Usaniruddham

Author(s): V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Catalog link: https://jainqq.org/explore/001879/1

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रामपाणिवाय विरयं
उसाणिरुद्धं
Rāmapāņivāda's
Usāņiruddham
EDITOR V. M. KULKARNI
PUBLISHER. SHARADABEN CHIMANBHAI EDUCATIONAL RESEARCH CENTRE
AHMEDABAD-380 004

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Shree Shwetambar Murtipujak Jain Boarding
(Ahmedabad) Series Vol.11
RĀMAPĀNIVĀDA'S Usāniruddham
With English Translation
Originally Edited
by Prof. A. N. Upadhye, M., D. Lit.
Rajaram College, Kolhapur
Second Enlarged Edition
by Prof. V. M. Kulkarni, M.A., Ph.D. (Formerly Professor of Sanskrit, Elphinstone College, Bombay. Director of Languages, Maharashtra. Director, B. L. Institute of Indology, Patan (N. Gujarat). Director, MM. Dr. P. V. Kane Institute of Post Graguate Studies and Research, The Asiatic Society of Bombay.)
Sharadaben Chimanbhai Educational Research Centre,
Ahmedabad

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Published by:
Jitendra B. Shah, Director.
Sharadaben Chimanbhai
Educational Research Centre,
'Darshan' opp. Ranakpur Society, Shahibag Ahmedabad-380 004
Editor :
Prof. V. M. Kulkarni
Sharadaben Chimanbhai Educational Research Centre, Ahmedabad.
Copies 500, April, 1996.
Price Rs. 70/
Printed by: Sharadaben Chimanbhai
Educational Research Centre, Shahibag Ahmedabad-380 004
Available at:
Sharadaben Chimanbhai Educational Research Centre, Shahibag Ahmedabad-380 004

Saraswati Pustakabhandar, Hathikhana, Ratanpole, Ahmedabad-380 001

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Foreword
We take great pleasure in
publishing Rāmpāṇivāda's Usāṇiruddhaṁ in the Shwetambar Murtee Pujak Jaina Boarding Series of the Sharadaben Chimanbhai Educational Research Centre, Ahmedabad. The original text by Ramapāņivāda has been here edited by Prof. V. M. Kulkarni, a renowned scholar in the field of Prakrit studies.
Usāņiruddhaṁ is a primer for beginners who want to learn Prakrit language. It is well-known as text often prescribed by Departments of Prakrit in various universities in India.
The Institute feels particularly happy on the occasion of the publication of this book, for it was not available to the students for a long time, as it was out of print.
The Institute owes special thanks to Prof. H. C. Bhayani, eminent scholar and linguist, and to Prof. K. R. Chandra, well-known scholar, for their help and guidance in this project.
To Prof. Kulkarni we express our special sense of gratitude for granting us the permission to publish the text in this format.
We would like to thank Pt. Mrigendra Nath Jha and Shri Naranbhai Patel for carefully reading Theough the proofs, and also Shri Akhilesh Mishra, Computer Operator, who has set this text.

Jitendra Shah

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CONTENTS
Foreword
Jitendra Shah Preface
V. M. Kulkarni Introduction
A. N. Upadhye 1. Critical Apparatus 2. Procedure of Text-Constitution 3. The Authorship, Age, Etc., of the Poem 4. Summary of the Contents 5. The Source, Form, Etc., of the Story 6. Antecedents of the Prākrit of the Poem 7. Metres In The Poem 8. Style, Etc., of the Poem 9. उषाणिरुद्धं Text and Chhaya 10. Translation (VMK) 11. Mythological Notes (VMK) 12. FST 37- 13. Glossary (ANU) 14. Select Bibliography (VMK)
8-19 81-126
127 १३५
140
143

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Dedicated to the memory
Professor A. N. Upadhye

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Preface Decades ago I taught this Prākrit Kāvya Usāniruddham to the undergraduate students at the Gujarat College, Ahmedabad. I then had prepared its tentative translation for my use. Dr. A.N. Upadhye, my professor at Rajaram College, Kolhapur (19361942) had ably and critically edited this work and published it in the Journal of the University of Bombay (1941). After going through my tentative translation of the First Canto he had expressed his desire that I should bring out, on the lines of his edition of Kanisavaho, an edition of this Prākrit Kavya. However as I was pre-occupied with my studies in Alamkāra Šāstra and Aesthetics I could not take up his suggestion. After years when we had met at the University of Bombay in connection with a meeting of the Board of Studies in Sanskrit, Pali and Prākrit he had gently reminded me of the suggestion he had made in the past. I must confess, however, that as I was busy with another project I had no time then to think of bringing out an edition of Usāņiruddham as suggested by my old Professor, however dear he was to ine.
Now, comparatively I am free. So I decided to bring out this edition and honour the wish of my Professor when, alas, he is not here to see it.
Fortunately for me, the papers giving my tentative translation were lying with me, though not in a good condition. Before finalising the translation I requested my friend, Dr.G.S. Bedagkar, formerly Professor of English and Principal, Vidarbha

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Mahavidyalay, Amaravati, to go through the translation. He was in a way a student of Prof. Upadhye as he too was in Rajaram College but more than that a good neighbour and close friend of his when he was associated with him in academic bodies of the Shivaji University, Kolhapur. He readily accepted my request, spent hours going through the tentative translation and holding discussions with me. Dr. Bedagkar disdains a literal translation and made valuable suggestions to improve it in keeping with the English idiom and the spirit of that language. I have no words to express adequately my debt of gratitude to him.
I express my sincere gratitude to Professor H. C. Bhayani, a great lover of Prakrit and President of the Prakrit Text Society, Ahmedabad who took keen and personal interest in the publication of this Prakrit Kavya. But for his active interest in Prakrit Studies I do not think this work would have seen the light of the day.
I offer my sincere thanks to my young friend, Dr. Jitendra Shah, Director, Sharadaben Chimanbhai Educational Research Centre, Shahibag, Ahmedabad for undertaking the publication of this work.
I very much hope the present edition receives warm welcome from the world of scholars working in the field of Sanskrit, and more particularly, Prakrit Studies.
25 October, 1995
5, Suruchi Society, Dixit Road Extension, Vile Parle (East) Bombay : 400 057.

V. M. Kulkarni

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INTRODUCTION
1. CRITICAL APPARATUS
The text of Usāņiruddham, presented here, is based on the transcript made from the Ms. No. 2817, belonging to the Government Oriental Mss. Library, Madras. I got this transcript through my friend Dr. V. RAGHAVAN, Sanskrit Department, University of Madras, Madras. It contains 94 sheets written on one side only. I am assured that it is a faithful copy of the original, and the gaps, etc., in the transcript are all inherited from the original Ms. The copy is checked by another reliable hand, and there are marginal and interlinear corrections in red ink. Some of them are based on the careful and revised reading of the Ms., and I have taken them into account in settling the text. There are some other marginal suggestions which are accompanied by a question mark, but they are not treated as a part of my critical apparatus. Some of these suggestions are intelligent, but many of them betray a tendency to Prākritise the Sanskrit Chāyā.
The Ms. in the Madras Library, I am informed, is in Devanāgari characters; and it is evident from the transcript

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USĀNIRUDDHA
that it is corrupt in many places. From the confusion of certain letters, etc., I am inclined to suggest that the Ms. in the Madras Library might have been copied from some Ms. in the Malayālam characters.
The transcript contains the Prākrit text as well as the Sanskrit Chāyā of Usāniruddham. In fact the Chāyā is written first in two or four lines according to the metres,and then comes the Prākrit text. This reverse order that the Sanskrit Chāyā precedes the Prākrit text is interesting, if not strange and contrary to the usual practice.
The transcript does not contain any numbering of the verses which are distributed over four Sargas or Cantos. According to my numbering, there are 77 verses in the First Canto, 58 verses in the Second Canto, 63 verses in the Third Canto and 82 verses in the Fourth Canto. Thus the total number of verses comes to 280. The text has not come down to us intact, exactly in the form in which it left the hands of its author. There are clear indications that some verses are altogether lost at the close of the Second Canto : The Prākrit or Sanskrit colophon found at the close of Cantos One, Three and Four is conspicuous by its absence at the close of the Second Canto. Following the conventions of the Kāvya the author changes the metre at the end of Cantos One, Three and Four, but no such stage is still reached in the case of the Second Canto. The Ms. has suffered a huge confusion at the close of Canto Two : many verses, with or without Chāyā and partly intact and partly mutilated, from the Third Canto are added there in a strange disorder which covers pp. 43-54 of the transcript and which must have resulted from the confusion of leaves in the original. These additions are noted

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INTRODUCTION
below in details. One feels that the current of the story has stopped abruptly and a few more verses would have happily concluded the Canto. Lastly, as indicated below, the author is closely following the order of events given in Bhāgavata X. 62-3; and by a close comparison it is quite plain that we wanted a few more verses at the close of Canto Two to cover the contents of Bhāgavata X. 63.24-30.
Besides this gap at the end of Canto Two, the form of the text is all right for all appearance. The only other gap of one line that I could spot out is at iv. 72 in the second line. The Sanskrit Chāyā is altogether lost, and the first line too is partly corrupt. The second line is somehow made up by twelve letters, which, really speaking, are a corrupt version of the last twelve letters of iv.71. So I thought it better to keep that line blank, and I have given those twelve letters in the foot-note.
It is necessary to note some details about the additional verses repeated at the close of Canto Two. Irregularity begins after verse No. 57. After a line and a half of the Chāyā of ii. 58, there follow three lines and a half from the Chāyā of iii. 60, and then we have ii. 58. Thus it is plain that the major portion of the Chāyā of ii. 58 is lost altogether. Thereafter we have the following verses from Canto Three in the order shown below : Chāyā-iii. 61 (Chāyā has lost one line); Chāyā-iii. 59; only a few words of the Chāyā-iii. 60; only Chāyā of iii. 58; c& d of the Chāyā of iii.55; iii. 58; Chāyā-iii. 56; a & b of iii. 57; blank space; only Chāyā of iii. 53; Chāyā-iii. 54; Chāyā-iii. 51; iii. 55; Chāyā-iii. 52; only Chāyā of iii. 49; iii. 53; Chāyā-iii. 50; blank space; mutilated Chāyā of iii. 47; iii. 51; Chāyā-iii. 48; blank space; iii. 49

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mutilated; Chāyā-iii; mutilated Chāyā of iii. 47,43; iii. 47; Chāyā-iii. 44; Chāyā-iii. 45; Chāyā-iii. 42; Chāyā-iii.43; Chāyā-iii. 40; Chāyā-iii. 41; Chāyā-iii. 38; only Chāyā of ini. 39; only Chāyā of iii. 36; iii. 39; Chāyā-iii. 37; a & b of iii. 38; Chāyā of iii. 34; blank space; Chāyā-iii. 35; Chāyā-iii. 32; Chāyā-iii. 36; Chāyā-iii. 33; only Chāyā of iii. 30; blank space; Chāyā-iii. 34; Chāyā-iii. 31; only Chāyā of iii. 28. After this the Third Canto begins, and therein these verses are found in their regular order. The sequence of the repeated verses, partly regular and partly inversed, shows the nature of the original Ms. which had small pages with some two verses on a page and they were misplaced. 2. PROCEDURE OF TEXT-CONSTITUTION
The Prākrit text given by this Ms. is so corrupt and full of scribal errors that for months together I was hesitating whether the Text should be published from a single Ms. I tried my utmost to trace some other Mss., but I was not successful. One point ultimately weighed with me that if I put forth a tentative and readable text, quite authentic within the limits of the material, some interested scholars might use my efforts in building a better text when some more Mss. are accessible. In various respects Kamsavaho and Usāņiruddhani are closely related with each other; and having edited the first, I thought that I should place this work also before the students of Prākrit literature at an early date.
In the Prākrit text the Ms. uses ! for I almost uniformly; sometimes ś and n are preserved; anusvāra and para-savarna are indiscriminately ued; and m is retained at the end of a pāda. I have corrected ś and n, but preserved only in the

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foot-notes. I have used anusvāra uniformly; for reasons explained elsewhere, I have added avagraha in some places; and for facility of understanding, in many places I have separated the members of a compound-expression by hyphens.
In the wide range of scribal errors certain tendencies are quite manifest : (i) No rigorous distinction between long and short vowels is maintained, but I have normalised them according to recognised rules of Sanskrit and Prākrit grammars. (ii) Usually the Present 3rd p. sing. termination i is shown long at the end of a pāda; but I have made it short in view of the grammatic needs, the reader being quite free to pronounce it according to metrical needs. (iii) At times we find a long vowel compensating the following double consonant, for instance, bhaddāsa for bhaddassa; at times an anusvāra is compensated by a long vowel, for instance, sigāra for simgāra; many a time an anusvāra and the doubling of the following consonant are freely interchanged, for instance, jimse for jisse and laakkurāņaṁ for laanikurānam. These points I have corrected in the light of the Sanskrit Chāyā and the illustrations recorded by PISCHEL in his Grammatik der Prākrit-Sprachen (Strassburg 1900). In a few typical cases I have given the actual readings in the foot-notes. (iv) Vowels a, i & u are mutually confounded in some cases; and at times a confusion is seen between i & hi, k & t, kh & gh, g & m, ch & jh, th & dh, and p & v. In some places intervocalic y is retained possibly under Sanskrit influence. Such cases I have treated in the light of what we know from Prākrit grammars; in those cases where I thought that difference of opinion was not unlikely I have noted the actual readings of the Ms. (v) The cases of the interchange between t and d I have cautiously

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handled. This point has assumed some dialectal significance. As far as possible I have been faithful to the Ms. and whenever any improvement is made, I have noted the actual reading in the foot-notes. (vi) in many cases intervocalic t and th are changed to d and dh but in a few cases our Ms. retains them. Mostly I have softened them, and in some crucial cases actual readings are recorded below. (vii) The Ms. often spells ghgh, thth, etc., but I have uniformly followed Hemacandra's rule (Siddha-Hema. VIII. ii. 90) and written ggh, tth, etc. (viii) Sometimes Sanskrit nt, nth, nt are changed to ņd, ņdh, nd usually against the rules of Prākrit grammars. I have normalised these forms noting the actual readings in many cases. (ix) Conjunct groups which are expected to be nh, mh, and which are so elsewhere in the text, are sometimes represented by nạ, mm. I have corrected them noting the actual readings in a few cases. (x) Lastly the copyist exhibits a subconscious urge to Sanskritise syllables and words. This is a tendency which is sure to nonplus an editor working with a single Ms. I have dealt with such cases after scrutinising the occurrence of similar words elsewhere in this text. Isolated cases are allowed to remain as they are in the Ms.
Our author belongs to the last period of the history of Prākrit literature; and on the whole, apart from isolated irregularities and scribal errors, it is expected that the language of the text should conform to the recognised linguistic tendencies of Prākrit and to the rules laid down by Prākrit grammarians. With this guiding principle I have faithfully studied the Ms. and detected the above tendencies which underlie many of the errors. They are all set right with the help of the Chāyā, in view of the metrical necessities, in

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the light of the illustrations noted by PISCHEL's Grammatik and after taking into account similar cases from Kaṁsavaho because both the works belong to the same part of India, to the same period of literature and possibly to one and the same author. In such cases where grammarians give alternative or optional forms and where I entertained even a slight suspicion that it is not unlikely that others might have some other alternatives to suggest, I have carefully noted the actual readings below in the foot-notes.
The scribal irregularity which has repeated some thirty verses of the Third Canto at the close of the Second Canto has given an opportunity to the editor to test the correctness of the procedure of text-constitution adopted by him. In fact for iii. 31-62 the Ms. supplies a double version of the same verses : I have adopted one reading and relegated the other to the foot-notes with the word “Also". A careful study of the readings accompanied by the word "also" shows that the tendencies detected are quite right and the scribes themselves are responsible for many errors some of which, I think, might have arisen out of the orthographical similarities, etc., of some South Indian script (possibly Malayālam, as I have suggested) through which the original Ms. has been handed down. My changes of ļ to d, ņdh to ņth, mm to mh, etc., are clearly justified by the alternative readings available for this portion. In the case of these verses the number of my independent improvements is negligibly small. I would request the critical readers to study the readings on iii. 31-62 specially to get an idea of the nature of the text and its dialectal characteristics.
Most of the verses can be satisfactorily construed, and some of them offer a pleasant and refreshing study. In spite

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of the help given by the Chāyā a few verses present some difficulties here and there; but I believe that they can be easily overcome when some more Mss. are brought to light. 3. THE AUTHORSHIP, AGE, ETC., OF THE POEM
The Madras Ms. does not mention the name of the author of Usāạiruddham and therefore we have no definite evidence at all about the authorship of the poem. M. KRISHNAMACHARIAR 4 plainly attributes the composition of Usaņiruddham and Kassavaho to Rāma Pāṇivāda, but he adduces no specific evidence. Mahākavi Ullur S. Paramesvara AIYAR, Trivandrum, also informs me that Rāma Pāṇivāda is the author of these two Prākrit works. It is on the authority of the opinion of these two scholars I included Usāniruddham among the works of Rāma Pāṇivāda.“ As long as there is no evidence to the contrary we may assume that Rāma Pānivāda is the author; and this assumption gets positive support from the linguistic, stylistic and other similarities between the two texts. There are some common words. forms and phrases that possess special interest : ammaka for asmādsía (U. iv. 23, K.i.37) ahake for aham (U.iii.7, K.ii.6), aṁkaņa for angana (U.ii.56, K.ii.38) kamaņi for kamaniya (U.iv.79, K.ii.19), kuamada for kodanda (U.i.48, K.1.57); compare forms like vanatthaliaṁ (U.i.14) juhi (U.ii.34), etc., with amkanatthaliam (K.1.38), dikkhu (K.iv.41) etc., and phrases like visattakardotta are seen in both the works (U.i.16,K.i.41). Some ideas too are strikingly similar : compare U.i.37 and K.ii.16, U.ii.62 and K.iv.37, etc. And lastly salutation to the Guru is found in both the works (U.i.5 and the concluding colophon in K.). The handling of the Prākrit language is much alike in both the works. These common points by themselves do not

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INTRODUCTION
prove common authorship : at the most they might indicate mutual or common influence. To assert Rāma Pāṇivāda's authorship, we must await the discovery of some more Mss. and see whether they state anything definitely. The Mss. of both these works hail from the South. That Usaniruddham is a late work can be very easily admitted by comparing it with Kamsavaho, especially by studying the common linguistic tendencies; and if we can prove Rāma Pāṇivāda's authorship definitely, then we might assign this work to the middle of the 18th century A.D.
If Rāma Pāņivāda is accepted as the author of Usāņiruddham and Kamsavaho, a question may be asked as to which work he composed first. Absolutely no direct clue is available from the texts, nor any one of them has got anything like a reference to the other. In the biography of Rāma Pānivāda we do not get any information about the time when they were composed. Thus therefore any answer to the above question will be a matter of opinion deduced from the subjective evaluation of the contents of these works. In the Usāṇiruddhan the author offers an apologetic explanation about his composition in Prākrit; he still feels that he is too small to be taken to task by the jealous critic; his elaboration of the amorous sentiment is somewhat shallow, and one feels that the topics are being handled by one who has not still reached the serenity of advanced age; the number of metres of long lines is comparatively small in this text; and lastly there are very few verbal devices in this work. On the other hand, Kamsavaho offers no apologetic explanation of any sort, nor does its author take any cognizance of the critic; in his descriptions of the lamentation of Gopīs, who are separated

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from Kṛṣṇa and reminded of their past pleasures, the author shows a good deal of restraint; the devotion towards Kṛṣṇa developed in this poem certainly indicates an advanced age and a mature mind; the number of long metres is very great and they are ably composed; and lastly the flow of expression shows the author's confident genius capable of using many an embellishment of sound and sense with much ease. In the light of the above considerations I would suggest that Usāṇiruddham is composed earlier in life and Kamsavaho at an advanced age (in case both of them are written by the same author). I am fully aware of the limitations of a subjective approach like this, so I cannot be dogmatic on this point. 4. SUMMARY OF THE CONTENTS
USANIRUDDHA
By way of opening Mangala the author solicits Ganesa for his favour, requests Sarasvati to flash in his mind and offers salutations to Iśvara-Parvati, Narasimha and the Teacher in poetic language (i.1-5). The contents are important and not the words: so the learned are not particular about the language, Sanskrit or Prakrit. The author feels that great men would not feel any jealousy towards him who is of moderate intelligence the lions respond to the thundering of clouds and not to the croaking of frogs. This poem is being composed to glorify Vasudeva (1.6-8). KrsnaVasudeva was born in the family of Yadus; and like darkness by the sun, Pralamba, Keśin and other Daityas were destroyed by him. Kamsa was a thorn to the earth: Kṛṣṇa rooted him out and healed the wound by the medicine of religious preachings. To forget the separation of Vaikuntha he built a golden palace in the ocean. His spouse was Rukmini who was the very bow of the god of love. Like a mango-sprout in the

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spring, a son, Pradyumna by name, was born to them (i.9-14).
Pradyumna had a son Aniruddha the second embodiment of Madana who was consigned to flames issuing from the eye of Iśvara. His handsome figure was once seen in the dream by Uşā, the daughter of Bāna. Like a creeper entwining a mango-tree, she embraced him closely and affectionately; but she woke up and, not seeing the beloved there, began to lament restlessly on her bed (i.15-8). When she was complaining against his sudden disappearance as if ordained by adverse fate and when she was yearning to meet him, Citralekhā, the daughter of Kumbha, took her by the hand and asked her why she was weeping and who was her beloved. Further she requested her to take courage and disclose to her the person whom she was invoking (i.19-24). Then Uşā tells her the fact that she saw in her dream a brilliant and handsome youth who embraced her and suddenly passed out of sight throwing her into the flames of separation (i.25-7). Citralekhā assured Uşā that her desire would be fulfilled, painted the various youths in the three worlds on a picture-roll and introduced them to her, one by one, by their names so that she might recognise him who had captured her heart (1.28-34). Uşā saw Kșsna impatiently, Pradyumna she viewed with an eye of attachment, and when she glanced at Aniruddha, she was horripilated and felt bashful. Detecting her attachment, Citralekhā congratulated her on her fitting and worthy choice and promised to bring Aniruddha to her through her miraculous powers like a bee attracted by flowery fragrance or a gazelle by a sweet song (i.35-8). Citralekhā appreciated her choice, came to Krsnapura, saw the handsome prince asleep at night,

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miraculously carried him to the town of Sonita, and conveyed him to the apartment of Uşā informing her that here was the person seen by her in the dream (1.39-42). As they formed a worthy couple and as they were all alone, Citralekhā requested her to sport freely with him, and instructed her that the Gandharva form of marriage was quite proper for them that were mutually attached (i.43-5).
Aniruddha woke up and could not understand all this, whether it was an illusion, a dream, jugglery or delusion. When he was confused by viewing the moonlike face, the graceful physique and the brilliant figure of this unknown lady, Citralekhā introduced Uşā to him as the daughter of Bāņa and as a present sent to him by the god of love. Citralekhā informed him how he was brought, inquired of them both what more they expected from her, and lastly requested them to enjoy the love-sports (i.46-53).
Aniruddha received Ușā with great affection; and both of them enjoyed various love-sports with thrilling joy (i.5458). From specific sounds the servants suspected that some one was trespassing the sanctity of a maiden's apartment and reported the matter to Bāna who, trembling with rage and burning with anger, rushed to the room of Uşā (i.59-62).
Seeing that comely couple diverting itself with dice, the king with excessive anger asked the prince his name and how he could come there with such an audacity. He expressed his desire that either the prince should go away if he wanted to live, or he should face the fierce arrows of the king if he wanted to die. The prince ridiculed his boast and warned him that the grandson of Krsna was quite capable of protecting

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himself with his Gadā or club (i.63-69). There ensued a fierce battle between the two, and the prince was successful in preventing by his club the arrows of the king. Finding the prince invincible, the king arrested him with his Pannagāstra or Serpent-missile. When he was imprisoned, Uşā wept bitterly over her sad lot, cursing herself that she became the cause of his imprisonment. Citralekhā consoled her that everything would be all right soon. Not minding his arrest, Aniruddha lived quite happily in a part of the palace of that princess (i.70-77).
Krsna was sorry at the loss of Aniruddha. He saw the saint Nārada of flashing personality coming to Dvārāvatī; he greeted him respectfully and informed him how every one was miserable at the unfortunate loss of Aniruddha who could not be traced anywhere; and he earnestly hoped that the saint would lighten their grief by giving some information about the missing prince (ii.1-7).
Nārada smiled at Kșsna's words and consoled them all by informing them that the prince was alive but was imprisoned by that wicked Bāna, the son of Bali, to whose daughter's apartment he was miraculously carried (ii.8-11). With Maheśvara at his gate, Bāna, who is a bane to the Vipras, is invincible; so Nārada requested Krsna to crush him and rescue Aniruddha. Krsna was enranged and marched surrounded by his army and led by Balarāma (ii.12-5). As the army marched on, there was dust everywhere; there was lightning of sword-flashes; there were clouds in the form of black elephants and there was the thunder of the drum-sound. The whole scene reminded one of the rainy season. After crossing the ocean, wilderness, mountains, etc., the army

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reached Bali's metropolis; and the town of śoṇita was completely besieged to the great confusion of the citizens there (ii.16-21). Hara was encouraged by his attendants and began the battle, at the gate, being completely equipped with his bow, etc. He frowned with anger, mounted the bull, and marched on with his followers against the oceanic army of Yādavas (ii.22-9). There ensued a terrific battle between Pradyumna and Kārtikeya (ii.30-2).
Bāna came to the field of action, but his arrows were soon overpowered by those of the enemy (ii.33-4). Iśvara occupied himself in a severe arrow-to-arrow fight against Janārdana, and it was an engrossing sight for gods. The Windmissile discharged by Krsna was swallowed by the serpents in the matted hair of Isvara, while the Serpent-missile of the latter was smashed by the chariot of the former. The Firemissile of Krsna was cooled down by the water of the Ganges on the head of Isvara, while the Darkness-missile of the latter was overpowered by the brilliance of Krsna's disc. The fire from Iśvara's eyes consumed the Water-missile of Kęsna who then discharged his Swoon-missile that brought a temporary faint on Iśvara and made all his followers flee from the field (ii.35-44). Finding that his elephant was crushed by Balarāma, Bāna rushed against Krsna but had his weapons destroyed one after the other and was made delirious. Kotřavī, the mother of Bāna, intervened; so Krsna had to return, and Bāņa went home (ii.45-51). When Iśvara sent forth a distressing demon, Three-headed Fever, Krsna immediately reacted it by another demon, a counter Fever of Four-arms (ii.52-8).
[Both the Fevers tried to overpower each other, but at last īśvara's Fever was overpowered by that of Kļšņa. With all

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INTRODUCTION
23
humility Iśvara's Fever offered prayer and submission to Kșsna who was pleased and consequently recalled his Fever.]6
Once more Bāna, who appeared with his thousand arms like a śālmali tree, marched proudly to the battle field in his invincible and splendid chariot and challenged the strength of Kșsna by announcing the power and the achievements of his arms and the boon obtained by him from īśvara. He reminded Krsna how he had deceived Bali, and so he would conquer him now and bring all the fourteen worlds under his control. Krsna greeted his impossible plans and warned him not to talk in vain but to act the part of a hero (ii.1-15). In the very presence of īśvara and to the sensation of all the Pramathas there ensued a rigorous fight between Bāna and Kșsņa. The war-trumpets of Yādavas and the twang of Kșsna's bow filled the whole firmament. To the jubilation of gods, Krsna cut off the arms of Bāna and the fingers thereof looked like serpents on the ground of a sandal grove (iii.1623). Seeing his devotee disabled thus, īśvara intervened and appealed to Krsna's kindness to take pity on Bāna who was already defeated. He praised Krsna's merits and achievements, though really indescribable, in glowing terms referring to his Avatāras (Matsya, Kūrma, Varāha, Narasimha, Vāmana, Paraśurāma, Rāma and Krsna) and his outstanding feats therein (iii.24-36). Further he lavishly complimented Kșsna for his loving personality, universal greatness and divine grace (iii.37-9). Krsna was pleased and requested īśvara. to praise him no more, inasmuch as every one recedes into insignificance when compared with the greatness of īśvara. Krsna offered salutations to īśvara by recounting in glowing terms his heroic feats,impossible to be achieved by others,

Page #25

24
such as the burning of Madana, destruction of Tripura, and drinking of Kalakuta poison (iii.40-45). Kṛṣṇa expressed his surprise how Iśvara could stay at the gate of Bana leaving his mountain-residence. He announced that he did not intend to kill Bāṇa but wanted to smash his vanity; and he would allow him to thrive with two arms only (iii.45-8). Then Baṇa, with folded hands, offered a glorificatory prayer to Kṛṣṇa and sought his gracious shelter like Prahlada he also deserved Kṛṣṇa's favour, because now wisdom had dawned on him (iii.49-53). Then Bana declared that he had given Uṣā in marriage to Aniruddha and wished that both of them might live happily like Rati and Madana. He hurried to his daughter's chamber, released Aniruddha with great pleasure bestowed rich dowry on him, brought him with Usa and Citralekha to Kṛṣṇa's presence, and requested Kṛṣṇa to greet his grandson with the spouse. Bāna once more saluted Kṛṣṇa, embraced the couple with affectionate tears and returned to his residence (III.54-60). Kṛṣṇa affectionately greeted the couple in his chariot which moved with a majestic dignity and entered the town of Dvaravati with all splendour (iii.61-63).
USĀṆIRUDDHA
The return of Kṛṣṇa was a happy event to all the citizens (iv.1-2). The ladies of the town rushed forth creating a rustling noise of their ornaments to see Aniruddha accompanied by Uṣā like the Sun accompanied by the Dawn. Some were only half dressed and half-decorated, while others had ridiculously misplaced the ornaments and toilets. They went on the terraces to have a glimpse of the prince; and their eyes, through the window holes, reminded one of bees from opened lotuses. The sight of Aniruddha thrilled many of them with ardent passion (iv.3-18). On seeing Usa and Aniruddha,

Page #26

INTRODUCTION
25
old dames and elderly ladies were reminded of similar arrivals of Rukmini and Krsna and of Pradyumna and his spouse in the past (iv.19-20). The young girls, with a touch of jealousy, greeted the happy bride and the bridegroom that formed an ideal and worthy couple which stands for all that is loving, befitting and glorious (iv.21-31). To them Usă assumed a dignified appearance in his company. They reflected how they formed a glorious and noble pair and how their amorous sports, enumerated in details in a poetic manner, would evoke respectable envy in the heart of any one (iv.32-41). As they entered the palace, they were blessed with usual rituals by elderly ladies; and they were greeted with affectionate eyes of Rāma and Krsna. Soon their marriage festival took place; and they began to enjoy, without any bashfulness, different pleasures after which they were yearning for long. The poet describes their amorous sports in details and item by item (iv.42-51). In the meantime there arose the moon, the very Sūtradhāra of their pleasure-dance. The prince sets forth his reflections, addressed to his beloved, on the rising moon in poetic terms instituting comparison and contrast between her face and the moon and projecting various similes and Utprekṣās based on the physical and mythological details about the moon (iv.52-80). Aniruddha and Uşā spent many a happy night in various sports. In conclusion, the author expresses his pious wish that Visņu-Krsna might bestow happiness on all (iv.81-2). 5. THE SOURCE, FORM, ETC., OF THE STORY
The story about the marriage of Uşā and Aniruddha is found in some of the Purāņas like Bhagavata, Harivamsa, Padmapurāņa, Vişnupurāņa, etc. The first two sources, namely

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26
Bhāgavata X.62-3 and Harivamsa II.116-28 practically cover all the events incorporated in the poem Usāṇiruddhaṁ. A close comparision of the narration of events in this poem with the versions of Bhāga. and Hari. clearly shows that our author is following Bhaga; and some of the specific events (like the reference to Gandharva marriage, the spelling Kottavi and not Koṭṭara) indicate that Harivamsa also might have been used. So far as the facts of the story are concerned, Bhaga.' X.62. 12-35 may be compared serially with Ușa.i.16-75: the two sections exactly correspond with each other. The opening setting (Uṣā.i.1-16), the dramatic and dainty addresses in the mouth of Citralekha in response to the observations of Uṣā and Aniruddha (Uṣā.i.36-8, 42-5) all these belong to our author. Bhaga. X. 63.2 to 52 supplies the events for the next two cantos; and the portion corresponding to verses Nos. 2430 of Bhaga. X. 63 is lost in our poem at the end of Canto Two as noted above. Description of Narada and his talk with Krsna (Uṣā.ii.1-8), the picture of Bāņa marching to the battle field and his conversation with Kṛṣṇa (Uṣā.iii. 3-19), description of the Avataras (Uṣā.iii.29 etc.), Kṛṣṇa's compliments to Ïśvara (Uṣā.iii.40-6), glorification of Kṛṣṇa by Bana (Uṣā.iii.50 etc.) : all these are additions by our poet. In the Fourth Canto there are no events of the story as such. The canto opens with the description of ladies and their reflections when Ușa and Aniruddha entered into Dvārāvati (Uṣā.iv.1-42); then we have an elaborate description of the amorous pleasures of the married couple (Uṣā.iv.46-52); and lastly there are the reflections of the prince on the rising moon addressed to Uṣā (iv.53-80) all these belong to our poem alone. Our author wants not to enumerate the events but to present them in a delicious manner like an artistic poet; and it must be said that

USĀNIRUDDHA

Page #28

INTRODUCTION
27
he has sincerely tried to achieve his aim. In doing so, he has laid under obligation the various classical authors in Sanskrit. The amorous pleasures of the couple, the battle scenes, arrival of Närada, the march of Krsna's army, the description of the Avatāras, the confused state of the womenfolk when the prince entered the town with his bride, the description of the rising moon : all these situations remind us of corresponding contexts in the works of Kālidāsa, Bhāravi and Māgha. From some common ideas in the opening portion I thought that our author is influenced by Rājasekhara, but the common points are very few. 6. ANTECEDENTS OF THE PRĀKRIT OF THE POEM
We can now accept Kanisavaho and Usāniruddham as the typical and representative specimens of Prākrit composition belonging to the last period of the history of Prākrit literature. Prākrit literature is rich and extensive, and embodies manifold literary tendencies and tracts of literature. The development of this language too shows varied courses and various results in different parts of the country culminating into the growth of modern Indian languages.
Prākrit portions in the Ancient Indian drama, or the socalled Sanskrit dramas, form an important tract of Prākrit literature. Whatever may be the significance of the convention of introducing the Prākrit dialects in the drama in later days, one thing is certain that the convention has its roots in the fact that in some strata of the Indian society the Prākrits were spoken languages and the Indian drama originally reflected the actual conditions that the Sanskrit, the polished or the standardised speech, was confined to the social and religious

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28
aristrocracy and Prakrits were used by lower classes including women. It is a travesty of the natural method of study that nowadays we all study the Prakrit portions only from their Sanskrit Chāyā; and it is a sad sight that now and then one comes across editions of plays from which Prakrit passages are altogether removed. All this means that the Prakrit passages in the drama are almost neglected as specimens of Prakrit language; and a close study of the variant readings shows that the copyists exhibit a subconscious attempt to bring the forms nearer Sanskrit wherever possible, sometime fail to distinguish the verses from the prose portions, and rarely mind the linguistic authenticity of these passages."
8

USĀNIRUDDHA
The treatises on dramatic theory have unquestionably recognised the use of Prakrits; and the earliest known text, Bharatiya Natyaśāstra, gives elaborate rules which with minor modifications are followed by later authors. 10 Turning to the actual practice, the Prakrit passages are available in the earliest known plays, namely, those of Asvaghosa. Thus the appearance of Prakrits in the drama is conterminous with the beginning of the Ancient Indian drama so far known to us. After Asvaghoṣa, Bhāsa has used Prakrits in all his plays excepting Dūtavākya. Major portion of Mṛcchakaṭikam is in Prakrit. All the three plays of Kalidasa have Prakrits, and there are some Apabhramśa verses in the fourth act of Vikramorvasiyam. Later play-wrights like Harṣa, Bhavabhūti, Viśākhadatta, Bhaṭṭa Nārāyaṇa and others have used Prakrits; but one suspects that with most of the successors of Kalidāsa this writing in Prakrit was mechanical and their composition in Prakrit was as good as the conversion of the Sanskrit sentence into Prakrit. If great zeal was shown for Prakrits by

Page #30

INTRODUCTION
Rājasekharas, it only means that he stands up to complain against the general tendency of his age. Deep-rooted as the dramatic conventions were, the Prakrits were being introduced in their plays by post-mediaeval authors both in the North and in the South; but the whole performance of their Prakrit composition was a prosaic affair. These authors studied some Prakrit grammar or the other and managed to compose in Prakrit. By the time of Mahānāṭaka or Hanūmānnāṭaka, Prakrit lost its conventional ground in the Sanskrit plays.
29
The Prakrits in the drama are much stereotyped, and for obvious reasons they do not show any linguistic evolution as such. The texts were composed by authors who were masters of Sanskrit language. These passages remained side by side with Sanskrit passages giving an opportunity for the copyist to contaminate the Prakrit passages by constant Sanskrit influence. Originally Mss. of the texts of plays without Chāyā might have been there, and even now we come across Mss. which do not give any Chaya;" but by the time of Rajasekhara the practice of adding the Sanskrit Chāyā had come into vogue. 12 All this meant that the Prakrit language and style were cultivated by the play-wrights constantly in the back-ground and under the influence of classical Sanskrit.
The above details have been stated merely to indicate that the Prakrit language of Kamsavaho and Usāṇiruddhaṁ requires to be estimated in the light of the so-called dramatic Prakrits. After a detailed study of the language of Kamsavaho I have arrived at the following conclusion: To conclude, the above facts indicate that Rāma Pāņivāda mainly follows Vararuci's Sūtras, especially the first nine chapters, with the

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30
commentaries thereon; his dialect is influenced by the Prakrit prose of the dramas; he shows a small number of words which are further deductions from the known forms; and, as he conceives the expressions first in Sanskrit, we find that many Sanskrit forms are directly corrupted into Prakrit, that some initial consonants are elided and that some initial duplicates are retained. 13 These observations practically hold good in the case of Usāṇiruddham, and corresponding illustrations can be easily gathered from the text. The text presented here is only a tentative one, and the grammatical details can be better studied after some more Mss. are collated. As in the case of Kamsavaho this text too is not only accompanied by the Sanskrit Chāyā, but the Chāyā is written first and then follow the Prakrit verses. It is not unlikely if this Chāyā also belongs to the author himself. Authors like Rāma Pāṇivāda were themselves play-wrights and therefore required the study of Präkrits. Being gifted poets their poetic genius expressed itself in Prakrit too. So we have these two poems composed in the extreme South and in the last period of the Prakrit literature. If more careful search is instituted, many such poems might be discovered in the South; and I appeal to the South Indian scholars to keep their eye on them and bring them to light to make the picture of Prakrit literature as complete as possible.
7. METRES IN THE POEM
The following metres are used in Usāṇiruddham and they are arranged here according to English alphabets : Anustubh (72) iv. 1-72; Drutavilambita (1) iii. 62; Hariņi (1) iv. 81; Mālinī (1) iv. 78; Mañjubhāṣiņī (1) iii.63; Pṛthvi (1) iv. 80; Puspitāgrā (61) i. 77, iii. 1-60; Śārdulavikrīḍita (2) iv.

USĀṆIRUDDHA

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INTRODUCTION
31
73,82; Sragdharā (1) iii. 61; Upajātī (76) i. 1-76; Vasantatilaka (5) iv. 74-7,79; Viyogini, also called Vaitāliya or Sundarī (58) ii. 1-58. With regard to the Yati or pause, the author is not quite rigorous; and we find such violations especially between a and b and c and d. 14 Judged in the light of classical usage some irregularities with regard to the pause in the verses of long lines are noticed. 15 As in the case of Kamsavaho no Aryā is used here, though it is the predominant Prākrit metre in early literature 8. STYLE, ETC., OF THE POEM
Usāņiruddham, like Kansavaho, belongs to the class of Kāvyas or ornate poems. The author is not satisfied with the mere narration of events in the manner of epic Purānas, but he wants to serve them in a pleasant and artistic manner. The author expresses his ideas with a remarkable ease; and in many cases natural similes automatically suggest themselves to him. Now and then, especially in descriptions, long compounds are used, but on the whole the expressions are pithy and simple. The cry of separated Usă and the consoling words of skilful Citralekhā are intelligently expressed. The march of the army and the exchange of different missiles have some epical dignity about them. Amorous love is the predominant flavour in the poem; and the details of the enjoyments of the couple, before as well as after the marriage-function, are set forth in good many details. Though the author has projected an interesting scene of the confused ladies witnessing the procession of Uşā and Aniruddha, none of the sketches has any remarkable exquisiteness about it. The description of the moon, though too elaborate for the occasion, has a classical dignity about it. Many of the conventional and mythological associations of the moon

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32
USĀNIRUDDHA
are presented in quite a nice manner; and the section forms a good essay on the moon. Poetic embellishments are seen here and there, but they are not as remarkable as in Kansavaho. The number of metres used in this poem, as analysed above, is quite moderate and proportionate to the length of the poem.
Footnotes :
1. This Essay is prepared during my tenure of the Springer Research Scholarship, University of Bombay, Bombay.
2. Rāma Pānivāda's Kamsavaho, published by Hindi Grantha Ratnākara Kāryālaya, Bombay,
3. Kansavaho, Intro. p. 13.
4. History of Classical Sanskrit Literature, p. 257, paragraph 177.
5. Karsavaho, Intro., p. 23.
6. The text has lost some verses at this place. The contents in the square brackets I have added here acc Bhāgavata which is being closely followed by our author.
7. I have used the Nirnayasagar Press, Bombay, ed. of Bhagavata.
8. See for instance an edition of Bhasa's Svapnavāsavadattam, published by R.V. Hirekerur, Poona, 1938.
9. Hillebrandt has already complained against some of these tendencies in his Preface to Mudrārāksasa, Breslau, 1912.
10. KEITH : The Sanskrit Drama, pp. 335, etc.
11. See for instance the description of Mss. G.N. N2 and K in the Preface to Vikramorvasiyam, edited by S.P. PANDIT, Bombay, 1901.
12. KEITH : The Sanskrit Drama, p. 337. 13. Kamsavaho, Intro., p. 39.
14. See for instance i. 64 ab, and also some Puspitāgrā verses in the Third Canto.
15. See for instance iii. 61 a, iv. 73 a. 81 c, etc.

Page #34

उसाणिरुद्धं पढमो सग्गो
भदस्सर वो भत्ति - गुणल्लिआणं भवेज्ज णिच्चं भअवं गणेसो । दाणेण जो पीणइ माणसाई वणीवआणं व महुव्वआणं ॥ १ ॥
अबोध - णिद्दा- विहलो वि लोओ जिस्सेर पसाए सइ संपबुद्धा । सच्छंददो बज्झइ कव्व-गुंफं चित्तम्मि णो भाउ भारई सा ॥२॥
संभोअ - सिंगार-रस-प्पडि सअं व संभाविअ दंसअंतं । एक गत्ते ठिअमेक्कभावं जं किं पि दिव्वं मिहुणं णमामि ||३||
उषानिरुद्धकाव्यस्याज्ञातप्रणेतृका संस्कृतच्छाया
[ प्रथमः सर्गः ]
भद्राय वो भक्तिगुणाश्रितानां भवेन्नित्यं भगवान् गणेशः । दानेन यः प्रीणयति मानसानि वनीपकानामिव मधुव्रतानाम् ॥ ॥१॥ अबोधनिद्राविह्वलोsपि लोको यस्याः प्रसादे सति संप्रबुद्धः । स्वच्छन्दतो बध्नाति काव्यगुम्फं चित्ते नो भासतां भारती सा ॥२॥
सम्भोगशृङ्गाररसप्रतिष्ठां स्वयमिव संभाव्य दर्शयत् ।
एकस्मिन् गात्रे स्थितमेकभावं यत्किमपि दिव्यं मिथुनं नमामि ॥३॥
(१) The transcript opens thus : श्रीः ॥ उषानिरुद्धं काव्यम् ॥ हरिः श्रीगणपतये नमः । अविघ्नो भवतु । हरिः सिरिगणवइणो णमो अविध्यो हो |
(२) भद्दास.
(४) सव्वबुद्धो.
(३) जिसे. (६) एकम्मि.
(५) भासइ.

Page #35

उसाणिरुद्धं
भिज्जत-देच्चिद-भुअंतराणं सलोहिआ जस्स णहाण सोहा । संज्ञाणुलिद्धं परिहोइ जोण्हं स णो मणो वच्चउ मच्चसीहो ॥४॥
साहिच्च-संताण-लअंकुराणं बीआइ कारुण्ण-जलुक्खिआई१० । गुरूण पाअंबुअ'चुंबिआई स्आइ सीसेण समुप्फुसामि ॥५॥
अत्थावबोहम्मि२ पहाणभूदे गोणत्तणेणोवअरंति सद्दा । दे सक्कआ वा उण पाउडा वा बुहाण को तत्थ१३ विसेस-संगो ॥६॥
ण मच्छरो होस्सइ मारिसेसु महामईणं मउ-पञएसु । णतएसुं णवरं घणेसु णति सीहा ण उ दद्दुरेसु ॥७॥
भिद्यमानदैत्येन्द्रभुजान्तराणां सलोहिता यस्य नखानां शोभा । संध्यानुस्पृष्टां परिभवति ज्योत्स्नां स नो मनो व्रजतु मर्त्यसिंहः ॥४॥
साहित्यसन्तानलताङ्कराणां बीजानि कारुण्यजलोक्षितानि । गुरूणां पादाम्बुजचुम्बितानि रजांसि शीर्षेण संस्पृशामि ॥५॥
अर्थावबोधे प्रधानभूते गौणत्वेनोपचरन्ति शब्दाः । ते संस्कृता वा पुनः प्राकृता वा बुधानां कस्तत्र विशेषसङ्गः ॥६॥
न मत्सरो भविष्यति मादृशेषु महामतीनां मृदुप्रज्ञेषु । नर्दत्सु केवलं घनेषु नर्दन्ति सिंहा न तु ददुरषु ॥७॥
(७) देच्चीत. (१०) जलक्खिआई. (१३) तंत (तत्त?).
(८) संधाणुलिद्धं. (११) पाअंमुअ.
(९) लअक्कुराणं. (१२) अत्थोवबोहंमि.

Page #36

पढमो सग्गो
४
उसाणिरुद्धं ति मए णिबद्धं जं किं पि कव्वं जदुगाह देव्वं । सुदं सुणताण वि ज ण तत्ती जहिं खु वणिज्जइ वासुदेवो ॥८॥
जदुस्स वंसे जलहि- प्पहूदे जअण्णिवासो जणिऊण देवो । जसोहि जोहा-धवलेहि लोए जणेड़ चंदो व्व महप्पसे ||९||
पलंब - केसि - प्पमुहा १५ जहिंतो १६ लहंति देच्चिद-भडा" विणासं । दुव्वार - तेओ-भर- दूसहादो महंधआरा विअ भक्खरादो ॥१०॥
सलं समुक्ख णिअ मेइणीए कंसाभिहं किंचण सानुबंधं । स्म्मेण धम्मोसहि-लेवणेण करेइ तिस्से वण- रोवणं जो ॥११॥
उषानिरुद्धमिति मया निबद्धं यत्किमपि काव्यं यदुनाथदैवम् । श्रुतं शृण्वतामपि यन्न तृप्तिर्यस्मिन् खलु वर्ण्यते वासुदेवः ॥८॥
यदोर्वंशे जलधिप्रभूते जगन्निवासो जनित्वा देवः । यशोभिर्ज्योत्स्नाधवलैर्लोकानजनयच्चन्द्र इव महाप्रकाशान् ॥९॥
प्रलम्बकेशिप्रमुखा यस्मादलभन्त दैत्येन्द्रभय विनाशम् । दुर्वारतेजोभरदुःसहात् महान्धकारा इव भास्करात् ॥१०॥
शल्यं समुत्खाय मेदिन्याः कंसाभिधं किञ्चन सानुबन्धम् । रम्येण धर्मोषधिलेपनेनाकरोत्तस्या व्रणरोपणं यः ॥ ११ ॥
(१४) दव्वम्. (१७) दच्चदभडा.

(१५) प्पमुखा.

३
(१६) जहीदो (जहिंदो ? ).

Page #37

उसाणिरुद्धं
जेणेव८ वेउंठ-विओग-दुक्खं विणोदअंतेण व भूरि-सोक्खं । संपाइआणंत-सुवण्ण-सोहं णिम्मावि धाम समुद्द-मज्झे ॥१२॥
अमंद-सुंदेर-गुणाभिरामा कुअंड-लट्ठि व्व मणोभवस्स । विअब्भ-राअस्स सुआ मिअच्छी हत्थे कआ जेण अरुम्मिणी सा ॥१३॥
ताअं च माआ-मणुओ तणूअं पज्जुण्ण-सण्णं जणएइ सो ऽअं ॥ समत्थ-संतोसअरो वसंतो चूदप्पवालं१९ व वणस्थलीअं ॥१४॥
पिणाइणा लोअण-वीइहोत्ते हुअस्स पुव्वं कुसुमाउहस्स । बीओ भवो सो रमणो रईए तआ ऽणिरुद्धं तण लहेइ ॥१५॥
येनैव वैकुण्ठवियोगदुःखं विनोदयतेव भूरिसौख्यम् । संपादितानन्तसुवर्णसौधं निर्मितं धाम समुद्रमध्ये ॥१२॥
अमन्दसौन्दर्यगुणाभिरामा कोदण्डयष्टिरिव मनोभवस्य । विदर्भराजस्य सुता मृगाक्षी हस्ते कृता येन च रुक्मिणी सा ॥१३।।
तस्यां च मायामनुजस्तनूजं प्रद्युम्नसंज्ञमजनयत् सोऽयम् । समस्तसंतोषकरो वसन्तश्चूतप्रवालमिव वनस्थल्याम् ॥१४॥
पिनाकिना लोचनवीतिहोत्रे हुतस्य पूर्वं कुसुमायुधस्य । द्वितीयो भवः स रमणो रतेस्तदाऽनिरुद्धं तनयमलभत ॥१५॥
(१८) जेण व्व वेउंढ.
(१९) चूतप्पवालं.

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पढमो सग्गो
विसट्ट-कदोट्ट-विसाल-णेत्तो स तुंग-चंगो घण-सामलंगो । उस त्ति बाणस्स कुमारिआए कआ वि दिट्ठो सिविणे णिसाअं ॥१६॥
बाहाहि साहाहि व घेप्पमाणा० थणेहि गुच्छेहि व पीडअंती । लअं व्व सा बाल-रसाल-रुक्खं सिग्धं तमार्लिगइ साणुराअं ॥१७॥
तदो पबुद्धा सहस व्व मुद्धा मणो-पिअं बालमविक्खमाणा । चिरं पसाणा सअणे लुढंती२१ भिसं विसण्णा विलवेइ कण्णा ॥१८॥
कहिं सि हा सुंदर मंद-भग्गं परिच्चअंतो२२ पणआउलं२३ मं । मुहंबुअं तुज्झ मए खणद्धं दिटुं हरिच्चंदउरं व णटुं ॥१९॥
विकसितेन्दीवरविशालनेत्रः स तृङ्गसौन्दर्यो घनश्यामलाङ्गः । उषेति बाणस्य कुमारिकया कदाऽपि दृष्टः स्वप्ने निशायाम् ॥१६॥
बाहाभ्यां शाखाभ्यामिव गृह्णती स्तनाभ्यां गुच्छाभ्यामिव पीडयन्ती । लतेव सा बालरसालवृक्षं शीघ्रं तमालिङ्गत् सानुरागम् ॥१७॥
ततः प्रबुद्धा सहसैव मुग्धा मनः प्रियं बालमवीक्षमाणा । चिरं प्ररुदिता शयने लुठन्ती भृशं विषण्णा व्यलपत् कन्या ॥१८॥
क्वासि हा सुन्दर मन्दभाग्यां परित्यजन् प्रणयाकुलां माम् । मुखाम्बुजं तव मया क्षणार्धं दृष्टं हरिश्चन्द्रपुरमिव नष्टम् ॥१९॥
(२०) धोव्वमाणा. (२३) पणणाअलं.
(२१) लुठंती.
(२२) परित्तअंतो.

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उसाणिरुद्धं
बिबाहरासाअ-सुहं कहं पि लद्धं मए दे खणमूसुआए । देव्वेण सज्जो फिडिअं च२४ तम्हा मरंद-पाणं व महुव्वरीए ॥२०॥
मा लज्ज मुद्धं मुह-चंद-बिंबं सुहं पुलोएमि२५ सुलोअणे दे । इत्थं पिअं भासिअ वंचअंतो कहिं तुवं णिग्घिण णिग्गदो सि ॥२१॥
एव्वं भणंतिं बहुसो रुवंतिं घेत्तूण बाणस्स सुअं करेहि । तिस्से२६ सही रोअण-कारणं सा कुंभंडआ पुच्छइ चित्तलेहा ॥२२॥
अहो असंबद्ध-पलाव-सीले कण्णा सि को संपइ वल्लहो दे । उसे किमुम्माअ-वसं गआ सि मा चावलं जंप लहेहि धीरं ॥२३॥
बिम्बाधरास्वादसुखं कथमपि लब्धं मया ते क्षणमुत्सुकया । दैवेन सद्यो भ्रंशितं च तत् हा मरन्दपानमिव मधुव्रत्या ॥२०॥
मा लज्जस्व मुग्धं मुखचन्द्रबिम्बं सुखं प्रलोकयामि सुलोचने ते । इत्थं प्रियं भाषित्वा वञ्चयन् कथं त्वं निघृण निर्गतोऽसि ॥२१॥
एवं भणन्ती बहुशो रुदती गृहीत्वा बाणस्य सुतां कराभ्याम् । तस्याः सखी रोदनकारणं सा कुम्भाण्डजाऽपृच्छच्चित्रलेखा ॥२२॥
अहो असंबद्धप्रलापशीले कन्याऽसि कः संप्रति वल्लभस्ते । उषे किमुन्मादवशं गताऽसि मा चापलं जल्प लभस्व धैर्यम् ॥२३॥
(२४) दव्वेण सज्जो हिडिअं च.
(२५) पुलोगेइ.
(२६) किंसे.

Page #40

पढमो सग्गो
कं दाणि संदावअरं जुवाणं सद्दावअंती रुदिअं करेसि । आअक्ख णं मे सिविणं किमेअं पच्छादणं मा कुण मज्झ बाले ॥२४॥
इदं तदो जंप बाण - पुत्ती सच्चं भणिस्सं तुह चित्तले । सिलाहणिज्जो सिविणे कुमालो दिट्ठो मए को वि तमाल-णीलो ॥२५॥
केऊर - हारंगद-कुंडलेहिं विभूसिओ पीद- दुकूल - वासो । सुलोअणो सुंदर - मंद - हासो णिरिक्खिदो सो णिस्वाहिरम्मो ॥२६॥
पंचेसुणा वंचिअ - चित्त धेरं सेरं समालिंगिअ मं वराई । अदंसणं झत्ति गदो कढोरो उज्झामि तो से विरहग्गिणा ऽहं ॥२७॥
किमिदानीं संतापकरं युवानं शब्दापयन्ती रुदितं करोषि । आचक्ष्व ननु मे स्वप्नः किमेष प्रच्छादनं मा कुरु मम बाले ॥२४॥
इदं ततोऽजल्पद्वाणपुत्री सत्यं भणिष्यामि ते चित्रलेखे । श्लाघनीयः स्वप्ने कुमारो दृष्टो मया कोऽपि तमालनीलः ॥ २५ ॥
केयूरहाराङ्गदकुण्डलैर्विभूषितः पीतदुकूलवासाः । सुलोचनः सुन्दरमन्दहासो निरीक्षितः स निरुपाधिरम्यः ॥२६॥
पञ्चेषुणा वञ्चितचित्तधैर्यां स्वैरं समालिङ्ग्य मां वराकीम् । अदर्शनं झटिति गतः कठोरो दह्ये ततोऽस्य विरहाग्निनाऽहम् ॥२७॥
(२७) दज्जामि.

Page #41

उसाणिरुद्धं
अहो उसाए वअणं सुणंती भणादि कुंभंड-सुआ तरट्टी२८ । अलं विसाएण विसाल-णेत्ते मणोरहो होहिइ२९ दे सुसिद्धो ॥२८॥
जे संति लोअत्तिदए जवाणो णीसेस-सोहग्ग-गुणोववण्णा । सव्वे वि दे चित्तवडे२० लिहिस्सं दक्खेज्ज जेणं तुहर१ चित्त-चोरो ॥२९॥
तदो अ सा चित्त-वडे२२ विसाले मणोसिलादीहि सिलाहणिज्जे । णहोअरे दाणव-माणवे अ लिहेइ सव्वे पवणासणे अ ॥३०॥
अअं महेंदो उण एस वण्ही एसो कअंदो णिरिई खु एसो । अअं पएदो पवणो स एसो एसो धणेसो खु अअं महेसो ॥३१॥
अथो उषाया वचनं श्रृण्वती अभणत् कुम्भाण्डसुता विदग्धा । अलं विषादेन विशालनेत्रे मनोरथो भविष्यति ते सुसिद्धः ॥२८॥
ये सन्ति लोकत्रितये युवानो निःशेषसौभाग्यगुणोपपन्नाः । सर्वानपि तांश्चित्रपटे लिखिष्यामि दृश्यते येन तव चित्तचोरः ॥२९॥
ततश्च सा चित्रपटे विशाले मनःशिलादिभिः श्लाघनीयान् । नभश्चरान् दानवमानवांश्चालिखत् सर्वान् पवनाशनांश्च ॥३०॥
अयं महेन्द्रः पुनरेष वह्निरेष कृतान्तो नितिः खल्वेषः । अयं प्रचेताः पवनः स एष एष धनेशः खल्वयं महेशः ॥३१॥
(३०) चित्तपटे.
(२८) तरंआ. (३१) दख्खेजु जेणत्तुह.
(२९) देहिइ. (३२) चित्तपटे.

Page #42

पढमो सग्गो
गंधव्व-विज्जाधर - जक्ख- रक्खो-देच्चादिणो पेक्खसु देच्च-कण्णे । अण्णे वि धण्णे मणुओरगिंदे को दे पिओ दीसइ एसु एक्को ॥३२॥
विण्हीसरे विक्खसु विण्हु-भत्ते ४ कण्हो खु एसो कमणीअ - वेसो । अअं खु रामो मअणो स एसो एसो खु सोहग्गमओ ऽणिरुद्धो ॥३३॥
एदेसु को णाम तुए तदाणिं दिट्ठो जहिट्टं सिविणे सुजम्मा । एवं च णिद्दीसइ चित्तलेहा खणे खणे तं कुमरिं पुलंती ॥३४॥
दिट्ठम्मि कण्हे दिढ - कोउहल्ला पज्जुण्णए पम्हल - तण्ह - दिट्ठी ३५ । अहाणिरुद्धे पुलअंचिआ सा लज्जा-मणोज्जं वअणं णमेइ ॥ ३५ ॥
गन्धर्वविद्याधरयक्षरक्षोदैत्यादीन् पश्य दैत्यकन्ये । अन्यानपि धन्यान् मनुजोरगेन्द्रान् किं ते प्रियो दृश्यते एष्वेकः ॥ ३२ ॥
वृष्णीश्वरान् वीक्षस्व विष्णुभक्तान् कृष्णः खल्वेष कमनीयवेषः । अयं खलु रामो मदनः स एष एष खलु सौभाग्यमयोऽनिरुद्धः ॥३३॥
एतेषु को नाम त्वया तदानीं दृष्टो यथेष्टं स्वप्ने सुजन्मा । एवं च निरदिशच्चित्रलेखा क्षणे क्षणे तां कुमारीं प्रलोकयन्ती ||३४||
दृष्टे कृष्णे दृढकौतूहला प्रद्युम्ने पक्ष्मलतृष्णदृष्टिः । अथानिरुद्धे पुलकाञ्चिता सा लज्जामनोज्ञं वदनमनमयत् ॥३५॥
(३३) विण्णीसरे.

(३४) विण्णभंके.

(३५) तण्णदिठ्ठी.

Page #43

१०
तं पच्चभिण्णा - सरसं मुणंती भणाइ कुंभंड- सुआ हसंती | ठाणे मणो रज्जइ दिट्टिआ दे कल्लाणि चंदम्मि व रोहिणीए ॥ ३६ ॥
गोमालिआ लग्ग बाल-चूदे बलाइआ मेल णील - मेहे । रज्जेसु पज्जुण्ण-सुए तुवं पि समग्ग-सोहो सरिसाण सगो ॥३७॥
विज्जा - बलेण चिचअ देच्च कण्णे कण्हस्स” पोत्तं समुवाहरिस्सं । भिंग व पुप्फासव - सोरहेण गीअ - प्पओएण व कण्हसारं ॥३८॥
आसासअंती इअ तं कुमारिं कुंभंडआ४१ कण्हउरं पवण्णा । रत्तिम्मि सुत्तं सुउमार-गत्तं पज्जुण्ण-पुत्तं पणिहालएइ ४२ ॥ ३९॥
तां प्रत्यभिज्ञासरसां जानतीमभणत् कुम्भाण्डसुता हसन्ती । स्थाने मनो रज्यति दिष्ट्या ते कल्याणि चन्द्रे इव रोहिण्याः ||३६||
नवमालिका लगतु बालचूते बलाकिका मिलतु नीलमेघे । रज्यस्व प्रद्युम्नसुते त्वमपि समग्रशोभः सदृशयोः सङ्गः ||३७||
विद्याबलेनैव दैत्यकन्ये कृष्णस्य पौत्रं समुपाहरिष्यामि । भृङ्गमिव पुष्पासवसौरभेण गीतप्रयोगेणेव कृष्णसारम् ॥३८॥
उसाणिरुद्धं
आश्वासयन्ती इति तां कुमारीं कुम्भाण्डजा कृष्णपुरं प्रपन्ना । रात्रौ सुप्तं सुकुमारगात्रं प्रद्युम्नपुत्रं प्रण्यभालयत् [ ददर्शेत्यर्थः ] ॥३९॥
(३६) लग्गइ.
(३९) कण्णस्स. (४२) ददर्शेत्यर्थः ॥

(३७) मेळतु.
(४०) इअ अं.

(३८) दचकण्णे (४१) कुंभण्णआ.

Page #44

पढमो सग्गो
ठाणे उसा कामइ कामणिज्जं कामस्स पुत्तं कमलायदच्छी । जं वा ण लच्छी महुसूअणादो वंछेइ अण्णं इअ चिंतअंती ॥४०॥
मंत - पहावेण महा-विअड्ढा कड्डेइ४४ णिद्दा- विहलंगअं तं । अलक्खि केण वि सोणिअक्खं पुरं च णं पावइ चित्तलेहा ॥ ४१ ॥
कण्णा - घरं तं कुमरं णअंती कण्णूसवं सा वअणं भणाइ । एसो खु सो बाणसुए तुए जो दिट्ठो खणद्धं ४५ सिविणे सिणिद्धं ॥४२॥
एअम्मि वडूंत कुऊहलाई वट्टंतु दे लज्जिअ - वज्जिआई । विसिंखलाई किलिकिंचिआई पोड्डुंगणाए विअ पोढ - जारे ||४३||
स्थाने उषा कामयते काम्यं कामस्य पुत्रं कमलायताक्षी । यद्वा न लक्ष्मीर्मधुसूदनाद्वाञ्छत्यन्यमिति च चिन्तयन्ती ॥४०॥
मन्त्रप्रभावेण महाविदग्धाऽकृष्ट निद्राविह्वलाङ्गतम् । अलक्षिता केनापि शोणिताख्यं पुरं चैनं प्रापयच्चित्रलेखा ॥४१॥
कन्यागृहं तं कुमारं नयन्ती कर्णोत्सवं सा वचनमभणत् । एष खलु स बाणसुते त्वया यो दृष्टः क्षणार्धं स्वप्ने स्निग्धम् ॥४२॥
एतस्मिन् वर्धमानकुतूहलानि वर्धन्तां ते लज्जितवर्जितानि । विशृङ्खलानि किलिकिञ्चितानि प्रौढाङ्गनाया इव प्रौढजारे ॥४३॥
(४३) कामउ.
११

(४४) कट्ठेइ.

(४५) दिट्ठोवणद्धं.

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उसाणिरुद्धं
णिम्मक्खिओ भीरु अअं पएसो एसो सराओ पुरिसो तुवं च । दुवाण संभोअ-महोसवे वो सक्खी सअं पुप्फसरो७ जुवाणं ॥४४॥
विहिं विवाहस्स बहुप्पआरं तई सअं जंपइ४८ बाणकण्णे । अण्णोण्ण-बद्ध-प्पणआण जुत्तो तुम्हाण गंधव्व-विवाह-तंतो ॥४५॥
तदो पबुद्धो तरसा ऽणिरुद्धो सविम्हओ४९ पेक्खदि तं कुमारि । अच्छेरमच्छरमहो किमेअं देव्वेण सिटुं ति विआरअंतो ॥४६॥
माआ किमेसा सिविणं किमेअं किमिंदआलं हिअअब्भमो वा । जं दाणि सुंदेर-णिवास-भूमी चअस्थि णारी-रअणं पुरो मे ॥४७॥
निर्मक्षिको भीरु अयं प्रदेशः एष सरागः पुरुषः त्वं च । द्वयोः संभोगमहोत्सवे वां साक्षी स्वयं पुष्पशरो यूनोः ॥४४॥
विधि विवाहस्य बहुप्रकारं त्रयी स्वयं जल्पति बाणकन्ये । अन्योन्यबद्धप्रणययोर्युक्तो युवयोर्गान्धर्वविवाहतन्त्रः ॥४५॥
ततः प्रबुद्धस्तरसाऽनिरुद्धः सविस्मयः प्रेक्षत तां कुमारीम् । आश्चर्यमाश्चर्यमहो किमेतदेवेन सृष्टमिति विचारयन् ॥४६॥
माया किमेषा स्वप्नः किमेष किमिन्द्रजालं हृदयभ्रमो वा । यदिदानीं सौन्दर्यनिवासभूमिश्चकास्ति नारीरत्नं पुरो मे ॥४७॥
(४६) दुवेण. (४९) सविम्मओ.
(४७) पुप्पसरो दुवाणम्.
(४८) जप्पइ.

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पढमो सग्गो
सिंगार - जोणिस्स कुअंड जुग्गं" णीलुप्पलाणं जुअलं च लोलं । पिक्कं च १ बिंबी-फलअं वहंतो विहाइ चंदो विअलंक - रम्मो ॥ ४८ ॥
विच्छिण्ण- मज्झा व‍ सुवण्ण-वेल्ली किमुत्तरद्वेण सिद्धि-सोहे । वहेइ पीणे कलधोअ-कुंभे रंभे अहंभो ४ अवरद्धएणं ॥ ४९ ॥
समुच्चला णिच्चल ५५ - विज्जुला वा समूढ - रूवा ससि जोण्हआ वा । सुहंबु - रासिस्स६ सुआ किमेसा सुहाहि सिंचेइ विलोअणे मे ॥५०॥
इअ फुडुप्पण्ण" - मणो- विआरं णिज्झाअ" तं भासइ चित्तलेहा । इअं खु बाणस्स सुआ सुगत्ती कुमाल दिण्णा तुह वम्महेण ॥ ५१ ॥
शृङ्गारयोः कोदण्डयुग्मं नीलोत्पलयोर्युगलं च लोलम् । पक्कं च बिम्बीफलं वहन् विभाति चन्द्रो विकलङ्करम्यः ॥४८॥
विच्छिन्नमध्याऽपि सुवर्णवल्ली किमुत्तरार्धेन स्निग्धशोभौ । वहति पीनौ कलधौतकुम्भौ रम्भे च हंहो अपरार्धेन ॥४९॥
समुज्ज्वला निश्चलविद्युद्वा समूढरूपा शशिज्योत्स्ना वा । सुधाम्बुराशेः सुता किमेषा सुधाभिः सिञ्चति विलोचने मे ॥५०॥
१३
इति स्फुटयेत्पन्नमनोविकारं निध्याय तमभाषत चित्रलेखा । इयं खलु बाणस्य सुता सुगात्री कुमार दत्ता तुभ्यं मन्मथेन ॥५१॥
(५०) सीगारयोणिस्स कुअण्णयुग्गो. (५१) विकच्च.
(५३) सोहम्. (५६) सुहंबुराळस्स.
(५४) अंभो.
(५७) इदं फुटोप्पण्ण.

(५२) मद्धा वि.
(५५) णिच्चतु(५८) णिच्छाअ.

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उसाणिरुद्धं
जदो सि दिट्टो सिविणे इमाए तदो मए मंत-विकडिओ५९ सि । इदोवरं किं णु पिअं करिस्सं तुम्हाण णिम्माण-फलं करती ॥५२॥
अंभोइणीअं विअ राअहंसो राआ-णिसाअं विअ पुण्ण-चंदो । रमेहि पेम्मुम्मुह-माणसाअं तुमं पि लीला-सरसो इमाई ॥५३॥
तो सो वि तोसोदहि-गब्भ-गाढो गाढोवऊढम्मि दिढाहिलासो । मंदक्ख-मंदक्खर-चारु-वाणि हत्थे समागिण्हइ बाणकण्णं ॥५४॥
कदंब-साहा विअ कोरएहिं कंरंबिअंगी पुलअंकुरेहिं । पोरत्थ-वादेण व देण लिद्धा खणे खणे वेवइ सा वराई ॥५५॥
यतोऽसि दृष्टः स्वप्नेऽनया ततो मया मन्त्रविकर्षितोऽसि । इतः परं किं नु प्रियं करिष्यामि युवयोर्निर्माणफलं कुर्वती ॥५२॥
अम्भोजिन्यामिव राजहंसो राकानिशायामिव पूर्णचन्द्रः । रमस्व प्रेमोन्मुखमानसायां त्वमपि लीलासरसोऽस्याम् ॥५३॥
ततः सोऽपि तोषोदधिगर्भगाढो गाढोपगूढे दृढाभिलाषः । मन्दाक्षमन्दाक्षरचारुवाणी हस्ते समागृह्णात् बाणकन्याम् ॥५४॥
कदम्बशाखेव कोरकैः करम्बिताङ्गी पुलकाकुरैः । पौरस्त्यवातेनेव तेन स्पृष्टा क्षणे क्षणेऽवेपत सा वराकी ॥५५।।
(५९) विकट्टितो सि.
(६०) तोसोतहि.

Page #48

मोग्गो
१
अंके समारोविअ ठाविआए बालो बलादो परिंभिआए । सव्वीलमंसे विणिवट्टि से तंबाहरं चुंबइ वत्त- बिंबं ॥ ५६ ॥
कमेण वच्छो- घडिअ-त्थणं सा मुहेक्क- लक्खी-कअ-दिट्ठि-पाअं । जहिमोट्ठ-ग्गहणाणुऊलं दसंतरं तो सणिअं पवण्णा ॥५७॥
६
पेम्मोल-भावेसु परप्परेण खणं पि विस्सेस - परम्पुहेसु । कला - छइल्लेसु घरे णिगूढे तेसुं रमंतेसु बहू-वरे ॥५८॥
६४
चिधेहि तो केहि वि जार-जुट्टं कण्णा - घरं संकिअ किंकरेहि । गंतूण सिग्घं कलिअंजलीहि विण्णाविओ सो दणुआधिणाहो ॥ ५९ ॥
६
अङ्के समारोप्य स्थापिताया बालो बलात् परिरब्धायाः । सव्रीडमंसे विनिवर्तितमस्यास्ताम्राधरमचुम्बत् वक्त्रबिम्बम् ॥५६॥
क्रमेण वक्षोघटितस्तनं सा मुखैकलक्षीकृतदृष्टिपातम् । यथेष्टमोष्ठग्रहणानुकुलं दशान्तरं ततः शनैः प्रपन्ना ॥५७॥
प्रेमार्द्रभावयोः परस्परेण क्षणमपि विश्लेषपराङ्मुखयोः । कलाच्छेकयोर्गृहे निगूढे तयोः रममाणयोर्वधूवरयोः ॥५८॥
चिह्नस्ततः कैरपि जारजुष्टं कन्यागृहं शङ्कित्वा किङ्करैः । गत्वा शीघ्रं कलिताञ्जलिभिर्विज्ञापितः स दनुजाधिनाथः ॥५९॥
(६१) परिरंभिएसम. (६४) कळाच्छउळ्ळेसु.

(६२) जइट्टमोई. (६५) इंधेहि.

१५
(६३) पेम्मोण.
(६६) गदूण.

Page #49

उसाणिरुद्धं
अहो महाराअ व हद म्हो जं को वि दूसेइ६७ कुमारिअं दे । सरेण मंदेण वि मंसलेण णिण्णाविओ जं पुरिसो भणंतो ॥६०॥
कहं पि संका-णिहुओ वि राअं राअंधदाए८ रइ-संभमेसु । मंजीर-सिंजा-रणिआणुविद्धो कण्णा-घरे सुव्वइ सद्द-भेओ ॥६१॥
कण्णा-गअं किंचण कण्ण-सल्लं वृत्तंतमाकण्णिअ कंपमाणो । सोएण रोसेण अ डज्झमाणो बाणो पवण्णो कुमरी-णिएअं ॥६२॥
दिव्वंतमक्खेहि तहिं जहिच्छं पेच्छेइ देच्चाहिवई७० तदाणि । वहू-वरं तं कमणिज्ज-रूवं मिहोणुरूवामल-सोउमारं ॥६३॥
-
-
अहो महाराज वयं हताः स्मः यत् कोऽपि दूषयति कुमारिकां ते । स्वरेण मन्देनापि मांसलेन निर्णीतो यत् पुरुषो भणन् ॥६०॥
कथमपि शङ्कनिभृतोऽपि राजन् रागान्धतया रतिसंभ्रमेषु । मञ्जीरशिक्षारणितानुविद्धः कन्यागृहे श्रूयते शब्दभेदः ॥६॥
कन्यागतं किंचन कर्णशल्यं वृत्तान्तमाकर्ण्य कम्पमानः । शोकेन रोषेण च दह्यमानो बाणः प्रपन्नः कुमारीनिकेतम् ॥६२॥
दिव्यदक्षैस्तस्मिन्यथेच्छमपश्यदैत्याधिपतिस्तदानीम् । वधूवरं तत्कमनीयरूपं मिथोऽनुरूपामलसौकुमार्यम् ॥६३॥
-
(६८) राअंदघाए.
(६९) ढंजमाणो.
(६७) जं को वि दूसेवि. (७०) दच्चाहिवई.

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पढमो सग्गो
१७
थद्धो इरं विम्हअ-विम्हरिज्जंतुद्दाम-वेरो कुमरं पुलंतो । ठिओ स चित्ते लिहिदो व्व पच्छा सच्छंद-कोवो पस्सं भणाइ ॥६४॥
किं णाम कण्णा-विड २ बाण-णाधं मण्णेहि णिण्णाधमिमं३ पएसं । सहस्सबाहुस्स मह प्पहावं कहं ण आणासि जअ-प्पसिद्धं ॥६५॥
दूसेसि णीसेस-सुरासुराणं णाहस्स बाणस्स सुअं कुमारि । को को तुवं७४ कक्कस-कम्मकारी गुत्तं घरं केण पहा पविट्ठो ॥६६॥
गच्छेहि वंछा५ जइ जीविदुं दे जुज्झेहि ६ जं वा मलणाहिलासी । बाणस्स बाणा हि किआवराहे णेग्घिण्ण-चंडा७ इअ खादिमंता ॥७॥
स्तब्धश्चिरं विस्मयविस्मर्यमाणोद्दामवैरः कुमारं प्रलोकयन् । स्थितः स चित्रे लिखित इव पश्चात् स्वच्छन्दक्रोधः परुषमभणत् ॥६४॥
किं नाम कन्याविट बाणनाथं मन्यसे निथिं इमं प्रदेशम् । सहस्रबाहोर्मम प्रभावं कथं न जानासि जगत्प्रसिद्धम् ॥६५॥
दूषयसि नि:शेषसुरासुराणां नाथस्य बाणस्य सुतां कुमारीम् । कः कस्त्वं कर्कशकर्मकारी गुप्तं गृहं केन पथा प्रविष्टः ॥६६॥
गच्छ वाञ्छा यदि जीवितुं ते युध्यस्व यद्वा मरणाभिलाषी । बाणस्य बाणा हि कृतापराधे नैपुण्यचण्डा इति ख्यातिमन्तः ॥६७||
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(७१) स्वंधो. (७४) कोको तुवं. (७७) णेक्खिण्णचंडा.
(७२) कण्णाविट (७५) गच्चेइ वाच्छा.
(७३) णिण्णाथमिमं. (७६) जज्झेइ.

Page #51

उसाणिरुद्धं
पज्जुण्णिणा भण्णइ देच्चराओ कअं कअं तुज्झ विकत्थणेण । कण्हस्स पोत्तं समरम्मि जेउं सिंघं सिआलो व पवट्टसे किं ॥६८॥
जमस्स दंडस्स सगब्भिआ मे गआ गआ जस्स सिरं कराला । खणं ण जीवेज्ज स वज्जसारा वारेज्ज एसा जइ अस्थि सत्ती ॥६९॥
इत्थं भणंताण महाबलाणं दुवाण९ ताणं गुरु-गव्विदाणं । बाणाणिरुद्धाण समच्छराणं चिराअ संपज्जइ० संपहारो ॥७०॥
बाणो सहस्सेण वि जाई जाइं सत्थाइं१ बाहूहि समुक्खिवेइ । गआअ एक्काअ वि ताइ ताई भिज्जंति पज्जुण्ण-सुएण सज्जो ॥७१॥
प्राद्युम्निनाऽभण्यत दैत्यराजः कृतं कृतं तव विकत्थनेन । कृष्णस्य पौत्रं समरे जेतुं सिंहं शृगाल इव प्रवर्तसे किम् ॥६८॥
यमस्य दण्डस्य सगा मे गदा गता यस्य शिरः कराला । क्षणं न जीवेत् स वज्रसारा वार्यतामेषा यद्यस्ति शक्तिः ॥६९॥
इत्थं भणतोर्महाबलयोद्धयोस्तयोर्गुरुगर्वशीलयोः । बाणानिरुद्धयोः समत्सरयोश्चिराय समपद्यत संप्रहारः ॥७०॥
बाणः सहस्रेणापि यानि यानि शस्त्राणि बाहुभिः समुदक्षिपत् । गदयैकयाऽपि तानि तान्यभिद्यन्त प्रद्युम्नसुतेन सद्यः ॥७१॥
(७९) दुवेण.
(८०) संपच्चइ.
(७८) यमस्स. (८१) सत्ताइ.

Page #52

पढमो सग्गो
रणम्मि घोरे रइणाह-पुत्तं करग्ग-घोलंत-गअं२ भमंतं । सुदुज्जअं मण्णिअ पण्णअत्थं३ खेत्तूण णं बंधइ देच्चणाहो ॥७२॥
णागत्थ-बद्धं करिऊण बालं बाणासुरे झत्ति णिवत्तमाणे । हा णाह हा सुंदर हा पिअ त्ति५ कण्णा समक्वंदइ मुक्क-कंठं ॥७३॥
हा हा हदाए मह कालणादो इमं दसं संपइ लंभिओ सि । तादेण जं वा अदि-णिग्धिणेण६ देव्वेण अण्णं कमुवालहेमि ॥७४॥
इच्छामि मिच्छं विअ रम्म-भोए सच्चं जुउच्छामि८ अ जम्म-लाहं । किं णाम सोक्खं तुमए विणा मे हा णाह दुक्खस्स परं धरेमि ॥७॥
रणे घोरे रतिनाथपुत्रं कराग्रघूर्णमानगदं भ्रमन्तम् । सुदुर्जयं मत्वा पन्नगास्त्रं क्षिप्त्वैनमबध्नात् दैत्यनाथः ॥७२॥
नागास्त्रबद्धं कृत्वा बालं बाणासुरे झटिति निवर्तमाने । हा नाथ हा सुन्दर हा प्रियेति कन्या समाक्रन्दत् मुक्तकण्ठम् ॥७३॥
हा हा हतायाः मम कारणादिमां दशां संप्रति लम्भितोऽसि । तातेन यद्वाऽतिनिघृणेन दैवेनान्यं कमुपालभे ॥७४।।
इच्छामि मिथ्यैव रम्यभोगान् सत्यं जुगुप्सामि च जन्मलाभम् । किं नाम सौख्यं त्वया विना मे हा नाथ दुःखाय परं ध्रिये ॥ ॥५॥
(८२) घोणिज्जग. (८५) पियेति. (८८) जुअच्चामि.
(८३) पण्णअंके. (८६) अदिणिक्खिणेण.
(८४) नागात्तबद्धं. (८७) दव्वेण.

Page #53

उसाणिरुद्धं
उसे विसाएण कअं पिओ दे असंस होहिइ मुक्क-बंधो । पिदामहो जस्स हि विस्स-णाहो इत्थं णमस्सासइ चित्तलेहा ॥७६॥
दणुअवइ-सुआ-मुहेंदु-जोण्हा-पसर-विसट्ट-विलोअणुप्पलो सो । णिवसइ कुमरी-घरेक्कदेसे अगणिअ-बंधण-लाहवो ऽणिरुद्धो ॥७७॥
॥ इअ उसाणिरुद्ध पढमो सग्गो ॥
उषे विषादेन कृतं प्रियस्ते असंशयं भविष्यति मुक्तबन्धः । पितामहो यस्य खलु विश्वनाथ इत्थमेनामाश्वासयच्चित्रलेखा ॥ ॥७६।।
दनुजपतिसुतामुखेन्दुज्योत्स्नाप्रसरविकसितविलोचनोत्पलः सः । न्यवसत् कुमारीगृहैकदेशेऽगणितबन्धनलाघवोऽनिरुद्धः ॥७७॥
॥ इत्युषानिरुद्ध प्रथमः सर्गः ॥
*
*
*
(८९) विसेएण.
(९०) उसाणिरुद्ध.

Page #54

बीओ सग्गो
अह पेच्छइ वच्छअस्स' से विलअं संकिअ सोअ - दूमिओ । स दुवारवदि उवद्विअं' मुणिणं णारअमिंदिरावई ४ ॥१॥
फलिहामल-पंडु - विग्गहं कलमापिंग-जडग्ग-मत्थअं । उदिआसण- मोह-मंडली - परिलिद्धं व कुबेर - पव्वअं ॥२॥
पवणुल्लिअ-वल्लई - लदा-रणिउग्घोसिअ - केसव-त्थवं । अहिपूजिअमासण-ट्ठिदं पणमंतो वअणं भणाइ णं ॥३॥
[ द्वितीयः सर्गः ]
अथापश्यद्वत्सलस्यास्य विलयं शङ्कित्वा शोकदूनः । स द्वारवतीमुपस्थितं मुनिं नारदमिन्दिरापतिः ॥ १ ॥
स्फटिकामलपाण्डुविग्रहं कलमापिङ्गजाङ्कमस्तकम् । उदितारुणमयूखमण्डलीपरिमृष्टमिव कुबेरपर्वतम् ॥२॥
पवनप्रेरितवल्लकीलतारणितोद्घोषितकेशवस्तवम् । अभिपूजितमासनस्थितं प्रणमन् वचनं भणति एनम् ||३||
(१) ॥ उषानिरुद्धे तीयः सर्गः ॥ (२) वच्छळस्स. (४) गुणिणं णारअमीदिरासई. (७) परिळित्थं.
(५) जटागमत्थअम्.

(३) दुवारघरं गुवट्टिअं. (६) मंडई.

Page #55

२२
उसाणिरुद्धं
फलिअं सुकिएण भूरिणा बहुजम्मंतर-संभिएण मे । चलणा' तुह जं णिभालिआ सअलं किब्बिसमुप्फुसंति जे ॥४॥
इह होति विसाअसालिणो महु-भोअंधअ-विहि-जादवा । अपअब्भ-वओ जदो गदो अणिरुद्धो सहसा अदंसणं ॥५॥
विचिणिज्जइ सव्वदो-दिसं ण उ सो दीसइ वंस-वड्डणो' । अहवा पहवेज्ज को जरो विवरीदम्मि, विहिम्मि कम्मसु ॥६॥
स विसाअ-भरो लघूकिदो भअवं तुज्झ विलोअणेण णो । मिहिरम्मि समुग्गए कर्हि कमलाणं हिमजो पराहवो ॥७॥
फलितं सुकृतेन भूरिणा बहुजन्मान्तरसंभृतेन मे । चरणौ तव यन्निभालितौ सकलं किल्बिषमुन्मृष्टो यौ ॥४॥
इह भवन्ति विषादशालिनो मधुभोजान्धकवृष्णियादवाः । अप्रगल्भवयाः यतो गतोऽनिरुद्धः सहसाऽदर्शनम् ॥५॥
विचीयते सर्वतोदिशं न तु स दृश्यते वंशवर्धनः । अथ वा प्रभवेत् को नरो विपरीते विधौ कर्मसु ॥६॥
सविषादभरो लघूकृतो भगवन् तव विलोकनेन नः । मिहिरे समुद्गते क्व कमलानां हिमजः पराभवः ॥७॥
-
(८) चळणो.
(९) विळणिज्जइ.
(१०) वठ्ठणो.

Page #56

बीओ सग्गो
२३
कुहणा-मणुअत्तणोइअं वअणं से सुणिऊण णारदो । णिहुअं हसिऊण भारई गहिरं जंपइ११ संभिआअरं ॥८॥
विसजेहि विहो विसण्णदं कुमरो जीवइ१२ रोप्पिणेअओ । सुणु किं दु३ बलिस्स सूणुणा णिअदो चिट्ठइ दुट्ठ-बुद्धिणा ॥९॥
सिविणे दणुअस्स तस्स सो१४ दुहिआए किल दिक्खिदो जदो१५ । अह मंत-बलेण कडिओ णिहुअं तीअ सहीअणेण तो ॥१०॥
अह जाणिअ बाण-दाणवो कुविदो बज्झइजुज्झ-मज्झए । इअ संपइ सो उवागओ तुह सोण्हा-तणओ अदंसणं ॥११॥
कुहनामनुजत्वोचितं वचनमस्य श्रुत्वा नारदः । निभृतं हसित्वा भारी गभीरामजल्पत् संभृतादरम् ॥८॥
विसृज विभो विषण्णतां कुमारो जीवति शैक्मिणेयजः । शृणु किं तु बलेः सूनुना नियतस्तिष्ठति दुष्टबुद्धिना ॥९॥
स्वप्ने दनुजस्य तस्य स दुहिता किल दृष्टो यतः । अथ मन्त्रबलेन कर्षितो निभृतं तस्याः सखीजनेन ततः ॥ ॥१०॥
अथ ज्ञात्वा बाणदानवः कुपितोऽबध्नायुद्धमध्ये । इति संप्रति स उपागतस्तव स्तुषातनयोऽदर्शनम्
॥११॥
(१३) कीदु.
(११) जप्पइ. (१४) दणुअंतणस्स सो.
(१२) जिव्वइ. (१५) जणो.

Page #57

२४
उसाणिरुद्धं
स हि दिप्पइ विप्प-कंटओ'६ भुज-साहस्स-बलेण दुज्जओ । अह किं भणिमो महेसरो भअवं जस्स दुवार-पालओ ॥१२॥
अहिअं जहि णं महासुरं परिमोएहि तदो उसावई । महसूअण कि पिहज्जणो विअ णेक्कारमिणं उवेक्खसि८ ॥१३॥
इअ संसुणिदम्मि सोरिणो हिअ गाहइ कोह-पावओ । भिउडिच्छल-धूम-णिग्गमो सहसा वच्चइ१९ जस्स इंधदं ॥१४॥
अह सो कअवम्म-सच्चई-पमुहेहिं सबलेहि संवुदो । बलभद्द-पुरस्सरो हरी णअरादो तरसा पचिट्ठइ ॥१५॥
स हि दृप्यति विप्रकण्टको भुजसाहस्रबलेन दुर्जयः । अथ किं भणामो महेश्वरो भगवान् यस्य द्वारपालकः ॥१२॥
अहितं जह्येनं महाऽसुरं परिमोचय तत उषापतिम् । मधुसूदन किं पृथग्जन इव न्यक्कारमिममुपेक्षसे ॥१३॥
इति संश्रुते शौरेहृदयमगाहत क्रोधपावकः । भ्रुकुटिच्छलधूमनिर्गमः सहसाऽव्रजद्यस्य चिह्नताम् ॥१४॥
अथ स कृतवर्मसात्यकिप्रमुखैः स्वबलैः संवृतः । . बलभद्रपुरःसरो हरिनगरात्तरसा प्रातिष्ठत ॥१५॥
(१७) परिमोएइ.
(१८) उवक्खसि.
(१६) विप्पकडुओ. (१९) वठ्ठइ.

Page #58

बीओ सग्गो
तुरओह-खुरग्ग-विक्खद-क्खिदि-पिट्ठोच्चलिदेहिं० रेणुहि । परिदो हरिदंगणा-घण-त्थणं-कुंभावरणंबराइदं ॥१६॥
असि-विप्फरिअग्गि-विज्जुला चल-दोग्घट्ट-कडप्प-वारिआ । २९पडह-द्धणि-गज्जिआ अ सा पुदणा सोहइ पाउसोवमा ॥१७॥
जलहि तरिऊण सेउणा पमलिज्जंत-तडंत-पाअवं । चलणाहइ-सिण्ण-भूअलं जदु-सेण्णं विविणाइ बाहइ ॥१८॥
कुल-पव्वअ-वंद-कंदरा-पअवी-लंघण-२'केलि-जंघिआ । तुरिअं चिअ ओदरंति दे बलि-गेहं जदुणाह-सेणिआ ॥१९॥
तुरगौघखुराग्रविक्षतक्षितिपृष्ठोच्चलितैः रेणुभिः । परितो हरिदङ्गनाघनस्तनकुम्भावरणाम्बरायितम् ॥१६॥
असिविस्फुरिताग्निविधुच्चलगजसमूहवारिदा । पटहध्वनिगजिता च सा पृतनाऽशोभत प्रावृडुपमा ॥१७॥
जलधि तीर्खा सेतुना प्रमद्यमानतटन्तपादपम् । चरणाहतिशीर्णभूतलं यदुसैन्यं विपिनान्यपाक्रामत् [बाधते] ||१८||
कुलपर्वतवृन्दकन्दरापदवीलङ्घनकेलिजानिकाः । त्वरितमेवावातरंस्ते बलिगेहं यदुनाथसैनिकाः ॥१९॥
(२०) पिठ्ठच्चळिदेहि.
(२१) पहटध्वणि.
(२२) पअविळळंधण.

Page #59

२६
धणुह-द्धणि-तूर- णिस्सणार करि-बंहापरिबिहिआ भिसं । सहस च्चिअ सोणिआलअं भअ-संभंत जणं कुणंति तो ॥२०॥
पढमं पडह-स्सणेण तं पुण सेणोत्थ-पराअ - रासि । पडिरुं भइ वेरिणो पुरं स हु पच्छा पुदणाहि माहवो ॥२१॥
अह सो पडिहार- पालओ पमहेहिं परिवारिदो हरो । समरस्स करेइ पक्कमं गुह-लंबोदर-मंदि - दिओ ॥२२॥
इसि पम्फिडिएंदु - लेहिअं परिघोलंत - सुपव्व - णिण्णअं । भुअएहि दिणंत - तंडव - प्पढिलं बज्झइ ५ सो जडा - भरं ॥ २३ ॥
धनुर्ध्वनितूर्यनिःस्वनाः करिबृंहापरिबृंहिता भृशम् ।
सहसैव शोणितालयं भयसंभ्रान्तजनमकुर्वंस्तदा ||२०||
प्रथमं पटहस्वनेन तत्पुनः सेनोत्थपरागराशिना । प्रतिरुरोध वैरिणः पुरं स खलु पश्चात् पृतनाभिर्माधवः ॥२१॥
अथ स प्रतिहारपालकः प्रमथैः परिवारितो हरः । समरायाकरोत् प्रक्रमं गुहलम्बोदरनन्दिनन्दितः ॥२२॥
ईषत्प्रभ्रष्टेन्दुलेखिकं परिघूर्णमानसुपर्वनिम्नगम् । भुजगैर्दिनान्तताण्डवप्रशिथिलमबध्नात्स जयभरम् ॥२३॥
(२३) रूरणिस्सणा.

उसाणिरुद्धं
(२४) पटहस्सणेण.

(२५) पडिळं बज्जइ.
.

Page #60

बीओ सग्गो
धणुअम्मि पिणाअ-णामए बलिअं कुंडलिए पिणज्झइ । कर-मंडणमद्ध-कंकणी-किअमुम्मोइअ६ कुंडलीसरं ॥२४॥
सुसिलिट्ठः-गरिटु-णिहरं फुड-वग्घाइण-चिक्कण-प्पभं । परिवेढइ सप्प-मेहला-वलएहि विअडं कडी-तडं ॥२५॥
णिडिलेक्खण-दाह-संभम-क्खुडिआणंग-धणुब्भमावहं । कुडिलीकुणइ प्फुडं कुहा भुमआणं जुअलं महेसरो ॥२६॥
हरिसुग्गअ-तिक्ख-घग्घर-स्सर-णिग्घोसण-भिसणाकइं। फलिआअल-सुब्भ-विग्गहं वुसहं सो सहसाहिरोहइ ॥२७॥
धनुषि पिनाकनामके बलवत्कुण्डलिते पिननाह । करमण्डनमर्धकङ्कणीकृतमुन्मुच्य कुण्डलीश्वरम् ॥२४॥
सुश्लिष्टगरिष्ठनिष्ठुरस्फुटव्याघ्राजिनचिक्कणप्रभम् । पर्यवेष्टयत् सर्पमेखलावलयैर्विकटं कटीतटम् ॥२५॥
निटिलेक्षणदाहसंभ्रमत्रुटितानङ्गधनुर्धमावहम् । कुटिलीचकार स्फुटं क्रुधा ध्रुवोर्युगलं महेश्वरः ॥२६॥
हर्षोद्गततीक्ष्णघर्घरस्वरनिर्घोषणभीषणाकृतिम् ।। स्फटिकाचलशुभ्रविग्रहं वृषभं स सहसाऽधिरुरोह ॥२७॥
(२६) कमुमोईअ.
(२७) सुसिळकृ.
(२८) हरिसुग्गइतिघ्य.

Page #61

उसाणिरुद्धं
कर-गण्हिअ-सत्तिणा गणा परिरुट्ठा सिहि-पिट्ठ-वासिणा । सहिआ सरजम्मणा खणा रण-सज्जा पअलिज्ज गव्विआ ॥२८॥
अह दे जदु-सेण्ण-साअरं तुरउत्तुंग-तरंग-संकुलं । बल-माहव-गाह-भीसणं गहिरं तं पविसंति णिब्भआ ॥२९॥
वलई-किअ-चंड-कम्मुका अह पज्जुण्ण-सिहंडिर-वाहणा । सर-दुद्दिण-णिण्हुअंबरं परिहोदूण रणं कुणंति दे ॥३०॥
विसिहा वि सिहावलुक्कड-प्फुड-पक्खाणिल-तक्खणुद्धआ३१ । विमुहा विमुहा हआ अ तं ण विसाहं पविसंति वेरिणो ॥३१॥
करगृहीतशक्तिना गणाः परिरुष्टा शिखिपृष्ठवासिना । सहिताः शरजन्मना क्षणात् रणसज्जाः प्रचेलुर्गविताः ॥२८॥
अथ ते यदुसैन्यसागरं तुरगोत्तुङ्गतरङ्गसंकुलम् । बलमाधवग्राहभीषणं गंभीरं तं प्राविशन्निर्भयाः ॥२९॥
वलयीकृतचण्डकार्मुकावथ प्रद्युम्नशिखण्डिवाहनौ । शरदुर्दिननिहृताम्बरं परिभूय रणमकुरुतां तौ ॥३०॥
विशिखा अपि शिखावलोत्कटस्फुटपक्षानिलतत्क्षणोद्धृताः । विमुखा विमुखा हताश्च तं न विशाखं प्राविशन् वैरिणः ॥३१॥
(२९) पवतिज्ज.
(३०) सिहण्णि .
(३१) तंघणुद्धआ.

Page #62

बीओ सग्गो
२९
अह संबर-मम्म-भेदिहिं जलण-ज्जाल-फुलिंग-वाहिहिं । णिसिदेहि सिलीमुहेहि तं गुहमाविद्धइ रुप्पिणी-सुओ ॥३२॥
धणु-पंचसदी-विमुंचिद-प्पसरंतत्थ-विहत्थिआहिओ३२ । सुवअं चिअ बाण-दाणवो जुउहाणेण घडेइ३३ संगरे ॥३३॥
विविहा जुउहाण-साअआ जुहि बाणासुर-बाण-संहइं । अइरेण कुणंति णिप्पहं रवि-मोहा विअ तारआवलिं ॥३४॥
अह सो परमेसरो सरे तिवुरंतेउर-वेहवीअरे । विसजेइ पिणाअ-संहिदे अभिगंतूण सअं जणदणं ॥३५॥
अथ शम्बरमर्मभेदिभिर्खलनज्वालस्फुलिङ्गवाहिभिः । निशितैः शिलीमुखैस्तं गुहमाविध्यद्रुक्मिणीसुतः ॥३२॥
धनुष्पञ्चशतीविमुक्तप्रसरदस्त्रविहस्तिताहितः । स्वयमेव बाणदानवो युयुधानेन जघटे संगरे ॥३३॥
विविधा युयुधानसायका युधि बाणासुरबाणसंहतिम् । अचिरेण कुर्वन्निष्प्रभां रविमयूखा इव तारकावलिम् ॥३४॥
अथ स परमेश्वरः शस्त्रिपुरान्तःपुरवैधवीकरान् । विससर्ज पिनाकसंहितान् अभिगम्य स्वयं जनार्दनम् ॥३५॥
(३२) विहंअहीओ.
(३३) जुयुहाणेण घटेइ.

Page #63

उसाणिरुद्धं
मधु-केडह-सोणिद-च्छडा-महु-कुक्खी -भरिणो सिलीमुहे । गुण-संगद-संग-संहिदो महुवेरी वि समुक्खिवेइ सो ॥३६॥
अह ताण विमाण-संठिअ-त्तिअसाहीस-सिरो-सिलाहिओ । समरो समरोस-विक्किआ-भर-दुप्पेच्छ-मुहाण वट्टइ ॥३७॥
हरि-सिट्ठ-समीरणत्थदो पसरंता परिधूअ-पाअवा । समुहावडिआ"समीरणा हर-भूसा-भुअएहि भक्खिदा ॥३८॥
हर-पंखिअ-पण्णअत्थदो३६ विस-फक्कार-पलित्त-पावआ । पसिदा बहुणो वि पण्णआ सहसा विण्हु-रहेण वंफिआ७ ॥३९॥
मधुकैटभशोणितच्छटामधुकुक्षिभरीन् शिलीमुखान् । गुणसंगतशाङ्गसंहितान् मधुवैरी अपि समुदक्षिपत् सः ॥३६॥
अथ तयोर्विमानसंस्थितत्रिदशाधीशशिरःश्लाघितः । समरः समरोषविक्रियाभरदुष्प्रेक्षमुखयोरवर्तत ॥३७॥
हरिसृष्टसमीरणास्त्रतः प्रसरन्तः परिधूतपादपाः । संमुखापतिताः समीरणा हरभूषाभुजगैक्षिताः ॥३८॥
हरपुङितपन्नगास्त्रतो विषफूत्कारप्रदीप्तपावकाः । प्रसृता बहवोऽपि पन्नगाः सहसा विष्णुरथेन चर्विताः ॥३९॥
(३५) समुहोपडिआ
(३६) अरफुक्किअपण्णअत्तदो.
(३४) गुणसंगत. (३७) वभ्भिआ.

Page #64

बीओ सग्गो
कसणुल्लिअ-पावआसुअ-"फुड- णितुज्जलिआ वि पावआ । परमेसर - मोलि- णिण्णआ जल- णिव्वाण सिहा मुहा ठिआ ॥४०॥
अह संभु- विसिद्ध-तामसासुअ-संभूद-तमधआरिअं । भुवणं बलिअं पआसिअं हरि-चक्कस्स समग्ग - रोइणा ॥ ४१ ॥
९
हरि - पेरिअ - वारुणत्थअ- प्पलअंभोहर-गब्भ- णिस्सिदे । लहु सोसइ थोर-सीअरे सिव- फालक्खि- पुडासुसुक्खणी ॥४२॥
सुभाण वि विड्डिरिल्लए समरे णारअ - - कोड्डु-वड्ढणे । अह खिप्पड़ णिप्पडिक्विअं कुविदो मोहणमत्थमच्चुदो ॥४३॥
कृष्णप्रेरितपावकाशुगस्फुटनिर्यदुज्ज्वलिता अपि पावकाः । परमेश्वरमौलिनिम्नगाजलनिर्वाणशिखा मुधा स्थिताः ||४०||
अथ शंभुविसृष्टतामसाशुगसंभूततमोन्धकारितम् । भुवनं बलवत्प्रकाशितं हरिचक्रस्य समग्ररोचिषा ॥ ४१ ॥
हरिप्रेरितवारुणास्त्रजप्रलयाम्भोधरगर्भनिः सुतान् । लघ्वशोषयत् स्थूलशीकरान् शिवफालाक्षिपुयशुशुक्षणिः || ४२ ॥
सुभटानामपि भयंकरे समरे नारदकौतूहलवर्धने । अथाक्षिपन्निष्प्रतिक्रियं कुपितो मोहनमस्त्रमच्युतः ॥४३॥
(३८) पाअवासुअप्फुडईतुंजळिआ.

(३९) भंगणिस्सिदे.

३१
(४०) दोरसीरए.

Page #65

उसाणिरुद्धं
रणदो खण-मोह-मीलिए ससि-लेहाभरणे४१ णिवट्टिए । विमुहे वि अ सम्मुहे लहु प्पमहाणं णिवहो पलाअइ ॥४४॥
पबलो बलभद्द-केसरी हल-दाढा २-कुलिसेण तक्खणं । मअ-भामिर-चित्तमुद्धअं जुहि कुंभंड-गअं-विदारइ ॥४५॥
अह रोस-कसाइदेक्खणो णिबिडाकड्डिअ-णेक-कम्मुको । अहिधावइ देवई-सुअं तुअरंतो तइ बाण-दाणवो ॥४६॥
जुहि से भुअ-काणण-ट्ठिए दिढमोव्वीलइआहि वेढिए । धणु-ताल-दुमे रमावई तरसा खंडइ कंड-रासिहि ॥४७॥
रणतः क्षणमोहमीलिते शशिलेखाभरणे निवृत्ते । विमुखेऽपि च षण्मुखे लघु प्रमथानां निवहः पलायत ॥४४॥
प्रबलो बलभद्रकेसरी हलदंष्ट्राकुलिशेन तत्क्षणम् । मदभ्रमणशीलचित्तमुद्धतं युधि कुम्भाण्डगजं व्यदारयत् ॥४५॥
अथ रोषकषायितेक्षणो निबिडाकृष्टनैककार्मुकः । अभ्यधावद्देवकीसुतं त्वरमाणस्तदा बाणदानवः ॥४६॥
युधि अस्य भुजकाननस्थितान् दृढमौर्वीलतिकाभिर्वेष्टितान् । धनुस्तालगुमान् रमापतिस्तरसाऽखण्डयत् काण्डराशिभिः ॥४७॥
(४१) लोहावरणे.
(४२) हळदाडा.
(४३) जहि.

Page #66

बीओ सग्गो
दणुअस्स भुएसु सोरिणा तइ जो जो लुअ-कम्मुओ४ कओ । स स गेण्हइ चक्क-तोमर-च्छुरिआ-सत्ति-गआसि-मुग्गरे ॥४८॥
खुहिओ स उ जाई जाई तो समरे घेप्पइ ५ दप्प-बंहिओ । परिखंडइ ताई ताई हि महुवेरी लहु आउहाइं४६ सो ॥४९॥
णिसिअस्थ-खओ णिराउहो गलिअस्सोज्झर-चच्चिअंगओ । घण-धाउमओ४७ व्व पव्वओ विहलो८ जाअइ बाण-दाणवो ॥५०॥
जणणी किर तस्स कोट्टवी दुअमाअच्छि९ मज्झए ठिआ । अह णंदसुओ णिवत्तिओ तइ बाणो वि घरं० विगाहइ ॥५१॥
दनुजस्य भुजेषु शौरिणा तदा यो यो लूनकार्मुकः कृतः । स स जग्राह चक्रतोमरच्छुरिकाशक्तिगदासिमुद्गरान् ॥४८॥
क्षुभितः स तु यानि यानि ततः समरे जग्राह दर्पबृंहितः । पर्यखण्डयत्तानि तानि हि मधुवैरी लघु आयुधानि सः ॥४९॥
निशितास्त्रक्षत: निरायुधो गलितास्रनिर्झरचर्चिताङ्गकः । घनधातुमय इव पर्वतो विह्वलोऽजायत बाणदानवः ॥५०॥
जननी किल तस्य कोट्टवी द्रुतमागत्य मध्ये स्थिता । अथ नन्दसुतो निवृत्तस्तदा बाणोऽपि गृहं व्यगाहत ॥५१॥
(४४) जोजुककम्मुओ. (४७) धातुमओ. (५०) खरं.
(४५) खेप्पइ. (४८) विअळो.
(४६) आउआइ. (४९) मच्छए.

Page #67

३४
उसाणिरुद्धं
अह धुज्जडिणा-१ विसज्जिओ विअडुत्ताल-भअंकराकई । तिसिरो कडु-घग्घर-स्सरो जुवरो को वि भमेइ५२ सव्वदो ॥५२॥
जदु-वीर-बलाई सो भिसं परिमुच्छावइ मच्छरी जदा । हरिणा वि तदा विणिम्मिओ बलवंतो जुवरो चउब्भुओ ॥५३॥
तिसिरं स भणाइ वेण्हवो तुमए हो असमिक्ख-आरिणा । सलहेण व पावए खओ सुलहो होहिइ संप मइ५३ ॥५४॥ जुवर-प्पसरं तिइच्छिउँ५४ जुवरो एव्व भवेज्ज वेज्जओ । लगिअं५ चलणम्मि कंटअं ण समुक्खाणइ कंटएण५६ किं
॥५५॥
अथ धूर्जटिना विसृष्टो विकलोत्तालभयङ्कराकृतिः । त्रिशिराः कटुघर्घरस्वरो ज्वरः कोऽपि बभ्राम सर्वतः ॥५२॥
यदुवीरबलानि स भृशं पर्यमूर्च्छयत् मत्सरी यदा । हरिणाऽपि तदा विनिर्मितो बलवान् ज्वरश्चतुर्भुजः ॥५३॥
त्रिशिरसं स बभाण वैष्णवस्त्वया भो असमीक्ष्यकारिणा । शलभेनेव पावके क्षयः सुलभो भविष्यति सांप्रतं मयि ॥५४॥
ज्वरप्रसरं चिकित्सितुं ज्वर एव भवेद्वैद्यः । लग्नं चरणे कण्टकं न समुत्खनति कण्टकेन किम् ॥५५॥
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(५१) धुज्जटिणा. (५४) तिइच्चइ.
(५२) भवेइ. (५५) गळिअं.
(५३) सय्यअभ्भइ. (५६) तंडएण.

Page #68

बीओ सग्गो
उव मज्झ णिबज्झ-मच्छरं" भुअ-सोंडीरमिणं रणंगणे । अवि होसि तिसीसओ तुवं समसीसं ण लहेसि णं मए ॥ ५६ ॥
तिसिरेण अ किं पि जंपिअं" सुण हो कालहरस्स जं पिअं । इह तं घडआमि संपअं असुरो जेण लहेज्ज संप५९ ॥५७॥
तह संकर- किंकरं पि मं बलवंतं जल जेउमिच्छइ । इह ता मिहिरंसु - संचअं तिमिरोहो परिहोउमीहइ ॥ ५८ ॥
अह ताण रणं तलातलि क्खुहिअ क्खोणि-हं णहा- हि । चलणा - चलणि हुमा दुमि प्फुड-णाअं जणिअं सिला - सिलि ॥५९॥
पश्य मम निबद्धमत्सरं भुजशौर्यमिदं रणाङ्गणे ।
अपि भवसि त्रिशीर्षस्त्वं समशीर्षं न लभसे नूनं मया ॥५६॥
त्रिशिरसा च किमपि जल्पितं शृणु भोः कालहरस्य यत्प्रियम् । इह तद्धयामि साम्प्रतमसुरो येन लभेत संपदम् ॥५७॥
तथा शङ्करकिङ्करमपि मां बलवन्तं जड जेतुमिच्छसि । इह तर्हि मिहिरांशुसंचयं तिमिरौघः परिभवितुमीहते ॥५८॥
अथ तयोः रणं तलातलि क्षुभितक्षोणिनभो नखानखि । चरणाचरणि द्रुमाद्रुमि स्फुटनादं जातं शिलाशिलि ॥५९॥
(५७) णिवज्झमज्झरं. (६०) परिहोतुमीहइ.

३५
(५८) कीवि जप्पिअम्. (५९) सप्पअम्.

Page #69

उसाणिरुद्धं
जुहि वेण्हु-जरेण खंडिओ पहरंतेण किराणुर्हिडिओ । तिसिरो विवलाइ मेइणी-णह-पाआल-तलेसु वेविरो ॥६०॥
अमुण च्चिअ रुद्द-सिट्ठिणा भअ-घोलंत-सबाह-दिट्ठिणा । चलणंबुअमल्लिएण सो थविदो संत-मएण माहवो ॥६१॥
अभअं विहुरस्स देहि मे भअवं तुज्झ जराहिं माहव । अविवेअ-समुद्द-मज्जिओ अहके होमि खु णेण णिज्जिओ ॥६२॥
विदिओ सि मए सणाअणो जअ-सिट्ठि-ट्ठिइ-णास-कारओ । सिदिअंठ-विरिंचि-वासव-प्पमुहाणं वि तुवं सि कालणं ॥६३॥
युधि विष्णुज्वरेण खण्डितः प्रहरता किलानुहिण्डितः । त्रिशिरा विपलायते मेदिनीनभःपातालतलेषु वेपनशीलः ॥६॥
अमुनैव रुद्रसृष्टिना भयघूर्णमानसबाष्पदृष्टिना । चरणाम्बुजमाश्रितेन स स्तुतः शान्तमदेन माधवः ॥६॥
अभयं विधुराय देहि मे भगवन् तव ज्वरात् माधव । अविवेकसमुद्रमग्नोऽहं भवामि खल्वनेन निर्जितः ॥६२॥
विदितोऽसि मया सनातनो जगत्सृष्टिस्थितिनाशकारकः । शितिकण्ठविरिञ्चवासवप्रमुखाणामपि त्वमसि कारणम् ॥६३||

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Page #70

बीओ सग्गो
३७
अगुण-प्पइदिस्स मण्णिमो भअवं तुज्झ गुणाणुरोहणं । पवणस्स सुअंधिउण्हदादि व संकामिअमीस केवलं ॥६४॥ इह ठावर-जंगमप्पए सअले वत्थुणि वित्थरिज्जए । भवदो च्चिअ चेअणत्तणं अअ तेलंव तिलम्मि सव्वदो ॥६५॥ तुइ संणिहिदम्मि पेक्खए विविहं णच्चइ णच्चई व सा । सअलत्थ-विअक्क-कारिणी तुह माआ तह णाम दुग्गहा ॥६६॥ सअल भुवणरक्खा दिक्खिआणं भुआणं भुअअ वइ णिहाणं संख चक्कंकिआणं । तुह कअ-रिवु-लच्छी-बुंद-बंदिग्गहाण जिणइ विणअ-पावारण्ण-दावो पदावो ॥६७॥
अगुणप्रकृतेर्मन्यामहे भगवन् तव गुणानुरोधनम् । पवनस्य सुगन्धितोष्णतादीव सांक्रामिकमीश केवलम् ॥६४।।
इह स्थावरजङ्गमात्मके सकले वस्तुनि विस्तीर्यते । भवत एव चैतन्यमज तैलमिव तिले सर्वतः ॥६५॥
त्वयि संनिहिते प्रेक्षके विविधं नृत्यति नर्तकीव सा । सकलार्थवितर्ककारिणी तव माया तथा नाम दुर्ग्रहा ॥६६॥
सकलभुवनरक्षादीक्षितानां भुजानां भुजगपतिनिभानां शङ्खचक्राङ्कि तानाम् । तव कृतरिपुलक्ष्मीवृन्दबन्दिग्रहाणां जयति विनतपापारण्यदावः प्रतापः ॥६७॥

Page #71

३८
मसार - मणि- सामलं महुर-हास - जोण्हा- झरीपरीअ - मुह-चंदमं विपुल दीह - णेत्तुप्पलं । उर-प्फुरिअ-कोत्थुहं मणि-किरीड कंति-च्छडाकडाह - परिमंडिअं पणमिमो सरीरं तुमे ॥ ६८ ॥
-
वअ - सुंदरी - घण-थणंक-कुंकुमप्फुसणा- पिसंग- वणमाल - भारिणो ।
तुह देवई - सुअ सु-अम्म- णिम्मली-कअजम्म- जम्मि-मण-वासिणो णमो ॥६९॥
इअ थुओ मअण- रिवु-ज्जरेण सो पसण्णदं समहिगओ जणद्दणो । रद - पहा - विसद- सुहोल्लिअक्खरं मउ- म्हिओ भणइ गिरं सगोरवं ॥७०॥
मसारमणिश्यामलं मधुरहासज्योत्स्नाझरीपरीतमुखचन्द्रमसं विपुलदीर्घनेत्रोत्पलम् । उरः स्फुरितकौस्तुभं मणिकिरीटकान्तिच्छटाकयहपरिमण्डितं प्रणमामः शरीरं तव || ||६८||
उसाणिरुद्धं
व्रजसुंदरीघनस्तनाङ्ककुङ्कममार्जनापिशङ्गवनमालभारिणे ।
तुभ्यं देवकीसुत सुकर्मनिर्मलीकृतजन्मजन्मिमनोवासिने नमः ॥६९॥

इति स्तुतो मदनरिपुज्वरेण स प्रसन्नतां समाधिगतो जनार्दनः । रदप्रभाविशदसुधाद्रिताक्षरां मृदस्मितो बभाण गिरं सगौरवम् ॥७०॥

Page #72

बीओ सग्गो
अम्हो बम्हण अम्हकेरअ - जरादो णुं महंतो भवं तासं मुंचड पंचबाण - रिवुणो णिम्माण - मम्मो तुवं । ताणो माणण - पत्त - मत्त - सुहिओ जादो सि पीदो म्हि दे सिज्झं तुज्झ तिसीस संपइ सुहं गच्छेहि सच्छंददो ॥ ७१ ॥
तुइदो भूदाणं मह तुह अ संभासणमिणं म्हताण बाहा ण हु तिहुवणे होहि दिढं । पसादो णो कामं दुहइ महई लुंपइ रुअं जहाकामं धीमं तिसिर विसरेहि प्पडिदिसं ॥७२॥
हो ब्राह्मण अस्मदीयज्वरान्नूनं महान् भवान् त्रासं मुञ्चतु पञ्चबाणरिपोर्निर्माणमहो त्वम् । तस्मान्नो माननपात्रमात्मसुहृज्जातोऽसि प्रीतोऽस्मि ते सिद्धं तव त्रिशीर्ष संप्रति सुखं गच्छ स्वच्छन्दतः ॥७१॥
त्वत्तो भूतानां मम तव च संभाषणमिदं स्मरतां बाधा न खलु त्रिभुवने भविष्यति दृढम् । प्रसादो नः कामं दोग्धि महतीं लुम्पति रुजं यथाकामं धीमन् त्रिशिरो विसर प्रतिदिशम् ॥७२॥

३९

Page #73

उसाणिरुद्धं
इअ भणिअ जरं तं विज्जरं तो कुणंतो समर-धरणि-भाए रेहए माहवो सो । . विहअ-तुहिण-बाहा-सुप्पहं कप्पअंतो पदुममिव जलंतो पुक्खरे तिक्खमोहो ॥७३॥
॥ इअ उसाणिरुद्धे बीओ सग्गो ॥
इति भणित्वा ज्वरं तं विज्वरं ततः कुर्वन् समरधरणिभागे राजते माधवः सः । विहततुहिनबाधासुप्रभं कल्पयन् पद्ममिव ज्वलन् पुष्करे तीक्ष्णमयूखः ॥७३॥
॥ इत्युषानिरुद्ध द्वितीयः सर्गः ॥
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Page #74

तिओ सग्गो' अह सिहर-णिहे भुए सहस्सं विडवि-सरिच्छ-धणु-च्छडे वहंतो । घण-रण-कुदुओ पुणो वि बाणो पअलइ जंगम-विंझ-सेल-कप्पो ॥१॥ कुडिल-दिढ-कुअंड-दंड-संड-प्पणिहिअ-दिप्प-खुरप्प-दुप्पसज्झो । पअवि-हअ-कडप्प-कड्डिअं सो जलअ-गहीर-रवं रहं रुहेइ ॥२॥ भुअ-णिवह-विसंगिअंगओह-टुविअ-पिसंग-मणिप्पहंकुरेहि । अविरल-विडवग्ग-लग्ग-पुष्फो स हु बहु रेहइ सम्मलि-हुमो व्व ॥३॥ कसण-घण-सवत्त-गत्त-सोहो उवरि-समुद्धअ-पंडुराअवत्तो । णव-समुदिअ-चंद-मंडलाहो-गअ-रअणाअर-सण्णिहो विहाइ ॥४॥
[तृतीयः सर्गः] अथ शिखरनिभान् भुजान् सहस्रं विटपिसदृक्षधनुश्छटान् वहन् । घनरणकुतुकः पुनरपि बाणः प्राचलज्जङ्गमविन्ध्यशैलकल्पः ॥१॥
कुटिलदृढकोदण्डदण्डषण्डप्रणिहितदीप्रक्षुरप्रदुष्प्रसह्यः । प्रजविहयसमूहकृष्टं स जलदगभीररवं रथं रुरोह ॥२॥
भुजनिवहविषक्ताङ्गदौघस्थापितपिशङ्गमणिप्रभाङ्करैः । अविरलविटपाग्रलग्नपुष्पः स खलु बह्वराजत शाल्मलिद्रुम इव ॥३॥
कृष्णघनसपत्नगात्रशोभ उपरि समुद्धृतपाण्डरातपत्रः । नवसमुदितचन्द्रमण्डलाधोगतरत्नाकरसंनिभो व्यभात् ॥४॥
(३) सेळपंको.
(१) ॥ उषानिरुद्ध तृतीयः सर्गः ॥ (२) विडहि. (४) घसण-घण
(५) वंडराअवत्तो.

Page #75

४२
उसाणिरुद्धं
अहिअमुहअ-पास-भासमाण-प्फुड-परिचंचल-चामरावहूओ । • तड-जुअल-विरूढ-कास-गुच्छो विअ लसए जमुणा-जल-प्पवाहो ॥५॥
कर-कमल-मलिज्जमाण -बाणासण-गुणमत्तपहं णिरिक्खमाणं । फड-पडिघ-पिसंग-णेत्त-कोणं महमहमिक्खइ तक्खणं स बाणो ॥६॥
तुरिअमहिगओ भणाइ सो णं किमिह पअब्भसि गोइआ-तणूअ । मुणसु ण णरओ ऽम्हि ण म्हि कंसो अहके बलि-णंदणो स बाणो ॥७॥
तिअसउर-विअड्डिआ-कआकड्डण-घणसोहग-लंभ-जंभिआणं । धणु-गुण-किण-गंठि-कक्कसाणं सुणुहि कहं ण भुआण मे पहावं ॥८॥
.
अधिकमुभयपार्श्वभासमानस्फुटपरिचञ्चलचामरावधूतः । तटयुगलविरूढंकाशगुच्छ इवालसद्यमुनाजलप्रवाहः ॥५॥
.
करकमलमृद्यमानबाणासनगुणमात्मपथं निरीक्षमाणम् । स्फुटप्रतिघपिशङ्गनेत्रकोणं मधुमथनमैक्षत तत्क्षणं स बाणः ॥६॥
त्वरितमभिगतोऽभणत् स एनं किमिह प्रगल्भसे गोपिकातनूज । जानीहि न नरकोऽस्मि नास्मि कंसोऽथाहं बलिनन्दनः स बाणः ॥७॥
त्रिदशपुरविदग्धस्त्रीकचाकर्षणघनसौभगलाभजृम्भितानाम् । .. धनुर्गुणकिणग्रन्थिकर्कशानां शृणोषि कथं न भुजानां मे प्रतापम् ॥८॥
(६) अहिअमुवह (९) विअठ्ठिआ.
(७) मणिज्जमाण. (१०) घुणणुणकिणगठ्ठितंकसाणं.
(८) गुणमु.

Page #76

तिओ सग्गो
४३
सुण पुण वुस-लंछणस्स' संझा-णडण-महम्मि महं मिअंग-वाए । अदिसअ-कुसलेहि एहि दोहिं दुलहतमोर वि हि लंभिओ पसादो ॥९॥
णिअ-पअ-फिडिआ कआ इमेहिं बल-महण-प्पमुहा णिलिंप-जोहा । अवणिसुर-महेसु हव्व-भाअं भअ-विअला हि अविग्गहा भुणंति ॥१०॥
ण हु विसुमरिअं मए तुए जं मह जण वअ-लंघणेण मंदं । अलिअ-बडु-छलेण१३ वंचिऊण तिहुवणमाहरिअं ण१४ किं तहिंतो ॥११॥
उइदमुइदमज्ज दिट्ठिआ मे भुअ-वण-मज्झ-पहं सुहं पविटुं । जुहि विजिअ तुमं वसे करिस्सं तुरिअमहं भुवणाइ चोद्दसावि ॥१२॥
शृणु पुनर्वृषलाञ्छनस्य सन्ध्यानटनमहे मम मृदङ्गवादे । अतिशयकुशलैरेभिर्दोभिर्दुर्लभतमोऽपि हि लब्धः प्रसादः ॥९॥
निजपदभ्रष्टाः कृता अमीभिर्बलमथनप्रमुखा निलिम्पयोधाः । अवनिसुरमखेषु हव्यभागं भयविह्वला ह्यविग्रहा भुञ्जते ॥१०॥
न खलु विस्मृतं मया त्वया यन्मम जनकं वयोलङ्कनेन मन्दम् । अलीकबटुच्छलेन वञ्चयित्वा त्रिभुवनमाहृतं न किं तस्मात् ॥११॥
उचितमुचितमद्य दिष्ट्या मे भुजवनमध्यपथं सुखं प्रविष्टम् । युधि विजित्य त्वां वशे करिष्ये त्वरितमहं भुवनानि चतुर्दशापि ॥१२॥
(१२) दुळपतमो.
(१३) वडुझळेण.
(११) ळंझणस्स. (१४) णहीतहीतो.

Page #77

उसाणिरुद्धं
पडिभणइ णमिदिरा-सहाओ दणु-सुअ जुज्जइ दे उवक्कमो ऽअं । जइ तुह भुअ-काणणस्स भंगो ण हि तह काहिसि दे जहाहिलासो ॥१३॥
तुअरसि मअतिण्हिअण्णवण्णो-१५ विहरण-सोक्खमिदो तदो ऽहिगंतुं । अवि अ गअणपुष्फ-मालिआर्हि सुरहितमाहि विभूसिउं६ च केसा ॥१४॥
किमिह विहल-जंपिएण कज्जं पअडअ तं भुअदंड-चंडिमाणं । तिहुवण-रण-सूर-वीर-गव्वं खवअसि जेण खणेण दाणविंद८ ॥१५॥
णवरि अ सर-पूरिअंतरिक्खं रह-बलणुच्चल रेणु-दुण्णिरिक्खं । महुरिवु-बलिणंदणाण९ रुक्खं जणइ रणं पुरमाहिणो समक्खं ॥१६॥
प्रत्यभणदेनमिन्दिरासहायो दनुसुत युज्यते त उपक्रमोऽयम् । यदि तव भुजकाननस्य भङ्गो न हि तथा करिष्यसि ते यथाऽभिलाषः ॥१३॥
त्वरसे मृगतृष्णिकार्णवार्णोविहरणसौख्यमितस्ततोऽधिगन्तुम् । अपि च गगनपुष्पमालिकाभिः सुरभितमाभिर्विभूषयितुं च केशान् ॥१४॥
किमिह विफलजल्पितेन कार्यं प्रकटय तं भुजदण्डचण्डिमानम् । त्रिभुवनरणशूर वीर गर्वं क्षपयसि येन क्षणेन दानवेन्द्र ॥१५॥
अनन्तरं शरपूरितान्तरिक्षं रथचरणोच्चलद्रेणुदुर्निरीक्षम् । मधुरिपुबलिनन्दनयो रूक्षमजायत रणं पुरमाथिनः समक्षम् ॥१६॥
(१७) जप्पिआण.
(१५) मअतिण्णि. (१८) दाणवीओ.
(१६) विभूसितुं. (१९) बळिणंदणो ण.

Page #78

तिओ सग्गो
४५
णमइ स्मइ णच्चइ प्परोइ२० प्पहसइ जंपइ२१ कंपइ ब्भमेइ । पमअ-मअ-भआउलं पुलंतो पमह-गणो-तइ ताण संपहारं ॥१७॥
अणुविरणइ गंध-सिंधुराली-मअ-परिबंहिअ-बंहिआणुविज्झं । जदु-बल-घण-दुंदुभि-प्पणादं गअणअले सुर-संघ-तूर-घोसो ॥१८॥
अणुखणमणिरुद्ध-कण्ण-वीही-कुसल-वदावद-बंधु-पंथभूओ । महुमह-कर-णुण्ण-संग-मोव्वी-णिणअ-भरो णिणअंतरं थगेइ ॥१९॥
अह णिसिद-मुहेण थोर-दीहं कणअ-कडाअ-मणिच्छडा-कडारं । विडवमिव तरुस्स बाहुमेक्कं लुणइ सरेण सुरारिणो मुरारी ॥२०॥
अनमदरमतानृत्यत्प्राणौत्प्राहसदजल्पदकम्पताभ्राम्यत् । प्रमदमदभयाकुलं प्रलोकयन् प्रमथगणस्तदा तयोः संप्रहारम् ॥१७॥
अनुव्यरणद्गन्धसिन्धुरालीमदपरिबृंहितबंहितानुविद्धम् । यदुबलघनदुन्दुभिप्रणादं गगनतले सुरसङ्घतूर्यघोषः ॥१८॥
अनुक्षणमनिरुद्धकर्णवीथीकुशलवदावदबन्धुपान्थभूतः । मधुमथनकरनुन्नशामौर्वीनिनदभरो निनदान्तरमस्थगयत् ॥१९॥
अथ निशितमुखेन स्थूलदीर्घ कनककटकमणिच्छयाकडारम् । विटपमिव तरोर्बाहुमेकमलुनाच्छरेण सुरारेर्मुरारिः ॥२०॥
(२०) प्पणोइ.
(२१) जप्पइ.
(२२) मणिज्झटा.

Page #79

४६
उसाणिरुद्धं
भुवि णिवडइ सो ऽह साहमंदे-उर-अण-बाह-जलेण बाहु-छेओ । सह अ सहरिसामरोह-मुक्क-२२प्फुडअर-कप्पअरु-प्पसूणएहिं ॥२१॥ सधणुह विसिहे सरास-जीआकसण-सिणिद्ध-किणंकिअ-प्पओढे५ । तिहुवण-जअ-लच्छि-केलिसोहे छिणइ२६ पुणो वि भुआ"रिवुस्स कण्हो ॥२२॥
खुडिअ-णिवडिएहि अंगुलीओवल-रुइ-दिप्पअलेहि तेहि दोहि । विलसइ समर-क्खमा बहूहि फणि-णिवहेहि व चंदणाण वाडी ॥२३॥ अह वुसह-धओ सभत्तमेणं पुलइअ खंडिअ-पाअ-बाहु-दंडं । उवगदुअ स पसादअंतो दिइअ-रिवू दिढ-संभमो भणाइ ॥२४॥
भुवि न्यपतत्सोऽथ सार्धमन्तःपुरजनबाष्पजलेन बाहुच्छेदः । सह च सहर्षामरौघमुक्तस्फुटतरकल्पतरुप्रसूनैः ॥२१॥
स धनुर्विशिखाशासज्याकर्षणस्निग्धकिणाङ्कितप्रकोष्ठान् । त्रिभुवनजयलक्ष्मीकेलिसौधानच्छिनत् पुनरपि भुजान् रिपोः कृष्णः ॥२२॥
त्रुटितनिपतितैरङ्गुलीयोपलरुचिदीप्रतलैस्तैर्दोभिः । व्यलसत्समरक्षमा बहुभिः फणिनिवहैरिव चन्दनानां वाटी ॥२३॥
अथ वृषभध्वजः स्वभक्तमेनं प्रलोक्य खण्डितप्रायबाहुषण्डम् । उपगम्य स्वयं प्रसादयन् दितिजरिपुं दृढसंभ्रमोऽभणत् ॥२४॥
(२३) मुत्त. (२६) छिणवि. (२९) बाहुसंडम्.
(२४) सहणुह. (२७) भुहा.
(२५) प्ययोठे. (२८) घुडिअ.

Page #80

तिओ सग्गो
४७
पसिअ पदुम-णाह दीण-लोए तुवमसि कारुणिओ मुणीहि गीओ। कह किल विहलं बलिस्स पुत्तं रण-जिअमज्ज वि णाणुकंपसे हो ॥२५॥
तुइ थुइ-वअणादिवुत्त-धामे तिगुण-कहा-बहु-दूर-सण्णिहाणे । महुमह कदमेहि अक्खरेहि थविअ पसत्ति-गुणं कुणम्ह अम्हे ॥२६॥
कह तुह महिमा मुणिज्जणिज्जो मुणि-वुसहेहि वि दिव्व-दसणेहिं । ण हि वअण-मणाण गोअरो सो उवणिसअक्खर-तप्परिज्ज-भूमी ॥२७॥
तुह उण अवदार-कीडिदाई रज-तम-सत्त-गुणे समासिदाइं । णिअ-कअ-भुवणावण-क्खमाइं मुरहर कस्स ण विम्हअं कुणंति ॥२८॥
प्रसीद पद्मनाभ दीनलोके त्वमसि कारुणिको मुनिभिर्गीतः । कथं किल विह्वलं बलेः पुत्रं रणजितमद्यापि नानुकम्पसे भोः ॥२५॥
त्वयि स्तुतिवचनातिवृत्तधाम्नि त्रिगुणकथापथदूरसंनिधाने । मधुमथन कतमैरक्षरैः स्तुत्वा प्रसत्तिगुणं कुर्मो वयम् ॥२६॥
कथं तव महिमा ज्ञातव्यो मुनिवृषभैरपि दिव्यदर्शनैः । न हि वचनमनसोर्गोचरः स उपनिषदक्षरतात्पर्यभूमिः ॥२७॥
तव पुनरवतारक्रीडितानि रजस्तमः सत्त्वगुणान् समाश्रितानि । निजकृतभुवनावनक्षमाणि मुरहर कस्य न विस्मयं कुर्वन्ति ॥२८॥
(३०) दिणिज्जणिज्जो.

Page #81

४८
तह हि मह - महीधर - प्पमाणं तुवमधिगच्छ्अि मच्छराअ - वेसं । कुणसि २ घण-विसाण रुग्ग-वच्छं दणुअ-भडं करि तक्खरं तईए ॥ २९ ॥
कलिअ कुलिस-रिट्टि पिट्ठ कमढअणुं कमलच्छ - कच्छ-ट्टिं । तह गहिरिम- दुद्ध-सिंधु - खुद्धं मणसिअ - सुंदर मंदरं धरेसि ॥ ३०॥
असणि ३४ - सअल-बीअ - रूढ - दाढंकुर - परिपाडिअ - देच्च३५ - वच्छ-सेलं । धरणि- तु वराह रूवं पडिभअ-विम्हअकारि सम्हरामो ॥३१॥
ह- खुडिअ - सुरारि-गत्त-रत्त-च्छुरण- कडार - सडा - जडाल - वत्तं । तुह णरहरि - विग्गहं महंतं कह कहइस्समकुंठकंठ - णाअं ॥३२॥
तथा हि महामहीधरप्रमाणं त्वमधिगम्य मत्स्यराजवेषम् । अकरोर्घनविषाणरुग्णवक्षसं दनुजभटं किल तस्करं त्रय्याः ॥२९॥
कलयित्वा कुलिशनिष्ठुरास्थिपृष्ठां कमठतनुं कमलाक्ष कच्छनिष्ठाम् । तथा गम्भीरिमदुग्धसिन्धुक्षुब्धं मनसिजसुन्दर मन्दरमधारयः ॥ ३०॥
अशनिशकलबीजरू ढदंष्ट्राङ्करपरिपाटितदैत्यवक्षः शैलम् । धरणिधर तव वराहरूपं प्रतिभयविस्मयकारि संस्मरामः ||३१||
नखत्रुटितसुरारिगात्ररक्तच्छुरणकडारसयजयलवक्त्रम् । तव नरहरिविग्रहं महान्तं कथं कथयिष्याम्यकुण्ठकण्ठनादम् ||३२||
(३१) मज्झराअ. (३४) Also अअणि.
(३७) सटा.
उसाणिरुद्धं

(३२) घुणसि.
(३५) Also देच्छ. (३८) Also कुंढकंढणाअम्.

(३) सीधु. (३६) धरणिहर

Page #82

तिओ सग्गो
अह बडु- ववुणा डुलंकिदादो” भुवणतई जणआहि अस्स चेअ । तिहि णिअ-पअ - विक्कमेहि सिग्घं अवहरिआ तुमए स्माअ णाह ॥ ३३ ॥
तिहुवण-जअ - मत्त - कत्तविज्जज्जुण- भुअ-काणण- कत्तणिद्ध-धारे । फुरिअ - सिहिणि खत्तिआण वंसो भिउवइणा तुमए हुओ" कुढारे ४२ ॥३४॥
दहरह- तणओ भवं भवंतो जणअ-सुआ-पद-पस्स-कामुआई । विहि- गहण ४‍ - लुअ- प्परोहिदाई दहवअणस्स सिराइ खंडएइ ॥३५॥
विदलिअ - करि - दंत - सुब्भमेकं णव- मिह - आवलि सामलं दुईअं । इअ तणु-जुअलं४५ वहेसि रम्मं जउसुअ संपइ णील - पीद - वासं ॥३६॥
अथ बटुवपुषा वञ्चिताद्भुवनत्रयी जनकादस्यैव । त्रिभिर्निजपदविक्रमैः शीघ्रमपहृता त्वया रमाया नाथ ॥३३॥
त्रिभुवनजयमत्तकार्तवीर्यार्जुनभुजकाननकर्तनेद्धधारे ।
स्फुरितशिखिनि क्षत्रियाणां वंशो भृगुपतिना त्वया हुतः कुठारे ||३४||
दशरथतनयो भवान् भवन् जनकसुतापदस्पर्शकामुकानि । विधिमहनलूनप्ररूढानि दशवदनस्य शिरांस्यखण्डयत् ॥३५॥
विदलितकरिदन्तशुभ्रमेकं नवमेघावलिश्यामलं द्वितीयम् । इति तनुयुगलं वहसि रम्यं यदुसुत संप्रति नीलपीतवासः ॥३६॥
(३९) Also दुळिक्किदादो. (४०) Also तिथीणिअपव. (४२) कुठारे. (४३) Also महण. (४४) Also णवमिवआवळि (४५) Also तणुउअळं.

४९
( ४१ ) Also हुको.
(४६) जडसुअ.

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उसाणिरुद्धं
मअण-रस-सिणिद्ध-मुद्ध-णारी-कुडिल-कडक्ख-णिरिक्खणेक्क-लक्खं । उर-ठिअ-सिरिवच्छ०७-कोत्थुहं ८ ते हरइ ण कं जणमंजणाहमंगं ॥३७॥
विअअ-सह तुवं सि वीस-णाहो विविह-चराअर-वाविरो तमं सि । णिअम-विडविणो वि णेक्क-साहा-ठिअ-बहु-रूव-फलस्स९ णं सि मूलं ॥३८॥
असरण-सरणं तुवं सि जं तो५० वरअ तुमं करुणाअरं मुणंति । परिसमिअ-विसं व कालिअं ता गलिअ-मअं विसजेहि बाणमेणं ॥३९॥
अह भणइ हरी पसण्ण-चेदो विरम वसद्धअ५२ हो मह त्थवादो । तुह चरिद-महत्तणे विमिटे अदिलहुई इअराण५३ वीरवत्ता५४ ॥४०॥
मदनरसस्निग्धमुग्धनारीकुटिलकटाक्षनिरीक्षणैकलक्ष्यम् । उरःस्थितश्रीवत्सकौस्तुभं ते हरति न कि जनमञ्जनाभमङ्गम् ॥३७॥
विजयसरव त्वमसि विश्वनाथो विविधचराचरव्यापनशीलस्त्वमसि । निगमविटपिनोऽपि नैकशाखास्थितबहुरूपफलस्य नन्वसि मूलम् ॥३८॥
अशरणशरणं त्वमसि यत्ततो वरद त्वां करुणाकरं जानन्ति । परिशमितविषमिव कालियं तस्माद्गलितमदं विसृज बाणमेनम् ॥३९।।
अथाभणद्धरिः प्रसन्नचेता विरम वृषध्वज भो मम स्तवात् । तव चरितमहत्त्वे विमृष्टे ऽतिलघ्वीतरेषां वीर्यवत्ता ॥४०॥
(४७) Also सिरिवज्झ. (४९) Also भळंस्स. (५१) Also विसजेइ. (५३) Also अदिलवुई इतराण.
(४८) केथुहं, Also केंधुहं. (५०) Also जत्तो. (५२) Also उसद्धअ. (५४) Also वीववत्ता.

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तिओ सग्गो
सुर-णर-भुअएसु जस्स बाणा अवि कुसुमाइ ण केण वि प्पसज्झा। णअण-सिहिणि तं पि५ पंचबाणं दहइ भवं किमिदो वरं विचित्तं५६ ॥४१॥
अडणि-घडिअ-कुंडलीस-मोव्वी-वलइअ-सेलवरिटु-बाण-पिट्ठा । अवणि-रहमहिट्ठिअस्स तुज्झं तिवुर-वहम्मि ठिई० थुआ ण केहि ॥४२॥
खविअ-तिहुवर्ण महुम्ह-गिम्ह-प्पसर-विसोसिअ-देव-दाणवोहं । जलणिहि-महणम्मिर कालऊडं पसुपइ किं ण तुए सअं णिगिण्णं ॥४३॥
अहव ण बहु-जंपिएण५ कज्जं भुवणअले इअरेण ज अमझं । णिहिल-तणु-भिआण जं च खेमं णवर तुए चिअ संभु लंभिअं तं ॥४४॥
सुरनरभुजगेषु यस्य वाणा अपि कुसुमानि न केनापि प्रसह्याः । नयनशिखिनि तमपि पञ्चबाणमदहद्भवान् किमतः परं विचित्तम् ॥४१॥
अटनिघटितकुण्डलीशमौर्वीवलयितशैलवरिष्ठवाणपृष्ठा । अवनिरथमधिष्ठितस्य तव त्रिपुरवधे स्थितिः स्तुता न कैः ॥४२॥
क्षपितत्रिभुवनं महोष्मग्रीष्मप्रसरविशोषितदेवदानवौघम् । जलनिधिमथने कालकूटं पशुपते किं न त्वया स्वयं निगीर्णम् ॥४३॥
अथवा न बहु जल्पितेन कार्यं भुवनतले इतरेण यदसाध्यम् । निखिलतनुभृतां यच्च क्षेमं केवलं त्वयैव शम्भो लम्भितं तत् ॥४४॥
(५५) Also सिहिणीदं वि. (५८) Also सेअळवछि. (६१) तुआ Also घुआ. (६४) Also मअणम्मि.
(५६) Also बिलत्तम्. (५७) Also घटिअ. (५९) Also बाणपा. (६०) Also ठिरं. (६२) Also दिभुवणं. (६३) Also दाणवोघम्. (६५) जप्पिएण.

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उसाणिरुद्ध
फणिमअ-मणि-भूसणाहिरामं कविस-कवद्द-विणिद्द-मुद्धअंदं । परसु-मअ-कवाल-सूल-पाणिं परम-सिवं णमिमो तुमं किमण्णं ॥४५॥
अहह६८ तुह महेस किं भणामो अविअलमल्लिअ-वल्लहत्तणं तं । उव भव विसुमारिअद्दिवासो असुर-दुवार-ठिओ कओ सि जेण ॥४६॥
इह खुण बलि-णंदणं हणिस्सं णवर करेमि मअ-प्परोह-णिस्सं । जइ मअ-चअओप९ उवेक्खिदो सो उवरिखलाण हि होज्ज भूरि दोसो ॥४७॥
ससवह-पहलाअ-पत्थिओ२ऽहं ण हु णिहणामि खले वि तक्कुलीणे । धरउ चिरमदो हि०२ दोहि दोहिं पुररिवु तुज्झ पिओ खु एस बाणो ॥४८॥
फणिमयमणिभूषणाभिरामं कपिशकपर्दविनिद्रमुग्धचन्द्रम् । परशुमृगकपालशूलपाणिं परमशिवं नमामस्त्वां किमन्यत् ॥४५।।
अहह तव महेश किं भणामो ऽविकलमाश्रितवल्लभत्वं तत् । पश्य भव विस्मारिताद्रिवासोऽसुद्धारस्थितःकृतोऽसि येन ॥४६॥
इह खलु न बलिनन्दनं हनिष्यामि केवलं करोमि मदप्ररोहनिःस्वम् । यदि मदश्वयथुरुपेक्षितः स उपरि खलानां हि भवेद्भरिदोषः ॥४७॥
सशपथप्रह्लादप्रार्थितोऽहं न खलु निहन्मि खलानपि तत्कुलीनान् । घ्रियतां चिरमतो हि द्वाभ्यां दोभ्यां पुररिपो तव प्रियः खल्वेष बाणः ॥४८॥
(६८) Also अथह.
(६६) Also भूसणाभिराम (६९) मअसअहू. (७१) Also समतपहळाद. (७३) Also चिरगदो हि.
(६७) Also कविसअवह. (७०) Also पूरिदोसो. (७२) Also पत्थितो.

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तिओ सग्गो
इअ भणिअ ठिअं चउब्भुअं तं पणमिअ परिसिट्ठ-पाणि- जुम्मो
भअ-परिवेविर - गत्तओ स बाणो । फुड-घडिअंजलि - बंधणो भाइ ॥ ४९ ॥
जअ जअ जदुणाह दीण- रक्खा वद सइ दिक्खिअ पक्खिराअ-केदु । तुह चलण- जुअल्लिअस्स" मज्झं पसिअ दआमअ-सिंधुणो णमो दे ॥ ५० ॥
।
अविणअ-कअ-गव्व- णिव्विवेअं तुमइ मए बअ जं७ किरावरुद्धं खमसु कमलणाहणाह तं हो सहअ - दआ - सरसेण माणसेणं ॥ ५१ ॥
मह गुरु पहलादओ" महप्पा तुह पअ - सम्हरणेण" लद्ध-सिद्धी | इअ जइ‍ वि मुणामि कण्हर कामं तह वि पडामि विमोह - वाउराअं ॥५२॥
इति भणित्वा स्थितं चतुर्भुजं तं भयपरिवेपनशीलगात्रः स बाणः । प्रणम्य परिशिष्टपाणियुग्मस्फुटघटिताञ्जलिबन्धनोऽभणत् ॥४९॥
जय जय यदुनाथ दीनरक्षाव्रतसदादीक्षित पक्षिराजकेतो । तव चरणयुगाश्रयाय मह्यं प्रसीद दयामृतसिन्धवे नमस्ते ॥५०॥
अविनयकृतगर्वनिर्विवेकं त्वयि मया बत यत् किलापराद्धम् । क्षमस्व कमलनाभ नाथ तद्भोः सहजदयासरसेन मानसेन ॥५१॥
मम गुरु : प्रह्लादो महात्मा तव पदसंस्मरणेन लब्धसिद्धिः । इति यद्यपि जानामि कृष्ण कामं तथाप्यपतं विमोहवागुरायाम् ॥५२॥
(७४) Also पाणिजुग्गम्. (७५) जुअळ्ळअस्स (७७) Also बअ अं. (८०) Also सम्मरणेण.

५३
(७८) Also किरावरज्झम् (८१ ) Also अअ जळवि

(७६) सीधुणो. (७९) Also पहळादयो. (८२) Also जह.

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५४
उसाणिरुद्धं
जह लुअ३-विडवालिणो दुमस्स प्पविसइ कोडर-रंधमक्क-मोहो । तह खुडिअ-भुआवलिस्स मज्झं हिअअमिदाणि खु५ गाहए विवेओ६ ॥५३॥
मह पिअ-दुहिआ उस त्ति कण्णा तुह महु-सूअण पोत्तअस्स दिण्णा । सुसरिस-वर-पत्त-संपआणं८ जणण-फलं किर इत्थिआ-जणस्स ॥५४॥
रइ-रमण-कुमारओ ऽणिरूद्धो विवहउ मज्झ सुअं मणोण्ण-सीलं । लडह-गुण-णिहीण ताण संगो रदि-रमणाण° व होदु पुण्ण-सोहो ॥५५॥
इअ कहिअ तदो णिवत्तमाणो बलि-तणओ कुमरी-घरं पविट्ठो । विहडिअ-सर-बंधणं करेइ प्पहरिस-फुल्ल-मुहंबुओ ऽणिरुद्धं ॥५६॥
यथा लूनविटपाले?मस्य प्रविशति कोटररन्ध्रमर्कमयूखः । तथा त्रुटितभुजावलेर्मम हृदयमिदानी खलु गाहते विवेकः ॥५३||
मम प्रियदुहितोषेति कन्या तव मधुसूदन पौत्राय दत्ता । सुसदृशवरपात्रसंप्रदानं जननफलं किल स्त्रीजनस्य ॥५४॥
रतिरमणकुमारकोऽनिरुद्धो विवहतु मम सुतां मनोज्ञशीलाम् । लटभगुणनिध्योस्तयोः सङ्गो रतिमदनयोरिव भवतु पूर्णशोभः ॥५५॥
इति कथयित्वा ततो निवर्तमानो बलितनयः कुमारीगृहं प्रविष्टः । विघटितशरबन्धनमकरोत् प्रहर्षफुल्लमुखाम्बुजोऽनिरुद्धम् ॥५६॥
(८३) Also दुअ. (८६) Also विवेए. (८९) Also जणणभलं.
(८४) Also क्कडगंधरंकमाहो. (८५) Also वुगाहए. (८७) Also उसेत्ति. (८८) Also संपदाणं. (९०) Also रदिमदणाण.

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तिओ सग्गो
अह पमुदि-चित्त-चित्तलेहा२-करअल-गण्हिअ-पाणि-पल्लवाए । सहिअमहिअ-सोहिअं उसाए दणुअवई उवणेइ णं मुउंदं१३ ॥५७॥
मणि-कणअ-दुऊल-पंडु-छत्त४ द्धअ-रह-णाअ५-तुरंग-तुंग-सोहं । सरस-गुण-समत्थ-इथिओह विअर जोअअ-रित्थअंच से सो ॥५८॥
भणइ अ भअवं पडिच्छ पोत्तं सहरिअमेअमुसावइं पसण्णो । अवसु अ तुहहुत्त-सव्वभावं जणमिममिट्टगुणो सबंधुरखें ॥५९॥
इअ स कअ-पअक्खिणो८ णमंतो महु-महणं महणिज्जमुज्जलंतं.९ । परिरहिअ सिणेह-बाह-कंठो२०० दुहिदु-वरे सघरं विसेइ१०१ बाणो ॥६०॥
अथ प्रमुदितचित्तचित्रलेखाकरतलगृहीतपाणिपल्लवया । सहितमधिकशोभितमुषया दनुजपतिरुपानयदेनं मुकुन्दम् ॥५७॥ मणिकनकदुकूलपाण्डुच्छत्रध्वजरथनागतुरङ्गतुङ्गशोभम् । सरसगुणसमर्थितस्त्र्योधं व्यतरद्यौतकरिक्थकं चास्मै सः ॥५८॥ अभणच्च भगवन् प्रतीच्छ पौत्रं सभार्यमेतमुषापति प्रसन्नः । अव च तवाभिमुखसर्वभावं जनमिममिष्टगुणः सबन्धुराष्ट्रम् ॥५९॥ इति स कृतप्रदक्षिणो नमन् मधुमथनं महनीयमुज्ज्वलन्तम् । परिरभ्य स्नेहबाष्पकण्ठो दुहितृवरौ स्वगृहं विवेश बाणः ॥६०॥
(९१) Also पगुदिअ. (९२) Also चित्तलेखा. (९३) मुकुंदम्, (९४) पंडुचत्तं, also प्पंडुपत्तं (९५) Also णाह. (९६) Also सरससमगुणंधिअंथिओहं. (९७) Also विसरइ. (९८) Also कअवअंधिणो. (९९) Also गहणिज्जगुज्जळंतम्. (१००) Also कंढो.
(१०१) Also पवेस.

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५६
कण्हो सोहा - सुअं तं चिअ १०२ तरुण - सिणेहोल्ल- दिट्टिप्पुलंतो जिग्घंतो दिग्घआलं हिरि-भर-णमिए सीस - भाए वहूए । तो दे मोदेण सूदोवणिअणिअ-रहं सेरमारोहअंतो । गेहं पट्टेइ साहं पहरिसमह सो१०३ तुंदिलेहिं बलेहिं ॥ ६१ ॥
मुरहरो रह-रोविअ - कामिणी- परिवुदो रिवुदोह - णिरंकुसो । उवरि सो वरिसोदिअ - विज्जुलो पमुदिरों मुदिरो विअ रेहइ ॥६२॥
बल - रोप्पिणेअ-कअवम्म- सच्चकि- प्पमुहेहि विहि- णिवहेहि९०४ संवुदो । सरं दुवारवइमाविसेइ सो अमरावई विअ पुरंदरे हरी ॥ ६३॥ [ इअ उसाणिरुद्धे तीओ सग्गो ] १०५
कृष्णः स्नुषासुतं तमेव तरुणस्नेहार्द्रदृष्टिः प्रलोकयजिघ्रन् दीर्घकालं ह्रीभरनमिते शीर्षभागे वध्वाः । ततस्तौ मोदेन सूतोपनीतनिजरथे स्वैरमारोपयगेहं प्रतस्थे सार्धं प्रहर्षमहसा तुन्दिलैर्बलैः ॥ ६१ ॥
मुरहरो रथरोपितकामिनीपरिवृतो रिपुद्रोहनिरङ्कुशः । उपरि स वर्षोदितविद्युत्प्रमोदशीलो मुदिर इवाजत ॥६२॥
बलरौक्मिणेयकृतवर्मसात्यकिप्रमुखैर्वृष्णिनिवहैः संवृतः । स्वपुरं द्वारवतीमाविशत्सोऽमरावतीमिव पुरंदरे हरिः ॥६३॥ ॥ इत्युषानिरुद्धे तृतीयः सर्गः ॥
(१०२) Also विअ. (१०४) णिववेहि.
उसाणिरुद्धं

(१०३) पहरिसमहसा.
(१०५) ॥ इति उषानिरुद्धे तृतीयः सर्गः ॥

Page #90

चउत्थो सग्गो अह सोदूण तं पोरा णाराअणमुवट्ठिअं । ऊससंति विओअत्ता वारिवाहं व चाअआ ॥१॥ अमअ-प्पढम-ट्ठाण-तप्पाआसेवणूसुआरे । पच्चुवटुंति तं सव्वे चओरा व सुहाअरं ॥२॥ उसाए उसवेलाए सुज्जं विअ समण्णिअं । अणिरुद्धं तदो दटुं पाढत्ता पोर-इत्थिआ ॥३॥ ताणं च तुवरंतीणं विच्छिन्नद्ध-विभूसण । कलकंचि-हलब्बोला अवत्था का वि वट्टइ ॥४॥
[चतुर्थः सर्गः] अथ श्रुत्वा तं पौरा नारायणमुपस्थितम् । उदश्वसन् वियोगार्ता वारिवाहमिव चातकाः ॥१॥
अमृतप्रथमस्थानतत्पादासेवनोत्सुकाः । प्रत्युपतस्थुस्तं सर्वे चकोरा इव सुधा-करम् ॥२॥
उषया उषर्वेलया सूर्यमिव समन्वितम् । अनिरुद्धं ततो द्रष्टुं प्रारब्धाः पौरयोषितः ॥३॥
तासां च त्वरमाणानां विच्छिन्नार्धविभूषणा । कलकाञ्चीकोलाहलाऽवस्था काऽप्यवर्तत ॥४॥
(१) ॥श्रीः॥ उषानिरुद्ध चतुर्थः सर्गः॥ (२) चातआ. (३) सेवऊसआ.
(४) ततो दुटुं पाठत्ता.

Page #91

उसाणिरुद्धं
आमुचिअ झणक्कारमेक्क-पादम्मि णेउरं । सुण्णेणावर-पाएण सिग्धं का वि पडिट्ठइ ॥५॥
तला-कोडि-ब्भमेणेक्का कंकणं पाअ-पंकए । आमोएउमसत्ता' णं णावआसं ति दूमए ॥६॥
महुच्छिद्रुण मिट्ठम्मि ओढे णद्वेण चेदसा । पिंडालत्तअ-भंतीए अंजणं का वि रंजइ ॥७॥
पसाहिआए गेण्हंती बलादो का वि ठाविआ । तीए कुंकुममालित्तं थणे बाहेण खालइ ॥८॥
आमोच्य झणत्कार्येकपादे नूपुरम् । शून्येनापरपादेन शीघ्रं काऽपि प्रातिष्ठत ॥५॥
तुलाकोटिभ्रमेणैका कङ्कणं पादपङ्कजे । आमोक्तुमशक्तैनन्नावकाशमित्यदूषयत् ॥६॥
मधूच्छिष्टेन मृष्ट ओष्ठे नष्टेन चेतसा । पिण्डालक्तकभ्रान्त्याऽञ्जनं काऽप्यरञ्जयत् ॥७॥
प्रसाधिकया गृह्यमाणा बलात् काऽपि स्थापिता । तया कुङ्कममालिप्तं स्तने बाष्पेणाक्षालयत् ॥८॥
('.) आमोएअसमत्ता णं.
(६) घेण्हती.

Page #92

चउत्थो सग्गो
अंगअं कंकण-ट्ठाणे सरं काए वि बद्धिअं । गच्छंतीए ण तं णाअं फिडिअं पडिअं भुवि ॥९॥
कंचि कंठे णिबझंती पालंबं च कडीअडे । धावंती का वि णो वेइ सवत्तीणं विडंबणं ॥१०॥
पआण-प्पढिलं णीविं गण्हंती का वि पाणिणा । जण-संसम्मि तूरंती ण पट्टइ ण चिट्ठइ ॥११॥
इअ वाउल-चेट्टाओ बिंबोट्ठीओ कहंचण ।। मणि-हम्मिअ-पासाए आरुहंति समंतदो ॥१२॥
अङ्गदं कङ्कणस्थाने स्वयं कयाऽपि बद्धम् । गच्छन्त्या न तज्ज्ञातं भ्रष्टं पतितं भुवि ॥९॥
काञ्ची कण्ठे निबध्नती प्रालम्बं च कटीतटे । धावन्ती काऽपि नावैत् सपत्नीनां विडम्बनम् ॥१०॥
प्रयाणप्रशिथिलां नीवीं गृह्णन्ती काऽपि पाणिना । जनसंसदि त्वरमाणा न प्रातिष्ठत नातिष्ठत् ॥११॥
इति व्याकुलचेष्टा बिम्बोष्ठ्यः कथञ्चन । मणिहर्म्यप्रासादानारोहन् समन्ततः ॥१२॥
(७)
कंढे.
(८) णावेइ.
(९) पआणप्पडितं.

Page #93

६०
उसाणिरुद्धं
गवक्ख-विवराहिंतो कडक्खा ताण णिग्गदा । पगम्मि कमलाहिंतो रेहंति भमरा विअ ॥१३॥
इमे उसाणिरुद्धाणं मुह-चंदेसु लग्गिआ । कलंक-लच्छि बझंति णिक्कलंकेसु वि प्फुडं ॥१४॥
अणिरुद्धेक्खिणी का वि णाअ-मम्मह-बाहिआ । अदिट्ठा वि सवत्तीए१२ तं कंटअ-हआअ सा३ ॥१५॥
तं सिणिद्धं पुलंतीए अण्णाए गंड-बुंबिणो । सही-सम्मद्दणोण्हेण णिण्हुआ१४ सेअ-बिंदुणो ॥१६॥
गवाक्षविवरेभ्यः कटाक्षास्तासां निर्गताः । प्रगे कमलेभ्यो रेजुर्धमरा इव ॥१३॥
इमे उषानिरुद्धयोर्मुखचन्द्रयोर्लग्नाः । कलङ्कलक्ष्मीमबध्नन् निष्कलङ्कयोरपि स्फुटम् ॥१४॥
अनिरुद्धक्षिणी काऽपि ज्ञातमन्मथबाधिता । अदृष्टाऽपि सपन्या तत्कण्टकहतया सा ॥१५॥
तं स्निग्धं प्रलोकयन्त्याऽन्यया गण्डचुम्बिनः ।। सखीसंमर्दनौष्ण्येन निहनुताः स्वेदबिन्दवः ॥१६।।
(१०) विवराहीदो. (१३) तं कंडअहआ सा.
(११) पडम्मि कमळाहीदो. (१२) विवसंतीए (१४) णि[अ.

Page #94

चउत्थो सग्गो
तारिसीए चिएक्काए" त्थण उंभाण वेवहू |
किं मं सहि धुणासि त्ति कोवं णाडिअ गोविओ ॥१७॥
णीसास-‍
-मारुआ घोलिरुत्तरिज्जा वि काअण । छादेइ अत्तणो भावं णिदंती दक्खिणाणिलं ॥ १८ ॥
सप्पिअं तं च दट्टण बुढाहिं" देवई -सुओ । रुप्पिणी णवोढाए संपत्तो सम्हरिज्जइ १७ ॥१९॥
णिज्झाअंतीहि तारिक्खं मज्झमाहिं विसंकिओ । र परिणअंतो सो पज्जुण्णो" पुव्वमाअदो ||२०||
तादृश्यैवैकया स्तनकुम्भयोर्वेपथुः ।
किं मां सखि धुनासीति कोपं नाटयित्वा गोपितः ||१७||
निःश्वासमारुताघूर्णनशीलोत्तरीयाऽपि काचन । च्छादयामासात्मनो भावं निन्दन्ती दक्षिणानिलम् ॥१८॥
सप्रियं तं च दृष्ट्वा वृद्धाभिर्देवकीसुतः । रुक्मिण्या नवोढया संप्राप्तः समस्मर्यत ॥ १९ ॥
निध्यायन्तीभिस्तादृक्षं मध्यमाभिर्विशङ्कितः । रतिं परिणयन् स प्रद्युम्नः पूर्वमागतः ॥ २०॥
(१५) चिएकाए. (१८) पज्जूणो.

(१६) वुठ्ठाही वेवई.
६१
(१७) सप्पत्तो सम्मसिज्जइ.

Page #95

६२
अह बाल-मिअच्छीओ पेक्खंतीओ उसावई १९ । उप्फुल्ल- कोउहल्लाओ वाहरंति परप्परं ॥ २१ ॥
पुरिसो पुरिसो एसो इत्थिआ इत्थिआ इअं । एणाणं चिअ दंपच्चं दंपच्चं ति भणिज्जइ ॥२२॥
वओ - रूव-सहावेहिं विरुद्धाण वराण जो० । संगमो अम्मकाणं तं जीअंत-मलणं ण किं ॥ २३ ॥
अहीअ - काम - सत्थो वि तरट्टीसु असंधुओ । अकम्प - कुसलो" वेज्जो चिइच्छासुर व खंभइ ॥२४॥
अथ बालमृगाक्ष्यः प्रेक्षमाणा उषापतिम् । उत्फुल्लकौतूहला व्याहरन् परस्परम् ॥२१॥
पुरुषः पुरुषः एष स्त्री स्त्रीयम् । एनयोरेव दाम्पत्यं दाम्पत्यमिति भण्यते ॥२२॥
वयोरूपस्वभावैर्विरुद्धानां वराणां यः । संगमोऽस्मादृशीनां तज्जीवन्मरणं न किम् ॥२३॥
अधीतकामशास्त्रोऽपि विदग्धास्वसंस्तुतः । अकर्मकुशलो वैद्यश्चिकित्सास्विव स्तभ्नोति ॥ २४ ॥
(१९) उसापतिम्. (२२) चिकिच्चासु.

(२०) वराणओ.

उसाणिरुद्धं
(२१) अकम्मकुसळे.

Page #96

चउत्थो सग्गो
इत्थिआ - गुण - सामग्गी अच्छइलम्मि वल्हे । रत्ताए णिष्फलं चेव कंतारम्पि व कोमुई ॥ २५ ॥
असंतत्तेण संतत्तं ण लोहं जाउ रज्जइ । अवरत्ताणुरत्ताणं दंपच्चं कस्स रोअइ ॥ २६ ॥
मोर - 1 र- पक्ख- समं२४ पेम्मं मिहुणस्स विडंबणं । चास-च्छद सरिच्छं तु पत्थणिज्जतमं खु तं ॥२७॥
किं ण आणह जम्मस्स जुवाणं तं परं फलं । अभिण्णो भाव-बंधो जो दुक्खम्मि अ सुहम्मि अ ॥ २८ ॥
स्त्रीगुणसाम्यविदग्धे वल्लभे ।
रक्तायां निष्फलैव कान्तार इव कौमुदी ॥२५॥
असंतप्तेन संतप्तं न लोहं जातु रज्यति । अपरक्तानुरक्तयोर्दाम्पत्यं कस्मै रोचते ॥२६॥
मयूरपक्षसमं प्रेम मिथुनस्य विडम्बनम् । चाषच्छदसदृक्षं तु प्रार्थनीयतमं खलु तत् ॥२७॥
किं न जानीथ जन्मनो यूनोस्तत्परं फलम् । अभिन्नो भावबन्धो यो दुःखे च सुखे च ॥२८॥
(२३) अच्छउळ्ळम्मि.

(२४) मोरपेखसमं.

६३

Page #97

६४
उसाणिरुद्धं
समो उसाणिरुद्धाणं पेम्मो पेच्छह२५ सुच्चइ । कडक्ख-पह-पंथेहिं विक्खणेहिं परप्परं ॥२९॥
साहु बाण-सुए साहु मार-वच्छम्मि जं तुए । पोम्पराअ-सलाकाए कणअम्मि व रंजिअं६ ॥३०॥
सावज्जा होइ विज्जा वि अविणीएण गण्हिआ । अरम्मा होइ रम्मा वि दुब्भएणोढिअंगणा२७ ॥३१॥
अवि सीद-च्छद-च्छाअ-संदा चंदण-वल्लरी । विस-पाअवमल्लीणा किं ण मुच्छं पअच्छदि ॥३२॥
सम उषानिरुद्धयोः प्रेमा पश्यत सूच्यते । कटाक्षपथपान्थैर्वीक्षणैः परस्परम् ॥२९॥
साधु बाणसुते साधु मारापत्ये यत्त्वया । पद्मरागशलाकया कनकमिव रक्तम् ॥३०॥
सावद्या भवति विद्याऽप्यविनीतेन गृहीता । अरम्या भवति रम्याऽपि दुर्भगेणोढाऽङ्गना ॥३१॥
अपि शीतच्छदच्छायसान्द्रा चन्दनवल्लरी । विषपादपमाश्रिता किं न मूछौं प्रयच्छति ॥३२॥
(२५) पच्छई.
__ (२६) रंजितम्.
(२७) दुभएणोदिअंगणा.

Page #98

चउत्थो सग्गो
सुज्ज-पाअ-समालिद्धा णलिणी जह रेहइ । तह रेहसि कल्ाणि णेण हत्थे कआ तुमं ॥३३॥
अज्ज पज्जुण्णिणा णेण महुरेण समाढिआ२८ । सिंगारेण व वच्छेमी रीई कं व ण कड्डइ२९ ॥३४॥
तुमं विअ (?चिअ) ऽणिरुद्धेण संगआ भासि अंगणे । विज्जुए च्चिअ विज्जोइ णील-मेहेण मेलिआ ॥३५॥
हरि-सोण्हा-सुओ३० च्चेअ जोग्गो तुह सुमज्झमे । उइदो चंदलेहाए कवद्दो चेअ सूलिणो ॥३६॥
सूर्यपादसंस्पृष्टा नलिनी यथा राजति । तथा राजसि कल्याण्यनेन हस्ते कृता त्वम् ॥३३॥
अद्य प्राधुम्निना ऽनेन मधुरेण समादृता । शङ्गारेणेव वैदर्भी रीतिः कं वा न कर्षसि ॥३४॥
त्वमेवानिरुद्धेन संगता भास्यङ्गने । विद्युदेव विद्योतते नीलमेघेन मेलिता ॥३५॥
हरिस्नुषासुत एव योग्यस्तव सुमध्यमे । उचितश्चन्द्रलेखायाः कपर्द एव शूलिनः ॥३६।।
(२९) कठुई.
(३०) सुअ.
(२८) समाठिआ. (३१) उइदोच्चंडलेहाए.

Page #99

६६
लज्जा - णिवट्टिओ‍ किंचि कोऊहल-पवट्टिओ | तुज्झ से पढमस्सेसो होउ हिंदोल-वेढणं३ ॥३७॥
एस चुंबउ तंबोर* तुज्झ संवलिअं मुहं । भिंगो व्व कल्ल-वादेण परावट्टिअमंबुअं ॥३८॥
पिअं णं पिअ-संलावं तुहिक्का २५ वि हरिस्ससि । कोइलं विअ गुंजंतं माअंद-तरु-मंजरी ॥३९॥
णीवहुत्तं च से पाणि वारइस्ससि पाणिणा । ई-वेअस - रुक्खस्स विडवं विअ उम्मणा ॥४०॥
लज्जानिवर्तित: किंचित्कौतूहलप्रवर्तितः । तवास्य प्रथमाश्लेषो भवतु हिन्दोलखेलनम् ||३७||
एष चुम्बतु ताम्रोष्ठं तवांसवलितं मुखम् । भृङ्ग इव कल्यवातेन परावर्तितमम्बुजम् ॥३८॥
प्रियमेनं प्रियसंलापं तूष्णीका ऽपि हरिष्यसि । कोकिलमिव गुञ्जन्तं माकन्दतरुमञ्जरी ||३९||
नीव्यभिमुखं चास्य पाणि वारयिष्यसि पाणिना । नदी वेतसवृक्षस्य विटपमिवोर्मिणा ॥४०॥
(३२) णिवतितो तीचि. (३५) तुह्रीका.

(३३) हीदोळवेडणीम्.

(३४) तम्मोठ्ठे.
उसाणिरुद्धं

Page #100

चउत्थो सग्गो
FO
इअ विम्हअ-कोड्डेहि२६ विम्हारिअ-कहा-कमं । जं कि पि जंपमाणाहिं ताहिं साणंद-दिक्खिआ ॥४१॥
उहओ-पास-णिक्खित्त-मुत्ता-कलस-सोहिणा । राअ-मग्गेण गच्छंतो गेहं गाहंति दंपई३९ ॥४२॥
वुटुंतेउर-णारीहि दुव्वा-संवलिदेहि दे । लाएहि वरिसिज्जंता वीसंता० मणिमंदिरे ॥४३॥
जह ढाणोवविटेहिं तुडेहि पुट्ठ-गोरअं । राम-दामोदरेहि दे वच्छलिज्जेण१ पेक्खिदा ॥४४॥
इति विस्मयकौतूहलाभ्यां विस्मारितकथाक्रमम् । यत् किमपि जल्पन्तीभिस्ताभिः सानन्द-दृष्टौ ॥४१॥
उभयपार्श्वनिक्षिप्तमुक्ताकलशशोभिना । राजमार्गेण गच्छन्तौ गेहमगाहेतां दम्पती ॥४२॥
वृद्धान्त:पुरनारीभिर्दूसिंवलितैस्तौ । लाजैर्वृष्यमाणौ विश्रान्तौ मणिमन्दिरे ॥४३॥
यथास्थानोपविष्टाभ्यां तुष्टाभ्यां पुष्टगौरवम् । रामदामोदराभ्यां तौ वात्सल्येन प्रेक्षितौ ॥४४॥
(३६) कोडेही. (३९) दंमई.
(३७) जप्पमाणाहिं ताही. (४०) विसंता.
(३८) अहवोवास. (४१) वज्झळिज्जेण

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६८
उसाणिरुद्धं
जह-सत्थं महारंभे वत्ते पाणिग्गहूसवे । मणि-हम्मिअमारूढा पाढत्ता'२ पोढ-खेलणं ॥४५॥
पुव्वमुव्वाह-लाहादो संका-संकोइद-क्कमो । जो जो मणोरहो ताणं सो सो तइ पवट्टइ ॥४६॥
अवंग-दोणिमारूढा पेम्म३-णाविअ-बंधवा । लज्जा-णई समुत्तिण्णा तीसे दिट्ठि-किसोरिआ ॥४७॥
पुष्फ-पल्लव-पल्लंकमाठिएण पिएण सा । हत्थे४४ घेत्तूण लज्जंती अंके कह वि ठाविआ ॥४८॥
यथाशास्त्रं महारम्भे वृत्ते पाणिग्रहोत्सवे । मणिहर्म्यमारूढौ प्रारब्धौ प्रौढखेलनम् ॥४५॥
पूर्वमुद्वाहलाभाच्छङ्कासंकोचितक्रमः । यो यो मनोरथस्तयोः स स तदा प्रावर्तत ॥४६।।
अपाङ्गद्रोणिमारूढा प्रेमनाविकबान्धवा । लज्जानदी समुत्तीर्णा तस्या दृष्टिकिशोरिका ॥४७॥
पुष्पपल्लवपल्यङ्कमास्थितेन प्रियेण सा । हस्ते गृहीत्वा लज्जमानाऽङ्के कथमपि स्थापिता ॥४८॥
(४२) पाढंता.
(४३) पेम.
(४४) हत्ते.

Page #102

चउत्थो सग्गो
पुलअंकुर-सम्मद्द-किंचि-प्पढिल.५बंधणं । वारिओ वि स कलेइ४६ सणिअं से त्थणंसुअं ॥४९॥
ईसि७ घम्म-जलामट्ठ-घुसिणंक-घणत्थणी । बलामोडि परिस्सत्ता ८ णेण सा बाण-णंदिणी ॥५०॥
कवोल-पुलउच्छृण-कत्थरी-पत्त-लेहिअं । बिंब-तंबाहरं णेण चुंबिअं से मुहंबुअं ॥५१॥
गवक्ख-रंध-गाहंत-मोहालि-कुसुमांजली । उग्गओ रइ-णच्चस्स सुत्तहारो सुधाअरो ॥५२॥
पुलकाङ्करसंमर्दकिंचित्प्रशिथिलबन्धनम् । वारितोऽपि स चकर्ष शनैरस्यां स्तनांशुकम् ॥४९।।
ईषद्घर्मलवामृष्टघुसृणाङ्कघनस्तनी । बलात्परिष्वक्ताऽनेन सा बाणनन्दिनी ॥५०॥
कपोलपुलकोच्छूनकस्तूरीपत्रलेखिकम् । बिम्बताम्राधरमनेन चुम्बितमस्या मुखाम्बुजम् ॥५१॥
गवाक्षरन्ध्रगाहमानमयूखालिकुसुमाञ्जलिः । उद्गतो रतिनृत्तस्य सूत्रधारः सुधाकरः ॥५२॥
(४६) कट्टेइ.
(४७) इसि.
(४५) किंचिवडिळ. (४८) परिस्सद्धा.

Page #103

७०
चंदअंत- मणी - संद-णीसंद-सिअ कुट्टिमं । आठिओ वलहिं कामी सेरं भासइ भामिणि ॥५३॥
पेक्ख चंदाणणे चंदं मंदं चिअ समुग्गदं । विमलेण मुहेणं दे णिज्जिअं लज्जिअं विअ ॥५४॥
कहिँ खु मअमेत्तेण लंछिओ मअ- लंछणो । कहिं च वअणं बद्ध-पत्तं मअ-मएण दे ॥ ५५ ॥
अत्ति-णेत्तर - समुत्थो वि ति णेत्त- सिर- सेहरो । अमअस्स णिवासो वि मअस्स वसही अअं ॥५६॥
चन्द्रकान्तमणीसान्द्रनिष्यन्दशीतकुट्टिमम् । आस्थितो वलभीं कामी स्वैरमभाषत भामिनीम् ॥५३॥
पश्य चन्द्रानने चन्द्रं मन्दमेव समुद्गतम् । विमलेन मुखेन ते निर्जितंलज्जितमिव ॥५४॥
क्व खलु मृगमात्रेण लाञ्छितो मृगलाञ्छनः । क्व च वदनं बद्धपत्रं मृगमदेन ते ॥५५॥
अत्रिनेत्रसमुत्थोऽपि त्रिनेत्रशिरः शेखरः । अमृतस्य निवासोऽपि मृगस्य वसतिरयम् ॥५६॥
(४९) मअमत्तेण.

(५०) मअळंझणो.

(५१) णेत्थ.
उसाणिरुद्धं

Page #104

चउत्थो सग्गो
७०
फालाणल-मसी-दिण्णो कण्हिमा एस दीसइ । इमस्स संभु-कोडीर-मंडणे ण कुरंगओ ॥५७॥
मा दे मुहेंदुणा होज्ज दिवा वि स्अणि-ब्भमो । इअ एस विरिचेण अंकिओ रअणीअरो ॥५८॥
जं वा कुमुदिणी-विप्पवास-सोअ-मलीमसं । हिअअं से पआसेइ सच्छदाए कुदो मिओ ॥५९॥
मओ जइ कहं णाम पुव्वाअल-गुहा-ठिआ । पेरंतापडिअं सिंघा उवेक्खंति खणं पि णं ॥६०॥
फालानलमषीदत्तः कृष्णिमैष दृश्यते । अस्मिञ्शंभुकोटीरमण्डने न कुरङ्गकः ॥५७॥
मा ते मुखेन्दुना भूद्दिवाऽपि रजनीभ्रमः । इत्येष विरिञ्चेनाङ्कितो रजनीकरः ॥५८॥
यद्वा कुमुदिनीविप्रवासशोकमलीमसम् । हृदयमस्य प्रकाशते स्वच्छतया कुतो मृगः ॥५९॥
मृगो यदि कथं नाम पूर्वाचलगुहास्थिताः । पर्यन्तापतितं सिंहा उपेक्षेरन् क्षणमप्येनम् ॥६॥

Page #105

७२
उसाणिरुद्धं
जहच्छंदमिमं चंदं पुलोएहि सुलोअणे । इमादो अवरं णत्थि दंसणिज्जं सरीरिणो ॥६॥
गण्हित्तआण भेदेण गेज्झं२ भिण्णगुणं भवे । दुक्खिणो विसमोहो ऽअं सुहिणो खु सुहाअरो ॥६२॥
सव्वस्स वि सगोत्तेसु पक्खवादो ण हिज्जइ । णेत्तजो एस सव्वाइं णेत्ताई पीणएदि जं ॥६३॥
सप्पेहिं सह वासो जो एदस्स हर-मत्थए । दाह-सत्ती५३ तदो लद्धा चरिदत्था विओइसु ॥६४॥
यथाच्छन्दमिमं चन्द्रं प्रलोकय सुलोचने । अस्मादपरं नास्ति दर्शनीयं शरीरिणः ॥६१॥
ग्रहीतॄणां भेदेन ग्राह्यं भिन्नगुणं भवेत् । दःखिनो विषमयूखोऽयं सुखिनः खलु सुधाकरः ॥६२॥
सर्वस्यापि सगोत्रेषु पक्षपातो न हीयते । नेत्रज एष सर्वाणि नेत्राणि प्रीणयति यत् ॥६३॥
सपैः सह वासो य एतस्य हरमस्तके । दाहशक्तिस्ततो लब्धा चरितार्था वियोगिषु ॥६४॥
(५२) गहं.
(५३) दाहसद्धी.

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चउत्थो सग्गो
७३
अअं दु णाइ-धम्मो जं पदुमो णं विणिंदइ । एदस्स तस्स उप्पत्ति-टाणमेक्कं जलं ण कि ॥६५॥
पदुमस्स वि एदस्सि४ णत्थि वेरं ति मण्णिमो । सवत्त-कुमुअ-क्खेमआरो एस त्ति तं परं ॥६६॥
समो जं पहवो जं च५५ समो भिंगाण आअरो । दुवअं तं सरोअस्स केरवे वेर-कारणं ॥६७॥
अप्पा लच्छी-घरं किं च लच्छी-णाहस्स णाहिओ । इअ कि कुमुआहितो५६ भेओ पम्मेण णाढिओ ॥६८॥
अयं तु ज्ञातिधर्मो यत् पद्ममेनं विनिन्दति । एतस्य तस्य चोत्पत्तिस्थानमेकं जलं न किम् ॥६५॥
पद्मस्याप्येतस्मिन्नास्तिवैरमिति मन्यामहे । सपत्नकुमुदक्षेमकार एष इति तत्परम् ॥६६।।
समो यत् प्रभवो यच्च समो भृङ्गाणामादरः । द्वयं तत् सरोजस्य कैरवे वैरकारणम् ॥६७॥
आत्मा लक्ष्मीगृहं किं च लक्ष्मीनाथस्य नाभिजः । इति किं कुमुदेभ्यो भेद: पद्मेन नादृतः ॥६८॥
(५४) एतस्सि.
(५५) जव्व.
(५६) की कुमुआहीदो.

Page #107

७४
णिइट्ठम्मि महंतस्स जं वेरं तं विडंबणा । कुमुअम्म सवेरस्स अम्मो कज्जस्स अञ्ञदा ५७ ॥६९॥
लच्छीलीला - णिएदो वि मंद-भग्गं खु पंकजं । जेण सव्व जणाणंदो चंदो ण पडिलोअइ ॥ ७० ॥
सचेदणाण णो चित्तं दवइ त्ति किमब्भु" । चंदुज्जो अम्मि ९ गावा वि जं संदेइ अचेदणो ॥ ७१ ॥
रसण्ण-जण - मुद्धण्णो चओरो च्चिअ णावरो । [ . ] ॥७२॥६९
निकृष्टे महतो यद्वैरं तद् विडम्बना । कुमुदे सवैरस्य अहो कंजस्याज्ञता ॥६९॥
लक्ष्मीलीलानिकेतनमपि मन्दभाग्यं खलु पङ्कजम् । येन सर्वजनानन्दश्चन्द्रो न प्रलोक्यते ॥७०॥
सचेतनानां नश्चित्तं द्रवतीति किमद्भुतम् । चन्द्रोद्योतेन ग्रावाऽपि यत् स्यन्दतेऽचेतनः ॥ ७१ ॥
रसज्ञजनमूर्धन्यश्चकोर एव नापरः ।
॥७२॥
(५७) अञदा. (६०) अऐदणो.

(५८) कि अब्भुअम्. (६१) वविज्जसदइअए अएदणो

उसाणिरुद्धं
(५९) चंदोज्जो अम्मि.

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चउत्थो सग्गो
लच्छी-कोत्थुह-पारिजाअ-सुर-माअंगाणं जो सोअरो जो वाप२ रुद्द-कवद्द-मंडण-मणी जो रोहिणी-वल्लहो । कामुद्दाम-कला-विलास-कलणा-विस्संभ-सक्खी खु जो चंदं वंदसु सुंदरंगि तमिमं णेत्ताणं सिद्धंजणं ॥७३॥ पच्चक्ख-लक्खिअ-णिआम-णिआवराहवेरग्ग-रोस-कलुसाइ-वि माणिणीणं । जस्सोदए च्चिअ विणा चलण-प्पणामं चित्ताइ पीइ-महुराइ पिआ कुणंति ॥७४॥ जो च्चेअ छच्चरण३-झंकरण-च्छलेण विस्सेस खेअविअलक्खरमारुअंतिं । बाहं गलंत-मअरंद-णिहं मुअंतिं सिग्धं करेइ किर केरइणि पसण्णं ॥५॥
लक्ष्मीकौस्तुभपारिजातसुरमातङ्गानां यः सोदरो यो वा रुद्रकपर्दमण्डनमणिर्यो रोहिणीवल्लभः । कामोद्दामकलाविलासकलनावित्रम्भसाक्षी खलु यश्चन्द्रं वन्दस्व सुन्दराङ्गि तमिमं नेत्रयोः सिद्धाञ्जनम् ॥७३।।
प्रत्यक्षदृष्टनिकामनिजापराधवैराग्यरोषकलुषाण्यपि मानिनीनाम् । यस्योदय एव विना चरणप्रणामं चित्तानि प्रीतिमधुराणि प्रियाः कुर्वन्ति ॥७४||
य एव षट्चरणझंकरणच्छलेन विश्लेषखेदविह्वलाक्षरमारुदतीम् । बाष्पं गलन्मकरन्दनिभं मुञ्चन्तीं शीघ्रं करोति किल कैरविणी प्रसन्नाम् ॥७५।।
(६२) जोव्वा.
(६२) जोव्वा.
(६३) सच्चरण.

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७६
६४
दाणि खु संखुहिअ - वम्मह-हीरमाणधेरेहि दीह - रअ - केलि-मिलाविएहिं ४ । पेम्माउलेहि मिहुणेहि सुहा - रसोल्ला पिज्जेति णेत्त - चुलुएहि जईअ - मोहा५ ॥७६॥
लज्जा - लहू - करण-कम्मढवम्महाओ पच्छण्ण-कामुअ- घरं पडिवडिआओ । सज्जो णिरत्थ - तिमिराहि करावलीहिं संभेइ जो अकरुणा" अहिसारिआओ ॥७७॥
इदानीं खलु संक्षुभितमन्मथड्रियमाणधैयैर्दीर्घरतकेलिम्लापितैः । प्रेमाकुलैर्मिथुनैः सुधारसार्द्राः पीयन्ते नेत्रचुलकैर्यदीयमयूरवाः ॥७६॥
लज्जालघूकरणकर्मठमन्मथाः प्रछन्नकामुकगृहं प्रति प्रस्थिताः । सद्यो निरस्ततिमिराभिः करावलीभीरुणद्धि योऽकरुणोऽभिसारिकाः ॥७७॥৷
(६४) मिळविएहि. (६७) णिरद्ध.

(६५) यदीअमोहा. (६८) उभ्भेइ जो अअरुणो.

(६६) कम्मठ.
उसाणिरुद्धं

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चउत्थो सग्गो
जणिअ-मअण-बाण-स्सेणि- सस्स-प्परोहं पइदि - सिसिर - जोहार - णीर-धारा-णिकाअं । विअरइ विइरंतो मेह-लीला - धरो जो पणइ जण सुभिक्खं पक्क" - बिंबाहराणं ॥ ७८ ॥
तारा - कडप्प - सुइ-हार - विभूसिआए जोहा ७२ - दुऊल - परिवेढिअ - विग्गहाए । जो च्चेअ णिच्चल कलंक तमाल पत्तं वत्तंबुजं कर्माणि पुव्व दिगंगणाए ॥७९॥
जनितमदनबाण श्रेणिसस्यप्ररोहं प्रकृतिशिशिरज्योत्स्नानीरधारानिकायम् । वितरति विकिरन् मेघलीलाधरो यः प्रणयिजनसुभिक्षं पक्वबिम्बाधराभ्यः ॥७८॥
तारासमूहशुचिहारविभूषिताया ज्योत्स्नादुकूलपरिवेष्टितविग्रहायाः । य एव निश्चलकलङ्कतमालपत्रं वक्त्राम्बुजं कमनिपूर्वदिगङ्गनायाः ॥७९॥
(६९) जोष्णा. (७२) जोणादुऊलपढिवेढिअ.

७७
( ७० ) विइअरंतो. (७१) विफबिबाहराणम्.

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७८
उसाणिरुद्धं
कलंक-कल-कोइला-फलिह-पंजरो मंजुलो मणोज-महराइणो-धवलमादवत्तं ससी । पुरंदर-दिसा-वहू-मुह-विइत्त-पत्तंकुरो पुरो फुरइ०२ एस दे तुवमुसे णिसेवेहिं णं ॥८॥
इअ स विकसंतंतम्मोओ णिवुत्त-णिअंतणाजणिअ-वणिआ-संगाभंग-प्पसंग-घणंगओ। अविरल-ससि-ज्जोण्हासुण्हाअ-सुद्ध-दिसा-मुहे स्अणि-णिवहे लीला-सीलो गमेइ कुमारओ ॥८१॥
कलङ्ककलकोकिलास्फटिकपञ्जरो मञ्जुलो मनोजमहाराजस्य धवलमातपत्रं शशी । पुरंदरदिग्वधूमुखविचित्रपत्राङ्करः पुरः स्फुरत्येष ते त्वमुषे निषेवस्वैनम् ॥८०॥
इति स विकसदन्तर्मोदो निवृत्तनियन्त्रणाजनितवनितासङ्गभङ्ग प्रसङ्गघनाङ्गजः । अविरलशशिज्योत्स्नासुस्नातशुद्धदिशामुखाव्रजनिनिवहांल्लीलाशीलोऽगमयत् कुमारः ॥८१।।
(७३) पुरइ.

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चउत्थो सग्गो
७९
इत्थं सुत्थिअ-पुत्त-पोत्तणिअरो-वित्थिण्ण-कित्ति-च्छडाजोण्हा-पण्हुअ-वेरि-विक्कम-तमो उम्भासिआसामुहो७४ । आणंदण्णव-पुण्णिमा-ससहरो सव्वाण णिव्वाणदो देवो देवइ-णंदणो दिसदु वो णिस्सेस-णिस्सेअसं ॥८२॥
[इअ उसाणिरुद्ध चउत्थो सग्गो५]
उसाणिरुद्धं समत्तं ।
इत्थं सुस्थितपुत्रपौत्रनिकरो विस्तीर्णकीर्तिच्छटाज्योत्स्नापहनुतवैरिविक्रमतमोभासिताशामुखः । आनन्दार्णवपूर्णिमाशशधरः सर्वेषां निर्वाणदो देवो देवकीनन्दनो दिशतु वो निःशेषनिःश्रेयसम् ॥८२॥
॥ इत्युषानिरुद्ध चतुर्थः सर्गः ॥
उषानिरुद्धं समाप्तम् ।
(७४) भासाविआसामुहो.
(७५) इति उषानिरुद्ध चतुर्थः सर्गः

Page #113

Page #114

Translation
CANTO I
May Lord Ganesa who pleases the bees by his elephantine rut as he pleases his devotees (lit, supplicants) by various gifts, always and ever lead you to your welfare, who are full of sincere devotion for him.
May the Muse flash in our mind-the Muse by whose favour a person although suffering from the stupor of ignorance is enlightened and weaves at his own pleasure a poetic composition.
3.
I bow to that wonderful, divine couple, that exists in a single body, and is of one mind, and having itself conceived, exhibits the foundation (or glory) of the sentiment of love in union.
May the Man-Lion enter our heart--the Man-Lion who tore the chest of the lord of the Daityas, Hiranyakaśipu, and dyed his claws in brilliant red that looked even more attractive than the moonlight mingled with twilight.
5.
I respectfully wear on my forehead the dust that has been kissed by the lotuslike feet of my guru with the hope that when he sprinkles on it the water of his graceful favour when its seedlike particles would

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USAN IRUDDHA
sprout into compositions.
a series of creeper like literary
The basic function of words in any language (or writing) is to convey a correct understanding of ideas. Would it therefore matter much to the wise whether the words are Sanskrit or Prakrit ?
Men of genius would not feel any jealousy towards men like me who are dullards. The lions roar back to the thunder of clouds and not to the croaking of frogs.
oo
I have written a poem on a minor theme like Uşāniruddha in which Krsna— the Lord of Yadus-- is a major figure. Any literary work where Vāsudeva is described (or presented) fails to give complete satisfaction to its listeners, although heard again and again.
Having been born in the ocean-born race of Yadu, the Lord Visnu made the worlds lustrous by the glory of his heroic deeds, bright like the moonlight.
10.
From whom met their destruction the warriors of the Lord of demons (Kamsa), viz., Pralamba, Keśin and others (just as easily) as the masses of pitchy darkness are dispelled by the sun with his irresistible lustre.
11.
.
(Krsna) who had pulled from (the flesh of the mother) Earth the thorn, Kamsa, that had caused her considerable pain and healed it by the soothing unguent of Dharma.
12.
Who founded on the sea the city of Dvārakā with countless golden mansions, an abode of abundant

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TRANSLATION
X2
pleasures to overcome his longing for his erstwhile home- Vaikuntha.
13.
and married the gazelle-eyed Rukminī, the princess of Vidarbha whose charms were enhanced by many of the qualities and who was a veritable bow-staff of Cupid.
14
He begot a son called Pradyumna on her and as the spring brings joy to the wood by putting the mango tree in fresh blossom, Krsna, the Miracle Man (māyāmanuja) delighted the whole world by giving it his son.
15.
Pradyumna, the Lord of Rati, was the second incarnation of Cupid that was burnt with the fire produced from his third eye by Samkara, begot on her a son named Aniruddha.
16.
Once at night, Usā, the daughter of Bāna, saw Aniruddha in a dream. His eyes were large like bloomed lotuses, his figure extremely handsome and in complexion he was dark like a rain-cloud.
17.
She held him immediately with her branch-like arms and pressed him with her breasts resembling bunches of flowers. She hugged him as passionately as a creeper entwines a young mango-tree.
18.
Then that damsel all of a sudden awoke and not finding that charming young man in her arms cried for long, in her bed; the girl, greatly dejected, lamented thus :
19.
You have deserted me, inflamed with passion and in misfortune. Where have you, O handsome one, gone ? I saw your lotuslike face for half a moment only and it

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USĀŅIRUDDHA
slipped away like the city of Hariscandra (fabled to be suspended in the air).
20.
In all eagerness I snatched somehow the pleasure of kissing your bimba-like lips for a moment. But the (cruel) fate deprived me of it the next moment as it deprives bee of sucking the juice of flowers.
21.
“Don't be shy, o fine-eyed one, let me comfortably behold your lovely and moonlike round face"--you said in sweet words but you cheated me. Where have you, O cruel one, gone ?
22.
Citralekhā, the daughter of Kumbhānda (the minister of Bāna) who was her friend holds Usā, the daughter of Bāņa by the hand, Uşā who was lamenting in these and many other words and asks her the cause of her lament.
23
"O Uşā, you are talking simply nonsense, you are still a maiden, how can there be your lover now (at this age) ? You are a young maiden (only) ! Are you, O Uşā, suffering from a hysterical fit? Don't talk absurd. Take courage.”
24.
"Who is that young man that torments and for whom you are wailing and weeping ? Tell me whether it was all a dream. Don't hide (the secret) from me, my girl.”
25.
.
Thereupon the daughter of Bāņa replies in these words : "I'll tell you, O Citralekhā, the truth; in a dream I saw a certain commendable young prince - dark in complexion like the Tamāla tree with a very dark bark.

Page #118

TRANSLATION
26.
27.
28.
29.
30.
31.
32.
I gazed at him, who was decorated with an armlet, a necklace, a bracelet and ear-ornaments, who had put on yellow silk-garments, who had fine eyes, who was wreathed in beautiful and gentle smiles and who was all handsome.
85
Wantonly hugging me, a poor girl, with my courage robbed by Cupid that hard-hearted one suddenly disappeared and since then I am being consumed by the fire of separation.
Hearing Usa's words that shrewd Citralekha assured her: "Away with your despondency! O large-eyed one, your desire will be easily fulfilled.
On a large canvas I paint all the youths in the three worlds who are endowed with all the excellences of loveliness so that you may find out the ravisher of your heart."
Then on a large canvas, she paints in mineral dyes like red arsenic, etc., the figures of all the worthy skyrovers, Dānavas, mortals Nāgas (lit. wind-eaters).
"This is Mahendra; that again is the Fire-god (lit. Fire); this is Krtanta (Yama, the god of death); and that is Nirṛti (the god of death or destruction or the regent of the south-western quarter); this is Pracetas (Varuna, presiding deity of water); this one is Pavana (the wind); this is the Lord of wealth (Dhaneśa i.e., Kubera); and this indeed is Mahesa (the great Lord Śiva).
"Behold, O Uṣā, these are Gandharvas, Vidyadharas, Yakṣas, Rākṣasas, Daityas and others as

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USĀNIRUDDHA
well such as the blessed kings and Nāga princes. Could you find your lover among these ?
33.
“Look at these Lords of Vrsnis who are the devotees of Vişnu; this one is indeed Krsna with a lovely apparel, this is Balarāma and that Madana (i.e. Pradyumna) and this one is Aniruddha."
34.
“What blessed or lucky one among these could you possibly have seen to your heart's content in that dream ?” Saying thus that Citralekhā paints them out, looking at the princess every moment.
35.
On seeing Krsna she was full of curiosity; at the sight of Pradyumna her eyes with lovely eyelashes became wistful; and when she glanced at Aniruddha she was horripilated and she bent her face down (all the more) charming on account of shyness.
36.
Noticing her in ecstasy at the recognition (of her lover] Citralekhā says, laughing, “Your heart is, o good girl, as it is, on a worthy object as Rohiņīs did when it dwelt on the moon.
37.
"Let Navamālikā intertwine a young mango-tree, and let a female crane unite with a dark cloud and you too be attached to Pradyumna's son (Aniruddha). The union of the two, worthy of each other indeed — has all the charm.
38.
By my miraculous powers I'll bring over here, O Usa, that grandson of Krsna (Aniruddha) as surely as the fragrance of flowers brings a bee or recitation of a song a gazelle".

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TRANSLATION
87
39.
Assuring thus that princess, Citralekhā went to Krsnapura. There at night she found the handsome Aniruddha asleep.
40.
"It is only natural that Uşā with large eyes resembling bloomed lotuses should be enamoured of none else but Aniruddha, the lovable son of the God of loveexactly as Lakşmi should yearn after none else but Visnu — the slayer of the demon Madhu.” Thinking thus –
41.
That very clever Citralekhā carries away that prince, who was overcome with sleep, through her miraculous power, and brings him to śoṇitapura unnoticed by anyone.
42.
Taking him to Uşa's apartment she addresses her in words very pleasing to hear, in fact, a feast (or a delight) to her ears : Here is he, O Usā, whom you saw in the dream [only] for a moment--but felt such a strong attachment.
43.
Now throw all your bashfulness to the winds and enjoy all the delights of love with him, youthful curiosity adding to them at every stage. Enjoy yourself as if you are a mature lady in the company of her equally mature lover.
44.
This place is, o timid one, quite secluded and both of you have passion for each other. The (only) witness to the festival of sexual union of you two in your youth would be the flower-arrowed [God of love) himself.
45.
The Vedic triad (trayi means Veda-trayī—the three

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USĀŅIRUDDHA
Vedas taken collectively) lays down various types or forms of marriage. The form of Gandharva marriage is proper for you, O daughter of Bāņa, who are deeply in love with each other.”
46.
At this point Aniruddha suddenly awoke. All astonished he gazed at the maiden reflecting :
“O! what a great wonder the creator has created !"
47.
Is it an illusion ? Or is it a dream? Or is it a jugglery ? Or is it the delusion of my mind ? This gem amongst women, the very embodiment of loveliness that shines here !
48.
Ah ! The spotless and lovely moon; the two blue lotuses under the two halves of Cupid's bow and a ripe (bright red) bimba fruit !
49.
The golden creeper with the slender midriff, so slender that it has almost become invisible but surprisingly enough yet bears the two plump globes of charm, but the bigger wonder is down below, the two delicate and smooth plantain stems !
50.
Is that a flash of lightning caught in a steady posture ? Is that moonlight clad in human body ? Perhaps she is the daughter of the ocean of Nectar bathing my eyes in nectar !
51.
"No, she is indeed the fair-limbed daughter of Bāņa” Citralekhā assured him, when she observed that he had fallen in love with the princess. “The god of love makes a gift of her to you."

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TRANSLATION
89
52.
“She told me she had seen you in a dream. By my magic I brought you here. What more would you want me to do to make your life with her more enjoyable ?
53.
"Full of frolick as you are, enjoy all kinds of love games with her. She is equally fond of them. Like a royal swan around a lotus plant or like the moon in the company of a (cloudless) full-moon night, enjoy all the fun.”
54.
This pleased him much-— in fact, he plunged himself deep in the ocean of pleasures. He held Uşā's hand and meant to pull her into a close embrace. She was thrilled, her eyes had a languid look and her speech came haltingly in a lovely stutter.
55.
At his touch her body, every inch of it, had gooseflesh and she trembled like a Kadamba branch that has been studded with buds at the touch of the eastern breeze.
56.
He seated her on his lap and forcibly hugged her and kissed her mouth having a red lower lip which out of shyness was bent towards her shoulder.
57.
Then in due course (not without the maidenly coyness) she gradually reached the stage (in love's enjoyment) in which she pressed her breasts on his chest, fixed her eyes on his face and favoured him with pouted lips so that he could have the fill of his pleasure.
58.
As the bride and the bridegroom, skilled in the art (of love) were sporting secretly in that apartment with their hearts warm with love and both averse to separation even for a moment.

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USĀNIRUDDHA
59.
The attendants looked suspiciously at the princess's apartment and guessed that she had a lover inside with her. They immediately rushed to her father, the king of the demons, folded their hands and reported :
60-61. “A curse seems to have landed on us all, your Majesty.
Some one is at a foul game with your daughter. A strong male voice deliberately softened to a whisper couldn't have led us to any mistake. From the apartment of the princess come suspicious sounds of constrained talk and the tinklings of the anklets. What else could cause them but the excitement of lovemaking ? Their passion has made them careless in their behaviour. Blind passion !”
62.
These words hit Bāna's ears like a sharp arrow; sorrow burnt him and anger made him tremble. He rushed towards his daughter's room.
63.
There at that time the lord of Daityas finds that bride and that bridegroom endowed with lovely forms and worthy of each other in their pure delicacy, playing at dice.
64.
Almost forgetting his intense hatred, he looked in wonder. He stood for a long time motionless like one painted in a picture gazing at the Prince. Afterwards getting wild he addressed him in harsh words :
65.
I should like to know if you, O paramour of my daughter, if you consider this region which very much belongs to me, to Bāna, to have no master at all ? How could it be that you have not heard of my valour, known throughout the world or of me, a thousandarmed warrior ?

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TRANSLATION
66.
You are polluting the daughter of Bāna, the lord of all the gods and demons. Who, who are you, committing this vile and rash act ? And which way did you enter this mansion heavily guarded on all sides as it is ?
67.
Go away if you care to live, If you, however, crave for death, fight with me. For the arrows of Bāna are known to be fierce in mercilessness against the guilty.
68.
Thereupon the son of Pradyumna (i.e. Aniruddha) said to Bāņa, the king of the demons : "Enough of your bragging ! Why do you attempt to vanquish Krsna's grandson on the battlefield like a jackal a lion ?
69.
"The man who is hit by my mace on his head will hardly last longer than a minute. I call her (my mace) the sister of Yama's staff. See if you are strong enough to withstand the might of a thunderbolt !
70.
Thus ensued a fierce encounter (which was to last] long between the two. Both were mighty, haughty and full of hatred, they kept spewing insults at each other.
All the missiles which Bāna with his thousand arms hurled at him were instantaneously shattered to pieces by Aniruddha (the son of Pradyumna) with his single mace.
When the Lord of Demons saw the young hero making such dangerous moves and flourishing his mace in such a threatening manner, he felt worried that it may turn out to be a difficult proposition, he hurled at him the serpent-missile and arrested all his bodily movements.
73.
Binding that youth by his serpent-missile when that Bāņāsura quickly went away, the girl (Usa) wept

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74.
bitterly crying : “Alas ! O my lord, alas ! O my handsome one, alas ! O my love ! "Alas, alas ! It is on account of me, the wretched girl, that you are now brought to this (miserable) state by my father. Or rather, by cruel fate; whom else can I blame ?
75.
“In vain do I long for fine enjoyments. Indeed I loath this life of mine. what happiness can I possibly have without you ? Alas, O my Lord ! It seems I live on only for misery".
76.
“Be done with your grief, O Usā; your lover will certainly be free : his grandfather is the Supreme Lord of the univervse.” Citralekhā cheered her up.
77.
Aniruddha with his lotus-like eyes bloomed as the light of Uşa's moon-like face spread on him. He stayed in a part (corner) of that Uşā's mansion, disregarding the humiliation of imprisonment.
in
the (Poem)
Thus (ends) the First Canto Usaniruddham.
*
*
*

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CANTO
II
Now Krsna, the Lord of Laksmī, was overpowered with grief and as he feared the death of Aniruddha, he saw the saint Nārada come over to Dvāravatī.
Nārada of fair complexion like pure crystal, with a head full of matted hair, a little tawny like paddy resembled the mountain of Kubera (i.e. Kailāsa) tinged by the glimmer of early dawn.
Krsna bowed to Nārada, who praised him aloud to the accompaniment of the lute, set astir by the breeze. He honoured him and seated him on a couch. He addressed him in these words :
“My abundant merit, accumulated in many a past birth, has borne fruit in that I could see your feet which purify one of all sin.
All the Yādavas here belonging to the familes of Madhu, Bhoja, Andhaka and Vșsni are overwhelmed with grief as the young Aniruddha has suddenly disappeared from sight.
That boy, perpetuator of our race, is not traced although all the directions have been searched. After all who can succeed in his efforts when fate is adverse ?
7.
The burden of our grief is lightened, O illustrious one,

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at your [mere] sight. How will the sun-lotus wither away with frost when the sun rises or comes up ?”
Nārada heard these words of Krsna and understood them to come only from his assumed human form; he slyly smiled and respectfully addressed him in the following profound words :
“Give up your dejection, O Lord, for that boy born of Raukmineya ( i.e.the son of Rukmiņi ) is alive. He is, however, listen to me, held captive by that wicked son of Bali (i.e.Bāna).
10.
As he was said to be seen in a dream by the daughter of that Bāna, her girl friend secretly carried him away through her miraculous power.
11.
Then that demon Bāņa knowing this got wild and in an encounter held him (Aniruddha) captive. In this manner that son of your daughter-in-law is said to have disappeared.
12.
That Bāņa is a thorn in the side of ( i.e.oppressor of ) Brāhmanas, and has become invincible on account of the strength of his thousand arms. He is also arrogant. What more shall we say about him who has Lord Maheśvara [ himself ] as his gate-keeper ?
13.
Strike at (or kill) this great demon who is your enemy and then set free the husband of Uşā (i.e. Aniruddha). Why do you, like an ordinary person, Oslayer of Madhu, connive at this insult ?”
14.
These words spread in Krsna's heart the fire of anger; one could observe it in the sudden appearance of

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95
smoke the way he knit his brows.
15.
Then quickly Krsna set out of the city; he was led by Balabhadra (i.e. Balarāma) and surrounded by his army in which Krtavarman and Sātyaki were foremost.
16.
The dust from the earth that was kicked up by the hoofs of horses covered the clouds, the breasts, as if it was the brassiers of the breasts of the virgins of the quarters.
17.
The sword blades with their flashing brilliance, the elephant columns presenting the contours of dark clouds, the army drums producing the thundrous sound, Krsna's army looked like heralding the advent of the rainy season.
18.
The Yadu army crossed the ocean by means of a bridge; it destroyed trees on the coast and beat down the earth by the stamping of their feet as it traversed the forests.
19.
The forces of Kęsna being swift of foot quickly crossed mountain-ranges, valleys and roads, and descended on the palace of Bali.
20.
The twanging sounds of bows and the sounds of musical instruments greatly magnified by the trumpetings of elephants all of a sudden filled the people of Sonitālaya (i.e. Šonitapura) with panic and bewilderment.
21.
Mādhava (i.e. Krsna) besieged the city of his enemy first with sounds of drums, then with mass of dust rising from the march of his soldiers and finally with his army.

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USĀNIRUDDHA
Then that door-keeper, god Śiva, attended by a host of goblins (Pramathas) and loudly applauded by Guha (i.e. Kārtikeya), Gaņeśa and Nandi started getting ready for the battle.
23.
He tied his matted hair with serpents--the matted hair which had become dishevelled in his wild (or violent) dance (tāndava) at the end of the day, and the crescent moon in which had slightly slipped and the heavenly Gangå in which had felt lost.
24.
Releasing or loosening the lordly serpent which was coiled like a bracelet and used as one, he fastened it to his bow, Pināka by name, which was bent down (by him) with mighty force.
25.
He fastened round his broad loins, looking glossy and shining on account of the tiger skin — that was wellfitted, extended and rugged — with a girdle of snakes.
26.
The great god (Maheśvara) knit his brows in true anger producing apprehension of the Cupid's bow broken in twain in the confusion caused by the fire from the third eye of Śiva (on the occasion of Madanadāha).
27.
All at once he mounted his bull, white like the crystal mountain and fierce in appearance by his sharp and hoarse bellowing sounds, given out in joy.
28.
His attendants too, highly enraged, and puffed up with pride got ready for the battle in a moment and started forth accompanied by Kārtikeya; he had a Śakti (a powerful missile, spear) in his hand and his mount was a pea-cock.

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TRANSLATION
29.
Fearlessly they plunged into the deep ocean of Yadu's army, thronged or crowded with lofty waves of the cavalry and the dreadful crocodiles in the form of Balarāma and Mādhava (: Krsna).
30.
Pradyumna and Kārtikeya, with a peacock as his vehicle, bent their fierce bows and fought with each other covering the sky with showers of arrows.
31.
The enemy's arrows with various tips, which were instantaneously thrown off or repelled by the blast of the big, bright, wings of the peacock (the mount or vehicle of Kārtikeya). They could simply not reach their target - the body of Viśākla (i.e.Kārtikeya).
32.
Then that son of Rukmini (i.e., Pradyumna) pierced Guha (an epithet of Kārtikeya) with sharp arrows bearing sparks of fire and which on an earlier occasion had pierced the vitals of the demon Sambara.
33.
The demon Bāna, who could confound his enemy with missiles shot from his five hundred bows, engaged himself in a combat with Yuyudhāna (i.e., Sātyaki).
34.
In the course of the combat the various types of arrows of Sātyaki in no time rendered the volley of Bāna's arrows pale in lustre as the rays of the sun do the clusters of stars.
35.
Then that supreme god (i.e., Śiva) himself rushing at Janārdana (i.e. Krsna) shot arrows fixed on his Pināka bow - the arrows that had made Tripura's wives widows.
36.
The enemy of the demon Madhu (i.e., Krsna) too

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discharged arrows from (lit. which were joined to) his well-strung Sārnga bow – the arrows that had drunk gluttonously the honey of blood of the demons Madhu and Kaitabha.
37.
Then there ensued a combat between the two (Krsna and Siva), dreadful to look at as they both were equally filled with anger. Indra, the lord of gods, who was seated in his aerial car (above in the sky) appreciated it with a nod of his head.
38.
The gusts spreading from the Wind Missile, discharged by Krsna violently shook the trees; but as soon as they reached their faces they were swallowed by the serpents that served as the decorations of Siva.
39.
Hara (i.e., Śiva) then discharged a Serpent Missile furnished with feathers. From this missile spread out multitudes of serpents; their poisonous hissings poured forth flames. But Visnu's mount the eagle quickly smashed them all (or better, swallowed them all).
40.
The fires emanating with a flash and blazing from the Fire-arrow shot (or discharged) by Krsna were put out by the water of (the river) Gangā on sankara's head.
Then the world which was enveloped in darkness arising from the 'Darkness-arrow' discharged by Sambhu (i.e., Siva) was brightly (lit.powerfully) illuminated by the great brilliance of Krsna's (Sudarśana) Cakra (disc).
42.
The fire from the (third) eye on the forehead of Śiva was quickly extinguished by the big rain-drops pouring down from the world-dissolution clouds, produced by

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the Vāruņa Missile discharged by Hari (i.e., Krsņa).
43.
In the course of the combat which had struck terror in the hearts of even veteran warriors although it increased Nārada's curiosity, Acyuta (i.e. Krsna) felt enraged and hurled at Sankara the irresistible Swoon - Missile.
44.
When Śiva, ornamented with a digit of the moon, was momentarily stupefied and retired from the battle-field and the six-headed Kārtikeya too turned away, the whole class of Pramathas (goblins) attending on Hara (i.e., Siva) swiftly fled away.
45.
Balabhadra (name of Balarāma), the mighty lion rushed at the violent or arrogant elephant Kumbhānda who, being in rut, was wandering in a wayward manner and in the fight tore him up with his powerful plough -- the sharp teeth in his jaws instantly.
46.
Then the demon Bāņa, his eyes red with anger, rushed swiftly at Krsna, the son of Devakī, with his many bows pulled taut to shoot.
In the combat, the lord of Ramā (another name of Lakşmi) i.e. Visnu-Kșsna speedily broke to pieces, with volleys (lit. multitude) of arrows the tall palmtrees of his bows strung with or entwined with the creepers of tough bow-strings in the jungle of Bāna's thousand arms.
48.
Bāņa the demon takes up a discus, a javelin, a knife, a lance, a club, a sword or a mace to replace the bows in his hands which Sauri (i.e., Vişnu-Krsna) had destroyed.

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49.
50.
51.
52.
53.
54.
55.
Whichever weapon the infuriated and conceited Bāņa had picked up, Kṛṣṇa, the enemy of Madhu (the demon), quickly smashed it to pieces.
USĀNIRUDDHA
Wounded by sharp missles, rendered weaponless, his body smeared with streams of blood, the demon Bana greatly distressed, appeared (lit. became) like a mountain full of minerals.
[At this juncture] Bāṇa's mother Kottavi came out hastily and stood between them (Bāna and Krsna, the two warriors fighting each other). Then the son of Nanda (i.e. Kṛṣṇa) retired, and Bāna also entered his
mansion.
At this juncture there appeared on the battle-field, a three-headed monster- a dangerous kind of Fever let loose by Sankara-horrible in appearance, deformed in body, disagreeable and screechy in voice and frighteningly formidable in looks.
When that hostile Fever sent Yadu's warriors in profound swoon Hari [in retaliation] sent forth a mighty Four-armed Fever.
The Four-armed Fever of Visņu said to the threeheaded one as follows: "You are, O rash one, now making your own ruin at my hands easy like a moth who throws itself at a flame.
"To cure the disorder in the humours of the body caused by fever the [best] physician is only another fever. Is not the thorn stuck in the sole pulled out by another thorn ?

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101
56.
"You see now the valour of my arms [displayed) on the battle field ! You may be three-headed ! But [with all your heads] you [simply] cannot compete with me.”
57.
The Three-headed one too said [in reply] something like this : "Eh, hear me. I'll do here and now what is dear to Kālahara (i.e., Siva) whereby the demon Bāņa would gain prosperity.
58.
How do you, O stupid one, expect (lit.desire, cherish) to conquer me, the mighty servant of Sankara ? The columns (or mass) of darkness might as well desire to dispel the mass of the sun's rays !
59.
Then there came about a duel between them — which produced loud noise, which shook the heaven and the earth and which was fought hand to hand, nail to nail, foot to foot, tree to tree and rock to rock !
60.
The Three-headed one, overpowered in the combat by the Fever of Visnu (i.e., Kệsna), and chased by him, who was being beaten by him all along (who was continuously striking him) fled all over the earth, the heaven and the nether world, trembling (in fear all the while).
61.
That Fever created by Rudra, with its eyes brimmed with tears and rolling in fear and with its vanity subsided, resorted to Kęsna's lotus-like feet and praised him :
62.
"I am in distress. Grant me safety from thy Fever o Mādhava (i.e., Krsna). Plunged in the ocean of indiscretion, I have been, indeed, vanquished (by your Fever).

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63.
64.
65.
66.
67.
68.
I know you to be the Eternal (God), who creates, protects (or supports) and destroys this world, and that you are the cause of gods among whom the Bluenecked (i.e. Śiva), Viriñca (i.e. Brahmā) and Indra are the foremost.
USĀNIRUDDHA
In your case who are by your very nature beyond all gunas (qualities), O Lord, your conformity to the three qualities is simply a transferred behaviour, like fragrance and heat in the case of wind.
Everywhere in everything, living or non-living in this universe your own spirit (life-giving principle) pervades, O Lord, exactly like the oil in sesamum seed.
"With you remaining present as spectator, your inscrutable Māyā dances about in various ways causing (or spreading) doubt (and confusion) about everything.
"Ever victorious is the prowess of your arms that are dedicated to the task of protecting all the worlds, that are decorated by the discus (Sudarśana-Cakra) and the conch (pañcajanya) that resemble the lord of snakes (i.e. Sesa) and that have captivated the glory of your enemies - - the prowess of your arms that is a veritable conflagration burning the forest of sins of your devotees."
"We bow to you with a sapphire blue body, with a moonlike face enveloped in the stream of moonlight of your sweet smile, with large and long lotus-like eyes, with the Kaustubha jewel flashing on your chest and

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103
decorated with a halo of lustre of the bejewelled crown.
69.
“We bow to you, O son of Devaki (i.e., Krsna), wearing vanamālā (a garland of wood-flowers) tinged red on account of its having rubbed off the saffron applied to the plump breasts of cowherdesses (young women of Vraja district near Mathurā), you, who dwell in the hearts of those persons who have purified their lives by good deeds."
70.
Thus praised by the Fever that was let loose by the enemy of Madana (i.e. Śankara), Janārdana (i.e. VişnuKrşna) was highly pleased, and with a gentle smile, he spoke (the following) dignified words, each and every syllable of which was steeped in the bright nectar of the lustre of his teeth :
71.
“Hallo ! O Brāhmaṇa, great as you are, shed all fear from the Fever I have produced. Ah ! you are the creation of Sankara (lit. the enemy of the five - arrowed) and, therefore, you are an object of honour (worthy of honour) for us. (In fact) you have become our friend and I am pleased with you. You have accomplished (the tasks assigned to you), O Threeheaded (Fever) ! Now you may go happily wherever your mind desires."
72.
Indeed in all the three worlds there shall certainly not result any harm from you to the persons who would remember this conversation between you and me. Our favour will yield the desired object and remove any disease (or pain). Go back now at pleasure, O wise Three-headed Fever, in any direction.

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73.
With these words he freed Triśiras (the Three-headed) from the torment of Fever. As Mādhava (i.e., Krsna) stood on the battle-field he looked like the sun -- that by his hot rays destroys the blight of the frost and makes the lilies in the pond bloom (lit.- lustrous).
Thus (ends) the Second Canto in the (poem) Usaniruddham.

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Canto III
1.
Now, once again Bāņa begins his march ahead. Bāna, who is desirous of fighting a grim battle, who looks like a moving Vindhya mountain, with his thousand arms looking like the various peaks and the bows along with their strings like the trees (on the mountain).
2.
Bāna who is irresistible with his sparkling arrows mounted on the bent and strong bows rides a chariot drawn by a large number of swift horses and that produces deep thundering sound.
3.
With shoots of rays of the pale-red gems set in the array of armlets put on his thousand arms, he very much appeared like a sālmali (silk-cotton) tree which has put forth flowers on its branches.
4.
Bāņa of dark-blue complexion that competed with rainy clouds and the white umbrella that was held over him looked like the sea reflecting the disc of the moon that has just risen over it.
5.
With his dark-blue body fanned by the constantly moving chowries, Bāna looked very much like the stream of Yamunā with the kuśa grasslands growing luxuriously on both her banks.

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Instantly that Bāna beheld Madhumatha (the destroyer of the demon Madhu, i.e. Vişnu - Krsna) who was stroking the bow-string with his lotus-like hand and gazing in his direction from the corners of his eyes which were red with distinctly visible anger.
Quickly rushing against him he said : “How dare you O son of a cowherdess, stand up to me ? Note it well that I am neither the demon Naraka nor Kamsa. I am Demon Bāna, the son of Bali.
Havn't you heard of the heroic deeds of mine (lit. the power of my arms)? My arms which have become hard and callous (karkasa) on account of the scars and wounds caused by (constantly) pulling the bowstrings and have been puffed up with (pride and) great happiness derived from pulling the hair of the heavenly nymphs.
Listen again : These hands of mine with their extraordinary skill of playing the drums at Siva's dance festival (or orgies) have won the rarest of honours of the great god's favour.
10.
These formidable hands of mine that dragged Indra and other warrior gods from their seats ! Now, they have become so terror-stricken that discarding their bodies they eat whatever oblations kings on the earth offer them in sacrifices.
11.
I have not forgotten how assuming the form of Vāmana (name of Visnu in his fifth incarnation when he was born as a dwarf to humble the demon Bali), you cheated my father who had becone feeble on account

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of old age and robbed him of his lordship of the three worlds. Isn't it ?
12.
This is the most fortunate thing that has happened today, you see. You have walked into the midst of the forest of my thousand arms. As soon as I conquer you-defeat you in the battle I become the master of all the fourteen worlds !
13.
The lord of Indirā (another name of Laksmī, wife of Vişnu)- Krsna replied to him : “This your proposition sounds very well ! You will accomplish it only if the forest of your arms is not destroyed, o demon !
14.
You are impatient, Sir ! You would love to have the pleasure of a swim in the ocean of a mirage ! (An impossibility indeed !!) and decorate yourself (lit. your hair) with garlands of the fragrant sky-flowers ! (Another impossibility !!!)
15.
“Of what avail is empty talk ? Show the power of your strong arms by action. It will make you give up in a moment your pride on being invincible here in all the three worlds.
16.
Then before the very eyes of Sankara, the destroyer of Tripura, there began a terrific fight between Krsna and the demon Bāna filling the firmament with arrows. But that was difficult to watch on account of the dust raised by their fast moving chariots.
17.
Then the troop of Pramathas (a class of Beings, said to be goblins attending on Siva) bows down, is delighted, dances, cries, laughs loudly, jumps, trembles wavers, and goes through different states of feelings

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like excessive delight, joy and fear while watching their combat.
18.
The host of gods standing in the sky (to watch this combat) sounded their own musical instruments and this sound echoed the trumpeting of the scented elephants and the loud beating of the drums of the Yadu army (below on the earth).
19.
The massive sound of the Sārnga-bowstring pulled by Krsna's hand drowns all other sounds. This massive sound conveyed the good news to Aniruddha's ears like a relay of messengers that carried news from momemt to moment.
20.
Muräri (the enemy of the demon Mura, i.e. Krsna) with a sharp-barbed arrow cuts off the demon Bāna's one arm as if it was a branch of a tree, massive and long and brownish in colour with the lustre of the jewels set in his golden bracelet.
21.
The cut off arm falls to the ground. Along with it fall the tears of the wives of Bāna and fully bloomed flowers of the celestial trees showered by the host of gods who were overjoyed at Krsna's heroic feat. .
22.
Again, Kșsna cut off his enemy's (Bāna's) arms, which carried bows and arrows and the fore-parts (prakostha) of which were marked with glossy (oily-looking) scars, produced by the friction (lit.pulling) of bow-strings, and which, for the Goddess of Victory over the three worlds, were pleasure ground.
23.
The battle-ground, full of those chopped off arms whose palms were shining with the lustre of the gems

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TRANSLATION
24.
25.
26.
27.
28.
29.
on the rings, appeared like a grove of sandal trees full of a multitude of serpents.
Then Śiva (whose emblem is the Bull) noticed that almost all the arms of his devotee were cut off. He approached Kṛṣṇa, the enemy of the demons, and in order to personally propitiate him said, greatly confused as he was, as follows:
109
"Be pleased, O Padmanabha from whose navel a lotus grows. The sages sing in their hymns that you are merciful towards (or kind to) the poor. How then you do not still take compassion on Baṇa, the son of Bali, who is defeated in battle and full of distress?
With what words should we, O Madhumathana slayer of the demon Madhu, praise you and show our devotion to you, as you are, in reality, beyond words of praise, and far beyond the three gunas sattva, rajas and tamas?
-
How can we fathom your greatness which is the essence of the Upanisadic lore? Even the divinely gifted, eminent sages have found it almost impossible to conceive it in their minds; then what to talk of expressing it in words?
Who would not marvel at whatever heroic deeds you did through your different incarnations? You resorted to the three guņas (of Prakṛti-sattva, rajas and tamas) and succeeded in protecting the world that you have created.

To explain Having assumed the form of the KingFish, whose proportions were equal to the great

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mountain, you pierced with your great horn the chest of the demon warrior Hayagrīva who, as the story goes, had stolen the three Vedas - Řk, Yajus, and Sāman.
30.
Having assumed the form of a tortoise, known as Kacchapa (?) the bony back of which was as hard as the thunderbolt itself, you, o lotus-eyed one, and you who are as handsome as Cupid (the god of love),– you supported the Mandara mountain (which was used as the churning rod to churn the deep milky ocean.
31.
We remember, O supporter of the earth, your Boarform which was so formidable and wonderful, and which with the pointed tusks that had grown out of the seeds of thunderbolt-pieces tore open the mountain-like chest of the demon Hiranyāksa.
32.
How can I describe - I can't adequately describe — your huge figure, part human and part lion (Narahari-vigraha) your enormous (or full-throated) roar, and your face made frightening by the matted mane and its complexion made deep brown by the blood from the guts of the demon that you had torn open by your claws.
33.
With your three steps you, O Krsna (lit. the lord of Ramā i.e., Vişnu-Krsna) quickly robbed the three worlds of this very Bāna's father who was deceived by your dwarfish form (batu-vapuh)!
34.
As Paraśurāma you offered the race of Kșațriyas as libations in the blazing fire of your axe which had become sharp by chopping off the forest of the arms of (Sahasrārjuna or) Kārtavīryārjuna who had grown

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insolent on account of his victories over the three worlds.
35.
Incarnating yourself as Rāma, the son of Dasaratha, you cut off all the ten heads of Rāvana who had desired to pollute the feet of Sitā, the daughter of Janaka, with them which he (Rāvana) himself had chopped off as offerings to god Brahman and which had grown again at his favour.
36.
You now assume the two forms of Balarāma (lit. dressed in blue garments) and Kșsna (lit.dressed in yellow garments); the fair complexion of the one is like the newly cut ivory and the dark, like a row of rain-filled clouds.
37.
Does not your body enchant the people - the body dark like collyrium, wearing the Kaustubha gem and Śrīvatsa sign on the chest -- the cynosure of the eyes of all the young and lovely ladies infatuated by you ?
38.
O, Kșsna, (lit. friend of Vijaya, i.e., Arjuna), you are the Lord of the whole universe. You pervade the various movable and immovable objects. You are, certainly, the very root of the tree of the Vedas - the tree whose many branches bear a variety of fruit !
39.
Since you are the shelter of those who have no shelter they know you, O bestower of boons, a never-ending store of compassion. You therefore, let go this demon Bāna. The intoxication of his pride has now vanished like the poison in the Kāliya serpent.
40.
Hari, pleased at heart, then said : O Śiva, having a bull as a sign, stop from praising me. When one thinks

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of your great heroic exploits, the heroism of others looks (indeed) trivial and insignificant.
41.
The five-arrowed god of love (Kāma) whose arrows are so very soft as flowers cannot be borne by anyone from amongst gods, men- and Nāgas-even that Kāma you burnt to ashes in the fire from your third eye ! What can be more wonderful than this ?
42.
Who has not admired your position - bodily posture - (sthiti) when you went out to destroy the demon Tripura? You rode the chariot of the earth; you held the bow of the greatest mountain (called Himālaya); its bow-string was Vāsuki (a serpent king); it was fastened at the two ends of the bow (for which special notches were made).
43.
Did you not, at the time of the churning of the ocean, O Śankara, gulp the Kālkūța poison which was about to destroy the three worlds and dry up the hosts of gods and demons by its scorching heat like that of the hot season-summer ?
44.
Or it is no use talking much; you alone accomplished, O Sambhu, what was impossible to accomplish for any one else on this earth for the well-being of all the people
45.
We bow to you; being bejewelled with serpents you look charming; you possess the never setting crescent in your brownish matted hair, you carry in your hands an axe, a deer, a human skull and a trident and you are the highest bliss. What else can we do?
46.
What a wonder ! How shall we describe, O Iśvara,

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113
your undivided love for those who seek your shelter ! For, look here, it makes you, O Bhava (i.e., Śankara) stand at the gate of the demon Bāna — it makes you forget your residence on the Mountain Himālaya !
47.
I shall certainly not kill the son of Bali – the demon Bāņa but only smash his excessive vanity. It would be regarded as a serious blunder if bloated villains were to be ignored !
48.
As I was importuned by Prahlāļa with abjuration I shall surely not kill even the wicked born in his family. Let this Bāna, a favourite of yours live long, O Śiva, with no more than two arms only.
49.
To the Four-armed one (i.e., Vişnu-Kțsna) who remained silent after saying this, bowed that Bāna, with his body quivering with fear, folding well the pair of palms which were left intact — unimpaired and then said as follows :
50.
“Victory, victory to you, O lord of the Yadus (i.e., Kșsna) - you who are always and ever devoted to the mission of protecting the helpless and who possess eagle as your symbol. (Pakșirāja - Ketu). Show favour to me. I seek the shelter of the pair of your feet. My homage to you who are the ocean of the nectar of compassion !
"Kindly forgive me, my compassionate Lord, o lotusnavelled (Vişnu-Krsna) one ! I have committed an offence against you indiscreetly out of vanity caused by my overbearing attitude.
52.
“The high-souled Prahlāda, my grand-father, achieved

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USĀNIRUDDHA
success by ever (recollecting your blessed name and) by remembering your sacred feet. Eventhough I knew this well still indeed I was caught up into the snare of delusion.
53.
"Just as the sun's ray enters the hollow of a tree when its numerous branches are cut off even so better sense prevailed on my mind when my arms were chopped off.
54.
“Uşā, my beloved daughter I give away in marriage to your grandson, O Madhusudana (lit. destroyer of the demon Madhu, name of Vişnu-Krsna) ! A woman achieves the summum bonum of her life when bestowed on a worthy and deserving bridegroom.
55.
"Let Aniruddha, the son of Pradyumna, marry my daughter who is of pleasing disposition. May the union of the two who are in possession of charming excellence prove perfectly happy like that of Rati and Madana."
56.
Saying this Bāņa went back to his daughter's mansion. With his face blooming with joy like a lotus he set Aniruddha free from the ‘fetters of arrows'.
57.
Then the Lord of Daityas (i.e.,Bāna) presented to Mukunda (i.e., Krsna) Aniruddha, who looked all the more handsome since he had Uşā by his side. Her tender hand was clasped by the hand of Citralekhā who was also delighted at heart.
58.
Bāņa offered to him splendid dowry consisting of gems, gold, silk-garments, a white umbrella, banner, chariots, elephants, horses and a host of bride's

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115
maidens of good character.
59.
And said he : 0 Lord, propitiated as you are and possessed as you are of charming qualities accept this your grandson, the lord of Uşā, along with his wife and protect this person (i.e. myself, me), who am completely devoted to you along with my kinsmen and my kingdom.
60.
Having paid his respects and bowed to the great and resplendent Krsna, Bāna with his throat choked with · affectionate tears, embraced his daughter and son-in
law and repaired to his palace.
61.
62.
Gazing at his grandson with his eyes wet with tender affection and smelling for a long time the bride's head hung low on account of great bashfulness Krsna voluntarily and joyfully seated the couple in his own chariot which was brought near by his charioteer, and with great joy and majestic dignity he along with his bulky army set out for his metropolis. That Murāri (lit. foe or slayer of the demon called Mura, name of Visnu - Krsna) who was cheerful and free from rebellion of his enemies and who was accompanied by the ladies in the chariot shone like a rain-cloud accompanied by flashes of lightning in the rainy season. Accompanied by hosts of Vrsnis such as Balarama, Pradyumna, Kịtavarman, Sātyaki and the like, that Hari entered Dvāravatī, his own capital like Indra entering Amaravati — his capital. Thus (ends) the Third Canto in the (poem) Usāņiruddham.
63.

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Canto IV
Then the citizens, who were afflicted by (the sorrow of) separation, on hearing of Krsna's arrival, breathed again like the Cātaka birds at the appearance of a cloud.
All of them who sincerely desired to worship Krsna's feet that are the principal source of nectar, waited upon him like the Cakora birds that stand up facing the moon so that they could drink her rays.
Now the ladies of the town began to look at Aniruddha who was accompanied by Uşā as the Sun is by the Dawn.
The condition of those ladies who rushed out in a hurry (to behold the bride and the bridegroom) wearing some of their jewellery in broken disorder and jingling in a confused manner can hardly be described.
Some lady with a jingling anklet on one foot and the other bare, rushed in hot haste.
Another could not fasten on her lotus-like foot the anklet – how could she; she was only fumbling with a bangle (that had no clasp) - and curses it for not having space between its two ends !

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TRANSLATION
7.
8.
a
10.
11.
12.
13.
14.
15.
Another lady who had lost her head in her impatience applied the black collyrium im place of the red paint on her lips which she had already smeared with bee's wax.
117
Another lady was forcibly detained by her maid. With her tears she had washed away the saffron on her breasts anointed by her maid.
Another lady herself wore an armlet (angada) in place of her bangle. It slipped and fell to the ground as she was walking out. She was too much in a hurry to notice it!
Another lady who wore a girdle on the neck and Pralāmba (a garland worn round the neck and reaching to the breast) on the waist as she was hastening away. She would not notice the ridiculing by her cowries.
Another lady who had pushed her way through the crowd a little too briskly found herself simply unable to move forward or backward: the knot of her garment was undone. She could only stand still holding her loose garment with her hand.
Confused as they were on account of their impatience the bimba-lipped damsels clambered up to the terraces of the mansions, each one of them decorated with crystals.
Their side-long glances darting from the lattice - windows shone like bees shooting out of lotuses at day-break.
These (sidelong glances) fixed in the moons of the faces of Usa and Aniruddha, invested them, although they were spotless, with these (delightful) specks.
A certain lady gazing at Aniruddha was detected to

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be tormented by love by her co-wife, although she was not seen as she was struck by her romāñca (horripilation or goose-flesh).
16.
Another lady who was beholding that affectionate one concealed the drops of perspiration breaking on her cheeks by (attributing them as due to) the heat produced by the throng of (or rubbing together of) her female friends.
17.
Another like her concealed the tremor of her swelling breasts by shouting in feigned anger at her friend : "Why do you, O friend, shake me this way?”
18.
Still another whose upper garment was fluttering on account of her heavy breathing, blamed it on the Southern wind and hoped to conceal the real state of her mind.
19.
Beholding him (Aniruddha) with his wife the elderly dames recalled to their mind the arrival of Krsna with newly wedded Rukmiņī.
On seeing himn (Aniruddha) (with his spouse) the middle-aged ladies were reminded of how Pradyumna had arrived then with his bride Rati.
21.
And the young gazelle-eyed maidens seeing the spouse of Uşā were full of curiosity and spoke among themselves as follows :
22.
He is the man amongst men and she is the woman amongst women; and the union of these two only deserved to be called the (real) union.

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119
23.
25.
The union of women like us with men who are mismatched in age, figure and character is a living death. Isn't it? A man who is not familiar with young maidens falters and fumbles when it comes to the real handling of the situation. He may have mastered the Science of Love, but like a novice in medicine he hesitates while administering remedies. The excellences of a devoted woman are lost upon a silly spouse like the moonlight on wilderness. Red-hot iron indeed does not forge with the cold. Who can therefore say that for a couple, one hot and the other cold, the union will be enjoyable ? The love which is unstable like the peacock’s plumage is in fact, a mockery of love. It should be like the feathers of a blue jay ever steady. Then that love is to be most desired.
26.
27.
28.
Who would deny that for young lovers the best fruit of their life is their love that has remained constant and unchanging in joy and sorrow? Look, how intense is the love of Ușā and Aniruddha. It can easily be seen by the way their eyes reach each other along the passage of their glances - the delightful travellers ! Well done, Usā, well done ! Fascinating that you and Aniruddha have come together like gold and ruby. An ill-bred man turns even his learning into a reprehensible thing. So does a wretched fellow turn his lovely wife into an unattractive nag. Does not a sandal creeper, dense with the shade of a
30.
31.
32.

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35.
36.
cool canopy, cause one to faint when it entwines a poison tree ? Just as a lotus plant radiates beautifully when the rays of the sun fall on it, even so do you, O lucky one, when he (Aniruddha) holds you by the hand. Today you are united with this handsome Aniruddha. Who will not be fascinated by the Vaidarbhi style comingled with the Sệngāra rasa (Erotic sentiment)? Just as the lightning accompanied by a dark cloud shines even so, o damsel, you look beautiful when accompanied by Aniruddha. Aniruddha (lit., the son of Krsna's daughter-in-law) alone is, o graceful woman, a match for you; just as the braided and knotted hair (kaparda) of Śiva (lit. name of Śiva, as holding a trident) alone is suited to the crescent moon. Let the first embrace of you both, delayed by coyness and incited by curiosity be an up and down affair like a swingsport ! Let him kiss your red-lipped mouth turned (through shyness) towards the shoulder like a bee kissing a lotus turned back by a breeze at dawn ! With your delightful silence you will fascinate the heart of your warbling spouse as a mango tree in blossom captivates a warbling cuckoo. You will ward off his hand creeping towards the knot of your garment like the river that wards off the branch of a cane-plant by her wave. Thus the damsels who could not keep the conversation
37.
38
39.
41.

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121
going logically on account of curiosity and eagerness talked and chattered as they pleased while they gazed with joy at the couple.
42.
The wedded pair passes along the king's high-way, beautified with rows of pitchers studded with pearls placed on both the sides (solemnly) enters the palace.
43.
As they entered old women of the harem showered parched grains mixed with dūrvā grass on them. They went into the jewel chamber to rest themselves.
44.
Rāma, i.e., Balrāma and Dāmodara (lit. having a rope round waist, name of Krsna), well pleased at heart, took a look at them with affection and admiration from their seats.
45.
When the busy wedding-ceremony had taken place according to the rites the couple went to the terrace of the jewel palace and began enjoying the love-sports.
Each and every desire of theirs, which before their marriage was restrained by the uncertainty of their situation, could now be satisfied.
47.
Her maidenly eyes could so far only toss on the coy and ogling glances, but now with love as the helmsman, they could easily cross the river of bashfulness.
48.
Holding that shy Uşā by the hand Aniruddha, who was seated on the bed of flowers and foliage, placed her with some difficulty on his lap.
49.
Inspite of her resistance, he gently removed her

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brassiere which had become somewhat loose on account of her goose flesh.
50.
He forcibly hugged Usā, the saffron drawing on her swelling breasts was a little erased by it, wet as it was by her perspiration.
51.
The lotus-like face that was painted and decorated with figures drawn in musk showed goose flesh and slightly disfigured them when he kissed her on the bimba like red lower lip.
52.
Then arose the moon, the director of amorous dance showering flowers of rays through the lattice-window.
53.
Standing on the floor of the terrace made cool by the moon-stone (supposed to ooze away under the influence of the moon when the moon rises) the lover spoke uninhibitedly, to his lady love thus :
54.
“Look, my moon-faced darling, the moon over there is feeling faint. He knows he has been outdone (or defeated) by a much more spotless moon.
55.
Oh ! a strange situation ! That moon in the sky wears the mark of a deer. This moon here wears (the marks of the) musk of the deer.
56.
Although produced from atti-netta (Sk.atri-netra), (the eye of Atri), he is the crest-chaplet of tiņetta (Sk. trinetra, i.e., Siva). Although home of amaa (Sk. amsta, nectar), he is the dwelling-place of maa (Sk. mrga, i.e., deer).
57.
On this moon, the ornament of śiva's matted hair,

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123
58.
59.
60.
61.
what we see is not the deer but soot risen from the fire on Sankara's forehead! The creator placed the dark spot on the moon so that people might not mistake the day for night when they saw your bright face, the veritable moon ! Or rather the moon shines bright showing clearly the dark spot of his grief that he will have to be away from the water-lily. Nonsense to say that the dark spot is a deer ! If it were a deer, how could, tell me, the lions living in the caves of the eastern mountain even for a moment ignore it (even when) it is within their range ? Look at the moon, o fine-eyed one, to your heart's content. Nothing else is more lovely than this for men to behold ! One and the same thing appears different to different people. This moon appears ‘poison-rayed' to the unhappy but 'nectar rayed to the happy ! Every one always favours the members of one's own) family. No wonder, the moon gives (most) pleasure to the eyes (of all) for the moon is the child of the eye (of the sage Atri) ! The moon has learnt the power to burn and to torment from the snakes in whose company he (she) lives on Śankara's head. Ask the lovers who convincingly prove it when they are separated from each other. It is but natural that the lotus and the moon should be at loggerheads ! They both are born in the same water. Sibling rivalry !
63.
64.
65.

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124
66.
67.
68.
69.
.70.
71.
72.
73.
There is no enmity, we may say, between the sunlotus and the moon. But the plain fact is: the moon pours (or confers) beauty (lit. happiness) into the moon-lotus, the rival of the sun-lotus.
USĀNIRUDDHA
Twofold is the cause of enmity of the day-lotus towards the night-lotus: Common birth-place and equal regard shown by the bees!
"I am the abode of Lakṣmi and am born of the navel of Lakṣmīnātha (i.e., Viṣṇu)" thinking thus does the day-lotus regard itself superior to the night-lotus?
The hostility entertained by the great towards the low is indeed a matter of laughter (or ridiculous)! O, the ignorance of the day-lotus that is hostile to the night-lotus !
The day-lotus, although the pleasure-house of Laksmi, is really unfortunate. For it can never have the pleasure (or opportunity) of looking at the moon, the delight to the eyes of all.
When even an inanimate moon-stone oozes at the light touch of the moon, is it any wonder that the heart of us (all), who are animate, melts at the moon-rise?
Pre-eminent amongst the appreciative is the cakora, none else. (For he alone has taste for the nectar-rays of the moon.)
Do you bow, O lovely one, to the moon, who has been churned out of the ocean along with Laksmi, Kaustubha, the Pārijāta tree, and Airavata (elephant). He is the crest-jewel in the long and matted hair of

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125
Śankara; he is the lover of Rohiņī and a trusted witness to the whispers and passionate sports of lovers and the magical collyrium of the eye.
74.
The moon just at whose rise the lovers win over the hearts of their angry women (mānini or women offended with their husbands through jealous pride) without falling prostrate at their feet, the hearts which were turbid on account of sorrow (vairāgya) and anger at directly detecting their serious offence.
75.
The moon that quickly delights the Kairaviņī (lotus plant bearing white lotuses) which was lamenting piteously at the distress of separation through the buzzing of bees and shedding tears in the form of trickling honey.
76.
The lovers (lit. couples) with their firmness robbed by the excited god of love and who have exhausted themselves by their prolonged amorous sports are now drinking the rays of the moon dripping with nectar through the goblets of their eyes.
77.
The moon can be wicked the way he dispels darkness by the host of his rays and prevents the abhisărikās (abhisārikā : a woman who either goes to meet her lover or keeps an appointment made by him), the young call-girls, from their rendezvous, their passion over-riding their bashfulness.
78.
(The moon) who imitates the behaviour of a cloud bestows upon red-lipped ladies plenty of corn in the form of lovers by pouring a shower of innately cool lunar rays and by producing the corn-sprouts in the form of a series of Cupid's arrows.

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126
79.
80.
81.
82.
(The moon) who is the lotus-like face, painted with tamāla leaf of the steady dark spot (on it), the face of the lady of the East who has her body wrapped in the silken garment of the moonlight and put on the bright necklace of the clusters of stars.
USĀṆIRUDDHA
This lovely moon shines here before you, O Uṣā ! Enjoy the sight of him who (the moon) is a crystal cage for the sweet Kokila of the dark spot, who is the white umbrella of the god of love, the sovereign ruler and who is the painting on the face with musk (or sandal juice or other fragrant substances) of the bride of the East.
With his passion intensified by uninterrupted enjoyment in the company of his beloved wife without any restraint whatsoever and his internal joy expanding, the amorous prince passes a number of nights with the quarters white (bright) being bathed thoroughly in the dense moonlight.
May god Krsna, the son of Devaki, bestow upon you complete nisśreyas (supreme bliss) God Kṛṣṇa, who is the saviour of all, who is the full-moon of the day of full moon to the ocean of joy, who has illuminated the face of the quarters and who has dispelled the darkness of the enemy's valour by the bright light and splendour of his great reputation and who has his son and grand-son in a very happy state.
Thus (ends) the Fourth Canto in the (poem) Usāṇiruddhaṁ.

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Mythological Notes
1.1
Gaņeśa : (Gana + īsa), Gana-Pati. Lord of the Gaņas or troops of inferior deities, especially those attendant upon Śiva. He is the god of wisdom and remover of obstacles; hence he is invariably propitiated at the beginning of any important undertaking, and is invoked at the commencement of books. There is a variety of legends accounting for his elephant head. One is that Pārvatī went to her bath and told her son to keep the door. Siva wished to enter and was opposed, so he cut off Ganesa's head. To pacify Parvati he replaced it with an elephant's that first came to hand.
1.2
Bhārati : A name of Sarasvati.
1.3
Divyam mithunam (Ardha - nārīša or Ardhanārīśvara) : A form in which Siva is represented as half-male and half-female, typifying the male and female energies.
Martya-Simha (Nrsiṁha) Narasimha : 'The manlion' Visnu assumed this form (avatāra, incarnation) to deliver the world from the tyrrany of Hiranyakaśipu, a demon who, by the favour of Brahmā, had become invulnerable. This demon's son, Prahlāda, worshipped Visnu, which so incensed his father that he tried to kill him, but his efforts were all in vain. Contending

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with his son as to the omnipotence and omnipresence of Visnu, Hiranyakaśipu demanded to know if Visnu was present in a stone pillar of the hall, and struck it violently. To avenge Prahlāda, and to vindicate his own offended majesty, Vişnu came forth from the pillar as the Nara-Simha, half-man and half-lion, and tore the arrogant Daitya King to pieces.
2.15
Krtavarman : A warrior on the side of the Kauravas who with Krpa and Aśvatthāman survived the great havoc of the great Bhārata war. He was afterwards slain by Satyaki.
Sātyaki : Name of a Yādava warrior, who acted as charioteer to Křsna and took part with the Pandavas in the great war. He was Kęsna's charioteer. He is also called Dāruka and Yuyudhāna. He assasinated Kệtavarman in a drinking bout at Dwārakā and was himself cut down by the friends of his victim.
Balabhadra : Balabhadra and Baladeva are other forms of the name Balarāma, elder brother of Krsna. He is called Madhu-priya 'wine-loving'. He is represented as of fair complexion and as Nīlavastra 'clad in a dark-blue vest' and armed with a ploughshare which was his most effective weapon.
2.19
Kulaparvata : A series of seven chains of mountains which are supposed to exist in each division of the continent. Their names are 1. Mahendra, 2. Malaya, 3. Sahya, 4. Suktimān, 5. Řksa, 6. Vindhya and 7. Pāriyātra.
2.22
Pramathas : A class of demigods or fiends attendant upon Śiva.

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129
Guha : A name of the god of war. He is the same as Kārttikeya, also called Skanda. Guha literally means 'the mysterious one'. '
Lambodara : Ganesa or Ganapati is also called Gajānana ‘elephant faced', Lambodara, 'pendantbellied'.
Nandi: The bull of Śiva. He is the chamberlain of Śiva, chief of his personal attendants (gaņas), and carries a staff of office. His image, of a milky white colour, is always conspicuous before the temples of Śiva.
2.35
Parameśvara or Parameśa is an epithet of Śiva, also of Vişnu, of Indra.
2.36 Madhu - Kaitabha : Madhu and Kaitabha were two
horrible demons, who sprang from the ear of Vişnu while he was asleep at the end of a Kalpa, and were about to kill Brahmā, who was lying on the lotus springing from Vişnu's navel. Vişnu killed them, and hence he obtained the names of Madhusudana and Kaitabha-jit.
2.44
Şaņmukha : Or Sadānana is an epithet of Kārtti keya. He is the son of Śiva (but born without the direct intervention of a woman. Most of his epithets have reference to the circumstances of his birth. Śiva cast his seed into agni (who had gone to the god in the form of a dove while he was enjoying Pārvati's company), who being unable to bear it cast it into the river Gangā. It was then transferred to the six Kệttikās

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2.48
2.51
(when they went to bathe in the Gangā), each of whom therefore conceived and brought forth a son. But these six sons were afterwards mysteriously combined into one of extraordinary form with six heads and twelve hands and eyes. Hence he is called Kārttikeya, Şaļānana, şanmukha, etc. According to another account the seed of Siva was cast by the Gangā into a thicket of reeds (Śara); whence the boy was called Saravanabhava or Sarajanman. He was the commander of the army of the gods in their war with Tāraka, a powerful demon, whom he vanquished and slew. He is represented as riding a peacock. Sauri : a patronymic (of Vasudeva as well as) of Vişnu-Krsna. Koțțavī : “Koțavī, Koțarī, Koțțavī. “A naked woman'. A mystical goddess, the tutelary deity of the Daityas, and mother of Bāņa the demon. The name is sometimes applied to Durgā”. Triśiras : "Three-headed'. Fever personified as a demon with three heads. Caturbhuja : (Visnu or Krsna), name of a Dānava, here the name of Four-armed Fever created by Vişnu-Krsna. Śiti-kantha : dark-necked as Rudra-Śiva. Cf.Nilakantha : blue-necked; name of Śiva as having black throat from swallowing the poison produced at the churning of the ocean. Viriñca : Name of Brahmā (but also applied to Visnu and Siva)
2.52
2.53
2.63

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MYTHOLOGICAL NOTES
2.66
2.71
3.6
3.7
3.11
Māyā For God, māyā is only the will to create the appearance. It does not affect God, does not deceive Him. For ignorant people like us who are deceived by it and see the many objects here instead of one Brahman or God, māyā is an illusion-producing ignorance. This māyā is described in some scriptures also as avyakta or even Prakṛti having the three elements of sattva, rajas and tamas.
131
The Samkhyas, however, admit two ultimate realities: Prakṛti and Purușa. This Prakṛti is made up of three gunas sattva, rajas and tamas is responsible for the evolution of the world. The Purusa is inactive, he simply witnesses. Prakṛti like a dancing girl dances on the stage and Purusa like a spectator simply watches her dancing performance. Here the poet without any ambiguity describes Visnu-Krsna as a mere spectator and māyā (or Prakṛti) as a female dancer, actress (nartaki).
Pañca-bāṇa-ripu : The enemy of the five-arrowed god of love (Kāma or Madana or Cupid having five flowery arrows) i.e. Śankara who burnt him to ashes with the fire shooting from his third eye in the forehead. Madhumathana: (or Madhumatha) 'Crusher or destroyer of (the demon) Madhu; Madhu-Sudana 'destroyer of the demon Madhu, Madhu-ripu or Madhuvairī are all epithets of Visnu - Kṛṣṇa.
Gopika-tanuja : Son of a cowherd's wife (here Kṛṣṇa is derisively so addressed as he was brought up by Yasoda, wife of the cowherd Nanda).
Alîka batu-cchala: According to the generally received account, the incarnations of Viṣṇu are ten in number. The reference here is to the fifth Vamana (Dwarf) incarnation. In the Treta-yuga, the Daitya king Bali had, by his austerities acquired the dominion of

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the three worlds, and the gods were shorn of their power and dignity. To remedy this, Visnu was born as a diminutive son of Kaśyapa and Aditi. The dwarf appeared before Bali, and begged of him as much land as he could step over in three paces. The generous monarch complied with the request. Visnu took two strides over heaven and earth; but respecting the virtues of Bali, he then stopped, leaving the dominion
of Pātāla (the nether world) to Bali. 3.13 Indirā-Sahāya : Indirā is the name of Laksmī, wife
of Visnu. So the friend or companion or ally of Indirā
means Vişņu (Krsna in this context). 3.24 Vrsabha-dhvaja : One whose symbol is a bull - Śiva
is generally accompanied by his bull Nandi, hence
this epithet of Siva. 3.28 Murahara : Mura-ripu, Mura-dvis (foe of the demon
Mura) Mura-bhid, Mura-vairin are all epithets of Krsna. Mura was a great demon, an ally of the demon Naraka who ruled over Prāg - jyotisa and assisted him in the defence of that city against Krsna. Krsna with his discus
killed him. He is therefore known as Murāri. 3.32 Narahari : See Martya - Simha above. 3.34 Kārtavīryārjuna : He is also known as Sahasrārjuna.
The son of Kịtavīrya and King of the Haihayas, who ruled at Māhismati. Having worshipped Dattātreya, he obtained from him several boons such as a thousand arms, invincibility by enemies, etc.. He was a contemporary of Rāvana whom he once captured and confined like a beast in a corner of his city. Kārtavīrya was slain by Paraśurāma for having carried off by violence the Kāmadhenu of his revered father Jamadagni.

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133
3.35
Bhrgupati : An epithet of Paraśurāma; he is called Bhrgupati as he is the most distinguished of the sons' of Bhrgu (Jamadagni) - Bhrgunām Patih. Paraśurāma 'Rāma with the axe'. He was the sixth avatāra (incarnation) of Vişnu. He was a Brāhmaṇa. This Paraśurāma, the sixth avatara of Vişnu appeared in the world before Rāma (the son of Daśaratha), the seventh avatara, but they were both living at the same time. The elder avatāra showed some jealousy of the younger. Paraśurāma is said to have cleared the earth of the Ksatriyas twenty one times and to have given the earth to the Brāhmanas. Vidhi-mahana-lūna-prarohitāni daśavadanasya śirāmsi : Rāvana was a celebrated demon, King of Lankā, and the chief of the Rākşasas. He had ten heads (and hence his Daśagrīva, Daśāmukha, Daśānana, etc.,) and twenty arms. He is represented to have practised the most austere penances for ten thousand years in order to propitiate the god Brahman (Vidhi) and to have offered one head at the end of each one thousand years. Thus he offered nine of his heads and was going to offer the tenth when the God was pleased and granted him immunity from death by either god or man. Kāliya : Name of a tremendously large serpent who dwelt at the bottom of Yamunā. He had five heads. Kęsna while yet a child jumped into Kāliya's deep pool. He placed his foot on the middle head of Kāliya and compelled him and his followers to implore mercy. He spared them but bade Kāliya and his followers to free the earth from their presence and to remove to the ocean.
3.39

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134
USĀŅIRUDDHA
3.50 Pakṣirāja-Ketu : Vişnu with Garuda as his symbol
or sign or mark. Pakṣirāja, the king of birds i.e. Garuda is represented as the vehicle of Vişnu and as having a white face, an aquiline nose, red wings and a golden body. He is an implacable enemy of serpents. Garuda is said to be 'a mythical bird or vulture, half-man,
half-bird, on which Vișnu rides.' 3.63 Bala (or Balbhadra or Baladeva or Balrāma) is the
name of the elder brother of Kșsna. Raukmiņeya : Decendant of Rukmini, name of Pradyumna. 'Rukmini bore to Krsna a son named Pradyumna'. Kệtavarman : See above (2.15)
Sātyaki : See above (2.15) 4.12 Bimboșthyaḥ : Women having lips as ruddy or cherry
as the bimba fruit. 4.34 Prādyumni : a patronymic from Pradyumna, name
of Aniruddha. 4.56 Atri-netra-samuttha : Atri is the name of a great
sage who is the author of a number of Vedic hymns. In the Purānas the moon is described as produced by Atri's look. Hence the moon has many names and descriptive epithets as Atri - netraja, - dřg-ja, - prasūta, -netra - prabhava, - netra - sūta or - netra bhū - mas. 'Produced by Atri's look', the moon.
Trinetra : 'Three-eyed', Śiva; tri-nayanaḥ, - netrah, - locanaḥ are all epithets of Śiva.
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सिलोअ-सूई अअं दु णाइधम्मो जं ४-६५ । असिविप्फुरिअग्गि २-१७ अअं महिंदो उण एस १-३१ . अह जाणिअ बाण २-११ अगुणप्पइदिस्स २-६४
अह णिसिदमुहेण ३-२० अंके समारोविअ १-५६
अह ताण रणं २-५९ | अंगअं कंकणट्ठाणे ४-९
अह ताण विमाण २-३७ अज्ज पज्जुण्णिणा ४-३४
अह दे जदुसेण्ण २-२९ अडणिघडिअ ३-४२
अह धुज्जडिणा २-५२ अणिरुद्धेक्खिणी ४-१५
अह पमुदिअचित्त ३-५७ अणुखणमणिरुद्ध ३-१९
अह पेच्छइ वच्छअस्स २-१ अणुविरणइ गंध ३-१८
अह बालमिअच्छीओ ४-२१ अत्तिणेत्तसमुत्थो वि ४-५६
अह भणइ हरी ३-४० अत्थावबोहम्मि १-६
अह रोसकसाइदेक्खणो २-४६ अवंगदोणिमारूढा ४-४७
अह व ण बहु ३-४४ अप्पा लच्छीघरं ४-६८
अह वडुववुणा ३-३३ अबोहणिद्दाविहलो १-२
अह वुसहधओ ३-२४ अभअं विहुरस्स २-६२
अह संभुविसिट्ठ २-४१ अमअप्पढमट्ठाण ४-२
अह संबरमम्मभेदिहिं २-३२ अमंदसुंदेर १-१३
अह सिहरणिहे ३-१ अमुण च्चिअ रुद्द २-६१
अह सोदूण तं पोरा ४-१ अंभोइणीअं विअ १-५३
अह सो कअवम्म २-१५ अम्हो बम्हण अम्हकेरअ २-७१ अह सो पडिहार २-२२ अविणअकअ ३-५१
अह सो परमेसरो २-३५ अवि सीदच्छदच्छाअ ४-३२
अहह तुह महेस ३-४६ असंतत्तेण संतत्तं ४-२६
अहिअं जहि णं २-१३ असणिसअलबीअ ३-३१
अहिअमुहअपास ३-५ असरणसरणं ३-३९
अहीअकामसत्थो वि ४-२४

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१३६
उसाणिरुद्धं
अहो असंबद्धपलावसीले १-२३ अहो उसाए वअणं १-२८ अहो महाराअ वअं १-६० आमुंचिअझणक्कारि ४-५ आसासअंती इअ तं १-३९ इअ कहिअ तदो ३-५६ इअ त्थुओ मअण २-७० इअ प्फुडुप्पण्णभणो १-५१ इअ भणिअ जरं तं २-७३ इअ भणिअ ठिअं ३-४९ इअ वाउळचेट्ठाओ ४-१२ इअ विम्हअकोड्डेहिं ४-४१ इअ संसुणिदम्मि २-१४ इअ स कअपअक्खिणो ३-६० इअ स विकसंतंतम्मोओ ४-८१ इच्छामि मिच्छ च्चिअ १-७५ इत्थं भणंताण १-७० इत्थं सुत्थिअपुत्त ४-८२ इत्थिआगुणसामग्गी ४-२५ इदं तदो जंपइ १-२५ इमे उसाणिरुद्धाणं ४-१४ इसिधम्मजलामट्ठ ४-५० इसिपप्फिडिएंदु २-२३ इह खु ण बलिणन्दणं ३-४७ इह ठावरजंगमप्पए २-६५ इह होति विसाअ २-५ उइदमुइदमज्ज ३-१२ उव मज्झ णिबज्झमच्छरं २-५६ उसाए उसवेलाए ४-३ उसाणिरुद्धं त्ति मए १-८ उसे विसाएण कअं १-७६
उहओपासणिक्खित्त ४-४२ एअम्मि वढंत १-४३ एदेसु को णाम तुए १-३४ एव्वं भणंति बहुसो १-२२ एस चुंबउ तंबोढें ४-३८ कंचि कंठे णिबज्झंती ४-१० कण्णागअं किंचण १-६२ कण्णाघरं तं कुमरं १-४२ कण्हो सोण्हासुअं तं ३-६१ कदंबसाहा विअ १-५५ कमेण वच्छो घडिअ १-५७ करकमलमलिज्ज ३-६ करगण्हिअसत्तिणा २-२८ कलंक-कल-कोइला ४-८० कलिअकुलिस ३-३० कवोलपुलउच्छूण ४-५१ कसणघणसवत्त ३-४ कसणुल्लिअपावआसु २-४० कह तुह महिमा ३-२७ कहं पि संकाणिहुओ १-६१ कहिं खु मअमत्तेण ४-५५ कहिं सि हा सुंदर १-१९ किं ण जाणह जम्मस्स ४-२८ किं णाम कण्णाविड १-६५ किं दाणि संदावअरं १-२४ किमिह विहलजप्पिएण ३-१५ कुडिलदिढकुअंड ३-२ कुलपव्वअवंद २-१९ कुहणामणुअत्तणोइअं २-/ के ऊरहारंगद १-२६ खविअतिहुवणं ३-४३
.

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सिलो असूई
खुडिअणि डिएहि ३-२३ खुहिओ स उ जाई २-४९ गच्छेहि वंछा जई १-६७ गहित्तआणं भेदेण ४-६२ गंधव्वविज्जाहर १-३२
गवक्खरंधगाहंत ४-५२ गवक्खविवरार्हितो ४-१३ चंदअंतमणीसंद ४-५३ चिधेहि तो केहि १-५९ जअ जअ जदुणाह ३-५० जं वा कुमुदिणीविप्प ४-५९ जणणी किर तस्स २-५१ जणि अमअणबाण ४-७८ जदुवीर बलाई सो २-५३ जदुस्स वंसे जलहि १-९ जदो सि दिट्ठो सिविणे १-५२ जमस्स दंडस्स १-६९ जलहिं तरिऊण २- १८ जहछंदमिमं चंदं ४-६१ जहट्ठाणोपविट्ठेहिं ४-४४ जह लुअविडवालिणो ३-५३ जहसत्थं महारंभे ४-४५ जुवरप्पसरं २-५५ जुहि वेण्हुजरेण २-६० जुहि से भुअकाणण २-४७ जेणेव वेउंठ १-१२ जे संति लोअत्तिदए १ - २९
जो च्चेअ छच्चरण ४-७५ ठाणे उसा कामइ १-४० णमइ रमइ ३-१७ ण मच्छरो होस्सइ १-७

णवरि अ सरपूरिअ ३-१६ हखुडिअसुरारि ३-३२ ण हु विसुमरिअं ३-११ णाअत्थबद्धं करिऊण १-७३ णिअपअफिडिआ ३-१० णिइट्ठम्मि महंतस्स ४-६९ णिज्झाअंतीहि ४-२०
णिडिले क्खदाह २-२६ णिम्मक्खिओ भीरु १-४४ णिसिअत्थ - खओ २-५० जीवीत्तं च से पाणि ४-४० णीसासमारुआघोलि ४-१८ णोमालिआ लग्गउ १-३७ तं पच्चभिण्णासरसं १-३६ तं सिणिद्धं पुलंतीए ४-१६ तदो अ सा चित्तवडे १-३० तदो पबुद्धा सहस व्व १-१८ तदो विबुद्धो तरसा १-४६ तह संकर- किंकरं २-५८ तह हि महमहीधर ३- २९ ताअं च माआमणुओ १-१४ ताणं अ तुवरंतीणं ४-४ ताराकडप्पसुइहार ४-७९ तारिसीए चिएक्काए ४ - १७ तिअसउर - विअड्डिआ ३-८ तिसिरेण अ किं पि २-५७ तिसिरं स भणाइ २-५४ तिहुवणजअमत्त ३-३४ तुअरसि मअतहि ३-१४ तुइतो भूदाणं २-७२ तुइ थुइवअणादि ३- २६

१३७

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१३८
तुइ संणिहिदम्मि २-६६ तुरओहखुरग्ग २-१६ तुरिअमहिगओ ३-७ तुलाकोडिब्भमेणेक्का ४-६ तुवं विअ णिरुद्धेण ४-३५ तुह उण अवदार ३-२८ तो सो वि तोसोदहि १-५४ थद्धो इरं विम्हअ १-६४ दणु अवइसुआ १-७७ दणुअस्स भुएसु २--४८ दहरहतणओ ३-३५ दाणि खु संखुहिअ ४-७६ दिट्ठम्मि कण्हे दिढ १-३५ दिव्वंतमक्खेहि १-६३ दूसेसि णीसेस १-६६ धणुपंचसदी २-३३ धणुद्धणितूर २-२० धणुहम्मि पिणाअ २-२४ पआणप्पढिलं णीवि ४-११ पच्चक्खलक्खिअ ४-७४ पज्जुण्णिणा भण्णइ १-६८ पंचेसुणा वंचिअ १-२७ पडिभाइ णमिंदिरा ३-१३ पढमं पडहस्सणेण २- २१ पदुमस्स वि एदसि ४-६६ पबलो बलभद्दकेसरी २-४५ लम्बके सिप्पमुहा १-१० पवल्लिअवल्लई २-३ पसाहिआए घेप्पंती ४-८ पसिद पदुमणाह ३ - २५ पिअं णं पिअसंलावं ४-३९

उसाणिरुद्धं
पिणाइणा लोअण १-१५ पुप्फपल्लवपल्लंक ४-४८ पुरिसो पुरिसो एसो ४ - २२ पुल अंकुरसंमद्द ४-४९ पुव्वमुव्वाहलाहादो ४-४६ पेक्ख चंदाणणे चंदं ४-५४ मोलभावे १-५८ फणिमअमणि ३-४५ फलिअं सुकएण २-४ फलिहामलपंडुविग्गहं २-२ फालाणलमसीदिण्णो ४-५७ बलरोप्पिणेअ ३ - ६३
बाणो सहस्सेण वि १-७१ बाहाहि साहाहि १ - १७ बिंबाहरासाअसुहं १-२० भइ अ भअवं ३-५९ भद्दस्स वो भत्ति - १-१ भिजंतदेच्चिद १-४ भुअणिवहविसंगि ३ - ३ भुवि णिवडइ सो ३ - २१ मअणरससिद्धि ३-३७ मओ जइ कहं णाम ४-६० मणिकणअदुऊल ३-५८ मंतप्पहावेण १-४१ मधुकेडहसोणिद २-३६ मसारमणिसामलं २-६८ मह गुरु पहलादओ ३-५२ मह पिअदुहिआ ३-५४ महुच्छिट्टेण मिट्ठम्मि ४-७ माआ किमेसा सिविणं १-४७ मा दे मुहेंदुणा ४-५८

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सिळोअसूई
१३९
मा ळज्ज मुद्धं १-२१ मुरहरो रहरोविअ ३-६२ मोरपक्खसमं ४-२७ रइरमणकुमारओ ३-५५ रणदो खणमोह २-४४ रणम्मि घोरे रइणाह १-७२ रसण्णजणमुद्धण्णो ४-७२ लच्छीकोत्थुहपारिजाअ ४-७३ लच्छीलीलाणिएदो वि ४-७० लज्जाणिवट्टिओ ४-३७ लज्जालहूकरण ४-७७ वअसुंदरीघण २-६९ वओरू वसहावेहिं ४-२३ वलईकअचंड २-३० विअअसह तुवं ३-३८ विचिणिज्जइ सव्वदो २-६ विच्छिण्णमज्झा वि १-४९ विज्जाबलेण च्चिअ १-३८ विण्हीसरे विक्खसु १-३३ विदलिअकरिदंत ३-३६ विदिओ सि मए २-६३ विविहा जुउहाण २-३४ विसट्ठकंदोट्ट १-१६ विसजेहि विहो २-९ विसिहा वि सिहा २-३१ विहिं विवाहस्स १-४५ वुटुंतेउरणारीहिं ४-४३ सअलभुवण २-६७ संभोअसिंगार १-३ सचेदणाण णो ४-७१
स धणुहविसिहे ३-२२ सप्पिअं तं च दट्टण ४-१९ सप्पेहिं सह वासो ४-६४ समुज्जला णिच्चल १-५० समो उसाणिरुद्धाणं ४-२९ समो जं पहवो जं च ४-६७ सल्लं समुक्खाणिअ १-११।। स विसाअभरो २-७ सव्वस्स वि सगोत्तेसु ४-६३ ससवहपहलाअ ३-४८ स हि दिप्पइ विप्प २-१२ सावज्जा होइ विज्जा वि ४-३१ साहिच्चसंताण १-५ साहु बाणसुए साहु ४-३० सिंगारजोणिस्स १-४८ सिविणे दणुअस्स २-१० सुज्जपाअसमालिद्धा ४-३३ सुण पुण वुस ३-९ सुभडाण वि विड्डिरिल्लए २-४३ सुरणरभुअएसु ३-४१ सुसिलिट्ठगरि? २-२५ हरपुंखिअपण्णअत्थदो २-३९ हरिपेरिअवारुणत्थअ २-४२ हरिसिट्ठसमीरण २-३८ हरि सोण्हासुओ च्चेअ ४-३६ हरिसुग्गअतिक्ख २-२७ हाहा हदाए मह १-७४
★★★

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GLOSSARY
This Glossary gives a short list of words from the Text of Usān iruddham. Some of the pronominal and verbal forms too are included. The list is illustrative and not exhaustive; and it is prepared mainly to serve the interest of the student of Prākrit vocabulary. Emendations proposed by the editor are put in the square brackets; and those given in the round brackets are mere suggestions on the actual readings in the foot-notes. In some cases where the Sanskrit equivalent is too much independent of the Chāyā, I have put a question mark. अणुविज्झं = अनुविद्धम्, iii. 18. कट्टई [कड्डइ] = कर्षति, iv. 34. अम्मक = अस्मादृश, iv. 23.
कट्ठेइ [कड्डेइ] = कर्षति, i. 41. अस्सेस = आश्लेष, iv. 37.
कड्डअ (कंडअ) [कंटअ] = कण्टक, ii. 12. अहके = अहम्, iii. 7.
कमणि = कमनीय, iv. 79. अंदेउर = अन्तःपुर, iii. 21.
कम्मुक = कार्मुक. ii. 30, 46. अंभो [हंभो], i. 49.
कंढ [कंठ] = कण्ठ, iv. 10. आअक्ख = आचक्ष्व i. 24.
कालण = कारण, i. 74. आसुअ = आशुग, ii. 41.
किं दु = किं तु, ii. 9. इअ आइअ तं] = इति ताम्, i. 39. कोडिद = क्रीडित, iii. 28. इरं = चिरम्, i. 64.
कुअंड = कोदण्ड, i. 48. इसि = ईषत्, ii. 23.
कुणम्ह = कुर्मः iii. 26. इंध [चिंध] = चिह्न, i. 59. ii. 14. कुमर = कुमार, ii. 9. उवगदुअ = उपगम्य, iii. 24.
कुमरी = कुमारी, i. 77. उवणिसअक्खर = उपनिषदक्षर, iii. 27. । कुहा = क्रुधा, ii. 26. उसद्धअ [वुसद्धअ] - वृषध्वज, iii. 40. कोड [कोड्ड] = कौतूहल [कौतुक], iv. 41. कअंद = कृतान्त, i.31.
को क्को [को को] = कः कः, i. 66..

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GLOSSARY
141
खंभइ = स्तम्भते, iv. 24.
तारिक्ख = तादृक्ष, iv. 20. खेत्तूण = क्षिप्त्वा 1.72.
तिहि = त्रिभिः, iii. 33. गण्हइ = गृह्मति, ii. 48.
तुअरंतो = त्वरमाणः, ii. 46. गण्ह = ग्रह, iv. 11.
तुवं = त्वम्, iii. 39. गदूण (गंदूण) [गंतूण] = गत्वा, i. 59. थविअ = स्तुत्वा, iii. 26. घेण्ह [गेण्ह] = ग्रह, iv. 8.
दच्च [देच्च] = दैत्य, i. 38. 63. छिणइ = छिनत्ति (?), iii. 22.
| दज्जामि (दज्झामि) [डज्झामि] = दह्ये, i. 27. जईअ = यदीय, iv. 76.
दव्व [देव्व] = दैव, i. 20, 74. जप्पइ [जंपइ] = जल्पति, i. 45. ii. 57. दहइ = दहति, iii. 41. जल = जड, ii. 58.
दहरह = दशरथ, iii. 35. जसोहि = यशोभिः, i.9.
दुईअ = द्वितीय, iii. 36. जहि = जहि, ii. 13.
दुकूल - दुकूल, i. 26. जहीदो (जहिंदो) [जहितो] = यस्मात्, i. 10.! दुवअं दयम्, iv. 67. जिग्धंतो = जिघ्रन्, iii. 61.
दुहिदु -- दुहित, iii. 60. जीआ = ज्या, iii. 22
दे = ते, ii. 13. जुअच्चामि [जुउच्छामि] = जुगुप्सामि, देण = तेन, i. 55.
i. 75.1 दोहि = दोभिः , iii.9. जुग्ग = युग्म, iii. 49.
धीर = धैर्य, i. 23. जुम्म = युग्म, iii. 49.
धेर = धैर्य, i. 27. जुवर = ज्वर, ii. 52, 53.
पअच्छदि = प्रयच्छति, iv. 32. जुहि = युधि, ii. 34, 45,47.
पअवि = प्रजवि, iii. 2. डुलंकिद = वञ्चित (?), iii. 33.
पइदि = प्रकृति, iv. 78. ढज्जमाणो [डज्झमाणो] = दह्यमानः, i. 62. पट्ठइ = प्रस्थितः [प्रतिष्ठति] iii. 61. णिइट्ट = निकृष्ट, iv. 69.
पडिघ = प्रतिघ, iii. 6. णिप्फडिक्कियं = निष्प्रतिक्रियम्, ii. 43. पडिट्ठइ = प्रतिष्ठति, iv. 5. णिरुवाहि = निरुपाधि, i. 26.
पडिट्ठा = प्रतिष्ठा, i. 3. णिसाअं = निशायाम्, i. 16.
पदुम = पद्म, iii. 25. णुण्ण = नुन्न, iii. 19.
पम्म = पद्य, iv. 68. णेक्क = नैक, ii. 46.
परप्पर = परस्पर, 1.58. णेत्थ [नेत्त] = नेत्र, iv. 56.
परित्तअंतो [परिच्चअंतो] = परित्यजन्, i. 19. तप्परिज्ज = तात्पर्य, iii. 27.
परिखुद = परिवृत, iii. 62. तरंआ [तरट्टी] = विदग्धा, i. 28. | पसिअ = प्रसीद, iii. 50.

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पसिद = प्रसृत, ii. 39. पस्स = स्पर्श, iii. 35. पहलाअ, पहलाद = प्रह्लाद, iii. 48, 52. पहा = पथा, i. 66. पाउड = प्राकृत, i. 6. पुष्प [पुप्फ] = पुष्प, i. 44. पुरइ [फुरइ] = स्फुरति, iv. 81. पुलंती = प्रलोकयन्ती, i. 34. पोड्ड = प्रौढ, i. 43. पोम्म = पद्म, iv. 30. पोरत्थ = पौरस्त्य, i. 55. बलामोडि = बलादामोट्य (?), iv. 50. भणाइ = भणति, i. 36. भणादि = भणति, i. 28. भुणंति = भुञ्जते, iii. 10. भुवि = भुवि, iii. 21. मअ = मृग,. iii. 45. मणोज्ज = मनोज्ञ, i. 35. मद्ध [मज्झ] = मध्य, i. 49. मम्मह = मन्मथ, iv. 15. मरंद = म(क)रन्द, i. 20. मलण = मरण, i. 67. महुव्वरी = मधुव्रती, i. 20. मिह = मेघ, iii. 36. मुणिज्जणिज्जो = ज्ञातव्यः, iii. 27. मुवा = मुदा, ii. 40. मोह = मयूख, ii. 2. रणंकण = रणाङ्गण, ii. 56. लुअ = लून, iii. 35, 53. लुक्कअ = लून, ii. 48. लुणइ = लुनाति, iii. 20. वच्छल [वच्छअ] = वत्स, ii. 1.
वणस्थलीअं = वनस्थल्याम्, i. 14. विअलो [विहलो] = विह्वलः, ii. 50. विजिअ = विजित्य, iii. 12. विवराहीदो (-हिंदो?) = विवरहितो, iv. 13. विसुमरिअं = विस्मृतम्, iii. 11. विस्सेस = विश्लेष, i. 58. वेउंढ [ वेउंठ] = वैकुण्ठ, i. 12. वेहवीअरे = वैधव्यकरान् (?). ii. 35. सच्चरण [छच्चरण] = षट्चरण, iv. 75. सत्ताइ [सत्थाइ] = शस्त्राणि, i. 71. समुक्खाणइ = समुत्खनति, ii. 55. समुद्धअ = समुद्धत, iii. 4. सम्मलि = शाल्मलि, iii. 3. सम्हरामो = संस्मरामः, iii. 31. संघिद = संहित, ii. 35. संदाव = संताप, i. 24. संधा [संझा] = सन्ध्या, i. 4. संवुद = संवृत, ii. 15. साहं = सार्धम्, iii. 61. सिहिणि = शिखिनि, iii. 41. सुअअं = स्वयम्, ii. 33. सुत्थिअ = सुस्थित, iv. 82. सूवइ - श्रूयते, i. 61. सोउमारं = सौकुमार्यम्, i. 63. सोण्हा = स्नुषा, ii. 11... हत्त [हत्थ] = हस्त, iv. 48. हम्मिअ = हh, iv. 12. हिडिअ [फिडिअ] = भ्रंशित, i. 20. हिज्जइ = हीयते, iv. 63.

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Select Bibliography
A Classical Dictionary of Hindu Mythology, Religion, etc. by Dowson, Kigan Paul Ltd., London, 1950.
A Sanskrit - English Dictionary by Sir Monier Monier - Williams, Motilal Banarsidass, Bungalow Road, Jawahar Nagar, Delhi, 1963.
Deśī —Śabda – Sangraha by Pt. Bechardas Jivraj Doshi, University Book Production Board, Gujarat State, Ahmedabad - 380006.
Pāia - Sadda - Mahaņņavo by Pt. Hargovind Das Sheth, Prakrit Text Society, Varanasi, 1963.
Rāma Pāṇivāda's Usāniruddham Cantos I & II - Ed. by Prof. V. K. Rahurkar, Continental Book Sellers and Publishers, Poona - 2.
The Students Sanskrit - English Dictionary by V. S. Apte, Motilal Banarasidass, Jawahar Nagar, Bungalow Road, Delhi, 1965.
7.
Usāniruddhaṁ - ed. by Pt. S. Subrahmanya and Dr. C. Kunhan Raja.

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Usāniruddham - by Professor A. N. Upadhye, M.A., D. Litt., Reprint from the Journal of the University of Bombay, Vol. X, Part - 2, September, 1941.
Usāniruddham (Cantos 1 and 2) ed by Prof. N. V. Vaidya, Fergussion College, Poona-4, 1954.

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શારદાબેન ચીમનભાઈ ઍજ્યુકેશનલ રિસર્ચ સેન્ટરનાં પ્રકાશનો 1. Catalogue of the Compiler : Late Muni રૂ. 1600/ Manuscripts of Sri Punyavijayji z iyel Hall Patana Jain Bhandara Editor : Muni (ત્રણ ગ્રંથોના ચાર Part-1, 2, 3, 4 Jambuvijayaji ભાગમાં) 4. पातञ्जल योगदर्शन तथा सं० प्रज्ञाचक्षु विद्वद्वर्य हारिभद्री योगविशिका श्रीमान् सुखलालजी રૂ. 120/5. A Treasury of Jain Editor : Tales V. M. Kulkarni રૂ. 20O/6. અમદાવાદની સં. રમણલાલ નામહેતા ચૈત્યપરિપાટીઓ કનુભાઈ વ્રશેઠ રૂ. 30/7. ન્યાયાવતાર સૂત્ર વિવેચક : પં. શ્રી સુખલાલ સંઘવી રૂ. 25/8. પ્રાચીન ગુજરાતના સાંસ્કૃતિક ઇતિહાસની સાધન સામગ્રી મુનિ શ્રી જિનવિજયજી રૂ. 40/9. चन्द्रलेखाविजयप्रकरणम् सं. पं० प्रद्युम्नविजय गणि રૂ. 50/10. નયકર્ણિકા વિનયવિજય ઉપાધ્યાયજી રૂ. 25/11. Usaniruddham Editor : V. M. Kulkarni રૂ. 70/12. ઘર્ષરત્નવિUgવી સં. પં. મુનિચન્દ્રવિજય ગણિ રૂ. 250/13. ધર્મબીજ મુનિ શ્રીતત્ત્વાનંદવિજયજી રૂ. 30/