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228
THE INDIAN ANTIQUARY.
[SEPTEMBER, 1894.
(3) Guptá, the Concealed. She successfully conceals her amour. [She has three subdivisions--
(a) Bhúta-guptá, who conceals what has occurred. (6) Bhavishyat-gupta, who conceals what is to occur.
(e) Vartamána-guptá, who conceals what is occurring.] (4) Kulatá, the Unchaste. She is not satisfied (with a single amour). (5) Mudita, the Joyful. She is certain that her beloved will keep his assigpation. (6) Anusayáná, the Disappointed. Of three kinds, either -
(a) The place of assignation exists no longer, (6) Or she is in doubt whether her beloved will be there or not,
(0) Or she is prevented from going there. [(7) SvayaındAtikd, The Direct, is she who meets her beloved in a quiet spot, and tells him of her love.
(8) When she who is another's is a Married Woman she is called údha, and when not a Married Woman, anidha. From the Lokókti-rasa-kaumudi of Raya Siva Dasa.]
Text.
Dasa-náyiká-bhéda-varnana. Proshita-patika virahin
at risa pati số• hội | Puni pichhé pachhitai mana
kalahantarita sồi || 18 || Pati áwai kahu' raini basi
práta khandita geha Játi milana abhisarika
kari si gara saba déha II 17 Il [Sukla aru krishna ganyau
apara diva abhisára Tini bhéda abhisáriká
kary au su-kabi saradára 11 17a 11] Piya sahéta páwai nahi.
chintá mana mé ani ! Sóchu karai santapa só.
utkanthita bakháni | 18 | Binu paai' sankéta piya
vipralabdha tana tápal VAsakasajja tana sajai
piya dwana jia thápa 11 19 !! Jú ké pati adhina kahi
svadhinapatika tahi Bhora sunai piya kau gamana
pravasyatpatikaa áhi | 2011 [Piya vidéśa tê. áwato
sunai badhai sukha váma 1 Agamapatika táhi ko
varanata hai guna-dháma 11 20a 11] Já lau piya áwai milana
apani tiya kau hỏi i Lakshana kavi-jana kahata hai
agatapatika sôi || 21 II.
Translation. The Ten-fold Classification of Heroines with reference to their Lovers. [Sahitya-darpana, 112, where, however, only the first eight classes are mentioned.] (1) Proshitapatika, She whose husband is abroad. She is pining in his absence.
(2) Kalahántarita, the Separated by a quarrel. She has been angry with her lord (and is separated from him). She is subsequently filled with remorse.
(3) Khandita, the Sinned against. Her lover approaches her room in the morning after spending the night with some other (woman).
(4) Abhisáriká, the Forward. She adorns her whole person, and goes to see her lover. [According to the poet Sar'dâr, she is of three kinds -
(a) Suklábhisárika, who visits her beloved on bright moonlit nights.
? Should be prayatsyat, the t is omitted (m. c.)
