Tarayana

Author(s): Shankuk, Dalsukh Malvania, H C Bhayani
Publisher: Prakrit Text Society Ahmedabad
Catalog link: https://jainqq.org/explore/001378/1

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PRAKRIT TEXT SERIES NO. 24 TARAYANA (TARAGANA) General Editors D. D. Malvania H. C. Bhayani An Anthology of Bappabhatti's Prakrit Gathas Compiled by Sankuka with An Anonymous Sanskrit Commentary Edited by H. C. Bhayani zeTha zrI haThIsiha kesarI pakSa amadAvAdanA jJAnapI sukI - pUrva Prakrit Text Society 1987

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PRAKRIT TEXT SERIES NO. 24 General Editors D. D. Malvania H. C. Bhayani TARAYANA (TARAGANA) An Anthology of Bappabba!i's Prakrit Gatbas Compiled by Sankuka with An Anonymous Sanskrit Commentary Edited by H. C. Bhayani Prakrit Text Society 1987

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Published by Dalsukh Malvania Secretary, Prakrit Text Society Ahmedabad-380009 First Edition 1987 Price Rs. 20-00 Printed by Pitamber J. Mishra Tirhut Printers 41, Meghnath Society, Ranip, Ahmedabad-382480.

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prAkRta grantha pariSada granthAGka 24 tArAyaNo [tArAgaNaH] kavi-bappabhaTTi-viracita-gAhoyaccaya-rUpA zakuka-saMkalito gAthAkozaH saMskRtavRttisahitaH harivallabha cUnIlAla bhAyANI ityanena saMpAditaH prAkRta grantha pariSada ahamadAbAda

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General Editor's Foreword I have great pleasure in publishing for the first time Sankuka's anthology of Bappabhatri-suri's Prakrit Muktakas entitled Tarayana (Sk. Taragana), 'The Assembly of Stars', along with an anonymous Sanskrit commentary. The difficult task of editing the text from its only available Ms. has been creditably accomplished by Dr. H. C. Bhayani, who is a renowned scholar and is also the President of the Prakrit Text Society. Sankuka seems to be a contenmporay of Bappabhatti-suri (800-895 A.D.), while the Sanskrit commentary, which is considerably helpful in interpreting many a difficult verses of Bappabhatti, is possibly not later than the tenth century. The unique importance of the Tiragana lies in the fact that it is the sole preserved specimen of the Prakrit Muktaka poetry of a known author, who flourished in the long interval between Hala Satavahana, the uthor of the Saptasataka or Gathakosa and Jayavallabha, the author of the Vajjalagga. The poetic qualities of Bappabhatti-suri's Subhasitas justifies the Jain tradition of glorifying him as an eminent Prakrit poet. Dr. Bhayani's Introduction deals with all the relevant issues connected with the texts and their authors. I thank him for editing this work for the Prakrit Text Society. D. D. Malvania

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Dedicated to the Memory Dr. A. N. Upadhye

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Contents Page 1-17 6-7 Introduction Text and Commentary Anthologist's Introduction maGgala (v. 1) kaviprazasA (v. 2) amma-rAja (v. 3) sajjana-durjana (v. 4) sa grahakAra (v. 5) tArAgaNa (vv. 6-7) bappabhaTTi-nAmAni (vv. 8-9) Index Verse 1-2 (vv.10, 12) maMgala (vv. 11, 13-14) Index Verse 3 (v. 15) kaSiprazasA (vv. 16-17) Index Verse 4 (v. 18) majana-durjana (vv 19-20) Index Verse 5 (v. 21) vidyut (vv. 22-23) Index Verse 6 (V. 24) prAvRT-megha (vv. 25-28) Index Verse 7 (v. 29) prAvRSTa-gagana (vv. 30-32) Index Verse 8 (v. 33) zarada-gagana (v. 34) Index Verse 9 (v. 35) pradIpa (vv. 36-39) 10-11 12-13 14 16 1 .

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Index Verse 10 4 rAjacAdu Index Verse 11 rAjacA du Index Verse 12 rAjacAdu Index Verse 13 rAjavADa Index Verse 14 rAjacATu Index Verse 15 rAjacAdu Index Verse 16 anurAga Index Verse 17 anuroga Index Verse 18 stana Index Verse 23* stana, nayana Index Verse 24* anurAga (v. 40) (vv. 41-45) (v. 46) ( vv. 47-51) (v. 52) (vv. 53-56) (v. 57) (vv. 58-59) (v. 60) (vv. 61-67) (v 68) (v. 69) (v. 70) (vv. 71-75) (v. 76-77) (vv. 78-87) (v. 88) (vv. 89-91) (v. 92) (vv. 93-95) anurAga Index Verse 19 viraha Index Verse 20 (v. 96) viraha ( vv. 97-99) 48-49 [Text and Commentary for vv. 100-115 lost ] Index Verse 21* supuruSa Index Verse 22* (v. 116) (vv. 127-129) (v. 130) (vv. 131-134) (v. 135) (vv. 136-139) (v. 140) (vv. 141-143) 16. 20-23 23 23-26 26 27-28 29 29-30 30 30-33 34 35 35 36-38 38 39-44 44 45-46 4 : 47 48 y 50-51 52 52-53 54 54-55 56 57-58

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60 61-62 Index Verse 25 * (v. 144) viraha (vv. 145-148) Index Verse 26* (v. 149) kamalinI, kumuda (vv. 150-152) Index Verse 27* (v. 153) nAyikA (vv. 154--157) Index Verse 28* (v. 158) __ nAyikA, svArthavRtti(vv. 159-163) Index Verse 29* (v. 164) , - asato (vv. 165-166) Index Verse 30* (v. 167) viraha, asatI (vv. 168-171) Index Verse 31 * (v. 172) asatI, kRpaNa (vv. 173-174) Concluding Verse (v. 175) 68

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INTRODUCTION The Manuscript This edition of the Tarayana (Tg.) is based on the photocopy of its one and only MS. which is in the Jinacaritra-suri MSS. Collection of Bikaner in Rajasthan and is mumbered 3584. A photo-copy of the MS. was supplied by the Late Agarchand Nahta to the Late Dr. A. N. Upadhye. The MS. is incomplete. It had originally twentytwo folios, of which folios no. 14, 15 and 16 are missing. Correspondingly we have a gap in the text covering the portion of the original from vv. 100 to 126 and the commentary portion for the vv. 99 to 126. As the grouping of the Gathas in Tg. ranges from three to six, it is to be inferred that the lost portion contained possibly round about twenty verses of Bappabhatti and five or six "index" verses of the compiler. The MS. measures 25 x 10 cm. It has 15 lines per side and 53 letters per line on an average. The MS. is carefully written and is fairly correct. It is undated. The Padimatra is used. Its date can be guessed as not later than 1500 A.D. Tg. is in the form of an anthology prepared by one Sankuka by collecting and arranging in various groups the Prakrit verses of the poet Bappabhatti. Eack verse-group is prefaced by the anthologist with his own verse which indexes the key-words of the verses in that group, There is also a Sanskrit commentary on all the verses. The colophon at the end of the MS. gives 172 as the total number of verses, but actually we find 175 verses. It also gives 1000 Granthagras as the extent according to the traditional count.

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Turayana Poet Bappabbatti-sari (a) Life The chief traditional sources giving a historical.cum-legendary account of the life and achivements of Bappabhatti are as follows : 1. Bappabhtti-kathanaka (BK.) in Prakrit from the anonymous Prabandha-catustaya, so far unpublished. It is being edited by Dr. R. M. Shah. The MS. is dated V.S. 1291 (i.e. 1235 A. D.). 2. Bappabhatti-suri-carita(BC.)in Prabhacandra's Prabhavakacarita, written in V.S. 1334 (i.e. 1278 A.D.). It seems to have used the Bappabhatti-kathanaka and some other source. Besides these two we get Bappabhatti's complete or partial account in several other later Jain works. The account given in Raja. sekhara's Prabandhakosa (1349 A.D.) is mainly an abridged prose version of BC. Similarly the accounts found in the Prabandha-cintamani (13th cent.), Puratana.prabandha sangraha (13th cent.), Vividhatirthakalpa (1333 A.D.), Munisundara's Upadefaratnakara (first half of the 15th cent.), Subhasila's Pancasatiprabodha-sambandha (1465 A D.) etc. derive ultimately from the first two sources. Below I give the main points of the latter.1 1. Earlier H. R. Kapadia has given in Gujarati the biographical account of Bappabhatti in the introduction to his edition of Caturvimsatika (1926). It is based on the Prabhavak acarita. Praha Upadesuratnakara and Vijayalaksmi-suri's Upadesaprasada. The account given in the introduction to Pandit and Utgikar's e Gaudavaha (1927) is based on the Prabandhakosa, Vividhatirthu dara's Gathasahasri and Pradyumna-suri's Vicarakalpa, Samayasundara's Gathasahasri and Prad sare-prakarana. It is summarised by N. G. Suru in the Introduction to his edition of the Gaudavaha (1975), pp. 61-66. The short account given by A, N. Upadhye in 'Bappa Bhatti and his Taragana', a paper submitted to the Ujjain Session of the All India Oriental Conference (Prakrit and Jainism Section) 1971 and published in Sambodhi IV iii, 1975, pp. 67-72) is also based on these sources.

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Introduction Siddhasena-suri, the Acarya of the Modha Gaccha lived at the city of Patala in Gurjaradesa, ruled over by Jitasatru. Once he went on a pilgrimage to the Muhivira temple at Modhera. There a six years old boy named Surapala met him. He was the son of Bappa and Bhatti living at the village of Dumbaudhi in the Pancala country. Surapala had left his home without his parents' permission. Siddhasena welcomed him to stay with him. The boy being extraordinarily talented mastered all the Sastras the Acarya taught him. The latter initiated him in the Jain order in 807 V.S. For this the permission of the boy's parents was obtained on the condition that he should be renamed Bappabhatti after them. Accordingly eventhough he was given the designation of Bhadrakirti, he became famous as Bappabhatti. The Acarya bestowed on him the Sarasvata Mantra, which had the power to make Godess Sarasvati appear in person. Once Bappabhatti saw a stranger trying to read in a temple the donor's Prasasti inscribed there. He brought the youngman to the Acarya. The stranger introduced himself as Ama, son of Yasovarman, who was ruling at Kanyakubja. He had left his home having been offended by his father's admonition. The Acarya taught him all the Kalas. Bappabhatti and Ama became close friends. Ama promised to hand over his kingdom to Bappabhatti when he became the king. Shortly he was called back to Kanyakubja, because the king was on the death-bed. He was installed on the throne and the king passed away shortly. He invited Bappabhatti to Kanyakubja and offered him the kingship. The latter declined the offer. At Ama's request Siddhisena-suri c@nferred on Bappabhatti the status of a Suri, so that h cia seat on a Sirnhasana without violating maastic rulez. Bippibatti settled at Kinyakubja. From the incom; from the numerous villa ;es gifted to him by the and which he made over to th: Jain Sangha, one lofty temple of Mahavira was built in Kanyakubja .and another was built at Gopagiri. Numerous incidents of samas 1 a-purti or pada-purti accom. plished by Bappabhatti are narrated, showing his uncanny literary powers, as a Siddha-Sarasvata. Once due to composing some erotic

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Tarayana verses having a reference to the King's personal life, a misunderstanding was created between him and Bappabhatti. The latter left Kanyakul ja and went to Laksanavati in the Gauda country, where its king Dharma welcomed him at the instance of his court-poet Vakpatiraja. After some time Bappabhatti returned to Kanyakubja, because Ama went to L:.ksanavati to request him to return. Thereafter numerous cpisodes evidencing Bappabhatti's literary feats are narrated. The episodes of the defeat of the Buddhist Vardhanakunjara, and various incidents in the later life and literary activity of the poet Vakpatiraja (including his supposed conversion to Jainism and his death) are described at length. The account also gives the incidents connected with the Birudas like vadi-kunjara-kesarin, gajarara, brahmacarin etc. acquired by Bappa bhatti. There is a description of Ama's pilgrimage to Jain holy places in company with Bappabhatti. In several critical situations Bappabhalti helped the king by giving vital information or making crucial prediction for which he consulted the Prosnacintamani, a work on prognostication. V.S. 800 and 895 are given as the respective years of Bappabhatti's birth and death. As an hagiographical account this traditional Jain biography of Bappa bhatti is likely to have some Jain bias, besides exaggerations and errors that were inevitable during the period of oral transmission. But the view expressed by some scholars that it has little historical worth is unjustified. For example, Pandit's remarks that Jain sources cannoi be relied upon and that the whole story of the life of Bappabhatti is little better than a fabrication' are very strong and unfair. Most of such traditional accounts have been always legendary and motivated, the Jain accounts being no exception. Even then it cannot be denied that the traditional account of Bappabhatti preserves many facts and incidents that are historically reliable. The BK. and BC. accounts are considerably elaborate, detailed and remarkably realistic in treatment, and it would be too much to allege that most of these facts and incidents were just fabrications. The discovery of Tg. bears out the Jain account on the points of Bappabhatti's poetic powers,

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activities and authorship. His close association with king Amma alias Nagavloka as an eminent poet at the latter's court finds now a clear support from Tg. vv. 3 and 5. In Tg. the anthologist Sankuka introduces himself as an inmate of the circle of literary elites at Nagavaloka's court. Tg. 3 is explained by the Sanskrit nimentary as Sankuka's tribute to his royal patron Amma. The MS. reads navaloya which is metrically untenable. This is corrected in a later hand to read tenavaloya which does not make sense. Due to scribal error ya is dropped, hence it is to be emended as nayavaloya So even if we grant the likelihood of some confusion in details in the account of Ama's career, Bappabhatti's friendship with Amma Nagavaloka (i.e. Nagabhatta II of the Gurjara-Pratihara dynasty) and his literary eminence are to be accepted as historical facts. There is enough evidence also for Gwalior being a centre of Jainism in the eighth century and for Mihira Bhoja's patronage to Jainism. 2 (6) Literary Activity According to BC. v. 660, Bappabhatti was the author of 52 works including the most important Taragana. At present however we know only of the Taragana and the following short works. Of the several Stotras composed by Bappabhatti only two are extant : 1. Caturvinsatika, a lymn to the twentyfour Tirthamkaras in 96 verses. 2. Sarada-stotra, in 13 verses, addressed to Sarasvati. Besides these there are references to the following: 3. Vagderi-stuti, in 14 verses, beginning with the word adharita (BC. V. 427). 4. Santi-devala-stavana, beginning with the words jayati jagad raksa-kara (BC. v. 619). 2, See M. W. Meister, 'Ama, Amrol and Jainism,' Journal of the Oriental Institute Baroda, 22, 3. March 1973, pp. 354-358.

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Tarayana 5. Vira-stuti, in 11 verses, beginning with the words Santo vesal frama-sukha-phala (Prabandha-kosa, p. 36, 1. 29-30). 6. One hundred and eight interpretations of the Apabhramsa verse tatti siali melava keha etc. of which four interpretations are actually cited at BC. pp. 89-90. Besides these we have numerous stray verses and samasyapurtis in Sanskrit, Prakrit and Apabhrisa, said to have been composed by Bappabhatti and quoted in various biographical accounts. Several of these verses are met with elsewhere in Sanskrit and Prakrit literatures and we cannot be quite definite about their authorship. For example the Gatha vai-vivara-niggaya-dalo erando etc. (BC. vv. 349-350) is the same as Saptasataka, 257. The commentator Bhuvanapala has ascribed it to Palittaka i.e. Padalipta. The Gatha piya-sambharana-paluttamta etc. (BC. v. 354) is the same as Saptasataka, 222. Bhuvanapala has ascribed it to Brahmacarin. Now eventhough it is true that Brahmacarin was one of the several Birudas of Bappabhatti, to accept this ascription as genuine would mean that the Saptasataka contains verses even from the authors of the eighth century. Bhuvanapala has ascribed Saptasataka, 25 (ekko vi kalasaro etc.) to Brahmacarin. Saptasataka 635 (anumarana-patthiyae is attributed to Bappabhatti himself, 3 and 573 (balaja de vacca etc.) to Svetapata. Pitambara also ascribes Saptasataka, 405 (rasia viaadha etc.) to Brahmacarin. Moreover a few Gathas are ascribed by Bhuvanapala to Vak patiraja, who, if he is assumed to be identical with the famous Prakrit poet, was contemporary with Bappabhatti. 1. ad The samasya-parti verse bhikkhayaro etc. (BC. vv. 644-645) is the same as Saptasataka, 162 and it is attributed to Bhratska in Bhuvanpala. The samasya-parti verse in Apabhramsa, viz., pasu jema pulindau etc. (BC. vv. 268 269) is the same as one we find, apparently as a citation, in the Old Gujarati romance Sadayavatsacaritra of Bhima (15th cent.). For some of the Sanskrit verses etc.) is ascribed to 3. Saptasataka V. 614 (vanna-kkama-rahiyassa Bappaka.

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Introduction attributed to Bappabhatti in BC. we find a similar state of affairs. The authorship of all these verses remains considerably doubtful. 0: the other hand it seems that the seven Gathas said to be sent by Bappabhatti as a part of retort to Ama's verses that stressed the sorry plight of the fomer when he was deprived of the latter's patronage are genuinely ascribed to our poet. The reason is that the group of these Gathas is prefaced by a mnemonic Apabhraisa verse listing them by giving a key-word of each of them. This was a traditional device to record and protect the authorship of stray verses. It is quite likely that these Gathas also were included in the Tarayana and figured in that portion which is now lost (see p. 10) These Gathas along with the introductory contents verse are as follows : 2 3 4 gaya mANasu caMdaNu bhamaru rayaNAyaru sasikhaMDa / jaDa-ucchu ya bapaTTi-kiu, sattaya-gAhAsaMDu // vijheNa viNA vi gayA nariMda-bhuvaNesu huMti gAraviyA / vijho na hoi agao gaehiM bahuehiM vi gaehi / / mANasa-rahiehiM suhAI jai na bhaMti rAyahaMsehiM / taha tassa vi tehi viNA tIrUcchaMgA na sohaMti // malao sacaMdaNo cciya nai-muha-hIraMta-caMdaNa-dumAho / panbhaTTa pi hu malayAu caMdaNaM jAyai mahagdhaM // agyAyati mahuyarA vimukka-kamaloyarA vi mayaraMdaM / kamalAyaro vi diTTho suo va kiM mahuara-vihINo // ekkeNa kotthuheNa viNA vi rayaNAyaro cciya smuddo| kotthuha-rayaNaM pi ure jassa Thio so vi hu mahagyo /

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Tarayana khaMDa viNA vi akhaMDa-maMDalo ceva puNNimAyaMdo / hara-sira-gayaM pi sohai na neya vimalaM sasikkhaMDa // je ke bi pahU mahi-maMDalammi te ucchu-dNdd-saaricchaa| sarasA jaDANa majjhe virasA pattesu dIsaMti / / (Prabhavaka carita, pp. 87-88) It is to be noted that the first two Gathas of this group are found in the Vajjalagga (nos. 188 and 263) The samasya-purti verses at BC. 151-152, 156-157, 193-196, 230 and the verses BC. 527-530 (of which v. 530 is identical with Vajjalagga, 665) also can be accepted as Bappabhatti's. The Tarayana (a) Literary References Dhanapala and Prabhacandra refer to Tarayana as the most important poetic work of Bappabhatti. Vadijanghala, defining Kosa as made up of verses on diverse topics, mentions Gathakosa, Ktsnasara and Turagana as its instances. These authors have probably depended upon secondary sources, and none of them had actually seen the work and known it actually as a compilation from Bappabhatti's stray verses. (b) The Compier of the Tarayana Tg. vv. 5, 6 and 7 inform us about the title, nature and authorship of Tg. and about the original author of the Muktakas or Subhasitas given in the work. Sankuka, the compiler, was 4. V. Raghavan, Bhoja's Stngaraprakasa (1963), p. 629; A. N. Upadhye, 'Bappa Bhatti and His Taragana', Sambodhi, III. iv. Jan., 1975, pp.67-72. Upadhye has rightly suggested to correct katha so as to read guthu in the citation from Vadi. janghala.

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Introduction Bhava's son (bhavappao, Sk. bhavatmajah or bhavapitrkah, i.e. bhava + Desya appas + suffix ka). He belonged to the Gautama Gotra. He was a member of the assembly of the literary elites that adorned the court of king Nagavaloka, and as such he had benefited much from his associates. In one of the Mangala verses (Tg. 3j Sankuka pays comliments to his patron-king, who was also known as Amma according to the commentator. Sankuka, being a great admirer (and possibly a close friend) of Bappabhatti collected and appropriately arranged the stray Gathas of the latter. For this he was also requested by eminent poets and scholars of his literary circle. Consequently Sankuka compiled this Tarayana, 'the assembly of stars' so called because it contains groups of star-like brilliant Gathas. Vv. 75 and 175 characterize this compilation as Kosa and in the colophon it is called Subhasitakosa. The commentator refers to the anthologist as gathakosakara (Tg. v. 52). Sankuka enumerates various nicknames, sobriquets or epithets by which Bappabhatti was known. They are Gunanuraga, Bhadrakirti, Gajapati, Acarya, Svetabhiksu and Vadin. In the colophon Bappabhatti is given the epithet of maha-vadindra "The Grand Master of Sastric Debators'. The Prabhavakacarita enumerates the following Birudas of Bappabhatti : Bhadrakirti, Vadikunjara-kesarin, Brahmacarin, Gajavara and Raja pujita. At another place it narrates an episode (vv. 284 to 344) which explains how Bappabhatti got the birudas "Gajavara' and 'Brahmacarin' (v. 340). It is to be noted however that Sankuka's list does not contain 'Brahmacarin'. (c) General Structure Of the total 175 verses of Tg., about 59 verses are written by Sankuka : 9 introductory verses, 40 index verses (32 + some 8 in the missing portion) and one concluding verse. These verses reveal Sankuka as an adept in composing Prakrit Gathas of high literary excellence, and as a connoisseur receptive to the finest qualities of epigrammatic poetry. 5. 'appo piya', Desinamamala, I, 6.

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10 Tarayana The Bappabhatti verses are distributed over some 36 to 39 groups : 31 groups in the extent portion and from 5 to 8 groups, guessed to have been contained in the lost portion. The number of verses within each group ranges from 1 to 10, but groups of 4, 2 or 3 are more frequent, as will be seen from the following. table : 4 one-verse groups 3 two-verse groups 7 three-verse groups 6 four-verse groups 9 five-verse groups seven - verse group ten-verse group 1 The grouping of the Gathas is broadly based on topical sameness or affinity, and some pattern is also evident in the sequence of the groups. As a contemporary of Bappabhatti Sankuka is to be assigned. to the end of the eighth and the beginning of the ninth century. We know of the poetician Sankuka, who had commented on Bharata's Natyasastra and who is said to have composed a poem called Bhuvanabhyudaya. He flourished during the reign of Ajitapida of Kashmere (814-851 A.D.). Thus he also belonged to the first half of the 9th century. But our Sankuka had the Pratihara king Amma Nagavaloka or Nagabhatta II as his patron and he seems to be adept in Prakrit literature. So the two Sankukas. were possibly different. (d) The Sanskrit Commentary The Sanskrit commentary on the Taryaana is anonymous. In the Mangala verse the commentator pays his homage to the Sarvajna, thereby clearly suggesting that he was a Jain. This is also born out by the Commentary on v. 13. In the opening verse the commentator states that his aim is to bring out the precise meaning and purport of the verses by giving lucid rendering of all the words, so that all the misinterpretations and misunder

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Introduction standings are removed from the readers' minds. The commentator gives the total number of the verses of Tg. as 172. In the Ms. the last verse is numbered 175. This means that either there was. some error in numbering or the text as given in this Ms. has three extra verses. The commentator has done his job neatly and efficiently. He meticulously explains various compound expressions (at times almost like a teacher to the novices) and clarifies both the meanings in the case of double-meaning expressions. The figures too are identified and explained briefly, and the general significance and purport of the verse is pointed out appropriately. His knowledge of Prakrit and Sanskrit is admirable. He is always to the point, providing thus a good instance of Mallinatha's dictum: namulam likhyate kincin tianapeksitamucyate. Bappabhatti was a vidagdha Kavi. In several verses the idea is complex and the use of Slesa makes it further complicated. Without the commentator's help these verses would have remained unclear or their purport ungrasped. In a few places the reading available to the commentator differs from that which we find in the original text. (e. g. v. 39: gharaharim (Text), gharagharim (Com.) ; in v. 14 Com. seems to read gulia wa for gulio vya of the Text. Once the Commentary has rendered two altenative readings : See the footnote on v. 127). Assuming a gap of some fifty years between the Text and the Commentary, we can assign the latter to the beginning of the tenth century at the earliest. (e) The Listiog Device As noted above, each group of verses in Tg. is prefaced with a Gatha which gives a key-word of each verse in the group in the same order as that of the verses, and states that Gathas containing these words were composed by Bappabhatti. In the commentarial literature on the Jain Canonical texts we find the practice of using dvara-gatha or sangrahanigatna. In the Niryuktis, some of which are datable in the sixth century, the

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12 illustrative tales are not given in full instead, we find a verse or two, containing in a short-hand style some key-words indicating some important characters or incidents of the tale. Or if a group of related tales are to be referred to, the verse is made up of the names of the characters. Such dvara-gathas or samgrahanigathas had a mnemonic function. Tarayana In some anthologies of stray verses (muktaka) of different authors, e. g. the Anyoktyastaka samgraha, each group of verses on a particular snbject (e.g. gaja, bhramara, hamsa, etc.) is prefaced by a pratika-verse or dvara, which gives the first word of each verse in the group. In the Satavahana-prabandha given in the Prabandha-cintamani and the Puratanaprabandha-samgraha, we find two dvara-gathas, each of which gives the key-words of the four Gathas which follow it. Those dvara-gathas are as follows : 3 1 hArerA' venniidNdde|' khaTTuggaliyAi taha ya tAlu ti volg'aaft Alsizda z-ifs-fgang' || kayalItaru | viMjhagirI' nehAhArA 3 yaca daNadumaya / yAo navari sAlAhaNeNa nava-koDi-gahiyAo || 2 Earlier we have noted and quoted seven Gathas which the Prabandhas ascribe to Bappabhatti and which are prefaced with an Apabhramsa verse giving the key-words of these Gathas and the name of their author. Similarly a verse (Doha) giving the key-words of the five Dohas composed by the Paramara king Munja of Malwa is recorded in Hemacandra's Chandonusasana. It is as follows: cUDullura 1 bAheAha-jalu', nathaNA kaMcua + vitama-thaNa | iya muje raiyA dohaDA, paMca vi kAmahu paMca sara || ( VI 22.1) The five Dohas referred to in this verse are actually found cited in different contexts as illustrations Siddhahema grammar (Apabhramsa section). in Hemacandra's

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Introduction 13 Besides having the mnemonic and order-preserving functions, this type of device ensured the authorship of stray verses, which otherwise had the fate of becoming anonymous (as is the case with hundreds of anthology verses). This device of recording and preserving indentity of the author of several single verses by means of word-tokens must have been wide-spread. It is only Tg. which provides us for the first time early and substantial evidence. The index verses composed by Sankuka show his reverence, boundless admiration and perceptive apprecration with respect to Bappabha!ti and his poetry. They also reveal his admirable. literary skill in writing ornate Prakrit verse. (f Subject-m inter It will be seen from the table of contents that the topics o Bappabhatti's verses compiled in Tg. are Mangala, Poet, Good and Wicked Persons, Rains (Lightning, Cloud, Sky), Lamp, Rajacatu, Anuraga, Supurusa, Breasts. Lotus Plant, Asati and Miscellaneous. The number of verses devoted to Love (35) and to Praise of the Patron-king (24) top the list of the total number of verses given topicwise. These are among the usual topics of Muktakas we find collected in various Prakrit and Sanskrit anthologies. Originality of the poet lay in the mode of treatment of the common topics. One particular verse of Bappabhatti, viz. v. 173 can shown to be based on an episode occurring in a well-known Jain narrative. The verse alludes to the reprehensible behaviour of an unchaste woman, who perfidiously hands over to the police her husband as the thief and passes off the thief as her husband This incident occurs in the story of Nupurapandita which is familiar to us from Jinadasagani's Avasyaka-Curni Jayasimha 6. tIe bhaNito-tuma mama patI hohi. eta sAhAmo jahA coge tti / tehiM pabhAte miTho gahito eyAe uvaTiTTho tti / vivadaMto sUle bhiNNo / (875757*f, 97 8646

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14 Tarayuna -suri's Dhar mopadesamala-vivaruna. Amradeva suri's khyanahamani kosa-vstti, and some other Jain Katha-works. V. 165 is an Asati-gatha. It is translated as follows ; 'As the water pots of the water-fetching girls fell down due to (passionate) trembling, their pretended weeping, which (in fact) were tears of joy being shed, does not stop because they want to linger and go on seeing you'. In the Svayambhucchandas Angaragana's verse, cited under 177(1) as an illustration of the Candavega variety of the Dandaka meire, describes a comparable situation and the two verses have a few phrases in common. Ars-en-Forfa and afas- 10, O FEEDE TOTIU &' and tuha doha-dasaNa-kae, kaiava-ghaDipaNaM kuDa pADiUNa and kapa-nivaDaMta-kuDayANa, alohAsa-mIsa rutI and harisa-bAha kaiava-ruNNaM show enough similarity to suggest the influence of the Angarag:ana's verse over that of Bappabha!ti.7 (8) Style and Literary Merit The appeal of a large majority of the Muktakas of Hala's Saptasati lies in the emotion suggestively conveyed. The verses depending on literary figures for poetic charm are in a minority. But in later Prakrit Muktakas (as for example those collected in the Vajjalagga) the mode of expression has become considerably ornate. The same trend is evident in Tg. Loss of intervocalic stop in Maharastri Prakrit produced a large number of homonyms. This lexical trait was fully exploited by the later Prakrit poets. They became adept in using Slesa quite effectively. Bappabhatti shows admirable expertise in employing Slesa. Besides, he has used figures like Upama, Utpreksa, Rupaka, Vyajastuti, Anyapa. desa, Vyatireka, Bhrantimat, Atisayokti, Virodha, Drstanta, 7. In Mammata's Kavyapraka sa (IV, Sutra 59, illustrations 16 a and 16 b, verse no 90, 91) Prakrit Gathas are cited in which we find the same ruse of breaking of the water-pot used by the water-fetching girl because it could give her an opportunity to go out again and meet her lover.

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Introduction Milita, Arthantaranyasa. Many of his images are bold and original, and reveal his ma stery over the Kavya tradition. Several of his memorable images derive from the ordinary day-to-day life. A fruit with one stone formed in its inside (11), the jumping and falling ball due to bat-strokes (14), sword being sharpened on the whet-stone (22), boiling cauldron (25), peasant driving a herd of buffalows (26), plasterers (27). thatcher (28), barber (30), putting milk-soaked cotton pads on sore eyes (32), lamp-torches taking the round of houses in the Dipavali festival (39), protective amulet (90), stage-actress (94), incense-burner (150) such images serve here to concretize, sharpen or invest with a shock of pleasant surprise the situation or idea under description. The encomiums showered on the poet Bappabhatti by the compiler and the subsequent Jain tradition is evidently based as much on critical appreciation as on worshipful regard. - It is not quite explicable how a poet of such eminence could be almost completely disregarded by the literary tradition.8 Like Bhartrhari and Amaruka in Sanskrit. Bappabhatti is uniqne as an early Prakrit poet who has authentically some two centuries of excellent Muktakas to his credit. Inspite of this fact, not even the Vajjalagga has a single citation from Tg. Perhaps the MSS. of the work samehow became scarce at an early date. Under the circumstances, it was quite a pleasant surprise when I chanced to spot a few Gathas of Tg. either adapted or anonymously cited in two works of the 11th century A. D. One of these is a Jain poem in Apabhramsa, the Jambusamicariya of Vira completed in 1019 A. D. Another work is Srngaraprakasa, the encyclopaedic Alankara work of King Bhoja. It is significant that both these works were written in Malwa in the same period. 15 In the beginning of the sixth Kadavaka of the first Samdhi of the Jambusamicariya9 are given five Prakrita Gathas and a 8. There is the only exception of Vadijanghala's reference to Tg. as noted above. 9. ed. by V. P. Jaina, Jnanapitha Murtidevi Jain Ganthamala, Apabhramsa Series No. 7, 1968.

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Tarayana as Sanskrit verse, all of which except the first are in praise of the poet (kaviprasarsa). The fourth and the fifth Gathas are follws : 16 vijayatu jara kANo jANaM vANI aiTupuvtratthe / ujjoiya dharaNiyalA sAhaya vahi vva nivva // jANaM samagga mahoha-jhe duu ramai mai-phaDa+kammi / tANaM pi hu uvarillA kassa va buddhI pariphurai || The first Gatha here is a clear adaptation of Tg. v. te karaNAM pura-pariThipasu atthesu jaNa-Na-dira esu / sAhaya - sAhiya SaTTivva jANa vANI pariTThA || The Rupaka in the second Gatha is directly borrowed from Tg. v. 14 : sau jayai jassa dADhA phaDakkae ucchalaMta-nivaDato nIsAsuggama vigamesu hoi gulio vva mahi-golA // The Srngaraprakasa citation is more important in that it is a solid evidence of poetic recognition by a standard Alankara authority. The Prakrit gatha cited on p. 625 ( last line) of the Srigaraprakasa to illustrate the Kanistha, Dhira, Anudha type of Nayika is the same as Tg. 90. The text given in the Srngaraprakasa is defective and considerably corrupt. The printed text is as follows: . puriamoDhaNaaM parasauNa' gahagaga dhina dhehiM / bhagamaraNagaha se jaharakhkhAkha Daa jAo / 17: This can be restored as follows: pUriamoDhaNaaM varala uNagahaNa gaThi-baMdhehiM / bhagga - maraNa. ggaha se jaha rakkhA kaDaa jAaM // If we compare this with Tg. 90, we can fill the initial gap in the above with and see that the texts as found in the

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Introduction 17 Stigaraprakusa and Tg. are identical except that the former reads al-JU-JITET in the place of TE FAT-30 in the latter. This is a rare piece of evidence in support of the literary recognition of Tg. Moreover, some variants already evidenced by the commentator of Tg, and now supplemented by the variant we find in the Srngaraprakasa citation establishes beyond doubt the currency and popularity of Tg, up to at least the eleventh century, even if we set aside what is known exclusively in the Jain tradition. The photo-copy of the Ms. of Tg. was acquired by Late Dr. A. N. Upadhye with a view to editing the work and he had completed a tentative transcript of the same. Before however he could proceed further, he most unfortunately passed away. His sad demise removed from us the great doyen of Prakrit and Jain Studies. His vast, varied and profound contributions to those areas stand witness to a life fully and indefatiguably devoted to the scholarly pursuit of learning. The present work I offer as an humble homage to him. I express my gratefulness to Shri Sundarpal A. Upadhye and Prof. Dalsukh Malvania for making available to me the photo-copy of the Tg. manuscript, and also to the Late Agarchand Nahata to whom the credit goes for bringing the Ms. of this invaluable work to light and making its photo-copy available. My thanks are also due to the Trustees of the Jinacaritra-suri MSS. collection of Bikaner for allowing me use of the Tarayana MS. I thank the Prakrit Text Society for publishing this work, and bearing with the unusally long delay in completing it. The Tirhut Printers are to be thanked for their continous cooperation. H. C. Bhayani Ahmedabad 26th May 1987

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sAmavAsavAvaviyatazyaMcakitinArAyaNabhakAzAyaparayAprArApavizavyAsAnikAnyAyamAdhismAnasAvA vAkyapAnAsArayADamahAmAhIlAdinanInisyamanamiyAmIvanInajAranaMdanamabaMdaganimbAlapayanagArakhamarammAna nahi paDipasArAmukaNasarasAipayAhArasukacAnAMsaratISadalAnesvAmarasUnIvAkanasyApramahAmanatAkoTamAmA sadaganigamukavicAravasAdhInazadhAvItayAyanaMdAtraprAyajAganiHatiryasyabhanayAsahavaMdamAgAdhAdirUpeNavargavimara nAhagAtivaniyasyamanAenidhanAkIhakanirmalapadarAgAravanahAnimAlarapazavAdinaHpAyanitAne para nAnAhAnAvanamahAdhama punaHjaDadhAprativarapasarana uzItiHdhanikaradenivAritaHpanAzayanizamahiyadinaraMjaDavilyA ravAnaprApaparavalatiyadivA pasArApanAApakSayAna nAdAnavanividArAtyAkAraanyamamaravInAmanarIta saaiddmnmhmaapaashyvaakprdhsyaamcNdgtiH| mAipAyapITArAyazazleSamavAsinaniyarakyameja limpasagArAvAgamahAyAtyaHpunaHjaladhinAMpratiSiyamArAnAzAhamasar3amabAppAviramAnAranaDamalavaniyuka nAvAkapavahaHmaramanAsarinyavahazcanaMdavivarmanalIvanApamAzApAyariyAImahAmAnavAmilAivalI yANamuhArImacaMsuhAmidyapiUjANanamAnAyakIparasukSaminAmiviyumazamAdakSAlanaDyabadAmanamasimariyA banAmajanaharayAniraMjayatiravalajanaaramAnakalayaninilyaHyukacitpAdanapahiranakAlIkaraNavikadiro vidhAyarAzanonAdhanahAmiyaminipaTAyanaHmutAvinarAdhAdavinavaninanayaTalApilakAyantraNamanahatyAviramA kamacikaddamevAtAlauyayamAhAtariyaMphariyaSayAvAmaviyaakSayAmAmAmAvisamAzvasanAyajhinivaraM viSamAdiyAzdhIpaniramAsasyAdityAhAnigarakAryapAhilyasyAranphaTyAmilAnajavirebaranAdAbAMnazinAai Photo-copy of the folio 1(A) of the Ms. of the Taragana.

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pacamAdiyasacamaNmayanirakavadimovayAgaparadamATsalAvAmiyAjadarakaranigAghAdayAmaNavaja manavayamataevAnAdanapramANAdhanavitAmAbaMdAmAhavayanamisipirahemAdaulAvAmiyAabhaepaliyapazyahovAra kAjapapaIcyAsamakilina pAdazAdaghAlAvarahanavAvAmityAasatyApaliyaninaH pAIpavidhAvAra pani lAparavAriyApahavAlamAnAMrAja rupaannaanijtnyiNdaarshnismaapinaami||73jaamhipraadhuuprnaamaa gonnpgaataanaarrkaashyiyNciyjyshnaasyvivriiyaayaamhtivaaNbprmpynNdshynmynaammprdhmNdobaataa| appaNAgamagAnAdhAnmanAsyaMmAyinnyAcamAnInaU paniAyorapiyAcakavAnAjAraskAyArakSAtaniyazyini jAmacadhanAnAhAnAmadhyavivarIviparIyAnarata nisanamasAvaratako viparInasAmadhanarakSanAUmpativanamA saartniauhdaamaanikbaalgNliiraamaas| viyamaemamaramaartNazrAvidhAkakinIyamamAdA bhaNayagAhAvAlAkAmAkakinIemayAdAsapakAsAkAza mahAmudAyIkampAkakinAgAkAvaNa hanAhakIjijhasyAHsuryavikAzasdazanItimuhAamyavasApa mazudAyampakavinimacaMya. igatikapijIvyauipanati masAtataskarakinnIrasa hAniprArutarAmAmyAtAsamudajhApatiAkAzasyamapadadhammAmAcanakAMnA kAhagamAvi pAraganArAgaMlIrAvAnanyavAgAdhjAlAgaMtIvanavAAeyagAdAumAnAnakagAbAnirAUlaHmahinyavAzanakamA baDanalavAra:galatiyAyavAdyAnarakamAnatikAzAyamanAmanAmamiAmyanamaskavasaramanApamA nayAsiziramAyAganApragyavimAsmAdiyAMparavasamasudAsayuhovayaMladAgaramApinamAtrAvATarasyAga bhAzayagAvAnIsAirasavAna maramAdanavarijhaniyahavArIdAbappanahirirutamyautsAdikozampadAmamanyAta SHER Photo-copy of the folio 22(A) of the Ms. of the Taragana. www.jainelibrary.ords

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tArAyaNo [kai-bappabhaTTi-viraiya-gAhoccaya-rUvo gAhAkoso] [1A ] nitvA sarvavidaM viracyata iya TIketi tArAgaNaH kozo'ya parayA pradoSa-virahe'pyAbhAti kAnyA yathA / asmAbhiH suvivikta-cAkya-pavanarutsArayabhima hAmohAmbhoda-tatIrjanasya manasi vyonIva nIta mRjAma / / Anthologist's homage to the poet's Muse naMdau sacchaMda-gaI nimmala-paya-pUra-gArava-mahagyo / jalahi-paDiruddha-pasaro sukaINa sarassaI-pavaho // 1 sukavInAM srsvtiiprvaah| nandatu / sarasvatI vAk, tasyA: pravaha oghaH, sa nndtu| kiidRgsau| svacchandagatiH / sukavitvAdeva svAdhInazabdArthatayA svacchandA aparAyattA gatiH pravRttiyasya sa tathA / maha chandasA gAthAdirUpeNa vartate iti sacchandA sA tAdRggatiH pravRttiryasya sa tauti / punaH kIdRk / nirmalapadapUragauravamahAvaH / nirmalairapazabdarahitaiH padaiH suptiGantaH / pUraH pUrNatA tadgauraveNa mahAghaH zreSThaH / puna: jaDadhIpratiSiddhaprasaraH / jaDadhIbhiH pratiruddho nivAritaH prasAro'syeti / sa hi yadi paraM jaDadhiyo mUrkhAn prApya praskhalati, yadi vA prastArasthApanApekSayA jaladhinaiva pratiSiddhaprasaraH / ityeko'rthAH // anyatra sarasvatI nAma nadI tasyAH pravahastena saha zleSo'ya vAkpravahasya / svacchandagatiH so'pItyarthazleSaH / zeSaH zabda lepaH / tathA hi / nirmalasya payaso jalasya pUragauraveNa mahAgha : pUjyaH / punaH jaladhinA pratiSiddha 1. Begins : // 50 // arha //

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saMkua-saMkalio prasaraH / nadyo hi samudramavApya viramanti / etaduktaM bhavati / sukavInAM vApravahaH sarasvatIsaritpravaha iva nandatviti antarbhAvitazleSo' yamiti / / May the stream of the Divine Poetic Speech (sarassai) of good poets flourish--the stream which operates according to its own will and with choice meties (chanda), which is precious (mahaggha) due to the dignity imparted by the wealth of flawless diction (paya), and the flow whereof is blocked only by the blockheads (jalahi); and which thereby resembles the stream of the river Sarasvati (sarassai), which moves according to its own liking (chamda), which commands reverance (mahaggha) due to its mass of overflowing limpid water (paya), and the onward flow whereof is blocked only by the sea (jalahi). (1) Anthologist's homage to poets hiyayAi~ sajjaNANaM raMjai kasiNei khalayaNa-muhAI / savvaM suhAsiyaM pi hu jANa namo tANa sukaINaM // 2 sudhAsitamiti / sudhA prAsAdadhavalanadravyaM tadvata sitamapi zuddhamapi yeSAM kAvyaM sajanahRdayAni raJjayati, khalamukhAni kRSNayati, tebhyaH sukavibhyo namaH / sitasya hi raJjanakRSNIkaraNe virudhyete / virodhazcAyaM zabdateo nArthataH, 'suhAsiyaM' iti pada yataH subhASitazabdAdapi bhavati / tena yat subhASitaM kAyaM tasya sajjanahRdayAdiraJjanA. dikamaviruddhameveti // Salutations to the good prets : (it is a wonder that) all of their (creations), even though they are suhasiya (I. chunanm-white, 2, pure and excellent works of verbal art) dye (2. give joy to, ranjai) the hearts of the good, and blacken the faces of the wicked. (2)

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tArAyaNo In praise of the anthologist's patron uyayamadosaMtariyaM phuriya-payAvaM pi seviyaM suhayaM / namimo visamAiccassa Thaiya-teyassi niuraM // 3 viSamAdityaH pRthvIpatiramma stasyAdityAdRvyatirekA'yam / AdityasyAbhyudayaH sthagitatejasvinikurambaH san doSAntarito rAtryantari[1B] taH punarna bhavati sthAyI / tathA sphuritapratApaH san sevitaH san sukhadA na bhavati / viSamAdityasya hRdayaM sthagitatejasvi nikurambaM santamanutsAhAdibhiderniranantaritamanabhibhUtaM teSAmasattvAdeva, tathA sphuritapratApamapi sevitaM santamiha jagati sukhadamatApakAriNaM 'namimA' namAma: / tejasvina ekatra zazadharAdayo'nyatra paracakrapatayasteSAM / nikurambaH samUhaH sthagitA'ntariteo yena sa tatheti zliSTapadasyArthaH // We bow to the rise of Visamaditya (a novel sun so different from the familar sun-viz. King Amma), that is not dosamtariya (1. interfered by nights, 2. marred by faults), which though it has scintillating payava ( 1. heat, 2. prowess) is a source of happiness to those who resort to it, and which has overwhelmed all the other te yassi (1. luminaries, 2. powerful rivals). (3) The good and the wicked suyaNo dhui-niravekkhA vivarIya phalar3a khalayaNa-pasaMsA | sajjaNa- khala-niravekkhaM jaha-TThiyANaM guNANa namo // 4 stutyanapekSo'pi sujano'nuguNA bhavati / khalajanaprazaMsA tu viparIta phalati / prazasyamAnaH sarvo'pyanuguNo bhavati / khalaH stutAvapi viguNa pavetyarthaH / tasmAt kosa namasthastadAha / sajjanakhala nirapekSaM yathA bhavatyevaM yathAvasthitebhyA guNebhyo nama iti // : The good is indifferent to praise. The praise of the wicked produces the contrary result. Hence we bow to the merits whereever they are, irrespective of the good or the wicked (4)

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saMkua-saMkalio The antbologist's self-introduction goyama-gotuppaNNo bhavappao saMkuu tti nAmeNaM / nA yAvaloya'-gohI-chailla-saMsaggi-nimmAo // 5 kozakAraH svavaza sUcayatIti sugamam // There was one Sankuka by name, born in the family-line of Gautama, son of Bhava, who had become knowledgeable due to his contacts with the elites of the literary assembly of (King) Nagavaloka. (5) The nature and title of the apthology sadda-guNAhinahAhi va aMtilla-pariTThiyattha-vihavAhiM / ucceuM gayavaiNo gAhAo tArayAo vva // 6 teNesa dAsa-puNNA guNa-saya-saMpuNNa-kavva-rasiyANa / ANAe paDibaddho koso tArAyaNo nAma // 7 zabdA guNo'syeti zabdaguNaM nabho vaizeSikamate / gajapatirapi sahA: snigdhairdAnazIlAdibhirguNairvati iti saardrgunnH| yadi vA zabda vyAkaraNa guNitavAnabhyastavAniti zabdaguNa: tasmAt antarmadhye pari SThito'rthAnAM sAgaragirisaritprabhRtInAM vibhavo bAhulyaM yasya tad antaH pratiSThitArtha vibhava nabhaH / gajapatirapi antarmanasi pariSThitaH sthirabhUtos. rthasya zabdavAcyasya vibhavaH saMpattiryasya sa tthaa| tasmAcchabdaguNAdanta:pariSThitArthavibhavAnnabhasa iva gajapaterbappabhaTTeH sakAzAdgAthAH tArakA ivoccitya tena zaMkukanAmnA tArAgaNo nAma koza eSa prtibddhH| zeSa sugamamiti // __He collected the Gathas (composed) by Gajapati (i, e. Bappa. bhatti), who had amiable qualities (saddaguna) and whose mind was a treasury of mature meanings (paritthiyattha)-as if one would 1. nAvaloya. with a added above the line in a different hand. 2. tasmA-naH. 3. pratiSThAtA.

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tArAyaNo collect stars from the sky, which has sound as its quality (saddaguna) and within which the multitude of objects is located (paritthiyattha) (6), and, commanded by the connoisseurs of poetry that have hundreds of merits, compiled this anthology called Tarayana (Sk. Taragana) which is full of shortcomings. (7) The name and epithets of the original poet jesi jANihai jaNo suheNa kosammi saMcaraMto' hi / tAI subhaNiya-nihiNo kaiNo nAmAI vocchAmi // 8 jANihai bappabhaTTi guNANurAyaM ca bhaddaiti ca / / taha gayavaivaimAyariyaM ca seya-bhikkhaM ca vAI ca // 9 gAthAdvayaM sugamamiti / / I shall now mention those names of the poet-who is a treasure-house of Subhasitas--, which a reader, going through the antho. logy, will indeed come to know (8): He will know him as Bappabhatti, Gunanuraya (Sk. Gunanuraga), Bhaddaitti (Sk. Bhadrakirti), Gayavai (Sk. Gajapati), Ayariya (Sk. Acarya), Sey abhikkhu (Sk. Svetabhiksu) and Vai (Sk. Vadin). (9) (Index Verse 1) kai-cappabhaTTiNo cciya aMto-nANaM nihitta-telokkaM / iyareNa [24] kaha Nu tIrai bhaNi 'baddhakka-kakkaDayaM // 10 sugamA // It is the poet Bappabhatti's inner knowledge that encompasses the three worlds. How can anybody else compose (lit, 'say') (a Gatha with the key word) baddhekka-kakkadayam ? (10) 1. saMcaratehi.

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saMkua-saMkalilo Homage to the Kevalio [1] so jayai jaekka-pahU telokakaMta-majjhimuddesaM / nANaM jassa virAyai phalaM va baddhaka-kakaDayaM // 11 trailokyenAkAnto'vaSTabdho madhyamoddezo madhyamavibhAgo yasya tajjJAnaM tathA tadyasya virAjate / kimiva / baddho jAta ekaH karkaTako'STIlikA yasya tattathAvidhaM phalamiva / etaduktaM bhavati / yadIyakevalajJAnasya phalasyeva madhya sthitaM trailokyamaSTIlikevAbhAti sa jagadekaprabhurjayatIti / / Victorious is that sole lord of the universe, whose (Absolute). Knowledge, with its central region occupied by the three worlds, shines forth lik: a fruit wherein just one stone is formed. (11) (Index Verse 2) 'bhava-hutta-maNA' 'dADhA-phaDakkae' dohiM ceva gAhAhiM / 'aisaya'-'jaya'-saMbaddhAhi vAiNA bhuvaNamaisaiyaM // 12 sugamA // With just two Gathas (haviag the keywords) bhava-hutta-mana and dadha-phadakkae accompanied by the words) aisaya and jaya (respectively), Vai (i. e. Bappabhatti) has surpsased everybody in the world, (12) 'bhaka-hutta-maNa' tti jahA Homage to the Jina [2] paDivaNNa-carama-taNuNo aisaya-lesaM pi jassa daTTaNaM / __ bhava-hutta-maNA jAyaMti joiNo taM jiNaM namaha // 13 prtipnnaaH| te adrramA antyA tanuH zarIraM yaiste tathAvidhA yoginaH / atizayAnAmicchAyaSThAtAdavirahasahajasaurabhasaurUpyasarvabhASApariNAmiSA

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tArAyaNo katvAdInAM lezo alpatvamatizayasaundarya yena tallezamapi yasyAlokyAvazyaprAptavyamuktayo'pi vItarAgA yogino'smAkamapyamI bhUyAsuriti tIrthakara kAraNe'bhyAsaprakarSApAditajinatvalAbhAya bhavamabhilaSanti taM jinaM namateti // Bow down to that Jina, observing even a tiny fraction of whose supramundane powers, the Yogins, inspite of their having attained (the state of occupying) the last mortal body, become desirous of being born once more. (13) 'dADhA-phaDakkae2 tti jahA Homage to the Adivaraba [3] so jayai jassa dADhA-phaDakkae ucchalaMta-nivaDato / nIsAsuggama-vigamesu hoi gulio vya mahi-golo // 14 phaDakakaH kandukollAlanaM / daNTreva phaDakakaH tasmin daMSTrAphaDakake yasya niHzvAsodgamavigamayoracchalanipatan niHzvAsAdgame ucchalan tadvirame nipatan mahIgolo gulikeva bhavati / gulikA kASThakandukaH // Victory to him on whose bat-like fang the orb of earth, springing up and falling down at every expiration and inspiration, bebaves like a ball. (14) (Index Verse 3) 'saMkho' 'sAhaya-vaTTi' tti vAiNA jaha pasaMsiyA kaiNo / taha maNNe so cciya tihuyaNe vi kai-saddamuvvahau // 15 From the way Vai (i. e. Bappabhatti) has praised the poets through (the Gathas with the keywords) samkha and sahaya-vatti, I feel he alone in this world should bear the designation 'poet'. (15) 1. The letter subsequent to tIrthaka is blurred. 2. dADhAphaDakkao.

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saMkua-saMkalio Homage to poets 'saMkho' tti jahA[4] daMtu te kaiMdA jesiM attho chaNeNa chippaMto / saMkho vva nihI tattheva jAi sesaM pi ghettaNa // 16 . 'sAhaya-vaTTi' tti jahA[5] te kaiNo puhai-pariThiesu-atthesu jaNa-Na-diThesu / sAhaya-sAhiya-vaTTi vva jANa vANI parihAi // 17 anena gAthAdvayena kavIn prazasanti / nandantvityAdi / nandantu te kavIndrA yeSAM sambandhI vAcyo'rthaH kAvyanibandho janena sAmAnya kavinA gRhyamANaH zaGkhAkhyo nidhiriva zeSamapyartha tadIyaM nau [2B]va svAtmani yAti / aymtraarthH| zaGkhAkhyasya nidherIGmukha dvAra. racanAvizeSo yena tatra kSiSyamANaH sAbharaNa: karaH pravizati niHsAryamANastu vinAbharaNaM niHsarati / tato yathA zakhanidhI ratnAdirUpa: sAbharaNakareNa pusA gRhyamANaH tauSa nidhau zeSamapi karAbharaNarUpamarzamAdAya yAti tathA kavipatInAmapyarthA'nyena gRhyamANaH zeSaM svakIyamativiracitamapyartha gRhItvA tatraiva kavIndrAthe gacchati yeSAM te nandantu // Joyously happy be those master poets, whose ideas (attha), when they are plagiarized by the people (i. e. ordinary poets), diag in their wake even the latters' own ideas, and get accredited again to them (i. e. the master poets), like the divine treasure Sankha, whose wealth (attha), when it is sought to be grabbed by the people, drags along with it even the latter's valuables and returos. to ts source. (16) sAdhako mantravAdI / tena sAdhitA nivartitA vartirvatikA / sA yathA pRthivyAM bhUmau pariSThiteSvartheSu nidhirUpeSu janairadRSTeSu nayanagocaratAmatIteSu paritiSThati pada badhnAti, tathA pRthivyAM jagati pariSThiteSvatheSu vAcyeSu janaiH zeSakavibhiradRSTeSu anupalabdheSu yeSAM vANI paritiSThati baddhAspadA bhavati, te kavayo nAnya iti /

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tArAyaNo They are really the poets, whose languiga captures such ideas (attha) from the vast world (puhai -paritthiya) as are beyond the keo of ordinary poets, and which is thus comparable to the miraculous torch of a Master of Magic Charms, which halts and establishes itself on (the spots of) underground (puhai-paritthiya) riches (attha), invisible to the ordinary people. (Index Verse 4) dADhAo gayavaiNo nijjiya-kai-kuMjarAu rehati / 'sajjAvesAloyaNa'-'kavva-visuddhi' ti gAhAo // 18 'sadya AvezAlokanAdiH, 'kAnyavizudviriti ca gAthe / gajapate. nirjitakavikuJjare daMSTre rAjete iti // Gajapati's (i. e. Bappabhatti's) (two) Gathas, viz. (those with the key expressions) sajjavesalo yana and kavva-visuddhi, shine forth like the (two) iusks of a lord of elephants which have conquered other elephants in the form of other illustrious poets. (18) Censore of the wieked [6] sajjAvesAloyaNa-mahalla-koUhaleNa jai naDio / ___ para-casaNaM dANi khalassa kiM pi tA dukkaha kahesu // 19 sadya AvezasyAlokanaM tatra mahAkutUhalaM tenAnaTitastaralIkRto yadi tva tadAnIM hai 'dukkaha' azraddhAlo, khalasya kimapi paravyasanaM kathaya / ayamatrArtha: / khalo hi paravyasanamAkarpA paritoSarabhasena sadya AviSTa iva puruSo gAtrakampabhratkSepakaracalananayanastambhAdivikArabhAga bhavatIti // If you are burning with intense curiosity to witness a fellow becoming suddenly possessed, then O skeptic, you tell to the wicked about the troubles of somebody. (19) The good and the wicked contrasted [7] suyaNo dose vi guNIkarei iyaro guNe vi dUsei / kavva-visuddhi-nimittaM nyANimo ke samullImo // 20

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saMkua-saMkalio vAstaSazabdAlaGkArAdidoSApasAraNaM hi kaagyvishuddhiH| sA - na sujanAnnApi durjanAt / katham yataH sujano doSAnapi sataH sojanyAdeva guNIkaroti guNatayA sthApayati / itaro durjanA guNAnApi dUSayati doSAn kati / tataH kavirAha / kAvyavizuddhinimittaM na jAnImaH kaM samAzrayAma iti // The good would turn the faults (of others) into qualities. The other one (i. e. the wicked) would find fault even with the qualities (of others). (Such being the case,) we do not know to whom we should resort for removing defects from our poems. (20) (Index Verse 5) tA pAyAlamaho cciya taI 'asi-laTThIe' mahiyalaM jeuM / 'jAlAhi" vAi vijiyaM joisa-cakaM taDi-niheNa' // 21 kozakAraH kavimAlambya stauti yathA-he vAdin bappabhaTTe, 'tA' tAvat pAtAlaM adha eva yaccAdhAsthita tajitameva / mahItalamapi kilAsiyaSTayA / jyotizcaka ca divyapraharaNarUpataDinmibhena jIyate / tatossiyaSTiriti padeneApalakSitayA vakSyamANagAthayA jyotizcakra vijitam / etadukta bhavati / IdRgartha gAthAvayasya racayitA kapirna pAtAle na bhuSi na nabhastale vA'nyostIti tribhuvanamapi kavitvena tvayA jitamiti // O Vadin (i. e. Bappabhatti), having first conquered the nether world below and also the whole of the earth by means of your (Gatha containing the keyword) asi-lathi ('rod-like sword'), you conquered the sky (lit. 'the revolving wheel of luminaries't with your (Gatha containing the key-words) jala and tadi-nihena (i. e. 'lightning flashes'). (21) The lightning-sword being sharpened [8] uya joiMgaNa-parigaya-jalahara-peraMta-gholirI vijjU / niggaya-phuliMga-sANA-nisijjamANI silaTThi vdha // 22

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tArAyaNo ___ 'uya' iti 'pazya' ityasyANe dezI kriyApadam / tadayamarthaH / pazya tvaM prAvRSi vidyudiyamasti kIdRzI / jyotiriGgaNaiH khadyotaiH parigatasya vyAptasya jaladharasya paryante prAnte 'gholirI' ghUrNanazIlA sphurantI / tataH keveyamityata Aha / nirgatAH prasRtAH sphuliGgA vahnikaNA yasyAH sA tathA / nirgatasphuliGgA cAsau zANA ca nirgtsphulinggshaannaa| tatra nisi. jamANI' nizAyamAnA nizAtIkriyamANA yAsiyaSTi, seva vidyudiyam / atha caivaMvidhadhanaprAntaghUrNanazIlA vidyut pazya tathAvidhA'siyaSTiriveti bahuvacanena vyAkhyA / sphuliGgasahazA jyotiriGgaNA, zANasadRzo jaladaH, asiyaSTiriveti sadRzI ca vidyut-iti saMpUrNopameyam // See the Ightning-flash at the border of the cloud encircled by fireflies and resembling a sword-blade, which being sharpened on a whet-stone sends forth sparks. (22) Lightning or vomited marine fire ? [9] vaDavAnala saMvaliya maNNe pIya ghaNehi uyahi-jalaM / jeNa vamati rasatA jAlAu ime taDi-niheNa // 23 manye prAyo vaDavAlalena saMvalita mizrita jaladhijalaM dhanairmedhaiH pItama, yenaite dhanA rasanta ArasantastaDinnibhena vidhuvyAjena jvAlAH zikhizikhA vamanti udagIranti / zubhapeyadravyasaMgenAzubhamapi kenaSidajAnatA pIyate / tatpunarapAyaparihArAya klezenAraTatA tenaiva sahodgIryata ityayamarthaH / atathAvRttiSu dhaneSUprekSyata ityuprekSeyam // I think those clouds (unwittingly) drank the sea-water mingled with the marine fire : hence it is that shrieking, they vomit it out along with the flames in the form of ligbioing (23) (Index Verse 6) 'kolaMbA' 'keyAra' 'jalahara-khallA' ya 'hAri-caDio' ya / nUNaM guNANurAo imehiM vayaNehiM cau-vayaNo // 24 1. nizi.

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saMkua-saMkalio caturbhirgAthAvacananaM dhruvaM guNAnurAgo bappaTTidhaturvadana ityuktam / tathaibhizcaturbhirvadanaizcaturvacanastathA catubhirSa caurasau caturSado pramA / brahmaiva yadi paraM vaktu jAnAtItyartha: / ___with the four vayana-s ('poctic expressions', but also faces') *kolamba', 'key aram', 'jalahora-khalla' and 'hari--vadio,' Gunanuraa (Sk. Gunanuraga, i. e. Bappabh tti) is veritably cauvayana (fourfaced'i e. 'Brahma'; but also "man of four peetic expressions'). (24) The boiling cloud-pot [10] vijju-kaDhijjata-jalA balAya-pheNuggamA masI-mailA / gajjiya-rAvaNa-payahara-kolaMbA kalayalaMti vva // 25 'kolaMbA' iti piTharavAcI dezIpadam / jaladharA eva kolaMbA: piTharANi vahninA kvAthyamAnajalAni saphenodagamAni maSIbhirmalitAni santi kalakalAyanti / tathA jaladharakolambA vidyutA vahnirUpeNa kvAthyamAnajalA: / tathA valAkA pava phenedmio yeSAM te balAkAphenodmAH / mabIvanmaligA maSImalinAH santo garjita rAvaNopalakSitAH santaH 'kalayalaMti vdha' kAthana zabdamiva kurvantIti rUpakotprekSA / / As the water in the jet black cloud-pots is boiled by lightningfire, there comes up the froih of cranes and the sizzling sound of thunder. (25) The cloud-field [11] mAruya tottaya-saMcAieNa gAhei pAusa-kuTuMbI / naha-keyAraM kasiNabbha-maMDalI-mAhisakeNa // 26 nabha eva kedAro nabhakedAraH / prADeva kuTumbI / kRSNAbhramaNDalyeva 'mAhisaka' mahiSayUthaM kRSNAbhramaMDalImahiSayUtham / 'tottayaH' iti prAjanA mahiSAdipreraNI salohamayA kASThadaNDikocyate / mAruta eva 'tottaya' totraM prAjanastena codita preritam / atastena mArataprAjanapreritena kRSNAmramaNDalImahiSayathena prAvRkuTumbI nabhAkedAraM gAhate iti //

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tArAyaNo The Rainy Season like a farmer moves across the field of sky along with the buffalo-herd of dark cloud-masses, which he prodes with the driviog rod of the wind-blast. (26) The cloud-skip [12] jalahara-khallA-sittAe pAuso vAriu vva dharaNIe / gomaya-rasa-duAliM va dei hariyaMkuruppUraM // 27 jalaloDito gomayo 'gomaya-rasa-duyAlI' ityucyate / haritApurANAM haritatRNAnAM 'uppUra' nikara jalaloDitagomayarasamiva / jaladharaH sa eva 'khallA' dRtistayA siktAyA dharaNyA bhuvaH / prAvRTUsamayo vArikaH / tatastatkAlajanmanA haritatRNAkuranikareNa jalasamAloDitagomayaraseneva bhUtala ghilimpati // The Rainy Season, like a plasterer, having first sprinkled the earth with water from the leather bag of clouds, smears the earth with the liquid cowdung-plaster in the form of the mass ot the sprouting green grass. (27) Fallen into line [13] ghaNa-paDalehi chaijjaMtayAI daTTaNa jaNavaya-gharAI / chAei taheva nahaM pi pAuso hAri-vaDio vva // 28 ekatra dhanAni nibiDAni 'paDalANi' paTalAni tRNachajayaH ! anyatra ghanAnAM meghAnAM paTalAni jAlAni / tatra prAvRTsamayo dhanapaTalanibiDatRNamayAcchAdanaizchAdyamAnAni janapadagRhANi dRSTvA svayamapyaso tathaiva hAripatita evaM ghanapaTalame ghajAlanabho'pi chAdayati / yathA hAryA patito gacchato vahan janAnavalokya puraH samaviSamAdikamanAlocya gacchati / tathA sakalajanapadaiH svagRhANi ghanapaTalaiH [4A] chAdhamAnAni dRSTvA prAvRTsamayo'hamapi dhanapaTalanabhazchAdayAmi iti matveva chAdayan hAripatita ivetyucyate // S:eing people's houses being covered with ghana-padala ('thick thatching'), the Rainy Season too, as if fell into line and started to cover the sky similarly with ghana-padala ('layers of clouds'). (28)

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saMkua-saMkalio (Index Verse 7) 'naha-caMDila'-'naha-kappara'-'gayaNacchitti ya tihaa-ky-nhehiN| Ayariyassa paehiM hariNA va jayaM samakaMtaM // 29 AcAryasya bappabhaTTehareriva padainibhirjagat samAkrAntam ! bappabhaTTestAvat padairvacanaiH ebhirjagadAkrAntam / kIrazaiH 'tihA-kaya-Naherhi' tridhA tisRSu gAthAsu kRtanahai: kRtabandhestai stridhAkRtanabhobhiH / kathamityAha / nabhavaNDila nabhAkapara-gaganAkSIti / yathA harerapi vidhAkRtaM trikhaNDhIkRtaM nabho gaganaM bestAni tathA / tatastai stridhAkRtanabhobhirjagadAkrAntaM byAptamiti // As the world was conquered by the three steps (paya) of Visnu that divided the aerial space in three parts (tiha-kaya-naha), so the three key word3 (paya) viz. naha-candila, naha-kappara, and gayanacchi of Ayariya (Sk. Acarya i e. Bappabhatti), figuring in the three Gathai (tiha-kaya-naha) have conquered the world. (29) The whetting slab of the Sky-Barber [14] suracAvolavaNa-ghaNoha-maMDiyA-nihiya-taDiguNa-churassa / naha caMDilassa rehai caMda-kalA phaliha-siliya vva // 30 nAvitakSuraradanAdhArA bhaNDikA / suracApameSa 'olaghaNaM' AropaNa yasyAH sA tathA ghanaughaH meghaughaH sa eva bhaNDikA ghnaughnnddikaa| suracApAropaNA cAso dhanaudhabhaNDikA ca suracApAropaNaghanauSabhaNDikA / tatra nihitaH sthApitaH taDidguNa eva kSuro yena sa tathA tasya suracApAropaNaghanauSabhaNDikAnihitataDidguNajhurasya nabhazcaNDilasya namonApitasya sambandhinI sphaTikazilikeva candrakalA rAjate ! alpA zilA zikiketi // 30 The crescent moon shines as if it were the whetting slab of the sky-Barber, carrying on his rainbow-sling the sharing box of the cloud-mass that contained the lightning-razor, (30)

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sArAyano Tac quicksilver drops [15] dava-daDDha-pavvauDDINa pArayAbaddha-biMdu-nivahaM va / naha-kapparaM virAyai phuraMta tArA-gaNAiNNaM // 31 jvaladanalatApyamAnAdhAraH pAradaH pAtyamAnaH pAtanAyantreNoDDInaH sannupari karpare kaNazo lamastiSThati / so'rtho'yamAcAryeNotprekSyate'tra yathA-davena dagdhAstApitA ye parvatAstebhya uDDIna uddhaM to yaH pAradaH sUtakastenAbaddho racito bindunivaho yasmistathA / nabha eva karparaM namaHkarpara, sphuratA dIptimatA tArAgaNenAkIrNa vyAptaM sphurattArAgaNAkIrNa, tattAdRzaM sannabhAkarpara davadagdhaparvatoDDInapAradAbaddhabindunivahamiva virAjate // 31 The pot-sherd of sky shines full of a mass of sciotillating stars that are like a collection of quicksilver drops formed thereon, having risen up from the forest-fire-heated mountains. (31) The poultice of the autumn cloud [16] gayaNacchiNo galaMtassa kAliyA-nIli-pihiya-tArassa / dei sarao siyabhaM paya-gabhaM rUya-paDalaM va // 32 meghAndhakArajanitaM malinatvaM kAlikA / tArA nayanagatA puSyAleSAdirvA / kAlikaiva nIlI nayanadoSaH kAlikAnIlI, tayA pihitA'ntahiMtA tArA yasya tattathA / gaganAkSiNo galataH syandamAnasya sitAbeM pravetamabhraM payogarbha 'rUya-paDalaM va rUtapaTalamiva zaratsamayo dadAti / 'ruyaM' iti sAmAnyabhASayA karpAsaromacayaH picUcyate / etaduktaM bhavati / syando nAma nayanarogastenANo nIlyantaritatArasya galataH kSIragarbha rUtapaTala vistIrNa rUpaM picu kazcid datte tena tanna galati / evaM gaganasya saja ladavattayA galata: kAlikAntaritapuSyAditArasya kiMcijjalagarbha sitA zaratsamayo dadAti tena tanna galati / satyA zaradi jaladodayAbhAvAt / ato gaganAdi nayanAdibhI rUpitamiti rUpakAlaGkAraH // To the dripping sore eye in the form of the sky with the eye-balls of stars covered with darkness (ni/i), the Autumn applies

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saMkua-saMkasimo cotton poultice in the form of white clouds drenched in payas ('milk', also 'water'). (32) ___ (Index Verse 8) 'maragayamayAyavattaM gayavaiNo jayai payaDiya-cchAyaM / jeNovariTTieNa vi sesA kaiNo haya-cchAyA // 33 prakaTitacchAyenAtapatreNa ghuparisthitena sarva eva sacchAyA bhavanti / gajapatestu kaveH sambandhinA yenoparisthitenApi satA zeSAH kavayo hatacchAyA bhavanti / tanmarakatamayAtapatra gAthayotprekSitaM prakaTitacchAyaM jayati / zabdavirodho'tra nArthavirodhaH / yato gajapatinA yadutprekSitam marakatamayAtapatramiveti prakaTitacchAyaM prakaTitazobham / ata eva zeSakavInAM tatkavitvajitAnAmupari sthitamata eva cAnenoparisthitena jitatvAccheSakavayo hatacchAyA hatazobhA bhavanti / ___Victorious is Gayavai's (Sk. Gajapati's i.e. Bappabhatti's) maragayamayayavatta (i. e 'th: Ga ha having that as a keyword'; alternatively, emerald-studded umbrella'), which is payadiyacchaya (beautiful'; alternative:y, which gives shade'), and is such that eventhough it is there above (alternatively, "because it stands above all'), the rest of the poets become lustreless (alternatively.. 'do not get any shade'). (33) The emerald umbrella [17] uyaha naI majjhagaeka-meha-muccaMta-saMtaya-jalohaM / sarayasta phaliha-daMDa maragaya-mayAyavattaM va // 'uyaha' pazyata nabhaH / kIdazam / madhyagaukameghena mucyamAnaH saMtato'vicchinno jalaugho yasmitanmadhyagaukameghamucyamAnasaMtatajalaughaM tadIzaM nabhaH kimivetyAha / 'sarayassa' zaratsamayasya nAyakasya sphaTikaH daNDo. yasya tat sphaTikadaNDaM marakatamayamivAtapatraM chatrama / ayamatrArthaH / madhya. gataikameghamucyamAnasaMtatajalaughena sphaTikadaNDAkRtinopalakSita prAyo--- jaladhArAdharodha--vikacakuvalayavanacchavinabhomaNDala marakatamayaM kartumiva zaratsamayanAyakasya pazyateti //

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tArAyaNo You look at the sky : It has a clou.i in its centre raining continuously water in huge qusntities, and thereby resombling the Autumn's emerald umbrella that has a marble rod. (34) (Index Verse 9) 'phaNi'-'vAra-ramaNi'-'paIva'-'varisa-pAhuNaya'-iya-paIvehiM / ujjAiyaM jayaM seya-mikkhuNA payaDiyatthehiM // 35 prakaTitaghaTAdha%H pradIpaihi kenApi nagadudhotyate / pravetabhiranA zrIvaHpabhaTTinA punaH phaNivAraramaNItyAdigAthAcatuSTayaniSApradIH prakaTitavAcyA?: jagaduyotitam / yataH taMdIbhAvanAparigataparamaparitoSapUritahRdayasya jagato mukhavikArAMdirUpo bhavatyevodyotaH // The Seyabhikkhu (Sk. Svetabhiksu i. e. Bappabhatti) has illuminated the world by means of five lamps, viz. (the Gathse with the respective keywords) phani, vararamani. parva and varirapahunaya which reveal attha ('deep-lying meanings'; alternatively; 'objects'), (35) The Lamp-Spakes [18] pAyAloaraNa-maNA kaya-dhaNa-kajjA phaNi-vva phuDa-maNiNo / baddhaddha-dhUma-daMDA mahIe dIvA virAyaMti // 36 dhanakArya kartu kila prAvRSi sarpAH pAtAlAdihAyAnti / punaH kRtaghanakAryAH zaradi pAtAlaM vizanti / so'yamoM dIpAlikAyAM dApeSu kavinotprekSyate / yathA baddho racita Urdhva dhUmadaNDAkRtidhU moyaste baddho dhumadaNDA dIpA mahyAM pRthivyAM virAjante / ka iva ityAha / kRtaM ghanAnAM meghAnAM kArya ghanAti vA kAryANi yaiste kRtaghanakAryAH / sphuTA maNayo yeSAM te sphuTamaNayaH / pAtAlAvataraNe mano yeSAM tAdRzAH phaNina va / etaduktaM bhvti| uragazarIrAkArovapravRttadhUmadaNDopalakSitaH

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saMkua-saMkalio ziromaNinibhapradIptadazAmukhavilasadaciSo dIpA: prAkRSi ghanakArya kRtvedAnI pAtAla praveSTukAmAH sphuTamaNayaH phaNina iva virAjante // On the earth the lamps with the columns of sm ke arising from them are shining : they appear like snakes with their bright jewels, who having accomplished the task of the clouds (or 'many tasks'.) now intend to reenter the nether world. (36) [19] tuha vAra-ramaNi-saMmada-khuDiya-phuDa-pomarAya-saMvaliyA / DajhaMtehiM payaMgehiM navara dIvA muNijjati // 37 - he rAjan, tava vAraramaNinAM sammardatruTitaiH sphuTapuSparAgairmaNibhiH saMvalitA mizritAH santo dIpAH sAdRzyAdajJAtA: / 'navaraM' kevala dahyamAnaH pataGgaravagamyante ime dIpA iti / vibhaavodaattaakhyopmlngkaaraaH|| The lamps, intermingled as they are with the bright rubics broken loose due to great commotion among your courtesans, can be distinguished as such only through the moths burning. (37) [29] eeNa vimhao mhaM jaM pahu bahu-vimala rayaNa-dIvassa / . dIvAliyAe vi tuhaM dIsei ekko vi na paIvo // 38 bahavo vimalaracanA vimalaratnopalakSitA vA vimalaratnAnyeva vA dIpA yasya sa tathA / tasya bahuvimalaracanAdIpasya vimalaratnadIpasya vA / dIpAlikAyAmapi tava prabho yadeko'pi na dRzyate pradIpaH / etenAmena vismayo'smAkam / vibhavahInasyApi kila dIpAlikAyAM gRhe bahavo dIpAH sphuranti ! yastu bahuratnadIpo mahIpatistasya dIpAlikAyAmapyeko'pi pradIpo na dRzyata iti mahadAzcaryamiti nindA / tathA etena vismayo'smAkaM yat prabho, bahuvimalaratnadvIpasya tava dvIpAlikAyAmapi siMhalAdidvIpapaGktAvapyekospi 'paIvo' iti pratIpaH pratikUlo na dRzyata iti prazaMsA / tadatra prazaMsanIyArthapratipAdanaprasaMgena prAkRtazabda leSadhazAnnindanIyArtho'pi jAta iti nindAstutirayamalaGkAraH // This is, o lord, a great wonder for us that eventhough there is divaliya (DIVali, the festival of lights'; alternatively, the rows of

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tArAyaNo conquered islands and contineots') and you have many viamlarayanadiva ("lamps of pure gems'; alternatively, 'islands that produce precious genis'), you are not seen with a single paiva (lamp lighted'; alternatively, enemy'). (8) [21] daDaDha-payAvai-nimmiya gharAhariM bhamira varisa-pAhuNaya / Niya-Neha-bakhaya-kAraya hosi paIvo na saMdeho // 39 dagdhaprajApatinA kumbhakAreNa vinirmita, 'gharAdhari bhamira' iti gRhAta gRhaM bhramaNazIla, varSa prAghUrNaka, nItasya sthApitasya snehasya tailAdeH kSayakAraka bhavasi pradIpo na saMdehaH / iti dIpAlikApradIpasAmyena nAyikA kAcita priyamupAlabhate / yathA-he priya, dagdhaprajApatinA hatavidhinA nirmita, rAgataralatvAdaparAparanArINAM gRhe gRhe bhramaNazIla, varSeNa prAghUrNaka varSAdekavAramasmadagRhamAgacchan, ata evaM nijasnehakSayakAraka, bhavasi pratIpaH pratikUlo na saMdeha iti / / Maaufactured by a wretched potter, going from house to house, annual guest, consuming the oil supplied, you are indood a lamp-no doubt about that. (Alternatively) created by the hopeless creator, wandering from door to door, visiting me only once a year, destroyer of my love (towards you), you are absolutely disgusting. (39) (Index Verse 10) 'agayA' 'suhatthiNo' 'surayaNaM' ca 'nAlakkhayaM 'rayaNa-koDI' / iya thuvvai naranAho taha vi jaso bhaddaittissa // 40 gAthA-paJcakena naranAthaH stuuyte| tathA'pi gAthAH ke nAmedRzIrakliSTazabdazleSanirvAhabhAjo racayitumalamiti yazo bhadrakIte IppabharbhavatIti / Eveathough the Gathas with the respective keywords agaya, suhatthino, surayanam, nala-kkhayam and rayana-kodi eulogizo the king, it is Bhaddaitti (Sk, Bhadrakirti i.e. Bappabhatti) who has earned the fame. (40!

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20 saMkua saMkalio [22] savve vi kayA agayA jaiya cciya nUNamahivaI tumae / sayala-visa-maMta-siddhI taiya cciya tujjha saMpannA // 41 .. agado viSanAzako yoga: / so'pi nUna nizcitam ahipatayaH kaNIndrAH 'nAyA zciya' yadaitra 'tumae' tvayA agadA viSadhinAzino yogAH kRtAH sakalaviSamantrasiddhiH tadeva tapa saMpannA / viSApahamantrA viSamantrAstevAM siddhiH / puruSasya sarvaviSApahAre kRte sati jAyate'bhaya ma / punarahInAmadhipatayastAnevAgadAna viSanAzino yogAn karoti / tasya sakalaiva viSamantra. siddhiH saMpannaivetyamumartha pratipAdayabhireva padairaparaH prakRto'rthoM yogyate / tadyathA ---prAkRte 'nUNa' ityAdInAM vibhASayA'nusvAralopa uktaH / yathA 'navaraM navara', 'nUnaM nUna' / tenAyamoM -'nUNa mahivaI' nUnaM mahIpatayo rA[6 A]jAnaH sarve'pyagajA AcchinnahastinastvayA yadaiva kRtAH / viSamA duSTAH sAmantAH / sakalAzca te viSamAzca sakalaviSamAH / teSAmanto vinAzaH tasya siddhiH sakalaviSamAntasiddhiH / yadi vA viSamAntAH pratyantabhUmayaH / tAlAM siddhiH sthIkaraNam / sA ta daiva sakalamahIpatyagajIkaraNakAla eva tava saMpannA / ayamatrAthaH / gajabalamAsAdha mahIpatyo viSamA bhavanti / yadA tu tvayA svapauruSeNAhatahastinaste kRtAstadA tava na kazcidviSamo'stIti / / Really, when you mide all the lords of stakes (nunismachival) serve as poison-aotedotes (agaya) thg i very moment you got mastery of the charin that c unteracts all types of snake-poisons (visa-samta-siddhi). (Alternatively) Reall, hen you deprived all rivals of their ceptai's (agoja). Ta very monent You got co! ir over all the hostic cloves (or all the unfriendl; border terrories) (visamamta-siddhi). [23] taha riuNo NAha suhathiNo di bhaddattaNaM kaha lahaMta / jANa duha cceya gaI eke maMdA mayA aNNA // 42 he nAtha, tuha riuNo' taba ripoH sabandhina: suhastino'pi zobhamahastino'pi bhadratva bhadrajAtyupalakSitahastitvaM kathaM labhante yeSA 'duhacceya' dvidhaidha gativeva prakArau / kA'sau dvidhaiva gatirityAha / eke suhastino

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tArAyaNo 'pi mandAH mandajAtyupalakSitAH / anye 'mayA' mRgAH mRgajAtyuupalakSitA iti / nanu ca bhadrajAtaya eva suhastino bhavanti / tatkatha suhastino'pi bhadratvaM na labhanta iti yuktaM syAt / atrocyate / mandamRgajAtiSu gajeSu madhye ye nitAntazobhanAstadapekSayA suhastina ityuktam / ato'yamadoSaH / tadayamarthaH / na tAvat tava ripoH sannyapi suhastinaH, santi cenmandamRgajAtaya eva, te'pi tvayA'pahatAH / satkariNAM tu bhadrajAtInAM deva eva bhAjanam / tathAsyamaparArthaH / he nAtha, 'tuha riugo' taba ripatraH 'suhatthiNo vi' sukhArthino'pi zubhArthino'pi vA bhadratvaM utsAhAdimupayogalakSaNaM zobhanatvaM tat katha labhante / yeSAM tava ripUNAM dvidhaiva gtiH| kA'sAvityAha / eke mandA rAgiNo'nye mRtAsyaktaprANAH / anyo'yamarthaH / bhavadbhayena nijanagaramapahAya tava ripavaH satatamanucitakandamUlaphalAhAreNa ye jAtajvarAdirogAste sukhamartha yamAnA api, ye tu mRtAste sukhamarthitavanto'pi, kathaM bhadratvaM labhante / naiva labhanta ityartha: // O Lord, how even the best of your enemy's elephants can be of the Badea species, there being for them scope only for two species ?-some of the e ephant can b: Manda (manda), others Mrga (maya). (.Alternatively) How, O Lord, your enemies, eventhough coveting happiness (or blessedness), can attain welfare, when there are oniy no fa!es destined for them : some of them have becomc sick (mamda), while others have died (maya) (42). [24] AyAse a-Thavito vi kuNasi jaM surayaNaM paNai-satthaM / taM vinAyamauvyo naranAha payAvaI taM si // 43 prasiddhA hi prajApatiH sraSTA kila 'AyAse' AkAze sthApayatu(?ti) surajanaM, tridazaloka karoti sRjati / 'taM puNa AyAse a-ThaSito vi kuNasi jaM surayaNa paNati(? i)-sattha', tad vijJAtamavagatam, he naranAtha, tvamapUrvo'nanyaH prajApatirasIti / ebhireva pdairympro'rthH| tadyathA-'AyAse' khe asthApayannapi praNayisArtha 'surayaNa' suratnaM suSTu zobhitAni ratnAni yasya taM' tattAdRza praNayinAM sArtha samUha yat karoSi tad jJAtamasmAbhirapUrvaH prajApatiH prajAnA[6B]thastvamasi / aparohi

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saMkua-saMkalio prajAnAthaH svalpadhanamapi praNayijanauM kurvan mahati sevAyAse sthApayati / tvaM punarena suratna karoSi na cAyAse sthApayasi ityapUrvaH prajApatirasi // O King, because you make the host of your supplicants surayana ('gods', alternatively, 'rich in jewels') even without placing them in ayasa ('heaven', alternatively, under strenuous service'), I realized that you were a unique Creator (or lord of the subjects) (payavai). [25] vAraNa dUsaheNaM kaMpAvito ahoraNe suhaDe / sisiro vva paNai-kamalANa nAha nAlakkhayaM desi // 44 'sisiro vya tuma nAlakkhayaM desi / yathA ziziraH zizira kAlaH kamalAnAM nAlakSaya dadAti, tathA he nAtha,tvaM praNayikamalebhyo mAlakSaka na lakSarahita dadAsi / kiM kurvan / sukaMpayan / 'suhaDe' suSThu 'haDA' vRddhAH 'suhaDA' tAn suvRddhAn / kIdRzAn / 'ahoraNe,' 'horaNa' prAvaraNa sadarahitAH 'ahoraNA' tAnaprAvaraNAn / duHsahena vAtena himAmilena ziziraH kampayati / tvamapi duHsahena soDhumazakyena vAdenA(?)pi / aho Azcaryam / 'raNe' saMgrAme subhaTAn kampayan praNayikamalebhyo'lakSaka ma davAsIti zabdazleSopamA // As the winter, making the unclothed (ahorana) aged persons (suhada) tremble (kampavimto) due to unbearably cold wind (vaa), destroys the lotus-stalks (nala-kkhaya), so you 100, O Lord, making the combatants (suhada) in the battle (rane; lie low (kam pavimto) through your unbearable blows (vaa), give to the supplicants not less than a lakh (nalakkhaya) --what a wooder (aho) ! (44) [26] paNaINa deva dito bahuso lakkhAiM uttaNo kIsa / paDivakkhANa vi tuha diti gayavarA rayaNa-koDIo // 45 'gayavarA' iti gatavarA vararahitA: sAmAnyaprANino'pi yastha pratipakSANAmapi ratnakoTIda dati, sa tvaM deva, devatvAdiva svayameva varasaMpanno bahuzo'nekazI lakSANi dhanAnAM zatasahastrANi praNayibhyo radat 'kIsa' kasmAt 'uttuNo' garvitaH / gatavarANAM ratnakoTayo ma santi,

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tArAyaNo 23 satyo'pi katha pratipakSebhyo dIyanta ityuktamiti cet satyam / kinta zabdazleSavazAdayamarthaH samAyAto'nupapanno'pi drshniiyH| tadyathA - 'gayavarA'. gatavarA / 'rayaNakoDIo' rtnkottiiriti| ayaM tu yukto'rthastayoreva padayoryonyaH / yathA-'gayavarA' gajavarAH pradhAnA gajAH pratipakSebhyo'pi 'rayaNakoDIo' radanakoTIntAprabhAgAna dadati / sa tvaM re deva, anekazo'pi lakSANi praNayibhyo jAtasnehebhyo dadAnaH kasmAd grvitH| yato yasya pratipakSadalanakSamA gajavarAH santi tasyopanatasakalamahItalAptakarasya bahuzo'pi lakSadAne ko garvaH / tadetenAnekakoTidAnocito'pi deva tvamasItyuktaM bhavati / / O Lord, how can you take pride in giving frequently sevoral lakhs as gifs to the supplicants (also, to the loyal persons'.) when even your ordinary subjects with no resources (gayavara) give crores of jevels(rayana-kodioyeven to the opponents (padivakkhana) ? (alternatively, when your exceliant elephants (gayavara) impart with their task-ends (rayana-kodio) blows to your enemies ?). (45) (Index Verse 1!) 'susiyattaNa'-'bahulakkhaya'-'sirIsa'-'jaladugga'-'pAraNArIhiM' / gAhAhi pasaMsaMta vAdi kahaM taM psNsemo||46 gAthAbhirmahIpati prazaMsana he vAdina, kathaM tvAM prazaMsAmaH / prazAsAyAH purovartI bhavAnityartha: // O Vadin (i.e. Bappabhatti), in what way can we praise you enough for your eulogizing Gatbas that contain (respectively the keywords) susiyattana. bahulakkhaya, sirisa, jaladugga and Varanarthin ? (46) .. [27] jo aNNavANarohaM paraM pavaNNo sai ciya nariMda mA kira so tujjha jaso pAvau susiyatta7ANaM parama // 47

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saMkua-saMkalio. 'aNNavANaroha' / annaM ca pAnaM ca annapAne / tayo rodhe nirodhaH mammapAnarodhaH tam / 'paraM' atyartham / 'sai cciya' sadaiva prapannaH prAptaH / sa kathaM 'susiyattaNaM' zuSkatvaM kArya paramamatIva mA prApat / api tu zupitatvaM zoSa prApnAtyeva saH / etadarthapratipAdibhiH padairamIbhirevAyamaparo'rthaH pRthvIpateyaM zasi yojyate / yathA 'aNNavANa roha' arNavAnAM rodhaH samudrANAM taTaM 'para' parabhAgavyavasthitaM yat tava yazaH kartR sadaiva prapanna, samudrANAM para tIra yadagatamityarthaH / tada bho narendra tava yaza: paramamutkRSTaM ka' 'susiyatta 'suSTu sitatva suzuklatvaM kathaM praapnotu| api tu sAgarANAM para pAra gataH yaza: tava susitatvaM prApnatyeva / saMskRte napuMsakamasantaM prAkRte puMlliGga bhavati / tena 'seo jasA' iti bhavati / King, your Glory sever takes any fucd or drink whatsoever. (annavanaroham param). So low possibly can it ro become extremely emaciated (susiyattam pararon pavau) ? (Alternatively,) your glory bas stacled the faither shore of the oceans (annavana roham param ;. So hc possibly can it rofaltain the maximum whiteness (i. e. purity) (su-siyttam parau om) ? (47). [28] bahulakkhaeNa bahuso mahA-pasAeNa tujjha nara-nAha / paNai-samUho caMdo vva vaMdaNijjo jae jAo // 48 ekatra bahUni 'lakkhaM' dhanazatasahasrANi yasmAt sa bahulakSako mahAprasAdaH aparatra bahulasya kRSNapakSasya kSayA bahulakSyaH / kIdRzaH / mahAn prasAda prasannatA yasya sa mahAprasAdaH / tena bahuzo'nekazastava naranAtha praNayisamUharacandra iva jagati vandyo jatiH / bahulakSayeNa zukla pakSArambheNa prasattibhAjA jagati yathA candro vandhastathA bahulakSakena bahuzastava mahAprasAdena prnnyismuuhe| vandanIyo jAtaH // The host of your supplicanis, o King. which has frequently received many a kns lunulak khaya)and great favours (mahapasaya) from you, has become adorable for the whole world like the noon, which puts an end to tbe dark balf (bahula-kkhaya) ard prodi ces eve-incrcasing bringh'ness (maha-pasaya) (48)

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tArAyaNo [29] aNNo cciya AyAro anno cciya patthivANa vvhaaro| jeNa sirIso vi tuma desi mahA-pIlu-pabbhAraM // 49 anya eva pArthivAnAM rAjJAM AkAro rUpamanya eva ca vyavahAraH kartavyam / yaduktam 'azaGkitAkAramupaiti zaGkitaH' iti / tadiha hAdaraleSAdevAkArAnyatve vyavahArAnyatva darzita nArthataH / tadyathApIlaH phalAni teSAM prAgbhAro nikarastaM pIlureva dadAti na zirISaH / tvaM punaH 'sirI' zrIH tasyA Izo'pi zrIpatirapi mahApIlUnAM mahAhastinAM prAgbhAraM dadAsi ityanenAtheM nAkArocita eva vyavahAraH / yato yaH miyAmIzaH zrIzo bhavati sa mahAkariNAM samUhaM dadAtyeva / / (It seems that) the kings have one kind of appearance and quite a different kind of behaviour ; for eventhough you are irlsa (the Siaisa tree'; alternatively, the lord of wealth').' tou givo a huge quantity of pilu ("the Pilu fruite"; alternatively, 'elephants'). (49) [39] saMpuNNa-kosa-daMDaM jala-dugga-gayaM pi dalai kamala-vaNaM / diTTammi jammi kaha so sUro mA bhuvaNamakamau // 50 kozo bhANDAgAro daNDo'rthArjanaheturupAyaH / anyatra kozo garmoM daNDo nAlama, tau saMpUNo yasya tata saMpUrNakozadaNDam / jaladurga gatam / parva jigISudharmopeta kamalapanaM, kramalavanaM vA krama nyAyaM lunAtI(7B)ti kamalavana nyAyacchedizatruvRndam, yasmin dRSTe sati dahati bhiyate sa 'gharo' bhAnuH, zauryayukto vA zUraH rAjA kathaM mA bhuvanamAkAmatu / jigISudharmopetamapi vicArayannAkAmatyeva sa bhuvanam / jaladurgagata. mityarthazleSaH / saMpUrNakozadaNDamiti zabdaraleSaH / At whose sight the mass of lotuses (kamala-vana). complete with their stalks and calypses (sampurna-kosa-danda) open up (dalati) eventhough it is surrounded by water (jala-dugga-gaya), how can that sun (sara) not overpower the whole world ?

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saMkua-saMkasio (Alternatively) At whose sight a recalcitrant adversary, eventhough equipped fully with rich treasury and army (sampunna-kosadamda) and taking refuge in a fort surrounded by water-filled moats (jala-dugga-gaya), breaks up (dalati), how can that hero. (sura) not overpower the whole world ? (50) [31] taM pi hu acchinna-siriM sevijai taM pi vAraNArI hiN| tuha kaDayA riu-nayarassa mijae nAha na tilo vi||51 he nAtha, tava kaTakAcchivirAt sakAzAdripunagarasya timo'pi bhedaH nAstItyarthaH / kathamityAha / yasmAttadapi ripunagaram, 'api'zabdAt kaTakamapi, acchinnabhi / ekatra duSpravezavipulavipinIbhUtabhUmitvena janasaMcAravirahAdacchinnA avidAritAH zriyo vilyatarakho yasmin ripunagare tattathA / anyatra acchinnA pravardhamAnA zrIlakSmIryastha tvatkarakasya tattathA / punaH sevyante tadapi aripura svarakaTaka 'cAraNArIhi ityeka vAraNAnAM hastinAmaribhiH siMharapara' vAranArIbhirastrIbhiH senyata iti sabandhaH / O Lord, the enemy's city does not differ by a fot from your military camp : both of them are acchinna-siri (the former is sequestered and su the approach to it is covered with bilvu-trees not cut off; the latter has its (undiininished glory), and both of them are frequented by varanaris (the former by lions, the latter by courtesans). (51) gAthAkozakAraH kavi stauti (Index Verse 12) 'savya-gayassa' 'sa-jIve' 'aMteuriyAu' 'neya saddahiyaM' / eyAhiM sugAhAhiM vAi agAho kahaM si tumaM // 52 'savva-gayassa' ityAdibhiH sugathAbhirapi satIbhiheM vAdina bappabhahe 'agAho' agAtho gaathaarhitH| kathaM tvamasIti virodhaH / tadatra zabdavirodha

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tArAgaNI eSa nArthavirodho yasmAdetAbhiH sugAthAbhiH agAdho gAmbhIryapratipAdakavAda bhavasIti nArtha virodhaH // O Vadin (i.e. Bappabhatti ), how can you be agaha (1. 'with no Gathas to your credit', alternatively, 2. 'unfathomably rich in meaning' ) despite these excellent Gathas, viz. ( those with the keywords) savva -gayassa, sa-jive, amteuriyau and neya saddahiyam ? ( 52 ) [32] savva - yassa vivAso riu bahu-nayaNesu tuha pahu jasassa | tANa ghajaNa- vigameNa jeNa so hoi dhavalayaro // 53 27 sarva gatasyApi vyApino'pi tava yazaso [vi]vAso vizeSeNa nivAso ripuvadhUnayaneSu zatrustrIlocaneSu / kathametadavagamyata ityAha / yena kAraNena 'tANa' teSAM ghanAJjanavigamena bahalAJjanasya viraheNa tvatyazo dhavalataramatizayena dhavala bhavati / ayamatrArthaH / yo yatra tiSThati sa tasminnAdhAre malopahate malino bhavati / tatastu male galati samujjvalo bhavati | kRpANanigatitapatinAM tava ripuvadhUnAmanavaralerodanA saMtatidhautamaJjanaM nayanebhyo yathA yathA gaLati tathA tathA tagha yazo dhavalatara bhavati // O Lord, eventhough your fame has spread everywhere, it has its favorite residence in the eyes of your encmies' wives, because it shines there with greater whiteness due to the disappearance of the thickly applied kohl (it having been washed away by ceaseless. weeping). (53) [33] nUNaM dhaNummi tuha pahu saMkamai vivakkha-jIviyaM samare | [8] tammi sajIve kaha riuNo huMti aJjIva || 54 nUnaM manye, tava prabho dhanuSi cApe vipakSajIvita saMkramati samare / 'iharA' itarathA yadi vipakSajIvitaM tatra na saMkrAmati tadA tasmin dhanuSa ki sajIve jIvA jyA maurvI tayA saha vartate iti sajIva sajyaM samaurvot miti yAva / tasmin sajIve sajye dhanuSi samare samAropyamANaguNa

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28 saMkua-saMkalio eva tava ripavo bhayena tyaktajIvA bhavanti / tatastena tajIvena tava dhanuH sajIva sajyaM bhavatIti manye / O Lord, it seems, in the battle your enemies' life pastes over to your bow (and lives there); otherwise, how can the enemies become lifeless (ajjiva), the moment the bow is strung (sajive ) ? (54) . [34] bahusoharagAu a-vihavAo vaTTaMti tujjha verINaM / ki aMteuriyAo na hu na hu naranAha nayarIo // 55 he naranAtha 'bahusohaggAo avivAo' tava ripUNAM vartante kima taHpurikAH / na hi / kAstarhi ityAha / 'nayarIo' nagaryaH / katham / ucyate / 'bahusohaggAo' bahuzo bhagnA uddhasatvAt / tathA 'aghivAo' avibhavAH tvadarINa nagaryo vartante / na tu bahusaubhAgyA avidhavAca tadantaHpuranArthaH kintu galitasaubhAgyA hatabhartRkAzceti // 'O King' bahusohagga and avihava are your enemies' 'Do you mean their queens (are having very bright fortune and their husbands alive ) ?'. 'No, no. I mean their citics (are destroyed frequently and they are quite bereft of glory)'. (55) [35] taM kuNasi bhIma- sAhasa- laMghiya-naya-devva purisayAra - paraM / jaM avijamANaM pa tIrae neya sadahiMu // 56 bho bhImasAhasalaGghitanayadaiva bhImasAhasena lahito nayadevo yena sa tathA tasya saMbodhanaM he bhImasAhasalaGghitanayadeva va puruSakArapatham pauesari karoSi / yaH puruSakArapatho'nubhUyamAno'pi tIryate zakyanenaiva zraddhA pratipattum / vatpuruSakAro jagati prasRta ityanubhUyate, lokAtIta iti na zraddhIyata ityarthaH // By disregarding the dictates of policy as well me destiny by means of your terrific bravery, you are chalking out a path of personal endeavour which, eventhough it is actually experienced, seems unbelievable. ( 56 )

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tArAyaNo (Index Verse 13 ) 'avariTTiya-lIhaM' ti ya 'cakkayareNaM' ti taha ya gAhAo / kAo vi avakAu vAi to kaha Nu ghaDiyAo ||57 the 'kAo vi' vakroktyA bhaNite / 'avakAu' aparake parahite nirmalArthe iti yAvat / te tAdRzyau gAthe vAdinAsscAryeNa kathaM tu ghaTite iti zabdavirodhaH // 29 O Vadin (ie Bappabhatti ), how did you compose such Gathas (with the keywords) 'avaritthiya- liham' and 'cakkayarenant which are avamka ('not vaika', alternatively, 'lucid') in spite of being vamka ('possessing the quality of vakrata, i e oblique u. ode of expression' ) ? ( 57 ) [36] abbo tumAi jaM-picchaeNa taM kiM pi ettha vahariyaM / avariTTiya-lIhaM jeNa dei paDhamaM tuhaM loo // 58 'avvoM' ityAzcarye / 'tuma vayA 'jaMpi (? pi) cchapaNa' yatprekSakena kiJcidarzinA tat kimapyatra vyavahatam / avariTThiya-lIha' apratiSThitareSaNaM apratiSThiteSu pratiSThArahiteSu madhye prathamAM rekhAM yena tava dadAtIti nindA / na vA 'ja' iti yad yasmAt prekSakena paryAlocakena satA yA tat kima yatra pareraza [SB] kya tatra jagati vyavahatamanuSThitam yenAnanyagAminA vyavahatena 'avariTThiya-lIha' uparisthitarekhAmuparisthitAnAmuca padasthAnAM madhye tava rekhAM prathamAM jano dadAtIta stutiH // Oh! being covetous of whatever you saw ( jain-picchaena) you behaved in such an (unspeakable) manner that people court you as the foremost of notorious persons {Alternatively} Oh, as a cripic ( jam picchaena ) you functioned in such a manner that people count you as the foremost among the eminent. ( 58 )

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-30 saMkua-saMkalio [37] hA hA saMtaM pAvaM nariMda DajhaMtu tANa vayaNAI / cakkayareNa vi hariNA samattaNaM je u payaDaMti // 59 'hA hA' kaSTaM, "saMta' sadvi[dyamAnaM pApamida tathA dahyantAM teSAM nRNAM vacanAni vadanAni vA / teSAM keSAmityAha / 'cakkayareNa vi' cakraM kare yasya / cakrasya vA ara' cakAra / cakracaro vA kulAlAdistena cakAreNApi, cakravareNApi vA hariNA viSNunA, he narendra, tat tava paramezvarasya ye sAmya prakaTayanti vadanti teSAM vacanAni dahyantAm / Ah! God forbid the evil! O King, may the mouths of those persons be sc rchud, who try to compare you with Visnu eventhough he is associated (like a potter) with the cakra (wheel', alternatively; discus'). (59) (Index Verse 14) 'gayavai' 'sumeha' 'sundara' 'para' 'kali' 'kaMcui tti 'mayaNo' tti / gAhAu jiNaMti jayaM gayavai tuha satta sArAo // 60 gAthAH sapta sArAH sArArthAH tava he gajapate jaganjayanti / abhyo'pi yaH saptabhiH svAmyamAtyAdibhiH sAro bhavati sa jigiSurjagajjayati // o Gayavai (Sk. Gajapati i. e. Bappabhatti), your seven Gath-s namely (those having) gayavai, sumeha, sundera, sura, karncut rnd Mayano (respectively as their keywords), being richly meaningful, conquer the world (just as a king with all the seven strong' limbs conquers the world). (60) [38] uvvahasi kIsa gavaM ettha jae gayabaI ahaM eko| tuha veriyANa naravara mahilA savvA vi gyvinno||61 udavahasi kasmAd garva yathA'tra jagata 'gayavaI' gajapatirahameka iti / yatastaba vairiNAM he naravara, mahilAH sarvA api 'gayavaiNo' gatapatayo gatabhartRkA iti yAvat / 'gamapati'-'gatapati-zabdayoH 'gayavai' iti zabdasAmyAdevamucyate // .

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tArAyaNo Why do you cherish pride that in this world I ain the one and only gayavai ('owner of the most excellent elephants') ? O great man, all the wives of your enemies also are gayavai (have their husbands killed'). (61) [39] avvo sumeha taI kiM pi taM kayaM jeNa viNaDiyaM gayaNe / dhArAsaya-Na-pahuppaMtacaMcuyaM cAyaya-kuTuMbaM // 62 .. 'atvo' Azcaryam / he sumedha, tvayA sakaladigAbhogasthaganonnamanagarjanapravarSaNAdikaprakArairvicintya kimapi tat kRtaM yena dhArAzateSu na 'paTuppatI' aparyAptAH caJcavo yasya tad dhArAzatAparyAptacaJcuka saccAtakakuTuba gagane nabhasi vinaTitamitastato dhArAgrahaNena vyAkulIkRtamityarthaH // O noble cloud, what a wonder! You did such an extraordinary thing that the Cataka family, unable to cope with their beaks with the hundreds of streams (you showered), was flurried. (62). [40] suMdera-tuliya-kaMdappa tujjha nnivvigdh-dsnn-mnnaao| parivADi-nimisaNaM loyaNAhaM sikkhaMti trunniio||63 'sudera' sondarya surUpatA tena tulita: samIkRtaH kandarpaH kAmo yenAsau saundrytulitkndrpH| tasya saMbodhana saundarya tulitakandapa narapate, nirvighnekSaNaM cakSuHpakSmasaMkocakRtAntarAyarahita yattava darzana tatra nirvighnadarzane manazceto yAsAM tA nirvighnadarzanamanasaH satyaH taruNya paripATayA krameNa nimeSaNa pazmasaMkocana' locanaiH zikSantyabhyasyanti / zikSAvazAdekataracakSuSi pazmasaMkoce saMcArite pareNa cakSuSA pakSmasakocavirahAnnirvighna tvAM pazyAma iti tAstacchikSanti // Desirous of getting uninterrupted view of yours, who equals the God of Love in beauty, damsels practise closiog their two eyes in turn-one at a time. (63)

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32 [41] phuriya-payAvassa tuhaM savvariummUlaNaM kuNaMtassa / sohati sUra mahihara - siresu parisaMThiyA pAyA / / 64 sphuritapratApasya 'tuha' taba 'sambari- ummUlaNa zarvarI rAtriH tasthA unmUlana nirnAzaM kurvataH sato he sUrya, he bhAno, mahIdhara zirassu girizikhareSu parisa sthitAH pAdAH kiraNAH zAbhanta ityeko'rthaH / tathA he 'sUra' zauryayukta, sphurito dIprastApo jaMgadAkramaNazaktiryasya sa tathA tasya sphuritapratApasya 'savva-riunmUlaNaM' sarva ripUnmUlanaM kurvataH mahIdharazirassu rAjamUrdhasu parisa sthitAH pratiSThitAH pAdAMzcaraNAstava he 'sUra' zauryanidhe, zobhante || saMkula- saMkalio O Sun, destroying the night and scientillating hotly, your rays planted on the mountain peaks appear beautiful. (Alternatively) O hero, uprooting the enemies and exerting prowess, your feet plaated on the heads of kings appear glorious (64) [42] taM parivati darda jAo kalimmi jassiM khaNaM pi nivasaMti jattha sappurisA / taI uNa sA sA ceya niviA / / 65 yatra sthAne satpuruSAH kSaNamapi nivasanti tad dRDha parivardhayantIti nyAyaH / jAto'si yasminneva kalau kAle tvayA punaH satpuruSeNApi sa eva kalirniSThApitaH kSayaM nItaH / nindAstutiH // That legality where good men stay even for a while is made by them highly prosperous. You, however, eventhough born in the Kali age, have destroyed the same. ( 65 ) [43] daDha - paDivaNaMte ura rakkhA - vAvAramajja kaMcuiNo | niMdaMti niratyaya - vitti-bhuMjayA tujjha sohaggaM // 66

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tArAyaNo 33 nindanti dUSayanti / kIdRzam / dRDhaM nizcitaM pratipannaH prAptaH sAdhito'nta purarakSAvyApAro yena tattayA / ke te nindanti / 'ajja kaMcuiNo' he Arya, svAmin, kaJcukineo mahallakAH / kIdRzAH santo nindanti tadityAha / 'nirasthayavittibhuMjayA' nirarthikAM niHprayojanAM vRttiM jIvanaM bhuJjata iti nirarthakavRttibhojakAH / etaduktaM bhavati / yadA tu parama saubhAgyabhAjanaM bhavantamananyagatacittayA svayameya pariyaktacApalyamantaHpuraM tavaiva samAgamamabhilaSat satatamabhidhyAyati / tadaitadIyasaubhAgyenaivAntaH purastriyo rakSitAH mA'smAbhiriti nirarthakAM vRtti bhuJjAnA: kaJcukinastava saubhAgyaM nindantIti // O noble one, the chamberlains, having undrtaken devotedly the duty of guarding your harem, blame your loveliness, becaues it makes them draw their emoluments, without allowing them any scope for rendering service. (66) punarapi narapateH saubhAgyaM varNayati 'taI' ityAdinA - [44] taDaM diTaThe viyaliya-rUva mitta-raha-citta- raMjaNAsaMgho / mayaNo viniyaya-satthattha - pALaNA - saMThalaM patto // 67 tvayi dRSTe sa[9B]ti madano'pi kAmo'pi 'niyaya satthattha- pAlanAsaMThala patto' / madanasya nijazAstraM karaNAliGganAdivizeSavidhinA strIvazIkaraNaM tasya pAlanAsnuSThAnaM tayA nijazAstrArthapAlanayA / 'saMThala'- saMThalamiti sAmAnyabhASApadaM na saMskRtottham / taM nijazAstrArthapAlanASaNDhatvaM prAptaH / kIdRzaH san / vigalitaM rUpamAtraM yasyAsau vigalitarUpamAtraH / sa cAsau raticittaraJjanAsaMGghazca vigalitarUpamAtra raticittaraMjanAsaGghaH / ratistatpatnI / tasyAzcittaM tasya raJjanaM / tatra 'AsaMghA' abhilASA yasya sa tathA / etaduktaM bhavati / khIyo hi rUpavati puruSe rajyante / kAmazca vigalitarUpo'naMga: / patnInAM ca ratirekaiva vallabhA /

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saMkua-saMkalio tvaM ca rUpAtizayayuktaH / tato mAmarUpaM parityajya ratiriyaM rAjAnAmima rUpAtizayazAlinaM mA gAditi bhIto'sau tvayi dRSTe raticittaraJjanArtha kAmaH kAmazAstroktavazIkaraNakAraNakaraNAliGganAderanuSThAnena 'saMThalaM' SaNDhatvaM prAptaH // Seeing you, even the God of Love, being budiless and hence keenly desirous of winning over Rati's heart, proved totally ineffective in practising the implications of his own preachings. (67) __(Index Verse 15) Amoiya-sumaNAe komala-vaNNAe bappabhaTTissa / 'asamaMjasa' tti gAhA layAe chAya cciya auvvA // 68 AsamantAnmoditAH praharSitAH sumanasaH paNDitA yayA sA''modi. tasumanA gAthA / anyatra AmodaH parimalo vidyate yAsAM tA AmodikA AmodavatyaH (?) sumanasaH puSpANi yasyAH sA AmodikasumanA latA ! tathA komalA manohAriNo varNA akSarANi yasyAM sA komalavarNA gAthA / anyatra komalAni mRdUni parNAni pallavarUpANi yasyAH sA komalaparNA latA / prAkRte pakArasya vatve kRte 'komalavaNNA' iti sadRzaM rUpam / gAthA latayA rUppate gAthaiva lateti / tenAyamarthaH / AmoditasumanasaH komalavarNAyAH komalaparNAyAzca bappabhaTTeH sambandhinyA 'asamaMjase'tyAdi. gAthAyAH chAyaivApUrvA lokAtivartinI / chAyA zobhA vA tApAbhAvazceti prilaSTakamidam / Bappabhatti's Gatha, containing the keyword asamamjasa' is like a creeper : As a creeper with its fragrant flowers (amoiya- sumani) and tender leaves (komala-vanna) has incomparable beauty, so that Gatba also completely delighting the connoisseur (amoiyasumana) and full of soft sounds (komala-vanna) has incomparable beauty. (68) nindAsadRzAkSaraiH stutiH nindA tAvad yathA

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tArAyaNo [45] kaha nAma na hosi tuma bhAyaNamasamaMjasassa naranAha / niccaM ciya kuNamANA jahicchamatthANa-viNiogaM // 69 kathaM nAma na bhavasi tvam / kIdRzaH / bhAjanam / kasya / asamaJjasya ayuktasya / kimAcaran / nityameva sadaiva kurvANaH / kiM tat / 'jAhecchamatthANaviNioga' / yatheSTamicchAmanatikrameNa (?) asthAne 'nucitavastuni viniyogastam / yadi vA'strANAmAyudhAnAM viniyoga stam / yadi vA AsthAnasya sabhAyA viniyogamAsthAnaviniyogamAsthAnadAnamityarthaH / rAjJo hi pratyekamaSTadhAvibhaktarAtriMdivasyAsyAna kAlo nayatam / sadaiva tu yatheSTamAsthAnaviniyogaM kurvan rAjA kathamasamajasa bhAjana na syAdityebhirevAkSarastyAgAtizayasUcanAdasya stutiH yathA-he naranAtha kathaM nAma 'bhAyaNamasama' bhAjanamasamamatulyaM 'jasassa yazaso na bhavasi / kimAcaran / nityameva pratidinameva 'atthANa viNiogaM' arthAnAM mANikyAdInAM yatheSTamicchAnusAreNa viniyoga dAna kurvANaH / yo hi nityaM yathAbhilaSitamarthivAnAM dhanAnAM viniyoga dAnaM karoti sa kathamasamamasAdhAraNaM bhAjanaM pAtraM yazaso na bhavati / api tu bhavatyeva // O King, as you are always giving to undeserved persons according to your pleasure ( jahicchamatthana viniogam), how you canpot but be a resort of improper conduct (asamamjasassa) ? (Alternatively) o bing, as you are always giving away wealth as much as desired (or, 'you are using weapons with complete mastery', or you are holding the assembly as desired') (atthana viniogam or atthana-viniogam), how you cannot but be an incomparable receptacle of fame (bhayanamasamam jasassa) ? (69) ___ (Index Verse 16) 'aNaciMtiya'-'samacittA'-'niya-hiyaya-payAraNa' tti 'mahila' tti / 'kula-bAliya' ti gAhANa gayavaI ceva muNiyattho // 70

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saMkua-saMkalio ['aNaciMtiya' ityAdi / ] 'samacittA ityAdi / 'Niyahiyaya' ityAdi / 'mahile'ti kulabAli keti ca gAthAnAM gajapatireya zrIbappabhaTTireva jJAtArthaH / sUkSmatvAt // Gujapati (i.e. Bappabhatti) alone knows the meaning of the Gathas {with the keywords) 'anacintiya', 'sama-citta', 'niya-hiraya - payarana', 'mahila' and 'kula-balira'. (70) [46] aNaciMtiyamamuNatI ciMtiya karaNeNa tassa maNa-kheyaM / kAyavyesu kuNaMtI na-yoNimo kattha vaccissaM // 71 'aNaciMtiya acintitam / 'amuNaMtI' ajAnatI / kartavyeSu madhye cintitAni tasya bharturiNatajJatayA avagamya teSAM karaNaM saMpAdanaM cintitakaraNam / tena tAvat bhartuzcintitamAtrakaraNena khedamaparitoSamahaM kurvatI vahaMti na jAne kva vrajiSyAmIti / kulabAlikAyAH bhartari bhaktyatizayaM darzayati // Failing to divine what he has not yet conceived and carry. ing out (by divining) only that which he has (just) conceived, I feel depressed in heart and do not know where to go. (71) [47] sama-citAi vi ghariNIe bhattaNA saha imo visaMvAo / so sAmiNi ti taM muNai kikaraM sA vi appANaM // 72 yadyad bhartA samAdizati karoti vA tattadAcarantI samanumanyamAnA ca manAgapi manobhedaM na bhajatIti samacittA / tasyAH samacittAyA api bharnA saha gRhiNyA ayameva visavAdaH cittabhedalakSaNo yaduta sa bhartA svAminI tAM manyate, sA'pi gRhiNI tasya kiGkaramAtmAnaM manyate / ityanena parasparamanurAgAtizayaH kathito bhavati // 1. aNacitIya. 2. ciMtIya.

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tArAyaNo Although the wife's mind is in complete concord with her husband's, there is this single point of discord : He considers her to be the ruling mistress, while she believes herself to be his servant. (72) [48] jaha se mamammi taha maha na tammi neho tti dohiM vi jaNehiM / niya-hiyaya-payAraNa-dutthiehiM jhINaM muha cceya // 73 yathA 'se' tasya bhartuH 'mamammi' mayi snehaH prItiH, tathA [na] 'maiM' mama 'tammi' tasmin bhartari sneha iti gRhiNI svahRdayaM pratArayati / yathA bhartA'pyevameva yathA 'se' tasyAH mamo[10B]pari snehaH tathA me na tasyAm / iti dvAbhyAmapi janAbhyAM bharnA gRhiNyA ca nijahRdayapratAraNa duHsthitAbhyAM kSINaM mudhaiva vRthaiva / ayamatrArthaH / tayoranyonyamanurAgadhazAdadRSTavyalIkayoH sama eva snehaH / kevalamitaretaramasAdhAraNabhaktibharaparAdhInatayA yAdRzamasau mayi snehaM karoti, na tAdRzamahamati nijahRdayasya pratAraNena vaJcanayA duHsthitayoH tayoH vRthava zarIrazoSo jAta iti // 'My love for him is cot as deep as his for me'--thus deceiviog their hearts and becoming miserable, both of them withered in vain. (73) [49] kiM sahi phuDaM taha ciya kiM vA nayaNANa esa maha doso / jaM tassa samIve amahilA vi mahila tti paDihAi // 74 kiM sakhi sphuTa tathaiva kiM vA nayanayoreSa mama doSaH, yattasya bhartuH sabhIpe amahilA api puruSo'pi mahileti strIti pratibhAti pratibhAste mama / ayamasyArthaH / puruSo hi saubhAgyAdiguNopetatayA yuvaterabhilApaM janayati, na strii| tenaivaM nAma sA bhartari bhaktA'nuraktA ca yadenaM pazyantI puruSamapyaparaM yuvatiriti pazyati / tenaivaM sakhImabhidadhatyAstasyAH pativratatvamanurAgazcAsAdhAraNo bhartari kathito bhavati / Friend, is it really go or is there some defect in my eyesight that in his presence even males appear like females ? (74)

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saMkua-saMkalio [50] jaM jaM karei daio taM taM cADa tti maNNamANINaM / kula-bAliyANa roso na lahai hiyayammi ovAsaM // 75 yadyadaparAdharUpamapi karoti dayito vallabhaH tattaccATuriti manyamAnAnAM kulabAlikAnAM kulastrINAM roSaH kopo hRdaye cetasyavakAza avasthAnaM na labhate / aparAdhamananaM hi roSahetuH / yadA tu kulodugatatvAdeva kulastriyo'parAdhamapi cATuriti manyante, tadA rASo na tAsAM hRdaye padamavApnotIti bhAvArthaH / vinodaheturupacArazcATuriti // Whatever is done to them by ther dear one is taken by the ladies of noble families to be their pleasing flattery. The anger does not therefore get any scape at all in their hearts. (75) (Index Verse 17) 'aharahANa'- 'dhaNuvveya'- 'nayaNa-paDimA' ya 'piyasai tuma' ti / 'bhAyai'-'maMjUsaMjaNa-"camaramaso' ti 'suaNu' ti // 76 guNi-hiyaesu imAo hAra-layAo guNAnurAeNa / viNihittAu samujjala-suvaNNa-rayaNeNa payaeNa // 77 'aharahANa' ityAdayo yA daza gAthAstA eva hAralatAH hArayaSTayoM guNAnurAgaNa zrIbappabhaTTinA guNinAM hRdayeSu nihitAH / katha gAthAnAM hAralatAbhiH sAmyamityAha 'samujjale tyAdi / samyagujjvalA, suzliSTavarNavAcinI suvarNAnAM zomanAkSarANAM racanA sannivezo yasmiMstatsamujjvalasuvarNaracanaM prAkRtam / tena samujjvalasuvarNaracanena 'payaeNa' prAkRtenopalakSitA gAthA guNihRdayeSu guNicetasassu nihitAH / tathA samujjvalAni suvarNa ratnAni ca yasmin padake tattathA / tena padakena / samujjvalamamala suvarNa surUpaM yadratnaM tena / kIdRzA / 'payaeNa' payojena / prayasi jale jAtaM tena, samadrotpannena maktAphale netyarthaH / jAtAvekavacanam ! tena / samajjvalasuvarNaratnaiH payojairupalakSitA hAralatA: / athavA suvarNa

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tArayaNo hema / ina AdityaH / inavadinAH prakAzarUpatvAt ratnAnyeva inAH / suvarNa ca ratnenAzca suvarNaratnenAH / yadi vA ratnAnAminAni pradhAnAni ratnenAni muktAphalAdivizeSAH / suvarNa ca ratnenAni [ca teSAM pracayo nivahaH / samujjvalanacAsau suvarNaratnenapracayazca / atastena samujjvalaratnenaprayayena upalakSitA hAralatA guNAnurAgeNa guNAnuraktyA guNahRdayeSu guNinAM vakSassu kenApi sthApyate / tAbhiridAnI gAthA rUpayitvA guNi hRdayezvityAdi leSaNa yojya miti // The Gathas (with the keywords) 'aharatthana', 'dhanuvveya', 'nayana-padima', 'riyusai tumam', 'bhayai', 'mamjusa', 'amjana', 'camara', 'asoa' and 'suano', brilliant due to bring composed in Prakrit in (words of) beautiful sounds, have been planted by Gulza nulaga (i.c. Bappa bhatti) in the hearts of the connoisseurs, like someone who, orit of love for merits, places on the chest-region of the person of merits, beautiful recklaces that have pendants brilliant with gold and geros (or that have brilliant gold, gems an: pearls'). (76--77) taiyacchi-sihi-sihA-bhAsureNa bhuvaNe hareNa akte / aharahANe tuha suyaNu vasai nirubaddavamaNaMgo // 78 vizeSeNa hi kAmastaruNInAmadharamadhitiSThati / tadarzanAd yUnAM tatsthaiH kAmeSubhibhidyamAnatvAditi svabhAva evAyam / kavistu zabdazle. SeNopapattyantaramupalakSayanneghamAha / adharasthAnamiti prAkRte 'aharahANaM' iti bhavati / tenAyamarthaH / tRtIye'kSiNa zikhizikhAbhirvahnijvAlAbhistRtIyAkSizikhizikhAbhAsureNa karAlena hareNa rudreNa bhuvane jagatyAkAnte vyApte satIti sa harasthAnAd bhIto'naGgaH kAmaH 'tuha' sutanu tava 'aharahANe' adharasthAne hararahite ca sthAne nirupadravaM nirAzaGka vasati // O damsel of the tender frame in this world tne God of Love assailed by Hasa who was resplendent with the flames of fir. issuing from his third eye, lives undisturbed in "ahara-tthana' (the Tegl of your lower lip'; alternatively, 'a place inaccessible to Hara'). (78)

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saMkua-saMkalio [52] suhau tti jiyai viddho marai aviddho tuhacchi-bANehiM / iya sikkhaviyA keNa-vi auvvameyaM dhaNuvveyaM // 79 sarveNApi zikSitadhanurvedena bANoM viddhaH sa suhata iti kRtvA mriyate / yaH punara viddhaH sa jIvati / sutanostu prAkRtaparinAmApAdita samarUpazabdacchalenApUrvA dhanurvedazikSA darzayati yathA--sutano tavAkSibANA. bhyAM viddhaH 'suhau' tti subhaga iti jIvati, mriyate tu tAbhyAmaviddha iti zikSitA kenApi tvamapUrvamena dhanurvedam / ayamayatrArthaH / yastvayA subhaga iti dRSTaH sa parituSTo jIvati / yastu durbhaga iti tvayA nAvalokitaH sa AtmAnamadhastu(? nyaM) manyamAno mriyate / He who in pierced with the arrows of your gaze, eventhough he is said to be killed effectively (suhao) lives as the fortunate one (suhao); while he who is not pierced, dies; who taught ou this sort of extraordinary archery ? (79) [53] taruNa-jana-nayaNa-paDimA-sahassa-sabalaMgi sahasi iMda-mahe / phaMsa-saiNha-puraMdara-rahasa-kayANuppavesa vva // 80 taruNajanasya nayanapratimA nayanapratibimbani tAsAM sahasraM tena zabalaM kaburam aGga vapuH yasyAH sA tathA tasyAH saMbodhanaM he taruNajananayanapratimAsahasrazabalAni / 'sahasi' zomase tvam / kva 'idamahe' indrotsave / kIdRzIvetyAha / 'phaMsasayaNha' ityAdi / sparzasatRSNaH sAbhilASaH sa cAsau purandarazcandrazca sparzasatRSNapurandarastena ramasalautsu. kyena kRto'nupravezo'ntalInatA yasyAH sA sparzasatRSNapurandararamasakRtAnupravezeva tvaM zobhase / etaduktaM bhavati / vyaktavapuSaH sutanorindramahe bahirindrotsavamavalokayitu nirgatAyAH pazyatAM taruNAnAM nayana-saha travimbairatyujjvalatayA sakrAntaiH zarIraM zabalitamabhUditi zarIrojjvalatvaM kathitam / indramahe ca kilendra: sannihito bhavati / atastannayanapratimAsahasrazabalAGgI / satI sutanuH purandareNa sahasrAkSeNa tatasparzalolena satA kRtAnupravezeva zobhata iti / kavinA evamAmantrya sotprekSyate /

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tArAyaNo Odamsel, with your body becoming variegated in Indra's festival due to a thousand reflections therein of ibe eyes of youths, you appear beautiful as if Indra himself, yearning for a touch, has entered you all of a sudden. (801 [54] viyasai tumaM ti maulei na ti tuha daMsaNUsuyA suyaNu / iyaraMgaNAyaNe asarise vi sahasa tti se diTThI // 81 rUpasAdRzyaM hi bhrAntikAraNam / tena hRdayasthadayitA rUpamasadRza. rUpe strIjane saMkrAmayataH seyamiti prathamaM mudA vikasitanayanasya tadanu ca kRtarUpavivekasya neyamasAviti viSAdena mukulitacakSuSaH kAntasya kazcit sakhI dRSTivikAsasaMkocAvasthAM nivedayati yatha:-he sakhi 'se' tasya tava kAntasya dRSTistava darzanotsukA satI itarAGganAjane'sadRze'pi svadrapasAdRzyarahite'pi dRSTe sati tvamiyamiti vikasati prathamam / 'maulei na tti mukulayati neti / tataH 'sahasa tti' sahasA tvamiya neti tasya dRSTimukulayati / 0 damsel of tender frame, on sighting some lady, eventhougia not resembling you, nis eyes expectant to see you, suddenly expand under the impression that it is you, but realizing that it is 101 you, they suddenly contract. (81) [55] tuha kara-vaMdiya-bhAyai-calaNa-juya-phaMsa-mitta-jIyANa / . puSphavai ime jAhiti vAsarA kaha juANANa // 82 "bhAyai' bhgvtii| tasyAzcaraNayuga tava karAbhyAM hastAbhyAM vanditaM stabanecchayA spRSTam / tvatkaravanditaM tad bhagavatIcaraNayuga tvatkaravanditabhagavatIcaraNayuga ca / tasya sparzaH / sa eva tanmAtra jIvitaM yeSAM yUnAM te tathAvidhA: / atasteSAM tvakaravanditabhagavatIcaraNayugasparzamAtrajIvAnAM yUnAM he puSpavati vAsarA divasA ime prayazcatvAro vA kathaM yAsvanti / ayamartha da / puSpaSitAyAstava sparzamaprApnuvatAM vandanA.

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42 saMkua-saMkalia prasaGagena bhavadIyakarasparzakRtAbhilASaM bhanavatIcaraNayugaM spRzatAmeva yUnAM bhavati jIvitaM / jIvAnAM ca dinatrayaM kathamapi yAsyatIti / As you are having monses, how will the youths who are managing somehow to preserve their lives by toucbing those pair of feet of the goddess that you worship, be able to pull on for these (fes) days? (82) [56] vayaNaM phuraMta-rayaNaM syayaM jahaNaM suvaNNamaMgaM te / saMcArimA si suMdari vammaha-bhaMDAra-maMjUsA // 83 'vayaNa' vadanaM 'phuraMta-rayaNa' sphuranto bhAsurA radanA dantA yasya vadanasya tat sphuradradanam / anyatra sphuradratnam / radana-ratnayoH prAkRte 'rayaNaM' iti bhavati / tathA 'rayaya jahaNaM ratadaM jaghanam / rataM surataM dadAtIti ratadam / anyatra rajata rUpyaM tava jaghanam / ratada-rajatayo 'rayayaM' iti bhavati / 'suvaNNamaMga te'| suvarNamaGgamiti zomano varNo'syeti suvarNam / anyatra suvarNa kAJcanam / tavAGga bAhvAdi / ityanena prakAreNa he sundari 'saMcArimA' saMcAriNI manmathasya bhANDAgAramA jUSA tvamasi / bhANDAgAramaJjUSA hi ratnarajatasuvarNavatI bhavati / tvamapi prAkRtapariNAmApAditarUpasAmyaiH 'phuratarayaNA'di-zabdaistathAvidhaiveti manmathabhANDAgAramaJjUSA bhavasIti / / Your face has brilliant rayana ( 1. 'teeth', 2. 'gems'). Your Joins are rayaya ( 1. 'source of sexual pleasure', 2. "silver' ). Your boy is suvanna ( 1. 'beautiful', 2. 'gold' ) O beautiful darzel, you are a walking strong: box from the treasury of the Love God. (83) [57] acchIhiM adIsaMtassa maya-siliMbacchi tujjha eehiM / dose ya ciya paDiyaM aMjaNa-accatamalliyaNaM // 84 he mRgazilimpAkSIti vizeSaNadvAreNa aNorAyatatvaM surUpatA darzayati / mRgasya zilimpaH zizustasyevAkSiNI yasyAH sA tathA !

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43 tArAyaNo tasyAH sambodhanaM he mRgazilimpAkSi | 'acchIhiM' akSibhyAM, 'tujjha' tava saMbandhibhyAM adRzyamAnasyAjJjanasya 'accatamalliyaNa' atyantasAmIpyena lIyamAnatvaM doSa eva patitam / sarvo'pi darzanakAmo dRSTuH samIpamupasarpati / aJjanasya tu nayanayoratisamIpatayA'vasthAnaM doSAya jAtam / tAbhyAmadRzyamAnatvAt // Oh lady with eyes like those of a deer's young one, the very cioce application of kohl turned out to be a fault because it could not be detected in your eyes. ( 84 ) [58] rehas miyaMka vivaM suMdari tuha gaMDa- maMDalAvaDiyaM / mayaNa- kari-kaNNa- bolira- phuraMta - siya- cAru camaraM va // 85 he suMdara, tava gaNDamaNDalapatitaM kapolaM sakAntaM sanmRgAGkavimvaM zazibimba madanakariNaH kAmahastinaH karNe 'gholiraM' ghUrNanazIlaM sphuradIptimat sitaM dhavalaM, cAru zomanaM, camaramiva 'rehai' rAjate / madanasyAdhiSThAnaM strI tasya tatsthasya kariNA rUpitasya tatkapolapatitaM indubimyaM sitacamaramivenyutprekSyate // O beautiful damsel, the orb of the moon reflected in your round cheeks, looks beautiful as if it were the beautiful, shining, white chowrie on the ears of the elephant in the form of the Love-God. (85) [59] mayaNanivAso tti asoamaccase kIsa taM na appANaM / sarise phalammi muddhe bAhi ko vacca gharAo ||86 he mugdhe RjusvabhAve, madananivAsa iti kRtvA 'kIsa' kasmAt 'acca se' arcayasi tvamazokataruM na punarAtmAnamarcayasi / azokavat tavApi madananivAsattvAt ekatanugataM ' ( ? ) | nidarzanamAha / gRhe vahizca yadi sazaM phalaM bhavati tadA ubhayatra same sadRze (? sadRze same) sati phale ko 'gharAo' gRhAt 'bAhi' bahirvrajati / na kazcidapItyarthaH //

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saMkua-saMkalio You worship the Ar'oka tree because it is an abode of love. Then why don't you worship your very self ? O naive girl, when the same thing can be gained (inside), who will go outside of the house ? (86) [60] uNNaya garuya-paAhara-niyaMva-biMtarAlamallINo / suyaNu sauNNo majho edaha-mitto vi jaM gharai // 87 unnatayoH payodharayorguruNazca nitambabimbasyAntarAlaM 'allINo' Azrito madhyo madhyapradezaH 'edaha metto vi' etAvanmAtro'pi tanurapi 'jaM dharai' yadavasthiti karoti tadayaM sutanu sapuNyaH / Your very slender waist is (really) fortunate, ob slender lady, because even though it is so slight, and also sandwiched betreen the high breasts and the heavy, round posteriors, it can still hold itself. (87) (Index Verse 18) 'chikkA' 'rakkhA-kaMDaya'-'sIuNha-jaraM' ti gayavai-payAI / lIlAlasa-mauyAiM taraMti kaha sikviu kaiNo // 88 'chikkArakkhAkaMDakA'dIni gajapaterbappabhaTTeH saMbandhIni padAni varNasamudAyarUpANi lIlayA lasanti zobhante iti lIlAlasAni tAni / tAni ca mRdUni ca komalAni ca lIlAlasamRdUni tAni / kaiNo kavayaH zikSitu racanayA jJAtu kathaM 'tarati' samarthA bhavanti / anyatra gajapateH gajendrasya padAni padanyAsAH / lIlayA alasamRdUni alasamantharANi / 'karaNo' kapayaH vAnarA taralagatayaH kathaM zikSituM trNti'| How can other poets (kaino) master the soft and beautiful play (lilalasa)of Gajapati's (i e. Bappabhatti's) (poetic) diction (garavaipayai (instanced) in (the Gathas containing the keywords) chikka, rakkha-kandaya and sitinha - jara ? How can the monkeys (kaino) learn the gracefully leasurely and soft steps (lilalasa) of the lord of elephants (gayavai-payai) ? ( 88 )

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tArAyaNo [61] jiyau tti paya-saNAhaM tuha gotaM pariyaNAhi sou-maNA / chikA-kaeNa bahuso nAsA-vivare taNaM chuhai // 89 jIvatu ityamunA padena sanAtha tava gotraM nAma 'pariyaNAhi' parijanAt sakAzAt 'soumaNA' zrotumicchuH sA bAlA chikkAyA: kSuditasya kRte chikkAnimitta nAsAvivare nAsikAntare bahuzo bahuvArAn 'taNaM chuhai' tRNa kSipati // Desiring to hear from the attendent your name (uttered) along with the expression 'long live', she repeatedly inserts a blade of grass in her nostrils to induce i sneeze. (89) [62] taha pUriyamoDDhaNayaM bhagga-maraNa-ggahaM se tuha daMsaNa-sauNa-gaMThi-baMdhehiM / jaha rakkhA-kaMDaya jAyaM // 90 yadA yadA tvadarzanAya zakuno bhavati tadA tadottarIye sA zakunagrandhi badhnAti / tenaivamucyate / tava darzanArtha zakunagranthibandhAH taiH tvadarzanazakunagranthibandheH / 'oDhaNayaM' uttarIyaM tathA tasyAH pUritaM bhUtaM yathA rakSAkaNDakaM jAtam / kIdRzam / "bhagga:maraNa-ggaha' ekatra maraNagraho maraNAbhinivezaH / anyatra maraNAya grahaH [13A]pizAcaH sa bhagno yena tat tathAvidhaM rakSAkaNDakaM yathA tasyAH saMjAtaM tathottarIyaM tava darzanazakunagranthibandhaiH pUritamiti // She so much covered her upper garment with knots tied for preserving the auspiciousness of the omens auguring a meeting with you, that it became a veritable protective amulet driving away the goblin of death (also dissolving her resolve to die). (90). [63 ] mukka-jarAe vi tuha gotta-kittaNukaMpa-sijjiraMgIe / sIuNha-jara-kalA-saMkirIe necchijae pacchaM // 91

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saMkua-saMkalio zItadAdhajvarAkulitasya hi kampasvedau bhavataH / kampasvedAbhAve tu jvarAbhAvaH / tato'stha pathyayogyatA / tayA tu bAlayA muktadharanA'pi pathyaM neSyate / kimityAha / taya gotrasya nAmna: kIrtanAduccAraNAdanurAgAdinA utkampaM udgatakampaM 'sijiraM' svedanazIlamaga yasyAH sA tathA / tayA tvadgotrakIrtanAtkampasvedanazIlAGgayA / zItajvareNa ca svedakampo / tau ca mamAdyApi vidyate / tvadagotrakIrtanajau ca kampasthe. dAvimAvityalakSayatyA vimuktajvarayApi satyA zItoSNajvarasya kalA zeSaH tadAzaGkanazIlayA bAlayA pathyaM neSyate / / Even though she was cases of tue malarial fever, she did aut ___des re to take salutary foot), as she suspecred that the fever still slightly persisted, the casga being her experienciag she tremor and perspiration 09 (hearing) your page utferred. (91) (Index Verse 19) 'saMjIvaNi'-'kara-pallava'-'kaviya' ti sarassaIya gayavaiyo / puNNataNa-nijjiya-seubaMdhamuyayaM pasaMsemo // 92 saMjIvanItyAdirUpAyAH sarasvatyA vAco gajapateH saMbandhinyA udayamudIrNatAM samarthayAmaH sthApayAma: / kIdRzamityAha / "puNNattaNa pUrNatvena kAvyaguNaparipUrNatayA nirjitaH setubandhaH pravarasenakRtakAvyaM yenodayena sa tathA / tAM tAdRzamudayaM samarthayAmaH / anyatra sarasvatyA nadyA udakaM jala pUrNatayA nirjitasamudrasetubandhaM samarthyate / / We praise the flourishing (uyaya) of the poetic speech (sarassai) of Gajapati (i...) Bappabhatti) in the form of (ibe Gathas contaning the key words, samjivani, kara-pallava and kaviya which because of its perfectness has proved superior to the Setubundha (seubamdha), just as we praise the waters (uyaya) of the river Sarasvati (sarassai), which due to their fullness have proved superior to the ocean over which the bridge was built ? (92)

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tArAgaNo 87 [64] dUsaha-viraha-bhuyaMgama-niddaya-DakkA vi dharai sA varaI / ___ tuha daMsaNa-saMjIvaNi-viNioya-vaseNa suiNammi // 93 duHsaha viraho eva bhujaGgamaH sarpastena nirdayaM dayArahita yathA bhavatyevaM "DakA vi' daSTA'pi satI / 'suiNammi' svapne yattava darzana tadeva saMjIvanI saMjIvanI nAma barauSadhistasyA viniyogo viniyojana tasya vazastena / svapne tava darzanasaMjIvanIviniyogavazena 'sA varaI' sA varAkI 'jaM dharai' jIvati / / Eventhough she is bie pitalessly by the snaku in the form of unbearable separatin, the poor gir! manages to survive through applying the Samjivani herb in the form of your sight in dreams. (93) [65] dAviya-kara-pallavayaM uttara-paDu(?Diu)ttarehiM japaMtI / taI saha ciMtA-diTa TheNa keNa na naDi vva sA diTThA // 94 'dAviya' darzitaM karapallavaM yasmin jalpane taddarzitakarapallavakaM yathA bhavatyeva uttarapratyuttaraiH jalpantI vadantI 'tai saha' tvayA saha / 'ciMtAdihraNa' ciMtAdRSTena, dhyAnapratyakSIkRtena tvayA saha darzitakarapallavaM jalpantI naTIva sA bAlA kena na dRSTA / sarveNApi dRSTetyarthaH / / Who did not see that girl, behaving like a stage actress, when she, making gestures with her hands carried on with you, vbo were seen by her with her mind's eye, a conversation full of replies and counter-replies ? (94) [66] sahiyANa sayaM kaviyaM taha kahai kahANayaM pulaiyaMgI / jaha na kalijai tuha gotta-kittaNehiM pi puNaruta // 95

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48 saMkua-saMkalio 'sahiyANa' sakhInAM / 'sai kaviyaM' svayaM kavitaM racita / tathA kathAnaka kAM kathayati / pulakitAGgI romaanycitaanggii| sA bAlA yathA na kalyate na lakSyate sakhIbhiH / punaruktaM punaH punastava gotrakIrtanairapi / kRtaiH sadabhiH / ayamatrArthaH / dUtI svanAyikAyA bhaturabhimukhIkaraNAyAnuraktA sUcayati yathaiva nAma sA tvayi raktA yaduta bhavadvirahe viSaNNamanasa stasyAstvadgotrakIrtana reva romAJcajananaH praharSA bhavati / tvadgotrakIrtanAni ca sakhInAM purastAdevameva kurvatI sA sakhIbhissaraleti lakSyate / .. tena vidagdhatayA sA bhUyobhUyastvadgotrakIrtanaparAM svaracitAmeva kathAmAnandaheta metAsAM kathayati // She narrates before her friends, with her limbs thrilled. stories she concocted about you, in order that she may not be suspected of repeating your name. (95) (Index Verse 20) 'sailabha'-'moha-bhamiri' tti 'mIliyacchi' ti 'vAvaDacchi' tti // jayai kai-kaNNa-suhayA rAmassa va vAiNo vANI // 96 gAthAcatuSTayarUpA vANI vAk kavInAM karNasukhadA vAdino bappabhaTTerjayati / rAmasyeva yathA rAmasya vANI 'kaikannasuhayA' kapInA hanumadadInAM kargasukhadA tathA vAdinA'pi kavikarNasukhadA vANI jayati // The poetic words of Vadin (i.e. Bappabhatti) (in the form of the four Gatha3 containing resepectively the key-words ) sailambha, mohabhamiri, miliyacchi and vavadacchi, triumphs-the speech which delights the ears of psets (kai) like Rama's words which delighted. the ears of the monkeys (kai). (96) [67] paDivatti karaMtiM mA mA AyAra-bAhiri bhaNasu' / saddahai na tuha daMsaNamesA sai-laMbha-velaviyA // 97

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tArAyaNo 49 'paDivatti'mityAdi / pratipattimAsanAdimarvakutImimAM hai subhaga mA mA tvamAcArabAhyAM bhaNa / yataH zraddadhAti na tava darzanameSA bAlA 'saralaMbhena' sadAkAla tvadarzanasya lambhena prAptyA 'veladhiyA' pratAritA / etaduktaM bhavati / satataM bhavadabhAvanAbhyAsAt sarvameva rUpaM bhavAniti pazyantI yAvat punaH punarupasarpati na tAvadbhavantaM prApnotIti / sadA bhavadarzanalAbhena bahuzaH pratAritA satI satyamapi bhavadarzanamiyaM na zraddadhAti // Please do not thiok she is uacultured because she failed to offer you hospitality. She did not trust it were really you, since she had been always cheated of your personal presence. (97) [68] bAhiM tuha daMsaNa-lAlasAe muddhAe moha-bhamirIe / sAhejja tumaM ko vA na tie hiyae ciya vasaMta // 98 'bAhiM tuha' ityAdi / 'bAhiM' bahiryattava darzanaM tatra lAlasAyA lampaTAyA mugdhAyA majusvabhAvAyA 'moha-bhamirIeM moghaM vRthA moIna bhramaNazIlAyAH tIe' tasyA: hRdaye cetasi 'vasaMta" tiSThanta 'tuma' tvAM ko vA na sAdhayet nizcinuyAt / evaduktaM bhavati / yataH i[...]* (Seeing that) yearning to see you outside, that artless girl was wandering fruitlessly (or under delusion ), who would not say you were residing in her beart ? (98) [69] etto ki dacchAmi tti pecchaNIyaM tti miiliycchi-juaa| hiae nihiUNa tumaM jogabbhAsaM sA kuNai // 99 (Let me see) what I will see there, what is there worth seeing' thus closing both of her eyes and fixing you in her mind sho is praetising Yoga. (99) / * See the remark at the beginning of p. 50.

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50 saMkua-saMkalioM * [Folios 14, 15 and 16 are missing. So there is a gap in the text covering the portion of the original from verses 100 to 126 and the commentary portion for the verses 99 to 126.] . ( Index Verse 21* ) 'guNa-tuliya'-kova-taru'-'dubbala tivANIe pasariyAe] [17AtihA / tuha bappabhaTTi bhuyaNaM bhariyaM bhAIrahIe vva // 126 'guNatulita' ityAdikayA 'vANIe' vANyA prasRtayA 'tihA' tridhA vkssymaannaitdgaathaatryprsRtyetyrthH| he bappabhaTTe tayA vANyA bhuvanaM bhRtaM vyAptam / 'bhAIrahIe vva' bhAgIrathyA gaGgayeva / yathA tridhA svarbhuvi pAtAle ca prasRtayA bhAgIrathyA bhuvana bhriyate tathA tatha vANyeti / / Oh Bappabha!ti, your poetic speech spreading in three ways (in the form of the three Gathas containing respectively the keywords) gunatuli ya, kovataru and dubbala has filled whole of the world like the Ganga, which has filled whole of the universe by its three streams. (126) [70*] guNa-tuliya-pariyaNAyaMta-bhuyaNa-nikkhitta-sayala-niya-vihavA / nAlappaMti' supurisA dAyAra-darida-saddehi // 127 guNaiH zauryAdibhistulitamAkalitaM 'pariyaNAyata' parijanAyamAnaM yada bhuvanaM jagat tasmin nikSipto'rpitaH sakalanijavibhavo yaiste tArazAH supuruSAH 'dAyAra-daridda-saddehiM' dAtRdaridrazabdAbhyAM nAlabhyante na spRzyante, nAlapyante nocyante vA | svaparijanaH svaparivAro'yamiti matvA svavibhavena nikhilamarpayanto'pi bhuSane supuruSA bhuvane na dAtAra ucynte| svaparijanAdanyatra dadato dAtAra iti prasiddhAH / nApi dAtrA bhuvanaM malinavi1. The commentary implies a variant nAlabhaMti for nAlappaMti.

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tArAyaNo bhavena parivArIkRtya tarpayatA vibhavAbhAve'pi asamadAnasAmarthyena' lakSaNezvayaMsannidhAnAt // Those good men, who have given away all their riches to the (people of the) world who have become just like their kinsmen duo to their virtues, cannot be talked about in terms of 'donor' and 'poor' (receiver)'. (127). [71*] dAvaMto ciya phullaM phalaM ca garuyANa hoi koba-tarU / agilaMto ravimidaM va keNa diTTho nahe rAhU // 128 - 'phulaM' ca puSpa raNArambhAdirUpaM tathA ripuparAbhavAdirUpaM ca / 'dAvaMto ciya' darzayanneva 'garuyANa' gurUNAM mahatAM kopataruH kopavRkSaH bhavati jAyate, naivameva pusspphlhiinH| dRssttaantmaah| 'agilaMto' agilan ravimindu vA kena vRSTo nabhasi rAhuH / ravicandragrahaNakAle eva rAhurgagane dRzyate yathA tathA mahatAM yathoktapuSpaphalopalambhAyaiva kopatarurupalabhyate / The free of anger of the powerful persons is bound to show (i.e. bear) flowers and fruits. Who has ever seen in the sky Rahu not swallowing the sun or the moon ? (128) [72*] jA jippai so ira dubalo tti paribhAviUNa sappurisA / _ maNNaMti mahAbala-bhaMjaNe [vi] akayatthapappANaM // 129 'jA jippaI' yo jIyate ! 'so ira' sa kila / 'dubalo tti' durbala iti / 'parimAviUNa' paribhAvyAkalayya / satpuruSA mahAbalAmAM bhanane'pi kRte sati / 'akayatyaM' akRtArtham / 'apANa' AtmAnam / manyante // 2. Some words seem to be missing in this portion.

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saMkua-saMkalio Knowing that he who is conquered is considered by the people to be a weakling, great inen do not regard defeating even strog persons ai an achievement. (129) ( Index Verse 2* ) 'majjhA'-'thaNavaDha'-'sudaMsaNehiM' 'piya-kaMcuI' ti gAhArhi / sahai tthaNa-sAliNIhiM daiyAhiM va seyabhikkhu ci // 130 gAthAbhizcatasRbhiH 'thaNasAliNIhiM' stanAn zAlante prazaMsantIti stanazAlinyastAbhiH stanavarNinIbhiH anyatra stanaiH zAlyante prazasyante iti stanazAlinyastAbhiriva priyastrImiri[17B] stnshaaliniibhiH| zvetabhikSurapi 'sahai' zobhate / pravetabhikSurapIti vItarAgatAM svacayati / / Eventhough he is Svetabhiksu (!. 'a Svelambara monk), he appears glorious with his company of girls of beautiful breasts. Alternatively, Bappabhatti appears glorious because of his Gathas, which have majjio, thanavattha. Sudamsanehim and piyakamrcuya (as their keywords), aod which praise the breasts. (130). [73*] kaha mA hi(?jhiojau majjho imIe kNdotttt-dl-sricchehi| jo nayaNehi na dIsai ghaNa-thaNahara-ruddha-pasarehi // 131 'kaha mA hijau majjho' kathaM mA kSIyatAM kathaM kSayaM mA gAn madhyo madhyabhAgo'sau, 'imIe' asyA bAlAyAH, 'kadoTTa-dala-saricchehi' nIlotpaladalasadRzAbhyAM jo nayaNehi' yo nayanAbhyAM, ghanastanabhararuddhaprasarAbhyAM na dRSTo naavlokitH|| How can this damsel's waist possibly not get emaciated, depe rived as it is of being viewed by her lotus-pelal-like eyes, whese view is blocked by the plump breasts ? (131)

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tArAyaNo 53 [74+] thaNavaha tuha pasAeNa phaisimo tassa urayaDamasesaM / imiNA uNa dahasi na desi jaM mha hiyaeNa pariraMbhaM // 132 'thaNavaTTha' he stanapRSTha, tava prasAdena, 'tassa urayaDa' tasya priyasyorastaTaM azeSa 'phasimA' spRzAmo vayaM pRthutvAttava, 'imiNA uNa' anena punardahasi tApayasi tvaM, 'na desi ja mha' na dadAsi yadasmabhyaM hRdayena vakSasA parirambhamAliGgana, tvayA atyunnatena priyasya hRdayAt dUrotsAritatvAt / / Oh Breast Expanse, it is certainly through your favour that I touch the whole of the extensive chest of my beloved; this, however, pains me that you give me no scope to embrace his heart. (132). [75*] garuehi ghaNehi sudaMsaNehi paDivaNNa-maMDalaggehi / thaNa-suhaDehi parirakkhiyaM pi kaha se haDaM hiyayaM // 133 'garupahi' ityAdikaM stanayoH subhaTAbhyAM ca rUpitayAvizeSaNaM yathA'garupahi' gurubhyAM, 'ghaNehiM' ghanAbhyAM, 'suMdasaNehiM' sudarzanAbhyAm / anyatra sudaMzanAbhyAM susannAhAbhyAM, 'paDivaNNa-maMDalamgehiM' pratipannamaNDale prAptapRthutve agre yayAstau tathA tAbhyAM pratipannamaNDalAgrAbhyAm / anyatra pratipannaM maNDalAyamasiryakAbhyAM tau tathA tAbhyAM / stanasughaTAbhyAM zobhanastanakalazAbhyAm / anyatra stanasubhaTAbhyAM stanavIrAbhyAm / parirakSitamapi 'kaha se' kathaM tasyAH / 'haDa' hRtaM hRdayam // How was that her heart was stolen eveathrough it was well giarded by the guards in the forn of her pitcher-like breasts, which were huge lor heavy), thicksat lor thick), well armoured (or shapely) and equipped with sword (or with well rounded tits) ? (133) [76*] tujjha piya-kaMcue piccha ghaNa-thaNucchaMga-phasaNa-saiNho / _ehi paDivaNNo sUiyoNa sIsattaNaM gAmo // 134

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54 saMkua-saMkalio 'tujha piya-kaMcue' tava priyakaJcuke / [piccha' pazya / dhanastanotsaMgasparzanasatRSNo / 'gAmo'. graamyjnH| 'ihi' idAnIm / sUcikAnAM sIvanajIvinAm / 'sIsattaNa' ziSyatvam / pratipannaH prAptaH / kaJcukaM prasIvya tasyAH paridadhadbhi (?) ghanastanasparzaH prApyate iti / sUci. kAnAM kaJcukasIvanavijJAnazikSaNAya ziSyatva grAmyaH pratipannaH // Longiog to touch the roominess within your favoured blouse that covers your plump breasts, that boor has gow accepted apprenticeship of tailors. (134) ( Index Verse 23 * ) 'gabbho'-'niya-paDibiMba' ti 'iMduNo maMDalaM' 'sarehi" ti / / vAyAe vi supasAyAi vAi' guNiNo tuha namaMti // 135 "gabbho'ityAdi-gAthAcatuSTayA[18A] tmikayA iti vAcA'pi 'supasAyAe' suprasAdayA'pi suSThu prasannayA / 'vAi' he vAdin zrIbappabhaTTe / guNinastava namanti // Oh Vadin (ie. Bappabhatti), lovers of poetry bow down to your limpid poetic speech in the form of the Gathas which have gabhho, niyapadibimbai,, induro mandalam and sarehim (as their keywords). (135). [77*] piya-pariraMbha majjhassa kaDhiNa-thaNa-jahaNa-tuMgimakkhittaM / jaM dei teNa mahilANa nUNamaivallaho gabbho // 136 kaThinastanajaghanAnAM tuGgimA tuGgatva tenAkSiptamapahRtaM priyarirabhbha priyAliGganam / 'ja deI' yad yasmAducchvasato madhyasya dadAti tena kAraNena mahilAnAM zrINAM atiballabho garbho nUnamiti manye // 1. vAhei.

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tArAyaNo Pregnancy is very dear to women because I think it now allows their middle the lover's embrace which it was deprived of due to the loftiness of bard breasts and the back-parts (136) [78* ] niya-paDibiMbaM daTTNa piyara aNNo ci saMkiro DiMbho / osaras as pahars kareNa jaNaNIe thaNaviTThe // 137 ujjvale stanapRSThe nijapratibimbaM 'daTThUNa' dRSTvA / 'piyara aNNA si' anyaH ko'pi ayaM stano pibatIti / 'sakiro' mugdhatvAdeva' zaGkamAno DimbhaH zizuH / 'osarai' stanapRSThAdapasarati / 'ruyai' roditi / 'pahaNaI' prahanti tADayati / 'kareNa' hastena / 'jaNaNIe' jananyAH stanapRSTham // 55 Seeing its own reflection in the breast, and so suspecting that some one else is sucking there, the baby moves away from its mother's breast, weeps and strikes it with its hand. (137) [79 ] maha daiyA - sama- nayaNAe esa bAlAe vayaNa - paDikkkho / iya gaNiUNa kuraMgeNa iMduNo maMDalaM gahiyaM // 138 'maha daiyA -sama- nayaNAe' mama dathitAsamanayanAyA bAlAyA yaduvadanaM tasyaiSa induH pratipakSa: pratikUla iti gaNayitvA yAdRzI madIya dayitAthA: kuraGgayA nayane tAdRzI bAlAyA apIti tannayasAdRzyakRtasnehA candramale kupitena kuraGgeNa hariNena 'i'duNe' candrasya maNDalaM gRhItam // 'This moon is a hostile rival of the face of the girl which has eyes resembling my beloved's'-thinking thus the dear has caught hold of the moon's orb. (138) [80*] visamehi sarehi jaNaM na niyasi diTThIe cciya jiNaMta kaMdappa dapio kIsa / viNijjiyaM kuvalayamimIe // 139

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saMkua.sakalio 'visamehi sarehi viSamaiH paJcabhiH zaraiH 'jaNaM jiNaMta' janaM loka ayan vijayamAnaH he kandarpa kAma darpito garvito 'kIsa' kasmAt / 'Na Niyasi' na nirIkSase / 'diTThIpa ciya' dRSTayaiSa / 'imIe' anayA bAlayA vinirjitaM 'kuvalayaM' koH pRthivyA valayaM maNDalam / anyatra kuvalayaM nIlotpalaM dRSTadhaivAnayA vinirjitam / tvayA tu viSamairuyairvA kiyAnapi jano jita iti kandarpa kaste dapaH / / O Love-god, why do you take pride in conquering (only some) people by means of visama (1. 'odd in number,' 2. "powerful) arrows ? Don't you see this girl has conquered kuvalaya (1. the blue lotus'. 2. the whole of the circular earth') by means of just her glance ? (139) ( Index Verse 24 *) 'sakayaggaha'-'sacchappaya'-'ko uNa uttaro' tti vANIe / gayavai peccha vasAe disAgao te jaso jAo // 140 'sakayaggaha' ityaadikyaa| 'vANIe' vaacaa| he 'gayavai' gajapate / 'peccha' pazya / 'vasAe' vazayA yatheSTapravartanena vazavartinyA 'disAgao paso(?jAo)', 'disAgao' diggataM / 'te' tava yazo jAtam / anyatra. he gajapate, 'vasAe' vazA hastinI tasyAstavANItoSazAyAH[18B]hastinyAH sakAzAt / 'disAgao' diggajaH / 'peccha' pazya / tava yazo jAtamiti // Through your obedient (vasa) poetic speeeb (in the form of the Gathas having the key words) saka yaggahu, sacchappaja and ko una uttro, look, Oh Gajapati (i.e. Bappabhatti), your farme bas spread in all quarters. (Alternatively,) Oh lord of elephants, your fame has become a quarter-guarding elephant towards the cow-elephant in the form of your poetic speech. (140)

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tArAyaNo [81 ] sa kaya-gaha-rahasusANiyaM pi na pio piyAmuhaM piyas / appuvva' - takkhaNummilla - vibbhamullola-lolaccho // 141 'sakaya-ggaha-rahasuttANiyaM pi' sakacagrahaM sakezagrahaM rabhasottAnitamayutAnIkRtamapi / 'na pio' na priyo vallabhaH / priyAmukhaM pibati / kIdRzaH sannityAha / 'appuSa' apUrvA tatkSaNaM 'ummillA' unmIlitA vinamA vilAsA bhrUbhaGgasmita hasitata ralavilokanAdayasteSAmullolaH prAcurya -tatra 'lolaccho' lolAkSaH san na priyAmukhaM pivatIti priyaH // Eventhough seizing her hair, the lover has with sudden force raised up the face of his beloved, he does not kiss it, because his eyes are feasting on the extraordinarily charming outburst of a lot of sportive gestures on her part. (141) [82*] sa-cchappaya-kamala- daladdha-vinbhamaddhacchi-picchiyaM tissA | kuppAsa misIsi - valaMta - kaMdharaM kaM Na mohei || 142 57 SaTpadaM sabhramaraM yat kamalArdhaM tasyeva vibhramo lIlA zobhA yasya tathA tacca tat ardhAkSi tacca saSaTpadakamaladalArdhavibhramAkSi prekSitam / kIdRzam / 'kuppAsamisIsivalaMtakaMdharaM kUrpAsaH kaJcukaM tasya miSaM vyAjaH kilA haM pRSThataH kUrpAsamavalokayAmIti tena kUrpAsamiSeNa | 'Isi latakaMdhara' ISanmanAmbalamAnA kandharA grIvA yasmin tat kUrpAsamiSeSavalamAna kandharam / tathAvidhamardhAkSiprekSitaM tasmAt tasyA bAlAyAH / 'kaM na mohei' kaM puruSaM na mohayati na vyAkulIkaroti || Who is not fascinated by her glancing with half-closed eyes, that have the sportive beauty of a halved lotus-petal with a black bee therein, when she slightly turned her neck under the guise of (having a casual look at her ) blouse ? (142) 1. bhaurAgva.

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saMkua-saMkalio [83*] taha pAviya-khaMDaNa-pIlaNo vi jo vahai ninbharaM rAyaM / jai so vi hoi aharo ko uNa tuha uttaro suyaNu // 143 'taha pAviya khaMDaNa-pIlaNo vi' tathA tena prakAreNa priyakRtena prApta khaNDama pIlanaM ca yena sa tathA prAptakhaNDanapIlano'pi yo vahati dhArayati pracura rAgamaruNatvaM, anyatrAnurAga 'jai so vi hoi' yadi so'pi bhavatyadharaH kaH punaruttarastava sutano bhaviSyati / adharazabdena nyagbhUta oSThazcocyate / uttarastUccaH sthitaH / Oh lovely damsel, that which in spite of being wounded and pressed, shows abundant raa (love', alternatively, 'redness'), and even then if it is (called) ahara ('lower lip', alternatively, 'inferior'), then who possibly can be your superior ? (143) ( Index Verse 25 *) 'jhINA' 'sisiro vi' 'visAlayAI 'sai-paMthiya' tti vAi' tumaM / AsAiyAe maio kaha na pasaNNAe' vANIe // 144 . 'jhINA' ityAdi-gAthAtmikayA vANyA / 'pasaNNAe' prasannayA prasAdaguNayogAt prakaTArtha yA, anyatra prasannayA acchasurayA / vANyA / 'AsAiyAe' AsAditayA jJAnagocaraM prApitayA, anyatra AsvAditayA pItayA / 'vAi tuma' he dhAdistvam / 'mAo kaha na' ma[19A]dito madaM grAhitaH kathaM na / evaMvidhAM vANI racayannapi kavitvamadarahita ityarthaH // Oh Vadip, bow is it that you were not puffed up by your composition of the lucid verses with jhina, sisiro vi, visalayai and sai-parithiya (as their respective key-words) ? (Alternatively, how is it that you were not intoxicated by drinking the clear wine ?) (144) . . . . . . . 1. vAema. 2. yasampAe.

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tArAyaNo [84*] taha jhINA jaha mauliya-loyaNa-puDa-vihaDaNe vi asamatthA / ... sakkihai dukaraM ghara-gayaM pi daTUTuM tumaM varaI // 145 .. .'taha jhINA' tathA kSINA tvadvirahe kRzAGgI jAtA sA / 'jaha mauliyaloyaNa-puDa-bihaDaNe vi' mukulite saMkocite te ca te locanapuTe ca tayoH 'vihaDaNaM' vighaTanaM unmIlanena pRthakkaraNaM tatrApyasamarthA satI / 'ghara-gayaM pi' AstAM dUragataM, gRhagatamapi / 'tuma' tvAM he subhaga / 'varaI' varAkI / 'daTuM' draSTum / 'sakkihI? hai) dukkara' zakSyati duSkaram / na zakSyati draSTuM duHkhena vA zakSyatItyarthaH / / She has become so emaciated and weak that she is unable to open her closed eye-lids. The poor girl would be hardly able to see you if you were there before her in her residence. (145) [85*] sisiro vi tuha vioe dahai sasI muha-viNijio varaI / kaya-paribhavo viyAraM na vaccae ko va vihurammi // 146 'muha-viNijjio' mukhena vinirjita iti kRtvA / tava viyoge ziziro'pi zItalo'pi zazI candra. varai varAkI dahati tApayati / athavA 'viharammi' parAbhavakAriNo vidhure vyasane sati / 'kaya-paribhayo' kRtaH paribhavo yasyAsau kRtaparibhavaH / 'viyAraM na paccae ko ba'. [vikAraM] na vrajati ko vA / apitu sarva eva paribhavaM prApya paribhaviturApadi satyAM vikAraM vrajatyeva // . .... . __Eventhough the moon is cool, it scorches that poor girl (presently suffering) separation from you, because her face triumphed over it. Being humilated, who would not react (ie retaliate) when (the humiliator) is in. trouble ? (146) [86*] amayamaiyA vi bAlA karei kalamalaya-dAha-mucchAo / pecchaMtI kiM kIrau nayaNAI visAlayAI se // 147 1. vya. ,

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sakua.sakalio 'amayamaiyA vi' ityAdi / amRtamayyapi amRtAtmikA'pi bAlA prekSamANA satI kalamalakadAhamUrchAH karoti yUnAm / tadatra 'kiM kIrau' kiM kriyatAm / yato 'nayaNAI visAlayAi se' viSAlaye viSasyAlaye sthAne 'se' tasyA nayane netr| sarvazarIramamRtamayaM, nayane kevalaM viSAlaye, nayanAbhyAM ca prekSate / tataH prekSamANA kalamalakAdIn karoti / anyatra, 'visAlayAI' vizAle eva vizAlake dIghe mayane yasmAt / ato dIrghanayanAbhyAM pazyantI virahiNAM dAhAdIn kurute iti / Eventhough the girl is all nectar, when she glances (at the boys), she causes them painful yearning, burning and swooning. But what can be done in this matter ? (The fact is) her eyes are visalaya (!. 'seats of poison'. 2. long.) (147) [87*] bhuvaNabhaMtara-sai-paMthiyassa hiyayassa piyayamo mAmi / kuNaDa payANaya-bhaMga kahA-pasaMgeNa vi palatto // 148 bhuvanAbhyantare 'sai-paMthiyassa' sadApathikasya hRdayasya manasaH kathAprasaMgenApi 'palatto' pralaptaH saMbhASitaH priyayamo' priyatamaH prayANaka-bhaGga karoti / 'mAmi' iti saMgatajanAmantraNam / kathAprasaGgenApi zrute priye taralaM mano nizcalIbhavatItyarthaH // O friend, my mind, always a wanderer through the world, is stopped in its wanderings even when there is a casual conversation 'with my loved one. (148) ( Index Verse 26 * ) kai-bappahaTTiNo 'dara-dalaMta-sayavatta'-'NaliNi'-'ku[19B]muehi / rehai ghaNa-pAyaDa-mahurasaha-suhayaM saraM va muhaM // 149 1. prekSyamANA.

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tArAyaNo 61 'kaha-bappahaTTiNo' kavivappabhaTTeH 'dara' dalaMta sayavatta NaliNi-kumupahi' daradalacchatapatranalinIkumudairgAthAnibaddharghanaprakaTamadhurazabdaiH subhagaM janapriyaM mukhaM / rehai' rAjate / kimiva / 'sava' sara iva / yathAsrdhadalaccha tapatrayA nalinyA kumudaizca 'ghaNa pAyaDo' ghanaprakaTo yo 'mahuraso' madhuraso makarandastena Adra subhagaM saro rAjate tathA'sya mukhamiti // The poet Bappabhatti's countenance sbines with (his Gatbas. which have) dara-dalamta sayavatta, nalini and kumuya (as their respective keywords), it being consequently attractive because of their compsct, lucid and sweet wording, just as a lake appears. beautiful due to its night-louses and its lotus-plants having half. blown lotuses, it being coosequentiy attractive because of the spill... ing of abundalit sap. (149) [88+] raya-mummura-nibbhara-dara-dalaMta-sayavatta-Nita-bhamarolI / uggAhiyagdha-dhUya vva dIsae kamaliNI raviNo // 150 rajaH parAga: sa eva murmuro'gnivizeSastena nirbhara pUritaM, tacca tat 'dara dalaMta-sayavatta' cArdhavikasacchatapatraM ca rajomurmuranirbharArdhadalacchataparNa, tasmAt 'nitI' niyantI 'bhamarolI' bhramarAvaliya'syAH sA rajomurmuranibharArdhadalacchatapatraniryadbhamarAvaliH / kamalinI 'raviNo' raveH / 'uggAhiyagghadhUya vva' dahyamAnAgurucandanAdidhUpadhUmalekhAyA bhramarAvalisannibhAyAH udgamanena udyAhitaH sajjitordhadhUpo yayA sA tathAvidheva 'dAsapa' dRzyate / zatapanaM kamalam // Oa account of the line of (black) bees issuing from its lotuses,.. half-blown and full of ember-1.ke pallen, the lotus-plant appears as if it is holding up incense worshipfully towards the syn. (150) [89*] Aloya-mitta-viyasaMta-kumuiNI-pIyamANa-ghaNa-joNhaM / o naliNi miyaMka pariharaMti taI baMcio appA // 151 - 1. dala..

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saMkua-saMkalio AlokamAyeNa darzanamAtreNa vikasantyA kumudinyA pIyamAnA ghanA jyotsnA yasya sa tathA / taM tAza 'miyaMka' mRgAGka candramasaM 'pariharati' pariharamANe 'o liNi' he nalini 'taI' tvayA vaJcita AtmA // Because the Night-lotus-plant had its lotuses blown the moment it saw the moon and it drank deeply the moon-light, you, oh Daylotus-plan', are shuoning the moon, but thereby you have defrauded yourself. (151) [90*] jai hoja nisA tIe viso khaNo jai tahiM pi nahu mihiyaa| tA dacchasi sasilehaM hA kumuya kahiM tuha viyAso // 152 yadi bhavennizA rAtriH / 'tae vi' tasyAmapi nizAyAM 'so khaNo' sa kSaNaH candrodayalakSaNaH / 'jai tahiM pi' yadi tasminnapyudayalakSaNe kSaNe 'na hu mihiyA' rajonIhArAdyAdharaNarUpA nahi bhavet / 'tA dacchasi' tad vRkSyasi kumuda tvaM 'sasileha' zazireSAM nAnyathetyevaM zazirekhAdarzanavighnahetuSu satsu 'hA' kaSTaM 'kumuya' he kumuda / anyatra, he kutsitamRta, he kumRta, 'karhi' va 'tuha viyAso' tava vikAsaH tava pramodaH // ___ If there is night and there: also that chance (of moon-rise), and then too if there is no fog, then only you may see the crescent moon : 03 night-lotus (Alternatively, Oh you who face ignominious death), where is the hope for your blowing (alternatively, for joy) ? (152) ( Index Verse 27* ) 'revA' 'pavvAyaMgI' 'sAhINe' kiM phalaM' ti gAhAo / viraeuM gayavaiNo vi bimhao nUNa saMjAo // 153

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63 tArAyaNo ' [20A] 'revA' 'pavvAyaMgI' ityAdi-gAthA 'viraeu' viracayya / 'gayavANo vi' gajapaterapi bappaTTikaverapyatisundarArthatayA vismayaH sajAtA 'NUNa' iti manyate / On composing the Gatbas (contaning the key-words) reva, pavvayangi. sahine and kim phalan (respectively), it seems Gajapati (i.e. Bappa bhatti) himself became wonderstruck (by tteir beauty). (153) [914] ThANe ThANe NamiUNa dhAriyA niya-payaM pi se diNNaM / viMjhassa taha vi revA maNayaM pi na sammuhI jAyA // 154 'ThANe ThANe namiUNa' ityAdi / sthAne sthAne 'namiUNa' natvA / 'dhAriyA' dhRtA / 'niya-payaM pi' nijapadamapi / anyatra, nijapayo'pi / 'se' tasyA revAyA 'diNaM' dattaM vindhyen| 'viMjhassa taha vi' vindhyasya tathA'pi / 'revA' narmadA / 'maNaya pi' manAgapi / na sammukhI abhimukhI jAtA // She bas been borne by him at a number of places by bending low, she has been given by him even bis paya (1. 'water' 2. 'position'). Even then Reva did not turn towards (alternatively, *become affectionate towards'} Vindhya even a wee bit. (154) [92*]joNhA-pavvAyaMgI na vimadda-sahA ima tti mA sNk| sasiyara-maulijjataM pi kamalamali-caDDaNaM sahai // 155 jyotsnayA candrikayA 'padhyAyaM' pravANaM zuSkamaGga yasyAH sA jyosnApravANAMgI satI na vimardasahA / 'ima tti' eSeti / 'mA saMka' mA zAsva / aymtraarthH| AstAM dinakarAtapo, jyotsnayApi yasyAH zuNyatyaGga sA sukumArAGgI kathaM vimarda sahate iti zaGkamAnaH kazcidevaM vAryate / yataH 'sasiyara-maulijjaMtaM pi' zizirakarairmukulIkriyamANamapi kamalaM pAm / 'ali-ghaDaNaM' bhramaravimarda sahata iti //

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64 saMkua-saMkalio Do not be apprehensive that because her body withers, even under moonlight this girl caonot bear rubbing and squeezing : A day-lotus, eventhough it cleses at the touch of the moon's rays is able to bear the rubbiog and squeezing from the bee. (155) [93*] rovaMtu nAma taM jaNamapicchamANAI daha-nayaNAI / taM hiyaya kiM visarasi sAhINe cintiyacammi // 156 taM janamabhISTa janam / 'apecchamANAi' aprekSamANe apazyantI / 'daDDhaNayaNAI" dagdhanayane / 'rovaMtu nAma' rudatAM nAmeti / yuktaM tApat / 'taM hiyaya' tvaM hRdaya / 'sAhINe' svAdhIne svAyatte cintitavye sati / 'kiM visarasi' kimalAbhena tapyase / / Let the wretched eyes weep indeed, as they do not see that person. But Oh heart, why do you feel afflication, when whatever is thought of is quite within your reach? (156) [94*] Na bhaNaha kimujjuyaM ciya sahio amhe hiM so tuha hio ti| kiM phalamimiNA mANovaesa-mAyA-pavaMceNa // 157 'sahio' he sakhyaH / 'amhehiM' asmAbhiH sa priyaH / 'tuha' tv| 'hio tti hRta iti / 'ujjuyaM ciya' Rjveva / kiM na bhaNata yUyam / 'ki phalaM' kiM punaH phalam / imiNA' anena, tvayA bhartari mAnaH kartavya ityanena priyaparAGamukhakAriNA mAnopadezamAyAprapaJcena / / Ob friends, why do you not admit Straight way, we have kidnapped that (beloved of) Jours ? What is the use of this deceitful adv.ce (of yours) to me to affect injured pride?' (157) ( In 'ex Verse 28* ) 'ekkAvatthaM' 'mahaNe' 'pavasaNa-maNa' 'sappaNAmiyaM' 'kumarI' / iya viraeuM tumae gayavai mUIkayA kaiNo // 158

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tArAyaNo 65 'ekkAvatthaM' 'mahaNe' ityAdigAthA viracayya he gajapate 'tuma' tvayA mUkIkRtAH kavaya iti sugamam // Oh Gajapati (ie Bappabhatti ) by composing (the Gathas having as their respective keywords) ekkavatthar, mahane, pavasana-mana, sappanamiyam and kumari you have made (all other) poets dumb. (1.8) [95* ] amuNiya-visesa-pasaraMta-tosa - rosasu-bhUsiyaM tissA | cADummi vippiya [20B]mmi vi ekkAvatthaM muhaM sarimo // / 159 toSazca zeSazca toparoSau tAbhyAM azrUNi prasaranti ca tAni toSaroSANi ca prasarattoSaroSANi / 'amuNiya visesANi' ca ajJAtavizeSANi ca tAni prasarattoSaropANi ca ajJAta vizeSaprasaratoSaropAkSaNi / tairbhUSitamalaMkRtaM 'tistA' tasyAH / cATuni svAdau kRte, 'vippiyamma' iti vipriye'pi aparAdhe kRte / 'ekkAvatthaM' ekAvasthamabhinnAvastham / mukhaM 'sarimo' smarAmaH / cATukriyayA toSAzraNi, vipriyajanane ca roSAzraNi ityubhayathA'zrasaMbhavAdekAvasthaM mukhamityarthaH // We recall her face presenting the same mien to flattering praise or offense, and adorned accordingly with the flow of tears, which it cannot be guessed whether they were due to pleasure or anger. (159) [96* ] mahaNe tihuyaNa sAhAraNe vi hariNA sirI sayaM gahiyA / kiMbahunA devA vihu sayattha- karaNujjuyA savve // 60 mathane 'tihuyaNa-sAhAraNe vi' tribhuvanasyApi sAdhAraNe samAne'pi / 'hariNA' viSNunA / 'sayaM' svayaM AtmanA / zrIH lakSmIgRhItA mathakAnAmanyeSAM tu na dattA athavA kiM bahunA | 'devA vi hu' devA api 1. khu.

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66 saMkua-saMkalio khalu sphuTam | 'sayastha - karaNujjuyA' svArthakaraNodyatAH sarve iti sugamam // Eventhough the churning was commonly done by the three worlds (i.e. all ), Visnu solely tock possession of Laksmi (But) what is the point of saying more? The gods too, one and all, are doubtlessy keen to cater to their own interest. (160) [97*] pavasaNa-maNa-daiya- kayA' niuNAhi sahIhi viraha- sahaNatthaM / aliyA vahu avarAhA vahue do-tiSNi kahiyaMti // 161 pravasanamanasA pravAsakAmena dayitena / 'kayA' kRtA: / pravasanamanodayitakRtAH / 'aliya cciya' alIkA eva aparAdhA virahasahanArtha nipu. NAbhiH sakhIbhiH / ' vahUe ' vadhvAH / kramazaH 'kahijjati' kathyante / yeneyaM tadaparAdhazravaNAd bhartari kizcitsaroSavirAgAt tadvirahamapi sahatetyanena bhavatyA yuvatyantarasanmAnAdirUpAste tavAparAdhAH kRtA ityalIkameva yasyAH sakhIbhiH kathyate // When the husband was about to go abroad, the wife's resourceful friends told her about his two or three concocted offenses, so that she may be able to bear (the impending) separation. ( 161 ) [98 * ] jai mahasi gAvaM piya-jaNammi mA kuNasu tA imaM mANaM / sahi sappaNAmiyA mUliyA vi loyammi su-mahagghA // 162 [ya] 'mahasi vAJchasi / 'gAravaM' gauravam / 'piya-jaNammi' priyajane / 'mAkuNasu' mA kArSIH / ' tA imaM' tadimaM stabdhatAdilakSaNaM mAnam / tena sapraNAmikayA tvayA bhartari bhAvyam / yataH he sakhi 'sappaNAmiyA' saha praNAmena vartata iti sapraNAmikA, anyatra sarpanAmikA sarpAkSI mUlikA auSadhirapi loke sumahArghA bhavati / suga[ 21A ]mam // If you desire regard from your loved one do not entertain such (an attitude of) injured pride towards him. Oh friend, the 3. jai va mahasi. 1. kayaM. 2. sukhIbhiH .

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tArAyaNo sappananiya (1. 'One who bows down in humility', 2. 'the Sarpaksi), even if it be a herb, is highly prized among the people. (162) [99*] paDhama-surayammi kumarI khalIkayA taha dadaM aNAreNa / aha jhiMDali-veNI vi hu na sahai nAma pi purisANaM // 163 prathamasurate 'kumarI' kumArI khalIkRtA kathitA / 'taha daDhaM' tathA dRThaM / 'anADheNa' hrasvena, anyatra anaHsazasAdhanena / 'jaha jhiMDuli-veNI vi hu' - 'jhiMDulI' puzcalI, tasyAH sambandhinI veNiH santatiryasyAH mA hiMDaliveNirapi, asatIsantAnotpannA'pi / 'khu' sphuTam / sA kumArI na sahate nAmApi puruSANAm / In her first sexual intercourse, the girl was so outraged by her paramour (alternatively, by the outsize prick') that, eventhough she is a descendant of an unchaste woman, she cannot now even tolerate the name of males. (163) ( Index Verse 29 * ) 'kaiaba-ruNNaM' 'AsaMkiUNa' iya bappahaTTiNA bhuvarNa / bAhAhi va phuriyatthAhiM nijjiyaM asai-gAhohi // 164 'kaiyava-ruNNaM' 'AsaMkiUNa' iti 'phuriyatthAhiM' sphurita ujjvalo'rthoM yayorgAthayo, anyatra sphuritamujjvalaM astraM AyudhaM yayo ho: te sphuritArthagAthe sphuritAstrau ca bAhU / tAbhyAM sphuritArthAbhyAM 'asatI(?i)gAhAhiM' asatIgAthAbhyAm , bAhubhyAmiva sphuritAstrAbhyAM bappabhaTTinA bhuvanaM nirjitam / 'bAhu' zabdaH prAkRte strIliGgaH // By means of his two brilliant (phuriyattha) Gathas about on. chaste women (wbich contain respectively the keywords) kaiavarunnai and asamkiuna, Bappabhatti has conquered the three worlds as if by his arms that wielded shining missiles (phuriyattha). (164)

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68 [100* ] kaMpa-nivaData kuDayANa salila-hArINa harisa - bAhaDhaM / tuha dIha-daMsaNa - kae kaiava-ruNNaM na niTTAi // 165 saMkua-saMkalio kampena nipatan kuTo ghaTo yakAbhyasnAH, tathA tAsAM kampanipatatkuTakAnAm | 'salila-hArINaM' pAnIyahArINAm / 'harisa- bAhaDDhaM' harSeNa bASpo'zru tenADhya paripUrNa harSabASpAdayam / tathA bhavatyeva tava darzanasya kRte dIrghakAlaM darzanArtham / 'kaiava- ruNNaM' kaitavena zAThavena ruditam / 'na niTThAi' na niSThAM parisamAptiM yAti // As the water-pots of the water fetching girls fell down due to (passionate) trembling, their pretended weeping in which (in fact) tears of joy were being shed, does not stop because they want to see you for long. (165) [101] AsaMkiUNa gabbhaM pavAsa - viNiyatta bhattaNo purao | puvaI' - nevattheNa chichaI pugai muddhA || 166 'AsaMkiUNa gabrbha' garbhAzaGkAM kRtvA | 'pavAsa - viNiyatta bhattaNo' pravAsAdvinivRttabhartuH / purato'grataH / 'chiMchaI' asatI / 'pupphavaI - NevattheNa ' puSpavatyA nepathyena veSeNa rudhirAraka paridhAnAdinopalakSitA / puNai suddhA hUM' zuddhAnyapi mayA spRSTAnIti vastuni snAnAbhyukSaNAdinA punAti pavitrIkaroti // Suspecting pregnancy, the unchaste woman wearing the clothes fit for a woman in menstruation, is purifying even pure things (i.e. things undefiled by her contact) in the presence of her hus band, just returned from abroad. (166) ( Index Verse 30* ) 'sahi- kajja' 'khitta-muha' 'gheNuyAu' 'diya ci vAiNo vANI / eka cciya nijjiya-pavaraseNa - akkhohiNI jaya // 167 1. puSpavaI.

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tArAyaNo 'sahi-kajja' ityAdi-gAthAlikA vAdinaH kvervaannii| 'eka cciya' ekaiva / 'nijiya-pavaraseNa-akkhohiNI' nirjitaH pravarasenakavirya yA sA tathA / kSobho vidyate yasyA: sA kSobhiNI / na kSobhiNyakSobhiNI avighaTamAnArthetyarthaH / [21B] nirjitapravarasenA cAsau akSobhiNI ca nirjitapravarasenAkSobhiNI / anyatra, senA sainyaM / pravarA cAsau senA ca pravarasenA / pravarasenAyAmakSauhiNyo mahAsaGakhyavalarUpAH tA nirjitA yayA sA / ekaiva nirjitapravarasenA'kSobhiNI vANI vAdino jayati / / - Victorious is the speech of Vadin (i.e. Bapnabhatti) (which is in the form of the Gathas having) sahi-kajja. khitta-muha, dhenuyau and di yaro (as their respective keywords), which is unwavering and which alone has conquered Pravarasena (alternatively, 'which even. though single has variquished an Aksaubini of a siroog army). (167) 102*] mA jhatti tujjha daMsaNa-rahasummAeNa ghippau varAI / / tA sahasu jA kahemi tti jaMpirI kuNai sahi-kajaM // 168 'tujjha' tava / 'zatti' jhaTiti / darzanAt harSastasmAdunmAdastena tava jhaTitidarzanahanmiAdena / 'mA dhippau' mA gRhyatAM varAkIyamitikRtvA / 'tA sahasu' tAvat sahasva pratIkSasva he subhg| 'jA kahe mi' yAvattavAgamanaM kathayAmIti / 'jaMpirI' jalpanazIlA kAcit / 'kuNai' karoti sakhIkAryamiti // *Let the poor girl be not caught by maddeping upsurge of emotion at your unexpected sight. So wait till I break news to her' : (saving these words) some lady renders service to her friend. (168) [103*] vAvaya tuha khitta-muhAgayassa gosammi daMsaNa-maNAe / jaggaMtIe vi rayaNIe tIe na thamAlio kalamo // 169 'ghAvaya' he vApaka halika / 'gose' pratyUSasi / 'chettamuhAgayassa' .... kSetramukhAgatasya tasya satastava yadarzanaM tatra mano yasyAH sA tathA tayA

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saMkua-saMkalio 'dasaNamaNAe' darzanamanasA 'tIe' tayA / 'jaggaMtIe vi' jAgratyA'pi / 'rayaNIe' rajanyAM rAtrau / 'na thamAlio' na patkAreNa dUrIkRtaH 'kalamo' zAnivizeSaH / thamAlamakRtvA zUnyo'yaM kalamo mRgAdibhirabhibhaviSyata iti matvA vApakasya kSetramukhAgatasya darzanamabhilaSantI kalamagopikA jAgratyapi nizi na pratkarotItyarthaH // Oh tiller, yearning to see you arrive in the front of the field, that girl (guarding the field) did not protect the rice-field (from ravaging animals), eventhough she kept awake the whole night.(169). [104*] AyAmiUNa haraNaM pi paMsulI gheNuyAu nINei / bAhiM gehiya-niggamaNa-kaMkhirI addha-rattammi // 170 haraNamapi 'AyAmiUNa' AyAmya prasArya dhenavazcorairapahiyantAmityasya / 'bAhiM' bahiH / gehikasya patyaH / 'niggamaNa-kaMkhirI'1 nirgamanamicchantI / 'paMsulI' pAMsulI asatI / 'addha-rattammi' ardhraatre| 'dheNuyAo' dhenUH / 'NINei' ni:sArayati / The urchaste woman takes out (for grazing) the cows at midnight with a view to get them even stolen (by thieves), desiring keenly that her husband go out of the house (on that account). (170) [105*] cheyAe muddha-diyarassa lAiyA taha vilaasinni-vilaasaa| saMDho ci pariharijjai kaNNA-dANe jaha jaNeNa // 171 chekayA dhUrtayA asatyA / 'muddha diyarasla' mugdhadevarasya / 'lAiyA' lAgitA nyastAstathA vilAsinIvilAsAH nayanAJjanaprakSepAlaMkAraracanAdayo yathA knyaadaane| 'saMDho tti' SaNDho'yamiti kRtvA janena parihiyate // That roguish, unchaste woman devised for her husband's tender younger brother such lady-like toillete, that people are rejecting 1. kiMkhirI.

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tArAyaNo . 71 him in the matter of offering their daighters in marriage, thinking he was a hermaphrodite (171) ( Index Verse 3 * ) 'para-desa-deulAvAsiyAe' 'jo rakkhaI' [22] tti aNavajaM / ANaMdiya-savaNaM seyabhikkhuNo vaMdimo vayaNaM // 172 'para desa deulAvAsiyAe' 'jo rakkhai'1 iti gAthAdvayAtmakaM 'aNayajja' anavadyamata evAnanditazravaNa' zvetabhikSoH / 'vadimo' vandAmahe vacanarmiti / / We bow down to the words of the White-Clad Monk (seyabhikkhu i.e. Bippibhatti) till the form of the two Gathas having respectively) paradesa-deulavasiyae and jo rakkhai (as their keywords), which are flawiess and which delignt the ears. (172) para-desa-deulAvAsiyAe asaIe pelliya pitt| coraM kAUNa paI kuDhiyANa samappio bhattA // 173 paradeze devakulaM devagRhaM tatra cAvAsitayA astyaa| pelliya' prerya / tataH 'paiTTha' prvissttm| cauraM pti| 'kAUNa' kRtvA / 'kuDhiyANa'5 pRSThato lagnAnAM rAjapuruSANAM / nija-bhartA'yaM caura iti samarpita iti // The uncbaste woman, who had taken lodging in a temple in a foreiga chiniry, pissed off as her husband the thief that had been compelled to enter there, and she handed over to the pursuers her (real) husband as the thief. (173) jo mahaI parassa dhaNaM kuppai tassa'ppaNo Na maggaMto / jo rakkhai niyayaM ciya kuppai tasseva' vivarIo' // 174 yo 'mahati' vAJchati parasya dhana dravya, tasya tasmai paradhana vAJchate, AtmanA svayaM mArgayan yAcamAno na kupyati / dvayorapi yAcakatvAt / 'jo rakkhai' yo rakSati 'niyaya ciya' nijameva dhanaM 'tasseva' tasyaiva, 1. khakhae. 2. zramaNa. 3. paiyadaThaM. 4. kuThiyANa corrected as kuriyANa. 5. kuriyANa. 6. tasseya. 7. vivarIyaM.

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72 . saMkua-saMkalio 'vivarIo' viparItaH yo na rakSati dhanamasAvarakSako viparItaH tasmai dhanaM rakSate kupyati dhanamasau rakSati ahaM tu dadAmIti kRtvA // A begger is not angry with someone who is covetous of another's wealth. But one who does not keep his wealth (i. e. 'who gives it a vay), is angry with him only who sticks to his own wealth. (17) ( Conclusion ) gaMbhIro aNNo ciya sa esa sarasattaNeNa agghavio / kai-kittie samuddo aNeya-gAhAulo koso // 175 . 'kai-kittIe samuddo' sa epa: 'koso' kozaH, muddo muddAyI / kasyAH ? 'kaikittAe' kavervappabhaTTaH kIrtistasyAH, mudaM vikAza dadAtIti mahaH / anyatra samudraH, yasya kapibhiH setubandhaH kRta iti kapikIrtyA upalakSitaH samudraH, tataH "kaI kittIe samuddo' iti prAkRtazabdasAmyAt / smudrshlesseti?)| kozasya samudradharmAstAvat kathyante / kIdRgasAvityAha / 'gaMbhIro' gambhIrArthatvAt / anyatra agAdhajalo gambhIraH / tathA 'aNeya gAhAulo' aneka gAthAbhirAkulaH pUrNaH / anyatrAnekagrAhaibahalajalacara: saMkula iti / rale darzayitvA vyatirekamAha / bhavati kozo'yametAvatA dharmasAmyena smudrH| kintu sarasattaNaNa' sarasatayA viziSTarasayogena / 'agghavio' pUrNaH / 'aNNo cciya' anya eva sa samudraH / samudrohyayaM lavaNarasopetatvAnna vishissttrsyogii| kozastvayaM gAthAnAM svAduralatvAt sarasatvena paripUrNa iti / / Eventhough this trea rury (of versez) 18 like the ocean in that it too is gaibhira (1. deep', 2. 'profund"), kai-kittie mud da (1. 'spreading the fame of the monkeys', 2 sprvading the fame of the poet ie. Bappabhatt:'), and aneja gahaula (1. 'teaming with a lot of crocodiles,' 2. 'containing numerous Gathas'), still it is quite a different type of ocean, because it is made precious due to the presence of rasas (poetic searimeats') (as against the ordinary oceaa which is salty). (175) mahA-vAdIndra-thA-bappabhaTTi-sUri-kRtasya subhASita-kozasya dvAsaptatyadhi[22B] ka gAthA-zatasya samAptA TIkA tArAgaNasyeti // 1. Thereafter : zubhaM bhavatu // kalyANamastu // graMthAgraM zloka 1000 saMkhyA //

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bappabhaTTikRta gAthAnAM pratIka-sUciH acchI adIsaMtassa citimatI aNNo cciya AyAro amayamaiyA vi bAlA amuNiyavi se sapasarata anvo tumAi jaMpicchaeNa avo sumeha ta AyAmiUNa haraNaM AyAse aThavito AloyamittavihasaMta AsaMkiUNa garbha uNarupaohara uya joiMgaNa uyaha nahaM majjha uvvahasi kIsa paNa vimhao mhaM etto ki dacchAmi kaha nAma na hosi kaha mA hi ( ? jhi, jjau kaMpanivaData kuDANa kiM sahi phuDhaM taha gayaNacchiNNo galenassa garuehiM ghaNehiM guNatuliyapariyaNAyeta ghaNapaDalehiM chaijjatayAi cheyAe muddhadiyarasa jaI mahati gAravaM jaha hojja nisA 84 71 49 147 159 58 62 170 46 151 -166 87 22 34 61 38 99 69 131 165 74 32 133 127 28 171 162 152 jalahara - khallA jaha se mamammi taha jaM jaM rei daio jiyau ti payasaNAha jo aNNavANaroha jo jippaI so ira johApavvAyaMgI jo mahai parassa dhaNaM ThANe ThANe NamiUNa taiyacchisihi ta diDe viyaliya tarUNa jaNanayaNa taha jhINA jaha mauliya taha pAviya khaMDaNa taha pUriyamoGkSaNayaM taM kuNasi bhImasAhasa taM parivati da acchinna taMtra tujjha piyakaMcue tuha karavaMdiya tuha riuNo NAha tu vAraramaNisaMmadda te karaNo puha thaNavaTha puha pasAeNa daDapayAvaI paDavaNaM tera davaDUpava dAviya karapallavayaM 27 73 75 89 47 129 155 174 154 78 67 80 145 143 90 56 65 51 134 82 42 37 17 132 39 66 31 94

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74 tArAyaNo 156 Morrom y 23 44 141 1.42 dAveto ciya phulla dUrUhavirahabhuyaMgama Na bhaNaha kimujjuyaM gaMdaMtu te kaiMdA niyapaDivi nUNaM ghaNummi tuha paDivaNNacarama paDivatti akaraMti paDhamasurayammi paNa INa deva dito paradesadeula pavasaNamaNadaiya pAyAloaraNamaNA piyapariraMbha phuriyapayAvassa bahulakkhaeNa bahusohaggAu bAhiM tuha daMsaNa bhuvaNabbhaMtarasai mayaNanivAso tti mahaNe tihuyaNa maha daiyAsama mA jhatti tujjha daMsaNa mAruyatottayasaMco mukkajarAe vi tuha rayamummuraninbhara our >> 9ur mr mur rehai miyaMkabiMba rovaMtu nAma taM vaDavAnalasaMvaliyaM vayaNaM phuraMtarayaNaM vAeNa dUsa heNa vAvaya tuha khitta vijukaDhijjata viyasaI tumaM ti visamehiM sarehi sakayaggaharahasu sacchappaya kamala sajjAvesAloyaNa samanittAi vi ghariNIe samvagayassa vivAso samve tri kayA sahiyANa sayaM kaviyaM saMpuNNakosadaDa sisiro vi tuha suyaNo dose vi suracAvolavaNa suhau tti jiyaha suMdestuliyakaMdappa so jayai jaekka so jayai jassa hA hA saMtaM pAva 7 WW 41 .. 146 . 148 86 160 0 0 m 168 ~ 150

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Glossary of Select Words agghaviya 175 pUrNa aNArA 163 (1) jAra: (2) anaH sadRzaH (1) zizna: ( Com ) alliyaNa 84 AzleSa, AlInatA aba riTTiya 58 (1) uparisthita, (2) apratiSThita ira 129 kila harA 54 itarathA uttUNa 85 garvita uppUra 27 nikara, prAcurya oDDhaNyaM 90 uttarIyam olavaNa 30 AropaNa (Com.) 'sling','strap'. kakkaDa 11 asthi 'stone of a fruit' [Compare Pk. kaMkaDuya 'foodgrain that remain unsoftened after boiling'] kamalaya 147 virahavyAkulatA kAliyA 32 kAliman kuDaya 165 ghaTa kuTio 173 hRtAnugataH rAjapuruSaH (=Dn. kuTa) kusa 142 kUrpAsa, kaJcuka ares 25 piThara khallA 27 dRti gulio 14 kASThakandukaH gosa 169 prabhAta gharAhari ( v.]. gharAghariM) 39 gRhAd gRham caraNa 155 vimarda caDila 30 nApita chicha 166 puMzcalI cheyA 171 [chekA ] dhUrtA, asatI jaMpicchaA 58 'covetous of whatever that is 2 seen jhiMDalI 163 puMzcalI DiMbha 167 zizu thamAlio 139 pUtkAreNa dUrIkRtaH (?) 'protected by shouting (to scare away_animals) ' duAli 27 plaster' (?) nIlI 32 akSi-roga-vizeSa paDala 28 [paTala] cover pavvAya 155 praSANa, zuSka, mlAna paMsulI 970 puMzcalI pIlu 49 gaja pecchaya 58 [prekSaka] paryAlocaka

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tArAyaNI phaDakkaya 14 kandukalAlana *bat' bhaMDiyA 30 'barber's razor-- _bag' mAhisaka 26 mahiSayUtha Dn. mahisikka) mihiyA 152 mihikA mudda 175 [mudda] vikAsaka mummura 150 murmura karISAgni mha 132 asmabhyam mha 38 asmAkam rakkhAkaMDaya 90 rakSAkaraNDaka rUya 32 tula varaI 145 varAkI vAriya 27 [vArika] vArisevaka vAvaya 169 (vApakahalika visUra 156 khidaveNI 163 satati veladhiya 97 pratArita mappaNAmiyA 162 [sapanAmikA mAkSI (auSadhi saMThala 67 paNDatva / samulla 20.to be emended ____as samala) AzrIsilaTThi 22 asiyaSTi miliya 30 [zilikA alpA zilA siliMba 84 zizu haDa 44 vRddha hArivaDiya 28 zreNipatita 'fallen in line' 0 hutta 13 abhimukha horaNa 44 prAvaraNa

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Corrigenda 510 18 18 11 25 read gocapaNA gayavaimAya0 of the earth kAzakAra : [3A [3B] vijjutattathA gaganAkSi gaganamevA[4BIbhi tasya kAlikAnIlIpihitatArasya gaganAkSiNo ujjeAiya punaH[5A) pAyAlA mAlaGkAraH / / pratipAdana (5B) nividhnada(9Azana sabhA(10A)yA because 'pa(11A)yaeNa' (51)taiyacchi taruNa-ja(11BNayunA(12A)he phalasmi(12B) paohara 357 36 11 38 20 39 17 40 14 41 - 25 43 13 4511 484 517 646 649 kaDya kahA (13BNaya 'vAvaDacchi' tti kova bisUrasi cintitavye

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PRAKRIT TEXT SOCIETY (C/o L.D. Instiute of Indology, Navrangpura, Ahmedabad - 380009) Latest Price List of the. Prakrit Text Series (January 1987) Serial Price No. Name of the Publication Rs. 2. Prakrta-Paingalam, Part 1 : Ed. by Dr. Bhola Shankar Vyas. pp. 6+10+6+700 (1959) 16/Cauppannamahapurisacariyam : Acarya Sri Silanka Ed. by Pt. A. M. Bhojak. pp. 3+66+384 (1961) 21!Prarta--Paimgalam, Part II : Ed. by Bhola Shankar Vyas. pp. 15+14+593 (1962) 15/Akhyanakamanikosa-vstti : Ed. by Muni Shri Punya ijayji. pp. 8+25+3+422 (1962) 21/Paumacariyam, Part I Ed. by Dr. H. Jacobi, Second edition, revised by Muni Shri Punyavijayaji. 8+40+376 (1962) 28/Pasanahacariu : Ed. and translated into Hindi by Prof. Prafulla Kumar Modi. pp. 7+124+170+232 (1965) Nandisutram with Curni : Ed. by Muni Shri Punyavijayaji. pp. 18 + 103 (1966) 10/Nanditutram with Vitti Ed. by Muni Shui Punyavijayaji. pp. 16 +216 (1966) u. Praksta Sarvasva : Ed. by Dr. Krishna Chandra Acharya. pp. 17+ 1 + 247 (1968) 207"12. Paumacariyam, Part II : Ed. by Dr. H. Jacobi, Revised by Muni Shri Punyavijayaji. pp. 16+ 220 + 158 (1968) 13. Kathakosa of Muni Sricandra (Apabhramsa) : Ed. by Dr. H. L. Jain. pp. 12 + 114 + 438 (1969) 30/ 25/ 9. 10. 32/

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tArAyaNo 14. 15. 16. 17. 18. 19. 20. 21. 22. 23: 24. Vajjalaggam Ed. by Prof. M. V. Patwardhan. PP. 60 + 638 (1969) Mulasuddhi Prakarana : Ed. by Pt. A.M. Bhojak. pp. 109+224 Puhaicandacariya: Ed. by Muni Shri Ramnikvijayaji and Pt. A.M. Bhojak. pp. 8+45 + 222 (1972) (a) Dasakaliya Curni (Pothi) Ed. by Muni Shri Punyavijayji. pp. 17+ 296 (1973) (b) Dasakaliya Curni (Boo) Ed. by Muni Shri Punyavijayaji. pp. 294 (1973) Gaudavaho of Vakpatiraja: Ed. by Prof. N.G. Suru. pp. 8 + 101 339 (1975) (a) Sutrakritanga Curni (Pothi), Part I: Ed. by Muni Shri Punyavijayaji. pp. 402 (1975) + (b) Sutrakritanga Curni (Book), Part I: Ed. by Muni Shri Punyavijayaji. pp. 8+ 248 (1975) Setubandha translated by Dr. Krishna Kanta Handiqui. pp. 10+ 147 + 331 + 318 (1976) Gahakosa of Hala pp. 8+295 (1980) Ed. by Dr. M.V. Patwardhan. Prakrtadhyaya of Kramadisvara : Ed. by Dr. Satya Ranjan Banerjee. pp. 8 4- 49 + 80 (1980) 79 21/ 20/-- 30/ 30/ 45/ 25/ 25/ 30/ 40/ 35/ Apabhramsa Section of Hemacandra's Siddhahema Ed. and Translated by Dr. K.B. Vyas. pp. 20+197 (1982) 8/Tarayana (Taragana) of Sankuka: An Anthology of Bappabhatti-suri's Prakrit Muktakas: Ed. and translated by Dr. H.C. Bhayani. pp. 8+17+74+4 (1987) 20/ Nos. 1 and 7 are out of print. 5/

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mA.zrI. kailalsasAgara surijJAna maMdira zrI mahAvAra jA ArAdhanA kendra keAbA