau. 6 AdityasuhRdau. 7 sadA.

Page #57
svyNbhuucchndH| [uktAdividhiH vaMsaalaM lalahasahAvassa [vaMzatalaM laTabhasvabhAvasya] / dAhiNamArueNa parihaTTasurahitaruNA mAhavamAsaammi hasiavva saltrunnaa| tumha mahaM ca ettha paNiaM NisuNau malao gheppai aNha(mha) kassa suhaoccia parimalao // 30.1 // [dakSiNamArutena parighaTTitasurabhitaruNA mAdhavamAse hasitA iva sakalataruNAH / yuSmAkaM mama cAtra paNitaM nizRNotu malayaH gRhyate AvayoH kasya subhaga eva parimalaH // 30.1 // ] kovi a vaMsavattalaliaMtti pabhaNai imaM // 31 // [kopi ca vaMzapatralalitamiti prabhaNati idam // 31 // ] vaMsavattaM suddhasIlassa [vaMzapatraM zuddhazIlasya] / bhUritalAavAri vimalaM kuvalaapauraM pommapalAva(sa)saMtiruharaM viagnnmnniaN| Necchai cAao kaadihI suravaivihiaM cuMbai vaMsavattavaDiaM jalalavamavi so // 31.1 // [bhUri taDAgavAri vimalaM kuvalayapracuraM padmapalAzazAntiruciraM dvijagaNamAnyam / necchati cAtakaH kRtadhRtiH surapativihitaM cumbati vaMzapatrapatitaM jalalavamapi sH|| 31.1 // ] paguNapagaNA dochA vaMkA pujvalA pA a pommaM // 32 // [praguNapaJcamAtrau dvau SaNmAtrau vakrau; pUrvalau paJcamAtrau ca pannam // 32 // ] pommaM aMgAragaNassa [pa- anggaargnnsy]| visamasurae kesAmoDo gholiro maMdamaMda sahai samakaM utthaMgheNaM thorahAreNa rmmo| uaha taruNA mA ho kosaM bAliAe NiaMbaM kasaNadhavalo majjhe diNNo vammaheNaM paDovva // 32.1 // [viSamasurate kezabandho ghUrNanazIlaH madamandaM zobhate samaM uttabdhena sthavirahAreNa ramyaH / pazyata taruNAH mA bhoH kozaM bAlikAyAH nitambaM kRSNadhavalo madhye datto manmathena paTa iva // 32.1 // ] 1 Avayomadhye kasya parimalo gRhyata ityeva paNitam. 2 cAtakaH. 3 kezabandha:.

Page #58
1.30-35] svyNbhuucchndH| uva(ra)lapagaNA do cheillA taM cea sA rohiNI // 33 // [udaralau paJcamAtrau dvAvantyau tadeva sA rohiNI // 33 // ] rohiNI ubbhaDassa [rohiNI udbhaTasya] / phaiDahigahaNaM dUre chattaM raNNaM karaMjAulaM saraadiaho pikkA sAlI vAIjalaM sIalaM / vasai sa pio tassi ekko attAvi tatto saaM uaha viMgaA bhattaM ghettuM sUe paloTTaM ghaaM // 33.1 // [kArpAsagahanaM dUre kSetraM, araNyaM karajAkulaM zaraddivasaH, pakvA zAliH vApIjalaM zItalam / vasati sa priyastasminnekaH pitRSvasApi tataH svayaM pazya vigatA bhaktaM gRhItvA sUpe pravRttaM ghRtam / / 33.1 // ] hariNicaraNe paMso chaMso tiaddhcaaraa| saalalagurU savoraMbhaMtarAlagurUgurU // 34 // [hariNicaraNe paJcamAtraH SaNmAtraH sArdhatrayacaturmAtrAH / sakala-la-gurU sarvodarAbhyantarAlaguruguravaH // 34 // ] hariNI caMdaNassa [hariNI candanasya] / malaapavaNo caMdAloo vasaMtasamAgamo __ parahuaravo vINuggAro raso jaraDhacchuNo / Na taha miliA ede savve jaNaMti mahaM dihiM suraasamae ollAlAvo jahA sahi vallaho // 34.1 // [malayapavanazcandrAloko vasantasamAgamaH parabhRtaravo vINodgAro raso jaraThekSoH / na tathA militA ete sarve janayanti me dhRtiM suratasamaye ArdrAlApo yathA sakhi vallabhaH // 34.1 // ] bhAvakaMtA visamajagaNA paargnnuttraa| vaMkAvaMkoahiparimiA urAigurUralA // 35 // [bhAvAkrAntA viSamajagaNA paJcamAtragaNottarA / vakrAvakrAH udadhiparimitAH udara-Adiguru-udaralAH // 35 // ] bhAvakaMtA NiuNassa [bhAvAkrAntA nipuNasya] / 1 karpAse phaDahI dezI. 2 vigatA bhaktaM gRhItvA sUpe pravRttaM ghRtam. 3 jaraThekSoH. 4 madhyAdigurumadhyalA:. This note really belongs to the last word in the line; it is wrongly put on the ist in the ms.

Page #59
svyNbhuucchndH| [uktAdividhiH caMdo vaMko kalusahiao ravI karacaMDao pArAvAro paaijalahI sihI avinniiao| sako sakko visamaNaaNo haro saMgao harI ____NAho majhaM uNa Niruvamo aNeaguNAlao // 35.1 // [candro vakraH kaluSahRdayo raviH karacaNDaH pArAvaraH prakRtijaDadhIH zikhI aviniitH| zakro'vaSvaSkito viSamanayano haraH sagado hariH ___ nAtho mama punarnirupamo'nekaguNAlayaH // 35.1 // ] aiaTThI samattA / 17 // dihI vottavA / atyaSTiH samAptA / 17 / / dhRtirvktvyaa|] maMdakaMtA chalahuajaTharA jattha sA cittalehA // 36 // [mandAkrAntA SaT-laghuka-jaTharA yatra sA citralekhA // 36 // ] cittalehA suddhasahAvassa [citralekhA shuddhsvbhaavsy]| thoAaMbA ahiataNuiA bIacaMdassa lehA laggA giddhe saraaghaNathaNe vaMkakA vihaai| reNNaM secchaM gaNataMlisae divvasaMjhAvahUe vaccaMteNAhimaaravaiNA Nakkhakhativva diNNA // 36.1 // [stokAtAmrA adhikatanukA dvitIyAcandrasya lekhA lagnA snigdhe zarad-dhana-stane vakravakA vibhAti / ratvA svecchaM gaganatalpe divyasandhyAvadhvA vrajatA ahimakarapatinA nakhakSatamiva dattam // 36.1 // ] chalahuchaguruA doppA jissA punvalA caMdamAlA // 37 // [SallaghuSaDgurukAH dvau paJcamAtrau pUrvalau yasyAH candramAlA // 37 // ] caMdasAlA haraattassa [candramAlA haradattasya] / ua bhamalaulaM cattujANaM vaccamANaM kahiMpi kira kamalamiNaM bAlApAe bholimAe NilINaM / kalamuhalaravaM taM se lou aikkadavvAhilAsaM Nivesaha Nilae mA ho amhaM NeuraM kRjiaM 3 // 37.1 // [pazya bhramarakulaM tyaktvodyAnaM vrajat kutrApi kila kamalamidaM iti bAlApAde bhrAntyA nilInam / kalamukharavaM tamasya zrutvA ekadravyAbhilASaM nivasata nilaye mA ho asmAkaM nUpuraM kUjitamiva // 37.1 // ] sahasrayonitvAt . 2 sagada:. 3 dvitIyAcandrasya. 4 snigdhe. 5 ramitvA sveccham. 6 talpe. 7 tyaktvodyAnaM. 8 iti. 9bhrAntyA. 10 zrutvA. 11 ekadravyAbhilASam . 12 nivasata nilaye asmAkamiti nUpureNa kRjitamiva.

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rA 1.35-40] svyNbhuucchndH| doNNi lahU huvaMti jai gaavaravilasiae / chattagaNaMtaaMmi bhaNai tamiha bhamaravaraM // 38 // [dvau laghU bhavato yadi gajavaravilasitake / SatimAtragaNAnte bhaNyate tadiha bhramarapadam // 38 // ] bhamaravaaM sukaiissa [bhramarapadaM shuddhkveH]| mehakAhiseajalapasamiaraaNiarA ___NacciracaccarIarava hliakumuasraa| uggaacaMdabiMbakaradhavaliasaaladisA kassa dihiM Na dei bhaNa maNaharasaraaNisA // 38.1 // [meghakRtAbhiSekajalaprazamitarajonikarA nrtitcnycriikrvmukhritkumudsraaH| udgatacandrabimbakaradhavalitasakaladizA - kasya dhRtiM na dadAti bhaNa manoharazarannizA // 38.1 // ] cho cattAri caukkalA paNihaNA svvNturgaa| aMtAsesavirAmagA a tamiNaM sardUlalaliaM // 39 // [SaNmAtrazcatvAraH caturmAtrAH paJcamAtranidhanAH sarva-anta-udaragAH / anta-azeSa-virAma-gAzca tadidaM zArdUlalalitam // 39 // ] saddalalaliaM suddhasIlassa [zArdUlalalitaM shuddhshiilsy]| bAlA bAlamiaMkavaMkabhumaA dIhacchijualA ___ rattAsoaNavallapallavapaA biNbaahrdlaa| loANaMdiraraMdacaMdamuhiA mAlUrathaNiA savvANaM cia saMghaDaMti Na viNA puNNehiM dhaNiA // 39.1 // [bAlA bAlamRgAvakrabhuvo dIrghAkSiyugalAH raktAzokanUtanapallavapadAH bimbaadhrdlaaH| lokAnandadavRttacandramukhyo bilvastanyaH sarveSAmeva saMghaTante na vinA puNyaihiNyaH // 39.1 // ] savAsesAIparurauragA caAragaNA ime / tassi majjhate pagaNaguruNo bhaNaMti kurNgiaN||40|| [sarva-azeSa-Adi-para-udara-udara-gAzcaturmAtragaNA ime / tasminmadhyAntayoH paJcamAtragurU bhaNanti kuraGgikam // 40 // ] 1NiuNa. 2 nUtanapallava.

Page #61
svyNbhuucchndH| [uktAdividhiH kuraMgiaM bamhaattassa [kuraGgikaM brahmadattasya] / saMgAmAraMbhe suhaDabahule surANa vi dAruNe vicchiNNaM sIsaM arihaariNA kiNA via roiNA / sIsa~kkakaMtaM bhamaha gaaNe adhovari saMThiaM mippiMDAvatthaM gaamiva khaNaM kulAlapabhAmiaM // 40.1 // [saMgrAmArambhe subhaTabahule surANAmapi dAruNe vicchinnaM zIrSa x x kenApi rAjJA / zirastrANAkrAntaM bhramati gagane adhaupari saMsthitaM mRtpiNDAvasthAM gatamiva kSaNaM kulAlaprabhrAmitam // 40.1 // ] jai hariNimuhe ekko aNNo lahU laliaM imaM // 41 // [yadi hariNImukhe eko'nyo laghurlalitamidam // 41 // ] laliaM veraNAassa [lalitaM vairnaagsy]| pahaasalilae dhArAsAre NahaMgaNakhaggae pasarimaNivile vAsAratte ghaNehiM klNkie| saramadiNasirIlohArIe saasthiadhoie ua ravipaDimAsANachitte phuraMti kiracciNI // 41.1 // [prahatasalile dhArAsAre nabho'GganakhaDgake prasRtanibiDe varSArAtre ghanaiH klngkite| . zaraddinazrIlohakAriNyA x 4 dhaute pazya ravipratimAzANaspRSTe sphuranti kilA/Si // 41.1 // ] jai hariNiAmajjhillo chaMso imo hrinniipaN||42|| [yadi hariNImadhyagataH SaNmAtraH etad hariNIpadam // 42 // ] hariNIpaaM tassea [hariNIpadaM tsyaiv]| taNuitaNuI dUraM jAA kIsa esa sahAvao sumuhi maliNA dINAArA kiM saA ghrkmmoN| bharasi ahavA amhANaM kiM mukkamaNNu nniruttraa| Navara paiNA AliMgeuM gehiNI pariuMbiA // 42.1 // [tanukatanvI dUraM jAtA kasmAt; eSa svabhAvaH sumukhi malinA dInAkArA kiM; sadA gRhakarma / smarasyathavAsmAkaM kiM; muktamanyuniruttarA ___ kevalaM patyA AliGgya gRhiNI paricumbitA // 42.1 // ] 1 bhiDiasuhaDe iti dviH.2 cakreNa. 3 rAzA. 4 zirastrANAkrAntam. 5 mRt. 6 lohakAriNyA. 7 spRSTe. 8 acIMSi.

Page #62
1.40-45] svyNbhuucchndH| vaMkAvaMkkA maarahararasA gamajjha ducAcalaM // 43 // [vakrAvakrA makaragRharasA (4,6) gamadhyau dvau caturmAtrau acalam // 43 // ] acalaM jIvadeassa [acalaM jIvadevasya] / savvA bhUmI NarasirabhariA salohiakaddamA __ saggo suNNo hariharapamuhA surAvi smaagaa| katto gacchaM amuNimaNila bhaNaMtamivAulaM kaMThachiNNaM bhamai bhaDasiraM Nahacci(mmi)a kevalaM // 43.1 // [sarvA bhUmirnarazirobhRtA salohitakardamA svargaH zUnyo hariharapramukhAH surA api smaagtaaH| kuto gamiSyAmi ajJAtanilayaM bhaNadivAkulaM kaNThacchinnaM bhramati bhaTaziro nabhasyeva kevalam // 43.1 // ] uddAhiMto paralahupajuaM ekko gurU kesaraM // 44 // [rudrebhyaH paralaghupaJcamAtrayugaM eko guruH kesaram // 44 // ] kesaraM tassea [kesaraM tsyaiv]| No daTThavvaM paramaNasahiaM duTukkurANaM muhaM No soavvaM khalajaNavaaNaM vajjAsaNIsaMNihaM / jo vottavvaM kivaNajaNavade dehitti dINakkharaM sAhippAaM gaDaiva samare uddhaM kabaMdhaM Thi // 44.1 // [no draSTavyaM paramAsA duSTasvAminAM mukhaM na zrotavyaM khalajanavacanaM vajrAzanisaMnibham / no vaktavyaM kRpaNajanapade dehIti dInAkSaraM sAbhiprAya naTa iva samare UrdhvaM kabandhaM sthitam // 44.1 // ] vaMkAvaMkeguM paralapajuaM do gaArAvasANaM / NihiTThA esA kusumialaAvelliA chaMdaammi // 45 // [vakrAvakrA iSavaH paralaM paJcamAtrayugaM dvigurvavasAnam / nirdiSTA eSA kusumitalatAvellitA chandasi // 45 // ] kusumialaAvelliA aMgAragaNassa [kusumitalatAvellitA aGgAragaNasya] / 1 gurudvayamadhye gurumadhyau dvau cau. 2 kutra gamiSyAmi. 3 naTa iva. 4 kabandhasya darzanazravaNavacanAbhAvAdiyamutprekSA. 5 guravo laghavazca iSavaH paJca,

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20 svyNbhuucchndH| [uktAdividhiH da8 sAlattaM caraNajualaM satthare paMthiassa avvo kiM eaM Navara galiaM kaMkaNaM vaMdaNeDheM / ajjaM UDhAe uaha cariaM mAuAe vahUe ___ amhANaM jeTTA bhaNia saNi vaMdiaM paMsulIe // 45.1 // [dRSTvA sAlaktakaM caraNayugalaM srastare pathikasya ____ anvo kimetat kevalaM galitaM kaGkaNaM vandanArtham / Arya UDhAyAH pazyata caritaM mAtRkAyA vadhvA asmAkaM jyeSThA bhaNitvA zanairvanditaM pAMsulyA // 45.1 // ] isurresalagA majjhajjU doppA gaM ca sANaMgalehA // 46 // [iSurasalagAH madhyarjuko dvau paJcamAtrau gazca sAnaGgalekhA // 46 // ] aNaMgalehA jaNamaNANaMdassa [anaGgalekhA janamanonandasya] / kaNaamaiA amhekkAjAI vaDhimA ettha amhaM kamalamau katto saMpattaM kuMDalaM gaMDadesaM / uaha ahaaM pAeNAliddhaM NivvisesA haAsA kahaiva jaNe sopaNAuNNaM NeuraM orasaMtaM // 46.1 // [kanakamayI AvayorekA jAtimahattvamatra mama kamalamRdukaM kutaH saMprAptaM kuNDalaM gaNDadezam / pazyatAhaM pAdenAlIDhaM; nirvizeSA hatAzA kathayatIva jane zokenApUrNa nUpuraM uparasat // 46.1 // ] dI(di)hI samattA // 18 // aidI(di)hI vottavvA / [dhRtiH samAptA // 18 // atidhRtirvaktavyA // ] cho cA tiNNi dupA daAraNihaNA svvNtmjjhNtgaa| laMto laMtagurU jahiM ca tamiNaM saddUlavikkIDiaM // 47 // [SaNmAtrazcaturmAtrAstrayo dvau paJcamAtrau dvimAnanidhanA sarvAntamadhyAntagAH / lAnto lAntagurU yatra ca tadidaM zArdUlavikrIDitam // 47 // ] . saddalavikkIDiaM sIlaNihissa [zArdUlavikrIDitaM zIlanidheH] / kiM seaddisiraM jaA~ dasasiraM haMtuM gao rAhao ___ ANIaM kaiNA paaMDagaiNA seusa~ keNaMpi hu| ciMtaMte ca saA NahaMgaNagaA daTTaNa "ja khecarA katto sAmalae girimmi malae siMgaM sasaMkujjalaM // 47.1 // 1 dRSTvA. 2 vandanaE Ms. Is it vaMdanaTTham ? 3 ita: pAMsulAvacanam. 4 krameNAnvayaH. 5 madhyalaghU. 6 zokenApUrNam. 7 zvetAdiziraH yadA. 8 (kRte). 9 sadA. 10 dundubherasti(sthi)kUTam.

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svyNbhuucchndH| [kiM zvetAdiziraH yadA dazazirasaM hantuM gato rAghavaH __ AnItaM kapinA pracaNDagatinA setoH kenApi khalu / cintayantazca sadA nabho'GganagatA dRSTvA yaM khecraaH|| kutaH zyAmalake girau malaye zRGgaM zazAGkojjvalam // 47.1 // ] athavA hAlassa [athavA hAlasya / kAmaM pupphadhaNuM sakosumasaraM tuNaM tiacchAhaaM souM jaM juvaIjaNo Na kuvio taM atthi se kAraNaM / helAsajjhajaaM samattamiNamo pAaMtarAlIkoM kesAkesiNibaMdhaNazcia jaaM etthamha ko mallao // 47.2 // [kAmaM puSpadhanvAnaM sakusumazaraM tUrNaM tryakSAhataM zrutvA yAvatijano na kupitaH tadastyasya kAraNam / helAsAdhyajayaM samastametat pAdAntarAlIkRtaM kezAkezinibandhanameva jagat atrAsmAkaM ko mallaH // 47.2 // ] vaMkajjU bANA muhatipagaNA jattha taM pupphadAmaM // 48 // [vakrarjavo bANAHxx yatra tatpuSpadAma // 48 // ] pupphadAmaM aMgAragaNassa [puSpadAma aGgAragaNasya] 1.. jhaMkArolINaM parahuaviruaM suMdarA siMduvArA puNNAAsoA viasiakamalA haMsamo(so)hA srohaa| kAmeNeAI gahia mahialolaggiA sA maacchI ummAho DAho huvai aNasaNaM teNa tissA vioe // 48.1 // [jhaMkArAvalInaM parabhRtavirutaM sundarAH sinduvArAH punnAgAzokAH vikasitakamalAH haMsazobhAH saraoghAH / kAmenaitAni gRhItvA mahItale sevitA sA mRgAkSI unmAtho dAho bhavatyanazanaM tena tasyA viyoge // 48.1 // ] se sUrohito paralahupajuaM gaM caMdabiMba imaM // 49 // [asya sUryAtparalaghupaJcamAtrayugaM gaM candrabimbamidam // 49 // ] caMdabiMbaM suddhasahAvassa [candrabimba zuddhasvabhAvasya] / saMjhArohallaM gahagaNasabailaM thouggiaM joNhiaM gADhaM oDheu~ iviharuiraM kosuMbhiraM vrnni| 1tUNe vyakSAhatam. 2 asya puSpadAmnaH dvAdazAkSarAt. 3saMdhyArAgavatIm.. 4 zabalAm. 5avaguNThya evaMvidharucirAm. 6 varNikAm.

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22 svyNbhuucchndH| [uktAdividhiH TheraM vicchAa (aM) lharsiajaraaraM roloriu bhakkara daTTavvA bhavvA uaha NahasirI somaM siA~ sIalaM // 49.1 // [saMdhyArAgavatI grahagaNazabalAM stokodgatAM jyotsnAM gADhaM avaguNThya evaMvidharucirAM kausumbhikI varNikAm / sthaviraM vicchAyaM hasitajaratkaraM pratArya bhAskara draSTavyA bhavyAH pazyata nabhaHzrIH somaM zritA zItalam // 49.1 // ] rasA do raMbhAe muhalaparagA doNNi pA loarA gaM // 50 // [rasau dvau rambhAyAM mukhalaparagau dvau paJcamAtrau lodarau gaH // 50 // ] raMbhA suddhasIlassa [rambhA zuddhazIlasya] / NisAcaMdAloe virahavihuro soasaMbhaMtacitto _phuDaM NiddhAmoe Na lahurNa raI cakkao pommasaMDe / khaNaM appacchAAghaDiasalile majjiummillamANo gao tIrA tIraM karuNamuhalo jAajAAvioo // 50.1 // [nizAcandrAloke virahavidhuro zokasaMbhrAntacittaH sphuTaM snigdhAmode na labdhvA ratiM cakravAkaH padmaSaNDe / kSaNaM AtmacchAyAghaTitasalile majannunmajjan gatastIrAttIraM karuNamukharo jAtajAyAviyogaH // 50.1 // ] imaccea cchAA jai rasajuA pA doNNi laMtA gurU // 51 // [iyameva cchAyA yadi rasayutau paJcamAtrau dvau lAntau guruH // 51 // ] chAA tassea [chAyA tsyaiv]| halA diTThA DhiDDA vigaakusumA NiNNehamUlA haA imA mukkAmoA alaarjaraDhA saMjAaseaMpphalA / balAmoDijjaMtI tahavi mahu~NA mAseNa savvaMgiaM kahaM buDDAsADhaM galiamaaNaM jeTTa(9) gaA kohalI // 51.1 // [halA dRSTA vyarthA vigatakusumA niHsnehamUlA hatA ___ iyaM muktAmodA alatajaraThA asaMjAtasekaphalA / balAtkAreNa tathApi madhunA mAsena sarvAGgataH kathaM vRddhASADhaM galitamadanaM jyeSThaM gatA kohalI // 51.1 // ] 1 skhalitajarAkaram. 2 pratArya; could the word be volAviu ? rolAriu does not make any sense. 3 bhAskaram. 4 zritA. 5 SaTakadvayaM lAdigAntam. 6 lahuNa hairaI Ms. 7 Atmapratibimbe cakrIbuddhayA. 8 alatA cAsau jaraThA ca prarohAbhAvAt. 9 seka. 10 caitreNa vasantena vA. 11 vRddha ASADho daNDastaM gatA; vRkSavizeSa:. 12 kUSmANDIlatA vRddhanAyikA ca.

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23 1.49-54] svyNbhuucchndH| ihAiccAhiMto uragacajuaM gurU maaraMdiA // 52 // [ihAdityAt udaragaM caturmAtrayugaM guruzca makarandikA // 52 // ] maaraMdiA veraNAgassa [makarandikA vairnaagsy]| pie revAtIre bharasi ramiaM maNoharakANaNe gae vAsAratte saraasamae saNdpose| kaaM gAsaddhaMse kisalaadalaM muhAhi muhaM tuhN| ThiaM citte kaMtaM ia sumeriuM karI parimucchio // 52.1 // [priye revAtIre smarasi rataM manoharakAnane gate varSArAtre zaratsamaye sacandrapradoSe / kRtaM grAsadhvaMse kisalayadalaM mukhAnmukhaM tvaM' sthitAM citte kAntAmiti smRtvA karI parimUchitaH // 52.1 // ] aidihI samattA // 19 // kaI vottavvA // [atidhRtiH samAptA // 19 // kRtirvaktavyA // ] rasAssA sohAe muhalaparagurU doNNi pA loarA gaM // 53 // [rasAzvAH zobhAyAM mukhalaparaguravaH dvau paJcamAtrau lodarau gam // 53 // ] sohA tassea [zobhA tasyaiva] / imaM jammAuvvaM piaama Na mae sikkhioM koNubaMdho __ tuma ekkaggAhI suhaa Na muNimo kuppa mA jppmaanno(nnii)| alaM savvaMgesuM paaliapulaA cuMbirI dIharacchI gaA NAMhIhuttaM kamalaNiaravA liMgadiNNaggahatthA // 53.1 // [idaM janmApUrvaM priyatama na mayA zikSitaM konubandhaH tvamekagrAhI subhaga na jAnImaH kupya mA jalpantI / alaM sarvAGgeSu prakaTitapulakA cumbanazIlA dIrghAkSI gatA nAbhimukhaM kalamaNitaravA liGgadattAgrahastA // 53.1 // ] gaddhI paddhI a doggA muhasaalapAraMtalA cittamAlA // 54 // [gAzcatvAraH pAzcatvArazca dvau gau mukha-sakala-pAra-antalAH citramAlA // 54 // ] cittamAlA suddhasIlassa [citramAlA shuddhshiilsy]| ehi etthamha gAme sulahavasahI dukkaraM paMthiANaM ekko deINivAse taruNapahio saMpai ccea sutto| kaMtaM citte Thave ghaNaghaNarave teNa taM kapi gii| kaTuM daTTaNa jeNaM karuNahiao hoi loo aseso // 54.1 // 1dvAdazAkSarAt. 2 smRtvA. 3 puruSanAbhIsaMmukhanitambanayane varAGgasaMyogAditi. 4 kalamaNiaravA ?

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svyNbhuucchndH| [uktAdividhiH [idAnImatra asmAkaM grAme sulabhavasatiH duSkarA pathikAnAM eko devInivAse taruNapathikaH saMpratyeva suptaH / kAntAM citte sthApayitvA ghanaghanarave tena tat kimapi gItaM kaSTaM dRSTvA yena karuNahRdayo bhavati loko'zeSaH // 54.1 // ] doccA cattAri paMsA saalasaalagA puvvNgmuhlaa| sesaMse gAvarAI jai gurusahio esA suvaaNA // 55 // [dvau caturmAtrau catvAraH paJcamAtrAH sakalasakalagau pUrva-aGga-mukha-lAH / zeSAMze gurvAdiH yadi gurusahitaH eSA suvadanA // 55 // ] suvaaNA tassea [suvadanA tasyaiva] / pArAvAro ameo khaavarahio majjhA avasahI _NiJcaM pUrijamANo jaivi parimiaM se taM cia jalam / revAvAho samudaM bharai savisaaM vijhaM ca saalaM AjammaMtaM vahaMtA akhaliapasarA dIsaMti viralA // 55.1 // [pArAvAro'meyaH kSayavyayarahitaH madhyA ca vasatiH nityaM pUryamANo yadyapi parimitamasya tadeva jalam / revApravAhaH samudraM bharati saviSayaM vindhyaM ca sakalaM AjanmAntaM vahantaH askhalitaprasarAH dRzyante viralAH // 55.1 // ] kaI samattA // 20 // paaI vottavvA // [kRtiH samAptA // 20 // prakRtirvaktavyA // ] saalamuhAisavvaNihaNAilahU nnihnnNtpaargaa| Nava tialA tahiM ca kira sattamaceNa bhaNaMti siddhiaM // 56 // [sakala-mukha-Adi-sarva-nidhana-Adi-laghavo nidhana-anta-pAra-gAH / nava trikalAH tatra ca kira saptamacaturmAtreNa bhaNanti siddhim // 56 // ] siddhI suddhasahAvassa [siddhiH zuddhasvabhAvasya] / viasiakuMdasaMdamaaraMdaNiraMtarakAsahAsaA kmlmilNtlolbhslaavliruddhnnhNtraalaa| puliNabhamaMtacaMdakiraNAhaahaMsaviiNNasohaA saraaNisA haraMti bhaNa kaM va Na paMthiasatthamohaA // 56.1 // [vikasitakundasyandimakaranda-nirantarakAzahAsAH __ kamalamilallolabhramarAvaliruddha nbhontraalaaH| pulinabhramaccandrakiraNAhatahaMsavitIrNazobhAH zarannizAH haranti bhaNa kamiva na pathikasArthamohinyaH // 56.1 // ] 1 vyayaH zoSa:. 2 pravAhaH..

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25 1.54-58] svyNbhuucchndH| doccA vaMkA muhaMgappaDhamamuhapurAu~ddha pA saddharAe // 57 // [dvau caturmAtrau vakrau mukha-aGga-prathama-purA-UrdhvAH paJcamAtrAH sragdharAyAm // 57 // ] saddharA vimalaevassa [sragdharA vimldevsy]| bhaiI juttappamANaM kasaNaghaNaNihaM dANaubhiNNagaMDaM caMDaM uiMDasuMDaM surhimajlosittpaaappdesN| mattaM bhiMgopagIaM raviarataviraM kaNNatAlopavI* ___ evaM pecchAhi kaMte kamaliNiNilaaM vaccamANaM gaiMdaM // 57.1 // [bhadraM yuktapramANaM kRSNaghananibhaM dAnodbhinnagaNDaM __caNDaM uddaNDazuNDaM surabhimadajalAvasiktapAdapradezam / mattaM bhRGgopagItaM ravikaratApitaM karNatAlopavIjyaM etaM prekSasva kAnte kamalinI nilayaM vrajantaM gajendram // 57.1 // ] ahavA sIlaNihissa [athavA zIlanidheH] / jatto pesei diDhei sarasakuvalaApIDarUaM sarUA muddhA iddhaM salIlaM savaNavilasiraM dNtkNtiisnnaahN| tatto koaMDamuTThI Nihiavarasaro gADhamAbaddhalajjo(kkho ?) dUraM ANAviheo pasarai maaNo puvvamArUDhavakkho // 57.2 // [yataH preSayati dRSTiM sarasakuvalayApIDarUpAM sarUpA mugdhA iddhAM salIlAM zravaNavilasitAM dantakAntisanAthAm / tataH kodaNDamuSTirnihitavarazaraH gADhamAbaddhalakSaH dUramAjJAvidheyaH prasarati madanaH pUrvamArUDhapakSaH // 57.2 // ] paaI samattA // 21 // AaI vottavvA / [prakRtiH samAptA // 21 // AkRtirvaktavyA // ] sattacaAragaNAigurU gavarA jai sA bhaNiA mairA // 58 // [sapta caturmAtrA AdiguravaH gAntA yadi sA bhaNitA madirA // 58 // ] mairA rAhAe [madirA rAdhAyAH] / mattakariMdakavolamaojharapaMkapasAhaNasAmaliA __ dAhiNamAruamelaviA maamembhaliA bhasalAvaliA / keaikesaradhUsaliA pasaraMtamaNoharaNIsaNi gholaha kAmiaNovari Najjai vammahamukkasarAsaNiA // 58.1 // [mattakarIndrakapolamadotkSaratpaGkaprasAdhanazyAmalitA dakSiNamArutamelitA madavihvalA bhrmraavliH| ketakIkesaradhUsaritA prasaranmanoharaniHsvanikA . dhUrNati kAmijanopari jJAyate manmathamuktazarAzaniH // 58.1 // ] . 1 urdo laghuH. 2 bhadrajAtIyam. 3 upavIjyam. 4 prekSasva.

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svyNbhuucchndH| [uktAdividhiH cho uralo uraMtauaraMtamajjhaparagA jahiM ca cgnnaa| erisalakkhaNeNa raiA huvaMti kira maddaassa caraNA // 59 // [SaNmAtraH udaralaH udara-anta-udara-anta-madhya-para-gA yatra ca caturmAtrAH / etAdRzalakSaNena racitA bhavanti kila madrakasya caraNAH // 59 // ] maddoM kumArasommassa [madrakaM kumArasaumyasya] / jaM vaDavANaleNa samaaM aNAiNihaNaM NibaddhavaharaM jaMmaalaMchaNeNa suhasaMgameNa sahiaMThiaMca suiraM / jaM ca visaM harassa amaaM surANa raaNAareNa vihiaM taM aviNIaANa akulINaANa agaruANa deti dihiM // 59.1 // [yadvaDavAnalena samaM anAdinidhanaM nibaddhavairaM yanmRgalAJchanena sukhasaMgamena sahitaM sthitaM ca suciram / yacca viSaM harasya amRtaM surANAM ratnAkareNa vihitaM tadavinItAnAM akulInAnAM agurukAnAM dadAti dhRtim // 59.1 // ] AaI samattA // 22 // viaI vottavvA / [AkRtiH samAptA // 22 // vikRtirvktvyaa|] jai uNa maddaassa chagaNovasANaguruo tamassa laliaM // 60 // [yadi punarmadrakasya SaNmAtro'vasAnaguruH tadasya lalitam // 60 // ] laliaM mUladevassa [lalitaM mUladevasya] / uaha imaM pautthavaiAi saMdeNavacaMdaNaddadhavalaM karaNimiaM visaNNavaaNaM tahiMpi taralAmalacchijualaM / Nahu aruNuppalammi kamalaM kaAvi kamalaMmi NIlajalaaM ia pariciMtiUNa vigaaM kahiM piNa ThiaMcalAlivalaaM // 60.1 / [pazyatedaM proSitapatikAyAH sAndranavacandanArdradhavalaM karanimitaM viSaNNavadanaM tatrApi taralAmalAkSiyugalam / na khalu aruNotpale kamalaM kadApi kamale nIlajalajaM iti paricintya vigataM kutrApi na sthitaM calAlivalayam // 60.1 // ] mattAkIlA vijjUmAlA uvari huvai jai mnnigunnnniaro|| 61 // [mattAkrIDA vidyunmAlopari bhavati yadi maNiguNanikaraH // 61 // ] mattAkIlA tassea [mattAkrIDA tasyaiva] / 1 yathA kRtavaireNa vaDavAnalenAtizItalamapi pAnIyaM nAbhibhUyate tathA kRtavairA api vayaM kenApi nAbhibhAvyA iti bhAvaH 2 sAndra. 3 kSiptam. 4 tasminnapi.

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1-59-63] svayaMbhUcchandaH / baddhA dolA diTThA cUA mahuarapalaviraparahuabahalA uddAmA puNNAAmoA maamuiamiliamahulihamuhalA / phullA rattAsoArAmA taha viulajalakamalasarA attA patto dukkhaM deto virahijaNamaraNamiva mahusamao // 61.1 // [ baddhA dolA dRSTAzvatA madhukarapralApazIlaparabhRtabahalAH uddAmAH punnAgAmodAH madamuditamilitamadhuliNmukharAH / phulA raktAzokArAmAstathA vipulajalAni kamalasarAMsi mAtaH prApto duHkhaM dadadvirahijana maraNamiva madhusamayaH // 61.1 // ] vikaI samattA // 23 // saMkaI voktavvA / [ vikRtiH samAptA // 23 // saMkRtirvaktabyA / ] aTu caArA muhasaalagurU sanvalahU paramuhamuhagA a / savvalahU savvaguruaraiaM lakkhaNaaM iNamiha taNuIe // 62 // [ aSTa caturmAtrAH mukha-sakala-guravaH sarvalaghuH para - mukha-mukha - gAzca / sarvalaghuH sarvagurukaracitaM lakSaNakamidamiha tanvyAm // 62 // ] taI suddhasIlassa [tanvI zuddhazIlasya ] / jAi bhaMgo aha paDai tarhi jattha jaNo kuNai Na parisaMgaM akkhavio ovisaNai a phuDaM hojja vase vihiaphalavihaMgo / pecchaha bANo guNaghaDiataNU timmagao tahavi sahara eaM kiM va Na vakke uvalahai Naro dukkhasaho paahariusahAo // 62.1 // [ jAyate bhaGgaH atha patati tatra yatra jano na karoti parisaMgaM akSapito'vasIdati ca sphuTaM bhavedvaze vihitaphalavibhaGgaH / prekSadhvaM bANo guNaghaTitatanustigmagatastathApi sahata etat kimiva na vakre upalabhate naro duHkhasahaH prakRtiripusahAyaH // 62.1 / ] saMkaI samattA // 24 // aikaI voktavvA / [ saMskRtiH samAptA // 24 // atikRtirvaktavyA / ] koMcavaA sA rUvavaIe jai uvari huvai maNiguNaNiaro // 63 // [ krauJcapadA sA rukmavatyA yadi upari bhavati maNiguNanikaraH // 63 // ] 27 rUvavaI ( koMcatraA ?) kumAra attassa [ krauJcapadA kumAradattasya ] | kAmasaroghA allAsIlo gaavaijuvaijaNamaNaharaNo maMtharasaMcAraM vahamANo piamiliamihuNajaNadihijaNaNo / sIalabhAvAsAsiasaMto bhasalamuhalajaNamaNaharavavaNo vAi paccU sammi vasaMte malaagirisurahiparimalapavaNo // 63.1 // [ kAmazaraughAkramaNazIlaH gajapatiyuvatijanamanoharaNaH mantharasaMcAraM vahan priyamilitamithunajanadhRtijananaH / zItalabhAvAzvAsitazrAnto bhramaramukharajanamanohara Xxx vAta pratyUSe vasante malayagirisurabhiparimalapavanaH // 63.1 // ]

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svyNbhuucchndH| [uktAdividhiH aikaI samattA // 25 // ukkaI vottavvA / [atikRtiH samAptA // 25 // utkRtirvktvyaa|] aMtAittigaviraiamaviralacaulahuamuvaha avavAhaM taM // 64 // [antAdinigaviracitamaviralacaturlaghukaM pazyata apavAhaM tat // 64 // ] avavAhaM suddhasahAvassa [apavAhaM zuddhasvabhAvasya] / phullelAvaNapasariaparimalaparipihiasaalabhuaNAbhoo maaaddhggasumnnskuvlavnnkmlpsriaraamodo(o)| accaMtaM piaparahuamahuaramaharaararaiaravasaMgIo avvo kassa va Na harai maNahara malaagirisurahisiharuddeso // 64.1 // [phullailAvanaprasRtaparimalaparipihitasakalabhuvanAbhogaH / xxx dtasumanaHkuvalayavanakamalaprasRtarajaAmodaH / atyantaM priyaparabhRtamadhukaramadhuratararacitaravasaMgItaH amvo kasyeva na harati manoharaH malayagirisurabhizikharoddezaH // 64.1 // ] gebhA lAsA po majjhajjU paragurucatagaNaNihaNaM bhuaNgviaNbhiaN||65|| [gAH ibhAH lAH AzAH paJcamAtro madhyarjuH paragurucaturmAtratrimAtranidhanaM bhujaMgavijRmbhitam // 65 // ] bhuaMgavija(bhiaM tassea [bhujaMgavijRmbhitaM tsyaiv]| kAmukkoA AA vAA malaagirisurahidumadiNNagaMdhamaNoharA saMdacchAA jAA cUA klaliabhlklkoilaalvnnubbhddaa| pommAvAsA haMsuggIA parimaliabhasalapariuMbiA kamalAarA esopatto mArAaMto virahiaNahiaaparisosao mhumaaso||65.1|| [kAmotkopA AgatA vAtAH malayagirisurabhidrumadattagandhamanoharAH sAndracchAyA jAtAztAH kalakalitabahalakalakokilAlapanodbhaTAH / padmAvAsA haMsodgItAH parimRditabhramaraparicumbitAH kamalAkarAH eSa prApto mArAyamAnaH virahijanahRdayaparizoSako madhumAsaH // 65.1 // ] ukkaI samattA // 26 // [utkRtiH smaaptaa|] etthalahuahialahuNo cattAri pipIDikAi Nava krhe| hoti cauddaha paNave mAlAvitte tao paMca // 66 // 1 guravoSTau laghavo daza pa: madhyalaghuH. 2 bhujaMgavijRmbhitameva caturdazalaghubhiH pipIDikA / asyAM navaladhuvRddhau karabhaH / bhujaMge caturdazalaghuvRddhau paNavaH / paNave paJcalaghuvRddhau mAlAvRttamiti /

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1.64-66.3] svyNbhuucchndH| [atratyaladhvadhikalaghavazcatvAraH pipIDikAyAM; nava krme| bhavanti caturdaza paNave mAlAvRtte tataH paJca // 66 // ] sA pipIDiA tiloaNassa [pipIDikA trilocanasya / anvo gimhe uNhA vAA divasaarakiraNavaNadavabharimA ___ jalaMti disAmuhA vAsAratte dUsaMcArA NavajalaajaNiajalavahalapahA NiraMtarakaddamA / hemaMte osaMdIbhAvA ghaNatuhiNapavaNapaDipahaadumA Na deti pavesoM NAhAho katto de jattA aNuhavasu suhaa sai suraasuhaM rasAaNasaMNihaM // 66.1 // [amvo grISme USNA vAtAH divasakarakiraNavanadavabhRtAni jvalanti dizAmukhAni varSArAne duHsaMcArAH navajaladajanitajalabahalAH panthAnaH nirntrkrdmaaH| hemante avazyAyArdIbhAvAH ghanatuhinapavanapratiprahatadrumAH na dadati pravezakaM nAtha aho kutaste yAtrA anubhava subhaga svayaM suratasukhaM rasAyanasaMnibham // 66.1 // ] karaho suddhasIlassa [karabhaH shuddhshiilsy]| khAmA sAmA sAsukaMpA muhakasaNakaDhiNaparimaliaghusiNamasiNa thaNajualaM bhuAhi NiraMbhiU kAmAattA pemummattA calaramaNakaNiraravamuhalarasaNiAvihasaNiA imaa| ghollAvveMtI kesAmelaM varasurahikusumaraamiliabhasalamuhaliA visaMThulagatti tujhaM muddhA maggAlaggA samasalilakalia karadhariasi Dhila __ rasaNimA jaNeNa prhaasiaa||662|| [kSAmA zyAmA zvAsotkampA kRSNamukha-kaThiNa-parimalitaghusRNamasaNastanayugalaM / bhujAbhyAM nirudhya kAmAyattA premonmattA calaramaNakvaNanazIlaravamukhararazanikAvibhUSaNA iyam / ghUrNayantI kezapAzaM varasurabhikusumarajomilitabhramaramukharitA visaSThulagAtrikA tava mugdhA mArgAlamA zramasalilakalitA karadhRtazithila razanikA janena prahAsitA // 66.2 // ] paNavo suddhasahAvassa [paNavaH zuddhasvabhAvasya / saMdo ruMdo kuMdacchAo saraaghaNatuhiNakamalavaNakumuaharahasiasia taNU sasaMkakarujjalo tAro pArAvArappAro dhavaliajalathalagaaNajaNasamabhuaNaalapari srppsaahiadimmuho| 1 panthAnaH. 2 avazyAyAIbhAvAH. 3 nirudhya. 4 nitamba. 5 prativanavat. 6 ghUrNayantI. 7 tAraM. 8 pArAvAravadapAraM.

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BY svayaMbhUcchandaH / [ uktAdividhiH loAloaccheaM gaMtuM' daDhakaDhiNaviaDakalaMalaghaDaNa paDivaDaNavalaio reM tuhaM jaso uttuMgo se appAAro ua harai paramatihuaNasiri maNaharavirahaarahamaMdirassa va saMThio // 66.3 // [ sAndraM vistIrNa kundacchAyaM zAradaghaNa- tuhina kamalavana- kumuda - hara hasita-sitatanu zazAGkaka rojjvalam tAraM pArAvArApAraM dhavalitajalasthalagaganajanazatabhuvanatalaparisaraprasAdhita diGmukham / lokAlokacchedaM gatvA dRDhakaThiNavikaTakaTAhaghaTana paripatanavalayitaM narendra tava yazaH uttuGgaH zvetaprAkAraH pazya harati paramatribhuvanazriyaM manoharaviracitaratimandirasyeva saMsthitaH // 66*3 // ] mAlAvittaM velANAassa [mAlAvRttaM velAnAgasya ] | avvo dUraM dUsaMcAro kharaara sisirabhari agirigahaNagaruaNaiNivahaasuhagaivaho samIraNadAruNo eso mAho mAso ehi piaama vasa NivasaNakamalaraiathiramauataDimasuhasa bhae surAlaasaMNiho (he) / gaMgAvattarhito rammaM siavihaasamaagaamasiNamaarahara puliNasaalajalamaNaharaM muNINavi dullahaM sokkhAgAraM mokkhaddAraM rama suhaa himaaraahimahariNama aghusiNaghaNasurahiparimalaM NiaMbaalaM mahaM // 66-4 // [ avvo dUraM duHsaMcAraH kharatara zizira bhRta girigahana gurukanadInivahaH asukhagatipathaH samIraNadAruNaH eSa mAgha mAsa idAnIM priyatama vasa nivasanakamalaracitasthiramRdukatalasukhazayane surAlayasaMnibhe / gaGgAvartAdramyaM sitavihaga-samadagajamasRNamakaragRhapulina - sakalajalamanoharaM munInAmapi durlabhaM saukhyAgAraM mokSadvAraM ramasva subhaga himakararajo-hima-hariNamada - ghusRNa-ghanasurabhiparimalaM nitambatalaM mama // 66-4 // ] chavIsakkhara ahiaM jaM dIsai kiMpi rUvaaM dIhaM / taM daMDaaMti bhaNNai pipIDiAI pamottUNa // 67 // [ SaDviMzatyakSarAdhikaM yad dRzyate kimapi rUpakaM dIrgham / ause iti bhaNyate pipIDikAdi pramucya // 67 // ] 1 chedaM antaM gatvA 2 kaTAha 3 zvetaprAkAraH 4 karpUraraja : .

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1.66.3-72.1] svyNbhuucchndH| chabbIsapaMtiAo paDhamagurulahuaNiraMtarA tattha / taduguNA sesAo parasarisA puviA hoI // 68 // [SaDviMzatiH paGktayaH prathamagurulaghukanirantarAH tatra / tad dviguNAH zeSAH parasadRzI pUrvA bhavati // 68 // ] uttassa doNNi bheA aiuttassa a huvaMti cattAri / eaM dUNaM NeaM jAva cchavvIsaperaMtaM // 69 // [uktasya dvau bhedau; atyuktasya ca bhavanti catvAraH / etad dviguNaM jJeyaM yAvacchaDviMzatiparyantam // 69 // ] . savvIsA sattasaA taha sttaarhshsssNkhaao| vAAlIsaM lakkhaM terahakoDIu savAo // (134217726) // 70 // [SaDviMzatiH saptazatAni tathA sptdshshsrsNkhyaaH| dvAcatvAriMzallakSAH trayodazakoTyaH sarvAH // 70 // ] jaadeapiMgalA sakkaammi do cia jaI samicchati / maMDavvabharahakAsavasevala(yava)pamuhA Na icchaMti // 71 // [jayadevapiGgalau saMskRte dvAveva yati samicchanti / mANDavyabharatakAzyapasaitavapramukhA na icchanti // 71 // ] jahA [yathA]-zrIharSo nipuNaH kavirityAdi // 71.1 // jahA maUrassa [yathA mayUrasya]-tejorUpAparaivetyAdi // 71.2 // lahutaaNajuaM parA loarA pA imo daMDao; sattahiM caMDavuTTI parekkekavaDhIa aNNaNNavanvAlajImUalIlAaruddAmasaMkhuttarA // 72 // [laghu-trimAtra-yugaM pare lodarAH paJcamAtrAH ayaM daNDakaH, saptabhizcaNDavRddhiH parataH ekaikavRddhayA arNa-arNava-vyAla-jImUta-lIlAkara-uddAma-zaGkhottarAH // 72 // ] .. - 'caMDabuDDhI caMdaNassa [caNDavRSTizcandanasya] / Navaria samaraM pahAammi pAraMbhiaM tUrapUraMtamerIdarIbhAsuraM maaraharataraMgasaMghAasaMkAsadhuvvaMtaseaddhaacchattamAlAulaM / aNavaraavimukkaekekamAhu~ttapajjattaNArAacakkAdiNANAuhaM mamuiakriNdkuNbhtthlaaruuddhpaaikktikkhaasigheppNtmottaahlN||72.1|| 1 zArdUlavikrIDite dvAdaze varNe yatirnAsti / sragdharAyAM saptame yatirnAsti / 2 pagaNaiH. 3 parasparAbhimukha.

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svyNbhuucchndH| [uktAdividhiH [anantaraM ca samaraM prabhAte prArabdhaM tUryapUryamANabherIdarIbhAsuraM ___ makaragRhataraMgasaMghAtasaMkAzadhUyamAnazvetadhvajacchatramAlAkulam / anavaratavimuktaparasparAbhimukhaparyAptanArAcacakrAdinAnAyudhaM madamuditakarIndrakumbhasthalArUDhapadAtitIkSNAsigRhyamANamuktAphalam // 72.1 // ] aNNo suddhasIlassa [arNaH zuddhazIlasya ] / vihaliaghaNarohasohaMtagAmohapaJcatasAlIphalAluddhakIlAvalIkIlire maNaharaNavaNIlavosaTTakaMdodRrubhaMtaphulaMdhaMdhUlIraaMdhArie / kalamakaNabhamaMtakeAraaJcaMtavukkAragovIkaluggIamucchijamANujjue ia pia saraammi mA vacca mottUNa maM peccha aNNevi ee visaNNA pahe paMthiA // 72.2 // [viphalIkRtaghanarodhazobhamAnagrAmaughapratyantazAliphalAlubdhakIrAvalIkrIDAzIle manoharanavanIlavikasitanIlakamalarundhatphullandhayadhUlIrajondhaHkArite / kalamakaNabhramatkedArAtyantabukkAragopIkalodgItamUcchImAnarjuke iti priya zaradi mA vraja muktvA mAM prekSasva anyepi ete viSaNNAH pathi pathikAH / / 72.2 // ] aNNavo tassea [arNavastasyaiva] / pasariakharamAruandoliAsatthajhijjantapattohasahAlavAAripUrija mANaMbare diNaarakaratattatattollacikkhillalolantakolAlidAdukkhaakkhoNi mutthAkasAillae / ghaNavaNadavadAhaDajhaMtavagghacchabhallubbhaDorallisaMtatthaNAsaMtamAaMga jUhAule piaama ia erise gimhaAlaMmi mA vacca mANesu thoratthaNA liMgaNuddAmasokkhAI me // 72.3 // [prasRtakharamArutAndolitAzvatthakSIyamANapatraughazabdavadvAtolipUryamANAmbare dinakarakarataptataptArdrapaGkalolatkolAlidaMSTrotkhAtakSoNImustAkaSAyite / ghanavanadavadAhadahyamAnavyAghraHbhallodbhaTagaladhvanisaMtrastanazyanmAtaMgayUthAkule priyatama itIhaze grISmakAle mA vraja, mAnaya sthavirastanAliGganoddAmasaukhyAni me // 72.3 // ] bAlo aGgAragaNassa [vyAlo'GgAragaNasya] / viasiasisiMduvAradamuddAramAaMdamaMduddalijjaMtagoMdIrauddAmavomaMgaNe phuliabaulacaMpaAsoapuNNAae mu(bhu)ttaAmoamattAlimAlA kluttaalvaaaalkolaahle| 1 phulaMdhaudbhUadhUlI ? 2 Ms. reads vagdhabhacchallu.

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33 1.72.2-72.6] svyNbhuucchndH| ahiNavavaraviddumAaMbaubbhiNNapAlAsaphullohadippaMtakaMtAravepaMtavolaMta pArAae piaama ia erise dAruNe duNNivAre vasaMtammi vaccaMti mottUNa je kaMtiaMtANa katto suhaM // 72.4 // [vikasitasitasinduvAradrumoddIrNamAkandamandodbhidyamAnagundaloddAmavyomAGgane puSpitabakulacampakAzokapunnAge bhuktAmodamattAlimAlAkalottAlavAcAla kolaahle| abhinavavaravidrumAtAmrodbhinnapAlAzapuSpaughadIpyamAnakAntAravepamAna ____ . vyatikrAmatpArAvate priyatama itIdRze dAruNe durnivAre vasante vrajanti muktvA ye kAntAM teSAM kutaH sukham // 72.4 // ] jImUo tassea [jiimuutstsyaiv]| haragalagaralAliNIluppalucchAagajaMtakumbhIradhArAharaddhaMtacAmI arAAravijjujjale maragaamaNibhittisaMlaggasovaNNapaTTappahApUrie pupphacAvassa gehevva __aJcaMtagajaMtaDhakArave / viraiavarapommarAiMdaNIluddhavedUrakhaMbhacchiaM toraNaM vAsaaM sakkacAvaM ___Nahe pecchiuM paMthio Na calai maNaaMpi hA sAmalacchI piA tuMgathoratthaNI dukkaraM jIvae daTTameaM NavaM pAusaM mucchio // 72.5 // [haragalagaralAlinIlotpalocchAyagarjatkumbhIradhArAdharadhvAntacAmIkarAkAravidyujjvale marakatamaNibhittisaMlamasauvarNapaTTaprabhApUrite puSpacApasya gehe iva atyantagarjat ddhkkaarve| viracitavarapadmarAgendranIlordhvavaiDUryastambhazritaM toraNaM vAsavaM zakracApaM nabhasi prekSya pathikaH na calati manAgapi hA zyAmalAkSI priyA tuGgasthavirastanI duSkaraM jIvate dRSTvA navAM prAvRSaM mUrchitaH / / 72.5 // lIlAaro tassea [lIlAkarastasyaiva] / piaama virahe tume ttIa iMdIvaracchIa kaMtaM suhAvei No caMdaNaM No jaladdA surudA(ruMdA)vi caMdassa No caMdiA Na a parimalapUrapUraMtakappUrapArIrao Nea vINA Na veNujjhaNI a ___ kAmassa bANovva jo paMcamo pNcmo| Na lahai pia NidiaM pommiNIpattadijaMtasejjAsu No aMgaNujjANae Nea pAleasImi kelIharabhaMtare ia bahuguNarammarAmAgaNe kAma kAmesu gaMtUNa taM tiraM jAva sUsaMti No sAmalaMgIa aMgAI soaggiNA // 72.6 //

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35 svyNbhuucchndH| [uktAdividhiH [priyatama virahe tava tasyAH indIvarAkSyAH kAntaM sukhayati no candanaM no jalArdrA suvistRtApi candrasya no candrikA na ca parimalapUrapUryamANakarpUrapArIrajo naiva vINA na veNudhvaniHva kAmasya bANa iva yaH paJcamaH paJcamaH / na labhate priya nidrAM padminIpatradIyamAnazayyAsu no aGganodyAnake naiva prAleyazIte kelIgRhAbhyantare iti bahuguNaramyarAmAgaNe kAma kAmayasva gatvA tAM kAntAM yAvat zuSyanti no zyAmalAGgyA aGgAni zokAgninA // 72.6 // ] uddAmo aMgavaissa [uddaamo'nggpteH]| pahasamahimaDaThThadeho daDhaM ko gulaggo kuNaMto taNeNatthae satthare thorakaMtacchio Nei ajjAhare jAmiNi paMthio Navaria avareNa thittI NiruddhAvalAve mahaM daMDaaM laMgha mA mA karake imaM phoDa mA muTThiaM DhovaNiM pUra mA bhaMja re| asahiavaaNeNa aNNeNa mA bhaNNio DaDhaDaDhAhi cAvo Na vappeNa / diNNo tuhaM eamekkakkama pahniDhikkAhiM jA guMdalaM NisuNiakalahaM va taM tattha gAmillaA milliGa deti tAloTTaaM kevi vokAi~AaMti vaggaMti aNNe a apphoDamANA tahiM // 72.7 // [ x x x 72.7 // ] saMkhovi tassea [zaGkhopi tsyaiv]| paNamiasurasiddhagaMdhavvajakkhohacUDAmaNipphaMsadippaMtapAAraviMdaM ku(gu)lINakkhasaMkaMtatellokkakIraMtavedaMtathuttIsoM aparimiliaviNillAlaNettaggaNitaggiDajhaMtakAmaMgaNimmu ___kalallakkadevAsuraddAmahArAiakkIramANappalAvAulaM / subahalaruhirohakhippaMtaduppecchalaMbaMtadugghoTTacammaMbarAbaddhabhoiMdakaMcI vimuMcaMtaphuTuMtajAlAvalIbhIsaNaM / ia paNamaha goriruddhaddhadehaM jarAvajjiaM jaNhavItoasittuttamaMgaM jaDAjUDasohaMtacaMdaddhakhaMDaM saaMbhuM sivaM saMkaraM // 72.8 // [praNatasurasiddhagandharvayakSaughacUDAmaNisparzadIpyamAnapAdAravindAGgulInakhasaMkrAnta trailokyakriyamANavedAntastutizatam aparimilitaviniHsAritanetrAgraniryadamidahyamAnakAmAGganirmuktAkroza kriyamANapralApAkulam / subahalarudhiraughakSipyamAnaduSprekSyalambamAnadvipacarmAmbarAbaddhabhogIndrakAJcI vimucyamAnasphuTajjvAlAvalImISaNam iti praNamata gaurIruddhArdhadehaM jarAvarjitaM jAhnavItoyasiktottamAGga jaTAjUTa zobhamAnacandrArdhakhaMDaM svayaMbhu zivaM zaMkaram // 72.8 // ]

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1.72.6-74.2] svyNbhuucchndH| ia caMDabudvipamuhA saMkhaMtA daMDaA ime atthtth| je uNa uttarapamuhA te mAlAdaMDaA sesA // 73 // [iti caNDavRSTipramukhA zaGkhAntA daNDakA ime bhsstt| ye punaruttarapramukhAste mAlAdaNDakAH zeSAH // 73 // ] visamalahuNo paArA parA loarA jattha icchAi bajhaMti so _daMDao caMdabAlotti NAmeNa NiviThThao // 74 // [viSamalaghubhyaH paJcamAtrAH pare lodarA yatrecchayA badhyante sa daNDakazcaNDapAla iti nAmnA nirdiSTaH // 74 // ] so caMdavAlo maUradevassa [caNDapAlo mayUradevasya / kahimi kalahoamANikkasippIvihattheNa saMkuTTio veTurvideNa AliMdao kahimi sirikhaMDakappUrakatthUriAkuMkumuppaNNapaMkeNa ekkakamo aaho| kahimi ahiseasiMgaMbudhArANirAappavAheNa dUrAhi ekakaso siMcio kahimi NaDakaMta(chatta)paphphAra(phaphAva)vaMdehiM sohaggasUrAiNA mAvalIsesamuccAriA(o) // 74.1 // [kutrApi kaladhautamANikyazuktivyagreNa saMkuTTito viSTivRndena alindakaH __kutrApi zrIkhaNDakapUrakastUrikAkuGkumotpannapaGkena ekaikamAhataH / . kutrApi abhiSekazRGgAmbudhArAsaralapravAhena dUrAdekaikazaH siktaH kutrApi naTachAtrabandivRndaiH saubhAgyasUryAdinAmAvalI zeSamuccAritaH // 74.1 // ] avaro rajjauttassa [aparo rAjaputrasya] / kahimi caliaM calaMteNa aNNe(nte)uraM thoramuttAvalIhArakeUrakaMcI ___ kalAvahiM guppaMta bahalasirikhaMDakappUrakatthUriAkuMkumuppIlakAlAasu(ru)mmIsaci kkhilapaMthesu khuppNtaN| dhavaladhaatoraNacchattaciNhappaDAAvalImaMDalabbhaMtavA(rA)liMdaNIlaMdha Are visUraMtoM muhalacalaNeurugdhAajhaMkAravAhittahaMsohamaggANulaggaMtacha(tha)kaMta helAgaINiggamaM // 74.2 // [kutrApi calitaM calatA antaHpuraM sthaviramuktAvalIhArakeyUrakAJcIkalApaiH nirudhyamAnaM bahalazrIkhaNDakapUrakastUrikAkuGkumotpIDakAlAgarUnmizrapaGkilapathiSu majat dhavaladhvajatoraNacchatracihnapatAkAvalImaNDalAbhyantarAlindanIlAndhakAre khidyat / mukharacalanU purodghAtajhaMkAravyAhRta-mArgAnulagat-haMsaugha-rudhyamAna helAgatinirgamam // 74.2 // ]

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svyNbhuucchndH| [ uktAdividhiH jai lahuapaArA parA puvalA jaM jahicchAi bajjhaMti so daMDao sIhavikaMtaNAmo // 75 // [yadi laghukapaJcamAtrAtpare pUrvalAH yad yathecchaM badhyante sa daNDakaH siMhavikrAnta nAmA // 75] sIhavikrato suddhasahAvassa [siMhavikrAntaH zuddhasvabhAvasya] / ua saraaNisAe ramaMto samaM bAlagovIhiM rAhAi kaNho kare puMjiaM dhUlipujaM laliauhaahattheNa pacchAiUNacchivattAi~ NIo saaM jAva saMkea keliipesN| vihaliakararoho paloei jAttA puro puNNimAaMdaboMdI NaveMdIvaracchI kisaMgI vihasia savilAsaM puNo tIa so gADhamAliMgio sAraM cuMbio NinbharaM rAmio a // 75.1 // [pazya zarannizAyAM ramamANaH samaM bAlagopImiH rAdhayA kRSNaH kare puJjitaM dhUlipuJjam lalitobhayahastAbhyAM pracchAdyAkSipatre nItaH svayaM yAvat saMketakelIpradezam / viphalitakararodhaH pralokayati yAvattAvat puraH pUrNimAcandramukhI navendIvarAkSI kRzAGgI vihasya savilAsaM punastayA sa gADhamAliGgitaH sAdaraM cumbito nirbhara ramitazca / / 75.1 // ] lahuguruachaArA do parA punvalA pA jahicchAi bajjhaMti so daMDao mehmaalaahihaanno||76|| [laghuguruko SaNmAtrI dvau pare pUrvalAH paJcamAtrA yathecchaM badhyante sa daNDako meghamAlAbhidhAnaH / / 76 // ]] mehamAlA tassea [meghamAlA tasyaiva] / Na ramai dalasaMde suMdare siMduvAre Na ruMdAraviMde Na mAaMdamaMdAraesuM Na liai baulagge No a ANaMgagore piaMguDagocche Na puNNA ___annaaohesuN| Na piai maaraMdaM kAmabhallivva No phulliaM malliaM No asoaM saso AulaMgo kaha rNaDai piucchA chappao peccha kacche bharato piaM mAlaI sA vasaMtammi katto // 76.1 // 1 kare kRSNasyaiva. 2 pracchAdya dhUlibhireva. 3 yAvat tAvat. 4 rUpe dezI. 5 upacita. 6 kathaM naTati ceSTate.

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1.75-78] svyNbhuucchndH| [na ramate dalasAndre sundare sinduvAre na pUrNAravinde na mAkandamandAreSu na lIyate bakulAgre na ca anaGgagaure priyaMgUrdhvagucche na punnAganAgauSakeSu / na pibati makarandaM kAmabhallImiva na phulitAM malikAM nAzokaM sazokAkulAGgaH kathaM khidyate pitRsvasaH SaTpadaH prekSasva kacche smaran priyAM mAlatIM sA vasante ___ kutaH // 76.1 // ] saalalahuachaArAhi pA punvalA jattha icchAi bajhaMti so daMDao caMDaveAhihANo // 77 // [ sakalalaghukaSaNmAtrAt paJcamAtrAH pUrvalA yatra icchayA badhyante sa daNDakazcaNDa vegAbhidhAnaH / / 77 // ] caNDaveo aGgAragaNassa [caNDavego aGgAragaNasya] / salilavahaNaNimittaM gaA jAva saMkeae sattharaM pecchiUNaM juANaM ca dhaLaM ca kAmAMiAe kaiavaghaDieNaM kaDIeM kuDaM pADiUNAliaM hAsamIsaM ruaMtI a bhaggA kaDIulluA se| puNaravi ahiarosAvva re sA a mArei ataitti to uttasaMtI' gao devva jeNamhi sNtaaviaahe| ia bahuvihapaAraM savaMtI viDaM paMsulI lakkhiUNaM sahIe halA ehi vaccAma gehaMtti NIA // 77.1 // [ salilavahana nimittaM gatA yAvatsaMkete sastaraM prekSya yuvAnaM ca dhRSTaM ca kAmAyitayA kaitavaghaTitena kaTyAH ghaTaM pAtayitvA alIkaM hAsamizraM rudantI ca bhayA kaTirAdrA asyAH (1) / punarapyadhikaroSeva re sA ca bhArayati zvazrUriti uttrasantI gato daiva yenAsmi saMtApitAham iti bahuvidhaprakAraM zapantIM viTaM pAMsulI lakSayitvA sakhyA halA ehi vrajAmo gehamiti nItA // 77.1 // ] savvapA loarA jattha icchAi bajhaMti so daMDao mattamAaMgalIlAaro // 78 // [ sarve paJcamAtrA lodarA yatrecchayA badhyante sa daNDakaH mttmaatNgliilaakrH||78||] mattamAaMgalIlAaro tassea [mattamAtaMgalIlAkarastasyaiva] / 1 sakAmayA. 2 kaitavakSAlanena. 3 kaTyA ghaTaM pAtayitvA. 4 adhovastraM dezyAM. 5 AryAtaH. 6 uttrasantI.

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svyNbhuucchndH| [uktAdividhiH rattaosittaperaMtaluddhaMdhagiDukkhaaMtacchabIhacchaNaJcaMtabhUohae mukkbhlluavokaarvuttaalveaalghortttthaasbbhmNtggijaalaaule| mukkakaMkAlakAvAliuTuMtahAhArakhumbhaMtavigyoharUsaMtajoIja(ku)le erise bhImarUe masANe saA NaJcamANo suhaM deu tumhANa deo haro // 78.1 // [ raktAvasiktaparyantalubdhAndhagRdhrotkhAtAntrAkSabIbhatsanRtyadbhUtaudhe __muktabhallUkavokkAravyuttAlavetAlaghorATTahAsabhramadagnijvAlAkule / muktakaGkAlakApAlikottiSThaddhAhAravoddhAntavighnaugharuSyatyogikule IdRze bhImarUpe zmazAne sadA nRtyansukhaM dadAtu vo devo haraH // 78.1 // ] lahUgurU NiraMtarA jahicchiA huvaMti jatthadaMDao imo annNgsehro||79|| [laghuguravo nirantarA yathecchaM bhavanti yatra daNDakoyamanaGgadokharaH // 79 // ] aNaMgaseharo suddhasIlassa [anaGgazekharaH zuddhazIlasya] / visAlabhAlalolagholamANakajjalujjalAlaAlimAliAulovasohie viuddhamuddhaduddhaNiddhapamhalAmalabbhamaMtatAradIharacchira(va)ttakaMtae / visaTTasaMdakuMdagocchasacchakomalullasaMtadittidaMtavaMtikesarAlae imaMmi erise muhAraviMdae piei jo piharaM mahuvva so sauNNao [vizAlabhAlalolagholatkajalojjvalAlakAlimAlikAkulopazobhite vibuddhamugdhadugdhasnigdhapakSmalAmalabhramattAradIrghAkSipatrakAntake / vikasitasAndrakundagucchasvacchakomalollasaddIptidantapaGktikesarAlaye etasminnetAdRze mukhAravindake pibati yaH priyAdharaM madhviva sa sapuNyaH // 79.1 // ] sanvatA lahuttarA jahicchiA jahiM huvaMti sA imA asoapupphamaMjaritti // 8 // [sarve trimAtrA laghUttarA yathecchaM yatra bhavanti seyamazokapuSpamaJjarIti // 40 // ] asoapupphamaMjarI tassea [azokapuSpamaJjarI tasyaiva] / tikkhakhaggadhArabhiNNaduNNivAravAraNedakuMbhapIThapattharohaduggamAe diihbaannmijmaannjohdehruNddkhNddpjjhrNtsonniekkpaanniaae| doNNibhAajAakAaNitarattasittachattapuMDarIamuttakesasevalAe erisIa sattuvAhiNINaIa majjha NAhao kivANabIao samuttarei // 80.1 // 1 [sa] puNyakaH.

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1.78-83] svyNbhuucchndH| [ tIkSNakhaGgadhArAbhinnadurnivAravAraNendrakumbhapIThaprastaraughadurgamAyAm dIrghabANabhidyamAnayodhadeharuNDakhaNDaprakSaracchoNitaikapAnIyAyAm / dvibhAgajAtakAyaniryadraktasiktachatrapuNDarIkamuktakezazaivalAyAm IdRzyAM zatruvAhinInadyAM mama nAthaH kRpANadvitIyaH samuttarati // 80.1 // ] jai samvacaAragaNA avasANagurU tamiNaM bhaNiaM kusumattharaNaM // 81 // [yadi sarve caturmAtragaNAH avasAnaguravaH tadidaM bhaNitaM kusumAstaraNam // 81 // ] kusumattharaNaM suddhasahAvassa [kusumAstaraNaM zuddhasvabhAvasya ] / supahuttasaroaahaMsasamUhasamudhuapakkhaparikkhiaehiM saA diNaNAhaphuraMtakaraggasahassaviphaMsavibohiaaMtaraehiM phuDaM / bhamarehiM jahicchiaraM mahupANavimohiapahiM calehiM ciraMciao kamalehiM kao rajaohasusohiaehiM maacchi vihUsiao sarao // 81.1 // [suprabhUtasaraudakahaMsasamUhasamudbhutapakSaparikSiptaiH sadA dinanAthasphuratkarAgrasahasravisparzavibodhitAntaraiH sphuTam / bhramarairyatheSTaM madhupAnavimohitaizcalaizviramarcitA kamalaiH kRtA rajaoghasuzobhitaiH mRgAkSi vibhUSitA zarat / / 81.1 // ] savacaAragaNAigurU NihaNe dugurU jaitaM pabhaNaMti bhuaMgavilAsaM // 82 // [sarve caturmAtrA Adiguravo nidhane dvau gurU yadi taM prabhaNanti bhujaMgavilAsam / / 82 // ] bhuaMgavilAso tassea [bhujaGgavilAso tasyaiva] / vAsaharammi vare kasaNAaruDaDDhi adhUvasuaMdhamaNoharae kamaNIe pINaghaNuNNaacakkalathorathaNIa sa paripelliavacchaalo rmnniie| komalabAhulaAdaDhaveDhiao paDivaTTaseNettaviaMsiae saaNIe pAvai NiddiaaM hiaacchiaaM sahi jo ccia puNNajuo sa Naro raaNIe // 82.1 // [vAsagRhe vare kRSNAgarudagdhadhUpasugandhamanohare kamanIye pInaghanonnatavartulasthUlastanyA svayaM paripreritavakSastalo ramaNyA / komalabAhulatAdRDhaveSTitaH pratipaTTasunetravitaMsite zayanIye prApnoti nidrAM hRdayepsitAM sakhi ya eva puNyayutaH sa naro rajanyAm / / 82.1] muhajjU paArA NibajhaMti jatto jahicchAi so daMDao sIhakIlAhihANo // 83 // [ mukharjavaH paJcamAtrAH nibadhyante yato yathecchaM sa daNDakaH siMhakrIDAbhidhAnaH // 83 // ] 1 viziSTasparza. 2 paTIpaTasvanetravidaMkAzite (?).

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svyNbhuucchndH| [uktAdividhiH sIhakIlo johaassa [siMhakrIDo yodhakasya] / aNaMto mahaMto akaMtosaaMto aNAI amAI arAI asoI ___ ajoI asoI amoI abhoI akoho amoho aroho akhoho| samuttuMgadeho paricchiNaNeho haAsesaibAho tiloIa NAho tae mokkhamaggo haosavvasaMgo suviNAaNeo tuma devadeo mahaM deu bohaM samAhiM ca NicaM // 83.1 // [ananto mahAnakAnto'sadantaH anAdiramAyI arAgI azAyI ayogI azokI amodI abhogI akrodho'moho'rodho'kSobhaH / samuttuGgadehaH paricchinnasneho hatAzeSabAdho trilokyA nAthastvayA mokSamArgo itasarvasaMgaH suvijJAtajJeyaH tava devadevo mahAndadAtu bodhaM samAdhiM ca nityam // 83.1 // ] savvattapA lAvasANA NibajhaMti jatto parilaM paimottUNa so daMDao kAmabANotti // 84 // [sarvatra paJcamAtrAH lAvasAnAH nibadhyante yatrAntyaM pramucya sa daNDakaH kAmabANa iti // 84 // ] kAmabANo veAlassa [ kAmabANo vetAlasya] / 'NiJcaM Namo vIarAA' evamAitti // 84.1 // [nityaM namo vItarAga-evamAdIti // 84.1] paMcaMsasArabhUe bahulatthe lakkhalakkhaNavisuddhe / ettha saaMbhucchaMde uttAivihI parisamattA // 85 // [paJcAzasArabhUte bahulArthe lakSyalakSaNavizuddhe / bhatra svayambhUcchandasi uktAdividhiH parisamAptaH // 85 // ] 1 asatAmanto yataH. 2 azAyI. 3 arodhaH. 4 sneviSayAbhAvAt. 5 hatAzeSabAdha:. 6 suvizAtazeyaH. 7 antimaM pagaNaM muktvA . 8 uktAdividhi:.

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2. ardhsmm| visame calaNe ticaArA / aMtaparaMtagurU sagaArA // iha veavaIa varaddhe / dodhaaaM jai bIacautthe // 1 // [viSame caraNe trayazcaturmAtrAH / anta-para-antaguravaH saguravaH // iha vegavatyAH aparArdhe / dodhakaM yadi dvitIyacaturthayoH // 1 // ] veabaI aMgAragaNassa [vegavatI aGgAragaNatya] / kamalaM DasiaMtaralehiM / pecchia sacchasare bhasalehiM // bhariaM pahieNa piAe / gholiraaM va muhaM alaehiM // 1.1 // [kamalaM daMzitaM taralaiH / prekSya svacchasarasi bhrmraiH|| smRtaM pathikena priyAyAH / ghUrNanazIlamiva mukhamalakaiH // 1.1 // ] visame jai tattha cuttho| to parago uvacittaameaM // 2 // [viSame yadi tatra caturthaH / trimAtraH paragaH upacitrakametat // 2 // ] uvacittaraM ajarAmarassa [ upacitrakaM ajraamrsy]| paMDapikkaphalohi maacchie / ujjuale juale ua kaMte // parimukkamale kamale aliNo / tujjha muhe NaaNevva bhamaMte // 2.1. // [vaTapakkaphaloSThi mRgAkSi / Rjudale yugalau pazya kAnte / parimuktamale kamale alI / tava mukhe nayane iva bhramantau // 2.1 // ] dohaarUasamakkamapuvo / lahucagaNo jai sA calamajjhA // 3 // [dodhakarUpasamakramapUrvaH / laghuzcaturmAtro yadi sA calamadhyA // 3 // ] calamajjhA loNuassa [calamadhyA lonnuksy]| peccha pie dhavale sasibiMbe / hariNepaaMkaNa paDihAi // candaNacacciae tuha vacche / kasaNa thaNekamuhaM va vihAi // 3.1 // [prekSasva priye dhavale zazibimbe / hariNapadAGkanaM pratibhAti / candanacarcite tava vakSasi / kRSNaM stanaikamukhamiva vibhAti // 3.1 // ] visame calaNe uvacittaraM / duavilaMbiaaM jai sesae // ia erisalakkhaNasaMju / kaiaNehiM kaaM hariNappaaM // 4 // [viSame caraNe upacitrakam / drutavilambitakaM yadi zeSayoH / itIdRzalakSaNasaMyutam / kavijanaiH kRtaM hariNapadam // 4 // ] 1 vegavatyAM. 2 vaTapakvaphalauSThi. 3 Rjudale. 4 he kAnte kamale alina: bhramarasya yugale pazya. 5 dodhakA. kArasya yau samapAdau tatpUrvaH prathamo laghucagaNa:. 6 padAGkaNaM.

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svyNbhuucchndH| [ardhasama hari[Na]ppaaM dRggasIhassa [hariNapadaM durgasiMhasya] / NavakeaikesaradhUsare / mahuare kusumammi milaMtao // hasiovva siaiNa durehao / abuha mA bhama re bhamare tumaM // 4.1 // [navaketakI kesaradhUsare / madhukare kusume milan / hasita iva sitena dvirephaH / abudha mA bhrama re bhramare tvam / / 4.1 // ] NihaNoaraMtagurucA gaM / jattha samA hi ekkagurupubvA // caraNA huvaMti ia jissA / keumaI kaIhiM bhaNiA sA // 5 // [nidhana-udara-anta-guravazcaturmAtrA gH| yatra; samau hi ekagurupUvauM / caraNau bhavata iti yasyAH / ketumatI kavibhirbhaNitA sA // 5 // ] keumaI tassea [ketumatI tsyaiv]| taralehiM tArakasaNehiM / suMdari je NiesiM NaaNehiM // marddhaannugaruaa| te suhaA jiti jialoe // 5.1 // [taralAbhyAM tArakRSNAbhyAm / sundari yAnpazyasi nayanAbhyAm / makaradhvajAnugatarUpA / te subhagA jIvanti jIvaloke // 5.1 / / ] jatthedavajjA paDhame tijje| uveMdavajjA bidie cautthe // akkhANiA sA bhaNiA kaIhiM / kumuddaIe uvajAimajjhe // 6 // [yatrendravajrA prathame tRtIye / upendravajrApi dvitIye caturthe // mAkhyAnikI sA bhaNitA kavibhiH / kumudatyA upajAtimadhye // 6 // ] akkhANiA loNuassa [AkhyAnikI lonnuksy]| raNaM varaM seviae savagdhaM / visaM varaM duTThabhuaMgamassa // vAhI varaM dummaraNaM raNaM ca / Na vAsao dujaNamajjhaAre // 6.1 // [araNyaM varaM sevyate savyAghram / viSaM varaM duSTabhujaMgamasya / vyAdhirvaraM durmaraNaM raNaM ca / na vAso durjanamadhye / / 6.1 // ] imA palattA vivarIapuvA / akkhANia ccea vivajjaeNaM // 7 [iyaM pralapitA viparItapUrvA / AkhyAnikyeva viparyayeNa // 7 // ] vivarIAkkhANiA laliasahAvassa [ viparItAkhyAnikA lalitasvabhAvasya ] / sacandaNA NIlamuhA bahUe / gaMdhaMdhapuSkaMdhaaguMjamANA // sahaMti kaMdappapahuppavese / vajjaMtasaMkhavva siatthaNA se // 7.1 // [sacandanau nIlamukhau vadhvAH / gandhAndhapuSpaMdhayaguJjamAnau / / / zobhete kandarpaprabhupraveze / vAdyamAnazalAviva sitastanAvasyAH // 7.1 // ] 1 bhramaraNa, 2 pazyasi.

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svyNbhuucchndH| saalasaalauttaraMtalA / cautagaNA guruaM ca aMtae // taNulahumuhagA ducA jue / tamavarapattamiNaM tao samaM // 8 // [sakala-sakala-uttara-anta-lA / catvArastrimAtrAH guruzcAnte // sakala-sakala tanu-lahu-mukha-gau dvau caturmAtrau yuge / tadaparavaktramidaM tataH samam // 8 // ] avarapattaM suddhasahAvassa [ aparavaktraM zuddhasvabhAvasya ] / karivara bhara mA saraMtae / kamalamuNAlavaNAiM sIsae // kariNikari NivesiAI e / bhaNasu saA suhionva ko jaNo // 8.1 // [ karivara smara mA sarontare / kamalamRNAlajalAni kathyate / kariNIkare nivezitAni he / bhaNa sadA sukhita eva ko janaH // 8.1 // ] Navara avaravattapAaaMte / ahiaarekagurummi phulliaggA // 9 // [ kevalaM aparavaktrapAdAnte / adhikataraikagurau puSpitAnA // 9 // ] phulliaggA kAliAsassa [puSpitAgrA kAlidAsasya / avaNaaviDao NaIpalAso / pavaNavasA dhunniekkpnnnnhttho|| davadahaNavivaNNajIviANaM / salilamivesa daaii pAavANaM // 9.1 // [avanataviTapo nadIpalAzaH / pavanavazAdbhutaikaparNahastaH / davadahanavipannajIvitAnAM / salilamivaiSa dadAti pAdapAnAm / / 9.1 // ] tatthAitaijjule pareNaM / jutte bhaddavirADiA palattA // 10 // [tatrAdi-tRtIya-Rjuke pareNa / yukte bhadravirATikA pralapitA // 10 // ] bhadavirADiA aMgAragaNassa [bhadravirATikA aGgAragaNasya] / saMjhApaNao nnimiiliacchN| dehaddhaM phuriAharoTrasohaM // gorIa vahei jo hasaMto / so ruddo uvaNeu maMgalaM vo // 10.1 // [saMdhyApraNato nimIlitAkSaM / dehAdhaiM sphuritAdharoSThazobham // gauryAH vahati yo hasan / sa rudra upanayatu vo maGgalam // 10.1 // ] paMcatA lahuttarA guruddaaM ca / samesu ujjuAhiA maI jarA(vA)I // 11 // [paJca trimAtrA laghuttarA gurudvayaM ca / samayoH RjukAdhikAH matI yavAdiH // 11 // ] jara(va)maI kalANurAassa [yavamatI kalAnurAgasya ] / mattahatthipAapIDhapelliAI / kalaMkapaMkabhIajIamelliAI // sAmiappasAajAaNIriNAI / bhaDANa jIviAI kiM gaAI taaii||11.1|| 1 smara. 2 kathyate; iSTasmaraNaM du:khadamevabhavati. 3 puSpitAgrA. 4 puSpitAgrAyAm. 5 tRtIyalacI. 6 Iya'yA. 7 tyaktAni. 8 anRNAni.

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svyNbhuucchndH| [ardhasama [mattahastipAdapIThapreritAni / kalaGkapaGkabhItajIvatyaktAni // svAmiprasAdajAtaniNAni / bhaTAnAM jIvitAni kiM gatAni tAni ? // 11.1 // ] maI jarA(vA)iA kamukkameNa jattha / chappaAvalI kaIhiM sA palattA // 12 // [matI yavAdiH kramotkrameNa yatra / SaTpadAvalI kavibhiH sA pralapitA // 12 // ] chappAvalI duggasattissa [SaTpadAvalI durgazakteH] / maNippahA-Nahoha-kesarullaehiM / lakkhaNaMkiaMgulIdalullaehi // dharittidevvaavva maccamANiavva / muddhie vihAsi pAapaMkarahiM // 12.1 // [maNiprabhanakhaughakesarakavadbhiH / lakSaNAGkitAGgalIdalavadbhiH // dharitrIdevateva martyamAniteva / mugdhike vibhAsi pAdapaGkajaiH // 12.1 / / ] paDhamataiae gII bIacautthaMmi khaMdhao jiie| saalalahuaNihaNagurU sihatti sA ukkameNa bhaNiA khaMjA // 13 // [prathamatRtIyayorgItiH dvitIyacaturthayoH skandhako ysyaaH| sakalalaghunidhanaguruH zikheti sA vyutkrameNa bhaNitA khanA // 13 // ] sihA suddhasahAvassa [zikhA zuddhasvabhAvasya] / kamalavaNasarasapasariaraaparimalamiliabhasalaulamuhalo muhlsiavihaviluliakuvladlksnnsalsrvrnniaro| NiaraparigaliataruvarasakusumapahakhalaNavimaNapahiajaNo pahiajaNa gamaNagaamaNa bhaNa piaama kamiha Na tavai Navara __ sro||13.1|| [kamalavanasarasaprasRtarajaHparimalamilitabhramarakulamukharA mukharasitavihagavilulitakuvalayaTalakRSNasakalasarovaranikarA / nikaraparigalitataruvarasakusumapathaskhalanavimanaHpathikajanA pathikajanaM gamanagatamanasaM bhaNa priyatama kamiha na tapati kevalaM zarat // 13.1 // ] ahavA aNNassa [athavA anyasya] / khaNapasariaharagalagaralakasaNaghaNaghaDaNajaNiaraNaraNoM NiadaiavivihaguNasumaraNaparigaliavirahijaNagurusuhapasaraM / Navaria siamaNaharakuDaamaaNaghaNasurahikusumavaNagahaNaM saMvaha ghaNasamaasa(ma)viraamiha tuha pahu vahari saalaparimaNa suaNo // 13.2 // [kSaNaprasRtaharagalagaralakRSNadhanaghaTanAjanitaraNaraNakam nijadayitavividhaguNasmaraNaparigalitavirahijanagurusukhaprasaram / 1 zapate. 1 bairiNaM(Na:1) banasamayam .

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2.12-14] svyNbhuucchndH| kevalaM sitamanoharakuTajamadanaghanasurabhikusumavanagahanam / zapati ghanasamayamaviratamiha tava prabho vairI sakalaparijanazUnyaH / / 13.2 // ] khaMjA aGgAragaNassa [khajA aGgAragaNasya] / garuaNavasaalajalaharapaurabahutalivaDaNapaDiamahiharasiro viulagaaNatalapasariasuradhaNuparibhamiraruiradiaNivaho / suhiasihiulakaakalaalavirahijaNajaNiaaidusaharaNaraNao iapiaama gama(Na)gaamaNa bhaNa kamiha Nakhalai paDhamaghaNa samao // 13.3 // [gurukanavasajalajaladharapracurabahutaDitpAtapatitamahIdharazirAH vipulagaganatalaprasRtasuradhanuHparibhramaNazIlaruciradvijanivahaH / sukhita zikhikulakRtakalakalavirahijanajanitAtiduHsaharaNaraNakaH iti priyatama gamanagatamanaH bhaNa kamiha na skhalati prathamaghanasamayaH / / 13.3 / / ] ahavA aNNassa [athavA anyasya] / harai NavasarasavialiamaNaharavarakusumasurahiraaNiaravaho ___ klknnirbhmirbhmrulbhlthirmhurrvnniarmuhlo| maamuiataruNaparahuaghaNakalaalabhariasaaladia(sa)Nahavivaro virhiannhiaamvirapsriamhusmasisirsuhpvnno||13.4|| [harati navasarasavigalitamanoharavarakusumasurabhirajonikaravahaH klkvnnitbhraantbhrmrkulbhlsthirmdhurrvnikrmukhrH| madamuditataruNaparabhRtaghanakalakalabhRtasakala dizAnabhovivaraH virahi janahRdayamavirataprasRtamadhusamayazizirasukhapavanaH / / 13.4 // ] paMcaMsasArahUe bahulatthe lkkhlkkhnnvisuddhe| ettha saaMbhucchaMde addhasamaM parisamattamiNaM // 14 // [paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayaMbhUcchandasi ardhasamaM parisamAptamidam // 14 // ]

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3. praakRtsaarH| rasacA paroraparakka / paguNaparamajjhagA gurU // punvataiagaduchA sagurU / jai NaMdiNI NihaNaammi uggaA // 1 // [SaT caturmAtrAH para-udara-para-vakrAH / praguNa-para-madhya-gAH guruH / pUrvatRtIyagau dvau SaNmAtrau sagurU / yadi nandinI nidhane udgatA // 1 // ] uggaA abbhuassa [udvatA adbhutasya] / bhuvaNAhivaM vimltea-| mataNuamaNuttamaM vihu~ // mukkasaalapasupAsamalaM / paramaM purANapurisaM NamaM sivaM // 1.1 // [bhuvanAdhipaM vimalatejasaM / atanukamanuttamaM vibhum / muktasakalapazupAzamalaM / paramaM purANapuruSaM namAmi zivam // 1.1 // ] taiakkharaM saha pareNa / taiacaraNammi jujjae / taM bhaNaMti kira sorhaN| samadu(mu)ggaAi jai sesalakkhaNaM // 2 // [tRtIyAkSaraM saha pareNa / tRtIyacaraNe yujyate / tadbhaNanti kila saurabhakaM / samamudgatayA yadi zeSalakSaNam // 2 // ] sorahaaM isahalassa [saurabhakaM vissdhrsy]| chaNacaMdabiMbasariseNa / samahura[sa]saMgagaMdhiNA // komaleNa kamaleNa va taM / ahilaM vihAsi vaaNeNa muddhie // 2.1 // ] kSiNacandrabimbasadRzena / samadhurasasaMgagandhinA / komalena kamaleneva tvaM / adhikaM vibhAsi vadanena mugdhike / / 2.1 // ] jai uggaAi pamuhami / taiacaraNassa chalahU // saalaNiuNajaNasaMgahiaM / iNamo muNeha laliassa lakkhaNaM // 3 // [yadyudgatAyAH pramukhe / tRtIyacaraNasya SaT laghavaH // sakalanipuNajanasaMgRhItaM / etajjAnIhi lalitasya lakSaNam // 3 // ] laliaM kalANurAassa [lalitaM kalAnurAgasya] / arviNdsNdmarNd-| bhmirbhmrNdhaariaN|| vimalabahalasalilagghaviraM / kamalAaraM visai vAraNAhiro(vo) // 3.1 // [aravindrasAndramakaranda / bhramaNazIlabhramarAndhakAritam // vimalabahalasalilapUrNa / kamalAkaraM vizati vAraNAdhiSaH / / 3.1 // ]

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svyNbhuucchndH| ga ccho cA paramajjhapuvvadotagurujjU / pajuaM uramuhalaM, vasujjuNoM gaM / ., dasalahu guru dulegaa| pacuviamiha saalakaIhiM NibaddhaM // 4 // [gaH SaNmAtraH caturmAtrAH para-madhya-pUrva-dvi-anta-guru-RjavaH / . pancamAtrayugaM udara-mukha-laM, vasu-Rjavo gaH // dazalaghu-guru-dvilagau / pracupitamiha sakalakavibhirnibaddham // 4 // ] pacuviaM ubbhaDassa [prcupitmudbhttsy]| vAsArattasamappio nnirnnearuuo| paDaovva salmehpuNjsoho|| kuNai asaihiae / bahalaraaNitamaNiaro gurutosaM // 4.1 // [varSArAtrasamarpito niranvayarUpaH / paTaka iva sakalameghapuJjazobhaH // karoti asatIhRdaye / bahalarajanitamonikaro gurutoSam // 4.1 // ] eaM cea bhaNaMti vA uatthiaunvaM / duguNe taiakamami vaDamANaM // 5 // [evaM caiva bhaNanti vA upasthitapUrva / dviguNe tRtIye kRte vardhamAnam // 5 // ] vaDamANaM ravivappassa [vardhamAnaM rvivprsy]| suddhaM sommasahAvaaM samappiacittaM / NihuaM llhvilaasinniiviadduuN| amaarasaguruaaMNihumahuralaviraM / gharaghariNisuraamuvalabbhai katto // 5.1 // [zuddhaM saumyasvabhAvaM samarpitacitraM / nibhRtaM laTabhavilAsinIvidagdham // amRtarasagurukaM nibhRtamadhuralapanazIlaM / gRhagRhiNIsuratamupalabhyate kutaH / / 5.1 // ] . cA~ doMtouragA gurU tijjapaae| avaraM pacuvialakkhaNaM asesN| sA suddhavirADiA tahiM / jai paDhamagaNavirai AvisahaM taM // 6 // [caturmAtrAH dvi-anta-udara-gAH gurustRtIyapAde / aparaM pracupitalakSaNamazeSam / sA zuddhavirATikA tatra / yadi prathamagaNaviratiH AviSahaM tat // 6 // ] suddhavirADiA suddhasIlassa [zuddhavirATikA zuddhazIlasya] / hatthAroviaruMdacaMdabiMbakavole / guNasaMbha[ra]NagalaMtabAhadhAre // thoratthaNi majjhakhAmie / parimisasi sasasi bhaNa kassa kae NaM // 6.1 // [hastAropitavistRtacandrabimbakapole / guNasaMsmaraNagaladvASpadhAre / / sthUlastani kSAmamadhyake / parimRzasi zvasisi bhaNa karaya kRte nanu // 6.1 // ] AvisahaM laliasahAvassa [AvRSabhaM lalitasvabhAvasya] / dukkhe dukkhiao suhammi vddiasokkho| hariNo jaha samavaDiammi cNde|| caMdassa tahA Na tettiaM / pariharai NiaapaiiM kimaNujju // 6.2 // 1 iti pUrvArdham. 2 aSTau lavavaH. 3 do lo gau. 4 pracupitam. 5 niranvayarUpa: asaMbaddhasvarUpaH paTaka iva. 6 pracupitamupasthitapUrvam. 7 nibhRtamanutkaTam. 8 cagaNa: tatra dvigururantagururmadhyagururguravastRtIye pAde. 9 parimRzasi zvasiSi.. 10 anRjuH..

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svyNbhuucchndH| [prAkRtasAraH [duHkhe duHkhito sukhe vardhitasaukhyaH / hariNo yathA samavardhite candre / / candrasya tathA na tAvat / pariharati nijakaprakRtiM kimanjuH / / 6.2 // ] cattAra aMsaA pAo dodoakkhrsNjuaa| lahu NAMivaNNAdo taM siloassa lakkhaNaM // 7 // [catvAroM'zakAH pAde dvidvi-akSarasaMyutAH / laghukaM nAdivarNAt tacchlokasya lakSaNam // 7 // ] siloo chaillassa [zlokaH chaillasya ] / caMdavivaM vva kaMtillaM puMDarIaM vva komalaM // savaloaM suhAveuM muhaM te keNa nnimmiaN||7.1|| [candra bimbamiva kAntimat puNDarIkamiva komalam / sarvalokaM sukhayituM mukhaM te kena nirmitam // 7.1 // ] paJcamaM laM tigaM vattaM suvataM sattame a le| samapAe puNo pacchA pacchAvattaM vivajae // 8 // [paJcamaM laM trayo gAH vaktraM suvaktraM saptame ca le| samapAde punaH pathyA pathyAvaktraM viparyaye // 8 // ] vattaM viaTThassa [vaktraM vidgdhsy]| savvaviggahaNeoNrA pattA kaMDa(Nha)jjuNA kaNNaM / dhariA teNa te de(do)vi eaMtaM mANasaM jANaM // 8.1 // [sarvavigrahanetArau prAptau kRSNAjunau karNam / dhRtau tena te dvAvapi etattanmAnakaM jAtam // 8.1 // ] suvattaM suhaDarAassa [suvaktraM subhaTarAjasya ] / eaM kAmassa aMgaaMkaaM sa(ma)sI pinnaainnaa| deti acchIsu kAmiNI teNa kajjeNa kajjalaM // 8.2 // [etatkAmasyAGgakaM kRtaM maSI pinaakinaa| dadatyakSiSu kAminyastena kAraNena kajjalam // 8.2 // ] pacchA suddhasahAvassa [ pathyA zuddhasvabhAvasya ] / avaNe sasI jAva kalaMkaM kira jhijjae / tAva taM tArisaM cea ko NAsei purAkaaM // 8.3 // [apanetuM zazI yAvatkalaGka kila kSIyate / tAvatsa tAdRza eva; ko nAzayati purAkRtam // 8.3 // ] pacchAvattaM caMdarAasta [pathyAvaktraM candrarAjasya ] / 1 AdyavarNAlaghudvayaM na bhavati. 2 zloka eva. 3 vaktram. 4 [ne]tArau. 5 tanmAnakaM jAtam.

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3. 7-12 ] svayaMbhUcchandaH / patto tujjha muhacchaviM caMdo caMdAaNaM kAuM // jAaM Navara laMchaNaM ahiaM puNNamAsIe // 8-4 // [ prAptastava mukhacchaviM candrazcAndrAyaNaM kRtvA / jAtaM kevalaM lAJchanaM adhikaM pUrNamAsyAm // 8.4 // ] vattaM tameva cavalA sAgarA jai lattaaM / vattaM a hoi cavalApacchAe sumanoharaM // 9 // [ vRttaM tadeva capalA sAgarAdyadi latrayam / vRttaM bhavati capalApayyAyAH sumanoharam // 9 // ] cavalApacchA chailANa [ capalApathyA chailAnAm ] | caMdaNaM caMdrakiraNA kappUraM malaANilA / tA suhAveMti hiaaM jA pAse piamANusaM // 9.1 // [ candanaM candrakiraNAH karpUraM malayAnilAH / tAvatsukhanti hRdayaM yAvatpArzve priyamanuSyaH // 91 // ] seJevamaeNa viulA caubheA, piMgalassa aTThavihA / tissA parivaoNDIe ko sakkai lakkhaNaM kAuM // 10 // [ saitavamatena vipulA caturbhedA, piGgalasya aSTavidhA / tasyAH paripATyA kaH zaknoti lakSaNaM kartum // 10 // ] akku (kha) rAI paDhame bAraha bIaMmi sorahaM taie / vIsa catthe pAe paacauruddhaM imaM bhaNiaM // 11 // [ aSTAkSarANi prathame dvAdaza dvitIye SoDaza tRtIye / viMzatizcaturthe pAde padacaturUrdhvamidaM bhaNitam // 11 // ] paacauruddhaM lalahasahAvassa [ padacaturUrdhvaM lalitasvabhAvasya ] | saMpuNacaMdavaNA / viNiddaNIluppalalolaloaNA // jassa thorathaNi dhaNiA chaMdANuvattiNI / acchau jattha tattha salahaM (halaM) cia tassa Navari jIviaM // 11.1 // [ saMpUrNacandravadanA / vinidranIlotpalalolalocanA // yasya sthUlastanI gRhiNI chandAnuvartinI / astu yatra tatra saphalameva tasya kevalaM jIvitam // 11.1 // ] savvAI ujjuAIM do do vakkAI jattha pamuhammi | eso pacchAvIDU; AvIDU jassa NihaNammi // 12 // 1 sAgarAdAdyacatuSTayA laghutrayaM bhavati. 2 saitava. 3 vipulAyA:. 4 paripATyA paraMparayA. 6 pathyApIDaH. 49 5 bhAstAm.

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svyNbhuucchndH| [prAkRtasAraH [sarvANi RjukAni dve dve vakre yatra pramukhe / eSa pathyApIDaH ApIDo yasya nidhane // 12 // ] pacchAvIDU lallaassa [pathyApIDaH lallakasya] / emhi tai maha ka-| mAadviataruNimaNapasara // aMge viraiaraisuhamasarisaguNa / dukkhaM pia darasiabahuvihalaliamaNiarava // 12.1 // [ idAnIM tvayA mama kRtaM / AkRSTataruNImanaHprasara / aGge viracitaratisukhaM asadRzaguNa / / duHkhaM priya darzitabahuvidhalalitamaNitarava // 12.1 // ] AvIDU tassea [ApIDaH tasyaiva / sahi risuhsaaro| salbhuannkaprioso|| drsiabhuvihtrunnihiaaraao| sahai maha paaDavivihaguNasaasuhaa kaMto // 12.2 // [ sakhi rtisukhsaarH| sakalabhuvanakRtaparitoSaH / / drshitbhuvidhtrunniihRdyraagH|| zobhate mama prakaTavividhaguNazatasubhagaH kAntaH // 12.2 // ] paDhamo bIeNa samaM paNhaTTai maMjarI esaa| taieNa samaM lavalI pareNa saha amaadhArotti // 13 // [prathamo dvitIyena samaH parivartyate (?) maJjarI essaa| tRtIyena samaH lavalI; pareNa saha amRtadhArA iti // 13 // ] maMjarI aMgAragaNassa [maJjarI aGgAragaNasya] / phailiNikusumavararaagore / gha(dha)NathaNaharavaTTe // uaha ghddiapiaamnnhvamggo| lahai kaNaakalasaThaviaNavakisalaasohaM // 13.1 // [priyaMgu-kusumavararajogaure / gRhiNIstanabharapaTTe / pazyata ghttitpriytmnkhpdmaargH| labhate kanakakalazasthApitanavakisalayazobhAm / / 13.1 // ] lavalI suddhasahAvassa [lavalI zuddhasvabhAvasya] / dhavalakamalaparimalaluddhA / runnrunniajnniajnnmnnpriosaa|| kusumravilittaa| bhaNa kamiha Na harai srapmuiabhslaalii||13.2|| [dhavalakamalaparimalalubdhA / ruNaruNitajanitajanamanaHparitoSA / kusumarajoviliptA / bhaNa kamiha na harati zaratpramuditabhramarAliH // 13.2 // ] 1 ApIDa eva yatra prathamaH pAdaH dvitIyena saha pravartate. 2 priyaMguH.

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3. 12-14 ] svayaMbhUcchandaH / amaadhArA tassea [amRtadhArA tasyaiva ] | maNamaNiakaNaarasaNANaM / salaliatharahari athaNaajualANaM // muNimavi harai ua taha kaha kaha vi taruNINaM / visamaraavilAso // 13.3 // [maNamaNitakanakarazanAnAM / salalitakampitastanayugalAnAm / munimapi harati pazya tathA kathaMkathamapi taruNInAM / viSamaratavilAsaH || 13.3 / ] paMcaMsasArahUe bahu[]tthe lakkhalakkhaNaviddhe / ettha saaMbhucchaMde pAuasAro parisamatto // 14 // [ paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayaMbhUcchandasi prAkRtasAraH parisamAptaH // 14 // ]

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4 utsAhAdIni / jo pAuassa sAro tassa mae lakkhalakkhaNaM siTuM / ettAhe avahaMse sAhijjaMtaM NisAmeha // 1 // ihiArA biMdujuA pAvasANammi jaha huvaMti lahU / taha katthavi chaMdavasA kAavvA uhuhaArA vi // 2 // [yaH prAkRtasya sAraH tasya mayA lakSyalakSaNaM ziSTam / adhunA apabhraMze kathyamAnaM nizAmayata // 1 // ihi-kArA binduyutAH padAvasAne yathA bhavanti laghavaH / / tathA kutrApi chandovazAt kartavyA uhuha-kArA api // 2 // ] uAro biMdujuo pAvasANammi lhuu| caumuhassa jahA--[ukAro binduyutaH padAvasAne laghuH / caturmukhasya yathA-] hau~ ajjuNu tumha eu raNu // 2.1 // [ahamarjuno, yUyam, etadraNam // 2.1 // ] huAro tassea [hukAraH tasyaiva / ko mahu~ jIaMtahu~ Nei dhaNu // 22 // [ko mama jIvato nayati dhanuH // 2.2 // ] haAro tassea [hakAraH tasyaiva] / NibhaNAmapaAsahaM / surahaM saAsahaM // 2.3 // [nijanAmaprakAzAnAm / surANAM sakAzAnAm // 2.3 // ] biNNivi eo suddhA pAvasANammi jaha huvaMti lahU / AImajhate vA vaMjaNamissA taha ccea // 3 // [dvAvapi e-o zuddhau padAvasAne yathA bhavataH laghU / bhAdimadhyAnteSu vA vyaJjanamizrI tathA caiva // 3 // je te ke vi puttie~ deti paI / tehiM karejasu raja // jo so kovi suhau vi ddhennddhnno| taho sire NivaDau vaja // 3.1 // [ye te kepi putrike dadati tubhyaM / taiH kuruSva rAjyam / yosau kopi subhagopi zUnyaH / tasya zirasi nipatatu vajraH // 3.1 // 1 padAvasAne. 2 hiM at the end of a word is usually short, except at the end of a Pada. It is not shown as short here and elsewhere in this book.

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svyNbhuucchndH| chaccA uragA duvAsalA taiapaMcamatti / kaiNo ucchAhalakkhaNaM erisaM bhaNaMti // 4 // [SaT caturmAtrAH udara-gau dvipArzvalau tRtIyapaJcamAviti / kavayaH utsAhalakSaNamIdRzaM bhaNanti // 4 // ] ucchAho dhuttassa [utsAho dhUrtasya / samuhe tamahAri vIra saravammiaMgavaMga paharaMti sarosarahasaucchaliauttamaMga / utthalliamaMDalaggapuNaruttadiNNaghAa je te maraNekkacitta sumaraMta pahuppasAa // 4.1 // [saMmukhe...vIrAH zaravarmitAGgopAGgAH praharanti srosssrbhsocchlitottmaanggaaH| ucchalitamaNDalAyapunaruktadattaghAtAH ye te maraNaikacittAH smRtvA prabhuprasAdam // 4.1 // ] codahapaDhamataiaciraNe / bAraha bIacautthe // duvaha [alakkhaNa ettalau / hoi avahaMsasatthe // 5 // [caturdaza prathamatRtIyacaraNayoH / dvAdaza dvitIyacaturthayoH // dvipathakalakSaNametAvanmAnaM / bhavati apabhraMzazAstre // 5 // ] duvahau jahA [dvipathako yathA] / ammia karaha dusIlaau / NIriu kiMpi Na khAi // kA vi marutthalavellilia / te ho kAraNe vidAi // 5.1 // [amba ! karabho duHzIlakaH / dattaM kimapi na khAdati // kApi marusthalavallarikA / tasyAH kAraNe viSIdati // 5.1 // ] tahA a mAuradevassa [tathA ca mAtRdevasya / laddhau mitta bhaNa(ma)nteNa / raaNA[ru] caMdeNa // jo si(jhi)jaMte si(jhi)jai vi / taha bharai bharateNa // 5.2 // [labdhaM mitraM bhramatA / ratnAkarazcandreNa // yaH kSIyamANe kSIyatepi / tathA bhriyate bhriyamANena // 5.2 // ] teraha paDhamataiapae / bAraha bIacautthe // uvaduvahaalakkhaNamiNaM / hoi avahaMsasatthe // 6 // [trayodaza prathamatRtIyapAdayoH / dvAdaza dvitIyacaturthayoH / / upadohakalakSaNamidaM / bhavati apabhraMzazAsne // 6 // ]

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svyNbhuucchndH| [utsAhAdIni uvaduvahaaM dhaNadevassa [upadohakaM dhanadevasya] / vaccu(bbu)ravaNasaMtosiA / suha acchaMta thalIhiM / dakkhArasu cakkhAviA / kahiM pADiau thalIhiM // 6.1 // [baccura-vanasaMtoSitAH / sukhaM tiSThantaH sthalISu // drAkSArasaM svAditAH / kutra xxxxxxx // 6.1 // ] bAraha visame calaNe / coddahaM puNa sesaeN hoti / jANijjuha erisaaM / avaduvaha[a]ssa lakkhaNatti // 7 // [dvAdaza viSamacaraNayoH / caturdaza punaH zeSayoH bhavanti / jJAyatAmetAdRzaM / avadohakasya lakSaNamiti // 7 // ] avaduvahau ajadevassa [avadohakaH Aryadevasya] / kAi~ karau~ hau~ mAe / piu Na gaNai laggI pAe // maNNu dharateho jAi / kaDhiNa uttaraMga bhaNAi // 7.1 // [kiM karomyahaM mAtaH / priyo na gaNayati lagnAM pAde // manyu dhArayantyAM yAti / kaThinA uttaraMgA (iti) bhaNati / / 7.1 // ] paMca calaNA savva mattAe / ti caArA tattha same / papacadA kameNAvasesae // Na muhalaMtasamattaguru / apurimANa visamANa taiae // 8 // [paJca caraNAH sarve mAtrAyAH / trayazcaturmAtrAstatra samayoH / paJcamAtra-paJcamAtra-caturmAtra-dvimAtrAH krameNAvazeSeSu / na mukha-anta-samastaguruH / aprathama-viSamayoH tRtIye // 8 // mattA chaillANa [mAtrA chailasya] / mittu makkaDu sattu dahavaaNu / raa[NAa]ru duppagamu / so vi baMdhu(baddha) pAhANakhaMDahiM // jaha rAmaho taha para ho / hoi~ lacchi vavasAavaMtaho // 8.1 // [mitraM markaTaH zatrurdazavadanaH / ratnAkaro duSpragamaH // sopi baddhaH paassaannkhnnddaiH| yathA rAmasya tathA narasya / lakSmIrbhavati vyavasAyavataH // 8.1 // ] pAe~ bIaeN ahava cautthae / paDhamaM cia paAragaNu / jIe~ hoi sA mttbaaliaa|| taiaeN tialaMsagae~ / NivaDaammi kira mattA(ta)mahuarI // 9 //

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4. 6.1-9.4] svyNbhuucchndH| [pAde dvitIye athavA caturthe / prathamameva paJcamAtragaNaH / yasyA bhavati sA mattabAlikA / tRtIye trimAtrake / nipatite kila mattamadhukarI // 9 // ] bIacalaNe mattabAliA goiMdassa [dvitIyacaraNe mattabAlikA govindasya] / kamalakumuaha eka uppatti / sasi to vi kumuAaraha / deha sokkha kamalaha divAaru // pAvijai avasa phalu / jeNa jassa pAse Thaveiu // 9.1 // [kamalakumudayorekA utpattiH / zazI tadapi kumudAkarasya / dadAti saukhyaM / kamalasya divAkaraH / prApyate avazyaM phalaM / yena yasya pArzve sthApitam / / 9.1 // ] cautthacalaNe mattabAliA suddhasIlassa [ caturthacaraNe mattatrAlikA zuddhazIlasya] / pahu sakaddamu Nahu sakoa[NDu] / mahi sarasa salila sarasa / sarava meha disi bahala vijjula / pahiaaNamaNamohaaru // sa(Na)vari cAru pAusu vibhiu // 9.2 // [panthA sakardamo nabhaH sakodaNDaM / mahI sarasA salilaM sarasaM / saravAH meghAH dizi bahalA vidyut / pathikajanamanomohakarA / kevalaM cAruH prAvRD vijRmbhitA // 9.2 // ] uhaacaraNe mattabAliA goiMdassa [ubhacaraNayoH mattabAlikA govindasya] / piuparokkhAhaM bhujaga camakaMti / caMdeNa unjholaa kiu / Thiu Niatta tatthu jema jANiu // kajja Nippacchima uaha / kajjAle lohiM muNijjaha // 9.3 // [priyaparokSe bhujaMgAH udayanti / candreNa udyotaH kRtaH / sthitaH nivRttaH tatra jAne jJAtaH / kArya niSpazcimaM pazyata / kAryakAle lokaiyite // 9.3 // bIacalaNe taie tialaMsae mttmhuarii| jahA--[dvitIyacaraNe tRtIye trimAtrake mattamadhukarI / yathA ratti sokkhai~ dei mihuNANa / jai ema to bappuDA / cakkavAu kimu tahiM vioiu // puvakiau pariNamai / kovi kassa deau Na leau // 9.4 // [rAtriH saukhyaM dadAti mithunAnAM / yadyevaM tarhi varAkaH / cakravAkaH kimu tatra viyojitaH / ? pUrvakRtaM pariNamati / kopi kasya [na] dadAtu na gRhNAtu // 9.4 // ]

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svyNbhuucchndH| [utsAhAdIni uhaacalaNamattamahuarI goiMdassa / jahA-[ubhayacaraNamattamadhukarI govindasya / yathA-] ThAmaThAmahiM ghAsasaMttaTTa / rattI(tti)hiM prisNtthiaa| romaMthaNavasacaliagaMDaA // dIsaMti(dIsaha) dhavalujjalA / joNhANihANAI va gohaNA // 9.5 // [sthAne sthAne grAsasaMstabdhAni / rAvyAM parisaMsthitAni / romanthavazacalitagaNDAni / dRzyante dhavalojjvalAni / jyotsnAnidhAnAnIva godhanAni // 9.5 / / ] taiapaMcamacalaNapamuhammi / jai dovi caAragaNu / to mattavilAsiNI imA // aha tiNNi paAraMsA / [jai] taM bhaNaMti kira mattakariNe // 10 // [tRtIyapaJcamacaraNapramukhe / yadi dvAvapi caturmAtrau / tataH mattavilAsinI iyaM / / atha trayaH paJcamAtrAMzAH / yadi tAM bhaNanti kila mattakariNIm // 10 // ] mattavilAsiNI goiMdasya [mattavilAsinI govindasya] / ehu visamau suTTa Aesu / pANaMtiu maannusho| diTThIvisu sappu kAliau // kaMsu vi mArei dhuu / kahiM gammau kAi~ kijjau // 10.1 // [eSa viSamaH suSTu AdezaH / prANAntiko manuSyasya / dRSTiviSaH sarpaH kaaliyH| kaMsopi mArayati dhruvaM / kutra gamyate kiM kriyatAm / / 10.1 // ] mattakariNI jahA tassea [mattakariNI yathA tasyaiva] / savva goviu jai vi joei / hari suTTa vi AareNa / dei dihi jahiM kahiM vi raahii| ko sakkai saMvarevi / DaDDaNaaNa NeheM paloTTa[a]u // 10.2 // [sarvAH gopIH yadyapi pazyati / hariH suSTha apyAdareNa / dadAti dRSTiM yatra kutrApi rAdhA / kaH zaknoti saMvarItuM / dagdhanayanaM snehena pravRttam // 10.2 // ] jAvi missA savvarUehiM / sA bhaNNai bhuruuaa| antaammi jai tIeN duvahao // supasiddhA NavacalaNA / ehu vatthu va (ra)DDo vi jANai // 11 //

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4. 9.5-11.3] svyNbhuucchndH| [yApi mizrA sarvarUpaiH / sA bhaNyate bahurUpA / ante yadi tasyAH dvipathakaH / suprasiddhA navacaraNA / eSA vastuH raDDApi jJAyate // 11 // ] bahurUA tassea [ bahurUpA tasyaiva] / dei pAlI thaNaha pabbhAreM / toDimpiNu nnlinnidlu| harivioeM(eN) saMtAveM tttii|| phalu aNNahiM paaviu| karo daia jaM kiMpi ruccha(ca)i // 11.1 // [dadAti gopAlikA stanayoH prAgbhAre / chitvA nalinIdalaM / hariviyoge saMtApena taptA / phalamajJayA prAptaM / karotu dayitaH yat kimapi rocate // 11.1 // ] va(ra)DDA jahA [raDDA yathA] jeNa jAeM riu Na kaMpaMti / suaNA vi gaMdaMti Navi / dujjaNA vi Na muaMti ciNte|| teM jAeM kamaNu guNu / varakumArikaNNahala vaMciu // kiM taNaeNNa teNa jAeNa / paapUraNapuriseNa // jAsu Na kaMdari dari vivara / bhari uvvariu jaseNa // 11.2 // [yena jAtena ripavo na kampante / sujanA api nandanti naiva / . durjanA api na mriyante cintayA / tena jAtena ko guNaH / varakumArIkanyAphalaM vaJcitam / kiM tanayena tena jAtena / padapUraNapuruSeNa / yasya na kandaraM darI vivaraM / bhRtvA urvaritaM yazasA // 11.2 // ] tahA a jiNaAsassa [tathA ca jinadAsasya] / duHkhu NAsaha jiNuNuddAha / sai vaDDai hoi jau / bhamai kitti jaalacchi dukkA // ravikiraNahiM saMtosiu / timira jema pAuvi viNAsai // duggaigahaNe bhamaMtAha / jai jiNacaraNe Na hota // jagu avalaMbaNe vajiau / saala vi NavaaM pabhaMta // 11.3 // 1Ms. reads saMtAsiau. 2 Ms. reads bhamaMtA jahai jiNaNa cahaNa. 3 Ms. adds icchAi.

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svyNbhuucchndH| [utsAhAdIni [ duHkhaM nazyatyeva... / sadA vardhate bhavati jyH| bhramati kIrtiH jayalakSmIH pravartate / / ravikiraNaiH saMtrAsitaM / timiramiva pApamapi nazyati / / durgatigahane bhramatAM / yadi jinacaraNau na syAtAm / jagadavalambanena varjitaM / sakalamapi...prabhrAntam // 11.3 // ] mattA samattA [ mAtrA smaaptaa]| aha vaaNappaaraNaM [atha vadanaprakaraNam] / chavarA addhAija caaraa| vaaNaassa erisaA paaaa| teNa cauttheNa uvvannaN| vaaNaaMtajamiA a maDillA // maDila hoi bihiM jamau Nivajjhai / ahavA(va) cauMga(uNha) vi so sama(mba)jjhai // 12 // [SaNmAtrAdayaH ardhatRtIyAH caturmAtrAH / vadanakasya IdRzAH pAdAH // trimAtreNa caturthena upavadanakaM / vadanamantayamitA ca maDillA // maDilA bhavati dvAbhyAM (yadi) yamakaM nibdhyte| athavA caturNAmapi tat saMbadhyate // 12 // ] uvavaaNaaM chaillassa [upavadanakaM chailasya ] / jIva tAvahiM jAva jalu gaMgahi / caMdaNu agaru ma pheDahiM aMgahi // ghoDA vAhahiM varaaturaMgaI / dArahiM ramahiM je suTTa vi caMkai(gaI) // 12.1 // [jIva tAvadyAvajalaM gaGgAyAM / candanamaguruM mA tyaja anggaiH| azvaM vAhaya... / dArAbhiH ramasva ye suSThu zobhanAH // 12.1 // ] maDillA viaDDassa [maDilA vidagdhasya] / thippai kuTTijai bhaTTabbhaDa / tahiM parieMti jati bhaTTabhaDa // taM gharu pAhuNehiM NiccAulu / etahiM jaMtahiM kiu NiccAulu // 12.2 // [timyate kuTyate bhRSTAbhRSTaM / tadA paryAyAnti yAnti bhaTTAH bhaTAH / tadgRhaM prAghUrNikaiH nityAkulaM / AyadbhirgacchadbhiH kRtaM nistandulam // 12.2 // ] maDillA caupaajama(mi)A aDillA jahA [aDilA catuSpAdayamitA aDilA yathA] aNiulaka(tau)jalehi sA daMtahiM / pAArhi Neurehi sAdaMtahiM / vAha valujA(laggA) jasu gaadantahiM / sA sevijai kaha ___ gaadantahiM // 12.3 // [atimuktojjvalaiH sA dantaiH / pAdAbhyAM nUpurAbhyAM zabdAyamAnAbhyAm / bAhU avalagnau yasyA gajadantAbhyAM / sA sevyate kathaM gatadantaiH // 12.3 // ]

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4. 11.3-18] svyNbhuucchndH| ucchAho ccia atthe laggA pari pAimeNa baMdheNa / jaM jaM paDhaMti loe taM taM bhaNa vaaNaaM savvaM // 13 // [x x x x x x x / yadyatpaThanti loke tattadgaNa vadanakaM sarvam // 13 // ] ucchAhANa a atthammi / duvahaalakkhaNaammi / eha pahelI suMdariA / hoi avahaMsa[a]mmi // 14 // [utsAhAnAM cArthe / dvipthklkssnne| iyaM prahelikA sundarI / bhavatyapabhraMze // 14 // ] suNNAI akkharAiM NANAchaMdesu jattha bajhaMti / hiae vi vasai attho hiAliA bhaNNae esA // 15 // [zUnyAnyakSarANi nAnAchandaHsu yatra badhyante / hRdaye'pi vasatyartho hRdayAlikA bhaNyate eSA // 15 // ] dhavalaNiheNa a puriso vaNijai jeNa teNa sA dhavalA // dhavalo vi hoi tiviho aTTapao chappao cauppAo // 16 // [dhavalamiSeNa ca puruSo varNyate yena tena sA dhavalA / dhavalo'pi bhavati trividho'STapadaH SaTpadazcatuSpAdaH // 16 // ] AhuTTAitaiacalaNe / bIacautthe tiNNi / cagaNA paMcamasattamae / ekkakaloNA tiNNi // jaha bIacautthae / taha chaTThamae paae| tA addhAijae / dhavale aTThavae // 17 // [ardhacaturthAH AditRtIyacaraNayoH / dvitIyacaturthayoH trayaH / cagaNAH paJcamasaptamayoH / ekakalonAstrayaH / / yathA dvitIyacaturthayoH / tathA SaSThe pAde // tataH ardhatRtIyAH / dhavale aSTame // 17 // ] paDhamacautthe tiNNi chaaraa| do chA paMcamabIe // hoMti doNNi chaAraA tassi / avare ce pe pavare // taM suisuhajaNaNaM jN| taM chappaassa lakkhaNaaM // 18 // [prathamacaturthayostrayaH SaNmAtrAH / dvau SaNmAtrau paJcamadvitIyayoH / bhavato dvau SaNmAtrau tasmin / apare ce pe prvre| tacchrutisukhajananaM yat / tacchaTpadasya lakSaNam // 18 // ]

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svyNbhuucchndH| . [utsAhAdIni chacatA paDhamataiae / chacaArA avare / saMbhavaMti jai lakkhaNaM / dhavale cautthavae // 19 // [SaNmAtra-caturmAtratrimAtrA prathamatRtIyayoH / SaNmAtracaturmAtrI aparayoH / saMbhavanti yadi lakSaNaM / dhavale catuSpade // 19 // ] paDhamatI(bI)acalaNe chavarA / beNNi caArA cA paMca // cau tA(pA)vA taiammi cautthae paae| taM maMgalachaMdaM jANa maMgalatthe // 20 // [prathamadvitIyacaraNayoH SaNmAtrapramukhAH / dvau caturmAtrau; caturmAtrAH paJca / catvAraH paJcamAtrA vA tRtIye caturthe paade| tanmaGgalacchandaH jAnIhi maGgalArthe // 20 // ] jaM ucchAheNa hoi ucchAhamaMgalaM taM [yadutsAhena bhavatyutsAhamaGgalaM tat ] / ucchAhalakkhaNaM jahA [utsAhalakSaNaM yathA] chaccA uradA(gA) duvAsalA taiapaMcamatti (4.4) / [SaT caturmAtrAH udaragau dvipArzvalau tRtIyapaJcamau iti / ] jaM helAiviraiaM helAmaMgalaM taM [yaddhelAviracitaM helAmaGgalaM tat] / cho cau cA samesu uradesu tattha helaa| [SaNmAtraH catvArazcaturmAtrAH sameSu udaradvimAtreSu tatra helA / ] vaaNamaMgalaaMti vaaNeNa [vadanamaGgalamiti vadanena] / chavarA addhAijja caArA / vaaNa[a]ssa erisaA paaaa|| (4.12) [SaNmAtrapramukhAH ardhatRtIyAH caturmAtrAH / vadanakasya IdRzAH pAdAH / / ] ia dhavalamaMgalAI jehiM cia lakkhaNehiM bajjhati / tAI cia NAmAI bhaNiAI chaMdaittehiM // 21 // [iti dhavalamaGgalAni yaireva lakSaNairbadhyante / tAnyeva nAmAni bhaNitAni chandovidbhiH // 21 // ] paMcaMsasArahae bahulatthe lkkhlkkhnnvisuddhe| ettha saaMbhucchaMde ucchAhAI parisamattA // 22 // [paJcAMzasArabhUte bahulAthai lakSyalakSaNavizuddhe / / atra svayaMbhUcchandasi utsAhAdIni parisamAptAni // 22 // ] 1 In the ms. the word jaI occurs after dhavale.

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5. SaTpadajAtiH / jaM gijjai puvvandve puNo puNo savvakavvabaMdhe / dhruvaatti tamiha tivihaM chappAacauppaaM duvaaM // 1 // [ yadgIyate pUrvArdhe punaH punaH sarvakAvyabandheSu / dhruvakamiti tadiha trividhaM SaTpAdaM catuSpadaM dvipadam // 1 // ] guruo far ekalahU virAmavisaammi visamasaMkhAe / jamalalahU lahuo cia samasaMkhAsaMThio hoi // 2 // [ gurureva eko laghuH virAmaviSaye viSamasaMkhyAyAm / yamalau laghU laghureva samasaMkhyAsaMsthito bhavati // 2 // ] paDhame pare / caupaMcame / sattakalAoM jai / dasa me (se) sae / taM chaMdae / chappaatti huvai // 3 // [ prathame pare / caturthapaJcamayoH / sapta kalAH yadi // daza zeSayoH / tacchandasi / SaTpadamiti bhavati // 3 // ] tai apae / taha chaTThae / ekkakaluttariaA // sattaraha | avasANiA / chappaajAI imA // 4 // [ tRtIye pade / tathA SaSThe / ekakalottarikAH / saptadaza / avasAnikAH / SaTpadajAtaya imAH // 4 // ] ettha cautthaM jahA [atra caturtha yathA ] ga(i) a ciMdha | jasu siddhaI / parasamANu jasu appao // pahu ekaho / taralokaho / sojja deva paramappao // 4.1 // [ iti cihnAni / yasya siddhAni / parasamAno yasya AtmA / prabhurekasya / trailokyasya / sa eva devaH paramAtmA // 41 // ] paDhamacautthe | paMcamabIe / jai aTukalAoM hoMti // sese pAe / chappaajAI / uvajAI taM bhaNati // 5 // [ prathamacaturthayoH / paJcamadvitIyayoH / yadi bhaSTa kalA bhavanti / zeSayoH pAdayoH / SaTpadajAtiH / upajAtiM tAM bhaNanti // 5 // ] jahA [ yathA] - himarucirarkati / candanamanalati / mitrANyapi ripavanti // va vedhasi / vikale cetasi / viparItAni bhavanti // 5.1 //

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svyNbhuucchndH|| [SaTpadajAtiH paDhamacautthae / paMcamabIae / jai Nava mattAo hoti // sese pAae / taM cia lakkhaNaM / avajAiM taM bhaNaMti // 6 // [prathamacaturthayoH / paJcamadvitIyayoH / yadi nava mAtrA bhavanti / zeSayoH pAdayoH / tadeva lakSaNaM / avajAti tAM bhaNanti // 6 // ] chaTThA avajAI jahA [SaSThA avajAtiyathA] kaha vi saruhiraI / diTuiM Nahava(ra)vaI / thaNasiharopari suputtaaii| vegge valaggaho / maaNaturaMgaho / NaM pai chuDuchuDu dukkhattAI // 6.1 // [kasyA api sarudhirANi / dRSTAni nakhapadAni / stanazikharopari suprayuktAni / vegena ArUDhasya / madanaturaMgasya / nanu padAni krameNa duHkSatAni // 6.1 // ] ia tiNNi vi jAIo dhaaisttaarhaavsaannaao| a(sa)ttAiNavaMtAo huvaMti aTThabhedAo // 7 // [iti tisro'pi jAtayaH dazAdisaptadazAvasAnAH / saptAdi-navAntAH bhavanti aSTASTabhedAH // 7 // ] paMcaMsasArahUe bahulatthe lakkhalakkhaNavisuddhe / ettha saaMbhucchaMde chappaajAI parisamattA // 8 // [paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayaMbhUcchandasi SaTpadajAtayaH parisamAptAH // 8 // ]

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6 ctusspdiidvipdyH| tattha cauppaajAI tipaArA aMtaraddha[savva]samA / antarasamAe bhee sAhijjaMte NisAmeha // 1 // [tatra catuSpadajAtiH triprakArA antr-ardh-srv-smaa| antarasamAyAH bhedAn kathyamAnAn zRNuta // 1 // ] satta visame / jai aTTa same // lakkhaNamiNaM / caMpaakusume // 2 // [sapta viSamayoH / yadi aSTa samayoH / lakSaNamidaM / campakakusume // 2 // ] aTTahiM visamA / sattahiM smaa| bhaNNai esA / sumaNopa(ra)mA // 3 // [aSTabhirviSamau / saptabhiH samau / bhaNyate eSA / sumanopa(ra)mA // 3 // ] NavamattaaMti / vismddaN| iha taM paMkaaM / sattA juaM // 4 // [navamAtrakamiti / viSamadvayam / iha tatpaGkajaM / sapta yugam // 4 // ] sattA(tta) ajue / NavamattaM jue // lakkhaNamiNaM / kira sAmuddae // 5 // [sapta ayugayoH / nava mAtrA yugyoH| lakSaNamidaM / kila sAmudke // 5 // ] dasa visame calaNe / sattAvare // addhaainycgnno| to kuMjare // 6 // [daza viSamayozcaraNayoH / saptAparayoH / ardhatRtIyagaNaH / tataH kuJjare // 6 // ] satta visame / dasa avare calaNe // taM cupaN| vamhaNaMti bhaNaMti // 7 // [sapta viSamayoH / dshaapryoshcrnnyoH| . tAM ctusspdiiN| malhaNamiti bhaNanti // 7 // ]

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64 [catuSpadaudvipadyaH svyNbhuucchndH| sattA(ta) ajue| eAraha me(se)se|| lakkhaNamiNaM / kira suhaavilAsae // 8 // [sapta viSamayoH / ekAdaza zeSayoH // / lakSaNamidaM / kila subhagavilAsake // 8 // ] visame eAraha / sttaavre|| taM jANaha lakkhaNaM / maaNAure // 9 // [viSamayorekAdaza / sapta apryoH| tajjAnIta lakSaNaM / madanAture // 9 // ] sattA(tta) ajue| bAraha bIacautthe // taM kesaraM / hoi avahaMsa[sa]tthe // 10 // [saptAyugayoH / dvAdaza dvitIyacaturthayoH / tatkesaraM / bhavati apabhraMzazAstre // 10 // ] jahA [yathA] virhgginno| jalai jaladdajalammi // jaM AliMgi / ammi tahi mANasaMpi // 10.1 // [virahAmiH / jvalati jalAdrAjale / yadAliGgya / amba tadA mAnasamapi // 10.1 // ] bAraha padumataiae / sattAvare // hoi bhmrriNcholii| kira erisI // 11 // [dvAdaza prathamatRtIyayoH / sptaapryoH| bhavati bhramarapaGktiH / kila IdRzI // 11 // ] teraha pddhumti(ii)ae| sese girii|| sA bhnnnni(ii)cuppaa| pNkasirii|| 12 // [trayodaza prathamatRtIyayoH / zeSayoH girayaH / / sA bhaNyate catuSpadI / paGkajazrIH // 12 // ] sattA(ta) ajue| teraha bIacautthae / lakkhaNamiNaM / jANaha rAvaNahatthae // 13 // [saptAyugayoH / trayodaza dvitIyacaturthayoH / lakSaNamidaM / jAnIta rAvaNahastake // 13 // ]

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65 6.8-17] svyNbhuucchndH| jahA [yathA] piavirhio| knnnntaalhamhuaro|| dubhNto| bhamai vaNe vaNakuMjaro // 13.1 // [priyAvirahitaH / krnntaalhtmdhukrH| durdhAntaH / bhramati vane vanakuJjaraH // 13.1 / / ] codaha pddh'mtiaclnne| avare munnii|| chaMdaammi koddddaavnniaa| sA kiMkiNI // 14 // [caturdaza prathamatRtIyacaraNayoH / apryormunyH| chandasi kautukAvahA / sA kiGkiNI // 14 // ] sattA(tta) ajue| codaha bIacaramacalaNe // innmerise| sIhaviaMtiatti pabhaNe // 15 // [sapta ayuge / caturdaza dvitIyacaramacaraNayoH // idamIdRze / siMhavikrAntiketi prabhaNet // 15 // ] jahA [yathA] vari ghalliuM / appauM kakkaramAlihiM // Na u kalahau / loaha chaMdeNAlihiM // 15.1 // [varamAvRtaH / AtmA karkaramAlAbhiH / na tu kalahaH lokasya chandena sakhIbhiH // 15.1 // ] paNNAraha visame tvsinnaa| avasesae / kuMkumalaA imA bhnnnne| chaMde saA // 16 // [paJcadaza viSamayoH tapasvinaH / avazeSayoH / kuGkumalatA iyaM bhaNyate / chandasi sadA // 16 // ] sattAsame / paNNAraha bIacautthae // ia chNde| maaraMdiatti sA bhaNNae // 17 // [sapta asamayoH / paJcadaza dvitIyacaturthayoH / iti chandasi / makarandiketi sA bhaNyate // 17 // ] jahA [yathA] NisiAgame / nniasharivirhvsNgo|| dhuavakkhao / kamalAare bhamai rahaMgao // 17.1 // [nizAgame / nijasahacarIvirahavazaM gtH| dhutapakSakaH / kamalAkare bhramati rathAGgaH // 17.1 // ]

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svyNbhuucchndH| [catuSpadIdvipadyaH soDaha pddhumtiaapaaae| sattaMtare // eaM lakkhaNaM smuddissttN| sasisehare // 18 // [SoDaza prathamatRtIyapAdayoH / sapta antre| etallakSaNaM samuddiSTaM / zazizekhare // 18 // ] sattA(tta) asme| solaha bIacautthe hoti // taM tArisaM / jANaha mahuaravilasiaaMti // 19 // [ sapta asamayoH / SoDaza dvitIyacaturthayorbhavanti / tattAdRzaM / jAnIta madhukaravilasitamiti // 19 // ] jahA [yathA] NavaphagguNe / girisiharovari phullplaasu|| ko DaDDu me / ko Na DaDdu joai va huAsu // 19.1 // [navaphAlgune / girizikharopari pusspitplaashH| ko dagdho mayA / ko na dagdhaH pazyatIva hutAzaH // 19.1 // ] sattAraha paDhumatai(I) aammi| sattAvare // taM lakkhaNaaMti cauppaammi / kadaMbasire // 20 // [saptadaza prathamatRtIyayoH / saptAparayoH / tallakSaNakamiti catuSpade / kadambazirasi // 20 sttaajue| sattAraha bIacautthe paae|| taM lakkhaNaM / ia caMpaakusumAra(vattaammi // 21 // [sapta ayuge| saptadaza dvitIyacaturthayoH pAdayoH / tallakSaNaM / iti campakakusumAvarte // 21 // ] jahA [ yathA]-- piap(v)tt| mittaraaliNgnnsuhpttaN|| kiM kmlaN| visahai bahusuhaM va mukkamalaaM // 21.1 // [ priyAvaktraM / mitrakarAliGganasukhaprAptam / / kiM kamalaM / vikasati bahusukhamiva muktamalam // 21.1 // ] ia sattaale pAe catapadaArehiM duvihbhNgille|| . uttaracalaNavibhiNNe xx vIsahaM lakkhaNaM eaM // 22 // [iti saptakale pAde catapadakAraiH dvividhabhaGgiyute / uttaracaraNavibhinnexx viMzaterlakSaNametat // 22 // ]

Page #110
6.18-29] svyNbhuucchndH| ahiM vismaa| NavahiM samA tahA // caupaalakkhaNe / maNiraaNappahA // 23 // [aSTabhirviSamau / navabhiH samau tathA / catuHpadalakSaNe / maNiratnaprabhA // 23 // ] Nava muhti[a]e| aTTha sesae // eaM lakkhaNaM / caMdahAsae // 24 // [nava mukhatRtIyayoH / aSTa shessyoH| . etallakSaNaM / candrahAse // 24 // ] visame calaNe / aTTa samesu daha // kuNkumttli(til)e| lakkhaNamaNusaraha // 25 // [viSame caraNe / aSTa; samayordaza / kuGkumatilake / lakSaNamanusarata // 25 // ] dasa visame clnne| aTTa sesae / tArAgaNA imaa| ia caupAe // 26 // [daza viSame caraNe / aSTa zeSayoH / tArAgaNA iyaM / iti catuHpade // 26 // ] ajue atttt| eAraha parammi // taM lakkhaNaM(Na)[aM] / caMpaaseharammi // 27 // [ayuge aSTa / ekAdaza parayoH / tallakSaNakaM / campakazekhare // 27 // ] visame eAraha / aTTha sese|| jANaha lakkhaNamiNaM / kusumuvA(mabANae // 28 // [viSame ekAdaza / aSTa zeSayoH / jAnIta lakSaNamidaM / kusumabANe // 28 // ] aTTha visme| bAraha sesa(se) pAe / bhaNa tamiha dddhN| kIDaNaaM caupAe // 29 // [aSTa viSame / dvAdaza zeSayoH pAdayoH / bhaNa tadidaM dRDhaM / krIDanakaM catuHpAde // 29 // ] 2 Ms. reads vivisame.

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svyNbhuucchndH| [catuSpadIdvipadyaH jahA [yathA] mnngavro| mohamaeNa mtto|| rikrinnivso| duggaivAri pattao // 29.1 // [manogajavaraH / mohamadena mattaH / ratikariNIvazaH / durgatigartI prAptaH // 29.1 // ] bAraha pddhmtiae| aTTha jai sme|| jANaha lakkhaNaaM taM / mAlaikusume // 30 // [dvAdaza prathamatRtIyayoH / aSTa yadi samayoH / jAnIta lakSaNaM tat / mAlatIkusume // 30 // ] jai atttthoje| teraha bIacautthae / bulaamoo| eso avahaMsaettha // 31 // [yadi aSTauje / trayodaza dvitiiycturththoH| bakulAmodaH / eSo'pabhraMzetra // 31 // ] jahA [yathA] caMdammi Thio / avarabhIru vi jahA mao // Na hu sUro via / kesarI muNiaNAmao // 31.1 // [candre sthitaH / aparo bhIrurapi yathA mRgaH / na khalu zUra iva / kesarI jJAtanAmA // 31.1 // ] teraha Aitai(I)ae / aTTha uttare // mattAo iha chaMdae / NAakesare // 32 // [trayodaza AditRtIyayoH / aSTa uttarayoH / mAtrA iha chandasi / nAgakesare // 32 // ] aTTahiM visamA / bIacautthA coddahahiM // vammahatilao / sa ime pAA hoti jahiM // 33 // [aSTabhirviSamau / dvitIyacatuthauM caturdazabhiH / manmathatilakaH / sa ime pAdA bhavanti yatra // 33 // ] jahA [yathA] dha(ha)NumaMtta raNe / pariveDhijai NisiarahiM // NaM gaaNe(Na)[ale] / bAladivAaru jalaharahi // 33.1 // [hanUmAn raNe / pariveSTayate nishicraiH| nanu gaganatale / bAladivAkaro jaladharaiH // 33.1 // ]

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6. 29-38] . svyNbhuucchndH| paTumataiaA coddahahiM / ahiM sesA // chaMde NavacaMpaamAlA / bhaNiA esA // 34 // [prathamatRtIyau caturdazabhiH / aSTabhiH shessau| / chandasi navacampakamAlA / bhaNitA eSA // 34 // ] jai aThoje / paNNAraha bIacautthae // taM lakkhaNaaM / bhaNa mAlAvilasiachaMdae // 35 // [yadi aSTa oje / paJcadaza bIjacaturthayoH / tallakSaNaM / bhaNa mAlAvilasitacchandasi // 35 // ] jahA [yathA] cAvavihatthA / te bhArahamalla mahAguNA // amarisakuviA / ahihavevi bevi kaNNa(graha)jjuNA // 35.1 // [cApavihastau / tau bhAratamallau mahAguNau / amarSakupitau / abhibhUya dvAvapi kRSNArjunau // 35.1 // ] paNNAraha paDhamataIae / attarae // taM lakkhaNaM smuddittttaN| vijAharae // 36 // [paJcadaza prathamatRtIyayoH / aSTa uttryoH| tallakSaNaM samuddiSTaM / vidyAdhare // 36 // ] jai aTToje / soraha bIacautthe pAe / innmerisaN| lakkhaNaaM paNhAmUla[a]e // 37 // [yadi aSTa ojayoH / SoDaza dvitIyacaturthayoH pAdayoH / idamIdRzaM / lakSaNakaM prajJAmUle // 37 // ] jahA [yathA] iNdidiro| ruNaruNai kusumaiM pariharai // cauvaaNa ru(i)ha / NArAaNaNAhikamala bharaI // 37.1 // [indindiraH / ruNaruNati kusumAni pariharati / . caturvadanaH iha / nArAyaNanAbhikamalaM smarati / / 37.1 // ] solaha pddhumti(ii)apaaae| aTTa [a] visame // hoti cauppaajAi(I)majjhe / kojaakusume // 38 // 1 Ms. reads bIacautthae for paDhamataIae in a and lakkhaNaaM for lakkhaNaM in c.

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svyNbhuucchndH| [catuSpadIdvipadyaH [SoDaza prathamatRtIyapAdayoH / aSTa ca viSamayoH / bhavanti catuSpadajAtimadhye / kubjakakusume // 38 // ] jai atttthoje| sattAraha sesakame huvaMti // taM lkkhnnaN| kaMkelliNavapallave bhaNaMti // 39 // [yadi aSTa oje / saptadaza zeSakramayorbhavanti / tallakSaNakaM / kaMkellinavapallave bhaNanti // 39 // ] jahA [ yathA] TherAsaNaaM / mohai bhamarajueNa bhamaMteNa // muddhaannnnaN| NAi~ NaaNajualeNa calaMteNa // 39.1 // [sthavirAsanakaM / mohayati bhramarayugena bhrmtaa| mugdhAnanakaM / nanu nayanayugalena calatA // 39.1 // ] visame sattAraha aTTa hoti / sese clnne|| lakkhaNaaM taM jANaM avhNse| pupphattharaNe // 40 // [viSame saptadaza aSTa bhavanti / zeSayoH caraNayoH / lakSaNakaM taM jAnIta apabhraMze / puSpAstaraNe // 40 // ] ia aTuale pAe chadapacata(taca)caAragaNavibhaMgille // uttaracaraNavibhiNNe aTThArahahA ime bheA // 41 // . [iti aSTadale pAde chadapatacacAragaNavibhaMgavati / uttaracaraNavibhinne aSTAdazadhA ime bhedAH // 41 // ] Nava muhti[a]e| sesesu disaao|| .sa mlamaaruo| Ira(ri)sa cuppo||42|| [nava mukhatRtIyayoH / zeSayoH dizAH / sa malayamArutaH / IdRzaH catuHpadaH // 42 // ] 'jahA [yathA gorI aMgaNe / suppaMtI diTThA // caMdaho appaNI / joNha viucchiTThA // 42.1 // [gaurI aGgaNe / svapantI dRssttaa| candrasya svIyA / jyosnA byucchiSTA / / 42.1 // ] 1 Ms. reads jANaha avahaMse..

Page #114
12 // 6.39-48] svyNbhuucchndH| dasa visame calaNe / Nava avasesae // mggvisNlaao| so avahaMsae // 43 // [daza viSame caraNe / nava avazeSayoH / mArgavisaMlApaH / so'pabhraMze // 43 // ] Nava muhataiae / egAraha sesae // lakkhaNaaM iNaM / suNu maaNAvAsae // 44 // [nava mukhatRtIyayoH / ekAdaza zeSayoH / lakSaNakamidaM / zRNu madanAvAsake // 44 // ] jahA [yathA] ekkaji ajjuNu / saggammi kahiMpiNu // doNu sudukkheNa / dara ruai puNuppuNu // 44.1 // [eka evArjunaH / svarge kathayitvA / droNaH suduHkhena / ISad roditi punaH punaH // 44.1 // ] visame eAraha / Nava avasesae // jANijasu lakkhaNaM / taM muhavAsae // 45 // [viSame ekAdaza / nava avazeSayoH / jJAyatAM lakSaNaM / tat mukhavAsake // 45 // ] Nava muhatai[a]e / bAraha bIacautthe // sA kuMkumakalA / hoi avahaM[sa]satthe // 46 // [nava mukhatRtIyayoH / dvAdaza dvitIyacaturthayoH / sA kuGkumakalA / bhavati apabhraMzazAstre // 46 // ] bAraha paDhumataiae / Nava avasesae // esA kuMkumalehA / bhaNNai chaMdae // 47 // [dvAdaza prathamatRtIyayoH / nava avazeSayoH / eSA kuGkumalekhA / bhaNyate chandasi // 47 // ] Nava muhtiae| teraha bIacautthae / sA ahisaariaa| ettha cauppaha(a)majjhae // 48 // [nava mukhatRtIyayoH / trayodaza dvitIyacaturthayoH / sA abhisArikA / atra catuSpadamadhye // 48 // ]

Page #115
svyNbhuucchndH| [catuSpadIdvipadyaH teraha paDhumatai(I)ae / Nava samacalaNae // lakkhaNaaM innmettiaN| kurabaadAmae // 49 // [trayodaza prathamatRtIyayoH / nava samacaraNayoH / lakSaNakamidametAvat / kurabakadAmni // 49 // ] Nava muhtiae| taha codaha bIsa(a)cautthe // kusumaNiraMtaraM / taM hoi avhN[s]stthe||50|| [nava mukhtRtiiyyoH| tathA caturdaza dvitiiycturthyoH| kusumanirantaraM / tadbhavati apabhraMzazAstre // 50 // ] jahA [yathA] NisiaraNAhaho / akkhijjai gammiNu baanne|| NIla Na Isai / paramappa[ya] jiha viNu NANe // 50.1 // [nizicaranAthasya / AkhyAyate gatvA bANena / nIlo nezyate / paramAtmA yathA vinA jJAnena // 50.1 // ] jai codaha pddhumtiae| Nava avsese|| taM lakkhaNaaM NAavvaM / iha kalahaMsae // 51 // [yadi caturdaza prathamatRtIyayoH / nava avazeSayoH / tallakSaNakaM jJAtavyaM / iha kalahaMsake // 51 // ] Nava muhtiae| paNNAraha sese paa[a]e|| lkkhnnmettiaN| jANejasu iha maaNoae // 52 // [nava mukhatRtIyayoH / paJcadaza zeSayoH pAdayoH / * lakSaNametAvat / jJAyatAmiha madanodaye // 52 // ] jahA [yathA] Au vaDIvau / gharasiharu daleppiNu aNgo|| koTTAleNa / saNNahavi dasANaNa Niggao // 52.1 // [AgataH pratIpaM / gRhazikharaM dalayitvA aMgadaH / durgATTAlakena / saMnahya dazAnano nirgataH / / 52.1 // ] paNNAraha purimataIae / Nava smpaaae|| esa(sA) bhaNNai sNjhaavlii| caupA(pa)ajAae // 53 // [paJcadaza prathamatRtIyayoH / nava smpaadyoH| eSA bhaNyate saMdhyAvalI / catuSpadajAtau // 53 // ]

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svyNbhuucchndH| jai visame nno| soraha bIacautthe hoMti // taM cNdujjuaN| chande kaivasahA pabhaNanti // 54 // [yadi viSame nava / SoDaza dvitIyacaturthayoH bhavanti / / taJcandrodyotaM / chandasi kavivRSabhAH prabhaNanti // 54 // ] jahA caumuhassa [ yathA caturmukhasya]-- bhaaivioae| jiha jiha karai vihIsaNu soo|| tiha tiha dukkheNa / ruai saha vivai vaannrloo|| 54.1 // [bhrAtRviyoge / yathA yathA karoti vibhISaNaH zokam / . tathA tathA duHkhena / roditi saha vipadi vAnaralokaH // 54.1 // ] solaha padamataiae paae| Nava avsese|| esA bhaNNai aNgalliaa| kira avahaMsae // 55 // [SoDaza prathamatRtIyayoH pAdayoH / nava avazeSayoH / eSA bhaNyate aGgadalalitA / kila apabhraMze // 55 // ] Nava visamaesu / sattAraha biiacutthesu|| ia lakkhaNeNa / raaNAvalI kaA kaiaNeNa // 56 // [nava viSamayoH / saptadaza dvitIyacaturthayoH / iti lakSaNena / ratnAvalI kRtA kavijanena // 56 // ] jahA [yathA] suravaratAsaaru / rAvaNa daTTha(DDhu) jAsu jaga kaMpai // aNNu kahiM maggaI / cukkai eva NAi sihi jhaMpaI // 56.1 // [suravaratrAsakaraH / rAvaNo dagdho yasmAjagatkampate / anyaH kathaM mArgAn / tyajati evaM nanu zikhI AkrAmati / / 56.1 // ] sattAraha paDhumataiapA]e / mattA kameNa // Nava bIacautthaesu mI(sI)[sa]e / kusumAvalIe // 57 // [saptadaza prathamatRtIyapAdayoH / mAtrAH krameNa / nava dvitIyacaturthayoH ziSyante / kusumAvalyAm // 57 // ] ia Navamatte pAe chatatitacapaAragaNatibhaMgille // uttaracalaNavibhiNNe soDasahA lakkhaNaM eaN||58|| [iti navamAtre pAde chata-trita-capakAragaNa-tribhaGgayute / uttaracaraNavibhinne SoDazadhA lakSaNametat // 54 // ] 1 Ms. reads aNu for aNNu in c and cukai pavaNo isihiM jaMpaI in d.

Page #117
svyNbhuucchndH| [catuSpadIdvipadyaH bIsaTThArahasolaha evaM cupnnnnvtthujaaiihiN(ii)|| sattAI(i)NavaMtAI bIacautthammi pAajue // 59 // . [viMzatyaSTAdazaSoDaza evaM ctusspnycaashdvstujaatyH| saptAdinavAntAH dvitIyacaturthayoH pAdayuge // 59 // ] .. bIacautthe pAe dahAI sttaarhaavsaannaaii|| tAI cia dhuvaAI bhAsAkavvAI saaraaiN|| 60 // | dvitIyacaturthayoH pAdayoH dazAdi-saptadazAvasAnAni / tAnyeva dhruvakANi bhASAkAvyAni sArANi // 60 // ] dasa visame clnne| eAraha sese|| bhmuaacNgnnaN| eaM avahaMsae // 61 // [daza viSame caraNe / ekAdaza zeSayoH / bhrUcakraNakaM / etad apabhraMze // 61 // ] jahA [yathA] oreMsaru maNusa / Nau khajasi pijasi // pUasarikkhau ua / suNihAliu kijasi // 61.1 // [xxxx manuSya / naiva bhakSyase pIyase / pUgasadRzaH pazya / sunibhAlitaH krithase // 61.1 // ] visame eaarh| dasa sesa(se) clnne|| ia lkkhnnsNjuaN| vijjulaaMti bhnne|| 62 // [viSame ekAdaza / daza shesscrnne| iti lakSaNasaMyutaM / vidyullatAmiti bhaNet // 62 // ] desa pdmtiae| teraha bIacautthae / koilriNcholii| esA avahaMsatthae // 63 // [daza prathamatRtIyayoH / trayodaza dvitIyacaturthayoH / kokilariJcholI / eSA apabhraMzasthayoH // 63 // ] jahA caumuhassa [ yathA caturmukhasya] NaM pavaru palAsu / vaNasaMcAri m(p)phulliaa|| te codaha lakkha[Ni] / Nimisaddhe srslliaa|| 63.1 // [nanu pravarAH palAzAH / vanasaMcAre praphulitAH / te caturdaza lakSmaNena / nimiSArdhana zarazalyitAH // 63.1 // ] 1 Ms. reads bhamarAvaMgaNaaM. 2 Between vv. 62 and 63, two stanzas giving the definitions of muktAphalamAlA 10, 12, (x2), and paJcAnanalalitA 12, 10 (x2) have obviously been dropped.

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6. 59-68.1] svyNbhuucchndH| teraha pddhmti(ii)ae| dasa sese pAe / lakkhaNaaM taM erisN| maragaamAlAe // 64 // [trayodaza prathamatRtIyayoH / daza zeSayoH pAdayoH / lakSaNakaM tadIdRzaM / marakatamAlAyAm // 64 // ] dasa pddhmtiae| coddaha avasese clnne|| taM mahuaravaMdaM / sakai vahaMsacchaMdavaNe // 65 // [daza prathamatRtIyayoH / caturdaza avazeSayozcaraNayoH / taM madhukaravRndaM / xxx apabhraMzacchandovane // 65 // ] jahA caumuhassa [yathA caturmukhasya] sasi uggau taam| jeNa NahaaMgaNa maMDiau // NaM rairahacakka / dIsai aruNe chaDDiau // 65.1 // [ zazI udgatastAvat / yena nabho'GganaM maNDitam / nanu ravi-rathacakraM / dRzyate'ruNena tyaktam // 65.1 // ] codaha pddhmtiaclnne| sese dasa jaai|| esaahinnvvsNtsirii| kassa Na paDihAi // 66 // [caturdaza prathamatRtIyacaraNayoH / zeSayordaza yasyAH / eSA abhinavavasantazrIH / kasya na pratibhAti // 66 // ]. dasa visame clnne| paNNAraha sese paaae|| . taM keaikusumaM / bajhaMtaM kassa Na sohae // 67 // [daza viSame caraNe / paJcadaza zeSe pAde / tat ketakIkusumaM / badhyamAnaM kasya na zobhate // 67 // ] paNNAraha pddhumti(ii)ae| dasa sese calaNe // erislkkhnn]sNjuttoN| maNaharaaMti bhaNe // 68 // [paJcadaza prathamatRtIyayoH / daza zeSayozcaraNayoH / IdRglakSaNasaMyuktaM / manoharamiti bhaNet // 68 // ] jahA [yathA] surasaMgha vi saMkaMta tellokke / jAsu seva karai // atthANe tasu sua vAliho / dU[a]o paisai // 68.1 // [surasaMghopi zaGkamAnastrailokye / yasya sevAM karoti // AsthAne tasya suto vAlinaH / dUtaH pravizati // 68.1 // ]

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svyNbhuucchndH| [catuSpadIdvipadyaH dasa pddhumtiae| soDaha vIacautthe paae|| lkkhnnmeris| jANaha NavavijjulamAlAe // 69 // [daza prathamatRtIyayoH / SoDaza dvitIyacaturthayoH pAdayoH / lakSaNamIdRzaM / jAnIta navavidyunmAlAyAm // 69 / / solaha paDhamataiae paae| dasa sese clnne|| 'akkhittiAeN taM lkkhnn| iha chaMdammi bhaNe // 70 // [SoDaza prathamatRtIyayoH pAdayoH / daza zeSayozcaraNayoH / AkSiptikAyAstallakSaNakaM / iha chandasi bhaNet // 70 // ] dasa aaitiae| vIacautthaesu sattAraha // erisa cupaaaN| tivalitaraMgaaMti taM jANaha // 71 // [daza bhAditRtIyayoH / dvitIyacaturthayoH saptadaza / IdRzaM catuSpadaM / trivalItaraMgakamiti tajjAnIta // 715] sattAraha pddhmtiaesu| dasa sese paae|| mattAu kameNa huvaMti mi[a]e| kiNNaralIlAe // 72 // [saptadaza prathamatRtIyayoH / daza zeSayoH pAdayoH / mAtrAH krameNa bhavanti mitayoH / kinnaralIlAyAm // 72 // ] ia dasamatte pAe chacapapadacauMse(caMsa)tivihabhaMgille // uttaracalaNavibhiNNe caudasahA lakkhaNaM eaN||73|| [iti dazamAtre pAde chacapapadacacAMzatrividhabhaGgayute / uttaracaraNavibhinne caturdazadhA lakSaNametat // 73 // ] visame eAraha / bAraha biicautthe|| eaM arviNdaN| hoi avahaM[sa]satthe // 74 // [viSame ekAdaza / dvAdaza dvitiiycturthyoH|| etadaravindakaM / bhavati apabhraMzazAstre // 74 // ] bAraha paDhumataiae / eAraha sese|| jANaha lakkhaNaaM taM / makaraddhaahAsae // 75 // [dvAdaza prathamatRtIyayoH / ekAdaza shessyoH| jAnIta lakSaNaM tat / makaradhvajahAse // jahA [yathA] hariAgamaNa suNevi / AsAsiapaurae // dhuadhavalaadhaa raae(eN)| teNubbhiu mahurae // 75.1 //

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77 svyNbhuucchndH| [harerAgamanaM zrutvA / AzvAsitapaurAyAm / / dhutadhavaladhvajo rAjJA / tenocchrito mathurAyAm / / 75.1 // ] oje eAraha / teraha sese calaNae // mattAo muNijaha / vinbhamavilasiavaaNae // 76 // [oje ekAdaza / trayodaza zeSayozcaraNayoH / mAtrAH jAnIta / vibhramavilasitavadanake // 76 // ] teraha pddhumti(ii)ae| eAraha uttare // lakkhaNaaM taM erisN| kusumAulamahu~are // 77 // [trayodaza prathamatRtIyayoH / ekAdaza uttarayoH / lakSaNakaM tadIdRzaM / kusumAkulamadhukare // 77 // ] visame eaarh| codaha bIacarame clnne|| ia lkkhnnsNjuaN| vaNaphulaMdha[a]aMti bhaNe // 78 // [viSame ekAdaza / caturdaza dvitIyacaturthacaraNayoH / iti lakSaNasaMyutaM / vanaphullaMdhayamiti bhaNet // 78 // ] jahA [yathA] bhajau jo bhajai / sattuvale raNe dujaho|| hauM eka Na bhjiN(u)| sArahiaiadhaNaMjaaho // 78.1 // [bhajyatAM yo bhajyate / zatrubale raNe durjayAt // ahameko na bhajye / sArathi xxx dhanaMjayAt / / 78.1 // ] codaha aaitiaclnne| eAraha sesae // lakkhaNaaMti tmerisrN| bhaNa bhamaravilAsae // 79 // . [caturdaza AditRtIyacaraNayoH / ekAdaza zeSayoH / lakSaNakamiti tadIdRzaM / bhaNa bhramaravilAsake // 79 // ] visame eAraha / paNNAraha jai avsese|| lkkhnnminnmerisN| kira kiNNaramaharavilAsae // 80 // [viSame ekAdaza / paJcadaza yadi avazeSayoH / lakSaNamidamIdRzaM / kila kiMnaramadhuravilAsake // 80 // ] paNNAraha pddhmti(ii)ae| eAraha sese|| lakkha[Na]miNaM smudditthtthaN| kira maaNavilAsae // 81 // [paJcadaza prathamatRtIyayoH / ekAdaza zeSayoH / lakSaNamidaM samuddiSTaM / kila madanavilAsake // 81 // ] 1 Ms. reads mahuarae.

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78 . svayaMbhUcchandaH / [catuSpadIdvipadyaH visame eAraha / soraha bIacautthe paae| mattA huvijjaah| NiccaM vijjAharalaliAe // 82 // [viSame ekAdaza / SoDaza dvitIyacaturthayoH pAdayoH / mAtrA bhaviSyanti / nityaM vidyAdharalalitAyAm // 82 // ] solaha paDhamataijje clnne| eAraha sese|| lakkhaNa jaannerisaNtN| vijjAharahAsae // 83 // [SoDaza prathamatRtIyayozcaraNayoH / ekAdaza zeSayoH / lakSaNakaM jAnIhIdRzaM tat / vidyAdharahAse // 83 // ] visame eaarh| sattAraha biiacutthrsu|| mattA huvijjAha / eaM sAraMgA(ga)[a]pAaesu // 84 // [viSame ekAdaza / saptadaza dvitIyacaturthayoH / mAtrA bhaviSyanti / evaM sAraMgakapAdeSu // 84 // ] sattAraha paDhumatai(I)aesu / eAraha uttre|| mattAu kameNa Thavehu etth| kusumAuhasehare // 85 // [saptadaza prathamatRtIyayoH / ekAdaza uttarayoH / mAtrAH krameNa sthApayatAtra / kusumAyudhazekhare // 85 // ] ia eArahamatte chapapacadacatata(ca)tivihabhaMgille // uttaracaraNavibhiNNe bArasahA lakkhaNaM eaM // 86 // [ ityekAdazamAtre chapapacadacataca-trividhabhaGgavati / uttaracaraNavibhinne dvAdazadhA lakSaNametat // 86 // ] bAraha paDhamataiae / teraha jai avasesae // / lakkhaNaaM erisaraM / jANaha kAmiNihAsae // 87 // [dvAdaza prathamatRtIyayoH / trayodaza yadi avazeSayoH / lakSaNakamIdRzaM / jAnIta kAminIhAse // 87 // ] jahA caumuhassa [yathA caturmukhasya] doha kia ahiseae / vivihsmubbhiciNdhhii|| . vaDhiasamarAvesaI / balai(I) be vi saNNaddhai(I) // 87.1 // [ droNasya kRtebhiSeke / vividhasamucchritacihne / vardhitasamarAveze / bale dve api sannaddhe // 87.1 // ] 1 Ms. reads dohaNa, ahisesae, ciNhaI.

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6. 82-93] svyNbhuucchndH| teraha paDhamatai(I)ae / bAraha biiacutthe|| uvaduvahaalakkhaNamiNaM / hoi avahaM[sa]satthe // 88 // trayodaza prathamatRtIyayoH / dvAdaza dvitIyacaturthayoH / upadohakalakSaNamidaM / bhavatyapabhraMzazAstre // 88 // ] . yathA saMskRte ayi sakhi sAhasakAriNi / kiM tava caMkramitena / Thasaditi bhaGgamavApsyasi / kucayugabhArabhareNa // 88.1 // bAraha visame calaNe / codaha puNu sesaeN hoMti // jANaha erisaaM taM / avaduvahaalakkhaNaaMti // 89 // [ dvAdaza viSame caraNe / caturdaza punaH zeSayoH bhavanti / jAnIta IdRzaM tat / apadohakalakSaNamiti // 89 // ] codaha paDhumataiacalaNe / bAraha bIacautthe / / duvaha alakkhaNaM erisu| hoi avaha[sa] satthe // 9 // [ caturdaza prathamatRtIyacaraNayoH / dvAdaza dvitIyacaturthayoH / dohakalakSaNamIdRzaM / bhavati apabhraMzazAstre // 90 jahA [yathA] NisuNevi pacche turaarau / bhuMDaaNihiM sahasatti // . NiakaMtaha dADhAjuale / puNi puNi NaaNa valaMti // 90.1 // [ zrutvA pazcAt turagaravaM / sUkarINAM sahaseti / nijakAntasya daMSTrAyugale / punaH punaH nayanAni valanti / / 90.1 // ] bAraha paDhamataiae / paNNAraha bIacautthae / jANaha lakkhaNaaM taM / erisaM(sa)[aM] pemmavilAsae // 91 // [dvAdaza prathamatRtIyayoH / paJcadaza dvitIyacaturthayoH / jAnIta lakSaNaM tat / IdRzaM premavilAse // 91 // ] paNNAraha paDhamatai(I)ae / bAraha bIacautthe / sA bhaNNai cNdmlehiaa| ettha avahaM[sa]satthe // 92 // [paJcadaza prthmtRtiiyyoH| dvAdaza dvitIyacaturthayoH / sA bhaNyate candralekhikA / atrApabhraMzazAstre // 92 // ] bAraha Aitaiae / solaha bIacautthe pAe / chaMduNNuehiM bhaNiaM / lakkhaNaaM kaMcaimAlAe // 93 // . 1 Ms. reads avaduvahalakkhaNa.

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svyNbhuucchndH| [catuSpadIdvipadyaH [dvAdaza AditRtIyayoH / SoDaza dvitIyacaturthayoH pAdayoH / chandojJairbhaNitaM / lakSaNaM kAJcanamAlAyAH // 93 // ] jai soDaha paDhumataiacalaNe / sese bAraha hoti // taM suraAliMgaNaassa imaM / jANaha lakkhaNaaMti // 94 // [yadi SoDaza prathamatRtIyacaraNayoH / zeSe dvAdaza bhavanti / tat surAliGganasyaitat / jAnIta lakSaNamiti // 94 // ] bAraha paDhamataIe / sattAraha bIacautthe pAe / erisaaMNAavvaM / lakkhaNaaM jalaharavilA(la)siAe // 95 // [dvAdaza prathamatRtIyayoH / saptadaza dvitIyacaturthayoH pAdayoH / IdRzaM jJAtavyaM / lakSaNaM jaladharavilasitAyAH // 95 // ] sattAraha AitaIaesu / bAraha sese calaNe // mattAu huvaMti kameNa eaa| kaMkellilaAbharaNe // 96 // [saptadaza AditRtIyayoH / dvAdaza zeSayoH caraNayoH / mAtrA bhavanti krameNaitAH / kaMkellilatAbharaNe // 96 // ] ia bArahamattille chacadapapadacapatacacacabhaMgille // uttaracaraNavibhiNNe dasavihaaM lakkhaNaM eaM // 97 // [iti dvAdazamAtrAvati chacada-papada-capata-cacaca-bhaGgavati / uttaracaraNavibhinne dazavidhaM lakSaNametat // 97 // ] teraha paDhamataIA(a)e / codaha avasesa' pAe // mattA jANejasu iha / ahiNavamiaMkalehAe // 98 // [trayodaza prathamatRtIyayoH / caturdazAvazeSayoH pAdayoH / mAtrA jJAyantAmiha / abhinavamRgAGkalekhAyAm // 98 // ] codaha paDhumataiacalaNe / teraha bIacautthae / lakkhaNaaMti tamerisaraM / kusumiakeaihatthae // 99 // [caturdaza prathamatRtIyacaraNayoH / trayodaza dvitIyacaturthayoH / lakSaNamiti tadIdRzaM / kusumitaketakIhaste // 99 // " teraha pddhmti(ii)ae| paNNAraha sese pAae // saahaarkusummNjrii| esA avahaMse bhaNNae // 10 // [trayodaza prathamatRtIyayoH / paJcadaza zeSayoH pAdayoH / sahakArakusumamaJjarI / eSApabhraMze bhaNyate // 10 // ]

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6. 93-106 ] jahA [ yathA ] - svayaMbhUcchandaH / raNe raNapaNa vajjai / ko tAsu jiaMte bhajjai // akusala suhaDaNisuMbhaho / kiM karau khalagga (laMga ) NathaMbho // 100.1 // [ raNe raNapatho na varjyate / kaH tasmAt jIvan bhajyate / akuzalasubhaTa nizumbhasya / kiM kriyatAM khalAGgaNastambhasya || 100.1 // paNAraha paDhamatai (I) [ a ] e| teraha sese pA[ a ] e // * taM bhaNNai kuMjaravilasiaM / ettha cauppaajAae // 101 // [ paJcadaza prathamatRtIyayoH / trayodaza zeSayoH pAdayoH / tadbhaNyate kuJjaravilasitaM / atra catuSpadajAtau // 101 // ] teraha paDhamatai (I) ae / solaha bIacautthe calaNe // chanduNNuaparipaddiaM / [taM] kAmiNikIDaNaaMti bhaNe // 102 // [ trayodaza prathamatRtIyayoH / SoDaza dvitIyacaturthayozcaraNayoH / chandojJapariprArthitaM / tat kAminIkrIDanakamiti bhaNet // 102 // ]. solaha paDhumataIe calaNe / teraha jai avasesae // taM lakkhaNaaMti tameri [sa] aM / chaMdammi rAjahaMsa // 103 // [ SoDaza prathamatRtIyayozcaraNayoH / trayodaza yadyavazeSayoH / tallakSaNamiti tadIdRzaM / chandasi rAjahaMsake // 103 // ] teraha paDhumatai (I) ae / jai sattAraha bIacautthe (ttha) [e] // sappAariamerisaMtaM / jANaha tamiNaM kaMkaNahatthaaM // 104 // [ trayodaza prathamatRtIyayoH / yadi saptadaza dvitIyacaturthayoH / x x x x IdRzaM tat / jAnIta tadidaM kaGkaNahastakam // 104 // ] paDhumatai (I) aesu sattAraha / teraha sesa (se) pAae // asoapallavachAAlakkhaNaM / hoi cauppaajAae // 105 // [prathamatRtIyayoH saptadaza / trayodaza zeSayoH pAdayoH / azokapallavacchAyAlakSaNaM / bhavati catuSpadajAtau // 105 // ] 81 ia terahamattille pachadapapatacacapativihabhaMgille // uttaracalaNavibhiNNe aTThavihaM lakkhaNaM eaM // 106 // [ iti trayodazamAtrAvati pachada - papata cacapa trividhabhaGgavati / uttaracaraNavibhinne aSTavidhaM lakSaNametat // 106 // ]

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82 svayaMbhUcchandaH / codaha paTurmataiacalaNe / paNNAraha taha avasesae // suhaaM varatilaassa imaM / lakkhaNaaM ihAvahaMsae // 107 // [ caturdaza prathamatRtIyayozcaraNayoH / paJcadaza tathAvazeSayoH / subhagaM varatilakasyedaM / lakSaNamihApabhraMze // 107 // paNNAraha paDhumatai (I) ae / caudda(da) ha avasese calaNe // . ia erisalakkhaNasaMjuaM / taM aNaMgalaliaMti bhaNe // 108 // [ paJcadaza prathamatRtIyayoH / caturdazAvazeSayozcaraNayoH / itIdRzalakSaNasaMyutaM / tadanaGgalalitamiti bhaNet // 108 // ] paDhumataijjA coddahahiM / taha bIacautthA soDahahiM // ia caucalaNasalakkhaNiA / chande vasaMtalehA bhaNiA // 109 // [ prathamatRtIyau caturdazabhiH / tathA dvitIyacaturthI SoDazabhiH / iti catuzcaraNasalakSaNA | chandasi vasantalekhA bhaNitA // 109 // ] jai paDhamataijjA solahahiM / bIacautthA coddahahiM // ia erisalakkhaNavirai [a] aM / bhaNNai vammahavilasiaaM // 110 // [ yadi prathamatRtIyau SoDazabhiH / dvitIyacaturthI caturdazabhiH / itIddazalakSaNaviracitaM / bhaNyate manmathavilasitam // 110 Men [ catuSpadI dvipadyaH coddaha paDhumataiacalaNe / jai sattAraha bIacautthae // lakkhaNaaM taM erisaaM / jANaha maharAlAviNihatthae // 111 // [ caturdaza prathamatRtIyayozcaraNayoH / yadi saptadaza dvitIyacaturthayoH / lakSaNakaM tadIdRzaM / jAnIta madhurAlApinIhastake // 111 // ] jai sattAraha paDhumatai (I)[a] e / coddaha avasesaeN calaNe // er AraMgaaMti viraaMti / cauvaalakkha [Na] aM kaiNo // 112 // [ yadi saptadaza prathamatRtIyayoH / caturdazAvazeSayozcaraNayoH / evaM AraMgaDIti viracananti / catuSpadalakSaNaM kavayaH // 112 // ] ia caudahamattile chaca (pa) tapapacacacacadagaNabhaMgile // uttaracalaNavibhiNNe chavvihamiha lakkhaNaM eaM // 113 // [ iti caturdazamAtrAvati chapata - papaca-cacacada- gaNabhaGgavati / uttaracaraNavibhinne SaDvidhamiha lakSaNametat // 113 // ] 1 Ms. reads paDumataiae calaNe.

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6.107-120] svyNbhuucchndH| paNNAraha paDhamatai(I)ae / soDaha bIacautthe paae| taM muhavattIe lakkhaNaM / ukkameNa kajjalalehAe // 114 // [paJcadaza prathamatRtIyayoH / SoDaza dvitIyacaturthayoH paadyoH| tanmukhavatyA lakSaNaM / utkrameNa kajjalalekhAyAm // 114 // ] paNNAraha paDhamataijjae / sattAraha bIacautthe(ttha)ammi // lakkhaNaaM kusumalaAhirae / ukkameNa kilakiMciaammi // 115 // [paJcadaza prathamatRtIyayoH / saptadaza dvitIyacaturthayoH / lakSaNaM kusumalatAgRhe / utkrameNa kilakiMcitake // 115 // ] ia paNNArahamatte chapaMca-cacapada-tipa-tivihabhaMgille // uttaracalaNavibhiNNe cauvihamiha lakkhaNaM eaM // 116 // [iti paJcadazamAtre chapaca-cacapada-tipa-vividha-bhaGgavati / uttaracaraNavibhinne caturvidhamiha lakSaNametat // 116 // ] solaha paDhamataIe pAe / sattAraha bIacauttha[ammi // lakkhaNa[amiha raaNamAlAe / taM ukkameNa sasibibiammi // 117 // [SoDaza prathamatRtIyayoH pAdayoH / saptadaza dvitIyacaturthayoH / lakSaNamiha ratnamAlAyAH / tadutkrameNa zazibimbite // 117 // ] ia solahamattille chachacacacaukkaduvihabhaMgille // uttaracalaNavibhiNNe duviha[Amiha lakkhaNaM siDheM // 118 // [iti SoDazamAtre chachaca-cacaukka-dvividhabhaGgavati / uttaracaraNavibhinne dvividhamiha lakSaNaM ziSTam // 118 // ] ia sattArahamatte chachapaticaArapagaNabhaggI(bhaMgI)o // eAo ime pAe imAI aNusaraha vIsatthA // 119 // [iti saptadazamAtre chachapa-ticArapagaNa-bhaGgayau / etAvasminpAde imAnyanusarata vizrabdhAH // 119 // ] vIsaTThArahasola[ha]coddahabArahadasaTachaccaudA // evaM dahuttarasaaM dhuvaANaM vatthuANaM ca // 120 // [viMzatyaSTAdazaSoDazacaturdazadvAdazadazASTaSaTcaturdvayam / evaM dazottarazataM dhruvakAnAM vastukAnAM ca // 120 // ] 1 Ms. reads cacapadagaNavivibhaMgille.

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84 svayaMbhUcchandaH / aNNaNNacalaNajaNiaM / taM saMkiNNaaMti bhaNiaM // chaMde aTThavihaM ca NibaddhaaM | addhasamasaMkiNaaM // 121 // [ anyAnyacaraNajanitaM / tatsaMkIrNakamiti bhaNitam / chandasyaSTavidhaM ca nibaddhaM / ardhasama saMkIrNakam // 121 // ] jahA [ yathA ] - vAlA pharasA vidhaNA / guNehiM vimukkA pANaharA // jiha, dujaNu sajaNauvari / tiha pasaru Na lahaMti sarA // 121.1 // [ vAcAlA paruSA vedhanAH / guNairvimuktAH prANaharAH / yathA durjanAH sajjanopari / tathA prasaraM na labhante zarAH // 121.1 / ] paDhamasariccho bIao / taiaassa taha cautthao | iha erisalakkhaNeNa jaNiaM / taM dhuvaaM addhasamaM bhaNiaM // 122 // . [ prathamasazo dvitIyaH / tRtIyasya tathA caturthaH / iha IdRzalakSaNena janitaM / tad dhruvakamardhasamaM bhaNitam // 122 // ] jahA [ yathA ] - kira (a) kaNNakaliMga parijjiA / Thia Navara mANavivajjiA // kavi ahi muNiavahe / kahiM dharai jaaddaha kaha kahe || 122.1 // [ kRpakarNakaliGgAH parijitAH / sthitAH kevalaM mAnavivarjitAH // x x x x x x / kutra triyate jayadrathaH kRSNa kathaya / / 122.1 / / ] dasama pAe / aTThA (DDhA)icca (ja)gaNe // sA savvasamANaM / majjhe sasivaaNA // 123 // [ catuSpadIdvipadyaH [ dazamAtre pAde / ardhatRtIyagaNe / sA sarvasamAnAM / madhye zazivadanA // 123 // eAraha kalile / capadA muhataiae // cacatA se pAe | lakkhaNaM (Na) mANaiae // 124 // [ ekAdazakalAvati / capadAH mukhatRtIyayoH / cacatAH zeSapAdayoH / lakSaNaM mArakRteH // 124 // jahA [ yathA ] - savva dUre saMkhu / haNumaMta Na dI sai // saccai abbU / ekkaraha para (I) sai || 1241 // [ dRzyate dUre zaGkhaH / hanUmAn na dRzyate // dRzyate X X vyUhe / ekarathaH pravizati / / 124.1 / / ]

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6.121-132] svyNbhuucchndH| bArahamatte pAe / ticaArA cha ccho vA // ia lakkhaNasaMjuttA / bhaNNai mahANubhAvA // 125 // [dvAdazamAtre pAde / trayazcakArAzchachau vA / iti lakSaNasaMyuktA / bhaNyate mahAnubhAvA // 125 // calaNe terhmttaN| papatagaNehi vihttaN|| ahavA ccpvihuusi| tamiNaM acchrvilsiaN|| 126 // [caraNe trayodazamAtrakaM / papatagaNairvibhaktam / athavA cacapavibhUSitaM / tadidaM apsarovilasitam // 126 // calaNe codhmttaao| aNNe ADhacaArA // chacacA jIa vihAsae / esA gaMdhoaA(a)dhArA // 127 // [caraNe caturdaza mAtrAH / anye ardhacaturthacakArAH / chacacAH yasyA vibhaasnte| eSA gandhodakadhArA // 127 // ] savve pnnnnaarhmttaa| ta(ti)cataArasaMjuA [ahavA // chacapagaNehiM sNbddhaa| A(pA)raNaassa ime pAaA // 128 // [ sarve pnycdshmaatrikaaH| trica-takArasaMyutA athavA / / chacapagaNaiH saMbaddhAH / pAraNakasya ime pAdAH // 128 // ] solahamattaM paaaaulaN| chacachaMsaviraiaM sNkulaN|| taM cea cttaarcukklaN| taM jANasu pddhddiaadhuvaN|| 129 // [SoDazamAtraM pAdAkulakaM / chacachAMzaviracitaM saMkulam / tadeva cakAracatuSkaM / tajjAnIhi paddhatikAdhruvakam // 129 // ] hoti saA sttaarhmttaa| taha catadapataArasaMjuttaA / ahavA chcctaarnnibddhaa| tipadA ovaa(Na)ssa ime paaaaa||130|| [bhavanti sadA saptadazamAtrAH / tathA catadapatakArasaMyuktAH / athavA chacacatakAranibaddhAH / tripa-dAH upavadanasyeme pAdAH // 130 // ] chappaacauppaANaM doNhaM iha lakkhalakkhaNaM siTraM // ettAhe duvaANaM sAhijantaM NisAmeha // 131 // [SaTpadacatuSpadAnAM dvayoriha lakSyalakSaNaM ziSTam / ataHparaM dvipadAnAM kathyamAnaM nizAmayata // 131 // ]. aTTavIsamattAhiM NibaddhaM sattahiM cehiM laaM // 132 // [aSTAviMzatimAtrAbhirnibaddhaM saptabhizcailayam // 132 // ]

Page #129
86 svyNbhuucchndH| [catuSpadIdvipadyaH dasamattavirAmaM aTTavIsamattamiNaM bhmrr(v)aN|| 133 // [dazamAtravirAmaM aSTAviMzatimAtramidaM bhramarapadam // 133 // ] paDhamachaArakaaM sattamadagaaM unbhamaravaaM taM // 134 // [prathamakRtaSaNmAnaM saptamagatadvimAnaM udbhramarapadaM tat // 134 // ] sattamapagaNakaaMtaM garuDavaaM bhaNiaM avahaMsae // 135 // [saptamapagaNakRtAntaM garuDapadaM bhaNitamapabhraMze // 135 // ] paDhamachaArakaaM sattamapa(ta)gaaM uvagaruDavaaM imaM // 136 // [prathamakRtaSaNmAtraM saptamagatatrimAtraM upagaruDapadamidam // 136 // ] tIsahi mattAhiM cagaNakaAhiM tahi~ cia suviraiAI(hiM) / puvaparaddhakaaM gIIsamaaM bhaNiaM pavarakaIhiM // 137 // [triMzatA mAtrAbhizcagaNakRtAbhiH tatraiva suviracitAbhiH / pUrvAparArdhakRtaM gItisamakaM bhaNitaM pravarakavibhiH // 137 // ] jaM bArahaaTuMtaM chajualaaMtaM taM uNa hariNavaaM // 138 // [yadvAdaza-aSTAntaM SaNmAtrayugalAntaM tatpunahariNapadam // 138 // ] paMcachaArajuaM bhaNa bhamararuaM dasaaTThasu baarhsu.|| 139 // [paJcaSaNmAtrayutaM bhaNa bhramararutaM daza-aSTasu dvAdazasu // 139 // ] ekatIsakalaaM chacaukkakaamavaha catehiM kamalAaraM // 140 // [ekatriMzatkalaM SaTcatuSkakRtaM pazyata catAbhyAM kamalAkaram // 140 // ] jA sattacaArA NihaNataArA sA kuMkumatilaAvalI // 141 // [yA saptacakArA nidhanatakArA sA kuGkumatilakAvalI // 141 // ] bArahaaTThasaMThiA raaNakaMThiA chamuhA pavirAmiAM // 142 // [dvAdaza-aSTasaMsthitA ratnakaNThikA SaNmukhI pavirAmikA // 142 // ] aTThacaArakaaM khaMdhaasamaaM dasaaTThacauddahachiNNaM // 143 // [aSTacakArakRtaM skandhakasamaM daza-aSTa-caturdazacchinnam // 143 // ] 1Ms. reads. gaMdharAmaaM.

Page #130
6. 133-155] svyNbhuucchndH| bArasame vIsamae battIsamae jamiaM mottiadAmaM // 144 // [dvAdaze viMzatitame dvAtriMzattame yamitaM mauktikadAma / / 144 // ] coddahame bAIsamae battIsamae NavakelIpattaM // 145 // [caturdaze dvAviMzatitame dvAtriMzattame navakadalIpatram // 145 // ] chakkalagaNapurimAe gurucaramAe taM NihaNaM vaNiAe // 146 // [SaTkalagaNapaurastyAM gurucaramAyAM xxx // 146 // ] sattacaArakaaM aTThamapagaaM tettIsakalaM pA(A)AmaaM // 147 // [saptacakArakRtaM aSTamapakRtaM trayastriMzatkalaM AyAmakam // 147 // ] dasameM aTThArahame NihaNagaakame vIsamiaM kaMcIdAmaaM // 148 // [ dazame aSTAdaze nidhanagatakrame vizramitaM kAJcIdAmakam / / 148 // ] bArasame vIsamae tettIsamae saMThai rasaNAdAmaaM // 149 // [dvAdaze viMzatitame trayastriMzattame saMtiSThati razanAdAmakam // 149 // ] codahame [bA vIsamae tettIsamae virame cUlAmaNI // 150 // [caturdaze dvAviMzatitame trayastriMzattame virAme cUDAmaNiH // 150 // ] chakkalapurimAi~ taNihaNAi~ tAi~ uapuvAI bhaNeja uNo // 151 // [SaTkalapuraskRtAni tanidhanAni tAnyupapUrvAni bhaNetpunaH // 15 // ] aTThacaArakaaM NavamagagaruMaM cautIsahi kalAhiM sovvaNaaM // 152 // [aSTacakArakRtaM navamagatagurukaM catustriMzatA kalAbhiH svamakam // 152 // ] dasame aTThArahame cautIsamae jai vIsAmo accharakusumaM // 153 // [dazame aSTAdaze catustriMzattame yadi vizrAmaH apsaraHkusumam // 153 // ] bArasame vIsamae ba(cottIsamae saMThai bhuaMgavikaMtaM // 154 // [dvAdaze viMzatitame catustriMzattame saMtiSThate bhujaMgavikrAntam // 154 // ] jaM paDhamacautthachaAraM caudasame vIsamae dviamaTTagaNaM // taM puNa] bhaNa tArAdhuvaaM; pavaNaduvaaM paDhumachaTTachakkalaaM // 155 // [yatprathamacaturthaSaNmAnaM caturdaze viMzatitame sthitamaSTagaNam / tatpunarbhaNa tArAdhruvakaM; pavanadhruvakaM prathamaSaSThaSaTkalakam // 155 // ] 1 Ms. reads bArahasaye. 2 Ms. reads chakkalasapurimAI. 3 Ms. reads NavamagaagaruaM.

Page #131
88 svyNbhuucchndH| [catuSpadIdvipadyaH jaM soDasame vA(co)vIsamae ThiamaTThagaNaM taM NA(No) raMgaM // 156 // [yacchoDaze caturviMzatitame sthitaM sArdhASTagaNaM tannavaraGgam // 156 // ] titthANaNaaM paramaM suhaaM aTTacaArakaaM tNssNgaaN|| 157 // [ tIrthAnanakaM paramaM subhagaM bhaSTacakArakRtaM trimAtrasaMgatam // 157 // ] paMcatIsamattAparame coddahavirame bAvIse kaMdoTTakaM // 158 // [paJcatriMzanmAtrApare caturdazavirAme dvAviMzatitame kandoTTam // 158 // ] dasame aTThAdasame saMThai carame do chaAraputvaM bhamaraddha(da)aM // 159 // [dazame aSTAdaze saMtiSThate carame dviSaNmAnapUrva bhramaradrutam // 159 // ] bArasame [vIsamae] isutIsamae jaM saMThai taM surakIDiaM // 160 // [dvAdaze viMzatitame paJcatriMzattame yatsaMtiSThate tatsurakrIDitam // 160 // ] caudasame bAvIsamae chattIsamae jaM saMThai taM saMgIaM // 161 // [caturdaze dvAviMzatitame SaTtriMzattame yatsaMtiSThate tatsaMgItam / / 161 // ] jaM soDasame cauvIsamae chattIsamae tamiNaM uvasaMgIaM // 162 // [yacchoDaze caturviMzatitame SaTtriMzatrame tadidamupasaMgItam // 162 // ] goundi]laameANaM NavamapaAraM sattattIsakalAsaMpuNNaaM // 163 // [gondalameteSAM navamapakAraM saptatriMzatkalAsaMpUrNam // 163 // ] 'bArasaaThThasaMThiaM paDhamacchakaaM taM(ja) taM bhaNiaM rcchaavnnnnaN||164|| [dvAdaza-aSTasaMsthitaM prathamaSaTkalaM yattadbhaNitaM rathyAvarNakam // 164 // ] codasame bAvIsamae avasANapae jA saMThai sA kira caccarI // 165 // [caturdaze dvAviMzatitame avasAnapade yA saMtiSThate sA kila caccarI // 165 // ] jaM soDahATa terahasaMThiaaM ahiNavaaM; paDhamachaAraM cavalaaM // 166 // [yacchoDaza-aSTa-trayodazasthitaM tadabhinavakaM prathamaSaTkalaM capalam // 166 // ] jaM khuNavaddhacaArakaaM rairamaNapiaM coddasaTusoDasaNiamaM taM // 167 // [yatkhalu sArdhanavacakArakRtaM ratiramaNapriyaM caturdazASTaSoDazaniyamaM tat // 167 // ] adrutIsamattaM chamuhaM kalakaMThiruaM; doNNichaAraM taM saavattaM // 168 // [aSTatriMzanmAtraM SaTkalamukhaM kalakaNThirutaM; dviSaNmAtrakaM tat zatapatram // 168 // ] 1 Ms. reads tamiNamuvasaMgIaaM. 2 Ms. reads chaAracavalAvalaaM. 3 Ms. reads vaMsavaavattaM.

Page #132
6.156-173] svyNbhuucchndH| jaM soDasaTucaudasaThiaaM taM sIhavaaM sattame chaAre amaaM // 169 // [yacchoDazASTacaturdazasthitaM tasiMhapadaM; saptame SaNmAtre amRtam // 169 // ] NavacaM dasamataArakaaM aidiihraNcudsdRsttaarhsNtthiaN||170 // [navacaM dazamatakArakRtaM atidIrghaka caturdazASTasaptadazasaMsthitam // 170 // ] taM ciadochArapurimaM tehiM viraiaM jaNapia(aM) muNa mttmaaaNgaN|| 171 // [tadeva dviSaTkalapuraskRtaM taiviracitaM janapriyaM jAnIhi mattamAtaMgakam // 171 // ] eANaM ahiaaraM mAlAdhara(dhuva)aM bhaNaMti kaivasahA // 172 // [eteSAmadhikataraM mAlAdhruvakaM bhaNanti kvivRssbhaaH|| 172 // ] paMcaMsasArahUe bahulatthe lakkhalakkhaNavisuddhe // ettha saaMbhucchaMde duvauppattI parisamattA // 173 // [paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / . bhatra svayaMbhUcchandasi dvipadotpattiH parisamAptA // 173 // ]

Page #133
7. shessctusspdyH| viNNavaNasaMvihANaamaMgalasIhAvaloiatthammi // tattha Nibajjhai dhuvaaM tassovari samvaduvaIo // 1 // [vijJApanasaMvidhAnakamaGgalasiMhAvalokitArthe / tatra nibadhyate dhruvakaM tasyopari sarvadvipadyaH // 1 // ] . doppAasaMjuAo eaanneakkhrNtjmiaao|| tAo ccia duvaIo cauNhatIsahamajjhammi // 2 // [dvipAdasaMyutAH ekAnekAkSarAntayamitAH / tA eva dvipadyaH catasRNAM triMzatemadhye // 2 // ] ckaa| vijaA // 3 // [cakRtA / vijayA // 3 // ] pNsaa| revaA // 4 // [pAMzikA / revakA // 4 // ] chaMsavaI / gaNaduvaI // 5 // [chAMzavatI / gaNadvipadI // 5 // ] cu(t)viriaa| suraduvaiA // 6 // [cataviracitA / suradvipadI // 6 // ] padaNivAsA / accharA sA // 7 // [padanivAsA / apsarA sA // 7 // ] maMgalAvaI / pattaMsavaI // 8 // [ maGgalAvatI / patAMzavatI // 8 // ] . ccaarjuaa| kira maarabhuA // 9 // [cacakArayutA / kila makarabhujA // 9 // ] chdvihuusiaa| malaaviasiA // 10 // [chadakAravibhUSitA / malayavikasitA // 10 // ] capaMsajuA kira / jaMbheTuiaA // 11 // [capAMzayutA kila / jaMbheTTikA / / 11 // ]

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zeSacatuSpadyaH 7. 1-13] svyNbhuucchndH| pamuhaA pasesA / lalaaatti esA // 12 // [pamukhI pazeSA / lalataketi eSA // 12 // ] paMcaMsasArahae bahulatthe lakkhalakkhaNavisuddhe // ettha saaMbhucchaMde seseNa samA parisamattA // 13 // [paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayambhUcchandasi zeSeNa samAH parisamAptAH // 13 // ] 1 Ms. reads pamuhA.

Page #135
8. utthkkaadyH| jai tiNNi hoMti pA AvasANa / jamaAvi hoMti pAAvasANa // utthakka hoi cautuvi jaann| . pAANa tANa x x tuhu~ vijANa // 1 // [yadi trayo bhavanti pAH dAvasAnAH yamakAnyapi bhavanti paadaavsaane| utthakko bhavati xxx yeSAM pAdAnAM teSAM xx tvamapi jAnIhi // 1 // ] jahA [yathA ] - dhmrttnnreNduusaasnnenn| visameNa suTu dUsAsaNeNa // jai maha Na bhaggu dUsAsaNeNa / to paheNa jAmi dUsAsaNeNa // 1.1 // [dhRtarASTranarendrocchvAsakena viSameNa suSTu duHzAsanena / ___x x x // 1.1 // cattAri pagaNAI maaNAvaArae // 2 // [catvAri pagaNAni madanAvatAre // 2 // ] jahA [yathA]-- tAva paDupaDaha paDipahaa paha[hu]paMgaNe / NAi~ suraduMduhI diNNa gaaNaMgaNe // rasia saasaMkha gAaMti varamaMgalaM / tivali DhaDDhaMta ghummaMta varamaddalaM // 2.1 // [tAvat paTupaTahAH pratiprahatAH prabhuprAGgaNe nanu suradundubhayaH dattAH gaganAGgane / rasitAH zataM zaGkAH gAyanti varamaGgalaM tivalyaH DhaDDhanti ghummanti varamardalAH / / 2.1 // ] beNNivi cgnnaaii| dhuvae saalAiM // 3 // [hI api cgnnau| dhruvake sakalau // 3 // ] |

Page #136
utthakkAdayaH 8.1-7] svyNbhuucchndH| jahA [yathA ] - vAraNaho majjha / ummagima karevi // sIhakisora Thiu / vaNe paisarevi // 3.1 // [vAraNAnAM madhye / unmArgagatvaM kRtvA / siMhakizoraH sthitaH / vane pratisRtya // 3.1 // ] sattavihA chaNiA tivihAo hoti taha a ghttaao|| paddhaDiA NeavihA gIIo hoti vivihAo // 4 // [ saptavidhAzchaDDaNikAstrividhA bhavanti tathA ca ghttaaH| - paddhatikA naikavidhA gItayo bhavanti vividhAH // 4 // ] codahamattA vismpaa| bArahamattA beNNi // paDhamA chaDDaNiA huvae / eva muNeppiNu ghiNNi // 5 // [caturdazamAtrau viSamapAdau / dvAdazamAtrau dvau / prathamA chaDDuNikA bhavati / evaM jJAtvA xxx // 5 // ] jahA [yathA ] - satta(ttA)raha diNa jujhaMtau / kuruvai Nihua[3] huttau // jala thaMbheviNu saMto, hoppiNu / vAsu mahAsare suttau // 5.1 // [ saptadaza dinAni yudhyamAnaH / kurupatirnibhRto bhUtaH / . jalaM stambhayitvA zAnto bhUtvA / xx mahAsarasi suptaH // 5.1 / / ] dasaterahamattA / paDhamavidiapaa jamaavara // chaDDaNiA vidiA / puNuvi gaNA ia bhaNa avara // 6 // [dazatrayodazamAtrau / prathamadvitIyapAdau yamakaM varam / chaDDuNikA dvitiiyaa| punarapi gaNAH iti bhaNa apare // 6 // ] jahA [yathA] jai Nivvudi pAvia / dulaha lahevi NiappaNau // Thiu kAmiNi rajjaI / jeNNa karahiM hia appaNau // 6.1 // [ yadi nirvRtiH prAptA / durlabhaM labdhvA nijapraNayam // . xxxx / ye na kurvanti hitamAtmanaH // 6.1 // ] . cagaNAI cAri thorevi / paDhame taie vi|| cagaNAiM geNha vi saalAI / vidia cautthe vi' // 7 // [cagaNAni catvAri sthApayitvA / prathame tRtIyepi / cagaNe gRhANa dve sakale / dvitIye caturthepi // 7 // ] 1 .Ms. reads evi.

Page #137
svyNbhuucchndH| [utthakkAMdayaH jahA [ yathA] jaivi Na rUsahiM jaivi Na dusahiM / jai vi Na dakSa karahiM // tovi marAlA jiNavara hiae / khaNa vi Na vIsarahiM // 7.1 // [ yadyapi na ruSyasi.yadyapi na duSyasi / yadyapi na dayAM karoSi / tatopi he manda jinavaraM hRdaye / kSaNamapi na vismara // 7.1 / / ] bArahamattA paDhamaM / calaNaM tiaNpi|| Navakala bIacauttho / chanbhaNie saMti // 8 // [dvAdazamAtraH prthmH| caraNastRtIyo'pi / navakalo dvitIyazcaturthaH / chaDDuNikAyAM santi // 8 // ] jahA [yathA] lagga ha(a)Nea asaDDhalu / tuha calaNaha paNau / jima jANahiM tima pAlahiM / kiMkara appaNau // 8.1 // [ lagnAH aneke azraddhAlavaH / tava caraNayoH praNatAH // yathA jAnAsi tathA pAlaya / kiMkaramAtmanaiva / / 8.1 // ] paDhamapae vidiapae~ / taiapaeN a tehiM ThiA // ekkakkar3a chagaNu kau / beNNi saala turieN saMThia // 9 // [prathamapadepi dvitIyapade / tRtIyapade ca xxx / ekaikazchagaNaH kRtH| dvau sakalau turye saMsthitau // 9 // ] jahA [yathA] tihuaNaguru taM gaagu(u)ru / mellavi jhINakasAauM // gausaMtata(u) viharaMtaMu / purimatANu(lu) saMpAiau // 9.1 // [ tribhuvanagurustad gajapuraM / tyaktvA kSINakaSAyaH / gatazrAnto viharan / purimatAlaM saMprAptaH // 9.1 // ] paDhamaeN tiaeN| dodo vi caukalA // vidiaeN cautthae~ / pAeN paMcakalA // 10 // [prathame tRtiiye| dvau dvau api catuHkalau / dvitIye caturthe / pAde paJcakalau // 10 // ] jahA [ yathA]-- kaNNa paripADI / jaNu jANai torA // cattau jo savai / tasu kamaNu NihorA // 10.1 // 1 Ms. reads virahaMtau.

Page #138
8. 7.1-12-1]] svyNbhuucchndH| [karNaparipATyA / jano jAnAti sUtram / tyasto yaH sravati / tasya kIdRzo nirodhaH // 10.1 // ] dasakalaparibaddhahe / aTTaNibaddhahe / terahakalasaMbhAviahe // paDhamavidiapaa kara / taia puNu viuNu / chaDDaNi chappAiahe // 11 // [dazakalAparibaddhAyAH / aSTanibaddhAyAH / trayodazakalAsaMbhAvitAyAH / / prathamadvitIyapAdau kuru / tRtIyaM punaH dviguNaM / chaDDuNikAyAH SaTpadyAH // 11 // ] jahA [yathA] dhaNadhaNu (NNu) smiddhho| puhavi [pa] siddhho| jaNamaNaNaaNANaMdaNaho // ra(va)NavAsaho eMtahiM / raamaanne(nn)tehiN| . kiu ummAha(ho) paTTaNaho // 11.1 // [dhanadhAnyasamRddhasya / pRthivIprasiddhasya / janamanonayanAnandanasya / vanavAsaM gacchadbhyAm / rAmAnantAbhyAm / kRta unmAthaH paTTaNasya // 11.1 // ] paDhamacautthapaaM bArahamattaM jahA [prathamacaturthapadaM dvAdazamAtraM yathA] ari saala vihaMDevi / jagu jaseM maMDevi / kiu paaMDa rAma ppaNau // jA bhuM(bhu)jANa aaddhttii| dhrkrkntii| tAsuNa Isai parihaNau // 11.2 // [arIn sakalAn vinAzya / jagadyazasA maNDayitvA / kRtaH pracaNDo rAjA prnntH| yadA bhujayorArabdhA / dharAkarakAntA / tasyA neya'ti paridhAnam // 11.2 // ] avarAvi jahA [aparApi yathA] jaNa puNNahiM uppaNNau / guNasaMpuNNau / so pu(u)vyahami(i) variTu // tihuaNasia[chattaI / kulakamapattaI / sIhAsaNa uaviTTha // 11.3 // [janaH puNyairutpannaH / guNasaMpUrNaH / sa udvahati vrisstthH| tribhuvanasitacchatrANi / kulakramaprAptAni / siMhAsana upaviSTaH // 11.3 // ] atha ghattA Nava mattau paDhame / bIe cauddaha mattao // taie imeccia / cottharavi hoi ghattao // 12 // [nava mAtrAH prathame / dvitIye caturdaza mAtrAH / tRtIye etA eva / caturthepi, bhavati ghattakaH // 12 // ] jahA [ yathA]--- kharadUsaNa li(gi)levi / raNe(Na)[e]vitetti Na jAiA // NaM khaakAle iha / rAvaNaho paDavI dhAiA // 12.1 // [kharadUSaNau gilitvA / raNadevItRptirna jaataa| nanu kSayakAle iha / rAvaNasya patitvA dhAvitA / / 12.1 // ]

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svyNbhuucchndH| [utthakkAdayaH savvANahompi paANaM / tiNavakalao huvaMti // ghattAlakkhaNa erisau / govAlA vilavaMti // 13 // [ sarveSAmapi padAnAM / trinavakalA bhvnti| ghattAlakSaNamIdRzaM / gopAlA vilapanti // 13 // ] jahA [ yathA] akkhai gautamasAmi / tihuaNe laddhapasaMsaho / suNa seNia uppatti / rakkhasavANaravaMsaho // 13.1 // [AkhyAti gautamasvAmI / tribhuvane labdhaprazaMsAnAm / zRNu zreNika utpattim / rAkSasavAnasvaMzAnAm / / 13.1 // ] cA muhakka caAri ThaveppiNu / Aime bIae ekka ?] kareppiNu // taiacautthae be jamaA puNu / taM tivihaM iha ghattamaho suNu // 14 // [cAna mukhavastrAn caturaH sthApayitvA / Adime dvitIye ekaM kRtvA / tRtIye caturthe dve yamake punaH / tastrividhAmiha ghattAmaho zRNu // 14 // ] jahA [yathA]-- vAmaNarUa kareppiNu mAhau / veu paDhatta parAiu sAhauM // tiNNi paAI kareppiNu sAmau / dANau baMdhiu so baliNAmau // 14.1 // [ vAmanarUpaM kRtvA mAdhavaH / vedaM paThan parAyAtaH sAdhuH / / trINi padAni kRtvA zyAmaH / dAnavo baddhaH sa balinAmA // 14.1 // ] paddhaDiA puNa je i kareMti / te soDaha mattau pau dhareMti // bihi~ pahiM jamau tennimmaNti| kaDavaa aTThahi~ jamaahi~ ranti||15 [paddhatikA punaryepi kurvanti / te SoDaza mAtrAH pAdaM dhArayanti / dvAbhyAM pAdAbhyAM yamakaM te nirmimate / kaDavakamaSTabhiryamakai racayanti // 15 // ] AihiM puNu ghatta samAmaNaMti / jamaAvasANa chaTTaNi bhaNaMti // saMkhANibaddhakaDavehiM saMdhi / iha vivihapaArahi~ tuhu~ vi baMdhi // 16 // [Adau punaH ghattAM samAmananti / yamakAvasAnAM chaDDaNikA bhaNanti / saMkhyAnibaddhakaDavaiH sandhi / iha vividhaprakAraiH tvamapi badhAna // 16 // ] 'saMdhihe AIte raia ea / chaTTaNiA(ovi pattA bhaNa subhe // aNNAu vivihapaAriAu / ghattAu chaDDaNi viAriAu // 17 // [sandherAdau racitA etAH / chaDDuNikA api ghattAH bhaNa subhedAH / anyA vividhaprakArakAH / ghattAH chaDDaNikAH vidArikAH // 17 // ] 1 Ms. reads rasaaMti. 2 Ms. reads saMdhimeAIte,

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8. 13-20.3] svyNbhuucchndH| tIe suNa(Ne)vi bajjhaMti tAu / loehiM keNa viNNAu tAu // sAlAhaNeNa dhavalAI jAI / viraiaI aNeaI bahuvihAI // 18 // [xxx zrutvA badhyante yAH / lokena kena vijJAtAstAH / sAtavAhanena dhavalAni yAni / viracitAnyanekAni bahuvidhAni // 18 // ] ia ema asesava(u) bajhaMti / saalau nnaaaria|| supasiddhA loe paMDia- / jaNehiM samAaria // 19 // [ityevamazeSA badhyante / sakalA nAgarikyaH / suprasiddhA loke paNDita- / janaiH samAcaritAH // 19 // ] saMdhihiM AihiM dhattA / duvaI gAhADillA // mattA paddhaDiAe / chaDDaNiA vi paDillA // 20 // [sandhiSu Adau ghattA / dvipadI gAthA aDilA / mAtrAH paddhatikAH / chaDDaNikA api pazcAdbhavAH // 20 // ] saMdhivattA jahA [ sandhighattA yathA]-- jiNupaMcahuM rattuppalahiM / dIvAveviNu vAri // ekkami jammaNu puNu maraNu / chiNNahuM aTThapahAri // 20.1 // [ jinapaJcakasya raktotpalaiH / dApayitvA vaari| ekadaiva janma punarmaraNaM / chinnamaSTaprahAri / / 20.1 / / ] aha duvaI [atha dvipadI] paDihiabhiNNakaNNagaMDatthale viuNoviTTapucchao __nniddavliakrphrpriarthirkanniasriiro| caladalivalayamadhurajhaMkAravirAjitakumbhamaNDalaM tava namanena nAtha nAkAmati parikupitopi kesarI // 20.2 // [pratihitabhinnakarNagaNDasthale dviguNodvartitapucchaH nirdayavalitakaraprahAraparikarasthirakRtanijazarIraH / caladalivalayamadhurajhaMkAravirAjitakumbhamaNDalaM tava namanena nAtha nAkAmati parikupitopi kesarI / / 20.2 / / ] aha gAhA jahA [ atha gAthA yathA ] tumha paakamalamUle amhaM jiNa duHkhabhAvataviAI // duru dulliAI jiNavara jaM jANasu taM karejjAsu // 20.3 // [yuSmAkaM padakamalamUle vayaM jina duHkhabhAvatApitAH / . dhruvaM DhaukitAH jinavara yajjAnIyAstatkuryAH // 2003 // ] 1. Ms. reads viraiAI aNeAI. But this is against metre.

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svyNbhuucchndH| [utthakkAdayaH aha aDillA jahA [ atha aDillA yathA]-- akkapalAsabilluaDarUsau dhammia emaema mahuaru tUsau / buddhAicca bamha hari saMkara jo merAu deu harisaMkaru // 20.4 // [ arkaH palAzo bilvaH aTarUSo (vA) dhArmika evameva madhukarastuSTaH / buddha Adityo brahmA hariH zaMkaraH yo madIyo devo harSakaraH / / 2004 / / ] mattA jahA [ mAtrA yathA]-- jaahiM jiNavara soma akalaMka / __ surasaNNua vigabha| raaarosmamohvjia|| maaNaNAsaNa bhavarahia / visaa saala taiM deva Nivajia // 20.5 // [ jaya jinavara saumya akalaGka surasaMnuta vigatabhaya / rAgaroSamadamohavarjita madanazAsana bhavarahita / viSayAH sakalAstvayi deva nimagnAH // 20.5 // ] paddhaDiA jahA [ paddhatikA yathA ]-- jiNaNAme maagala muai dappu kesari vasa ho Na Dasai sppu| , jiNaNAme Na Dahai dhaadhaaMta huavaha jAlAsaapajalaMta // 20.6 // [jinanAgnA madagalo muJcati darpa kesarI vazo bhavati na dazati sarpaH / jinanAmnA na dahati dhagadhagan __ hutavaho jvAlAzataiH prajvalan / / 20.6 // ] jiNaNAme jalaNihi dei thAhu . ArapaNe vaNNu Na vadhai vAhu / jiNaNAme bhavasaasaMkhalAI TuTuMti hoti khaNa mokkalAI // 20.7 //

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8. 60.4.22] svyNbhuucchndH| [jinanAmnA jalanidhirdadAti sthAnaM araNye vanyaM na hantri vyAghraH / jinanAmnA bhavazatazaGkhalAH truTyanti bhavanti kSaNena muktAH / / 20.7 // ] jiNaNAme pIDai gahu Na kovi dummai pisAu osarai sovi / jiNaNAme duggA khahi jaMti aNudiNa varapuNNaiM ubbhavati // 20.8 // [jinanAmnA pIDayati graho na kopi| durmatiH pizAcopasarati sopi / jinanAmnA durgatAni kSayaM yAnti anudinaM varapuNyAnyudbhavanti / / 20.8 / / ] jiNaNAme chidevi mohajAlu uppajai devalla saamisaalu| jiNaNAme kammaI Nihalevi mokkhagge paisia suha lahevi // 20.9 // [jinanAmnA chittvA mohajAlaM utpadyate devabhakto'dhipatiH / jinanAmnA karmANi nirdAlya mokSAgre praviSTaH sukhaM labdhvA / / 20.9 // ] 'chaDDaNiA jahA [chaDDaNikA yathA]---- jiNaNAmapavitteM / diva suvvaMteM / pAu asesu ni chajjai // jaM jaM maNe bhAvai / taM suha pAvai / dINu Na kAsu vi kijai // 20.10 // [jinanAmapavitreNa / x x zrUyamANena / pApamazeSamapi chidyate / / yadyanmanasA bhAvayati / tatsukhaM prApnoti / dainyaM na kasyApi kriyate // 20.10 // ] saMgIavajaahiNaasaMhattaM tAlameamiha suNasu // sattacchaMdorUaM sattatA(ttA)laM huve kavve // 21 // (saMgIta-vAdya-abhinayasaMyuktaM tAlametamiha zRNuSva / / saptacchandorUpaM saptatAlaM bhavetkAvye // 21 // ] paMcacchaMdorUaM paMcatA(ttA)laM ca hoi kvmmi|| tehiM rUehi~ a raiaM titA(ttA)laM taM muNijjAsu // 22 // [paJcacchandorUpaM paJcatAlaM ca bhavati kAvye / tribhI rUpai racitaM tritAlaM tajjJAtavyam // 22 // ]

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100 [utthakkAdayaH svyNbhuucchndH| chaMdorUehi bihiM jualaM cakkalaameva ca caUhiM // kulaaM sesehiM huve cakkasama tehiM tehiM taM // 23 // [chandorUpAbhyAM dvAbhyAM yugalaM cakkalakameva caturbhiH / kulakaM zeSairbhavet cakrasamaM taistaistat // 23 // ] ghattAchaDDaNiAhiM paddhaDiA[hiM] suaNNarUehiM // rAsAbaMdho kanve jaNamaNaahirAmao hoi // 24 // [ghattAchaDDuNikAbhiH paddhatikAbhiH suvarNarUpAbhiH / / rAsAbandhaH kAvye janamanobhirAmako bhavati // 24 // ] ekavIsamattANihaNau uddAmagiru caudasAi vissAma hobha(i) gaNaviraithiru / rAsAbaMdhu samiddha eu ahirAmaaru lahuatialaavasANavirai a[i]mahuraaru // 25 // [ekaviMzatimAtrAnidhana uddAmagiraH caturdazAdivizrAmo bhavati gaNaviratisthiraH / rAsAbandhaH samRddho'yaM abhirAmataraH laghukatrikalakAvasAnaviracito atimadhurataraH // 25 // ] jahA [yathA]-- suravaraNaravarathua uraavarapaNaviaMkama *maaNamahaNa jalahigaarosa jAasamadama / paramadhIra jiNaeva jaa NihivarasaraNilaa pahaaduria saMtAvaharaNa gurumohavilaa / / 25.1 // [suravaranaravarastuta uragavarapraNatakrama madanamathana xxx gataroSa jAtazamadama / paramadhIra jinadeva jaya xxxx nilaya prahatadurita saMtApaharaNa gurumohavilaya // 25.1 / / ] jahA a [yathA ca]-- jai vi Na vasumaimaggaheM iha ko vi saMcarai . ___ aikilese sasiNi suhe a vi jai phurai / tovi eNhu morI vANi vi laTTha kalAga(va)vai ahiNavaghaNapaapasarahiM avahaMsehi ramai // 25.2 // .. 1. Ms. reads uraavaraNavibhaucaraNakama.

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101 svayaMbhUcchandaH [ yadyapi na vasumatImArgeSu iha kopi saMcarati atikleze zazini yadi sphurati / tatopi iyaM mayUrI vANI api sundarakalApavatI abhinavaghanapadaprasaraiH apabhraMzaiH ramate // 25.2 // ] saalAo jAIo patthAravaseNa ettha bajhaMti / rAsAbaMdhU(dho) guNaM rasAaNaM cea goTThIsu // 26 // [sakalA jAtayaH prastAravazenAtra badhyante / rAsAbandho nUnaM rasAyanaM caiva goSThISu // 26 // ] visamau paau| hoi ase su] vi sattakalu // puNu samu pAu / terasukalu rAse sakalu // 27 // [viSamaH pAdaH / bhavatyazeSo'pi saptakalaH // punaH samaH pAdaH / trayodazakalo rAse sakalaH // 27 // ] etthu be kaDavA bajjhaMti tema samatAla viArI hoi jema / ekkaNi(li)acalaNavalavalaNakaraNa chandovaseNa samatAlakaraNa // 28 // [atra dve kaDavake badhyete tathA samatAlA vidArI bhavati yathA / ekaikacaraNa xxxxxx chandovazena samatAlakaraNam // 28 // ] devANa thuiakaraNe chaMdojAIu jAu bhaNiAu / / tAu pi(ci)a phullaDaA avabhasatthe saA hoti // 29 // [ devAnAM stutikaraNe chandojAtayaH yAH bhaNitAH / tA eva phullaTakA apabhraMzasthe sadA bhavanti / / 29 // ] maMgalavivAhakaraNe tAI cia maMgalAI gijjati / bahuvihabaMdhehiM [saA] viuhA maNNaMti samvakajesu // 30 // 1. Vv. 26 to 31 and the final colophon are found only in the Palm-leaf ms., which, however, does not contain v. 32.

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.. svyNbhuucchndH| [ maGgalavivAhakaraNe tAnyeva maGgalAni gIyante / bahuvidhabandhaiH sadA vibudhA manyante sarvakAryeSu // 30 // ] No tattha jamaasuddhI No chaMdo No [a] lakkhaNaM kiM pi / suddhA lakkhaNaaM No thuNiAI taha vi NiuNehiM // 31 // [na tatra yamakazuddhiH na cchando na ca lakSaNaM kimapi / x x lakSaNakaM na; stutAni tathApi nipuNaiH // 31 // ] paMcaMsasArahUaM bahulatthaM lakkhalakkhaNavisuddhaM // ettha saaMbhucchaMdaM avahaMsaMtaM parisamattaM // 32 // [paJcAMzasArabhUtaM bahulArtha lakSyalakSaNavizuddham / atra svayambhUcchandaH apabhraMzAntaM parisamAptam // 32 // ] kairAaraiaM saMbhuNAmaM chaMdalakkhaNaM samattaM // [kavirAjaracitaM svayaMbhUnAma chandolakSaNaM samAptam // ] IMPORTANT NOTE A portion of the earlier part of this work was made available to me by Pandit Rahula Samkptyayana at a very late stage of printing. I am, therefore, printing it here, immediately after the conclusion of the work, though it ought to have appeared at its commencement. Its chapters and verses are also separately numbered.-H. D. V.

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ma hA kavi zrI sva yaM bhU kRtaM svayaMbhUcchandaH (pUrvabhAgaH) 1. gaathaadividhiH| [Fol. 1 is missing.] ' [ Fol. 2 A] Asasu pautthavaie Na hoMti NavapAusabbhAiM // 1.1 // [Azvasihi proSitapatike na bhavanti navaprAvRbhrANi / / 1.1 // ] __ hiAro biMdujuo pAvasANammi lahU / chaillANa jahA-[hikAro binduyutaH padAvasAne laghuH / chailasya yathA-] dhavalehi aNaMjaNasAmalehiM peraMtataNuataNuehiM / NiddApatti uveMdo gaaNihAehiM acchIhi // 1.2 // [dhavalAbhyAmanaJjanazyAmalAbhyAM paryantatanukatanukaiH / nidrAyate upendraH gatanidrAbhyAmakSibhyAm // 1.2 // ] eAro suddho paAvasANammi lhuu| vammauttasya jahA--[ekAraH zuddhaH padAvasAne laghuH / varmaputrasya yathA-] paccUsaggaavaramaliAe uddddiinnssivihNgaae| dhavalAI galaMti NisAlaAe~ NakkhattakusumAiM // 1.3 // [pratyUSagajavaramRditAyAH uddddiinshshivihNgaayaaH| dhavalAni galanti nizAlatAyAH nakSatrakusumAni / / 1.3 / / ] oAro suddho pAvasANammi lahU a| pAlittassa jahA-[okAraH zuddhaH padAvasAne laghuzca / pAdaliptasya yathA-]] ua pommarAamaragaasaMvaliA NahaalAo ovarai / NahasirikaMThabhaTTha vva kaMThiA kIrariMcholI // 14 // [pazya padmarAgamarakatasaMvalitA nabhastalAdavatarati / nabhaHzrIkaNThabhraSTeva kaNThikA zukapaGkiH // 1.4 / / ] rakheMjaNasaMjoe pare vasesaM ca svihaasN| viaDassa jahA--[ravyaJjanasaMyoge xxxxxx / vidagdhasya yathA-] te ccia suhaA te ccia sappurisA te jiaMta jialoe| vodrahidrahammi paDiA taraMti je ccea helAe // 1.5 // 1. Please see note on p. 102. 2. Ms. wrongly reads NahaalAhi.

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svayaMbhUcchandaH (puurvbhaagH)| [ta eva subhagA ta eva satpuruSAH te jIvanto jiivloke| taruNIdrahe patitAH taranti ye eva helayA // 1.5 // ] [Fol. 2 B] haveMjaNasaMjoe pare vasesammi savihAsaM / [havyaJjanasaMyogexxx] goriraarealittaM jaM Asi piNAiNo mhlliNgN| aja vi NhavaNamiseNaM dhuai jaNo taM ca savisesaM // 16 // gaurIrajoretoliptaM yadAsIt pinAkino mahalliGgam / adyApi snapanamiSeNa dhAvati janastacca savizeSam // 1.6 / / ] chappaMcacautidualA chapacatadA pA[mmi paMca gnnaa| ehaM cia vocchaMtaM jaM hohi[i] rUaaM chaMde // 2 // [SaTpaJcacatusvidvikalAH chapacatadA pAde paJca gaNAH / etadevocyamAnaM yadbhavati rUpakaM chandasi // 2 // ] chapacatadA ahiuttassa jahA--[chapacatadAH abhiyuktasya yathA-] oTuuDubbhaDadalaM rala(sa)NAraohaM . ta(da)saNacchavikesaraM NaaNAlisohaM / mittappaDivohiaM unbhaTTaNi rehai varakAmiNIvaaNAraviMdaM // 2.1 // -araviMdao NAma chNdo| gaTadalaM rasanArajaoghaM dazanacchavikesaraM nayanAlizobham / .. mitrapratibodhitaM uddhRSTanidraM zobhate varakAminIvadanAravindam / / 2.1 // ] . cA aTTa khaMdhaaddhe uradA jhummi Na visame majjhaguruM / sattaddha gIiaddhe jANaha saMkiNNaatti dohimmi // 3 // [cAH aSTau skandhakArthe; udaradvimAtrau SaSThe, na viSame madhyaguruH / sArdhasata gItyardhe; jAnIta saMkIrNakamiti dvayoH // 3 // ] khaMdhao pavaraseNassa [skandhakaH pravarasenasya] te viralA sappurisA je abhaNaMtA ghaDaMti kjaalaave| thoa cciA te a dumA je amuNiakusumaNiggamA deti phalaM // 3 // [te viralAH satpuruSAH ye abhaNantaH ghaTayanti kAryAlApAn / stokA eva te ca drumAH ye ajJAtakusumanirgamAH dadati phalam // 3.1 // ] gIi bhI [ Fol. 3 A] ruNo jahA [gItiH bhIroH yathA] 1. Ms. reads cchapaMcacauttidualA. 2. Ms. reads NiggaA.

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svayaMbhUcchandaH (puurvbhaagH)| 105 hA hiaa kiM visUrasu rUaM daTTaNa parakalattANa / pAveNa Navari lippasi pAvaM pAvihasi taM Na pAvihasi // 3.2 // [hA hRdaya kiM khidyase rUpaM dRSTvA parakalatrANAm / 'pApena kevalaM lipyase pApaM prApsyasi tAM na prApsyasi // 3.2 // ] saMkiNNa(NaM) kanhadattassa [saMkIrNa kRSNadattasya] - appijjau jaNaasuA aNuNijjau rAhao patteNa / AaDiacAavarA jAva Na nivaDaMti dujjaA rAmasarA // 3.3 // [argyatAM janakasutA anunIyatAM rAghavaH prayatnena / AkRSTacApavarAt yAvanna nipatanti durjayA rAmazarAH / / 3.3 // ] gIa(i) ccia uvagII lahuNA chaTTeNa ekkeNa / punvaddheNuggII gAhA saMbhavai pacchimaddheNa // 4 // [gItireva upagItiH laghunA SaSThena ekena / pUrvArdhena udgItiH gAthA saMbhavati pazcimArdhena // 4 // ] uagIi NiuNassa [upagItiH nipuNasya] jAo harai kalatto(taM) vacto bhoaNaM harai / atthaM harai samattho puttasamo verio Natthi // 4.1 // [jAto haraMti kalatraM vardhamAno bhojanaM harati / artha harati samarthaH putrasamo vairI nAsti / / 4.1 // ] ugI(ggI)i sAlAhaNassa [udgItiH sAtavAhanasya] - thaNadohaDie bharai va bAlA laaannnnslilohN| ramaNAlavAlaNiggaaromAvalivallari vva siMcei // 4.2 // [stanadvighaTyA bibhartIva bAlA lAvaNyasalilaugham / ramaNAlavAlanirgataromAvalivallarImiva siJcati // 4.2 // ] gAhA cchaillANa jahA [gAthA chekasya yathA] garuaM thaNANa bhAraM daTTaNa kisattaNaM ca majjhammi / bhaggaNabhaeNa vihiNA diNNo romAvalIkhaMbho // 4.3 // [gurukaM stanayorbhAraM dRSTA kRzatvaM ca madhye / bhaJjanabhayena vidhinA datto romAvalIstambhaH // 4.3 // ] [ Fol. 3 B] tigaNavirAmA pacchA; jA punvaddhammi puvapacchA sA / ___ pacchaddhe parapacchA; avirAmA bhaNNae viulA // 5 // 1 Ms. reads uagIi.

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106 svayaMbhUcchandaH (puurvbhaagH)| [gAthAdividhiH [trigaNavirAmA pathyA; yA pUrvArdhe pUrvapathyA saa|| pazcArdhe parapathyA; avirAmA bhaNyate vipulA // 5 // ] paccha(cchA) bhoiassa jahA [pathyA bhoginaH / yathA] paurajuANo gAmo mahumAso jovvaNaM paI tthero| . juNNasurA sAhINA asai(I) mA hou kiM marau // 5.1 // [pracurayuvako grAmo madhumAso yauvanaM patiH sthaviraH / surA svAdhInA asatI mA bhavatu kiM mriyatAm / / 5.1 // ] puvvapacchA caMdaNassa jahA [pUrvapathyA candanasya yathA] suhaa gaaM tuha virahe tissA hiaaM paveviraM ajja / karicaraNacappaNucchaliathoatoaM piva disAsu // 5.2 // [subhaga gataM tava virahe tasyA hRdayaM pravepamAnamadya / karicaraNamardanocchalitaM stokaM toyamiva dizAsu // 5.2 // ] parapacchA pAlittassa jahA [parapathyA pAdaliptasya yathA] vaNamahisajUhasaMbhamau kaddamuppIlabhamiamINaulaM / AsaNNasosabhIaM huvai va jIaM talAassa // 5.3 // [vanamahiSayUthasaMbhramAt kadamotpIDabhrAntamInakulam / AsannazoSabhItaM bhavatIva jIvitaM taDAgasya // 5.3 // ] viulA tassea [vipulAM tasyaiva] AAsatalAe Nimmalammi ppphullcNdkmlmmi| miamahuaracaraNavihaDiassa va jonhArao phurai // 5.4 // [AkAzataDAge nirmale praphullacandrakamale / mRgamadhukaracaraNavighaTita iva jyotsnArajaH sphurati // 5.4 // ] gurumajjhagoarehiM bIacautthesu savvacavalA saa| puvaDhe x x x x // 6 // [gurumadhyagocarAbhyAM dvitIyacaturthayoH sarvacapalA saa| * pUrvArdhe x .xxx // 6 // ] [Foll. 4 and 5 are missing.] [Fol. 6 A]-vassa [-vassa] icchuma koaMDaM saaM aNaMgo silImuhA pupphmaa| taha vi hu vidhai maaNo NiuNaM cia NiravasesaM pi jaNo(Ne) // 7.1 // 1. Ms. reads saMmmau. 2 Is it vihaDiammi?

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5.1-8.4] svayaMbhUcchandaH (puurvbhaagH)| 107 [ikSumayaM kodaNDaM svayamanaGgaH zilImukhAH puSpamayAH / tathApi khalu vidhyati madano nipuNameva niravazeSamapi jane // 7.1 // ] . gAhA[e] puvvaddhe do do vaiMti jai caAraMsaMA imo gAho / u-vi-ava-sama-uapuvo mAlAgAhovva sesehiM // 8 // [gAthAyA pUrvArdhe dvau dvau yadi cakArAMzakA ayaM gAthaH / ud-vi-ava-sama-upapUrvaH mAlAgAtha eva zeSaiH // 8 // ] gAho suraseNassa [gAthaH surasenasya] pmnnpddiphapaaavnnihsnnchippNtthorsuhcheabhrianlinnuddaa| pijjaMta patthiehiM dhuttIaharamba dhuttehiM // 8.1 // [pavanapratiprahatapAdapanigharSaNaspRzatsthavirasukhachedabhRtanalinapuTAH / pIyante pathikaiH dhUrtA-adhara iva dhUtaiH // 8.1 // ] uggAho laDahasahAvassa [udgAtho laTabhasvabhAvasya] addadacaMdaNuppaMkapaMkaaM mukkckkkppuursurhisNjoggkuNkumaaleo| tisa tA Dahai sarIraM visaharavisadosadaTTho vva // 8.2 // [AdrAcandanapaGkapaGkajaM muktAcakrakapUrasurabhisaMyogakuGkumAlepaH / tasyAstAvaddahati zarIraM viSadharaviSadoSadaSTamiva / / 8.2 // ] viggAho i tassea [vigAthastasyaiva]-- kesarikisorakharaNaharapaharaNiddaliamattakarikuMbhapIDha parigaliadhavalamuttAhalujalAvaavo / [Fol. 6 B] thaNavaTTasaMThio suhaa tIa hAro Na sohAi // 8.3 // [kesarikizorakharanakharaprahAranirdalitamattakarikumbhapITha parigalitadhavalamuktAphalojjvalAvayavaH / stanapRSThasaMsthitaH subhaga tasyA hAro na sukhayati // 8.3 // ] avagAho tassea [avagAthastasyaiva] - calacaliavijjulAvalaasajalajalahararasaMtaparimukka __ thoradhArAsarohajajariavirahiNIhiaa hotsNtaao| mA saMtAvehi samaM NisaMsa NavapAusaM gaMtuM // 8.4 // [calavalitavidyudvalayasajalajaladhararasatparimuktasthavira__ dhArAzaraughajarjaritavirahiNIhRdayaM bhavatsantApam / mA saMtApaya samaM nRzaMsa navaprAvRSi gatvA / / 8.4 // ] saMgAho tassea [ saMgAthastasyaiva]1 Ms. reads caAraaMsaA. 2 Ms. reads auvvo. 3 Ms. reads suhacchea.

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108 svayaMbhUcchandaH (puurvbhaagH)| [gAthAdividhiH 8.5trlaalivlaclclnncaalnnucchittmaalilulNtprimlaaattttsuprighuttttvianitturaaraavmorpaarddhtNddvaarNbhe| AraMbhasi Nikkiva pAusammi kiM gamaNaaM taMsiM // 8.5 // [taralAlivalayacalacaraNacAlanotspRSTamAlatIlolaparimalA kRSTasuparighoSitaniSThurArAvamayUraprArabdhatANDavArambhAyAm / Arambhase niSkRpa prAvRSi kiM gamanaM tasyAm // 8.5 // ] urvagAho tassea [upagAthaH tasyaiva] disidisi pasaraMtaccia loddhaM gaMdhuddha bhalabhamaMtabhamarabhamarohapaura primukkklalugghossNmsNghaaasigghghummviaphiannigyore| NigghorapakkhiNo je vi te i gharavAvaDA hoti // 8.6 // [dizi dizi prasarat xxx lodhrgndhordhvvihvlbhrmddhbhrbhrmraughprcurprimuktklkloddhosssmyksNghaatshiighrghuurnnitpthiknirdye| nirdayapakSiNo yepi te'pi gRhavyApRtA bhavanti / / 8.6 // ] mAlAgAho NiuNassa [mAlAgAyo nipuNarasa] [Fol. 7 is missing.] 2. galitakajAtiH [Fol. 8A] ppaaru paDhamaaiM // mAomANamohakalikAmakohamaaharisaloha rsruuagNdhpmuhpnnsvis| kevalaNimmamA NaujjoaNA a taalokamaMDaNA ___ hoa majjha gnnirvsesvisaN||1.1|| [mAyAmAnamohakalikAmakrodhamadaharSalobha rasarUpagandhapramukhapaJcaSaSTiviSayam / kevalanirmamA nayodyotanAzca trailokyamaNDanAH ___ bhavata mama gataniravazeSaviSayam // 1.1 // ] taccia docaArarahiaM gaAraNihaNaM bhaNNaM(NaM)ti kira muddhgliaaNti||2|| [tadeva dvicakArarahitaM gakAranidhanaM bhaNanti kila mugdhagalitakamiti // 2 // ] taM viaDDassa [tadvidagdhasya] 1Ms. reads uggAho. 2 This is mAlAgalitaka: last two lines only.

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galitakajAtiH 1-5] * svayaMbhUcchandaH (pUrvabhAgaH ) maha marhidamauDamaNikiraNavAridhArAhisittauha ekka mAraviMdaM niruamadeha dittiduttarataraMgiNINha viasaalagaha pakkamAraviMdaM / miliatiloaloaloaNabhamaMtamattAlipaMtiparipIarUakamalaM paramasirippao (ho) haohAmiaahiNavadevaloadullAha alabbhakamalaM // 2.1 // [namata mahendra mukuTamaNikiraNavAridhArAbhiSiktobhayakramAravindaM nirupama dehadIptidustara taraMgiNIsna pitasakalagrahacakramAravRndam / militatrilokalokalocanabhramanmattA lipaGkiparipItarUpakamalaM paramazrIprabhaughatiraskRtAbhinavadevaloka durlabhAlabhyakamalam // 2.1 ||] puNaravi docaAra rahiaM gaAraNihaNaM uggagaliaaM // 3 // [punarapi dvicakArarahitaM gakAra nidhanaM umragalitakam // 3 // ] uggagaliaaM vaDhamittassa [ ugragalitaM vRddhamitrasya ] - ari bhaMguravalAsasaMdoha samaravelAsa ke valaMte maharathigaareNa rAmeNa saMdhimicchAmi kevalaM te / hari harigaNa ma bhIru maameva [Fol. 8 B] taM ca kiraNAvilo mahAsI rAma samaavihaMti sama hohi taM ca kira NAvi lomahAsI // 3.1 // X X X X [ x X X X X X X X X X X x // 3.1 // ] mottUNa DaMDaAI khaMdhaajAI ca aNNarU AI | jAI cia jamiAI tAaM cia hoMti galiAI // 4 // [muktvA daNDakAn skandhakajAtiM ca anyarUpANi / yAnyena yamitAni tAnyeva bhavanti galitAni // 4 // ] paMcaMsasArahUe bahu[la]tthe lakkhalakkhaNavisruddhe | ettha saaMbhucchaMde galiaajAI parisamattA // 5 // [ paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayaMbhUcchandasi galitakajAtiH parisamAptA // 5 // ] 109 3. khaJjakajAtiH / jamaaparivajjiAI pAavisuddhAI sarisacalaNAI | ia galiaakhaMjAI bhaNiAI taha a NiuNehiM // 1 //

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110 svayaMbhUcchandaH (pUrvabhAgaH) - [khaJjakajAtiH[yamakaparivarjitAni pAdavizuddhAni sadRzacaraNAni / iti galitakakhAni bhaNitAni tathA ca nipuNaiH // 1 // ] khaMjaammi tajuaM ticaArA taguruNo a||2|| [khanake tayugaM tricakArAH trimAtragurU ca // 2 // ]. khaMjaaM suddhasahAvassa [khaJjakaM zuddhasvabhAvasya] taruNamittakarapharisapahiaaibohieNaM __ amaalolaloaNaphulaMdhualohieNa / daMtapaMtichavikesaraaharadalullaeNa muddhieN araviMdeNa va harasi ma(mu)hullaeNa // 2.1 // * [taruNamitrakarasparzaprathitAtibodhitena amadalolalocanabhramaralobhitena / dantapaGktichavikesarAdharadalavatA mugdhike aravindeneva harasi mukhena // 2.1 // ] khaMDaM ccpgnnk(k)aN||3|| [khaNDaM cacapagaNakRtam // 3 // ] khaMDa siriharisaevassa [khaNDaM zrIharSadevasya] kusumAuhapiadUaaM maulAvaMte cuua| siDhiliamA [NaggahaNao vAyai daahinnpvnno||] 3.1 // [Foll. 9 and to missing. [Fol. II A] -dhuttiramiaM raullaaM // duaiccia uMaMtaekkalahuvihINA kAmalehA / [dvipayeva upAntaikalaMghuvihInA kAmalekhA // 4 // ] kAmalehA tassea [ kAmalekhA tasyaiva] mANiNi dujaNehiM aliaM cia majjha kaAvarAhA muddhasahAvaA a avaresiri taM aNiluttakohA / . calaNaMtaTThiassa Namirasa(ssa) vi mAi bhaNaMtaassa dijjai se muhammi hasiUNa piAe piAraviMdaM // 4.1 // [mAnini durjanaiH alIkameva mama kRtAparAdhA mugdhasvabhAvA ca xxx tvaM anivRttakrodhA / caraNAnte sthitasya natasyApi mAtarbhaNataH dIyate'sya mukhe hasitvA priyayA priyAravindam // 4.1 // ] 1 Ms. reads uaaMta.

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111 1-7.1] svayaMbhUcchandaH (pUrvabhAgaH) mAgahaNakkuDIa chavare caucA(ca)sAe sattamadahamalaAe gurutta[a]aMtAe // 5 // [mAgadhanaovyAM SaNmAtrapramukhAH ctvaarshcturmaatraaH| saptamadazamalaghukAyAM gurutrayAntAyAm // 5 // ] mAgahaNakuDDaA vimalassa [mAgadhanakuTI vimalasya ] esa pieNa laggaghaNakaddavagattAe naliNimuNAlavaNNasasisaNNihadADhAe / parasuNidiNNakaNNa aimaMtharalIlAe Nia NitaNNuA x x asaI kuvarAhAe // 5.1 // [ xx xx xxx x ___x x x 4 // 5.1 // ] uaNihaNammi duANNa lahuNo jai nakkuDaaM // 6 // [ upanidhane dvau laghU yadi narkuTakam // 6 // ] NakkuDaaM ubbhaDassa [ narkuTakaM udbhaTasya ] ajjaM cia gaotti ajaM [ fol. II B ]cia raNaraNao ___ jatto cia Niemi tatto cia ghnnghnno| lhasai sudiDhaaraM pi kaa NImIbaMdhaNaaM __dUbalabAhiAhiM saMThAi Na kaMkaNaaM // 6.1 // [adyaiva gata iti adyaiva raNaraNakaH yata eva pazyAmi tata eva ghnghnkH| lhasati sudRDhataramapi kRtaM nIvIbandhanaM durbalabAhukayoH saMtiSThate na kaGkaNakam / / 6.1 // ] NihaNauaMta be ca paragA smnnkuddaN||7|| [nidhanopAntyau dvau cakArau paragau samanaoTakam // 7 // ] samaNakkuDaaM aMjeNiuttassa [samanarkuTakaM aJjaniputrasya ] NahamaNimohajAlaavaNaddhadharAvalaaM nniruamdehdittivinnibhinndisaavlaN| muhahariNaMkakaMtijiasUrasasI tamiNaM Navaha mahApurANapurisaM puraevajiNaM // 7.1 // 1 sattamadahamalahuae~ ? 2 Ms. reads viNibhiNNa. "

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112 vayaMbhUcchandaH (pUrvabhAgaH) . [khaJjakajAtiH[nakhamaNimayUkhajAlAvanaddhadharAvalayaM nirupamadehadIptivinirbhinna dizAvalayam / mukhahariNAGkakAntijitasUryazazinaM tamimaM, namata mahApurANapuruSaM purudevajinam / / 7.1 // ] aMtimaeNa teNa tivihaM pi trNg|| 8 // [antimena trimAtreNa trividhamapi taraMgakam // 8 // taraMga sAgarassa [taraMgakaM sAgarasya] kassa piae karaviraho a suhAavahao ko samaraMgaNe visamao prduusho| eANaM gaeNa ko jAi aNNattamo piakarassa vi so ka(pha)risao viraho a imo // 8.1 // [kasya priyake karavirahazca sukhAvahaH kaH samarAGgaNe viSamaH paraduHsahaH / eteSAM gatena ko yAti anyatamaH priyakarasyApi sa sparzaH virahazcAyam // 8.1 // ] taM NihaNAhie... .. [tannidhanAdhike...] [Fol. 12 is missing.] , [Fol. 13 A] -aNko|| pagaNapamuhA sA ahiakkharA ccia cittalehioM // 9 // [pagaNapramukhA sA adhikAkSaraiva citralekhikA // 9 // ] cittalehio aMgAragaNassa [citralekhikA aGgAragaNasya] aDaaNA patthai a caMdahaabhaNa ammi ettiaM __ jonhiA pasaraMNi(ti)a tuha dIhaM jaNei kitti| jaM mahaM piaamapahaM bharehiM rasiaMdhaAraaM chiNNasIsa haAsa taM paDicchi suhimuTThipaharaaM // 9.1 // [xxxx prArthayati ca candrahatakaM bhaNa amb etat jyotsnAprasaraM pazya tava dIrghA janayati kIrtim / . yanmama priyatamapathaM xxxx chinnazIrSa hatAza taM pratIccha suhRnmuSTiprahAram // 9.1 / / ] dopaArapamuhA ahiakkharA ccea hoi malliA // 10 // [dvipaJcamAtrapramukhA adhikAkSaraiva bhavati mallikA // 10 // T Ms. reads cce. 2 Ms. reads caMdalehiA. 3 Ms. reads caMdahazra bhaNa..

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3. 7.1-13] svayaMbhUcchandaH (puurvbhaagH)| 113 malliA saMgamittassa [mallikA saMgamitrasya ] . jattha gAmasImA pautthavaia vva dIhasAsiA pikkakalamakeArA saroruhaANNavAsiA / pamaNavihuadumadiNNakusumapabbhArabhariapaMthaA __ gaMdhaluddhaphulaMdhuAulA hoMta pahiasatthA // 10.1 // [ yatra grAmasImAH proSitapatikeva dIrghazvAsikAH pakkakalamakedArAH saroruhaxxvAsitAH / pavana vidhutadrumadattakusumaprAgbhArabhRtapathAH gandhalubdhabhramarAkulAH bhavanti pathikasArthAH // 10.1 // [Fol. 13 B] paDhamabIacautthapaArasaMju bhaNaMti dIviraM // 11 // [prathamadvitIyacaturthapakArasaMyuktA bhaNanti dIpikAm // 11 // ] dIviA caMdaNasya [dIpikA candanasya] sAmalaMgi tujjhANaNiMduNA viNijjio miaMkao ___ harasiraM samullINao vi majjhae jalANa jhiinno| NahasiriM paraM saMbharaMta[a]o iha puNo samAgao paNhiappaDimaAcchaleNa pAesu a esu paDiao // 11.1 // ] [zyAmalAGgi tavAnanendunA vinirjito mRgAGkaH haraziraHsaMlInopi madhye jalAnAM kSINaH / namaHzriyaM paraM saMsmaran iha punaH samAgataH yANipratimAcchalena pAdayozcaitayoH patitaH // 11.1 // ] savAo saMbhamaMti jai taM bhaNaMti lcchiaN||12|| [sarvAH saMbhavanti yadi tAM bhaNanti lakSmIm // 12 // ] lacchI pahaMjaNassa [lakSmIH prabhaJjanasya.] - hA haTTa ApaesANa paDio cittaavaDao . ___ hA kuTTimabhUmiANa a kusmcchlnnavccho| . hA gharagirisiharaANa vaNalacchI(cchi)kelahaatao .. hA haTTao purAhivasalaM suddhaAla maNimau(U)rao // 12.1 // [x x x x x // 12.1 // ] paMcaMsasArahUe bahulatthe lakkhalakkhaNavisuddhe / ettha saaMbhucchede khaMjaajAI parisamattA // 13 // I Ms. reads paNhiapaDimAcchaleNa,

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114 (zIrSakANi svayaMbhUcchandaH (puurvbhaagH)| [paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayambhUcchandasi khaJjakajAtiH parisamAptA // 13 4. zIrSakANi duguNo jai olNbo| bajjhai gII [Fol. 14 A] nihnno|| duaIkhaMDa bhaNaMti / taccea tahA chailA // 1 // [dviguNo yadyavalambakaH / badhyate gItinidhanakaH // dvipadIkhaNDaM bhaNanti / tadeva tathA chekAH // 1 // ] duaIkhaMDaM siriharisadevassa [dvipadIkhaNDaM zrIharSadevasya ] kusumAuhapiaaaM / maulAvaMto cuuaaN| siddhiliamaanngghnno| pAvai dAhiNapamaNao // viasiavulaasoao| icchiapiaammelo|| plivaalnnasmttho| tammaha juaiisttho|| ia paDhama mahumAso jaNassa hiaAi~ kuNai muaaii| pacchA vidhai kAmo laddhappasarehiM kusumabANehiM // 1.1 // [kusumAyudhapriyadUtakaM / mukulayaMzthUtakam / zithilitamAnagrahaNo / prApnoti dakSiNapavanaH // . vikasitabakulAzokaH / iSTapriyatamamelanaH / pratipAlanAsamarthaH / tAbhyati yuvatisArthaH // iti prathamaM madhumAso janasya hRdayAni karoti mRdUni / pazcAdvidhyati madano labdhaprasaraiH kusumabANaiH // 1.1 // ] tahA ahimANaiddhassa [tathA abhimAnacihnasya] pddibhggsuurpsraa| rhsucchlNtmehaa| upphullkNdliaae| viasiasiliMdhinivehae // ulhasiatiasacAvaA / uggaNtnnNkurullaa| jAA pAusakAlae / ukaMThulA divsaa|| ulliareNusuaMdha vAe [Fol. 14 B] agghAiammi kuviANa / vialiamANabharAo AaranaMTAvio hiaaao:||1.2|| [prtibhgnsuuryprsraaH| rabhasocchalanmeghAH // utphullakandalike / vikasitazilIndhranivahe // ullsittridshcaapaaH| udgatatRNAGkurAH / / jAtAH prAvRTkAle / utkaNThAyutAH divsaaH|| 1Ms. reads nivahaAe. 2 Ms. drops a from this word.

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4. 1-4] svayaMbhUcchandaH / ArdrakRta reNusugandhe vAte AghAte kupitAnAm / vigalitamAna bharAt x x x x hRdayAt // 12 // ] paDhamaM ca duaiA puNo pacchA bajjhai gIiA / esA hoi duhaMgiA aNNA vi jahicchiA (a) rUaehiM // 2 // [ prathamaM ca dvipadI punaH pazcAd badhyate gItikA / eSA bhavati dvibhaGgikA anyApi ca yathepsitarUpaiH // 2 // ] duhaMgiA ahimANaiddhassa [ dvibhaGgikA abhimAna cihnasya ] - ghaNamaaraMdabiMduNi (NI) saMdiradalamiliAraviMdabhA pupphahoabhasala gocchacchavavacchasa mucchalaMtabhA / mAhavamA ammi hialicchiakusumAliddhagaMdhaA avvo duvviaDDha kaha hohisi sAhasu mahurulluA uDDhaNdulasIlAo uTTaMta paDaMta vivihakusumapasuM vAhI tuha hiaaM aNavaraabharataassa vepaNa // 2.1 // [x X X X X // 2*1 // ] ahavA arAassa [athavA vAkpatirAjasya ] - thaNadiNNagaruacaMda paMguakkhamaNaMsasesumAsaha - bhara kuMciamauasiho cakkalio tIa romaMco // vialiammi X X X [Fol. 15, 16 and 17 are missing.] [Fol. 18 A] X // 2.2 // --loTTathiramahurapa apAavakajjAddaaddaddasAlavAhaNanareMda saMsaggacauramajaMtaluddhamarahaTThasuMdarI thorathimiathaNavaTTasaMThiuddhucchalaMtasAsalahaladdipaMkohapIvarulhasi atarala kaMThAumAli AcalataraMgaraMgaMtara haaMmmi puli // 3.1 // X kAlAnurUassa [ tatkAlAnurUpasya ]-- 115 X X [x X // 3.1 // ] mAlAgaliaA avasANaammi caAraA doNi doNNi vaDDhaMti visamasaMkhAe~ saMThiA jai havaMti kira visamasIsaaM taM // 4 // [mAlAgalitakapAdAvasAne caturmAtrau dvau dvau vardhate viSamasaMkhyayA saMsthitau yadi bhavanti kila viSamazIrSakaM tat // 4 // ]

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116 - svayaMbhUcchandaH (pUrvabhAgaH) [zIrSakANi 4.4.1jo gajaMtamattamAaMgatuMgadaMtaggiNihasaNucchaliamaNisilA valaNapellaNuvvImahAbharakaMtamukkahukkArakUraNaghaNA [ Fol. 18 B] hikoakaalggijaalmaalaavliikaa(k)aamuulviulsihro| jo karikara ubhauviNiggaMtamaasarIsottasittatima(mma)takuMjasaMghAa khollacikkhillalolalolaMtakolaulaviMda(da)dADhamiaMkasasi maUhamaNipajjharaMtaaNaiNivahabhariapamaNakuharao // jo gaMdhavahavihuakaMkellimalliAtilaabaulacaMpaapiaMgu puNNAbhaNAaparigaliakusumaparimalamilaMtalolAlivalaajhaMkAra[bha]maNaruMdena miliagaMdhavvamihuNapAraddhagearammo / jo aMacchiaMchuhAmuhamahAguhAgAhagahiagaagattamottibhataNINisAsaavasasamucchaliadhavalamottAvaliacuNNaM vaNNaM dsnn-||4.1|| [yo garjanmattamAtaMgatuGgadantAgranigharSaNocchalitamaNizilA valanapreraNo:mahAbharAkrAntamuktahuMkArasphuraNa... kopakAlAmijvAlAmAlAvalIkRtAmUlavipulazikharaH / yaH karikaraubhayatoviniryanmadasarIsrotaHsiktArdIbhUtakuJjasaMghAtagADhapaGkalolalulatkolakulavRndadaMSTrAmRgAGkazazimayUkhamaNiprakSarannadI nivahabhRtapavanakuharaH / yo gandhavaha vidhutakaMkelimallikAtilakabakulacampakapriyagupunnAganAgaparigalitakusumaparimalamilallolAlivalayajhaMkAra bhramaNavistIrNena militagandharvamithunaprArabdhageyaramyaH / yaH x x x x x x // 4.1 / / [Foll. 19 to 31 are missing. ] 5. maagdhjaatiH| [Fol. 32 A] [kuvalaa] sejjA pNkukkheo| dAhiNamAruao kappUraM __ ahiaM virahe Dahaha sarIraM // 1.1 // [ kuvalayazayyA potkSepaH / dakSiNamArutaH karpUraH adhikaM virahe dahati zarIram // 1.1 // ] mattAsamaaM NamamalaAraM // 2 // [mAnAsamakaM navamalakAram // 1 // ]

Page #160
mAgadhajAtiH 5.5] svayaMbhUcchandaH (pUrvabhAgaH) mattAsamaaM aMgAragaNassa [mAtrAsamakaM aGgAragaNasya - pecchaha papphulliasAhArA / rattAsoA kisalaasArA / NimiA dhavalA aruNacchAA maaNaharaMmi va dhaasaMghAA // 2.1 // [prekSadhvaM praphullitasahakArAH raktAzokAH kislyshaaraaH| . nimitA dhavalA aruNacchAyAH / madanagRha iva dhvjsNghaataaH||2.1||] tico urago vANavAsiAe // 3 // [tRtIyazcaturmAtraH udaragaH vAnavAsikAyAm // 3 // ] vANavAsiA tassea [vAnavAsikA tasyaiva]-- tuha suhaa vioasijjhamANA gttmvtthodsaavsaannaa| chAA jAA paNaTTadehA lahUi ahiNavasasaharalehA // 3.1 // [tava subhaga viyogakSINA . chAyA jAtA pranaSTadehA laghvI abhinavazazadharalekhA // 3.1 // ] uju paMcamaTThamA visaloe // 4 // [RjU paJcamASTamau vizloke // 4 // ] visaloA bandhudattassa [vizloko bandhudattasya] surakarikaolamadalAlasao avsesvsibddhaalso| dhuakamalareNuparipiMjarao ruNaruMjai naliNaI mahuarao // 4.1 // [surakarikapolamadalAlasaH avazeSavasatibaddhAlasaH / dhutakamalareNuparipiJjaraH Akrandati nalinAni madhukaraH // 4.1 // ] sattamaNamamalahUNAM cittA // 5 // [ x x x citrA // 5 //

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118 mAgadhajAtiH 5.5.1 svayaMbhUcchandaH (puurvbhaagH)| cittA laliasahAvassa [citrA lalitasvabhAvasya] mottAvali taha sa(su)maNoharae / jissA pariNavA paoharae / tissA tua virahaammi hiartha gocchillarasalilaamva hiaaN||5.1|| [muktAvaliH tathA sumanohare yasyAH pariNamati pyodhre| tasyAstava virahe hRdaya goSpadasalilamiva hRtam // 5.1 // ] NamamagurU jai sA u [Fol. 32 Bj acittA // 6 // [navamaguruyadi sA upacitrA // 6 // ] ___ uacittA devaNAhassa [upacitrA devanAthasya] , ghaNamAlA amarAuhapaMtI vijjuliA sblaaaapNtii| Najai maaNamarIakaAo viviharaaNaraMgAvaliAo // 6.1 // [dhanamAlA amarAyudhaprAntAH vidyut sabalAkApaGktiH / jJAyate madanaxxx kRtAH vividharatnaraGgAvalyaH // 6.1 // ] paMcaMsasArahUe bahulatthe lakkhalakkhaNavisuddhe / ettha saaMbhucchaMde mAgahajAI parisamattA // 7 // [paJcAMzasArabhUte bahulArthe lakSyalakSaNavizuddhe / atra svayaMbhUcchandasi mAgadhajAtiH parisamAptA // 7 // ] 6. uktaadividhiH| ia khaMdhaapamuhANaM jAINaM [lakkha]lakkhaNaM sittuN| eNhI uttAiNaM sAhijaMtaM NisAmeha // 1 // [iti skandhakapramukhAnAM jAtInAM lakSyalakSaNaM ziSTam / idAnIM uktAdInAM kathyamAnaM nizAmayata // 1 // 1 Ms. adds sa before satila. .

Page #162
uktAdividhiH 6.4.1] svayaMbhUcchandaH (puurvbhaagH)| uttAI rUaAI chavIsaMtAI ekkpmuhaaii| saalalahUguruAI caukkamAI vI(vi)samiaaddhAiM // 2 // ] [uktAdirUpakANi SaDviMzatyantAni ekapramukhAni / sakalalaghugurUNi catuSkramANi vizrAntArdhAni // 2 // ] ekkakkhareNa uttaM, aiuttaM dohiM, majjhimaM tiihiN| hoi caUhiM paiTThA, supaiTTA paMcavaNNillA // 3 // [ekAkSareNa uktaM, atiuktaM dvAbhyAM, madhyamaM tribhiH / bhavati caturbhiH pratiSThA, supratiSThA paJcavarNayutA // 3 // ] uttaM koUhalassa [uktaM kautUhalasya]-- mo| mo| go / jo // 3.1 // aiuttaM vasuevassa [atyuktaM vasudevasya] vIraM / devaM / vaMde / NiccaM // 3.2 // [vIraM devam / vande nityam / / 3.1 // ] majjhimaM bharahassa madhyamaM bharatasya] manno| virahe / ahi| Dahai // 3.2 // [mdno| virahe / adhikaM / dahati // 3.2 // ] aNNaM ca suddhasIlassa [anyacca zuddhazIlasya] vallahA / gehiNI / jassa so| dhnnnno||3.3|| [vallabhA / gehinI / yasya saH / dhanyaH // 3.3 // ] tahA bharahassa [tathA bharatasya] akesaa| vigosaa| smaao| va deo // 3.4 // paiTThA viaMDDhassa [pratiSThA vidagdhasya]-- Na labbhae / ghnntthnnii| x x x // 3.5 // [na labhyate ghanastanI / xxx // 3.5 // ] [Fol. 33 is missing.] [Fol. 34 A] do gA titA guruttarA / NArAa[a]ssa aNsaa| [dau gurU trayastrimAtrA gurUttarAH / nArAcakasyAMzakAH // 4 // ] NarAo laDahasahAvassa [nArAco laTabhasvabhAvasya] * duvAraverivAraNA / dukkbbhmNtcaalnnaa| NArAaciNNakuMbhaA / vaccaMti kevi kuMbhiA // 4.1 //

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120 khayaMbhUcchandaH (pUrvabhAgaH) [uktAdividhiH [duravairivAraNAH / daukitabhrAntacAraNAH / nArAcabhinnakumbhAH / vrajanti kepi kumbhinaH // 4.1 // ] ukkame samANiatti // 5 // [utkrame samAniketi // 5 // ] samANiA aMjiNiuttassa [samAnikA aJjaniputrasya] mINajAlavaTiAI / suurrssbohiaaii| mattachappaAulAI / peccha bhIru pNkaaii||5.1|| [mInajAlapArthitAni / sUryarazmiboSitAni / mattaSaTpadAkulAni / prekSasva bhIru paGkajAni / / 5.1 // ] . cittavaA ticaaraa| puvamuhaMgagaArA // 6 // [citrapadA tricakArAH / pUrva-mukha-aGga-gakArAH // 6 // ] cittavaA ubbhaDassa [citrapadA udbhaTasya] tattadharAharakuMjare / gholai kiMsuasAhA / tanhaiassa girissa / NIsariA iva jIhA // 6.1 // [taptadharAdharakuJjare / gholati kiNshukshaakhaa| tRSitasya gireH / niHsRteva jihvA / / 6.1 // ] aMtamuhatAilahU / te cautA mANavaaM // 7 // [anta-mukha-anta-Adi-laghavaH / te catvArastrimAtrAH mANavakam // 7 // ] mANavaaM aMgAragaNassa [mANavakaM aGgAragaNasya]-- peccha ghaNANaM gahaNaM / lolabalAADasaNaM / patthiasatthaggasaNaM / kAlamuhaM vA kasaNaM // 7.1 // [prekSasva ghanAnAM gahanaM / lolabalAkAdazanam / pathikasArthagrasanaM / kAlamukhaM vA kRSNam / / 7.1 // ] vihaiA barahiNassa [bRhatikA bahiNaH]-- kusumiA kalaMmullA / ramaNiA durehullA / [Fol. 34 B] parimalAhaa(A) mucchiA / mahialaM gaA patthiA // 8.1 // [kusumitAH kadambakAH / gujitA dvirephkaaH| parimalAhatA mUchitAH / mahItalaM gatAH pathikAH // 8.1 // ] uttaraMtatimuhala [A] / tA imA [a] halamuhiA // 9 // [uttara-anta-tri-mukha-lAH / trimAtrAH iyaM ca halamukhI // 9 // ]

Page #164
6.4.1-12.1] svayaMbhUcchandaH (puurvbhaagH)| halamuhiA jIvaevassa [halamukhikA jIvadevasya] taM si thorathirathaNiA / majjhaammi pannuiaa| putti vacca mauaaraM / jhatti bhaMjihasi gaMvaraM // 9.1 // * [tvamasi sthavirasthirastanI / madhye pratanukA / putri vraja mRdukataraM / jhaTiti bhakSyase kevalam // 9:1 // ] lahuguruachaAraMsA / bhuaasisusiA [vuttA] // 10 // [lahugurukaSaNmAtrAMzA / bhujagazizusRtA uktA // 10 // ] [bhuaasisusiA] haradattassa [bhujagazizusRtA haradattasya] bhamasi paaNuA ajjhe / guruathaNaharaM mjhe| . kaha vahasi paatteNaM / tivalidharaNagaveNaM // 10.1 // [bhramasi pratanvI Arye / gurukastanabharaM madhye / kathaM vahasi prayatnena / trivalIdharaNagarveNa // 10.1 // ] paMtiA aMgAragaNassa [paGktikA aGgAragaNasya] savvakAla vaDDheI Neha __ patthiaM a(su)gottaM sudehoN| vallahaM viDDhaM cirAusaM taM ghare Na sabvasa(ssa) mANusaM // 11.1 // [sarvakAlaM vardhayati sneha prArthitaH sugotraH sudehaH / vallabho vidagdhazcirAyuH sa gRhe na sarvasya manuSyaH // 11.1 // ] gaddhI laddhI gurujualaMtA esA chande kira uNa mattA // 12 // [gAH abdhayaH lAH abdhayaH guruyugalAntAH eSA chandasi kila punarmattA // 12 // ] mattA NiuNassa [mattA nipuNasya] vAsAratte NavaghaNamajjJa ___ lolaM vijjUvalaamuajjhe / gimhamhAduppavaNavibhI [Fol. 35 A] mehANaM vipphurai va jiiaN|| 12.1 // 1Ms. reads NavaraaM. 2 Ms. reads baDhai, 3 Ms. reads viaDDhaaM. 4 ms. reads Nakiraula mattA.

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122 [uktAdividhiH svayaMbhUcchandaH (puurvbhaagH)| [varSArAne navaghanamadhye lolaM vidyudvalayamupadhyAyAmi / grISmoSmaduSpravanavibhItaM meghAnAM visphuratIva jIvitam / / 12.1 // aMtaujjuA cuttaaraa| ga(aM ca morasAriNI[e] // 13 // [bhante-RjukAH catustrimAtrAH gadvayaM ca mayUrasAriNyAm // 13 // ] morasAriNI suddhasIlassa [mayUrasAriNI zuddhazIlasya] mattakuMjaroaseviAI __ aNbuvaahjaalghttttiaaii| caMdasUralaMghaNUsuAI peccha bhIru vijhasiMgaAI // 13.1 // [mattakuJjaropasevitAni ambuvAhajAlaghaTTitAni / candrasUryalaGghanotsukAni prekSasva bhIru vindhyazRGgakAni // 13.1 // ] gA svvvruttrvNkaa| tA puvvalahU uaciTThioM // 14 // [gA xxx bhavarottaravakrA to pUrvalaghU ca upasthitA // 14 // ] uacitti(TThi)A suddhasIlasya [upasthitA zudbhazIlasya]-- diTuMgaaNaM sabalAhaaM vijju(jU)phuriaM suracAvoM / sAhINapiANa vi jAaA ukaMThulaA divasullA // 14.1 // [dRSTaM gaganaM sabalAhakaM vidyutsphuritaM suracApakam svAdhInapriyANAmapi jAtAH utkaNThAyutAH divasakAH // 14.1 // ].. puvsmttaaiigurucNsaa| doNNi gaArA rUavaI sA // 15 // . . Ms. reads lahU a acittiA ..

Page #166
123 6.12.1-17] svayaMbhUcchandaH (puurvbhaagH)| [pUrvasamastAdiguravaH cAMzAH dvau gakArau rUpavatI sA // 15 // ] rUavaI aMgAragaNassa [rUpavatI aGgAragaNasya]-# * caMdaNacaMdujjoapasaNNA koilakappUruppalavINA tAI jaNANaM deti suhAI paMthisu jAANaM asuhAI // 15.1 // [candanacandrodyotaprasannAH kokilkrpuurotplviinnaaH| tAni janAnAM dadati sukhAni mArgeSu yAtAnAM asukhAni / / 15.1 / / ] cA cattAri paNaapAammi gA sanvAiNihaNaaMgaMmi // 16 // [cAH catvAraH paNavapAde gAH sarva-Adi-nidhana-aGgeSu // 16 // paNao tassea [paNavaH tasyaiva] mAaMdA NavakusumuttAlA sohaMte prhuashaalaa| pArArAva [Fol. 35 B] aruaruMduggA paMcesUsavasuaNucchaMgA // 16.1 / / [mAkandAH navakusumottAlAH zobhante prbhRtshbdaanvitaaH| pArAvataravaxxx paJceSUtsava xxxx // 16.1 // ] paMcaMsA cavarA smuddtaaH| svaaiinnihnnNtpaargaaH|| . jIe suddhavirADiA imA chade sacajaNAbhirAmiA // 17 // [paJcAMzAH cAgrAH samudra-tAH srv-aadi-nidhn-ant-paar-gaaH| yasyAH zuddhavirATikA iyaM undasi sarvajanAbhirAmA // 17 //

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[uktAdividhiH svayaMbhUcchandaH (puurvbhaagH)| suddhavirADiA koaMDassa [ zuddhavirATikA kodaNDasya] vAsArattarauddarAiNA deiNdaauhcaavpaanninnaa| vijjUbhImaNabhallibhiNNa kaMdaMtaM paDai vva abbhaN||17.1|| [varSArAvaraudrarAjena devendraayudhcaappaanninaa| vidyudbhISaNabhallibhinnaM krandat patatIva abhrakam // 17.1 // ] tiTThihiA vAavvA [triSTum vktvyaa]| doha[a]aM cagaNehiM cuuhiN| puvamuhAisamattagurUhi // 18 // [dodhakaM cgnnaishcturbhiH| pUrva-mukha-Adi-samasta-gurubhiH // 18 // ] doha[a] harauttassa [dodhakaM haraputrasya] peccha surAhivacAluhieNa mehagaiMdasamAruhieNa // pANiathaMbhasarehiM saaNNo pAusaeNa Nihammai gimho // 18.1 // [prekSasva surAdhipacAruhitena meghagajendrasamArUDheNa / pAnIyastambazaraiH satRSNaH prAvRSA nihanyate grISmaH // 18.1 // ] paMca tA lahuttarA gasesaA erisA jiseNiAa aMsaA // 19 // [paJca trimAtrAH laghUttarAH gazeSAH / IdRzAH nizreNikAyAH aMzakAH // 19 // ] jiseNiA suddhasIlassa [niHzreNikA zuddhazIlasya] paMthiANa jIvaaM khuDaMtiA pavvaANa matthoM dlNtiaa| siMcaNa vva jIhiA lulaM [Fol. 36 A] tiA peccha bhIru vijjalA vlNtiaa||19.1||

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6.17.1-22] svayaMbhUcchandaH (puurvbhaagH)| [pathikAnAM jIvakaM kSapayantI parvatAnAM mastakaM dlyntii|| xxxx jihvA lolamAnA prekSasva bhIru vidyud valantI // 19.1 // ] savAI aMtaguruviraiA do chA caMtA bhamaravilasitA // 20 // [sarva-Adi-anta-guruviracitA dvau SaNmAtrau cAntau bhramaravilasitA // 20 // ] bhamaravilasiA caMdauttassa [bhramaravilasitA candraputrasya] vAsAratte NavaghaNavala lIlAlo psriajl| keNeaM kajalamasibhariaM ullatthaM khapparamiva dhariaM // 20.1 // [varSArAtre navadhanavalayaM lIlAlolaM prasRtajalam / kenedaM kajalamaSIbhRtaM uttAnaM kharparamiva dhRtam // 20.1 // ] sAgaAe~ tajuaM cajuaM ca / uttaraMtagavaraMtaguruM ca // 21 // [svAgatAyAM tayugaM cayugaM ca / x x x x x // 21 // ] sAgaA a sAmalaevassa [svAgatA ca zyAmaladevasya]-. peccha vijjulaiApahapaMtI kAlamehapariaMta bhmNtii| daDDhasesagirisANupae vva diTTaNaTThajalaNAvalia vva // 21.1 // [prekSasva vidyullatApathapaGktiH kAlamehaparyante bhrmntii| dagdhazeSagirisAnupada iva dRSTanaSTajvalanAvalikeva // 21.1 // ] uttaraMtalahuNo ti aMtagA tA taIacagaNA rahuA // 22 //

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126 [uktAdividhiH svayaMbhUcchandaH (puurvbhaagH)| [uttara-anta-laghU trayo'ntagAH trimAtrAH tRtIyacagaNAH rathoddhatA // 22 // ] rahuddhaA laDahasahAvassa [rathoddhatA laTabhasvabhAvasya] aMtarikkhagharamajjhaArae kAlamehabahalaMdhaArae / peccha gaMdhavahae viaMhalA dAraassa sasia vva pijjulA // 22.1 // [antarikSagRhamadhye __ kAlameghabahalAndhakAre / xxxx xxx vidyut // 22.1 // ] kira saalamuhAipuncalA papara ti tagaNA suhaddiA // 23 // [kila sakala-mukha-Adi-pUrva-lAH / pagaNopari trayastrimAtrAH subhadrikA // 23 // ] [ Fol. 36 B] suhaddiA pommaNAhassa [subhadrikA padmanAbhasya] ua harai miaMkalehiA __nnvjlhrkoddilggiaa| siannlinnimunnaalvnnnniaa| NahapalaavarAhadADhiA // 23.1 // [pazya harati mRgAGkalekhA nvjldhrkottilgnaa| sitanalinimRNAlavarNikA nabhaHpralayavarAhadaMSTrikA / / 23.1 // ] sanvaMtouragA gurudaraM ca / cho cA doNNi tamAha ekkarUaM // 24 // [sarva-anta-udara-gAH gurudvayaM ca / SaNmAtraH cakArau dvau tadAha ekarUpam // 24 // ] ekkarUaM tassea [ekarUpaM tasyaiva ]-- uddho ogaasuddhao suhoo rttaasoannvll[pllvoho| saNNei vva uNaddhamUpi daDDhe ettAho iha hoha muttasoA // 24.1 //

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6.22-27] svayaMbhUcchandaH (puurvbhaagH)| [x x x . raktAzokanavInapallavaudhaH saMjJApayatIva x x dagdhAn adhunA iha bhavata muktazokAH // 24.1 // ] vAummIe ticaArA pagA a| savvAsesaMtagurU majjhalo a // 25 // [vAtomyAM trayazcakArAH pakAro gshc|| sarva-azeSa-antaguravaH madhyalazca // 25 // ] vAummI aMgAragaNassa [vAtormI aGgAragaNasya] bAlA dovattharae saMjaehiM . kaMThAdAmaM calaaM pAraddhaehiM / pecchucchAhe phaliNIgocchapahiM ' kAahAre raiaM toraNehiM // 25.1 // [x x x x // 25.1 // ] do caMsA do paMsaA gaavsesaa| paMcaddhA cee lahU sAliNI sA // 26 // [dvau cAMzau dvau paziau gaavshessau|| xxxx zAlinI sA // 26 // sAliNI pommaNAhassa [zAlinI padmanAbhasya] NIrelANaM vArivArAlasANaM pAsuDDINA dI-* 1 Ms. reads ticaAra pagaA. 2 Ms. reads majjhaloarA. * Hereafter we have four stray folios which contain portions of the remaining part of the work. I have given the variant readings from these on p. 128.

Page #171
VARIANT READINGS FROM THE PALM LEAF MS. (in chs. I, 2, 4 and 8 of svayaMbhUcchandaH) ch.1 v. 68 b paDhamA gurulahuNiraMtarA tattha; c taddiuNA uNa sesA0; 69 b havaMti for huvaMti; c evaM taduuNaNe ca; 70a chavvIsA for savvIsA; b eAraha for sattAraha; c bAAlIsaha lakkhabha; 7I a jaaeva; b jai for jaiM; d seavapamuhA Namicchati; 72 a lahutagaNajua0 caMDaviTTI parekkakkavaDDIe aNNaNNaanvAlajImUta; 72 caMDaviTTI caMdaassa; 73a ia caMDaviTTipamuhAM; 74a paAroparA for paArA parA; jastha icchAe0 caMDavAlotti0; 75 paAroparA for paArA parA; puvalA pA jadicchAe. sIhasakkaMtaNAmo; 76a puvalA jattha icchAe for puvalA pA jahicchAi; 77a chaArAhiM for chaArAhi; icchAe for icchAi3B caMDaveAhiMhANo; for * hihANo; 78 a addhapA for sabvapA; icchAe for icchAi; lItaaro for lIlAaro; 79 a havaMti for huvaMti; 8o a jahIM havaMti for jahiM huvaMti; so a [soa for sA imA asoa, maMjaratti for maMjaritti; 81a sattacaAra for sabvacaAra; 82 a tagurU for dugurU; 83a muhujjU for muhajjU, jahicchAe for jahicchAi3; 84a savvattha for savvatta; tti in kAmabANotti is dropped; 85 We have only uttAivihI parisamatto for the stanza. Ch.2 ____v. I c iha veavaIe paaddha; d dohaaa jui bIacauttho; 2 b ua for uva; 4b duavisaMbiaaM i jai sesae; c sIMjuaM for saMjuaM; d kaiaNe aNiaM hariNuddhaaM. Ch.3 ___v. 6 b pauvia for pacuvidha; cd A suddhavirADiA tahiM; paDhamagaNaviraimiNamAvasahaM taM; 7a aMgaA for aMsaA; c lahuvaNNa vaNNAo; 8a taM for vattaM; b saarA for sAgarA; c cavalA hoi vattaM ca; 10 a bahubheA for caubheA; II b sohalaM for sorahaM; d cauraddhaM for cauruddhaM; 12 b jassa for jattha; c pacchAvIlU ; d AvIlU jattha NihaNammi; 13 b palaTTai a jattha maMjarI esA; c taiaeNa for taieNa: d dhAratti for dhAretti; for v. IA we have only prAkRtasAraH samAptaH, ___Ch.4 v. I pAaassa for pAuassa; b lakkha is dropped; c ettAvanbhanse; 2 b havaMti for huvaMti; d kAanvao aArA vi; 3 beNNi for biNNi; b havaMti; for huvaMti; 5a coddaha paDhamataiacalaNe; c duhaau for duvaha[a]; ettaau for ettalau; d hoi avabhaMsatthe; 6a teraha paDhame taiae; c uvaduhaalakkhaNaM [iNaM]; d hoi avabhaMsatthe; 7 b sesesu coddahA hoti; c jANijjaha for jANijjuha; d avaduhamalakkhaNaatti; '8 Na muhaMtasamattagurU; e avarimANa for apurimANa; 9 a pAe bIe muhacautthammi; b paDhamaMcaa for paDhamaM cia; gaNa for gaNu; d taiae tialaMsae; jira for kira; 10 b gaNa for gaNu; e tA for taM; kariNI for kariNi; II a jA a for jA vi. ___ Ch.8 v. 20 b duaI for duvaI; d chaDDiNiA vi paDillA; 21 a sIjuttaM for saMhuttaM; b muNasu for suNasu; d sattatAlaM have kavvaM; 22 b kavvaMca for kavvammi; c tahiM rUvehiM a raiaM; d titAlaM taM muNejjAsuH 23 a chaMdorUvehiM behiM jualaM; b a for ca; c bhave for huve; d cakkasamaM tIa jehiM tu; 24 b paddhaDiAhiM ca aNNarUvehiM; cd raDDAbaMdhau kavva jANa maNaahirAmau hoi; 25 a ekkavisamattANihANu uddAmagiru; b coddasA vissAma thAu maNaviraha thiru; c samiddha evaM for samichu eud tikala for tiala; aimahuraaru for a[]mahuraaru.

Page #172
rAjazekharakRtaH chndHshekhrH| [In the following pages I am publishing again only the fifth chapter of Rajasekhara's Chandassekhara because this alone is at present available. The only MS. of this chapter written on palm leaves, exists at the Bada Bhandar of Jesalmir in Bundle No. 238. A copy of this was procured and presented to me by Muni Sri Jinavijayaji of the Bharatiya Vidya Bhavan with his usual kindness and generosity. The MS. consists of pp. 44 to 51 only, the first 43 pages which contained the earlier chapters being untraced at least for the present. Dalal's Catalogue does not mention this MS. among the other MSS. on Prosody in Bundle No. 238 and it is very likely that it was not there originally. Our MS. is 124 x 19 inches in size; each page. contains 6 lines, and each line contains on an average 60 letters. One or more letters put within the brackets in the following edition represent the correct form of the corresponding number of letter or letters immediately preceding the brackets. Like Hemacandra and Svayambhu, our author uses the terms Sa, pa, ca, ta. (always written as in my copy but corrected to a by me) and in his definitions to represent groups of 6, 5, 4, 3 and 2 Matras, respectively. The copy, evidently following the MS., always writes for and sometimes drops an obvious Visarga. I have corrected both mistakes, but otherwise I have tried to follow my copy faithfully. Letters in rectangular brackets are suggested additions.] paJcamo'dhyAyaH / dviguNo yadyavalambakaH / kriyate gItinidhanako dvipadIkhaNDaM tadA vadanti budhAH // 1 // prathamaM badhyate dvipadikA pshcaadgiitirvircyte| eSA dvibhaGgikA bhavedanyAstu yathepsitaiH rUpakaiH syuH // 2 // yadyavalambakasya mukhato dvipadI nidhane'tha gItikA / puurvaacaarysmiiritaa| eSocyate tribhaGgikA tvaparAH prAhuryathepsitaiH rUpakaiH // 3 // pathyA(zcA)rdhavarjitaM gAthasyAryA(dyA), tu vardhate svecchayA cakAragaNaiH pAdeSu caturSu yadi samairevAMzaiH sarvaistAntaiH kathitaM tatsamazIrSakam // 4 // mAlAgalitakakramAnte yadA cakAragaNakA dvivRddhayA bhavanti sarve gaNAH viSamasaMkhyayA sthitA viSamazIrSakaM tat // 5 // kiM lakSaNena bahunA yatkriyate kimapi khaJjakaM dIrgham / tacchIrSakamiti kathitaM dvipadIkhaNDAni sarvANi // 6 // -zIrSakaprakaraNam / yatprAkRtasaMskRtayoH sAraM tasyAtra lakSyalakSaNaM gaditam / prAyo'topabhraMze samucyamAnaM nizRNuta saMkSepeNa // 7 // utsAhe SaDajacAH zikhISTo(pvo)stu yo(jo) lanau vA // 8 // 1 Ms. has samAsaritA. 2 Ms. has yathepsitarUpaiH.

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130 chandaHzekharaH yujInA ayuji manumAtrAH / dohako dvipathako vA // 9 // ayujoH kramayordvAdaza / caturdaza yujyu ( jya) padohake // 10 // yujotrayodaza yujostu / dvAdazA (zo) padohaka iti // 11 // paJcahayaH sarvamAtrAH syuH / tricakArAstatra yujoH // viSamapAdeSu triSu pau cadau / tRtIyapaJcamayoryadi / pAdayormadhyadastRtIyacaH // 12 // dvitIyacaturthatadubhayAMhiSu / prathamapazcayoryadA syAt / tadayAdikA mattabAlikA / mattamadhukarI tadvat / tRtIya trikalaye (ke) Su bhaNyate // 13 // paJcame caraNe tRtIye vA / dvayorathavA mukhe cau / tadayAdikA mattavilAsinI / atha yatra ya (pas) tridhA'pi / syAt tadvadiyaM mattakAriNI // 14 // yA vimitraiH sarvarUpaiH syAt / sA bhaNyate bahurUpA / bhavedAsAM dohako'nte tu / raGgaiSA vastvathavA / bhavati prasiddhanavacaraNA // 15 // cau cadau caraNeSu vadanakam // 16 // pacau catau syAtAmupavadanake // 17 // Sacalada [la]capai (SairvastuvadanakaM kArpeTikoktiSu // 18 // utsAhArthe'munA caiva vaNThenotsAhAdirbhuvi / bandibhiH paThyate yadyat tattadvadanakaM viduH // 19 // vadanakaprabhRteH kramayoryamake'ntage maDilA / mithazcaturSu punaH krameSu sA syAdiyamaDilA // 20 // unmAnArtha saMbaddhairdoha kA yaiH prahelikA / hRdgatArthairbhavedvarNaiH zUnyaistu hRdayAlikA // 21 // dhavalanibha (bhe) na pumAnvarNyo / yasmAttasmAdavalam / tadaSTaSaTcaturaMhi mataM / pAdeSTAMhau tricadAH // AdyatRtIye; tricAH / dvitIyaturye; caut // paJcamasaptamake tu / SaDA (Da)STabhe dvau caut // 22 // [ zIrSakotsAhAdi: dhavale chandasi SaTcaraNe / jJeyau pAdau / prathama caturthI gaNaSadagaNaiH / dvitIyapaJcamau tu cAbhyAm / tRtIyaSaSThe / SAbhyAM Sa (ca) gaNaH syAd pagaNo vA // 23 // caturaMhau dhavale syAtAm / SaDvidhai ( SadvicairmukhatRtIyau caraNau / dvaitIpyI (yI) katuryacaraNe / SadvicakArAd bho (to) vA do vA // 24 // ayujozcara[Na]yAH (yoH) SakhatAH / yujoH bacau bhramare // 25 //

Page #174
5.9-40] tathAhi chandaH zekharaH maGgalArtharacitaM yacchandastadbudhaiH / bahumaGgalamA(mi) [tyA] khyAtaM tatrAdyayoH // kramayoH SatricakArAzcAH paJcAparayostu / catvAro'pyaMhRyastu tAntA dAntA vAsya // 26 // utsAhahelAvadanADilAdyairyad gIyate maGgalavAci kiMcit // tadrUpakANAmabhidhAnapUrvaM chandovido maGgalamAmananti // 27 // tairaiva dhavalavyAjAtpuruSaH stUyate yadi / tadvadeva tAneko dhavalo'pyabhidhIyate // 28 // dhruvo'ntAdyoH prayogo'syAH kAvyasandhidhviti dhruvA / SaTpadI caturaMhizca dvipadI ceti sA tridhA // 29 // dazAdikalAH / munidazAntAH / tRtIyaSaSThakramayorbhaveyuH // SaTpadIyaM / zeSAMhiSu tu / saMptASTanavadhA mAtrAH krameNa // 30 // SaTpadajAtau / mAtrA bhavanti / sapta pAdacatuSTaye // upajAtau syuH / mAtrA aSTau / avajAtau nava smRtAH // 31 // - utsAhAdiprakaraNam // saptAdyAH kalAH / dazAdibhiryutAH / pratyekamaSTadhA bhUtvA // SaTpadIM kuryuH / chandaHzekhare / caturviMzatibhedAM dhruvam // 32 // ghattA athavA chaDDuNikAH / chandovidbhiH procyante / yadi caH padyArdhayoH puraH / mAtrAdhiko (kau) tRtIyAMhI // nAnAbhyUyAyudhaistathA // 33 // catuHpadyastannAmAnaH / prathamadvitIyacaturthaSaSTe / kalA kalAstRtIyapaJcame ca / trayodazaiva chaDaNI // 34 // - SaTpadIjAtiprakaraNam // antarArdhasame sarvasameti tri (tri) catuSpadI | tulyaujA tulyayugmAMhistatrAntarasamA bhavet // 35 // (o) je sapta sameSTAdyA mAtrAH saptadazAvadhi | dazaiva syuH kramAd bhedAstathAMhivyatyayAdapi // 36 // viSame sapta / yuji caraNe'STau // kalA bhavanti / campakakusume // 37 // kramavyatyaye / sumanoramA // 38 // (o) je sapta / same caraNe nava // lakSaNamidaM / kila sAmudrake // 39 // pAdavyatyaye / paGkajaM syAt // 40 // 131

Page #175
132 chandaHzekharaH [zIrSakotsAhAdiHasame sapta / daza mAtrA dvicdaiH| same caraNe / malhaNakasya matAH // 41 // caraNavyatyayataH / kuJjaraM vada // 42 // viSame sapta / yujyekAdaza kalAH / vadanti budhAH / atra subhagavilAse // 43 // caraNaviparyaye sati / madanAturaH // 44 // sapta viSame / dvAdaza same kesaram // 45 // asya caraNavyatyaye / bhramarAvalI // 46 // saptAsame / dvitIyaturye tryodsh| ' lakSaNamidaM / gaditaM rAvaNamastake // 47 // caraNaviparyAsato vada / paGkajazrIH // 48 // saptAyujoH / samayozcaraNayozcaturdaza / prAridaM / siMhavijRmbhitaM nigaditam // 49 // asya caraNe(Na)viparyaye sati / kika(ti)NIM vada // 50 // saptaujayoH / yujoH paJcadaza makarandikA // 51 // kRtibhiruktA kuGkumalalitA / viparyayeNa // 52 // bhayuji girayaH / yugme SoDaza madhukaralalitam // 53 // pAdavyatyaye zazizekharaM / kRtI jagAda // 54 // bhayuji munayaH / same'tra caraNe saptadaza maatraaH| etallakSma / campakasumAvarte prakathitam // 55 // lIlAlayaH padaviparyaye sati / catapadairiti // 56 // munikalakrame bhedA viMzatir / dviprakAre // 57 // aSTaujayornavAdyAstu yujoH sptdshaantikaaH| mAtrAH pAdaviparyAsAdeSASTAdazadhA bhavet // 58 // bhaSTau viSame / nava mAtrAH sme| catuSpadIyaM / maNiratnaprabhA // 59 // vada candrabhA(hA) saM / calano(raNo)tkrameNa // 60 // viSame'STa yuji / dazai kuGkumatilake // 61 // gorocanA matA / padavyatyaye // 62 // ayuji krame'STa / yujyekAdaza kalAH / dhIraibhANi / campakakesaro'yam // 63 // 1 Ms. has caraNavyatyayaH. 2 Ms. has munikulotkrame. 3 Ms. has trayodaza.

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5.41-92] 133 chandaHzekharaH kusumabANamidaM syAt / kramaviparyaye // 64 // oje'STa kalAH / yuji ravayaH krIDanakam // 65 // mAlatIkusumaM bhavet / kramotkrame sati // 66 // oje'STa yuji tu / bakulAmodastrayodaza / / 67 // nAgakesaraM pragaditaM / kramaviparyaye // 6 // asame'STa yuji tu / caturdaza manmathatilakamiti // 69 // navacampakamAlA bhaNitA / pAdotkrameNa // 70 // ayujyatha(STa) yuji / paJcadaza tu mAlAvilasitam // 71 // caraNaviparyAsataH kriyate / vidyAdharo hi // 72 // ayujoraSTau / yujostu SoDaza puNyAmalakA // 73 // kramavyatyayena kRtaM kavinA / kubjakakusumam // 74 // oje'STa yuji tu / saptadaza navakusumitapallavasya // 75 // pAdaviparyaye kusumAstaraNaM / pAde'STakale // 76 // . trividhaiH padapataidvirbhedAMzca / kathayASTAdaza // 77 // navaujayordazAdyAstu yujoH saptadazAvadhi / viparyastAhireSApi bhedaiH SoDazakaiH sthitA // 78 // sumalayamAruto / navAyuji yuji tu daza // 79 // madhukarIsaMlApaH / iti pAdotkrame // 8 // navauje same tu / zivA madanAvAsaH // 8 // prokta(ktaH) sukhAvAsaH / pAdaviparyaye // 82 // masame nava same / dvAdaza ca maGgAlikA // 83 / / kukumalekhA gaditA / kramavyatyaye[na] // 84 // viSame nava same / trayodaza sAbhisArikA // 85 // kavinoktaM kuvalayadAma / calana(raNa)vyatyayAt // 86 // bhoje nava same / caturdaza kusumanirantaram / / 87 // kalahaMsakaM babhANa muniH / pAdaviparyayAt // 8 // ayujornava kalAH / yujoH paJcadaza madanodakam // 89 // madanodakacaraNavyatyayAt / sandhyAvalI syAt // 9 // navaujacaraNayoH / samayoH SoDaza candrodyotaH // 91 // kuJjaralalitAmacakathanmuniH / pAdavyatyaye // 92 // 1 Ms. has trayodaza. 2 Ms. has SaTpada dvidvidhaiH.

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chandaHzekharaH [zIrSakotsAhAdiHnava viSamayoH syuH / samayostu saptaza ratnAvalI // 93 // caraNavyatyaye kusumAvalIti / SatacapatatrayaiH // 94 // evaM trividhe navamAtre krame / SoDaza vibhedAH // 95 // evaM catuHpaJcAzadvastukAnyAhuH / / dazaujayoH kalAH kAryA yujorekAdazAdhikAH / yAvatsaptadazAtrApi prAgvadbhedAzcaturdaza // 96 // bhrUvakraNakamayuji / daza yuji tvekAdaza // 97 // caraNaviparyAsataH / vidyullatA matA // 98 // muktAphalamAlA / ayuji daza same dvAdaza // 99 // asyAH pAdorakrameNa / paJcAnanalalitA // 10 // kokilAvalI syAd / ayuji daza same trayodaza // 101 // marakatamAlA bhaNyate / calana(raNa)viparyayataH // 102 // madhukaravRndaM bhaNa / viSame daza same caturdaza // 103 // bhavedabhinavavasantazrIH / caraNaviparyayataH // 104 // syAsketakakusumaM / viSamayordaza paJcadaza yujoH // 105 // padavyatyayena manoharaM / vidvadbhirbhaNitam // 106 // navavidyunmAlA / viSame daza yuji SoDaza mAtrAH // 107 // bhAkSiptikA dhruvA / gItiH syAt pAdaviparyayeNa // 108 // trivalItaraGgakaM / viSame daza mAtrA yuji saptadaza // 109 // viparyaye sati kiMnaralIleti / Sapa(ca)dvipadvipa(ca)daiH // 110 // trividhadazakale pAde bhaveyuH // prabhedAzcaturdaza // 111 // ekAdazaujayormAtrA dvAdazAdyAstu yugmayoH / AsaptadazakA dA dvAdazAMhiviparyayAt // 112 // yokAdazauje / dvAdaza yujyaravindam // 113 // makaradhvajahAsA(saH) / caraNavyatyaye syAt // 114 // ayuji zivAstrayodaza / yuji vibhramavilasitamukham // 115 // pAdavyatyayato brUhi / kusumAkulamadhukaram // 116 // [bha]yuji zivakalA yuji vA(ca) / manavo navapuSpardheyeti // 117 // asyAzcaraNaviparyayeNa / bhramaravilAsamuktam // 118 // yuji paJcadaza viSame / zivA(vAH) kiMnaramadhuravilAsaH // 119 // 1Ms. has samayostrayodazadaza. 2 Ms. has gItismin. 3 Ms. has. kusumamkula0 4. Ms. has navapuSpAnviketi.

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135 5.93-145] chandaHzekharaH madanavilAso'yaM kathyate / calana(raNa)viparyaye sati // 120 // oje rudramAtrAH / yuji SoDaza vidyAdharalalitA // 121 // vyatyayena vidyAharahAsaH / chandovidbhirabhANi // 122 // ekAdaza viSa[ma]yoH / sAraGgo yujoH kalAH saptadaza // 123 // kusumAyudhazekharo viparyaye / capadadapacadvicataiH // trividhaikAdazamAtre pAde hi| bhedA dvAdazoktAH // 124 // mAtrAstrayodazAdyAH syuyujoH saptadazAvadhi / ojayordAdazaiveyaM dazadhAMhiviparyayAt // 325 // dvAdazauje trayodaza / kAminIhAso viSame // 126 // asya calana(raNa)viparyayeNa / bhavatIhopadohakaH // 127 // oje dvAdaza same ca / trayodazAvadohakamiha // 128 // avadohakapAdotkrame / dohako dvipathakaH [vA] // 129 // oje dvAdaza same'tha / paJcadaza tAH premavilAsaH // 130 // asya pAdaviparyaye kRte / proktA candralekhikA // 131 // asame dvAdaza mAtrAH / yugme SoDaza kAJcanamAlA // 132 // kAJcanamAlApAdotkrameNa / sutAliGganakaM bhavet // 133 // ojo(je) dvAdaza mAtrAH / same saptadaza jaladharavilasitA // 134 // calana(raNa)viparyaye kRte prAjJai- / rabhANi kaGkellilatA // 135 // tricaSacadadvipadacapataiH / caturvidhArkakalasa(pa)de dazadheti // 136 // trayodazaujayormAtrA yujoH saptadazAntikAH / caturdazAdikAH zeSAH pAdavyatyayato'STadhA // 137 // . abhinavamRgAGkalekhA tu / trayodazAyuji yuji manavaH // 138 // kusumitaketakI(ki)hastaH / asya pAdaviparyayeNa // 139 // trayodazauje paJcadaza / yuji sahakArakusumamaJjarI // 140 // 'anayozcaraNayorviparyaye / kuJjaravilasitaM kathitam // 141 // kAminIkrIDanakamayuji / kalAstrayodaza yuji SoDaza cet // 142 // . vidvadbhirakAri rAjahaMsaH / vyatyaye'nayoH pAdayoH // 143 // oje trayodaza munidaza / same kAminIkaGkana(Na)hastakaH // 144 // viparyaye pallavacchAyA bhavet / dvipatadvicapaSacatairiti / trividhatrayodazamAtrapAde'tra / kathitA aSTau prabhedAH // 145 // ....1 Ms. has kaGkelilateti.

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136 chandaHzekharaH [zIrSakotsAhAdiHcaturdazaujayormAtrA yujoH pnycdshaadhikaaH| bhAsaptadazakAt SoDhA bhavetpAdaviparyayAt // 146 // bhojayozcaturdaza yujostu / paJcadaza mukhapAlanatilakaH // 147 // padayoranayorvyatyaye sati / kRtibhirabhANyanaGgala[li]tA // 148 // asamayozcaturdaza smyoH| SoDaza mAtrA vasantalekhA // 149 // manmathavilasitaM budhaiH kathitaM / pAdaviparyayeNa kRtvA // 150 // madhurAlApinyA hastaH / viSame caturdaza same saptadaza // 151 // ohalhaNakaM vAraGgaDI vaa| caraNaviparyaye kRte sati // bhedAH SaT cturdshklkrme| dvividhe Sadvidabicaidairiti // 152 // oje paJcadazaiva syuryugmayoH SoDazAdikAH / mAtrAH saptadazAntAH [syAt prAgvadbhedacatuSTayam // 153 // yugmayoH paJcadaza kalAH syuH| samayoH SoDaza paGktirbhaNitA // 154 // caraNayorviparyayeNa kthitaa| kajalarekhA chando" bhavet / / 155 // kusumAtparaM latAgRhaM syAd / viSame paJcadaza same saptadaza // 156 // padaviparyayakRtaM kilikiMcitaM / tricagaNatagaNairathavA tripaiH // 157 // paJcadazamAtrapAde dvibhede| bhedacatuSTayamiha vada hanta // 158 // SoDazaivAyujormAtrA yujoH saptadazaiva tu / pAdavyatyayasaMyuktA dvidhaiSApi bhuvi dhruvA // 159 // SoDazaiva kalA viSame krme| saptadazaiva same rasnamAlA // 160 // zazibimbamutkrame ssoddshkle| pdvicdctushcairdvividhpde|| bhedau dvau padvicataistricapaizca / dvividhasaptadazamAtraH pAdaH // 161 // evaM dazottarazataM lalitAbhidhAna bhaidairihAntarasamArdhasamA'pi tadvat / kiM tu dvitIyacaraNaH prathamena tulya sturyastRtIyasadRzo'rdhasamAsu kaaryH|| 162 // . yathA : kivakannakaliMga prijiyaa| Thiya naravaha maannvivjiyaa|| na u koi ahiTThai aNiyavahe / kahi vahari jayadu(i)ho kana vahe // 163 // ityaadi| bhAsAM catuSpadInAM dvitricaturbhirlakSaNaiH ekatra mizritaiH sNkiirnnmissyte| yathA-: 1 Ms. has AdazakAtra. 2 Ms. has SaDvicitricadizati. 3 Ms. has tu. 4 Ms. has calaNavipa0. 5 Ms. has cchandaHzekhare. 6 Ms. has tripairgaNaiH. 7 Ms. has padvicataistucapaizca.

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137 -5:246189 chandaHzekharaH vAyAlA phalusA vindhnnii(nnaa)| guNahiM vimukkA prANahara // jima sajaNa dujaNa jaNa ure| tiva para(sa)ru na lahaMti sara // 16 // ityaadi| sarvaistulyakalaiH / pAdaiH sarvasamA // dazamAtrAbhizcaud / zazAGkavadanAyAm // 165 // maarkRtaujecpdaaH| yugmacaraNe dvicatAH // 166 // . pcdaistrickaarairvaa| mahAnubhAvAM vadanti // 167 // apsarovilasitaM bhavet / Sacataci[pa]gaNaistu vA // 168 // syurgandhodakadhArAyAM / padvicakArAstricadA vA // 169 // . tricatAH pAraNake 'tha SacapAH // 17 // SoDazamAtra(tra) pAdAkulakam // 171 // saMkulakaM bhavet SacagaNacadaiH // 172 // cagaNacatuSke sati paddhaDikA // 173 // tricagaNapagaNaiH SacagaNacatairvA / ragaDAdhruvakaM saptadazamAtram // 174 // sarvasamA dazadhaiSA kthitaa| catuSpadI prakaraNaM samAptam // 175 // iti / yasyAstulyakalau pAdau dvAveva dvipadI sA syAt // tatrASTAviMzatikalau pAdau saptacau laye staH // 176 // dazAGga(Ta)vicchinnaM dazavizrAntaM bhavati bhramarapadam // 177 // upabhramarapade'tra dazavasuvirate-pacapaJcadaiH kramau // 178 // .. ekonaitriMzanmAtraM garuDapadaM cAH SaT po munau // 179 // Adau SagaNaH saptamastagaNa upagaruDapadaM kathayanti // 18 // triMzanmAtrAbhiH sArdhasaptacau caraNau sto gItisamau // 11 // hariNIkulamiha pA(pA)caM hariNIpadamiti raviSasudazaviratam // 182 // paJcaSakArayutaM syAd bhramararutaM dazavasunidhanazrAntam // 183 // ekatriMzammAtrau calanau (raNau) pacatuSkacataiH kamalAkare // 184 // yo saptacakArA nidhanatakArA sA kuGkumatilakAvalI // 185 // dvAdazAhivicchinnA rasmakaNThikA; pA(SA)dyA pAntA zikhA / / 186 // dvAtriMzanmAtrau skandhakasamake pAdau vasucairdigahicchidi // 187 // mauktikadAmAkAri cchandovidbhiH sUryASTakaM virAmam / / 188 // caturdazAGga(Ta)dazavirAmaM kuzalaiMrgaditaM navakadalIpatram / / 189 // 1 Ms. has nyadAH. 2 Perhaps read oviMzatikaliko. 3 Ms. reads ekonaviMzatimAtrAM.

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138 chandaHzekharaH SagaNAce trayepi gAmle siM (svai) tannAmAni strIliGge syuH // 190 // AyAma trayastriMzanmAtrau pAdau saptaco (cau) pagaNAntau // 191 // dazavasutithivirataM kathayanti budhAzchandasi kAJcIdAmakaM tat // 192 // manvaSTazambhuvizrAntaM nipuNaiH kathitaM cUDAmaNimeva tat // 193 // dvAdazavasuvicchinnaM trayodazavirati kathitaM rasanAdAmakam // 194 // catvAryetAni SagaNapramukhAni laghugurvantAni vadedupAt // 195 // aSTacagaNaiH sagurvantaiH svapnake catustriMzanmAtrau pAdau // 196 // dvitIya Sau kumude bhavato dazava suSoDazavicchedayute // 197 // sUryASTaviratiyukte cagaNA aSTau sArdhA bhujaGgavikrAnte // 198 // idamapi bhArAkrAntaM dakSairuktaM mukhartuyauM yadi Sau bhavataH // 199 // adhyardhacASTakaM gaditaM tArAdhruvake manvaSTArkavirAme // 200 // manudiggaja sUrya virAmaM pavanadhruvakaM prathamaSaSThaSaTkalakam // 201 // sArdhASTacaM kalebhavirAmaM navaraGgakamiti vicakSaNaiH kathitam // 202 // triSakArAdi catuzcagaNAGkaM sthavirAsanamiha SoDaze bhadarza (za) yati // 203 // SoDaza kASThAgajadazavirataM saptacakAraM Sa[sa]ptamaM subhagam // 204 // kandoTTamaSTacaM tagaNAntaM paJcatriMzanmAnaM gaditaM budhaiH // 205 // SakAradvayAdyaM dazavasuvirataM bhramaradrutamidaM gaditaM kavinA // 206 // sUryASTatithivirAmaM chandovidbhiH pragaditamidaM surakrIDitam // 207 // manvaSTanidhana vicchinnaM kuzalairgaditaM jagati [hi] siMhavikrAntam // 208 // SoDazaviSadhararudravirAmaM kuzalairabhASi kuGkumakezaramidam // 209 // SaTtriMzanmAtrau pAdau navacagaNairbAla bhujaMgama lalitaM paThitau // 210 // sUryASTakalAvirataM cA (ca) turo'vAdIt triSakArAya (a) pagandhavaM bhuvi // 211 // caturdaza saMkhyA virataM diggaje tathA prAjJairgIta saMgItam // 212 // SoDazakASThAgajavizrAntaM kRtamupagItaM chandaH zAstravidagdhaiH // 213 // aSTAbhizcagaNaiH pagaNAntaiH saptatriMzanmAtrau pAdau gundalaH // 214 // dharmakiraNavizrAntaM dig[gaja ] virataM SAdyaM jJeyaM rathyAvarNakam // 215 // caturdazasaMkhyayA chinnA vasuvizrAntA paJcadazabirAmA cancarI // 216 // kalAviSadharanidhanavizrAntaM kathitamabhinavaM; saptame pagaNe carSelam // 217 // aSTAtriMzanmAtrAbhiH sAdhairnavacaiH pAdau manvibhasthiti dIrghakam // 218 // 1 Ms. reads svapanake. 2 Ms. reads mukhatrayau 3 Ms. has paThitau lalitau 4 Ms. has cacalam [zIrSakotsAhAdi:

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5.190-238] daH zekharaH chandaH kalekaNThirutaM prathamaM dviSakArapUrvakaM zatapatraM kathitaM muninA // 219 // yatSoDazASTacaturdazacchinnaM siMhapadaM, saptame SakAre tvamRtam // 220 // catvAriMzanmAtrAyAmekonAyAM niSNAto'kArSIdatidIrghakam // navasaMkhyacakAraistAntairmanuvizrAntaM vasuvicchinnaM saptadazaviratam // 221 // manvibha saptadazavirAmA dviSakArAdyA pUrvoktamapi mattamAtaGgikA // 222 // catvAriMzanmAtrAvekadvayadhikau vA pAdau mAlAdhruvake jAya ( ye ) te // 223 // taH paraM sUrayo dhruvakANi na yojayanti dvipadIprakaraNamidaM samAptam // 224 // - dvipadIdhruvANAM SaSTiH / vijJapti saMvidhAnakamaGgala siMhAvalokitArtheSu / dhruvakaM budhairvidheyaM tadUrdhvato dvipadikAH sarvAH // 225 // pAdadvayasaMyuktA ekAnekAkSarAntakRtayamakAH // caturAdikalAstriMzatprAntAH santi dvipadyo'nyAH // 226 // caH syAd | vijayA // 227 // po bhaved / revakA // 228 // syAd dvipadI - / gaNaiH SeNa // 229 // tau bhavataH / svaraidvipadI // 230 // pagaNagaNau / bhavato'psarAH // 233 // aSTakalAbhir / vasudvipadikA // 232 // cau makarabhujA // 233 // patavibhUSitA / madanavilasitA // 234 // gaNa (pa) gaNAbhyAM / kila jaMbhiSTikA // 235 // pacAbhyAM lavalI / dvipadIprakaraNam // 236 // ityAdi nyUAH / dvipadyaH prAjJaiH // 237 // yasyAsItprapitAmaho yasa iti zrIlAiTassvAryaka stAtaSThakkuraduddakaH sa jananI zrInAgadevI svayam | sa zrImAniha rAjazekharakaviH zrIbhojadevapriyaM chandaH zekharamAIto'pyaracayatprItyai sa bhUyAtsatAm // 238 // iti rAjazekharakRte chandaH zekhare zIrSakotsAhAdiSaT caturdvipadI dhruvakANi paJcamodhyAyaH // ityArhatazrIrAjazekharakRtaM chandaH zekharaM nAma chandaHzAstraM parisamAptamiti // saMvat 1179 jyeSThazudi 5 zukle adyeha zrIcitrakUTa mahAdurge prAkRtacchanda likhitamiti // 1 Ms. has kalakaNThIrutaM. 2 Ms. has dviSArapUrva. 3 Ms. has saptadazavirAmaM. 4 Ms. has hyataH . 5 Ms. has tadUrdhvaH. 6 Ms. has gaNavaNa. 7 Ms. has sacadvipadI. 8 Ms. hias paThati bhUSitA.

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I. INDEX OF MATRA VRITTA'S [N. B. The figures refer to the chapters and stanzas in the main text of the Svayambhucchandas. Those preceded by P. refer to the chapters and stanzas in the Purvabhaga of the work printed on pp. 103-127. Those preceded by R. refer to the stanzas of Rajasekhara's Chandahsekhara printed at the end of the Purvabhaga, on p. 129 and the following. The figures within the brackets indicate the number of Matras in each Pada in the case of the Sama Vsttas; two figures show the Matras in the odd and the even Padas respectively in the case of Visama Dvipadis and Ardhasama Catuspadis. Three figures within the brackets show the Matras in the three lines of each of the two halves of a Satpadi. Four or more figures similarly show the Matras in the four or more Padas in the Visama Vsttas. Y. indicates a Yati after the Matra or Matras given immediately after it. dvidvipadI; ca catuSpadI; pa = paJcapadI; Sa = SaTpadI; a = aSTapadI.] aGgadalalitA 6.55; R. 92 (16-9) dvi S. kuJjaralalitA aDilA R. 20 (16) c| atidIrghaka 6-170; R. 221 (39; Y.14.8) dvi anaGgalalitA 6.108; R. 148 (15-14) dvi .. apadohaka R. 10 (12-14) ca aparapathyA P. 15 (30-27) dvi apsaraHkusuma 6.153; R. 197 (34; Y. 10.8) dvi S. kusudana apsarA 7.73; R. 231 (7) dvi apsarovilasita 6.126; R. 168 (13) ca abhinava 6.166; R. 217 (37; Y. 16.8) dvi abhinavamRgAGkalekhA 6.98; R. 138 (13-14) ca abhinavavasantazrI 6.66; R. 104 (14-10) ca abhisArikA 6-48; R. 85 (9-13) ca amRta 6.169; R. 220 (38) dvi aravindaka P. 1.2.1 (20) ca aravindaka 6.74; R. 113 (11-12) ca avagAtha P. 1.8 (62-27) dvi avajAti 5.6; R. 31 (9.9.10 to 17) Sa avadohaka 4.7; 6.89; R. 128 (12-14)ca azokapallavacchAyA 6.105; R. 145 (17-13) ca S: pallavacchAyA - aSTapaddhavala S. dhavala AkSiptikA 6-70; R. 108 (16-10) ca AyAmaka 6-147; R. 191 (33) dvi AraMgaDI 6.112; R. 152 (17-14) ca S. ohulaNaka .. ugragalitaka P.2.3 (30) ca .. .. utsAha 4.4; R. 8 (24) ca

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INDEX OF MATRA VRTTAS 141 utthakka 8.19 (17) ca . udgAtha P. 1.8 (46-27) dvi udgIti P. 1.4 (27-30) dvi . upakAJcIdAma 6.151; R. 195 (33) dvi upagaruDapada 6.136%3 R. 180 (29) dvi. . upagandharva R. 211 (36; Y. 12.8) dvi upagAtha P. 1.8 (78-27) dvi upagIta R. 213 (36; Y. 16.9) dvi S. upasaMgIta upagIti P. 1.4 (27) dvi upacitrA P. 5.6 (16) ca upacUDAmaNi 6.151; R. 195 (35% Y. 14.8) dvi upajAti 5.5; R. 31 (8.8.10 to 17) Sa upadohaka 4.63 6.88; R. 11; 127 (13-12) ca upabhramarapada 6.134; R. 178 (28) dvi uparazanAdAma 6.151; R. 195 (33) dvi upavadana 4.12; 6.130; R. 17;174 (17) ca S. ragaDAdhruvaka upasaMgItaka 6.162; R. 213 (36; Y. 16.8) dvi S. upagIta upAyAmaka 6.151; R. 195 (33) dvi ohullaNaka R. 152 ca S. AraMgaDI kaGkaNahastaka 6.104; R. 144 (13-17) ca S. kAminIkaGkaNahastaka . kaGkelipallava 6.39; R. 75 (8-17) ca S. navakusumitapallava kaGkellilatAbharaNa 6.96%; R. 135 (17-12) ca kajalarekhA 6.114; P. 155 (16-15) ca kaDavaka 8.15 kadambaziras 6* 20; R. 56 (17-7) ca S. lIlAlaya kandoTTa 6.158; R. 205 (35; Y. 14.8) dvi kamalAkara 6.140; R. 184 (31) dvi karimakarabhujA 7.9; R. 233 (8) dvi S. makarabhujA kalakaNThIruta 6.168; R. 219 (38; Y. 14.8) dvi kalahaMsa 6.51; R. 88 (14.9)ca kAJcanamAlA 6.93; R. 132 (13 kAJcIdAma 6.148; R. 192 (33; Y. 10.8) dvi kAmalekhA P. 3.4 (27) ca kAminIkaGkaNahastaka R. 144 (13-17) ca S. kaGkaNahastaka kAminIkrIDita 6.102; R. 142 (13-16) ca kAminIhAsa 6.87; R. 126 (12-13) ca kiGkiNI 6.14; R. 50 (14-7) ca kinnaramadhuravilAsa 6.80; R. 119 (11-15) ca * kinnaralIlA 6.72; R. 110 (17-10) ca ...

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142 svayaMbhUcchandaH kilakiMcitaka 6.115; R. 157 (17-15) ca kuGakumakalA 6.46%3 R. 83 (9-12)caS. maGgAlikA kuGkumakesara R. 209 (35; Y. 16.8) dvi kuGkumatilaka 6.25; R. 61 (8-10) ca kuGkumatilakAvalI 6.141; R. 185 (31) dvi kuGkumalatA 6.16; R. 52 (15-7) ca kuGkumalekhA 6.47; R. 84 (12-9) ca kuJjara 6-6%B R.42 (10-7)ca kuJjaralalitA R. 92 (16-9) ca S. aGgadalalitA kuJjaravilasita 6-1017 R. 141 (15-13) ca kumuda R. 197 (34; Y. 10.8) dvi kunjakakusuma 6.38; R. 74 (16-8) ca kuravakadAma 6.49; R. 86 (13-9) ca S. kuvalayadAma kulaka 8.23 (group of 4) kuvalayadAma R. 86 (13-9) ca S. kuravakadAma kusumanirantara 6.50; R. 87 (9-14) ca kusumabANa 6-28; R. 64 (11-8) ca kusumalatAgRha 6.115; R. 156 (15-17) ca kusumAkulamadhukara 6-77; R. 116 (13-11) ca kusumAyudhazekhara 6.85; R. 124 (17-11) ca kusumAvalI 6.57; R. *94 (17-9) ca kusumAstaraNa R. 76 (17-8) ca S. puSpAstaraNa kusumitaketakIhasta 6.99; R. 139 (14-13) ca ketakIkusuma 6.67; R. 105 (10-15) ca kesara 6.10; R. 45 (7-12) ca kokilariJcholI 6.63; R: 101 (10-13) ca S. kokilAvalI. kokilAvalI R. 101 (10-13) ca S. kokilariJcholI krIDanaka 6.29; R. 65 (8-12)ca , khaJjaka P. 3.2 (23) ca khaNDa P. 3.3 (13) ca gaNadvipadI 7.5; R. 229 (6) dvi S. dvipadIgaNa gandhodakadhArA 6.127; R. 169 (14) ca garuDapada 6.135; R. 179 (29) dvi galitaka P. 2.4 ca (a general term) gAtha P. 1.8 (38-27) dvi gAthA P. 1.4 (30-27) dvi gIti P. 1.3 (30) dvi gItisamaka 6.137; R. 181 (30) dvi... gundala 6.163; R. 214 (37) dvi ti - -

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INDEX OF MATRA VkTTAS gondala S. gundala gorocanA R. G2 (10-8) ca S. tArAgaNA pattA 8.12 (9-14) ca pattA 8.13 (12) ca ghattA R. 33 Sa ghattA 8.14 (16)ca cakkalaka 8.24 (group of 4) caccarI 6.165%; R. 216 (37; Y. 14.8) dvi catuSpAda dhavala 4.19 (13-10) ca 8. dhavala catuSpAda candralekhikA 6.92%; R. 131(15-12) ca candrahAsa 6.24; R. 60 (9-8)ca candrodyota 6.54; R. 91 (9-16) ca capala 6.166; R. 217 (37; Y. 14.8) dvi . . campakakusuma 6.2; R. 37 (7-8) ca campakakusumAvarta 6.21; R.55 (7-17) ca campakakesara R. 63 S. campakazekhara campakazekhara 6.27; R. 63 (8-11) ca carcarI S.caccarI citralekhikA P. 3.9 (26) ca citrA R. 5.5 (16) ca cUDAmaNi 6.150; R. 193 (33; Y. 14.8) dvi. .: chaDDuNikA (1) 8.5 (14-12) ca , (2) 8.6 (10-13)ca . ,, (3) 8.7 (16-9) ca , (4) 8.8 (12-9) ca , (5) 8.9 (12-12-12-13) ca , (6) 8.10 (8-10) ca . " (7) 8.11 (10-8-13) Sa , (8) 8.11.2 (12-8-13)Sa ,, (9) 8.11.3 (12-8-12) Sa ,, (10) R. 33-34 (a general term) : jaMbheTTikA 7.11; R. 235 (9) dvi jaladharavilasita 6.95; R. 134 (12-17) ca taraMgaka P. 3.8 (21) ca tArAgaNA 6.26; R. 62 (10-8) ca S. gorocanA tArAdhruvaka 6.155; R. 200 (34; Y. 14.6) dvi tAla 8.21 S. note tIrthAnana 6.157 (35) dvi tritAla 8.22 S. note

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svayaMbhUcchandaH tribhaGgI (dvipadI + avalambaka + gIti) R. 3 S. also dvipadIkhaNDa trivalItaraMga 6.71; R. 109 (10-17) ca : dIpikA P. 3.11 (28)ca dIrghaka R. 218 (38; Y. 14-8) dvi. S. ratiramaNapriya . dohaka 6.90; R. 129 (14-12) ca S. dvipathaka dvipathaka 4.5; R. 9 (14-12) ca S. dohaka dvipadIkhaNDa (avalambaka + avalambaka + gIti) P. 4.1 S. also tribhaGgI .... dvipadIgaNa R. 229 S. gaNadvipadI . dvibhaGgI (dvipadI + gIti) P. 4.2; R. 2 dhavala aSTapAd 4.17; R. 22 (14-12-14-12-11-10-11-10) a dhavala catuSpAd R. 24 (14-16 or 17) ca S. also catuSpAda dhavala dhavala SaTpAd (1) 4.18 (18-12-12) Sa S. SaTapAd dhavala dhavala SaTpAd (2) R. 23 (14-8-16 or 17) Sa S. SaTpAd dhavala dhavala R. 28 (a general term) dhruvaka 8.3 (9) ca narkuTaka P. 3.6 (22) ca navakadalIpatra 6.145; R. 189 (32; Y. 14.8) dvi navakadalIpatrA 6.146; R. 190 (32) dvi navakusumitapallava R. 75 (6-17) ca navacampakamAlA 6.34; R.70 (14-8)ca navapuSpaMdhaya R. 117 (11-14) ca S. vanaphulaMdhuya navaraGgaka 6.156; R. 202 (34; Y. 16.8) dvi navavidyunmAlA 6*69; R. 107 (10-16) ca . nAgakesara 6.32; R. 68 (13-8)ca paGkaja 6.4; R. 40 (9-7)ca paGkti R. 154 (15-16) ca:S. mukhapaGkti - paGkajazrI 6.12; R. 48 (13-7).ca paJcatAla 8.22 8. note paJcAnanalalitA R. 200 (12-10) ca S. F. N. on p. 74 pathyA gAthA P. 1.5 (30-27) dvi . paddhaTikA 6.129; 8.15; R. 173 (16) ca pallavacchAyA R. 145 (17-13) ca S. azokapallavacchAyA pavanadhruvaka 6.155; R. 201 (34; Y. 14.6) dvi pAdAkulaka P. 5.1; R. 171 (16) ca pAraNaka 6.128; R. 170 (15) ca puNyAmalaka R. 73 (8-16) ca S. prajJAmUla puSpAstaraNa 6.40; R. 76 (17-8) ca S. kusumAstaraNa pUrvapathyA gAthA P. 1.5 (S. note) ca prajJAmUla 6.37 (8-16) ca S. puNyAmalaka

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INDEX OF MATRA VkTTAS prahelikA 4.14; R. 21 (S. note) ca premavilAsa 6.91; R. 130 (12-15) ca phulaTaka 8.29 (S. note) ca bakulAmoda 6.31; R. 67 (8-13) ca bahurUpA mAtrA R. 15 pa bAlabhujaMgamalalita R. 210 (36) dvi bhArAkAnta B. 199 (34) dvi bhujaMgavikrAnta 6.154; R. 198 (34; Y. 12.8) dvi bhramaradruta 6.159; R. 206 (35; Y. 10.8) dvi bhramaradhavala R. 25 (13-10) ca bhramarapada 6.133; R. 177 (28; Y. 10) dvi bhramarariJcholI 6.11; R. 46 (12-7) ca bhramararuta 6.139; R. 183 (30; Y. 10.8) dvi bhramaravilAsa 6.79; R. 118 (14-11) ca bhramarAvalI R. 46 (12-7) S. bhramarariJcholI bhravakraNaka 6.61; R. 97 (10-11) ca makaradhvajahAsa 6.75; R. 114 (12-11) ca makarandikA 6.17; R.51 (7-15) ca makarabhujA 7.9; R. 233 (8) dvi S. karimakarabhujA maGgala 4.20 (14-14-20-20) ca maGgala 8.31; R. 26-27 (a general term) maGgalAvatI 7.8 (8) dvi maGgAlikA R. 83 (9-12) ca S. kuGkumakalA maDilA 4.12; R. 20 (S. note) maNiratnaprabhA 6.23; R. 59 (8-9) ca mattakariNI mAtrA 4.10%; R. 14 (S. note) pa mattabAlikA mAtrA 4.9%; R. 13 (S. note) pa mattamadhukarI mAtrA 4.9; R. 13 (S. note) pa mattamAtaMgaka 6.171; R. 122 (39) dvi / madanavilasitA R. 234 (8) dvi madanavilAsa 6.81; R. 120 (15-11) ca mattavilAsinI mAtrA 4.10; R. 14 (S. note) pa madanAtura 6.9; R. 44 (11-7) ca madanAvatAra 8.2 (20) ca | madanAvAsa 6.44; R. 81 (9-11) ca madanodaka 6.52; R.89 (9-15) ca madhukaralalita R.53 S. madhukaravilasita madhukaravilasita 6.19; R.53 (7-16) ca S. madhukaralalita madhukaravRnda 6.65; R. 103 (10-14) ca /

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svayaMbhUcchandaH madhukarIsaMlApa R. 80 (10-9) S. mArgavisaMlApa madhurAlApinIhasta 6.111; R. 151 (14-17) ca manoharA 6.68; R. 106 (15-10) ca manmathatilaka 6.33; R. 69 (8-14) ca manmathavilasita 6.110; R. 150 (16-14) ca marakatamAlA 6.64; R. 102 (13-10) ca malayamAruta 6.42; R.79 (9-10) ca malayavikasitA 7.10 (8) dvi mallikA P. 3.10 (27) ca malhaNaka 6.73; R. 41 (7.10) ca mahAnubhAvA 6.125; R. 167 (12) ca mAgadhanakuTI P. 3.5 (22) ca mAtrA 4.8; R. 12 (S. note) pa mAtrAsamaka P. 5.2 (16) ca mArakRti 6.124; R. 166 (11) ca mArgavisaMlApa 6.43 (10-9) ca S. madhukarIsaMlApa mAlatIkusuma 6.30; R. 66 (12-8) ca mAlAgAtha P. 1*8 (86-27) dvi mAlAdhruvaka 6.172; R. 223 (40) dvi mAlAvilasita 6.35; R. 71 (8-15) ca mizrA mAtrA 4.11 (S. note) pa muktAphalamAlA R. 99 (10-1:2) ca S. F. N. on P. 74 mukhapaGkti 6.114; R. 154 (15-16) ca mukhapAlanatilaka B. 147 (14-15) ca S. varatilaka mukhavAsa 6.45; R. 82 (11-9) ca S. sukhAvAsa mugdhagalitaka P. 2.2 (38) ca mauktikadAma G*144; R. 188 (32; Y. 12.8) dvi mauktikadAmnI 6.146; R. 190 (32; S. note) dvi yugala 8.23 (S. note) ragaDAdhavaka R. 174 (17) ca S. upavadana raDDA 4.11; R. 15. S. vastu ratiramaNapriya 6.167; (38; Y. 14.8) dvi. S. dIrghaka ratnakaNThikA 6.142; R. 186 (31; Y. 12.8) dvi ratnamAlA 6.117%3 R. 160 (16-17) ca ratnAvalI 6.56; R. 93 (9-17) ca rathyAvarNaka 6.164; R. 215 (37; Y. 12.s) dvi rasanAdAma 6.149; R. 194 (33; Y. 12.8) dvi rAjahaMsa 6-1033; R. 143 (16-13)ca rAvaNaha(or ma)staka 6.13; R. 47 (7-13) ca

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INDEX OF VARNA VRTTAS 147 rAsa 8.28 (7-13) ca rAsa 8.25 (21; Y. 14) ca rAsAbandha 8.24; S. note revakA 7-4; R. 228 (5) dvi lakSmI P. 3.12 (S. note) ca laya 6.132; R. 176 (28) dvi lavalI R. 236 (9) dvi lalataka 7-12 (10) dvi lIlAlaya R. 56 (17-7) ca S. kadambaziras varatilaka 6.107; R. 147 (14-15) ca S. mukhapAlanatilaka vadanaka 4.12; R. 16, 19 (16) ca vanaphulaMdhuya G*78; R. 117 (11-14) ca S. navapuSpaMdhaya vasantalekhA 6.109%; R. 149 (14-16) ca vasudvipadI R. 232 (9) dvi vastu 4.11; R. 15 (mAtrA + dohaka) S. raDDA vastuvadanaka R. 18 (24) ca vAnavAsikA P. 5.3 (16) ca vigAtha P. 1.8 (54-27) dvi vijayA 7-3; R. 227 (4) dvi vidArI 8.29 S. note vidyAdhara 6.36; R. 72 (15-8) ca vidyAdharalalitA 6.82 R. 121 (11-16) ca vidyAdharahAsa 6.83; R. 122 (16-11) ca vidyullatA 6.62; R. 98 (11-10)ca vipulA gAthA (30-27; S. note) dvi vibhramavilasitavadana 6.76; R. 115 (11-13) ca vizloka P. 5.4 (16) ca viSamazIrSaka P. 4.4; R. 5 (S. note) ca zatapatra 6.168; R. 219 (38; Y. 16.8) dvi zazibimba 6.1173 R. 161 (17-16)ca zazAGkavadanA R. 165 (10) ca S. zazivadanA zazivadanA 6.1233; R. 165 (10) ca S. zazAGkavadanA zazizekhara 6.18; R. 54 (16-7) ca zikhA R. 186 (31) dvi SaTpada 5.3 (7-7-10) Sa SaTpadajAti 5.4; R. 31 (7-7-10 to 17) Sa SaTpAd dhavala 4.18 (18-12-12) Sa SaTpAda dhavala R. 23 (14-8-16 or 17) Sa saMkIrNa gAthA P. 1.3 (S. note) dvi

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svayaMbhUcchandaH saMkulaka 6.129; R. 172 (16) ca saMgAtha P. 1.8 (70-27) dvi saMgItaka 6.16; R. 212 (36; Y. 14.8) dvi saMdhyAvalI 6.53; R. 90 (15-9) ca saptatAla 8:21 (group of seven stanzas ) S. note samatAla 8.29; S. note samanakuMTaka P. 3.7 (22) ca samazIrSaka R. 4; P. 4.3.1 (47, Ki etc.) ca sarvacapalA gAthA P. 1.6 (30-27) dvi sahakArakusumamaJjarI 6.100; R. 140 (13-15) dvi sAmudgaka 6.5; R. 30 (7-9) ca sAraMgaka 6.84; R. 123 (11-7) ca siMhapada 6.169; R. 220 (383; Y. 16.8) dvi siMhavikrAnta R. 208 (35) dvi siMhavijRmbhita 6.15; R. 49 (7-14) ca sukhAvAsa R. 82 (11-9) ca S. mukhavAsa subhaga R. 204 (34) dvi subhagavilAsa 6.8; R. 4:3 (7-11) ca .. sumanoramA 6.3; R. 38 (8-7) ca sutAliGganaka R. 133 (16-12) ca S. suraAliGganaMka suraAliGganaka 6.94; R. 138 (16-12) ca S. sutAliGganaka surakrIDita 6.160; R. 207 (35; Y. 12.6) dvi skandhaka P. 1.3 (32) dvi skandhakasama 6.143; R. 187 (32; Y. 10.8) dvi skandhakasamA 6.146; R. 190 (32) dvi S. note sthavirAsanaka R. 203 (34) dvi svapnaka 6.152; R. 196 (34) dvi svaradvipadI 7.6; R. 230 (7) dvi hariNa(NI)pada 6.138; R. 182 (30; Y. 12.8) dvi hariNIkula R. 182 (30) dvi hRdayAlikA 4.15%3 R. 21. S. note

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II. INDEX OF VARNA VATTAS [The figures after the name of the metre refer to chapter and stanza in the main text; those preceded by P. refer to the same in the Purvabhaga printed on pp. 103-127. The constitution of a Pada is given in Pingala's Aksara Ganas' for the sake of brevity, though Svayambhu does not use them in his definitions. In the case of Ardhasama and Visama Vsttas the constitution of the odd and the even lines or of all the lines is given. The figure given after the metrical scheme in the Sama Vrttos indicates the total number of letters in a Pada. In pure Aksara Vsttas the figures within the brackets indicate the number of Aksaras in the Pada or Padas. All the following Varna Vsttas are Catuspadis, whether Sama, Ardhasama or Visama. Any = Any number of.] acala 1.43 (mabhanajabhara 18) kAmabANa daNDaka 1.51 (any tagaNa s, except the acaladhRti 1.2) (nananananala 16) . . last which is magaNa) atiuktA P. 6.3 (gaga 2) kuraGgikA 1.40 (matanajabhara 18) anaGgalekhA 1.16 (nasamamayaya 18) kusumAstaraNa-daNDaka 1.81 (any sa) anaGgazekhara 1.79 (any laga) kusumitalatAvelitA 1.45 (matanayayaya 18) aparavaktra 2.8 (nanaralaga-najajara)x2 ketumatI 2.5 (sajasaga-bharanagaga) x2 aparAjitA 1.6 (nanarasalaga 14) kesara 1.44 (mabhanayarara 18) apavAha 1.64 (ma, 6 na, sagaga 26) krauJcapadA 1*63 (bhamasabhananananaga 25) amRtadhArA 3.13 (20, 12, 16, 8) khaJjA 2.13 (30 la+ga- 28 la+ga-30 la arNa daNDaka 1.7) ( la + 8 ra) +ga-28la+ga) arNava daNDaka 1.72 (6 la+9 ra) gajavaravilasita 1.23 (bharanananaga 16) azokapuSpamaJjarI 1.80 (any gala) caNDapAla daNDaka 1-74 (5la+ any ra) asaMbAdhA 1.4 (matanasagaga 14) caNDavRSTi daNDaka 1.72 (nana +7,27) AkhyAnikA 2.6 (tatajagaga-jatajagaga) x2 caNDavega daNDaka 1.77 (6 la+any ya) ApIDa 3.12 (6 la+gaga; 10 la+gaga; 14 la+ : candrabimba 1.49 (matanasatataga 19) ___ gaga; 18 la + gaga) * candramAlA 1.37 (nanamamayaya 18) AviSaha 3.6 (= zuddhavirATa with a yati after, candrodyota 1.15 (nanamarara 15) tagaNa in the 3rd line) S. zuddhavirAT capalA pathyA 3.9 (4 + lalala + 1) uktA P. 6.3 (ga) capalA vaktra 3.9 See Note. udgatA 3.1 (sajasala-nasajaga-bhanajalaga-sajasajaga) calamadhyA 23 (bhabhabhagaga-najajaya)x2 uddAma 1.72 daNDaka (6 la+13 ra) citra 1.22 (rajarajaraga 16) upacitra 1.9 (nanananagaga 14) citrapadA P. 6.6 (bhabhagaga 8) upacitraka 2.2 (sasasalaga-bhabhabhagaga)x2 citramAlA 1.54 (marabhanatatagaga 20) upamAlinI 1.14 (nanatabhara 15) citralekhA 1.36 (mabhanayayaya 18) upasthitapracupita 3.4 S. pracupita citrazobha 1.21 (rajarajarala 16) upasthitA P. 6.14 (tajajaga 10) citrA 1.19 (mamamayaya 15) ekarUpa P. 6.24 (masajagaga 11) chAyA 1.51 (yamanasatataga 19) karaha 1.66 (mamata+5 na+lalajabhara 35) jayA 1.12 (mararasalaga 14) karimakarabhujA 1.8 (nanamayalaga 14) jImUta daNDaka 1.72 (6 la +11 ra)

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150 svayaMbhUcchandaH jyosnikA 1.11 (maramayalaga 14) bhramaravilasitA P. 6.20 (mabhanalaga) tanvI 1.62 (bhatanasabhabhanaya 24) makarandikA 1.52 (yamanasajajaga 19) toTaka (toNaka) 1.16 (rajarajara 15) maJjarI 3.13 (12, 8, 16, 20) daNDaka 1.67 maNiguNanikara 1.18 (4 na + sa; Y.s) dodhaka P. 6.18 (bhabhabhagaga 11) mattamAtaMgalIlAkara daNDaka 1.78 (any ragaNa) nandinI 1.2 (sajasajaga 13) mattA P. 6.12 (mabhasaga) nandImukhI 1.5 (nanatatagaga 14) mattAkrIDA 1.61 (mamatananananalaga 23) nArAca P. 6.4 (taralaga 8) madanalalita 1:24 (mabhanamanaga 16) niHzreNikA P. 6.19 (rajaralaga 11) madirA 1.58 (7 bha + ga 22) paGkti P. 6.11 (rayajaga 10) madraka 1.59 (bharanaranaranaga 22) paJcacAmara 1.20 (jarajarajaga 16) madhyamA P. 6.3 (sa or ya) / paNava P. 6.16 (manajaga 10) mandAkrAntA 1.28 (mabhanatatagaga 17) paNava 1.66 (mamata + 4 na + la + jabhara 40) mayUrasAriNI P. 6.13 (rajaraga 10) pathyA 3.8 (4 + lagagaga - 4 + lagalaga)x2 mANavaka P. 6.7 (bhatalaga 8) pathyAvaktra 3.8 (4 + lagalaga - 4 lagagaga) x2 mAlAvRtta 1.66 (mamatanananana +15 la+jabhara) padacaturUvaM 3.11 (8, 12, 16, 20) mAlinI 1.13 (nanamayaya 15) padma 1.32 (nasamatatagaga 17) meghamAlA daNDaka 1.76 (G la+6 ga+any ya) pipIDikA 1.66 S. pipIlikA yavavatI 2.11 (rajaraja-jarajaraga)x) pipIlikA 1.66 (mamata + 4 na + jabhara 30) rathoddhatA P. 6.22 (ranaralaga 11) pipIlikApaNava 1.66 S. paNava rambhA 1.50 (yamanasararaga 19) pipIlikAkarabha 1.66 S. karama rukmavatI P. 6.15 (bhamasaga 10) pipIlikAmAlA 1.66 S. mAlA rucirA 1.1 (jabhasajaga 13) puSpadAma 1.48 (matanasararaga 19) rohiNI 1.33 (nasamamayalaga 17) puSpitAgrA 2.9 (nanaraya-najajaraga)x2 lakSmI 1.10 (maratatagaga 14) pRthvI 1.26 (jasajasayalaga 16) lalita 3-3 (sajasala-nasajaga-nanasasapracupita 3.4 (masajabhagaga-sanajaraga-nanasa sajasajaga) nananajaya) lalita 1.60 (najabhajabhajabhalaga 23) pratiSThA P. 6.3 (jaga 4) lalita 1.41 (nanamatabhara 18) pratyApIDa 3.12 (padacaturUvaM with two tong lavalI 3.13 (16, 12, 8, 20) ___ at the beginning; S. note) lIlAkara daNDaka 1.72 (G la+12 ra) praharaNakalikA 1.7 (nanabhanalaga 14) vaMzadala 1.30 (bharanabhanalaga 17) bRhatikA P. 6.8 (nanara 9) vaMzapatralali(=pati)taM 1.31 S. vaMzadala bhadra virATikA 2.10 (tajaraga-masajagaga)x 2 vaktra 3.8 (4+ lagagaga) bhadrikA P. 6.23 S. subhadrikA / vardhamAna 3.5 (masajabhagaga-sanajaraga- nanasananasa bhAvAkrAntA 1.35 (mabhanarasalaga 17) -nananajaya) bhujagazizusRtA P. 6.10 (nanama 9) vasantatilaka 1.3 (tabhajajagaga 14) bhujaMgavijRmbhita 1.65 (mamatanananarasalaga 26) vAtomi P. 6.25 (mabhatagaga 11) bhujaMgavilAsa daNDaka 1.82 (any bhagaNas + gaga) viparIta AkhyAnikA 2-7 (jatajagaga-tatajagaga) bhramarapada 1.38 (bharanananasa 18) vegavatI 2.1 (sasasaga-bhabhabhagaga) x2

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INDEX OF VARNA VRTTAS 151 vyAla daNDaka 1.72 (6 la+10 ra) zaGkha daNDaka 1.72 (6 la+14 ra) zazikalA 1.17 (nanananasa 15) zArdUlalalita 1.39 (masajasatasa 18) zArdUlavikrIDita 1.47 (masajasatataga 19) zAlinI P. 6.26 (matatagaga 11) zikhariNI 1.27 (yamanasabhalaga 17) zikhA 2.13 (30, 32, 30, 32; all la) zuddhavirAT P. 6.17 (masajaga 10) zuddhavirATikA 3.6 (masajabhagaga-sanajaraga-tajara nananajaya) zobhA 1.53 (yamananatatagaga 20) zloka 3.7 See Notes (s) SaTpadAvalI 2.12 (jarajaraga; rajaraja) / samAnikA P. 6.5 (rajagala 8) siMhakrIDa daNDaka 1.83 (any yagaNa) siMhavikrAnta 1.75 (5la+ any ya) siddhi 1.56 (najabhajajajara 21) subhadrikA P. 6.23 (nanaralaga 11) suvadanA 1.55 (marabhanayabhalaga 20) supratiSThA P. 6.3 (any 5) suvaktra 3.8 (4+ lagalaga) saurabhaka 3.2 (sajasala-nasajaga-ranabhaga-sajasajaga) sragdharA 1.57 (marabhanayayaya 21) svAgatA P. 6.21 (ranabhagaga 11) hariNapada 2.4 (sasasalaga-namabhara) x2 hariNI 1.34 (nasamarasalaga 17) hariNIpada 1.42 (nasamatabhara 18) halamukhI P. 6.9 (ranasa 9) hAriNI 1.29 (mabhanamayalaga 17) .

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III. INDEX OF ILLUSTRATIVE STANZAS [N.B.-Out of the three figures the first refers to the chapter, the second to the stanza and the third to the serial number of the illustration under this stanza. The preceding letter P indicates that the figures following it refer to the chapter, stanza and illustration in the Purvabhaga of the work printed on pp. 103-127.] Asasu pautthavaie P. 1.1.1 aMtarikkhagharamajjha P. 6.):).1 akesA vigosA P. 6.3.1 akkapalAsabillu 8:20.4 akkhai gautamasAmi 8.13.1 ajaM cia gaotti P.3.6.1 aDahaNA patthai aP.3.9.1 aNaMto mahaMto 1.83.1 aNiutaujalehiM 4.12.3 addaddacaMdaNuppaMka P. 1.5.) appijjau jagaasuA P. 1.3.3 ammia karaha dusIlau 4.5.1 ayi sakhi sAhasa 6.88.1 araviMdasaMdamaaraMda3.3.1 aribhaMgurabalA P.2.3.1 ari saala vihaMDevi 8.11.) avaDiaNaiaDa 1.9.1 avaNaaviDao 2.9.1 avaNeuM sasI jAva 3.8.3 amvo gimhe uNhA 1.66.1 avvo dUraM dUsaMcAro 1.6 (5* + avvo bAlAe visama 1.4.1 ahiNavasasilehA 1.15.1 AAsatalAe NimmalaM ti P. 15.1 Au vaDIvau 6.52.1 AsAsAhAsusohaM 1.11.1 iMdiMdirao 6.37.1 ia ciMdhaI jasu 5.1.1 icchuma koaMDaM P. 1.7.1 imaM jammAunvaM 1.53.1 ua pommarAa P. 1.1.1 ua bhamala ulaM 1.37.1 ua saraaNisAe 1.7.1 uaha imaM pautthavai 1.60.1 ua harai miaMka P. 6.23.1 udaMDakoaNada 1.3.1 . uddho ogaasuddhao P. 6.24.1 eaMkAmarasa aMgaaM 3.8.2 ekkaji ajjuNu 6.44.1 ehi etthamha gAme 1.54.1 ehi taha maha kaaM 3.12.1 etthaaMtaraMmi vea 1.16.1 esa pieNa laggadhaga P. 3.5.1 ehu visamau suha 4.10.1 ohauDubbhaDadalaM P. 1..1 oreMsaru maNusa 6.6 1.1 kaNaamaiA amhekkA 1.16.1 kaNNaparipADI 8.10.1 kaNNuppalaM ghusiNa 1.3. kamalaM DasiaM2.1.1 kamalakumuaha eka 4.9.1 kamalavaNasarasapasaria ).13.1 karamuhakamale bhuA 1.5-1 karivara bhara mA 2.8.1 kassa piae kara P.3.8.1 kaha vi saruhiraI 5.5.1 kahimi kalahoa 1.74.1 kahimi caliaM 1.74) kAI karauM hauM 4.7.1 kAmaM pupphaNuM 1.47) kAmasarodhAalaNa 1.63.1 kAmukkoA AA 1.65.1 ki seaddisiraM 1.47.1 kimiNo sasI Na 1..1 kivakaNNakaliMga 5.12.1 kusumAuhapia P.3.3.1; 4.1.1 kusumiA kalaMmulaA P. 6.8.1 kesarikisorakhara P. 1. 8.3

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INDEX OF ILLUSTRATIONS ko mahu jI aMta 4.2.2 kharadUSaNa gilevi 8-12-1 khaNapasariaragala 2-13-2 khAmA sAmA sAsukaMpA 1.66.2 garuaNavasa ala 2.13.3 garuaM thaNANa bhAraM P. 1.4.3 goriraarealittaM P. 1.1.6 gorI aMgaNe supaMtI 6-42-1 araMdabiMdu P. 4.2-1 ghaNamAlA amarAucha P. 5.6.1 ghaNarasaNa muddala 1.18-1 ghaNo vArithora 1.20-1 caMdaNacaMdujoa P. 6.15-1 caMda caMdrakiraNA 3.9-1 caMdabiMbaM va kaMtilaM 3.7.1 caMdaMmi Thio 6.31-1 caMdujjovo caMdaNa P. 5.11 caMdo ko kalama 135.1 calacaliavijjulA P. 1.8.4 cAvavihatthA 6.35-1 chaNacaMda visariseNa 3-2-1 jaM vaDavANaleNa samaaM 1.59-1 ahiM jigavara soma 8-20-5 1. jai Nivvudi pAvia 8.6.1 jai viNa rUsahiM 8.7.1 jai viNa vasumai 8.25.2 jaNa puNahiM uppaNNau 8-11-3 jatto pesehi diTThi 1.57-2 jattha gAmasImA pauttha P. 3.10.1 jAi bhaMgo aha paDai 1.62.1 jAo harai kalattaM P. 1.4-1 jiNaNAmapavitteM 8.20-10 jiNaNA meM chiMdevi 8.20.9 jiNaNAme jalaNihi 8-20.7 jiNaNAme pIDai 8.20-8 jiNaNAme maagala 8.20.6 jiNu paMcahiM rattu palahiM 8.20-1 jIva tAvahiM jAva jalu 4.12-1 jeNa jAeM riu Na 4.11.2 je te kevi puttira deMti 4.3.1 jo gajjatamattamAaMga P. 4.4.1 jhaMkArolINaM parahuA 1-48-1 ThAmaThAmahiM ghAsasaMtaTTha 4.9.5 TheraM caMdaM taruNataragiM 1.29-1 TherAsaNaaM mohai 6.39-1 NaM pavaru palAsu 6.63.1 ho jeTTho diTThA mehA 1-19-1 maha mahiMdamauMDa P. 2-2-1 ramai dalasaMde 1.76-1 Na labbhae ghaNatthaNI P.6.3.5 Navakeaikesara 2-4-1 phagguNe 6-19-1 vari samaraM 1.72-1 maNimohajAla P. 3-7-1 NiaNAmapasadaM 4.2.3 NiccaM Namo vI arAA 1.84-1 NisAcaMdAloe viraha 1-50-1 NisiaraNAhaho 6-50-1 NisiAgame 6.17-1 NisuNevi pacche 6.90-1 NIrelANaM vArivArA P. 6 26.1 No daTTavvaM paramaNa 1.44-1 taM sa thorathirathaNiA P. 6.9.1 taNuaNuI dUraM jAo 1-42-1 tattadharAharakuMjare P.6.6-1 taralAlivalaacala P. 1.8.5 taralehiM tArakasaNehiM 2.5.1 taruNa mittakarapharisa P. 3.2-1 tAva paDupaDadda 8.2.1 tikkhakhaggadhArabhiNNa 1 80-1 tihuaNaguru taM gaa 8.9.1 tumha akamalamUle 8.20.3 tu suhaa vio P. 5.3.1 te viralA sappurisA P. 1.3.1 te cci suhaA te cci P. 1.1.5 diNNagaruacaMdaNa P. 4.2.2 doha Die bharai va P. 1-4-2 thimpai kuMDijai 4.12.2 153

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154 svayaMbhUcchandaH thoAaMbA ahi ataNu 1.36-1 da9 sAlattaM caraNajualaM 1.45.1 dAhiNamArueNa 1.30.1 didaM gaaNaM sabalAhaaM P. 6.14.1 disi disi pasaraMtaccia P. 1.8.6 dukkhu NAsai 4-11-3 dukkhe dukkhiao 3.6.2 duNNivAravAraNeda 1.21.1 dubAraverivAraNA P. 6.4.1 dei pAlI thaNaha 4.11.1 doNaha ki 6.87.1 dolAlolaM saNiasaNiaM 1.24.1 dhaaraha gareMdU 8.1.1 dhaNadhaNNusamiddhaho 8.11.1 dhavalakamalaparimala 3.13.2 dhavalamizra kavolaM 1.13.1 dhavale hiM aNaMjaNa P. 1.1.2 paurajuANo gAmo P. 1.5.1 paJcUsaggaavara P. 1.1.3 paDibhaggasUrapasaraA P. 4.1.2 paDihiabhiNNakaNa 8.20.2 pagamiasurasiddha 1.72.8 patto tujjha muhacchaviM 3.8.4 patthiANa jIva P. 6.19.1 pamaNapaDipahaapAava P. 1.8.1 pasarai pulao 1.5.1 pasari akharamAruaM 1.72.3 pahaasalilae dhArAsAre 1.41.1 pahasamahimadaDadeho 1.72.7 pahu sakaddamu Nahu 4.9.2 pArAvAro ameo 1:55.1 piaama virahe tume 1.72.6 pia ghaNasamae 1.7.1 piavattaaM 6.21.1 piavirahio 6.13.1 piuparokkhahiM bhujaga 4.9.3 pie revAtIre bharasi 1:52.1 peccha ghaNANaM gahaNaM P. 6.7.1 peccha pira dhavale 2.3.1 peccha vijjulaiA P. 6.21.1 peccha surAhivacAlu P. 6.18.1 pecchaha papphulliasAhArA P. 5.2.1 pecchaMtAe Ninbhara 1.4.2 phaDahigahaNaM dUre 1.33.1 phaliNikusumavara 3.13.1 phuDiakamala 1.71-1 phullelAvaNapasaria 1.64.1 babvuravaNasaMtosiA 4.6.1 baddhA dolA divA cUA 1*61.1 bAlA dovattharae P. 6.25.1 bAlA bAlamiaMka 1-39.1 bhajjau jo bhajjai 6-78.1 bhaI juttappamANaM 1.57-1 bhamasi paaNuA P. 6.10.1 bhAivioAe 6.54.1 bhuvaNAhivaM vimala 3.1.1 bhUritalAavAri 1.31.1 maMdaradiNNaghA 1.23.2 maNagaavarao 6:29.1 maNamaNiakaNa 3.13.3 maNippahANahoha 2.12.1 mattakariMdakavola 1.58.1 mattakaMjaroaseviAI P. 6.13.1 mattahatthipAapIDha 2.11.1 malaapavaNo caMdAloo 1:34.1 mAaMdA NavakusumuttAlA P. 6.16.1 mAAmANamohakali P.2.1.1 mANiNi dujjaNehiM P. 3.4.1 mittu makkaDu sattu 4.8.1 mINajAlapahiAI P. 6.5.1 mehakAhiseajala 1-38.1 mottAvali taha sumaNo P. 5.5.1 mo mo go jo P. 6.3.1 raNe raNapahu Na 6.100.1 raNaM varaM seviae 2.6.1 rattaosittaperaMta 1.78.1 ratti sokkhaI dei 4.9.4 rAhAe tArahAre 1.12.1

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INDEX OF ILLUSTRATIONS riuruhirajale mAaMga 1.8.1 lagga aNe a asalu 8.8.1 laddhau mitta bhamaMteNa 4.5.2 lodRthiramahurapaua P. 4.3.1 vaDapikaphaloDi 2.2.1 vaNamahiSajUhasaMbhamau P. 1.5.3 varaM laddho baMdho 1-27.1 vari ghaliuM appauM 6.15.1 vallahA gehiNI P. 6.3.3 vAAlA pharusA 6.121.1 vAmaNarUa karepiNu 8.14.1 vAraNaho majjha 8.3.1 vAsaharammi vare 1.82.1 vAsArattara uddarAiNA P. 6.17.1 vAsArattasamappio 3.4.1 vAsAratte Na ghaNamajhe P. 6.12.1 vAsAratte NavatraNavalaaM P. 6.20.1 viasiakuMdasaMda 1.56.1 viasiasiasiMduvAra 1.72.4 viuddhakarapaMkaA 1.26.1 vitthiNNAAsaraNNe 1.10.1 virahaggiNo jalai 6.10.1 viluliaciuraM 1.25.1 visamasurae kesAmoDo 1.32.1 visAlabhAlalola 1.79.1 vihali aghaNaroha 1.72.2 vIraM devaM vaMde NiccaM P. 6.3.2 saMgAmAraMbhe suhaDabahule 1.40.1 saMjhApaNao NimI 2.10.1 saMjhArAilaM gahagaNa 1.49.1 saMdo ruMdo kuMdacchAo 1.66-3 saMpuNNacaMdavaaNA 3.11.1 sacaMdaNA NIlamuhA 2.7.1 sakkacAvavaMkabhAva I 22.1 saccai dUre saMkhu 6.124.1 . sattAraha diNa 8.5.1 samuhe tamahAri 4.4.1 salilabahaNaNimittaM 1.77.1 savvakAla bar3e NehaaM P. 6.11.1 samva goviu jai vi 4.10.2 samvaviggahaNeArA 3.8.1 savvA bhUpI Narasira 1.43.1 sasi uggau tAma 6.65.1 sahi raisuhasAro 3.12.2 sAmalaMgi tujjhANaNiMduNA P. 3.11.1 suddhaM sommasahAvaaM 3.5.1 supahuttasaroaa 1.81.1 surakarikaolamaa P. 5.4.1 suravaraNaravarathua 8.25.1 suravaratAsaaru 6.56.1 surasaMgha vi saMkaMta 6.68.1 susAmie Nivaliae 1.1.1 suhAgaaMtuha virahe P. 1.5.2 suhajha pasia mANaM 1.14.1 hauM ajjuNu tumha 4.2.1 haNumaMta raNe 6.33.1 hatthAroviaruMdacaMda 3.6.1 harahaNavasarasavigalia 2:13.4 haragalagaralAli 1-72.5 hari AgamaNa suNevi 6.75.1 halA dihA DiDA 1.51.1 hA mahumAsabaMdhu 1.23.1 hArAlaggaM bhasalamuhalaM 1.28.1 hA haTTaApaesANa P. 3.12.1 hA hiaa kiM visUrasu P. 1.3.2 himarucirati 5.5.1

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IV. INDEX OF AUTHORS [The figures refer to the chapters and stanzas in the main text of the Svayambhuchandas; those preceded by Prefer to the chapters and stanzas in the Purvabhaga of the work printed on pp. 103-127. The figures in bold type indicates the chapter, the next two refer to the stanza containing the definition and the illustration under it respectively. The probable Sanskrit equivalent of the name is given within the brackets.] aMgavai (aGgapati) 1.72.7-8 aMgAragaNa 1.3.2; 5.1; 6.1; 13.1; 14.1; 25.1; 32.1; 45.1; 48.1; 72.4-6; 77.1; 2.1.1; 10.1; 13.3%B3.13.1; P. 3.9.1; 5.2.1; 3.1; 6.7.1; 11.1; 15.1; 1.61. aMjeNiutta (aJjaniputra) P. 3.7.1; P. 6.5.1 ajagamara 2.2.1 ajadeva (Aryadeva) 4.7.1 aNNa (anya ?) 2.13.2; 13.4 abbhuA (adbhuta) 3.1.1 ahi utta (abhiyukta) P. 1.2.1 ahimANaiddha (abhimAnacihna) P.4.1.2%3; 2.1 isahala (viSahara-viSadhara)3.2.1 unbhaDa (udbhaTa) 1-33-1; 34.1; P. 3.6.1; P.6.6.1 kanhadatta (kRSNadatta) P. 1.3.3 kalANurAa (kalAnurAga) 2.11.1; 3.3.1 kAlANurUa (kAlAnurUpa) P. 4.4.1 kAlidAsa (kAlidAsa) 2.9.1 kumAraatta (kumAradatta) 1.63.1 kumArasomma (kumArasaumya) 1:59.1. koaMDa (kodaNDa) P. 6.17.1 ko Uhala (kautUhala) P. 6.3.1 kohaMta ( ) 1.11.1 guNahara (guNadhara) 1-21-1; 22.1 goiMda (govinda) 4.9.1; 9.3; 9.5; 10.1; ___10.2; 11.1 caumuha (caturmukha) 4.2.1-3; 6.54.1; 63.1; 65.1; 87.1 caMdautta (candragupta) P. 6.20.1 caMdaNa (candana) 1.31.1; 72.1; P. 1.5.23; P.3.11.1 chailla (cheka) 3.7.1; 9.1; 4.8.1; 12.1; P. 1.1.2; 4.3 jaNamaNANaMda (janamanonanda) 1.46-1 jiNaAsa (jinadAsa) 4.11.3 jIvadea (jIvadeva) 1:43.1; 44.1; P. 6.9.1 johaa (yodha) 1.83.1 NiuNa (nipuga) 1.23.1; 36.1; P. 1.4.1; P. 6.12.1 tiloaNa (trilocana) 1.66-1 duggasatti (durgazakti) 2.12.1 duggasIha (durgasiMha) 2.4.1; 5.1 devaNAha (devanAtha) P. 5.6.1 dhaNadeva (dhanadeva) 4.6.1 dhutta (dhUrta) 4.4.1 NAgaha 1 16-1 paMcamaNAha 1.7.1 paMchamaNAha 1.27.1 pahaMjaNa (prabhaJjana) P. 3.12.1 pavaraseNa (pravarasena) P. 1.3.1 pAlitta (pATalipta) 1.1.4; 5.3; 5.4 pommaNAha (padmanAtha) P. 6.23.1; 21.1; 26.1 . barahiNa (barhin) P. 6.8.1 baMdhudatta (bandhudatta) P. 5.4.1 bharaha (bharata) P. 6.3.2; 3.4 bhIru (bhIru) P. 1.3.2 bhoia (bhogika) P. 1.5.1 maUra (mayUra) 1.71.2 maUradeva (mayUradeva) 1.10.1; 74.1 mAuradeva (mAtRdeva) 4.5.2

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INDEX OF AUTHORS 157 mUladeva 1.60.1; 61.1 rajjautta (rAjaputra ?) 1.74.2 ravivappa (ravivapra) 3.5.1 rAhA (rAdhA) 1.58.1 laDahasahAva (laTabhasvabhAva) P. 1.8.2; 8.3; 8.4; _8.5; 8.6; P. 6.4.1; 22.1 lalahasahAva (laTabhasvabhAva) Same as above 1:30.1; 3.11.1 lallaa (lallaka) 3.12.1; 12.2 lali asahAva (lalitasvabhAva) Perhaps same as laDahasahAva 2.7.1; 3.6.2; P. 5.4.1 loNua (loNuka) 2.3.1; 6.1 vaDhamitta (vRddhamitra) P. 2.3.1 vapparAa (bappagaja) P. 4.2.2 (vAkpatirAja!) vamma utta (varmaputra) P. 1-1-3 vamha (brahman) 1.2.1 vaha atta (brahmadatta) 1.40.1 vasueva (vasudeva) P. 6.3.2 viaDa (vidagdha) 3.8.1; 4.12.2; P. 1.1.5; P. 2.2.1; P. 6.3.5 vijjA (vidyA) 1.3.1 vimala P.3.5.1 See next vimalaeva (vimaladeva) 1.57.1 veAla (vetAla) 1.84.1 veraNAa (vairanAga) 1:41.1; 42.1; 52.1; 53.1; see velANA (velAnAga) sIlagihi (zIlanidhi) 1.47.1; 57.2 velANA (velAnAga) 1.66.4 saMgamitta (saMgamitra) P. 3.10-1 sAgara P. 3.8.1 sAmalaeva (zyAmaladeva) P. 6.21.1 sAlAhaga (sAtavAhana) P. 1.4.2 suddhakai (zuddha kavi) 1-38.1 suddharAa (zuddharAja) 1.29.1 suddhasahAva (zuddhasvabhAva) 1.4.1-2; 8.1; 9.1: 12.1; 15.1; 17.1; 24.1; 26.1; 36.1; 49.1; 56.1; 64.1; 65.1; 66-33; 75.1; 76.1; 81.1;.82.1; 2.8.1; 13.1; 3.8.3; 13.2; 13:3; P.3.2.1 susIla (zuddhazIla) 1.18.1; 19.1; 23.23; 28.1; 31.1; 39.1; 50.1; 51.1; 54.1; 55.1; 62.1; 66.2;72.2-33; 79.1; 80.1; 3.6.1; 4.9.2; P. 6.3.3; 13.1; 14.1; 19.1 suraseNa (surasena) P. 1.8.1 suhaDarAa (subhaTarAja) 3.8.2 haraatta (haradatta) 1.37.1; P. 610.1 harautta (haraputra) P. 6.18.1 haradAsa 1.20.1 harisaeva-deva (harSadeva) P.3.3.1; P. 4.1.1 hAla 1-47-2

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BRIEF NOTES SVAYAMBHUCCHANDAS: PURVABHAGA, pp. 103-127 As my note on p. 102 explains I could not publish the Purvabhaga of the Svayambhucchandas in its proper place. But while adding my notes I thought it proper to begin at the beginning of the work. I am therefore starting with the notes to the Purvabhaga. In the definitions of the metres which Svayambhu gives he mentions the constitution of a Pada with the help of the Matra Ganas and not with the Aksara Ganas even once. While indicating the nature of the Ganas, he generally mentions the position of either the short or the long letter in them and in all such cases, it is always to be understood that all the other letters in that particular Gana are of the opposite nature. Thus when he speaks of a Caturmatra or a Pancamatra with a short or a long letter at the beginning, middle, or the end, it is to be assumed that the other letters in that particular Gana are long or short as the case may be. In the case of the Varna Vrttas I have given also the constitution in the terms of Aksara Ganas for easy comprehension. I. SKANDHAKA-JATI This is the first chapter of the work; it was obviously called Skandhakajati by the author himself as he begins his treatment of the metres of the Gatha class with Skandhaka instead of Gatha as the others do. See also ch. 2.4 and 6.1 below; so correct the heading of the chapter accordingly. 1.1: This is an illustration for the rule that in Prakrit the letter im at the end of a word is optionally short. The first half of the illustration as also the rule itself are lost on the first folio of the manuscript. The stanza is identical with Gathasaptasati 1.70, where in the first half the word davaggi-masi-maliaim occurs with the short im at its end. 1.2: The stanza illustrates a short him at the end of a word; here it is short in the first, the second and the sixth words, but not in the third and the seventh. "Upendra is lying in his bed with his eyes from which sleep has departed, which are white at the sides, dark (at the centre, i.e., at the pupils) without collyrium, and very much contracted at the extremities (owing to their contact with the light). 1.3: This stanza is quoted by Hemacandra under H. 1.10; but in its first half he reads paccusagayavarum muliae.

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P. 1.1-2] 1.4: 1.5: svayaMbhUcchandaH "The white flowers, viz., the stars, of the creeper namely, the Night, when trampled upon by the elephant in the form of the Dawn, are falling down, while the bird, i.e., the Moon, has flown away.' In this stanza (im in dhavalaim and) e in nisalaae are short. This too is from the Gathasapasati 1.75; here o in nahaalao is short. The ms. wrongly reads nahaalahi, as the introductory words clearly show. 'Look how a flock of parrots descends from the skies, as if it were a necklace made of rubies and emeralds fallen off from the neck of the Lady of the Skies.' 1.6: 2: 159 vodrahi is a young girl; Hemacandra, Prakrit Grammar 2.80, quotes the portion vodrahadrahammi padia to illustrate the desya word vodraha-hi. I think he refers to our stanza and the proper reading seems to be vodrahidrahammi as the context shows. It is true that Hemacandra quotes sikkhanti vodrahio for the feminine form; yet when can a vodraha, i.e., a young man, be called a draha? "They alone are fortunate, they alone good men; they live (truly) in this world, who alone easily rise up when fallen in the deep bed (of a river) in the form of a young woman'. Here hi in the word vodrahi remains short even before the conjunct dra, since it has the consonant r in it. The stanza illustrates how the letter vi remains short before the conjunct nha in nhavanamisenam, since it has h in it. Thus the rule which prescribes that 'the letters, which are normally long in Sanskrit and also in Prakrit, may be short in Prakrit' may be reconstructed to mean: The letters im, him, e and o at the end of a word, so also the letters which precede a conjunct having the consonant h or r in them remain optionally short in Prakrit. We may compare for this Kd.I.5-6; N. v.54; Ck. v.3; H. 1.5-6. The stanza is an attack on the Linga worship of the Hindus; but it borders on obscenity. 'In a Pada there are five Ganas called cha, pa, ca, ta and da which respectively contain 6, 5, 4, 3 and 2 Matras (Kala) in them. Thus indeed is being described whatever metre there is in this work on Prosody'. See H. 1.2; also Kd. I.2. In the latter place, however, the names of the Ganas are different; they are the first letters of the five Vargas namely, ka, ca, ta, ta and pa. On the other hand, the names of Hemacandra and Svayambhu are the first letters of the words

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160 svayaMbhUcchandaH [BRIEF NOTES Sanmatra (Chammatto), Pancamatra, Caturmatra, Trimatra (Timatto) and Dvimatra (Dumatto) respectively. eham is evam rather than etad. 2.1: This is an illustration of a metre called Aravinda, whose Pada con tains all these Ganas in succession (6, 5, 4, 3, 2), thus 20 Matras in all. See HPk. 4.62 for the metre. Svayambhu, too, must have de. fined this metre under the Khanjakas in ch. 3 below; but that portion of the manuscript is missing. The name of the metre is introduced in the last line as in Hemacandra's illustration. In ours the face is identified with a lotus, the lips with its red petals, the teeth with its white pollen, the rays of the teeth with its filaments and the pupils of the eyes with the black bees. The same Rupaka is used again in the third chapter (2.1). There is an obvious pun on the word mitra and nidra in the third line. 3: 'In the hemistich of a Skandhaka there are eight Caturmatras; at the sixth place they must have a Dvimatra at the middle (i.e., they must be either a Madhya-guru or a Sarvalaghu). But a Madhyaguru shall not be employed at the odd places (i.e., at the 1st, 3rd, 5th and the 7th). There are seven (Caturmatras) and a half in the half of a Giti; know that to be a Samkirnaka when both (i.e., the half of a Skandhaka and that of a Giti) are (simultaneously) used.' It is remarkable that Svayambhu defines the Skandhaka as the basic metre of the Gatha group and not the Gatha as almost all the other prosodists do. This is why he calls the metres of the Gatha group by the name Khandhaa-jai at ch. 2.4 and 6.1 below. The definitions of Svayambhu serve also as illustrations as a general rule; here the first half is that of a Skandhaka with which he has begun and the second is that of a Giti. The two together form a Samkirnaka. 3.1 : This is from the Setubandha of Pravarasena. 3.2-3: These two stanzas are from Nanditadhya's Gathalaksana vv. 26 and 29, but here ascribed to Bhiru and Krsnadatta respectively. 4: "Giti itself is an Upagiti when the sixth (Amsa) consists of a single short letter (in both the halves); it is an Udgiti with only the first half (of this kind) and becomes a Gatha with (only) the latter half (of this kind).' The stanza as a whole illustrates the Udgiti. 4.1-2: These two stanzas are similarly from Nanditadhya's Gatha laksana vv. 28 and 27, but here they are ascribed to Nipuna and Hala respectively.

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P. 1.2-6 ] svayaMbhUcchandaH l 161 4.3: "On seeing the heavy load of the breasts and the slenderness of her waist, the line of hair (on the abdomen) is offered by the creator as a pillar (for support), through fear that (the waist) might break.' See 6.10-1 below for a similar idea. 5: 'Pathya is (that Gatha) where the pause (virama) occurs after the third Gana i.e., Caturmatra (in each half); that which is such only in the first half is Purva-pathya. It is Para-pathya when it is so only in the latter half; it is called Vipula when there is no such pause in either half.' The stanza as a whole is an illustration of Pathya. It deserves to be noted that this two-fold division of the Pathya is peculiar to Svayambhu; others call the Purvapathya as Jaghanavipula and the Parapathya as the Mukhavipula. Svayambhu does not naturally mention, therefore, the divisions of the Vipula into Sarva, Mukha and Jaghana as the others do. Perhaps he also intended that the Pathya should be called Sarvapathya, as is seen from the name Sarvacapala used by him in v. 6 below. 5.1 : The stanza is the same as Gathasaptasati 2.97; but here it is ascribed to Bhogin. 5.2: The trembling heart of a love-lorn lady is here said to be shattered to pieces like a little water in a small ditch on the ground) going up in a spray, when pressed down by the foot of an elephant. 5.3: "The heart (jivam) of the Lake with its crowds of fish, restlessly moving to and fro owing to the rising mass of mud (from the bottom) caused by the onrush of wild buffalos, becomes frightened as it were by the impending drought (of the summer). 5.4: 'In the clear lake of the sky, the pollen of moon-light sparkles on the expanded lotus of the moon which is opened by the bee in the form of the deer, i.e., the black spot.' 6: 'It becomes a Sarvacapala with Gurumadhya (Caturmatras) at the second and the fourth (places), when they are surrounded by long letters. The word gurumajjhagoarehim is to be understood as equivalent to gurumajjhagoarehim gurumajjhehim, i.e., with the Gurumadhyas found between the two Gurus, one on either side of them. The first word of the second half of the stanza indicates that the two divisions of Capala, i.e., Purvacapala and Paracapala were defined in it. Thus in a Capala we must have a long letter before the second Caturmatra and also after the fourth one, both of which must be Jaganas, while the third must consist of two long letters. Com

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162 svayaMbhUcchandaH [BRIEF NOTES pare Kd. 2.7; N. 19; Ck. 64-66. Here the defining stanza does not serve as an illustration unless we read bisautthesu or something like that. 7.1: This is an illustration of the Avaskandhaka where the first half is that of a Skandhaka (with eight full Caturmatras in it), while in the second half the 6th Amia contains only a single short letter instead of a full Caturmatra, (as in the fourth line of a Gatha; but at the eighth Amsa here we have a full Caturmatra instead of a single long letter in it). See HPk. 4.8: Kd. 2.9 com. On the missing folios namely Nos. 4 and 5 we probably had the illustrations of the three Capalas, the definitions and illustrations of the three kinds of Gitis, Ripucchandas, Lalita and Bhadrika, and the definitions of the three kinds of the Skandhaka together with the illustrations of the first two of them. The variety that is illustrated in 7.1 is Avaskandhaka. For the other two varieties Upaskandhaka and Utskan dhaka see HPk. 4.6-7; Kd. 2.9 com. 8: 'If in the first half of a Gatha, a pair of Caturmatras is added succes sively (before the final long letter), it is respectively called by the name Gatha, and the same (word) preceded by ud, vi, ava, sam and upa. If additional pairs of Caturmatras are used, it is called Malagatha.' Thus a Gatha has 9 Caturmatras, Udgatha has 11, Vigatha has 13, Avagatha has 15, Samgatha has 17 and Upagatha has 19 Caturmatras in their first half before the final long letter. The second half in each case is that of a Gatha. See HPk. 4. 11-12 and Kd. 2. 12-13. Jatiphala which has only 8 Caturmatras at the same place (together with its derivatives like the Dama etc.) and Gathini which has 21 are mentioned by both Hemacandra and the commentator of the Kavidarpana; but they are ignored by Svayambhu. On the missing folio No. 7 we have very likely the definitions and illustrations of a few main Galitakas, for which see HPk. 4.17-25. II. GALITAKAJATI 1.1: The stanza containing the praise of Jina is an illustration of Mala - galitaka; the manuscript contains only the last two lines. A stanza in this metre contains in each of its four Padas a Sanmatra followed by ten Caturmatras, of which those in the odd places shall not be Madhyaguru or Sarvalaghu. See HPk. 4.25. The Padas must of course be rhymed. 2: 'That same (Malagalitaka) they call Mugdhagalitaka when it has two

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P. 1.6-3.1) svayaMbhUcchandaH 163 Caturmatras less and has a long letter at the end (of each Pada). Thus the Mugdhagalitaka has only eight Caturmatras following the initial Sanmatra and has a long letter at the end of each Pada. This long letter, however, is not in addition to the Caturmatras, but is a part of the last Caturmatra which must end in a long letter. See HPk. 4.26. 2.1: The illustration contains a praiseful description of the feet of the Jina. 3: 'It is an Ugragalitaka when two more Caturmatras are removed from the Pada and when there is a long letter at the end of the last Caturmatra)' Thus Ugragalitaka has only six Caturmatras after the initial Sanmatra. In this as also in the Mugdhagalitaka the general rule, that the Caturmatras at the odd places shall not be Madhyaguru and those at the even places must be either Madhyaguru or Sarvalaghu, has to be observed as in the Malagalitaka. See HPk. 4.27. The illustra. tion is unintelligible. 4: All the other metres leaving aside the Dandakas and the metres of the Skandhaka class are called Galitakas when they are rhymed.' Metres of the Skandhaka class are the Gatha and its derivatives. Svayambhu calls them metres of the Skandhaka class because he has taken the Skandhaka as the basic metre as seen at ch. 1.3 above. See also HPk. 4.40 com. Hemachandra, however, calls this as the view of 'Some'. The commentator of the Kavidarpana merely repeats what Hemacandra has said about the Galitakas, the Khanjakas and the Sirsakas; cf. Kd. 2.23 com. The other Galitakas like Sundara, Bhusana and others defined at HPk. 4.28-40 are neglected by Svayambhu. III. KHANJAKAJATI 1: "Devoid of the Yamaka, faultless as regards their Padas and having an even number of Padas--thus are the Galitaka-Khanjas described by clever men.' Khanjakas are alitakas themselves, but they are said to have no Yamaka. Hemacandra's directions are also similar at HPk. 4.41. But the commentator of the Kavidarpana on Kd. 2.23 lays down that both the Anuprasa and the Yamaka must be present in the Khanjakas. As a matter of fact all the illustrations of the Khanjakas given by Hemacandra have the Padanta Yamaka as a rule and this is true even of the illustrations given by Svayambhu in this chapter. It is, therefore, difficult to see what exactly is meant by the direction about

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164 svayaMbhUcchandaH [ BRIEF NOTES the Yamaka. Sarisacaranair means that the Khanjaka shall ordinarily be a Sama Catuspadi and it corresponds to the word samanghri in Hemacandra's definition at HPk. 4.41. The significance of the word. paavisuddhaim in Svayambhu's definition is, however, not clear. It will be noticed that both the words Galitaka and Khanjaka are ex pressive of a class as well as of individual metres. 2: 'In a Khanjaka there is a pair of Trimatras, three Caturmatras, one Trimatra and a long letter in succession.' Here the word is used as the name of an individual metre as at HPk. 4.42 and Kd. 2.23. 2.1: For the Rupaka in the stanza see above ch. I.2.1. Here, however, there is nothing corresponding to rasanaraohar in that passage. 3: 'A Khanda is made with two Caturmatras and a Pancamatra.' Since Svayambhu's definitions are also illustrative of the defined metre, we must read kkaam for kaam. See HPk. 4.45 and Kd. 2.22. 3.1: The illustration is from Sriharsa's Ratnavali and is a part of the Dvipadi-Khanda which is wholly quoted by Svayambhu under the Sirsakas at eh. 4.1 below. On folios 9 and 10 which are lost, a few Khanjakas including the Aravindaka which is illustrated at ch. I. 2.1 above and the well-known Dvipadi of four Padas which is referred to in the next stanza seem to have been defined and illustrated. For these refer to HPk. 4.46-58. 4: 'Dvipadi itself becomes Kamalekha when it is devoid of the single short letter immediately preceding the last long letter in its Padas'. See HPk. 4.59 and Kd. 2.24.2 com. For the name Dvipadi as applied to a metre of four Padas see Vjs. Introduction para 5. 4.1: The meaning of the illustration is not at all clear to me. 5: 'In a Magadha Narkuti, whose seventh and tenth Matras consist of short letters and which has three long letters at the end (of its Padas), there are four Caturmatras immediately following an initial Sanmatra.' This means that the first of the four Caturmatras is either a Madhyaguru or a Sarvalaghu, the second is any one of the five kinds, the third is either a Sarvaguru or an Antyaguru, while the last is necessarily a Sarvaguru. In the second line of the definition, we have probably to read sattamadahamalahuae, if it is to serve as an illustration as it is very likely intended to be. See HPk. 4.63. This metre is virtually the Narkutaka of Virahanka at Vjs. 4.25, though the latter's definition is differently worded. Virahanka, however, seems to consider Narkutaka as a common name, since at Vjs. 4.34 he illustrates

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P. 3.1-3.8 ] svayaMbhUcchandaH 165 Adila in the form of a Narkutaka, which seems to contain 21 Matras in its Padas, as against our 22. It is curious to note that both the definition and the illustration of Svayambhu observe the conventional rule mentioned by Virahanka's commentator of Vjs. 4.25, namely, that the letters ae ought to occur at the end of every Pada. Hemacandra does not either mention or observe this rule in his work. 5. 1: The illustration is beyond comprehension. 6: 'If there are two short letters immediately before the last (long letter), it is Narkutaka.' The Magadha Narkuti itself is called simple Narkutaka when the last Caturmatra is Antyaguru. Upanidhana is upantya. For the metre see HPk. 4. 64. 6.1: The stanza describes the love-lorn state of a woman immediately after the departure of her lover. It is ascribed to Udbhata. 7: 'If both the final and the penultimate Caturmatras are Antyaguru, (the same metre) is called Sama Narkutaka.' HPk. 4. 65 directs that the last three Caturmatras shall all be Antyaguru; Svayambhu's illustration conforms to this rule and so very likely the definition is to be understood a little differently. Thus the word be is to be construed only with uanta and not with nihana and uanta both: Thus nihana, uanta be, ca, i.e., the final and the two penultimate Catur. matras should be paraga, i.e., Antyaguru. In all the three Narkutakas the first Caturmatra which immediately comes after the initial Sanmatra, is generally a Madhyaguru as seen from Svayambhu's illustrations and definitions as also from Hemacandra's illustrations. In the case of the last, i.e., the Sama Narkutaka, Hemacandra actually prescribes a Jagana. 7.1: The stanza gives a beautiful description of the person of the Tir thankara Puradeva. 3: All the three kinds of the Narkutaka) become Tarangaka, if a Tri matra (i.e., a Laghu and a Guru) is substituted for the last Caturmatra. See HPk. 4.66. Virahanka's Tarangaka is much different. It is virtually a Varna Vrtta with 14 Aksaras in a Pada (four Bha Ganas and two Gurus). See Vjs. 4.22. 8.1: The stanza is unintelligible. The line which follows very likely defined Pavanoddhuta which is the same as Tarangaka, but with a long letter added at the end of its Padas. See HPk. 4.67. On the missing folio No. 12 we had

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166 svayaMbhUcchandaH (BRIEF NOTES probably the illustration of the Pavanoddhuta and the definitions and illustrations of the Nirdhyayika of three kinds as also of the Adhikaksara and its derivative Mugdhika; for all these see HPk. 4.68-70., 9: "That Adhikaksara itself becomes Citralekha when a Pancamatra stands at the first place (instead of the Caturmatra).' The ms. reads Candalehia both in the definition and in the introductory words; but according to HPk. 4.71 (and Hemacandra closely follows Svyambhu in this matter) it is Citralekha. An Adhikaksara has five Caturmatras followed by a Pancamatra at the end; of the Caturmatras those at the even places must not be Madhyaguru. See HPk. 4.69 and Vjs 4.24. Curiously enough, Virahanka prescribes a Yati after the 12th Matra and this is practically the only place where a Yati is mentioned by him. Virahanka also lays down that the Caturmatra in the third place must be a Madhyaguru or a Sarvalaghu; the illustrations of both Svayambhu and Hemacandra observe this direction, which is, however, not actually mentioned by them. It should be noted that in Svayambhu's definition the fourth Caturmatra (kharacci) is a Madhyaguru against rule; yet in the illustration it is not so. 9.1 : The illustration contains a request and an address of a love-lorn girl to the moon; but the exact meaning is not clear. 10: 'Adhikaksara itself becomes Mallika when there are two Panca matras at the commencement (instead of the two Caturmatras of the Adhikaksara).' See HPk. 4.72. Even here the fourth Caturmatra (kkharacce) is a Madhyaguru as in v. 9 above, though the illustration observes the rule about the Madhyaguru Caturmatra correctly. 10.1: In the second line the letters anna are not rightly reproduced in the ms; we rather expect a word of three letters with a long letter in the middle (i.e., a Jagana) and meaning 'pollen' or the like. The stanza is a description of the advent of the autumn when the village borders are filled with ripe corns and fully grown grass, while the paths of the intending travellers (honta pahia) become covered with flowers wafted by the wind and crowded with the bees which keep hovering around, being attracted by the fragrance. The simile in the first line is based on a slesa on the word dihasasia (dirghasasyako and dirghasvasika). 11: "They call it (i.e., the Adhikaksara) a Dipika when it is possessed

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P. 3.8-4.21 svayaMbhUcchandaH 167 of Pancamatras (in place of the Caturmatras) at the first, the second and the fourth places.' See HPk. 4.73. 11.1: The idea seems to be : The moon went to the crown of the hair of Lord siva, being dejected at the defeat which he suffered at the hands of the Lady's face. But there too he could not find rest and remembering his glory in the sky when he was formerly there, he returned to the sky even when he was compelled to fall at her feet (as suggested by his reflection in the nails), thus acknowledging defeat. In the last line perhaps read paanahappadima for panhiappa dima or panhiapadima. 12: 'If all the above ones are found (promiscuously employed), they call it (i.e., the Adhikaksara) Laksmi.' This means that in Laksmi Caturmatras or Pancamatras may be used at the poet's option at the first, the second and the fourth places, whereas a Caturmatra alone must be used at the third and the fifth places and a Pancamatra alone at the sixth or the last place. See HPk. 4.74. 12.1: The illustration is quite unintelligible. Madanavatara and its deri vatives given after this by HPk. 4.75 are not given here by Svayambhu, who, however, defines only the first, i.e., Madanavatara under the Apabhramsa metres in Ch. 8 (p. 93). IV. SIRSAKANI 1: 'If a double Avalambaka is composed with a Giti at its end, wise men call it itself a Dvipadikhanda.' According to the usual practice of Svayambhu the definition itself must serve as an illustration and so the third line of the stanza should have been the latter half of a Giti; but it would appear that a whole stanza in the Avalambaka metre alone is here used by him. (Avalambaka is a Khanda as HPk. 4.48 lays down and as Svayambhu too must have said on the missing folios Nos. 9 and 10). 1.1: This is from Sriharsa's Ratnavali Natika, the first part of which was quoted by Svayambhu on Khanda in ch. 3, v. 3 above. 1.2: This is a beautiful description of the approaching rainy season and of how the pride and displeasure fast disappears from the hearts of unreconciled ladies during love sports. The word aarannamthavio in the last line makes no sense; perhaps read aara natthavio a. 2: This stanza defines a Dvibhangi consisting of a Dvipadi and a Gitika. But the metre of the defining stanza is very uncertain. Very likely the

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168 svayaMbhUcchandaH [BRIEF NOTES first line is intended to be that of a Dvipadi with 28 (6, 4 x 5, 2) Matras in it and the second that of a Gitika with 32 (4, 4, 5; 4, 4, 4, 5, 2) Matras in its half. We may correct the second by reading jahicchiehim ruaehim; while the first requires two more short letters (one after puno and another after bajjhai) to make it a Pada of the Dvipadi. So per. haps read punovi and bajjhai a. The Gitika meant here in the definition is clearly the Bhadrika Giti, in which the 3rd and the 7th Caturmatras are substituted by Pancamatras in both the halves. Virahanka called this variety by the name Gitika in order to distinguish it from the usual Giti at Vjs., 2.2-3. Very likely even Svayambhu might have followed him, though Hemacandra does not seem to have noticed this distinction, since a Gitika is mentioned as a Giti by him at HPk. 4.78 while defining a Dvibhangika. His illustration here contains a Bhadrika, but he calls it a Giti. The Pancamatras thus used are either the Madhyalaghu (SIS) or the Caturthaguru (IIIS) ones according to the directions of Virahanka at Vjs. 1.30 and the diminutive termination with the feminine ending (ka) is clearly suggestive of the delicacy which is lent to the metre by these. Even the Dvipadikhanda of sriharsa may have contained a Gitika and not a Giti (cf. v. 94 under HPL. 4.77), though Svayambhu's illustrations above do not suggest this. In the case of the present metre, namely the Dvibhangika, however, Svayambhu clearly wants a Getika (i.e., the Bhadrika of Hemacandra) as the words duhangia and ruaehim in the definition show (Pancamatras of the Madhyalaghu type being used at the 3rd and the 7th places in the line which is intended to be a Gitika-second half-according to his usual practice). 2.1: The description seems to be of the Spring and its effects on the lovers, as suggested by the fourth line. But the readings of the ms. are very defective. The same is true of the next stanza. 3.1: This is an illustration, merely the last or the fourth Pada of it-of the Samasirsaka, which takes place when an even number of Caturmatras is added in the first half of a Gatha before the final long letter, the second half being that of a usual Gatha. For the Gatha see above ch. 1.8 and for the Samasirsaka see HPk. 4.82. 4: We must suppose that on the missing folios Nos. 15-17, Svayambhu must have defined and illustrated the other kinds of the Dvibhangis, and also the Tribhangis, if we are right in our surmise that Hemcandra has generally followed the order of metres adopted by Svayambhu.

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P. 4.1-5.1] svayaMbhUcchandaH "That indeed is a Visamasirsaka when at the end of a Pada of the Malagalitaka pairs of Caturmatras in uneven numbers are added. 4: 169 For the Malagalitaka-only its illustration-see above ch. 2.1.1: It contains in its Pada a Sanmatra followed by 10 Caturmatras, of which those in the odd places shall not be Madhyaguru and those in the even places shall be either Madhyaguru or Sarvalaghu; see HPk. 4.25. Fo the Visamasirsaka see HPk. 4.83. Our defining stanza is not correctly reproduced in the ms. It should have read malagaliaassa paavasanaammi a caara etc. In the defining stanza we have three pairs of Caturmatras added at the end of the Pada of the Malagalitaka; i.e., we have a Sanmatra followed by 16 Caturmatras in a Pada. But in the illustration, seven pairs of Caturmatras are added, so that we have in each Pada, a Sanmatra followed by 24 Caturmatras. The stanza is incomplete, about seven Caturmatras in the last Pada being lost. It contains a description of some mountain, but it is unintelligible in many places. After this a large number of folios of the ms. is lost; it is very difficult to say what they contained. Evidently they contained only what could be called Prakrit metres, since Swayambhu himself says at the end of Ch. III in the main work above (p. 51) and at the beginning of Ch. IV (p. 52) that the Prakrit metres were dealt so far. So from a reference to Hemacandra's Chandonusasana, Chs. I to IV, we find that the only group of metres besides the Magadha Jati which forms the subject matter of the next chapter, that could have been defined and illustrated on these missing folios is that of the Vaitaliya and its derivatives. But this in itself could not occupy so many folios. Perhaps the figures showing the serial number of the folios are misread by me. V. MAGADHAJATI It is worth noting that Svayambhu defines and illustrates the Padakulaka, which is nothing but a mixture of the different metres that are defined in this chapter, at the beginning instead of at the end of the chapter. Another thing that deserves notice is that Matrasamaka and other metres of the class are considered as belonging to the Magadha Jati, i.e., the Class or Group of metres to which the Magadhika belongs and this latter is certainly a derivative of the Vaitaliya. Virahanka says that Vaitaliya itself is called Magadhika when it is composed in the Magadhi language, i.e., when the main characteristics of that language, namely the substitution of la and sa for ra and sa are present in it; see Vjs. 4.28:

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[BRIEF NOTES svayaMbhUcchandaH Hemacandra defines Magadhi among the derivatives of the Vaitaliya and considers it along with the latter as a Sanskrit Matra Vrtta. The only difference between the two is that in the Magadhi two short letters may be substituted for any of the two long letters of the Ragana that is necessary in a Vaitaliya; see Kd. 2.28 and note on it. It is, therefore, quite likely that Svayambhu began the present chapter with the definition of the free Magadhika (i.e., the one which is without any restrictions about the Aksara Gana or Ganas that may be used in it), which is defined at H. 3.62 and Kd. 2.28, or with the nominal Magadhika of Virahanka which is concerned only with the language rather than with the constitution of the metre. This view of Svayambhu, namely that the Matrasamaka and its derivatives belong to the Magadhika or the Vaitaliya Jati, may be said to lend support to my contention that most of the Matra Vrttas and among them those of the Matrasamaka (the name is significant) class, were originally cultivated and developed among the Prakrit bards and then later adopted among the Sanskrit metres. But in the process of adoption, they were totally shorn of their original element of Tala which must be supposed to have been an essential characteristic of ancient bardic poetry, as it was sung and not merely recited. See Jayadaman, Introduction para 17 (p. 24) and Apabhramsa Metres III in Bharatakaumudi, Allahabad 1947, p. 1075, para 10. 1.1: 170 The stanza is an illustration of Padakulaka which is also found at Hemacandra's Chandonusasana (NSP. ed) p. 26, 11.17-18 and Kd. 2.20.4. At the latter place the author of the stanza is said to be unknown. 2: 'When the 9th (out of the 16 Matras in a Pada of the Padakulaka) is represented by a short letter, it is called Matrasamaka.' In the definition of the Padakulaka Svayambhu must have mentioned the general condition of the metres of this group, namely, that out of the four Caturmatras of which the Pada is made up, the first shall never be a Madhyaguru or Jagana. See H. 3.65; Kd. 2.19 P. 4.42. 2.1: The white mango blossoms and the red Asoka flowers are here conceived as the white and red flaglets on the palace of Madana. 3: 'In Vanavasika the third Caturmatra is a Madhyaguru (or a Sarvalaghu). The correct reading seems to be urado and not urago. Others define it as one where the 9th and the 12th Matras are represented by short letters. urado means a Caturmatra which has a Dvimatra in the middle, i.e., either a single long letter or two short ones. See H. 3.69; Kd. 2.20; P. 4.43.

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P. 5.1-6.21 svayaMbhUcchandaH A love-lorn lady is here compared with the young crescent moon, who is lovely yet thin and slender. 3.1: 4: 'In Visloka the 5th and the 8th (Matras) are represented by short letters.' This means that the second Caturmatra is a Madhyaguru or a Sarvalaghu. See H. 3.67; Kd. 2.19; P. 4.44. 4.1: The meaning is not sufficiently clear. 171 5: The definition of Citra is not correctly reproduced in our ms. Perhaps we may read pancatthanamama lahu nam citta: 'Citra has the 5th, the 8th and the 9th Matras represented by short letters.' See H. 3.68; Kd. 2. 20; P. 4.45. 5.1: 6.1: 6: 'If the 9th (Matra, together with the 10th) is represented by a long letter, it is Upacitra.' See H. 3.66; Kd. 2.20; P. 4.46. The heart of a love-lorn lady is said to be evaporated like the water lying in the small impression on the ground made by a cow's hoof. See above ch. 1.5.2. for a similar idea. 2: The dark clouds, the rain-bows, the flashes of lightning and white cranes all appear as if they are the art-drawings drawn with different gems by Madana, the god of love. What is maria? VI. UKTADIVIDHI 1: So far the Skandhakajati (i.e., the Gatha and others), the Galitakajati, the Khanjakajati, the Sirsakas and the Magadhajati are defined and illustrated. Hereafter Svayambhu proposes to define and illustrate Ukta and the others. It is noteworthy that Svayambhu treats the metres of the 26 classes like Ukta, Atyukta, etc., as Prakrit metres, and what is more, defines them with the help of the five Matra Ganas mentioned above in ch. I. v. 2 above and not with the Aksara Ganas as is done by others by whom they are regarded as Varna Vrttas. I shall explain the definitions according to Svayambhu's way, but shall also give the formula in the terms of the Aksara Ganas for easy comprehension. "The metres like the Ukta, which begin with a single letter in their Pada and end with 26 letters in a Pada, are made with all short and long letters, have 4 Padas as a rule, and have a pause after the first half.' The expression saalalahuguruaim means that in these metres the letters whether short or long must be employed according to directions, and that a long letter cannot be substituted by two short ones and vice versa, as was permitted in the case of the earlier metres. In short, these are Varna Vrttas and shall be defined with the help of

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172 svayaMbhUcchandaH BRIEF NOTES certain definite types of Matra Ganas and not with that of the Matra Ganas in general. So in each case Svayambhu will mention the Caturmatras and other Ganas of a particular type and will not merely say Caturmatras or Pancamatras or so. 3: "The Ukta is formed with a single letter (in its Pada); the Atyukta with two letters, the Madhyama with three, the Pratistha with four and the Supratistha has five letters in its Pada).' 3.1-5: These are the illustrations of the varieties defined in v. 3. Hema candra, Jayakirti and Praksta Pingala define all the four varieties of Atyukta and all the eight of the Madhyama Jati. Svayambhu defines only one (containing both long letters) of the Atyukta and only three of the Madhyama Jati. The latter are those that contain a Sagana, a Ragana and a Yagana respectively. He does not give any specific names to these three as is done by Hemacandra and others. It is true, however, that there is no agreement about their names among them. 4: 'Two long letters and three Trimatras each ending in a long letter these are the Ambas of the Naracaka.' (ta-ra-la-ga). See H. 2.78; Jk. 2.70. 4.1 : 'A few elephants move about with their temples pierced by shafts, attacking the unassailable enemy, etc.' 5: 'If the order (mentioned in the last metre) is reversed it is called Samanika.' This is a peculiar definition of Samanika. Usually Samanika is said to be the opposite of the Pramanika in respect of the order of short and long letters and its last letter is short; but Svayambhu thinks that Samanika is the opposite of the Naraca, which means that the last letter in Samanika is not short but a long one. Thus in the Samanika we have three pairs of long and short letters and two long letters at the end (i.e., ra-ja-ga-ga instead of ra-ja-ga-la). For an almost identical wording, but with a different signification see Kd. 4.18. Also see H. 2.83; Jd. 5.3 etc. 5.1: 'Look at these lotuses, visited by swarms of fish, awakened by the rays of the sun and covered with impassioned bees.' 6: "Citrapada has three Caturmatras, of which the first two have a long letter at the commencement, while the last one consists of all long letters.' anga-gaara is one whose 'body' consists of long letters (bhabha-ga-ga); cf. H. 2.75; P. 6.5. Virahanka at Vjs. 5.11 and Jayakirti at Jk. 2.67 call this metre by the name Vitana. 6.1: 'In the grove of the heated mountain a branch of the Kimbuka tree

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173 P. 6.2-121 svayaMbhUcchandaH moves to and fro and looks as if it were the lolling tongue of the thirsty mountain.' The word kunjare in the first line is wrong; it ought to be kunje. 7: "The four Trimatras which contain their short letter respectively at the end, at the beginning, at the end and at the beginning, make a Manavaka. (bha-ta-la-ga). See H. 2.77; P. 6.4; it is called Manavaka kriditaka at Vjs. 5.12 by Virahanka. -7.1 : 'Look at this mass of clouds; or is it the dark jaw of Kala with its fangs in the form of the moving cranes, eager to devour a multitude of travellers. 8: The definition of Bshati is missing; it is na-ra-ra. See H. 2.89. 8.1: "The lovely Kadamba trees have blossomed; the black bees are humming. Being struck with the fragrance (of the Kadambas), the travellers have fainted and fallen on the ground.' 9: '(Four) Trimatras, the first two with a short letter at their end, the third with all .short letters and the fourth with a short letter at the beginning make a Halamukhi.' (ra-na-sa). See H. 2.90; P. 6.8 and Kd. 2.20. 9.1 : 'Your breasts are heavy and firm; you are slender in your waist. Oh daughter go gently; (otherwise), you will only be broken in no time.' 10: 'Bhujagasisussta is said to consist of two Sanmatras, the first contain ing all short and the second, all long letters.' (na-na-ma). See H. 2.91; P. 6.7. It is called Bhujagasisubhrta by Kedara at Vr. 3.21 and Madhu karika by Bharata at Bh. 16.18. 10.1: 'You wander, oh noble one, being slim; how indeed you sustain with effort your heavy breasts on your (slender) waist, owing to the pride of the support which you claim from your three wrinkles (on the abdomen).' 11: The definition of Panktika is missing; (ra-ya-ja-ga); see H. 2.108. It is known as Mauktika to Jayakirti at Jk. 2.93. 11.1: "That person who always develops affection, who is desired, whose name and body are good, who is dear, clever and long-lived, is not to be found in every man's house.' See Uttararamacarita I.39. 12: "This again is Matta in prosody, which ends in two long letters and has four long and four short letters in succession (at the commencement). gaddhi is ga abdhayah and laddhi is la abdhayah; abdhi is four. (ma-bha-sa-ga); see H. 2.107; P. 6.13.

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svayaMbhUcchandaH [ BRIEF NOTES 12.1: 'I fancy that the flashing circlet of lightning in the centre of a cloud on the opening night of the rainy season is as it were the heart of that cloud trembling through fear of the sharp winds of the summer heat.' Perhaps read gimhumha in the last line and cf. ch. I. 5.3 above for a similar idea. 174 13 Four Trimatras, each ending in a short letter and two long letters (after them) (make a Pada) of Mayurasarini.' (ra-ja-ra-ga); see H. 2.111; P. 6.12; Kd. 4,23. 13.1 "Look, oh shy one, at the peaks of the Vindhya mountain, inhabited by intoxicated elephants, rubbed against by a mass of clouds and (looking) eager to reach the sun and the moon.' 14: The wording of the definition is not clear; it probably means that Upasthita contains three Caturmatras, the first having all long letters and the next two having a long letter at their end, followed by a Trimatra which has a short letter at its commencement. So perhaps read ca for ga in the first line and to for ta in the second. (ta-ja-ja-ga); see H. 2.120; P. 6.14. 14.1 "The sky is seen overcast with clouds; (so are seen) the flashes of lightning and the rain-bow. The lovely days bring eagerness even to (the minds of) those who have their beloved one by their side.' See Meghaduta v. 4. 15: "That is Rupavati or Rukmavati which has three Caturmatras, the first having a long letter at the beginning, the second having two long letters and the third having a long letter at the beginning, followed by two long letters at the end.' (bha-ma-sa-ga); see H. 2.113; P. 6.11; Virahanka at Vjs. 5.18 calls it Campakamala, but it is known as Puspasamrddhi to Bharata at Bh. 32.227 and as Subhava to Hemacandra, who mentions it as an alternative name in his commentary on H. 2.113. 15.1 'Sandal-paste, moon-light, wine, notes of the cuckoo, camphor, lotus and the lute, all these give pleasure to men (when they are at home; but) they give pain to them when they are on a journey." 16: "There are four Caturmatras in the Pada of a Panava, which respectively have the long letter at both the places, at the commencement, at the end and in both places.' (ma-na-ya-ga); see H. 2.110; P. 6.10; Bharata calls this Kuvalayamala at Bh. 16.20. 16.1 The description is of the Makanda trees covered with fresh blossoms and crowded with the warbling cuckoos; but the last two lines which contain some Rupaka are not very clear.

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P. 6.12-21 ] svayaMbhUcchandaH 175 17: 'That is Suddhaviratika in which there are five Ambas, namely, four Trimatras and a Caturmatra which precedes them and contains all long letters, while of the Trimatras the first has a long letter at the beginming, and the last three have it at the end. In prosody, it is pleasing to all people.' (ma-sa-ja-ga); see H. 2.109; P. 6.9; Kd. 4.24. 17.1 : 'It seems as if the cloudy sky is falling down crying, being pierced with a fierce lance of lightning by the wrathful king viz., Rainy Season, armed with a bow, namely, the rain-bow.' 18: 'Dohaka (Pada) is formed with four Caturmatras, the first three of which have the long letter at the beginning, while the last one has all long letters.' titthihia vaavva 'Now Tristubh is to be defined.' Such introductory sentences regularly occur in the portion of the chapter that is given earlier; but it occurs only here, that is, in the Purvabhaga. (bha-bha-bha-ga); see H. 2.130; P. 6.18; Kd. 4.29. 18.1 : 'Look, how Grisma (Summer), who is ambitious (to rule), is killed with vollies of arrows in the form of streams of shower, by the Raingod, who is a good friend of Mahendra (Lord of the gods) and mounted upon the elephant of the cloud.' 19: 'Five Trimatras, each with a short letter at its end, followed by a long letter at the end :-Such are the Ambas of Nissrenika.' (ra-ja-ra-laga); see H. 2.144; P. 6.25; Kd. 4.31. In all these places the metre is called Syeni or Syenika; but the name Nissrenika is mentioned by Hemacandra in his commentary on H. 2.144 and ascribed merely to Anye. Jayakirti at Jk. 2.102 calls it merely Sreni which is nearer to Svayambhu's Nissrenika. 19.1 : 'Look, oh shy one, this flashing lightning, which is cutting short the life of travellers, shattering the peaks of mountains and lolling its tongue like a Sincana (bird).' 20 : 'Bhramaravilasita has two Sanmatras, the first having all long letters and the second having the long letter at the commencement, followed by a Caturmatra at the end in which the long letter is the last of all.' (ma-bha-na-la-ga); see H. 2.138; P. 6.21; Vjs. 5.23. 20.1: 'In the rainy season a circular mass of clouds is gracefully moving with water spread out all over it; who indeed has held this clay-pan with its mouth turned upwards and filled with black ink ?' 21: 'In Svagat, there is a pair of Trimatras and a pair of Caturmatras, each of the former ending in a short and each of the latter in a long letter, followed by a long letter at the end of all.' e in the first half is short;

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176 svayaMbhUcchandaH [BRIEF NOTES it is difficult to interpret the second line properly, though the meaning is clear. (ra-na-bha-ga-ga); see H. 2.141; P. 6.29; Kd. 28. At Vjs. 4.19 this metre is called Parinandita. 21.1: 'Look; the flash of lightning moving about the dark cloud appears as if it were a streak of flaming fire, now visible and now invisible, on the summit of a mountain which is almost burnt out.' 22: "Rathoddhata has (in its Pada) three Trimatras, the first two having a short letter at their end, followed at the third place by a Caturmatra which, and also the last Trimatra, have a long letter at their end.' (ra-na-ra-la-ga); see H. 2.141; P. 6.22; Kd. 4.27. 22.1: The sky is conceived as a house full of darkness due to clouds; but the idea in the second half is not intelligible. 23: 'In Subhadrika there are three Trimatras, each having the short letter at the beginning, which come after a Pancamatra which has all short letters.' (na-na-ra-la-ga); see H. 2.143; Kd. 4.30. In both these places the metre is called Bhadrika. 23.1: "See how the crescent moon resting on the edge of a fresh cloud looks attractive as if it were the fang of the great Hog in the form of the sky, at the end of the world, having the colour of a white lotus stalk.' 24: 'They call it Ekarupa when there are a Sanmatra with all long letters, two Caturmatras, the first with a long letter at the end and the second having it in the middle, and a pair of long letters in a Pada) in succession.' (ma-sa-ja-ga-ga); see H. 2.146: Jk. 2.113 (where, however, a Yati is mentioned after the 6th letter). It is also called Mani at Jk. 2.96 (when no Yati is mentioned). 24.1 : The fresh- foliage of the red Asoka is here fancied to beacon to the other trees that they should give up lamenting since the Spring shall enliven them also. The wording, however, is not clear. 25: 'In Vatormi there are three Caturmatras, the first two having ali long letters and the third having it at the end, then a Pancamatra with a long letter in the middle and a long letter following it, in succession.' (ma-bha-ta-ga-ga); see H. 2.136; P. 6.20; Kd. 4.37. 25.1 : The stanza is unintelligible. 26 : 'Two Caturmatras each containing all long letters and two Panca matros, each having a short letter in the middle, followed by a long letter at the end of the Pada) make a salini.' The wording of the second line is doubtful. (ma-ta-ta-ga-ga); see H. 2.135; P. 6.19; Kd. 4.36. Also Vjs. 5.22.

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SVAYAMBHUCCHANDAS I. UKTADIVIDHI This chapter is the continuation of Ch. VI of the Purvabhaga. In the ms. of the Purvabhaga we have nine metres of the Tristubh Jati and there the ms. ends abruptly; and the present ms., the first 22 folios of which are missing, begins with Vidyunmalika. We have only the illustration; for the definition (na-sa-ta-ta-ga) cf. H. 2.209. 1: "The (six) Trimatras, the first two of which end in a short letter each, the last three begin with it, while the middle one contains all short letters, make a (Pada of a) Rucira. (ja-bha-sa-ja-ga); cf. H. 2.198; P. 7.2; Kd. 4.60. 1.1: 'The unfortunate lovely woman in the form of the sword, bedecked with pearls and having her limbs smeared with elephant's rut, is crying as it were, (after rolling) on the ground, freely raising her voice owing to the humming of the bees that had gathered there (owing to the rut), when her good master had fallen (in the battle).' The words latthia (a stick and a lovely woman) and abhaggia (unbroken and unfortunate) are intended to be slista. 'If in (each of) the Padas, there are enmployed four Caturmatras, the first and the third of which have their long letter at their end, while the second and the fourth have it in their middle, and are followed by a long letter at the end, the metre is called Nandini.' (sa-ja-sa-ja-ga); cf. H. 2.210 and P. 8.7, who call it Kanakaprabha, while Vr. (3.69) knows it as Manjubhasini. In his commentary Hemacandra mentions three other names for it, viz., Jaya (cf. also Jk. 2.159), Manovati and Suman gali; but Bharata, 32.151, knows it as Vilambita. 2.1: 'When I look at you, my mind does not arrive at a decision as it entertains a doubt : Could this be the moon ?; but he does not shine by day; could he be Ananga ? But his bow is made of flowers.' This is an example of the Sandeha Alamkara. Vv. 3-12 describe 10 metres of the sakvari Jati which have 14 Aksaras in each of their Padas. 3: 'In the Vasantatilaka metre there are four Caturmatras followed by a Pancamatra; of the Caturmatras, the first has all long letters, the second has it in the middle, while the third and the fourth have it at the end. The last, i.e., the Pancamatra, has its short letter at its commencement.' (ta-bha-ja-ja-ga-ga); cf. H. 2.231; P. 7.8; Kd. 4.62. Vjs. 5.31 knows it only as Simbhonnata, but Kedara Vr. 3.75 knows

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178 svayaMbhUcchandaH [BRIEF NOTES this name and two others namely, Uddharsini and Madhumadhavi also. Karnotpala and Sobhavati are two more of this same metre which are found at Vr. 3.75.2-4. 3.1 : The author of the illustration is doubtful; the name Vijja is later changed into Divakara in the added footnote. 'Your hand, having the beauty of the delicate interior of an erect lotus and possessed of a fore-arm covered with the hair standing on their end owing to the touch of the breasts of the beloved, brings honour, gifts, terror and enjoyments respectively to friends, Brahmins, enemies and sporting damsels.' 3.2: The blue lotus placed on the ear, when tinged with the red colour of saffron on the cheek as it repeatedly touches it, and affected by the whiteness of eyes of the girl, is fancied to be the knob of Cupid's arrow made with the three gems, namely, the blue sapphire, the pearl and the red ruby. 4: "Two Pancamatras, the first with a short letter at the end and the second with all short letters, placed between two Sanmatras, both of which have all long letters, make a (Pada of) Asambadha.' (ma-ta-na-sa-ga-ga); cf. H. 2.230; P. 7.5; Kd. 4.64. 4.1-2 : Both the illustrations are vulgar descriptions of a girl's sexual enjoyment. 5: "That is Nandimukhi, in whose (Pada) there are in succession) two Trimatras both containing all short letters, two Pancamatras both having a short letter at their end, and two long letters.' (na-na-ta-ta ga-ga); H. 2.224 and Jk. 2.170 know this metre as Vasanta though Hemacandra mentions the name Nandimukhi also in the commentary. Pingala and others do not notice it at all. 5.1: "The hair stand on their ends; drops of perspiration trickle dowi!, the lower lip throbs, talkativeness decreases, the mind becomes shaky and the eye becomes fixed. Thus do various sweet emotions take place when the lover is sighted.' 6: "That is Aparajita where (in a Pada) there occur in succession) a Sanmatra with all short letters, a Pancamatra with a short in the middle, a Caturmatra and a Trimatra both having a long letter at their end.' (na-na-ra-sa-la-ga); cf. H. 2.220; P. 7.6; Kd. 4.65. 6.1: This is a Rupaka where the body of the beloved is conceived as a lotus-pond, having hands and face as its lotuses which are endowed

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179 1.3-10 ] svayaMbhUcchandaH with stalks namely the arms and the neck, where the eyes are the blue lotuses, the breasts are the swans, the black hair are the black bees and (the loveliness of) the Nitambas is the water. 7: "Praharanakalika has two (groups of) seven (letters), each having its long letter at the end. (na-na-bha-na-la-ga); cf. H. 2.222; P. 7.7; Kd. 4.66; Vr. 3.73. All these works call the metre by the name Praharanakalita, while Jk. 2.173 alone calls it Praharanakalika. It is difficult to say what Svayambhu intended. 7.1: "Avoid journey in this rainy season, oh Lover; enjoy my beauty which resembles the lovely sands of the Ganges. My heart is unable to bear separation even for a moment like a drop of water placed on the edge of a blade of grass.' 8: 'It is called Karimakarabhuja in Prosody, when there are (in succes sion) a pair of Sanmatras, the first having all short and the second all long letters in them, then a Pancamatra and a Trimatra, both having their short letter at their commencement.' (na-na-ma-ya-laga); cf. H. 2.223. Karimakarabhuja is also the name of a Matra Vitta which has a pair of Caturmatras in each of its four Padas; see below 7.9. 8.1: Here as in 6.1 above we have a Rupaka; but here it is the battle field that is considered as a lotus-pond where her brave lover is supposed by a girl to be sporting. Its water is the blood of the enemies, the elephants are its sharks, horses and banners the birds, the mass of umbrellas the foam, the severed heads of warriors the lotuses and long lines of swords the fish. 'A pair of long letters coming after twelve short ones makes (the Pada of) Upacitra.' (na-na-na-na-ga-ga); cf. H. 2.234; Jk. 2.177. No other author notices this metre, though we find it at Vr. 3.77.5 under the name Supavitra, with a Yati at the 8th. The feminine name Upacitra is that of a Matra Vitta which belongs to the class of the Matrasamaka and others. See below SbP. 5.6 (p. 118). Svayambhu's illustration is quite unintelligible. 10: 'Laksmi is that metre where, the 5th, the 9th and the 12th places are filled with short letters (all others being long)! (ma-ra-ta-ta-ga-ga) cf. H. 2.225; at Jk. 2.166 it is called Candrasala. It is not mentioned by others. 10.1 : The vast sky is conceived as a forest, which is burnt by the wild fire namely, the sun, in which there are flaming sparks namely, the

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180 svayaMbhUcchandaH (BRIEF NOTES twilight, and small heaps of ashes in the form of the constellations, which is hard to extinguish and where there is a small piece of burn ing wood emitting smoke, namely the comet. 11: 'When short letters are used to fill up the 5th, the 10th and the 13th places (in a Pada), it is Jyotsnika.' (ma-ra-ma-ya-la-ga); cf. H. 2.227, where a Yati is mentioned after the seventh letter. 11.1: The sky is here conceived as a large tree, whose branches are the quarters, flowers the stars, the ripe fruit the rising sun, the resting bird the moon, and the slowly departing bees are the patches of (re tiring) darkness. 12: 'A Sanmatra with all long letters, two Pancamatras each with its short letter in the middle, a Caturmatra and a Trimatra, both having their long letter at the end (make the Pada of) Jaya.' (ma-ra-ra-sa la-ga); cf. H. 2.226; where a Yati is mentioned after the seventh letter. 12.1 : On seeing the white reflection of the approaching Krsna in her pearl necklace, Radha thought that Balarama was coming and so felt shy; Krsna saw the source of the error and was amused. The complexion of Krsna was dark, but in the pearls it appeared white. On the other hand Balarama was white in complexion. 13-19: These stanzas define seven metres of the Atisakvari class which have 15 letters in their Padas. 13: "There are in a Pada) two Pancamatras both having a short letter at their commencement, coming after a pair of Sanmatras, the first of which contains all short and the second all long letters in it; such indeed is Malini whose Padas are attractive to the minds of the people.' (na-na-ma-ya-ya); cf. H. 2.246; P. 7.14; Kd. 4.72. Bharata (Bh. 16.70) calls it Nandimukhi and this is noticed by Hemacandra in his commentary. 13.1: The orb of the rising moon is imagined as if it were the sandal smeared white cheek of the damsel namely the Eastern Direction, or her crest consisting in a leaf of the Ketaka flower or her ear-ring made of ivory. 14: 'When there are two Pancamatras, the first having all short letters and the second having it at the commencement, then two Caturmatras each having a long letter in its middle, and finally a long letter (in a Pada), it is called Upamalini by good poets.' (na-na-ta-bha-ra); cf. H. 2.248, where a Yati is mentioned after the eighth letter, as in the Malini.

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1.10-19) 181 svayaMbhUcchandaH 14. i : The stanza contains a request from a crest-fallen lady to her lover, conveyed through the Duti. 15: 'But if there are four Pancamatras, the first having all short letters, the second having it at the beginning and the last two having it at the end, followed by a long letter at the end of the Pada), it is called Candroddyota.' (na-na-ma-ra-ra); cf. H. 2.247, where a Yati is men tioned after the eighth letter. 15.1: 'Look how the digit of the young moon slightly reddened by the evening twilight and resting on (the edge of) the dark cloud, (occasionally) brightened up by the flashes of lightning, appears as if it were the blood-moistened fang, eager to devour the world, in the dark mouth of Death with its tongue lolling out.' The flash of light ning is the lolling tongue. 16: 'It is Tonaka, when there are seven Trimatras, each having a short letter at its end, and then a long letter, (in a Pada).' (ra-ja-ra-ja-ra); cf. H. 2.254. It is called Mahotsava at Jk. 2.190. 16.1: The stanza describes the attack of Ravana's army of Raksases against the monkeys (of Rama) and seems to be from a poem on the theme of the Jaina Ramayana, whose author is said to be Nagaha. 17: Sasikala has (in its Pada) 14 short letters followed by a long one. (na-na-na-na-sa); cf. H. 2.243; P. 7.11; Kd. 4.68. Pingala calls it Candra varta and this is noticed by Hemacandra in his commentary. 17.1: 'Whom indeed does the beauty of the autumnal days not attract, when there are a number of lakes having open day and night lotuses surrounded by a hovering swarm of bees attracted by their fragrance and when the surface of the earth is white-washed with the moon's rays.' 18: '(The same Sasikala becomes) Manigunanikara, when a Yati is ob served at the end of the eighth letter.' This is one of the few places where a Yati is mentioned by Svayambhu. See H. 2.245; P. 7.13; Vr. 3.80. 19: "When at the end of Vidyunmala two Pancamatras each having a short letter in the middle and a long letter are added, it is (called) Citra.' (ma-ma-ma-ya-ya); cf. H. 2.249; Jk. 2.193 gives Manduki as its alternative name. Hemacandra notices this as well as the other name Cancala in his commentary. 19.1: This is a description of the Rainy season; the speaker shows concern

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182 svayaMbhUcchandaH [BRIEF NOTES about the safety of the travellers who are away from their dear ones, in the fashion of the conventional ideas of the Sanskrit poets. 20: Hereafter Svayambhu defines six metres of the Asti class which have 16 letters in their Padas. The first is Pancacamara; its Pada has eight pairs of a short and a long letter. Jk. 2.203 defines this metre among the Sanskrit metres; but mentions it also under the name of Mahot sava at Jk. 6.31. 20.1: The stanza contains a description of the forest grounds, which emit a fragrance when moistened with the first drops of rain, which are covered with a large mass of sprouts rising from the bulbous roots, which are darkened with swarms of black bees greedily hovering around the Silindhra flowers, being maddened with their fragrance and which thus cause pain to the travellers (separated from their beloved ones). 21: 'It is Citraiobha when there are eight Trimatras (in a Pada), each having a short letter at its end.' (ra-ja-ra-ja-ra-la); Hemacandra does not mention this metre. The only other author who defines is that of the Praksta Paingala at 2.172 under the name Cancala. 21.1: The stanza describes a warrior who is capable of as it were sport ing on a battlefield where a fierce battle is raging. 22: "Seven Trimatras, each with a short letter at its end, followed by two long letters at the end, (make the Pada) of Citra.' (ra-ja-ra-ja-ra-ga); cf. H. 2.279. This is identical with the last except that we have here a long letter at the end instead of a short one. 22.1: "The Raksasas in the form of the Rain clouds fiercely frowning owing to the rainbows, showing their uneven rows of teeth, namely the departing swans, possessed of lolling tongues of the lightning flashes, are running at the poor travellers (separated from their beloved mates).' 23: Six 'Trimatras, the first having its short letter at the end, the second and the third having it at the commencement, and the last three having all short letters in them, with a long letter (at the end) (make the Pada of the) Gajavaravilasita.' (bha-ra-na-na-na-ga); cf. H. 2.271; P. 7.15; Vr. 3.85. All the three give the name as Rsabhagajavilasita, while Hemacandra mentions Mattagajavilasita as another name of it in his commentary. 23.1: "The skies are as it were crying aloud through the thunder of the cloud, shedding tears of big rain-drops and saying: Where have you

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1.19-27] svayaMbhUcchandaH gone, oh Grisma (Summer), dear friend of the Spring, who had caused the lotuses to open in the lakes and had allowed a free play to the bright rays of the sun and the moon ?' 183 23.2 The description seems to be of the ocean at the time of its being churned with the churning staff of the Mandara mountain. 24: "Two Sanmatras, the first with all long letters and the second having a long letter at its commencement, two Pancamatras, the first with a short letter and the second with a long one at their beginning, and a long letter (at the end) make (the Pada of) the Madanalalita, in Prakrit prosody.' (ma-bha-na-ma-na-ga); cf. H. 2.275, where, however, a Yati after the 4th and the 10th letters is prescribed. 24.1: A traveller is here described as having fainted on seeing the amorous behaviour of a loving couple on a swing and remembering similar sports of his beloved. 25: 'He calls that Acaladhrti when it has all short letters in its Pada.' (na-na-na-na-na-la); cf. H. 2.269; Kd. 4.79. Pingala 4.48, calls it Gityarya. 25.1: The stanza describes the sporting dalliance of the beloved. 26: 'Prthvi is that metre in which there occur (in succession), four Caturmatras, the first and the third of which have a long letter in their middle, while the other two have it at the end, a Pancamatra and a Trimatra, both having a short letter at the commencement.' (ja-sa-ja-sa-ya-la-ga); cf. H. 2.287; P. 7.17; Kd. 4.83. It is called Vilambitagati by Bharata at Bh. 16.84; Even Utpala mentions this latter name in his commentary on Brhatsamhita 103.16. 26.1 This is a Rupaka where young lady is conceived as a river in the autumn, with her palms as the red lotuses, with her face as the bright moon, eyes as the blue lilies, tresses as the black bees hovering around, breasts as the Cakravaka birds and the deep navel as the deep parts of the river-bed. " 27: 'It is Sikharini when it has (in its Pada) a Pancamatra with its short letter at the beginning, a Sanmatra with all long letters, two Pancamatras, the first with all short letters and the second with a short letter at its end, and a Caturmatra which has a long letter at its end (in succession).' (ya-ma-na-sa-bha-la-ga); cf. H. 2.286; P. 7.20; Kd. 4.82. 27.1 (Even) imprisonment in the midst of wise men, or a long sojourn in a mountain cave, or even a sport with a venomous serpent is to be preferred, but not even rulership in the company of wicked followers.'

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184 28: svayaMbhUcchandaH [BRIEF NOTES 'Mandakranta (has in her Pada) two Sanmatras of which the first contains all long letters while the second has its long letter in the beginning, (followed by) three Pancamatras, each having a short letter at its commencement.' (ma-bha-na-ta-ta-ga); cf. H. 2.290; P. 7.19; Kd. 4.80. 28.1: "The wife of the heartless traveller having decided to die at the sight of a rain-cloud, places a string of lovely Punnaga flowers with bees hovering around it on her (pearl) necklace, a Malati flower in her hair, and a single Kadamba blossom on her ear.' The idea is that the sight of these flowers is most painful to a separated lover; cf. Malati-Madhava III.12 for a similar idea. 29: This (Mandakranta itself) is Harini when it has at its end two Pancamatras, each with a short letter in its middle (in place of the last two Pancamatras of the Mandakranta).' (ma-bha-na-ma-ya-la-ga); cf. H. 2.292; the metre is not noticed by other writers. 29.1: "The day-lotus awoke on seeing the rising sun in the early morning and having an opportunity at it were laughed at the moon who had grown gray. How can there be any glory for him who is faultfinding (or shining at night), who has not got all the arts or (digits), who has an empty purse (or who lives in the sky), who is consumptive (or who wanes) and feeble, and is always crooked towards his friends (or towards the sun). The words in the last two lines are double meaning, one applicable to a man and the other to the moon. The day lotus opened up all its grand beauty for the rising sun, but merely scoffed at the presumptuous moon who was losing all his lustre in the morning. 30: 'In a Vamsadala there are all (i.e., six) Trimatras with a single Caturmatra at the end of all; of the Trimatras, the 1st and the 5th have a short letter at their end, the 2nd and the 3rd have it at their beginning, while the 4th and the 6th have all short letters in them. The Caturmatra has the long letter at its end.' (bha-ra-na-bha-na-la-ga); cf. H. 2.288; P. 7.18; Kd. 4.84. All these works know it by the name Vamsapatrapatita, though Hemacandra notes the name Vamsadala in his commentary. 30.1: 'In the spring the southern breeze, having come in contact with fragrant flowering trees, laughs and challenges as it were, all youthful persons, (saying :) let us bet keeping Mountain Malaya as our umpire, as to whose lovely fragrance is more acceptable (to young damsels).'

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1.28-35 ] svayaMbhUcchandaH 185 31: 'Some call this metre by the name Vamsapatralalita. The correct name seems to be Vamsapatrapatita, the Prakrit form being Vamsa vattapaliam-padiam as seen from the last line in the illustration. 31.1: 'A Cataka bird does not care to have the ample water in the lakes and lotusponds, though it is sweet, cool, clear and filled with blue lotuses as also with the sweet notes of water-birds; but he is very happy to lick even a single drop of water sent by the lord of gods (i.e., of the rains), though it has fallen on the blade of a bamboo-leaf.' 32: "Two Sanmatras both containing all long letters, preceded by a Pancamatra which is full (i.e., is the longest and so containing all short letters), and followed by two Pancamatras, both having a short letter at their commencement, make (the Pada of) Padma.' Paguna 'excellent' is used both in the sense of the longest of all the Pancamatras, and also in the sense of 'leading'. Solve pragunah prathamam vartamanah pagano yayoh tau davu sanmatrau. (na-sa-ma-ta-ta-ga ga); cf. H. 2.294, where Hemacandra mentions a Yati after the 6th and then after the 10th letter. 32.1: This is a vulgar description of a girl's dalliance. 33: "That (Padma) itself is Rohini when each of the last two Panca matras in it has a short letter in its middle (instead of at the beginning).' (na-sa-ma-ma-ya-la-ga); cf. H. 2.295 where a Yati is mentioned after the 6th and the 10th letters. 33.1 The meaning of the stanza is not very clear. 34: 'In the Pada of Harini there occur in succession) a Pancamatra with all short letters, a Sanmatra with all long letters, three Caturmatras, the first having all long letters, the second and the third having a long letter in their middle, and finally a long letter.' (na-sa-mara-sa-la-ga); cf. H. 2.293; P. 7.16; Kd. 4.81. Bharata at Bh. 16.78 calls it Vrsabhalalita, while Utpala on Behatsamhita, 103. 10 calls it Visabhacarita. All except our author and Bharata mention the Yati after the 6th and the 10th letters. 34.1 : A lady explains to her friend how all external factors like southern breezes, moonlight, spring, cuckoo's notes, music and sugar-cane juice, even when combined, do not please one as much as a lover with affectionate talk does. 35: 'Bhavakranta is that which has four long followed by four short letters, two Caturmatras, the first with a long letter in the middle and the second having it at the commencement, and a Paneamatra-with a

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186 svayaMbhUcchandaH [BRIEF NOTES short letter in the middle of it.' The word visamajagana is not rightly understood. Perhaps the correct reading is visama-cagana 'having an uneven number of Caturmatras, i.e., five', the first three covered by the four long and four short letters, the fourth and the fifth being udara-guru and adiguru respectively. (ma-bha-na-ra-sa-la-ga); cf. H. 2. 291. The real name appears to be Bharakranta and our ms. often reads va for ra. 35.1: A young girl compares her lover with the moon, the sun, the ocean, the fire, Indra, siva and Visnu; but finds some fault with each of them and so declares her lover to be incomparable owing to his possession of many good qualities. The moon is crooked and has a dark heart (owing to the black spot); the sun's hands (rays) are fierce; the ocean is by nature a fool (jaoadhi-jaladhi); the fire is without proper training (unrestricted in its march); Sakra is an outcaste (owing to his having a curse of Gautama); Hara has odd eyes (i.e. fierce and uneven i.e. three) and Hari is Sagada (having a Gada and having a disease). 36: 'When Mandakranta has six short letters in its middle (instead of the usual five), it becomes Citralekha.' For Mandakranta see above v. 28. (ma-bha-na-ya-ya-ya); cf. H. 2.304, where it is called Candralekha. Beginning with this Svayambhu defines 11 metres of the Dhsti class, which have 18 letters in their Padas. 36.1: The slightly reddish digit of the moon on the second day of the first half of the month is imagined here as a fresh nail-mark left on the breasts, namely the while autumnal could, of the Lady of the evening twilight, by the sun, her lover, who had departed after sporting with her on the bed of the sky. 37: 'Candramala is that where there occur (in sucession) six short letters, six long letters and two Pancamatras, each having its short letter at the commencement.' (na-na-ma-ma-ya-ya); cf. H. 2.307. 37.1: 'Look how a swarm of bees has left the garden and alighted on the lotus-like sole of a lovely girl; on hearing its humming, the anklet, however, murmured saying to bees, at it were, that they should not stay there which was its exclusive property, being greedy for the same.' A swarm of black bees settled on the sole of a girl; she moved her feet to ward it off. As a result of the movement the anklet gingled; the poet's fancy is based on this. 38: 'If two short letters are added at the end of the six Trimatras in the

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1.35-42) svayaMbhUcchandaH . 187 Gajavaravilasita, it is called Bhramarapada.' For the former see above v. 23. (bha-ra-na-na-na-sa); cf. H. 2.309. 38.1: 'Whom would an autumnal night not please, when the dust (on the ground) is made to settle by water sprinkled by the clouds, when the lotus-ponds are full of sweet music owing to the humming of the hovering bees and when all quarters are whitewashed with the rays. of the rising full moon?' 39: 'A Sanmatra with all long letters, four Caturmatras of which the first and the third have their long letter at the end, the second has it in the middle and the fourth has all long letters, followed by a Pancamatra which has its long letter at the end, make (the Pada of) Sardulalalita.' (ma-sa-ja-sa-ta-sa); cf. H. 2.310. 39.1: 'Young brides who have eyebrows resembling the crescent moon, who have long eyes, whose soles resemble a fresh foliage of the red Asoka, whose lower lips are like the Bimba fruit, whose faces are broad and pleasing to the people like the moon and who have a full bosom, are not obtained by all without merit.' 40: "They call it Kurangika. when there are (five) Caturmatras, with a Pancamatra in the middle and a long letter at the end of a Pada). Thus we have first three Caturmatras, the first two having all long letters and the third having it at the beginning, then a Pancamatra which has its long letter at its end, followed by a pair of Caturmatras both having their long letter in their middle, and finally a long letter at the end of all. madhya is with reference to the whole line (Pada) which has 7 Anias in all, so that the Pancamatra occupies the fourth Amsa. (ma-ta-na-ja-bha-ra); cf. H. 2.311. Yati is mentioned by Hema candra after the 5th and the 12th letters. 40.1 : This is a description of a trunkless head with its head-gear, moving about on the battlefield and resembling a lump of clay placed on the wheel of a potter. 41 : 'If a single short letter is added at the beginning of Harini it becomes Lalita.' (na-na-ma-ta-bha-ra); cf. H. 2.308. 41.1: The idea is somewhat like this: The sky is the sword; it was darken ed with the rust in the form of the rain clouds. It was then whettedon the stone, namely, the sun's orb, by the iron-smith's wife, namely, the glorious autumnal day; the result of this was that the sword began to emit its rays as before. 42: 'If a Sanmatra is placed instead of the usual Caturmatra), in the

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188 svayaMbhUcchandaH [BRIEF NOTES middle of a Harini, it becomes Harinipada.' The Sanmatra, of course, contains all long letters, like the Caturmatra in Harini. (na-sa-ma-ta bha-ra); cf. H. 2.318. 42.1: A lover meets his beloved after his return from a long journey; on seeing her very emaciated he asks her why it was so and she replies that it was her very nature. He again asks her why she looks very gloomy and depressed to which she says that that was because of her constant household work. She is thus trying to conceal her pain due to her separation from him; but when he finally asks her if she remembered him during his absence, she bursts into tears as she is unable to conceal her feeling any more and made no reply. This was, however, more than a reply to the lover, who then embraces and kisses her. 43 : 'Long and short letters, which are respectively four and six, followed by two Caturmatras each having its long letter in its middle and placed between two long letters make a (Pada of the) Acala.' makaragiha is samudra, i.e., 4 and rasa is 6. gamadhya is to be taken twice, thus gamadhya gamadhya due ca (two gamadhya 'ca's between two 'ga's). (ma-bha-na-ja-bha-ra); cf. Vr. 3.94.8 where the metre is called Cala by Kedara. Hemacandra also calls it Cala at H. 2.305. 43.1 : A trunkless head (not completely severed and hence) hanging in the air for long is fancied to be doing so as it would not descend to the battle ground which was filled with streams of blood nor could it rise up to the heaven since it was quite empty at that time, all the gods having come down to witness the battle ! 44 : 'It is Kesara if after the (first) 11 letters (of the Acala), two Panca matras each having a short letter at its end and (finally) a long letter are employed.' (ma-bha-na-ya-ra-ra); cf. H. 2.306. 44.1: 'A headless trunk has stood up on the battlefield (motionless) as if with satisfaction that hereafter it has not to look at the faces of bad masters, not to hear villain's words hard like bolt, and not to speak degrading words like 'give me' to misers.' It had no eyes, nor ears nor the tongue as the head was severed ! 45: "That is called Kusumitalatavellita in prosody when there are in it (in succession) five long followed by five short letters, then a pair of Pancamatras each ending in a short letter and finally, two long letters.' (ma-ta-na-ya-ya-ya); cf. H. 2.302; P. 7.21; the metre is called Candralekha at Vjs. 5.39 and Citralekha at Bh. 16.86.

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1.42-48 ] svayaMbhUcchandaH 189 45.1 : I am unable to understand the meaning of the stanza clearly but it seems to be an attempt of a wanton woman to represent her mischiev ous deeds as though they were pious ones. 46 : 'Five short and six long letters in succession) followed by two Pancamatras each having its short letter in the middle and a long letter at the end of all make (a Pada of) Anangalekha.' (na-sa-ma ma-ya-ya) cf. H. 2.312. 46.1: 'We belong to the same class namely gold; so we are (both) equally great. Why then has this ear-ring got to her lotus-like soft cheeks? And look how I have been touched by her foot! The wretched girl has no discrimination : Thus indeed does the anklet cry out in grief to the people when it makes a gingling sound.' 47: "That is the sardulavikridita where there are (in succession), a Sanmatra with all long letters, three Caturmatras the first and the third of which have their long letter at the end while the second one has it in the middle, two Pancamatras both having their short letter at the end and lastly a Dvimatra consisting of a single long letter.' (ma-sa-ja-sa-ta-ta-ga); cf. H. 2.321; P. 7.22; Kd. 4.88. 47.1: The stanza contains a description of the large heap of the white bones of the demon Dundubhi lying on the Malaya mountain which is darkish in colour. The poet fancies that the celestials always thought that it was a peak of the white mountain, i.e., Kailasa, brought there for the sake of building the great dam across the ocean by some powerful Monkey, when Raghava had been in those regions for killing the ten-headed demon Ravana. 47.2: The stanza attempts to give a reason why the young damsels do not become angry even when they have heard about the killing of the god of Love by the three-eyed god siva. It is given in the latter half, but is not very clear. 48 : "That is Puspadaman where there occur in succession) five long and five short letters, and three Pancamatras each of which has its short letter at the commencement. (ma-ta-na-sa-ra-ra-ga); cf. H. 2.327. Read muhalatipagana; the ms. has dropped the letter la. Hemacandra mentions the Yati after the 5th and the 12th letter. 48.1: 'Kama has resorted to young damsels, bringing with him the sweet notes of the cuckoo mixed with the humming (of the bees), the lovely Sinduvara flowers, the blossoms of Punnaga and Asoka, and lakes adorned with blooming lotuses and swans; that is why during separa

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190 svayaMbhUcchandaH [BRIEF NOTES tion from her there take place exhaustion, burning sensation, and want of appetite.' Not very clear. 49: It is Candrabimba, if after the 12th letter (in the Puspadaman) there occur two Pancamatras, each of which has its short letter at its end, and a long letter.' (ma-ta-na-sa-ta-ta-ga); it is known as Vancita to H. 2.328, where in the commentary even Vicita is mentioned as an alternative name. At Vr. 3.96.5 its name is given as Bimba. In both these places a Yati after the 5th and the 12th letter is mentioned. sura is the sun, i.e., 12. 49.1 : 'The Lady of the Sky, having put on a charming scarlet garment, namely, the slightly risen moonlight tinged with the twilight and studded with the pearls of) planets and stars, has approached the refreshing Moon, leaving the sun who had grown old and shaky. 50 : 'Two groups of six letters, the first commencing with a short letter (the others being long) and the second ending with a long one (the others being all short), occur in the Rambha and are then followed by two Pancamatras each having its short letter in the middle, and a long letter (at the end of all).' (ya-ma-na-sa-ra-ra-ga); the metre is known as Meghavisphurjita to H. 2.323; Jd. 7.20; Jk. 2.227; Vr. 3.95. Virahanka at Vjs. 5.41 knows it as Candrakanta, Utpala as Suvrtta (on Brhatsamhita 103.7) and Pingala at P. 8.18 as Vismita. In his commentary on H. 2.323 Hemacandra says that the metre is called Rambha by Svayambhu, while Jayakirti mentions both the names, Rambha and Meghavisphurjita. 50.1: 'A Cakravaka bird being distressed by separation (from his mate) at the moon-lit night, does not get rest in the beds of lotuses wafting sweet fragrance, as his mind is stricken with grief. Thus separated from his beloved and crying piteously, he goes from one bank to the other, now diving, now rising up, in the waters (of the lake), where his own reflection had fallen.' He often mistakes his own reflection in the waters for his beloved and so dives to meet her; but being dis. appointed, he rises up again. 51: "This same becomes Chaya if the two Pancamatras associated with the (same) two groups of six letters (as in Rambha) have their short letter at their end and are followed by a long letter. (ya-ma-na-sata-ta-ga); cf. H. 2.325. Kedara calls it Chaya when we have a Bha Gana instead of the first Ta Gana, at Vr. 3.96.9. 51.1: The poet describes the influence of the Spring on even an old creeper

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1.48-55 ] svayaMbhUcchandaH 191 which is incapable of fruit-bearing and says how it amorously approaches the Asadha tree which too is old. The words kohali and ASSadha are double meaning as explained in the foot-note. 52 : 'Here again, if after the same twelve letters (i.e., the two groups of six letters in Rambha and Chaya), there occur two Caturmatras each of which has its long letter in the middle, and a long letter (at the end), it is called Makarandika.' (ya-ma-na-sa-ja-ja-ga); cf. H. 2.324; also Vr. 3.96.8. 52.1: An elephant is described here as fainting after remembering how he had sported with his mate in a lovely forest in the autumnal season, while she was with him. 53: "There are in Sobha, six (letters) having a short as their first (the others being long), followed by seven which have a long letter as their last (the others being short), then two Pancamatras each having its short letter in the middle, and a long letter (at the end), (ya-ma-na na-ta-ta-ga-ga); cf. H. 2.338. 53.1 : The stanza contains a vulgar description of love-making by a young maiden 54: 'It is Citramala when there occur (in succession) four long letters, four Pancamatras, the first having its short letter at the commencement, the second having all short letters and the last two having a short letter at their end, and two long letters (at the end). (ma-rabha-na-ta-ta-ga-ga); cf. H. 2.339. It is called Suprabha at Vjs. 5.42, which name even Hemacandra mentions in his commentary. 54.1 : 'Now hereafter, travellers will find it difficult to halt in this our village; because, just now, a young traveller sleeping at the temple of the goddess has begun to sing such a piteous song on remembering his beloved at the thunder of the clouds, that all the people in the village have their hearts moved to pity. He is thus a source of sleeplessness and will no more be tolerated. 55: "That is Suvadana in which there occur in succession) two Catur matras both containing all long letters, four Pancamatras, the first and the third of which have their short letter at the commencement, the second has all short letters, while the last Pancamatra has its long letter at its beginning, and finally a long letter. (ma-ra-bha-na-ya bha-la-ga); cf. H. 2.334; P. 7.23; Kd. 4.90. Also Vjs. 5.43. 55.1: Very few indeed are those that carry on their activities upto the end of their life in an unrestricted manner (whether they are appre

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192 svayaMbhUcchandaH [ BRIEF NOTES ciated or not); the stream of the river Reva goes on constantly filling the ocean and the precincts of the Vindhya mountain even when the former, where it rests, is measureless and changeless showing the same amount of water though it is constantly filled.' 56: 'They call it Siddhi when there are nine Trimatras having in their midst a Caturmatra at the seventh place. Of the Trimatras, the first and the fourth contain all short letters; the second, the third and the sixth have their short letter at their beginning; the fifth has it at its end, while the last three (which come after the Caturmatra), have their long letter at their end.' (na-ja-bha-ja-ja-ja-ra); cf. H. 2.350; Jk. 2.239 knows it as Citralata or Campakamalika, while Hemacandra in his commentary, also calls it Rucira. 56.1 : The stanza contains a description of the autumnal nights. 57: 'In Sragdhara there are two Caturmatras both containing all long letters and five Pancamatras of which all except the second have their short letter at the commencement, while the second has all short letters.' (ma-ra-bha-na-ya-ya-ya); cf. H. 2.345; P. 7.25; Kd. 4.92; Vjs. 5.45; Vr. 3.99. 57.1: This is a description of an elephant in rut going to a lake in summer for his bath. 57.2 : The god of love is supposed to move in front of the young ladies, ready to carry out the orders of their glances. Compare Mammata, Kavyaprakasa X. (under Anumana Alankara). a). 58: If there are seven Caturmatras each with its long letter at the commencement, followed by a long letter at the end, it is called Madira.' (bha-bha-bha-bha-bha-bha-bha-ga); cf. H. 2.355; it is called Latakusuma at Jk. 2.246 and Kd. 4.93 and Sangata at Vjs., 3.34. Hemacandra mentions the name Latakusuma also in his commentary. 58.1: "The swarm of the black bees darkened by the rut of the intoxi cated elephants, impassioned, carried by the breezes from the south, looking dusky owing to the pollen of the Ketaka flowers and spreading their humming sound everywhere looks as if it were a volly of arrows discharged at the lovers by the God of Love.' 59: 'Where a Sanmatra with its (two) short letters in the middle and six Caturmatras of which the first, the third and the fifth have their long letter in the middle, while the other three have it at their end, > occur (in succession), (it-is-Mardaka); indeed the Padas of a Mardaka

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1.55-63 ] svayaMbhUcchandaH 193 are composed in this particular manner.' (bha-ra-na-ra-na-ra-na-ga); cf. H. 2.353; Vr. 3.100; P. 7.26. It it called Visuddhacarita at Vjs. 5.46. 59.1: 'The fact that the ocean has entertained perpetual enmity with Vadavanala, that it has stayed for a long time happily with the Mlgalanchana (the moon) and has given poison to Hara and nectar to other gods, can give pleasure only to the impudent, low-born and untrained persons.' lanchana means both spot and blot (on character). The narrow mind, fondness for low characters and partiality thus displayed by the ocean does not please good men. 60 : 'If, on the other hand, the Sanmatra in the Madraka has a long letter at its end (the others being short), it is Lalita.' (na-ja-bha-ja-bha-jabha-la-ga); cf. H. 2.358; it is called Asvalalita at P. 7.27 and also at Vr. 3.101; Jd. 7.26 and Jk. 2.248. Hemacandra in his commentary says that sometimes a Ja Gana is substituted for the last Bha Gana in this metre; but in that case Vjs. 5.47, calls it Hayalilagati. 60.1 : Seeing the face smeared with sandal paste placed in the cup of her palms by a love-lorn lady and her blue eyes on the face, the swarm of bees did not rest on it and went elsewhere, knowing for certain that blue lotuses resting on a white one and that again on a red one is an impossibility. 61: 'If a Manigunanikara is placed at the end of a Vidyunmala, it is called Mattakrida.' (ma-ma-ta-na-na-na-na-la-ga); cf. H. 2.359; P. 7.28; Kd. 4.96. For Manigunanikara see above 1.18. Vidyunmala was de fined in the lost portion of the manuscript. 61.1: The stanza contains a description of the spring season and its glory of blossoming trees and creepers. 62 : 'Eight Caturmatras make (the Pada of a) Tanvi; of the eight, the first, the fifth and the sixth have their long letter at the beginning, the second and the eighth contain all long letters, the third and the seventh have all short, while the fourth has its long letter at the end.' (bha-ta-na-sa-bha-bha-na-ya); cf. H. 2.365; P. 7.29; Vjs. 5.48. 62.1: It is a sort of Anyokti on a Bana (arrow), which though it is associated with a Guna (merit; string) suffers many indignities, when it comes in contact with the bent bow (resembling a crooked person). 63: 'It is Krauncapada when a (Pada of the) Manigunanikara is placed at the end of (a Pada of the Rukmavati.' For Manigunanikara and Rukamavati see above 1.18 and P. 6.15 below (bha-ma-sa-bha-na-nana-na-ga); cf. H. 2.372; P. 7.30; Kd. 4.99; Vjs. 5.49. (62

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194 svayaMbhUcchandaH [BRIEF NOTES 63.1: This also is the description of the spring and its lovely cool breezes. 64: "That is Apavaha when it is made with the first three and the last three long letters, with all the intervening Caturmatras containing short letters.' The intervening Caturmatras are five so that the short letters are twenty. (ma-na-na-na-na-na-na--sa-ga-ga); see H. 2.377; P. 7.32; Kd. 4.102. 64.1: This is a description of a peak of the Malaya mountain in the spring season. 65: 'Eight long letters, ten short ones, a Pancamatra with its short letter in the middle, a Caturmatra and a Trimatra, both having their long letter at the end, (coming in succession) make a Bhujangavijtmbhita.' (ma-ma-ta-na-na-na-ra-sa-la-ga); cf. H. 2.376; P. 7.31; Kd. 4.101. 65.1: Again we have a description of the spring with all its glory and how it affects the lovers in separation. 66: 'In Pipidik, there are four more short letters in the middle, than those in the Bhujangavijambhita); in Karabha there are nine more; in Panava fourteen more and in Malavstta five more than the last.' Thus we have 14 short letters at the centre in the Pipidika, 19 in Karabha, 24 in Panava and 29 in the Malavstta. Otherwise the metres are identical with the Bhujangavijtmbhita. See H. 2.385; the metres are not mentioned by any one else. 66.1 and 4: Both the illustrations contain the description of the approach ing winter (Hemanta) and a consequent request by the beloved to her lover to postpone his journey to distant countries. 66.2: Svayambhu's illustration is defective as regards the number of short letters occurring in a Pada; in the first we have 23 in place of 19 and this has led the author of the footnote on p. 28 to remark asyam i.e., pipidikayam, nava-laghu-vrddhu, thus making the number of short letters in Karabha 10 + 4 + 9 = 23. But as a matter of fact we have only 19 short letters in the 3rd and the 4th lines while in the 2nd line there are only 16 instead of the required 19. Perhaps read thanajuam in the first line and removing the word kadhina from it, put it before kanira in the second. 66.3: In the second line the letter la from saalabhuana-ala is dropped in the ms. So also the letter ha in kahalaala in the third line has to be restored; the footnote on kalaala which explains the word as kataha shows that the mistake is of the scribe of our ms. The stanza is a

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1.63-73] 67: svayaMbhUcchandaH hyperbolic description of the spread of the fame of the poet's patron throughout the length and breadth of the universe. 70: 195 68 The stanza describes the Pataka Prastara of the Varna Vrttas, for which see Vrttajatisamuccaya, Introduction, para 9 (p. xi). 'Any other metre which contains more than 26 letters in a Pada is called Dandaka, leaving aside the Pipidika and the others (mentioned above)'. 69 Here we are taught how to get the total number of the permutations or the different kinds of structure of a given metre. Thus a metre of the Ukta class has 2; that of the Atiukta has 4. In this manner, the Bhedas of each succeeding class of metre are to be got by doubling the Bhedas of the metre of the earlier class. See Vrttajatisamuccaya, Introduction, para 17 (p. xix). 73: The stanza gives the total number of the Bhedas of all the classes from Ukta to Utkrti. 71: This is the well known stanza which tells us that in Sanskrit metres only, Jayadeva and Pingala prescribe a Yati; the others do not admit of a compulsory Yati in the middle of a line. 72: 'A pair of Trimatras both containing all short letters and a number of Pancamatras each having a short letter in its middle, make a Dandaka; Candavrsti is done with seven of them; and by adding one more each time we respectively get Arna, Arnava, Vyala, Jimuta, Lilakara, Uddama and Sankha.' 721: The stanza describes the beginning of a battle. 72. 2, 3 and 4 are respectively descriptions of the Autumn, the Summer and the Spring, of course, in relation to the lovers. 72.5 is again the description of the advent of the rains and its effects on a traveller. 72.6 describes the condition of a love-lorn girl and 72.8 is in praise of God Siva; this and 72.7, which seems to give a picture of a commonplace duel between two travellers trying to occupy the same place in a public Dharmasala, are ascribed to one Angapati, who is clearly a non-Jain as seen from v. 8. These eight are called mere Dandakas; but those that now follow are called Maladandakas. The peculiarity of the Maladandakas seems to be that the Caturmatras or the Pancamatras or even the Tzimatras which are employed after the initial short letters, which are not necessarily six in number, is unlimited. The Ganas are, of course, all of the same kind.

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196 svayaMbhUcchandaH [BRIEF NOTES 74: "That Dandaka is called Candapala where after an odd number of short letters any number of Pancamatras each of which has its short letter in the middle, is employed at will.? Here in the defining stanza we have 11 such Pancamatras coming after 5 short letters. 74. 1, 2: In the first illustration which describes the celebration of some festival, there are only 8 Pancamatras of the abovementioned type, while in the second, where we have a description of a harem, there are only 10. In both the initial short letters are five. 75: "That Dandaka is called Simhavikranta where after the initial five short letters any number of Pancamatras each of which has a short letter at its commencement, are employed at will.' Here both in the definition and the illustration there are 9 such Pancamatras. This Dandaka should be compared with Simhakrida in v. 83 below; both have the common prefix simha which corresponds with the Pancamatras that are common to them. In the Simhakrida the initial short letters are absent; otherwise the two are identical. 75.1: Srikrsna was enjoying some sport with the Gopis in which he had to be taken blind-folded with a heap of dust in his hands for dropping it at a particular place. Radha has her turn to take him so and when at the end of the sport she allows him to open his eyes, they enjoy their fun. 76: 'That Dandaka is called Meghamala when after two Sanmatras, of which the first contains all short and the second all long letters, any number of Pancamatras each of which has its short letter at the beginning are employed at will.' In the definition there are eight such Pancamatras, while in the illustration (in which a black bee is said to be feeling uneasy in the absence of the Malati flower and not being able to enjoy the juice of the other flowers in the spring), there are only seven. 77: "That Dandaka is called Candavega where after a Sanmatra which contains all short letters any number of Pancamatras each of which has its short letter at the beginning are employed at will.' In the definition there are ten, but in the illustration only nine such Panca matras. The meaning of the verse is not very clear. 78 : 'That Dandaka is Mattamatangalilakara where all Pancamatras each of which has its short letter in the middle, are employed at will.' Here there are no initial short letters at all. Both the definition and the illustration contain nine such Pancamatras each.

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1.74-84) svayaMbhUcchandaH 197 78.1: Lord Siva residing on the cremation ground is praised here as dancing in the appropriate surroundings. 79: "That Dandaka is called Anangasekhara where short and long letters y each other in succession any number of times at will.' In the definition as in the illustration we have fourteen pairs of this type. The illustration contains a Rupaka in which the face of his beloved is fancied by the lover to be a lotus. 80: "That (Dandaka) is called Asokapuspamanjari where all Trimatras each having its short letter at the end, are employed at will.? Both the definition and the illustration contain fourteen such Trimatras. In the illustration an army of the enemy which is imagined to be a deep river infested with sharks and crocodiles, is said by a girl to be cross ed by her lover with only a sword in hand. 81: "That (Dandaka) is called Kusumastarana where all Caturmatras each having its long letter at the end are employed (at will).' Here as in the last two cases, there are no initial short letters. But there is an essential difference between this and the next Dandaka on the one hand and all the rest on the other and it is that of the Tala in which they are to be sung. For the Tala for the Dandakas which contain Pancamatras is one of five Matras (or ten); but that for those which contain Caturmatras must be of four or eight Matras only. Here both in the definition and the illustration there are nine Caturmatras only. The illustration describes the Autumnal season with all its grandeur. 82: "That (Dandaka) they call Bhujangavilasa which has all Catur matras only, each of which has its long letter at the beginning, and a pair of long letters at the end of all.' 82.1: 'Meritorous indeed is that man who enjoys sleep as much as he likes in a lovely palace full of fragrance of the burning incense, on a bed covered with a charming bed-sheet, in the company of a bride who is deeply in love with him.' 83: "That Dandaka is called Simhakrida where any number of Panca matras each of which begins with a short letter are employed at will.' See above v. 75 and note. In the definition we have nine such Pancamatras; but in the illustration, we have eight in the first two lines and ten in the last two. The illustration contains a high-flowing praise of Jina with adjectives which deny all short-comings and defects. 84: "That Dandaka is called Kamabana where all Pancamatras each of which has its short letter at the end, are employed (at will), except

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198 In this small chapter, Svayambhu defines what are known as the Ardhasama Varna Vrttas in Sanskrit prosody. For a discussion of their nature and origin see Jayadaman, Introduction para 16; for the different metres of this type see also the same pp. 149-156. As in the case of the other Varna Vrttas here too, Svayambhu forms his definitions with the help of the Matra Ganas only. svayaMbhUcchandaH [BRIEF NOTES the last one (which has to be Sanmatra with all long letters owing to the rule that the letter at the end of a Pada must be metrically considered as a long one even when it is short).' II. ARDHASAMAM 1: 'In the odd Padas, there are three Caturmatras, each with a long letter at the end, and a long letter in Vegavati; there is a Dodhaka in the second and the fourth Padas.' For Dodhaka see SbPb. 6.18 (sa-sasa-ga; bha-bha-bha-ga-ga); see H. 3.4; P. 5.34; Kd. 4.111. 1.1 'Having seen in a clear lake a lotus enjoyed by the hovering black bees, the traveller remembered the face of his beloved on which the black tresses were playing.' 2: 'If in that same metre (i.e., Vegavati) a Trimatra with a long letter at its end is substituted (for the two long letters) as the fourth, it' becomes Upacitraka.' (sa-sa-sa-la-ga; bha-bha-bha-ga-ga) see H. 3.3; P. 5.32; Kd. 4.110. 2.1: 'Oh dear-eyed beloved with your lower lip resembling a ripe banian fruit, see how a pair of black bees is hovering over a lotus which is free from dirt and has straight stalk and looks like the tremulous eyes on your face.' 3: 'If the first Caturmatra in the even Padas of a Dodhaka were to consist of all short letters, it (i.e., the Dodhaka itself) is called Calamadhya.' (bha-bha-bha-ga-ga; na-ja-ya); the metre is called Drutamadhya by Hemacandra and others. Cf. H. 3.5; P. 5.33; Kd. 4.115. 4: 3.1 'Look, oh beloved, how the (black) foot-mark of the deer appears particularly lovely on the white orb of the moon, like the single black nipple on your breast smeared with sandal paste.' 'If it is an Upacitraka in the odd Padas and a Drutavilambita in the other two, the poets have regarded it as Harinapada which has these characteristics.' (sa-sa-sa-la-ga; na-bha-bha-ra); The metre is called Harinapluta by Hemacandra and perhaps our harinappaam is to be rendered as Harinaplutam; cf. H. 3.2; P. 5.39.

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1.84-2.8) svayaMbhUcchandaH 199 4.1: A black bee, when it attempted to settle on another which was rendered white owing to the pollen of a fresh Ketaka flower and was resting in another flower, was laughed at and reprimanded (by its humming) as it were (saying) : Do not, oh fool, make a mistake in respect of a bee itself.' The black bee rendered white by the pollen was mistaken for a white flower, and hence the poetic fancy. 5: "That metre is called Ketumati by the poets, whose Padas contain three Caturmatras, of which the first and the third have their long letter at their end, while the second has it in the middle, and a long letter (in succession) and where the even Padas have an additional long letter at their commencement.' (sa-ja-sa-ga; bha-ra-na-ga-ga); cf. H. 3.7; P. 5.36; Kd. 4.112. 5.1: "Those fortunate people (alone), whose form imitates that of the god of love and whom you see with your restless and black bright glances, really live in this world of the living creatures.'. 6: "That is called Akhyaniki among the Upajatis, where there is Indra vajra in the first and the third, and Upendravajra in the second and the fourth Padas.' (ta-ta-ja-ga-ga; ja-ta-ja-ga-ga); cf. H. 3.8; P. 5.37; Vr. 4.6. 6.1: 'More welcome it is if a forest infested with tigers is to be entered, or if the poison of a venomous cobra is to be taken, or if a disease, a torturous death or a battle is to be suffered, but not a residence in the midst of villains.' 7: "That is called Akhyaniki itself (but) preceded by the word 'viparita', when the opposite takes place.' (ja-ta-ja-ga-ga; ta-ta-ja-ga-ga); cf. H. 3.9; P. 5.38; Vr. 4.7. 71: "The white breasts smeared with sandal, endowed with the black nipples and resounding with the humming of the bees blinded with the sweet fragrance, of the young girl appear as if they are the conches which are being blown on the occasion of the entrance of King Cupid.' 8: That is Aparavaktra where there are in the odd Padas), four Trimatras, the first two containing all short letters and the other two having their short at their end, and a long letter (in succession); in the even ones there are two Caturmatras in place of the two Trimatras), the first having all short and the second having a short letter at its commencement, and then the same (as in the odd Padas).' (nana-ra-la-ga; na-ja-ja-ra); cf. H. 3.15; P. 5.40; Kd. 4.117.

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200 svayaMbhUcchandaH [BRIEF NOTES 8.1: 'Do not remember now, how lotus stalks and water were put by you in the mouth of your beloved mate at the lake; say what person is happy at all times, oh good elephant.' 9: 'It is Puspitagra when only a single long letter is added at the end of each of the Padas of the Aparavaktra.' (na-na-ra-ya; na-ja-ja-ra-ga); cf. H. 3.16; P. 5.41; Kd. 4.116. 9.1 : 'A Palasa tree growing on the bank of the river and having a branch of it bending down (upto the water-level), has a single leaf (of this branch) moving forward and backward owing to the breeze; it appears that he is offering funeral water as it were to the (other) trees whose lives had departed in the recent wild fire (thus to his deceased relatives). This is a beautiful poetical fancy ascribed to Kalidasa by Svayambhu, but actually found in Bhasa's Pancaratra I. 17, of course, in its Sanskrit garb. 10: (Puspitagra itself) is called Bhadraviratika, if in its Padas the first and the third short letters are combined with their successors (so as to form a long letter each).' This means that if there are two long letters in place of the four short ones) at the commencement of the Padas of the Puspitagra, it is called Bhadraviratika. (ta-ja-ra-ga; masa-ja-ga-ga); cf. H. 3.6; P. 5.35; Vr. 4.4. 10.1: 'May that Rudra, who bears with a smile the (left) half of Gauri's body which has closed its eyes (through jealousy at the sight of Ganga) and has its lower lip throbbing, when he bends down for offering the Sandhya worship, bring you auspiciousness. The idea is somewhat like this: Siva is Ardhanari-natesvara, having his left side occupied by Gauri's left half. At the time of Sandhya worship Siva bends down the right side of his head, so as to bring Ganga in his matter hair just in front of Gauri's eyes. This evokes a feeling of jealousy in her mind which causes her to close her eyes and her lips begin to throb through anger and jealousy. 11: "Five Trimatras, each having its short letter at the end, and two long letters at the end in all the Padas), but with an added (at the beginning) short letter in the even Padas, make a Yavamati.' (ra-ja-raja; ja-ra-ja-ra-ga); cf. H. 3.10; P. 5.42; Kd. 4.113. 11.1: 'Can the lives of those warriors be said to have departed, when being urged on by the feet of infuriated elephants, they are abandoned by their souls through fear of the mud of infamy and freed from

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2.8-3.1] svayaMbhUcchandaH their debts by the pleasure of their masters?' They really live because they have done their duty as true warriors. 12: 13: 201 'When Yavamati has its (even and odd) Padas interchanged, it is called Satpadavali by the poets.' (ja-ra-ja-ra-ga; ra-ja-ra-ja); cf. H. 3.11; Pingala and others do not mention this metre. 12.1: 'You look charming with the lotuses of your feet, oh lovely girl, which have the filaments of ruby-like nails and pretty petals of well shaped fingers, as if you were a goddess on earth honoured by mortals.' 'If it is a Giti in the first and the third Pada and a Skandhaka in the second and the fourth, but when all the letters in each Pada are short, except the last one (which is long), it is called Sikha; in the opposite case, it is called Khanja.' Thus according to Svayambhu, both Sikha and Khanja have four Padas each, and are Ardhasama Catuspadis. In the former, the odd Padas have 30 Matras and the even ones have 32; while in the latter the opposite is the case. Of the 30 and 32 Matras, the last 2 are always represented by a long letter. See P. 5.43-44 for the metres. Also cf. H. 3.28-29. 13.1-4: The first is a description of the Autumn, the second and the third are of the advance rains, and the fourth of the fresh Spring, all in their relation to separated lovers. III. VISAMAM The proper title of this chapter should be Visamam, though in the concluding stanza this is not mentioned. The word Prakrtasarah there refers to all the three, or rather all the earlier chapters, (including those of the Purvabhaga), which treat of Prakrit, as against Apabhramsa, metres. Thus according to Svayambhu, not merely the Matra Vrttas like the Gatha and the Skandhaka, or the mixed Matra and Varna Vrttas like the Vaitaliya and the Matrasamaka, but also all the Varna Vrttas of the 26 classes together with the Dandakas, are Prakrit metres; he has accordingly defined them all in terms of the Matra Ganas which he has explained at SbPb. 1.2. The Visama Vrttas are generally classified under four heads: 1. the Udgata group; 2. the Pracupita (or Upasthitapracupita) group; 3. the Vaktra group and 4. the Padacatururdhva group. See Jayadaman, introduction, paras 12-15 (pp. 21-23). 1: 'Six Caturmatras, of which the first, the third and the fifth have their long letter at the end, the second and the sixth have it in the middle

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202 svayaMbhUcchandaH BRIEF NOTES while the fourth has all long letters in it, then a long letter, two Sanmatras of which the first has its long letter at the beginning while the second has it in the third place, and again a long letter (in succession), followed by a (Pada of) Nandini at the end of all make an Udgata.' (sa-ja-sa-la; na-sa-ja-ga; bha-na-ja-la-ga; sa-ja-sa-ja-ga); cf. H. 3.45; Jd. 5.21; Vr. 5.6; Kd. 4.129. It should be noted that Svayambhu does not here define merely a Pada of the metre, but all the four Padas of it since no two Padas are similar and equal; but what is very striking is that he does not indicate where the first two Padas ought to end. The constitution of the first three Padas is given in continuation, and not separately. Thus, for instance, the fourth Caturmatra is spread over the first and the second Padas, though the third Pada is shown separately with two Sanmatras and a long letter. This may lead us to believe that according to him the first and the second (and perhaps the third) Padas of Udgata are to be recited without a pause, i.e., without the Padanta Yati. That Svayambhu understands a division into four Padas of the Udgata is, however, quite clear, since he mentions its third Pada in the definitions of the next two metres. Pingala at P. 5.25 uses the word ekatah in its definition, which according to Halayudha, prescribes that the first and the second Padas are to be recited without pause (prathamam padam dvitiyena saha avilambena pathed ityarthah). Jayadeva at Jd. 5.21 uses the words tarasa udita, which according to a commentator of Vsttaratnakara (on the words ekatah pathet at V?. 5.6) who quotes him, mean that the two halves of the metre should be recited without any pause (viramam antarena ardhadvayam ekikrtya pathet ityarthah); see P. 5.26 (f. n. on p. 87). But Jayadeva's commentator Harsata thinks that the words are employed for mere padding required for filling up the gaps in the definition which is composed in the same metre as is sought to be defined. "idaM salakSyaM racitaM salakSaNaM babandha tasmAttarasAdikAn dhvanIn / qaroi gharafta : 7250 Palacio Euz ta: || Jd. p. 22. It is, however, significant that Memacandra, Jayakirti and the author of the Kavidarpana are all silent on this particular point. The last Pada of the Udgata is the same as that of the Nandini, for which see above 1.2. 11: 'I bow to Siva, the Highest and ancient Being, the Lord of the creation, possessed of stainless lustre, the matchless supreme Ruler

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3.1-4) svayaMbhUcchandaH 203 devoid of (human) frame, and free from all shortcomings of a Pasu, i.e., a creature.' 2: 'If in the third Pada of the Udgata the third (short) letter is joined with its (similar) successor (into a long letter), and if the rest is as in the Udgata, they call it Saurabhaka.' By substituting a long for the two short letters in the 3rd and the 4th places in the third Pada of the Udgata, we turn it into a Saurabhaka. (3rd : ra-na-bha-ga); see H. 3.46; Jd. 5.22, Vr. 5.7; Kd. 4.129 com. 2.1: 'You look more charming with your face, oh lovely one, which re sembles the full moon's orb and which is as it were a delicate lotus endowed with sweet taste and fragrance.' 3: 'If at the commencement of the third Pada of the Udgata, six short letters in succession are employed, know that to be the characteristic of Lalita, adopted by all clever men.' (3rd : na-na-sa-sa); cf. H. 3.47; Jd. 5.23; Vr. 5.8; Kd. 4.129 com. Kavidarpana does not define these two varieties of the Udgata; but they are mentioned by its commentator. 3.1: "The Lord of the elephants is entering the lotus-lake which is darkened by the swarms of bees, hovering around for the thick honey in the lotuses.' 4: 'A Sanmatra with all long letters, (six) Caturmatras of which the first and the fifth have their long letter at the end, the second has it in the middle, the third at the beginning, the fourth at both the places, while the sixth has all short letters in it, a pair of Pancamatras, the first with its short letter in the middle and second at the beginning; eight short letters, a long one, ten short letters, a long one, two short and then two long letters (coming in succession), are regarded as Pracupita by all poets.' Even here the constitution of all the four Padas is defined in continuation and not separately for the different Padas. Thus out of the six Caturmatras, four go to make up the first Pada, while the other two . Caturmatras and the Pancamatras make the second Pada; the eight Laghus and one Guru form the third and ten Laghus and all the rest constitute the fourth Pada. The metre is generally known as Upasthita-Pracupita. (ma-sa-ja-bha-ga-ga; sa-naja-ra-ga; na-na-sa; na-na-na-ja-ya); cf. H. 3.48; P. 5.28; Vr. 5.9; Kd. 4.130. 4.1: "The dense mass of nightly darkness, which is brought on by the rainy nights, which is impregnable in its form, which has all its beauty caused by the heaps of clouds and looks like a curtain, gives great satisfaction to the heart of the wanton woman.'

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204 svayaMbhUcchandaH [BRIEF NOTES 5: "This itself they call (by the same name) preceded by (the word upasthita; but they call it) Vardhamana, when the third Pada is doubled.' (3rd : na-na-sa-na-na-sa); cf. H. 3.49; P. 5.29; Vr. 5.10; Kd. 4.130. 5.1: 'Whence can one get the sporting love of a household wife, which is pure, of a gentle nature, with a mind wholly devoted, unassuming (nibhstam), as clever as that of a charming temptress, greater than the nectar, (and) full of sweet but subdued talk?' 6: 'If there are (three) Caturmatras, of which the first contains two long letters, the second and the third have it in their middle and at the end respectively, and a long letter (in succession) in the third Pada and the rest as in the Pracupita in its entirety, that is called Suddhaviratika; the same is called Avrsabha when there is a Yati after the first Gana (in the third line).' (3rd : ta-ja-ra); see H. 3.50; P. 5.30; Kd. 4.130 com. Suddhaviratika and Avrsabha are identical metres, with the only difference about the Yati in the 3rd Pada. In the former it is indiscriminate, while in the latter it is after the first Gana, i.e., after the Tagana. Pingala and Hemacandra ignore this distinction and call the metre Suddhavirad Rsabha; but Jayadeva (Jd. 5.26) and Jayakirti (Jk. 4.39) seem to be hinting at it. Jayadeva's commentator Harsata, however, thinks that the words prathame ca viratih in Jayadeva's definition mean that here in this metre, the longer pause which generally occurs at the end of the first hemistich, must occur here at the end of the first Pada and not at the end of the second ! According to him the name of the metre is Suddhavirad Rsabha, and this is supported by H and P. Svayambhu's words show clearly that he understands the two as different metres; yet from his illustration in v. 6.2 it seems that the word gana refers to an aksaragana (i.e., tagana) and not a Matragana. This must be admitted as an exceptional case, if that is so. 6.1: "For whose sake do you reflect and heave deep sighs, having placed your cheeks resembling the orb of the moon on your hands (i.e., palms) and, shedding a stream of tears at the memory of his virtues, oh (lovely girl) of full bosom and slender waist; do speak it out.' 6.2: "The deer feels grieved when the moon together with whom he (i.e., the deer) had been brought up, feels grieved; and in his happiness he feels happy; but in the case of the moon this is not so, at least not to that extent. Can a crooked person avoid his inborn nature ?' It is not clear why the poet says that the moon is indifferent to the joys and sorrows of the deer.

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3.5-8 ] svayaMbhUcchandaH 205 Here we have an example of the Avssabha since there is a pause after the first Gana in the third Pada, i.e., after the word candassa. This, however, is strange; for the Ganas in the third Pada are two Caturmatras and a Guru. But the virati is not after this Gana, i.e., the first Caturmatra; it is after the Aksara Gana, namely, the Ta Gana, which thus seems to have been intended by our author. If this is correct, it is clear that before Svayambhu this particular metre was defined in the terms of the Aksara Ganas and he merely reproduces what he knew by convention, forgetting for the time being that he has otherwise almost completely ignored the Aksara Ganas, so well known to the followers of Pingala. 7: "There are four Amsas in a Pada; each consisting of two letters only; (but) there shall never be the amsa with all short letters after the first letter (in any Pada). That is the definition of a sloka.' lahuam i.e., assam. sloka is a comprehensive and very general term which may include all the varieties of the Vaktra as defined below in vv. 8-11 and also the metres of the Anustubh class defined in the first chapter (i.e., Uktadividhi), except those that contain a bha or a na Gana at the beginning of their Padas. No other author, so far as I know, defines a sloka; they all define Vaktra which has further restrictions in respect of letters 5 to 7 in a Pada. Nanditalhya's definition of a sloka at N. 91 is, on the other hand, entirely different. It only speaks of the 5th short and 6th long in all the Padas and 7th short only in the 2nd and the 4th Padas. 7.1: 'Who has created your face which is as beautiful as the orb of the moon and as delicate as a lotus, for giving pleasure to all the people ?' 8: 'It is called Vaktra when the fifth letter is short and is followed by three long letters in succession; but it is Suvaktra, when (both the 5th) and the 7th are short. When this is so (i.e., both the 5th and the 7th are short) only in the even Padas, it is called Pathya; in the opposite case it is (called) Pathya-Vaktra.' Thus in Pathy, we have the 5th short followed by three long in the odd Padas and the 5th and the 7th short in the even ones, while in the Pathyavaktra we have the 5th and the 7th short in the odd Padas and the 5th short followed by three long letters in the even Padas. Svayambhu's Pathya and PathyaVaktra are respectively called Pathya-Vaktra and Viparita-Pathya by Hemacandra and others; cf. H. 3.34; Jd. 5.7; P. 5.15; Vr. 2.23; Kd. 4.119. 8.1: 'Kssna and Arjuna, the leaders of the whole battle, attacked Karna;

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206 8.2: "This (i.e., collirium) indeed is the body of the god of love itself reduced to black suit; that is why young ladies put collirium in their eyes.' Thus Kama himself becomes stationed in the eyes of these girls; that is why their eyes are so bewitching. 8.3: svayaMbhUcchandaH [BRIEF NOTES (but) both of them were halted by him. Here there took place a measure (for measure).' 'While the moon goes on decreasing, it seems, for removing the black spot on his body, the spot remains the same as before; who can avoid (the results of) his former deeds?' 8.4: "The moon has attained to the lovely beauty of your face on the Purnamasi night, after performing the Candrayana (Prayascitta), but the black spot on its body has become only more prominent than before.' In the Candrayana Prayascitta one has to decrease the morsels of food corresponding to the decreasing phases of the moon in the dark half of the month and to increase them correspondingly in the bright half. 9: "That Vaktra itself becomes Capala, when there are three short letters in succession after the 4th (in each Pada); and that metre becomes particularly charming in a Capala Pathya.' Svayambhu seems to mean that the metre becomes more charming when it combines the characteristics of both Capala and Pathya, i.e., when its odd Padas have three short letters after the 4th letter, while its even Padas have the 5th and the 7th letters short. His illustration supports this. See H. 3.36; Jd. 5.8; P. 5.16; Vr. 2.24; Kd. 4.120. 10: 9.1: "The sandal-paste, moon-light, camphor and the breezes from the Malaya mountain give pleasure to the mind only so long as the beloved person is by one's side.' 'In the opinion of Saitava Vipula is of four kinds only; in that of Pingala it is of eight kinds. Who shall be able to give the (full) definition of all its kinds?' They are too many to attempt that, says Svayambhu. Our text seems to be defective, as it does not give a. definition in general of Vipula, before mentioning its divisions. Probably a stanza is dropped by the scribe of our ms. See H. 3.37-39; Jd. 5.10-15; P. 5.17-19; Vr. 2.26-30; Kd. 4.120-121, for Vipula and its varieties; see also note on Kd. 4.121. 11: 'When there are eight Aksaras in the first Pada, twelve in the second, sixteen in the third and twenty in the fourth, it is called Padacatururdhva.' See H. 3.40; P. 5.20; Kd. 4.128.

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3.8-13 1 svayaMbhUcchandaH 207 11.1: Fruitful indeed is the life, wherever he may live, of him whose wife possessing a face resembling the full moon, a pair of restless eyes looking like two blooming blue lotuses and a well developed bosom, is always obedient to his will.' 12: "When (in this Padacatururdhva) all letters are short except the first two, it is called Pathyapida. But when two letters are long at the end of the Padas) only, it is called Apida.' The footnote No. 6 on p. 49 translates pacchavidu by Pathyapidah and this may be correct; but Hemacandra calls it Pratyapida. See H. 3.41-43; P. 5.22; Kd. 4.124 com. Jayakirti at Jk. 4.16-17 calls the Pratyapida and Apida by the names Anupadaruci and Padaruci respectively. 12.1: 'Now you have (really) caused pain to my limbs, though seeming ly it is deep sexual pleasure, oh youth, who have attracted all activities of the minds of young girls, who are possessed of matchless qualities and who have displayed various kinds of lovely mutterings.' The speaker means that her lover is too precious to be exclusively possessed by her. So there is the fear of losing him. 12.2: 'Oh friend, how charming does my lover look, being the very essence of sexual pleasure, giving delight to the entire world of living creatures, affording deep love to the hearts of different girls, and appearing amiable (to every one) owing to hundreds of different virtues which are quite evident.' 13: 'When the first Pada of this metre is exchanged for the second it is called Manjari; when for the third, it is Lavali and when for the last it is called Amstadhara.' The reading palhattai of the Palm-leaf ms. is better; see p. 128 below for the variants. See H. 3.44; Jd. 5.18-20; Vr. 5.3-5; Kd 4.128 com. In all these places, however, the metre is called Kalika instead of our Manjari when there is an exchange between the first and the second Padas. The other two names are the same. P. 5.24 agrees with Sb. . 13.1 : 'Look how on the breast of the housewife, which is yellowish white like the flower of the Phalini plant, the nail-marks made by her lover have assumed the beauty of a fresh foliage placed on the mouth of a golden pitcher.' 13.2: 'Say whom shall the swarm of black bees not please, when it is smeared with the pollen of flowers, and has given great joy to the minds of men by its humming, while it is greedily running after the fragrance of white lotuses ?'

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208 svayaMbhUcchandaH [BRIEF NOTES : 'Look how the unusual dalliance of youthful girls somehow tempts even an ascetic, when their girdles of gold are gingling and their ample bosoms are throbbing gaily! 14: Here ends the essence of Prakrit (metres) in the Svayambhu chandas, which has the five Ambas as its essence, which contains ample matter and which is perfectly clear owing to its having the definitions and the defined metres together.' IV. UTSAHADINI 1: "Thus far both the definition and the illustration of the essence of the Prakrit metres have been given by me; now listen while the same is being told with reference to those in the) Apabhramsa language.' 2: "Just as the nasalised i and hi are (pronounced) short at the end of a word (when necessary), so also according to the requirements of the metre, (nasalised) u, hu and ha should be similarly treated.' 2.1-2: Both the lines seem to be quoted from some Apabhramsa poem on the Ramayana topic. They are evidently the lines of the Doha metre; so that tu in tumha in 2.1 and ko in 2.2 are to be pronounced as short, in addition to um and hum for which they are quoted. 2.3: These two lines which illustrate the short ham, are a part of a Ghatta describing the greatness of the Jinas. 3: 'Just as both the simple e and o are treated as short when they stand at the end of a word, so also they are, whether at the beginning, or in the middle or at the end of a word, even when joined with a consonant. 3.1 : The stanza is in the Doha metre; simple e in puttie and also e com bined with consonants in je, ke, te and sire are short. Similarly, simple o in dhendhanao and o combined with consonants in jo, so, ko and taho are all to be pronounced short. "Oh daughter, enjoy a kingdom with them, whosoever give money to you; (but) if there be any person who is empty-handed, may Indra's Bolt fall on him, even if he were charming.' This is a piece of advice given by a prostitute to her daughter. There occur six Caturmatras, of which the third and the fifth have their long letter in the middle or, have a short letter on each side (i.e., have a Madhyaguru or a Sarvalaghu at that place); the poets prescribe this to be the characteristic of the Utsaha.' Svayambhu 4:

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3.13-4.7] svayaMbhUcchandaH 209 starts with the Utsaha and Hemacandra has very likely followed him. Kavidarpana has a different arrangement, for which see Kavidarpana, Introduction para 5. 4.1: The stanza describes the behaviour of those warriors who do their best in fighting, remembering the favours of their master. 5: "Fourteen (Matras) in the first and the third Padas, and twelve in the second and the fourth; such indeed is the characteristic of a Dvipathaka or Doha in the Apabhramsa Sastra.' The Sastra is the Chandas Sastra. The same stanza is repeated at Sb. 6.90 below among the definitions of the Antarasama Catuspadis. See also HPk. 6.20.100 and R. 129. Virahanka mentions (at Vjs. 4.27) that there must be a single long letter at the end of the odd Padas and two at the end of the even ones. On the other hand, Prakyta Paingala 1.78, Kavidarpana 2.15, Chandahkosa v.21 prescribe that there shall be 13 and 11 Matras respectively in the odd and even Padas of a Dohaka. Kavidarpana further says that at the end of the even Padas there must be a long letter followed by a short one, as a matter of convention. 51: 'Oh mother, the camel is perverse; whatever is offered to him he would not eat, but would run for some bramble growing on the desert !' This is probably an Anyokti by a handsome girl who complains that the youth whom she loves does not care for her and yearns for some ordinary woman. 5.2: "The wandering moon has secured a friend (after all), namely the Ocean, who wanes when he wanes and waxes when he waxes.' Cf. N. 83 where the same stanza is quoted; here it is ascribed to Matndeva. 6: "Thirteen Matras in the first and the third; twelve in the second and the fourth. This is the characteristic of Upadohaka in the Apabhramsa Sastra.' See H. 6.20.99; R. 11, 127. The same stanza is repeated at Sb. 6.88 below. 6.1: This too seems to be an Anyokti like 5.1 above; but the second half is not clear. 7: "Twelve Matras in the odd Padas (and) fourteen in the remaining ones; know such to be the characteristic of an Avadohaka.' See H. 6.19.45; R. 10, 128. The same stanza with a slight change in the latter half is repeated at Sb. 6.89 below. 7.1: 'What shall I do, oh mother? If I fall at his feet, my Lover does not care for me; (but) if I feign anger, he calls me refractory and fickleminded.' This is the complaint of a girl who finds that her lover has

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210 svayaMbhUcchandaH [ BRIEF NOTES now lost interest in her and wants some excuse to break off with her. See HPk. 6.19.45 for similar thought. 8: "There are five Padas in all in the Matra metre; among them in the even ones there are three Caturmatras. In the other ones there occur two Pancamatras, a Caturmatra and a Dvimatra (in succession). But (the Caturmatra) in the third place of the odd Padas, excepting the first, shall not be an Adya-guru, an Antya-guru or a Sarva-guru.' This definition entirely agrees with that of Hemacandra at HPk. 5.17, but much differs from that of the Kavidarpana, Kd. 2.27-28; see notes on this last. Instead of 16, 12, 16, 12, 16 of our Matra, Kavidarpana has 15, 11, 15, 11, 15 Matras in the five Padas of a normal Matra stanza. 8.1 'He, i.e., Rama, had monkeys for his friends, the ocean was very difficult to cross. But even that was bridged with a dam of blocks of stones. As in the case of Rama, glory is achieved by a man who is active.' 9: 'If in the second or the fourth Padas a Pancamatra is employed at the very first place (i.e., in place of the first Caturmatra), that Matra is called Mattabalika; if a Trimatra is employed at the third place (i.e., in place of the third Caturmatra), it is called Mattamadhukari.' 9.1: "The source or origin of the white and the blue lotus is the same; still the moon alone gives delight to the bed of the blue lotuses and the sun alone to (that of) the white ones. A fruit is necessarily obtained by a person from another, in accordance with what he had deposited with him.' Here the Laksana of the Mattabalika is seen in the second Pada only. 9.2 "The roads are full of mud, the sky displays the rainbow; the grounds are wet, the water is tasty; the clouds are thundering, the lightning is repeatedly flashing in the quarters. And then thereafter, causing infatuation to the minds of the travellers, the beautiful rains have started.' Here the Laksana of the Mattabalika is in the fourth Pada only. 9.3: I do not understand the significance of the stanza. It is an example of Mattabalika which has its characteristic in both the second and the fourth Padas. 9.4 "The night gives pleasure to couples (as a rule); but if it is so, why is the poor Cakravaka alone separated (from his mate) at that time? It is one's own former action that yields its fruit; none can give to any one, nor take away from him (unless he has already worked out

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4.8-10 ] svayaMbhUcchandaH 211 for it in his earlier lives).' This is Mattamadhukari which has a Trimatra in the second Pada alone. 9.5: 'At different places are seen herds of cows which have stopped eat ing, but whose jaws are moving owing to rumination, resting during the night, white and bright, as though they were heaps of moon-light.' This is Mattamadhukari having its characteristic feature in both the second and the fourth Padas. No example is given by Svayambhu where it exists only in the fourth Pada. 10: 'If at the commencement of the 3rd and the 5th Padas, both the Ganas are Caturmatras in place of the usual Pancamatras), it is called Mattavilasini. On the other hand, if all the three are Pancamatras (i.e., if the Caturmatra is replaced by a Pancamatra), they call it Mattakarini.' It will thus be seen that in all the varieties of Matra the first Pada is unchanged and so is the second Caturmatra in the even Padas, i.e., the second and the fourth. 10.1: "This indeed is a terrible order, which is clearly destructive to the life of a man. On the one hand there is that dreadful serpent Kaliya, which kills by mere sight, and on the other, there is Kamsa too, who is bent on killing (Krsna). Where can one go, what can one do ?' This appears to be from some poem on the topic of the Harivania; the next one too, appears to be from the same poem. They are ascribed to Govinda. 10.2: 'Even though Hari looks at all the Gopis with (equal) regard, yet he unmistakably directs his glances just in the direction where Radha stands; who can conceal his poor eyes which dash forward through affection ?' 10.2: Here in the third line the letter him is intended to be long in both the words, while in the fifth one letter has to be added as shown. This would make the Matra a Mattakarini in both the Padas. If the letter is not added in the fifth line it would be a Mattakarini only in the third Pada. The stanza occurs in a slightly different form at Hemacandra's Sabdanusasana, 8.4, 422 (5). It is quoted there to illustrate the word drehi for the Sanskrit drsti. But our text does not contain that word at all. For attempts at its interpretation see Pischel, Hemacandra's Prakrit Grammar, Part II, pp. 218-219; Alsdorf, Apabhraisa Studien, p. 55; Bhayani, Bharatiya Vidya, 1945, pp. 14-15.

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212 svayaMbhUcchandaH [BRIEF NOTES 11: 'And that (Matra) too, which is a mixture of all the different forms, is called Bahurupa. If there is at its end a Dvipathaka, it is well known as the famous Radda or Vastu, here (in prosody), which has nine Padas (five of the Matra and four of the Doha).' 11.1: A Gopi has placed a lotus leaf after having cut it on her expansive bosom; owing to her separation from Hari she is suffering from this torture. The poor ignorant girl has got her due; now let the dear one (i.e., Hari) do whatever he likes.' This too is evidently from the same poem of Govinda, from which 10.1 and 2 are quoted. This is an illustration of Misra; the 4th Pada is that of Mattamadhukari, having a Trimatra in place of the third Caturmatra. 11.2: "What is the good of him being born, when after his birth his enemies do not shake with fear, good men do not feel happy and wicked men do not die out of anxiety? (Only) the virginity of a good girl was destroyed. What indeed is the use of such a son being born, who is a man only in name and whose fame has not remained outside after completely filling up big and small caves (of the mountains) and the hollows (between the two worlds)?' This is an illustration of Radda, the first stanza being in the Misra Matra, in which the second line is that of the Mattabalika where the first Caturmatra is replaced by a Pancamatra. In the Doha both e and te in the first Pada are to be pronounced as short. See the rule in v. 3 above. 11.3: "Misfortunes disappear. ... grows, success is assured, good name spreads, victory approaches, (and) sins also vanish like darkness when dispelled by the rays of the sun. If there had not been Jina's feet for the sake of those who wander in the forest of miseries, the whole world would have only strayed away aimlessly, being left without a support. Here the first stanza is in the regular usual Matra metre, having 16, 12, 16, 12, 16 Matras in its five Padas. 12: "There are three and a half Caturmatras preceded by a Sanmatra (in each Pada); such are the Padas of a Vadanaka. When a Trimatra is substituted in the place of the fourth (Caturmatra, i.e., the half Caturmatra at the end of the Pada), it is called Upavadanaka. A Vadana having a rhyme at its end is called Madilla. This Madila (or Malilla) becomes possible (either) when it is composed with two ending rhymes (for the two halves), or when it is endowed with a common rhyme for all the four Padas.'

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4.11-14 1 svayaMbhUcchandaH 213 From these definitions it would appear that Svayambhu employs the term Madila to signify both the kinds of a Vadanaka, i.e., the one that has one common rhyme for all the Padas and the other which has two separate rhymes for the two halves; but the introductory words before 12.3 show that he has a separate name, i.e., Adila for the single-rhymed type, and that he treated Madila as a common name signifying both the types. Hemacandra, HPk. 5.30, on the other hand, treats Adila as the common name signifying both the types and records a view of 'Some' that Madila is a specific name of Aaila when all its Padas have a common rhyme. See also my notes on Kd. 2.21-22. Rajasekhara, R. 20, agrees with Svayambhu. 12.1: 'May you live as long as there is water in the Ganges; do not leave aside sandal or Agaru from your limbs (i.e., continue to use them); ride on swift-galloping horses, (and) enjoy in the company of your wife who is good and virtuous. The stanza seems to contain a blessing to a young man from an elderly person. 12.2: "While fried and unfried things are moistened and pounded (in it), warriors and brahmins visit and revisit that house. (But) being always infested with guests who visit and revisit it, the same is (in course of time) made devoid of rice-grains.' This seems to be something like a proverb, describing the fate of houses which are too much open to guests without any discretion. Here the two halves have two separate rhymes. 12.3: 'How can that girl, who is possessed of teeth bright like the Ati mukta flowers, whose feet have a pair of gingling anklets and whose arms are adorned with ivory armlets, be enjoyed by persons whose teeth have fallen (i.e., who are very old)? 13: The text of the first half is corrupt; but a comparison with Rajase khara's Chandahsekhara, v. 19 makes its meaning obvious. Any metre which they recite for the purposes of encouragement and compose in the Prakrit language, is to be known by the name Vadanaka. Thus Vadanaka is a general name for a class of metres which are employed for a particular purpose, without any relation to the constitution of its Padas. 14: "This is called Prahelika in Apabhramsa which is employed to serve the purpose of the Utsaha and others or has the characteristics of a Dvipathaka or Dohaka.' Prahelika is not the name of a particular metre, but of a type of a composition where the intended meaning of the speaker is to be guessed from some word or words in the

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214 svayaMbhUcchandaH [BRIEF NOTES composition itself, or even without them. See R. 21 and Dandin, Kavyadarsa 3.96 ff. 15: "That is called Hrdayalika where letters and words which are appa rently without meaning are employed for a composition in many different metres, the real intended meaning being kept in his mind (by the poet).'Compare R. 21. 16: "Since a hero is described under the image of a bull, the metre is called Dhavala; this Dhavala, too, is of three kinds; eight-footed, sixfooted and four-footed.' For the Dhavalas, which is the name of a class of metres, like the Mangalas, see Kavidarpana, Introduction, para 12. The stanza is quoted both by Hemacandra, HPk. 5.32 com. and Kavidarpana, 2.32 com. Also cf. HPk. 5.42.2 and R. 28. 17: 'In a Dhavala, there are three and a half Caturmatras in the first and the third Padas, three Caturmatras in the second and the fourth; three Caturmatras with one Matra less in the fifth and the seventh Padas. In the sixth Pada they are as they are in the second and the fourth; then only two and a half of them (i.e., Caturmatras) in the eighth.' atthavave stands for both astame and astapade. This Dhavala is the same as Hemacandra's Yasodhavala at HPk. 5.34; but there is some difference as regards the sixth and the eighth Padas. According to Hemacandra, both of them contain two and a half Caturmatras or three Caturmatras and are equal and similar, while Svayambhu directs that the two are of unequal length, the sixth having three Caturmatras and the eighth having only two and a half of them in it. Rajasekhara (R. 22) agrees with Hemacandra. 18: 'There are three Sanmatras in the first and the third Padas; two Sanmatras in the second and the fifth and in the remaining ones there are two Sanmatras followed by a Caturmatra or a Pancamatra. That is the characteristic of the Satpada Dhavala, which gives pleasure to the ear.' The text is clearly defective, particularly in the fourth and the sixth Padas. See Hemacandra, HPk. 5.35 and R. 23. According to these last two, however, the first and the fourth Padas contain only two Sanmatras and a Dvimatra, instead of three Sanmatras; similarly, the second and the fifth Padas contain two Caturmatras only instead of two Sanmatras. 19: 'If a Sanmatra, a Caturmatra and a Trimatra occur in the first and the third Padas, also a Sanmatra and a Caturmatra in the others, it is the characteristic of the four-footed Dhavala.' e in dhavale is to be

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4.15-22 ) svayaMbhUcchanda: 215 read as short. This is the same as the Bhramara-Dhavala of HPk. 5.37 and R. 25. Svayambhu does not mention the Guna-Dhavala which contains a Sanmatra and two Caturmatras in the odd Padas and which has an additional Dvimatra or Trimatra in the even Padas. For this see HPk. 5.36 and R. 24. 20: "Know that to be the metre Mangala, which is employed for auspici ous occasions and which contains a Sanmatra followed by two Caturmatras in the first and the second Padas and either five Caturmatras or four Pancamatras in the third and the fourth Padas.' This is much different from Hemacandra's Mangala defined at HPk. 5.39. This latter contains one Sanmatra and three Caturmatras in each of the first two Padas, while the last two contain five Caturmatras each; further, a Dvimatra or a Trimatra is added at the end of each Pada. Rajasekhara at R. 26 entirely agrees with Hemacandra, or rather, the latter has wholly followed the former and not Svayambhu. The metre is a proper Ardhasama Catuspadi, in which the lines in each half are equal and similar, but the halves themselves are dissimilar. In addition to this particular Mangala, Svayambhu explains how the term Mangala is added to the names of other metres when they are composed for the sake of an auspicious occasion. (This is to be understood from the word mangalatthe in v. 20). It would seem that a verse containing a general direction about the use of name mangala as appended to the name of another metre, is missing ; because, otherwise, the illustrations under v. 20 would be unintelligible. Such directions are found at HPk. 5.40 and com. and R. 27-28. Mangalas which are composed in the Utsaha, or Hela or Vadana metres are respectively called Utsaha-mangala, Hela-mangala, and Vadana-mangala ; in this connection Svayambhu repeats the definitions of these metres from the earlier portion of his work. Of the three Hela was defined among the Khanjakas in ch. 3 of the Purvabhaga, but that portion of the ms. is not available ; see p. 110. It is defined by Hemacandra at HPk. 5.49. 21: "Thus the Dhavalas and the Mangalas are called by those very names of metres, with whose characteristics they are composed, by the prosodists.' See note on v. 20 above and Kd. Introduction, para 12. Also see below Sb. 8.30-31. 22: In this chapter a few important Apabhramsa Catuspadis of the Sarvasama type are defined ; they are Utsaha, Dohaka and its two kinds Upadohaka and Avadohaka, Matra with all its kinds, the strophic

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216 svayaMbhUcchandaH BRIEF NOTES couplet Radda, Vadana and Upavadana, Adila and Madila. At the end of the chapter several general terms which are used of more metres than one are mentioned and explained ; they are Prahelika, HIdayalika, Dhavala, and Mangala. Among the Dhavalas, however, three particular ones are defined, having eight, six or four Padas in their stanzas. Similarly a particular Mangala too is defined. The other characteristic metres of the Apabhramba language are discussed in ch. 8 below, while chs. 5, 6 and 7 are taken up by Satpadis, Ardhasama Catuspadis and Dvipadis. V. SATPADAJATIH 1: 2: This stanza defines a Dhruvaka; 'Dhruvaka is a stanza which is repeatedly added in all poetic compositions in their earlier part, i.e., at the beginning of a Kadavaka or a Sandhi; it is of three kinds : six-footed, four-footed and two-footed. It is intended to serve the purpose of a connecting link between two Kadavakas of a poem. It is called Dhruvaka, not only because it appears in the same form, but also because it is unfailing in its appearance. See Kd. 2.30-31, vv. 73-74 ; also Kd. Introduction, para 12. The directions about certain Aksaras which may be treated as 'short', though they are ordinarily considered as long, are given above at 4.2-3 (p. 52), so far as Apabhramsa poetry is concerned ; here in this stanza, a general direction about the metrical value of a short letter standing at the end of a line or Pada is given. 'A single short letter at the end (of a Pada or hemistich) is equivalent to a long one when the (required) number (of Matras) is incomplete ; (but) a short letter conjoined with another short letter which precedes it, must be considered as only a short one when it stands so as to complete the (required) number. This seems to be the import of the stanza; the contrast intended is between ekkalahu and jamalalahu, as also between visamasamkha and samasamkha. It therefore follows that the ekkalahu, though it is expected to be short, becomes long by its position at an uneven number of the Matra, at the end of a Pada; this means that if this short letter is not able to stand for the last number of the Matra at the end of that Pada, it must stand for two Matras and thus make up the required number and thus do the work of a long letter. If, on the other hand, a long letter were to stand for the last Matra of a Pada, it must yield only one Matra which is necessary and thus do the work of a short letter. I have understood the word jama

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5.1-4) svayaMbhUcchandaH 217 lalahu in the sense of a long letter (double short, i.e., long). In short, the last letter of a Pada may be considered short or long according to the need of scansion, whatever its real nature is. This stanza is quoted by Hemacandra at Chandonusasana (NSP. ed.) 1.5 com., without mentioning Svayambhu's name, in support of his direction about the metrical value of the last letter of a Pada. Hemacandra also quotes another stanza in Sanskrit where the words guru and laghu are actually used for our ekkalahu and jamaialahu. It is as follows: ojasaMkhyA yadAbhISTA dhruvAsu viratau tadA / go latA yugmasaMkhye tu virato gurutA laghoH / / Svayambhu has himself observed the rule and often enjoyed the option, both in respect of the same letter in different stanzas, as also in respect of different letters in the same stanza. Thus he considers the concluding letter na of the instrumental singular as short in Sb. 6.39. 1 bd, 44.1c, 52.1c and 54.1c; but as long in Sb. 6.56.cd, 72c, 96c, 114d, 112c; 8.1 and 8.1.1. On the other hand, he considers the concluding short letter as short in Sb.6. 10.1c (but long in bd), 56.1ac (but long in bd), 61.1c (but long in abd), 87.1c (but long in bd), 124.1a (but long in bd). In the following cases he considers the final short as short only: Sb. 6.31.1c; 8.3ab; 8.3.1abcd; 8.8bd; 8.8.1abcd; 8.12.1a\; 8.13.1bd; 8.20.5de (but as long in abc) and so on. Also see Bhayani, Paumacariu, Introduction pp. 79-83. 3.6: These stanzas define the three main kinds of Satpadis, each of which is eightfold, according as its third and sixth Padas contain from 10 to 17 Matras in each of them. The first of these three is called Satpadajati; its 1st, 2nd, 4th and 5th Padas contain only 7 Matras each, while its 3rd and 6th Padas contain from 10 to 17 Matras in them, thus yielding its eight kinds. The second of the three main varieties is called Upajati Satpadi; its 1st, 2nd, 4th and 5th Padas contain only 8 Matras each, while its 3rd and 6th Padas contain from 10 to 17 Matras, thus yielding its eight kinds. The third main variety is called Avajati ; its 1st, 2nd, 4th and 5th Padas contain only 9 Matras each, while its 3rd and 6th Padas contain from 10 to 17 Matras, thus yielding its eight kinds. The defining stanzas 3 and 4 have respectively 10 and 11 Matras in their third and sixth Padas; while stanzas 5 and 6 have both 13 Matras in the same Padas. 41: This is an illustration of the fourth kind of the Satpadajati, which has 13 Matras in its 3rd and 6th Padas, the remaining ones having only 7 Matras each. The illustration is from Svayambhu's own poem

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218 svayaMbhUcchandaH [BRIEF NOTES Paumacariu 3.3.11, as shown by Dr. Bhayani in his Introduction to the edition of that poem (p. 128). ''That alone is the divine Highest Soul, the lord of the sole Universe, in whom these marks are well established and whose self is considered by him as similar to that of others (in respect of joys and pain).' 51: This is in Sanskrit: "The moon behaves like the sun ; sandle like fire, friends like foes. When Fate is unfavourable and the mind becomes perturbed, all things appear otherwise. This illustration is of the second kind of Upajati where the 3rd and the 6th Padas contain 11 Matras each, the others having 8 each. 6.1: This stanza is an illustration of the 6th kind of the Avajati as actual ly mentioned in the introductory words; its 3rd and 6th Padas contani 15 Matras each. It is from Svayambhu's own poem, Paumacariu as shown by Bhayani, Paumacariu, Introduction, p. 128. 'In some places, fresh (ruddy) nail-marks were observed well placed on the tops of the breasts (of young ladies), as if they were the hoofs, deeply planted, of the Horse, namely God of Love, ridden over for speed.' nahara is a nail-mark. Here, as will be noticed, the last letter in the 3rd and 6th Padas, is to be counted as short, so as to give us only 15 and not 16 Matras, as intended by the author himself. For these varieties of Satpadis, see HPk. 6.15-17; Kd. 2.29 and R. 30-32. VI. CATUSPADAI-DVIPADYAH This chapter deals with the Antarasama and Ardhasama Catuspadis which are really not different from each other in respect of their constitution, but have only a different arrangement of their Padas. Thus in the Antarasama the 1st and the 3rd Padas are equal and similar, like the 2nd and the 4th ; in the Ardhasama, on the other hand, the 1st agrees with the 2nd, and the 3rd with the 4th. Thus by a mere exchange of Padas, one can be turned into the other and so Svayambhu defines and sometimes also illustrates, the 110 kinds of the Antarasama only. These 110 varieties are obtained by a permutation and combination of the lines of different length, containing from 7 to 17 Matras ; thus a line of 7 Matras yields by its combination with lines of 8 to 17 Matras, 20 kinds of the Antarasama Catuspadi. These are defined in vv. 2-21. The composition of this line of 7 Matras is given in v. 22: it is twofold ; i.e., either by means of a Caturmatra and a Trimatra, or a Pancamatra and a Dvimatra (ca-ta or

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5.5-6.13) svayaMbhUcchandaH 219 pa-da). A line of 8 Matras similarly yields 18 and those of 9, 10, 11, 12, 13, 14, 15, 16 and 17 Matras respectively yield 16, 14 12, 10, 8, 6, 4, and 2 kinds of the Antarasama or the Ardhasama Catuspadi. These kinds of the Catuspadi which are yielded by lines of 8-16 Matras with their combination with lines of 9-17 Matras are respectively defined by Svayambhu in vv. 23-40, 42-57, 61-72 (see f. n. on p. 74), 74-85, 87-96, 98-105, 107-112, 114-115 and 117 of chapter sixth. In the last two cases, two kinds are given in one stanza ; but in the others, a separate stanza is used for each one After giving the total number of the kinds yielded by a line of particular length, Svayambhu explains the composition of that line in terms of the different Matra Ganas. Thus vv. 22, 41, 58, 73, 86, 97, 106, 113, 116, 118 and 119 respectively give the composition of the lines of 7, 8, 9, 10, 11, 12, 13, 14, 15, 16 and 17 Matras and the first ten of these stanzas also mention the total number of the kinds yielded by them, viz., 20, 18, 16, 14, 12, 10, 8, 6, 4 and 2 respectively. In defining these different kinds the composition of the odd lines is given first and generally the shorter line is mentioned before the longer one. Thus a Catuspadi with 7 in the odd and 8 in the even Padas is nuentioned before its counterpart with 8 in the odd and 7 in the even Padas. But there are some exceptions to this rule just at the commencement; thus Catuspadis with 9, 10, 13, 14, 15, 16 and 17 Matras in the odd Padas and 7 in the even ones are defined before their counterparts with 7 in the odd and 9, 10, 13-17 Matras in the even Padas. But afterwards, the shorter line for the odd Padas is mentioned first and then the longer line for the same Padas afterwards. In theory, every one of these 110 kinds can be used for the composition, though in practice only some of them were actually employed by the poets. Svayambhu does not compose his own illustrations for all of them like Hemacandra, but only now and then quotes from the existing Apabhramsa literature including his own poems on the Ramayana and the Mahabharata themes namely, Paumacariu and Ritthanemicariu. 10.1: 'The fires of separation burn even in the waters of a wet curtain ; ............ 13: Ravanahastaka; it is called Ravanamastaka at HPk. 6.19.9 and R.47. It is called Rasa at Sb.8.27 below. 13.1: 'Separated from his dear mate and striking down the black bees by the flapping of his ears, a wild elephant roams about bewildered in the forest.'

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220 svayaMbhUcchandaH BRIEF NOTES 15.1: 'It is far better that one's self is covered with heaps of stones than have a quarrel started wtih one's own friends at the instigation of other people. 17.1: 'At the approach of the night the Cakravaka bird, being separated from his mate, wanders about in the Lotus-pond, flapping his wings now and then.' Cf. Vikramorvasiya IV. 6 where a Hamsa is mentioned in place of a Cakravaka (Pandit, p. 113Aa). 19.1: "On the summit of the mountain a Palasa tree is in full blossom in the early Falguna month and looks as if it were the wild Fire itself wanting to take stock and see what (trees) were burnt by him and what were left out, (from the forest on the mountain).' Just as an observer must go to a high place, so the wild Fire ascends the mountain peak and makes his observation for taking stock of what was done by him and what was yet to be done. Bhayani quotes a similar stanza from Paumacariu (P.C. p. 128) but its metre and word ing are different, though the idea is the same. 20: Svayambhu's Kadambasiras is the same as Lilalaya of H. 6.20. 68 and R. 56. 21.1: 'The face of the beloved, feeling delighted owing to the touch of the arms of the lover, looks as if it were a lotus of lovely petals, feeling delighted at the touch of the rays of the Sun, free from dirt and so appearing very charming. Most of the words are double meaning. 22: The Pada of seven Matras is of two kinds, namely, it may be made either with a Caturmatra and a Trimatra, or with a Pancamatra and a Dvimatra. 26: Taragana seems to be a scribe's mistake for goroana (Gorocana) which is the name given to this metre by H. 6. 19. 70; R. 62. 29.1: "The lordly elephant, namely, the mind (of a man), intoxicated by the rut of Infatuation (and therefore), under the influence of the sheelephant namely, Pleasures, has drowned himself in the deep waters of Misery. 31.1: 'The deer has taken shelter on the moon like an ordinary timid person; so indeed, he is not known by his own name like the brave lion.' 33.1 : "(Then) Hanuman was surrounded by the demon warriors and looked as if he were the rising sun surrounded by clouds in the sky.'

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6.15-45] svayaMbhUcchandaH This is identical with Svayambhu's own Paumacariu, 65.1 as shown by Bhayani, P.C. p. 128. 35.1: 221 '(Then he stood) after overpowering both Krsna and Arjuna, who were deprived of their bows and enraged with fury, the two great wrestlers of the Bharata race and of great merit.' This is obviously the description of an incident in the Mahabharata war and probably refers to Karna. It may be from Svayambhu's own poem on the Mahabharata theme. 37: This metre is called Punyamalaka by Rajasekhara (R. 73) and Hemacandra (HPk. 6.19.21). But Svayambhu calls it Prajnamula. 37.1: 'A black bee keeps on humming and avoids perching on (other) flowers (except the lotuses); is he Brahmadeva of four faces remembering the Navel-Lotus of Narayana ?' 40: 39: This Kankellinavapallava is called Navakusumitapallava by both HPk. 6.19.22 and R. 73. 39.1: "The seat of the Old one (i.e., The Creator) with a pair of black bees hovering around it, is fascinating as if it were the face of a lovely damsel with a pair of her restless eyes.' The seat of the Old one is a lotus, the Old one being the Creator Brahmadeva, whose seat is a lotus. 45: This Puspastarana is Kusumastarana of Hemacandra (H. 6.20.17) and Rajasekhara (R. 52), kusuma being the same as puspa. 41: A line of 8 Matras may be made with a Sanmatra and a Dvimatra or a Pancamatra and a Trimatra, or two Caturmatras. 42.1 The lady of white complexion was seen lying down in her courtyard, as if she were the light of the moon bundled together and left there.' 43: Margavisamlapa of Svayambhu is the same as Madhukarisamlapa of HPk. 6.19.78 and R. 80. Could the reading be mahuari for maggavi? ra and va are often interchanged by our scribe. 44.1: "There is only one Arjuna (on earth); so saying again and again, Drona bewails in the heaven.' This also looks like a stanza from Svayambhu's Mahabharata poem. The point of Drona's grief is not very clear. HPk. 6.20.79 and R. 82 call the metre Sukhavasa and our Mukhavasa may be a misreading for the same.

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222 svayaMbhUcchandaH [BRIEF NOTES 46: HPk. 6.19.25 and R. 83 call the metre by the name Mangalika, instead of Svayambhu's Kumkumakala. 47: Kumkumalekha: See below Sb. 8.8 for the same metre called only Chaddanika. 49: Svayambhu's Kurabakadama is the same as Kuvalayadama of HPk. 6.20.81 and R. 86. 50.1: 'It was reported to the lord of the Demons by the arrow, after going to him, that Nila could not be controlled, like the Great Soul without knowledge. This seems to be from a poem on the theme of Ramayana. 52.1: Angada advanced towards him breaking through the top of the house ; (and) the demon chief, Dasanana, came out through the gate of the fort, after putting on his armour.' This too seems to be from the Ramayana poem. 54.1: 'As Bibhisana began to grieve for the loss of his brother (Ravana), the monkey warriors started weeping in sympathy with him in his bereavement.' This is ascribed to Caturmukha, but is actually found in Svayambhu's Paumacariu 71.1 as shown by Bhayani (P.C. p. 128). Perhaps the correct reading is sa-harivai-vanaraloo (sa-haripativanara-loko) 'Vanara warriors, together with the monkey chief, Sugriva, began to weep.' See on v. 43 above. 55: Svayambhu's Angadalalita is Kunjaralalita of HPk. 6.20.84 and R. 92. 56.1: "Ravana who gave trouble to gods and men (should we read suranara for suravara ?) and from whom the world shook in terror, was consumed (by fire). The fire attacked (his body), saying as it were 'How will others now leave the right path ?' (seeing the fate of Ravana)'. Even this is found in Svayambhu's Paumacariu, 77.13.13 as shown by Bhayani (P.C. p. 128). 58: A Pada of nine Matras can be made with a Sanmatra and a Trimatra, or three Trimatras or a Caturmatra and a Pancamatra. 59-60 : The meaning of these two stanzas is not very clear to me. They recount the 54 kinds defined so far and introduce the remaining ones. A comparison with v. 120 below will, however, show that Svayambhu makes a distinction between Vastukas and Dhruvakas, the former being 54 in number and containing either in their odd or even Padas seven to nine Matras only (but not more). Dhruvakas are the remaining 56 Antarasama Catuspadis which have ten to seventeen Matras in

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6.44-78 ] svayaMbhUcchandaH 223 their odd or even Padas, but not less than that in any of them. In short the shorter Catuspadis are Vastukas, while the longer ones are Dhruvakas. See below Sb. 7.1-2 for a similar distinction between Dvipadis and Dhruvakas. 61.1: The meaning is not clear. 63: Our Kokilarincholi is Kokilavali of H. 6.19.33 and R. 101. As said by me in my note on p. 74, two stanzas appear to have been dropped by the scribe of the ms. 63.1: 'In his wanderings through the forest, those fourteen (demon chiefs) were pierced with his arrows by Laksmana and so looked as if they were tall Palasa trees in full blossom.' This stanza which is evidently from a Ramayana poem, is here ascribed to Caturmukha by Svayambhu. ni in c seems to have leen dropped by haplology. In this case, ni in c is to be counted as a short letter like a in v. 61.1 c in accordance with the rule given at Sb. 5.2. (See note). But also cf. Bhayani, P.C. Intro. p. 17 f.n. 65.1: Just then the moon arose which adorned the sky and appeared as if it were the wheel of the sun's chariot left behind by Aruna (the charioteer). This also is ascribed to Caturmukha. 68.1: "The son of Valin entered as an envoy into the assembly-hall of that (Ravana), to whom service was rendered in the three worlds, even by a multitude of the gods with a trembling mind.' This is possibly from Svayambhu's own Ramayana poem. 73: The Pada of 10 Matras can be composed with a Sanmatra and a Caturmatra, or with two Pancamatras, or with a Dvimatra and two Caturmatras. 75.1: 'Having heard about the arrival of Hari, that king raised white fluttering flags in the city of Mathura, where the citizens were greatly pleased (to hear it). This is from a poem on the theme of the Harivamsa, perhaps composed by Svayambhu himself. 77: Kusumakulamadhukara of Svyambhu, HPk. 6.20.94 and R. 116 is really a Dohaka, for which see Ck. 21 and Kd. 2.15. 78: Our Vanafullandhaya is the same as Navapuspandhaya of HPk. 6.19.40 and R. 117. 78.1: 'Let him who wants to run away, retire from Dhananjaya who is difficult to conquer in a fight, in this army of the enemy; I alone shall

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224 svayaMbhUcchandaH [BRIEF NOTES not turn back from him.' The theme is the Mahabharata war. This is perhaps said by Karna. 80: Kinnaramadhuravilasa of Svayambhu and R. 119 is called Kinnaramithunavilasa by Hemacandra at HPk. 6.19.41. 82: Vidyadharalalita of Svayambhu and R. 120 is the same as Hema candra's Vidyadharalila at HPk. 6.19.42. 86: The Pada of 11 Matras may be composed either with a Sanmatra and a Pancamatra, or a Pancamatra, a Caturmatra and a Dvimatra, or a Caturmatra, a Trimatra and a Caturmatra. 87.1: 'When Drona was crowned as the Commander-in-chief, both the armies, having raised their different banners and being filled with martial spirit, kept themselves in readiness (for fighting). This is also ascribed to Caturmukha and is from a poem on the theme of the Mahabharata war. 90.1: "On hearing the sound of the (hoofs of the) horses, the eyes of the she-boars repeatedly turned towards the pair of fangs of their lord.' They were so confident of the protection which they expected to get from their lord with powerful fangs. This stanza is quoted as an illustration of chalika, in the Sarasvatikanthabharana, II. 392. bhunda or bhundaa is a 'boar'; bhundaani is a she-boar. The male leader of the flock of the she-boars was walking stately in front of them and his mates were casting their glances of love and pride for the valour of their lord. Chalika expresses a mixture of the sentiments of love and heroism. For attempts at the interpretation of the stanza, see Pischel, Materidlen zur Kentniss der Apabhraisa; p. 38; Alsdorf, Apabhramsa Studien, p. 93; also see Bhayani, Bharatiya Vidya, 1945, p. 14, for its correct interpretation. 94: Our Suraalingana is the same as Sutaaligana of HPk. 6.20.103 and R. 132. 96: Perhaps read bhavane for bharane, in view of HPk. 6.20.104. R. 134 calls it merely Kankellilata. Our ms. often confuses ra and va. 97: The Pada of 12 Matras is made either with a Sanmatra, a Catur matra and a Dvimatra, or two Pancamatras and a Dvimatra, or a Caturmatra, a Pancamatra and a Trimatra, or three Caturmatras. 100.1 : 'In a battle the path of fighting is not abandoned ; who can turn back from it while he is alive? What is to be done with a mere post

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6.80-121] svayaMbhUcchandaH 225 at the threshing floor, which slaughters unskilful good warriors ?' The full meaning is not clear. 104: Our Kankanahastaka is the same as Kaminikankanahastaka of HPK 6.19.52 ; R. 144. 106: A Pada of 13 Matras is composed with a Pancamatra, a Sanmatra and a Dvimatra, or, two Pancamatras and a Trimatra, or, two Catur matras and a Pancamatra. 107: Our Varatilaka is the same as Mukhapalanatilaka of HPk. 6.19.53 and R. 147. 12: Our Arangaka (or Arangada) is the same as Ohullanaka or Varangadi of HPk. 6.20.111 and R. 152. 113: A Pada of 14 Matras is composed either with a Sanmatra, a Panca matra and a Trimatra, or two Pancamatras and a Caturmatra, or three Caturmatras and a Dvimatra. 116. A Pada of 15 Matras is composed either with a Sanmatra, a Panca matra and a Caturmatra, or, two Caturmatras, a Pancamatra and a Dvimatra, or three Pancamatras. 118: A Pada of 16 Matras is composed with either two Sanmatras and a Caturmatra, or four Caturmatras. 119: A Pada of 17 Matras is composed either with two Sanmatras and a Pancamatra, or three Caturmatras and a Panchamatra. 120: The stanza gives the total number of the Antarasama Catuspadis, namely, 110. Of these some are called Vastukas and the others Dhruvakas. See above vv. 59-60 and note. 121 : Before proceeding to define the Ardhasama Catuspadi, Svayambhu defines an Ardhasama Samkirna Catuspadi ; it has its 1st and 2nd as also 3rd and 4th Padas equal and similar. What is meant is possibly that a Samkirnaka Ardhasama may have the Padas in its halves of any length containing from 7 to 17 Matras without any restriction. But I am unable to understand why a Samkirna Ardhasama should be only of eight kinds. Perhaps, in view of v. 122, Svayambhu intends to define here an Ardhasama Samkirnaka Dhruvaka alone and not a Vastuka; so that the Padas of two halves may contain only from 10-17 Matras in them, thus they can be only of eight kinds. For a Dhruvaka see above v. 60. A Dhruvaka according to v. 60 must not have less than 10 Matras in any of its Padas and also not more than 17. Hemacandra's Samkirna Catuspadi, defined at HPk. 6.21 is quite

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226 svayaMbhUcchandaH [ BRIEF NOTES different, though it entirely agrees with the one defined at R. 164. In it a mixture of any four Padas containing from 7 to 17 Matras is permitted. It is not necessarily Ardhasama or Antarasama. 121.1: The stanza seems to be a popular Subhasita; it is quoted by Hemacandra at HPk. 6.21 (v. 118) and R. 164. But Hemacandra's readings in the 3rd and the 4th lines are different from those of Svayambhu, who considers it to be an Ardhasama Samkirnaka Dhruvaka as suggested above in my note on 121. Consequently Svayambhu's stanza contains 15 Matras in the first two lines and 13 in the last two; but the Padas in Hemacandra's stanza respectively contain 15, 14, 16 and 13 Matras, thus making it a real Samkirnaka containing the Laksanas of four different Padas of four different kinds of Catuspadi (or of three different kinds if the fourth Pada is supposed to contain 14 Matras, the final short being equal to a long one as in the 2nd and the 3rd Padas). According to Rajasekhara's readings the stanza contains 15, 14, 15 and 13 Matras in its four Padas respectively. Only here and in R. 163 Rajasekhara quotes a Prakrit stanza for an illustration. '(Though both of them are) whispering, harsh, piercing, devoid of merit (released from the bowstring) and killing, yet arrows do not have as much power over good men as the villains have.' This stanza gives the definition of Ardhasama Catuspadi. Its first and the second, as also the third and the fourth Padas are equal and similar, with the result that its halves are not equal and similar as in the case of an Antarasama. 122: 122.1: This is an illustration of an Ardhasama Catuspadi whose first half has two lines of 15 Matras each and the second half has two lines of 16 Matras each. Its name is the same as that of the Antarasama Catuspadi which has 15 in its odd and 16 in its even Padas, viz., Mukhapankti, for which see above v. 114. The same is quoted by Rajasekhara at R. 163 and Hemacandra at HPk. 6.20.116. In the second line we have to read naravai instead of navara. The stanza is from a poem on the topic of the Mahabharata war. 123-124: These two stanzas define the two Sarvasama Catuspadis having 10 and 11 Matras in each of their four Padas. They are Sasivadana (Sasankavadana of HPk. 6.24) and Manakrti (Marakrti of HPk. 6.25). See also R. 165-166.

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6.121-131 ) svayaMbhUcchandaH 227 124.1: 'Sankha is seen at a distance; (but) Hanuman is not seen. It is also seen how that matchless chariot-fighter is entering the battlearray.' This is evidently from a poem on the story of the Ramayana. 125-129: These five stanzas define the five Sarvasama Catuspadis which respectively contain 12, 13, 14, 15 and 16 Matras in each of their four Padas. In v. 129 Svayambhu defines three different metres of 16 Matras in their Padas : they are Padakulaka, Samkulaka and Paddhatika. In a Padakulaka the 16 Matras may be made up in any way; in Samkulaka we must have a Sanmatra, a Caturmatra and a Sanmatra, while in a Paddhatika, we should have four Caturmatras alone. For these three metres see R. 171-173 ; for others see R. 167-170. Also HPk. 6.26-30; Hemacandra mentions Padakulaka under the Sanskrit Matra Vittas at H. 3.70 and Samkulaka at HPk. 5.28 commentary, including it under Vadanaka. His words kecit here obviously refer to Rajasekhara and Svayambhu. 130: This stanza defines the Sarvasama Catuspadi called Upavadanaka whose Padas contain 17 Matras each. This is also defined earlier at Sb. 4.12 above. At HPk. 6.31 Hemacandra defines a metre called Rogada Dhruvaka which too has 17 Matras in its Padas; but they are made up by a Sanmatra, two Caturmatras and a Trimatra; or by three Caturmatras and a Pancamatra. This wholly agrees with R. 174. Svayambhu adopts the first of these alternatives for his Upavadana, but gives other two as a Caturmatra, a Trimatra, a Dvimatra, a Pancamatra and a Trimatra, or Three Pancamatras and a Dvimatra ; but he does not mention the name Ragada Dhruvaka for the metre. The Sarvasama Catuspadis defined here in this chapter are of the Dhruvaka type, i.e., containing from 10 to 17 Matras in their Padas; see above v. 60, and Introduction paras 15-16. 131 : So far Satpadis and Catuspadis are treated ; now the Dvipadis shall be defined hereafter. This stanza looks like an opening of a new chapter treating of the Dvipadis ; v. 173 too mentions only the Dvipadi and not also the Catuspadi. But a stanza marking the conclusion of a topic (and so a chapter) is not found before this one and therefore I have not started a new chapter here, though there are indications of this as shown above. It is quite possible that our ms. may have dropped it through oversight or through some other reasons, just as the palmleaf ms. drops it in ch. 8 of Sb. (See f.n. on p. 101).

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228 svayaMbhUcchandaH [BRIEF NOTES 132-172: Sama Dvipadis of different length, beginning with a Pada of 28 Matras are defined in these Stanzas. It is worth noting that the Dvipadis of the same length are distinguished from one another and get different names owing to the different Yati, which generally occurs twice in the longer lines. For all these see HPk. 7.4-57 and R. 176-223. For Ullalas which only Hemacandra (and following him, the author of the Kavidarpana) defines at HPk. 7.2-3, see Kavidarpana Introduction paras 7-8 and note on Kd. 2.2-3 (p. 130-131). 142: The line contains 2 Matras less than are needed and does not also contain the name of the metre as in the other cases. Perhaps we should read pavirama siha for paviramia. 146: The latter part of the line is not clear; it corresponds to HPk. 7.21 and R. 190. It should mean that if instead of 8 Caturmatras the Padas of Skandhakasama, Mauktikadama, and Navakadalipatra are made with a Sanmatra, 6 Caturmatras and a Dvimatra, they should be known by the feminine forms of their names. VII. SESA-DVIPADYAH Please note that the correct title of the chapter is Sesa-Dvipadyah and not Sesa-Catuspadyah. 1: (A Dvipadi i.e. any one of those defined in 6.132-172 above) is composed (and employed) as a Dhruvaka for the purposes of making a request, (a summary of) a topic in hand, an auspicious benediction and a review of the past episodes.' In all other cases, all the Dvipadis are called as such.' A Sanskrit version of this direction in an Anustubh sloka is given by Hemacandra at HPk. 7.57 com., and in an Arya stanza by Rajasekhara at R. 225. The latter is clearly a close translation of Svayambhu's stanza. The meaning of these directions seems to be that the longer Dvipadis having from 27 to 42 Matras in their Padas are to be given the name Dhruva, when they are employed for the purposes mentioned in the stanza, while the shorter ones should be called merely by the name Dvipadi. See above on Sb. 6.59-60. 2: These same Dvipadis are also found to contain) from 4 to 30 (Matras), are possessed of two Padas and contain a rhyme extending over one or more letters at the end of the Padas).' R. 226 is again a close translation in Sanskrit of our stanza, while HPk. 7.72 is a Sanskrit version of it introduced by the words yadaha, showing that it is a quotation from some author.

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6.132-8.21 svayaMbhUcchandaH 229 3-12 : These stanzas contain the definitions and names of only ten Dvi Padis which have from 4 to 10 Matras in each of their two Padas. Of these ten, those that have 7 Matras are two, those that have 8 are three ; all the others are of one kind each. In v. 9, Hemacandra at HPk. 7.64 reads karimakarabhuja in place of our kira maarabhua; but R. 233 follows Svayambhu and calls the metre by the name Makarabhuja. To these ten Hemacandra at HPk. 7.63-72 adds six more; 2 of eight Matras called Vasudvipadi and Candralekha, and 1 of nine Matras called Lavali; 2 of ten Matras called Amarapurasundari and Kancanalekha and 1 more of 12 Matras called Puspamala. On the other hand, Svayambhu's Mangalavati (v. 8) is called Madanavilasita and his Lalataka (v. 12) is called Caru by Hemacandra. Rajasekhara mentions all the three kinds of a Dvipadi of 8 Matras like Hemacandra, as also the two kinds of that of the 9 Matras; but he does not mention any one which contains either 10 or 12 Matras in its Padas. He defines all the others defined by Svayambhu, except the Malayavikasita (v. 10) of eight Matras which is neglected by both Hemacandra and Rajasekhara. VIII. UTTHAKADAYAH This chapter defines few more Apabhramsa metres; they are Utthakka, Madanavatara, Dhruvaka, seven kinds of Chaddanika, three kinds of Ghatta, Paddhatika and Rasa. The wording of stanza 1 is not very clear, yet the composition of the line is pretty clear. Each Pada has three Pancamatras followed by a Dvimatra, and all the Padas have a common rhyme. See HPk. 5.31: the metre is not defined by any other prosodist so far as I know. It is a Sama Catuspadi. 1.1: The first two lines of the stanza refer to Dussasana, son of Dhrtarastra ; but the meaning is not clear. 2: 'There are four Pancamatras in the Madanavatara.' This metre is defined by Hemacandra at HPk. 4.75 as the last one among the Knanjakas ; it is difficult to see why Svayambhu has separated it from them and mentioned it separaely here. Hemacandra gives at the same place the five derivatives of this metre, obtained by adding in succession 1 to 5 Pancamatras to each Pada. Like the Utthakka the Madanavatara too is a Sama Catuspadi; it is called by another name, viz., Kaminimohana, when all the Pancamatras are of the Madhyalaghu type (i.e., Raganas), at Ck. 10. On the other hand, Nanditadhya, whose definition is similar to that of Svayambhu, calls it at N. 76,

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230 svayaMbhUcchandaH Candranana. Virahanka does not mention it, though Nanditadhya seems to have quoted him, as is apparent from the wording of v. 76 and v. 77 which is identical with Vjs. 1.17. See also Kd. 2.22. 2.1: The stanza is from Svayambhu's Paumacariu; see P. C. 24.2.1-2; Intro. p. 128. 3: 3.1: 4: [ BRIEF NOTES 6.1: 7.1: 'In a Dhruvaka, both are Caturmatra Ganas with a single Matra added (at the end of the Pada).' Each of its four Padas has thus 9 Matras. This Metre is defined by Hemacandra at the beginning of the Sarvasama Catuspadis at HPk. 6.23. Svayambhu could not define it before Sasivadana at 6.123 above, because there he was defining only the Dhruvaka Catuspadis and ours is a Vastuka Catuspadi; see on 6.130 above. 8.1: "The cub of a lion has stood in the midst of the elephants after straying away in the forest.' The stanza occurs at Svyambhu's Paumacariu 33.3.9 with the readings varantaho for varanaho and risisihakisora va for sihakisora thiu. 5-11 The seven kinds of a Chaddanika are defined in these stanzas each being followed by an illustration. Among these seven, the 1st, 2nd, 3rd, 4th and 6th are Ardhasama Catuspadis, having in their odd and even Padas 14 and 12, 10 and 13, 16 and 9, 12 and 9, and 8 and 10 Matras respectively. The 5th is a Visama Catuspadi, whose first three Padas have 2 Sanmatras each, while the fourth has one more Matra in it. The 7th or the last of the Chaddanikas is a Satpadi whose halves contain 3 lines of 10, 8 and 13 Matras each. Sometimes, however, the first line in each half contains 12 instead of 10 Matras in it. The stanza enumerates the different kinds of metres which may appear at the beginning of a Sandhi as said in v. 20 below. These are Chaddanika of seven kinds, Ghatta of three kinds, and Paddhatika as also Giti of various kinds. 5.1: This is from a poem on the Mahabharata story. 'Having fought for 17 days, the lord of the Kurus stood concealed in the great lake, remaining quiet after stopping the (action of the) water.'. The meaning is not clear. 'Even though you do not take pity (on suffering creatures), still oh fool, do not forget the great Jina in your mind even for a moment.' The first line is not clear. 'Many non-believers have fallen at your feet; (now) you yourself protect me, your own servant, as best as you can.'

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231 8.2-15 ] svayaMbhUcchandaH 9.1 : This is from Svayambhu's own Paumacariu 3.1. See P.C. Intro. p. 128. 10.1: This seems like a proverb the meaning of which is not clear. 11.1: This is the same as Svayambhu's Paumacariu 31.1.1. 112: 'He made the formidable kings submissive after overthrowing all enemies and adorning the world with his fame.' The second half is not clear. 11.3: "A person born with merit and possessed of virtues possesses the white umbrella of the three worlds (i.e., rules over them), which is inherited by him, being seated on the throne.' 12-14: These stanzas define the three Ghattas, of which the first is an Ardhasama Catuspadi containing 9 and 14 Matras in its odd and even Padas; the second is a Saravasama Catuspadi whose Padas have 12 Matras each ; while the third too is a Sarvasama Catuspadi whose Padas have four Caturmatras each, all of which are Adigurus. 12.1: 'Having devoured Khara and Dusana, the goddess of War was not satisfied ; it seemed as if at the time of his destruction, she ran at and attacked Ravana.' The stanza is the same as Svayambhu's Paumacariu 41.1, with a different reading in the 2nd line. See P. C. Intro. p. 128. 13.1: "Then Gautama Svamin said : Oh Srenika, hear (from me) the origin of the Raksasa and Vanara Families which have received praise in the three worlds. The stanza is the same as Svayambhu's Paumacariu 5.1. See P.C. Intro. p. 128. 14.1: 'Having assumed the form of a dwarf, Madhava came as an ascetic reciting the Vedas; after taking three steps that demon of dark complexion called Bali was imprisoned by him.' 15 : This stanza defines a Paddhatika : 'Those again who compose a Paddhatika put 16 Matras in each Pada; they make a rhymed couplet with two Padas each and produce a Kadavaka with eight such couplets.' The directions in the second half of the stanza are very important as they show the practice of the Apabhramsa poets according to which a Kadavaka is made of eight couplets, though in theory it consists of four stanzas in the Paddhatika metre as HPk. 6.30, Kd. 2.37 prescribe. The result of this practice is that a Kadavaka came to be regarded as made up of couplets rather than of stanzas of four lines as the theory requires. So that sometimes a Kadavaka may contain a couplet or two more than the required number, viz., eight. In

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232 svayaMbhUcchandaH [ BRIEF NOTES short the unit of a Kadavaka is a couplet and not a quartet. See Kd. Introd. para 14 (p. XX). 16: "They call it a Ghatta, on the one hand, at the beginning (of a Sandhi), and describe it as a Chaddanika when it has a rhyme at the end. You too should compose your Sandhi in various ways with Kadavakas arranged in proper manner. The meaning of the word Jamaavasana is not very clear; but see v. 20 below. The Commentator of Kd. 2.30.6 mentions the end of a Kadavaka and this seems to be correct. See also HPk. 6.3 com. According to this last a Satpadi or a Catuspadi is called a Chaddanika when it stands at the end of a Kadavaka briefly summarizing what has been said so far. Hemacandra, however, defines a Dvipadi of 31 Matras in each of its two Padas having a double Yati after the 10th and the 18th Matras at HPk. 7.17 and gives it the specific name Chaddanika. 17-18: 'Call all these (metres) Chaddanikas or Ghattas of various kinds when they are composed at the beginning or at the end of a Sandhi. ere are other Ghattas, Chaddanikas and Vidarikas of various kinds They are composed by the people on hearing them ; who can know these as well as the many different kinds of Dhavalas which were composed by Salahana ? 19: 'Thus are all these composed in this way; all of them are fashion able (nagarika). They are well known among the people and employed by learned men.' The popularity of the Chaddanikas, Ghattas and Vidaris used in the composition of Apabhramsa poetry is quite evident from these stanzas. The Dhavalas of Salahana are specially mentioned here; but unfortunately none of them are available at present. For the Dhavalas see above Sb. 4.16-19. The Vidari which is mentioned in v. 17 seems to be a general term like the words Dhavala, Ghatta, Chaddanika and Mangala etc., and is alluded to by Virahanka, at Vjs. 2.5 and also by Janasrayi at 6.65. It is defined by the latter at Jns. 6.66 as a Matra Vrtta of four Padas, each having 14 Matras, the last two covered by a long letter, generally also the 5th and the 6th, while the 11th and the 12th are represented by short letters. See also v. 28 below. 20: "At the beginning of a Sandhi (are employed) a Ghatta, a Dvipadi, a Gatha, an Adilla, a Matra, or a Paddhatika, while the Chaddanika is (found) at the end of it.'

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816-23] svayaMbhUcchandaH 233 20.1: This illustrates a Ghatta which is really an Ardhasama Catuspadi with 14 and 12 Matras in its odd and even Padas. Svayambhu has called it Chaddanika at Sb. 8.5 above. 'Having offered water with red lotuses to the five jinas, destroy your (cycle of) birth and death all at once, by striking at the eightfold (Karman).' 20.2: This is a Dvipadi with four Padas each containing 28 Matras, standing at the commencement of a Sandhi in some poem. The last two lines are in Sanskrit. Svayambhu's definition of Dvipadi is lost on the missing folios 9 and 10 of the palm manuscript of the Purvabhaga. See p. 110 below. 20.3: This is a Gatha, also quoted from some poem where it stands at the commencement of a Sandhi. "We have pushed ourselves at the lotus-like feet of yours, oh Jina; when we are tortured by misfortunes ; now you should do what you think fit.' 20.4: 'Oh pious man, a black bee is pleased whether it is an Arka or a Bilva, a Palasa or an Atarusa plant (which gives it its honey); so, that god who may give me highest delight, may he be either the Buddha, or Aditya, Brahman, or Hari or even Sankara.' (I do not care for the name with which this god is called as long as He removes my miseries.) The metre is Adilla for which see above Sb. 4.12. The two halves have two different rhymes. 20.5: This is a Matra, probably also quoted from some work where it is used as Ghatta at the beginning of a Sandhi. 'Be victorious, oh best Jina, you who are spotless, honoured by gods, free from fear, devoid of (the feelings of) Love, Anger, Pride and Infatuation, Chastiser of the god of love, and free from the bonds of transmigration. All objects of enjoyment are centred in you, oh God.' This is a regular type of Matra having 16 Matras in its odd Padas and 12 Matras in the even ones. See Sb. 4.8 above. 20.6-9: These stanzas illustrate a Paddhatika as well as a Kadavaka, which is made of four Paddhatikas. See above v. 15. The Kadavaka is in praise of the greatness of Jina's name. In v. 8c read khaahi for khahi for correcting the metre and in 9b, the letter va before the conjunct lla has no Gurutva. 20.10: This is a Chaddanika which is defined above in v. 11. This too is in praise of Jina's name. 21-23 : These stanzas define what is called a Tala, which is defined by Svayambhu as a poem which is sung to the accompaniment of vocal

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234 svayaMbhUcchandaH [BRIEF Notes and instrumental music and also acting. A single stanza thus sung is called merely a Tala. A pair of them is called a Yugala, a group of three a Tritala, that of four a Cakkalaka, that of five a Pancatala, that of seven a Saptatala, while groups of six, eight etc., are called Kulakas. The word rupa in the stanza (as in SbP. 6.2) means an individual metre or stanza. 24: 'A Rasa composition made up of Ghattas, Chaddanikas, Paddhatikas or (other) well-worded individual metres in Poetry becomes extremely pleasing to the minds of the people.' See also v. 26 below, according to which all Matra Vittas or for that matter even the Varna Vsttas, may be used for the composition of a Rasa. It is not very clear whether the Tala and the Rasa Kavyas are two different varieties or are one and the same. I am inclined to believe that they are identical and that the Rasas may be either Yugala, Tritala, Pancatala, or Saptatala etc. This kind of a lyric composed in Prakrit or Apabhramsa language is also defined by Virahanka at Vjs. 4.37-38. The wording of the latter stanza, i.e., 38, is very similar to that of ours. 25 : The term Rasa used of a group of stanzas in different metres reminds Svayambhu of an individual metre called Rasa which has 21 Matras in each of its four Padas. The Yati in each Pada is after the 14th Matra and the last three Matras are represented by three short letters. It is possible to maintain that the name Rasa was transferred from the group to the individuals comprising the group as in the case of the name Dvipadi; see my remarks in para 5 in the introduction to Vittajatisamuccaya (new edition in Rajasthan series), p. vi. This was perhaps the most popular metre employed for lyric poetry in the Apabhramsa language, though every metre which is used for the composition of a Rasa Kavya is called Rasaka according to HPk. 5.3 com., where, by the bye, Svayambhu's stanza (v. 26 below) is actually quoted without mentioning his name. Hemacandra gives several such Rasakas at HPk. 5.3-15. This Rasaka of 21 Matras is called Abhanaka by Ratnasekhara at Ck. 17. Rasaka of Kd. 2.23 is similar but has 23 Matras in each Pada. 25.1: This is in praise of Jina ; lines 3 and 4 are corrupt. 25.2: This is an important stanza in which the words mori and ava hamsa appear to be used punningly. Really the two, i.e. pea-hen and swan, do not play together; for the one rejoices at the appearance of the clouds, while the other shuns it.

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8.23-32] svayaMbhUcchandaH 235 The Stanza is perhaps Svayambhu's own composition, and refers to one of his Apabhramsa poems. 36: All the Jatis (kinds of metres) are employed here in view of their structure. The composition of a Rasa is indeed an elixir among assemblies of men. The stanza is bodily quoted by Hemacandra at HPK. 5.3 com. and by the commentator of the Kavidarpana on Kd. 2.23. See above on v. 24. 27: Another Rasa, an individual metre of the Ardhasama Catuspadi type so called, is here defined by Svayambhu; its odd and even Padas contain respectively 7 and 13 Matras. See Kd. 2.14 and HPk. 5.16 ; the same metre is defined under the name of Ravanamastaka at HP/: 6.19.9 and R. 47 and also by Svayambhu at Sb. 6.13 above. One more individual Rasa with 16 Matras in each of its four Padas is defined by Virahanka at Vjs. 4.85. ; 28: Here again we have some directions about the relationship bet ween a Kadavaka, a Vidari and Tala; but unfortunately I have no clear idea as to what exactly is meant. 29: "Those Jatis which are employed in praising the deities in the Apabhraisa language are also called Phulladakas'. See HPk. 5.41. 30: "These same are described as Mangalas when they are composed for the auspicious occasion of marriage etc. Wise men honour them owing to their many different structures on all (auspicious) occasions.' See above Sb. 4.20-21 where an individual metre having the name Mangala is defined and the directions given in the present stanza are also stated, along with those about the Dhavalas. Here they seem to have been repeated for the specific purpose which is given in the next stanza (v. 31). See HPk. 5.39-40. 31: 'There may not exist in them purity in the matter of a Yamaka, or of the metrical form, or of its usual characteristics ; and yet they are appreciated by clever men.' See Intro. para 20, f. n. 24. 32: This stanza does not occur in the palm leaf ms.; it is found only in the Baroda paper ms. The palm leaf ms., however, often contains this stanza which is used by the author to mark the end of a topic ; see SbPb. 2.5; 3.13 and 5.7. I have marked the chapters both in the Sh. and SbPb. on the basis of this stanza and numbered them accordingly. The colophon at the end of the work is found only in the palm leaf ms. It calls the work by the name Sambhu (a corrupt form of of the name Saambhu) and describes the author as Kairaa (Kaviraja).

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APPENDIXI Concordance of Svayambhuchandas and Chandahsekhara Ch. V.. I have published Rajasekhara's Chandahsekhara Ch. V on pp. 129 ff. On a closer examination of this chapter of the work-which alone is available at present -one can easily see how Rajasekhara has often given a mere Sanskrit version of the corresponding Prakrit starizas in Svayambhuchandas. I give below a concordance of the two works. R = Chandansekhara Ch. V., Sb. = Svayambhuchandas, Ch. 1-8; SbP. Svayambhuchandas-Purvabhaga Ch. 1-6 (pp. 103-127). R. Sbp. . R. Sb. 4.1-2 4.4 8-11 12-15 16-19 20-21 22-25 26 27-28 29 30-32 Sb. 4.1 4.4-7 4.8-11 4.12-13 4.14-15 4.16-19 4.20 4.21 5.1 5-3-7 6.1 6.22 6-2-22 58-77 78-95 96-111 112-124 125-136 137-145 146-152 153-158 159-161 162 163 164 165-173 176-223 225-226 227-231 233-235 6.23-41 6-42-58 6.59-73 6.74-86 6.87-97 6.98-106 6-107-113 6.114-116 6.117-119 6-120-122 6.122.1 6.121.1 6.123-129 6.132-172 7.1-2 7-3-7 7-9-11 35. . 36 37-57

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APPENDIX II Concordance (Svayambhuchandas) I had published the Svayambhuchandas partly in the Journal BBRAS, Bombay 1935 (Chs. I-III) and partly in the Journal of the University of Bombay, Sept. 1936 (Chs. IV-VIII). The system of numbering the stanzas which was adopted by me there is different from the one employed here. So to avoid confusion in reference I give below a concordance of the two editions. 1st ed. 2nd ed. 1st ed. 2nd ed. Ch. I 30-30-1 31-31.1 32-32-1 33-33.1 34-34.1 35-35-1 36-36-1 1-2 3-4 5-6-7 8-9-10 11-12 13-14 15-16 17-18 19-20 21-22 23-24 25-26 27-28 29-30 31-32 33-34 35-36 37-38 39-40 41-42 43-44 45-46 47-48-49 50-51 52-53 54-55 56-57 58-59 60-61 37-37.1 38-38.1 61 (2nd)-62 = 63-64 65-66 67-68 69-70 71-72 73-74 75-76 77-78 79-80 81-82 83-84 85-86 87-88 89-90 91-92 93-94 1-1.1 2-2.1 3-3-1-3-2 4-4 1-4.2 5-5-1 6-6-1 7-7.1 8-8.1 9-9.1 10-10.1 11-11.1 12-12-1 13-13-1 14-14.1 15-15-1 16-16-1 17-17.1 18-18-1 19-19-1 20-20-1 21-21.1 22-22-1 23-23-1-23-2 24-24.1 25-25-1 26-26-1 27-27.1 28-28.1 29-29.1 39-39.1 40-40.1 41-41.1 42-421 43-43.1 44-44.1 45-45-1 -46-46-1 95 47 96-97 98-99 100-101 102-103 104-105 106-107 108-109 110-111 112-113 114-115 116-117-118 119-120 47.1-47-2 48-48.1 49-49.1 50-50-1 51-51.1 52-52-1 53-53.1 54-54.1 : 55-55-1 56-56.1 57-57-1-57-2 58-58.1 ..

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238 1st ed. 121-122 123-124 125-126 127-128 129-130 131-132 133-134 135 136-139 140-144 144 a-b 145 146-153 154-155 156-157 158-159 160-161 162-163 164-165 166-167 168-169 170-171 172-173 174-175 176-177 178 1-2 3-4 5-6 7-8 9-10 11-12 13-14 15-16 17-18 19-20 21-22 = Ch. II 2nd ed. 59-59.1 60-60-1 61-61-1 62-62-1 63-63-1 64-64.1 65-65-1 66 66.1-4 67-71 71 a-b 72 72.1-8 73-74 74.1-2 75-75.1 76-76-1 77-77.1 78-78.1 79-79.1 80-80-1 81-81.1 82-82.1 83-83 1 84-84-1 85 1-1-1 2-2.1 3-3.1 4-4.1 5-5.1 6-6.1 7-7.1 8-8.1 9-9.1 10-10-1 11-11-1 svayambhUcchandaH 1st ed. 23-24 25 26-29 30 1-2 3-4 5-6 7-8 9-10 11 12-13 14-15 16 17-20 21-22 23-24-25 26 27-28 29 30-32 32 (2nd.) 1-2 3-4 5-6 7 8-9 10-11 12-13 14-15 16 17-21 22 23-24 25 = = 2nd ed. 12-12-1 13 13.1-4 14 Ch. III 1-1.1 2-2.1 3-3-1 4-4.1 5-5.1 6 6.1-2. 7-7.1 8 8.1-4 9-9.1 10-11-11-1 12 12.1-2 13 13.1-3 14 Ch. IV 1-2 3-3.1 3-4.1 5 5.1-2 6-6-1 7-7*1 8-8.1 8 9.1-5 10 10.1-2 11

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1st ed. 26-28 29 30-32 33--42 1-3 4-5 6-7 8-9 10-11 1-9 10-11 12-13 14-15 16 17-18 19 20-21 22. 23-24 25 26-27 28-34 35-36 37 38-39. 40 41-42 43 44-45 46 47-48 49 50-51 52-53 2nd ed. 11.1-3 12 12.1-3 13-22 Ch. V 1-3 3-4.1 5-5.1 6-6.1 7-8 Ch. VI 1-9 10-10-1 11-12 13-13-1 14 15-15-1 16 17-17-1 18 19-19.1 20 21-21.1 22-28 29-29.1 30 31-31.1 32 33-33.1 34 35-35.1 36 37-37-1 38 39-39-1 40-41 svayambhUcchandaH 1st ed. 54-55 56 57-58 59-63 64-65 66 67-68 69 70-71 72 73-74 75-78 79-80 81 82-83 84 85-86 87-88 89-90 91-96 -97-98 99-100 101-102 103-110 111-112 113-114 115 116-117 118-126 127-128 129-139 140-148 149-150 151-152 153 154-155 156-160 161-170 171-180 2nd ed. 42-42.1 43 .44-44-1 45-49 50-50.1 51 52-52-1 53 54-54.1 55 56-56.1 57-60 61-61.1 62 63-63-1 64 65-65-1 66-67 68-68.1 69-74 75-75.1 76-77 78-78-1 79-86 87-87.1 88-88.1 89 90-90-1 91-99 100-100-1 101-111 112-120 121-121.1 122-122-1 123 124-124.1 125-129 130-139 140-149 239

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240 PROFESORA 1st ed. 2nd ed. 1st ed. 2nd ed. = 181-190 191-200 201-204 150-159 160-169 170-173 12-13 14-15 16-17 18-19 . Ch. VII 20 1-13 . 1-13 7-7.1 8-8.1 9-9.1 10-10.1 11 11.1-3 12-12-1 13-13-1 14-14.1 15-20 20.1-10 21-24 Ch. VIII 1-2 3-4 5-6 21-23 24-25 26-27 28-29 30-35 36-45 46-49 50 51-52 53 1-1.1 2-2.1 3-3.1 25 8-9 10-11 .5-5.1 66-1 25-1-2 32

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APPENDIX III Svayambhucchandas and other works (A concordance) This concordance is not meant to be exhaustive; only a few cases of reproduction or striking similarity are put down here as they were casually noticed. For most of these I am indebted to Dr. Bhayani. The following abbreviations are used: kavi= kavidapeNa. Published in the Rajasthan Granthamala, 1962. gAthA=gAthAsaptazatI. N. S. P. edition (Kavyamala 21), 1933. chando= chandonuzAsana of hemacaMdra Published in the Singhi Jain Series, 1961. nandi = nanditADhya's: gAthAlakSaNa. Published as Appendix I in kavidarpaNa. See above. pauma=paumacariu of svayambhU. Published in the Singhi Jain Series, 1953, 1961. paJcapaJcarAtra of bhAsa in bhAsanATakacakram. Published by Oriental Book Agency, Poona 1937. para =paramAtmaprakAza of yogIndu. Published in the Raichandra Jain Shastramala ___Bombay, 1937. bhAmaha =bhAmaha's kAvyAlaMkAra, Published as an Appendix in Bombay Sanskrit Series ___Bombay 1909 : Also in the Kashi S. Series, 1928. ratnA% ratnAvalI nATikA of zrIharSa. N. S. P. edition, 1913. riha = riTThaNemicarau of svayambhU. Unpublished. vajA= vajAlagga. Published in Bibliotheca Indica, 1923. sadukti =saduktikarNAmRta. Published in Bibliotheca Indica, 1912. of mayUra. Published in Kavyamala, Bombay, 1889. setu = setubandha of pravarasena. Published in Kavyamala, Bombay, 1895. siddha = siddhahema (prAkRtAdhyAya). Published by B.O. R.I., Poona, 1958. sarasvatI = sarasvatIkaNThAbharaNa, Published in Kavyamala, 1934. 1.1.3 1.1.4 1.1.5 svayambhUcchandaH pUrvabhAgaH gAthA 1.70 vajjA 643 1.4.2 = nandi 27 = chando 1.10.1 1.5.1 = gAthA 2.97: vajA 476 gAthA 1.75; chando 1.10.2 1.5.2 = vajA 431 = chando 1.7.6: para 2.117: 3.3.1 ratnA 1.13-14 : zabdA 8.2.80 ratnA 1.13-15 = setu 3.9 . 5.1.1 = kavi 2.20.8; chando 3.70.5 = nandi 26 6.3.2(b) = chando 2.14.1 = nandi 29: pauma 49.48 6.3.3 = chando 2.13.1 = nandi 28 6.3.5 = chando 2.17.1 1.3.1 1.3.2 1.3.3 1.4.1

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242 svayambhUcchandaH svayambhUcchandaH uttarabhAgaH 5.2 = chando 1.6.3 5.4.1 = parama 3.3.11 5.6.1 = pauma 14.7.9 6.19.1 = pauma 72.1.1-2 6.31.1 = chando 6.19.40; vajA 644 6.33.1 = pauma 65 (opening) 6.54.1 % pauma 72 (opening) 6.56.1 = parama 77.13.13 6.90.1 = sarasvatI 2.380 6.121.1 = chando 6.22.2, riDa 54.11 1.2.1 = bhAmaha 3.43 1.3.1 = sadukti 3.41 1.25.1 = chando 2.269.1 1.38.1 = chando 2.309.1 1.66.3 = chando 2.386.2 1.71.1 = ratnA 1.5 1.71.2 = sUrya 1.72.3 = chando 2.388.2 1.74.1 = pauma 72.15.5-6 1.74.2 = pauma 73.3.5-8 1.79.1 = chando 2.397.1 . 1.82.1 = chando 2.400.1 2.9.1 . = paJca 1.17 4.2.1 = riTa 67:11 ghattA 4.5.2 = nandi 83; vajA 75 4.7.1 = riTa 64.11 ghattA 4.9.1 = chando 5.18.1 4.9.4 = vajA 677 4.10.2 = siddha 8.4.422 (6) vajA 699 4.16 = chando 5.32.1 ghattA 6.122.1 = chando 6.21.2 7.1 = chando 7.57.2 7.2 = chando 7.72.2 pauma 24.2.1-2 8.3.1 = pauma 33.3.9 8.9.1 = pauma 3.2 (opening). 8.11.1 = pauma 31.1 (opening) 8.12.1 = pauma 41.1 (opening) 8.13.1 = pauma 5.1 (opening) 8.26 . = chando 5.3.2

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CORRECTIONS AND IMPROVEMENTS P. 1 v.1 P.2 v. 2. 1 P. 12 v. 27 v. 32. 1a 15 v. 35 P. 19 v. 45 21 v. 48 P. 22 v. 51 P. 29 v. 66. 3 b P. 31 v. 68 , v. 72 P.32 v. 72.4 b P.33 v.72.5d P. 35_v. 73 , v. 74 READ . FOR sukairaaNaM sukaI(i)raaNaM 'huvaMti huaMti [This is a free Prakrit rendering of Bhamahalankara, 3.43] caMso ceso kesAmeDo kesAmoDo (cf. kesAmelaM P. 29 v. 66-2) visamaja(ca)gaNA visamajagaNA NiddiThA NidviThA muhala]tipagaNA muhatipagaNA rasayugAt rasayutau saala]bhuaNaala saamuaNaala hoi hoI caMDavuDDI parekkekavaDDIa caMDavuTThI parekkekavaDhI ta(da)lia(dalita) phulia(puSpita) dahuse(me)aM dahameaM caMDavuDDi...aha caMDabuTTi-aSTa NiddiDao Nidio cikkhilla cikkhila kaiavaghaDi[a]eNaM kaiavaghaDieNaM hariNaplutam hariNapadam [Correct index accordingly.] daei daaii gamaNi]gaamaNa gama(Na)gaamaNa samarpitacittaM samarpitacitraM sokkhA(kkho) sovakho jANaM (aM) jANaM duvakhu duHkhu maha(=matiH ) sai(=sadA) Nahava(ra)iM Nahava(ra)vaI aSTakale aSTadale vyutsRSTA vyucchiSTA paramappa(ppA) paramappa[ya] ciMdha ciMdhahaI saNNaddhaI saNNaddhai(iM) , v. 74.2 b P.37 v.77.1b P.41 v.4d P. 43 v.9.1d P. 45 v. 13.3d P.47 v. 5.1a , v. 6. 2a P. 48 v. 8. 1d 57 v. 11. 3 a ,, v. 11. 3b v. 6. 1 b 70 v. 41 _v. 42.1 d P. 72 v. 50.1d P. 78 v. 87.1b " , 1d

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244 svayaMbhUcchandaH READ FOR P. 82 v. 113a P. 83 v. 117d P. 86 v. 142 P.88 v. 167 P. 90 Heading P. 92 v. 2.1 a P.96 v. 15 f. n. , v. 17 P.97 v. 200 P. 100v.24 b P. 103 Heading iha(a) biMbaaMmi [zazibimbake pavirAmi(mA)A(si)[hA] [pravirAmA zikhA] . jaM khu(khu) zeSadvipadyaH paha(hu)paMgaNe raaaMti [sandherAdhantayoH] [mAtrA paddhatikayA saha] [suvarNarUpakaiH] skandhakajAtiH ia biMbiammi [zazibimbite pavirAmiA [pavirAmikA jaM khu zeSacatuSpadyaH paha[hupaMgaNe rasaaMti [sandherAdau [mAtrAH paddhatikAH (suvarNarUpAbhiH) gAthAdividhiH

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rAjasthAna sarakAra rAjasthAna prAcyavidyA pratiSThAna (Rajasthan Oriental Research Institute) jodhapura sUcI- patra rAjasthAna prabhAtana granmamAlA pradhAna sampAdaka - padmazrI jinavijaya muni, purAtattvAcArya apraila, 1963 I0

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rAjasthAna purAtana grantha-mAlA pradhAna sampAdaka-padmazrI muni jinavijaya, purAtattvAcArya prakAzita grantha 1. saMskRta 1. pramANamaMjarI, tArkikacUr3AmaNi sarvadevAcAryakRta, sampAdaka - mImAMsAnyAyakesarI ____paM0 paTTAbhirAmazAstrI, vidyAsAgara / mUlya-6.00 2. yantrarAjaracanA, mahArAjA savAIjayasiMha-kArita / sampAdaka -sva. paM0 kedAranAtha __ jyotirvida, jypur| mUlya-1.75 3. maharSikulavaibhavam, sva0 paM0 madhusUdana ojhApraNIta, bhAga 1, sampAdaka-ma0 ma0 paM0 giridharazarmA cturvedii| mUlya-10.75 4. mahaSikulavaibhavam, sva0 paM0 madhusudana projhA praNita, bhAga 2, mUlamAtram sampAdaka-paM0 zrI pradyumna ojhaa| mUlya-4.00 5. tarkasaMgraha, annaMbhaTTakRta, sampAdaka-DaoN. jitendra jeTalI, ema.e., pI-eca. DI., mUlya-3.00 6. kArakasaMbaMdhodyota, paM0 rabhasanandIkRta, sampAdaka-DaoN0 hariprasAda zAstrI, ema. e., pI-eca. ddii.| mUlya-1.75 7. vRttidIpikA, monikRSNabhaTTakRta, sampAdaka-sva.paM. puruSottamazarmA caturvedI, sAhityAcArya / mUlya-2.00 8. zabdaratnapradIpa, ajJAtakartRka, sampAda-DaoN. hariprasAda zAstrI, ema. e., pii-ec.ddii.| ... mUlya-2.00 hai. kRSNagIti, kavi somanAthaviracita, sampAdikA-DaoN. priyabAlA zAha, ema. e., pI-eca. DI., DI. liT / mUlya-1.75 10. nRttasaMgraha, ajJAtakartRka, sampAdikA-DaoN. priyabAlA zAha, ema. e., pI-eca. DI., DI. liT / mUlya-1.75 11. zRGgArahArAvalI, zrIharSakaviracita, sampAdikA-DaoN. priyabAlA zAha, ema. e., pI-eca.DI., DI.liT / mUlya-2.75 12. rAjavinoda mahAkAvya, mahAkavi udayarAjapraNIta, sampAdaka-paM0 zrIgopAlanArAyaNa bahurA, ema. e., upasaJcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura / mUlya-2.25 13. cakrapANivijaya mahAkAvya, bhaTTalakSmIdharaviracita, sampAdaka-kezavarAma kAzIrAma zAstrI mUlya-3.50 14. nRtyaratnakoza (prathama bhAga), mahArANA kumbhakarNakRta, sampAdaka-pro. rasikalAla choTA lAla pArikha tathA DaoN. priyabAlA zAha, ema. e., pI-eca. DI., DI. liT / mUlya-3.75 15. uktiratnAkara, sAdhasundaragariNaviracita, sampAdaka-padmazrI muni zrIjinavijayajI, purA tattvAcArya, sammAnya saMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura / mUlya-4.75 16. durgApuSpAJjali, ma0ma0 paM0 durgApramAdadvivedikRta, sampAdaka-paM0 zrIgaGgAdhara dvivedI, sAhityAcArya / mUlya-4.21 karNakutahala, mahAkavi bholAnAthaviracita, sampAdaka-paM0 zrIgopAlanArAyaNa baharA, ema. e., upa-saMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapUra / inhIM kavivara kI apara kRti zrIkRSNalIlAmRtasahita / mUlya-1.50 18. IzvaravilAsamahAkAvyam, kavikalAnidhi zrIkRSNabhaTTa viracita, sampAdaka-bhaTTa zrImathurAnAthazAstrI, sAhityAcArya, jayapura / mUlya-11.50 19. rasadIpikA, kavividyArAmaprIta. sampAdaka-40 zrIgopAlanArAyaNa baiharA, ema.e. upasaMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura / mUlya-2.00 . pacamakatAvalI, kavikalAnidhi zrIkRSNabhaTTaviracita, sampAdaka-bhaTTa zrImathAnAtha zAstrI, saahityaacaary| mUlya-4.00

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22. !, mUlya-6.21 21. kAvyaprakAzasaMketa, bhAga 1 bhaTTasomezvarakRta, sampAdaka-zrIrasikalAla cho0 pArIkha, mUlya-12.00 bhAga 2 mUlya-8.25 23. vasturatnakoSa, ajJAtakartRka, sampA0-DaoN0 priyabAlA zAha / mUlya-4-00 24. dazakaNThavadham, paM0 durgAprasAda dvivedikRta, sampAdaka-4. zrIgaGgAdhara dvivedii| mUlya-4.00 25. zrI bhuvanezvarImahAstotram, sabhASya, pRthvIdharAcAryaviracita, kavi padmanAbhakRta, bhASya sahita pUjApaJcAGgAdisaMbalita / sampAdaka-paM. zrIgopAlanArAyaNa bhuraa| mUlya-3.75 26. ratnaparIkSAdi sapta grantha saMgraha, Thakkura pherU viracita, saMzodhaka-padmazrI muni jina vijayajI, purAtattvAcArya / / . 27. svayaMbhUchanda, mahAkavi svayaMbhUkRta, sampA0 pro0 eca. DI. velnnkr| mUlya-7.75 28. vRttajAtisamuccaya, kavi virahAGkaracita, "..... . mUlya-5.25 26. kavidarpaNa, prajJAtakataka, " " ' mUlya-6.00 mUlya 2. rAjasthAnI aura hindI / 30. kAnhaudeprabandha, mahAkavi padmanAbhaviracita, sampAdaka-pro0 ke.bI. vyAsa, ema. e.| / mUlya-12.25 31. kyAmakhA-rAsA, kavivara jAna-racita, sampAdaka-DaoN dazaratha zarmA aura zrIagaracanda naahttaa| : mUlya-4.75 12. lAvA-rAsA, cAraNa kaviyA gopAladAnaviracita, sampAdaka-zrImahatAbacanda khaardd'| mUlya-3.75 33. vAMkIdAsarI lyAta, kavirAjI vAkIdAsaracita, sampAdaka-zrInarottamadAsa svAmI, ema. e., vidyaamhoddhi| mUlya-5.50 34. rAjasthAnI sAhityasaMgraha, bhAga 1, sampAdaka zrInarottamadAsa svAmI, ema.e. / mUlya-2.25 35: rAjasthAnI sAhityasaMgraha, bhAga 2, sampAvaka-zrIpuruSottamalAla menAriyA ema. e., .: sAhityaratna / mUlya-2.75 36. kavIndra kalpalatA, kavIndrAcArya sarasvatIviracita, sampAdikA-zrImatI rAnI lakSmIkumArI cuuNddaavt| . . - mUlya-2.00 37. jugalabilIsa, mahArAja pRthvIsiMhakRta, sampAdikA-zrImatI rAnI lakSmIkumArI cUDAvata / mUlya-1.75 38. bhagatamALa, brahmadAsajI cAraNa kRta, sampAdaka-zrI uderAjajI ujjvl| mUlya-1.75 36. rAjasthAna purAtattva mandirake hastalikhita graMthoMkI sUcI, bhAga 1 40. rAjasthAna prAcyavidyA pratiSThAnake hastalikhita granthoMkI sUcI, bhAga 2 / mUlya-12.00 41. mahatA maiNasIrI khyAta, bhAga 1, mahatA naiNasIkRta, sampAdaka-zrIbadrIprasAda saariyaa| mUlya-8.50 42. " , 2, " mUlya-9.50 43. raghuvarajasaprakAsa, kisanAjI pADhAkRta, sampAdaka-zrI sItArAma lALasa / mUlya-8.25 44. rAjasthAnI hastalikhita grantha-sUcI, bhAga 1 saM. padmazrI muni zrIjinavijaya / mUlya-4.50 45. rAjasthAnI hastalikhita grantha-sUcI, bhAga 2-sampAdaka-zrI puruSottamalAla menAriyA ema.e., sAhityaratna / mUlya-2.75 46. vIroNa, DhAr3hI bAdarakRta, sampAdikA-zrImatI rAnI lakSmIkumArI cUMDAvata / mUlya-4.50 47. sva0 purohita harinArAyaNajI vidyAbhUSaNa-pranya-saMgraha-sUcI, sampAdaka-zrIgopAla nArAyaNa bahurA, ema. e. aura zrIlakSmInArAyaNa gosvAmI, dIkSita / mUlya-6.25. sarajaprakAsa, mAga 1-kaviyA karaNIdAnajI kRta, sampAdaka-zrI sItArAma lALasa / mUlya-8.00 46. raMga, rAvarAjA busiMha kRta-sampAdaka-zrI rAmaprasAda dAvIca ema.e. mUlya-4.00 51 matsyapradeza kI hindI-sAhitya ko dena, pro. motIlAla gupta.ema.e.pIeca.DI. mUlya-0.00 sahastalikhita pracAkA sUcA, bhAga 1. malya-7.50

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presoM meM chapa rahe graMtha saMskRta 1. zakuna pradIpa, lAvaNyazarmaracita, sampAdaka-padmazrI muni zrIjinavijayajI / 2. tripurAbhAratIlaghustava, dharmAcAryapraNIta, sampAdaka-padmazrI muni zrIjinavijayajI. 3. karuNAmRtaprapA, bhaTTa somezvaravinirmita, sampA0-padmazrI muni shriijinvijyjii|| 4. bAlazikSAvyAkaraNa, Thakkura saMgrAmasiMharacita, sampA0-padmazrI muni shriijinvijyjii| 5. padArtha ratnamaMjaSA, paM0 kRSNamizraviracita, sampA0-padmazrI muni shriijinvijyjii| 6. vasantavilAsa phAgu, ajJAtakartRka, sampA0-zrI ema. sI. modii| 7. nandopAkhyAna, ajJAtakartRka, sampA0-zrI bI.je. saaNddesraa|| 8. cAndravyAkaraNa, prAcArya candragomiviracita, sampA0-zrI bI. DI. doshii| 1. prAkRtAnanda, raghanAthakaviracita, sampA0-padmazrI muni zrI jinvijyjii| 10. kavikaustubha, paM0 raghunAtharacita, sampA0-zrI ema. ena. gorii| 11. ekAkSara nAmamAlA-sampAdaka-muni zrI rmnniikvijyjii| 12. nRtyaratnakoza, bhAga 2, mahArANA kuMbhakarNapraNIta, sampA0-zrI Ara. sI. pArIkha aura DaoN. priyabAlA zAha / / 13. indraprasthaprabandha, sampA-DaoN. zrIdazaratha shrmaa| 14. hamIramahAkAvyam, nayacandrasUrikRta, sampA0-padmazrI muni shriijinvijyjii| 15. sthUlibhadrakAkAdi, sampA0-DaoN0 AtmArAma jaajodiyaa| 16. vAsavadattA, subandhukRta, sampA0-DaoN0 jayadeva mohanalAla zukla / 17. vRttamuktAvalI, kavilAnidhi zrIkRSNa bhaTTa kRta; saM0 paM0 zrI mathurAnAthajI bhaTTa 16. Agamarahasya, sva0 paM0 sarayUprasAdajI dvivedI kRta, sampA0-pro0 gaGgAdharajI dvivedI / rAjasthAnI aura hindI 19. mahatA naiNasIrI khyAta, bhAga 3, muMhatA naiNasIkRta, sampA0-zrIbadrIprasAda sAkariyA / 20. gorA bAdala padamiNI caUpaI, kavi hemaratanakRta sampA0-zrIudayasiMha bhaTanAgara, ema.e. 21. rAjasthAnameM saMskRta sAhityako khoja, esa. Ara. bhANDArakara, hindI anuvAdaka zrIbrahmadatta trivedI, ema.e., 22. rAThauDArI vaMzAvalI, sampA-padmazrI muni zrIjinavijayajI / 23. sacitra rAjasthAnI bhASAsAhityagranthasUcI, sampAdaka-padmazrI muni shriijinvijyjii| 24. mIrAM-bRhat-padAvalI, sva0 purohita harinArAyaNajI vidyAbhUSaNa dvArA saMkalita, sampA0-padmazrI muni shriijinvijyjii| 25. rAjasthAnI sAhityasaMgraha, bhAga 3. saMpAdaka-zrIlakSmInArAyaNa gosvaamii| 26. surajaprakAza, bhAga 3, kaviyA karaNIdAnakRta sampA0-zrIsItArAma lALasa / 27. rukmiNI-haraNa, sAMyAMjI bhUlA kRta, sampA0 zrI puruSottamalAla menAriyA, em.e.,saa.rtn| 28. santa kavi rajjabaH sampradAya aura sAhitya DaoN0 prajalAla vrmaa| 29. samadarzI prAcArya haribhadrasUri, zrI sukhalAlajI siNghvii| 30. pazcimI bhArata kI yAtrA, karnala jemsa TaoNDa, anu0 zrIgopAlanArAyaNa bahurA, ema.e, aMgrejI 1 Catalogue of Sanskrit and Prakrit Manuscripts Part I. R.O.R.I. (Jodhpur Collection), ed., by Padamashree Jinvijaya Muni, Puratattvacharya... 22 A List of Rare and Reference Books in the R.O.R.I. Jodhpur. ed., by P.D. Pathak, M.A. vizeSa-pustaka-vikretAoM ko 25% kamIzana diyA jAtA hai|

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