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THE INDIAN ANTIQUARY.
[MARCH, 1906.
It is placed in the vessel next. They are fastened together. The náin (lagin) takes both and turns them round in the water seven times. She drops them in the water seven times, the bride and the bridegroom grabbing at them. The one that succeeds the oftener in getting hold of them first wins-the caste therefore wins.
96
Lagi je ghérní. Gánná jit jana.
Mallá, paré di kowár. Más pânî pîtâ vår. Vôuhti ék nanánán chár.
The women sing.
The flour, ghi and sugar are then divided amongst them. first comes to the house.
It is done amid great laughter. Only women are present, excepting the bridegroom. Other songs are sung when the bride
Burki léndi vár 6 vår. Vouhti ân baithi havéli. Téri man phire arbélî.
Home coming songs.
The turning has begun.
We have to get possession of the band.
(To be continued.)
THE KSHATRACHUDAMANI OF VADIBHASIMHA, with eritical and explanatory notes, by T. 8. KUPPUSWAMI SASTRIYAR, Tanjore, 1903. (Sarasvativilass Series, No. III.).
BOOK-NOTICE.
THE indefatigable scholar whose editio princeps of Vadtbhasimha's Gadyachintamani I noticed in a former issue of this Journal (above, Vol. XXXII. p. 240) now presents us with the text of another hitherto unpublished work by the same Jaina author. The Kshatrachádámani also has for its subject the legend of Jivadhdhara or Jivaka and is divided into eleven lambas, but, unlike the Gadyachintamani, it is written in the Anushṭubh metre and in comparatively simple Sanskrit.
Beloved, the bride comes from across the river. Your mother has passed the water and drunk it. One bride and she has four companions (the sisters of her husband).
She takes a morsel with each.
The bride has come into the house. Your mother goes about happy.
In the introduction Mr. Kuppuswami Sastri discusses the question of the author's lifetime. The upper limit of Vadibhasimha is about A. D. 900. For the subject-matter of his two works is taken from Gunabhadra's Uttarapurana, which was completed on the 23rd June, A. D. 897.1 In this connection Mr. Kuppuswami Sastri states that Gunabhadra is mentioned in Hastimalla's drama Vikrantakaurava, and that he was the preceptor of Mandalapurusha, the author of the Tamil dictionary Chúddmani. Vadibhasimha's two
works were again drawn upon by Tiruttakkadevar in his Tamil poem Jakachintamani, and this book is referred to in Sekkilar's Periyapuranam, which was composed at the instance of the Chola king Anapaya or, as he calls himself in an inscription at Tiruvarar, 'Rajakesarivarman alias Tribhuvanachakravartin Kulôttunga.' 76 Unfortunately the precise time of this Kulottunga, surnamed Anapaya, has not yet been settled. It he is identified, his reign will furnish the lower. limit of the Jivakachintamani and, with it, of the Gadyachintamani and Kshatrachidamani.
The text of the last-mentioned work Kshatrachuḍdmani, is accompanied at the foot by explanatory notes and parallel passages which greatly add to its value and testify to Mr. Kuppuswami Sastri's extensive knowledge of the Sanskrit language and literature. I am glad to note that he is going to issue also a commentary to his previous publication, the Gadyachintamani, which on account of its ornate language offers to the reader more serious difficulties than the Kshatrachadamani.
E. HULTZSCH.
Halle, 22nd November 1905.
1 Compare above, Vol. XII. p.217, and Dr. Bhandarkar's Report on Sanskrit Manuscripts for 1883-94, p. 430. Edited with the commentary of Nachchinarkkiniyar by Mahamahopadhyaya Pandit Svaminathaiyar. Madras, 1887 (over 900 pages). See South-Ind. Insor. Vol. II. p. 153.
Compare above, Vol. XXV. p. 150.
