________________ read rajatakaraka. 54) Even if laksana here refers to the same laksana as in laksana cikitsitayuddha: (recto, line 2), which is doubtful, the first mentioned laksana seems also to be outside the kala list. In any case, we have no sufficient evidence to assume that after the enumeration of the kalas our text discusses. or defines each kala individually, but the possibility that at least some of the kalas were discussed individually cannot be excluded. 55) Cf. Venkatasubbiah, op. cit. p. 12. 56) This science also appears in some of the kala lists, e.g. Lalitavistara #69, Kalpantarvacyani #27 (in both: jyotis). (Universitat Wien) flowers to send love letters in"; Jayamangala #9: malyavidhi; cf. also Sukranitisara #5: Sayyastaranasamyogapuspadigranthana "making beds and garlands with flowers"; Sutralankara # 24: "The arrangement of flowers." and #36: "The arrangement of garlands. 45) Cf. R. Pischel, Grammatik der Prakrit-Sprachen (Strassburg 1900), p. 209 and further references therein. 46) Prose compositions are often divided into akhyayika and katha, but the principles of the distinction are not fixed. 47) Cf. Lalitavistara #39: akhyata; Kamasutra #32: natakakhyayikadarsana, Kamasutra #33: kavyasamasyapuranam "the last quarter of a sloka being given, the composition of the first three", Kamasutra # 54: kavyakriya; Kadambari # 39: kathah, Kadambari # 41: akhyayikah, Kadambari # 42: kavyani; Ramacandra #2: kavyala nkaranatakam; Ramacandra #4: kavitva. 48) Cf. Samavayasutra #5: giya (=gita); Lalitavistara #38: gitapathitam ("sing ing and reading"); Kamasutra #1: gita; Jayamangala # 1: gita; Ramacandra #3: gayakatva; Kalpantarvacyani #4: gita; Sutralankara #19: "Books about music and singing." 49) Cf. Samavayasutra #4: natta (=nitya); Lalitavistara #37: vadyanytya; Kamasutra #3: nytya; Kadambari #12: bharatadipranitani nyttasastrani; Jayamangala #2: nytya; Sukranitisara #1: nartana; Kalpantarvacyani #5: notya; Sutralankara #21: "Books about dancing and laughing." 50) Cf. Samavayasutra #6: vaiya (= vadya); Lalitavistara #37: vadyanetya; Kamasutra #2: vadya; Kadambari #11: vina-murajaka-kamsyatala-darduraputaprabhytini vadyani; Jayamangala #3: vadya; Sukranitisara #2: anekavadyaviky. tau tadvanane jnanam "Proficiency in playing many musical instruments together, i.e., in palying in an orchestra." Sutralankara #20: "Books about playing the lute." 51) The leaves of the central portion of the manuscript, to which the present leaf belongs, contained three lines on each side. At the beginning and the end of the manuscript, where narrower leaves were used, only two lines are written on each side, but towards the very end of the manuscript the scribe must have realized that the available space ran short, and reverted to three more tightly squeezed lines. 52) Note that silpa is neuter, the feminine plural can be explained either by attraction due to kalah or by assuming a feminine word, e.g., vitti, meaning the profession of the listed craftsmen, i.e., the profession of the blacksmith (= smithery), etc. The second alternative seems more probable to me. 53) rajaka is recorded only in the meaning of "washerman"; perhaps one should. 544 545 [66] (67] The Spitzer Manuscript - Report on Work in Progress
