Usaniruddham

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

Page #1
rAmapANivAya virayaM usANiruddhaM Ramapanivada's Usaniruddham EDITOR V. M. KULKARNI PUBLISHER. SHARADABEN CHIMANBHAI EDUCATIONAL RESEARCH CENTRE AHMEDABAD-380 004 .

Page #2
Shree Shwetambar Murtipujak Jain Boarding (Ahmedabad) Series Vol.11 RAMAPANIVADA'S Usaniruddham 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

Page #3
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

Page #4
Foreword We take great pleasure in publishing Rampanivada's Usaniruddham in the Shwetambar Murtee Pujak Jaina Boarding Series of the Sharadaben Chimanbhai Educational Research Centre, Ahmedabad. The original text by Ramapanivada has been here edited by Prof. V. M. Kulkarni, a renowned scholar in the field of Prakrit studies. Usaniruddham 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

Page #5
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 Prakrit of the Poem 7. Metres In The Poem 8. Style, Etc., of the Poem 9. uSANiruddhaM Text and Chhaya 10. Translation (VMK) 11. Mythological Notes (VMK) 12. FST 37- 13. Glossary (ANU) 14. Select Bibliography (VMK) 8-19 81-126 127 135 140 143

Page #6
Dedicated to the memory Professor A. N. Upadhye

Page #7

Page #8
Preface Decades ago I taught this Prakrit Kavya Usaniruddham 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 Prakrit Kavya. However as I was pre-occupied with my studies in Alamkara Sastra 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 Prakrit 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 Usaniruddham 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

Page #9
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

Page #10
INTRODUCTION 1. CRITICAL APPARATUS The text of Usaniruddham, 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 Prakritise the Sanskrit Chaya. The Ms. in the Madras Library, I am informed, is in Devanagari characters; and it is evident from the transcript

Page #11
USANIRUDDHA 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 Malayalam characters. The transcript contains the Prakrit text as well as the Sanskrit Chaya of Usaniruddham. In fact the Chaya is written first in two or four lines according to the metres,and then comes the Prakrit text. This reverse order that the Sanskrit Chaya precedes the Prakrit 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 Prakrit 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 Kavya 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 Chaya 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

Page #12
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 Bhagavata 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 Bhagavata 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 Chaya 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 Chaya of ii. 58, there follow three lines and a half from the Chaya of iii. 60, and then we have ii. 58. Thus it is plain that the major portion of the Chaya of ii. 58 is lost altogether. Thereafter we have the following verses from Canto Three in the order shown below : Chaya-iii. 61 (Chaya has lost one line); Chaya-iii. 59; only a few words of the Chaya-iii. 60; only Chaya of iii. 58; c& d of the Chaya of iii.55; iii. 58; Chaya-iii. 56; a & b of iii. 57; blank space; only Chaya of iii. 53; Chaya-iii. 54; Chaya-iii. 51; iii. 55; Chaya-iii. 52; only Chaya of iii. 49; iii. 53; Chaya-iii. 50; blank space; mutilated Chaya of iii. 47; iii. 51; Chaya-iii. 48; blank space; iii. 49

Page #13
12 USANIRUDDHA mutilated; Chaya-iii; mutilated Chaya of iii. 47,43; iii. 47; Chaya-iii. 44; Chaya-iii. 45; Chaya-iii. 42; Chaya-iii.43; Chaya-iii. 40; Chaya-iii. 41; Chaya-iii. 38; only Chaya of ini. 39; only Chaya of iii. 36; iii. 39; Chaya-iii. 37; a & b of iii. 38; Chaya of iii. 34; blank space; Chaya-iii. 35; Chaya-iii. 32; Chaya-iii. 36; Chaya-iii. 33; only Chaya of iii. 30; blank space; Chaya-iii. 34; Chaya-iii. 31; only Chaya 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 Prakrit 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 Usaniruddhani are closely related with each other; and having edited the first, I thought that I should place this work also before the students of Prakrit literature at an early date. In the Prakrit text the Ms. uses ! for I almost uniformly; sometimes s and n are preserved; anusvara and para-savarna are indiscriminately ued; and m is retained at the end of a pada. I have corrected s and n, but preserved only in the

Page #14
INTRODUCTION 13 foot-notes. I have used anusvara 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 Prakrit grammars. (ii) Usually the Present 3rd p. sing. termination i is shown long at the end of a pada; 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, bhaddasa for bhaddassa; at times an anusvara is compensated by a long vowel, for instance, sigara for simgara; many a time an anusvara and the doubling of the following consonant are freely interchanged, for instance, jimse for jisse and laakkuranam for laanikuranam. These points I have corrected in the light of the Sanskrit Chaya and the illustrations recorded by PISCHEL in his Grammatik der Prakrit-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 Prakrit 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

Page #15
14 USANIRUDDHA 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 nd, ndh, nd usually against the rules of Prakrit 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 na, 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 Prakrit 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 Prakrit and to the rules laid down by Prakrit 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 Chaya, in view of the metrical necessities, in

Page #16
INTRODUCTION 15 the light of the illustrations noted by PISCHEL's Grammatik and after taking into account similar cases from Kamsavaho 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 Malayalam, as I have suggested) through which the original Ms. has been handed down. My changes of l to d, ndh to nth, 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

Page #17
16 USANIRUDDHA of the help given by the Chaya 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 Usaairuddham and therefore we have no definite evidence at all about the authorship of the poem. M. KRISHNAMACHARIAR 4 plainly attributes the composition of Usaniruddham and Kassavaho to Rama Panivada, but he adduces no specific evidence. Mahakavi Ullur S. Paramesvara AIYAR, Trivandrum, also informs me that Rama Panivada is the author of these two Prakrit works. It is on the authority of the opinion of these two scholars I included Usaniruddham among the works of Rama Panivada." As long as there is no evidence to the contrary we may assume that Rama Panivada 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 asmadsia (U. iv. 23, K.i.37) ahake for aham (U.iii.7, K.ii.6), amkana for angana (U.ii.56, K.ii.38) kamani for kamaniya (U.iv.79, K.ii.19), kuamada for kodanda (U.i.48, K.1.57); compare forms like vanatthaliam (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 Prakrit language is much alike in both the works. These common points by themselves do not

Page #18
INTRODUCTION prove common authorship : at the most they might indicate mutual or common influence. To assert Rama Panivada'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 Rama Panivada's authorship definitely, then we might assign this work to the middle of the 18th century A.D. If Rama Panivada is accepted as the author of Usaniruddham 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 Rama Panivada 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 Usaniruddhan the author offers an apologetic explanation about his composition in Prakrit; 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 Gopis, who are separated

Page #19
18 from Krsna and reminded of their past pleasures, the author shows a good deal of restraint; the devotion towards Krsna 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 Usaniruddham 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 Isvara-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, Kesin and other Daityas were destroyed by him. Kamsa was a thorn to the earth: Krsna 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

Page #20
INTRODUCTION 19 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 Isvara. His handsome figure was once seen in the dream by Usa, the daughter of Bana. 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, Citralekha, 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 Usa 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). Citralekha assured Usa 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). Usa saw Kssna impatiently, Pradyumna she viewed with an eye of attachment, and when she glanced at Aniruddha, she was horripilated and felt bashful. Detecting her attachment, Citralekha 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). Citralekha appreciated her choice, came to Krsnapura, saw the handsome prince asleep at night,

Page #21
20 USANIRUDDHA miraculously carried him to the town of Sonita, and conveyed him to the apartment of Usa 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, Citralekha 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, Citralekha introduced Usa to him as the daughter of Bana and as a present sent to him by the god of love. Citralekha 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 Usa 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 Bana who, trembling with rage and burning with anger, rushed to the room of Usa (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

Page #22
INTRODUCTION 21 himself with his Gada 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 Pannagastra or Serpent-missile. When he was imprisoned, Usa wept bitterly over her sad lot, cursing herself that she became the cause of his imprisonment. Citralekha 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 Narada of flashing personality coming to Dvaravati; 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). Narada smiled at Kssna's words and consoled them all by informing them that the prince was alive but was imprisoned by that wicked Bana, the son of Bali, to whose daughter's apartment he was miraculously carried (ii.8-11). With Mahesvara at his gate, Bana, who is a bane to the Vipras, is invincible; so Narada requested Krsna to crush him and rescue Aniruddha. Krsna was enranged and marched surrounded by his army and led by Balarama (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

Page #23
22 USANIRUDDHA reached Bali's metropolis; and the town of sonita 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 Yadavas (ii.22-9). There ensued a terrific battle between Pradyumna and Kartikeya (ii.30-2). Bana came to the field of action, but his arrows were soon overpowered by those of the enemy (ii.33-4). Isvara occupied himself in a severe arrow-to-arrow fight against Janardana, 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 Isvara's eyes consumed the Water-missile of Kesna who then discharged his Swoon-missile that brought a temporary faint on Isvara and made all his followers flee from the field (ii.35-44). Finding that his elephant was crushed by Balarama, Bana rushed against Krsna but had his weapons destroyed one after the other and was made delirious. Kotravi, the mother of Bana, intervened; so Krsna had to return, and Bana went home (ii.45-51). When Isvara 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 isvara's Fever was overpowered by that of Klsna. With all

Page #24
INTRODUCTION 23 humility Isvara's Fever offered prayer and submission to Kssna who was pleased and consequently recalled his Fever.]6 Once more Bana, who appeared with his thousand arms like a salmali tree, marched proudly to the battle field in his invincible and splendid chariot and challenged the strength of Kssna by announcing the power and the achievements of his arms and the boon obtained by him from isvara. 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 isvara and to the sensation of all the Pramathas there ensued a rigorous fight between Bana and Kssna. The war-trumpets of Yadavas and the twang of Kssna's bow filled the whole firmament. To the jubilation of gods, Krsna cut off the arms of Bana and the fingers thereof looked like serpents on the ground of a sandal grove (iii.1623). Seeing his devotee disabled thus, isvara intervened and appealed to Krsna's kindness to take pity on Bana who was already defeated. He praised Krsna's merits and achievements, though really indescribable, in glowing terms referring to his Avataras (Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, Rama and Krsna) and his outstanding feats therein (iii.24-36). Further he lavishly complimented Kssna for his loving personality, universal greatness and divine grace (iii.37-9). Krsna was pleased and requested isvara. to praise him no more, inasmuch as every one recedes into insignificance when compared with the greatness of isvara. Krsna offered salutations to isvara 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). Krsna expressed his surprise how Isvara could stay at the gate of Bana leaving his mountain-residence. He announced that he did not intend to kill Bana but wanted to smash his vanity; and he would allow him to thrive with two arms only (iii.45-8). Then Bana, with folded hands, offered a glorificatory prayer to Krsna and sought his gracious shelter like Prahlada he also deserved Krsna's favour, because now wisdom had dawned on him (iii.49-53). Then Bana declared that he had given Usa 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 Krsna's presence, and requested Krsna to greet his grandson with the spouse. Bana once more saluted Krsna, embraced the couple with affectionate tears and returned to his residence (III.54-60). Krsna 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). USANIRUDDHA The return of Krsna 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 Usa 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 Usa 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 Rama 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 Sutradhara 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 Utpreksas based on the physical and mythological details about the moon (iv.52-80). Aniruddha and Usa spent many a happy night in various sports. In conclusion, the author expresses his pious wish that Visnu-Krsna might bestow happiness on all (iv.81-2). 5. THE SOURCE, FORM, ETC., OF THE STORY The story about the marriage of Usa and Aniruddha is found in some of the Puranas like Bhagavata, Harivamsa, Padmapurana, Visnupurana, etc. The first two sources, namely

Page #27
26 Bhagavata X.62-3 and Harivamsa II.116-28 practically cover all the events incorporated in the poem Usaniruddham. A close comparision of the narration of events in this poem with the versions of Bhaga. 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 Kottara) 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 Usa.i.16-75: the two sections exactly correspond with each other. The opening setting (Usa.i.1-16), the dramatic and dainty addresses in the mouth of Citralekha in response to the observations of Usa and Aniruddha (Usa.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 (Usa.ii.1-8), the picture of Bana marching to the battle field and his conversation with Krsna (Usa.iii. 3-19), description of the Avataras (Usa.iii.29 etc.), Krsna's compliments to Isvara (Usa.iii.40-6), glorification of Krsna by Bana (Usa.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 Usa and Aniruddha entered into Dvaravati (Usa.iv.1-42); then we have an elaborate description of the amorous pleasures of the married couple (Usa.iv.46-52); and lastly there are the reflections of the prince on the rising moon addressed to Usa (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 USANIRUDDHA

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 Narada, the march of Krsna's army, the description of the Avataras, 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 Kalidasa, Bharavi and Magha. From some common ideas in the opening portion I thought that our author is influenced by Rajasekhara, but the common points are very few. 6. ANTECEDENTS OF THE PRAKRIT OF THE POEM We can now accept Kanisavaho and Usaniruddham as the typical and representative specimens of Prakrit composition belonging to the last period of the history of Prakrit literature. Prakrit 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. Prakrit portions in the Ancient Indian drama, or the socalled Sanskrit dramas, form an important tract of Prakrit literature. Whatever may be the significance of the convention of introducing the Prakrit 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 Prakrits 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

Page #29
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 Chaya; 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 USANIRUDDHA The treatises on dramatic theory have unquestionably recognised the use of Prakrits; and the earliest known text, Bharatiya Natyasastra, 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 Asvaghosa, Bhasa has used Prakrits in all his plays excepting Dutavakya. Major portion of Mrcchakatikam is in Prakrit. All the three plays of Kalidasa have Prakrits, and there are some Apabhramsa verses in the fourth act of Vikramorvasiyam. Later play-wrights like Harsa, Bhavabhuti, Visakhadatta, Bhatta Narayana and others have used Prakrits; but one suspects that with most of the successors of Kalidasa 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 Rajasekharas, 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 Mahanataka or Hanumannataka, 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 Chaya 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 Chaya 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 Usaniruddham 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 Rama Panivada mainly follows Vararuci's Sutras, especially the first nine chapters, with the

Page #31
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 Usaniruddham, 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 Chaya, but the Chaya is written first and then follow the Prakrit verses. It is not unlikely if this Chaya also belongs to the author himself. Authors like Rama Panivada were themselves play-wrights and therefore required the study of Prakrits. 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 Usaniruddham and they are arranged here according to English alphabets : Anustubh (72) iv. 1-72; Drutavilambita (1) iii. 62; Harini (1) iv. 81; Malini (1) iv. 78; Manjubhasini (1) iii.63; Prthvi (1) iv. 80; Puspitagra (61) i. 77, iii. 1-60; Sardulavikridita (2) iv. USANIRUDDHA

Page #32
INTRODUCTION 31 73,82; Sragdhara (1) iii. 61; Upajati (76) i. 1-76; Vasantatilaka (5) iv. 74-7,79; Viyogini, also called Vaitaliya or Sundari (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 Arya is used here, though it is the predominant Prakrit metre in early literature 8. STYLE, ETC., OF THE POEM Usaniruddham, like Kansavaho, belongs to the class of Kavyas or ornate poems. The author is not satisfied with the mere narration of events in the manner of epic Puranas, 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 Usa and the consoling words of skilful Citralekha 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 Usa 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

Page #33
32 USANIRUDDHA 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. Rama Panivada's Kamsavaho, published by Hindi Grantha Ratnakara Karyalaya, 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 Bhagavata 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 Svapnavasavadattam, published by R.V. Hirekerur, Poona, 1938. 9. Hillebrandt has already complained against some of these tendencies in his Preface to Mudraraksasa, 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 Puspitagra verses in the Third Canto. 15. See for instance iii. 61 a, iv. 73 a. 81 c, etc.

Page #34
usANiruddhaM paDhamo saggo bhadassara vo bhatti - guNalliANaM bhavejja NiccaM bhaavaM gaNeso / dANeNa jo pINai mANasAI vaNIvaANaM va mahuvvaANaM // 1 // abodha - NiddA- vihalo vi loo jissera pasAe sai saMpabuddhA / sacchaMdado bajjhai kavva-guMphaM cittammi No bhAu bhAraI sA // 2 // saMbhoa - siMgAra-rasa-ppaDi saaM va saMbhAvia daMsaaMtaM / eka gatte ThiamekkabhAvaM jaM kiM pi divvaM mihuNaM NamAmi ||3|| uSAniruddhakAvyasyAjJAtapraNetRkA saMskRtacchAyA [ prathamaH sargaH ] bhadrAya vo bhaktiguNAzritAnAM bhavennityaM bhagavAn gaNezaH / dAnena yaH prINayati mAnasAni vanIpakAnAmiva madhuvratAnAm // // 1 // abodhanidrAvihvalospi loko yasyAH prasAde sati saMprabuddhaH / svacchandato badhnAti kAvyagumphaM citte no bhAsatAM bhAratI sA // 2 // sambhogazRGgArarasapratiSThAM svayamiva saMbhAvya darzayat / ekasmin gAtre sthitamekabhAvaM yatkimapi divyaM mithunaM namAmi // 3 // (1) The transcript opens thus : zrIH // uSAniruddhaM kAvyam // hariH zrIgaNapataye namaH / avighno bhavatu / hariH sirigaNavaiNo Namo avidhyo ho | (2) bhaddAsa. (4) savvabuddho. (3) jise. (6) ekammi. (5) bhAsai.

Page #35
usANiruddhaM bhijjata-deccida-bhuaMtarANaM salohiA jassa NahANa sohA / saMjJANuliddhaM parihoi joNhaM sa No maNo vaccau maccasIho // 4 // sAhicca-saMtANa-laaMkurANaM bIAi kAruNNa-jalukkhiAI10 / gurUNa pAaMbua'cuMbiAI sAi sIseNa samupphusAmi // 5 // atthAvabohammi2 pahANabhUde goNattaNeNovaaraMti saddA / de sakkaA vA uNa pAuDA vA buhANa ko tattha13 visesa-saMgo // 6 // Na maccharo hossai mArisesu mahAmaINaM mau-paJaesu / NataesuM NavaraM ghaNesu Nati sIhA Na u dadduresu // 7 // bhidyamAnadaityendrabhujAntarANAM salohitA yasya nakhAnAM zobhA / saMdhyAnuspRSTAM paribhavati jyotsnAM sa no mano vrajatu martyasiMhaH // 4 // sAhityasantAnalatAGkarANAM bIjAni kAruNyajalokSitAni / gurUNAM pAdAmbujacumbitAni rajAMsi zIrSeNa saMspRzAmi // 5 // arthAvabodhe pradhAnabhUte gauNatvenopacaranti zabdAH / te saMskRtA vA punaH prAkRtA vA budhAnAM kastatra vizeSasaGgaH // 6 // na matsaro bhaviSyati mAdRzeSu mahAmatInAM mRduprajJeSu / nardatsu kevalaM ghaneSu nardanti siMhA na tu daduraSu // 7 // (7) deccIta. (10) jalakkhiAI. (13) taMta (tatta?). (8) saMdhANuliddhaM. (11) pAaMmua. (9) laakkurANaM. (12) atthovabohaMmi.

Page #36
paDhamo saggo 4 usANiruddhaM ti mae NibaddhaM jaM kiM pi kavvaM jadugAha devvaM / sudaM suNatANa vi ja Na tattI jahiM khu vaNijjai vAsudevo // 8 // jadussa vaMse jalahi- ppahUde jaaNNivAso jaNiUNa devo / jasohi johA-dhavalehi loe jaNer3a caMdo vva mahappase ||9|| palaMba - kesi - ppamuhA 15 jahiMto 16 lahaMti deccida-bhaDA" viNAsaM / duvvAra - teo-bhara- dUsahAdo mahaMdhaArA via bhakkharAdo // 10 // salaM samukkha Nia meiNIe kaMsAbhihaM kiMcaNa sAnubaMdhaM / smmeNa dhammosahi-levaNeNa karei tisse vaNa- rovaNaM jo // 11 // uSAniruddhamiti mayA nibaddhaM yatkimapi kAvyaM yadunAthadaivam / zrutaM zRNvatAmapi yanna tRptiryasmin khalu varNyate vAsudevaH // 8 // yadorvaMze jaladhiprabhUte jagannivAso janitvA devaH / yazobhirjyotsnAdhavalairlokAnajanayaccandra iva mahAprakAzAn // 9 // pralambakezipramukhA yasmAdalabhanta daityendrabhaya vinAzam / durvAratejobharaduHsahAt mahAndhakArA iva bhAskarAt // 10 // zalyaM samutkhAya medinyAH kaMsAbhidhaM kiJcana sAnubandham / ramyeNa dharmoSadhilepanenAkarottasyA vraNaropaNaM yaH // 11 // (14) davvam. (17) daccadabhaDA. (15) ppamukhA. 3 (16) jahIdo (jahiMdo ? ).

Page #37
usANiruddhaM jeNeva8 veuMTha-vioga-dukkhaM viNodaaMteNa va bhUri-sokkhaM / saMpAiANaMta-suvaNNa-sohaM NimmAvi dhAma samudda-majjhe // 12 // amaMda-suMdera-guNAbhirAmA kuaMDa-laTThi vva maNobhavassa / viabbha-rAassa suA miacchI hatthe kaA jeNa arummiNI sA // 13 // tAaM ca mAA-maNuo taNUaM pajjuNNa-saNNaM jaNaei so 'aM // samattha-saMtosaaro vasaMto cUdappavAlaM19 va vaNasthalIaM // 14 // piNAiNA loaNa-vIihotte huassa puvvaM kusumAuhassa / bIo bhavo so ramaNo raIe taA 'NiruddhaM taNa lahei // 15 // yenaiva vaikuNThaviyogaduHkhaM vinodayateva bhUrisaukhyam / saMpAditAnantasuvarNasaudhaM nirmitaM dhAma samudramadhye // 12 // amandasaundaryaguNAbhirAmA kodaNDayaSTiriva manobhavasya / vidarbharAjasya sutA mRgAkSI haste kRtA yena ca rukmiNI sA // 13 / / tasyAM ca mAyAmanujastanUjaM pradyumnasaMjJamajanayat so'yam / samastasaMtoSakaro vasantazcUtapravAlamiva vanasthalyAm // 14 // pinAkinA locanavItihotre hutasya pUrvaM kusumAyudhasya / dvitIyo bhavaH sa ramaNo ratestadA'niruddhaM tanayamalabhata // 15 // (18) jeNa vva veuMDha. (19) cUtappavAlaM.

Page #38
paDhamo saggo visaTTa-kadoTTa-visAla-Netto sa tuMga-caMgo ghaNa-sAmalaMgo / usa tti bANassa kumAriAe kaA vi diTTho siviNe NisAaM // 16 // bAhAhi sAhAhi va gheppamANA0 thaNehi gucchehi va pIDaaMtI / laaM vva sA bAla-rasAla-rukkhaM sigdhaM tamArligai sANurAaM // 17 // tado pabuddhA sahasa vva muddhA maNo-piaM bAlamavikkhamANA / ciraM pasANA saaNe luDhaMtI21 bhisaM visaNNA vilavei kaNNA // 18 // kahiM si hA suMdara maMda-bhaggaM pariccaaMto22 paNaAulaM23 maM / muhaMbuaM tujjha mae khaNaddhaM diTuM hariccaMdauraM va NaTuM // 19 // vikasitendIvaravizAlanetraH sa tRGgasaundaryo ghanazyAmalAGgaH / uSeti bANasya kumArikayA kadA'pi dRSTaH svapne nizAyAm // 16 // bAhAbhyAM zAkhAbhyAmiva gRhNatI stanAbhyAM gucchAbhyAmiva pIDayantI / lateva sA bAlarasAlavRkSaM zIghraM tamAliGgat sAnurAgam // 17 // tataH prabuddhA sahasaiva mugdhA manaH priyaM bAlamavIkSamANA / ciraM praruditA zayane luThantI bhRzaM viSaNNA vyalapat kanyA // 18 // kvAsi hA sundara mandabhAgyAM parityajan praNayAkulAM mAm / mukhAmbujaM tava mayA kSaNArdhaM dRSTaM harizcandrapuramiva naSTam // 19 // (20) dhovvamANA. (23) paNaNAalaM. (21) luThaMtI. (22) parittaaMto.

Page #39
usANiruddhaM bibAharAsAa-suhaM kahaM pi laddhaM mae de khaNamUsuAe / devveNa sajjo phiDiaM ca24 tamhA maraMda-pANaM va mahuvvarIe // 20 // mA lajja muddhaM muha-caMda-biMbaM suhaM puloemi25 suloaNe de / itthaM piaM bhAsia vaMcaaMto kahiM tuvaM NigghiNa Niggado si // 21 // evvaM bhaNaMtiM bahuso ruvaMtiM ghettUNa bANassa suaM karehi / tisse26 sahI roaNa-kAraNaM sA kuMbhaMDaA pucchai cittalehA // 22 // aho asaMbaddha-palAva-sIle kaNNA si ko saMpai vallaho de / use kimummAa-vasaM gaA si mA cAvalaM jaMpa lahehi dhIraM // 23 // bimbAdharAsvAdasukhaM kathamapi labdhaM mayA te kSaNamutsukayA / daivena sadyo bhraMzitaM ca tat hA marandapAnamiva madhuvratyA // 20 // mA lajjasva mugdhaM mukhacandrabimbaM sukhaM pralokayAmi sulocane te / itthaM priyaM bhASitvA vaJcayan kathaM tvaM nighRNa nirgato'si // 21 // evaM bhaNantI bahuzo rudatI gRhItvA bANasya sutAM karAbhyAm / tasyAH sakhI rodanakAraNaM sA kumbhANDajA'pRcchaccitralekhA // 22 // aho asaMbaddhapralApazIle kanyA'si kaH saMprati vallabhaste / uSe kimunmAdavazaM gatA'si mA cApalaM jalpa labhasva dhairyam // 23 // (24) davveNa sajjo hiDiaM ca. (25) pulogei. (26) kiMse.

Page #40
paDhamo saggo kaM dANi saMdAvaaraM juvANaM saddAvaaMtI rudiaM karesi / Aakkha NaM me siviNaM kimeaM pacchAdaNaM mA kuNa majjha bAle // 24 // idaM tado jaMpa bANa - puttI saccaM bhaNissaM tuha cittale / silAhaNijjo siviNe kumAlo diTTho mae ko vi tamAla-NIlo // 25 // keUra - hAraMgada-kuMDalehiM vibhUsio pIda- dukUla - vAso / suloaNo suMdara - maMda - hAso Nirikkhido so NisvAhirammo // 26 // paMcesuNA vaMcia - citta dheraM seraM samAliMgia maM varAI / adaMsaNaM jhatti gado kaDhoro ujjhAmi to se virahaggiNA 'haM // 27 // kimidAnIM saMtApakaraM yuvAnaM zabdApayantI ruditaM karoSi / AcakSva nanu me svapnaH kimeSa pracchAdanaM mA kuru mama bAle // 24 // idaM tato'jalpadvANaputrI satyaM bhaNiSyAmi te citralekhe / zlAghanIyaH svapne kumAro dRSTo mayA ko'pi tamAlanIlaH // 25 // keyUrahArAGgadakuNDalairvibhUSitaH pItadukUlavAsAH / sulocanaH sundaramandahAso nirIkSitaH sa nirupAdhiramyaH // 26 // paJceSuNA vaJcitacittadhairyAM svairaM samAliGgya mAM varAkIm / adarzanaM jhaTiti gataH kaThoro dahye tato'sya virahAgninA'ham // 27 // (27) dajjAmi.

Page #41
usANiruddhaM aho usAe vaaNaM suNaMtI bhaNAdi kuMbhaMDa-suA taraTTI28 / alaM visAeNa visAla-Nette maNoraho hohii29 de susiddho // 28 // je saMti loattidae javANo NIsesa-sohagga-guNovavaNNA / savve vi de cittavaDe20 lihissaM dakkhejja jeNaM tuhara1 citta-coro // 29 // tado a sA citta-vaDe22 visAle maNosilAdIhi silAhaNijje / Nahoare dANava-mANave a lihei savve pavaNAsaNe a // 30 // aaM maheMdo uNa esa vaNhI eso kaaMdo NiriI khu eso / aaM paedo pavaNo sa eso eso dhaNeso khu aaM maheso // 31 // atho uSAyA vacanaM zrRNvatI abhaNat kumbhANDasutA vidagdhA / alaM viSAdena vizAlanetre manoratho bhaviSyati te susiddhaH // 28 // ye santi lokatritaye yuvAno niHzeSasaubhAgyaguNopapannAH / sarvAnapi tAMzcitrapaTe likhiSyAmi dRzyate yena tava cittacoraH // 29 // tatazca sA citrapaTe vizAle manaHzilAdibhiH zlAghanIyAn / nabhazcarAn dAnavamAnavAMzcAlikhat sarvAn pavanAzanAMzca // 30 // ayaM mahendraH punareSa vahnireSa kRtAnto nitiH khalveSaH / ayaM pracetAH pavanaH sa eSa eSa dhanezaH khalvayaM mahezaH // 31 // (30) cittapaTe. (28) taraMA. (31) dakhkheju jeNattuha. (29) dehii. (32) cittapaTe.

Page #42
paDhamo saggo gaMdhavva-vijjAdhara - jakkha- rakkho-deccAdiNo pekkhasu decca-kaNNe / aNNe vi dhaNNe maNuoragiMde ko de pio dIsai esu ekko // 32 // viNhIsare vikkhasu viNhu-bhatte 4 kaNho khu eso kamaNIa - veso / aaM khu rAmo maaNo sa eso eso khu sohaggamao 'Niruddho // 33 // edesu ko NAma tue tadANiM diTTho jahiTTaM siviNe sujammA / evaM ca NiddIsai cittalehA khaNe khaNe taM kumariM pulaMtI // 34 // diTThammi kaNhe diDha - kouhallA pajjuNNae pamhala - taNha - diTThI 35 / ahANiruddhe pulaaMciA sA lajjA-maNojjaM vaaNaM Namei // 35 // gandharvavidyAdharayakSarakSodaityAdIn pazya daityakanye / anyAnapi dhanyAn manujoragendrAn kiM te priyo dRzyate eSvekaH // 32 // vRSNIzvarAn vIkSasva viSNubhaktAn kRSNaH khalveSa kamanIyaveSaH / ayaM khalu rAmo madanaH sa eSa eSa khalu saubhAgyamayo'niruddhaH // 33 // eteSu ko nAma tvayA tadAnIM dRSTo yatheSTaM svapne sujanmA / evaM ca niradizaccitralekhA kSaNe kSaNe tAM kumArIM pralokayantI ||34|| dRSTe kRSNe dRDhakautUhalA pradyumne pakSmalatRSNadRSTiH / athAniruddhe pulakAJcitA sA lajjAmanojJaM vadanamanamayat // 35 // (33) viNNIsare. (34) viNNabhaMke. (35) taNNadiThThI.

Page #43
10 taM paccabhiNNA - sarasaM muNaMtI bhaNAi kuMbhaMDa- suA hasaMtI | ThANe maNo rajjai diTTiA de kallANi caMdammi va rohiNIe // 36 // gomAliA lagga bAla-cUde balAiA mela NIla - mehe / rajjesu pajjuNNa-sue tuvaM pi samagga-soho sarisANa sago // 37 // vijjA - baleNa cicaa decca kaNNe kaNhassa" pottaM samuvAharissaM / bhiMga va pupphAsava - soraheNa gIa - ppaoeNa va kaNhasAraM // 38 // AsAsaaMtI ia taM kumAriM kuMbhaMDaA41 kaNhauraM pavaNNA / rattimmi suttaM suumAra-gattaM pajjuNNa-puttaM paNihAlaei 42 // 39 // tAM pratyabhijJAsarasAM jAnatImabhaNat kumbhANDasutA hasantI / sthAne mano rajyati diSTyA te kalyANi candre iva rohiNyAH ||36|| navamAlikA lagatu bAlacUte balAkikA milatu nIlameghe / rajyasva pradyumnasute tvamapi samagrazobhaH sadRzayoH saGgaH ||37|| vidyAbalenaiva daityakanye kRSNasya pautraM samupAhariSyAmi / bhRGgamiva puSpAsavasaurabheNa gItaprayogeNeva kRSNasAram // 38 // usANiruddhaM AzvAsayantI iti tAM kumArIM kumbhANDajA kRSNapuraM prapannA / rAtrau suptaM sukumAragAtraM pradyumnaputraM praNyabhAlayat [ dadarzetyarthaH ] // 39 // (36) laggai. (39) kaNNassa. (42) dadarzetyarthaH // (37) meLatu. (40) ia aM. (38) dacakaNNe (41) kuMbhaNNaA.

Page #44
paDhamo saggo ThANe usA kAmai kAmaNijjaM kAmassa puttaM kamalAyadacchI / jaM vA Na lacchI mahusUaNAdo vaMchei aNNaM ia ciMtaaMtI // 40 // maMta - pahAveNa mahA-viaDDhA kaDDei44 NiddA- vihalaMgaaM taM / alakkhi keNa vi soNiakkhaM puraM ca NaM pAvai cittalehA // 41 // kaNNA - gharaM taM kumaraM NaaMtI kaNNUsavaM sA vaaNaM bhaNAi / eso khu so bANasue tue jo diTTho khaNaddhaM 45 siviNe siNiddhaM // 42 // eammi vaDUMta kuUhalAI vaTTaMtu de lajjia - vajjiAI / visiMkhalAI kilikiMciAI poDDuMgaNAe via poDha - jAre ||43|| sthAne uSA kAmayate kAmyaM kAmasya putraM kamalAyatAkSI / yadvA na lakSmIrmadhusUdanAdvAJchatyanyamiti ca cintayantI // 40 // mantraprabhAveNa mahAvidagdhA'kRSTa nidrAvihvalAGgatam / alakSitA kenApi zoNitAkhyaM puraM cainaM prApayaccitralekhA // 41 // kanyAgRhaM taM kumAraM nayantI karNotsavaM sA vacanamabhaNat / eSa khalu sa bANasute tvayA yo dRSTaH kSaNArdhaM svapne snigdham // 42 // etasmin vardhamAnakutUhalAni vardhantAM te lajjitavarjitAni / vizRGkhalAni kilikiJcitAni prauDhAGganAyA iva prauDhajAre // 43 // (43) kAmau. 11 (44) kaTThei. (45) diTThovaNaddhaM.

Page #45
usANiruddhaM Nimmakkhio bhIru aaM paeso eso sarAo puriso tuvaM ca / duvANa saMbhoa-mahosave vo sakkhI saaM pupphasaro7 juvANaM // 44 // vihiM vivAhassa bahuppaAraM taI saaM jaMpai48 bANakaNNe / aNNoNNa-baddha-ppaNaANa jutto tumhANa gaMdhavva-vivAha-taMto // 45 // tado pabuddho tarasA 'Niruddho savimhao49 pekkhadi taM kumAri / accheramaccharamaho kimeaM devveNa siTuM ti viAraaMto // 46 // mAA kimesA siviNaM kimeaM kimiMdaAlaM hiaabbhamo vA / jaM dANi suMdera-NivAsa-bhUmI caasthi NArI-raaNaM puro me // 47 // nirmakSiko bhIru ayaM pradezaH eSa sarAgaH puruSaH tvaM ca / dvayoH saMbhogamahotsave vAM sAkSI svayaM puSpazaro yUnoH // 44 // vidhi vivAhasya bahuprakAraM trayI svayaM jalpati bANakanye / anyonyabaddhapraNayayoryukto yuvayorgAndharvavivAhatantraH // 45 // tataH prabuddhastarasA'niruddhaH savismayaH prekSata tAM kumArIm / AzcaryamAzcaryamaho kimetadevena sRSTamiti vicArayan // 46 // mAyA kimeSA svapnaH kimeSa kimindrajAlaM hRdayabhramo vA / yadidAnIM saundaryanivAsabhUmizcakAsti nArIratnaM puro me // 47 // (46) duveNa. (49) savimmao. (47) puppasaro duvANam. (48) jappai.

Page #46
paDhamo saggo siMgAra - joNissa kuaMDa juggaM" NIluppalANaM jualaM ca lolaM / pikkaM ca 1 biMbI-phalaaM vahaMto vihAi caMdo vialaMka - rammo // 48 // vicchiNNa- majjhA va suvaNNa-vellI kimuttaradveNa siddhi-sohe / vahei pINe kaladhoa-kuMbhe raMbhe ahaMbho 4 avaraddhaeNaM // 49 // samuccalA Niccala 55 - vijjulA vA samUDha - rUvA sasi joNhaA vA / suhaMbu - rAsissa6 suA kimesA suhAhi siMcei viloaNe me // 50 // ia phuDuppaNNa" - maNo- viAraM NijjhAa" taM bhAsai cittalehA / iaM khu bANassa suA sugattI kumAla diNNA tuha vammaheNa // 51 // zRGgArayoH kodaNDayugmaM nIlotpalayoryugalaM ca lolam / pakkaM ca bimbIphalaM vahan vibhAti candro vikalaGkaramyaH // 48 // vicchinnamadhyA'pi suvarNavallI kimuttarArdhena snigdhazobhau / vahati pInau kaladhautakumbhau rambhe ca haMho aparArdhena // 49 // samujjvalA nizcalavidyudvA samUDharUpA zazijyotsnA vA / sudhAmburAzeH sutA kimeSA sudhAbhiH siJcati vilocane me // 50 // 13 iti sphuTayetpannamanovikAraM nidhyAya tamabhASata citralekhA / iyaM khalu bANasya sutA sugAtrI kumAra dattA tubhyaM manmathena // 51 // (50) sIgArayoNissa kuaNNayuggo. (51) vikacca. (53) soham. (56) suhaMburALassa. (54) aMbho. (57) idaM phuToppaNNa. (52) maddhA vi. (55) Niccatu(58) NicchAa.

Page #47
usANiruddhaM jado si diTTo siviNe imAe tado mae maMta-vikaDio59 si / idovaraM kiM Nu piaM karissaM tumhANa NimmANa-phalaM karatI // 52 // aMbhoiNIaM via rAahaMso rAA-NisAaM via puNNa-caMdo / ramehi pemmummuha-mANasAaM tumaM pi lIlA-saraso imAI // 53 // to so vi tosodahi-gabbha-gADho gADhovaUDhammi diDhAhilAso / maMdakkha-maMdakkhara-cAru-vANi hatthe samAgiNhai bANakaNNaM // 54 // kadaMba-sAhA via koraehiM kaMraMbiaMgI pulaaMkurehiM / porattha-vAdeNa va deNa liddhA khaNe khaNe vevai sA varAI // 55 // yato'si dRSTaH svapne'nayA tato mayA mantravikarSito'si / itaH paraM kiM nu priyaM kariSyAmi yuvayornirmANaphalaM kurvatI // 52 // ambhojinyAmiva rAjahaMso rAkAnizAyAmiva pUrNacandraH / ramasva premonmukhamAnasAyAM tvamapi lIlAsaraso'syAm // 53 // tataH so'pi toSodadhigarbhagADho gADhopagUDhe dRDhAbhilASaH / mandAkSamandAkSaracAruvANI haste samAgRhNAt bANakanyAm // 54 // kadambazAkheva korakaiH karambitAGgI pulakAkuraiH / paurastyavAteneva tena spRSTA kSaNe kSaNe'vepata sA varAkI // 55 / / (59) vikaTTito si. (60) tosotahi.

Page #48
moggo 1 aMke samArovia ThAviAe bAlo balAdo pariMbhiAe / savvIlamaMse viNivaTTi se taMbAharaM cuMbai vatta- biMbaM // 56 // kameNa vaccho- ghaDia-tthaNaM sA muhekka- lakkhI-kaa-diTThi-pAaM / jahimoTTha-ggahaNANuUlaM dasaMtaraM to saNiaM pavaNNA // 57 // 6 pemmola-bhAvesu parappareNa khaNaM pi vissesa - parampuhesu / kalA - chaillesu ghare NigUDhe tesuM ramaMtesu bahU-vare // 58 // 64 cidhehi to kehi vi jAra-juTTaM kaNNA - gharaM saMkia kiMkarehi / gaMtUNa sigghaM kaliaMjalIhi viNNAvio so daNuAdhiNAho // 59 // 6 aGke samAropya sthApitAyA bAlo balAt parirabdhAyAH / savrIDamaMse vinivartitamasyAstAmrAdharamacumbat vaktrabimbam // 56 // krameNa vakSoghaTitastanaM sA mukhaikalakSIkRtadRSTipAtam / yatheSTamoSThagrahaNAnukulaM dazAntaraM tataH zanaiH prapannA // 57 // premArdrabhAvayoH paraspareNa kSaNamapi vizleSaparAGmukhayoH / kalAcchekayorgRhe nigUDhe tayoH ramamANayorvadhUvarayoH // 58 // cihnastataH kairapi jArajuSTaM kanyAgRhaM zaGkitvA kiGkaraiH / gatvA zIghraM kalitAJjalibhirvijJApitaH sa danujAdhinAthaH // 59 // (61) pariraMbhiesama. (64) kaLAcchauLLesu. (62) jaiTTamoI. (65) iMdhehi. 15 (63) pemmoNa. (66) gadUNa.

Page #49
usANiruddhaM aho mahArAa va hada mho jaM ko vi dUsei67 kumAriaM de / sareNa maMdeNa vi maMsaleNa NiNNAvio jaM puriso bhaNaMto // 60 // kahaM pi saMkA-Nihuo vi rAaM rAaMdhadAe8 rai-saMbhamesu / maMjIra-siMjA-raNiANuviddho kaNNA-ghare suvvai sadda-bheo // 61 // kaNNA-gaaM kiMcaNa kaNNa-sallaM vRttaMtamAkaNNia kaMpamANo / soeNa roseNa a DajjhamANo bANo pavaNNo kumarI-NieaM // 62 // divvaMtamakkhehi tahiM jahicchaM pecchei deccAhivaI70 tadANi / vahU-varaM taM kamaNijja-rUvaM mihoNurUvAmala-soumAraM // 63 // - - aho mahArAja vayaM hatAH smaH yat ko'pi dUSayati kumArikAM te / svareNa mandenApi mAMsalena nirNIto yat puruSo bhaNan // 60 // kathamapi zaGkanibhRto'pi rAjan rAgAndhatayA ratisaMbhrameSu / maJjIrazikSAraNitAnuviddhaH kanyAgRhe zrUyate zabdabhedaH // 6 // kanyAgataM kiMcana karNazalyaM vRttAntamAkarNya kampamAnaH / zokena roSeNa ca dahyamAno bANaH prapannaH kumArIniketam // 62 // divyadakSaistasminyathecchamapazyadaityAdhipatistadAnIm / vadhUvaraM tatkamanIyarUpaM mitho'nurUpAmalasaukumAryam // 63 // - (68) rAaMdaghAe. (69) DhaMjamANo. (67) jaM ko vi dUsevi. (70) daccAhivaI.

Page #50
paDhamo saggo 17 thaddho iraM vimhaa-vimharijjaMtuddAma-vero kumaraM pulaMto / Thio sa citte lihido vva pacchA sacchaMda-kovo passaM bhaNAi // 64 // kiM NAma kaNNA-viDa 2 bANa-NAdhaM maNNehi NiNNAdhamimaM3 paesaM / sahassabAhussa maha ppahAvaM kahaM Na ANAsi jaa-ppasiddhaM // 65 // dUsesi NIsesa-surAsurANaM NAhassa bANassa suaM kumAri / ko ko tuvaM74 kakkasa-kammakArI guttaM gharaM keNa pahA paviTTho // 66 // gacchehi vaMchA5 jai jIviduM de jujjhehi 6 jaM vA malaNAhilAsI / bANassa bANA hi kiAvarAhe NegghiNNa-caMDA7 ia khAdimaMtA // 7 // stabdhazciraM vismayavismaryamANoddAmavairaH kumAraM pralokayan / sthitaH sa citre likhita iva pazcAt svacchandakrodhaH paruSamabhaNat // 64 // kiM nAma kanyAviTa bANanAthaM manyase nithiM imaM pradezam / sahasrabAhormama prabhAvaM kathaM na jAnAsi jagatprasiddham // 65 // dUSayasi ni:zeSasurAsurANAM nAthasya bANasya sutAM kumArIm / kaH kastvaM karkazakarmakArI guptaM gRhaM kena pathA praviSTaH // 66 // gaccha vAJchA yadi jIvituM te yudhyasva yadvA maraNAbhilASI / bANasya bANA hi kRtAparAdhe naipuNyacaNDA iti khyAtimantaH // 67|| - (71) svaMdho. (74) koko tuvaM. (77) NekkhiNNacaMDA. (72) kaNNAviTa (75) gaccei vAcchA. (73) NiNNAthamimaM. (76) jajjhei.

Page #51
usANiruddhaM pajjuNNiNA bhaNNai deccarAo kaaM kaaM tujjha vikatthaNeNa / kaNhassa pottaM samarammi jeuM siMghaM siAlo va pavaTTase kiM // 68 // jamassa daMDassa sagabbhiA me gaA gaA jassa siraM karAlA / khaNaM Na jIvejja sa vajjasArA vArejja esA jai asthi sattI // 69 // itthaM bhaNaMtANa mahAbalANaM duvANa9 tANaM guru-gavvidANaM / bANANiruddhANa samaccharANaM cirAa saMpajjai0 saMpahAro // 70 // bANo sahasseNa vi jAI jAiM satthAiM1 bAhUhi samukkhivei / gaAa ekkAa vi tAi tAI bhijjaMti pajjuNNa-sueNa sajjo // 71 // prAdyumninA'bhaNyata daityarAjaH kRtaM kRtaM tava vikatthanena / kRSNasya pautraM samare jetuM siMhaM zRgAla iva pravartase kim // 68 // yamasya daNDasya sagA me gadA gatA yasya ziraH karAlA / kSaNaM na jIvet sa vajrasArA vAryatAmeSA yadyasti zaktiH // 69 // itthaM bhaNatormahAbalayoddhayostayorgurugarvazIlayoH / bANAniruddhayoH samatsarayozcirAya samapadyata saMprahAraH // 70 // bANaH sahasreNApi yAni yAni zastrANi bAhubhiH samudakSipat / gadayaikayA'pi tAni tAnyabhidyanta pradyumnasutena sadyaH // 71 // (79) duveNa. (80) saMpaccai. (78) yamassa. (81) sattAi.

Page #52
paDhamo saggo raNammi ghore raiNAha-puttaM karagga-gholaMta-gaaM2 bhamaMtaM / sudujjaaM maNNia paNNaatthaM3 khettUNa NaM baMdhai deccaNAho // 72 // NAgattha-baddhaM kariUNa bAlaM bANAsure jhatti NivattamANe / hA NAha hA suMdara hA pia tti5 kaNNA samakvaMdai mukka-kaMThaM // 73 // hA hA hadAe maha kAlaNAdo imaM dasaM saMpai laMbhio si / tAdeNa jaM vA adi-NigdhiNeNa6 devveNa aNNaM kamuvAlahemi // 74 // icchAmi micchaM via ramma-bhoe saccaM juucchAmi8 a jamma-lAhaM / kiM NAma sokkhaM tumae viNA me hA NAha dukkhassa paraM dharemi // 7 // raNe ghore ratinAthaputraM karAgraghUrNamAnagadaM bhramantam / sudurjayaM matvA pannagAstraM kSiptvainamabadhnAt daityanAthaH // 72 // nAgAstrabaddhaM kRtvA bAlaM bANAsure jhaTiti nivartamAne / hA nAtha hA sundara hA priyeti kanyA samAkrandat muktakaNTham // 73 // hA hA hatAyAH mama kAraNAdimAM dazAM saMprati lambhito'si / tAtena yadvA'tinighRNena daivenAnyaM kamupAlabhe // 74 / / icchAmi mithyaiva ramyabhogAn satyaM jugupsAmi ca janmalAbham / kiM nAma saukhyaM tvayA vinA me hA nAtha duHkhAya paraM dhriye // // 5 // (82) ghoNijjaga. (85) piyeti. (88) juaccAmi. (83) paNNaaMke. (86) adiNikkhiNeNa. (84) nAgAttabaddhaM. (87) davveNa.

Page #53
usANiruddhaM use visAeNa kaaM pio de asaMsa hohii mukka-baMdho / pidAmaho jassa hi vissa-NAho itthaM NamassAsai cittalehA // 76 // daNuavai-suA-muheMdu-joNhA-pasara-visaTTa-viloaNuppalo so / Nivasai kumarI-gharekkadese agaNia-baMdhaNa-lAhavo 'Niruddho // 77 // // ia usANiruddha paDhamo saggo // uSe viSAdena kRtaM priyaste asaMzayaM bhaviSyati muktabandhaH / pitAmaho yasya khalu vizvanAtha itthamenAmAzvAsayaccitralekhA // // 76 / / danujapatisutAmukhendujyotsnAprasaravikasitavilocanotpalaH saH / nyavasat kumArIgRhaikadeze'gaNitabandhanalAghavo'niruddhaH // 77 // // ityuSAniruddha prathamaH sargaH // * * * (89) viseeNa. (90) usANiruddha.

Page #54
bIo saggo aha pecchai vacchaassa' se vilaaM saMkia soa - dUmio / sa duvAravadi uvadviaM' muNiNaM NAraamiMdirAvaI 4 // 1 // phalihAmala-paMDu - viggahaM kalamApiMga-jaDagga-matthaaM / udiAsaNa- moha-maMDalI - pariliddhaM va kubera - pavvaaM // 2 // pavaNullia-vallaI - ladA-raNiugghosia - kesava-tthavaM / ahipUjiamAsaNa-TThidaM paNamaMto vaaNaM bhaNAi NaM // 3 // [ dvitIyaH sargaH ] athApazyadvatsalasyAsya vilayaM zaGkitvA zokadUnaH / sa dvAravatImupasthitaM muniM nAradamindirApatiH // 1 // sphaTikAmalapANDuvigrahaM kalamApiGgajAGkamastakam / uditAruNamayUkhamaNDalIparimRSTamiva kuberaparvatam // 2 // pavanapreritavallakIlatAraNitodghoSitakezavastavam / abhipUjitamAsanasthitaM praNaman vacanaM bhaNati enam ||3|| (1) // uSAniruddhe tIyaH sargaH // (2) vacchaLassa. (4) guNiNaM NAraamIdirAsaI. (7) pariLitthaM. (5) jaTAgamatthaam. (3) duvAragharaM guvaTTiaM. (6) maMDaI.

Page #55
22 usANiruddhaM phaliaM sukieNa bhUriNA bahujammaMtara-saMbhieNa me / calaNA' tuha jaM NibhAliA saalaM kibbisamupphusaMti je // 4 // iha hoti visAasAliNo mahu-bhoaMdhaa-vihi-jAdavA / apaabbha-vao jado gado aNiruddho sahasA adaMsaNaM // 5 // viciNijjai savvado-disaM Na u so dIsai vaMsa-vaDDaNo' / ahavA pahavejja ko jaro vivarIdammi, vihimmi kammasu // 6 // sa visAa-bharo laghUkido bhaavaM tujjha viloaNeNa No / mihirammi samuggae karhi kamalANaM himajo parAhavo // 7 // phalitaM sukRtena bhUriNA bahujanmAntarasaMbhRtena me / caraNau tava yannibhAlitau sakalaM kilbiSamunmRSTo yau // 4 // iha bhavanti viSAdazAlino madhubhojAndhakavRSNiyAdavAH / apragalbhavayAH yato gato'niruddhaH sahasA'darzanam // 5 // vicIyate sarvatodizaM na tu sa dRzyate vaMzavardhanaH / atha vA prabhavet ko naro viparIte vidhau karmasu // 6 // saviSAdabharo laghUkRto bhagavan tava vilokanena naH / mihire samudgate kva kamalAnAM himajaH parAbhavaH // 7 // - (8) caLaNo. (9) viLaNijjai. (10) vaThThaNo.

Page #56
bIo saggo 23 kuhaNA-maNuattaNoiaM vaaNaM se suNiUNa NArado / NihuaM hasiUNa bhAraI gahiraM jaMpai11 saMbhiAaraM // 8 // visajehi viho visaNNadaM kumaro jIvai12 roppiNeao / suNu kiM du3 balissa sUNuNA Niado ciTThai duTTha-buddhiNA // 9 // siviNe daNuassa tassa so14 duhiAe kila dikkhido jado15 / aha maMta-baleNa kaDio NihuaM tIa sahIaNeNa to // 10 // aha jANia bANa-dANavo kuvido bajjhaijujjha-majjhae / ia saMpai so uvAgao tuha soNhA-taNao adaMsaNaM // 11 // kuhanAmanujatvocitaM vacanamasya zrutvA nAradaH / nibhRtaM hasitvA bhArI gabhIrAmajalpat saMbhRtAdaram // 8 // visRja vibho viSaNNatAM kumAro jIvati zaikmiNeyajaH / zRNu kiM tu baleH sUnunA niyatastiSThati duSTabuddhinA // 9 // svapne danujasya tasya sa duhitA kila dRSTo yataH / atha mantrabalena karSito nibhRtaM tasyAH sakhIjanena tataH // // 10 // atha jJAtvA bANadAnavaH kupito'badhnAyuddhamadhye / iti saMprati sa upAgatastava stuSAtanayo'darzanam // 11 // (13) kIdu. (11) jappai. (14) daNuaMtaNassa so. (12) jivvai. (15) jaNo.

Page #57
24 usANiruddhaM sa hi dippai vippa-kaMTao'6 bhuja-sAhassa-baleNa dujjao / aha kiM bhaNimo mahesaro bhaavaM jassa duvAra-pAlao // 12 // ahiaM jahi NaM mahAsuraM parimoehi tado usAvaI / mahasUaNa ki pihajjaNo via NekkAramiNaM uvekkhasi8 // 13 // ia saMsuNidammi soriNo hia gAhai koha-pAvao / bhiuDicchala-dhUma-Niggamo sahasA vaccai19 jassa iMdhadaM // 14 // aha so kaavamma-saccaI-pamuhehiM sabalehi saMvudo / balabhadda-purassaro harI NaarAdo tarasA paciTThai // 15 // sa hi dRpyati viprakaNTako bhujasAhasrabalena durjayaH / atha kiM bhaNAmo mahezvaro bhagavAn yasya dvArapAlakaH // 12 // ahitaM jahyenaM mahA'suraM parimocaya tata uSApatim / madhusUdana kiM pRthagjana iva nyakkAramimamupekSase // 13 // iti saMzrute zaurehRdayamagAhata krodhapAvakaH / bhrukuTicchaladhUmanirgamaH sahasA'vrajadyasya cihnatAm // 14 // atha sa kRtavarmasAtyakipramukhaiH svabalaiH saMvRtaH / . balabhadrapuraHsaro harinagarAttarasA prAtiSThata // 15 // (17) parimoei. (18) uvakkhasi. (16) vippakaDuo. (19) vaThThai.

Page #58
bIo saggo turaoha-khuragga-vikkhada-kkhidi-piTThoccalidehiM0 reNuhi / parido haridaMgaNA-ghaNa-tthaNaM-kuMbhAvaraNaMbarAidaM // 16 // asi-vipphariaggi-vijjulA cala-dogghaTTa-kaDappa-vAriA / 29paDaha-ddhaNi-gajjiA a sA pudaNA sohai pAusovamA // 17 // jalahi tariUNa seuNA pamalijjaMta-taDaMta-pAavaM / calaNAhai-siNNa-bhUalaM jadu-seNNaM viviNAi bAhai // 18 // kula-pavvaa-vaMda-kaMdarA-paavI-laMghaNa-2'keli-jaMghiA / turiaM cia odaraMti de bali-gehaM jaduNAha-seNiA // 19 // turagaughakhurAgravikSatakSitipRSThoccalitaiH reNubhiH / parito haridaGganAghanastanakumbhAvaraNAmbarAyitam // 16 // asivisphuritAgnividhuccalagajasamUhavAridA / paTahadhvanigajitA ca sA pRtanA'zobhata prAvRDupamA // 17 // jaladhi tIrkhA setunA pramadyamAnataTantapAdapam / caraNAhatizIrNabhUtalaM yadusainyaM vipinAnyapAkrAmat [bAdhate] ||18|| kulaparvatavRndakandarApadavIlaGghanakelijAnikAH / tvaritamevAvAtaraMste baligehaM yadunAthasainikAH // 19 // (20) piThThaccaLidehi. (21) pahaTadhvaNi. (22) paaviLaLaMdhaNa.

Page #59
26 dhaNuha-ddhaNi-tUra- NissaNAra kari-baMhAparibihiA bhisaM / sahasa ccia soNiAlaaM bhaa-saMbhaMta jaNaM kuNaMti to // 20 // paDhamaM paDaha-ssaNeNa taM puNa seNottha-parAa - rAsi / paDiruM bhai veriNo puraM sa hu pacchA pudaNAhi mAhavo // 21 // aha so paDihAra- pAlao pamahehiM parivArido haro / samarassa karei pakkamaM guha-laMbodara-maMdi - dio // 22 // isi pamphiDieMdu - lehiaM parigholaMta - supavva - NiNNaaM / bhuaehi diNaMta - taMDava - ppaDhilaM bajjhai 5 so jaDA - bharaM // 23 // dhanurdhvanitUryaniHsvanAH karibRMhAparibRMhitA bhRzam / sahasaiva zoNitAlayaM bhayasaMbhrAntajanamakurvaMstadA ||20|| prathamaM paTahasvanena tatpunaH senotthaparAgarAzinA / pratirurodha vairiNaH puraM sa khalu pazcAt pRtanAbhirmAdhavaH // 21 // atha sa pratihArapAlakaH pramathaiH parivArito haraH / samarAyAkarot prakramaM guhalambodaranandinanditaH // 22 // ISatprabhraSTendulekhikaM parighUrNamAnasuparvanimnagam / bhujagairdinAntatANDavaprazithilamabadhnAtsa jayabharam // 23 // (23) rUraNissaNA. usANiruddhaM (24) paTahassaNeNa. (25) paDiLaM bajjai. .

Page #60
bIo saggo dhaNuammi piNAa-NAmae baliaM kuMDalie piNajjhai / kara-maMDaNamaddha-kaMkaNI-kiamummoia6 kuMDalIsaraM // 24 // susiliTThaH-gariTu-NiharaM phuDa-vagghAiNa-cikkaNa-ppabhaM / pariveDhai sappa-mehalA-valaehi viaDaM kaDI-taDaM // 25 // NiDilekkhaNa-dAha-saMbhama-kkhuDiANaMga-dhaNubbhamAvahaM / kuDilIkuNai pphuDaM kuhA bhumaANaM jualaM mahesaro // 26 // hrisugga-tikkh-ghgghr-ssr-nnigghosnn-bhisnnaakiN| phaliAala-subbha-viggahaM vusahaM so sahasAhirohai // 27 // dhanuSi pinAkanAmake balavatkuNDalite pinanAha / karamaNDanamardhakaGkaNIkRtamunmucya kuNDalIzvaram // 24 // suzliSTagariSThaniSThurasphuTavyAghrAjinacikkaNaprabham / paryaveSTayat sarpamekhalAvalayairvikaTaM kaTItaTam // 25 // niTilekSaNadAhasaMbhramatruTitAnaGgadhanurdhamAvaham / kuTilIcakAra sphuTaM krudhA dhruvoryugalaM mahezvaraH // 26 // harSodgatatIkSNaghargharasvaranirghoSaNabhISaNAkRtim / / sphaTikAcalazubhravigrahaM vRSabhaM sa sahasA'dhiruroha // 27 // (26) kamumoIa. (27) susiLakR. (28) harisuggaitighya.

Page #61
usANiruddhaM kara-gaNhia-sattiNA gaNA pariruTThA sihi-piTTha-vAsiNA / sahiA sarajammaNA khaNA raNa-sajjA paalijja gavviA // 28 // aha de jadu-seNNa-sAaraM turauttuMga-taraMga-saMkulaM / bala-mAhava-gAha-bhIsaNaM gahiraM taM pavisaMti NibbhaA // 29 // valaI-kia-caMDa-kammukA aha pajjuNNa-sihaMDira-vAhaNA / sara-duddiNa-NiNhuaMbaraM parihodUNa raNaM kuNaMti de // 30 // visihA vi sihAvalukkaDa-pphuDa-pakkhANila-takkhaNuddhaA31 / vimuhA vimuhA haA a taM Na visAhaM pavisaMti veriNo // 31 // karagRhItazaktinA gaNAH pariruSTA zikhipRSThavAsinA / sahitAH zarajanmanA kSaNAt raNasajjAH pracelurgavitAH // 28 // atha te yadusainyasAgaraM turagottuGgataraGgasaMkulam / balamAdhavagrAhabhISaNaM gaMbhIraM taM prAvizannirbhayAH // 29 // valayIkRtacaNDakArmukAvatha pradyumnazikhaNDivAhanau / zaradurdinanihRtAmbaraM paribhUya raNamakurutAM tau // 30 // vizikhA api zikhAvalotkaTasphuTapakSAnilatatkSaNoddhRtAH / vimukhA vimukhA hatAzca taM na vizAkhaM prAvizan vairiNaH // 31 // (29) pavatijja. (30) sihaNNi . (31) taMghaNuddhaA.

Page #62
bIo saggo 29 aha saMbara-mamma-bhedihiM jalaNa-jjAla-phuliMga-vAhihiM / Nisidehi silImuhehi taM guhamAviddhai ruppiNI-suo // 32 // dhaNu-paMcasadI-vimuMcida-ppasaraMtattha-vihatthiAhio32 / suvaaM cia bANa-dANavo juuhANeNa ghaDei33 saMgare // 33 // vivihA juuhANa-sAaA juhi bANAsura-bANa-saMhaiM / aireNa kuNaMti NippahaM ravi-mohA via tAraAvaliM // 34 // aha so paramesaro sare tivuraMteura-vehavIare / visajei piNAa-saMhide abhigaMtUNa saaM jaNadaNaM // 35 // atha zambaramarmabhedibhirkhalanajvAlasphuliGgavAhibhiH / nizitaiH zilImukhaistaM guhamAvidhyadrukmiNIsutaH // 32 // dhanuSpaJcazatIvimuktaprasaradastravihastitAhitaH / svayameva bANadAnavo yuyudhAnena jaghaTe saMgare // 33 // vividhA yuyudhAnasAyakA yudhi bANAsurabANasaMhatim / acireNa kurvanniSprabhAM ravimayUkhA iva tArakAvalim // 34 // atha sa paramezvaraH zastripurAntaHpuravaidhavIkarAn / visasarja pinAkasaMhitAn abhigamya svayaM janArdanam // 35 // (32) vihaMahIo. (33) juyuhANeNa ghaTei.

Page #63
usANiruddhaM madhu-keDaha-soNida-cchaDA-mahu-kukkhI -bhariNo silImuhe / guNa-saMgada-saMga-saMhido mahuverI vi samukkhivei so // 36 // aha tANa vimANa-saMThia-ttiasAhIsa-siro-silAhio / samaro samarosa-vikkiA-bhara-duppeccha-muhANa vaTTai // 37 // hari-siTTha-samIraNatthado pasaraMtA paridhUa-pAavA / samuhAvaDiA"samIraNA hara-bhUsA-bhuaehi bhakkhidA // 38 // hara-paMkhia-paNNaatthado36 visa-phakkAra-palitta-pAvaA / pasidA bahuNo vi paNNaA sahasA viNhu-raheNa vaMphiA7 // 39 // madhukaiTabhazoNitacchaTAmadhukukSibharIn zilImukhAn / guNasaMgatazAGgasaMhitAn madhuvairI api samudakSipat saH // 36 // atha tayorvimAnasaMsthitatridazAdhIzaziraHzlAghitaH / samaraH samaroSavikriyAbharaduSprekSamukhayoravartata // 37 // harisRSTasamIraNAstrataH prasarantaH paridhUtapAdapAH / saMmukhApatitAH samIraNA harabhUSAbhujagaikSitAH // 38 // harapuGitapannagAstrato viSaphUtkArapradIptapAvakAH / prasRtA bahavo'pi pannagAH sahasA viSNurathena carvitAH // 39 // (35) samuhopaDiA (36) araphukkiapaNNaattado. (34) guNasaMgata. (37) vabhbhiA.

Page #64
bIo saggo kasaNullia-pAvaAsua-"phuDa- NitujjaliA vi pAvaA / paramesara - moli- NiNNaA jala- NivvANa sihA muhA ThiA // 40 // aha saMbhu- visiddha-tAmasAsua-saMbhUda-tamadhaAriaM / bhuvaNaM baliaM paAsiaM hari-cakkassa samagga - roiNA // 41 // 9 hari - peria - vAruNatthaa- ppalaaMbhohara-gabbha- Nisside / lahu sosai thora-sIare siva- phAlakkhi- puDAsusukkhaNI // 42 // subhANa vi viDDirillae samare NAraa - - koDDu-vaDDhaNe / aha khippar3a NippaDikviaM kuvido mohaNamatthamaccudo // 43 // kRSNapreritapAvakAzugasphuTaniryadujjvalitA api pAvakAH / paramezvaramaulinimnagAjalanirvANazikhA mudhA sthitAH ||40|| atha zaMbhuvisRSTatAmasAzugasaMbhUtatamondhakAritam / bhuvanaM balavatprakAzitaM haricakrasya samagrarociSA // 41 // haripreritavAruNAstrajapralayAmbhodharagarbhaniH sutAn / laghvazoSayat sthUlazIkarAn zivaphAlAkSipuyazuzukSaNiH || 42 // subhaTAnAmapi bhayaMkare samare nAradakautUhalavardhane / athAkSipanniSpratikriyaM kupito mohanamastramacyutaH // 43 // (38) pAavAsuapphuDaItuMjaLiA. (39) bhaMgaNisside. 31 (40) dorasIrae.

Page #65
usANiruddhaM raNado khaNa-moha-mIlie sasi-lehAbharaNe41 NivaTTie / vimuhe vi a sammuhe lahu ppamahANaM Nivaho palAai // 44 // pabalo balabhadda-kesarI hala-dADhA 2-kuliseNa takkhaNaM / maa-bhAmira-cittamuddhaaM juhi kuMbhaMDa-gaaM-vidArai // 45 // aha rosa-kasAidekkhaNo NibiDAkaDDia-Neka-kammuko / ahidhAvai devaI-suaM tuaraMto tai bANa-dANavo // 46 // juhi se bhua-kANaNa-TThie diDhamovvIlaiAhi veDhie / dhaNu-tAla-dume ramAvaI tarasA khaMDai kaMDa-rAsihi // 47 // raNataH kSaNamohamIlite zazilekhAbharaNe nivRtte / vimukhe'pi ca SaNmukhe laghu pramathAnAM nivahaH palAyata // 44 // prabalo balabhadrakesarI haladaMSTrAkulizena tatkSaNam / madabhramaNazIlacittamuddhataM yudhi kumbhANDagajaM vyadArayat // 45 // atha roSakaSAyitekSaNo nibiDAkRSTanaikakArmukaH / abhyadhAvaddevakIsutaM tvaramANastadA bANadAnavaH // 46 // yudhi asya bhujakAnanasthitAn dRDhamaurvIlatikAbhirveSTitAn / dhanustAlagumAn ramApatistarasA'khaNDayat kANDarAzibhiH // 47 // (41) lohAvaraNe. (42) haLadADA. (43) jahi.

Page #66
bIo saggo daNuassa bhuesu soriNA tai jo jo lua-kammuo4 kao / sa sa geNhai cakka-tomara-cchuriA-satti-gaAsi-muggare // 48 // khuhio sa u jAI jAI to samare gheppai 5 dappa-baMhio / parikhaMDai tAI tAI hi mahuverI lahu AuhAiM46 so // 49 // Nisiastha-khao NirAuho galiassojjhara-cacciaMgao / ghaNa-dhAumao47 vva pavvao vihalo8 jAai bANa-dANavo // 50 // jaNaNI kira tassa koTTavI duamAacchi9 majjhae ThiA / aha NaMdasuo Nivattio tai bANo vi gharaM0 vigAhai // 51 // danujasya bhujeSu zauriNA tadA yo yo lUnakArmukaH kRtaH / sa sa jagrAha cakratomaracchurikAzaktigadAsimudgarAn // 48 // kSubhitaH sa tu yAni yAni tataH samare jagrAha darpabRMhitaH / paryakhaNDayattAni tAni hi madhuvairI laghu AyudhAni saH // 49 // nizitAstrakSata: nirAyudho galitAsranirjharacarcitAGgakaH / ghanadhAtumaya iva parvato vihvalo'jAyata bANadAnavaH // 50 // jananI kila tasya koTTavI drutamAgatya madhye sthitA / atha nandasuto nivRttastadA bANo'pi gRhaM vyagAhata // 51 // (44) jojukakammuo. (47) dhAtumao. (50) kharaM. (45) kheppai. (48) viaLo. (46) AuAi. (49) macchae.

Page #67
34 usANiruddhaM aha dhujjaDiNA-1 visajjio viaDuttAla-bhaaMkarAkaI / tisiro kaDu-ghagghara-ssaro juvaro ko vi bhamei52 savvado // 52 // jadu-vIra-balAI so bhisaM parimucchAvai maccharI jadA / hariNA vi tadA viNimmio balavaMto juvaro caubbhuo // 53 // tisiraM sa bhaNAi veNhavo tumae ho asamikkha-AriNA / salaheNa va pAvae khao sulaho hohii saMpa mai53 // 54 // juvara-ppasaraM tiicchiu~54 juvaro evva bhavejja vejjao / lagiaM5 calaNammi kaMTaaM Na samukkhANai kaMTaeNa56 kiM // 55 // atha dhUrjaTinA visRSTo vikalottAlabhayaGkarAkRtiH / trizirAH kaTughargharasvaro jvaraH ko'pi babhrAma sarvataH // 52 // yaduvIrabalAni sa bhRzaM paryamUrcchayat matsarI yadA / hariNA'pi tadA vinirmito balavAn jvarazcaturbhujaH // 53 // trizirasaM sa babhANa vaiSNavastvayA bho asamIkSyakAriNA / zalabheneva pAvake kSayaH sulabho bhaviSyati sAMprataM mayi // 54 // jvaraprasaraM cikitsituM jvara eva bhavedvaidyaH / lagnaM caraNe kaNTakaM na samutkhanati kaNTakena kim // 55 // - (51) dhujjaTiNA. (54) tiiccai. (52) bhavei. (55) gaLiaM. (53) sayyaabhbhai. (56) taMDaeNa.

Page #68
bIo saggo uva majjha Nibajjha-maccharaM" bhua-soMDIramiNaM raNaMgaNe / avi hosi tisIsao tuvaM samasIsaM Na lahesi NaM mae // 56 // tisireNa a kiM pi jaMpiaM" suNa ho kAlaharassa jaM piaM / iha taM ghaDaAmi saMpaaM asuro jeNa lahejja saMpa59 // 57 // taha saMkara- kiMkaraM pi maM balavaMtaM jala jeumicchai / iha tA mihiraMsu - saMcaaM timiroho parihoumIhai // 58 // aha tANa raNaM talAtali kkhuhia kkhoNi-haM NahA- hi / calaNA - calaNi humA dumi pphuDa-NAaM jaNiaM silA - sili // 59 // pazya mama nibaddhamatsaraM bhujazauryamidaM raNAGgaNe / api bhavasi trizIrSastvaM samazIrSaM na labhase nUnaM mayA // 56 // trizirasA ca kimapi jalpitaM zRNu bhoH kAlaharasya yatpriyam / iha taddhayAmi sAmpratamasuro yena labheta saMpadam // 57 // tathA zaGkarakiGkaramapi mAM balavantaM jaDa jetumicchasi / iha tarhi mihirAMzusaMcayaM timiraughaH paribhavitumIhate // 58 // atha tayoH raNaM talAtali kSubhitakSoNinabho nakhAnakhi / caraNAcaraNi drumAdrumi sphuTanAdaM jAtaM zilAzili // 59 // (57) NivajjhamajjharaM. (60) parihotumIhai. 35 (58) kIvi jappiam. (59) sappaam.

Page #69
usANiruddhaM juhi veNhu-jareNa khaMDio paharaMteNa kirANurhiDio / tisiro vivalAi meiNI-Naha-pAAla-talesu veviro // 60 // amuNa ccia rudda-siTThiNA bhaa-gholaMta-sabAha-diTThiNA / calaNaMbuamallieNa so thavido saMta-maeNa mAhavo // 61 // abhaaM vihurassa dehi me bhaavaM tujjha jarAhiM mAhava / avivea-samudda-majjio ahake homi khu NeNa Nijjio // 62 // vidio si mae saNAaNo jaa-siTThi-TThii-NAsa-kArao / sidiaMTha-viriMci-vAsava-ppamuhANaM vi tuvaM si kAlaNaM // 63 // yudhi viSNujvareNa khaNDitaH praharatA kilAnuhiNDitaH / trizirA vipalAyate medinInabhaHpAtAlataleSu vepanazIlaH // 6 // amunaiva rudrasRSTinA bhayaghUrNamAnasabASpadRSTinA / caraNAmbujamAzritena sa stutaH zAntamadena mAdhavaH // 6 // abhayaM vidhurAya dehi me bhagavan tava jvarAt mAdhava / avivekasamudramagno'haM bhavAmi khalvanena nirjitaH // 62 // vidito'si mayA sanAtano jagatsRSTisthitinAzakArakaH / zitikaNThaviriJcavAsavapramukhANAmapi tvamasi kAraNam // 63|| -

Page #70
bIo saggo 37 aguNa-ppaidissa maNNimo bhaavaM tujjha guNANurohaNaM / pavaNassa suaMdhiuNhadAdi va saMkAmiamIsa kevalaM // 64 // iha ThAvara-jaMgamappae saale vatthuNi vittharijjae / bhavado ccia ceaNattaNaM aa telaMva tilammi savvado // 65 // tui saMNihidammi pekkhae vivihaM Naccai NaccaI va sA / saalattha-viakka-kAriNI tuha mAA taha NAma duggahA // 66 // saala bhuvaNarakkhA dikkhiANaM bhuANaM bhuaa vai NihANaM saMkha cakkaMkiANaM / tuha kaa-rivu-lacchI-buMda-baMdiggahANa jiNai viNaa-pAvAraNNa-dAvo padAvo // 67 // aguNaprakRtermanyAmahe bhagavan tava guNAnurodhanam / pavanasya sugandhitoSNatAdIva sAMkrAmikamIza kevalam // 64 / / iha sthAvarajaGgamAtmake sakale vastuni vistIryate / bhavata eva caitanyamaja tailamiva tile sarvataH // 65 // tvayi saMnihite prekSake vividhaM nRtyati nartakIva sA / sakalArthavitarkakAriNI tava mAyA tathA nAma durgrahA // 66 // sakalabhuvanarakSAdIkSitAnAM bhujAnAM bhujagapatinibhAnAM zaGkhacakrAGki tAnAm / tava kRtaripulakSmIvRndabandigrahANAM jayati vinatapApAraNyadAvaH pratApaH // 67 //

Page #71
38 masAra - maNi- sAmalaM mahura-hAsa - joNhA- jharIparIa - muha-caMdamaM vipula dIha - NettuppalaM / ura-pphuria-kotthuhaM maNi-kirIDa kaMti-cchaDAkaDAha - parimaMDiaM paNamimo sarIraM tume // 68 // - vaa - suMdarI - ghaNa-thaNaMka-kuMkumapphusaNA- pisaMga- vaNamAla - bhAriNo / tuha devaI - sua su-amma- NimmalI-kaajamma- jammi-maNa-vAsiNo Namo // 69 // ia thuo maaNa- rivu-jjareNa so pasaNNadaM samahigao jaNaddaNo / rada - pahA - visada- suholliakkharaM mau- mhio bhaNai giraM sagoravaM // 70 // masAramaNizyAmalaM madhurahAsajyotsnAjharIparItamukhacandramasaM vipuladIrghanetrotpalam / uraH sphuritakaustubhaM maNikirITakAnticchaTAkayahaparimaNDitaM praNamAmaH zarIraM tava || ||68|| usANiruddhaM vrajasuMdarIghanastanAGkakuGkamamArjanApizaGgavanamAlabhAriNe / tubhyaM devakIsuta sukarmanirmalIkRtajanmajanmimanovAsine namaH // 69 // iti stuto madanaripujvareNa sa prasannatAM samAdhigato janArdanaH / radaprabhAvizadasudhAdritAkSarAM mRdasmito babhANa giraM sagauravam // 70 //

Page #72
bIo saggo amho bamhaNa amhakeraa - jarAdo NuM mahaMto bhavaM tAsaM muMcaDa paMcabANa - rivuNo NimmANa - mammo tuvaM / tANo mANaNa - patta - matta - suhio jAdo si pIdo mhi de sijjhaM tujjha tisIsa saMpai suhaM gacchehi sacchaMdado // 71 // tuido bhUdANaM maha tuha a saMbhAsaNamiNaM mhatANa bAhA Na hu tihuvaNe hohi diDhaM / pasAdo No kAmaM duhai mahaI luMpai ruaM jahAkAmaM dhImaM tisira visarehi ppaDidisaM // 72 // ho brAhmaNa asmadIyajvarAnnUnaM mahAn bhavAn trAsaM muJcatu paJcabANaripornirmANamaho tvam / tasmAnno mAnanapAtramAtmasuhRjjAto'si prIto'smi te siddhaM tava trizIrSa saMprati sukhaM gaccha svacchandataH // 71 // tvatto bhUtAnAM mama tava ca saMbhASaNamidaM smaratAM bAdhA na khalu tribhuvane bhaviSyati dRDham / prasAdo naH kAmaM dogdhi mahatIM lumpati rujaM yathAkAmaM dhIman triziro visara pratidizam // 72 // 39

Page #73
usANiruddhaM ia bhaNia jaraM taM vijjaraM to kuNaMto samara-dharaNi-bhAe rehae mAhavo so / . vihaa-tuhiNa-bAhA-suppahaM kappaaMto padumamiva jalaMto pukkhare tikkhamoho // 73 // // ia usANiruddhe bIo saggo // iti bhaNitvA jvaraM taM vijvaraM tataH kurvan samaradharaNibhAge rAjate mAdhavaH saH / vihatatuhinabAdhAsuprabhaM kalpayan padmamiva jvalan puSkare tIkSNamayUkhaH // 73 // // ityuSAniruddha dvitIyaH sargaH // * * *

Page #74
tio saggo' aha sihara-Nihe bhue sahassaM viDavi-sariccha-dhaNu-cchaDe vahaMto / ghaNa-raNa-kuduo puNo vi bANo paalai jaMgama-viMjha-sela-kappo // 1 // kuDila-diDha-kuaMDa-daMDa-saMDa-ppaNihia-dippa-khurappa-duppasajjho / paavi-haa-kaDappa-kaDDiaM so jalaa-gahIra-ravaM rahaM ruhei // 2 // bhua-Nivaha-visaMgiaMgaoha-Tuvia-pisaMga-maNippahaMkurehi / avirala-viDavagga-lagga-puSpho sa hu bahu rehai sammali-humo vva // 3 // kasaNa-ghaNa-savatta-gatta-soho uvari-samuddhaa-paMDurAavatto / Nava-samudia-caMda-maMDalAho-gaa-raaNAara-saNNiho vihAi // 4 // [tRtIyaH sargaH] atha zikharanibhAn bhujAn sahasraM viTapisadRkSadhanuzchaTAn vahan / ghanaraNakutukaH punarapi bANaH prAcalajjaGgamavindhyazailakalpaH // 1 // kuTiladRDhakodaNDadaNDaSaNDapraNihitadIprakSurapraduSprasahyaH / prajavihayasamUhakRSTaM sa jaladagabhIraravaM rathaM ruroha // 2 // bhujanivahaviSaktAGgadaughasthApitapizaGgamaNiprabhAGkaraiH / aviralaviTapAgralagnapuSpaH sa khalu bahvarAjata zAlmalidruma iva // 3 // kRSNaghanasapatnagAtrazobha upari samuddhRtapANDarAtapatraH / navasamuditacandramaNDalAdhogataratnAkarasaMnibho vyabhAt // 4 // (3) seLapaMko. (1) // uSAniruddha tRtIyaH sargaH // (2) viDahi. (4) ghasaNa-ghaNa (5) vaMDarAavatto.

Page #75
42 usANiruddhaM ahiamuhaa-pAsa-bhAsamANa-pphuDa-paricaMcala-cAmarAvahUo / * taDa-juala-virUDha-kAsa-guccho via lasae jamuNA-jala-ppavAho // 5 // kara-kamala-malijjamANa -bANAsaNa-guNamattapahaM NirikkhamANaM / phaDa-paDigha-pisaMga-Netta-koNaM mahamahamikkhai takkhaNaM sa bANo // 6 // turiamahigao bhaNAi so NaM kimiha paabbhasi goiA-taNUa / muNasu Na Narao 'mhi Na mhi kaMso ahake bali-NaMdaNo sa bANo // 7 // tiasaura-viaDDiA-kaAkaDDaNa-ghaNasohaga-laMbha-jaMbhiANaM / dhaNu-guNa-kiNa-gaMThi-kakkasANaM suNuhi kahaM Na bhuANa me pahAvaM // 8 // . adhikamubhayapArzvabhAsamAnasphuTaparicaJcalacAmarAvadhUtaH / taTayugalavirUDhaMkAzaguccha ivAlasadyamunAjalapravAhaH // 5 // . karakamalamRdyamAnabANAsanaguNamAtmapathaM nirIkSamANam / sphuTapratighapizaGganetrakoNaM madhumathanamaikSata tatkSaNaM sa bANaH // 6 // tvaritamabhigato'bhaNat sa enaM kimiha pragalbhase gopikAtanUja / jAnIhi na narako'smi nAsmi kaMso'thAhaM balinandanaH sa bANaH // 7 // tridazapuravidagdhastrIkacAkarSaNaghanasaubhagalAbhajRmbhitAnAm / .. dhanurguNakiNagranthikarkazAnAM zRNoSi kathaM na bhujAnAM me pratApam // 8 // (6) ahiamuvaha (9) viaThThiA. (7) maNijjamANa. (10) ghuNaNuNakiNagaThThitaMkasANaM. (8) guNamu.

Page #76
tio saggo 43 suNa puNa vusa-laMchaNassa' saMjhA-NaDaNa-mahammi mahaM miaMga-vAe / adisaa-kusalehi ehi dohiM dulahatamora vi hi laMbhio pasAdo // 9 // Nia-paa-phiDiA kaA imehiM bala-mahaNa-ppamuhA NiliMpa-johA / avaNisura-mahesu havva-bhAaM bhaa-vialA hi aviggahA bhuNaMti // 10 // Na hu visumariaM mae tue jaM maha jaNa vaa-laMghaNeNa maMdaM / alia-baDu-chaleNa13 vaMciUNa tihuvaNamAhariaM Na14 kiM tahiMto // 11 // uidamuidamajja diTThiA me bhua-vaNa-majjha-pahaM suhaM paviTuM / juhi vijia tumaM vase karissaM turiamahaM bhuvaNAi coddasAvi // 12 // zRNu punarvRSalAJchanasya sandhyAnaTanamahe mama mRdaGgavAde / atizayakuzalairebhirdobhirdurlabhatamo'pi hi labdhaH prasAdaH // 9 // nijapadabhraSTAH kRtA amIbhirbalamathanapramukhA nilimpayodhAH / avanisuramakheSu havyabhAgaM bhayavihvalA hyavigrahA bhuJjate // 10 // na khalu vismRtaM mayA tvayA yanmama janakaM vayolaGkanena mandam / alIkabaTucchalena vaJcayitvA tribhuvanamAhRtaM na kiM tasmAt // 11 // ucitamucitamadya diSTyA me bhujavanamadhyapathaM sukhaM praviSTam / yudhi vijitya tvAM vaze kariSye tvaritamahaM bhuvanAni caturdazApi // 12 // (12) duLapatamo. (13) vaDujhaLeNa. (11) LaMjhaNassa. (14) NahItahIto.

Page #77
usANiruddhaM paDibhaNai NamidirA-sahAo daNu-sua jujjai de uvakkamo 'aM / jai tuha bhua-kANaNassa bhaMgo Na hi taha kAhisi de jahAhilAso // 13 // tuarasi maatiNhiaNNavaNNo-15 viharaNa-sokkhamido tado 'higaMtuM / avi a gaaNapuSpha-mAliArhi surahitamAhi vibhUsiuM6 ca kesA // 14 // kimiha vihala-jaMpieNa kajjaM paaDaa taM bhuadaMDa-caMDimANaM / tihuvaNa-raNa-sUra-vIra-gavvaM khavaasi jeNa khaNeNa dANaviMda8 // 15 // Navari a sara-pUriaMtarikkhaM raha-balaNuccala reNu-duNNirikkhaM / mahurivu-baliNaMdaNANa9 rukkhaM jaNai raNaM puramAhiNo samakkhaM // 16 // pratyabhaNadenamindirAsahAyo danusuta yujyate ta upakramo'yam / yadi tava bhujakAnanasya bhaGgo na hi tathA kariSyasi te yathA'bhilASaH // 13 // tvarase mRgatRSNikArNavArNoviharaNasaukhyamitastato'dhigantum / api ca gaganapuSpamAlikAbhiH surabhitamAbhirvibhUSayituM ca kezAn // 14 // kimiha viphalajalpitena kAryaM prakaTaya taM bhujadaNDacaNDimAnam / tribhuvanaraNazUra vIra garvaM kSapayasi yena kSaNena dAnavendra // 15 // anantaraM zarapUritAntarikSaM rathacaraNoccaladreNudurnirIkSam / madhuripubalinandanayo rUkSamajAyata raNaM puramAthinaH samakSam // 16 // (17) jappiANa. (15) maatiNNi. (18) dANavIo. (16) vibhUsituM. (19) baLiNaMdaNo Na.

Page #78
tio saggo 45 Namai smai Naccai pparoi20 ppahasai jaMpai21 kaMpai bbhamei / pamaa-maa-bhaAulaM pulaMto pamaha-gaNo-tai tANa saMpahAraM // 17 // aNuviraNai gaMdha-siMdhurAlI-maa-paribaMhia-baMhiANuvijjhaM / jadu-bala-ghaNa-duMdubhi-ppaNAdaM gaaNaale sura-saMgha-tUra-ghoso // 18 // aNukhaNamaNiruddha-kaNNa-vIhI-kusala-vadAvada-baMdhu-paMthabhUo / mahumaha-kara-NuNNa-saMga-movvI-NiNaa-bharo NiNaaMtaraM thagei // 19 // aha Nisida-muheNa thora-dIhaM kaNaa-kaDAa-maNicchaDA-kaDAraM / viDavamiva tarussa bAhumekkaM luNai sareNa surAriNo murArI // 20 // anamadaramatAnRtyatprANautprAhasadajalpadakampatAbhrAmyat / pramadamadabhayAkulaM pralokayan pramathagaNastadA tayoH saMprahAram // 17 // anuvyaraNadgandhasindhurAlImadaparibRMhitabaMhitAnuviddham / yadubalaghanadundubhipraNAdaM gaganatale surasaGghatUryaghoSaH // 18 // anukSaNamaniruddhakarNavIthIkuzalavadAvadabandhupAnthabhUtaH / madhumathanakaranunnazAmaurvIninadabharo ninadAntaramasthagayat // 19 // atha nizitamukhena sthUladIrgha kanakakaTakamaNicchayAkaDAram / viTapamiva tarorbAhumekamalunAcchareNa surArermurAriH // 20 // (20) ppaNoi. (21) jappai. (22) maNijjhaTA.

Page #79
46 usANiruddhaM bhuvi NivaDai so 'ha sAhamaMde-ura-aNa-bAha-jaleNa bAhu-cheo / saha a saharisAmaroha-mukka-22pphuDaara-kappaaru-ppasUNaehiM // 21 // sadhaNuha visihe sarAsa-jIAkasaNa-siNiddha-kiNaMkia-ppaoDhe5 / tihuvaNa-jaa-lacchi-kelisohe chiNai26 puNo vi bhuA"rivussa kaNho // 22 // khuDia-NivaDiehi aMgulIovala-rui-dippaalehi tehi dohi / vilasai samara-kkhamA bahUhi phaNi-Nivahehi va caMdaNANa vADI // 23 // aha vusaha-dhao sabhattameNaM pulaia khaMDia-pAa-bAhu-daMDaM / uvagadua sa pasAdaaMto diia-rivU diDha-saMbhamo bhaNAi // 24 // bhuvi nyapatatso'tha sArdhamantaHpurajanabASpajalena bAhucchedaH / saha ca saharSAmaraughamuktasphuTatarakalpataruprasUnaiH // 21 // sa dhanurvizikhAzAsajyAkarSaNasnigdhakiNAGkitaprakoSThAn / tribhuvanajayalakSmIkelisaudhAnacchinat punarapi bhujAn ripoH kRSNaH // 22 // truTitanipatitairaGgulIyopalarucidIpratalaistairdobhiH / vyalasatsamarakSamA bahubhiH phaNinivahairiva candanAnAM vATI // 23 // atha vRSabhadhvajaH svabhaktamenaM pralokya khaNDitaprAyabAhuSaNDam / upagamya svayaM prasAdayan ditijaripuM dRDhasaMbhramo'bhaNat // 24 // (23) mutta. (26) chiNavi. (29) bAhusaMDam. (24) sahaNuha. (27) bhuhA. (25) pyayoThe. (28) ghuDia.

Page #80
tio saggo 47 pasia paduma-NAha dINa-loe tuvamasi kAruNio muNIhi giio| kaha kila vihalaM balissa puttaM raNa-jiamajja vi NANukaMpase ho // 25 // tui thui-vaaNAdivutta-dhAme tiguNa-kahA-bahu-dUra-saNNihANe / mahumaha kadamehi akkharehi thavia pasatti-guNaM kuNamha amhe // 26 // kaha tuha mahimA muNijjaNijjo muNi-vusahehi vi divva-dasaNehiM / Na hi vaaNa-maNANa goaro so uvaNisaakkhara-tapparijja-bhUmI // 27 // tuha uNa avadAra-kIDidAI raja-tama-satta-guNe samAsidAiM / Nia-kaa-bhuvaNAvaNa-kkhamAiM murahara kassa Na vimhaaM kuNaMti // 28 // prasIda padmanAbha dInaloke tvamasi kAruNiko munibhirgItaH / kathaM kila vihvalaM baleH putraM raNajitamadyApi nAnukampase bhoH // 25 // tvayi stutivacanAtivRttadhAmni triguNakathApathadUrasaMnidhAne / madhumathana katamairakSaraiH stutvA prasattiguNaM kurmo vayam // 26 // kathaM tava mahimA jJAtavyo munivRSabhairapi divyadarzanaiH / na hi vacanamanasorgocaraH sa upaniSadakSaratAtparyabhUmiH // 27 // tava punaravatArakrIDitAni rajastamaH sattvaguNAn samAzritAni / nijakRtabhuvanAvanakSamANi murahara kasya na vismayaM kurvanti // 28 // (30) diNijjaNijjo.

Page #81
48 taha hi maha - mahIdhara - ppamANaM tuvamadhigacchai maccharAa - vesaM / kuNasi 2 ghaNa-visANa rugga-vacchaM daNua-bhaDaM kari takkharaM taIe // 29 // kalia kulisa-riTTi piTTha kamaDhaaNuM kamalaccha - kaccha-TTiM / taha gahirima- duddha-siMdhu - khuddhaM maNasia - suMdara maMdaraM dharesi // 30 // asaNi 34 - saala-bIa - rUDha - dADhaMkura - paripADia - decca35 - vaccha-selaM / dharaNi- tu varAha rUvaM paDibhaa-vimhaakAri samharAmo // 31 // ha- khuDia - surAri-gatta-ratta-cchuraNa- kaDAra - saDA - jaDAla - vattaM / tuha Narahari - viggahaM mahaMtaM kaha kahaissamakuMThakaMTha - NAaM // 32 // tathA hi mahAmahIdharapramANaM tvamadhigamya matsyarAjaveSam / akarorghanaviSANarugNavakSasaM danujabhaTaM kila taskaraM trayyAH // 29 // kalayitvA kulizaniSThurAsthipRSThAM kamaThatanuM kamalAkSa kacchaniSThAm / tathA gambhIrimadugdhasindhukSubdhaM manasijasundara mandaramadhArayaH // 30 // azanizakalabIjarU DhadaMSTrAGkaraparipATitadaityavakSaH zailam / dharaNidhara tava varAharUpaM pratibhayavismayakAri saMsmarAmaH ||31|| nakhatruTitasurArigAtraraktacchuraNakaDArasayajayalavaktram / tava naraharivigrahaM mahAntaM kathaM kathayiSyAmyakuNThakaNThanAdam ||32|| (31) majjharAa. (34) Also aaNi. (37) saTA. usANiruddhaM (32) ghuNasi. (35) Also deccha. (38) Also kuMDhakaMDhaNAam. (3) sIdhu. (36) dharaNihara

Page #82
tio saggo aha baDu- vavuNA DulaMkidAdo" bhuvaNataI jaNaAhi assa cea / tihi Nia-paa - vikkamehi sigghaM avahariA tumae smAa NAha // 33 // tihuvaNa-jaa - matta - kattavijjajjuNa- bhua-kANaNa- kattaNiddha-dhAre / phuria - sihiNi khattiANa vaMso bhiuvaiNA tumae huo" kuDhAre 42 // 34 // daharaha- taNao bhavaM bhavaMto jaNaa-suA-pada-passa-kAmuAI / vihi- gahaNa 4 - lua- pparohidAI dahavaaNassa sirAi khaMDaei // 35 // vidalia - kari - daMta - subbhamekaM Nava- miha - Avali sAmalaM duIaM / ia taNu-jualaM45 vahesi rammaM jausua saMpai NIla - pIda - vAsaM // 36 // atha baTuvapuSA vaJcitAdbhuvanatrayI janakAdasyaiva / tribhirnijapadavikramaiH zIghramapahRtA tvayA ramAyA nAtha // 33 // tribhuvanajayamattakArtavIryArjunabhujakAnanakartaneddhadhAre / sphuritazikhini kSatriyANAM vaMzo bhRgupatinA tvayA hutaH kuThAre ||34|| dazarathatanayo bhavAn bhavan janakasutApadasparzakAmukAni / vidhimahanalUnaprarUDhAni dazavadanasya zirAMsyakhaNDayat // 35 // vidalitakaridantazubhramekaM navameghAvalizyAmalaM dvitIyam / iti tanuyugalaM vahasi ramyaM yadusuta saMprati nIlapItavAsaH // 36 // (39) Also duLikkidAdo. (40) Also tithINiapava. (42) kuThAre. (43) Also mahaNa. (44) Also NavamivaAvaLi (45) Also taNuuaLaM. 49 ( 41 ) Also huko. (46) jaDasua.

Page #83
usANiruddhaM maaNa-rasa-siNiddha-muddha-NArI-kuDila-kaDakkha-NirikkhaNekka-lakkhaM / ura-Thia-sirivaccha07-kotthuhaM 8 te harai Na kaM jaNamaMjaNAhamaMgaM // 37 // viaa-saha tuvaM si vIsa-NAho viviha-carAara-vAviro tamaM si / Niama-viDaviNo vi Nekka-sAhA-Thia-bahu-rUva-phalassa9 NaM si mUlaM // 38 // asaraNa-saraNaM tuvaM si jaM to50 varaa tumaM karuNAaraM muNaMti / parisamia-visaM va kAliaM tA galia-maaM visajehi bANameNaM // 39 // aha bhaNai harI pasaNNa-cedo virama vasaddhaa52 ho maha tthavAdo / tuha carida-mahattaNe vimiTe adilahuI iarANa53 vIravattA54 // 40 // madanarasasnigdhamugdhanArIkuTilakaTAkSanirIkSaNaikalakSyam / uraHsthitazrIvatsakaustubhaM te harati na ki janamaJjanAbhamaGgam // 37 // vijayasarava tvamasi vizvanAtho vividhacarAcaravyApanazIlastvamasi / nigamaviTapino'pi naikazAkhAsthitabahurUpaphalasya nanvasi mUlam // 38 // azaraNazaraNaM tvamasi yattato varada tvAM karuNAkaraM jAnanti / parizamitaviSamiva kAliyaM tasmAdgalitamadaM visRja bANamenam // 39 / / athAbhaNaddhariH prasannacetA virama vRSadhvaja bho mama stavAt / tava caritamahattve vimRSTe 'tilaghvItareSAM vIryavattA // 40 // (47) Also sirivajjha. (49) Also bhaLaMssa. (51) Also visajei. (53) Also adilavuI itarANa. (48) kethuhaM, Also keMdhuhaM. (50) Also jatto. (52) Also usaddhaa. (54) Also vIvavattA.

Page #84
tio saggo sura-Nara-bhuaesu jassa bANA avi kusumAi Na keNa vi ppsjjhaa| NaaNa-sihiNi taM pi5 paMcabANaM dahai bhavaM kimido varaM vicittaM56 // 41 // aDaNi-ghaDia-kuMDalIsa-movvI-valaia-selavariTu-bANa-piTThA / avaNi-rahamahiTThiassa tujjhaM tivura-vahammi ThiI0 thuA Na kehi // 42 // khavia-tihuvarNa mahumha-gimha-ppasara-visosia-deva-dANavohaM / jalaNihi-mahaNammira kAlaUDaM pasupai kiM Na tue saaM NigiNNaM // 43 // ahava Na bahu-jaMpieNa5 kajjaM bhuvaNaale iareNa ja amajhaM / Nihila-taNu-bhiANa jaM ca khemaM Navara tue cia saMbhu laMbhiaM taM // 44 // suranarabhujageSu yasya vANA api kusumAni na kenApi prasahyAH / nayanazikhini tamapi paJcabANamadahadbhavAn kimataH paraM vicittam // 41 // aTanighaTitakuNDalIzamaurvIvalayitazailavariSThavANapRSThA / avanirathamadhiSThitasya tava tripuravadhe sthitiH stutA na kaiH // 42 // kSapitatribhuvanaM mahoSmagrISmaprasaravizoSitadevadAnavaugham / jalanidhimathane kAlakUTaM pazupate kiM na tvayA svayaM nigIrNam // 43 // athavA na bahu jalpitena kAryaM bhuvanatale itareNa yadasAdhyam / nikhilatanubhRtAM yacca kSemaM kevalaM tvayaiva zambho lambhitaM tat // 44 // (55) Also sihiNIdaM vi. (58) Also seaLavachi. (61) tuA Also ghuA. (64) Also maaNammi. (56) Also bilattam. (57) Also ghaTia. (59) Also bANapA. (60) Also ThiraM. (62) Also dibhuvaNaM. (63) Also dANavogham. (65) jappieNa.

Page #85
usANiruddha phaNimaa-maNi-bhUsaNAhirAmaM kavisa-kavadda-viNidda-muddhaaMdaM / parasu-maa-kavAla-sUla-pANiM parama-sivaM Namimo tumaM kimaNNaM // 45 // ahaha68 tuha mahesa kiM bhaNAmo avialamallia-vallahattaNaM taM / uva bhava visumAriaddivAso asura-duvAra-Thio kao si jeNa // 46 // iha khuNa bali-NaMdaNaM haNissaM Navara karemi maa-pparoha-NissaM / jai maa-caaopa9 uvekkhido so uvarikhalANa hi hojja bhUri doso // 47 // sasavaha-pahalAa-patthio2'haM Na hu NihaNAmi khale vi takkulINe / dharau ciramado hi02 dohi dohiM purarivu tujjha pio khu esa bANo // 48 // phaNimayamaNibhUSaNAbhirAmaM kapizakapardavinidramugdhacandram / parazumRgakapAlazUlapANiM paramazivaM namAmastvAM kimanyat // 45 / / ahaha tava maheza kiM bhaNAmo 'vikalamAzritavallabhatvaM tat / pazya bhava vismAritAdrivAso'suddhArasthitaHkRto'si yena // 46 // iha khalu na balinandanaM haniSyAmi kevalaM karomi madaprarohaniHsvam / yadi madazvayathurupekSitaH sa upari khalAnAM hi bhavedbharidoSaH // 47 // sazapathaprahlAdaprArthito'haM na khalu nihanmi khalAnapi tatkulInAn / ghriyatAM ciramato hi dvAbhyAM dobhyAM puraripo tava priyaH khalveSa bANaH // 48 // (68) Also athaha. (66) Also bhUsaNAbhirAma (69) maasaahU. (71) Also samatapahaLAda. (73) Also ciragado hi. (67) Also kavisaavaha. (70) Also pUridoso. (72) Also patthito.

Page #86
tio saggo ia bhaNia ThiaM caubbhuaM taM paNamia parisiTTha-pANi- jummo bhaa-parivevira - gattao sa bANo / phuDa-ghaDiaMjali - baMdhaNo bhAi // 49 // jaa jaa jaduNAha dINa- rakkhA vada sai dikkhia pakkhirAa-kedu / tuha calaNa- jualliassa" majjhaM pasia daAmaa-siMdhuNo Namo de // 50 // / aviNaa-kaa-gavva- NivviveaM tumai mae baa jaM7 kirAvaruddhaM khamasu kamalaNAhaNAha taM ho sahaa - daA - saraseNa mANaseNaM // 51 // maha guru pahalAdao" mahappA tuha paa - samharaNeNa" laddha-siddhI | ia jai vi muNAmi kaNhara kAmaM taha vi paDAmi vimoha - vAurAaM // 52 // iti bhaNitvA sthitaM caturbhujaM taM bhayaparivepanazIlagAtraH sa bANaH / praNamya pariziSTapANiyugmasphuTaghaTitAJjalibandhano'bhaNat // 49 // jaya jaya yadunAtha dInarakSAvratasadAdIkSita pakSirAjaketo / tava caraNayugAzrayAya mahyaM prasIda dayAmRtasindhave namaste // 50 // avinayakRtagarvanirvivekaM tvayi mayA bata yat kilAparAddham / kSamasva kamalanAbha nAtha tadbhoH sahajadayAsarasena mAnasena // 51 // mama guru : prahlAdo mahAtmA tava padasaMsmaraNena labdhasiddhiH / iti yadyapi jAnAmi kRSNa kAmaM tathApyapataM vimohavAgurAyAm // 52 // (74) Also pANijuggam. (75) juaLLaassa (77) Also baa aM. (80) Also sammaraNeNa. 53 (78) Also kirAvarajjham (81 ) Also aa jaLavi (76) sIdhuNo. (79) Also pahaLAdayo. (82) Also jaha.

Page #87
54 usANiruddhaM jaha lua3-viDavAliNo dumassa ppavisai koDara-raMdhamakka-moho / taha khuDia-bhuAvalissa majjhaM hiaamidANi khu5 gAhae viveo6 // 53 // maha pia-duhiA usa tti kaNNA tuha mahu-sUaNa pottaassa diNNA / susarisa-vara-patta-saMpaANaM8 jaNaNa-phalaM kira itthiA-jaNassa // 54 // rai-ramaNa-kumArao 'NirUddho vivahau majjha suaM maNoNNa-sIlaM / laDaha-guNa-NihINa tANa saMgo radi-ramaNANadeg va hodu puNNa-soho // 55 // ia kahia tado NivattamANo bali-taNao kumarI-gharaM paviTTho / vihaDia-sara-baMdhaNaM karei ppaharisa-phulla-muhaMbuo 'NiruddhaM // 56 // yathA lUnaviTapAle?masya pravizati koTararandhramarkamayUkhaH / tathA truTitabhujAvalermama hRdayamidAnI khalu gAhate vivekaH // 53|| mama priyaduhitoSeti kanyA tava madhusUdana pautrAya dattA / susadRzavarapAtrasaMpradAnaM jananaphalaM kila strIjanasya // 54 // ratiramaNakumArako'niruddho vivahatu mama sutAM manojJazIlAm / laTabhaguNanidhyostayoH saGgo ratimadanayoriva bhavatu pUrNazobhaH // 55 // iti kathayitvA tato nivartamAno balitanayaH kumArIgRhaM praviSTaH / vighaTitazarabandhanamakarot praharSaphullamukhAmbujo'niruddham // 56 // (83) Also dua. (86) Also vivee. (89) Also jaNaNabhalaM. (84) Also kkaDagaMdharaMkamAho. (85) Also vugAhae. (87) Also usetti. (88) Also saMpadANaM. (90) Also radimadaNANa.

Page #88
tio saggo aha pamudi-citta-cittalehA2-karaala-gaNhia-pANi-pallavAe / sahiamahia-sohiaM usAe daNuavaI uvaNei NaM muuMdaM13 // 57 // maNi-kaNaa-duUla-paMDu-chatta4 ddhaa-raha-NAa5-turaMga-tuMga-sohaM / sarasa-guNa-samattha-ithioha viara joaa-ritthaaMca se so // 58 // bhaNai a bhaavaM paDiccha pottaM sahariameamusAvaiM pasaNNo / avasu a tuhahutta-savvabhAvaM jaNamimamiTTaguNo sabaMdhurakheM // 59 // ia sa kaa-paakkhiNo8 NamaMto mahu-mahaNaM mahaNijjamujjalaMtaM.9 / parirahia siNeha-bAha-kaMTho200 duhidu-vare sagharaM visei101 bANo // 60 // atha pramuditacittacitralekhAkaratalagRhItapANipallavayA / sahitamadhikazobhitamuSayA danujapatirupAnayadenaM mukundam // 57 // maNikanakadukUlapANDucchatradhvajarathanAgaturaGgatuGgazobham / sarasaguNasamarthitastryodhaM vyataradyautakarikthakaM cAsmai saH // 58 // abhaNacca bhagavan pratIccha pautraM sabhAryametamuSApati prasannaH / ava ca tavAbhimukhasarvabhAvaM janamimamiSTaguNaH sabandhurASTram // 59 // iti sa kRtapradakSiNo naman madhumathanaM mahanIyamujjvalantam / parirabhya snehabASpakaNTho duhitRvarau svagRhaM viveza bANaH // 60 // (91) Also pagudia. (92) Also cittalekhA. (93) mukuMdam, (94) paMDucattaM, also ppaMDupattaM (95) Also NAha. (96) Also sarasasamaguNaMdhiaMthiohaM. (97) Also visarai. (98) Also kaavaaMdhiNo. (99) Also gahaNijjagujjaLaMtam. (100) Also kaMDho. (101) Also pavesa.

Page #89
56 kaNho sohA - suaM taM cia 102 taruNa - siNeholla- diTTippulaMto jigghaMto digghaAlaM hiri-bhara-Namie sIsa - bhAe vahUe / to de modeNa sUdovaNiaNia-rahaM seramArohaaMto / gehaM paTTei sAhaM paharisamaha so103 tuMdilehiM balehiM // 61 // muraharo raha-rovia - kAmiNI- parivudo rivudoha - NiraMkuso / uvari so varisodia - vijjulo pamudiroM mudiro via rehai // 62 // bala - roppiNea-kaavamma- saccaki- ppamuhehi vihi- Nivahehi904 saMvudo / saraM duvAravaimAvisei so amarAvaI via puraMdare harI // 63 // [ ia usANiruddhe tIo saggo ] 105 kRSNaH snuSAsutaM tameva taruNasnehArdradRSTiH pralokayajighran dIrghakAlaM hrIbharanamite zIrSabhAge vadhvAH / tatastau modena sUtopanItanijarathe svairamAropayagehaM pratasthe sArdhaM praharSamahasA tundilairbalaiH // 61 // muraharo ratharopitakAminIparivRto ripudrohaniraGkuzaH / upari sa varSoditavidyutpramodazIlo mudira ivAjata // 62 // balaraukmiNeyakRtavarmasAtyakipramukhairvRSNinivahaiH saMvRtaH / svapuraM dvAravatImAvizatso'marAvatImiva puraMdare hariH // 63 // // ityuSAniruddhe tRtIyaH sargaH // (102) Also via. (104) Nivavehi. usANiruddhaM (103) paharisamahasA. (105) // iti uSAniruddhe tRtIyaH sargaH //

Page #90
cauttho saggo aha sodUNa taM porA NArAaNamuvaTThiaM / UsasaMti vioattA vArivAhaM va cAaA // 1 // amaa-ppaDhama-TThANa-tappAAsevaNUsuAre / paccuvaTuMti taM savve caorA va suhAaraM // 2 // usAe usavelAe sujjaM via samaNNiaM / aNiruddhaM tado daTuM pADhattA pora-itthiA // 3 // tANaM ca tuvaraMtINaM vicchinnaddha-vibhUsaNa / kalakaMci-halabbolA avatthA kA vi vaTTai // 4 // [caturthaH sargaH] atha zrutvA taM paurA nArAyaNamupasthitam / udazvasan viyogArtA vArivAhamiva cAtakAH // 1 // amRtaprathamasthAnatatpAdAsevanotsukAH / pratyupatasthustaM sarve cakorA iva sudhA-karam // 2 // uSayA uSarvelayA sUryamiva samanvitam / aniruddhaM tato draSTuM prArabdhAH paurayoSitaH // 3 // tAsAM ca tvaramANAnAM vicchinnArdhavibhUSaNA / kalakAJcIkolAhalA'vasthA kA'pyavartata // 4 // (1) ||shriiH|| uSAniruddha caturthaH srgH|| (2) cAtaA. (3) sevaUsaA. (4) tato duTuM pAThattA.

Page #91
usANiruddhaM Amucia jhaNakkAramekka-pAdammi NeuraM / suNNeNAvara-pAeNa sigdhaM kA vi paDiTThai // 5 // talA-koDi-bbhameNekkA kaMkaNaM pAa-paMkae / AmoeumasattA' NaM NAvaAsaM ti dUmae // 6 // mahucchidruNa miTThammi oDhe NadveNa cedasA / piMDAlattaa-bhaMtIe aMjaNaM kA vi raMjai // 7 // pasAhiAe geNhaMtI balAdo kA vi ThAviA / tIe kuMkumamAlittaM thaNe bAheNa khAlai // 8 // Amocya jhaNatkAryekapAde nUpuram / zUnyenAparapAdena zIghraM kA'pi prAtiSThata // 5 // tulAkoTibhrameNaikA kaGkaNaM pAdapaGkaje / AmoktumazaktainannAvakAzamityadUSayat // 6 // madhUcchiSTena mRSTa oSThe naSTena cetasA / piNDAlaktakabhrAntyA'JjanaM kA'pyaraJjayat // 7 // prasAdhikayA gRhyamANA balAt kA'pi sthApitA / tayA kuGkamamAliptaM stane bASpeNAkSAlayat // 8 // ('.) AmoeasamattA NaM. (6) gheNhatI.

Page #92
cauttho saggo aMgaaM kaMkaNa-TThANe saraM kAe vi baddhiaM / gacchaMtIe Na taM NAaM phiDiaM paDiaM bhuvi // 9 // kaMci kaMThe NibajhaMtI pAlaMbaM ca kaDIaDe / dhAvaMtI kA vi No vei savattINaM viDaMbaNaM // 10 // paANa-ppaDhilaM NIviM gaNhaMtI kA vi pANiNA / jaNa-saMsammi tUraMtI Na paTTai Na ciTThai // 11 // ia vAula-ceTTAo biMboTThIo kahaMcaNa / / maNi-hammia-pAsAe AruhaMti samaMtado // 12 // aGgadaM kaGkaNasthAne svayaM kayA'pi baddham / gacchantyA na tajjJAtaM bhraSTaM patitaM bhuvi // 9 // kAJcI kaNThe nibadhnatI prAlambaM ca kaTItaTe / dhAvantI kA'pi nAvait sapatnInAM viDambanam // 10 // prayANaprazithilAM nIvIM gRhNantI kA'pi pANinA / janasaMsadi tvaramANA na prAtiSThata nAtiSThat // 11 // iti vyAkulaceSTA bimboSThyaH kathaJcana / maNiharmyaprAsAdAnArohan samantataH // 12 // (7) kaMDhe. (8) NAvei. (9) paANappaDitaM.

Page #93
60 usANiruddhaM gavakkha-vivarAhiMto kaDakkhA tANa NiggadA / pagammi kamalAhiMto rehaMti bhamarA via // 13 // ime usANiruddhANaM muha-caMdesu laggiA / kalaMka-lacchi bajhaMti NikkalaMkesu vi pphuDaM // 14 // aNiruddhekkhiNI kA vi NAa-mammaha-bAhiA / adiTThA vi savattIe12 taM kaMTaa-haAa sA3 // 15 // taM siNiddhaM pulaMtIe aNNAe gaMDa-buMbiNo / sahI-sammaddaNoNheNa NiNhuA14 sea-biMduNo // 16 // gavAkSavivarebhyaH kaTAkSAstAsAM nirgatAH / prage kamalebhyo rejurdhamarA iva // 13 // ime uSAniruddhayormukhacandrayorlagnAH / kalaGkalakSmImabadhnan niSkalaGkayorapi sphuTam // 14 // aniruddhakSiNI kA'pi jJAtamanmathabAdhitA / adRSTA'pi sapanyA tatkaNTakahatayA sA // 15 // taM snigdhaM pralokayantyA'nyayA gaNDacumbinaH / / sakhIsaMmardanauSNyena nihanutAH svedabindavaH // 16 / / (10) vivarAhIdo. (13) taM kaMDaahaA sA. (11) paDammi kamaLAhIdo. (12) vivasaMtIe (14) Ni[a.

Page #94
cauttho saggo tArisIe ciekkAe" tthaNa uMbhANa vevahU | kiM maM sahi dhuNAsi tti kovaM NADia govio // 17 // NIsAsa- -mAruA gholiruttarijjA vi kAaNa / chAdei attaNo bhAvaM NidaMtI dakkhiNANilaM // 18 // sappiaM taM ca daTTaNa buDhAhiM" devaI -suo / ruppiNI NavoDhAe saMpatto samharijjai 17 // 19 // NijjhAaMtIhi tArikkhaM majjhamAhiM visaMkio / ra pariNaaMto so pajjuNNo" puvvamAado ||20|| tAdRzyaivaikayA stanakumbhayorvepathuH / kiM mAM sakhi dhunAsIti kopaM nATayitvA gopitaH ||17|| niHzvAsamArutAghUrNanazIlottarIyA'pi kAcana / cchAdayAmAsAtmano bhAvaM nindantI dakSiNAnilam // 18 // sapriyaM taM ca dRSTvA vRddhAbhirdevakIsutaH / rukmiNyA navoDhayA saMprAptaH samasmaryata // 19 // nidhyAyantIbhistAdRkSaM madhyamAbhirvizaGkitaH / ratiM pariNayan sa pradyumnaH pUrvamAgataH // 20 // (15) ciekAe. (18) pajjUNo. (16) vuThThAhI vevaI. 61 (17) sappatto sammasijjai.

Page #95
62 aha bAla-miacchIo pekkhaMtIo usAvaI 19 / upphulla- kouhallAo vAharaMti parapparaM // 21 // puriso puriso eso itthiA itthiA iaM / eNANaM cia daMpaccaM daMpaccaM ti bhaNijjai // 22 // vao - rUva-sahAvehiM viruddhANa varANa jo0 / saMgamo ammakANaM taM jIaMta-malaNaM Na kiM // 23 // ahIa - kAma - sattho vi taraTTIsu asaMdhuo / akampa - kusalo" vejjo ciicchAsura va khaMbhai // 24 // atha bAlamRgAkSyaH prekSamANA uSApatim / utphullakautUhalA vyAharan parasparam // 21 // puruSaH puruSaH eSa strI strIyam / enayoreva dAmpatyaM dAmpatyamiti bhaNyate // 22 // vayorUpasvabhAvairviruddhAnAM varANAM yaH / saMgamo'smAdRzInAM tajjIvanmaraNaM na kim // 23 // adhItakAmazAstro'pi vidagdhAsvasaMstutaH / akarmakuzalo vaidyazcikitsAsviva stabhnoti // 24 // (19) usApatim. (22) cikiccAsu. (20) varANao. usANiruddhaM (21) akammakusaLe.

Page #96
cauttho saggo itthiA - guNa - sAmaggI acchailammi valhe / rattAe NiSphalaM ceva kaMtArampi va komuI // 25 // asaMtatteNa saMtattaM Na lohaM jAu rajjai / avarattANurattANaM daMpaccaM kassa roai // 26 // mora - 1 ra- pakkha- samaM24 pemmaM mihuNassa viDaMbaNaM / cAsa-cchada saricchaM tu patthaNijjatamaM khu taM // 27 // kiM Na ANaha jammassa juvANaM taM paraM phalaM / abhiNNo bhAva-baMdho jo dukkhammi a suhammi a // 28 // strIguNasAmyavidagdhe vallabhe / raktAyAM niSphalaiva kAntAra iva kaumudI // 25 // asaMtaptena saMtaptaM na lohaM jAtu rajyati / aparaktAnuraktayordAmpatyaM kasmai rocate // 26 // mayUrapakSasamaM prema mithunasya viDambanam / cASacchadasadRkSaM tu prArthanIyatamaM khalu tat // 27 // kiM na jAnItha janmano yUnostatparaM phalam / abhinno bhAvabandho yo duHkhe ca sukhe ca // 28 // (23) acchauLLammi. (24) morapekhasamaM. 63

Page #97
64 usANiruddhaM samo usANiruddhANaM pemmo pecchaha25 succai / kaDakkha-paha-paMthehiM vikkhaNehiM parapparaM // 29 // sAhu bANa-sue sAhu mAra-vacchammi jaM tue / pomparAa-salAkAe kaNaammi va raMjiaM6 // 30 // sAvajjA hoi vijjA vi aviNIeNa gaNhiA / arammA hoi rammA vi dubbhaeNoDhiaMgaNA27 // 31 // avi sIda-cchada-cchAa-saMdA caMdaNa-vallarI / visa-pAavamallINA kiM Na mucchaM paacchadi // 32 // sama uSAniruddhayoH premA pazyata sUcyate / kaTAkSapathapAnthairvIkSaNaiH parasparam // 29 // sAdhu bANasute sAdhu mArApatye yattvayA / padmarAgazalAkayA kanakamiva raktam // 30 // sAvadyA bhavati vidyA'pyavinItena gRhItA / aramyA bhavati ramyA'pi durbhageNoDhA'GganA // 31 // api zItacchadacchAyasAndrA candanavallarI / viSapAdapamAzritA kiM na mUchauM prayacchati // 32 // (25) pacchaI. __ (26) raMjitam. (27) dubhaeNodiaMgaNA.

Page #98
cauttho saggo sujja-pAa-samAliddhA NaliNI jaha rehai / taha rehasi kalANi NeNa hatthe kaA tumaM // 33 // ajja pajjuNNiNA NeNa mahureNa samADhiA28 / siMgAreNa va vacchemI rII kaM va Na kaDDai29 // 34 // tumaM via (?cia) 'NiruddheNa saMgaA bhAsi aMgaNe / vijjue ccia vijjoi NIla-meheNa meliA // 35 // hari-soNhA-suo30 ccea joggo tuha sumajjhame / uido caMdalehAe kavaddo cea sUliNo // 36 // sUryapAdasaMspRSTA nalinI yathA rAjati / tathA rAjasi kalyANyanena haste kRtA tvam // 33 // adya prAdhumninA 'nena madhureNa samAdRtA / zaGgAreNeva vaidarbhI rItiH kaM vA na karSasi // 34 // tvamevAniruddhena saMgatA bhAsyaGgane / vidyudeva vidyotate nIlameghena melitA // 35 // harisnuSAsuta eva yogyastava sumadhyame / ucitazcandralekhAyAH kaparda eva zUlinaH // 36 / / (29) kaThuI. (30) sua. (28) samAThiA. (31) uidoccaMDalehAe.

Page #99
66 lajjA - NivaTTio kiMci koUhala-pavaTTio | tujjha se paDhamasseso hou hiMdola-veDhaNaM3 // 37 // esa cuMbau taMbora* tujjha saMvaliaM muhaM / bhiMgo vva kalla-vAdeNa parAvaTTiamaMbuaM // 38 // piaM NaM pia-saMlAvaM tuhikkA 25 vi harissasi / koilaM via guMjaMtaM mAaMda-taru-maMjarI // 39 // NIvahuttaM ca se pANi vAraissasi pANiNA / I-veasa - rukkhassa viDavaM via ummaNA // 40 // lajjAnivartita: kiMcitkautUhalapravartitaH / tavAsya prathamAzleSo bhavatu hindolakhelanam ||37|| eSa cumbatu tAmroSThaM tavAMsavalitaM mukham / bhRGga iva kalyavAtena parAvartitamambujam // 38 // priyamenaM priyasaMlApaM tUSNIkA 'pi hariSyasi / kokilamiva guJjantaM mAkandatarumaJjarI ||39|| nIvyabhimukhaM cAsya pANi vArayiSyasi pANinA / nadI vetasavRkSasya viTapamivormiNA // 40 // (32) Nivatito tIci. (35) tuhrIkA. (33) hIdoLaveDaNIm. (34) tammoThThe. usANiruddhaM

Page #100
cauttho saggo FO ia vimhaa-koDDehi26 vimhAria-kahA-kamaM / jaM ki pi jaMpamANAhiM tAhiM sANaMda-dikkhiA // 41 // uhao-pAsa-Nikkhitta-muttA-kalasa-sohiNA / rAa-maggeNa gacchaMto gehaM gAhaMti daMpaI39 // 42 // vuTuMteura-NArIhi duvvA-saMvalidehi de / lAehi varisijjaMtA vIsaMtA0 maNimaMdire // 43 // jaha DhANovaviTehiM tuDehi puTTha-goraaM / rAma-dAmodarehi de vacchalijjeNa1 pekkhidA // 44 // iti vismayakautUhalAbhyAM vismAritakathAkramam / yat kimapi jalpantIbhistAbhiH sAnanda-dRSTau // 41 // ubhayapArzvanikSiptamuktAkalazazobhinA / rAjamArgeNa gacchantau gehamagAhetAM dampatI // 42 // vRddhAnta:puranArIbhirdUsiMvalitaistau / lAjairvRSyamANau vizrAntau maNimandire // 43 // yathAsthAnopaviSTAbhyAM tuSTAbhyAM puSTagauravam / rAmadAmodarAbhyAM tau vAtsalyena prekSitau // 44 // (36) koDehI. (39) daMmaI. (37) jappamANAhiM tAhI. (40) visaMtA. (38) ahavovAsa. (41) vajjhaLijjeNa

Page #101
68 usANiruddhaM jaha-satthaM mahAraMbhe vatte pANiggahUsave / maNi-hammiamArUDhA pADhattA'2 poDha-khelaNaM // 45 // puvvamuvvAha-lAhAdo saMkA-saMkoida-kkamo / jo jo maNoraho tANaM so so tai pavaTTai // 46 // avaMga-doNimArUDhA pemma3-NAvia-baMdhavA / lajjA-NaI samuttiNNA tIse diTThi-kisoriA // 47 // puSpha-pallava-pallaMkamAThieNa pieNa sA / hatthe44 ghettUNa lajjaMtI aMke kaha vi ThAviA // 48 // yathAzAstraM mahArambhe vRtte pANigrahotsave / maNiharmyamArUDhau prArabdhau prauDhakhelanam // 45 // pUrvamudvAhalAbhAcchaGkAsaMkocitakramaH / yo yo manorathastayoH sa sa tadA prAvartata // 46 / / apAGgadroNimArUDhA premanAvikabAndhavA / lajjAnadI samuttIrNA tasyA dRSTikizorikA // 47 // puSpapallavapalyaGkamAsthitena priyeNa sA / haste gRhItvA lajjamAnA'Gke kathamapi sthApitA // 48 // (42) pADhaMtA. (43) pema. (44) hatte.

Page #102
cauttho saggo pulaaMkura-sammadda-kiMci-ppaDhila.5baMdhaNaM / vArio vi sa kalei46 saNiaM se tthaNaMsuaM // 49 // Isi7 ghamma-jalAmaTTha-ghusiNaMka-ghaNatthaNI / balAmoDi parissattA 8 NeNa sA bANa-NaMdiNI // 50 // kavola-pulaucchRNa-kattharI-patta-lehiaM / biMba-taMbAharaM NeNa cuMbiaM se muhaMbuaM // 51 // gavakkha-raMdha-gAhaMta-mohAli-kusumAMjalI / uggao rai-Naccassa suttahAro sudhAaro // 52 // pulakAGkarasaMmardakiMcitprazithilabandhanam / vArito'pi sa cakarSa zanairasyAM stanAMzukam // 49 / / ISadgharmalavAmRSTaghusRNAGkaghanastanI / balAtpariSvaktA'nena sA bANanandinI // 50 // kapolapulakocchUnakastUrIpatralekhikam / bimbatAmrAdharamanena cumbitamasyA mukhAmbujam // 51 // gavAkSarandhragAhamAnamayUkhAlikusumAJjaliH / udgato ratinRttasya sUtradhAraH sudhAkaraH // 52 // (46) kaTTei. (47) isi. (45) kiMcivaDiLa. (48) parissaddhA.

Page #103
70 caMdaaMta- maNI - saMda-NIsaMda-sia kuTTimaM / AThio valahiM kAmI seraM bhAsai bhAmiNi // 53 // pekkha caMdANaNe caMdaM maMdaM cia samuggadaM / vimaleNa muheNaM de NijjiaM lajjiaM via // 54 // kahi~ khu maametteNa laMchio maa- laMchaNo / kahiM ca vaaNaM baddha-pattaM maa-maeNa de // 55 // atti-Nettara - samuttho vi ti Netta- sira- seharo / amaassa NivAso vi maassa vasahI aaM // 56 // candrakAntamaNIsAndraniSyandazItakuTTimam / Asthito valabhIM kAmI svairamabhASata bhAminIm // 53 // pazya candrAnane candraM mandameva samudgatam / vimalena mukhena te nirjitaMlajjitamiva // 54 // kva khalu mRgamAtreNa lAJchito mRgalAJchanaH / kva ca vadanaM baddhapatraM mRgamadena te // 55 // atrinetrasamuttho'pi trinetraziraH zekharaH / amRtasya nivAso'pi mRgasya vasatirayam // 56 // (49) maamatteNa. (50) maaLaMjhaNo. (51) Nettha. usANiruddhaM

Page #104
cauttho saggo 70 phAlANala-masI-diNNo kaNhimA esa dIsai / imassa saMbhu-koDIra-maMDaNe Na kuraMgao // 57 // mA de muheMduNA hojja divA vi saNi-bbhamo / ia esa viriceNa aMkio raaNIaro // 58 // jaM vA kumudiNI-vippavAsa-soa-malImasaM / hiaaM se paAsei sacchadAe kudo mio // 59 // mao jai kahaM NAma puvvAala-guhA-ThiA / peraMtApaDiaM siMghA uvekkhaMti khaNaM pi NaM // 60 // phAlAnalamaSIdattaH kRSNimaiSa dRzyate / asmiJzaMbhukoTIramaNDane na kuraGgakaH // 57 // mA te mukhendunA bhUddivA'pi rajanIbhramaH / ityeSa viriJcenAGkito rajanIkaraH // 58 // yadvA kumudinIvipravAsazokamalImasam / hRdayamasya prakAzate svacchatayA kuto mRgaH // 59 // mRgo yadi kathaM nAma pUrvAcalaguhAsthitAH / paryantApatitaM siMhA upekSeran kSaNamapyenam // 6 //

Page #105
72 usANiruddhaM jahacchaMdamimaM caMdaM puloehi suloaNe / imAdo avaraM Natthi daMsaNijjaM sarIriNo // 6 // gaNhittaANa bhedeNa gejjhaM2 bhiNNaguNaM bhave / dukkhiNo visamoho 'aM suhiNo khu suhAaro // 62 // savvassa vi sagottesu pakkhavAdo Na hijjai / Nettajo esa savvAiM NettAI pINaedi jaM // 63 // sappehiM saha vAso jo edassa hara-matthae / dAha-sattI53 tado laddhA caridatthA vioisu // 64 // yathAcchandamimaM candraM pralokaya sulocane / asmAdaparaM nAsti darzanIyaM zarIriNaH // 61 // grahItRRNAM bhedena grAhyaM bhinnaguNaM bhavet / daHkhino viSamayUkho'yaM sukhinaH khalu sudhAkaraH // 62 // sarvasyApi sagotreSu pakSapAto na hIyate / netraja eSa sarvANi netrANi prINayati yat // 63 // sapaiH saha vAso ya etasya haramastake / dAhazaktistato labdhA caritArthA viyogiSu // 64 // (52) gahaM. (53) dAhasaddhI.

Page #106
cauttho saggo 73 aaM du NAi-dhammo jaM padumo NaM viNiMdai / edassa tassa uppatti-TANamekkaM jalaM Na ki // 65 // padumassa vi edassi4 Natthi veraM ti maNNimo / savatta-kumua-kkhemaAro esa tti taM paraM // 66 // samo jaM pahavo jaM ca55 samo bhiMgANa Aaro / duvaaM taM saroassa kerave vera-kAraNaM // 67 // appA lacchI-gharaM kiM ca lacchI-NAhassa NAhio / ia ki kumuAhito56 bheo pammeNa NADhio // 68 // ayaM tu jJAtidharmo yat padmamenaM vinindati / etasya tasya cotpattisthAnamekaM jalaM na kim // 65 // padmasyApyetasminnAstivairamiti manyAmahe / sapatnakumudakSemakAra eSa iti tatparam // 66 / / samo yat prabhavo yacca samo bhRGgANAmAdaraH / dvayaM tat sarojasya kairave vairakAraNam // 67 // AtmA lakSmIgRhaM kiM ca lakSmInAthasya nAbhijaH / iti kiM kumudebhyo bheda: padmena nAdRtaH // 68 // (54) etassi. (55) javva. (56) kI kumuAhIdo.

Page #107
74 NiiTThammi mahaMtassa jaM veraM taM viDaMbaNA / kumuamma saverassa ammo kajjassa aJJadA 57 // 69 // lacchIlIlA - Niedo vi maMda-bhaggaM khu paMkajaM / jeNa savva jaNANaMdo caMdo Na paDiloai // 70 // sacedaNANa No cittaM davai tti kimabbhu" / caMdujjo ammi 9 gAvA vi jaM saMdei acedaNo // 71 // rasaNNa-jaNa - muddhaNNo caoro ccia NAvaro / [ . ] // 72 // 69 nikRSTe mahato yadvairaM tad viDambanA / kumude savairasya aho kaMjasyAjJatA // 69 // lakSmIlIlAniketanamapi mandabhAgyaM khalu paGkajam / yena sarvajanAnandazcandro na pralokyate // 70 // sacetanAnAM nazcittaM dravatIti kimadbhutam / candrodyotena grAvA'pi yat syandate'cetanaH // 71 // rasajJajanamUrdhanyazcakora eva nAparaH / // 72 // (57) aJadA. (60) aaidaNo. (58) ki abbhuam. (61) vavijjasadaiae aedaNo usANiruddhaM (59) caMdojjo ammi.

Page #108
cauttho saggo lacchI-kotthuha-pArijAa-sura-mAaMgANaM jo soaro jo vApa2 rudda-kavadda-maMDaNa-maNI jo rohiNI-vallaho / kAmuddAma-kalA-vilAsa-kalaNA-vissaMbha-sakkhI khu jo caMdaM vaMdasu suMdaraMgi tamimaM NettANaM siddhaMjaNaM // 73 // paccakkha-lakkhia-NiAma-NiAvarAhaveragga-rosa-kalusAi-vi mANiNINaM / jassodae ccia viNA calaNa-ppaNAmaM cittAi pIi-mahurAi piA kuNaMti // 74 // jo ccea chaccaraNa3-jhaMkaraNa-cchaleNa vissesa kheavialakkharamAruaMtiM / bAhaM galaMta-maaraMda-NihaM muaMtiM sigdhaM karei kira keraiNi pasaNNaM // 5 // lakSmIkaustubhapArijAtasuramAtaGgAnAM yaH sodaro yo vA rudrakapardamaNDanamaNiryo rohiNIvallabhaH / kAmoddAmakalAvilAsakalanAvitrambhasAkSI khalu yazcandraM vandasva sundarAGgi tamimaM netrayoH siddhAJjanam // 73 / / pratyakSadRSTanikAmanijAparAdhavairAgyaroSakaluSANyapi mAninInAm / yasyodaya eva vinA caraNapraNAmaM cittAni prItimadhurANi priyAH kurvanti // 74|| ya eva SaTcaraNajhaMkaraNacchalena vizleSakhedavihvalAkSaramArudatIm / bASpaM galanmakarandanibhaM muJcantIM zIghraM karoti kila kairaviNI prasannAm // 75 / / (62) jovvA. (62) jovvA. (63) saccaraNa.

Page #109
76 64 dANi khu saMkhuhia - vammaha-hIramANadherehi dIha - raa - keli-milAviehiM 4 / pemmAulehi mihuNehi suhA - rasollA pijjeti Netta - culuehi jaIa - mohA5 // 76 // lajjA - lahU - karaNa-kammaDhavammahAo pacchaNNa-kAmua- gharaM paDivaDiAo / sajjo Nirattha - timirAhi karAvalIhiM saMbhei jo akaruNA" ahisAriAo // 77 // idAnIM khalu saMkSubhitamanmathaDriyamANadhaiyairdIrgharatakelimlApitaiH / premAkulairmithunaiH sudhArasArdrAH pIyante netraculakairyadIyamayUravAH // 76 // lajjAlaghUkaraNakarmaThamanmathAH prachannakAmukagRhaM prati prasthitAH / sadyo nirastatimirAbhiH karAvalIbhIruNaddhi yo'karuNo'bhisArikAH // 77 // 4/ (64) miLaviehi. (67) Niraddha. (65) yadIamohA. (68) ubhbhei jo aaruNo. (66) kammaTha. usANiruddhaM

Page #110
cauttho saggo jaNia-maaNa-bANa-sseNi- sassa-pparohaM paidi - sisira - johAra - NIra-dhArA-NikAaM / viarai viiraMto meha-lIlA - dharo jo paNai jaNa subhikkhaM pakka" - biMbAharANaM // 78 // tArA - kaDappa - sui-hAra - vibhUsiAe johA 72 - duUla - pariveDhia - viggahAe / jo ccea Niccala kalaMka tamAla pattaM vattaMbujaM karmANi puvva digaMgaNAe // 79 // janitamadanabANa zreNisasyaprarohaM prakRtizizirajyotsnAnIradhArAnikAyam / vitarati vikiran meghalIlAdharo yaH praNayijanasubhikSaM pakvabimbAdharAbhyaH // 78 // tArAsamUhazucihAravibhUSitAyA jyotsnAdukUlapariveSTitavigrahAyAH / ya eva nizcalakalaGkatamAlapatraM vaktrAmbujaM kamanipUrvadigaGganAyAH // 79 // (69) joSNA. (72) joNAduUlapaDhiveDhia. 77 ( 70 ) viiaraMto. (71) viphabibAharANam.

Page #111
78 usANiruddhaM kalaMka-kala-koilA-phaliha-paMjaro maMjulo maNoja-maharAiNo-dhavalamAdavattaM sasI / puraMdara-disA-vahU-muha-viitta-pattaMkuro puro phurai02 esa de tuvamuse NisevehiM NaM // 8 // ia sa vikasaMtaMtammoo nnivutt-nniaNtnnaajnnia-vnniaa-sNgaabhNg-ppsNg-ghnnNgo| avirala-sasi-jjoNhAsuNhAa-suddha-disA-muhe saNi-Nivahe lIlA-sIlo gamei kumArao // 81 // kalaGkakalakokilAsphaTikapaJjaro maJjulo manojamahArAjasya dhavalamAtapatraM zazI / puraMdaradigvadhUmukhavicitrapatrAGkaraH puraH sphuratyeSa te tvamuSe niSevasvainam // 80 // iti sa vikasadantarmodo nivRttaniyantraNAjanitavanitAsaGgabhaGga prasaGgaghanAGgajaH / aviralazazijyotsnAsusnAtazuddhadizAmukhAvrajaninivahAMllIlAzIlo'gamayat kumAraH // 81 / / (73) purai.

Page #112
cauttho saggo 79 itthaM sutthia-putta-pottaNiaro-vitthiNNa-kitti-cchaDAjoNhA-paNhua-veri-vikkama-tamo umbhAsiAsAmuho74 / ANaMdaNNava-puNNimA-sasaharo savvANa NivvANado devo devai-NaMdaNo disadu vo Nissesa-NisseasaM // 82 // [ia usANiruddha cauttho saggo5] usANiruddhaM samattaM / itthaM susthitaputrapautranikaro vistIrNakIrticchaTAjyotsnApahanutavairivikramatamobhAsitAzAmukhaH / AnandArNavapUrNimAzazadharaH sarveSAM nirvANado devo devakInandano dizatu vo niHzeSaniHzreyasam // 82 // // ityuSAniruddha caturthaH sargaH // uSAniruddhaM samAptam / (74) bhAsAviAsAmuho. (75) iti uSAniruddha caturthaH sargaH

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, Hiranyakasipu, 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

Page #115
82 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 Usaniruddha in which Krsna-- the Lord of Yadus-- is a major figure. Any literary work where Vasudeva 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, Kesin 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 Dvaraka with countless golden mansions, an abode of abundant

Page #116
TRANSLATION X2 pleasures to overcome his longing for his erstwhile home- Vaikuntha. 13. and married the gazelle-eyed Rukmini, 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 (mayamanuja) 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, Usa, the daughter of Bana, 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

Page #117
84 USANIRUDDHA 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. Citralekha, the daughter of Kumbhanda (the minister of Bana) who was her friend holds Usa, the daughter of Bana by the hand, Usa who was lamenting in these and many other words and asks her the cause of her lament. 23 "O Usa, 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 Usa, 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 Bana replies in these words : "I'll tell you, O Citralekha, the truth; in a dream I saw a certain commendable young prince - dark in complexion like the Tamala 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, Danavas, mortals Nagas (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 Nirrti (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 (Dhanesa i.e., Kubera); and this indeed is Mahesa (the great Lord Siva). "Behold, O Usa, these are Gandharvas, Vidyadharas, Yaksas, Raksasas, Daityas and others as

Page #119
USANIRUDDHA well such as the blessed kings and Naga princes. Could you find your lover among these ? 33. "Look at these Lords of Vrsnis who are the devotees of Visnu; this one is indeed Krsna with a lovely apparel, this is Balarama 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 Citralekha 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] Citralekha says, laughing, "Your heart is, o good girl, as it is, on a worthy object as Rohinis did when it dwelt on the moon. 37. "Let Navamalika 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".

Page #120
TRANSLATION 87 39. Assuring thus that princess, Citralekha went to Krsnapura. There at night she found the handsome Aniruddha asleep. 40. "It is only natural that Usa with large eyes resembling bloomed lotuses should be enamoured of none else but Aniruddha, the lovable son of the God of loveexactly as Laksmi should yearn after none else but Visnu -- the slayer of the demon Madhu." Thinking thus - 41. That very clever Citralekha carries away that prince, who was overcome with sleep, through her miraculous power, and brings him to sonitapura unnoticed by anyone. 42. Taking him to Usa'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 Usa, 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-trayi--the three

Page #121
USANIRUDDHA Vedas taken collectively) lays down various types or forms of marriage. The form of Gandharva marriage is proper for you, O daughter of Bana, 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 Bana" Citralekha 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."

Page #122
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 Usa'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.

Page #123
90 USANIRUDDHA 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 Bana'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 Bana, 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 ?

Page #124
TRANSLATION 66. You are polluting the daughter of Bana, 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 Bana are known to be fierce in mercilessness against the guilty. 68. Thereupon the son of Pradyumna (i.e. Aniruddha) said to Bana, 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 Bana 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 Banasura quickly went away, the girl (Usa) wept

Page #125
USANIRUDDHA 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 Usa; your lover will certainly be free : his grandfather is the Supreme Lord of the univervse." Citralekha cheered her up. 77. Aniruddha with his lotus-like eyes bloomed as the light of Usa's moon-like face spread on him. He stayed in a part (corner) of that Usa's mansion, disregarding the humiliation of imprisonment. in the (Poem) Thus (ends) the First Canto Usaniruddham. * * *

Page #126
CANTO II Now Krsna, the Lord of Laksmi, was overpowered with grief and as he feared the death of Aniruddha, he saw the saint Narada come over to Dvaravati. Narada 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. Kailasa) tinged by the glimmer of early dawn. Krsna bowed to Narada, 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 Yadavas here belonging to the familes of Madhu, Bhoja, Andhaka and Vssni 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,

Page #127
94 USANIRUDDHA at your [mere] sight. How will the sun-lotus wither away with frost when the sun rises or comes up ?" Narada 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 Rukmini ) is alive. He is, however, listen to me, held captive by that wicked son of Bali (i.e.Bana). 10. As he was said to be seen in a dream by the daughter of that Bana, her girl friend secretly carried him away through her miraculous power. 11. Then that demon Bana 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 Bana is a thorn in the side of ( i.e.oppressor of ) Brahmanas, 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 Mahesvara [ himself ] as his gate-keeper ? 13. Strike at (or kill) this great demon who is your enemy and then set free the husband of Usa (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

Page #128
TRANSLATION 95 smoke the way he knit his brows. 15. Then quickly Krsna set out of the city; he was led by Balabhadra (i.e. Balarama) and surrounded by his army in which Krtavarman and Satyaki 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 Kesna 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 Sonitalaya (i.e. Sonitapura) with panic and bewilderment. 21. Madhava (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.

Page #129
USANIRUDDHA Then that door-keeper, god Siva, attended by a host of goblins (Pramathas) and loudly applauded by Guha (i.e. Kartikeya), Ganesa 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 (tandava) at the end of the day, and the crescent moon in which had slightly slipped and the heavenly Ganga 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, Pinaka 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 (Mahesvara) 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 Siva (on the occasion of Madanadaha). 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 Kartikeya; he had a Sakti (a powerful missile, spear) in his hand and his mount was a pea-cock.

Page #130
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 Balarama and Madhava (: Krsna). 30. Pradyumna and Kartikeya, 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 Kartikeya). They could simply not reach their target - the body of Visakla (i.e.Kartikeya). 32. Then that son of Rukmini (i.e., Pradyumna) pierced Guha (an epithet of Kartikeya) with sharp arrows bearing sparks of fire and which on an earlier occasion had pierced the vitals of the demon Sambara. 33. The demon Bana, who could confound his enemy with missiles shot from his five hundred bows, engaged himself in a combat with Yuyudhana (i.e., Satyaki). 34. In the course of the combat the various types of arrows of Satyaki in no time rendered the volley of Bana's arrows pale in lustre as the rays of the sun do the clusters of stars. 35. Then that supreme god (i.e., Siva) himself rushing at Janardana (i.e. Krsna) shot arrows fixed on his Pinaka bow - the arrows that had made Tripura's wives widows. 36. The enemy of the demon Madhu (i.e., Krsna) too

Page #131
98 USANIRUDDHA discharged arrows from (lit. which were joined to) his well-strung Sarnga 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., Siva) 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) Ganga 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 (Sudarsana) Cakra (disc). 42. The fire from the (third) eye on the forehead of Siva was quickly extinguished by the big rain-drops pouring down from the world-dissolution clouds, produced by

Page #132
TRANSLATION 99 the Varuna Missile discharged by Hari (i.e., Krsna). 43. In the course of the combat which had struck terror in the hearts of even veteran warriors although it increased Narada's curiosity, Acyuta (i.e. Krsna) felt enraged and hurled at Sankara the irresistible Swoon - Missile. 44. When Siva, ornamented with a digit of the moon, was momentarily stupefied and retired from the battle-field and the six-headed Kartikeya too turned away, the whole class of Pramathas (goblins) attending on Hara (i.e., Siva) swiftly fled away. 45. Balabhadra (name of Balarama), the mighty lion rushed at the violent or arrogant elephant Kumbhanda 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 Bana, his eyes red with anger, rushed swiftly at Krsna, the son of Devaki, with his many bows pulled taut to shoot. In the combat, the lord of Rama (another name of Laksmi) i.e. Visnu-Kssna 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 Bana's thousand arms. 48. Bana 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., Visnu-Krsna) had destroyed.

Page #133
100 49. 50. 51. 52. 53. 54. 55. Whichever weapon the infuriated and conceited Bana had picked up, Krsna, the enemy of Madhu (the demon), quickly smashed it to pieces. USANIRUDDHA 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] Bana's mother Kottavi came out hastily and stood between them (Bana and Krsna, the two warriors fighting each other). Then the son of Nanda (i.e. Krsna) retired, and Bana 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 Visnu 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 ?

Page #134
TRANSLATION 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 Kalahara (i.e., Siva) whereby the demon Bana 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., Kesna), 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 Kesna's lotus-like feet and praised him : 62. "I am in distress. Grant me safety from thy Fever o Madhava (i.e., Krsna). Plunged in the ocean of indiscretion, I have been, indeed, vanquished (by your Fever).

Page #135
102 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. Siva), Virinca (i.e. Brahma) and Indra are the foremost. USANIRUDDHA 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 Maya 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 (Sudarsana-Cakra) and the conch (pancajanya) 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

Page #136
TRANSLATION 103 decorated with a halo of lustre of the bejewelled crown. 69. "We bow to you, O son of Devaki (i.e., Krsna), wearing vanamala (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 Mathura), 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. Sankara), Janardana (i.e. VisnuKrsna) 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 Brahmana, 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.

Page #137
104 USANIRUDDHA 73. With these words he freed Trisiras (the Three-headed) from the torment of Fever. As Madhava (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.

Page #138
Canto III 1. Now, once again Bana begins his march ahead. Bana, 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. Bana 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 salmali (silk-cotton) tree which has put forth flowers on its branches. 4. Bana 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, Bana looked very much like the stream of Yamuna with the kusa grasslands growing luxuriously on both her banks.

Page #139
106 USANIRUDDHA Instantly that Bana beheld Madhumatha (the destroyer of the demon Madhu, i.e. Visnu - 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 Bana, 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 Vamana (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

Page #140
TRANSLATION 107 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 Indira (another name of Laksmi, wife of Visnu)- 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 Bana 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

Page #141
108 USANIRUDDHA 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 Sarnga-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. Murari (the enemy of the demon Mura, i.e. Krsna) with a sharp-barbed arrow cuts off the demon Bana'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 Bana and fully bloomed flowers of the celestial trees showered by the host of gods who were overjoyed at Krsna's heroic feat. . 22. Again, Kssna cut off his enemy's (Bana'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

Page #142
TRANSLATION 24. 25. 26. 27. 28. 29. on the rings, appeared like a grove of sandal trees full of a multitude of serpents. Then Siva (whose emblem is the Bull) noticed that almost all the arms of his devotee were cut off. He approached Krsna, 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 Bana, 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 gunas (of Prakrti-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

Page #143
110 USANIRUDDHA mountain, you pierced with your great horn the chest of the demon warrior Hayagriva who, as the story goes, had stolen the three Vedas - Rk, Yajus, and Saman. 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 Hiranyaksa. 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 Rama i.e., Visnu-Krsna) quickly robbed the three worlds of this very Bana's father who was deceived by your dwarfish form (batu-vapuh)! 34. As Parasurama you offered the race of Ksatriyas as libations in the blazing fire of your axe which had become sharp by chopping off the forest of the arms of (Sahasrarjuna or) Kartaviryarjuna who had grown

Page #144
TRANSLATION 111 insolent on account of his victories over the three worlds. 35. Incarnating yourself as Rama, the son of Dasaratha, you cut off all the ten heads of Ravana who had desired to pollute the feet of Sita, the daughter of Janaka, with them which he (Ravana) 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 Balarama (lit. dressed in blue garments) and Kssna (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 Srivatsa sign on the chest -- the cynosure of the eyes of all the young and lovely ladies infatuated by you ? 38. O, Kssna, (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 Bana. The intoxication of his pride has now vanished like the poison in the Kaliya serpent. 40. Hari, pleased at heart, then said : O Siva, having a bull as a sign, stop from praising me. When one thinks

Page #145
112 USANIRUDDHA of your great heroic exploits, the heroism of others looks (indeed) trivial and insignificant. 41. The five-arrowed god of love (Kama) whose arrows are so very soft as flowers cannot be borne by anyone from amongst gods, men- and Nagas-even that Kama 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 Himalaya); its bow-string was Vasuki (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 Sankara, gulp the Kalkuta 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 Isvara,

Page #146
TRANSLATION 113 your undivided love for those who seek your shelter ! For, look here, it makes you, O Bhava (i.e., Sankara) stand at the gate of the demon Bana -- it makes you forget your residence on the Mountain Himalaya ! 47. I shall certainly not kill the son of Bali - the demon Bana 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 Prahlala with abjuration I shall surely not kill even the wicked born in his family. Let this Bana, a favourite of yours live long, O Siva, with no more than two arms only. 49. To the Four-armed one (i.e., Visnu-Ktsna) who remained silent after saying this, bowed that Bana, 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., Kssna) - you who are always and ever devoted to the mission of protecting the helpless and who possess eagle as your symbol. (Paksiraja - 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 (Visnu-Krsna) one ! I have committed an offence against you indiscreetly out of vanity caused by my overbearing attitude. 52. "The high-souled Prahlada, my grand-father, achieved

Page #147
114. USANIRUDDHA 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. "Usa, my beloved daughter I give away in marriage to your grandson, O Madhusudana (lit. destroyer of the demon Madhu, name of Visnu-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 Bana 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.,Bana) presented to Mukunda (i.e., Krsna) Aniruddha, who looked all the more handsome since he had Usa by his side. Her tender hand was clasped by the hand of Citralekha who was also delighted at heart. 58. Bana offered to him splendid dowry consisting of gems, gold, silk-garments, a white umbrella, banner, chariots, elephants, horses and a host of bride's

Page #148
TRANSLATION 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 Usa, 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, Bana 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 Murari (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, Kitavarman, Satyaki and the like, that Hari entered Dvaravati, his own capital like Indra entering Amaravati -- his capital. Thus (ends) the Third Canto in the (poem) Usaniruddham. 63.

Page #149
Canto IV Then the citizens, who were afflicted by (the sorrow of) separation, on hearing of Krsna's arrival, breathed again like the Cataka 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 Usa 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 !

Page #150
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 Pralamba (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

Page #151
118 USANIRUDDHA be tormented by love by her co-wife, although she was not seen as she was struck by her romanca (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 Rukmini. 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 Usa 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.

Page #152
TRANSLATION 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 Usa 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, Usa, 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.

Page #153
120 USANIRUDDHA 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 Sengara 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 Siva (lit. name of Siva, 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.

Page #154
TRANSLATION 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 durva grass on them. They went into the jewel chamber to rest themselves. 44. Rama, i.e., Balrama and Damodara (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 Usa 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

Page #155
122 USANIRUDDHA brassiere which had become somewhat loose on account of her goose flesh. 50. He forcibly hugged Usa, 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 tinetta (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 siva's matted hair,

Page #156
TRANSLATION 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 Sankara'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.

Page #157
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. USANIRUDDHA 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 Laksmi and am born of the navel of Laksminatha (i.e., Visnu)" 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 Parijata tree, and Airavata (elephant). He is the crest-jewel in the long and matted hair of

Page #158
TRANSLATION 125 Sankara; he is the lover of Rohini 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 (manini or women offended with their husbands through jealous pride) without falling prostrate at their feet, the hearts which were turbid on account of sorrow (vairagya) and anger at directly detecting their serious offence. 75. The moon that quickly delights the Kairavini (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 abhisarikas (abhisarika : 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.

Page #159
126 79. 80. 81. 82. (The moon) who is the lotus-like face, painted with tamala 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. USANIRUDDHA This lovely moon shines here before you, O Usa ! 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 nissreyas (supreme bliss) God Krsna, 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) Usaniruddham.

Page #160
Mythological Notes 1.1 Ganesa : (Gana + isa), Gana-Pati. Lord of the Ganas or troops of inferior deities, especially those attendant upon Siva. 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 Parvati 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 Bharati : A name of Sarasvati. 1.3 Divyam mithunam (Ardha - narisa or Ardhanarisvara) : A form in which Siva is represented as half-male and half-female, typifying the male and female energies. Martya-Simha (Nrsimha) Narasimha : 'The manlion' Visnu assumed this form (avatara, incarnation) to deliver the world from the tyrrany of Hiranyakasipu, a demon who, by the favour of Brahma, had become invulnerable. This demon's son, Prahlada, worshipped Visnu, which so incensed his father that he tried to kill him, but his efforts were all in vain. Contending

Page #161
128 USANIRUDDHA with his son as to the omnipotence and omnipresence of Visnu, Hiranyakasipu demanded to know if Visnu was present in a stone pillar of the hall, and struck it violently. To avenge Prahlada, and to vindicate his own offended majesty, Visnu 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 Asvatthaman survived the great havoc of the great Bharata war. He was afterwards slain by Satyaki. Satyaki : Name of a Yadava warrior, who acted as charioteer to Krsna and took part with the Pandavas in the great war. He was Kesna's charioteer. He is also called Daruka and Yuyudhana. He assasinated Ketavarman in a drinking bout at Dwaraka and was himself cut down by the friends of his victim. Balabhadra : Balabhadra and Baladeva are other forms of the name Balarama, elder brother of Krsna. He is called Madhu-priya 'wine-loving'. He is represented as of fair complexion and as Nilavastra '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. Suktiman, 5. Rksa, 6. Vindhya and 7. Pariyatra. 2.22 Pramathas : A class of demigods or fiends attendant upon Siva.

Page #162
MYTHOLOGICAL NOTES 129 Guha : A name of the god of war. He is the same as Karttikeya, also called Skanda. Guha literally means 'the mysterious one'. ' Lambodara : Ganesa or Ganapati is also called Gajanana 'elephant faced', Lambodara, 'pendantbellied'. Nandi: The bull of Siva. He is the chamberlain of Siva, chief of his personal attendants (ganas), and carries a staff of office. His image, of a milky white colour, is always conspicuous before the temples of Siva. 2.35 Paramesvara or Paramesa is an epithet of Siva, also of Visnu, of Indra. 2.36 Madhu - Kaitabha : Madhu and Kaitabha were two horrible demons, who sprang from the ear of Visnu while he was asleep at the end of a Kalpa, and were about to kill Brahma, who was lying on the lotus springing from Visnu's navel. Visnu killed them, and hence he obtained the names of Madhusudana and Kaitabha-jit. 2.44 Sanmukha : Or Sadanana is an epithet of Kartti keya. He is the son of Siva (but born without the direct intervention of a woman. Most of his epithets have reference to the circumstances of his birth. Siva cast his seed into agni (who had gone to the god in the form of a dove while he was enjoying Parvati's company), who being unable to bear it cast it into the river Ganga. It was then transferred to the six Kettikas

Page #163
130 USANIRUDDHA 2.48 2.51 (when they went to bathe in the Ganga), 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 Karttikeya, Salanana, sanmukha, etc. According to another account the seed of Siva was cast by the Ganga into a thicket of reeds (Sara); whence the boy was called Saravanabhava or Sarajanman. He was the commander of the army of the gods in their war with Taraka, a powerful demon, whom he vanquished and slew. He is represented as riding a peacock. Sauri : a patronymic (of Vasudeva as well as) of Visnu-Krsna. Kottavi : "Kotavi, Kotari, Kottavi. "A naked woman'. A mystical goddess, the tutelary deity of the Daityas, and mother of Bana the demon. The name is sometimes applied to Durga". Trisiras : "Three-headed'. Fever personified as a demon with three heads. Caturbhuja : (Visnu or Krsna), name of a Danava, here the name of Four-armed Fever created by Visnu-Krsna. Siti-kantha : dark-necked as Rudra-Siva. Cf.Nilakantha : blue-necked; name of Siva as having black throat from swallowing the poison produced at the churning of the ocean. Virinca : Name of Brahma (but also applied to Visnu and Siva) 2.52 2.53 2.63

Page #164
MYTHOLOGICAL NOTES 2.66 2.71 3.6 3.7 3.11 Maya For God, maya 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, maya is an illusion-producing ignorance. This maya is described in some scriptures also as avyakta or even Prakrti having the three elements of sattva, rajas and tamas. 131 The Samkhyas, however, admit two ultimate realities: Prakrti and Purusa. This Prakrti 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. Prakrti 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 maya (or Prakrti) as a female dancer, actress (nartaki). Panca-bana-ripu : The enemy of the five-arrowed god of love (Kama or Madana or Cupid having five flowery arrows) i.e. Sankara 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 Madhuvairi are all epithets of Visnu - Krsna. Gopika-tanuja : Son of a cowherd's wife (here Krsna is derisively so addressed as he was brought up by Yasoda, wife of the cowherd Nanda). Alika batu-cchala: According to the generally received account, the incarnations of Visnu 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

Page #165
132 USANIRUDDHA the three worlds, and the gods were shorn of their power and dignity. To remedy this, Visnu was born as a diminutive son of Kasyapa 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 Patala (the nether world) to Bali. 3.13 Indira-Sahaya : Indira is the name of Laksmi, wife of Visnu. So the friend or companion or ally of Indira means Visnu (Krsna in this context). 3.24 Vrsabha-dhvaja : One whose symbol is a bull - Siva 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 Prag - jyotisa and assisted him in the defence of that city against Krsna. Krsna with his discus killed him. He is therefore known as Murari. 3.32 Narahari : See Martya - Simha above. 3.34 Kartaviryarjuna : He is also known as Sahasrarjuna. The son of Kitavirya and King of the Haihayas, who ruled at Mahismati. Having worshipped Dattatreya, he obtained from him several boons such as a thousand arms, invincibility by enemies, etc.. He was a contemporary of Ravana whom he once captured and confined like a beast in a corner of his city. Kartavirya was slain by Parasurama for having carried off by violence the Kamadhenu of his revered father Jamadagni.

Page #166
MYTHOLOGICAL NOTES 133 3.35 Bhrgupati : An epithet of Parasurama; he is called Bhrgupati as he is the most distinguished of the sons' of Bhrgu (Jamadagni) - Bhrgunam Patih. Parasurama 'Rama with the axe'. He was the sixth avatara (incarnation) of Visnu. He was a Brahmana. This Parasurama, the sixth avatara of Visnu appeared in the world before Rama (the son of Dasaratha), the seventh avatara, but they were both living at the same time. The elder avatara showed some jealousy of the younger. Parasurama is said to have cleared the earth of the Ksatriyas twenty one times and to have given the earth to the Brahmanas. Vidhi-mahana-luna-prarohitani dasavadanasya siramsi : Ravana was a celebrated demon, King of Lanka, and the chief of the Raksasas. He had ten heads (and hence his Dasagriva, Dasamukha, Dasanana, 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. Kaliya : Name of a tremendously large serpent who dwelt at the bottom of Yamuna. He had five heads. Kesna while yet a child jumped into Kaliya's deep pool. He placed his foot on the middle head of Kaliya and compelled him and his followers to implore mercy. He spared them but bade Kaliya and his followers to free the earth from their presence and to remove to the ocean. 3.39

Page #167
134 USANIRUDDHA 3.50 Paksiraja-Ketu : Visnu with Garuda as his symbol or sign or mark. Paksiraja, the king of birds i.e. Garuda is represented as the vehicle of Visnu 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 Visnu rides.' 3.63 Bala (or Balbhadra or Baladeva or Balrama) is the name of the elder brother of Kssna. Raukmineya : Decendant of Rukmini, name of Pradyumna. 'Rukmini bore to Krsna a son named Pradyumna'. Ketavarman : See above (2.15) Satyaki : See above (2.15) 4.12 Bimbosthyah : Women having lips as ruddy or cherry as the bimba fruit. 4.34 Pradyumni : 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 Puranas the moon is described as produced by Atri's look. Hence the moon has many names and descriptive epithets as Atri - netraja, - drg-ja, - prasuta, -netra - prabhava, - netra - suta or - netra bhu - mas. 'Produced by Atri's look', the moon. Trinetra : 'Three-eyed', Siva; tri-nayanah, - netrah, - locanah are all epithets of Siva. * * *

Page #168
siloa-sUI aaM du NAidhammo jaM 4-65 / asivipphuriaggi 2-17 aaM mahiMdo uNa esa 1-31 . aha jANia bANa 2-11 aguNappaidissa 2-64 aha NisidamuheNa 3-20 aMke samArovia 1-56 aha tANa raNaM 2-59 | aMgaaM kaMkaNaTThANe 4-9 aha tANa vimANa 2-37 ajja pajjuNNiNA 4-34 aha de jaduseNNa 2-29 aDaNighaDia 3-42 aha dhujjaDiNA 2-52 aNiruddhekkhiNI 4-15 aha pamudiacitta 3-57 aNukhaNamaNiruddha 3-19 aha pecchai vacchaassa 2-1 aNuviraNai gaMdha 3-18 aha bAlamiacchIo 4-21 attiNettasamuttho vi 4-56 aha bhaNai harI 3-40 atthAvabohammi 1-6 aha rosakasAidekkhaNo 2-46 avaMgadoNimArUDhA 4-47 aha va Na bahu 3-44 appA lacchIgharaM 4-68 aha vaDuvavuNA 3-33 abohaNiddAvihalo 1-2 aha vusahadhao 3-24 abhaaM vihurassa 2-62 aha saMbhuvisiTTha 2-41 amaappaDhamaTThANa 4-2 aha saMbaramammabhedihiM 2-32 amaMdasuMdera 1-13 aha siharaNihe 3-1 amuNa ccia rudda 2-61 aha sodUNa taM porA 4-1 aMbhoiNIaM via 1-53 aha so kaavamma 2-15 amho bamhaNa amhakeraa 2-71 aha so paDihAra 2-22 aviNaakaa 3-51 aha so paramesaro 2-35 avi sIdacchadacchAa 4-32 ahaha tuha mahesa 3-46 asaMtatteNa saMtattaM 4-26 ahiaM jahi NaM 2-13 asaNisaalabIa 3-31 ahiamuhaapAsa 3-5 asaraNasaraNaM 3-39 ahIakAmasattho vi 4-24

Page #169
136 usANiruddhaM aho asaMbaddhapalAvasIle 1-23 aho usAe vaaNaM 1-28 aho mahArAa vaaM 1-60 AmuMciajhaNakkAri 4-5 AsAsaaMtI ia taM 1-39 ia kahia tado 3-56 ia tthuo maaNa 2-70 ia pphuDuppaNNabhaNo 1-51 ia bhaNia jaraM taM 2-73 ia bhaNia ThiaM 3-49 ia vAuLaceTThAo 4-12 ia vimhaakoDDehiM 4-41 ia saMsuNidammi 2-14 ia sa kaapaakkhiNo 3-60 ia sa vikasaMtaMtammoo 4-81 icchAmi miccha ccia 1-75 itthaM bhaNaMtANa 1-70 itthaM sutthiaputta 4-82 itthiAguNasAmaggI 4-25 idaM tado jaMpai 1-25 ime usANiruddhANaM 4-14 isidhammajalAmaTTha 4-50 isipapphiDieMdu 2-23 iha khu Na baliNandaNaM 3-47 iha ThAvarajaMgamappae 2-65 iha hoti visAa 2-5 uidamuidamajja 3-12 uva majjha NibajjhamaccharaM 2-56 usAe usavelAe 4-3 usANiruddhaM tti mae 1-8 use visAeNa kaaM 1-76 uhaopAsaNikkhitta 4-42 eammi vaDhaMta 1-43 edesu ko NAma tue 1-34 evvaM bhaNaMti bahuso 1-22 esa cuMbau taMboDheM 4-38 kaMci kaMThe NibajjhaMtI 4-10 kaNNAgaaM kiMcaNa 1-62 kaNNAgharaM taM kumaraM 1-42 kaNho soNhAsuaM taM 3-61 kadaMbasAhA via 1-55 kameNa vaccho ghaDia 1-57 karakamalamalijja 3-6 karagaNhiasattiNA 2-28 kalaMka-kala-koilA 4-80 kaliakulisa 3-30 kavolapulaucchUNa 4-51 kasaNaghaNasavatta 3-4 kasaNulliapAvaAsu 2-40 kaha tuha mahimA 3-27 kahaM pi saMkANihuo 1-61 kahiM khu maamatteNa 4-55 kahiM si hA suMdara 1-19 kiM Na jANaha jammassa 4-28 kiM NAma kaNNAviDa 1-65 kiM dANi saMdAvaaraM 1-24 kimiha vihalajappieNa 3-15 kuDiladiDhakuaMDa 3-2 kulapavvaavaMda 2-19 kuhaNAmaNuattaNoiaM 2-/ ke UrahAraMgada 1-26 khaviatihuvaNaM 3-43 .

Page #170
silo asUI khuDiaNi Diehi 3-23 khuhio sa u jAI 2-49 gacchehi vaMchA jaI 1-67 gahittaANaM bhedeNa 4-62 gaMdhavvavijjAhara 1-32 gavakkharaMdhagAhaMta 4-52 gavakkhavivarArhito 4-13 caMdaaMtamaNIsaMda 4-53 cidhehi to kehi 1-59 jaa jaa jaduNAha 3-50 jaM vA kumudiNIvippa 4-59 jaNaNI kira tassa 2-51 jaNi amaaNabANa 4-78 jaduvIra balAI so 2-53 jadussa vaMse jalahi 1-9 jado si diTTho siviNe 1-52 jamassa daMDassa 1-69 jalahiM tariUNa 2- 18 jahachaMdamimaM caMdaM 4-61 jahaTThANopaviTThehiM 4-44 jaha luaviDavAliNo 3-53 jahasatthaM mahAraMbhe 4-45 juvarappasaraM 2-55 juhi veNhujareNa 2-60 juhi se bhuakANaNa 2-47 jeNeva veuMTha 1-12 je saMti loattidae 1 - 29 jo ccea chaccaraNa 4-75 ThANe usA kAmai 1-40 Namai ramai 3-17 Na maccharo hossai 1-7 Navari a sarapUria 3-16 hakhuDiasurAri 3-32 Na hu visumariaM 3-11 NAatthabaddhaM kariUNa 1-73 NiapaaphiDiA 3-10 NiiTThammi mahaMtassa 4-69 NijjhAaMtIhi 4-20 NiDile kkhadAha 2-26 Nimmakkhio bhIru 1-44 Nisiattha - khao 2-50 jIvIttaM ca se pANi 4-40 NIsAsamAruAgholi 4-18 NomAliA laggau 1-37 taM paccabhiNNAsarasaM 1-36 taM siNiddhaM pulaMtIe 4-16 tado a sA cittavaDe 1-30 tado pabuddhA sahasa vva 1-18 tado vibuddho tarasA 1-46 taha saMkara- kiMkaraM 2-58 taha hi mahamahIdhara 3- 29 tAaM ca mAAmaNuo 1-14 tANaM a tuvaraMtINaM 4-4 tArAkaDappasuihAra 4-79 tArisIe ciekkAe 4 - 17 tiasaura - viaDDiA 3-8 tisireNa a kiM pi 2-57 tisiraM sa bhaNAi 2-54 tihuvaNajaamatta 3-34 tuarasi maatahi 3-14 tuito bhUdANaM 2-72 tui thuivaaNAdi 3- 26 137

Page #171
138 tui saMNihidammi 2-66 turaohakhuragga 2-16 turiamahigao 3-7 tulAkoDibbhameNekkA 4-6 tuvaM via NiruddheNa 4-35 tuha uNa avadAra 3-28 to so vi tosodahi 1-54 thaddho iraM vimhaa 1-64 daNu avaisuA 1-77 daNuassa bhuesu 2--48 daharahataNao 3-35 dANi khu saMkhuhia 4-76 diTThammi kaNhe diDha 1-35 divvaMtamakkhehi 1-63 dUsesi NIsesa 1-66 dhaNupaMcasadI 2-33 dhaNuddhaNitUra 2-20 dhaNuhammi piNAa 2-24 paANappaDhilaM NIvi 4-11 paccakkhalakkhia 4-74 pajjuNNiNA bhaNNai 1-68 paMcesuNA vaMcia 1-27 paDibhAi NamiMdirA 3-13 paDhamaM paDahassaNeNa 2- 21 padumassa vi edasi 4-66 pabalo balabhaddakesarI 2-45 lambake sippamuhA 1-10 pavalliavallaI 2-3 pasAhiAe gheppaMtI 4-8 pasida padumaNAha 3 - 25 piaM NaM piasaMlAvaM 4-39 usANiruddhaM piNAiNA loaNa 1-15 pupphapallavapallaMka 4-48 puriso puriso eso 4 - 22 pula aMkurasaMmadda 4-49 puvvamuvvAhalAhAdo 4-46 pekkha caMdANaNe caMdaM 4-54 molabhAve 1-58 phaNimaamaNi 3-45 phaliaM sukaeNa 2-4 phalihAmalapaMDuviggahaM 2-2 phAlANalamasIdiNNo 4-57 balaroppiNea 3 - 63 bANo sahasseNa vi 1-71 bAhAhi sAhAhi 1 - 17 biMbAharAsAasuhaM 1-20 bhai a bhaavaM 3-59 bhaddassa vo bhatti - 1-1 bhijaMtadeccida 1-4 bhuaNivahavisaMgi 3 - 3 bhuvi NivaDai so 3 - 21 maaNarasasiddhi 3-37 mao jai kahaM NAma 4-60 maNikaNaaduUla 3-58 maMtappahAveNa 1-41 madhukeDahasoNida 2-36 masAramaNisAmalaM 2-68 maha guru pahalAdao 3-52 maha piaduhiA 3-54 mahucchiTTeNa miTThammi 4-7 mAA kimesA siviNaM 1-47 mA de muheMduNA 4-58

Page #172
siLoasUI 139 mA Lajja muddhaM 1-21 muraharo raharovia 3-62 morapakkhasamaM 4-27 rairamaNakumArao 3-55 raNado khaNamoha 2-44 raNammi ghore raiNAha 1-72 rasaNNajaNamuddhaNNo 4-72 lacchIkotthuhapArijAa 4-73 lacchIlIlANiedo vi 4-70 lajjANivaTTio 4-37 lajjAlahUkaraNa 4-77 vaasuMdarIghaNa 2-69 vaorU vasahAvehiM 4-23 valaIkaacaMDa 2-30 viaasaha tuvaM 3-38 viciNijjai savvado 2-6 vicchiNNamajjhA vi 1-49 vijjAbaleNa ccia 1-38 viNhIsare vikkhasu 1-33 vidaliakaridaMta 3-36 vidio si mae 2-63 vivihA juuhANa 2-34 visaTThakaMdoTTa 1-16 visajehi viho 2-9 visihA vi sihA 2-31 vihiM vivAhassa 1-45 vuTuMteuraNArIhiM 4-43 saalabhuvaNa 2-67 saMbhoasiMgAra 1-3 sacedaNANa No 4-71 sa dhaNuhavisihe 3-22 sappiaM taM ca daTTaNa 4-19 sappehiM saha vAso 4-64 samujjalA Niccala 1-50 samo usANiruddhANaM 4-29 samo jaM pahavo jaM ca 4-67 sallaM samukkhANia 1-11 / / sa visAabharo 2-7 savvassa vi sagottesu 4-63 sasavahapahalAa 3-48 sa hi dippai vippa 2-12 sAvajjA hoi vijjA vi 4-31 sAhiccasaMtANa 1-5 sAhu bANasue sAhu 4-30 siMgArajoNissa 1-48 siviNe daNuassa 2-10 sujjapAasamAliddhA 4-33 suNa puNa vusa 3-9 subhaDANa vi viDDirillae 2-43 suraNarabhuaesu 3-41 susiliTThagari? 2-25 harapuMkhiapaNNaatthado 2-39 hariperiavAruNatthaa 2-42 harisiTThasamIraNa 2-38 hari soNhAsuo ccea 4-36 harisuggaatikkha 2-27 hAhA hadAe maha 1-74

Page #173
GLOSSARY This Glossary gives a short list of words from the Text of Usan 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 Prakrit 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 Chaya, I have put a question mark. aNuvijjhaM = anuviddham, iii. 18. kaTTaI [kaDDai] = karSati, iv. 34. ammaka = asmAdRza, iv. 23. kaTThei [kaDDei] = karSati, i. 41. assesa = AzleSa, iv. 37. kaDDaa (kaMDaa) [kaMTaa] = kaNTaka, ii. 12. ahake = aham, iii. 7. kamaNi = kamanIya, iv. 79. aMdeura = antaHpura, iii. 21. kammuka = kArmuka. ii. 30, 46. aMbho [haMbho], i. 49. kaMDha [kaMTha] = kaNTha, iv. 10. Aakkha = AcakSva i. 24. kAlaNa = kAraNa, i. 74. Asua = Azuga, ii. 41. kiM du = kiM tu, ii. 9. ia Aia taM] = iti tAm, i. 39. koDida = krIDita, iii. 28. iraM = ciram, i. 64. kuaMDa = kodaNDa, i. 48. isi = ISat, ii. 23. kuNamha = kurmaH iii. 26. iMdha [ciMdha] = cihna, i. 59. ii. 14. kumara = kumAra, ii. 9. uvagadua = upagamya, iii. 24. kumarI = kumArI, i. 77. uvaNisaakkhara = upaniSadakSara, iii. 27. / kuhA = krudhA, ii. 26. usaddhaa [vusaddhaa] - vRSadhvaja, iii. 40. koDa [koDDa] = kautUhala [kautuka], iv. 41. kaaMda = kRtAnta, i.31. ko kko [ko ko] = kaH kaH, i. 66..

Page #174
GLOSSARY 141 khaMbhai = stambhate, iv. 24. tArikkha = tAdRkSa, iv. 20. khettUNa = kSiptvA 1.72. tihi = tribhiH, iii. 33. gaNhai = gRhmati, ii. 48. tuaraMto = tvaramANaH, ii. 46. gaNha = graha, iv. 11. tuvaM = tvam, iii. 39. gadUNa (gaMdUNa) [gaMtUNa] = gatvA, i. 59. thavia = stutvA, iii. 26. gheNha [geNha] = graha, iv. 8. dacca [decca] = daitya, i. 38. 63. chiNai = chinatti (?), iii. 22. | dajjAmi (dajjhAmi) [DajjhAmi] = dahye, i. 27. jaIa = yadIya, iv. 76. davva [devva] = daiva, i. 20, 74. jappai [jaMpai] = jalpati, i. 45. ii. 57. dahai = dahati, iii. 41. jala = jaDa, ii. 58. daharaha = dazaratha, iii. 35. jasohi = yazobhiH, i.9. duIa = dvitIya, iii. 36. jahi = jahi, ii. 13. dukUla - dukUla, i. 26. jahIdo (jahiMdo) [jahito] = yasmAt, i. 10.! duvaaM dayam, iv. 67. jigdhaMto = jighran, iii. 61. duhidu -- duhita, iii. 60. jIA = jyA, iii. 22 de = te, ii. 13. juaccAmi [juucchAmi] = jugupsAmi, deNa = tena, i. 55. i. 75.1 dohi = dobhiH , iii.9. jugga = yugma, iii. 49. dhIra = dhairya, i. 23. jumma = yugma, iii. 49. dhera = dhairya, i. 27. juvara = jvara, ii. 52, 53. paacchadi = prayacchati, iv. 32. juhi = yudhi, ii. 34, 45,47. paavi = prajavi, iii. 2. DulaMkida = vaJcita (?), iii. 33. paidi = prakRti, iv. 78. DhajjamANo [DajjhamANo] = dahyamAnaH, i. 62. paTThai = prasthitaH [pratiSThati] iii. 61. NiiTTa = nikRSTa, iv. 69. paDigha = pratigha, iii. 6. NipphaDikkiyaM = niSpratikriyam, ii. 43. paDiTThai = pratiSThati, iv. 5. NiruvAhi = nirupAdhi, i. 26. paDiTThA = pratiSThA, i. 3. NisAaM = nizAyAm, i. 16. paduma = padma, iii. 25. NuNNa = nunna, iii. 19. pamma = padya, iv. 68. Nekka = naika, ii. 46. parappara = paraspara, 1.58. Nettha [netta] = netra, iv. 56. parittaaMto [pariccaaMto] = parityajan, i. 19. tapparijja = tAtparya, iii. 27. parikhuda = parivRta, iii. 62. taraMA [taraTTI] = vidagdhA, i. 28. | pasia = prasIda, iii. 50.

Page #175
142 USANIRUDDHA pasida = prasRta, ii. 39. passa = sparza, iii. 35. pahalAa, pahalAda = prahlAda, iii. 48, 52. pahA = pathA, i. 66. pAuDa = prAkRta, i. 6. puSpa [puppha] = puSpa, i. 44. purai [phurai] = sphurati, iv. 81. pulaMtI = pralokayantI, i. 34. poDDa = prauDha, i. 43. pomma = padma, iv. 30. porattha = paurastya, i. 55. balAmoDi = balAdAmoTya (?), iv. 50. bhaNAi = bhaNati, i. 36. bhaNAdi = bhaNati, i. 28. bhuNaMti = bhuJjate, iii. 10. bhuvi = bhuvi, iii. 21. maa = mRga,. iii. 45. maNojja = manojJa, i. 35. maddha [majjha] = madhya, i. 49. mammaha = manmatha, iv. 15. maraMda = ma(ka)randa, i. 20. malaNa = maraNa, i. 67. mahuvvarI = madhuvratI, i. 20. miha = megha, iii. 36. muNijjaNijjo = jJAtavyaH, iii. 27. muvA = mudA, ii. 40. moha = mayUkha, ii. 2. raNaMkaNa = raNAGgaNa, ii. 56. lua = lUna, iii. 35, 53. lukkaa = lUna, ii. 48. luNai = lunAti, iii. 20. vacchala [vacchaa] = vatsa, ii. 1. vaNasthalIaM = vanasthalyAm, i. 14. vialo [vihalo] = vihvalaH, ii. 50. vijia = vijitya, iii. 12. vivarAhIdo (-hiMdo?) = vivarahito, iv. 13. visumariaM = vismRtam, iii. 11. vissesa = vizleSa, i. 58. veuMDha [ veuMTha] = vaikuNTha, i. 12. vehavIare = vaidhavyakarAn (?). ii. 35. saccaraNa [chaccaraNa] = SaTcaraNa, iv. 75. sattAi [satthAi] = zastrANi, i. 71. samukkhANai = samutkhanati, ii. 55. samuddhaa = samuddhata, iii. 4. sammali = zAlmali, iii. 3. samharAmo = saMsmarAmaH, iii. 31. saMghida = saMhita, ii. 35. saMdAva = saMtApa, i. 24. saMdhA [saMjhA] = sandhyA, i. 4. saMvuda = saMvRta, ii. 15. sAhaM = sArdham, iii. 61. sihiNi = zikhini, iii. 41. suaaM = svayam, ii. 33. sutthia = susthita, iv. 82. sUvai - zrUyate, i. 61. soumAraM = saukumAryam, i. 63. soNhA = snuSA, ii. 11... hatta [hattha] = hasta, iv. 48. hammia = hah, iv. 12. hiDia [phiDia] = bhraMzita, i. 20. hijjai = hIyate, iv. 63.

Page #176
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. Desi --Sabda - Sangraha by Pt. Bechardas Jivraj Doshi, University Book Production Board, Gujarat State, Ahmedabad - 380006. Paia - Sadda - Mahannavo by Pt. Hargovind Das Sheth, Prakrit Text Society, Varanasi, 1963. Rama Panivada's Usaniruddham 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. Usaniruddham - ed. by Pt. S. Subrahmanya and Dr. C. Kunhan Raja.

Page #177
144 USANIRUDDHA Usaniruddham - by Professor A. N. Upadhye, M.A., D. Litt., Reprint from the Journal of the University of Bombay, Vol. X, Part - 2, September, 1941. Usaniruddham (Cantos 1 and 2) ed by Prof. N. V. Vaidya, Fergussion College, Poona-4, 1954.

Page #178
zAradAbena cImanabhAI eNjyukezanala risarca senTaranAM prakAzano 1. Catalogue of the Compiler : Late Muni rU. 1600/ Manuscripts of Sri Punyavijayji z iyel Hall Patana Jain Bhandara Editor : Muni (traNa graMthonA cAra Part-1, 2, 3, 4 Jambuvijayaji bhAgamAM) 4. pAtaJjala yogadarzana tathA saM0 prajJAcakSu vidvadvarya hAribhadrI yogavizikA zrImAn sukhalAlajI rU. 120/5. A Treasury of Jain Editor : Tales V. M. Kulkarni rU. 20O/6. amadAvAdanI saM. ramaNalAla nAmahetA caityaparipATIo kanubhAI vrazeTha rU. 30/7. nyAyAvatAra sUtra vivecaka : paM. zrI sukhalAla saMghavI rU. 25/8. prAcIna gujarAtanA sAMskRtika itihAsanI sAdhana sAmagrI muni zrI jinavijayajI rU. 40/9. candralekhAvijayaprakaraNam saM. paM0 pradyumnavijaya gaNi rU. 50/10. nayakarNikA vinayavijaya upAdhyAyajI rU. 25/11. Usaniruddham Editor : V. M. Kulkarni rU. 70/12. gharSaratnaviUgvI saM. paM. municandravijaya gaNi rU. 250/13. dharmabIja muni zrItattvAnaMdavijayajI rU. 30/